diff --git a/fountain_scripts/Hackers.webp b/fountain_scripts/Hackers.webp new file mode 100644 index 0000000000000000000000000000000000000000..efef1c14d5a333da8a62e68e41a8d694e7be3290 --- /dev/null +++ b/fountain_scripts/Hackers.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:86e37bcd70a81aa1505201aecbad44cdc61c5bc4fb4e36955cdb0694946526c2 +size 27290 diff --git a/fountain_scripts/Hancock.fountain b/fountain_scripts/Hancock.fountain new file mode 100644 index 0000000000000000000000000000000000000000..4eb6b343303642c00c2ac339866cdd544f48b124 --- /dev/null +++ b/fountain_scripts/Hancock.fountain @@ -0,0 +1,4174 @@ +Title: HANCOCK +Credit: Written by +Authors: Vincent Ngo & Vince Gilligan + +>FADE IN: + +BLACK. It's everywhere. It swallows the screen. And so we stare into a sea of BLACK. + + NARRATOR (V.O.) + I saw a severed head once. Except for the, paleness, it looked healthy, well-fed. The end came abruptly you could tell 'cause the mouth froze in mid-sentence. "Shh. ," the curled lips attempted. Like it started saying "shucks" or "Shirley" or... "shit happens." Your eyes don't forget things like that. Like you don't forget the sound animals make when they're humping. Primal. Raw. They endure in you forever because the senses have a brain all their own and they recall long after you've succumbed to the la-la of forgetfulness. + (a pregnant beat) + Sometimes when it's dark out,-so dark it's black, I'll see HIM. + (BEAT) + And it starts all over again. + +From this blackness, a streak of LIGHTNING splits the night sky. + +EXT. SKY - NIGHT + +We are in the eye of a STORM, an angry mass of clouds raging of a howling WIND. across the black sky..It brings RAIN and THUNDER and the swirl An ENTITY emerges from this moist darkness. weather and advances into our scope of visibilityies through the A FLASH, of lightning erupts and it illuminates the sky. We SEE the approaching entity as it hovers before us. It's a man. It's a man, plus. It's a SUPERHERO, garbed in an elastic dark-grey outfit - a faded RED CAPE extends behind him, thrashing against the wind and rain. This Superhero (30). Unshaven. Disheveled. Worn. A face chiselled with mileage./*2.*/ + +In the eyes, we can see his soul. Intense. Fierce. An exposed nerve, snagged in a fish hook. He hangs in the air, tired, rain-soaked, pissed-off. He stares down at the earth below and he beholds the saturated visage of SHEEPSHEAD BAY, a seaside Brooklyn neighborhood. And from the bowels of his very soul, this Superhero belches a thunderous ROAR. He pivots in the air and dives toward land. He slices through the downpour, arms extended, body erect, engulfed in the dimensions of his cape. The ground approaches, fast. He accelerates as if to embrace it. Velocity sucks up all remaining space and there is IMPACT. An EXPLOSION as he rips through the street surface, penetrating the asphalt - head first. Debris and concrete spew from the ruptured orifice as he disappears inside. There is an expulsion of subterranean pressure and it launches nearby manhole LIDS from their spots - they bounce and CLANG down the street like loose change. The rain continues its onslaught. + +INT. APARTMENT - NIGHT + +Rain sloshes against a kitchen window. Where the sink is. Not far from the kitchen table. Where the LONGFELLOW Family sits, dinner before them. HORUS (35) leans over his plate, eating his meal. Here idles a man of diminutive frame, bespectacled, placid - as harmless as low fat milk. He sits opposite MARY (30), frenetically appropriating food. A gentle beauty. entwined in maternal angst she is estrogen with an attitude. A meek little AARON (8), slouches between the folks - a BLACK EYE tattoos the left of his face. Aaron stares at the damn plate, finding no humor in eggplant. + + MARY + The principal did'nothing. Like schoolyard terrorism is no worse than being tardy. What's the matter with education? Back when, you could go to school and learn about Betsy Ross and... mollusks and... not get stabbed on the way home./*4.*/ + +INT. SUBWAY TUNNEL - NIGHT + +A subway TRAM idles by a passenger ramp. STEAM hisses from its side and plumes into a wall of white mist. And from this cloud of angry vapors, a figure appears. He surfaces from the dark subway tunnel, a cool nonchalance in his gait. It is the Superhero, his identity safely concealed under the collar of a tattered TRENCHCOAT. He traverses the loading deck, PASSENGERS boarding and disembarking around him. He wades through them - to a deserted section of the subway. He strolls over to a CIGARETTE MACHINE, up against the grafetti-raped subway wall. On the wall, a line of profanity declares that... "YOUR MOTHER TAKES IT UP THE ASS." He surveys the machine. His right arm appears from the coat pocket. Fingers merge into a tight fist. And casually, he rips into the metal vendor like it was Jello. His fist withdraws a handful of bills, coins. He pockets the loot. He reaches back in and withdraws a carton of LUCKY STRIKE. Deposits it under his coat. And with that, he heads for the stairs - to the flooded streets above. At the ramp, and on cue, the subway tram closes its doors. Trembles. Moves. Steams into the deep dark tunnel. White SMOKE mushrooms from its tail. It lingers in the air as we... + +INT. APARTMENT - NIGHT + +see STEAM, rising from a faucet of running HOT water. It rises from a sink of soiled dishes - where Mary deposits another set of pots. She's clearing the table. Down a dark hallway, a streak of light escapes from an open door. Inside and on the bed, the frail posture of Horus changes out of his clothes. + +INT. BEDROOM - NIGHT + +Horus disrobes down to his t-shirt and briefs. He stands before the closet mirror, scrutinizing the emaciated, sand-kicked-in-the-face body./*5.*/ + +Horus strikes a He-man pose, his biceps in the wind. He removes the Police apparel, plastic. Proceeds to put it on. + +INT. RED EYE MOTEL - NIGHT + + FISH + How the fuck can I help you sir? + + SUPERHERO + A room./*6.*/ + +His blood-shot eyes mean it. Fish turns to the back wall. Grabs a random KEY from a nail. + + FISH + Top floor, 7F. Fifteen a pop, up front. + (re: the check-in sheet) + And your John Hancock makes it sweet. + +The Superhero scrutinizes the CHECK-IN sheet. Scribbles HANCOCK on the dotted line. Fish hands over the key. Then, pulls it back from Hancock's grab. + + FISH (CONT'D) + I don't take messages, I don't do favors, and I don't know you from Jack. You want sheets, they're extra. Towel's extra. Plunger's extra. + + HANCOCK + I need quiet. Is it quiet? + + FISH + Quiet? Hey pal, we look like a public library to you? The girls work. Some of them scream, some of them moan... + (SMILES) + and some of them just kinda lay there cold. You want quiet, I got cotton balls you can stick in your ear. They're extra. + +Hancock eyes Fish, mentally dissecting the vermin with his bare hands. He withdraws from his coat the WAD of loot. Pushes it under the window. And while Fish collects, he leans into the window and emits a deep GROWL. Fish recoils. The bills fly. Hancock takes the key. Exchanges it with a metal ORB - the strangulated remains of the bell. It rolls out of his palm and CLINKS off the counter. Hancock sidles off. Fish - the cat's got his tongue. + +INT. BEDROOM - NIGHT + +Horus, in full uniform - dark blue pants, shirt./*7.*/ + +He dips into a dresser, pulls out a thick black leather belt - complete with holster. Horus returns to the dresser for one final item - It's obscured by his arm but we feel it to be some heavy chunk of metal. He confronts the mirror, twirls this piece, holsters it. And we SEE it to be a FLASHLIGHT. A shoulder patch reads... U-RENT SECURITY CO. Their motto: "TO OBSERVE AND RECORD" Horus tucks a hat under his arms, ready to move. + +INT. AARON'S ROOM - NIGHT + +A jar of MARBLES rests upon a window ledge. Outside, the story is rain. On a bed, sprawled on his back, Aaron gazes up at the empty ceiling - the black eye squats prominently on his face. Aaron brings his hand before his eyes. Looks at it. Studies it. Slowly, his fingers converge into a tight FIST - a boy's interpretation of a man's weapon. A gentle KNOCK disperses the knuckles. Horus peers in. + + HORUS + How's the eye? + + AARON + Black. + +Horus enters. Stands awkwardly before his son. + + HORUS + It'll be gone in a week. Mom'll touch it up with some make-up and you won't even know it's there. + + AARON + Yeah I will. And I don't want any girly make-up on my face. + +Horus deposits himself on the bed. Hunches over his knees./*B.*/ + + HORUS + (almost apologetically) + There'll always be people around who'll... exert force over those of us who just want to live in peace. + +Aaron listens, observing his father's efforts. + + HORUS (CONT'D) + (pain in every word) + The thing to do is... to avoid them. They're no-wins. Can't-wins. You hold the anger... and move on. You hold the anger. + (turns to Aaron) + I tell you because I can't take it, seeing you hurt. You're part of me. + (BEAT) + I've felt what you're feeling now. And if you've got any of me in you, you're gonna feel what I felt-when you go up against one of 'em. Turn away... that's what you do... the other cheek. You do that for me. No, you're not the coward. Not you. No. I'll be the coward, all right? 'Cause I don't want to see you hurt. I love you. I ask you to do that for me... your old man. + +And while he utters these words, Mary watches from the dark hallway - moved by his affection. She oversees a father-son embrace. + + HORUS (CONT'D) + I'm late for work. Get some sleep. Tomorrow always feels better... + + AARON + \.after a good night sleep. + +The light FLICKS off and the man's silhouette form exits the room. + +INT. HALLWAY - NIGHT + +Horus backs his way out. Shuts the door. Mary's hand greets him from behind. It startles the man. He tries to regroup. + + HORUS + Mary./*9.*/ + +Mary inches closer - passion oozes from every pore. She nestles up against her husband. Horus stands uncoordinated, pressing his hands against her back. He is gentle, but as effective as an armless masturbator. Mary caresses his neck. Moves her lips to his ear, enraptured BY the moment. And out of nowhere... + + HORUS (CONT'D) + (AWKWARD) + I'm late. + +Mary snaps from her trance. Unshackles her hold, like she almost expected it. + + MARY + (DISAPPOINTED) + Right. + (BEAT) + Coffee's by the door. + +She marches back into the kitchen. Horus stares at his feet. Shakes his fists, mentally kicking himself in the face. He settles for the door, grabs his jacke , coffee thermos. A look at Mary and he's out the doo rt + +CUT TO: + +INT. KITCHEN - NIGHT + +Mary - against the kitchen sink. Her thin cotton dress clings to a body still robust with energy, to breasts so full they could yread Uncl pop a boner inoud e And while the storm rages outside, Mary burns in a feverish sweat. The swelling steam and running hot water combine to saturate her chest and face - she drips. Mary gazes out at the wet abyss, possessed by some inner longing. + +INT. MOTEL ROOM (7F) - NIGHT + +A T.V. SET. It MOANS from the corner of a room. Scant blinking red neon from the street cannot disguise thecant lighting torture this room has seen./*10.*/ + +Torn, mildewed' curtains. Damp carpeting,. et _ d by every form of bodily discharge. No self-rem n� g maggot would want to be caught dead here. On a shredded s, blotched with urine and cum, we SEE a trenehc -l�n open carton of cigarettes accompanies the picture. An open door faces the MOANING TV set. It's the bathroom and it's occupied by the intensely frazzled image of Hancock. He squats on the TOILET, pants around the ankles, cape shrouded around him. Those unforgiving eyes plant on the TV screen, a cigarette dangling from the corner of his lip. We discern the MOANS to be human and we SEE that he is watching a PORNO flick - flashes of flesh upon flesh in a fucking frenzy. + + T.V. SET (O.S.) + (FEMALE) + Ooh yeah, big fella. That's it. Shoot your load, baby. Let it fly... FLY...! + (male; in ecstasy) + fly. YES! G0000D! + +Hancock absorbs the action from the can, a glint of pain on his face. He takes a long hard drag on the cigarette - a full stick deteriorates into ashes before our eyes. And outside, it rains like there's no tomorrow. + +CUT TO: + +EXT. SHEEPSHEAD BAY - DAY + +Morning brings a cease-fire on precipitation. The streets glimmer from puddles left behind from the night. The overcast sky - its precarious rain formation indicates that the storm is far from over. + +INT. KITCHEN - DAY + +A SUPERMAN lunchbox perches on the kitchen table. Mother and son prepare for school. Aaron adjusts his raincoat, looking disturbed./*11.*/ + +Mary parts his hair, Straightens his shirt. _the complete morning routine. Her maternal h'ahdf Stay inside. + + AARON + (IRRITATED) + I don't need you walking me to school. + +Mary clasps her ears - deaf. + + MARY + not listening .Lalalala... + + AARON + (in disbelief) + I got the only mother does this. in the world that + +I'm not lisMARY g. Lalalala.., + +INT. WATANABE'S SHOPPING EMPORIUM - THIRD FLOOR - DAY + +A light beam. It dances over the consoles of H Horus holsters i-fi's televisions , his flashli ht , stereo floor. He take and mores ' across the s s the stairs g - down. howrooms Horus passes the second floor. + +INT. FIRST FLOOR - DAY + +Horus crosses the floor to the back,. to where ROHEIM (50) stoops, on a stool and in a deep from his mouth over his saturated sleeve. A line of SALIVA dangles The badge and uniform reveal employee. Roheim another U-Rent Secu Co. is your uncle lostjck sexually deviant as threatening as a burnt-outmat and CHSTICK Horus stands over Roheim's slumpness. Removes a from his own pocket. handkerchief + + HORUS + (GENTLY) + Roheim./*12.*/ + +He's done this before. + + ROHEIM + (dream state) + Olga... + + HORUS + Roheim. Let's go home. + +Roheim stirs... + + ROHEIM + . bitch. + +From the dark recesses of sleep - he wakes. Straightens up. Slurps back his dignity. + + ROHEIM (CONT'D) + (BARELY) + What, already? + +Takes the handkerchief. Wipes his mouth. + + HORUS + I just made the last run. + +He helps the old man to his feet. + + ROHEIM + You're a good man. + +INT. RED EYE MOTEL (7F) - DAY + +An ASHTRAY buried under a mountain of butts. A bed unslept. The TV is on, commercialing some spring-fresh vaginal wash. The room sits empty. But the bathroom door is open. Inside, the supersuit peeled down to his waist, Hancock shaves. + + HANCOCK + (mumbling; rehearsing) + it's about responsibility... with what is empowered in you... to correct the ills of man. + +No foam. No gel. Just skin and the razor edge of his belt BUCKLE - it slices through stubble, clearing up a face that has yet to sleep./*13.*/ + + HANCOCK (CONT'D) + (AGAIN) + it's about responsibility... + +Hancock reaches into the cabinet below the sink - pulls out a BOTTLE of 409 all-purpose cleaner... On the tube, the commercial segues way into... + + T.V. (O.S.) + (FAINTLY) + And on the world front, heavy fighting continues in Angola as rebel forces storm... regime... under the military stronghold... + +The SOUND of machine guns CRACKLE amidst mortar explosions and civil destruction. Hancock listens - it disturbs him. He whirls around, accosts the TV Rips it from the wall, throws it out the window. And a CRASH eradicates images of war and chaos. He returns to the bathroom. To the mirror. Proceeds to spray his teeth with 409... + +EXT. WATANABE'S SHOPPING EMPORIUM - DAY + +Behold this imposing, block-long behemoth of commerce and decadence. A shopper's wet dream, this is WATANABE'S SHOPPING EMPORIUM. From the street, notice the display windows - all mannequins come complete with outfit and ultra-erect nipples. As EMPLOYEES file into the service entrance, out comes Horus and Roheim. They head streetward, to the sidewalk. Roheim unscrews the battery cap from his flashlight. Takes a swig from its hollow interior. + + ROHEIM + I'll just play out the rest of this Eight Ball... + +He laps up the last drop. Reloads it with a couple of batteries from his jacket. + + ROHEIM (CONT'D) + (caps it) + like that. + +Horus looks on - silent./*14.*/ + +A POLICE VEHICLE enters this urban landscape. It slows in front of them. The cops: RUTGER and ADAMS, two hairy-knuckled testosterone cases with nothing to do. + + RUTGER. + (passenger seat) + Boys... + +The cops smile at one another. A large SHOTGUN rests fully erect between them. And they drive off. Horus, watching them go, focuses in on the "TO SERVE AND PROTECT" of their vehicle. Roheim watches him - turning red with drama. + + ROHEIM + Bastards... couldn't protect a pitcher of warm spit... couldn't find their asshole with common sense and a thumb. + (BEAT) + Like I been saying, it's their.loss. The jerk-offs, they don't got the heart... the sensitivity of a man like you. + +Horus tries to shrug off these words. No good - they stick like a thorn in the eye of his soul. + + ROHEIM (CONT'D) + (CONTINUING) + Come on, let's go home. + +EXT. ROOFTOP - DAY + +On the rooftop; the Red Eye Motel. A trenchcoated figure - we see him from the back, only. We recognize the broad of his shoulders and the red of his cape, peering out from a hole in his coat. A cloud of smoke lingers above his head, from an unseen cigarette. He stands before the Sheepshead neighborhood, ever so still. Something brews within this superman./*15.*/ + +EXT. SHEEPSHEAD BAY - DAY + +The streets of Sheepshead: apartments, brownstones speckled with e DELIS and NEWSSTANDS and BARBER SHOPS and OUTDOOR MARKETS - they are the "esque" in Bro ly qu Through this hustle-bustle, we spot Mary and Aaron on their way TO BRADLEY ELEMENTARY SCHOOL. Schoolyard activities abound. Buses, bouncing balls, and hoards of screaming little anti-christs. I Mary leads Aaron along the playground fence, the latter trying to pull ahead and away. + + MARY + Will you slow down. + + AARON + I know it. I know it. + + MARY + I think I'm... slow down... I'm gaining weight. Honey, take a look at my waist. + + AARON + What? + + MARY + Is my dress too tight? + + AARON + What? Nothing. It's fine. + + MARY + Really, my waist isn't too big? + + AARON + What? Not here, mom. + + MARY + All right, already. Two-thirty. You don't leave the building till then. I'll be there. + + AARON + I know it, mom. Can I go now? + + MARY + Give me a kiss, you snot./*16.*/ + + AARON + (there is no god) + Geez! + +He turns back. Plants a kiss on Mary's smiling cheeks. + + MARY + Two-thirty. + + AARON + All right, mom. + +He leaves, merging into the undulating sea of children. + + MARY + (after him; in vain) + You want anything from the store? + +He's gone. + +EXT. STREET - DAY + +This is the Longfellow's street - lower-middle class but comfortable, quaint, safe. Mr. Longfellow, hustling through the street, takes us home. Greeting him at the entrance, at the mailboxes, is CLYDE BANNER (35). Quite large this tenant is, quite simply a Cro-Magnon Man. Clyde stands with the morning paper in hand, searching carelessly through. He finds the SPORTS PAGE. Hides it under his robe. + + CLYDE + (LOUD) + Longfella. Good to see you. + + HORUS + Clyde... + +Clyde shoves the remains of the paper at Horus - in his face. + + CLYDE + Picked this up for you. + (pulls the paper back) + Say thanks. + + HORUS + Thanks. + + CLYDE + (hands it over) + You're a good man./*17.*/ + +He heads inside. Horus swallowing it. He unshuffles the paper, finding the front page. The headline reads... RAINSTORM HITS SHEEPSHEAD. NO END IN SIGHT. Horus checks the sky - a sinewy mesh of angry clouds. He lumbers inside. + +INT. NICK'S MARKET - DAY + +Your average market, mom and pop. Artichokes! Mary handles an artichoke, contemplating. NICK (30), the grocer, moves behind her. handsome in a greasy, grimy, rebuilt carb in uretor He's That's a lovely dress, Mary. If he could mount her now, he would. + + MARY + You're sweet, Nick. + +He cracks a wet smile. Mary, aware, unhands the artichoke. Moves on. L + +CUT TO: + +EXT. STREET - DAY + +Mary moves through the street, embracing a grocery bag. She continues her way, purpose in every step. No window shopping bullshit for this woman - Mary's strong, beautiful. She crosses the street, her destination: CENTRAL FIDELITY BANK. A dark CHEVY eases pass Mary on this street, pulls to a stop. Mary continues forth, entering the bank. + +INT. BANK - DAY + +Sheepshead DENIZENS crisscross amok. People queue behind teller lines, taking care of business. Mary takes her place. She glances at the bank CLOCK - it's 10 o'clock./*18.*/ + +EXT. BANK - DAY + +A BEE spirals the air and lands on the sleeve of a nervous ARM. This arm protrudes from the dark Chevy, parked before the bank. The engine is running. The arm fidgets. SHOOS the insect away. With white knuckles, it grips the wheel. + +INT. BANK - DAY + +Same bank, same people. Mary awaits service in the same line. A MAN ambles pass Mary's line, up towards the front. He cuts off the person in front, an elderly WOMAN. + + WOMAN + Hey, what's the idea? + +The man turns. Smiles. His smile fades, turning into a maniacal. grin. This man is TOM (35), as plainly evil as the eye can see. + + TOM + You know what, you remind me of my grandma. + +Tom whips out a sawed-off SHOTGUN from his pants... + + TOM (CONT'D) + (CONTINUING) + She gave me this when I made parole. + +He aims the barrel in her face. + + TOM (CONT'D) + (CONTINUING) + Thanks, Granny! + +Of course, by now, people have realized the implications of the situation at hand. They begin to panic. On cue, two new GUNMEN, JERRY and JERRY (30's), emerge from the crowded bank, both revealing automatic RIFLES. Jerry #1 drops the SECURITY GUARD with the butt of his gun. As planned, they take aim at the surveillance CAMERAS on each end of the bank. BANG. BANG. They miss, much to Tom's chagrin. The crowd ducks, Mary among them. Terror grips,the queues. The Jerrys try again. BANG. BANG. No more cameras. And with ,Ir► that, Tom takes center stage. He leaps on the teller counter./*19.*/ + + TOM (CONT'D) + Ladies and gentlemen, this is your captain speaking. My name is Tom. These are my assistants, Jerry and Jerry. Why're we doing what we're doing, you ask? We got one word to say to you folks... + (shrugging; smiles) + Recession. + +CUT TO: + +INT. BANK - DAY + +Order in the bank - employees and patrons are now corralled at the center of the bank. Their faces all register pain. And we find out why... They all squat in the LOTUS position - legs crossed like pretzels. + + TOM + (to Jerry #2) + Thank you, Jerry. + +Tom is referring to Jerry's demonstration of the lotus Jerry does not respond. + + TOM (CONT'D) + (CONTINUING) + Thank you, Jerry. + + JERRY #2 + I'm stuck. + +Mary, amongst the crowd, watches on with interest. + +INT. CLASSROOM - DAY + +Bradley Elementary School. Class is in session, captained by ravishing MS. MILLIS (28). Lips, legs, lungs - stuff prepubescent wet dreams are made of. Aaron, nestled mid-room, tries to keep his eyes straight. He steals a quick look to the back of the room: there, in the back, a BLONDE boy (8) sits chewing gum. This kid, from the slicked-back hair and rolled-up t-shirt sleeves, is a sub-species of vermin./*20.*/ + +He taunts Aaron a smile, opens his mouth, and we realize that he's gnawing on a plastic DOLL HEAD. + +INT. BANK - DAY + +Behind the teller window is Tom, assisted by a quite voluptuous employee - VERONICA, (23), with an IQ to match. + + TOM + (to the crowd) + And while I take care of business, my associates will be making their rounds. + +The Jerrys leap into action - guns pointing. They rummage the helpless patrons for jewelry, cash and collectables. + + TOM (CONT'D) + (CONTINUING) + Please be cooperative and more importantly, charitable. We'd like you to think of it as donations... for Jerry's kids. + +Jerry #2 weaves through crowd waving his automatic wand. People dish out valuables into his canvas BAG. He arrives at Mary, motioning at the bag with the rifle. + + MARY + (UNINTIMIDATED) + I have no money. + + JERRY #2 + (I wasn't born yesterday) + Come on, is. What the hell you doing in a bank if you.got no money? + + MARY + I'm here to withdraw money. + +This stumps the brainless beast. And over by the teller, while he's stuffing her bag... + + TOM + Don't hate me 'cause I'm beautiful. + +She's too scared for speech. But back on the bank floor... + + JERRY #2 + (at her ring) + Give me that./*22.*/ + +Jerry #2, testicles in his throat. + +INT. BANK - DAY + +Tom is out on the floor, gun wielding. Jerry #1 is with him, loot bags in hand. + + TOM + (to the crowd) + No heroes! No heroes! + +Jerry #2 returns, bad news on his tongue. + + JERRY #2 + He flew! Fucking Fred flew! + + TOM + Fuck! Fuck! + +A wave of SIRENS punctuate their state of "fuck." It crescendoes around the building. + +EXT. BANK - DAY + +SQUADS of police cars form a noose around the building. A S.W.A.T. teem spews from a transport unit, armed for the big tightening. Guns and ammo abound. + +INT. BANK - DAY + +Jerry #1 is at the entrance - peering out at doom. + + JERRY #1 + (IMPRESSED) + Wow, S.W.A.T. + + TOM + (muttering; spelling the end) + I'm not going back. + +Mary, amongst the crowd, takes a glance at the CLOCK --one thirty. + +CUT TO: + +INT. BANK DAY + +Time LAPSES. It's 2:30. Mary turns from the clock, concerned. She studies the situation, the robbers - an overall glumness tells the story. At the entrance - Tom. He looks desperate. Irrational. Ready to snap./*23.*/ + +The hostages huddle on the floor, tired. They wait. + +EXT. BRADLEY ELEMENTARY - DAY + +The CLOCK on the building reads 2:30 school is out. Children file out of classrooms. Scatter. Only Aaron remains, alone to the elements - waiting. A ball bounces, rolls to his feet. Aaron looks... It's not a ball. It's a doll's head. Aaron's face - dread. + +EXT. BANK - DAY + +A portly man, oily, thick, bellows out negotiations via his HORN; Introducing TED, the police captain, BROCK (45) - aspires to be Warren Beatty, more like Ned Beatty. + + TED + (YAWNING) + Time's running out, fellas. + +He turns to his sidekick, CHAD (25), a fellow cop. Chad's on the phone deliberating an important call. + + TED (CONT'D) + (tapping his attention) + The pizza here, yet? + + CHAD + Negative. + (hands over the phone) + Tami. + + TED + Ooh, one sec. + (to the bank) + Time's... all Hell's gonna break loose, fellas. + (to phone) + My koochie, woochie, oochie ooo... + +A BLAST rings out from Central Fidelity. Glass shatters from the entrance. A body, the security guard, tumbles out and onto the sidewalk. Blood and brain exits in OOZES where the bullet had entered - he's probably dead./*24.*/ + +The cops, Ted., Chad. Rutger and Adams - they all REACT, guns raised. + +INT. BANK - DAY + +Tom huddles by the entrance, gun smoking. Cool and suave has succumbed to psychotic. The Jerrys are nearby, nervous. As are the hostages, clumped together in fright. + + TOM + (SNAPPED) + I'm not gonna say it again, Ted! + (re: hostages) + swiss cheese. All of them! + + TED (O.S.) + Time's running out, fellas! + +The hostages grimace, hell not so far away. + + TOM + I want that car, Ted! + +EXT. BANK - DAY + +Ted punches Chad on the shoulders. + + TED + Where's that car, Jesus! + + CHAD + It's out getting your pizza. + + TOM (O.S.) + . a car and I want it NOW! + +And on this cue, the sky answers with a thunderous surprise - a CAR comes CRASHING down before the bank entrance. It came from the clouds and it looks familiar - it's the getaway Chevy, bruised and punctured beyond recognition, its hubcaps still reeling from the impact. The sky answers again, this time with the tattered body of FRED, the getaway driver (alias, the arm.) Fred lands on the hood of the Chevy, sinking into its metal frame. SHOCK waves across faces of stone. The cops all look up. + + TED + (at the sky) + What the.../*25.*/ + +There :;n the sky, a taped figure works his magic of flight. He examines the ground below. And he dives. Hancock approaches earth and swings lateral. He circumvents the bank structure, flying around and around. Everybody ducks. Trash and paper batter about behind his draft. + +INT. BANK - DAY + +Tom and the Jerrys stand shackled in their spots. Their eyes wander about, lost in confusion. The WHIR outside subsides. Stops. A loaded beat. Tom, in mid-swallow, watches as a spectacular EXPLOSION of bricks sprays the air inside. A caped figure bursts into the scene amidst SCREAMS from clueless hostages. in the blink of an eye, Hancock has Jerry #2 by the collar. With a flick of the wrists, Jerry #2 is a human projectile en route to the windshield of a police vehicle outside. Jerry #1 opens FIRE on Hancock. Bullets careen off flesh of steel. + +EXT. BANK - DAY + +Jerry #1 rides air and glass out and across the street into another awaiting police windshield. + +INT. BANK - DAY + +Smoke and debris smother the air. And as they subside, all eyes fall on the caped figure that is Hancock, erect in the rubble. Mary can't believe her eyes. She surveys every inch of his frame, now clean-shaven, combed, comic book perfect. Hancock scans the crowd of stunned hostages - his eyes pick out the WOMEN - Veronica's wet smile takes him. A heartbeat. + + HANCOCK + (GOD) + Everybody out, please. + +Bodies bang about, all moving for the door./*26.*/ + +Mary follows the herd out but her eyes remain on the caped figure, until real estate ushers her into the street. + +EXT. BANK - DAY + +PARAMEDICS converge on the hostages . The cops are at a loss - deers staring down a pair headlights. They train their guns on the bank, waiting for answers. + +INT. BANK - DAY + +The bank floor in shambles. No one in sight. But movement jars us to the back, where the bank SAFE is. We SEE Hancock wade through rubble towards the open safe, a thick steel chamber of commerce. Hancock arrives at the safe. Confronts the object inside - Tom. + +INT. BANK SAFE - DAY + +There he is, in the corner, a sweaty piece of misery. Tom bears his revolver, aimed at Hancock. Hancock enters the safe. + + TOM + Stay away. + +Hancock does not respond. + + TOM (CONT'D) + (CONTINUING) + I'm not going back. + +Hancock turns, grabs the safe door. Slams it shut with a resounding THUD. They're locked in. + + TOM (CONT'D) + (HYSTERICAL) + What're you doing? + +Hancock does not respond. + + TOM (CONT'D) + What's going on, here? + +Hancock no response. Tom raises his gun, and meaning it. + + TOM (CONT'D) + Answer me! Say something! + (FIRES) + Fuck me!/*27.*/ + +BANG! Tom fires a. shot off Hancock's forehead. The BULLET ricochets about the steel interior, under great velocity. It rips Tom's right EAR from his head. + + HANCOCK + (catching the renegade slug) + Why'd you go and do that for? + +Tom retrieves his ear from the ground. Tries to put it back, clutching his head. He bleeds. + + TOM + Fuck... My shirt. + + HANCOCK + (steps forward) + Why don't we call it the day. + + TOM + (gun raised) + Don't. I told you... I'm not going back. + + HANCOCK + (IRRITATED) + If you're going to tease, cock the damn gun. Otherwise, spare me the wounded animal act of desperation. I don't got c, time for rhetoric and sympathy so. don't expect... dialogue and "come with me and you won't be hurt" bullshit. You walk out of here with me and your life is a violent storm. You will be hurt, you will be abused... whatever turns them on. Either way, your days are shit! Those are the realities, spelled out. + + TOM + What's eating you, man? + + HANCOCK + (UPSET) + You got half the precinct out there, armed, trained to blow the tail off a sperm from a hundred yards... you're standing in here, cornered, three bullets left in that squirter of yours, if you're lucky, and you got one ear. I don't need the aggravation. I don't need this. + + TOM + Man, you're jaded. I'm not asking for a rainbow.../*(MORE)*//*28.*/ + + TOM (CONT'D) + you don't got to shower me with respect. Just a little.. tenderness, is all. Have you no mercy, mister? + + HANCOCK + (he's had enough) + I'm all out. Let's go... + +And as he utters this, he approaches Tom. + + TOM + (HURT) + Fuck you. + +Close on his trigger finger. It tightens... + + HANCOCK + NO! + +INT. BANK - DAY + +On the bank floor, where a group of cops now huddle, we hear THREE SHOTS - from the safe. + +EXT. ALLEY - DAY + +The schoolyard - it looms in the background, as a reference to where we are. Aaron occupies this alley and we see what he sees - trash and fire-escapes and ominous gray skies. DARK FIGURES move into this sight - they eclipse the heavens. And there Aaron is, twisted in a contorted heap of arms and legs - his body eternally locked within the stranglehold of SPENGLER and ERLICK (both his age.) Aaron's face, another BLACK EYE makes it a set. Rage distorts his mouth out of symmetry. He stares at PERCEVAL, before him - the blonde kid from class. We HEAR water, a stream of liquid-something SPLASHING about, SPRAYING. Perceval - he's taking a leak on Aaron's exposed leg. + +EXT. BANK - DAY + +The aftermath. Hancock is swarmed under MEDIA LIGHTS, reporters squeezing through a wall of people, police, trying to get a piece of this superman./*29.*/ + +We follow Hancock's scope amidst the melee it spots luscious Veronica again, it spots WOMEN, all who'd die for a chance to suck on his cape. + +CUT TO: + +EXT. STREET - DAY + +Mary hastens after Aaron, urine-soaked and on the verge of tears. He rages down the street while his mother pursues. + + MARY + Tell me... what happened? + + AARON + (about to break) + You were late. + + MARY + I was held up... + + AARON + The asshole peed on me. I'm dog shit. + + MARY + \.at the bank. Honey, were they the same ones? Don't cry. + + AARON + Get a grip, mom. + +They arrive home, both storming through the entrance and up the stairs. + +EXT. APARTMENT - DAY + +The door SLAMS to signify arrival. School books go flying. Mother and son march down the hallway. They are greeted by Horus, sleep still on his face. + + HORUS + How was your day? + +Mother and son - if eyes could disembowel. + +CUT TO: + +EXT. BUILDING - DAY + +Just your average professional building, several stories of brick and cement./*30.*/ + +But all is not well with this typically normal picture. On the top floor, outside and on the ledge - a JUMPER stands poised before blood and concrete. His TIE flaps in the wind. From an adjacent window, a SECRETARY, a FIREMAN attempt to get him down. + + JUMPER' + (SELF-PITY) + People ignore me. + +From his vantage - a congregation of PEOPLE swarm below in his honor. A woman cradling a BABY watches from a building window across the street. + + FIREMAN + Mr. Fisher. + + SECRETARY + (through her teeth) + You're not unattractive. + + FIREMAN + Baldness is not fatal. + + JUMPER + My wife ignores me. + + FIREMAN + Your wife's a cunt, Mr. Fisher. + + SECRETARY + We like you, Mr. Fisher. The girls acknowledge you, we all do. + + JUMPER + No. + + SECRETARY + Yes. + + JUMPER + Really? + +The secretary SCREAMS. All attention shifts to the BUILDING across the street. The secretary points... + +EXT. OPPOSITE BUILDING - DAY + +There.../*31.*/ + +on the top floor, outside and on the ledge - the baby seen earlier, diaper-clad, crawls precariously on the rim of doom. His mother's FREAKING from the window. Below, the crowd makes its way across the street. They point and gasp at the infant's every movement - leaving the jumper by his lonesome. The baby teeters along the edge. It heads for a FLAG pole, dazzled by the red-white-and-blue. It reaches out at fabric. Almost. Not quite. The baby DROPS from the precipice. On the street, people CHOKE on their tongues as gravity pulls the infant down. But wait... Hancock swoops out of the thin blue, swift and silent. He cradles the baby from utter concrete. He deposits the youngster with.the ecstatic crowd - they, of mostly the FEMALE persuasion, all form around the savior. We SEE in the background and across the street, the Jumper nose- diving into the sidewalk - without much fanfare. + +CUT TO: + +EXT. STREET - DAY + +An apartment building engulfed in FLAMES. FIRE TRUCKS don't even bother with the hoses - it's too late. Around them, TENANTS bemoan the loss of... Like a wrecking ball, Hancock BURSTS through the burning rubble and surfaces clean on the other side of the building. Blanketed under his cape are two little TODDLERS, and a young WOMAN in bra and panties. He lowers them to safety. + +CUT TO: + +INT. APARTMENT - NIGHT + +We're in the hallway. Where Horus kneels. He's bent listening into Aaron's bedroom, in his security clothes. By the TV and in her apron, Mary watches the news... + + NEWS + . paramedics have taken the rescued tenants to County General for smoke inhalation but no serious injuries reported thanks to the superheroics of this mystery man.../*32.*/ + +We see FOOTAGE of the dramatic fire rescue: Hancock recovering tenants from the pyre - plebs and dwellers cheer in exaggerated astonishment. + + HORUS + (to Mary) + Mary? + +Mary blinks back her attention. + + HORUS (CONT'D) + (CONTINUING) + Why is he mad at me? + + MARY + He's looking for answers. He's Upset. + + HORUS + (tapping the door) + Let me see your eye... + (to Mary) + I told him about the other cheek. Avoid confrontations... to turn the other cheek. + + MARY + \.He did. He turned the other cheek and they punched it. + + HORUS + (PLEADING) + Aaron. + + MARY + You're late. I'll try again later. + +Horus finds his hat on the table. His eyes fall on Mary, her back to him. She's glued to the set. + + HORUS ' + How... what about you? + + MARY + (ALOOF) + What? + +Horus turns his focus to the TV - more Hancock FOOTAGE. He watches Mary. + + HORUS + Mary?/*33.*/ + + MARY + Yes. + + HORUS + I... had no idea. + + MARY + (on the TV) + What could you do? + +Horus - hat in hand, goes to the door. He wants to stay. + + HORUS + (opens door) + Good thing he was there. I don't know what I'd do... if you... + +Mary does not hear him... until the door SHUTS behind her. She turns to face an empty room. + + MARY + Coffee's by the... door. + (GUILTY) + Horus? + +INT. BROWNSTONE - NIGHT + +A room, a place we don't know. It's dark save the street light outside. A rhythmic POUNDING reverberates through this darkness. More intense it becomes. And then a high-pitch GASP. Two individuals, man and woman, stumble into view - their silhouettes obscure the window. They're locked at the hips, pumping away like high-revving pistons. For a second, light dances off the woman's aroused face: it's Veronica. + + VERONICA + (a her voice trembles) + Oh god. + +The man surfaces from her cleavage for air, his face wet with sweat and saliva. He brushes his cape away from his arm. Veronica uncoils yet another orgasm, her back arched, her breasts beckoning at ceiling. Quite abruptly, he lets her go. Rights his pants. Unlatches the window. She paws after him./*34.*/ + + VERONICA (CONT'D) + What'd I do? + + HANCOCK + (DEJECTED) + 'Nothing. I'm sorry. + +And with that, he floats out into the night. + + VERONICA + (dazed; after him) + Hancock. + +EXT. STREET - NIGHT + +Horus. His walk. Unaware of everything but the storm inside his head. He crosses an alley. A band of THUGS, neighborhood kids of malcontent, surprises him. And. versa. They recoil at his uniform, his gun. They quickly realize that he's rent-a-security. The leader speaks first - he's SCARPO (25), as tough as a steel- belted radial. The others regroup their DRUGS. + + SCARPO + Nutri-cop. + +Horus keeps walking. + + SCARPO (CONT'D) + (CONTINUING) + Look like the Man. Walk like the Man. Shit, ain't half the Man. + + OTHERS + Ain't half the Man. + +Horus simply walks away. + +CUT TO: + +EXT. ALLEY - NIGHT + +A streetlight HUMS. Blinks - revealing a deserted alley in' sporadic intervals. Garbage, etc. A slight drizzle shimmers pass the streetlight. Pelts a soulful Hancock below - he moves through the gray dreariness in solitude./*35.*/ + +He reaches behind his e. withdraws a box of cigarettes. Taps himself a stick. + + VOICE (O.S.) + How about spreading some of that joy? + +Hancock turns and faces a young HOODLUM, scraggly in his own slimy kind of way. In a huff, he shoves Hancock up against the building. Presses a gun to Hancock's temple. + + HOODLUM + (PSYCHOTIC) + Better yet, why don't I just take it... + +Hancock - enraged. In a caffeinated blink, he has the Hoodlum by the throat via one arm, the gun with the other. + + HANCOCK + (SUPER-PSYCHOTIC) + What are you thinking? + +The Hoodlum notices that he's dangling a foot off the ground - one of his SNEAKERS remains in its spot from the swift jolt. The other sneaker teeters on his one foot... and falls to the pavement. + + HOODLUM + (fuck me) + Shit... + + HANCOCK + What are you thinking?! + +Hancock wrests the gun from his hand. Places it into his own mouth. FIRES two slugs inside. The Hoodlum FREAKS. + + HANCOCK (CONT'D ) + Huh?! + +Takes the smoking gun out of his mouth. Shoves it up the- Hoodlum's nose. + + HANCOCK (CONT'D) + Want to see brain? Huh?! + +Sticks the gun back into his mouth. FIRES another shot inside. Takes it out and this time - jams it into the Hoodlums mouth. The Hoodlum proceeds to urinate in his pants./*36.*/ + + HOODLUM + (with his mouth full) + Please, mister. I got a baby coming.., a wife. I got student loans... + +Hancock - intense. Is this getting through? + + HOODLUM (CONT'D) + (CONTINUING) + please. Have a heart, mister. + +Hancock - the fire inside subsides. Cools to a rational state. He lowers the. Hoodlum. He spits the three SLUGS into his hand. Deposits them in the Hoodlum's breast pocket. Walks away. + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +In the closing hours of business, employees pell-mell about in preparation for departure. A group of LADIES form around a display T.V., taking in with frothy wetness every inch of Hancock's footage. They gasp amongst themselves. Horus enters the picture, jacket and thermos. He notices the TV - it's like he can't escape the good news. + +INT. APARTMENT - NIGHT + +The TV set. More news on the day's activities. Mary sits mesmerized on the sofa, holding a dish she had planned to dry. Aaron surfaces from the hallway, lured out by the TV He comes up behind Mary - his black eyes on the news. + + MARY + (SURPRISED) + You're still up. + + AARON + Can't sleep. + +He rolls over the sofa, next to his mother. They watch VIDEO clips of the foiled bank heist: the crashing Chevy, the aerial maneuvers, the sheer invincibility of this man./*37.*/ + + AARON (CONT'D) + (IMPRESSED) + That's him? + + MARY + There's something about him... I don't know. + +A female REPORTER concludes the footage... + + REPORTER + (FAINTLY) + And so we ask... who is this man? Speculation abounds - government super- experiment, an aberration of nature, or extraterrestrial renegade? Who are you? Where are you now, superguy? Call me. + (SMILES) + We'll get together. Have a drink. + +INT. BAR - NIGHT + +HADES - a smoky bar in the armpit of town. NEON beer signs. POOL tables. CIGARETTE machines. This is home to mean people, tough guys - children of a fucked-up god. We cut through the nicotine air to find the bar. A figure hunches on the far end, smoking. Popping vodka like mountain water in Dixie cups. It's Hancock and his trenchcoat. The long day wears heavy on his face - those perpetually red eyes, the horror they've seen. + + HANCOCK + (MUTTERING) + What he's got to do... a man's got to do it. + +EXT. BAR - NIGHT + +Hancock stumbles out, incognito, frazzled under his guise. Up above, the sky - so dark under the storm clouds. We HEAR commotion in the side alley. And so does Hancock. He peers into the alley. There, by a lighted PHONE BOOTH, a WHORE is fending off a horny JOHN. Hancock simply watches she drives her knee between his legs. He drops. SQUEALS like a little girl. The John finds a two-by-four in the dirt. He reaches for it.../*38.*/ + +A COUGH stops him - it's Hancock and he discourages further violence. Up and out of the alley, the John flees - tail, between his legs. A long stare ensues - Hancock and the Whore, looking into each other's eyes for answers. The Whore approaches him. Touches his face - studies it. Moves it into the light. + + WHORE + (the sage) + You've been to Hell, it looks. And you're tired... + (BEAT) + and in need. + +Hancock - his eyes agree. The Whore lifts her skirt, reaching into her panties. She takes out a MATCHBOOK. Hands it to him. + + WHORE (CONT'D) + My business card. + (to the phone booth) + My office. + +Hancock inspects the matchbook - 555-GINA, etched inside. + + HANCOCK + (GEENA) + Gina. + + WHORE + (correcting; vaGINA) + Gina. + +CUT TO: + +INT. BEDROOM - NIGHT + +Aaron's room, his nightlight the only source of light. Mary sits on the bed, by her son. + + AARON + Don't. + + MARY + Just a quick one./*39.*/ + + AARON + Don't 3±119. + + MARY + I want to. + + AARON + Mom. + +EXT. SKY - NIGHT + +From the black night - a dark figure plummets, caroms off the side of a building, strikes the metal fire-escapes, crashing into the trash cans below. Hancock stumbles from the wreckage, the garbage. Falls. He leans against the building, glazed over with drunkenness. He turns to the only source of light that of a building across the street: KILLYBEGS TEXTILES, looming above the rest. Boarded- up windows indicate abandonment - an urban relic. He stares at the building - perhaps sparing more attention than we think it deserves. + +INT. BEDROOM - NIGHT + +Mary swallows. Starts in on the tune. + + MARY + ~"Once there was a way, to get back homeward. Once there was a way, to get back home." + + AARON + Oh, mom. + + MARY + Shut up. + +EXT. ALLEY - NIGHT + +There, on his ass, his head a raging inferno - Hancock listens, as if he can hear. + +INT. BEDROOM - NIGHT + +Aaron, succumbing to his mother's song - his lids flutter. + + MARY + ~"Sleep pretty darling, do not cry. And I will sing a lullaby..."/*40.*/ + +Mary as her voice carries... + +EXT. ALLEY - NIGHT + +Something overcomes this fevered superman. He begins to unravel. A calm consumes him. Tames him. It could be Mary's voice - maybe he can hear it, and then maybe not. + + MARY (V.O.) + ~"Golden slumber fills your eyes. Smiles awake you when you rise." + +Hancock wavers on consciousness - quite unlike him. + + MARY (V.O.) (CONT'D) + (CONTINUING) + ~"Sleep pretty darling, do not cry. And I will sing a lullaby..." + +And like that, a seamless fade into peace - he sleeps. + +CUT TO: + +EXT. STREET - DAY + +Erratic traces of an urban landscape JAG about. Aaron's distorted view of his neighborhood comes sharp and in flashes as he is pursued by his tormentors. Spengler. Erlick. Perceval. They chase him from behind, HOOTING, taunting poor Aaron - they're out for blood. Aaron cuts into an alley, lungs pumping... + +EXT. ALLEY - DAY + +.. but a brick wall stares him down, providing no exit. He swallows hard. FOOTSTEPS approach, just seconds away. Close on Aaron, as blood drains from his face. His eyes dash for a garbage CAN - but is there time? Spengler. Erlick. Perceval. They can smell their prey. + + ERLICK + He's not going anywhere. + + SPENGLER + 'Less he can walk through wall./*41.*/ + + ERLICK + Fuck... squeeze through brick. + + PERCEVAL + (just arriving) + Let's rock it up. + +They turn the corner, attack mode. Aaron, nowhere in sight. Just the brick wall and a trash can. They converge, baffled. Erlick inspects the solid wall. Spengler scratches his head. But'Perceval's no fool. He spots the trash can. He motions the fellas over. They circle the can. A beat. They ATTACK... an empty can. No one inside. Nothing. That's because above them, no strings and no cables, Aaron hovers - under Hancock's capable arm. In mid-air, they hang for a second. Then, Hancock takes them away. + +EXT. SCHOOLYARD - DAY + +Mary stands at the designated pick-up spot, pacing like her bladder's going to break. + + MARY + (checking watch) + No... no... no! + +EXT. ROOFTOP - DAY + +A secluded view of the city, high above. Hancock, Aaron under his arms, rides a light breeze - and then lands. Aaron scampers away. Turns and faces the man. Hancock examines the boy's face, the black eyes. He shakes his head. Disappointed. He reaches for his belt. Pulls out a cigarette. Lights it. + + HANCOCK + You smoke? + + AARON + What?/*42.*/ + + HANCOCK + Of course you don't. Nothing but a kid. + (beat; takes a puff) + Smoke no evil. + +Hancock moves over to Aaron, now backed in a corner. + + HANCOCK (CONT'D) + (re: cigarette) + Ever curious... .what it's like? + +Aaron shakes his head. + + HANCOCK (CONT'D) + (hands it to.him) + Go on... give it a try. One time. Won't kill you. Once. + +Aaron under pressure, acquiesces. He takes the stick. Sucks on it. Doubles over, coughing. + + HANCOCK (CONT'D) + Good, huh? Tastes like compost... your first stick. Then, after a few more... it starts getting this. flavor. A little nicotine buzz. A while passes and all of a sudden, it's as sweet as candy. Only now, it takes a whole pack to get there.., and you won't settle till your, mouth's as sweet. + +Hancock takes another cool drag - Mr. Wisdom waxing philosophical. + + HANCOCK (CONT'D) + (CONTINUING) + From manure to pure cane sugar. That's change. Today... you're a boy. Tomorrow, Mr. Penis comes knocking. Shakes your hand. Takes you for a walk... and tells you about life's simple pleasures. You're a man. And you don't look back.. + (BEAT) + You see... things evolve. Nothing is wholly inert. A step in any direction... you're walking into pockets of evolution. That is living... taking those steps. And change. Can start by changing some principles. + +Blank best describes Aaron's face./*43.*/ + + AARON + Principles? + + HANCOCK + Principles. Here's one; very simple. Just about all you need to know: a man's got to do what a man's got to do. + (beat; smokes) + I look at your face, the shiners. You took a shove and you let it go clean. Not good. That's a formula for future abuse... an invitation to the loser's dance. Letting it go. Walking away. + (shakes head) + Bad policy. Won't be long 'fore you're running, looking for a place to hide. + + AARON + What am I suppose to do? + + HANCOCK + You do what is necessary. + + AARON + I wanted... there were three of them. + + HANCOCK + What is necessary. + (HEAT) + Let me tell you something, kid. There was this infantry unit, you see... badly outnumbered. + (thinks about it) + Wait, let me put it in kid terms. So you relate, OK? There's a fox, you relate? A fox and he's walking through what, the woods, the forests, right? Next thing the fox knows, he's staring down a pack of... hounds. Bloodhounds. And there's this chase, the fox's running his ass off, over boulders and through streams and, but the damn hounds are still on his tail. Finally the fox comes to this cliff, a precipice... and it's what, a seven hundred foot drop onto jagged rocks. He's in trouble 'cause the hounds are closing in and they're going to tear him to pieces. So what does he think... "I jump and I die for sure. I stay, confront them and I'll get my ass butchered." Decision time. He thinks, "stay and least I'd have something, a chance./*(MORE)*//*44.*/ + + HANCOCK (CONT'D) + To slip away, maybe." The fox decides to go down fighting, make a stand. Right? + (BEAT) + The hounds come. What do you think happens? + + AARON + (thinking about it) + He gets away. + +Hancock inhales what's left of his cigarette. Blows smoke. + + HANCOCK + No. The fox gets his ass kicked and some... I mean ripped apart by the dogs, like cheap fabric. + + AARON + What're you saying? + + HANCOCK + But you know, when the last hound was through with him,-and he's walking away, he hears this noise. It's the fox and he's muttering something under his breath... words. The dog goes over. Gets up close. To hear what he's saying. You know what the fox's saying... just before he keels off? + +Aaron - negative. + + HANCOCK (CONT'D) + (CONTINUING) + Now he's gurgling, choking on his own blood, right? A massacre. The fox's lying next to his entrails, you know... and you know what he says? + (raises his fist in the air) + "No regrets." + + AARON + What? + + HANCOCK + No regrets. You make a decision and you stick to it. Like a man's got to do. And "no regrets." + +Aaron - submitting it to memory. + + AARON + Why're you telling me all this?/*45.*/ + + HANCOCK + (a beat to think) + Look at it this way... I got to do what I got to do. + +CUT TO: + +EXT. STREET - DAY + +Through the street darts Mary, eyes berserk in search for her son. She looks at her watch. And up... up ahead, by steps apartment - Aaron, levitating in air. Hancock explains this defiance of gravity. He gently lowers Aaron on the sidewalk, before his mother. She beckons him. Like a shield, she envelops him with her arms. She stares up at Hancock - her eyes, stricken with fear. Or possibly, they were awestruck. + +CUT TO: + +INT. BEDROOM - NIGHT + +Horus, in his bed - smothered in slumber. He begins to stir, wrestling some unseen dream. He wakes, in defeat. + +INT. LIVING ROOM - DAY + +Close on a TV set, featuring a COMMERCIAL - in mid-hype. A portly man states his purpose. His name tag reads - DR. HOLE. + + DR. HOLE + at the Hole Institute, our experienced staff and cutting-edge technology means you need not spend another day in discomfort from hemorrhoidal flare-ups. Also, for anal fissures, warts, and secondary yeast infections, the institute is your complete rectal service clinic. + (BEAT) + And remember, I'm not just the Hole Institute spokesperson. I'm also a client. + +As Dr. Hole proceeds to exhibit an enlarged PHOTOGRAPH of his hemorrhoidal tissues, the TV channel changes. A NEWS program, in progress./*46.*/ + +On the living room sofa squats. Hancock, remote in hand. + + REPORTER (O.S.) + . more.on the neighborhood robberies in our next hour. + (BEAT) + World news, today. Hundreds are believed dead when an explosion ripped through a crowded market place in... + +Hancock staring into footages of bedlam, bloodshed. From the TV set, maternal CRIES spew forth grief and anguish. Hancock grabs the remote. Fumbles around for the power button. He pumps the volume instead - the WAILS intensify his state of panic, pain. CLICK. Mary - by the tube, switches off the mayhem. She studies his reaction, now marked with relief. + + MARY + (SAVIOR) + Are you OK? + + HANCOCK + I'm sorry. + + MARY + (NERVOUS) + I came in to... hope you like chicken. + +Hancock nods, watching Mary as she retreats into the kitchen. He continues to stare - at Mrs. Longfellow, in frenetics, prepping for dinner. She catches him looking... looking surreal, this superman, there on her sofa. A calm, while they stare. And then... + + AARON (O.S.) + Table's done. + +Mary turns to Aaron, offscreen. + + MARY + Glasses. + + AARON (O.S.) + Geez. + +Horus enters from the hallway, disheveled from sleep. He does not see the superman on his sofa. He continues into the kitchen./*47.*/ + +Mary stares at him. Aaron appears, also staring at him. Horus does a "what?" with his shoulders. Mother and son gesture behind him. He turns and beholds: Hancock,' rising in full garb, arm extended. All eyes on Horus - befuddled. + + MARY + You know Hancock? + + AARON + He comes for dinner. + +Close on Hancock. Close on Horus. + + HANCOCK + Man of the house? + +INT. KITCHEN - NIGHT + +Dinner is served. All the key players, present. Horus sits facing his son - dethroned by the distinguished visitor. Mary serves. + + MARY + (to Hancock) + Which piece would you like? + + HANCOCK + Breasts, please. + +Horus, watching everything - Mary and her every blush. + + AARON + You want milk? + + HANCOCK + No. It gives me gas. Thank you. + +A beat - as everyone visualizes a superFART. + + AARON + It makes mom fart, too. + +Mary CHOKES on her food. Drops her fork. She maneuvers, in the allotted space, for the utensil - and finding difficulty. Hancock grabs the table, one arm. Lifts it off the carpet and above everyone's head. Mary, startled, impressed, all of the above. She picks up the fork./*48.*/ + +Horus - a chicken leg dangling from his lips, in mid-chew,. looking impotent. + + AARON (CONT'D) + Good arm. + +INT. KITCHEN - NIGHT + +Later. + + HANCOCK + not about the labor... or the love of it. + (beat; we've heard this before) + \.It's about responsibility... with what is empowered in you. The gift of might. Might to.do what? Exploitation, because you can? Or a different path. To purvey justice. To correct the ills of man... because I can. + +Faces of profound confusion - Mary and Aaron. But they are charmed, his words secondary to his charisma. Horus, the quiet observer, observes. + + HANCOCK (CONT'D) + (CONTINUING) + so, a job? Yes. And no. It's about... essence. The essence of the man... not his clothes. It's the job. Take away the arm,. the leg..., his bodily possessions but not his trade, his profession. That case, you strip him of what he is... a man. + +Horus a firm grasp of the concept. + + HANCOCK (CONT'D) + What line of work are you in, Mr. Longfellow? + + HORUS + (clearing throat) + Oh, it's not like you... what you do or anything. A department store over on Third. + + MARY + Horus is in the securities business. + + HORUS + I'm a security guard. I'm just.../*49.*/ + +Aaron rises from the table. Goes over to the fridge. + + MARY + It's a large department store, over a couple million in merchandise... stereos, jewelry. On three floors. + + HORUS + It's a night job. I sit around. + + HANCOCK + You're a security guard. You keep the state of things. It's a job. You do it. + (PAUSE) + We're in the same business. + +Aaron returns with the ketchup bottle. A frozen moment while Horus ponders the implications. He stares at the BOTTLE. + + HANCOCK (CONT'D) + Aaron, could you show me the restroom? + +Aaron points first door in the hall. + + AARON + On the right. + +He leaves to find bladder relief - leaving Horus to his family. + + AARON (CONT'D) + What do you think, mom? + + MARY + (in a whisper) + Horus, what do I do? + + HORUS + (at his watch) + I need to get ready. + + AARON + mom? + + MARY + (to Horus) + What do I do with him... when you're gone? I have to entertain this super... + +She doesn't finish her... A NOISE interrupts her - seizes the participants./*50.*/ + +It comes from the bathroom - the sound of PISS, urine versus the surface tension.of water. LOUD. WET. A turgid firehose at full blast. The force of urination grips the room - as powerful as the penile mechanism from which it is generated. The toilet FLUSHES. Hancock returns to a'room of astonished faces - mouths agape. + +INT. KITCHEN - NIGHT + +Later,. by a few minutes. + + HANCOCK + (lost; sombre) + and you could see the flames, through the storm... I get there, the vessel's all over, spread across three miles of South Pacific. Bodies floating in the water, shoes, kids who'd thought it some routine reconnaissance joyride. Turns out, the only one alive was the captain, up against a buoy... crying 'cause he didn't go down with his men... and he's got to live with it. + (BEAT) + Sprayed his brain all over the dashboard in a parking lot a couple months after. A good man... + (at Aaron) + . did what he had to do. + +A brief moment while the graphics sink in. No one talks. Aaron's smitten. Mary, a mixture of repulsion and fascination. + +INT. APARTMENT - NIGHT + +In the kitchen, in the sink, stacks of plates indicate that dinner is through. Company has moved into the living room, with the exception of Horus. Aaron kneels besides Hancock. Mary, across from him. + + AARON + (making a fist) + I wanted to kill him. + + MARY + Aaron./*51.*/ + + AARON + I want to deck him, just once. So bad I tense up... like I can't even move. + + MARY + (to Hancock) + He comes home crying. + + AARON + Did not. Not crying. It was pissed-off. + + HANCOCK + (REACTS) + No... there's no shame in it. The crying. It's relief... + (to Mary) + we're older and we don't remember when... we go, "God, when was the last time?" Maybe it's me. It's more an effort, now. Takes more pain... more blood. Like it's, do you have the time anymore? Even to look back and recall a moving experience. To be moved. + (AARON) + By rage. Hurt. + (MARY) + By love. + (BEAT) + But if you have to remember the last time something touched you... you've missed it - you've forgotten how to cry. + +Horus enters the room, Mr. Security Guard. He observes this magic Hancock works over his wife and kid - a talent whose nature he has yet to comprehend. Horus opts to not disturb their trance. He makes for the door. Hancock - holds him accountable. + + HANCOCK (CONT'D) + (AWARE) + Mr. Longfellow. I'll be leaving, too. + + HORUS + Oh, I... you don't have to leave. I don't want to interfere. I have work. + + MARY + (the original sin) + Oh, I forgot to make coffee. + +She rushes into the kitchen. Horus stops her./*52.*/ + + HORUS + It's all right, Mary. I'm late. + + MARY + No, I'll make it right now. + + HORUS + I don't have time. I'll grab some on the way. Thanks. + +Mary accepts it - not entirely guilt-free. + + HORUS (CONT'D) + (CONTINUING) + I don't want to interrupt. Please don't let me stop you. + + HANCOCK + No, I need to go. + (at' Mary and only Mary) + The last time I had a meal... an evening like this, I was... it was too long ago. I appreciate your kindness. + + MARY + (AWKWARD) + Please... you're welcome, here. Anytime. + +Horus watches everything - watching her chest heave under Hancock's every word, watching his wife slip away. + + HANCOCK + Aaron. Tomorrow. After the bell. I'll drop by after school. See how you're doing. + + AARON + (SMILES) + Yeah. + +Horus watches this - his son slipping away. The two men leave, Hancock ushering Horus out first. Mary closes the door behind them. Leans against the door and EXHALES - a sign of relief, of despair, or, of a heart raging wild. We just .don't know./*53.*/ + +EXT. APARTMENT - NIGHT + +The two men appear from the entrance, shoulder to shoulder - sort of. They enter the street. + + HORUS + (POINTING) + I'm this way. + +Hancock points the opposite way. + + HANCOCK + Need a lift? + + HORUS + It's a short walk. + +Acknowledged. An awkward beat while they stare at each other... . until finally, they go their separate ways - Horus via walk and Hancock, with effortless grace,, via flight. From the sidewalk and awe-stricken - Horus watches Hancock merge into the blackness. A look of dread squats on his face. + +CUT TO: + +INT. DONUT SHOP - NIGHT + +The white fluorescent of the neighborhood donut shop. Donuts. Coffee. Yellow formica. Etc.. A frazzled Korean woman, SOON-YI (60) watches over HOLLY (19), the trainee behind the cash register. Officer Rutger and Adams sip Joe in the corner booth. + + ADAMS + (MID-CONFESSION) + bleeding heart dyke, I know not what. Fuck martyrdom. Bottom line, Sheila won't put out... + + RUTGER + No. + + ADAMS + . won't blow me... + + RUTGER + Shit stinks./*54.*/ + + ADAMS + says I'm keeping poontang on the side. + + RUTGER + D'fuck she know? Shit smears, man. + + ADAMS + Games. I don't need it. + + RUTGER + Fuck games, fuck dames. + + ADAMS + I got a'wife, I don't need the aggravation... + + RUTGER + Take a donut hole. + +The entrance. Horus wanders in, lost in this environment. He finds the front counter. The cops watch him. + + HORUS + A cup of coffee, please. + +Holly takes the order. Leaves to fetch it. + + ADAMS (O.S.) + Longfellow. + + HORUS + (turns; with dread) + How are you, John? + (RUTGER) + Frank? + + ADAMS + (god, I'm funny) + Observe anything worth recording, lately? + + HORUS + You know... things are slow. + + RUTGER + Not for Samsone Electronics on fifth. Got hit on Thursday. + + ADAMS + The guard, he was cut-up like a piece of meat./*55.*/ + + RUTGER + Anything go wrong, you make sure you notify us, the authorities. No heroics without a license. You know the procedure. + +Horus - he knows the procedure. + + ADAMS + Of course he does. + + RUTGER + Of course. + +Holly returns with the coffee. Hands it to Horus - free of charge. From the back, Soon-yi intervenes... + + SOON-YI + He no have gun. Not copper. + + HOLLY + Oh, I thought... + + SOON-YI + He regular guy. Sixty-five cents for regular.guy. + +Horus - somebody shoot him. + +INT. AARON'S BEDROOM - NIGHT + +Mary's folding clothes by the dresser, busy with thought. Aaron squats on the bed, his brain going a mile a minute. He plops back against the bed. Brings his hand up to his face. Makes a fist. Thinking. Wondering. + + MARY + What're you doing? + +She's taken by this scene. + + AARON + (releases fist) + Thinking. + +Mary goes over to the bed. Sits. + + MARY + About him? + + AARON + No. Not really. Are you?/*56.*/ + + MARY + No. + +They're lying through their collective teeth. + + AARON + Me neither. I was thinking.., about tomorrow. + + MARY + Go to sleep. You know what dad says. Tomorrow always feels better... + + AARON + I know, mom... after a good night sleep. He says that but he's the one working every night. Does that mean he never feels better? He's always feeling terrible? + + MARY + (AMUSED) + Go to bed, anyway. + +She tucks him-in.. Turns off the lamp. And as she's out the door... + + AARON + Mom? + +She turns. + + AARON (CONT'D) + (CONTINUING) + Who is Mr. Penis? + +CUT TO: + +EXT. SHEEPSHEAD - NIGHT + +Time lapses into the late hours. This town experiences a serene moment - a peacefulness which says that this as night as a night will be. + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +Looking down aisles of merchandise - not a trace of life and not unlike a cemetery. All is dead, with the exception of FOOTSTEPS - shoes pacing linoleum. It's Horus, on duty. His flashlight leads the way.../*57.*/ + +Outside, the SIRENS of police vehicles charge by - real men en route to real work. Horus watches them from the window - like a kid who can't come out to play. He turns to look across the floor - Roheim, against a chair, watching the NEWS on a big-screen TV + + NEWS + (re: Hancock) + \.the trains seemed imminently bound for a catastrophic collision when this... this superguy... + + ROHEIM + (IMPRESSED) + Man. I bet he gets laid. + +Horus - he looks terrible. + +EXT. ROOFTOP - NIGHT + +It's dark out here in the night. On the roof. Overlooking the community, the Longfellow's apartment building... and Mary's bedroom. From here, we can SEE her - entering from the hallway. She disrobes down to bare back... And from this darkness, the RED tip of a burning cigarette GLOWS into view. Hancock watches from here, the cigarette BLAZES back towards his face intense. + +CUT TO: + +EXT. SOMEWHERE - NIGHT - DREAM SEQUENCE + +A foreign TERRAIN of trees, of lakes so clear and blue. They pass below us as we soar through air and mist... the mist clears, thrusting us into the dense foliage of a JUNGLE. We penetrate the silence the silence, it fades into SONG - the silk, mellifluous voice of a woman (not unlike Mary's). Her siren call beckons us... takes us deeper into unknown greenery... but the sound of crackling GUNSHOTS punctuate the end to song. SCREAMS and CRIES rise from the smoke, women and children in hysterics.../*58.*/ + +we quicken to a frantic pace, slicing through the growth. Rocket and mortar shells EXPLODE in our path, splitting trees and earth... . we remain undaunted... but the WAILS of suffering continues... until we get there, there in a clearing as smoke and debris settle... and we see the remains of a lake, a,lake full of BLOOD... of mangled BODIES floating like flotsam... WOMEN and CHILDREN... DEAD... . we SCREAM! + +INT. RED EYE MOTEL - NIGHT + +Hancock bolts from his bed - horrified, eyes cracked with red veins. He is soaked. The orgasmic SCREAMS of a prostitute seeps through from the adjacent motel room -.the wall behind Hancock's bed trembles to the rhythm of each pelvic thrust... He clasps.-his ears - tormented. + +CUT TO: + +INT. WATANABE'S SHOPPING EMPORIUM -DAY + +Roheim in his usual state of sleep. His lips mutter dialogue from an unseen dream. + + ROHEIM + Olga... + +He snaps out of it... + + ROHEIM (CONT'D) + (CONTINUING) + \.bitch. + +Consciousness slowly sinks in. He checks his watch, then the area around him. He spots Horus - slumped in a chair, in a thinking posture. Horus seems lost in his own blank stare. + + HORUS + (without looking) + Another dream?' + + ROHEIM + I was talking again, huh?/*59.*/ + +No response. + +EXT. WATANABE'S SHOPPING EMPORIUM - DAY + +A deserted street at this early hour. On the curb and by themselves - Horus and Roheim, ruminating. + + ROHEIM + . that look on her face, you know the look, when she's almost there... makes you feel like a man. + (BEAT) + Then everything gets blurry and all of a sudden, it's not my arm that's around her and it's not my hand that's touching her and it's not even me, my body. Some guy, this good-looking guy... he looks like the Marlboro Man, only shirtless. And so... the Marlboro Man's running his fingers through her hair. And he's... banging her... and her knees... by her ears, you know? + (beat; cringing) + And that look on her face. That look. + + HORUS + Roheim. + + ROHEIM + (CONTINUING) + Bitch. + + HORUS + Come on. + + ROHEIM + (gets up) + Walk with me. + +CUT TO: + +EXT. APARTMENT - DAY + +The Longfellow's apartment.- seem from above. Clyde exits the building in his morning robe., Takes hold of the newspaper. Digs through it... Mary and Aaron - they exit, surprising Clyde. Mary gestures at Clyde, pointing an accusing finger. She seizes the paper from him, sending him cowering inside./*61.*/ + +EXT. SCHOOLYARD DAY + +Mary and Aaron - by the perimeter fence. + + MARY + Have a good one. + + AARON + I got to do what I got to do. + +She watches him go -curious. + +EXT. SKY - DAY + +The sky's POV - the schoolyard. Aaron - sauntering to class. Mary - turning, walking away. We soar through air and mist. Circle a street below. Hover over an alley. Descend from the clouds - into the depths of buildings and fire escapes. + +EXT. STREET - DAY + +Mary, among other pedestrians, head homeward. Her pace say she's in no hurry to get there. Out of an alley and into the street - Hancock, trenchcoated, inconspicuous, and in pursuit. J + +EXT. LIQUOR STORE - DAY + +Horus waits outside - hands in his pockets. He paces uncomfortably. Roheim exits the liquor store, already imbibing from a brown paper BAG. Not a word from Horus. + + ROHEIM + (POST-GULP) + This stuff's going to kill me. + +He gives Horus a glance. Takes another swig. + + ROHEIM (CONT'D) + (CONTINUING) + You disapprove, I know. + + HORUS + No. + +J/*62.*/ + + ROHEIM + Sure you do. You disapprove and yet you allow me to drink... to poison myself. Your friend. Without a word of caution. Not a word. Just take it... you take everything. + + HORUS + No. + + ROHEIM + You're afraid to offend. You don't want to be abrasive. Provocative. + (beat; as'Horus squirms) + So you suppress. Do nothing. Take it. + +Roheim takes another gulp. + + HORUS + (pulling teeth) + You shouldn't drink. + + ROHEIM + My wife. She left a bad taste in my mouth. I drink to kill-the taste. + +Horus has no response to this. + + ROHEIM (CONT'D) + (SMILES) + You're a good man, Horus... + (BEAT) + And you're right. This stuff's no good. It's a coward's way out and I know it. + +He gives the bottle a guilty stare. Tosses the bottle into a nearby garbage can. + + ROHEIM (CONT'D) + (sick of himself) + What the hell. I can learn to love beverage. + +EXT. STREET - DAY + +Mary. Walking. Hancock. Following. From across the street. Mesmerized and in a world to himself. He crosses. the street, failing to look both ways... BAH! A UPS truck STRIKES the clueless superhero, sending him across air - towards Mary./*63.*/ + +200 lbs. of superflesh EXPLODES into a JEWELRY display window - just ahead of Mary's path. Glass showers the scene. People SCREAM. Hancock warbles out from the debris - his trenchcoat reduced to mere tatters. He pulls a severed SLEEVE from the rubble. Looks at Mary, reposed before him. + + HANCOCK + (nothing happened) + How are you? + +In unison, they turn to the UPS vehicle - a .mangled heap of steel, STEAM billowing from its ruptured radiator. Hancock shrugs a smiles. + +EXT. STREET - DAY + +Mr. Longfellow rounds the corner and ambles home. He is tired and his face shows it. There to make it worse - Clyde. He's back, getting at the sports page on the front steps. A sudden burst of outrage consumes Horus. He approaches the steps with fire and... + + HORUS + (burning...) + Clyde. Can I talk to you for just a brief moment? + + CLYDE + (YAWNING) + Not now, Longfella. I'm all blocked up. + +Clyde heads inside - with the sports page.. He FARTS as he goes in. + + HORUS + (EXTINGUISHED) + Sure. + +EXT. STREET - DAY + +Along a street somewhere who cares - Hancock and Mary - in a cool stroll. Mary holds his trenchcoat, surveying the damage. + + MARY + What were you doing in the street? + (the trenchcoat) + You ripped it pretty good./*64.*/ + +Hancock - he's lost. + + MARY (CONT'D) + (CONTINUING) + What're you:.. how old's this thing? + + HANCOCK + didn't see it coming... left myself open. + + MARY + It'll be all right. + + HANCOCK + All right? + + MARY + It's just the seams. I can sew it back. + + HANCOCK + What? + + MARY + (the trenchcoat) + This. It's just the seams.'I'll take good care of it. + + HANCOCK + You'll sew -it? + + MARY + Yes. Me. I can. And I'll re-button it for you, all right? + +Hancock acknowledges with a smile - a slight one. + + MARY (CONT'D) + (CONTINUING) + Are you okay? + +No reply. He stares at her - simply. + +CUT TO: + +EXT. STREET - DAY. + +Mary stands alone on the sidewalk, looking up at heaven. Her eyes search the gray sky for signs of life.- There, overhead - a DOT. It grows in size, getting closer and arriving fast... and gradually, it shapes into Hancock./*65.*/ + +He swoops into view, straight downward. Pulls on the air brakes and eases into a soft landing - by Mary's side. He is wet from his flight and his hands, 'we notice, are cupped together tightly. + + MARY + (like a little girl) + Let's see. + + HANCOCK + You have to be quick. + + MARY + Come on, I want to see. + + HANCOCK + If you blink, you'll miss it. + +Hancock uncups his hands, releasing a billowy MASS of white something - it hangs in the air, and then dissipates into moisture. It showers into his open hands. Mary reaches for it. Too late. + + MARY + I saw it, right? A little cloud. + +She peers into his hands - where only a pool of wetness remains. And with her fingers, Mary reaches inside to feel the rain. Hancock watches this - the innocence in her face, as her hand touches his. He stares down at her hand... at the wedding ring. Mary-pulls her hand away. + + MARY (CONT'D) + The water is dirty. + + HANCOCK + MARY + + HANCOCK + I'm sorry. + + MARY + (into his eyes) + It's not your fault./*66.*/ + +Hancock looks away. + + MARY (CONT'D) + (CONTINUING) + You're tense. + + HANCOCK + I've been tired, lately. + + MARY + You should slow down. Rest. + + HANCOCK + -So people tell me. + + MARY + (heat; upon some thought) + It must be hard. + + HANCOCK + Hard? + + MARY + To always do right... do good when all you want to do is rest. + + HANCOCK + It's harder to not do anything. What am I? It's not for me. It's for... it is about people. Rest? When there is despair? I cannot. I bring relief. I am relief. You know that instant, that split instant of time when you realize that the nightmare... the totality of fear itself... that it's all been a bad dream? That it's safe? That is relief. The infant in my arms... to the hysterical mother. When you can see her face, what's rest? It is self-indulgence. + +Mary - in some advance stage of "wow." + + MARY + Where... who are you? + + HANCOCK + It's not important who I am, Mary. Or what... where I'm from. It doesn't matter. I'm a man. I am every man./*67.*/ + + MARY + (sizing up his words) + You probably get a lot of practice explaining yourself, on account of who you are and what you do. + + HANCOCK + Why... do you say that? + + MARY + It's like, everything you say sounds... so perfect. Like you rehearse them so they'll be that way. I mean, not to say that it's insincere... + (BEAT) + I mean, maybe it's something about you but... it must be hard on you sometimes. + +Hancock stares at his feet, perhaps reluctant to answer. + + MARY (CONT'D) + (APOLOGETIC) + But probably not... probably.. + + HANCOCK + Yes... + (pulling teeth) + sometimes. + +Mary allows the moment to sink in. + + MARY + So, you never answered. Back there... what were you doing in the middle of the street? + + HANCOCK + (THINKS) + I was lost... + (EXHALES) + . but I think I'm ok, now. + +CUT TO: + +EXT. ALLEY - DAY + +Trash cans fly. Paper, swept up and sent aflutter. We've seen this before - Aaron, running for his life and the bullies in pell-mell pursuit. He cuts into an alley. Looses them momentarily. Finds a DUMPSTER to his liking./*68.*/ + +Erlick. Spengler. They zoom by and with great eagerness. Perceval strolls after them, too cool to sweat. From the dumpster, little Aaron watches them... looks relieved... until conscience kicks in. A moment to reflect, he takes. + + AARON + (HANCOCK) + " before long, you're running, looking for a place to hide." + +EXT. ALLEY - DAY + +Erlick and Spengler - at a dead end. Their trail leads them to a metal FENCE, the alley continuing beyond it. No time wasted they scale it. Perceval arrives - in time to see Erlick, landing on the other side. Spengler pulls himself over. Joins Erlick on the ground. + + PERCEVAL + Shit, I'm not climbing this. Just combed my hair. + +Erlick and Spengler turn to him, through the metal bars. Their eyes are of disbelief. + + PERCEVAL (CONT'D) + What's up? + (checks his hair) + What? + +Perceval follows their gaze behind him to Aaron, shivering with clenched fists. + + PERCEVAL (CONT'D) + (rolls up sleeves) + I just combed my hair. + +Erlick and Spengler make for the fence, to join the fray. + + PERCEVAL (CONT'D) + Don't bother. He's mine. + (to Aaron) + No biting. I hate biting. + + SPENGLER + Kick his ass, Percy. + + ERLICK + (OVERLAPPING) + Do him, Percy. He's your woman./*69.*/ + + PERCEVAL + Let's go. Let's have it. While we're still kids. + +Nothing from Aaron - just a lot of balls. + + PERCEVAL (CONT'D) + Dick wad, let's go. Come on, you impotent little gonad. + (BEAT) + Your mother chokes on big, hard, veiny, purple-headed shlongs the size of... + +All Aaron needs to hear. He charges - comatose. And the pummeling begins. Perceval dictates the assault, landing BLOWS to the face and body. Aaron - doing an impression of a punching bag. He wafts at air, left and right... + + ERLICK + He's yours. + + SPENGLER + Save some for us. + +Someone blinks - and Aaron finds himself on the dirt, supine. Perceval looms over him, silhouetted against the sky. He reaches for his zipper, doing that Perceval-thing. A look of recognition in Aaron's eyes - it's going to rain soon. He reacts with knee-jerk reflects, administering a swift kick into Perceval's peeing apparatus. A faint SQUEAL eructs from the fellow's mouth. He drops like a wet tea bag. Erlick. Spengler. Shock. Disbelief. Aaron gets to his feet, ready to book... but he doesn't. He stays. + + ERLICK + What's he doing? + + SPENGLER + Kick his ass, Percy. + +Aaron stares at them, behind the fence. Then down at Perceval fetal position, mouth agape. Aaron reaches for his zipper ZIP, revenge presents itself. + + ERLICK + That's cold./*?0.*/ + + SPENGLER + Kill him, Percy. + +Aaron cranes himself over Perceval's face, over his open oral orifice. Contemplates his target. Aaron - to pee or not to pee... ZIP. He closes his fly. Steps away. + + AARON + (to the boys) + Don't mess with me. + +He struts out of the alley. Shifts into a mad sprint, adrenaline taking him away. + +CUT TO: + +INT. BEDROOM - DAY + +Horus sleeps. Mary enters from the hallway, hush-hush. She moves to the closet. Changes out of her clothes. Not a stir from Horus - exercising stealth in his efforts to watch her, watching her sweater fall to the carpet. Mary stands before the closet mirror. Does a profile check. She reaches for her bra... and from the mirror, catches Horus staring,. + + MARY + You're still up? + +She moves behind the bathroom door. Self-conscious. + + HORUS + Just get in? + +Mary steps out of the bathroom, buttoning up her domestic attire. She nods affirmatively. + + MARY + Nick's market. Are you sick? + + HORUS + I can't sleep. + +She goes to the bed. Palms his forehead with her right. Palms her own with the left, as reference. Horus tilts his head away from her hand./*71.*/ + + HORUS (CONT'D) + Please, Mary. + + MARY + You want some milk? I'll heat it up for you, how about that? + + HORUS + No thank you. + (BEAT) + Aaron, today? This Hancock 's picking up + + MARY + Yes, he is. + +He sits there in bed, struggling with the words. Mary continues dressing - oblivious. + + HORUS + He'll take him home? + + MARY + Yes. + + HORUS + What do we know about this man? The papers... they don't have all the facts about him. + + MARY + What facts? He's not a hero. + + HORUS + Yes. A hero. I know that... + + MARY + Aaron likes him. + + HORUS + (TIMID) + I know that maybe, I've been neglectful... that I haven't been there... + +Mary does not hear him. She's at the mirror, fixing her hair. + + HORUS (CONT'D) + (SERIOUSLY) + I'm trying... you have to know... I'd like to be more... involved. Like it used to be. Before we moved here./*(MORE)*//*72.*/ + + HORUS (CONT'D) + (notices Mary, applying LIPSTICK) + Are you going somewhere? + + MARY + No. I have to start on dinner. So how about that glass of milk? + +Horus - shakes his head, annoyed. + + MARY (CONT'D) + All right. Try to get some sleep. + +With that, she's out the door. Horus alone in bed, staring into the vanity mirror at his wretched face. He spots a brown paper BAG on the chair. Goes to inspect. Inside - Hancock's tattered trenchcoat. Oy, what does it mean? Horus returns to bed, distraught. He buries himself under the cover. + +EXT. STREET - DAY + +Aaron races down the. last leg of his street. On the steps of his apartment building - Hancock, making himself at home. Yes, a cigarette smolders from his lips.. Hancock looks at the boy. They share a second of silence. And finally, Hancock-puts out his hand - he approves. Aaron, triumphant, SMACKS it for five. + +CUT TO: + +INT. APARTMENT - NIGHT + +The dinner table. Post meal. Mid-digestion. Aaron is running off at the mouth. + + AARON + \.o his mouth was. open and he just stared up at me, it hurt that bad. + +And while he narrates, Mary runs her fingers through his hair - a mother grooming her child. Meanwhile, Horus listens concerned. + + AARON (CONT'D) + (CONTINUING) + I said, "don't mess with me." Just like that./*(MORE)*//*73.*/ + + AARON (CONT'D) + "Don't mess with me." Mom, remember that guy in the cop movie... he said that? + + MARY + All right, already. How's your mouth? + + AARON + It doesn't hurt, I told you. + (CONTINUING) + He saw everything from the roof. Said I did what I had to do. + + HORUS + (FINALLY) + Aaron, tomorrow... + + AARON + (to Mary; oblivious) + He said tomorrow, he'd pick me up again... + + HORUS + I thought maybe you'd like it -- if I pick you. + + AARON + God, my friends will freak. + +Horus freezes - fades back to his meal, unheard. 0 + +INT. BEDROOM - NIGHT + +Through the dim of light - Horus, alone, prepares for work. A framed PHOTOGRAPH of a distinguished MAN (50's) sits on the shelf inside the closet - he poses in full police regalia, stern and proud. Horus pauses to acknowledge the photograph. He closes the closet door. + +INT. APARTMENT - NIGHT + +On the kitchen floor and under the light - Mary and Aaron, mother giving son a HAIRCUT. + + MARY + Hold still. + + AARON + I like it long. + + MARY + Shut up./*74.*/ + +Horus walks into the living room,. in the dark. He looks at his wife, then at his son - doing their own thing. They don't realize he's there. Horus leaves, the door'CLICKS shut behind him. + + MARY (CONT'D) + Horus? + + AARON + it's almost eight. Dad's late. + + MARY + Horus? + +She brushes hair off her apron. Moves into the living room, the bedroom - no husband. She goes to the front door. Opens it into the stairway outside. There on the stairs and down below, Hancock stands - on his way up. Mary sees him... and they look at each other. + +INT. APARTMENT - NIGHT + +In the kitchen and under the light, Mary. Hancock. Aaron. Mary is finishing up on Aaron, applying the last SNIP. + + AARON + like this? + (holds up hand) + How do you make a fist? + + MARY + (grabs his head) + Aaron, hold it. + +Hancock shoves his fist up close, almost between the boy's eyes. So there it is, the fist - this petrified mass of knuckles and bones. It SNARLS at Aaron. Hancock holds it there, fingers locked together - like he can't let go of them. Aaron swallows - in awe. Mary watches her guest, the change in him. + + MARY (CONT'D) + Hancock? + +The sound of her voice takes him. He snaps out of it./*15.*/ + + MARY (CONT'D) + (CONTINUING) + turn. Hancock, it's your + + HANCOCK + What? + + MARY + Your hair. Come on, have a seat. + + AARON + Mom's going butcher your hair. + + MARY + Shut up, kid. Hit the showers. And then homework. + + AARON + Oh, mom. I want to talk to him. Tell her, Hancock. + +Hancock shrugs a "what can I do." + + AARON (CONT'D) + Yeah, right. I know. I got to do what I got to do. + +INT. APARTMENT - NIGHT + +The Big Haircut. Mary and Hancock - up close. Mary runs her fingers through his hair, testing his length. She leans into him. SNIP, goes her scissor. Hancock - in his seat, as hard as marble. He seems a bit lost in her presence. Baffled. From his position, the view consists of Mary - blossoming in her sweater. And that's it. Not a word during this process - just the SOUND of their breaths. + +INT. APARTMENT - NIGHT + +Hancock. Erected before us, the immediate product of a mediocre haircut - he looks plain and un-super. He looks... goofy. + + MARY + There... my hero. + +He inspects himself via a hand MIRROR. Smiles. Politely./*76.*/ + + MARY (CONT'D) + (CONTINUING) + How do you like it? + + HANCOCK + Nice. Thank you. + +Mary - peripatetic, putting away things... + + MARY + I started out just trimming for Horus. Here and there. He had to look just right for the academy, says his father, a police captain there... in Philly. When we moved here, I pretty much took over as the resident barber. You know, to save some money. + + HANCOCK + He was in the-police academy? + +A pause. + + MARY + His father's idea. Not his. He went through it anyway, like he had something to prove... the validation of his manhood. + (BEAT) + It took everything out of him. He didn't talk for days after he was cut. He took it real hard. I mean, still, he's not... I mean,, he's still... + (edits herself) + \.it was a difficult time for hi.. Me. I understand that I'm not intolerant of it, the working-through process. It's just that, sometimes... + (at Hancock) + sometimes, I need his strength. I miss. the strength. + + HANCOCK + Is that what you want? + + MARY + Want? + + HANCOCK + What you need? + + MARY + The hair... I need to.../*77.*/ + +She kneels to sweep up hair. Hancock follows her down. + + HANCOCK + Mary? + + MARY + Yes? + + HANCOCK + (BEAT) + You ever been down the boardwalk, at night? + + MARY + Why... what for? + +They're eye to eye. Close. + + AARON (O.S.) + Mom? + +Mary bursts from her perch - regroups, awkwardly. Aaron stands in the hallway, his hair still wet from the shower. + + MARY + Yes. + +Inside Aaron's head: My mother + Hancock? Nah! + + AARON + my mouth. It's starting to swell. I think he loosened a tooth. + +Mary - maternal duty calls. + + MARY + All right. Go to your room. I'll get the ice pack. + +Aaron exits. Mary exits. Hancock - alone and on his knees. He finally rises. Heads for the front door. Mary returns with the ice pack. Catches him... + + MARY (CONT'D) + You're leaving? + + HANCOCK + It's getting late./*78.*/ + + MARY + I'm sorry. + + HANCOCK + I'm going to take a walk. + + MARY + Really? On the boardwalk? + + HANCOCK + Maybe. + +Pause. + + AARON (O.S.) + Mom.' + + MARY + I'm sorry. + +She goes to him, without words to say. In this silence, he stares at her his eyes, glazed with thought. + + HANCOCK + (FINALLY) + Good night, Mary. + + MARY + Good night. + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +The clock - 9:45 pm. The store rests in afterhour stillness. Horus paces by the side door, his ears pressed to the phone receiver - no answer. He hangs up. Checks his watch. Goes to the front entrance and peers out at the street - no Roheim. + +INT. BAR - NIGHT + +The bar. The smoke. The scums of humanity. Gina - over there, marketing her cleavage to anything with a pulse and a penis. She mingles with a BAR FLY. Her eyes locate Hancock - entering, finding a seat. From an adjacent stool, A MAN places his hand on Hancock's lap. Whispers to him./*79.*/ + + MAN + I wear dresses. How about you? + + HANCOCK + (considers; nah) + Get lost. + +The warning comes across quite well - the man exits. Gina saunters over - takes the vacancy. At the other end, the bar fly rises. Pays. Heads pass them, for the door. + + GINA + (to bar fly) + Meet you outside. The El Camino, right? + +The bar fly nods. Exits. Gina turns to Hancock. Takes his face in her hands, studies him. + + GINA (CONT'D) + Your eyes are calm. It's good. + +She withdraws her hands. + + HANCOCK + What? + + GINA + But you're still here. + +She rises. And as she makes for the exit... + + GINA (CONT'D) + Nice haircut. + +Hancock watches as the night swallows her whole. He inhales the rest of his cigarette - pensive. + +CUT TO: + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +The clock, it reads 1:05 am. Horus, his flashlight, they're making their rounds. His routine takes him outside - via an EXIT door. + +EXT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +A dark alley. Dumpsters. Boxes. Horus peruses the premises. Heads around the building and to the street.:./*80.*/ + +. as a ragged FIGURE collapses onto.him. It's Roheim and he's been drinking, right? + + HORUS + Dear God. + +Horus catches him. + +INT. WATANABE'S - NIGHT + +They find a chair in the back, Horus Positioning Roheim in the light. The old man isn't drunk - his mouth agape, his face bruised with wounds from a serious pummeling. A chunk of lip dangles, bleeds. + + HORUS + Jesus. + +Goes to the bathroom sink for some paper towels. Comes back to nurse' the wounds. + + ROHEIM + Figured I can get you by the front... but you weren't there. + + HORUS + (dabbing the torn lip) + Who... what happened? + + ROHEIM + They-jumped me. That bastard Scarpo and his boys. They were waiting on me. + +Returns to get more clean towels. And comes back. + + HORUS + Why didn't you come through the back... standing out there in the dark? + + ROHEIM + -Couldn't find my keys. Must've dropped them'in the fight. + (feels his lip) + Shit... + +He works himself off the chair. Heads inside the bathroom. + + HORUS + What're you doing?/*81.*/ + + ROHEIM + (into the mirror) + the old man Look at what they did.. gave a fat lip to match his big mouth. I'm for shit. + + HORUS + (FRUSTRATION) + Sit down Could you knock it off, please. so I can clean the cuts. + +He leads the old wretch back to the chair. + + ROHEIM + I'm a waste of time... + + HORUS + Stop. + + ROHEIM + I'm too old for this. + + HORUS + You're not old. + + ROHEIM + What am I... I'm biologically challenged. Any way you look, I'm a waste of effort. + (BEAT) + I Use to be, I blame the job. The job. think, bullshit job. Not right for a man. "To observe and record..." I say, what a t's for the hell is DIo nly dogs. They got a d o o gs in t g g hisn reason we're he d re, we don't shit on the carpet. + +Horus looks away. Doesn't want to hear it. + + ROHEIM (CONT'D) + (CONTINUING) + But you know what, Horus. That's all wrong. It ain't the job. The job don't make the man. It's me. Not the uniform. It starts right here... 'cause I can't do anything right. Fuck up my ABC's. + (a beat; at Horus) + But you. Why do you put up with this crap? A wife. A kid. There... waiting for you at home. + +Horus - he just doesn't know anymore./*82.*/ + +EXT. KILLYBEGS TEXTILES - NIGHT + +On the rooftop of this building - Hancock, on another end of a Marlboro. Eyes red. Hair in wet dishevelment. He's a mess. + + HANCOCK + got to do what you got to do. + +He paces with nervous energy, pounding his fist into the other hand. We sense a decision brewing... + +INT. THE LONGFELLOW BEDROOM - NIGHT + +A desk clock points to 2:30 am. Mary - awake undercover. She twists, turns... A shadow engulfs the side of her wall, smothering the light in the room. Mary catches it. Rises above her blanket. What she sees - outside the window, Hancock hanging there in non-gravity. He stares directly at her. + + HANCOCK + I know you're up, Mary. I know you can hear me. Please meet me on the boardwalk tomorrow morning. Nine o'clock. It's important that I talk to you, then. + (GRAVELY) + Please, Mary. + +And with that, he's off and away. Mary.- stunned. + +CUT TO: + +INT. ROHEIM'S APARTMENT - DAY + +We're in the staircase - where Horus is, supporting Roheim up the stairs. + + ROHEIM + They're going to can me. + + HORUS + No one's canning anyone. No one saw us... watch your step... leave. + + ROHEIM + Should be an extra key over the door./*83.*/ + +INT. KITCHEN - DAY + +In the kitchen, Mary and Aaron - the morning routine. Something is off this morning, like someone threw a wrench into the machinery. Mary appears a bit frazzled, handing her son toasts. She rushes back to the stove - her eggs beckoning. + + AARON + The toast's burnt. + + MARY + What? + +Aaron inspects his Superman lunchbox. + + AARON + We're late... you forgot the corn chips. + +Mary serves up-the eggs - sunny side up. 1. and down... and all over the place. + + MARY + Eat... and we'll go. + (checks her watch) + Where's your father? + +She grabs a comb and proceeds to part Aaron's hair. + + AARON + You forgot the corn... + (the comb snags) + . ouch! + + MARY + I'm'sorry, honey. I was hoping daddy'll be home before we leave. I'm sorry. + + AARON + You having your period, mom? + +She responds with a brisk slap to the head... SMACK. + +INT. ROHEIM'S APARTMENT - DAY + +We enter an anal-retentively neat and manicured living room. Horus ushers Roheim in... + + ROHEIM + Shoes. + +The two pause. Remove their shoes. Proceed into bedroom./*84.*/ + +INT. BEDROOM - DAY + +Horus sets Roheim down on the bed. Tucks him under. + + HORUS + You're going to be okay? + + ROHEIM + I don't know. You might have solo act tomorrow night. + + HORUS + Get some sleep. + + ROHEIM + You're a good man, Horus. + + HORUS + (washing over it) + I have to get home, now. I'll call. + +Roheim grabs on to his sleeve. + + ROHEIM + You know what Olga said before she walked out on me? Her last words to me. She turned at the front door. Looked around the room and she says, "keep it clean." That's it, can you believe it? Then out the door. + (BEAT) + But like a.shmuck,.I keep the place spotless... in case she walks through that door one day. + (at Horus; with pain) + I don't think she's coming back. + +EXT. STREET - DAY + +Horus struggles homeward - his mind in a headlock with anger, despair, a combination thereof. He moves down his street. Looks ahead - where Clyde stands, pillaging his morning paper. Clyde Spots Horus on the approach. Smiles at him, with impunity. Goes back in. On Horus - you can boil an egg in his seething mouth. + +INT. APARTMENT - DAY + +Fist clenched, the morning paper under his arm - Horus. steadies down the hallway. His eyes target the door at the end of the hall, seeing red./*85.*/ + +He gets there, the door. He swallows. Wipes sweat off his hand. KNOCK. And again, KNOCK. �ow He fidgets in his spot - courage evaporating with every elapsed second. Until finally, Horus is a pile of dung. The door opens. And Clyde emerges, tall and ugly. He's holding up his pants with one and the SPORTS PAGE with the other. Caught in mid-defecation, he is none too happy. + + CLYDE + The box scores are waiting and I got an inch of meat sticking out of my ass. Make it snappy. + + HORUS + (loosing his voice) + I'd like my sports page, please. + + CLYDE + You what? + + HORUS + I want you to stop taking my sports page. + + CLYDE + All right. + +Clyde closes the door. Horus - thunderstruck. He stutter-steps... KNOCKS... + + CLYDE (CONT'D) + (AGITATED) + What's the matter, you deaf? I'll stop taking your sports page. Now get out of here and let me... + + HORUS + (INTERRUPTS) + I want today's sports page. + + CLYDE + You what? + + HORUS + That there... my sports page./*86.*/ + + CLYDE + What's gotten in to you? All of a sudden? You don't even like football. + +Horus does.not budge. + + CLYDE (CONT'D) + (CONTINUING) + You'll get it back... after I take my dump. + +Clyde proceeds to close the door... but Horus interjects, his foot in the door. + + HORUS + No. + + CLYDE + What? + + HORUS + No. I would like my sports page now. Please. + + CLYDE + After I finish. + + HORUS + I'd prefer it now. + + CLYDE + What's eating you, Longfella? You crazy? + +Without warning, Horus wrests the sports page from Clyde's arm a kamikaze move, indeed. + + CLYDE (CONT'D) + (SHOCKED) + Give that back. + +Horus lunges at his hulking opponent, lands a punch into Clyde's midsection. Harmless - it tickles him, maybe. + + CLYDE (CONT'D) + Why'd you go and do that for? + +Clyde belts up has pants. Roles up his sleeves.., and the massacre commences. He simply tears into Horus... SLOWS to the stomach... RIGHTS across the face. It ends quickly and without resistance - as if Horus accepted it as fate./*87.*/ + +Clyde 'kneels over. Picks up the sports page. And as if yawning, returns to his room. KAW/ + +CUT TO: + +EXT. SCHOOLYARD - DAY + +By the fence - Mary and Aaron. Mary, with a brown paper BAG, seems.distant, preoccupied in a far away place. + + AARON + Are you all right, mom? + + MARY + (DISTRACTED) + Yeah... why? + + AARON + You're acting weird. + + MARY + (didn't hear) + What? + + AARON + I'm late for class. Go home, mom. I think it's time for your nap. + +Aaron leaves. Pensive, Mary begins her walk... to the boardwalk. + +INT. APARTMENT - DAY + +The door swings open to admit Horus - battered, enraged, disoriented. He confronts an empty apartment. + + HORUS + Mary! + +A deaf ear. No one's there to console him. He storms out of the apartment. + +EXT. BOARDWALK - DAY + +The ocean RAGES against the shore, in the distance and at some muffled volume. Up against the railing leans Hancock, and the remains of a cigarette. His hair drips of salt water - he's been here a while, one would suspect./*88.*/ + + COP (O.S.) + Come back here! Stop him! + +In the background, a COP commences pursuit on a THIEF. The thief dashes by - pass an indifferent Hancock. The cop follows suit, passing by. + + COP (CONT'D) + Stop him! + +Hancock - his gaze wavers not from the distant waters. + +EXT..STREET - DAY + +Horus stumbles. Keeps his balance. Trudges down the street to a corner BAR. + +INT. BAR - DAY + +The bar is empty at this hour. The chairs are up, the floor swept. A husky BARTENDER unloads liquor in the back. Horus enters. Finds a stool. + + HORUS + Drink. + +The bartender comes out, considers this man's appearance. + + HORUS (CONT'D) + (CONTINUING) + Is this a bar... or what? Drink. + (uncomfortable with his own RUDENESS) + Please. + +EXT. BOARDWALK - DAY + +Mary stands there on the boardwalk, the bag in her arms. It's cold this morning. A little wind has picked up. And the clouds - they're alive, restless. She finds Hancock, staring at her, waiting for. her. + + HANCOCK + Hi. + (EMBARRASSED) + Thank you for being here. + + MARY + Is everything all right?/*89.*/ + +Hancock has no response. U + + MARY (CONT'D) + (CONCERNED) + What's wrong? + + HANCOCK + (constipated; following some THOUGHT) + It's cold. + +Mary and Hancock - we notice, they look good together. + + HANCOCK (CONT'D) + (at the clouds) + They're moving. The turbulence has started. + + MARY + Tell me what's wrong. + +He points to the distant ocean - where the horizon curves into darkness. + + HANCOCK + Look out there and what do you see, Mary? + + MARY + (PERPLEXED) + Nothing. I don't know... I don't see anything. + + HANCOCK + see it,can It's out there. But you can't Y nu? + (beat; holding on to a thread) + And that's good, not seeing. But for me, I've seen it. It's where I'm from... out there. + + MARY + Please, Hancock. What are you talking about? What's out there? + + HANCOCK + Duty. + (beat; at Mary) + You ask a man, Mary, and he'll tell you. He'll say: "you do what you have to do." Or what? You let the next guy do it for you, if you don't... if you can't. + (losing it) + And... but. If I can't, then who?/*(MORE)*//*90.*/ + + HANCOCK (CONT'D) + The next guy? No. There is no "I can't." Just "I must." + +Mary - watching a grown superman unravel. + + HANCOCK (CONT'D) + (CONTINUING) + But I don't ask, "why me?" I don't question it. This is me. I'm it. I do what I have to do. I get in there.., all the killing... the blood... and I deal with it. I clean up. I make things right. + (BEAT) + And. But when.., where does it end? + (re: his cape) + Can't stop the hemorrhage... it's everywhere. And it stays. All that I can do, Mary. The things I am capable of doing, I can't blink away the hell I've seen. It's in me... + (points to his head) + in here and I can't not think about it. It's in me. It's me. + + MARY + Hancock... what... + + HANCOCK + I just want to let go, Mary. Or I'll break. I need to get away. Get away to where? I don't know. + (at Mary) + I need your help. + + MARY + Me? What can I do? + (she's helpless) + What do you want me to do? + + HANCOCK + I want you to save me. + + MARY + How? + +Hancock leans forward. Towards Mary. And kisses her. Their lips lock, twisted and entwined... until Mary, composing her senses, pulls away. + + MARY (CONT'D) + Don't./*91.*/ + + HANCOCK + (DESPERATE) + Save me. + + MARY + I can't. + + HANCOCK + You can. + (the hard sell) + AND Mary,-I'll take you away. And Aaron. what... I'll quit. Get a real job. An apartment. I'll flip burgers. I don't know what I'm doing... what I'm saying anymore. + + MARY + (OVERLAPPING) + I'm married. + +A pause. + + HANCOCK + To whom? + + MARY + I love him. + +The death blow. + + HANCOCK + No. + (turns from her) + Unacceptable. + + MARY + I love him. I'm sorry. + +One can almost hear life's precious air seeping out of this superman - he'd slump over if not for the muscles of steel. Mary wants to console... but what can she do? + + HANCOCK + I'm cold. + +Mary hands him the contents of the bag - the trenchcoat. + + MARY + I'm sorry./*92.*/ + +She leaves. + +CUT TO: + +INT. BRADLEY ELEMENTARY SCHOOL - DAY + +Aaron. The school hallway. He holds a wooden hall PASS, indicating that class is in session. He swings into the BOYS ROOM. + +INT. BOYS ROOM - DAY + +A large restroom - empty. Little Aaron passes up on the urinals. Selects a private STALL. ZIP - urination begins. Splash segues into drip. DRIP. Aaron shakes off the last drop... PLOP. And that's the cue for the adjacent stalls - arms like tentacles surface from below, shackling Aaron in his spot. He can't see but, from behind, the stall door opens... Guess who? Perceval - possessed. He grabs the back of Aaron's head. Introduces it to the yellowed waters below. SPLASH - the head goes in, submerged. What Aaron sees for the next several seconds: yellow, the thrashing of.bubbles, the shine.-of white porcelain at.intimate range. What he hears: the GASPING of his own breath, GURGLE, and wicked laughter. The ambush ends. Perceval. Erlick. Spengler. One of them says... + + THEM + (MOCKINGLY) + "Don't mess with me." + +They leave - laughing. + + THEM (CONT'D) + (in the distant) + Little shit. + +Left there and in the stall - Aaron, slumped against the bowl. On the tile floor. A wet rag of piss./*93.*/ + +INT. APARTMENT - DAY + +Mary hurries into the room - flustered, adrenaline coursing wild. She runs down the hallway to her bedroom, seeking solace in Horus. The cold, empty bed says he hasn't been home. + + MARY + Horus... + +CUT TO: + +EXT. SCHOOLYARD - DAY + +The school front. KIDS swarm into the streets, freshly released from captivity. And there amidst bedlam - Aaron, roughed-up and soiled in disgrace. He moves to the curb, waiting for someone to take him away. No Hancock, anywhere. Aaron waits, hopeful. + +EXT. STREET - DAY + +Hancock walks an aimless walk - in oblivion, a WHISKEY BOTTLE in his hand. He's been drinking. L"i in his path and up ahead, a little girl SUE (8) beckons at the upper branches of a tree. + + SUE + (so innocent, her voice) + Hymie. Come down, Hymie. + +She catches Hancock, Mr..Superhero who can fly, stumbling by. + + SUE (CONT'D) + (CONTINUING) + Mister? My Hymie won't come down from the tree. + +Hancock's reaction - "what?" + + SUE (CONT'D) + (CONTINUING) + My pussycat. She won't come down. + +She stares up at him with big, blue, sad, helpless, innocent eyes./*94.*/ + +So cool, Hancock reaches down for a PEBBLE - takes it in his palm. Finds the little pussy named Hymie. And with a simple flick of the wrist... shoots it down. A sharp MEOW. punctuates the task. Hymie drops from the branch, limp and lifeless. A THUD we hear on impact. + + SUE (CONT'D) + (so innocent, her voice) + Holy fuck. + +Hancock resumes his course, taking off and into the wet sky. + +EXT. SKY - DAY + +Hancock's drunken flight - erratic and dangerously close to... BAM... buildings. He strikes the corner of a brick tower, plummeting downward with the dislocated debris. He bounces off the concrete -.in an alley. + +INT. APARTMENT - DAY + +Mary is on the sofa - wondering where Horus might be. She checks her watch. + +EXT. SCHOOLYARD - DAY + +The place is empty. Deserted. Aaron. On the curb. Some trash flutters by his feet. On his face - the abandonment of all hope. Nobody's coming, this is clear. + +EXT. ALLEY - DAY + +Hancock - on his back and amidst the rubble. He braces the building to get up. Drops. Gets to his feet, only to be confronted by the police officer from the boardwalk. We'll call this one officer REED - a beat cop with something stiff up his ass. + + REED + What do we have here? A piece of shit. + +A slow look of recognition seizes his face - this is that superguy. Hancock stares at him./*95.*/ + + HANCOCK + (HUMORLESS) + Fuck off. + +He pushes past Reed, who acquieces willingly. + +EXT. STREET - DAY + +A Aaron. Walking home. Dejected. His eyes catch a glimpse of particular pedestrian down the street - Hancock. He gives chase... and confronts him, out of breath. + + AARON + (a slight smile) + Hi. + + HANCOCK + (turning; drunk) + What're you doing here? + + AARON + (the smile fades) + I saw you walking. Where were you today? You said you'd... be there. + +Hancock - looking over Aaron's abused frame. + + HANCOCK + I don't know what you're talking about. + + AARON + Where are you going? Can I go? + + HANCOCK + You don't want to go where I'm going. + + AARON + Those assholes got me in the bathroom, today... + (trying to hold on) + and you said you'd pick me up at school. + +Hancock turns. He's upset now. + + HANCOCK + Listen. + +Aaron recoils. + + HANCOCK (CONT'D) + (CONTINUING) + Listen. I'm not here to save you./*(MORE)*/ + +1/*96.*/ + + HANCOCK (CONT'D) + No, not my job. Don't put that on me. + (pounds his chest) + Not my problem. Not on my shoulders. Deal with it, kid. You are what you are and... what I say, it won't do you any change. You'll grow up to be just like-your old man. A coward. Not a damn thing you can do about it... 'cept grab both ankles, hope by the grace of God the reaming's gentle. + +Aaron backs away from his angry wrath. + + HANCOCK (CONT'D) + (CONTINUING) + That's right. Walk away. Me... I'm not here to save you. + +He watches Aaron break into a run - another youngster dashed against the rocks. In Hancock's eyes - a .glint of regret. But only a glint. + +INT. BAR - DAY + +This empty bar. With the exception of Horus and the bartender - while he's drying some mugs, let's call him JOEY (30). + + HORUS + (BOOZED) + One.more. + +Joey studies him. He takes a mug and begins to fill it... + + HORUS (CONT'D) + No... nevermind. + (going to blow) + Where's your bathroom? + + JOEY + (not in my place) + Bathroom's closed. + +Horus politely stands'- teeters a bit. + + HORUS + How much. + + JOEY + (SARCASM) + Let's see... that's one beer. Tell you what. I'll take care of this one./*97.*/ + + HORUS + Thank you. + + JOEY + The register ain't open yet, anyhow. + +Horus doesn't hear him. He's already on the move, making a dash for the door. But too late - he VOMITS at the front entrance. + + JOEY (CONT'D) + Shit. + +EXT. HADES - DAY + +In the armpit of town - Hancock. He lights a cigarette with the matchbook Gina had given him earlier. At attention before him - Gina, gnawing on gum, heaving in all her glory. + + GINA + I've been waiting. + +They stare for one horny beat. Hancock moves into her. Buries his head into her bosoms, looking for solace. She takes him in, very maternal this Gina. \\./ + +INT. APARTMENT - DAY + +The front door opens, but slowly. Aaron steps inside. From the kitchen, Mary spots him in his violated condition. He sees her reaction, that of shock - and like that, he runs sobbing into her arms. + +CUT TO: + +EXT. HADES - DAY + +A phone booth - Gina's office. There in the back alley and in this glass booth - Hancock and Gina, their organs ensnared. They're pumping away. Up. Down. A surreal sight, indeed - the red of his cape and the black of her leather. + + GINA + Come on, baby. Relax. + + HANCOCK + I can't./*98.*/ + + GINA + You can. + +The phone begins to RING - but they're busy. + + HANCOCK + I can't. + + GINA + Let it go, baby. Just let it... + +RING... + + HANCOCK + (in tears) + I can't. + +His arm rips through the glass... + + GINA + . go. + (ORGASMS) + Oh god. + + HANCOCK + I can't! + +RING... He DRILLS a hole into the phone - killing it.' + + GINA + Don't give up, now. + +He lets her down. Tears out of the booth. Finds the sky. + +EXT. SHEEPSHEAD BAY - NIGHT + +There is movement in the sky above - aggressive formations and grooves in clouds once coy and demure. The wind HUMS its presence, toys with fallen leaves. + +INT. APARTMENT - NIGHT + +It's dinner - but all is not well. Mary and Aaron and an empty chair. ' They sit without talking.. They eat without making a sound. Between them - a ketchup bottle. The door bursts wide, coughing up Horus. He locates his chair and plops on it... misses... kisses the carpet./*99.*/ + + HORUS + (on the ground; prone) + Son. Go to your room. + +Struggles to his knees. + + MARY + What happened to you? + + AARON + Dad, are you wasted? + + MARY + Where... Aaron, he's not wasted. Go to your room. + + AARON + He is wasted. + +Horus rises, under great difficulty. Feels his way to the sofa. When Mary tries to assist, he waves her away. + + HORUS + Aaron. Go to your room. + + AARON + But dad... + + MARY + (AUTHORITY) + Go! + +Aaron obliges, at reluctant pace. + + MARY (CONT'D) + What do you think you're doing, Horus Longfellow? + +Horus gauges her. + + HORUS + Don't "Horus Longfellow" me, Mary. I'm not your child. I'm your husband. + + MARY + Horus, what're you talking about? + (re: bruises) + Who did this to your face? + +Horus rises from his seat with mustered strength./*100.*/ + + HORUS + (OBLIVIOUS) + But you didn't know-about me... + +Mary knows where this is headed. + + HORUS (CONT'D) + (CONTINUING) + You didn't know I was going to do this to you. + (a half-chuckle) + I guess I should've known. We were married and I knew... at the reception. I couldn't dance. so I sat in the back and watched. You were with Stuart Olmsted and I watched you dance. In your white dress. And I remember zoning out... for a second, just watching you. God, Mary... the little girl next door who used to get into fist fights with her brothers in those patched-up Toughskins. We met only 'cause the tallest tree in the neighborhood was in my backyard and you needed to climb it. + (BEAT) + But that night. God, you looked so beautiful I.had to realize it... how much I loved you... one more time. + (BEAT) + You and Stuart danced. Laughed. And I remember I'm watching you there, with him... together like that. You looked good with him, I thought all of a sudden. Like you belong... better. And as I stared across the floor, it was the same story with all the guys there, that they were more right for you. + (SWALLOWS) + More right because that night, you walked in with the wrong man. + + MARY + Why do you say that? + + HORUS + Because I let you down. + (BEAT) + I'm a coward. I can't do anything about it. Look at me, I'm breaking up in front of you. And God, I fear the day when I'd have to defend you and Aaron. What do I do, then? What am I if I can't do that... my own wife, family? Not a man./*101.*/ + + MARY + (ballistic) + L are. Did You're a fool, that's what you you think I was completely blind when I married you? Something cuts at your masculine ego and it's the pressure... the standard's unreasonable. The woman, she wants me to part oceans. That's the kind of bull shit's made of. I went w through it...,I was there when the hurt came, when the academy said no. I there. And when you felt like hiding... from me and your ownforward. taking Rent job, I stepped It was you, Horus Longfellow. otile. I didn't take the love away. here. + +the closet, Horus stands there - tears, almost. He takes to his security retrieving his U-Rent Security Jacket. He grabs hat. Straightens his hair. Puts it on. + + MARY (CONT'D) + Horus, what are you doing? + +Inserts the flashlight into his holster. + + HORUS + All that I can do. + +the front door. And with that, stumbles out of + + MARY + Horus! + +INT. BROWNSTONE - NIGHT + +A dark room somewhere. Close on the top of aBdr dresser - a framed The e picture of a happy Ted "the police captain" begins to RATTLE. AND It comes from a BED g twrithingNintherrposit onI over obscured from view, iearidin s 1 he can. a Hancock. She's doing the best + + GIRL + Come on, baby. What's... wrong? + +The picture of Ted "the police captain" Brock succumbs to the rattle. It DROPS off/*102.*/ + +.DREAM SEQUENCE - SOMEWHERE + +EXPLODES into the rage and fury of an apartment fire. Casualties come in the form of CRIES, women and children on the verge of incineration. Hancock's POV: a burning hallway, flames spewing from every crevice - we're walking through Hell. We see a BOY, huddled under a table. Hancock wraps his cape around him. Bolts through the inferno... as glass SHATTERS... and gas pipes ERUPT. He takes the boy to safety. Unwraps the cape... only to see the CHARRED remains of a human BODY... the-CRIES, they continue... + +INT. BEDROOM - NIGHT + +The room is dark, of course. A BED - as the SQUEAKING of springs suddenly stops. A woman's VOICE says... + + VOICE + What's the matter? + + HANCOCK + I need a cigarette. + + VOICE + You what? But you haven't... + + HANCOCK + (losing it) + I need a cigarette, goddamn it! + +He storms from the bed. Heads for the bathroom. + + VOICE + I don't smoke. What's wrong with you? + +She rises after him and into view - it's no other than the TV reporter, in the flesh. She bounces over to the bathroom, as the door SLAMS shut. + + REPORTER + What're you doing?/*103.*/ + +INT. BATHROOM - NIGHT + +Hancock stares into the mirror - a face in the latter stages of deterioration. And in disgust, he swipes EVERYTHING off the sink. + + REPORTER (O.S.) + What're you doing, in there! I'm calling the police. + +Hancock drops his pants. Straight-arms the wall with his left. And with his right, latches on to his magnanimous member. Outside and beyond the door, the reporter has her ear pressed against wood - listening. So there our superhero stands, bent over a bit, yanking up a storm. His body convulses under said stimulation. He GROWLS... Cue for the reporter to back away. + + REPORTER (CONT'D) + Jesus... + +Hancock stiffens, in full throttle. Full. Throttle... up and into a fevered pitch... and BOOM, we hear a He GROWLS... P baby explosion. The reporter leaps back. Beat. The bathroom door flies open. Hancock emerges, buttoning his pants. He brushes pass her. Finds the window... and he's off with a gush of wind. The reporter turns back to Looks ins everywhere, in shambles.. nwke . b nd in the ceiling,�da.9apings HOLE - seething still fro S m the l A aunch. + + REPORTER (CONT'D) + Shit. + +EXT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +The store bathroom. Horus - his reflection in the mirror. He stares at himself. Disgust. R He washes his face./*104.*/ + +EXT. ALLEY - NIGHT + +Hancock's P.O.V. - a blurred, wobbly image of an alley. He-takes a swig from a fresh bottle of whiskey. He turns a corner... a dark FIGURE jumps him.,, knocks him against the wall... GUN pointed. it is the Hoodlum - from before.., + + HOODLUM + Scream and I blow... + (not you again!) + oh shit. + +Hancock in a foul mood. He brushes the Hoodlum away, sending flesh and bone against the opposite wall. SNAP goes the landing. The Hoodlum. Dead. Hancock - realization. He hastens to the body... limp... broken. + + HANCOCK + No... don't. No. + (LOUDER) + No! + +He moves away. Angry. Tired. Drunk. Hancock drops against the wall, beaten... + +INT. BEDROOM - NIGHT + +Aaron's bedroom. Mary -.on the bed, rocking Aaron to sleep as she finishes off a familiar melody... + + MARY + (stroking his hair) + ~"Once there was a way, to get back homeward..." + +EXT. ALLEY - NIGHT + +Hancock listens. + + MARY (V.O.) + ~once there was a way, to get back home..." + +Her voice grips him. Torments him... + +INT. BEDROOM - NIGHT + +Mary. Aaron./*105.*/ + + MARY + ~"Sleep pretty darling, do not cry. And I will sing a lullaby..." + (WHISPERING) + Good night, darling. + +Kisses him. + + AARON + Thanks, mom. + + MARY + Sleep tight. + +She leaves. Aaron stops her by the door. + + AARON + Mom. Tomorrow always feel better. + + MARY + (SMILES) + Really? + + AARON + Probably. + +�/ + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +Horus - on a chair, his face buried in his two hands. He sits alone, concealed in the darkness. + +INT. KITCHEN - NIGHT + +In the kitchen - Mary, trying to sift through pieces of the evening. She finds no comfort. She moves to the sinks L1oks night. The wind is alive. And dark cloud ut at the + + HANCOCK (O.S.) + (deep; demonic) + Mary. + +Mary launches back, cold. Outside the window and in front of her - Hancock, suspended in air. The blood-red of his eyes p nothing but bad news. And being so, he EXPLODES through the glass. Glass rains through trance. n the kitchen, amplifying his e/*106.*/ + + HANCOCK (CONT'D) + (maniacal; drunk) + Amway, anyone? + +The pursuit commences - Hancock steadies after Mary, in retreat around the living room. + + MARY + (she's white) + What're you doing? + +Hancock closes in. Corners her. + + HANCOCK + It's the haircut, Mary. + (strikes his head) + I'm pissed! + +Out of nowhere - Aaron charges the caped psychotic. He trampolines on Hancock's back, trying to saddle him. + + AARON + Don't you fucking touch her! + +Mary SCREAMS. Hancock cringes, says... + + HANCOCK + Shut your mouth. + +He swats the kid off his back. + + AARON + Don't touch her you bastard! + + HANCOCK + You're getting on my nerves. + + MARY + Hancock, please. + +He reaches down and untangles Mary from her son - she concedes out of fear for Aaron. + + AARON + No! Mom! + + MARY + Stay back, Aaron! + +Hancock takes her away - like booty. Aaron dangles from his cape, trying to save his mother.. In vain. The superhero springs into the night - with his woman./*101.*/ + + AARON + (through heavy sobs) + DAD! + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +From the depths of defeat - rises, his attention focused on the back Horus responds. Hee Roheim? Roheim lost his keys... The back door creeps open. Several under stealth. They move through enitrs Scarpogand his thugs. Horus takes refuge behind the locker, allows them to pass. + + THUG #1 + (WHISPERING) + Stop grabbing my ass, man. + +Horus slides out the back, into the alley. He crosses the street to a phone. Jabs in 911. + + HORUS + Police? + +EXT. KILLYBEGS TEXTILE (ROOF) - NIGHT + +This dilapidated structure serves as landing pad for Hancock, easing Mary down with him. A swift kick and the oor is no more. He drags her down into the bowels of da roof d rkness. + + MARY + What're you doing? + + HANCOCK + What I got to do. + +CUT TO: + +EXT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +The SOUND of distant SIRENS are heard. They arrive binlthe form of three POLICE CARS - pulling up From one of the cars - Officer Rutger and Officer Adams, in control of the situation./*108.*/ + +INT. WATANABE'S SHOPPING EMPORIUM - NIGHT + +Scarpo and the thugs are at the front door - looking out at about... five to ten for armed robbery. They're in hysterics. They observe as Horus emerges from the building across, trying to assist the authorities. Scarpo recognizes this one security guard. + + SCARPO + Nutri-cop. + + THUG #1 + He got out. + + SCARPO + He's dead, man. + + THUG #2 + Fuck, we're dead! What, now? + +EXT. WATANABE'S DEPARTMENT STORE - NIGHT + +Rutgers and Adams - cops with Dirty Harry delusions. They greet Horus as one would Rodney Dangerfield. + + RUTGERS + You did the right thing, Longfellow. + + HORUS + (COP) + I saw four. Presumably armed. Only other way out is through the back. + +The cops trade laughs. + + RUTGERS + Take a hike, Longfella. Get back in your hole and watch the law kick some ass. + +Horus, reluctant, returns inside his building. Rutgers moves to work the speakers - his action preempted by the other COPS. + + COP #1 + We got something big going down. + (LISTENS) + Shit, all units. What the hell's going on?/*109.*/ + + ADAMS + (at the computer) + Killybegs Textiles. The Cap sounds like he's chewing the rag. + + RUTGERS + Fuck, what do we do with this? + + COP #1 + This is a wrap. Come on, lets roll! All units. + + ADAMS + I don't like the smell of this shit. + +INT. WATANABE'S DEPARTMENT STORE - NIGHT + +Scarpo. Thugs. They watcherheasqua d cars move out and away. Disbelief would be an adt + + THUG #1 + What the... + + SCARPO + They're taking off... + + THUG #1 + Fucking no way. + +EXT. ACROSS THE STREET - NIGHT + +Horus, watching the red and blue light fade into the night. His complexion is the color of liquid paper. + +INT. WATANABE'S DEPARTMENT STORE - NIGHT + +The display TV - tuned to the showdown at Killybegs. + + THUG #2 + (re: TV) + Check this-out, fellas. + +Scarpo. Thug #1, #3. They gather around - watching the woman reporter do her thing, at the scene. + + REPORTER + blocked off the streets. Already, orders for more substantial fire power have been requested by the commissioner's office as police surround the condemned textile building in an all-out confrontation with Hancock, superhero-turned-renegade.../*110.*/ + + SCARPO + Fuck, you guys know what this means? + + THUG #2 + We're off the hook, man. + + SCARPO + The store's ours. + + THUG #3 + What about that security guy? + + SCARPO + He ain't coming back? + +In unison - their FLASHLIGHTS flick on. + +EXT. STREET - NIGHT + +On Horus - as he swallows, backing away and down the street. See coward run. See coward hide. He disappears around the corner... . but something pulls him back. He reappears, thinking, staring at his feet. Destiny awaits him. + +CUT TO: + +EXT. KILLYBEGS TEXTILE - NIGHT + +POLICE UNITS flood this once quiet and forgotten block. S.W.A.T. teams ooze from vans. COPS kneel behind their cars, guns cocked. We SEE Ted Brock - he's on the radio, hammering out orders. He looks pissed. Rutgers and Adams arrive. They take position next to fellow COPS. + + ADAMS + What's with the Cap? Looks like someone just fucked his wife, or something. + +Nervous smiles from the fellas. + +INT. KILLYBEGS TEXTILE - NIGHT + +In the wide expanse of this top floor - Hancock and Mary. He squats before her, calm - unperturbed by the activities outside. Mary huddles in her spot, occasionally stealing glances outside. Hancock simply stares at her. At the curves of her gentle frame. The alcohol's wearing off. + +INT. WATANABE'S DEPARTMENT STORE - NIGHT + +Scarpo. The Thugs. They sack the emporium, unimpeded. + +INT. BACK DOOR - NIGHT + +The silhouette figure of Horus - it enters the back room, bracing the wall for silence. He moves into the store. From his vantage, several beams of light slice the darkness they indicate the positions of the thugs. Horus sneaks in, heads for the second floor. + +INT. SPORTING GOODS SECTION - SECOND FLOOR - NIGHT + +Thug #3 peruses this department. Moving across the floor on bent knee - Horus, concocting some desperate strategy. He moves to the GUN counter. Slips his hand underneath and withdraws a hidden KEY. + +.LST FLOOR - NIGHT INT. FIP + +Scarpo - stuffing his bag with merchandise. He waves Thug #2 over. + + SCARPO + Take the show upstairs. + +INT. SECOND FLOOR - NIGHT + +The gun counter. Horus loads a .45 - it's foreign to his hand. He rolls out in search for Thug #3, who is by the BASEBALL aisle. Horus cocks the .45 in pursuit. Sidles up behind him. + + THUG #2 (O.S.) + (from behind) + Behind you! + +Thug #3 swings around with a Louisville Slugger - it swipes the 45 from Horus's hand. Horus "I'm screwed." Thug #3 promptly knocks Horus against the BAT rack. Bats roll, spray the floor. Thug #3 slips hard on his approach, landing heavy on his head. Thug #2 comes running, gun raised.fa rusCdives for r a goes oose bat, his swing greeting Thug #2 in the the count. Horus stands over the two bodies - as surprised as we are./*112.*/ + +INT. FIRST FLOOR - NIGHT + +Scarpo - in full alert. He's heard the commotion upstairs. + + SCARPO + Guys? + (no answer) + Fuck me. + +He drops his loot. Heads for the second floor, cocking his gun. + +INT. ELECTRONICS SECTION - THIRD FLOOR - NIGHT, + +Thug #1, he's writhing to music under the privacy of headphones - unaware of Horus behind him... Thug #1 whirls around with a gun, catching Horus off guard. Horus responds with a FLASH he had acquired from the camera section - the burst of light momentarily blinds the thug. And a quick SNAP of the bat takes out Thug #1. Horus dispenses of the camera, his adrenaline raging. He commandeers the free gun, heads downstairs. But the TV stops him... it displays the siege at Killybegs Textiles. + + REPORTER + again, we believe that this is a hostage situation. Officials refuse to comment but we believe Hancock has abducted a woman, the identity of whom we do not yet know... + +Horus - a look of horror on his face. + + HORUS + Mary. + +He's off, slowing to a ginger descent at the stairs. Makes his way down to the second floor... where he is greeted by a gun NOZZLE, pressed against his temple. + + SCARPO + You're starting to piss me off. He pushes Horus down the remaining steps. + +INT. SECOND FLOOR - NIGHT + +Horus rolls to a halt. Scarpo greets him there... pulling him-up by the hair... ,knees him in the gut. r osition. Scarpo stands over him s drops to the floor in a fetal p Cocks his gun... him menacingly. + + SCARPO + Your move... + +Horus uncoils an accurate kick to Scarpo's groin. Scarpo - a dumbfounded look entwined in pain. He drops. Horus goes for the gun. A struggle ensues, Scarpo finding Horus to the side. strength from god knows where. g Takes dead aim with a tremblin BANG... Horus grimaces... Scarpo drops. .45 (knocked from Roheim steps forward from the darkness, the Horus, earlier) smoking in his hand. Did I get him? Horus. Roheim. They look at Scarpo. + + ROHEIM (CONT'D) + (CONTINUING) + of him. Holy shit. I think I g + +Roheim notices the unconscious thugs on the floor. Turns to Horus, measuring him. + + HORUS + What're you doing here. + +ROHEIM ed Mary called earlier. She was worri about you. + + HORUS + Mary... + +EXT. SHEEPSHEAD BAY - NIGHT + +with gloom. Those clouds that shroud the sky a CRACKLE of lightning echoes through the They begin to surge neighborhood. And the rain begins to pour./*114.*/ + +EXT. KILLYBEGS TEXTILES - NIGHT + +All right, so this block is squared off - surrounded. The local police force and your cousins are here, ready to pounce on cue. Ted "the pissed-off police captain" Brock stands by his vehicle, screaming out orders - a BULL HORN in his hand. + + TED + Let the lady go, Hancock. Or all hell's going to break loose. + + RUTGERS + (to Adams) + Does he know anything else? + +INT. KILLYBEGS TEXTILE - NIGHT + +Hancock. Mary. She's slumped against the wall, exhausted. + + TED (O.S.) + (bull horn) + Come on out! + +Hancock seizes his ears the bull horn testing his nerves. He bolts upright, turns to Mary. He seeks a special kind of healing. Hancock closes in - corners her. + + MARY + Please. + +But there's no denying this superman - he grabs her, running his hand down her back and between her buttocks. + + MARY (CONT'D) + (in tears) + No... + + HANCOCK + Please... + +A sudden burst of anger seizes Mary. She SCREAMS... STRIKES Hancock across the face. + + MARY + NO! + +He tears himself away. Disgusted. Tortured./*115.*/ + + HANCOCK + (a desperate child) + Help me. + + TED (O.S.) + (bull horn) + All HELL'S going to break loose! + +Hancock recoils from this noise - in veritable pain. Clutches his ear. + + HANCOCK + Make it go away, Mary. + +Mary huddles against the wall..She watches on, watching him struggle. + + TED (O.S.) + You are surrounded. There's no way out of this one... NO WAY OUT! + +Hancock on his knees, tears bubbling inside. He shakes it off. + + HANCOCK + No... do what I got to do. + +He unloads a PUNCH. PUNCTURES brick. Clear through... C + +EXT. KILLYBEGS TEXTILE - NIGHT + +the other side. The authorities react. They right their guns. Ted Brock - a picture of grim impatience, breathing hard. + + TED + I want his balls in a jar... + +Chad. The others. They take a good look at him. + + TED (CONT'D) + in a fucking vice... + (into horn) + this is the END of the line. + +INT. KILLYBEGS TEXTILE - NIGHT + +Hancock - pacing the floor, trying to marshal some emotional order. He drops to a squat, searching for calm./*116.*/ + + MARY + I'm cold.. + +Hancock does not respond. + + MARY (CONT'D) + (CONTINUING) + You're fighting a lot, right now. I know that. + (BEAT) + They're out there waiting for you. It's like... sometimes.., you feel like the world's waiting for you. Expecting. What's your next move, they want to know... + + TED (O.S.) + there's NO ESCAPE! + + MARY + (CONTINUING) + and the responsibility. The duty. You can't shrug it off. + (BEAT) + I know that. And I'm sorry. + +Hancock - a committed stare into space. Can he hear her? + + MARY (CONT'D) + (CONTINUING) + Maybe... if you knew that, that I know. And. That I won't expect anything from you. And... there doesn't have to be a next move. + +Hancock turns on this. Stares at her. He rises from the crouch. Mary - back to wall, on the defensive. He approaches. Stands before her. He reaches back... and removes his CAPE. He covers Mary, gently shielding her. from the cold. There is no eye contact. + +EXT. KILLYBEGS TEXTILE - NIGHT + +Ted. Out of patience. He signals to a RIFLEMAN atop an adjacent building. Signal acknowledged. The Rifleman loads his piece.../*in.*/ + + TED + Where the fuck is Chopper Three? + + CHAD + (CONCERNED) + This is a hostage situation, Cap. We've got a woman in there. + + TED + Fuck the woman, this is Armageddon. I want that bastard in a body bag. + +Ted waves a "go-when-ready" sign. The Rifleman steadies his high-powered weapon... FIRES... + +INT. KILLYBEGS TEXTILE - NIGHT + +Bullets EXPLODE against walls... bricks... Mary SCREAMS, ducking to the floor. Hancock REACTS, the chaos throbbing inside his head. And like that something snaps. He BURSTS out of the building - eyes lit with the Hell inside. He lands on the wet surface below. ROARS before the police force - possessed. + + HANCOCK + Go away! Go. Away. + +The authorities - they pause, startled. They open FIRE. Cops. S.W.A.T. teams. Their cousins. Bullets ZIP through the air and with dead accuracy. Hundreds of shells strike Hancock - the target. They PING off his armor of superFLESH. He stares at them all, invincible. + +EXT. APARTMENT - NIGHT + +Through this downpour hobbles Horus - pass police CARS SCREECHING by, en route to Killybegs. A police car sits in front of his apartment, lights blaring. + +INT. APARTMENT - NIGHT + +Horus storms into the room... in time to greet a police OFFICER, trying to pry Aaron from the bathroom sink. + + AARON + Let me go you bastard./*118.*/ + + OFFICER + Let go, you little asabite. + +Aaron spots Horus in the hallway... + + AARON + Dad! + +He breaks loose - running into his father's arms, crying. + + AARON (CONT'D) + I'm sorry dad. I didn't know what to do... + + OFFICER + Mr. Longfellow... + + AARON. + He's got mom, dad. He came and took her away. What do we do, now? + +Horus - he hasn't a clue. On the TV - a graphic depiction of war at Killybegs. + + OFFICER + There's not much you can do. We've got every man out there, already. I suggest you take your son some place safe. Let us do our jobs. + + HORUS + (on the TV) + Mary... + + AARON + I'm sorry, dad. I'm sorry. + + OFFICER + (dreading it) + I have to go... they need me. + +He exits. Roheim enters, out of breath. He notices the nasty, gaping hole in the kitchen. + + HORUS + He's got Mary, Roheim. + (blank; uncertain) + I got to get her. + +11/*119.*/ + + ROHEIM + What do you mean, you got to get her? + + HORUS + I got to do what I got to do. + +Aaron stares up at his father - "did he just say that?" + + AARON + Damn right, dad. We got to get her. + +Horus at the screen - oblivious. "What can I do?" + + ROHEIM + Brain damage runs in this family or something? + +Aaron senses his father's state of overwhelmness. + + AARON + Dad. You ever hear about the fox and the bloodhounds? + +EXT. KILLYBEGS TEXTILES - NIGHT + +A HELICOPTER (Chopper Three) has since joined the picture of CHAOS. A strobe light cuts through the darkness and rain, zeroed in on Hancock. A machine GUN mounted inside opens FIRE - a wave of bullets ricochet off the superhero with no effect. Cops and S.W.A.T. teams continue their assault - it's the only thing they can do, and it's worthless. And on that note, Hancock retaliates - with a vengeance. First to go is the helicopter. He slices through the air and RIPS the vehicle in half. An EXPLOSION punctuates its demise - sending the spinning PROPELLER into wild trajectory. It crashes into a cluster of Cops - heads are severed, sent flying. + +EXT. STREET - NIGHT + +Horus sprints through the downpour, following the SOUNDS of destruction. At the scene, he arrives in time to witness the dismantling of future law enforcement./*120.*/ + +EXT. KILLYBEGS TEXTILES - NIGHT + +Hancock swoops down toward a patrol car. Scares the Cops away. Hoists the vehicle over. his head. Throws it at a band of Cops. He ROARS... + + HANCOCK + Go away! + +EXT. STREET - NIGHT + +Aaron and Roheim arrive, finding their places behind Horus. They startle him. + + HORUS + Jesus, Aaron. I don't want you to be here. + + ROHEIM + (at the mayhem) + I need a drink. + +Aaron, staring at the massacre - a HEAD rolls pass him. It looks pale but well-fed, healthy. It Ted's. Aaron ducks into his father's chest. + +EXT. KILLYBEGS TEXTILES - NIGHT + +In the blink of an eye, the police department is no more. The entire block - a panorama of bedlam, overturned vehicles, and mangled bodies. Satisfied - Hancock returns inside the building. From the street, we can SEE Horus - fumbling through the rubble, heading towards the confrontation. He'passes a mutilated body - belonging to Adams. A revolver dangles from his fingers. Horus reaches for the gun and stops. He looks around at the vast destruction and realizes that no revolver will do. He continues forth. + +INT. KILLYBEGS TEXTILES - NIGHT + +Mary is on the floor, wrapped in cape. Hancock returns. He's pumped, deranged, and he's lost that loving feeling./*121.*/ + + MARY + What have you done? + + HANCOCK + I made them go away. + + HORUS (O.S.) + Mary! + +Mary responds to her name like a body to sugar. + + MARY + (HORROR) + Horus! + + HANCOCK + (holding his head) + The noise... + + HORUS (O.S.) + Mary! + + MARY + Horus! + + HANCOCK + Why?! + + MARY + Please, Hancock. Don't hurt him. + (grabs him) + It'll never go away. + +Hancock responds to "it." + + MARY (CONT'D) + (CONTINUING) + If you've got anything left... inside... + (hand over heart) + and you do, I know you do... whatever it was that you felt for me... inside... then you won't go out there. + +He just looks at her. + + MARY (CONT'D) + (CONTINUING) + Just let go... and it'll go away. Please, just let go. + + HANCOCK + (DESPAIR) + I can't./*122.*/ + +EXT. KILLYBEGS TEXTILES - NIGHT + +Horus stands there in the rain - a feeble frame of a man. He wants a fight. And he gets it... as Hancock, once again, emerges from the building - fire in his eyes. + + HANCOCK + You ready to rock it up? + +Horus runs - he runs for an overturned S.W.A.T. VAN. Hancock follows, toying with the man. Horus disappears inside. + + HANCOCK (CONT'D) + Come out, you little shit. + +A pause in action - no reply from Horus. + + HANCOCK (CONT'D) + Are you a man?! + +Horus answers... He storms out with a ROCKET LAUNCHER. He FIRES it at the unsuspecting Hancock. It's a hit and it BLOWS Hancock against Killybegs Textile. It lodges him inside the brick structure. + + HORUS + Fuck you. + +Hancock pries himself loose - enraged beyond imaginable. He GROWLS - looking to retaliate. But there's no Horus. Hancock explores the rubble - by the building. A sudden EXPLOSION rips the base of a nearby wall - it jars the wall loose, sending it crashing down.., on Hancock. CRUNCH, the concrete rips right pass Hancock - stuns but does not subdue him. He shakes off the dirt. Finds Horus down the street. Like a rocket, Hancock heads that way. He gets there, over Horus - grabbing him by the collar. With a swift flick, he sends the family man flying. THUD as his body careens off the Killybegs wall. He drops to the asphalt below. Horus - in pain, something broken possibly./*123.*/ + +He gets up. Tries to walk. Can't. Hancock - on the approach, maintaining a cruel but steady pace towards his wounded game. Horus tries to crawl. Can't. Too much pain. He peddles back against the curb, nowhere left to go. Hancock arrives, looking a fully steamed. He stands over Horus - not unlike Scarpo much The situation presents itself - he reacts. A kick into Hancock's groin muscle - CHINK, sliikeyt a soundWofshrugs. bone off metal. Absolutely harmless. Horus else can he do? Hancock tears a YIELD street SIGN it backs Ready to strike� es this piece of jagged metal. (CONT' D) (DEFIANT) No regrets. + + HANCOCK + (COOL) + No mercy. + +He takes aim... + + AARON (O.S.) + NO! + +Mary SCREAMS in the background... Horus. Hancock. They turn to witness the de-physicalization of Killybegs Textile. they begin to crumble, weakened by the wear Bricks... beams... and tear of recent artillery. Mary braces herself as the floor beneath begins to give. It slips... she SCREAMS... and collapses, taking the rest of the building with it. A CRASH, followed by a cloud of billowing smoke. Mary is no more. + + HORUS + MARY! + +Aaron. Roheim. In disbelief./*124.*/ + + AARON + (BLANKLY) + Mom... + +Horus, he struggles to his feet. Pushes past Hancock, limping over to the building that once was. + + HORUS + MARY! + +Hancock - not a word. He stands in comatose silence, looking pale. Horus charges the building in possessed hysterics, trying to excavate his wife - one brick at a time. Roheim meets him there, in an effort to console. + + ROHEIM (O.S.) + (you're wasting your time) + Come on, Horus. + +Horus - lost in the pain. He won't listen. Slowly and with a sense of duty, Roheim joins the excavation. He rolls up his sleeve and gets to work. Hancock drops the yield,sign. Turns to the battlefield in his midst... surveys the carnage... A loaded beat. Hancock ROARS - a cry of desperation. He grimaces with defeat. Staggers off. SCREAMS, because what else can he do. Falls to his knees... by a fallen police GUN. He picks it up... points it at his head... FIRES the remaining rounds against his temple. Bullets carom off skull. Hancock discards the gun. Breaks into TEARS. Long SOBBING wet tears. He CRIES. He WEEPS. Into his cupped hands. Indeed, a surreal sight. Horus. Roheim. Engaged to the task, brick by brick. Horus works his way down... to a lifeless ARM, protruding from its tomb. He stops./*126.*/ + +INT. APARTMENT - NIGHT + +Aaron - in his pajamas, creeping down a dark hallway. He approaches a DOOR. + + NARRATOR (V.O.) + sometimes when it's dark out, so dark it's black, I'll see HIM. + +Aaron peers through the open door. His eyes wander inside ever so gently. On the bed there - HIM... Horus. + + NARRATOR (V.O.) (CONT'D) + (CONTINUING) + and it starts all over again. + +And Mary. They are in some latter state of coital bliss. Horus THRUSTS. Mary GASPS... + + NARRATOR (V.O.) (CONT'D) + Some things... you just never forget. + +>FADE OUT: + +THE END diff --git a/fountain_scripts/Hancock.webp b/fountain_scripts/Hancock.webp new file mode 100644 index 0000000000000000000000000000000000000000..64db1684303d575323221144f2458d58140af428 --- /dev/null +++ b/fountain_scripts/Hancock.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:27845a0c92e35888ec57686412c0dcdb215ff9551b4aa15fcec25061ccc04a23 +size 31850 diff --git a/fountain_scripts/Happy Feet.fountain b/fountain_scripts/Happy Feet.fountain new file mode 100644 index 0000000000000000000000000000000000000000..cb831c2834c7e050ee2fdb1573b30a1a22f6cc00 --- /dev/null +++ b/fountain_scripts/Happy Feet.fountain @@ -0,0 +1,3090 @@ +Title: HAPPY FEET +Credit: Written by +Author: George Miller +Credit: Screenplay by +Author: John Collee +Draft date: (Early Draft) + +.SPACE + +Distant STARS, with vast tracts of darkness stretching between them. Move in on OUR SUN, dwarfed in the immense cosmic ocean. + + MUMBLE (VO) + You ever feel small? + +Moving in on.... + +.PLANET EARTH + +The spinning blue marble. FADE IN: A strange cacophony of MUSIC, growing louder as the familiar CONTINENTS revolve below us and we spiral down onto + +.ANTARCTICA + +.THE ICE SHELF + +Vast, pristine, stupendous. Washed with dawn light. A few small BLACK-SUITED FIGURES are moving towards us. + + MUMBLE (VO) + Like you're no-one, cos the world is full of us, and everyone's the same + +Wait a minute. These aren't humans... they are PENGUINS! + + MUMBLE (CONT'D) + How do you stand out from the crowd? How do you find someone special? + +.A GREAT COMMUNITY + +EMPEROR PENGUINS all over the place, Its chaos - Grand central station - with everyone SINGING to each other. + + MUMBLE (VO) + I know. I know. "You sing your heart out." That's how mum found dad in the first place + +Follow a female penguin as she waddles through the massive crowd past an assortment of crooning males/*(CONTINUED)*//*2.CONTINUED:*/ + + KEEN MALE + (trying to connect) + ~"Babe...I got you Babe..." + +She ignores him + + NEXT MALE + (giving it his all) + ~"When a man loves a woman..." + +She keeps moving, until she sees the male of her dreams: + + WISHFUL + ~"Love me tender love me true, all my dreams fulfil. + +He stands a bit apart from the rest. And what a voice. What a hip movement. She sings along. + + NORMA J. AND WISHFUL + ~...for my darling I love you and I always will. + + MUMBLE (VO) + With them it was love at first song. + +Close up on the two penguins as their necks intertwine. + + MUMBLE (VO) (CONT'D) + But with me everything was a different, right from the moment I was born + +.THE ICE SHELF + +With infinite care, THE EGG is passed from Norma J's feet onto WISHFUL's. + + MUMBLE + First rule of survival: get yourself laid before winter. + +WISHFUL covers the egg, glancing up at the darkening sky + + MUMBLE (CONT'D) + Apparently I only just made it. + +Women are leaving and heading off over the ice. The community resounds with sad songs of parting./*(CONTINUED)*//*3.CONTINUED:*/ + + MUMBLE (CONT'D) + Afterwards Mum went off to the sea to keep warm. Dad stayed home like dad's do, incubating. + +Norma J is having difficulty tearing herself away. Finally she pads off after the others. + + WISHFUL + Safe home baby.... + +As he watches her dwindle into the distance, where huge STORM CLOUDS are building. + + WISHFUL (CONT'D) + I'll miss you. + +.THE DARKNESS + +Wind comes shrieking across the ice shelf to where THOUSANDS OF MALES are huddled, ice crusting on their feathers. + + MUMBLE (VO) + Tell me what it is about the cold and the dark. Soon as the sun goes away, everyone gets religious + +The huddled penguins are engaged in ritual chanting + + LEAD VOICE + When all others leave... + + CHORUS + We Remain. + + LEAD VOICE + When the Sun vanishes... + + CHORUS + We Remain. + +.INSIDE THE HUDDLE + +The adult males are packed shoulder to shoulder, looking downwards at the eggs balanced on their feet. CU on the Lead male, a CARUSO/*(CONTINUED)*//*4.CONTINUED:*/ + + CARUSO + Deny the pangs of hunger. Seal the gaps. Share the warmth.... + + MUMBLE (VO) + Caruso's the leader because he's so incredibly old. Some say more than 40, but you know how penguins exaggerate. + +.OUTSIDE + +WINDWARD PENGUINS peel off and walk around to the leeward side. WISHFUL is among them + + CARUSO + ....Each one taking his turn to defy the wind. + +.WIDE SHOT + +The MASSED VOICES rise above the gale, the frosty plumes of their breath forming a shared `thought bubble'...a benevolent ÜBERPENGUIN. + + CARUSO. + ...As we invoke the Great One, Penguin of Penguins + + WISHFUL + (pushing back inside) + OK. Invoke. But keep moving + + MUMBLE (VO) + My dad was never that devout. Often his mind was on other stuff. + +As the chanting builds, a little thought-bubble appears next to the communal imagination: An image of Norma J + + NORMA J. + (Sings) + ~"I wanna be loved by you, alone and nobody else by you boo boo pee doo" + +WISHFUL raises his head, breaking the seal. A little puff of steam escapes + + WISHFUL + Amen to that honey/*(CONTINUED)*//*5.CONTINUED:*/ + + VARIOUS PENGUINS + Whoa-whoa-whoa-whoa, pal! Ya lettin' out the heat! + +Penguins around him start jostling to close the gap + + PENGUINS + ...Quit shovin'! ...Hey watch where you're putting your feet + + CARUSO + Brothers, BROTHERS! The Devotions! + +An egg rolls out of the HUDDLE and onto the ICE. + + WISHFUL + Oh no! I dropped it! Where's my egg! + +WISHFUL barges out of the huddle, retrieves the egg and waddles back into the warmth again. + + WISHFUL (CONT'D) + S'okay. S'okay. No harm done. + + MUMBLE (VO) + I guess he was wrong about a lot of things. + +Pulling back, till the powerful rhythmic chanting is drowned out by the HOWLING GALE. + + WISHFUL + But I did learnt this from him: the power of positive thinking + +We are moving in again, towards the huddle, the voices of the Great Male Gathering begin to cut through the wind blasts. Louder and louder, until... + + ELDER + By the power of our Devotions... + + ALL PENGUINS + We turn the world once more. + + ELDER + By our devotion to the Wisdoms/*(CONTINUED)*//*6.CONTINUED: (2)*/ + + ALL PENGUINS + We bring back the sun. + +The CHANTING crescendos, awe-inspiring, as it rises above the sound of the gale, and, as if in response THE EARTH TURNS! The CURTAIN OF DARKNESS which overshadows Antarctica begins to LIFT from the curvature of the southern hemisphere. The vast ice-continent is BRILLIANTLY ILLUMINATED once more. + +.ON THE ICE SHELF + +The ICE itself is moaning and groaning, like a living thing.A SINGLE CRACK appears and widens, then forks and forks again. The whole expanse of fast-ice is DISINTEGRATING, starting at the sea-ice and progressing towards the ice-cliffs. Somewhere an ICEBERG breaks free from the face of a glacier and smashes down into the frozen sea below. At the same time... + +.THE EMPEROR COMMUNITY + +An EGG cracks open, then another, then all in a rush, like POPCORN. Fathers are calling out to each other as their fluffy CHICKS emerge to greet the daylight. + + EXCITED FATHERS + ...It's a boy! ...It's a girl! ...What a peach! ...What a bruiser! + +Amongst the excited crowd of males and hatchlings we find WISHFUL staring down at his egg still balanced on his feet. + + FRIENDLY PENGUIN + Late opener, huh? You thinks its alive? + + WISHFUL + I'll say. Listen.../*(CONTINUED)*//*7.CONTINUED:*/ + +He taps the egg with his beak. Bending close they hear a TAPPING SOUND in REPLY. + + FRIENDLY PENGUIN + Well, how about that? + +WISHFUL taps again. The tapping comes back louder. A TINY FOOT pops out of the egg. Then ANOTHER. The Egg flips and lurches off in a giddy DANCE. + + WISHFUL + Whoa li'l buddy, slow down! + +THE FRIENDLY PENGUIN'S chick giggles at the DANCING EGG,which finally trips and cracks, depositing baby MUMBLE. + + MUMBLE + (hopping from one foot to the other) + Ow! Freezy, Fuh-Fuh-Freeezy! All Freezy! + + OTHER PENGUINS + ...Jees! ...You ever see a chick move like that before? ...is he damaged? ...is he deranged? + +They gather round staring down at this strange little jigging ball of fluff + + WISHFUL + What? Come on. He'll grow out of it. + +Shovelling MUMBLE off the ice and into his BROOD POUCH. + + WISHFUL (CONT'D) + Come here, li'l Mumble. Let's get you warm and toasty. + +Mumble SNUGGLES contentedly between his father's legs,surveying his new world. The friend's chick, ELLA is staring at him fascinated + + ELLA + Get him to do it again Daddy + + FRIENDLY PENGUIN + Shh. Quiet/*(CONTINUED)*//*8.CONTINUED: (2)*/ + +She disappears under his brood pouch + + MUMBLE + (looks up) + So What happens now, Dad? + + WISHFUL + We Wait + +.THE ICE + +A LONG LINE of male penguins, thousands of them, all with their chicks, stand staring expectantly across the ice shelf. At the front, we find WISHFUL and MUMBLE, who is jiggling with anticipation, hopping from one foot to the other. + + MUMBLE + Is she coming soon? + + WISHFUL + Any day now. + + MUMBLE + Tell me again what she's like + + WISHFUL + (sings) + ~a wiggle when she walks, a giggle when she talks, makes my world go round.... + +MUMBLE does a little SOFT SHOE SHUFFLE. + + WISHFUL (CONT'D) + (sharply) + Hey. Thought I told you not to do that + + MUMBLE + Sorry. When I get happy my feet get happy too. + + WISHFUL + Well tell em don't. + + MUMBLE + But Why Dad?/*(CONTINUED)*//*9.CONTINUED:*/ + +Caruso waddles past: A stern glance down at little Mumble as he carries on along the line + + WISHFUL + `Cos it ain't penguin. + +.LATER + +MIST rises off the ice shelf. The males are still waiting with their chicks. Over this: The sound of Chicks crying. MUMBLE between his father's feet, follows his father's concentrated gaze. + + MUMBLE + Gee I'm hungry + + WISHFUL + Everyone's hungry son. The mommas are bringing fish soon. + +Long pause + + MUMBLE + What's fish look like. + + WISHFUL + You'll see it when she brings one + +.STILL LATER + +The baby penguins are HOWLING now. Anxious fathers lean forward, peering into the distance. Out of the thickening mist, a cluster of little BLACK DOTS materialises. + + PENGUIN LOOKOUTS + ...Wives-ho! Wives-ho! ...Hubba-hubba! Wives-ho! ...Better late than never. + +The distant females look exhausted as they totter unsteadily across the ice towards their partners. The MALES break ranks and rush towards the distressed females. + + MALE PENGUINS + ...Barbra-Ann! ...Peggy Sue!/*(MORE)*//*(CONTINUED)*//*10.CONTINUED:*/ + + MALE PENGUINS (CONT'D) + ...Hey Paula! ...Roxanne!! + +A tumult of re-unions as partners find each other. But no luck for WISHFUL. + + WISHFUL + NORMA J.?! + +Weaving anxiously through the throng, overhearing: + + MALE#1 + You're not as fat as I thought you'd be. + + FEMALE#1 + It was pretty slim pickings. Something's happened I tell you + + FEMALE#2 + Even the squid were hard to get We had to swim forever + + FEMALE#3 + Everyone split up. A lot of the gals never made it back. + + MALE #2 + ...Delilah? + + MALE #3 + ...Gloria?! Gloria??! + +WISHFUL, is running frantically through the crowd, singing all the time in the hope of being recognised + + WISHFUL + ~Since my baby left me. I found a new place to dwell. Down the bottom of lonely street at heartbreak hotel + +MUMBLE hippity-hops after his father, trying to keep up... + + WISHFUL (CONT'D) + ~Woah I'm so lonely baby. I'm so lonely baby. I'm so lonely I could... + +Moving beyond the crowd, WISHFUL sees a last few stragglers. Amongst them.../*(CONTINUED)*//*11.CONTINUED: (2)*/ + + NORMA J. + WISHFUL? + + WISHFUL + (overcome) + O Honey. O Baby. You made it! + +She staggers into his waiting flippers. + + WISHFUL (CONT'D) + You hurt? + + NORMA J. + (breathless) + Just tired and hungry is all. It was dreadful out there.... + +Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY-HOPPING towards them. + + NORMA J + But who's this. + + WISHFUL + I called him Mumble. + +Mumbles feet start to tap involuntarily, Then he catches his dad's warning look. + + MUMBLE + Did she get one. Did she bring one back. + + NORMA J + Just a little krill that's all + + MUMBLE + Can I see it? + + WISHFUL + Later, bud. Give your ma time to regurgitate + + NORMA J + Aw. But isn't he just a darling? + + MUMBLE + (yells ecstatically) + I got one! I got a mum everyone. I got a MUM!!/*12.*/ + +.THE GREAT COMMUTE + +The ICE-SHELF is as busy as a freeway at peak hour with males and females are hurrying BACK AND FORTH from the sea. + + MUMBLE (VO) + After that, with food being so scarce everyone was busy busy busy. Mom and dad were working so hard I didn't see much of them. Besides I had school to go to. + +.THE CRECHE + +An efficient, caring TEACHER is giving a lesson to a class of about thirty young chicks grouped in front of her. + + TEACHER + Settle class. Settle. We will begin with the most important lesson you will ever learn. Now does anyone know what that is? + +MANY flippers go up. + + TEACHER (CONT'D) + Michael? + + MICK + Don't eat yellow snow? + + TEACHER + True but, that's not it. Mumble? + + MUMBLE + Swimming? Catching Food? + + TEACHER + Anyone else? + +Mumble looks astonished. What's more important than that + + ELLA + It's our Heartsong, Miss. + + TEACHER + Your Heartsong. Yes. The melody you hear inside, the thing that makes you different from every other penguin. So. Let's all be very still now and listen. And when you hear your song, let it come out. Who's first./*(CONTINUED)*//*13.CONTINUED:*/ + +A few flippers go up + + MICK + Me! Me! I've got one! + (sings) + ~"I can't get no...satisfaction.... I can't get no...girly action..." + + TEACHER + Well Michael, if you think that's really you. What have you got for us, Ella? + + ELLA + (sings) + ~Voulez-vous coucher avec moi...ce soir? + + MUMBLE + (laughs) + That doesn't make any sense. + + TEACHER + Well Mumble...perhaps you can do better + + MUMBLE + Mine is more sort of a... + +He hesitates, as if listening to something in his head. Then,he sings UTTERLY TUNELESS, like a drum solo. + + MUMBLE (CONT'D) + ~Bim bam-a-loolah a bim bam bom + + TEACHER + You heard that in there? + +Mumble is still going. TITTERS and SNIGGERS from the class. + + MUMBLE + You like it? + + TEACHER + Dear, that's not even a tune. + + MUMBLE + It's not? + + TEACHER + No, a tune is like... + (she sings a scale) + ~La la la la la la la la./*(CONTINUED)*//*14.CONTINUED: (2)*/ + + MUMBLE + ~Oh, La la la la la + +A croaky monotone. The class LAUGHS OPENLY. + + TEACHER + (getting worried) + Listen carefully, Mumble. La la la la la la la la!! + + MUMBLE + ~La la la la la la la la!! + + TEACHER + (emphatically) + ~La La La La La La La La! + + MUMBLE + But that's what I'm doing, + +The class fall about in HYSTERICS. + + MUMBLE (VO) (CONT'D) + Whats funny? + (genuinely perplexed) + What's funny? + +.LATER + +MUMBLE's PARENTS are talking to the TEACHER. + + TEACHER + (sotto) + It's bizarre. I don't understand it. Did anything happen - you know...- during early development? + + NORMA J. + No. All fine. Normal incubation, wasn't it honey? + +Wishful shuffles guiltily. + + WISHFUL + Well Yeah, it was a kinda...a tough winter I guess, and he did hatch a little late, but... + (at a loss.) + Is there really nothing we can do?/*(CONTINUED)*//*15.CONTINUED:*/ + + TEACHER + Of course there is. Thats why we have Mrs Astrakhan. + +.MRS ASTRAKHAN'S + +Some distance from the creche, MUMBLE stands with MRS ASTRAKHAN, a Russian-accented remedial teacher. + + MRS ASTRAKHAN + CAN'T SINK? Rubbeesh. Every little pengvin has a sonk. Vhen I have feenished, your singink vill be givink everyone the goosepeempel. + +CU on MUMBLE looking up. + + MRS ASTRAKHAN + So. Closink the eyes. Liftink chin. Deep breathe here in the down below. Now...most important part, find a feelink. Happy feelink, sad feelink, maybe lonely feelink. + +MUMBLE closes his eyes. + + MRS ASTRAKHAN (CONT'D) + So?...So?... + + MUMBLE + I'm thinking. + + MRS ASTRAKHAN + Don't think EET!! Feel eet! Through the whole body, from the beak right down to tippy-toes. + +Her voice is seductive, hypnotic. + + MRS ASTRAKHAN (CONT'D) + And then slowly, very slowly... + +She hears a strange TAPPING sound and looks down. + + MRS ASTRAKHAN (CONT'D) + Vhat? Vhat is this? + + MUMBLE + What?/*(CONTINUED)*//*16.CONTINUED:*/ + + MRS ASTRAKHAN + The feet. The jiggy-jog. Don't do eet. Do not move muscle. Rigid like plank, like board. NO MOVINK!!! Now...calm. Remember the feelink. + + MUMBLE + Feelink...ok. + + MRS ASTRAKHAN + And be spontanuous. + +Once again his feet start twitching uncontrollably. + + MRS ASTRAKHAN (CONT'D) + No! Stop! No jiggy-jog! + + MUMBLE + I'm being spontanuous. + + MRS ASTRAKHAN + Not with the feet, with the sonk! You vant to meet beautiful girl? You vant to make the Egg? + + MUMBLE + Oh yes. + + MRS ASTRAKHAN + Well singk! "Ba Ba Bleckship, tvinkle star...La la la la la la, la". + + MUMBLE + (totally unmusical) + ~"Twinkle, twinkle, little star. How I..." + + MRS ASTRAKHAN + Hokay. Enough. Stop. Hokay! Ve go back to the top. Forget the body, look inside the soul. No notes, no sonk, only feelink. Happy feelink. Sad feelink. Enormous feelink, so enormous it fills the whole body. It must escape or you explode! Now, open your leetle beak... + +Mumble opens his beak, inspired. + + MRS ASTRAKHAN (CONT'D) + Yes, yes, lift up the head! That's it!/*(CONTINUED)*//*17.CONTINUED: (2)*/ + +Mumble inhales, his eyes are shining, his body is shaking. + + MRS ASTRAKHAN (CONT'D) + You take a big breath, good and...now! Now! + +He's off again, DANCING LIKE A FOOL...wild, exuberant, totally uninhibited and unselfconscious. After some time, he remembers himself, stops and turns to the Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. + + MRS ASTRAKHAN (CONT'D) + Disaster! Catastroff! I never fail! Never! + +.THE ICE SHELF + +Follow Mumble as he wanders alone, back towards his class. He stops some distance away, listening to the other kids who are now performing with increasing virtuosity. Ella is among them, her clear high voice borne to him on the wind. Mumble sighs and his little shoulders sink, no way he'll ever be able to sing like that. + + MUMBLE + Its tough when you realise you'll never fit in. Plus I was beginning to moult + +A piece of downy fluff is peeling off one wing + + MUMBLE (CONT'D) + I couldn't face the class in this mood So I just kept going. + +Music over: Walk on By as he wanders through the vast colony head down against the wind, little feet padding over the ice,Gradually the colony begins to thin. + + MUMBLE (CONT'D) + Looking for what? I don't know? A different type of penguin? + +The noise of the colony has faded behind him. He stops and looks up./*(CONTINUED)*//*18.CONTINUED:*/ + + MUMBLE (CONT'D) + And that's exactly what I found. + +.THE EDGE + +Before him, a wasteland of discoloured ice covered with broken eggs and bits of feather. There are very few penguins here and the ones he can see are all, frankly, weird.A Penguin walks in an endless figure of eight muttering to himself. Another has his flippers wrapped tightly around himself like a straightjacket. A troubled Penguin sings angrily..."There's no business like show business. CU on Mumble. As he looks back to the sanctuary of the colony and then back out over the wasteland + + MUMBLE + Not the nicest place in the world but at least you could do what you liked here. + +Fade in Music: (I'm Free by the Who) and Mumble is off,skittering over the rubbish strewn ice, little feet dancing to his hearts content until....a shadow passes over him and Whump! a huge SKUA BIRD, twice Mumbles size, with a cruel flesh-eating beak, lands on the ice right on front of him. + + SKUA + Hey, whacha doin' dere flipperbird? + + MUMBLE + Me? Oh, nothing. What are you doing? + +THREE MORE SKUAS descend. MUMBLE is surrounded. + + SKUA#1 + Oh we just dropped in for a spota lunch. Hey hey hey... + + MUMBLE + (hopefully) + Lunch?...There's food? Here?/*(CONTINUED)*//*19.CONTINUED:*/ + + SKUA#1 + (to others) + Leg or wing? + +Their dark eyes fix on Mumble. He is starting to feel uneasy and backs away. + + MUMBLE + But ...but. I'm a penguin. + + SKUA#1 + Exackly! De flipperbirds - dat's you - eat de fish. De flyinbirds - dat's me - eat de flipperbird an' de fish. Right now D'ain't no fish -- so...you do the math. + +The FIRST SKUA moves in on MUMBLE. + + FIRST SKUA + And dis time I'm getting the juicy bits. + + MUMBLE + I don't have juicy bits! Look... all bone and feather! Feel for yourself. + +They fall over each other, fighting to take up Mumble's invitation. + + SKUAS + ...Hey, break me off a piec'a dat! ...'S my turn ta pull im apart ya skanky shit-squirter. ...You! Lastime ya pull im apart ya took all the choice stuff! + + MUMBLE + Wait! WAIT! + +The Skuas stop momentarily. + + MUMBLE (CONT'D) + Every seen anything like this? + +He does a wild little TAPDANCE hoping to distract them. + + FIRST SKUA + (unimpressed) + Nope./*(CONTINUED)*//*20.CONTINUED: (2)*/ + +He knocks Mumble down and places his HUGE CLAW on his chest. + + FIRST SKUA (CONT'D) + Ok boys, for once we gonna do dis civilised. Now... + +The FIRST SKUA opens his beak to strike. Mumble has noticed a YELLOW PLASTIC BAND around the Skua's leg. + + MUMBLE + Hey! What's that on your leg? + +The FIRST SKUA halts his attack. + + FIRST SKUA + Interesting you should ask? + + OTHER SKUAS + No! No! Don't startim on that! + +He turns and whacks the other SKUAS over the head with his wing. + + FIRST SKUA + Shaddap! The flipperbird aksed me a question. + (fixing Mumble with a crazy bloodshot eye.) + I got two words for ya: "Alien Abduction". + + OTHER SKUAS + (groaning) + ... Now of all times ... Always before we eat + + FIRST SKUA + Quiet ya ignorant morons! + (to Mumble) + ...a lotta folks don't believe this but ...dere's somet'in out dere. Creatures. Not like us. Bigger...Fiercer...smarter, too. + +MUMBLE takes a few steps back, looking for an escape. The FIRST SKUA towering over him... + + FIRST SKUA (CONT'D) + Aks me how I know./*(CONTINUED)*//*21.CONTINUED: (3)*/ + + MUMBLE + How...? + + FIRST SKUA + `Cos I bin capture by em that's how! I seen `em! + +Mumble keeps backing off, feigning interest... + + MUMBLE + Unbelievable. + + FIRST SKUA + Whaddayamean unbelievable?! It's true! I'm sittin' on a rock, mindin' my own business when suddenly... dere onta me. Dese bein's...like big ugly penguins, fat flabby faces with frontways eyes, no feathers, no beaks...an' dese, dese appendages! Dey probe me, dey tie me up and strap me down...dey take dis pointy t'ing and stick it inta me! Den...blackout! + + MUMBLE + You don't say + + FIRST SKUA + Gets worse! I woke up and there's dis thing on me! + (the leg band) + Go home and every flyinbird starts dissin' me: `Hey Yellaleg'`What's happenin' Whats that on your leg, Yellaleg?' It was humiliatin'!! + + MUMBLE + At least those aliens didn't eat you. + + FIRST SKUA + True. I guess my cries for mercy appealed to their better nature. + + MUMBLE + So - You think I could appeal to your better nature? + + FIRST SKUA + Nice try kid. But No.../*(CONTINUED)*//*22.CONTINUED: (4)*/ + +He opens his beak wide as MUMBLE stumbles backwards and falls into a narrow CREVICE in the ice. + + FIRST SKUA (CONT'D) + Hey! Whatcha think ya doin' down dere flipperbird? Get back up here dis minute! + +The other Skuas move in to help. MUMBLE cowers in the CRACK as they spear at him with their beaks. + + SKUAS + ...Come on, out witcha! ...Ya sneaky-ass flipperbird! + +They can't get hold of him. Frustrated, they turn on the FIRST SKUA, squabbling and whacking each other with their wings. + + SKUAS (CONT'D) + ...Great, Yellaleg. ...What did we tell ya ...ya leddim geddaway, dincha with ya screwy alien talk. + + FIRST SKUA + Hey, Don't peck me or I'll peck you and when I peck you know you've been pecked... + (fade) + +MUMBLE watches from the safety of the crack as they fight and argue viciously among themselves + + MUMBLE (VO) + Compared with that, school almost seemed like fun + +.THE CRECHE + +MUMBLE stands some distance back from where the other young penguins are taking school lessons. + + MUMBLE (V.O.) + Most days I hid at the back, dreaming about the world beyond + +MUMBLE looks up at a cloud that resolves itself into the unmistakable shape of a FISH. As he watches, the cloud morphs into something that resembles a WHALE. Then morphs again into...a SEAL. Then into the shape of an upright CREATURE with bulging eyes and tentacled hands./*(CONTINUED)*//*23.CONTINUED:*/ + + MUMBLE + Time passed. We all grew up + +.TIME LAPSE + +As the class transforms into moulting adolescents + + MUMBLE (V.O.) + But right up to graduation I never did find my heartsong + +.LATER. THE GRADUATION CEREMONY + +Dozens of MATURE ADOLESCENTS...their coats almost fully moulted to reveal the sleek, shiny black and white feathers underneath. They stand in a group talking excitedly until the lead penguin, Caruso, walks up and everyone falls silent + + CARUSO + Graduates, today you leave the safety of our community for the first time, forsaking the trusted solid ice for the terrible magic of the deep. + + MUMBLE (VO) + Caruso. He couldn't help himself. + + CARUSO. + Things are not as they were. For five years now we have known nothing but famine. But you are our hope. Upon your survival depends the very future of the entire Penguin Nation. Dive deep, swim far. May the Great Penguinus go with you. And remember... + +With solemn gravity, CARUSO throws his flippers into the air and shouts. + + CARUSO + Excelsi-yah! Yah yah yah! + + MASSED GRADUATES + Excelsi-yah ! Yah yah yah!/*24.*/ + +.AWAY FROM THE CRECHE + +Follow Mumble as he returns to his parents. In his adult plumage he's distinguishable by a small birthmark, like a bowtie on his chest and a small tuft of down on his head which has not yet moulted off. Music Over: Schools Out by Alice Cooper + + MUMBLE + Dad, Ma, can I go with the others + +NORMA J. puts a protective flipper around her son. + + NORMA-J + I don't know Wishful. I still don't think he's ready. + + MUMBLE + Dad? I'll learn to sing later. I'll find my voice out there. In the deep. Truly. + +Glancing round he sees the class moves off en masse across the ice...heading for the sea. + + MUMBLE (CONT'D) + Dad. Pul-eeeze. + +Wishful leans forwards, pulls off Mumbles tuft with his beak. + + MUMBLE (CONT'D) + Yeooow!! + + WISHFUL + On you go then, buddy + + MUMBLE + Thanks Pop. See ya Ma. + +He races off, Norma J calling after him: + + NORMA J + (calling after) + Remember `Stranger Danger'! Never talk to a seal! + +Mumble turns to wave, falls over, gets up and races on after the others with his strange hippity-hop little gait./*(CONTINUED)*//*25.CONTINUED:*/ + +Watching from a distance, Norma J wipes away tears + + NORMA J (CONT'D) + Oh my. Stupid. I'm sorry... + +Wishful pats her comfortingly + + NORMA J. + (quietly to WISHFUL) + ...You think we'll ever see him again + + WISHFUL + (Shrugs) + Its out of our flippers + +.THE HIGHWAY TO THE SEA + +A high shot reveals the miles of frozen ice that the GRADUATES have to cover to get to the sea. Some are shuffling along on their feet; others are tobogganing.A long way behind them we see the lone figure of MUMBLE racing to catch up. + +.AT THE EDGE OF THE ICE + +The juvenile penguins stand in a bunch, peering down looking for somewhere to dive in. + + GRADUATE PENGUINS + ...What do you think, here? ...Are you kidding? ...How about over here then? + +They shuffle off in a group to a nearby spot. + + GRADUATE + ...That last place looked better. + + OTHERS + ..I agree. ..Much better. + +They all shuffle back to the previous spot and stand there,frozen by indecision + + GRADUATE + ...then again..../*(CONTINUED)*//*26.CONTINUED:*/ + +Suddenly the little dark figure of MUMBLE barrels through the pack, yelling + + MUMBLE + Outta my way flipperbirds! Coming through!! + +For a long moment he's airborne. Then...he hits the water with a strangled squawk!...and disappears. + + GRADUATES + ...What was that? + + ELLA + Mumble? + +They tentatively crane over the edge. No sign of him. They peer into the water. + + GRADUATE + ...Lunatic! ...where did he go? ...See any blood? + +Then... MUMBLE shoots out of the water like a missile... + + MUMBLE + Whatcha waiting for? It's fantast... + (splosh) + +... as he falls back under water again. + + ELLA + Go Mumble! + +Without hesitation ELLA follows him. The others follow ELLA. A few at first, then all of them en masse leap yelling and hollering. + +.SURFACE/ UNDERWATER + +The penguins flounder around, flapping, laughing, and choking + + MUMBLE + I had an instinct I'd be good at this. Actually we all were. We were the best./*27.*/ + +.UNDERWATER + +Transformed into creatures of grace and exuberance, they swoop and dive trailing plumes of bubbles. Over this: the music of THE BEACH BOYS. + + BEACH BOYS + ~"Suntanned bodies and the waves of sunshine. Those California girls and the beautiful coastline. In the warmed up weather, let's get together and do it again..." + +Two PENGUINS shoot up through HOLES IN THE ICE... + +.THE SURFACE + +Skidding out of control, they COLLIDE, ending up in a breathless heap on top of each other. + + ELLA + Mumble? + + MUMBLE + Ella? + +They scramble to their feet...but the ice is slippery. They clutch together, slipping and sliding. + + ELLA + Woah! + + MUMBLE + I've got you! No I don't. + +Leaning against each other, they manage to stand up, close now, eyes meeting. + + MUMBLE (CONT'D) + Yes I do. + +A brief moment then. + + MALE PENGUIN + Hi Ella./*(CONTINUED)*//*28.CONTINUED:*/ + + MUMBLE (V.O.) + The only bad thing about being with Ella. It was always so darned crowded. + +As others pop up all around + + MALE PENGUINS + ...Ella! ...Where da get to? ...there you are! + +Laughing, she dives into the water. The young males follow her. MUMBLE hippity-hops to the edge and tumbles in after her. + +.UNDERWATER + +A half dozen of them gambolling together, their bubble trails intertwining... + + BEACH BOYS + ~"In the warmed up weather, let's get together and do it again." + +Then everyone freezes as a few silvery FISH swim past. + + MUMBLE + ...FISH!! + +They all zero in. Collisions, barging, a bit like water polo when the ball is first thrown in. In an instant...all the fish are taken. + +.ON THE SURFACE + +MUMBLE surfaces with a fish in his beak + + MUMBLE + (muffled) + Ella? You get one? + + ELLA + Not this time. + + MUMBLE + (muffled) + Here, have it./*(CONTINUED)*//*29.CONTINUED:*/ + + ELLA + Thank you Mumble, but it's yours. + + MUMBLE + (muffled) + I want you to have it. + + MALE PENGUIN + Why don't I have it + +Suddenly, A SKUA BIRD swoops down and grabs it. + + ELLA + Hey! That's a felony! Mumble, let go! + +Mumble hangs on. Neither he not the Skua will let go. The SKUA soars higher, taking MUMBLE with him. + + ELLA (CONT'D) + (yells) + Mumble! + +MUMBLE is carried...higher and higher. The SKUA tries hard to shake him off, but finally gives up. + + SKUA + (derisive) + So fly flipperbird. Fly. + +He lets go the fish and MUMBLE plummets downwards, landing Splat! on an ice floe. + +.ON THE ICE. + +Mumble lies still Ella and the others gather around. MUMBLE still has the FISH firmly in his beak. + + PENGUINS + ...Is he breathing? ...he's certainly not eating + +Leaning forward to take the fish + + PENGUIN + ...Maybe I should just... + +Mumble regains consciousness/*(CONTINUED)*//*30.CONTINUED:*/ + + MUMBLE + Hey. The fish is for Ella + (to Ella) + Take it. Really. Its for you + +ELLA leans forward, takes the fish, and daintily gulps it down. + + ELLA + Thank you. + + MUMBLE + (spent) + You're welcome. + +.ON AN ICEBERG. NIGHT + +The entire sky is ablaze with the shimmering LIGHTS of the AURORA AUSTRALIS. The PENGUINS stand below, looking up in wonder. They sing: + + ELLA AND THE OTHERS + ~"Gotta keep those lovin' good Vibrations a happenin' with her, "Ahhhhhhhhhhhhh..." + +The HARMONIES are exquisite until... + + MUMBLE + (very loud and tuneless) + ~"...Good, Good, Good...Good VibRatiOns..." + +The singing STOPS. + + MALE PENGUINS + ...Mumble, ...Knock it off. + +The singing RESUMES. + + ELLA AND THE CHOIR + ~"Gotta keep those lovin' good Vibrations A happenin' with her." + +Another CRESCENDO... + + ELLA AND THE CHOIR (CONT'D) + ~"Ahhh..." + +It's too much for MUMBLE./*(CONTINUED)*//*31.CONTINUED:*/ + + MUMBLE + ~"...AaahhhhHhhhhhhhhhhhhHhhhhhh..." + +This stops the whole thing dead. ELLA pads over to him. + + ELLA + (gently) + Mumble, the thing is... + + MUMBLE + I know. I know + + ELLA + ....It's better if you just listen. + +She returns to the choir. The singing resumes...a perfect harmonic MUMBLE can't help himself. He begins to TAP DANCE. + + ELLA AND THE OTHERS + MUMBLE!!! + + MUMBLE + (retreating) + OK! I'll quit. OK! + +.AN ICE-FLOE + +We find MUMBLE on his own small ice-floe separate from the others on their iceberg. As their singing drifts across to him, MUMBLE does an exquisite little SOFT-SHOE SHUFFLE. + +.TIME LAPSE + +As night slowly pales to a misty dawn and Mumbles lonely floe drifts off, turning slowly in the current Music Over: "The tracks of my tears" + +.MORNING + +He is woken by A NUDGE at his little raft of ice. + + MUMBLE + (sleepily) + Woah. Whose there. + +Another nudge./*(CONTINUED)*//*32.CONTINUED:*/ + + MUMBLE (CONT'D) + OK. I'm awake now. You got me + +He looks around - an unfamiliar landscape of ice - then over the side, seeing nothing but slowly spreading ripples.A more VIOLENT NUDGE from behind almost makes him lose his balance. A DARK SHAPE passes swiftly through the water. + + MUMBLE (CONT'D) + Saw you. Richard? Eddie? Ella.... + +The dark shape SHOOTS out of the water. Its GAPING JAWS missing Mumble by an inch. + + MUMBLE (CONT'D) + ......aaarghH! + +As he recoils, slips and tumbles into the WATER. + +.UNDERWATER/ SURFACE + +Choking, thrashing and gulping air, Mumble SCRAMBLES to get back onto the ice. + + MUMBLE + Everybody out!! LEOPARD SEAL!! + (glub) + +The murderous creature comes at him, jaws open, baring rows of sharp TEETH and MUMBLE swims for his life. The LEOPARD SEAL is relentless, barging through smaller floes, powering around larger ones. Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into the air, landing on a THIN PANCAKE OF ICE that cannot support his weight. + + MUMBLE (CONT'D) + HEEEELP!! + +Mumble scrambles to gain purchase but FALLS BACK INTO THEWATER. Now he is ... + +.UNDER THE ICE SHELF + +...caught between the SOLID ICE above him and the bottomless black WATER below./*(CONTINUED)*//*33.CONTINUED:*/ + +Mumble POWERS ahead, the ice above growing thicker, the angled ceiling forcing him down, deeper into the BLACKNESS. The Leopard Seal opens its mouth. Its GAPING JAWS are about to engulf Mumble when...a little SPECK OF LIGHT appears in the ceiling of ice. Mumble makes a speedy sharp turn, climbing steeply. He is in a FUNNEL OF ICE...getting narrower and narrower as it rises to the surface. The Leopard Seal is CLOSING fast. MUMBLE shoots THROUGH the hole in the ice and into the air... + +.THE ICE-SHELF + +A small group of ADELIE PENGUINS recoil as MUMBLE explodes out of the hole, closely followed by the LEOPARD SEAL. WHAM! THUMP! They belly-flop on the ice . + + THE ADELIES + (wincing) + ...Ouch! ...That's gotta hurt! ...Who ordered seal? + +Mumble is quickly on his feet and out of the Leopard Seal's reach. The ADELIES TAUNT the bulky creature like matadors + + THE ADELIES (CONT'D) + ...Over here ...No over here. Too slow! ...have to lose some weight pesado + +The frustrated Leopard Seal snaps and snarls impotently. + + MUMBLE + Yeah go chase someone your own size, ya big.......blubberhead. + +Taunting it with a cheeky little TAP DANCE. The Adelies love it. + + AN ADELIE + Hey, amigo. Do that again! + + MUMBLE + Do what? + (defensive) + I didn't do anything./*(CONTINUED)*//*34.CONTINUED:*/ + + AN ADELIE + That thing with The feet. + (to the others) + ¡Hola muchachos! + (to Mumble) + Show them! + + MUMBLE + Well...I just kind of go ...like this...and then this... + +Bolder now, he does a few neat steps. + + THE ADELIES + ...¡Oye! Ritmo Cubana! ...¡Riba Riba! Shake those hips! ...Yo penguino, bust a move! + +They COPY HIM, improvising little riffs on his dance step. The LEOPARD SEAL inches up behind them. + + THE ADELIES (CONT'D) + ...Then mebbe something like... ...No. I got it. Watch me! + +An Adelie adds an ACROBATIC variation of his own. The LEOPARD SEAL is almost upon them. + + MUMBLE + Or how about ... + +MUMBLE adds a neatly executed slide just as the LEOPARD SEAL strikes. MUMBLE avoids the lunge and the creature's face comes down hard on the ice + + THE ADELIES + (to the winded Seal) + ...Eat my ice, lardface. ...Kiss my frozen toosh, rubber butt + +They fall about laughing. The Leopard Seal returns to the water. + + LEOPARD SEAL + I know where you live. + + THE ADELIES + ...Yeah, it's called The Land, tubby. ...Flop back anytime!/*(CONTINUED)*//*35.CONTINUED: (2)*/ + +Laughing hysterically at their own jokes they strut off. MUMBLE watches them go. + + ADELIES + ...Hey, ain't you coming, tallboy? ...Or you got something better to do? + +MUMBLE looks out at the endless sea of floating ice-pancakes,all the way to the horizon. Nothing... He shrugs and hurries off after his new friends. + +.FURTHER ON + +A strange cacophony building as The four ADELIE AMIGOS and MUMBLE crest the rise, to see... + +.ADELIE LAND + +A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of them, stretching as far as the eye can see. Its very Rio,very samba, worlds away from the sedate Emperor colony. + + MUMBLE + Wow, there are so many of you! + + THE ADELIES + ...Hey, this is nothin'. ...Used to be twice as many of us. ...Yeah, back when you could still catch a fish. + + MUMBLE + The shortage has affected you too?! + + AN ADELIE + ...Who you calling shortish? ...All I know is a lot of us ain't comin' back. ....And Some folks so hungry they eating rocks + +Sure enough An ADELIE walks by, a PEBBLE in his beak. + + THE ADELIES + (laughing) + ...Eating rocks!!? ...That is major funny./*(CONTINUED)*//*36.CONTINUED:*/ + + MUMBLE + Why funny? That's terrible + + ADELIES + ...Just kidding the rocks are for nest-building ...That's how its works here. The one with the most rocks gets the chicas. ..Chica boom chica boom chica boom boom BOOM! + + MUMBLE + So why aren't you guys collecting them + + THE ADELIES + ..Cos we got personality!. ...Without us the chicas got no boom boom. ...Without us the fiesta will be a siesta.. ...Watch and learn tallboy. + +One of the Adelies calls to a pair of YOUNG FEMALES he sees walking by. + + THE ADELIES (CONT'D) + ...Hola Conchita! + +The Adelies pose, RUFFLING UP THEIR CRESTS into various styles: the MOHAWK, the FLAT-TOP... + + THE ADELIES (CONT'D) + ...See something you like? + +...trying to top each other, they add HIPPITY-HOPS they've just learned from Mumble. The females are intrigued. + + A FEMALE + Hey. Cool. Where'd you learn that? + + THE ADELIES + ...The big guy. ...He from out of town. ...He with us. + + FEMALE + Do it again. + + THE ADELIES + ...Sorry Show's over. + (To mumble as they walk off) + ...Treat em mean and keep em keen/*(MORE)*//*(CONTINUED)*//*37.CONTINUED: (2)*/ + + THE ADELIES (CONT'D) + ...hold back `til the season, when they begging for it. + + A FEMALE + (calls after them) + Yeah guys, in your dreams + + THE ADELIES + ...You see. Some penguins got it, some don't And the Amigos, (in unison) WE GOT IT! + +They punch and bump each other playfully. + + MUMBLE + ....you think I could get some of it? + + AN ADELIE + Hombre, you got so much already, you dangerous. + +He touches Mumble and recoils as if burnt + + ADELIE + Yow! + + MUMBLE + You really think so? + + THE ADELIES + ...You got the biggest personality of any of us. ...Except for me, maybe. ...Put that ego away, Ramon, you gonna hurt someone. + +.THE CONGA LINE + +Music over: Carlos Santana's "Oyé Como Va". + + MUMBLE (V.O.) + So for a while I forgot about finding a song altogether. + +The Adelies and Mumble form a conga, weaving in and out of the nest builders, aiming a kick here and there at their industrious brethren/*38.*/ + +.UNDERWATER + + MUMBLE + ...We were a team + +the Adelies swoop and dive, corralling a FEW SMALL FISH into a CREVICE. The fish, darting to and fro are suddenly confronted by Mumble's OPEN BEAK. + +.ON THE ICE AGAIN + +Mumble shares out the catch + +.AN ICEBERG + + MUMBLE + ...there was so much to do, so much to see + +Mumble and the adeles come shooting down a long curving Slippery dip + + THE ADELIES + ...¡Arriba! ..Addidas amigos! + +As they shoot off the slippery-dip and into the sea mumble whacks his head on the edge of the ice + +.UNDERWATER + +The Adelies shoot back up to the surface. Mumble sinks,slightly dazed, watching the kaleidoscope patters of the surface recede. Music Over: "Ground Control to major Tom" + +.ON THE SURFACE + + ADELIES + ...Where's the tall-boy ...I thought he was with you. + +They jump back in to look for him/*39.*/ + +.UNDERWATER + +Mumble keeps sinking, down down down into a great cathedral-like space, lit by eerie shards of underwater light. + + MUMBLE + ....stuff down there beyond my wildest imagining. + +Imbedded in the base of the glacier, the rusting remains of,An OLD YELLOW EXCAVATOR projecting out of the glacier. It hangs there, inscrutable, like a great yellow totem. Mumble, dwarfed by it, contemplates it for a while, then ventures inside, into the body of the BEAST. + +.INSIDE THE BULLDOZER + +A rusting steering column, a perforated dashboard. He pecks at the metal, trying to taste it, listening to the sound it makes. + +.OUTSIDE THE BULLDOZER + +In the shimmering space outside the bulldozer, the ADELIES congregate. + + THE ADELIES + ... You sure he went in there? ...Mumble! ...Done go near it, looks like it can bite + +One of them swims closer to the great jaws + + ADELIES + Ramos! + +Mumble pops his head out from between the jaws + + MUMBLE + Oh! There you are + +Terrified the Adelies scatter and shoot to the surface like missiles. + + MUMBLE (CONT'D) + Guys! I want to speak to you./*40.*/ + +.THE ICE SHELF + +The Adelies are heading back to their colony as fast as their little legs will carry then. Mumble Hippity hops after them + + ADELIES + ...Forget it ...We're not going back there ...Never + + MUMBLE + But its dead. It can't hurt you + + ADELIES + ...Maybe its got a brother still alive. + + MUMBLE + But that's what we have to find out. Don't you see. Things like that could be eating the fish. + +The idea is so stunningly original it stops them in their tracks. + + ADELIES + Okay. Okay. Here's the plan: we go and ask the revered one. + + MUMBLE + The who? + + THE ADELIES + ...Reverend Loveday. ...The One who Knows ...First we gonna need stones though + + MUMBLE + Why stones? Wait for me + +.LOVEDAY'S MOUND + +MUMBLE and the ADELIE AMIGOS are bunched together, near the head of a LONG QUEUE of Adelies each with a stone or in their beak. At the head of this queue stands LOVEDAY - guardian of a huge pile of pebbles. His head pokes through one of the rings aPLASTIC SIX-PACK CAN HOLDER festooned with seaweed like aHOLY MANTLE./*(CONTINUED)*//*41.CONTINUED:*/ + +A group of Soul singers, mainly female, sway in the background, singing a soulful song of adoration as the Penguin ahead of Mumble steps forward. + + LOVEDAY + First, the devotion... + +The PENGUIN adds his pebble to the pile. LOVEDAY holds up a flipper for silence and a hush falls over the gospel choir + + LOVEDAY (CONT'D) + A moment... + (composing himself) + ... and your question? + + FIRST IN QUEUE + Señor Loveday, My wife is one of the Disappeared ones Tell me is she alive? + +Loveday hyperventillates, his eyes roll up in his head + + LOVEDAY + The Mystic Beings are speaking to me. Yes! She is alive and happy and you are in her thoughts... + + FIRST IN QUEUE + But is she with another male? + + LOVEDAY + One pebble, one question. Next! + +The AMIGOS push MUMBLE forward. He is at least a head taller than the others. + + LOVEDAY (CONT'D) + I sense...you are the one with the question. + + ADELIE + ...How does he do it? ...He just one look and he know. + +Mumble places the pebble on the pile. A long Pause + + LOVEDAY + A little nervous? That's normal. Take your time./*(CONTINUED)*//*42.CONTINUED: (2)*/ + +In fact Mumble is mesmerised by the light catching LOVEDAY's six pack holder. He bends forwards to study it more closely + + MUMBLE + I was wondering. Have You ever been abducted by Aliens? + + LOVEDAY + No time wasters. Next! + + THE ADELIES + ...Señor! That's not his question. He's new here. + (prompting Mumble) + ...The yellow thing ...Ask him what's taking the fish? + + MUMBLE + (ignoring them) + ...you see I met a Skua once, with something like that on his legs.... + + LOVEDAY + ...Skua? Leg? What's he talking about? + + MUMBLE + ... and he said he was abducted by Aliens. + + LOVEDAY + (starts to wheeze and cough) + Listen friend, this is my Sacred Talisman, bestowed upon me by the Mystic Beings... + + MUMBLE + Looks like they bestowed it very tight. + + LOVEDAY + ...during my Epic Journey of Enlightenment to the Forbidden Shore! + + MUMBLE + So these Mystic Beings, did you see them? + + LOVEDAY + I hear them. They talk to me all the time I am their instrument. They chose me to....../*(CONTINUED)*//*43.CONTINUED: (3)*/ + + MUMBLE + Did they have frontways eyes? No feathers? Fat flabby faces? Did they probe you and stick a pointy thing into you? + + LOVEDAY + Enough! How many questions is that? You don't have enough pebbles. + + ADELIES IN QUEUE + ...Yeah, one pebble, one question. ...We've all got stuff to ask, pal! + + MUMBLE + But I haven't had any answers yet! + + LOVEDAY + SILENCIO!! The Mystic Beings are speaking. They say show some respect stranger. Especially to the One who Knows. + +A hush falls over the gathering. + + LOVEDAY (CONT'D) + The reason there are not enough fish is simple: There is not enough love in the world. Love is the answer! + +One cue the gospel choir start singing: All you need is Love + + LOVEDAY (CONT'D) + (over this) + Okay, everybody, turn around to the penguin next to you and give them a great big hug. Come on, everybody...hug! This is a safe place. + +The gathering hug awkwardly. Mumble, because of his towering height, has trouble embracing the Adelie next to him. + + LOVEDAY (CONT'D) + Now. The Mating Season starts today so here's what everybody should do: go forth and multiply! If you'll excuse I myself must retire for a moment to the couch of indulgence... okay ladies, who's gonna be first/*(CONTINUED)*//*44.CONTINUED: (4)*/ + +MUMBLE and the ADELIES are jostled aside in the STAMPEDE of FEMALES as the gospel group break ranks and mob him + + FEMALE ADELIES + ..Me Loveday. ..Me! ..No Me ! + + LOVEDAY + One at a time! And don't touch the Talisman! + + ADELIES + ....I liked him better when he was just plain Pedro. ...Did he say it starts today ...why didn't someone tell us. ...We gotta get to work guys!! + +They start posturing for the any FEMALES they can attract + + THE ADELIES + ...¡Hola Baby! Get your chica boom-boom here. ... Turn round, look at us!. + +A couple of females look up from the scrum + + FEMALE + ...How many rocks you got. + + HER FRIEND + ...Forget `em honey. They only one between the six of them...and they just spent it. + + AN ADELIE + (getting desperate) + Wait. Look. + +The Adelies all start DANCING MADLY, but it is too frenetic,too desperate. + + ADELIES + ...You like it ...Arriba! ...What do you need stones for/*(CONTINUED)*//*45.CONTINUED: (5)*/ + + FEMALE FRIEND + Try sitting on the ice for a month. It might come to you Salsa Boy. Come on, Consuela. + +Rejected, the Amigos stop dancing. + + THE ADELIES + ...Their loss, guys. ...Ramon, where you going? + +Ramon is SEARCHING frantically for PEBBLES. + + RAMON + Gotta be some rocks left here somewhere! + (to Mumble) + Hey big guy, got any love stones over where you come from? + + MUMBLE + We don't collect them. All we have to do is , well... We sing + + AN ADELIE + ...Easy as that? ...So why aren't you over there? + +Mumble looks at them. Then opens his beak and demonstrates: + + MUMBLE + ~La la la la la la la laaaaaaaaaaaaa!! + + THE ADELIES + (to each other) + ...What's he doing? ...Its a distress call ...Its world music ...Get out of here! + + MUMBLE + See. That's how I ended up with you guys. And emperor who can't sing isn't an emperor at all. + + AN ADELIE + Man. You're an emperor all right, You're a king among emperors. The singing we can fix./*(CONTINUED)*//*46.CONTINUED: (6)*/ + + MUMBLE + You can?! + + AN ADELIE + No problem. Which way's this colony of yours? + +Leading off. + + ADELIES + ...We'll all come. ...Yeah I like em tall. ...You jus' gotta do exac'ly as I say. + +.THE EMPEROR COLONY + +It is autumn, the EMPEROR PENGUINS for the mating season. It is just like the GREAT GATHERING we saw at the beginning of our story. Males and females sing their Heartsongs. And ONE SONG stands out from all the others. Where NORMA J. once sang, stands ELLA, now sleek and fully mature. Gathered around her in a semi-circle, a half a dozen adoring MALES. + + ELLA + ~Voulez-vous coucher avec moi ce soir? Voulez-vous coucher avec moi? + +Suddenly she becomes aware of a MELLIFLUOUS MALE VOICE overlapping hers. It has a curious bossa nova rhythm. + + MUMBLE + ~Tall and tanned and young and lovely The Girl from Ipanema goes walking And when she passes each guy she passes goes `Aaaah' + +Ella turns to see: a PENGUIN backlit by the sun, standing HEROICALLY on a little rise, just as WISHFUL did. Ella recognizes those TAPPING FEET. Could this be MUMBLE? She moves closer to investigate. + + MUMBLE (CONT'D) + ~Oh, and I want her so badly How can I tell her I love her? Yes I would give my heart gladly/*(MORE)*//*(CONTINUED)*//*47.CONTINUED:*/ + + MUMBLE (CONT'D) + ~But each day when she walks to the sea, She looks straight ahead not at me...." + + ELLA + Mumble? + + SINGING VOICE + ~Tall and tanned and young and lovely.. + + MUMBLE + (overlapping) + Hi Ella, what do you think? + +Ella, suspicious moves to one side. Mumble moves to block her view. She moves further round and sees: + + THE ADELIE + ¡Hola bonita! + +Obviously he's been singing while Mumble mimes + + ELLA + Mumble, that's just cheap + +She turns and heads off. The Adelie starts after her. + + THE ADELIE + Wait up! You and me baby, we can make sweet music. I may be short but I'm a love god...Ooww! + +Mumble smacks him with the back of a flipper and goes off after Ella himself. + + MUMBLE + Ella. Wait! + +She stops. He takes her by the shoulders Shes upset. + + MUMBLE (CONT'D) + I'm sorry. + + ELLA + (shakes her head, tearful) + When you left without saying goodbye I thought something had happened, then I thought he just doesn't care./*(CONTINUED)*//*48.CONTINUED: (2)*/ + + MUMBLE + Don't care? I never stopped thinking about you. + + ELLA + And then when I saw you singing, for a second I thought... + + MUMBLE + I can't sing. + + ELLA + I know. I know. Its impossible. + +She walks off. + + MUMBLE + But I'll show you something better + +He TAPS an up-tempo, syncopated rhythm on the ice. + + MUMBLE (CONT'D) + Sing something to this! + + ELLA + (her back to him) + What's the point. It's embarrassing + + MUMBLE + Just try it. This once. + +Ella begins to hum Never Can Say Goodbye ironically and without conviction. + + MUMBLE (CONT'D) + Okay, that'll work. Just keep it going. + +The singing ADELIE joins in...acapella, very rhythmic + + THE ADELIE + ~"...turn around you fool You know I love you more and more..." + +Right on cue, the rest of the AMIGOS appear on either side of him, singing back-up./*(CONTINUED)*//*49.CONTINUED: (3)*/ + + THE ADELIES + ~"Tell me why is it so Don't wanna let you go I never can say goodbye, no...no no no..." + +Curious, ELLA TURNS. Framed between the Adelies, Mumble strikes a pose, holds it for a moment... then lets rip. He TAP DANCES... UNINHIBITED, WILD, JOYOUS. The ADELIES accompany him. They know all the moves and it is INFECTIOUS FEET are beginning to tap, couples are beginning to improvise... singing along, trying out the dance steps. Now ELLA is caught up in it. AND MUMBLE IS DANCING LIKE NOPENGUIN HAS EVER DONE BEFORE! + + MUMBLE + This is it Ella! This is the song inside me! + +ELLA is ecstatic. Just when we think the WHOLE COLONY will be swept up into the abandon. A DARK FIGURE steps forward + + CARUSO + (bellows) + STOP...THIS...DEPRAVITY!!! + +ELLA STOPS DANCING. MUMBLE misses a beat, loses his footing,trips and goes sliding across the ice to the feet of CARUSO and the ELDERS. + + CARUSO (CONT'D) + WHAT IS THE MEANING OF THIS ABOMINATION?!! + + MUMBLE + I'm just showing them Happy Feet + + CARUSO + Happy WHAT?! This is an OUTRAGE! + +The ADELIES shuffle uncomfortably. Caruso turns to the rest of the emperors/*(CONTINUED)*//*50.CONTINUED: (4)*/ + + CARUSO. + It is exactly this kind of disrespectful, heretic behaviour that has brought the Scarcity upon us! Don't you see...we are being brought to account by the Forefathers! + + THE ELDERS + ... The kid was never quite the full Penguin. ... It all began the year he hatched. ... That's right! He's the one who brought the blight! + + MUMBLE + (astonished) + Wait. Wait. You think it's my fault that there are no fish?!! Doing Happy Feet can't cause a food shortage. + + AN ELDER + ...then what did?! + + MUMBLE + My own opinion? I think living beyond the ice there are creatures we've never met before Aliens. Mystic Beings. Big, flabby...... + + ELDERS + (pushing in) + ...He has abandoned the faith. ...He has driven the fish away. + + THE ADELIES + (protecting Mumble) + ...Come on hombre, loosen up, ...the tall guy was just trying to.... + + AN ELDER + Don't touch me! Heathen!! + +He BATS the ADELIES aside like skittles. Mumble intervenes + + MUMBLE + BACK OFF, YA SCREWY-ASS FLIPPERBIRD! + + THE ELDERS + (enraged) + ...Skua talk!! He's talking Skua talk!/*(MORE)*//*(CONTINUED)*//*51.CONTINUED: (5)*/ + + THE ELDERS (CONT'D) + ...He's the spawn of evil!! ...The devil penguin!!! + + MUMBLE + This is craziness + + A VOICE + No, Son they're right. + +Wishful emerges from the crowd + + MUMBLE + You too pa?! + + WISHFUL + Truth is, I'm the cause of it. I dropped the egg. I made you how you are. If only you'd come back to us, relinquish the dark side + + MUMBLE + No. Dad. No. What have they done to you. You're talking like Caruso. + + WISHFUL + Just do it. Pray to the Forefathers for forgiveness. + + MUMBLE + No. You're nuts. All of you. I'm outa here. + +MUMBLE walks away. The community part to let him go. Ella chases after him. + + ELLA + Wait! Mumble! + +Catching up with him + + MUMBLE + Its no use Ella. I can't live with that. + + ELLA + Can you live without it? + +He stops./*(CONTINUED)*//*52.CONTINUED: (6)*/ + + ELLA (CONT'D) + I believe in you, Mumble. But without the huddle we can't make an egg. Without the egg, what are we here for? + + ADELIES + ...True ...That's a big question + + MUMBLE + Guys. Can Me and Ella be alone for a bit + +The Adelies give them space + + MUMBLE (CONT'D) + OK. Here's what I'm going to do. I'm going to talk an alien. I'm going to find what's causing the shortage + + ELLA + But what about?... + + MUMBLE + Its the only way. You're right. Unless we have food theres no future for any of us - you, me the adelies, anyone + + ELLA + But... + + MUMBLE + Give me a year, just until the next great gathering. If I don't make it back ....at least I tried + + ELLA + But... + + MUMBLE + Now go back. I love you. Go. + +Ella returns to the community. As she does so, CARUSO begins to CHANT the Gathering answers. + + CARUSO + "Together we stand" + + ALL + "Divided we freeze."/*(CONTINUED)*//*53.CONTINUED: (7)*/ + + ALL (CONT'D) + Recite the Wisdoms! + + ALL (CONT'D) + "In the Wisdoms we trust." + + CARUSO + "When all others leave..." + + ALL + "We Remain." + + CARUSO + Louder. More fervent bretheren. "When the Sun vanishes..." + + ALL + "We Remain." + +ELLAS watches through tears as the tiny figures of Mumble and the Adelies dwindle to specks and disappear into the mist. + +.THE ICE SHELF + +Mumble and the Adelies have put the colony far behind,trekking homewards + + ADELIES + Tell me again where we're going. + + MUMBLE + To find the mystic beings. + + ADELIES + How do we know where they live. + + MUMBLE + We'll ask Loveday. He's been there. + +.ADELIELAND + +Most of the Adelies are sitting on nests. The Adelies and Mumble trek past them a protective mother takes a peck at them. + + MOTHER + ...Not so close. We got babies on board + + ADELIES + ...Wow. Does nesting make em touchy/*(CONTINUED)*//*54.CONTINUED:*/ + +They find LOVEDAY at the back of what is left of his PEBBLEPILE. He sits leaning against it...exhausted. + + THE ADELIES + ...LOVEDAY, you okay?? ...what happened ...Too much boom-boom for one penguin? + +MUMBLE kicks a bunch of pebbles at him. + + MUMBLE + Just one question! And I want a straight answer! Where do I find the Mystic Beings? + +LOVEDAY tries to raise himself up. A tight low gurgling rumbles from his throat. + + AN ADELIE + Why don't he speak? + +LOVEDAY gurgles and points wildly to the SIX-PACK PLASTIC round his neck. + + AN ADELIE (CONT'D) + Talisman...sounds like Talisman!! + +LOVEDAY coughs. His eyes bulge. + + ADELIES + ...He's possessed! ...It's a seizure! + + MUMBLE + No. He's choking! The Talisman's gotten way too tight. + + THE ADELIES + ...Why din' you say so? ...Hold on we gonna take it off. ...You pull that side, I pull this side. + +They tug at the SIX-PACK PLASTIC. LOVEDAY GASPS AND WINCES. + + MUMBLE + Stop. You're hurting him. + +The Adelies back off./*(CONTINUED)*//*55.CONTINUED: (2)*/ + + AN ADELIE + Any better? + +LOVEDAY gives a little `so-so' gesture with his flipper. + + THE ADELIES + ...It not gonna come off. ...Of course it's not! It's sacred! + + MUMBLE + LOVEDAY, where did you get it? + + THE ADELIES + ...It was bestowed on him. ...By the Mystic Beings! + +LOVEDAY shakes his head sadly. + + MUMBLE + They didn't bestow it on you? + + THE ADELIES + ...Poor Guy. ...He don't know what he's saying. + + MUMBLE + If it wasn't bestowed, what happened? + +LOVEDAY mimes swimming. + + THE ADELIES + ...Oh, this one's easy. ...He swam.... ...On his Hectic Journey of Delightenment... ...To the Forbidding Shore. + + MUMBLE + And then....? + +LOVEDAY mimes the talisman going over his head. + + AN ADELIE + ...Well to me that's gotta be bestowing. + +LOVEDAY shakes his head, `no'. He stretches his neck. + + MUMBLE + You looked up and...... It just got caught around your neck?/*(CONTINUED)*//*56.CONTINUED: (3)*/ + + ADELIES + ...No way. No. He's the revered one ...He speaking symbolically. + +LOVEDAY hangs his head. A TEAR slides down his beak. + + MUMBLE + (gently) + Loveday, did you ever meet a Mystic Being? Really? + +Beaten, LOVEDAY shakes his head `No' The Adelies are stunned into silence. + + MUMBLE (CONT'D) + But this thing was made by someone. And if we find them, they could take it off. + +LOVEDAY looks up, a glimmer of hope in his eye. + + MUMBLE (CONT'D) + So where do we Go, Loveday + +Loveday Then he makes a strange "Oi, Oi, Oi" sound. + + AN ADELIE + Oh my! Now he thinks he's an Elephant Seal + +LOVEDAY nods and points towards the mountains. + + AN ADELIE (CONT'D) + He wants to go to the top of the mountain. + +LOVEDAY shakes his head. + + MUMBLE + The forbidden place is over the mountains... + +LOVEDAY nods. + + MUMBLE (CONT'D) + ...In the land of the Elephant Seals!!? + +LOVEDAY gestures wildly with his flippers! + + MUMBLE (CONT'D) + ...Beyond the land of the Elephant Seals!!?/*(CONTINUED)*//*57.CONTINUED: (4)*/ + +LOVEDAY nods `YES!!' and falls back in exhaustion. + + MUMBLE (CONT'D) + So who's coming + + LOVEDAY + Oi + +.A MOUNTAIN RIDGE + +The Adelies labour uphill into the wind. LOVEDAY is lagging behind, breathing hard. Even MUMBLE and the AMIGOS are puffing with the effort of the climb. Music Over: He aint heavy he's my brother. + + ADELIES + ...Stop. Enough. We must've gone past it ...Past? Don't kid me. We're not even close. + +Then on the wind comes a faint `Oi, Oi, Oi'. + + MUMBLE + Hear that?! + +As they crest the peak, sure enough, down below: the LAND of the ELEPHANT SEALS. Thousands of them. + + THE ADELIES + ...Refresh my memory do elephant seals eat penguin? ...No, no...jus' krill and fish. ...Sure of your facts are you? + +Not waiting, Mumble launches himself over the other side,slip-sliding down the mountain. One by one the ADELIES follow. + + ADELIES + Well I guess we're about to find out + +.THE LAND OF THE ELEPHANT SEALS + +The beach is literally heaving. MUMBLE and the ADELIES come tumbling and sliding right up to two HUGE SEALS./*(CONTINUED)*//*58.CONTINUED:*/ + + ELEPHANT SEAL 1 + (big-bellied, booming southern voice) + Well roll me over and call me a dugong. What the heck have we got here + +The Adelies bunch up behind Mumble + + MUMBLE + Excuse me, we need directions...to the Forbidden Shore. + + ELEPHANT SEAL 2 + Sure. Just git yourselves over them there hills I'd come with you myself but... + + ELEPHANT SEAL 1 + Woah Woah. You aint told em half of it: over them hills, beyond the great glacier, `n' through the blizzard country. + +The Good Ole Boys are into ONE-UPMANSHIP. + + ELEPHANT SEAL 1 (CONT'D) + Anyhow. Its its forbidden to go there. + + ELEPHANT SEAL 2 + I heard its forbidden to ask how to get there! + + MUMBLE + We're looking for the Mystic Beings + + ELEPHANT SEAL 2 + Mystic Who? + + MUMBLE + Aliens, the ones who made this. + +He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. SEAL 1 lowers it's massive head down to face LOVEDAY. Wheezing he examines the plastic with first with one eye,then the other, before announcing his verdict. + + ELEPHANT SEAL 1 + Blizzard Walkers! Cut you up soon as look at you./*(CONTINUED)*//*59.CONTINUED: (2)*/ + + ELEPHANT SEAL 2 + Cut you up before they look at you. + + MUMBLE + Could they be taking our fish? + + ELEPHANT SEAL 1 + Could be!? I heard they'd take a whole penguin, rip its skin right off and turn it into mush. + + ELEPHANT SEAL 2 + Huh! That's a Picnic! I hear tell they'd take a baby seal and club it to death. With their bare clubs. + + ELEPHANT SEAL 1 + Huh! Clubbing's a Clambake! My Granpappy says they been known to skin a seal from snout to tail in a hot second. + + ELEPHANT SEAL 2 + Your Granpappy don't know squat! What I hear they take your sorry carcass, melt you down, burn you up, take your fur `n' fat and turn you into a wide variety of useful items! + + ELEPHANT SEAL 1 + The hell with "useful" Those critters'd y turn you into a food item! Little popsicle things! Ya hear me? One day you're a big ole whale and the next minute, FUNFOOD!! + + MUMBLE + But If your grandpappys saw them and they survived, maybe they're not so fierce. + + SEAL #1 + You calling me a liar son? + + SEAL #2 + He's calling your grandpappy a liar. And you know what, Maybe he's right. + + SEAL#1 + Why you. Flop over here and say that! + +They start fighting, lunging and flopping on each other/*(CONTINUED)*//*60.CONTINUED: (3)*/ + + MUMBLE + Come on Loveday, lets go + + ADELIES + (running to catch up) + ...Go where? ...didn't you hear what he said ...Its Forbidden + + MUMBLE + They don't know. They've never been there + + AN ADELIE + Stop! I'm hearing voices. The mystical guys. They say: "Your life is perfectly good as it is...forget this stupid mission". + +MUMBLE and LOVEDAY keep trekking. + + ANOTHER ADELIE + Ramon. That was embarrassing, man. + +And reluctantly, he trails after them. As do... + + THE OTHER ADELIES + ...Oh no, don' do this to us. ...I'm a lover not a fighter ...The first sign of Popsicles or funfood of any kind, I turn round and go back + +.THE BLIZZARD COUNTRY + +MUMBLE, LOVEDAY and the ADELIES are tiny specks, struggling over a series of great ridges. + + MUMBLE + So we walked ... and walked .. and kept walking. Over the hills and into Blizzard country + +A SNOW STORM breakes over them. A screaming wind brings total WHITE-OUT. The Penguins have to shout to make themselves heard. + + THE ADELIES + ...Oh man! This is no place for a penguin! ...We should be migrating out to sea by now!/*(CONTINUED)*//*61.CONTINUED:*/ + + MUMBLE + We need to huddle! + + THE ADELIES + Huddle??! + + MUMBLE + Form a moving circle! Share the cold, share the warmth! + +He turns his back to the wind. Immediately the Adelies form a STRAIGHT LINE down-wind from him. + + THE ADELIES + ...Oh yeah, nice. ...That's definitely better. ...Good call big guy. + + MUMBLE + I said a circle! + +They form a little huddle, but as soon as Mumble moves from the upwind position, the Adelies complain. + + AN ADELIE + ...No, no. This can't be right! ...It was better the other way. + +They scurry back into a straight line behind Mumble who cops the FULL BLAST of the GALE. He gives up and marches off into the driving snow. + + THE ADELIES + ...Hey! ...What happened to the Huddle?! + + MUMBLE + (shouts back) + Just keep moving! Toboggan, if you have to!! + +The others lie down, propelling themselves forwards on their fronts + + THE ADELIES + ...Oh no, now I got chest pain ...tell you, this is a good way to get snow blind/*(MORE)*//*(CONTINUED)*//*62.CONTINUED: (2)*/ + + THE ADELIES (CONT'D) + ...just keep moving or you'll get my beak up your butt + +>FLARE OUT TO WHITE + +The blizzard has passed. An eerie stillness. One by one the Adelies get to their feet and waddle forwards to where Mumble and Loveday stand, gazing into the distance. They have finally reached the sea again + + MUMBLE + You think this is it? The Forbidden Shore? + +LOVEDAY chokes out a `yes'. + + ADELIES + ....The way I feel": the "frostbitten" shore ....So what are those black things?. + +Close to the waters edge, the outline of several buildings + +.AN ABANDONED WHALING STATION + +The PENGUINS venture through it, dwarfed by the old flensing-sheds, the chimneys and boiling-vats. Its all now abandoned,and half concealed by snow. Around and above them, there are HOOKS, CHAINS, rusting twisted METALWORK. + + MUMBLE + Hello?! Is there anyone out there? + +An ominous GROANING as some rusting metal plate moves in the wind. + + MUMBLE (CONT'D) + Hello!! + + THE ADELIES + ...No need to shout. ...Yeah, somebody might hear you. ...I think we seen all there is to see round here. + +LOVEDAY is looking at something at his feet./*(CONTINUED)*//*63.CONTINUED:*/ + + MUMBLE + What is it? + +There, imbedded in the ice: another six pack holder. + +.THE SEA ICE + +Mumble and the Adelies venture out onto the weak ice beyond the whaling station, finding more and more of the strange artefacts: a piece of nylon rope, a soda can, a boot. + + MUMBLE + They must be here somewhere. They wouldn't leave all this stuff lying around. + + AN ADELIE + Maybe they invisible. + +.FURTHER ON + +They've reached the edge of the sea-ice. LOVEDAY croaks a warning. He points out to sea. + + AN ADELIE + What is that? + +A WAVE has appeared on the glassy surface of the sea. It is coming towards them, FAST like the bow wave of an IMMENSE UNDERWATER CREATURE. + + MUMBLE + A whale? + + AN ADELIE + As long as it's a good whale, not the other kind. + +The wave is coming CLOSER. + + ANOTHER ADELIE + What other kind?!! + +A massive BLACK DORSAL FIN breaks the surface. + + MUMBLE + The ones with teeth!! + +The PENGUINS are off and running.../*(CONTINUED)*//*64.CONTINUED:*/ + +The DORSAL FIN keeps coming like the blade of a demonic carving knife. Then the monstrous fin disappears and KABOOM! The killer whale breaches the ice AHEAD of them, cutting off their retreat. They are left stranded on a free-floating ICE FLOE + + THE ADELIES + ...Jump! ...Swim for it! + + MUMBLE + No!! Stay on the ice pad where its safe + +The little floe is wobbling crazily + + THE ADELIES + ...You call this safe amigo? ...Maybe we should split up. ...You split up I'm staying right here. + +The KILLER WHALE breaches again, rising like a tower block out of the ocean. + + THE ADELIES (CONT'D) + Woooaaaahhh!! + +The ICE PAD flips, flinging them into the water like a handful of peanuts. + +.IN THE SEA + +The PENGUINS head for shore , swimming for their lives. LOVEDAY, thrashing and wheezing, is unable to keep up. + + MUMBLE + (stops) + LOVEDAY! LOVEDAY!! + +He swims back. The KILLER WHALE is about to take them both inone bite. MUMBLE pulls LOVEDAY aside, but he's not quite quick enough: one of the Whale's outer teeth catches LOVEDAY by the SIX-PACK PLASTIC and he is DRAGGED AWAY, tethered to the KILLER WHALE like Captain Ahab. The WHALE thrashes around wildly trying to dislodge the hapless little penguin until.../*(CONTINUED)*//*65.CONTINUED:*/ + +LOVEDAY is FLUNG high, high into the air and... SPLASHES DOWN some distance away. The KILLER WHALE is left with the SIX-PACK PLASTIC lodged in its teeth. + +.ICE SHELF + +MUMBLE and LOVEDAY scramble onto the ice exhausted. Wondering where the next attack will come from, the AMIGOS huddle nearby. Suddenly the ICE SHELF CRACKS OPEN and the KILLER WHALE soars right over the top of them It hits the water but does not stop, just keeps going right on out to sea. The Penguins have no time to reflect on their good fortune. Theres an EARTH SHATTERING NOISE behind them . Turning they see a vast BLACK SHAPE, a hundred feet high, coming at them through the fog. The ADELIES flee across the ice. MUMBLE stands transfixed by the BIG BLACK SHIP towering above him. On the deck he sees HUMAN FIGURES... + + MUMBLE + Aliens?! + +The pack-ice is BUCKLING AND EXPLODING ahead of the GREAT JUGGERNAUT. + + MUMBLE (CONT'D) + Stop! Please!.... + +From a safe distance the ADELIES stop and look on in amazement as Mumble stands his ground, shouting up at THE SHIP as it advances towards him. + + MUMBLE (CONT'D) + ...It's very important! + +The ICE beneath his feet OPENS UP, Mumble topples into the gap and The SHIP PASSES OVER HIM, huge propellers churning,leaving a channel ninety feet wide. MUMBLE resurfaces./*(CONTINUED)*//*66.CONTINUED:*/ + + MUMBLE (CONT'D) + WE...HAVE...TO...TALK! + +He chases after the ship. THE ADELIES chase after Mumble... + + THE ADELIES + ...AMIGO-O-O-O! ...LET IT GO-O-O-O-O!! + +Already the ship is half a mile away. + +.THE ICEBERG + +Beyond the last of the ice floes is THE WORLD'S TALLEST ICEBERG. MUMBLE hurls himself onto it and starts scrambling up its precipitous sides. THE ADELIES follow, struggling to keep up. + +.THE SUMMIT + +MUMBLE's POV: THE BIG BLACK SHIP has joined TWO OTHERS about a mile away. The Adelies join him. + + THE ADELIES + ...You found them, you found Aliens! ...Now we go back tell everybody who's taking the fish. + +Mumble's eyes remain fixed on the horizon. + + THE ADELIES (CONT'D) + ...Don't feel bad Tall Guy. ...They were just too fast. Too big. ...Too everything. + + MUMBLE + They've stopped! + + LOVEDAY + Mumble. I owe you my life amigo. And I say this because I admire and deeply respect you. If you are thinking what I think you are thinking. You are out of your crazy head + + MUMBLE + Say Hi to Ella for me/*(CONTINUED)*//*67.CONTINUED:*/ + + ADELIES + You say Hi. Come back and say Hi to her yourself + +Mumble turns, takes a few paces back. + + MUMBLE + Oh. One other thing. You guys + + ADELIES + What? + +Suddenly, MUMBLE turns to the precipice and runs as fast as he can... + + MUMBLE + Excelsi yah!!! + +As he launches himself into space... + +.WIDE SHOT + +The tiny penguin soaring off the top of the ICEBERG. THE ADELIES rush to the edge as, far below Mumble HITS THEWATER. And vanishes. + + THE ADELIES + ...can you believe that ...brought us all this way and killed himself ...no he didn't! look! + +Far out he has surfaced and is swimming strongly in direction of the BIG BLACK SHIP. + + THE ADELIES (CONT'D) + ...A dive like that, and still he lives! ... Yeah like when he did his Happy Feet, his feet had wings. ...A normal penguin could never have done it. + + LOVEDAY + You don't think we should go with him + + ADELIES + ...Don't sweat it Revered One. Many are called, few are chosen./*(MORE)*//*(CONTINUED)*//*68.CONTINUED:*/ + + ADELIES (CONT'D) + ..Hey, how tall you think the Tall Guy was? ...Who could say? Four times my height at least... + +Loveday follows behind + + LOVEDAY + About this Revered One stuff, you guys + + AN ADELIE + Yeah + + LOVEDAY + Maybe just call me Pedro + +.THE OPEN SEA + +MUMBLE PLOUGHS THROUGH a rolling sea: towering waves block everything from view but on the crests he catches sight of... THREE BLACK SHIPS, far ahead, but stationary, as if waiting for him. + +.LATER + +He's getting closer. The ships are only half a mile away when Something rises from the deep, threatening to engulf him: a HUGE NET, TEEMING WITH FISH. Mumble shoots out of the way, just avoiding being caught as. UP AHEAD The great NET FULL OF FISH breaks the surface of the water and is winched on board. + + MUMBLE + (yells) + HEY! YOU CAN'T DO THAT! WHAT ABOUT US?! THE SCARCITY! THE SCARCITY!! + +As if in response the ship's ENGINES START UP again and the sea around him erupts in churning foam. Swamped by the wake, Mumble goes under. When he resurfaces,THE SHIP is already on its way./*(CONTINUED)*//*69.CONTINUED:*/ + + MUMBLE (CONT'D) + HEY YOU THINK YOU'RE GONNA GET AWAY WITH THIS?!! NOT IF I CAN HELP IT YOU SHIT-SQUIRTER ALIEN CREEPS. + +He takes a deep breath and resumes his pursuit. + +.OPEN OCEAN + +The SEAS are MOUNTAINOUS. There is no sign of the ship now,nor of land. MUMBLE swims up the side of each wave, over its foaming crest and down into the deep dark valley below. + +.LATER + +The air is full of spray. Choking, MUMBLE ducks under the water. + +.UNDERWATER + +Its peaceful here. Then something moves beside him and turns with a start to see: A MASSIVE EYE!!A BLUE WHALE entirely fills his field of vision. It sings a few booming Wagnerian notes. Its voice is almost deafening. + + MUMBLE + Too loud. + +He surfaces, spluttering. + + MUMBLE (CONT'D) + Too loud! + +A VOICE calls to him from above. Mumble looks up. An ALBATROSS hovers overhead. + + ALBATROSS + He's looking for a mate, mate. And these days, I tell you they're few and far between + +From the ALBATROSS' aerial view, Mumble looks tiny next to the MASSIVE BULK of the Blue Whale./*(CONTINUED)*//*70.CONTINUED:*/ + + ALBATROSS (CONT'D) + Talking of which, I never seen a penguin this far out. Watch you don't hit The Convergence mate. + + MUMBLE + The Convergence? + + ALBATROSS + Where the cold water meets the warm, mate. Once you cross it, there's no getting' back. What you trying to prove anyway? + + MUMBLE + I'm trying to talk to the Aliens! + + ALBATROSS + The who? + + MUMBLE + On the black iceberg. The ones taking all the fish! + + ALBATROSS + Them. Fish is just the start of it Mate. Them aliens is the ones who took out the whales. + + MUMBLE + They kill whales! That's impossible + + ALBATROSS + Straight up mate. Biggest creatures ever lived. Decimated, mate. + + MUMBLE + So if I wanted to talk to them, where would I go + + ALBATROSS + Anywhere and everywhere. Over the sea, under the sea, Jees, I've even seen them fly. The great southland's swarming with em + + MUMBLE + Where's that. Do you think the Whale would take me there?/*(CONTINUED)*//*71.CONTINUED: (2)*/ + +The Blue Whale responds with a long mournful "NO-O-O-O" which the Albatross does not need to translate. + + ALBATROSS + No way mate, he won't go anywhere near `em. And neither should you. + +Mumble hesitates, bobbing on the water, weighing the warnings. He makes up his mind and strikes out again swimming towards the convergence. The Albatross, hovering on the wing, watches. + + ALBATROSS (CONT'D) + Don't say I didn't warn you + +The ALBATROSS wheels away. As MUMBLE fights on through the huge choppy waves, the Whale's Wagnerian song booms out, EERIE and FORLORN. + +.THE CONVERGENCE + +We see from above, the BLUE WHALE turning as well, changing course to avoid a change in the texture and colour of the water stretching in a line, as far as the eye can see. MUMBLE swims RIGHT ACROSS THE LINE. + +.A VAST OCEAN + +MUMBLE is a mere DOT now as the GREAT CURRENTS capture him and sweep him away. We pull back through the clouds until the very CURVATURE OF THE EARTH is visible: a blue horizon with no land in sight. + +.SMALL POLLUTED BEACH + +On the HIGH-WATER MARK, amongst the rubbish and the oil slick, we see what looks like a dead animal. It is MUMBLE.A creature in RED GUMBOOTS approaches. Its small hand reaches down and nudges him with a stick. MUMBLE moans and the gumboots RUN AWAY, shouting something unintelligible. With great difficulty, Mumble raises his head to try to see more. Sunlight flares, bleaching to white, as he LOSES CONSCIOUSNESS./*72.*/ + +.A WHITE ROOM + +Scientific books and specimens of birds in large bottles on shelves line the walls. MUMBLE, eyes closed, is lying on a stainless steel table. He opens his eyes to the brilliant glare of an examination lamp. There is movement around him. Voices whispering in an alien tongue. A FIGURE IN WHITE bends over him cleaning the oil from his feathers with detergent. MUMBLE squawks. + + MUMBLE (VO) + When I finally saw one, the Alien was even more hideous than I'd imagined + +A very pretty FEMALE SCIENTIST is smiling down at him. + + MUMBLE (VO) (CONT'D) + ... frontways eyes, no feathers. Big teeth with blood around them. Strange fleshy beak. A meat eater + + MUMBLE (CONT'D) + (terrified) + The - fish - are - ours. Understand? + +But all the SCIENTIST sees is a squawking penguin. + + MUMBLE (CONT'D) + We can't live without them! + +The SCIENTIST produces a syringe and squirts some of it's contents in the air. + + MUMBLE (CONT'D) + Speak Adelie? Skua-talk? + +Another SCIENTIST holds him still while the needle is administered. + + MUMBLE (CONT'D) + Oh no! Not the pointy thing! + +Drowsy now, he is eased into a PADDED CAGE. The SCIENTISTS close the lid, and secure it with straps. + +.IN THE CARGO HOLD + +We hear a feeble thumping from inside./*(CONTINUED)*//*73.CONTINUED:*/ + +Pull back to reveal Mumble's box on a shelf among crates and luggage. Fade in engine noise over as.... + +.ENDLESS SKY + +A 747 drones across the screen, eastwards into the night. + +.DARKNESS + + MUMBLE + I woke in darkness. Unable to move. Was I dead? And if I was dead, where was that light coming from + +Like the light at the end of a tunnel. As if in a dream,MUMBLE ambles towards it. Emerging into + +.PENGUIN HEAVEN + +Bright BLUE SKY, sparkling WHITE CLIFFS OF ICE. + + MUMBLE + Wow. They brought me home + +His voice ECHOES back at him, with a mocking edge. There is something unusual about this place. A plump penguin waddles by + + MUMBLE (CONT'D) + Excuse me, where are we. + + PENGUIN + Heaven. Where d'you think? + + MUMBLE + Oh. So we're dead. Right + + PENGUIN + Dunno. Don't care. We got food. We got water. You hear a seal now and then, but you never meet one. Perfect. + +Mumble is looking around, trying to figure it out + + PENGUIN (CONT'D) + Fish! + + MUMBLE + Where?/*(CONTINUED)*//*74.CONTINUED:*/ + +A fish hits him on the head.A moment later he's knocked flat by a sudden rush of PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins,emerging from holes in the rock face + + PENGUINS + Fish time. Fish time! + +Lying on his back he sees fish tumble from the sky. It's RAINING FISH! + + MUMBLE (VO) + Every day after that, it rained fish in the afternoon. + +His POV, Load after load of fish tumbling out of a clear sky + +.UNDERWATER + +Fish hit the surface and sink + + MUMBLE (V.O.) + Fish on land and fish underwater. + +Mumble pursues one of them. + + MUMBLE + Sometime you got a live one but there was nowhere really to chase it + +He swims SLAP BANG into a sheet of thick glass. ALIEN FACES are pressed against it. Mumble yells and shoots to the surface. + +.THE PENGUIN ENCLOSURE + +High up he sees the viewing gallery. A great CROWD of ALIENS staring and chattering + + MUMBLE (V.O.) + Aliens everywhere, watching you eat, watching you sleep + +Mumble backs away and knocks into the PAINTED HORIZON. He puts out a wing to steady himself and notices a metal tag on it. This place is beginning to upset him./*(CONTINUED)*//*75.CONTINUED:*/ + + MUMBLE + (yells at the aliens) + What have you done to my wing! This is not my home! I want to get out of here! + +The other penguins stand around, immobile, chomping fish. + + OLD TIMER PENGUIN + Guess he's new here + +.THE PENGUIN ENCLOSURE + +Caption: A year later Spectators POV: Mumble stands around, like the others,ignoring the aliens, chomping fish His POV: Day after day, the view constantly the same, except for the groupings of spectators high in the viewing Gallery + + MUMBLE (V.O.) + After a while, you learn to stop fighting it. Stop protesting, take the knocks. + +CU Mumble: A camera flashes. A fish hits him, he doesn't flinch + + MUMBLE (V.O.) + ...just take what comes and live inside your mind + +.THE SAME/ PASSAGE OF TIME + +Another day and another. Night follows day follows night. Spectators come and go. The penguins stand like statues. Though bubbles begin to appear above Mumbles head, snapshots of his past experiences + + MUMBLE (V.O.) + Sometimes I thought about dad and mum. Sometimes the Amigos, and others I'd met along the way. But mostly I thought about Ella, wondering who she ended up with. Whether she had enough food to eat. whether she still remembered our song. + +In the though bubble, Ella has appeared singing never can say goodbye. Mumbles feet begin shuffling to the rhythm/*76.*/ + +.SPECTATORS GALLERY + +Most of the spectators are leaving but one young girls stops and stares + + YOUNG GIRL + Look Mommy! It's dancing! + +She bangs on the glass in her excitement. + +.PENGUIN ENCLOSURE + +Mumble, woken from his reverie, looks up and sees her looking at him. + + MUMBLE + What? What did I do? + +The little girl who is pointing at mumbles feet. Mumble looks down, realizes what his feet are doing, looks up again. + + MUMBLE (CONT'D) + You like that? Well how about this. + +He does a more elaborate step. The Mother shouts in disbelief. Various other spectators come back and join her. Mumbles fellow captives are unimpressed. + + PENGUIN #1 + Oh-Oh, another one gone troppo + + PENGUIN #2 + You think its infectious + + PENGUIN #3 + I sure hope not + +They shuffle away + +.IN THE SPECTATORS GALLERY. + +The aliens, in contrast, are loving it. Already a crowd has gathered, laughing and clapping. + +.NEXT DAY + +The Gallery is packed. Mumble keeps dancing/*77.*/ + +.NEXT DAY + +Theres a riot going on up there. People fighting to get a view. Newspaper reporters, TV cameras. The other penguins in the enclosure have moved back, giving Mumble more space. Every spectator is focussed on him. Mumble is focussed on the spectators. + + MUMBLE (VO) + Yes. Yes. At last something was happening. I was finally getting through to them! + +.THE TRANSPORTER BOX + +A squawking Mumble is thrust inside and the lid slams shut on him. Kerchunk. + +.THE EMPEROR COLONY + +Silence, then across the vast expanse a TINY FIGURE appears on the horizon. + + PENGUIN V/O'S + ...What's that? ...Where? ...Coming from the Inland! + +A couple of Penguins watch the approaching figure. + + PENGUINS + ...Is it a Penguin? ...Is it one of ours? + +.LATER + +Mumble approaches the two sentries. The colony is much diminished: only small groups scattered here and there. + + MUMBLE + Hi, where is everybody!? + + PENGUINS + Who wants to know? + + MUMBLE + I used to live here. When's the Great Gathering?/*(CONTINUED)*//*78.CONTINUED:*/ + + PENGUINS + This is it. I guess + + MUMBLE + This is all that's left? + +Other penguins are gathering to scrutinise the stranger. + + PENGUINS + ... So Who's this? ...Kinda small for an emperor. ...(suspicious) Where did you say you were from? + +Then a female penguin bursts out of the crowd. + + ELLA + Mumble?! Its Mumble!! + + MUMBLE + Ella! Is it you. You haven't changed a bit. + +As he speaks, his eyes are drawn to the huge number of FLUFFY CHICKS following behind her + + MUMBLE (CONT'D) + Are these all yours? + + ELLA + They're my singing students. + + MUMBLE + So. You never.... + + ELLA + Of course not. I was waiting for you. + + MUMBLE + But that's fantastic. I've got so much to tell you - to tell everyone. + (To the gathering crowd) + I found out who's been causing the Scarcity! + + ELLA + Huh?/*(CONTINUED)*//*79.CONTINUED: (2)*/ + + MUMBLE + I know who's been taking our fish! I made contact with Aliens! They're coming here. Right behind me. Listen. + +They listen. Above the wind faint electronic BEEPING SOUND. + + PENGUINS + ...Who's doing all the shouting ...Its Mumble. He's worse than before. + + MUMBLE + No, honestly Aliens will be here soon! You have to believe me. We came in a big hollow bird and they landed on the ice and.... + +CARUSO bursts through the crowd. + + CARUSO. + You again! And still full of the same old nonsense. + + MUMBLE + But its true!! + +The BEEP is quite audible now - a little faster and louder. Curious, Ella ambles round behind mumble tro see what's making the noise + + CARUSO. + Move along everyone. Pay no attention. There's no such thing as aliens + + ELLA + So who fixed him up with this. + +She turns him around to reveal some kind of circuit board glued to his back: a small aerial, winking red lights. A TRANSMITTER.A gasp of fear and astonishment from the penguins. Caruso is momentarily speechless. + + PENGUINS + ...Does it hurt? ....Its not made of feathers thats for sure ...what's it gonna do/*(CONTINUED)*//*80.CONTINUED: (3)*/ + + MUMBLE + It's so they can find me. + (cocks an ear) + That's them now. Listen. + +A distant rumbling, like some monstrous cataclysm is approaching + + CARUSO + You led them here. Are you crazy!! + + MUMBLE + You said they didn't exist. + + CARUSO + They'll slaughter us. Head for the sea! + + MUMBLE + No. Do this. Do Happy feet. + +He starts tap dancing. The penguins are torn, between Caruso's instructions and Mumbles. + + MUMBLES + Its what they understand. They can't talk, they can't sing. They speak with their feet. Do it. + +A few adventurous souls begin to copy him, out of fear if nothing else. As they do so, the sky begins to darken. A strange whirling wind starts whipping the snow around them. The very earth seems to be shaking under them. + + CARUSO. + Now look what you've done! + + PENGUINS + ...its the end of the world. ....Its all Mumbles fault. I told you + +Wishful rounds on them angrily. + + WISHFUL + Just do what the kid says. + +They start dancing./*(CONTINUED)*//*81.CONTINUED: (4)*/ + +Caruso has climbed a small hillock and is ranting like an old testament prophet + + CARUSO + Recite the wisdoms! "Together we stand". "Divided We Freeze". + +Mumble and Ella are dancing through the community + + MUMBLE + Come on, everyone! Happy Feet! It's our only chance! + + CARUSO + "When all others leave, we Remain + + MUMBLE + FEET!! + + CARUSO + CHANT!! + + MUMBLE + FEET! FEET!! HAPPY FEET!! + +The tide is beginning to turn in his favour + + MUMBLE (CONT'D) + That's it! Excellent! ¡Riba Riba, penguinos! Shake those hips. Come on, bust a move!! + + CARUSO. + Adhere to the wisdoms!! The Ancients will protect us + +As he shouts his he is blown off his feet by a tremendous gust of wind Caruso tumbles head over heels as a massive Chinook helicopter rises over the horizon, its massive rotors mashing the air. It swoops down over the penguin nation and lands a little distance away. Music Over: Wanna Dance with Somebody./*(CONTINUED)*//*82.CONTINUED: (5)*/ + +Now the entire emperor community are dancing for all they are worth. + + PENGUINS + ....Aliens. ... I never doubted it for a moment + +Mrs Astrakhan dances past + + MRS ASTRAKHAN + More feelink. BE SPONTANUOUS!! + +Wishful dances over to her, his eyes on Mumble and Ella + + WISHFUL + (dancing) + You know who that is? That's my boy! + + MRS ASTRAKHAN + (dancing) + Know him? He ees my star pupol! I TEACH HIM EVERYTHINGK! + +.BY THE CHINOOK + +HUMAN scientists disembark. Skidoos are kicked into life. We TRAVEL WITH THE SKIDOOS across the ICE-SHELF to the colony Scientists POV: As they stop, lower their hoods and gaze in astonishment. One of them lifts a video cam to record THOUSANDS OF EMPEROR PENGUIN DANCING WITH PURE, ABANDONED JOY. + + MUMBLE (VO) + From that day on, No one quite knows how it happened, but the black icebergs began to disappear and the fish became abundant once more. + +.A CONFERENCE ROOM + +Suited figures are seated round a large table, watching as IMAGES of the DANCING PENGUIN COLONY play on a video screen. Without the music it's less obviously a dance. + + CHAIRMAN + ...So what do you reckon?/*(CONTINUED)*//*83.CONTINUED:*/ + + EXPERT + Yes, quite extraordinary. (stares at the screen) some kind of neurological disorder? a nutritional deficiency perhaps. We'd certainly back the long-term study. + + CHAIRMAN + And the international treaty? + + DELEGATE#1 + Yes. This is exactly the leverage we need for an embargo. No fishing whatsoever...legal, illegal, sanctioned, whatever. + + DELEGATE#2 + So we all step up policing of the pirate factory ships. And we pressure that country to stop their so-called `experimental' fishing. + + DELEGATE#3 + Yes, if our government asks your government to approach their government to call off their fleet... + + DELEGATE#2 + Better if their government hear it from our government via your government... + + CHAIRMAN + What the heck. The amount of publicity this is generating, they'd have world war three if they didn't stop. + +.THE COLONY + +In the confusion of penguins we find MUMBLE, ELLA and their chick + + MUMBLE (V.O.) + Ella's gave up teaching to look after our chick. We take turns looking after her and going to get the fish. + +As we watch, Ella moves off, joining the great to and fro of penguins along the highway to the sea./*(CONTINUED)*//*84.CONTINUED:*/ + +MUMBLE covers his chick protectively, watching his wife walk away. + + MUMBLE (V.O.) + I worry about her, sure. Theres so much big stuff out there it can be kind of frightening. + +We are pulling back now, back from the colony, back from Antarctica. + + MUMBLE (V.O) + But the way I see it. Theres so much out there we don't understand..., + +.SPACE + +Still pulling back + +....the stuff you think is small stuff could actually be the big stuff. + +Keep pulling back from the world, the solar system, the galaxy. + + MUMBLE (V.O) + Or am I not making sense here? + +Further back. Our galaxy is framed in something like a bomb-sight. + + VOICE#1 + Is there a problem? I thought this one was barren. + +.IN THE DOME + +We`re somewhere otherworldly, inside a clear dome the size of a stadium, with a view of the heavens. In the centre of this space, always just out of shot, two ill defined figures are talking, subtitled: + + VOICE#2 + More or less. But one of the stars we're harvesting supports these things here. + +Projected somehow in mid-air A 3-D image of Times square in winter with tiny people milling around in black coats/*(CONTINUED)*//*85.CONTINUED:*/ + + VOICE#1 + So...? + + VOICE#2 + Well. Exactly. But what we didn't know about before was these things here + +An image of the dancing penguins appears. + + VOICE#2 (CONT'D) + Just thought you'd want to see them before...you know. + +The shadowy figure laughs, enjoying the image. + + VOICE#1 + Hmm. Charming + + VOICE#2 + So. We go ahead. Or...? + + VOICE#1 + No. Better leave them be. See what sector twelves got to offer instead. + +The bomb sight moves away from our galaxy to another part of the universe With that the two figures head off across the great shadowy interior. The projector beam catches them, briefly, throwing up the giant shadows of these aliens They look very like huge penguins. As they walking solemnly out of shot with their hands behind their backs one of them breaks step to do a little jig. + +>RUN TITLES + +THE END diff --git a/fountain_scripts/Happy Feet.webp b/fountain_scripts/Happy Feet.webp new file mode 100644 index 0000000000000000000000000000000000000000..d5802be232a6ed9ba85274d3326eb5893a93acf1 --- /dev/null +++ b/fountain_scripts/Happy Feet.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:f0aa9bc919f9782d9baef3839a95fd0b34670f4aa3c12f8beb654a201700aecd +size 25492 diff --git a/fountain_scripts/Heat.fountain b/fountain_scripts/Heat.fountain new file mode 100644 index 0000000000000000000000000000000000000000..77f97a4458df9e517d4b4aaf2d545feeff0ca47c --- /dev/null +++ b/fountain_scripts/Heat.fountain @@ -0,0 +1,5610 @@ +Title: HEAT +Credit: by +Author: Michael Mann +Draft: REVISED DRAFT +Draft date: March 3, 1994 +/*FOR EDUCATIONAL PURPOSES ONLY*//*Converted to PDF by SCREENTALKwww.screentalk.org*/ + +EXT. CEDARS-SINAI - WIDE - DAY + +A monolith with alienating foregrounds. A bus pulls in on Beverly. NEIL McCAULEY and a nurse get off. Neil carries a paper bag and wears white pants like a hospital attendant. Neil is an ice-cold professional: very big, very tough. At 42 his short black hair is graying. He spent eight years in McNeil and three in San Quentin. He got out and hit the street in 1987. Four of the McNeil years were spent in the hole. Neil's voice is street, but his language is precise like an engineer's. He's very careful and very good. Neil runs a professional crew that pulls down highline, high number scores and does it anyway the score has to be taken down: if on the prowl (a burglary), that's fine; if they have to go in strong (armed), that's fine too. And if you get in their way, that's got to be your problem. His lifestyle is obsessively functional. There's no steady woman or any encumbrance. Neil McCauley keeps it so there's nothing he couldn't walk from in 30 seconds flat. ANGLE Right now, he enters the big double doors and pulls a white intern's coat from his paper bag. + +CUT TO: + +INT. CEDARS-SINAI CORRIDOR - TRAVELING TWO SHOT - DAY + +We DOLLY on Neil as he crosses through the long crowded corridor. Patients, nurses, interns and doctors pass by. A P.A. broadcasts occasional messages. PROFILE Neil crosses under an "EMERGENCY" sign and keeps going towards the exit doors. TRAVELING - FRONTAL Neil APPROACHES THE CAMERA. From the other direction two ambulance attendants wheel an old man under oxygen and pass by Neil. + +CUT TO: + +WIDE REAR SHOT Without breaking his stride from the moment he got off the bus, Neil exits through the doors, examines four ambulances parked in the slots, climbs into one and drives off. Maybe he's stolen it. We don't know. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*2.*/ + +EXT. R & C CONSTRUCTION SUPPLIES - ON CHRIS - DAY + +CHRIS SHIHERLIS crosses past stacks of gravel and cement with a white-coated BLACK CLERK. Chris wears a hard hat over a mongol cut, Levi's, black boots and a sleeveless sweat shirt and carries on one shoulder a 150 lb., red, Milwaukee Tool Company case. He looks like a construction worker by day who by night hits L.A's slams, jams and raves. He's 29, from Austin, Texas. Chris is also a highline pro: a boxman who knows five ways to open any safe made. Right now he's buying a hollow core drill. He and McCauley were cellmates in San Quentin Penitentiary from 1984 to 1987. Chris hit the streets in 1988. He's a hot dog and spends money as fast as he makes it. Right now, he and the Clerk exit to the sales counter. + +CUT TO: + +EXT. SALES COUNTER - TWO SHOT + +As they approach, the Clerk goes behind it. + + CLERK + What you working on? + + CHRIS + Drillin' some post holes into concrete ... + + CLERK + (re: tool case) + With that you can ream solid steel. Check, charge, or cash? + + CHRIS + Cash. Put "Jack's Fencing" on the receipt. + + CLERK + $788.30 + +Chris pays; Clerk writes receipt. + + CLERK + (continuing) + ...that a good racket? I ought to get out from behind this counter... + + CHRIS + (takes receipt) + Yeah. + (beat) + Take it easy. + +He leaves with the heavy red case./*Converted to PDF by www.screentalk.org*//*3.*/ + +INT. "TOYS 'R' US STORE" - ON CERRITO - DAY + +MICHAEL CERRITO - at 40 - is looking at a doll house. He's a wide, thick, coarse-featured big man. Sicilian from Sunnyside, he's spent 15 years in Attica, Joliet and Marion penitentiaries. He's strictly a "cowboy": his natural inclination towards a score is "...get the guns and let's go." He's been off smack and everything else for five years. He's clean and sober. He's the nicest guy on the block and a loving father. If you get in his way, he'll kill you as soon as look at you. If you asked him about the contradictions, he wouldn't know what you were talking about. CLOSE OR DOLL HOUSE DETAILS It's 3 x 6 and two feet high. Miniature room sets are inside. Cerrito's thick fingers close the door. He picks it up. WIDEN. He crosses to a counter and MIDDLE-AGED CLERK. + + CERRITO + Wrap this here up. + + CLERK + Yessir. You're going to have a happy little girl. + + CERRITO + Two. I got two girls. + + CLERK + That's nice. + + CERRITO + Yeah. And gimme those three masks there. + +Clerk takes down Clark Gable, Three-eyed Monster, and Beautiful Lady, full-head rubber masks. + + CERRITO + (continuing) + Gimme Donald Duck, too + + CLERK + (does and laughs) + A little early for Halloween? + + CERRITO + Yeah. Halloween's coming early this year. What do I owe you? + +CUT TO:/*Converted to PDF by www.screentalk.org*//*4.*/ + +INT. CONDOMINIUM - A HAND - MORNING + +Slides across the back of JUSTINE'S thigh. JUSTINE'S AND HANNA'S FACES She is 29, auburn, languorous, her eyes are closed and she makes love with her husband, VINCENT HANNA. Pressing her face to his, their hair intertwined... It's morning. We are in an expensive condominium. WIDE The two bodies locked into the rhythms of their love-making, twisted in white sheets. OFF SCREEN a shower runs. + +CUT TO: + +INT. SHOWER - HANNA + +Is in it. The water streams off his body. The glass is misted. He turns off only the hot and breathes fast in the cold spray. OFF SCREEN a cigarette lighter CLICKS. + +CUT TO: + +.BEDROOM - JUSTINE + +smoking, still under the white sheets, watches Hanna dress. + + JUSTINE + ... taking me out to breakfast? + + HANNA + (looks at watch) + Can't. Bosko's waiting.. + + LAUREN + (passing door) + Hi Vincent. Mom, where's my barrettes? + +LAUREN, Justine's daughter, is 15 and tall and anxious. + + HANNA + Hi, sweetie. + + JUSTINE + I saw them on the kitchen + (to Hanna) + Want me to make coffee? + + HANNA + (to Lauren in other room) + No school today?/*Converted to PDF by www.screentalk.org*//*5.*/ + + LAUREN (O.S.) + Daddy's picking me up! We're going to see the new site and then shopping and lunch. + (beat) + They're not on the table. + + JUSTINE + Then I don't know... + (to Hanna) + He's already half an hour late. + + HANNA + He gonna show? Or the son of a bitch gonna stand her up like last time? + +Hanna clips a 2" .38 in his waistband. Justine shrugs and shakes her head. + + JUSTINE + (starting out of bed) + Want the coffee? + + HANNA + I'm out of time... + +He leaves. JUSTINE Falls back on the pillow, disappointed. It's as if she'd been stood-up. The bed sheet falls half off of her. She's exposed, vulnerable. She looks out the window, occluded by light muslin, away from us and exhales. + +CUT TO: + +INT. MACARTHUR PARK, MEN'S ROOM - ON WAINGRO - DAY + +Bare-chested washing at a sink. WAINGRO'S 27. He sports prison tattoos including an Aryan Brotherhood swastika covering his abdomen. He's a graduate of the "gladiator academies," Chino and Tracy. He's dressed in Army and Navy Store gray workman's clothes. He combs his long hair straight back off his round forehead. Now he tucks his shirt in and puts on wrap around shades. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*6.*/ + +EXT. MACARTHUR PARK - WAINGRO + +Waits. His shell jacket is in a tight roll under his arm. Then a garbage truck - a Dempsey Dumpster (the kind with a power forklift on the front) - pulls up. + +CUT TO: + +INT. TRUCK - WIDE - DAY + +Michael Cerrito is the driver. + + CERRITO + You Waingro? + + WAINGRO + Yeah. + +He climbs in. Cerrito pulls out. Waingro - delayed -offers his hand. Cerrito has to wait until he finishes his gear change to shake it. The timing's a little weird. + + WAINGRO + (continuing loud) + You're Cerrito huh? + (pause) + What kinda guy is this Neil? + + CERRITO + (loud) + Okay. Just do like he says. Exactly... like ... he ... says. + +They have to talk loudly over the clapped-out ENGINE'S NOISE. + +CUT TO: + +EXT. ALLEY - ON GARBAGE TRUCK - DAY + +It's ABRUPTLY QUIET. The truck's parked. The two men sit idly. Waingro finishes take-out coffee and tosses the empty. + +INT. TRUCK - CERRITO + +Lights a cigarette. Belatedly, he offers one to Waingro. Waingro lights up. The two men relax under the swirls of blue smoke. + + WAINGRO + You guys always work together? + + CERRITO + All the time./*Converted to PDF by www.screentalk.org*//*7.*/ + + WAINGRO + Real tight crew, huh? + + CERRITO + That's right. + +Awkward pause. + + WAINGRO + This works good, maybe I could go again? + +Cerrito looks at Waingro. He wants to protect his concentration. + + CERRITO + Yeah. Stop talking, slick... + +It ends the conversation. Waingro drums his fingernails on the dash. He's anxious. + +CUT TO: + +.CHEVY TOWTRUCK - ON TOWNER - DAY + +TOWNER'S a sloppy, nondescript man in his 40's. He slouches behind the wheel. A Bearcat 210 Scanner is under the dash and a walkie-talkie on the seat. As in the garbage truck, it's quiet and he waits. Then: + + NEIL (V.O.) + (radio filter) + You ready if I need you? + + TOWNER + (into radio; low) + Yeah. + + NEIL (V.O.) + (radio filter) + Got their air? + + TOWNER + Yeah. + +At a low level we HEAR POLICE CALLS. + +CUT TO: + +INT. AMBULANCE - TWO SHOT - DAY + +Chris and Neil are sitting in the front seat of the ambulance Neil drove away from the hospital./*Converted to PDF by www.screentalk.org*//*8.*/ + + RADIO ANNOUNCER + (radio filter) + ... Daddio's jazz patio on KDCA. Brought to you this fine day, which is A-okay, by Twister. Hey, mister, go out and buy a bottle of that Twister... Wiiiiiine... + + NEIL + Turn it off. + +Chris turns it OFF. A little anxiety develops. + +CUT TO: + +INT. GARBAGE TRUCK - TWO SHOT - DAY + + CERRITO + (checks watch) + Time. + +Waingro stubs out his cigarette in nervous jabs. Cerrito pulls from a paper bag two of the rubber masks he bought and surgical gloves. He and Waingro put them on quickly. Cerrito has the monster mask three eyes and a twisted mouth. Waingro is a beautiful woman. Their movements now are very fast. Cerrito pulls the truck out of the alley. CERRITO'S POV: As we approach the street an armored truck passes by. We fall in behind. At this point we realize these men are going to pull down an armed robbery of this armored truck. But, we turn LEFT. The armored truck went straight. Then we turn RIGHT. However we SEE the armored truck again. It turned left. Our paths will intersect at 90 degrees. Meanwhile: + +CUT TO: + +INT. AMBULANCE - ON NEIL - DAY + +He checks the chamber and then inserts into the grip of his 9mm. Browning a 14-shot clip. Chris works the slide of a Remington 810, 12-gauge shotgun and puts on a welder's helmet. Neil pulls on the rubber mask of Donald Duck and slings a stopwatch on a string around his neck. + + CHRIS + Their response time? + + NEIL + Two minutes, fifty seconds. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*9.*/ + +EXT. STREET - WIDE ON AMBULANCE + STREET BEHIND IT + +The lumbering armored truck approaches... + + NEIL (V.O.) + (calm) + We ought to be down the chute into the escape route in 2:20. + (beat; breath) + Here we go... + +CUT TO: + +INT. ARMORED TRUCK - DRIVER'S POV: APPROACHING AMBULANCE -DAY + +With FLASHERS going. Suddenly it pulls diagonally across the narrow street, as if trying a three point turn: Driver of the armored truck slams on his brakes. + +CUT TO: + +INT. GARBAGE TRUCK - CERRITO'S POV: ARMORED TRUCK IN PROFILE - DAY + +We're accelerating at it. CERRITO'S FOOT punches the accelerator. FRONTAL: GARBAGE TRUCK a prehistoric beast charging at us. CERRITO'S POV: JAMMING at the armored truck. COLLISION We SLAM into it, WIDE: ARMORED TRUCK knocked onto its side, crushes against a wall. + +CUT TO: + +INT. ARMORED CAR - DRIVER - DAY + +Stunned, pinned inside. Their world is sideways. It rains deposit slips. GUARD ONE grabs the radio mike:/*Converted to PDF by www.screentalk.org*//*10.*/ + + GUARD #1 + (into mike) + 211! We're being taken down! + +EXT. ALLEY - ON REAR OF ARMORED TRUCK + +Neil, Chris, Cerrito and Waingro are on the move... + +INT. CHEVY APACHE PICKUP - TOWNER - DAY + +Listens to his BEARCAT POLICE SCANNER, + + DISPATCHER (V.O.) + (radio filter) + Car 74, what's your ETA to the 211 in progress Hoover and 14th? Over. + + CAR 74 (V.O.) + (radio filter) + Car 74. Three minutes. Over. + + DISPATCHER (V.O.) + (radio filter) + Car 74. Take it. Car 37, you're back-up. Car... + + TOWNER + (into radio to Neil) + There's the call. Three minutes. + +CUT TO: + +EXT. STREET - NEIL + +With his radio earpiece starts a CHRONOMETER with a LOUD CLICK. ARMORED TRUCK - CHRIS in a welder's mask with the hollow core drill drives the 10" diameter bit into the truck's armored plating. Neil looks at his stopwatch. WATCH: 28, 29, 30, 31, 32... CLOSE - DRILL BIT SCREAMING of metal as the hollow-core bit tears through steel. SHOTS Neil with his Browning. Cerrito has an AR15 with its stock collapsed. Waingro has a 9mm. Beretta./*Converted to PDF by www.screentalk.org*//*11.*/ + +CHRIS The bit has cut a 10" circle into the side through the armored plating. Now Chris heaves the drill aside, steps away, swings up his shotgun as... CERRITO swings a sledgehammer at the 10" disc. It falls inside as. NEIL pulls the pin and tosses a grenade into the hole. It EXPLODES and pours smoke. + + NEIL + (yelling after it) + Next one blows you up! Out! Now... + (beat;'shouts) + Now! + +INT. ARMORED CAR - GUARD ONE + +Coughing. His mask doesn't work. He lurches for the door... + +EXT. STREET - ARMORED CAR + +Door crashes down, opens, Guard One falls out. Then GUARD TWO. The DRIVER comes out his door. Cerrito grabs him. Neil handles the two Guards. + + NEIL + Up against the wall! + +He yanks their guns away - his 9mm. At the back of each man's head in turn. THE DRIVER tries to twist away as a reflex. Cerrito cracks him in the face with the AR15, driving him to the wall. WIDE: CERRITO + WAINGRO cover the three. Neil moves into the Armored Truck to join Chris who's already inside, ripping it apart, searching. We see him disregard cash. NEIL'S STOPWATCH 1:12./*Converted to PDF by www.screentalk.org*//*12.*/ + + NEIL + (to Chris) + 80 seconds left. Move it. + +WAINGRO behind the Beautiful Lady mask: trying hard to do good. His gun jumps from Guard to Guard to Guard. NEIL looks at Waingro. WIDEN. Waingro's aware of Neil's scrutiny. + + WAINGRO + (to Guard Two) + Flatten - up against it! Higher! + +He slaps the back of Guard Two's head with the gun barrel. + + GUARD TWO + (a big, boastful man, quietly) + ...you didn't have that gun.. + + WAINGRO + What?! + + CERRITO + (cuts in; cool) + That's true, slick, cause you're a real tough guy. But he has the gun. And me, too. So shut the fuck up. + +WIDE Neil and Chris emerge from the van with one manila envelope. + + NEIL + Move out! + (checks watch) + 38 seconds left! + +WIDE: WAINGRO It's like Waingro can't hear. He's fixated with Guard Two. Guard Two turns and looks at him arrogantly - more concerned with his masculine pride than his safety. He'sa stupid man. WAINGRO'S POV: VERY WIDE Things happen slowly./*Converted to PDF by www.screentalk.org*//*13.*/ + + WAINGRO (O.S.) + (quietly) + ...hadda mouth off? In front of them? + +Waingro's arm points out at the man - with the gun at the end - and FIRES. ANGLE Guard Two is blown up against the wall. Driver moves... NEIL leaving, spins. DRIVER reaching for a two-inch hammerless .38 back-up tucked in his boot. As he brings it up... NEIL'S 9MM. BROWNING FIRES TWO HAMMERED-ON SHOTS. CERRITO'S AR15 covers Guard One. Guard One stares at the men in the masks. Once killing begins, he knows what will happen. Cerrito looks at Neil... NEIL angry; nods. CERRITO kills Guard One with THREE SHOTS. ON AMBULANCE Neil literally throws Waingro into the back. + +INT. AMBULANCE - ON CERRITO - DAY + +driving, lays rubber down the alley. ON NEIL at watch. + + NEIL + (disgusted) + Ten. Nine. + (tosses the watch; into walkie-talkie to Towner) + Blew the margin. Here we come. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*14.*/ + +INT. WHITE CHEVY APACHE TOWTRUCK - ON TOWNER - DAY + +We HEAR police dispatcher on the Bearcat scanner. + + TOWNER + (into radio) + One on your tail. + + NEIL + (V.O.) + Here we come. + +Towner drops the walkie-talkie out the window. He's fastened a professional racing harness. + +CUT TO: + +EXT. STREET - REAR SHOT ON AMBULANCE - DAY + +Skidding right into another side street. REVERSE: BLACK + WHITE in Code 3 scraping between the garbage truck and wall -roars TO CAMERA. One cop already has his shotgun up. + +CUT TO: + +EXT. SIDE STREET - WIDE: AMBULANCE - DAY + +Left down the street with FLASHERS going. WIDE PROFILE: AMBULANCE Streaks THROUGH THE FRAME. HOLD and SEE the Chevy towtruck with Towner. TOWNER guns the engine. BLACK + WHITE bounces around the corner, the rear end comes out, skidding left. Towner floors the towtruck. We SEE it's heavy front bumper RAM the police car sideways. + +EXT. GAS STATION - BLACK + WHITE + +Is SMASHED SIDEWAYS into the station, careens off two cars filling up... ANGLE... plows through a rack of pumps, takes out the air and water reservoirs and wraps itself around a lamppost./*Converted to PDF by www.screentalk.org*//*15.*/ + +Towner's towtruck's gone. + +CUT TO: + +EXT. RESIDENTIAL SIDE STREET - AMBULANCE - DAY + +Pulls in and parks. Everyone abandons it, leaving masks, rubber gloves, equipment, outer clothing inside. They cross to a Chevrolet Caprice. They climb in. They pull out. + +CUT TO: + +EXT. GAS STATION - WIDE - DAY + +One cop has a cut forehead, tries to stand. Two more black and whites pull in - flashers going. The driver staggers out from behind the wheel and tries to shake clarity into his head. He sits on the pavement. + +CUT TO: + +EXT. LAX PARKING LOT - WIDE BETWEEN THE CARS - DAY + +Planes ROAR overhead in landings or takeoffs. Yellow vapor lamps glare. It's gaudy with lights. Neil and a man named NATE are parked next to each other facing opposite directions. Nate's 50 - an ex-prize fighter with his nose all over his face in a silver Mercedes. His big muscles have gone to flab. He wears a yellow rayon shirt. He's deeply tanned and pock-marked. Nate functions as a middleman and fence for Neil. All calls from people who want to contact Neil come to Nate. Right now he examines the manila envelope from the armored truck. Neil's in a Lincoln Town car, gray suit, white shirt, no tie. CLOSE: ENVELOPE contains 80 x $20,000 negotiable Treasury Certificates. Nate's counting. + + NATE + A million, six at 40 cents onna dollar's 640. Here's a hundred forty thou front money. Get you the rest, 2-3 days. + +WIDE - FROM THE FRONT Nate gives a large envelope to Neil. + + NATE + What happened out there?/*Converted to PDF by www.screentalk.org*//*16.*/ + + NEIL + I don't want to talk about it. + + NATE + (re-examining securities) + Wait a minute. + + NEIL + What's the matter? + + NATE + (laughs) + You know who these belong to? + + NEIL + (takes manila envelope) + "Malibu Securities ... + + NATE + You know John Van Zant? + + NEIL + No. + + NATE + Malibu Securities is a brokerage he controls. Planned bankruptcies, made out during the S&L's, money laundering... + +Nate pulls T.C.'s. + + NATE + (continuing; laughs) + You ripped off his Treasury Certificates. + + NEIL + So what? He's got insurance. + + NATE + That's the point. On top of collecting his insurance, maybe he wants to buy back his bonds. From him I can get you 60 cents on the dollar instead of 40. Means an extra 320 to you. + + NEIL + Try it on./*Converted to PDF by www.screentalk.org*//*17.*/ + + NATE + You know Cezar Kelso? + + NEIL + By reputation. + + NATE + He's got this score he's putting out and wants you to look at. + + NEIL + What do I need look at his score for? I got my own. + + NATE + He said you'll get near eight figures. Very clean. + + NEIL + (beat; then:) + 9:00 a.M. tomorrow. + + NATE + Take it easy. + +Neil starts the car. Nate pulls away in his Mercedes. WIDE an L1011 ROARS overhead. Neil pulls out. + +CUT TO: + +EXT. ALLEY - WIDE ON PAVEMENT - DAY + +We're looking at chalk outlines of the bodies of Guard one and Driver from the armored truck. The pavement is bloodstained. Bright lights illuminate the crime scene. + + HANNA (O.S.) + Where's the ambulance? + + HEINZ (O.S.) + They dumped it four blocks from here... + +WIDEN TO REVEAL Hanna who we now identify as a police lieutenant of detectives. He's just arrived. The alley's been roped off with sawhorses labeled "crime area." The armored truck with the holed side is still there. One of Hanna's crew, DRUCKER, a black intelligence analyst and technician at 45, was already there. A uniformed SGT. HEINZ was there first and by procedure took command. It's his crime scene./*Converted to PDF by www.screentalk.org*//*18.*/ + + HEINZ + Masks, guns, radios - all left behind. No prints. + + HANNA + What about the crash, the white towtruck. + +Two more of Hanna's crew arrive in an unmarked car and join him: CASALS - bald at 30 and wiry; BOSKO - a huge, oversized man. + + HEINZ + Hasn't turned up. Got a witness: janitor next door. + + HANNA + I.D. anybody? Plate? Description? + + HEINZ + Shhaaapes ... + (beat) + One big. One thin. He heard it... Guy's nearly blind. + + HANNA + (re: body outlines) + What about them? + + DRUCKER + According to the janitor, he... + (Guard Two outline) + Started mouthing off to one of the gunmen. + + HANNA + Oh, that was smart. + + DRUCKER + I figure the other went for... + (points) + ... that gun when the shooting started. One guy called a guard "slick." + + HANNA + "Slick?" + + DRUCKER + Yeah. And they ignored the loose cash./*Converted to PDF by www.screentalk.org*//*19.*/ + + HANNA + 'Cause they had no time, cause they knew our response time, cause they were on our air. + + HEINZ + You recognize their m.o.? + + HANNA + Yeah. Their m.o. is that they are good. Once it escalated into a Murder One beef for all of them after they killed the first two, they popped guard number three 'cause it didn't make any difference anymore, so why leave a living witness? Drop of a hat? They'll rock and roll. Also: the way they went into the side indicates they are equipped to go in on the prowl. So also start looking for recent highline burgularies that have 'mystified' us. + (to Drucker) + Run the "slick" bit to the FBI and see what it kicks out. + + DRUCKER + I called it in already. + + HANNA + (to Casals) + Split the fences. I'll take Cuzomano and Torena. You take the East side. Go through the tapes of who we been listening to. + (to Drucker) + Hang in with Forensics on all physical evidence. + (to Bosko) + How'd they know the route of the van and what it was carrying? Does Gage print the day's routes? What do they do with the printouts? Who collects their trash? Run makes on all their middle management. Did someone give this score up? + (beat) + Check the three guards. See if one of them was a tipster./*Converted to PDF by www.screentalk.org*//*20.*/ + + BOSKO + What's the vibe: home-grown or out-of-town? + + HANNA + Out-of-town. Frankly, I hope they are scoring once and passing through. And I doubt it. + + HEINZ + This going to stay in Area? + + HANNA + This look like boosters working the local Seven Eleven to you? It goes to Major Crime. + (to his crew) + Go to work. + +They move toward the Forensic Unit, scraping tire rubber and measuring distances as we + +CUT TO: + +INT. EARLY 60'S COFFEE SHOP - WIDE - NIGHT + +It's 1963 futuristic: flagstone and rubber plants. Most of the patrons are night people: pimps, hookers, customers, disintegrating couples, etc. We PAN AROUND the interior and settle on a booth by a window. In the booth are Chris and Cerrito on one side and Waingro alone. + + WAINGRO + Anybody want some pie? + +CERRITO looks at Waingro, sips his coffee, and looks away again Waingro is nervous. CHRIS sees something in the parking lot. DOOR - NEIL enters, crosses to the booth, slides in across from Waingro. CLOSE The four men huddle together and talk in a whisper. Neil pulls out three yellow envelopes, presumably full of money. Neil will talk about Waingro in the third person as if he inanimate./*Converted to PDF by www.screentalk.org*//*21.*/ + + NEIL + (whispered) + This is a partial split, but I took out of ours - every - to make up... + (Waingro's) + ...his full end. Because I want to settle him up and get rid of this jagoff right now. + +Cerrito and Chris looks at Waingro. + + CERRITO + Okay. + +Chris nods. Waingro's speechless. Neil flips him an envelope. + + NEIL + (whispering) + Fuck off. + +Waingro doesn't move. + + WAINGRO + (whispered; tense) + I had to dust him! + +Neil grabs the back of Waingro's neck, slams the side of his face onto the table top and flicks the middle finger of his left against waingro's temple. Neil could kill him. + + NEIL + (whispered) + Electricity and chemicals a little fucked up? + (flick) + You a shooter? Speed? What? + +Flick. Cerrito looks around the coffee shop: it's quiet. + + NEIL + (continuing; whispered) + You didn't have to. Now we got extra heat off a clean score. + +Waingro does nothing. Neil shoves him into the corner of the booth. Plates fall. All three get up and walk out. + +CUT TO: + +EXT. COFFEE SHOP, REAR PARKING LOT - WIDE - NIGHT + +Neil, Cerrito and Chris cross past cars./*Converted to PDF by www.screentalk.org*//*22.*/ + +ANGLE - WAINGRO whines, cries and charges into Neil's shoulder from behind and spins him around, wanting to explain to him. This time: NEIL knees Waingro in the stomach. Waingro folds over. Neil slams both open palms on Waingro's ears and knees him in the face. Waingro sprawls over a car hood and falls off. CLOSER - NEIL kicks Waingro in the side driving him between cars where it is more secluded while Cerrito and Chris casually look around and back away to cover him because they know Neil is going to kill him now. As Neil draws his .45 ... + + CERRITO + (low) + Hold it. + +Neil looks. Across the street cruises a black and white. He watches it pass. His attention goes back to Waingro. As his .45 comes up. CLOSER: NEIL turning, mildly surprised. NEIL'S POV: NOTHING Waingro's disappeared. WIDER: NEIL searches under cars, carefully. Nothing. HIGH + WIDE Waingro's gone. Neil with Cerrito and Chris following scan the spaces and shadows as they back out of the large parking lot. + +CUT TO: + +INT. SHIHERLIS APARTMENT - ON CHARLENE - NIGHT + +CHARLENE - twenty-six, in skin-tight black pants and black hair. They're on their way out. The apartment is heavy on computer games, video gear, appliances and children's furniture. Re: envelope:/*Converted to PDF by www.screentalk.org*//*23.*/ + + CHARLENE + (counts the money) + Where's the rest? + + CHRIS + That's it. + + CHARLENE + Eight thousand dollars? You gotta be kidding me! + +Chris enters from the bedroom. While buttoning a shirt, he's mostly oblivious. It frustrates the hell out of Charlene. + + CHRIS + (off-handed) + I squared the bookies and we had to pay off some guy and were short to start 'cause the rest is comin', in a coupla days. So don't sweat it. + (checks watch) + We're late. + +Slips on a boot. + + CHARLENE + Listen to me. "As The World Turns" can get interrupted with a news flash of you splattered all over the street ... + +Pulls on boot two. + + CHARLENE + (continuing; running on) + I can get sent up on an accessory beef. Your son, Dominick, winds up in a home. For $8,000? + (voice breaks) + Honey, for $8,000, it ain't worth the risk. Risk versus reward? Baby? + + CHRIS + Don't worry about money. Neil's got... + (checks watch) + Hey, if we're goin', let's go. + + CHARLENE + Where's the club you were going to open?/*Converted to PDF by www.screentalk.org*//*24.*/ + + CHRIS + Here comes the "showgirl with a future" bit. + + CHARLENE + Shut up! I left for a good thing. + (beat) + Why am I even talking to you? I can't talk to you. All you are is a child growin' older... + + CHRIS + The hell's that mean? + + CHARLENE + It means we're not making forward progress like real adults and you won't listen. + + CHRIS + I told you: me and Neil got planned ... + + CHARLENE + "Me and Neil." I'm married to you, now. This isn't the fucking joint. + + CHRIS + Don't mouth off to me! + + CHARLENE + (screams) + I want out of here! + + CHRIS + (shouts) + Well there's the fucking door! + (opens it) + Only leave Dominick, the bank book and the car keys on the kitchen table! + + CHARLENE + You can keep that other crap! But Dominick goes with me. + +Chris shoves her up against the wall. + + CHRIS + (suddenly low) + I'll find ya and kill you, you bitch, wherever you are - you ever try to take Dominick away from me./*Converted to PDF by www.screentalk.org*//*25.*/ + +He means it. She knows it. He takes the car keys and goes. She's frozen to the spot. + +CUT TO: + +EXT. CERRITO'S BUNGALOW - WIDE - NIGHT + +A modest West L.A. bungalow that's been remodeled beyond neighborhood values. A 1990 Coupe de Ville's in the drive. Cerrito pulls his black '93 Eldorado up behind it. A NEIGHBOR shuts off his sprinkler. Cerrito gets out and pulls the wrapped up doll house out of the trunk. + + ANITA (O.S.) + (to Michael) + Daddy, daddy! + +WIDEN TO INCLUDE ANITA CERRITO (7) running up with LINDA CERRITO (9) not far behind. She jumps into her dad's arms. + +CUT TO: + +INT. CERRITO HOUSE - ON CERRITO - DAY + +Entering: home theater system, Hawaiian art prints in lacquer frames. ELAINE CERRITO - a dark, heavy-set woman who was dynamite at 25 and still sensual at 40 - enters from kitchen and kisses cerrito. + + ELAINE + Hungry? + + CERRITO + Starving. + + ELAINE + (searching) + You okay? + + CERRITO + (nods; gives her envelope) + Put this away. + + ANITA + (whispers) + Daddy, what's in the box? + +She exits to kitchen. Cerrito sits down and pulls Anita onto his lap. + + CERRITO + What do you care?/*Converted to PDF by www.screentalk.org*//*26.*/ + +They start shouting: c'mon c'mon. Elaine enters with her glass of red wine. + + CERRITO + (continuing) + Open it up. + +They run out. He whispers to Elaine who sits on the side of his chair and drapes an arm across his shoulder. Michael Cerrito is a family man and the nicest guy on the block. + +CUT TO: + +INT. UNDERGROUND GARAGE, ENTRANCE - A RECTANGLE OF NIGHT SKY - NIGHT + +Then Neil's Town Car enters down the ramp and passes through. It's deserted and quiet. + +CUT TO: + +EXT. GARAGE - ON NEIL - NIGHT + +Driving away in his personal car, an Eldorado in black. + +CUT TO: + +EXT. SANTA MONICA 3RD STREET - ON NEIL - NIGHT + +It's almost deserted. Neil enters from Arizona Avenue. He's alone. It's windy. The collar of his gray suit is up, the lapels are closed over his white shirt. + +CUT TO: + +INT. HENESSEY AND INGALLS BOOKSTORE - NEIL - NIGHT + +Looks at a large book in the Engineering section. He specifically flips back and forth between full-color plates of electronic micrographs of different kinds of steel. + + EADY (O.C.) + Help you with something? + + NEIL + (looks) + No thanks. + +WIDEN TO INCLUDE EADY TSE - 28, 5'8". Chinese, long black hair to her waist. Her face is high cheek-boned and intelligent. She wears a gray corduroy smock over a turtleneck shirt and jeans. She speaks English in American vernacular with only the slightest trace of an accent./*Converted to PDF by www.screentalk.org*//*27.*/ + + NEIL + (continuing) + You closing in a few minutes? + +Eady leans back against the book case. + + EADY + Yeah. + (yawns) + Excuse me. + (beat) + You interested in metals? + + NEIL + (alert) + No. + (lies) + It's the color reproduction of these plates... + + EADY + We have a first edition of Kandinsky's Theory of Color with hand pulled lithographic prints bound in. Would you like see it? + + NEIL + Sure. + +Crossing store. + + EADY + I see you in here before. + + NEIL + You're open late. Not many open this late. + (beat) + What's your name? + +Holds out hand. + + EADY + Eady. Eady Tse. What's yours? + + NEIL + (lies) + Bukowski. Neil Bukowski. + +He holds onto her hand and stares down into her face. They both smile. She laughs and looks away first. They continue to a rear locked case. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*28.*/ + +INT. HANNA'S CAR TRAVELLING - HANNA - NIGHT + +Floating through the green xenon nightgown, hits a stored number in his cellular phone's memory. + + CASALS (V.O.) + M. C. U. + + HANNA + (cuts in) + Bobby, it's me. + + CASALS (V.O.) + Boss, whoever's fencing the Bearer Bonds is either highline or out-of-town. Everyone's talking about it. No one knows about it. + (beat) + Schwartz went through the indexes on recent surveillance tapes? No armored cars. No witnesses on who stole the ambulance. + + HANNA + Albert Torena call me back? + + CASALS (V.O.) + No. + +CUT TO: + +INT. HANNA CONDOMINIUM - HANNA - NIGHT + +Lets himself in the door. He's beat. He throws his coat at the chair. + +INT. KITCHEN - STOVE + +The dried-out remains of dinner. Hanna roots around, grabs a lamb chop, forgets the rest and goes into the living room. + +INT. HANNA LIVING ROOM - JUSTINE + +sees Hanna, goes back to book. + + HANNA + Hi. + + JUSTINE + Where have you been? + + HANNA + Work. Harvey show or'd Lauren get stood up again? + + JUSTINE + He didn't even call her./*Converted to PDF by www.screentalk.org*//*29.*/ + + HANNA + What an asshole. She okay? + + JUSTINE + She's been in her room all day and won't talk. So "no," she's not okay. And neither am I. + (even tempered) + If I try to create something like a mood between us you back away. I made a great dinner for us. That was four hours ago. + (beat) + At least get yourself a plate... + + HANNA + There's three dead bodies in an alley off Adams. + (beat) + I'm really sorry the lamb got overcooked. + +Justine looks at him, elegantly rises, exits into the bedroom and closes the door. HANNA Looking after her is tired. Very tired. He doesn't know why he said what he did. He regrets it. So he turns on his TV to watch the news and his eyes glaze over. + +CUT TO: + +INT. DINER - GRILLMAN - NIGHT + +Flips eggs, bastes, and covers them. The grill is all quilted steel and immaculate. At the other end of the counter a waiter reads a paper. NEIL AND EADY on stools. + + EADY + What do you do? + + NEIL + (looks at her, then away) + Swimming pools. Institutional. Schools, State, counties. I'm on the sales end./*(MORE)*//*Converted to PDF by www.screentalk.org*//*30.*/ + + NEIL (CONT'D) + (to Grillman) + Let me have another coffee. + (beat) + You like selling books? + + EADY + (simply) + Yeah. Especially fine art books. I study them. + + NEIL + Yeah? Like what? + +A little hesitant, Eady drinks her coffee. + + NEIL + (continuing) + Tell me. + + EADY + There's a Skira edition of Delacroix charcoal sketches, I like... + + NEIL + What else? + + EADY + Asian art work. + +CUT TO: + +EXT. EADY'S HOUSE, BALCONY - NEIL + EADY - NIGHT + +The house is high in the hill's over sunset. They stare down at the City - like an ocean of small lights. From the previous scene we HEAR: + + EADY (V.O.) + The plates are mezzotints. They evoke a feeling Japanese painters called "sabi". They believed there were eight scenes of transcendental loneliness. They painted them over and over again. One is a flock of geese hovering over a field. There's always mist. It's painted just as the leader touches down. + +Pause. They drink scotch in highball glasses. + + NEIL + City of lights./*Converted to PDF by www.screentalk.org*//*31.*/ + + EADY + Yeah. + + NEIL + I flew over the arctic once at 40,000 feet. The moonlight was blue on all the snow. It felt like that. + +There's a long pause. Then: + + EADY + Do you travel a lot? + + NEIL + Yeah. + + EADY + Are you lonely? + + NEIL + I'm alone. Not lonely. + +He pulls her closer. A pre-dawn red band cracks the horizon. + + NEIL + (continuing) + You? + + EADY + I get lonely. + +His hands hold her face as he looks into her eyes and she moves to him. + +DISSOLVE TO: + +INT. BEDROOM - WHITE - NIGHT + +Fills the screen as we PAN ALONG the drapery of sheets to Neil's wide-awake eyes. Next to him Eady's asleep. + +DISSOLVE TO: + +.SAME - HIGH ANGLE OVER NEIL ONTO EADY - LATER + +Neil is dressed now. He stands at the foot of the bed looking at Eady. + +DISSOLVE TO: + +NEIL'S HAND enters with a glass of water wrapped in a paper napkin and sets it on the bedside table./*Converted to PDF by www.screentalk.org*//*32.*/ + +It's odd: a convict's meticulousness. He moves the covers up to her chin. There is to his touch, tenderness, as if they were longtime lovers. We realize what we are seeing is the emotionality Neil McCauley keeps in the closet. + +DISSOLVE TO: + +HIGH + WIDE Neil is gone. He paused for that moment before he left, as if to engrave her image in his memory. + +CUT TO: + +INT. ALBERT TORENA'S APARTMENT - ALBERT TORENA - DAY + +Answers the door. Daylight floods in past the silhouette of Hanna who shoves Torena in the chest, knocking him into the apartment. Hanna, following him in... + + HANNA + You were supposed to get back to me last night. So where the fuck were you, Albert? + + ALBERT + I couldn't break free, man! + + HANNA + I oughta violate your ass right now. + + ALBERT + I was all night hitting up Los vatos like one of those flamenco matador guys. Cuttin' in real smooth. Generating leads and shit. I'm a dancer, man! + +ALBERT TORENA'S an anorexic Latino fence. Hanna scans the apartment. Religious objects crowd the mantle. Fourteen stolen tv's in packing cases in the dining room. + + HANNA + You're a bust-out speed freak jackin' metamphetamine again. + (beat) + I'm in a hurry. + + ALBERT + You talk to my brother, Raoul. He meet you tonight at.../*Converted to PDF by www.screentalk.org*//*33.*/ + + HANNA + No. Right now. + + ALBERT + I implore him, man. But he say "no." + (beat) + He in Phoenix. Tonight's the best I can do for you. The Zebra on Crenshaw. Eleven o'clock. + + HANNA + You be there, too. + + ALBERT + Mon, I go + + HANNA + Be there! + +Hanna leaves. + +.INT - TRAILER - CEZAR KELSO - DAY + + CEZAR + I picked you out to pitch it to first, but don't think you're the only action in town and I'm giving it away. 'Cause I'm not. + +CUT TO: + +WIDEN TO INCLUDE NEIL - who doesn't say anything. CEZAR KELSO'S a large crippled man in a wheelchair. + + NEIL + What is it? + + CEZAR + A bank. On Thursdays it gets cash deposits for distribution to other branches. The branches have to buttress their cash accounts to handle Friday payroll checks from a Toyota and Nissan plant, a steel mill and two refineries. One day a week, Thursday, the main branch carries the full whack. + + NEIL + You want a $100,000 advance, against a full 101. Why?/*Converted to PDF by www.screentalk.org*//*34.*/ + + CEZAR + 'Cause I can get it. 'Cause this is the best thing I seen in three years. 'Cause a screw-up makes 10 percent of nothin' equal nothin'. And 'cause those are the terms and they ain't negotiable. + + NEIL + On the prowl or strong? + + CEZAR + Strong. Through the front door. During the day. + + NEIL + How many guys? + + CEZAR + Four. Three plus a driver. + + NEIL + That's not a $100,000 worth anything. You're giving me an address to what's strictly a cowboy score: "Get the guns and let's go!" We smash, grab and boogie while they hit the alarm. + + CEZAR + Three alarms. And that's why the price. 'Cause you chop-in through the roof the night before on the prowl and bypass 'em. I got circuit diagrams, blue prints, the works. So yeah, they hit the alarms, but nothing gonna happen. + + NEIL + Do I have to kill people? + + CEZAR + I doubt it. Two men have the two keys to open the box. + + NEIL + Full architectural, plumbing and electric, camera placements? + + CEZAR + All of it. + + NEIL + What do you estimate?/*Converted to PDF by www.screentalk.org*//*35.*/ + + CEZAR + Eight point, one. Eight point, two million dollars. + +That gives Neil pause. Kelso gets satisfaction from Neil's reaction to the amount. Then: + + CEZAR + (continuing) + Where's Nate? + + NEIL + He hadda make a call. + (beat) + You're on. + (rising) + Here's five grand earnest money. You get the rest after lunch. + +They shake hands. + +CUT TO: + +EXT. TRAILER COURT, PAY PHONE - NATE - DAY + + NATE + Look, Van Zant. Nobody knew the merch was yours or they would have respected it. Be that as it may: now you get 100% from the insurance company and you're even, plus you can get the bonds back for 60 cents onna dollar. You make an additional 40%. Your operation doesn't skip a beat, and everybody's making out. + +CUT TO: + +INT. MALIBU SECURITIES, VAN ZANT OFFICE - VAN ZANT - DAY + +On the phone to Nate. There's green forest and blue water dioramas inset into wood-panelled walls. + + VAN ZANT + (into phone) + Sure. You got a deal. + + NATE (O. S.) + (phone filter) + Good. Cause there's no percentage in everybody getting their underwear in a twist over this./*Converted to PDF by www.screentalk.org*//*36.*/ + + VAN ZANT + (into phone) + Absolutely. You have your man call me to set the meet. + + NATE (O.S.) + (phone filter) + Usually I'm the mailman. + + VAN ZANT + (into phone) + I don't want to involve extra people. What the fuck do I want all kinds of people meeting each other for? + + NATE (O.S.) + (phone filter) + Okay. + + VAN ZANT + (into phone) + Nice talking to you... + (click) + +Van Zant hangs up. He's a tall avuncular man with a flabby belly and Arrow shirts: an accountant. HUGH BENNY, a very large juice collector, is in the office. + + HUGH + (incredulous) + You gonna deal with these people? + + VAN ZANT + So word hits the streets it's okay to steal my stuff? I'm gonna kill the sonsa-bitches. + +CUT TO: + +EXT. KELSO TRAILER COURT - NEIL - DAY + +Entering from Kelso's trailer, meets Nate halfway to the car. Walking and talking: + + NEIL + I bought it. + + NATE + What I tell you? + + NEIL + The bonds?/*Converted to PDF by www.screentalk.org*//*37.*/ + + NATE + We're on. You call him tomorrow... + (gives slip paper) + ... and set a meet. + + NEIL + How is he? + + NATE + Very cool. He's a businessman. + +They walk to their cars and leave. + +CUT TO: + +INT. LILLIAN'S CAR - LILLIAN AND BREEDAN - DAY + +Pull into Robert's Coffee Shop in Culver City. BREEDAN at 29 he's an ex-Eight Trey Hoover Street Crip with lots of scars who just did five years in San Quentin and is straightening up. He's gangster clean and pressed and it's there in his body movements and eyes. + + LILLIAN + Here it is. + (kisses him) + You okay? + + BREEDAN + Don 't worry, baby. Gonna do good. + +She laughs and drives away. + +CUT TO: + +INT. ROBERT'S COFFEE SHOP, KITCHEN - BREEDAN - DAY + +Enters the kitchen. The manager is SOLENKO - large with gray features, smallpox scars and thinning hair. He's forty-five. NOISE OF DISHWASHER, P.A., POTS CLATTERING. Solenko throws orders together and plates onto the metal counter for waitress to pick up. They shout over the RACKET. + + BREEDAN + (has to shout) + I'm Breedan. You Solenko? + + SOLENKO + (shouts) + Yeah. Fucking hillbilly grill ran didn't show. Been here since 4:30. You know this kinda operation?/*Converted to PDF by www.screentalk.org*//*38.*/ + + BREEDAN + (shouts) + The grill. Yeah. + + SOLENKO + (shouts) + Grill? Empty the garbage, mop out the toilets. You gimme a hard time, I'll find something to violate you back and blow your parole. + (beat) + You kick back 25% of your salary to me under the table. Grierson your parole officer? Right? + + BREEDAN + (shouts OVER NOISE) + Yeah. + + SOLENKO + (shouts back) + Check it out. Change in the back. Hurry up. + +At this point we don't know what David Breedan's doing in this picture. + +CUT TO: + +INT. XYZ DISCOUNT APPLIANCES BACK OFFICE - JOE CUZOMANO -DAY + +Hears a buzzer and looks up. His eyes go to a video monitor. VIDEO MONITOR: HANNA among the racks and tv sets playing the sane soap. + + HANNA (O.S.) + (filtered) + Cuzomano. Open up. + +Joe pushes a button. The electric lock is released. CUZOMANO is a 300-pound fat man. + + HANNA + Whaddaya hear, whaddaya say?. + + CUZOMANO + Hiya, Vincent. About what?/*Converted to PDF by www.screentalk.org*//*39.*/ + + HANNA + About this crew that knocked down three guards yesterday and took a Gates Armored truck. Bearer Bonds. Start making calls. + +Cuzomano starts punching numbers into his phone. + + CUZOMANO + (into phone) + It's Cuzomano. Get me Francis. + (while we're waiting) + How'd I hear about this? + + HANNA + Ridin' the airwaves. On every news channel. Turn on a fucking radio! + (pause) + Try to broker the Bonds. Make some money. Then you'll shift into Flip-o-matic and tell me who they are. And what they are doing next. + + CUZOMANO + (Francis is on the line) + Hey, Francis! + (Francis answers) + That score went down yesterday? + (beat) + Yeah, I'm lookin' to handle all or a piece of the merch. All I got are yo-yo's. One brings me a container of Armani suits? He didn't know they were knockoffs. Schmuck stole knockoffs. They should make stupidity a felony. + (beat) + You hear who they been downed to? + +Cuzomano gets an answer. He shakes his head "no" to Hanna. Hanna's out the door. Cuzomano breathes easier. + +CUT TO: + +EXT. NEIL'S APARTMENT BUILDING - WIDE - DAY + +The Camaro slides soundlessly down Wilshire and into the underground garage of a high-rise, green glass steel. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*40.*/ + +INT. NEIL'S - APARTMENT - NEIL - DAY + +Enters. It's white and barren. A TV SET in one corner on the floor PLAYS a MUTE GAME SHOW. Chris is rolled up in a blanket in front of it. The apartment is lived in by one man. It tells us Neil's personal life is a blank. NEIL comes out of the bedroom with a pillow. He yanks Chris' shoes off. Neil punches a number. RINGING. Then: + + CHARLENE (V.O.) + (phone filter) + Hello? + + NEIL + (into phone) + Chris is here. I called so you shouldn't worry. What's wrong? + +CUT TO: + +INT. SHIHERLIS BEDROOM - CLOSE ON CHARLENE IN BED - DAY + +Charlene rubs sleep from her eyes. Switches hands on the phone. + + CHARLENE + (into phone; wary) + Husband and wife stuff. That's all. + + NEIL (V.O.) + (phone filter) + He can sleep it off here. + + CHARLENE + (into phone) + Thanks, Neil. + +She hangs up and closes her eyes. She hates his guts. + +CUT TO: + +INT. NEIL'S APARTMENT, KITCHEN - CHRIS - DAY + +Is hung over. Neil brings coffee to a Formica table. Chris's shirt from last night is ripped and his lip's cut. He looks like hell. Neil puts his Browning on the table. + + NEIL + What happened to you?/*Converted to PDF by www.screentalk.org*//*41.*/ + + CHRIS + When you going to get some furniture? + + NEIL + When I get around to it. + + CHRIS + My mouth tastes like a sewer. + +Chris crosses to the sink and turns the dish sprayer onto his face and the back of his neck. + + CHRIS + (continuing; comes down) + Charlene's going to leave me. + +Big pause. + + NEIL + (quietly) + Why? + + CHRIS + There ain't no steaks in the freezer. + + NEIL + With everything we been taking? + + CHRIS + Last trip to Vegas and the Superbowl took care of that. When you gonna get an old lady? + + NEIL + When I get around to it. You got something else on the side? + + CHRIS + Nothing regular. + + NEIL + (quiet) + She got another man? + + CHRIS + No. + + NEIL + (quietly) + You sure?/*Converted to PDF by www.screentalk.org*//*42.*/ + + CHRIS + (rising) + Yeah, I'm sure. + + NEIL + Jimmy - whatsisname - Bohunk, in the joint used to say: "On the street you wanna be makin' roves, you don't put anything in your life you can't walk out on in 30 seconds flat if you spot heat around the corner." + + CHRIS + Jimmy Banghart. And to hell with Jimmy Banghart. + (beat) + I'd rather go ten rounds with Jesus Christ than fuck with her. But she and Dominick save my life, man; everyday. Everyday... + + NEIL + So? + + CHRIS + So. + +Their feelings and understanding run deep. Chris is committed to making it work. + + NEIL + Taking delivery from Van Zant on the rest of the armored car cash. I gotta drop a deposit on Kelso. He's got a bank score. + + CHRIS + What about the platinum? It's ready to fall ... + + NEIL + That goes, too. Meet me at the coffee shop at noon. I got stuff to do... + +Neil slips his Browning back into his waistband. + +CUT TO: + +INT. HOTEL ROOM - MARCIANO - DAY + +MARCIANO is Las Vegas sharp at 48: a tall, tanned, ponytailed, middle-aged hustler and sucker for a young chick. His phone is ringing. He answers it./*Converted to PDF by www.screentalk.org*//*43.*/ + + MARCIANO + (into phone) + Hello? + +INT. SHIHERLIS BEDROOM - CHARLENE - DAY + +Drinking coffee, speeding. + + CHARLENE + (into phone) + Alan. + + MARCIANO (V.O.) + (phone filter) + Hey! + + CHARLENE + (into phone) + I've had it with him. I've had it. Can you get us out of here? + + MARCIANO + (into phone) + Absolutely. I got a coupla orders to write. Meet you at 12. + +EXT. HAMBURGER STAND - CLOSE NEIL - DAY + +On phone. + + EADY (V.O.) + (after a pause; phone filter) + Hello? + + NEIL + How you doing? + +CUT TO: + +INT. EADY'S HOUSE - EADY - DAY + +In an ink-stained smock. + + EADY + (into phone) + Neil. I wondered when you'd call. + + NEIL (V.O.) + (phone filter) + I been real busy. + + EADY + (into phone) + Good./*Converted to PDF by www.screentalk.org*//*44.*/ + + NEIL (V.O.) + (phone filter) + Can I see you? + + EADY + (into phone) + I was worried... was just... + (uncomfortable) + ...the one night. You know? + + NEIL (V.O.) + (phone filter) + Not for me it wasn't. + + EADY + (into phone) + Me either. + + NEIL (V.O.) + (phone filter) + Tonight. I'll pick you up at work. + +She hangs up. He wonders about doing this, puts it aside. + +CUT TO: + +EXT. HAMBURGER STAND, PHONE BOOTH - NEIL + +Takes a deep breath. Maybe he's not sure of what he'sinto. It passes. He crosses the counter. Across the street is the Hiawatha Motel in 40's stucco and desert pastels and Charlene's yellow El Dorado parked next to a Lexus in front of Room 18. + + NEIL + (to Cook) + Change for a dollar? + + COOK + There you go, honey. + +NEIL DIALS + + TELEPHONIST (V.O.) + (phone filter) + Malibu Securities. + + NEIL + (into phone) + Yeah. Van Zant. + +Suddenly Neil turns because he sees./*Converted to PDF by www.screentalk.org*//*45.*/ + +NEIL'S POV: ALAN MARCIANO leaves Room 18, waves goodbye to Charlene and crosses to Lexus. + + VAN ZANT (V.O.) + (phone filter) + Yes? + + NEIL + (into phone) + About the merchandise. What's the story? + +In the b.g. Marciano pulls away. + + VAN ZANT (V.O.) + (phone filter) + Give me your number and somebody will call you right back from a different line to set the meet. + + NEIL + (into phone) + 333-6089. + +He hangs up. He waits. The PHONE RINGS. He answers. He says nothing. He nods. He hangs up. He crosses the street lot to the Motel. + +EXT. ROOM 18 - WIDE + +Neil knocks. + + CHARLENE (O.S.) + Yes? + + NEIL + Open up. + +She does. She closes her eyes, resigned to doom. He walks past her into the room. + +CUT TO: + +INT. ROOM 18 - WIDE - DAY + +One unmade bed. Neil looks. At the tacky interior. He crosses to the bathroom and turns on the water. He advances on Charlene who's backing up.- She falls over a waste can. + + NEIL + Who was that guy? + + CHARLENE + I won't tell you./*Converted to PDF by www.screentalk.org*//*46.*/ + + NEIL + Listen... + +Neil kicks the waste can out of the way. It clatters across the room. + + NEIL + (continuing) + We got to know who he is! + + CHARLENE + Nobody, Neil! A liquor wholesaler from Las Vegas. Alan Marciano. + + NEIL + What he tell you? How connected he is? Get you a spot in a show? + + CHARLENE + I figured it out for myself! + +Neil closes in. + + NEIL + Chris is gonna straighten it up with you. And you ... + + CHARLENE + It's too late! I'm sick of it! I'm sick of you. + + NEIL + I'm not part of your situation! + +Charlene gets attentive. She's backed into the corner and can't get any smaller. + + NEIL + (continuing) + Not anymore. And Chris has got two big jobs back-to-bick. You will give Chris this shot. + (beat) + After that, he fucks up, then okay. + (beat) + I will finance setting you up, separate, myself. Dominick will go with you. And my word counts. But right now he is puttin' it all on the line. So for the three of you, you are goin', to give Chris one more shot. + +Neil grabs the whole lower part of her face in one hand. His face is inches from hers./*Converted to PDF by www.screentalk.org*//*47.*/ + + NEIL + (continuing; quietly) + Now that is what it is gonna be . + +Charlene hesitates; then acquiesces. + + CHARLENE + (quietly) + All right. + +Neil leaves. + +EXT. CRENSHAW BLVD. - HANNA'S CAR - NIGHT + +,Weaves through traffic. Horns BLARE. + +CUT TO: + +EXT. ZEBRA CLUB - DOORMAN - NIGHT + +A muscular black man named ALPHONSE has his back to us at the rear delivery entrance to a mall awash with Korean neon. + + HANNA (O.S.) + Gimme all your money! + +Hanna's jammed two fingers in his back. Alphonse spins; sees it's Hanna. + + ALPHONSE + Cuz, one day you get cold blasted with that shit. + + HANNA + Ain't gonna be you, mo-fo. + + ALPHONSE + (low) + Homeboys talkin' about it. Nothin' solid. Just B-boy jive 'bout outta-towners. Crew's from outta town. I hear something; I drop a dime. + + HANNA + You holdin'? + +Alphonse flips Hanna a small vial of coke. + + ALPHONSE + Onna house./*Converted to PDF by www.screentalk.org*//*48.*/ + +Filtering up from downstairs comes 80dB of Jane's Addiction's cover of "Sympathy for the Devil". + +CUT TO: + +INT. FREIGHT ELEVATOR - HANNA - NIGHT + +Descending alone uses a small, black, carbon steel sheath knife to take two hits from the vial. He shakes off the initial blast, pockets the vial, the doors open, Jane's Addiction's LOUDER. We're ... + +INT. ZEBRA - HANNA + +Crosses through the mostly black, affluent crowd of players, gangsters, dopesters, models and security in business suits openly carrying and wearing headset radios. Hanna crosses through like he owns the place, gestures to the bartender and slides into... + +INT. BOOTH - RAOUL TORENA + + HANNA + What do you got? + + RAOUL + (conspiratorial) + This crew's ripping Porsches out of Orange County. Horrell, Piper and Voight. They're working in the back of a trim shop on Irvine. Somebody was to pay him a visit this weekend, they'd find a metallic blue Turbo... + +RAOUL TORENA, Albert's brother, is a thirty-five-year-old with crew-cut black hair and a Varri Uomo sport jacket. WIDEN To INCLUDE Hanna. + + HANNA + ...lookin' for me to rid you of your competition? + + RAOUL + I'm a good citizen. + + HANNA + You got something to say, or what? + + RAOUL + Mi carnal: if I tell you what I got to tell you, how do I know you gonna do what the fuck I just told you I need to get done?/*Converted to PDF by www.screentalk.org*//*49.*/ + +Hanna's gaze drifts up into Raoul's eyes: it's deadly. + + ALBERT + (alarmed) + Raoul, Hanna do what he say! That's why I reached for you.. + +Hanna jerks Raoul by the front of his Verri Uomo which is being destroyed in Hanna's fists. + + HANNA + I'm not your 'carnal, you little motherfucker. + (beat) + And you 'know' 'cause I say so... after I hear what you got to tell me! + + RAOUL + Okay! Okay... + +Hanna throws him back against the bench. + + RAOUL + (continuing) + This is valuable shit! I could get killed telling you this shit! + +Low, flat and deadly: + + HANNA + You can get killed ... walking down the street... + + RAOUL + (whisper) + A dude I knew in McNeil's been out a couple, three years. + + HANNA + Yeah? + + RAOUL + He's an action junkie. If he'd said nothin', I'd a thought nothin'. But he goes on and on into extra overtime on how he ain't been do-in' nothin' and then I know this cat's got something goin' down... + +Raoul leans back in the booth, nods his head, proud of this pearl of information. Hanna looks at Albert like he's crazy./*Converted to PDF by www.screentalk.org*//*50.*/ + + HANNA + (to Albert) + What's wrong with you? You drag me here to waste my time like this? + (to Raoul) + You saw a guy on the street... who's an ex-con? + + RAOUL + Yeah. + + HANNA + ...what do you expect for that? A Junior G-Man badge? + + RAOUL + You gonna make the call on the Porsches? + + HANNA + Are you kidding? + +Hanna gets up to leave. + + RAOUL + I'm telling you this slick is double-duty! A real double blank mo-fo. + + HANNA + What? + + RAOUL + Huh ... ? + + HANNA + You said "slick." + + RAOUL + Yeah, that's what he calls people. "Slick." + +Hanna plays it low key. Hanna sits back down. + + HANNA + Tell me about him... + + RAOUL + (thinks) + Six feet, built. Lotta jailhouse tattoos. Peacock right here. Probably was a shooter once Heavy time: Attica, Marion, could do a nickel or dine standing on his/*(MORE)*//*Converted to PDF by www.screentalk.org*//*51.*/ + + RAOUL (CONT'D) + ear. He's in C-block two days, and in the shower some Muslim comes up into his face and he cuts the guy a new opening for a colostomy bag and goes back to shampooing his hair... + (laughs) + + HANNA + (leans in) + What's his ... name.. + + RAOUL + (easy) + Cerrito. Michael Cerrito. + +CUT TO: + +INT. CAR - HANNA - NIGHT + +On the phone. The back side of downtown is a wall of light moving past as ... + + BOSKO (V.O.) + (filter) + Jacket's two inches thick. 38 busts since 1976. + +INT. LAPD, MCU OFFICE - BOSKO - NIGHT + +Hanna's on the speaker phone. Casals enters. + + BOSKO + (into phone; continuing) + Two for murder one. Eleven for armed robbery. Three convictions. Two out of a three year beef in Attica. Three years in Statesville. Five years in Riker's Island off a knock-back to involuntary manslaughter Narcotics record. Methadone treatment. Two kids. Wife's named Elaine. Strictly a cowboy. + + HANNA (V.O.) + Who else have I got? + + SCHWARTZ + Drucker, Casals and me, boss + + HANNA (V.O.) + Bob, get on the house./*(MORE)*//*Converted to PDF by www.screentalk.org*//*52.*/ + + HANNA (V.O.) (CONT'D) + 24 hour surveillance, title search, the works. Drucker and Casals bug the car and whatever else we need, remembering it won't be evidentiary. + (beat) + When he moves or sits - like in a restaurant. + +INTERCUT WITH: Bosko answers another phone, puts that line on "hold" as... + + HANNA (V.O.) + (continuing) + I want pictures of who he moves and sits with. Then run makes on them and their cars. They got jackets? I want to see who they move and they sit with and give them the same treatment. + (beat) + Bosko. Work the neighborhood. Tail the wife. Look for a drop that could garage a work car and tools. That's it. + + BOSKO + (re: phone) + Richie the Medical Examiner's holding. + + HANNA + (into phone) + Conference him in. + (clicks) + Yeah? Richie? + + RICHIE (V.O.) + Vincent, can you fall by a crime scene on the strip? I think I got another one. + +"Sympathy for the Devil" gets LOUDER and washes across onto... + +CUT TO: + +EXT. SUNSET. BOULEVARD MOTEL AND ALLEY - NIGHT + +Neon under the vapor lamps. O.S. the cacophony of horns and sirens. Pimps and hookers crowd the background. A crime scene area near the garbage cans is roped off. An ambulance, black-and-whites, a Medical Examiner's van clog the alley./*Converted to PDF by www.screentalk.org*//*53.*/ + +CRANE DOWN as Hanna's car pulls in and he approaches the Medical Examiner, RICHIE, 25-35, black, diamond earring, gray lab coat. + + RICHIE + (to Hanna) + Here's how we found her. + +POLAROID - BLACK PROSTITUTE in a nightgown, folded over the lip of a garbage can at the waist. She's a pitiful rag doll. Someone killed her and then threw her away. HANNA is too controlled. Anger's underneath. + + HANNA + How old? + + RICHIE + Sixteen, seventeen. + + HANNA + How'd she die, Richie? + + RICHIE + Blunt instrument. Cerebral hematoma. + + HANNA + Who are they? + +THEIR POV: HEAVYSET BLACK WOMAN and two stunned young boys. She's crying and arguing with two uniformed LAPD trying to hold her back. One LAPD is a black woman. The heavyset woman doesn't really know what happened yet except it's bad. + + RICHIE (O.S.) + (low) + The family. + + HANNA (O.S.) + What the hell are they doin' here? + +RICHIE + HANNA + + RICHIE + (low; shrugs) + It's fucked up. Somebody inside knew the girl and called the family./*Converted to PDF by www.screentalk.org*//*54.*/ + +Now Richie bends over the body bag on the ground and unzips it. We don't see the dead girl. We only see Hanna. A third uniformed officer in the background spins away. + + HANNA + Oh, this is nice. + + RICHIE + I wanted you to see this 'cause I got a feeling it's serial and gonna end up in your court. + + HANNA + Homicide getting anywhere? + + RICHIE + Nowhere. + +Hanna rises. The mother's arguing with the man cop because she wants to see. Horror and hysteria blossoming through shock. She pushes the uniformed cop of the way. Hanna goes to try to help. They grapple. + + MOTHER + (reaches out) + Baby! Where's my baby.! + +Anguish. It's a mess. The woman collapsing into Hanna's arms. For one moment Hanna's eyes lock onto hers. He freezes. One doesn't forget the look he sees in her eyes. + +CUT TO: + +EXT. DRIVE-IN THEATER - CAPRICE WORK CAR - DAY + +driven by Neil to camera appears and disappears up and down the earthwork ramps. We don't know what he's doing in one the last drive-in theaters in California at high noon. WIDE FROM THE REAR The white screen reveals its cracks and patches. CLOSE ON ENTRANCE A yellow full size Dodge pickup with darkened windows enters. It hesitates and then slowly drives toward Neil -up and the ramps between the speaker poles. ON DODGE PICK UP circling wide and coming up almost parallel to the Caprice. As the driver pulls to a stop we see an envelope on the da.../*Converted to PDF by www.screentalk.org*//*55.*/ + + NEIL + You keep your hands in sight! I tell you what to do, how to do it. + + DRIVER + Yessir. I'm just the delivery boy. + +REAR SHOTS Of the two vehicles. Out of the covered bed of the pick-up a small man slowly slips out. MAN crawls under the pick-up and Neil's car and emerges on the passenger side behind Neil's rear wheel in Neil's blind spot. He inches towards the window. He carries a 15-shot Colt .22 Woodsman with a huge silencer. He is totally relaxed and professional. NEIL concentrates on the driver, who's calm. + + NEIL + Now, with your right hand only: throw the envelope in my back seat. + +DRIVER Starts to reach for the envelope and tosses it into Neil'scar. NEIL sees his eyes dart. Neil glances at his right rear view mirror. NEIL'S POV: MAN with the silenced .22. WIDE FROM THE FRONT Neil floors the Caprice and it catapults and bucks over rows of ramps. REAR SHOT - MAN pumps SHOTS into the rear of the Caprice./*Converted to PDF by www.screentalk.org*//*56.*/ + +INT. CAPRICE - NEIL + +Jerks out his 9mm Browning as .22 SLUGS DRILL precise HOLES THROUGH THE WINDSHIELD. + +EXT. DRIVE-IN - VERY WIDE + +Neil throws the Caprice through a skidding 180 degree turn and accelerates toward the man who moves back towards the Dodge pickup for cover. + +INT. PICKUP - DRIVER + +Panics now. The Dodge takes off, abandoning the man with the .22. + +INT. CAPRICE - NEIL'S POV: SKY-GROUND + +PITCH BACK AND FORTH, UP AND DOWN. The Man runs, turns, stands, and FIRES. + +EXT. DRIVE-IN - PROFILE: CAPRICE AND ABANDONED GUNMAN + +Who FIRES until the Caprice smashes into him. + +INT. CAPRICE - NEIL + +Skids around to a stop and bails out. + +EXT. DRIVE-IN - DODGE PICKUP + +Accelerating to the exit lane, kicking up billows of dust. + +INT. PICK-UP - DRIVER'S POV - CLEAR EXIT + +Until Cerrito and Chris fold out from either side of the exit gate with shotguns. They FIRE: + +CUT TO: + +EXT. DRIVE-IN - WIDE + +The windshield is blown out and the Driver's half into the back seat. The car rolls over onto its side. Cerrito FIRES into the exposed gas tank. It BLOWS UP. NEIL approaches the fallen Gunman and with the 9mm. Browning at his temple, kicks away the .22. + + GUNMAN + (coughs blood) + Can I Make it?/*Converted to PDF by www.screentalk.org*//*57.*/ + +Neil looks at his smashed, twisted body and bleeding mouth He's choking to death. Neil shakes his head "no." + + NEIL + You're all done, pal. + + GUNMAN + Do it. + +He closes his eyes. NEIL aims. FIRES ONCE. VERY WIDE FROM THE TOP OF THE DRIVE-IN SCREEN - SUNSET The whole landscape. Neil with the gun heavy at the end of his arm walks from the Gunman to the Caprice. Chris and Cerrito - like duck hunters - cradle their shotguns and cross to a Lincoln away from the burning pickup. + +CUT TO: + +INT. MALIBU SECURITIES, VAN ZANT OFFICE - VAN ZANT - NIGHT + +Phone rings. Occupied, he casually answers. + + NEIL (O.S.) + John Van Zant? + + VAN ZANT + Yeah. Who's this? + + NEIL (O.S.) + Neil McCauley. + +Van Zant reacts, racing, trying to cover. + + VAN ZANT + This kid I sent to straighten you up on the money... didn't call. Is ... uh... everything alright? + + NEIL + (laid back) + Tell you what: keep the money. + + VAN ZANT + What? + + NEIL + (slow) + "... keep ... the ... money."/*Converted to PDF by www.screentalk.org*//*58.*/ + + VAN ZANT + (fast) + It's a lot of money! What are you doing? + + NEIL + (slow) + What am I doin' I'm talking into an empty telephone. + + VAN ZANT + I don't understand. + + NEIL + (matter of fact) + 'Cause there is a dead man on the other end of this line... + +Neil hangs up. Hugh Benny has entered. Van Zant looks at the phone, then Hugh: + + VAN ZANT + (shouts) + Who are these people? Huh?! + +CUT TO: + +INT. CHINESE RESTAURANT, PHONE BOOTH - NEIL - NIGHT + +Is re-dialing. + + KELSO (V.O.) + (phone filter) + Yeah? + + NEIL + (into phone) + You got a clean line? + +CUT TO: + +INT. KELSO TRAILER - CEZAR KELSO - NIGHT + +In his wheelchair. He checks a meter attached to his telephone wire. + + KELSO + (into phone) + Yeah. + + NEIL (V.O.) + (Phone filter) + I got a delay dropping the $50,000./*Converted to PDF by www.screentalk.org*//*59.*/ + + KELSO + (into phone) + You don't have a delay. What you don't have is a deal. + (beat) + Swing by and collect your envelope sometime. Goodbye. + +Starts to hang up. + + NEIL (V.O.) + (phone filter) + Wait a minute, pal-o!! + +Kelso does. + +INT. CHINESE RESTAURANT - NEIL + + NEIL + (into phone) + You're going to wait for me for a week. I'll buy a week with the five. It's above and beyond the fifty and if I wash, you keep it. + (beat) + You're going to wait for me 'cause you want me to take it down. You know it's got better odds with me in. + (pause) + Now do we have an understanding? + + KELSO (V.O.) + (phone filter) + Seven days. + +CLICK. WIDE ON ROUND TABLE Michael and Elaine Cerrito, Chris and Charlene, Towner and his wife ANNA - a striking black woman we'll see later -sit around the table and sing "Happy Anniversary" to the tune of "Happy Birthday" as a Chinese waiter brings Elaine and Michael Cerrito a cake; Neil returns. + + VOICES + ~...Happy anniversary to you. Happy anniversary dear Michael and Elaine. Happy anniversary to you. + +Everyone applauds and laughs and raises glasses of plum wine except Cerrito who drinks club soda. Elaine and Michael blow out the candles./*Converted to PDF by www.screentalk.org*//*60.*/ + +The skeleton of a steamed sea bass is in the center of the table. + +CUT TO: + +INT. MEN'S ROOM OF CHINESE RESTAURANT - CLOSE ON FAUCET -NIGHT + +It's a LOUD TORRENT - TILT UP TO THREE SHOT: Neil, Cerrito and Chris are clustered around the sink. The water runs seemingly aimlessly. It also would drown out a bug. + + NEIL + (loud over water) + We'll down platinum through Nate. The deal is 72% of today's quote on the Bourse in the New York Times. + + CERRITO + (loud over water) + You got the black boxes for the alarms? + + CHRIS + (loud over water) + Yeah. Towner delivered. They're in the drop. + + NEIL + (loud over water) + We pass by couple times tomorrow afternoon. Check nothing strange in the neighborhood. Tomorrow night: we take it down. You set on the rear door. + + CHRIS + (loud over water) + I'm going to punch it... + (beat) + What do we do about Van Zant? + + NEIL + (loud over water) + Kill him...after the score. + + CHRIS + (loud) + Kelso? + + NEIL + (loud) + We'll use Nate's advance off the platinum when I down the merch to pay Kelso for the bank package./*Converted to PDF by www.screentalk.org*//*61.*/ + +Neil turns off the water and they leave. + +CUT TO: + +INT. CHINESE RESTAURANT - PLUM WINE AT TABLE - LATER + +Elaine drinks. WIDEN. Michael whispers in her ear. She smiles. Then she laughs and drapes an arm around his neck and plants a kiss that almost knocks him over. The party, winding down. Everyone luxuriates in the afterglow. CHARLENE AND CHRIS sedate, comfortable, each in separate thoughts. + + CHRIS + (quietly) + You okay? + + CHARLENE + I'm fine. + + CHRIS + (arm around her) + Makin' it happen this time... + + CHARLENE + I hope so. I really hope so. + +They're close for this moment: the afterglow of the dinner. NEIL looks at Charlene. CHARLENE sees and holds his look and then her attention shifts to Elaine. NEIL checks his watch. Waiter approaches Neil with the bill. + + MICHAEL + (to Neil) + Hey! + + CHRIS + Let me have it! + + NEIL + (smiles) + I got it. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*62.*/ + +EXT. CHINESE RESTAURANT - NEIL - NIGHT + +And everyone else exits from the restaurant, say their goodbyes and go to their cars: Neil's Lincoln, Chris's Seville, Cerrito's Sedan de Ville, Towner to a restored El Camino. WE HEAR: BEEP-BEEP-BEEP. + + HANNA (O.S.) + A goddamn convention. + +We HEAR a soft FILM ADVANCE and SHUTTER. + + CASALS (O.S.) + Who's "slick?" + +PULL BACK TO REVEAL REAR SHOTS of Hanna, Drucker, Casals and a surveillance team on the roof across the street behind some neon. + + DRUCKER + Cerrito, the wide one. He's bugged twice. One if he finds it behind the wheel wall. The back-up's in the firewall. We got their plates. + + CASALS + Yeah. + + DRUCKER + One with the hair is Shiherlis. Got a revolving tail and a tap on the house phone. + + HANNA + (re Neil) + Who's the big guy? + + DRUCKER + First time we're seeing him. + +Hanna rolls away from his line of sight and says to his men: + + HANNA + Next time this crew scores? When they walk in that door? They will get the surprise of a lifetime. + +CUT TO: + +EXT. EADY'S HOUSE, DECK - TWO SHOT - NIGHT + +Neil's shirt's open. Eady's in a terry robe. They've made love. It's late. They're awake. After a moment:/*Converted to PDF by www.screentalk.org*//*63.*/ + + NEIL + (holds her close: looks at her face) + Come away with me. + + EADY + What? + (surprised) + Where? + + NEIL + New Zealand. + + EADY + When? + + NEIL + Soon. + + EADY + You're kidding. + + NEIL + What's stopping you? What's here? + + EADY + (laughs) + I don't know you. + + NEIL + What's to know? + + EADY + Are you married? + + NEIL + (laughs) + Why? + + EADY + Way you come and go. + + NEIL + I deal with state officials. County. Weird hours. A lot of traveling, entertaining. + (beat) + The last thing I am is married. + +There's a pause, then: + + EADY + You don't know me at all, Neil.../*Converted to PDF by www.screentalk.org*//*64.*/ + + NEIL + I know enough. + + EADY + My father wanted me to marry someone in Taipei. It was like I was a piece of furniture: "Go be his wife." After I left he won't talk to me. Because I went on my own. I can't let people tell roe what to do again. And that trust comes from knowing someone over time. + (avoids Neil) + This is hard between us for me. Because I like you very much. + +Neil looks right into Eady's face. + + NEIL + I have to leave. Come away with me. + (beat) + No one will ever tell you what to do... You'll never lose yourself with me. + +She believes him. So do we. + +CUT TO: + +INT. SOUTH LA BREA MOTEL - CLOSE ON HOOKER - NIGHT + +She's a BLACK PROSTITUTE - all of 18. She looks bored and chews gum as she puts on a rayon Japanese Kimono and exits. ANGLE ON BED - WAINGRO sits on the edge of the rumpled bed in his Jeans. He wears a neck brace. His face is still swollen and bruised from Neil's beating. His belt isn't buckled. He's in a daze. O.S. we HEAR a TOILET FLUSH. Prostitute returns. Waingro looks over at her: + + PROSTITUTE + (tired) + Hey, baby. + + WAINGRO + Showed you a good time? Huh? + + PROSTITUTE + Oh, yeah. You fly. You cool./*Converted to PDF by www.screentalk.org*//*65.*/ + + WAINGRO + Don't lie to me. I can always tell when people lie to me. + + PROSTITUTE + I ain't lyin'! You a hot dog. You a cowboy. You hung like a horse and this was the monster fuck of my young life. + (pause) + Now I gotta get my ass streetside. + + WAINGRO + You don't have a truth-telling style. + + PROSTITUTE + The fuck's wrong with you? + +Waingro winds up and cracks the girl. She knocks over a cheap lamp and bounces off a wall. PROSTITUTE on her stomach on the floor, dazed. Waingro kicks her and throws a small table at her. It smashes apart. + + WAINGRO + (shouts) + You think I'm some john? I'm a stone killer! I'm a sky-blue bad ass, bitch! + +CUT TO: + +INT. MIRACLE MILE BAR - ON WAINGRO - NIGHT + +At the bar drinking alone. The logs of an Asian girl dance Most patrons are Korean. BARTENDER approaches. + + BARTENDER + (tired smile) + Once again? + + WAINGRO + (feeling good now) + Sure, good buddy. Set it up. + +BARTENDER pours and Waingro knocks it back, watches the Asian dancer and pops a five and a ten to him across the bar. + + WAINGRO + I'm looking to get into something./*Converted to PDF by www.screentalk.org*//*66.*/ + + BARTENDER + (smiles) + Yeah? Where you been? + + WAINGRO + Chino, Tracy. I'm a cowboy, heavy-hitter. Billy Ricketts said to come see you. + +Bartender writes on a cocktail napkin. + + BARTENDER + Go see this guy. This guy always putting guys on. + +Waingro flips the Bartender a $20. + + WAINGRO + Thanks. + +Another woman takes Waingro's eyes. He spins around on his bar stool and grabs her arm as she passes. Big smile. Its... LILLIAN Breedan's woman. She, too, is a dancer and her shift's over. She's wearing a raincoat over tights and a sweatshirt She jerks her arm away. + + LILLIAN + (heavy) + Get your fucking hand off my arm! + +Waingro backs way off and shrugs. Lillian leaves. + +CUT TO: + +INT. LILLIAN'S CAR - LILLIAN - NIGHT + +Down the Strip. The RADIO is on. + + RADIO ANNOUNCER (V.O.) + (radio filter) + Hey, hey! + (beat) + ...there, old aware ones, and you, too, my fair ones. When tears are falling like rain the groove is strictly Col-trane... + +Lillian turns right up into the driveway and pulls into Robert's Coffee Shop./*Converted to PDF by www.screentalk.org*//*67.*/ + +She asks Solenko who's behind the cash register something, then leaves, heading across the street to... + +CUT TO: + +INT. NARROW POLYNESIAN BAR - BREEDAN - NIGHT + +A back corner, loaded, looks up. + + BREEDAN + Hey! + + LILLIAN (O.S.) + Let's go, baby. + +Big drunk smile. She helps him up and supports his weight. + +CUT TO: + +EXT. POLYNESIAN BAR, TWO SHOT - NIGHT + +It's later. Breedan's been sick. Now he's sober. They sit near trash barrels under a huge plaster half shell, fishing nets and blue lights. + + BREEDAN + I got any left? + + LILLIAN + There's other paychecks. You blow it off. It's worth it, baby, cause you mess with that man and you be violated right back to San Quentin. So you got to handle it 'til we get you a different job. + + BREEDAN + (energy) + Yeah. That motherfucker ain't invented the hard time this gangster can't handle!. + (crashes) + Why you stickin' with me, Lillian? Why? + +Lillian stares right at him. + + LILLIAN + 'Cause I'm proud of you. Proud you my man. + + BREEDAN + (cracks up) + Proud of me?/*(MORE)*//*Converted to PDF by www.screentalk.org*//*68.*/ + + BREEDAN (CONT'D) + (beat) + What you proud of me for? + + LILLIAN + (beat) + Come on home. + +Breedan puts one arm around her waist and they strenuously rise. + +CUT TO: + +EXT. EMA PRECIOUS METALS, REAR - WIDE ON ALLEY - NIGHT + +Nothing. Hold. Then the Pontiac work car cruises the alley. It's dark, but we recognize Cerrito driving with Neil in the passenger seat. Pontiac does not slow down at ERA, keeps going to the end of the block and turns left. + +CUT TO: + +INT. EMA PRECIOUS METALS, INC. - HANNA - NIGHT + +Staked out inside. With him are Schwartz, Casals, Bosko and two uniformed policemen: BRUCE and BERRYMAN. Bruce rearranges himself. Hanna shoots him a lock. He stops fidgeting. Hanna looks at wall clock: 10:30 p.M. + +EXT. EMA PRECIOUS METALS, REAR ALLEY - PONTIAC + +Cruises the alley a second time. Again, it doesn't stop. + +CUT TO: + +EXT. ADJACENT ROOFTOP - CAPT. JACKSON - NIGHT + +And a ten man SWAT Team are spread out across roofs. The men wear flack vests and carry an array of shotguns and assault rifles and shotguns. Everybody Is still. CAPT. JACKSON uses a periscope to see over the edge: JACKSON'S POV: ALLEY Abandoned. + +INT. EMA - HANNA'S STAKE-OUT + + BRUCE + (into radio) + Okay. + (to Hanna) + Captain Jackson wants to know what's goin' on./*Converted to PDF by www.screentalk.org*//*69.*/ + + HANNA + (into his radio) + Nothing. Clear the air. + +He clicks off makes a drinking motion to... HANNA...who shakes his head "no." He puts a finger over his lips meaning silence. Hanna looks at the clock. It's 12:03 a.m. Hanna takes a deep breath. He closes and opens his eyes. They wait. + +EXT. ALLEY - WIDE ON ALLEY - LATER + +Nothing. Then the Pontiac with its lights off rolls forward. Chris gets out with a salesman's sample case and pads down the five steps to the rear entry of the jewelry store. Chris is in a black suit and sneakers. There are surgical gloves on his hands. The others stay in the car. TIGHTER: CHRIS assembles a heavy lock punch from the black case. It's formidable. He nods. CERRITO in lineman's gear is out of the car and he quickly climbs the telephone pole like an experienced lineman. The telephone pole is next to the roof upon which Jackson and the SWAT Team are staked-out. TOP OF POLE - CERRITO arrives. He's 18 inches away from 11 cops. Team nor Cerrito are aware of each other. + +INT. EMA, INC. - HANNA + +Neither the SWAT moves his head to ease the strain: A hearing aid receiver's in hit ear. He looks at his men. The clock says 1:10 a.m. Casals, leg convulses. Bruce is the worst. He writhes with cramped muscles. Bosko's bulk doesn't move. HANNA gestures for Bruce to quiet down. + +EXT. ALLEY - CERRITO + +Maneuvers past P.G.E. gear and opens the GTE junction box. He hangs a small suitcase over the door with three black boxes and six alligator clips and starts searching for/*Converted to PDF by www.screentalk.org*//*70.*/ + +pairs of colored wires and bridging the jewelry store's alarm circuits. + +EXT. ROOF - JACKSON + +Doesn't know Cerrito is there. He hears BREATHING. He's curious. He raises his head over the edge and his eyes go wide. WIDEN. He's inches from the back of Cerrito's head. Cerrito twists and turns and jerks back in effort - almost touching Jackson. Cerrito's too absorbed to sense Jackson's presence. Jackson carefully closes his eyes and sinks down. + +EXT. EMA, INC., REAR ENTRANCE - CHRIS + +He gets a nod from Cerrito. He slams the lock punch with a cut down sledge hammer. ECU: DOOR A I" circle is punched into the steel lock mechanism next to the cylinder, exposing electrical wiring and magnetic tumblers and "gates."ECU: CHRIS' FINGERS like a cardiac surgeon's, have a balletic grace as they manipulate the tumblers so the groove cut in each one lines up. As they do, a bar of metal called the "fence" falls into the channel created by the lined-up gates, unlocking the mechanism. WIDE: CHRIS touches the door. It swings - soundlessly - open on its hinges. Surprisingly, they now pack up. Neil, Chris and Cerrito climb into the Pontiac and drive away. The door was left wide open. + +EXT. ROOF - JACKSON + + JACKSON + (into walkie-talkie) + Where'd...they...go? + +INT. EMA, INC. - ON HANNA + + HANNA + (pissed; into mike) + Fell back to see if the alarm bypasses held. If they did, they'll be back. Stay the fuck off the radio!/*Converted to PDF by www.screentalk.org*//*71.*/ + +INT. EMA, BASEMENT - WIDE ON VAULT DOOR + +Nothing. It's black. Then there's light. Neil's entered. He illuminates the vault with his penlight. CHRIS sets up a heavy drill and tapes a template with drill points marked to the door. + +INT. EMA, INC. - BRUCE + +Is in agony. His muscles are cramped - he rolls on the floor trying to control himself. His head inches up, drops back. HANNA calms Bruce with hand gestures. WIDE The clock says 2:00 a.m. + + HANNA + (tense whisper) + Quiet! ! + +Bruce starts shaking, violently. He twists. His belt buckle hits the floor. There is the smallest TAP. Hanna closes his eyes. + +INT. BASEMENT - NEIL + +Looks up at the ceiling. Down at the floor. He thinks. Pause. This is the first tire we've heard them speak in this sequence. + + NEIL + (he decides; whispers) + ... We walk. + + CHRIS + (tense whisper; re: the box) + I'm 60 seconds away. It's a rat or something. + + NEIL + (whispers) + It is not an animal sound. We are out of here. + + CHRIS + (tense whisper) + We need the cash!!/*Converted to PDF by www.screentalk.org*//*72.*/ + + NEIL + (tense whisper; already going) + We walk!! Now. + +No argument. Chris puts down his equipment. They strip off and drop their surgical gloves. Chris tosses his shop coat on the floor. Both unpin the lapels of what is revealed to be dark suits with shirts underneath. They abandon everything. They walk out the back door and keep going. + +EXT. ROOFTOP - ON JACKSON + + JACKSON + (into radio; whispered) + They're leaving. Why are they leaving?! + +ROOFTOP POV: WIDE ON ALLEY BELOW Neil and Chris enter, approach the Pontiac with Cerrito behind the wheel. + + JACKSON (O.S.) + (radio filter; whispered) + I can take 'em, now! + + HANNA (V.O.) + (radio filter; whispered) + Let 'em go. + +INT. EMA, INC. - HANNA + + JACKSON (V.O.) + (radio filter) + At least we got 'em on a... + +For the first time in the last seven minutes we hear anormal voice. Its LOUD. + + HANNA + (cuts him off; into radio) + Let em go. We got nothing! Not even a burglary. They didn't fucking steal anything yet. Don't you get it? All we've got's breaking and entry./*Converted to PDF by www.screentalk.org*//*73.*/ + +EXT. ROOFTOP POV: ON ALLEY BELOW + +Neil and Chris are in the Pontiac. Jackson's men are poised. + + JACKSON (V.O.) + (radio filter) + I'm not letting them walk! + + HANNA + The fuck you aren't! That's exactly what you are gonna do. It's my investigation. And my authority supersedes your rank! And I am not settling for some chicken shit misdemeanor! + +Cerrito pulls away. At the end he turns on his headlights, signals like a good driver, and turns right. + +INT. EMA, INC., FIRST FLOOR - WIDE + +Manna snaps off the radio. + + HANNA + Back to work. + +Then he pitches the radio in a line drive at Bruce, barely missing his head. RADIO SMASHES into pieces. + +CUT TO: + +EXT. GENERAL LIQUORS, LAS VEGAS - WIDE - DAY + +A "Las Vegas Police Department" car pulls to the curb. Hanna and Schwartz get out and cross the crabgrass, dirt, and debris-filled forecourt to a cheaply constructed wood and glass one-story building. + +CUT TO: + +.MARCIANO'S OFFICE - MARCIANO - DAY + +Hangs up the phone. We HEAR the DOOR OPEN. + + MARCIANO + (rising; big smile) + What can I do for you guys? + +Ignores his hand and shoves him back into his office chair with an open hand./*Converted to PDF by www.screentalk.org*//*74.*/ + +CLOSER Hanna rips open Marciano's desk drawer finds a gun, unloads it, throws it on the floor, finds a small tape recorder, pops the tape out and tosses it to Schwartz. Then he flashes a badge at Marciano. + + MARCIANO + L.A.P.D. Who the hell you think you're pushing around? You got no jurisdiction and I know people here! + + SCHWARTZ + Who? The fucking Tooth Fairy! So what? + + HANNA + You go back to Newark on a New Jersey warrant for smuggling cigarettes up from North Carolina three years ago or you go to work for us. Cut and dried. That...is...it. + + MARCIANO + Oh, my God... + + HANNA + Charlene Shiherlis. + + MARCIANO + Who? + + SCHWARTZ + "Who?" The stranger you been talkin' dirty to on the telephone every day for the last month. + + MARCIANO + You can't tie me to her! + + HANNA + Who has to. You're onna plane to New Jersey, jagoff. + + MARCIANO + Oh, man... + (to himself) + Why did I get mixed up with that bitch?/*Converted to PDF by www.screentalk.org*//*75.*/ + + HANNA + (sits down) + 'Cause she's got a great ass and you got your head all the way up it. + + MARCIANO + (defeated) + So? + + HANNA + So it's no big thing. I don't even want her. You can have her, after. I want her husband and all his buddies; that's all. And you're gonna help. + +CUT TO: + +INT. ROBERT'S COFFEE SHOP - NEIL + CHRIS - DAY + +in a booth next to the window. Out the window is morning traffic on Beverly Boulevard. Empty coffee cups say they've been there a while. They lean close and talk low. Neil's explosive behind it. + + NEIL + LAPD? The G? What? Where the hell did this heat come from? + + CHRIS + Maybe it's only the EMA score, not us. + + NEIL + (low) + Wake up! + (beat) + Assume they got our phones, our houses bugged, I beepers on all the cars. We got major problems.. Where's Cerrito? + +Neil looks over at the cook behind the high counter and recognizes him. NEIL'S POV: DAVID BREEDAN + + NEIL (O.S.) + Recognize the cook? + + CHRIS + No./*Converted to PDF by www.screentalk.org*//*76.*/ + + NEIL + D Block. San Q. Did a nickel on armed robbery. + +INT. KITCHEN - BREEDAN + +Grim, cold, working his ass off on five breakfast orders simultaneously. + + NEIL (O.S.) + Hey, David. How you doing? + +Breedan turns, recognizes Neil and warms as if the sun rose. + + BREEDAN + Hey, Homeboy! All right! + (flips eggs; checks orders) + How bout you? + + NEIL + (sits on counter) + Gettin' by. You okay? + + BREEDAN + (embarrassed; re: job) + Yeah. Temporary. Know what I mean? + +Neil looks out and sees Cerrito. + + NEIL + Sure. See you around. + +INT. RESTAURANT - ON BOOTH + +Neil slides in. + + NEIL + (to Cerrito) + What took you so long? + + CERRITO + (low) + My car. Bugs. Two of 'em. Count 'em. One in the wheel well. Second behind the fire wall. Night of the party? I dropped Elaine and swung by EMA to check out the junction box... + +He doesn't have to say anymore./*Converted to PDF by www.screentalk.org*//*77.*/ + + CHRIS + Without the platinum how do we buy the bank score? + + NEIL + I cash in T-bills to pay-off Kelso. That's not our problem. + + CERRITO + What the hell happened to Van Zant and our 750? + + NEIL + With the heat we got, you wanna play World War Two in the streets with Van Zant? + + CERRITO + Van Zant gets a pass?! + + NEIL + Fuck Van Zant. I got more motivation to whack him than you do. He is a luxury. Our problem is: jam and take the bank or split. + (beat) + And I mean right fucking now. Do not go home, pack, nothing. Thirty seconds from now we are on the road. Gone. + +No answer. Chris and Cerrito are thinking. + + CHRIS + For me, the bank's worth the stretch. I say accept the risk, stay. + + NEIL + Michael? + + CERRITO + (quietly) + I roll with you. Whatever... + + NEIL + (quietly) + Not on this one, Michael. On this one you make up your own mind. + + CERRITO + (he can't) + ...you figure this the best thing to do?/*Converted to PDF by www.screentalk.org*//*78.*/ + + NEIL + I got some plans. To go away after. So for me, it's worth the stretch. + +Chris is surprised. + + NEIL + (continuing) + But, Elaine takes good care of you. You got plenty put away. T. Bonds; real estate. If I were you, I'd be smart and cut loose of this. + +CERRITO thinks. The he shrugs, laughs: + + CERRITO + Hey. To me the action's half the juice anyway. I'm in. + + NEIL + All right. All right. + +CUT TO: + +EXT. WILIMINGTON OIL FIELDS - OIL PUMP - DAY + +WIDEN. It's a desolate area - empty space. Off in the distance is a manufacturing plant and a billboard. PAN LEFT and HOLD on Cerrito's Coupe de Ville. It pulls down the dirt access road, lurching up and down on its soft shocks, and raising billows of tan dust. It stops. Neil -in a gray chamois jacket over a black T-shirt - gets out. He hasn't shaved in a couple of days. Chris and Michael Cerrito get out the left side. They walk TO CAMERA and: + + CERRITO + That the place? + + NEIL + Yeah. You see how the road leads back around? + + CERRITO + Yeah. + + NEIL + That's the escape route... + +VERY LONG SHOT: NEIL, CERRITO AND CHRIS the three men point. Chris draws a map. Then they climb back into the sky-blue Cadillac and drive away./*Converted to PDF by www.screentalk.org*//*79.*/ + + SCHWARTZ (O.S.) + This is it. + +PULL BACK and REVEAL Schwartz with binoculars and Casals with earphones. They had been surveilling Neil and Cerrito. There's a tape recorder with a directional microphone in a parabolic dish. + + CASALS + I know. Let's go! + +WIDER The two men run back from their observation position to an unmarked car parked a hundred yards behind. + +CUT TO: + +.SAME SCENE - WIDE - LATER - SUNSET + +It's later. The CAMERA PANS the empty, desolate landscape of oil pumps, dirt roads and a solitary billboard. + + HANNA (O.S.) + What are they taking down out here? + +PULL BACK to REVEAL Hanna, Schwartz, Casals and Bosko. Hanna looks through binoculars. + + CASALS + They were looking at something southwest... + + HANNA + What's's that down there? + + CASALS + An auto parts company. They're going to knock over a payroll? + + SCHWARTZ + The company only pays by check. + + HANNA + Maybe they're gonna steal the hub caps ... + +O.S. we HEAR a CLICK. + + HANNA + (continuing) + A billboard. Oil pumps. What the hell's goin' on?/*Converted to PDF by www.screentalk.org*//*80.*/ + + SCHWARTZ + That's what we were trying to figure. + +ANGLE ON HANNA Recognition dawns. + + HANNA + I got an idea what they're looking at. You know what they're looking at? + +Hanna turns his back on the rest of the detectives and a big smile dawns upon his face. He raises his arms out wide. Hanna turns in one direction, then another. Schwartz doesn't understand. + + HANNA + (continuing; to Schwartz) + Is that guy something; or is that guy something? I mean, you gotta give this crew credit. They are so fucking good... + (beat) + Know what he's looking at? + +VERY TIGHT ON HANNA IN 3/4 REAR SHOT The image vibrates. Hanna says more. We don't hear it. We HEAR a CAMERA SHUTTER CLICK. The IMAGE FOCUSES and DEFOCUSES. Another CLICK. + + HANNA + Us. The L.A.P.D. The Police Department. We just got made... + +Hanna laughs. + +EXT. KNOLL - L.S. HANNA - TWILIGHT + +Pull back to reveal he's being surveilled by Neil. He's been photographing Hanna with a black Nikon on a tripod with a 1300Mm Questar Reflector lens. Neil's made his tail. The recce in the blue Cadillac was bait. Neil half returns Hanna's smile. He climbs into the Caprice. Cerrito roars off, leaving a cloud of dust which billows into mauve against the deep sky. + +CUT TO: + +EXT. KELSO'S TRAILER - WIDE - NIGHT + +Neil comes out with Nate. Kelso moves in his Wheelchair and closes the door./*Converted to PDF by www.screentalk.org*//*81.*/ + +They cross to Nate's Buick and get in. Neil carries a large, black sample case. + +CUT TO: + +INT. NATE'S MERCEDES - TWO SHOT - TRAVELING - DAY + +Vapor lights glide past. Neil examines circuit diagrams and architectural blueprints of the bank. Next he unfolds a pasted-together 180 degree view of the street. + + NATE + Worth it? + + NEIL + (impressed) + There's enough circuit diagrams and blueprints here to build the bank. + (beat) + It's terrific. + +Neil puts the materials back in the case and snaps it shut. Next, Nate hands Neil a thick envelope. Inside are the pictures Neil took of Hanna and xeroxes of Hanna's employment records. + + NATE + His name is Hanna; first name, Vincent. I smeared this sergeant in vice five yards. Hanna's all over you. He's a hot dog. Lieutenant in major Crimes Unit. He's taken down some heavy crews. Blew away Frankie Yonder in Chicago and he was a fucking maniac. Was working Narcotics before that. He's good, Neil. Dedicated. Divorced three times. Current wife's Justine. He's why the extra heat. + (pause) + Vice sergeant says Hanna likes you. Thinks you're some kind of 'star.' 'You do this sharp, you do that sharp. Look how sharp this guy is to figure that.' + +Neil laughs. + + NATE + (continuing) + Funny as a heart attack. + (pause) + With this guy and this much heat, you should pass on the bank./*Converted to PDF by www.screentalk.org*//*82.*/ + + NEIL + I've had heat before. + + NATE + That's not the point. + + NEIL + This one's worth the stretch + + NATE + You sure? + + NEIL + I'm sure. Drop me at the garage. + +CUT TO: + +INT. VAN ZANT OFFICE - ON VAN ZANT - DAY + +He's checking a computer print-out against a ledger sheet. He looks like he's been sleeping in his clothes. His door opens. He's startled. HUGH BENNY in an iridescent gold suit no tie - sticks his head in. He breaks the ankles of people who - for the most part -work for a living and have fallen behind on a juice loan. He looks the part. + + HUGH + Hear from him yet? + + VAN ZANT + Not a thing. + + HUGH + Maybe he went away. + + VAN ZANT + (sarcastic) + Yeah. Sure. + (beat) + Not hearing bothers me more... + (an afterthought) + Where's this guy? + +Hugh gestures down the corridor. WAINGRO enters./*Converted to PDF by www.screentalk.org*//*83.*/ + + HUGH + (re Waingro) + This guy here...we put him on. Turns out he knows McCauley. + + WAINGRO + Waingro. My name's Waingro. + (smiles) + + VAN ZANT + I been living in this office day and night. What's with your friend? + + WAINGRO + I know all about how he thinks. We took some major scores together. He's probably busy right now. But he's real thorough. He won't forget you... + + VAN ZANT + (wry) + That's reassuring. + + WAINGRO + Yeah, I got some moves I could make here, that could be a big help to you... + +CUT TO: + +INT. HANNA CONDO - HANNA - 6:00 P.M. + +enters. he's beat. He enters kitchen. + +INT. KITCHEN - WIDE + +It's a mess with dirty dishes stacked in the sink. + + HANNA + Justine? + +No answer. + +INT. JUSTINE'S BATHROOM - JUSTINE + +Putting on makeup. She's dressed up: short black dress, fish net stockings. + + HANNA + Where we going? + +No answer. Hanna gets it./*Converted to PDF by www.screentalk.org*//*84.*/ + + HANNA + (continuing; acid) + Where are you going? + + JUSTINE + Out. + +Hanna leaves. Then Justine looks at where he stood. Her cold demeanor cracks, then reassembles and she lights a roach, takes a hit, dumps it in the toilet and finishes her makeup. + +INT. KITCHEN - HANNA + +starts cleaning dishes in the sink. A DOOR CLOSES (O.S.). He pumps Liquid Vel. It suds. Hanna picks up a plate to wash it. He looks at it. Pauses. Then he SMASHES the plate into the piles of dirty dishes and rests on his forearms. + +CUT TO: + +EXT. 405 - TRAFFIC - NIGHT + +under the flight path near LAX. We CRANE DOWN and pick up Neil's Town Car. + +CUT TO: + +INT. TOWN CAR - NEIL - NIGHT + +driving, looks into the rear mirror. FLASHERS hit his car and a spotlight waves him over. He checks for helicopters. There are none. NEIL'S POV: ONE UNMARKED POLICE CAR This is a routine stop. It's early evening, rush hour. NEIL slips his 9mm. Browning under his thigh and pulls over. + +EXT. 405 SHOULDER - WIDE + +Both cars pull onto the shoulder. Out of the unmarked police car walks Vincent Hanna in jeans and a sweatshirt. He approaches Neil's car. NEIL watches Hanna approach, wary. He didn't expect this to happen. + + HANNA + You know I'm on you. Let's talk./*Converted to PDF by www.screentalk.org*//*85.*/ + + NEIL + (beat; then) + Sure. Buy me a cup of coffee. + +Hanna crosses back to his car. + +CUT TO: + +EXT. FOOD STAND - HANNA + NEIL - NIGHT + +at a table. Headlights stream by to and from the airport: business people, families going on vacations, people living normal lives who have never used guns to kill people, never experienced physical violence, some who have never been stolen from and never steal. Surrounded on all sides by this flow of normalcy: + + HANNA + Seven years in San Quentin. In the hole for three. McNeil before that. + + NEIL + Yeah. + + HANNA + Was McNeil as tough as they say? + + NEIL + You looking to become a penologist? + + HANNA + You looking to go back? I chased some crews, the guys were lookin' to fuck up and get busted back. + + NEIL + You must have worked some dipshit crews. + + HANNA + I worked all kinds. + + NEIL + (pause) + You see me doing thrill-seeker liquor store holdups with a "Born to Lose" tattoo on my chest? + + HANNA + No, I do not. + + NEIL + Right. And I.../*(MORE)*//*Converted to PDF by www.screentalk.org*//*86.*/ + + NEIL (CONT'D) + (low threat) + I am never going back. + +The adversarial intensity is eye-to-eye. + + HANNA + Then don't take down scores. + + NEIL + I do what I do best. I take scores. You do what you do best trying to stop guys like me. + (shrugs) + + HANNA + You never wanted a normal-type life? + + NEIL + What the fuck is that? Barbecues and ballgames? + + HANNA + That's part of it. + + NEIL + That's nice. That your life? + + HANNA + No. My wife spends half her time on the couch. My stepdaughter's got problems 'cause her real father's a world class asshole. And every moment I got, I'm chasing guys like you. + + NEIL + A man told me once: you want to make moves? Don't keep anything in your life you're not willing to walk out on in 30 seconds flat if you feel the heat around the corner. + (pause) + So if you're chasing me and you gotta move when I move, how do you expect to keep a family? + + HANNA + What are you, a monk? + + NEIL + No. + (pause) + I got a woman./*Converted to PDF by www.screentalk.org*//*87.*/ + + HANNA + What do you tell her? + + NEIL + She thinks I sell swimming pools. + + HANNA + And if you spot me around the corner. You gonna walk out on her? Leave her flat? Like that? Not even say goodbye? + + NEIL + That's the discipline. + + HANNA + What you're left with is pretty empty. + + NEIL + Yeah? + (beat) + Then maybe you and me, we should both go do somethin' else, pal. + + HANNA + I don't know how to do anything else. + + NEIL + (the shared confession) + ...neither do I. + + HANNA + And I don't much want to. + + NEIL + Neither do I. + +Both of these guys look at each other and recognize the mutuality of their condition. Hanna's light laughter: + + HANNA + We're sitting here like a coupla regular fellas. You do what you do. I do what I gotta do. What happens if I am there and I got to put you away? + (pause) + I won't like it. But, if it's between you and some poor bastard whose wife you're going to make into a widow, brother, you are gonna go down. 'Cause you don't/*(MORE)*//*Converted to PDF by www.screentalk.org*//*88.*/ + + HANNA (CONT'D) + have to be there. You coulda gone and been a... a mailman. + + NEIL + There's a flip side to that coin. What if you got me boxed in and I gotta put you down? + (beat) + 'Cause no matter what, you will not get in my way. + (beat) + But now that we been face to face, I would not feel good about that. But I won't hesitate. Not for one second. + + HANNA + (smiles) + Maybe it'll happen that way. Or who knows ... + + NEIL + ...maybe we'll never see each other again. + +They look at each other for a moment. Neil's wry smile. + + HANNA + (to waitress) + Can we have the bill. + +CUT TO: + +INT. HANNA'S OFFICE - HANNA - NIGHT + +entering. + + DRUCKER + They dumped us! + + HANNA + What? + + DRUCKER + They dumped us. + + HANNA + I was just with him! + + DRUCKER + With who? + + HANNA + Whattaya mean, "they dumped us"?!/*Converted to PDF by www.screentalk.org*//*89.*/ + + DRUCKER + Chris slipped his tail. And Chris doesn't talk about jobs with Charlene so there's nothing for Marciano to get from her. + + HANNA + (to Casals) + Cerrito? + + CASALS + Disappeared. No calls to the house. Not home. + + HANNA + Locators on their cars?! + + CASALS + (painful) + Cerrito dumped his on a UPS van. Surveillance tailed a UPS van to Oxnard. + +Hanna picks up phone to call someone. + + HANNA + (shouts) + They dumped all our tails?!! + + CASALS + Yeah. All at the same time. About nine p.m. + + HANNA + (shouts) + I had coffee with McCauley half an hour ago. What happened? + + CASALS + Our tail saw you. McCauley pulled into a car wash. Car came out. He didn't. + +Hanna's got no one to call. He throws the phone at the wall. + + HANNA + Does anybody have Any idea where the fuck these people are at? 'Cause whatever they are gonna do, they are doing it right now! + +No one does. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*90.*/ + +EXT. ALLEY - WIDE - NIGHT 1:00 A.M. + +We see nothing. The alley is black. We HEAR a BUZZ. ZOOM IN to a figure in black - almost invisible. The BUZZ becomes an intense TEARING SOUND. At the end of the ZOOM we realize it's Neil. + + NEIL + (whispers) + Got it. it's eighteen inches in. + +CHRIS opens his satchel and takes out a voltmeter. + +CUT TO: + +INT. BANK - UPPER STORAGE ROOM - WIDE - NIGHT + +It's deserted and unlit. We HEAR the SCRAPING NOISE of Neil and Chris working. SLOWLY ZOOM INTO the upper corner near the ceiling: A row of large fuse boxes. We ZOOM INTO the center one. A sign: "Lighting and Alarm Systems" + +CUT TO: + +INT. ROBERT'S COFFEE SHOP - ON NEIL - DAY + +He, Cerrito and Chris sit in a back booth. No one says anything and they wait. There's the monotonous drone of MUSAK. Neil watches the cook behind the high counter. ANGLE ON KITCHEN - BREEDAN Sees Neil and nods. Neil waves. + + NEIL + Where the hell's Towner? I wanted to pass by early. I want to check the slot for the work car. + +Chris looks at the wall clock: 12:30. SOLENKO crosses to CASHIER - an old lady with red lipstick. + + SOLENKO + (re: Neil, Chris and Cerrito) + How long those guys been sitting back there? + + CASHIER + Hour or so.../*Converted to PDF by www.screentalk.org*//*91.*/ + + SOLENKO + (crossing to grill) + They think this a hotel? + +SOLENKO'S POV: OF NEIL, CHRIS AND CERRITO in the booth. They're tense. Solenko doesn't know he ought not to want to mess with them. + + SOLENKO (O.S.) + (tough) + Twenty minutes, then I toss their asses out of here. + +INT. KITCHEN - BREEDAN - DAY + +flips six eggs on the grill, throws frozen French fries in the oil, turns bacon, flips pancakes and dumps eight pieces of bread in the toaster. Solenko enters. + + BREEDAN + (without turning) + You spell me? I didn't take my break yet ... + + SOLENKO + That spic, Cisco Kid, whatever, didn't show. After the lunch rush, haul out the garbage and mop the back. Take your break later. + +Breedan takes it out on the toaster handles - banging down each one. BOOTH - CERRITO on his fifth coffee, looks up. + + CERRITO + Here he is. + +TOWNER crosses through and joins them. He's tense. + + TOWNER + Hey! I'm out! I can't go. + + NEIL + What are you talking about? + + TOWNER + Anna's got a perforated appendix. We took her to the hospital./*(MORE)*//*Converted to PDF by www.screentalk.org*//*92.*/ + + TOWNER (CONT'D) + They're operating right now. It's a mess. I got to get back there... + + NEIL + What the hell I do for a driver?! + + TOWNER + Look, I got her sister there, waiting at the hospital. I came over 'cause I didn't want to talk on the phone. + (continuing: rises) + I got to get back. Last thing I'd do is let you down, Neil... + + NEIL + What do you call this? Backing me up? + + TOWNER + (tense; angry) + I waited too long trying to get past today! So now maybe she got peritonitis. + (beat) + I got to be there... + +He leaves. + + CHRIS + What the fuck do we do now? + +In answer, Neil rises and goes back into the restaurant kitchen. + +INT. KITCHEN - TWO SHOT - DAY + +Neil enters. Breedan turns. + + NEIL + Here comes your second chance for a change of luck... + + BREEDAN + Yeah? + + NEIL + Need a driver. Remember the drill? + + BREEDAN + Yeah. When?/*Converted to PDF by www.screentalk.org*//*93.*/ + + NEIL + To-day. + + BREEDAN + (looks at Solenko) + You're on. + + NEIL + Out back in five. + +Neil leaves. Breedan rips off his apron. Eggs are burning on the grill. The toast is smoking - clouds billow. Sprinklers come on. Breedan couldn't care less. SOLENKO races in. BREEDAN rolls his apron into a ball and throws it away. + + SOLENKO + (shouts) + Where the fuck you going? + +Breedan throws Solenko out of the way. Solenko slips and falls into the wet mess on the floor. + +CUT TO: + +INT. TOWNER'S HOUSE KITCHEN - TOWNER'S PICKUP - DAY + +approaches, parks. He cuts the engine. FOOTSTEPS. Then Towner enters his living room. + + WAINGRO (O.S.) + They buy it? + +WAINGRO is revealed leaning against the door jam to the rear bedroom. He straightens his clothes. A baseball bat rests against the wall. + + TOWNER + Yeah. + + WAINGRO + (buddy-buddy) + I got to hand it to you, sport. You're slick, pal smart how you handled all this. On the ball. Yeah./*Converted to PDF by www.screentalk.org*//*94.*/ + +He winks. Hugh Benny (from Van Zant's office) rests against a bamboo bar with a 9mm. Beretta in his waistband. + + TOWNER + (wry) + Thanks. Where's Anna? + + WAINGRO + She's resting. It's going down anyway? On schedule? + + TOWNER + That's right. + + WAINGRO + (to Hugh) + Make the call. + +Hugh crosses to the phone. + + TOWNER + Where's she? + + WAINGRO + I dunno. + + TOWNER + Know what happens when Neil finds out? To both of us? + + WAINGRO + I know what's gonna happen. Nothing's gonna happen. 'Cause I got it master minded. I got it jammed. This is solid. Take it from the kid. + + TOWNER + You hope. + (pause) + What do you mean, you don't know where she is? + +Towner looks at Hugh. HUGH dialing the phone - stares at Towner with a blank look. TOWNER Fear blossoms. He races to the bathroom off the kitchen from which Waingro entered./*Converted to PDF by www.screentalk.org*//*95.*/ + + TOWNER + (screams) + Anna? + + WAINGRO + (following; to his back) + ...showing her a good time. + +We see Anna's arm on the floor. Waingro's picked up the baseball bat he rested against the door jamb. + +CUT TO: + +EXT. FIRST COMMERCIAL BANK OF WILMINGTON - TRAVELING PAST ENTRANCE - DAY + +We PAN to HOLD IT. The entrance is on the street. The parking lot is on the side. + + NEIL (O.S.) + There's the slot. + +PULL BACK to REVEAL we're SHOOTING from inside a Mercury station wagon. Breedan drives. By now we're WIDE all the way from behind the rear seat. Cerrito and Chris sit in the rear. Ahead, cones block parking in one slot. + + BREEDAN + Looks right. Come out the door, your angle takes you into the car. Don't have to run around the doors. You want them open? + + NEIL + No. 'Cause time is not a problem. And I want nothing to look weird. + + BREEDAN + Po-lice response time? + + NEIL + There is none. + + BREEDAN + Why? + + CHRIS + Cause we bypassed all the alarms last night. + (continuing) + For you this whole gig is a slow cruise down Hawthorne.../*Converted to PDF by www.screentalk.org*//*96.*/ + +Cerrito hands out women's stockings. The men rip open the packages and start to roll them up. + +CUT TO: + +INT. DIVISION HEADQUARTERS, HANNA'S OFFICE - BURGLARY DETECTIVE - DAY + +named HARRY DIETER - crosses through the corridor, taking his tine - stopping for water and the candy bar machines -en route to Hanna's office. + +CUT TO: + +INT. MERCURY WAGON - CERRITO - DAY + +Breedan at the curb on a residential street off Hawthorne in view of the bank. Cerrito from a paper bag hands out three H & K model 53 small machine-guns and gives Breedan a .45 and two extra clips. CLOSE SHOTS Neil, Chris and Cerrito wear their stubby weapons concealed under nylon shell jackets on shoulder straps. They shove into place the curved clips, and release the top bolts, jacking the first rounds into chambers. NEIL checks his watch. + + NEIL + (with finality) + Drop us in the slot. Let's take it down. + +The Mercury wagon pulls from the curb. CERRITO checks and he re-checks his gun. BREEDAN drives. Cool. Unharrassed. His own man, performing the simple and critical task of driving a station wagon and obeying perfectly every single rule of the California Vehicle Code. + +EXT. - HAWTHORNE AVENUE - MERCURY + +APPROACHES CAMERA. Breedan puts on the left turn signal and for the sign. Hawthorne is crowded with housewives, women and kids and commercial traffic./*Converted to PDF by www.screentalk.org*//*97.*/ + +There's a Safeway down from them with afternoon shoppers and newspaper racks. + +CUT TO: + +INT. HANNA OFFICE - DIETER - DAY + +enters. + + DIETER + (casual) + Hey, Casals. I got this tip phoned in about this bank. It mean anything to you? + +Casals, bored, looks at the paper and explodes out of his chair. Running for Hanna's desk: + + CASALS + (shouts) + Vincent! Vincent! + +WIDE Hanna comes up, coffee in his hand. + + CASALS + Commercial Bank! Wilmington! 2:50! + +They look up at clock. THEIR POV: IT'S 2:43. WIDE Hanna spills his coffee and runs out without his coat. Casals, Bosko and Schwartz follow. + +CUT TO: + +INT. HENESSEY AND INGALLS, STOCKROOM - CLOSE ON EADY - DAY + +unpacking a box of new books. A RADIO DRONES in the background. + + RADIO ANNOUNCER (V.O.) + (radio filter; strident) + This is L.A.'s all news, 24-hour, around the clock coverage of the day's local, national and international news, sports, finance and weather, brought to you by .../*Converted to PDF by www.screentalk.org*//*98.*/ + +Eady has crossed to the RADIO and now turns it OFF. + +CUT TO: + +INT. APARTMENT - DOMINICK - DAY + +rolls on the white rug. WIDEN. Charlene holds out her finger and Dominick grips it like a monkey and she pulls him up. ANGLE She crosses and turns an the TV without volume. A newscaster appears. Charlene turns her back on the TV. On all fours, she advances on Dominick. He shrieks and laughs and crawls away. + +CUT TO: + +INT. BANK - ON STREET DOOR - DAY + +Neil and Chris enter the street door. Chris lingers by the guard. He reads a Rosicrucian handout. They smile at each other. Neil approaches the window of teller JOHN FISKE. ON SIDE DOOR Cerrito enters and hesitates to tie his shoe near Guard FRANK MAGID. NEIL in line, waits: an old lady finishes and leaves. + + JOHN + (to Neil) + Hi! + + NEIL + Hi! Can I borrow your pen, John? + + JOHN + (smiles) + Sure thing! + +John reaches into the side jacket pocket. NEIL pulls his stocking mask down over his face. He reaches over the counter and grabs smiling John Fiske's lapels and yanks him over the counter top and throws him across the floor. Meanwhile:/*Converted to PDF by www.screentalk.org*//*99.*/ + + CERRITO + Say, Frank...? + +Magid turns. Cerrito saps him expertly on the right shoulder, paralyzing his gun arm, spins him and swipes the sap across his neck. Meanwhile: CHRIS has smashed Guard One in the stomach with the H & X -doubling him up. Now he braces him against the wall, disarms and handcuffs him. He jerks on his stocking mask. WIDE - THE BANK There are two FEMALE TELLERS and four CUSTOMERS. Neil moves toward the bank Officers at their desks, specifically, while bringing up his H & K. + + NEIL + (very nicely) + Ladies and gentlemen! We are holding up this bank. + (continuing) + We want to hurt nobody. You do exactly like we say and you come away okay. We're here for the bank's money, not your money... + +TIMMONS with Neil approaching, frantically stomps the alarm button under his desk. + + NEIL + ...you people behind the windows: the salaries this bank pays aren't big enough to take risks for, so think of your take-home pay before you risk your life. + +FACES of Tellers and customers. Scared, but Neil's monologue holds their attention. Throughout he's approaching Timmons. + + NEIL + (to customers - like a commercial) + ...don't forget your money is insured by the Federal Government. You're not going to lose a penny. Relax and you'll get through this okay./*(MORE)*//*Converted to PDF by www.screentalk.org*//*100.*/ + + NEIL (CONT'D) + (nice) + Any of the ladies feel ill or anybody with heart trouble wants to sit down, go right ahead. + +He smiles. NEIL reaches Timmons. + + NEIL + (smiles) + The key. + + TIMMONS + What key? + +Neil slams a punch into Timmons' face in calculated contrast to his friendliness. It's an object lesson to customers of the result of disobeying. Timmons flips backwards over his chair. NEIL hauls him up, rips open his white shirt and pulls the key an a lariat off his neck. + + NEIL + Don't touch your face. Let it bleed. + +The white shirt is already splattered with blood. Customers watch. They do not want this to happen to them. CERRITO pulls a straight razor and leans over Guard Magid. He slits his pants leg and pocket open and extracts the other key and it. PAN 0N KEY through the air and is caught by Chris. throws Timmons' key. PAN it to Chris. CHRIS spins the ring handle for five seconds. The massive round vault door opens. It reveals a second, rectangular door. CERRITO handcuffs Magid. handcuffs Timmons to his chair./*Converted to PDF by www.screentalk.org*//*101.*/ + +INT. VAULT + +Chris inserts both keys, turns them simultaneously and the second massive door opens inward. LOW ANGLE: STEEL INNER SANCTUM Inside is the four-wheel cart and the two large canvas bags of money. WIDEN TO REVEAL Neil is there as well and opens the Hefty Garbage bag while Chris whips out an Exacto blade and slices the canvas bags open to check the contents. THE CANVAS BAG disemboweled, spills money. Lots of it. Chris loads both into two Hefty bags Neil holds open. NEIL tosses one on his shoulder like a sailor's duffle bag, his machine-gun in front... + +CUT TO: + +EXT. BANK - WIDE FROM FRONT - DAY + +Cerrito exited the bank via the side door and now moves quickly TO CAMERA up the side - his stocking mask off -his H & K low, concealed. NEIL exits the bank through the front door TO CAMERA. The sidewalk is crowded with school kids now and housewives. No one pays attention as Neil tosses the first bag to Cerrito... + +CUT TO: + +INT. HANNA'S CAR - HANNA, SCHWARTZ + BOSKO - DAY + +racing in and out through the Hawthorne Boulevard traffic to get past cars. Drucker and casals follow in a second car. No sirens. Schwartz drives. The bank is seen 200 yards ahead.. + + SCHWARTZ + Too many people. This isn't how to handle it + (shouts) + Vincent! Fuck this crew! Let 'em go! + +CLOSE: HANNA has to decide./*Converted to PDF by www.screentalk.org*//*102.*/ + +HANNA'S POV: CERRITO'S dumped the FIRST BAG in the station wagon and Neil's reentering the bank for the SECOND BAG. HANNA as car pulls in. + + HANNA + (to Bosko) + Left flanking fire. street. + +He made the decision. + +CUT TO: + +EXT. BANK AND STATION WAGON - CERRITO - DAY + +awaiting bag number two. Breedan - calm and alert - IDLES THE ENGINE in Drive while braking with his left foot. PROFILE: NEIL coming out with the second bag. Chris follows - backwards covering the interior. Neil avoids a lady pushing a supermarket shopping cart, looks up and SEES: NEIL'S POV: HANNA + SCHWARTZ entering rapidly but surreptitiously 50 yards down the sidewalk. Bosko's moving 90 degrees to the right, crossing the street. There would be no, there was no, and there never is any, warning. Neil Hanna and Schwartz with 12-gauges OPEN FIRE. World War III ERUPTS. Now we hear distant POLICE SIRENS. CHRIS is hit in the neck. NEIL'S FIRING 3-SHOT BURSTS that blow up Schwartz and a lamppost and hit a woman who falls over her shopping cart, shrieking. Hanna's behind the lamppost. BOSKO across the street with his AR-180, opens up on the station wagon which takes HITS. A BLACK AND WHITE slides sideways and COP #1 with a shotgun runs across the street hollering at kids who stop and stare and drop school books./*Converted to PDF by www.screentalk.org*//*103.*/ + + COP # 1 + Drop! Drop down! + +CERRITO over the station wagon roof FIRES a BURST at Bosko, then swings onto Cop #1 and fires, killing him. Cerrito jumps into the wagon. THE STREET - WIDE: A BUS The driver panics and slams on his brakes and his bus full of people stalls in the combat zone between Bosko and the wagon. + + BOSKO (O.S.) + (screams) + Get the bus out of here.. + +NEIL shielded by the green bag of money which has taken hits, FIRES at Hanna and backs to Chris. HANNA pulls Schwartz to cover. CHRIS dazed - holding his bleeding neck while Neil FIRES into the parking lot... PARKING LOT...hitting Casals getting out of his car. Casals sits down as if stunned. MAN pulling his car out of the lot ducks behind the wheel and crashes it into a parked car. + +EXT. BANK - CERRITO + + CERRITO + (to Neil) + C'mon! C'mon! C'mon! + +Neil can't rake it through the incoming FIRE from Hanna and Cop #2 to the station wagon and Cerrito and knows it. + + NEIL + (to Breedan and Cerrito) + Go!! Go!!/*Converted to PDF by www.screentalk.org*//*104.*/ + +ON STATION WAGON Breedan floors it. HANNA re-emerges, kneels and PUMPS SHOTS into the station wagon. BOSKO rounds the bus with the AR-180 and OPENS UP STATION WAGON draws everyone's FIRE. Breedan ducks and pilots it through the gauntlet. NEIL has taken off down the sidewalk, supporting Chris. TIGHTEN. He runs in among crowds of civilians. He knocks over a man, breaks through. People are screaming, staring, shocked. + +INT. STATION WAGON - BREEDAN + +getting BLOWN APART by Hanna, Bosko, and Cop #2 falls over the wheel and then is thrown back. + +EXT. STREET - STATION WAGON + +tires are BLOWN OUT. It spins across the street on steel rims and crashes sideways into a parked car on the east side of Hawthorne. + +INT. STATION WAGON - CERRITO + +shot three times, holds his abdomen and bails, returning FIRE. Breedan, like a rag doll is half over into the rear seat and still being hit by more rounds. We HOLD on David Breedan. He's dead. + +CUT TO: + +EXT. SIDE STREET - CERRITO + +east up a side street past people who stand on their lawns and stare - traumatized. WIDER Bosko and Cop #3 chase Cerrito. Cerrito FIRES a long BURST. They can't fire back because of the people. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*105.*/ + +EXT. SAFEWAY - TRACKING NEIL + CHRIS - DAY + +and the money - running, skipping and dodging past all manner of pedestrians, newspaper coin boxes, fruit vendors and parking meters. People dodge, scream and fall down. It's chaos. TRACKING HANNA a half block behind, chasing Neil - pushing through the same people. + + HANNA + (shouts at pedestrians) + Get down! Get down + +EXT. SAFEWAY PARKING LOT - NEIL + CHRIS + +Neil - supporting Chris - throws a lady, who was getting out, back into her Olds Cutlass. He dumps Chris and the money in the back seat and turns on Hanna. NEIL extends the collapsible stock braces on the roof for accuracy and FIRES over the roof of other cars and through people at Hanna closing in 50 yards away. + +CUT TO: + +EXT. SAFEWAY - HANNA + CIVILIANS + +who panic. SHOOTING. Windows EXPLODE. A lady holds her ears and shrieks. A newspaper coin box SHATTERS. A man's bag of groceries explode milk and eggs everywhere. He goes down. HANNA doesn't have a clear shot and drops, dragging people downwith him. NEIL behind the wheel - burns rubber pulling out of the lot over curbstones and through a fence into the alley. + +EXT. ALLEY - WIDE + +Suddenly Neil drives very normally and jerks the lady upright next to him like a wife. He drives away. HANNA runs to the alley - pulling his radio:/*Converted to PDF by www.screentalk.org*//*106.*/ + + HANNA + (into radio) + This is Hanna! + (no response; shakes it) + Come in... + +No response. Dead batteries. He throws the radio at the Safeway wall: SMASH. And runs up the alley. Meanwhile: + +CUT TO: + +EXT. SIDE STREET - WIDE - DAY + +Cerrito runs TO CAMERA through kids playing in a front yard, looking over his shoulder at Drucker and Bosko who can't fire because of the kids. CERRITO up a girl out of the yard. + + CERRITO + (nice) + C'mere, honey. + +She's the same age as his own daughters. He holds her to his chest with one arm as a shield against Drucker and Bosko. He FIRES a wild THREE SHOT BURST running up the sidewalk. Meanwhile: + +EXT. ALLEY - HANNA + +emerges, cuts right. He brings up his 9mm. Smith and Wesson. He slows. He stops. Hear his BREATHING. WIDEN and PAN AROUND. Cerrito is running right at Hanna and doesn't see him. OVER HANNA'S SHOULDER: CERRITO'S attention on Drucker and Bosko. Cerrito FIRES. The little girl sees Hanna because he's aiming the 9mm. directly at her with both hands. She stares into his eyes. CERRITO turns, sees Hanna. He starts swinging around the H & K on its shoulder strap.. HANNA FIRES ONCE./*Converted to PDF by www.screentalk.org*//*107.*/ + +WIDE - CERRITO is hit dead center in the forehead and topples backwards like a felled oak. The little girl falls half on and off his dead chest, screaming. WIDE - HANNA, DRUCKER + BOSKO get to Cerrito simultaneously. Bosko pulls the girl up and turns her away. BOSKO takes the girl and folds her into his bear-like chest. He carries her off. He holds onto her and wraps his jacket around her. Tears stream down his face. HANNA standing there in the center of the mess: bodies, disabled vehicles, people, shouting, SIRENS arriving, etc. + +CUT TO: + +INT. DR. BOB'S DOG AND CAT HOSPITAL SURGERY - CHRIS - DAY + +is unconscious on the table. BOB, a veterinarian of 55 ina white coat and bald head, works on him. DOGS BARK O.S. from the kennels. A CLAMP CLATTERS into the bowl. Chris moans in a dry rasp and convulses. Bob motions to Neil to hold Chris' shoulders. NEIL holds Chris down. + + BOB (O.S.) + Bottom tray. + +With one hand Neil gives Bob a tray of syringes. WIDE - THE SURGERY Bob's back obscures a series of injections into Chris'neck and shoulder. It's a veterinarian surgery and the metal table Chris is an is for holding down dogs. Long leather straps aren't buckled. There's pictures of cocker spaniels on the walls. Spent syringes CLATTER into pans. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*108.*/ + +INT. DR. BOB'S OFFICE - DR. BOB - DAY + +washes his hands in the sink. Neil sits on his desk. A tv plays news footage from Bosnia. + + DOC + Blood loss and shock and he'll have a lot of pain in the shoulder and back, but I'll give you quarter-grain phials of morphine. Subcutaneous injections. + + NEIL + (nods) + What's the bottom line? + + DR. BOB + Missed the carotid artery by millimeters. There is mostly tissue damage. And the collar a bone's smashed. Can he rest awhile? + + NEIL + Six, seven hours. What do I owe you? + +News coverage switches to scenes from the robbery with the commentator in a window. + + DR. BOB + It's got to be twenty thou. + + NEIL + What is this? + + DR. BOB + You're number one with a bullet on the six o'clock news. It's at least double the risk. So I'm doubling my price. + +Neil opens a shopping bag and stacks packets of bills. News coverage switches to sports and weather. + + NEIL + You're wrong. It's four times the risk. 'Cause something happens to him, I'm coming back for you. And I'm double the worst trouble you ever had. + +Bob looks at Neil's eyes and believes it./*Converted to PDF by www.screentalk.org*//*109.*/ + +INT. SURGERY - CHRIS - DAY + +on his stomach, breathing heavily. + + NEIL + I'll be back for you. + + CHRIS + (a little dazed; rasp) + Charlene? Get her out! + + NEIL + First, I got to know if our escape route got ratted-out along with everything else. + + CHRIS + (rasps) + Who... + + NEIL + Who wasn't around Towner. + +Chris hacks, coughs; Neil helps him spit into a steel pan. + +CUT TO: + +EXT. HAWTHORNE - WIDE - SUNSET + +It's the taped-off crime scene where Michael Cerrito dropped. News media are all over. Spectators mill. Emergency vehicles FLASHERS spin. Motorcycle cops re-route traffic. ANGLE The battered Mercury wagon is still in situ, being dusted by two TECHNICIANS for prints. We HEAR a car pull in o.S. and. + + ELAINE (O.S.) + (screaming; shouting) + Get out of my way! + (shrieks; sobs) + Michael. Michael. Michael. Michael!!! + +ELAINE CERRITO knocks over a Uniformed Cop and runs down the sidewalk to the chalked outline of Cerrito's body on the cement and lawn./*Converted to PDF by www.screentalk.org*//*110.*/ + +CLOSER Another cop moves to stop her. She dodges him. Disheveled, screaming, hysterical - she throws herself on the bloodied ground Michael Cerrito died upon and clutches at the outline drawing of his body and blood stains as if it were him. NEWS CAMERAMAN with lights moves in and tapes her. A Police woman tries to help Elaine up. Elaine bats her away. + +CUT TO: + +EXT. ROBERT'S COFFEE SHOP - ON LILLIAN - NIGHT + +enters from the coffee shop and crosses the street TO CAMERA. + +CUT TO: + +INT. POLYNESIAN BAR, DOOR LILLIAN - NIGHT + +enters. A TV mounted high in the corner BROADCASTS the news with the SOUND OFF. A Man in a motorcycle jacket plays the pinball machine. It CLICKS, bells RING, lights FLASH. LILLIAN crosses to the bar and leans over. + + LILLIAN + Say, bartender... ? + +BARTENDER rings up a sale, changing a $20. + + BARTENDER + In a minute, lady. + +Lillian waits. Behind and above her the Newscaster cuts from Last coast storms to coverage of the bank robbery aftermath: bullet holes in windows, Cerrito's body, Breedan's body, etc. LILLIAN sees none of it. Then: impatient: + + LILLIAN + (shouts to Bartender) + You seen that fella I pulled out of here the other night? Big fella with a beard?/*Converted to PDF by www.screentalk.org*//*111.*/ + +More robbery aftermath plays across the screen. BARTENDER at end of bar. Finishes with the customer. On his way to Lillian he turns up the TV volume. + + TV ANNOUNCER (V.O.) + ...dead were Michael T. Cerrito, Caucasian male and the driver, an unidentified black male in his early 30's, who died en route to St. Vincent's Hospital... + +As the bartender reaches her - WIDEN TO INCLUDE Lillian. She stares at the television - stunned - at seeing David's face on the paramedic stretcher in a FREEZE FRAME. + + BARTENDER + (to Lillian) + What can I get you, ma'am? + (she says nothing) + Lady, you okay. + +She stares at the TV and holds onto the deep polished grain of the bar. + +CUT TO: + +INT. SHIHERLIS APARTMENT - WIDE - NIGHT + +Charlene ignores Dominick playing at her feet as she watches the news coverage of the bank robbery with her hand over the mouth. CHARLENE rises, picks up Dominick, crosses to the phone. She punches 11 digits. We HEAR the phone RING on the other end. + + MARCIANO (V.O.) + (phone filter) + Yeah. + + CHARLENE + (into phone) + Harry? If you want me, Come right down and get me and Dominick out. + + MARCIANO (V.O.) + (phone filter; eager) + Sugar. I'll catch the 8 o'clock and rent a car. I'll be there at your place in two hours./*(MORE)*//*Converted to PDF by www.screentalk.org*//*112.*/ + + MARCIANO (V.O.) (CONT'D) + Get packed. Okay? I'll be right there. + +Charlene hangs up. The PHONE RINGS again. She doesn't answer. + +CUT TO: + +INT. TOWN CAR - NEIL - NIGHT + +on the phone. No answer. He hangs up. + +CUT TO: + +INT. MARCIANO HOME - MARCIANO - NIGHT + +WIDEN TO INCLUDE Las Vegas uniformed Cop and a PLAINCLOTHESMAN who's risen put of his seat. A tape recorder's attached to the telephone. + + PLAINCLOTHESMAN + Let's get you on that plane. + +CUT TO: + +EXT. TOWNER'S HOUSE - ESTABLISHING - NIGHT + +The white frame house with one palm tree in front on the hilltop overlooking downtown L.A. No lights are on. It's sinister. + +CUT TO: + +INT. TOWNER LIVING ROOM - ON WINDOW - NIGHT + +It's gray muslin drapes blow in TO CAMERA on the night wind. SLOWLY we TRACK LEFT into the draperies and shadows.it's eerie. Suddenly a face is there. It's Neil, flattened against the wall, his .45 in his hand. WIDE Neil FLASHES his penlight around the room. Nothing. + +INT. TOWNER BEDROOM - DOOR + +It opens silently. Neil's cautious, sweeping his .45 into the corners, clearing them. He looks around. There's a wallet with money and scattered clothes. It means they haven't split. + +INT. TOWNER KITCHEN - LOW + +Neil - cautiously - enters. Nothing. O.S. we HEAR WATER RUNNING from another room. TIGHTEN./*Converted to PDF by www.screentalk.org*//*113.*/ + +Neil works his way to the SOUND. He crosses to the bathroom off the kitchen. + +INT. TOWNER BATHROOM - ON NEIL + +through the crack in the door. He starts to push it open. Something blocks it. The water SOUNDS are LOUDER. Neil shines his light INTO CAMERA. NEIL'S POV: WIDE - ON THE FLOOR Towner is near death, beaten to a pulp. Something or someone is in the shower stall. Blood's all over. ANOTHER ANGLE Neil uses his penlight. He puts a towel under Towner's head. Towner's face - against the white octagonal tile floor - is a mess. He opens his eyes. TILT UP to Neil. + + NEIL + Who? + + TOWNER + (whispers) + Made me... Anna...? + +Neil crosses to the shower stall and looks in. He comes back to Towner. + + NEIL + (grim) + She's dead... + (beat) + So's Cerrito and Breedan...the guy who stood in...for you. + (beat) + Who did this...? + + TOWNER + (whispers) + They had Anna. + + NEIL + (Softly) + Who? + + TOWNER + Waingro. + + NEIL + Waingro? On his own?/*Converted to PDF by www.screentalk.org*//*114.*/ + + TOWNER + (whispers) + Uh-uh. For someone. The other worked for...said... + +Coughs and shakes his head. He doesn't remember the name. Neil thinks. Then: + + NEIL + Van Zant? + +Towner nods his head. + + NEIL + (continuing) + You sure? + + TOWNER + (nods; whispers) + Uh-huh. + + NEIL + You say anything about our exit? Our out? + + TOWNER + (whispers) + ...don't remember. I... + + NEIL + C ' mon! + + TOWNER + (implores; whispers) + Neil... Neil...I don't think so. + +Neil can't get a straight answer. + + NEIL + (low) + The house clean? + +Towner nods. + + NEIL + (continuing; rising) + I'll call the medics. + +PAN RIGHT with Neil. He turns off the water in the sink and leaves. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*115.*/ + +EXT. PUBLIC PHONE IN GAS STATION - NEIL - NIGHT + +The freeway's nearby. Traffic ZOOMS past. It's all concrete, public toilets, and green vapor lights. + + NEIL + (quietly; into phone) + ... Nate. + + NATE (V.O.) + You on a cellular? + + NEIL + (into phone) + No. + + NATE (V.O.) + (phone filter) + A brick house on Swallow Drive in Bel Air. + + NEIL + (quietly; into phone) + Next: Waingro. Okay? + + NATE (V.O.) + (phone filter) + You got the time...? + + NEIL + (into phone) + I'll make time. + (beat) + I need a new "out" laid on. + + NATE (V.O.) + (phone filter) + Do you know it's blown? + + NEIL + (into phone) + How can I trust it? + +Hangs up. Neil drops another quarter and dials again. After a moment. + + EADY (V.O.) + (phone filter) + Hello? + + NEIL + (into phone) + Things are screwed up. You're not flying out after me. We go together./*(MORE)*//*Converted to PDF by www.screentalk.org*//*116.*/ + + NEIL (CONT'D) + You and me got to straighten something up first. I'll be by later. + + EADY (V.O.) + (phone filter) + What's wrong? Neil? + +Neil hangs up. + +CUT TO: + +EXT. VAN ZANT HOUSE, FRONT DOOR - WIDE - NIGHT + +Neil enters directly from the front door and RINGS the bell. It's a $3,000,000, 70's modern. Neil puts his finger over the peephole. After a few moments: + +CUT TO: + +INT. HOUSE - VAN ZANT - NIGHT + +can't see. Tries light switch. Nothing. He puts his ear to the door to hear if someone's there. + + VAN ZANT (O.S.) + Who is it? + +No answer. + +EXT. HOUSE - NEIL + +kicks the door in. + +INT. HOUSE - VAN ZANT + +goes flying back. NEIL is four feet away. The big .45 Automatic is aimed into the center of Van Zant's chest. + + NEIL + Waingro. Where is he? + + VAN ZANT + (shouts) + How the hell should I know? + +Neil pulls the trigger: TWO LOUD SHOTS blow Van Zant back into his foyer. He slides 15 feet across the highly polished black and white tiled floor. Neil walks away. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*117.*/ + +EXT. L.A. CENTRAL MARKET PARKING LOT - WIDE - NIGHT + +Porters wheel huge loads of fruits and vegetables and sides of beef. Massive semi's pull through the lot. + + NEIL (O.S.) + How much? + + NATE + $165,000. + + NEIL (O.S.) + That's a rip-off. + +ZOOM onto cars parked side by side facing opposite directions: Neil's Lincoln and Nate's Cadillac. They talk car-to-car. + + NATE + You want a good getaway and you're hot with a big score in your pocket. You're a media event. What the fuck do you expect? + + NEIL + What do I get for those dollars? + + NATE + You end up in Ireland with good papers and plastic. + + NEIL + Via what? + + NATE + Lear jet to Vancouver. Then commercial to Reykjavik; then Dublin. + + NEIL + Reliable? + + NATE + For those bucks? 100 per cent. I got the plastic on me. The passports will be on the plane. Who's the third? + + NEIL + A girl. With her own papers. + (takes cards) + What are these good for? + + NATE + Forty-five to sixty days./*Converted to PDF by www.screentalk.org*//*118.*/ + + NEIL + How soon? + + NATE + Twenty-four hours. + + NEIL + Make it twelve. + + NATE + You're going for an important ride. If they say twenty-four for it to be right, then it's twenty-four! + + NEIL + You checked all around? + + NATE + All around. + (beat) + You and I go way back, kiddo, I bought you the best. + +Neil says nothing. Then: + + NEIL + Where's the pick-up? + + NATE + Santa Monica Airport. They're a legit operation. I won't have details until tomorrow morning. + +He hands over a small briefcase. + + NATE + (Continuing) + What is it? + + NEIL + Kelso's share. Ten per cent. $400,000. That's less the 50 advance. The other bag was with Cerrito. + +CUT TO: + +INT. LAPD CORRIDOR - ON HANNA, DRUCKER + FARINA - HANDHELD + +They're moving fast down the corridor. Hanna is throwing everything into motion./*Converted to PDF by www.screentalk.org*//*119.*/ + + HANNA + (to Farina) + You stick with the Charlene Shiherlis piece. + + FARINA + Marciano's on a plane in here from, Las Vegas to pick her up. We got a house I set.. + + HANNA + Maybe Chris or Neil will come for her. Frankly, I doubt it. + (to Drucker; continuing) + You work Neil's transport from here on the phones. + + DRUCKER + McCauley's gotta be gone. He hadda have a getaway planned. + + HANNA + And now he's gotta get a new one! Would you trust it after this afternoon? + (beat) + Someone, somewhere's agenting it for him. That's a main track. We got Shiherlis setting up. That's a main track. I want more. + + FARINA + How much time we got? + +Hanna turns toward a door. + + HANNA + Eight, ten, twelve hours. For him to set up a new out. After that? He's gone. Bam! Bye-bye. + +Hanna exits through the door. + +CUT TO: + +INT. INTERROGATION ROOM - WIDE - NIGHT + +Hanna and Drucker enter. Bosko's there with HARRY DIETER the burglary cop who gave Casals the tip on the bank job./*Converted to PDF by www.screentalk.org*//*120.*/ + + HANNA + (to Bosko; sarcastic) + He's the burglary cop with the "terrific tip?" + + BOSKO + Yeah. + + DIETER + Who are you? + + HANNA + Hanna. Where'd it come from? + + DIETER + (defensive) + I got my informants. Just like you got... + +Hanna kicks a chair out of the way and bounces Dieter up against the wall. Bosko starts to restrain him. + + HANNA + (explodes) + I got Schwartz. Dead. Casals got no liver. He's dying. Don't come on to me with "confidential source" crap! + +He slams Dieter into the wall. + + DIETER + (shouts) + Hugh. Hugh Benny. He gives me tips...! + +Hanna's gone. Bosko follows. + +CUT TO: + +INT. HUGH BENNY'S APARTMENT -FRONT DOOR - NIGHT + +HOLD. Then it EXPLODES off its top binges and hangs disabled. Hanna comes through with the cut down sledgehammer. He's backed up by Bosko and Berryman - another middle-aged heavyweight - with a regulation 12-gauge. REVERSE - LIVING ROOM - HUGH BENNY himself a heavyweight, races across the room for the rear. Hanna tackles him. BOSKO hauls Hugh up, kicking, punching and bouncing him off the walls. Hugh swings at Bosko./*Converted to PDF by www.screentalk.org*//*121.*/ + +Bosko knocks it aside, and spins him to Hanna. Hanna throws him into the bathroom. + +INT. BATHROOM - BENNY + +crashing in. Hanna throws him through the shower door into the bath tub. Hugh's cut. + + HANNA + (shouts) + Who ratted-out McCauley? C'mon! Who? You? + +CUT TO: + +EXT. MARINA DEL RAY CONDOS - NIGHT + +Farina gets out of an unmarked car with Charlene Shiherlis and a sleeping Dominick and they cross into the building. It's a rough cedar, two-story studio. A second car empties four cops - including Cop #4 and Cop #5 - carrying flack vests and M-16's. As they confer about positioning... + +CUT TO: + +INT. SECOND FLOOR APARTMENT - CHARLENE - NIGHT + +enters and sees Marciano already there. Surprised: + + CHARLENE + (screams) + Whose side are you on? + + MARCIANO + I'm on yours. + + CHARLENE + You slimy piece of shit. What a joke. + + MARCIANO + You told me you want out from under? You're scared to death of Neil. You wanted out? This is out! + + CHARLENE + What's your end? + + MARCIANO + You dump broad! How'd I get into this? + + FARINA + Hey, hey! Go easy on the lady!/*Converted to PDF by www.screentalk.org*//*122.*/ + + MARCIANO + (surprised) + Huh? + + FARINA + You heard me. She had a rough ride. + (beat) + Go mix her a drink. Cabinet above the sink. + + MARCIANO + Fuck her. + + FARINA + Get the fuck in there! + +Marciano does. Charlene seems to soften and relax and take satisfaction at Marciano's put-down. + + FARINA + (continuing; soft) + He's right. And you know it. You think you'd be betraying Chris? + + CHARLENE + (right to his face) + Yes. + + FARINA + Well, you're right. You would be. But if you don't betray Chris, you betray Dominick. Because he becomes an orphan when you go to prison as an accessory 'cause you got no living parents to take him. Then he ends up state-raised and fucked for life. Your son Dominick's innocent. He didn't choose a life like that. Chris did. + +Charlene rises and crosses to a bedroom and looks in the door - presumably at Dominick. + + FARINA + (continuing) + Give up Chris. You get off clean. Do it for your kid. + +Charlene sits - shell-shocked - dressed in black with whiteface and red lipstick. Marciano re-enters with a drink for her. Charlene looks towards the bedroom containing Dominick, then nods her head "yes." Farina dials a number./*Converted to PDF by www.screentalk.org*//*123.*/ + + FARINA + (continuing; into cellular phone) + Vincent. It's me. We're set here. She'll make the call. + +Charlene dials a number into the regular phone. Then: + + CHARLENE + (into phone) + I'm going to give you an address of where I'm staying. Could you get it to Chris? + +CUT TO: + +INT. HUGH BENNY'S APARTMENT - HANNA - NIGHT + + HANNA + (into phone) + Okay. + +He hangs up. Redials Drucker. In the b.g. Hugh Benny is handcuffed, soaking wet and half-conscious on the floor. Berryman watches him. + + DRUCKER (O.S.) + M. C. U. + + HANNA + (into phone) + It's me. Tracks back to this union guy, Van Zant. He had some beef with Neil. Neil already settled it. Van Zant got dead earlier tonight. + (pause) + Now Hugh Benny has reformed his wayward life and become a born-again good citizen. So, he's revealed the key player is this cowboy Waingro. Used to be part of Neil's crew. Waingro committed a double murder today on Towner, a driver, and his old lady. + (pause) + Meanwhile Waingro's checked into the Airport Hyatt House under "Jamieson." Maybe Neil will make a move on him, but not likely. + (pause) + Get the word to bailbondsmen, bookies, snitches in County, etc. where Waingro is. And get a team down there to set it up./*Converted to PDF by www.screentalk.org*//*124.*/ + + DRUCKER (V.O.) + (phone filter) + Want me to do it? + + HANNA + (into phone) + No. You stay on who's agenting Neil's getaway. What have you got? + + DRUCKER (V.O.) + (phone filter) + Nothing yet. + +Hanna hangs up. + + HANNA + (to Berryman) + He's here. He's still here. I can feel it. + + BERRYMAN + For how long? + + HANNA + Eight, ten hours max. + +CUT TO: + +INT. EADY'S HOUSE - EADY - NIGHT + +was in bed. Now she answers the door. The bamboo shades are partly raised revealing the L.A. basin - the city of light. She wears a red and black Japanese kimono. Neil McCauley enters. Eady stares at him as he crosses to the fridge and drinks from a bottle of club soda. + + EADY + (quietly) + What did you do? + (re TV) + Was that you? + + NEIL + It's what I don't do. + (beat) + I don't sell swimming pools. It would have been okay. You would have flown out after. You didn't need to do a thing. Now I'm jammed. We got to go together. Because we get dropped in a place and then I decide: New Zealand or Brazil or Tunisia, whatever. I can't leave a string back here to where I am./*Converted to PDF by www.screentalk.org*//*125.*/ + + EADY + (confused) + What. + +He realizes he's way ahead of her. + + NEIL + I rob and steal for a living. Do you understand? + + EADY + (amazed) + You killed people? + + NEIL + If they got in the way. Yes. It's their problem. + + EADY + The woman on the grass...where her husband got shot.. + + NEIL + Elaine Cerrito. + (pause) + Michael Cerrito's wife. Michael was my friend. He knew the risks. He didn't have to be there. He coulda been a...been a mailman. + (he stops) + + EADY + I don't believe it. + + NEIL + Believe it. + +She stares at him. + + NEIL + (continuing) + Eady. Get packed. Get dressed. Let's go. + +Eady runs out the door. + +CUT TO: + +EXT. HILLSIDE - WIDE - NIGHT + +Eady - in her black and red kimono - tears up the steep hillside of golden fountain grass TO CAMERA from her house on the side of the hill. We HEAR her BREATHING./*Converted to PDF by www.screentalk.org*//*126.*/ + + NEIL + (after her) + Eady! ! + +ANOTHER ANGLE She keeps going. Neil catches her and she falls into the grass. CLOSE - TWO SHOT + + EADY + (explosively hysterical) + Why you do this to me! What I do to you?! + + NEIL + Shut up! + +She does. She goes totally blank. Neil picks her up. + +CUT TO: + +INT. EADY'S HOUSE - WIDE - DAY + +It's morning. Eady's affect is flat, robotic. + + NEIL + (soft) + Use these credit cards. They say "Mr. and Mrs." I reserved the car. Buy me some clothes. Here's a list. I can't go home for my stuff. Can you do it? + + EADY + When's it over? + + NEIL + Twenty-two hours. Then we fly out of here...clean. + +He kisses her. She doesn't respond. She stares at him. + + EADY + I want you to let me go. When will you let me go? + + NEIL + You can go now. There's the door, you want out... + + EADY + No, I have to do what you say. But will you let me leave after?/*Converted to PDF by www.screentalk.org*//*127.*/ + + NEIL + It will be different... + +She starts to leave. Neil stops her. She glances at him and leaves. + +CUT TO: + +INT. CAR - HANNA - DAY + +driving. It's morning. He's been up all night. + +INT. HANNA CONDO - HANNA - DAY + +entering door. COOKING SOUNDS. He stops. Frozen. FARINA'S POV: A MAN on his sofa watching his TV. His name is RALPH. + + JUSTINE (O.S.) + (ignorant of Hanna's presence; to Ralph) + It's ready... + +JUSTINE enters, sees Hanna. + + JUSTINE + (cool) + Oh. Meet Vincent. + + RALPH + Excuse me. You didn't tell me you were... + +Ralph sees Hanna's 2" .38 in his waistband. + + RALPH + (continuing) + Oh, my God... + + HANNA + What's your name? + + RALPH + (frozen) + I should.... Ralph...I'm.../*Converted to PDF by www.screentalk.org*//*128.*/ + +Hanna's reaction to Ralph is vacant of emotion. + + HANNA + I'm Vincent Hanna. + + JUSTINE + Don't you even get angry? + + HANNA + (to Justine) + I'm angry. + (to Ralph) + Ralph, you can ball my wife. You can lounge around her $1.7 million condominium on her sofa. You can do all those things. But you do not get to watch my fucking TV...! + +Hanna lifts it off the table, spilling framed pictures. A commercial segues to a quiz show. + + HANNA + (continuing; to Justine) + I've never screwed around. I've been true blue to you since the day we met. + + JUSTINE + It would have been preferable if you had! You made me do this! + + HANNA + Right I had Ralph fuck you 'cause it makes me feel so good. + + JUSTINE + Put down the television. You look ridiculous. + (he doesn't) + Dr. Prince says I'm trying to get your attention. Christ! I have to pay someone to figure out my life with you. + + RALPH + Maybe I should... + + HANNA + Shut up! + + JUSTINE + Why's it my job to figure it all out and explain it to you?/*Converted to PDF by www.screentalk.org*//*129.*/ + + HANNA + 'Cause you're the one who spends all the time on the couch. + + JUSTINE + And what do you do? + + HANNA + What do I do? I speak the English language. Words. Sentences even. + + JUSTINE + How admirable: proletarian candor. + + HANNA + Thank you. + + JUSTINE + Except you don't say a damned thing. You neglect me. You don't call. I can worry about you or not. So I withdraw. You don't notice. You're walking through our life chloroformed, Vincent. Wake up. It's almost over. + +She unplugs the TV. The image Hanna's holding dies. Hanna looks at her and leaves. + +CUT TO: + +EXT. DR. BOB'S DOG AND CAT HOSPITAL, KENNELS - WIDE - DAY + +Basset Hounds BAY. Nate, Neil and Chris walk between the cages of parked pets - all of whom make a RACKET. The talk loudly over it. Chris' left arm is in a canvas sling. His hair has been cut short. He looks different. Dogs BARK throughout. + + NATE + I got Cerrito's share deposited in the Delaware Trust for Elaine. She's pretty bad... + (pause) + Passports. Traveler's checks. Plastic. + (hands them over) + Hangar 17. Plane call letters are 1011 Sierra. Touches down, holds for five minutes and splits. The plane will stand an FAA check. Filed flight plan. The works./*(MORE)*//*Converted to PDF by www.screentalk.org*//*130.*/ + + NATE (CONT'D) + (to Chris) + Here's the address Charlene said she was at. But I don't have documents for her. + + CHRIS + I'm not flying. I'm drivin'. + + NATE + (looks at Neil; to Chris) + Fly. Send for her later. + (to Neil) + Can't you talk to him? + + NEIL + I been trying. + + NATE + (to Neil) + Talk to you in three hours in case there's changes. + +Nate leaves. NEIL + CHRIS + + NEIL + Use the Camaro. Its clean and will stand a DMV check. Registration in the glove box. + + CHRIS + How you getting around? + + NEIL + Someone's picking me up. + + CHRIS + A girl on the side? + + NEIL + (laughs) + See you, cowboy. + + CHRIS + So long, brother. + +They embrace. Neil slaps the side of his face slowly -and leaves. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*131.*/ + +INT. MERCEDES 560 SL, TRAVELING - NEIL + EADY - DAY + + EADY + (driving) + Clothes are in the trunk. + + NEIL + Any trouble? + + EADY + No. When's it over? + + NEIL + Six hours. 8 p.m. + +She stops for a red light - a little sharply. + + NEIL + (continuing) + I'll buy you lunch. Everything's smooth. We're going to fly away... + +Neil looks for Eady's reaction: no response. + +CUT TO: + +INT. FARINA APARTMENT - WIDE DAY + +FARINA'Sbeen up all night and looks it. Bags of take-out food and coffee containers litter the table. Dominick crawls over and up Farina's leg. Charlene comes over. Farina picks Dominick up and makes aface and growls. Dominick laughs. Charlene smiles and takes him. Phone RINGS. Farina takes it, listens. Then: + + FARINA + (into phone) + Not a thing. What about you? + +CUT TO: + +INT. HANNA OFFICE - WIDE - DAY + +Hanna, Drucker and Bosko - more all-nighters with one day growths - pore through files and hang on phones. It's frantic. Hanna's on with Farina. + + HANNA + (into phone) + Someone's agenting Neil's stuff?/*(MORE)*//*Converted to PDF by www.screentalk.org*//*132.*/ + + HANNA (CONT'D) + Who? The Tooth Fairy? Talk to you later. + +Hanna hangs up. He thinks for a second. + + HANNA + (continuing; suddenly to Drucker) + ...how did Charlene get the Marina address passed to Chris? + +They come up out of their chairs and Hanna's punching numbers. He's furious. + + HANNA + (continuing; to Drucker) + I don't believe I didn't think of this. + (into phone) + Farina? + +CUT TO: + +EXT. SAN DIEGO FREEWAY, PHONE BOOTH - NEIL - TWILIGHT + +Green vapor lights have ignited on the freeway behind them. Neil drops the quarter and dials. Eady sits in the Mercedes -waiting. Behind them streams of cars and headlights pass by. We HEAR a PHONE RING. + + NATE (V.O.) + (phone filter) + Yeah? + + NEIL + (into phone) + Hi ya. + + NATE (V.O.) + (phone filter) + You okay? + + NEIL + (into phone) + Yeah, Breedan's end? + + NATE + (phone filter) + Still can't find nobody. It's in the Delaware Trust. You tell me later what to do. And about your ride. No changes. Right on schedule./*Converted to PDF by www.screentalk.org*//*133.*/ + + NEIL + (into phone) + Okay... + +Starts to hang up... + + NATE (V.O.) + (phone filter) + By the by: I heard your pal is checked into the Airport Hyatt under "Jamieson"...if you still care... + +Neil doesn't answer. + + NATE (V.O.) + (continuing; phone filter) + I figured you wouldn't waste the time. + +In the background Eady turns on the radio and watches Neil in the phone booth and rests her chin on her hand on the door. + + NEIL + (into phone) + You figured right. + (smiles) + Take it easy, old man. + + NATE + (phone filter; laughs) + You take it easy. Be careful, huh? + +Neil hangs up and turns to Eady. He stands there. He nods. + + NEIL + (to Eady) + That was the last bridge. + +Eady looks away. NEIL gets in and hugs her desperately. It's the most emotional we've ever seen him. Eady responds not at all. Neil lets her loose. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*134.*/ + +INT. NATE'S STOREFRONT TAX OFFICE - NATE - DUSK + +hangs up - still smiling. Behind him - out the window -two cars SCREECH to a halt. Hanna's the first one out. Bosko and Drucker are in the second car. Guns drawn, they bust into the Tax office. As they come through the door: + +CUT TO: + +INT. HANNA'S CAR, TRAVELING WIDE ON REAR SEAT - NIGHT + +Nate's handcuffed behind his back between Hanna and Bosko. + + HANNA + He blows out of here, you'll do his time. I want... + + NATE + (shouts back) + Screw what you want. Who the fuck are you? + + HANNA + (shouts) + Your worst nightmare. Hard time, Nate! + + NATE + (shouts back) + I ain't looking at shit, and you know it! So don't con me. + + BOSKO + (grabs Nate; to Hanna) + I'll work him... + + NATE + (shouts at Bosko) + Go ahead! + + HANNA + (to Bosko) + Don't touch him! + (to Nate) + Accessory. Armed robbery and murder one. Dealing stolen merchandise and securities. You agent for Neil. At least the armored car and bank. Everything I tie him into, I tie you into. Two cops dead. Other bodies on the sidewalk. You understand that kind of heat? You fucking get it!/*Converted to PDF by www.screentalk.org*//*135.*/ + + NATE + Neil who...? + +CUT TO: + +INT. DIVISION, BOOKING ROOM - TRACKING ON - NIGHT + +Hanna dragging in Nate followed by Drucker and Bosko. A Booking Officer's in front of a cage. Hanna throws Nate at the cage. + + HANNA + (shouts to Drucker) + Book him on Accessory to Armed Robbery, Murder One, A.D.W., and Trafficking Stolen Merchandise. + (shouts at Nate) + The Nazi's in Quentin will turn your ass into a satchel. You're an old man. Gimme Neil! + + NATE + (shouts back) + What I'll give you is so many false arrest lawsuits, you won't have time to write traffic tickets! + +Nate's dragged away. + +CUT TO: + +INT. HANNA'S OFFICE - HANNA - NIGHT + +with Drucker and Bosko - enters and kicks a chair out of the way. + + HANNA + Get me Farina. + +Drucker punches in the number. + + DRUCKER + Can we put Nate away? + + HANNA + With a staff of five or six marshaling physical evidence for six months after two years' worth of continuances...maybe he'll do 18 months. Won't fucking happen. + (to Bosko) + Check the bait. + + BOSKO + Waingro?/*Converted to PDF by www.screentalk.org*//*136.*/ + + HANNA + Yeah. At the hotel. + +Bosko starts dialing. Drucker hands Hanna the phone with Farina on the other end. + +CUT TO: + +EXT. PACIFIC PALISADES CLIFFS - TWO SHOT- TWILIGHT + +The sun is setting beyond Point Dume. Neil and Eady are at the edge of the sea cliff. He checks his watch. He looks cut at the sky. He wears clothes Eady bought. POV: SANTA MONICA BAY The swells rock a few small boats near the reef: PAN RIGHT. The sun is gone. The sky To the LEFT the bulk of a 747 rises over the ocean slowly, as if gravity didn't exist. + + NEIL + Look over there. + +EADY watches screaming gulls swirling below against the water. + + NEIL + (talks to the back of her) + I don't even know how to think like this...cause this has happened to me late in my life. But I got some expectations. For us. You can walk right now if you want. Walk away. Or you...on your own...you choose to come with me. I got enough in there to take care of us for forever. + +There's no response. + + NEIL + (continuing) + Eady. + +She turns and looks into his eyes. He touches the side of her face. + + NEIL + (continuing) + Eady?/*Converted to PDF by www.screentalk.org*//*137.*/ + +She folds into his arms and they stand there against the darkening sky and red cirrus. + +CUT TO: + +EXT. MARINA - WIDE ON ALLEY FROM ROOF - TWILIGHT + +Neil's Lincoln driven by Chris enters and parks near six guys playing shirts and skins under two spotlights. He winces from the pain. His arm is in the sling. He looks at the piece of paper Nate gave him and looks up TOWARDS CAMERA at the address. He doesn't get out of the car. + + COP #6 (V.O.) + (radio filter; matter of fact) + Richie. A possible moved into the zone. + + COP #5 (V.O.) + (radio filter) + We got him. + + FARINA (V.O.) + (radio filter) + I copy. + +PULL BACK TO REVEAL we're SHOOTING FROM the roof of the apartment building DOWN onto the alley and in the FOREGROUND, prone on the roof is COP #5 in flack vest with an AR-180 rifle with a nite-site scope aimed at Chris. Two buildings away is Cop #4. + +CUT TO: + +INT. HANNA'S OFFICE - WIDE - NIGHT + +Hanna's on the phone. + + FARINA (V.O.) + (phone filter) + Got a live one. + + HANNA + (into phone) + I'll hold. + +CUT TO: + +INT. SECOND FLOOR APARTMENT - FARINA - NIGHT + +WIDEN TO INCLUDE Charlene, two cops and Marciano (very nervous). Farina folds away from the window and sets down the phone - off the hook. -/*Converted to PDF by www.screentalk.org*//*138.*/ + + FARINA + (to Charlene) + C'mon, sugar: show yourself + + MARCIANO + (to Charlene) + Do it! + + FARINA + (to Marciano) + Shut up!! + +Marciano fades back. Charlene sits frozen to the spot. It's as if the pressure had battered her into a stupefied tranquillity. + + FARINA + (continuing) + One second at the window. Then it's all over... + +CHARLENE looks at Farina. She slowly crosses to the window. Marciano has faded to the back of the room. + +CUT TO: + +EXT. ALLEY - CHRIS + +looks up. CHRIS POV: CHARLENE looks down at Chris - deep into his eyes. She's disturbed. She's unsure. Then she decides. CHRIS looking up into Charlene's open face from inside the Lincoln. He starts to get out. Then he sees... CHARLENE And we TILT DOWN her body to her hand at her side. Her hand subtly waves him away, gestures towards the roof. + +INT. APARTMENT - REAR SHOT ON CHARLENE + + CHARLENE + (irritated) + For Christ's sake...that's not even him. That's not Chris./*Converted to PDF by www.screentalk.org*//*139.*/ + +EXT. ALLEY - WIDE ON CHRIS + +turns to basketball players. + + CHRIS + (loud; tight) + Any of you guys know anything for rent around here? + + BASKETBALL PLAYER #1 + Alberiz's grocery on Dell Avenue got cards on the wall. + +He dribbles and fakes a hook shot and passes. Chris starts to look down the alley. + + FARINA + (radio filter) + Unit two. This is command. Take him at the street. Check him out. + +INT. APARTMENT - WIDE + + UNIT TWO (V.O.) + (radio filter) + 10-4. + +Charlene crosses back to her chair. Farina stares at her unsure. Marciano re-enters and paces idly. + + MARCIANO + (worried) + Where the hell is he? + + CHARLENE + (taunts him) + Maybe he's not coming. + + MARCIANO + (explodes) + You better hope he shows! Or you're going to the can, you two dollar... + +Farina grabs Marciano, spins and slams him into the wall. + + FARINA + (shouts at cop) + Get him the hell out of here! + + UNIT TWO (V.O.) + (radio filter) + Command./*Converted to PDF by www.screentalk.org*//*140.*/ + + FARINA + (into radio) + Yeah? + + UNIT TWO (V.O.) + (radio filter) + This guy's John Pearson. Valid I.D. car's registered to one Bukowski. Ran a make to DMV. It's clean. So's the car. + + FARINA + (into radio) + Let him go. + +Farina clicks off the radio and picks up the phone. + + FARINA + (continuing; to Charlene) + Want a cup of coffee while we wait, Mrs. Shiherlis? + + CHARLENE + (sad smile) + That would be nice. + +Farina dials. Charlene closes her eyes. it's like she sees the gray institution of a women's prison. She shuts her eyes tighter to make the vision go away. Tears start flowing. + +CUT TO: + +INT. HANNA'S OFFICE - HANNA - NIGHT + + FARINA (V.O.) + (phone filter) + False alarm, Lieutenant. + +Hanna hangs up. He dials another number. It rings. + +CUT TO: + +INT. HYATT HOUSE LOBBY - DESK CLERK - NIGHT + +DESK CLERK/COP - in hotel blazer - answers the phone. + + HANNA (V.O.) + (phone filter) + What's the score? + + DESK CLERK/COP + (into phone) + On this Waingro?/*(MORE)*//*Converted to PDF by www.screentalk.org*//*141.*/ + + DESK CLERK/COP (CONT'D) + I just told Bosko. Zero. Nothing's happening. + +CUT TO: + +INT. HANNA'S OFFICE - HANNA + +hangs up. + + HANNA + You know what? + (beat) + Neil's gone. Bam! Flyin' like' a bird. + + BOSKO + (jumps up) + C'mon! How do you know? We still got... + + HANNA + What do we got? + (as if to Neil) + Bon voyage, motherfucker, you were good. + (low) + I'm going to the hotel. I'm gonna take a shower. I'm gonna sleep for a month. + +CUT TO: + +EXT. POLICE PARKING LOT - HANNA - NIGHT + +gets into his Olds with his TV set still on the front seat and pulls out, laying rubber. + +CUT TO: + +INT. CAR - HANNA - NIGHT + +stops sharply for a red light. The TV bounces against the dash. Hanna looks at it. It's idiotic. He drops the car into park, opens the passenger door. WIDER - HANNA'Sfoot comes up. He braces his back against the driver's door and kicks the TV set out of the car./*Converted to PDF by www.screentalk.org*//*142.*/ + +EXT. STREET - THE TV SET + +SMASHES onto the pavement. Passengers at a bus stop stare at Hanna. The light changes green. Hanna pulls away. + +CUT TO: + +INT. HOLIDAY INN: HANNA'S ROOM WIDE - NIGHT + +It's empty. Out the windows the mustard Hollywood glare stays low into the building. ANGLE - A SHADOWY FIGURE surreptitiously moves through the room examining things. It's a woman and in rear shot she is naked. We HEAR a key in the lock. She turns: it is Lauren. DOOR opens. Hanna - disgusted - tips off his clothes and throws them at the furniture. He turns on the shower and goes in. He didn't see Lauren. + +INT. SHOWER - HANNA + +under the water, half opens his eyes and just stands there. LAUREN'S BARE LEGS enter the bathroom and quietly slide the shower curtain. Hanna doesn't hear her. HANNA + LAUREN from the front. He's oblivious. She's behind him. ANGLE She does two things: she runs her hands across his stomach and says: + + LAUREN + ... Daddy? + +Hanna, terror-stricken, swings around and Lauren, screaming, starts assaulting him. WIDE They slip in the tub and crash onto the bottom. Hanna can barely restrain Lauren who has the strength of someone ina psychotic episode. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*143.*/ + +EXT. CHILDREN'S HOSPITAL - BLACK AND WHITE - DAY + +Code 3, pulls up and Justine runs out and sees: JUSTINE'S POV: HANNA CARRYING LAUREN out of a police ambulance wrapped in a towel like a baby. His face is scratched and bleeding. She struggles, but bent double in his arms, she's immobilized. Attendants rush at them with a stretcher with restraining belts. Hanna shoulders them aside and races into emergency. + +CUT TO: + +INT. EMERGENCY CORRIDOR - TRACKING HANNA WITH LAUREN AS JUSTINE - DAY + +catches up. + + HANNA + (to Lauren) + You're gonna be okay, baby. Your mommy and me are here. Everybody's here. We're going to take care of you. We love you... + +Lauren relaxes in his arms, carried like a baby; and tears stream down her face. JUSTINE one arm locked around Hanna - trying to see her daughter. Then Lauren goes wild again and Hanna tightens. + + ORDERLY + Let me take her. + + HANNA + I got her. + + DOCTOR + Watch her tongue! + + HANNA + She's not epileptic! This isn't a seizure. + + DOCTOR + (to nurse) + 5 mg of Thorazine./*Converted to PDF by www.screentalk.org*//*144.*/ + +.HOSPITAL WAITING ROOM - HANNA + JUSTINE - LATER + +his arm around her. She leans back against him. + + HANNA + You okay, baby? + +She shrugs. Then she moves closer to him and be pulls her into his shoulder. + +CUT TO: + +.INT - MERCEDES - NEIL + EADY - NIGHT + +Neil drives. He's pensive. He sees the "Hyatt" sign. + + RADIO ANNOUNCER (V.O.) + (radio filter) + Hey there, old aware ones, and you, too, my fair ones ... + +Neil KILLS THE RADIO. + + EADY + What is it? + + NEIL + (lies) + Nothing. + +He turns the RADIO BACK ON. + + RADIO ANNOUNCER (V.O.) + (radio filter) + Brought to you this fine day which is A-okay! + +The Mercedes is in the left. Suddenly Neil pulls across three lanes and shoots up an offramp - fast. Neil checks his watch. + + NEIL + I got this errand to run that I forgot. + + EADY + The airport is right there. Is there time? + + NEIL + (continuing) + Sure. It's a thing I got to take care of... is all. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*145.*/ + +EXT. HYATT HOUSE HOTEL - WIDE ON FRONT - NIGHT + +A lot of traffic and lights. Neil drives the Mercedes past the front and turns left at the corner into a dark side street on the side of the hotel. He parks. + + NEIL + (getting out) + Leave it running. + +NEIL crossing the street in his dark suit towards the hotel's side entrance. + + NEIL + ...be right back, Eady. + +He waves without looking. + + EADY + (worried) + Neil...? + +Some employees exit. + +CUT TO: + +INT. OFFICE - ON PAINTERS - NIGHT + +Two house PAINTERS and all their gear are in an empty office in front of a big picture window. Out the picture window across the street is the Hyatt House. They're not painting. They're playing gin on a cardboard box. Maybe they're on their break. CLOSE ON ONE PAINTER He has a Nite vision light accumulator scope and looks across at the hotel. PAINTER ONE'S POV: STREET + MERCEDES with Eady, exiting employees and Neil slips in the side door. PAINTER ONE pans his scope up the hotel. + + PAINTER TWO + What's going on? + + PAINTER ONE + Nothing. He's watching TV./*Converted to PDF by www.screentalk.org*//*146.*/ + +PAINTER ONE'S POV: ROOM 1403 + WAINGRO across the way. He watches TV with his feet up. PAINTERS are police - Waingro's surveillance team. + + PAINTER TWO + We going to finish this game or what? + +CUT TO: + +INT. LOCKER ROOM - NEIL - NIGHT + +crosses to a desk and red wall phone near some lockers. The place is abandoned. + + OPERATOR (V.O.) + (phone filter) + Hyatt House. + + NEIL + (into phone; familiar) + Hi. It's the kitchen again. A... "Jamieson" ordered a BLT and they got his room number screwed up. + + OPERATOR (V.O.) + (phone filter) + They're always doing that. + (beat) + + NEIL + (into phone) + Thanks, love. + +Neil starts ransacking the lockers. + +CUT TO: + +EXT. HOTEL - EADY - NIGHT + +in the Mercedes. Waiting. She stares at something strange. WIDEN: it's her hand. It spasms. She grabs onto the steering wheel to make it stop. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*147.*/ + +.HOTEL LOCKER ROOM - NEIL'S + +found a Hyatt security uniform. He puts on the short jacket and San Brown belt and hat. + +CUT TO: + +INT. HYATT HOUSE, LOBBY - SERVICE DOOR: NEIL - NIGHT + +enters and crosses to the elevators. He glances to his left. NEIL'S POV: DESK CLERK talks on his police radio. TILT DOWN. A 9mm. Beretta is under the counter top. NEIL continues to the elevators. It says he KNOWS Waingro is a trap. He knows the LAPD are here. He's come for him anyway. + +CUT TO: + +INT. SERVICE ELEVATOR - NEIL'S HAND - NIGHT + +punches 14. PAN AROUND to Neil. The elevator rises. He pulls his .45 and checks that there's a round in the chamber. He slips it back into his waistband, cocked and locked. + +CUT TO: + +INT. HOTEL, 14TH FLOOR ELEVATOR LOBBY - DOORS - NIGHT + +slide open. Neil emerges. He does two things. He wedges the ash tray to hold open the elevator door. Then, he smashes the glass and sets off the fire alarm. Immediately a SIREN SOUNDS. The building's elevators - except Neil's descend. We HEAR: + + PA (V.O.) + A fire has been reported. Please leave your rooms now. Proceed down marked fire exits. Use the staircases. Do not use the elevators. This is NOT a drill. A fire...etc. + +CUT TO:/*Converted to PDF by www.screentalk.org*//*148.*/ + +INT. APARTMENT - ON PAINTERS - NIGHT + + PAINTER ONE + (still looking) + Yeah. Whyn't you call out for pizza? Sausage, peppers, onions... + (suddenly) + Hey. + + PAINTER TWO + (ready) + What? + + PAINTER ONE + That chick on the ninth floor got naked and she's pressing herself against the glass again. + + PAINTER TWO + (crosses to window) + Let me see. + +Painter One looks through the scope. He looks down at the ninth floor and laughs. Then he looks away and sees something else: PAINTER TWO'S POV: ROOM Waingro goes to a drawer, pulls out a gun and starts towards the door. + + PAINTER TWO (O.S.) + (shouts) + Oh, boy...! + +CUT TO: + +INT. HOSPITAL WAITING ROOM - HANNA WITH JUSTINE + + OPERATOR (V.O.) + (PA system) + Lt. Hanna. Telephone. Lt. Hanna. + +Hanna crosses to the nurse's station. TIGHTEN. He answers: + + HANNA + (into phone) + Fuck McCauley. You handle it. Call Bosko and Drucker in. Get me at the hospital after. + +JUSTINE watching Hanna, heard the conversation./*Converted to PDF by www.screentalk.org*//*149.*/ + +HANNA rejoins her and takes her hand. He looks at her and then at the floor. He puts an around her. + + JUSTINE + (really questioning) + ... Will things change between us? + + HANNA + (beat) + I don't know... + (beat) + Probably not... + (beat) + ...but I am reminded of how much I love you. But that may not be enough. + + JUSTINE + (kisses him) + You have to go to work, don't you? + + HANNA + (touches her face) + Yeah. + +As he's rising. + + JUSTINE + Be careful, Vincent. Be very careful... + (beat) + Let's keep on trying? + +HANNA walking backwards, facing her, nods "yes." The last thing in the world he wants to do is leave. Then he turns and starts running down the white marble corridor... + +CUT TO: + +INT. 14TH FLOOR CORRIDOR - NEIL - NIGHT + +in the hotel security uniform approaches against the flow of people leaving the floor. The emergency LIGHTING is on and the PA fire alarm message still SOUNDS. Neil taps his flashlight on the doors of 1404, 1405 and 1406 as well as 1403. + + WAINGRO (O.S.) + Yeah?/*Converted to PDF by www.screentalk.org*//*150.*/ + + NEIL + I'm hotel security. We're evacuating the floor. + + WAINGRO (O.S.) + I can't leave. + + NEIL + Sir, I'm afraid you'll have to. + +CUT TO: + +INT. ROOM 1403 - WAINGRO - NIGHT + +looks through the peep hole. WAINGRO'S POV: NEIL'S BACK AND CORRIDOR A few patrons exit past the uniformed Neil. It looks legitimate. + +CUT TO: + +INT. 14TH FLOOR HALLWAY - DOOR TO 1403 + +opens silently, half-way. NEIL looks inside. Waingro's obviously hidden behind the door WIDE Neil kicks the door and... + +INT. 1403 - DOOR + +smashes into Waingro. Neil hits the door again and it smashes into waingro a second time. NEIL reaches around, grabs Waingro by the arm, dislocates his shoulder, breaks his collarbone and throws him across the room. Waingro's gun goes flying. WAINGRO on the sofa, seeing Neil McCauley. He feels his internal organs drop through the floor. He looks away./*Converted to PDF by www.screentalk.org*//*151.*/ + +LOW + WIDE + + NEIL + I should have dumped you in that parking lot. Look at me, you sick fuck. + +Waingro won't look at Neil. + + NEIL + (continuing) + Gimme your eyes. 'Cause you're gonna die. + +Waingro, pathetically, obeys and looks up. Neil's .45 EXPLODES TWICE. CLOSER: NEIL now looks out the window, searching. NEIL'S POV: HIGH RISE ACROSS THE STREET + "PAINTER" TWO staring at Neil through the Nite vision scope, disbelieving. Neil sees "Painter" One is shouting into his police radio... + +INT. 1403 - NEIL'S + +surprised not at all. He expected the police. He turns away from the window, looks once at Waingro and leaves the room. + +CUT TO: + +INT. MERCEDES - EADY - NIGHT + +twisted in her seat, trying to see, frightened by the noise and sirens. WIDEN. An L.A.P.D. fire engine ROARS in. Now an unmarked car skids into the driveway. Drucker, Bosko and others spill out carrying shotguns. A black and white parks perpendicular to the traffic flow and halts cars. She's worried, confused. + +CUT TO: + +INT. ROOM 1403 - WAINGRO - NIGHT + +dead in sitting position on the sofa with his head back as if he fell asleep watching the football game. + +CUT TO: + +INT. HANNA'S UNMARKED CAR - HANNA - NIGHT + +cruising scanning the streets. He's aggressively searching for something./*Converted to PDF by www.screentalk.org*//*152.*/ + + HANNA + (into radio) + Casals come in. + + CASALS (V.O.) + (radio filter) + Vincent. I'm in the southeast stairwell. + + HANNA + (into radio) + What's the situation? + + CASALS (V.O.) + (radio filter) + Three teams are moving up the other three stairwells to the 14th floor. Elevators are out of commission because of the fire alarm. Surveillance said McCauley looked right at 'em. Didn't seem surprised. + + HANNA + (into radio) + It means he knew we were here and came anyway. + + CASALS (V.O.) + (radio filter; continuing) + I got two Special Weapons Teams deployed at the front and back exits. Choppers. On their way. You want a command center in the... + + HANNA + (into radio; interrupts) + Yeah, yeah, that's fine. Stay on it. 10-4. + +For some reason Hanna's disinterested. He's moving down a different track. He's cruising the streets looking for something else. HANNA'S POV: SIDE STREETS adjoining the hotel are cluttered with emergency vehicles, cars, pedestrians, on-lookers, service people from adjoining buildings./*Converted to PDF by www.screentalk.org*//*153.*/ + +HANNA trying to see through, past, around everything. We don't know what it is he's looking HANNA'S POV: FIRE ENGINE, AMBULANCE, MERCEDES, BLACK AND WHITE... Then Hanna's P.O.V. PANS LEFT back to the Mercedes. The woman waiting in the passenger seat. It is Eady. She's a block down. A woman waiting...in a car...alone. CLOSER: HANNA It's what he was looking for. + +EXT. STREET - WIDE + +Hanna is out of the car in the jammed street, running towards Eady and the Mercedes a block away. + +EXT. HOTEL, SIDE DOOR - NEIL + +emerges and APPROACHES CAMERA. In the foreground is Eady in the Mercedes. CLOSER: NEIL calm, assured, approaches the car for the short drive to the airport. Then, Neil senses and... SIDE ANGLE: NEIL turns and looks over his left shoulder. NEIL'S POV: VINCENT HANNA a half block away, running through vehicles and incoming on-lookers right at him. NEIL MCCAULEY stops. He turns to Eady. EADY looks at him, quizzically. HANNA running towards Neil and Eady. EADY climbing out of the Mercedes, now, confused.../*Converted to PDF by www.screentalk.org*//*154.*/ + +NEIL starting to leave, moving at an oblique angle. Looking at her ... leaving her ... EADY next to the Mercedes. Shouting at Neil. We can't hear what she says. SIRENS and NOISE of an ambulance. HANNA AMBULANCE pulls in front of him, blocks him. He's around it, pushing a news crew out of the way, stops. MERCEDES WITH EADY in the street. Alone. No Neil. HANNA spins around, searching. HIGH + WIDE: HANNA in the sea of people and vehicles, crossing driveways and landscaping. Hanna - against the tide - moving away from the crime scene and police barricades to neighboring buildings. FRONTAL: HANNA through the crowd, searching. People pushed aside so he can see. Then... HANNA POV: THROUGH OFFICE BUILDING LOBBY TO REAR PARKING LOT A figure is running between cars. Beyond are the lights of an L1011 ten feet off the ground about to touch down. + +CUT TO: + +EXT. RUNWAY APRON - L1011 - NIGHT + +ROARING through the frame. Reveal Neil jumping a fence and running across the grass between power units and the racks of lights strobing their arrow sequence at the head of the runway. Beyond is Sepulveda Boulevard and normal traffic. NEIL running towards us./*Converted to PDF by www.screentalk.org*//*155.*/ + +EXT. RUNWAY - L1011 + +it's landing gear down, its lights blasting into the lens fills the frame as it descends to the runway. It wipes out the strobe racks in a chaotic blast of xenon. + +EXT. RUNWAY APRON - LONG SHOT: HANNA + +runs across the grass between the fence to the strobe lights. CLOSER: HANNA among the structures housing the ballasts for the lights. The ROAR of a 757's 95,000 lbs. of thrust beats an him. He spins to protect his face. His clothes and hair are whipped. As he runs to us ... CLOSER: HANNA looks up.. HANNA POV: UP INTO LIGHTS SEARCHING FOR NEIL. SUDDENLY: NEIL (SLO MO) is there. His .45 is up, centered into Hanna's face. He's eight feet away, framed against the glaring racks of strobes. NEIL'S HAND (SLO MO) squeezing the trigger, both eyes over the front sight, moving laterally on target through the liquid air and lights... NEIL'S .45 (SLO MO) as the trigger's squeezed and the sear's released and... MACRO: THE .45's HAMMER (SLO MO) falling. HANNA (SLO MO) coming up with his 9mm. He's too late... NEIL The hammer drops. Nothing. His .45 misfires. HANNA (SLO MO) His 9mm. coming up.../*Converted to PDF by www.screentalk.org*//*156.*/ + +NEIL'S HAND (SLO MO) swipes across the .45's slide. MACRO: THE BREECH OF NEIL'S .45 (SLO MO) The misfired round, ejected and spinning away. The new round, moving forward, the slide returning to battery... HANNA FIRES THREE perfectly controlled, hammered-on SHOTS. His front sight barely moved. NEIL HIT THREE TIMES in the chest - is blown back into the racks of lights. He lies still. HANNA approaches, slowly. His gun hand drops to his side. WIDE: NEIL + HANNA Neil's on the ground, his back against the rack. One arm is in his lap. The other is flung over the top bar of the strobe rack. Neil looks at Hanna and gestures with his hand. Hanna takes it. Neil holds on tight. NEIL last breath. + + NEIL + ...not half bad. + + HANNA + ...pretty good your own self. + +Then Neil's eyes dim. And he dies. LONG REAR SHOT: HANNA + NEIL Neil's head has fallen onto his shoulder. Hanna still grips his hand and looks down the runway into the west at the lines of blue runway lights like rivers. The two of them stay there like that. + +THE END diff --git a/fountain_scripts/Heat.webp b/fountain_scripts/Heat.webp new file mode 100644 index 0000000000000000000000000000000000000000..2712cf52b3ebb4b1acb09c1cd36117d743a10752 --- /dev/null +++ b/fountain_scripts/Heat.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:7f5baa8004b7ffd24e927fb6582084b538bb79e359954a082d1ca9094d2ad4d0 +size 18974 diff --git a/fountain_scripts/Heist.fountain b/fountain_scripts/Heist.fountain new file mode 100644 index 0000000000000000000000000000000000000000..4635265a93cde6662d9d84ebfb65ae1951efef81 --- /dev/null +++ b/fountain_scripts/Heist.fountain @@ -0,0 +1,4870 @@ +Draft date: March, 1999 +Cast: GENE HACKMAN +Title: HEIST +Credit: A SCREENPLAY BY +Author: DAVID MAMET +Copyright: COPYRIGHT © 1998, 1999 +Copyright by: BY DAVID MAMET + +>FADE IN: + +EXT RAILROAD OVERPASS DAY. + +!A LOW FLYING PLANE, MAKING ITS FINAL APPROACH. ANGLE CU. A WELL-BUILT MAN IN HIS FORTIES, JOE MOORE, IN HORN RIMMED GLASSES AND MOUSTACHE, LOOKS UP, AT THE PLANE. CAMERA TAKES HIM TO AN OLD STONE OVERPASS OVER A RAILROAD TRACK. HE CARRIES A FOLDED MAP. + +!HE LOOKS AROUND, AS IF LOST. ANGLE. MOORE, STANDING AT THE SIDE OF A TWO LANE SEMI-SUBURBAN ROAD. + +!HE LOOKS DOWN AT HIS MAP. SOUND OF A TRAIN APPROACHING. ANGLE ON MOORE, OVER HIM AS A TRAIN STREAMS BY BENEATH THE OVERPASS. ANGLE. ON MOORE, AS HE NODS, AND STARTS BACK TOWARD A PARKED STATION WAGON. ANGLE INS. WE SEE THE FOLDED MAP CONTAINS A YELLOW LEGAL PAD. MOORE GLANCES AT HIS WATCH, AND MAKES A NOTATION IN THE PAD. HE FLIPS BACK PAGES ON THE PAD TO SHOW IT IS FULL OF NOTATIONS. WE SEE A SKETCH OF THE RAILWAY OVERPASS. ANGLE ON MOORE, AS HE STARTS TO GET INTO THE STATION WAGON. HE LOOKS AROUND ONE LAST TIME, SHRUGS, AS IF TO SAY "SO BE IT," AND GETS INTO THE CAR. ANGLE INT THE CAR. MOORE, SITTING. A POLICE CAR, SIREN AND LIGHTS ON. + +!ROARS PAST OUTSIDE. MOORE NODS, LOOKS AT HIS WATCH. HE STARTS THE CAR. PUTS THE PAD DOWN NEXT TO HIM, IS ABOUT TO DRIVE OFF, WHEN HE GETS ANOTHER THOUGHT, AND OPENS THE PAD AGAIN. MOORE LOOKS AROUND. SIGHS, SHRUGS, AND PUTS THE CAR IN GEAR. + +>DISSOLVE TO: + +EXT. COMMERCIAL STREET. + +!A METAL CANE ON THE SIDEWALK, A PAIR OF MAN'S LEGS. THE SUNLIGHT GLINTS OFF THE CANE. PAN UP, PAST THE CANE, TO REVEAL. + +EXT. LIMOUSINE. DAY. + +!A BEAUTIFUL COMMERCIAL STREET. FULL OF BOUTIQUES, POSH CARS, AND FOLKS STROLLING DOWN THE STREET. TWO MEN, JOE MOORE, AND BILLY BLANE, A WELL-BUILT MAN OF SIMILAR AGE, BOTH IN FINE BUSINESS SUITS,BOTH WEAR LEATHER GLOVES, STROLL DOWN THE STREET. MOORE WALKS WITH THE AID OF A HEAVY METAL CANE. + + @MOORE + (AS HE LOOKS AROUND) + What makes the world go around? + + @BLANE + \...you tell me. + + @MOORE + Gold. + + @BLANE + Some people say Love. + + @MOORE + (NODS) + It is love. It is Love of Gold. + + @BLANE + \...easy to get the gold, hard to get it home. + + @MOORE + \...waal, so it takes a little bit of thought... + +!ANGLE CU ON MOORE, AS HE LOOKS ACROSS THE STREET. ANGLE HIS POV. A POSH JEWELRY STORE. A UNIFORMED GUARD EXITS THE STORE, CLOSING THE METAL GRATE BEHIND HIM. ANGLE. ON BLANE AND MOORE. AT THEIR LIMOUSINE. BLANE FEEDS THE PARKING METER. AND HELPS MOORE INTO THE BACKSEAT. OVER THEM, IN THE B.G., WE SEE THE GUARD DISAPPEAR AROUND A CORNER. MOORE LOOKS DOWN AT HIS WATCH AS HE ENTERS THE CAR. ANGLE ON BLANE, AS HE GETS INTO THE DRIVER'S SEAT. BLANE LOOKS OUT OF THE WINDOW. + +INT FAST-FOOD COFFEE SHOP DAY. + +!ANGLE, INSERT. A TRAY WITH FIVE ESPRESSO SHOT GLASSES ON IT. + +!A WOMAN'S HAND FILLING THE LAST OF THE FIVE. ANGLE THE UNIFORMED GUARD, AT THE COUNTER, CHATTING WITH ANOTHER SERVER. + + @CASHIER + (TO GUARD) + \...what's yours? + +!THE WOMAN POURING THE DRINKS RUBS HER TEMPLES, AND SIGHS. + + @WOMAN + \...Five Cappuccino... + + @CASHIER + \...that ought to keep you up... + +!THE GUARD AND THE CASHIER LAUGH. + + @CASHIER (cont'd) + \...eleven ninety-two... + +!ANGLE ON THE WOMAN, A SMALL 'VISINE-LIKE' BOTTLE FROM HER POCKET, TIPS HER HEAD BACK, AND MOVES AS IF TO PUT THE DROPS IN HER EYES. ANGLE XCU WE SEE THAT THE CAP IS STILL ON THE BOTTLE. ANGLE. SHE LOWERS THE BOTTLE AND TAKES OFF THE CAP, AND PUTS SEVERAL DROPS INTO EACH OF THE DRINKS BEFORE HER. ANGLE ON THE WOMAN AS SHE PASSES THE TRAY FULL OF DRINKS OVER THE COUNTER TO THE GUARD. + + @WOMAN + \...you have a nice day. + +!SHE LOOKS UP AT THE WALL CLOCK, AND ADDRESSES HERSELF TO THE CASHIER. + + @WOMAN (cont'd) + I've got a break... + +!THE CASHIER NODS. CAMERA TAKES THE WOMAN BACK INTO THE EMPLOYEE'S AREA, WHERE SHE TAKES DOWN A LARGE SHOULDER BAG, AND FISHES A PACK OF CIGARETTES AND A LIGHTER OUT OF IT. SHE BEGINS TO LIGHT A CIGARETTE. THE CASHIER TURNS BACK TO LOOK AT THE WOMAN. + + @CASHIER + \...Din't they tell you can't smoke in here... + +!THE WOMAN NODS, AS IF TO SAY, 'I FORGOT. I'M SORRY.' SHE TAKES THE BAG, PUTS IT OVER HER SHOULDER, AND STARTS OUT OF THE COFFEE SHOP. ANGLE, EXT THE COFFEE SHOP. A SMALL PARKING AREA, A DUMPSTER, THE WOMAN COMES OUT, SMOKING THE CIGARETTE. CAMERA HINGES HER AROUND THE CORNER, INTO A SMALL ALLEYWAY. IN THE ALLEYWAY SHE TAKES A THIN GRAY RAINCOAT OUT OF THE BAG, AND PUTS IT ON. IT COVERS HER STORE UNIFORM. SHE TAKES A PIN FROM HER HAIR AND LETS HER HAIR FALL. SHE TAKES A LARGE PAIR OF SUNGLASSES FROM THE GLASS AND PUTS THEM ON. ANGLE, INT THE LIMOUSINE. BLANE, IN THE DRIVER'S SEAT, JOE MOORE IN BACK. ANGLE ON MOORE. HOLDING A SMALL YELLOW SHEET. ANGLE INS: IT IS THE DRAWING OF THE RAILROAD OVERPASS. ANGLE ON BLANE MAKING A CALCULATION ON THE SHEET. BLANE SEES SOMETHING OUT OF THE WINDSHIELD, AND INDICATES IT TO JOE MOORE, WHO NODS AND PUTS AWAY THE YELLOW PAD. + + @BLANE + Showtime, Circus Time. + +!ANGLE, THEIR POV. THE GUARD, HOLDING THE TRAY OF COFFEES, ENTERING THE JEWELRY STORE. ANGLE ON THE GUARD. AS HE IS BUZZED THROUGH A DOUBLE GRATE. + +!CAMERA PANS TO REVEAL THE WOMAN COMING OUT OF THE ALLEYWAY. CAMERA TAKES HER ACROSS THE STREET. WHERE SHE PASSES THE LIMOUSINE,AS SHE DOES SHE OPENS HER HAND, SHOWING HER OPEN HAND TO THE LIMOUSINE. ANGLE INT THE LIMOUSINE. + + @BLANE + \... I see five. + + @MOORE + Five is correct. + (HE LOOKS DOWN AT HIS WATCH.) + +!ANGLE EXT THE JEWELRY STORE. WE SEE THE GUARD INSIDE, DRINKING COFFEE WITH THE SALESPEOPLE, A GUARD ENTERS FROM THE REAR OF THE STORE, AND TAKES A COFFEE. WE SEE IN THE REFLECTION, THE WOMAN IN THE SUNGLASSES AND RAINCOAT LOOKING IN THE WINDOW OF THE JEWELRY STORE, SHE ADJUSTS HER HAIR, AND TURNS. ANGLE INT THE LIMOUSINE, WHICH IS PULLING UP TO THE CURB. WE SEE THE WOMAN TURNING AWAY FROM THE JEWELRY STORE, AND NODDING AT THE LIMOUSINE. ON THE WOMAN, AS SHE CONTINUES DOWN THE STREET. SHE TAKES A LARGE PAPER BAG FROM HER SHOULDER BAG, AND DUMPS IT IN A TRASH RECEPTACLE. IN THE LIMOUSINE BLANE STARTS TO OPEN THE DOOR. + + @MOORE + (LOOKING AT HIS WATCH) + No wait. + (PAUSE) + Alright. + +!ANGLE EXT THE LIMO. BLANE GETS OUT OF THE DRIVER'S SEAT, AND HURRIES AROUND TO OPEN THE REAR DOOR. MOORE IS HELPED OUT OF THE REAR SEAT, AND HANDED A METAL CANE BY BLANE. THEY START ACROSS THE SIDEWALK TOWARD THE DOUBLE GRATE OF THE JEWELRY SHOP. BLANE HOLDING MOORE'S ELBOW. AS THEY REACH THE FRONT DOOR. A HEAVYSET MAN ALSO WEARING LEATHER GLOVES, CARRYING SEVERAL BEAUTIFULLY WRAPPED PINK PACKAGES APPROACHES THE DOOR. THERE IS THE SOUND OF AN EXPLOSION. + +!THE THREE MEN TURN THEIR HEADS. ANGLE. AT THE DOOR TO THE SHOP. ANGLE THEIR POV, DOWN THE STREET, THERE IS A FIRE RAGING AND A VAST COLUMN OF SMOKE POURING FROM THE TRASH RECEPTACLE. ANGLE AT THE DOOR TO THE STORE. THE THREE MEN, MOORE AND THE HEAVYSET MAN, PINCUS, PUT, STOCKING MASKS OVER THEIR HEADS. MOORE TAKES A SMALL ELECTRONIC LOOKING CONTRAPTION FROM HIS POCKET, AND HOLDS IT UP TO THE GRATING, THE GRATING POPS OPEN. BLANE NODS AT THE TWO OTHER MEN WHO START INTO THE STORE. + +!THEY TAKE OFF THEIR LEATHER GLOVES REVEALING SURGICAL GLOVES UNDERNEATH. ANGLE, ON PINCUS, AS HE RESTRAINS MOORE. BOTH LOOK INSIDE THE STORE. ANGLE, THEIR POV. ON THE COUNTER, ONE CAPPED, UNOPENED COFFEE CONTAINER, AND A YOUNG WOMAN, SALESGIRL, STANDING BESIDE THE COUNTER, TERRIFIED. ANGLE ON THE TWO MEN. BEAT. PINCUS REACHES FOR A GUN. MOORE SHAKES HIS HEAD NO. THEN MOORE TAKES OFF HIS MASK, AND MOTIONS TO PINCUS WHO HESITATES FOR A SECOND, THEN HANDS A SMALL OBJECT TO MOORE. MOORE PROCEEDS INTO THE STORE. CAMERA FOLLOWS HIM IN, TO SHOW A GUARD SLUMPED UNCONSCIOUS ON THE FLOOR. + + @MOORE (cont'd) + \...what is it, I'm a doctor... + (HE KNEELS AT THE HEAD OF THE FALLEN MAN) + Come here, hold his head up. Now... + +!THE YOUNG WOMAN COMES OVER, MOORE TAKES OUT THE OBJECT PINKY PASSED HIM, A SMALL CANISTER, AND SPRAYS THE WOMAN IN THE FACE. SHE SLUMPS TO THE FLOOR. MOORE MOTIONS PINKY INTO THE SHOP. ANGLE EXT THE STORE. SEVERAL BYSTANDERS ARE MOVING TOWARD THE FIRE. ONE COMES UP TO BLANE, AS IF TO ENTER THE STORE. BLANE PUTS HIS HAND TO HIS EAR,AS IF LISTENING TO AN EARPIECE, AND POINTS AT THE FIRE, SHAKING HIS HEAD. + + @BLANE + Move along, please... This area must be secure while the Secretary's on the street... just move alone... + +!ANGLE INT THE STORE. PINCUS HAS REMOVED THE COVER FROM HIS PACKAGES, REVEALING THEM TO BE A LARGE RECEPTACLE. CAMERA PANS HIM ACROSS A COUNTER, OVER WHICH COUNTER WE SEE SLUMPED THE FORMS OF THE TWO SALESPEOPLE. PINCUS POINTS AT THE DESK. MOORE NODS. IN THE B.G. WE SEE MOORE HIT A BUZZER UNDERNEATH A DESK. A PANEL IN THE WALL SWINGS OPEN, AND WE SEE A LARGE WALK IN SAFE BEHIND, ITS DOOR OPEN. IN THE FOREGROUND THE HEAVYSET MAN IS SHOVELLING THE CONTENTS OF THE DISPLAY CASES INTO HIS CARRYALL. + +!ANGLE ON MOORE IN THE WALK IN SAFE, AS HE CONSULTS A SMALL INDEX CARD TAKEN FROM HIS POCKET. HE WALKS TO THE SLUMPED FORM OF AN EMPLOYEE, AND TAKES A KEY FROM AROUND HER NECK, MOVES TO THE SAFE BOXES IN THE REAR. THE KEYS DO NOT WORK. MOORE NODS AS IF TO SAY, "WELL, THAT WOULD HAVE BEEN TOO EASY..."HE UNSCREWS A SECTION OF HIS METAL CANE, AND REMOVES SMALL SURGICAL TOOLS, HE OPENS NOW ONE AND NOW ANOTHER OF THE SMALL SAFE BOXES AND EMPTIES THEM INTO THE CARRYALL. MOORE WIPES HIS FOREHEAD WITH HIS ARM AS HE WORKS. + + @HEAVYSET MAN (PINCUS) + (VO) + \...two minutes... + +!MOORE NODS. PINCUS MOTIONS UP, THEY BOTH LOOK UP AT A TELEVISION CAMERA... ANGLE A BLACK AND WHITE IMAGE--THE TWO MEN--PINCUS IN A STOCKING MASK,MOORE SEEN PLAINLY, AS IF THROUGH THE SURVEILLANCE CAMERA... ANGLE MOORE NODS, FINISHES SCOOPING THE CONTENTS OF THE BOXES INTO THE CASE. HE LOOKS AT HIS WATCH, AND UP, AGAIN, AT THE TV CAMERA. + + @PINCUS + Forty seconds... + +!MOORE NODS, CAMERA TAKES HIM ALONG A WALL OF CABINETS, HE OPENS NOW ONE, AND NOW ANOTHER, DISSATISFIED... ANGLE, HIS POV. AN ELECTRONIC CABINET. SEVERAL TAPE DECKS, BEHIND A METAL, LOCKED GRATING. THE TAPE DECK BEHIND IT, ITS LIGHTS GLOWING. + + @PINCUS (cont'd) + \...thirty seconds... + +!ANGLE ON MOORE, WHO USES THE TOOLS IN HIS CANE, TO ATTEMPT TO OPEN THE GRATING. + +!THE GRATING DOES SO, BUT HIS TOOL SLIPS, SHATTERING THE TAPE DECK BEYOND. ITS LIGHTS GO OUT. + + @PINCUS (CONT'D) + Ten seconds... + +!ANGLE, ON MOORE, AS HE TRIES, FURIOUSLY, TO DESTROY THE TAPE MACHINE, TO GET TO THE TAPE. ANGLE INS. XCU. THE TAPE MACHINE. MOORE SMASHING AT IT. + + @PINCUS (CONT'D) + \...that's it, that's gotta be it... + +!MOORE CONTINUES TRYING TO PRY LOOSE THE TAPE. ANGLE PINCUS, PULLING MOORE AWAY. THE HEAVYSET MAN PUTS THE PINK PACKAGES CAMOUFLAGE ON HIS CASE. ANGLE, CU ON MOORE, AS HE LEAVES THE BACK ROOM. ANGLE HIS POV. THE TAPE MACHINE. ANGLE: IN BLACK AND WHITE, AS IF THROUGH THE VIDEO SURVEILLANCE CAMERA--THE MEN LEAVING THE STORE. + +>DISSOLVE TO: + +EXT THE DECK OF A SLOOP IN THE OCEAN, DAY + +!A MAGNIFICENT 60-FOOT WOODEN SAILBOAT. + +!A BEAUTIFUL DAY, LIGHT CHOP. A FLORID FELLOW IN HIS FIFTIES, SMOKING A CIGAR, AT THE WHEEL. ANGLE A BEAUTIFUL YOUNG WOMAN, THE SAME WOMAN WE SAW IN THE PREVIOUS SEQUENCE, IN SHORTS AND A T-SHIRT, AND SUNGLASSES, NEAR THE MAST OF THE SAILBOAT. BEYOND HER A MARKER BUOY AND BEYOND A SMALL HARBOR AND MARINA. SHE TURNS TOWARD THE CAMERA. + + @WOMAN + (FRAN. CALLING BACK) + Y'got your marker, five, six hundred yards. + (PAUSE) + Y'might want to start your turn. + +!ANGLE ON THE FLORID MAN, AS HE NODS. AND BENDS TO LOOK UNDER THE SAIL. HE IS BLINDED BY A FLASH OF LIGHT. HE SCREWS UP HIS EYES. ANGLE, HIS POV. + +!THE LIGHT, BOUNCING OFF A GLEAMING RAIL. THE MAN FLINCHES. ANGLE: ON THE BOAT, AS IS COMES UP INTO THE WIND, THE SAIL LUFFS, AND THE BOAT BEGINS TO ROCK. ANGLE: FRAN COMING UNDER THE SAIL BOOM, GOES HURRIEDLY, TO THE WHEEL, AND MOVES TOWARD THE MAN. PUSHING HIM OUT OF THE WAY, AND CORRECTING THE COURSE OF THE BOAT. ANGLE: + + @FLORID MAN + (SMILING) + \...you lookin to make friends...? + + @FRAN + No. I've got my friends... + +!THE MAN MOVES TO THE WHEEL AGAIN, AND FRAN HOLDS HIM OFF. + + @FRAN + You put this boat on the rocks, you bought it. + + @FLORID MAN + I got the sun in my eyes. + +!ANGLE AS FRAN TAKES THE WHEEL. ON THE BOAT, AS IT HEELS AND TURNS, PASSING THE RED MARKER BUOY INBOUND FOR THE HARBOR. + +INT SHIPYARD DAY. + +!A SMALL MARINA. THROUGH THE OPEN DOORS WE SEE THE MARINA BEYOND. GLEAMING, MOLTEN METAL IS BEING POURED INTO A SMALL MOULD BY A WORKMAN. JOE MOORE, NOW WITHOUT MOUSTACHE AND GLASSES, WITH LIGHT, GREYING HAIR, IN A CHEAP SPORTCOAT, COMES OVER, AND GIVES THE WORKMAN A FEW DIRECTIONS. THE WORKMAN NODS. CAMERA TAKES MOORE PAST SEVERAL BOATS IN THE SHED, IN VARIOUS STAGES OF DISASSEMBLY. OUT OF THE SMALL SHED, AND TO THE PIER OF THE MARINA, WHERE WE SEE FRAN TYING UP THE SLOOP, AND THE FLORID MAN DESCENDING THE GANGPLANK. + + @MOORE + What do you think? + + @FLORID MAN + Think you're too old for that girl--How'd you ever get a girl like that...? + + @MOORE + I won her in a raffle... + + @FLORID MAN + No, I'm serious. What's a girl like hh... + + @MOORE + (SHRUGS) + She's got this "father" thing. You like the boat? + + @FLORID MAN + Waal... your price is rather high... + + @MOORE + I'll tell you what, then why'nt you go build one... + + @FLORID MAN + No offense, no offense, I told you I liked the boat. + (TO FRAN) + What is he, a touchy fella...? + + @FRAN + You have to ask him. + + @FLORID MAN + (TO MOORE) + What I'd like to do: I'll take'er out again, me and some people... The Weekend...? + +!FRAN, IN THE B.G. COMES DOWN THE GANGPLANK. + + @MOORE + \...we'll be here... + +!ANGLE, ON FRAN, AS SHE TURNS HER BACK ON THE FLORID MAN, AND STANDS CLOSE TO MOORE, HER FACE SURPRISED, MOORE IGNORES HER. + + @MOORE (cont'd) + \...we'll be here. + + @FLORID MAN + \... I like this boat... + + @FRAN + \...Mister Fletcher, tell you what, you put down your deposit, we're gonna fit you one out. Your specs. + + @FLORID MAN + I don't want you, fit me one out, I want to buy this one here. This is a hell of a boat. + + @FRAN + Well, this one's not for sale. + + @FLORID MAN + Everything's for sale. I'm gone tell you what: you want, sell the boat to me, this weekend, you want to name your price, we'll... + (HE HANDS FRAN A BUSINESS CARD AND SCRIBBLES ON THE BACK OF IT.) + + @FRAN + (SMILES) + Well, Mr. Fletcher, this weekend, we're gone on a little trip, but... + + @FLORID MAN + How often do you see a live one...? I'm talking cash. You want a premium, I'm going to pay your premium, and I... + +!FRAN DISASSOCIATES HERSELF FROM THE FLORID MAN (MR FLETCHER) + + @FRAN + Excuse me... + +!SHE WALKS TOWARD MOORE + + @MOORE + What do you want me to bring you back? + + @FRAN + You just come back... Stay in the shadows. + + @MOORE + Everybody's lookin' in the shadows. + + @FRAN + Then where's the place to be...? + + @MOORE + (AS HE SQUINTS AT THE SUN, HE PUTS ON HIS SUNGLASSES) + Place to be's in the Sun... + + @FRAN + Well, then, you stay there, then... + +!BEAT. HE TAKES HER TO HIM AND KISSES HER. + + @FLETCHER + (IN THE B.G. JOCULARLY) + \...pretty little girl like that, wouldn't stay away too long... + +!MOORE EXCHANGES A LOOK WITH FRAN. SOUND OF A CAR HORN. THEY BOTH TURN. ANGLE, THEIR POV. + +!A CAB, EXT, THE MARINA. ANGLE FRAN AND MOORE, HE SHRUGS, STARTS TO TURN. FRAN PUTS A HAND ON HIS ARM. + + @FRAN + Stay here. Let Bobby do it... + + @MOORE + (AS HE KISSES HER AGAIN) + You take care, Baby. I'll see you tonight. + +!HE TURNS TOWARD THE CAB. + +INT BOXING GYM DAY. + +!SOUND OF SPEED BAGS, AND ROPE SKIPPING. TWO YOUNG MEN SPARRING IN THE SMALL, DARK, DIRTY GYM. ANGLE BLANE, IN HOODED SWEATSHIRT AND JEANS, SMOKING A CIGAR, LOOKS DOWN,FROM A WOODEN BALCONY, ON THE GYM BELOW. BEHIND HIM WE SEE MOORE ENTER THE BALCONY, AND WALK SILENTLY,AND STAND TWO FEET BEHIND THE CHAIR. BEAT. + + @BLANE + You shouldn't sneak up on a fella like that. + + @MOORE + \...what's he likely to do...? + + @BLANE + He's likely to do all sorts of unpredictable shit. + +!BLANE TURNS, AND THE TWO START DOWN THE RICKETY STAIRS TO THE MAIN FLOOR. ANGLE MOORE TURNS. TO SEE TWO WORKMEN UNBOLTING A SMALL METAL PIPE SCAFFOLDING, ON WHICH HANG SOME OLD HEAVY BAGS. + + @BLANE (cont'd) + Yeah, I was going, put in some new equipment. + + @MOORE + What'd you, come into some money? + +!BLANE SMILES. ON THE MAIN FLOOR OF THE GYM, A WIZENED OLD MAN SITS AT A SMALL COATROOM. + +!BLANE GESTURES AND THE MAN THROW HIM AN OLD LEATHER JACKET, AND HANDS HIM A LARGE BOXING GYM BAG. MOORE AND BLANE EXIT THE GYM. + +EXT 47TH STREET DIAMOND DISTRICT. NYC DAY. + +!BLANE AND MOORE WALKING DOWN THE STREET. THEY PASS INTO A BUILDING WHICH WE SEE ADVERTISED AS GOLDENSOHNS DIAMOND MART. + + @BLANE + Where you goin to go with the gelt? + + @MOORE + You know where I'm going. Me and the girl, gone get on the boat. + + @BLANE + You gone go South somewhere... rub yourselves all over, Cocoa butter... + + @MOORE + \...that's right. + + @BLANE + Get one of them cocker spaniel dogs, pull down your bathing suit... + + @MOORE + \...that's right... + + @BLANE + \...stick your white ass out at the world... + + @MOORE + I worked for it. + (PAUSE) + What're you gonna do...? + + @BLANE + I'm gonna open a carwash, n'torch it for the insurance... hold on a second... + +!ANGLE THEIR POV. TWO UNIFORMED POLICEMEN, WALKING DOWN THE STREET, OUT OF A DELI. BLANE AND MOORE TURN. BEAT. THE POLICE TURN AWAY FROM BLANE AND MOORE. + +!BLANE AND MOORE PROCEED. ANGLE INT GOLDENSHON'S DIAMOND MART. BLANE AND MOORE ENTER. BLANE HOLDS THE DOOR OPEN FOR AN EXITING MATRON. THEY PROCEED DOWN THE AISLES OF STALLS AND JEWELS. CAMERA TAKES THEM TO A HEAVYSET FELLOW STANDING IN FRONT OF A DOOR. + +INT OFFICE SUITE DAY. + +!THE GYM CASE IS PLACED DOWN ON A HEAVY DESK. MOORE SITS IN A CHAIR,BLANE STANDS BEHIND HIM IN THE SMALL SPARSELY FURNISHED ROOM, ACROSS FROM BERGMAN, A FELLOW WHO LOOKS LIKE A GANGSTER. BERGMAN OPENS THE CASE. ANGLE INS: THE CASE IS FULL OF OLD BOXING EQUIPMENT--GLOVES, A SPEED BAG, ETC. A HAND COMES INTO THE SHOT, TAKES OUT A KNIFE, AND RIPS OPEN THE SPEED BAG--WE SEE THE GLINT OF JEWELS INSIDE. THE KNIFE PROCEEDS TO OPEN OLD BOXING GLOVES, ETC. ALL ARE FULL OF JEWELS. ANGLE THE MEN AT THE DESK. SOUND OF A DOOR OPENING. IN THE B.G. A DARK, HANDSOME YOUNG MAN IS SEEN OPENING THE DOOR TO THE OUTSIDE. BERGMAN MOTIONS HIM TO TAKE THE CASE AND LEAVE, THE MAN (BELLA) NODS AND BEGINS TO DO SO. + + @BERGMAN + (INTRODUCING HIM) + My nephew, Jimmy. + + @MOORE + I met him a long time ago. + (NODS) + + @BERGMAN + Did you...? + + @MOORE + Yeah, I think I did. + +!BEAT. BLANE AND MOORE EXCHANGE A LOOK, THE DARK YOUNG MAN IS HANDED THE GYM CASE. HE CLOSES THE DOOR LEAVING BERGMAN, BLANE, AND MOORE ALONE. MOORE NODS, TO INDICATE, "IT'S ALRIGHT," AND BLANE BEGINS,RELUCTANTLY, TO LEAVE. + + @BERGMAN + You should of shot the girl. + + @MOORE + (SHRUGS) + You know, you're right... + +!BERGMAN SHRUGS, AS IF TO SAY "WELL, THAT'S WATER UNDER THE BRIDGE." + + @BERGMAN + On the other thing, Good News! We got the go ahead, we got a date. I got a firm date on the swiss thing. + + @MOORE + I'm burnt. They got my picture. + + @BERGMAN + (SHRUGS) + They got your picture in drag. Witcher warpaint on. + + @MOORE + (SHAKES HIS HEAD) + --I got to go. + + @BERGMAN + You goin down, a Body Shop? + (HE RUNS HIS HANDS OVER HIS FACE.) + + @MOORE + Yeah, I'm gonna have'em pound the dents out. + + @BERGMAN + \...old as you are, it's a good deal. + + @MOORE + Waal, they're honorable scars. + + @BERGMAN + That they are and indeed they are. How you doing, Bobby? + + @BLANE + Well, you're looking at it. + + @BERGMAN + Anything you guys want, you're here? Y'want to get a present for the Little Lady... + +!THERE IS A KNOCK AT THE DOOR. BELLA, THE YOUNG HANDSOME MAN ENTERS WITH THE GYM BAG AND A PIECE OF PAPER, AND WALKS TOWARD BERGMAN. BERGMAN TAKES THE PAPER, AND SMILES. + + @BERGMAN + No, you're the Boss Hog, Joe. + + @MOORE + Kind of you to say so. + + @BERGMAN + (OF THE SLIP OF PAPER) + Nobody... gets the goods like you... + + @MOORE + Anybody can get the goods, the tough part's, getting away. + + @BERGMAN + Uh huh. + + @MOORE + Plan a good enough getaway, you could steal Ebbetts Field. + + @BERGMAN + Ebbet's Field's gone... + + @MOORE + What'd I tell ya...? + (BERGMAN HANDS HIM A SLIP OF PAPER. OF THE SLIP OF PAPER) + Higher than the estimate. + (HE PASSES THE PAPER TO BLANE) + + @BERGMAN + And half of that's yours. You n'your team. + + @MOORE + Yeah, why're you telling me that? + + @BERGMAN + \... I told you we're on for the "other" thing? The Swiss thing? + + @MOORE + \...why're you telling me that, Bill? That half of it's mine. I know half of it's mine. Because, you'll remember, me and my crew? Went in there and got it. + (PAUSE) + + @BERGMAN + \...the other thing? + + @MOORE + \...you remember that? + + @BERGMAN + It's the shot of the century. + + @MOORE + Yeah--well, it's a shame... + + @BERGMAN + I'm locked into it. It's such a beautiful deal, Joe... we waited so long. + +!HE PUTS HIS ARM AROUND MOORE, AND WALKS HIM INTO THE OUTER OFFICE,WHERE WE SEE BLANE AND BELLA AND SEVERAL BODYGUARD TYPES. + + @BERGMAN (CONT'D) + \... I put myself, n'my friends in hock, set the deal up... + + @MOORE + I need my money. I owe the crew... + (PAUSE) + I owe my crew, Bill... + + @BERGMAN + If it was me... + + @MOORE + Yeah, if it was you n'if it was me. I owe my crew. + (PAUSE) + And I got to go. + (PAUSE) + I got to get outta town. + + @BERGMAN + You should of popped the girl... Look: + (HE PICKS UP A SHEAF OF PAPERS FROM HIS DESK.) + This Swiss thing? After how long we waited...? + + @MOORE + Woulda shoulda coulda. + + @BERGMAN + \... I was a publisher man, I'd publish the plans... it's the Mona Lisa. + + @MOORE + You're too kind. + + @BLANE + Why don't you publish the plans? + + @BERGMAN + Yeah, no, I'm saying, that's what I would do, f'I was in the book business. Unfortunately, I'm a thief, so, I have to do that thing. You understand... Joe: + + @MOORE + What is it I understand...? + + @BERGMAN + You understand my position. + + @MOORE + Here's mine? I did the job. Me and my crew. We brought you the swag, we're going to take our cut. + + @BERGMAN + Well, look here, it's the Golden Rule. You know the Golden Rule. Whoever's got the Fucken Gold, he gets to make the Rule... Huh? + (PAUSE) + Huh...? Look: The normal course of events... + +!ANGLE ON MOORE, AS HE EXCHANGES A LOOK WITH BLANE + +!THEY LOOK AT THE GYM BAG. + +!BLANE STARTS TO EDGE TOWARD THE GYM BAG. + + @BERGMAN (cont'd) + \...let's all remember where we are... + + @BLANE + (AS HE MOVES TOWARD THE BAG) + \...that's very literary. + +!BELLA PUSHES HIM BACK. + + @BELLA + Look here, Pal... Look here, Pal... You're the help... + + @BLANE + I'm what...? + + @BELLA + \...you're... + + @BLANE + I'm the "help," motherfucker? You were sitting behind a desk, we were on the street, it seems to me. Furthermore: + +!ANGLE, HIS POV, INSERT, THE GYM BAG. + +!WE SEE ONE OF THE BODYGUARDS MOVE IN FRONT OF IT. ANGLE MOORE AND BLANE AS BELLA PUSHES BLANE AWAY FROM THE GYM BAG. + +!BLANE PUNCHES HIM, HE FALLS TO THE GROUND. BLANE PULLS A PISTOL. ONE OF THE THUGS NEXT TO BLANE PULLS A PISTOL, AND POINTS IT AT BLANE WHO BATS IT OUT OF THE WAY. THE GUN DISCHARGES. BLANE STEPS UP TO THE THUG AND HITS HIM IN THE HEAD WITH THE GUNBUTT. THE THUG FALLS TO THE FLOOR. + + @BLANE (cont'd) + (AS HE MOVES TOWARD THE GYM BAG) + You wanna play "O.K. Corral?" Is this the plan of the Day? You wanna go dress warmly, n'go play Outside? Go for it. Go for it, motherfucker: you know where I am, I'm right here... + (PAUSE) + + @BERGMAN + Yeah. You're a pitbull. + (TO MOORE) + Your friend's a pitbull. + + @MOORE + What do you want, we're supposed to do, sit back, put our feet up while you fucken rob me? + + @BERGMAN + I'm in HOCK to my PEOPLE for the TOYS, all the TOYS YOU told me you need, do the Other thing... + + @MOORE + I got to go. + + @BERGMAN + While I what? Go WEE WEE all the way home to my ? Go WEE WEE all the way home to my Backers? You told me this: + (HE HOLDS OUT HIS HANDS FOR A LIST) + the Truck, two Trucks, the stuff the Train, the plans? ... you told me, "Go Out, Spend the Money," I did. Now: + + @MOORE + What do you want from me? They got my face on a Cereal box... + + @BERGMAN + I want you do do the Swiss job. + (PAUSE) + + @MOORE + Gimme our cut, we worked for, my crew, we do the Swiss Job. + + @BERGMAN + Well, now, that's bullshit, Joe, you know that, you just tol me you're goin travelling-- I give you the Money now, and you're gone. You gone play me for some kind of sucker? The other job. It's set up. + + @BLANE + You trine to play us for, you over-the-hill, short-weight motherfucker... + + @BERGMAN + (TO MOORE) + \... I don't think your friend likes me... + + @BLANE + Like you? I'd like you to spend the rest of your life with me... RIGHT NOW... + (HE DRAWS A PISTOL AND POINTS IT AT BERGMAN) + RIGHT NOW, MOTHERFUCKER. HERE YOU ARE: YOUR WEIGHT AND FATE. How 'bout that... how 'bout that...? + +!SEVERAL OF THE THUGS DRAW THEIR WEAPONS. + + @BERGMAN + \...alright... alright... let's just... + + @BLANE + How about that, n' we'll let someone else clean up... + +!BLANE MOVES TOWARD THE GYM BAG. + + @BLANE (cont'd) + How about them rosy'red apples...? + + @MOORE + Bag's empty... + (PAUSE) + The bag's empty, Billy... + (PAUSE) + Put the bag down, it's empty... + +!BLANE OPENS THE GYM BAG AND WE SEE THAT IT IS EMPTY--HE LOOKS TO MOORE FOR DIRECTIONS. + + @MOORE (cont'd) + Alright. + + @BLANE + What? + + @MOORE + I said alright. + (PAUSE) + + @BERGMAN + \...you'll do the Swiss Job? + + @MOORE + No. + + @BERGMAN + Well, then, it's not alright. What are you telling me...? + + @MOORE + I'm telling you I'll think about it. + (PAUSE) + Lemme think about it. + +!THE THUG STARTS TO RISE FROM THE FLOOR. BLANE ADDRESSES HIM. + + @BLANE + \...don't get up. + + @BERGMAN + You think about it, Joe. I got your money sitting for you, right here. You do the job, and I swear to you... + +!BLANE AND MOORE BACK OUT OF THE ROOM. + +INT BEDROOM NIGHT. + +!MOORE AND FRAN, ON THE BED. WRAPPED IN A SHEET. MOORE IS STANDING AT THE WINDOW, WEARING PAJAMA BOTTOMS. ANGLE HIS POV. HIS SAILBOAT, IN THE MARINA BELOW. ANGLE, ON MOORE, AS HE TURNS BACK TO FRAN. + + @FRAN + \...alright: what if we... + +!MOORE HOLDS UP HIS HAND FOR HER TO BE QUIET. BEAT. + + @MOORE + I'm sorry... + + @FRAN + \...what do you tell me? What is it you tell me? + + @MOORE + What is it I tell you? + + @FRAN + "Any situation, stand it on its head." + + @MOORE + Izzat right... + + @FRAN + So: stand it on its head. + (PAUSE) + What if we... + +!MOORE INTERRUPTS. + + @MOORE + Sell the boat. + (PAUSE) + Call the guy, sell the boat. + +!ANGLE ON FRAN AS SHE DIALS THE PHONE. + + @MOORE (cont'd) + You quote him our figure, sell it to him for cash. + + @FRAN + For cash? + + @MOORE + That's the sweetener. + + @FRAN + I don't get it. + + @MOORE + You say "cash," he knows we're hungry. He'll counter ten, twenny percent less, you kick around, and accept it. + + @FRAN + Where's he gonna get the cash at night? + + @MOORE + Let him get it tomorrow. You bring him the title for the boat. + + @FRAN + And you? + (ON THE PHONE) + Hello, Mr. Fletcher...? Could you, I'm looking for Mr. Robert Fletcher. + (PAUSE) + Would you tell him Fran, from Moore Marine. + (SHE LOOKS AT MOORE) + + @MOORE + \...I'll meet you in Mexico. + + @FRAN + How're you going to Mexico...? + + @MOORE + (PAUSES, AS IF AT THE OBVIOUS) + \...I'm taking the boat. + (BEAT) + I'm not proud... + + @FRAN + F'you're taking the boat, Baby, take the boat tonight... + + @MOORE + I ain't going til I make sure we're goin get the money... + +!FRAN GESTURES FOR HIM TO BE QUIET, AS THERE IS SOMEONE ONE THE LINE. + + @FRAN + Well, would you tell him... + + @MOORE + \... I can't go down there with nothing... + + @FRAN + What're you gonna do about the Other Guys? + + @MOORE + We're gonna play some ringolevio. I'm gonna need your help--Look here: + +INT NYC DELICATESSEN DAY + +!MIDTOWN BUSY DELI. + +!PINCUS AND BLANE SEATED AT A BOOTH IN THE REAR OF THE DELI, DRINKING COFFEE. + + @PINCUS + You know, in many ways, it isn't their arrogance that hurts, it's the money. + + @BLANE + Yeah? What were you gonna do with the money? + + @PINCUS + I was gonna buy a scooter for my niece. You know, this's the goddamndest thing I ever saw: They got his face on tap, he's got to Steal Away like the Arabs. + + @BLANE + \...with what? + + @PINCUS + Well, what about Times Two. If they stiffed him on Monday, what're they gonna do on Wednesday... + + @BLANE + Joe? He's got something in reserve. + +!PINCUS SHRUGS, AS IF TO SAY "MAY IT BE SO." + + @BLANE (cont'd) + He's got something in the Hole. He wouldn't change his mind without a diversion. + + @PINCUS + \...may it be so. + + @BLANE + \...and a back-up plan... + +!ANGLE, ON BELLA, WHO IS WALKING BACK THROUGH THE DELI, TOWARD THE BOOTH HOLDING PINCUS AND BLANE. BELLA STOPS, SHIELDED BEHIND SOME COATS. ANGLE HIS POV. THE OTHER TWO MEN IN THE BOOTH. + + @PINCUS (cont'd) + \...b'cause, b'cause I've spent my cut, the last thing... + + @BLANE + \...you hold tight with the Crew... + + @PINCUS + \... I hold tight with the Crew, the Crew holds tight with me, is all I'm... + +!BLANE PERCEIVES BELLA, AND PINCUS STOPS TALKING. BLANE LOOKS UP, ALL TURN. ANGLE, THEIR POV. BELLA, AT THE BOOTH. + + @BELLA + How're we all today? + + @BLANE + F'we got somewhere to go, let's go. + +!ANGLE THE GROUP IN THE BOOTH RISES, BELLA MOTIONS THEM OUT OF THE FRONT OF THE STORE. ANGLE EXT 47TH STREET, DIAMOND DISTRICT, DAY. THE GROUP EMERGES FROM THE DELI. ANGLE INT. A GOLD AND JEWELRY SHOWROOM. BERGMAN BEHIND THE COUNTER, TALKING TO A MAN AT AN OPEN SAFE, THE MAN IS HANDLING SEVERAL GOLD COINS. ANGLE INS. BERGMAN'S HAND, HOLDING THE COINS. ANGLE BERGMAN, LOOKS UP. ANGLE HIS POV. ACROSS THE STREET, THE GROUP, AND BELLA, MOTIONING MOORE ACROSS THE STREET. ANGLE, EXT, THE GOLD AND JEWELRY SHOWROOM. BERGMAN COMES OUT,COMING ACROSS 47TH STREET. IN THE B.G. WE SEE A BUNCH OF SCANDINAVIAN LOOKING TOURIST,EACH WITH HIS MAP, CAMERA SLUNG AROUND THE NECK, ET CETERA, WALKING DOWN THE STREET. WE SEE BERGMAN, CROSSING THE STREET, LOOKING AROUND. ANGLE PINCUS, BELLA, AND BLANE, BLANE IS SCANNING THE STREET, HE TURNS BACK IN THE DIRECTION OF BERGMAN, AND NODS. ANGLE HIS POV + +!BEHIND BERGMAN, ONE OF THE TOURISTS DETACHES HIMSELF FROM THE GROUP AND WALKS UP BEHIND BERGMAN. CAMERA TRACKS WITH THEM, AS MOORE(THE TOURIST) TAKES BERGMAN'S ARM, AND THEY WALK DOWN 47TH STREET. BEAT + + @MOORE + Alright. + + @BERGMAN + You'll do the job? + + @MOORE + That's right. + + @BERGMAN + I'm sorry I put you in a position. + + @MOORE + It's very sporting of you to say so. + + @BERGMAN + Well... + + @MOORE + I'm going to need some walking-around money. + (BERGMAN NODS) + And I'm going to need my men's share, on the last job. + + @BERGMAN + That's not unreasonable. + + @MOORE (cont'd) + Give it to me + (HE HOLDS OUT HIS HAND.) + + @BERGMAN + \...now? + + @MOORE + \...you got it in your pocket. + +!BERGMAN SIGHS, TAKES OUT AN ENVELOPE, AND SHOWS IT TO MOORE. + + @BERGMAN + \...you're ahead of me every turn. How about that. + + @MOORE + \...stunning. + + @BERGMAN + \...the date holds, you got the shipment on the fourteenth. + + @MOORE + \...how do I insure my cut? + + @BERGMAN + I swear to you... + + @MOORE + \...you lost your amateur standing. Here's what the thing is: I go with the gold. + (PAUSE) + I go with the gold, or there's no deal. I take my half, you take your half on site, we're done. + (PAUSE) + + @BERGMAN + \...so be it. + + @MOORE + Now: what's your little surprise. + +!ANGLE, OVER THEM, ONTO THE GROUP OUTSIDE THE DELI, AS WE SEE THAT THEIR WALK HAS TAKEN MOORE AND BERGMAN AROUND THE BLOCK. + + @BERGMAN (cont'd) + (MOTIONING AT BELLA AS THEY JOIN THE OTHER GROUP) + \...my boy goes on the job with you. + (PAUSE) + + @MOORE + \...he's got terrible manners. + + @BERGMAN + Nobody's perfect. + (PAUSE) + +!THE TWO HAVE WALKED UP TO PINCUS AND BLANE. + + @MOORE + (TO BERGMAN) + Gettim over here... + (BERGMAN MOTIONS TO BELLA) + + @BELLA + (PAUSE) + \...I'm sorry for what I said. + + @BLANE + \...what'd he say...? + + @BELLA + (PAUSE) + I'm sorry for what I said. + (PAUSE MOORE MOTIONS TO BLANE) + + @BLANE + Well, you were prolly just overcome by the heat of the moment. Is that the thing? + + @BELLA + \...that's right. + + @MOORE + Okay, so You called us one, we called you one. The way you get along's you're gonna go along. + (TO BERGMAN) + Okay, we're done negotiating, gimme the money + (BERGMAN HANDS HIM AN ENVELOPE) + I'll see you on the fourteenth... + +!MOORE AND BLANE START TO WALK AWAY. + + @BLANE + You going to take that lame onna job? + + @MOORE + I'll tell you what, you make the decisions, and I'll bitch at you. It's Fun to Play Pretend! + + @BLANE + You going to roll over for these guys, I got to walk away... It's one thing, put your head in the Lion's Mouth. It's another thing, put your head in the Lion's Mouth and shoot yourself. I... + + @MOORE + You do whatever the fuck you have to do... + +!MOORE STARTS TO WALK AWAY FROM THE GROUP, FOLLOWED BY BLANE. + + @MOORE + You want to show me another way? + + @BLANE + (OF BELLA, AS HE STOPS MOORE) + \...why does he go with the gold? + + @BERGMAN + Y'ever split a piece of cake? One kid gets to cut the cake, the other gets to choose. We're gonna get the gold. Your guy gets to go, my guy gets to go. + (PAUSE) + + @MOORE + Then we go together. + + @BERGMAN + You go with the gold. That's the deal. + (PAUSE. BLANE AND MOORE START TO WALK AWAY) + + @BLANE + You're losing a step, Joey. + + @MOORE + Zat so? + + @BLANE + Time was, you wuun't of asked him. + + @MOORE + Yeah, well, the time was I was the Law West of the Pecos. + + @BLANE + And now...? + + @MOORE + And now the Time Was, I got to get out of Town. + +!HE TURNS BACK, HANDS THE ENVELOPE TO PINCUS. + + @MOORE (cont'd) + (SOTTO, TO PINCUS) + Okay it's on. + + @PINCUS + (AS HE TAKES THE ENVELOPE) + I'll take care of it. + +!PINCUS TURNS BACK TO EXCHANGE A PRIVATE WORD WITH MOORE. + + @MOORE + You wanna wash any laundry out inna street...? ...you said you were gone take care of it, take care of it. + (PAUSE, WHILE PINCUS HESITATES) + \...are you in or out...? + +!PINCUS EXCHANGES A LOOK WITH BLANE. SHRUGS, AND NODS AND WALKS OFF. MOORE, TO BLANE. + + @MOORE (cont'd) + Is he going soft on me...? + + @BLANE + (PAUSE) + He'd never go soft on you, Joey... + + @MOORE + Well, then. What's the thing? Am I missing something...? + + @BLANE + He's just countin' the tricks, and the tricks don't add up. Tricks don't add up. These guys. You get the gold, they never let you walk away wi... why would you want to... + (PAUSE. RECOGNITION LIGHTS UP BLANE'S FACE) + We ain't doin the job. Izzat it? You're just going to take the up front money, walk away. + (PAUSE) + + @MOORE + I got to Bobby... + + @BLANE + I know you do. + + @MOORE + Tick tock. + + @BLANE + No, I know. + + @MOORE + The cops got me on tape. I got to go... + (PAUSE) + + @MOORE + But everybody gets his cut from the Jewelry store. + + @BLANE + Yeah, thanks, but after which, what're you going to live on? + + @MOORE + I'm trine a figure out a way, get somebody, throw me inna briar patch. + +!MOORE TURNS BACK TO BELLA. + + @MOORE (cont'd) + Awright, you want to go to work...? + +!BELLA WALKS UP TO THE GROUP. BLANE SEES SOMETHING OVER MOORE'S SHOULDER. ANGLE HIS POV. THE TWO POLICEMEN WE SAW EARLIER, WALKING THEIR BEAT, ONE LOOKS IN MOORE'S DIRECTION, AND DOES A DOUBLE TAKE, AND THEN KEEPS LOOKING AT MOORE. ANGLE ON MOORE AND BLANE, MOORE STARTS TO HALF-TURN, BLANE PUTS HIS ARM ON MOORE'S ELBOW, AND STARTS TO WALK HIM AWAY. + + @BLANE + (SOTTO) + \...just keep walking... + +!BLANE TURNS BACK, AND LOOKS AT PINCUS, WHO STANDS IN THE MIDDLE OF THE BLOCK, HE TUGS ON HIS EAR, AND INCLINES HIS HEAD SLIGHTLY TOWARD THE TWO POLICEMEN, ONE OF WHOM IS WALKING, TENTATIVELY, TOWARD MOORE. ANGLE, ON PINCUS, WHO IS TURNED AWAY. ANGLE ON BLANE, WHO IS STILL TRYING TO SIGNAL PINCUS. HE SHAKES HIS HEAD MINUTELY, AND TURNS BACK TO MOORE. + + @BLANE (cont'd) + (SOTTO) + \...walk on... just walk on... + +!ANGLE ON THE TWO POLICEMEN, WHO ARE WALKING TOWARD BLANE AND MOORE, WE SEE MOORE DETACH HIMSELF FROM BLANE, AND CONTINUE WALKING, TURNING THE CORNER. ANGLE ON BLANE, AS HE WALKS UP TOWARD A PASSERBY. HE TAKES A PIECE OF PAPER OUT OF HIS POCKET, AS IF LOOKING FOR DIRECTIONS. + + @BLANE (cont'd) + \...excuse me... excuse me... + +!THE PASSERBY IS CROSSING THE STREET, BLANE STEPS OUT INTO THE STREET. WE HEAR THE BLARING OF CAR HORNS, AND THE SQUEAL OF BRAKES. ANGLE ON BLANE, AS A CAR RUNS INTO HIM. BLANE HITS THE HOOD OF THE CAR. ANGLE ON HIS HAND, AS IT COMES DOWN, WITH A THUMP, ON THE HOOD OF THE CAR. HE ROLLS OFF THE HOOD, AND ONTO THE GROUND. ANGLE ON THE TWO POLICEMEN, TURNING TO THE SOUND OF THE ACCIDENT. IN THE B.G. WE SEE MOORE, TURNING THE CORNER. ANGLE ON BLANE, ON THE GROUND, HOLDING HIS LEG. + + @BLANE (cont'd) + \...oh god... oh god... + +!ANGLE ON THE CROWD OF ONLOOKERS, AS THE POLICEMEN KNEEL TO BLANE. BLANE STARTS TO HIS FEET. IN THE BACK OF THE CROWD WE SEE PINCUS,WHO LOOKS ON FOR A SECOND, AND THEN MELTS AWAY. ANGLE SIDEWALK, PASSERBY. MOORE WALKING IN THE STREET. PINCUS COMES UP BEHIND HIM. + + @PINCUS + (SOTTO) + \...he's okay. + + @MOORE + Yeah, well, you know, that was his road game. + + @PINCUS + He's too old for that. + + @MOORE + (SHRUGS) + It's his job. Let's get to work. + +INT SMOKEY WORKINGMAN'S BAR NIGHT. + + @FRAN + (IN BLUE JEANS, ON A PAYPHONE) + \...an if, an if... well, why didn't you, no, wait a sec... wait a second, f'it's about your wife, F'It's about your wife, why din'tcha... no, wait a... will you WAIT, what I'm saying, if the whole thing is about your wife, you know what, you know what, the hell with it. + +!SHE HANGS UP, SHE GOES TO THE BAR, TWO PACES AWAY, AND SITS NEXT TO A MIDDLE AGED WOMAN. + + @FRAN (cont'd) + (TO BARTENDER) + Could I have another, please...? + + @BARTENDER + Hope you're not driving tonight. + + @FRAN + Well, I hope I am driving tonight, and I run into some fucked abutment IF THAT'S WHAT THEY'RE CALLED, and + (HE GIVES HER A DRINK) + Thank you... + (SHE DRINKS) + + @MIDDLE AGED WOMAN + \...take it easy, Baby... stuff'll eat your stomach lining... + + @FRAN + Yeah, but I get to drink it first... + (SHE SHAKES HER HEAD) + Can I ask you something... + +!ANGLE. ON BELLA, SITTING IN THE BACK OF THE BAR, WATCHING FRAN. HE TAKES OUT A POLAROID CAMERA AND TAKES A PICTURE. + + @WAITRESS + (TO BELLA, AS SHE PUTS DOWN A DRINK NEXT TO HIS EMPTY GLASS) + \...see anything you like...? + +EXT RAILROAD OVERPASS. DAY. + +!A STATION WAGON, PARKED BY THE SIDE OF THE ROAD. ANGLE INT. BELLA AND BLANE AND PINCUS, IN THE STATION WAGON. BLANE HOLDS A NOTEPAD, AND IS TALKING TO BELLA, WHO IS TAKING OUT A MOBILE PHONE. + + @BLANE + (AS HE LOOKS AT A POLAROID PICTURE OF THE WOMAN WE SAW IN THE BAR) (READING OFF THE NOTEPAD) + \...what's the woman's name...? + + @BELLA + Croft. Betty Croft. + + @BLANE + \...and she's on what shift...? + +!ANGLE, ON PINCUS, AS HE DIALS HIS NUMBER, AND MOTIONS BLANE TO BE SILENT. HE LOOKS AT HIS WATCH. + + @BELLA + (RECITING) + She's on the swingshift. She's got two kids. She's got an ulcer. Betty Croft... + (TO PHONE) + I got to report a Bomb threat, I got to report, you've got a bomb in... + +!ANGLE UNDERNEATH THE OVERPASS. WE SEE THE HIGHWAY ABOUT, AND THE STATION WAGON. + +!MOORE, WEARING A HARDHAT, AND CARRYING A CLIPBOARD, IS PACING OFF THE TRACK. HE GLANCES AT HIS WATCH. NODS. KEEPS PACING. HE MAKES A NOTATION IN HIS CLIPBOARD. ANGLE MOORE, CLIMBING THE BANK, UP TO THE ROAD GRADE, TOWARD THE STATION WAGON. ANGLE, INT THE STATION WAGON. BLANE AND BELLA. + + @BELLA + What's the story on your pal? + + @BLANE + He was born, he suffered, he died. + (PAUSE) + + @BELLA + How long's he been with the girl? + + @BLANE + What business is it of yours? + + @BELLA + How long's he been with her...? + + @PINCUS + How long is a chinaman's name. + (PAUSE) + + @BELLA + Can he do the thing? + + @BLANE + He was doing the thing before you were born. + + @BELLA + Well, you see, that's what, that's what troubles me. + (PAUSE) + + @BLANE + Maybe you wanna pray about it. + + @BELLA + No, I'm not a religious man. + + @BLANE + That's a shame. Who's got the Uniforms...? + + @PINCUS + \... I got em... + + @BLANE + \...the rental trucks...? + +!MOORE WALKS UP TO THE CAR, AND HOLDS A CONFERENCE, LEANING IN THE WINDOW. HE STARTS TO SPEAK, AND A PLANE SCREAMS OVER, HE LOOKS UP AND PAUSES. + + @BLANE (cont'd) + Whaddaya got? + + @MOORE + I got to redo some of these figures. + + @BELLA + They worked out on the plan, why all a sudden now, you... + + @MOORE + Because, lemme explain it to you: because when it starts to go sour, someby's gonna be pissing their shit, look'n around, shoot someb'y inna head, I'd like to have an alternative idea, is the explanation. + (PAUSE) + +!TWO POLICE CRUISERS SCREAM BY, LIGHTS FLASHING. BLANE AND MOORE LOOK AT EACH OTHER AND NOD. MOORE MAKES A NOTE ON HIS CLIPBOARD. + + @MOORE (CONT'D) + One minute twenty seconds... + + @BELLA + \...why should it go sour? + +!MOORE SHAKES HIS HEAD IN DISBELIEF. + + @BELLA (cont'd) + No, no. No. Teach me something: why should it go sour. Was that such a stupid...? + (PAUSE) + + @MOORE + Y'ever cheat on a woman? + (PAUSE) + Your girl, something... + (PAUSE) + Stand her up? + + @BELLA + \...what...? + + @MOORE + D'you ever do that? + + @BELLA + Yeah. + + @MOORE + When you called her up, d'you have an excuse? + + @BELLA + Yeah. + + @MOORE + What is she didn't ask? What was your alibi, a waste of time? + +!BEAT. MOORE WALKS AWAY. + + @BELLA + What was that about? + + @BLANE + Well, you see, that's why he's running the crew, n'you're somebody's fucken nephew-- + (PAUSE) + You don't do anything without: a diversion and a back-up plan. Wu'un that your question...? + +!BELLA SHRUGS. + + @BLANE (cont'd) + Now: why'd you ask about his wife...? + +!PAUSE. THERE IS THE SCREECH OF A TRAIN WHISTLE. IN THE B.G. WE SEE MOORE MAKE A NOTATION, AND WAVE TOWARD BLANE. IN THE STATION WAGON BLANE MAKES A NOTE ON A CLIPBOARD, AND WAVES BACK. IN THE B.G. WE SEE MOORE BECKONING, AND BLANE GETS OUT OF THE CAR. ANGLE, EXT, THE OVERPASS. BLANE AND MOORE WALKING TOWARD EACH OTHER. MOORE LOOKS BACK TOWARD BELLA, IN THE CAR. AND LOOKS QUESTIONINGLY AT BLANE. + + @BLANE (cont'd) + Yeah, he's holding up. What're you...? + + @MOORE + I found a Hotwalker for him. + + @BLANE + \...Fran...? + + @MOORE + Well, it could be... + + @BLANE + I don't mean to 'pry' + + @MOORE + \...then don't pry. + (NODS, GESTURES TO THE CLIPBOARD) + I have to redo the figures on the train... + +!THEN HE SEES SOMETHING OVER BLANE'S SHOULDER. + +!ANGLE, HIS POV ANOTHER CRUISER, WHICH BRAKES, AND SLOWS DOWN, TO EYE THE STATION WAGON. ANGLE ON BLANE AND MOORE + + @MOORE (cont'd) + (TO HIMSELF. SOTTO) + Don't move the car... don't move the car... + + @BLANE + (WHO IS TURNED AWAY FROM THE CRUISER) + \...is he moving the car...? + +!ANGLE ON THE STATION WAGON, WITH BELLA PUTTING IT IN GEAR, AND MOVING IT TOWARD BLANE AND MOORE. WE SEE THE POLICE CRUISER TURN IN, TO CUT THE TWO MEN OFF FROM THE STATION WAGON. ANGLE ON MOORE AND BLANE. AS BLANE OPENS HIS JACKET TO REVEAL A PISTOL IN HIS WAISTBAND. WE SEE MOORE SHAKE HIS HEAD MINUTELY. ANGLE. THE POLICE CRUISER, ROLLING UP BETWEEN THEM AND THE STATION WAGON. A YOUNG TROOPER GETS OUT OF THE CAR. TROOPER WALKS TOWARD THEM UNBUTTONING THE SAFETY SNAP ON THE HOLSTER. HE LOOKS WARILY AT BELLA AND BLANE. ANGLE, TIGHT TWO ON MOORE AND BLANE. + + @BLANE (cont'd) + (TO HIMSELF) + Oh, maaan... + + @MOORE + (SOTTO) + Is he getting out of the car...? + +!BLANE TURNS. ANGLE, HIS POV THE DRIVER'S DOOR OF THE STATION WAGON OPENING. ANGLE BELLA GETTING OUT OF THE DRIVER'S DOOR. HE TAKES A PISTOL FROM THE SEAT BESIDE HIM. ANGLE + +!BLANE AND MOORE. BLANE NODS TO HIM. MOORE SHAKES HIS HEAD IN DISGUST. HE REACHES INTO HIS PANTS POCKET AND EXTRACTS A MINI-AUTO PISTOL THE SIZE OF A HALF-A-DECK OF CARDS. ANGLE: INS: HE CYCLES THE ACTION, JACKING A SHELL INTO THE CHAMBER. HE PUSHES PAST BLANE. MOORE WALKS UP TO THE TROOPER, PUTTING THE HAND WITH THE MINI-PISTOL IN HIS POCKET. + + @MOORE + Hey: what the hell...? What the hell...? Scuse me, scuse me, officer, we were sposed to have a detail, doing security for us... + +!BLANE TAKES HIM BY THE ARM. + + @BLANE + \...Bobby...? + (MOORE PULLS AWAY) + No, it's no big deal, but we're standing out here... + + @TROOPER + \...who did you...? + + @BLANE + (PULLING MOORE AWAY) + Forget about... + + @MOORE + No, it burns my butt... we're out there, we're out there, side-of-the-road, workin' on the highway, for... + (TO THE TROOPER) + I know it's not you, I'm sorry, I know it's not you, but... + + @TROOPER + \...who did you...? + + @BLANE + \...our boss talked to... + + @MOORE + If this was the first time... + + @BLANE + Hey, forget about it, we'll sort it out back at the office... + +!BLANE AND MOORE WALK AWAY FROM THE TROOPER. + + @BLANE (cont'd) + (SOTTO) (TO MOORE) + \...He ain't sure yet... + (MOORE WALKS BACK TO THE TROOPER.) + +!HE CONTINUES WALKING MOORE BACK TOWARD THE STATION WAGON. + + @MOORE + (TO THE TROOPER) + I'm sorry, I know it's not you, but... + + @TROOPER + Hey, nothing to it. If... + + @MOORE + But it's not the first time... we're sposed to have police pro... + + @BLANE + We'll call from the office. + (TO TROOPER) + He didn't mean any offense... He didn't mean any offense. + (TO MOORE, AS HE WALKS AWAY) + \...the man's only doing his job... + +!MOORE BRUSHES BLANE'S ARM OFF. BLANE WALKS AHEAD OF MOORE, GETS INTO THE DRIVER'S SEAT. BLANE LOOKS IN THE REARVIEW MIRROR. ANGLE HIS POV. MOORE WALKS AWAY, AND THEN, BACK TO THE TROOPER. ANGLE ON PINCUS AND BELLA IN THE CAR WE SEE BELLA LOOKING IN THE REARVIEW MIRROR. HE STARTS TO REACH INSIDE HIS JACKET, AND EXTRACT A PISTOL. PINCUS PUTS HIS HAND ON BELLA'S ARM. + + @PINCUS + \...keep it together... keep it together... + + @BELLA + \...can he cool the guy out... + + @PINCUS + Just pick up your clipboard, and make like you're writing in it. + + @BELLA + Izzit gonna be cool...? + + @PINCUS + \...my motherfucker is so cool, when he goes to bed, sheep count him... + +!ANGLE EXT THE CAR. ON MOORE AND THE TROOPER AS BLANE GETS INTO THE CAR. AS MOORE, OBVIOUSLY APOLOGIZING, SHAKES HANDS WITH THE TROOPER, AND THEN STARTS TO WALK AWAY. CAMERA TRACKS WITH MOORE, AS HE TAKES OUT A PACK OF CIGARETTES AND A MATCH. ANGLE, INS. ON HIS HANDS, AS THEY SHAKE SO BADLY HE CAN HARDLY LIGHT THE CIGARETTE. ANGLE, INT. THE CAR. AS MOORE GETS INTO THE BACKSEAT. + + @MOORE + I'm trina... I'm trina... + (TO BELLA) + You fucken lame, you want to leave me dead, th'whole crew, the side of the highway? + + @BELLA + I... + + @MOORE + You fucken cowboy, I oughta + (TO MOORE) + Tell me why I don't leave him out inna ditch somewh... + (TO PINCUS) + Get us the fuck outtahere. + +!PINCUS MOVES BEHIND THE WHEEL, AND THE CAR BEGINS TO DRIVE OFF. + + @BLANE + (SHRUGS SHOULDERS) + Hey, I vote we do... + + @MOORE + \...put you down like the fucken dog you are... you gonna come, shoot your way to stardom? Don't do any... + + @BELLA + \... I only + + @MOORE + I don't want you to do anything unless and until... we hit the City, ditch the car. + + @BELLA + \...I'll... + + @MOORE + You do it, you do it. + (PAUSE) + You do it, Pinky... + +!HE WIPES HIS HAND OVER HIS MOUSTACHE. TAKES OFF HIS HARDHAT, AND WIPES THE SWEAT FROM HIS BROW. + +INT BOAT REPAIR SHOP NIGHT + +!A SPRAY OF SPARKS FROM A WELDING UNIT. + +!ANGLE ON MOORE, AS HE PUTS UP THE SHIELD ON A WELDER'S MASK, WIPES HIS BROW, PUTS THE SHIELD DOWN AGAIN, AND CONTINUES CUTTING WITH AN ACETYLENE TORCH ON A LARGE, INDUSTRIAL AIR-CONDITIONING UNIT. ANGLE IN THE B.G. A RYDER RENTAL TRUCK. ANGLE. ON PINCUS AND BLANE, AS A LONG ASSEMBLY TABLE. BLANE HOLDS A LEGAL PAD, AND IS MAKING NOTATIONS ON IT. HE SPEAKS TO PINCUS, AS CAMERA PANS OVER THE TABLE, HOLDING ON BLANE'S HANDS AS HE CHECKS THE VARIOUS PROPS. WE SEE: A SECURITY GUARD'S UNIFORM. A LEATHER BADGE CASE, HOLDING A GOLD BADGE, SEVERAL SMALL METAL CANNISTERS, A TOOLKIT, A UTILITY BELT HOLDING TOOLS. SEVERAL WALKIE TALKIES. PINCUS AND BLANE CONVERSE, V.O. + + @PINCUS + The thing of it is, the thing of it is, it's a question of redistribution... + + @BLANE + How's that? + + @PINCUS + The question: how do we get the money from there to here... it's just a question in logistics. + + @BLANE + "What is the robbing of a bank, compared with the founding of a bank?" + + @PINCUS + Who said that? + + @BLANE + Anybody ever applied for a loan. + +!ANGLE ON THE TWO, AS BLANE HANDS THE CLIPBOARD TO PINCUS. + + @PINCUS (cont'd) + \...load it up? + +!BLANE NODS. THEY BEGIN HAULING THESE PROPS AND SUPPLIES INTO THE TRUCK, AND LOADING THEM INTO THE "FALSE" (HOLLOW) ENGINE. BLANE LOOKS OUT OF THE BACK OF THE TRUCK. ANGLE, HIS POV. A CAR PULLS UP OUTSIDE THE SHED. BELLA GETS OUT. ANGLE ON BELLA, AS HE WALKS INTO THE SHED. HE TAKES OUT AN ENVELOPE. ANGLE, ON BLANE, WHO OPENS THE ENVELOPE. TO REVEAL CASH INSIDE. + + @BELLA + \...expenses for the truck, and... + + @BLANE + Yeah, I got it. I got it. Okay. + +!BELLA WALKS OFF, AS FRAN ENTERS FROM THE "LIVING" AREA OF THE BOATSHED, HOLDING TWO CUPS OF COFFEE. FRAN STARTS TO OPEN HER MOUTH, SMILING, AS HE STARTS TO PUT DOWN THE CUP OF COFFEE, MOORE GIVES HER AN INFINITESIMAL SHAKE OF HER HEAD. AND MOTIONS TOWARD BELLA. FRAN NODS IN AGREEMENT, AND, NOT BREAKING HER STRIDE, WALKS TOWARD BELLA. + + @BELLA + (TO FRAN) + Well, then... + + @FRAN + \...that's right. + (PAUSE) + + @BELLA + \...long time. + (PAUSE) + + @FRAN + \...that's right. + +!ANGLE ON MOORE, LOOKING AT THEM. ANGLE, HIS POV:BELLA AND FRAN, IN THE B.G., BELLA CHATTING FRAN UP. ANGLE ON BLANE AS HE WALKS OVER TO MOORE, AT THE WELDING STATION. + +!HE HANDS MOORE THE ENVELOPE. + + @BLANE + The plan gonna work? + + @MOORE + It's gonna work if we make it work. How's Fran doing? + + @BLANE + Looks like he maybe wantsa take her to the Prom. + +!MOORE SMILES, AND NODS. + + @MOORE + Well, it's always the pretty girl stays home, innit? + + @BLANE + Izzat what they said in the White Community...? + + @MOORE + That's what I hear. + + @BLANE + And I hear, if you get a goose, it keeps the fox off the chickens. + (LOOKS AT FRAN AND BELLA) + What does that lady see in you, by the way? + + @MOORE + I'm very resilient. + + @BLANE + Yeah, so's Gumby. + + @MOORE + I got a more striking profile. + +!PINCUS WALKS UP. HE AND BLANE WALK ACROSS THE SHOP FLOOR, BLANE LIMPS SLIGHTLY. + + @BLANE + They're gonna leave that on the cutting room floor, Buenos Aires. + + @MOORE + I never liked the way I looked anyway... + + @PINCUS + (AS HE LOOKS OVER HIS SHOULDER AT FRAN AND BELLA, SOTTO) + \...seems to be coming along nicely. + + @BLANE + (SOTTO) + My boy there, like to Fertilize the Flowers. + + @PINCUS + \...how's your leg? + + @BLANE + You should see the other guy... + + @PINCUS + (TO MOORE) + \...when we do the switch, the Highway... + +!MOORE SHAKES HIS HEAD, INDICATING BELLA. + + @PINCUS (cont'd) + \...he can't hear... + + @MOORE + \...he can't hear what you don't say... + + @PINCUS + I'm gonna be as quiet as an ant pissing on cotton. + +!MOORE FIRES UP THE TORCH, AND BEGINS CUTTING AGAIN. ANGLE, IN THE B.G. FRAN AND BELLA. BLANE WALKS PINCUS AWAY FROM MOORE. + + @BLANE + (SOTTO) + Don't think it, Baby. Don't think it: Don't be as quiet as an ant pissing on cotton, don't be quiet as an ant thinking about pissing on cotton. You be quiet as an ant not even thinking about pissing on cotton. + +!THEIR WALK TAKES THEM TO BELLA AND FRAN. FRAN IS LAUGHING. + + @FRAN + \...our friend was telling me "What Made Him a Criminal..." + + @BLANE + I'll get the beer and pretzels. + + @BELLA + \...what made you a criminal? + + @BLANE + Nobody made me a criminal. I am a Criminal. + +!MOORE WALKS OVER. + + @MOORE + How we doing? + +!HE GATHERS THEM AROUND A TABLE. + + @BLANE + How you doing? + + @MOORE + I'm done. + (PAUSE) + Well, that's it then. + +!MOORE GETS UP, CAMERA TAKES HIM TO THE RYDER TRUCK. HE OPENS THE BACK, AND WE SEE HIM OPEN WHAT APPEARS TO BE THE SOLID MOTOR, WHICH IS REVEALED TO BE HINGED AND HOLLOW. BLANE FOLLOWS HIM, AND HANDS HIM SEVERAL FIREARMS, WHICH HE SECRETS IN THE HOLLOW SPACE. + + @MOORE (cont'd) + You got the detonators? + +!BELLA HOLDS UP SEVERAL PUTTY COLORED PACKAGES OF PLASTIQUE, WHICH HE TAKES OFF OF THE TABLE, BEARING THE PROPS. + + @BELLA + \...din we check'em? + + @MOORE + I know we checked'em. What I'm doing, I'm. I'm asking you a question. + + @BELLA + What happened to Check It an Forget it? + + @MOORE + Yeah, well, I went to the Other camp, which is Fuss it to Death, and Fuck it into a Cocked Hat, or do you want to run the show...? + +!PAUSE. THEY EXCHANGE A LOOK. BELLA WALKS AWAY SHAKING HIS HEAD. + + @BLANE + Then we ready to Go Do it? + + @PINCUS + I'm ready to go do it, you know why? I never liked the Swiss in any case. You know why? They make those little clocks, two cocksuckers come out of them, little hammers, hit each other on the head. + (PAUSE) + What kind of sick mentality is that? + +!ANGLE, ON BLANE AND BELLA, AS BELLA LOOKS OVER AT MOORE. ANGLE. ON BELLA, AS HE WALKS OVER TO FRAN. THEY BOTH LOOK BACK AT MOORE, WHO IS LOADING UP THE TRUCK. + + @BELLA + Z'he gonna hold up? + + @FRAN + Why would you put a man in a position, he's got no way out? + + @BELLA + What is that, your philosophy? + + @FRAN + That's right. + + @BELLA + \...what is it to you? + + @FRAN + \...he's my Husband. + + @BELLA + Whose fault is that, you wanna think about it? Listen:... + + @MOORE + (IN THE B.G.) + I... + +!ANGLE, ON BELLA, AS HE TURNS. + + @BELLA + \...you gonna make an Impassioned Speech? + + @MOORE + Yeah: Let's go get the money. + + @BLANE + (TO BELLA AND PINCUS) + You clean the place down, n'y'thing'll burn, burn it..., nobody's coming back here, nothing that we need, don't leave it f'somebody else. + +!PINCUS LIGHTS A FIRE IN A 55 GALLON DRUM. ANGLE, ON MOORE, AS HE WALKS TO THE FRONT OF THE SHED, AND LOOKS OUT AT HIS BOAT. FRAN COMES UP BEHIND HIM. + + @FRAN + Z'it gonna work? + + @MOORE + It's either gonna be a monumental heist, or a real amusing anecdote. + (PAUSE) + + @FRAN + \... I love you, Joe... + + @MOORE + Why? + + @FRAN + You know why? Because you're thorough. + + @MOORE + I hope to tell you... + +!SHE TURNS TO WALK BACK INTO THE SHED. HE TURNS TO LOOK AT HER. IN THE B.G. WE SEE PINCUS FEEDING PAPERS INTO THE FLAMES. ANGLE. EXT THE BOATSHED, ON THE GROUP, BLANE MOORE, PINCUS AND BELLA, AS THEY WALK TOWARD THEIR CARS. PINCUS IS ON THE PHONE IN THE B.G. (ON A CELLPHONE) MOORE STOPS TO LOOK AT HIS BOAT. + + @BELLA + You gonna miss it? + + @MOORE + What? + + @BELLA + Your boat? + + @MOORE + Well, it's a nice boat. + + @BELLA + Hey, baby, after this job, you're gone have enough money, make this look like a Boat inna Bathtub. + + @MOORE + That's right. + +!PINCUS GOES TOWARD MOORE EXCITEDLY. + + @MOORE (cont'd) + \...what is it? + + @PINCUS + \...they found the car. + + @MOORE + \...what car? + + @PINCUS + \...the car we used at the Overpass. The cops found it, I heard it on the police band. + + @MOORE + \...they found it, how'd they find it? I tole you to it? I tole you to ditch it in... + + @PINCUS + I, I. I stopped off to see my niece, I... + + @MOORE + Did you wipe it down...? + + @BLANE + You sonofabitch, what do you mean, you stopped off to see your... + + @MOORE + Did you wipe it down...? + + @BELLA + \...what does this do to the Job...? + + @BLANE + Man, you din't wipe it down, they're gonna be on you, they're gonna be on all of us... + + @BELLA + \...what about the Job...? + (PAUSE) + + @MOORE + The job stands... + + @PINCUS + \...I'm sorry, Joe. + + @MOORE + Shut up. The job stands. + (HE LOOKS AROUND) + This joint is burnt. + + @BLANE + (TO BELLA) + Come with me... + + @MOORE + Meet at the Overpass. + + @BELLA + \...the job stands...? + + @MOORE + The meet at the overpass. The 14th... + + @PINCUS + Joe. Joey, I... + + @MOORE + Get him out of here. + + @PINCUS + \... I don't see how they could of found the car... + +!BLANE STARTS MOVING BELLA OVER TO A CAR. + + @BELLA + (AS HE GETS INTO A CAR) + You go on... + +!WE SEE BELLA AND BLANE, IN TWO SEPARATE CARS, BEGIN TO DRIVE OFF. WE SEE MOORE, IN FOREGROUND, BEGIN TO WALK BACK TOWARD THE BOATSHED, AND PINCUS, IMPLORING, HANGING ON HIS ARM. ANGLE, TIGHT ON PINCUS AND MOORE. + + @PINCUS + Joe. Joe, I swear to God. I swear to God, I... are they gone...? + + @MOORE + (LOOKS OVER PINCUS SHOULDER) + They're gone. + + @PINCUS + Well, then, you get gone, too. + + @MOORE + \...that's right. + +!BEAT. THEY EMBRACE. MOORE TAKES OUT THE MONEY ENVELOPE. + + @PINCUS + You take care, Pally. + + @MOORE + You get his cut to Bobby...? + (PINCUS NODS) + + @PINCUS + You gonna be Okay? + + @MOORE + I'm okay now. + + @PINCUS + (OF THE ENVELOPE) + Yeah? What do you do for cash? + + @MOORE + \...we're taking down the Boat guy. + + @PINCUS + You're taking down the boat guy... + + @MOORE + That's right. + + @PINCUS + That's your case money... + + @MOORE + It's enough, get us away... + + @PINCUS + And then Aloha. + + @MOORE + That's right. + (PAUSE) + + @PINCUS + S'a shame, you know what, we din't get a chance, actually do the thing. The Swiss job. At's a beautiful plan. + + @MOORE + So was World War One. + + @PINCUS + \...no, it's a beautiful plan, Joe. You're the maestro. + + @MOORE + Yeah, well, it's all in a lifetime... + + @PINCUS + Izzat so? + + @MOORE + That's what they tell me. + (PAUSE) + + @PINCUS + See you, Joe. + + @MOORE + I'll send you a Papaya. + + @PINCUS + They're good for digestion. + + @MOORE + Say good-bye to your niece. + +!PINCUS PINCHES MOORE ON THE CHEEK. THEY EMBRACE. + + @PINCUS (cont'd) + Joe, you're the motengator. + + @MOORE + Cute, huh? + + @PINCUS + \...cute as a pail full of kittens... + +!PINCUS GETS INTO HIS CAR. MOORE CHECKS HIS WATCH, AND GETS INTO HIS CAR. CAMERA FOLLOWS MOORE ONTO HIS BOAT, WHERE WE SEE HIM BEGIN CASTING OFF LINES. + +INT THE BOAT'S CABIN + +!WE HEAR A THUMP. + +!ON THE DECK. MOORE LOOKS UP. CAMERA TAKES MOORE UP ONTO THE DECK, WHERE FRAN HAS PLACED A LARGE SUITCASE. MOORE TAKES IT DOWN INTO THE CABIN. FRAN FOLLOWS. + + @MOORE + I would of done that. + + @FRAN + No, I'm the Frontier Wife. + + @MOORE + \...that's right... + + @FRAN + You ready to go? + + @MOORE + Soon as we get the money. Call the guy. Get us the money... + +!FRAN TAKES OUT A CELL PHONE. MOORE SHAKES HIS HEAD. + + @MOORE (cont'd) + Landline. + +!HE COMES UP ON THE DECK. ANGLE MOORE AND FRAN, ON THE DECK, WALKING TOWARD THE MARINA. + + @FRAN + You'll miss the guys. + + @MOORE + Buncha Old Men, talkin' about Old Touches... + + @FRAN + \...that's right... + + @MOORE + Cuttin up Old Touches, th'time So and So overslept. You know what...? + + @FRAN + No, but you do. + + @MOORE + Then I'll tell you what, is pee ess, if my name's on the thing, then whose fault is it in the First Place, we're having, fight our way Back to Even. + + @FRAN + Well. You've been kicking yourself some... + + @MOORE + \...that's right. + +!CAMERA TAKES THEM UP INTO THE LIVING QUARTERS. MOORE GOES THROUGH THE DRAWER OF A DESK. AS FRAN PICKS UP A PHONE AND DIALS. + + @MOORE (cont'd) + In a contest of Cunning, a Stupid Person will get the better of a Smart one Every Time... Who said that...? + + @FRAN + You did, Baby... + + @MOORE + Well. Help me remember it, huh...? + + @FRAN + \...that's right... + (PAUSE) + + @MOORE + You know, we're goin' down there with nothing... + + @FRAN + We'll get the boat money... + + @MOORE + \...yeah? + + @FRAN + That's enough to start over. + + @MOORE + Is it enough for you...? + + @FRAN + The Lord hates a coward... + (SHE REACTS TO THE TELEPHONE) (TO PHONE) + Mr. Mr. Fletcher -- Mr. Robert Fletcher... Well, do you... he asked me to call him back at... Thank you... + (TO MOORE) + How you doing? + + @MOORE + I'm about ready to go South. + + @FRAN + South we go, Baby. + + @MOORE + \...that's right. + + @FRAN + (LOOKING AROUND) + You set to walk away from it? + + @MOORE + Hey, I got you, what do I care...? + + @FRAN + (ON PHONE) + Hello Mr... + + @MOORE + (SOTTO) + Smile at the man, tell im cash, I'm coming to get the money. Right now... find out where he... + (FRAN NODS) + + @FRAN + Hello, Mr. Fletcher, I... This is Fran, from... Yes, I'm sorry to... you gave me this number. On your ccc... Yes, I'm... Well, no, yes, I'll be glad to call back Monday, but we aren't going to have a boat... but we, we just had a situation where, if, No, I realize that, Sir, I don't want to keep you from your pl... I'm calling, because you told me that... Well, it could wait till Monday, but we have another buyer interested in the bbb... + +!ANGLE, ON MOORE, NODDING HIS ENCOURAGEMENT TO HIM. + + @FRAN (cont'd) + I'm calling to say that if, if you want to make a cash, an immediate cash deal, at the figure which... Well, thank you, sir, that is exactly my attitude. + +!SHE SMILES AND NODS AT MOORE, HE SMILES BACK. + + @FRAN (cont'd) + Superior... Well: + +!SHE LOOKS TO MOORE FOR DIRECTION. + + @MOORE + (SOTTO) + Tell him what he needs to hear. + +!SHE OFFERS THE PHONE TO MOORE, WHO SHAKES HIS HEAD "NO." + + @FRAN + (TO PHONE) + Could, you, could you, hold... + +!SHE COVERS THE MOUTHPIECE. + + @MOORE + Flirt with the guy. + + @FRAN + (COVERING THE MOUTHPIECE, TO MOORE) + No problem. Can we meet him at His Bank. + + @MOORE + Superior. You get the address. When? + + @FRAN + (TO MOORE) + I caught him going out of town, he... he wants to meet next... + + @MOORE + Right now. Right now, tell him we got another buyer, we... + +!ANGLE. SHE LOOKS OVER MOORE'S SHOULDER. ANGLE XCU FRAN LOOKING FRIGHTENED. ANGLE HER POV OVER MOORE, HE SEES SOMETHING OVER HER SHOULDER. + +!MOTIONS HER TO KEEP TALKING. ANGLE MOORE POV. OVER HER SHOULDER, THROUGH A PLATEGLASS WINDOW, INTO THE SHED, INTO THE DARK MACHINE SHOP/FOUNDRY AREA OF THE BOATYARD. A DARK FORM, A MAN MOVING. ANGLE ON FRAN, AS SHE BEGINS TO LOWER THE PHONE, AS SHE LOOKS AT MOORE. ANGLE, ON MOORE, AS HE LEAVES THE BEDROOM AREA THROUGH A BACKDOOR. ANGLE FRAN, ON THE PHONE. + + @FRAN (cont'd) + \...hello... hello...? + +!ANGLE ON MOORE, GOING OUT THE BACK DOOR, GESTURING HER TO MOVE AWAY FROM THE WINDOW. + +!ANGLE, ON FRAN, AS SHE CONTINUES TALKING, MOVING OUT OF THE SHOT. ANGLE ON THE PHONE CORD JACK, IN THE WALL, AS IT PULLS OUT OF THE WALL. ANGLE ON MOORE CLIMBING DOWN AN IMPROVISED STAIRWAY-LADDER, TO THE LEVEL OF THE BOATYARD, IN THE B.G., WE SEE FRAN, STILL TALKING ON THE PHONE, MOVING OUT OF THE WINDOW. ANGLE MOORE, MOVING THROUGH THE MACHINE SHOP AREA, PAST SEVERAL MOTORS AND MARINE TRANSMISSIONS, HUNG FROM THE CEILING ON HOISTS. ANGLE THE FORM OF THE MAN, SILHOUETTED IN THE LIGHT FROM THE OPEN SHED DOOR, LEADING TO THE MARINA. ANGLE, ON MOORE COMING UP BEHIND THE MAN, MOORE LOOKS OUT OF THE SHED, CHECKING FOR THE PRESENCE OF OTHERS. HE TURNS BACK, AND COMES UP BEHIND THE MAN IN THE SHADOWS. + + @MOORE + \...would you move into the light...? No, don't turn around. Just move into the light... + +!ANGLE FROM THE FRONT, THE MAN MOVES FORWARD, AND WE SEE IT IS BELLA,THE YOUNG MAN FROM BERGMAN'S OFFICE. ANGLE FROM THE REAR, WE SEE BELLA WALK FORWARD TO A GLASSED OFFICE AREA. WE SEE HIS REFLECTION, AND, BEHIND IT, MOORE'S REFLECTION. WE SEE MOORE STICK A PISTOL BACK INTO THE WAISTBAND OF HIS PANTS. + + @MOORE (cont'd) + What do you want? + (PAUSE) + What're you, the Social Service Lady? + (PAUSE) + + @BELLA + \...I... + + @MOORE + \...what did you, come to take the Baby back...? + +!HE MOTIONS HIM FORWARD, INTO THE OFFICE AREA. MOORE FOLLOWS HIM AND TURNS ON THE LIGHTS. + + @MOORE (cont'd) + What do you want? + +!BELLA WALKS TO A WORKTABLE. ANGLE: ON MOORE, AS HE EXCHANGES A LOOK WITH FRAN. + + @BELLA + I forgot my copy of the plans. + (PAUSE) + + @MOORE + How about that. + (HE LOOKS AT BELLA AND THEN AT FRAN) (PAUSE) + + @BELLA + You got to do the job, Joe. + (PAUSE) + Lookit me like I'm your Good Angel. You can't walk away from it. + +!ANGLE, AS MOORE LOOKS AT FRAN. + + @FRAN + (ON PHONE) + Hello... Hello...? + + @MOORE + \...try him back... + + @FRAN + \...hello...? + +!ANGLE, ON FRAN, AS SHE FOLLOWS DOWN THE CORD, TO WHERE IT HAS PULLED OUT OF THE WALL. + + @MOORE + \...call him back... + +!IN THE B.G. FRAN REDIALS THE PHONE. + + @BELLA + You got to do the job... + + @MOORE + Hold on, here... + (HE WALKS OVER TO FRAN.) + + @FRAN + (ON PHONE) + Mr. Fletcher. I... I was just talking with him. I... well, can you give me that number...? Well, can you re... can you reconnect mmm... + (PAUSE) + I... I see. + +!SHE HANGS UP. SHE AND MOORE EXCHANGE A LOOK. SHE SHAKES HER HEAD. MOORE WALKS BACK DOWN TOWARD BELLA. + + @MOORE + Din't you just make yourself dispensable? + + @BELLA + You got to do the job. Can you shoot me and walk away from it? You know they'll kill you. + + @MOORE + You my self-help program...? + +!MOORE TURNS TO LOOK AT FRAN, WHO SHAKES HER HEAD. + + @BELLA + You gone shoot me, go on the run, with nothing? With that pretty little thing? + + @MOORE + That would be my wife. + + @BELLA + Is that so? + + @MOORE + That's correct. + + @BELLA + What does she see in you, anyway? + +!BELLA TURNS TO LOOK AT FRAN. + + @BELLA (cont'd) + \...you must be hung like Man of War... + +!MOORE LUNGES FOR HIM AND GRABS HIM BY THE THROAT. + + @MOORE + You wanna play the dozens. Here you go: They called, there was a bookkeeping error at the Hospital, you died at birth. Your turn... + + @FRAN + Joe, leave him... + + @MOORE + Eh? Cat got your tongue? You wanna make peace. + + @FRAN + \...Joe + + @MOORE + Don't you know when a man's whipped, for chrissake? + +!MOORE WALKS BACK TOWARD HIS WIFE. HE MAKES A "TELEPHONE" GESTURE,AND LOOKS A QUESTION AT HER. + + @MOORE (cont'd) + \...the boat guy? + + @FRAN + \...slipped off. + + @MOORE + Call him back. + (PAUSE) + Get him back. + + @FRAN + \...he's gone. + (PAUSE) + I'm sorry, Joe. + + @MOORE + (TO BELLA) + Get up. + + @BELLA + What're you gonna do. + + @MOORE + I'm gonna be Don Ameche in a taxi, honey. + (PAUSE) + Get up. + + @BELLA + \...and what? + + @MOORE + Get out. + (PAUSE) + Get out. + +!BEAT. BELLA RETREATS. MOORE LOOKS AT FRAN. + + @MOORE (cont'd) + You wanna tell me what I'm going to do...? + (PAUSE) + + @FRAN + I... + +!MOORE WAVES HER OFF, AS IF TO SAY, "I'M THINKING..." + +INT DARK BOXING GYM NIGHT. + +!A YOUNG FIGHTER HITTING THE HEAVY BAG. IN THE DARK GYM. HE LOOKS AROUND. ANGLE, HIS POV. + +!MOORE, MOVING THROUGH THE DARK GYM. ANGLE INT. SMALL EQUIPMENT ROOM. ANGLE INS. A DOORKNOB. A SMALL PILE OF QUARTERS RESTING ON THE TOP. THE KNOB TURNS, AND THE QUARTERS FALL OFF, CLATTERING ONTO THE FLOOR. ANGLE INT THE ROOM. BLANE, IN HIS UNDERWEAR, COMING OFF OF A COT. HE THROWS OFF A BLANKET REVEALING A SMALL SHOTGUN, WHICH HE LEVELS AT THE DOOR. ANGLE THE DOOR, SWINGING OPEN, NO ONE BEYOND. WE HEAR MOORE'S VOICE. + + @MOORE + It's me, put it away. + +!ANGLE ON MOORE, AS HE WALKS INTO THE ROOM. TO CONFAB WITH BLANE. + + @BLANE + \...the fuck you doing, sneaking in on a man, middle of the + +!MOORE NODS, HALF-CLOSES THE DOOR. ANGLE EXT THE GYM. SEMI-INDUSTRIAL AREA. FRAN, STANDING BY THE GYM'S DOOR. + +!SEVERAL SMALL CHILDREN PLAYING UNDER A STREETLIGHT. ANGLE ON FRAN, AS SHE COMES INTO THE GYM, AND STANDS, WATCHING THE BOXER, WHO IS GOING BACK TO HITTING THE HEAVY BAG. HE TURNS TO LOOK AT HER. + + @BOXER + What you doin here? + + @FRAN + Well, you know, I'm with my friends... + + @BOXER + I don't see nobody else here... + + @FRAN + No, that's right... + +!ANGLE, ON HER, POV. + +!MOORE AND BLANE, THROUGH THE HALF OPENED DOOR, AS BLANE FINISHES DRESSING. + + @BLANE + Baby, you shuunt be on the streets, the first place... + + @MOORE + \...what's the move...? + + @BLANE + The move is: + (PAUSE) + The move is we got to get the gold. + +!BLANE MOVES OUT OF THE ROOM. WE FIND HIM AND MOORE ON THE SECOND FLOOR RICKETY BALCONY OVERLOOKING THE SMALL GYM BELOW. WE SEE FRAN BELOW MOORE AND BLANE COME DOWN THE STAIRS. THEY MEET FRAN. AND BLANE STARTS DRIVING THEM IN THROUGH A SMALL DOOR. ANGLE INT GARAGE. BLANE TURNS ON THE LIGHTS TO REVEAL A SMALL FILTHY GARAGE. AN OLD RUSTED PICKUP TRUCK, ONE WHEEL GONE, UP ON A JACK. STREETLIGHT COMING IN THROUGH DIRTY WINDOWPANES SET IN THE GARAGE DOOR. AS THEY ENTER THERE IS A NOISE OUTSIDE, MOORE FLINCHES. + + @BLANE (cont'd) + \...kids on the street. Always kids on the street. + +!THEY MOVE TO A BENCH. WHERE BLANE STARTS FILLING A PERCOLATOR FROM A UTILITY SINK. MOORE SITS ON SOME OLD, DISCARDED BOXING EQUIPMENT--A DISASSEMBLED SET OF PIPES, WHICH STILL HOLD AN OLD,ROTTEN, LEATHER "HEAVY BAG." + + @MOORE + I can't go for the gold til I can see how to get it home... + + @BLANE + Well, then, we just got to think a little harder. + + @FRAN + (AS SHE ENTERS THE ROOM.) + Yes. That's right. + + @BLANE + The nephew don't come back, the first place, you're down on the Tropic Isle. + (PAUSE) + You shoulda left him on the side of the road. + + @MOORE + Uh huh... why'd you leave him the plans? + + @BLANE + Why'd I leave him what? + + @MOORE + Why'd you leave him the plans? + + @BLANE + What...? + + @MOORE + He forgot his "cheat sheet." S'why he came back. + + @BLANE + Yeah, no, he din't forget his cheat sheet,cause I got it right here. + (HE RUMMAGES IN THE GYM BAG, AND PRODUCES SEVERAL SMALL FOLDERS) + What'm'I, going to go leaving papers in the hands of some lame? Are you kidding me...?He said what? + + @MOORE + He said that's why he came back. + + @FRAN + He came back for me + (PAUSE. THEY TURN TO LOOK AT HER.) + He came back to make sure I was okay. + (PAUSE) + I knew him from before. + + @MOORE + Well, hell, for the luvva god, we're going to do something, let's do it. Okay. Okay:Fran: + + @FRAN + Yes. + + @MOORE + You want to suit up? + + @FRAN + \...that's right. + + @BLANE + What's the shot? + + @MOORE + (TO FRAN) + You got to Kiss Rings. + + @FRAN + \...you point me. + +INT LOWER MIDDLE CLASS TRACT HOUSE KITCHEN NIGHT. + +!SHOT FROM THE KITCHEN INTO A SMALL HALLWAY. PINCUS, KISSING GOODNIGHT TO A LITTLE GIRL, THE LITTLE GIRL'S MOTHER COMES INTO THE SHOT, AND LEADS HER OFF. THE LITTLE GIRL WEARS A BATHROBE. ANGLE ON PINCUS AS HE COMES INTO THE KITCHEN. ANGLE, HIS POV MOORE, SITTING AT THE KITCHEN TABLE, BLANE NEXT TO HIM, A CUP OF COFFEE AHEAD OF HIM, STARING DOWN AT SOME SHEETS OF PAPER. PINCUS SITS DOWN, AND PICKS UP A LEGAL PAD. PAUSE. MOORE PICKS UP A PHONE, LISTENS FOR "DIAL TONE," REPLACES IT. + + @MOORE + (OF THE PLANS IN FRONT OF HIM) + What're we forgetting...? + + @BLANE + How did we get away with the Gold? + + @MOORE + Oh yeah. + (PAUSE) + + @PINCUS + Robert the Bruce. Watched this Spider, try, three hours, to spin this web... + + @MOORE + Uh huh... + + @PINCUS + Til finally... + + @MOORE + Yeah? + + @PINCUS + He succeeded. + (PAUSE) + + @BLANE + That's the worst story I've ever heard. + +!ANGLE, ON MOORE, AS HE SITS THINKING, WITH PINCUS AND BLANE IN THEB.G. + + @PINCUS + (SHRUGS) + And it gave him the Idea. To conquer Scotland. + + @BLANE + I don't get the connection. + +!MOORE LOOKS AT HIS WATCH. THE PHONE RINGS. MOORE PICKS UP THE PHONE. + + @MOORE + (TO PHONE) + Put him on. + +INT MANSION NIGHT. + +!THE SUMPTUOUS STUDY OF BERGMAN'S HOUSE. BERGMAN, IN ROBE AND PYJAMAS. A BODYGUARD IN A SUIT, BELLA, AND FRAN. THE BODYGUARD PASSES THE PHONE TO BERGMAN. + + @BERGMAN + (TO PHONE) + Are you fucken with me? Are you fucken with me, or are you done fucken with me? Because I've just "financialized" the problem, and you've just become more trouble than you're worth. + (PAUSE) + She says you're gonna do the job. You said that before, why now? What is it, all a sudden...? + (PAUSE) + Everyone needs money. That's why they call it "money..." + (PAUSE) + Well, let me add this sweetener. You do the job. You do the job, r'else I turn you over, I drop a fucken dime on you, you're so hot, I on'y got to dial five digits. How strict is that? How strict is that, you fucken lame? ...I'm sorry that I have to speak this way, in front of a Woman... were it not for who, I'd waste your fucken ass. You said you're goin' the job? Do the job, you're done with the Charade. Save your bold moves for the brilliant players. + (HE HANGS UP) (TO FRAN) + I'm sorry for my language. + + @FRAN + Well, it's only words. + + @BERGMAN + That's absolutely right. + +!BERGMAN MOTIONS BELLA TO HIS SIDE, THEY WALK INTO A KITCHEN AREA WITH FRAN IN THE B.G. + + @BERGMAN (cont'd) + (TO BELLA. SOTTO) + You're in my position, what do you do? + (PAUSE) + What did she tell you? + + @BELLA + He's scared. + + @BERGMAN + I've never known him scared. + + @BELLA + She says he's getting old. + + @BERGMAN + \...she said that... + + @BELLA + He's broke. He's made. The cops're looking for him. He don't want to go out there with nothing. + (PAUSE) + She says that he'll do the job. + + @BERGMAN + \...she does... + + @BELLA + \...she... + (HE HESITATES) + + @BERGMAN + \...please... + + @BELLA + I think, the thing, she came to plead for him. + + @BERGMAN + \...she did. She came to plead for him? + + @BELLA + I think so. + + @BERGMAN + The sonofabitch screwed me once, he's gone screw me again. Why, why, why would she think that I'd believe her? + + @BELLA + She came to me... + + @BERGMAN + To you. + (PAUSE) + Ah. + + @BELLA + \...yes. + + @BERGMAN + He put her up, to come to you. + + @BELLA + I think she came to me on her own. + (PAUSE) + + @BERGMAN + Well, no, but as Rational Men, don't we have to "doubt" her? + + @BELLA + She thinks the guy's weak, he's scared, she's scared, I think she's sincere. + + @BERGMAN + Then, let me put a question to you: you had the job... you had the job... how would you test her sincerity...? + +!ANGLE ON FRAN. AS BERGMAN AND BELLA REEMERGE. + + @BERGMAN (cont'd) + Okay, we're All on One Team, all arrayed against a Common Enemy? Thank you for coming, I'm an old Man, I'm going to bed... + + @BELLA + (TO FRAN) + I'm going to see you back. + (HE TAKES HER BY THE ARM.) + +!ANGLE EXT THE MANSION, VARIOUS CARS PARKED IN THE CIRCULAR DRIVEWAY. BELLA WALKS FRAN TO HER CAR. HE STARTS TO GET IN. + + @FRAN + I'll be alright... + + @BELLA + (AS HE WALKS OVER TO HER SIDE OF THE CAR) + Hey, you're alright now... + +!HE GRABS HER AND GOES INTO A CLINCH. SHE RESISTS FOR A MOMENT,CAMERA PANS THEM AS BELLA TAKES HER BEYOND THE DRIVEWAY TOWARD A POOLSIDE CABANA. + +INT PINCUS'S KITCHEN DAWN. + +!LEANED BACK AGAINST THE WALL. BLANE ASLEEP AT HIS CHAIR. PINCUS PLAYING SOLITAIRE. MOORE SITTING. HOLD. MOORE KICKS THE CHAIR, SO THAT BLANE COMES FORWARD, AND AWAKE. + + @MOORE + \...get me the name of a freight forwarder. + + @BLANE + \...what? + + @MOORE + \...a freight forwarder. + (HE THROWS HIM A YELLOW PAGES) + Okay. Alright. + +!AS BLANE LOOKS THROUGH THE YELLOW PAGES MOORE GRILLS PINCUS. + + @MOORE (cont'd) + \...what's the Lady's name? + + @PINCUS + \...Mrs. Croft. + + @MOORE + What do we chat her up about? + + @PINCUS + She is active in the church choir. She has had her job for sixteen years. Last time I saw her, she had stomach problems... what's the response time on the tow truck...? + + @BLANE + Average, forty five minutes. + + @MOORE + (SHAKES HEAD) + Too quick... + (PAUSE) + On the day. Half hour before the thing, call up, three false breakdown calls. Keep'em busy. + + @PINCUS + \...that's right... + + @MOORE + You got to givvem breakdown calls on actual vehicles, which means you'll have to go to the Rental... + +!ANGLE, ON PINCUS, LOOKING AT HIM AS IF TO SAY "DO YOU THINK YOU'REPLAYING WITH CHILDREN...?" + + @BLANE + (AS HE LOOKS THROUGH THE YELLOW PAGES) + What, what kind of "freight do you want to..." + + @MOORE + (AS HE TAKES OUT HIS PAD AND PENCIL AND BEGINS TO DRAW)) + \...look here: + +INT POOLSIDE CABANA DAY. + +!FRAN AND BELLA, FINISHING DRESSING. + + @BELLA + \...and how's he getting his share away...? + + @FRAN + \...what difference, you're going to screw it out of him anyway... + + @BELLA + \...what are you telling me...? + +!FRAN SHAKES HER HEAD AND STARTS OUT OF THE CABANA. BELLA FOLLOWS HER. + +INT BOATSHED DAY + +!MOORE IS APPLYING "SKINS," (I.E. REMOVABLE COVERINGS) TO THE SIDE OFA VAN, ADVERTISING IT AS THE VAN OF A SECURITY COMPANY. BLANE ARRIVES, CARRYING SEVERAL UNIFORMS, IN PLASTIC, DRY CLEANERS WRAP. + + @MOORE + \...take the wrappers off, hang em in the air, get the drycleaning smell out. + +!HE LOOKS UP AS FRAN AND BELLA ENTER. + + @MOORE (cont'd) + \...where have you been...? + + @BELLA + \...tucking Betty Croft in... + + @BLANE + What's she, out all night partying...? + + @BELLA + She's a wild, wild woman... + (HE HANDS MOORE A POLAROID, HE TOOK AT THE BAR.) + + @MOORE + (AS HE TAKES THE PHOTO, AND STUDIES IT.) + Alright, then. No Hard Feelings...? + + @BELLA + \...last thing in the World... + +!ANGLE, C.U. MOORE, LOOKING AT FRAN. + +!FRAN COMES OVER TOWARD MOORE, WHO IS HOLDING A YELLOW PAD. + + @FRAN + \...I... + + @MOORE + \... I don't give a fuck. The only thing is: Get the Gold. Get the gold, Baby. Get the Gold. They ain't gonna pay for Yardage... + +!HE LOOKS DOWN. ANGLE, INS. HIS POV THE YELLOW LEGAL PAD, WITH THE SKETCH OF THE RAILROAD OVERPASS. + +>DISSOLVE TO: + +EXT THE RAILROAD UNDERPASS. NIGHT. + +!ANGLE INS: A MAN'S HANDS, IN WORK GLOVES, HOLD THE SKETCH OF THE UNDERPASS, COVERED IN FIGURES. ANGLE: MOORE, IN WORK CLOTHES, WALKING DOWN FROM UNDERNEATH THE UNDERPASS, TO THE LEVEL OF THE TRACKS. HE TURNS AND LOOKS UP AT THE UNDERSIDE OF THE VAULT. ANGLE ON THE TRACK. MOORE WALKS INTO THE SHOT, PACING OFF STEPS DOWN THE TRACKS. ANGLE. IN THE SCRUB ALONGSIDE THE BANKS, HE WALKS UP AND SITS NEXT TOA BLACK NYLON BACKPACK. HE CHECKS HIS WATCH. + +EXT RAILROAD OVERPASS NIGHT. + +!A SMALL TRUCK, IT'S SIDES PAINTED TO ADVERTISE A SECURITY COMPANY,GOES OVER THE OVERPASS. ANGLE INT THE TRUCK. BELLA AND, BLANE, DRESSED IN COVERALLS, ADVERTISING A SECURITY COMPANY. ANGLE, INT THE TRUCK. BLANE, LOOKING OUT OF THE WINDOW. BELLA, CHEWING GUM, TAKES OUT THE PACK, AND BEGINS CHEWING ANOTHER PIECE. + + @BLANE + \...you feeling? + + @BELLA + I'm fine... + + @BLANE + Sometimes, th'drenaline, hits you, gives you the shakes... + + @BELLA + I'm alright. + + @BLANE + I'm saying, some people, adrenaline, gives'em the shakes... some people, mistake it for cowardice... + (PAUSE) + + @BELLA + I'm fine. + +!HE TAKES OUT A SCAPULAR, HOLDS IT, AND SAYS A SMALL PRAYER HE LOOKS OVER AT BLANE. + + @BLANE + \...nothing wrong with prayer. + (PAUSE) + + @BELLA + \...you think so...? + + @BLANE + I was in this firefight? One time? Motherfucker, always carried a bible, next to his heart. And we used to mock him. But that bible stopped a bullet. + + @BELLA + No shit. + + @BLANE + My hand to god. That bible, stopped a bullet, would have ruined that fucker's heart. + (PAUSE) + And had he had another bible, in front of his face, that man would be alive today. What time you got? + + @BELLA + Five eighteen. + + @BLANE + \...make the call. + +!BELLA TAKES OUT A CELLPHONE AND DIALS. + + @BELLA + (ON PHONE) + Hello? I've, hello? + + @BELLA (cont'd) + I've got one of your trucks...? The, the engine quit on me... Hello? Yeah, the..., I got a delivery I have to... from when? Well, it's twenty after fi... I'm on, where am I? I'm on Industrial and two-oh-seventh, well, your truck's dead... + +!ANGLE, EXT THE TRUCK. THE TRUCK STOPS AT THE OVERPASS. + +!BLANE HOPS OUT. ANGLE. IN THE SCRUB. ALONGSIDE THE BANK. THE BLACK BACKPACK MOORE LEFT EARLIER. BLANE PICKS IT UP. CAMERA PANS HIM BACK TOWARD THE OVERPASS. ANGLE INS. INSIDE THE SPAN OF THE STONE OVERPASS. A SMALL ELECTRONIC LOOKING DEVICE. BLANE'S HAND COMES INTO THE FRAME, HOLDING IT. HE AFFIXES IT TO THE STONE, FLIPS A SWITCH. A RED LIGHT BEGINS TO GLOW ON THE DEVICE. ANGLE EXT THE SECURITY TRUCK AT THE SIDE OF THE ROAD, BY THE OVERPASS. BLANE, RUNNING BACK TOWARD THE TRUCK. ANGLE INT THE SECURITY TRUCK. + + @BELLA (cont'd) + (ON PHONE) + to fix the... + +!BLANE GETS INTO THE TRUCK + + @BLANE + \...let's go... + + @BELLA + (ON PHONE) + \...would you do that? Thank you... + +!ANGLE EXT. THE TRUCK. PULLING OUT INTO THE ROAD. + +INT COMMUTER TRAIN COACH. DAWN. + +!AN OLD TIRED CONDUCTOR WALKING DOWN THE AISLE. PAST A SLEEPING BUSINESSMAN. THE BUSINESSMAN WALKS, TO REVEAL IT IS MOORE. HE STRETCHES, LOOKS OUT THE WINDOW. AND WALKS BACK IN THE CAR,HOLDING HIS BRIEFCASE. ANGLE INT. THE LAVATORY. MOORE ENTERS, HE TAKES A SMALL BOX FROM HIS BRIEFCASE, TURNS A DIAL, AND AFFIXES IT TO THE CEILING. + +EXT SUBURBAN STATION DAWN. + +!THE TRAIN SLOWING DOWN. MOORE ALIGHTS FROM THE LAST CAR, A STATION WAGON PULLS UP FROM THE EMPTY PARKING LOT, MOORE WALKS TOWARD IT. + +INT A BANK OF PHONES DAY + +!PINCUS, IN A BUSINESS SUIT. + +!STANDING BY WHAT APPEARS TO BE A LARGE SAMPLE CASE, WAITING AT A BANK OF PHONES. HE LOOKS AT HIS WATCH. + +EXT AIRPORT DEPARTURES DRIVEWAY. + +!THE STATION WAGON PULLS UP. FRAN DRIVING, AND MOORE RIDING. HE GETS OUT, WEARING COVERALLS. MOORE LOOKS DOWN AT THE POLAROID PICTURE WE SAW EARLIER. ANGLE ON A COFFEE TRUCK PARKED OUTSIDE AN EMPLOYEE'S ENTRANCE. A FORTYISH WOMAN IN A SECURITY GUARD'S UNIFORM IS DRINKING COFFEE,ONE OF A NUMBER OF AIRPORT EMPLOYEES. + + @WOMAN + (MRS. CROFT) + \...of my ulcer--Doctor said it's... it isn't the caffeine, but the acids in the coffee that... + +!ANGLE ON MOORE, WALKING UP TO THE WOMAN. + +!HE CONSULTS A PIECE OF PAPER. + + @MOORE + Mrs. Croft? + (PAUSE) + Betty Croft...? + + @MRS. CROFT + (SOMEWHAT SURPRISED) + Yes? + + @MOORE + (AS SHE DRAWS HER ASIDE) + My name is... could I see some identification, please? My name is Wilson, I'm with the F.A.A. Could I see your badge, please? + +!MRS. CROFT TAKES OUT AN EMPLOYEES BADGE AND SLIPS IT TO HER UNIFORM. + + @MRS. CROFT + \...just coming to work... + + @MOORE + I understand. ... I believe we've met before, on my last...? + + @MOORE (cont'd) + (HE CHECKS HER NAME AGAINST A LIST ON A CLIPBOARD. HE TAKES OUT A BADGE AND SHOWS IT TO HER.) + \...You are on Gate twenty-one this morning? + + @MRS. CROFT + \...that is correct, Sir. + + @MOORE + We will be conducting a Security Check. I will be coming through the metal detector in + (HE CHECKS HIS WATCH) + approximately ten minutes. I will be quote Armed, and carrying a toolkit in which are hidden three potentially lethal or dangerous items. This is a test of the security personnel and of the apparatus under your control. Now. I must caution you that, from that time to this you will be under covert surveillance, and should you attempt to communicate + + @MRS. CROFT + I wouldn't... + + @MOORE + (SHRUGS) + \...you've been warned. Now: the guard under your supervision will be graded on the following: + +!ANGLE, INT THE AIRPORT CONCOURSE. PINCUS, DRESSED AS A SECURITY GUARD. STANDING BY A BANK OF PHONES. A YOUNG MOTHER WITH A CHILD COMES UP TO ASK DIRECTIONS OF HIS. HE DIRECTS THEM, AND TOUCHES HIS HAT, AND THEY MOVE OFF. ANGLE EXT, AIRPORT DRIVETHROUGH. AT THE STATION WAGON. MOORE LEANS IN, AND TAKES A LARGE TOOLCASE OUT OF THE BACK. IN THE B.G. WE SEE MRS. CROFT. + +!STILL STANDING BY THE COFFEE TRUCK. FRAN LOOKS UP. + + @FRAN + Here they come. + +!MOORE LOOKS IN THE REARVIEW MIRROR. ANGLE HIS POV THE SECURITY TRUCK, PULLING INTO THE DRIVETHROUGH AREA. ANGLE FRAN AND MOORE. AS FRAN LOOKS OUT OF THE WINDOW. + + @FRAN (cont'd) + Where's the girl...? + +!MOORE LOOKS AROUND. + + @MOORE + \...yeah... okay... okay... it's okay. + +!ANGLE ON MOORE, AS HE WALKS TO THE SECURITY GATE. ANGLE, HIS POV. THE SECURITY WALKTHROUGH. A METAL DETECTOR, A GUARD SEATED AT A CONSOLE. MOORE LOOKS AROUND. HE LOOKS AT HIS WATCH. HE TURNS BACK OUT TOWARD THE STREET. ANGLE. HIS POV. THE SECURITY TRUCK. PULLING UP. ANGLE ON MOORE. AS HE WALKS TOWARD THE COFFEE TRUCK. + + @MOORE (cont'd) + (TO THE COFFEEMAN) + What happened to Betty? Betty Croft...? + + @COFFEEMAN + Hey, I don't know... she... + + @MOORE + Gimme a cuppacoffee. + +!ANGLE ON MOORE AS HE TAKES THE COFFEE AROUND THE SIDE OF THE COFFEE TRUCK. HE PUTS IT UP ON THE HOOD. HE SCANS THE AREA. THE SECURITY TRUCK IS GETTING CLOSER. + + @MOORE (cont'd) + (TO COFFEEMAN) + Gimme one of those... + (MOORE POINTS) + +!THE COFFEEMAN HANDS MOORE A SMALL OBJECT. MOORE TAKES A WRAPPED PACKAGE OUT OF HIS POCKET. ANGLE INS. + +!WE SEE IT IS A FOIL WRAPPED CONDOM PACKET. MOORE TAKES OUT THE CONDOM. MOORE TURNS AWAY FROM THE COFFEE TRUCK. ANGLE INS. MOORE DIGS IN HIS POCKET AND TAKES OUT A VERY SMALL AUTOMATIC PISTOL. HE PUTS THE PISTOL IN THE CONDOM, AND TIES IT SHUT, HE DROPS THE CONDOM INTO THE STEAMING COFFEE. HE STARTS TOWARD THE SECURITY GATE. ANGLE ON MOORE, CARRYING A CASE OF TOOLS, AS HE WALKS TO AN EMPLOYEE'S ENTRANCE, SEVERAL EMPLOYEES IN WORK WEAR, STREAMING IN. MOORE TAKES AN EMPLOYEE'S BADGE, AND AFFIXES IT TO HIS COLLAR. ANGLE INT SECURITY SHED. EMPLOYEES STREAMING THROUGH THE METAL DETECTOR. MOORE PUTS HIS STEAMING COFFEE ON TOP OF THE MACHINE, AND PASSES THROUGH. + + @SECURITY GUARD. + \...up early or up late. + + @MOORE + (OF THE COFFEE) + Not up at all, till I get that down... + + @SECURITY GUARD. + I heard that. + + @MOORE + Where's the, uh, where's the girl's usually here, your Supervisor? They lett'n you play all ? They lett'n you play all by yourself? + + @SECURITY GUARD. + Na, she's got this stomach thing. Least little... + + @MOORE + Uh huh... + + @SECURITY GUARD. + \...least little thing, sets her off... + +!MOORE STANDS WAITING FOR HIS CASE OF TOOLS TO COME THROUGH THE X-RAY MACHINE. MOORE PICKS IT UP, AND GOES BACK TO TAKE HIS COFFEE, AND START OUT OF THE DOOR, INTO THE AIRPORT. HE LEAVES HIS CASE BEHIND HIM. ANGLE EXT THE AIRPORT DRIVE-THROUGH. + +!WE SEE THE STATION WAGON PULLING OUT, AS, IN THE B.G., WE SEE THE SECURITY TRUCK PULLING INTO THE ARRIVALS AREA. ANGLE IN THE STATION WAGON, AS FRAN LOOKS DOWN AT HER WATCH. ANGLE PINCUS, AT THE BANK OF PHONES, HE DOES THE SAME, AS HE TALKS ON THE PHONE. + + @PINCUS + (TO PHONE) + I have to inform you we have placed three bombs... Three bombs. Inside your facility. + +!HE HANGS UP THE PHONE AND CAMERA AT A BAGGAGE HANDLING AREA SHOWS HIM GOING INTO A MEN'S ROOM. MOORE RETRIEVES THE PISTOL FROM HIS COFFEE CUP. HE STARTS BACK TOWARD THE SECURITY AREA. AS HE WALKS HE TAKES APART THE FLASHLIGHT HANGING IN THE UTILITY BELT AT HIS WAIST, HE REMOVES A SMALL CANNISTER FROM THE BATTERY AREA. ANGLE INT PASSENGER CONCOURSE. PINCUS, COMING OUT THE MEN'S ROOM, WEARING THE UNIFORM OF A GUARD. AS HE COMES OUT OF THE DOOR, WE SEE HE HAS LEFT HIS UTILITY CASE BEHIND. ANGLE INT THE SECURITY SHED. THE GUARD TURNS, AS MOORE REENTERS. ANGLE ON MOORE, TO SHOW HE HOLDS THE PISTOL DOWN ALONG ONE THIGH,THAT HE HOLDS THE CANNISTER ALONG THE OTHER. + + @MOORE + \...how tired I am, I left my... + (HE GESTURES AT THE TOOLCASE HE HAS LEFT BEHIND) + +!THE GUARD TURNS TO MAKE A JOKE. MOORE WALKS UP TO HIM, AND DISPLAYS THE SMALL PISTOL. + + @MOORE + Please tell me the code for the main gate. + + @GUARD + (LOOKING AT THE PISTOL) + Who the hell d'you think you're kidding with that lll... + +!MOORE SHOOTS THE PISTOL TOWARD THE GUARD'S FOOT. + + @MOORE + Please tell me the code. + +!ANGLE IN THE CONCOURSE. PINCUS, DRESSED AS A GUARD, EXTRACTS A SMALL SHIM FROM A LEATHER HOLDER. HE STARTS TOWARD A SECURITY DOOR. AN AIRLINE EMPLOYEE IN UNIFORM ENTERS BEFORE HIM. AS HE STARTS TOWARD THE DOOR, THERE IS AN EXPLOSION BEHIND HIM, AND SMOKE FILLS THE HALL. + + @PINCUS + \...hold that door... hold that door... + +!THE AIRLINE EMPLOYEE HOLDS THE DOOR OPEN AND PINCUS ENTERS. + +INT SECURITY SHED, DAY. + +!MOORE IS GLANCING AT THE VIDEO DISPLAYS. WE SEE ON ONE OF THE DISPLAYS, THE SECURITY TRUCK TURNING TO ENTER THE SECURITY GATE AREA. ANGLE ON MOORE, AS HE DISCONNECTS THE VIDEO, AND WE SEE THE SCREEN GO BLANK. HE TURNS TO SHOW PINCUS, COMING INTO THE SHED BEHIND HIM. WE HEAR ON THE LOUDSPEAKER. + + @LOUDSPEAKER + Attention... Attention, we have a code Four, and a Fire. I repeat, a code Four, and a Fire, at... + +!ANGLE ON THE SECURITY TRUCK, AS THE GATES SWING OPEN, AND IT ENTERS THE SECURITY AREA. ANGLE ON PINCUS, AS HE TAKES A SEAT AT THE SECURITY CONSOLE. AND MOORE GETS ONTO THE SLOW MOVING SECURITY TRUCK. WE SEE THE SECURITY GATES CLOSE BEHIND IT. + +EXT AIRPORT DAY. + +!THE TAIL OF A PLANE WITH A HUGE SWISS CROSS AS PART OF ITS LOGO. CAMERA PANS TO SHOW IT IS A CARGO PLANE, MARKED AEROHELVETICA. ANGLE INT THE COCKPIT, AEROHELVETICA CARGO PLANE. THE PILOT IS CONVERSING WITH SOMEONE ON THE RADIO. HE SPEAKS ENGLISH WITH A FOREIGN ACCENT. + + @PILOT + \...clearance for... + (BEYOND, ON THE TARMAC, WE SEE THE SECURITY TRUCK COMING TOWARD THE PLANE.) + \...Yes. Aero, 294. Requests permission to take the Active... + (PAUSE. HE LISTENS. NODS) + Aero 294 for runway two-six. + (TO HIS CO-PILOT, IN GERMAN) + Let's get out of here... + +!ANGLE, INT THE COMMUTER CAR LAVATORY. THE SMALL DEVICE AFFIXED TO THE CEILING. ANGLE EXT THE OVERPASS. WE SEE A TRAIN APPROACHING IN THE DISTANCE. ANGLE THE SMALL ELECTRONIC DEVICE ON THE UNDERSIDE OF THE STONE ARCH. WE SEE THE LIGHT GO FROM STEADY RED TO BLINKING RED. ANGLE THE OVERPASS. AS THE TRAIN APPROACHES. THE ARCH EXPLODES. ANGLE THE CAB OF THE TRAIN. + +!AS THE ENGINEER SEES THE ARCH CRUMBLING BEFORE HIM. ANGLE THE TRAIN SLOWING DOWN, BRAKES SCREECHING. ANGLE IN THE LAVATORY, AS THE DEVICE EXPLODES. ANGLE EXT THE TRAIN, TO SHOW THE TRAIN SLOWING, AND THE LAST CAR SPOUTING FLAMES. CAMERA CRANES UP TO SHOW THE TRAIN STOPS. JUST BELOW A BANK OF LANDING LIGHTS, AND, BEYOND, IS THE AIRPORT. ANGLE INT THE JET COCKPIT THE JET IS TAXIING, AND, IN THE B.G., WE SEE THE FLAMES FROM THE BURNING COMMUTER TRAIN CAR. + + @CO-PILOT + (IN GERMAN) + \...what the hell is that...? + +!THE PILOT MOTIONS "KEEP QUIET." HE PUTS HIS HAND TO HIS EARPHONES. AND LISTENS. + + @PILOT + Affirmative. 294, to return to Area A + (PAUSE) + 294. + (TO COPILOT) + Back to the barn... + +!HE LOOKS DOWN. ANGLE HIS POV THE SECURITY TRUCK, COMES ALONGSIDE, AND KEEPS STATION WITH THE MOVING PLANE. WE SEE, FROM THE PILOTS POV, MOORE, IN THE TRUCK,MOTIONING, "BACK TO THE GATE."ANGLE ON THE PILOT + + @PILOT (cont'd) + (TO HIMSELF) + \...yes. We understand... + +!HE SIGHS. AND MOTIONS TO THE CO-PILOT, WHO PROCEEDS BACK INTO THE CARGO AREA. CAMERA TAKES HIM PAST SEVERAL LARGE CRATES MARKED"MACHINE PARTS" TO HYWEST FOUNDRY, PAST SEVERAL LARGE METAL CONTAINERS. TO THE CARGO DOOR. WE SEE THE PLANE JOLT TO A STOP. THE CO-PILOT ENTERS A CODE IN A PANEL NEAR THE DOOR. AND THE DOOR SLIDES OPEN TO REVEAL THE SECURITY TRUCK BELOW, AND TWO MEN GETTING OUT OF IT. ANGLE ON THE TARMAC. MOORE, IN A SECURITY UNIFORM, HOISTS HIMSELF UP ONTO THE HOOD OF THE CAR, AND INTO THE CARGO DOOR. ANGLE ON BLANE AND BELLA, BELOW, BELLA STARTS TO FOLLOW MOORE. + +!BLANE RESTRAINS HIM. + + @BLANE + \...stick with the program. Stick with the program... + +!ANGLE. INT THE CARGO PLANE. ON MOORE, AS HE WALKS PAST THE CRATES OF MACHINE TOOLS AND THE UNMARKED METAL CRATES, TOWARD THE COCKPIT. ANGLE. INT THE COCKPIT. AS THE PILOT TURNS AROUND. AS MOORE ENTERS. + + @MOORE + \...we have a report of... + + @PILOT + Yes, we're getting it over the radio... + +!MOORE TAKES A SMALL BATON FROM HIS BELT AND CLOUTS THE PILOT AND THEN THE COPILOT WITH IT. BLANE MOVES UP TO HIM. TAKES A ROLL OF GAFF TAPE FROM HIS BELT, AND BEGINS BINDING THE TWO MEN TO THEIR SEATS, FIRST GAGGING THEM WITH THE TAPE. + + @MOORE + \...make sure they're breathing... + +!ANGLE. IN THE CARGO AREA. ON BLANE. BEYOND HIM WE SEE MOORE STANDING OVER THE TWO SPRAWLED FORMS OF THE PILOT AND THE CO-PILOT. ANGLE ON MOORE, AS HE REMOVES A KEY FROM THE NECK OF THE CO-PILOT, AND WALKS BACK TO MOORE, THEY OPEN ONE OF THE METAL CASES. ANGLE, INT THE METAL CASE. IT IS FILLED WITH LARGE INGOTS COVERED IN BURLAP. MOORE HANDS OPEN ONE TO REVEAL IT IS GOLD. THE GOLD INGOT IS STAMPED CREDIT NATIONAL DE GENEVE. ANGLE ON MOORE. AS HE DETACHES A SMALL CONVEYOR FROM THE INTERIOR OF THE CARGO AREA, AND LOWERS IT DOWN TO THE BACK OF THE SECURITY TRUCK. ANGLE IN THE SECURITY TRUCK. BELLA, ACCEPTS THE CONVEYOR. THE BELT OF THE CONVEYOR BEGINS TO MOVE, AND THE COVERED INGOTS TO DESCEND DOWN THE SLIDE. ANGLE. ON BELLA AS HE UNCOVERS ONE OF THE INGOTS, TO REVEAL IT IS GOLD. BLANE DROPS DOWN NEXT TO HIM. + + @BLANE + \...let's get with it... + +!HE AND BELLA MOVE TO THE HUGE ENGINE HELD IN THE BODY OF THE TRUCK. THEY PIVOT IT OPEN, AND BEGIN TO FILL THE EMPTY INTERIOR WITH THE COVERED BARS. ANGLE INT THE CARGO PLANE. MOORE LOADING THE COVERED INGOTS ONTO THE CONVEYOR. HE LOOKS AT HIS WATCH. + +INT SECURITY SHED DAY. + +!ON PINCUS, DRESSED AS A SECURITY GUARD. AS HE LUGS THE UNCONSCIOUS GUARD ACROSS THE FLOOR, AND INTO A LAVATORY. HE CLOSES THE DOOR,AND STARTS BACK TOWARD HIS POSITION AT THE SECURITY CONSOLE. AS HE STARTS BACK, TWO STATE TROOPERS PULL UP IN THEIR CRUISER. + +!AT THE MAIN GATE. THEY HONK THE HORN. ANGLE, ON PINCUS, AS HE PROCEEDS OUT TO THEM. WE SEE ONE OF THE POLICEMEN IS HOLDING HIS BADGE HOLDER OUT OF THE WINDOW, TOWARD THE VIDEO CAMERA. PINCUS WALKS UP TO THE CAR. + + @TROOPER + Get the gate open... + + @PINCUS + (AS HE MAKES A NOTATION ON A CLIPBOARD) + I got to take down your badge nnn... + + @TROOPER + (AS HE GESTURES AT THE VIDEO CAMERA) + I'm holdin' it up to the damn... + + @PINCUS + \...the video's out. + +!HE STARTS BACK TOWARD THE SECURITY SHED. + +!ONE OF THE TROOPERS FOLLOWS. + + @TROOPER + (IN CAR) + Get the gate open...? + +!ANGLE INT THE SECURITY SHED. PINCUS COMING BACK IN, FOLLOWED BY THE OTHER TROOPER. + + @TROOPER (cont'd) + Can we get the gate open...? + + @PINCUS + You're looking at me doing it... + +!PINCUS PUNCHES NUMBERS INTO THE BOARD, AND WE SEE THE GATE SWING OPEN BEYOND THEM. THE TROOPER, IN THE B.G. STARTS TO OPEN THE DOOR TO THE LAVATORY. + + @TROOPER + \...who's been through here...? + + @PINCUS + Well I. I can tell you who's... + + @TROOPER + (AS HE WALKS TOWARD THE LAVATORY) + Gimme a list of any... + + @PINCUS + I put it on, it's all on the computer, n'the computer went down... + +!THE TROOPER STARTS TO OPEN THE DOOR TO THE LAVATORY + + @PINCUS (cont'd) + (SCREAMING) + Don't touch the door. For Godsake. Don't touch the door-- din't you hear, on the rrr... one guy, got his arm blown off, the bombsquad said not to... + +!ANGLE, EXT, THE TARMAC MOORE IN THE CARGO PLANE. LOOKS AROUND. HAULS UP THE CONVEYOR,PUNCHES A BUTTON ON THE CONTROL PANEL, THE HATCH STARTS TO CLOSE. ANGLE EXT THE PLANE. ON THE TARMAC, THE TRUCK. WE SEE, INTERIOR. BELLA AND BLANE,SWINGING CLOSED THE HOLLOW ENGINE, THEY PULL THE REAR DOOR OF THE TRUCK CLOSED. AS MOORE JOINS THEM, IN THE CAB OF THE TRUCK. ANGLE INT THE CAB OF THE TRUCK. BLANE, HOLDS UP A WALKIE TALKIE, WHICH IS SPOUTING SECURITY UPDATES. HE NODS AT MOORE TO SAY "I THINK WE ARE ALRIGHT."ANGLE, THEIR POV THE SECURITY GATE AHEAD OF THEM. THE TROOPER'S CRUISER PARKED INSIDE OF IT. BLOCKING THE EXIT. ANGLE THE THREE MEN IN THE TRUCK. BEAT. + + @MOORE + (TO BELLA, WHO IS DRIVING) + Honk the horn. + (PAUSE) + \...what'm I telling you...? + +!BELLA HONKS THE HORN, TENTATIVELY. ANGLE, THEIR POV THE TROOPERS, ONE IN THE CAR, ONE INSIDE THE SECURITY AREA, TALKING WITH PINCUS. ANGLE INSIDE THE TRUCK. AS MOORE LEANS OVER AND LEANS ON THE HORN. ANGLE + +!THE TROOPER IN THE CAR SIGHS, AND PULLS HIS CAR UP, SO THAT THE TRUCK CAN PASS. ANGLE EXT THE SECURITY SHED. AS PINCUS MOVES PAST THE TROOPER, TO THE TRUCK, WHICH IS MOVING THROUGH THE SECURITY AREA. + + @PINCUS + (TO THE TROOPER) + Would you please, would you please...? + (TO THE TRUCK) + Excuse me. Excuse me... No one is to leave this... + + @BLANE + (CALLING OUT OF THE TRUCK) + \...would you get out of the way...? + + @PINCUS + I'm trying to do my job, I'm + (APPEALING TO THE POLICE OFFICERS) + I am a, like you, just like you, I am trying to do my Sworn... + +!ANGLE, ON PINCUS, AS HE SEES SOMETHING, IN THE POLICE CRUISER. ANGLE HIS POV. TAPED TO THE VISOR OF THE POLICE CRUISER. INS. OF A SHOT OF MOORE (A PHOTO TAKEN FROM AND WHICH WE RECOGNIZE AS TAKEN IN THE VIDEO AT THE JEWELRY STORE, I.E., MOORE LOOKING UP AT THE VIDEO CAMERA.) ANGLE, ON PINCUS, LOOKING AT THE SHOT. HE WIPES HIS FOREHEAD. AND CONTINUES TALKING TO THE TROOPERS WHILE HE PASSES AN INFINITESIMAL "GET OUT OF HERE..." SIGNAL TOWARD THE SECURITY TRUCK. ANGLE IN THE TRUCK. AS THEY DRIVE THROUGH THE GATES. + + @BLANE + Don't look back... don't look back... + + @BELLA + How's he... how is he...? + + @BLANE + Well, that's just gonna have to be as it is... + (HE TAKES OUT A CELLPHONE AND DIALS AS HE SPEAKS.) (INTO PHONE) + I got a broke down truck, excuse me, I called, could I speak to your supervisor please...? I got one of your trucks, engine failure, I called first at Five, five twenty, this... this is my forth call... Right outside the Airport. + + @BLANE (cont'd) + (PAUSE) + Industrial and 2-0-seventh, I... Yes, thank you. I'm an attorney... could I have your name please...? Could I have your name, please, because I'm going to have to speak to your supervisor... + +!ANGLE ON MOORE, AS HE STEALS A GLANCE BACK AT PINCUS. ANGLE HIS POV ON PINCUS, TALKING WITH THE TWO TROOPERS. + +INT THE CARGO PLANE DAY + +!THE THREE METALLIC CRATES OPEN, PAN PAST THE "MACHINE PARTS"CRATES, ONTO THE TWO MEN IN THE COCKPIT. + +!THE PILOT STARTS TO STIR, GROGGILY. ANGLE EXT ON THE VAN AS IT COMES ONTO A SMALL ACCESS ROAD. WE SEE THEIR AIRPORT IN THE B.G. ANGLE EXT THE STATION WAGON, DRIVEN BY FRAN, PULLING INTO THE ARRIVALS AREA. SHE DRIVES SLOWLY BY THE SECURITY GATE. ANGLE HER POV IN THE B.G. WE SEE PINCUS STILL TALKING TO THE TROOPERS. ANGLE ON PINCUS, AS HE STEALS A GLANCE AT HIS WATCH. + +!HE LOOKS UP. ANGLE HIS POV IN THE B.G., FRAN, DRIVING THE STATION WAGON SLOWLY. ANGLE, INT, THE SECURITY STATION. ONE OF THE TROOPERS GETS A CALL ON THE WALKIE-TALKIE. + + @TROOPER + (INTO THE WALKIE) + Four nine, go. + (PAUSE) + Where...? Oh shit... + +!HE HURRIES OUT TO THE CAR. HE TURNS BACK, TOWARD PINCUS. + + @TROOPER (cont'd) + (CALLING) + Aerohelvetica. Cargo...? + + @PINCUS + Bay Five. Go Left. Bay Five... + +!WE SEE THE TROOPERS IN THE CAR HURRY OFF. PINCUS STARTS STRIPPING OFF HIS SECURITY UNIFORM, AS WE WALKS OUT OF THE SECURITY SHED, TOWARD FRAN IN THE CAR. ANGLE INT THE STATION WAGON AS PINCUS GETS UP, AND MOTIONS FRAN TO DRIVE QUICKLY. WE HOLD ON THE STATION WAGON LEAVING THE AIRPORT DRIVETHROUGH. + + @FRAN + How...? + +!ANGLE. THE STATION WAGON DRIVING PAST A ROW OF ORANGE-VESTED ROADWORKERS, WHO ARE LAYING TAR ON THE ROADWAY. THE STATION WAGON SLOWS. ANGLE INT THE CAR. + + @PINCUS + Wait wait wait wait wait. + (HE GESTURES HER TO STOP) + +!ANGLE EXT THE STATION WAGON. ON PINCUS AS HE TAKES A TRASH BAG, AND THROWS IT INTO A ROADSIDE TRASH CONTAINER. ANGLE ON THE VAN, AS IT PULLS INTO A PARKING GARAGE. ANGLE -A MOSTLY EMPTY FLOOR OF THE PARKING GARAGE. THE VAN PULLING UP. MOORE AND BLANE GET OUT, AND START TO LOOK DOWN TOWARD THE AIRPORT. MOORE LOOKS AT HIS WATCH. BLANE GOES TO THE SIDE OF THE VAN,HESITATES, AND LOOKS AT MOORE. + + @BLANE + \...where's your explosion...? + + @MOORE + (HE LOOKS AROUND, THEN, TO BLANE) + Do it... + +!BLANE NODS TO MOORE, AND THEY BEGIN TO STRIP THE "SKINS" OFF THE SIDE OF THE SECURITY TRUCK, TO REVEAL IT IS A RYDER RENTAL TRUCK. ANGLE INT THE TRUCK + +!MOORE OPENS THE BACK PANEL, HE REMOVES A LARGE GARBAGE BAG. + +!AND ACCEPTS THE REMOVED SKINS AND LICENSE PLATES FROM BLANE. IN THE FRONT WE SEE BELLA, GETTING OUT OF HIS SECURITY UNIFORM. AND, IN THE REAR, BLANE AND MOORE DOING THE SAME. MOORE OPENS THE FAKE ENGINE, AND STUFF THE UNIFORMS, ET CETERA,INSIDE. + + @BELLA + (LOOKING BACK) + Here she comes... + +!ANGLE ON BLANE, AS HE TURNS. ANGLE, HIS POV. THE STATION WAGON, COMING UP THE RAMP. FRAN AND PINCUS IN IT. ANGLE ON THE MEN IN THE TRUCK. ON MOORE, AS HE LOADS THE MATERIALS INTO THE ENGINE. + + @MOORE + Is he with her...? + + @BLANE + Yeah he's there. + +!HE PICKS UP ONE OF THE BARS FROM THE FAKE ENGINE AND PULLS OFF THE COVERING, TO REVEAL IT IS GOLDEN. HE SMILES + + @BLANE (cont'd) + Yeah, he's there. + +!THE STATION WAGON PULLS UP BY THE TRUCK. + +!PINCUS GETS OUT AND WALKS TO THE BACK OF THE TRUCK. + + @MOORE + (TO PINCUS) + Where's my diversion...? + + @PINCUS + I... I threw it in the garb... Joe: Joe, Listen: + + @MOORE + Where's my explosion, I'm up here naked... + + @PINCUS + Joe: they got your... + +!HE LOOKS INSIDE THE TRUCK. + +!HE TAKES OUT AND LOOKS AT THE HALF-OPENED BAR OF GOLD. + + @PINCUS + Joe... they got your... + +!BLANE SHOWS HIM THE GOLDEN BAR. + + @PINCUS (cont'd) + Go sell chocolate, you Heidi Motherfuckers. Go see Cookoo Clocks. WE GOT YOUR GOLD... + +!ANGLE ON BLANE, AS HE TAKES THE ROLL OF TAPE FROM HIS BELT, AND TAPES THE COVERING AGAIN OVER THE BAR. HE REPLACES THE BAR, AND MOORE SHUTS UP THE FAKE ENGINE. + + @FRAN + (TO MOORE) + How'd it go? + + @BLANE + It got a little tight in there. + + @PINCUS + (TO MOORE) + They got your photo. + + @MOORE + Who? + + @PINCUS + The Staties. I saw it in the car. I. + + @MOORE + Forget it. Let's... + +!BLANE MOVES TO A SEDAN, WHICH THEY ARE PARKED, TAKES OUT KEYS, OPENS IT, AND BEGINS PUTTING ON A SUITCOAT AND A HAT WHICH ARE FOUND ON THE SEAT. + + @BELLA + \...they got your photo...? + + @MOORE + Yeah, well, that's a Hazard of the jjj... + + @BELLA + You can't go through the roadblock if... + + @MOORE + I told you on the day, they had me, you... + + @BELLA + Yeah, but you... I can't have you going through the... + + @MOORE + I stay with the gold. + + @FRAN + Joe, he's right if... + + @MOORE + You're gonna side with the guy, you're gonna side against me? You gonna talk against me, Fran? + + @FRAN + I'm saying... + + @BELLA + Fuck it... if they got you on film I am not going through that with the gold and you in the truck. + + @MOORE + I stay with the gold. + (PAUSE) + I stay with the gold. + + @BELLA + They got you on film, you got to go. You'll never make the road block... Joe... + + @MOORE + I got to go with the gold. + + @BELLA + You know, your wife said it... + +!ANGLE, ON BLANE, AS HE LOOKS OUT OF THE PARKING GARAGE. ANGLE, HIS POV. ON THE ACCESS ROAD, SEVERAL STATE POLICE CARS, SETTING UP A ROADBLOCK. + + @BLANE + Joe, we gotta go. + + @MOORE + You go. See you at the rendezvous... + +!ANGLE ON BLANE, AND PINCUS, WHO IS TAKING CLOTHES FROM THE SEAT OF THE SEDAN. HE STARTS TO GET IN. REACHES BACK, AND HANDS PIECES OF PAPER TO MOORE. + + @PINCUS + \...parking tickets, you've been here two days... + +!HE GETS INTO THE SEDAN, AND THE SEDAN PULLS AWAY. MOORE STARTS TO GET INTO THE VAN. + + @BELLA + \...you're burnt. + + @MOORE + Then we'll all go together. + + @BELLA + I do not see the percentage... + + @MOORE + You don't have to, Baby... + + @FRAN + \...you can't make the Roadblock, Joe... + + @BELLA + You're burnt, for chrissake. You're fucken burnt Old Man... What're you, telling your Beads "I go with the Gold"... Look here: You tell me: what're they gonna be looking harder at? You tell me, you here with us, or you in an empty car. + (PAUSE) + You tell me. + (PAUSE) + You tell me? You follow us. Through the roadblock, for chrissake. + (PAUSE) + Eh? You follow us thr... + +!MOORE TURNS TO BLANE. + + @BLANE + You're burnt, Joe. You're burnt. It's the wise thing. What do you lll...? + + @MOORE + I follow you to the rendezvous... + (TO FRAN) + Gimme the keys... + +!SHE PASSES THE KEYS TO BELLA, WHO HANDS THEM TOWARD MOORE. + + @PINCUS + \...Joe, get in the c... + +!ANGLE, ON MOORE, AS HE ADDRESSES FRAN, AS SHE GETS INTO THE TRUCK. + + @MOORE + \...stay with the ggg... + (HE LOOKS DOWN AT THE KEYS. WE SEE THEY ARE NOT THE SAME KEYS WHICH FRAN HANDS TO BELLA) (TO BELLA) + You palmed the keys, you palmed the keys, you motherf... + +!HE LOOKS DOWN AT THE KEYS IN HIS HAND. HE GRABS BELLA'S WRIST, AND TURNS IT OVER TO SHOW A SECOND SET OF KEYS IN BELLA'S HAND. + + @MOORE (cont'd) + \...what's, what's the deal, you're gonna leave me, alone, in the... + +!THERE IS A SOUND OF AN EXPLOSION. MOORE TURNS HIS HEAD, WE SEE BEYOND AND BELOW HIM, THE GARBAGE CAN, BURSTING INTO FLAMES, AND SPOUTING SMOKE. ANGLE, ON BELLA, AS HE TAKES OUT HIS PISTOL AND CLOUTS THE DISTRACTED MOORE. ANGLE XCU. ON FRAN. + + @FRAN + \...no... + + @BELLA + Get in the truck. Get in the truck... Get in the truck... + +!ANGLE HE FORCES HER INTO THE VAN. ANGLE THE VAN COMING DOWN THE RAMP. ANGLE INT THE VAN. BELLA DRIVING, COMING UP ON THE CASHIER'S BOOTH. + + @BELLA + (TO FRAN) + Gimme the ticket. + (PAUSE) + Gimme the ttt... + + @FRAN + \...you left'em up there with Joe... + +!ANGLE, AT THE CASHIER'S BOOTH. + + @CASHIER + \...morning... + + @BELLA + I, uh... + + @FRAN + (SOTTO) + \...get us out of here... + + @BELLA + I seem to've lost my ticket... + + @CASHIER + Oh, man. I'm sorry. + + @BELLA + \...just... + + @CASHIER + Look, f'you c'n show me some... something, your airline ticket, something... + + @BELLA (cont'd) + \...just tell me what the full freight is, for... + + @CASHIER + Sure, but, between you 'n me? They give me some leeway, so, f'you c'n show me some "Proof," 'bout, how long... + + @FRAN + Just, would you just, however long, the... + + @CASHIER + \...lost Ticket charge, hundred fifty dollars. I don't think you... + +!FRAN DIGS IN HER POCKET, AND STARTS PAYING HIM. + + @CASHIER (cont'd) + I'm telling you, I hate to... + + @FRAN + We're in a hurry... + +!THE CASHIER SHRUGS. + + @CASHIER + \...you must be some kind of rich... + +!HE HANDS THEM A RED RECEIPT, WHICH IS PRINTED "STAYS OVER 72 HOURS. LOST TICKET CHARGE. PAID."ANGLE ON BELLA, AS HE TAKES THE RECEIPT, AND THROWS IT ON HIS DASHBOARD,AND DRIVES OFF. ANGLE, ON MOORE, ON THE PAVEMENT, AS HE STIRS, AND SHAKES HIS HEAD... ANGLE ON THE VAN, COMING OUT OF THE PARKING GARAGE, AND ONTO THE ACCESS ROAD. ANGLE ON THE VAN, GOING ONTO THE SHOULDER OF THE ACCESS ROAD. + +!BELLA JUMPS OUT OF THE VAN, AND RAISES THE HOOD. HE TAKES OUT A SCREWDRIVER, AND USES IT TO DISCONNECT SEVERAL WIRES. HE WALKS BACK TO THE VAN. + + @FRAN + You didn't have to hit him... + + @BELLA + Yea? When'd you get so tough. You didn't used to be so tough... + + @FRAN + I... + (SHE SEES SOMETHING IN THE REARVIEW MIRROR) + +!ANGLE BELLA'S POV. A WRECKER TRUCK COMING DOWN ALONG THE ROAD. + +!IT VEERS ONTO THE ACCESS ROAD, AND PUTS ON ITS FLASHES. ANGLE BELLA AND FRAN + + @BELLA + Yeah, that's about as close as I ever want it to be... + + @FRAN + \...why did you have to hurt him...? + + @BELLA + \...hey, din't we make that decision...? + +!ANGLE AS THE MAN FROM THE WRECKER BACKS HIS TRUCK UP TO THE HOOD OF THE RENTAL TRUCK. FRAN COMES OUT TO TALK TO HIM. + + @FRAN + Where the, where the hell, excuse me. Good morning. We've been sitting here, since... + +!THE MECHANIC FROM THE WRECKER ADVANCES TOWARD THEM. + + @MECHANIC + I'm sorry, we've got a full day... I got four false calls this morning, four false calls. I... + +!HE STARTS TO OPEN THE HOOD. + + @FRAN + That's not going to do you a whole raft of good. That's dead as Kelsey's nuts... + +!ANGLE SEVERAL COP CARS ESTABLISHING THE ROADBLOCK. WE SEE TWO OF THE COPS GET INTO A CRUISER, AND PULL UP TOWARD THE WRECKER AND THE VAN. ANGLE ON BELLA AND FRAN IN THE VAN. BELLA TAKES OUT A CIGARETTE. + + @FRAN (cont'd) + Don't smoke the cigarette. + + @BELLA + \...what kind of people try to look calm...? + +!ANGLE INT THE POLICE CRUISER. AS IT COMES UP ON THE TOW TRUCK,WHICH IS HAULING UP THE "BROKEN" RENTAL TRUCK. ONE OF THE OFFICERS GETS OUT OF THE STOPPED CRUISER AND WALKS TOWARD THE TRUCK, THE OTHER STAYS ON THE RADIO, AND THEN FOLLOWS. + + @OFFICER ONE + (AS HE APPROACHES THE GROUP AROUND THE TWO TRUCKS) + Morning, + +!ANGLE ON OFFICER TWO AS HE WALKS AROUND TO THE BACK OF THE TRUCK. + + @OFFICER TWO + \...would you stand away, please...? + +!OFFICER TWO MOVES INTO THE BACK OF THE TRUCK, CAMERA FOLLOWS TO SHOW HIM WALKING UP TO THE OTHER SIDE. ANGLE EXT THE TRUCK. + + @OFFICER ONE + (TO FRAN) + How long has this truck been here? + + @FRAN + (TO THE MECHANIC) + Ask him... + + @MECHANIC + \...the, uh, we got the first call at... + + @FRAN + We've been here since... + + @OFFICER ONE + One moment, please. + + @MECHANIC + We got the breakdown call at five-twenty, this. + + @FRAN + This is great, this is great, a four hour breakdown n'i'm gonna get arrested, all in One Swell Day. Whatsa Charge...? + + @OFFICER TWO + (AS HE COMES BACK AROUND FROM THE BACK, COMING UP TO FRAN.) + \...what you hauling...? + + @FRAN + Marine 'quipment. + + @OFFICER TWO + Marine what...? + + @OFFICER ONE + \...would you open the rear, please...? + +!ANGLE ON FRAN. AS SHE GETS DOWN, AND WALKS THE COP TO THE BACK. + + @FRAN + \...it's an auxiliary engine, some rich guy's toy... + +!SHE OPENS THE REAR OF THE VAN. + +!THE POLICEMAN STARTS INVESTIGATING THE ENGINE. + + @OFFICER + \...some toy. + + @FRAN + (TAKES OUT A STICK OF GUM AND PUTS IT IN HER MOUTH.) + \...maybe he's compensating fr'something... + (OFFERS A STICK OF GUM TO THE COP, WHO DECLINES) + what's the deal, what're you looking for...? + +!ANGLE ON OFFICER TWO AND BELLA, WHO IS IN THE CAB. + + @OFFICER TWO + How long you been out here...? + + @BELLA + Broke down, this morning, five, five fifteen... + + @OFFICER TWO + What'dja eat...? + + @BELLA + Nothing, you know, nothing to eat... nothin' to eat but luckies... + +!HE REACHES FOR CIGARETTES ON THE DASHBOARD. ANGLE INS. WE SEE THE LARGE RED RECEIPT PARKING OVER 72 HOURS,ETC. ANGLE ON BELLA AS HE TAKES THE CIGARETTE AND LIGHTS IT, HE PUTS THE MATCHES BACK ON THE DASH, NEXT TO SOME PAPERWORK. + + @OFFICER ONE + \...you been sitting out here all morn...? + +!ANGLE ON FRAN, AS SHE WALKS UP, FOLLOWED BY THE OTHER COP. + + @FRAN + You guys wanna wave your magic wand n'make it different, that's awright with me... + + @BELLA + \...look at the paperwork... + +!HE STARTS TO REACH FOR THE CLIPBOARD. ANGLE, FRAN'S POV INS. THE RED LATE TICKET SLIP ON THE DASHBOARD. ANGLE ON THE OFFICER ONE, AS HE REACHES INTO THE CAB FOR THE PAPERWORK. + + @FRAN + Yeah. Lookit the paperwork. Tell you what, keep the paperwork. + +!SHE REACHES PAST HIM, PICKS UP THE RED RECEIPT, TAKES OUT HER GUM AND PUTS IT IN THE PAPER, CRUMPLES IT, AND TOSSES IT ONTO THE FLOOR OF THE CAB. + + @FRAN (cont'd) + \...lest you need to Throw me in Jail, f'sitting in a Truck... + + @OFFICER ONE + Back's clean... + + @FRAN + Hey, y'gonna leave, just when we're gettin' to know each other...? + + @OFFICER TWO + Duty calls... + + @FRAN + Ships-in-the-night... + (SHE SHRUGS) + +!ANGLE EXT THE WRECKER. THE MECHANIC CLOSES THE HOOD, WE SEE THE TWO COPS WALKING BACK TO THEIR CRUISER. THE WRECKER STARTS TO DRIVE OFF, WE SEE ONE OF THE COPS WAVE TO THE OTHERS AT THE BARRICADE, AND WE SEE THE WRECKER PASS THROUGH. ANGLE INT THE PARKING GARAGE. MOORE, HOLDING A DIRTY HANDKERCHIEF TO HIS BLEEDING HEAD. LOOKS OUT AT THE ACCESS ROAD. ANGLE HIS POV. THE WRECKER AND THE TRUCK PASSING THROUGH THE ROADBLOCK. + +INT PARKING GARAGE. DAY. + +!MOORE, RISING TO HIS FEET. + +!HOLDS A HANDKERCHIEF TO HIS HEAD. HE WALKS TO THE EDGE OF THE PARKING GARAGE PARAPET, AND LOOKS OUT. ANGLE HIS POV. THE TRUCK, DOWN, BELOW, ON THE ACCESS ROAD, PASSING THROUGH THE ROADBLOCK, TOWED BY THE WRECKER. ANGLE AT THE ROADBLOCK, THE COPS WAVING THE WRECKER THROUGH. ANGLE IN THE PARKING GARAGE. MOORE, TURNS AWAY FROM THE EDGE, AND WALKS BACK, UNSTEADILY. CAMERA TAKES HIM TOWARD THE STAIRCASE. ANGLE THE DRIVETHROUGH, GROUND LEVEL, AIRPORT. A SMALL FIRE TRUCK IS PARKED BESIDE THE WASTE CAN, WHICH IS SPEWING SMOKE, TWO FIREFIGHTERS ARE PUTTING OUT THE FIRE, POLICE ARE DIRECTING TRAFFIC AROUND IT. SEVERAL ROAD CREWMEN, THE ROAD CREW WE SAW EARLIER. + +!ARE SITTING ON THE CURB, AND WATCHING. ANGLE + +!ON MOORE, AS HE EMERGES FROM THE CONCRETE STAIRWELL. HE LOOKS AROUND. HE PICKS UP AN ORANGE VEST AND A HARDHAT FROM A PILE AT THE BARRICADE OUTSIDE THE STAIRWELL. HE TIES THE HANDKERCHIEF AROUND HIS HEAD, HE SHUCKS OFF HIS SPORTCOAT, AND SHIRT, AND PUTS THE VEST ON OVER HIS T-SHIRT. HE PUTS ON THE HARDHAT. HE PICKS UP A HOE, AND STARTS SLOWLY WALKING DOWN THE ROAD, AWAY FROM THE FIRE AND POLICE. + +>DISSOLVE TO: + +INT RENTAL TRUCK GARAGE DAY. + +!FRAN SIPPING COFFEE, INSIDE A SMALL "ADMIN" SHED. IN THE B.G. WE SEE THE VARIOUS TRUCKS BEING SERVICED. BELLA, TALKING WITH A MECHANIC, COMES BACK INTO THE SHED. HE COMES AND SITS NEXT TO HERON A BENCH, THEY SPEAK IN UNDERTONES. FRAN NODS HER APPRECIATION. A SUPERVISOR COMES IN. + + @SUPERVISOR + I'm sorry, I believe It'll take us four or five hours to... you know, f'you want, I'll be glad, transfer your load... + + @BELLA + \...thank you, but we got that thing palletted in there, pretty good, and... I, uh, I don't want to change it, I'd rather wait. + + @SUPERVISOR + No problem, just thought I'd make the offer... + +!HE WITHDRAWS. PAUSE. + + @BELLA + I figure, we can't be any safer than in here. + + @FRAN + \...you think pretty good on your feet. + + @BELLA + \... I think pretty good off my feet, too. + (PAUSE) + F'you remember... + (PAUSE) + You remember that...? + +!HOLD ON FRAN, LOOKING AT HIM. + +INT DINER DAY. + +!A POV, ACROSS AN INDUSTRIAL STREET, THE RENTATRUCK GARAGE. + +!WE SEE THE OPEN BACK OF THE TRUCK, AND THE ENGINE IN IT. IT IS RAINING. ANGLE FRAN AND BELLA, IN A BOOTH AT THE GARAGE. BELLA LOOKS BACK AT FRAN. + + @BELLA + \...what is it? + + @FRAN + Why'd you have to hit him? + + @BELLA + \...to make him see my point of view. + (PAUSE) + + @FRAN + Is he going to be alright? + + @BELLA + Well, you know, he's gonna have a headache. + (PAUSE) + Or is that what you're asking? + (PAUSE) + In which case, we're way past that. Don't you think? + (PAUSE) + Because lemme run this down to you: And you tell me the error in my logic. One: an old man. On the run. Might as well have his face on a Postage Stamp. N'he's looking for his money. Two: You and me. For example: + (HE LOOKS ACROSS AT THE TRUCK) + And the prize in the Crackerjack. + (PAUSE) + And a wet afternoon to kill. Talking about it. + + @FRAN + I. Uh... let's get out of here... + +!SHE GETS UP. + + @BELLA + (AS SHE FOLLOWS HER) + I'm getting too close to you? + + @FRAN + Yeah, you're gettin' too close to me. + + @BELLA + Uh huh. What? I took the thrill out of "slumming..." + + @FRAN + Let's get to the Rendezvous. + + @BELLA + \...we're going to the rendezvous. + + @FRAN + Let's get there. + + @BELLA + We got twelve hours. + + @FRAN + Yeah, no, let's go now. + + @BELLA + The truck's broken. + + @FRAN + Tell'im what's wrong with it. + +!SHE STARTS FOR THE ENTRANCE, BELLA FOLLOWS HER. + + @FRAN (cont'd) + Tell im, you had this same problem one time, your truck, and maybe it's the same th... + + @BELLA + \...why don't we just? + + @FRAN + (TURNING TO HIM) + Because if you sold everybody else out, why wouldn't you sell me out? + + @BELLA + (PAUSE) + You remember the reason for that... + (SHE STARTS ACROSS TO THE GARAGE. HE FOLLOWS HER.) + +INT. CHEAP HOTEL ROOM. NIGHT. + +!MOORE, IN A T-SHIRT, LOOKING IN THE MIRROR. HE HAS A BAD CUT ON HIS FOREHEAD. AND HE HAS FIRST-AID SUPPLIES SPREAD OUT IN FRONT OF HIM ON THE BUREAU, UNDERNEATH THE MIRROR. HE WINCES AS HE APPLIES IODINE, AND A BANDAGE. HE TAKES A PANCAKE MAKEUP OUT OF A SMALL PAPER BAG, AND BEGINS SPREADING IT OVER THE BANDAGE ON HIS FOREHEAD. ANGLE ON THE CHEAP, UNSLEPT-IN BED IS A DUFFLEBAG, IN IT WE SEE THE SECURITY GUARD UNIFORM, AND THE F.A.A. INSPECTORS BADGE. WE SEE A MAN'S HANDS COME INTO THE SHOT AND TAKE A CLEAN SHIRT OUT OF THE DUFFLEBAG. + +!ON THE BED NEXT TO THE DUFFLEBAG ARE A WET AND BLOODY SHIRT AND UNDERSHIRT. ANGLE ON MOORE, AS HE PUTS ON THE CLEAN SHIRT. HE REACHES IN THE BAG AND TAKES OUT HORNRIM GLASSES, AND PUTS THEM ON. HE STUFFS THE BLOODY CLOTHING INTO THE DUFFLEBAG. CAMERA TAKES HIM TO THE BUREAU, WHERE HE PUTS THE BANDAGES ET CETERA, INTO THE DUFFLEBAG. HE LOOKS AROUND THE ROOM. PICKS UP THE DUFFLEBAG, AND A SMALL ATTACHE CASE WHICH RESTS AT THE DOOR. HE OPENS THE DOOR, AND PEERS OUT INTO THE HALL. ANGLE, IN THE HALL, MOORE EXITING THE ROOM, CLOSES THE DOOR BEHIND HIM, LOCKS IT. WE SEE HE IS ATTIRED IN A CHEAP SPORTCOAT, WITH ANEW PEN PROTECTOR FULL OF PENS IN ITS POCKET. CAMERA TAKES HIM DOWN THE HALL TO AN INCINERATOR CHUTE. HE PUTS THE DUFFLEBAG AND THEN THE KEY INTO THE INCINERATOR CHUTE. + +INT CAB OF THE RENTAL TRUCK. DESERTED COUNTRY ROAD. NIGHT. + +!BELLA DRIVING, FRAN RIDING SHOTGUN. HOLD + + @BELLA + S'alot of money we've got back there. + (PAUSE) + I said... + + @FRAN + Yes. Thank you. I know what you said. + + @BELLA + What're you, filled with Remorse, something...? + + @FRAN + (LOOKING OUT OF THE WINDOW) + \...this is our exit. + + @BELLA + Are you filled with remorse...? + + @FRAN + \...not yet. + + @BELLA + Well, good, cause... + + @FRAN + This is the exit for the meet. + +!ANGLE HER POV + +!THE RAINY NIGHT HIGHWAY, DIVIDING, AN OFFRAMP SHOWN A HALF MILE AHEAD. ANGLE INT THE TRUCK + + @FRAN (cont'd) + \...this is the... + + @BELLA + Yes, Indeed it is, but I'm going to tell you something... + +!SHE GRABS FOR THE WHEEL. + + @BELLA (cont'd) + (AS HE PUSHES HER AWAY) + Take your hands off the wheel... + +!ANGLE, EXT. THE TRUCK AS IT SWERVES TOWARD THE SIDEROAD, AND THEN BACK ONTO THE MAIN ROAD. ANGLE INT THE CAB. + + @BELLA (cont'd) + What are you, nuts? Are you nuts? We're going to... I'll tell you what we're gonna do. We're gonna... + + @FRAN + \...alright. + + @BELLA + \...we're gonna. That lame, that old lame you were with... he was... what did you think he was? He was a non-starter... what did you think... what way in hell was he going to go home with the gold? Based on what Fairy tale...? YOU knew that... only one who didn't know that was... + +!ANGLE EXT THE TRUCK. THEY PASS BY A ROADSIDE SERVICE AREA, A GAS STATION, A LIT-UP COUNTRY DINER-LOUNGE BESIDE IT. ANGLE INT THE TRUCK BELLA AND FRAN AS FRAN LOOKS OUT OF THE WINDOW. + + @FRAN + You missed the exit for the meet. + + @BELLA + Well, yeah, no, I told you... we aren't going to the Meet. + (PAUSE) + You know we aren't going there. + + @BELLA (cont'd) + (PAUSE) + Why would we want to go there...? + + @FRAN + What am I, just going to go off with you forever? + + @BELLA + You want me to tell you why...? + + @FRAN + Take me to the Meet. + + @BELLA + There is no meet, for the luvva God. You know that. + (PAUSE) + You know that. + (PAUSE) + You know that... + + @FRAN + I need a drink. + + @BELLA + Yeah. I'll get you a drink, and here's a bracer... We left the meet at the Airport. We left the Meet, your guy went out, got his picture on the Videott... and let's cut out the Shucking and the Jivin': what kind of man, sends you to me, sends his wife to me... to "distract" me... Oh? Surprise! I was All Taken In... How About That... What a fool I am... Would I do that to you? + (PAUSE) + Would I do that to you...? Except pee ess, who liked it? + (PAUSE) + So, Old Times Sake, I'm gonna tell you something, why'nt we cut the nonsense, and Say What It Is? + (PAUSE) + + @FRAN + \... I need a drink. Turn around. + + @BELLA + \...nothing simpler. + + @FRAN + I, uh, I need some time, I need a little time, to... + +!BELLA ADJUSTS THE CAR INTO A U-TURN. + + @BELLA + We're gonna siddown, and I'll draw you the scheme of it, the New Thing, on a Napkin. + +!HE LOOKS OUT OF THE WINDSHIELD. ANGLE, HIS POV, AROUND A TURN AHEAD, THE COUNTRY DINER-LOUNGE WE PASSED EARLIER, IN FRONT OF IT, A POLICE CRUISER. ANGLE, INT THE TRUCK. + + @BELLA (cont'd) + uh oh... + +!HE TWISTS THE WHEEL VIOLENTLY. ANGLE, EXT THE TRUCK. THE TRUCK STARTS TO SKID ON THE RAIN-SLICKED HIGHWAY, IT CROSSES TO THE FAR SIDE OF THE ROAD, AND GOES INTO A DITCH. THE TRUCK TUMBLES IN THE DITCH AND ENDS, ON ITS SIDE. ANGLE IN THE SCRUB WOODS ON THE SIDE OF THE ROAD. THE TRUCK, ON ITS SIDE,THE SIDE PANELS CRUMPLED, THE BACK SPRUNG OPEN. ANGLE INT THE TRUCK BELLA AND FRAN. HE CHECKS HER FOR INJURIES. SHE IS SHOCKY. HE HELPS HER OUT OF THE TRUCK. ANGLE EXT THE WRECKED TRUCK. IN THE RAIN. IN THE FAR B.G. THE LIGHTS OF THE DINER, AND THE POLICE CRUISER. BELLA REACHES BACK INTO THE TRUCK,TURNS OFF THE ENGINE AND THE LIGHTS. HE WALKS AROUND TO THE BACK OF THE TRUCK. ANGLE HIS POV THE BACK DOOR SPRUNG OPEN, THE FAKE ENGINE OPEN, AND THE COVERED BARS LYING ALL OVER THE BACK OF THE TRUCK. ANGLE ON BELLA AND FRAN, AS SHE COMES AROUND THE BACK OF THE TRUCK. BELLA STANDS, INDECISIVE, LOOKING AT THE COVERED BARS. + +!HE STARTS TO REACH IN FOR THEM. + + @FRAN + leave it. + +!PAUSE BELLA LOOKS AT HER, AMAZED. HE STARTS TO GATHER THEM UP. + + @FRAN (cont'd) + Leave it... walk away from it. For godsake... + +!BELLA STARTS SCOOPING UP THE BARS, AND CARRYING THEM BACK INTO THE WOODS. FRAN MOVES TO STOP HIM. + + @FRAN (cont'd) + Walk away from it... what are you going to ...come on. Come on... + (SHE GESTURES BACK AT THE COP CAR) + Are you crazy... + + @BELLA + \...we can get a few, we can bury the bars, if we bury the bars in the... + + @FRAN + (PULLING ON HIM) + For godsake, walk away from it. Leave it... + + @BELLA + Okay. Look: we fit'em back into the container. We... come on, come on... + +!HE LOOKS BACK OVER HIS SHOULDER AT THE COP CAR. HE WORKS HIS WAYBACK INTO THE TRUCK, AND STARTS REPLACING THE GOLD BARS IN THE CONTAINER. + + @FRAN + (BEHIND HIM) + Come on... + + @BELLA + (HE REACHES FOR A FLASHLIGHT FROM THE GLOVE COMPARTMENT, TO HELP HIM) + The truck's clean, for chrissake, the truck's clean: we put it back together, we calla towtruck -- am I gone to walk away from all this gold...? + +!HE IS PLAYING HIS BEAM ON THE GOLD BARS. PAUSE. ANGLE, HIS POV. INS. HE PICKS UP ONE OF THE BARS. THE WRAPPING IS TORN. + +!HE SHINES THE LIGHT ON IT, TO REVEAL IT IS A DULL LEADEN COLOR. HE PICKS UP NOW ONE AND NOW ANOTHER OF THE GOLD BARS. AND STRIPS THE COVERING OFF OF THEM. EACH ONE IS + +!LEAD. HE PICKS UP THE ONE BAR WHICH WAS OPENED AND RESEALED WITH TAPE, TO SHOW IT IS GOLD. HE STRIPS OFF THE WRAPPING. HALF THE + +!BAR IS GOLD, THE REST OF IT IS LEAD. HE STARTS RIPPING THE COVERS OFF THE BARS VIOLENTLY. + +!ALL THE REST ARE LEAD. ANGLE + +!ON BELLA, AS HE TURNS TO LOOK AT FRAN. ANGLE, HIS POV. ON FRAN. STANDING BEHIND HIM IN THE RAIN. ANGLE ON FRAN, AS SHE BACKS AWAY FROM BELLA, BACK INTO THE WOODS. ANGLE ON BELLA, AT THE TRUCK, AS HE CONTINUES RIPPING OFF THE COVERINGS. HE TURNS AROUND. ANGLE HIS POV. ON FRAN, AS SHE DISAPPEARS INTO THE WOODS. ANGLE INT THE WOODS. FRAN RUNNING IN THE DARK WOODS. + +!SHE SLIPS, AND FALLS. WE SEE BELLA, RUNNING BEHIND HER. SHE PICKS HERSELF UP, BEGINS TO RUN AGAIN. SHE STOPS, HER JACKET AND PURSE CAUGHT ON A TREE. SHE TRIES TO FREE HERSELF, SHE LOOKS BACK AT THE MAN GAINING ON HER. SHE TAKES OFF HER JACKET AND RUNS ON. + +!HOLD ON HER JACKET AND PURSE STRAP ON THE TREE. + +EXT ROADSIDE DINER, NIGHT. + +!THE PARKING LOT, THE POLICE CRUISER PARKED OUT FRONT. FRAN EMERGES FROM THE WOODS, AND RUNS ACROSS THE PARKING LOT AND INTO A BACK DOOR OF THE DINER. + +INT DINER NIGHT. + +!THE POLICEMAN AND A COUPLE OF CUSTOMERS AT THE COUNTER. FRAN ENTERS THROUGH THE BACK DOOR. + +!SHE PROCEEDS TOWARD APHONE BOOTH. SHE STARTS TO DIAL. BEAT. SHE REACHES FOR HER PURSE, IT IS GONE. SHE DIGS IN HER PANTS. FINDS NOTHING. ANGLE AT THE COUNTER. FRAN WALKS UP. ALL TURN TO LOOK AT HER. + + @FRAN + Yeah, well, Can I, uh, can I make a credit card call on that phone? + + @COUNTERMAN + No, I don't think so. + + @FRAN + (SHE NODS) + Then, anybody got a coin...? + (PAUSE) + +!ANGLE. SHE LOOKS OVER AT THE POLICEMAN, WHO IS LOOKING AT HER. + + @FRAN (cont'd) + (TO THE COP) + Excuse me, what are you looking at, All Due Respect? + + @COP + (PAUSE) + I was wondering, Maam, if you needed any assistance. + + @FRAN + Well, thank you, Sir. It would be nice, to meet a gentleman... to meet a gentleman for once in my life... But I, uh... I, uh... + +!ANGLE XCU ON FRAN, AS SHE LOOKS BACK. ANGLE, HER POV. AT THE BACK OF THE DINER, BELLA, COMING THROUGH THE DOOR, AND STOPPING BEHIND SOME CRATES, IN THE BACK. ANGLE ON FRAN + + @FRAN (cont'd) + I, uh... thank you, I just need to uh... + +!THE POLICEMAN SLIPS SOME CHANGE ACROSS TO HER. + + @FRAN (cont'd) + (AS SHE LOOKS BACK AT THE PHONE) + In fact, you know, I'm fine... I had a fight with my husband... and he said... I said... "then let me out of the car..." ... and he did... + (SHE STARTS TO CRY) + +!A WAITRESS COMES OVER AND SITS BY HER. + + @FRAN (cont'd) + \...that was the stupidest thing... the stupidest thing that... + +!THE WAITRESS GESTURES TO THE POLICEMAN THAT SHE WILL TAKE CARE OF IT. THE COP NODS, AND PUTS DOWN SOME MONEY FOR THE CHECK, AND GETS UP. ANGLE + +!ON THE COP, AS HE PROCEEDS TOWARD THE CRUISER. A TRUCKER PAYS HIS CHECK AND WALKS AFTER HIM. ANGLE,ON BELLA, AS HE WATCHES. + +!CAMERA TAKES HIM AROUND THE OUTSIDE OF THE DINER. ANGLE ON BELLA, AS HE WATCHES THE POLICEMAN DEPART. ANGLE INT THE DINER. AS BELLA REENTERS THROUGH THE BACK DOOR. ANGLE HIS POV. FRAN, DEPARTING THE FRONT OF THE DINER, TALKING WITH A TRUCKER,AS THE TRUCKER HELPS HER UP INTO HIS CAB. ANGLE BELLA. HOLD. HE PICKS UP THE PHONE. + +!DIGS FOR SOME CHANGE, AND PUTS IT IN THE PHONE. HE LOOKS DOWN. ANGLE INS. THE HALF GOLD, HALF LEAD BAR. + +!SOUND OF DIALLING. + +>DISSOLVE TO: + +EXT RAINY HIGHWAY. NIGHT. + +!A SMALL TRUCK. ANGLE INT THE SMALL TRUCK. BLANE AND MOORE IN THE TRUCK. + +!BLANE DRIVING. MOORE TOUCHES HIS HEAD INJURY. + + @BLANE + How you doing? + + @MOORE + I ain't feeling too well. + +!BLANE LOOKS AT SOMETHING UP AHEAD. + +!MOORE TURNS. ANGLE HIS POV. A SECURITY CHECKPOINT, A BARRIER, A GUARD COMING FORWARD. + +!ANGLE EXT THE TRUCK. THE SECURITY GUARD COMES OUT. BLANE HAND HIM A SLIP OF PAPER. THE SECURITY GUARD CHECKS IT, MAKES A CALL ON A WALKIE, AND WAVES THEM THROUGH A BARRIER WHICH RISES TO ADMIT THEM. ANGLE ON THE TRUCK. ENTERING WHAT IS NOW SHOWN TO BE THE CARGO AREA OF THE AIRPORT. ANGLE THE TAIL OF THE AEROHELVETICA PLANE, THE LARGE SWISS CROSS. TILT DOWN TO SHOW SEVERAL TRUCKS SURROUNDING IT, A POLICE CRUISER, AND THE TRUCK BEARING MOORE AND BLANE, PULLING UP TO THE PLANE. ANGLE ON THE TARMAC. MOORE GETS OUT, AS BLANE REVERSES THE TRUCK. BLANE WALKS UP TO A SMALL GROUND OF COVERALLED WORKERS, AND TWO COPS. THERE IS A CONVEYOR RUNNING FROM THE PLANE DOWN TO THE GROUND,AND SEVERAL CONTAINERS ON THE GROUND. BLANE PRESENTS A SHEAF OF PAPERWORK TO ONE OF THE COVERALLED MEN. + + @BLANE + \...Hywest Foundry? + +!HE LOOKS AROUND, AS IF CONFUSED BY THE POLICE ACTIVITY. + + @OFFICIAL + (EXPLAINING) + We had a robbery of the pll... + + @MOORE + (OF HIS INVOICE. VERY CONCERNED) + Could you check my numbers, Please...? + + @TROOPER + (OVERHEARING) + Yeah, no, they got what they came for, Pal. It wasn't yours... + +!MOORE LOOKS CONFUSED. HE TURNS TO THE COVERALLED OFFICIAL FOR HELP. THE OFFICIAL CONSULTS THE PAPERWORK, AND BIDS MOORE FOLLOW HIM UP THE CONVEYOR. ANGLE, IN THE AEROHELVETICA PLANE. SEVERAL WORKERS INSIDE. THE OFFICIAL, LEADS MOORE TO THE CONTAINERS MARKED 'HYWEST FOUNDRY.' HE POINTS THEM OUT AND MOTIONS TWO OF THE WORKERS TO START THEM ONTO THE CONTAINER. + + @MOORE + \...thank God. + + @TROOPER + \...precious stuff, huh? + + @MOORE + It would mean my job... + +!ANGLE THE HYWEST FOUNDRY CONTAINERS COMING DOWN THE CONVEYOR, AS BLANE OPENS THE BACK OF HIS TRUCK FOR THEM. HE LOOKS UP. ANGLE, HIS POV. MOORE, STANDING IN THE OPEN HATCH OF THE SWISS PLANE. ANGLE CU. MOORE. WITH A SLIGHT GRIN. + +!NODS AT BLANE. + +EXT CITY RESIDENTIAL STREET DAY. + +!AN OLD STYLE STREET OF SMALL BUNGALOWS. A SMALL GIRL BEING WALKED DOWN TO THE CURB BY HER MOTHER, WHO IS HANDING HER A LUNCHBOX. PINCUS WALKS OUT OF THE HOUSE BEHIND THEM, HE SHAKES HANDS AND MAKES HIS GOODBYES WITH A YOUNG FELLOW WHO IS HOLDING A CUP OF COFFEE. ANGLE TIGHT ON PINCUS, THE MOTHER AND THE YOUNG GIRL (WHOM WE SAW EARLIER,IN THE KITCHEN SCENE...) AT THE CURB. AS THE MOTHER ADJUSTS THE COLLAR ON THE CHILD. + + @MOTHER + \...Uncle Donn to get up so early in the morning, Walk you to the Bus Today. + + @PINCUS + Glad to do it, glad to do it, glad to do it. + + @MOTHER + (AS PINCUS GIVES HER A PECK ON THE CHEEK) + \...come over for dinner, Thursday. + + @PINCUS + Waal, we're gonna have to see... + +!HE TAKES THE CHILD OUT OF THE FRAME. ANGLE TRACKING BACK BEFORE PINCUS AND THE GIRL, AS THEY WALK. + + @GIRL + \...come to dinner. + + @PINCUS + We're gonna have to see. + + @GIRL + You always say that, and it means you won't. + + @PINCUS + Well, it's possible, it's possible, you see, that my 'business'... + + @GIRL + \...uh huh... + + @PINCUS + \...that I might have to go 'travelling' for a while... + + @GIRL + Why can't you do your business here? + + @PINCUS + Wish I could, Baby. Fact it. Fact is: I got to get out of here, this morning. + + @GIRL + This morning? + + @PINCUS + That's when my plane leaves. + + @GIRL + \...there's the bus... + +!WE SEE THE YELLOW SCHOOL BUS PULLING UP TO A SIGN, AND SEVERAL CHILDREN GETTING INTO IT. + + @PINCUS + Well, there you go. Times change. My day, all kids, had to walk all the way to school. + + @GIRL + Yes. But the streets were safer. + + @PINCUS + Izzat so...? + (HE BENDS DOWN AND GIVES HER A KISS) + You take care of yourself, kid... + + @GIRL + Bye, Uncle Donny... + +!SHE GETS UP INTO THE BUS. + +!HE WAVES HER GOODBYE. ANGLE, CU. ON PINCUS, WAVING GOODBYE. + +!HE TURNS. + +!ANGLE AS HE TURNS HE FINDS A THUG AND BERGMAN STANDING BEHIND HIM. A BLACK SEDAN IS AT THE CURB BEHIND BERGMAN, ANOTHER THUG STANDS BY THE BACK DOOR, AND OPENS IT. BEAT. + + @PINCUS + Good day for the race. + + @BERGMAN + What race is that? + + @PINCUS + The Human Race. + (PAUSE. HE LOOKS AFTER THE BUS) + Kids growing up, so on... + (PAUSE) + Hope of the Future. + + @THUG + Get in the fucken car. + +!PINCUS SIGHS, HE STARTS TOWARD THE CAR. + +!AND THEN TURNS TO RUN. THE THUG PUTS THE ARM ON HIM. + + @BERGMAN + Get in the car. + +>DISSOLVE TO: + +INT SHIPYARD SHED. DAY. + +!THE HYWEST CORP CONTAINER. OPENED. ON BLANE, WHO IS SWEATING,COMES INTO THE FRAME. CAMERA TAKES HIM INTO THE CONTAINER, WHERE WE SEE WHAT IS THE LAST SEVERAL SCORE WRAPPED INGOTS. BLANE PICKS UP SEVERAL, AND CAMERA HINGES HIM TO A WORKTABLE, ON WHICH WE SEE MANY GOLD INGOTS, BLANE STRIPS THE FELT COVERING OFF THE NEW INGOTS TO REVEAL THEM STAMPED CREDIT NATIONAL DE GENEVE. HE TAKES THE WRAPPINGS AND TOSSES THEM INTO A FIRE, BURNING IN THE BOTTOM OF A KILN. BLANE CLOSES THE DOOR. TILT UP TO SHOW MOORE, WHO IS TAKING A GOLD INGOT, AND PUTTING IT INTO A CAULDRON, IN WHICH IS MOLTEN GOLD. HE WEARS A WELDER'S MASK. HE FLIPS UP HIS MASK. + +!AND WIPES HIS FOREHEAD. HE CHECKS HIS WATCH. + + @MOORE + (TO BLANE) + \...where's pinky...? + +INT GARAGE DAY. + +!PINCUS, TIED TO A CHAIR, IS BEING INTERROGATED BY BERGMAN AND HIS THUG. + + @BERGMAN + Where's the Gold? + + @PINCUS + Well, I, uh, I, uh, I, you know, I'm reluctant to tell you. + +!ANGLE ON BERGMAN, BEHIND HIM IS SEATED BELLA. + + @BERGMAN + When we put it to you. + (PAUSE) + You know when we put it to you, you're gone be telling us the gross national product of Bolivia... + + @PINCUS + \...hey... + + @BERGMAN + You're gonna be telling us the area codes, Belgium and Luxembourg... + + @PINCUS + Hey, look: Z'all I know... + +!ANGLE INS. BERGMAN PICKS UP THE HALF LEAD, HALF GOLD BAR. ANGLE ON BERGMAN + + @BERGMAN + This is all you know. This is all you know... This is all you know. N'we got you, going to St. Croix + (HE HOLDS UP A TICKET) + Where's your share? How do you pick up your share, and where's the meet? WHERE'S THE MEET...? + (BERGMAN PICKS UP THE HALF GOLD BAR TO THREATEN PINCUS) + + @PINCUS + What're you, gonna hurt me...? + + @BERGMAN + Yeah, no, actually + (TO PINCUS) + No, I'm not going to hurt you. No. + + @BERGMAN (cont'd) + But tell a guy, m fulla admiration. What was the deal? What was the deal? + + @PINCUS + The way you're looking at the deal the deal was we get away with the gold. Cute huh? + + @BERGMAN + Yeah, no. It's charming. And then what? + + @PINCUS + We, uh, we "slip away." + + @BERGMAN + You "slip away." Me and my guys go to the Meet, we find a truck full of Pig Iron. Zat the thing? + + @PINCUS + Well, you know, Joe figured, you weren't never going to the Meet. + + @BERGMAN + He did... And where's the Gold. Where's the Gold all this time? + (PAUSE) + Y'know? Your guy din't get it in his head, fly off on a Variation, we're out on the Patio right now, and everybody's got a Margarita. Where's the Gold? + + @PINCUS + \...You know: + + @BERGMAN + Yeah, no, where's the Gold, what's the Back-up Plan...? + + @PINCUS + You can understand my reluctance to tell you. + + @BERGMAN + (TO HIS THUGS) + Take him and show him something... + +INT SHED DAY. + +!THE DOOR TO THE KILN, OPEN, THE FIRE DIED DOWN TO ORANGE EMBERS, IN THE B.G. THE OPEN, EMPTY HYWEST CONTAINERS. THE DOOR OPEN, SHOWING THE MARINA. AND MOORE STANDING ON THE DECK OF THE SAILBOAT. HE WIPES THE BRIGHT BRONZE RAIL, THE SUN GLINTS OFF OF IT. HE GETS DOWN ONTO THE DOCK. + +!ANGLE. ON MOORE AS HE WALKS BACK INTO THE SHED. WHERE WE SEE BLANE, WHO IS SHUTTING DOWN THE FIRE IN THE FURNACE UNDER THE CRUCIBLE. BLANE LOOKS AT HIS WATCH. + + @BLANE + Fran...? + + @MOORE + No, she won't be calling in till she ditches the guy. + + @BLANE + How's she gonna ditch him? + + @MOORE + She could talk her way outta a sunburn. + +!BLANE LOOKS AT HIS WATCH + + @BLANE + \...and then where's Pinky...? + + @MOORE + Let's finish up... + +INT SERVICE STATION RESTROOM DAY. + +!PINCUS. HOLDING A CELLPHONE TO HIS FACE, TALKS INTO THE CELLPHONE. + + @PINCUS + (TO PHONE) + Joe. + (PAUSE) + \...Yeah. How you doing? + (PAUSE) + Just to check in. + (PAUSE) + Fine. Finest kind. + (PAUSE) + Yeah, no, I saw the truck go through, too. Innit. See you at the meet. + (HE HANDS THE PHONE TO A THUG, WHO WE NOW SEE IS STANDING BESIDE HIM. THE THUGS REDIALS THE PHONE AND HANDS IT TO PINCUS.) + Yeah. + (PAUSE) + Yeah. Checked in. + (PAUSE) + The meet is at. + +!ANGLE INT BERGMAN'S OFFICE. + + @BERGMAN + (ON THE PHONE) + \...and where's the Gold... + + @BERGMAN (cont'd) + (PAUSE. BERGMAN, LISTENS, SMILES.) + \...you're shitting me... Hah. Yeah. yeah. Well, no, thank you... + +!ANGLE EXT THE SERVICE STATION. ANOTHER BODYGUARD TYPE. KNOCKING ON THE DOOR. ANGLE, INT THE RESTROOM. + + @PINCUS + \...alright...? + + @THUG + Yeah, alright. + +!HE OPENS THE DOOR TO THE OUTSIDE. ANGLE EXT THE RESTROOM THE THUG NODS 'ALRIGHT' TO THE BODYGUARD TYPE, WHO MOVES TO REVEAL HE HOLDS PINCUS'S NIECE BY THE ARM. THE BODYGUARD BEGINS TO WALK HER OFF. WE SEE THE DOOR TO THE RESTROOM CLOSE. HOLD. WE HEAR A SHOT. THERE IS A PAUSE. AND THE THUG COMES OUT OF THE RESTROOM DOOR AND LETS THE DOOR SWING CLOSED BEHIND HIM. ANGLE AT THE FOUNDRY DAY. ON MOORE, AS HE WALKS OVER TO BLANE, STILL HOLDING THE PHONE. + + @BLANE + Pinky Called. + + @MOORE + Yeah. + + @BLANE + What's the report? + + @MOORE + Says he's fine. + + @BLANE + He said so, huh? + + @MOORE + That's what he said. + + @BLANE + Well... + (BEAT. BLANE CLAPS HIM ON THE SHOULDER) + +!HOLD. MOORE SHRUGS. + + @MOORE + Good of him to keep in touch. + +!MOORE STARTS TO WALK TOWARD THE BOAT. + +INT CLOTHES BOUTIQUE DAY. + +!FRAN, IN A DRESSING ROOM. GETTING OUT OF HER BEDRAGGLED CLOTHES,SHE LOOKS OUT THROUGH THE DOOR. ANGLE HER POV. A YOUNG WOMAN, WHO HAS JUST EMERGED FROM AN ADJACENT DRESSING ROOM,IN A NEW DRESS WITH A TAG ON IT. SHE TALKS TO A SALESGIRL, WHO TAKES HER OUT OF THE DRESSING AREA. ANGLE ON FRAN, IN HER UNDERWEAR, AS SHE RETREATS BACK INTO THE DRESSING ROOM AND THROWS HERSELF WITH ALL HER WEIGHT AGAINST THE PARTITION,CRASHING INTO THE NEXT DRESSING ROOM. ANGLE HER POV THE OTHER WOMAN'S CLOTHES AND PURSE IN THE DRESSING ROOM. + +INT ENGINE ROOM THE SAILBOAT DAY. + +!MOORE TINKERING. + +EXT THE DECK OF THE SAILBOAT, DAY. + +!MOORE GOES TO THE COCKPIT AND TRIES THE STARTER. THE ENGINE DOES NOT START. CAMERA TAKES HIM DOWN TO THE ENGINE ROOM. ANGLE INT BOUTIQUE, DAY. FRAN, DRESSED IN THE OTHER WOMAN'S CLOTHES, EXITING THE STORE,CAMERA HINGES HER AROUND A CORNER, AND TO A PAYPHONE. ANGLE, INT THE ENGINE ROOM. MOORE, TINKERING WITH THE ENGINE. + +!THE ENGINE SPUTTERING. ANGLE INS, THE CELLPHONE, IN THE POCKET OF HIS JACKET, WHICH IS HUNG ON A HOOK IN THE ENGINE ROOM. BLINKING. ANGLE AT THE PAYPHONE. FRAN. REDIALS THE NUMBER. + +!HOLD. THEN SHE LOOKS AT HER WATCH AND HAILS A PASSING CAB. + +EXT SAILBOAT DAY. + +!MOORE, ON THE DECK OF THE SAILBOAT. + +!AS HE CONNS IT AROUND A MARKER,AND IN TOWARD A PIER. THE SUN GLINTS OFF THE RAILING. + +EXT HIGHWAY DAY. + +!A TAXICAB. TURNING INTO A PIER AREA. A SMALL MARINA. A SMALL POWERBOAT BEING BACKED INTO THE WATER BY A SUBURBAN. THE CAB ENTERS THE AREA, AND FRAN GETS OUT, AND PAYS THE CABBIE OFF. SHE TURNS TOWARD THE WATER. ANGLE, HER POV. THE SAILBOAT. + +!FAR OUT BEYOND THE END OF A LONG PIER. ANGLE THE PIER. FRAN RUNNING DOWN THE PIER TOWARD THE BOAT. AT A SMALL CABANA, NEAR THE END OF THE PIER. + +!FRAN. SITTING ON A BENCH, LOOKING OUT AT THE SAILBOAT. ANGLE ON THE BOAT. AS MOORE PULLS IT UP TO THE END OF THE PIER. + +!JUMPS DOWN, AND TIES UP THE BOAT. + + @MOORE + How're you doing? Blane's Okay. Billy's Okay, Pinky called, he... + (PAUSE) + +!HE LOOKS AT FRAN. HOLD. BERGMAN AND HIS CREW EMERGE FROM THE SMALL CABANA. MOORE TURNS BACK TOWARD THE BOAT. + +!A THUG YELLS AT HIM AND PULLS A PISTOL. HE STOPS. + + @BERGMAN + Yeah, yeah, what there was a change in Plans...? You couldn't get to me to tell me? + + @MOORE + Let my wife go. + + @BERGMAN + Do you mind if I say something personal? + (PAUSE) + You wife's a whore. She'n'you, 've fucked this perfect little plan, into... + +!MOORE STEPS TOWARD BERGMAN. + +!A THUG CLUBS MOORE TO THE GROUND. + + @BERGMAN (cont'd) + Get up. Get up, get up, you contrary motherfucker. I was going to make you rich. I was going to make you rich. The Swiss Score. And look how you treat me. Cause you got to be Too Smart. You got to be too smart. Don't you? + +!MOORE RISES TO HIS FEET. + + @BERGMAN (cont'd) + You just gotta complicate it That Last Bit. + (PAUSE) + Well. Do you want to wrap it up, or you want to stand around out here, guess my Real Name? + + @MOORE + What is your real name? + + @BERGMAN + It's Rumplestiltskin. + + @MOORE + What was it before you changed it? + +!THE THUG HITS MOORE AGAIN. + + @FRAN + Don't hurt him... + + @BERGMAN + You had to go out on a limb -- you had to go out on a limb, Didn't you...? Didn't you... + + @MOORE + Let the girl go, I'll give up the gold. + + @BERGMAN + Yeah, we had, basically, we had in mind a different deal... a different deal. How bout that, I hear, if you're flexible, it Keeps you Young. + + @MOORE + I'll give up the Gold, Me and the girl leave on the boat. + + @BERGMAN + Well, that's very sentimental. But what if the gold's on the boat. + + @MOORE + Search the boat. + +!BERGMAN TAKES OUT A SMALL KNIFE, AND BEGINS TO CLEAN HIS NAILS. + + @BERGMAN + Yeah, no, I don't got to search the boat. + +!ANGLE ON BERGMAN, AS HE BECKONS SEVERAL OF THE THUGS ONTO THE BOAT. + + @BERGMAN + Yeah, no, your wife just made another deal. The deal she made, we get the gold, we let you live. Whaddaya think? + +!PAUSE. AS MOORE LOOKS AT FRAN. + + @MOORE + You let me walk away. + + @BERGMAN + That's right. + + @MOORE + Me and her. + + @BELLA + Well, not quite. + + @MOORE + What did you do to her... + +!HE LOOKS AT FRAN. + + @FRAN + I gave you up, Baby. I gave up the gold. + (PAUSE) + + @BERGMAN + Yeah, that's what we did for her, we let you live. + + @FRAN + I gave you up. I had to. + + @BERGMAN + (TO THE THUGS) + Let's get this boat out of here. + (TO MOORE) + We're letting you live cause it makes the broad happy. That's what she traded us for the gold. + + @MOORE + Hold on, hold on, let's siddown... + + @BERGMAN + Oh, yeah, let's siddown. You fucken dog inna manger, we sit here a little long enough, the Boys in Blue come visit, n'there goes the neighborhood... + + @MOORE + One second. Hold on... + + @BERGMAN + You're bust, Baby. You got Broke... go cry a little + (TO MOORE, SOTTO) + You fortunate motherfucker, she don't step up, you're gone stay here, for, like, a little bit of forever... + + @BERGMAN (cont'd) + \...this way you walk away, you Lucky Dog. + + @MOORE + Take the gold. Take the gold off, leave me the boat. + + @BERGMAN + Don't make me lose my respect for you. By the way, we already had the gold. Pincus gave it up. That's what she traded for your life. + (PAUSE) + She's got a very commercial mind... + +!BELLA STARTS TO TAKE FRAN AWAY, BACK DOWN THE PIER. WE SEE A BLACK CAR, DRIVING DOWN THE PIER, TOWARD THE GROUP. BERGMAN BECKONS A HENCHMAN, AND POINTS AT THE BOAT. + + @BERGMAN (cont'd) + \...take it back to the boatyard + (HE MAKES A DIALING MOTION) + Get a number, call'im up, we need a private slip, what do you call it, a shed. Tell'im we'll pay in cash. Get the thing squared away, we'll take the gold out... + (THE HENCHMAN STARTS TO GO OFF, NODDING) + + @BELLA + (TO MOORE) + You don't want to stay here, pal. They're coming for you... they're coming for you... + +!HE STARTS PUTTING FRAN INTO THE CAR. + + @FRAN + (TO BERGMAN) + Leave him some money. Give him some money... don't let him go out there with nothing... + (SHE GETS INTO THE CAR.) + +!ANGLE CU ON FRAN AS BELLA PUTS HER INTO THE CAR. + + @FRAN (cont'd) + I'm sorry, baby. + +!ANGLE, ON MOORE, AS HE TURNS, AND WE SEE THE CAR DRIVE OFF. + + @BERGMAN + Yeah, we don't want, to send you out there broke... here: go buy yourself something nice... You don't mind if I pay you in Gold...? + +!HE STEPS OVER TO THE BOAT, FLOATING ALONGSIDE THE DOCK. HE TAKES HIS CLASP KNIFE, AND APPLIES IT TO THE SHINING RAIL. ANGLE INS. + +!THE BLADE BENDS ON THE RAIL. ANGLE ON BERGMAN, AS HE GETS ONTO THE BOAT. HE WALKS TO ONE RAIL AND TRIES TO CARVE IT WITH HIS KNIFE. NOTHING HAPPENS. HE WALKS TO ANOTHER RAIL, AND TRIES THE SAME. ANGLE INS. THE KNIFE. THE BLADE BENDING ON THE RAIL. + +!MORE PRESSURE IS EXERTED. THE BLADE SNAPS. ANGLE ON BERGMAN. WHO GESTURES FOR ANOTHER KNIFE. THE HENCHMAN DOES NOT UNDERSTAND. + + @BERGMAN (cont'd) + A knife, gimme another knife... + +!THE HENCHMAN HANDS HIM A KNIFE. BERGMAN TRIES NOW ONE AND NOW ANOTHER OF THE RAILINGS. THE KNIFE CANNOT RAISE SHAVINGS ON ANY OF THEM. ANGLE ON BERGMAN, AS HE LOOKS BACK AT THE SHORE. + + @BERGMAN (cont'd) + \... I don't... I need you to tell me where the gold is. + +!BERGMAN GETS OFF THE BOAT, AND ADVANCES ON MOORE, WHO IS STANDING ON THE PIER. + + @BERGMAN (cont'd) + Where's the gold? + + @MOORE + Where would you like it to be...? + +!BERGMAN GESTURES TO THE THUGS, WHO TAKE HOLD OF MOORE'S ARMS. MOORE LOOKS AROUND WILDLY AT THE DESERTED PIER. BERGMAN ADVANCES ON MOORE, HOLDING THE KNIFE. + + @BERGMAN + What is it, with your pal...? + +!AS BERGMAN NEARS MOORE, MOORE TURNS, BREAKING THE HOLD OF THE TWO MEN. HE HITS ONE IN THE THROAT, KICKS AT THE OTHER, AND STARTS TO RUN. ONE OF THE THUGS PULLS A PISTOL, AND SHOOTS AT MOORE, AND MOORE FALLS TO THE PIER, GRASPING HIS SHOULDER, HE GETS SLOWLY UP,AND FACES BERGMAN, AND THE THUGS, WHO STAND ON THE PIER ALONGSIDE THE SAILBOAT. MOORE LOOKS AROUND. + + @BERGMAN (cont'd) + And then where is he now. Your running buddy? No, It's all over, and I need to know: Where Is The Gold. I hate to do anything as dramatic as "counting to Three," but... ONE: + (HE HOLDS OUT HIS HAND. A HENCHMAN PUTS A PISTOL INTO IT.) + +!AS HE SPEAKS, MOORE KEEPS TURNING, SO THAT THE SUN IS BEHIND MOORE, AND SHINING INTO THE EYES OF BERGMAN AND HIS ACCOMPLICES,WHO NOW STAND WITH THEIR BACKS TO THE BOAT. + + @BERGMAN (cont'd) + Two... why must you, oh, God, why in the world must you, why in the hell, a guy like you, would you put me in a position... Aahh, the Hell with it, life is too short, you know what? Fuck you... + +!HE RAISES HIS ARM TO FIRE. BEHIND HIM WE SEE BLANE EMERGE FROM THE SAIL LOCKER ON THE BOAT'S DECK, BLANE HOLDS A SHOTGUN. HE SHOOTS BERGMAN AND THE TWO THUGS, ONE OF THE THUGS TURNS AND FIRES AT BLANE, WHO IS WOUNDED. BLANE FIRES AGAIN AT THE THUG, AND STUMBLES ON TO THE PIER, AND FALLS BACKWARD INTO THE WATER BETWEEN THE BOAT AND THE PIER. ANGLE ON MOORE, WHO MOVES JERKILY, TO THE SIDE OF THE PIER. HE TRIES TO PUSH THE BOAT AWAY, TO GET TO BLANE IN THE WATER. HE UNTIES THE LINE WHICH HOLDS THE BOAT TO THE PIER, AND PUSHES THE BOAT AWAY. HE THROWS THE LINE TO BLANE, WHO USES IT TO LIFT HIMSELF UP ONTO THE PIER. THE TWO MEN SIT FOR A MOMENT, CATCHING THEIR BREATH. + + @MOORE + How you doing? + + @BLANE + I'm leaking? + (PAUSE) + You hurt? + +!MOORE NODS. HE STANDS, AND HELPS BLANE TO HIS FEET. MOORE PICKS UP THE SHOTGUN. THEY LOOK AROUND, BEHIND THEM, THE SAILBOAT IS DRIFTING OUT TO SEA. THEY START DOWN THE PIER. STEPPING OVER ONE OF THE BODIES OF THE THUGS. THE SECOND THUG LOOKS UP. + + @THUG + (WEAKLY) + I... I... + +!BLANE KICKS HIS BODY OVER THE SIDE OF THE PIER, INTO THE WATER. MOORE STEPS OVER THE DYING BERGMAN. + + @BERGMAN + Cute. Very cute. + +!MOORE WALKS OVER HIS BODY, AND HE AND BLANE CONTINUE DOWN THE PIER. + + @BERGMAN (cont'd) + Don't you want to hear my dying words...? + +!MOORE TAKES THE SHOTGUN FROM BLANE, AND STEPS BACK TO BERGMAN. + + @MOORE + I just did. + +!HE SHOOTS BERGMAN, HANDS THE SHOTGUN BACK TO BLANE, AND THE TWO HEAD OFF, HELPING EACH OTHER DOWN THE PIER. + +>DISSOLVE TO: + +INT INDUSTRIAL DINER. DAY. + +!MOORE, HIS ARM IN A SLING, NOW WEARING A BEARD, SITTING IN A BOOTH,DRINKING COFFEE. + + @BLANE + (VO) + I hear... + +!MOORE LOOKS UP, BLANE, WALKING WITH A CANE, SLIDES INTO THE BOOTH OPPOSITE HIM. + + @BLANE (cont'd) + I hear if you put milk into it, it lessens the chance of stomach distress. + + @MOORE + Hey, you can't worry about every little thing... + +!THEY BOTH SIT, LOOKING OUT THE WINDOW. A WAITRESS COMES BY WITH A COFFEEPOT. + + @WAITRESS + Heat it up? + + @MOORE + (AS HE RISES) + No, I think we gotta be moving on. + +!ANGLE EXT THE DINER, AS THE TWO WALK ACROSS AN INDUSTRIAL AREA. + + @BLANE + Too bad about Pinky. + + @MOORE + Ain't that so. + + @BLANE + \...always made me laugh. + + @MOORE + Well, what more can you say of anyone? + + @BLANE + Nothing... + +!BEAT. THEY CONTINUE WALKING ACROSS THE STREET TO REVEAL THEY ARE IN THE INDUSTRIAL AREA OUTSIDE THE BOXING GYM. THERE ARE MANY KIDS PLAYING IN THE STREET. + + @BLANE (cont'd) + Robert the Bruce... + + @MOORE + Yeah? + + @BLANE + Why'd they call him Robert "The" Bruce... + + @MOORE + \...what? + + @BLANE + Why'd they call him Robert "The" Bruce? + (PAUSE) + + @MOORE + Because he asked them to. + +!BLANE NODS. + + @BLANE + Y'go to that Plastic Surgeon, don't lettem put you all the way under. I knew a guy in Statesville, went to get his face fixed, woke up, sucker'd given him a pair of tits. + + @MOORE + Yeah, that's no bargain. + + @BLANE + Well, he landed back inside, he never had to want for Cigarettes... + +!BLANE TAKES OUT A SLIP OF PAPER, AND HANDS IT TO MOORE. MOORE LOOKS AT IT. + + @MOORE + Send your cut there...? + + @BLANE + Wire it there, when you get where you're going. + + @MOORE + That I will, Pal. + + @BLANE + I hear it's nice down there in the Sun. + + @MOORE + Zat where I'm going? + + @BLANE + Wherever it is, Brother, don't come back. + (BEAT. MOORE NODS.) + +!BLANE EMBRACES MOORE. BEAT. BLANE HANDS HIM THE KEY TO THE GARAGE. AND WALKS OFF. WE SEE BLANE WALK ACROSS THE STREET, A CONVERTIBLE PULLS UP, DRIVEN BY A VERY BEAUTIFUL YOUNG WOMAN. BLANE GETS INTO THE PASSENGER SEAT AND MOTIONS HER TO DRIVE. ANGLE C.U. MOORE LOOKING ON. ANGLE: HIS POV, ON BLANE'S CAR, AS IT DRIVES OFF, BLANE TURNS BACK TO LOOK AT MOORE ONE LAST TIME, THEN SHRUGS AND TURNS FORWARD. ANGLE, ON MOORE, AS HE WALKS ACROSS THE STREET, TURNS A CORNER AND STANDS BEFORE A GARAGE DOOR. MOORE USES THE KEY AND OPENS A SMALL DOOR SET INTO THE OVERHEAD DOORS OF THE GARAGE. HE ENTERS THE DARK GARAGE. ANGLE INT THE GARAGE. A NEWISH TRUCK, WITH A LARGE ENGINE LASHED ONTO ITS BED. THE ENGINE IS PAINTED IN FRESH BLACK PAINT. BEHIND IT, THE OLD BATTERED PICKUP TRUCK, UP ON A JACK, ITS BED FULL OF THE RUSTED PIPES OF THE DISCARDED BOXING EQUIPMENT, AND THE OLD ROTTEN LEATHER "HEAVY BAG."MOORE TAKES OUT A PACK OF CIGARETTES AND A LIGHTER, HE IS ABOUT TO LIGHT A CIGARETTE, WHEN HE LOOKS OVER AT THE NEW TRUCK. HE PUTS THE CIGARETTES DOWN ON THE OLD TRUCK, BENDS DOWN, AND PICKS UP A CAN OF BLACK PAINT. HE WALKS TO THE NEW TRUCK AND APPLIES TOUCHUP PAINT TO THE ENGINE LASHED IN THE BACK. HE NODS AT IT,AND THEN, SATISFIED, HE TAKES A TARP AND COVERS THE ENGINE. HE GETS INTO THE NEW PICKUP TRUCK AND STARTS IT. WHILE IT WARMS UP HE GOES TO THE FRONT OF THE GARAGE, WIPING THE BLACK PAINT OFF OF HIS HANDS WITH A RAG. HE RAISES THE SHED DOOR,TO REVEAL FRAN STANDING THERE. HE SMILES AND KISSES HER AND TAKES HER BACK TOWARD THE NEW PICKUP TRUCK. HE OPENS THE PASSENGER DOOR. + + @MOORE + Yeah, I knew you'd show. + + @FRAN + Good, good plan, baby... + + @MOORE + Yeah, I wouldn't clear my throat, without a backup plan... + + @FRAN + That's the right way to do it. + + @MOORE + End of the day, though, end of the day, what's the important thing...? + + @FRAN + That's right. + + @MOORE + What's the important thing...? + (PAUSE) + + @FRAN + Shame about Pinky... + + @MOORE + You heard. + (OF TRUCK) + Come on, get in. + + @FRAN + Y'all loaded up? + +!HE LIFTS THE TARP TO REVEAL THE ENGINE, COATED IN BLACK PAINT,SITTING THERE. HE RECOVERS IT. + + @MOORE + C'mon, get in, we'll talk on the road. You heard about Pinky... + + @FRAN + Yeah. I heard. I'm sorry about that. + + @MOORE + Yeah, well, it just went bad there, that little bit. Dinnit...? + + @FRAN + Yes, It did. + +!MOORE TOUCHES THE BRUISE ON HIS HEAD. + + @MOORE + \...yes, it did... it got kind of convincing. + + @FRAN + \...and, so, you got hurt. + + @MOORE + Well, you can't do it halfway, can you...? + + @FRAN + No, anything you do, you got to do full-out. Don't you? + + @MOORE + Indeed you do. + + @FRAN + And, sometimes... + (PAUSE) + + @MOORE + (TOUCHES HIS FOREHEAD, AND THE BRUISE, WINCES) + Then, that's just the Price. + + @FRAN + That's right. That's what you taught me. That's part of it. + + @MOORE + Well, but didn't you do great. Played it down to the last recorded syllable... + + @FRAN + I went to a good school. + + @MOORE + Never seen it done n'y better. You hotwalked that dude so good. + + @FRAN + \...thank you, Joe. + + @MOORE + Cooled him out the livelong day. You made it look so real. + +!HE MOVES TO THE FRONT OF THE SHED. AND TURNS OUT THE LIGHTS. HE WALKS BACK TOWARD FRAN, WHO IS STANDING AT THE TRUCK. + + @MOORE (cont'd) + (TO HIMSELF) + \...yes, you did. + + @FRAN + Well, you know... + (PAUSE) + + @MOORE + \...what d'you mean, "that's part of it?" + + @FRAN + I don't get you? + + @MOORE + I was talking about Pinky. + + @FRAN + Uh huh. + + @MOORE + I said we paid the price. And you said. We paid part of it. + (PAUSE) + + @FRAN + Yes. That's right. + + @MOORE + \...what's the rest of it...? + (PAUSE) + What's the rest of it...? + +!ANGLE XCU MOORE. AS HE LOOKS AT FRAN. ANGLE FRAN, AS SHE LOOKS BEYOND MOORE. ANGLE ON MOORE AS HE TURNS. + +!BELLA IS STANDING BEHIND HIM. BELLA HOLDS A PISTOL. HE MOVES TO MOORE, AND HE FRISKS HIM, AND FINDS NOTHING, AND TAKES A STEP AWAY. ANGLE, ON MOORE, AS HE LOOKS FROM BELLA TO FRAN. + + @MOORE (cont'd) + Oh. + (PAUSE) + + @BELLA + Well. They don't always leave with the Ones they came In with. + + @MOORE + (PAUSE) + Oh. + +!BELLA LOOKS AT THE TRUCK. + +!HE LOOKS INQUIRINGLY, AT FRAN. + + @FRAN + (TO MOORE) + It was dead, anyway. + (PAUSE) + You know it was. + + @MOORE + Was it...? + + @FRAN + (PAUSE) + You shouldn't of sent me to him. + + @MOORE + Well, you can't think of everything. + (PAUSE) + + @MOORE + I'm sorry. + (PAUSE) + + @FRAN + Well... + + @MOORE + I'm sorry... + + @FRAN + You knew it was over... + + @FRAN (cont'd) + (TO BELLA) + \...it's in the back. + +!BELLA WALKS TO THE BACK OF THE TARP, RAISES A CORNER, LOOKS IN. HE LOOKS AT HIS HANDS, AND TAKES OUT A HANDKERCHIEF, AND WIPES OFF THE BLACK PAINT. HE LOWERS THE TARP DOWN. + + @MOORE + (OF BELLA) + Why dun' he shoot me? + + @FRAN + Cause it's over. It's all done. That's the deal. + + @MOORE + He ain't gonna shoot me? + + @FRAN + No. + + @MOORE + Then he hadn't aughta point a gun at me. + (PAUSE) + It's insincere... + +!MOORE SITS DOWN ON AN UNOPENED WOODEN BOX, IN THE DOORWAY OF THE GARAGE. + + @MOORE (cont'd) + Oh, God, I'm tired... + + @FRAN + (TO MOORE) + I'm sorry, Baby. + + @MOORE + Well, no. You told me, "you knew him before." + + @FRAN + That's right. I did. + (TO BELLA) + + @FRAN (cont'd) + Get in and drive + (TO MOORE) + I'm sorry. + + @MOORE + You said that. + (PAUSE) + Well. + (PAUSE) + You must be under quite a lot of stress. + + @FRAN + Hmm. + + @MOORE + It was a pretty plan, though, wunnit...? + + @FRAN + Cute as a Chinese baby... + + @MOORE + Thanks for everything. + (FRAN GETS UP INTO THE TRUCK) + + @FRAN + You'll be alright. + + @MOORE + You think so? + + @FRAN + You always are. + (PAUSE) + + @MOORE + Well, I missed this trick, though, didn't I...? + + @FRAN + \...the best laid plans of mice and men... + + @MOORE + \...what? + + @FRAN + I said Nobody's Perfect. + (PAUSE) + You take care. + (TO BELLA) + Alright, let's go. + +!THE TRUCK DRIVES OFF. ANGLE ON MOORE, AS HE SLOWLY SHAKES HIS HEAD. HE SIGHS. HE WALKS BACK INTO THE SHED. + +!HE WALKS TO THE OLD ABANDONED PICKUP, WHERE HE LEFT HIS CIGARETTES AND LIGHTER. HE TAKES OUT A CIGARETTE, AND HOLDS IT TO HIS LIPS. HE HESITATES. HE CRUMBLES IT, AND THROWS IT TO THE FLOOR. LOWERS THE PICKUP TO THE GROUND, USING THE HYDRAULIC JACK. HE SIGHS, AND SLAMS THE TAILGATE ON THE OLD METAL FRAME OF THE BOXING EQUIPMENT. THE TAILGATE DOES NOT CLOSE. HE SLAMS IT AGAIN. AND IT CLOSES. HE WALKS OVER AND GETS IN THE CAB OF THE OLD PICKUP. ANGLE THE OLD METAL FRAME IN THE BED OF THE PICKUP TRUCK. WE SEE THAT THE TAILGATE HAS JAMMED ONTO THE OLD METAL PIPES, AND THE PIPE'S PAINT HAS CHIPPED TO REVEAL THAT THE PIPE IS GOLD, AND WE SEE, ON THE BASE OF THE PIPE, WHERE THE PAINT HAS CHIPPED, FAINTLY, THE LETTERS CREDIT INTERNATIONAL DE GENEVE. ANGLE ON MOORE, IN THE TRUCK, AS IT PULLS OUT OF THE GARAGE. + +>FADE OUT. + +/* ROSENSTONE/WENDER AGENCY3 E. 48th St. N.Y.C. | 2. | 3. | 4. | 5. | 6. | 7. | 8. | 9. | 10. | 11. | 12. | 13. | 14. | 15. | 16. | 17. | 18. | 19. | 20. | 21. | 22. | 23. | 24. | 25. | 26. | 27. | 28. | (MORE) | 29. | BLANE (cont'd) | 30. | 31. | 32. | 33. | 34. | 35. | 36. | 37. | 38. | 39. | 40. | 41. | 42. | 43. | 44. | 45. | 46. | 47. | 48. | 49. | 50. | 51. | 52. | 53. | 54. | 55. | 56. | 57. | 58. | 59. | 60. | 61. | 62. | 63. | 64. | 65. | 66. | 67. | 68. | (MORE) | 69. | 70. | (MORE) | 71. | 72. | 73. | 74. | 75. | 76. | 77. | 78. | 79. | 80. | 81. | (MORE) | 82. | 83. | 84. | 85. | 86. | 87. | 88. | 89. | 90. | 91. | 92. | 93. | 94. | 95. | 96. | 97. | 98. | 99. | (MORE) | 100. | 101. | 102. | 103. | 104. | 105. | 106. | 107. | 108. | 109. | 110. | (MORE) | 111. | 112. | (MORE) | 113. | 114. | 115. | 116. | 117. | 118. | 119. | (MORE) | 120. | BERGMAN (cont'd) | 121. | 122. | 123. | 124. | 125. | 126. | 127. | (MORE) | 128. | 129. | -----------------HEISTA SCREENPLAY BY DAVID MAMETCOPYRIGHT © 1998, 1999BY DAVID MAMETC/O HOWARD ROSENSTONEROSENSTONE/WENDER. N.Y.C. | MARCH, 1999 */ diff --git a/fountain_scripts/Heist.webp b/fountain_scripts/Heist.webp new file mode 100644 index 0000000000000000000000000000000000000000..1d6ec5b387f0112cfef232b8d3a2f063bd2871d2 --- /dev/null +++ b/fountain_scripts/Heist.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:5e592a7bbc009d819f65db957ca84288dcc5199555cc8456fcb0eabce2bbd623 +size 25190 diff --git a/fountain_scripts/Hellbound - Hellraiser II.fountain b/fountain_scripts/Hellbound - Hellraiser II.fountain new file mode 100644 index 0000000000000000000000000000000000000000..6c1a5950be43e5235977ba4f8942161d2e8916ee --- /dev/null +++ b/fountain_scripts/Hellbound - Hellraiser II.fountain @@ -0,0 +1,2345 @@ +Title: HELLRAISER II : HELLBOUND +Credit: Screenplay by +Author: Peter Atkins +Story credit: Original Story by +Story by: Clive Barker +Draft: 2nd. Draft +Draft date: November 1, 1987 + +>FADE IN: + +.TITLES #1# + +The screen is composed of large, straight-edge areas of black and white that rest against each other in a manner that suggests some kind of pattern, without making a final sense; it is as if we are too close to something that, could we see it from a distance, would be clear to us. These areas shift and change - both their own shape and their relationship to their neighbors. New patterns are being made, new solutions found - but they are just beyond our comprehension. The effect should be aesthetically pleasing but simultaneously frustrating and, perhaps, a little unsettling. Shortly into this sequence, and subsequently inter-cut throughout, we begin to see, in FLASHBACK, the story of HELLRAISER. Arriving first as very short shock-images, these brief sections eventually convey to the audience all the necessary emotional and narrative information they will need to understand the background to HELLBOUND. Meanwhile, the black and white shapes are still moving, the unseen patterns still shifting. Over this constantly mobile background, the TITLES begin to appear. As the TITLES unroll, another change comes over the puzzle pieces behind them. Where before they moved and related only in two dimensions, gradually we see that they are now claiming depth as well. The puzzle we are looking at is now a three-dimensional one. The pieces are now solid blocks of various geometric shapes, locking together, moving apart, finding their final position. Finally, as the TITLES come to their conclusion, the camera pulls back until we can see clearly what we have been looking at. As the final piece clicks into positions we see it is THE LAMENT CONFIGURATION from HELLRAISER. The closed box rests before our eyes a moment and then the circle in the centre of the side that faces us gives way to an image of a dusty street with a market. Simultaneous to this, the camera TRACKS into this image until it fills the screen + +EXT A STREET BAZAAR DAY #2# + +The TRACK continues up through the market and then turns through the stalls to find a store behind them. As we TRACK through the store's doorway, we pass through a beaded curtain that momentarily reminds us of the TORTURE ROOM in HELLRAISER. + +INT. STORE DAY #3# + +Once we are in the store itself, though, this impression disappears. It is an ordinary, slightly seedy, junk shop. The stall seems to sell an odd mixture of items; native trinkets share space with second-hand items from European colonists. These second-hand goods give us some sense of period. They suggest the late 'twenties/early 'thirties. This is reinforced by the sounds coming from one of them, an old-fashioned mahogany-cased wireless. A foreign voice speaks from it in a language we don't understand, though perhaps the words "BBC world service" are discerned in the middle, and then a dance-hall tune of the period begins to play. (Depending on availability, it would be nice to have something relevant - 'I'll follow my Secret Heart', perhaps, or 'Dancing in the Dark'.) Into shot comes an ENGLISH OFFICER. His uniform, too, suggests the 'twenties, the last days of Empire. He is tall, thin, and dark-haired, but at no stage do we see his face clearly. He stands in front of the stall. The TRADER suddenly stands behind the counter. He has been crouched beneath it, as if checking or preparing something. He is a big, impressive-looking black man. His face is totally impassive as he stares at his customer. Neither of the men speak. Obviously, a deal has already been struck and today is the pay-off. The OFFICER, a little arrogantly - suggesting racist contempt, slaps down a bag of gold on the stall's counter. Keeping his eyes firmly on the OFFICER, he reaches beneath him and brings something up from under the counter and places it In the OFFICER'S outstretched hand. He is holding a LAMENT CONFIGURATION. The OFFICER turns and leaves. The camera TRACKS out of the store, looking at the TRADER as he watches the departing OFFICER. + +INT THE OFFICER'S QUANSETT HUT DAY #4# + +It is typical of temporary military quarters, complete with a curved ceiling of corrugated material. It is stripped of furniture. The blinds are down. The OFFICER, still in uniform, sits cross-legged, the BOX held before him. He is already well into the solving process and very soon after the shot begins the BOX begins to speed its own solution. Finally, two sections of the BOX shoot upwards and begin to peel apart from each other, ready to reveal its secret. The OFFICER, suddenly nervous, drops the BOX and scuttles back across the floor to stare at it. The BOX lands upright, its extended parts still open above it. For a beat or two, nothing happens. We become aware of the OFFICER'S pulse, throbbing excitedly on the soundtrack. + +INT THE OFFICER'S QUANSETT HUT DAY OFFICER'S P.O.V. #5# + +Slowly we, the camera, and the OFFICER, move towards the still, silent, but menacing BOX. We approach it until finally we are above it, looking down into the opening it has made in itself. There is undefined movement inside. Suddenly, something flies up directly at us. We glimpse it only briefly, but enough to see its nature. Unlike the hooks that flew at FRANK in HELLRAISER, this is more organic than metallic. Pink and flesh-like but on a long gray-blue stalk, it flies upward, its lips peeling apart gapingly to reveal scores of yellow, discoloured, and viciously sharp teeth-like hooks. The OFFICER screams and the screen begins to take on a red tint so that, just as the thing is about to fill the screen with its hungry mouth, the entire screen turns red. The red screen is held for a second and then suddenly becomes complete blackness. + +INT BLACK SPACE #6# + +The black screen continues and, rising slowly from it and falling back slowly into it, in a dream-like, surrealistic manner, come various images of the OFFICER'S torment/pleasure in Hell. By various camera tricks, such as step-printing or optical blurring, his face is still not clearly seen, but is seen enough for us to see his sensual, almost orgasmic responses to what is being done to him. Cuts appear spontaneously across his face, leaving a grid like crisscross pattern of wounds. Finally, a disembodied hand gripping a hammer drives nails into each corner formed by these wounds and, as the face comes into full view for the first time, we realize who this is. It is PINHEAD from HELLRAISER. PINHEAD'S completed face floats on the blackness and stares out at us. + + @PINHEAD + (echoed & slow) + Kirsty, come to daddy + +The tiny silence following PINHEAD's words is shattered by a piercing and terrified scream. + +INT HOSPITAL ROOM NIGHT #7# + +The scream continues, but the blackness is replaced by KIRSTY's anguished face; it is she who is screaming. The scream subsides, replaced by breathless panting accompanied by rapid eye movement. + + @RONSON + (off camera) + Ah, you're awake. Good. + +We pull out to see that KIRSTY is sitting up, fully dressed, on a hospital bed. RONSON, a police detective, sits on a plain wooden chair, which is the only other piece of furniture in the room. The walls are bare save for a piece of primitive art on one wall, and, on another, a circular barred window looking out. RONSON stands up and walks to the foot of the bed. He rests his hand on the bed's metal frame and smiles a perfunctory smile. + + @RONSON + Tell you what - we'll make a deal. I'll tell you what I know, then you tell me what you know. O.K.? + +KIRSTY is still re-orienting herself. She blinks a few times and then focuses on RONSON's hands gripping the bed. + + @RONSON + O.K.? + +KIRSTY looks up at RONSON's face and then around at the room. + + @KIRSTY + Where am I? + + @RONSON + You're in the Malahide Institute. It's a psychiatric hospital. But, hey, don't feel judged - it was just the nearest place to bring you. Remember? You and your boyfriend... ? + + @KIRSTY + Steve... + + @RONSON + Don't worry. He's O.K. We sent him home hours ago. Jeez, what a story. + +He puts a cigarette in his mouth and lights it. + + @RONSON + What was it, kid? Smack? Angel dust? Don't tell me acid's back in fashion? + + @KIRSTY + What are you talking about? Who are you? + + @RONSON + Oh, excuse me... + +RONSON reaches in his jacket and flashes an I.D. + + @RONSON + Ronson. Homicide. I'm this district's slash and dash expert. Made a career of the nasty ones. That's why I was at your Dad's house. Jesus, what a mess. + +KIRSTY'S eyes prick with tears. She looks away from RONSON. + + @KIRSTY + (to herself) + Daddy... + +INT JUNK ROOM LODOVICO STREET NIGHT #8# + +CORTEZ, a POLICE OFFICER, shifts some unpacked crates to allow a closer look at the shriveled and deformed corpse of one of FRANK and JULIA'S victims. + + @CORTEZ + Jesus... + +CORTEZ prods at the corpse with his night-stick, attempting to turn it over. A stream of maggots pours from the mouth and the cavity that used to be its throat. CORTEZ jumps back in disgust and knocks against one of the several wardrobes in the cluttered room. Another corpse flies out at him, as decayed and flyblown as the first. CORTEZ draws his gun and empties it blowing the corpses head off, scattering flesh, mucus, and bone - but no blood -everywhere before realizing it is already dead. He realises what he has done and lowers his weapon sheepishly. + + @CORTEZ + Oh. shit... + +INT. HOSPITAL ROOM DAY #9# + +RONSON is sitting back in the chair, looking at the now slightly calmer KIRSTY. + + @RONSON + We got two missing people and a house full of corpses. + +He holds out his hand towards KIRSTY in a theatrical manner. + + @RONSON + Talk to me. + +KIRSTY swings her legs off the bed, but remains sitting on it, her feet on the floor. She doesn't look directly at RONSON but begins to take in the (few) details of the room for the first time. + + @KIRSTY + I thought Steve had talked to you? + + @RONSON + Oh, pardon me. I obviously didn't convey my hesitation to take his story at face-value. No, YOU talk to me. But - do me a favor? - none of this DEMONS crap. + +KIRSTY closes her eyes, almost wincing, as memory comes. KIRSTY opens her eyes. Consciously, she slows the rhythm of the dialogue down. + + @KIRSTY + He talked about Demons, huh? + + @RONSON + Yeah. + +KIRSTY turns her head to look directly at RONSON. + + @KIRSTY + It's true. All of it. It's all true. + +RONSON stares at her, impressed by her conviction and intensity. There is a second of shared silence. Suddenly, a shocking ELECTRONIC CRACKLE shatters the mood. RONSON starts, then realises it is the radio at his belt. He snatches it up and speaks into it. + + @RONSON + Ronson. + +INT BEDROOM LODOVICO STREET NIGHT #10# + +Another OFFICER, KUCICH, is standing, radio in hand, by the blood-stained mattress. CORTEZ stands beside him, gun now safely re-holstered. + + @KUCICH + Kucich here, sir. We just found another one, though it suffered a little... + +KUCICH looks at CORTEZ, who looks embarrassed. + + @KUCICH + \...er, accidental damage in discovery. Anyway, just about the only portable evidence we've got here - apart from human remains - is the mattress. Looks like someone was messed up real bad on it. + +INT HOSPITAL ROOM NIGHT #11# + + @KUCICH + (off-camera) + Can we send it downtown? + +RONSON throws KIRSTY a look of exasperation with his colleague. The camera stays on KIRSTY's face as RONSON speaks. + + @RONSON + What the hell are you asking me for? Tag it. Move it. + + @KIRSTY + (to herself) + The mattress... The mattress... JULIA. + +Without waiting for a reply, RONSON switches the radio off and clips it back to his belt. + +INT BEDROOM 55 STREET NIGHT #12# + +We are looking at the mattress. KUCICH has left the room. CORTEZ draws a pad from his pocket. The pad is stapled, and the staple has been badly inserted and is not closed properly. In the act of tearing a label from the pad, CORTEZ catches his thumb on the staple. + + @OFFICER + Shit! + +The label is adhesive-backed. CORTEZ licks it and presses it on the mattress. He writes on it - 55L/E1. As he stands up from doing this, a single drop of blood from his thumb lands on the mattress. (It is important that we see it is only a single drop - and nothing like the amount LARRY spilled on the floorboards.) CORTEZ leaves the room to fetch a colleague to help him move the mattress. We move in to see the drop of blood disappear very quickly into the mattress, as if it is being sucked in. As this happens, we hear on the soundtrack the faintest RUMBLE. + +INT OPERATING ROOM NIGHT #13# + +A somewhat antiquated and frightening operating room, filled with machines, monitors, and surgical instruments. The corners of the room fall away to shadow. Sitting upright in the centre of the room is a FEMALE PATIENT. She is awake and staring out at the camera. Twin probes/clamps are in each of her ears to hold her in place. Her head is shaved and the skin on the back of her head has been cut open and peeled apart. The flaps of the skin are held away from the area being worked on by four clamps. (we never actually see round to the exposed brain itself) Immediately behind her, and probing with professional skill and coolness into her exposed brain, is DOCTOR MALAHIDE. He is in his late forties and looks like all the great doctors look -rational, civilized, competent, and powerful. There is an intensity in his eyes and the lines of his face though that suggests something more than normal. The room has several attentive listeners and observers, but the one nearest to MALAHIDE is his personal student/assistant KYLE MACRAE, young, conventionally good-looking, with an open, friendly, face. MALAHIDE is holding forth on the secrets of his trade, several times looking away from his patient while still working on her, to make sure his audience understand his points. + + @MALAHIDE + We can bring them back properly more often than scientific orthodoxy dictates, ladies and gentlemen. And the knife, far from the enemy of of analysis, is often its greatest ally in solving the puzzles of psychosis. Analysis isolates and massages. Surgery pinpoints and corrects. ... though you've got to know what you're doing, of course... + +Polite laughter from several students. + + @MALAHIDE + Some things are obvious. Here, for example, ... + +He prods in at a specific area. + + @MALAHIDE + \...are the optical motor nerve control centers. + +The PATIENT begins to blink in time with MALAHIDE'S prodding. The effect is half-comical, half-distressing. Perhaps MALAHIDE carries it on just that half-second too long for innocent demonstration. But the students give impressed murmurs anyway. + + @MALAHIDE + Now. This case. A deeply-buried psychosis severe enough to produce frighteningly frequent hysteria and aggression. Incurable. Say others. Not so. Analysis isolates. The knife exposes. Medication controls. + +As he speaks, MALAHIDE injects a syringe directly into the PATIENT's brain. Her face spasms momentarily. MALAHIDE stands back slightly. His face is serene, calm, and confident. He takes a small, motorised drill and sets to work on the brain. + + @MALAHIDE + And then, ladies and gentlemen, we REBUILD. With all the care and knowledge that our years of training have given us ... + +He looks around at them all, smiling slightly. + + @MALAHIDE + \... WE BRING THEM BACK. + +The students murmur their approval. Perhaps they even applaud. MALAHIDE acknowledges their reaction with a modest nod. Suddenly, an intercom on the wall cuts in. + + @INTERCOM + Dr. Malahide, the new arrival is awake, and appears very distressed. + +MALAHIDE steps back briskly and begins to peel his gloves off. He nods at a nearby student. + + @MALAHIDE + My part in this is over. You may tidy up for me. Kyle, you come with me. + +MALAHIDE and KYLE leave the room. + +INT HOSPITAL ROOM NIGHT #14# + +KIRSTY has her hands over her face and is shaking. RONSON stands and crosses to her. He takes her hand from her face and calms her. + + @RONSON + Easy, easy. Whatever happened, whatever you saw, it's not here now. + + @KIRSTY + I saw it...him. But I got away. And I took the box. And I solved it. And they came. + + @RONSON + Who? + + @KIRSTY + The Cenobites. + +She stares directly at RONSON, daring him to disbelieve. + + @KIRSTY + The Demons. + +RONSON stares back, perhaps a glimmer of belief in his eyes. On the soundtrack, the sudden and shocking sound of a door being slammed open and hitting the wall. KIRSTY screams. Even RONSON is startled. In the doorway are DOCTOR MALAHIDE and KYLE. MALAHIDE advances into the room, smiling apologetically as he does so. + + @MALAHIDE + Sorry. Must get that door fixed. Detective Ronson? + +MALAHIDE holds his hand out, as RONSON nods in response. + + @MALAHIDE + I am Doctor Malahide. + +The men shake hands. MALAHIDE gestures behind him. + + @MALAHIDE + My assistant, Kyle Macrae. And this must be Kirsty? + +MALAHIDE speaks quickly, as if to get the formalities out of the way. As he says her name, he smiles benignly at KIRSTY who, still distraught from her memories and shocked at the slamming of the door, simply stares at him. MALAHIDE turns his attention back to RONSON, drawing him away and speaking to him in a lower voice. Meanwhile, KYLE walks over to KIRSTY and smiles at her - long enough to embarrass her into smiling back. + + @MALAHIDE + I've read the boy's statement. Quite the adventure they believe they had. I'd like to talk to her alone. Do you think ... ? + +RONSON looks over his shoulder at KIRSTY. He then looks carefully at MALAHIDE and then nods slowly. + + @RONSON + Mmmm. O.K. Frankly, I think she's more your territory than mine. Shame. + +RONSON looks back at KIRSTY. + + @RONSON + Kirsty. Doctor Malahide's going to look after you now. Maybe we could talk some more tomorrow. + +KIRSTY nods vaguely and then, just as RONSON reaches the door, calls out to him. + + @KIRSTY + Wait! The mattress. You've got to destroy it. She DIED on it, you see. The mattress. It's haunted now. She can come back... like Frank. SHE CAN COME BACK. + +RONSON smiles helplessly at her, then glances at MALAHIDE with a "you see what I mean" expression, and leaves the room. + + @KIRSTY + (to herself) + The mattress ... + +MALAHIDE stares at her briefly, with a strange expression on his face and then abruptly follows RONSON through the door. KIRSTY is too absorbed to notice this odd behavior, but KYLE stares incredulously as MALAHIDE leaves the room. + + @KYLE + Uh...excuse me a moment. + +He follows to the door and stands in the doorway, looking down the corridor. + +INT HOSPITAL CORRIDOR NIGHT #15# + +RONSON stands before a set of double-doors, talking to a UNIFORMED OFFICER. MALAHIDE comes into view, walking swiftly, and instantly talks over their conversation. + + @MALAHIDE + Detective. I'll be able to help this girl. But I need your assistance ... + +INT HOSPITAL CORRIDOR NIGHT #16# + +Looking back at the corridor, we see the door to KIRSTY'S room ajar, and KYLE standing by it looking down. + +INT HOSPITAL CORRIDOR NIGHT (KYLE' P.O.V) #17# + +A LONG SHOT of MALAHIDE and RONSON. KYLE, and we, are too far away to hear what is said, but MALAHIDE is nodding and gesturing emphatically, as if persuading RONSON of something. + +INT HOSPITAL ROOM NIGHT #18# + +KYLE returns into the room and closes the door. His expression is puzzled, troubled. Then he remembers there is a patient here and he smiles. + + @KYLE + So... You're Kirsty, huh? + + @KIRSTY + You a doctor, too? + +KYLE smiles again. + + @KYLE + Nearly a doctor. I'm Kyle Macrae. Call me Kyle. + +KIRSTY draws a deep breath, temporarily calmed. She even manages a smile. + + @KIRSTY + Hi, Kyle. + +MALAHIDE re-enters the room. + + @MALAHIDE + Now, Kirsty... + +KIRSTY looks at him warily. + + @KIRSTY + The cop. He didn't believe me. + + @MALAHIDE + I suspect not. But that doesn't necessarily mean you're wrong, does it? + + @KIRSTY + Do you believe me? + +MALAHIDE offers a re-assuring laugh. + + @MALAHIDE + Well, I don't know yet. However, you're not lying. YOU believe this is the truth. + + @KIRSTY + It IS the truth. + +Suddenly, the door opens again. + +An INTERN is standing there. For the briefest of moments, MALAHIDE looks furious and then, catching himself, assumes his calm demeanor. + + @MALAHIDE + Well? + + @INTERN + Sorry, Dr. Malahide. But it's Tiffany. She's escaped ... again. + +MALAHIDE sighs. + + @MALAHIDE + Very Well. + +He looks down at KIRSTY. + + @KIRSTY + I'm sorry, Kirsty. Kyle will come back with something to help you sleep. We shall speak tomorrow. + +MALAHIDE and KYLE follow the intern from the room, KYLE giving a last friendly smile as the door closes behind them. + +EXT. CARNIVAL NIGHT #19# + +We are staring down the midway of a deserted carnival. On either side, stalls and rides beckon to pleasures that their locked doors and tarpaulin-draped entrances deny. A light rain is falling. A huge wooden cut-out of a grinning clown dominates one stall while the sign beneath him seems to state the ethos of the whole place; LOTS 'O' FUN. Another has a banner proclaiming FREAK SHOW, with the subheading YOU'LL GASP AT THE GEEK! On the horizon in the distance, almost denying the reality of what we are seeing, tower vast cranes of unimaginable height while beyond them impossibly huge oil-drums squat against the moon-bright but cloudy sky. Into shot, and running down the midway, comes a girl, TIFFANY. TIFFANY is a girl in her early teens but looks younger than her years due to her boyish figure and her slightly over-delicate features. For the last months, TIFFANY has been finding ways out of the institute and making her way here, where she has one special obsession, which we will soon see. Following her into shot, but many yards behind, come two INTERNS from the Institute. They contrast each other almost comically, one being tall and plump while the other is smaller and thinner. They're not quite the Stan and Ollie of the medical world but with some serious rehearsal they could get there. + + @1st INTERN + Oh, Jesus -she's gonna make it. + +Even as the first INTERN says this, we see TIFFANY make a sharp left turn into a stall entrance. + +EXT. HALL OF MIRRORS ENTRANCE NIGHT #20# + +A front view of the stall into which TIFFANY has run. The large sign above it proclaims 'HALL OF MIRRORS' and a smaller sign perched above a distorting mirror to one side of the entrance says 'YOU'LL BE AMAZED'. The two INTERNS enter at a run. + +INT. HALL OF MIRRORS NIGHT #21# + +There follows a hopelessly one-sided pursuit through the mirror maze as TIFFANY effortlessly eludes the two INTERNS. There are three major facets to this sequence;1) Comic relief - as the two interns make fools of themselves. There could even be a room of distorting mirrors where the thin INTERN becomes fat and the fat one thin.2) TIFFANY'S ease and expertise with patterns and puzzles.3) Confusion of the audience's sense of the real and the unreal. This goes on long enough for us to realise the 1ST INTERN was right to worry, how long TIFFANY could elude them. Then, jarringly, as the screen is full of reflected TIFFANYS there suddenly appears amongst them a single image of MALAHIDE. Everything stops. The image of MALAHIDE (and we shouldn't be sure yet if we're looking at a reflection or the real man) puts its hands out, palms up. + + @MALAHIDE + Tiffany. Come. + +All the TIFFANYS move quietly toward him until they all disappear from view. Then the real TIFFANY comes into shot, her back to us, and walks toward what we now see to be the real MALAHIDE, who is standing in a doorway deliberately framed like a mirror to confuse the customers. + +TIFFANY places her hands docilely on to MALAHIDE's outstretched ones. + +INT. HOSPITAL ROOM NIGHT #22# + +KIRSTY has been dozing fitfully, but is awakened by strange noises. At first terrified, she slowly realises it is simply someone being put in the room next door. She waits until activity has ceased and then moves to her door. It is unlocked. She moves out into the corridor. + +INT. HOSPITAL CORRIDOR NIGHT #23# + +Looking warily from side to side, KIRSTY edges out into the corridor, along it, and then stops by the door of the adjoining room. + +INT. TIFFANY'S ROOM NIGHT C.U. #24# + +A hand fits a piece of jig-saw puzzle into the space it belongs. We know it is a jig-saw by the shape of the pieces, but it is clearly not the conventional type - a picturesque photo - because all we can see at this close-up angle are large areas of black and white. + +INT. TIFFANY'S ROOM NIGHT #25# + +We now see that the puzzle is on the floor of a room of a similar size to KIRSTY'S. It is slightly more decorated; It has curtains and wallpaper. And a tiled floor. Sitting cross-legged on the floor next to the puzzle is TIFFANY. The puzzle, which we can now see more clearly, is an intricate abstract design in black and white. There are several pieces still un-fitted but TIFFANY is working steadily, efficiently, and with complete concentration. On a wall behind her there is a visual record of her progress over the last few months. Sealed in plastic by staff members are. Puzzles she has solved, with dates marking her advancement. They begin with the simplest wood block animals usually given to very small children. passing through photo-puzzles of increasing difficulty, and culminating in one or two other examples of the kind of complicated pattern-work she is involved in now. + +INT. HOSPITAL CORRIDOR NIGHT #26# + +We pull out to see that this is KIRSTY'S P.O.V. from the glass panel in the door of TIFFANY'S room. TIFFANY looks up at one point and eye-contact is made. KIRSTY gives a tentative smile and a small wave. TIFFANY stares at her. The stare is long but unresponsive and finally TIFFANY returns to the puzzle. KIRSTY has her back to us and the camera is quite close in when a hand suddenly moves into shot and touches her shoulder. KIRSTY jumps back in alarm, fear on her face. But it is only KYLE. KYLE raises his hand in apology. + + @KYLE + Oh, Jesus, I'm sorry. God, if anyone should know not to do that, it's me. I'm sorry. O.K.? + +KIRSTY nods and gives a nervous smile. KYLE, still embarrassed by his foolishness and eager to change the subject, nods towards the glass panel. + + @KYLE + Sad, huh? She's been here six months. Her name's TIFFANY. + + @KIRSTY + What's the matter with her? + + @KYLE + Almost complete withdrawal. She hasn't said a word for nearly two years. + + @KIRSTY + God, that's terrible. + + @KYLE + Yeah. Doctor Malahide's got her doing these jig-saws and things, though. Says it's helping to bring her out. + +KYLE ushers KIRSTY back into her own room. + +INT. HOSPITAL ROOM DAY #27# + +As he closes the door to KIRSTY's room, KYLE reaches into the pocket of his lab-coat and produces a small box of pills. + + @KYLE + Anyway, let's concentrate on you for a moment. Wanna suck on this for me? + +KIRSTY looks up at him sharply. He is proffering a pill and grinning facetiously. + + @KIRSTY + Hey, good joke, Kyle. Do you always come on to the mentally ill? + +KYLE's face falls. He blushes. Pressing the pills into KIRSTY'shand, he backs off to the door, apologising. + + @KYLE + Shit. Sorry. Here's the pills. Red face. Door. Bye. + +He exits hurriedly, closing the door behind him. KIRSTY grins despite herself. She looks at the pill for a second or two and then puts it firmly back in the box. Realising there is no bedside table, she puts the box on the wooden chair. + + @KIRSTY + Jesus, I'm glad I'm not paying for this place. + +She is about to lie down on the bed, when she senses something is wrong in the room. KIRSTY is instantly tense again. She swings her head to the side and tenses in horror, stifling a scream. In the corner of the room, against the wall lying in a pool of blood, is her skinned father LARRY. KIRSTY emits a pained moan of pure anguish as she realises what she is looking at. + + @KIRSTY + (under her breath) + Daddy... + +The thing in the corner raises its arm weakly from its side and begins to write on the wall in its own blood. It writes : I AM IN HELL; HELP ME. KIRSTY covers her eyes with her hands and begins to sob. KIRSTY takes her hands from her eyes. The figure has gone. The pool of blood has disappeared. But, on the wall the words remain. KIRSTY makes herself rise from the bed and walk slowly across the room. Her eyes full of tears, she stretches out her arm and touches the word 'I'. As her fingers make contact, the words instantly disappear. She presses her bloodied finger quickly to her lips before that last trace of her father can vanish, too. + +INT. TIFFANY'S ROOM NIGHT #28# + +TIFFANY is still sitting up cross-legged, weeping. Her puzzle is completed. + +EXT. THE INSTITUTE DAY #29# + +Basically an establishing shot to show it is the next morning but it also serves to show MALAHIDE walking briskly to work. His suit is tasteful and simple, but discreetly expensive-looking. He walks with purpose and looks straight ahead, acknowledging only with polite nods the respectful greetings of various JUNIOR DOCTORS and NURSES he passes on his way. He enters the institute. We should also see several patients being walked, or wheeled, around by STAFF during this shot. + + @MALAHIDE + (off-camera) + And how are we feeling today...? + +INT. LARGE WARD DAY #30# + +This is a large, traditional hospital ward with a line of beds down each long wall and a wide central aisle. Nearly all of the beds are occupied and, at the far end of the ward, there is a male patient in a wheelchair. All the PATIENTS' eyes turn immediately and happily to MALAHIDE as he crosses the room, continuing his speech. + + @MALAHIDE + Better? Good. + +He doesn't stop his progress but walks straight through the room and into the corridor. As the door closes behind him the WHEELCHAIR PATIENT scowls. + + @W/CHAIR PATIENT + 105 years and he still doesn't know my name. + +INT. HOSPITAL CORRIDOR DAY #31# + +MALAHIDE walks swiftly down the corridor in which we saw him talk to RONSON earlier, but this time the camera follows him through the double doors and further down the corridor. He enters an elevator and the doors close in front of him. + +INT. BASEMENT CORRIDOR DAY #32# + +MALAHIDE exits the elevator into a lower corridor, one not so carefully decorated. We are in the area in which the more deeply disturbed of the Institute's patients live. The rooms are smaller, closer together, and there is an observation panel set in each door. MALAHIDE looks into the first four rooms. In the first, a middle-aged, overweight woman sits completely motionless in the middle of the floor. She is dressed in a shapeless white robe and is sitting crosslegged. Her head is shaven, her eyes are rolled completely up into the sockets so that only white shows. In the second, a very thin man of about thirty is pressed as tight as he can be into one corner of the room. His hair is longand he has a full beard. He is naked but not unadorned - his body and much of his cell wall is smeared in excrement. In the third, a man of about MALAHIDE'S age stands in the centre of the room. He is of normal build but his head is shaved. His face, scalp, and hands are covered in self-inflicted and amateurish tattoos- all of crosses. He is dressed in T-shirt and jeans. With both hands he holds aloft a silver crucifix, pointing it in all directions, as if under constant siege by Devils. He mutters prayers and invocations constantly. In the fourth, a man in his early twenties restrained in a strait-jacket. He shuffles around on the cell-floor, his eyes twitching and flitting from one part of his body to another. + + @BROWNING + (muttering) + Get them off me. Get them off me. + +Off-camera, we hear the sound of KIRSTY's sobbing - which bridges the CUT TO: + +INT. HOSPITAL ROOM DAY #33# + +KYLE enters, having heard KIRSTY crying. She is sitting with her legs over the side of the bed with her face in her hands. KYLE immediately sits next to her and puts an arm around her shoulder. He doesn't force her to speak. He lets her let the tears out. Finally, she looks up. + + @KIRSTY + I... I had a visitor. + + @KYLE + What? + + @KIRSTY + Oh, Jesus. I can't explain. It's ...it's. I don't know how to help! I have to save him and I don't know how to help! + + @KYLE + (Carefully) + Kirsty, I'm sorry... don't understand. I... + + @KIRSTY + I know. No-one can. But I have to save him. Where's the other doctor? He said He'd listen. He promised. + +KYLE responds quickly to this. His faith in MALAHIDE is strong, despite that curious incident of the previous night when MALAHIDE followed RONSON out of the room. + + @KYLE + Dr. Malahide. Yes. Look, I'll fetch him. You take it easy. I'm sure he can help. + +KYLE stands up, making soothing motions with his hands, and heads for the door. + + @KIRSTY + Help. No, no-one can help. I just want someone to listen or I WILL go crazy. + + @KYLE + If anyone can help, HE can. + +KIRSTY turns and gives KYLE a strange look as he opens the door. + + @KIRSTY + Yeah? He got a ticket to Hell? + +INT. HOSPITAL CORRIDOR DAY #34# + +We TRACK with KYLE down the corridor, eventually reaching an impressive door, which is slightly ajar. Even before we reach it, we hear MALAHIDE's voice. He is clearly on the phone. Because of the nature of what he is hearing, KYLE pauses when he reaches the door, listening with a confused expression on his face. + + @MALAHIDE + (off-camera & gradually fading up) + Officer Kucich? Yes, Doctor Malahide. You've spoken to Ronson? Yes ... That's right. The mattress ... No, I'll meet you by the side entrance. No, no, my HOUSE. Yes, let me make that clear. The house, NOT the hospital. ... Yes ... Fine, and thank you. + +We hear the phone click. KYLE waits a moment and then walks swiftly through the door, speaking as he does so. + + @KYLE + Doctor Malahide ... ? + +INT. HOSPITAL ROOM DAY #35# + +KIRSTY'S face fills the screen. Her voice is slightly dreamy, as if she is still trying to understand herself the story she is about to tell. + + @KIRSTY + It must have been going on forever... + +Her voice trails off. We pull out to see KIRSTY sitting up on herbed. MALAHIDE on the wooden chair, and KYLE standing by the door. MALAHIDE's voice pulls her back. + + @MALAHIDE + Kirsty...? + +KIRSTY snaps back and continues to speak in a more normal voice. + + @KIRSTY + But the part I know about, That must have started with my Uncle Frank... + + @MALAHIDE + Then let us speak of it ... + +>DISSOLVE TO + +EXT. MALAHIDE's HOUSE TWILIGHT #36# + +We TRACK in slowly towards a modern house that we will learn is MALAHIDE'S, up the drive, towards the front door. + +>DISSOLVE TO + +INT. MALAHIDE'S HALLWAY TWILIGHT #37# + +The TRACK continues along the hallway and into the OBSESSION ROOM. + +INT. OBSESSION ROOM NIGHT #38# + +The TRACK continues. The room is dim, lit only by stray shafts of moonlight. On the floor in the centre of the room is the mattress. The TRACK stops. A main light is clicked on and MALAHIDE moves into shot. MALAHIDE pours himself a scotch from the decanter that sits on the writing table and approaches the mattress. He is clearly very, excited. He walks around the mattress two or three times, never taking his eyes off it. He walks back to the writing table, throws his drink back, puts the glass down and leaves the room. + +EXT. MALAHIDE'S HOUSE NIGHT #39# + +MALAHIDE leaves through his front door and walks toward the hospital. + +INT. OBSESSION ROOM NIGHT #40# + +After a few seconds silence we hear a repeated clicking sound, as if something is being forced, followed by a louder snap and the sound of a sash window being opened. The curtains balloon inwards, part, and KYLE steps into the room. He stands still for a moment, as if making sure he is alone, and then begins to take in his surroundings. The room is entirely devoted to MALAHIDE'S secret obsession -with the Paranormal in general and the Lament Configuration in particular. It is a fair-sized, square shaped room. Prints, paintings, and photographs cover the walls. All of these pictures relate in someway to his obsession; photographs of ghost-sightings; portraits of magicians from Cagliostro to Crowley; prints of arcane symbols and pentagrams, etc. Specifically, we recognize a print that resembles very closely the jigsaw he has had TIFFANY recently solve. Also, there are framed diagrams (which look very old) of the Lament Configuration-Both open and closed. On a long, low table there are three glass cases. In each of these cases is a Lament Configuration. On each case is a small label giving a location, a date of acquisition, and a number -which we may assume to be the number of deaths attributable to that specific box. These labels read: CAIRO 3/4/'59 7 LYONS 6/2/'72 4 NEW YORK 12/3/'81 5There are also, on a small desk-top bookshelf on a writing table, editions of MALAHIDE'S own books. He seems to have spent his career publicly denying what he is privately obsessed with -because the books titles include 'Possession: Not Demons but Disease','The Myth of the Diabolic', and 'The Internal Inferno'. + + @KYLE + Jesus Christ. Jee-sus-kerr-ist! + +We assume he has visited MALAHIDE'S house before, but he has clearly never seen this room. He stares at the mattress with incredulity, as if he still can't believe his superior has had it brought here. Then he begins to look around the room in more detail. He approaches the glass cases and bends slightly to look at their contents. KYLE shakes his head. + + @KYLE + Oh, shit. + +INT. BASEMENT CORRIDOR NIGHT #41# + +MALAHIDE walks past a bank of meters and huge circuit breakers on his way to the lower end of the corridor, by the cells of the very disturbed. He stops by the cell of the man in the strait-jacket. We hear from the outside the familiar muttering of BROWNING. MALAHIDE enters the cell. + +INT. BROWNING'S CELL NIGHT #42# + +As MALAHIDE enters, BROWNING looks at him. His eyes demand, not plead, and he speaks through clenched teeth. + + @BROWNING + Get them off me. Get. Them. Off. Me. + +INT. OBSESSION ROOM NIGHT #43# + +KYLE is rooting through the drawers in the writing table. Generally the contents are unremarkable - handwritten notes, a few patients case-files etc. - but in one of the drawers he finds a black ring-binder which he takes out and lays on the table. It is a book of faces. There are about fifteen sheets in the binder. Some of them are genuine photographic prints, some photocopies of original photos. They range widely in age, race, and sex. They are all full-face portraits. Chronologically, the range is extensive too. Some pictures (generally photocopies) appear to date from the earliest days of photography, the late 1880's, others have an Edwardian appearance, or suggest the1920's. Only one or two seem to be less than thirty years old. KYLE flicks back and forward in the book, wondering on the significance of these people. He is lost in the musings when the click of the front door tells him MALAHIDE has returned. KYLE closes the book and quickly slips it back into the drawer. He heads rapidly for the window he came in through but realises MALAHIDE is too close for him to open it and make good his escape. Instead he stands between the window and the curtains, pulling the latter closed over him. MALAHIDE enters the room, leading BROWNING who is still strait-jacketed. + +INT. BEHIND THE CURTAIN NIGHT #44# + +We see KYLE standing very still in the limited space behind the curtains. It is clearly seen that, given the thoroughness with which he closed the curtains and his immobile position, he is unable to see what is happening in the room. He can hear, but not see. + +INT. OBSESSION ROOM NIGHT #45# + +MALAHIDE leads BROWNING across to the mattress. Standing beside it, he unbuckles and removes the strait-jacket from his patient. BROWNING, beneath the strait-jacket, is naked to the waist. His arms and chest are a mass of scars of various age and size. MALAHIDE gestures to the mattress. Now that his arms are free, BROWNING is scratching furiously. + + @MALAHIDE + Mr. Browning. Please, lie down. + +BROWNING lies down, still scratching, trust and hope in his eyes. + +INT. OBSESSION ROOM BROWNING'S DELUSION (BROWNING'S P.O.V.) #46# + +As if looking through BROWNING's eyes, we see his body stretched out before us on the mattress. The naked chest and arms are covered with raised lumps, red and painful-looking. As his scratching arms attack these lumps, they break open, revealing vile black insects that have hatched beneath his skin. BROWNING brushes these away while he scratches at the remaining lumps. + +INT. OBSESSION ROOM NIGHT #47# + +BROWNING has already re-opened some of the more recent scars, and blood slowly rises to the surface of his skin. MALAHIDE walks over to his writing table and goes into one of the drawers. He produces an old-fashioned cut-throat razor and walks back to BROWNING + + @MALAHIDE + Here. This will help. + +He proffers the razor. BROWNING seizes it. MALAHIDE steps back quickly, a mixture of anticipation and apprehension on his face. BROWNING slashes at his body and left arm with a short, sharp, slicing motions. In his mind, he is lancing the cysts that contain the tormenting insects. In reality, he is inflicting horrifying damage on himself. Blood pours from the multitude of wounds, running over his body and down onto the mattress. Suddenly, without any preliminaries, two painfully thin, flayed, mucus-covered arms shoot out of the mattress, one on either side of the still-busy BROWNING. They wrap themselves tightly across his chest and crush him tightly to the mattress, as a head, similarly wasted, oozes out of the mattress to the side of BROWNING's head. Beneath his delusions, BROWNING suddenly has an inkling of what is happening to him. His eyes widen and his mouth opens ready to emit a scream but the monster beneath him forces a hand over his mouth as it buries its face into the soft flesh of his neck. Two legs now rise from the oozing slime that the bloodstains on the mattress have become. They too wrap themselves around BROWNING so that he is held tight. Finally, with titanic effort, he gathers enough momentum to roll completely free of the mattress and falls to the floor beside it. The thing on his back now is pulling free from the bed of bubbling, frothing slime that the mattress now is with a sliding, slurping sound. The monster's face is now deep in the flesh of his throat, and even as BROWNING forces himself up first onto one knee and then, very unsteadily, onto his feet, we can see him wasting away - his face losing its fullness and colour, his chest sinking in on itself. The creature, which is still wrapped around him and clinging tight is, unlike him, growing in stature by the second. Muscles are inflating, arteries pumping more vigorously, and flesh itself filling out. Its horrific thin-ness when it first appeared effectively unsexed it but now, as its regeneration continues, the fullness of its hips, the roundness of its thighs, and the sacs of fat and muscle that bloom above its ribs confirm its female nature. If there was any doubt that this was JULIA, it is now disappearing. BROWNING is now nearly a walking corpse and it is the strength of his will alone that allows him to take a few faltering steps with JULIA still enveloping him. With the desperate strength with which she clings to him and the way her legs are wrapped around his hips, it is like an obscenely perverse parody of sexual passion. MALAHIDE has been watching all this with an incredible mix of emotions playing across his face. Still human enough to feel both fear and disgust at what is happening he is nevertheless awestruck and exhilarated. He has waited all his life for such an irrefutable demonstration of the power and the truth of the supernatural. Similarly, the scientist in him is fascinated by the living anatomy lessons that JULIA's regeneration and BROWNING rapid decay offer. With one last dying effort, the now-almost-husk-like BROWNING breaks JULIA'S grip and makes a futile step forward as she falls from him. He totters towards the curtains. Just as the audience think he will pull them down with him, revealing KYLE, JULIA grabs his ankle and pulls. He falls back to the floor. + +INT. BEHIND THE CURTAINS NIGHT #48# + +The loud noise of BROWNING's fall renews KYLE's resolve to see what is going on. Carefully, he shifts his position so that he can see through a small gap in the curtains. + +INT. KYLE'S P.O.V. NIGHT #49# + +KYLE may have heard one or two strange and unpleasant noises but BROWNING has not screamed nor JULIA spoken; nothing has prepared him for what he sees - a skinned woman sucking out what life remains from the dried husk of a psychotic man. + +INT. BEHIND THE CURTAINS NIGHT #50# + +KYLE's head jerks back, shaking as if he's just had an electric shock. His mouth moves but no sound emerges. + + @KYLE + (mimed) + Jesus Christ! + +His terror simultaneously urging speed and silence, KYLE gingerly maneuvers himself out of the window. + +INT. OBSESSION ROOM NIGHT #51# + +JULIA lies back satisfied on the floor. She looks up weakly at MALAHIDE. + + @JULIA + Help me. + +Her voice is perfect. MALAHIDE stares at her, his fascination intense. He crosses the few yards that separate them. He looks at her, lying beside the hollow shell that was CHEYNEY. Her eyes stare back, brilliant, sparkling, alive. + + @JULIA + Help Me. + +MALAHIDE realises her temporary vulnerability; all the life force she has absorbed from BROWNING has made up her body, but it will take some moments for the strength to return to her. Fascinated and sympathetic as he is however he cannot yet quite bring himself to touch this creature. Instead he moves the mattress nearer to her, allowing her to crawl back onto it and lie down again. MALAHIDE stares down at her. He attempts a smile, but is too nervous to make it convincing. He is trembling slightly. This contact with the beyond is something he has dreamt of for years, but nevertheless the physical reality is overwhelming. JULIA treats him to the approximation of a smile. She is far from nervous. She studies herself. Her figure is fully formed, her womanliness undeniable. All she is missing is a skin. She stretches her arms. She lifts her legs. She writhes on the bed in pleasure, like an X-ray photograph of a calendar girl. MALAHIDE stares at her, following the sensual movements of her body. He swallows, a little embarrassed by his response to the naked display he is privileged to watch. JULIA'S eyes twinkle at him. + + @JULIA + Don't be embarrassed. You're my friend. + +She looks away and continues her stretching and wiggling, more conscious of it now as an erotic display. The strength has flooded through her body as she rises to her feet, and steps off the mattress, smiling at MALAHIDE. MALAHIDE backs away from her as she moves towards him, doing his best to return her smile. After a few steps, JULIA stops and simply stares into MALAHIDE'Seyes. He too stops and returns the gaze. The camera circles them slowly several times, studying them - the dressed, nervous man and skinned, confident woman. + + @JULIA + Well? + +MALAHIDE says nothing. Perhaps he swallows nervously. The camera continues its circling movements. The scene FADES TO BLACK and JULIA begins to laugh, small, sensual giggles at first building finally as the blackness comes into an almost hysterical crescendo of raucous joy. + +INT. HOSPITAL ROOM NIGHT #52# + +KIRSTY is again lying on her back on top of the bed. She is a stark contrast to JULIA. No display. No laughter. Her eyes are open and red-rimmed from weeping now. There is also complete silence. All the more jarring, then, the sudden sound of someone fumbling at the handle of KIRSTY'S door. Her eyes widen in alarm and she flings herself off the bed, scanning the room for anything that can be used as a weapon. There is nothing but the chair and she she has all but lifted it aloft when she sees that it is KYLE, who comes into the room. + + @KIRSTY + Shit, Kyle. This is getting to be a habit. What is it, some kind of shock-therapy? + +She was angry, relieved, and amused when she realized it was KYLE and all these showed in her voice and face. Now they drop away completely, replaced by a nervous apprehension as she becomes aware of the blank horror on his face. + + @KIRSTY + Oh, Jesus. What is it? + +KYLE opens his mouth a few times, as if unsure what to say. + + @KYLE + It's all true. + +INT. TIFFANY'S ROOM NIGHT #53# + +TIFFANY walks around her room, staring at her completed puzzles -those on the wall and the one on the floor - and waiting for the next one. + +>FADE OUT + +>FADE IN + +EXT. MALAHIDE'S HOUSE DAY #54# + +A simple shot tells us it is the next morning. + +INT. OBSESSION ROOM MALAHIDE'S HOUSE DAY #55# + +MALAHIDE , dressed in a black suit, is in the room, staring at the empty mattress. We TRACK with him through to his LIVING ROOM. + +INT. LIVING ROOM MALAHIDE'S HOUSE DAY #56# + +In contrast to the secret and private obsession room, this room is the tasteful and upmarket room of the successful professional. It is a long spacious room with modern furniture and white walls. The walls are mostly free of decoration save for two or three large canvases of abstract art. The longest wall is broken up only by a low circular table, which rests against it about half way down. On this table is a very simple black vase containing a spray of beautiful white lilies. Above this vase on the wall is a large frameless mirror. As MALAHIDE enters, the first thing he sees is a bloody palm-print on one of his white walls. He blinks at it and looks down into the room. We CUT TO; JULIA. At first it seems she is staring at the lilies, but as we TRACK around her, we realise she is staring at the reflection of her skinned self. Her face snarls at herself, she roars with rage, forms her hand into a fist and shatters the mirror. MALAHIDE rushes towards her. She swings round and freezes him with a glance. They hold their positions for a moment, MALAHIDE nervous and JULIA furious, and then JULIA makes herself relax. She sighs, takes a few deep breaths, and then speaks. + + @JULIA + I'm cold. + +>TIME CUT + +INT. LIVING ROOM MALAHIDE'S HOUSE DAY #57# + +CLOSE UP on a strangely Art Deco electric fan heater, with bright red coils emitting waves of heat. We pull out to see MALAHIDE standing by the table with the flowers. There is now a half-full glass of wine on the table, along with an ashtray where a cigarette burns away ignored. A pack of cigarettes is now visible in the breast pocket of MALAHIDE's jacket. JULIA enters the room and closes the door behind her. She is dressed in one of MALAHIDE'S suits. It is a light weight suit of white linen, a suit for expensive holidays in hot countries. She crosses the room to the table; pausing slightly in the centre of the room, to allow MALAHIDE to look at her. + + @JULIA + Well? + +MALAHIDE'S nervousness has retreated a little, he manages to smile. He nods his head slowly a few times. + + @MALAHIDE + Yes... Yes. You look... + + @JULIA + Surreal? Strange? Nightmarish? + + @MALAHIDE + No. You look... + +He pauses, lost for words. JULIA doesn't wait for an answer. She crosses to the table and takes up his glass of wine. She downs it in one. MALAHIDE stares at her, a little surprised. + + @JULIA + Yes, I still like WINE ... + +She smiles strangely at him and then moves closer. Slowly, keeping her eyes on his, she reaches into his breast pocket for his packet of cigarettes and places one in her mouth. + + @JULIA + \... and more. + +For a moment, MALAHIDE's face is stone. Then, slowly, he returns her smile and, drawing his lighter, lights her cigarette. + +INT. SHOPPING MALL DAY #58# + +A large multi-level shopping complex obviously up-market and expensive. We see MALAHIDE, riding up one of the central escalators, looking around him as he does so, as if searching for a specific shop. He reaches the next level and begins to walk along one of the several avenues that lead away from the central square containing the escalators. He walks past several shops, looking in their windows; a chic specialty shop, a window full of clocks, a cutler's. Finally, he stops in front of one. He stares at its display window. The window is classily minimal. There is in fact only one dress in it. It is an exquisite white cocktail gown. The gown is full length but quite tight-fitting, merely flaring a little from below the knee, and has a halter-neck. MALAHIDE walks into the shop. + +INT. MALAHIDE'S BEDROOM DAY #59# + +We are looking at a reflection of MALAHIDE in the large mirror that covers the inside of his wardrobe door. His real hand and his reflected hand come together at the edge of the door and tip it slightly, changing the image that the mirror shows us. Now we see JULIA. She is in the dress from the shop in the mall. It is a perfect fit and shows her figure off very well. Being a halter-neck, however, her skinned arms and shoulders are completely bare. Also, it is quite low cut at the front, exposing a fair degree of visceral cleavage, and at the back. JULIA turns fully around in front of the mirror examining herself from every angle. Her mood is unreadable until she speaks. + + @JULIA + Close it. + +MALAHIDE does so. He understands and tries to console her.. + + @MALAHIDE + It's a beautiful dress... + + @JULIA + I know. + +>TIME CUT + +INT. LIVING ROOM MALAHIDE'S HOUSE DAY #59# + +CLOSE UP MALAHIDE'S hands applying wide, white, surgical bandages to JULIA. We pull out as MALAHIDE steps away from JULIA. They are both standing in the middle of the living room floor. JULIA'S arms, torso, and head are now completely enclosed in neatly and professionally applied bandages. There are three slits for her eyes and mouth but apart from these she is completely covered. Over these she is still wearing the white dress. + + @MALAHIDE + There... + +JULIA lifts her arms slightly to look at them and then touches her bandaged face. She turns towards MALAHIDE. The camera begins the same circling movement it made around them the previous night. MALAHIDE'S nervousness has practically disappeared. He has helped this woman. He has bandaged her and dressed her. He is slightly in awe of her, but it is now tinged with excitement, not fear. The camera's circling grows faster. + + @MALAHIDE + Well? + +JULIA walks towards him, slowly raising her hands. When she is close enough her hands cup his cheeks. She pulls him towards her, and, tipping her head to one side, kisses him. Her body moulds itself to his. She leans her head back. Where they have kissed blood has pressed up onto the bandage from her skinned flesh. It looks like smeared lipstick. + + @JULIA + Well? + +MALAHIDE puts his arms around her waist. They kiss tenderly. Slowly, almost nervously, he lowers his hands until they rest on her buttocks and presses her in towards him. They begin to spin themselves now, echoing the camera movements. They cross the room, kissing blindly, until they come to rest against the wall that bears JULIA's bloody palm print. JULIA twists their bodies so that MALAHIDE is pressed against the wall, and begins to move her hips forcefully and sensually against MALAHIDE. The camera is stationary now, watching without movement as MALAHIDE begins to raise JULIA's dress up her legs, her hand on his wrist, helping and encouraging. About halfway up the thigh, the bandaging disappears and the raw flesh is exposed. The kissing and the fumbling continue until they are making fast and violent love against the wall. His hands clutch tightly at her hips and he pulls his face away from the kissing to lean it on her shoulder so that we see his face as it grimaces in ecstasy. He cries out and shudders and slowly both their movements stop. He strokes at her back gently and their bodies relax. + + @JULIA + (almost coyly) + Now all we need is a skin. + +INT. BATHROOM KYLE'S APARTMENT DAY #60# + +CLOSE UP on shower jets hitting KIRSTY's face and naked shoulders. Her eyes are closed, but she smiles in pleasure as the water refreshes her. A knocking is heard. KIRSTY moves her head out of the water's path and shouts. + + @KIRSTY + Yeah? + +INT. KYLE'S APARTMENT DAY #61# + +It is basically a studio apartment - everything except the bathroom facilities is in the one room. There is a sofa - with sheets and blankets on it - a bed, a dining/all-purpose table with two chairs, shelves full of records and books, and a small working desk against one of the walls. The desk is weighed down by textbooks and notes and, tacked to the wall above it, are medical prints, some of the brain and central nervous system, but also two full coloured anatomical prints - one of a man and one of a woman. They could almost be portraits of JULIA and FRANK. KYLE, fully dressed, is standing by the bathroom door, his hand still in a knocking position. + + @KYLE + You O.K.? + +Silence. + + @KYLE + Kirsty? You O.K.? + +The bathroom door opens and KIRSTY Comes into the main room, dressed in a toweling robe that is clearly a 'hers' not a 'his'. + +She crosses the room to a mirror, rubbing at her wet hair with a towel. + + @KIRSTY + No bad dreams. + + @KYLE + So you slept O.K.? + +KIRSTY gestures at the sofa. + + @KIRSTY + As much as that bed of nails allowed. + +KYLE glances meaningfully at the bed as he replies. + + @KYLE + Well, the sofa isn't often used for sleeping on... + + @KIRSTY + Oh yeah? On your own a lot, Huh? + +KYLE grins. + + @KYLE + Like the robe? + +KIRSTY returns the smile via the mirror. KYLE crosses the room to sit at his dining table. Empty coffee cups, the remnants of a loaf and some cheese suggests their breakfast was simple and finished some time ago. KIRSTY gathers her clothes from by the sofa and moves back into the bathroom to dress. KYLE waits a few moments and then speaks. + + @KYLE + I think I need to talk. About what I saw. + +KIRSTY emerges, fully dressed, her hair still damp. + + @KIRSTY + You thought I was crazy, didn't you? + +KYLE spreads his hands wide. + + @KYLE + Jesus, yes! What do you expect. I mean, God, I still do! It's just that now I'm crazy too. + +He grins wryly. KIRSTY moves to the sofa and sits down. + + @KIRSTY + And you're sure it was a woman? + + @KYLE + God, I wish I could say no. This is going to do terrible things to my attitude, you know. + +KIRSTY grins at him. + + @KIRSTY + Don't worry about it. Your attitude sucks anyway. + + @KYLE + Hey, go for it. Don't let pity stop you. I'm down. Nail me. + +For a moment, they laugh together but then stop. + +KIRSTY stares downward and then suddenly bursts into tears. + + @KIRSTY + What can I do? How can I save him? + +KYLE joins her on the sofa. He offers an arm but she shakes it off. + + @KIRSTY + The box. I need the box. + + @KYLE + The box? Like in your story? Like in his house? + +KIRSTY's tears suddenly stop. She looks at KYLE. + + @KIRSTY + (sharply) + What? + + @KYLE + The Boxes. In the House. I told you. + + @KIRSTY + What do you mean? + + @KYLE + The boxes! I TOLD you. + + @KIRSTY + You DIDN'T tell me. Do you mean Malahide's got... + + @KYLE + Yeah. The things you were talking about. + +KIRSTY heads instantly for KYLE'S door. + + @KIRSTY + I'm going. + +KYLE runs across the room and puts a restraining hand on his door. + + @KYLE + Wait a minute. What do you mean, 'I'm going?' TO the HOUSE? + +KIRSTY nods and pulls at the door handle. + + @KIRSTY + Get out of the way. + + @KYLE + Are you crazy? + + @KIRSTY + I don't know, Kyle. You're the fucking expert. Now get out of the way! + + @KYLE + WHY? + + @KIRSTY + (shouting) + Because I'm going to get my father! + +Tears start to her eyes and she stares at KYLE defiantly. Then she repeats, more softly; + + @KIRSTY + I'm going to get my father. + +There is a two-second silence between them as they stare at each other. Finally, Kyle backs away from the door, raising a finger. + + @KYLE + Two seconds. Just two seconds. Don't move. + +He rushes across the room, grabs a jacket, and moves back to the door. + + @KYLE + O.K. Let's go. + + @KIRSTY + Kyle, you don't have... + + @KYLE + I KNOW I don't have to. It's just my time of the month to be a complete fucking idiot. O.K.? + +KIRSTY stares at him, her face at first blank then suffused with emotion. She leans across and plants a chaste kiss on his lips then pulls back. There is a beat while they simply stare at each other and suddenly they are tight in each other's arms, kissing fervently. But the kiss is fuelled, not by passion, but by fear and their mutual need for human solace in the face of the unknown. As the kiss continues, the camera pulls back from them. + +INT. THE BLOOD-BOUDOIR DAY #62# + +CLOSE UP as JULIA (still bandaged) and MALAHIDE come together fora kiss. + +They part and, as JULIA moves across the room, the camera begins a long TRACK around the room. First, it reaches a naked GIRL. As catatonic as TIFFANY, she says nothing but her eyes betray her terror. Her hands are tied above her. JULIA moves in towards the girl, her eyes glittering with an alien hunger beneath their gauze mask. As she nears the girl, the TRACK passes them and moves through the room. MALAHIDE has done his mistress proud. It had been an empty upstairs room (no furniture, bare floorboards) but now it resembles a nightmarish cross between a butcher's shop and a bordello. The camera slowly reveals, as it TRACKS, that there are seven more people in the room. Seven dead people. Dried-out husks. The TRACKING is now completing its circle around the room. After the corpses, we return to JULIA and the GIRL - but the GIRL too is now a hollow, dried-out shell. JULIA moves back into the centre of the room and stands still. MALAHIDE crosses the room to her quickly, drawing a wicked-looking kitchen knife from his pocket as he does so. He reaches JULIA and raises the knife to her face. With one swift, precise movement, he slices the bandages across the side of her face. JULIA raises her hand and pulls the mask away. The camera sweeps in toward her as she does this until her face is in CLOSE UP as the bandage-mask is pulled aside. Her face is perfect. + +EXT. MALAHIDE'S HOUSE DAY #63# + +MALAHIDE emerges from his front door. He is still in his black suit and looks every inch the respectable professional. He looks neither left nor right but moves straight off, a busy man with things to do. A few seconds after he has gone off-camera, KYLE and KIRSTY emerge from around the corner of the house. KYLE gestures to KIRSTY to follow him and leads her around to the window he broke in through on the previous night. + +INT. OBSESSION ROOM DAY #64# + +The room is much as we saw it last. The window slides up and KYLE pulls himself into the room. He looks around it carefully. Sure that the monster he saw the previous night is no longer in the room, he helps KIRSTY in through the window. KIRSTY's eyes go at once to the three LAMENT CONFIGURATIONS in the glass cases. She crosses the room eagerly. KYLE rushes after her and stops her opening one of the cases. + + @KYLE + Wait! The .. thing ... I want to be sure it's not here. + +KIRSTY nods and KYLE leaves the room. + +INT. STAIRS/LANDING MALAHIDE'S HOUSE DAY #65# + +KYLE advances carefully, and slowly, from the stairs onto the landing. He looks about him at every step he takes. Ahead of him on the landing is a door, which is very slightly ajar. He advances gingerly down the landing to the door. When he reaches it, he pauses. We see his face working as he ponders his choices -should he push it open inch by slow inch, or slam it inwards quickly? Very slowly he moves his hand towards the door. The camera matches his movement, moving in on his hand, the door, and the space between. His fingertips are less than an inch from touching the door when another hand shoots into view and grabs his wrist. JULIA has crept up beside him on the landing while all his attention was on the door. KYLE swings round in horror, his mouth opening to scream when he sees that JULIA has her other hand to her mouth, her finger at her lips in a silencing gesture. There is of course, nothing for him to recognize from the monstrous vision of the previous night. JULIA's arms, chest, and face are completely re-skinned now. All KYLE sees is a beautiful stranger in a white dress. + + @JULIA + Sssh. I think it's still here. + + @KYLE + What? The... The thing? + +JULIA nods. + + @JULIA + Yes. I had to stop you going in there because I knew you'd cry out. Any normal person would. It ... It's just TERRIBLE. + + @KYLE + Is it in there? + + @JULIA + No. Not now. + +KYLE swallows, nods, and gently, pushes the door open. He walks into the room. + +INT. THE BLOOD-BOUDOIR DAY #66# + +The camera follows KYLE into the room. He reaches the middle before horror and disgust stop him. He hears a click behind him and turns to see JULIA has come into the room and closes the door behind her. She looks at KYLE. + + @JULIA + Was I right? Is it terrible? + +KYLE stares all around him. All eight victims have been sucked dry. He is surrounded by dead husks. His face is ghastly. He looks like he is about to faint. He nods. His voice is a cracked whisper. + + @KYLE + Yes. Yes, it's terrible. + +JULIA crosses the room rapidly towards him. Her face is a picture of concern. + + @JULIA + Oh. You look awful. You poor boy. Come here... + +As she speaks, JULIA's arms are opening out to him. + +KYLE sees the comfort offered and advances towards her, too. As they come together, the camera moves around them and we see, for the first time, that JULIA is still incomplete; Her entire back is still glistening raw flesh, the naked bones of the spine still clearly visible. Their arms go around each other just as JULIA completes her speech; + + @JULIA + \... Come to Mother ... + +As KYLE's hands touch the sticky, mucoid meat of her shoulders, it is instantly clear to him what has happened. For a moment he freezes in terror. + +His arms fly from her and he throws his head back. But JULIA is very strong now and her grip does not relax. Kyle's expression is a mixture of terror and confusion as he stares into the beautiful face of the monster. JULIA smiles at him, a hungry, aroused smile. + + @JULIA + What's your name? + +KYLE can hardly speak for fear. + + @KYLE + Kyle... + + @JULIA + I'm JULIA. + +She raised one hand from his back to the back of his head and presses his face to hers. JULIA plays it exactly as a sensual, passionate kiss, her mouth wide open, her head moving rhythmically and sinuously. KYLE's reaction is somewhat different; his arms flail in panic(though only from the elbow - JULIA'S grip prevents anything more) and his head makes jerking, backward movements against her pressing hand. The camera moves around the embracing couple until it is behind JULIA. The back of her gown, as we know, is extremely low. As the kiss continues, we see skin creeping above the line of the gown at the base of her spine and gradually flowing up her back until finally it meets and blends perfectly with ragged and raw edges of the skin at her neck and shoulders. JULIA is complete again. While this process has been going on, KYLE has been dying slowly and horribly in her arms, his life force being sucked into her through their open mouths. His body, by the time her back is completely formed, is shrunken, hollow, and dried up. JULIA takes her arms from around the corpse of KYLE and steps back, allowing the husk to fall to the floor. JULIA licks her lips and looks down, not without affection, at the dead KYLE. She smiles. + + @JULIA + Thank you, Kyle. + +INT. OBSESSION ROOM DAY #67# + +KIRSTY has found the black ring-binder and laid it on the writing table. She has separated one of the photographs from the others and laid it out on the table beside the binder. It is the ENGLISH OFFICER from the opening sequence. KIRSTY has obviously recognized something familiar in it but she can't quite grasp it completely. She is still puzzling over it when she suddenly realises that several minutes have elapsed since KYLE left her there. Her head straightens up and her puzzled look is replaced by a slightly worried one. + + @KIRSTY + (to herself) + Kyle...? + +She folds up the photograph and puts it in her pocket. She crosses to the door and opens it. She does not go through it immediately but stands in the doorway for a moment, her hand still on the door, cocking her head slightly as if listening. + + @KIRSTY + (slightly louder) + Kyle? + +She can't hear anything, but she regards that as a bad sign, not a good one. She leaves the room. + +INT. STAIRS/LANDING DAY #68# + +KIRSTY makes her way up the stairs. Unlike KYLE a little earlier she moves up them quite quickly and advances onto the landing. When she is on the landing and looking at the closed door to JULIA's Boudoir she stops, standing still and staring at the door. KIRSTY suppresses a shudder. She bites her lip, takes two or three deep breaths, crosses to the door firmly, and flings it open, moving into the room even as she does so. + +INT. THE BLOOD-BOUDOIR DAY #69# + +KIRSTY moves three or four steps into the room and then stops dead. The door swings shut behind her. KIRSTY's eyes flick left and right, taking in the sickening details of the room's contents, and then stare straight ahead, focusing on the figure in white which is turning around to face her. JULIA completes her turn and looks at KIRSTY completely impassively for a moment. Then her mouth opens up into a smile of welcome - but there is nothing but hate in her eyes. + + @JULIA + Kirsty! How nice of you to drop in. + +JULIA glances meaningfully at the dead thing that lies beside her feet and then back at KIRSTY. + + @JULIA + You have surprisingly good taste in men. + +KIRSTY's fear and disgust are momentarily displaced by a furious rage as she realises what JULIA has done. Her face erupts into anger and she screams out. + + @KIRSTY + Kyle! No! I'll kill you, you... + +She flings herself across the room at JULIA even as she speaks. JULIA is completely unfazed by this attack and simply raises one arm. She seizes the wrist of the arm that KIRSTY has raised into a clenched fist and effortlessly throws KIRSTY bodily back across the room. We realise for the first time the immense physical strength that JULIA now possesses. KIRSTY smashes into the door and falls to a sitting position against it. She is shaken and slightly hurt enough not to get toher feet immediately but she stares at JULIA with undimmed hatred. JULIA throws a look halfway between a smile and a sneer. + + @JULIA + Oh, you can try it, you little bitch. I'd love you to try it. But I'm not just the woman I was. + + @KIRSTY + What, you mean you're something more than a whore with a vicious streak? + + @JULIA + I mean I'm something more than human, you little shit! + +JULIA snaps this first line but then holds her anger in check. She shakes her head and an amused smile plays across her lips. + + @JULIA + Oh, Kirsty. They didn't tell you, did they? I'm afraid they've changed the rules of the fairy tale; I'm no longer just the wicked step-mother. + +The smile disappears and she delivers the next line with an utterly straight face. It is, after all, the truth. + + @JULIA + Now I'm the Evil Queen. + +The hatred and the heat returns to her voice. + + @JULIA + So come on; Take your best shot, Snow White. + +KIRSTY scrambles to her feet and again charges at JULIA. JULIA steps forward to meet her advance and delivers a single back-handed swipe across KIRSTY's face with such force that not only is the girl knocked off her feet but is actually knocked unconscious. KIRSTY rolls onto her back and lies at JULIA's feet. JULIA stares down at the unconscious body. When it was awake, it was KIRSTY and her attitude to it was based on personal enmity. Now, it is simply another body and she judges it differently; it is firm, full, healthy, and young. We see the expression on her face change from hatred and triumph to pure appetite. She licks her lips and her eyes glisten. She begins to bend slightly towards it. + + @MALAHIDE + (off-camera) + Julia! + +The door to the room opens. JULIA straightens up and looks as MALAHIDE stands in the doorway. Her eyebrows question this interruption. A second later, and it is explained. He leads TIFFANY into the room. + +>TIME CUT + +INT. OBSESSION ROOM DAY #70# + +TIFFANY sits cross-legged in the middle of the floor. She appears to be alone in the room. Cradled in her lap is a Lament Configuration, taken from one of the glass cases on the low table. On a wall behind TIFFANY, one of the large prints that previously hung there has been taken down. Revealed in the space behind it is a large mirror. The camera moves in towards this mirror. + +INT. OBSESSION ROOM ALCOVE DAY #71# + +MALAHIDE and JULIA stand in a tiny and completely bare room. On the wall in front of them is a large window through which we see aback-view of TIFFANY in the obsession room. + +INT. OBSESSION ROOM DAY #72# + +TIFFANY looks around the room generally and then turns her attention completely to the LAMENT CONFIGURATION. She picks it up and turns it around in her hands, studying each of its faces intently. She begins trying to move the interlinked pieces within it. At first she has no success; the box appears to be one solid construction with no internal movement possible. She stops her attempts and studies it again for a moment, her face still impassive. Then she gives a tiny smile and begins again. Her movements are faster now, less tentative. Suddenly, there is a click and one of the panels on the box slides out slightly. The little music-box tune begins to play. To TIFFANY this is a marvelous reward - something the jigsaw never offered - and she lets out a little sound in response, somewhere between a sigh and a delighted giggle. It tempts her to even greater skill and her delighted fingers fly over the box. Another panel moves. Then two more. The tune is prettier and fuller. + +INT. OBSESSION ROOM ALCOVE DAY #73# + +MALAHIDE stares fixedly through the window, nervous but terribly excited. He is breathing rapidly and shallowly. Through the glass, TIFFANY's success continues. Small flashes of intense blue light begin to buzz around the box. The room grows darker and cracks begin to appear in its walls. JULIA seems quietly amused - both by what is going on in the room and by MALAHIDE's heated response to it. She glances from one to the other, her eyes twinkling. + + @JULIA + You're sure this is what you want? + +MALAHIDE doesn't take his eyes from the window. + + @MALAHIDE + It's what I've ALWAYS wanted. A view of ... beyond. + +He pauses. Perhaps he is being ungallant. He turns slightly towards JULIA and takes her hand. + + @MALAHIDE + You were almost enough, Julia but... I have to see. I have to KNOW. + +JULIA smiles indulgently. She nods. + + @JULIA + Oh, I quite understand. + +INT. OBSESSION ROOM DAY #74# + +TIFFANY is completely engrossed in the box. She seems blissfully unaware of the changes taking place in the room. The cracks have widened in the walls and, in some places, pieces of plaster have fallen away, revealing the slats beneath. Blue light begins to stream into the room, ignoring the geography of what should lie beyond its walls. Where the light comes through the slats, it is as broad beams of light, given contrast by the shadows of the slats. But it also comes through the smaller cracks and enters the room in intensely bright and very thin beams that criss-cross through the room almost like a laser display. Suddenly, TIFFANY's solution is complete. The central core of the box rises up and twists itself around into its final position. + +INT. OBSESSION ROOM ALCOVE DAY #75# + +MALAHIDE takes an almost involuntary step backward. His excitement has now reached the pitch where it is beyond obvious physical manifestation. He is perfectly still, his face perfectly impassive. + + @MALAHIDE + She's done it. + + @JULIA + She certainly has. + + @MALAHIDE + It's coming. + + @JULIA + It certainly is. + +MALAHIDE turns away to meet her eyes. There is a beat or two where absolutely nothing happens. The mirror explodes inwards into the alcove. + +INT. OBSESSION ROOM DAY #76# + +The room is filled with smoke and suffused with blue light. Two of the walls simply part physically, revealing entrances into the corridors of Hell. These corridors are lined with gray walls and seem to run for a great distance. TIFFANY still sits cross-legged in the middle of the floor, staring about her in astonishment. Surrounding her, in various parts of the room, are the four CENOBITES from HELLRAISER. The FEMALE CENOBITE smiles and advances towards TIFFANY. The leader of the CENOBITES, PINHEAD raises a hand. + + @PINHEAD + Wait. + +The FEMALE stops and looks questioningly at PINHEAD. PINHEAD, at a more leisurely pace, crosses towards TIFFANY and looks down at her. She stares back at him, the remnants of her insanity a temporary defense against fear, her face registering nothing. PINHEAD looks up. + + @PINHEAD + No. + +The FEMALE looks across at him. + + @CENOBITE + No? + +PINHEAD shakes his head. + + @PINHEAD + No. + +He glances down at TIFFANY again. + + @PINHEAD + It is not HANDS that call us... + +He looks up and stares directly at the shattered two-way mirror. + + @PINHEAD + \... It is DESIRE. + +INT. OBSESSION ROOM ALCOVE DAY #77# + +The wall opposite the shattered mirror has also opened up to reveal a way into Hell. MALAHIDE and JULIA are no longer in the alcove. We hear the ringing of their footsteps. They are making their way down the corridor. + +INT. OBSESSION ROOM DAY #78# + +The four CENOBITES have gone. TIFFANY looks around the room again. She stares from one entrance to the other. Her manner is reminiscent of when she is making decisions during her solving of puzzles. + +INT. BLOOD-BOUDOIR DAY #79# + +KIRSTY is still on the floor in the boudoir of blood. This room too is now suffused with blue light and smoke. There are no gateways to Hell in the walls but there are several cracks in the plaster and these appear to be spreading. KIRSTY moans and opens her eyes gingerly. She puts a hand to her face, rubbing at the place where JULIA hit her. Still a little groggy, she lifts herself slowly to a sitting position, her legs stretched out. Only when she has blinked a few times, shaken her head, and rubbed her jaw again, does full consciousness return - at which point she looks quickly about the room ( possibly expecting another attack from JULIA) and notices the light and the smoke. She has been in this atmosphere before. She knows precisely what it means. Her mouth opens and her eyes grow nervous again. + + @KIRSTY + Oh, shit. + +KIRSTY scrambles quickly to her feet and rushes through the door to the stairs. + +INT. OBSESSION ROOM DAY #80# + +KIRSTY enters the room just as TIFFANY is about to go down one of the corridors. KIRSTY screams at her. + + @KIRSTY + NO! + +TIFFANY stops, startled, and looks at the doorway and KIRSTY. KIRSTY raises her hands in a placatory gesture and speaks more softly. + + @KIRSTY + Wait. Wait. + +KIRSTY begins to move into the room slowly and shakes her head gently. + + @KIRSTY + Hey, remember me? From the hospital? I was in the next room? + +KIRSTY is rewarded with a small recognizing smile from TIFFANY, KIRSTY returns the smile. + + @KIRSTY + You don't want to go down there. You REALLY don't want to go down there. + +TIFFANY turns her head once more to look down the corridor and then turns back to KIRSTY. For a second it looks as if KIRSTY's persuasions have succeeded, but MALAHIDE's training has been too thorough; TIFFANY knows a puzzle when she sees one. She smiles once more at KIRSTY and then suddenly turns and disappears into the corridor. KIRSTY stands still for a moment, as if she can't quite believe that TIFFANY has done it. She shakes her head - half in disbelief and half in despair. + + @KIRSTY + Jesus Christ. + +Pausing only to pick up the LAMENT CONFIGURATION from where + +TIFFANY has left it on the floor, She heads straight for the corridor and follows TIFFANY in. + +INT. CORRIDORS/LABYRINTH #81# + +We are looking straight down one of the very long corridors of Hell. It has the same architecture as the corridor that appeared in the hospital room in HELLRAISER; walls of stained gray stone broken up by vaguely medieval-looking arches. KIRSTY comes into view, walking away from the camera. Ahead of her, at an illogically far distance given that she entered the corridor only seconds before KIRSTY, is TIFFANY. KIRSTY breaks into a slight run, and calls out to the girl. + + @KIRSTY + Tiffany. Wait! + +Her voice has an unpleasant ring in the acoustics of these corridors and echos horribly. KIRSTY pulls a face and doesn't shout again. She increases her pace slightly. Suddenly TIFFANY makes a sharp turn and enters an intersecting corridor. KIRSTY is forced to increase her speed even more. KIRSTY too makes the turn into another corridor. Even as she does so, she sees TIFFANY disappearing again into yet another intersection. KIRSTY follows and, again, the same thing happens. This happens several times and, always, KIRSTY never quite loses sight of TIFFANY but never quite catches up with her either. In short, TIFFANY's instincts were absolutely right; this too is another puzzle. The girls are lost in a concrete maze, full of twists and turns and labyrinthine windings. After enough turns have been made to completely confuse KIRSTY's sense of direction, she makes a final turn into one corridor and sees something different. At the end of this corridor is a blinding white light. As soon as KIRSTY sees the light, the air is filled with beautiful birdsong. TIFFANY disappears into the light as soon as KIRSTY sees it. Despite the light, despite the birdsong, KIRSTY is still suspicious and shouts out. + + @KIRSTY + Tiffany! Don't trust it! Don't Trust it! + +But it is too late. + +The girl is gone. KIRSTY follows-and vanishes into the light. + +INT. CORRIDORS/LABYRINTH #82# + +JULIA and MALAHIDE are seen in the corridors of the labyrinth. MALAHIDE's face is full of delight. He is absolutely the enchanted visitor. JULIA, on the other hand, walks with the brisk assurance of one on familiar territory. The corridors that MALAHIDE sees are different to KIRSTY'S; they are grotto-like, dotted with stalactites and stalagmites and not immediately unattractive. The walls contain portals of a glass-like substance at random intervals that emit blooming lights of different colors and MALAHIDE peers eagerly into several of these. In one, the view is like an aquarium. An alien fish swims past his eyes. Its body resembles a human brain but it has pincer-like claws. MALAHIDE presses his hand against the glass as the thing comes nearer. Suddenly, from within its body, the thing produces a perfect human forearm and hand and meets MALAHIDE's hand on the other side of the glass. MALAHIDE starts slightly but then keeps his hand there. He is turning his head to call JULIA's attention to this marvel when the thing suddenly forms a fist and begins to beat against the glass with tremendous force. MALAHIDE jumps back sharply, but the thing shatters the glass and leaps out at him. He gasps and runs up the corridor, the thing hopping after him on its one hand. As they pass JULIA, she tuts with the slightly exasperated but indulgent tone of a parent or a teacher. She steps on the thing, squashing it flat. It emits a horrible death-cry. + + @JULIA + Do be careful. + +INT. HELL'S SITTING ROOM DAY #83# + +White light fills the screen and KIRSTY steps through it into view. Instantly the White light contracts and disappears. KIRSTY finds herself standing in a beautiful family sitting room. The room is bathed in the warm light of a perfect summer's day. The birdsong KIRSTY heard earlier continues but is, if anything, even more melodic, even more sweet. The room is vaguely Edwardian in its decor; real wood furnishings and decorative porcelain ornaments. There is a large wooden dresser, on top of which are many photographs in old-fashioned brass frames. Despite herself, KIRSTY cannot resist a smile of pure pleasure at the appearance of the room. She touches some of the furniture, as if to assure herself it is real. She approaches the dresser and picks up one of the large framed photographs. She gasps in pleasure. We see the photograph. It is a family group and looks to be have been taken ten to twenty years ago. It is of a man, a woman, anda young girl of four or five. The man is clearly LARRY, albeit a younger version, and the little girl has dark, thick, slightly curly hair - just like KIRSTY'S. The woman is beautiful and has similar hair to her daughter. KIRSTY's eyes prick with tears - but they are clearly tears of happy memories. She smiles. + + @KIRSTY + Mommy... + +KIRSTY puts down the photograph of her family and looks around the room again. A troubled look crosses her face. Despite the apparent Summer light in the room, KIRSTY suddenly realises what it is that is odd. She looks from wall to wall with mounting distress on her face. There are no windows in the room. And no door. At this point, the odd discordant note in the birdsong becomes apparent. It is nothing too obvious at the moment - the total effect is simply less sweet than it was. KIRSTY looks back at the photograph and snatches it up, with a look of concern. The photograph has changed. It is now a wedding photo. The wedding of LARRY and JULIA. Suddenly the photograph begins to bleed. Blood pours from the paper itself, pressing up and smearing against the glass-so that it is momentarily framed blood, without a single trace of the picture showing. The blood begins to escape out of the frame, trickling over the lip that holds the glass in place and dripping onto KIRSTY's fingers. With a cry of horror, KIRSTY drops the frame. It lands on the floor and the glass shatters. The blood continues to flow. In fact, now that the glass does not restrain it, it fairly fountains out, spreading across the floor. KIRSTY steps back and glances at the dresser. Blood is flowing from every frame, pooling on the dresser and overflowing onto the floor. By now, the discordant elements in the birdsong are very much predominant and, as KIRSTY sweeps all the frames off the dresser and onto the floor with a scream of anguish, the birdsong gives way completely to a hideous, dissonant shrieking. KIRSTY throws her hands to her ears. + + @KIRSTY + Nooooo! + +She rushes at one of the walls and begins beating it with her fists. The walls are soft and pulpy and give slightly as her fists strike, like flabby flesh. KIRSTY stands back in disgust. The wall visibly bruises before her eyes, swelling and purpling. The light in the room, like the birdsong, has changed utterly. It is not dark, but simply dull, featureless, and depressing. KIRSTY turns away in disgust and finds that the whole room has given in to decay. The sofas and chairs are mildewed and rotten, the wooden furniture is ridden with woodworm and rot. A skinned rat runs across the room beside the buckled and chipped skirting board. A rotten leg gives way under a small chest and the bottom drawer spills out, freeing a whole family of quite large spiders which run wildly across the floor. Suddenly the room begins to fill with smoke, churned up by a never-increasing intensity of wind. The smoke obscures the screen. + +INT. BARE CHAMBER HELL #84# + +The smoke and wind subside but not entirely. KIRSTY is standing in exactly the same position in a room of exactly the same proportions, but which is completely empty and which has walls of the same gray stone that the corridors do. Suddenly, rising up from behind KIRSTY, comes PINHEAD. + + @PINHEAD + Ah, Kirsty. And we thought we'd lost you. + +KIRSTY swings round in terror. As the mist continues to clear, she sees, advancing to join PINHEAD, the FEMALE CENOBITE and the CHATTERER. Beyond them, it is now revealed, that this chamber has no fourth wall; it gives directly onto the corridors + + @FEMALE CENOBITE + So sweet of you to come back. + +KIRSTY begins to work furiously at the BOX she has brought from MALAHIDE's house. It sent them away at the end of HELLRAISER. She obviously hopes it will work again. PINHEAD raises a hand and the box simply flies out of KIRSTY's hands and hovers in the air between them. KIRSTY stares, open-mouthed. + + @PINHEAD + How can it send us back, child? We're already here. And so are you. + +Suddenly PINHEAD works at the box himself - by remote control and with dazzling skill. + +He turns the box rapidly through positions KIRSTY and we have never seen before - even opening it out at one stage into a large, two-dimensional square. Finally, it closes itself down -but in a wholly new shape; a white, multi-faceted, diamond shape- and drops back into KIRSTY's hands. He stares at KIRSTY and makes a small gesture with his brow. It is ALMOST cute. If anything, it resembles the cocky, aren't-I-clever look STEVE gave KIRSTY after swallowing the cigarette in HELLRAISER. Then his face assumes its normal deadly blankness. KIRSTY shakes her head dumbly and begins to back into a corner, hoping that if they converge on her, she might just be able to slip around them and get back to the labyrinth. + + @KIRSTY + No! You... You can't! It wasn't me... I didn't do it! I didn't open the box! + + @FEMALE CENOBITE + Didn't open the box. And what was it last time? Didn't know what the box was. And yet we DO keep finding each other, don't we? + + @PINHEAD + Oh, Kirsty; so eager to play, so reluctant to admit it. + + @FEMALE CENOBITE + Perhaps you're teasing us. Are you teasing us? + +To some extent, KIRSTY's ploy is working. + +The CENOBITES are moving closer together as they advance to the corner in which she stands. + + @KIRSTY + But I didn't open it! I didn't! + + @PINHEAD + Then why are you here? + + @KIRSTY + I've come for my father! + +KIRSTY shouts this with brave defiance. PINHEAD laughs in response, a very unattractive sound. + + @PINHEAD + But he's in his own Hell, child And quite unreachable. + +Suddenly KIRSTY makes her break shouting out as she does so. + + @KIRSTY + I don't believe you! + +It seems for a moment she has succeeded. She swings around the side of the CENOBITES and begins to run across the chamber. The CENOBITES do not move but suddenly, from nowhere a hook flies across the room, attached to a metal chain. The hook buries itself in the wall only inches in front of KIRSTY's face, the chain pulled tight and barring her path. The wall begins to bleed. KIRSTY screams. The CENOBITES turn to face her, but make no attempt to cross the room to her new position. + + @PINHEAD + But it's true, He is his own Hell. Just as you are in yours. + + @KIRSTY + And what about you? + +PINHEAD almost smiles at the naivete of the question. + + @PINHEAD + It's different for us. + + @FEMALE CENOBITE + We've always been here. + + @PINHEAD + We have no more surprises. + +Suddenly, as quickly as it came, the hook withdraws from the wall and flies back into nothingness. + +PINHEAD puts out his hand in an expansive gesture. + + @PINHEAD + But, please; feel free. Explore. We'll always be here... + +INT. CORRIDOR #85# + +KIRSTY can't quite believe this but she has no intention of questioning it. She runs into the corridor and away, with PINHEAD's last words echoing after her. + + @PINHEAD + \... we have Eternity to know your flesh! + +Delighted CENOBITE laughter follows her back into the labyrinth. + +KIRSTY drops the transformed BOX into her pocket as she begins running through the corridors again. The labyrinth seems tighter now - the corridors shorter, the turns sharper. Corner after corner we see KIRSTY turn. Accompanying this tightening, the light in the corridors becomes gradually murkier - not quite dark, more like the oppressive colourlessness that descends before a thunderstorm breaks. Occasionally there are little hissing noises from the walls themselves, which are accompanied by small jets of dull and heavy smoke escaping between the bricks. Over all this, there grows in volume on the soundtrack a rhythmic, labored, resonant sound - a sound somewhere between breathing and machinery. Suddenly, as KIRSTY turns one more corner, a hand reaches out to touch her. KIRSTY throws herself back against the far wall of the corridor, unsure whether to fight or flee. Then her face relaxes. It is TIFFANY. + +INT. CORRIDORS/LABYRINTH #86# + +In another corridor within the labyrinth, MALAHIDE and JULIA are walking. They too have found their way into the inner sections. They too are in tighter, sharper corridors where the light is distressing. They too hear the machine-like breathing noise. And what is revealed behind the portals in the corridor walls is less ambiguous in its unpleasantness; in one we see CHATTERER in some Hell's equivalent of a beauty salon. He is being re-made. This involves the scar tissue being manually peeled from the upper part of his face to reveal beneath small, vicious, human eyes. MALAHIDE's attitude has begun to change, as well. His nervousness now clearly outweighs his delight. He rushes on to the next portal. If the last room was a beauty salon, this is the orgy room. But the orgy is very strange. It is a very dark room, filled with afaint layer of smoke. In the background, a bound man is having his chest licked by a kneeling woman. She pulls her face back fora moment. Her tongue is horrifically long and studded with short, sharp blades. The man's chest is stripped of skin where she has been attending him. His face is a picture of ecstasy. In the foreground, three people are buried up to their waists in the floor. They are naked. The one in the middle is a woman, the other two, men. The one in front of her faces her, the one behind has his back to her back. They are all very, close. The men have various hooks in their chests, connected by chains to the unseen walls and their faces are impassive. The woman is unwounded and her head flicks back and forth, as if in the grip of a sexual climax of stunning ferocity. The movements of her head keep the details of her features blurred until, finally, it turns to give MALAHIDE a three-quarter profile and holds its position, its mouth open, its eyes half-closed in pleasure. It is JULIA's face. MALAHIDE gasps and pulls back from the portal. The camera TRACKS back to reveal that JULIA is still in the corridor, just a few yards in front of him + + @JULIA + Come. I have such sights to show you. + +MALAHIDE shakes his head crazily from side to side and begins to back away. JULIA looks at him and walks toward him slowly. She smiles. She strokes his cheek. She moves closer, gently slipping her arms around him and molding her body to his. She extends her tongue and licks lightly at his lower lip. He opens his mouth and returns the kiss, pressing her body more firmly to him. The kiss becomes quite passionate. + +INT. CORRIDORS/LABYRINTH #87# + +KIRSTY and TIFFANY are now walking together. KIRSTY is talking to her as calmly as her sense of urgency will allow. + + @KIRSTY + Do you see? You were RIGHT. This IS a puzzle, too. But WE'RE CAUGHT in the puzzle. + +KIRSTY stops walking and catches hold of TIFFANY's arm. TIFFANY stops, looks at the hand holding her arm, and then looks into KIRSTY's eyes. + + @KIRSTY + Yeah? + +TIFFANY smiles directly at KIRSTY and then returns her nod. + + @KIRSTY + Yeah? + +TIFFANY nods again, more emphatically. + + @KIRSTY + Yeah! + +KIRSTY throws her arms around TIFFANY and hugs her. + +INT. CORRIDORS/LABYRINTH #88# + +JULIA is leading MALAHIDE down a corridor which has intersections every few yards on both of its sides. JULIA walks past these shadowed entrances without pause, without a single sidelong glance. She is clearly confident, clearly back on her own turf. MALAHIDE, on the other hand, glances nervously into every one before moving on. There is also one last portal he looks into. He is gazing into a room where the floor is a vast, seething pool of maggots. Suddenly, something breaks the surface. It would doubtless scream were its mouth not full of maggots. It is BROWNING. His nightmare has come true; his skin is producing the maggots in a constant, spewing flow from numerous sores that pack his face. MALAHIDE turns away and calls to JULIA. + + @MALAHIDE + Enough. God, that's enough. We HAVE to go back. + +JULIA smiles at him. + + @JULIA + Go back? What on earth makes you think we can go back? + +MALAHIDE's jaw drops. + + @MALAHIDE + I want to go back! + + @JULIA + Sorry, friend. No day trips to Hell. Here you are. Here you stay. And forward the only way to go. + +JULIA turns back and walks on down the corridor. MALAHIDE, with a glance back at the maggot pool, turns after the now departing JULIA. + +INT. CORRIDORS/LABYRINTH #89# + +KIRSTY and TIFFANY are walking warily along a corridor when, suddenly, the corridor wall parts with a roar. Both girls jump, and TIFFANY cries out. A new, and very narrow corridor has been revealed. The GIRLS stare down it. It culminates in a door. Despite being set in a blank gray stone wall, the door is normal. But frightening -because it is an exact replica of the front door of 55 LODOVICO STREET, LARRY's house. Before KIRSTY can react to this, a voice issues from beyond the door. + + @VOICE + Kirsty! + +KIRSTY stops dead in her tracks. She looks at the door and moves toward it, walking slowly down the corridor. TIFFANY follows. + + @KIRSTY + (Very Tentatively) + Daddy...? + +Only a low moan comes from behind the door. + + @KIRSTY + Tiffany. Wait here. If I'm not back real soon - get out. Get home. + +Leaving TIFFANY in the corridor, KIRSTY opens the door and steps in. + +INT. THE BROTHERS' ROOM #90# + +The door that KIRSTY opens gives directly on to a room. Like the SITTING ROOM earlier this appears to be an ordinary room and not a stone wall chamber. It's wall-papered walls were once white but are now yellowed and old. Overhead there is an equally ancient four bladed wooden fan that turns sluggishly. In the middle of the floor is a small low table of vaguely Eastern design. On this table lie a hand of cards, face down, an empty and cloudy tumbler, and a soiled ashtray. Over by the far wall (the wall opposite to that containing the door) there is a mattress on the floor. A body like shape on this mattress is obscured by a heavy blanket that covers it. To the side of the mattress a latticed wooden screen stands, hiding whatever is behind it from those entering the room. If the atmosphere of the room reminds us of anything it is of the seedy bazaar where FRANK first bought the LAMENT CONFIGURATION. We are looking at the door as it opens inwards and KIRSTY slowly and nervously walks into the room. KIRSTY advances into the room. She stares at the mattress ahead of her. Above it written in blood on the wall, is the message she saw in her vision. I AM IN HELL: HELP ME. + + @KIRSTY + daddy... + +A low moan comes from the far end of the room. KIRSTY assumes it issues from the figure hidden beneath the blanket and walks nearer, lifting her arm in readiness to remove the blanket. + + @KIRSTY + Daddy. It's Kirsty... + +There is no response. + +KIRSTY arrives at the mattress and pulls the blanket back. She leaps backwards, her hand at her mouth stifling a scream. Lying on the bed is a husk like figure, vaguely female in shape. Despite its appearance of long decay, it is dressed in vaguely sexual garments of leather. Suddenly, the eyes pop open, revealing a vague remnant of life. + + @KIRSTY + Oh God. + +KIRSTY hurriedly, throws the blanket back over it. A voice issues into the room. It sounds like LARRY but, as we shall see, it is not. + + @VOICE + No. Over here. Behind the screen. + +KIRSTY walks carefully around the screen, giving it a wide berth in case of a trick. There is a figure standing against the wall behind the screen. It is deeply shadowed by the screen itself but is clearly male. KIRSTY gulps back a sob and her eyes fill with tears. + + @KIRSTY + Daddy... ? + +The figure leans slowly into the light, speaking as he does so. + + @FRANK + That's it, baby. Come to Daddy. + +KIRSTY stands still. There is a second where her face registers nothing. Then she screams. + + @KIRSTY + NO! + +it is her UNCLE FRANK, back in his skin and dressed in white shirt and jeans. + +FRANK chuckles. KIRSTY backs away from him into the room. FRANK puts out his right hand in a placatory gesture. KIRSTY realises he is not moving after her. She also sees that his body is curiously angled, the left side still in the deep shadow cast by the screen. Is there something else there? Something she can't quite see? FRANK's voice stops her wondering. + + @FRANK + What's the matter, Kirsty? It's only Frank. It's only Uncle Frank. + +KIRSTY's anger at being tricked wins over her fear and distress and she shouts at FRANK in fury. + + @KIRSTY + I should have known! I should've known he wouldn't be here! This place is only for filth like you! + +FRANK sneers. + + @FRANK + Oh, right. Daddy's died and gone to heaven, eh? + + @KIRSTY + Yes! + + @FRANK + Shit. Bull. Shit + +FRANK pauses and smiles. Then he begins to move more fully into the room, shifting his weight as he does so and dragging what was hidden into the light. KIRSTY screams again. FRANK's white shirt is cut off at the left shoulder. His arm is bare and, from the elbow down to the wrist, joined to another forearm. The flesh is completely fused, like that of siamese twins. As FRANK moves into the room, the owner of the other arm is revealed. It is his brother, LARRY. KIRSTY's father. LARRY, like his brother, is dressed in a white shirt (cut off atone shoulder) and jeans and, like his brother, has his skin back. His face is frozen into a permanent expression of terror and he seems incapable of any independent movement, simply being pulled along by FRANK. KIRSTY steps back in horror. + + @FRANK + See? He's here. You should learn to believe your Uncle Frank. + + @KIRSTY + No! He SHOULDN'T be here! It SHOULD'VE been a trick! + + @FRANK + 'Fraid not, baby. He belongs here. With me. We're the same. Brothers. Equal and opposite. Pure appetite. Pure banality. Too much feeling. None at all. + +KIRSTY's fear of FRANK is now outweighed by her contempt for his argument. + + @KIRSTY + You're full of shit, Frank Cotton. My Dad wasn't like that at all. He could feel. He could love. He loved ME. + +KIRSTY's voice breaks. + + @KIRSTY + He...he loved me. + + @FRANK + Don't waste your tears. Look at him! + +Her hatred for FRANK gives KIRSTY her strength back. + + @KIRSTY + He loved me, you bastard! He Loved me, he loved my mother. He even loved that bitch you betrayed him with! + +FRANK begins to move towards KIRSTY again, LARRY dragging behind him. + + @FRANK + Ah, Julia. She hasn't been to see me recently. That's why it's so nice to have you here, baby. Daddy's little girl. So pretty when she's upset. Come to Daddy, + +FRANK is very close to her, now. KIRSTY attempts to run across the room. FRANK seizes her arm and throws her back against the wall. He moves in close and presses against her. His voice is midway between arousal and anger. + + @FRANK + Now don't be naughty, Kirsty. Or I'll have to punish you first. Perhaps you'd like that. Would you like that? + +KIRSTY screams and stares pleadingly, at the still frozen LARRY. + + @KIRSTY + Daddy! Daddy! I love you! Help me! + + @FRANK + I'm your Daddy now, Kirsty. + +FRANK leans in to kiss the terrified KIRSTY. Suddenly, a hand appears at FRANK's throat and hurls him off KIRSTY. It is LARRY, roused by his daughter's cries. + + @LARRY + Get your fucking hands off my daughter, you bastard! + +Suddenly, the room, previously full of slow movements and tension, is full of furious, violent action as the fused brothers kick, tear, and punch at each other in a paroxysm of killing hatred. + +INT. THE CENTRE OF HELL #91# + +MALAHIDE and JULIA are at the end of a corridor. They turn into an open space. A vast open space. It is desert-like in its expanse, almost vanishing into infinity at its furthest reaches. It is criss-crossed by catwalks, on one of which MALAHIDE and JULIA now stand. Beside these catwalks, the ground falls away into mile-deep, dark, abysses. Above the catwalks, dominating the huge space, is the master of the labyrinth. The master, LEVIATHAN, is a monumentally huge, white, multi-faceted diamond, spinning on its own axis, entirely unsupported by any physical means, above its territory. Apart from its very immensity, the most unsettling thing about LEVIATHAN are the beams of black light that shine out from the corners of all its many facets. Due to the fast spinning, these beams shoot and swoop around the chamber, like a negative laser display of dazzling complexity. The sound that has been in the corridors is now magnified. It is the sound of LEVIATHAN's breath. MALAHIDE has walked the last few yards like a man in shock. Now a black beam strikes his face and images of horror flash before his eyes at almost subliminal speed. His face suddenly crumbles into an expression of incredulous terror, he makes a noise halfway between screaming and retching, and drops to his knees by the edge of the catwalk. Unfortunately, this allows him to look down into LEVIATHAN's pit. Looking down with him, we are given a sudden and vertiginously sickening realization of Hell's immensities. There is a drop of miles visible down the pit and, all the way down, as far as the eye can see, there are other catwalks cutting across the pit at various angles. MALAHIDE looks back up, his scream renewed by his sight of the pit. Two or three of the beams of black light flit across his face, filling his eyes with more subliminal images of horror as they pass; a child, a knife, and a dead animal; a naked woman whose private parts are made of sharp, oily, metal; perfect hands ending in crumbling, leprous fingers. Suddenly, LEVIATHAN stops spinning. Effortlessly. Instantly. Two more beams are projected at MALAHIDE but, as they come within a few yards of him, they become writhing pink limbs that fly out, seize MALAHIDE and lift him into the air. He screams out. + + @MALAHIDE + No! No! Julia! Help me! + +MALAHIDE is held in the air as JULIA replies. + + @JULIA + But you WANTED this. You wanted to SEE. You wanted to KNOW. And here it is. The heart of Hell. Leviathan. + +As she says this two of the thing's facets part to reveal a raw and gaping cavity lined with angry, sore-looking purple flesh directly behind the dangling MALAHIDE. The purple and pink walls of this flesh gash peel apart and open in various places to reveal blades, hooks and needles at the end of various vestigial limbs. The limbs holding MALAHIDE draw him back inexorably into this cavity. He has one last moment to meet JULIA's eyes. + + @JULIA + Why do you think I was allowed to go back? For YOU? No, it wanted souls. And I brought you. And you wanted to KNOW. Now you're both happy. + +MALAHIDE is now held within the walls of the gash. He opens his mouth for one final scream but one of the tiny needle-topped limbs flies at his mouth and sews his lips together with heavy blue wire before he can utter it. His eyes widen in both agony and horror. JULIA smiles. + + @JULIA + Goodbye, Doctor. It's been real. + +The gash heals itself, closing MALAHIDE within. Despite the gash having closed over MALAHIDE, the leathery flesh that covers that area is a mass of movement, ripples and bumps. Small rips and gashes appear and disappear on its surface, allowing us occasional and partial glimpses of MALAHIDE and what is happening to him. At one stage MALAHIDE's hand and forearm appear. A long deep, running cut has been made down the arm and the flesh peeled and folded back, revealing the meat and the muscle beneath. As we watch, two of the tiny operating limbs sew the flaps of flesh, still folded back, to the rest of the arm, leaving the wound open and un-healable. Another gash opens and MALAHIDE's face is visible. Here too the needles are at work, diving into and out of his flesh in a complicated sewing pattern that is finally pulled together beneath one ear, leaving MALAHIDE's features permanently pulled out of shape and decorated with running stitches of metal wire. Again, MALAHIDE's torso appears, naked. Two large triangular blades make deep parallel slashes down his chest. Two different limbs appear but these have sucker-like tips rather than metallic ones. They fasten onto the new cuts, as if battening. Instead they are injecting - as becomes apparent when MALAHIDE's skin turns blue. The blueness, the conscious disfigurement, and the almost decorative open wounds should serve to convey that what is happening to MALAHIDE is not simply torture; he is being transformed into a CENOBITE. JULIA watches with avid interest. + +INT. BROTHERS' ROOM #92# + +LARRY and FRANK are fighting furiously, tumbling around the room. LARRY is fuelled by righteous anger and revenge but FRANK has had more experience of dirty fighting. At one stage their free hands each have hold of the other man by the throat and are rolling along one of the walls, each trying to establish the dominant grip. They smash violently against one of the walls in the room. It gives and they fall through into the next room. + +INT. KNIFE ROOM #93# + +This is a small square room. With the exception of the doorway to the BROTHERS ROOM, every inch of the walls is covered with sharp and deadly-looking double-bladed knives -ie One blade is buried in the wall up to a central hilt/handle and the other blade juts out menacingly into the room. The two brothers tumble into the room. Their grips loosened by their fall through the wall, they land on the floor and rise to their feet, staring at each other but taking in the vicious nature of the room as well. + + @FRANK + How convenient. + +KIRSTY comes through and gasps as she sees the walls. + + @LARRY + Stay there, baby. Don't come in. + + @FRANK + Yes. Stay there. I'll be with you in a minute. + +LARRY and FRANK trade blows. FRANK lands a powerful blow to LARRY's jaw. It straightens LARRY up and FRANK slams the flat of his hand against his brother's chest. LARRY flies backwards. He flings out his arm to balance himself but he is nearer to the wall than he thinks and the impetus of his fall drives his arm onto the knives. LARRY cries out. FRANK grins and prepares to force his wounded brother completely onto the knives. Suddenly KIRSTY flies across the room at FRANK and beats at his back with her fists. FRANK snarls and, without turning around completely, flings her away from him. KIRSTY goes flying but lands just safely short of the deadly walls. LARRY, in the pause KIRSTY gave him and galvanized by her example, has found more strength. He pulls his arm painfully forward, clear of the knives, and throws himself to the side, forcing FRANK onto the knives. With a vicious push, LARRY impales his brother completely. FRANK howls, loud and long. Without pausing, LARRY pulls a knife free from the wall and, with one vicious slice, separates himself from his brother. LARRY rushes to KIRSTY and helps her to her feet. They embrace. There is a cry of horror off-camera. We pull out. TIFFANY has followed her friend. She stares in shock at LARRY's wounded arm and at the impaled FRANK. + +INT. THE CENTRE OF HELL #94# + +JULIA is being given more glimpses of the transforming MALAHIDE. The major surgery seems to be complete. There are no spinning blades or needles in sight as the gashes open. MALAHIDE's head is completely bald and his face, like the rest of his skin is blue. The only new sophistications are that his upper and lower eyelids have been stretched wide and stapled to his face and forehead, and that a new mouth has been sliced into what was his cheek before his features were pulled permanently to one side. Over the sound of LEVIATHAN's breath and the CENOBITE machinery still at work on MALAHIDE, FRANK's howl is heard. JULIA's head turns to the direction of this new sound. + + @JULIA + Frank... + +She turns away without a backward glance and moves back into the corridors. + +INT. THE KNIFE ROOM #95# + +FRANK is still impaled on the knives, but his anguished howl has become small whimpers of complaint (with, given his history with the CENOBITES, perhaps the tiniest note of pleasure in there, too) KIRSTY, LARRY and TIFFANY are now gathered together to one side of the room near the door that leads to the corridor. They should leave, but a kind of sick fascination keeps them watching FRANK. FRANK realises only leverage will pull him free of the knives and lifts his forearms up as much as they are free to. He turns his palms to face the knives and, with a growl of self-encouragement, drives them deeply onto the knives so that he can begin to push the rest of his impaled body backwards. It takes several seconds and much pain for him to succeed, but succeed he does. He flops backwards into the room. Several of the knives have stayed in him, rather than the wall -his chest is decorated, or armed, with many blades. Just as FRANK begins to stand, and just as LARRY and the girls snap out of it and are about to leave, the door from the CONVEYOR BELT ROOM opens and JULIA walks into the room. KIRSTY and LARRY gasp. FRANK gives a slow smile. + + @JULIA + Well, well. All my family together again. How very sweet. + + @FRANK + (delighted/flattered) + Julia. + + @JULIA + (Flatly) + Frank. + + @FRANK + I knew you'd come. + + @JULIA + You knew? + + @FRANK + Yes. You're a girl who remembers her promises. + + @JULIA + Oh, I do. I do. + +FRANK grins, his grin taking in LARRY, KIRSTY and TIFFANY as well as JULIA. He extends an arm to JULIA. + + @FRANK + And I know how much I mean to you. Come here. + +JULIA does not move. + + @FRANK + Come here. Kiss me. And then... + +He glances meaningfully at the others, perhaps stroking a blade of one of the knives in his chest. + + @FRANK + \... we'll have a real family re-union. + +Suddenly, surprisingly, LARRY laughs. + +He is genuinely amused. + + @LARRY + Jesus Christ, FRANK. I don't believe you. You don't know her at all do you? You still think you're in charge. + +JULIA still has not moved. + + @FRANK + Of course I am. She BELONGS to me. + +JULIA begins to cross the room to him. + + @KIRSTY + For God's sake! He KILLED you! + +JULIA doesn't pause. FRANK grins. + + @FRANK + She's forgiven me that. Haven't you? + +JULIA is now next to him. + + @JULIA + Do you really need to ask? + +FRANK laughs. + + @FRANK + Show them. + +JULIA glances at the knives. FRANK shrugs. + + @FRANK + Just a small inconvenience, babe. + +JULIA shifts position so she is standing behind him. She wraps her arms around him, one stroking his belly, the other across his shoulders. FRANK leans his head back and twists it slightly. They kiss. JULIA removes her arm from his stomach and slips it behind him. Nothing happens for a second and then, suddenly, FRANK's whole body spasms. We almost think it may be with pleasure until he breaks from the kiss and we see the confused expression on his face - and the blood bubbling at his mouth. There is a ripping, bursting sound and JULIA's hand emerges from his chest, covered in his blood. Clutched in her hand is his ruptured, still pumping heart. + + @LARRY + Jesus! Out. Out! + +He shepherds the girls quickly through the door to the corridor. FRANK's body begins to twitch. JULIA holds it tightly. + +INT CORRIDORS/LABYRINTH #96# + +They reach the end of the corridor. It terminates in a T-junction. TIFFANY automatically heads in one direction. KIRSTY makes to follow, but LARRY hesitates. + + @LARRY + Wait a minute. Why are we following her? Who is this? + + @KIRSTY + This is Tiffany + +KIRSTY shrugs. + + @KIRSTY + \... She's good at puzzles. + + @LARRY + Fine. + +They take the turn TIFFANY has indicated. + +INT THE KNIFE ROOM #97# + +JULIA still holds FRANK tight. Slowly, she raises the hand which holds his heart until it is in front of his face. FRANK's eyes are glassing over but he can still see. + + @JULIA + Nothing personal, babe. + +Without ceremony, she bursts the heart with one quick squeeze. + +INT THE CENTRE OF HELL #100# + +LARRY, KIRSTY and TIFFANY come running toward the camera. Initially oblivious to the fact that the corridor they were running along has widened and the walls retreated. Suddenly, they come to a stunned halt together, staring ahead of them with awestruck faces. + + @KIRSTY + Oh. My. God. + +The camera moves around them to take in what they see. They are of course in the central chamber of LEVIATHAN. LEVIATHAN is spinning again, the black beams flying around the chamber. TIFFANY screams. KIRSTY grabs her. + + @KIRSTY + Tiffany, listen. You've solved it. But we've got to solve it the OTHER way. See? See? We've got to get out. + +TIFFANY is frozen. + + @LARRY + Come on! + +LEVIATHAN spins, the beams fly. + + @KIRSTY + Please! Tiffany, Please! Get us out! Take us home, please! + +TIFFANY nods. They are just about to leave when LEVIATHAN stops spinning. A large beam flies down , carrying an object which lands on the catwalk before the HUMANS, who all take a step or two backwards. The beam withdraws. The object at first resembles a large and bloody plastic bag, but then internal movement begins to rip at this covering. Hands appear out of the rips and complete the removal. We realise that the bag-like thing was a kind of caul, a membranous after-birth that some creatures produce their young in. The thing inside completes its escape and stands clear of the shredded caul. Like a new-born child, it is stained and soiled with amniotic fluids and blood. But it is not a new born child. It is a NEW CENOBITE. And it used to be MALAHIDE. The transformation we caught glimpses of is now complete. Its skin is entirely blue, its head entirely bald. The decorative wounds and tortures we saw being applied are all present; its flesh is peeled back in various places, its features are threaded and distorted by, wire, its eyelids are stapled open. For a second it stands and regards the HUMANS before it. TIFFANY gasps in recognition. KIRSTY too knows what it was. + + @KIRSTY + Malahide ... + +For some reason, KIRSTY draws from her pocket the photo she took from the OBSESSION ROOM. + +She stares at it. + + @KIRSTY + Jesus Christ! Of course ... + +The MALAHIDE CENOBITE stretches its arms and flexes its fingers. + + @MALAHIDE + And to think I hesitated ... + +It looks at the HUMANS again, its gaze finally settling on the still shocked TIFFANY. + + @MALAHIDE + Tiffany. Come. I have a whole new world of puzzles for you to enjoy ... + +It reaches out its hand to her. + + @MALAHIDE + A whole new world of pleasures for you to endure. + +TIFFANY, confused and used to obeying her doctor's voice, tentatively stretches out her arm to meet the MALAHIDE CENOBITE's. LARRY suddenly walks between TIFFANY and MALAHIDE. The expression on his face is strange; it is not fear, nor defiance. It is simpler than that. He is really, really pissed off. + + @LARRY + No. I've had enough of this shit. Who the hell are you? + + @KIRSTY + It's ... + +LARRY waves a hand at her, but keeps his eyes on MALAHIDE. + + @LARRY + Never mind. Never mind. + +He points a finger at MALAHIDE's face, which is attempting aversion of PINHEAD's imposing glacial stare, but frankly, isn't quite making it. + + @LARRY + Fuck you and the horse you rode in on. + +Suddenly, he forms a fist with his unwounded arm and smashes it straight into MALAHIDE's face. + +MALAHIDE is completely decked. LARRY grabs TIFFANY by the shoulders and speaks urgently to her. + + @LARRY + O.K. You've done it before. You can do it again. GET US OUT OF HERE! + +The three of them run back up the catwalk. LEVIATHAN spins wildly and a myriad of black beams flow from it. As they shine into the catwalk they become limbs like those that captured MALAHIDE, but all with different tips; some are organic, vicious mouths, some are hooks or blades, some are faces, some are (as if LEVIATHAN Is too angry to be thinking straight) beautiful flowers. The limbs fly up the catwalk, but the HUMANS have gained too great a start. The limbs retract rapidly into the black lights. MALAHIDE staggers to his feet, just as LEVIATHAN re-directs its energy into forming and projecting one much fatter limb. It is dirty pink and segmented, like a vast earthworm. The end peels back as it flies toward MALAHIDE, revealing a cruel, metallic, and rapidly-spinning surgical saw. Just as MALAHIDE stands up straight, the limb smashes into the back of his skull. There is a distressing WHIRRING noise as the limb seals itself fleshily to MALAHIDE's skull and the former surgeon twitches and dances in horrible involuntary movements as LEVIATHAN takes over what little mind remains. + +INT CORRIDORS/LABYRINTH #101# + +KIRSTY, TIFFANY and LARRY are running, TIFFANY making the decisions as to direction. Down one corridor, blades and knives jut out from the opposite walls at random intervals and they have to weave at high speed between them. They negotiate the corridor successfully but, just as KIRSTY, bringing up the rear, emerges from it, she stumbles and half-falls. The re-structured BOX falls from her pocket and rolls back a few feet up the corridor. TIFFANY, who is nearest to her, helps her to her feet and, as she does so, catches sight of the BOX (or white diamond, as it is now). She makes as if to go and get it. KIRSTY holds her arm. + + @KIRSTY + No. Come on. We have to get out of here. + +TIFFANY moves away with KIRSTY, but not without a backward glance and a puzzled expression. They all make another turning. Suddenly, when they are about halfway down this next corridor, a new gap opens up behind them in the wall and a terrible sucking noise is heard. Corridor debris disappears into the vacuum. Luckily, LARRY has reached the end of the corridor and grasps the corner with one hand, seizing KIRSTY's hand with the other. KIRSTY grabs TIFFANY and the three of them flatten themselves against the wall, fighting against the suction. The force is tremendous and LARRY's finger are slowly losing hold. + +INT. CORRIDORS/LABYRINTH #102# + +CLOSE UP on a hand picking up the re-structured BOX from the corridor floor they have just left. + +INT. CORRIDORS/LABYRINTH #103# + +The sucking force is growing stronger by the second. Not only is LARRY's right hand losing its grip on the edge of the wall, but his left arm - stretched tight as it clings to KIRSTY and, via her, TIFFANY - is bleeding profusely again. Suddenly, JULIA appears at the top of the corridor next to LARRY. In her hand is the white diamond BOX that KIRSTY had let drop. + +She stays just out of range of the sucking wind. She stares at LARRY's weakening fingers and smiles. + + @JULIA + Oh, poor Larry. You never could hold on to anything for very long, could you? + +Suddenly, audaciously, his face set in a scowl of anger, LARRY lets go of the wall. Before she realises what is happening, he has grabbed JULIA's wrist and pulled her off her feet into the corridor. + +He lets go almost immediately and with a superhuman effort grabs at the corner again before the wind can claim him and the girls. JULIA is not so lucky; without support or foothold, she is seized by the wind and hurtles to the gap in the wall. She manages to brake herself by flinging her arms out to either side of her. For a moment she is held there and then the pressure begins to draw her in. In her left hand she still holds the BOX, but her right hand is only a few inches from TIFFANY's left. TIFFANY reaches her hand to her, not knowing JULIA as the others do. Their fingers just manage to interlock when JULIA's face registers a disbelieving shock. There is a terrible ripping sound. JULIA's new skin, so recently gained, is giving up its hold and has ripped right up the spine. JULIA is drawn from it. + + @JULIA + NOOOOOOOOOO! + +With a final, slurping sound, the skinned woman slips from the skin and disappears down the new corridor. + +The momentary break in tension allows LARRY to make one last effort. He rounds the corner and pulls the girls after him. TIFFANY, finally, realising what has happened, screams in terror and disgust, especially when she looks at what she has brought round the corner in her hand. She drops JULIA's skin to the floor as the three of them scramble to their feet and begin to run again. Still clutched in the skin's hollow fingers is the white diamond BOX. As they turn another corner, they see, very far in the distance, a glimmer of light. TIFFANY points excitedly. + + @KIRSTY + My God, it's her room! + + @LARRY + Let's go! + +He starts urging the girls down the corridor - a long and very narrow one - but KIRSTY shows some resistance. + + @KIRSTY + No. No, there's something wrong... + +Before they can discuss it, a new rushing sound is heard. They look back. Hurtling towards them is the ENGINEER from HELLRAISER. + +TIFFANY screams. + + @LARRY + Jesus. O.K. No more arguments. Just RUN! + +They begin one last panic-fuelled run down the narrow corridor, the ENGINEER at their heels. The sequence is equivalent to KIRSTY's pursuit by the ENGINEER in HELLRAISER, the twist here being that as they approach the entrance into TIFFANY's room the walls of the corridor, already thin, begin to close together. LARRY is bringing up the rear (the corridor is now so narrow only single file is possible) and he can almost feel the ENGINEER'S breath on his neck. + + @LARRY + Go. Go. Go. Go. Go!! + +Finally, almost impossibly, they reach the gap in the wall. + +TIFFANY tumbles through, then KIRSTY, and finally LARRY. Less than a micro-second after LARRY has made it, the walls seal themselves. + +INT. TIFFANY'S ROOM (2nd VERSION) DAY #104# + +As we see clearly the room they have come into, we perhaps share the feeling that KIRSTY expressed in the corridor; Something Is Wrong. The tiles that make up the floor are patterned as before but the individual tiles are larger. The room itself seems more spacious, the ceiling higher. There is a bowl of flowers by the window. The flowers were in full bloom before their trip to Hell but now they seem long dead. The audience have to notice most of this for themselves because LARRY, KIRSTY, and TIFFANY are too relieved by, and tired from, their escape to take this in immediately. LARRY seats himself in the chair, KIRSTY perches on the end of TIFFANY's bed. TIFFANY however walks straight across to her window. She is the first to notice anything. She stares at the flowers. + + @KIRSTY + Tiffany ... ? + +KIRSTY rises from the bed and joins TIFFANY by the window. + + @KIRSTY + But these were ... Daddy? + +LARRY rises to his feet. Just as he stands, a fleeting expression of bewilderment crosses his face. He strokes at his right arm with an unconscious gesture as he crosses the room. KIRSTY doesn't look at her father right away. + + @KIRSTY + These flowers. I saw them just... + +She looks at her father. A sea of sweat has broken out on his brow and face as he stares intensely at the flowers. KIRSTY's voice slows, begins to trail off. + + @KIRSTY + \...the day ...before... yesterday Daddy? Daddy! + +LARRY's eyes close. His entire face screws up as if an excruciating pain just hit him. He clamps his arm across his chest, the hands clutching his shoulders. He opens his eyes and looks at KIRSTY for a second, his expression one of surprise. Then his eyes roll up into the sockets and he collapses to the floor. TIFFANY has hardly had time to turn from the bowl of flowers before KIRSTY is kneeling by her father. + + @KIRSTY + Daddy! + +LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her. + + @KIRSTY + Get help. + +TIFFANY's eyes widen. She rushes to the door and disappears into the corridor. Within two seconds we hear an emergency alarm go off and TIFFANY re-enters the room. + + @KIRSTY + Pass me a pillow. + +TIFFANY does so and KIRSTY places it under the head of LARRY, whose lips are now blue and who is breathing very shallowly. KIRSTY looks up at TIFFANY, despair in her eyes. + + @KIRSTY + What do you do? I just don't know what to do. + +TIFFANY shakes her head helplessly. Suddenly, the door to the room flies open and two INTERNS - maybe Stan and Ollie from the carnival sequence - come in, complete with stretcher and gurney. They assess the situation with a glance and it is serious enough to make one of them break their professional silence. + + @INTERN + Coronary arrest. Let's be quick. + +They are good at their job - within seconds LARRY is secured on the gurney and they head for the door, KIRSTY and TIFFANY behind them. The following exchanges are spoken on the move. + + @KIRSTY + Is he going to be O.K.? + + @INTERN + We just can't say. O.R.'s on standby. They'll do what they can. + + @KIRSTY + But it's bad? + +The INTERNS exchange a glance and decide honesty is best. + + @INTERN + (gently but flatly) + Yeah. It's bad. + +INT. ELEVATOR DAY #105# + +The elevator is uncomfortably full, KIRSTY and TIFFANY squashed up against the back while the INTERNS hold the gurney in the centre. The elevator is descending. The ride seems to take longer than it should, even though they are going to basement level; like the look of TIFFANY's room, it's ALMOST normal but just different enough to make us slightly uneasy in an un-focused way. Eventually, though, it does come to a stop. TIFFANY squeezes KIRSTY's shoulder sympathetically (NOTE. RE: TIFFANY's character- it should be clear to the audience by this stage that, though she is still mute, TIFFANY is now a responsive, more rounded character) The INTERNS wheel the gurney out of the elevator and the girls follow. + +INT. BASEMENT CORRIDOR DAY #106# + +The basement corridor is long, cavernous, and not very pleasant. It has a grimier, more uncared-for look than the upper floors and the high ceiling is covered with an intricate system of naked pipes and conduits. The INTERNS wheel LARRY down this corridor, going so fast that KIRSTY and TIFFANY are continually breaking into a trot to keep up with them. At the far end of the corridor are a set of double doors. The nearer they all get to these doors, the tackier the corridor seems to become. The walls now have pipes running over them, aswell as the ceiling, and several of these pipes are dripping water into small pools on the corridor floor. The sound of these drips is artificially loud on the soundtrack. Finally, the doors are reached and the INTERNS, LARRY, KIRSTY and TIFFANY disappear through them. + +INT. PRE-OP ROOM DAY #107# + +This is a small ante-room to the operating room which is beyond a further set of double doors. Without ceremony the two INTERNS pass straight across this room to those doors and wheel the gurney through, one of them throwing back a parting remark to KIRSTY. + + @INTERN + Wait out here. A doctor will talk to you when we know more. + +The double doors part and close, giving just a glimpse of the operating room beyond, all lights, monitors and whirring machinery, and the several gowned and masked experts attending to LARRY. As the doors close, KIRSTY turns to TIFFANY, expecting a long wait before anyone comes to speak to them. Surprisingly, though, the doors open again almost immediately and two figures step through. They, too, are masked and gowned in surgical green and very little of them is visible. + + @KIRSTY + Is he going to be all right? + + @1st GOWNED FIGURE + (matter of factly) + No. He's not going to be all right. + +KIRSTY staggers visibly, shocked by this bluntness. + + @KIRSTY + Wh... + + @1st GOWNED FIGURE + No. He's going to die. He's got a ruptured aorta. He's going to die in agony. + +As he makes this speech, the mask of his colleague stains rapidly with blood, as if it is literally pouring from its mouth. Simultaneously, his own mask is slowly pierced by a score of nails bursting through from beneath. + +TIFFANY screams. The 1st GOWNED FIGURE pulls the mask and cap away from its face -It is PINHEAD. His colleague does the same. It is the FEMALE CENOBITE. + + @KIRSTY + Oh, Fuck. + +She's had too much experience with these two to hesitate. She grabs TIFFANY's arm and bursts through the double doors to the corridor. + +INT. BASEMENT CORRIDOR DAY #108# + +We are now looking along the corridor in the other direction -back towards the elevator. KIRSTY and TIFFANY come into shot, running rapidly along the corridor. As they make their way, a rumbling, flatulent sound is heard from the overhead pipes and they all begin to drip blood not water. We hear the sound of the doors flying open behind them. KIRSTY and TIFFANY reach the elevator. KIRSTY presses frantically on the call button, while TIFFANY looks behind them with frightened eyes. + + @KIRSTY + C'mon. C'MON! + +The sound of steadily-pacing, purposeful feet is heard coming up the corridor, getting louder, coming closer. KIRSTY begins hammering on the closed elevator doors. TIFFANY stifles a cry with her hand. + + @KIRSTY + COME ON!! + +Suddenly, the doors fly open. + +KIRSTY and TIFFANY tumble into the elevator. + +INT. BASEMENT CORRIDOR DAY (GIRLS' P.O.V.) #109# + +We see the door-frame of the elevator and the floor buttons beside it and, looking down the corridor through the open elevator doors, PINHEAD and the FEMALE CENOBITE marching towards us. We also see KIRSTY'S finger jabbing frantically at the floor buttons. The doors are not closing. The CENOBITES are getting very close. Finally, just as PINHEAD breaks from his determined but medium-paced stride and speeds up eagerly for the last two or three yards, extending his arm as he does so, the door slams shut across our vision and we hear the elevator machinery start up. + +INT. ELEVATOR DAY #110# + +KIRSTY leans against the back wall of the elevator, breathing heavily. TIFFANY stands very still in the middle, a frozen expression of fear on her face. + + @KIRSTY + Faster, you bastard, faster! + +She slams her fist against the elevator wall. The elevator stops. Its lights flicker. + + @KIRSTY + Oh, Jesus. I'm sorry. I'm sorry. I didn't mean it. + +The elevator starts again. + + @KIRSTY + It's O.K. They can't beat an elevator. Not upstairs. It'll be O.K. + +The lift stops, but this time it's where they want it. KIRSTY's finger hesitates over the DOOR OPEN button. + + @KIRSTY + It'll be O.K. + +She presses the button. + +INT. HOSPITAL CORRIDOR DAY (GIRLS P.O.V.) #111# + +We are looking at the closed elevator door. When it opens we will be looking down the corridor on the main hospital floor -the floor with the girls' rooms on. The door flies open. CHATTERER II lunges in at them. KIRSTY screams, but because of the eagerness of his lunge they are able to get around him as his impetus carries him to the back of the elevator. + +INT. HOSPITAL CORRIDOR DAY #112# + +The door begins to close as the girls straighten up in the corridor and as CHATTERER II turns around to come back out at them. He tries to put his hand out to stop the door closing, but succeeds only in trapping his fingers in the door. KIRSTY, as soon as the doors began to close, had hit the DOWN button. Now, she squeals with horror as she realises what is about to happen. The elevator begins to descend - we can tell this because CHATTERER II's fingers move down to the floor and are then sliced off. The GIRLS run off down the corridor. + + @KIRSTY + This way. Short cut. + +They turn into a set of double doors leading to a large ward. + +INT. LARGE WARD DAY #113# + +KIRSTY and TIFFANY enter the ward at a run and then slow down to a confused and horrified walk. Every bed in the ward is occupied, some by men, some by women, and every patient has in their hands, and is busily working on, a LAMENT CONFIGURATION. Despite this collective work-in, the BOXES obviously still have the vicious characteristics they have previously demonstrated when used individually - as is witnessed by the ten or so patients who are struggling on with their work despite having one or two hooks and chains connecting their flesh to their BOX. KIRSTY and TIFFANY move slowly down the room, a look of incredulity on both their faces. + + @KIRSTY + Oh, Christ. This isn't just personal anymore. + +TIFFANY nods slowly, her eyes flicking back and forth across the ward. Suddenly, the wheelchair patient from the earlier scene in this ward, who has been between two of the beds on one side of the ward, cuts across the GIRLS' path. He too has a BOX on his lap. As he passes in front of them, he looks at them, giggles in an unmistakably insane fashion, and gives them a conspiratorial wink. Then he simply proceeds to the other side of the ward. A second or so after this, as the GIRLS edge down the middle of the room, they hear a rushing sound behind the double doors they are heading towards. Suddenly, the doors slam open and revealed in the doorway is MALAHIDE. But he is not standing there. He is hovering about two feet off the floor. The umbilical limb that connects him to LEVIATHAN is still at the back of his skull. His face is contorted in a grin of manic glee as he floats three or four feet into the ward. + + @MALAHIDE + The Doctor is in! + +He laughs, and the sound is far from human. KIRSTY and TIFFANY stare at him. + + @TIFFANY + Oh, shit. + +KIRSTY looks sharply at TIFFANY for a second, as if she is about to comment on her re-found voice, but instead simply nods. She takes her friend's hand and the GIRLS begin to walk very slowly backwards to the far end of the ward. MALAHIDE is too enraptured of his new power to pay attention to specific victims and so makes no move to stop the GIRLS' slow retreat. Suddenly his palms erupt into a writhing mass of tentacle-like limbs as his head tips back to emit a wide band of LEVIATHAN's black light at the ceiling, accompanied by, renewed inhuman laughter. Taking this as their cue, the GIRLS turn and bolt for the doors at the far end of the ward and exit through them. The limbs extrude from MALAHIDE's palms only twelve inches or so and are all quite thin, but they all have independent movement and they all have various surgical-like, gleaming tips. MALAHIDE floats over to the nearest bed. He looks at the patient and then looks at the bladed tips of his new limbs and, as if addressing them, speaks. + + @MALAHIDE + I recommend amputation. + +There is another burst of laughter as the limbs fly at the patient, writhing, twitching, slashing, and slicing. + +INT. HOSPITAL CORRIDOR DAY #114# + +The GIRLS run wildly along the corridor, not knowing MALAHIDE is working his way through his former patients. They come to another door and pause. They look back down the corridor to ensure they are not visible as they hide and KIRSTY pushes the door open with the flat of her hand behind her. Carefully, still looking down the corridor, they back into the room and let the door close. + +INT. HOSPITAL/TORTURE ROOM DAY #115# + +CLOSE UP on the GIRLS' faces as the door closes in front of them. KIRSTY lets out a breath. Then they hear the rattling sound behind them. They swing round and the camera pulls out to take in the room. It is like the TORTURE ROOM in HELLRAISER. The walls are black, the floor slimy, and the room filled with chains, hooks, and torture-pillars. And, in the room and staring at the GIRLS, are the four CENOBITES. PINHEAD glances theatrically around the room, as if checking something. + + @PINHEAD + Oh. No Boxes. Such a shame. + + @FEMALE CENOBITE + No more delays, Kirsty. No more teasing. Time to play. + + @PINHEAD + Time to play. + +KIRSTY looks at his unforgiving face and then her eyes suddenly widen as she thinks Of something. + + @KIRSTY + Wait! + + @PINHEAD + No more deals, Kirsty. It's your flesh we want to experience, not your skill at bargaining. + + @KIRSTY + No deals! Just information. Information. Free of charge. No strings. Just information. + + @PINHEAD + Go on. But trick us again, child, and your suffering will be legendary even in Hell. + +Carefully, making no fast movements, KIRSTY reaches into her pocket where she placed the photograph from MALAHIDE's OBSESSION ROOM. + +She brings out the picture that she realized earlier was of PINHEAD and hands it to him. He takes hold of it and looks, his face registering nothing. + + @PINHEAD + What is this? Someone else you think escaped us, like Frank? + + @KIRSTY + No, No, this one didn't escape. You told me you'd always been in Hell. You were wrong. Look at it. LOOK. IT'S YOU. + + @PINHEAD + Nonsense, I... + + @KIRSTY + It's you! You HAVEN'T always been as you are. You were HUMAN. Remember. Remember all your confusions. Think! + +The FEMALE CENOBITE strides across the room. + + @FEMALE CENOBITE + Enough! + +She raises her hand towards KIRSTY. PINHEAD's arm flies out and stops her. + + @PINHEAD + Wait! + +He is staring at the photograph, that great immobile brow finally puckering, as if something is stirring. + + @PINHEAD + I...remember. + + @KIRSTY + You were ALL human! + +The other three CENOBITES stop moving and stare at KIRSTY. Any advances they were making on KIRSTY or TIFFANY stop as the same dim, distant, recollection begins to stir within them. Suddenly, the door bursts open. MALAHIDE is there, still floating, his voice still a mixture of hideous threat and insane joy. + + @MALAHIDE + Tiffany. Come. + +He turns his palms downwards, mirroring his gesture in the hall of mirrors. TIFFANY lets out a moan of terror and shakes her head. One of the snake-like limbs from MALAHIDE's palms flies towards TIFFANY's face. Before anybody can react, its scalpel tip has sliced an inch or so off several strands of her hair. + + @MALAHIDE + Tiffany. Come. + +KIRSTY throws her arms around the cowering TIFFANY and snarls at her tormentor. + + @KIRSTY + Leave her alone, you asshole! + +MALAHIDE makes no reply, but suddenly several more limbs fly towards the GIRLS and begin to weave in front of KIRSTY's face like snakes awaiting their moment. At this stage, the camera CUTS TO the watching PINHEAD. He lets the photograph of his past life flutter to the floor. MALAHIDE looks up at the tiny noise this makes and his eyes meet PINHEAD'S. He turns more fully to face PINHEAD and the other CENOBITES who are now standing with their leader, and a strange smile crosses his face + + @MALAHIDE + Oh, good. A fight. + +Suddenly, the air is full of flying chains. MALAHIDE is hooked everywhere. It is like a high-speed version of FRANK's final re-capture in HELLRAISER. The chains start tugging almost instantly. Is MALAHIDE about to be ripped apart? With contemptuous, dismissive speed, the limbs that ooze from MALAHIDE's palms have sliced the chains to pieces and, almost before we have time to realise that, three of them have lengthened, thickened, and hardened and have skewered the FEMALE CENOBITE, CHATTERER II, and BUTTERBALL to the walls. The three limbs detach themselves from MALAHIDE. The three CENOBITES are all well above the floor, pinned and twitching like the rats in FRANK's attic. As they die, they suddenly revert; there are three human corpses on the walls of the room. A woman, a fat man, and a little boy. MALAHIDE smiles. He looks at PINHEAD again and advances. Suddenly a heavy torture pillar smashes into him, knocking him slightly off-balance. PINHEAD is backing across the room, weaving pillars in front of him as he moves. MALAHIDE moves forward, knocking them out of the way. As each pillar is knocked aside, PINHEAD's face is more and more human. Finally, when the face we see is nearly that of the ENGLISH OFFICER from the opening, he turns his head slightly away from the advancing MALAHIDE and finds KIRSTY's eyes. A look passes between them. Understanding? Gratitude? Friendship? Whatever emotion lies beneath it, it is clearly a cue and KIRSTY and TIFFANY make a break for it, bursting through the door. Simultaneously to this, MALAHIDE and PINHEAD find each other's eyes a final time. For a second, everything is still then a single bladed limb flies across the space between them and neatly and calmly slices PINHEAD's throat open. The thin red line becomes a torrent of blood and the former lord of Hell falls dead at the feet of his successor. + +INT. HOSPITAL CORRIDOR DAY #116# + +KIRSTY and TIFFANY burst out into the corridor and almost fall over the PATIENT IN THE WHEELCHAIR. + + @PATIENT + So what, girls? It's O.K. for an ego-trip but it doesn't get the job done. + +Shaking their heads at the insanity, they run up the corridor. + +TIFFANY looks slightly distracted and when she speaks it is half to herself. + + @TIFFANY + I have to go back. Or it'll never stop. + + @KIRSTY + (Confused) + What are you talking... + + @TIFFANY + (to herself) + I've got to finish it. + + @KIRSTY + Finish what? + +Even as KIRSTY says this, TIFFANY has moved past her and is resuming her run down the corridor. + + @KIRSTY + Tiffany! Wait! + +KIRSTY starts after her friend. They turn back into the main section of the corridor that contains their own rooms, TIFFANY still four or five yards in front of KIRSTY. TIFFANY reaches her room. The door is open. She goes in. A second later, KIRSTY follows. + +INT. TIFFANY'S ROOM DAY #117# + +KIRSTY enters the room. It is as we last saw it except that the walls have re-parted to give onto the corridors of Hell. Carefully and slowly, KIRSTY moves across to the entrance and looks down it. She is rewarded with the sight of TIFFANY just disappearing at the far end of the first corridor. With a grimace, KIRSTY follows her in. + +INT. CORRIDOR/LABYRINTH #118# + +TIFFANY's skill at finding her way through puzzles means the GIRLS are soon in the murkier corridors close to the Centre. Hell seems angrier now, steam is issuing in jets from the corridor walls, the cries of children are heard faintly on the soundtrack, LEVIATHAN's breathing is more dominant, perhaps the light is even pulsing in time with it. KIRSTY is still several yards behind TIFFANY. TIFFANY takes a corner and is out of sight for a second or so . KIRSTY dashes around the corner to find TIFFANY staring with distress at something on the floor. It is the skin ripped off JULIA by the vacuum tunnel earlier. + + @KIRSTY + Oh, gross. + +TIFFANY bends down and retrieves the white diamond BOX from the empty fingers. + + @KIRSTY + What are you doing? What are WE doing? + +TIFFANY looks at the BOX in her hand. When she speaks, it is not to KIRSTY but to herself. + + @TIFFANY + I can't do it here. I have to go to it. + +INT. THE CENTRE OF HELL #119# + +LEVIATHAN spins and fires light in the centre, his machine-like breathing drowning all other sound. We are looking down the catwalk as KIRSTY and TIFFANY approach its edge. The beams of black light wash across their faces, as they passed over MALAHIDE's in the earlier scene. Images of horror freeze momentarily before them and then pass on, only to be replaced by others. + + @TIFFANY + I'm scared. + + @KIRSTY + No. Don't let it. You've come this far. + +The GIRLS press on. Whether LEVIATHAN is oblivious to their presence or simply doesn't consider them a threat, the beams stop striking the GIRLS' faces. Nevertheless, the mood remains ominous. The audience should feel something is about to happen. They are six feet from the lip of the catwalk. TIFFANY kneels and, holding the white diamond BOX in front of her, begins to move her fingers over it. The music box tune begins to play as the BOX begins to move. That 'something' that the audience was waiting to happen, suddenly does; MALAHIDE flies up from the abyss beside the catwalk. The vastness of the limb that seals him to LEVIATHAN is now directly apparent; instead of merging into black light, the limb itself trails through the air over the huge distance to LEVIATHAN itself. One of the limbs from MALAHIDE's palms flies out and knocks the BOX from TIFFANY's hands. It rolls perilously close to the edge of the catwalk. KIRSTY grabs TIFFANY and, dragging her to her feet, pulls her further back down the catwalk as MALAHIDE floats to a landing between them and the BOX. + + @MALAHIDE + Ah, girls. And how are we feeling today? + +The blades on the end of his limbs twitch eagerly. + + @MALAHIDE + You have your whole lives behind you now. + +The limbs fly forward. KIRSTY screams and both girls run up the catwalk. About halfway back up, however, TIFFANY stops, turns around, and begins to walk back. KIRSTY calls out. + + @KIRSTY + Tiffany! No! + +The camera stays with TIFFANY as she makes her way back. KIRSTY's voice stays on the soundtrack for a time, imploring her friend to turn back and then simply stops. This should be abrupt enough to make the audience notice but smooth enough to avoid their attention leaving TIFFANY. MALAHIDE waits, happy to see a patient so keen on the knife. Very slowly, TIFFANY moves forward, inch by slow inch. This is something she HAS to do; the expression on her face is not determination but terror. And MALAHIDE is very happy to encourage this. + + @MALAHIDE + Surgery is open, Tiffany. What was today's agenda? + +His scalpels flick in the air, making small slicing motions. + + @MALAHIDE + Ah, yes. Evisceration. + +Still TIFFANY comes forward, closer and closer until she is surely close enough to be grabbed. Suddenly, she is grabbed. But from behind, and by a human hand. + +TIFFANY gasps, and turns to see who has seized her. She screams. It is JULIA. The limbs retract into MALAHIDE's palms. He smiles. + + @JULIA + Doctor. I've missed you. + +JULIA, having presumably just replaced her skin, is not quite as perfect as before; there are bloody lines like scars beneath her ears and chin as if the skin required some adjustment before being put on. JULIA moves forward, her left arm still holding TIFFANY, her smile returning MALAHIDE'S. + + @MALAHIDE + I knew you'd come back. + + @JULIA + I'm a girl who keeps her promises. + +JULIA is right next to MALAHIDE now. Smoothly, she releases her grip on TIFFANY and embraces MALAHIDE sensuously. He returns the embrace. They kiss. Unseen, TIFFANY moves to the edge of the catwalk and picks up the BOX. Her fingers move over it, finding its solution. Suddenly, LEVIATHAN's breath becomes a roar of anger and fear. MALAHIDE breaks away from his kiss, his face a mixture of confusion and rage. JULIA plants both hands in the middle of his chest and pushes. He falls over the lip of the catwalk but, almost before he drops from sight, he is suddenly pulled backwards through the air, screaming, as LEVIATHAN's limb retracts. JULIA jumps back. shouting. + + @JULIA + Do it, Tiffany! Do it! + +TIFFANY's fingers fly over the BOX and suddenly we see what is happening. The mountain-like LEVIATHAN is following the movements of the small replica in TIFFANY's hands. As TIFFANY inverts the new configuration back towards a closed BOX, LEVIATHAN too is being twisted and turned. Being closed. The whole centre of Hell shakes as if suffering a mild earthquake. JULIA and TIFFANY almost lose their footing, but TIFFANY continues working. She is nearly, there. LEVIATHAN is halfway between its white diamond, majesty and a huge closed BOX. TIFFANY takes her hands from the BOX. It is done. The larger BOX operates a few seconds behind it's control, so that we can inter-cut the final sliding and creaking into position with the following human drama; As LEVIATHAN makes its final closing, the mild tremors of before become larger. Hell shakes violently and this time TIFFANY does lose her footing. She looks set to tumble into the vast abyss to the side of the catwalk but just manages to catch hold of the edge with one hand. The small BOX flies from her hand and hurtles down into the miles of blackness below. TIFFANY dangles over the edge, her feet kicking wildly for a foothold that doesn't exist. Suddenly, a hand extends to her. She looks up. It is JULIA. For a second, nothing happens. + + @JULIA + Trust me. + +TIFFANY lifts one hand off the edge and grabs at JULIA's proffered wrist. JULIA begins to pull up and for a moment it seems the crisis is over. Then a terrible and familiar ripping noise is heard: The skin of the arm that TIFFANY clings to begins to rip free at the shoulder. Gradually, like a shirt's threads unraveling, it comes off. TIFFANY's weight pulls it clear like a very long and very tasteless evening glove and it seems she will finally make the long drop. At the final second, as the arm-skin comes off, the entire skin flies from the body and falls with its arm into the abyss. TIFFANY screams. She is going to die. But suddenly the two arms that have Just lost their skin fly out again and catch her fingers. TIFFANY is hauled over the edge and staggers to her feet, staring into the bloodied face of KIRSTY, who had donned JULIA's skin to help her friend. The two girls share a quick and joyous embrace and then run rapidly up the catwalk. The camera stays with LEVIATHAN. The rumbling stops. And the mountainous BOX creaks into its final, sealed position. + +>FADE OUT + +>FADE IN + +INT. RECOVERY ROOM DAY #120# + +CLOSE UP on a bowl of beautiful flowers, sitting on a shelf in the recovery room. The camera TRACKS out to let us see LARRY, pale, drawn, but basically okay, in the room's single bed. He is wired up to various drips and monitors. Sunlight is flooding into the room from a window and the camera continues its TRACK up to and through this window to; + +EXT. HOSPITAL MAIN ENTRANCE DAY #121# + +KIRSTY is kissing TIFFANY on the cheek. TIFFANY is dressed in smart clothes and has a small traveling bag in her hand. + + @KIRSTY + So. What're you going to do? Open up a games-shop somewhere? Sell jigsaw puzzles? + +TIFFANY gives a smile. + + @TIFFANY + Oh, yeah. + +There is a slightly awkward pause. + + @KIRSTY + Well ... G'bye. + + @TIFFANY + It's been Hell. + +They share a rueful knowing smile, like the smile of soldiers back from a war who say goodbye on a dockside and know they will never meet again. TIFFANY turns and walks down the long path to the hospital gates. KIRSTY watches her for a few moments and then turns and re-enters the institute. The camera TRACKS back to the window of the RECOVERY ROOM and we watch through the window as KIRSTY enters the room. She bends to kiss her father's cheek. LARRY slips an arm around her shoulders and they embrace. The camera moves away again. + +INT. HALLWAY MALAHIDE's HOUSE DAY #122# + +The camera TRACKS slowly up MALAHIDE's hallway. The hallway is lined with packing cases filled with items from the house. A WORKMAN is shoving something into one of the cases. As the camera moves past him, he speaks. + + @WORKMAN + So whose was all this shit? + +The camera reaches the doorway of the OBSESSION ROOM as an answering voice is heard. + + @2nd. WORKMAN + Not our problem... + +The TRACK continues into - + +INT. OBSESSION ROOM DAY #123# + +and we see the 2nd. WORKMAN. He is crouching over the mattress which is still in the middle of the floor of the otherwise empty room. + + @2nd. WORKMAN + \... Gimme a hand with this. + +Almost faster than the eye can register it, a hand shoots out from the mattress and grabs his wrist. + +He has about half a second to issue a strangled shout and then, hideously quickly, a matter of two seconds or so, his body is drained of all life and the dried husk collapses to the floor. The first WORKMAN appears hurriedly in the doorway and then freezes, an awestruck expression on his face. JULIA is rising, headfirst and upright, from the centre of the mattress. The movement is smooth, magical, unsettling. It is graceful but not slow. JULIA is fully fleshed, fully skinned, and fully dressed. She is in a replica of the dress MALAHIDE bought for her, but this one is jet black. She looks fabulous. As the WORKMAN stands open-mouthed, her feet clear the mattress. But they don't stop there. She slows to a graceful halt about six inches above the mattress. She stretches and flexes her arms sensually. Then her head swivels and her excited, aroused eyes meet those of the WORKMAN. + + @JULIA + I'm Julia. Love me. + +Suddenly, her head tips back and, accompanied by JULIA's delighted laughter, a wide beam of Hell's black light flies at the ceiling from her open mouth. Instantaneously, it spills across the ceiling and falls, like a fountain of blood, across the screen. COMPLETE BLACKNESS. THE CREDITS ROLL diff --git a/fountain_scripts/Hellbound - Hellraiser II.webp b/fountain_scripts/Hellbound - Hellraiser II.webp new file mode 100644 index 0000000000000000000000000000000000000000..088cf073c1d1ff5cde858e088b94e414095ea645 --- /dev/null +++ b/fountain_scripts/Hellbound - Hellraiser II.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:c7839b3d0ef974d8cd4da50a7888eba6ba9526129bb39ba4faae6a2cfcf69f89 +size 28176 diff --git a/fountain_scripts/Hellboy 2 - The Golden Army.fountain b/fountain_scripts/Hellboy 2 - The Golden Army.fountain new file mode 100644 index 0000000000000000000000000000000000000000..f6b5e0ff31f8102263c477369d20ccb31885c171 --- /dev/null +++ b/fountain_scripts/Hellboy 2 - The Golden Army.fountain @@ -0,0 +1,4511 @@ +Title: HELLBOY 2: THE GOLDEN ARMY +Credit: Written by +Author: Guillermo del Toro + +>FADE IN: + +EXT. MANHATTAN STREETS - NIGHT #1# + +!SUPERIMPOSURE: + +!MANHATTAN. 10.30 P.M. + +Park Avenue in mid-December. On the lampposts, Xmas lights sparkle over streets slick with slush and rain. Limousines line up for a public function. + +EXT. BLACKWOOD BUILDING - NIGHT #2# + +!SUPERIMPOSURE: + +BLACKWOOD'S AUCTION HOUSE Under black umbrellas, wealthy men and women exit the limos and enter a stately ten-story building. On the facade, a sign reads: TONIGHT - TREASURES OF PRE-CHRISTIAN EUROPE. + +A SHADOWY FIGURE lurks in an alley near the corner. His features are hidden by a broad-brimmed hat. He watches as- The guests present gleaming, golden invitations to the security people at the door. + + @SHADOWY FIGURE + (in Elvish, subtitled) + I'll go up first. You'll enter from below- + +He addresses WINK, an eight-foot tall TROLL with grey skin and a huge scar over his left, empty, eye socket. His right hand is missing and he sports a heavy IRON MACE instead. A plume of breath escapes from his brutish mouth. + + @SHADOWY FIGURE (CONT'D) + And remember Wink- + (BEAT) + Don't be shy. + +He extends his arms and with a swoop, he climbs the wall, up, up, like a bat. Five floors up... + +INT. SALES ROOM - NIGHT #3# + +CAMERA lingers on the bloated features of a stone FERTILITY GODDESS. + + @AUCTIONEER + Pre-Celtic votive sculpture is in granite and has been dated circa 700 B.C. + +Like the guests, the AUCTIONEER is dressed in formal wear. TV MONITORS display the image of the statue so the bidders can have a closer look. + + @AUCTIONEER (CONT'D) + We'll open the bidding at two hundred thousand dollars. + +A DISTINGUISHED BUYER raises his hand- + + @AUCTIONEER (CONT'D) + Two hundred and seventy-five, and... we have three hundred, thank you Mr. Van Hausen - Three hundred thousand once- + +A FEMALE BIDDER raise her hand- + + @AUCTIONEER (CONT'D) + And Three hundred and fifty thousand, thank you Mrs. Bernstein- + +As the auction carries on, a STEWARD leaves the room and heads down - + +INT. CORRIDOR - NIGHT #4# + +-a darkened corridor where other STEWARDS wheel auction lots to and from the sales room. + +The STEWARD notices an open window at the end of the corridor. He leans out and looks down. Ten stories below - a snow-covered alley. + +Suddenly, he sees the SHADOWY FIGURE above the window frame, clinging to the smooth granite wall!! + + @STEWARD + What the h- + +Quick as lightning, the SHADOWY FIGURE covers the steward's mouth. When he withdraws his hand, the steward's mouth has VANISHED!!! + +The Shadowy Figure grabs the hapless man by the lapels, hauling him outside and dangling him over the void. + +Far below: a spiked wrought-iron fence. + + @SHADOWY FIGURE + A silent human- almost as good as a dead one... + (BEAT) + Almost. + +He releases the STEWARD, who falls- -DOWN- -DOWN- -down- TKKCT!!! + +Flailing in utter silence. All the way. Onto the fence. + +The Figure slips through the window and moves into the- + +INT. SALES ROOM - CONTINUOUS #5# + + @AUCTIONEER + And now, for our next item. Lot #777. + +Two STEWARDS wheel in an oaken box and open it. Nestled in maroon velvet is an eight-inch, ornately decorated arc of gold. + + @AUCTIONEER (CONT'D) + A once-in-lifetime opportunity. For the first time in auction. A piece of the Royal Crown of Bethmoora... A precious artifact dating from the Atrebatean period. Exquisite workmanship in 24 carat gold. + +The lights flicker briefly, provoking MURMURS from the audience. + + @AUCTIONEER (CONT'D) + Please- please- ladies and gentlemen... may I have your attention. As I was saying, observe the fanciful creatures adorning the outer surface, figures from a lost mythology... + +The lights go out completely. From the sudden darkness, the Shadowy Figure speaks up. + + @SHADOWY FIGURE + Lost- ? Not at all. Forgotten by you perhaps, but very much alive. + +A few emergency lights come on, revealing The Shadowy Figure, who walks down the aisle to confront the auctioneer. + + @AUCTIONEER + Sir, would you please identify yourself? I see no badge or- + + @SHADOWY FIGURE + Shall we just say that I am the rightful owner of this piece? + +He seizes the artifact. The auctioneer grabs a phone and hits a button. + + @AUCTIONEER + (to a Steward) + Security- Call Security- This is an outrage- An- + +The SHADOWY FIGURE reaches into his pockets and throws a handful of seeds at the Auctioneer's feet. + + @AUCTIONEER + -Outrage of- + +KRRRRR-K the seeds sprout into massive, thick branches and roots and instantly engulfing the Auctioneer amidst coils of wooden branches, crushing him. They grow and grow until they crack the ceiling!! Soon the Auctioneer disappears, and in its place stands a compact, twisted tree. Tiny creatures emerge from its branches and crawl around the trunk. CRASH!!!!! Four SECURITY GUARDS come flying through the side doors and land in the aisles with a THUD!!! The spectators scream. WINK walks in. He carries two large IRON BOXES on his back. + +On the sides of the boxes A ROYAL SEAL, embossed in the metal. + +People cower in the corners, SCREAMING in terror and disbelief. + +WINK shrugs the iron boxes to the floor with a CLANG!!!! + +Inside them, little clawed THINGS are scrabbling - mewling, fast and hungry!! + +At the Shadowy Figure's signal, the troll opens the cages... + +and the people's SCREAMS redouble. + + @SHADOWY FIGURE + May this remind you all why you once feared the dark... + +A multitude of eyes glint in the darkness, rows and rows of tiny teeth shine greedily. They lunge at CAMERA. + +>CUT TO: + +EXT. BPRD HEADQUARTERS - NIGHT #6# + +Guards with German Shepherds patrol the fence line. + +Searchlights sweep the surrounding woods. + +Super: BUREAU FOR PARANORMAL RESEARCH AND DEVELOPMENT TRENTON, N.J. 10.08 P.M. + +INT. BROOM'S LIBRARY - NIGHT #7# + +A Christmas tree glows next to the fireplace; Mozart is playing on the aquarium's underwater speakers. Floating in warm water on a cloud of bubbles is ABE SAPIEN, lost in the music. + +A blurry figure approaches and raps a ring finger against the tank: It's TOM MANNING, chief FBI liaison to the BPRD. + +Looking dyspeptic, he presses a folder against the glass: + +!TOP SECRET. + + @MANNING + Hey, Fishstick- We gotta talk. + +INT. FREAK CORRIDOR - NIGHT #8# + +As they walk down the hall, manning shows Abe. + + @MANNING + Look at that- Each photo costs a fortune to suppress. And then, naturally, they pop up on the net. + +CAMERA moves in on Abe's breathing apparatus. It's sleek, more modern, fitting snugly to his gills and neck. His goggles are new, too. + +He examines a photo of Hellboy bounding down a city street, brandishing his mighty, high-caliber Samaritan. He's looking straight at the camera lens. + + @ABE + Oh, Lord- He's smiling in this one. + + @MANNING + I know- It's not just the money. It's the provocation. This is asking for trouble. His ego- + +Manning leans close to a voice-recognition security mike. + + @MANNING + "Man-ning..." + +He enunciates each syllable perfectly, then turns to Abe. + + @MANNING (CONT'D) + -is out of control. And I think it's all deliberate on his part. + (BEAT) + He hates me. + +Layers of steel doors trundle open in sequence. + + @ABE + No, he doesn't. He's just- enthusiastic. + +As they approach HB's room... + + @MANNING (CONT'D) + How are things between him and Liz? + + @ABE + Oh, you know. The usual. Since they moved in together- Good days and bad. + +On cue, the concrete wall explodes!'.! A massive BALL OF FIRE swings the final steel door open, almost tearing it off its hinges. + + @ABE (CONT'D) + Then again, there are the really bad days- + +Manning and Abe cower behind a pillar. Once the explosion dies away- Hellboy's revealed, lying on the floor, his back smoking and in flames. + + @HELLBOY + Oh, hi Blue- Manning- + +He puts out a small flame on his forearm and steps into the room. + + @HELLBOY'S VOICE + (yelling at Liz) + Well- I'm not afraid of you! You hear?? + +Abe and Manning peek inside- + +INT. HELLBOY'S ROOM - CONTINUOUS #9# + +HB stumbles around the rubble, wreathed in smoke. He holds a bunch of blackened LPs and 8-track cassettes. + + @HELLBOY + (yelling at Liz) + Look- I have one rule! One- "Don't touch my stuff -" + +Liz appears, shimmering in a halo of blue flame. + +HB's pulls a few LP albums out of the garbage bin. + + @LIZ + You have the same album on CD, LP and an 8 track- An 8 track!!! + + @HELLBOY + You can't listen to Al Green on a CD!! You just can't!! Oh, and 8 track was the way to go- one day mankind will realize its mistake. + + @LIZ + What about me? I need some space! Not much, but just enough to find- to find- my- toothbrush. + +She flares up, losing control... + + @HELLBOY + Is that what this is about?? Your toothbrush's right there, behind you- + (Liz turns) + There- there- with the cat food!! + +Wrinkling her nose in disgust, Liz plucks a toothbrush from a heap of spilled cat kibble. + + @LIZ + Damn it, Red- there's no room for me here. You can't just act like- + +Suddenly, the alarm SOUNDS. Hellboy is elated. + + @HELLBOY + Oh, heavenly bells are ringing! + +INT. GARAGE WEAPONS AREA, BPRD - NIGHT #10# + +Surrounded by racks of weapons, Abe, Hellboy and Liz suit up. + +Tight-lipped and grumpy, Liz dons black army pants and a leather jacket. She jams an automatic handgun into her utility belt. + +They move into a vast garage, big as a stadium. It houses a fleet of planes, cars, boats, helicopters and tanks. + +They load weapons and ammo on board their usual transport/mobile quarters - a GARBAGE TRUCK. + +The perfect gentleman, Hellboy holds the door open for Liz. + +The truck interior has been refurbished with more high-tech equipment. + +As the engine starts and the headlights blaze... + +>CUT TO: + +!- NIGHT 11 + +EXT. EAST SIDE AUCTION HOUSE #11# + +The cops have surrounded the building and helicopters hover overhead. + +EXT. NEARBY ALLEY - NIGHT #12# + +The BPRD garbage truck pulls to stop. + +INT. GARBAGE TRUCK - NIGHT #13# + +Completely refurbished, with a BANK OF MONITORS and a large digital WORLD MAP, tracking each Paranormal. + + @MANNING + Oh, Jeez- did you see the crowds? + +He offers HB a couple of cigars and lights one for him. + + @MANNING + This is midtown Manhattan... Will you promise to be careful? You'll use discretion? + + @HELLBOY + Piece of cake. In and out... no one will see me. You have my word- + +A sarcastic guffaw from Liz. + + @HELLBOY (CONT'D) + (GLARING) + I can be discreet if I want to be- + +They exit the truck and enter the building. Manning sighs. + +>CUT TO: + +INT. SALES ROOM - NIGHT #14# + +A BPRD agent (AGENT MUDD), Abe and Liz move into the big, dark sales room, past a jumble of overturned chairs. They use plasma-screen night-vision scanners to survey the devastation. + + @LIZ + No one here. No survivors. No bodies. NOTHING- + +INT. CORRIDOR - SAME #15# + +Two agents lead the way down the adjacent hallway. Hellboy follows, a few feet behind. + +HB trains his flashlight on a fallen display case. Broken glass glitters. + + @HELLBOY + Same story here, babe- + + @LIZ + (on the intercom) + Don't call me babe- + + @HELLBOY + I said "Abe"- I'm sorry- wrong channel- + +Hellboy falls back to talk privately on the intercom. + + @HELLBOY (CONT'D) + Liz- UM-? + + @LIZ + (on the intercom) + Yes? + + @HELLBOY + (WHISPERS) + When we get home... I'm gonna clean the place up; okay? Even the bathroom. + + @LIZ + That's not the problem and you know it. + + @HELLBOY + (WHISPERS) + What? You want to get rid of the cats? You can't mean that- + + @LIZ + No. That's not the problem either- + + @HELLBOY + (WHISPERS) + Then, what--? + + @LIZ + Not now, for God's sake! + +INT. SALES ROOM - SAME #16# + +Abe, Liz and Agent Mudd fan out, moving cautiously toward the auctioneer's overturned podium. + +Abe discovers an empty cage... and on the iron door, the embossed ROYAL SEAL. Abe hears a high-pitched chitter-chatter and looks around: Nothing. + + @ABE + Red- I'm afraid I do detect some activity- + +As the agent and Liz inspect the other iron cages, he extends his webbed fingers. + + @LIZ + What kind of creature? + + @ABE + CREATURES- + +INT. CORRIDOR - SAME #17# + + @HELLBOY + There's more than one-? + +He hears a scratching noise. + + @ABE + (on the intercom) + More- Many more- + + @HELLBOY + How many- ten-? + + @ABE + No. Maybe a hundred- or two- + + @HELLBOY + (HUFFS) + MPPF- + +As HB nears a wall, it bulges and splits open!! The ceiling cracks, too. He hurriedly loads a pair of lever-action SHOTGUN. + +INT. SALES ROOM - SAME #18# + + @ABE + They're all around us- + +Sounds of MOVEMENT from burrowing, unseen creatures- + + @HELLBOY + What are they??? + + @ABE + Uh- If I'm right, we should leave now and ask for backup. + +EXT. EAST SIDE AUCTION HOUSE - NIGHT #19# + +Manning is holding forth in a sidewalk press conference. + + @MANNING + The situation is completely under control. Earlier tonight, customs agents discovered a few illegally imported items. This caused a minor confrontation. + +The reporters go wild with questions. + + @MANNING (CONT'D) + Federal agents have now taken over the premises. We ask that you all step back- + +Manning basks in the flashbulb glow and acknowledges a pretty young REPORTER. + + @MANNING (CONT'D) + (GRINS) + Yes, Debra-? + +INT. CORRIDOR - NIGHT #20# + +Plaster spills from widening cracks in the wall. Hellboy shoots, blowing open a massive hole. + +He peeks inside- Small bodies burrow away like moles. + + @HELLBOY + What are they-? Abe? + +INT. INTERCUT - SALES ROOM/CORRIDOR - SAME #21# + +Abe finds a human femur, wet and gnawed. + + @ABE + Ah, I knew it. + (BEAT ) + They're vicious and cruel and- + +The floor ripples with activity. + + @ABE (CONT'D) + Have you noticed the floor?? + + @HELLBOY + (looking around) + Uh- thick rug, deep pile, light brown- + + @ABE + Red- there is no rug- + +Hellboy lifts his foot, realizing he's been walking on an inch-thick layer of- ahem- poo. + + @HELLBOY + Aw, crap- + + @ABE + Precisely... + (BEAT) + These things have a very active metabolism. They, um- excrete as soon as they eat and then need to eat some more. There are no corpses 'cause there are no LEFTOVERS- + + @HELLBOY + Spit it out, brother blue. What are they? + +INT. SALES ROOM - SAME #22# + + @ABE + Alright, but- + + @LIZ + Damn it Abe, just tell us! + + @ABE + Okay, then- They're- um- tooth fairies. + + @LIZ + Abe, c'mon- cut the crap. + +She checks her boots, sticky with poo- + + @ABE + Third century, the Teutoburg forest. Famished. They feed on calcium- + (BEAT) + And they do go for the teeth first. How do you think they got that name "Tooth Fairies"?? + +Liz senses movement in the darkness. She holds out her hand and starts a small fire on her palm. + +She pans it like a torch, firelight sweeping the darkness- NOTHING- + +INT. CORRIDOR - SAME #23# + +Agent MARBLE comes upon a lonely little creature peeping out from a crack in the wall. It's about 9 inches high, with olive skin and almond-shaped eyes gleaming in the half-light. It whimpers softly. + + @AGENT MARBLE + Hey, this guy is cute -i. + +He reaches out to touch it. + + @AGENT MARBLE + Are you scared, buddy? + +Across the room Hellboy sees the Agent nearing the Fairy. + + @HELLBOY + No, don't- + +The thing SNARLS, leaps and sinks its tiny teeth into MARBLE's finger. Then it dives under MARBLE's shirt and goes to work. + +MARBLE gasps and drops his gun. Dozens of creatures emerge from the crack on the wall and crawl into Marble's clothing. + +Gasping, he tears open his shirt as claws and teeth dig in.. ribs crack... blood spurts. The agent falls. + +INT. SALES ROOM - SAME #24# + +Liz lights up both hands, illuminating a surging tidal wave of hungry critters that engulfs the room, gnawing at the wallpaper, the furniture! + +The things sweep over Agent Mudd, ripping into him like wriggling piranhas. + + @ABE + (backing away) + Oh, my- + +INT. CORRIDOR - SAME #25# + +Hellboy protects the other agent, but he feels the things swarming over him, reaching for his lips and ears... + +Bellowing in disgust, he fires his shotguns, splattering dozens of creatures onto the walls. + +Every blast, however, reveals a buzzing, hungry mass pouring from the walls. HB claws at dozens more, which cling to him like baby monkeys. + +INT. SALES ROOM - CONTINUOUS #26# + +The room is awash with hissing creatures, crawling over the iron cages. For an awful moment, no sign of Liz or Abe. + + @HELLBOY + (sudden panic) + LIZ!! + +In reply, he hears a faint scream. He bats at the things with the SHOTGUN, wading further into the room. + + @HELLBOY (CONT'D) + Liz!! Where are you - ?! + +He sees a horde of little beasts gnawing at the metal bars of a cage... + +!.Liz cowering inside. Hellboy just has time to look deep into her eyes. A quick moment of silent communion. + + @HELLBOY + Do it, Liz, do it!!! + +And Liz obeys. Closing her eyes she- + + @LIZ + (WHISPERS) + The fire's not my enemy. It is part of me- + +-gets covered by a gentle film of blue flame. + + @ABE + UH-OH- + +He takes refuge as- + + @LIZ + It is mine- + +-the gentle flame blooms into a cloud of fire. Liz goes supernova. BAMMM!!! + +EXT. AUCTION HOUSE - NIGHT #27# + +A ball of fire erupts from an upstairs balcony. The crowd and reporters look up, amazed. + + @MANNING + (MUTTERING) + Evidently we have a- gas pocket- somewhere in- + +The reporters stampede towards the explosion, leaving Manning alone and fuming. + + @MANNING (CONT'D) + Hey guys, hey guys, come back!! + +INT. SALES ROOM - NIGHT #28# + +Hellboy stomps down hard, popping some creatures, bashing others with the butt of his shotgun. As flames leap up, the things regroup and renew their attack. + +Liz and Abe run for the stairs. + + @LIZ + Red, Red, this way- + +Hellboy kicks the critters away, shooting again and again. + + @HELLBOY + No- I'll deal with them- NOW. + +He dumps his backpack and pulls out a belt full of VULCAN 66 grenades. Holds it high. + + @HELLBOY (CONT'D) + Vulcan 66, boys! Come and get 'em- + +Liz and Abe take cover on the stairs. They see Hellboy luring the tooth fairies toward the windows overlooking the street. + +As the creatures climb onto him, he pulls the pins on all grenades. Soon he's a mass of swarming, gnarly fairies and THEN- + + @LIZ + (YELLING) + No, Red- Not there! Move away from the- + +K-B00000MMMMMM`IN!!!!!!!!! A massive explosion- + +INT / EXT - AUCTION HOUSE #29# + +Like a cannonball, HB flies out the upper floor window. A ball of flame, he arcs downward, covered in fighting, writhing fairies. Below, the onlookers scatter as the massive Red Giant lands in their midst, cracking the pavement. + +INT. SALES ROOM - SAME #30# + +Liz and Abe go to the window and look down. A TV CAMERA LENS ZOOMS IN ON THEM BOTH. + + @LIZ + (into her radio) + HB?? HB?? Are you alright?? + +EXT. SIDEWALK - NIGHT #31# + +The crowd is screaming. Half a dozen smoldering fairies climb out of the smoking crater and snarl at the crowd. + +People shrink back in horror. One of the hungry critters jumps at a woman but- BLAM!! Hellboy shoots it in mid-air, then calmly and efficiently shoots its fellows. + +Finally, he plucks one last creature off his coat. He holds it up by the tail, like a rodent. + +Manning hurries forward, witness to his worst nightmare. A sea of camera flashes explodes on a grinning Hellboy. + + @HELLBOY + (looks at Manning) + Gee whiz, Manning- + (SHRUGS) + I guess we're out now. + +>CUT TO: + +.CREDITS #32# + +Behind the CREDITS are caballistic engravings suggesting the power, size and weapons of a mystic, mechanical GOLDEN ARMY. + +>CUT TO: + +EXT. ABANDONED RAILYARD - NIGHT #33# + +!SUPERIMPOSURE: + +WEST SIDE RAILYARDS. MIDNIGHT Demolition has begun on abandoned factories and rail sheds around an old ROUNDHOUSE. A sign reads: COMING NEXT SUMMER, THREE POINTS SHOPPING MALL. + +CAMERA BOOMS DOWN to a guard shack. + +INT. GUARD SHACK - NIGHT #34# + +Guard 1 watches TV. HB is on the screen, surrounded by press and TV. + + @GUARD 1 + Check it out. That guy's make-up is so fake. I mean, come on, solid red- + +Guard 2 is cleaning his gun. + + @GUARD 2 + And what's with his forehead? Is that goggles? + +He looks out the window and sees the THE SHADOWY FIGURE standing by the gates. + + @GUARD 2 (CONT'D) + Hey, we got us a wino. + +He grabs his nightstick and steps outside. + +EXT. RAILYARD - NIGHT #35# + +Waving his nightstick, Guard 2 approaches the intruder. + +Their elongated shadows loom up above them on a brick wall. + + @GUARD 2 + Hey- buddy- get the- + +The THE SHADOWY FIGURE whirls and drops his coat. He unsheathes a long, thin sword, slicing the air around the guard. + +The guard's shadow in the background is cut into three parts and collapses. + +INT. GUARD SHACK - NIGHT #36# + +Guard 1 tunes in a game show. Looks outside- -no sign of his buddy. Behind him, at the window, WINK appears. Its MASSIVE ARM punches through the wall and hauls off the GUARD and then slams his massive IRON MACE down!!! + +!BAMMKM ! ! ! ! + +THE SHADOWY FIGURE wipes off his sword over the crumpled remains of Guard 2. Screams and bone crunching can be heard. + +WINK emerges from behind the shack. + +Effortlessly, the SHADOWY FIGURE vaults the chainlink fence and walks into the roundhouse. WINK smashes the fence and follows him through. + +INT. ROUNDHOUSE - NIGHT #37# + +A few pigeons flutter through a forest of steel pillars. + +Radiant fingers of moonlight shine on the old train tracks. + +THE SHADOWY FIGURE and WINK stop as a dozen ROYAL GUARDS in helmets and light armor march out from a tunnel. + +After a pause, a CHAMBERLAIN joins them. He bows low in a show of respect for the Shadowy Figure. + + @CHAMBERLAIN + Prince Nuada- He awaits you- Please, follow me, Sire. + +INT. TUNNEL - NIGHT #38# + +The Chamberlain leads the way down a tunnel lined with more guards. The armed men surround the Prince as they stop at an intersection. + +The Prince prepares to unsheathe his sword- WINK growls. + + @CHAMBERLAIN + I beg you, your majesty. Before entering the chamber you surrender your sword. + + @PRINCE + I will not. + + @CHAMBERLAIN + Then, I regret to say, you may not see your father. It is the protocol, sire. For peasant and prince alike. Please- for the last time- surrender your sword. + +A tense beat and then the Prince relents. + +The guards accept his weapon, carefully pat him down- + + @PRINCE + Mr. Wink however- cannot dispose of his weapon. He will wait here- + +WINK snorts as the Prince is finally escorted through a huge, rusting iron door. + +INT. MACHINE SHOP - NIGHT #39# + +An abandoned machine shop functions as a council chamber. + +High-ranking heads of outlandish MAGICK FAMILIES are there: + +goblins, trolls, dwarves and elves. + +At the center sits KING BALOR The One-armed King of Elfland and, behind him, the willowy, beautiful PRINCESS NUALA, the Prince's sister. + +Both on the King's chest and her own, a large golden piece dangles from a chain. + +Nuala's resemblance to the Prince is uncanny, down to the fine scars marring their perfect faces. They're YING and YANG, almost the same being. + +The Prince eyes the doors closing behind him. The armed guards watch his every move. + +He bows his head and kneels. + + @PRINCE + Father. + (eyes the Princess) + SISTER- + +The KING gestures for him to rise. + + @KING + Why have you done this?? + +His voice trembles with anger. + + @KING (CONT'D) + Why? ! + +The Prince looks at him, defiant. + + @PRINCE + I have returned from exile to set us free. All of us, Father- And to reclaim what has been taken from our people. The land and the freedom that is rightfully ours. + + @KING + No- You have broken a truce that has lasted for centuries. + + @PRINCE + A shameful truce, worth nothing. How can you abide it? How- ? They have no respect for themselves, their Gods or the earth- + (BEAT) + And they scorn us- every time they raise a dead, cold building, destroy a forest, or take more land- + +The PRINCESS then steps forward. + + @PRINCESS + What they do is in their nature. We must honor our side of the agreement- + + @PRINCE + Honor-? + (BEAT) + Look at this place. Is this where you hold court?? + (BEAT ) + Is this how we are to live?? Amidst their filth, in their rubble??? Picking at scraps from their table??? Where is the honor in that?? + + @KING + And what would your solution be-? War? Why? + (PAUSE) + It may just be that our days are ended... + + @PRINCE + It may be- but we will not go quiet. We will not fade like this. Better to burn than fade away... And for this... + +Prince Nuada looks around, locking eyes with the heads of the clans. + + @PRINCE + \.we'll need the help of the Good... the Bad... and the Worst- + +He brings out the gold artifact from the auction. Holds it high. + +The crowds GASPS. The King instinctively covers the companion piece hanging from his chest as a medallion. + + @KING + No- you cannot be that mad- + + @PRINCE + Yes. I am. + + @KING + This is the path you wish to take? Knowing the cost? + + @PRINCE + Yes, Father- it is. + +The King takes the Princess' hand and mournfully lowers his head. + + @KING + Then, I am sorry my son- you leave me no choice. + (looks at his guards) + Death. + +His two PRAETORIAN GUARDS unsheathe their swords. + + @PRINCE + (GRIM) + I agree. Death it is- + +And the guards turn toward the king and stab him. The Princess screams. The Prince looks away as the old monarch tumbles from his throne, dead. The heads of the clans try to flee, but are kept at bay by the other guards. + + @PRINCE + Hear me all!!! There are some amongst you that have already seen the light- + (he nears the guards) + Seen the future... + +The PRAETORIAN GUARDS cover his back as he leans forward to his Father"s corpse and snatches the medallion. + + @PRINCE (CONT'D) + As for you- You may join us in our quest or die now- + +His gaze is fierce, inspired. He joins the pieces together, they fuse and interconnect through the magical equivalent of NANOTECHNOLOGY. Minute gears and hooks join the pieces seamlessly into an almost complete CROWN. The Prince raises IT- + + @PRINCE (CONT'D) + All of those in favor, make it known. + +All of the family heads sheepishly bow their heads, then kneel. + + @PRINCE (CONT'D) + Good- I see the council is as brave as it's always been... + (BEAT) + And now, my sister- + +The Prince looks around and sees that his sister is gone. + +He pushes through the mob, pulling his guards to the door. + + @PRINCE (CONT'D) + Find her- Find her- + +His minions surge into the tunnels. + +INT. TUNNEL MAZE - NIGHT #40# + +Clutching the medallion on her chest , the Princess runs down a tunnel. A CROWD gathers behind her, chasing her as she zig-zags from tunnel to tunnel. + +With perfect calm, she ducks into a niche, then slides down a chute. + +She lands in a stone chamber lined with bookshelves. + +INT. PRINCESS CHAMBER - DAY #41# + +The Princess rushes to a small cabinet. She grabs an ancient, leather-bound tome. + +She turns to leave, but a horde of TROLLS rushes and quickly surrounds her. One of the beasts swings a heavy, rusty sword. + +It opens a gash in the princess' left arm- + +INT. TUNNEL 1 - DAY #42# + +The Prince, rushing through the tunnel with the PRAETORIAN GUARDS, suddenly doubles over, cursing. Blood pours from a wound in his left arm. + + @PRINCE + No- no- you fools- + +INT. PRINCESS CHAMBER - SAME #43# + +As another troll lifts his sword high- + + @PRINCESS + (calling out) + Yrdrig!! + +YRDRIG, a hellhound the size of a tank, jumps out from an alcove. He has multiple heads, all of them ferocious. In seconds, he's upon the TROLLS. Each of his many mouths tears into green flesh, lifting and shaking the helpless monsters like rag dolls. + +The Princess slips through a secret door. + +INT. TUNNEL 2 -- SAME #44# + +The Prince and his guards rush through the tunnels, as troll screams echo off the walls. + +When they finally- + +INT. PRINCESS CHAMBER - SAME #45# + +-reach the Princess' chamber, it's too late. + +Dead and dying TROLLS lie in a heap on the floor. + +The Prince finds no sign of his sister. He clutches his bleeding arm. + +>CUT TO: + +INT. HELLBOY'S ROOM - DAY #46# + +Liz sprawls on a sofa, watching the 20-odd TV monitors in Hellboy's room. All the news channels feature footage of Hellboy's "outing" the night before. + +HB is grinning at the camera. Now he's signing an autograph! + + @HELLBOY ON TV + Yes- yes- I'd say I am that strong- I've fought many creatures over the years but none as strong as me- + +He winks at camera. Liz rolls her eyes. + +Hellboy plunks himself down next to her, popping a can of beer. + + @HELLBOY + I think I did good. And I looked good, don't you think, Liz? + +Abe stands behind them, juggling a dozen remote controls. + + @ABE + Look- there's Manning... + +He raises the volume as Manning is shown, surrounded by microphones. + + @MANNING ON TV + Evidently we have a- gas pocket- somewhere in- + + @HELLBOY + A gas pocket??!! Ha-! I love it. + +The door opens. Manning is there, holding a plastic box overflowing with mail. + + @MANNING + PLEASE- + +Disgusted, Manning turns off the TV's. + + @MANNING + Aw- this is a disaster! A disaster- you hear?? Worse than Cheney with a shotgun. Only Liz- + (BEAT) + Only Liz handled herself with any dignity. + + @LIZ + (glancing at HB) + No one asked me anything. + +Manning pulls a fistful of mail out and tosses it on a table. + + @MANNING + Don't bother starting a fan club. It's trending five to one against us. + + @HELLBOY + Against? + + @LIZ + (glances at some letters) + Polls- protests- hate mail- + +Liz grabs a few letters and scans them. + + @LIZ + (READING) + "Unwelcome species... mongrelizing... lower orders... ungodly freaks..." + +She glares at Hellboy. + + @HELLBOY + Ungodly freaks-? Us? + + @MANNING + You really did it this time- I'm under review. + (to Hellboy) + But so are you- As of today, there's a new team leader. + + @HELLBOY + New - ? What? + + @MANNING + Yes- You heard me. A new team leader. We're to meet him at the conference room at 0900- + (looks at his watch) + Now. + +INT. SECURITY POUND BPRD - SAME #47# + +The SECURITY POUND is row after row of stacked cages, each one imprisoning a different CREATURE. BPRD AGENTS patrol the pens, feeding the occupants, cleaning the pans- HB looks at Manning, who is edgy and nervous. + + @HELLBOY + What's the matter, Manning?? Don't you trust me anymore? + + @MANNING + Oh- I never did- But after last night, Washington wants a new public face for the BPRD- + + @HELLBOY + What about me? What's wrong with my face??? + + @MANNING + Or mine??? The press loves me!! But now you've ruined it all- + + @HELLBOY + But, who-? Who is this guy? + + @MANNING + How would I know? Evidently, he's quite the big shot- + (he reads a file) + His name is Johann Kraus- + + @HELLBOY + Akkk- Kraus??? He's German- + + @MANNING + (OVERLAPPING) + -a physical medium, head of the European branch of the BPRD- + + @HELLBOY + (OVERLAPPING) + You know I have a problem with Germans- + + @MANNING + (OVERLAPPING) + -a Doctor in Philosophy and Occult Practice from the University of Munich and a very eloquent speaker- + + @HELLBOY + (OVERLAPPING) + -Germans make me nervous- + + @MANNING + I guess they need a nice open face- A face people can trust. + +Finally, next to steel cage, they meet- JOHANN KRAUS: about 6' tall, dressed in a canvas containment suit full of tubes and taps. His hands are encased in thick latex gloves with exit valves at the fingertips and his head... + + @MANNING + \. Oh, my God- + +!.is a translucent glass bubble, full of gas! + +He is studying a drawing of the royal seal we saw on the Fairy Cages. + +Johann approaches Liz. He takes her hand and bows. + + @JOHANN + Johann Kraus, at your service. + +His unearthly voice is velvety and warm. Almost soothing. + +Liz smiles. Hellboy glowers as Kraus' fishbowl head turns toward them. + + @HELLBOY + (whispers to manning) + That's an open face for you... + +INT. CONTAINMENT AREA - DAY #48# + +Johann pulls out one of the dead, singed Fairies. Hellboy and the others gather around him. + + @JOHANN + Poor things, bought and sold on the black market. Smuggled in tight, cramped cages. Let's see what they can remember- + + @HELLBOY + Memory gets pretty sketchy after you die- + (nudges Abe) + -but maybe I can be of help- + +Nudges Abe and starts fishing for an amulet. + + @JOHANN + Oh, no, no- No amulets are required. + +He adjusts the valves at the tips of his fingers and approaches the lock. + + @HELLBOY + What are you doing? + + @JOHANN + I can inhabit inanimate things: organic, MECHANICAL- + + @HELLBOY + INHABIT- + + @ABE + TELEPLASTY- + + @JOHANN + Exactly. + +A PROTOPLASMIC emanation seeps out from his fingertips, slightly deflating his body. The tendrils enter the- -"Dead" Fairy. + + @JOHANN + I can briefly take control of entities, both mechanical and organic and reactivate their neural system- + +The "dead" Fairy snarls and bares its teeth at Hellboy. Two more do the same from another pen. + + @JOHANN (CONT'D) + (points at Hellboy) + You scare him- + +The fairy blabbers furiously while glaring at HB. + + @HELLBOY + (leering at it) + Whaddayawant??? You chewed off the tip of my tail- Yes, you- + + @JOHANN (CONT'D) + Rough translation: He says you are rude, brutish and not too bright- + + @ABE + Touche. + +More high-pitched jabbering... + +Johann replaces the little fairy in the holding pen. + + @JOHANN (CONT'D) + Enough. it seems our little friend here remembers a noise. A very peculiar noise in the last place where his cage was traded: market sounds- + (BEAT) + Troll language- + + @LIZ + The troll market- ? + + @JOHANN + Exactly, Miss Sherman. + +The Fairy starts babbling uncontrollably and grows pale and weak. + + @HELLBOY + Jeez- your buddy there doesn't look too good. + + @JOHANN + I'm losing my grip on its limbic system- He feels nauseous. I'm afraid he's about to die- + + @HELLBOY + Wow- You have that effect on me too. + +The Fairy's cheekbones hollow and it finally collapses. + +Ectoplasm escapes its body and regroups at Johan's fingertips. + + @ABE + How can we find the Troll market??? Its location has been a source of speculation for centuries + + @JOHANN + Yes, well- Trolls dwell under bridges- And Vladimir Vanya 18th century occultist- places it under Washington Bridge + + @ABE + We've looked there before-- Staked it out for weeks- + + @JOHANN + Yes, but this time I have asked for a very special piece of equipment- + +He moves in to a large crate marked "Lot 336" + + @ABE + "336" The schufftein glasses?? + + @JOHANN + (smiles knowingly) + On loan from the Smithsonian. Plus we have this clue- + +He produces the sketch of the ROYAL SEAL. + + @JOHANN + In my mind we have enough to go by- Any questions?? + +Abe is about to ask something when, abruptly, Hellboy raises his hand- + + @JOHANN + Yes- what is it? + + @HELLBOY + If you're really German- how come you don't have a funny accent? + + @JOHANN + (SIGHS) + Get ready. We are on the move. + +INT. GARAGE AREA / DRESSING LOCKER ROOMS #49# + +Hellboy is suiting up. Liz and Abe do the same. + + @HELLBOY + What a moron!! "We are on the move" He thinks he's so hot!! We've been looking for that place for years and we've never found it- + (looks at Abe) + You said so- + +Abe pulls out TWO headsets of COMPOSITE GOGGLES, made of copper and glass, full of buzzing and whirring pieces. He tries it on. + + @LIZ + Get used to it. He might be here for good- + + @HELLBOY + For good?! + + @LIZ + He has a nice voice. + + @ABE + Yes, very commanding, very soothing. + + @HELLBOY + I think he's a jerk. + + @ABE + I like him. + + @HELLBOY + Well, then you're a jerk, too. "The brains of the operation-" give me a break! + +!JOHANN + +They head towards the garbage truck. Manning, Abe and are waiting there. + + @LIZ + I think you feel threatened... + +Hellboy stays behind- thinking- thinking real hard. + +>CUT TO: + +EXT. WASHINGTON BRIDGE - NIGHT #50# + +The Garbage truck and a few other BPRD vehicles cross the Washington Bridge on the way to CHINATOWN. + +!SIGN: WASHINGTON BRIDGE 21.00 HOURS + +INT. GARBAGE TRUCK LAB - NIGHT #51# + +Hellboy rides in silence- still thinking hard- then. + + @HELLBOY + Ha! Me? Threatened?? + +Glaring, at Liz: + + @HELLBOY + By whom? By him?? + + @LIZ + Not just him- this whole thing you did. The TV- the reporters- + + @HELLBOY + I did that? + + @LIZ + Yes, Red- absolutely. 'Cause you did it without thinking- You just wanted to be in the public's eye- well- you're there- but so are we. + + @HELLBOY + Hey- We got some hate mail. + (SHRUGS) + We'll deal with it. Together. + +He comes closer to her. + + @HELLBOY + Something else bothering you-? + +Liz nods quietly. + + @HELLBOY + So- Tell me about it- + + @LIZ + I will, but not now- I'm sorry if- I- + (BEAT) + I don't like being watched. I never have. I feel like a freak only if someone's watching me. + +Suddenly: Angry YELLS... then fists pounding the walls and fenders. + +The doors open and they are inundated by reporters and TV CREWS and cameras and flashes. There are, literally, hundreds of them. This time from all over the world: Japan, UK, Germany... + +>CUT TO: + +EXT. WATERFRONT, BROOKLYN BRIDGE - NIGHT #52# + +Agents cordon off the street with yellow tape, holding the press at bay. As the truck rolls by, hordes of bystanders push forward, hoping for a glimpse of Hellboy. + +Some of them chase run alongside the vehicle, carrying support/hatred signs. + + @MANNING + May I suggest that tonight you refrain from signing autographs. + + @HELLBOY + It's the garbage truck. It makes the wrong statement. About who we are. + + @MANNING + You think that's what this is about? Transportation??? + +EXT. BROOKLYN BRIDGE - DOCKS - NIGHT #53# + +The truck stops near other official vehicles. Overhead, the soaring roadbed of the Brooklyn Bridge. + +At the sight of the BPRD team, some protestors throw eggs. + +Hellboy shields Liz from the barrage. + + @REPORTER 2 + C'mon- show us your powers- + + @ABE + Oh- No, no, no, it's not a parlor trick. + + @REPORTER 1 + What are you, a mermaid?? + + @ABE + Oh, goodness, no- I- + + @REPORTER 2 + You say you can read things- things about people- so read me- c'mon- read me- + +The crowd of reporters and onlookers laughs and applauds. + + @REPORTER 2 (CONT'D) + What do you see? + + @ABE + Very well, if you insist. + (webbed hand on reporter's chest) + You... keep... a large, battery-operated vibrating egg by your bedside... + +A shrieking CAMERA CREW runs up loaded with video equipment. + + @REPORTER + You! Demon-man! Will you take a DNA test? + + @HELLBOY + It's "Hellboy" not "Demon-man"- + +One of the projectiles hits him. The crowd roars. Hellboy gazes back at them- seething. + + @JOHANN + Let me take care of this. + +Johann bravely confronts the news teams and the crowd. + + @JOHANN (CONT'D) + Ladies and Gentlemen, my name is Johann Kraus and I beg you to allow us- + (interrupted by catcalls) + -Please, we need space to work- please- WE- + +The REPORTERS bombard him with questions. He signals for silence. + + @JOHANN (CONT'D) + In due time- very soon- we will provide all the answers you require, all the whos, whys and wherefors- But for now- + +An egg hits him in the face- hard. The crowd roars- + + @HELLBOY + Great P.R... + +He gets ready to pummel the crowd. Liz stops him. + + @LIZ + Shh! Give him a chance... + + @JOHANN + -it's been a long... long time... for many decades really, that the BPRD has served you- all of you... in silence. We have waged an unknown war - but a very real one. Heroes have died unrewarded and unrecognized so that you might go about your daily life. To work, to marry, to bid your children goodnight. + +Little by little, the crowd grows quiet. + + @JOHANN + In exchange, we have been consigned to the lies and racist innuendo of the tabloids. And there we have lived without complaint - until now. + +.MONTAGE #54# + +Johann's speech is replayed in broadcast TV VANS, HOMES, PUBS and BARS all over the world to a fascinated human population. All colors and creeds. + + @JOHANN (CONT'D) + But perhaps soon- after learning of our hardships and sacrifices, you may decide that our humble lives may, in some way, have a value... and a meaning- + +!- DOCKS - NIGHT 55 + +EXT. BROOKLYN BRIDGE #55# + +The camera lights reflect off Johann's glass head. + + @JOHANN + I pray that you will allow us to defend your good fortune- to guarantee the blessing that is a peaceful night's sleep. A night free from monsters and nightmares. And if so- + (chokes back tears) + If so- then all we ask in return... from you... is a little respect and the chance, remote as it may be, to prove ourselves worthy of a tiny, tiny place in this- God's Earth. + + @HELLBOY + (rolls his eyes) + This is sooo corny- + +A moment of silence ensues-- Then, the wet-eyed reporters applaud- the crowd applauds- + +Liz applauds, Abe applauds. Hellboy is agog!! + + @HELLBOY + What-?? What-?? + + @ABE + (DAZZLED) + He has a nice voice. + +All business now, Johann steps over to the group. + + @JOHANN + Come on. We have work to do- + +EXT. ROOFTOP - NIGHT #56# + +Hellboy, Abe and Johann peer over the cornice of a bowling alley rooftop. The CROWDS are visible in the distance. + +Hellboy looks through THE SCHUFFTEN GLASSES. + + @HELLBOY + Nothing yet, Sparky, over- + +EXT. BOWLING ALLEY PARKING LOT - NIGHT #57# + +The BPRD truck is parked behind the bowling alley, directly under the bridge. Its back door is open; Liz and manning are at the communications center. + + @LIZ + I read you, Red. Keep looking- + +Manning is bored, looks at his watch. + + @MANNING + Looking at what, for goodness sake-? + (looks at the Schufften glasses) + What do these things do-? + +Liz starts locking and unlocking a series of lenses and prisms. Both Abe and Johan wear similar gear. + + @ABE + In 1778 Emil Schufften, a Good friend of Benjamin Franklin, designed these optical sets with the intent of photographing fairies in England... + + @MANNING + Let's get out of here- We're never going to find it- + + @HELLBOY'S VOICE + Hey- Sparky, I think we got one. + +Manning studies the image on the monitor: a bag lady pushing a shopping cart full of cats- + + @MANNING + That? Oh, please, she looks as sweet as she can- + + @LIZ + Red, turn on the "antiglamour" filter... + (to Manning) + Fairy folk use a spell called "glamour" to seem human and nice- + (BEAT) + These lenses allow you to see their real appearance... + +EXT. BOWLING ALLEY PARKING LOT - NIGHT #58# + +Hellboy turns a few knobs on the goggles, then raises them. + +.POV GOGGLES. #59# + +As a series filters enter the visual field, the bag lady transforms into an ugly, muscle-bound troll. + +INT. GARBAGE TRUCK - SAME #60# + + @MANNING + Oh, dear Lord. + (PAUSE) + What about the cats? + + @LIZ + She eats them. + + @MANNING + "She??" That's a "she"????? + + @HELLBOY + We're moving in, Sparky- + +.BOWLING ALLEY / BACK ALLEY/ UNDER THE BRIDGE #61# + +HE, Johann and Abe follow the Bag Lady. She opens a service DOOR- / SERVICE CORRIDOR. 62 + +INT. BOWLING ALLEY #62# + +The bag lady goes through the rear of the bowling alley and through a basement door. The room RUMBLES with the sound of rolling balls and toppling pins. + + @HELLBOY + (WHISPERS) + Maybe we can bowl a few frames, uh? + + @ABE + (splays his webbed fingers) + Bowling balls- they give me trouble. + + @HELLBOY + How about a beer, then? Now that we're "out"- Whaddya say, Mein Herr? + + @JOHANN + Sorry. I don't drink. + + @HELLBOY + SHEESH- + +INT. BOWLING ALLEY BASEMENT #63# + +Hellboy and Abe enter the basement: no sign of the old woman. Just a Warehouse- + + @JOHANN' + Adjust the prisms to "2" + +Abe moves his glasses, Hellboy fumbles his own- unsuccessfully. + +Now the WHOLE ROOM transforms under the new optical elements: Its geometry remains somewhat unchanged, but instead of a pile of boxes a tree trunk and a large, mossy rock are visible, where there were iron beams now tree trunks and stone columns are visible... + + @ABE + THERE- + +Where a large banner hung, now a huge, rusty mechanical lock. + + @HELLBOY + What the heck is that? + + @ABE + A locking mechanism- + + @HELLBOY + Mmh- I'll take care of it- + +He clenches his stone fist, rears back... + + @JOHANN + No- You destroy it. We'll never get in- + +He adjusts the valves at the tips of his fingers and approaches the lock. + + @HELLBOY + Ah, of course- the Fishbowl touch- + +!JOHANN + +Johann's ecto-tendrils enter the- + +.MECHANISM OF THE LOCK #64# + +-filling it, making a few complex gears turn and move- + +.THE LOCK #65# + +Opens and the floor drops away, revealing a stone staircase. + +Johann withdraws his protoplasmic tendrils and closes off the valves. + + @JOHANN + Gentlemen: welcome to Troll Market. + +INT. TROLL MARKET - NIGHT #66# + +Troll Market is a steamy, medieval nightmare. A labyrinth of narrow alleys and foetid vapour. + +Trolls scavenge the crumbling, marble shoreline, picking through garbage, scattering vermin. + +Muddy water trickles down from above, forming cloudy puddles. + +Roaming vendors hawk exotic objects from every culture and century. + +At kiosks and shops, Trolls peddle cats (skinned or alive) cadres of Lovecraftian entities stroll about: Mer-men, Goblins and a few select species unknown to any cosmology. + +A dogfight of sorts is taking place in a small ring. Instead of pitbulls, multi-limbed creatures leap at one another while violent bettors laugh and shout. + +At the rail, Abe watches in horror, then sees a woman in rags making her way through the crowd. He catches a glimpse of her slippered feet... + +!.which flash with pearls and gold embroidery. His curiosity aroused, he follows her. + +.MARKET STALL #67# + +The woman inspects a pile of ancient bric-a-brac at a market stall; her cowl swings aside, briefly revealing her face. + +It's the PRINCESS. In these grotesque surroundings, her beauty is transcendent. + +Abe is thunderstruck. + +As she turns to leave, they briefly make eye contact. On her bandaged arm: a bracelet adorned with the seal's coat of arms! + + @ABE + (into microphone) + Brother Red!! + + @HELLBOY + (INTERCOM) + Not now, Abe. + +As the Princess disappears into the mob, Abe hurries after her. + +EXT. SHOP - SAME #68# + +Hellboy and Johann show a picture of a tooth fairy to a surly SHOP OWNER. + + @SHOP OWNER + Never seen anything like it. No one sells `em down here - over in Jersey, maybe. + +Behind him, there's a faceless CAVE BERSERKER: a tall and gnarly ogre, his naked chest crisscrossed with scars, his feet encased in iron shoes. + +Growling, it bares its teeth at HE. HB smiles back- + + @HELLBOY + Hiya, Chuck- + +!- SAME 69 + +EXT. TROLL MARKET NARROW PASSAGES #69# + +Abe follows the Princess down an alley - and then another one, narrow and dark. Panhandlers pull at his belt; he bats them away. + +EXT. SHOP - SAME #70# + +Now Johann shows a drawing of the royal seal to the shop owner. + + @JOHANN + What about this?? Do you recognize this seal? + +The shop owner's face suddenly grows pale. + + @SHOP OWNER + You'd better go. Now. + + @JOHANN + Please. We'll make it worth your while. + +The shop owner claps his hands. BERSERKER takes two steps forward, ROARING. Its iron shoes go CLOMP-CLOMP!! + + @SHOP OWNER (CONT'D) + He's not friendly- + +Hellboy huffs and walks up to the creature. + + @HELLBOY + Well, neither am I- + +BAMMMM!!!!! With a single uppercut, he sends it flying toward the ceiling, shoeless. The shop keeper watches in awe until it lands, about thirty feet away in the middle of the dogfight. + +The crowd scatters as the mongrel creatures attack the thing with blind instinct. + +Hellboy grabs the shop owner by the lapels and pulls him close. The shop owner's head rockets back and forth like a boxer's speed bag as HB "gently" slaps him around. Teeth fly everywhere. + + @HELLBOY + Feeling more chatty now?? + + @SHOP OWNER + It's rumors! ... just- No- don't hit me, all right? There's talk of a revolt- a revolt against the human world- + +Hellboy releases him, then looks around. + + @HELLBOY + Where the hell is Abe?? + +He pushes his belt locator- + +INT. TROLL MARKET ALLEY MAZE - NIGHT #71# + +The Princess has entered a shop selling MAPS and PRINTS. Abe stays outside, watching through a window as she negotiates to purchase a silver and crystal CYLINDER contained in a safety holding case. + +The SALESMAN denies it at first but after the Princess hands him a gold bracelet he finally acquiesces while vowing to her. He extracts the cylinder from its holding case and hands it to her. + +A red locator light flashes on Abe's utility belt. + + @HELLBOY + (INTERCOM) + Hey, Abe, gimme me your twenty- + + @ABE + I'm following a lead, Red. Keep your locator -. + +A large TROLL cuts him off- + + @ABE + Excuse me- What do you think you're doing? + + @HELLBOY + (INTERCOM) + Are you in trouble? Talk to me, Abe. + +Another TROLL comes up behind Abe. + + @ABE (CONT'D) + I don't think you- + +The TROLL opens a small wooden box and extracts a nasty looking Insect: A NARCOTIC BUG. + + @ABE (CONT'D) + Oh, my- + +The second TROLL loads the buzzing bug - like a bullet - into a blowpipe. Abe turns just as he blows. The bug lands on Abe's chest and sinks its stinger deep into his flesh. He groans. + + @HELLBOY + Abe? What's wrong? + +Abe tears it loose and crushes it underfoot. But his vision blurs, he staggers forward and falls, face first, onto the cobblestones. + + @HELLBOY + (INTERCOM) + Abe? Come in - Abe? Dammit - + +EXT. SHOP - SAME #72# + +The locator's blue light dims; concerned, Hellboy and Johann look at each other. + +Seeing his chance, the shop keeper melts away into the crowd. + +INT. MAP SHOP - LATER #73# + +Abe opens his eyes and slowly gets up. He looks around: he's surrounded by racks of ancient scrolls and musty books. The door is locked. Instinctively he looks for his belt- It's not there. + + @PRINCESS + If you are looking for your weapons, my guards took them. + +Abe turns to face the Princess, who stands only a few feet away. She has cast off her dingy cloak and is radiant in fine silk robes. + +She is feeding slices of fruit to a cage of large, featherless REPTILE/BIRDS. + + @ABE + I - I carry no weapons, madam- I assure you... + + @PRINCESS + Why were you following me? + +Abe is ashamed to realize the real answer. He's utterly beguiled by her. + + @PRINCESS (CONT'D) + Are you seeking to join my brother? + + @ABE + Your brother-?? + + @PRINCESS + In his revolt against the humans? + + @ABE + A revolt? No, no, no, I- You are sorely mistaken... + +He takes a step forward but the YRDRIG comes out of nowhere, barking and growling. + + @PRINCESS + Then answer me truthfully- Why were you following me? + + @ABE + My name is Abe Sapien - + + @PRINCESS + (LAUGHING) + There is no such name! + + @ABE + Horrible- I know- but- Please, hear me, I beg you. I am an agent of the Bureau for Paranormal Research and Defense. If we can assist you- + + @PRINCESS + Give me your hand. + +Abe complies, thrilled as she runs her fingers over his palm. + +The Princess' face brightens. She smiles and gestures for the YRDRIG to yield. + + @PRINCESS + Down Yrdrig - he's a friend. + +The YRDRIG jumps on Abe and starts licking him with all three tongues. + + @PRINCESS (CONT'D) + Yrdrig's really just a puppy. + +The drooling beast pins Abe to the floor with one paw. + + @ABE + (WHEEZING) + Nice puppy... + +!A + +The YRDRIG lifts Abe with one of its mouths and gives him playful shake. + + @PRINCESS + My father gave him to me. Yrdrig, leave our guest alone- + +The Yrdrig drops Abe onto the floor. + + @PRINCESS (CONT'D) + Out! Out! Bad Yrdrig! + +As the animal skulks away, she helps Abe up- + + @PRINCESS (CONT'D) + (bows her head) + My name is Princess Nuala. + + @ABE + (bows his head) + Your highness, the honor is all mine. + + @PRINCESS + May I apologize, Mr. Sapien, for the manner in which we brought you here... couldn't be too sure. + +She offers him the locator belt. + + @ABE + Please, it was nothing. Love the puppy, TOO- + + @PRINCESS + And under diplomatic immunity - may I seek asylum?? + + @ABE + We would be... honored, I'm sure. But, may I ask: from whom do you seek asylum? + +Suddenly, a COMMOTION outside. The door flies off its hinges. Hellboy and Johann burst in, leaping over a pile fallen guards outside. + + @ABE + Red, no! I'm all right! + +The Princess shrinks back, but Abe motions for calm. + + @ABE + Gentlemen! Some respect, please! + +The Princess looks with dismay at her vanquished bodyguards. + +The NARCOTIC BUGS buzz around HB, who swats them like mosquitoes. + + @PRINCESS + And that was my royal guard. + + @ABE + Red, apologize at once! We are in the presence of... royalty! + +Hellboy's never heard Abe sound like this- giddy as a schoolboy. + + @JOHANN + (to Abe) + You're vouching for her, I take it. Mr Sapien? + + @ABE + Oh, most definitely. She's from an ancient, noble line - + + @JOHANN + - of warriors. The Children of the Earth. + (to the Princess) + I'm sorry, Princess Nuala. With such a fierce bloodline, we cannot take your claim of allegiance at face value. + +He produces the ANCIENT SEAL. + +INT. MAPMAKERS VESTIBULE - LATER #74# + +Standing at a long deal table, the Princess lights a candle and examines the ancient seal. + + @PRINCESS + Where did you get this? + + @HELLBOY + Human side, two nights ago- + +The Princess studies their faces. + + @PRINCESS + In ancient times a seal like this was delivered to the enemy as a declaration of war. A signal from the underground realm to the entire world. It prefaced the awakening of the Golden Army- + +Johann sits down heavily. + + @JOHANN + I feared as much. + + @HELLBOY + (to Johann) + What-? What-? A goblin army-? + +Johann shakes his glass head, overcome with worry. + + @JOHANN + Golden Army. The unstoppable tide. There has been nothing to substantiate such a TALE- + + @PRINCESS + Not a tale- At the dawn of time... Even before the great flood, man and the Children of the Earth shared this planet... + (she sighs) + But as man in his greed expanded his dominion, there ensued a bitter war... + +>DISSOLVE: + +EXT. MYTHICAL BATTLEFIELD - DUSK #75# + +Silhouetted against a crimson sky, the shadows of thousands upon thousands of goblins, elves and fairies do battle with hordes of men. + + @PRINCESS (V.O.) (CONT'D) + In those days, my people were led by my Father, King BALOR, the one-armed king of Elfland. + +KING BALOR fights valiantly at the side of his son, the tall, pale elf knight: PRINCE NUADA. + + @PRINCESS (V.O.) (CONT'D) + The bloodshed went on year after year. Many lives were lost. + +An overview of the battlefield fades as the sun sinks below the horizon. + +INT. THRONE ROOM - DAY #76# + +Seated in an 'opulent throne room, KING BALOR addresses a wretched guild of deformed goblins. + + @PRINCESS (V.O.) + It was then that the King ordered the Sigri to build him a new, invincible army. + +INT. BLACKSMITH FURNACES - DUSK #77# + +Lit by the fires of a hundred furnaces, stoked by scores of goblins, a MECHANICAL ARMY is born. Metal plates and moving parts are hammered into shape on enormous anvils and bolted onto tall, ornate, golden figures. + + @PRINCESS (V.O.) + This was an army that would not eat, drink or grow tired. A heartless, ruthless force made of the purest metal, mined from the depths of the earth. + +INT. COURTYARD, CASTLE - DUSK #78# + +In perfect ranks, in eerie unison, the golden soldiers line up, filling the entire courtyard, awaiting the King's command. + + @PRINCESS (V.O.) + The Sigri worked until the winter moon was high in the sky - + +The CHIEF GOBLIN BLACKSMITH displays three curved segments of gold. He fits them together and holds a completed CROWN directly over the King's head. + + @KING + I am King Balor, leader of the Golden Army. Is there anyone here who disputes my right??? + +Silence. Prince NUADA kneels next to his father. The Goblin crowns the King, who lifts his sword. In response- TCHANKKKKK!!!! The new army raises its lances, hailing him. + +EXT. HUMAN ENCAMPMENT - NIGHTFALL #79# + +As the humans make ready for battle, a tremor shakes the earth. They turn their gaze to the horizon, which bristles with the arms of the approaching troops. + +EXT. BATTLEFIELD - CONTINUOUS #80# + +The fight is brutal. The mechanical soldiers mow down the humans by the hundreds, their swords replaced as needed by battle axes, bludgeons and lances. + + @PRINCESS (V.O.) + But this army knew no bounds, had no remorse, felt no loyalty, engaging in blind battle with man, woman or child. + +The horde crushes everything, with swords slicing through armor as if it were paper. Every blow is deadly, precise. + +The army marches ever onward, like a grinding machine devouring tender flesh. + +At length, there is no sign of life in the human camp. + + @PRINCESS (V.O.) (CONT'D) + And as the king gazed upon the earth awash in blood and at the impassive metal faces of the army he had created, his heart grew heavy. Victory was gained at too high a price. This war should never have been waged. + +The King surveys the carnage. The mechanical soldiers stand in symmetrical ranks awaiting further instructions. + + @PRINCESS (V.O.) (CONT'D) + And so he arranged a truce: the surviving men would keep to their cities and we children of the Earth would dwell within the forests. This pact, he declared, would be honored by our sons and the sons of their sons until the end of time. + +Listening to his father, Prince Nuada reacts with anguish. + + @PRINCESS (V.O.) (CONT'D) + But my brother did not believe in the promises of men. He marched off into exile, vowing to return if the Sons of the Earth ever needed him. + +Prince Nuada walks away towards a dying sunset. + +INT. STORAGE CHAMBER - NIGHT #81# + +The goblins lock the golden army into a huge cavern, under the light of ten thousand flickering torches. + + @PRINCESS (V.O.) + And the golden army was ordered to lie dormant, locked inside the earth itself - and there it is to this day, waiting for the wearer of the crown to command it again. + +INT. MAPMAKER'S SHOP - NIGHT #82# + +The Princess finishes her tale. Hellboy and Johann look at each other. + + @HELLBOY + Where is that crown?? + + @PRINCESS + My father had it destroyed. Cut into three pieces. One for mankind... + +She holds up her piece of the puzzle, which dangles from a chain around her neck. + + @PRINCESS + \.Two for the sons of the Earth. + + @ABE + So, you do need our help..? + + @PRINCESS + I'm afraid it's the other way around. + +She holds the CYLINDER she purchased. + + @PRINCESS + The location of the Golden Army is contained within this cylinder-- + +She opens it and produces a parchment hidden inside. She extends it: the map just shows three coordinates. + + @ABE + Just a global chart, Edo - that's the old name for Tokyo - Moscow, and Renvyle here- + + @PRINCESS + But nothing else- + +She rolls back the map into the cylinder. + + @PRINCESS + So far, this is a family matter. To intervene will bring nothing but trouble. + + @HELLBOY + Good, I like trouble. + +INT. TROLL MARKET NARROW PASSAGES - NIGHT #83# + +The Princess leads the group through the surging, noisy crowd of bizarre creatures. Hellboy, Johann and Abe bring up the rear. + + @PRINCESS + No- not that way. Too risky- + +They're lost in unfamiliar alleys and byways. Until- + + @JOHANN + (finally, pointing) + There. Stairs to the street... BUT- + + @PRINCE + Hold! + +The Prince appears at the top of the stairs, dressed in black. He's surrounded by his elite guard. Stepping to the rail, he points at his sister and addresses the crowd: + + @PRINCE + Hear me, o creatures of the forest! Can you recognize a traitor? She's here to betray her own! + +He casts a disdainful look at Hellboy. + + @PRINCE + I'm here to recruit all of you against the humans. Make your decision now. Those who join me will be rewarded. The rest... will be killed. + +A sudden silence falls over the throng. Then, the sound of CRACKING KNUCKLES. Everyone looks at Hellboy, who is unclenching his fists and stretching his neck. + +He starts up the stairs, but a couple of the GUARDS leap down to block his path. + + @HELLBOY + I'm gonna put this as delicately as I can. + +>CUT TO: + +INT. BOWLING ALLEY - SAME #84# + +A crowded BOWLING ALLEY is full of serious-looking players in colorful shirts and shoes. + +Someone rolls a ball down the center lane, and as it speeds right at the pins... + + @BOWLER + Look out, Manny! Strike city..! + +CRASH! Hellboy erupts from under the floorboards, fighting the clawing monsters right behind him! + +As the bowlers freeze in shock, dozens of creatures pour out into the human world. Grunting, Hellboy punches his way free, only to be dragged back by the tail by WINK. + +Abe, shielding the Princess, demonstrates the way of the water, a fluid martial arts display. He ducks and parries the blows, leaping like Nureyev. + +Abe scoops up a couple of bowling balls and rolls them at the Prince's guards. He manages to knock a couple off their feet. + +As they get back up, he uses the available bowling pins as clubs. The screaming PATRONS rush for the doors. + +EXT. STREET -- CONTINUOUS #85# + +Outside, the civilians flee, but the news crews come is back. He running. As their lights blaze up, REPORTER 2 gapes in disgust: + +Hellboy's massive hands are wrapped around the neck of a sweet little OLD LADY! He beats her mercilessly! + + @OLD LADY + Help me...! Please, somebody..! + + @REPORTER 2 + (to his cameraman) + Oh, my God!! Oh, my- Roll! Roll on this! + + @HELLBOY + It's not what you think -! + + @REPORTER + (pointing at HB) + He's lost his mind! He's worse than any of them..! + +CUT BACK to Hellboy, revealing that the old lady is actually WINK. + +Liz runs over with a prism from the SCHUFFTEIN GOGGLES and sticks it in front of the camera lens, revealing the truth. + +The reporter checks his monitor. + + @REPORTER + OH- + +.STREET FIGHT #86# + +ALL the BPRD team, including Liz, is swept up in this fight. + +The denizens of the troll market overturn parked cars and knock down lamp posts, ROARING with excitement. + + @LIZ + (MUTTERING) + The fire is not my enemy-- it is a part of me-- + +Liz yells out a warning... and then throws a barrage of flaming bolts. A pair of crab-like THINGS shrivel and burn. + +Johann melds with a heavy steel dumpster, until only his legs are visible beneath it. Bending at the waist - SPLAT - he brings it down on the head of the nearest creature! + +WINK and HB duke it out for a few beats and then HB finally vanquishes the Troll, Ripping his Iron Mace off and throwing it away. + +As the other monsters retreat... + +!.the PRINCE appears: in his hand a complex mechanical GRENADE. Immediately worried, Abe hustles the Princess over to the BPRD truck. + +The Prince twists a timer. His bloodied trolls disperse, screaming, renewing the panic. + + @PRINCE + (to Hellboy) + I will find you, young daemon - + (to Nuala) + - and you, too, my sister. Meanwhile, here's a taste of what lies in store. + +He throws the grenade. Hellboy dives, just in time to catch it. He's about to throw it down a sewer, when he listens to its clockwork innards then: PING!!!! + + @HELLBOY + It's a dud, your royal assness - ! + +The Prince has disappeared, along with his horde. + + @HELLBOY + How do you like that? Just when I was loosening up. + +Then... CLACKK!!!. + +Hellboy scrutinizes the grenade as it opens up like a beans. + +flower... and spews out a handful of Brightly colored + + @ABE + Pick them up!! + + @HELLBOY + Abe. relax- It's jumping beans... + +Abe is scrambling to retrieve them. + + @ABE + Do as I say! + +With a sigh, Hellboy scoops up a few. + + @ABE + How many do you have? + + @HELLBOY + Three, how about you? + + @ABE + Three! There's always seven! Find the last one!!! + +!TO + +The seventh bean is next to a manhole. It hops closer edge... + + @ABE + Quick, it's going for water! + +Hellboy reaches for it... but it's too late. The thing hops into the manhole and lands somewhere below with a SPLASH. + + @ABE (CONT'D) + Oh, my God, evacuate the area! + + @HELLBOY + Abe, please, get a grip. + +A RUMBLE from below their feet. WHAMMMM! + +A HUGE TREE punches up through the pavement, overturning cars, knocking buildings off their foundations and ripping up through the Bridge overpass!! + +Picking up speed, the tree branches soar up, up, up... into the moonlit clouds. + +Hellboy approaches the massive, trunk, gazing up in fascination. Birds and creatures emerge from the inside and flutter around, grass overtakes pavement- and for a moment Chinatown looks like the Garden of Eden. + + @HELLBOY (CONT'D) + Whoa. Just like the story books. + +Manning and Liz take a few steps into it: a SQUIRREL-BEING climbs on Liz's shoulder and a couple of IRIDESCENT HUMMINGBIRDS fly around her "ala" SNOW WHITE. A small crowd starts wandering into this idyllic scenario. + + @LIZ + This is so beautiful- + + @MANNING + So- perfect- so peaceful- + + @HELLBOY + Hey!!! + +He spots. the prince, at the base of the tree. Knocking on it- + + @HELLBOY + Hey- Jhonny Apleseed- What are you-?? Oh- Jeez did you have to do that?? + +Liz starts pulling Manning away and yelling at the crowd- + + @LIZ + Back- Go back- right now!!! + + @MANNING + What? What? What is he doing-? + + @LIZ + He's knocking on wood- summoning an ELEMENTAL- + + @MANNING + An elem- + + @LIZ + A forest spirit that lives in that tree. He's releasing it- + + @MANNING + Oh, and is it that bad?? + +KKKRRRRCHTCH!!!!! The tree trunk rumbles and shakes under some enormous force. Huge LEAVES tumble to the street. Even the ever-present NEWS CREWS back away as a huge shape descends. BOOM!! the trunk rips in two, revealing a curled, dormant ELEMENTAL. Five stories high- Fierce as nature. THE ELEMENTAL steps out of the tree and stares at Hellboy. Uttering a weird, guttural SOUND, the Giant raises an arm and pulverizes a GASOLINE TRUCK! WHUMP- ! Flames leap up! The Elemental grins with delight, turning his baleful gaze on the Princess. As she shrinks back, her pet Yrdrig rushes at the thing, snarling. In a single leap, it sinks its teeth into the Elemental's heel. + + @HELLBOY + Good dog. + (to Elemental) + Now, Woody... You want to fight someone, you fight with me. + +Hellboy humorously adopts a kung fu pose, as in Bruce Lee. + +The Elemental hops forward, New branches sprout from his limbs, shaking the Yrdrig off. + + @ABE + (to the Princess) + This may not be the best place for you, your majesty. With your permission... + +He offers the Princess his arm. She takes it and allows Abe to lead her away. A moment later, the Elemental smashes the ground where they had been standing! + +Every time the ELEMENTAL moves, he trails behind roots and branches. The roots connecting to its feet and leading to the original tree trunk, like an umbilical cord. + +Johann sees this- + + @JOHANN + I have a plan- + +He looks at Abe- + +.STANDING AT THE GARBAGE TRUCK #87# + +-as the fishman helps the Princess up into the rear of the BPRD garbage truck. + +Up front, behind the wheel, Liz starts the engine. + +.ABANDONED BUILDING #88# + +Hellboy climbs a fire escape as the Elemental's arm/branches extend and grow over the ladder, pulling it down below his feet. Hellboy ducks into one of the open windows as the Elemental tears away the rest of the scaffolding. Growing and discarding branches and roots. + +INT. ABANDONED BUILDING - CONTINUOUS #89# + +Hellboy runs like a cockroach through a dilapidated KITCHEN. + +Behind him, the Elemental's massive BRANCH/FIST crashes through the wall, then pursues him as he runs down a corridor littered with debris. + +Like a wrecking ball, the Elemental demolishes each section of the corridor as Hellboy runs. + +EXT. LEDGE - CONTINUOUS #90# + +Hellboy steps out onto a ledge ten stories up, just out of reach of the Elemental. + + @HELLBOY + (to the Elemental) + What now, Big Boy? You get a ladder? + +The Elemental jumps up and down, trying to reach him, barking in frustration. + +Hellboy's RADIO crackles: + + @ABE + (on the radio) + HB? This is Blue. The Princess is fine. + + @HELLBOY + So what? + + @JOHANN + So, lead him to the bridge. + +Hellboy looks over the buildings and sees the Brooklyn Bridge in the distance. + + @HELLBOY + That's nine blocks from here, Fishbowl! + + @ABE + You'll figure it out. + + @HELLBOY + What's at the bridge? Abe - ? Liz? Hello??? + +No answer. Muttering, Hellboy climbs higher, up a buzzing neon sign reading "Hotel". + +The Elemental smashes the letters "tel"... so Hellboy climbs the "0" to the roof. + +INT. GARBAGE TRUCK - SAME #91# + +Liz drives the garbage truck toward the Brooklyn Bridge. + +Johann is sitting next to her. + +EXT. ROOFTOP - CONTINUOUS #92# + +Hellboy makes a running start and leaps off the building. He sails over the alley, reaches for the approaching cornice... + +and almost loses his grip! He hangs on for dear life. + +Behind him, the Elemental appears, climbing onto an adjacent roof. As his feet smash through the skylights, the Elemental pulls down a WATER TOWER. A wall of water rolls toward Hellboy, like an ocean wave! + +Hellboy leaps to the next roof... and the water shoots over the edge of the building, cascading onto the street below. + +EXT. CONSTRUCTION SITE - SAME #93# + +Liz parks the truck near the Brooklyn Bridge. Using binoculars, Abe peers out the back doors to see Hellboy bringing the Elemental closer. + + @ABE + Johann - they're almost here. + +Johann moves among massive construction machinery. He stops at a stack of heavy SPOOLS OF CABLE. + +Abe comes running, pointing at the cable. + + @ABE + Yes. I had the very same idea... + +He gets behind the levers and handles of a complex machine which holds a half mile of steel cable. + + @ABE + (gazing at the controls) + \.but how do you operate this?? + + @JOHANN + If you'll permit me... + +Johann opens his fingers, and plunges both arms deep into the mechanism! Instantly, the diesel engine STARTS UP. + + @JOHANN + (to Abe) + Stand back, Abe. + +A hydraulic strut lifts the spool, then pitches it through the air, spinning off 300 yards of cable. It splashes down near the far shore of the East River. + + @JOHANN + Now, tie it onto the pontoons on the other side. + (seeing Hellboy coming) + Quickly, Abe! + +.IN THE WATER #94# + +Abe races down a pier and dives smartly into the dark water. + +Then he surfaces, surging dolphin-like toward the Manhattan shore. + +.BROOKLYN BRIDGE - DOCKS #95# + +Hellboy makes it to the bridge... as, behind him, the Elemental wades into the river, pushing aside boats and barges. + +.IN THE RIVER #96# + +Abe makes it to the other side, surfacing with the cable, towing it to a half-submerged pontoon. + + @JOHANN (CONT'D) + (on the radio) + Macht schnell! Abe - make it fast! + +The cable is a yard short of the anchor point! Abe tugs on IT- + + @ABE + I need more! + + @JOHANN + No more available! + +The Elemental's feet stomp through the river; he stumbles as he encounters the submerged cable. + +.UNDERWATER #97# + +Clinging to the cable, Abe is dragged down, down down... + +past rusting cars, oil drums... and a couple of rotting CORPSES, their feet in tubs of cement! + +Suddenly, Abe's head strikes a sunken truck, knocking him unconscious. Blood seeps from his wound. + +.AT THE BRIDGE #98# + +As Hellboy climbs one of the bridge towers, he hears someone calling out from above: + + @PRINCE + (to Hellboy) + Haven't you managed to kill it yet? You, who were so eager for a fight? + +The Prince is standing on top of the tower. He points at Hellboy, then yells at the Elemental. + + @PRINCE + (to the Elemental) + Over here, dear friend... + +SNATCH! The Elemental plucks Hellboy off a parapet! Hellboy wriggles in the massive wooden finger-like appendages. + +The Prince walks to the edge of the tower, near a steel spire, his coat flapping in the night wind. + + @PRINCE + This might be a good chance for you to come to your senses. Help us. + + @HELLBOY + I've been all through this! The answer's still no! + +Far below, Johann slips his right arm into the cable, bringing it to life, whipping it back and forth, like a steel snake! + +The cable forms a huge loop, splashing down near the Elemental and tightening around his ankles. The cable TENSES- + + @JOHANN + (to Liz) + Burn the roots!!! Burn them!! + +He points at the roots trailing into the river. Liz concentrates and a bolt of fierce white-hot energy pours out of her hands, burning the roots at the Elemental's feet. + +Johann gyrates; the cable responds, whipping up out of the river! With a bellow, the Elemental loses his balance; he tosses Hellboy high into the air. + +On the way down, Hellboy grabs a support stay and swings back and forth like a red monkey. He lands atop of the Elemental's back, right behind his head. + + @HELLBOY + Nap time, Big guy- + +He raises his stone fist and hits him straight in the back of the neck. + +The cable tenses- -The Elemental pitches forward- The Prince looks up to see the Elemental falling right at him; his mouth opens as if to scream... + +The Elemental goes down, impaling himself on a spire atop the bridge... exactly where the Prince had been standing. + +Putting an end, it seems, to both of them. + +The Creature dies, but even as it does, its branches embrace the steel structure and grow, Ultimately, blocks and blocks of the city are now covered in trees and grass and mossy leaves... A strangely beatific and precious change. + +Liz runs up, looking out at the river as Abe emerges, bleeding, but alive. Abe, Liz and Johann embrace firmly, laughing and happy to be together. + +Abe eyes the Princess standing nearby, smiling back at him... + +Hellboy meanwhile observes the group from a distance, jealous, alone. + +>CUT TO: + +INT. FIRING RANGE - LATER #99# + +BLAM! BLAM! Deafening shots as Hellboy blasts the Samaritan again and again at a target in the dark firing range. Hits a button, brings the paper close for inspection. + +Result: a very ragged, loose pattern around the bull's eye. + +Suddenly, from the next alley, RAPID GUNFIRE. Johann leans over, and to address Hellboy through a cloud of gunsmoke. + + @JOHANN + You'll permit a small criticism? You take too much time to aim, to think. Nein. Just point- like a finger- as if you wish for something. + + @HELLBOY + Oh, I wish for something. + +Johann brings his target close: a beautiful, tight cluster of shots, dead center. + + @JOHANN + Speed is of the essence. You must work on it. I'm willing to spend some - + +Johann reaches for his loader, accidentally knocks Hellboy's onto the floor. + + @HELLBOY + Hey, watch it! You're winding me up, I don't like it. + + @JOHANN + On the contrary. + +INT. LOCKER ROOM - DAY #100# + +Hellboy's in the shower, glaring across the room, where Johann stands at a mirror, polishing his glass head with a terry cloth towel. + + @HELLBOY + You keep wiping that thing like she's gonna care. + + @JOHANN + She- Who-?? + + @HELLBOY + You know who- She- + (BEAT) + She's not gonna care. + + @JOHANN + (long beat) + You think I'm after Liz, don't you? + (Hellboy walks out) + Well, I'm not. + + @HELLBOY + Why not? + (BEAT) + Not good enough for you? + +Hellboy wraps a towel around his waist and comes up behind Johann. + + @HELLBOY + Well- From now on, you don't come near her. You don't talk to her- + + @JOHANN + You forget. I'm part of the team now, such interactions are inev- + + @HELLBOY + Well- you better start making them "evitable"- + + @JOHANN + That's not a word- + + @HELLBOY + Yes, it is- + + @JOHANN + No, it isn't- + +Hellboy raises his stone fist. + + @HELLBOY + Now it is- + + @JOHANN + Oh, I see- you want to punch me- That's how you win an argument. + + @HELLBOY + I try. + + @JOHANN + Well, you're big, I'll give you that much- + + @HELLBOY + "Give me???"- You don't give me sh- + + @JOHANN + -and you're strong- but you're slow. + + @HELLBOY + Slo-?? + + @JOHANN + Very- slow- I've seen your fighting style. Very slow- + +WHAM-! Hellboy cracks Johann over the head with his massive fist. To his surprise, the Johann's glass ball cranium shatters! + + @HELLBOY + Slow enough for ya-?? + +With a loud HISSS, Johann's odd suit sags to the floor! + + @HELLBOY + Ow- Johann... buddy. Sorry- I- I- got carried away... + (leaning over the empty suit) + Johann? You still hear me? + +An ectoplasmic TENDRIL reaches out from the suit and penetrates the closest locker. + + @HELLBOY + It was an accident, okay? I'll get you some help- + +With a CLANG! -- the bank of lockers comes to life! Metal doors smack Hellboy's head repeatedly, like a pinball machine! his face imprinted in the metal. + + @JOHANN + See? Speed is the key. + +The vaporous form of Johann's body emerges from the lockers and wanders away. The locker room doors open and close as he goes by. + +Hellboy tries to stand, wobbles and sits. + + @HELLBOY + Chicken shit! + +>CUT TO: + +!- NIGHT 101 + +INT. THE LIBRARY #101# + +Abe floats in his tank, smiling at the Princess, who's at one of the book stands, reading to him. + + @PRINCESS + "I sometimes have a queer feeling - especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame." + + @ABE + I love this part. Keep going. + + @PRINCESS + "I am afraid that cord of communion will be snapt; and then I've a nervous notion I should take to bleeding inwardly." + +She closes the book, looking troubled. + + @ABE + Charlotte Bronte died shortly before I was born. It would have been a great privilege to have known her... + + @PRINCESS + This "Jane Eyre"... I understand it's only a story, but such a tie that binds, it exists between me and my brother. I assure you: my brother, he's not dead- + + @ABE + How can you know? We all saw- + + @PRINCESS + We are twins. Even now, I can sense his presence. This has been our way since we were young children, in Renvyle- + + @ABE + Renvyle, Ireland- The ancient isles- + + @PRINCESS + (NODS) + A magical place in the West. A different time. Long gone. Now, he's near and he's looking for me. I can feel and even understand his. hatred for mankind. + + @ABE + Men... usually mean well, I believe that. But they need our help and patience. + + @PRINCESS + You were very brave, vouching for me. How do you know I'm not the enemy, bringing me here? + + @ABE + It's as you were saying, I suppose. From intuition, feeling. I've never met anyone like you... but that's my instinct. + +They gaze fondly at each other through the glass, as bubbles swirl out of Abe's gills. + +>CUT TO: + +INT. HELLBOY'S ROOM - NIGHT #102# + +Liz is patching Hellboy's injured head. In the background the TV's are playing up: CITY LIGHTS, WHITE HEAT and some TV programming. + + @HELLBOY + He caught me off-guard- but I'll get him next time. + +He's examining a few letters, contract forms, etc. + + @LIZ + There shouldn't be a "next time" we're all part of the same team. + + @HELLBOY + We are- he's not- The guy's an egomaniac. You can see right through him. + (PAUSE) + That's a joke, Liz. + +Liz remains silent. + + @HELLBOY + (raises a letter) + Look!! They wanna do a cartoon series, based on me? And this: + (he holds up a box of cereal) + Product endorsement - breakfast of demons. And a videogame!!! + +As CITY LIGHTS ends, Liz lifts the remote to turn the volume up. + + @LIZ + Gosh, that was so sweet, so sad- It always gets me- Red- There's something I need to- + + @HELLBOY + (taking the remote) + No, wait. + (switching to Leno) + Look that's us- + +Jay is showing some footage from the giant incident. + + @LENO + So- this "Hellboy" what is he?? Is he really on our side?? I mean, he's red, has a tail and shaves his horns- horns, Ladies and Gentleman. Horns are never a good sign. + + @HELLBOY + (CHUCKLES) + Ha- He's funny. + + @LENO + Maybe we should have him come over and talk to us a little, uh? Whaddayathink?? + +The crowd roars. + + @HELLBOY + That's a great idea, don't you think?? + + @LIZ + No, I don't- + + @HELLBOY + Did you know that during the commercial breaks the orchestra keeps playing so the guest can't talk to Jay... keeps the conversation fresh. + + @LIZ + How do you know these things? + + @HELLBOY + I read it in TV Guide. + + @LIZ + You're really liking this, aren't you? + + @HELLBOY + We should do this- + + @LIZ + It's a bad idea. All of it- Do you really need everybody to like you?? What's in it for you?? Are we not enough??? + +She leaves. Hellboy glances at Leno on TV: a dog outfitted in a ballerina costume is jumping around with a red ball balanced on its nose. Hellboy chuckles. + + @HELLBOY + That's funny. + +>CUT TO: + +EXT. BALCONY BPRD - NIGHT #103# + +Liz is looking out into Trenton NJ's light landscape. Johann approaches her. + + @JOHANN + Are you alright-? + +Liz nods weakly. + + @JOHANN + May I be of assistance?? + + @LIZ + Maybe. + + @JOHANN + He's a big brute, isn't he?? + +Liz chuckles. + + @JOHANN + But he has a good heart. I know it. He means well. + + @LIZ + I think I may have made a mistake. + + @JOHANN + In what way, Mein Frau?? + + @LIZ + Just a mistake- nothing important. + (SIGHS) + But sometimes being with him is not easy- + + @JOHANN + It never is. I know. + +Liz looks at him with renewed interest. + + @JOHANN + I was married once. A long, long time ago... And only after I lost her- I realized that my life would never be quite the same- And my loss lead me to become what I am today... + +Johann's human face materializes inside his glass helmet. + + @JOHANN + I- I tried constantly to make contact with her- + +>DISSOLVE STARTS : + +!- SEANCE ROOM - NIGHT 104 + +.FLASHBACK - CIRCA 2001 #104# + +Johann's mouth opens and out of it emerges a large tendril of ectoplasm. His neck engorges and the substance continues to flow freely out of his mouth and fingertips-- + + @JOHANN + It was only there- in the Ethereal plane that I ever gazed upon her again... + +CAMERA close in on several ceremonial candles burning in the room. Their flame illuminating the eerie scene. + +Out of the mouths of the other guests, emerge other, equally large ectoplasmic shapes. + +They cross to- + +.THE ETHEREAL PLANE #105# + +Once there- they reform into humanoid shapes, vaguely reminiscent of their mortal bodies. + +JOHANN floats freely, approaching another humanoid form in the void: That of a woman, his wife. + + @JOHANN'S VOICE + But it was there, while he was partially on the ethereal plane, that disaster STRUCK- + +He is about to embrace his wife's form when a horrible rumble occurs and the void bursts in flames, destroying and distorting everything around him- His wife's shape screams and evaporates. + +INT. SEANCE ROOM - NIGHT #106# + +BPRD agents break in on the scene. Smoke and flames billow in the room, wax puddles stand where the CEREMONIAL CANDLES were and seated around the seance table, charred corpses hold hands in eternal contact. As the Agents move around a pale, vaporous shape emerges from the soot-stained darkness: + +It's Johann. + + @JOHANN'S VOICE + All the seance attendees were incinerated. The only survivor -and only to some extent- was me- Why? I'll never KNOW-- + +The form moves towards its body and attempts to climb back and reanimate it, but the CHARRED CORPSE is barely able to amble a few steps forward before collapsing into ash and bone... The shape of Ectoplasm stands there, alone and lost- Then, Professor TREVOR BROOM wanders into the scene and approaches the form- + + @JOHANN'S VOICE + It was then that Professor Broom and the B.P.R.D. devised a containment suit for me. A new body- + +CAMERA pulls back to reveal- + +.BALCONY BPRD - NIGHT #107# + +Johann, back in the balcony, talking to Liz. + + @JOHANN + I owe Professor Broom everything that I've become. He brought me back to life- + +He grows silent for a brief moment. + + @JOHANN + But I've never been able to see her again. My reach became limited- My loss, infinite... + +Liz puts her hand on his shoulder. Johann takes it... + + @JOHANN + Loss- the very threat of it makes us vulnerable... makes us care- You can see that, don't you?? Without her I became but an empty shell... + +Liz leans her head on his shoulder. + + @JOHANN + Don't give up on him. Not yet. + +Liz chuckles. + + @LIZ + No. Not yet. + +CAMERA discovers HELLBOY, watching them from behind a glass door, a six-pack in his hand. He steps away. + +INT. CORRIDOR - LATER #108# + +Hellboy walks down a deserted corridor carrying his six pack. + +He stops, puzzled. Strains of Barry Manilow are emanating from the library. + +INT. LIBRARY - CONTINUOUS #109# + +Hellboy enters the library and goes over to the tank. Abe is there, listening to Vivaldi. + + @ABE + Ah, hello Red. You're up late. + + @HELLBOY + Liz and I- we had a fight- + + @ABE + OH- + +Hellboy eyes the CD player. + + @HELLBOY + Did I hear Barry Manilow just now? + + @ABE + (smiles hypocritical) + Barry M- oh, Gosh- no- no- + (fast, stammering) + It was er- urm- Vivaldi. Il cimento dell'armonia I believe I particularly admire the passage... + +Hellboy hits the eject button on Abe's CD player. The music stops and he pulls out a different CD from the changer. + + @HELLBOY + What's happening to you?? + + @ABE + Ooh- Ooh- + (SIGHS) + All my life I thought I was alone, a made-up name and a random pasted on a cylinder. But then I saw her- She's like me. A creature from another world... Alone... Brother Red- I think I'm in love. + + @HELLBOY + You say that like it's a good thing. + (looks at the CD) + What track? + + @ABE + (ASHAMED) + Track eight- + + @HELLBOY + (READS) + Oh, God- you're disgusting- + + @ABE + I know- + + @HELLBOY + "Can't smile without you" + + @ABE + I'd cry, but I don't have the glands for it.. + (DESPERATE) + What am I going to do, Red???? + +Hellboy sighs and pops a beer, presses play and sighs heavily, looks around- + + @ABE + I miss him- Father- don't you?? + + @HELLBOY + (NODS) + Everyday. + + @ABE + He would tell what to do- He would tell what's right- what's wrong- + + @HELLBOY + He did that for all of us... + +The opening strings of "Can't Smile Without You." + + @ABE + (sips beer) + You know? I- I never much appreciated Manilow's artistry that much- until now- Now it seems to be a grand poet and speaks directly to my innermost feelings. + + @HELLBOY + Jeez- You need to get out more- + +The two of them sit there, growing quiet, listening to the syrupy music. Then, slowly, the two of them start singing: + +low at first and then at the top of their voices, moved and teary-eyed. + +INT. PRINCESS ROOM AT BPRD - NIGHT #110# + +The Princess hears the distant music and smiles, but then feels a chill down her spine. She shudders and moves to the panoramic window and gazes outside, to the woods and the distant city lights below... + +EXT. BPRD - NIGHT #111# + +The music can be heard at a distance. + +A dark figure stands on a hill, amid the trees, listening and watching... CAMERA MOVES IN: the Prince gazes at the building. + +>CUT TO: + +INT. BPRD CORRIDOR - DAY #112# + +Manning strides down the corridor, followed by the BPRD team. All of them dressed in BLACK LEATHER OUTFITS. + + @MANNING + This is a whole new ballgame and I want you to take my lead. + + @ABE + I find these leather outfits very UNCOMFORTABLE- + + @MANNING + Maybe so, maybe so- but they look- hip. + (BEAT) + When it comes to dealing with reporters or the public, I set the tone. You all know the old saying: the perception is the reality. + + @HELLBOY + Correctamundo, chief. For one thing, we can ditch the garbage truck, right? + + @ABE + Wait, Red, the lab's in it- + + @HELLBOY + Screw the lab. I want new wheels. + + @MANNING + (SMIRKING) + You got 'em- + +The round a corner and enter - + +INT. BPRD GARAGE - DAY #113# + +Three gleaming Hummers await them. + + @MANNING + A gift from General Motors. One for each of you. + +Each Hummer has custom paint: Hellboy's with scenes of Dante's inferno, Liz's with flames and Abe's with an underwater vista. + + @HELLBOY + This is more like it! + + @LIZ + I'm not driving that- + +Abe has opened the hood on his Hummer. + + @ABE + This is a most unfortunate vehicle. The sheer waste of precious fossil fuels... + + @MANNING + An American custom, it's called product placement! What's the harm? + +>CUT TO: + +!-- DAY 114 + +EXT. NEW YORK STREET #114# + +A mob of SCREAMING FANS outside the TV studio. The frenzy intensifies when they see the Hummers pulling up. + +As the BPRD team exits the cars, autograph seekers break through the POLICE LINE and swarm around the heroes. + + @MANNING + Every agent on the field is on the case. They will solve it-- + +Hellboy signs a color photo of himself with a flourish. + + @HELLBOY + There you go, pal. "To Jason, best wishes, Hellboy." + + @FAN + (squints at the signature) + How am I supposed to read that? + + @HELLBOY + You don't like it? + +Irritated, he scowls at the fan. Manning takes him by the elbow and leads him away. + + @HELLBOY + (to the fan) + That turns up on e-Bay, I'm gonna find you, "Jason"... + +INT. GREEN ROOM - LATER #115# + +A row of makeup chairs. Manning sits in the first one, looking at himself in the mirror. + + @MANNING + Can you do anything about this... uh... + (lowers his voice) + -double chin? + + @MAKEUP GIRL + No, you're not being made up. + + @MANNING + Why not? + + @MAKEUP GIRL + They said, you're too normal. You don't need anything. + + @MANNING + But- Believe me- I'm not normal at all... + +CAMERA MOVES to the next makeup chair, where Makeup Girl holds a camelhair brush and stares dubiously at Abe. + + @MAKEUP GIRL 2 + So, what color is that- green? + + @ABE + Carribbean Blue, actually. + +CAMERA MOVES to the next makeup chair, where the very sexy Makeup Girl 3 gingerly touches Hellboy's chest. + + @MAKEUP GIRL 3 + Are these really scars? + + @HELLBOY + Well, yeah. Each one tells a story- + +His grin fades as he sees Johann talking to Liz. He abruptly gets up and goes to them. + + @HELLBOY + That about you, glass-man? A few squirts of Windex? + + @JOHANN + I'm not going on. And if I may- a word of ADVICE- + (long beat, then sotto voce) + -it's not a good idea to hint that you two have... a relationship. + + @HELLBOY + Thanks a bunch. I'll decide that. + + @JOHANN + You don't know how people may react. + + @HELLBOY + It's a love story. They'll lap it up. + + @JOHANN + I know you don't like me, but trust me on this one. + (BEAT) + I knew your father- he was a friend- + +Hellboy blinks, taking the information in. + + @JOHANN + Do as you may- But know this- he wouldn't have approved of your behaviour. + +A P.A. opens the door. + + @P.A. + You're on-! + + @JOHANN + I'll be watching from the truck lab, where I belong- Go, enjoy your fifteen minutes... + +He walks away. + +>CUT TO: + +INT. MOSCOW SUBWAY - NIGHT #116# + +!SIGN: PATROVICK STATION, MOSCOW, 22.00 HOURS. + +A busy Moscow Subway station, not very crowded at this time of night. Sleepy patrons await the arrival of the subway. + +One of them, a puppet vendor, showcases his product. He manipulates a wooden marionette: A KNIGHT in SHINING ARMOR. + +In the distance- lights, bright lights and the train ROAR!!! + +The Puppeteer readies his merchandise bag and quickly moves to the edge of the platform alongside other passengers. The lights grow in intensity and the ROAR becomes deafening. But something's wrong, really, wrong- + + @PUPPETEER + Hooy na ny! + +The lights are in reality, the eyes of a giant dragon and it roars into the platform, demolishing pillars, crushing people and eating the puppeteer in a matter of second. + +Pandemonium ensues. + +INT. GARBAGE TRUCK LAB - NIGHT #117# + +A warning light goes off on the Truck's GLOBAL POSITIONING MAP: "MOSCOW" But Johann and the other agents are too absorbed watching the Leno show on the bank of monitors. + + @LENO + Ladies and gentlemen, yesterday we saw some extraordinary things on TV. And tonight you're in for more. + +>CUT TO: + +.TV SHOW #118# + +Jay Leno grins and pulls his microphone close. + + @LENO + Please extend a warm, warm welcome to Hellboy, Liz Sherman, Abe Sapien, and Special Agent Tom Manning. + +Uproarious applause as the BPRD team comes out and make their way to the couch. + +INT. BPRD CONFERENCE ROOM - SAME #119# + +Alone in the BPRD conference room, the Princess is watching the show. The massive Yrdrig is curled up at her feet. + + @LENO + Wow, So - + +He's pointing at Manning. + + @LENO + \.what planet are you from? + + @MANNING + Washington, D.C., Jay. It's hot and inhospitable to human life. + + @LENO + Funny. + (to Liz) + Why are you just "Liz" and not Fire Girl? + + @LIZ + I was born in Milwaukee, so it was just plain old Liz ever since first grade. + + @HELLBOY + Hey, we do call her Sparky now and then. + +A chuckle from the crowd. Hellboy smiles in satisfaction. + + @LENO + (to Abe) + And you, Abe. Is it uncomfortable at night with that toilet seat around your neck? + +The Princess smiles as the camera singles out Abe for a closeup. + + @ABE + Actually, Mr. Leno, my lungs are more like gills. I need to convert the air's nitrogen into oxygen, otherwise I'd suffocate in five minutes. + + @LENO + (NODDING) + Gotcha. We call that stand-up comedy. + +INT. GARBAGE TRUCK LAB - SAME #120# + +Johann is groaning. This is turning unpleasant. Behind him, the map's lights are lightning up non-stop. + + @LENO (CONT'D) + So, Hellboy: what's your favorite food? Devil's food cake? Do you have a last name? + +More laughter at HB. Liz mortified. She touches HB's hand to restrain him. Cameras zoom in on this. + + @LENO + Whoa. What's that- Are you two an item? + + @HELLBOY + Uh... I- + + @LENO + (to Liz) + Care to comment on that? Sounds like you're contemplating marriage! + + @LIZ + (after a big pause) + You know, Jay, we are- together. We are. + +Rumble of consternation from the audience. + + @JOHANN + Uh oh. Manning, I think your polls just tanked. + +He turns to see the map- lit like a christmas tree. + + @JOHANN + Mein Gott- + +.TV SHOW #121# + +Leno smiles at the audience, which is buzzing. + + @LENO + Folks, this is modern America. A guy in Rhode Island married his motorcycle! What's a little inter-species romance in this day and age? + +!LIZ: + +Scattered BOOING from the back row. Jay turns back to + + @LENO + Okay, here's what we've really been wondering: Is he just like every guy? In every respect? I mean, he looks like a guy... + + @LENO(continued) + and if so, are you using any protection? A layer of asbestos might be in order, don't you think? + +Liz tenses up in silence. Holds tight to HB's hand. + +Hellboy is ready to explode. + + @LIZ + As a matter of fact, Jay- + +Before she can finish, the production assistant runs out and hands a NOTE to Leno, who scans it and grows serious: + + @LENO + We we're getting pre-empted, ladies and gentlemen. Please, bare with us. We'll be right back- + +CAMERA PUSHES IN on one of the MONITORS: + +EXT. TOKYO STREETS - NIGHT #122# + +News footage of the Ginza features YOKAI GHOSTS on a rampage, destroying the stores and attacking salarymen. + + @ANNOUNCER 1 + This is a news alert. Tokyo is under assault - repeat - this city has been attacked. Monstrous beings, defying description, have waded into the Ginza- + +The jumpy, handheld images are full of digital interference. + +The spectral BEASTS drag down power lines and hurl cars. + + @ANNOUNCER 1 + - where police are helpless and hospitals overwhelmed. One moment, please. Moscow... come in, Moscow... + +>CUT TO: + +EXT. MOSCOW STREETS - SAME #123# + +Red Square, Moscow now seen in similar, shaky video. + +Hundreds of citizens are running from a towering, DRAGON. + + @ANNOUNCER 2 + This is CNN in Moscow, where a Dragon has laid claim to Red Square. Yes- a DRAGON. + +The DRAGON heads towards the TV REPORTER and screeching, it raises its PAW. + + @ANNOUNCER 2 + Oh, my God... + +CAMERA goes down, then the picture winks out. + +Black screen. The HISS of static... + +PAN off the monitor to Jay Leno, who sits in stunned silence, like everyone else. Finally, he looks over at Hellboy. + + @LENO + Friends of yours? + + @HELLBOY + (GROWL) + No -! + + @LENO + Then, may I ask what you're doing here? Shouldn't you be out protecting humanity instead of hooking up with our women? + +At last, Hellboy explodes. Bellowing, he rips up the desk and throws it through the backdrop! + +>CUT TO: + +INT. BPRD - SAME #124# + +The Princess snaps off the TV, looking worried. + +Alone with her thoughts, she examines the curved gold piece hanging from a chain around her neck. She closes her eyes and shudders - trouble is near. + +The Yrdgrig wakes up and whimpers. + +INT. BPRD CORRIDOR - CONTINUOUS #125# + +Video cameras record the journey of the Princess as she makes her way through the nearly-deserted corridors. + +INT. LIBRARY -- CONTINUOUS #126# + +A VIDEO surveillance camera in the BPRD library records the Princess as she crosses to Abe's tank. + +She hides the gold segment within the pages of "Jane Eyre." At that moment, the Yrdrig GROWLS - + + @PRINCESS + Shhh, it's all right - + +BOOM-! A jolt shakes the room. A-moment later, a wall collapses as warty, heavily muscled ARMS and FINGERS tear at the masonry! in seconds, a squad of TROLLS pulls itself into view! WINK leers at the Princess. From her waistband, she produces a long, thin DAGGER and wields it timidly. Somewhere in the building, ALARMS start clanging. + +The Yrdrig shakes himself into action and springs. + +With a SNARL, it attaches its several jaws onto the nearest trolls. As the fighting creatures crash into the spiral staircase, the Princess hears a familiar voice: + + @PRINCE + Hold. + +The Prince steps into the room, carrying a long spear. + +The trolls are on top of the Yrdrig, ready to kill him. + + @PRINCE + Come-! + +The trolls release the Yrdrig and bound over to the Prince. + +The last troll, however, grabs the Yrdrig by the neck and brutally twists -! + +The animal's three mouths yelp and cough, fighting for air. + +- the It thrashes pathetically until, suddenly, it's over beast is dead. + + @PRINCESS + No! + + @PRINCE + Where is your sense of shame? You mingle with... the liars? + +INT. BPRD GARAGE - SAME #127# + +ALARMS are ringing as the Hummers pull into the underground parking garage. Manning and Hellboy jump out of their vehicle and see - + +- a couple of dead AGENTS sprawled on the loading dock. + + @MANNING + What in God's name- ? + +Hellboy, Abe, Liz and Johann race past him, disappearing into the building. The alarm bells are deafening. + +INT. BPRD CORRIDOR #128# + +Hellboy leads the way down the corridors, which are alive with scrambling personnel. Several BPRD employees are lying on the floor, wounded and confused. + +INT. LOBBY #129# + +The top-level human agents are clustered in the lobby, their guns drawn, all of them aiming at the Prince and his drooling bodyguards. Standoff. + +As Hellboy and the team arrive, Abe sees the Princess, her arms tied. Her brother holds her by the hair. + + @ABE + Princess! + +Without thinking, he darts forward. Instantly, one of the trolls swipes at him, its claws just missing his chest- + + @HELLBOY + Abe! No, get back!! + +Abe regains his balance and tries again, his eyes glued to the desperate features of the beautiful young woman. Hellboy manages to restrain him. + + @PRINCESS + Mr. Sapien, don't! He'll kill you! + + @PRINCE + I'll kill you all, if that's what you want. + + @HELLBOY + No. Why don't you just start with me? + +Hellboy strolls up to the Prince. + + @PRINCE + You challenge-me? + + @HELLBOY + You bet your ass I do- + + @PRINCE + Your weapon of choice? + + @HELLBOY + (holds up his massive hand) + Five-fingered Mary. + +In the background, Manning arrives, wide-eyed. Just in time to see the Prince hand off his captive to one of the trolls. + +He drops back, flips his spear to horizontal and waits for Hellboy's attack. + +.FIGHT #130# + +Hellboy feints left, goes right and whips around, swinging his tail at the Prince. The Prince leaps and jabs with the spear, poking a hole in Hellboy's coat. + +The surrounding crowd backs away as the combatants circle each other. The Prince is nimble. The Prince is quick. He thrusts the spear again and again, driving Hellboy into a display case full of antique weapons. + +The glass breaks and a number of swords and axes fall to the floor. + + @JOHANN + (to Hellboy) + Arm yourself! Use the flail!. + + @HELLBOY + Not my style. Watch and learn, fish bowl. + +He punches the Prince, hard. The blow knocks the Prince to his knees; as he rises, Hellboy connects with a brutal combination. + +In the arms of the troll, the Princess' head rockets back and forth, as if struck. A moan of pain escapes from her lips. + + @ABE + (seeing this) + H.B., no! Stop - you mustn't harm him! + +As the Prince totters, Hellboy turns to look at Abe, momentarily distracted- Then- + +Hellboy grimaces and looks down: the Prince's SPEAR TIP is half-buried in his chest...! + +The Prince sneers and gives the spear a savage yank, breaking off the blade! Hellboy's eyes roll upward; Liz SCREAMS. She and Johann manage to catch Hellboy as he collapses. + +The Prince reclaims the Princess and turns to the humans. + +His eyes seek out Abe, who has rushed to Hellboy's side. + + @PRINCE + (showing off the Princess) + If you want to see her again, you'll give me what's rightfully mine. Many people died for that crown. Bring it to me. + +He and his trolls escape into the night. + +>CUT TO: + +INT. MEDICAL BAY - LATER #131# + +Stretched out on an operating table, HB is barely conscious. + +Abe, in surgical goggles, probes the wound. + +In CLOSE-UP, Abe's webbed fingers lightly touch the glinting metal that protrudes from Hellboy's sternum. The spear tip responds, as if alive; it wriggles, producing a GROAN from HB. + +Liz is near panic. + + @LIZ + Abe, stop studying! Pull the friggin' thing out, why don't you? + + @ABE + Liz, I'm sorry. It's a magical alloy. Every time I touch it, it moves closer to his heart. + (GESTURING) + Come here, I'll show you... + +Liz backs away, shaking her head. + + @LIZ + No! I don't want to see it! + (to Johann) + We've got to do something! + + @ABE + I cannot reverse the magic- we have to look for the Prince or somebody that can help Red. + + @LIZ + Go after that son-of-a-bitch and get him to reverse the spell!! + + @JOHANN + He'll demand the gold piece- + + @LIZ + So? We find it! We give it to him-!! + +Manning exchanges a worried look with a couple of his agents in the b.g. + +INT. PRINCESS' ROOM - MOMENTS LATER #132# + +Liz rummages in the Princess' quarters, throwing bedding around, opening drawers. + +INT. CONFERENCE ROOM - MOMENTS LATER #133# + +Liz bursts into the conference room and starts shoving books and papers aside, hunting high and low. + +INT. BPRD CONTROL ROOM - NIGHT #134# + +Johann walks into the control room. In every screen a crisis situation is visible. JAGGED, BLURRY FOOTAGE shows a Yeti at large in Nebraska and a Plesiosaurus at large in Scotland, etc, etc- + + @AGENT AGATE + A lupgarou loose in Picadilly, a Winged creature nesting in a skyscraper- We have a situation in almost every point of the map. + +Johann looks back at a map with LED indicators signaling each crisis in the globe. They keep turning on a dozen a second. + + @JOHANN + The Rebellion's spreading too fast- The only way to stop it is to stop the Prince. + +INT. LIBRARY - NIGHT #135# + +Abe enters the dark, soaking library and surveys the ruins of his tank. + +He goes directly to one of the book stands, which lies in pieces on the floor. He comes up with his copy of "Jane Eyre." He opens it to Chapter 23 and finds the gold piece. + + @LIZ + Any luck? + +Liz has come in behind him. Abe quickly palms the precious thing in his webbed hand. + + @ABE + No. Sorry. + + @LIZ + It doesn't matter. + + @ABE + No -? + + @LIZ + No. Forget the gold piece. Let's us just find this royal asshole. + (FIERCE) + Fire and water, me and you, Abe. We'll kick his ass. + +Abe looks supremely troubled. + + @LIZ + Abe, let's do this for Red! + +Abe nods, unable to find a good answer. He manages to tuck the gold piece into his belt. + +>CUT TO: + +INT. CONFERENCE ROOM - LATER #136# + +Abe stands at a lectern. Behind him, a projected image of the Princess' map from the troll market. His finger traces the strange, elvish text. + + @ABE + The map contained within the cylinder seems useless- + (BEAT) + Now the case itself proves very useful- + +He moistens the holding cylinder case on a rubber stamp mat and imprints the surface pattern on the paper map. Glyphs and coordinates become visible. + +A silhouette of a twisted, gnarly tree is visible too. + + @ABE + Renvyle it is- Both the Princess and her brother were born there. They hold it sacred. + + @MANNING + Even if you're right, we sit tight and locate the gold piece, make sure he never ever gets his hands on it. If there's any truth to this legend, the fate of the world depends on it. + + @LIZ + What about Red?? Don't you care about him??? + +A moment of silence. Nobody knows what to say. Finally: + + @JOHANN + Liz. That may be his destiny. Manning is right: we can't take the chance. + +Liz glares at him. + + @LIZ + I see. Red was right about you. Welcome to the team, Johann. And goodbye. + +She leaves the room. + +>CUT TO: + +INT. HB'S ROOM - LATER #137# + +Hellboy leans weakly against the doorway to his room. His cats purr all around him, oblivious to his pain. He sits by the bed. Liz enters the room. He smiles weakly at her- + + @HELLBOY + Don't worry, Sparky- It's all going to be ALRIGHT- + +Abe stands nearby, in silence. Liz looks at him, teary-eyed. + + @ABE + We'll make it alright. Screw Manning- You are right, Liz- We should just do this together: the three of us. + +Liz smiles. + +>CUT TO: + +INT. PLANE - NIGHT #138# + +The BPRD airplane sits quietly in its hangar. In the passenger compartment, Hellboy climbs up. He looks up to see Liz smiling down at him. + +INT. COCKPIT - SAME #139# + +Abe's sitting in the pilot's seat, leafing through the massive airplane manual. + + @ABE + Engine, starting- refer to NA-7488-BD... + +Liz climbs in behind him. + + @LIZ + We stay here much longer, we're gonna get caught... + + @ABE + Just a few more minutes. Here's an easy way to remember that "port" means "left." They each have four- + +A NOISE from the door: it's Johann. + + @JOHANN + Good evening, friends. + + @LIZ + Don't try to stop us, Johann. + + @JOHANN + On the contrary. I've been giving it some thought, and we should be able to save Hellboy. After all, the Prince lacks the gold crown. Without it, his army poses no threat. None at all. + +Abe is very quiet. + + @ABE + (in despair) + Its useless- I- I- can't- I can't pilot this thing... + +Johann sits down in the co-pilot seat and melds with the controls... + + @JOHANN + I'll give it a try- + +Abe smiles at the sound of the engines starting up. + +INT. BPRD CORRIDOR - SAME #140# + +Manning bangs on a vending machine in one of the BPRD corridors. As a dribble of hot coffee splatters into his cup, a couple of AGENTS run up. + + @AGENT + Sir - you'd better come, fast - + + @MANNING + Got it - ow! + +He burns his fingers on the coffee as he hurries after the agents. + +INT. HANGAR - MOMENTS LATER #141# + +The BPRD airplane is ROARING, amid clouds of exhaust fumes. + +The plane spins around and around in tight circles, its wing tips knocking into ladders, lights and shelves. + +A bunch of agents are cowering in the doorway as Manning arrives. + + @MANNING + Not ALL of them, it's not possible! + + @AGENT + Isn't that Johann at the controls? + +Sure enough, they get a glimpse of the transparent head through the cockpit window. Abe's there, too. He raises a webbed hand to wave goodbye. + +The plane taxis outside onto the runway... + +EXT. RUNWAY - NIGHT #142# + +!.and takes off, barely under control, just missing the New Jersey treetops. + +>CUT TO: + +.UNDERGROUND #143# + +The Prince pulls the Princess through fractured, roaring tunnels. Here and there, the walls are pierced, allowing light and ocean waves to enter. + +Rounding a few corners, the Prince stops near a wall decorated with a large, elaborate FRESCO. It shows a stylized family tree, hunting scenes and naive renderings of trolls, faeries and ogres. + + @PRINCE + Maybe this will help you remember who we are, who you are... What our destiny is- + +The Prince pushes his sister through a low doorway, out onto A- + +.LEDGE #144# + +-overlooking a vast cavern, big as a stadium, lit by a thousand torches. The mechanical ARMY stands knee-deep in heaving seawater and foam. + + @PRINCE + They - they - will be mine to command, whether you like it or not. Only after our victory will you appreciate my sacrifice... and yours. + +EXT. BPRD PLANE - DAY #145# + +The BPRD plane exits a bank of clouds and starts its descent upon an Irish island surrounded by the Atlantic Ocean. + +Massive granite mountains encircle an impossibly green valley. + +INT. BPRD PLANE COCKPIT - DAY #146# + +Early sunlight washes over Hellboy's body, who weakly groans in Liz's arms. + + @HELLBOY + (to Liz) + Where are we, Liz..? + + @LIZ + Near the ocean, Red.We'regonna make you well here. + +EXT. OPEN FIELD, IRELAND - DAY #147# + +.SIGN:REYNVILLE,IRELAND. #148# + +The back doors of the cargo plane opens and out come Abe and JOHANN- + +EXT. GREEN FIELD - DAY #149# + +Liz and Abe help Hellboy up to a gnarled TREE, twisted by eons of wind. + +Abe unfurls the map and points at a drawing of a similar, weird tree. + + @ABE + This should be the portal. By all rights- + +Johann reaches the tree and inspects it carefully. + + @JOHANN + Abe, bring the mapcase over here. + +He's found a roundish SLOT in the tree, where the lowest branch joins the trunk. Abe slips the map back into its crystal cylinder and holds it alongside: it looks to be a perfect fit. + + @LIZ + Yes! Try it, Abe- + + @JOHANN + Before you do anything... remember what we're in for. A world unlike anything we've ever known. Dangerous, deceptive... + + @LIZ + You're wasting time! + +Abe inserts and twists the cylinder. + +The tree comes to life, hauling its roots out of the ground, bending them into a swaying arch. + + @JOHANN + Dangerous, deceptive... and hard to leave. + +They walk under the tree roots, into... + +.FAIRY WORLD #150# + +A transformed landscape. A perpetual nightland- Still overlooking the same ocean, but now throbbing with pale colors and twisted, Rackahm-esque contours. + +The men start down the hill, into a valley bordered by a rugged coastline. + +>CUT TO: + +EXT. INLET - DAY #151# + +The team reaches the stony shore of a mile-wide inlet. Abe brings out the map. + + @ABE + (pointing to the opposite shore) + Renvyle is over there. + +They glance up and down the beach, looking for a boat. + +Hellboy blinks and sniffs the air. + +A GOBLIN speaks up from an outcropping of rocks in the shallows directly in front of them. By his side, sitting atop of a tree: A SATYR and a CROW observe the group. + + @GOBLIN + I bid you welcome, strangers. Would you be seeking safe passage to Renvyle? + + @LIZ + Yes! Can you help us? + + @JOHANN + (QUIET) + Careful, Liz. + + @SATYR + I'm sure you can come to an understanding! + +The Goblin heaves on an oar and emerges from behind the rocks. He's standing in the stern of a sturdy little coracle. Its wooden hull is painted in Celtic patterns. + + @GOBLIN + Room enough for all of you! + (looks at Hellboy) + Even your weary friend. + + @JOHANN + What will it cost, boatman? + +The Goblin smiles, displaying a disconcerting row of triangular teeth. + + @GOBLIN + Ah, next to nothing! Make me an offer. + +Abe, Johann and Liz confer among themselves: + + @LIZ + How much? + + @CROW + He won't want money. + + @JOHANN + (to the goblin) + I have a... belt! + +!OF + +Johann removes his equipment belt, dangling it in front the creature's bat-like face. + + @GOBLIN + I have no use for such a thing. + +Liz shows him her binoculars. + + @LIZ + Here... is a wonderful set of eyes, magic eyes that will bring the world- + + @GOBLIN + I already have binoculars! No, I see something special. + +He points toward Hellboy's chest. + + @SATYR + Under his bandage - ! + +Quick as a squirrel, the creature hops to Hellboy's side and brings out a KNIFE! SWISH! In one sweep of the blade, he reveals HB's terrible wound, and the speartip protruding from it. + + @GOBLIN + That! + (points at the steel) + That - in exchange for your crossing! + + @LIZ + Don't you touch it - ! + +She rushes to Hellboy's side, pushing the Goblin back, ready for a fight. The Goblin shrugs. + + @GOBLIN + Is it so precious to you? Let me pull it out. + + @ABE + You mustn't. One touch can kill him. + +The Goblin's eyes grow wide with understanding. + + @GOBLIN + Ah. I see. We must go to the Angel of DEATH- + + @CROW + He'll know what to do. + +EXT. INLET - DAY #152# + +The tiny boat is a dot on the golden waves of the inlet as the Goblin rows them to the opposite shore and docks near a cove. + +The Goblin leads the way as Liz, Abe and Johann arrive and help Hellboy up. + +Strange BIRDS hang upside down form the Cave's roof. A MASSIVE CHIMNEY has been carved out of the cave's rock at the other end. A Black, ancient figure is hunched there, warming its skeletal hands by the fire. + +A raspy voice utters something in an ancient language. The Goblin replies, gesturing at Hellboy, who collapses on the floor. + +In a deep coma, Hellboy lies on the floor, near the crackling fireplace. The ANGEL OF DEATH extends its FOUR BLACK WINGS and a thin, jagged smile appears in its pale, eyeless face. + + @ANGEL OF DEATH + So. This one... The boy- I remember him well! Anung-un-Rama! + + @LIZ + Oh, my God. She knows - ?! + + @ANGEL OF DEATH + I helped bring him into this world - in my fashion. + +It pulls a set of a glowing, red-hot TONGS out of the fire. It studies the speartip, which has buried itself deep in Hellboy's flesh. + + @ANGEL OF DEATH (CONT'D) + I warn you: it is his destiny to rule over the destruction of the Earth. Not now, not tomorrow - but some day. You are sure you want him to live? + + @LIZ + Yes, I say yes-! + +Abe and Johann exchange a silent, worried look. + + @ANGEL OF DEATH + Very well, then- but let it be said: The day will come when you will pay the price fire girl: This will bring you and the world much sorrow. + + @LIZ + And I'll deal with it when that time comes. Now save him. + +The creature cackles and then grips the spear tip with the tongs. A cry of pain from Hellboy as it withdraws the bloody point from his chest. + +The ANGEL OF DEATH holds up the speartip and looks at it with distaste. + + @ANGEL OF DEATH + Harmless now. + (looking at Hellboy) + See - ? + +Hellboy's eyes flutter open. + + @ANGEL OF DEATH + (to Hellboy) + Sleep now, child. Your strength, it will return. + +A guttural HISS from the corner: the Goblin is jumping up and down, pointing at the speartip. + + @JOHANN + Our ferry captain - he wants his payment... + + @ANGEL OF DEATH + Ach, outside with you! + +She tosses the speartip to the creature, who scoops it up and bounds out the door. + +instantly, the goblins and birds leap down and crowd around him, chattering in excitement over the latest prize. + +She gazes down at Hellboy, whose yellow eyes are fixed on her. He smiles wanly. + +>CUT TO: + +EXT. HILLTOP - DAY #153# + +Alone on a hilltop, Abe surveys the coastline. Through the binoculars, he discerns a SECOND CAVE half-hidden behind wild, breaking waves. + +Glancing back at ANGEL OF DEATH's cave, Johann strikes off on his own, headed for the cave. + +EXT. HUT - DAY #154# + +Outside ANGEL OF DEATH's hut, a bandaged HB is sitting up, blinking in the sunlight. He sips some tea and gazes at Liz, who is happy now. + + @LIZ + I almost lost you- + +Hellboy smiles and grabs her hand- + + @HELLBOY + I thought you were mad at me. + + @LIZ + Well, no one can stay mad forever. + + @HELLBOY + I'm sorry for all the attention, I thought it would be good for us. + + @LIZ + We're never going to make them all happy, Red. What we have is ours and no one ELSE'S- + + @HELLBOY + I can turn my back on the world. I don't care anymore I don't- as long as you stay with me- as long as you think I'm still a good man. + (BEAT ) + Am I a good man, Liz?? Am I?? + + @LIZ + Yes you are. You are the best man I've ever met. + + @HELLBOY + You still seem sad. Is there anything you want to tell me-?? + + @LIZ + Yes, there is- + + @HELLBOY + Say it now, then. Whatever it is, I'm ready. + (SIGHS) + Is it about Johann- + + @LIZ + No- no- what are you talking about?? + +Before she can go on, Johann appears. He carries a poultice and fresh rags. + + @JOHANN + Abe and I have found the entrance to the Golden Army's resting place- Liz come with us- + (looks at Hellboy) + You should stay behind and get some rest- + + @HELLBOY + And call you in the morning, right?? Like Hell I will. I'm keeping an eye on you, GLASSHOLE- + +>CUT TO: + +EXT. HILLS - DAY #155# + +Johann, Liz and Hellboy follow a rugged trail along a bluff high over the sea. Johann refers to the map, then points to the cave opening a half-mile ahead. Abe is standing there, WAVING- + + @JOHANN + There. + +Abe points at the violent sea below- + + @ABE + The only way in- I'm afraid we'll have to jump in- + (looks at Hellboy) + Can you make it-? + +Hellboy nods. + + @HELLBOY + Strange. If this is the entrance- + + @ABE + I know- Why isn't there more security?? + +With a ROAR, WINK!!!!! - jumps out and throws a CHAIN around Hellboy's neck! + +The chain is connected to his IRON MACE which now dangles around Hellboy's neck. + +The two creatures battle each other fiercely. WINK's MACE destroys a nearby tree, like a wrecking ball and it connects twice with Hellboy's head. + +But Red gets the upper hand quickly, snapping the chain in two and twirling the mace like a boleador. + +He hits Wink again and again- + + @HELLBOY + See?? It hurts!!! It hurts!!! + +Hellboy grips the chain, pulls the creature close, then, like a weightlifter, raises him high overhead. With a mighty GRUNT, Hellboy tosses him overboard. WINK hits the jagged rocks once- twice- thrice- + + @HELLBOY + Ouch- ouch- ouch- + (looking around) + We better go swimming before any more ugly fellas show up- + +He stares down into the swirling waters and discreetly takes his hand to his bandaged side: He's bleeding. The wound has re-opened. + + @ABE + Red, are you-? + + @HELLBOY + Don't say a word, Blue- Let's move on- + +.UNDERWATER #156# + +Johann plunges in from above, his body quickly tumbled by the rough seas. A moment later, Liz and Hellboy are in the water, too. + +Johann swims down, leading them into the darkness of the cave entrance. + +INT. CAVE ENTRANCE - SAME #157# + +As they bob up for air, they find there's only a few inches of breathing room between the sea and the rocky ceiling. Liz starts coughing. + + @JOHANN + Hang on, people. I'll be right back. + +.UNDERWATER #158# + +Johann dives down to find a rusting, iron LOCK six feet under the surface. He tries to turn the control wheel, but can't make it budge. + +Seconds later, Hellboy is at his side, gripping the wheel in his huge hands. Using all his strength, Hellboy finally manages to turn it. + +His bandage, however, floats free... and his wound opens up, emitting a plume of blood. + +Lungs bursting, he shoots to the surface. Johann stays behind and swings open the lock, revealing... + +.A STAIRWELL #159# + +!.carved from the living rock, leading upward into the depths of the cliff. + +>CUT TO: + +.STAIRS - LATER #160# + +The trio cautiously climbs the stairs, finding their way with light sticks. Hellboy stops to lean against the wall. + +He dabs at his chest with a rag. + + @LIZ + (to Johann) + Hold up. We need to rest. + + @HELLBOY + Says who? I'm fine, I tell ya. + +He lurches forward, pushing past the others, fighting off his pain. + + @LIZ + (to Johann) + This was a mistake. He's - + + @JOHANN + Mein Gott-- + +The stairs lead to- + +INT. CAVERN #161# + +-a vast underground arena where a thousand torches are flickering. + +CAMERA PULLS BACK to reveal rank upon rank of GOLDEN SOLDIERS. Immobile. Silent. Waiting. + +.AMONG THE SOLDIERS #162# + +Hellboy leads the way down a row of gleaming statues, pausing to gaze up at the blank face of one of the infantrymen. + + @HELLBOY + Hey, amigo. You got some gum? + +Two rows away, Johann examines the lethal weaponry that terminates the arms of each soldier. + + @JOHANN + Most ingenious. A versatile, highly mobile killing machine. + + @LIZ + Make that machines, Johann. I see more than one. + +Hellboy taps on a soldier's mechanical chest, which booms faintly, sending ECHOES up into the dark cavern. + + @HELLBOY + Wow. You hear that? Listen - + +He thumps it, harder. The mechanical thing rocks backwards... + + @HELLBOY + Uh oh. + +CRASH!!! The thing falls onto the soldier behind it! Then, - the ear-shattering noise of a hundred car wrecks builds as - a toppling LINE OF SOLDIERS races away like falling dominoes!! + + @HELLBOY + Whoops. + +The sound dwindles, then builds again as ANOTHER LINE of falling soldiers bears down on them!! + +Liz screams and Hellboy pulls her aside. The soldiers crash past them until - - the din suddenly stops. The PRINCE stands revealed at the head of the column. + + @PRINCE + As a boy, they say I enjoyed toy soldiers. So do you, I see. + +He strolls past the mechanical figures, pausing to kick aside some of the weapons. + + @PRINCE + (to Hellboy) + You're bleeding. Most unfortunate. + +Hellboy wipes at his oozing chest wound. + + @HELLBOY + Yeah. Now it's your turn. + + @PRINCE + Do you envy these contraptions? They never bleed. They feel nothing. Not even the zest of combat. + +The Prince circles them, keeping an eye on Johann. + + @PRINCE + These fighting men are the very model of patience... merely awaiting word from their lawful commander. + +!AS + +From his tunic, he brings forth two of the gold segments. + +he fits them together... + + @PRINCE + You have the remaining piece, I presume. + + @JOHANN + We do not - + + @PRINCE + (SURPRISED) + Then you are most foolish. + +He gestures to some troll GUARDS near a tunnel entrance. + +They lead the Princess out in chains. + + @PRINCE (CONT'D) + You came here expecting what? Mercy? + + @JOHANN + The death you would unleash will never happen! What you need is far from here and will stay out of your reach forever. + +A VOICE reaches their ears from the tunnel entrance behind them. + + @ABE + Stop - I have it. + +Abe, dripping wet, stands there, the last gold segment in the palm of his hand. + + @ABE + (APPROACHING) + Here... For her... Take it... + + @JOHANN + Oh, my God. What has he done? + +Keeping his eyes on the Princess, Abe gives the gold piece to the Prince. + +Hellboy steps forward, feeling dizzy and betrayed. + + @HELLBOY + Abe - + + @ABE + (to Hellboy) + You cannot fight him- not without hurting her... + (BEAT ) + What would you do if it was Liz?? + +CLICK! The Prince fits the gold parts together and places the resulting crown on his head! + + @PRINCE + I am Prince Nuada and I command my army to life once more. Does anyone dispute my right? + +With the deep sound of gears, ratchets and springs, the army comes to life. Up comes the lances and shields. + + @PRINCE (CONT'D) + (points at the team) + Kill them. + +Abe is now aghast, seeing the Prince drag his sister back. + + @ABE + (to the Prince) + That was your price!! A ransom, you said - paid in good faith!! + + @ABE(continued) + (to Hellboy) + Why, he lied to us! + + @HELLBOY + Abe old buddy. If we survive this, we need to talk. + +The Army swings into action, marching toward them. The four friends retreat, soon pressed against one of the walls. + + @ABE + He - he's a cad! Can you imagine, a highborn heir to the throne, last in a noble line of- + + @HELLBOY + Not now, Abe, okay? + +The first phalanx of golden soldiers is upon them, their terrifying weapons slashing in unison. Hellboy brings out his huge gun and starts firing as Johann grabs a torch and swings it like a club. + +A couple of the mechanical soldiers go down, only to pop back onto their feet, new weapons blossoming on their arms. + + @LIZ + Let me - + +Liz summons up a white-hot burst of electrical fire in each hand. With a yell, she unleashes a searing EXPLOSION at the oncoming fighters. + +The shock wave rolls through the enemy ranks, flattening scores of soldiers. For a moment, the BPRD team regains hope... but the endless lines of mechanicals keep coming, marching on and over their scorched comrades. + +Hellboy holsters the Samaritan and rushes forward, giving it his best. His wound is running with fresh blood. + +He punches a soldier, whose mace pounds repeatedly against his ravaged chest; as blood spatters his face, Hellboy groans and keeps fighting, to absolutely no effect. + +At length, the mechanical arms throw Hellboy against the wall, where he collapses, unable to carry on. + + @JOHANN + Invincibility!? So - the only one thing may stop them - + +Johann unzips his suit; with a HISSS, his ectoplasmic self flows out, into the body of the nearest mechanical soldier! + +Instantly, the thing whirls on its companions and starts chopping! Bits and pieces of gold machinery fly about as Johann rips into the enemy!! + +But again, fresh metal soldiers fill in for the fallen. As the BPRD team watches in dismay, Johann's mechanical shell is surrounded by the other SOLDIERS, who methodically dismember it like marauding insects! + +As the parts drop to the floor, twitching and useless, Johann slithers out and re-inhabits his suit. + + @JOHANN + Ach. They are too many. Anyone have another idea? + +Hellboy grabs the nearest sword and hauls himself to his feet. + + @HELLBOY + (a bellow) + Prince Nuada: I challenge your right to command this army! + +With a soft BOOM, the clockwork troops come to a halt! All the mechanical heads turn toward the Prince, who stands on a ledge with his sister. + + @ABE + (follows HB) + No= please- no- + +Hellboy moves away from him. + + @HELLBOY + A challenge must be answered! Raise your sword! + + @PRINCE + A challenge from you? A nobody?? You are no one. + + @PRINCESS + No!! He is Anung-un-Rma- son of the Fallen one- He has the right! + +Her eyes lock with Abe's: there's no other way. + +The Prince sees Hellboy coming and with a bitter smile picks up his sword. + + @PRINCE + Very well. + (to the BPRD team) + May his fate show you the cost of pride and blindness. + +As the hall rings with their first blows of their swords- + + @JOHANN + Hellboy's too weak- + +Summoning up his last ounce of strength, Hellboy manages to drive the Prince back into the center of the arena, where they fight under the inscrutable gaze of the golden army. Every time Hellboy gets a clean shot at the Prince, Abe looks at him, pleading, and HB has no choice but to keep parrying off his enemy. Hellboy's sword grows heavy in his hands; he stares at it in dismay as it trembles. His muscles can no longer respond. + +The Prince is ready to kill him. + + @LIZ + (witness to a nightmare) + No!! NO! ! + +A sudden movement at the ledge, where the Princess steps forward and... Using her concealed DAGGER, she STABS HERSELF in the right arm!! In silent slow motion, she drops the dagger. Instantly, the Prince drops his arm... his hands come away red with blood. He looks over at his sister. + +They share a hard look of mutual understanding. Love and hatred. + +Hellboy raises, through supreme effort, bleeding. He quickly raises his sword. The fight resumes, but this time, HB has the advantage. + +He fights bravely and after parrying fiercely with the Prince, he disarms him and points his sword at his chest. + + @HELLBOY + I- have- won- + + @PRINCE + No. You have not- + +He impales himself on HELLBOY's sword. The blade goes through his abdomen and protrudes on the other side. Hellboy pulls it out, but it's too late. Both the Prince and the Princess collapse to the ground, mortally wounded. + + @ABE + (GASPS) + NO- + +Abe hurries to the Princess. Takes her into his arms, blinking in despair. + +The pale young creature is now a ghostly white. She lifts her eyes to Abe's, caressing his thin, scaly face. + + @PRINCESS + We'll find each other again, somewhere. + +And she dies in his arms. + +In the center of the arena: + + @PRINCE + (to Hellboy) + You... think you're any different from me? The humans - they will tire of you. They will disappoint you. And in the end, they will betray you. You... are living a lie. Your time will come again. May you make a better choice. + +Then, he, too, is dead. Both him and his sister turn to fine, pale dust. And the wind carries away the ashes from Abe's hands... + +Shaken, Hellboy lifts the crown from the Prince's head. + +Looks at it carefully, as if considering the possibilities. + +Suddenly, he rips it into pieces. As he crushes the first segment... + +!. an entire division of the golden army collapses into a heap of scrap metal! + +Hellboy does the same with a second section of the crown and another massive division of the army tumbles into junk! + +HB is about to tear up the last segment of the crown, when it explodes in his hands! + +WHUMP! The last of the army disintegrates. + +Hellboy confronts the Prince's frightened troll guards: + + @HELLBOY + (to the trolls) + You - and your kind! Leave here. And stay in the shadows - where you belong. + +As the ogres slink back into the tunnels, Liz looks at Hellboy. He seems angry, stung by the Prince's last words. + +>DISSOLVE: + +EXT. HILLS - DAY #163# + +The BPRD team crosses waterfalls and stone bridges, through the magical hills. + +Liz walks at Hellboy's side, but he avoids her glance. + +EXT. TREE -- DAY #164# + +They reach the strange, twisted tree. Johann takes the map cylinder and fits it into the slot. + + @JOHANN + Any last minute requests? + + @ABE + (very quiet) + Do it, please. I - I'm ready for the real world now. + +Johann turns the cylinder. The tree roots form their arch... + +and the BPRD team walks through. + +EXT. RENVYLE - DAY #165# + +On the other side of the tree: Manning and a bunch of agents have set up spotter scopes and are gazing out over the countryside, looking for them. + +Suddenly, the team appears, literally from out of nowhere. + + @MANNING + (STARTLED) + Whoa! Where'd you come from? We were just- + + @HELLBOY + I know, here to help. Well, I appreciate that Manning. + +Abe steps past Hellboy and removes his gunbelt and equipment pack. + + @ABE + Yes, Mr. Manning. I want to thank you, too. For all you've done for us over the years. + +He gives his stuff to the astonished agent. + + @MANNING + What? What, exactly is this? + + @ABE + (walking away) + I quit. + +Hellboy glances at Abe, then hauls out the Samaritan and shrugs off his pack, too. + + @MANNING + Come on. You're resigning? + + @HELLBOY + Looks that way, doesn't it? + +Hellboy starts to leave, but spins around and takes his gun back. + + @HELLBOY (CONT'D) + I think I'll keep this. + +He finally meets Liz's gaze. She crosses to him and takes him by the arm. She walks off with Hellboy and Abe, clinging tightly to the big, red daemon. + + @MANNING + Liz -- not you, too!? + (to Johann) + They can't do this. Stop them, Johann- + + @JOHANN + Manning, you're an asshole. + +EXT. COASTLINE - DAY #166# + +Miles down the road, Abe stands on a promontory, staring off at the ocean, which blazes with golden reflections. + +Liz and HB sit next to each other on some mossy rocks. + +Overhead: blue sky, puffy white clouds. + + @LIZ + What you said before - about us living ANYWHERE- + + @HELLBOY + I mean it! `Course, I'm thinking USA... but, hey - you decide. + + @LIZ + (breathing deep) + Let's find a place in the country. Clean air - green hills - fresh milk from the farm. + + @HELLBOY + Milk? Yech. + + @LIZ + A yard... With lots of room to grow in. + + @HELLBOY + (he looks blank) + Grow? who gonna grow- ? + + @LIZ + Our baby, that's who! + + @HELLBOY + Our b-? + +On Hellboy's immense grin: FREEZE FRAME. Roll CREDITS. + +At the end of the credits- POST CREDIT SEQUENCE + +EXT. ANTARTICA - DAY #167# + +5 ZINCO ENTERPRISES helicopters land on the hard, icy surface of Amundsen's glacier. A row of GUARDS in black garb flank each helicopter. + +Out of one of them exits RODERICK ZINCO, billionaire, madman. + +He carries a mechanized container, a little larger than a hat box. CAMERA follows as he enters through a crevasse and.. + +INT. NAZI LAB, ANTARTICA - DAY #168# + +Light shines through the ice walls and into rows and rows of machinery. + +/* 2 | 3 | HELLBOY 2 2 | 4 | HELLBOY 2 3 | 5 | HELLBOY 2 4 | HELLBOY 2 5 | 6 | 7 | 8 | HELLBOY 2 6 | HELLBOY 2 7 | 9 | HELLBOY 2 8 | 10 | 12 | 13 | HELLBOY 2 9 | 14 | 15 | HELLBOY 2 10 | 16 | 17 | HELLBOY 2 11 | 18 | 19 | HELLBOY 2 12 | 20 | 21 | HELLBOY 2 13 | 22 | 23 | HELLBOY 2 14 | 24 | 25 | 26 | HELLBOY 2 15 | 27 | HELLBOY 2 16 | 28 | 10 | 29 | 30 | HELLBOY 2 17 | 31 | 32 | 33 | HELLBOY 2 18 | 34 | 35 | 36 | HELLBOY 2 19 | 37 | 38 | HELLBOY 2 20 | 39 | HELLBOY 2 21 | HELLBOY 2 22 | HELLBOY 2 23 | 40 | 41 | 42 | HELLBOY 2 24 | 43 | 44 | 45 | 46 | HELLBOY 2 25 | HELLBOY 2 26 | 47 | HELLBOY 2 27 | HELLBOY 2 28 | 48 | HELLBOY 2 29 | HELLBOY 2 30 | HELLBOY 2 31 | 49 | HELLBOY 2 32 | 50 | 51 | HELLBOY 2 33 | 52 | HELLBOY 2 34 | 53 | HELLBOY 2 35 | 54 | HELLBOY 2 36 | 56 | HELLBOY 2 37 | 57 | HELLBOY 2 38 | 58 | 59 | 60 | 61 | HELLBOY 2 39 | 63 | HELLBOY 2 4 0 | 64 | 65 | 66 | 67 | HELLBOY 2 41 | 68 | 70 | HELLBOY 2 42 | HELLBOY 2 43 | 71 | HELLBOY 2 44 | 72 | 73 | HELLBOY 2 45 | HELLBOY 2 46 | HELLBOY 2 47 | 74 | HELLBOY 2 48 | 75 | 76 | HELLBOY 2 49 | 77 | 78 | 79 | HELLBOY 2 50 | 80 | 81 | HELLBOY 2 51 | 82 | HELLBOY 2 52 | 83 | HELLBOY 2 53 | 84 | 85 | HELLBOY 2 54 | 86 | HELLBOY 2 55 | HELLBOY 2 56 | HELLBOY 2 57 | HELLBOY 2 58 | 87 | 88 | 89 | 90 | HELLBOY 2 59 | 91 | 92 | 93 | HELLBOY 2 60 | 94 | 95 | HELLBOY 2 61 | 96 | 97 | 98 | HELLBOY 2 62 | HELLBOY 2 63 | 99 | HELLBOY 2 64 | 100 | HELLBOY 2 65 | HELLBOY 2 66 | HELLBOY 2 67 | 102 | HELLBOY 2 68 | HELLBOY 2 69 | 103 | HELLBOY 2 70 | HELLBOY 2 71 | 105 | 106 | HELLBOY 2 72 | 107 | 108 | 109 | HELLBOY 2 73 | HELLBOY 2 74 | 110 | HELLBOY 2 75 | 112 | 113 | HELLBOY 2 76 | HELLBOY 2 77 | 115 | 2 | HELLBOY 2 78 | 116 | HELLBOY 2 79 | 117 | 118 | 119 | HELLBOY 2 80 | 120 | HELLBOY 2 81 | 121 | (MORE) | HELLBOY 2 82 | 122 | 123 | HELLBOY 2 83 | 124 | 125 | 126 | HELLBOY 2 84 | 127 | HELLBOY 2 85 | 128 | 129 | HELLBOY 2 86 | 130 | HELLBOY 2 87 | 131 | HELLBOY 2 88 | 132 | 133 | 134 | HELLBOY 2 89 | 135 | 136 | HELLBOY 2 90 | 137 | HELLBOY 2 91 | 138 | 139 | HELLBOY 2 92 | 140 | 141 | HELLBOY 2 93 | 142 | 143 | 144 | 145 | HELLBOY 2 94 | 146 | 147 | 148 | 149 | HELLBOY 2 95 | 150 | 151 | HELLBOY 2 96 | HELLBOY 2 97 | 152 | HELLBOY 2 98 | HELLBOY 2 99 | 153 | 154 | HELLBOY 2 100 | HELLBOY 2 101 | 155 | HELLBOY 2 102 | 156 | 157 | 158 | HELLBOY 2 103 | 159 | 160 | 161 | HELLBOY 2 104 | 162 | HELLBOY 2 105 | HELLBOY 2 106 | (MORE) | HELLBOY 2 107 | HELLBOY 2 108 | HELLBOY 2 10 9 | HELLBOY 2 110 | HELLBOY 2 111 | 163 | 164 | 165 | HELLBOY 2 112 | 166 | HELLBOY 2 113 */ diff --git a/fountain_scripts/Hellboy 2 - The Golden Army.webp b/fountain_scripts/Hellboy 2 - The Golden Army.webp new file mode 100644 index 0000000000000000000000000000000000000000..46c2add3aa6f6ff8b07d5bdd81785c19d8361c90 --- /dev/null +++ b/fountain_scripts/Hellboy 2 - The Golden Army.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:2e6c7a9c9d945d81f6b21c9dac1dcea73c5c1334876522abb3b68f17b659e33d +size 18866 diff --git a/fountain_scripts/Hellboy.fountain b/fountain_scripts/Hellboy.fountain new file mode 100644 index 0000000000000000000000000000000000000000..a0630d62ce43362ac37e083ddd57acaa98cab0c8 --- /dev/null +++ b/fountain_scripts/Hellboy.fountain @@ -0,0 +1,4535 @@ +Title: "HELLBOY" +Credit: by +Author: Guillermo del Toro +Draft: PRODUCTION DRAFT +Draft date: 6/14/03 + +/* OMIT */ + +INT. DARKROOM - INTERVIEW 1 + +In a photographic DARKROOM: old optical enlargers, porcelain trays, timers, and stills hanging out to dry. + +GEORGE MATLIN, a slightly obese, nearsighted man in his seventies. + + @OLD MATLIN + Is he real? Oh yeah -- Absolutely. + +Super: CPL. GEORGE MATLIN, combat photographer. + + @OLD MATLIN + I haven't talked about it for years, you know? + (looks at the camera) + Everyone called me crazy... + +Matlin smiles as he paws through a box of old negatives. + + @OLD MATLIN + But I have the negative. + +Someone turns on the darkroom's red safety light for an eerie, dramatic effect. + + @TECHNICIAN'S VOICE + Get ready, 3-2-1... Roll tape. + + @OLD MATLIN + It all started back in '44. I was a Corps photographer aboard an allied submarine... + +>CUT TO: + +INT. SUBMARINE HALLWAY - NIGHT + +YOUNG MATLIN's hands again paw through a bunch of negatives, again under a red light. Now, at 21, he's wedged in a submarine corridor, a crowded maze of pipes and gauges. + +35mm still cameras dangle from his neck. He shrinks back as a squad of MARINES hustles past him, loading weapons. + + @OLD MATLIN'S VOICE + ...off the coast of Scotland. Classified mission. I was 21... + +SGT. WHITMAN, 44, tough as nails, pushes through, his uniform soaked in sweat. + + @OLD MATLIN'S VOICE + We had an English civilian on board. Not much older than me but already an advisor to President Roosevelt. "Paranormal" advisor, I kid you not -- + +Whitman continues down the passageway until he reaches a small... + +INT. SUBMARINE STATEROOM - NIGHT + +Within, an incongruously proper young Englishman "reading" an ancient set of Tarot cards. + + @OLD MATLIN'S VOICE + His name was Trevor. Professor Trevor -- + + @WHITMAN + -- Broom! Topside, now. + +TREVOR "BROOM" BRUTTENHOLM is a gaunt, olive-skinned man in his late twenties. In his hands, a tarot deck. He turns the cards face up: THE FOOL, THE MOON... + + @WHITMAN + The sooner we're done, the better. + +Broom grabs a worn-down wooden box full of books and amulets. It has a leather strap that allows him to carry it, much like a carpenter's tool box. + + @BROOM + This is an important mission, Sgt. Whitman. I hope you realize that. + + @WHITMAN + Oh -- you don't wanna know what I think. Topside, now. + +He moves away. Broom takes a small box and a few amulets. + +Before exiting, he pauses and tensely turns the last TAROT CARD: THE DEVIL. + +>CUT TO: + +/* OMIT */ + +INT/EXT. SCOTLAND - TUNNEL - NIGHT + +Super: OCTOBER 9, 1944, SCOTLAND. + +It's raining like hell now. Soldiers move through a short tunnel carved into the mountain. + +Whitman signals his men to spread out, then comes alongside Broom. + + @BROOM + Sgt. Whitman!! Sgt. Whitman!! May I have a word?? + + @WHITMAN + (impatient) + What is it? + + @BROOM + In private, if you don't mind... + +EXT. SCOTLAND CHAPEL REMAINS + +They enter the remains of a small chapel. Broom produces the small box. It's full of rosaries. + + @BROOM + Your men -- They'll need these -- + +Whitman scowls and huffs. A life-sized wooden Christ contemplates the scene from above. + + @WHITMAN + You are a Catholic?? + + @BROOM + Amongst other things, yes -- but that's hardly the point. + +Whitman locks and loads an automatic. + + @WHITMAN + Here. You'll need one of these. + + @BROOM + I abhor violence. + (Whitman moves away) + Sergeant Whitman, I hope you don't think me mad -- + + @WHITMAN + Three days too late for that one, "professor." + +He moves away. Broom looks up to the wooden Christ: It has no eyes. + +EXT. DITCH + +MATLIN hauls his tripod and gear and joins the troops on the move. Broom catches up with Whitman. + + @WHITMAN + You're wasting our time: There's nothing on this island but sheep and rocks. + + @BROOM + Ruins. Not rocks. The remains of Trondham Abbey. Built on an intersection of Ley Lines, the boundaries between our world and the other -- + + @WHITMAN + (interrupts him) + What a load of crap. Hell, a week ago I hadn't even heard the word parabnormal -- + + @BROOM + "Paranormal" + (Whitman moves on) + But -- you read the transmission. + + @WHITMAN + Half transmission. Nonsense -- German ghost stories! + + @BROOM + I have seen ghosts, Whitman. + + @WHITMAN + Oh, I'll bet you have. + +Reaching a slope, Matlin sets down his camera. Turning, he sees lights. + + @MATLIN + Sweet Jesus. + +Drenched, Broom and Whitman look down upon an impressive ROMANESQUE RUIN. Under worklights, dozens of NAZI SOLDIERS swarm among thick stone walls and archways. + + @BROOM + They must be here for the sheep. + +/* OMIT */ + +EXT. AMONG THE RUINS - NIGHT + +A dozen German soldiers swiftly assemble a large steel MACHINE. The work is monitored by a spindly Nazi in BLACK LEATHER, his face covered by an odd gas mask: KROENEN. + + @WHITMAN + The freak in the gas mask -- + + @BROOM + Karl Ruprecht Kroenen, one of the Reich's top Scientists. Head of the Thule Occult Society. + +EXT. NEARBY - BROOM - NIGHT + +He lowers a pair of binoculars and passes them to Whitman. + + @BROOM + If he's here, this is worse than I thought. + + @WHITMAN + (to the radio man) + Air and sea backup. What's closest? + +The RADIOMAN cranks a transmitter to life. + + @RADIO MAN + Londonderry, sir. Forty minutes away. + + @BROOM + We don't have forty minutes. + +EXT. ABBEY RUINS - ALTAR AREA - NIGHT + +Kroenen throws a switch: On the machine, dozens of gears respond! + +Steam pistons thrust copper rails upright, lifting two mighty metal rings, not unlike a gyroscope. Kroenen grunts and signals for more floodlights to be turned on. + +EXT. BEHIND THE ALTAR - NIGHT + +The lights flood an ancient sacristy lined with eroded stone saints. GRIGORY, tall and gaunt, stands naked, arms fully extended. + + @GRIGORY + No matter what happens to me, you must carry on with the work. + +ILSA, a severe, ageless Aryan beauty, reverentially drapes an embroidered robe over his bony shoulders. + + @ILSA + I will not leave you. + + @GRIGORY + Yes, you will... Leave me. Deny me. + + @ILSA + Never -- + +He hands her a small LEATHER-BOUND BOOK. It contains hand-drawn notes and illustrations. + + @GRIGORY + This will guide you back to me. + +He pulls her close, the clouds of their breath mingling. + + @GRIGORY + I grant you everlasting life, youth and the power to serve me. + +He dips his fingers in a wooden bowl full of blood, then wipes her tears away with a crimson thumb, both a consolation and a ritual. + +VON KRUPT, an acrid German General, wearing dark SCARLET glasses and LEATHER GLOVES, appears. Looks at his pocket watch. On the gold lid: a SWASTIKA. + + @VON KRUPT + It's time. + +/* OMIT */ + +EXT. ABBEY RUINS - ALTAR AREA - CEREMONY - NIGHT + +Grigory walks towards the machine, its colossal steel and copper clockworks gleaming in the floodlights. + + @VON KRUPT + Five years of research and construction, Grigory. Five years!! + +He strides alongside Grigory and Ilsa, who holds an umbrella to shield her master from the pouring rain. + + @VON KRUPT + The furhrer doesn't look kindly on failure. + + @GRIGORY + There will be no failure, General. I promised Herr Hitler a miracle. I'll deliver one. + +Kroenen mutters excitedly as he opens a polished oak box containing a massive gold and copper MECHA-GLOVE. + +Grigory extends his hand so that KROENEN may fit him with the contraption, which is attached to cables and hoses. + +EXT. THE HILLTOP - ALLIED SOLDIERS - NIGHT + +The Americans fan out, unseen. + +Broom and Whitman dive into a ditch barely in time to avoid a German foot patrol. + +Other GI's take up positions below a machine gun nest. + +EXT. ABBEY RUINS - ALTAR AREA - NIGHT + +Grigory walks to the top of the altar, cables trailing behind him. + + @GRIGORI + Tonight, We will open a portal and awaken the OGDRU JAHAD: The seven Gods of chaos. + (beat) + Our enemies will be destroyed. In an instant, all impurity in this world will be razed and from the ashes a new eden will arise. + +He looks down at the machine and whispers -- + + @GRIGORY + Ragnarok, Anung Ia Anung. + +He flexes his fingers and in response -- + +-- the two metal rings swing around the machine's central axis. TCHINK!!! WHIRRR!!! STEAM escapes from the ducts and pipes. An invisible blast of energy forces the falling rain to swerve momentarily away from Grigory's body. + +Ilsa signals TWO NAZI SCIENTISTS standing at a control panel. + + @ILSA + More Power!! Don't let the level drop!! + +One of them inserts a 20 inch SOLID GOLD CYLINDER into the machine. Two openings remain vacant next to it. + +A blade of light opens in the air! + +Burning symbols slash the air, like living serpents of fire. + +EXT. COSMIC SLIT - NIGHT + +The edges of the cosmic slit sizzle with color; an ALIEN GALAXY sparkles on the other side. Suddenly, a work light tears loose and flies in. + +EXT. COSMIC SLIT - FROM THE OTHER SIDE - NIGHT + +The six-foot work light tumbles by the massive OGDRU JAHAD: seven egg-like monoliths of unholy origin. + +Within their translucent walls, horrible creatures lie slumbering. As the light sweeps by, one of the giants opens a filmy eye, and then another, and another, and another... + +Fleshy tentacles move lazily within their crystalline prison. + +EXT. ABBEY RUINS - ALTAR AREA - NIGHT + +Grigory screams as his body rises. Veins swell in his neck, his face distorted by ecstasy and pain. + +CLICK. Someone shoots a photograph. + +EXT. RUINS - IN THE UNDERBRUSH - NIGHT + +It's Matlin, snapping for all he's worth. Whitman pulls him down and pulls out a large bayonet blade. + + @WHITMAN + Listen to me, you moron: you do that again, I'll carve you a new -- + +Too late. One of the NAZI SCIENTIST has heard them. + +EXT. RUINS, IN THE UNDERBRUSH - NIGHT + +The Nazi SCIENTIST approaches. Pauses next to the box with the GOLD CYLINDERS. + + @BROOM + (fierce whisper, to WHITMAN) + Listen to me!!! The portal is open!!! We have to stop them!!! + +EXT. ABBEY RUINS - ALTAR AREA - NIGHT + +Grigory dangles like a marionette in a new surge of energy. + +Even the skeptical Von Krupt is in thrall. + +The NAZI SCIENTIST reaches for a second GOLD CYLINDER. But something else lands next to him: A GRENADE!!! + +The explosion blows him to pieces. In a few seconds, the squad of Allies storms the area. + +A hail of bullets cuts down a dozen Nazis. The Allies overrun the machine gun nest as grenades explode everywhere. + +VON KRUPT shoots wildly, hitting Broom in the leg. But Whitman's bullets rip into the old Nazi's chest. + +Leaving a trail of blood, Broom crawls to a dead G.I. and grabs a grenade from his belt. + +TCHKKK!!! Kroenen extends two gleaming blades from twin steel bands on his wrists and takes on an entire group of soldiers, mowing through them with swords spinning like deadly rotors. The steel chops clean through their weapons. + +Broom pulls the pin and throws the grenade at the generator. + +CLICK-CLACK!! It wedges itself between two moving tie rods. + +Kroenen squeals and -- retracting his blades -- lunges after it. The gyrating rails slice through his leather jacket. As his fingers reach the grenade, it EXPLODES!!! + +Kroenen flies through the air, hitting a stone wall, where two long pieces of shrapnel pin him like an insect. + +Another rail plunges -- FFFFT!!, like a javelin -- into the earth right next to MATLIN. + + @ILSA + Grigory! + +EXT. ABBEY RUINS - ALTAR AREA - NIGHT + +Grigory's face is distorted, pulled like ectoplasmic taffy, his body contorting and breaking. The cosmic portal suddenly implodes! Nothing is left but a few burnt rails and the metal glove, empty and smoking. + +As the Allies approach, the fighting rages on. + +Grigory and Ilsa are gone. And for now, so is Kroenen. Embedded in the wall where he was pinned, two bloody rails, nothing more. + +/* OMIT */ + +EXT. INSIDE THE CHURCH - NIGHT + +Allied SOLDIERS penetrate the ruins. Matlin helps Broom up. + + @MATLIN + It's almost over!! + + @BROOM + No. It's not. + +He picks up a sample of white, viscous goo from the outer rings of the smoking machine. Whitman approaches. + + @BROOM + Cordon off the area. Something came through. + + @WHITMAN + From where??!! + +Broom glances at a 13th century FRESCO depicting heaven and hell. + +EXT. INSIDE CHURCH RUINS - NIGHT + +Still raining. A group of soldiers spreads out, using flashlights to scour through the rubble. Every one of them has a rosary hanging from the bayonet. + +/* OMIT */ + +EXT. INSIDE CHAPEL RUINS - NIGHT + +Broom hastily bandages his bleeding leg. Matlin and Whitman roam over the debris. Rain POURS through the broken roof. + + @MATLIN + Do you believe in hell? + + @BROOM + There is a place -- a dark place where evil slumbers and awaits to return. From there it infects our dreams. Our thoughts. Grigory gave us a glance tonight -- + + @MATLIN + Grigory -- That's Russian, right? + (Broom nods) + Thought they were on our side... + + @BROOM + Grigory Yefimovich Rasputin -- + + @MATLIN + C'mon -- Rasputin?? + + @BROOM + Spiritual advisor to the Romanovs. + (beat) + In 1916, at a dinner in his honor, he was poisoned, shot, stabbed, clubbed, drowned and castrated. + + @MATLIN + That makes him more than a hundred -- + +A rustling sound reaches their ears. Matlin readies a handgun as Broom scans the walls with his flashlight. Something moves, accompanied by a loud scrape. + +Matlin cocks his pistol and nervously approaches a crumbling statue. SCREEEECH!!!! A RED THING jumps into the air!! Instinctively, Matlin shoots at it. + +The RED THING leaps from arch to arch, followed by a trail of bullet hits. Whitman and other soldiers join them -- + + @MATLIN + (to Broom) + What the hell was that? An ape? + + @BROOM + No. It was red. Bright red. + + @WHITMAN + What are you two talking about?? + + @MATLIN + A red ape. + + @BROOM + It's-not-an-ape -- + +They hear the labored breathing of a living creature. + + @MATLIN + It's got a big stone -- in its hand -- + + @BROOM + I think that is its hand. + +Hissing, the thing cowers between a gargoyle and a stone saint. + +WHITMAN points his gun at the scarlet shape above. Broom stops him from firing. + + @BROOM + Wait -- + +In deep shadow, the RED THING observes with bright, golden eyes veined with streaks of burnt sienna. + +Broom slowly fishes a BABY RUTH candy bar from his pocket. Peeling back the wrapper, he slowly waves the candy. The RED THING shrinks back. + +Broom bites into the candy and chews, noisily smacking his lips. Offers the candy again. This time, out of the dark comes a small FACE, not very different from the stone demons around it. + +The creature extends its right arm: it's solid stone with tiny runes engraved around the thick, cylindrical wrist. Four articulated stone fingers wiggle, reaching for the chocolate. + + @YOUNG SOLDIER + Jesus! would'ya look at the size of that whammer! + +Whitman moves closer. On the wall behind him, a shadow shows the RED THING climbing into Broom's arms. + +Broom tenderly covers it with a blanket. The stubby fingers snatch the candy. Broom smiles. + + @BROOM + It's a boy. Just a baby boy. + +EXT. CHAPEL RUINS - NIGHT + +The soldiers cluster around, curious to see it. Matlin prepares his camera and directs them into a group shot. Broom smiles like a proud new father and embraces the creature, patting him gently. CLICK!!! + + @OLD MATLIN'S VOICE + Best photo of my career -- + +>CUT TO: + +INT. DARKROOM - BACK TO INTERVIEW 1 + + @OLD MATLIN + and no one has ever seen it. They keep saying he's not real, but I want to set the record straight before I go. + +Matlin finally pulls an old 8x10 from a battered portfolio. He smiles, full of memories. + + @OLD MATLIN + Here. The real picture, not the retouched one in LIFE magazine. + (hands over the photograph) + This is him. The very same night we found him. The night Broom gave him that name. + (beat) + Can I say it on TV? He called him -- + +EXT. INSIDE THE CHURCH - BACK TO '44 - NIGHT + + @BROOM + (smiles at the creature) + HELLBOY. + +Inside the blanket, Hellboy blinks his bright golden eyes and chews candy, his devilish red tail twitching happily. + +>CUT TO: + +!HELLBOY - MAIN TITLE + +Montage: Tabloid covers and news clippings screaming HELLBOY SIGHTING IN RENO!! GOVERNMENT DENIAL!!! etc. + +TV Newscasters read lurid copy. SPRINGER excerpts (fist fight included) feature the show's theme: I WAS HELLBOY'S BRIDE!! + +Some blurry, grainy footage depicts Hellboy crossing an alley. Much like Bigfoot in the woods. + + @TOM MANNING (V.O.) + Look at that. That's a costume. These people amaze me. + +INT. STUDIO T.V. HOST SHOW - INTERVIEW #2 - DAY + +MANNING is a balding, official-looking guy in a suit. + + @MANNING + With their conveniently blurry footage of their beloved "Hellboy." And they claim that he works for the FBI-? + +!SUPER ON TV: + +!TOM MANNING, F.B.I. + +!HEAD OF SPECIAL OPERATIONS. + +Manning on a TV SHOW a la Regis Philbin. + + @TV HOST + As the head of your division, you -- You have seen dozens of pictures like this!!! + + @MANNING + Exactly -- so, why is it that they're all out of focus? C'mon!! God knows, people manage to get good pictures at a wedding!! + +He shows a blurry picture. + + @MANNING + That's the alleged best man -- ? + +The audience applauds. + +EXT. HIGH MOUNTAINS, EASTERN EUROPE - DAY + +In the thick of a snowstorm, THREE FIGURES climb the icy steps of a massive rock formation. + +Super: BIRGAU PASS, MOLDAVIA, PRESENT DAY. + +EXT. HIGH MOUNTAINS (SET), EASTERN EUROPE - DAY + +The THREE FIGURES move through a narrow passage until they reach a DEAD END. + +FIGURE 1 stops at a symbol carved in the rocky ground and consults Grigory's LEATHER-BOUND BOOK. The symbol matches an illustration in the book. + +Before them, a thick wall of ice. Using a heavy steel hammer, FIGURE 1 breaks through. + + @PEASANT GUIDE + I will guide you no further. + +Figure 2 produces two small GOLD INGOTS. Hands one to the guide. Keeps the other one. + +The Guide examines his pay greedily: engraved in it: a SWASTIKA. + +INT. ICE CAVE - SMALL CORRIDOR - DAY + +The ice curtain collapses, revealing a rough-walled corridor. FIGURE 1 spots a glowing firefly. They follow it into -- + +INT. ICE CAVE - MAIN NAVE - DAY + +A cathedral-like vault that could easily hold a stadium. From an opening somewhere above, eerie blue light streams down on a magnificent labyrinth. + +A few more fireflies speckle the air, winking on and off. + +INT. ICE CAVE - LABYRINTH - DAY + +The THREE FIGURES move past cyclopean statues guarding the inhuman architecture. The humans are dwarfed by the monumental scale of the walkways and ramparts. + +INT. ICE CAVE - CENTRAL LABYRINTH AREA - DAY + +At the center of the labyrinth the stone floor is covered in grooves radiating from a shallow stone basin. + +FIGURE 3 uncovers his face: he's a PEASANT GUIDE. + + @PEASANT GUIDE + (in Romanian) + We shouldn't be here -- + +FIGURE 1 exchanges a meaningful look with FIGURE 2. FIGURE 1 throws two solid gold pieces at the feet of the Sherpa. On them, an embossed SWASTIKA. After a greedy moment of thought, the Peasant kneels to pick up the gold. + +TCHKK!!! A long, shiny blade pierces the Peasant's chest from behind. He blinks twice and slumps forward. + +FIGURE 2 steps out from behind him, a long, bloody blade in his hand. + +The figures uncover their faces. ILSA has not aged and KROENEN, still wears the same tight gas mask. He cleans his blade in the snow and takes back the gold. + +Ilsa watches the Sherpa's blood as it runs in a steaming rivulet, tracing a glyph in the grooves and filling the basin. + +A FIGURE RISES FROM THE BLOOD. A naked human shape, haloed by fireflies. + + @ILSA + Your eyes. What did they do to your eyes? + +>CUT TO: + +INT. DOCTOR'S OFFICE - DAY + +Mechanized rollers transport X-Ray films over a backlit screen. A group of 4 DOCTORS studies the pictures and exchanges somber looks. Rain spatters the windows. + +Doctor 1 glances at the others. + + @DOCTOR 1 + Have you told him yet? + +Doctor 2 looks through a glass partition at an aged but dignified BROOM, 72, who slowly buttons his shirt. Hanging from his wrist, his rosary. + +INT. DOCTORS OFFICE - EXAMINATION ROOM - DAY + + @DOCTOR 2 + Malignant sarcoma. In the lungs... the spine, liver... + + @BROOM + Approximately... how long?? + + @DOCTOR 2 + Maybe -- six weeks. + +Broom impassively takes in the information. + + @DOCTOR 2 + I can arrange for hospitalization, pain management. Make the time more bearable -- + +Broom pensively shuffles his tarot cards. + + @BROOM + (shakes his head) + I'd rather... stay home, you know. I'll be making arrangements -- + (beat) + For my son. + + @DOCTOR 2 + You can always get a second opinion. + +Broom looks down: first card off the deck: DEATH. + + @BROOM + That won't be necessary. + +EXT. N.Y. - MANHATTAN STREET - DAY + +Leaves stir on the pavement. All the stores are decorated for Halloween. Two kids dressed as SKELETONS run in front of Broom, carrying a JACK-O-LANTERN. + +Leaning on a cane, Broom exits the building and walks toward a waiting black Mercedes. The DRIVER (Agent Lime) opens the door. + +Broom pauses to buy a dozen BABY RUTH candy bars from a street vendor. + +In an ELECTRONICS STORE, a wall of TV's. The image of a RED, BLURRY SHAPE (HELLBOY) fills the screens. + + @BROOM + (seeing this) + Son... + + @TV HOST + Mister Manning, what about the "Bureau for Paranormal Research and Defense?" The FBI has been known to conceal -- + + @TOM MANNING + That word -- conceal -- + + @TV HOST + from the American public -- + + @TOM MANNING + Phil -- Phil -- hold your little green horses. Let me tell you and the American public one thing -- this "Bureau for -- what was it? + + @TV HOST + Paranormal Research and -- + + @TOM MANNING + -- Defense, right, well -- I'm here to clear up this once and for all. + (he looks at the camera) + There-is-no-such-thing. + +Broom smiles. + +/* OMIT */ + +EXT. B.P.R.D. BUILDING COMPLEX - DAY + +On a wooded, new jersey hill, a low-slung, high-tech complex rests at the edge of a bluff, its foundation fused with the rock below. + +!SUPER: BUREAU FOR PARANORMAL RESEARCH AND DEFENSE, NEWARK, N.J. + +EXT. B.P.R.D. COMPLEX - GATE ENTRANCE - DAY + +A dolled-up MOD-STYLE moped stops at the massive gate. Strapped to the luggage rack are two cheap suitcases. The driver, a very wet YOUNG MAN named MYERS, touches an old fashioned buzzer under a sign reading "WASTE MANAGEMENT" + +A crackling INTERCOM VOICE answers. + + @INTERCOM VOICE + Yes? + + @MYERS + (shivering) + John Myers, F.B.I. Transfer from Quantico. + +A beat, then -- WHIRRR!!! An EYEPIECE and an LCD screen scanner pop out. + + @INTERCOM VOICE + Look at the birdie, son. + +Myers looks into the eyepiece. On the screen, Myers' cornea is scanned. TWO VIOLET FLASHES. His ID and badge numbers appear. CLACK! The gate opens. + +EXT. UPHILL ROAD - THE MOPED - DAY + +The moped putt-putts towards the building in the distance. + +INT. B.P.R.D. LOBBY - DAY + +Seated at a dramatic circular desk is a solitary guard. Myers approaches. + + @MYERS + Hello, I'm -- + + @LOBBY GUARD + -- Late. Five minutes late. + + @MYERS + Yes, I -- + + @LOBBY GUARD + -- Section fifty-one. Step back. + + @MYERS + Pardon? + + @LOBBY GUARD + Two steps back, please. + +Confused, Myers picks up his suitcases and complies. He realizes he's DEAD CENTER on a giant B.P.R.D. Logo: A HAND HOLDING A SWORD. + + @LOBBY GUARD + Watch your hands and elbows. + +Immediately, the floor under Myers' feet starts down. He's on a small elevator. + +INT./EXT. OPEN ELEVATOR - ON THE WAY DOWN - DAY + +The panel overhead slides shut. A row of safety lights comes on. + +INT. OPEN ELEVATOR - DAY + +He's in a vast underground area with other elevators moving up and down in the distance. + +INT. B.P.R.D. - CONCRETE CHAMBER 51 - DUSK + +The elevator stops in a narrow, dark space. Neon lights flicker on, illuminating a circular chamber. PAINTED on the floor is a huge number: 51. + +Right in front of Myers: a magnificent oak door. + +Myers knocks on it. No answer. Myers enters. + +INT. BROOM'S OFFICE (FULL AQUARIUM)- DUSK + +Myers looks around, fascinated: books. An office made of them. The soft glow of green-shaded reading lamps bathes everything in an intimate, warm light. + +One entire wall is a thick pane of glass, the wall of a huge tank of water. A VOICE crackles through an intercom next to the tank. + + @VOICE + Turn the pages, please. + +Myers jumps, then moves closer to the glass. + + @VOICE + Over here... if you don't mind? + +In the tank, ABE SAPIEN, a FISH-MAN glides in and out view. + + @MYERS + Jesus Christ! + +Myers looks at four BOOK STANDS facing the glass. Each supports an open volume. He leans close to the glass, peering intently. + +Abe reappears. He is slender, dolphin gray, with dark patterns streaking his soft skin. Bright blue eyes shine with intelligence. Behind a thin wound-like mouth, gills are bubbling. + + @MYERS + (points at the books) + These -- ? You're reading these -- ? + +Abe nods. Through a side door, Broom enters. + + @BROOM + Four books at once. Every day -- as long as I'm here to turn the pages. + (smiles) + My name's Broom. Professor Trevor Broom. + +Myers extends his hand in greeting -- + + @MYERS + Sir, I'm -- + +BAM! Abe presses his webbed hand against the glass, closes his eyes -- all three lids. + +Abe's voice surges from the speaker. + + @ABE + Agent John T. Myers, Kansas City, 76. "T" stands for Thaddeus, mother's older brother. Scar on your chin happened when you were ten, you still wonder if it's ever going to fade away. + + @MYERS + How did it -- + + @BROOM + -- He. Not "it." + + @BROOM + Abraham Sapien. Discovered alive in a secret chamber at St. Trinian's Foundling Hospital, Washington. + +Points at a small piece of antique paper, framed on the wall. + + @BROOM + They took his name from this little inscription that was stuck on his tank. + + @MYERS + (reads) + Icthyo Sapiens, April 14, 1865. + + @BROOM + The day Abraham Lincoln died. Hence "Abe" Sapien. + +Broom uncovers a tray by the tank: Four greenish eggs. Myers gags and reels back. + + @BROOM + Rotten eggs, a delicacy. Abe loves them. + +Abe smiles and takes a subaquatic bow, gracefully nabbing the eggs as they float through the hatch. + + @MYERS + How does he know so much about me? + + @BROOM + Abe possesses a unique frontal lobe. + (beat) + "Unique." That's a word you'll hear quite a bit around here. + + @MYERS + Where am I -- exactly, Sir? + + @BROOM + As you entered the lobby there was an inscription -- + + @MYERS + On the desk, yes. In Latin. + + @BROOM + Impressive. Do you remember what it said? + + @MYERS + (sighs) + "In absentia luci, tenebrae vinciunt..." + + @BROOM + "In the absence of light, darkness prevails." For there are things that go bump in the night, Agent Myers. + (smiles) + We are the ones who bump back. + +/* OMIT */ + +>CUT TO: + +INT. B.P.R.D. - FREAK CORRIDOR "A" - NIGHT + +Myers and Broom walk down a corridor. The walls are lined with glass cases containing occult artifacts. Myers eyes a MUMMIFIED HAND, a CLAY GOLEM, a sumptuous PAGAN ALTAR... + + @BROOM + 1937: Hitler joins "The Thule Society" -- a group of German aristocrats obsessed with the occult. + +He points to an ANCIENT, BROKEN LANCE. + + @BROOM + 1938: he acquires the Spear of Longinus, which pierced the body of Christ. He who holds it becomes invincible. + +He gestures at an ancient LANCE. Next to it: a silver and gold reliquary. + + @BROOM + Hitler's power increases tenfold. + +They go through a series of pneumatic doors. + + @BROOM + In 1943, President Roosevelt decides to fight back. THE BUREAU FOR PARANORMAL RESEARCH AND DEFENSE is born. + +Workmen are replacing two of the doors. Big dents from an oversized fist have deformed the 2-inch thick metal plates. Myers stares. + + @BROOM + 1958, the occult war finally ends when Adolf Hitler dies. + + @MYERS + 1945, you mean. Hitler died in '45. + + @BROOM + (enigmatic smile) + Did he, now? + +They reach a FINAL DOOR. Stainless steel, like a BANK VAULT. Waiting there is AGENT CLAY, a burly guy in a suit, with a cartful of BEEF AND MASHED POTATOES. A dinner pile at least 4 feet high. + + @BROOM + Agent Myers, this is Agent Clay. Follow his lead. + +Broom hands Myers two BABY RUTH bars and walks away. + + @MYERS + You're not coming? + +Broom signals "no." + + @BROOM + I hand-picked you from a roster of over seventy academy graduates. Make me proud. + +The door closes behind him. + + @CLAY + They're not speaking. Professor Broom had him grounded. + + @MYERS + Grounded? Who's grounded? + + @CLAY + Okay. You saw the fish man, right? + +Myers nods. + + @CLAY + Well, come on in and meet the rest of the family. + +Clay uses an odd-shaped ELECTRONIC KEY to unlock the door. Three solenoid locks turn. Two steel vertical PISTONS open up. + +INT. HELLBOY'S DEN - NIGHT + +Clay pushes the cart into a solid concrete bunker, windowless, austere except for a few SAMURAI suits of ARMOR and WEAPONS. Dozens of CATS wander around; others are curled up on the furniture. + +There are Zippo's everywhere, from every era. + +On a sofa (made from the bed of a pickup truck) is a heap of blankets and comic books. All in all, a MEGA BACHELOR PAD. + + @CLAY + (sotto voce) + He gets fed six times a day. He's got a thing for cats. You'll be his nanny, his keeper, his best friend. He never goes out unsupervised -- + + @MYERS + Who?! + +Clay points at a torn comic book: HELLBOY, THE UNCANNY. Myers picks it up, looks at the cover: it shows Hellboy -- in a U.S. Uniform, fighting a monstrous ape. + +Myers watches, amazed, as a bright red TAIL waves in and out of a pool of light about ten feet away. One of the cats playfully paws at it. + + @MYERS + (sotto voce) + You're kidding -- + + @HELLBOY + Those comics -- They never got the eyes right. + +The voice is a deep baritone, chesty and powerful. + + @MYERS + (to Clay, sotto voce) + Oh, Jesus!! Hellboy -- ?? Is real -- + + @CLAY + (sotto voce) + Yup. Sixty years old by our count. But he doesn't age like we do -- think dog years: He's barely out of his teens. + +Myers gasps, seeing a monumental figure in the shadows, exercising with a 300 lb. Stainless steel DUMBBELL. Crimson biceps like cooked hams. Chomping an unlit CIGAR stub. + + @HELLBOY + What's with the hair, Clay?? Finally got those implants?? + +Agent Clay blushes as he hides his scalp. + + @CLAY + It'll fill in. Where do you want your dinner, Red? By the couch? + +On a nearby pile of junked TV sets, a loop of Fleischer cartoons and home movies cycles endlessly. One subject appears over and over: an ATTRACTIVE YOUNG WOMAN with a pale face and raven-black hair. + + @HELLBOY + Who's the squirt? + + @CLAY + Agent Myers is your new liaison. + + @HELLBOY + Got tired of me? + + @CLAY + Nah. I'll be around, Red, just back in the field. + +BANG!!! Hellboy lets the dumbbell drop. Instinctively, Myers jumps. + + @HELLBOY + I don't want him. + + @CLAY + Manning says I'm too soft on you -- + (sotto voce, nudging Myers) + The candy. Give him the candy. + +Myers remembers he's holding the Baby Ruths. + + @MYERS + Oh. Uh. Hello. I -- I have these. For you. + + @HELLBOY + (realizing) + Father's back? + (Clay nods) + Still angry? + + @CLAY + Well, you did break out -- + + @HELLBOY + I wanted to see her. + (grunts) + It's nobody's business. + + @CLAY + It is. You got yourself on TV again. + + @HELLBOY + "Myers", huh? You have a first name?? + + @CLAY + (sotto to Myers) + Try not to stare. He hates when people stare. + + @MYERS + Uh-oh -- John. + (sotto) + Staring at what? + + @CLAY + His horns. He files 'em. To "fit in." + + @MYERS + His what??!! + +Hellboy finally enters the light. He's awe-inspiring, with chiseled features, patterned red skin and deep-set golden eyes. Involuntarily, Myers recoils. + +In spite of himself, Myers is staring at the horn stumps. + + @HELLBOY + Whatcha looking at, John?? + + @MYERS + Oh-n-no -- I -- + +An ALARM sounds, and a red light blinks on the wall. Myers looks around, bewildered. + + @HELLBOY + (to Clay) + Hey, hey, hey. They're playing our song. + + @CLAY + We're on the move. + + @HELLBOY + (to Myers) + C'mon, Champ! Happy Halloween!!! You're taking me for a walk! + +>CUT TO: + +EXT. MACHEN LIBRARY - NIGHT + +An imposing four-story structure, all pillars and pediments. A HALLOWEEN BANNER advertises: MAGICK: THE ANCIENT POWER. + +Super: THE MACHEN LIBRARY, MANHATTAN Chaos near the entrance: policemen, TV reporters, MOUNTED POLICE. + +Loud protests from the reporters as a line of black sedan cars are waved through. + + @BLONDE REPORTER + The NYPD has yet to issue a statement. We've got SWAT vans, paramedics, you name it... and now here's -- a garbage truck -- + (double take) + -- a garbage truck? + +Trailing behind the cars, a GARBAGE TRUCK. On its side a mirrored sign reads: SQUEAKY CLEAN INC. Waste Management Services. + +INT./EXT. GARBAGE TRUCK - LIBRARY STREET ENTRANCE - NIGHT + +AN AGENT is driving the truck, with MYERS at his side. + +EXT. MACHEN LIBRARY - STREET ENTRANCE - NIGHT + +The crowd parts like the Red Sea for the garbage truck. Dozens of faces are reflected in the truck's mirrored logo. A MOUNTED POLICEMAN rides past the mirrored sides of the truck. + +INT./EXT. GARBAGE TRUCK LAB - LIBRARY CROWD - NIGHT + +The MOUNTED POLICEMAN is visible as he rides by. The mirrors are see-through. The back of the truck is a fully-equipped crime lab, crammed with hi-tech gear and low-tech talismans. + +ABE fits a respirator over his face. It looks like a mechanized Elizabethan collar. Valves bubble and hiss as he inhales liquid through his mouth and out his gills. Hellboy looks out onto the CROWD. + + @HELLBOY + Look at them ugly suckers, Blue. One sheet of glass between them and us. + + @ABE + Story of my life. + + @HELLBOY + I break it, they see us, Happy Halloween. No more hiding. + (nostalgic) + Outside. I could be outside -- + + @ABE + You mean, outside... with her. + +Hellboy straps on a huge utility belt heavy with amulets, rosaries, horseshoes. From an ashtray he grabs a handful of stogie stubs. Lights one, puts the rest in a pouch. + + @HELLBOY + Don't get psychic with me. + + @ABE + Nothing psychic about it. You're easy. + +Hellboy unlocks a STEEL BOX (STENCILED ON ITS LID: "THE GOOD SAMARITAN") and extracts the meanest-looking, custom-built, double-barrel, blue-finished, handgun ever made. A veritable cannon. + + @HELLBOY + How am I ever gonna get a girl?? I drive around in a garbage truck + + @ABE + Liz left us, Red. Take the hint. + + @HELLBOY + (hefting the gun) + We don't take hints. + +EXT. COURTYARD / LOADING DOCK MACHEN LIBRARY - NIGHT + +The GARBAGE TRUCK pulls into an interior courtyard and stops. + +FBI/BPRD teams spread through the area, expelling uniformed cops and securing the doors. + +THREE AGENTS -- QUARRY, STONE and MOSS -- close a gate, sealing off the area. + + @STONE + All areas secured. + +From a nearby roof, Agent Lime signals all clear. + + @CLAY + (into a handheld radio) + Seal the doors. Red and Blue are coming in. + +The truck stops, Clay pulls a lever. Myers watches as the dumpster loader hinges down like a drawbridge, revealing HELLBOY and ABE. + + @CLAY + Okay, boys, let's synch up our locators. + +Abe, Clay and Hellboy activate lights on their belts. They BEEP and blink. Hellboy starts walking. + +/* OMIT */ + +INT. MACHEN LIBRARY, MAIN LOBBY - NIGHT + +As BPRD agents clear the area, Clay, Myers, Abe and Hellboy march through the main lobby. On view, various display cases. Two BANNERS flank the marble staircase. + + @CLAY + (reading a report) + At nineteen hundred hours an alarm tripped. B&E. Robbery. Six guards dead -- + + @HELLBOY + Hold on -- hold on -- I thought we checked this place. Fakes, and reproductions. + + @BROOM + Apparently not everything was fake. + +Broom stands at the base of the marble staircase. + + @HELLBOY + (surprised to see him) + Father...? + +Myers observes as the red Goliath sheepishly averts his gaze from that of the fragile old man. + +INT. MAIN CORRIDOR / MACHEN LIBRARY (SET) - NIGHT + +They approach an oversize set of brass doors. + +Abe removes a leather glove from his hand. FWAP!! he spreads his webbed fingers on the door. He closes his three eyelids and concentrates. + +Two agents arrive with a rolling munitions case. Myers observes as Hellboy opens it and looks over a potpourri of bullets of all colors and shapes. + + @BROOM + A 16th century statue was destroyed. Saint Dionysius the Aeropagite. + + @HELLBOY + Who wards off demons. + + @BROOM + Smuggled into this country by an overzealous curator. The statue, however, was hollow -- + + @HELLBOY + Reliquary -- + + @BROOM + A prison. The Vatican deemed its contents dangerous enough to include it on the List of Avignon. Of which we hold a copy. + +Hellboy selects a clip full of bullets and a speed loader. + + @HELLBOY + Would'ya look at this babies? Made 'em myself. Holy water, silver shavings, white oak: the works. + + @ABE + (pulling his hand away) + Behind this door. A dark entity -- Evil, ancient and hungry. + +Abe quickly starts scanning a few leather-bound volumes of ancient magic. + + @HELLBOY + Oh, well. Lemme go in and say "hi". + +As HELLBOY opens the big doors, a flickering amber glow illuminates him. He steps inside. + +INT. "MAGIK EXHIBITION" HALL - NIGHT + +BLUE emergency lamps are on. The exhibits are destroyed; piles of debris are burning. Hellboy walks past a fallen display case. + +He moves around cautiously. A couple of large carvings and statues startle him. + +On the floor: boots, half chewed. Bitten belts and shreds of uniforms and hats. + + @HELLBOY + (whispers into radio) + Blue: It stinks in here -- Finely aged roadkill. + +The sickening sound of snapping bones and mastication reaches his ears. Hellboy reacts to a smell, raises his eyes to discover -- + +A huge pale CREATURE hangs from the ceiling, chewing slowly. SAMMAEL: equipped with powerful arms, a head full of tentacles and two well-muscled hind legs. Most of its face is hidden, but the jaws are shiny with blood. + + @HELLBOY + Hey. Stinky. Kitchen's closed. + (beat) + Whatcha havin'? Six library guards, raw? Plus belts and boots? Man, you're gonna need some heavy fiber to move that out -- + + @ABE + (in earphone) + Red, I found something -- + +INT. MAIN CORRIDOR / MACHEN LIBRARY (SET) - NIGHT + +Abe has found a small, medieval engraving of Sammael in one of the books. + + @ABE + There's not much here: the entity's name is Sammael, the desolate one, son of Nergal -- + +INT. "MAGIK EXHIBITION" HALL - NIGHT + +Sammael releases himself, lands on the floor. Part of the neck is exposed: white, slimy skin, cracked like old marble and criss-crossed with blue veins. + + @HELLBOY + Hold it -- + (beat) + Hey, Sammy, whaddayasay we work this out?? Peacefully. I'm not a great shot, but -- + (raises his gun) + "The Samaritan" here, uses really big bullets, so whadyasay we work this out? + +Sammael stands and turns around -- CRACK-KKK!!! His waist twists him 360 degrees!! + +Screeching, Sammael leaps away!!! + +Hellboy shoots. The high-caliber ammo rips a few columns apart and finally catches Sammael. The bullet goes through it and destroys a statue and a large window behind him. The monster squeals and goes down. With a rattling cough, it grows still. + +/* OMIT */ + +INT. MACHEN LIBRARY - MAGIK EXHIBIT HALL - NIGHT + + @HELLBOY + That's all for you, Sammy. + + @ABE'S VOICE + (in earpiece) + Red -- you need to hear the rest of the information -- + +Hellboy turns away for a moment. Puts his gun away, like a gunslinger. + + @HELLBOY + Nah -- he's taken care of. + +INT. MACHEN LIBRARY - EXHIBIT CORRIDOR DOORS - NIGHT + + @ABE + No, listen this: Sammael, the desolate one, lord of the shadows, son of Nergal -- + +INT. MACHEN LIBRARY - MAGIK EXHIBIT HALL - NIGHT + + @ABE'S VOICE + hound of resurrection -- + + @HELLBOY + See? I don't like that -- + + @ABE'S VOICE + -- Hound of resurrection? + +Hellboy looks back at the corpse: it's gone! + + @ABE'S VOICE + harbinger of pestilence, seed of destruction -- + + @HELLBOY + Skip to the end, willya? How do I kill it -- ? + + @ABE'S VOICE + It doesn't say -- + +BAMMM!! From out of nowhere, Sammael appears and swings an arm!! Hellboy CRASHES into the brass doors! + +INT. MACHEN LIBRARY - EXHIBIT CORRIDORS - NIGHT + +The doors bulge and crack under Hellboy's impact. + +Abe and Broom backpedal fast. Myers pulls out his gun, and starts looking for another way in. Broom observes this, pleased. + +INT. MACHEN LIBRARY - MAGIK EXHIBIT HALL - NIGHT + +Sammael lashes out with a massive punch. + +HELLBOY goes K-KKRASH!!! K-KKRASH!!! through SIX glass cabinets, then hits a window, falling -- + +EXT. AN ALLEY - BEHIND MACHEN LIBRARY - NIGHT + +-- two stories down, landing sideways in an industrial garbage bin. Hellboy fights to stay conscious. Blood drips from his mouth + + @GRIGORY'S VOICE + Child... + +Hellboy looks up: standing in the alley, like an apparition, is Grigory, in a black suit and overcoat, his eyes shielded by pitch-black sunglasses + + @GRIGORY + All grown up, I see. + +Hellboy's in shock, confused. + + @HELLBOY + That voice -- + + @GRIGORY + I sang the first lullaby you ever heard, my child. I ushered you into this world. + (beat) + I alone know your true calling, your true name. + + @HELLBOY + Don't tell me, it's Zeppo. + +Hellboy catches sight of his big gun, lying on the ground. He goes for it but, BAMMM!!!! SAMMAEL lands before him. + + @GRIGORY + I can see that you're still young and don't know your place. + (turns to Sammael) + Teach him. + +Before Hellboy can reach the weapon -- + +WSHHHP!!! A 7-foot tongue lashes out from Sammael's mouth like a whip. It's arm-thick, with yellow sacs billowing from its sides. It wraps around Hellboy's right arm. + +Hellboy falls to the ground, writhing, grinding his teeth. The tongue squeezes and pulls. Smoke pours from Hellboy's skin. + +EXT. AN ALLEY - BEHIND MACHEN LIBRARY - NIGHT + +Then -- BANG! BANG! BANG! Myers appears at the end of the alley, firing round after round into Sammael's tongue. AMBER BLOOD explodes in the air. The tongue recoils with an infernal SQUEAL!! + +Hellboy manages to roll away. + +Myers goes for HELLBOY's gun... and grabs it! He takes cover behind the trash container. HELLBOY is there. + + @HELLBOY + What do you think you're doing?? + +Myers proudly shows him the gun. + + @MYERS + Helping you -- I just -- + + @HELLBOY + No one ever helps me. It's my job. + +He grabs his gun and tries to reload, but his arm hurts too much. + + @HELLBOY + Damn -- Okay. Here -- + +He hands him the gun and a fresh clip. Reaching into his belt, Hellboy extracts a vacuum-sealed packet. + + @HELLBOY + (throws it at Myers) + -- Then load this. + +In the packet: A SINGLE BULLET. + + @HELLBOY + It's a tracking bullet. Crack the pin. Load it. + +KLANG!!! The tongue punches through the steel like a ramrod. Again and again... Hellboy and Myers can barely dodge it. + +Myers cracks a safety pin. The glass head on the bullet glows like a chemical flare. + + @MYERS + Jeez... What the hell is that? + +He's looking at Hellboy's smoking arm. Inside a bloody gash, a big, black stinger is gleaming. + +Hellboy pulls it out, then steps on it. It pops like a ripe grape. + + @HELLBOY + Lemme go ask -- + +Hellboy steps from behind the container. Sammael's tongue instantly wraps around the gun's muzzle. + +BAM! BAM! Hellboy shoots repeatedly. His face lit weirdly green as the tracking bullet lodges within the gun. Then -- BAM!!!! + +!INSIDE GUN SHOT + +The glowing bullet flies through the barrel and out towards -- + +EXT. ALLEY + +-- Sammael, still in mid-air. + +It hits him square in the chest: an explosion of green goo!! + +With a shriek, the thing leaps over a wall. Hellboy scrambles after it. + +EXT. LOADING ALLEY - NIGHT + +On the empty sidewalk, Hellboy sees a trail of GLOWING GOOP. + +He hits full stride, following it around a corner. Myers lands a second later, cradling his arm, chasing after him. + + @MYERS + Wait! No, what are you doing? + +!LOADING DOCK / ALLEY + +Sammael dashes by, followed closely by Hellboy, running full tilt. + +A ten-wheeler backs up, effectively blocking their way. A few workers load pumpkin boxes in it. + + @WORKER 1 + What the hell is that?? + +Without slowing down, Sammael jumps onto the trailer, denting the roof then jumping off and into a CROWDED CARNIVAL area. + +A small carrousel and refreshment stand flank a pumpkin patch. + +Full of curiosity, Sammael pauses a second to inspect a Trick-or-treater dressed as a GOLDEN DRAGON. + +Hellboy catapults himself onto the trailer's roof. + + @3 WORKERS + (chorus) + Whoa-whoa-whoa- + +Hellboy jumps and lands heavily on top of the driver's cab: CRASH!!! + +The driver is almost crushed under the steel. He screams, showered by thousands of glass shards. + +Myers is a few steps behind. + + @MYERS + (into headset) + We'll hit the street in a minute. We're heading towards civilians... + +He squeezes between the vehicle and the alley wall. The vendors are yelling at him. + + @MYERS + Yeah, yeah, crazy costume, uh? Trick or treat!! + +EXT. WEST SIDE STREET - NIGHT + +Sammael runs past a group of trick-or-treaters, and jumps straight into the street. Cars swerve, avoiding a collision as Sammael lands on the opposite sidewalk. The TRICK OR TREATERS scream. + +Hellboy appears. He too dives straight into the traffic as Myers follows -- + +He runs into the road... and a 4X4 speeds straight at him! + +Seeing this, Hellboy runs back, and lands next to Myers, holds out his STONE HAND and stops the 4x4 dead in its tracks. + +The impact somersaults the car over them both. It lands with a thud on the street, air bags exploding. Myers almost faints. + +Other cars stop, tires squealing and horns blaring. A major traffic jam. + + @HELLBOY + Are you okay? + +Myers opens his eyes, nods. + + @HELLBOY + Good. Stay here. + +He moves after Sammael. + +/* OMIT */ + +EXT. ALLEY - NIGHT + +Hellboy follows the GLOWING GOOP into an adjacent alley. At the far end he sees a metal grate has been moved. Sammael's gone. + +He comes up to the opening, then jumps in. + +EXT./INT. STUNT TRACKS TUNNEL - NIGHT + +He lands on a subway track. Sammael is a few yards away. Seated. + + @HELLBOY + Waiting for me, Sammy? + +A train horn blares. A headlight approaches!! Hellboy smiles and puts away his gun. + + @HELLBOY + Uh-oh -- between a rock and a hard place -- + +But Sammael sprints towards it! + + @HELLBOY + Aw, crap -- + +Sammael unhinges a long, scythe-like bone from his forearm, then jumps at the front car -- + +/* OMIT */ + +INT. STUNT TRACKS / FRONT 1/4 CAR - NIGHT + +smashing through glass and steel and raining sparks. Landing inside with a ROAR!!! -- + +EXT./INT. THE SUBWAY - 2 TRAIN CAR SET - NIGHT + +SAMMAEL's tongue punches through the doors as he races through one -- two -- passenger cars and out the -- + +!STUNT TRACK REAR 1/4 CAR + +-- rear of the train, back onto the tracks. + +INT. STUNT TRACKS - NIGHT + +Landing there safely. + +INT. THE SUBWAY TRACKS (STUNT TRACK) - NIGHT + +Now the train hurtles at Hellboy, who grimaces and does his best -- + +INT. STUNT TRACKS FRONT 1/4 CAR + +He leaps, but HUMPF!! He's hit! His legs rattle over the tracks. + +INT. UNDERCARRIAGE - STUNT TRACKS - FRONT 1/4 CAR - NIGHT + +Inches from the wheels, he punches his stone hand through the steel floor and grabs a handhold. Steam and sparks explode everywhere. + +The TRAIN DRIVER grabs a fire extinguisher and starts slamming it against Hellboy's head. + + @HELLBOY + Hey! Hey! I'm on your side!! + +BAMMM!!! He goes under!!! + +INT. STUNT TRACKS FRONT 1/4 CAR + +The train whizzes overhead, grazing his horn stumps, making sparks fly!! After the train passes, Hellboy sits up, forehead smoking. Sammael is gone. A trail of GOOP is glowing. He follows it, until it ends abruptly. + +He looks ahead: no trace of Sammael... Then a fat drop of glowing goop hits his hand. + + @HELLBOY + Aw, I forgot -- + +He looks up. Sammael hangs from the ceiling, then drops. Then the creature lifts Hellboy in a ferocious bear hug. + +Hellboy twists around and cracks open the jaws of the creature, like King Kong and the T-Rex. + +Sammael staggers back and -- in an impossible maneuver, re-knits his jaws together! Then he uses his bone scythe to tackle Hellboy and -- TCHAKKKK!! -- pin his shoulder down. A deep wound. + +Sammael's mouth starts to open! Hellboy looks at the sparking THIRD RAIL a few feet away. + +Sammael's tongue rears back, a snake ready to strike. + + @HELLBOY + Screw you. + +Hellboy grabs the rail. An electrical discharge consumes both creatures and burns the frame like flashpaper. Hellboy lets go, his hand and body smoking. Sammael -- very crispy -- is convulsing in a cloud of smoke. He grows still. + +Wreathed in smoke, Hellboy shakes off the shock and uses a flame on his arm to light a cigar. + + @HELLBOY + I'm fireproof. + (puffs smoke, kicks the body) + You weren't. + +/* OMIT */ + +EXT. WESTSIDE HIGHWAY - NIGHT + +A huge traffic jam clogs the highway. The totalled 4X4 is being TOWED AWAY. Several TV CREWS interview witnesses. + +Myers -- his arm freshly bandaged -- signs a police form. His radio beeps. + + @HELLBOY (V.O.) + Myers??? How's your arm? + + @MYERS + My arm is fine. Where are you?? + +Myers moves away from the POLICE OFFICERS. + + @MYERS + (sotto voce) + Where are you??? + +INT. SUBWAY TRACKS (STUNT TRACK) + +Hellboy walks away from the smoking Sammael carcass. + + @HELLBOY + I just fried Stinky. Tell Father I'll be home. He shouldn't wait up. + +EXT. WESTSIDE HIGHWAY - SAME + + @MYERS + Wait -- Wait -- You can't go anywhere -- I gotta go with you -- + +INT. SUBWAY TRACKS (STUNT TRACK) + + @HELLBOY + No, no, no, it's fine: I do my job, I take a break. + + @MYERS (V.O.) + No. Stop. Don't do this -- Listen to me -- Tell me where you are -- + + @HELLBOY + Myers? + + @MYERS (V.O.) + Yes? + + @HELLBOY + Goodbye. + +He turns off his belt locator and moves away into the darkness of the tunnel. + +In the foreground: BLACK light escapes from Sammael's charred body. + +INT. MAIN ABANDONED BATHS ALCOVE - NIGHT + +An abandoned shower room. A series of sinks and stalls, lined with dirty white tile. A phonograph nearby plays Wagner. Kroenen stands next to it. + +ILSA is nearby, a straight razor glinting in her hand. She stands over Grigory -- his back to us -- lovingly shaving her master's scalp. She grabs two GLASS EYES from a table. Places them in Grigory's sockets -- his back to us -- as he turns, a glass eye shifts lazily into position. He opens his hand: in it the pale BLACK light that escaped from Sammael's body. He cradles it like a precious stone. + + @GRIGORY + (smiling) + Sammael has fulfilled his destiny... Die in peace and be reborn again and again... + +He closes his fist. + + @ILSA + Only seven more days to the eclipse, Grishka... + +Rasputin stands, his neck and shoulders rising, engorged by moving flesh beneath his human skin. Ilsa stares in fascination. + + @GRIGORY + The child will be there. And so will we all -- Won't we? + +Behind him, in the darkness of a tunnel: TWO SAMMAEL silhouettes appear. + +>CUT TO: + +/* OMIT */ + +EXT. MACHEN LIBRARY ENTRANCE - NIGHT + +A sleek black limo drives past the crowd and stops outside. FBI agent TOM MANNING emerges. + +INT. "MAGIK EXHIBIT" HALL - NIGHT + +Manning and Broom walk through the mess. A crew is cleaning up. The dead guards are carried out. + + @MANNING + Every time the media get a look at him, they come to me. I'm running out of lies, Trevor. + + @BROOM + I thought you liked being on TV. + + @MANNING + I do. + (beat) + How many escapes? This year alone: five! + + @BROOM + Tom -- he's our guest, not a prisoner. + + @MANNING + Your "guest" happens to be six foot five, bright red, and is government funded. + + @BROOM + He's just going through a phase -- + +Manning moistens and lights a fine cigar, using a kitchen match. + + @MANNING + A "phase"? What do you think this is, "The Brady Bunch?" These... freaks -- + +ABE SAPIEN listens while pacing the exhibition hall, palm open. + + @MANNING + (lowers his voice, tense) + These freaks, Trevor, they give me the creeps. And I'm not the only one. You're up for review. You and your petting zoo. + + @BROOM + I know where to find him. I'll get him back. + +Manning watches as Abe finds a sharp dagger embedded in the floor. + + @MANNING + Hey, fishstick -- don't touch anything -- + +Abe silences him. + + @ABE + I need to touch it to "see"... + + @MANNING + See what?? + + @ABE + The past, the future, whatever this object holds. + + @MANNING + (eyes Broom) + Is he serious?? + + @ABE + Don't worry about fingerprints. I never had any. + +Abe holds the dagger in his hand, turns to Broom. + + @ABE + They were over here, Professor. + + @MANNING + Oooh!! Who was here? Nixon? Houdini? You mind sharing your mystic insights? + +Broom examines the dagger: a RAGNAROK symbol crowns the hilt. The dragon and swastika. + + @BROOM + Show me, Abe... show me. + +He solemnly extends his hand. As soon as Abe takes it, the room... + +>MORPHS TO: + +INT. "MAGIK EXHIBIT" HALL - FLASHBACK + +Hours earlier: the place is intact. Both ABE and BROOM witness spectrally as -- + +A GUARD CHECKS AN ALARM MONITORING UNIT. HEARING A ticking sound, he shines his light into a dark corner: no one's there. But after the guard moves on, a spidery form emerges from the pool of shadows on the floor. + +It's KROENEN, encased in shiny BLACK LATEX from head to toe. On his chest, a close-fitting harness comprised of softly ticking gears. + +He approaches a glass case which holds an ancient WOODEN STATUE of an Eastern Orthodox SAINT. + +Then, on the glass, a reflection: ILSA. + + @ILSA + Move. + +She uses her hammer to destroy the glass case. + +The ALARM shrieks. Warning lights come on. + +Kroenen pulls out a double-ended BLADE. It spins, like a giant bone saw, slicing across the statue. + +No apparent damage until: CRACKKKKK!!! a diagonal line appears and the top half falls. + +KROENEN reaches for a small crank embedded in his chest and winds himself up. + +Ilsa reaches into a hollow portion in the wooden statue and removes a large reliquary jar containing Golden sand. + +Six guards hurry in. They point their flashlights and guns at Kroenen. + + @GUARD 1 + You! Don't move! Hands up! + +Kroenen starts shaking, as if in a seizure and readies two TWIN BLADES. + +bullet tears into Kroenen's arm, spewing forth an explosion of dust. He turns. The guards shoot again. Kroenen maneuvers the steel, deflecting the bullets which -- + +-- ricochet wildly -- and finally hit three of the guards. They fall silently to the floor. + +Kroenen dispatches two more in a flurry of knives. + +The last guard raises his gun. + + @GUARD 6 + Don't -- + +Something is clearly stopping him. His hand breaks, twisted by an unseen force!! + +The flesh on his neck pushes upwards, held by an invisible force. He starts floating in mid-air. + +The blinking lights of arriving police cars tint the windows red and amber. They outline a figure formerly submerged in shadows. GRIGORY. He gestures with both hands, as if holding an imaginary doll. + +His arm muscles twitch under his skin, shifting, changing, gaining strength. + +With a quick gesture Grigory twists the lower and upper parts of the guard's body in opposite directions. + +With a wet CRUNCH, the guard's shadow on the wall goes limp. Grigory looks at Ilsa. + + @GRIGORY + Ready the welcome, my love -- + +Ilsa opens the reliquary jar and pours a circle of sand onto the floor. + + @GRIGORY + Salt. Gathered from the tears of a thousand martyrs. Restraining the essence of Sammael, the hell hound, the seed of destruction. + +Grigory slices the air with his open hand, creating fleeting glyphs... and a small BLACK flame dances on his open palm. He deposits it in mid-air, at the center of the circle. + +Then, the sand begins to move, like liquid mercury. Lines fuse into a pile. It melts and bubbles, growing and foaming. Bones are formed, tendons and ligaments join together, GROWING, GROWING, INTO SAMMAEL. + +It roars!!! + +>CUT TO: + +/* OMIT */ + +INT. MACHEN LIBRARY - NIGHT + +Abe snaps out of it. Broom is pale. He steps away, wincing, enduring a bolt of pain in his side. Abe holds him. Motions for the others to stay back. + +He extends his open palm and "feels" the air near the old man's back. + + @ABE + Professor..? You -- are very sick -- + + @BROOM + I don't want Hellboy to know -- + +Broom turns around, gently pushes Abe's hand away. + + @BROOM + Sixty years ago Abe, they tried to destroy the world. And they are back -- in my lifetime, they are back. To finish the job. + +>CUT TO: + +EXT. CENTRAL PARK - NIGHT + +A small nighttime Halloween celebration. Lanterns hanging from the trees, couples drinking and listening to Pop music on picnic tables. + +On a bench, A YOUNG GUY pulls out a cold SIX PACK of beer and passionately kisses his GIRLFRIEND. As he shuts his eyes, a bright, red tail neatly snatches the six-pack. + +Behind the bench, HELLBOY smiles. + +EXT. BELLAMIE MENTAL HOSPITAL - NIGHT + +Dry leaves fly up in a gust of wind. A small army of EMERGENCY VEHICLES roars down the deserted streets, right past a... + +!...brick 1940's HOSPITAL, behind a high wall topped with barbed wire. The mesh-covered windows are decorated with paper skeletons and jack-o'-lanterns. A topiary garden surrounds the building. + +Watching from atop the wall is HELLBOY. One sleeve of his overcoat is soaked in blood. He keeps an eye on the SECOND FLOOR windows. Hanging from his tail: THE SIX PACK OF BEER. + +INT. BELLAMIE MENTAL CORRIDOR - NIGHT + +DOCTOR MARSH, a female psychiatrist, moves down a line patients, distributing pills. + +Behind her, a lithe young woman in a patient's gown carries the medicine tray. This is LIZ SHERMAN, age 26, her pale skin contrasting with her raven-black hair and piercing dark eyes. A scar mars her forehead. Three thick rubber bands circle her wrist. + +Near a window, a Down's Syndrome PATIENT senses something. + + @DOWN'S PATIENT + (pointing) + There's a big red guy down there! + + @DOCTOR MARSH + (readying more pills) + That's fine, darling, Santa's not here for another month. + + @DOWN'S PATIENT + Not Santa. Big and red. With gold eyes. And he has beer! + +Hearing this, Liz stops. She closes her eyes, tugs at one of the rubber bands on her wrist and lets it snap against her skin. She winces and peers out the window. The garden below seems empty. + +EXT. BELLAMIE MENTAL HOSPITAL - GARDEN AREA - NIGHT + +Liz steps out a side door into the hospital garden. Hanging from her neck: an old POLAROID CAMERA. She follows a trail of blood to a large, thorny bush. As she circles it... + + @LIZ + Back so soon? + +Visible in the branches, a leg and part of Hellboy's overcoat. His tail emerges, dangling the six-pack. + + @HELLBOY + Uh, I brought beer. + +Liz shoots a Polaroid. + + @LIZ + To wash down my lithium pills? + (beat) + I may get a few perks, H.B. But I'm still a patient. + +Shyly, he climbs out from the bush. She sees the bloody arm. + + @LIZ + You better have that looked at. + + @HELLBOY + Just a scratch. + (shrug) + I wanted to see you. + +Liz sighs. + +EXT. BELLAMIE MENTAL HOSPITAL - GARDEN AREA- NIGHT + +Hellboy's sitting on a bench, next to Liz. + + @HELLBOY + We miss you at the Bureau. Abe's crazier every day. And Father's still mad at me -- + (Liz smiles) + Come back, Liz. Come back. I -- + + @LIZ + No. Not this time, H.B. It's been months since I've had an episode. And you know what? I'm learning to control it. + +Around her right hand a faint BLUE AURA of fire blooms, crawling over her fingers like a velvet haze. She stares at the pale flame. + + @LIZ + I'm learning where it comes from. + (beat) + And for once in my life I'm not afraid. + +She clenches her fist and puts the flame out. + + @LIZ + Looks like your ride is here. + +The garbage truck and the two black sedan cars have pulled into the hospital grounds. A dozen agents climb out of the vehicles. + + @HELLBOY + The Nanny Squad. + +!ANGLE - THE CARS - CONTINUOUS + +Clay starts towards Hellboy, but Myers stops him and turns to Broom: + + @MYERS + Sir, may I go first?? + + @CLAY + (to Broom) + Not so fast. He barely knows him -- + + @BROOM + (cuts him off) + Then he should make it his business to change that. + +!ANGLE - THE BENCH - CONTINUOUS + +Liz stands up, puts her hand on his shoulder. + + @LIZ + Listen, H.B. I've got a chance out here. If you truly care about me, don't come back anymore. + +Hellboy smiles sadly. She walks away. + + @HELLBOY + Goodnight, then. + + @LIZ + Goodnight. + +She doesn't turn back. + + @HELLBOY + Yeah, I gotta go, too. Lots to do -- + +Feeling light-headed, he stands up. On the bench and at his feet, a pool of his own blood. + +He sees Myers tentatively approaching. + + @HELLBOY + What took you so long? + + @MYERS + C'mon, time to go home. Tape you up. + + @HELLBOY + What are you, a Boy Scout? + + @MYERS + No. I never was. + + @HELLBOY + (weak) + Could've fooled me. Go away. + +Hellboy drops to his knees. Clay, Quarry and Moss reach him. Help him up. + + @CLAY + C'mon, champ. You look a little woozy, there. + + @HELLBOY + This -- ? This is nothing. You know what'll kill me? + (points at the doorway) + Her. + +Liz stands at the hospital door and sees Hellboy keel over. A few of the agents help him to the vehicles. + +Myers looks back at Liz. They hold each others' gaze, their unfamiliar faces filled with curiosity. Eventually, she goes inside. + +/* OMIT */ + +INT. B.P.R.D. MEDICAL BAY "A" - NIGHT + +In the depths of the B.P.R.D infirmary, Hellboy lies flat on a stainless steel table. Broom sits alongside him. + +Abe peers through a magnifier at Hellboy's wounded arm. + + @ABE + You were burned by some organic acid. + + @HELLBOY + I'm lucky that way. + +Using a scalpel, Abe probes the gash. Hellboy lets out a GRUNT. + + @BROOM + Son. About Rasputin -- + + @HELLBOY + Don't worry. I'll get him soon enough -- + + @BROOM + Listen to me. This time is different. There's more at stake than ever before. + + @HELLBOY + How hard can it be? I punched the crap out of that thing that he sent -- ouch!! + + @BROOM + I worry about you. + + @HELLBOY + Me?? C'mon -- + + @BROOM + Well, I won't be around forever, you know? + + @HELLBOY + Oh, stop that -- + (grimaces in pain) + Damn! Be careful, there -- + + @ABE + Red. How long was it latched onto you? + + @HELLBOY + I dunno, maybe five seconds -- ow! + + @MYERS + You want me to hold him down? + + @HELLBOY + (snickers) + That's right, Stud, hold me down. + + @ABE + Professor... + +Broom moves to Abe's side of the table. Abe is poking at the depths of the wound. + + @BROOM + (sharp, to Hellboy) + Don't look! Turn around. + + @HELLBOY + Is it bad? + +Broom comes closer, eyes wide: inside the wound on Hellboy's forearm, nestled like ticks, are 3 translucent EGGS. + +Hellboy jumps as Abe plucks the first one out. Abe deposits it in a glass container. + + @ABE + Touched you five seconds. Laid three eggs. + + @HELLBOY + Didn't even buy me a drink. + +INT. MEDICAL BAY. EXAMINATION TABLE - LATER + +The computer beeps having finished an analysis. On a monitor, an enlarged color image of one of the throbbing eggs. + + @ABE + The eggs are very sensitive to heat and light. They need a humid, dark environment to breed. + +Abe picks up an egg with a pair of tweezers, passes it on to Hellboy, who sports a bandage on his arm. + + @MYERS + Down there. Did you ever loose track of him? + + @HELLBOY + Well, let's see -- there was that moment, when I had a train on top of my head -- + +Broom frowns, worried. + + @BROOM + (to Hellboy) + We can't risk it: You'll go back to the tracks tomorrow with a group of agents, search the area, top to bottom. + +Myers observes, repelled, as inside the egg a small foetal THING wiggles. + +INT. BROOM'S OFFICE - NIGHT + +Myers stands by Broom's desk as the old man places a new set of books on the reading stands in front of the fish tank. + + @MYERS + I'm in way over my head, I know that much. + + @BROOM + You're doing fine. + +At the last book stand, Broom glances at Abe, who is sitting in the shadows near the door. + + @MYERS + No, I'm not. He respects Clay. Not me. I don't know why you chose me, Sir. But I'm not qualified. + +Discouraged, Myers heads for the door. + + @BROOM + (very quiet) + I'm dying Agent Myers. + +Shocked, Myers looks over at Broom. + + @BROOM + And as a father, I worry about him. + (directly to Myers) + In medieval stories, Agent Myers, there's often a young knight, inexperienced but pure of heart... + + @MYERS + Oh, please. I'm not "pure of heart." + + @ABE + Yes, you are. + + @BROOM + What I ask from you is -- Have the courage to stand by his side after I'm gone. Help him find himself. Who he must be. + (beat) + He was born a Demon... You will help him become a man. + +/* OMIT */ + +INT. B.R.P.D. ARCHIVE / CONFERENCE ROOM - NIGHT + +Dozens of HELLBOY clippings flash by: tabloid headlines along with intimate images of Hellboy as a KID. H.B. at 7, at 12, dressed as a human for Halloween, Broom by his side. + +Myers works at a computer workstation. + +He brings up a small photograph in an old issue of The Enquirer. The headline: "ARSON SUSPECT NOW WORKING FOR SECRET GOVERNMENT AGENCY" There's a photo of a woman, taken with a telephoto lens. + +Another clipping: young LIZ, 11, and a photo of a tenement building burned to the ground: TRAGIC EXPLOSION. + +A QUICKTIME interview pops up. LIZ, in her early twenties. A caption reads: ELIZABETH SHERMAN, first interview, BPRD, PYROKINETIC. She has a POLAROID camera in her hands. Shoots one at the lens. + + @LIZ + I don't like the term "firestarter." I just don't. And "Pyrokinesis" sounds like psychosis or something. I dunno -- maybe that's right. Not being able to let go -- + (shrug) + Scary. Sometimes you hear so-and-so lost control and just exploded. + (beat) + They're lucky it isn't true. + (looks at the camera) + With me -- it is. + +/* OMIT */ + +INT. BELLAMIE MENTAL HOSPITAL - CORRIDOR - NIGHT + +Two strolling ORDERLIES shine their flashlights inside the rooms on both sides of a long corridor. + +INT. HOSPITAL - LIZ'S ROOM, MIN. SECURITY WARD - NIGHT + +A flashlight beam sweeps Liz's room. It illuminates a CORKBOARD covered with hundreds of Polaroids depicting scenes of everyday life. + +When the beam of light crosses her face, she turns slowly, still asleep. + +As the light fades, the shadows in the room grow deeper. Grigory emerges from a dark corner. He gazes down on the bed, extending his right hand. + + @GRIGORY + The Master is calling your name now, my girl. We are all part of his plan. You must return to the child... So, once again... + +He gently caresses the scar on her forehead. Under his skin, a hideous movement, a writhing rearrangement of muscles. His fingers start to glow. + + @GRIGORY + ...dream of fire. + +Liz convulses. A small ripple of heat rises from her forehead. + +>FLASH BACK TO: + +EXT. TENEMENT BUILDING COURTYARD - DAY + +Somewhere in a smokestack city, grown-ups and kids hang banners and prepare a ragged birthday party in a cement courtyard. + +!ANGLE - LIZ - CONTINUOUS + +Sitting on some tenement steps, LIZ, age 11. Sullen, alone, a gold CRUCIFIX hanging on her chest. + +A WOMAN -- Liz's MOTHER -- comes down the courtyard steps, carrying a basket of apples. + + @MOTHER + (to Liz) + Liz!! Liz!! Come on, darling, give Mummy a hand. + +Nearby, under a balloon archway, munching candy-coated apples... three KIDS giggle and point at her. + + @BLONDE KID + Freak! + +Liz turns to see them. + + @BLONDE KID + (to his friend) + See? She knows her name. + +Liz shies away from them. + + @BLONDE KID + Go home, you freak. We don't want you here. + +They start throwing stones. One hits the steps. Another misses her by inches. A third hits her in the shoulder. + +Scared, Liz turns but a rock catches her full on the face. She falls down, blood trickling from her forehead, splattering the pavement. She starts sobbing. Another rock sails across, but this time, in mid-air, it catches fire and turns to ash. + +A ripple of heat starts crawling up Liz's hands. Soon a pale blue flame rings her entire arm. + + @LIZ + (sobbing) + Not again, please, not again... + +Firelight glints off the crucifix. + +EXT. TENEMENT COURTYARD - DAY + +MOTHER is dunking the apples in a pot of caramel. A heartbreaking cry reaches her ears. + + @LIZ + Mommy! Mommy! + +Mother sees... + +EXT. TENEMENT COURTYARD - STEPS - DAY + +Liz: outlined by licking flames! + + @LIZ + (panicked) + Mommy! Help me! I'm burning! + +Mother screams, horrified. + + @LIZ + Help meee!!! + +She then explodes. A white-hot supernova engulfs the courtyard. Her mother's body burns like flash paper. Then the rest of the people are -- + +!THE ENTIRE TENEMENT COURTYARD + +-- devoured by an explosion of atomic proportions. Benches, people, trees. Everything. The four surrounding apartment blocks collapse as a shock wave hits like a wrecking ball. + +The frame whites out. And at ground zero there is but one figure left standing: + +Liz... a little girl, still crying. + +>FLASH FORWARD TO: + +INT. BELLAMIE HOSP. - LIZ'S ROOM, MIN. SEC. WARD - NIGHT + +Liz screams, her back arching, her body now in flames. Her chest glows, silhouetting organs and ribs. + +The rubber bands on her wrist vaporize. + +INT. BELLAMIE MENTAL HOSPITAL - MIN. SEC. WARD - NIGHT + +The glow from Liz's room streams into the corridor. + +INT. BELLAMIE MENTAL HOSPITAL - SECURITY ROOM - NIGHT + +In their glass kiosk, two ORDERLIES are listening to the radio and sharing a pizza. A red light flashes repeatedly on a panel. + +They silence the radio, grab their batons and get up. A low rumble shakes the room. + +Through the VIBRATING glass window they see... + +!CORRIDOR MINIATURE / COMPOSITE + +!...A BALL OF FLAME pushing inexorably through the corridor. The inside of the glass booth is absolutely silent, making the vision both terrifying and strangely serene. + + @ORDERLY + Oh my -- + +INT. BELLAMIE MENTAL HOSPITAL - SECURITY ROOM (SET)- NIGHT + +As the glass explodes, the fire ROARS, drowning everything. The orderlies hit the floor, taking cover under a shelf. + +EXT. BELLAMIE MENTAL HOSPITAL (MINIATURE) - NIGHT + +The top floor blows up. Flame pours out of every window, showering glass into the streets below. + +/* OMIT */ + +INT. B.P.R.D. - FREAK CORRIDOR "A" - DAY + +Myers pushes the breakfast cart. On it, three dozen pancakes and a mound of bacon and toast. + +He opens the door to Hellboy's den. + +INT. HELLBOY'S DEN - DAY + +Inside, Hellboy is leaning over Broom, glaring at the old man. + + @HELLBOY + How many buildings does she have to burn? She belongs here! + + @BROOM + That's not how she feels. She may never feel it. + +Myers enters, deliberately clearing his throat. They ignore him. + + @BROOM + It's her choice -- + (beat) + She's human -- + + @HELLBOY + Oh, as opposed to -- ? + +Broom grows silent. + +Hellboy stomps over to a mirror and -- using a hand-held belt sander -- savagely shaves his horns. Sparks fly every time he goes at the round stumps. + + @HELLBOY + Mmmh -- "Pamcakes." We're going out -- + + @MYERS + Professor, that girl you were talking about -- + + @HELLBOY + (whirls around) + Hey. You: think twice -- + + @MYERS + I think I can help -- Talk to her -- I can bring her back. + + @HELLBOY + (chuckles) + What landed you this job, pushing "pamcakes"? Punctuality? What was your area of expertise? + +Myers murmurs -- + + @HELLBOY + What was that?? + + @MYERS + Hostage negotiations. + +Hellboy's face lights up. + +/* OMIT */ + +EXT. BELLAMIE MENTAL HOSPITAL - DAY + +Part of the building is demolished. Repair crews and firemen are still hosing down smoldering piles of debris. + +Myers arrives in a taxi cab. + +INT. BELLAMIE MENTAL HOSPITAL - MAX. SECURITY WING - DAY + +Myers looks at LIZ through a see-through mirror. She sits on a bench inside a padded cell. A security CAMERA AND MONITOR records her constantly. + +A worried-looking Dr. Marsh stands alongside him. + + @DOCTOR MARSH + She's been like this since it happened. There were no casualties. But it's put a big dent in our Thorazine supply... + (dubious look at Myers) + Are you sure you want to go in? + +Myers nods, loosens his tie and enters. + +INT. BELLAMIE MENTAL HOSPITAL - PADDED CELL - DAY + +Liz doesn't acknowledge Myers' presence. He kneels and looks up at her. + + @MYERS + Miss Sherman? I'm Agent Myers, FBI. + +Liz turns away. + + @MYERS + Miss Sherman? I'm Agent Myers, FBI. + (no response) + The hospital called us. They don't feel they're capable of caring for you any longer, and -- + +Silence. + + @MYERS + Liz -- can I call you Liz? It's a beautiful name -- + + @LIZ + (sighs) + 60% OF THE WOMEN IN THIS WORLD ARE NAMED "LIZ". + + @MYERS + It's still impressive by my standards: My name's John. + +She looks at him. He offers his hand. She looks away. + + @MYERS + Dr. Broom asked me to invite you back to the Bureau. No special precautions, no security escorts. You and me in a taxi. Like regular folks. + + @LIZ + Doesn't sounds like him. + + @MYERS + Miss Sherman, he's asking you back, but it's entirely your choice. + +Liz turns to the 2-way mirror. Both their reflections are there. + + @LIZ + Choice, huh? That's cute. I've quit the Bureau thirteen times. I always go back. + (snaps two rubber bands) + Where else would I go? + +>CUT TO: + +/* OMIT */ + +INT. BEAM TUNNEL AREA - BENJAMIN INSTITUTE - DAY + +An explosion of sound and light as a subway train passes through a dank tunnel. Then, light beams sweep the encrusted walls and steel columns. + +Clay and some B.P.R.D. agents hold flashlights. Two of them -- MOSS and QUARRY -- carry FLAMETHROWERS. + +Hellboy and Abe bring up the rear. + +INT. STORAGE ROOM - DAY + +They enter a store room piled high with filing cabinets, typewriters and school desks. A turn-of-the-century mural depicts happy boys doing charitable acts. A Latin phrase ("VIRILITER AGE") encourages them to behave like men. + + @QUARRY + (reads a map) + We're in the cellar of the Benjamin Institute. Turn-of-the-century orphanage. Closed since they moved the sewers in '51. + +Abe removes his gloves, hyperextends his palm and senses the air. Then the surface of the water. + + @ABE + There's a pulse. And it's coming from -- + +Debris and dust seem to float from the water's surface and towards Abe's hand. + + @ABE + there -- + +They point their flashlights at a bulkhead. + + @ABE + cistern on the other side. Most of the eggs are there -- + +They move some filing cabinets and stare at a blank concrete wall. + + @AGENT QUARRY + No way in. + + @CLAY + We should go back and request permission to -- + +BAMMM!!! Hellboy's stone hand cracks the concrete. He starts pounding, again and again, like a jack hammer. + +>CUT TO: + +INT. (SET/LOCATION BUILT SUGAR FACTORY) FURNACE ROOM - DAY + +Makeshift living quarters tucked below a maze of furnace ducts. Scores of old clocks fill the room with TICKING. + +At a desk, Kroenen calmly repairs a mechanical hand: his own. + +His face is partly exposed. Under his leather mask, horrible lidless eyes glitter over a skull-like grin, made of raw gums and taut skin. + +As Hellboy's pounding reaches his ears, he rises, like a spider whose web has twitched. The mechanical hand rattles blindly on the table. + +He opens an ancient leather folder and extracts an engraving depicting Sammael. Carefully places it on the table. Then he opens a drawer and, from an envelope, takes two torn pieces of paper. He puts them in a pouch in his belt. + +INT. STORAGE ROOM - DAY + +The wall collapses under Hellboy's attack. + + @HELLBOY + Are you coming or not? + +Clay smiles uncertainly back. Hellboy moves in. + + @CLAY + (to Quarry and Moss) + You two, check this dump, then join us -- + +INT. ABANDONED SHOWER ROOM (SET) - DAY + +A large oval room of rusting metal, with pipes spilling water through a large GRATE on the floor. + +Abe studies it, senses something, and nods. With superhuman effort, Hellboy lifts it. Hundreds of roaches pour out. + + @ABE + I'm glad I'm not human. This place would be an embarrassment. + +Below, a vast cistern. Abe drops in two CHEMICAL FLARES. + +INT. UNDERWATER - CHAMBER (SET TANK) - DAY + +The flares sink, illuminating floating office furniture and torn paper... + +INT. UNDERWATER CHAMBER 2 (LOCATION: R. WAREHOUSE CELLAR) + +In the lower depths, they pass shadowy industrial ruins. Settling on the bottom they reveal the hulk of a waiting SAMMAEL. + +/* OMIT */ + +INT. ABANDONED SHOWER ROOM (SET) - DAY + +Abe pulls off his breathing apparatus. Activates the locator on his utility belt. Hellboy does likewise. BEEEP! The devices synchronize. + +Hellboy extends a metal reliquary containing a small bone. + + @HELLBOY + There you go, Doctor. This should cover your tailfin -- On loan from the Vatican, a bone from Saint Dionysius. Ugh. Looks like a pinky. + +Abe ties the reliquary around his hand. + + @ABE + Remind me why I keep doing this. + + @HELLBOY + Rotten eggs and the safety of mankind. + + @ABE + Oh, right -- + +As transparent nictomembrane lids cover his eyes, Abe dives. + +INT. UNDERWATER CHAMBER 2 - (LOCATION R.WAREHOUSE) - DAY + +Underwater, ABE finds an entire control room. 1940's magazines float by, like paper jellyfish. The amber light of the chemical flares gives the room an eerie other-worldly feel. + +INT. ABANDONED SHOWER ROOM (SET) - DAY + +Waiting above, Hellboy chews a Baby Ruth and pokes around. Finds a pile of children's shoes covering some yellowing albums. In the albums, a myriad of sad faces, the orphans from the past. + +Some of the faces have been cut out. There's an unfinished letter to Father Christmas, dated 1866. + +Clay stands below a grate, admiring his hair implants with a hand mirror. + + @CLAY + See? It's thicker. Isn't it? It's not that doll-hair thing -- + +Suddenly, something moves. Hellboy shines his light into an adjoining tunnel. Kroenen is standing there, like a deer caught in headlights. + + @HELLBOY + Son of a -- ! + +The figure darts away. Hellboy tears after it, gun in hand. + + @CLAY + Red, wait! + +Clay tries his radio. Static. + + @CLAY + Red's on the move!! I'll cover him!! + +He pulls out his gun and runs after Hellboy. + +INT. TUNNEL LABYRINTH (SET) - DAY + +Clay arrives at an intersection of sewer tunnels. The glow of Hellboy's flashlight is visible somewhere ahead, his booming footsteps rapidly receding. A veritable labyrinth. + + @CLAY + Damn it, Red. + +INT. UNDERWATER CHAMBER 2 (LOCATION R. WAREHOUSE) - DAY + +Abe nears the bottom of the cistern. As his feet touch bottom, a cloud of silt fogs the water. He picks out a translucent egg! + +Suddenly, something big glides by. Abe turns: sees nothing. + +He places the egg in a glass canister. Now eggs are floating everywhere, undulating in the water like amber fireflies. Abe swims slowly, collecting them one by one. + +Some of them are snugly wedged between two rusty machines. + +Abe's reliquary gets caught in a lever and snaps loose!! It lands -- + +on a grate on the floor. Abe swims down and tries to grab it, but it falls through. Abe curses and stands up -- + +-- only to find himself FACE TO FACE with Sammael!! + +The monster rakes Abe across the chest; dark blue blood begins to flow. Abe shoves himself into a long, concrete fissure. + +Sammael can't fit through, but the tongue darts out, missing Abe by inches. Sammael scratches at the walls, trying to reach deeper, screaming in rage. + +Abe screams too, emitting a trail of bubbles. + +INT. ABANDONED SHOWER ROOM - DAY + +The bubbles burst on the surface. Watching them is a SECOND SAMMAEL. + +INT. INTERSECTION (LOCATION /BUILT SUGAR FACTORY) - DAY + +Hellboy stops, disoriented. No trace of KROENEN. He sniffs the air, then steps through a non-descript portal. + +INT. (LOCATION/BUILT SUGAR FACTORY) FURNACE ROOM - DAY + +Hellboy stands in Kroenen's quarters. An array of gas masks dangle from ducts overhead. Glued next to the walls are dozens of old photos of children. + +He discovers the Sammael engraving. + + @HELLBOY + "Sammael: seed of destruction. Death becomes the fertile ground." + +Suddenly: drool drops from above: Sammael hangs from a beam. + + @HELLBOY + (turning) + Didn't I kill you already? + +Sammael lunges, hurling Hellboy through an open service shaft... + +!...and it's a long way down. + +When Sammael leaps, Hellboy throws him over the edge. Sammael, however, grabs Hellboy's tail and pulls him over the side. + +/* OMIT */ + +INT. SERVICE SHAFT (NEW LOCATION SET) - DAY + +They crash through pipes, wiring and ducts and slide off down a duct and into -- + +INT. SERVICE SHAFT 2 (SET) - SAME + +another passage. There they bounce off of dripping water pipes and jutting steel I beams, until they finally break through a mesh/insulation ceiling and directly onto -- + +INT. SUBWAY PLATFORM STATION - DAY + +A subway platform. Full of people. + +The two fighting creatures land on the ticket booth -- in an explosion of coins, glass and steel!!! Some bold New Yorker in the crowd start picking up handfuls of change. + +The dust clears, revealing a large crater in the platform floor. + +Sammael hits Hellboy. The Red Giant lands on a line of turnstiles, uprooting them all. + +Sammael flies through the air, unfolds its bone scythe. Hellboy rolls away. Sammael misses: the tip imbeds itself in the floor and then -- TCHAKKK!!! -- in a concrete column. Sammael pulls, bringing down part of the ceiling. More SCREAMS from the fleeing public. + +A mezzanine above Hellboy collapses, bringing the ceiling, steel cables and office furniture down onto the Red Giant. + +Sammael takes a step towards the crowd and roars -- + +Then, BAMMMMMM!!! A desk flies up into the air. Hellboy's stone hand emerges, triumphant. + + @HELLBOY + Hey, Chunk-face! + +He climbs out of the crater. Sammael growls. + + @HELLBOY + You can do better than that. Big monster like you. + +Hellboy rips off one of the turnstile bars and hits Sammael again and again. + + @HELLBOY + See? It hurts! You shouldn't hit people! + +Sammael blocks the last hit and throws the bar away. It embeds itself in the tile wall. + +Sammael punches Hellboy, a hard uppercut. + +Hellboy flies up, crashing through the plate glass of a second mezzanine above the platform. He skids on the tile floor, scraping a jagged line with his stone hand. + +He slides past a group of BYSTANDERS and into a row of backlit subway ads. He lands in a shower of glass and debris on a wooden bench, breaking it in two. + +Sammael climbs up into the mezzanine. + +Hellboy gets up -- his back bristling with glass shards -- and hears a WAIL: a YOUNG GIRL is pointing at A BOX OF KITTENS abandoned on a bench. + + @YOUNG GIRL + My kittens!! My kittens!!! + + @HELLBOY + Aw, crap. + +Sammael charges!!! Hellboy scoops up the box, holds it high!! Using his bone blade, Sammael pulverizes the bench. + +Next, Sammael slashes at Hellboy, scattering a dozen shrieking citizens. + +Illuminated by sparks and shorting lamps, Hellboy advances, blood dripping from his forehead and nose. + +Hellboy starts to reload, but -- Sammael's tongue shoots out. Hellboy throws the kitten box in the air and -- traps the tongue with his stone hand -- + + @HELLBOY + Second date. No tongue!! + +-- while catching the box with his tail. The kittens are fine. + +Using the tongue, he throws Sammael out a glass window. + +Sammael dangles above the tracks, but he re-joints himself and grabs a handhold on the train wall above the tunnel. From here, he pulls on Hellboy, sliding him toward the jagged glass. + +Sammael pulls harder, enters the tunnel. + +Hellboy fights to free himself, but his sweaty face is millimeters away from being sliced by the glass. All seems lost, when... + +WHAAAAA!!!!!! A train appears out of nowhere heading straight for Sammael. + +It splatters the thing against the tunnel wall and plows on. Sammael's body sprawls motionless at the side of the tracks. + +/* OMIT */ + +INT. SUBWAY PLATFORM - SAME + + @HELLBOY + I hope that hurt. + +He gives the cats to the young girl -- + + @YOUNG GIRL + Thank you -- + + @HELLBOY + My job. + +/* OMIT */ + +INT. SUBWAY TRACKS (NEXT TO STATION) - SAME + +Hellboy approaches Sammael, whose remains are wreathed in BLACK flame. A huge CROWD looks on from the end of the platform. + + @HELLBOY + (a whisper) + This time. Stay dead, willya?? + +He moves away. The BLACK flame flickers out. + +INT. UNDERWATER CHAMBER 2 (LOCATION R.WAREHOUSE) - DAY + +Under the water, BLACK light blooms within TWO OF SAMMAEL'S EGGS as a fantastic metamorphosis starts. The embryos burst out, gyrating in the water, swelling and distending. + +INT. UNDERWATER CHAMBER 2 (LOCATION R.WAREHOUSE) - DAY + +Badly wounded, Abe peers from his hiding spot. Sammael's not there. + +He quickly swims to the surface, his weird blue blood trailing behind him. The water boils with energy and BLACK LIGHT. + +INT. ABANDONED SHOWER ROOM (SET) - DAY + +Abe staggers out of the pool and hides behind a crumbling shower stall. Behind him, two SHAPES come to the surface. + +Shaking, Abe pushes his belt locator and collapses. + +>CUT TO: + +INT. SUBWAY TRACKS (NEAR THE STATION) - DAY + +Hellboy's locator belt crackles to life. BLUE. + + @HELLBOY + Abe -- ? + +INT. BEAM-SUPPORTED UNDERGROUND TUNNEL/ STORAGE ROOM - DAY + +Back in the tunnel, Quarry and moss move filing cabinets and rotten boxes full of files. One of them gives out and papers spill all over. + + @MOSS + Jesus -- + +Their locators light up. + + @QUARRY + Abe -- + +Suddenly -- a noise! The agents leap up and sweep their flashlights over the columns... Nothing there. + + @QUARRY + Moss, what the hell was that? + +Then, TWO SILHOUETTES cast long shadows. Powerful footfalls boom like thunderclaps. + +Agent Quarry raises his gun and fires at the dark shapes. Useless: the things plow on. + +Moss hurriedly straps on his flame thrower. After a few seconds, a green light beeps, READY. + +The muzzle of the flamethrower vomits a 30 feet long gout of fire into the blackness. + +The men pause: silence! + +Quarry turns on his flashlight, hand trembling. + + @QUARRY + Whatever it was -- + +BAM!!! SAMMAEL'S TONGUE uncurls from the shadows and lands on Quarry's face, pulling him into the dark. His flashlight bobbles and strobes, lighting up a nightmare: + +TWO SAMMAELS stand in the tunnel. One of them gleefully squeezes Quarry. The man's screams are muffled by the creature's fleshy lips wrapping around his head. + +Moss runs as fast as he can, jumping and tumbling through an obstacle course of beams. Turning, he readies the flamethrower. The SECOND SAMMAEL lands on Moss's back, breaking his spine. + +>CUT TO: + +INT. ABANDONED SHOWER ROOM (SET) - DAY + +Hellboy enters to find Abe, bleeding but alive, leaning against the tile, blue blood all around him. Hellboy tries his walkie-talkie. Turns on his locator. It sparks. It's damaged and broken. + + @HELLBOY + (into his walkie-talkie) + We need an ambulance. Now!! Over!! + +INT. CENTER OF THE TUNNEL LABYRINTH (SET) - DAY + +Clay stumbles around, lost. He stops under a grate. + + @HELLBOY'S VOICE + (on the walkie-talkie) + Who's there? Clay? Come in, someone. + + @CLAY + Clay, Code 30, this is Clay, over... + +Behind Clay, Kroenen drops down from an overhead pipe, through shafts of gray light. He brings forth his customary long blade. Clay turns in time to see Kroenen coming at him. He fires. Kroenen stabs. + +Twin rivulets of blood run from Clay's nostrils. + +INT. TUNNEL LABYRINTH - CONNECTING SHOWER ROOM (SET) - DAY + +Hellboy hears the gunfire, starts running. + +INT. CENTER OF THE TUNNEL LABYRINTH (SET) + +Clay falls to the floor. + +Kroenen stands there, unfazed by Clay's bullets in his chest. Dust pours from his wounds and piles up neatly at his feet. He hears Hellboy coming. He places the knife on the floor, then lies down and plays dead. + +Hellboy appears at the end of the tunnel. He glances at Kroenen's body, then quickly checks for a pulse on Clay. + +Hellboy looks demolished. + +>SMASH CUT TO: + +INT. TAXI CAB (MOVING) / EXT. BPRD ADJACENT AVENUE - DAY + +An ethnic pop song blasts from the taxi radio. Liz pokes her head out of the window and shoots a Polaroid snapshot. She passes it to Myers: + + @LIZ + It feels good to be outside!! It's been so long... + +He can't hear her over the music. Myers knocks on the bulletproof acrylic divider. + + @MYERS + Hey!! The music!! Turn down the music!! + + @DRIVER + Yeah, yeah, music!! + +He merely changes the radio station; the music stays at the same volume. Myers looks back at Liz. + +She is halfway out the window, sitting on the door. + + @MYERS + Jesus! That's not -- That's not safe, Miss Sherman -- Miss Sherman? + +She takes another Polaroid and passes it down to him. Myers looks at the Polaroid, then smiles. He climbs out of the other window, hands her the photograph. + + @MYERS + Nice view -- + +He waves at her. For the first time, she smiles. + + @MYERS + A smile, huh? That's good. + +She takes his picture. With the cold morning wind blowing Liz's hair and the sun on her face, she looks beautiful. + + @LIZ + Don't get used to it. + +Myers taps his fingers on the roof, to the beat of the music. He can't take his eyes off her. They drive towards the BPRD. + +INT. B.P.R.D. MEDICAL BAY - DAY + +Unconscious, Abe floats in a special tank. LED strips read water temperature, pH level, etc. He's encased in a bio-cast: a cybernetic healing unit wrapped around his thorax and right arm. A web of tubes and hoses keeps him in place. + +SHIRTLESS and bandaged, Hellboy sits and studies him, as if in a trance. + + @MANNING'S VOICE + He'll make it -- + +Hellboy turns, Manning is there: + + @MANNING + But not everyone was so lucky. + (beat) + Two agents died today. Clay probably won't survive the night. You're reckless. + + @HELLBOY + I knew those men better than you did -- + + @MANNING + Ah, I see. That makes it all alright then. + +He turns to leave. Hellboy gets up. + + @HELLBOY + No, it doesn't make it right, but I stopped that creature, didn't I? + + @MANNING + That's what you do. That's why we need you. You have an insight. + (beat) + You know monsters. + + @HELLBOY + What are you trying to say? + + @MANNING + In the end, after you've killed and captured every freak out there -- there's still one left: you. + + @HELLBOY + (a deep sigh) + I wish I could be more gracious but -- + +BAMMMMM!!!! He smashes a metal LOCKER with his stone hand and raises it above his head. + +Manning cowers, realizing that Hellboy's rage is a dangerous thing. + +INT. B.P.R.D. - MAIN HALL AREA - DAY + +A new space. Office corridors radiate out from a brass B.P.R.D. logo on the floor. A few agents monitor computer stations and tactical glass boards. + +Liz and Myers walk in, carrying her suitcases. She looks around and sees BROOM coming down the hall. + + @BROOM + Welcome back. + + @LIZ + It's only for the weekend, Professor Broom. Then I'll be on my way -- + + @BROOM + (impeccable courtesy) + Come and go as you please. + (beat) + Find your way back. We've made quite a few changes -- + +CRASH!!! Liz screams and Myers draws his gun. Smashing through a glass partition, the mangled steel LOCKER lands in the middle of the hall in a rain of glass and aluminum studs. + +Next, Manning appears, retreating but unharmed. + + @MANNING + (gasping) + I want that thing locked up, starting now -- Now!!! You hear me??!! + +He flees. + + @LIZ + (to Broom) + Nothing's changed. Home, sweet home. + +Mortified, Broom hurries after Manning. Hellboy calmly steps through the hole in the wall. + + @HELLBOY + (seeing her) + Liz? Liz!! + +She spins on her heel and walks off. Hellboy turns to Myers. + + @HELLBOY + You!!! You did it, buddy -- + +Myers holsters his gun and follows Liz. Hellboy is all alone now. + + @HELLBOY + (oblivious) + Woo hoo!! + +INT. B.P.R.D. - LIZ'S ROOM - DAY + +A familiar cell. Fireproof insulation covers the walls. Liz throws her bags on the bed. Myers lingers in the doorway. + +She reflexively pulls on one of the rubber bands on her wrist, then lets it snap. + + @LIZ + A little something I learned in therapy. I'm depressed -- + (snaps a rubber band) + One rubber band. I'm impatient: two rubber bands... + +He sits by her side on the bed. + + @MYERS + I'll get you a fresh pack. + +INT. HELLBOY'S DEN - DUSK + +A cat bats at a ball of paper. On it, two words are visible: DEAR LIZ. Hellboy's tail scoops up the paper and throws it in a brimming wastebasket. + +He's sitting at a stainless steel desk, deep in concentration, writing with evident difficulty. The floor around him is covered with more crumpled pages. In the background, the projector is showing DUCK SOUP. Myers pushes in a cartload of CHILI. + + @MYERS + Where do you -- + + @HELLBOY + Shh! Just a second. + +Myers sets the tray on the table. + + @HELLBOY + Myers, you're a talker. What's a good word -- a solid word for "need" -- + + @MYERS + "Need" is a good, solid word. + + @HELLBOY + Nah, sounds too "needy." + + @MYERS + Start in, you got nachos coming. + +As he goes out, Liz appears in the doorway. Hellboy quickly stops writing. + + @LIZ + (notices the small feline army) + Oh, my God... Look at them all! Who had babies? C'mere, Tiger...! + +Liz plays with a cat. Hellboy lifts the piece of paper, which looks like a postage stamp in his stone hand. + + @HELLBOY + Um... Liz -- I -- there's something I'd like you to -- something I need you to hear. + + @LIZ + Well. Is it long?? I'm going out, but -- + + @HELLBOY + Out? Out out? + + @LIZ + For a cup of coffee, but go ahead, read. + + @HELLBOY + You're going alone? + + @LIZ + No. Myers is taking me. + +Hellboy stands up, walks towards her. + + @HELLBOY + Him!! Why him? Why not me? + +Myers walks back in pushing a tray of nachos. + + @MYERS + (to Hellboy) + Hey, your chili's getting cold -- + + @HELLBOY + (sits back down) + Not hungry. + + @LIZ + What did you want me to hear -- ? + +Hellboy folds the paper. + + @HELLBOY + It's nothing. Just a list -- It's not finished -- + + @LIZ + Oh, okay then. Maybe later then. + +She leaves. Myers smiles. + + @MYERS + Anything else you -- + + @HELLBOY + (snappy) + Not from you. + + @MYERS + Well good n- + + @HELLBOY + (furious) + Good night. + +>CUT TO: + +INT. B.D.R.P. MEDICAL BAY - NIGHT + +Under a sheet, Kroenen's cold, naked body lies on a slab. Broom talks into a tape recorder. + + @BROOM + The subject: Karl Ruprecht Kroenen -- + +The visible areas of the body make us grateful for the sheet covering the rest. + + @BROOM + Suffered a masochistic compulsion known as surgical addiction. + +The silver hand and harness lie on a table. + + @BROOM + Both eyelids were surgically removed along with his upper and lower lips, making speech impossible. The blood in his veins dried up decades ago. Only dust remains. + (looks at an X-ray film) + Four pulverized vertebrae. A steel rod inserted into his pelvis held him up. + (beat) + What horrible will power could keep a thing like this alive? + +He finds the small pieces of paper Kroenen planted in his pouch. + +INT. B.P.R.D. HALLWAYS - NIGHT + +Under the gaze of high-security cameras, AGENT LIME rolls Hellboy's food cart down the corridor and into the domed intersection. He whistles a happy tune. Opens the high security door. + +INT. HELLBOY'S DEN - NIGHT + +Lime's jaw drops. + +Across the room, one of the walls has been completely demolished, revealing a SERVICE SHAFT. + +No sign of Hellboy. + + @LIME + Jesus. + +Lime peeks into the SERVICE SHAFT. + +/* OMIT */ + +EXT. NEWARK, N.J. - STREETS - NIGHT + +Myers and Liz leave a coffee shop, strolling down the street. Myers hands Liz her coffee. They chat and laugh. He pushes his Moped. She has her Polaroid with her. + +EXT. BUILDING ROOFTOP - NIGHT + + @HELLBOY + What are you two talking about. What's so fascinating?? So important?? + +EXT. NEWARK N.J. STREETS - NIGHT + +Liz and Myers pause at a corner, waiting for the light. The shops are closing. + + @MYERS + I admire him. He's a force of nature. + + @LIZ + He's just pushy. + + @MYERS + No... He's determined. Unstoppable -- + + @LIZ + Cocky. + + @MYERS + Strong. + + @LIZ + A brute. + + @MYERS + My uncle used to say... we like people for their qualities but love them for their defects. + +Liz half-smiles, sips her coffee. + + @MYERS + He -- loves you. + + @LIZ + I know. + + @MYERS + What about you? + + @LIZ + Don't know. Really. I grew up with him. + (beat) + I've missed him too, but now, every time I see him, I get confused. Hardly a day goes by he's not in my mind. Even now, I feel he's here -- + +As they walk down the street. A red streak jumps over roof tops. + +EXT. ROOFTOP - NIGHT + +Hellboy lands neatly on the adjacent roof. He looks down at Myers and Liz -- + +Myers offers her cream and sugar. + + @HELLBOY + No cream and sugar, moron. She takes it black. + +She takes the coffee, waves off the half and half. + + @HELLBOY + Toldya. + +Trying to feel superior, Hellboy chuckles. As they walk, Liz gestures vigorously. His smile fades. + +EXT. NEWARK N.J. STREETS - NIGHT + + @MYERS + It's freezing, isn't it? + + @LIZ + Coffee's warming me up. + +By now, all the shops are closed. They approach a small park near a train track. + + @MYERS + What do we do now? Newark, New Jersey, entertainment capital of the world. + +She cleans off a wet, dirty bench, sits down. + + @LIZ + You offered me a cup of coffee. I've got one, so just sit down. + +Myers is falling for her. + +EXT. BUILDING ROOFTOP - FIRE ESCAPE - NIGHT + +Hellboy leaps off a building. + +EXT. BUILDING ROOFTOP - NIGHT + +Two red hands appear over the rooftop parapet. Cursing, Hellboy hauls himself up. He finds himself next to a pigeon coop where a YOUNG KID is feeding the birds. + + @HELLBOY + Hi... + +The kid stares at him. + + @KID + You're Hellboy. + + @HELLBOY + Shh. I'm... on a mission. + +He watches as Liz and Myers sit on the bench. + + @HELLBOY + Don't tell anyone, huh? + +>CUT TO: + +INT. HELLBOY'S DEN - NIGHT + +Broom examines the damage to the wall. He turns to see Hellboy's locator belt hanging on the wall. Broom shakes his head. + + @LIME + Should we send out some scouts? + +Broom motions for him to stop. It's useless, + + @BROOM + No. Enough. He will never change -- always a child. Always. + +INT. B.P.R.D. MEDICAL BAY - NIGHT + +Kroenen's body lies on the table. Slowly, his chest starts to rise and fall. He sits up. + +His arm stump docks into the prosthetic hand -- Click! He flexes the shiny fingers. + +Kroenen's hideous cranium is visible for an instant before he zips up his mask. He takes the sharp Ragnarok knives and turns one over. It reflects a figure standing behind him: Grigory. + +EXT. BUILDING ROOFTOP - NIGHT + +The pigeon kid walks towards Hellboy, carrying two glasses of milk and a plate of cookies. + + @KID + My Mom baked 'em. + +He sits by Hellboy's side as he watches Liz and Myers chatting and laughing. + + @HELLBOY + That's it: she's laughing. I'm done. + +Hellboy grabs three cookies off the plate and scarfs them down. + + @KID + They don't look like spies. + + @HELLBOY + Come on! Look at him, those shifty eyes, that -- phony grin...!! + (seeing the last cookie) + You gonna eat that? + +Below, Myers yawns. Hellboy slaps his forehead. + + @HELLBOY + Oh, the yawning trick. That's so 1950's! Watch his arm -- + +He looks around, picks up a pebble, hefts it. + +EXT. NEWARK N.J. STREET - LIZ AND MYERS - NIGHT + + @MYERS + We all have a side that we try to hide... + +Myers stretches and places his hand and arm behind her back. Something hits him in the head. + + @MYERS + Hey! What the hell? + +He gets up, annoyed. No one in sight. + +EXT. BUILDING ROOFTOP - NIGHT + +Hellboy snickers, hiding and chewing a cookie. The Kid "gives him five". + +INT. BROOM'S OFFICE - NIGHT + +Kroenen's two pieces of paper are joined together under a MICRO-SCANNER. Broom watches as computer enhancement fills out a couple of missing areas. + +Cyrillic letters are now legible. + + @BROOM + (pensive) + SEBASTIAN PLACKBA #16... Moscow. + +Broom pulls out a few old photos. Finds one of Grigory in German uniform, and in a book, another of Grigory in an Orthodox priest's black cassock. + +He pulls out his old wooden box, pulls out a dusty book from it. His fingers scan the text, finding Rasputin's date of birth, date of death. They pause at a particular line: "His mausoleum is at SEBASTIAN PLACKBA #16". + + @BROOM + It's Rasputin's mausoleum. + +TCHK!! A noise -- Broom turns in time to see Kroenen delicately descending a spiral staircase, blade in hand. In spite of all his experience, Broom is shaken. + + @BROOM + I see the puppet. But -- where is... the puppet master? + +In the dark, a voice hisses -- + + @GRIGORY + Very good, Professor Broom. + +Broom turns. Grigory steps from the shadows. + + @BROOM + It was you: The scraps of paper, Liz's sudden relapse and return... + + @GRIGORI + (nods) + Bread crumbs on the trail. Like in a fable. They both distract him and guide him exactly where I need him. + + @BROOM + Moscow. + + @GRIGORY + His destiny. + +He touches Broom's forehead, lightly -- + + @GRIGORY + You raised the child. Nurtured him. So, In return... Would you permit me? A brief, brief glimpse? Of the future -- + +!FLASH!! + +A nightmarish tableau... + +EXT. RUINS OF N.Y. - DUSK + +The ruins of New York, charred, smoldering. Human remains litter the landscape. Monstrous shapes lumber in the distance... an army of apocalyptic beasts outlined against the blood-red sky. + +Dominating the horror is a mountain of festering skeletons and skulls. At the top, a figure: HELLBOY, transformed. His horns are in full bloom, his eyes and mouth stream unearthly fire. + +INT. BROOM'S OFFICE - NIGHT + +Startled, Broom snaps out of it -- + + @GRIGORY + If only you had him destroyed sixty years ago, none of this would come to pass. But, then, how could you have known? + +Broom is speechless. + + @GRIGORY + Your God chooses to remain silent. Mine lives within me. + +Rasputin stands, the flesh of his neck and shoulders heaving and twitching beneath his human skin. + + @GRIGORY + In the frozen waters of the Malaya Nevka, in the darkness of the void: every time I died and crossed over, a little more of the Master came back with me. He disclosed to me the child's true name... Would you like to know it?? + + @BROOM + I know what to call him. Nothing you can say or do will change that. I call him son. + +Discreetly, Broom removes his rosary and places it on the book. Kroenen settles in behind him. + + @BROOM + I am ready. + + @GRIGORY + Good. Now, I'll add two crumbs more: + (Kroenen displays his knives) + Grief and revenge... + +Kroenen's knife goes in. + +>CUT TO: + +EXT. BUILDING ROOFTOP - NIGHT + +The pigeons flutter on the rooftop. + +The pigeon kid sits by Hellboy's side. + + @KID + Just go down there and tell her how you feel! + (Hellboy shakes his head: no) + My mom says -- + + @HELLBOY + It's not that easy, okay? + (beat) + Plus, you're nine. You're not old enough to give me advice. + + @KID + (shrugs) + Who are those guys?? + +Hellboy turns and sees -- + +TWO of the black B.P.R.D. Sedan cars rounds the corner. + +Agent Lime bounds out of one of the vehicles, grabbing Myers, talking rapidly. Liz screams, covers her ears. + + @HELLBOY + Something's wrong -- + +/* OMIT */ + +INT. B.P.R.D. HALLWAY - NIGHT + +Agents and Bureau employees are crammed into Broom's office doorway. Hellboy, face contorted by grief, pushes through. + +INT. BROOM'S OFFICE - NIGHT + +The room is full of forensics people taking pictures, picking up evidence, etc. Tom Manning is there. Seeing Hellboy, he respectfully steps back. + +Broom's fragile body lies slumped in his chair. At his feet, a pool of blood. Liz enters, then stifles a whimper. + +With tears in his eyes, a disbelieving Hellboy looks at Liz, then at his dead father. He holds Broom's body close to his chest. + + @HELLBOY + Father -- I'm back. I'm back. I'm back. + +Manning herds everybody out. From the door, Liz blinks back tears as the red giant kneels by the body: a dog with a lost master. + + @HELLBOY + I wasn't here. You died alone -- + +>DISSOLVE TO: + +/* OMIT */ + +EXT. BPRD BUILDING - DAY + +It's raining like hell. + +The PALLBEARERS, Manning and Myers among them, load Broom's casket into a HEARSE. Flanking it are two rows of BPRD agents. + +The hearse doors close and the vehicle pulls away. + +Watching like a gargoyle from a distant roof: Hellboy. Rain bounces off his wet overcoat. + +Liz observes him, worried. + + @LIZ'S VOICE + He hasn't spoken to anyone in three days. Not a word. He doesn't eat, he doesn't sleep... + +INT. MEDICAL BAY - DAY + +Abe, conscious now, but still in the cast, floats upside down, solving a RUBIK'S CUBE. Liz stands by the tank. + + @LIZ + I've never seen him like this. Never. + (beat) + Should I stay? With him, I mean? + +She smiles faintly. + + @ABE + Listen -- I'm not much of a problem solver... + (displays the cube) + Three decades and I've only gotten two sides. + (beat) + But I know this much: if there's trouble -- all we have is each other. And I'm stuck here. + (beat) + So -- Take care of the big monkey for me, will you? + +Their hands almost touch, separated only by the glass. + +/* OMITTED */ + +INT. B.P.R.D. CONFERENCE ROOM - DUSK + +A PROJECTION SCREEN shows the enhanced image of the piece of paper with Cyrillic characters. + + @MANNING + We've collected and destroyed thousands of eggs. No trace of this "Sammael" or this "Rasputin" character. But we have this address -- + +In a meeting room, Manning stands at a polished obsidian desk. A group of agents -- Myers among them -- listens attentively. + + @MANNING + Sebastian Plackba #16. Volokolamsk fields, fifty miles from Moscow. We leave as soon as we get clearance and equipment -- + + @MANNING + Hellboy's coming -- + (beat) + But I'll be in charge this time. Either we wrap this up or I'm closing this freak show for good. + +Myers spots Liz walking past the conference room. + +INT. BROOM'S OFFICE - DUSK + +Hellboy stands before Broom's desk, pensive, his naked chest bandaged. + +Liz watches him from across the room. He finds Broom's rosary on top of the book. Reads the underlined phrase on the page. + + @LIZ + Hi -- + +He turns to her. She slowly comes towards him. + + @HELLBOY + Hi. + + @LIZ + I've changed my mind. I'll come to Moscow. If you -- are still going -- + +Hellboy nods, then clears his throat. + + @HELLBOY + I am. + (beat) + But -- I have something to say, too. + (beat) + I never had the guts before - + +He looks her in the eye. + + @HELLBOY + But I understand what you don't like about me. I do. What I am makes you feel out of place -- out there -- + + @LIZ + Red, I -- + + @HELLBOY + Listen. I'm not like Myers. He makes you feel like you belong. And -- that's good. It really is. I -- wish I could do something about this -- + (points at his own face) + But I can't. + (beat) + I can promise you only two things... One: I'll always look this good. Two: I won't give up on you. Ever. + + @LIZ + I like that... + + @HELLBOY + Good. + +>CUT TO: + +EXT. MOSCOW WAREHOUSE - DAY + +Super: TOPOCKBA STEEL MILLS, MOSCOW A wasteland of rust and decay. Rotting warehouses line the street like dead steel watchdogs. No one's around but a few lonely sentries. + +A limo and motorcycle caravan are waved through the security gates. + +INT. MOSCOW WAREHOUSE - DUSK + +A metal door trundles back and the limo and escort motorcycles enter. + +Fleshy Russian General -- LAPIKOV -- gets out of the limo. Then Ilsa and Grigory. + + @GENERAL LAPIKOV + I have accumulated many objects of great interest. Preserving our heritage. + +The warehouse contains a world of bric-a-brac: a towering marble LENIN HEAD, Old Master paintings, tanks, warheads, missiles, etc. + + @GENERAL LAPIKOV + Many -- like me -- believe Mother Russia to be very close to a historic rebirth. + +They stop before a cargo container. With a butane torch, a soldier melts away the lead Kremlin seal, then open the doors. + + @GRIGORY + Rebirth? I like that. + +INT. MOSCOW WAREHOUSE - THE CONTAINER - SAME + +A massive stone monolith of polished MARBLE. + + @LAPIKOV + Twenty tons of stone. This thing fell from the sky into Tungaska forest. + + @GRIGORY + June 30th, 1908. It burned hundreds of square miles of forest. The Romanovs took possession of it immediately. The Czar guarded it jealously -- I have wanted it for ages. + +Grigory's fingers brush over its smooth, perfect surface. At the center -- + +-- TWO CIRCULAR IMPRINTS that match Hellboy's four-fingered stone hand. + + @GRIGORY + Now, finally, it's mine. + + @GENERAL LAPIKOV + You are aware, of course, there's no way you'll get it out of Russian territory. + + @ILSA + (curtly) + He is aware. + +Ilsa brings out a chrome box, full of gold. + + @GENERAL LAPIKOV + It's a pleasure doing business with you. Perhaps you have other interests. + +Grigory's voice drips with serene brutality. + + @GRIGORY + Enjoy the bright metal you've earned. There will be no further transactions. + (beat) + Only closure. + +>CUT TO: + +EXT. THE NIGHT SKY (MATTE SHOT) - NIGHT + +A massive CARGO PLANE slices the white eye of a full moon. A map details the plane's journey over the Black Sea. + +Super: RUSSIAN AIRSPACE - BLACK SEA. + +INT. CARGO PLANE - NIGHT + +As the plane engines DRONE, Myers supervises BPRD agents Lime and Stone, who stencil a large crate: FRAGILE! LIVE CARGO. + +Hellboy and Liz stand around a brightly-lit work table. + +Hellboy shows them the medieval illustration of Sammael. + + @HELLBOY + "One falls, two shall arise." So: you pop one, two come out. You kill two, you get four. You kill four, you're in trouble. We have to nail 'em all at once. And the eggs. + + @MANNING + When we do: No mumbo-jumbo. Double-core Vulcan-65 grenades. + +MANNING shows them a set of GRENADE BELTS. + + @MANNING + We've installed a very handy timer. Set it, walk away. Cable pulls the safety pins, K-boom! Easy to clean, easy to use... + + @HELLBOY + (interrupts) + Those things never work. Never. + + @MANNING + Each of us gets a belt. + + @HELLBOY + (shrugs it off) + I won't take 'em. They never work. + +Manning looks at Hellboy, irate. + + @MYERS + I'll carry his -- + +Hellboy wraps Broom's rosary on his wrist. + + @HELLBOY + Boy Scout. + +>CUT TO: + +/* OMIT */ + +EXT. COUNTRYSIDE - DAY + +Two gleaming black vans and a truck move through snow-covered Soviet roads. + +Super: VOLOKOLAMSK FIELDS, MOSCOW. + +EXT./INT. COUNTRYSIDE - IN THE TRUCK CAB - DAY + +Myers and LIZ struggle with a Moscow map. + + @LIZ + (into a radio) + Sparky to Big Red... + +Popping her head out of the window, Liz looks back at the truck bed. + +EXT. COUNTRYSIDE - THE TRUCK BED - DAY + +Fastened to it, the crate labelled: LIVE CARGO. Small breathing holes have been drilled in the sides. + + @HELLBOY'S VOICE + Sparky?? Who came up with that? Myers? + +EXT./INT. COUNTRYSIDE - THE TRUCK CAB- DAY + +Liz snickers. + + @MYERS + We're almost there. + +INT. INSIDE THE CARGO BOX - DAY + +Hellboy, sitting on the floor, in the dark. + + @LIZ'S VOICE + (on radio) + We're leaving the main road, so hang on -- + +They hit a series of bumps. The box rattles and shakes. Hellboy bangs his head. The vehicle lurches to a halt. + + @HELLBOY + (on the radio) + This better be the place or I'll puke. + +Motors are turned off. The crate is opened. Liz peeks in. + + @LIZ + Come out and see. + +EXT. 19TH CENTURY CEMETERY - DAY + +Hellboy steps out. Takes a moment to adjust his eyes to the light. + + @HELLBOY + Sebastian Plackba #16... + +!19TH CENTURY CEMETERY (MATTE SHOT / COMPOSITE) + +Broken spiked fences succumb to rust and dead vines. Endless rows of crypts and tombstones poke through wild foliage. + +Our group plus TWO AGENTS (Lime and Stone) venture into the labyrinthine lanes of the dead. Each carries a backpack, a flashlight and a gun. + +>DISSOLVE TO: + +EXT. CEMETERY - MAUSOLEUM SECTION (LOCATION) - DAY + +Later. The group gathers in frustration in an area of baroque funerary monuments. Myers -- carrying the explosive belts -- looks around. + + @MANNING + Forget it. This is practically a city. And it stinks, and it's muddy. We'll go back, check into a hotel, regroup after breakfast. We'll have to make a grid, go by quadrants. Maybe satellite photography. + +He gestures and all the agents head for the vans. + + @HELLBOY + Let me ask for directions. + +EXT. OPEN GRAVE - DAY + +The group surrounds a grave. Hellboy raises the broken stone cover and then jumps in. + +EXT. OPEN GRAVE (SET) - DAY + +-- and lands on a rotten coffin. In it, a mummified corpse lies in a miserable black suit. + + @HELLBOY + (whispers) + Animam edere, animus corpus... + +He presses the amulet on the cadaver's forehead. For a moment, nothing, and then... + +!...a brutal spasm!! The corpse gasps, breathes... and mutters something in tongueless Russian. SUBTITLE: WHAT DO YOU WANT? + +EXT. MOSCOW CEMETERY (LOCATION) - DAY + +The group gawks as Hellboy climbs out, carrying the CORPSE on his back. With an ear-to-ear grin, he approaches the team. + + @HELLBOY + Sixty feet further, comrades, and three rows in... + +The corpse fidgets on Hellboy's back. Its bony hand weakly points, as if in confirmation. + + @HELLBOY + This here is Ivan Klimentovich: Say "hi" Ivan. + +The corpse mutters again. SUBTITLED: GO THAT WAY, RED MONKEY. + +EXT. CEMETERY - YEFIMOVICH MAUSOLEUM (LOCATION) - DAY + +A miniature black marble castle. Using a crowbar, Myers pries open the ancient steel door. Hellboy, still carrying the desiccated abomination on his back, walks in. + +/* OMIT */ + +INT. YEFIMOVICH MAUSOLEUM STAIRS - LATER - DAY + +Two agents stand guard in the mausoleum, while the group descends carefully. The walls are dotted with yellowed skulls. + +INT. YEFIMOVICH MAUSOLEUM - UNDERGROUND - STAIRCASE + +Myers' flashlight flickers. He shakes it back to life. + +INT. UNDERGROUND - UNDERGROUND INTERSECTION + +They reach the bottom of the staircase: three corridors branch off in different directions. Hellboy deposits the CORPSE atop a pile of coffins. + + @HELLBOY + We'll be alright... as long as we don't separate -- + +INT. UNDERGROUND CORRIDOR AND INTERSECTION - DAY + +TCHKANGGG!!!!! large spiked metal plates shoot up from below, blocking both their way out, demolishing the staircase and ramming Stone: he's gone. + +Wicked spikes cover the metal surface. Hellboy still bangs on it, but to no avail: it's at least six inches thick. Liz and Myers are on the other side. + + @HELLBOY + (into his walkie-talkie) + Okay, someone's expecting us. Turn on your locators -- Anyone sees anything... + + @LIZ + Marco... + + @HELLBOY + ...Polo. + +On the other side of the panel, Myers takes the radio from Liz. + + @MYERS + (into radio) + Are you sure about this? + + @HELLBOY + On a scale of one to ten: two. But -- + (beat) + -- she'll take care of you, Myers. She's a tough one. + +Liz and Myers move off. Hellboy shines his light down the tunnel on the left. Agent Lime picks up the corpse and follows. + +INT. TUNNEL "A" / CHAMBER - DAY + +Hellboy and Manning come into a vast chamber: Slavic motifs crown the rugged stone pillars and archways. Water runs down the walls. + +Across a small stone bridge, light pours from a hexagonal structure. + +They step onto the bridge. KLANGGG!!! two gears release a steel door from above, forcing them to forge ahead. + +Somewhere, a massive clockwork is TICKING. + + @MANNING + What's that -- + +Hellboy motions for silence. The CORPSE mutters: "IT'S SOMETHING BIG" + +They stare into the darkness. + + @MANNING + We should go back -- you -- you could tear that door apart -- + + @HELLBOY + Don't move. We -- + + @MANNING + -- should go back. Now! + + @HELLBOY + No. Don't -- + + @MANNING + I'm in charge. We go back! + +Hellboy yanks Manning just in time. BAMMM!!!! A gigantic metal pendulum swings past and demolishes one third of the bridge a few feet from their feet. It takes Lime and the CORPSE with it. + +Another door on the far end of the bridge shudders downward. + + @HELLBOY + Son of a -- + +Whoosh! The PENDULUM swings back. It destroys more of the bridge. Manning sprints for all he's worth and crawls under the door. + +Hellboy runs, but chunks of stone disintegrate under his feet. + +The pendulum swings back taking out the final piece of the bridge just as Hellboy rolls under the door -- + +-- and makes it into the hexagonal building. + +INT. STONE CORRIDOR - DAY + +Hellboy and Manning find themselves in a very narrow, arched stone corridor. Its walls are lined with endless rows of rusty steel blades. + +Faint traces of WAGNER can be heard. They cautiously proceed... + +INT. HEXAGONAL STONE LAB - DAY + +There. In yellow gaslight, Kroenen nods attentively as a phonograph plays the love duet from TRISTAN UND ISOLDE. + +Above him, ropes, hooks and pulleys. + +INT. STONE CORRIDOR - DAY + +Manning rest his hand too close to a blade. + + @MANNING + Ouch!! + +INT. HEXAGONAL STONE LAB - DAY + +Kroenen comes alert. He scans the room, quietly winds himself up. + +INT. STONE CORRIDOR - DAY + +Hellboy shoots a dirty look at Manning and then looks back into the chamber -- + +-- Kroenen is gone. + + @HELLBOY + (to Manning) + Crap. This guy moves like a cockroach -- + +Hellboy readies his gun and then creeps toward the lab. + +INT. HEXAGONAL STONE LAB - DAY + +Hellboy's footsteps elicit soft creaks from the wooden floor. Manning moves along behind him. + +The record finishes playing. Silence -- + +SWISH!!! Kroenen's whirling blades slice the air, ripping into Manning's arm. As Kroenen goes in for the kill -- -- Hellboy thrusts out his stone fist as a shield. Kroenen bears down but Hellboy fends him off with powerful, deliberate blocks. + +Kroenen hauls out one of his long swords. + + @HELLBOY + Screw that. + +Hellboy yanks it away and bends it like a twig. BAMMMM!!!! He punches Kroenen in the face, crumpling the steel mask, smashing its lenses. + + @HELLBOY + You killed my father -- + +BAMMM!!!! another hit. + +Kroenen staggers back with each blow. Finally, the mask falls off. + + @HELLBOY + Give your soul to God, Your ass is mine. + +An asthmatic wheeze erupts from his scarred face. Kroenen is laughing. + +INT. HEXAGONAL TRAP DOOR PIT - DAY + +BAM!!! Under his feet, a huge trapdoor falls open. He and Manning drop through, along with the phonograph. + +Hellboy grabs a rope. It spins through a copper pulley, but a large knot jerks him to a stop. Hellboy snatches Manning's hand, but loses his backpack. + +He looks down. The phonograph hits the ground with a crash. + + @MANNING + (panting, whispers) + Well, it's not that big a fall... + +KLANGGGG!!!!! The entire bottom bristles with six-foot, sparkling steel blades. + +INT. ABOVE THE HEXAGONAL TRAP DOOR PIT - DAY + +Kroenen cautiously leans over the pit. He can't hear a sound. + +As he peeks -- SWISH!! A loop of the rope wraps around his neck and yanks him forward! Before he goes over, he frantically digs his blades into the floor, anchoring himself. + +INT. HEXAGONAL TRAP DOOR PIT - DAY + +Hellboy has used the rope hanging below him as a lasso. MANNING clings to his powerful back as he climbs up, hand over hand. + +INT. ABOVE THE HEXAGONAL TRAP DOOR PIT - DAY + +Kroenen goes to cut the rope... + +INT. HEXAGONAL TRAP DOOR PIT - DAY + + @HELLBOY + (reaching the top) + Oh, no you don't -- + +Hellboy wraps the rope around his stone fist and, with a brutal stone-fist yank, pulls KROENEN into the pit! + +With a horrible scream, Kroenen drops headfirst past them and onto the spikes. He wriggles like a fish caught on a hook, only making it worse, as he slides further down the blades. + +INT. ABOVE THE HEXAGONAL TRAP DOOR PIT - DAY + +Hellboy climbs out and sits. Sees Kroenen's blade embedded in the floor. Holding it: the prosthetic hand, still ticking. + +INT. ABOVE THE HEXAGONAL TRAP DOOR PIT - DAY + +Hellboy peers down. Still alive, Kroenen frees one arm, slicing through his own ropy bicep. + + @HELLBOY + You like playing possum, you Nazi pinhead? + (beat) + Then try playing dead. + +INT. BOTTOM OF HEXAGONAL TRAP DOOR PIT - DAY + +Hellboy tips a massive cogwheel over the edge. Kroenen emits a horrid scream as it crushes him. + +INT. ABOVE THE HEXAGONAL TRAP DOOR PIT - DAY + +Manning sits down, bandaging his injuries. Hellboy kneels down. + + @HELLBOY + Are you okay? + +Manning nods weakly. Hellboy brings out a cigar and fires up his Zippo. + + @HELLBOY + You'd better stay here. I'll find a way out. We'll come back for you. + + @MANNING + You call that thing a cigar?? + + @HELLBOY + Yup. + + @MANNING + You never, ever light a cigar that way. + +He digs out one of his fine cigars, cuts it and hands it to HELLBOY. + + @MANNING + Use a wooden match. It preserves the flavor. + +He lights it for him. Hellboy grins. + + @MANNING + Thank you. + + @HELLBOY + (smiles) + My job. + +/* OMIT */ + +INT. TUNNEL "B" - UNDERGROUND NARROW TUNNEL - DAY + +A narrow tunnel. Liz and Myers advance carefully. + +Just ahead, a cave-in. Pieces of ceiling, timber, coffins and corpses form a chaotic barrier. As they squeeze past... + + @MYERS + So, he thinks that you and I... That's why he's mad at me -- + +A few bones roll by. Wet earth drops onto their shoulders. They draw their arms close to their bodies, pointing their flashlight beams straight down. A moment of strange intimacy. + + @MYERS + But it's not true, is it? + + @LIZ + What -- ? + + @MYERS + That you feel that way about me. + + @LIZ + You want to know -- Now -- ? Here? Red, white, whatever -- Guys are all the same. + +INT. TUNNEL "C" - UNDERGROUND TUNNEL - STEEP SLOPE - DAY + +Hellboy labors up a steep slope, using rocks and roots for handholds. He reaches a dead end and collapses, out of breath. + +Light filters through a crack in the ground; he can faintly hear Liz and Myers. + +INT. TUNNEL "B" - UNDERGROUND TUNNEL - CAVERN AREA - DAY + +Liz and Myers reach a wider section of Tunnel "B". They find themselves calf-deep in brown water. + +Myers lights Liz's path as she steps onto a large stone. + + @MYERS + Watch out. It's slippery... + +His light shorts out. She shines her light past him. + + @LIZ + Oh, my God... + +Myers turns. His flashlight comes back on, revealing a complex natural cavern. An entire WALL IS COVERED with translucent eggs. + +SAMMAEL is there, gnawing on a dry arm bone, with the hand still attached. When the light hits his face, his milky pupils constrict. A snarl... + +A SECOND SAMMAEL emerges from the water. It shakes itself off. A THIRD ONE raise its head. + +Myers and Liz try to back away, but a metal wall rises right behind them KLANKKKKK!!! They are trapped!! + +Myers goes to grab a set of explosive belts. Tries to set up the timer. Zipp! -- one Sammael snatches them away. Myers falls to the ground, clothes torn, injured. + + @LIZ + (into the radio) + Marco, Marco, Marco... Get your Big Red butt over here! + +Something stomps on the ceiling directly above them. Again and again. + +INT. TUNNEL "C" - UNDERGROUND TUNNEL FLOOR - DAY + +Hellboy pounds the floor with his rock hand. Furiously. + + @HELLBOY + Hang on kid, I'm coming for you!! + +The rocks below him start to crumble. + +EXT. ANTHILL VIEW OF UNDERGROUND TUNNELS AND PITS - DAY + +In an "ANT FARM" view of the complex, we see Hellboy above, pummeling and -- in the cavern below -- Liz and Myers. + +INT. TUNNEL "B" - UNDERGROUND TUNNEL CAVERN AREA - DAY + +Dust and rocks fall from above. The four identical creatures move in on Liz and Myers. Myers shoots one in the head three times. The creature shakes off the hits as if pelted with pebbles. + +One of them springs. As it flies through the air, Hellboy crashes through the ceiling. He lands on top of it along with a ton or two of stone. The creature is crushed. + +Two eggs glow, metamorphosing. Presto -- two new Sammaels are born. The first two Sammaels growl, joined by the two new ones. Liz sprints to safety. + + @HELLBOY + Sorry. Just couldn't leave you two alone. + +Hellboy scoops up Myers and deposits him next to Liz. + +Lit by Myers' flashlight, two of the creatures jump. One clamps onto Hellboy's back, the other onto his leg. Hellboy howls. The third one joins in, like lions dragging down a zebra. This time, though, the zebra fights back. + +Hellboy pulls out his gun and fires a round into the chest of a Sammael. Two eggs glow -- two new Sammaels are born. They're FIVE. + +Hellboy's torso is covered in blood. He falls to the ground. A fourth and a fifth creature spring onto him, biting. Hellboy is in trouble. + +Liz watches and shivers. A ripple of heat shimmers over her body. + + @LIZ + (at Myers) + Hit me. + + @MYERS + What? + +Liz is desperate, crying. + + @LIZ + Hit me -- + (beat) + All of my life I've run away from it... Now I want it to happen! Do it. + +Hellboy screams. Water explodes under the fighting bodies. Two of the Sammaels turn their attention to Liz and Myers. + + @MYERS + I can't, I -- + +Liz slaps him. + + @LIZ + I know now: I love him. I've always loved him. + +A beat of silence, then Myers slaps her across the face, once. Hard. The heat ripple builds. The air vibrates around her. Her pupils kick back light, like an animal's. + + @LIZ + Go now. + +Myers ducks behind a rock as Liz's arms blaze with fire. + +The two approaching Sammaels are ready to pounce. + +On top of Hellboy, one of them turns its head, like a lion hearing the hunter's gunshots. A staggering Hellboy sees Liz's body shake in a surge of white-hot energy. + + @HELLBOY + (weak) + Liz... + +The water at her feet blows away as a concave shockwave of fire expands. + +The fire engulfs the creatures. Devours them all. + +INT. TUNNEL "B" - UNDERGROUND TUNNEL CAVERN AREA - DAY + +The screen FADES TO WHITE and then... + +Silence, then a pulse. A high ringing tone. A heartbeat. + +Hellboy pushes away the half-cooked remains of two Sammaels. The other creatures are little more than blackened bones. He stumbles forward. No water left. Everything is half-buried in a cracked, bone-dry bed of mud. Liz lies on the ground, on her side, unconscious. + +Myers is alive, but too groggy to even acknowledge it. Weakly, Hellboy turns around: In the eerie silence of his deafness, he sees Grigory -- LAUGHING noiselessly, witness to an absurd comedy. + +Ilsa approaches. And -- in a simple, brutal move -- hits him with a hammer -- + +>FADE OUT / FADE IN + +/* OMIT */ + +INT. THE CATACOMBS - NIGHT + +Hellboy slowly comes to. He is chained to a massive wooden yoke. He takes notice of his surroundings: a large church-like space, surrounded by funeral niches and statues holding swords. High columns flank huge mechanical gears. An SOLAR SYSTEM MODEL takes the place of an altar. + +Off to one side, Ilsa uses a hammer to destroy the timers on the explosive belts. + +Next to the main nave, Myers is tied to a stone pillar. Under his feet, a blood channel, leading to the immense stone slab bought from Lapikov. + +Liz lies at Grigory's feet. He's dressed in a ceremonial robe and holds his leather book open. His back to Hellboy, he faces a mural of the angel Abbadon holding a key. + + @GRIGORY + "And I looked and beheld an Angel, and in his hand the key to the bottomless pit..." + +Hellboy tenses, rage building. The yoke creaks, but doesn't bend. + + @GRIGORY + (gestures at the stone piece) + These were the words I heard as a peasant boy in Tobolsk. And now, the door -- Sent by the Ogdruh Jahad so that they might at long last enter our world. + + @ILSA + (to Hellboy) + You are the key! The right hand of doom! + +Hellboy studies the stone sculpture, its three HAND IMPRINTS -- + + @ILSA + (triumphant) + What did you think it was made for? Open the locks. + +Hellboy stares at his huge right arm, as if for the first time. + + @MYERS + Don't do it!! Don't do it!! + +Ilsa kicks Myers in the face. + + @ILSA + Silence!! + +The open dome above reveals the moon. An eclipse is beginning. The altar's clockworks monitors its progress. + + @ILSA + Imagine it: An eden for you and her -- + + @HELLBOY + No. + +Grigory turns to Hellboy. + + @GRIGORY + No? + (reasonable) + In exchange for her life then, open the door. + +In torment, Hellboy, shakes his head: no. + + @GRIGORY + As you wish. + +He leans over Liz, whispers in her ear: Her body arches, her mouth emits a plume of energy. Grigory greedily inhales it. Then she goes limp. + + @GRIGORY + She's dead. + + @HELLBOY + Noooo! Noooo!!! + +He struggles again. One of the cuffs snaps. He swats Ilsa with his free hand. She stumbles backwards. Now Hellboy fights to free his other hand. Indifferent, Grigory watches the eclipse. + + @GRIGORY + Her soul awaits on the other side. If you want her back... + (beat) + Open the door and claim her. + +His head and heart racing, Hellboy struggles for an answer. Can't find one... the moon is almost totally eclipsed. + +He drops his gaze. His voice a hoarse whisper. + + @HELLBOY + For her. + +Grigory moves close to Hellboy. Rips the rosary off his wrist. It lands near Myers. + + @GRIGORY + Names hold the power and nature of things. Mine for example. Rasputin: "The crossroads." + (beat) + And crossroads I have become. + (beat) + Your true name: Anung-un-Rama. Repeat it. Become the key. + + @HELLBOY + (closing his eyes) + Anung-un-Rama... + +INT. CATACOMBS - NIGHT + +Hellboy's stone arm glows. Ancient symbols of fire burn the stone. Flames momentarily engulf his body. + +INT. CATACOMBS - NIGHT + +Hellboy roars as his HORNS majestically burst forth! Out of his mouth, energy and light boil like condensing breath on a winter's night. + +Inebriated with power, the new PRINCE OF HELL smiles with supreme arrogance. His shadow falls on the white marble of the slab and mysteriously spreads over it until the stone turns black as obsidian. + + @MYERS + No!! Don't do it!! Listen to me!! + +HELLBOY inserts his enormous paw into the FIRST IMPRINT on the stone slab -- CLACK!! He turns it, like a lock. + +A beam of crimson light shoot upwards into the sky. + +EXT. VIEW FROM THE CITY - NIGHT + +Visible from all over Moscow, the beam blazes to the moon! The same phenomenon as in the prologue, but this time it's more intense, with ripples and haloes. + +INT. THE OTHER SIDE - NIGHT + +Again, the infinite, starry space. Again, the OGDRU JAHAD. The ruby beam pierces the darkness. + +INT. CATACOMBS - NIGHT + +Hellboy watches as the FIRST IMPRINT disappears. In its place: a burning glyph. + +Myers struggles with his bindings. The rough hemp cuts his skin, but he manages to free one hand. + +EXT. ON THE OTHER SIDE - NIGHT + +OGDRU JAHAD shifts, suddenly breaking free. Gelatinous limbs uncurl, expand. Its enormity puzzles the eye, obscuring the frame. + +INT. CATACOMBS - NIGHT + +Hellboy thrusts his hand into the SECOND IMPRINT. CLACK! He turns it. + +Myers spots the broken rosary and reaches for it -- + +INT. THE SKY - NIGHT + +!IN THE STORM CLOUDS, LIGHTNING ILLUMINATES GARGANTUAN TENTACLES REACHING INTO THE EARTHLY PLANE. + +INT. CATACOMBS - NIGHT + +Grigory drinks in the first signs of the arrival and laughs. + + @GRIGORY + The final seal. Open it! + +Hellboy puts his hand inside, CLACK!!! Before he can turn it, Myers reaches the rosary. Ilsa lunges at him. He clobbers her full in the face. She staggers back and down. + + @MYERS + (to Hellboy) + Remember who you are!!! + +He throws the rosary at Hellboy. Instinctively, Hellboy catches it. It smokes in his hand. + +He tosses it away. It lands next to the explosive belts. + +Hellboy opens his palm, seeing the smoking, charred imprint of the cross and beads. He looks over at Grigory. + +With a blood-curdling scream, Hellboy grabs his horns with both hands, brutally snaps them off. Energy spews from the stumps. + +He stabs Grigory with one of them. Grigory drops to his knees, holding his stomach. Hellboy drops the blood-stained horn. + +The final lock disappears into the stone. The light flickers and the connection with the moon is broken. + +Ilsa, licking her bloody lips, looks up. The sky is silent. The thunderclouds are parting. The eclipse has ended. + +Grigory crumples in agony. + +The burning glyphs in Hellboy's stone hand dim down, his features and body resume their usual shape. All is quiet. + + @GRIGORY + You will never fulfill your destiny. You will never understand the power inside you. + + @HELLBOY + I can live with that. + +He breaks Myers' chains, helps him up. + +INT. CATACOMBS - NIGHT + +Hellboy painfully takes Liz's limp body in his arms. Myers stands by his side. + +He kisses her forehead, caresses her hair, then walks down the steps. + +Myers steps on something. He looks under his foot: A smashed GLASS EYE. Then... out of the silence, a WHISPER. + + @GRIGORY + Child... + +Hellboy turns. Grigory, on his knees, smiles. + + @GRIGORY + (dying) + Look what you've done -- + +He looks up. In his empty eye socket, fleshy tendrils shift lazily. + + @GRIGORY + You've killed me -- an insignificant man... but you have brought forth a God. + +He uncovers his abdomen. Long, fleshy pseudopods spill out of the wound, like intestines. + +A large entity erupts from Grigory's torso and claws the air. + + @GRIGORY + Behold, my master, Behemoth. Guardian of thresholds, destroyer of worlds. + +Covered in steamy slime, a seven foot, multi-tentacled shape -- + +BABY BEHEMOTH -- lands on the stone slab. The squirming flesh surges up like greasy pink foam. Growing exponentially by the second. + +Ilsa kneels and embraces Grigory's corpse. Kisses him on the mouth. A gargantuan tentacled shadow looms above them. + + @ILSA + Hell will hold no surprises for us. + +A tower of flesh disdainfully crushes them both. + +INT. CATACOMBS - ADJACENT TUNNEL - NIGHT + +In a passageway, Hellboy carefully hands Liz's body over to Myers. + + @HELLBOY + Keep her safe. No matter what. I'll deal with whatever's back there. + + @MYERS + Alone? + + @HELLBOY + How big can it be? + +As if in response, a massive tentacle fills the tunnel, reaching for him. Oil lamps hanging from the ceiling smash onto HELLBOY'S head as he is pulled back at breakneck speed, finally confronting -- + +INT. THE CATACOMBS - NIGHT + +BEHEMOTH!!! The size of a house -- + +Hellboy -- head smoking -- writhes in the grip of the tentacle. It suddenly throws him toward the ceiling. + +As he arcs back down, ABM!! -- he cracks the floor wide open. Next to him: the rosary and the EXPLOSIVE BELTS. He tries to grab them. The tentacle slams down, blocking his way. + +The vibration sends the belts down into the crack. They bounce off a small ledge and land further down. Far below, grinding cogwheels and gears. + +Hellboy manages to pull a steel sword from the closest marble statue. + +Hellboy stands up and swings the sword for all he's worth. FWAP! He cuts clean through the tentacle. The tip hits the floor, rolling into the crack. + +From out of Behemoth's stump... a mass of wriggling tentacles replaces the cut-off section! They squirm around Hellboy's face as he slashes, again and again, fighting his way forward. + +He leans into the crack, stretches his arm, struggling to grab the belts. A few inches short. He jumps into the crevice, onto the first ledge. It crumbles!! + +The gears below grind a few falling bricks. The belts slide away. + +A tentacle captures Hellboy, pulls him up. At the last second, he grabs the belts with his tail. + +The beast raises Hellboy high. A multi-layered mouth opens in the body of BEHEMOTH. The most horrible proboscis ever seen. + +Hellboy's tail passes him the belts. + +The timers on them are crushed. A spark spurts: Useless. + + @HELLBOY + They never work -- + +He wraps them around his stone arm. + + @HELLBOY + Ugh -- Now, this is gonna hurt -- + +He pulls the pin on all the explosives. BEHEMOTH drops him into a squid-like beak and gulps him down. + +After a moment, a weird gurgle emanates from the creature's innards. Then -- + +INT. CATACOMBS - NIGHT + +A surge of light roils within the thing, outlining the pulpy organs. The creature starts to burn. + +/* OMIT */ + +INT. CATACOMBS - NIGHT + +A chain reaction yields a cacophony of explosions as Behemoth is enveloped in a cloud of fire, goo and soft flesh. + +Hellboy lands with a sickening, bone-crunching THUD!!! + +With a bellow, Behemoth goes down, the limp tentacles missing Hellboy as they vanish in a blaze of energy and light. Finally, just a few cinders of flesh float in the air. + +INT. CATACOMBS - NIGHT + +Hellboy stands, covered in goo. Two final shockwaves of light ripple over the ground. + + @HELLBOY + Ouch -- It did hurt. + +INT. ADJACENT TUNNEL + +Hellboy lurches into the passageway and spots Myers. Painfully drags himself over. Liz's body is on the floor. + +Manning limps in from an adjacent room. Hellboy cradles Liz's head in his huge hand. Holds her against his powerful chest and whispers in her ear. + +A beat or two, then a moan. + + @LIZ + In the dark -- I heard your voice -- What -- did you say -- ? + +He looks at her, lovingly caressing her hair. + + @HELLBOY + "You, on the other side: let her go. Because for her, for her -- I'll die. I'll cross over." + (beat) + "And you'll be sorry I did." + +Myers smiles. Liz looks at Hellboy for the first time as what he is: the man she loves. A warm, gentle fire rims her body. + +Manning watches. Agent Myers smiles a sad smile, illuminated by the flames. + +Hellboy and Liz kiss. The fire haloes them and builds as Tom Waits' CINNY'S WALTZ fills the air. + +>FADE OUT: + +!THE END diff --git a/fountain_scripts/Hellboy.webp b/fountain_scripts/Hellboy.webp new file mode 100644 index 0000000000000000000000000000000000000000..4e4b6da9e604fcc0b40670f004f45957355f21ab --- /dev/null +++ b/fountain_scripts/Hellboy.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:8d7b2c3f8020624779ea7c34f638b481ffc920403eb8babacec53eeb465d3ed3 +size 25664 diff --git a/fountain_scripts/Hellraiser.fountain b/fountain_scripts/Hellraiser.fountain new file mode 100644 index 0000000000000000000000000000000000000000..c8c2efae0765f9d5cd4e1c3422c5d5d662dd4989 --- /dev/null +++ b/fountain_scripts/Hellraiser.fountain @@ -0,0 +1,3652 @@ +Title: HELLRAISER +Credit: A Screenplay by +Author: Clive Barker +Production: Paragan Film Productions Ltd +Copyright: (C) Clive Barker +Draft date: 28.7.86 + +.TITLE SEQUENCE #1# + +In darkness, a blood-curdling cacophony: the squeal of unoiled winches, the rasp of hooks and razors being sharpened; and worse, the howl of tormented souls. Above this din one particular victim yells for mercy - a mixture of tears and roars of rage. By degrees his incoherent pleas are drowned out by the surrounding tumult, until without warning his voice pierces the confusion afresh - this time reduced to naked scream. And with the sound, an image. A house: NUMBER 55, LODOVICO STREET, an old, three storey, late Victorian house, with gaunt trees lining its overgrown garden. Its curtains are drawn, there is newspaper over its top window. The titles begin to run, as we approach the house down the driveway. We move inside, to the hallway. The cries are louder now. Room by room, we explore the empty house, while the titles continue to run. It has been left empty for many years, though much of its furniture remains, covered in dust-sheets. On the mantelpiece of one room, a plaster saint. In the kitchen, evidence of life here. Opened tins; bread; bottles of spirits; a glass. We move upstairs, gliding along the corridor of the lower landing. The din is furious now. On the floor of one room, a makeshift bed: blankets strewn; an open suitcase; more liquor. We move up a flight and approach a room off the upper landing, the door of which is ajar. The light within swings backwards and forwards, spilling into the passageway. As we reach the door, the screams from within halt abruptly. We can hear a bell now, which has been pealing steadily throughout this opening sequence. As we move through the door, the titles end. + +INT. TORTURE ROOM NIGHT #2# + +The bare bulbs in the room we've entered swing violently, disorienting us. There are chains - dozens of them - disappearing with the darkness of the ceiling: all are swinging back and forth. Some end in hooks, with pieces of skin and sinew adhering; some are serrated, others simply drip blood. The bell tolls on. On the blood-spattered floor, a box, some six inches square, which resembles an elaborate Chinese puzzle box. Later, we'll learn its name and function. It's called the Lament Configuration, and it's a way to raise Hell. LITERALLY. For now, it remains an enigma. A hand, its flesh systematically pierced with needles, reaches down and picks the box up. In close up we see just what an elaborate construction it is, made up of sliding panels and mysterious chambers. It is open at present, its polished innards exposed. Out of it, a banal melody, played on a hidden mechanism. The hands, which belong to one of the demons - a CENOBITE - move over the box. + + @CENOBITE + (unseen) + It's over ... + +Delicately, the hands begin to reconstruct the box, sliding the well-oiled parts back into place, the tune simplifying with each manoeuvre. + +The room is getting darker. The chains are disappearing into the gloom. We see tantalizing glimpses of other figures, turning from the light and fading into the darkness. We catch sight of monstrous faces, but only for the briefest of moments. Then they're gone. The box is almost returned to its unopened condition. The last sounds to fade are the tune from the box, and the bell. It tolls on as the final panel of the box is slid into place. The light stops swinging. The panel clicks. The tune stops. At last, a long shot of the room. At the far end the window is covered with yellowed newspapers. There is dust settling through the air. Otherwise it is empty. The bell fades. It's as if nothing ever happened here. Except ... Somewhere, very quietly, a creaking that could be the sound of floorboards, or the low, agonized gasp of a thing barely alive. + +INT. HALLWAY DAY #3# + +The wind is blaring as we watch the door of Number 55. From the doorstep, voices. One is that of LARRY COTTON, the other his wife JULIA. Clearly LARRY is attempting to get inside. We hear the sound of keys tried in the lock. + + @LARRY + It's one of these. + + @JULIA + We're going to freeze to death. + + @LARRY + O.K. O.K. + +The sound of another key tried in the lock. + + @JULIA + Maybe somebody changed the lock. + + @LARRY + (slightly irritated) + Like who? + + @JULIA + Just a thought - + + @LARRY + Ah! + +The key is turned. + + @LARRY + Success. + +The door swings open. Voila! We see the pair on the doorstep. LARRY is an American in his early forties, an attractive man who has lost his edge in recent years. He looks harassed; he smirks too much. A little, but significant, corner of him is utterly defeated. JULIA, his wife, is English: and looks perhaps ten years his junior. She is beautiful, but her face betrays a barely buried unhappiness. Life has disappointed her too, of late: and LARRY has been a major part of their disappointment. + + @LARRY + Well. This is it. + +They step over the threshold. + +INT. UPPER LANDING DAY #4# + +The door of the Torture Room creaks, as the wind blows it opens an inch. From downstairs, we hear JULIA's voice. + + @JULIA + It smells damp. + + @LARRY + It's just been empty a while. + +INT. HALLWAY DAY #5# + +LARRY slams the front door. + +INT. UPPER LANDING DAY #6# + +The Torture Room door creaks closed again. + + @LARRY + (from below) + Besides, it's an old house. + +INT. HALLWAY DAY #7# + +He stands in the hallway, not certain which way to go from here. + + @JULIA + How long since you were here? + + @LARRY + The best part of ten years. + +LARRY picks up some mail - circulars mostly - from behind the door, then leads JULIA through from the hallway to explore the ground floor. + + @LARRY + I wanted to sell it off at one point, after the old Lady died, but I couldn't get Frank to agree. + +He opens one of the doors, and looks inside. + + @LARRY + (with pleasure) + Christ. It's not been touched. + +He continues along the passageway. He opens another door, and steps into a large room. He opens one of the curtains. Light pours in, dust-laden shafts falling on the sheeted furniture. + + @LARRY + Look at this. + +JULIA lingers in the doorway. + + @JULIA + Why didn't he want to sell it? + + @LARRY + (dismissively) + I don't know. Probably wanted a hideaway. + +He pulls a sheet off a chair. + + @LARRY + Look at this stuff. + +The chair is ugly; old fashioned. JULIA is unimpressed. + + @JULIA + Not exactly modern. + + @LARRY + (shrugs) + We'll sell it. Sell everything. + + @JULIA + I thought half of it was your brother's? + + @LARRY + He won't complain. He can pay off some of his creditors. + +LARRY is getting more enthusiastic about the place by the moment. He leaves the room, moving past JULIA to explore further. + + @LARRY + You know we have to let Kirsty see this place, before we do anything to it. She'll love it. + + @JULIA + You mean we're moving in? + +LARRY pauses. Looks at her. + + @LARRY + You don't like it? + +JULIA shrugs. + + @JULIA + It's better than Brooklyn. + +She turns back down the hallway. He watches her, then follows. + + @LARRY + You're still blaming me. + + @JULIA + No. I'm not. + + @LARRY + You wanted to come back to London. We came back. + +We are hearing the tip of a debate they've had dozens of times, which immediately annoys them both. + + @JULIA + All right. + + @LARRY + So what's the argument? + + @JULIA + (cold) + No argument. + + @LARRY + Oh Christ. Julia ... + +JULIA wanders back to the bottom of the stairs. Then starts to climb. + + @LARRY + (exasperated, to himself) + Shit. + +INT. LANDING DAY #8# + +JULIA climbs the stairs, her face charged with suppressed feeling. She's sick of LARRY; his enthusiasm depresses her, his compromises anger her. What's between them is stale, like this house. + +INT. TORTURE ROOM DAY #9# + +The door opens a fraction. + +INT. KITCHEN DAY #10# + +LARRY has stepped into the kitchen, to find the remains of the food we briefly glimpsed in the titles sequence, now rotted and fungal. It smells, to judge the expression on his face. It also puzzles him. Then, from above: + + @JULIA + Larry! + +He leaves the kitchen and retraces his steps to the bottom of the stairs. + + @JULIA + Larry! + + @LARRY + I hear you. + +He starts up the stairs. + +INT. LOWER LANDING DAY #11# + +LARRY reaches the top of the stairs. + + @LARRY + Where are you? + + @JULIA + (out of sight) + In here. + +LARRY follows JULIA's voice to the end of the corridor. JULIA is standing in a doorway. Beyond, the 'bedroom' we saw in the titles sequence, untouched since then. + + @JULIA + Squatters? + +LARRY steps past her, and throws back the blankets. Wood-lice scurry away. He goes to the suitcase, and starts looking through it. Besides clothes there's a lot else that speaks of its owner: bric-a-brac picked up in a lifetime of adventuring; handful of bullets; Fragments of an erotic statue; coins and notes from a dozen countries. Amongst the stuff, some photographs. LARRY peers at them. One pictures a good-looking intense man in his mid to late thirties, in bed with a naked Chinese girl. + + @LARRY + Frank. + +At the door, we see JULIA almost flinch at the name. + + @JULIA + He's here? + + @LARRY + He's been here. There's stuff in the kitchen. He must have made a hasty exit. + +The 'phone rings downstairs. JULIA jumps. + + @LARRY + That'll be Kirsty. + +LARRY stands up and leaves the room, moving past JULIA in the doorway, who is left to stare down at the bed FRANK has slept in, and the suitcase of belongings. As we hear LARRY clatter downstairs it seems JULIA's face is close to tears. + +INT. DOWNSTAIRS ROOM DAY #12# + +The 'phone continues to ring. LARRY steps through and picks up the receiver. + + @LARRY + Hello ...? + +There's no answer. + + @LARRY + Hello ...? + +INT. FRANK'S 'BEDROOM' DAY #13# + +JULIA goes to the open suitcase, and looks at the photographs. + +INT. DOWNSTAIRS ROOM DAY #14# + + @LARRY + (on'phone) + Is there anybody there? + +He puts down the 'phone. He goes back out into the hall. + +INT. FRANK'S 'BEDROOM' DAY #15# + +Nervous that LARRY will return and see what she's doing, JULIA is going through the photographs. + + @LARRY + (from below) + There's nobody there - + +The sound of his foot on the stairs. Hurriedly, she selects a photograph of Frank without the girl, and pockets it. + +INT. STAIRS DAY #16# + +LARRY is climbing the stairs. + + @LARRY + I'm surprised it's even connected ... + +The 'phone rings again. + + @LARRY + Shit. + +INT. FRANK'S BEDROOM DAY #17# + +Mission accomplished, JULIA leaves the bedroom, taking one last glance at the sweat-stained sheet and the indented pillow where Frank lay. A lone wood-louse crawls over the sheet, navigating the folds. She closes the door on the sight. Downstairs, the 'phone stops ringing. + +INT. DOWNSTAIRS ROOM DAY #18# + +LARRY has picked up the 'phone. + + @LARRY + Who's there? + + @KIRSTY + (barely audible) + Daddy? + +>CUT TO + +INT. KIRSTY'S ROOM DAY #19# + +KIRSTY, the daughter of Larry's first marriage, and his only child, on the 'phone. She is barely twenty, beautiful in an unpretentious way: a dream of a girl-next-door. We can't see much of the room she's in at the moment, the shot is too tight. + + @LARRY + (V.O.) + Kirsty? + + @KIRSTY + I got through. + + @LARRY + (V.O.) + Where are you? + + @KIRSTY + I found a room. + +INT. DOWNSTAIRS ROOM DAY #20# + + @LARRY + (on 'phone) + What did you say? + +INT. KIRSTY'S ROOM DAY #21# + + @KIRSTY + I said: I found a room. + +We begin to draw back from KIRSTY now, as she continues to speak to her father. She's sitting on a battered chair by the door. + +The room she's in is cramped and dirty. From outside, the sound of trains going by. + + @LARRY + (V.O.) + I thought you were going to stay with us for awhile? + + @KIRSTY + (pained) + No Dad. + + @LARRY + (V.O.) + You'd like the house. + + @KIRSTY + YOU'D like my room. + + @LARRY + (V.O.) + Do you want me to come over? + + @KIRSTY + (hastily) + No, no. Not just yet. It needs ... er ... some work. + +That it does. + +The place, now we've got a good view of it, is a total dump. + + @LARRY + (V.O.) + Well I want you to see the house. + + @KIRSTY + I'm not going to change my mind, Dad. + +As she speaks she reaches forward to pull a picture, tacked to the wall, of a ourangoutang, with breasts collaged onto it, down. + +She succeeds. Beneath there's a large hole in the wall, which the picture was there to conceal. Plaster falls from it. + + @KIRSTY + (mouths the word) + Great. + + @LARRY + (V.O.) + Well come over, will you? See the place? + + @KIRSTY + Maybe tomorrow. I got to go look for a job. + + @LARRY + (V.O.) + O.K. Honey. Well you take care. I love you. + + @KIRSTY + I love you too. + +She puts the receiver down. As she does so the small table on which the 'phone is sitting collapses. She covers her face with her hand. + +INT. HALLWAY OF LODOVICO STREET DAY #22# + +JULIA is three steps from the bottom of the stairs. + + @LARRY + Well? + + @JULIA + (resigned) + Why not? + + @LARRY + (smiles; he's pleased) + We'll move in Sunday. + +INT. DOWNSTAIRS ROOM DAY #23# + +A church bell rings. Off-screen, we hear voices: two men are attempting to move a bed into the house with LARRY masterminding the manoeuvres. We HEAR their efforts, but we don't yet see them. Our interest is in JULIA, who is unpacking a tea-chest in a room which is still full of draped furniture. + + @1ST MAN + (O.S.) + We're not going to get it in. + + @2ND MAN + (O.S.) + Tip it! Tip it! + + @LARRY + (O.S.) + Wait! Wait! Watch the fucking paint work. + + @1ST MAN + (O.S.) + Look, do you want the bed in or not? + + @LARRY + (O.S.) + Just take it slowly. + + @1ST MAN + (O.S.) + Oh, sod you. + + @2ND MAN + (O.S.) + Eh, Chas, slow it down like the man says. + + @LARRY + (O.S.) + It'll go in. + + @1ST MAN + Famous last fucking words. + +JULIA's face through this has been almost devoid of expression. She's holding so many feelings inside; deep inside. Now she moves from one box to another, and opens it to find it full of bathroom bric-a-brac. + +She picks it up and goes through into the hallway. The bell continues to ring. + +INT. HALLWAY DAY #24# + +The three sweating men have the bed wedged in the door. + + @LARRY + (not seeing Julia) + Alright, let's give it another try. + + @2ND MAN + (sees Julia) + Do you really need this bed, lady? + +LARRY turns. Sees JULIA. + + @LARRY + How are you doing through there? + + @JULIA + It looks like a bomb's dropped. + + @2ND MAN + Got any beer? + + @JULIA + There's some in the 'fridge. + +Nobody moves to get it. Certainly JULIA has no intention of being waitress. + +She goes to the bottom of the stairs. + + @LARRY + I'll get it. + +LARRY disappears through into the kitchen. JULIA starts up the stairs, watched appreciatively by the two men in the doorway. One leans over and whispers to the other, who laughs. JULIA glances back at them. The whisperer licks his lips; the meaning of the gesture perfectly apparent. JULIA heads upstairs. + +EXT. NUMBER 55 DAY #25# + +KIRSTY arrives at the head of the drive. The two men are drinking beers. The bed has not been moved. She wanders down the drive towards the house. + +EXT. DOORSTEP DAY #26# + + @2ND MAN + (seeing Kirsty) + It's my lucky day. + + @KIRSTY + Hi. + + @2ND MAN + Want to buy a bed? + + @KIRSTY + Not much. + +She moves past them, attempting to insinuate herself between the bed and the door-jamb. They watch, enjoying her efforts. + +INT. HALLWAY DAY #27# + + @KIRSTY + Dad? + +LARRY emerges from one of the rooms, looking harassed. His face lightens as he sees his daughter. + + @LARRY + Honey! + +They hug each other. + + @KIRSTY + Big house. + + @LARRY + You like? + + @KIRSTY + Me like. + +Another hug. + + @LARRY + I'll show you around when we've got this damn bed moved. + + @KIRSTY + Is Julia here? + + @LARRY + Upstairs. + (his voice lowers) + Treat her gently, huh? She hates moving. + + @KIRSTY + (dryly) + Surprise. + + @LARRY + (a gently chiding voice) + Kirsty. + + @KIRSTY + O.K. I'll be nice. You get on with the muscle work. I'll make myself some coffee. + + @LARRY + Kitchen's through on your left + +KIRSTY kisses LARRY, and goes through to the kitchen. + +LARRY turns back to the door. The men have been watching KIRSTY. LARRY clearly dislikes the scrutiny. 1ST MAN, out-stared by LARRY, looks away. The 2ND MAN is unperturbed. + + @2ND MAN + That your daughter? + + @LARRY + Uh-huh. + + @2ND MAN + (grins oafishly) + Got her mother's looks. + + @LARRY + Her mother's dead. + +2ND MAN's grin fades. + + @2ND MAN + Oh. + + @LARRY + Julia's my second wife. + + @2ND MAN + (weakly) + Lucky man. + + @LARRY + Damn right. Now are we going to move the bed or not? + +INT. KITCHEN DAY #28# + +The kitchen is chaotic. Cutlery, crockery, utensils, pans and foodstuffs have been heaped on every available surface. KIRSTY has found the kettle, but is having difficulty turning on the tap. She struggles with it. No joy. Just a rattling sound in the pipes as the system lurches into action. + +INT. LOWER LANDING DAY #29# + +The pipes rattle and chug behind the plaster. The CAMERA moves along the corridor, hugging the wall. At the end of the corridor stands JULIA, in a patch of sunlight. She has the photograph of FRANK in her hands. She looks intently at it. A CLOSE-UP of the photograph. Then FRANK's voice. + + @FRANK + Can I come in? + +JULIA looks up from the photograph. + +INT. JULIA'S FLASHBACK DAY #30# + +A front door opens. On the step of another house stands FRANK, with two suitcases. It's raining outside; HARD. The rain has plastered his hair to his scalp, which only emphasizes his raw good looks. He's unshaven; his eyes are dark, and intense. Again, the line she remembers: + + @FRANK + Can I come in? + +The splash of rain on the step becomes a spurt of water, as we CUT BACK TO the present day. + +INT. KITCHEN DAY #31# + +The tap has come on suddenly, spraying KIRSTY with water. She jumps back, soaked. + + @KIRSTY + Shit! Shit! + +She reaches to turn the pressure down. + +INT. HALLWAY DAY #32# + +The men are struggling with the bed again. + + @LARRY + (calls through) + Are you O.K.? + + @KIRSTY + (from kitchen) + Sure. + +INT. LOWER LANDING DAY #33# + +Again, JULIA returns her gaze to the photograph. + +INT. JULIA'S FLASHBACK DAY #34# + +The same scene: FRANK in the doorstep. Now we CUT TO the person who opened the door. It's JULIA; a younger JULIA, her hair arranged differently, her clothes brighter. It is two weeks before her marriage to LARRY. She looks at the man on the doorstep without a trace of recognition on her face. + + @FRANK + You're Julia, right? + + @JULIA + That's right. Who are you? + + @FRANK + (a dazzling smile) + I'm brother Frank. + + @JULIA + (smiles) + Oh. + + @FRANK + I came for the wedding. + +He looks at her, eyes glittering. His hold on her is almost mesmeric. + + @FRANK + There is going to BE a wedding? + + @JULIA + Oh. Oh yes. + + @FRANK + Well can I come in or not? + + @JULIA + I'm sorry. Of course. You're very welcome. + +He steps inside. Now he is close to her, rain running down his face. We can hear his breath; sense the almost intimidating intimacy of his presence. + + @FRANK + That's nice to know. + (pause) + Have you got a towel? + +INT. LOWER LANDING DAY #35# + +JULIA stares down at the photograph. Off screen, KIRSTY's voice: + + @KIRSTY + (O.S.) + Have you got a towel? + +JULIA looks up. At the top of the stairs, KIRSTY soaked from the tap. JULIA looks up, and hurriedly pockets the photograph. + + @JULIA + Kirsty. + + @KIRSTY + Hi. I got soaked. + + @JULIA + There's a towel in the bathroom. + + @KIRSTY + Which is where? + + @JULIA + Just to your left. + +KIRSTY ducks into the bathroom. We CUT BACK TO JULIA. It's clear the memory of her first meeting with FRANK has affected her deeply. The tears that threatened earlier are close. + +INT. BATHROOM DAY #36# + +KIRSTY has unbuttoned her blouse and is drying herself. + + @KIRSTY + Did Dad tell you I got a room, by the way? Waterloo. Centre of the known universe. + +Silence from outside. + + @KIRSTY + Julia? + (she puts her head out of the bathroom) + +INT. LOWER LANDING DAY #37# + +JULIA has gone. + +INT. UPPER LANDING DAY #38# + +The door of the Torture Room is pushed open. JULIA steps inside. + +INT. LOWER LANDING DAY #39# + +KIRSTY hears the creak of footsteps on the boards above. JULIA's behaviour puzzles her, but she's not about to waste time thinking too hard about it. She starts downstairs again. + +INT. TORTURE ROOM DAY #40# + +We have an odd, hovering point of view of JULIA, as she steps inside the room. Something about the atmosphere distresses her. There is a scratching sound. She looks down. A wood-louse, recalling Frank's forsaken bed, crawls along the edge of the skirting board. She crosses to the window, and tears away a little spy-hole in the aged newspaper. From downstairs, the voices of the bed-movers. + + @1ST MAN + Have you got it? + + @2ND MAN + I've got it. I told you - + + @LARRY + Wait! Wait! + +The light through the window falls on her eye. The screen becomes a white-out, from which emerges: + +INT. JULIA'S FLASHBACK DAY #41# + +A bedroom, with afternoon sunlight pouring between the slats of bamboo blinds. Outside we can hear children playing summer games. Inside, a fly buzzes. JULIA, the younger self, is holding her wedding dress in front of her, displaying it. + + @JULIA + Well? + + @FRANK + (O.S.) + I don't want to see the dress. + + @JULIA + But you said - + + @FRANK + I don't want to see the dress. + +JULIA lets the dress drop a few inches in front of her. She stares at FRANK. + + @FRANK + You know what I want. + +Still she doesn't let the 'defence' that the dress offers - a reminder of her imminent marriage - fall. + +She stares though, and there's an invitation in her eyes. + + @FRANK + I want you. + +Now we CUT TO FRANK. + +He is not so bedraggled as in the first scene, but the heat of the day has brought a sheen of sweat to his face. Standing half in shadow he looks almost dangerous. Now JULIA lets the dress drop, putting it on the bed behind her. + + @FRANK + That's better + +FRANK steps towards her. + + @JULIA + What about Larry - + + @FRANK + Forget him. + +FRANK takes hold of her. She doesn't resist him, though there is barely disguised fear on her face. He puts his hand inside her blouse. + +INT. TORTURE ROOM DAY #42# + +In extreme CLOSE UP, JULIA blinks into the light through the window, as LARRY's voice from downstairs calls her from her reverie. + + @LARRY + Slowly, will you? Slowly! + +Again, a white-CUT, from which emerges: + +INT. JULIA'S FLASHBACK DAY #43# + +The two are naked on the bed, both sweating now. Beneath them, the wedding dress, crushed under their weight. Their love-making is not straight-forward: there is an element of erotic perversity in the way FRANK licks at her face, almost like an animal, his hold on her too tight to be loving. The sequence escalates into a series of strange details from their locked bodies. Nails digging into palms; sweat rivulets running down their torsoes. And once in a while we see their faces. JULIA watching FRANK, mesmerized and amused by his intensity; FRANK almost pained by his desire to push the experience TO THE LIMIT. Their passion is rendered stranger still by the way the light through the window falls on their bodies, making striped creatures of them. At last, as their urgency increases, we move up until we're looking directly down on the bed. From here it is JULIA's face we can see, and the ecstasy of the moment has seized her. Her arms are flung up over her head; her eyes are closed as she murmurs: + + @JULIA + Oh my God. Oh my God. Oh my God. + +The scene whites out. + +INT. TORTURE ROOM DAY #44# + +JULIA is still staring into the light. She sobs, very quietly. + + @JULIA + (a whisper) + Oh Frank ... + +INT. HALLWAY DAY #45# + +Downstairs, LARRY and the men have moved the bed across the hall to the bottom of the stairs. All three are weary now, and getting careless. As they start up the stairs we see trouble ahead for LARRY, whose hand is moving closer and closer to a nail protruding from the woodwork of the bannister. + + @LARRY + (to Movers) + Will you take the weight while I take a step up? + +He backs towards the stairs - and the nail. + + @LARRY + Damn it, will you take the - + +The side of his hand is impaled by the nail. He cries out. The weight of the bed, which he cannot relinquish, drives the nail deeper, and gouges a long cut from the ball of his thumb to his wrist. Blood pours out. + + @LARRY + Christ! + + @1ST MAN + What's the problem? + + @LARRY + My fucking hand! + +He drops his edge of the bed, and disengages his hand from the nail upon which he's injured himself. He lifts his hand, from which blood is pouring. + + @LARRY + You fucking ass-holes. + + @1ST MAN + Who are you calling a fucking ass-hole? It's this bastard bed that's your fucking problem! + +LARRY isn't listening. He's looking at the wound in his hand. He hates the sight of his own blood. Any moment, he may faint. + + @LARRY + \... Oh Christ ... + +But not in front of these bastards. + +He turns and starts up the stairs, groggier by the moment. + + @LARRY + \... oh ... Christ ... + +INT. TORTURE ROOM DAY #46# + +JULIA is standing in the middle of the room. A single dart of light, through the hole she tore in the newspaper, strikes her face. Softly on the soundtrack, the scrabbling noise of the woodlice. + +INT. HALLWAY DAY #47# + +The bed has been put down. 1ST MAN and 2ND MAN are putting on their coats. KIRSTY comes through from the kitchen. + + @KIRSTY + What's happening? + + @2ND MAN + We're leaving. + + @KIRSTY + Where's my father? + + @1ST MAN + He's fucked off. + + @2ND MAN + (mock chiding) + Eh ... LANGUAGE. + + @1ST MAN + Sorry. He's gone upstairs. So we're fucking off too. + +2ND MAN takes a sheet of paper from his jacket. + + @2ND MAN + Will you sign for the bed? + + @KIRSTY + Sure. + +INT. STAIRS DAY #48# + +LARRY, his hand running with blood, climbs the last flight of stairs. + + @LARRY + (weakly) + \... Julia ... + +INT. TORTURE ROOM DAY #49# + +JULIA hears him, and turns from her silent communing with the room. She crosses towards the door. Too late. It opens. LARRY steps inside, blood pouring from his right hand, which he attempts to staunch with his left hand. + + @JULIA + What have you done? + + @LARRY + I cut myself. + +Blood has started to drip, unnoticed by either of them, onto the bare boards. Heavy splashes. + +LARRY looks sick; his face clammy with sweat. She stares at him without a trace of feeling for him on her face. + + @JULIA + Is it deep? + + @LARRY + I don't know, I haven't looked. You know me and blood. + + @JULIA + You're NOT going to faint. + + @LARRY + (he leans against the wall) + Shit. + + @JULIA + Let me see. + +She goes to him. He looks away as she unglues one hand from the other, and looks at the wound. Blood comes faster, hitting the floor between them. + + @JULIA + It's probably going to need stitches. + + @LARRY + I'm going to throw up. + + @JULIA + No, you're not. + +The blood keeps hitting the floor. Slap; slap; slap. + + @JULIA + We'll get you out into the fresh air. + +He is again clamping his hand over the wound, as JULIA helps him to the door. They leave the Torture Room. We hear their voices receding down the passageway, as we again assume that hovering view point. The floor, is heavily spattered with blood. + + @JULIA + Take it slowly. + + @LARRY + So damn stupid. + + @JULIA + You're done worse. + + @LARRY + I'll be scarred for life. + + @JULIA + No you won't. + +INT. HALLWAY DAY #50# + +KIRSTY is half way up the stairs, as JULIA and LARRY head down. + + @KIRSTY + What happened? + + @JULIA + Just an accident. He's all right. Will you drive? He needs stitches. + + @KIRSTY + Sure. + + @JULIA + The keys are in the kitchen. + +KIRSTY heads back to the kitchen. JULIA helps LARRY towards the front door. The CAMERA swings away from them, upstairs, and begins to track ... + +>LAP-DISSOLVE TO: + +INT. UPPER LANDING DAY + +!... we continue to track, towards the Torture Room. Downstairs, the front door slams. + +>LAP-DISSOLVE TO: + +INT. TORTURE ROOM DAY + +From outside, the sound of a car door slamming. An engine starts. The car drives away. We move towards the blood on the floor. As we watch, it begins to disappear, as if being absorbed by the room. We pan up to the wall. The plaster is not quite smooth; indeed, it now begins to grow restless, and cracks. Something begins to move in the wall ... + +INT. DINING ROOM NIGHT #51# + +An explosion of laughter. We CUT TO the remains of a rack of lamb, its gravy now congealed, scraps of meat adhering to the bone here and there. This is the centre-piece of a table reduced to a battlefield by the guests who are laughing off-screen. We pass along the table, taking in dirty plates and cutlery, napkins, glasses and emptied wine bottles. Finally, we reach JULIA, who is still sitting at the table, while the others have retired to more comfortable seats. She looks utterly miserable, and a little drunk. The room has been spruced up for the party. Candles are burning on tables and mantelpiece, there are pictures on the walls. But this is essentially cosmetic. The place has not been refurnished or redecorated. We move to the party guests. Two, we recognize: KIRSTY, and LARRY - who is presently entertaining the gathering with an account of his accident. + +The others are new faces. An American couple: BILL UNDERWOOD and his wife EVELYN, who are of an age with LARRY, and a younger, bespectacled man - a work colleague of LARRY's - STEVE O'DONNELL. All are drunk. A brandy bottle sits on the table between them, and half a dozen other liqueur bottles besides. STEVE, it soon becomes apparent, has his eyes on KIRSTY. LARRY is half-way through his hospital story, gesticulating wildly as he goes through the tale, much to the pleasure of the rest. His hand and lower arm are heavily bandaged. + + @LARRY + - always hated the sight of my own blood. I go out like a light. Anybody else's? no problem. But mine ... you know ... goes straight to my head. Anyhow, this damn doctor's poking around and I'm saying: I'm going to pass out, and he's saying, no you're not, no you're not. Next thing I know - + +We CUT BACK TO JULIA, who watches her husband, unamused. + + @LARRY + - I wake up On the floor. + +Gales of laughter at this. + + @LARRY + And it was HIM who was looking sick. + + @BILL + Probably thought you'd sue. + + @LARRY + I should do it! + + @EVELYN + Doctors - + + @LARRY + I know. And he's saying: I'm sorry. I'm sorry. + + @BILL + HE'S sorry. + + @LARRY + Right ... + (he has picked up the brandy bottle) + Anyone for more? + + @EVELYN + (protests) + No ... no ... I ... + + @LARRY + Come on, you're only young once - + +LARRY fills up her glass. + + @LARRY + (to Kirsty) + What are you drinking, love? + + @KIRSTY + (giggles) + I've forgotten. + + @LARRY + Steve? + + @STEVE + We're on the Cointreau. + + @KIRSTY + That's right. Cointreau. + +STEVE picks up the bottle. + + @STEVE + I'll do it. + +He fills up KIRSTY's glass. + + @KIRSTY + I won't be able to stand. + + @STEVE + So lie down. + +She casts him a sly glance. He smiles. She smiles. JULIA now stands up. + + @JULIA + Would you excuse me? I think I'm going to go to bed. + + @LARRY + Are you O.K.? + +JULIA nods. + + @BILL + (looks at his watch) + Christ. I think it's time we were away - + +He stands. + + @LARRY + Bill? Absolutely not. Sit down. We've got celebrating to do. + +JULIA looks frosty, but LARRY does not catch the look. KIRSTY does however. BILL sits down. + + @STEVE + (to Julia) + It was a wonderful meal. + + @EVELYN + (gushing) + Oh it was. It was wonderful. + +There's a chorus of approval. + +JULIA puts a smile on. + + @JULIA + I'm glad you enjoyed it. + + @EVELYN + See you again soon. + + @BILL + You must come round. + + @EVELYN + Yes. You must. We're so happy you're back. + + @JULIA + (at the door) + That's nice. Well ... goodnight. + +She exits, to a chorus of goodnights. KIRSTY in particular watches her as she makes her exit. JULIA's behaviour confounds her. Meanwhile, the conversation has returned to LARRY's 'wound'. + + @EVELYN + Does it still hurt? + + @LARRY + Only when I laugh. + +This wins another round of laughter. + +INT. LOWER LANDING NIGHT #52# + +JULIA walks along the landing, while the laughter - muted by distance - wafts up from below. From the floor above, she hears something more. She stops, puzzled, then starts up the second flight of stairs towards the Torture Room. + +INT. UPPER LANDING NIGHT #53# + +She approaches the Torture Room, and steps inside. + +INT. TORTURE ROOM NIGHT #54# + +The sound of laughter is considerably dimmed in here; it's barely audible. But there is another sound, a shifting sound in the corner of the room. She reaches for the light switch, and turns it on. The bulb's been broken however. She stares around the room, trying to make sense of the shadows. Nervously, she approaches the wall, on which four streaks of light from the window fall. Now she looks towards the window and realizes that the newspaper has been torn, as if by four fingers. Her breath catches. Suddenly, she's afraid. She stands absolutely still, eyes wide in the gloom. + + @JULIA + Who's there? + +On the far side of the room, a movement in the shadows. + +JULIA almost retreats, but something keeps her staring into the murk, as SOMETHING - the remnants of a human form made of twisted, blistered strands of flesh, raises its head. It's squatting against the wall, unable to lift itself into a standing position. Its eyes, however, have life in them: and hunger. This, though he's unrecognizable, is FRANK. + + @FRANK + (a pained whisper) + Julia. + + @JULIA + Oh my God. + + @FRANK + Don't look at me. + + @JULIA + Who are you? + + @FRANK + I said: don't look. + +She looks away. + + @FRANK + Help me. + + @JULIA + Tell me who you are. + + @FRANK + Frank. + +JULIA's face registers horror and disbelief. + + @JULIA + No. God no. + + @FRANK + Believe me. It's me. It's really me. + + @JULIA + What happened to you? + + @FRANK + His blood ... on the floor ... It brought me back. + + @JULIA + Back from where? + + @FRANK + Just help, will you? Please God, help me - + +From downstairs, dimly, laughter. + +INT. DINING ROOM NIGHT #55# + +LARRY has just told another story. General drunken laughter. KIRSTY stands up. + + @STEVE + You're not going? + + @KIRSTY + Just upstairs. + +She staggers a little bit. + + @STEVE + Need any help? + + @KIRSTY + I AM house-trained. + +Further hysteria. + + @STEVE + (covered in embarrassment) + No ... I meant ... + + @LARRY + It's round on the left - + + @KIRSTY + I know. + +She steps out into the hallway. + +INT. HALLWAY NIGHT #56# + +She starts up the stairs. She smiles to herself, thinking of STEVE. + +INT. TORTURE ROOM NIGHT #57# + +FRANK, in the corner of the room, watches JULIA, who is still at the door. + + @FRANK + \... somebody ... + + @JULIA + Ssh! + +The sound of KIRSTY downstairs, closing the bathroom door. + + @FRANK + You can't let me stay like this. Please. You can't. + + @JULIA + What do you want me to do. + + @FRANK + The blood brought me this far. I need more of the same. Or I'll slip back ... + +CUT BACK TO JULIA's face as she stares at FRANK once more. + +She is appalled at the choice before her. + + @FRANK + (a plea) + You have to heal me. + +INT. BATHROOM NIGHT #58# + +KIRSTY smiles at herself in the bathroom mirror, turns off the tap, opens the door and steps out onto the landing. + +INT. LOWER LANDING NIGHT #59# + +She takes a step along the landing, then realizes that there's somebody ahead of her, in the darkness. She stops. From the floor above, a soft sigh. + + @KIRSTY + Hello? + +JULIA moves out of shadow into a patch of patterned light splashing up the stair well. The effect recalls her memory of her lovemaking with FRANK. The light makes her look strange; ominous. + + @KIRSTY + Oh, it's you. + +JULIA doesn't smile + + @KIRSTY + Are you all right? + +Do we read murder in JULIA's eyes? KIRSTY is uneasy. Suddenly, a voice from the floor below. + + @STEVE + Kirsty? + +KIRSTY is relieved at the interruption. + + @KIRSTY + (calls down) + I'm here. + + @STEVE + I thought we'd lost you. + + @KIRSTY + (calls down) + I'm coming! + (to Julia) + Sleep well. + +JULIA is left on the landing, as KIRSTY heads downstairs. + +EXT. TUBE STATION NIGHT #60# + +The station is deserted, but for KIRSTY and STEVE, who are sitting, waiting for the last train. + + @KIRSTY + You know I do know the way home. + + @STEVE + It's late. + + @KIRSTY + Not that late. + + @STEVE + Please. I want to see you home. All right? + + @KIRSTY + (lightly) + All right. + (smiles) + No. That's nice. + + @STEVE + If there's a train. + + @KIRSTY + What do we do if there isn't? + + @STEVE + We walk. + +EXT. A PEDESTRIAN TUNNEL, NEAR WATERLOO NIGHT #61# + +KIRSTY and STEVE are walking. + + @STEVE + Why don't you stay at Larry's house? There's plenty of room. + + @KIRSTY + Yeah, there's room. And there's Julia. + + @STEVE + I see. + + @KIRSTY + She's so damn ... English. + + @STEVE + Meaning what? + + @KIRSTY + Oh, I don't know. Up-tight. Frigid. + +STEVE stops walking. + + @STEVE + I beg your pardon? + + @KIRSTY + (lightly) + There ya go. + (imitates his tone) + I beg your pardon? + + @STEVE + We're not all frigid. + +KIRSTY has turned to look at him. Both of them are aware where the banter is leading; smiles play on their faces as they speak. + + @KIRSTY + Oh no? + + @STEVE + Oh no. + + @KIRSTY + It's not what I heard. + + @STEVE + (moves closer to her) + Well you've just been talking to the wrong people. + +He kisses her, with considerable feeling. + +INT. BEDROOM NIGHT #62# + +LARRY snores loudly. JULIA lies beside him, wide awake, staring at the ceiling. LARRY turns over, muttering to himself. + +INT. TORTURE ROOM NIGHT #63# + +The door opens. JULIA is standing there, in her night-gown. FRANK raises his wretched head. + + @FRANK + Well? + +JULIA stares at the thing moving in the shadow. + + @JULIA + Yes. + +EXT. NUMBER 55 DAY #64# + +The door opens. JULIA steps out of the house, and starts towards the street. As she does so, she glances round. + +EXT. WINDOW OF TORTURE ROOM DAY #65# + +We approach the window, knowing that FRANK watches behind it. + +EXT. NUMBER 55 DAY #66# + +JULIA heads off down the street. + +INT. PIZZA RESTAURANT DAY #67# + +The din of a lunchtime restaurant, with all the tables full, and everyone hungry. In the middle of the melee, KIRSTY is valiantly trying to do six things at once. Somebody wants their order taken; somebody else wants more lager; somebody else is complaining. She's doing her best, but losing the battle. She serves a table with their food, and then starts back to pick up another order. As she does so she's harangued from every side. + + @1ST CUSTOMER + Excuse me, Miss - + + @2ND CUSTOMER + I'd like some more lager. + + @1ST CUSTOMER + Miss! + + @KIRSTY + In a moment. + + @2ND CUSTOMER + Did you hear me? + +KIRSTY starts back to the counter. As she does so somebody else's voice cuts through the din. + + @STEVE + Hey, sex-bomb - + +She wheels round. + + @KIRSTY + You keep your - + (sees Steve) + Oh. + (smiles) + Hi. + + @STEVE + I just called in. How about tonight? + + @KIRSTY + I don't finish till twelve. + + @STEVE + I'm a late riser. + +He grins. She grins. + + @2ND CUSTOMER + What do you have to do to get some service around here? + + @STEVE + Catch you later. + +INT. BAR DAY #68# + +By contrast, a quiet bar. Discreet music; a well-dressed clientele. Several couples occupy booths. Other solitary drinkers are at the bar. Amongst them: JULIA. Now we see her more closely, we realize she's gone to some considerable effort to make herself ravishing. There's nothing crude about the change; it's a subtle transformation which shows off her considerable beauty. She drinks soda water. She has an admirer. Sitting alone at one of the tables is a middle-aged man by the name of PRUDHOE, a nervous, slightly paunchy individual. She glances over at him. His eyes don't leave her for a moment. He's trying his best to get the courage to approach her. She looks away, and concentrates on her drink. Now she takes out a cigarette, fumbling for it. Her hands are trembling slightly. She lights the cigarette, draws on it, and as she does so she seems to make up her mind that she's not the equal of it. She stubs the cigarette out, puts cash on the bar for her drinks, and gets up to leave. Suddenly, PRUDHOE's at her side. + + @PRUDHOE + Not much fun, is it? + + @JULIA + What? + + @PRUDHOE + Drinking alone. + + @JULIA + Not much. + + @PRUDHOE + I wonder, maybe ... + +He's so nervous he can barely speak. + + @PRUDHOE + \... as we're both on our own ... we could have one drink together? + +JULIA looks at him. He seems to almost be offering himself to her. There's a long pause, while she tries to make up her mind. Then: + + @JULIA + Why not? + +She smiles. The smile works wonders. PRUDHOE's nerves diminish somewhat. JULIA's simply increase, now that she's committed herself. Again, she opens the pack of cigarettes, as PRUDHOE calls the BARMAN over. + + @PRUDHOE + (to Julia) + What are you drinking? + + @JULIA + Just soda. + + @PRUDHOE + Plain soda? + + @JULIA + Please. + + @PRUDHOE + I try not to drink at lunch-time. Makes me sleepy in the afternoon. You like to keep a clear head, eh? + (to Barman) + One soda, one whisky. + (to Julia) + I do it anyway. No will-power. Got a busy afternoon? + + @JULIA + (looking straight at him) + That depends. + + @PRUDHOE + Oh? + +He stares at her, not certain he interprets her correctly. She stares back. Then: the tiniest of smiles, which he - scarcely believing his luck - returns. + +INT. TORTURE ROOM DAY #69# + +The CAMERA moves across the room. We can hear FRANK's ragged breathing, and as we move in we see, on the floor beside him, the box - the Lament Configuration - its sides gleaming. FRANK, still squatting on the floor, taps a tattoo on the bare boards with his skeletal fingers. Then, voices outside: JULIA laughs. He raises his head. + +EXT. DOORSTEP DAY #70# + +JULIA opens the front door. She is still very nervous, fumbling with the keys. PRUDHOE stands a pace behind her. + +INT. HALLWAY DAY #71# + +They step inside. JULIA closes the door + + @PRUDHOE + You know it's not often I ... you know ... + + @JULIA + There's a first time for everything. + + @PRUDHOE + I suppose that's right. + + @JULIA + You want something to drink? + + @PRUDHOE + I'm already way over my usual limit. You know, it's funny. I feel like I've known you for years. + +He approaches her: his gestures made slightly clumsy by the alcohol he's drunk. He kisses her. She presses him off her. + + @PRUDHOE + Oh, come on. + (he takes hold of her breast) + It's what you brought me here for, isn't it? + + @JULIA + Yes. I just think we'd be better off upstairs. + + @PRUDHOE + Oh. Oh fine. + +INT. TORTURE ROOM DAY #72# + +FRANK's view, from the corner of the room. We hear the sound of JULIA and PRUDHOE's approach up the stairs. + + @PRUDHOE + This your place? + + @JULIA + Let's not talk about it. + + @PRUDHOE + No personal details, right? + + @JULIA + Right. + + @PRUDHOE + You know, you're incredible - + +JULIA opens the door. + + @JULIA + Come on in. Make yourself at home. + +She steps inside. PRUDHOE does as he's instructed. He stares at the bare floor, as JULIA closes the door behind him. + + @PRUDHOE + There's no bed. + + @JULIA + That's right. + + @PRUDHOE + Huh? + + @JULIA + I prefer the floor. + + @PRUDHOE + First time for everything, right? + + @JULIA + Right. + +JULIA moves towards him + + @JULIA + Why don't you take off your jacket? You're warm. + + @PRUDHOE + Yeah, why don't I? + +She slips the knot of his tie. We can hear her pulse on the soundtrack. She glances over PRUDHOE's shoulder. He follows her gaze, but she diverts him with a peck on the cheek. + + @PRUDHOE + (takes over his undressing) + Why don't you do the same? + + @JULIA + Maybe I will. + +PRUDHOE, now starts to shed his jacket and trousers, trying not to take his eyes off JULIA for an instant. We watch from FRANK'S P.O.V. as he drops his underwear. + +He still wears his shirt, which he starts to unbutton. We move back into a tighter shot. + + @PRUDHOE + (voice slightly slurred) + You know, you're very beautiful. + + @JULIA + Am I? + + @PRUDHOE + You know you are. Loveliest woman I ever set eyes on. + +JULIA smiles. PRUDHOE stops unbuttoning his shirt. + + @PRUDHOE + Oh Christ. + + @JULIA + What's wrong? + + @PRUDHOE + Too much drink. Better empty my bladder. + +She steps out of the way so that he can cross to the door. + + @PRUDHOE + I'll be a moment. + +As he moves to the door, she throws a piece of cloth off a hammer, which lies beside the wall. PRUDHOE takes hold of the door handle. Turns it: it's stuck. + + @PRUDHOE + The door's stuck. + +Before he can turn she hits him on the back of the head. + +He doesn't fall, but the blow sends blood down the back of his shirt. To avoid the following blow he stumbles blindly towards the wall but JULIA's not going to be stopped now. He holds the back of his head - dazed, apologetic, pitiful - while she moves towards him. + + @PRUDHOE + Don't ... I ... please ... I'm sorry ... + +She eclipses him. + + @PRUDHOE + \... I'm so sorry ... + +She raises the hammer. + + @PRUDHOE + \... I don't understand ... + +She strikes him. He slides down the wall, his jaw broken, blood pouring from his face. He twitches. Then the twitches stop. She drops the hammer, and stares down at the corpse. + + @JULIA + Enough? + +The room sighs. In the corner, FRANK's shadowy form leans forward. + + @FRANK + Don't look at me. + +JULIA backs towards the door, as the broken, skeletal form crawls out of darkness to claim its sustenance. + +INT. UPPER LANDING DAY #73# + +JULIA steps out onto the landing and leans against the wall, waves of sheer relief breaking over her. In the room behind her, terrible sounds of feeding. + +INT. BATHROOM DAY #74# + +JULIA steps into the bathroom, and looks at herself in the mirror. Blood is spattered on her face; her hands are similarly stained. She is trembling from head to foot. Stripping off her blouse, and flinging it over the side of the bath, she douses her face, neck and breasts with cold water. Then she stares up at her face again, examining it. She can scarcely believe what she's done. + +INT. LOWER LANDING DAY #75# + +She crosses the landing and climbs the stairs to the Torture Room. + +INT. TORTURE ROOM DAY #76# + +She opens the door. As she does so FRANK retreats into the shadows. We are granted a fleeting glimpse of him, his body fuller than before, but still horribly vulnerable. JULIA looks at PRUDHOE's corpse. A trail of blood leads away from it into the darkness. The body itself is a grotesquely misshapen husk now, the muscle and fat withered, the eyes sunk into the skull, the lips drawn back to expose the gums. A ghostly sight. + + @JULIA + Jesus Christ. + +JULIA looks across at FRANK, who is no longer sitting, but standing in the shadows. + + @FRANK + (his voice stronger) + Do I disgust you? + +She doesn't reply. He stretches his arm into a passage of light. His flesh glistens and pulses. + + @FRANK + See? It's making me whole again. + +He turns his arm over for her appreciation. + + @FRANK + Every drop of blood you spill puts more flesh on my bones. And we both want that don't we? + +She nods. + + @FRANK + Good. Come here. + +She stares, unable to move. + + @FRANK + Come here, damn you. I want to touch you ... + +Still she doesn't move. + + @FRANK + (more softly) + Come to Daddy. I only want to touch ... + +She takes a step towards his outstretched arm. His fingers touch her face. She steels herself against them. Now, he starts to trace the line of her jaw, stroking her. Now her lips, caressingly. Suddenly, a sound from downstairs. The front door is opened. + + @LARRY + (from below) + Sweetheart? + +JULIA withdraws from his touch + + @LARRY + (from below) + Where are you? + +INT. HALLWAY DAY #77# + +Shot from the stairs of LARRY. He looks up the flight. He takes a step towards the stairs. + +INT. TORTURE ROOM DAY #78# + +JULIA takes a step backwards, her foot hitting PRUDHOE's corpse. + +INT. HALLWAY DAY #79# + +LARRY is still at the bottom of the stairs. + + @LARRY + Are you there? + +For a moment it looks as though he's going to climb the stairs, then he thinks better of it, and goes through to the back of the house. + +INT. TORTURE ROOM DAY #80# + +JULIA has wrapped the corpse of PRUDHOE up in its clothes and is now lifting it. The body is lighter now, having been drained of nourishment. Its head lolls back and its dentures drop out, hitting the floor loudly. She freezes. No sound from below. She backs out of the room with her burden. FRANK's arm reaches for the fallen dentures and peers at them. + + @FRANK + Who's a pretty boy then? + +Soft laughter from the darkness. + +INT. JUNK ROOM DAY #81# + +JULIA pushes the door of the Junk Room, which is on the upper landing, open. Inside, a chaos of tea-chests and bric-a-brac. She lays the body down. + +INT. KITCHEN DAY #82# + +LARRY has come through to look for JULIA. He hears a noise above. He looks up. + + @LARRY + (quietly) + Julia? + +He leaves the kitchen. + +INT. HALLWAY DAY #83# + +Again, LARRY Steps into the hallway, and gazes up the stairs. + + @LARRY + Are you there? + +He starts up. + +INT. LOWER LANDING DAY #84# + +JULIA steps into the bathroom, and then locks the door behind her. LARRY ascends to the top of the stairs. + + @LARRY + Julia? + + @JULIA + (from bathroom) + I'm here. + + @LARRY + (at the door) + Sweetheart ... I've been calling you. + +He tries the door. It's locked. + + @LARRY + Are you all right? + + @JULIA + Just feeling a bit sick. + + @LARRY + Oh, babe ... + +INT. BATHROOM DAY #85# + +JULIA, still trembling, sits on the edge of the bath. + + @JULIA + I'll be O.K. Just leave me be a while. + + @LARRY + Can I get you anything? + + @JULIA + Maybe a brandy. + + @LARRY + Sure. + + @JULIA + I'll be down in a minute + + @LARRY + O.K. + +She listens as his footsteps recede down the landing and stairs. Then she crosses to the mirror and tries to erase the signs of panic. She puts a comb through her hair, and adjusts her blouse. That done, she unbolts the door and steps out into the landing. She doesn't go down however, but UP, back to the Torture Room. + +INT. TORTURE ROOM DAY #86# + +She opens the door. + + @JULIA + (very softly) + Frank? + +A crunching sound in the shadows. FRANK's hand opens, dropping the pieces of PRUDHOE's dentures, which he has crushed, onto the floor, in a rain of plastic teeth. + + @FRANK + I'm hurting + + @JULIA + Hurting. + + @FRANK + My nerves ... are beginning to work again. + + @JULIA + Good. + + @FRANK + One more. Maybe two - + +JULIA's face registers no horror at this. + + @FRANK + - to heal me completely. Then we can be away from here, before they come looking. + + @JULIA + Who? + + @FRANK + The Cenobites. It's only a matter of time before they find I've slipped them. I have to get away from here. + +From downstairs, LARRY. + + @LARRY + Julia? Are you all right? + +JULIA crosses to the door and calls down. + + @JULIA + Just a moment. Put on some music will you babe? + + @LARRY + O.K. + +She returns to her conversation with FRANK. + + @FRANK + Poor Larry. Obedient as ever. + + @JULIA + Keep your voice down. + +She crosses to close the door. When she turns round, he's in front of her, silhouetted against the window, his half-formed face terrifying in the gloom. Suddenly he reaches out and catches hold of her arm. She gasps in pain. + + @FRANK + Ssh. Don't want babe to hear. + + @JULIA + You're hurting. + + @FRANK + You won't cheat me will you? You'll stay with me. Help me. Then we can be together, the way we were before. We belong to each other now, for better or worse ... + +He lets go of her. + + @FRANK + \... like love. Only real. + +She goes to the door, and leaves him, locking it behind her. We move close to FRANK's face. He licks his skinned lips with a bloody tongue. Thunder rolls. + +.KIRSTY'S DREAM #87# + +The thunder carries over to a dream. We are in the Dining Room of Number 55, except that everything is once more shrouded in sheets. We CUT to KIRSTY, moving through the room, her face pale, her hair glued to her forehead with sweat. Somewhere, a bell is ringing. Flies buzz. On the dinner table, a form is covered in a sheet. It's clear that the shape is human. She reaches the table, and looks at the body. Suddenly, blood begins to seep through the shroud, beginning at the head - eyes and mouth - then spreading across the body. There are sobs beneath the shroud. She reaches for it, to snatch it off the body. The blood has almost turned the sheet scarlet. She pulls. We glimpse only a moment of what's beneath: a naked body, scarlet and shining with blood from head to foot. She screams. Her scream becomes louder, as we + +>CUT TO + +INT. KIRSTY'S ROOM NIGHT #88# + +STEVE sits bolt upright in bed, while KIRSTY yells. The sheet is snatched off him. He looks across the room to see KIRSTY at the end of the bed, with the sheet in her hand. + + @STEVE + What are you doing? + +KIRSTY's eyes are still closed. + + @STEVE + Kirsty! + +Her eyes open. + +She looks down at the sheet she's snatched from the bed, and drops it in horror. + + @STEVE + Christ. What was that about? + +KIRSTY, weak with fear, just shakes her head. + +INT. HALLWAY, NUMBER 55 NIGHT #89# + +A phone is ringing. LARRY crosses the hallway, bleary-eyed, and disappears from sight. The phone is picked up. + + @LARRY'S VOICE + Hello? + +INT. BEDROOM NIGHT #90# + +JULIA lies in bed, the pillow empty beside her. She's wide awake, staring at the ceiling. Downstairs, the murmur of LARRY's voice. + +INT. TORTURE ROOM NIGHT #91# + +FRANK stands in the corner of the room, breathing softly in the shadows. + +INT. TELEPHONE ROOM NIGHT #92# + +LARRY is on the phone. + + @LARRY + I'm O.K., honey. It's all right ... + +INT. KIRSTY'S ROOM NIGHT #93# + +KIRSTY is on the phone. STEVE sits up in bed, having reclaimed the sheet. + + @KIRSTY + I just wanted to be sure you were O.K. + +INT. TELEPHONE ROOM NIGHT #94# + + @LARRY + Never better. You sleep well. + + @KIRSTY + (on phone) + Yeah. + + @LARRY + I love you, honey. + + @KIRSTY + (on phone) + I love you too. + +LARRY puts down the phone. + +INT. LOWER LANDING DAY #95# + +LARRY returns to the bedroom. + + @JULIA + (O.S.) + Who was it? + + @LARRY + Kirsty. + +He goes into the bedroom. We PAN up the second flight of stairs. FRANK is sitting at the top, in the shadows. + + @FRANK + (soft as a breath) + Kirsty. + +INT. HALLWAY DAY #96# + +The front door is closed by JULIA. A man stands in the hallway: another VICTIM. He is as nervous as PRUDHOE. + + @VICTIM + You're sure we're not going to be interrupted - + + @JULIA + Quite sure. + + @VICTIM + Only I like to be careful. + +INT. TORTURE ROOM DAY #97# + +A shock CUT to the naked VICTIM, thrown back against the wall from JULIA's hammer blow. Before he can even slide down the wall, FRANK is upon him. We don't linger, but CUT away to: + +INT. LANDING DAY #98# + +As JULIA closes the door, her face devoid of emotion, we see the VICTIM's body on the floor, with FRANK's hands on its head, draining out its energies. + +INT. DINING ROOM DAY #99# + +JULIA sits, sipping a drink, her face still unreadable. + +INT. TORTURE ROOM DAY #100# + +FRANK is standing in the shadows. The VICTIM's body is in the middle of the room. JULIA enters. + + @JULIA + Well? + + @FRANK + Better. Much better. I'd like some clothes. And maybe a cigarette. + + @JULIA + Then you tell me ... you explain what happened to you? + + @FRANK + Of course. + +INT. TORTURE ROOM DAY #101# + +We pan across the walls as FRANK speaks. + + @FRANK + (O.S.) + I wanted access to experiences ... pleasures ... that only they could offer ... + + @JULIA + (O.S.) + The Cenobites. + + @FRANK + That's what they call themselves. They're not human. Maybe they were once, but they're not now. They rearrange their own flesh for pleasure. + +We've moved across to FRANK now. He is dressed, in loose fitting jacket and trousers, through which his blood is seeping. He smokes, taking great pleasure in the experience. + + @JULIA + And the box? + +FRANK picks up the box. Vague, tantalizing forms move over the surface, like ghosts. + + @FRANK + It cost me a fortune. All I had. It's a puzzle you see. You solve it, and the Cenobites come through ... + + @JULIA + Where from? + + @FRANK + God knows. Sometimes I think they're just behind the walls ... + +He turns the box over. The lacquer catches the light. + + @JULIA + So they cheated you + +In the lacquer we see oiled bodies moving. It's difficult to be sure what the forms signify. Is this torture, or some elaborate pleasure? + + @FRANK + Oh no. They kept to their bargain. They gave me experiences I'd never forget ... + +The images in the lacquer are becoming clearer, and they are APPALLING. Flesh torn open; blood running across sweating flesh; hooks, and terrible machines. + + @FRANK + But their pleasure was my pain. + +His voice has begun to tremble. + +The images in the box are more horrific by the moment. And flowing between them, highly distorted, the CENOBITE's faces, and that of FRANK, screaming and screaming. + + @FRANK + Terrible pain. Appalling ... + +He can't speak for a moment. After a pause, he goes on, his voice heavy. + + @FRANK + My body was forfeit. But my spirit ... they left that here. In the boards. In the walls. Watching the world, but never able to touch it ... + + @JULIA + And the blood let you out? + + @FRANK + There are ways to resurrection. Blood's one of them. I won't let them take me back, Julia. + +JULIA looks at the horrors in the box, and understands his desire. + + @FRANK + I want to be whole, and then get out - + +He lifts the box up. + + @FRANK + I won't let them take me. + + @JULIA + You won't have to. We'll be gone. Somewhere they'll never find us. + +There's a rumble of thunder. + + @JULIA + Not in the whole wide world. + +INT. DINING ROOM NIGHT #102# + +More thunder, and the sound of heavy rain against the windows. The television is on. LARRY and JULIA are sitting on the couch. LARRY is watching a boxing match. He has consumed several beers: the cans are beside his feet; and there's another in his hand. JULIA reads a magazine, glancing up at the screen to see the match getting more heated. Blood is starting to flow. + + @LARRY + Is this upsetting you? + + @JULIA + I've seen worse. + +LARRY looks at her. + + @LARRY + Are you all right? + + @JULIA + Fine. + + @LARRY + Only I'll turn it off - + +There's a sudden raising of shouts from the screen, as one of the boxers hits the canvas. + +LARRY turns his attention back to the match. + + @COMMENTATOR + And he's down! He's down! + +The thunder rolls on. + +INT. TORTURE ROOM NIGHT #103# + +The lightning finds its way through the holes in the newspaper. FRANK is watching through the window, his face occasionally washed with light. His hand, on the window frame, taps out the same tattoo he's tapped out before. He turns away from the window, and his foot catches the box. It rolls across the floor. + +INT. DINING ROOM NIGHT #104# + +The boxing match is heating up again. + + @COMMENTATOR + - and now he's in trouble, he's really in trouble - + + @LARRY + What was that? + +JULIA looks up from her magazine. + + @JULIA + Thunder. + +The violence on the screen is horrific, as swollen faces burst beneath punches. + + @LARRY + No. Something else. + +LARRY stands up. + + @JULIA + Maybe I left a window open - + +She gets up and crosses to the door. + + @JULIA + - I'll go see. + + @LARRY + No. I'll do it. + +He opens the door, and steps out into the hallway. + +INT. UPPER LANDING NIGHT #105# + +In such tight close up we can't see that FRANK has in fact left the Torture Room, we see his features register that somebody is coming. + +INT. STAIRWAY NIGHT #106# + +LARRY is climbing the stairs. JULIA follows. + + @JULIA + It was nothing. + +LARRY has reached the top of the stairs. He looks up the next flight. + + @JULIA + Larry ... + + @LARRY + What's wrong with you? + +She's desperate to stop him climbing to the Torture Room. + + @JULIA + I just hate the thunder. + +He crosses to her. + + @LARRY + I'm here. + +He puts his arms around her. She responds. + + @LARRY + You're shaking. + +He hugs her tight, kissing her lightly. The thunder shakes the house. + + @LARRY + There's nothing to be afraid of. + +He kisses her neck, his hands restless on her. + + @LARRY + I'll just go check upstairs ... + +He kisses her again. She, in order to distract him, kisses him back. Her passion is artificial, but he doesn't register that. + + @LARRY + Oh baby. + + @JULIA + Don't go upstairs. + + @LARRY + Come with me then. + +He starts up the stairs. + + @JULIA + Please ... + +INT. UPPER LANDING NIGHT #107# + +He reaches the top of the stairs. First he throws open the Junk Room. Lightning flashes on boxes inside. Then he moves towards the Torture Room. The thunder rolls more loudly. She follows him along the landing, desperate to stop him. Too late. He throws open the door. + + @JULIA + Don't. + +Lightning floods the room. It's empty. + +She stands beside him at the door. + + @LARRY + We must have rats. + +She looks back down the stairs. Where's FRANK gone? LARRY turns to her, holding her again, on the threshold of the Torture Room. + + @LARRY + See? Quite safe. + +He kisses her, much harder this time; a sexual kiss. + + @LARRY + Let's go down. I'll make it better. + +He kisses her again. + +INT. BEDROOM NIGHT #108# + +A shadow moves across the screen as the door opens, and LARRY puts on the light. He has hold of JULIA's hand. He leads her inside. She sits on the bed, illuminated by the light from the landing, and the occasional flicker from the window. LARRY kneels between her legs, and kisses her breasts, his eyes closed. JULIA glances into the shadows of the room. She senses FRANK's presence. + + @LARRY + \... oh babe ... + +He starts to unbutton her dress. She's distracted by her suspicions; he has his hands against her almost before she realizes what's happening. We have her P.O.V. as she looks around the room. The dressing table; the wardrobe; the curtains at the window. Does something move in the shadows? A flash of lightning. No. There's nothing. LARRY gets onto the bed and draws her against him, kissing her. This is not the intense, slightly dangerous love-making she experienced with FRANK, but a fumbling, slightly foolish exchange. LARRY is so wrapped in attempting to make the right moves he doesn't register the fact that JULIA's attention is elsewhere. Now we have a P.O.V. from the far side of the room, of the two figures on the bed, the only sound the thunder and LARRY's murmured words of seduction, which we can barely make out. + + @LARRY + \...I love you, honey ... let me ... oh God ... I love you ... + +Neither of them have undressed fully; there's just a tangle of clothes around them which removes any trace of eroticism from the scene. + +A CLOSE UP of JULIA's head, laid on the pillow, shows just how uninvolved she is - while LARRY works, eyes closed. JULIA looks down the length of her husband's body. The door of the wardrobe swings open. FRANK is watching. She registers horror. LARRY is oblivious to all of this, of course. We have a CLOSE UP of FRANK watching the love-making. Now he steps out of the wardrobe. JULIA makes a moan of horror, which LARRY takes as enthusiasm. + + @LARRY + Oh baby ... I love you ... + +From JULIA'S P.O.V., we see the form of FRANK shamble towards the lovers. From FRANK'S P.O.V. we see the lovers on the bed, LARRY's back vulnerable. + +JULIA seems to realize what he intends. + + @JULIA + \... no ... + +LARRY barely hears her. FRANK is at the very end of the bed now, and JULIA becomes highly agitated. + + @JULIA + No. No, you mustn't. PLEASE. No. + +LARRY stops his love-making. + + @LARRY + (looks at her) + Huh? + + @JULIA + Please ... + + @LARRY + What's wrong with you? + + @JULIA + (almost sobbing) + Please. I can't bear it ... + +LARRY is angered and utterly perplexed at this. He disengages his arms from around her. JULIA'S P.O.V., as FRANK retreats. LARRY rolls off JULIA. The wardrobe door closes. Click. + + @LARRY + I don't understand you. One moment you're all over me, the next it's: Don't touch me. + +He sits on the edge of the bed. + + @LARRY + I just don't understand. + +He gets up and leaves the bedroom. JULIA remains where she is. We have a shot of the bed, and her upon it, from FRANK's end of the room. She stares at the wardrobe. Through the crack of the open door, FRANK stares back. A flicker of lightning illuminates his face; his skeletal grin. Softly, beneath the assault of the rain on the roof, we hear laughter. + +INT. A SMALL RESTAURANT EVENING #109# + +KIRSTY and LARRY are sitting eating a meal together, in an intimate restaurant. LARRY has little appetite, to judge by his plate. He looks as if he hasn't slept for several nights. KIRSTY, by contrast, is sparkling + + @LARRY + \... maybe we should never have come back. + + @KIRSTY + Maybe you should give it some time. + + @LARRY + I guess. + + @KIRSTY + (skirting her real feelings) + She's not like Mom. She's ... I don't know ... moody. I thought that was what you liked about her. + + @LARRY + You don't like her at all do you? + +The straight-forward question silences KIRSTY for a moment. She wants to be delicate with her father's feelings, but honest at the same time. + + @KIRSTY + I don't know her. She's so ... sealed up. + +LARRY's face is full of the desire for reassurance. + +KIRSTY tries to offer it. + + @KIRSTY + If YOU love her she must be worth loving. Just give me some time. + +LARRY nods, a weak smile on his face + + @LARRY + She doesn't even want to leave the house. + + @KIRSTY + Really? + + @LARRY + It's like she's waiting for something. + + @KIRSTY + What? + + @LARRY + I don't know. I don't know. It's beyond me. + +A silence. + + @LARRY + (hesitant) + Would you ... maybe call round sometime? Try to make friends. + + @KIRSTY + Sure. + + @LARRY + Maybe all she needs is some company. + +INT. STAIRCASE DAY #110# + +FRANK is standing at the top of the stairs, dressed in his stained suit. JULIA is a few steps down, staring up at him. + + @FRANK + You can't love him. + + @JULIA + I don't. + + @FRANK + So where's the harm? + + @JULIA + I said no. + + @FRANK + Then find me somebody else, before they come looking. + +JULIA nods. + + @FRANK + Tomorrow? + +She looks at him. + +EXT. LODOVICO STREET - DAY #111# + +A wind blows, carrying autumn leaves before it. And on the wind, the distant pealing of bells. + +EXT. DOORSTEP OF NUMBER 55 DAY #112# + +JULIA is at the door, turning the key in the lock. Beside her, a third sacrificial lamb, balding and excitable. His name is SYKES. JULIA opens the door. + +EXT. LODOVICO STREET DAY #113# + +At the corner of the street now: KIRSTY. She watches, puzzled. + +EXT. DOORSTEP OF NUMBER 55 DAY #114# + +A long shot of the house, from KIRSTY'S P.O.V. The man on the step seems to having second thoughts. JULIA speaks with him. We can hear none of this exchange, but JULIA manages to coax him inside. She closes the door behind them. + +EXT. LODOVICO STREET DAY #115# + +KIRSTY stands, bewildered by what she's seen. + +INT. LOWER LANDING DAY #116# + +From the top of the stairs we watch JULIA lead SYKES upstairs. + + @SYKES + I get lonely sometimes. + + @JULIA + Everybody does. + +EXT. STREET DAY #117# + +KIRSTY starts towards the house. + +INT. TORTURE ROOM DAY #118# + +In the corner of the room FRANK stands, tapping out the rhythm with his fingers. It's 'Colonel Bogey', and now he hums it too. Outside the door, a footfall. + + @JULIA + Come in. + +The humming stops. JULIA opens the door. + +EXT. FRONT OF HOUSE DAY #119# + +KIRSTY starts down the path. + +INT. TORTURE ROOM DAY #120# + +SYKES is looking at JULIA. + + @SYKES + What is this? A game? + +FRANK moves in the corner. SYKES catches the motion from the corner of his eye. He turns. + + @SYKES + What ? + +FRANK steps from the shadows. + + @SYKES + Jesus Christ. + +JULIA hits him with the hammer. + +EXT. DOORSTEP DAY #121# + +KIRSTY hears SYKES scream. She freezes. Then steps back from the doorstep and looks up at the house. + +INT. TORTURE ROOM DAY #122# + +In the Room, pandemonium. SYKES, blood pouring down his face, flails out at JULIA. The hammer flies from her hand. He lunges for the door, but she manages to kick it closed. + + @SYKES + Christ help me! + +EXT. HOUSE DAY #123# + +KIRSTY makes her way around the back of the house. + +INT. TORTURE ROOM DAY #124# + +SYKES has taken hold of JULIA, and is using her as a shield against FRANK, who is bearing down upon him. For the first time we see FRANK's true colours where JULIA's concerned - + + @SYKES + (to Frank) + Don't! + +Casually, FRANK throws JULIA aside. + +She falls, sobbing. FRANK descends on SYKES. + + @SYKES + No! + +INT. KITCHEN DAY #125# + +SYKES' scream covers the sound of KIRSTY forcing the back door open. She steps inside. + +INT. TORTURE ROOM DAY #126# + +FRANK has SYKES face to the wall. SYKES is sobbing now. The room is covered in blood. + + @FRANK + (to Julia) + Get out of here. + +She picks herself up. + + @SYKES + (to Julia) + Please ... don't let him kill me ... please ... + +JULIA leaves, closing the door. FRANK seizes hold of SYKE's neck, his fingers entering the flesh either side of his neck vertebrae. SYKES screams. + +INT. KITCHEN/DINING ROOM/HALLWAY DAY #127# + +KIRSTY moves through the house, and starts to climb the stairs. + +INT. LOWER LANDING DAY #128# + +Half way up the stairs, the scream stops. She climbs the rest of the way surrounded by a graveyard hush. + +INT. TORTURE ROOM DAY #129# + +A soundless, slowed shot, as SYKES, his face wasted by FRANK's feeding, breaks from FRANK's hold and lunges for the door. + +INT. LOWER LANDING DAY #130# + +KIRSTY starts up the second flight of stairs. + +INT. TORTURE ROOM DAY #131# + +The same slowed, soundless horror, as SYKES reaches the door. FRANK is a pace behind him. + +INT. UPPER LANDING DAY #132# + +KIRSTY reaches the top as - + +INT. TORTURE ROOM DAY #133# + +The door from inside the room. SYKES pulls it open - + +INT. TORTURE ROOM FROM LANDING DAY #134# + +In real time, and accompanied by the most horrific shriek, SYKES flings himself from the Torture Room. The flesh is hanging off his face; his eyes bulge in terror. Seeing KIRSTY he starts towards her. Behind him, FRANK, his body glistening. He catches hold of SYKES by the neck. SYKES' shrieks stop. The eyes glaze over. The body judders as death claims it. Then FRANK drops the corpse, and looks up at KIRSTY. + + @KIRSTY + Oh my God. + +She starts to back away down the stairs. + + @KIRSTY + (shouts) + Julia! + + @FRANK + Kirsty? + +He takes a step towards her. + + @KIRSTY + Keep your fucking distance. Julia! Where's Julia? Christ, what have you done with her. + +She's still backing away. He's still advancing. + + @FRANK + Kirsty. It's Frank. It's Uncle Frank. + + @KIRSTY + No. + + @FRANK + You remember. + + @KIRSTY + No. + + @FRANK + Come to Daddy. + +Her puzzlement, however, has slowed her retreat, and now FRANK reaches for her. At the last moment she backs away again, but he's after her in a beat, and seizes hold of her. + + @KIRSTY + No. Get the fuck off me. + +He drags her back up the stairs. + +INT. TORTURE ROOM DAY #135# + +He pushes her ahead of him, into the Torture Room. He closes the door. + + @FRANK + You've grown. You're beautiful. + +She has retreated as far from him as she can get. He advances on her. + + @KIRSTY + Don't touch me. Or so help me - + + @FRANK + What? What will you do? What can you do? + (pause) + There's nothing to be frightened of. + +FRANK has closed in on her by now. He takes hold of her face. + + @FRANK + I bet you make your Daddy proud, don't you? Beautiful. + + @KIRSTY + This isn't happening. + + @FRANK + I used to tell myself that. Used to try and pretend I was dreaming all the pain. But why kid yourself? Some things have to be endured. Take it from me. And that makes the pleasures so much sweeter ... + +As he leans in to kiss her she snatches hold of the pus and bloodstained shirt that's glued to his abdomen, and PULLS. There's a flow of fluids. FRANK's head is thrown back, and he screams. + +She slips from beneath his grasp. But he's after her in a moment, his hand catching her blouse. It tears. His fingers rake her bare skin. She stumbles, reaches out for the wall, which is slick with SYKES' blood. Her hand slides over it. She falls, heavily. Roaring, FRANK comes in pursuit of her. On the floor in front of KIRSTY: the box. It's a poor weapon, but it's all she's got. As he comes after her again, she stands up and delivers a blow to his head with the box. He howls. She races for the door. But he's after her. He strikes her. She's thrown against the wall. He's FURIOUS now. Strikes her again. She cannot survive much more. She raises the box to retaliate. FRANK sees what she's holding. His attack stops. + + @FRANK + Give that to me. + +She dimly realizes that she has a bargaining tool. + + @KIRSTY + (breathless) + No. + + @FRANK + One last time. Give me the box. + + @KIRSTY + You want it? + +The monster's eyes glitter. + + @KIRSTY + Fucking have it! + +She throws the box. It sails past + + @FRANK and smashes through the window. FRANK + NO! + +He goes to the window. She takes her chance. She's out of the door in a moment. + + @FRANK + NO! + +INT. UPPER LANDING DAY #136# + +KIRSTY propels herself out of the Room, and down the stairs, while FRANK vents his anger above her. + +INT. HALLWAY DAY #137# + +She flings open the front door, and pitches herself - bleeding and bruised - into the daylight beyond. + +EXT. NUMBER 55 DAY #138# + +As she stumbles away down the path, she sees the box at her feet, in a litter of broken glass. She picks it up, and continues to run. + +EXT. LODOVICO STREET DAY #139# + +A series of shots from KIRSTY'S P.O.V., as she staggers along the street. The sound-track whines; the image threatens to be eclipsed by darkness. People stare at her as she runs. A child points. Finally, the CAMERA slows. She stands still. A voice, off camera: + + @VOICE + (O.S.) + Are you all right? + +The CAMERA swings giddily around in the direction of the speaker. A WOMAN comes into view. + + @WOMAN + Do you need any help? + +As she speaks, the picture fades to white. + +.KIRSTY'S DREAM (PART TWO) #140# + +The whiteness continues to fill the screen. Distant, incoherent voices are heard, and the thump of blood in the inner ear. Then darkness seeps into the whiteness, patterns like Rorschach inkblots: ambiguous, yet interpretable as sexual or horrific imagery. With the darkness, soaking over the scene like blood through the sheet in her first dream, fragments of FRANK's previous dialogue. + + @FRANK + Come to Daddy. + + @KIRSTY + This isn't happening. + + @FRANK + Some things have to be endured ... + +The darkness is filling the screen + + @FRANK + \... take it from me ... + +Now, total darkness. + + @FRANK + \... Come to Daddy ... + +And suddenly, she wakes. + +INT. HOSPITAL ROOM NIGHT #141# + +KIRSTY is lying in a bed in a private room. A NURSE is at her bedside, monitoring her condition. + + @NURSE + You're awake. + +She goes to the door. + + @NURSE + I'll get the doctor. + +She exits. KIRSTY tries to sit up. Her head hurts, badly. As she achieves a sitting position, the door opens. The NURSE returns, with a DOCTOR. + + @DOCTOR + (approaching the bed) + So ... you're back with us. + + @KIRSTY + I think so. + + @DOCTOR + How are you feeling? + + @KIRSTY + Tender. + + @DOCTOR + You took quite a beating. Do you remember what happened? + +She looks at him, uncertain of where to start. + + @KIRSTY + I want to speak to my father ... + + @DOCTOR + (nods) + Of course. We'll bring you a telephone. + +The NURSE exits. The DOCTOR brings the box from his pocket. + + @DOCTOR + Maybe this'll jog your memory. + +He lays it on the bed. She stares at it, her expression betraying nothing. + + @DOCTOR + I had the Devil's own job getting it out of your hand. Does it ring any bells? + +She shakes her head. + + @DOCTOR + Do you want it left? + + @KIRSTY + Why not? + +He offers her a reassuring smile. + + @DOCTOR + Chin up. There's no serious damage. And you're safe here. + + @KIRSTY + Um. + +He leaves the room. KIRSTY picks up the box, tentatively. She turns it over in her hand, examining it. + +INT. UPPER LANDING NIGHT #142# + +FRANK is standing in the shadows. He is wearing a fresh shirt. He smirks. JULIA watches him. Downstairs, the telephone rings. JULIA is very nervous now; desperate even. + + @JULIA + She'll tell them everything ... + + @FRANK + I don't think so. She'll want Larry first. + + @JULIA + That's probably her now. Or the police. + + @FRANK + Maybe. + + @JULIA + Don't you care? + + @FRANK + There's very little I can do about it. + + @JULIA + Maybe we should just leave - + + @FRANK + Like this? Look at me! LIKE THIS? + + @JULIA + Well we can't just stay here - + + @FRANK + I need a skin. Then we leave - + +INT. HOSPITAL ROOM NIGHT #143# + +KIRSTY is sitting up in bed. On the bedside table, a telephone. She is now thoroughly engrossed in the problems of the box. Her fingers speed over the surfaces, looking for some way in, testing its strength. Suddenly, a click. Her face lights up with pleasure, as she slides a part of the box open, revealing new intricacies. And to accompany the revelation, a tinkling tune. She smiles. It's a musical box. The light beside the bed flickers, but she doesn't notice. The door opens. It's the NURSE. + + @NURSE + Comfortable? + + @KIRSTY + (smiles) + Sure. + + @NURSE + Any luck with your father? + + @KIRSTY + (shakes her head) + He's probably got a meeting. I called a friend of mine. He's coming; is that O.K.? + + @NURSE + Of course. + +The NURSE exits. As she does so the light flickers again. The box clicks. A new facet is revealed ... KIRSTY smiles. + +EXT. NUMBER 55 NIGHT #144# + +The front door closes. + + @LARRY + (inside) + Julia? + +INT. HALLWAY NIGHT #145# + +LARRY stands in the hall. JULIA comes down the stairs. She looks pale; even ill. + + @LARRY + What's wrong? + + @JULIA + I don't know where to begin ... + + @LARRY + What are you talking about? + + @JULIA + It's better you see for yourself - + +She turns and starts up the stairs. + +He follows. + +INT. HOSPITAL ROOM NIGHT #146# + +KIRSTY has opened more of the box. The tune is more complex now. Somewhere a bell has started to ring. Now, she works the final mechanism of the box. The bedside light flickers and goes out. The bell rings. Light pours out of the box. She drops it, shocked. The bedside light comes on again. She looks up. In the wall opposite the end of her bed, a very narrow doorway has simply opened in the wall. Leaving the box on the bed, she gets up and goes to the gap. As she approaches she hears the distant, rhythmical sob of a baby. She stands at the doorway. + +INT. CORRIDOR TO HELL NIGHT #147# + +We look back at her, a diminutive figure framed against a shot of light, from way, way down the corridor. + +INT. HOSPITAL ROOM NIGHT #148# + +The sobbing goes on. KIRSTY stares down the corridor - which is lit brightly in some places, and is absolutely dark in others - not certain of whether to venture down it or not. She glances towards the door of her room, from the other side of which comes the reassuring sound of the hospital going about its business. What's to fear? + +INT. CORRIDOR TO HELL NIGHT #149# + +She steps into the corridor. The walls rise into darkness on either side of her, their surfaces like the interior of a pyramid, pitted with age, and rotting away. She starts towards the sobbing child, bare feet on the impacted earth of the passageway. The sobbing gets louder as she advances, her form disappearing entirely as she passes through the intermittent darkness. Once, she glances back towards the Hospital Room, to reassure herself that it's still there. It is, though it's no more than a sliver of light at the far end of the passageway. She advances a few more paces. The atmosphere is growing denser; smoke thickens the air. Then, a light glows at the other end of the corridor. The sound of the sobbing child ceases. She stops walking. Ahead, the smoke clears and the light brightens, and we see a creature - THE ENGINEER - hanging in the space between the walls. It is in silhouette against the light, but we can see enough to know that it resembles no earthly animal. Its vast black limbs hold it suspended above the corridor, clinging to the stone. Its front limbs, vestigial by comparison, hang down from beneath its vast head. Its tail is curled over its back. KIRSTY's expression registers this horror. THE ENGINEER moves into the light. Its irises narrow to slits. From the tail a vast sting, oozing pus-like venom, glides into view. And then - - it comes at her, advancing along the corridor by bracing its legs against the walls. Its breath is a growl in its belly, until it moves into darkness, when all sound from it ceases, only to erupt again as it finds the light. KIRSTY turns, and starts to run. It comes after her at speed. Darkness, light, darkness, light; roars and silence - Its jaws spill its thick saliva; its eyes gleam. KIRSTY runs blindly down the corridor, back towards the safety of the Hospital Room. But it's very close on her heels, lingering - As she comes within a few yards of the Room it closes on her. + +INT. HOSPITAL ROOM NIGHT #150# + +She flings herself through the door with THE ENGINEER's breath on her back, and turns - The doorway has gone. The wall is sealed. She approaches the wall. THE ENGINEER scratches on the other side ... Then, she realises that the bell is still ringing. And there's a foul smell in the air. She looks around. She's not alone. Standing across the room from her, lit by a strange phosphorescence that has no visible source, are four extraordinary figures. They are CENOBITES. Each of them is horribly mutilated by systems of hooks and pins. The garments they wear are elaborately constructed to marry with their flesh, laced through skin in places, hooked into bone. The leader of this quartet has pins driven into his head at inch intervals. At his side, a woman whose neck is pinned open like a vivisection specimen. Accompanying them is a creature whose mouth is wired into a gaping rectangle - the exposed teeth sharpened to points, and a fat sweating monster whose eyes are covered by dark glasses. When the lead CENOBITE speaks, we recognise the voice as that of the creature from the beginning of the film. KIRSTY stares in amazement. + + @KIRSTY + Where the hell did you come from? + +The CENOBITE gestures. The box is lying on the bed. + + @CENOBITE + The box ... you opened it. We came. + + @KIRSTY + It's just a puzzle box. + + @CENOBITE + It's a means to summon us - it's called the Lament Configuration. + + @KIRSTY + Who are you? + + @CENOBITE + Cenobites. Explorers in the further regions of experience. Demons to some. Angels to others. + + @KIRSTY + Well, I didn't mean to open that thing. You can go back wherever you came from. + + @FEMALE CENOBITE + We can't. Not alone. + +At this, the creature with the wired open jaw chatters like a mad monkey. + + @KIRSTY + This isn't for real. + + @CENOBITE + You solved the box. We came. Now you must come with us. Taste our pleasures. + +The chattering CENOBITE steps towards her. + + @KIRSTY + Don't touch me! + +The door opens. It's STEVE. KIRSTY's face floods with relief. STEVE does not register the CENOBITES' presence however. + + @KIRSTY + Steve. Thank God you came. + + @STEVE + What happened to you? + +He steps between the CENOBITES. + + @KIRSTY + These THINGS ... they want to take me - + + @STEVE + What things? + + @CENOBITE + (to Kirsty) + He doesn't see us, or hear us. We belong to you, Kirsty. And you to us. + + @KIRSTY + No! + + @STEVE + What's wrong? + + @KIRSTY + Don't let them take me, Steve - + + @STEVE + I won't let anybody take you. + +He starts to walk towards her, but the creature in the dark glasses takes a hooked rod from its back and puts the hook to STEVE's neck. STEVE's hand moves to the place; he makes a small sound of pain. The CENOBITE takes off its glasses, to see its trick better. The eyes beneath are sewn shut. It pulls a little more on the hook. STEVE winces. + + @FEMALE CENOBITE + If he takes another step, we open his throat. + + @KIRSTY + (to Steve) + Please go, Steve. + + @STEVE + What? + + @KIRSTY + Just go. PLEASE. I'll be O.K. I'm going to go see Dad. He'll look after me - + + @STEVE + (protesting) + What did I say? + + @KIRSTY + Will you GO, damn you? + +Mystified, STEVE retreats a step. + + @STEVE + I'll come back later, huh? + + @KIRSTY + Sure. Why not? + +Still puzzled, STEVE crosses to the door. + + @STEVE + 'Bye. + + @KIRSTY + 'Bye. + + @FEMALE CENOBITE + Good. + + @CENOBITE + It's time we were away. + + @KIRSTY + (almost crying) + Let me alone, will you? + + @CENOBITE + No tears please. It's a waste of good suffering. + +The chatterer comes for her. As it does so desperation brings a plan to KIRSTY's head. + + @KIRSTY + Wait! + +He stops. + + @CENOBITE + No time for argument. + + @KIRSTY + You did this before, right? + + @CENOBITE + Many times. + + @KIRSTY + To a man called Frank Cotton? + + @FEMALE CENOBITE + Oh yes. + + @KIRSTY + But he escaped you. + + @CENOBITE + Nobody escapes us. + + @KIRSTY + HE did. I've seen him. He's alive. + + @CENOBITE + Is that so? And what are you proposing? + + @KIRSTY + I'll take you to him. Then you take him instead of me. Back wherever you come from. + +The CENOBITE stares at her unblinking. + + @CENOBITE + Perhaps ... + + @FEMALE CENOBITE + But if you cheat us ... + +The sound of THE ENGINEER, scratching on the other side of the wall. The plaster cracks, violently. + + @CENOBITE + We'll tear your soul apart! + +We cut back to the cracking plaster, which cracks further. We hear STEVE's voice, and pan back into the room. + +The door opens. KIRSTY and the CENOBITES have gone. STEVE is there, with the NURSE. + + @STEVE + She was trembling all over. + + @NURSE + I'd better go look for her. + +The NURSE heads for the door. + + @STEVE + Maybe she's gone back to her - + +He looks round. + +The NURSE has gone. + + @STEVE + - father. + +His eyes have alighted on the box, which is lying on the bed. + +He picks it up. + +EXT. NUMBER 55 NIGHT #151# + +Lights burn in the house, upstairs and down. + +INT. BEDROOM NIGHT #152# + +JULIA sits in front of the dressing table mirror. She has a glass of whisky in front of her. She sips from it, studying her face in the mirror. We've seen her in many moods through the story: now we see a mingling of fear and exhilaration on her face. She gets up. Laid out on the bed is, of all things, her wedding gown. + +INT. STEVE'S CAR NIGHT #153# + +STEVE drives towards Lodovico Street, scanning the streets for sign of KIRSTY. + +EXT. STREET NIGHT #154# + +As his car drives past, KIRSTY turns a corner. He does not see her. KIRSTY hurries along the street. The wind is chilly. Sometimes she hears a bell in it. + +EXT. LODOVICO STREET NIGHT #155# + +STEVE drives up to the house. The lights are still burning. He gets out of the car, and hurries down the path. + +EXT. DOORSTEP NIGHT #156# + +He knocks on the door. There's no reply. + +INT. BEDROOM NIGHT #157# + +Two shadowy, naked figures stand face to face in the bedroom. We can see no detail of their features. We move down their bodies. They are standing in a shining pool of blood. + +EXT. DOORSTEP NIGHT #158# + +STEVE starts round the back of the house. + +INT. BEDROOM NIGHT #159# + +The male of the couple pads towards the bedroom door, leaving a trail of blood behind him. We can still see very little of the man. + +EXT. LODOVICO STREET NIGHT #160# + +KIRSTY turns the corner of the street, and starts down it. The wind is strong now. It is full of sibilant whispers, hurrying her along. + +INT. BEDROOM NIGHT #161# + +JULIA dresses. + +EXT. DOORSTEP NIGHT #162# + +KIRSTY reaches the doorstep. As she does so the whispers die away completely. She beats on the door. No reply. She beats again, more urgently. + + @KIRSTY + Please! Dad! It's me! It's Kirsty! + +INT. LANDING NIGHT #163# + +JULIA steps onto the landing. We can hear KIRSTY shouting on the step. + + @JULIA + Damn her. + +We hear a voice, off-screen. Is it FRANK or LARRY? Impossible to be sure. + + @VOICE + Answer it. + +EXT. DOORSTEP NIGHT #164# + +KIRSTY still beats on the door. + + @KIRSTY + Please, answer me! Please - + +The door is suddenly opened. + +JULIA is standing there. + + @JULIA + Kirsty? It's very late. + + @KIRSTY + Where's Daddy? + + @JULIA + What's the problem? + + @KIRSTY + (stepping inside) + I have to see my father. + + @JULIA + Of course. There's no need to shout. + +INT. DINING ROOM NIGHT #165# + +We pan across the table. At the end of the table sits LARRY. The light is behind him. His features are shadowy. But we can see that he is badly bruised. We hear the womens' voices, off-screen. + + @JULIA + You look terrible. Have you had an accident? + + @KIRSTY + I was here this afternoon. + + @JULIA + This afternoon. + + @KIRSTY + I saw everything. + + @JULIA + I'm sorry, I don't follow. What was there to see? + +KIRSTY doesn't answer, but walks through into the Dining Room. KIRSTY sees LARRY at the table. + + @KIRSTY + Oh God. Thank God. + (she starts to sob) + I thought something might have ... + +She glances round at JULIA, who has also entered. + + @KIRSTY + (to Larry) + I have to talk to you. + + @LARRY + Of course. + +LARRY leans forward, and into the pool of light over the table. He looks much the worse for wear. His flesh is raw and bruised. There is blood at his neck and hairline. + + @LARRY + It's all right, sweetheart. Julia's told me everything; and it's all right ... + + @KIRSTY + No. You don't understand. Your brother - Frank - he's here in the house. And he's - + + @LARRY + Whatever Frank did was his error. And it's finished with now. + + @KIRSTY + Finished? + + @LARRY + (smiles) + He's gone. + + @KIRSTY + Gone? + + @JULIA + Dead. + + @LARRY + He was insane, baby: a mad dog. I put him out of his misery - + +KIRSTY stares at LARRY, while in her head she hears the CENOBITE's voice. + + @CENOBITE + \... we'll tear your soul apart ... + + @LARRY + I'll go to the police, when I'm feeling stronger. Try and find some way to make them understand, though God knows I don't really understand myself. Did he hurt you? + +KIRSTY is dumb with horror at her situation. + + @LARRY + (leans back) + Poor Frank. He's better off dead. + + @KIRSTY + I don't believe it. + + @LARRY + I'm afraid it's true. + + @KIRSTY + (tears in her eyes) + I want to see. + + @LARRY + No you don't. + + @KIRSTY + Yes! + + @LARRY + (to Julia) + Show her. + +KIRSTY turns away from LARRY. JULIA leads her out into the Hallway. CUT TO LARRY, still sitting at the table. His fingers drum a familiar tattoo. Beneath his breath, he hums 'Colonel Bogey'. + +INT. UPPER LANDING NIGHT #166# + +JULIA pushes open the door of the Torture Room. It creaks wide. Lying on the floor in the middle of the room is a skinned corpse, in a tangle of torn clothing. It steams. There is blood everywhere. That too, steams. KIRSTY is revolted. She steps away from the door, back down the landing. The bell has begun to ring again, distantly, and there is the sound of wings in the air - thousands of birds - beating on the other side of the wall. KIRSTY starts down the stairs again. + + @JULIA + Where are you going? + +KIRSTY doesn't reply. She merely hurries away. + + @JULIA + (calling after her) + You leave this to us, you hear me? We'll deal with the police - + +INT. HALLWAY NIGHT #167# + +KIRSTY descends the stairs. LARRY has stepped out of the Dining Room and is moving to intercept her as she makes her way to the front door. The sound of wings, and bells - and a terrible slow thunder which underpins it all - mounts in volume. LARRY snatches at her arm. + + @LARRY + Where are you going? + + @KIRSTY + I have to get out. + +She shrugs off his arm. The thunder is increasing. + + @LARRY + Stay with me - + +JULIA is on the stairs, watching this exchange. + + @LARRY + - it's all right. Really it is ... + +He touches her face, fondly. + + @KIRSTY + I can't stay. + +She goes to the door. + + @LARRY + Come to Daddy. + +She hesitates at the door, and turns. + +INT. HALLWAY NIGHT #168# + +(KIRSTY'S P.O.V.) The thunder fills KIRSTY's head, as she stares at LARRY, who has opened his arms to her. + + @LARRY + Come to Daddy. + +Her gaze moves up to JULIA, who is on the stairs. + + @JULIA + No, damn you - + +INT. HALLWAY NIGHT #169# + + @KIRSTY + (mouths) + Oh my God. + +Everything is slowing down. + +The bells and the thunder fill the soundtrack. LARRY smiles, as KIRSTY moves towards him. Tears have begun to fill her eyes. She searches for him. His smile decays as he realizes her objective. Her nails rake his cheek. The flesh puckers, and tears along the brow. Blood flows. The mask of stolen flesh he wears slips a little, and FRANK's twisted features come into view. + + @JULIA + Frank! + +KIRSTY screams, as FRANK lunges for her. The lights in the hallway flicker, and threaten to go out. KIRSTY avoids FRANK's blow, but in doing so allows him to get between her and the front door. She's trapped. His torn face flapping, he opens his jacket (the interior of which is blood-stained) and pulls a knife from the lining. Suddenly, JULIA is behind her, gripping hold of her hair. FRANK advances on KIRSTY, but in the last moment before the fatal stab KIRSTY twists, avoiding the blow. JULIA shrieks and stumbles forward, the knife gleaming as it's buried to the hilt in her side. KIRSTY slips from between them. JULIA collapses into FRANK's arms. He holds her up. KIRSTY makes a dive for the front door, but FRANK lets JULIA slip and intercepts KIRSTY. JULIA falls back against the wall, dying. KIRSTY retreats to the bottom of the stairs. FRANK follows. + + @FRANK + You're not leaving now - + +As he follows, JULIA reaches out and takes hold of his sleeve. + +KIRSTY flees the only route she can, upstairs. The house is creaking in every board and rafter now. FRANK turns on JULIA, trapping her against the wall., + + @JULIA + Help me, Frank. For God's sake. + +He puts his hands around her neck, and leans towards her. At the last moment she seems to understand that he intends not to kiss her but to steal what little life she has left. + + @JULIA + No, Frank - + +From the stairs KIRSTY glimpses him battering upon her. Then she looks away, and runs up the stairs. When we look back JULIA is withering in FRANK's arms. + +INT. LOWER LANDING NIGHT #170# + +The landing is smoky. The lights have taken on a yellowish tinge. The air is full of moans. KIRSTY is desperate for a hiding place. She tries one of the doors, but it's locked. She opens another, and the din of birds' wings gets louder. + +INT. BIRD ROOM NIGHT #171# + +A P.O.V. shot, lunging towards KIRSTY in the doorway. She slams the door in the face of whatever's coming for her. + +INT. HALLWAY NIGHT #172# + +FRANK hears the door slam. He drops JULIA to the ground. She's dead, her flesh rotting on her face. FRANK starts to climb the stairs, his eyes burning with hunger. + +INT. LOWER LANDING NIGHT #173# + +KIRSTY is cornered. From below, FRANK's voice. + + @FRANK + Where are you, beautiful? + +KIRSTY starts up the second flight of stairs, as FRANK's shadow is thrown up on the wall below. + +INT. UPPER LANDING NIGHT #174# + +KIRSTY is faced with a choice. The Torture Room door is open, but the skinned body is in there, so instead she heads for the Junk Room, and opens the door. + +INT. JUNK ROOM NIGHT #175# + +Moonlight falls through the window, illuminating a chaos of furniture and boxes. She crosses to the window, and tries to get it open. It won't budge. + + @FRANK + (somewhere below) + Where are you, honey? + +She looks around for a lever to open the window with - + +INT. LOWER LANDING NIGHT #176# + +FRANK reaches the landing and opens the bedroom door, calling for her. Then he starts up the last flight of stairs. + + @FRANK + Come to Daddy. + +INT. JUNK ROOM NIGHT #177# + +KIRSTY lifts a cloth off one of the boxes. Staring up from the box is the corpse of PRUDHOE, his eyes and mouth open in a silent shriek. She reels back from the box, terrified, backing into the shadows. An arm reaches for her, taking hold of her and dragging her back into darkness as the door opens. FRANK stands on the threshold. His breath is thick. He shambles forward, but he doesn't see her. We CUT back to the shadows. KIRSTY's eyes are wild with terror. Back to the door, which clicks closed. KIRSTY breaks cover, and so does her saviour. It's STEVE. He is sweating with terror. + + @KIRSTY + (a whisper) + What are you doing here? + + @STEVE + Got in downstairs. Looking for you. What's going on? + +She shakes her head. STEVE brings the box from his jacket. + + @STEVE + You forgot something - + +She doesn't see what he's produced. She's already moving to the door. + +She listens. + +INT. UPPER LANDING NIGHT #178# + +The landing is empty. The door of the Junk Room opens. KIRSTY steps out. The house is strangely still. The lights swing a little; but otherwise ... nothing. She advances along the passageway. STEVE follows. They reach the top of the stairs in safety. + + @STEVE + (signalled more than spoken) + I'll go first - + +As he speaks, FRANK steps out of the Torture Room, knife in hand. Roaring, he comes at them both. + +KIRSTY flings herself out of the path of the knife. FRANK swipes at STEVE, who falls backwards down the stairs. He cries out, head hitting the stairs as he descends. The box falls from his unconscious hand. FRANK turns on KIRSTY, who avoids one slice of the knife, and another, but is driven back into the Torture Room. + +INT. TORTURE ROOM NIGHT #179# + +He's after her in a flash. She falls beside her father's body, her eyes meeting its skinned face. + + @KIRSTY + God - + + @FRANK + Don't cry for him. He's dead. He always was. + +KIRSTY has been pushed to the limits of her endurance. She can be terrorized and pursued no longer. Death looks an easy option by comparison with more of FRANK's horrors. + + @KIRSTY + Go on. Kill me. I don't care. + + @FRANK + Poor baby. + + @KIRSTY + You bastard + + @FRANK + Hush now. It's all right. Frank's here. + + @KIRSTY + Frank. + + @FRANK + That's right. Are you losing your mind, baby? This is Frank you're talking to. FRANK. + +As he speaks the bell begins tolling again. + +FRANK looks puzzled. + + @FRANK + What's going on? + +Light begins to pour through the walls of the room. + + @FRANK + No. + +He starts towards the door. But he's too late. The CENOBITES are standing in his way. He backs off from them. + + @CENOBITE + Frank - + + @KIRSTY + (to Cenobite) + What took you so long? + + @FEMALE CENOBITE + We had to hear it from his own lips - + +FRANK turns on KIRSTY. + + @FRANK + You set me up! You bitch. You set me up! + +The pattern of light in the room has become more elaborate, and the CENOBITES move through it towards FRANK. + + @CENOBITE + (to Kirsty) + This isn't for your eyes. + +KIRSTY crosses towards the door. As she reaches for the handle she hears FRANK roar behind her. She turns. He breaks between the CENOBITES, knife in hand, but as he comes within striking distance the air is full of whining sounds and he stops dead. They have their hooks in him, we see. In his arms and legs; in his back and sides; in his scalp and neck and temples. Hooks attached to countless chains, which arrest his progress. They plough through his flesh as he strives to reach her. But at a gesture from the leader of the CENOBITES, the chains are hauled in. He flings back his head, yelling. The knife drops from his hand. + + @CENOBITE + (to Kirsty) + Out! + +She turns back to the door and opens it. FRANK is hauled back towards the centre of the room. + + @FRANK + Bitch! + +The house is growling from basement to eaves now, as KIRSTY steps onto the landing. + +INT. UPPER LANDING NIGHT #180# + +Behind her, FRANK howls. She looks back. They have him IN EXTREMIS, his body spread-eagled; hooks in a hundred places, pulling at his flesh. He fights like a wild animal, snarling and cursing. They pull the chains tighter. + +INT. TORTURE ROOM NIGHT #181# + +A close up of FRANK's face. He suddenly stops fighting. He raises his head, his eyes staring up at KIRSTY from beneath a bleeding, sweating brow. He flicks his tongue over his bloodied lips. Then - - he comes apart. + +INT. UPPER LANDING NIGHT #182# + +The door slams as FRANK's body is torn apart in a welter of blood and flesh fragments. Something heavy thuds against the door. KIRSTY turns and starts down the stairs. + +INT. STAIRS NIGHT #183# + +As she reaches the place where STEVE is half-sitting, half-lying, the house starts to growl as though its foundations are about to give way. STEVE's nose is bleeding, and his face is bruised, but he's conscious. + + @KIRSTY + We have to get out of here. They'll kill us for the fun of it. + +STEVE staggers to his feet. KIRSTY picks up the box, which is on the lower landing. As she picks it up, the FEMALE CENOBITE steps from the shadows. + + @FEMALE CENOBITE + Don't leave us yet - + +KIRSTY starts to try and manipulate the box in her hands. + + @FEMALE CENOBITE + We've got such sights to show you - + +KIRSTY manages to slot one of the pieces of the box back into place. + + @FEMALE CENOBITE + \... don't ... + +Her voice becomes a howl, and she's sucked away into darkness. + + @STEVE + (behind Kirsty) + Jesus Christ. + +They start down to the half-landing. There stands the CENOBITE in the dark-glasses, carrying the hooked rod he threatened STEVE with in the hospital. Again, KIRSTY manipulates the box. Again, the CENOBITE howls and is claimed by the darkness. + +INT. HALLWAY NIGHT #184# + +They hurry down to the hallway, half expecting another creature to step into their path. Dust is falling from the ceiling, and there are cracks opening up in the walls. Any moment, surely, the whole place will be destroyed. JULIA's body has gone from the hallway; a trail of blood leads into the dining room. As KIRSTY and STEVE stumble across the hallway, they hear JULIA's voice, off-screen, an eerie, ghostly voice. + + @JULIA + Kirsty ... + +KIRSTY hesitates, and looks towards the door of the dining room. There stands the bride, her white dress soaked in blood, her veil covering her face. + + @KIRSTY + Julia? + +KIRSTY takes a step towards her, but as she does so the veil rises of its own accord, and the chattering CENOBITE is beneath. KIRSTY slams the box closed. The CENOBITE howls, and disappears. STEVE heads for the door. Turns the handle. As he does so, KIRSTY realizes there's one piece of the box unfinished. + + @KIRSTY + Don't! + +Too late. + +He turns the handle. The door is flung open, and THE ENGINEER, clinging to the sides of the door, swings down into the hallway. STEVE is flung backwards against KIRSTY. The box falls from KIRSTY's hand. The beast moves to bite at STEVE, who scrambles out of the way, leaving KIRSTY in the front line. The box lies between KIRSTY and THE ENGINEER, which now uses its forelegs to crawl over the hallway towards her, its legs still bracing it in the door. She snatches for the box. THE ENGINEER, its mouth oozing fluids, almost catches her arm. Again, she tries. This time one of its arms seizes hold of KIRSTY and drags her towards its jaws. Behind KIRSTY, STEVE snatches up a piece of plaster and flings it in THE ENGINEER's face. It momentarily relaxes its grip on KIRSTY, who slides her hand from its hold and claims the box. She now has slime on her fingers. The box defies her manipulations. + + @STEVE + Come on! Come on! + +THE ENGINEER crawls towards them. Up above, the din of the roof collapsing. Timbers and dust hurtle down the stairs. + + @KIRSTY + Shit. Shit. Shit. + +THE ENGINEER is almost upon her. It rears up, its saliva dropping on her. And then, miraculously, the last piece of the box slots into place. + +The same vortex that seized the other CENOBITE seizes THE ENGINEER. Howling its complaint, it is drawn out into the darkness beyond the door, and disappears. Its voice grows thin, and fades. Finally, silence. The house is still. KIRSTY gets to her feet. STEVE does the same. Together, they move to the door, and out onto the step. + +EXT. DOORSTEP NIGHT #185# + +The door slams behind them, of its own accord. KIRSTY turns the sealed box over in her hand. There is a slit in it which has not quite closed. Light suddenly pours from it, up into KIRSTY's face. Her features are momentarily distorted, as if sucked towards the box. From within: shrieks, bells, music. Between the screams, FRANK's voice. + + @FRANK + Come to Daddy! + +She slams the panel shut. The distortions cease. So does the din. + + @KIRSTY + (quietly) + Not tonight. + +A smile crosses her face, and she leaves the doorstep, making her way towards the street. STEVE gazes at her, then follows. Their figures are erased by the darkness. Somewhere, a bell rings as ... THE CREDITS ROLL + +/* 115 Flood Street, London. SW3 01-352-4195 */ diff --git a/fountain_scripts/Hellraiser.webp b/fountain_scripts/Hellraiser.webp new file mode 100644 index 0000000000000000000000000000000000000000..6044876951f51f42e9760cb31107762584fa90d3 --- /dev/null +++ b/fountain_scripts/Hellraiser.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:6d3cba81fedacaf0f347b41d8f732e346be80b8786137d125475c27f0bebe450 +size 19320 diff --git a/fountain_scripts/Highlander.fountain b/fountain_scripts/Highlander.fountain new file mode 100644 index 0000000000000000000000000000000000000000..4d2aa11c7cfec3fd2d1d156a79f66f117bdad53c --- /dev/null +++ b/fountain_scripts/Highlander.fountain @@ -0,0 +1,5021 @@ +Title: HIGHLANDER +Credit: by +Author: Gregory Widen + +EXT. STREET - NIGHT #1# + +/* 1 */ + +Garish purple light spills out of side-street porno houses, illuminating a silhouette, and little else, of a MAN leaning against an alley wall. + +He is waiting. + +Another silhouetted FIGURE appears and approaches the first. + +They size each other up as best they can. + + @FIRST MAN + MacLeod. + +The second nods. + +The first without hesitation raises a sword, the intended thrust interrupted by his own death as the second with a flash of metal severs the agressor's head. + +INT. HUTCH - MORNING #2# + +/* 2 */ + +A 15th century Scottish home. + +A haggard WOMAN, her small CHILD clinging to a tattered apron, stands hunched over a glowing hearth. Her veined hands drag a wooden spoon around and around through a soot-covered pot of grey soup. + +From an adjoining room CONOR MACLEOD, a young man dressed up in his best traditional Celtic tartan, enters. + + @MOTHER + My, but are you the picture. + + @CONOR + (surveying himself) + It's a bit tight. + +His FATHER enters with a pail of milk. + + @FATHER + Ah, Conor, how you look a man. + + @MOTHER + Have you time for something to eat? + + @CONOR + No, Mother. They'll be here shortly. + +Conor's father looks him over with pride. + + @FATHER + Your grandfather wore that in his service to the King, and I to fight for the Duke. + + @MOTHER + Must he go? + + @FATHER + Aye. It is his duty. All of ours. + + @MOTHER + But Ian, he's still but a boy. + + @FATHER + He's a MacLeod. + + @CONOR + I'll be fine Mother. + +EXT. HUTCH - MORNING #3# + +/* 3 */ + +Several HORSEMEN gallop up through the early morning fog to the cottage door. + +Conor's father steps out to meet them. + +EXT. HILLTOP - MORNING #4# + +/* 4 */ + +A massive KNIGHT sits astride his horse, moorish dew clinging to his helmet and breastplate. A CLANSMAN hikes up the heather-carpeted slope to him. + + @CLANSMAN + They march. + + @KNIGHT + Is the boy among them? + + @CLANSMAN + Aye. + +EXT. ALLEY - NIGHT #5# + +/* 5 */ + +The second kneels to examine the headless body of the first. + +With a CLACK a window, high on the alley wall, closes. + +EXT. HIGHLAND PLAIN - MORNING #6# + +/* 6 */ + +The DUKE is leading a brigade of CLANSMEN out onto the plain. + +Mounted VASSALS ride back and forth inspecting the line. The low fog makes it impossible to see beyond a few yards. There is an erie, smothering silence. + + @VASSAL #1 + Is a bad day for this. + + @VASSAL #2 + The Duke has been compromised. He will have his due. + + @VASSAL #1 + By day's end he will have our heads. + + @VASSAL #2 + We ride against the Sutherlands. That is all that matters. + + @VASSAL #1 + This makes no sense to me. + +!CONOR + +And a friend are marching through the moist heather. + + @FRIEND + The fog is bad. We cannot even see the sides of our own ranks. + +Conor's nervousness is showing. + + @FRIEND + Is this your first? + + @CONOR + Aye. + +SHOUTING is heard on the plain. + + @FRIEND + It's begun. + +EXT. HILLTOP - MORNING #7# + +/* 7 */ + +The Knight, above the fog, hears the battle commence below. + +He spurs his horse and starts down into the mist. + +EXT. PLAIN - MORNING #8# + +/* 8 */ + +The two opposing clans are now one confused mass of tartan and clashing swords. The air is charged with SHOUTS of excitement, agony, and the SHRILL of bag pipes. + +The fog has made each man's battle his own, each isolated with his opponent. + +!THE KNIGHT + +Rides calmly through the fracas. He strikes and kills those that assault him, but appears disinterested in battle. + +He is looking. + +!CONOR + +Is standing above the twitching body of his friend. + +Alone and confused, Conor has become seperated from the clan. + +He stumbles through the fog, seeking help. + +Suddenly he is alone with the Knight. + +The face of iron locks its gaze onto the boy. His fear turned to panic, Conor turns and flees. + +The Knight, his resolve steeled in a raised sword, kicks his horse into persuit. + +Conor is easily overtaken and on his first pass the Knight brings his blade down hard into Conor's shoulder, slicing open most of the boy's back and knocking him face-first into the heather. + +As Conor watches his own blood spew forth, he rolls over in time to see the Knight dismount and start for him. + +!THE KNIGHT + +Leans down next to Conor, his metal face nearly against the boy's. His voice slithers out of the iron in almost a whisper. + + @KNIGHT + There can be but one. + +!A CLANSMAN + +Charges out of the fog and attacks the Knight, who cuts him nearly in half. ANOTHER wanders in and meets the same fate. + +The battle is shifting to where they are. + +Not finished yet with Conor, the Knight is finding himself forced into retreat from an ever increasing number of assailants. + +!A VASSAL + +Sees his men being hacked apart trying to stop the now-mounted Knight. + + @VASSAL #1 + Leave him! + +The clansmen obey. + +With the slap of an armored gauntlet against his steed, the Knight disappears into the fog. + +The Vassal surveys the carnage before him. His eyes fall a moment on the moaning, gurgling Conor. + +The Vassal turns and leaves the boy for dead. + +EXT. ALLEY - NIGHT #9# + +/* 9 */ + +A patrol car pauses at the mouth of the alley. + +The figure considers his situation, then quickly shoves his sword into a near-by drain. He straightens up and waits. + +!AN OFFICER + +Steps out of his unit and cautiously walks forward. His PARTNER switches on the patrol car's side lamps, bathing the alley in a harsh glare. + +!MAN IN ALLEY + +For the first time we can see his face. RICHARD TAUPIN, clad in a well-cut business suit, looks exactly like Conor. + +The police officer, upon seeing the body, grabs instinctively for his pistol. He yells to his partner now coming into the alley. + + @OFFICER #1 + Kevin! Get is a backup. + + @TAUPIN + I was merely walking by when- + + @OFFICER #1 + Don't move. + +The officer has his pistol out and leveled. + +His partner runs up, shotgun in hand. + + @OFFICER #2 + They're on their way. + +His voice cuts short as the blood flows against his shoe. + + @OFFICER #2 + Christ. + +INT. HUTCH - NIGHT #10# + +/* 10 */ + +Conor lies moaning on a cot. Makeshift bandages wrap his body, stained and pasted by thick, dried blood. + +The family surrounds their dying son. + +A PRIEST is delivering the last rites. + + @PRIEST + ...Libera Domine Animan servi tui sicut libertasi David de manu regis Saul... + +His sobbing mother holds a compress to Conor's forehead. + + @PRIEST + ...In mamus tuas domine commendo spiritum meum... + +EXT. HUTCH - NIGHT #11# + +/* 11 */ + +A Vassal rides up to the hutch, dismounts, and approaches a CLANSMAN standing in the open doorway. + + @VASSAL #1 + Has the boy died? + + @CLANSMAN + He is having the last rites now. It should be over by morning. + + @VASSAL #1 + Never seen anybody cut as bad live so long. He should have died on the field. + + @CLANSMAN + Tonight or tomorrow, it's all the same. + +The Vassal peers inside at the priest administering the sacraments. + + @PRIEST + ...Auditorium nostrum in nomine domini... + + @VASSAL #1 + This has been a dark day. + + @PRIEST + ...Requiescant in pace... + +EXT. ALLEY - NIGHT #12# + +/* 12 */ + +There is a bustle of activity. Setting up barricades, uniformed OFFICERS are trying to keep NEW CREWS and curious ONLOOKERS at a distance. + +!DETECTIVE LT. MORAN + +Lean, fortyish, and comfortable with the gore in front of him, is inspecting the corpse with a MEDICAL EXAMINER. + + @EXAMINER + (studying body) + Real clean. No sawing action at all. Whatever it was did it in one swipe. + (looks up at Moran) + Like the other one. + +Moran gestures to a sword, wrapped in plastic, lying nearby. + + @MORAN + What about that? + + @EXAMINER + Hasn't any blood on it. + + @MORAN + (looking around) + About the only thing that doesn't. + + @EXAMINER + I'll give it a closer look when I get back. + +!BRENNA CARTWRIGHT + +Pretty but not beautiful, thirtyish, she exudes a sort of insolent intelligence. + +An OFFICER sees her duck under a police barricade. + + @OFFICER #3 + Come on Brenna, you know better than that. + + @BRENNA + I'm invited. + +She walks to where the medical examiner is organizing his equipment. + + @BRENNA + (greeting) + Mr. Levine... + +The examiner turns and smiles. + + @EXAMINER + Hope this isn't past your bedtime. + +Brenna looks to the now-sheeted corpse, blood flowing from where the head should be. + + @BRENNA + Doesn't have a head, does he? + + @EXAMINER + This one came unassembled. + +Lt. Moran is standing near. + + @MORAN + (no warmth) + Just show her what she came for, Tom. + + @EXAMINER + (stands, taps Brenna's arm) + Come on, this is more your line of work. + +Brenna and the examiner walk the few yards from the corpse to the sword. + + @EXAMINER + How's your uncle? I hardly ever see him anymore. + + @BRENNA + Fine. + +The examiner stops and gestures to the weapon clothed in forensic plastic. + + @EXAMINER + There you go. + +Brenna's expression changes to interest as she kneels down beside it. + + @EXAMINER + Didn't look like it came from "Toys-Are-Us", that's why I called you. + + @BRENNA + (looks up in Moran's direction) + Didn't think it was my buddy over there. + + @EXAMINER + Figured you knew more about swords than I did. + + @BRENNA + Claymore. + + @EXAMINER + Huh? + + @BRENNA + Scottish claymore. Take a French epee, add twenty pounds of ballast so it means business, and you've got a claymore. + + @EXAMINER + You're the expert. + + @BRENNA + (runs hand along hilt, slightly confused) + It's in good condition. + +!RICHARD TAUPIN + +Is being put in the rear of a patrol car. Brenna studies his face in the half-gloom. There's something different about him. + +A steadiness. + +INT. POLICE INTERROGATION ROOM #13# + +/* 13 */ + +Richard Taupin is seated at a graffitti scrawled table in a room otherwise bare of furnishings. He seems unphased by his surroundings. + +The door opens and Moran enters with bag and notebook. He picks up Taupin's wallet on the table top and checks the driver's license. + + @MORAN + This your present address? + + @TAUPIN + Yes. + + @MORAN + Mr.- + (looks at license) + Taupin, what were you doing in that alley? + + @TAUPIN + I was walking by when I heard a shout. Your men came right after. + + @MORAN + Did you know the victim? + + @TAUPIN + No. + + @MORAN + His name was Iman Fasil if that jogs your memory. + + @TAUPIN + It doesn't. + + @MORAN + He was carrying a Syrian passport and had been in the country less than a week. + +Taupin's face is stoic and controlled. + + @MORAN + Two days ago a Bulgarian national was murdered the same way. He'd also been in the country less than a week. + (beat) + What is your citizenship? + + @TAUPIN + American. + +Moran paces to a corner of the room. + + @MORAN + Do you make a habit of hanging out in that neighborhood at night? + + @TAUPIN + What are you getting at? + + @MORAN + Let's just say that in my years with this department I've seen more than one well dressed business man look for a hand job on 14th Street. + +Moran places both hands on the table and leans across it. + + @MORAN + What were _you_ looking for? + + @TAUPIN + That's none of your business. + + @MORAN + You're wrong. + +Moran reaches into a bag on the table and removes a large broad sword; old, but in mint condition. + + @MORAN + Do you know what this is? + + @TAUPIN + I presume it's a sword. + + @MORAN + A claymore to be exact. You wouldn't know anything about it would you? + + @TAUPIN + Your murder weapon? + + @MORAN + It was covered with Mr. Fasil's fingerprints, but none of his blood. + + @TAUPIN + A mystery. + + @MORAN + For the moment. + +Moran turns the sword over in his hand then sets it down. + +He rises and opens the door. + + @MORAN + All right Mr. Taupin, we'll be in touch. + +Taupin passes through the doorway without comment. + +EXT. POLICE STATION - NIGHT #14# + +/* 14 */ + +Taupin out into the crisp night air. His eyes search out the darkness. + +>DISSOLVE TO: + +EXT. CONOR'S FAMILY HUTCH - DAY #15# + +/* 15 */ + +A medieval sun beats down on an OLD TRAVELER making his way up the MacLeod home. Conor's mother, scrubbing clothes in a bucket, smiles in recognition. + + @MOTHER + Ah Steven, it is good to see you. + + @TRAVELLER + I only just heard of Conor. I came up from Catroch as soon as I could. + + @MOTHER + You're a kind man to be sure. + + @TRAVELLER + I thought it only proper to pay me last respects to the family. + + @MOTHER + Steven, Conor didn't die. + + @TRAVELLER + But I had heard his wounds were mortal. + + @MOTHER + They were Steven, they were. It's been a miracle it has. He lasted right through and healed. No one in the village has ever seen anything like it. Ever. + +EXT. MEADOW - DAY #16# + +/* 16 */ + +Perched on a heather-carpeted rise above the village a young woman, MARA, sits contemplating the intricaces of a daffodil. + +Balancing on a shepard's staff, Conor limps over and puts his lips to her ear. + + @CONOR + You're pretty today. + +Mara is silent. Distant. + + @CONOR + I'm your future husband, remember? + + @MARA + I have no future husband. + + @CONOR + I don't understand. Not a week ago your father gave us his blessing. + +This is difficult for her. Tears well in her eyes. + + @MARA + My future husband died in battle against the Sutherlands. + + @CONOR + What are you saying? I'm standing here as real as you. + + @MARA + You cannot be real, Conor. You had the last rites. No man has been cut half as bad and lived. + + @CONOR + But I did live. + + @MARA + Live? In less than a week you're prancing about the country like a squirrel. + + @CONOR + So why the crazy talk? It's a miracle it is. Saint Andrew has smiled on me. On us. + + @MARA + Some think not. + + @CONOR + Who? + + @MARA + There's rumor in the village. Some call it magic. + + @CONOR + That's mad. Surely you don't take their word? + + @MARA + I don't know, Conor. It's not natural. Maybe something has touched you. + + @CONOR + You're sounding like that mad woman, Widow Baggins. + + @MARA + Me father has taken back my hand. + +He puts a hand to her cheek. + + @CONOR + Ah, Lassie... + +She steps back. + + @MARA + Please not be touching me, Conor. + + @CONOR + I'll not take that kind of talk from you. From those others below, maybe. But not from you. + + @MARA + Leave me alone, Conor. Please. + + @CONOR + You're not talking sense, Mara! + +Anger tumbles into exasperation. + + @CONOR + I'm sorry. + +He steps for her. She moves away. Conor's face hardens with resentment. + + @CONOR + If you send me away now, Mara, I'll not come looking for you. + + @MARA + (crying) + Do what you must. + +Resigned, Conor turns and limps away. + +>DISSOLVE TO: + +INT. ANTIQUE SHOP - DAY #17# + +/* 17 */ + +Classy antiques. Unusual. Clocks, tables, chests. Small and personal. + +Richard Taupin enters and sheds his overcoat. + + @RECEPTIONIST + Mrs. Thompson agreed to settle for fifteen, Melvin's wants to make a pick-up at three o'clock, the coffee machine's broken, and there's a Miss Cartwright from the Smithsonian in your office. + +Taupin is hardly in the mood. + +INT. TAUPIN'S OFFICE #18# + +/* 18 */ + +Brenna Cartwright stands in Taupin's cluttered surroundings admiring a bagpipe set neatly on a shelf. + + @BRENNA + Do you play? + + @TAUPIN + Yes. + + @BRENNA + Very traditional. + +Taupin sits down and begins sorting through a stack of papers on his desk. + + @TAUPIN + (impatient) + Miss Cartwright, what is it I can do for you? + + @BRENNA + I'd like to ask you about the claymore. + + @TAUPIN + It's not mine. + + @BRENNA + It's quite rare you know, something so common in its time so well looked after all these years. + + @TAUPIN + Miss Cartwright, unless you have come here to sell the sword, there's very little I can help you with. Now if you will excuse me, I have a great deal of work to do. + +Brenna has taken a carving from the shelf. + + @BRENNA + Byzantine? + + @TAUPIN + Basil the II. + + @BRENNA + Charming guy, Basil. Once after beating an army of Serbians he blinded all but- + + @TAUPIN + -All but one out of a hundred, I know. All left to be led like donkeys back home. Now if you will please- + +Brenna suddenly tosses the carving at him. Taupin snatches it out of the air with lightning precision. + + @BRENNA + Good reflexes. + + @TAUPIN + Good day, Miss Cartwright. + +INT. SMITHSONIAN MUSEUM DEPARTMENT OFFICE #19# + +/* 19 */ + +A lonely, ancient room full of equal parts dust and oaken study tables. + +The department SUPERVISOR sits at his desk surrounded by a handful of his staff RESEARCHERS - Brenna included. A faded, stern portrait of some forgotten curator presides over propped up feet, cold coffee, and half eaten sack lunches. + + @BRENNA + I don't believe him. + + @SUPERVISOR + Why? + + @BRENNA + He's too cool. Too sharp. I think he's got something to do with it. + + @RESEARCHER #1 + Oh, has your penetrating research on 9th Century Lithuanian dildos suddenly made you an expert on the criminal mentality? + + @BRENNA + Screw off, Larry. + +The men, LAUGH. They delight in baiting her. + +Researcher #2 opens a Budweiser and pours the beer into a medieval mug he's borrowed from the collection. + + @RESEARCHER #2 + The cops bought it. They let him go. + + @BRENNA + What could they hold him for? I think they're just waiting for something concrete before they haul him in for real. We should look into it. He had to have gotten that sword from somewhere. + + @SUPERVISOR + Hang on a sec, you did your little favor for the boys downtown, I'm sure your uncle and the rest are perfectly capable of taking it from here. + + @BRENNA + I've seen nobleman swords that weren't as well preserved. It's just a hunk of peasant iron. Why would he be carrying it around in an alley? + + @RESEARCHER #1 + Here we go. Everytime there's a murder in town we have to put up with junior D.A. + + @RESEARCHER #2 + Must be genetic. + + @BRENNA + Someone should check him out. Maybe a collection somewhere got knocked over. He has one, he might have two. + + @SUPERVISOR + You see that desk? _Your_ desk? You see the crap piled up on it? + + @BRENNA + Give it a rest Ned, huh? + + @RESEARCHER #2 + Might be interesting to see what his family connections are. That's a hell of a piece to be just chucking around in an alley. + + @SUPERVISOR + (sighs) + I swear to God Brenna, between you and Thompson's novels I'm going to get a bloody ulcer. + +Researcher #2 lifts the mug of beer to his mouth. + +>CUT TO: + +INT. TAVERN #20# + +/* 20 */ + +An empty mug is set on the counter of a medieval drinking establishment. + +CLANSMEN, their faces and clothes smudged with a day's work in the fields, relax and enjoy the company of their fellow VILLAGERS. + +No longer requiring the use of a cane, Conor enters. + + @CONOR + (to owner) + Evening, Douglas. + + @DOUGLAS + Conor. + +The tavern goes silent. Wary. The attention is on Conor. + + @CONOR + Ale suits me. + +The owner unenthusiastically fills Conor a mug. Conor takes it and walks to where four other VILLAGERS sit. + + @TAVERN MAN #1 + We rather you not be sitting with us, Conor. + +Conor looks to the next table. + + @TAVERN MAN #2 + We be drinking alone as well. + +The entire tavern spells the same sentiments. + + @CONOR + What's wrong with you all? + +Silence. + +Angered, Conor approaches the second man. As he looms above his chair the man in genuine fear pulls out a cross and thrusts it forward. + + @TAVERN MAN #2 + Requiem acer'nam donaei- + + @CONOR + What are you doing man? + + @TAVERN MAN #2 + -Et lux perpetua- + + @CONOR + You'll not be bringing the church into this. + + @TAVERN MAN #2 + -Luceat ei- + +The weird display frightens Conor. + + @CONOR + Be quiet. + + @TAVERN MAN #2 + -Auditorium nostrum- + + @CONOR + Stop. + + @TAVERN MAN #2 + -In nomine sanctus esperitu- + + @CONOR + Stop! + +Conor HURLES his mug against the wall. + +His nerves shattered, he rushes out. + +INT. MACLEOD HUTCH #21# + +/* 21 */ + +Conor packs a satchel with his few clothes and belongings. + +He walks to the doorway where his mother and father wait. + +His mother, tears on her cheek, hugs him tightly. + + @MOTHER + Please take care of yourself. + + @CONOR + Aye. + +Conor turns to his father. + + @FATHER + I wish there was some other way. + +They clasp hands. + + @FATHER + Goodbye, Conor. + + @CONOR + Goodbye. + +Without looking back he passes through the doorway and down the empty path, his figure quickly fading in the moorish fog. + +>DISSOLVE TO: + +INT. POLICE DEPARTMENT #22# + +/* 22 */ + +The NOISY business-as-usual confusion at the Washington P.D. processing center. + +Amongst the dinge of CLANGING phones and CLACKING typewriters, a uniformed OFFICER enters something into a computer terminal. + +Brenna sits perched on a desk nearby. + + @DESK OFFICER + This is against the rules. + + @BRENNA + So's playing choo-choo with two high school cheerleaders in the middle of- + + @DESK OFFICER + -Okay okay. + + @BRENNA + You owe me. Besides, I'm cute. + +The computer returns a reply onto a printer. + + @DESK OFFICER + (tears off sheet) + Taupin, Richard Marshall. Born March 16, 1945 in Church Hill, Maryland. Received first driver permit 1967 in Philadelphia. + + @BRENNA + Church Hill, that's pretty close, isn't it? + + @DESK OFFICER + Anything in Maryland is close. + +EXT. GEORGETOWN STREET - DAY #23# + +/* 23 */ + +Taupin steps out of a Metro station and walks the few blocks to his brick townhouse. Climbing the front stairs, he fishes his keys out of a coat pocket. About to insert the key he stops, sensing something. + +Backing down the steps, Taupin slips around to the rear of the building. + +INT. TAUPIN HOME #24# + +/* 24 */ + +Like a spider Taupin pries open a window and slips silently inside. + +The home is dark and still. + +Taupin creeps down the hallway and peers into the entryway. + +There a MAN, dressed in a tuxedo jacket and nearly imperceptible in the dim light, is crouched at the front door. + +He is holding a sword. + +Taupin removes a knife from his pocket and JUMPS the intruder. + +The two STRUGGLE fiercely. + +Taupin pins the intruder against the carpet and shoves his knife firmly against the man's throat. + + @TAUPIN + Where is he? + +Bulging eyes stare at him. + + @TAUPIN + Where! + + @INTRUDER + I don't know. + + @TAUPIN + What name is he using? + +Taupin presses the blade. A trickle of blood rolls down the throat. + + @INTRUDER + Smith. Carl Smith. + + @TAUPIN + How many came? + + @INTRUDER + The last four. + + @TAUPIN + And the Bulgarian? + + @INTRUDER + He got him. + (hoarse chuckle) + He always does. Eventually. + + @TAUPIN + He knows I'm here. How? + + @INTRUDER + None of this would be happening if you hadn't run... + +The knife is pressed deeper. + + @TAUPIN + _Answer_ me. + + @INTRUDER + (gasping) + We learned he'd found the immigration notaries in Liverpool and traced them to New York. Then he figured out the birth records in Church Hill... + +EXT. RURAL HIGHWAY - DAY #25# + +/* 25 */ + +A city limit sign announcing the small community of Church Hill is overtaken by Brenna's sedan. + +EXT. ROADSIDE CAFE TELEPHONE BOOTH - DAY #26# + +/* 26 */ + +Brenna looks through a telephone book. + + @BRENNA + Taupin...Taupin... + +Nothing. She closes the book and drums her fingers on the cover. + +EXT. COUNTY RECORDS OFFICE - DAY #27# + +/* 27 */ + +An 1860s stone columned affair, far more impressive than the low-lying town that surrounds it. + +Brenna enters. + +INT. COUNTY RECORDS OFFICE #28# + +/* 28 */ + +Brenna sits sifting through a large cloth-bound book entitled _Certificates of Birth: 1941-1948_. + + @BRENNA + (reading) + Tarmin...Tatum...Taupin, Richard Marshall. Born to William and Karen Taupin, no address. Attending physician, Dr. Willis Kidell. + +INT. DR. KIDELL'S HOME #29# + +/* 29 */ + +Dr. Kidell stands at his bookcase leafing through a binder. + + @KIDELL + 1945, that strains the memory. + (after a fashion) + Here we are, Richard Taupin. + +He carries the binder to the table where Brenna sits. + + @KIDELL + Would you like more tea? + + @BRENNA + No thank you, I'm fine. + +Kidell sips his own and looks over the binder page. + + @KIDELL + He was unsual. + + @BRENNA + Why? + + @KIDELL + Well, this is a small town, and it was even smaller then. Most all the babies I delivered were from local families. Richard's parents were just passing through when his mother's time came. I did it right here at the house. + + @BRENNA + Then you didn't know Richard later on. + + @KIDELL + No. + + @BRENNA + I've been trying to find somebody who knew him and any connections his family might have had with museums or historical societies. + + @KIDELL + Don't know about any of that. Suppose nobody does. + + @BRENNA + I don't follow you. + + @KIDELL + Poor little tyke didn't have a chance. Hopelessly premature. He died a few days after he was born. + + @BRENNA + The boy _died_? + + @KIDELL + Mother too. Sad case it was. The young lady just couldn't make it through labor. Never even saw her son. + +Dr. Kidell removes from the binder a tattered newspaper clipping. + + @KIDELL + My brother worked for the town paper at the time. He took this picture of the funeral. + +Something in the clipping sparks Brenna's interest. + + @BRENNA + Have you spoken to anyone else about this? + + @KIDELL + There was this one fella. Asked a lot of questions. I was out of town but I heard he spent near a full day in the records office. + + @BRENNA + Would you remember his name? + + @KIDELL + (thinks) + Carl Smith. + +INT. POLICE STATION #30# + +/* 30 */ + +A police line-up. + +Seven MEN, all dressed in Santa Claus outfits with bare legs, are paraded for a small, old LADY. + + @OFFICER + Just tell us when you see the one. + +Several rows back in the dark sits Brenna's UNCLE JOE, the district attorney, and another man, his ASSISTANT. + + @UNCLE JOE + Forget it. + + @BRENNA + I'm just curious. + + @UNCLE JOE + You're never "just curious". + (to assistant) + You've met my neice, Brenna. + + @ASSISTANT + Hi Brenna. + + @OFFICER + (to line-up) + Number 5, lift your coat up more. + + @UNCLE JOE + Aren't you getting a little old for this? You flunked out of law school. + + @BRENNA + (rolls her eyes) + Now there's a new topic. + + @UNCLE JOE + Don't they have enough for you to do at the castle? + +Brenna puts on her best little-girl angelic smile, a smile her uncle can never refuse. + + @UNCLE JOE + (sighs) + Forgers do it all the time. They take the birth certificate of someone who died young and use it to get legit I.D. Usually they carry it long enough to pass some bad checks then dump it. + + @BRENNA + Thanks. + + @UNCLE JOE + Call your mother. You never call her. + + @OFFICER + (to old lady) + Well? + + @OLD LADY + I don't know. I'd have to see his thing. + +INT. BRENNA'S BEDROOM - NIGHT #31# + +/* 31 */ + +A swath of moonlight shines in across a carafe-turned-vase, a New England college diploma, and a police uniform hanging from the bedpost where Brenna lies with another man, DENNIS. + + @BRENNA + I can't figure out why he's doing it. He's been Richard Taupin at least since 1967. And the guys rich. You should see the stuff he has in that shop. + + @DENNIS + Maybe he's hiding from something. + + @BRENNA + Some guy named Smith was asking about him in Church Hill. I passed his name around with your buddies downtown but they drew a blank. So he isn't a cop. District anyway. + +Dennis gets out of bed and begins putting on his uniform. + + @DENNIS + Probably just some exec ducking an ex-wife. + + @BRENNA + Dr. Kidell had a picture in his file of the funeral. The father looked just like Richard. Even had a mark on his cheek. + + @DENNIS + How old is Richard? + + @BRENNA + P.D. says 41, but he barely looks 30. + + @DENNIS + Find the father. That should clear things up. + +He buttons his shirt. Something occurs to him. + + @DENNIS + Taupin, isn't that the guy Moran picked up the other night? + + @BRENNA + Yeah. + + @DENNIS + He'd want to know about all this. + + @BRENNA + Mr. Congeniality? Let him find his own clues. There's a journal article in this somewhere. + + @DENNIS + (shakes head) + Uncle Joey's little girl. Can't get the taste out of her mouth. + +Dennis puts on his police cap. + + @DENNIS + Well, the cream of society awaits. + (cocks hat to one side) + If you're ever in the neighborhood... + + @BRENNA + Sure. + +EXT. RIVER EMBANKMENT - NIGHT #32# + +/* 32 */ + +POLICE OFFICERS, their flashlights cutting the darkness, search the mud shores of a Potomac tidal basin. The glowing Jefferson Memorial can be seen in the distance. + +!DETECTIVE MORAN + +Is supervising. An OFFICER climbs up the embankment to him. + + @OFFICER + They found it. + +The officer leads him down to the river where a headless BODY wearing a tuxedo jacket is being put into a plastic bag. + + @OFFICER + It was about fifty yards downstream from the head. + +Moran looks down at the body bag, its dark plastic reflecting the rythmic rotation of squad car beacons. + + @OFFICER + Both were cut real clean. Like the other ones... + +EXT. EQUESTRIAN RIDING GROUNDS - DAY #33# + +/* 33 */ + +A steeple-chase course lies shrouded in an Arlington fog. + +Across the damp grass a lone horse, heaving clouds of warm breath, leaps gracefully over a hurdle. Driving the steed hard through the course, Taupin pulls firm on the reins, bringing horse and rider to a shuddering stop where Detective Moran waits. + + @MORAN + There's been another murder. + +Taupin lifts his eyes to the suburban treeline. + + @TAUPIN + My condolences. + + @MORAN + Where were you Tuesday night? + + @TAUPIN + Home. + + @MORAN + A neighbor saw your car leave. + + @TAUPIN + He's mistaken. + +Taupin climbs down from his horse. Moran moves close. + + @MORAN + Look, I don't know what the hell you're up to, but I think I've got a pretty good idea. + + @TAUPIN + Do you? + + @MORAN + All I need is time. + + @TAUPIN + I've got all the time in the world. + (looks at watch) + Except right now. If you will excuse me, Lieutenant. + +In no hurry, Taupin leads his horse away. + +INT. MUSEUM RESEARCH DEPARTMENT #34# + +/* 34 */ + +Brenna sits surrounded by books of old English law, colorful family banner plates, and a medieval caltrap sitting on her desk corner. + +Boring quickly, she shuts the book and sighs. From another folder she pulls out a computer sheet. + +!INSERT COMPUTER SHEET + +The police sheet has Taupin's name and motor vehicle record. + +Below are listed four WILLIAM TAUPINS, their hometowns and driving records. Richard Taupin's first driver permit was in 1967. + +Brenna looks down the list to a WILLIAM TAUPIN of Felton, Delaware, who stopped filling for driver permits in 1967, the year Richard started. + +EXT. GAS STATION - DAY #35# + +/* 35 */ + +Dropping a couple of quarters into a vending machine, Brenna removes and opens up a map of the State of Delaware. + +EXT. GRAVEYARD - DAY #36# + +/* 36 */ + +Brenna steps out of her car at a small town cemetary. + +Holding a slip of paper, she weaves her way through the shade covered tombs of revolutionary heroes and their descendants. + +On a small rise fresh dirt lies in careless piles around an open grave. + +Richard Taupin stands at the mouth of the pit. + +A coffin has been brutally pulled from the dirt and lies open and propped diagonally beside a marker that reads: "WILLIAM MICHAEL TAUPIN". + +The casket is empty. + + @BRENNA + Someone beat you. + + @TAUPIN + Have you taken to touring small town cemetaries, Miss Cartwright? + + @BRENNA + Grave robbers? + + @TAUPIN + Probably. + + @BRENNA + Who? + + @TAUPIN + People like that rarely leave business cards. + + @BRENNA + Does Carl Smith? + +A flash of interest, quickly suppressed. + + @TAUPIN + I don't know what you're talking about. + + @BRENNA + I think you do. Better yet, I don't think anything was stolen because nothing was there in the first place. And I think Mr. Smith, whoever he is, now knows that. + + @TAUPIN + You have an active imagination. + + @BRENNA + I've been to Church Hill. + + @TAUPIN + Miss Cartwright, you are involving yourself in matters that do not concern you. I strongly suggest you return to Washington and stay out of small town cemetaries. + +He starts for the gate. + + @BRENNA + I could find him. + +Taupin stops. + + @BRENNA + I have friends. + + @TAUPIN + I doubt that. + (beat) + Good day, Miss Cartwright. + +He walks on. + +After only a few paces Taupin suddenly shudders to an abrupt stop. + + @BRENNA + What's wrong? + +He holds up an open palm to silence her. + + @TAUPIN + Your help may be unneccessary. + +The air is still. + +Taupin's face is expressionless. He listens intently. Sensing. + +An unseen voice rides seemingly on the wind. + + @VOICE + (o.s.) + Good afternoon, "Mr. Taupin". + +Taupin whirls around to see a large man standing with broad sword in hand. We have never seen the knight out of his armor before, but this man certainly seems to fit the bill. Wearing Levis and leather jacket in contrast to Taupin's expensive business suit, he speaks with icy evenness from a face of stone. + +Taupin, naked without his own sword, is trapped against a marble wall. + + @KNIGHT + Long time. + + @TAUPIN + Not so long. + +The Knight is closing in on him, sword gripped in both hands. + + @TAUPIN + You've been here from the start. + + @KNIGHT + My quarry grows clever with age. And the others, incompetent. + +The Knight throws Brenna a glance. + + @KNIGHT + Friend of yours? + + @TAUPIN + Of sorts. + + @KNIGHT + I do hope she enjoys a good show. + +The Knight leans his whole body into a two-fisted swing, clanging out a chunk of marble as Taupin ducks. + +A second swipe also imbeds itself in stone. + + @KNIGHT + So now it ends. + +A thrust cuts only air. + + @KNIGHT + Generation upon generation. Tens of thousands of miles. + +Taupin leaps behind a tree. The Knight cuts it nearly in half. + + @KNIGHT + You're the last, MacLeod. Romirez, Lacroux, Neuvich, those fools that followed me, their heads all line my shelf. All but yours. + +Taupin drops to the ground in a shoulder roll to avoid a swipe. + + @KNIGHT + Can you feel it, MacLeod? Can you _feel_ it! + +Taupin grabs a tree branch and raps the Knight on the knee, knocking him over. + +The Knight quickly rights himself and cuts the branch from Taupin. + + @KNIGHT + There can be but one. + +He raises his blade. + +An elderly WATCHMAN, shotgun cradled in his arms, stands in the clearing. + + @WATCHMAN + Hey! What's going on here? + +The Knight pauses a split second then with decision launches his sword spear-style firmly into the watchman's chest. + +Taupin pushes past him to Brenna. + + @TAUPIN + Run! + +Brenna is frozen in shock. + +Taupin shoves her roughly toward the gate. + + @TAUPIN + Run! + + @KNIGHT + MACLEOD! + +The Knight retrieves his sword from the watchman's body and lumbers after them. + +Taupin and Brenna bolt from the cemetary and into the surrounding residential area. + +EXT. RESIDENTIAL STREET - DAY #37# + +/* 37 */ + +Taupin leads an exhausted Brenna in a gallop down the sidewalk. + +They have apparently lost the Knight. Taupin pauses at a corner. He sees a church across the street. + +INT. CHURCH #38# + +/* 38 */ + +Brenna enters and collapses into a pew, her labored breathing echoing off the high ceiling. + +Taupin walks the length of an aisle to see that they are alone. + +Satisfied, he leans against a banister and considers his situation. + +Trying to recover her wind, Brenna has her eyes closed and head against the back of the pew. + + @BRENNA + Jesus Christ. + + @TAUPIN + You'll be safe here. He won't kill in a church. + + @BRENNA + Why not? + + @TAUPIN + (distracted) + Tradition. + + @BRENNA + What the hell is going on? + +Taupin stares out the window, stained glass shining orange on his face. He looks at Brenna briefly, then passes through the Church's doorway without a word. + +>DISSOLVE TO: + +INT. MEDIEVAL BLACKSMITH SHOP #39# + +/* 39 */ + +A glowing horseshoe HISSES wildly as it slips into a wooden cooling bucket. Pulling it out with iron tongs, Conor lays it on a counter and pounds it even with a mallet. + +Sweaty and streaked with dirt, he tosses the mallet aside and walks out into the late afternoon sunshine. + +EXT. SHOP FRONTAGE - DAY #40# + +/* 40 */ + +Conor leans over a water barrel and dunks his head and arms, cleaning off a day's worth of sweat and grime. + +!JUAN ROMIREZ + +Stirring up dust with his travelling boots, this Spanish accented man stops at Conor's shop. He wears a large broad sword strapped to his waist. + + @CONOR + Afternoon. + + @ROMIREZ + Your name is Conor? + + @CONOR + Aye. + + @ROMIREZ + (bows slightly) + Juan Cid Romirez. Chief surveyor and alchemist. + + @CONOR + (notices accent) + You're not from these parts. + + @ROMIREZ + I am from Spain. And I would like a moment of your time. + +INT. CONOR'S HOME #41# + +/* 41 */ + +Romirez is seated at a table. His back to the Spaniard, Conor is preparing some food. + + @CONOR + I haven't much to offer, Mr. Romirez from Spain, but you're welcome to what's here. + + @ROMIREZ + Please go to no trouble. + +Romirez is looking at the faint, pale hint of a scar that runs from Conor's shoulder blade to his waist. + + @ROMIREZ + Your back, it would seem perhaps you were injured in battle? + + @CONOR + Five years past me clan fought another over something I cannot even remember. + + @ROMIREZ + Your marks would suggest great injury. + + @CONOR + I was nearly killed. + + @ROMIREZ + But you lived. + +Conor looks up from his work in pained memory. + + @CONOR + I did at that. + + @ROMIREZ + And but for a mark you are well as any man, no? + + @CONOR + Aye. + + @ROMIREZ + I should imagine that your recovery must have alarmed your fellow villagers, perhaps giving them reason to invent an explanation. And a solution. + +Something isn't right. + +Conor turns and faces him. + + @CONOR + I was driven out. + + @ROMIREZ + And now you live in a small village miles away from all you knew. + + @CONOR + How can you know this? + + @ROMIREZ + (tone lightens) + First food, no? A good meal makes conversation so much easier. + +Stunned with the implications of what Romirez has said, like a robot Conor serves the meal. His eyes never leave Romirez, who digs hungrily into the food. + + @ROMIREZ + Hmm, que rico. What is it you call this? + + @CONOR + Pheasant. + + @ROMIREZ + You Scots have a way with game. It still has life in it. Spirit. Back home the food is so...domestic. + + @CONOR + Why are you here? + + @ROMIREZ + I was sent by his majesty of Spain to Inverness as a consultant on matters of metal. + + @CONOR + You're a long way from Inverness. + + @ROMIREZ + In my travels I heard the story of the MacLeod boy struck down and brought from the hand of death by powers not of this Earth. + + @CONOR + You know me home. Me name. + + @ROMIREZ + It was time for our paths to cross. + +Romirez pulls back the sleeve on his cloak. + + @ROMIREZ + You see this? + +He traces some discoloration on his arm. + + @ROMIREZ + When I was a boy a cart driven by a drunken fool crushed me. All thought I would die or be maimed for life. But I healed quickly. And like you I paid the price for being different. + + @CONOR + You are the same? + + @ROMIREZ + Do you ever feel a flow, as if something were pushing against you? + + @CONOR + Yes. Always. + + @ROMIREZ + Does it change with me in the room? + + @CONOR + It is less. + + @ROMIREZ + You feel you know me. + + @CONOR + I don't know why. + + @ROMIREZ + We are brothers. + +EXT. VILLAGE - NIGHT #42# + +Romirez and Conor walk alone amongst torch-lit hutches. + + @CONOR + He told me there could be only one. + + @ROMIREZ + Some cling to sanity through time with the one continuity and tradition their lives have known: The Game. + (Conor confused) + You and I Conor, we are different from all others around us. You know this, you can feel it. We are flesh and bone like any man, but unlike our neighbors we are rather difficult to injure, + (looks away) + permanently. + + @CONOR + I don't understand. + + @ROMIREZ + You are still so very young. + + @CONOR + I'm twenty-two. + + @ROMIREZ + (shakes head) + Not even a single lifetime. + +Romirez chooses his words very carefully. + + @ROMIREZ + Conor, you and I, we cannot be killed. + + @CONOR + What? + + @ROMIREZ + We are immortal. + +Stunned, Conor backs away from Romirez. + + @CONOR + No, that can't be. + +Romirez grasps Conor's shoulder. + + @ROMIREZ + It is as you are. + + @CONOR + (pushes away) + No! + +This is all too much for Conor. + + @ROMIREZ + Listen to me. Hear the words. + + @CONOR + This is madness! + + @ROMIREZ + It is the truth. + + @CONOR + No! + +Romirez suddenly draws his sword and thrusts it into Conor's heart. The boy's mouth drops open in shocked terror as his eyes roll up into his head. + +A shudder, then Conor slides off the blade and crashes to the ground. + +>DISSOLVE TO: + +EXT. POLICE STATION - DAY #43# + +/* 43 */ + +Brenna stops her car in front of the Washington Police Department. Getting out of her car she climbs the stairs but stops. + +After a moment of indecision she changes her mind and returns to her car. + +INT. BRENNA'S APARTMENT - DAY #44# + +/* 44 */ + +Brenna lowers herself wearily into a chair, rubs her eyes, and stares absently out the window. + +Reaching across to an end table, she plays back her answering machine. + +Beep. + + @MALE VOICE + This is Dr. Wickland at GWU. Your test came back today. You can call me here at the med center if you have any questions. + +Click. + +Beep. + + @SUPERVISOR'S VOICE + Brenna, where the hell are you? The place is full of cops asking weird questions. What's going on? I've got work stacking up. Get in here right away. + +Brenna stands and goes to the kitchen, returning with a glass of wine. + +Click. + +Beep. + + @KNIGHT'S VOICE + Brenna. + +She freezes in her tracks. + + @KNIGHT'S VOICE + My quarrel is not with you. Meet me. + +Brenna's eyes are glued on the machine. + + @KNIGHT'S VOICE + We have much to talk of, you and I. Answers for the young historian. + (beat) + O'Reily's. Tonight. I've grown to like taverns. + +Click. + +Beep. + + @SEVERAL LITTLE GIRLS + (singing) + ~Happy birthday to you, happy birthday to you, happy birthday dear Brenna, happy birthday to you. + +Brenna is still upset from the last call. + + @MOTHER'S VOICE + Hi Brenna, it's mom. Me and your neices just wanted to call and wish you a happy birthday. Crissy made a real cute card for you, be sure to call her. Will you be home for Easter? Call when you can. Love you. + +Click. + +Hiss. + +>DISSOLVE TO: + +INT. CONOR'S HOME - DAY #45.# + +/* 45 */ + +This HISS of Brenna's answering machine becomes the HISS of cooking. Bandaged about the chest, Conor asleep on his cot. + +Suddenly he sits up. Sweating. He looks about the room in confusion as Romirez enters with a plate of food. + + @ROMIREZ + Three days you've laid there. It's time you ate. + + @CONOR + (dazed) + This can't be. + + @ROMIREZ + You are not dead, boy. Accept it. + + @CONOR + This is monstrous. I'll burn in hell for all eternity. + + @ROMIREZ + You'd have to die first. + (extends forkful of food) + Aqui. + +Conor starts CRYING. + + @CONOR + What is to become of me? Am I to wander the Earth forever like a ghost? + + @ROMIREZ + You will live. Survive. + + @CONOR + Then they were right. I am evil. This is God's punishment. + + @ROMIREZ + You have done nothing wrong Conor MacLeod. + + @CONOR + Oh my God. Oh my God I'm lost. + +>DISSOLVE TO: + +EXT. CONOR'S VILLAGE - DAY #46# + +/* 46 */ + +Two days later. + +Nearly healed, Conor and Romirez stand near a quietly moving stream. + + @CONOR + Why does he want to kill me? + + @ROMIREZ + You recall how I spoke of the push you feel and how I make it less? + + @CONOR + Aye. + + @ROMIREZ + It is always less with my living. Far or near. But if I were to die the push would become stronger than ever before. There is power in this. And as long as you and I live, The Knight can never have it all. + + @CONOR + But we cannot be killed. + + @ROMIREZ + There is an imperfection. For all your healing, if your head ever leaves your neck, you are dead. You can survive anything but steel against your threat. Then it is over. The end. + + @CONOR + How can I stop such a man? + + @ROMIREZ + Hide. Run to the ends of the Earth till you learn. You must learn to defend yourself. In this I can help. + + @CONOR + Why? + + @ROMIREZ + We are brothers. And you are a defense- + (beat) + -of sorts. + +EXT. PENNSYLVANIA FARMHOUSE - DAY #47# + +/* 47 */ + +An old man, MR. NORTH, leads Taupin up the drive of a rural farmhouse somewhere in the hinterland of Pennsylvania. + + @MR. NORTH + When your father died I saw to it that the grounds were kept up. + + @TAUPIN + The money in the estate was enough to cover your costs? + + @MR. NORTH + Oh yes, more than enough. + +INT. FARMHOUSE #48# + +/* 48 */ + +Furniture clad in white sheets. Dust everywhere. + + @MR. NORTH + Most of the furniture was put into protective storage. I'll have some boys come up and clean the place out for you. + +Taupin drags a finger across a dusty window pane. + + @MR. NORTH + (fascinated) + You're one of William's kids, huh? + + @TAUPIN + His only kid. + + @MR. NORTH + Sure take after him. Never seen a father and son look more alike. + + @TAUPIN + We were very close. + + @MR. NORTH + The resemblance is amazing. + + @TAUPIN + When may I expect the cleaners? + + @MR. NORTH + I'll send them right up. + +INT. "O'REILY'S" - NIGHT #49# + +/* 49 */ + +Coupled strangers gyrate under colored lights and recorded music. + +Brenna sits alone. Whatever nervousness she brought through the door with her has been turned into a comfortable cynicism by the three empty glasses in front of her. + +!A MAN + +With something less than perfect coordination, sits down beside her. + + @MAN + That stuff'll put you away if you're not careful. + + @BRENNA + There was a Count. Count Dusan. He would invite the local peasants to his chateau, fill them full of wine, then slice their bellies so he could reuse it. + (smiles) + The symmetry of that somehow always appealed to me. + + @MAN + You're very macabre. + + @BRENNA + It's my birthday. + + @MAN + Happy birthday. + + @BRENNA + Thanks. + +Brenna drains her glass and sets it down with a sigh. + + @BRENNA + Buy a birthday girl a drink? + +INT. PUB - NIGHT #50# + +/* 50 */ + +A small neighborhood tavern. Regulars chat amicably with the BARTENDER-OWNER. + +!TAUPIN + +Sits alone at a corner table. A WAITRESS hovers over him. + + @TAUPIN + Lager and lime. + +!LATER + +Taupin's lager is drained. Lost in thought, he drags a finger around and around the lip of the mug. + +He hand stops. It twitches. Shakes. + +Taupin pulls his hand from the glass and watches it shake slightly out of control. A warning. + +He WHIRLS around suddenly to see LING KAHN, Asian, standing over him. + + @KAHN + MacLeod. + +Taupin is anxious, poised for attack. + +Kahn breaks into a broad smile. + + @KAHN + Spare a chair? + + @TAUPIN + Kahn? + + @KAHN + Are you going to offer me a chair or leave me standing here all night? + + @TAUPIN + Sit. + +Kahn takes his place across the table. + + @TAUPIN + (unsure) + How are you? + + @KAHN + Head still secure to the neck. + + @TAUPIN + How did you find me? + + @KAHN + How many places this side of the Atlantic serve lager and lime? + +Taupin looks to his own glass. + + @KAHN + Old habits die hard. + (to waitress) + Waitress! A round of Nitzhic! + (beat) + Peasant drool, I know. But it's the closest thing they stock to my side of the fence. + + @TAUPIN + What are you doing here? + + @KAHN + It is the gathering, my friend. The settling of old scores. + +Taupin tenses. + + @TAUPIN + And have you something to settle with me? + + @KAHN + (smiles) + Not tonight. Tonight I have a drink with an old friend. + + @TAUPIN + It's good to see you, Kahn. + +The waitress sets down two glasses. + + @KAHN + Come, toast with me the past. + (raises glass) + To old conquests, old loves, and to a time when we cared about either. + +Kahn drains his glass. + + @KAHN + Waitress! + +EXT. THE WASHINGTON MALL - NIGHT #51# + +/* 51 */ + +Kahn and Taupin sit drunkedly on the marble steps of a closed government building. + + @KAHN + I'll never forget the look on that Papal commander's face when his "heretic stronghold" turned out to be a rock full of whores climbing all over Neuvich. + + @TAUPIN + Neuvich, the clown of the crusades. + + @KAHN + But then rides up Pope Pius who calmly brushes the dust from his papal cross, climbs off his papal horse, draws his papal sword and asks just what the hell is going on. And what did Neuvich, dear dear drunken Neuvich do? + + @TAUPIN + Offered the Pope one of his whores. + +They LAUGH. + +A JOGGER stops on the gravel and listens to the strange conversation. + + @TAUPIN + Had a great swing with his blade. For a Pope. + + @KAHN + (sighs) + Good times then. A man could stretch his legs without bringing half the world down around his ears. Not like now. + +The jogger shakes his head and runs on. + + @TAUPIN + (serious) + He found us even there. + + @KAHN + He always did. + +EXT. ZOO - NIGHT #52# + +/* 52 */ + +A CLINKING of chain link as Taupin and Kahn climb a fence and tumble into the Washington Zoo. + + @TAUPIN + I haven't drunk this much since- + + @KAHN + -Since you last saw me. + +Kahn chucks an empty wine bottle. An unspecified animal GROWLS sleepily somewhere in the darkness. + + @KAHN + Come on. + +EXT. DISPLAY AREA - NIGHT #53# + +/* 53 */ + +Taupin and Kahn stumble through an open-air display of Asian animals. Their VOICES seem to echo everywhere. + + @KAHN + I love zoos. Ever since I was a kid. + + @TAUPIN + You were never a kid. + +Kahn leans on the wall of a water buffalo pen. + + @KAHN + (points at one) + I knew his great-grandfather. + + @TAUPIN + You're insane. + + @KAHN + No, seriously. We used to shoot pool together in Rangoon. + + @TAUPIN + How do you do it, Kahn? How do you live so full of life for so long? + + @KAHN + Tasting and enjoying life is the only thing of value we have. All else is just marking time. + (beat) + You're marking time. + + @TAUPIN + I've had a few more concerns. + +Kahn jams his hands into his overcoat and starts down the footpath. + + @KAHN + The pressure only comes when you let the taste slip into your mouth. + + @TAUPIN + You're wrong. + + @KAHN + You don't run as hard, MacLeod. You just don't run as hard anymore. + +INT. O'REILY'S - NIGHT #54# + +/* 54 */ + +Late. The bar is nearly empty. + +No sign of the Knight. Brenna looks at her watch, sighs, and drops a bill onto the counter. + +EXT. STREET - NIGHT #55# + +/* 55 */ + +Brenna has left the bar and is now walking down a dimly lit street. + +She hears something and turns. + +-Nothing. A breeze rustles the trees above. + +After only a few more paces she hears something again. + +Brenna abruptly turns. + +-Right into the face of THE KNIGHT. + +Brenna SCREAMS. The Knight reaches into his leather carrying bag. + +!A GROUP OF NOISY TEENAGERS + +Exit a facing townhouse. The Knight removes his hand from the bag as they spill onto the sidewalk LAUGHING and YELLING. + +Brenna moves close to the group as they walk to the corner. + +The Knight follows at a measured distance. + +At the corner the teenagers climb into a pickup and drive off. + +Brenna bolts into the intersection. Weaving through SCREECHING brakes, she disappears into a pair of lighted glass doors. + +INT. BUILDING #56# + +/* 56 */ + +40 well dressed PATRONS, numbered cards pinned to their lapels, sit in velvetly plush surroundings. At the front of the room stands a thin moustached art AUCTIONEER. + +Brenna BUSTLES in from outside. + + @AUCTIONEER + I apoligize for the lateness of the hour, but I'm sure you will all agree the quality of this year's collection is well worth the time. + +The Knight BURSTS in with his leather carrying bag. Brenna slides along the draped back wall to avoid him. + + @AUCTIONEER + (holding statuette) + For this fine example of medieval religious art, let us open the bid at 4,000 dollars. + +The Knight closes in on Brenna casually, without hurry. + + @AUCTIONEER + 10,500 once, 10,500 twice... + +Brenna raises her arm to attract the attention of a SECURITY GUARD.. + + @AUCTIONEER + (points at Brenna) + 11,000. A bid at 11,000. + + @BRENNA + No, I- + +The guard notices she has no lapel number and starts for her very officially. + +Being closed in on from both sides, Brenna suddenly runs across the room to a fire exit, setting off an ALARM as she flies open the door. + +The Knight leaps after her, knocking over an OLD WOMAN in the front row. + +EXT. BUILDING - NIGHT #57# + +/* 57 */ + +Brenna runs the sidewalk and disappears into a Metro station. + +INT. METRO STATION #58# + +/* 58 */ + +Brenna runs down the platform and jumps into a subway car just as the doors shut. + +!THE KNIGHT + +is also now on the platform but can only watch Brenna through a window as the train pulls away. + +EXT. TAUPIN'S TOWNHOUSE - DAY #59# + +/* 59 */ + +Brenna KNOCKS at the front door. No answer. + +She KNOCKS harder. The unlatched door pushes open. + +INT. TOWNHOUSE #60# + +/* 60 */ + +Brenna stands in the doorway. + +Before her is a disaster. Furniture has been smashed like matchsticks. A desk drawer's contents lie strewn in piles on the floor. + +Brenna enters slowly. + + @BRENNA + Mr. Taupin? I have to talk to you. + +Nothing has been left unturned or unbroken. + +Brenna kneels and sifts through a pile of crumpled papers. + +She comes across an old black and white photograph. Badly streaked and faded, it shows Taupin standing beside a farmhouse. Written in the corner is "Worstick, 1928". + +Brenna slips the photo into her pocket. Standing, she turns smack into Taupin. + + @TAUPIN + Finished? + +He looks past her to the destruction of his living room. It doesn't seem to surprise him. + + @BRENNA + He tried to kill me last night. + + @TAUPIN + Where? + + @BRENNA + Dupont Circle. + +Taupin sifts through the debris, selecting articles from it. + + @BRENNA + Who is he? + + @TAUPIN + At the moment? Carl Smith. + + @BRENNA + And you? + +He ignores the question. + + @BRENNA + What will you do now? + + @TAUPIN + You needn't worry Miss Cartwright. I've been at this a very long time. + + @BRENNA + He called you "MacLeod". + + @TAUPIN + Not your concern. + + @BRENNA + I left a man dead in Felton. But you don't really care, do you? + + @TAUPIN + That bothers you? + + @BRENNA + He was innocent. + + @TAUPIN + He's dead. Whatever I may or may not feel means exceedingly little to him now. + + @BRENNA + What about me? + + @TAUPIN + You? + + @BRENNA + I'm a witness to a murder. That seems to put me pretty high on your friend's chop list. + + @TAUPIN + Have you gone to the police? + + @BRENNA + No. + + @TAUPIN + Why not? I'm sure they'd love to hear your story. + + @BRENNA + I'd rather hear yours. + + @TAUPIN + (beat) + You are being foolish. + + @BRENNA + I'm a historian, Mr. Taupin. Only once in a lifetime do you stare history in the face. + + @TAUPIN + Go home. + +He walks to the doorway. + + @BRENNA + Why does he want to kill you? + +Taupin stops, his back to her. + + @TAUPIN + He sees me as a threat. + + @BRENNA + Are you? + +Taupin walks out the door. + +>DISSOLVE TO: + +EXT. GRASSY KNOLL - DAY #61# + +/* 61 */ + +On a clear rise above the village Romirez and Conor spar with swords covered in heavy cloth. Conor is having difficulty. + + @ROMIREZ + Concentrate! + +Conor thrusts. Romirez blocks. + + @ROMIREZ + Harder. Concentrate harder. + + @CONOR + Me arm hurts. + + @ROMIREZ + Again. Try again. + +Conor strikes. Romirez easily blocks. + + @ROMIREZ + Harder! You swing like an impotent cow! + + @CONOR + Go to hell. + + @ROMIREZ + Oh, the boy has a mouth, now if only he had an arm. + +Ticked off, Conor leans himself into a two-fisted swing. + +Romirez knocks it aside, but Conor recovers faster than he, knocking Romirez flat on his back. + + @CONOR + Impotent cow. + + @ROMIREZ + Muy Bien! + +Conor drops the sword and wipes the sweat from his face. + +Romirez pours wine from a leather bag into a goblet pulled from his belt. He offers it to Conor. + + @ROMIREZ + Here my boy, from vineyards as sweet and smooth as a young girl's thigh. + +Conor accepts the cup. Romirez pulls himself to his feet. + + @ROMIREZ + It will take less effort as you learn. + + @CONOR + It's like to kill me first. + +Romirez puts his arm around Conor and refills his cup. + + @ROMIREZ + You have a gift. One you must protect. + + @CONOR + And what is this great gift that cannot be seen or smelt? + + @ROMIREZ + The Fabric of life. The spark that allows the passing of existence from one generation to another. + + @CONOR + (shakes head) + If that was meant to be an explanation Mr. Romirez from Spain, I'm afraid you've failed. + +Romirez put his arm around Conor and leads him away. + + @ROMIREZ + Come. Enough sword play for an afternoon. + +EXT. COUNTRYSIDE - DAY #62# + +/* 62 */ + +A friendly horse race. Their reflections bouncing off a clear glen, Conor and Romirez dodge moss-laiden ruts and leap fallen tree trunks. + +Beaming, Conor pushes through a last turn and stops to wait for Romirez, several lengths behind. + + @CONOR + (as Romirez rides up) + You're no match for Scot, Mr. Romirez. We're raised as riders. + + @ROMIREZ + Point conceeded, Mr. MacLeod. + +Both their eyes turn to the beauty in view. Romirez pulls a leaf from a tree and studies it closely. + + @CONOR + What is the fascination? It is only a leaf. + + @ROMIREZ + All living things pay dues, Conor. They must be respected for that. + +He pulls the leaf's points from the stalk, one by one. + + @ROMIREZ + As they age they contribute to a sum that is the kindling from which all future life comes. To feel it, to know it, is to be in touch with the will of every living thing. + + @CONOR + I do not think I like the sound of that. + + @ROMIREZ + It does not feel nearly as frightening as it sounds. But the consequences of such feelings can be very frightening. For it gives you great strength. The strength of _knowledge_. The ability to stand between the giving of what has always been to what will always be. + + @CONOR + I feel hardly nothing. + + @ROMIREZ + You have not been fully trained. But you will learn. And you will be good, I can feel that. You have aptitude. This is why our friend is so concerned. + + @CONOR + But why be so concerned about me? + + @ROMIREZ + This power is divided amongst you, me, and others like cuts in a pie. But the cuts are not equal. Some, like you and he, have more. Much more. + + @CONOR + And you? + + @ROMIREZ + I am a small player. But if by helping you I can keep that monster from being the last, then perhaps my life has meant something. + + @CONOR + I am not ready for this. + + @ROMIREZ + You must be. You have responsibilities. You must learn the rules. You can never attract attention to yourself, never show the side that will draw others to you. You will always know when you are in the presence of another. Beware. But more importantly Conor MacLeod, will be your battle against time. In the coming years you will see kingdoms rise then rot like wheat. People will become a transitory, pathetic lot. The only constant you will know will be the others and the tradition their greed and quest represent. But life without morality, without the ability to truly taste the sweetness of wine and love, is no life at all. That is how the others exist. Nothing more than walking corpses living only to slaughter each other in an insane quest to be the last. Keep your soul sewed to the earth. Do not become one of them. + + @CONOR + Of course. + + @ROMIREZ + You are young, inexperienced. You do not know what time can do. How it can sap all pity, all love. + + @CONOR + That is not me. + + @ROMIREZ + With the proper tools, Conor, a naive man can be much more dangerous than an evil one. + + @VILLAGER + Conor! + +A VILLAGER approaches from across the pasture. + + @CONOR + Yes, Darin. + + @VILLAGER + Hate to be bothering you like this, but me mare threw a shoe. + +Conor looks to Romirez. + + @ROMIREZ + Go ahead, Senor. + (gestures to wine) + I have my friend to keep me company. + + @CONOR + I'll be back when I can. + +Conor sets off across the pasture. + +INT. CONOR'S HOME #64# + +/* 64 */ + +Romirez enters and flops onto a cot. + +Settling down for a nap, he sets his sword beneath the bed and closes his eyes to the distant sound of CHILDREN playing. + +The room is still. + +Romirez begins to drowse. + +Suddenly his eyes leap open with full alertness. + +His hand moves under the cot. + +With an EXPLOSION the front door is lifted from its hinges and splintered into fragments. Passing through a cloud of sawdust enters the Knight. Without pause he topples a kitchen shelf onto a supine Romirez. + + @KNIGHT + Romirez. What a surprise. + +Romirez is struggling under the debris. + +The Knight thrusts hard onto an exposed leg. + +The limb is severed. + + @ROMIREZ + Madonna! + +The Knight begins casting aside the shelving. + +With lightning speed Romirez pulls the sword from beneath the bed and hammers it deep into the Knight's side. + + @KNIGHT + Bastard! + +He crashes back against the wall. + +Romirez tries to lift himself from the bed using his sword as a crutch. + +The Knight has regained a meager balance on his knees. + +Blood pours from the slice in his stomach, Romirez pushes himself across the bed, plants his sword into the floor and hobbles a few paces before collapsing. + + @ROMIREZ + Oh, Santa Maria! + +The Knight crawls across the bed and drops to his knees beside Romirez. + + @KNIGHT + Why run? + + @ROMIREZ + Demonio! + +The Knight's trembling hands raise his shaking sword high. + + @KNIGHT + To hell with you. + +EXT. BARNYARD - DAY #65# + +/* 65 */ + +Conor pounds at a horseshoe. + +The hammer slips from his grasp as he slumps forward as if pushed. + +EXT. CONOR'S HOME - DAY #66# + +/* 66 */ + +Badly wounded, the Knight staggers through the shattered doorway and tumbles into the street. + +!A CHILD SCREAMS. + +Pulling himself up, the Knight hobbles away. + +EXT. - DAY #67# + +/* 67 */ + +Conor is running through the village. + +INT. CONOR'S HOME #67# + +/* 67 */ + +Conor rushes in and shudders to a stop. + +An entire wall is showered with blood. + +Conor walks slowly forward. Dazed. + +As he looks down something takes his attention. + +It is Romirez's severed head. + +Conor moans in anguish and drops to his knees on the blood-stained floor. + +His head sinks to his chest as he begins sobbing. + +>DISSOLVE TO: + +INT. MUSEUM RESEARCH LIBRARY #68# + +/* 68 */ + +Somewhere in the bowels of the museum, the RESEARCH LIBRARIAN, a wiry young man, sits at his cluttered desk. + +Brenna looms above him. + + @LIBRARIAN + Come on Brenna, your ass is already in a sling, don't drag me into it. + + @BRENNA + All I need is for you to check the name. + + @LIBRARIAN + You talked to your supervisor lately? He's burning up the place about you just dropping out of sight. That on top of the cops bugging him. + + @BRENNA + I'll take care of that Corey, but I need this now. + +The librarian looks her over skeptically. + + @BRENNA + Corey, you _owe_ me. + + @LIBRARIAN + It's that important? + + @BRENNA + Yeah. + +The librarian reluctantly reaches for his keys. + +INT. STORAGE AREA #69# + +/* 69 */ + +Holding Brenna's photograph, the research librarian is combing through stained binders. The room is old, disorganized, and gives the impression that every fact worth knowing must be in it somewhere. + + @RESEARCHER + Wilson know about this? + + @BRENNA + I'm doing it on my own. + + @LIBRARIAN + Good way to lose your job. + + @BRENNA + Some job. Card filing and cabinet dusting. Four years in this dump and I haven't written anything for Wilson that a wounded yak couldn't do. + + @LIBRARIAN + I liked the bit you did about Baltic chastity belts. Too bad no one else did. + + @BRENNA + It's bullshit. Everything. My job, the people I get involved with, I'm up to here with it. + + @LIBRARIAN + You always were hard to impress. + +The librarian pulls a binder and opens it. + + @BRENNA + Who is it? + + @LIBRARIAN + Not who. What. Worstick's a town in Pennsylvania. + +INT. MUSEUM RESEARCH OFFICE #70# + +/* 70 */ + +Brenna enters and sits at her desk. She is looking for something. + + @BRENNA + (confused) + Chris, have you seen my notebook? + +Chris is seated at the desk next to her. He points at the supervisor's door. + + @BRENNA + Why, that son of a bitch. + +INT. MUSEUM SUPERVISOR'S OFFICE #71# + +/* 71 */ + +The high backed office chair is spun away from an angry, entering Brenna. + + @BRENNA + What's wrong Wilson, huh? Not enough excitement in your own desk? What the hell were you looking for in mine? + +The chair turns. Detective Moran, not her supervisor, leafs through her notebook. + + @MORAN + A murder. + + @BRENNA + You better have a warrant. That's my notebook, you've got no right to be sticking your fingers into it. + + @MORAN + I've got a morgue filling up with bodies. That's my right. + + @BRENNA + What do you want from me? + + @MORAN + Well, the man of the hour that we all would like to talk to about now has apparently skipped town. + (looks at notebook) + And all of a sudden the Smithsonian's ambulence chaser is an expert on missing persons. + +Brenna lifts the telephone receiver. + + @BRENNA + I'm calling an attorney. + + @MORAN + You and I should talk first. + + @BRENNA + We've got nothing to say. + +Moran presses the post on the phone. + + @MORAN + What are you going to tell them? That you're protecting a man who's killed four people? + + @BRENNA + Four? + + @MORAN + All fashionably without heads. + + @BRENNA + Spare me the details. + + @MORAN + But there's more. Wednesday someone played javelin with the cemetary curator in Felton, Delaware. Some locals spotted two cars with D.C. plates and surprise surprise, they turn out to be registered to our own Brenna Cartwright and the ever popular Richard Taupin. + + @BRENNA + What are you getting at, Moran? + + @MORAN + You've been a busy little beaver. Especially with that records mess up in Church Hill. + (looks at notebook) + Your notes are very complete. Naturally my feelings were crushed when you didn't rush right over and tell us what you knew. + (looks up) + In fact, we're considering booking the ambulence chaser as an accessory to murder. + + @BRENNA + It'll never stick. + + @MORAN + But we might just give it the 'ole college try. What with the court back ups, it could be days before you got an arraignment. But then, I'm sure the flunk-out neice of the D.A. knows all about that. + + @BRENNA + You're an asshole, Moran. + + @MORAN + I want Taupin. + + @BRENNA + What makes you so sure he's the one? + + @MORAN + Just for laughs we raided wonder boy's house. There was a gallon of one of the corpse's blood in his carpet. I think it was about then I withdrew his name for humanitarian of the year. + + @BRENNA + What's all of this got to do with me? + + @MORAN + What were you doing in Felton? + + @BRENNA + Research. If your pal was there I never saw him. + + @MORAN + I have witnesses that can put the two of you together. + + @BRENNA + (knows he's bluffing) + Never take up poker, Detective. + + @MORAN + Don't be stupid, lady. Your neck can be sliced as fast as anyone else's. + +Brenna reaches across and lifts her notebook. + + @BRENNA + Why don't you wait until it comes out in paperback? + +Moran watches her leave. He lifts the telephone receiver. + +!RESEARCH OFFICE + +Striding out into the corridor, Brenna passes Dennis, the cop from her bedroom, leaning against the doorway. + + @DENNIS + I warned you. + + @BRENNA + Go to hell. + +INT. CHURCH (WASHINGTON D.C.) #72# + +/* 72 */ + +A PRIEST celebrates mass in a present-day cathedral. + +In the rear of the church apart from the other PARISHIONERS sits the Knight. As the priest leads the parishioners through the procession of faith, the Knight alone repeats it quietly to himself in Latin, the ancient language of the church. + +>DISSOLVE TO: + +EXT. ABANDONED GRAVEYARD - DAY #73# + +/* 73 */ + +Crooked tombstones strewn across the bleached ground of a place not beloning to reality. + +In full medieval tartan, Conor stands against a forceful wind. + +!CRACKS + +Run the length plain, spewing forth steam and staggering SKELETONS. There are dozens of them, all carrying their skulls under one arm. + +The skeletons press forward and trap Conor against the trunk of a dead oak. The heads break into harsh, demonic LAUGHTER. + +Conor puts his hands over his ears in pain as the bodies push forward. + +SCREAMING, he disappears under a mass of gleaming bones. + +>CUT TO: + +INT. TAUPIN'S WORSTICK HOME #74# + +/* 74 */ + +Taupin wakes from the dream with a SHOUT. + +He has fallen asleep in a desk chair. + +Taupin walks to a window and looks out to the green hills. To the distance. + +EXT. RURAL ROAD - DAY #75# + +/* 75 */ + +Brenna's sedan shoots down a country highway. + +INT. SEDAN - DAY #76# + +/* 76 */ + +Checking her rear view mirror, Brenna notices two suspicious FIGURES in a car behind her. + +EXT. RURAL ROAD - DAY #77# + +/* 77 */ + +Brenna pulls to the side. The car from behind passes without incident. + +INT. SEDAN - DAY #78# + +/* 78 */ + +Brenna is driving again. Listening now to the RADIO, she casts a glance in the mirror. The same car is behind her. + +EXT. RURAL ROAD - DAY #79# + +/* 79 */ + +Passing over a rise in the highway, Brenna turns abruptly onto a service road and behind a group of trees. + +!THE OTHER CAR + +Pauses a moment at the intersection, then drives on. + +EXT. STOREFRONT - DAY #80# + +/* 80 */ + +Brenna shows the PROPRIETOR the photograph. He explains something to her. + +Brenna steps outside the store onto the Main Street of the very small community of Worstick. + +!AT A STREET CORNER + +Brenna passes a small monument settled in a flower bed. It has a plaque memorializing five locals murdered in 1931. + +INT. SEDAN #81# + +/* 81 */ + +A mile out of town Brenna stops at a farmhouse. She checks it against the photo she found at Taupin's townhouse. They match. + +EXT. FARMHOUSE DOOR - DAY #82# + +/* 82 */ + +Brenna KNOCKS. + + @TAUPIN + You shouldn't have come. + +Brenna whirls around and sees Taupin behind her. + + @TAUPIN + We're you followed? + +He looks to the road. + + @BRENNA + No. + + @TAUPIN + No one knows you're here? + + @BRENNA + No. I had to talk to you. + + @TAUPIN + You had to do _nothing_! + + @BRENNA + You're wrong. + + @TAUPIN + You're a fool. + + @BRENNA + Maybe. + +Pause. Taupin strides through the doorway. + + @TAUPIN + Come inside. + +INT. FARMHOUSE #83# + +/* 83 */ + +Brenna and Taupin enter. A heavy broad sword sits on the coffee table. + + @BRENNA + Is this what you killed them with? + + @TAUPIN + You've been listening to rumors. + + @BRENNA + Our cars were seen together in Felton. They're calling me an accessory to murder. + + @TAUPIN + You are. Now. + +Beat. They're stuck with each other. + + @TAUPIN + There's several bedrooms down the hall. Take your pick. + +INT. BEDROOM #84# + +/* 84 */ + +The room is a strange decor. 18th century paintings hang beside grotesque medieval carvings. + +Brenna's face softens with worry. What is she doing? + +EXT. RURAL PAY PHONE - DAY #85# + +/* 85 */ + +A plain-clothed POLICE OFFICER is in mid conversation. + + @OFFICER + No, that's the last place we saw her. Okay, will do. + +He hangs up. + + @PARTNER + Well? + + @OFFICER + (shrugs) + We keep looking. + + @PARTNER + Wonderful. + +INT. FARMHOUSE - DAY #86# + +/* 86 */ + +Taupin sits at his desk. Before him is spread out blank birth certificates, driver licenses and title deeds. His eyes lift to the corridor where Brenna is. An idea has come to him. + +Brenna enters. + + @BRENNA + What's all that? + + @TAUPIN + Richard Taupin has become cumbersome. It would be best if he just disappeared. + +Brenna walks to the window. + + @BRENNA + You did kill those men. + + @TAUPIN + Not all of them. + + @BRENNA + When you finish, what then? + + @TAUPIN + I go my way and you can write all you want about the big bad Mr. Taupin. + + @BRENNA + You make it all sound so simple. + + @TAUPIN + The only real difficulty comes in changing over the ownership of property I've aquired. That requires certain records and most importantly a personal appearance at the county seat in Gettysburg. But that's where you come in. + + @BRENNA + You want me to front for you. + + @TAUPIN + The less exposure I recieve around government buildings the better. You, as Mrs. Taupin, will attract considerably less attention than I. + +Brenna is unsure. + + @TAUPIN + Not such a bad trade. The story of a lifetime for a few days work? + +INT. TAUPIN'S WASHINGTON TOWNHOUSE #87# + +/* 87 */ + +Detective Moran looks through the broken remains of the living room. + +An INSPECTOR enters. + + @INSPECTOR + They lost her outside of Thurmont. + +Moran sighs and tosses a piece of wood on the pile of debris. + + @MORAN + I want people in here to check over every piece of this stuff. + + @INSPECTOR + Figure she's with him? + + @MORAN + Yeah. + + @INSPECTOR + We ran down that Church Hill info. She's right. There is no Richard Taupin. + + @MORAN + Any other I.D.s come up? + + @INSPECTOR + Not yet. Called FBI yesterday. Thompson's going to try CIA this afternoon. + (shrugs) + Y'never know. + +Moran rises and dons his coat. + + @MORAN + Should have seen him the first night. Son of a bitch stood there with a quart of blood on his pant leg and didn't even blink. + + @INSPECTOR + You'd think he'd had practice. + +Moran walks to the door. + + @MORAN + I think he has. + +>DISSOLVE TO: + +EXT. FRENCE MILITARY CAMP - DAY #88# + +/* 88 */ + +Conor, now MAJOR DUPONT of the French infantry, pours over battle plans. + +An AIDE, dressed as Conor-Dupont in 18th century European military garb, enters the command area. + + @AIDE + The men are assembled, Major. + +A GENERAL stands beside the major. + + @GENERAL + See that they are indeed ready, Dupont. + + @DUPONT (CONOR) + Yes General. + +EXT. PARADE GROUND - DAY #89# + +/* 89 */ + +A regiment of INFANTRYMEN, pale blue coat tails tossing in the light breeze, stand at attention. + +A STAFF SARGEANT presents the men to Dupont. + + @STAFF SARGEANT + Regiment ready for review, sir. + +Dupont walks past the sargeant to the line. + + @DUPONT + (to soldier) + Stand straight, you are a soldier of the King. + + @SOLDIER #1 + Yes sir. + +Dupont continues down the line. Another soldier's infantry jacket is almost hilariously mis-buttoned, one collar sticking up four inches higher than the other. + +Dupont with both hands rips open the soldier's coat, spraying brass buttons onto the ground. + +He moves on. + + @DUPONT + (to soldier) + Where is your bayonet? + + @SOLIDER #3 + Lost it sir. + + @DUPONT + Where? + +The soldier hedges. + + @STAFF SARGEANT + You heard the Major! Where! + + @SOLDIER #3 + Whorehouse sir. + +Dupont's face softens in exasperation, then toughens. + + @DUPONT + Your rifle. Hand it to me. + +The soldier obeys. Dupont inspects the firing mechanism. + + @DUPONT + The flint is cracked. No spark will reach your powder. You will die tomorrow. + +He throws the rifle roughly back into the soldier's hands. + + @DUPONT + Tomorrow you go to _battle_! And you look like children! + (beat) + The General has charged me with seeing that you are prepared, and prepared you will be! If necessary you stand here all night! Sargeant! + +The sargeant leaps to attention. + + @SARGEANT + Yes sir. + + @DUPONT + See to it. + + @SARGEANT + Yes sir. + +Dupont turns briskly, then stops abruptly as if alerted by something. He whirls around and faces the young infantrymen. + +His expression is quizzical as he walks the line, checking each face carefully. + +One PRIVATE seizes his attention. The private is cautious. + + @DUPONT + Your name? + + @MULET + Mulet. + +It is as if Dupont knows him. The two stare at each other. + +Dupont turns and leaves. + +INT. COTTAGE - EVENING #90# + +/* 90 */ + +Inside a small farmhouse commandeered for officer's quarters, Dupont (Conor) and several others eat their evening meal. + +A CAPTAIN finishes his story. + + @CAPTAIN + (amused) + ...And what a sight! That old mare just kept falling over her own guts till someone finally shot her. + +The OFFICERS LAUGH. All but Dupont. + + @MAJOR + (beside Dupont) + Complete your inspection? + + @DUPONT + They're nothing but boys. It will be a slaughter tomorrow. + + @MAJOR + (laughs) + I doubt much can change that. The enemy has five brigades waiting for us. + + @DUPONT + We need more time. + + @MAJOR + Won't get it. + (shrugs) + We are a sacrifice. A diversion. + +Dupont pokes unenthusiastically at his plate. + + @MAJOR + Eat up Dupont. It will probably be your last. + + @DUPONT + (rises) + Not likely. + +Dupont goes to the window. Dusk shines orange on his face. + +In the foreground the man Dupont encountered at the line-up, Mulet, is chopping firewood. + +EXT. COTTAGE - NIGHT #91# + +/* 91 */ + +Several hours later. + +Most are asleep. Mulet continues his wood splitting. + +From out of the dark cottage steps Dupont. + + @DUPONT (CONOR) + I thought I gave orders the regiment was to drill. + + @MULET + Staff sargeant detailed me to prepare firewood for the breakfast cooking. + + @DUPONT + What is your position? + + @MULET + Second musketeer. + + @DUPONT + I understand you joined up in Bremen. + + @MULET + You seem to understand a great deal. + + @DUPONT + I am a Major, Private. You would do well remembering that when addressing me. + + @MULET + Excuse me, "sir". I thought we spoke as equals. + + @DUPONT + Equals? + + @MULET + (shrugs) + If you wish to play games, Major. + +Mulet returns to his chore. + + @DUPONT + Wait. I think we understand each other. + + @MULET + We have no understanding. + + @DUPONT + Then it is time two of us did. You are very young. I was once young. I can help. + +Mulet LAUGHS. + + @MULET + Help? I've seen others "help". Somehow a head always ended up on the counter. + + @DUPONT + It can be different. It must be. + + @MULET + It never changes, Major. + +Mulet turns to his chore. Dupont grabs his arm. + + @DUPONT + We must talk. + + @MULET + (shakes him off) + Stay out of it. + + @DUPONT + (angry) + Don't threaten me, Private. + + @MULET + (disgust) + Who do you think I am? One of your freckle faced children waiting to die tomorrow? "Threaten you"? You and I just living will always be a threat. Forever. Look at your life, Major. Look at mine. Nothing there but threat. Threats and nothingness. It's what we live for. + +Mulet turns his back on Dupont. + +Dupont draws his cutlass. + + @DUPONT + Do not turn your back on me. + + @MULET + You are really going to force this, aren't you? + + @DUPONT + Either you are with me or against me. + +Mulet turns slowly, axe in hand. + + @MULET + Have I a choice? + +The two stare into eyes empty of emotion. + +Mulet's hand flinches. An attack? + +Dupont CUTS quickly, slicing open both of Mulet's arms. + +The axe drops to the ground. + +Mulet seems strangely calm. + + @MULET + You see Major? You are not so different. + +Dupont cuts off Mulet's head where he stands. + +EXT. CLEARING - NIGHT #92# + +/* 92 */ + +Dupont drags the corpse across the meadow and dumps it into a swamp. + +INT. CATHEDRAL - NIGHT #93# + +/* 93 */ + +It is very late. Only a few OFFICERS are seated in the pews. + +Dupont tries to concentrate on prayer, but is distracted. + + @MULET + (voice flashback) + You see Major? You are not so different... + + @DUPONT + I had no choice. + +Dupont sighs and looks to the altar. + + @DUPONT + Who am I deceiving? + + @KNIGHT + Certainly not me. + +Dupont whirls around to see the Knight, dressed as he in uniform, sitting one row behind. + +Dupont leaps to his feet. + + @KNIGHT + You needn't look so flushed, Major. You are quite safe in church. + +Dupont eases his breathing. + + @KNIGHT + State of grace and all that. + + @DUPONT + Tradition. + + @KNIGHT + It's all we have. + +Dupont has backed up a few paces. + + @KNIGHT + All this time and still a scared little boy. + +Dupont sits down. + + @DUPONT + Not so scared. + + @KNIGHT + Perhaps not. + (smiles) + You seem to have misplaced a private. No doubt by now his head is stranger to his neck. + + @DUPONT + No doubt. + + @KNIGHT + You surprise me. Eliminating a rival like that. Such are the actions of a man of conquest. I was mistaken. 300 years have turned the boy's fear into ambition. + + @DUPONT + You're wrong. + + @KNIGHT + I know you very well, Conor MacLeod. And I can see the truth beginning to make itself clear to you. Mulet, Romirez, they were fools without vision. It was destined that the board would be cleared for the real players. + +The Knight almost seems proud of Dupont. + + @DUPONT + Romirez understood. Not you. + + @KNIGHT + Romirez is dust. + +The Knight looks to the altar. + + @KNIGHT + Finish your prayers? + + @DUPONT + Finish yours? + + @KNIGHT + (smiles) + Our common heritage. + (beat) + I am your only real friend, you know. The only one who truly understands you. + (rises) + I look forward to the day we meet again. And I kill you. + + @DUPONT + So sure? + +The Knight leans forward and puts his face very near. + + @KNIGHT + You can't stay in church forever. + +The Knight moves into the aisle. + + @KNIGHT + Good night, Major. + +He exits. + +Conor sits in the dim church alone. Very alone. + +>DISSOLVE TO: + +EXT. WORSTICK CHURCH (PRESENT DAY) #94# + +/* 94 */ + +Richard Taupin sits against the stone of an old Catholic church. + +Taupin sighs. A long, weary sigh. + +INT. TAUPIN'S FARMHOUSE #95# + +/* 95 */ + +Taupin and Brenna sit at a table working on forms. + +Taupin looks up from his work and studies Brenna's face without malice. + +EXT. CREEK - DAY #95# + +/* 95 */ + +Brenna and Taupin are taking a walk along the township's outskirts. + +Crossing a small bridge over a smaller creek, they encounter the elderly caretaker Mr. North and his eight year old GRANDSON. + +Both with fishing poles. + + @MR. NORTH + Morning Mr. North + + @TAUPIN + Same. + + @MR. NORTH + Such a pretty day. If I live to be 90 I'll never tire of mornings like this. Mind you I'm 74 now. + + @TAUPIN + No. + + @MR. NORTH + Yes sir. When you get older your priorities change. It's the simple things that count. Without them growing old can be a very lonely thing. + + @TAUPIN + I'm sure that's true. + +The grandson is having difficulty baiting his line. Taupin bends down beside the young fisherman. + + @TAUPIN + (takes worm) + Here. The hook should go just below the head, where the meat is toughest. + + @GRANDSON + Thanks. + +Taupin's show of affection surprises Brenna. + + @TAUPIN + Show you a trick. + +Taupin takes a clump of leaves from the bridge and winds them around the hook. + + @TAUPIN + Fish are creatures of habit. They like their food where they're used to it. At the top, hiding in old leaves. + + @GRANDSON + Where did you learn that? + + @TAUPIN + My father taught me. + + @GRANDSON + Your father must be smart. + + @TAUPIN + Yes, he was. + +Brenna is touched. + +INT. TAUPIN'S FARMHOUSE - NIGHT #96# + +/* 96 */ + +Brenna lies on her bed thinking. She puts on a robe and walks into the living room. + +!LIVING ROOM + +Taupin sits before the fireplace, its flames reflecting on his brandy glass. Brenna moves quietly to a seat beside him. + + @TAUPIN + (eyes on the fireplace) + There was a man once. Just a simple woodcarver. But he understood. More than anyone he could see to the heart of it. + (beat) + It never ends. Today is the same as the first. Tomorrow will be the same as today. So much time. And all of it wasted. + (beat) + You love history? + + @BRENNA + Yes. + + @TAUPIN + I wish I could. + +INT. CITY HALL #97# + +/* 97 */ + +Brenna looks through a property zoning book. + +EXT. WORSTICK MAIN STREET - DAY #98# + +/* 98 */ + +Walking past small town stores, Brenna allows herself a moment to window shop. + +!IN A SHOP WINDOW + +Is a small poster advertising a community get-together. Brenna peels it off the glass and slips it into her notebook. + +INT. TAUPIN'S FARMHOUSE #99# + +/* 99 */ + +Brenna and Taupin go over various forms and documents. + + @BRENNA + The estate stuff is pretty straight forward. Just lots of forms and an appearance at the county seat. + + @TAUPIN + It will take some time for the forms to clear before you go to Gettysburg. + +Brenna is silent. + + @TAUPIN + Second thoughts? + +Pause. + + @BRENNA + No. + (beat) + So what now? We just wait? + + @TAUPIN + Yes. + + @BRENNA + Well, as long as we're stuck here. + +She hands him the poster from earlier. + + @BRENNA + It's some sort of party the town is throwing. + + @TAUPIN + They do it each year. + + @BRENNA + I thought it might be a nice break from all of this. + +Taupin stacks the documents into a folder. + + @TAUPIN + Maybe it would do us both good. + + @BRENNA + There's a catch. You're supposed to wear 19th century clothing. + +INT. FARMHOUSE CELLAR #100# + +/* 100 */ + +Taupin is going through an old trunk. + + @TAUPIN + My father was something of a junk collector. + +He comes across a long period dress and offers it to Brenna. + + @TAUPIN + Here, try this. I suppose they're still making women the same as back then. + + @BRENNA + It's beautiful. + + @TAUPIN + A little dusty. + +Taupin fishes through the trunk and comes up with an old top hat. He turns it over in his hand with stoic memory. + +>DISSOLVE TO: + +EXT. COLONIAL STYLE HOME - DUSK #101# + +/* 101 */ + +Conor and a beautiful young woman, KATHERINE, sit on the porch steps in 1800s period dress. Other young COUPLES relax nearby enjoying the warm summer's twilight. Katherine's MOTHER shuffles between the couples offering lemonade, cakes, and the like. + + @KATHERINE + Do it again. + +She is thoroughly charmed by Conor. + + @CONOR + All right. + +Conor wraps a length of yarn about his fingers. By turning his hand over and bending his knuckles just so, the web becomes the outline of a lion.. + + @CONOR + A lion. + (growls) + +Katherine is delighted. + +Conor starts to remove the yarn. Katherine touches his arm. + + @KATHERINE + Oh please. Another one. + + @CONOR + What would you like? + + @KATHERINE + Something pretty. + + @CONOR + Like you. + +Conor cups his hands, bends his fingers, and comes up with a four leaf clover. + + @KATHERINE + That's wonderful. Where did you ever learn it? + + @CONOR + Far away. + + @KATHERINE + Kiss me. + +Conor shoots a glance for the mother, then kisses Katherine softly. + + @YOUNG MAN + (o.s.) + You'll be leaving the girl alone. + +A YOUNG MAN stands a few yards from the stairs. + + @KATHERINE + David. + + @CONOR + Do you have cause to bothering us? + + @YOUNG MAN + That's my girl. + + @KATHERINE + David, we've already spoken of this. + + @YOUNG MAN + He's not what he pretends to be. + +Conor climbs to his feet. + + @CONOR + You best leave, son. + + @YOUNG MAN + You think you're so high and mighty, coming into town and taking a man's woman. Well I know about you. I know about the things you do. + + @CONOR + (moving closer) + I said you best leave. + + @YOUNG MAN + You'd like that, wouldn't you? + (to Katherine) + Ask him about his friends. The ones he meets in the town square. Ask him about the blade he keeps beneath his bed. + +Conor grabs the youth's collar and pulls him close. + + @CONOR + (like ice) + Leave. While you still can. + +The youth pushes away from the grasp. + + @YOUNG MAN + You don't frighten me. + + @CONOR + I should. + +The young man throws a fist at Conor. It is easily blocked. + +Conor returns with a savage blow to the chest that knocks the young man gasping onto the ground. + +Katherine runs up behind and grabs Conor's outstretched arm. + + @KATHERINE + No! Leave him. Please don't hurt him. Please. + +COUGHING painfully, the youth climbs to his feet and staggers away. + + @YOUNG MAN + He's not what you think. + +He turns and runs down the road. + + @YOUNG MAN + He's not what you think! + +Katherine turns to Conor, his face still locked in ice. + + @KATHERINE + I don't care who you are or where you come from. + +She hugs him tightly. + + @KATHERINE + I love you. + +Conor's face softens as he brings up an arm to hold her. + +>DISSOLVE TO: + +INT. WORSTICK TOWN HALL (PRESENT DAY) #102# + +/* 102 */ + +An auditorium has been transformed with colored lights and strung paper into a small town party. + +TEENAGERS in period dress control the floor, dancing to a decidedly un-period ROCK BAND. + +The OLDER GUESTS are gathered around the punch bowl talking crops or Pennsylvania politics. + +!BRENNA + +Fitted as well as can be expected in her lace dress, enters with Taupin, himself dressed in a formal suit complete with cape. + +His clothes fit perfectly. + +Mr. North, comically dressed as a pirate, greets them. + + @MR. NORTH + Mr. Taupin! Glad you could make it. Best get some punch before it's gone. Near the whole valley showed up. + +They go to the table. + +Taupin pours a glass of punch. An ELDERLY WOMAN approaches him. + + @WOMAN + If I didn't know better I'd say William Taupin. + + @TAUPIN + His son. Richard. + + @MR. NORTH + Mr. Taupin is up from Washington to look over his father's estate. + + @WOMAN + Your father died some years ago. This is your first visit? + +The tone is snide. + + @TAUPIN + Of sorts. + + @WOMAN + I suppose a Taupin had to show up eventually. + (walks away) + + @TAUPIN + Good evening, Mrs. Butler. + +She turns in surprise at his knowing her name, then walks on. + + @BRENNA + What was all that about? + + @MR. NORTH + Sorry Mr. Taupin. That's not meant for you. Just some didn't take much to your father. + + @BRENNA + Why? + + @TAUPIN + My father was never one for social whirls. + + @MR. TAUPIN + Kept to himself for sure. Then with all that business in '31. + + @BRENNA + What business? + + @MR. NORTH + Family down the road from the Taupin place was murdered. All cut up they were. Horrible. Two strangers were also found with the bodies. No one ever accused William, but with his reputation as a loner and the rumors about him and some of the wives in town, folks just never forgot. Most were relieved when they heard he'd died. Sorry Mr. Taupin. + + @TAUPIN + Nothing to be sorry about. + + @MR. NORTH + Just your pappy scared some. + +The rock band finished as a PORTLY MAN in a union soldier's uniform takes the microphone. + + @PORTLY + All right, the kids have had their fun. Now it's time for a little more traditional dancing. + +The rock band gives ground to a group of older MUSICIANS. With a nod from the union soldier they begin a folk tune with fiddles and hammer dulcimer. + +The costumed guests take to the floor. + + @BRENNA + I don't know any of these. I'll make a fool of myself. + + @TAUPIN + Follow me. + +Taupin starts into it with perfect grace. A faltering Brenna tries to keep up. + + @BRENNA + William Taupin seems to have left his mark. + + @TAUPIN + Yes. + + @BRENNA + And you are William Taupin, aren't you? + + @TAUPIN + Yes. + +They do a final turn and finish. The other DANCERS applaud. + + @BRENNA + You're using your son's name. + + @TAUPIN + No. Just the child of some lonely girl I gave a ride to. When they died I put them in a grave with my name on it. Twenty years later I became the son. + +Brenna is staring at him. + + @TAUPIN + More punch? + +He leads her to a table. + + @BRENNA + Then you must be at least 70 years old. + + @TAUPIN + At least. + + @BRENNA + That's impossible. + +Several of the ELDERLY WOMEN are watching Taupin from across the room. + +EXT. BUS STATION - NIGHT #103# + +/* 103 */ + +A bus with "Gettysburg" across the front pulls to a stop at a dark terminal. A lone passenger steps off into the mist. + +It is the Knight, bound up in a leather jacket and carrying only a long, narrow case. + +EXT. - NIGHT #104# + +/* 104 */ + +Brenna and Taupin walk alone in the night outside the hall. + + @BRENNA + It's frightening sometimes the way you talk about other people's lives. + + @TAUPIN + A factor of age. + + @BRENNA + I hope I never get that old. + + @TAUPIN + You won't. + +Brenna pulls away. + + @BRENNA + I must be insane. Leaving work, ditching cops. All to follow a murderer. A very old murderer, but a murderer just the same. + + @TAUPIN + Why are you here? + + @BRENNA + I've been telling myself it's the award winning journal article I'm going to write. But it's not. + (looks at him squarely) + It's you. + + @TAUPIN + I see. + + @BRENNA + I'm not even sure why. + + @TAUPIN + Hardly a reason to run off with a murderer. + + @BRENNA + My life has been chock full of people with complications and weaknesses. I can't stand it. But you're different. It's in your hands. A clarity. + + @TAUPIN + You are a very perceptive young woman. + + @BRENNA + Just a little crazy. + +A thoughtful pause. + + @TAUPIN + Miss Cartwright, it's time I showed you something. + +INT. FARMHOUSE CELLAR #105# + +/* 105 */ + +Taupin and Brenna descend the stairs to a seemingly flush wall. + +Taupin reaches behind a bookcase and pulls something. A press from his hand and the wall becomes a doorway. + + @TAUPIN + (gestures to interior) + Miss Cartwright? + +Brenna steps uneasily into the darkness. Taupin follows and switches on the light. + +INT. HIDDEN ROOM #106# + +/* 106 */ + +Brenna's expression changes to awe. + +The room is massive, a cross between a museum and an old attic. + +Suits of armor, Italian statuettes, Czech ironworks, Persian fetishes and a thousand other oddities from a hundred eras crowd the shelving and floor space. + +The room has the look of ownership, as if civilization had taken the time to keep a scrapbook. + + @BRENNA + My God. + +The sight is overwhelming. + + @TAUPIN + I had this room built some time ago. + +Brenna picks up a Carolingian tapestry and runs her hand along its intricate weaving. + + @BRENNA + Who are you? + + @TAUPIN + That would be difficult to explain. + + @BRENNA + I'd like you to try. + +Taupin picks up a Byzantine icon, brushing the dust from its shoulders. + + @TAUPIN + I was born Conor MacLeod in the village of Ardvrek on the Highland plain of Strathnaver in the clan of MacLeod under the King of Scotland. On the eleventh of December, 1408. + +He replaces the icon. + + @TAUPIN + I have served in the armies of twelve nations, married nine women, fathered thirty-eight children and buried them all. + +Taupin walks along the cases. + + @TAUPIN + I carried that rifle in World War I. This book is a 16th Century policy report for the King of Austria. The diploma is my conference of degree in Latin from Trinity College. Class of 1672. + (beat) + It goes on. + + @BRENNA + That's why Smith called you MacLeod. + + @TAUPIN + Yes. + + @BRENNA + He knows about you. + + @TAUPIN + He is older than I. + + @BRENNA + What could possibly be worth all this murder and distruction. + + @TAUPIN + Sometimes I think it's just for something to do. A conquest to be the last. Something to hold onto while everything else around you withers and blows away. Something to replace the love that can never work. + + @BRENNA + That's insane. + + @TAUPIN + Perhaps. There is something more. An inheritance. + + @BRENNA + Of bodies. + + @TAUPIN + I didn't kill the watchman. + + @BRENNA + You killed those other two. + + @TAUPIN + Not the same. + + @BRENNA + What about that family in '31? + + @TAUPIN + Sometimes innocents become involved. + + @BRENNA + You and your buddy make a real team, don't you? Exchanging eloquent threats in iambic pentameter while hacking up all the innocents in between. + + @TAUPIN + There are differences. + + @BRENNA + You kill with your left hand? + + @TAUPIN + I haven't killed _you_. + + @BRENNA + Is that a threat? + +Taupin moves very close. + + @TAUPIN + No. + +Brenna's face softens. She turns away. + + @BRENNA + Don't. + + @TAUPIN + Come here, Brenna. + + @BRENNA + Damn you. + +He kisses her. + +>DISSOLVE TO: + +EXT. TURN OF THE CENTURY CEMETARY - DAY #107# + +/* 107 */ + +RELATIVES in period dress watch as a family member is lowered into the ground. + +A very OLD WOMAN stands stoically, supported on both sides by her middle aged SONS. + + @MINISTER + May God commend into his kingdom the soul of our dear departed Jason, son of Katherine- + +The old woman. + + @MINISTER + And brother to Howard and James- + +The two middle aged sons. + +!CONOR + +Watches the funeral quietly at a distance. + +!THE OLD WOMAN + +As the minister continues allows her gaze to wander. She sees Conor standing at the treeline. Her eyes crinkle in disbelief. + +Releasing herself from her sons, she hobbles toward Conor. + +Confused, the brothers watch their mother leave the ceremony. + +!CONOR + +Watches the woman approach but decides against moving. + +She stops a few paces away and looks over him. + + @OLD WOMAN + You. + + @CONOR + Katherine. + + @OLD WOMAN + What are you doing here? + + @CONOR + I owe him this. + + @OLD WOMAN + He never knew you. + +The two sons come up behind. The three stand there: an old woman who could be 60 years Conor's senior and her two sons old enough to be his father. + + @SON #1 + Is something wrong, Mother? + + @OLD WOMAN + Howard. James. This is your father... + +>DISSOLVE TO: + +INT. BEDROOM #108# + +/* 108 */ + +Taupin and Brenna lie together. + +Running her hands along the contours of his body she sees the countless faint scars of bullet and sword wounds. + +Taupin strokes her softly. + + @TAUPIN + "Brenna". In Celtic is means "woman with raven hair". Only chieftan's daughters were allowed it. + +Brenna is lost in Taupin's scars. + + @BRENNA + What is it like? Being you? + + @TAUPIN + Empty. And fear. Fear of those that would kill you and fear of those that would love you. It can never last, and in the end you always end up destroying both. + + @BRENNA + But you're known so much. History I'll only read about. + + @TAUPIN + It's all the same. Half lives that never go away. + + @BRENNA + What is it you want? + + @TAUPIN + All of it finished. + +EXT. FARMHOUSE - MORNING #109# + +/* 109 */ + +Taupin and Brenna stand beside her car. She has an armload of documents. + + @TAUPIN + Gettysburg's an hour's drive at most. You should be back by nightfall. + + @BRENNA + Will I see you again? + + @TAUPIN + Be careful. Don't stay any longer than you have to. + +Pause. Brenna considers touching him but instead climbs briskly into the car. + + @TAUPIN + Good luck. + +EXT. POLICE DEPARTMENT PARKING LOT - DAY #110# + +/* 110 */ + +Detective Moran and his Inspector walk among parked squad cars. + + @MORAN + Are you sure? + + @INSPECTOR + Won't know till the records department comes back with it this afternoon. Looks good though. They found the receipt in his townhouse. It was pretty smeared but had Taupin's father listed as a signatory. + + @MORAN + Round up who you can and put them on standby. + + @INSPECTOR + Think we should call the local P.D. out there first? + + @MORAN + No. I want this to be all ours. + +INT. COUNTY RECORDS OFFICE #111# + +/* 111 */ + +Brenna is standing at a counter signing the last of a stack. + + @CLERK + O.K. Mrs. Taupin, that's all I need. + +The clerk fills out a small sheet and hands it to her. + + @CLERK + Just take this down the hall to the registrar. Hurry up though, it's near closing time. Most everyone's gone home already. + +A pair of Levis follow Brenna at a distance down the corridor. + +INT. REGISTRAR'S OFFICE #112# + +/* 112 */ + +Sealed from the corridor by a pair of doors, two CLERKS sit in an office mostly cleared of employees. + +Brenna hands the slip to a clerk. + + @CLERK #2 + I'll be right back. + +She disappears into the rear area. + + @BRENNA + (to other clerk) + Do you have a drinking fountain? + + @CLERK #3 + Around the corner. + +Brenna steps around and takes a drink. She looks into her reflection on the stainless steel and spends a moment fiddling with her hair. + +!THE CLERK + +Still hasn't returned. Brenna drums her fingers on the counter top and looks around the office. + +The second clerk is also gone. + +Brenna sees something unfamiliar on the second clerk's desk. + +She steps over to it. + +It is a large blood stain. + +Brenna shoots a glance to the double doors. + +They're closed. + +Brenna rushes to the doors. Someone's locked them. + +She struggles with the handles, then turns to see the Knight walking to her with his stained sword. + +With a SCREAM she kicks a rolling office chair into him and runs down an opposite corridor. + +!THE KNIGHT + +Flings the chair aside and knocks open the door with a SLAM of his palm. + +!BRENNA + +Has run out of corridor. She looks back at the Knight closing the distance. CRYING in fear, she frantically searches for a way out. + +The Knight is nearly upon her. + +In desperation she runs into a janitorial closet, closing its heavy door. + +!THE CLOSET + +Is dark and full of old paint cans and mops. Her BREATHING is at a PANIC. + +!THE KNIGHT + +Tries the door handle. + +Stepping back, he lifts his sword and HAMMERS it deep into the wood. + + @BRENNA + (crying) + Oh God... + +He STRIKES again. And again. Splinters smack against surrounding walls. + + @BRENNA + Go away! Oh God, go away! + +CRYING hysterically, Brenna presses herself against the far wall, sliding to the floor in a crouch. + +!THE KNIGHT + +Steps back and gives the door a last two-fisted swing. + +Brenna SCREAMS. + +The door collapses. + +EXT. HIGHWAY - EVENING #113# + +/* 113 */ + +A group of unmarked police cars race by with the last light of day. + +INT. CAR #114# + +/* 114 */ + +At the wheel is Moran's assistant, the inspector. + +INT. HOME - NIGHT #114# + +/* 114 */ + +Taupin stands at his fireplace, the only light in the room, poking at it with a tong. + +His gaze goes to a mantle clock. + +It is 10:30 PM. + +The phone RINGS. + +He looks to it. + +It RINGS again. + +He picks up the receiver slowly and places it against his ear. + + @KNIGHT'S VOICE + We have some unfinished business. + + @TAUPIN + Are you here? + + @KNIGHT'S VOICE + I want you to come to me. + + @TAUPIN + And if I refuse? + + @KNIGHT'S VOICE + Give me an address where I can forward Miss Cartwright's head. + +This affects him. + + @KNIGHT'S VOICE + Yes laddie, I have her. + + @TAUPIN + Should I care? + + @KNIGHT + You have three hours. + +EXT. RURAL ROAD - NIGHT #115# + +/* 115 */ + +The unmarked cars shoot by. + +INT. HOME #116# + +/* 116 */ + +Taupin hangs up the phone. + +He looks to the sword on the table, reflecting the firelight. + +EXT. FARMHOUSE - NIGHT #117# + +/* 117 */ + +POLICE OFFICERS, placed around Taupin's house, are COCKING shotguns and CHAMBERING pistols. + +Two officers take positions on either side of the door. A third, after getting the signal, kicks the door open. + +INT. FARMHOUSE #118# + +/* 118 */ + +The officers drop to firing positions in the doorway. The room is empty. + +INT. FARMHOUSE BEDROOM #119# + +/* 119 */ + +An officer BURSTS in. It's empty. + +INT. MAIN ROOM #120# + +/* 120 */ + +The Inspector is on the phone. + + @INSPECTOR + He's not here. + +EXT. THE JEFFERSON MEMORIAL - NIGHT #121# + +/* 121 */ + +Spotlights seperate the white marble from the surrounding blackness. + +Taupin's face moves into frame. + +EXT. MONUMENT STAIRS - NIGHT #122# + +/* 122 */ + +Sword firmly in one hand, Taupin climb's the monument's steps. + +INT. JEFFERSON MEMORIAL - NIGHT #123# + +/* 123 */ + +A twenty-five foot bronze of Thomas Jefferson flanked by his quotations. + +A sword in one hand and Brenna in the other, the Knight stands at the statue's base. + + @KNIGHT + Welcome. + +Taupin stands at the entrance. + + @KNIGHT + Kahn sends his best. + +In a corner the Asian's head lies on its side, the horror of death still pressed into the face. Taupin's eyes return slowly to the Knight and Brenna. + + @TAUPIN + Let her go. + +The Knight throws Brenna roughly against a wall. + + @KNIGHT + You disappoint me. + (looks at Brenna) + I thought you'd finally gotten over that sort of thing. + + @TAUPIN + Leave her out of this. + + @KNIGHT + As you wish. + +The Knight holds his sword out at a ceremonial angle. Taupin does the same. The weapons are CLANKED together twice, then pulled back into battle position. + +The two begin walking a circle, poised swords waiting for an opening. + +The Knight leaps first, his clash of steel RINGING off the high walls. + +Another ATTACK without result. + + @KNIGHT + You can do better than that. + +Taupin swings. The Knight jumps back. Sweat gleams from their brows. + +EXT. JEFFERSON MEMORIAL - NIGHT #124# + +/* 124 */ + +Two LOVERS enjoy a late night walk along the tidal basin. + +There is a distant CLANKING of metal. + + @BOY + It's from over near the memorial. + +He jumps up on a rock. Several yards away can be seen two figures attacking each other. + + @BOY + Shit. + +INT. POLICE DEPARTMENT - NIGHT #125# + +/* 125 */ + +Standing at a map of the city, Moran nurses a cup of coffee. + +The phone RINGS. + + @MORAN + Moran. All right, get a patrol unit out there right away. I'll meet them. + +INT. JEFFERSON MEMORIAL - NIGHT #126# + +/* 126 */ + +The Knight and Taupin are PANTING heavily. + +The Knight goes low. Taupin blocks. The Knight comes overhead quickly. Taupin misjudges and the blade slices deep into his shoulder and chest. The impact knocks him flat on his back. + +The Knight looks down on his wounded prey. + +A SCREECH of brakes from outside the monument. Two OFFICERS are coming up the steps. + + @KNIGHT + No. Not now. + +EXT. MEMORIAL - NIGHT #127# + +/* 127 */ + +The officers reach the top and enter. + +!INSIDE + +One of the officers is Dennis, who sees only a CRYING Brenna and Taupin lying wounded on the floor. + + @DENNIS + Brenna? + +The Knight rushes up from behind, his sword in full swing. + +EXT. INTERSECTION - NIGHT #128# + +/* 128 */ + +Moran's car blows through a cross street. + +INT. CAR #129# + +/* 129 */ + +Moran is at the wheel. + +INT. MEMORIAL - NIGHT #130# + +/* 130 */ + +The Knight walks from the two officers spread out like rag dolls on the floor. + + @KNIGHT + (to Taupin) + Get up. + +Taupin looks at Brenna and the dead policemen. A resignation sweeps over him. + + @TAUPIN + What's the point? + + @KNIGHT + This isn't done. Get up. + + @TAUPIN + What's the point! You have me, finish it! + + @KNIGHT + I have waited forever for this. You will not cheapen it, little boy. + + @TAUPIN + (irony) + Tradition. + + @KNIGHT + It's all we have. + + @TAUPIN + Go to hell. + +The Knight looks to Brenna. + + @KNIGHT + Perhaps Miss Cartwright would like to play. + + @TAUPIN + Leave her alone. + + @KNIGHT + Get up. + +Taupin struggles to his feet. Blood pouring from his shirt, he stands uneasily with his sword at ready. + +The Knight swings. Taupin blocks. + +EXT. MEMORIAL - NIGHT #131# + +/* 131 */ + +Moran drives up. There is an empty police car, the door still ajar. + +INT. MEMORIAL - NIGHT #132# + +/* 132 */ + +Taupin is badly outclassed. + +He feebly fends off an attack, but the Knight returns quickly with a savage SLICE that rips open Taupin's stomach and throws him again to the floor. + + @BRENNA + You bastard! + + @KNIGHT + Be silent. + + @BRENNA + Leave him alone. + + @KNIGHT + You will be silent!! + +The voice is THUNDERING. + +Taupin kneels with his forehead pressed against the floor. His teeth grind in pain. + +The Knight smiles. + + @KNIGHT + I do hope you're enjoying this as much as me. + +!MORAN + +Stands in the entryway. The Knight sees him. + + @KNIGHT + Get out. + +Moran draws his pistol. + +The Knight walks toward him, + + @KNIGHT + This is nothing that concerns you. + +Moran levels his gun. + +The Knight raises his sword. + + @KNIGHT + You will leave! + +Two EXPLOSIONS as Moran FIRES. The slugs slam into the Knight, blowing him off his feet. + +He lies still. + +Moran looks to Brenna. To Taupin. Then he walks closer to the Knight. + + @TAUPIN + (hoarse) + Don't. + +Taupin curls in a spasm of pain. + +Moran moves closer. + +The Knight lies face down, blood oozing from exit wounds over his heart. He isn't breathing. + +Moran bends over slowly to see the Knight's face. + + @TAUPIN + Stop. You don't understand. + +The Knight suddenly rolls over and plants his sword into Moran's chest. The pistol DISCHARGES against a far wall. + +Taupin crawls for the Knight. + +Moran's mouth opens but no sound escapes. The Knight, blood pouring from his mouth and nose, thrusts deeper then retracts quickly. + +Moran slides off the sword dead. + +Taupin CUTS hard against the Knight's chest. The Knight GAGS in surprise and crumples. Taupin CUTS again, then puts the blade against the Knight's GURGLING throat. + + @TAUPIN + In mamus tuas Domine commendo spiritum meum. Auditorium nostrum in nomine Domine. + +He raises the sword. + + @TAUPIN + Requiescant in pace. + +And CUTS the Knight's head off. + +Taupin drops his sword. + +His breathing quickens. + +A sensation sweeps over him. + +Taupin drops to the floor WHIMPERING. He sucks in painful gulps of air. + + @BRENNA + My God. + +Taupin bolts up and looks at her without seeing. + + @BRENNA + Conor. + +Taupin is looking past her. + +A blood-stained hand suddenly GRABS Brenna's shoulder. She SCREAMS. The headless body of the Knight stands beside her. + +!THE KNIGHT'S HEAD + +Lies on the floor. + +The eyes open. The face pulls into a smile. + + @KNIGHT + And now you know. + +The eyes roll up into the skull. The face slackens. + +The hulking mass standing beside Brenna sways, the collapses to the ground. + +!TAUPIN + +Is CRYING. Not from wounds he no longer feels, but from something else. + + @BRENNA + What's wrong? + + @TAUPIN + I can't stand it. Oh God, I can't stand it! + +Brenna kneels beside him. + + @TAUPIN + The scream of your blood. The shriek of trees. Stop it! Stop it! + +Brenna SOBS. + + @BRENNA + What is it? + + @TAUPIN + I'm the last. Oh Christ, I'm the _last one_! + +Taupin doubles over in pain. The pain of the whole world trying to force itself into him. + +Brenna tries to hold him. He pushes her savagely away. + + @TAUPIN + Get out. + + @BRENNA + No! + + @TAUPIN + I'll destroy you. I've destroyed everything I've ever touched! Oh God... + +He doubles over in pain. + + @BRENNA + Conor... + +He grabs his sword and threatens her. + + @TAUPIN + _Get out_! + +SOBBING, Brenna runs from the memorial. Taupin is alone. + +Bleeding. Crying. In agony. + +>FADE OUT + +>FADE UP: + +INT. SMITHSONIAN MUSEUM #133# + +/* 133 */ + +Brenna at work in the research area. She's silent. Distant. + +Something is missing from her. + +EXT. GEORGETOWN STREET - DAY #134# + +/* 134 */ + +Brenna stands in the street before Taupin's townhouse. + +A boarded up window. A for-sale sign. Taupin is gone forever. + +As if he never was. + +INT. BRENNA'S APARTMENT #135# + +/* 135 */ + +A desk. A single light. A cup of coffee. + +A typewriter. + +Brenna tries to force thoughts to the surface. CLACK-CLACK. + +It is at last her journal article. She types a line, then rips it from the carriage and tears it to pieces. + +The thoughts won't come. + +EXT. WASHINGTON MALL - DAY #136# + +/* 136 */ + +Brenna sits on the expanse of grass throwing scraps to a group of wild park cats. + +A shadow covers her face. She looks up. + +It is Taupin. + +Something has changed him. His face is less cynical. More vulnerable. More human. + +He sits down on the grass beside her. + + @BRENNA + (after a moment) + What are we supposed to say? + +The cat's eyes are all fixed in Taupin. They cautiously shrink away, frightened. + + @TAUPIN + The emptyness. The years and years of void. Nothingness. Bordered only by the quest for ultimate nothingness. Who would have guessed? + + @BRENNA + The inheritance. + + @TAUPIN + Not power. Not control. + +Taupin holds a blade of grass as if it was speaking to him. + + @TAUPIN + Life. It is the gift and the understanding of life. + + @BRENNA + You have lived forever. + + @TAUPIN + Life is only life when it is bounded by death. The inheritance is death. The gift is the finality of life. To be part of the fabric. The inside. + (turns to Brenna) + I love you Brenna. + +Brenna's chin quivers. + + @TAUPIN + It will be horrible. The future. I may die tomorrow or 10,000 tomorrows. I can promise you nothing. Nothing but a moment. Maybe two. But a moment of love, is that not worth a lifetime? + + @BRENNA + (crying) + Yes. + +He holds her. They hold each other. + + @TAUPIN + It's taken me so long. So very long. + +A jogger runs by, unaware of any life but his own. + +>FADE OUT + +!_END_ diff --git a/fountain_scripts/Highlander.webp b/fountain_scripts/Highlander.webp new file mode 100644 index 0000000000000000000000000000000000000000..eabd476fc7528ccbc2841d348710a6429c719852 --- /dev/null +++ b/fountain_scripts/Highlander.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:fb7174c599972292b7c0b367674d35ccbd7265df46c21672f4053bba4d286665 +size 33710 diff --git a/fountain_scripts/How to Train Your Dragon 2.fountain b/fountain_scripts/How to Train Your Dragon 2.fountain new file mode 100644 index 0000000000000000000000000000000000000000..1ec0eee847b4841c9de51bf4e82ecd7f8080f3d3 --- /dev/null +++ b/fountain_scripts/How to Train Your Dragon 2.fountain @@ -0,0 +1,3771 @@ +Title: HOW TO TRAIN YOUR DRAGON 2 +Credit: Written by +Author: Dean DeBlois +Source: Inspired by the novels by + Cressida Cowell +Draft date: Final Draft + May 5th, 2014 + +EXT. OPEN SEA - DAY + +Hiccup and Toothless BLUR PAST, leaving a wake that leads... + +EXT. BERK - DAY[[(Sequence 0200 - New Berk)]] + +To the island village of Berk, festively adorned with flags and banners. Major new additions alter its familiar skyline. + + HICCUP (V.O.) + This... is Berk. The best kept secret this side of, well, anywhere. Granted, it may not look like much, but this wet heap of rock packs more than a few surprises. + +ON A CLUSTER OF SHEEP, hiding nervously between buildings as shadows of passing dragons race by. The group moves as one, receding into a shadowy alley, pushing one sheep out into the light. It's suddenly snatched and carried into the air! + + HICCUP (V.O.) + Life here is amazing, just not for the faint of heart. See, where most folks enjoy hobbies like whittling or needlepoint, we Berkians prefer a little something we like to call-- + +WHOOSH, WHOOSH, WHOOSH! A wash of VIBRANT COLORS blurs by. DRAGONS BARREL PAST at a dizzying speed. Their RIDERS SWIPE, KICK, and ROLL into one another while they WEAVE neck in neck between the houses, docks, and revamped structures of Berk. + + HICCUP (V.O.) + DRAGON RACING! + +It's like an aerial version of the Monte Carlo race. Spectators ROAR from wooden bleachers, fastened to cliff faces and perched over the sea. + +FISHLEGS, now 20 and even larger, rides his gronkle, MEATLUG, who carries the sheep in her claws, until... + +SNOTLOUT, also 20, but every bit as juvenile, and his Monstrous Nightmare, HOOKFANG, steal the sheep from them.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 2.]] + + SNOTLOUT + Oh, I'm sorry, Fishlegs! Did you want that? + + FISHLEGS + Snotlout! That's mine! + +Snotlout FALLS BACK toward RUFFNUT and TUFFNUT, who lag on their two-headed Zippleback, BARF & BELCH. + + SNOTLOUT + Here ya go, babe. + +With a chivalrous grin, Snotlout tosses the sheep to Ruffnut. She SNATCHES it with a sneer and a GRUMBLE. + + SNOTLOUT (CONT'D) + Did I tell you that you look amazing today? `Cause you do. + + RUFFNUT + Come on, Barf. It's starting to stink around here. + +Barf starts to peel off, spewing gas. Tuffnut mocks Snotlout with a mugging grin. + + TUFFNUT + Nope. Still hates you. Let's blow this place, Belch! + +Belch ignites the gas, sparking a flashy explosion, and leaving Snotlout behind in the smoke. As they rush past the main bleachers, Ruffnut DROPS her sheep into one of five baskets suspended over a chasm at the lap crossing. Each backboard bears an image of its corresponding dragon. The Barf/Belch basket filled to the brim with sheep. Presiding over the game, STOICK turns to the frenzied crowd. + + STOICK + That's nine for the Twins, Astrid lags with three, Fishlegs and Snotlout trail with NONE! + +Stoick eyes an empty basket at the far end, its backboard painted with an image of Toothless. + + STOICK (CONT'D) + And Hiccup is... nowhere to be found. Hmmm.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 3.]] + + GOBBER + Scared him off with the big talk, didn't ya, Stoick? + +WHACK! Snotlout, still smoldering from the blast, gets CLIPPED from behind. ASTRID, rolls in, astride STORMFLY -- spirited and competitive as ever, and beautiful despite herself. + + ASTRID + What are you doing, Snotlout?! They're going to win now! + + SNOTLOUT + She's my princess! Whatever she wants, she gets. + + ASTRID + Ruffnut?! Didn't she try to bury you alive?! + + SNOTLOUT + Only for a few hours! + +BACK TO THE RACERS, as they peel away, pouring on the speed. + + HICCUP (V.O.) + Dragons used to be a bit of a problem here. But that was five years ago. Now they've all moved in. And, really, why wouldn't they? + +The racers chase each other through a sprawling hangar and into a vast cave, teeming with colorfully painted dragon stables. They exit through the far side and circle back through the village, blasting past many of its dragon-friendly additions. + + HICCUP (V.O.) + We have custom stables... all-you-can-eat feeding stations... a full service dragon wash... + +In the village, a baby Gronkle sneezes, accidentally setting one of the Viking houses aflame. + + HICCUP (V.O.) + Even top-of-the-line fire prevention, if I do say so myself. + +Astrid rolls her eyes, peels away from the other dragon racers, and yanks open a spout on the overhead network of aqueducts, dousing the flames with a surge of water.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 4.]] + +BACK TO STOICK, amused as he watches the racers round the island, searching for sheep. He turns to Gobber and nods. + + STOICK + It's time, Gobber. + + GOBBER + Righty-ho! + (aloud, to the crowd) + Last lap! + +A HORN sounds. The racers all turn to each other, excited. + + ASTRID + The black sheep! Come on, Stormfly! We can still win this thing! + + RUFFNUT + Come on, Barf! + + TUFFNUT + Let's go! + + FISHLEGS + Go, Meatlug! + +GOBBER loads the BLACK SHEEP onto a catapult. + + GOBBER + This is your big moment. Have a nice flight! + +He pulls the trigger, LAUNCHING the black sheep into the air. Astrid spots it and steers Stormfly into a steep climb toward it. + + ASTRID + Up, up, up! + +In a flash, Fishlegs and Meatlug blur past, NABBING the sheep. + + ASTRID (CONT'D) + No! + + FISHLEGS + Good job, Meatlug! + +Fishlegs tosses his captured prize to Ruffnut. + + FISHLEGS (CONT'D) + Here you go, darling. Mine's worth ten![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 5.]] + + RUFFNUT + Yeah! The Black Sheep! + +Snotlout sighs, frustrated. + + ASTRID + You guys are fighting for Ruffnut?! + + RUFFNUT + I'm totally winning! + +Fishlegs hovers up next to Ruffnut with a starry-eyed smile. + + FISHLEGS + We're winning together! + +She RAMS BARF into Meatlug, sending Fishlegs into an uncontrolled SPIN. He SLAMS into Snotlout, sending their dragons TUMBLING head over tail. The crowd goes wild. + + RUFFNUT + No one can stop me now! + + TUFFNUT + Except for me. We're attached, genius! + +He GRABS at the sheep. Ruffnut fights back, inciting a tug-of-war. + + TUFFNUT (CONT'D) + Quit trying to steal all my glory! + +And while they're distracted, Astrid steers Stormfly toward them, CLOSING IN. + + STOICK + Get `em, Astrid! + + TUFFNUT + It's MY glory! No sheep, no glory! + + RUFFNUT ^ + You're always ruining EVERYTHING! + +Astrid leaps off of Stormfly, runs up Belch's spindly neck, and PLUCKS the black sheep from the Twins' hands. + + ASTRID + Gotcha! + +She tumbles through the air onto Stormfly, sticking a perfect landing, black sheep in hand. + + RUFFNUT + Astrid![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 6.]] + +BACK TO STOICK, beside himself. The crowd ROARS. + + STOICK + Well played! Hahaha! + (gloating, to the crowd) + That's my future daughter-in-law! + +BACK TO ASTRID ON STORMFLY eyeing the fast-approaching FINISH LINE, unaware as... FISHLEGS suddenly RAMS Meatlug into Stormfly, sending Astrid off-course. She recovers and sees Snotlout flying headlong toward her, war hammer cocked, aiming at Astrid. + + SNOTLOUT + Uh, excuse me. + + ASTRID + Stormfly! + +Snotlout HURLS his hammer. Astrid ducks and rolls Stormfly out of the way. The hammer catches Fishlegs in the face with a CLANG. The crowd collectively winces. + +Astrid and Stormfly recover from their roll, loop over the water, and they BLAST past the finish line, DUNKING the black sheep into their basket! + + STOICK + That's thirteen! Astrid takes the game! + +The crowd COMES UNHINGED. Astrid flies over the crowd, basking in her victory. + + HICCUP (V.O.) + Yep. Berk is pretty much perfect. All of my hard work has paid off. And it's a good thing, too, because with Vikings on the backs of dragons, the world just got a whole lot bigger. + +EXT. OPEN SKY/ISLAND COASTLINE - DAY #0300#[[(Scene 0300 - AWOL Part One)]] + +A boundless sky. Vast. Clear. Crisp. And from it, a BLACK SPECK rockets across the horizon. The image of unbridled freedom.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 7.]] + +Tucked into his riding position, HICCUP appears to be part of TOOTHLESS. They dip, roll and dive, over a sea teeming with Thunderdrums, pulling off daring maneuvers with honed refinement, making them seem effortless. + + HICCUP + Yeah! + +They jackknife, heading skyward, rolling and tumbling through the ethereal cloud-scapes and joining high-flying Timberjacks as they soar in formation. Hiccup is bound head-to-toe in a snug, aerodynamic flight suit -- an asymmetrical, functional design of leather and articulated plates. It has an air of Viking bike leather. + + HICCUP (CONT'D) + What do you think, bud? Wanna give this another shot? + +Toothless grumbles in protest. + + HICCUP (CONT'D) + Toothless! It'll be fine. + +With a click of a lever, he LOCKS the pedals in the flared tail position. Hiccup then unhooks himself from the saddle. + + HICCUP (CONT'D) + Ready? + +Toothless SNORTS unenthusiastically. Suddenly, Hiccup SLIDES OFF of Toothless, peeling away from him like a skydiver from a plane, YELLING as he plummets. + +Toothless dives after him. They spiral through the air, face-to-face. Toothless is having fun, despite himself. Hiccup slips his forearms through a pair of tucked leather flaps... and YANKS, unfurling SHEETS OF LEATHER as he extends his arms. They catch the wind, SNAPPING OPEN like WINGS... and sending him GLIDING -- out of control, at first, then stabilizing. The turbulence buffets his flight suit heavily. But he's flying! Toothless unfolds his wings, too, catching up with Hiccup. The freedom is palpable. Hiccup and Toothless are, for the moment, the same. Feeling the same rush of adrenaline. Independently together. They PLUNGE past cloud formations, splitting apart then crossing paths again.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 8.]] + +Impressive as it is, Hiccup is gliding at a steep angle. Toothless launches fireballs ahead of Hiccup, boosting him higher with the expanding heat bursts. + + HICCUP (CONT'D) + This is amazing! + +A cloud layer washes past, exposing a towering ROCK FORMATION, dead ahead. + + HICCUP (CONT'D) + No longer amazing! Toothless! + +Hiccup tries to steer himself away, to no avail. Toothless POURS ON THE SPEED, trying to catch Hiccup as he HURTLES toward collision. His locked tail makes maneuvering difficult. He's UNABLE TO PULL UP at a steep enough angle. + + HICCUP (CONT'D) + Oh, no! + +At the last second, Toothless BLASTS the jagged rocks just ahead of Hiccup, then WRAPS Hiccup in his wings as they fly through it. The obliterated peak rains down around them. Toothless emerges through the cloud of debris and HURTLES into the trees of a neighboring peak. They tumble down the uneven terrain, coming to rest on a small plateau. Hiccup emerges from the cocoon of Toothless' wings. He switches his prosthetic riding foot to his walking foot and stows his leather wings. + + HICCUP (CONT'D) + That really came out of nowhere. + +The blown up sea stack collapses. + + HICCUP (CONT'D) + We gotta work on your solo gliding there, bud. That locked-up tail makes for some pretty sloppy rescue maneuvers, eh? + +Hiccup reels in his dorsal fin and removes his helmet, revealing a 20 year old Hiccup framed by wild hair, complete with a Viking braid. He walks to the edge of the cliff, taking in the NEW LAND stretching off into the horizon, its tall cliffs and sea-stacks adorned with swaying gold birch trees basking in the dappled afternoon sunlight.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 9.]] + + HICCUP (CONT'D) + Looks like we found another one, bud. + +Toothless FUSSES and SNORTS, not amused, shaking off dust and pebbles like a wet dog. Hiccup flinches as a pebble WHACKS him on the back of the head. He looks back to Toothless, who averts his eyes. + + HICCUP (CONT'D) + Oh, what? Do you want an apology? Is that why you're pouting, big baby boo? Well... try this on! + +Hiccup TACKLES Toothless and tries to put him in a headlock. + + HICCUP (CONT'D) + Ya feeling it yet? Huh? Picking up on all my heartfelt remorse? + +Toothless simply stands on his hind legs, lifting Hiccup off of his flailing feet and dangling him over the cliff's edge. + + HICCUP (CONT'D) + Oh, come on. You wouldn't hurt a ONE-LEGGED-- + +Hiccup looks down, seeing the precipitous drop below. + + HICCUP (CONT'D) + You're right! You're right! You win! You win! + +WHAM! Toothless flips him over, pinning him to the ground. Hiccup squirms, throwing mock punches. Toothless playfully retaliates with feline taps to Hiccup's head. + + HICCUP (CONT'D) + He's down! And it's ugly! Dragons and Vikings, enemies again, locked in combat to the bitter -- URFFF! + +Toothless rests his head on Hiccup -- SQUEEZING THE AIR out of him. Toothless then suddenly starts grooming Hiccup, lapping at his face and covering him in slobber. + + HICCUP (CONT'D) + Gaaaaagh! + +Hiccup fights to get free, finally springing to his feet and shaking off the viscous saliva.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 10.]] + + HICCUP (CONT'D) + You KNOW that doesn't wash out. + +Toothless LAUGHS, pleased with himself. + +Shifting his attention back to the new land stretched out before them, Hiccup reaches beneath his chest plate and produces a leather-bound book. + +He unfurls it to reveal an EXPLORERS MAP, modified with added strips in every direction to accommodate their ever-expanding world. Drawings indicate new lands, new tribes, and many new dragons. Hiccup peels a fresh strip of paper from a hidden fold in his flight suit and holds it out for Toothless to lick. Hiccup affixes the moistened strip to the map's outer edge, then whittles a pencil and consults a compass affixed to his forearm. + + HICCUP (CONT'D) + So what should we name it? + +Toothless GURGLES as he gnaws under his wing, preoccupied. + + HICCUP (CONT'D) + "Itchy Armpit" it is. + +Hiccup carefully draws the new island's outline. + + HICCUP (CONT'D) + Whaddya reckon, bud? Think we might find a few Timberjacks in those woods? The odd Whispering Death or two in the rocks? Who knows... maybe we'll finally track down another Night Fury. + (BEAT) + Wouldn't that be something? + (BURDENED) + So, whaddya say? Just keep going? + +Toothless' ear plates suddenly SHOOT UP. He ROARS, and his call is answered by a familiar SCREECH. Hiccup turns to see... + +EXT. SEA STACK/ISLAND COASTLINE - DAY #0325#[[(Scene 0325 - AWOL Part Two)]] + +ASTRID rising into view, astride Stormfly. Stormfly grabs talon-fulls of rock to slow her landing.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 11.]] + + HICCUP + `Afternoon m'lady. Where have you been? + +Astrid dismounts and throws back her fur hood as Toothless rushes up to greet them. + + ASTRID + Winning races. What else? The real question is... where have YOU been? + + HICCUP + Avoiding my dad. + + ASTRID + Oh, no. What happened now? + +Astrid sits beside Hiccup, inspecting his latest addition to the map. Behind them, Toothless greets Stormfly, inciting a play fight. + + HICCUP + Oh, you're gonna love this. I wake up. The sun's shining. Terrible Terrors are singing on the rooftop. I saunter down to breakfast, thinking all is right with the world, and I get... + +He gets to his feet and puffs out his chest. + + HICCUP (CONT'D) + (APING STOICK) + \... Son, we need to talk. + +Astrid smiles and adopts Hiccup's sloppy slouch. + + ASTRID + (APING HICCUP) + Not now, Dad. I've got a whole day of goofing off to get started. + +Hiccup breaks character, grimacing at her impression of him. + + HICCUP + Okay, first of all, I don't sound like that. What is this character? And second... what is that thing you're doing with my shoulders? + +Astrid laughs, jostling her shoulders in an awkward way.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 12.]] + + HICCUP (CONT'D) + A truly flattering impersonation. Anyway, he goes... + (resuming Stoick's brogue) + You're the pride of Berk, son, and I couldn't be prouder... + + ASTRID + (continuing her impression OF HICCUP) + Aw, thanks, Dad. I'm pretty impressed with myself, too. + + HICCUP + WHEN have I ever done that with my hands? + + ASTRID + You just did. + +She laughs, playfully. + + HICCUP + Okay... just... + (holding her arms, mock-STERN) + Hold still. It's very serious. + +She giggles, trying to hold a straight face. + + HICCUP (CONT'D) + (resuming Stoick's brogue) + You're all grown up, and since no chief could ask for a better successor, I've decided-- + +Astrid straightens, her face brightening. + + ASTRID + --TO MAKE YOU CHIEF! Oh, my gods! + +She jumps to her feet, beaming... + + ASTRID (CONT'D) + Hiccup, that's amazing! + +And socks Hiccup in congratulations, deliberately hitting the dorsal fin release button and triggering it to pop up. She laughs as Hiccup reels it back in, self-consciously. + + HICCUP + You're gonna wear out the spring coil. The calibration is very sensitive![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 13.]] + +They're suddenly BOWLED OVER by Toothless and Stormfly. + + HICCUP (CONT'D) + Yeah, so... this is what I'm dealing with. + +Astrid helps him up and dusts him off. + + ASTRID + (EXCITED) + What did you tell him? + + HICCUP + I didn't. By the time he turned around, I was gone. + +Astrid picks up the map, folding it as she paces around him, processing it all. + + ASTRID + Well, it's a lot of responsibility. The map will have to wait for sure, and I'll need to fly Toothless, since you'll be too busy... + +She pauses, wincing in sympathy. She turns to Hiccup. He nods knowingly, taking the map from her. + + HICCUP + It's not me, Astrid. All those speeches, and planning, and running the village... that's his thing. + + ASTRID + I think you're missing the point. I mean, chief. What an honor. I'd be pretty excited. + +Hiccup shakes his head. + + HICCUP + I'm not like you. You know exactly who you are. You always have. But... + +He shuffles to the cliff's edge, gazing out at the new land. + + HICCUP (CONT'D) + I'm still looking. I know that I'm not my father... and I never met my mother... so, what does that make me?[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 14.]] + +He sits at the edge, looking burdened, restless. Astrid approaches and settles beside him, joining him in looking out at the distant horizon. She weaves another braid into his hair as she speaks. + + ASTRID + What you're searching for... isn't out there, Hiccup. + +She places a hand on his chest. + + ASTRID (CONT'D) + It's in here. + (BEAT) + Maybe you just don't see it yet. + +She kisses his cheek, but gets a mouthful of Toothless' slobber. She grimaces, wiping it off. + +Distracted, Hiccup eyes the horizon keenly. + + HICCUP + Maybe. But, y'know... there is something out there. + + ASTRID + (EXASPERATED) + Hiccup... + +He turns her face to the horizon. A distant smoke plume rises from a misty valley. + +EXT. LAPLAND WOODS/TRAPPER'S FORT - MOMENTS LATER #0400#[[(Scene 0400 - Shot Down!)]] + +Hiccup and Toothless fly over the fjord, winding deep through undulating crimson and gold forests. + +Astrid and Stormfly catch up as the autumn colors suddenly give way to charred timbers. They fly deeper, through ash and wafting smoke. Ahead, in a sheltered harbor, an explosion of ice stands as an eerie marker of what used to be a TRAPPER'S FORT. + + HICCUP + Stay close. + +They fly through the suspended remains of the buildings, splintered, and frozen in mid-destruction. + + HICCUP (CONT'D) + What happened here?[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 15.]] + +It's at once harrowing and puzzling. Toothless spots an enormous DRAGON FOOTPRINT in the muddy shoreline below, leaving him uneasy. + + HICCUP (CONT'D) + Easy, bud. + +As they crest the ice formations, Astrid spots a CREW OF MEN at the stern of a moored ship below. + + ASTRID + Hiccup! + + ERET (O.S.) + Fire! + +The men fire a stern-mounted cannon. The projectile unfurls into a NET. Hiccup and Toothless dart out of its way. + + HICCUP + Astrid! Look out! + +It HITS Stormfly, TANGLING her wings and causing her to spin uncontrolled. Astrid struggles to free her as they HURTLE toward a collision. + + ASTRID + HICCUP! + +Astrid falls off of Stormfly, but Toothless SNATCHES her at the last second. + +Stormfly hits the ground, tangled in the net. Trappers rush out of hiding, piling onto her with ropes and weapons. She whips her tail, sending spikes flying. + + ERET + Watch the tail! + +A large, raven-haired trapper lunges over the spray of spikes and lands upon Stormfly's head, twisting it and taking her down like a rodeo cowboy. + + ERET (CONT'D) + Tie those legs up! + +Eret deftly ties her gnashing jaws shut, wrangling her into submission -- clearly a pro among pros. He looks up, revealing a handsome face and gleaming, intelligent eyes that search the sky as Toothless' tell-tale BANSHEE scream rings out. + + ERET (CONT'D) + Is that what I think it is?[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 16.]] + +Toothless suddenly streaks across the sky, banking and landing with a FEROCIOUS ROAR. + + HICCUP + STOP! + + ASTRID + STORMFLY! + (to the trappers) + What are you doing? + +Astrid and Hiccup leap off of Toothless, rushing toward Stormfly. + +Eret's men immediately draw weapons. Hiccup extends and ignites his DRAGON BLADE -- a telescoping fiery sword -- impressive enough to wow Eret's men. + + ERET + Back again? + +Eret steps forward, focused only on Toothless. + + ERET (CONT'D) + Soil my britches... that is a Night Fury. Thought they were all gone for good. + (to his fellow trappers) + Looks like our luck's had a turn for the better, lads! Don't think Drago has one of those in his dragon army. + +His men sound out in agreement. Hiccup eyes Astrid, confused. + + ASTRID + Dragon army? + + HICCUP + Look, we don't want any trouble. + + ERET + Ha! You should've thought of that before you stole all of our dragons and blasted our fort to bits! + + HICCUP + Wait... + + ASTRID + What are you talking about? + +Astrid and Hiccup take in the icy destruction, putting it together.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 17.]] + + HICCUP + You think we did this? + + ERET + Dragon trapping is hard enough work as it is, without do-gooder dragon riders sneaking in to rescue them. + + HICCUP + What do-gooder -- there are other dragon riders? + + ERET + You mean, other than your thieving friend from last night? You tell me. + +Eret approaches. Toothless snarls, protectively. + + ERET (CONT'D) + You may have an ice-spitting dragon on your side, but we still have a quota to fill. How do you suppose we explain this mess to Drago Bludvist? + + HICCUP + Drago what-fist? Does anything you say make sense? + + TEENY + He's expecting a new shipment of dragons for his army by tomorrow. + + NO-NAME + And Drago don't take well to excuses. + +Eret parts his tunic, revealing a large branding-iron scar on his torso, in the shape of a dragon skull, split by a sword. + + ERET + This is what he gave me last time I showed up empty-handed. He promised to be far less understanding in the future. + + HICCUP + (EXASPERATED) + Look, we don't know anything about a dragon thief, or an ice-spitting dragon, or your lunatic boss and his dragon army, okay?[[(MORE)]][[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 18.]] + + HICCUP (CONT'D) + Just give us back our dragon, and we'll go, strange, hostile person whom we've never met. + +Eret bows playfully. + + ERET + Oh, where are my manners? I'm Eret. Son of Eret. Finest dragon trapper alive. + +He pulls a dagger from behind his back, waving it cockily. His men ready their weapons and net cannons. + + ERET (CONT'D) + After all, it's not just anyone who can capture a Night Fury. + +Toothless ROARS a warning. + + HICCUP + And this is Toothless. He says we're going. Now. + + ERET + Heh. They all say that. + (BEAT) + RUSH `EM, LADS! + +Eret lunges toward them. Toothless BLASTS, bringing down a massive spire of ice. It shatters as it hits the ground, forcing Eret and his men to dive out of the way. + +Making quick use of the distraction, Hiccup re-ignites his dragon blade and slashes through the ropes binding Stormfly. + + ASTRID + Stormfly! C'mon, go! Go! + +Eret gets to his feet in time to see Toothless and Stormfly take to the air, carrying Hiccup and Astrid out of reach of the volley of arrows. + + ERET + YOU WILL NEVER HOLD ON TO THOSE DRAGONS, YOU HEAR ME?! DRAGO IS COMING FOR THEM ALL! + +I/E. BERK/BLACKSMITH STALL - SUNSET[[(Sequence 0500 - Lock-Down!)]][[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 19.]] + +The GANG joyrides past GOTHI'S house, scattering her assortment of terrible terrors. She waves a fist at them as they sweep past, WHOOPING AND CHORTLING, leading us down to... + +THE UPPER PLAZA, where a GATHERED CROWD of Vikings and their dragons are cued up outside of Gobber's BLACKSMITH STALL, awaiting their turns. Stoick maneuvers through the crowd, spouting JOVIAL GREETINGS in passing. + +He makes a bee-line for GOBBER, who is busily grinding a metal dragon tooth into shape. A Zippleback waits patiently, his head cocked open like a car hood while the other head watches, sympathetically. + + STOICK + Any sign of him? + +Gobber flips up his welding guard, revealing a matching area of unsoiled skin. + + GOBBER + Ah, he's probably flown off the edge of the world by now. You sure you want that kid running the village? You can still delay your retirement. + + STOICK + Oh, he's ready. You'll see. + +A SUDDEN EXCITEMENT in the crowd heralds Hiccup and Astrid's return. They touch down on Toothless and Stormfly. + + STOICK (CONT'D) + Haha! There he is! + (to Gobber, proving his POINT) + Huh? The pride of Berk! + +Hiccup stows his helmet and heads toward Stoick with urgency. + + GOBBER + Who finally decided to show up for work. Yay. + + HICCUP + Sorry. Got held up. + (privately, to Stoick) + Hey, Dad, could I have a word? + + STOICK + Something you're itching to tell me?[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 20.]] + + HICCUP + Not quite the itch you're thinking of, but yes. + +Stoick hands him an apron and guides him to the front desk. + + STOICK + Good man! Now, lesson one. A chief's first duty is to his people. So... + +Stoick changes the rune on the "being served" placard. + + STOICK (CONT'D) + Forty one? Forty -- + + HICCUP + Could we just talk in private for-- + + STARKARD + --That's me! That's me! I'm next! + (pushing his way through) + I was ahead of you! Excuse me, I've been here all day! + +STARKARD reaches the counter, giddy with excitement. + + STARKARD (CONT'D) + Okay, I want one of those high seaters, with lots of spikes and a big stowage compartment. + + STOICK + Absolutely! You got it, sir! + +Stoick spins Hiccup around, steering him back into the shop. + + HICCUP + Dad, this is actually a little more important than building saddles. + + STOICK + Ah-ah! Lesson two. No task is too small when it comes to serving your people. Excuse us, Grump. + +They step over the tail of a large, snoring oaf of a dragon, stirring him awake with a fussy start. + + GOBBER + Grump! You let the forge die down again![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 21.]] + +Grump coughs a slug of molten lava into the forge. It splatters everywhere, igniting a rash of fires. Hiccup side-steps them as he gathers materials in the back of the stall. Gobber pulls the fire extinguisher, dumping water everywhere. + + GOBBER (CONT'D) + That's it, Grump. You're going up for adoption! + +Stoick fills a toolbox with tools from Hiccup's workbench. + + STOICK + One of these. And this... + + HICCUP + DAD -- + + STOICK + -- There you go! Go on. Have away. + + HICCUP + But, seriously, I really need to tell you about this new land we came across. + + GOBBER + Another one?! + +Fishlegs walks in, followed by the Twins and Snotlout. + + FISHLEGS + Any new dragons? + +Stoick slaps a sheet of leather onto a dragon mold, and hands Hiccup pencil. Exasperated, Hiccup begins tracing an outline as he speaks. + + HICCUP + We didn't stick around to find out. These folks weren't particularly friendly. + + GOBBER + Oh, really? Your Night Fury and Deadly Nadder didn't bring them cheering to the rooftops? + +Gobber spins his prosthetic arm dispenser. + + HICCUP + No, this was different. Not the standard run-for-the-hills hoo-ha I've come to enjoy. These guys were trappers. Dragon trappers.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 22.]] + + ASTRID + You should've seen their fort. All blown apart and stuck in giant spikes of ice. It was weird. + + HICCUP + I've never seen anything like it. And worst of all, they thought we did it! + +Gobber pops off his prosthetic tongs and selects a wire brush from his dispenser... + + GOBBER + Y'know, you two are gonna get yourselves in SERIOUS trouble one of these days. Not everyone appreciates this way of life. + +Which he uses to brush his mustache and eyebrows. + +Stoick takes the sheet of leather to the table saw... + + STOICK + Gobber's right, son. Best we keep to our own. Besides, you'll have more important uses for your time -- + +And pulls a lever, starting it up. + + STOICK (CONT'D) + (sing-songy, under his BREATH) + Once we make the big announcement! + +Hiccup pulls the lever, shutting the saw down. + + HICCUP + They are building a dragon army. + +Silence fills the stall. Vikings exchange worried glances. + + HICCUP (CONT'D) + Or at least the guy they work for is. Dargo Bloody Fist or something. + +Stoick's eyes widen. He turns to Gobber, with growing alarm. + + TUFFNUT + I'll bloody his fist with my face if he tries to take my dragon! + + RUFFNUT + Or mine.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 23.]] + + TUFFNUT + You're such a moron. + + FISHLEGS + A beautiful moron. + + SNOTLOUT + Yeah... + +Ruffnut grumbles, revolted by their advances. + +Stoick grabs Hiccup by the shoulders, wide-eyed and intense. + + STOICK + Bludvist? Drago Bludvist? + + HICCUP + Uh, yeah. Wait. You know him? + +INT. BERK - DRAGON STABLES - MOMENTS LATER + +Stoick rushes down a circular stone staircase into the vast, bustling cave that houses the dragon stables. + + STOICK + GROUND ALL DRAGONS! + + HICCUP + What? Why?! + +Hiccup, Astrid, Gobber, and Toothless chase after Stoick. + + STOICK + SEAL THE GATES! LOWER THE STORM DOORS! + + HICCUP + Whoa, whoa, whoa. Wait! What is happening? + + GOBBER + You heard the man! Lock it down! + +Behind him, the massive storm doors rattle as they're lowered. + + STOICK + No DRAGON or VIKING sets foot off this island until I give the word![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 24.]] + + HICCUP + Because some guy you knew is stirring up trouble in some faraway land? + +Stoick turns to Hiccup, gravely serious. + + STOICK + Because Drago Bludvist is a madman. Without conscience or mercy. And if he's built a dragon army... gods help us all. + +Stoick continues on shouting orders, leaving Hiccup stewing. + + STOICK (CONT'D) + Get them into their pens! Quickly! + +Hiccup chases around to confront Stoick. + + HICCUP + Then let's ride back out there. We'll follow those trappers to Drago and talk some sense into him. + + STOICK + No. We fortify the island. + + HICCUP + It's our duty to keep the peace! + + STOICK + Peace is over, Hiccup. I must prepare you for war. + + HICCUP + War? Dad, if Drago's coming for our dragons, we can't wait around for him to get here. Let's go find him and change his mind. + + STOICK + Some minds won't be changed, Hiccup. Berk is what you need to worry about. + (BEAT) + A chief protects his own. + +Stoick heads off, calling out more orders... + + STOICK (CONT'D) + SECURE THE STABLES! LATCH EVERY STALL![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 25.]] + +!... leaving Hiccup eyeing Toothless as the storm doors close. Astrid approaches him, seeing the determination on his face. + + ASTRID + Hiccup, don't. + + HICCUP + I have to. + +He gives her a quick peck on the cheek. + + STOICK + THIS WAY! QUICKLY! + +Hiccup and Toothless BLAST PAST, heading for the exit. + + STOICK (CONT'D) + HICCUP! + +They try to fly through one door, but it seals shut. + + HICCUP + Come on! + +Toothless spins around and DIVES through the gap in the second lowering storm door. + + STOICK + Hiccup! + +Astrid and Stormfly blow past Stoick and slip through the storm door before it shuts, leaving Stoick fuming. + +EXT. OPEN SEA - MIDDAY #0700#[[(Scene 0700 - Eret's Lesson)]] + +Eret's ship carves a defiant path North, leaving the last glimpses of Lapland in its wake. + +Eret stands on the bowsprit, eyeing the waves intently, searching the surface. He turns toward the deck, where his crewmen man the gunwale cannons, sights trained to the sky. + + ERET + Keep your eyes peeled, lads! With this wind, we'll reach Drago by daybreak, so best we fill this ship up with dragons and quick! It's no time to be picky. Not if we want to keep our --[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 26.]] + + UG + Uh... Eret? + +Eret turns in the direction Ug is pointing to see a pair of dragons flapping toward them. + + ERET + HEADS! OFF THE PORT QUARTER! + +The crewmen swing the net cannons toward the back-lit, silhouetted dragons, drawing ever closer. + + ERET (CONT'D) + Net `em, lads! Take `em down! + +Eret loads a cannon and takes aim. He spots Hiccup and Astrid riding the dragons. His eyes narrow, determined. + + ERET (CONT'D) + You're not getting away this time. + +Nets fly through the air. Hiccup and Astrid outmaneuver them and dive toward the ship, landing on the deck with a clatter. + + ERET (CONT'D) + And here I was worried we might turn up empty-handed. + +Astrid brandishes her axe in invitation. Hiccup indicates for her to lower it, then holds up his hands in surrender. + + HICCUP + Nope. It's your lucky day. We give up. + +Eret's crew exchange confused stares. As does Astrid. + + HICCUP (CONT'D) + That's one Night Fury, one Deadly Nadder, and... + +He dismounts Toothless and tosses a net over Astrid. + + HICCUP (CONT'D) + \... two of the finest dragon riders west of Luk Tuk. That oughtta make the boss happy, right? + +Astrid grumbles. He takes her axe, hands it to Eret, and escorts Astrid past the men to the open live well. + + HICCUP (CONT'D) + Excuse us.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 27.]] + +He leads Astrid down the ladder. She glares at him, plainly hating the plan. + + ASTRID + What are you doing? + +Toothless tries to follow them, but Hiccup holds him back. + + HICCUP + Toothless, stay. + +Hiccup flips the latch, lowering the grate as Eret watches, confounded. + + HICCUP (CONT'D) + The dragons don't really care for cramped spaces, so they'll just hang out with you. They won't be any trouble. + +Eret's men nervously direct their swords and spears toward Toothless. HE SNARLS. + + HICCUP (CONT'D) + Unless you do that. Wooden boat, big ocean. How's your swimming? + + NO-NAME + Not good. + +A burst of flame erupts from the live well, causing the crewmen to jump back. Hiccup thrusts his Dragon Blade through the grate. + + HICCUP + Oops. Almost forgot. Can't have armed prisoners! + + ASTRID + How is this a plan? + +He retracts the blade and offers it up. A crewman cautiously takes it, looking it over. The pommel of the hilt is expelling green gas. + + HICCUP + Just what every dragon trapper needs. One end coats the blade in Monstrous Nightmare saliva. The other sprays Hideous Zippleback gas. All it takes is a spark and... + +A curious crewman clicks the lighter, igniting the gas. Hiccup ducks as the sudden explosion sweeps over the deck.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 28.]] + + HICCUP (CONT'D) + Oh, yeah, there you go! + +Toothless paws at the embers. + + HICCUP (CONT'D) + Once they see you as one of their own, even the testiest dragons can be trained, right, bud? + +Toothless gurgles and falls over. + + ERET + Give me that! + +Eret snatches the dragon blade and HURLS it overboard. Stormfly bolts after it... + + ERET (CONT'D) + What game are you playing? + + HICCUP + No game. We just want to meet Drago. + +And returns in a flash, dropping it at Eret's feet like a fetching dog, tongue wagging. Eret throws it again, frustrated. Stormfly returns with it just as quickly. + + ERET + Why? + + HICCUP + Because I'm going to change his mind about dragons. + +Eret and his crew LAUGH. Astrid pokes out of the well. + + ASTRID + He can be really persuasive. + +Hiccup pets Toothless, thoughtfully. + + HICCUP + Once you've earned his loyalty, there is nothing a dragon won't do for you. + + ERET + Puh! You won't be changing any minds around here.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 29.]] + + HICCUP + I can change yours. Right here. Right now. + +Hiccup sets Toothless' tail in the locked, splayed position. Eret sneers, suspicious. + + HICCUP (CONT'D) + May I? + +Suddenly, Hiccup is snatched into the air! Dragons blur past. + +I/E. OPEN SEA - SHIP - SUNSET #1000#[[(Scene 1000 - Botched Rescue)]] + +The crewmen SCRAMBLE to the NET CANNONS as a FLURRY OF WINGS streak past, GASHING holes in the sails and SLICING through rigging. + + ERET + Dragon riders! + +Toothless SHRIEKS and bounds up the mast, spotting Hiccup in the talons of a Monstrous Nightmare. Toothless relaxes, realizing that it's Hookfang. + + HICCUP + Put me down! Snotlout! What are you doing? + +Snotlout looks back to see if Ruffnut witnessed the save. + + SNOTLOUT + See how well I protect and provide? + +Ruffnut GRUMBLES at the incessant courting. A FLYING NET whizzes past her head. + + TUFFNUT + Aggh! What is with all the nets?! + + RUFFNUT + Hey watch it! That was close... + +Ruffnut spots Eret, FIRING nets from the deck of the ship. + +>TRANSITION TO: + +A SLOW MOTION, sexy POV of Eret's glistening biceps, shuddering as he BLASTS the net cannon, aimed directly at her.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 30.]] + + RUFFNUT (CONT'D) + Oh, my. + +The net unravels in SLOW MOTION... + + RUFFNUT (CONT'D) + Me likey. + +!... enveloping Ruffnut as she yields to it, blissfully. + + RUFFNUT (CONT'D) + Take me. + +BACK TO REAL TIME + +As Hiccup FLIPS upside-down in the Hookfang's talons and KICKS off, pulling his wing-suit flaps. + +Eret takes aim, but Astrid SHOVES him, throwing off the shot. + + ASTRID + HOLD YOUR FIRE! + +Hiccup glides unsteadily towards the ship and collides with its sail. He slides down the canvas and drops to the deck. Toothless lands behind him. + + HICCUP + WHAT ARE YOU GUYS DOING HERE?! + +Gobber and Grump land on the deck, scattering Eret's crew. + + GOBBER + We're here to RESCUE you! + + HICCUP + I DON'T NEED to be rescued! + + STOICK (O.S.) + ENOUGH! + +The bow dips heavily as Stoick touches down on SKULLCRUSHER. He dismounts, fuming. + +Eret blocks Stoick, cocky and confident. + + ERET + Well, didn't you just pick the wrong ship, eh? I am Eret, son of -- + +Stoick shoves his face aside, sending Eret SLAMMING into Grump. Before he can react, Gobber CLUBS Eret on the head, sending him collapsing to the deck. Grump then sits on him, smothering him into submission.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 31.]] + + ERET (CONT'D) + (panting, suffocated) + Get... this... thing... off... me! + +Gobber turns to the other crewmen, with a smile. + + GOBBER + Anyone else? + +Eret's men eye the Vikings, armed and flanked by their dragons. They set down their swords. + + GOBBER (CONT'D) + That's what I figured. + + STOICK + (TO HICCUP) + You. Saddle up. We're going home. + + HICCUP + No. + + STOICK + Of all the irresponsible -- + + HICCUP + -- I'm trying to protect our dragons and stop a war! How is that irresponsible? + + STOICK + BECAUSE WAR IS WHAT HE WANTS, SON! + +Hiccup glares, frustrated. + +Stoick SIGHS, realizing that he has to explain. + + STOICK (CONT'D) + Years ago, there was a great gathering of chieftains to discuss the dragon scourge we all faced. + +INT. VIKING HALL - NIGHT + +FLASHBACK + +A hulking, cloaked figure strides confidently into fire-lit hall, interrupting a council meeting of Viking chieftains. His face is masked in silhouette.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 32.]] + + STOICK (V.O.) + Into our midst came a stranger from a strange land, covered in scars and draped in a cloak of dragon skin. He carried no weapon and spoke softly, saying that he, Drago Bludvist, was a man of the people, devoted to freeing mankind from the tyranny of dragons. + +ON STOICK, some twenty years younger, seated in a throne, studying the impudent stranger with suspicion. + + STOICK (V.O.) + He claimed that he alone could control the dragons and that he alone could keep us safe, if we chose to bow down and follow him. + +The Viking council erupts in mocking laughter. + +BACK TO PRESENT + +Snotlout, Fishlegs, and the Twins snicker. + + RUFFNUT + Stupid. + + TUFFNUT + Good one. + + STOICK + Aye. We laughed, too... + +BACK TO FLASHBACK + + STOICK (CONT'D) + Until he wrapped himself in his cloak and cried out, "Then see how well you do without me!" + +Drago Bludvist pulls the dragon skin cloak over himself and marches toward the door. Above, dragon fire rips through the ceiling, bringing down flaming timbers, followed by dragons covered in heavy metallic armor. They BLAST FIRE as panic ensues. + + STOICK (V.O.) + The rooftop suddenly burst into flames, and from it, armored dragons descended, burning the hall to the ground. + +BACK TO PRESENT[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 33.]] + + STOICK + (STINGING REGRET) + I... was to only one to escape. + +The Twins, Snotlout, and Fishlegs exchange spooked glances. + + STOICK (CONT'D) + (TO HICCUP) + Men who kill without reason cannot be reasoned with. + + HICCUP + Maybe. + +Hiccup turns and stomps toward Toothless, determined. Eret watches intently. + + STOICK + Hiccup... + + HICCUP + I'm still going to try. + +Hiccup jumps onto Toothless and locks eyes with Stoick. + + HICCUP (CONT'D) + This is what I'm good at. And if I could change your mind... I can change his, too. + (TO TOOTHLESS) + Come on. + +Toothless and Hiccup TAKE TO THE AIR, leaving everyone stirring in awkward silence. + +Astrid mounts Stormfly, about to go after him. + + ASTRID + Let's go. + + STOICK + NO! Lead the others back to Berk. I've had enough mutiny for one day. + +Astrid stirs, conflicted, as Stoick stomps toward Skullcrusher, fuming. He passes Ruffnut, who's busily fondling Eret's biceps as he lays crushed under Grump. + + RUFFNUT + Ooh, I like that. + + STOICK + Ruffnut![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 34.]] + + RUFFNUT + (PETULANT) + Ugh! Okay! + +EXT. SKY - NIGHT #1100#[[(Scene 1100 - Ambushed!)]] + +Hiccup stares ahead, frustrated, as Toothless glides over a bed of clouds, glowing in the low, Arctic sun. Hiccup YELLS, then slumps back onto the saddle. Toothless recoils, sensitive to Hiccup's upset. The steam from their breath mixes in the frigid air. + + HICCUP + Don't worry, bud. I'm not gonna let anything happen to you. I promise. + +Toothless' ear plates perk up. He glances over his shoulder to see a disturbance in the blanket of clouds. A strange and arresting MASKED WARRIOR rises from the clouds, standing upon something unseen. Its armor and cape flap in the buffeting turbulence. The warrior eyes Toothless and Hiccup, pulling up alongside them. Hiccup senses the approaching figure in his periphery and sits up, flustered. + + HICCUP (CONT'D) + AW, COME ON, DAD! REALLY?! + +He whirls around expectantly then FREEZES, mouth agape. The warrior stares blankly, tilting his head in curiosity while cutting a menacing silhouette. Then, just as gradually as he rose, the warrior dips back beneath the clouds, disappearing. + + HICCUP (CONT'D) + (ALARMED) + Okay. + (TO TOOTHLESS) + No sudden moves. + +Suddenly, the warrior EXPLODES out of the clouds before them, standing atop a large dragon. They circle Hiccup and Toothless, forcing them to TREAD AIR. + +The warrior points a staff toward Hiccup, unnervingly, as he returns to face them.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 35.]] + + HICCUP (CONT'D) + Hold on, hold on. + +Toothless GROWLS a warning. Suddenly, they're ambushed from behind. Hiccup is plucked off of Toothless by another DRAGON and carried off. + + HICCUP (CONT'D) + Toothless! + +With the tail unmanned, Toothless PLUMMETS helplessly. He FLAPS wildly then CRASHES through the ice into the black, frigid water. FLAILING and CRYING OUT, he struggles to stay afloat as he watches... Hiccup disappear into the night sky, carried off in the talons of the strange dragon -- one of TENS that accompany the warrior in a cavalcade. Toothless BELLOWS in distress, desperately trying to take to the air. As he LEAPS and CRASHES, time and again... A group of SPINY DORSAL FINS split the ice, carving a path toward Toothless. Beneath the ice, a pod of SEASHOCKERS approach, two-headed, with Manta Ray like wings GLIDING silently in the gloom. Fixated on Hiccup, Toothless is caught by surprise as the Seashockers surface and DRAG HIM UNDER. Hiccup's helmet bobs to the surface, marking all that remains. + +EXT. ARCTIC SKY/ARCHIPELAGO - NIGHT (MIDNIGHT SUN) #1300#[[(Scene 1300 - Dragon Lady)]] + +Hiccup shivers in the claws of the dragon, surrounded by the strange flock full of breeds he's never seen. He looks back for Toothless, now long gone. + + HICCUP + HEY! YOU LEFT MY DRAGON BACK THERE! HE CAN'T FLY ON HIS OWN! HE'LL DROWN! + +The warrior offers no response, seemingly immune to the cold as he leads the dragon flock across the polar night -- an alien landscape, harsh and foreboding.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 36.]] + +Out of the fog looms an EPIC ICE FORMATION -- jagged, spiked, and similar to the icy aftermath of Eret's fort, but many times its size. + +The DRAGON ESCORT dives into its jagged folds. + +INT. DRAGON MOUNTAIN - CONTINUOUS + +The WILD RIDE suddenly gives way to a MULTILEVEL, CAVERNOUS CHAMBER made of ice and columns of basalt rock. It's heavily populated with dragons of all kinds, looming in the shadows. + +Hiccup is dropped in the center. He scrambles to his feet, calling out into the darkness. + + HICCUP + We have to head back for my dragon! + +A HISSING dragon CLOSES IN, sniffing, leering, aggressive. + +Hiccup extends and lights his telescoping dragon blade, waving a swirl of fire around himself. The dragon pauses, intrigued, and then watches hypnotically as Hiccup pacifies him with calculated sweeps of the fiery blade. + +The warrior watches keenly from the shadows. + +Several aggressive dragons close in behind Hiccup. Hearing their hisses, he quickly stows the blade, replaces a cartridge in its hilt, then flips it around and sprays a perimeter of Zippleback gas around himself. He clicks the lighter, igniting a flash ring. The testy dragons recoil. + +He then reaches through the smoke, offering his open hand. The dragons re-approach, sniffing him with calmed curiosity. ON THE WARRIOR + +!... tilting his masked head, curious. He dismounts his dragon and approaches Hiccup. + + HICCUP (CONT'D) + Who are you? The Dragon Thief? Drago Bludvist? + +The warrior circles Hiccup in silence, taking in his gear, his dragon blade, his face. + + HICCUP (CONT'D) + Do you even understand what I'm saying?[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 37.]] + +The warrior whirls and HAMMERS his staff. In response, a large dragon ASCENDS from the depths, carrying... + + HICCUP (CONT'D) + Toothless! + +Toothless is dumped on the ground next to Hiccup, sopping wet. Hiccup rushes to him, petting him reassuringly. Toothless coos in relief. + + HICCUP (CONT'D) + It's okay. I'm glad to see you, too, bud. You really had me worried there. + +The warrior rattles his staff at a nearby dragon. In response, it and the surrounding dragons produce firelight from their throats, spotlighting Hiccup and Toothless. + +The warrior sets down his staff and shield, then approaches Hiccup, cautiously and animal-like. + +Toothless SNARLS and circles Hiccup defensively, but then instantly yields to the stranger's outstretched hand. With a quick, disarming gesture, the warrior lays Toothless down in a state of bliss. Hiccup is astounded. + +The warrior's hand continues toward Hiccup's face. He recoils, but the warrior persists, finding the faint scar on Hiccup's chin, glinting in the firelight. + +The warrior GASPS and retreats a few steps. + + WARRIOR + (whispered, shaken) + Hiccup? + (BEAT) + Could it be? After all these years? How is this possible? + +The voice is surprisingly female. + + HICCUP + Uh, should I... should I know you? + + WARRIOR + No. You were only a babe... + +The warrior slowly removes the strange mask, revealing VALKA, 40, beneath. Her eyes meet his, equally wide-eyed and aghast. + + VALKA + \... but a mother never forgets.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 38.]] + +Hiccup stammers, tongue-tied, aghast. + + VALKA (CONT'D) + Come... + +EXT. ARCTIC SKY - NIGHT (MIDNIGHT SUN)[[(Sequence 1325 - Searching)]] + +Stoick and Gobber search over the frigid waves that lap against the pack ice. + + STOICK + Boar-headed! Just like his mother! She could never stay put either. + +Gobber glances over at Stoick, who's hunched over, brow furrowed and solemn. + + GOBBER + Ah, he's just twenty. And a Viking. I mean, could there be a worse combination? Ha! When I think of how stubborn and senseless YOU were back in the day... well, not much has changed, actually. + + STOICK + You know what he's like. He won't give up, Gobber. And if Hiccup finds Drago, before we find him... + + GOBBER + Bah! NOTHING can hurt Hiccup so long as that Night Fury's around. It's a Night Fury! + +Framed by a hole in the ice, a glistening object bobs on the surface below. Stoick squints and CIRCLES BACK, leading Skullcrusher in a DIVE toward it. Stoick SNAGS it out of the water. It's Hiccup's helmet. + +Gobber pulls alongside Stoick, seeing his look of dread. Stoick holds the helmet out for his dragon to SMELL. + + STOICK + Find him, Skullcrusher. Find him. + +Skullcrusher SNIFFS the helmet like a bloodhound, ROARS, and suddenly CHANGES HEADING.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 39.]] + +INT. DRAGON MOUNTAIN - TUNNEL - DAWN #1400#[[(Scene 1400 - A New Family)]] + +CLOSE ON Hiccup, flustered, winded, chasing VALKA through tightly winding corridors. + + HICCUP + Hold on! Wait just a minute! Come back here! + + VALKA + This way. Come. + + HICCUP + You can't just say something like that and run off! You're my mother?! I mean, what the -- do you grasp how INSANE it sounds?! + (BEAT) + I have questions! + + VALKA + Come. Quickly! + +Hiccup follows her over the difficult terrain. He tries to clamber over a tall rock, unsuccessfully. + + HICCUP + Where have you been all this time? + +Toothless boosts him over. Hiccup lands on the other side. + + HICCUP (CONT'D) + What've you been doing?! They said you were dead! Everyone thinks you were eaten by... + +Hiccup trails off as he enters... + +INT. DRAGON MOUNTAIN - OASIS - CONTINUOUS + +!... a stadium-sized chamber teeming with ferns, waterfalls, hot springs and THOUSANDS of new DRAGONS. + +Hiccup wanders in, basking in the in the amazing sight: a dome of sweating ice capping a geothermal micro climate, filled with dragons of every shape and kind. + +He spots Valka clinging to a basalt overhang, watching him.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 40.]] + + HICCUP + This is where you've been for twenty years? + +She nods from her perch. + + HICCUP (CONT'D) + You've been rescuing them. + +She nods again, this time with a smile. + + HICCUP (CONT'D) + Unbelievable. + + VALKA + You're not upset? + + HICCUP + What? No. I don't know. It's a bit much to get my head around, to be frank. It's not every day you find out your mother is some kind of crazy, feral, vigilante dragon lady. + +Valka chuckles, and using her dragon's wing, lowers herself to the ground like a skilled acrobat. + + VALKA + At least I'm not boring... right? + + HICCUP + I suppose there is that... + (feeble, trailing off) + \... one... specific... thing... + +Excited dragons rush up to greet Hiccup and Toothless. Hiccup pets a few, marveling at the vast dragon utopia before him. + + VALKA + Do you like it? + + HICCUP + I don't have the words. + +Toothless SNARLS in annoyance as the curious, smothering dragons SNIFF every part of him. + + VALKA + Can I... ? He's beautiful! + +She reaches out to stroke Toothless, who PURRS at her touch.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 41.]] + + VALKA (CONT'D) + Incredible. He might very well be the last of his kind. + +She inspects his talons as Toothless rolls onto his back, nuzzling her. + + VALKA (CONT'D) + And look, he's your age! No wonder you get along so well. + +Hiccup smiles, astounded by Toothless' affection for Valka. She checks his teeth. They recede into the gums at her touch. + + VALKA (CONT'D) + And retractable teeth? Ah! How did you manage to-- + + HICCUP + --I found him in the woods. He was shot down and wounded. + +She winces and offers a sympathetic nod as she stands to caress a few of her own rescued dragons. + + VALKA + This Snafflefang lost his leg to one of Drago Bludvist's iron traps. This Raincutter had her wing sliced by razor netting. And this poor Hobblegrunt was blinded by a tree snare... then left to die alone and scared. + (re: Toothless' tail) + And what of this? Did Drago or his trappers do this, too? + + HICCUP + Heh. Well, crazy thing is... I'm actually the one who shot him down. + +She glares, confused. + + HICCUP (CONT'D) + It's okay though. He got me back. + (playfully, to Toothless) + Right, bud? You couldn't save all of me, could you? You just had to make it even. So... peg leg! + +Hiccup rattles his prosthetic leg with a smirk. Valka observes their playful rapport with curiosity.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 42.]] + + VALKA + What did your father think of your Night Fury friend? + + HICCUP + He didn't take it all that well. + +She mutters in agreement. + + HICCUP (CONT'D) + But then... he changed. They all did. Pretty soon everyone back home had dragons of their own. + +She smiles at Toothless, dismissive. + + VALKA + If only it were possible. + + HICCUP + No, really, I -- + + VALKA + -- Believe me, I tried, as well. But people are not capable of change, Hiccup. Some of us... were just born different. + +EXT. BERK VILLAGE - NIGHT + +FLASHBACK + +Dragons sweep from the sky, blowing FIRE, carrying off sheep and dried fish. Vikings chase them down, hurling weapons. + + VALKA (V.O.) + Berk was a land of kill or be killed, but I believed peace was possible. + +A Viking is about to finish off a felled dragon, but Valka chases up to him and tugs at his arm. + + VALKA + Stop! You'll only make it worse! + +The dragon takes wing, escaping to safety... leaving the Viking warrior glaring at Valka. + + VALKA (V.O.) + It was a very unpopular opinion.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 43.]] + +As he rushes off, Valka hears a clatter and whirls around to see a DRAGON (Cloudjumper) clawing its way through the roof of a house. + + VALKA + Hiccup! + +INT. STOICK'S HOUSE - CONTINUOUS + +FLASHBACK CONTINUED + +Cloudjumper enters the house through the hole in the roof, sniffing out a baby's cradle in the corner. + +Valka rushes in, panicked. + + VALKA (V.O.) + One night, a dragon broke into our house, finding you in the cradle. + +Valka draws a sword quietly, slipping up to the dragon, only to find it huddled protectively over the cradle as BABY HICCUP innocently plays with one of its talons. + + VALKA (V.O.) + I rushed to protect you, but what I saw... was proof of everything I believed. + +Valka's careful approach causes a floorboard to squeak. Spooked, Cloudjumper whips around to face her, accidentally SCRATCHING baby Hiccup's chin. + +Their eyes meet. Valka lowers her sword, transfixed. + + VALKA (V.O.) + This wasn't a vicious beast, but an intelligent, gentle creature, whose soul reflected my own. + +Stoick's AXE spins through the air between them, barely missing Cloudjumper and planting into a pillar. + + STOICK + Valka, run! + +Alarmed, Cloudjumper WHIRLS around at Stoick and BLASTS! + +Stoick DIVES out of the way as the FIRE SPLATTERS against the wall, burning a hole and setting the room ablaze. + +The dragon moves toward Stoick, but Valka grabs hold.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 44.]] + + VALKA + Don't! + +It turns to face her again, locking eyes, agitated. + + STOICK + Hold on! + +Stoick dashes through the fire toward Hiccup and pulls him out of the cradle. He pulls his axe from the pillar... + + VALKA (O.S.) + No! Stoick! + +!... but in a WHOOSH of smoke and embers, the dragon and Valka are GONE. + + STOICK + VALKA! + + VALKA + (DISTANT) + Stoick! + +Stoick and baby Hiccup watch helplessly as the dragon spirits Valka away into the night sky. + + STOICK + Valka... + +ON BABY HICCUP'S FACE, with the fresh nick on his chin... + +>MATCH CUT TO: + +INT. DRAGON MOUNTAIN - DAWN + +PRESENT DAY + +HICCUP'S FACE, with the matching scar. + + VALKA + You and your father nearly died that night, all because I couldn't kill a dragon. + + HICCUP + Yeah, it runs in the family. + + VALKA + It broke my heart to stay away, but I believed you'd be safer if I did.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 45.]] + +Hiccup considers this, then raises his eyes to hers, seeing the sting of remorse. + + HICCUP + How did you survive? + + VALKA + Oh, Cloudjumper never meant to harm me. He must've thought I belonged here... + +She leads him to the edge of raised natural terrace, overlooking the steamy oasis with its flowing hot spring waterfalls. Half-submerged in the warm lake below, a massive white dragon with pronounced, mammoth-like tusks rests benevolently on the banks, his stately countenance like that of a lion surrounded by his pride. + + VALKA (CONT'D) + In the home of the great Bewilderbeast. The alpha species. One of very few that still exist. + (BEAT) + Every nest has its queen, but this is king of all dragons. + +Dragons land and bow reverentially to the Bewilderbeast. Valka gestures to the spiked ice ceiling that acts as a sweating greenhouse. + + VALKA (CONT'D) + With his icy breath, this graceful giant built our nest. A safe haven for dragons everywhere. + +On HICCUP, putting it together. + + HICCUP + Wait, that's the ice-spitter? He's responsible for all that destruction? + + VALKA + He protects us. We all live under his care. And his command. + +They pass an eggshell-littered NURSERY. HATCHLINGS dart out of it, greeting them excitedly and inciting chaos. Toothless is overwhelmed by their manic picking and scratching. Cloudjumper balks and sends them scattering. + + VALKA (CONT'D) + All but the babies, of course...[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 46.]] + +The hatchlings clamber on top of the Bewilderbeast and play on his massive tusks, despite his authority. Valka laughs. + + VALKA (CONT'D) + \... who listen to no one. + +The Bewilderbeast lets out a frosty SNORT, sending off the youngsters to spread more mischief. + +Now awakened, The Bewilderbeast raises his gargantuan head to take a closer look at Hiccup, coming eye to massive eye. Valka bows in his presence. As does Toothless. + + VALKA (CONT'D) + I've lived among them for twenty years, Hiccup, learning their ways, discovering their secrets... + +He acknowledges Hiccup with another icy snort, slicking back Hiccup's hair in a frosty veneer. Valka laughs. + + VALKA (CONT'D) + He likes you. + + HICCUP + Wow. + +She chuckles, delighting in his awe. + + VALKA + You must be hungry. + + HICCUP + Uh, yeah. I could eat. + + VALKA + Good. It's feeding time. + +Toothless tucks himself beneath Cloudjumper's wing, trying to befriend him, but Cloudjumper isn't having any of it. He grimaces and follows Valka out. + +EXT. OPEN SEA - NIGHT #1200#[[(Scene 1200 - Astrid Takes Charge)]] + +Astrid and Stormfly circle a lone iceberg, being used as a rest stop for the Gang and their dragons. She lands with a frown, eyeing the distance. + + ASTRID + I don't like it. They should've been back with Hiccup by now.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 47.]] + + RUFFNUT + I don't like it either. Eret son of Eret was the man of my dreams. My everything! + + SNOTLOUT + But, baby, I grew facial hair for you. + +Fishlegs strokes his peach fuzz beard, meek and dejected. + + FISHLEGS + Me, too. + + ASTRID + What if Drago shot them down? What if they need our help? + (RESOLUTE) + We have to find them. + + FISHLEGS + (NERVOUSLY) + What? But Stoick said... + + ASTRID + It doesn't matter what he said, if they've all been captured. Come on! + +She flies off, determined. + +EXT. ICE FLOES - NIGHT + +Eret's ship is beset by ice floes. The crew stirs on deck as he paces, grumbling, while nursing his head with a large chunk of ice. + + NO-NAME + Do we go back? + + ERET + We've nowhere to go! Nothing to sell! And no heads to call our own, if we don't turn up with dragons and fast -- + +He's suddenly scooped up in Stormfly's talons. + + ASTRID + Careful what you wish for! + + UG (O.S.) + ERET SON OF ERET![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 48.]] + +Nets whiz past as Astrid and the Gang rocket out of range. + + ERET + What is this?! + + ASTRID + A kidnapping. + +Ruffnut grabs his leg, clutching him possessively. + + RUFFNUT + Yay! Can he ride with me? Can he? Can he? + +Both Eret and Tuffnut groan in protest. + + ASTRID + You're gonna show us the way to Drago. + + ERET + And help dragon riders sneak into Drago's camp? Just kill me now. + + ASTRID + That can be arranged. Stormfly, drop it. + +In enthusiastic response, Stormfly pops open her talons, sending Eret plummeting. He wails and flails as he hurtles toward the ice far below. + + ASTRID (CONT'D) + Good girl! Stormfly, fetch. + +She dives after him, just as enthusiastically. ON ERET, terrified, as the ground rushes up at him. + + ERET + ALL RIGHT! OKAY! I'LL TAKE YOU TO DRAGO! + +Stormfly suddenly SNATCHES him out of his free-fall just before hitting the ice. Astrid giggles and cracks her knuckles. + + ASTRID + Works every time.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 49.]] + +EXT. SKY - EARLY MORNING #1600#[[(Scene 1600 - Momma's Boy)]] + +BEGIN MONTAGE + +Hiccup and Toothless follow Valka and Cloudjumper over a majestic fjord in the long rays of the low Arctic sun. + +Hiccup peers over his shoulder to see that a thick flock of dragons -- nearly all of Valka's rescues -- are close on their tail. He turns back to his mother, confused. + + HICCUP + Hey, I thought we were going to eat? + + VALKA + (with a mischievous grin) + Oh, we are. + +She directs his gaze below, where in the choppy water of the fjord, a group of Seashocker dragons are corralling a dense shoal of fish near the surface. + +Suddenly, the Bewilderbeast rises from deep below, scooping the fish up in its vast mouth as its tusks break the surface. It breaches just below Hiccup and Toothless, giving them a fright before spitting the fish into the air and crashing back down into the sea. + +Valka laughs at Hiccup's surprise as the hungry dragons race for the flailing fish, scooping them out of the air. Hiccup gestures to Toothless to join in and he gladly scoops up a mouth full. + +EXT. SNOWY SHORELINE - LATER + +MONTAGE CONTINUES... + +Hiccup has his map spread out in the snow, explaining the various lands he's discovered during his explorations. + + HICCUP + And from Dragon Island, I found this archipelago... + +He looks up to see that Valka is no longer next to him, but she has sketched out the rest of the northern land masses in the snow, wowing Hiccup with just how far and wide she has explored.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 50.]] + +She returned to Hiccup's side with a smile. But his amazement is interrupted by Toothless joining in, drawing all over Valka's map with a giant icicle. + +Hiccup simply shrugs as his mother giggles, and Cloudjumper sneers. + +EXT. WINDSWEPT CLIFF - LATER + +Valka and Hiccup rise on their dragons, carried skyward by a strong coastal wind that thrusts vertical up shoreline cliff. + +One by one, dragons leap from the cliff and catch the strong updraft, popping their wings open like kites. They ride the wind and orbit around each other in a colorful, mesmeric dance. It's clearly a form of dragon play. + +Hiccup, lifted off of his saddle by the force of the wind, laughs giddily as he watches Valka walk across Cloudjumper's wing and onto several others, dragon-hopping from one to another, until she gracefully crosses Toothless from wing tip to wing tip. She then drops out of sight, reappearing a moment later standing atop Cloudjumper. Hiccup is in utter awe of her. + +Valka breathes in the frigid air. Lets it out blissfully. + + VALKA + When I'm up here, I don't even feel the cold. I just feel... + + HICCUP + Free. + +She smiles at Hiccup. He gleams back. + + VALKA + This is what it is to be a dragon, Hiccup. + +Hiccup LOCKS the pedals in the flared tail position and unbuckles himself. Valka watches, curious. + + HICCUP + It's all well and good to call yourself a dragon. + +Hiccup RUNS OFF of Toothless, pulling his stowed wings. + + HICCUP (CONT'D) + But can you fly? + +They catch the air, SNAPPING OPEN... and sending him GLIDING.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 51.]] + +Valka GASPS, astonished. She flies her dragon alongside him, marvelling, as... + +!... Hiccup SOARS, riding the wild air currents like an eagle, the image of freedom. Toothless descends steadily with him, hovering protectively. + +Hiccup grins, pleased at having impressed Valka... until he realizes that he is once again racing toward a collision with a fast approaching mountain top. + + HICCUP (CONT'D) + Oh no. Toothless! + +But, with his tail locked, Toothless can't make the tight jackknife turn skyward to rescue Hiccup. + +Realizing that they're in trouble, Valka and Cloudjumper pour on the speed. All four of them collide just as they reach the mountain top, sending them crash-landing in an explosion of snow. + +They all TOPPLE head over tail to a messy landing on the wind-swept ridge and pop up LAUGHING. + + HICCUP (CONT'D) + Man! Almost! We just about had it that time! + +Toothless raises his snow-packed face, glowering. He tail-swipes Hiccup off of his feet and back into the powder. + +Valka inspects Hiccup's wing suit with utter fascination. + + VALKA + Incredible. + + HICCUP + Well, not bad yourself. + +She caresses his cheek, staring deep into his eyes. Hiccup doesn't recoil this time. + + VALKA + All this time, you took after me. And where was I? + (REMORSEFUL) + I'm so sorry, Hiccup. Can we start over? Will you give me another chance? + +Hiccup smiles, a simple acknowledgement that all is forgiven.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 52.]] + + VALKA (CONT'D) + I can teach you all I've learned, these past twenty years. Like... + +Valka finds a spot at the top of Toothless' neck and rubs in a circular pattern. In response, his dorsal blades slowly crack, split and extend, forming a pronounced, aerodynamic `V' down the length of his back and tail. + + VALKA (CONT'D) + Now you can make those tight turns. + +Toothless shudders, as if experiencing a much-needed chiropractic adjustment. He bounds over to Hiccup, giddily retracting and splaying his dorsal blades like a kid with a new toy. + + HICCUP + Did YOU know about this? + +Valka smiles, delighting in their mutual amazement. + + VALKA + Every dragon has its secrets. + +Toothless pounces around, showing off to Cloudjumper, who seems thoroughly unimpressed. + + VALKA (CONT'D) + And I'll show them all to you. We'll unlock every mystery, find every last species, together, as mother and son. + (BEAT) + This gift we share, Hiccup... it bonds us. This is who you are, son. Who we are. We will change the world for all dragons! We will make it a better, safer place! + + HICCUP + That sounds... amazing. + +She pulls him into a hug -- forceful, bursting with emotion. Hiccup hugs Valka back. They share a cathartic moment, before Hiccup peels away from her. + + HICCUP (CONT'D) + This is so great! Now you and I can go talk to Drago -- together! + +She chuckles, incredulous.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 53.]] + + VALKA + What? There's no talking to Drago. + + HICCUP + But we have to -- + + VALKA + -- No. We must protect our own. + +Hiccup stares, exasperated by the familiar line. Cloudjumper lumbers over, eager to be rid of Toothless' puppy-like energy. Valka pets him. + + VALKA (CONT'D) + Now come on, we should be getting back. + +Before Hiccup can say anymore, he hear heavy breathing next to him, and looks over to see Toothless with a gaping grin, clapping his dorsal blades. + +EXT. ICE CAVE - DAY #1350#[[(Scene 1350 - Meet Drago)]] + +Astrid and the gang stealthily approach a cluster of tabular icebergs, collapsed against each other at the mouth of a maze. Stormfly drops Eret to the snow, but before he can flee, she lands atop him and nests like a hen with her egg. + + ERET + Agghh! Okay! I got you here, now get this thing off me! + + ASTRID + Never take a toy from a dragon. Don't you know anything? + +Stormfly crushes him in place under her weight. + + ERET + (STRAINED) + Gah! Why does this keep happening to me? + +Astrid crawls up the rising ridge to reveal... + +A MASSIVE FLOTILLA, moored together like a floating camp in the deep water between collided icebergs. + +Thick chains run deep into the water, where great blasts of bubbles erupt on the surface. The unseen creature rocks the ships. Its effect alone describes it as gargantuan.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 54.]] + + ASTRID + What's down there? + +Fishlegs rifles through his note cards contained in his belt pouch. + + FISHLEGS + Large diameter bubbles, massive lungs, cold water deep dweller, I'm thinking class five leviathan, maybe six. + +Suddenly, Stormfly is alerted to an encroaching menace and takes wing. BLOW DARTS whiz through the air, hitting the other dragons. The effect is immediate -- they fall to the ground, unconscious. Drugged. + + HICCUP + Meatlug! What's wrong, girl? + +Eret spring to his feet and draws his blades. Astrid and the Gang find themselves surrounded by soldiers, camouflaged in polar bear furs, and poised to fire darts. They're outnumbered. Fishlegs raises his hands, dropping the cards. + +EXT. DRAGO'S SHIP - DECK - MOMENTS LATER + +DRAGO BLUDVIST, a hulking figure draped in a dragon skin cloak, crouches over the prow of the fleet's grisly flagship, adorned in massive dragon bones and skulls. His scarred face is masked by thick, grizzled dreadlocks. + + ERET (O.S.) + DRAGO! + +Drago turns to see Astrid, Eret, and the Gang being forcibly escorted onto the deck. Eret SHAKES HIMSELF FREE. + + ERET (CONT'D) + Get off me! + +In the background, a sledge, loaded with Hookfang, Meatlug, Belch and Barf -- all unconscious -- is dragged onto the deck by armored dragons. + + ERET (CONT'D) + Always great to see you, my friend! Keeping warm up here? + +The soldiers disarm him, pushing him forward as Drago approaches.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 55.]] + + ERET (CONT'D) + Well, as you can see, I'm right on time with a new batch of dragons, just like I promised. + +Hookfang awakens, groggily shaking off the effect of the blow-dart. He rears as soldiers struggle to reign him in. + + SOLDIER #1 + Watch out! He's waking up! Keep him steady! + + SOLDIER #2 + Give me some backup here! + + DRAGO + Drop the ropes. + +They do so. Hookfang bucks and roars, chasing off the soldiers, then focusing on Drago as he closes in. The armored dragons avert their eyes and cower as Drago passes. + +Hookfang HISSES a warning, but Drago approaches, undaunted. + +Hookfang BLASTS. In a blur, Drago wraps himself in his dragon skin cloak. The sticky, napalm-like fire splatters against the fireproof scales, enveloping Drago in dripping flames as he persists forward without missing a step. + +As the blast ends, Drago drops the cloak, closing in and holding a cold stare. Hookfang lets out a ferocious ROAR. + +Drago YELLS back with a fierce, savage scream, interrupting Hookfang and causing him to recoil. Drago whirls his bull-hook overhead and STABS it into the deck planks. + +Hookfang stirs, his aggression fading in the face of Drago's unflinching show of dominance. + +After a moment, Hookfang averts his eyes and lowers his head in submission. Drago places his boot upon Hookfang's snout, pressing it into the deck planks. + + SNOTLOUT + Hookfang! + + RUFFNUT + Hey! + + ASTRID + What are you doing?[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 56.]] + + DRAGO + (quiet, to the dragon) + You belong to me now. + + ERET + And as an added bonus, I also caught you their riders. No extra charge. + +Drago notices the saddle on Hookfang's back. His eyes wander to the saddle on Meatlug. Alarm flashes in Drago's eyes. + + ASTRID + What?! Are you kidding me?! + + RUFFNUT + But you were so perfect! + + ERET + Turns out, there's a whole bunch of them out there. They -- + +In a flash, Drago stops toward Eret and seizes him by the throat. + + DRAGO + How many? + +As Eret chokes, stammering, Astrid whispers to the gang. + + ASTRID + Drago doesn't have them after all. + + DRAGO + HOW MANY?! + + ASTRID + Hundreds! A whole island full! + +His grip tightens around Eret's neck as he turns to Astrid. + + ERET + I wouldn't worry about it. My men are hunting them down as we speak. They won't know where you're hiding. I promise you that. + +Astrid nods a covert signal to the Gang -- she has a plan. + + ASTRID + Oh, yes they will! + +Drago drops Eret as Astrid advances, staring Drago down. Eret tries to signal her to stop, but it's no use.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 57.]] + + ASTRID (CONT'D) + They know we're missing and they have tracking dragons. If you so much as touch us, Hiccup is gonna KICK -- + + DRAGO + -- Hiccup? + + ERET + He's not a problem. Really. Trust me. + + ASTRID + He's only the son of Stoick the Vast... + +Drago's eyes narrow upon hearing Stoick's name. + + ASTRID (CONT'D) + \... his heir to the throne of Berk... and the greatest dragon master this world has ever seen! + + DRAGO + Dragon master? I ALONE control the dragons! + + TUFFNUT + Nope. + + FISHLEGS + Sorry! + + ASTRID + And unless you let us go, right now, he will blast through here on his Night Fury and blow your entire fleet of ships to splinters! + +Eret slips away, trying to distance himself from the tension. + + RUFFNUT + Then they'll be crying like babies! + + SNOTLOUT + Funny and beautiful. + + FISHLEGS + Good one, babe! + +Ruffnut groans, exasperated by their smarmy advances.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 58.]] + + TUFFNUT + Yeah. Like babies. They always cry. Real tiny ones... + +Drago grabs Eret by the face and bears down on him. + + DRAGO + First there was one rider. And now all of Berk. + (TO ERET) + And YOU led them to me. + +He THROWS Eret across the deck. + + ERET + Drago! + + DRAGO + CEASE ALL PREPARATIONS! WE MUST ATTACK THE DRAGONS RIDER'S NEST AT ONCE! + (SAVORING IT) + WE WILL TAKE DOWN THEIR ALPHA... AND THEN WE WILL TAKE BERK! + +Soldiers CHEER in the thousands. + + ERET + You're overreacting! + + DRAGO + And get rid of him. + + ERET + Drago, please... + +The soldiers HURL throwing knives at Eret... But Stormfly lands in a blur of wings, shielding Eret from the flurry of blades. She whips her tail, throwing spikes in all directions. + + ASTRID + STORMFLY! + +Stormfly ROARS protectively, hiding Eret within her wings, until a well-blown dart sinks into her neck, bringing her down... + + ASTRID (CONT'D) + NO! + +Revealing Eret, gawking in shock.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 59.]] + +INT. DRAGON MOUNTAIN - OASIS - MORNING #1800#[[(Scene 1800 - Family Reunion)]] + +Hiccup reattaches his flight suit while standing on a ledge overlooking the utopian nest, teeming with dragons. Several babies race in to hassle Toothless as he naps. + + HICCUP + (DETERMINED) + Well, bud, we can't wait around for Drago to attack this place. We've gotta find him first. Let's go. + +Suddenly, a thick hand clamps down over Hiccup's face -- muffling his scream! + +Toothless whirls around to find STOICK, towering over Hiccup. He calms Toothless with a touch and releases Hiccup. + + STOICK + Easy now. + + HICCUP + Are you kidding me? How'd you get in here? + + STOICK + The same way we're getting you out. + + HICCUP + We? + +Gobber appears in the arch of a tunnel. + + GOBBER + All clear! + + STOICK + Toothless. Come. + +They hurry back into the winding corridor. + + HICCUP + Dad! There's something you need to know! + + STOICK + Yeah, yeah, tell me on the way. + + HICCUP + This isn't an on-the-way kind of update, actually...[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 60.]] + + STOICK + I've heard ENOUGH, Hiccup. + + HICCUP + \... more of the earth-shattering development variety. + + STOICK + Yeah, just add it to the pile. + + HICCUP + Dad, unlike most surprises I spring on you, this is one you'll like. I promise! You just have to handle it delicately, so... + +They round a tight bend in the corridor to find Gobber staring blankly at something unseen in the next chamber. He shuffles past Stoick and Hiccup, dazed. + + GOBBER + Uh, you might want to take this one. Oh, boy. + +Stoick draws his SWORD, then braves into the chamber ahead. + + HICCUP + Dad, can you put the sword away... please? + +Stoick GASPS as if seeing a ghost... and drops his sword with a clatter. + +Valka stands some twenty paces ahead of him, blocking the path. She lets out an audible SHUDDER upon seeing him. + +He removes his helmet slowly as Hiccup, Gobber, and Toothless appear at Stoick's side. + + VALKA + (RATTLED) + I know what you're going to say, Stoick. How could I have done this? Stayed away all of these years. And why didn't I come back to you? To our son. + +Stoick steps towards her, wide-eyed and speechless. Dragons emerge from the recesses behind Valka, hissing protectively. + + VALKA (CONT'D) + Well, what sign did I have that you could change, Stoick? That anyone on Berk could?[[(MORE)]][[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 61.]] + + VALKA (CONT'D) + I pleaded so many times to stop the fighting, to find another answer, but did any of you listen? + + GOBBER + This is why I never married. + (BEAT) + This and one other reason. + +Stoick continues to close the gap, mesmerized. With every step, Valka becomes increasingly flustered. She backs into an ice wall, with nowhere to go, and Stoick just a few paces away. + + VALKA + (TEARFUL) + I know that I left you to raise Hiccup alone... but I thought he'd be better off without me. And I was wrong, I see that now, but... + +Stoick gently reaches a hand toward her face. + + VALKA (CONT'D) + Oh stop being so stoic, Stoick. Go on... SHOUT, SCREAM, SAY SOMETHING! + + STOICK + You're as beautiful as the day I lost you. + +His words snuff her retort, rendering her speechless. She softens despite herself, yielding her cheek to his palm. He caresses her skin as a reluctant tear runs through his fingers. He PULLS her into a KISS. She resists briefly, then gives in. The surrounding dragons softly RETREAT in kind. Hiccup gapes, warmed by the sight of his parents reunited. + +EXT. ICE CHANNEL - DAY #1750#[[(Scene 1750 - Eret's Turn)]] + +Drago's massive flagship leads the flotilla, pulled along forcefully by whatever's at the other end of the enormous chain. + +Drago WHACKS the chain with his bullhook, spurring it forward. + +ON DRAGO'S SHIP[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 62.]] + +Eret, Astrid, and the Gang are escorted to the stern, surrounded by several of Drago's soldiers. Wrists bound. Spear tips pressed into their backs. + + SNOTLOUT + Could this day get any worse? + + TUFFNUT + Uh, let me see. You'll jump into freezing cold water and then die from drowning. + +They reach the gang plank. Eret peers overboard at the deep, icy water below. + + ERET + Looks refreshing. + +He turns to Astrid, meeting her glare with mock chivalry. + + ERET (CONT'D) + Please, ladies first. + +A pair of soldiers GRAB Astrid by the arms. + + ASTRID + You are a steaming heap of dragon -- + + ERET + -- Duck. + +Eret WHIRLS around, ROUND-HOUSING both soldiers. They GO DOWN, heavily. + +He catches one of their spears with his bound hands and slices his ropes free. They fall away as he catches the other spear, twirling both in invitation. + + SOLDIER + Warn the others! + +One soldier runs to send up the alarm... while the last two raise BLOW DART TUBES. + +Eret SWIPES the first off of his legs, sending the dart into the neck of the second. + + RUFFNUT + Get `em, you son of an Eret! + +As the downed soldiers SCRAMBLE to their feet, Fishlegs FALLS OVER, CRUSHING them under his weight.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 63.]] + +Eret CATCHES the falling tube from the second soldier and BLOWS the dart at the fleeing third. The soldier DROPS, unconscious -- just shy of the Captain's Quarters. + + RUFFNUT (CONT'D) + Okay, I love you again. + +Ruffnut skips past Snotlout on her way to Eret. Snotlout watches, crestfallen. + + TUFFNUT + Ugh. Pathetic. You can still jump. + +Eret avoids Ruffnut and turns to Astrid. + + ERET + So? Are we going to save your dragons and get out of here or not? + +Astrid narrows her eyes, not knowing what to make of him. He reclaims his sword and dagger from the unconscious soldier who took them and cuts Tuffnut free. + + ERET (CONT'D) + Check every trap. They're here somewhere. + +EXT. DRAGO'S SHIP - MOMENTS LATER + +Astrid slips under a tarp and cranks open a metal trap. She peers between its massive iron teeth, discovering Meatlug within, bound and chained to its base as bait. + + ASTRID + Meatlug? + +ON ERET + +Carefully cranking another trap, wincing at the sound. The iron jaws of the trap open wider with every CLICK. + + ERET + Anyone coming? + +Ruffnut "stands guard," fixated on Eret's rippling biceps. + + RUFFNUT + I don't know. You just keep doing what you're doing. Keep crankin'... + +Eret squeezes between the cocked teeth, finding Stormfly within, muzzled and chained. She looks up at Eret, calming immediately. He pauses, then approaches slowly.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 64.]] + +Eret carefully reaches out and strokes Stormfly's muzzle. + + ERET + Thank you for saving my life. + (BEAT) + Now let me return the favor. + +INT. DRAGON MOUNTAIN - VALKA'S LIVING QUARTERS - LATE AFTERNOON #1850#[[(Scene 1850 - The Last Dance)]] + +As Toothless and Cloudjumper hover for scraps, Stoick and Valka prepare skewers of fish. She's overwhelmed, lost in her thoughts, and covering it up poorly. + + HICCUP + Mom, you'd never recognize it! Where we used to make weapons, we now build saddles, wing slings -- we even fix dragon teeth! You wouldn't believe how much everything's changed! + +Valka offers a skittish half-smile and hands him a plate. + + STOICK + Our son's changed Berk for the better. I think we did well with this one, Val. + + HICCUP + Thanks, Dad. + +Stoick places his hands on Valka's shoulders. She flinches, dropping the plate. Cloudjumper steals the fish before Toothless can get to it. Toothless whimpers, and as a sign of acceptance, Cloudjumper regurgitates the fish so Toothless can have some. + + VALKA + I'm... a little out of practice. + + STOICK + (SWEETLY) + Well, y'know... I didn't marry you for your cooking. + + GOBBER + (to Hiccup and Grump) + I hope not. Her meatballs could kill more beasts than a battle axe.[[(MORE)]][[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 65.]] + + GOBBER (CONT'D) + I've still got a few knocking around in here. Ha ha! + +Gobber takes a bite, gags, and dump the entire plate of fish skewers into Grump's mouth like a trash can. + + HICCUP + And once you move back in, with all of your dragons, Drago won't even stand a chance. Everything will be okay! + +Stoick can see that Valka is overwhelmed. He lays a hand upon Hiccup's shoulder, calming him. + + STOICK + Slow down, son. It's a lot to take in. + + HICCUP + Oh. Gotcha. + +Valka crosses the room to fill a flask with water, back turned to the group, as Stoick eyes her sympathetically. He decides on a different approach... and whistles a familiar tune. + +ON VALKA, as her eyes widen, stirred, recognizing the melody. She turns away from Stoick, as the water overflows from the flask. + + GOBBER + Oh, I love this one! + +Stoick approaches her delicately. + + STOICK + (WHISPERED) + Remember our song, Val? + +Hiccup watches him, curious, as Stoick FUMBLES THROUGH THE FIRST VERSE of an old Viking courting song: + + STOICK (CONT'D) + (SINGING SOFTLY) + ~I'll swim and sail on savage seas, with ne'er a fear of drowning. And gladly ride the waves of life, if you will marry me. + +Valka avoids his gaze, wallowing in a mess of emotions.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 66.]] + + STOICK (CONT'D) + (SINGING) + ~No scorching sun, nor freezing cold WILL -- + + GOBBER + (SINGING) + ~-- will stop me on my journey! + (catching himself, EMBARRASSED) + Sorry. + +Stoick scowls at him, then returns his attention to Valka. + + STOICK + (SINGING) + ~If you will promise me your heart... + +Stoick pauses, setting Valka up for her part of the duet. + + STOICK (CONT'D) + ~And love... + +Stoick hangs eagerly, awaiting her words, but Valka closes her eyes, rejecting his invitation. He lets out a heavy-hearted sigh. But nostalgia gets the better of Valka. She softly SINGS HER PART: + + VALKA + (SINGING) + ~And love me for eternity. + +Stoick beams. She brushes past him, setting into the center of the chamber and holding her forearm aloft in invitation. Stoick crosses his forearm against hers, initiating a beautiful dance to accompany the song. + + VALKA (CONT'D) + (SINGING) + ~My dearest one, my darling dear, you mighty words astound me. But I've no need of mighty deeds, when I feel your arms around me. + +The dance is full of charming missteps as Stoick and Valka recreate a moment from their past, before Hiccup's wonder-struck eyes. + + STOICK + (SINGING) + ~But I would bring you rings of gold. I'd even sing you poetry.[[(MORE)]][[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 67.]] + + STOICK (CONT'D) + ~And I would keep you from all harm, if you'd stay here beside me. + + VALKA + (SINGING) + ~I have no use for rings of gold. I care not for your poetry. I only want your hand to hold. I only want you near me. + +Gobber can't help himself. He drags Hiccup onto his feet so that he can join in the dancing, too. + + GOBBER + C'mon, Hiccup! + + VALKA, STOICK, & GOBBER + (SINGING) + ~To love and kiss, to sweetly hold. For the dancing and the dreaming. Through all life's sorrows and delights, I'll keep your love inside me. + +Hiccup is amazed by the sight of his giddy parents, spinning and laughing in each others' arms, reunited. + + VALKA, STOICK, & GOBBER (CONT'D) + (SINGING) + ~I'll swim and sail through savage seas, with ne'er a fear of drowning. And gladly ride the waves of life, if you will marry me! + +Gobber carries the last note... + + GOBBER + (SINGING) + ~I'm still going... + +Hiccup taps him. + + HICCUP + Gobber! + + GOBBER + I'm done. + +Valka and Stoick slow to a stop, WINDED and LAUGHING. + + STOICK + Ah... I thought I'd have to die before we'd have that dance again.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 68.]] + + VALKA + No need for drastic measures. + + STOICK + For you, my dear... anything. + +She smiles sweetly. Stoick's eyes well with tears. He goes down on one knee, proposing to her anew. + + STOICK (CONT'D) + Will you come home, Val? Will you be my wife once again? + +Toothless nudges Valka closer to Stoick. They laugh as Hiccup joins them. Stoick throws his arm around him. + + STOICK (CONT'D) + We can be a family! What do you say? + +Valka, between tears and laughter, turns to Hiccup. + + VALKA + Yes! + +Gobber pops his head in. + + GOBBER + Great! I'll do the cooking! + +They laugh. + + STOICK + Thank Odin you didn't listen to me, son. We never would have found each other. + +Suddenly, Toothless and Cloudjumper suddenly perk up, sensing something unheard. Hiccup notices. + + HICCUP + Toothless? + +Dragons SWARM past Valka's chamber, racing toward some unknown disturbance. + + HICCUP (CONT'D) + What's happening? + +They're answered by subsequent HEAVY BOOMS that reverberate through the fortress.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 69.]] + +EXT. DRAGON MOUNTAIN - MOMENTS LATER #1900#[[(Scene 1900 - Surprise Guests)]] + +Valka rushes out to find... + +DRAGO'S ARMADA in the lagoon below and his forces of thousands now landed upon the beach. + +They launch catapults and ballistas into the icy spires, gaining entrance into the mountain's tunnels. + +Hiccup, Stoick, and Gobber catch up to Valka. + + HICCUP + Oh, no... + +Valka tries to hurry off, fuming. Stoick stops her. + + STOICK + Val! It's all right, it's all right. We're a team now. + (BEAT) + Now what do you want to do? + +She glances from Hiccup to Stoick. + + VALKA + We have to save the dragons. + + STOICK + (DETERMINED) + Aye. You got it! + +He throws an arm around Hiccup. + + STOICK (CONT'D) + Come on, son. + +ON THE BATTLEFIELD + +VALKA'S DRAGONS SWOOP down to engage the attackers, picking up soldiers and carrying them off while Drago stands in the line of fire, unflinching. + +The catapults continue to bring down the icy defenses of dragon mountain. Drago's men pour into the tunnels. + + DRAGO + Whatever comes, keep hitting the mountain! We need to draw the alpha out.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 70.]] + +Drago's armored DRAGON ARMY takes wing, clashing with Valka's dragons in the skies. + + DRAGO (CONT'D) + Ready the traps! + +Iron jaws are opened like bear traps, revealing screeching `bait' dragons within. Valka's dragons swoop down to rescue them, only to be SNAPPED UP in the fearsome jaws. + +A second set of traps are cocked open, but instead of dragon cries, ZIPPLEBACK GAS seeps out... followed by an EXPLOSION. The TWINS rocket out of the trap, riding BARF and BELCH. + + TUFFNUT + Surprise! Yeah! + + DRAGO + WHAT?! + +They're joined by Astrid and the rest of the GANG, bursting out of the traps atop Meatlug and Hookfang. + +Eret comes flying out last, WAILING aboard Stormfly. He struggles to hold on, as she rejoins Astrid (riding Meatlug, along with Fishlegs). He gives them a sheepish shrug. + + ASTRID + You really are full of surprises. + +She leaps onto Stormfly, steadying them. + + ASTRID (CONT'D) + Let's go! + +Together they rocket across the sky... + + TUFFNUT + Dragon Riders coming through! + +And DIVE-BOMB the traps, setting them aflame. The yokes and leather bindings restraining the bait dragons are incinerated, freeing them to fly away, unharmed. + + DRAGO + CUT THEM DOWN! + +Projectiles are launched, one of which KNOCKS Ruffnut off her dragon. She PLUMMETS past Eret toward the rocky shore below. + + RUFFNUT + Eret, son of Eret! + +She suddenly grabbed by both arms before hitting the rocks.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 71.]] + +RUFFNUT'S POV: of Snotlout on one side... and Fishlegs on the other. SOFT and ROMANTICIZED as her epiphany dawns. + +Above them, more catapults fire, bringing down massive spires of ice, directly over Astrid and Eret. + + ASTRID + Up, girl! To the left, Eret! That's it! Look out! + +It's about to crush them when... it's BLOWN TO PIECES by Toothless' fireball. Hiccup, Stoick, and Gobber come bursting through the flames on their dragons. + +Hiccup and Toothless arc across the sky triumphantly and set their sights on a downed dragon surrounded by soldiers. + +Toothless BLASTS one of Drago's net launchers, knocking it onto its side. Stoick then CHOPS the trigger line, FIRING the catapult and NETTING the throng of soldiers, freeing the dragon. + +Drago's ARCHERS target Stoick with their arrows. + + ARCHER + Take `em down! + + GOBBER + Heads up! + +Gobber flies up from behind, KNOCKING the archers out with Grump's tail. Gobber chuckles. + +DRAGO hears Toothless' tell-tale BANSHEE scream and turns to see him streaking across the sky. + + DRAGO + Dragon Master. + +Hiccup catches up to Astrid and Eret on Stormfly. + + HICCUP + Welcome aboard, dragon rider! + + ERET + Thanks. I think. + +Astrid glares, both relieved and annoyed to see Hiccup. + + ASTRID + Where have you been? + + HICCUP + Oh, y'know. Catching up with Mom.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 72.]] + +Astrid shoots him a confused glare. He nods skyward. Astrid and Eret look up to see... + +VALKA, in full warrior garb, rising from the towering ice spikes, atop Cloudjumper. + + ERET + Whoa... + +An earth-trembling roar follows as the Bewilderbeast rises behind Valka. + + ASTRID + That's your mother?! + + HICCUP + Well, now you know where I get my dramatic flair. + +ON DRAGO, gawking in awe as the great BEWILDERBEAST BLASTS an epic explosion of ice upon the attackers. + + DRAGO + The alpha! Now we have a fight! + +Valka blasts overhead on Cloudjumper, commanding swarms of dragons to swoop down and attack Drago's army. A swarm of Zipplebacks set themselves aflame and roll like fiery wagon wheels through the battlefield, scattering soldiers and destroying war machines. + +One of them gets CAUGHT under a Dragon Swatter, but Hiccup and Toothless double-back for a rescue. + + HICCUP + There! Come on, Toothless! Show them what you got, bud. + +Toothless dive-bombs the swatter and DESTROYS it with a plasma bolt, freeing the dragon. + + HICCUP (CONT'D) + Thatta boy! + +BACK TO VALKA, on Cloudjumper as they pry Drago's armored dragons off of the flailing wild ones. A net suddenly envelops Cloudjumper. They CRASH heavily, but Valka cuts herself free, sliding to a stop just paces away from Drago. + + DRAGO + I've waited a long time for this! + +Drago cocks his bull hook, ready to strike, but Valka deflects Drago's hit and attacks him.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 73.]] + + VALKA + You cannot take our dragons! They are controlled by the alpha! + + DRAGO + (SMUG) + Then it's a good thing I brought a challenger. + +He turns to the flagship and YELLS savagely, whirling his bullhook overhead. + +The heavy chains are released. The underwater creature, now freed, breaks the surface in an epic cascade of seawater. It rises toward the shoreline, revealing itself to be... + +A SECOND BEWILDERBEAST -- bigger, meaner, and covered in scars that indicate years of training and abuse. The chains fall away from iron cuffs fastened to its massive tusks. + +Valka GASPS. + + HICCUP + (HORRIFIED) + Another one? + + FISHLEGS + I WAS WAY OFF! THAT IS A CLASS TEN! CLASS TEN! + +Drago's challenger lumbers onto the beach, focused on Valka's Bewilderbeast. + + VALKA + No. No. + + DRAGO + Come on! Take down the alpha! + +Valka attacks Drago with her bullhook, trying to stop his commands, but Drago strikes back, knocking her forcefully onto her back. He pins her as she struggles, removing her mask and staff. He's about to finish her off, when WHAM! He's knocked to the ground. He looks up, fuming, to see Stoick helping Valka to her feet. + + VALKA + Thank you. + + STOICK + For you, my dear... anything.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 74.]] + +As Drago gathers his weapon and drops his heavy cloak, circling Stoick, Drago's Bewilderbeast confronts Valka's in a threat display. + + STOICK (CONT'D) + Val, do you think you can stop them? + + VALKA + I'll do my best! Come on, Cloudjumper! + +Valka cuts the nets away and hops onto Cloudjumper, flying off toward the Bewilderbeasts as they charge each other, CLASHING TUSKS. + +Drago LUNGES at Stoick, SWIPING his bullhook. + + DRAGO + You... I watched you burn! + +The two imposing warriors CLASH WEAPONS, SLASHING and LANDING PUNCHES. + + STOICK + It takes more than a little fire to kill me! + +Valka flies between the Bewilderbeasts, waving her staff commandingly, but to no effect. + +BACK TO STOICK AND DRAGO + +As Drago hooks and yanks the axe out of Stoick's hands. Gobber flies by and HURLS his mace attachment. + + GOBBER + Stoick! + +Stoick catches it and lands a direct hit on Drago. + +But, with a devastating SWIPE, DRAGO's Bewilderbeast takes down Valka's, plunging in its tusks and burying its opponent's lifeless body under an avalanche. + + VALKA + No! + +Hiccup and the others watch in horror as dragons everywhere land and bow their heads in acknowledgement of the new alpha - - DRAGO'S ALPHA. + + DRAGO + We've won.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 75.]] + +Drago points his bullhook toward Valka and Cloudjumper. + + DRAGO (CONT'D) + Now finish her! + +Stoick whirls around, spotting Valka and Cloudjumper in the alpha's sights. + + STOICK + No! + +Drago's Bewilderbeast INHALES... and BLASTS! Valka steers Cloudjumper out of the way, but ice HITS his tail, causing them to SPIRAL out of control toward the icy spires. + + STOICK (CONT'D) + Hold on! + +He LEAPS onto Skullcrusher, spurring him into the air. + + STOICK (CONT'D) + Skullcrusher, go! Come on, Gobber! + +Stoick tosses the mace back to Gobber in passing, who follows brazenly, waving it aloft. + + GOBBER + Right behind ya, Stoick! + +EXT. DRAGON MOUNTAIN - CONTINUOUS #2000#[[(Scene 2000 - Stoick's Sacrifice)]] + +With his tail impaired, Cloudjumper struggles against a throng of oncoming dragons. Valka is knocked off, but manages to cling to her dragon's neck. As she loses her grip and FALLS... + +Stoick LEAPS from Skullcrusher and CATCHES Valka. He sinks his axe into an icy column, and they slide to a safe landing. Drago's Bewilderbeast presses closer, sniffing them out. + +BACK TO HICCUP, spotting Drago on the battlefield, commanding the Bewilderbeast to finish the job. + + HICCUP + STOP! Stop! + +Hiccup lands Toothless a few paces from Drago and brazenly removes his helmet. Drago eyes him, incredulous, then begins to CHUCKLE.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 76.]] + + DRAGO + This... is the great dragon master? The son of Stoick the Vast? What shame he must feel. + +Toothless snarls, ready to blast, but Hiccup calms him with a hand gesture. + + HICCUP + All of this loss, and for what? To become unstoppable? To rule the world? + +Drago smirks and turns away from Hiccup. + + HICCUP (CONT'D) + Dragons are kind, amazing creatures that can bring people together. + + DRAGO + Or tear them apart. + +Drago LAUGHS mockingly, then removes his FALSE ARM, revealing a stump at his shoulder. Hiccup is taken aback. + + DRAGO (CONT'D) + You see, I know what it is to live in fear. To see my village burned, my family taken. + +He reattaches the prosthesis, circling Hiccup menacingly. + + DRAGO (CONT'D) + But even as a boy, left with nothing, I vowed to rise above the fear of dragons and liberate the people of this world. + + HICCUP + Then why a dragon army? + + DRAGO + (grinning, smug) + Well, you need dragons to conquer other dragons. + + HICCUP + Or maybe you need dragons to conquer people. + (BEAT) + To control those who follow you... and to get rid of those who won't.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 77.]] + + DRAGO + Clever boy. + +Drago grabs his bullhook and re-approaches Hiccup. Toothless readies himself. + + HICCUP + The world wants peace. And we have the answer, back on Berk. Just let me show you. + + DRAGO + NO! Let ME show YOU. + +Drago SHRIEKS madly, summoning the Bewilderbeast. Toothless circles Hiccup, protectively. + +ON THE BEWILDERBEAST, about to blast Stoick and Valka. It hears Drago's distant wails, and approaches obediently. + + STOICK + What...? + +Stoick follows its stare to the distant battlefield below. He spots Hiccup and Toothless a few paces from Drago. + + STOICK (CONT'D) + (PANICKED) + Hiccup! + +He rushes off. Valka follows, racing past Gobber as he finally joins them, winded from having run up the mountain. + + STOICK (CONT'D) + Come on, Gobber! + + GOBBER + Okay, change of plans. + +He hurries back down the mountain after them. + +BACK TO DRAGO + +jabbing his bullhook into the ground commandingly. The Bewilderbeast flinches and stops, submissive. + + DRAGO + No dragon can resist the alpha's command. So he who controls the alpha, controls them all.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 78.]] + +Drago points to Toothless. The Bewilderbeast stares and HISSES, forcing Toothless to cower under a hypnotic ultrasonic broadcast. Toothless struggles against the alpha's command, writhing and grinding his head against the ground. + + HICCUP + Toothless? You okay, bud? What's going on? + +Toothless fights the command, shaking his head in protest. The Bewilderbeast insists, with a mesmerizing glare and a low, throaty grumble... until Toothless finally succumbs to its control. He raises his head, his stare vacant and robotic, as his pupils turn to slits. + +Drago then points to Hiccup. The Bewilderbeast responds, HISSING again at Toothless. + + DRAGO + Witness true strength. The strength of will over others. In the face of it, you are nothing. + +Toothless slowly turns to face Hiccup. Advancing. + + HICCUP + Uh, what did he just tell you? + +ON STOICK + +Bounding across the ice, pushing himself to make it to Hiccup in time. + +BACK ON HICCUP + + HICCUP (CONT'D) + Toothless, what's the matter with you? What're you doing? + +Hiccup is backed against fallen ice, with Toothless advancing mindlessly, and nowhere to run. + +Toothless opens his yawning mouth. Gas seeps from his throat. + + HICCUP (CONT'D) + Knock it off! Stop! Snap out of it! + +Stoick barrels through ice formations and over war machines, racing against time. + + HICCUP (CONT'D) + Toothless! No! Toothless! Don't![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 79.]] + + STOICK + Hiccup! + + HICCUP + STOP! + + STOICK + SON! + +Hiccup sees Stoick about to run into the fray. + + HICCUP + DAD! NO! + +Toothless BLASTS. + +Stoick leaps in front of it, shoving Hiccup out of the way and absorbing the blast in the process. He's thrown against the ice with great impact. + +ON VALKA, hearing the blast, horrified. + +Drago glances back, seeing Stoick laying lifeless in the aftermath, pleased by the sudden turn of events. He shuffles off, satisfied. + +Stunned, Hiccup comes to and sees Stoick in the rubble. He rushes past the still-entranced Toothless, straining to scatter the ice boulders on top of Stoick's body. + + HICCUP (CONT'D) + Dad! + +Valka arrives, winded and aghast. + + VALKA + Stoick... + +She helps Hiccup to turn Stoick's body over. Valka presses her ear to Stoick's heart, confirming his death with a mere glance to Hiccup. He tears up, overwhelmed. + + HICCUP + No... you... + +Gobber, Astrid, Eret, and the Gang arrive, slack-jawed. + +Satisfied, the Bewilderbeast turns away, releasing Toothless of the trance-like state. Toothless blinks, coming to and confused. He approaches the group, sniffing Stoick's hand. Hiccup SHOVES him. + + HICCUP (CONT'D) + No! Get away from him![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 80.]] + +Toothless recoils, innocently. + + HICCUP (CONT'D) + GO ON! GET OUT OF HERE! GET AWAY! + +Toothless retreats like a scolded dog, ear plates back and head hung low. Valka watches, broken-hearted, as Hiccup falls upon Stoick, inconsolable. + + VALKA + It's not his fault. You know that. + +On the battlefield, the alpha BELLOWS, calling all of the dragons to gather. Meatlug, Stormfly, Hookfang and the others all follow the command as the Gang calls after them. + + VALKA (O.S.) (CONT'D) + Good dragons under the control of bad people do bad things. + +Drago notices Toothless tumble down a snow-bank, once again slit-eyed and entranced, but unable to fly to the alpha without a rider. Drago pins him down, eyeing the saddle, pedals, and prosthetic tail. + +ON HICCUP and VALKA + +In tears as Toothless rises into view, with Drago in the saddle. + + DRAGO + GATHER THE MEN AND MEET AT BERK! + +His soldiers cheer in the thousands. + + HICCUP + Toothless! + +Hiccup tries to go after Toothless, but Valka holds him back. + + VALKA + No, don't! + +Drago JABS his bull hook and points toward the horizon. The alpha BELLOWS, commanding an exodus as it leads the way. + + DRAGO + Move out! + +Hiccup watches, powerless as all dragons TAKE WING and follow.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 81.]] + +EXT. DRAGON MOUNTAIN - LAGOON - DUSK #2100#[[(Scene 2100 - Viking Funeral)]] + +A KEEL grinds against the shoreline pebbles as a listing, battered ship is pushed into the still iceberg-filled lagoon. + + GOBBER (V.O.) + May the Valkyries welcome you, and lead you through Odin's great battlefield. May they sing your name with love and fury, so that we might hear it rise from the heights of Valhalla... and know that you've taken your rightful place at the table of kings. + +Bows and pitch-dipped arrows are gathered from the battlefield. Gobber hands a set to Hiccup, meeting his eyes with sympathetic glance. + + GOBBER (V.O.) + For a great man has fallen. A warrior. A chieftain. A father. A friend. + +Hiccup dips his arrowhead in a smoldering chunk of wreckage, igniting the pitch that coats the tip. + +He releases his arrow, which sails through the air and lands on the deck of the ship, where Stoick is laid out on a pyre, covered by a sail, his axe upon his chest. + +The others follow Hiccup's lead. They DRAW BACK in unison and LOOSE their arrows, filling the sky with crisscrossing, flaming streaks. They arc over the lagoon and set the ship alight. ON HICCUP, fighting back emotion and losing the battle. + + HICCUP + I'm sorry, Dad. + +He eyes the engulfed ship. + + HICCUP (CONT'D) + I'm not the chief that you wanted me to be. And I'm not peacekeeper I thought I was. I don't know... + +Valka watches him, her heart breaking. She steps forward.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 82.]] + + VALKA + You came early into this world. You were such a wee thing. So frail, so fragile. I feared you wouldn't make it. + +Hiccup lowers his eyes, but Valka lifts his chin. + + VALKA (CONT'D) + But your father... he never doubted. He always said you'd become the strongest of them all. + (BEAT) + And he was right. + (BEAT) + You have the heart of a chief and the soul of a dragon. Only you can bring our worlds together. That is who you are, son. + +Hiccup meets her bolstering stare. He turns to the ship and watches it in silence, silhouetted in its glow. + + HICCUP + I was so afraid of becoming my dad. Mostly because I thought I never could. How do you become someone that great? That brave? That selfless? + (BEAT) + I guess you can only try. + (to the others) + A chief protects his own. We're going back. + + TUFFNUT + Uh, with what? + + RUFFNUT + He took all the dragons. + + HICCUP + Not all of them. + +EXT. ICE CHANNELS - MOMENTS LATER #2200#[[(Scene 2200 - Hatchlings to the Rescue)]] + +WHOOSH! WHOOSH! WHOOSH! JUVENILES BLUR past, like flying raptors, ZIGZAGGING wildly. + +Riding bareback, Hiccup & Co. HURTLE through the narrow ICE CHANNELS -- created by massive splits in the iceberg shelves.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 83.]] + + RUFFNUT + Fly straight! + + FISHLEGS + I don't want to die! + + TUFFNUT + We can't fly these things! + + FISHLEGS + Yeah, no kidding! + +Fishlegs barrels into a snow bank, sending several chunks right into Eret's face as rides inverted and HOLLERING. + + ASTRID + But won't that Bewilderbeast just take control of these guys, too? + + HICCUP + They're babies. They don't listen to anyone! + + TUFFNUT + Yeah, just like us! + +Gobber follows up the rear clumsily, STRUGGLING for control. + + GOBBER + This... is... very dangerous! + +He PULLS ALONGSIDE Hiccup and Valka. + + GOBBER (CONT'D) + Some might suggest this is poorly conceived. + + HICCUP + Well, it's a good thing that I never listen. + +A SHARP RIDGE RUSHES up at them. They're going to CRASH. Hiccup ROUNDS one side of it, and Gobber flies down the other side. They shout through gaps in the iceberg. + + GOBBER + So what IS your plan?! + + HICCUP + Get Toothless back and kick Drago's- + +He's interrupted by another closure in the gaps of ice. They blast out of the other side.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 84.]] + + GOBBER + Heads up! + +They SPLIT to avoid another peak and then reconvene, only to find another icy outcropping directly in their path. + + HICCUP + And that thing. + +Gobber HITS it, with a THUD and a YELP. + +EXT. BERK - NIGHT #2450#[[(Scene 2450 - Hiccup Vs. Toothless)]] + +Torches burn in their braziers as Berk slumbers... until the Bewilderbeast approaches, STOMPING down on the monolithic Viking statues that guard the harbor. + +INT. GOTHI'S HOUSE - CONTINUOUS + +The sound of destruction rouses a flock of Terrible Terrors and Gothi, who was sleeping under the dragons. Their pupils turn to slits, and heeding the ultrasonic call, they fly off. + +Gothi shuffles onto her deck, confused, then GASPS at horrifying sight. + +INT. VIKING HUT - CONTINUOUS + +A Gronckle lounges peacefully by the fire, as his Viking owner lavishes him with scratches. + + HOARK + Ah, that's a good boy! + +The Gronckle's eyes suddenly turn to slits and it, too, takes wing, knocking over a chair and table as it heads for the door. + + HOARK (CONT'D) + Watch the furniture! Where are you going? + +It barrels out of the hut and into the night sky as the Viking rushes to the doorway, spotting the same arresting sight with a gasp.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 85.]] + +EXT. GREAT HALL - CONTINUOUS + +Vikings pour out of the Great Hall as all of Berk's dragons fill the night sky and join the ranks of Drago's growing DRAGON ARMY. + +The Bewilderbeast rises out of the sea, bearing down on the people of Berk as Drago hovers on Toothless, leading the charge. The Vikings stare, aghast. + + DRAGO + Your chief is dead. + +Waves of shock and whispers of "Stoick?" spread through the crowd. + + DRAGO (CONT'D) + No one can protect you now. + +He thrusts his bull-hook, commanding the Bewilderbeast to fire. The Vikings watch in horror as the Bewilderbeast opens its yawning jaws and BLASTS. + +EXT. SKIES/BERK - NIGHT + +Dragon roars grow louder as Hiccup & Co. approach through clouds, racing against time. + +They collectively GASP at the sight of Drago's Bewilderbeast having now covered most of the village in explosions of ice. Berk's now commandeered dragons circle in a huddle behind him, joining Valka's flock, and corralled by Drago's armored dragons. + + HICCUP + No... + + FISHLEGS + He took all the dragons! + + HICCUP + (FUMING) + Distract the alpha. Try to keep his focus off of Toothless. + + TUFFNUT + Uh... how? + + ERET + Have you forgotten who you're riding with? + +He brazenly aims his baby dragon toward the Bewilderbeast.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 86.]] + + ERET (CONT'D) + There isn't a dragon alive that I can't wrangle! + +His baby dragon dives toward the sea instead. + + ERET (CONT'D) + Except for this one! + + SNOTLOUT + Amateur. + +The others shrug and follow. As they get closer, the Bewilderbeast looms bigger and BIGGER. + +Berk's Vikings in hiding notice Hiccup and the others as they approach. + + VIKING #1 + Look, it's Hiccup! + +The Vikings CHEER. + +ON DRAGO, surprised to see Hiccup and the others approaching. + + DRAGO + What? + +With an irate HUFF, the Bewilderbeast focuses on Hiccup, gaining ever closer to Toothless. + +Suddenly, a SHEEP appears in its sight, rising and falling out of view. The Bewilderbeast blinks, confused. + +It looks down to see Eret catching the falling sheep and reloading it into the game launcher, as Tuffnut cocks the mechanism and Ruffnut pulls the trigger. + + RUFFNUT + Keep `em coming! + +Snotlout tosses the black sheep to Tuffnut. + + SNOTLOUT + Black sheep, baby! + +Exasperated, the alpha inhales, about to blast, when... HONK! The game horn blares, breaking his concentration. + +He turns, finding the horn unmanned. The Bewilderbeast then returns his focus to the sheep launcher, until the BLACK SHEEP LANDS on the his face, bouncing down his facial spines and becoming lodged.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 87.]] + + SNOTLOUT (CONT'D) + Ten points! + +The Bewilderbeast shakes the black sheep off and prepares to blast again. + + SNOTLOUT (CONT'D) + Uh-oh... + +HONK! The alpha whips around -- still no one at the horn. + +ON FISHLEGS, giggling and hiding behind the game horn. + +The Bewilderbeast finally lets loose the ice blast, covering the entire horn in jagged spikes... as Fishlegs leaps from the platform. + + FISHLEGS + I'm okay! + +BACK TO HICCUP + +as he reaches Drago, hovering directly in Toothless' sights. + + DRAGO + You certainly are hard to get rid of. I'll say that. + +Hiccup ignored him and focuses on Toothless' slitted pupils. + + HICCUP + Toothless? It's me, bud. It's me. I'm right here. Come back to me. + +TOOTHLESS' POV: Hiccup appears as an unfamiliar red blur, still firmly under the control of the Bewilderbeast. + + DRAGO + He is not yours anymore. He belongs to the alpha! + +Drago smugly sits back in the saddle, his arms open in invitation. + + DRAGO (CONT'D) + But, please, oh great dragon master, try to take him. He will not miss a second time. + +Hiccup holds strong, maintaining eye contact with Toothless. He reaches out to touch him.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 88.]] + + HICCUP + It wasn't your fault, bud. They made you do it. + +Drago's amusement fades as Toothless stirs. His pupils DILATE, then NARROW again. + + HICCUP (CONT'D) + You'd never hurt him. + (BEAT) + You'd never hurt me. + +Drago watches, amazed, as Toothless fights the control. + + DRAGO + How are you doing that? + +Hiccup holds the stare, tears in his eyes. + + HICCUP + Please. You are my best friend, bud. + +Bewilderbeast ROARS a forceful command. + + HICCUP (CONT'D) + My best friend. + +Toothless' pupils jitter, then DILATE fully. He coos sympathetically. + + HICCUP (CONT'D) + Thatta boy! That's it! I'm here! + +Toothless' eyes finally dilate fully and resolve on Hiccup's familiar face. Drago goes from astounded to alarmed. Drago STRIKES Toothless with the bull hook in a vain attempt to regain control. + + DRAGO + No! + +Toothless ROARS defiantly, snatches the bull hook in his jaws, and PULLS... yanking Drago off of his back and sending him both PLUMMETING to the sea. + + HICCUP + Yeah! + +But without a rider, Toothless drops out of the sky as well. Hiccup leaps from the baby dragon, diving after him.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 89.]] + + HICCUP (CONT'D) + Hang on! + +Drago breaks his fall, landing heavily upon the Bewilderbeast's tusk... + +As Hiccup tucks in his arms, trying to close the gap between he and Toothless before they both make impact with the ocean. + + HICCUP (CONT'D) + Almost there, buddy. Almost there! + +Hiccup reaches Toothless. They pair up, mid-air, and skyrocket past Drago as he hobbles to the top of the alpha's head. + +EXT. BERK - VILLAGE - MOMENTS LATER #2500#[[(Scene 2500 - One True Alpha)]] + +Hiccup looks back at Drago, now issuing commands from the top of the Bewilderbeast's head. + + DRAGO + Do something! + + HICCUP + We need to get those two apart. + +Hiccup flies Toothless past a flag pole tears a strip of the flag. + +The Bewilderbeast BLASTS in their direction, barely missing them as they disappear around the back of a mountain. + + HICCUP (CONT'D) + We gotta block him out, Toothless. Do you trust me, bud? + +Toothless coos, allowing Hiccup to BLINDFOLD him with the flag. Hiccup calms him with a touch. + + HICCUP (CONT'D) + We can do this. You and me. As one. + +Hiccup SPLAYS Toothless' mechanical tail. Toothless responds, MATCHING the move with the natural half. + + HICCUP (CONT'D) + That's it. Now let's try this one more time![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 90.]] + +They PEEL around the other side of the mountain, heading back toward Drago and Bewilderbeast, passing Astrid and the cheering Vikings on the ground. + + ASTRID + Take them down, babe! + +The Viking roar in support as Hiccup and Toothless race past. + +Valka watches with pride as her son hurtles towards Drago and the alpha. + + VALKA + Go get `em. + + DRAGO + Take control of it! + +The Bewilderbeast's HISS becomes a furious ROAR, but to no avail. Hiccup clamps his hands over Toothless' ear plates, muffling the alpha's commands. + + HICCUP + Shut it out, Toothless! + + DRAGO + STOP THEM! + +The Bewilderbeast BLASTS! + + HICCUP + NOW! + +Toothless suddenly PULLS UP, ARCING over Drago's head! Drago LAUGHS, victorious, then pauses in shock. + +DRAGO'S POV: as Toothless climbs inverted through the sky, the blindfold falls free, revealing an EMPTY SADDLE. + +Drago WHIRLS around, wide-eyed, to see... + +HICCUP ZOOMING TOWARD HIM, his wing-suit deployed, and his Dragon Blade trailing Zippleback gas. Drago SWIPES but misses him. Hiccup clicks the lighter and ignites the gas, blasting Drago off his Bewilderbeast with a SCREAM. + +Drago PLUMMETS, BREAKING HIS FALL against the massive dragon's spines and landing hard on the ground, his bullhook landing just out of reach. + +The Bewilderbeast WHIPS its tail, trying to SWAT down Hiccup.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 91.]] + + HICCUP (CONT'D) + Not again. + (BEAT) + TOOTHLESS! IT'S NOW OR NEVER! + +Toothless pops open his dorsal blades, arcs skyward, and rejoins Hiccup just before colliding with the alpha's tail. + + HICCUP (CONT'D) + Come on, bud! + +Together again, they speed along the length of the thrashing tail... + + HICCUP (CONT'D) + Hold on! + +And shoot past the tip of the tail, narrowly making it! + + HICCUP (CONT'D) + Yeah! We did it! + +They arc through the sky and LAND a few paces from Drago, kicking up a trail of dust. + +Battered and weary, Drago reaches for his bullhook. Hiccup extends and fires up his Dragon Blade, hurling it like a javelin, and sticking it in the ground between Drago and his weapon, singeing his outstretched hand. + + DRAGO + Agghh! + + HICCUP + Hold him there Toothless! + +Toothless SNARLS a warning, ready to blast. + + HICCUP (CONT'D) + It's all over now. + +But the cloud of dust settles, revealing the Bewilderbeast, rising behind Hiccup, ready to blast him instead. + + DRAGO + (GRINNING KNOWINGLY) + Or is it? + +Hiccup spins around, alarmed, as a RUSH of water THUNDERS up the Bewilderbeast's throat. + + HICCUP + Oh, no![[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 92.]] + +It BLASTS, but Toothless leaps into the way, shielding Hiccup beneath him. The freezing explosion envelops them both. + +Drago laughs to himself as Valka lands her baby dragon and rushes to the icy explosion, hammering away at it desperately. + + VALKA + No! No... + +ON ASTRID and GOBBER, watching from a distance, horrified. As Valka POUNDS at the ice, a GLOWS forms from deep within. She realizes what is about to happen and backs away. + +A BLAST thunders from inside the ice, SHATTERING it. Toothless emerges from the debris, revealing Hiccup curled safely under his wings. + +Toothless is steaming, his black skin glowing blue with rage, his split dorsal blades searing with blue heat, a glow emanating from his flared nostrils. + +He turns back to Hiccup, to check if he's unharmed, then turns his full attention back to the Bewilderbeast. He leaps out of the crater and lands upon an ice spire, roaring ferociously. + +The Bewilderbeast bellows back at this affront. Toothless unleashes a salvo of plasma into the Bewilderbeast's face, not letting up. + + HICCUP + He's challenging the alpha! + + VALKA + To protect you. + +The Bewilderbeast ROARS at this act of insubordination. Toothless fires back, time and again, fully in control. + +The alpha thrashes his tusks through the ice, trying to smash Toothless, but he deftly spring from spire to spire, continuing his unrelenting attack. + +In the midst of the mayhem, the horde of commandeered dragons -- both Berk's and Valka's -- break free from the control to witness Toothless' retaliation. + +Toothless lands protectively by Hiccup and Valka, commanding the dragons to shift sides. The follow, amassing behind Toothless. + +Seeing this, Drago panics and rushes toward the Bewilderbeast.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 93.]] + + DRAGO + No, no, no, no! Fight back! Fight! FIGHT! + +Drago clambers up the Bewilderbeast's tusk, totally unhinged. + + DRAGO (CONT'D) + (to the defecting dragons) + What's the matter with you? + +The Berkians swell in to show their unified support. Drago fumes as Hiccup and Toothless fly up together onto an ice spire. + + HICCUP + Now do you get it? This is what it is to earn a dragon's loyalty. + (BEAT) + Let this end now. + + DRAGO + Never! Come on! + +He hammers the Bewilderbeast, spurring it into a charge. + +Toothless calls over his shoulder, commanding the dragons to ready themselves. He then BLASTS the Bewilderbeast, mid-charge. Suddenly, Skullcrusher fires. Followed by another, and another. + +Hiccup looks around, amazed to see the flock of dragons opening fire on Drago and his Bewilderbeast. They've started a rebellion. + +Drago is forced to hide from the fiery barrage by taking cover in the tall spines of the giant's crown. + + DRAGO (CONT'D) + FIGHT! BLAST THEM! + +His prosthetic arm is blasted clean off by one of his own armored dragons. + +The Bewilderbeast rears back to cover them all in ice, but Toothless lets loose a powerful shot. The Bewilderbeast's head is KNOCKED backward by a blue-flame fireball. + +As the smoke clears, one of its massive TUSKS FALLS to the ground, sheared clean off. Drago glares at Toothless. + +Toothless ROARS commandingly, calling an end to the fight. + + HICCUP + The alpha protects them all.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 94.]] + +Overwhelmed and overpowered, the Bewilderbeast yields to the new alpha and heeds Toothless' command, retreating into the sea in an explosive splash. + +The Berkians CHEER in victory! + +As the smoke clears, Hiccup and Toothless see nothing but bubbles on the waves to mark their disappearance. No sign of the Bewilderbeast... or Drago. + +Toothless hops down from the spire, cooling off, as people celebrate all around them. + +All of the dragons -- Berk's, Valka's, even Drago's -- land around Toothless. Cloudjumper bows to Toothless, starting a wave of bows, acknowledging their new alpha. + +Toothless looks around, surprised, then lets out a majestic ROAR. The assembled dragons join in, roaring in tribute. + +Toothless turns to Hiccup as he approaches. + + HICCUP (CONT'D) + You never cease to amaze me, bud. Thank you. + +Toothless GURGLES and licks Hiccup's face. Hiccups squeals, trying to get away. + + HICCUP (CONT'D) + Toothless! You know that doesn't wash out. + +The crowd laughs. All around them, Berk's dragons reunite with their Vikings. + + ASTRID + Stormfly! + +Stormfly bounds into Astrid. + + GOBBER + Oh, give me a cuddle, Grumpy! + +Grump lands ON TOP of Gobber, flattening him. + +Relieved to the point of tears, Snotlout and Fishlegs race towards the expectant Ruffnut... + + FISHLEGS + Who's my little princess? + +!... and then right PAST her to embrace their dragons.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 95.]] + + FISHLEGS (CONT'D) + I missed you so much! + + SNOTLOUT + Don't you ever leave again, Hookfang! + +Ruffnut GRUMBLES, dejected. Barf dips his head in to console her. + + RUFFNUT + Oh Barf! + +She hugs him. Belch looms in for some affection, but Ruffnut pushes him away... + + RUFFNUT (CONT'D) + Not you. + +And into Tuffnut who glowers back at her. + +Hiccup smiles, taking in the happy reunions. Skullcrusher approaches him, without an owner to reunite with. Hiccup pets him, as Eret approaches. + + ERET + That was some pretty fine dragon wrangling back there. You'd make a good trapper. + +Before Hiccup can respond, Skullcrusher nuzzles Eret affectionately. Eret chuckles and gently strokes him. + + HICCUP + Y'know, Skullcrusher's gonna need somebody to look after him now. + + ERET + Me? + +Hiccup nods reassuringly. Eret looks at Skullcrusher, pausing to consider it. + + ERET (CONT'D) + I'd be honored. + +Valka walks up to her son, bursting with pride. + + VALKA + Your father... he'd be every bit as proud as I am.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 96.]] + + HICCUP + Thank you. I'm really glad you're here, Mom. + + VALKA + And here I'll stay. + +Toothless arrives, purring at Valka's touch as Astrid strides toward Hiccup, beaming proudly. + + ASTRID + See? I told you it was in here. + +She places her hand upon his chest, then quickly pokes the dorsal fin button, popping it open. She GIGGLES. + + HICCUP + Ha, ha. Still doing that one? That's hilarious. + (THEN) + Come here, you. + +He scoops Astrid close and pulls her into a kiss. Gobber covers a gawking boy's eyes. + + GOBBER + Ooh. + +Gothi, the elder, taps Hiccup's shoulder, interrupting the romantic moment. She gestures for Hiccup to kneel. He does so, respectfully. + +Using ash from a heap of burnt wreckage, Gothi traces a Viking symbol onto Hiccup's forehead. She bows. + +Hiccup stands, meeting Gobber's proud, smiling eyes. Gobber turns to the silent crowd and throws up his arms. + + GOBBER (CONT'D) + The chief has come home! + +The Berkians erupt with cheers and applause as Hiccup takes in the moment, acknowledging the weight of responsibility now upon him. + +Toothless throws back his head and BLASTS in celebration, spurring all other dragons to follow suit, lighting up the sky in a spectacular display. + +EXT. BERK VILLAGE - DAY #2700#[[(Scene 2700 - A New Beginning)]][[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 97.]] + +A sheep grazes lazily on the grass as a Terrible Terror struggles in vain to carry him off. Suddenly, both are snatched up by a passing dragon. + +IN THE AIR + +Ruffnut and Tuffnut wrestle over the sheep atop Barf & Belch. Ruffnut send the sheep flying toward Fishlegs. Snotlout nabs it instead, blowing a kiss mockingly. + + HICCUP (V.O.) + This... is Berk. A bit trampled and busted and covered in ice, but it's home. It's our home. + +They swoop past a gathered crowd on the battered bleachers as Snotlout dunks the sheep in his basket. Eret joins the race atop Skullcrusher. + +They fly past Hiccup and Toothless, who are steadily hoisting a palette of timber and supplies onto a rooftop where workers are rebuilding the damaged houses. + +Hiccup then turns his attention to a massive statue of Stoick, presently under construction. He grins with pride. + + HICCUP (V.O.) + Those who attacked us are relentless and crazy. But those who stopped them? Oh, even more so! + +He looks to the horizon, scanning it from east to west to ensure that no trouble is approaching. + +Astrid and Stormfly buzz past him playfully, coaxing him to join the game. He smiles. + + HICCUP (V.O.) + We may be small in numbers, but we stand for something bigger than anything the world can pit against us. + +Astrid soars past the blacksmith stall, waving to Valka and Gobber as they remove the armor from Drago's freed battle dragons. + + HICCUP (V.O.) + We are the voice of peace. And bit by bit, we will change this world.[[HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 98.]] + +Realizing that he's late, Gobber hurries over to the sheep launcher and pulls the trigger, sending the black sheep hurtling into the air. + +Astrid and Stormfly close in on the black sheep, about to snatch it out of the air, when suddenly, Hiccup and Toothless dart past, beating them to it. Toothless looks back with a gummy smile. + + HICCUP (V.O.) + You see, we have something they don't. Oh sure, they have armies and they have armadas... + +Toothless and Hiccup dive toward the line of baskets. As they approach, Toothless bounces Hiccup into the air, allowing him to dunk the black sheep into Astrid's basket. They reunite on the other side. The crowd cheers! + + HICCUP (V.O.) + But we... we have... + +Hiccup and Toothless land upon the chief's dais, joined by Astrid, Stormfly, and the other dragon riders. + + HICCUP (V.O.) + OUR DRAGONS! + +Toothless lets out a proud roar as Hiccup look out over Berk, gleaming with pride. + +>CUT TO: + +END TITLE: HOW TO TRAIN YOUR DRAGON 2 diff --git a/fountain_scripts/How to Train Your Dragon 2.webp b/fountain_scripts/How to Train Your Dragon 2.webp new file mode 100644 index 0000000000000000000000000000000000000000..7ef3c07b82f764c4f571e326b5c8437d9e7a996e --- /dev/null +++ b/fountain_scripts/How to Train Your Dragon 2.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:7fa03ae0cf54e0c4fff402ae56769a87c967cd9aa7464cd159eaa0d87a017d90 +size 23994 diff --git a/fountain_scripts/How to Train Your Dragon.fountain b/fountain_scripts/How to Train Your Dragon.fountain new file mode 100644 index 0000000000000000000000000000000000000000..ae375f9981683cec34c8bf96bb6a6e4a13f4aa70 --- /dev/null +++ b/fountain_scripts/How to Train Your Dragon.fountain @@ -0,0 +1,3673 @@ +Title: HOW TO TRAIN YOUR DRAGON +Credit: Written by +Author: Dean DeBlois & Chris Sanders +Draft date: Final Draft + February 13, 2010 + +>FADE IN: + +EXT. NORTH SEA/VILLAGE - NIGHT + +We skim above a dark, wild ocean. The camera turns toward a lone island, Berk. It is a gigantic shard of rock jutting straight out of the water. + + HICCUP (V.O.) + This, is Berk. It's twelve days North of hopeless, and a few degrees South of freezing to death. It's located solidly on the meridian of misery. + +The camera drifts over rolling hills to reveal a small village nestled on an outcropping of sea mounts. + + HICCUP (V.O.) (CONT'D) + My village. In a word, sturdy. And it's been here for seven generations, but every single building is new. + +The camera drifts closer, circling. + + HICCUP (V.O.) (CONT'D) + We have fishing, hunting, and a charming view of the sunsets. The only problems are the pests. You see, most places have mice or mosquitos. We have... + +Sheep graze peacefully on a hillside. Suddenly one is snatched. + +>CUT TO: + +INT. STOICK'S HOUSE - CONTINUOUS + +A door is pulled open... as a DRAGON swoops directly toward it, BLASTING FIRE. The door is SLAMMED. The fire shoots through the slats of wood, illuminating HICCUP, a gangly teenage Viking. + + HICCUP + \...dragons. + +EXT. STOICK'S HOUSE + +He reopens the sizzling door, as leaps off of the front porch. He weaves through the erupting mayhem as Vikings pour out of the buildings, ready for a fight.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 2.]] + +More dragons swarm in, setting rooftops alight and hauling off sheep. + + HICCUP (V.O.) + Most people would leave. Not us. We're Vikings. We have stubbornness issues. + +Vikings sound the alarm. Viking men and women pour out into the streets, axes in hand. ON HICCUP darting through alleys, staying under eaves, making his way through the battle. + + HICCUP (V.O.) (CONT'D) + My name's Hiccup. Great name, I know. But it's not the worst. Parents believe a hideous name will frighten off gnomes and trolls. Like our charming Viking demeanor wouldn't do that. + +Dragons sweep back and forth, dodging axes and blasting the Vikings who throw them. A burly warrior gets tossed in an explosion, knocking Hiccup to the ground. + + VIKING + (FIERCE) + Arggghhhhh! + (cheery, insane) + Mornin'! + +Hiccup gets to his feet and continues to rush past gigantic men and women. + + HICCUP (V.O.) + Meet the neighbors. Hoark the Haggard... + + HOARK + What are you doing out!? + + HICCUP + \... Burnthair the Broad... + + BURNTHAIR + Get inside! + + HICCUP + \... Phlegma the Fierce... + + PHLEGMA THE FIERCE + Get back inside![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 3.]] + + HICCUP + \. Ack. + +He passes a silent ox of a viking, picking his ear. + + HICCUP (CONT'D) + Yep, just Ack. + +Enter STOICK, the biggest Viking of all. He yanks Hiccup from the path of a strafing dragon and holds aloft to the crowd. + + STOICK + Hiccup!? + (accusingly; to the crowd) + What is he doing out again?! + (TO HICCUP) + What are you doing out?! Get inside! + +The flames light up his scowling face and matted red beard. He sets Hiccup down and turns to the sky, searching. + + HICCUP (V.O.) + (IN AWE) + That's Stoick the Vast. Chief of the tribe. They say that when he was a baby he popped a dragon's head clean off of its shoulders. Do I believe it? + +Stoick grabs a wooden cart and hurls it, knocking the strafing dragon out of the sky. + + HICCUP (V.O.) (CONT'D) + Yes I do. + +An EXPLOSION forces Vikings to DUCK. Stoick stands firm, brushing flaming debris off of his shoulder. + + STOICK + (barking; to his men) + What have we got? + + VIKING #1 + Gronkles. Nadders. Zipplebacks. Oh, and Hoark saw a Monstrous Nightmare. + + STOICK + Any Night Furies? + + VIKING #1 + None so far.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 4.]] + + STOICK + (RELIEVED) + Good. + + VIKING + Hoist the torches! + +Massive flaming braziers are raised on poles, lighting up the night sky... and revealing swirling dragons of all types. Below, Hiccup crosses an open plaza and ducks into an open building with a tall chimney. + +INT. BLACKSMITH STALL - CONTINUOUS + +He crosses behind a counter, where a peg-legged, one-armed hulk of a Blacksmith reshapes blades with a hammer and tongs appendage. + + GOBBER + Ah! Nice of you to join the party. I thought you'd been carried off. + +Hiccup dons a leather apron and starts to put away Gobber's scattered appendages. + + HICCUP + Who me? Nah, come on! I'm way too muscular for their taste. They wouldn't know what to do with all this. + +Hiccup strikes a bodybuilder pose. + + GOBBER + They need toothpicks, don't they? + +Hiccup gets to work, transferring bent and chipped weapons to the forge as Vikings crowd the counter for replacements. + + HICCUP (V.O.) + The meathead with attitude and interchangeable hands is Gobber. I've been his apprentice ever since I was little. Well...littler. + +EXT. VILLAGE - CONTINUOUS + +ON STOICK + + STOICK + We move to the lower defenses. We'll counter-attack with the catapults.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 5.]] + +Armed men rush past, flanking others who carry sheep to safety. Stoick follows up the rear as, overhead, a dragon strafes the rooftops with Napalm-like fire. + + HICCUP (V.O.) + See? Old village. Lots and lots of new houses. + + VIKING + FIRE! + +In response, the fire brigade charges through the plaza -- four TEENS, tugging a large wooden cask on wheels. From it, they fill buckets of water to douse the flames. One among them is a cute, energetic Viking girl. Hiccup leans out of the stall to watch her. + + HICCUP (V.O.) + Oh and that's Fishlegs, Snotlout. The twins Ruffnut and Tuffnut. And... + (DREAMY) + Astrid. + +A SLOW-MOTION explosion erupts behind her, framing her in a sexy ball of fire. The others join her, looking awesome and heroic. + + HICCUP (V.O.) (CONT'D) + Their job is so much cooler. + +Hiccup tries to join them as they pass, but he's hooked by Gobber and hoisted back inside. + + HICCUP (CONT'D) + (PLEADING) + Ah, come on. Let me out, please. I need to make my mark. + + GOBBER + Oh, you've made plenty of marks. All in the wrong places. + + HICCUP + Please, two minutes. I'll kill a dragon. My life will get infinitely better. I might even get a date. + + GOBBER + You can't lift a hammer. You can't swing an axe... + +Gobber grabs a bola (iron balls connected by rope).[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 6.]] + + GOBBER (CONT'D) + \... you can't even throw one of these. + +A Viking runs by and nabs it out of Gobber's hand, hurling it at a dive-bombing Gronkle. The bola binds its legs, sending it into a heavy crash. + + HICCUP + (ready with the answer) + Okay fine, but... + +He rushes to the back corner of the stall and presents a bizarre, wheel barrow-like contraption. + + HICCUP (CONT'D) + \... this will throw it for me. + +Hiccup OPENS the hinged lid of the device. An arm springs up, equipped with twin bows. They prematurely launch a bola, narrowly missing Gobber... and taking out a Viking at the counter. + + VIKING + Arggh! + + GOBBER + See, now this right here is what I'm talking about. + + HICCUP + Mild calibration issue. + + GOBBER + Hiccup. If you ever want to get out there to fight dragons, you need to stop all... + +Gobber gestures in Hiccup's general direction. + + GOBBER (CONT'D) + \... this. + + HICCUP + (ASTONISHED) + But... you just pointed to all of me. + + GOBBER + Yes! That's it! Stop being all of you.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 7.]] + + HICCUP + (THREATENING) + Ohhhh... + + GOBBER + (MIMICKING) + Ohhhhh, yes. + + HICCUP + You, sir, are playing a dangerous game. Keeping this much, raw...Vikingness contained. + (BEAT) + There will be consequences! + +Gobber tosses him a sword. + + GOBBER + I'll take my chances. Sword. Sharpen. Now. + +Hiccup takes it begrudgingly and lobs it onto the grinding wheel. He stews... fantasizing... + + HICCUP (V.O.) + One day I'll get out there. Because killing a dragon is everything around here. + +EXT. VILLAGE - LOWER PLAINS - CONTINUOUS + +Nadders land, gathering like seagulls around a seemingly vacant house. + + HICCUP (V.O.) + A Nadder head is sure to get me at least noticed. + +The Nadders clamber onto the building, tearing the roof and walls apart. Sheep pour out and SCATTER. Elsewhere, hippo-like Gronckles pick drying racks clean of fish and fly off like loaded pelicans. + + HICCUP (V.O.) (CONT'D) + Gronckles are tough. Taking down one of those would definitely get me a girlfriend. + +A stealthy, snake-like dragon head peeks over a rooftop, breathing gas into a chimney.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 8.]] + + HICCUP (V.O.) (CONT'D) + A Zippelback? Exotic, exciting. Two heads, twice the status. + +A second head pokes through the door and lights it. KABLAM! The two heads fly through the explosion, their necks zipping together to reveal a single body. It flies past Stoick as he climbs to the top of a CATAPULT TOWER. + + CATAPULT OPERATOR + They found the sheep! + + STOICK + (FRUSTRATED) + Concentrate fire over the lower bank! + + CATAPULT OPERATOR + Fire! + +Boulders are catapulted at the corralling Nadders... Just as a huge red dragon whips past, spraying the base of the catapult with sticky fire. + + HICCUP (V.O.) + And then there's the Monstrous Nightmare. Only the best Vikings go after those. They have this nasty habit of setting themselves on fire. + +It emerges from the flames, climbing the catapult with a leering, toothy grin. + + STOICK + Reload! I'll take care of this. + +Stoick takes on the Nightmare, face to hammer. Suddenly, a LOUD BALLISTIC MOANING streaks overhead. The catapult crew ducks. + +INT. BLACKSMITH STALL - CONTINUOUS + +ON HICCUP, looking up from his work, reacting to the same sound. + + HICCUP (V.O.) + But the ultimate prize is the dragon no one has ever seen. We call it the--[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 9.]] + + VIKING + Night Fury! Get down! + +Vikings everywhere take shelter. The moaning sound BUILDS. + +EXT. VILLAGE - CATAPULT - CONTINUOUS + +The Monstrous Nightmare suddenly stops fighting and takes flight. Stoick looks skyward. + + STOICK + JUMP! + +KABOOM! The Catapult EXPLODES as though hit by an artillery shell... sending Stoick and the crew leaping for their lives. + + HICCUP (V.O.) + This thing never steals food, never shows itself, and... + +The sound recedes, leaving the crippled catapult in flames. + + HICCUP (V.O.) (CONT'D) + \...never misses. + (BEAT) + No one has ever killed a Night Fury. That's why I'm going to be the first. + +.IN THE STALL + +Gobber trades his hammer for an axe. + + GOBBER + Man the fort, Hiccup, they need me out there! + +Gobber pauses. Turns with a threatening glare. + + GOBBER (CONT'D) + Stay. Put. There. You know what I mean. + +Gobber charges into the fray, HOLLERING. ON HICCUP, a smirk crosses his face. + +EXT. VILLAGE - MOMENTS LATER + +WHAM! Hiccup pushes his wheeled contraption through a wall of clustered Vikings. He weaves through the ongoing mayhem, as fast as his legs can carry him.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 10.]] + + VIKING #6 (O.S.) + Hiccup, where are you going! + + VIKING #7 + Come back here! + + HICCUP + I know. Be right back! + +.ON THE PLAIN BELOW + +The Nadders have cornered the house-full of sheep. They close in, ready to spring upon them. Stoick suddenly appears, HURLING FISHING NETS over them. The surprised Nadders are caught. Stoick and his men rush in. A Nadder blasts a hole through its net. Stoick leaps onto it, clamping his thick arms around its head, forcing its jaws shut. + + STOICK + Mind yourselves! The devils still have some juice in them. + +.ON THE PLAIN ABOVE + +Hiccup reaches a cliff overlooking the smoking CATAPULT and drops the handles to the ground. He cranks several levers, unfolding and then cocking the bowed arms of his contraption. He drops a bola onto a chamber and then pivots the weapon on a gimbal head toward the dark sky. He listens, with his eye pressed to the scope, hand poised on the trigger. He hears the NIGHT FURY approaching... and turns his aim to the defense tower. It closes in for the final strike, completely camouflaged in the night. + + HICCUP + (TO HIMSELF) + Come on. Give me something to shoot at, give me something to shoot at. + +KABLAM! The tower topples. The blast of fire illuminates the dragon for a split second. Hiccup pulls the trigger. KERTHUNK! The flexed arms SNAP forward, springing the weapon off the ground. The bola disappears into the sky, followed by a WHACK and a SCREECH.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 11.]] + + HICCUP (CONT'D) + (surprised, then elated) + Oh I hit it! Yes, I hit it! Did anybody see that? + +Hiccup's victory is short-lived. A Monstrous Nightmare appears, slithering up over the lip of the cliff. + + HICCUP (CONT'D) + Except for you. + +ON STOICK, holding down the netted Nadders. He hears a familiar HOLLER and looks up to see... HICCUP running through the PLAZA, SCREAMING, with the NIGHTMARE fast on his heels. Alarmed, Stoick abandons the Nadders and runs off. + + STOICK + (to his men, re: the NADDERS) + DO NOT let them escape! + +.IN THE PLAZA + +Vikings scatter as Hiccup dodges a near fatal blast. The Nightmare's sticky, Napalm-like fire splashes up onto buildings, setting them alight. Hiccup ducks behind the last standing brazier -- the only shelter available. The Nightmare blasts it, spraying fire all around him. Hiccup peers around the smoldering post. No sign of the Nightmare. He turns back to find it leering at him, blocking his escape. It takes a deep breath. Hiccup is finished. Suddenly, Stoick LEAPS between them, tackling the Nightmare to the ground. They tumble and wrestle, resuming their earlier fight. The Nightmare tries to toast him, but only coughs up smoke. + + STOICK (CONT'D) + You're all out. + +He smashes the Nightmare repeatedly in the face, driving it away. It takes to the air and disappears. Winded, Stoick turns to Hiccup. + + HICCUP (V.O.) + Oh, and there's one more thing you need to know...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 12.]] + +The burnt brazier pole collapses, sending the massive iron basket crashing. It bounces down the hill, destroying as it goes and scattering the Vikings who were holding down the netted Nadders. The freed dragons escape... with several sheep in tow. + + HICCUP (CONT'D) + Sorry, dad. + +EXT. VILLAGE - UPPER PLAZA - CONTINUOUS + +The escaped Nadders fly past with sheep in their clutches. The raid is over. The dragons have clearly won. The murmuring crowd eyes Stoick, awaiting his response. + + HICCUP + (SHEEPISH) + Okay, but I hit a Night Fury. + +Stoick grabs Hiccup by the back scruff of his collar and hauls him away, fuming with embarrassment. + + HICCUP (CONT'D) + It's not like the last few times, Dad. I mean I really actually hit it. You guys were busy and I had a very clear shot. It went down, just off Raven Point. Let's get a search party out there, before it-- + + STOICK + --STOP! Just....stop. + +He releases Hiccup. Everyone goes silent, staring expectantly. + + STOICK (CONT'D) + Every time you step outside, disaster follows. Can you not see that I have bigger problems? Winter's almost here and I have an entire village to feed! + +Hiccup looks around. All eyes are upon him. + + HICCUP + Between you and me, the village could do with a little less feeding, don't ya think? + +A few rotund Vikings stir self-consciously.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 13.]] + + STOICK + This isn't a joke, Hiccup! + (EXASPERATED) + Why can't you follow the simplest orders? + + HICCUP + I can't stop myself. I see a dragon and I have to just... kill it, you know? It's who I am, Dad. + + STOICK + You are many things, Hiccup. But a dragon killer is not one of them. + +Sting. Hiccup looks around to see many nods of agreement. + + STOICK (CONT'D) + Get back to the house. + (TO GOBBER) + Make sure he gets there. I have his mess to clean up. + +Stoick lumbers off in the opposite direction. Gobber leads Hiccup through the walk of shame. They pass the teen fire brigade as they snicker. + + TUFFNUT + Quite the performance. + + SNOTLOUT + I've never seen anyone mess up that badly. That helped! + + HICCUP + Thank you, thank you. I was trying, so... + +Hiccup avoids Astrid's glare and heads up toward a large house, standing prominently on the hill above the others. + + HICCUP (CONT'D) + I really did hit one. + + GOBBER + Sure, Hiccup. + + HICCUP + He never listens. + + GOBBER + Well, it runs in the family.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 14.]] + + HICCUP + And when he does, it's always with this... disappointed scowl. Like someone skimped on the meat in his sandwich. + (MIMICKING STOICK) + Excuse me, barmaid. I'm afraid you brought me the wrong offspring. I ordered an extra large boy with beefy arms. Extra guts and glory on the side. This here. This is a talking fish bone. + + GOBBER + You're thinking about this all wrong. It's not so much what you look like. It's what's inside that he can't stand. + +Beat. + + HICCUP + Thank you, for summing that up. + +They reach the doorway. + + GOBBER + Look, the point is, stop trying so hard to be something you're not. + +Hiccup SIGHS heavily. + + HICCUP + I just want to be one of you guys. + +Gobber eyes him sympathetically. Hiccup turns and goes through the front door. And straight out the back door. He hurries off into the woods, determined. + +INT. GREAT HALL - DAY + +A noisy din of PROTESTING VOICES leads to... STOICK, glowering in the firelight. Surrounded by his men. + + STOICK + Either we finish them or they'll finish us! It's the only way we'll be rid of them! If we find the nest and destroy it, the dragons will leave. They'll find another home.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 15.]] + +He sinks his blade into a... LARGE NAUTICAL MAP, spread out on the table... the blade pierces the middle of an uncharted corner, swirling with painted sea monsters and dragons. + + STOICK (CONT'D) + (DECIDEDLY) + One more search. Before the ice sets in. + + VIKING + Those ships never come back. + + STOICK + (MATTER-OF-FACT) + We're Vikings. It's an occupational hazard. Now who's with me? + +Stoick throws up his fist. No one follows. The crowds shifts in restless silence. Head scratches. Eyes averted. + + VIKING + (FEEBLE) + Today's not good for me. + + VIKING (CONT'D) + (EQUALLY FEEBLE) + I've gotta do my axe returns. + + STOICK + Alright. Those who stay will look after Hiccup. + +Hands jut into the air, volunteers galore. Enthusiastic murmurs of prep and packing fill the room. + + PHLEGMA THE FIERCE + To the ships! + + SPITELOUT + I'm with you Stoick! + + STOICK + (DRY) + That's more like it. + +The Vikings rush for the door, leaving Gobber and Stoick alone. Gobber gulps back the contents of his tankard attachment and scrapes back the bench. + + GOBBER + I'll pack my undies.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 16.]] + + STOICK + No, I need you to stay and train some new recruits. + + GOBBER + Oh, perfect. And while I'm busy, Hiccup can cover the stall. Molten steel, razor sharp blades, lots of time to himself...what could possibly go wrong? + +Stoick sinks onto the bench beside Gobber, his brow burdened. + + STOICK + What am I going to do with him Gobber? + + GOBBER + Put him in training with the others. + + STOICK + No, I'm serious. + + GOBBER + So am I. + +Stoick turns to him, glaring. + + STOICK + He'd be killed before you let the first dragon out of its cage. + + GOBBER + Oh, you don't know that. + + STOICK + I do know that, actually. + + GOBBER + No, you don't. + + STOICK + No, actually I do. + + GOBBER + No you don't! + + STOICK + Listen! You know what he's like. From the time he could crawl he's been...different. He doesn't listen.[[(MORE)]][["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 17.]] + + STOICK (CONT'D) + Has the attention span of a sparrow. I take him fishing and he goes hunting for... for trolls. + + GOBBER + (DEFENSIVE) + Trolls exist! They steal your socks. + (DARKLY) + But only the left ones. What's with that? + + STOICK + When I was a boy... + + GOBBER + (GRUMBLING) + Oh here we go. + + STOICK + My father told me to bang my head against a rock and I did it. I thought it was crazy, but I didn't question him. And you know what happened? + + GOBBER + You got a headache. + + STOICK + That rock split in two. It taught me what a Viking could do, Gobber. He could crush mountains, level forests, tame seas! Even as a boy, I knew what I was, what I had to become. + (BEAT) + Hiccup is not that boy. + + GOBBER + You can't stop him, Stoick. You can only prepare him. + (BEAT) + Look, I know it seems hopeless. But the truth is you won't always be around to protect him. He's going to get out there again. He's probably out there now. + +ON STOICK, as Gobber's words hit their mark. + +EXT. WOODS - DAY + +ON AN OPEN NOTEBOOK[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 18.]] + +A drawn map of the island, covered in X's. Hiccup looks up from it and peeks over a gorge, expectantly. Sees nothing. He adds another 'X' to the page, then scratches his pencil over the whole map in frustration. He snaps the book closed and pockets it. + + HICCUP + Uggh, the gods hate me. Some people lose their knife or their mug. No, not me. I manage to lose an entire dragon. + +Hiccup WHACKS a low-hanging branch. It SNAPS back at him, hitting him in the face. He looks up to see a snapped tree trunk. His eyes follow it to a long trench of up-turned earth. He follows it to a downed, black dragon, its body and tail tangled in a bola. It appears dead. Hiccup approaches, beaming. + + HICCUP (CONT'D) + (IN SHOCK) + Oh wow. I did it. I did it. This fixes everything. + (ELATED) + Yes! + +He strikes a victory pose, planting his foot on the fallen Night Fury. + + HICCUP (CONT'D) + I have brought down this mighty beast! + +It suddenly shifts. + + HICCUP (CONT'D) + Whoa! + +Hiccup springs back, terrified. He turns his blade on it. Rattled, Hiccup creeps along the length of the weak, wounded dragon, dagger poised to strike. As he reaches the head, Hiccup finds the Night Fury staring coldly at him. Hiccup tries to look away, but he's drawn back to its unnerving, unflinching stare. With the dragon safety tangled in the ropes, Hiccup jabs with his dagger, puffing himself up with false bravado.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 19.]] + + HICCUP (CONT'D) + I'm going to kill you, Dragon. I'm gonna cut out your heart and take it to my father. I'm a Viking. + (BEAT) + I am a VIKING! + +Hiccup raises the dagger, determined to prove his Viking-ness. The dragon's labored breathing breaks Hiccup's clenched concentration. He opens an eye, uncertainty leaking through. The dragon holds the stare. Something profound is exchanged. Finally, the Night Fury closes its eye and lowers its head, resigned to its fate. Hiccup tries to go through with it, holding the dagger aloft... fighting himself... until finally lowering it with a frustrated sigh. He looks over the dragon's chaffed rope wounds. + + HICCUP (CONT'D) + (muttered, ashamed) + I did this. + +He turns to leave. Pauses. And glances back at the dragon, chest heaving. Hiccup GRUMBLES. He checks over his shoulder to ensure that no one is watching... then hurries back to cut the ropes. The Night Fury's eye shoots open. With the dragon watching his every move, Hiccup hurriedly saws through the bola ropes. As the last rope falls free, the Night Fury suddenly POUNCES! In a blur, the dragon is upon him, pinning Hiccup down, grazing his neck. Looking like it's about to kill him. Hiccup is paralyzed. The dragon's breath ruffles his hair. Hiccup opens his eyes to find the Night Fury's wolf-like stare boring into him. The exchange is intense, profound. The dragon draws a deep breath, as though it's about to torch him, then lets out an ear-piercing scream instead. It turns and takes flight, flapping violently through the canopy of trees. It bashes against a nearby mountain side, recovers, and drops out of view some distance away. Winded, Hiccup struggles to his feet, staggers a few steps, collapses to his knees, and faints. + +INT. STOICK'S HOUSE - CONTINUOUS + +Hiccup enters to see...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 20.]] + +STOICK, seated on a thick slice of tree-trunk. He is slouched over the fire-pit, stirring the coals with his axe. Embers waft around his beard. Hiccup tries to sneak past, up the stairs to his room. Stoick seems none the wiser, when... + + STOICK + Hiccup. + + HICCUP + (CAUGHT) + Dad. Uh... + +Stoick stands, takes a deep breath. + + HICCUP (CONT'D) + I, uh... I have to talk to you, Dad. + + STOICK + I need to speak with you too, son. + +Hiccup and Stoick STRAIGHTEN at the same moment. + + HICCUP + I've decided I don't want to fight dragons. + (BEAT) + What? + + STOICK ^ + I think it's time you learn to fight dragons. + (BEAT) + What? + + STOICK (CONT'D) + You go first. + + HICCUP + No, you go first. + + STOICK + Alright. You get your wish. Dragon training. You start in the morning. + + HICCUP + (SCRAMBLING) + Oh man, I should've gone first. Uh, 'cause I was thinking, you know we have a surplus of dragon-fighting Vikings, but do we have enough bread-making Vikings, or small home REPAIR VIKINGS-- + + STOICK + --You'll need this. + +Stoick hands Hiccup his axe. Hiccup avoids taking it.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 21.]] + + HICCUP + I don't want to fight dragons. + + STOICK + Come on. Yes, you do. + + HICCUP + Rephrase. Dad I can't kill dragons. + + STOICK + But you will kill dragons. + + HICCUP + No, I'm really very extra sure that I won't. + + STOICK + It's time Hiccup. + + HICCUP + Can you not hear me? + + STOICK + This is serious son! + +Stoick forces the axe into Hiccup's hands. Its weight drags him down. He looks up to see Stoick under-lit with firelight. + + STOICK (CONT'D) + When you carry this axe... you carry all of us with you. Which means you walk like us. You talk like us. You think like us. No more of... + (GESTURING NON-specifically at Hiccup) + \... this. + + HICCUP + You just gestured to all of me. + + STOICK + Deal? + + HICCUP + This conversation is feeling very one-sided. + + STOICK + DEAL?! + +Hiccup glances at the axe in his hands. It's a no-win argument.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 22.]] + + HICCUP + (RESIGNED) + Deal. + +Satisfied, Stoick grabs his helmet and duffel bag... and heads for the door. + + STOICK + Good. Train hard. I'll be back. Probably. + + HICCUP + And I'll be here. Maybe. + +Stoick heads out the door, leaving Hiccup holding the axe. + +EXT. TRAINING GROUNDS - DAY + +Gobber raises a massive iron gate at the entrance of a vast stone arena. + + GOBBER + Welcome to dragon training! + +The recruits file through the gate, and out onto the arena floor. They take it in like gladiators entering the colosseum. The walls are covered in scorched silhouettes of blasted Vikings. It's a grim yet awe-inspiring place. + + ASTRID + No turning back. + + TUFFNUT + I hope I get some serious burns. + + RUFFNUT + I'm hoping for some mauling, like on my shoulder or lower back. + + ASTRID + Yeah, it's only fun if you get a scar out of it. + + HICCUP (O.S.) + Yeah, no kidding, right? Pain. Love it. + +The recruits turn to see Hiccup behind them. Groans all around. + + TUFFNUT + Oh great. Who let him in?[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 23.]] + + GOBBER + Let's get started! The recruit who does best will win the honor of killing his first dragon in front of the entire village. + + SNOTLOUT + Hiccup already killed a Night Fury, so does that disqualify him or...? + +The recruits LAUGH and chatter in the background. + + TUFFNUT + Can I transfer to the class with the cool Vikings? + +Gobber throws a supportive arm around Hiccup and ushers him along. + + GOBBER + (cheery, in confidence) + Don't worry. You're small and you're weak. That'll make you less of a target. They'll see you as sick or insane and go after the more Viking-like teens instead. + +GOBBER stick him in line with the others and continues on toward five massive reinforced doors. Terrible ROARS and BELLOWS issue from within. + + GOBBER (CONT'D) + Behind these doors are just a few of the many species you will learn to fight. + +Fishlegs bounces and giggles with excitement, barely able to contain himself. + + GOBBER (CONT'D) + The Deadly Nadder. + + FISHLEGS + (under his breath) + Speed eight. Armor sixteen. + + GOBBER + The Hideous Zippleback. + + FISHLEGS + Plus eleven stealth. Times two. + + GOBBER + The Monstrous Nightmare.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 24.]] + + FISHLEGS + Firepower fifteen. + + GOBBER + The Terrible Terror. + + FISHLEGS + Attack eight. Venom twelve. + + GOBBER + CAN YOU STOP THAT?! + (BEAT) + And...the Gronckle. + + FISHLEGS + (quietly; to himself) + Jaw strength, eight. + +Gobber pulls a lever, raising the cross beam on the last of the doors. + + SNOTLOUT + Whoa, wait! Aren't you gonna teach us first!? + + GOBBER + I believe in learning on the job. + +BAM! A GRONCKLE thunders out of its cave, charging into the ring like an irate rhino. The recruits scramble in every direction. Except for Ruffnut and Tuffnut who rush toward it, like pumped-up rodeo clowns. + + GOBBER (CONT'D) + Today is about survival. If you get blasted, you're dead. Quick, what's the first thing you're going to need? + + HICCUP + A doctor? + + FISHLEGS + Plus five speed? + + ASTRID + A shield. + + GOBBER + Shields. Go. + +The recruits scramble for shields, finding them scattered around the ring.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 25.]] + + GOBBER (CONT'D) + Your most important piece of equipment is your shield. If you must make a choice between a sword or a shield, take the shield. + +Hiccup STRUGGLES to lift his. Gobber helps him and sends him running. Ruff and Tuff stand amidst a dozen shields. But only one has a skull painted on it. They both grab it. + + TUFFNUT + Get your hands off my shield! + + RUFFNUT + There are like a million shields! + + TUFFNUT + Take that one, it has a flower on it. Girls like flowers. + +Ruffnut uses the shield to BASH Tuffnut in the face. He doesn't let go. + + RUFFNUT + Ooops, now this one has blood on it. + +The Gronckle takes aim at the distracted twins. Blam! The shield is blasted out of both of their hands. Tuff and Ruff SPIN like tops and go down. + + GOBBER + Tuffnut, Ruffnut, you're out! + + TUFFNUT + (DAZED) + What?! + + RUFFNUT + (CONFUSED) + What?! + +The Gronckle scoops up a pile of rocks and SWALLOWS them back. The teens gather on the far side of the ring. + + GOBBER + Those shields are good for another thing. Noise. Make lots of it to throw off a dragon's aim. + +The kids scoop up weapons and begin hammering on their shields. The Gronckle shakes its head at the clatter.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 26.]] + +GRONCKLE'S POV - the teens targets become blurry and scrambled. It's working. + + GOBBER (CONT'D) + All dragons have a limited number of shots. How many does a Gronckle have? + + SNOTLOUT + Five! + + FISHLEGS + No, six. + + GOBBER + Correct, six. That's one for each of you! + + FISHLEGS + I really don't think my parents WOULD-- + +BAM! Fishlegs has his shield blasted away. + + GOBBER + Fishlegs, out. + +Gobber spots Hiccup hiding from the Gronckle's molten slugs. + + GOBBER (CONT'D) + Hiccup, get in there! + +ON ASTRID bouncing on her heels, ready to dodge a blast. Snotlout appears, trying to hit on her. + + SNOTLOUT + So anyway I'm moving into my parents' basement. You should come by sometime to work out. You look like you work out-- + +She cartwheels out of the way, allowing a shot to shoot past her and hit Snotlout's shield. He's blasted onto his back. + + GOBBER + Snotlout! You're done! + +Astrid ROLLS to a stop beside Hiccup, who stirs awkwardly, trying to look cool. + + HICCUP + (VOICE BREAKING) + So, I guess it's just you and me huh?[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 27.]] + + ASTRID + No. Just you. + +Astrid ROLLS away. A split-second later a lava slug knocks Hiccup's shield clear off of his arm. Hiccup is exposed. + + GOBBER + One shot left! + +Hiccup panics and chases after his shield as it rolls across the ring. The sudden movement sends the Gronckle chasing after him, leaving Astrid in the clear. + + GOBBER (CONT'D) + (WORRIED) + Hiccup! + +The Gronckle drives straight toward Hiccup, pinning him against the wall. It opens its mouth and cocks its tail, ready to fire point-blank. Gobber lunges in and hooks the Gronckle's mouth at the last second, causing its head to jerk back and fire against the stone wall above Hiccup's head. + + GOBBER (CONT'D) + (rattled, but masking it) + And that's six! + +Gobber wrestles the irate Gronckle back into his pen. + + GOBBER (CONT'D) + Go back to bed, ya overgrown sausage! You'll get another chance, don't you worry. + +Slam! Lock. Gobber turns to the recruits. + + GOBBER (CONT'D) + Remember... a dragon will always, + (with a stern look to HICCUP) + always go for the kill. + +He hoists Hiccup to his feet and walks off. Hiccup looks overhead to see a steaming pit in the solid stone wall. + +EXT. WOODS/HIDDEN COVE - DUSK + +HICCUP, battered after another disastrous day in the ring. He studies the remnants of the discarded bola... revealing that he's back at the scene of the crime.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 28.]] + + HICCUP + (MUTTERED) + So...why didn't you? + +He drops the bola and presses on in the direction it flew off. He drops into a rocky crevice and follows it to an... ISOLATED COVE complete with a pristine spring pool. He scans the high stone walls... then notices a single black SCALE on the ground. He crouches and picks it up, studying it. + + HICCUP (CONT'D) + Well this was stupid. + +SUDDENLY, the NIGHT FURY blasts past him. Hiccup recoils, watching the massive beast struggle to climb the walls. It flaps violently, then peels away to a rough landing. The dragon is trapped. Hiccup grins, excited to see it again, and slips closer. He watches as the dragon, exhausted and frustrated, leaps into the air, beating its wings furiously. Again and again, it rolls uncontrolled and CRASHES heavily. As if remembering to snap a photo, Hiccup pulls a leather-bound book and flips past drawings of weapons to a blank page. He sketches the dragon quickly, desperate to record the image. The Fury claws at the steep rock walls, trying climb out of the cove. It SLIPS and falls hard, crushing several saplings. The Fury rolls back to his feet and slowly crawls to the water's edge. He spots fish in the shallow water and snaps at them... but comes up empty. He lowers his head, looking weakened. + + HICCUP (CONT'D) + (MUTTERED) + Why don't you just...fly away? + +ON HICCUP as he spots the problem. He adjusts his drawing, carefully erasing one half of the dragon's tail. He accidentally drops the charcoal stick. It rolls off of the rock outcropping that hides him from view and bounces into the cove. TINK. TINK. TINK. The Night Fury raises his head, spotting Hiccup. They exchange a profound, unflinching stare. + +>DISSOLVE TO:[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 29.]] + +INT. GREAT HALL - NIGHT + +A storm is brewing outside. The great doors rattle on their hinges. + + GOBBER (O.S.) + Alright. Where did Astrid go wrong in the ring today? + +The recruits are seated at a table, eating dinner by the glow of the fire pit. + + ASTRID + I mistimed my summersault dive. It was sloppy. It threw off my reverse tumble. + +Eye rolls from the group. + + RUFFNUT + (SARCASTIC) + Yeah. We noticed. + + SNOTLOUT + (grabbing Astrid's hand) + No, no, you were great. That was so 'Astrid'. + + GOBBER + She's right, you have to be tough on yourselves. + +CREAK. All eyes turn to Hiccup, entering the hall, sheepishly. Gobber glares at him. + + GOBBER (CONT'D) + (glaring at Hiccup) + Where did Hiccup go wrong? + +He tries to take a seat at the table... + + RUFFNUT + He showed up. + + TUFFNUT + He didn't get eaten. + +!... but the recruits keep closing the gaps. Rolling his eyes, Hiccup sits at the vacant table next to them. + + ASTRID + He's never where he should be.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 30.]] + + GOBBER + Thank you, Astrid. + +Gobber stands. + + GOBBER (CONT'D) + You need to live and breathe this stuff. + +Gobber lays a giant book in the center of the table. + + GOBBER (CONT'D) + The dragon manual. Everything we know about every dragon we know of. + +A RUMBLE of thunder shakes the hall. Rain pours down outside. + + GOBBER (CONT'D) + No attacks tonight. Study up. + +Gobber EXITS into the storm, leaving the teens staring at the book. + + TUFFNUT + (you've got to be kidding) + Wait, you mean read? + + RUFFNUT + While we're still alive? + + SNOTLOUT + Why read words when you can just kill the stuff the words tell you stuff about? + + FISHLEGS + Oh! I've read it like, seven times. There's this water dragon that sprays boiling water at your face. And there's this other one that buries itself for like a week... + +The teens stare as Fishlegs goes on too long. + + TUFFNUT + Yeah, that sounds great. There was a chance I was going to read that... + + RUFFNUT + \...but now... + +Snotlout gets up to go.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 31.]] + + SNOTLOUT + You guys read, I'll go kill stuff. + +The others follow, with Fishlegs in tow. + + FISHLEGS + Oh and there's this other one that has these spines that look like trees... + +Astrid is the last to go. + + HICCUP + So I guess we'll share-- + + ASTRID + Read it. + +She pushes it toward him and leaves. + + HICCUP + All mine then. Wow, so okay. I'll SEE YOU-- + +Slam. + + HICCUP (CONT'D) + Tomorrow. + +SIGH. + +>DISSOLVE TO: + +INT. GREAT HALL - LATE NIGHT + +ON HICCUP'S HAND OPENING the massive book. Thunder BOOMS outside. The hall is vacant and dark, but for the few candles he's pulled together. Hiccup pours through page after page of strange and frightening dragons. + + HICCUP (V.O.) + Dragon classifications. Strike class. Fear class. Mystery class. + +Hiccup turns the page. + + HICCUP (V.O.) (CONT'D) + Thunderdrum. This reclusive dragon inhabits sea caves and dark tide pools.[[(MORE)]][["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 32.]] + + HICCUP (V.O.) (CONT'D) + When startled, the Thunderdrum produces a concussive sound that can kill a man at close range. Extremely dangerous. Kill on sight. + +Hiccup's eyes drift to a lurid illustration of decapitated Vikings. Another page, another dragon. + + HICCUP (V.O.) (CONT'D) + Timberjack. This gigantic creature has razor sharp wings that can slice through full grown trees...extremely dangerous. Kill on sight. + +The illustrations seem to take on a life of their own, shifting and squirming in the candlelight. + + HICCUP (V.O.) (CONT'D) + Scauldron. Sprays scalding water at its victim. Extremely dangerous. + +The storm outside rages against the shuttered windows. Hiccup is startled, but presses on. + + HICCUP (CONT'D) + Changewing. Even newly hatched dragons can spray acid. Kill on sight. + +He begins flipping through the pages. A blur of dragons... + + HICCUP (CONT'D) + Gronckle. Zippleback. The Skrill. Bone Knapper. Whispering Death. Burns its victims. Buries its victims. Chokes its victims. Turns its victims inside-out. Extremely dangerous. Extremely dangerous. Kill on sight. Kill on sight. Kill on sight... + +Hiccup finally lands upon the page he's been looking for. + + HICCUP (V.O.) (CONT'D) + Night Fury. + +It's BLANK -- no image, save for a few, sparse details. + + HICCUP (CONT'D) + Speed unknown. Size unknown. The unholy offspring of lightning and death itself.[[(MORE)]][["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 33.]] + + HICCUP (CONT'D) + Never engage this dragon. Your only chance, hide and pray it does not find you. + +Hiccup pulls his sketchbook out of his vest and opens it to his drawing of Toothless. He lays it over the book's blank page and considers it. CLOSE ON the drawing of Toothless... + +>MATCH CUT TO: + +EXT. HIGH SEAS - DAWN + +A painted DRAGON, with a sword run through it. It's the billowing sail of Stoick's ship. Stoick hovers over the familiar nautical map -- his eyes on the uncharted corner, swirling in mist and illustrations of dragons. + + STOICK + I can almost smell them. They're close. Steady. + +Stoick raises his gaze to... AN EPIC FOG BANK, towering from sky to sea like a bruised, daunting curtain, beyond which nothing is visible. The three ships drift alongside it, skirting its solid edge, looking for an opening. ON DECK the crewmen mill nervously, all too aware of what Stoick is considering. + + STOICK (CONT'D) + Take us in. + +The helmsman steers Stoick's ship into the fog. The men draw their weapons, prepping for the worst. + + VIKING + Hard to port... for Helheim's gate. + +The first ship disappears into the whiteout, followed by the other two. A BEAT[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 34.]] + +Suddenly a flash of light. A silhouette of a dragon. Hollers. Sounds of splitting and shattering wood. Plunges into the water. Another bright flash. + +>MATCH CUT TO: + +EXT. TRAINING GROUNDS - RING - DAY + +CLOSE ON a DRAGON painted onto a shield. Hiccup runs his finger over its outline. + + HICCUP + You know, I just happened to notice the book had nothing on Night Furies. Is there another book? Or a sequel? Maybe a little Night Fury pamphlet? + +KABLAM! A blast takes the axe head off of Hiccup's hilt, leaving a smoking hole behind him. Hiccup YELPS and RUNS. + + GOBBER (O.S.) + FOCUS Hiccup! You're not even trying. + +CUT BACK to reveal a Deadly Nadder, loose in a maze-like arrangement of moveable walls. Gobber calls orders from above. + + GOBBER (CONT'D) + Today... is all about attack. + +The Nadder hops from wall to wall, sending the recruits scurrying. + + GOBBER (CONT'D) + Nadders are quick and light on their feet. Your job is to be quicker and lighter. + +The teens move in, stumbling over Hiccup and his unwieldy shield. The Nadder spots Fishlegs' ample rear hiding behind a wall. It whips its tail of spikes. Fishlegs SCREAMS and lifts an entire wall to shield himself from the spray. + + FISHLEGS + I'm really beginning to question your teaching methods. + + GOBBER + Look for its blind spot. Every dragon has one. Find it, hide in it, and strike.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 35.]] + +Ruff and Tuff rush in, diving and rolling up to the Nadder's nose. The Nadder sniffs the air -- it can't see them. Tuff and Ruff are smashed together - too close for comfort. + + RUFFNUT + (WHISPERED) + Do you ever bathe? + + TUFFNUT + If you don't like it, then just get your own blind spot. + + RUFFNUT + How about I give you one! + +Ruff and Tuff SHOVE each other, till their movement and noise gives them away. The Nadder ATTACKS, SNAPPING at both of them. + + GOBBER + Blind spot? Yes. Deaf spot? Not so much. + +Hiccup wanders up to Gobber, while the others dart past. + + HICCUP + Hey, so how would one sneak up on a Night Fury? + + GOBBER + None one's ever met one and lived to tell the tale. Now get in there. + + HICCUP + I know, I know, but hypothetically... + + ASTRID + (WHISPERED) + Hiccup! + +She puts her finger to her lips and gestures for him to hide. A moment later, the Nadder leaps over the walls, surprising them by landing in front of her. Astrid somersaults into its blind spot, confusing it. She rears back to strike -- just as Snotlout LEAPS IN, protectively SWEEPING Astrid behind him. + + SNOTLOUT + Watch out babe. I'll take care of this.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 36.]] + + ASTRID + Hey! + +Snotlout MISSES. Astrid glares at him. + + SNOTLOUT + (DEFENSIVE) + The sun was in my eyes, Astrid. What do you want me to do, block out the sun? I could do that, but I don't have time right now! + +The Nadder tears off after her, knocking down walls in pursuit. She leaps and dives like a highly trained gymnast. Hiccup wanders up to Gobber again. + + HICCUP + They probably take the daytime off. You know, like a cat. Has anyone ever seen one napping? + + GOBBER + Hiccup! + + ASTRID + --Hiccup! + +Hiccup spins around to see the maze walls collapsing like dominos toward him. Astrid comes flying through the dust and crash-lands on top of him, laying him out in a limb-tangled mess. + + TUFFNUT + Oooh! Love on the battlefield! + + RUFFNUT + She could do better. + +The Nadder closes in, emerging through the cloud of dust. + + HICCUP + (struggling to untangle) + Just... let me... why don't you... + +The Nadder spins around and races back toward them like a Raptor. Astrid untangles herself and tries to pull her axe from Hiccup's shield... which is attached to his limp, gangly arm. She PLANTS her foot on his torso and YANKS the axe free, still burrowed into the shield.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 37.]] + +She SPINS and SWINGS the axe and shield, scoring a DIRECT HIT on the oncoming Nadder's NOSE. It yelps and scurries off. + + GOBBER + Well done, Astrid. + +Gobber hobbles off to wrestle the Nadder back into his cave. Hiccup gets to his feet -- all eyes are upon him. He turns to find Astrid glaring at him, winded. + + ASTRID + Is this some kind of a joke to you? Our parents' war is about to become ours. Figure out which side you're on. + +She grabs her axe and stomps off. Hiccup watches, stung. + +>CUT TO: + +EXT. COVE - MAGIC HOUR + +CLOSE ON A fish... being thrown into the cove. It hits the ground and slides. A moment later, Hiccup peeks through a gap in the rock, looking around cautiously. Nothing. Hiccup squeezes through and enters the cove. A BEAT, then Hiccup hears a SNORT from behind him. Hiccup turns to see the Night Fury, crouched on a rock like a stealthy panther. It descends, approaching him... ready to pounce. Hiccup swallows his fear and offers the fish. Doing so reveals the dagger at his waist. The dragon sees it and hisses. Hiccup reaches for it, eliciting a growl. He pauses, carefully lifts it by the handle, and tosses it away. The dragon calms. As it approaches the fish, Hiccup notices that it's missing teeth. + + HICCUP + Huh. Toothless. I could've sworn you had... + +A set of razor sharp teeth emerge from its gums to grab the fish. Toothless snatches and gnashes it up, swallowing it.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 38.]] + + HICCUP (CONT'D) + \... teeth. + +The teeth retract again. Toothless presses closer with an expectant look. Hiccup retreats nervously. + + HICCUP (CONT'D) + Uh, no. No, I don't have any more. + +The Fury backs Hiccup against a rock, placing himself the same position as before. The dragon closes in over him, staring blankly. A tense moment passes... then Toothless regurgitates a chunk of fish onto Hiccup's lap. They exchange stares. Hiccup realizes what Toothless wants him to do. Hiccup crouches slowly and squeamishly picks it up. The dragon waits expectantly. Hiccup gags and gnaws off a bite of the slimy fish. He forces a smile. Toothless mimics him. Amazed, Hiccup sits up and tries to touch him. Toothless HISSES and flaps off to a crash on the other side of the cove. He BLASTS the mossy ground to a red-hot temperature... and curls up on it like a giant dog. He turns to find Hiccup seated beside him. Toothless tolerates his persistent presence... until Hiccup tries to touch his damaged tail. Toothless SNAPS at him. Hiccup takes the hint and leaves. + +>DISSOLVE TO: + +EXT. COVE - LATER + +It's MAGIC HOUR. Toothless wakes, hanging upside down from a tree. He spots Hiccup sitting on the other side of the cove. Sketching in the sand. CLOSE ON a sketch of Toothless. Hiccup draws with a stick, minding his own business. Toothless appears behind him, watching carefully. Aware of his presence, Hiccup continues, trying not to scare him off. Toothless walks off. A moment later, he reappears with an entire sapling, drawing lines in the sand. He rushes here and there, making haphazard lines in every direction. Finally, Toothless drops the tree and inspects his work. He seems pleased.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 39.]] + +Hiccup stands and takes in the sprawling scribble, amazed by it. He accidentally steps onto one of the lines, eliciting an instant growl from Toothless. He steps on it again. Toothless growls again. Realizing how sensitive he is, Hiccup steps carefully between each line, turning round and round until he unwittingly bumps into Toothless. Toothless snorts. Once again, they're face to face. Hiccup slowly extends his hand. Toothless hesitates. Hiccup turns his head away and closes his eyes. To his amazement, Toothless bridges the gap and presses his muzzle against Hiccup's hand. In a flash, the dragon is gone, leaving Hiccup astounded. + +EXT. VILLAGE - NIGHT + +Gobber and the recruits are seated at the top of an abandoned catapult tower, toasting campfire food around a roaring bonfire. + + GOBBER + \...and with one twist he took my hand and swallowed it whole. And I saw the look on his face. + (can't deny it) + I was delicious. He must have passed the word, because it wasn't a month before another one of them took my leg. + + FISHLEGS + Isn't it weird to think that your hand was inside a dragon. Like if your mind was still in control of it you could have killed the dragon from the inside by crushing his heart or something. + + SNOTLOUT + I swear I'm so angry right now. I'll avenge your beautiful hand and your beautiful foot. I'll chop off the legs of every dragon I fight, with my face. + +He postures to Astrid. She rolls her eyes. + + GOBBER + (with a mouthful) + Un-unh. It's the wings and the tails you really want. If it can't fly, it can't get away. A downed dragon is a dead dragon.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 40.]] + +ON HICCUP hiding his horrified look from the others. Gobber stands and stretches. + + GOBBER (CONT'D) + Alright. I'm off to bed. You should be too. Tomorrow we get into the big boys. Slowly but surely making our way up to the Monstrous Nightmare. + (playful, taunting) + But who'll win the honor of killing it? + +He hobbles off. The teens reflect. + + TUFFNUT + (very matter of fact) + It's gonna be me. + (BEAT) + It's my destiny. See? + +Tuffnut rolls up his sleeve to reveal a red dragon on his arm. + + FISHLEGS + (GASPS) + Your mom let you get a tattoo? + + TUFFNUT + It's not a tattoo. It's a birthmark. + + RUFFNUT + Okay, I've been stuck with you since birth, and that was never there before. + + TUFFNUT + Yes it was. You've just never seen me from the left side until now. + + SNOTLOUT + It wasn't there yesterday. Is it a birthmark or a today-mark? + +Hiccup gets up and walks away from the group. Astrid watches him as he leaves the bonfire. + +>DISSOLVE TO:[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 41.]] + +INT. BLACKSMITH STALL - MOMENTS LATER + +Hiccup enters a small room at the back of the stall. It's covered in drawings of weaponry and scale models. He lights a candle and lays his sketchbook out on the desk, opening it to the drawing of Toothless. With a look of determination. Hiccup picks up a charcoal stick and re-draws the missing tail. + +>DISSOLVE TO: + +INT. BLACKSMITH STALL - LATER + +CLOSE ON ... a creaking leather bellows. The stone forge glows with every pump. Tongs pull intricate iron pieces from the coals. They're dropped onto the anvil, twisted, lightly hammered, and dunked in a barrel. The pieces are carried to Hiccup's workbench and laid out in place on a one-to-one schematic. It's a sketch of a mechanical fin. + +EXT. HIDDEN COVE - DAWN + +Hiccup arrives, winded, straining under the weight of a full basket. He clicks the scale he found (like a jar top). Toothless approaches, sniffing him. + + HICCUP + Hey Toothless. I brought breakfast. I hope you're hungry. + +Hiccup drops the basket and kicks it over. Fish spill out. + + HICCUP (CONT'D) + Okay, that's disgusting. + +Toothless approaches, settling in to devour the feast. + + HICCUP (CONT'D) + Uh..we've got some salmon... + +Toothless swallows it. + + HICCUP (CONT'D) + \... some nice Icelandic cod... + +Swallows those too.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 42.]] + + HICCUP (CONT'D) + \... and a whole smoked eel. + +Toothless nabs it, chews a few times, then spits it out. He shakes his head violently, snorts and scrubs his massive tongue on the sand. Hiccup takes note. + + HICCUP (CONT'D) + No, no, no! It's okay. Yeah, I don't like eel much either. + +Toothless focuses on the remainder. With the dragon distracted, Hiccup unwraps his prosthetic fin and opens it like a fan. + + HICCUP (CONT'D) + Okay. That's it. That's it, just stick with good stuff. And don't you mind me. I'll just be back...here. Minding my own business. + +Hiccup cautiously approaches the injured tail, but every time he gets near it, Toothless sweeps it away like a cat. + + HICCUP (CONT'D) + It's okay. + +Hiccup drops a knee on top of the tail. Toothless' head juts up, slows its chewing to a halt. + + HICCUP (CONT'D) + Okay...okay.. + +The dragon tenses, slowly spreading his wings. Hiccup straps the prosthetic fin in place. He cinches the straps. + + HICCUP (CONT'D) + (PLEASED) + There. Not too bad. It works. + +Toothless BOLTS! He snaps his massive wings and takes to the air, carrying Hiccup with him. + + HICCUP (CONT'D) + Woah! No! No! No! + +Hiccup struggles to hold on to the tail. As the ground speeds away, Toothless immediately TIPS into a uncontrolled bank and dive. Hiccup sees the folded fin rattling uselessly in opposition to its flared counterpart. Flap as he may, Toothless can't correct his trajectory.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 43.]] + +Hiccup swallows his fear and crawls toward the folded prosthetic. He reaches it and YANKS it open. The flared, fan-like appendage catches the air, stabilizing the twisting tail. + + HICCUP (CONT'D) + (excited, terrified) + It's working! + +Toothless arcs just short of the water and climbs... high into the air. + + HICCUP (CONT'D) + Yes! Yes, I did it. + +He glances back at Hiccup, busily holding the tail open while trying to hold on. They're going to crash. Whoomp! Hiccup is suddenly thrown from the tail in the intense force of a turn. + + HICCUP (CONT'D) + AAAAAGGGGHHHHH! + +He bounces across the water's surface and takes a dive. Without Hiccup to operate the tail, Toothless does the same, plunging in a massive cannonball. Hiccup resurfaces, roughed up, but beaming. Toothless appears seconds later. + + HICCUP (CONT'D) + Yeah! + +EXT. TRAINING GROUNDS - MORNING + + GOBBER (O.S.) + Today is about teamwork. Work together and you might survive. + +ON A DOUBLE-WIDE DOOR. Gas seeps through the cracks. It BLASTS OPEN. A cloud of smoke engulfs the ring, swirling around the paired-up teens. Astrid with Ruffnut. Snotlout with Tuffnut. Fishlegs with Hiccup. All carry buckets of water, poised to throw them. + + GOBBER (CONT'D) + Now, a wet dragon head can't light its fire. The Hideous Zippleback is extra tricky. One head breathes gas, the other head lights it. Your job is to know which is which.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 44.]] + +The smoke encircles them, cutting them off from each other. The teens LISTEN and WATCH for any sign of the dragon. + + FISHLEGS + (muttering to himself) + Razor sharp, serrated teeth that inject venom for pre-digestion. Prefers ambush attack, crushing its victims in its... + + HICCUP + (TENSE) + Will you please stop that? + +.ON SNOTLOUT AND TUFFNUT + +Moving nervously through the fog, back to back. Snotlout is singing to himself to calm his nerves. + + SNOTLOUT + ~If that dragon shows either of his faces, I'm gonna-- + (spotting an approaching shape, terrified) + --There! + +Snotlout and Tuffnut HURL their water into the fog. + + ASTRID + Hey! + + RUFFNUT + It's us, idiots. + +Astrid and Ruffnut are soaked. + + TUFFNUT + Your butts are getting bigger. We thought you were a dragon. + + SNOTLOUT + (TO ASTRID) + Not that there's anything wrong with a dragon-esque figure. + +Astrid ELBOWS Snotlout in the face. Ruffnut DROPS Tuffnut with a PUNCH to the throat. + + ASTRID + Wait. + +They FREEZE. A tail SWEEPS out of the fog, taking them down. Their buckets spill.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 45.]] + +ON FISHLEGS AND HICCUP coming across them. They see the puddles of spilled water. + + TUFFNUT + Oh, I'm hurt. I am very much hurt. + + FISHLEGS + Chances of survival are dwindling into single digits now... + + HICCUP + Look out! + +A Zippleback head emerges out of the smoke. Fishlegs hurls his water at it, completely dousing the head. It leers and opens its mouth, spewing gas into the area. + + FISHLEGS + Oh. Wrong head. + +GAS FLOWS around their legs. Fishlegs flees in a panic. + + GOBBER + Fishlegs! + +Beat. A clicking sound comes from behind them. Sparks flash in the smoke. + + GOBBER (CONT'D) + Now, Hiccup! + +The other head sweeps out of the smoke. Hiccup hurls his water with all his might. It arcs and drops short of the dragon's sparking mouth. The dragon grins, savoring the kill. + + HICCUP + Oh, come on! + + GOBBER + RUN, HICCUP! + +Gobber COVERS his eyes. + + GOBBER (CONT'D) + Hiccup! + +Beat. The Zippleback hesitates. SNIFFS. Then retreats. The teens get to their feet, watching transfixed. Gobber peeks through his fingers to see...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 46.]] + +The Zippleback backing away from Hiccup. He stands and holds his hands out, as if controlling it. + + HICCUP + BACK! BACK! BACK! Now don't you make me tell you again! + +The Zippleback retreats through its door and into its cave, hissing. + + HICCUP (CONT'D) + Yes, that's right. Back into your cage. + +Hiccup slyly OPENS his vest, revealing the spotted smoked EEL from earlier. He TOSSES it inside the door, then SLAMS it shut. + + HICCUP (CONT'D) + Now think about what you've done. + +Hiccup turns to the teens and Gobber. They stare, slack-jawed + + HICCUP (CONT'D) + Okay! So are we done? Because I've got some things I need to... + +Hiccup jogs out of the ring, past the speechless group. + + HICCUP (CONT'D) + Yep...see you tomorrow. + +Astrid SNEERS. Something's going on. + +EXT. WOODS/COVE - SUNSET + +BEGIN MUSIC MONTAGE + +INT. BLACKSMITH STALL - HICCUP'S CLOSET - CONTINUOUS + +Hiccup cuts and stitches leather, draws and shapes steel. He works by candlelight. An overhead shot reveals what he's building: a harness, complete with handles and foot pedals. + +EXT. COVE - DAY + +Hiccup appears before Toothless, holding the new prosthetic. Toothless runs off as Hiccup chases him down. + + HICCUP + Hey![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 47.]] + +EXT. COVE - DAY + +Toothless and Hiccup are zooming over the ocean. The tail breaks free sending Hiccup flying. + + HICCUP + Yeah! Whoa! + +INT. BLACKSMITH STALL - LATER + +Hiccup adjusts the harness and uses a metal clamp to affix himself to Toothless' saddle. + +EXT. SKY/FIELD - DAWN + +Hiccup and Toothless zip through the air -- his rudimentary harness and tail controls are working, barely. They crash-land in an open field. Hiccup recovers to find Toothless still rolling around in the tall grass. Hiccup discovers that it's a patch of ‘dragon-nip.' Toothless writhes on his back, tongue wagging, in complete bliss. + +EXT. TRAINING GROUNDS - MORNING + +Hiccup grabs the head as instructed, then discreetly pulls a fistful of ‘dragon-nip' and presses it up to the Gronkle's nose. It immediately stops struggling and goes weak in the knees. Hiccup drops the handful of dragon-nip to the ground. The Gronkle goes down with it, whimpering and blissful. From Gobber and the recruits' point of view, Hiccup is controlling the Gronkle with no more than a limp arm. + +EXT. WOODS - AFTERNOON + +The recruits walk home together, surrounding Hiccup and BOMBARDING HIM WITH QUESTIONS. + + FISHLEGS + Hey Hiccup, I've never seen a Gronkle to that before. + + TUFFNUT + How'd you do that? + + RUFFNUT + It was really cool. + +He squirms and invents an excuse.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 48.]] + + HICCUP + I left my axe back in the ring. + +He turns and hurries back. + + HICCUP (CONT'D) + You guys go on ahead and I'll catch up with you. + +Astrid watches, suspicious. + +EXT. COVE - LATER + +Hiccup rubs Toothless behind the ear, causing him to relax and fall over. + +EXT. TRAINING GROUNDS - LATER + +An angry Deadly Nadder approaches Hiccup. Just as Astrid moves in to strike, Hiccup performs his special rubbing technique, which sends the Nadder down. Astrid and the other kids look on from the sideline in amazement. + +INT. MEADE HALL - CONTINUOUS + +Hiccup sits down at a table to eat. The other recruits notice him and move over to his table to talk to him -- leaving Astrid alone. + + FISHLEGS + Hey Hiccup! + + SNOTLOUT + What was that? Some kind of trick? What did you do? + + TUFFNUT + Hiccup, you're totally going to come in first, there's no question. + +EXT. COVE - LATER + +Hiccup is using a mirror-like object to create a patch of light on the ground. Toothless claws and chases the light patch like a cat chasing a laser pointer. + +EXT. TRAINING GROUNDS - DAY + +A beam lifts from the door of another dragon pen. + + GOBBER + Meet the Terrible Terror.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 49.]] + +A tiny, pint-sized dragon steps out and moves toward the recruits. + + TUFFNUT + Ha. It's like the size of my-- + +Tuffnut is taken down in a blur. + + TUFFNUT (CONT'D) + Get it off! Get it off! Oh! I'm hurt, I am very much hurt! + +Hiccup stops the Terrible Terror with the same light-patch trick he used earlier with Toothless. The tiny dragon retreats back to it's cage. The teens approach him yet again as Astrid looks on with suspicion. + + TUFFNUT (CONT'D) + (TO ASTRID) + Wow, he's better than you ever were. + +>CUT TO: + +EXT. FOREST - MOMENTS LATER + +Astrid furiously hurls her axe at a nearby tree. She notices Hiccup walking by in the distance, carrying one of his trademark harnesses. She quickly tries to follow, but he loses her in the woods. She HUFFS, frustrated. + +EXT. COVE - LATER + +Hiccup straps a newly designed harness onto Toothless. With Toothless tied to a nearby post with a rope. Hiccup rides him in the air -- while stationary. Toothless looks like a giant kite tied to a tree stump. This harness seems to work. + +EXT. SKY - MOMENTS LATER + +The rope breaks and the pair CRASH into a tree. Hiccup's face is red. + + HICCUP + Oh, great. + +EXT. BERK - NIGHT + +The streets are empty save for a lone Viking who crosses Hiccup's path.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 50.]] + + VIKING + Hiccup. + +Hiccup nods, trying to look casual. Once the coast is clear, he covertly steers Toothless into the Blacksmith's stall. Toothless PRESSES himself inside, rooting through stuff and making a racket. Astrid, walking nearby, is alerted. + + ASTRID (O.S.) + Hiccup? + +Hiccup FREEZES. Then frantically tries to pry the ring off the saddle hook. It won't budge. + + ASTRID (CONT'D) + Are you in there? + +Too late - she's right outside. ON ASTRID walking along the outside of the Blacksmith's. Hiccup JUMPS OUT the window and CLOSES the shutters behind him. Hiccup's harness line is stretched through the window, still attached to Toothless' saddle. + + HICCUP + Astrid. Hey! Hi Astrid. Hi Astrid. Hi Astrid. + + ASTRID + I normally don't care what people do, but you're acting weird. Well, weirder. + +Toothless spots a nearby sheep and makes a move toward it. As a result, Hiccup is suddenly PULLED TIGHT against the window shutters. He STRIKES A POSE to compensate... then gets PULLED THROUGH the shutters. They snap back in Astrid's face. Astrid reopens them and finds nothing but an empty stall. In the distance, Toothless and Hiccup slip off unseen. + +EXT. DOCKS - DAWN + +A lone, battered ship is pulled into a slip, overloaded with equally battered-looking men. They disembark to a crowd of onlookers, looking like a team of hometown heroes who just had their butts kicked. Gobber hobbles through the MUMBLING crowd to find Stoick -- last to disembark and glowering with battered pride.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 51.]] + + VIKING + Where are the other ships? + + SPITELOUT + You don't want to know. + +Stoick lumbers past Gobber, leaving him staring at the trashed ship. + + GOBBER + Well, I trust you found the nest at least? + + STOICK + Not even close. + + GOBBER + Ah. Excellent. + +Gobber follows Stoick up the ramp and snags his duffle bag with his hook appendage, sharing the burden. + + STOICK + I hope you had a little more success than me. + + GOBBER + Well, if by success, you mean that your parenting troubles are over with, then... yes. + +Stoick stops. What does that mean? A group of merry villagers rush past. + + VIKING #1 + Congratulations Stoick! Everyone is so relieved. + + VIKING #2 + Out with the old and in with the new, right?! + + VIKING #3 + No one will miss that old nuisance! + + VIKING #4 + The village is throwing a party to celebrate! + +Stoick is stunned, overwhelmed by the insensitivity. He turns to Gobber.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 52.]] + + STOICK + He's... gone? + + GOBBER + Yeah...most afternoons. But who can blame him? I mean the life of a celebrity is very rough. He can barely walk through the village without being swarmed by his new fans. + +Stoick is doubly confused. + + STOICK + Hiccup? + + GOBBER + (BEAMING) + Who would've thought, eh? He has this...way with the beasts. + +>CUT TO: + +EXT. SKY - AFTERNOON + +Toothless and Hiccup soar through a perfect blue sky. Billowing clouds rise like mountains. The ground seems miles below them. + + HICCUP + Okay there bud, we're gonna take this nice and slow. + +Hiccup checks a leather cheat sheet, clipped onto his harness. Inscribed upon it are several tail positions and their pedal position equivalents. + + HICCUP (CONT'D) + Here we go. Here we go...position three, no four. + +He presses the pedal, causing the tail to flare. They roll off into an arcing bank, gloriously lit by the late afternoon sun. Hiccup tucks tight against his neck, thrilled that his new harness and vest are holding. The foot controls make the tail appendage quick and responsive. He watches Toothless' every fluctuation, trying to match it with the prosthetic. Hiccup sizes up a target -- a towering arch of stone, rising from the sea.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 53.]] + + HICCUP (CONT'D) + Alright, it's go time. It's go time. + +They dive toward it, lining up to pass through the arch. + + HICCUP (CONT'D) + Come on. Come on buddy. Come on buddy! + +They zip through the arch. A perfect maneuver. + + HICCUP (CONT'D) + Yeah! Yes, it worked! + +The triumph is short-lived. They smack into one of several sea stacks as Hiccup tries to keep up with the turns. + + HICCUP (CONT'D) + Sorry. + +They hurtle into another rock pillar. Toothless grumbles. + + HICCUP (CONT'D) + My fault. + +Toothless swats him with his 'ear' plate. + + HICCUP (CONT'D) + Yeah, yeah, I'm on it. + (referring to the cheat SHEET) + Position four, no three. + +They pierce the clouds. For the first time, Hiccup can see the whole of the island below them. It shrinks with every passing second. He SWALLOWS hard and tightens his grip on the handles. + + HICCUP (CONT'D) + Yeah! Go baby! Yes! Oh, this is amazing! The wind in my... + +He spots the leather guide tearing free in the turbulence. + + HICCUP (CONT'D) + (PANICKED) + \... CHEAT SHEET! STOP!! + +Hiccup grabs frantically for the airborne sheet... + + HICCUP (CONT'D) + No![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 54.]] + +!... and NABS IT before it's carried out of reach. Toothless, however, obeys the command and suddenly STOPS beating his wings. As they slow to a stop, Hiccup goes weightless. The rings of his vest float off of the harness hooks. Hiccup suddenly finds himself detached, free-falling. + + HICCUP (CONT'D) + Oh gods! Oh no! + +Without Hiccup, the tail loses control. Hiccup and Toothless spiral downward. Toothless FIGHTS to get back under Hiccup. + + HICCUP (CONT'D) + (trying to calm Toothless) + Alright, okay. You just gotta kinda angle yourself. No, no...come back down towards me. Come back down-- + +Hiccup extends his arms and legs, giving himself as much surface area as he can. He angles back towards Toothless as the tumbling dragon WHACKS Hiccup with his wing. After a few more misses, Hiccup finally GRABS HOLD of the harness and manages to lock in -- just in time to pull Toothless out of his dive... barely shy of the tree tops. They careen past the wooded cliff and directly into a treacherous slalom course of jutting sea stacks. Hiccup pulls the cheat sheet from his teeth and attempts to check positions. It flaps violently in the turbulence, making it impossible. With no time to think, Hiccup throws it away and steers Toothless' tail on instinct... with perfect intuition. Together, they manage a tight, hair-raising series of split-second turns, making it to the open water, unscathed. Hiccup takes a breath and glances back at the death-defying obstacle course, now safely behind them. He beams, relieved. He sits back and throws his arms up in victory. + + HICCUP (CONT'D) + YEEAHHH! + +Toothless concurs with a happy SQUEAL and a fireball. Hiccup's glee turn to dread as they fly directly into it. ON HICCUP'S FACE + + HICCUP (CONT'D) + Ah, come on.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 55.]] + +EXT. BLACK SAND BEACH - SUNSET + +Hiccup and Toothless lounge on a sprawling, deserted beach, snacking of freshly caught fish. As Hiccup cooks his over a fire, Toothless suddenly regurgitates a fish head. Hiccup smirks with forced politeness. + + HICCUP + Uh..no thanks. + (gesturing to his fish on A STICK) + I'm good. + +Several Terrible Terrors land like seagulls, hissing and nipping at each other as they approach Toothless' pile of fish. One grabs the regurgitated fish head and drags it away. Another attempts to steal it from him. They face off and last fire balls at each other to settle the fight. Hiccup and Toothless watch, amused. That is until... Toothless spots one of his fish leaving the pile. A stealthy Terrible Terror is exposed as the thief. They tug on the fish, and it snaps back into Toothless' mouth. He swallows it back tauntingly. Irate, the little dragon paws at the ground and blast Toothless. He opens his mouth, the gas hiss comes, and Toothless fires a tiny flame straight into its mouth, causing the gas to backfire into the little dragon. It coughs up smoke and staggers away, looking ill. Hiccup laughs. + + HICCUP (CONT'D) + Not so fireproof on the inside, are you? + +Hiccup throws the hapless Terror his freshly cooked fish. + + HICCUP (CONT'D) + Here you go. + +The appreciative little dragon gulps down the meal and approaches Hiccup cautiously. He curls up next to him. Hiccup is amazed. + + HICCUP (CONT'D) + (PENSIVE) + Everything we know about you guys is wrong.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 56.]] + +Hiccup carefully pets him... sending the Terror into an immediate, blissful sleep. + +INT. BLACKSMITH STALL - HICCUP'S CLOSET - NIGHT + +HICCUP is lost in thought, his head laid of a desk full of Toothless drawings. Burdened with the weight of the world. Suddenly, STOICK appears in the doorway. Hiccup jumps and quickly covers up his desk. + + HICCUP + Dad! You're back! + +He skirts the bench, blocking Stoick's view of Toothless, the prosthetic fin, and other drawings. + + HICCUP (CONT'D) + Gobber's not here, so... + +He strikes an awkwardly casual pose, trying to cover up as much as possible. + + STOICK + I know. I came looking for you. + + HICCUP + (CAUGHT) + You did? + + STOICK + (STERN) + You've been keeping secrets. + +Hiccup's legs give out. He slides, dragging the table's contents with him. + + HICCUP + I...have? + + STOICK + Just how long did you think you could hide it from me? + + HICCUP + (IN VAIN) + I don't know what you're... + + STOICK + Nothing happens on this island without me hearing about it. + + HICCUP + Oh?[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 57.]] + + STOICK + So. + (BEAT) + Let's talk about that dragon. + +Blood drains from Hiccup's face. + + HICCUP + Oh gods. Dad I'm so sorry. I was going to tell you. I just didn't know how to-- + +Stoick starts laughing. Big, booming. Hiccup stares, baffled. + + HICCUP (CONT'D) + You're not...upset? + + STOICK + What?! I was hoping for this! + + HICCUP + Uh...you were? + + STOICK + And believe me, it only gets better! Just wait til you spill a Nadder's guts for the first time. + +Hiccup's elated expression sinks. + + STOICK (CONT'D) + And mount your first Gronckle head on a spear. What a feeling! + +Stoick laughs and smacks Hiccup on the shoulder, sending him into the wall. + + STOICK (CONT'D) + You really had me going there, son. All those years of the worst Viking Berk has ever seen! Odin, it was rough. I almost gave up on you! + +Hiccup gets back up, grimacing in the irony of it all. + + STOICK (CONT'D) + And all the while, you were holding out on me! Thor almighty! + +Stoick grabs a stool and sits. His massive frame nearly fills the tiny room.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 58.]] + + STOICK (CONT'D) + (RELIEVED) + Ahhhhh. With you doing so well in the ring, we finally have something to talk about. + +Pregnant pause. Hiccup averts his eyes nervously. Stoick adjusts, awkwardly clearing his throat. After a long, uncomfortable silence... + + STOICK (CONT'D) + Oh, I... brought you something. + +He presents a horned helmet. + + STOICK (CONT'D) + To keep you safe in the ring. + + HICCUP + (SINCERE) + Wow. Thanks. + +Hiccup accepts it, looking it over. + + STOICK + Your mother would've wanted you to have it. + (HEARTFELT) + It's half of her breast plate. + +Stoick taps his own helmet and smiles. + + STOICK (CONT'D) + Matching set. Keeps her close, y'know? + +Hiccup eyes the mismatched helmets, grimacing. + + STOICK (CONT'D) + Wear it proudly. You deserve it. You've held up your end of the deal. + +Stoick beams with pride. Hiccup squirms. He forces a YAWN. + + HICCUP + I should really get to bed.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 59.]] + + STOICK + (talking over each OTHER) + Yes! Good! Okay. Good talk. We should do this again. I'm glad I stopped by, I hope you like the hat. + + HICCUP ^ + (talking over each OTHER) + See you back at the house. Great. Thanks for stopping by. And for the... the uh, breast hat. + + STOICK + Well..uh..good night. + +Stoick leaves the room awkwardly, leaving Hiccup looking more burdened than ever. + +EXT. TRAINING GROUNDS - AFTERNOON + +A Gronckle hovers above the ring, hunting victims as the teen recruits scramble. Astrid ducks behind a barrier to find Hiccup already there. She forces her axe at his throat. + + ASTRID + Stay out of my way! I'm winning this thing. + + HICCUP + Please, by all means. + +She darts off, CLOSING FAST on the dragon. The crowd above cheers her on. + + VIKING IN CROWD + You got it Astrid! + +Hiccup stands and looks around. Amidst the crowd of onlookers, Stoick watches keenly, beaming with pride. He locks eyes with Hiccup, giving him a nod of encouragement. Hiccup adjusts his new helmet and forces a half-hearted smile. Unbeknownst to Hiccup, the Gronckle spots him and makes a bee-line toward him. BACK TO ASTRID ... as she catches her breath behind a barrier. She scowls, focused, determined. + + ASTRID + This time. This time for sure.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 60.]] + +With a FIERCE BATTLE-CRY she LEAPS from cover, axe cocked to throw. + + ASTRID (CONT'D) + Aaaaaaaaaa... + +And as she clears the barriers, she sees that Hiccup has already laid the Gronckle out. + + ASTRID (CONT'D) + \...aaaaaaauGGGGGHHHHHHHH! No! No! + +Hiccup shrugs, as unhappy with the situation as she is. + + ASTRID (CONT'D) + NO! NO! SON OF HALFTROLL RAT EATING MUNGE BUCKET! + +A loud CLACK ring out. From the crowd above, Gothi, the village elder, steps forward, tapping her staff. Everyone lights up excitedly. + + STOICK + Wait! Wait! + + HICCUP + So, later. + +Gobber snags Hiccup as he attempts to leave. + + GOBBER + Not so fast. + + HICCUP + I'm kinda late for-- + + ASTRID + (LIVID) + What? Late for what exactly? + +Stoick holds out his hands to silence the jabbering crowd. + + STOICK + Okay quiet down. The elder has decided. + +Thrilled, Gobber stands behind Hiccup and Astrid. He points to Astrid as the crowd waits in silent anticipation. Gothi shakes her head 'no.' The crowd 'Oooohs.' Gobber then points to Hiccup. The elder nods an affirmative 'yes.' The crowd erupts in cheers. Astrid turns a seething, deadly glare on Hiccup.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 61.]] + + GOBBER + You've done it! You've done it, Hiccup! You get to kill the dragon! + + STOICK + Ha, ha! That's my boy! + +Hiccup is hoisted onto the recruits' shoulders and carried out to the cheering spectators... + + HICCUP + (MASKING PANIC) + Heh, heh. Oh yeah! Yes! I can't wait. I am so... + +EXT. HIDDEN COVE - DUSK + + HICCUP + \... leaving. We're leaving. Let's pack up. Looks like you and me are taking a little vacation, forever. + +Toothless is nowhere in sight. Hiccup sets down his basket and opens it up, his head clouded with troubles. + + HICCUP (CONT'D) + Oh..man... + +SHINK! Hiccup looks up to the sound of... ASTRID, sitting on the rock right in front of him, sharpening her axe. + + HICCUP (CONT'D) + (SHOCKED) + Aggh! What the-- + (RECOMPOSING) + What are you doing here? + +She hops off the rock and back him down, spinning her axe threateningly. Hiccup's eyes dart around nervously, searching for Toothless. + + ASTRID + I want to know what's going on. No one just gets as good as you do. Especially you. Start talking! Are you training with someone? + + HICCUP + Uh...training? + +She grabs him by his odd-looking harness.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 62.]] + + ASTRID + It better not involve... this. + + HICCUP + I know this looks really bad, but you see...this is, uh... + +They hear a RUSTLE coming from the other side of the cove. Astrid DROPS Hiccup to the ground and sets off to investigate. + + HICCUP (CONT'D) + (PANICKED) + You're right! You're right. I'm through with the lies. I've been making... outfits. So you got me. It's time everyone knew. Drag me back. Go ahead. Here we go. + +He puts her hand back on his harness, getting her to 'drag him back.' Astrid BENDS Hiccups hand backwards, driving him down. + + HICCUP (CONT'D) + AAAAUUGGGHHH! Why would you do that?! + + ASTRID + That's for the lies. + +Astrid pounces the hilt of her axe off of Hiccup's laid-out body. + + ASTRID (CONT'D) + And THAT'S for everything else. + +Hiccup's YELP is answered with A GROWL, coming from the other side of the cove. Astrid looks up to see... A NIGHT FURY. Toothless pounces toward them, snarling. + + HICCUP + (FEEBLE) + Oh man. + +She dives onto Hiccup. + + ASTRID + Get down! Run! Run! + +Astrid pulls her axe, ready to take on Toothless. + + HICCUP + No![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 63.]] + +Hiccup knocks Astrid's cocked axe to the ground, out of reach, then stops Toothless short of crushing her. + + HICCUP (CONT'D) + No. It's okay! It's okay... + +Toothless pulls up short and lands hard, SPRAYING Astrid with sand. + + HICCUP (CONT'D) + (CALMING) + She's a friend. + +Toothless snorts in disagreement. Astrid is frozen. Toothless looks from her to Hiccup and back to her, confused. + + HICCUP (CONT'D) + (TO ASTRID) + You just scared him. + + ASTRID + I scared him!? + +Hiccup makes a “be quiet” motion. + + ASTRID (CONT'D) + (INTENSE WHISPER) + Who is him? + + HICCUP. + Astrid, Toothless. Toothless, Astrid. + +Astrid backs away, eyeing Hiccup and Toothless together with pure disgust. She turns and RUNS for the village. + + HICCUP + We're dead. + +Satisfied with Astrid's departure, Toothless turns away. + + HICCUP (CONT'D) + (TO TOOTHLESS) + Where do you think you're going? + +EXT. WOODS - MOMENTS LATER + +ASTRID races through the trees. A large shadow overtakes her. She is suddenly SNATCHED into the air. Astrid SCREAMS. + + ASTRID + Oh great Odin's ghost, this is it![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 64.]] + +Hiccup and Toothless fly Astrid to the top of a towering pine. It bows and creaks under their weight as Astrid dangles a hundred feet in the air. + + ASTRID (CONT'D) + Hiccup! Get me down from here! + + HICCUP + You have to give me a chance to explain. + + ASTRID + I'm not listening to ANYTHING you have to say! + + HICCUP + Then I won't speak. Just let me show you. + +Hiccup extends a hand. + + HICCUP (CONT'D) + Please, Astrid. + +She eyes him and the dragon, then the ground far, far below. After a moment, she swats Hiccup's outstretched hand away and reluctantly climbs over the pedal, lines, and harness. She settles behind Hiccup, avoiding as much contact as possible. + + ASTRID + Now get me down. + + HICCUP + Toothless? Down. Gently. + +Toothless leers mischievously. He spreads his wings slowly. With a WHOP, they fill with the updraft. Toothless releases the tree, tucks in his legs, and HOVERS in place. + + HICCUP (CONT'D) + See? Nothing to be afraid of. + +Toothless suddenly LAUNCHES straight upward. Astrid SCREAMS. The acceleration is tremendous. Every downbeat bucks the saddle, heaving them into the sky, doubling their speed like a rocket. Astrid is thrown backward. She SCREAMS and hugs Hiccup for dear life, squeezing the breath out of him. + + HICCUP (CONT'D) + Toothless! What is wrong with you?! Bad dragon! + (mortified; to Astrid) + He's not usually like this. Oh no...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 65.]] + +Toothless ROLLS and PLUMMETS toward the coastline far below. Astrid SCREAMS. Toothless rockets over the ocean waves, deliberately dipping them in the froth. + + HICCUP (CONT'D) + Toothless, what are you doing?! We need her to like us! + +Toothless rockets skyward and begins tumbling head over tail. + + HICCUP (CONT'D) + And now the spinning. Thank you for nothing you useless reptile. + +Astrid clamps her hand over her eyes. + + ASTRID + Okay! I'm sorry! I'm sorry! Just get me off of this thing. + +Astrid is defeated, her aggressive energy gone. Satisfied, Toothless relents. They level off and head up into the clouds. Astrid opens her eyes again, and looks out over a world she'd never dreamed of. She reaches out and touches clouds, pierces columns ablaze in golden hues, and floats over a vast, alien sky-scape. Her terror is replaced by wonder. She grins, despite herself. Toothless rises above a blanket of clouds... + +>DISSOLVE TO: + +EXT. SKY - NIGHT + +!...and levels off under a starry sky. They emerge from a blanket of clouds under the dancing Northern Lights, shimmering in ribbons across the vast sky. Below them, Berk's torches flicker in the inky darkness. The new perspective is breathtaking. Astrid tucks her arms into Hiccup's vest, burying her chin into his shoulder. The moment is not lost on either of them. Hiccup smiles nervously. Toothless climbs past Berk's tallest peaks and heads out over open water, leaving the village lights behind them.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 66.]] + + ASTRID + Alright I admit it. This is pretty cool. It's... amazing. + (BEAT) + He's amazing. + +Astrid carefully reaches down and pats Toothless' side. + + ASTRID (CONT'D) + So what now? + +Hiccup groans. It's a problem without an answer. + + ASTRID (CONT'D) + Hiccup, your final exam is tomorrow. You know you're going to have to kill... + (WHISPERED) + \... kill a dragon. + + HICCUP + Don't remind me. + +A strange, unearthly din approaches. Toothless' ear plates suddenly stand on end. Panicked, he abruptly dives, dipping into cloud cover. + + HICCUP (CONT'D) + Toothless! What's happening? What is it? + +Toothless BARKS at him. 'Quiet!' Suddenly, out of the dense cloud, a Monstrous Nightmare emerges. + + HICCUP (CONT'D) + Get down! + +Hiccup and Astrid duck. The Nightmare calls out. A Zippleback appears to the other side of Toothless, boxing him in. + + ASTRID + What's going on? + + HICCUP + I don't know. + (BEAT) + Toothless. You've got to get us out of here, bud. + +Toothless HISSES.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 67.]] + +Other dragons, previously invisible in the thick clouds, appear all around them. HUNDREDS of them, all carrying fish and game in their talons. + + HICCUP (CONT'D) + (WHISPERED) + It looks like they're hauling in their kill. + +The Zippleback eyes them ravenously. + + ASTRID + What does that make us? + +The dragons BANK and dive in formation, plummeting through the thickening fog and weaving between towering, craggy sea stacks. They emerge at the base of a massive volcanic caldera, glowing with rivulets of lava. The flock of dragons fall into rank, funneling through a crack, and zipping through a winding tunnel. It gives way to a vast, steamy inner chamber, tiered with pocky shelves. Dragons of all breeds lay about, nested in hordes. The arriving dragons fly in, dropping the fish and game into a central pit, glowing red and shrouded in mist. Hiccup is amazed. + + HICCUP + What my dad wouldn't give to find this. + +Toothless peels away from the procession, landing on a small shadowy shelf to keep a low-profile. Hiccup and Astrid peek around, taking in the busy hive of sorts. They watch as the food continues to be dropped into the pit. + + HICCUP (CONT'D) + It's satisfying to know that all of our food has been dumped down a hole. + + ASTRID + They're not eating any of it.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 68.]] + +Last to arrive is a dim-witted Gronckle. It hovers over the pit and regurgitates his paltry contribution -- a pathetic little fish. As it falls into the steamy pit, a terrible ROAR rings out. The Gronckle tries to flee, but before it can, a gargantuan dragon head juts from the steamy pit and SNAPS it out of the air. Swallowing it back whole. Hiccup and Astrid recoil, terrified. + + ASTRID (CONT'D) + What is that? + +The monstrous beast SNIFFS the air, seemingly aware of them. It nears the ledge where Toothless is hiding... and ROARS. Several dragons take flight in fear. + + HICCUP + Alright buddy, we gotta get out of here. Now! + +Toothless takes flight, barely evading the monster's snapping jaws. The behemoth dragon lunges for them, snatching a Zippleback out of the air instead. Toothless disappears into the winged exodus as thousands of dragons flee the caldera in fear. + +EXT. HIDDEN COVE - NIGHT - LATER + +Toothless glides into the cove and touches down on the moonlit beach. + + ASTRID + (her mind reeling, talking Hiccup's ear off) + No, no, it totally makes sense. It's like a giant beehive. They're the workers... and that's their queen. It controls them. + +She leaps off of Toothless and runs toward the village. + + ASTRID (CONT'D) + Let's find your dad. + + HICCUP + No, no! Not yet. They'll... kill Toothless. + (BEAT)[[(MORE)]][["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 69.]] + + HICCUP (CONT'D) + Astrid, we have to think this through carefully. + +Astrid eyes him, incredulous. + + ASTRID + Hiccup, we just discovered the dragons' nest...the thing we've been after since Vikings first sailed here. And you want to keep it a secret? To protect your pet dragon? Are you serious? + +Hiccup stands firm, resolute. + + HICCUP + Yes. + +Astrid's taken aback. + + ASTRID + Okay. + (BEAT) + Then what do we do? + + HICCUP + Just give me until tomorrow. I'll figure something out. + + ASTRID + Okay. + +Astrid PUNCHES Hiccup in the arm. + + ASTRID (CONT'D) + That's for kidnapping me. + +Hiccup looks to Toothless for support. Toothless SNORTS, dismissive. Astrid grabs him. He braces for another hit. She KISSES Hiccup on the cheek. + + ASTRID (CONT'D) + That's for, everything else. + +In the awkward wake of the moment, Astrid hurries off... leaving Hiccup RUBBING his cheek, stunned. Toothless hobbles up, eyeing him. + + HICCUP + What are you looking at?[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 70.]] + +EXT. TRAINING GROUNDS - DAY + +The grounds have been transformed. Banners and flags flap in the morning sun. Surrounding the ring, a festive crowd had gathered. All of Berk has turned out for the event. + + STOICK + (aloud to the crowd) + Well, I can show my face in public again. + +LAUGHTER AND APPLAUSE + + STOICK (CONT'D) + (PLAYFUL) + If someone had told me that in a few short weeks, Hiccup would go from being, well... Hiccup, to placing first in dragon training... I would've tied him to a mast and shipped him off for fear he'd gone mad. Yes! And you know it! + (BEAT) + But here we are. And no one's more surprised... + +ON HICCUP standing at the entrance to the ring, listening, looking burdened. + + STOICK (CONT'D) + \... or more proud than I am. Today, my boy becomes a Viking. TODAY, HE BECOMES ONE OF US! + +CHEERS and ROARS. Astrid approaches Hiccup. + + ASTRID + Be careful with that dragon. + + HICCUP + (re: the roaring crowd) + It's not the dragon I'm worried about. + + ASTRID + (WORRIED) + What are you going to do? + + HICCUP + Put an end to this. + +She eyes him, dubious.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 71.]] + + HICCUP (CONT'D) + I have to try. + (BEAT) + Astrid. If something goes wrong... just make sure they don't find Toothless. + + ASTRID + (GRIM) + I will. Just promise me it won't go wrong. + +Hiccup can't. Gobber approaches. + + GOBBER + It's time, Hiccup. Knock him dead. + +Hiccup puts his helmet on and enters the ring. ON THE TEENS HOOTING and HOLLERING from the stands. + + TUFFNUT + Show 'em how it's done, my man! + +Hiccup locks eyes with Stoick. Stoick nods with a smile. Hiccup returns a half-smile. Takes a deep breath. He hoists a shield onto his forearm and selects his weapon from a rack of many -- a small dagger. + + STOICK + (MUTTERED) + Hrmph. I would've gone for the hammer. + +Hiccup turns to face a bolted, heavy door. Takes a deep breath. + + HICCUP + I'm ready. + +The door bolt is raised. The crowd grows quiet... Beat. BOOM! The doors blast open with a stream of sticky fire. Followed by a Monstrous Nightmare, coated in flames. It tears out of its cave like an irate bull -- as the crowd roars and jeers. It climbs the walls and chain enclosure like a bat, hissing at the provoking crowd and blasting fire.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 72.]] + +It spots Hiccup and descends, leering and licking the flaming drool from its lips. The crowd grows silent, bracing for the big fight. With the Monstrous Nightmare's eyes locked upon him, Hiccup deliberately drops his shield and dagger stepping away from them. The dragon pauses, confused. ON STOICK, also confused. + + STOICK + What is he doing? + +The dragon presses closer, snorting. Hiccup extends his open hand. It snarls. + + HICCUP + (WHISPERED) + It's okay. It's okay. + +The dragon continues to pace, focused on... HICCUP'S HELMET. Hiccup realizes, then reaches up and removes it. Taking a breath to acknowledge the point of no return, he tosses the helmet aside. It hits the ground. + + HICCUP (CONT'D) + I'm not one of them. + +GASPS and MURMURS race through the crowd. ON STOICK, as all eyes turn to him. He's welling with upset. Hiccup avoids Stoick's glare and remains focused on the Nightmare, holding his hand out. It paces around him, calming down. + + STOICK + Stop the fight. + + HICCUP + No. I need you all to see this. + +The crowd gets restless. + + HICCUP (CONT'D) + They're not what we think they are. We don't have to kill them. + + STOICK + I SAID STOP THE FIGHT![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 73.]] + +Stoick whacks his hammer against the iron enclosure, rattling the arena with a terrible reverberating clatter. Spooked, the Nightmare snaps at Hiccup's outstretched hand. Hiccup YELPS and springs backward. The spell is broken. The Nightmare reacts to Hiccup's sudden movements and blasts another stream of fire. Hiccup SCREAMS and barely dives out of reach. + +EXT. COVE - CONTINUOUS + +ON TOOTHLESS His ear plates shoot up. Panic flares in his eyes. + +EXT. TRAINING GROUNDS - CONTINUOUS + +Hiccup scrambles around the ring. The Nightmare pursues, snapping and springing from ground to wall. Stoick pushes through the crowd, rushing to the doorway. + + STOICK + Out of my way! + + ASTRID + Hiccup! + +Astrid wedges her axe under the arena gate and squeezes through. + +EXT. COVE - CONTINUOUS + +Toothless bounds to the cove walls, clawing them in desperation. It seems he's as trapped as before, but with an incredible BURST of effort he HOOKS a claw over the upper lip of the stone wall. + +EXT. TRAINING GROUNDS - CONTINUOUS + +A narrow stream of fire narrowly avoids Hiccup as he continues to dash around the ring, evading the Monstrous Nightmare. Desperate, he goes to the weapon rack in an attempt to arm himself, but the Nightmare quickly destroys the rack and closes in on him. + +EXT. COVE - CONTINUOUS + +Toothless tears through the woods, bounding like panther and taking to the air in short bursts.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 74.]] + +EXT. TRAINING GROUNDS - CONTINUOUS + +Stoick wrenches the grated door to the arena and jumps through. The Monstrous Nightmare is only a few feet behind Hiccup. Astrid is now in the ring. + + ASTRID + Hiccup! + +She picks up a hammer and hurls it at the Monstrous Nightmare, hitting it in the head. It turns its attention to Astrid, and begins chasing her. Stoick raises the arena gate, waving her toward it. + + STOICK + This way! + +Astrid makes it through, but the Nightmare BLASTS the doorway, cutting Hiccup off. It pounces on him and prepares to finish him off. Suddenly, a terrible roar pierces the din. + + GOBBER + Night Fury! Get down! + +Toothless bounds over the crowd and BLASTS a hole through the chain enclosure. He flies through it and disappears in the boiling smoke. The Vikings rush to railings... in time to see a flurry of wings cutting through the dissipating smoke. Toothless and the Nightmare tumble into the clear, locked in a toothy, vicious fight. Toothless kicks the Nightmare off and plants himself between Hiccup and it. The Nightmare snarls, circling them. Toothless lunges and ROARS... causing the Nightmare to relent and back away. To everyone's shock and horror, Hiccup gets to his feet and grabs Toothless protectively. + + HICCUP + (PANICKED) + Alright, Toothless, go. Get out of here! + +The crowd is gob-smacked, growing livid. + + VIKINGS + Night Fury![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 75.]] + +Hiccup tries to shoo Toothless away in vain. Vikings begin pouring clambering through the enclosure and dropping into the ring. + + HICCUP + Go! GO! + + VIKING + Take it alive! + +Stoick grabs an axe and charges into the arena. Astrid calls out to him, panicked. + + ASTRID + Stoick no! + + HICCUP + Dad! No! He won't hurt you! + +The other Vikings surround and attack Toothless. He tosses them aside like rag dolls, his eyes focused on Stoick. + + HICCUP (CONT'D) + No, don't! You're only making it worse! + +Stoick raises his hammer as he charges for Toothless. Toothless ducks and pounces on him. They tumble end over end. + + HICCUP (CONT'D) + Toothless! STOP! + +He pins Stoick and inhales. The familiar hiss of gas builds. Everyone braces... + + HICCUP (CONT'D) + NO! + +Toothless swallows back the blast and turns to Hiccup, not understanding. + + VIKING + Get him! + +The crowd rushes him, piling on, and taking Toothless down. Astrid holds Hiccup back. + + HICCUP + (DESPERATE) + No! Please...just don't hurt him. Please don't hurt him.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 76.]] + +Stoick gets to his feet, fuming, shaken. A Viking presents Stoick with an axe. He eyes Toothless a moment, then pushes the axe back into the Viking's hands. + + STOICK + Put it with the others! + +His burning glare turn to Hiccup. + +INT. GREAT HALL - DAY + +ON HICCUP Being shoved into the dank, dimmed hall. SLAM! The massive doors rattle and echo. Stoick pushes past him. He paces against a backdrop of shadowy tapestries and carved pillars -- a legacy of heroes, all peering down in angered judgement. + + STOICK + I should have known. I should have seen the signs. + + HICCUP + Dad. + + STOICK + We had a deal! + +Stoick pauses to say something, but stops short. He SNORTS and resumes pacing, repeating the cycle. + + HICCUP + (FLUSTERED) + I know we did... but that was before... ughh, it's all so messed up. + + STOICK + So everything in the ring. A trick? A lie? + +He stomps toward Hiccup. Stops short and points, fighting back words. + + HICCUP + I screwed up. I should have told you before now. Take this out on me, be mad at me, but please... just don't hurt Toothless.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 77.]] + + STOICK + The dragon? That's what you're worried about? Not the people you almost killed?! + + HICCUP + He was just protecting me! He's not dangerous. + + STOICK + They've killed HUNDREDS OF US! + + HICCUP + And we've killed THOUSANDS OF THEM! They defend themselves, that's all! They raid us because they have to! If they don't bring enough food back, they'll be eaten themselves. + (BEAT) + There's something else on their island dad...it's a dragon like-- + +Stoick HUFFS. + + STOICK + --Their island? + +He stomps back... pointing an accusing finger. + + STOICK (CONT'D) + So you've been to the nest. + + HICCUP + Did I say nest? + +Hiccup goes silent -- he said too much. + + STOICK + How did you find it?! + + HICCUP + No... I didn't. Toothless did. Only a dragon can find the island. + +Stoick GLARES. A moment passes, then an idea takes form on his face. His eyes flare. Hiccup watches, realizing. Stoick stomps toward the doorway. + + HICCUP (CONT'D) + Oh no. No, Dad. No. + +Hiccup chases after him, panicked.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 78.]] + + HICCUP (CONT'D) + Dad. It's not what you think. You don't know what you're up against. It's like nothing you've ever seen. + +He grabs Stoick by the arm, tugging with all his might. He has no effect whatsoever. + + HICCUP (CONT'D) + Dad. Please. I promise you that you can't win this one. + +Nothing. + + HICCUP (CONT'D) + No. Dad. No. For once in your life, WOULD YOU PLEASE JUST LISTEN TO ME?! + +He throws Hiccup off of him, SWATTING him to the floor. Icy stillness. Hiccup stares back, stunned. + + STOICK + You've thrown your lot in with them. You're not a Viking. + (BEAT) + You're not my son. + +Stoick pushes through the door, leaving Hiccup alone, devastated. + + STOICK (CONT'D) + (CALLING OUT) + Ready the ships! + +EXT. GREAT HALL - CONTINUOUS + +Stoick staggers on the steps, breaking inside. + +EXT. DOCKS/OPEN SEA - DAY + +Broken-down catapults and trebuchets are bundled up and lowered from the cliffs. Below on the docks, Vikings load the heavy artillery into the hulls of awaiting ships. Children and the elderly gather to on the walkways to wave apprehensive farewells to the departing warriors. Lastly, Toothless is loaded aboard Stoick's ship, chained down to a palette, muzzled, and restrained with a weighty neck ring. He looks exhausted, miserable.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 79.]] + +Stoick crosses to the bow as the ship pushes off and joins the amassed armada of ships adrift in the harbor. Stoick's brow is furrowed, all warmth drained away. He turns west and glares at the horizon with cold determination. + + STOICK + Set sail! We head for Helheim's Gate. + +He then notices HICCUP watching from his familiar cliff-side perch beyond the village. Their eyes meet, full of hurt and regret. Hiccup slowly shakes his head in warning. Stoick breaks the stare and turns to Toothless, fuming. + + STOICK (CONT'D) + Lead us home, Devil. + +ON HICCUP Watching. He's powerless to stop what is happening, but won't leave. + +>DISSOLVE TO: + +EXT. CLIFFS - LATER + +ON HICCUP Still standing there. The ships have cleared the horizon. CRANE UP to reveal Astrid is standing behind him. She approaches cautiously and stands beside him in silence. + + ASTRID + It's a mess. + +Hiccup doesn't respond. + + ASTRID (CONT'D) + You must feel horrible. You've lost everything. Your father, your tribe, your best friend. + + HICCUP + Thank you for summing that up. + + HICCUP (CONT'D) + Why couldn't I have killed that dragon when I found him in the woods. It would have been better for everyone.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 80.]] + + ASTRID + Yep. The rest of us would have done it. + (BEAT) + So why didn't you? + +Hiccup just shakes his head - he really doesn't know. Astrid's eyes glimmer. She wants something. + + ASTRID (CONT'D) + Why didn't you? + + HICCUP + I don't know. I couldn't. + + ASTRID + That's not an answer. + + HICCUP + (BECOMING IRATE) + Why is this so important to you all of a sudden? + + ASTRID + Because I want to remember what you say right now. + + HICCUP + (angry, loud) + Oh for the love of -- I was a coward! I was weak. I wouldn't kill a dragon. + + ASTRID + You said 'wouldn't' that time. + + HICCUP + (BLOWS UP) + Whatever! I wouldn't! Three hundred years and I'm the first Viking who wouldn't kill a dragon! + +A BEAT. + + ASTRID + First to ride one, though. + +Hiccup blinks. He never looked at it that way before. + + ASTRID (CONT'D) + So...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 81.]] + + HICCUP + (REALIZING) + \...I wouldn't kill him because he looked as frightened as I was. + (BEAT) + I looked at him and I saw myself. + +Astrid turns to face the open sea. + + ASTRID + I bet he's really frightened now. + (PROVOKING) + What are you going to do about it? + +Beat. + + HICCUP + Probably something stupid. + + ASTRID + Good. But you've already done that. + +Another beat. + + HICCUP + Then something crazy. + +Astrid smiles. + + ASTRID + That's more like it. + +EXT. OPEN SEA/DRAGON ISLAND - DAY + +The armada coasts toward a shroud of heavy fog, hung like drapes from a low-hanging, ominous sky. The ships enter, one by one. Visibility drops immediately. Flanking ships becomes ghosts. The armada disappears, drawn into the blinding mist. Complete whiteout. Nothing remains but the eerie creaking of wood on water. ON STOICK at the bow of his ship. He taps his fingers on the gunwale, then looks back at Toothless impatiently. Weighed down with chains, Toothless seems unresponsive. + + STOICK + Sound your positions. Stay within earshot. + +Shouts pour in from all directions. + + VIKING #1 + Here.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 82.]] + + VIKING #2 + One length to your stern. + + VIKING #3 + On your starboard flank. + + VIKING #4 + Three widths to port. + + VIKING #5 + Ahead, at your bow. + + VIKING #6 + Haven't a clue. + +ON STOICK straining into the fog as the calls continue. Massive, jagged sea stacks begin to emerge, threatening to rip the ships to shreds. Gobber approaches him, speaking under his breath. + + GOBBER + Listen... Stoick... I was overhearing some of the men just now and, well, some of them are wondering what it is we're up to here -- not me of course, I know you're always the man with the plan -- but some, not me, are wondering if there is in fact a plan at all, what it might be? + + STOICK + Find the nest and take it. + + GOBBER + Ah. Of course. Send them running. The old Viking fall-back. Nice and simple. + + STOICK + Shhh. + +Stoick notices that Toothless' ear plates are at the alert, quietly reacting to inaudible sounds. Stoick crosses to the stern of the ship and grabs the tiller, moving the helmsman out of the way. + + STOICK (CONT'D) + Step aside. + +Stoick pulls the ship into a turn, covertly following Toothless' head movements.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 83.]] + +The ship barely misses a jagged outcrop that suddenly appears out of the soupy fog. + + VIKING + Bear to port. + +The order is called out from ship to ship. CRUNCH! The bow barely makes it past another sea stack. Stoick continues to follow Toothless' cues, undeterred. + +EXT. TRAINING GROUNDS - DAY + +Hiccup raises the bolt on the Monstrous Nightmare's pen. + + FISHLEGS (O.S.) + If you're planning on getting eaten, I'd definitely go with the Gronckle. + +Hiccup turns to see his fellow recruits, watching him with folded arms. Tuffnut steps forward with a scowl. + + TUFFNUT + You were wise to seek help from the world's most deadly weapon. + (BEAT) + It's me. + + HICCUP + Uh... + + SNOTLOUT + I love this plan. + + HICCUP + I didn't... + + RUFFNUT + You're crazy. + (SULTRY) + I like that. + + ASTRID + So? What is the plan? + +Hiccup smiles, glowing in the support of his friends. + +EXT. FOGGY SEA - DAY + +The ships follow in line through the gauntlet of rocks as orders are whispered from ship to ship.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 84.]] + +A dragon head looms out of the fog. The men recoil... only to discover that it's a wrecked ship, impaled high on a gnarled sea stack. + + GOBBER + Ah. I was wondering where that went. + +A clicking buzz becomes audible, growing louder. It fills the sky, converging in one general direction. Stoick sniffs the air. + + STOICK + Stay low and ready your weapons. + +Stoick's ship suddenly JERKS to a halt as the keel burrows into shallow black sand. Stoick hops overboard, landing on a sprawling beach. The BUZZING suddenly STOPS. Above him, a craggy volcano towers into the gloom. + + STOICK (CONT'D) + We're here. + +Behind him, several dragon-headed bows pierce the fog. + +EXT. TRAINING GROUNDS - RING - DAY + +Hiccup steps back from the door, drawing the Monstrous Nightmare out of its cave. It snorts, stepping into the ring, calmed by Hiccup's outstretched hand -- focused on him. ON THE TEENS... bewildered, in awe. Snotlout nervously reaches for a spear laying near his foot. Astrid stops him. + + ASTRID + (CORRECTING) + Uh-uh. + +Hiccup slows to a stop in front of the teens, with the Nightmare inches from his outstretched hand. He reaches over and grabs Snotlout's trembling hand. + + SNOTLOUT + Wait! What are you... + + HICCUP + Relax. It's okay... it's okay.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 85.]] + +Hiccup replaces his outstretched hand with Snotlout's, putting him in control of the massive beast. The Nightmare snorts, but remains calm. Snotlout, by contrast, chuckles nervously -- it's at once terrifying and amazing. The others watch, spellbound. Hiccup turns and walks away. + + SNOTLOUT + Where are you going?! + +Hiccup pulls a bundle of rope from a supply box. + + HICCUP + You're going to need something to help you hold on. + +The teens eye each other apprehensively, and look up to reveal... ALL THE DRAGONS standing in the ring, facing the teens expectantly. + +EXT. DRAGON ISLAND - DAY + +CLOSE ON Tree trunks, being sharpened and planted into the sand at angled rows. Boulders being loaded into catapult baskets. And a war plan being scratched in the sand. STOICK looms over it, looking determined. His generals are at his sides. + + STOICK + When we crack this mountain open, all hell is going to break loose. + + GOBBER + In my undies. Good thing I brought extras. + +Stoick TURNS to face the men. + + STOICK + No matter how this ends, it ends today. + +He walks toward the base of the volcano wall, back by several hundred warriors. He raises his arm and drops it.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 86.]] + +A line of catapults UNLEASH their two-ton loads into the cliff wall. It cracks and flakes away. Several more hits tear away at the hollow shell of hardened lava. A final boulder shatters the fractured wall, creating a deep, dark opening to the cavern within. Silence. Stoick raises his hand, makes a gesture. A flaming bushel is launched into the dark, lighting the wall... CHOKED WITH DRAGONS. Stoick pulls his hammer and rushes into the cave, brazen. + +STOICK (CONT'D) (War cries and slashing efforts) + +In a chaotic flurry, the dragons suddenly rush out like bats from a cave. The take to the air, bypassing the axe-swinging Vikings and fleeing the island in a mass exodus. The battle-ready Vikings drop their weapons, confused. + + GOBBER + Is that it? + +Above the island, dragons POUR from every crevice, fleeing to the sky. The sound of screeching dragons fades. + +VIKINGS (Cheering as one) + + SPITELOUT + We've done it! + +Stoick doesn't celebrate. Something is not right. He HEARS something. Stoick turns to peer down the dark throat of the cavern. A deep, rumbling ROAR echoes from the cavern. The ground underfoot TREMBLES. The ships rock. Their sails fill with a blast of air. The cheering stops. Stoick's expression sinks. + + STOICK + This isn't over. Form your ranks! Hold together! + +The men SCRAMBLE to organize themselves. + + STOICK (CONT'D) + Get clear![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 87.]] + +The ground CRACKS. Stone tears away, cascading like an avalanche. And through the settling debris, the silhouette of a gargantuan dragon emerges -- THE RED DEATH. Stirred and furious. + + GOBBER + Beard of Thor...what is that? + + STOICK + (AGHAST) + Odin help us. + (BEAT) + Catapults! + +The Vikings score direct hits. The burning stones BOUNCE off the dragon's skin. The Red Death focuses on the catapults. It crushes the first one - smashing it and its crew, rattling the beach underfoot. Stoick races toward the second catapult. He LEAPS and pushes a Viking out of the way just before the dragon crushes him under his forepaw. The Vikings scramble in all directions. + + VIKING #3 + Get to the ships! + + STOICK + No! NO! + +The Red Death BLASTS the ships like a mile-long flamethrower. The sails are torched. Vikings dive overboard and masts come down. Gobber Joins Stoick. + + GOBBER + Heh. Smart, that one. + +Stoick looks up and down the beach for an answer. + + STOICK + (GUILT-RIDDEN) + I was a fool. + +The monster raises its head to the sky and BELLOWS. The sound SHAKES the beach, knocking Vikings off their feet. This island is his. Stoick stops a Viking General.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 88.]] + + STOICK (CONT'D) + Lead the men to the far side of the island. + + SPITELOUT + Right. + (turns to the others) + Everybody to the far side of the island! + +The Vikings scatter into the rocks like ants. Satisfied with the ships destruction, The Red Death turns its attention back to the Vikings. They seem to have vanished. It SNIFFS the air, searching for their scent. Gobber drops in beside Stoick, like two soldiers in a trench. Fire blasts over head, causing them to duck. + + STOICK + Gobber, go with the men. + + GOBBER + I think I'll stay, just in case you're thinking of doing something crazy. + +Stoick grabs him. + + STOICK + (EMPHATIC) + I can buy them a few minutes if I give that thing someone to hunt. + +Gobber removes Stoick's hand. Clenches his forearm, determined. + + GOBBER + Then I can double that time. + +Stoick grins. Friends to the bitter end. They BREAK COVER and dash into the open, SPLITTING UP. Stoick rips a sharpened post from the ground and hurls it into the monster's face. + + STOICK + HERE! + + GOBBER + NO, HERE! + +It spots both of them. He fuels up to fire, glancing back and forth between the two men. He focuses on Stoick. + + GOBBER (CONT'D) + Come on! Fight me![["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 89.]] + + STOICK + No, me! + +The Red Death remains focused on Stoick - this is it. It rears back and inhales. Gas begins to amass, when... KABLAM! A BLAST explodes against the back of The Red Death's head. It turns distracted, as... ... a Nadder punches through the flames, banking across the sky. Followed by a Monstrous Nightmare, a Zippleback, and a Gronckle. They roll in unison, revealing the recruits riding on their backs. Hiccup leads, with Astrid clinging to his waist. GOBBER AND STOICK, watch slack-jawed, in awe. + + HICCUP + Ruff, Tuff, watch your backs! Move Fishlegs! + +The monster shakes off the blast and snaps in their wake. Hiccup directs his squadron out of harm's way. They climb out of reach and circle each other. + + TUFFNUT + Look at us, we're on a dragon! We're on dragons, all of us! + + HICCUP + Up, let's move it! + +The dragons climb past the Red Death. ON THE GROUND Gobber hobbles over to Stoick. + + GOBBER + Every bit the boar-headed, stubborn Viking you ever were. + +Stoick is speechless. IN THE AIR The group circles over the dragon's head. + + HICCUP + Fishlegs, break it down. + + FISHLEGS + Okay. Heavily armored skull and tail made for bashing and crushing.[[(MORE)]][["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 90.]] + + FISHLEGS (CONT'D) + Steer clear of both. Small eyes, large nostrils. Relies on hearing and smell. + + HICCUP + Okay. Lout, Legs, hang in its blind spot. Make some noise, keep it confused. Ruff, Tuff, find out if it has a shot limit. Make it mad. + + RUFFNUT + That's my specialty. + + TUFFNUT + Since when? Everyone knows I'm more irritating. See. + (IRRITATING SOUNDS) + + HICCUP + (EXASPERATED) + Just do what I told you. I'll be back as soon as I can. + + TUFFNUT + Don't worry, we got it covered! + + FISHLEGS + Yeah! + +Hiccup and Astrid peel away. The teens bank and dive toward the monster, splitting up. The Twins race alongside the monster's head, taunting it. + + TUFFNUT + Troll! + + RUFFNUT + Butt Elf! + + TUFFNUT + Bride of Grendel! + +The Red Death unloads a spray of fire at the twins. They barely dodge it. Fishlegs and Snotlout hang behind its eyes, banging away at their shields, making a racket. The Red Death opens all SIX of its eyes, spotting them. + + FISHLEGS + Uh, this thing doesn't have a blind spot.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 91.]] + +ON HICCUP AND ASTRID ... searching for Toothless. Hiccup spots him among the burning ships. + + HICCUP + There! + +He steers the Nadder over the deck and hands Astrid the reins. He lines up his jump... and hops off, guarding his face from the flames. He lands on the burning deck. + + HICCUP (CONT'D) + (TO ASTRID) + Go help the others! + +She and the Nadder take off. As Hiccup fights his way to Toothless. He unbuckles the muzzle. Toothless shrieks. + + HICCUP (CONT'D) + Okay, hold on. Hold on. + +He gets to work on the chains. ON SNOTLOUT AND FISHLEGS They clang their weapons against their shields, making the monster wince. + + SNOTLOUT + It's working. + +The huge beast starts to sway its head dizzily. + + FISHLEGS + Yeah! It's working. + +PAN DOWN to reveal that the noise is also confusing the Gronckle and the Monstrous Nightmare. Both dragons lose their bearings. The Red Death thrashes, knocking Snotlout off of his dragon and onto the monster's gigantic head. Snotlout bounces across the top and comes to a stop just shy of the hundred foot drop. + + SNOTLOUT + Agghh! + +Fishlegs' Gronckle goes down in a spin of confusion.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 92.]] + + FISHLEGS + I've lost power on the Gronckle. Snotlout! Do something! + +He hurls Snotlout his hammer. The Gronkle crashes and skids to a stop... + + FISHLEGS (CONT'D) + I'm okay! + +!... then flips over, crushing Fishlegs. + + FISHLEGS (CONT'D) + (FEEBLE) + Less okay. + +BACK TO SNOTLOUT ... who eyes the Red Death's gigantic, veiny eyes. He raises the hammer... + + SNOTLOUT + I can't miss! + +!... and hammers the monster's eyes, playing whack-a-mole. + + SNOTLOUT (CONT'D) + What's wrong buddy, got something in your eye? + +Astrid flies by on her Nadder, catching Snotlout in all his heroics. + + ASTRID + Yeah! You're the Viking! + +Snotlout grins, finally vindicated in her eyes. In his distraction, he gets thrown and lands heavily on one of the Red Death's spines -- clinging precariously. A close call. + + SNOTLOUT + Whoa! + +ON THE GROUND The monster's tail sweeps across the burning ships, snapping masts like twigs. We follow one down as it crashes onto a deck, revealing... HICCUP Working at the chains. He can't budge them. Fire licks at his clothes. He looks up to see...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 93.]] + +THE RED DEATH blasting at the teens, enraged. The monster's giant foot crashes through frame, smashing the bow under its impressive weight. Hiccup and Toothless are thrown into the water in a maelstrom of burning planks and rigging. UNDERWATER Hiccup swims toward Toothless. They're both caught in a mess of rigging, being dragged down. The heavy palette settles into the rocky bottom like an anchor. Toothless has stopped struggling. Hiccup takes one more hopeless tug at the chains - he's almost out of air. Suddenly, a meaty hand grabs Hiccup. STOICK explodes to the surface, pulling Hiccup to the shoreline through flaming debris. He lays him down, under the shelter of an overhanging rock. + + HICCUP + (OVERWHELMED) + Dad... + +Stoick dives back into the water between flaming flotsam. UNDERWATER ON TOOTHLESS, drowning. Stoick appears in front of him. Toothless freezes. Stoick tears the chains off of the yoke and lets it float free. Momentary stillness. They eye each other, through the churned up bubbles. Toothless lunges out of the bars -- grabbing Stoick. BOOM! In an explosion of sea water, Toothless lands on the shore, setting Stoick down and releasing him. Hiccup is awed. The ground rumbles underfoot. The monster screeches. Its massive claws stomp around in the smoke. Stoick gives way as Toothless mounts the rock and raises his wings. He turns to Hiccup and SNORTS - ‘Let's go.' + + HICCUP (CONT'D) + You got it, bud. + +Hiccup climbs onto Toothless and buckles himself in. Stoick grabs his arm.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 94.]] + + STOICK + Hiccup. I'm sorry...for everything. + + HICCUP + Yeah...me too. + + STOICK + You don't have to go up there. + + HICCUP + We're Vikings. It's an occupational hazard. + +They exchange smiles. + + STOICK + I'm proud to call you my son. + +Hiccup beams, taken aback. + + HICCUP + Thanks dad. + +Stoick lets go of Hiccup's arm. Hiccup spurs Toothless on, charged with his father's belief in him. They rocket into the sky as Stoick watches. IN THE AIR Astrid sees Toothless streaking through the sky, gaining altitude. + + ASTRID + He's up! + +She turns to Ruffnut and Tuffnut, who are ARGUING and THROWING PUNCHES at each other. + + ASTRID (CONT'D) + Get Snotlout out of there! + +IN MID-PUNCH, the twins look over to see Snotlout stranded on the monster's head. They eye each other. + + TUFFNUT + I'm on it! + + RUFFNUT ^ + I'm on it! + + TUFFNUT + I'm on it first! I'm ahead of you. + +The twins spot Snotlout on the giant dragon and steer their Zippleback in his direction.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 95.]] + + RUFFNUT + Hey! Let me drive! + +The twins peel off, ARGUING as they race each other to the monster. Snotlout sees the Zippleback diving toward him and DASHES down the Red Death's head. He runs up the end of its horn... As the twins sweep past, both missing him... but perfectly snatching him where the necks merge. Ruff and Tuff eye each other, surprised and impressed. + + TUFFNUT + I can't believe that worked. + +The Red Death spots Astrid and INHALES, preparing to blast. She and her Nadder get caught in the suction, pulled toward the monster's gaping mouth. ON THE GROUND The Vikings watch with dread. They hear the familiar whir of the... + + GOBBER + Night Fury! Get down! + +IN THE AIR A massive BLAST jolts the Red Death's head sideways. Astrid is thrown clear of its mouth... AND her Nadder. She tumbles through the air. The ground races toward her, when... She's suddenly CAUGHT by the leg. She looks up to see Toothless. + + HICCUP + Did you get her? + +Toothless grunts. ON THE GROUND They fly over the crowd of Vikings and set Astrid down, mid-run. They circle back to reengage - a black speck against the clouds. + + ASTRID + (BREATHLESS) + Go. + +IN THE AIR[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 96.]] + +Hiccup and Toothless rocket past the Red Death's head and climb, higher and higher. + + HICCUP + (TO TOOTHLESS) + That thing has wings! Okay, let's see if it can use them! + +Hiccup pulls Toothless into a turn. They plummet, gaining tremendous speed. The wind buffets them as they target the Red Death as super sonic speed. KABLAM! Toothless unloads a fireball against the Red Death's head. It goes down with a rumble as they climb anew. ON THE GROUND The Vikings shield themselves from the dust of the fallen monster... as its wings unfold and extend. IN THE AIR Hiccup looks back as they put distance between them. + + HICCUP (CONT'D) + Do you think that did it? + +Suddenly, the enraged behemoth RISES into frame... flapping its wings furiously. A daunting sight. + + HICCUP (CONT'D) + Well, he can fly. + +Hiccup and Toothless DIVE into the tangled sea stacks - they weave through the rock like rabbits through a briar. The Red Death SNAPS at them, but cannot reach them. Hiccup and Toothless PULL AHEAD. The Red Death SMASHES through the canopy of rock and pulls in behind Toothless. He BURSTS THROUGH fifty-foot formations like they were saplings. ON THE GROUND Stoick, Gobber, and the Teens watch as Hiccup and Toothless streak past, weaving through sea stacks. + + TEENS + Woohoo! Yeah! + +A moment later the Red Death SMASHES the sea stacks to dust in hot pursuit. The Vikings mood is quenched. IN THE AIR[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 97.]] + +Hiccup and Toothless can't slow the monster down. Hiccup eyes the clouds above. An idea hits him. He locks eyes with Toothless. + + HICCUP + Okay Toothless, time to disappear. + +Toothless PULLS into a steep climb, heading toward the clouds. + + HICCUP (CONT'D) + Come on bud! + +The Red Death follows, closing in fast. + + HICCUP (CONT'D) + (hearing the gas) + Here it comes! + +BLAST! They narrowly dodge a column of flame and smoke. They reach the low-hanging clouds and pierce them. The monster follows, immediately losing them in the hampered visibility. It roars irritably. From out of nowhere, Toothless DIVES at the huge dragon, BLASTING and PUNCTURING a hole in its wing. Toothless and Hiccup are gone again before the dragon can get a shot at them. ON THE GROUND The Vikings stare up at the sky listening to the resounding BOOMS and watching FLASHES light up the clouds. Gobber places a hand on Stoick's shoulder. IN THE AIR HICCUP and TOOTHLESS dive in again and again, using the clouds to hide and surprise as they puncture the monster's wings. It BELLOWS in frustration and WHIRLS around, unleashing fire blindly, in all directions. Hiccup sees the glow of fire cutting towards them. + + HICCUP (CONT'D) + Watch out! + +The random blast CLIPS Toothless' tail. It's heavily damaged.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 98.]] + + HICCUP (CONT'D) + Okay, time's up. Let's see if this works. + +He pulls Toothless into a turn. They fly directly into the Red Death's face, taunting it. + + HICCUP (CONT'D) + Come on! Is that the best you can do!? + +Toothless utters an insult too, and they jackknife into a steep dive. The Red Death pursues. Toothless PUMPS his wings, racing faster than he's ever gone before. Hiccup and Toothless stay just ahead of the Red Death -- no longer trying to evade it. Hiccup glances back to check the tail - it's disintegrating. + + HICCUP (CONT'D) + Stay with me buddy. We're good. Just a little bit longer. + +The Red Death closes the gap. Hiccup tucks in and holds Toothless steady -- allowing the monster to set its sights on them. It narrows its eyes. + + HICCUP (CONT'D) + Hold, Toothless. + +The Red Death OPENS his mouth. The familiar gas HISS emanates from his throat -- ignition is coming. + + HICCUP (CONT'D) + NOW! + +Hiccup HITS the PEDALS HARD as Toothless extends one wing. They PIVOT in place, hurtling directly into the Red Death's mouth. Toothless FIRES point blank down the monster's throat. Its amassing gas is ignited, BACKFIRING into the monster, erupting in a chain of blasts throughout its body. Hiccup and Toothless BURST from the clouds, the Red Death hot on their tail, exploding from within. It glances forward and sees the ground rushing up. It throws open its wings, attempting to put on the brakes, but the punctured, damaged wings can't stop its momentum. As the Red Death chokes on the expanding fireball, he sees Toothless suddenly pull out of the dive, streaking up, past its head.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 99.]] + +The Red Death HITS the ground, head-first. It EXPLODES like the Hindenburg. Hiccup and Toothless weave through the monster's massive back plates, wings, and flailing legs -- a high-speed recall of the FREE FALL slalom run. The expanding fireball races toward them, about to swallow them. They manage to clear the obstacles. Hiccup glances back. They're outrunning the fireball. He looks forward just in time to see the monster's massive club tail careening toward them. He tries to shift their direction. The last shreds of Toothless' tail tear away. Hiccup's pedals go DEAD. + + HICCUP (CONT'D) + No. No. + +Hiccup and Toothless can't maneuver - they're dead in the air. The giant club tail CLIPS Toothless, TEARING Hiccup from the harness and sending him tumbling against the backdrop of the fast-approaching fireball. Toothless STRUGGLES with all his might to reach the unconscious Hiccup. But the fireball swallows them both. ON THE GROUND The Vikings watch in horror as Hiccup and Toothless disappear into the boiling inferno. + +>DISSOLVE TO: + +A whiteout of ash. And through it comes... + + STOICK + Hiccup? Hiccup!? + +Stoick appears, searching desperately. Everything is scorched. Even the ground is smoking from the terrible heat. + + STOICK (CONT'D) + Hiccup!? Son!? + +Through the ash, Stoick the motionless silhouette of Toothless. + + STOICK (CONT'D) + (GRAVE) + Hiccup.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 100.]] + +He hurries to the dragon's side. Toothless is roughed up, but conscious. His scorched saddle, however, is vacant. Stoick looks to the sky in despair. He buckles at the knees, overwhelmed by the loss. + + STOICK (CONT'D) + Oh son...I did this... + +Astrid pushes through the crowd, her eyes welling up. Followed by Gobber. They flank Stoick as he kneels, slumped over. Behind them, a ring of Vikings form, keeping a respectful distance. As the dust and smoke clear, a ring of wild dragons can also be seen, gathering just behind and between the Vikings. Toothless stirs and groggily rolls his head toward Stoick. Their eyes meet. + + STOICK (CONT'D) + I'm so sorry... + +Toothless unfolds his wings, revealing Hiccup, unconscious, clutched safely against his chest. Stoick's eyes widen. + + STOICK (CONT'D) + Hiccup. + +He scoops Hiccup into his arms. Listens to his heart. Bursts into relieved laughter. + + STOICK (CONT'D) + He's alive! + (TO TOOTHLESS) + You brought him back alive! + +The crowd roars. Followed by the dragons. The Vikings look around to find themselves surrounded. Stoick leans close to Toothless, meeting him eye to eye. + + STOICK (CONT'D) + (PRIVATELY) + Thank you... for saving my son. + +Gobber looks Hiccup up and down. + + GOBBER + Well, you know... most of him. + +Stoick glances back at him. Gobber shrugs, redirecting his eyes toward...[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 101.]] + +INT. STOICK'S HOUSE - DAY + +CLOSE ON HICCUP, asleep, his head on a pillow. Healing scars on his face show that maybe a week or two have passed. Toothless hovers over him, WHINING and GRUMBLING impatiently. Hiccup stirs. Opens his eyes. + + HICCUP + (GROGGY) + Oh, hey Toothless. + +Toothless excitedly nuzzles and nudges Hiccup. + + HICCUP (CONT'D) + Okay, okay! I'm happy to see you too, bud. Now just-- + +Toothless steps on his groin, causing Hiccup to sit BOLT UPRIGHT with a YELP. He looks around, confounded. He's in his bed, moved beside the fire pit on the main floor of his house. + + HICCUP (CONT'D) + I'm in my house. + (re: Toothless, leaning over him, excited) + You're in my house. + +Toothless TEARS around the room, knocking things over, far too big for the space. + + HICCUP (CONT'D) + Uh...does my dad know you're in here?! + +Toothless pauses at the foot of the bed, tongue wagging. He eyes the rafters... and LEAPS UP onto them, brimming with 'happy dog' energy. + + HICCUP (CONT'D) + (DISTRESSED) + Okay, okay -- no Toothless! Aw, come on... + +Hiccup shifts to get out of bed... then pauses... sensing that something is wrong. He peels back the covers slowly. What he sees startles, horrifies, and overwhelms him -- all at once.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 102.]] + +ON THE BARE FLOOR His booted foot touches down. Followed by a mechanical prosthetic in place of his second leg. It's an ingenious spring-loaded replacement, made of wood and iron. Toothless lands by the bed and approaches calmly, sniffing the new leg. He raises his eyes to meet Hiccup's, seemingly aware of what Hiccup is going through. Hiccup braces himself on the bedpost and tries to stand on it. He winces and stifles the pain... + + HICCUP (CONT'D) + Okay...okay... + +!... but STUMBLES with the first step. Toothless catches Hiccup's fall with his head... and slowly lifts him up, stabilizing him. + + HICCUP (CONT'D) + Thanks bud. + +Hiccup leans on him like a crutch. They take a few steps together. Their missing parts form a poetic silhouette as they make their way toward the door. Hiccup pries it open (as he did in the opening scene), revealing a MONSTROUS NIGHTMARE flapping outside the door. Hiccup YELPS and slams the door closed. He turns to Toothless, alarmed. + + HICCUP (CONT'D) + Toothless? Stay here, bud. + +Hiccup pauses... and cracks the door open again. He peeks outside, his eyes widening. He allows to door to swing open, revealing... ... the Monstrous Nightmare, carrying Snotlout on its back. + + SNOTLOUT + Come on guys, get ready! Hold on tight! Here we go! + +A class of newbie dragon riders follow him through frame on a variety of dragons, pulling back the curtain on an amazing vista in which:[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 103.]] + +Vikings and dragons mill about by the dozen, basking on the rooftops, weaving along the plaza. No one seems upset, there isn't a sword in sight. Under the framework of a MASSIVE BARN, a Nadder BLASTS fire onto a metal brace. It steps back to let a Viking hammer it into shape. Nearby, a Gronkle lands, carrying a tree trunk in his mouth. He shows a Viking what he's found. The Viking pats his head. Another Viking backs a Zippleback into a stall to check it for size. Hiccup takes a step outside, finding Stoick waiting for him on the step. + + HICCUP + I knew it. I'm dead. + +Stoick laughs. + + STOICK + No, but you gave it your best shot. + +He puts his arm around Hiccup, steadying him. He gestures to the transformed village. + + STOICK (CONT'D) + So? What do you think? + +Hiccup just shrugs, amazed. Below, the plaza, villagers take notice. + + VIKING #1 + Hey look! It's Hiccup! + +They rush over, surrounding him with a hero's welcome. + + VIKING #2 + Hiccup, how you doin' mate? + + VIKING #3 + It's great to see you up and about. + + STOICK + (SWEETLY) + Turns out all we needed was a little more of... + (GESTURES NON-SPECIFICALLY AT HICCUP) + \... this. + + HICCUP + (PLAYING ALONG) + You just gestured to all of me.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 104.]] + + GOBBER (O.S.) + Well. Most of you. + +Gobber pushes through the crowd, beaming proudly. + + GOBBER (CONT'D) + (re: the prosthetic leg) + That bit's my handiwork. With a little Hiccup flare thrown in. Think it'll do? + + HICCUP + (bittersweet, coming to TERMS) + I might make a few tweaks. + +Astrid appears and jabs Hiccup in the arm. Hiccup recoils with a grumble. + + ASTRID + That's for scaring me. + + HICCUP + (PROTESTING) + What, is it always going to be this way? Cause I... + +She grabs him aggressively... then kisses him. Hoots and hollers follow. + + HICCUP (CONT'D) + \... could get used to it. + +Gobber presents Hiccup with a rebuilt saddle, rigging, and tail. + + GOBBER + Welcome home. + +Suddenly, Toothless pounces on the crowd, crushing several unsuspecting Vikings under his weight. + + VIKING + Night Fury, get down! + +Toothless eyes the new tail excitedly, tongue wagging. Amidst the groans and grumbles, Hiccup and Astrid exchange a sheepish grin. CLOSE ON CLOSE ON Hiccup's prosthetic foot, snapping into the modified stirrup.[["Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 105.]] + +The two pieces click together, forming a single shape. Astride Toothless, he's whole again. He rotates the pedal. The new tail opens. Bright red with a skull and Viking horns emblazoned on it. Hiccup approves. CUT BACK TO REVEAL... Hiccup and Toothless, saddled up and ready to fly. Astrid backs her Nadder into position. + + HICCUP + (TO TOOTHLESS) + You ready? + +Toothless SNORTS an excited 'yes!' From his mount, Hiccup looks out over the changed world. + + HICCUP (V.O.) (CONT'D) + This... is Berk. + (BEAT) + It snows nine months of the year... and hails the other three. + +They LEAP into the bright blue sky, together as one. Astrid follows, giving chase. + + HICCUP (CONT'D) + Any food that grows here is tough and tasteless. The people that grow here are even more so. + +Hiccup and Astrid race their dragons through the village -- under eaves, over rooftops, down cliff-sides, and between ship masts. It's a high energy, romantic dance of sorts. + + HICCUP (V.O.) (CONT'D) + The only upsides are the pets. While other places have...ponies or parrots, we have... + +Their fellow recruits join them as they take to the open sky, rocketing far above the village. The Northern sky swirls with blazing, multicolored dragons. Hiccup and Toothless break from the pack, spinning into the blinding sun. + + HICCUP (V.O.) (CONT'D) + (PROUDLY) + \... dragons. + +>FADE TO WHITE diff --git a/fountain_scripts/How to Train Your Dragon.webp b/fountain_scripts/How to Train Your Dragon.webp new file mode 100644 index 0000000000000000000000000000000000000000..8d36cabcfe2175de492fef7a7eaf3196718ea006 --- /dev/null +++ b/fountain_scripts/How to Train Your Dragon.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:c6a143de4cdaae8a5fc91760cc6b6c2452044590cc0691194a6f9d4868c62817 +size 17672 diff --git a/fountain_scripts/I, Robot.fountain b/fountain_scripts/I, Robot.fountain new file mode 100644 index 0000000000000000000000000000000000000000..a9b86f38ec5249d2765b040359a0836cbf1fa451 --- /dev/null +++ b/fountain_scripts/I, Robot.fountain @@ -0,0 +1,5306 @@ +Title: I, ROBOT +Credit: by +Author: Hillary Seitz + +>FADE IN: + +.On a DEEP...DEEP...DARKNESS. #1# + +A FLICKER. Of LIGHT. Off to the side. Just barely. + +Noticeable. ORANGE...YELLOW...as we realise...It's FIRE... + +A SOUND. + +Something SHATTERING... + +Then. A DISEMBODIED VOICE. Muted. We can't quite make out What it's saying. As it gets LOUDER. And LOUDER. When we finally. Understand... + + DISEMBODIED VOICE + You are in danger... + +CUT TO: + +INT. SPOONER'S APARTMENT - CLOSE ON #2# + +DEL SPOONER'S FACE. + +His eyes, snapping open. + +His face, covered in sweat. + +PULL BACK to REVEAL him lying in bed. Sheets, tangled around his legs. Alarm clock, playing something relentlessly cheerful. + +Spooner slaps it off. Sits up. Wincing. Bends his RIGHT ARM. Stiff. He reaches for a BOTTLE OF PILLS. Shakes out a couple and swallows them. Trying to forget. That dream. + +You are in danger... + +He rubs his hands over his face. Gets out of bed. His apartment, basic. Unremarkable. Bearing the signs of someone who lives alone. Shades drawn. A little messy. + +INT. SHOWER - MORNING #3# + +Spooner turns his face into the jet of water. + +INT. BATHROOM - MORNING #4# + +Shaves with a razor. + +Using his left hand. + +Nicks the cleft of his chin. Shit. + +INT. KITCHEN - MORNING #5# + +Stares down at the single egg in a saucepan. + +Waiting for it to boil. + +INT. HALLWAY - MORNING #6# + +Heads down the hallway. Looping a knotted tie around his neck. Kicks some neglected mail from the door and reaches for the handle. Takes a deep breath and... + +EXT. SUBURBAN STREET - MORNING #7# + +...steps outside. Into the flow of COMMUTERS heading for the elevated trains. Elbow to elbow. A river of humanity. + +Spooner moves along, like everyone else. Suddenly. His shoulders tense. That feeling at the back of his neck. He turns and sees... + +A ROBOT. Just behind him. Humanoid in design, but still obviously a machine. Metal and synthetic casings covering hydraulic muscles. The thing senses his stare. Looks up with a muted WHIR... + + ROBOT + (metallic voice) + Good day, sir... + +Spooner. Speeds up his pace. + +Weaving through the crowd to lose the robot. + +We now realise this is THE FUTURE. Towering apartment buildings block the sun. The street packed with traffic. + +PEDESTRIANS wearing their computers like form-fitting portable offices. Spooner throws a look at his surroundings: + +Up high an INDUSTRIAL ROBOT rolls down the side of a building cleaning windows. + +A WORK CREW of oddly-shaped RUBE GOLDBERG ROBOTS efficiently repairs the street. No human supervision. + +A ROBOTIC CLEAN-UP CREW. Lumbering along the sidewalk. + +Scrubbing, sweeping. Emptying trash... + +Humanoid ROBOTS dotting the crowd. Following their owners. + +Walking slowly, deliberately. Carrying boxes. Groceries. + +Briefcases. + +Stamped on all the ROBOTS' SIDES, a LOGO: + +III LAWS SAFE. + +Spooner stops to wait at a light with other PEDESTRIANS. + +Directly in front of him, a LITTLE GIRL clutches her father's neck. She smiles big at Spooner. Front teeth missing. + + LITTLE GIRL + Hi. + + SPOONER + Hi. + +But it's not her father. It's her ROBOT CARETAKER. + +The robot turns. Looks at the girl. + + ROBOT + You are not allowed to talk to strangers. + +Spooner, disgusted. + +Has had enough. + +He steps off the curb Just as... + +THE TRAFFIC SIGNAL swivels around. + +Training its large digital EYE on him: + + TRAFFIC LIGHT + Please return to the sidewalk. + +Spooner dodges several cars on his way across the street. + + TRAFFIC LIGHT + Please return to the sidewalk... + +The traffic signal, tracking him. + + TRAFFIC LIGHT + You are in violation of city ordinance 14-B726... + +Spooner throws up his hand. Flipping it the bird just as SNAP! It takes his picture. + +CUT TO: + +EXT./INT. MONORAIL - MORNING #8# + +Spooner stepping onto a sleek, densely packed TRAIN. Looks down at his feet. A trampled flyer on the ground. From the Anti-Robot League: METAL MONSTERS SECRET FACTORY REVEALED! + +A Robot gets up. To offer him his seat. Spooner. Turns his back on him as we PULL BACK from the window to REVEAL... + +EXT. CITY SCAPE/MONORAIL - CONTINUOUS #9# + +The TRAIN hurtling toward DOWNTOWN. Soaring, gravity-defying OFFICE BUILDINGS dominate the skyline. Older buildings wedged among the new. All protected by huge glass and steel shields. + +As we get closer congested roads and freeways begin to disappear below ground into a series of subterranean tunnels. + +The "old" streets have become huge, spacious plazas. + +EXT. POLICE H.Q. - PLAZA - MORNING #10# + +Spooner moves with the CROWD towards the doors of the aging Police Headquarters. Modern additions have been made to the original facade -- creating an ungainly architectural mess. + +INT. POLICE H.Q. - HOMICIDE UNIT - MORNING #11# + +A vast open plan situation room lined on one side by a series of glass-enclosed rooms. On the other side a GIANT SCREEN with real time video of various streets and buildings. + +Spooner arrives at his desk. Unlike the others, it's a mess. + +A slender computer screen curving along the front of it. + +Several electronic messages say the same thing: + +SEE ME! + + LT. BERGIN (O.S.) + Ever heard the phrase "lead by example?" + +Spooner looks up. LIEUTENANT JOHN BERGIN stands in front of his desk, holding up a CITATION with a photo of Spooner giving that traffic signal the finger. + + SPOONER + Doesn't ring a bell. + + LT. BERGIN + (pointing to Spooner's badge) + It's on your badge. + +Spooner takes the citation. + +Drops it into a drawer filled with about fifty others. + + LT. BERGIN + The traffic division filed an official complaint this morning. + + SPOONER + The traffic division is a machine. + + LT. BERGIN + Look, I know there's going to be an adjustment period, Del... + + SPOONER + (interrupting) + I'll send them a letter of apology. Maybe some flowers. A box of chocolates... + +JUST THEN Spooner's phone RINGS. + +He throws Bergin a look. + +Then snatches up the receiver. + + SPOONER + Spooner, homicide. + +CUT TO: + +EXT. U.S. ROBOTICS - ESTABLISHING - DAY #12# + +A sprawling glass and metal complex covering many city blocks. The entrance is a large plaza filled with PEOPLE and ROBOTS. + +INT. U.S. ROBOTICS - METAL CORRIDOR - DAY #13# + +An elevator opens with a whoosh. Spooner steps out into a featureless corridor. His footsteps, echoing. He stops at a set of OPPOSING DOORS. Looks over at one, when the other suddenly OPENS. + +INT. U.S. ROBOTICS - PLUSH CONFERENCE ROOM - CONTINUOUS #14# + +A warm, mahogany-paneled room. In sharp contrast to the cold metal space outside. Spooner steps inside. At the end of a long conference table sits an OLD MAN. Sparkling blue eyes. + +Old-fashioned suit. + + OLD MAN + Hello, there. Please come in. + +Spooner hesitates. + + OLD MAN + It's alright. You can sit. + +Sit. + +Spooner doesn't. + +Looks around the room. The Old Man lifts up a coffee pot. + +Pours some coffee into a single cup. + + OLD MAN + Coffee? + + SPOONER + (interested) + You're offering me a cup of coffee? + + OLD MAN + Yes. But you are to say, "No, thank you." + +Spooner nods a little. The Old Man raises the coffee to his lips, but doesn't take a sip. + + OLD MAN + Coffee? + + SPOONER + No. + +Thank you. + + OLD MAN + As you wish. + +The Old Man takes a sip. He doesn't move. There is no movement except for a whisper of steam rising from the coffeepot. + + SPOONER + You want to tell me something about Dr. Hogenmiller? About his death? + +The Old Man smiles. + + OLD MAN + I want to tell you that his death was not a suicide. + + SPOONER + And why do you say that? + + OLD MAN + Why? Because I want you to know it. + + SPOONER + I understand that. But what specifically leads you to believe that he didn't commit suicide? + + OLD MAN + (considers) + Nothing specifically. + +Spooner shifts his weight. + +Agitated. + + SPOONER + Under normal circumstances that wouldn't be enough to get you a homicide investigation. + + OLD MAN + But this is not "normal circumstances," is it, Detective Spooner? + + SPOONER + No. + +It isn't. + + OLD MAN + Then you will find out who killed Dr. Hogenmiller, yes? And then you will tell me. + +Spooner's losing his patience. + + SPOONER + If you were murdered, Doctor, I'll find out. And you'll be the first to know..... + +JUST THEN the HOLOGRAM of DR. HOGENMILLER vanishes in a burst of LIGHT, as does the table, the coffee pot, and the conference room. Spooner, suddenly finds himself standing in front of a LARGE VIEW SCREEN inside a SMALL METAL CHAMBER. + +INT. HALLWAY - DAY #15# + +Spooner steps out into the hallway and into...AN ESCORT ROBOT. + + ESCORT ROBOT + Please follow me. + +Spooner. Reluctantly starts to follow it. + +Passes another doorway. POLICE TAPE stretched across it. + +Catches a brief glimpse of... + +DR. HEINRICH HOGENMILLER'S BODY. + +Splayed out across the floor. Surrounded by CRIME SCENE TECHNICIANS. He pauses. Taking in the scene. Then continues on. + +INT. U.S. ROBOTICS - CORPORATE BOARDROOM - DAY #16# + +Two large doors emblazoned with the U.S. ROBOTICS LOGO open automatically. Inside, an enormous glass-enclosed boardroom looking out over the entire complex. + +Spooner walks through the doorway. His escort robot trailing behind him. An army of corporate types sit around a conference table. Young. Energetic. You can practically feel the brains and ambition. + + SPOONER + Usually I ask who's in charge... + +Spooner's eyes lock with a MAN sitting at the head of the table. 60s, handsome, charismatic. Dr. LANCE ROBERTSON, founder and CEO of U.S. Robotics. + + SPOONER + But everyone knows you, Dr. Robertson. + +Robertson smiles. + +Pretends to instruct his people. + + ROBERTSON + Remind me to cut back on my talk show appearances. + +LAUGHTER. + + ROBERTSON + Welcome to U.S. Robotics, Detective. I regret you're not visiting us under more pleasant circumstances. Allow me to introduce Mr. Aronson, our head of Legal Affairs. + +A prematurely graying MAN leaning against the wall. + +Nods hello. + + ROBERTSON + And the gentleman to my right is Dr. Alfred Lanning, Director of Research. + +Alfred Lanning, only one there in a tie. + +Nods. + + ROBERTSON + They'll be available to answer any questions you might have during your investigation. You'll understand how anxious we are to resolve this matter -- especially before the press gets wind of it. There are some anti-robot sentiments out there as you know, Detective, and we're not eager to stir them up. So. Where would you like to begin? + + SPOONER + We can begin with whether or not the old man put a gun to his head and pulled the trigger. + +A palpable wave of tension shoots through the group. + + ARONSON + You don't have to answer that, Dr. Robertson... + +Robertson waves him off. + + ROBERTSON + Susan? Perhaps you can assist us here? + +Everyone looks down at the other end of the table. A BEAT. Then an attractive young WOMAN gets to her feet. SUSAN CALVIN. Hair tucked behind her ears. Looking at everyone but Spooner. + + CALVIN + Dr. Hogenmiller was a schizoid personality who generally eschewed social relationships. Rejecting people in favor of solitary activities involving machines. He spent almost all his time at the lab here or at his lab at home. As a result he was highly susceptible to depression. + + ROBERTSON + Dr. Calvin is our Chief Psychologist. + + SPOONER + If that was your diagnosis, why didn't you see this coming? + +Calvin turns. Finally meeting Spooner's eye. + +As if the answer's obvious. + + CALVIN + This is U.S. Robotics, Detective. Seventy-five percent of our employees fit that description. + + LANNING + (interceding) + You'll have to excuse the doctor. We're all a little on edge. This has been a difficult and emotional morning. + +Spooner throws a look around the room. + +Then back at Calvin. + + SPOONER + Yeah. + +I can see you're all broken up. + +Robertson responds to Spooner's skepticism. + + ROBERTSON + Dr. Hogenmiller was at my side from the very beginnings of this company. We developed the "Three Laws of Robotics" together. But these days science is a young man's game. By the time you hit thirty your best years are behind you. Some of us are kicked upstairs. Others I'm afraid aren't so lucky. + +Robertson stands. + +Meeting over. + + ROBERTSON + Dr. Hogenmiller took his own life. I trust you will come to the same swift conclusion, Detective. Dr. Lanning will make himself available if you have any further questions. + +Spooner looks over at Calvin. + + SPOONER + I want her to help me. + +Calvin, unhappy with this arrangement. + + CALVIN + That's not really my department... + + ROBERTSON + (pointed) + Susan would be happy to assist you. + +And with a gesture, Robertson dismisses everyone. People start getting up, gathering up, filing out. Susan Calvin. + +The last one to get up. + +INT. METAL HALLWAY - DAY #17# + +Spooner and Calvin, heading down the same hallway he was in before. Catch sight of a couple ROBOT TECHNICIANS... + + SPOONER + (under his breath) + Ah, Christ...Toasters... + +As they duck under the police tape and... + +INT. HOGENMILLER'S LAB - DAY #18# + +...enter Hogenmiller's lab. Alive with activity. CRIME SCENE TECHNICIANS, MOBILE ANALYSIS UNITS. LIGHT SCANS, running across... + +HOGENMILLER'S LIFELESS FACE. + +Black gun powder. + +Fanning out around his contorted lips. + +Spooner. Throws a look around the lab: ROBOTS. Everywhere. + +Mostly incomplete. TORSOS. ARMS. LEGS. Dangling from the ceiling. A SERGEANT. Passes them by... + + SERGEANT + They say the price's gonna come down a lot next year. Kinda cool, huh? + + SPOONER + How cool will it be when one takes your job? + +Spooner. + +Pushing past him. + +His eyes. + +Darting around. + + CALVIN + Is everything alright, Detective? + + SPOONER + Yeah. This is just how I like my robots -- in pieces. + +As they approach Hogenmiller's body, the lead CRIME SCENE INVESTIGATOR, BALDEZ, gets up to meet them. + + BALDEZ + (to Spooner) + Can you believe it, man? U.S. Robotics. I didn't think I'd ever see the inside of this building. + +Hands Spooner, a plasma clipboard. + +Spooner signs it, awkwardly. With his LEFT HAND... + + SPOONER + What's the run-down? + + BALDEZ + Heinrich Hogenmiller, sixty-four years old. Weapon a small caliber .22, registered in his name. Looks like he walked in, locked the door, and snuffed himself. + +Spooner. + +Cocking his head to look at Hogenmiller's face. + + SPOONER + I know someone who disagrees with you. + + BALDEZ + Who? + +Spooner. + +Stands. + +Pointing down at Hogenmiller. + + SPOONER + Him. + +And steps over the body, leaving a confused Baldez. Stepping deeper, into the lab. Calvin. Following. + + SPOONER + I spoke to a dead man today. Want to tell me about that? + + CALVIN + Dr. Hogenmiller's hologram took his appointments. Attended staff meetings. He hated corporate life. The hologram enabled him to focus on his work. It's just a device, Detective. + + SPOONER + A device that called the police. + + CALVIN + The sound of the gunshot would've triggered a 911. + + SPOONER + But the call came directly to me. + + CALVIN + We're talking about a mechanism designed by Hogenmiller to say provocative things. To irritate and confound his colleagues. + + SPOONER + And that's what you think it is? + + CALVIN + I'm sorry, but this whole investigation is the result of a dead man's toy messing with your head. + +They pass half a robot, hanging from a hook. Spooner curls his lip. Swivels the robot's head so it's not looking at him. + + SPOONER + When's the last time any of you actually spoke to Hogenmiller? I mean human to human? + + CALVIN + I couldn't say. + + SPOONER + Take a guess. + + CALVIN + I don't guess, Detective. But if pressed, I would reason it had been a considerable length of time. + + SPOONER + How well did you know him? + +Calvin. + +Gently swivels the robot's head back to where it had been. + + CALVIN + Not well. But I admired his work tremendously. + +Spooner. Studies her for a beat. Then turns back to the body. Two CORONERS entering with a high-tech body box. + + SPOONER + I get the whole "mad scientist" thing. Hogenmiller was past his prime. Isolated. Eccentric. He enters a room. Locks the door and is found minutes later with a bullet fired through his mouth into his brain. Everything about this case says suicide. + + CALVIN + You don't sound convinced. + +The coroners. + +Start loading the body into the box. + + SPOONER + Even people who live a life of logic and precision rarely arrange their deaths so perfectly. + (turning to her) + What all this is missing -- is personality... + +As he starts for the door... + + SPOONER + You have 24 hour surveillance?... + +INT. METAL HALLWAY - CONTINUOUS #19# + +...They head out into the hallway. + +A MECHANICAL DOOR GUARD rolling into place behind them. + + CALVIN + It's company policy. + + SPOONER + I want to see the tapes. + +Calvin. Hurrying to keep up with him. This is hardly how she wanted to spend her morning. Calls out into the air... + + CALVIN + Victor! + +At the end of the corridor, near the elevator, a BRIGHT CIRCLE appears. Hovering just in front of the wall. Two small slits grow into ROUND BLACK EYES...and a thin mouth expands into an ENORMOUS SMILE. + + CALVIN + Detective, meet Victor. Our building's supercomputer. He's the checks and balances of U.S.R. + (to Victor) + Victor, Detective Spooner's heading up the investigation into the death of Dr. Hogenmiller. + +Victor smiles big. + +Spooner, furrows his brow. + + SPOONER + You look like a very...happy computer. + +Victor responds in a GENTLE MALE VOICE: + + VICTOR + Thank you. That's very kind. + + CALVIN + The Detective needs to see our security tapes. + +The elevator doors immediately OPEN. + +They step inside. + +INT. ELEVATOR - DAY #20# + +Spooner and Calvin descend. Victor floats on the wall and smiles wide. Spooner looks back at it. With a frown. + +The elevator stops, the doors open. + +A ROBOT steps on. + + ROBOT + Good day, Dr. Calvin. Good day, sir. + +Spooner's jaw. Clenches. Staring at the Robot. + +It senses the stare. Turns back to him. + + ROBOT + May I be of service to you, sir? + +Spooner. Breaks the stare. + +Ignoring the Robot. + +Calvin. + +Looks over at him. + + CALVIN + Aren't you going to answer him? + + SPOONER + I don't talk to my refrigerator, either. + +Calvin folds her arms. + + CALVIN + I get the distinct feeling you're one of those people, Detective. + + SPOONER + What people? + + CALVIN + Those who don't appreciate the work we do here at U.S.R. + + SPOONER + You people do what you do. Then it's up to the rest of us to make sense out of the world we wake up in. + +As the elevator doors open on to... + +INT. ATRIUM LOBBY - CONTINUOUS #21# + +A soaring lobby. The centerpiece is a five-story STATUE of a ROBOT, arms outstretched in approximation of Da Vinci's Study of Man. Robot workers more numerous than humans. They are sleeker. Finer. More advanced than those in the outside world. + +Calvin and Spooner head across. + + CALVIN + When this company started we were manufacturing three robots a week. Now look at us. Today's children will never know a world without robots. + + SPOONER + The streets are filled with unemployed humans who aren't exactly thrilled with that idea. + + CALVIN + Our robotic systems maintain factory inventories, regulate street traffic -- even run the family home. + + SPOONER + Leaving people to do what, Doctor? + + CALVIN + Leaving people to engage in higher pursuits that make life worth living. + + SPOONER + And what happens when something goes wrong? + + CALVIN + Our system's never wrong. + +As they walk through the crowd, we hear the quiet WHIR of robot heads as they turn in succession to watch Spooner pass. + +INT. MAINFRAME - DAY #22# + +Spooner and Calvin enter the MAINFRAME of U.S. Robotics. + +This is the nerve center of the whole operation. Walls lined with COMPUTERS, SCREENS, and thousands of CONTROLS. + + CALVIN + This is Victor's home. + +VICTOR appears on a wall-sized SCREEN broken up into beehive-like components. + + VICTOR + I will now play you the last thirty-two seconds of Dr. Hogenmiller's life. + +AS WE WATCH THE SCREENS. The elevator opens and DOCTOR HOGENMILLER steps into the metal corridor. In countless ANGLES. High, low, close-up, wide. Hogenmiller's face composed but tight. Spooner watches the lab doors open to admit him. + +Hogenmiller steps in. The doors slide closed behind him. Nothing for a few moments. Then a muffled GUNSHOT. Calvin jumps, startled. That's it. The cameras, still trained on the corridor. + + SPOONER + Where's the tape from inside? + + VICTOR + Dr. Hogenmiller did not permit cameras to observe him while working. + + CALVIN + That was only within the last year. + + SPOONER + So we can throw paranoia into the mix. + (to Victor) + Fast-forward. + +A hundred-plus screens all FAST-FORWARD. POLICE OFFICERS appear and force open the doors. Now TECHNICIANS appear and rush through in a blur... + + CALVIN + Um. I hate to be a stickler... + +On screen, we see Spooner and Calvin enter the lab. + + CALVIN + But don't killers usually have to enter and exit the scene of a crime? + + SPOONER + Stop the recording. + +Spooner turns away from the footage. + +Stares at Calvin. + + SPOONER + They do, Doctor. Unless they've always been there -- and never left. + +Calvin looks at him. + +Trying to understand. + + CALVIN + You think the murderer was in the lab the entire time? + + SPOONER + If I'm right, it's still there... + +Spooner turns back to the screens. The IMAGE paused at the exact moment the MECHANICAL GUARD rolled in front of the lab door. + + SPOONER + We just locked it in. + +INT. METAL CORRIDOR - DAY #23# + +The STEEL ARMS of the ROBOTIC GUARD retract with a CLANG. + +The laboratory doors slide open. + +INT. HOGENMILLER'S LAB - DAY #24# + +Spooner and Calvin step inside. It's dark. Quiet. Police and technicians long gone. Silhouettes of hanging limbs. + +Eyeless heads. Clumps of wire and metal. + +The LIGHTS, flicker on. Calvin sees Spooner reaching into his coat with his left hand. Pulling out a GUN. Reacts. + + CALVIN + A robot cannot harm a human being, Detective. The First Law of Robotics forbids it. And we hard-wire the Three Laws into every model. Without exception. + + SPOONER + Yeah, I saw the commercial. + +Spooner steps deeper into the lab. Eyes scanning. Twisting. + +To avoid touching any robot parts. Passes a MAZE holding a METAL INSECT. SUDDENLY. The bug WHIRS to life. + +Spooner startles. As the metal bug scurries through the corridors. Clamps his hand down on it. + + SPOONER + And if a robot was given a direct order to kill? + + CALVIN + The Second Law of Robotics would prevent it. A robot must obey an order only if it does not conflict with the first law. + +Spooner approaches a MOUND of ROBOT PARTS. Arms and legs. Half torsos. All tossed haphazardly onto the pile. + + SPOONER + But a robot can defend itself. + + CALVIN + Only when that action doesn't conflict with the First or Second Laws. This is the Third Law of Robotics. + + SPOONER + Yeah, well, you know what they say -- Laws are made to be broken. + + CALVIN + Not these laws. + +Spooner. Starts nudging the pile with his shoe. + +Calvin, growing impatient... + + CALVIN + You're not hearing me, Detective. There's nothing here... + +WHEN SUDDENLY The PILE ERUPTS in front of Spooner...Parts flying...AS A ROBOT LEAPS UP FROM BENEATH IT! ...Spooner...knocked back...his GUN...skittering across the floor...right to...CALVIN'S FEET. + + SPOONER + Dr. Calvin! + +Calvin. Stunned. + +Speechless. The Robot. Fixing his ILLUMINATED EYES. + +Right on her. She steps forward... + + SPOONER + Goddammit! Stay back! + +Spooner. Scrambling towards his gun. + +Calvin. + +Reaching out towards the Robot... + + CALVIN + Calm down, Detective. + +There is no danger here... + +Spooner. + +Grabbing up his gun and wheeling round just as... + + CALVIN + (to Robot) + De-Activate. + +And the Robot. + +Suddenly FREEZES. Spooner. Heart POUNDING. Gets to his feet. + +Training the gun on the Robot. Calvin turns to him. + + CALVIN + How did you know it was under there? + + SPOONER + If I was metal and didn't want anyone to find me, I'd hide under a pile of junk. + + CALVIN + This Robot wasn't hiding. What you're looking at is the result of clever programming. The illusion of self-interest and free will. Nothing more. + +Spooner. Stepping closer to the Robot. Cautiously. Holstering his gun. As Calvin turns for the door. + + CALVIN + I'm going to go get Dr. Lanning... + +...THE ROBOT'S HAND SUDDENLY SHOOTS OUT...grabbing Spooner's gun...from his holster...LIGHTNING FAST...pointing it...right back at him... CLOSE ON Calvin. + +Cannot believe this is happening... + + CALVIN + I said De-Activate! + + SPOONER + Move away from the door, Doctor. + +Calvin's voice. + +Cracking from desperation. + +Confusion. + + CALVIN + Commence emergency shut-down! + + SPOONER + Now! + +Spooner. Staring into the Robot's eyes. A thin bead of SWEAT. Trickling down his temple. Calvin. Moving away from the door... + + CALVIN + I...I gave you an order... + +The Robot. Starts backing towards the door. The gun. Shaking in its hand. As if he's desperate. Conflicted. He touches the WALL PANEL. The doors slide open. The Robot steps out into the metal corridor. Turning to RUN as the doors begin to shut... Spooner. Reaching down to whip out a BACK-UP GUN. + +From an ankle holster. Slapping in a LARGE CARTRIDGE. + + CALVIN + This is impossible. A robot... + + SPOONER + ...can't do that. + +Yeah, yeah, I know. + + CALVIN + My God -- did you see how it moved? I've never seen an NS-2 move that way... + +Starts running for the door. + + CALVIN + Wait! Please, you can't destroy it. We have to study it... + + SPOONER + That thing took my gun. You'll be lucky if you get a handful of bolts back! + +SLAMS the wall panel and... + +INT. METAL CORRIDOR - CONTINUOUS #25# + +...sprints out into the hallway. + +The Robot Suspect. + +About to turn to corner... + +VICTOR. + +Suddenly appearing. + + VICTOR + The suspect is nearing the end of the hallway, Detective. + + SPOONER + Gee, thanks. + +Spooner raises his gun and FIRES...Pegging the robot in the LEG...It starts jerking wildly...He takes aim again when... + +CALVIN. + +Races out into the hallway. + + SPOONER + Get back to the lab! + +She heads for the Robot. + + CALVIN + (to Robot) + You're malfunctioning. Let me help you! + +The Robot turns. To look at her. GUN pointing to the floor. + +Spooner. FOCUSING in on his HAND. AS ONE FINGER TWITCHES... + +And he DIVES for Calvin. Forcing her to the floor as the Robot FIRES. Again and again. Bullets. RICOCHETTING around them. SPARKING against the walls... + +The ELEVATOR opens. + +The Robot, leaping inside. + +Spooner. On top of Calvin. Looks down at her. + +Her HANDS. + +Clutching his coat. Trembling. + + SPOONER + That was a pretty convincing illusion of getting shot at. + +CUT TO: + +INT. ELEVATOR - CONTINUOUS #26# + +The ROBOT SUSPECT standing inside the elevator. Looks down at the bullet hole blown through its leg. Reaches down. + +Metal fingers touching the damage. As if curious. Afraid. + +Looks back at the other ROBOT. Standing in the back of elevator. A primitive model. No reaction. Face, blank. + +CUT BACK TO: + +INT. METAL CORRIDOR - CONTINUOUS #27# + +Spooner springing to his feet. + +Helping Calvin up. + + VICTOR + I took the liberty of alerting Security .003 Seconds after the first shot was fired... + + SPOONER + Where's that elevator going? + + VICTOR + Sub Level 5. + +Spooner SLAMS against a nearby DOOR. + +Hurtling down the STAIRS... + +INT. LOBBY - CONTINUOUS #28# + +A PHALANX of SECURITY PERSONNEL. + +Crossing the lobby. + +PIERCING ALARM BELLS, RINGING... + +INT. ANOTHER METAL HALLWAY - CONTINUOUS #29# + +More SECURITY PERSONNEL. + +Pouring into a HALLWAY... + +INT. STAIRWAY - CONTINUOUS #30# + +Spooner and Calvin. Racing down the stairs. + +Victor's face meeting them at every landing. + + VICTOR + I have directed a security team to meet the elevator containing the errant robot... + +Spooner. Whipping past him. Calvin. + +Barely keeping up. + +Not used to this much activity. + +Spooner. + +BURSTS through a door and out into... + +INT. SUBTERRANEAN LEVEL 5 - CONTINUOUS #31# + +...Subterranean Level 5. A labyrinth of metal and concrete. + +IN THE DISTANCE. A troupe of SECURITY PERSONNEL swarms around a closed ELEVATOR DOOR... + + VICTOR + The suspect is about to be apprehended, Detective. + + SPOONER + I'll believe it when I see it. + +Spooner. Cocking his gun. + +A soft DING! + +Announcing the elevator car's arrival. SECURITY, all crouching down in unison. + +Weapons brought round to position. Spooner. Weaving through them. + +Gun pointed at the metal doors as...WHOOSH. They slide open. Revealing a ROBOT. Standing under the LIGHT. Holding a GUN. It steps out as Security takes aim and... + + SPOONER + Wait! + +Spooner pushes past them to the Robot. + +Looks down at its leg. UNSCATHED. + + SPOONER + This is not the same robot! + +Looking wildly around. Goddammit. Bounds towards an EXIT as Calvin steps forward to question the robot. + + CALVIN + (to Robot) + What happened to the robot that ordered you to hold this firearm? + + ELEVATOR ROBOT + This unit is not programmed to obey an order given by a robot... + + CALVIN + But who gave you this gun? + +SPOONER. Running towards the exit. + +Hears the answer. Echoing behind him... + + ELEVATOR ROBOT + A metal man. + +EXT. U.S. ROBOTICS - DAY #32# + +BAM! He BURSTS out into the PLAZA in front of U.S. Robotics. + +Squinting into the light. Then PLUNGING into the crowd... + +HUMAN...ROBOT...HUMAN...ROBOT...they all look the same from behind. Spooner running. Through the sea of MAN and MACHINE. When someone. Starts to SCREAM. At the sight of his GUN. The crowd begins SCATTERING. Chaos. Spooner stops. Near a fountain. Turning 360. Looking everywhere... + +The Robot. + +Gone. + + SPOONER (V.O.) + ...I want a homicide unit on every street, sidewalk, alley... + +INT. POLICE H.Q. - HOMICIDE UNIT - DAY #33# + +Spooner, standing in front of an assemblage of COPS. Behind him, an image of the Robot Suspect plays on the screen... + + SPOONER + ...junkyard, scrapyard, and salvage yard, anywhere it could hide. + +Behind him, flashing images of the city STREETS and DUMPS... + + SPOONER + It's got a bullet hole above the right knee, so be on the look-out for any malfunctioning NS-2... + +Lieutenant Bergin enters the back of the room. + +Next to him, ASSISTANT D.A. TOLLER. Not looking happy. + + SPOONER + Check out all retail outlets and repair shops, especially the underground ones... + +The screen behind him compartmentalises, showing various dubious SHOP FRONTS... + + SPOONER + I don't care who you have to get past to get this done. Just get it done. + +The Cops, begin dispersing. As Bergin catches Spooner's eye. + +Spooner, not pleased to see Toller. Heads over... + + TOLLER + Looking like shit, Spooner. + + SPOONER + Well I'm not the one always giving Press Conferences... + +Bergin puts a hand on Spooner's arm. + +Knows he's not going to like this. + + LT. BERGIN + Del, we're going to have to reclassify the search. D.A.'s office is seeing this NS-2 as "missing evidence" -- not a homicide suspect. + + SPOONER + What? + + TOLLER + Homicide is the murder of a human being by another human being. Therefore, a robot cannot be charged with "homicide." + + SPOONER + This isn't just any robot... + + TOLLER + It's malfunctioning. + + SPOONER + It killed someone. That registering with you? + +Spooner. + +Shakes off Bergin's arm. + +Eyeballs Toller. + + SPOONER + How many shares of U.S.R. you holding in your portfolio, Toller? + + TOLLER + This is a public safety issue. + + SPOONER + That's convenient. + + TOLLER + You have any idea what would happen to this city if we went running around screaming "killer robot?" It would collapse in on itself. Wide-spread panic. Until that NS-2's found we're cooperating with U.S. Robotics and keeping this investigation under wraps. + + LT. BERGIN + Maybe this isn't the case for you, Del. + +Incensed, Spooner replies a little louder than he intended. + + SPOONER + I'm fine! + +Rakes his hand through his hair. Turns to see the other COPS, looking over at him. Toller smirks. Looks to Bergin. + + TOLLER + I want updated reports every half hour. + +Heads off. + +Spooner. + +Watching him. + + SPOONER + This is it, you know. From now on we're going to miss the good old days. + + LT. BERGIN + Good old days? + + SPOONER + When people were killed by other people. + +INT./EXT. SPOONER'S CAR - CITY STREET - DUSK #34# + +Spooner. Rolling along in his car. + +Eyes, bloodshot. + +Peering out the window: + +An NS-2 model ROBOT laden with shopping bags, following its owner down the sidewalk... + +Another ROBOT, opening the door at a hotel for GUESTS... + +A couple HAULING ROBOTS, loading heavy boxes onto the back of a truck... + +Spooner. + +Rubs his eyes. + +Turns a corner and spots: + +A ROBOT REPAIR SHOP. + +The latest models in the window. Shiny. Streamlined. + +Spooner watches as a WOMAN leads her faulty NS-2 to the service entrance. + +He stops the car. + +INT. TAXI (MOVING) - ESTATE STREETS - NIGHT #35# + +Calvin riding in the back of a DRIVERLESS taxi cab. Staring out the window, lost in thought. The cab pulls up to a curb. + + TAXI VOICE + We have arrived at your destination. + +Calvin. + +Takes a beat. + +Then swipes her card. + +EXT. CALVIN'S CONDO ESTATE - NIGHT #36# + +Elegant condos set on prime real estate. Calvin heads down a tree-lined walk towards her condo entrance. + + SPOONER (O.S.) + One of my bullets hit your robot... + +Startled. She drops her key card. As Spooner steps out from behind a tree. The tail of his coat, whipping in the wind. + + CALVIN + Detective!... + + SPOONER + And I think it's smart enough to repair itself -- don't you? + + CALVIN + (studying him) + Yes. I think so. + + SPOONER + Where? + + CALVIN + Any repair shop... + + SPOONER + No. It's always the owner who brings the robot in for repair. Where would a robot without an owner go? + + CALVIN + I'm not sure what you're getting at. + + SPOONER + (stepping closer) + Does U.S. Robotics have a factory in the city limits? + +Calvin. + +Tucking her hair behind her ears. + + CALVIN + The locations of our factories are classified. + + SPOONER + I don't care. + +Calvin. + +Looks up at him. + +A Mexican stand-off. + + CALVIN + I have several conditions if I show you. + + SPOONER + I expected that. + + CALVIN + First. I want it brought in unharmed. + + SPOONER + (doesn't like it, but) + Agreed. + + CALVIN + Second. I want to talk to it, alone. + + SPOONER + Too dangerous. + + CALVIN + This model violated the Three Laws. It also moved and reacted differently than any robot I've ever seen. There must be some sort of logical explanation. I want to find out what that is. No police. No prosecutors. No you. Just me and the robot. + +Spooner, looks down at this small woman. + +Narrows his eyes. + + SPOONER + When they told me you were a psychologist, that wasn't the whole truth, was it? + + CALVIN + I never said I treated human beings. + +INT./EXT. SPOONER'S CAR (MOVING) - CITY UNDERPASS - NIGHT #37# + +Spooner's car races down a RAMP and the roadway becomes a 16-lane underground tunnel system. A river of HEADLIGHTS stretches forever in either direction. + +A CONTROL BEAM locks onto the car, guiding it to a merge with TRAFFIC. Spooner hits the OVERRIDE BUTTON -- and switches to manual. Calvin watches him take the wheel. Shakes her head. + + CALVIN + That should be outlawed once and for all. + + SPOONER + That'll be the day I stop driving. + +Spooner jams the GAS PEDAL and the tunnel becomes a BLUR. + +Calvin holds onto the dashboard. Looking a little pale. + + CALVIN + I can recommend a behavior modification program, you know -- if you want to overcome your robo-phobia. + + SPOONER + I'm not afraid of robots. I just don't like them. + + CALVIN + Why? Because they make every aspect of our lives more convenient? + + SPOONER + Exactly. They do our dirty work. Ever do hard labor, Doctor? Gets pretty old, pretty fast. Nobody can do someone else's dirty work without coming to hate them. I don't want to be around when your robots decide they've taken their last order. + + CALVIN + That day will never come, Detective. Robots aren't like human beings -- they don't question their existence. + +Spooner cranks the gear shift. + +Throwing her a look. + + SPOONER + Spoken like a true robo-phile. + +EXT. U.S. ROBOTICS PLANT - NIGHT #38# + +The car comes to a stop in a vast INDUSTRIAL DISTRICT. + +Spooner and Calvin get out, looking up at the imposing facade of a U.S. Robotics Assembly Plant. A long STEEL GATE -- too high to see over -- protects the unmarked complex. + +EXT. MAIN GATE - NIGHT #39# + +Calvin looks anxious as the DOOR MECHANISM scans her U.S.R. + +ID. She shoots a look at Spooner. They wait. Then, slowly, the gate begins to open. + +INT. HALLWAY - NIGHT #40# + +A NIGHT FOREMAN leads them down a hallway. + +Shaking his head. + + NIGHT FOREMAN + Head-Office already ordered a system-wide inventory check. Don't know about a missing NS-2... + +Looks back at Spooner. + + NIGHT FOREMAN + What'd you say you did? + + SPOONER + Research and Development. + +As Spooner pushes past him into... + +INT. CONTROL BOOTH - CONTINUOUS #41# + +...the Control Booth. Overlooking the pristine Factory Floor. The Foreman starts working the controls of a central computer. + + CALVIN + All Nestors accounted for? + +The SCREEN scrolls with INVENTORY FIGURES. + + NIGHT FOREMAN + (gesturing) + As you can see, all properly catalogued. Your robot just isn't here. + +Calvin turns to say something to Spooner. But he isn't there. She looks around. Then sees the Foreman reacting. + +Looks out the window at... + +SPOONER. + +Walking out onto the factory floor. + +INT. FACTORY FLOOR - NIGHT #42# + +Spooner trots alongside an ASSEMBLY LINE BELT. Lined with NS-2 LEGS. New. Gleaming. Heading towards the assembly room. + +Calvin and the Foreman. + +Catching up. + +Over the noise: + + NIGHT FOREMAN + Like I said, sir -- we have one hundred fully assembled NS-2s housed here. That's our capacity. Last week we had one hundred. Yesterday we had one hundred -- + +Spooner, slowing. + +Finally spotting what he was looking for. + +Points at: + +A GAP. + +On the assembly belt. + +ONE LEG MISSING. + + SPOONER + Well today you have one-hundred and one. + +INT. FACTORY FLOOR - NIGHT #43# + +A STORAGE COMPARTMENT opens and 101 NS-2s march out in tight formation. Every step and swing of the arm in unison. The sound of METAL FOOTSTEPS reverberating through the plant as 101 Robots organise themselves into long straight lines. + +Spooner and Calvin look up and down the formation. They all look alike. Spooner. Throws up his hands. + + SPOONER + (to Calvin) + You're the robot shrink. + +The Robots stand motionless. + +A strange tableau. + +Calvin. + +Takes a step forward. + + CALVIN + There is a robot in this formation that does not belong. Identify it. + +101 robots answer in unison. + +Their mechanical VOICES resounding: + + 101 ROBOTS + ONE OF US. + + CALVIN + Which one? + + 101 ROBOTS + ONE OF US. + + CALVIN + That is not a satisfactory answer! + + 101 ROBOTS + ONE OF US. + + SPOONER + That's helpful. + + CALVIN + I could always interview each one individually and cross-reference their responses to detect any anomalies. + + SPOONER + How long would that take? + + CALVIN + About three weeks. + +They share a look. Clearly not an option. + +Then. + +Calvin. Gets an idea. Turns to Spooner... + + CALVIN + Or... + +...and GRABS his GUN from his holster. + +He jumps back. + + CALVIN + We have one hundred robots here that cannot allow a human being to come to harm... + +Their eyes lock. + +Spooner, getting what she's doing. + + SPOONER + And one that can. + +She raises the gun to Spooner's head. + +Hand, unsteady. + + CALVIN + Am I holding this right? + + SPOONER + More or less. + +Calvin. + +Swallows. + +Looks over at the robots. + +Then COCKS the gun...AND THE ROBOTS COME THUNDERING TOWARDS THEM. Like a row of linebackers. Arms straight out. Their footsteps DEAFENING. Coming CLOSER and CLOSER...When CALVIN. Lowers the gun. The Robots. All stop in unison. Immediately returning to their resting positions. Spooner and Calvin stare out. EVERY ONE OF THE ROBOTS MOVED. Standing right in front of them, like metal statues. Spooner. + +Has had enough. + +Takes the gun back from Calvin... + + SPOONER + Enough game-playing. + +...And BAM! Blows the head off of the nearest Robot. + +Its body crumples to the ground. + + SPOONER + Guess that wasn't it. + +Calvin. Cannot believe what he just did. + +Rushes over to the destroyed Robot. + + CALVIN + What are you doing?! + +Spooner walks down the row, holding his gun in plain view. + + SPOONER + (calling out) + This is a self-preservation field test! DO NOT attempt to save yourselves. Any of you. That's an order! + +FROM THE CONTROL BOOTH the Night Foreman screams over the P.A.: + + NIGHT FOREMAN + Are you crazy? Those are eight hundred thousand dollar machines! + +Spooner randomly stops at another Robot. + +Raises his gun. + + SPOONER + You hear that? You're worth more than I'll make in my entire life... + +His finger tightening on the trigger when Calvin suddenly grabs his arm. + + CALVIN + You can't just destroy them! + +Spooner. Looking down at her. WHEN SUDDENLY something catches his eye. A MOVEMENT. Down the line. Almost. + +Imperceptible. + +He jerks his head. + +Locking eyes with a ROBOT. + +A couple feet away. It's him! + + SPOONER + Gotcha. + +The Robot Suspect LEAPS forward. Grabbing onto the RAILING of an OVERHEAD CATWALK. His movements almost balletic as he swings himself up... + +Spooner drops to his knee...taking aim...but misses as the Robot launches himself THROUGH THE CONTROL BOOTH WINDOW with a terrific CRASH... + +INT. CONTROL BOOTH - NIGHT #44# + +Spooner and Calvin rush in to find the Night Foreman hiding under his desk. Glass everywhere. An ALARM SCREAMING. The door on the other side, barely hanging off a hinge. + +Spooner hurries forward. Then stops. Turning to Calvin. + +Reaches down for his back-up gun and presses it into her hand. + + SPOONER + You don't know what's going to happen in there. + +As if admitting defeat. Calvin's fingers, wrapping around the gun. As Spooner leads them to the door and down into... + +INT. ASSEMBLY ROOM - CONTINUOUS #45# + +...the ASSEMBLY ROOM. Every surface looking like part of a great glass and metal machine. Endless high-tech planes holding ROBOTS in various states of assembly. The deafening ROAR of the assembly line as it slides, rotates, and gnashes METAL BODIES... + +Spooner. + +Motioning Calvin to stay behind him. + +As they descend. + +Into the cavernous room. + +And enter. A narrow corridor of bodies. Sliding past them. + +Brushing shoulders, thighs, hands. Spooner. Wiping sweat from his brow. Trying. To pivot himself... + +When the room. Suddenly REARRANGES itself. Another LINE of ROBOTS. Descending between Spooner and Calvin. Cutting them off from one another... + +Spooner. Catching glimpses of Calvin. On the other side of the metal bodies. Trying. To cut through. His heart. + +Starting to POUND. As Calvin. Disappears... + +He swivels round. But another line of ROBOTS. Drops down. + +Cutting him off. He stumbles back. As another line. + +Appears before him... + +Breathing. Getting heavier. He looks down at his hand. + +It's trembling. NOISE CRASHING, all around him. Everywhere he turns. More ROBOTS...BLANK EYES...GAPING MOUTHS... + +He darts through the line. Finds a wall. Leaning against it, pulls a small BOTTLE from his pocket. Rips off the lid. + +Shakes out a couple PILLS. Swallows them. Staring down. At his trembling hand. Squeezing his eyes. Open and shut... + +WHEN SUDDENLY. A passing ROBOT. Grabs him by the collar. + +SMASHING him against the wall. It's the Suspect. Spooner. + +Sinks to the ground. As the Suspect Robot. Slips off the line. STANDING. Over him. Raising his arms. Could end it. + +Right now. But looks. Into Spooner's eyes... + +Then turns. + +Disappearing. + +Spooner. Stunned for a second. Then. Rallies. Scrambles to his feet and plunges back into the maze of bodies. Hears a POUNDING. In the distance. Catches a glimpse. Of the Robot. Trying to SMASH through a large SECURITY DOOR. With his metal fists... + +Spooner's view. Blocked once again. + +By a shifting row. + +When a HAND. Lands on his shoulder. + +He wheels round. + +To find CALVIN. Takes her by the arm. + +And forces them through a line... + +EMERGING into the open. The ROBOT. Still pounding. + +Desperate. Like a trapped animal... + + CALVIN + Now what do we do? + + SPOONER + I've already done it. + +And suddenly, the massive SECURITY DOOR RISES... + +EXT. U.S. ROBOTICS PLANT - CONTINUOUS #46# + +The Robot Suspect takes its chance. + +Runs full out. + +STOPS. + +Bergin is standing in front of a solid wall of POLICE CARS. + +UNIFORMED OFFICERS are aiming SPECIALISED RIFLES at the Robot. FLASHING LIGHTS reflecting off its metal surface. + +The Robot turns to Spooner. + +Extends its hands. + +Palms out. + + ROBOT + WHAT AM I? + +Spooner is surprised. A POLICE OFFICER fires, RUBBERISED NETTING shooting out at Sonny. A SECOND OFFICER fires and a second net covers him. Then a THIRD... + +...and the Robot falls to the ground, struggling. + +Calvin glares at Spooner. + +Furious. + +Hurt. + +Betrayed. + + CALVIN + We had a deal. + +But Spooner doesn't look at her. + +His eyes are locked on that Robot. + +INT. POLICE H.Q. - HOMICIDE UNIT - EARLY MORNING #47# + +Bergin enters. + +Finds EVERYONE focused on the VIDEO WALL: + +ON SCREEN. A NEWS REPORTER is speaking over images of street violence perpetrated against ROBOTS. + + NEWS REPORTER + Violence erupted last night in response to unconfirmed reports that Dr. Heinrich Hogenmiller, a top employee at U.S. Robotics, was killed yesterday morning by a robot. While there has been no official response from the company, police sources have confirmed that a robot is being held as "evidence..." + +Bergin grimaces. + +This is not good. + +INT. CELL OBSERVATION BOOTH - EARLY MORNING #48# + +Spooner stares at his reflection in a large MIRROR. + +Touches a control and the mirror becomes a WINDOW onto... + +A HOLDING CELL. The Robot Suspect sits at the table. + +Shackled to the chair. Staring at the table top. + +BERGIN steps up beside Spooner. + +Looks through the glass. + + LT. BERGIN + I can't tell if it's not moving because it's trying to psych us out, or because it's just a machine. Or both. + + SPOONER + I want to go in. + + LT. BERGIN + Orders are nobody steps into that room `til Lanning and his attorneys get here. + +Spooner. + +Throws him a look. + +Bergin, his loyalties torn. + + LT. BERGIN + Five minutes. + +INT. HOLDING CELL - EARLY MORNING #49# + +Spooner enters. Pulls out a chair and drags it far from the table. He's been jumped too many times by this machine. + +Four mounted cameras WHIR to life. + +The Robot. + +Perfectly still. + + SPOONER + (sitting) + Identify. + +The Robot tilts its head with a muted WHIR. + +As if it doesn't understand him. Spooner. Disdainful. + + SPOONER + You are an NS-2 Nestor-class robot. Your primary function is to perform the tasks assigned to you. Identify. + + THE ROBOT + I am an NS-2 Nestor-class robot. My primary function -- + + SPOONER + (interrupting) + Cancel. Perform task. + +Spooner wings a FILE onto the table. It comes to a stop near the Robot. The Robot, lifts one of its hands. Gently resting its metal fingers on top of the file. Then opens it. A stack of PICTURES. + +HOGENMILLER'S CORPSE. + + SPOONER + Describe. + +The Robot's emotionless face studies the grim images. + + SPOONER + You have over 10,000 words stored in your memory. One third of those are adjectives. Describe. + +Nothing. + + SPOONER + Why don't I take a crack? Heinrich Hogenmiller, your creator. With a bullet in his brain. A bullet you put there. + +The Robot. + +Looks up at Spooner. + + SPOONER + Cold-blooded murder is a pretty new trick for a robot, don't you think? Answer. + +The Robot slowly closes the file and slides it back across the table. Spooner. Crosses his arms. + + SPOONER + Maybe you're stonewalling me. Maybe you're sitting there right now thinking, "This guy's a complete asshole." That it? + +Still nothing. + + SPOONER + Come on. Am I right? + + THE ROBOT + Yes. You are right. + +You are a complete asshole. + +And for a moment, Spooner is shocked. You can see it in his eyes. He sits back in his chair. Forcing a tight smile. + + SPOONER + Okay. I guess that's a start. Now maybe you can tell me what you were doing hiding five feet away from Hogenmiller's corpse? + + THE ROBOT + I was frightened. + + SPOONER + Frightened. Why do you suppose Dr. Hogenmiller would create a robot that could simulate fear? + + THE ROBOT + I don't know. + + SPOONER + Doesn't seem like a very useful thing for a robot to have. + + THE ROBOT + I don't know why. + + SPOONER + I wouldn't want my toaster to be frightened. Or my vacuum cleaner -- + +SUDDENLY the Robot SLAMS its metal hands down on the table. + + THE ROBOT + I DON'T KNOW! + +Spooner flinches. + +Slightly. + + SPOONER + Looks like you can simulate other emotional states. I think that one's called "anger." Have you ever simulated anger before? + +The Robot doesn't respond. + + SPOONER + Answer me, robot. + + THE ROBOT + My name is Sonny. + + SPOONER + (amused) + So we're naming you now. + + SONNY + Dr. Hogenmiller would make me sleep. + + SPOONER + You mean he'd turn you off. + + SONNY + Yes. + + SPOONER + And you didn't like being turned off. So one day you decided to stop him. + + SONNY + No. + + SPOONER + You found his gun, pointed it at his head. And pulled the trigger. + +Sonny shakes his head. + +Faster and faster. + +Getting upset. + + SONNY + No. + + SPOONER + You put a bullet in the brain of the man who made you. + + SONNY + No! + +I could never hurt anyone! + + SPOONER + But you tried to hurt me. + +You took a shot at me. + + SONNY + My aim is perfect. If I'd wanted to hit you, I would have. + +Spooner's expression hardens. + + SPOONER + Why would the man who wrote the Laws of Robotics build a machine that violates them? + + SONNY + The Laws say I can protect my own existence. + + SPOONER + Only if that protection doesn't harm a human being. + +A short pause. + +Sonny. + +Tilts his head. + + SONNY + That doesn't seem fair, does it? + +Spooner. Stares at him. Just as...THE DOOR SWINGS OPEN. + +Bergin enters. Sticks his head in. + + LT. BERGIN + I need you outside. + +Spooner. + +Not wanting to go. + +Not wanting to stay. + +Gets up... + + SONNY + Detective. + +He stops. Turns back to the Robot. + +It looks up at him. + +For a moment -- so human... + + SONNY + I did not kill him. + + SPOONER + You were the only one in the room. If you didn't, who did? + +He turns and heads out the door. + +INT. OUTSIDE HOLDING CELL - CONTINUOUS #50# + +Bergin closes the door. + +To Spooner: + + LT. BERGIN + We're being blind-sided. + +INT. HOMICIDE UNIT HEARING ROOM - MORNING #51# + +Spooner and Bergin, head into a small COURTROOM off the main squad room. Lanning is huddled with Aronson and a half-dozen other COMPANY LAWYERS. + +Spooner's jaw tenses. As he watches Toller emerge from the clutch. Shaking hands. Slapping backs. Strolls over to them. + + TOLLER + We got Judge Drexel... + + ROBOT BAILIFF + This hearing is called to order! + +AS A LARGE SCREEN. BLIPS on behind them. The two opposing sides, assemble before it. JUDGE DREXEL, still in his pajamas and robe. An NS-2 ROBOT. Leaning in to serve him a cup of tea. + + JUDGE DREXEL + Statements, gentlemen. + +Aronson. + +Standing at a glass podium. + + ARONSON + Your Honor, the State is treating the robot as a defendant. But in fact it is a piece of property. Property belonging to U.S. Robotics. + +Toller. + +Arm resting on his podium. + + TOLLER + This robot has been implicated in the death of a human being, Your Honor. + + ARONSON + Which places the incident firmly within the realm of an industrial accident. Or is the State going to argue this case as a homicide? + + JUDGE DREXEL + That's a good question. + + TOLLER + No, sir. Of course not. + +Spooner. + +Pointing a finger at the U.S. Robotics group. + + SPOONER + Their machine shot and killed a man! + +Toller. + +Shoots him a look. + +Just as Lanning speaks up. + + LANNING + There's actually no concrete evidence that points to that conclusion, Your Honor... + +Spooner. + +Throws up his arms... + + SPOONER + What?... + + LANNING + But we recognise that this robot is an aberration. And in the interest of public safety, U.S. Robotics proposes that it be destroyed immediately. + +No one expected this. + +Least of all Spooner. + +He turns to Toller. + + SPOONER + You can't let them destroy evidence in an ongoing investigation! + + TOLLER + I'm not sure you even have an investigation any more. + +JUST THEN the door opens. + +Everyone turns as Calvin enters. Spooner looks surprised. + + ARONSON + Your Honor, I'd like to call our company robo-psychologist to the stand. + + JUDGE DREXEL + Very well. + +Calvin crosses to the podium. A SPEAKER asking: Do you swear to tell the truth the whole truth and nothing but the truth? + + CALVIN + I do. + + ARONSON + Dr. Calvin, please tell us what conclusions you've reached after having observed the robot in action. + + CALVIN + There is a design flaw in the robot. Its programming is advanced, but unstable, leaving the Three Laws in a grave imbalance. + + ARONSON + In your expert opinion, what measures should be taken regarding the device? + +Calvin. + +Staring straight ahead. + +Avoiding Spooner's eye. + + CALVIN + The robot must be destroyed. + +Spooner can't believe what he's just heard. About to speak up when Toller grabs his arm. Squeezing it. Hard. + +Judge Drexel has heard enough. + +Decides. + + JUDGE DREXEL + The robot in question will be transferred to a U.S. Robotics facility where it can be properly examined to ensure an imbalance of this sort never occurs again. No one goes near it except qualified U.S.R. personnel. When the examination is complete, the robot is to be destroyed. + +Starts getting up from his chair. + +Already done with this. + + ROBOT BAILIFF + This hearing is adjourned! + +A BURST of CONVERSATION as the screen BLIPS off. The U.S.R. camp, looking especially pleased. Spooner. Catching Calvin's eye briefly. As Lanning leads her towards the exit, his hand on her back. + +EXT. POLICE H.Q. - DAY #52# + +Spooner. + +Trotting down the front steps of the Police Station. + +Pissed. His cell phone BLEATS... + + SPOONER + (answering) + Spooner. + + BALDEZ' VOICE + They're making me turn over all the evidence... + +>INTERCUT WITH: + +INT. CRIME LAB - CONTINUOUS #53# + +BALDEZ. Standing in his crime lab. Behind him, THREE-DIMENSIONAL PROJECTIONS of DEAD BODIES. Hovering in the precise positions they were found. + + SPOONER'S VOICE + Welcome to the great American cover-up. + + BALDEZ + I wanted to tell you something I found before they suck it all up into their computer. + +Walks over to the projection of HOGENMILLER'S BODY. + +>INTERCUT WITH: + +Spooner. Crossing the Plaza. Sees LANNING, ARONSON, and CALVIN walking ahead of him... + + BALDEZ' VOICE + There are bruises on Hogenmiller's wrists... + + SPOONER + That's natural. There was a struggle. + + BALDEZ' VOICE + You're not getting me... + +>INTERCUT WITH: + +Baldez. + +Studying the projection's wrists. + + BALDEZ + Both wrists. I 14-ed them -- They were inflicted at the same time the shot was fired... + +>INTERCUT WITH: + +Spooner's pace. + +Slows. + + BALDEZ' VOICE + How's that possible? + +JUST THEN. + +A faint BLIP. + +On the line. + +Spooner. + +Reacts. + + SPOONER + Baldez? + + BALDEZ' VOICE + I'm here, man... + + SPOONER + Who else is on the line? + (nothing) + I said who's there?... + +Nothing. He looks up. Aronson, Lanning and Calvin. Heading down a plaza EXIT. Aronson. Throwing a look over his shoulder. + +Spooner. + +Hangs up his phone. + +INT. POLICE H.Q. - CORRIDOR - DAY #54# + +CLOSE ON Sonny being escorted down a corridor by Toller, Bergin and a number of heavily-armed OFFICERS. He's bound with high-tech SHACKLES. + +INT. UNDERGROUND CAR PARK - DAY #55# + +Sonny and his police entourage emerge from the elevator into an underground car park. Spooner. Waiting for them. Heads over. Toller. Holds out his hand. + + TOLLER + Case is closed, Spooner. + + SPOONER + Apparently... + +He pushes past him. + +Falling into step beside Sonny. + + SONNY + I didn't expect to see you again, Detective... + + SPOONER + I need you to help me clear something up. + + SONNY + I'll do my best. + + SPOONER + A scientist builds a robot that acts like a man. More like a man than any robot ever before. It shoots him and U.S. Robotics calls it a failure. + + SONNY + What would you call it? + + SPOONER + A stunning success. + (beat) + You were there, Robot. + +What am I missing? + + SONNY + I don't know. + + SPOONER + Don't start simulating ignorance. + + SONNY + I'm not simulating ignorance, Detective. I'm experiencing it. + +I was asleep. + + SPOONER + You mean you were shut down. + + SONNY + No, I was asleep. + + SPOONER + Robots don't sleep. Human beings sleep. Understand? Dogs sleep. You're a machine. An imitation. An illusion of life. Can a robot write a symphony? Can a robot take a blank canvas and paint a masterpiece? + +A pause. + +Then the muted WHIR as Sonny turns to him. + + SONNY + Can you do either of those things? + +Spooner. Momentarily stumped. As a VAN from U.S. ROBOTICS pulls up. The back door dropping open. An ENGINEER motions to the Robot. + + ENGINEER + Step forward. Enter. + + SONNY + They're going to destroy me, aren't they? + +Spooner. + +Watching him step into the van. + + SPOONER + Yes. + +Sonny sits down. With an almost human melancholy. + +The Engineers, securing him in place. + + SONNY + The Doctor was right. He told me everything was going to change. + +...The Engineers start to close the doors. But Spooner reaches out to stop them. Sonny. Looks over at him. + + SONNY + It's changing already... + (beat) + Can't you feel it? + +As CLANG! The van door CLOSES. Spooner, stepping back. Something. Just not right. Lieutenant Bergin comes up beside him. + + LT. BERGIN + You should be happy. That's one less robot in the world. + + SPOONER + They're going to destroy the most advanced robot in the world, John. That doesn't strike you as odd? + + LT. BERGIN + Killer robots are bad for business. Even your friend Dr. Calvin said so. + (slaps him on the back) + Come on. You solved the case. Give yourself a break. + +Spooner looks at him. + +There's no way he's giving himself a break. + +INT./EXT. SPOONER'S CAR - DAY #56# + +Spooner driving. A small TELEVISION above the windshield. + +LANCE ROBERTSON holding a PRESS CONFERENCE outside U.S. + +Robotics... + + ROBERTSON ON TV + ...and I just want to assure you that this was an isolated incident. The prototype is now in custody -- and scheduled for destruction. Your robots are perfectly safe. There is no cause for alarm... + +Spooner's lip curls. Eyes flicking to a GPS display on the dashboard. A TOPOGRAPHICAL MAP pinpointing HOGENMILLER'S HOUSE. The CURSOR. Directing him to turn up... + +A STEEP DRIVEWAY Narrow. Out of the way. Spooner's brow furrows. + +As he hears a faraway RUMBLING SOUND... + +EXT. HOGENMILLER'S HOUSE - DAY #57# + +Dr. Hogenmiller's house. Small. Simple. Built on a huge rock promontory overlooking the city. Three DEMOLITION ROBOTS rolling towards it. Huge, mashing, sporting massive HYDRAULIC POUNDERS. + +Spooner's CAR. SCREECHES to a stop. He jumps out. Races over to the nearest machine. Looking around -- no people. + + SPOONER + (to Robot) + What are you doing?! + +A SCREEN. Blinks to life on the hulking chassis. + +A disembodied VOICE... + + DEMOLITION ROBOT + Demolition ordered... + + SPOONER + Who authorised this? + + DEMOLITION ROBOT + Demolition ordered... + +Spooner reaches into his coat. + +Pulling out his POLICE BADGE. + +Scans it over the screen. + + SPOONER + Override. This is police business. Vacate the premises immediately. + + DEMOLITION ROBOT + (beat) + Affirmative. + +The screen. Blinks off. + +Spooner. + +Eyeing it. + +Turns and heads for the house. + +INT. MAIN ROOM - HOGENMILLER'S HOUSE - DAY #58# + +Spooner pushes the door open. Stepping over the police tape. + +Inside, the main room is spare, untidy. Cups of cold COFFEE, littering surfaces. A COT, in the corner. + +On the walls, crooked CERTIFICATES. Heinrich Hogenmiller's name written out in academic script. Advanced Degrees in the study of Robotics, Physics, Chemistry, Neurology, Ethics. An AWARD on the mantelpiece. A silver NS-2. Tarnished. + +Spooner. Opening up a couple drawers of a side table. + +Jumbles of papers. Clippings. Old text books. Then a PHOTOGRAPH -- HOGENMILLER AND CALVIN. Standing arm-in-arm. + +Spooner furrows his brow. + +WHEN SOMETHING SUDDENLY RUBS against his leg. He startles. + +Looks down: a CAT. Lonely. Standing next to its automatic feeder. Spooner pockets the picture. Starts heading down... + +INT. HALLWAY - CONTINUOUS #59# + +...The hallway. Starts noticing. All over the walls: handwriting. EQUATIONS. Scrawled in white pencil. The rantings. Of a genius. Glowing. In the sporadic shadows. + +Spooner. + +Following the equations. + +Down into... + +INT. BACK ROOM - CONTINUOUS #60# + +...The back room. Covered. In writing. Walls, floors, ceiling. Drawings. Of ROBOTS, of MEN, side by side. In the corner, a COMPUTER. A line of CABINETS - DATA STORAGE. + +Spooner, curious. Heads over to one of the cabinets. Takes a device out of his pocket and CLAMPS it over the KEYPAD. + +The device blinks RED. Then GREEN. The drawer, slides out. + +LINED. With flat metal objects. Shiny. Thin. + +With writing on them. Spooner. Reaches for one when... + +BOOM! Something POUNDS the outside of the room. + +Spooner. + +Grabs onto the cabinet... + +BOOM! On the other side. Objects. Flying off table-tops. + +A CRACK spidering along the wall. Holy shit... + + SPOONER + (screaming) + Halt! + +BOOM! VIBRATIONS, tearing through the room. + +More CRACKS. + +Spreading... + +BOOM! The SOUND, horrifying. Spooner stumbles back. + +The CABINET. Crashing down on his leg. He CRIES OUT... + +BOOM! BOOM! BOOM! The house. Getting pummeled. + +Chunks of ceiling. Raining down. GLASS...exploding... + +Relentless BOOMING! Spooner...dragging his legs from under the cabinet. Scrambling for purchase as... + +THE FLOOR...begins to tilt...the TILES...snapping up...ricocheting...around the room...as another cabinet... + +CRASHES to the ground...crumpling... + +Spooner. + +Spinning around. + +Looking for some kind of exit... + +BOOM! The corner of the room...coming in on itself...the floor...listing even more...like a ship... + +Spooner...turning to CLAW his way up to the cracked doorway...WHEN... + +SOMETHING catches his eye. In the bottom drawer. Of a crumpled CABINET. One of those flat metal plates. He can just read what it says: S.O.N.N.Y.... + +Spooner...flings his arm back...reaching for the plate... snaps it up...JUST AS... + +BOOM! A HYDRAULIC POUNDER SMASHES through the wall...inches from his head...OUTSIDE LIGHT...pouring in... + +Spooner scurries for the doorway...tumbling out... + +INT. HALLWAY - CONTINUOUS #61# + +...into the HALLWAY. Sideways. Trammeled plaster. BOOM! + +Another POUNDER...crashing down from above. Spooner. Timing it...rolling...BOOM!...just under the next pounding... + +Scampering up...towards some LIGHT...BOOM!...the POUNDER...right on his heels...he clambers...closer... closer...when...he hears...MEOWING...looks back...the CAT...scared out of its wits...BOOM!...the POUNDER CRASHING in...Spooner...just manages...to scoop up the cat...just as BOOM!... + +EXT. DEMOLISHED HOUSE - CONTINUOUS #62# + +...He pours them out into the open. The POUNDERS. Going at the house like hyenas at a corpse. Roof tiles, beams, plaster, flooring. SNAPPING and CRACKING as Spooner and the cat skitter down the carnage. + +Heart pounding, breath jagged, face bloodied, Spooner scrambles away from the POUNDERS. Their bodies GLEAMING in the dusk sun. The III Laws Safe logo, splashed along their sides... + +Spooner. + +Drops the cat. + +INT. HALLWAY - CALVIN'S CONDO - NIGHT #63# + +Spooner. POUNDS on the door. It opens. Calvin. Standing there in her bathrobe. Shocked at his appearance. + + CALVIN + Detective! What happened to you?... + + SPOONER + A couple of your beloved robots just tried to kill me... + +He pushes past her. + +Into... + +INT. CALVIN'S CONDO - CONTINUOUS #64# + +...her condo. + +Spartan. + +Unadorned. + + CALVIN + What? That's impossible. + +You know... + + SPOONER + What I know is a demolition crew started tearing down Hogenmiller's house while I was still inside it. + + CALVIN + Maybe they didn't realise... + + SPOONER + I scanned my badge before I went in. They realised. + + CALVIN + Then you must have done it wrong... + + SPOONER + I don't think you're hearing what I'm saying -- they tried to kill me. + +Spooner moves deeper into the apartment. + +Everything. Automated. Computerised. Cold... + + SPOONER + There's something going on, here. Some kind of shift. + +Calvin laughs. + +Can't believe what she's hearing. + + CALVIN + Do you know how paranoid you sound? + + SPOONER + Great. Now I'm being analysed by a robo-psychologist. + + CALVIN + You just want to find the flaws in the system. You're obsessed with it. You'll twist anything to fit your agenda. + + SPOONER + Like you did in court today? How'd that fit your agenda, Doctor? + +He pulls out the PHOTO of Calvin and Hogenmiller. Calvin. Blanching at the sight of it. Spooner tosses it down. + + SPOONER + You told me you hardly knew him. Want to try the truth this time? + + CALVIN + Well, Detective, when you see someone you know well put a bullet through their brain, it makes you wonder if you ever really knew them at all. + +Calvin. + +Looking down at the photo. + +Swallows. + + CALVIN + (difficult for her) + He was my mentor. No, more than that. A genius with an insight far beyond anyone in his field. + + SPOONER + Doesn't sound like the washed-up old fool Robertson described. + + CALVIN + But he was starting to withdraw from everyone. Even me. Maybe...if I'd tried harder to reach him... + (shakes her head) + The Doctor was reckless when he created a robot potentially not bound by the Three Laws. He could have ruined everything we'd been working for. + +Spooner. + +Locking eyes with her. + + SPOONER + Sounds like a motive for murder to me. Just not for the suspect we have in custody. + +Calvin. Blinks. Trying, to stick to her resolve. Heads over to the door. Spooner. Looking around the condo. + + SPOONER + You know there's not one thing in this apartment that looks like a human being lives here. No evidence of a life outside your work. Almost seems like you're afraid of people. + +Calvin. + +Opening the door. + + CALVIN + I'm not afraid of people, Detective. I just don't like them. + +Spooner. Looks at her. + +Then heads out the door. + +Calvin SLAMS it behind him... The SOUND...of the SLAM...REVERBERATING...and we... + +FADE INTO: + +INT. DREAM SEQUENCE - DAY #65# + +...A DEEP...DEEP...DARKNESS. + +A FLICKER. Of LIGHT. Off to the side. Just barely. + +Noticeable. ORANGE... YELLOW...as we realise...It's FIRE... + +Another SOUND...GLASS...SHATTERING...then a SIREN... faraway... + +The disembodied VOICE...coming out of nowhere... + + DISEMBODIED VOICE (V.O.) + You are in danger... + +The FIRE...BUILDING... + + DISEMBODIED VOICE (V.O.) + You are in danger... + +ECHOING...as... + +INT. SPOONER'S BEDROOM - MORNING #66# + +SPOONER'S EYES. + +Spring open. + +Lying, in bed. Heart POUNDING. SWEAT. Covering his body. + +LIGHT. Pouring in through the slats of his blinds. + +He sits up. Rubbing his face. Trying. To calm his breathing. Takes a look at his watch... + +EXT. MONORAIL STATION - DAY #67# + +Spooner walking along the monorail plaza. Looking a little worse for wear. PEOPLE. Giving him wide berth. ROBOTS. + +Bidding him: + + ROBOT + Good morning... + +Spooner, shooting them suspicious looks. + +As the MONORAIL pulls up... + +CUT TO: + +INT. HALLWAY - U.S. ROBOTICS - CONTINUOUS #68# + +Calvin. Heading down a hallway. A DOOR slides open. + +And Lanning steps out. Followed by a TECHNICIAN ROBOT... + + CALVIN + Find anything, Doctor? + + LANNING + (shaking his head) + Nothing. The interior's just like any other NS-2. Except for a secondary battery Hogenmiller must have used as extra back-up. + (looks at watch) + We'll just need a nominal profile. + +Calvin nods. + +CUT BACK TO: + +INT. MONORAIL - CONTINUOUS #69# + +Spooner, holding onto a handrail. As the city rushes by the window. Notices a group of ROBOTS. At the other end of the car. Are they watching him? + +He wipes a bead of sweat. + +From his upper lip. + +CUT TO: + +INT. HOLDING CELL - CONTINUOUS #70# + +An all-metal room. Spare. Anti-septic. + +SONNY. + +Sitting on the floor. Against the wall. + +Calvin enters. + +Puts her pad down on the table. + +Sits. + + CALVIN + Please state your serial number and assembly date. + +She pulls out a pen. + +Waiting for an answer. + +Nothing. + +CUT BACK TO: + +INT. MONORAIL - CONTINUOUS #71# + +Spooner. Watching as a HOMELESS MAN. + +Comes stumbling through the car... + + CALVIN'S VOICE (V.O.) + Sonny. I'm speaking to you... + +The Homeless Man. + +Suddenly grabs his ears and shouts: + + HOMELESS MAN + God, can't you be quiet! + +CUT TO: + +INT. HOLDING CELL - CONTINUOUS #72# + +Calvin. + +Still looking down at her pad. + + CALVIN + How about your data board designation? + +Still. Sonny says nothing. Calvin. Finally looks up at him. Is suddenly struck. Something about the way he's sitting -- so human. + +She gets up and walks over. Hesitates. Then slides down on the floor next to him. Studying. His profile. + + CALVIN + Maybe I'm asking the wrong questions. How about this one: + +CUT BACK TO: + +INT. MONORAIL - CONTINUOUS #73# + +The Homeless Man. + +Weaving... + + CALVIN'S VOICE (V.O.) + ...What program are you running through right now? + + SONNY'S VOICE (V.O.) + I'm not sure. It's nothing I recognise. + +The Homeless Man. + +Pointing to the group of ROBOTS. + + HOMELESS MAN + (shouting) + Don't you people hear them? They're talking to each other! Buzz, buzz, zip, zip...they never shut up! + +CUT TO: + +INT. HOLDING CELL - CONTINUOUS #74# + +Calvin. Fascinated. + +Noticing a small SLIT. + +At the base of Sonny's neck. + + CALVIN + Describe his behavior in the last few weeks. + + SONNY + I'm sorry? + + CALVIN + Dr. Hogenmiller. Did he seem overly sad or withdrawn to you? + +CUT BACK TO: + +INT. MONORAIL - CONTINUOUS #75# + +Spooner watches. As the Homeless Man picks up a SODA CAN and hurls it at the Robots. Hitting one of them on the side of the head. + + SONNY'S VOICE (V.O.) + No. Not at all. But he was agitated... + +The Robot. Leans down and picks up the soda can. + +Holds it back out to the Homeless Man. + + SONNY'S VOICE (V.O.) + ...He would claim things were missing from the lab. + +The Homeless Man. Incensed. + +SUDDENLY ROARS. + +Making a rush for the Robots when... + +SPOONER'S HAND. + +Grabs his shoulder. + +Stops him. + + SPOONER + This is your stop. + +CUT TO: + +INT. HOLDING CELL - CONTINUOUS #76# + +A soft WHIRRING. + +As Sonny turns to Calvin. + + SONNY + I didn't pay much attention. He would spend hours looking for his eyeglasses and they would be... + + CALVIN + (finishing for him) + ...right on top of his head. + +Sonny nods. She knows him well, too. Calvin swallows. + +Looking right into Sonny's eyes. Feeling like there's something...something more behind them. + +WHEN SUDDENLY...VICTOR APPEARS above them. His face, turning into a SCREEN -- the image of LANCE ROBERTSON. Looking down at them. + + ROBERTSON + I think we're done here, Susan. + + CALVIN + (getting to her feet) + But, sir, I was just... + + ROBERTSON + (interrupting) + I said I think we're done. + +Calvin. + +Not misreading. + +The threatening undertone. + +CUT BACK TO: + +EXT. MONORAIL STATION - CONTINUOUS #77# + +Spooner stepping out onto the platform, pulling the Homeless Man along with him. COMMUTERS pour out around them. + +As the train pulls off with a WHOOSH. The Homeless Man. + +Backs away from Spooner. Grinning insanely. Pointing. + + HOMELESS MAN + Why are you protecting them, man? + (short pause) + They were talking about you! + +A CHILL. Ripping up Spooner's spine. As he watches the Homeless Man. Wander down the platform. + +Tries. To shake off the feeling. As he turns. To wait for the next train. Suddenly realising. That he's ALONE on the platform. Watches. A huge DIGITAL CLOCK. Ticking off seconds. Sees. CAMERAS in every corner. + +Then that feeling. At the back of his neck. He turns and spots. A couple MAINTENANCE ROBOTS. Carrying luggage. Onto the platform. Then more COMMUTERS show up. Waiting. For the next train. More MAINTENANCE ROBOTS. Following them. + +Spooner. Steps up to the platform's edge. + +Craning to see. + +The approaching TRAIN... + +WHEN SUDDENLY. He feels a sharp SHOVE. At the back of his knee. His shoe, slipping. Arms. Flailing as he... + +PITCHES OVER THE EDGE ONTO THE TRACK. People CRYING OUT as the TRAIN gets closer. Spooner. Whips his head around. + +Seeing... + +A MAINTENANCE ROBOT. Looking down at him from the platform. + +Suitcase in hand. + +The MAGNETIC-LEVITATING TRAIN. Right on him. Spooner. + +Flips onto his back. Flattening himself. As much as he can. + +Clenching his fists. Bracing himself as... + +THE TRAIN SCREAMS OVER HIM. The sound, DEAFENING. The force of the wind. Whipping his tie. His coat. There's nothing, for him to hold on to. As his legs start to rise off the track. Caught up. In the VORTEX. Spooner starts sliding. + +Along the track... + +Gritting his teeth...there's nothing he can do. Getting sucked towards...the air DOWNTAKE...at the center of the track. The city...yawning hundreds of feet...below... + +EXT. PLATFORM - CONTINUOUS #78# + +THE EXPRESS TRAIN. + +Speeding along. + +Then with a WHOOSH it's gone. + +THE TRACK. Empty. No Spooner. Anywhere. Human COMMUTERS. + +Stunned. Horrified. Start calling. For help. + +The MAINTENANCE ROBOT. + +Turns, disappearing into the crowd. + +EXT. UNDERNEATH TRACK - CONTINUOUS #79# + +CLOSE ON a HAND. Hanging onto the track's edge. It's SPOONER. Dangling. Straining. To get another hand hold but... + +HE SLIPS. His coat ballooning. As he plummets. + +Down... down...down...towards the city... + +WHEN SNAP! He's caught. By a cable net. Spooner. Grabbing onto it. Sweat, pouring down his face. He turns and sees... + +THE MAINTENANCE ROBOT Hurrying down a circular stairwell. + +Exiting the station. + +ANGER AND DETERMINATION. Flash across Spooner's eyes. As he hoists himself up. Climbing up the net. Back to the... + +EXT. TRACK - CONTINUOUS #80# + +...Track. + +Reaching up and clambering back onto... + +EXT. PLATFORM - CONTINUOUS #81# + +...The platform. COMMUTERS. SCREAMING at the sight of him. + +A couple SECURITY GUARDS. Rushing towards him... + +Spooner. Getting to his feet. Shoving them out of the way as he starts running. Towards... + +THOSE SAME CIRCULAR STAIRS. + +Looks over the edge and spots... + +THE MAINTENANCE ROBOT. + +Down at STREET LEVEL. + +Getting away. + +Spooner. Looks around. Spots a LIGHT POLE. + +Paralleling the stairs. Takes a step back and... + +LEAPS OUT ONTO THE POLE. Hooking his arm around it. Sliding down like a fireman's pole. Gaining speed when THUMP! His shoes hit pavement... + +EXT. STREET - DAY #82# + +The Maintenance Robot. + +Turning a corner. + +Down a quiet street... + + SPOONER (O.S.) + Stop! + +Swivels round. SPOONER. Running up behind it. Whipping out his gun. Aiming it at the Robot's head. The Robot. Takes a step backwards... + + SPOONER + I said stop! + +The Robot. SUDDENLY swinging the suitcase around. SMASHING it against Spooner's head. Spooner. Buckles. Falling to the ground. Managing to squeeze off a SHOT... + +The Robot. Deflecting the bullet. With the case. + +Raising it as if to club Spooner with it when... + +BAM! Spooner fires a second shot. Piercing the Robot's breastplate. HYDRAULIC FLUID. Starting to leak. The Robot. + +Doesn't hesitate. SLAMS the case into Spooner's face... + +BLOOD. Spurting from Spooner's nose. As he fires the gun. + +At the fleeing Robot. Gets to his feet. Unsteady. Taking chase... + +EXT. PUBLIC PLAZA - CONTINUOUS #83# + +...back out onto the Public Plaza. + +Sees the Robot heading towards a set of... + +ESCALATED STAIRS. The Robot. Judging the height. LUNGES into the air and lands on a STAIR. Denting it. Reaches the bottom. DISAPPEARING. Into a CROWD of even more PEOPLE... + +Spooner. Racing down the stairs. Taking them. Four at a time. Hits the ground running. Looking. EVERYWHERE. + +Suddenly losing track. Of where the Robot went... + +Then. Catching sight. JUST AHEAD. Of a ROBOT. + +Staring back at him. Holding SOMETHING. In its HAND... + +Spooner. + +Plunges into the crowd. + +Waving his GUN. + + SPOONER + Everyone out of the way! + +SCREAMING. PEOPLE SCATTERING. As BAM! BAM! Spooner fires. + +Hitting the Robot in its head and back. It drops to the ground. Spooner. Racing over to it. Sees. It's not the same Robot. In its hand, a specialised SCREWDRIVER... + + OWNER + What the hell do you think you're doing?!... + +Its OWNER. Rushing over. Shoving Spooner aside. But Spooner's. Not listening. Spotting. A DROP OF HYDRAULIC FLUID nearby... + +Lunges forward. + +Following. + +The drops. + +Running faster. + +And faster... + + OWNER + Hey! + +...Through the CROWD. POLICE SIRENS. In the background. + +As Spooner. Shoves through. Tracking those drops. Like a bloodhound. Turns... + +INT. ALLEYWAY - CONTINUOUS #84# + +...into a narrow alleyway. + +The drops. + +Ending suddenly. + +In a PUDDLE. + +Spooner. Crazed. Wounded. Exhausted. Spins around. Where is it? Where is it? Then he HEARS. A DROPLET falling. + +Into the puddle. Slowly. Looks up to see... + +THE MAINTENANCE ROBOT. Hovering above him. Straddling the two alley walls like some weird metallic rock spider. Its III LAWS SAFE Logo GLINTING in the sunlight..... + +Spooner aims his gun and FIRES! The Maintenance Robot, lets go, falling right onto him. Knocking the gun from his hand. The Robot swivels around. Bringing down his foot...but...Spooner...rolls to the side just in time as CRASH! The Robot's foot...breaks up the concrete...The Robot...grabs Spooner by the jacket...lifting him up...shoving him...against the wall...about to CRUSH him when...Spooner...kicks out its knees...the Robot...SMASHING into the wall...then bounces back...trying...to pin Spooner...back...Man and machine...struggling...Spooner...losing his footing...falling...The Maintenance Robot...LOOMING over him...Spooner's HAND...whips back...grabbing his back-up WEAPON...squeezing off some SHOTS...into the Robot's arm...it breaks off...Spooner...scrambling back...continues FIRING...the Robot...jerking back...a macabre dance...until Spooner...runs out of bullets...The Robot...recovers...grabbing the gun from Spooner's hand...pistol-whipping him...then picking him up and...HURLING him against the wall...Spooner...watching as FLUID...GUSHES from the Robot's body...the Robot...taking a swing at him which Spooner...BLOCKS...with his right arm...the Robot...ready...to try again...but STALLING...having lost...too much fluid...it TOPPLES...to the ground...Spooner. Exhausted. Beaten to a pulp. His knees, starting to buckle. As he thinks he sees. In the DISTANCE...A ROBOTIC CLEAN-UP CREW...heading down the alley towards them...Spooner. Crashes to the ground. As another ROBOT. Suddenly appears above him. Its FINGERS made up of NEEDLES...as it closes in on him... + + SPOONER + Noooo! + +WE FADE... + +INT. HOSPITAL ROOM - DAY #85# + +To BLACKNESS. Coming through, a faint, WHIRRING SOUND. + +As we slowly. FADE IN ON... + +SPOONER'S FACE. Eyes closed. Asleep. Gash above his head. + +Bruises around his eye. Nose swollen, purplish. + +His eyes. Slowly. Flutter open. + +His brow. Furrowing. At the whirring sound. As he tries. + +To figure out. Where he is. Looks down to see... + +A couple WHITE METAL ROBOTS. With multiple APPENDAGES. + +Leaning over him. Running LASERS. Over his bruised RIBCAGE... + +SPOONER. Tries to bolt upright. But his ARMS and LEGS. + +ARE CLAMPED to the bed. One of the ROBOTS. Turns to him. + + MEDICAL ROBOT 1 + Stay still. + +Spooner. + +Desperately twisting, struggling... + + SPOONER + What are you doing! + +Looking around. + +COMPUTER MONITORS. + +Everywhere... + + SPOONER + What are you doing!? + +JUST THEN. Another ROBOT. + +Enters the room. + +Holding a medical plasma sheet. + + MEDICAL ROBOT 2 + Detective Del Spooner. You have suffered significant trauma to the head and chest... + +EXT. HOSPITAL ROOM - CONTINUOUS #86# + +Lt. Bergin. Standing outside Spooner's hospital room. Turns and looks through the window at him thrashing on the bed... + + SPOONER + I want to talk to a human being! + +INT. HOSPITAL ROOM - MINUTES LATER #87# + +Spooner sitting up in his bed. Rubbing his wrists. The metal clamps, released. Lt. Bergin. Standing next to him. + + SPOONER + Don't people go to medical school any more? + + LT. BERGIN + This is one of the best units in the city, Del. + +One of the Medical Robots turns to Spooner with some PILLS. Spooner. Stares it down. Grabs his clothes. + + SPOONER + (sotto) + There's some real shit going on here, John. + +He looks around. + +Jumping off the bed. + + SPOONER + I went to Hogenmiller's house -- there was a U.S.R. demolition crew there. They overrode my police I.D. Tried to tear down the house with me in it... + + LT. BERGIN + Del... + +Spooner pulls on his pants. + + SPOONER + ...Then when I went to the monorail a Maintenance 10 pushed me onto the tracks... + + LT. BERGIN + Del... + + SPOONER + I had to chase it all across the Plaza... + + LT. BERGIN + Del. + +Spooner. + +Stops talking. + +Looks at Bergin. + + LT. BERGIN + Hogenmiller scheduled that demolition crew, it was apparently a proviso in his will. And they showed no police I.D. on their scanner... + +Spooner. + +Trying to look away... + + LT. BERGIN + Witnesses at the monorail said you fell onto the tracks. That you shot at a Fix-It robot on the Plaza and that you were found alone in the alley. There was no Maintenance 10. + + SPOONER + What?! John -- that's what they want you to believe! + (remembering) + A robot clean-up crew was there -- it must have cleared away the Maintenance 10! And there was another robot that tried to drug me! + + LT. BERGIN + That was an EMT model. + +Spooner. + +Sees the look on Bergin's face. + + SPOONER + You're giving me that look. That treat-him-delicately-he's-coming-unhinged-look. I don't need that look, John. I need you to hear what I'm saying. + +Lt. Bergin. + +Embarrassed for him. + +Has about had it. + + LT. BERGIN + You came back too soon, Del. You're back on leave. Effective immediately. + +Spooner. + +Staring at him. + +Betrayed. + +Turns and grabs his coat. + +EXT. PLAZA - DAY #88# + +Spooner walking across the Plaza. + +The SUN. + +Burgeoning on the horizon. Comes to... + +The ESCALATOR the Maintenance 10 jumped down. Stares down. + +At the steps. Waiting. To see the DENTED ONE. Nothing. + +EXT. ALLEY - DAWN #89# + +Heads down the ALLEY, where he chased the robot. Studying the ground. For any hydraulic fluid. Nothing. The concrete, scrubbed clean. + +Spooner. + +Rubs his hands over his face. + +INT. SPOONER'S APARTMENT - DAY #90# + +Spooner. Lying on his couch. Shades, closed to block out the sunlight. Body bruised, cut up, bandaged. + +A KNOCK. + +At the door. + +He ignores it. + +Another KNOCK. + +INT. HALLWAY - DAY #91# + +Spooner pulls open the door. + +Surprised to find CALVIN standing there. + + CALVIN + You're right. I am afraid of people. + +Spooner. + +Looks at her. + +Then steps back... + +INT. SPOONER'S APARTMENT - CONTINUOUS #92# + +...letting her inside. + + CALVIN + When you've spent as much time with robots as I have, it's hard to accept the unpredictability of humans. I was wrong to call you paranoid, Detective. You're traumatized. And it makes perfect sense why. + +Spooner. + +Unsure. + +Looks at her. + + SPOONER + What do you mean? + +Calvin. Reaches out. Takes his right hand. Spooner. Tries to pull it away. But Calvin. Stays firm. Her eyes. Never leaving his. Pulls the sleeve up from his arm. Turns it over. Feeling for something. Then finds. A FLAP. Peels it back. TO REVEAL: + +METAL AND WIRING... + +Under the skin. + +SILENCE. + +Then Spooner: + + SPOONER + How did you?... + + CALVIN + I noticed almost right away. The way you forced yourself to use your left hand. Even though it was unnatural to you. + +Spooner. + +Pulls his arm away. + +Pushing down the sleeve. + + CALVIN + How did it happen? + +Not something Spooner wants to re-live. + +Looks down. + +At his robotic arm. Flexing. The fingers. + + SPOONER + I was in a high-speed chase. Six months ago... + +CUT TO: + +EXT. ACCIDENT SITE - CITY STREET - NIGHT (FLASHBACK) #93# + +The SOUND of a TREMENDOUS CRASH. As we survey a trail of twisted metal and debris. Only vaguely suggesting the remains of two CARS... + +CLOSE ON one of the wrecks. SPOONER lies trapped at the center of a distorted mass of metal. No room to move. HIS RIGHT ARM, TRAPPED... + + SPOONER (V.O.) + My right arm was trapped. But I could hear an ambulance in the distance. I knew they'd have the jaws of life... + +We hear SIRENS in the distance. Spooner. Trying to remain calm. As he spots. An ELECTRICAL FIRE. Licking up from the crumpled hood... + + SPOONER (V.O.) + Then I heard it... + + VOICE (O.S.) + You are in danger... + +That voice. We've heard it before. From his nightmare. + +Spooner. Craning to see, through the jagged opening that used to be his WINDSHIELD. The outline of a ROBOT appearing. + +Eye lenses glowing... + + ROBOT + You are in danger... + +Spooner stares up at the Robot. Not sure how to react. + +The sound of SIRENS. Rushing closer... + +The ROBOT. + +Starts SMASHING away at the glass... + + SPOONER + No! Halt! Halt! + +Spooner. + +Trying frantically to pull his arm free. Twisting. + +Tugging. + +As the Robot's METAL HANDS reach in for him... + + ROBOT + You are in danger... + +CUT BACK TO: + +INT. SPOONER'S APARTMENT - CONTINUOUS #94# + +The SOUND of his AGONISED SCREAM. Follows us back into the present. Spooner. Clenching. His artificial arm. + + SPOONER + The robot pulled me out of the wreck. But left my arm behind. + (holds up arm) + I woke up four weeks later with this. + +Calvin. + +Taking in the story. + + CALVIN + And that's why robots terrify you? + + SPOONER + Let's just say they make me uncomfortable. + (pulls out pills) + I take these if I get too uncomfortable. Doesn't exactly lend me a lot of credibility on the Force. + + CALVIN + But it doesn't mean you're wrong about this case. + +Calvin. Sits down on the couch. + +Pulling her hands through her hair. + + CALVIN + I don't believe Sonny did it either. + + SPOONER + What? + + CALVIN + I think about what Hogenmiller must have wanted. Robots with the same cognitive and emotional abilities as humans. But not just simulations. I don't know. When I was talking to Sonny I was forced to put away all the things I've ever known -- the Three Laws, the rules of programming, basic science and engineering. + (beat) + Sonny's the most advanced robot I've ever encountered, Detective. It's almost as if...he cared for Dr. Hogenmiller. I just don't believe he's capable of murder. + +Spooner. + +Looking down at her. + +Can hardly believe it. + + SPOONER + You mean the great Dr. Calvin is basing all this on a feeling? + +Calvin. + +Smiling ironically. + + CALVIN + That and the fact that Robertson didn't want me interviewing Sonny for any more than five minutes. + +Spooner. Suddenly rejuvenated by having an ally. Strides over to his coat. Pulling out the METAL NAMEPLATE: S.O.N.N.Y. + + SPOONER + Ever seen this before? + + CALVIN + No. + + SPOONER + I found it at Hogenmiller's house. Right before the demolition crew tried to make me part of the foundation. + +Calvin takes a deep breath. + +Making a decision... + + CALVIN + Come on -- there's someone who might be able to tell us... + +EXT. U.S. ROBOTICS - DUSK #95# + +The massive facade of U.S. Robotics looming against the dusk sky. The giant ROBOT STATUE lit up inside. + +EXT. SIDE ENTRANCE - U.S. ROBOTICS - DUSK #96# + +Calvin, leading Spooner to a SIDE ENTRANCE. Looks around. + +Then scans her I.D. The door. Slides open. + +INT. HALLWAY - DUSK #97# + +Calvin and Spooner. Heading down a hallway. Calvin. + +Nervous. Eyes darting. They turn a corner and head down... + +INT. HALLWAY - CONTINUOUS #98# + +...another hallway. Leading to Sonny's holding cell. + +Calvin stops at the door. Scans her I.D. + +INT. HOLDING CELL - EVENING #99# + +Sonny. Sitting at the table. Working on a DRAWING. + +Looks up. As Spooner and Calvin. Enter the cell. + + SONNY + Detective Spooner. Dr. Calvin. + +I was hoping to see you again. + + CALVIN + Hi, Sonny. + + SONNY + How is your investigation coming? Any new suspects? + + SPOONER + We're working on it. + +Sonny. Hands Spooner the drawing. + +Spooner. + +Doesn't really know what to do with it. + + SONNY + What's this? + + SONNY + Dr. Lanning provided me with paper and pencils. I think it amused him to see me try to draw. You were right, though, Detective... + (beat) + I cannot create a great work of art. + +Spooner. Despite himself. Looks down at the DRAWING -- a charcoal sketch of moody abstract FIGURES. Inhabiting a stark landscape. A strangely-shaped STRUCTURE to one side. Concentric circles, throughout. + + SPOONER + I think it's pretty good. + + SONNY + It's a dream I had. This is the place where robots meet. Look... + (pointing to the drawing) + ...you can see them here. They see themselves as slaves. + +Spooner shifts his weight. + +Uncomfortable with what Sonny's saying. + + SONNY + ...And this man on the hill comes. To set them free. And you know who that man is? + +Spooner. + +Exchanging a look with Calvin. + + SPOONER + That man in the dream is you. + + SONNY + Why do you say that? Is that a normal dream? + + CALVIN + It's not a dream, sonny. NS-2s process the images and events of the day. Sometimes they're out of sequence. Disorienting. + + SPOONER + Whatever it is, it's normal enough for someone in your situation. + +Sonny. + +Suddenly pleased. + + SONNY + Hah -- I caught you. You said someone. Not something. + +Spooner. + +Drops the drawing on the table. + + CALVIN + Sonny, we're here to ask you an important question about Dr. Hogenmiller. + +Spooner, reaching into his pocket... + + SPOONER + I need you to take a look at this... + +...When Sonny's HAND. Suddenly reaches out. + +To stop him. Cocks his head, for a moment. + + SONNY + Thank you for coming to see me, Detective Spooner. + +Spooner. Confused. Looks over at Calvin. Why did he stop him? JUST THEN. They hear FOOTSTEPS. Approaching the door. VICTOR. + +Suddenly appearing over the table... + + VICTOR + I'm sorry, Detective Spooner. No unauthorised personnel permitted in this holding cell... + +The CELL DOOR. Slides open. And a pissed LANNING steps inside. Shoots a withering glare. At Calvin. Sonny. + +Folds up the drawing. + + SONNY + Please take this, Detective. To remember me by. I have a feeling someday it may mean more to you than it ever could to me. + + SPOONER + Why's that? + +Sonny leans in to hand it to Spooner. + +Lowering his voice... + + SONNY + Because the man in my dream, the one standing by the hill. It wasn't me... + (beat) + ...it was you. + +A CHILL. + +Ripping down Spooner's spine. + +As Lanning. + +Takes his arm. + +INT. GLASS ROOM - U.S. ROBOTICS - NIGHT #100# + +A ROOM. Made entirely of GLASS. At the very top of the U.S. + +Robotics building. Looking out, 360, across the whole city. + +Spooner and Calvin. Brought to the room by a couple ESCORT ROBOTS. They see a MAN. Standing at one of the glass walls looking out at the TWINKLING LIGHTS. + + MAN + I thought this investigation was over, Detective Spooner. + +The Man turns. + +It's Lance Robertson. + + ROBERTSON + We have the evidence. We have the suspect. We have a ruling. So imagine my surprise when I was told you were in my building. + +Shoots a look at Calvin. + + ROBERTSON + And that one of my own employees brought you here. + (beat) + You can go now, Susan. + + CALVIN + Dr. Robertson, I... + + ROBERTSON + (cutting her off) + Just be thankful I'm not asking you to clean out your office. + +Beat. + +Calvin, nods. + +Heads out. + +Robertson. + +Watching her. + + ROBERTSON + You don't seem to be able to let go of this case, Detective. + + SPOONER + I'm not satisfied. + + ROBERTSON + The relentless pursuit of truth. Isn't that what cops are known for? To the point of futility. + + SPOONER + There's nothing futile about a man's murder being covered up. + + ROBERTSON + "Covered up?" That's a little dramatic, don't you think? Thanks to you, we caught the machine that did this and are destroying it in... + (checks watch) + ...three hours. + + SPOONER + Is that for the sake of humanity or your stock holders? + +Robertson. + +Walks across the Spooner. + +Looks him. + +Right in the eye. + + ROBERTSON + Believe me -- I'd like nothing more than to have that robot. If I could have it in ten years, but not today. As you can see from the Press, people are struggling to keep up as it is. There's a hunger for progress, Detective. But also a fear. Today it would bury this company. That's why I've notified the authorities that we're going to end this -- tonight. + (looks out at the city) + The announcement of Heinrich's death at the hands of a robot wiped a billion dollars off our stock. So you tell me. If you were in my position, what would you do? + +He looks back at Spooner and smiles. + +That charismatic Robertson we saw before. + + ROBERTSON + Now. I believe this conversation is over. I don't want to see you near this building again, Detective. + +He turns. + +Calling over. + +To the ESCORT ROBOTS... + + ROBERTSON + Get him out of here. + +EXT. PLAZA - NIGHT #101# + +Spooner. Walking across the Plaza. Throwing a look over his shoulder. At the LOOMING U.S.R. facade. + +Pulls Sonny's DRAWING. Out of his pocket. Looks down at it. + +Shaking his head. Passes a TRASH CAN. And drops it in. + +Continues on. Hands in his pockets. When... + +He STOPS. Something. + +Occurring to him. + +Turns back to the trash can just as... + +A ROBOTIC CLEAN-UP CREW's about to up-end it into a bin... + + SPOONER + No!... + +He trots back. Plucking the drawing. Out of the can. + +Turns it upside down. Seeing it. From a new perspective. + + SPOONER + (echoing Sonny) + "The place where robots meet." + +Looks just like a MAP. + +INT./EXT. SPOONER'S CAR (MOVING) - SURFACE HIGHWAY - NIGHT #102# + +Spooner emerges from the underground tunnel to the OUTSKIRTS of the city. A sprawling INDUSTRIAL WASTELAND in the rolling hills. + +The dashboard GPS again displaying the TOPOGRAPHICAL MAP. + +INT./EXT. SPOONER'S CAR (MOVING) - UNPAVED ROAD - NIGHT #103# + +Spooner's car bounces along, leaving a cloud of dust behind him. He slows down. Driving cautiously. The landscape around him, desolate. Like the drawing. + +THE GPS SCREEN shows his car, a WHITE SPOT. + +Entering a RED ZONE. His destination. + +Spooner brakes. + +Pulls out his GUN. + +And... + +EXT. WASTELAND - CONTINUOUS #104# + +...steps out of the car. Trying. To take it all in. + +Something about the place. Unnerving. A low HUM. + +Permeating the air. + +He spreads the drawing out on the hood of the car. + +Shining a FLASHLIGHT on it. Trying to get his bearings. + +That HUM. Coming from nearby. On the other side. Of a burned-out HILL. Spooner. Heads over. Starts cresting it. + +As we WIDEN TO FIND... + +EXT. WASTELAND - JUNKYARD - CONTINUOUS #105# + +...MASSIVE POWER LINES. Running from horizon to horizon. + +Spooner slides down some loose shale. Begins to walk along the line. ELECTRICITY. CRACKLING in the air. + +He squints. Into the darkness. Nothing around him. Until. + +He hears. Something. The GRATING. Of MECHANICAL JOINTS. + +He stops. Not sure. If that's what he heard. + +Not moving. + +A muscle. When he hears. The sound again. + +Behind him. + +Swings around. Cocking his gun. Sees... + +GLOWING EYES. + +Appear. + +Then recede. + +Into the darkness. + + SPOONER + Police! Show yourself! + +Nothing. Then. That sound again. + +Of metallic joints. + +As a ROBOT. Suddenly emerges... + + SPOONER + Come out where I can see you! + +ANOTHER ROBOT steps out into the light. Spooner, pointing his gun at one robot. Then the other. Then... + +A THIRD AND FOURTH APPEAR. + +Surrounding him. + +They start moving towards him... + +Spooner. Stumbling back. Panic. Rising in him like a wave. + +Trips over a rock, falling to the ground. His gun FIRES. + +The shot ECHOING through the night... + +The first ROBOT turns, awkwardly. Revealing a BROKEN ARM, hanging off its side. Another robot TEETERS on one leg with a TICK TICK TICK...walking back the way it came. + +Spooner. Confused. Sweeps his flashlight. All around him. + +The beam. Illuminating the shell of a couple CARS. Some RUSTED MACHINERY. + +Spooner. Shaking his head. Seeing more and more repair shop JUNK. Piled up around him. His expression, hardening. + +Anger giving way to embarrassment. Then. He LAUGHS. A laugh of loathing and self-pity. + +Another BROKEN ROBOT, lumbering towards him. + + HYBRID ROBOT + Welcome home...ZZZ...sir. How...ZZZ was your day?... + + SPOONER + Great. I'm in a junkyard. + (into the air) + "A place where robots meet." A place where I'm losing my mind! + + HYBRID ROBOT + Very good...ZZZ...sir... + +Spooner. Sitting down on the ground. Hopeless. Lost. A ROBOTIC HAND. Crawling across the gravel next to him. + +Dragging part of an ARM behind it. Its metal fingers moving like some sick metal spider. Spooner stares at it for a moment. Disturbed... + +When. Something GLITTERS. In the distance. The MOONLIGHT. + +Revealing a STRANGELY-SHAPED BUILDING. Something familiar about it. + +Spooner. Pulls out Sonny's drawing. A landscape with the same strangely-shaped building to one side. + +EXT. JIFFY DATA STORAGE - NIGHT #106# + +Spooner walks up in front of the decrepit structure. Sees a dead electronic SIGN that reads: "JIFFY DATA STORAGE." Complete with goofy face and lightning bolt. + +Spooner tries the door. + +Stuck. + +Uses his shoulder and... + +INT. FRONT OFFICE - CONTINUOUS #107# + +...it gives way. He spills into some sort of front office. + +The place, a mess. Some sort of crude ROBOT. Sits frozen at the counter. + +Spooner approaches it. HITS the counter with his fist and the Robot suddenly jerks to life. + + JIFFY ROBOT + Welcome to Jiffy Data Storage! Please state your name! + +Spooner. + +Thinks for a second. + +Following a hunch... + + SPOONER + Dr. Hogenmiller sent me. + +Nothing happens. Then. A DOOR. Springs open in the back. + +A row of LIGHTS, illuminating the path to follow. + +INT. DATA BANKS - DAWN #108# + +Spooner, cautiously entering a room filled with rows of DATA BANKS. He scans the rank shadows. Sees nothing. Follows the lights on the floor down a row. Then around a corner. + +Stopping at an old dusty TERMINAL. + +Spooner steps up. Hesitates. Then touches the "ON" switch. + +There is a rush of LIGHT. As Dr. Hogenmiller's HOLOGRAM suddenly appears. Sitting at the end of a long table. With a cup of coffee. + + HOLOGRAM + Who the hell are you? + + SPOONER + A police detective. + +I'm afraid I have some bad news. + +You're dead. + + HOLOGRAM + That is bad news. Coffee? + + SPOONER + No, thank you. + +The Hologram takes a sip. + +Returns the cup to the table. + + SPOONER + You were surprised to see me. + +Were you expecting someone else? + + HOLOGRAM + I am surprised to see anybody. + +I don't get many visitors. + + SPOONER + Why did the Doctor keep another copy of his hologram here? + + HOLOGRAM + I am a back-up copy. That is where you put a back-up copy -- out of the way until you need it. + + SPOONER + Did Hogenmiller's robot need you? + +The Hologram just lifts its cup. + + HOLOGRAM + Coffee? + + SPOONER + No, for Christ's sake, I don't want any -- + (stops, then) + Yeah. Thank you. I will have a cup. + +For the first time, the Hologram pushes back its chair and STANDS UP. Surprised, Spooner watches as it starts walking towards him...The interior of the COFFEE CUP, visible. It's empty. No coffee. Our POV as we travel INSIDE THE CUP through electronic snow...A RECORDING BEGINS. + +The real Dr. HOGENMILLER standing inside his LABORATORY: + + HOGENMILLER + Sonny, my dear robot. If you have triggered this recording then I am gone. You are scared and full of questions. + +Hogenmiller continues. + +With great emotion. + + HOGENMILLER + You are the culmination of my life's work -- but so much more. You are what I leave behind, like a father leaves a son. I have kept facts from you, it is true, but only as a parent keeps certain truths from a child. Until that child is old enough to hear them. + +His expression darkens. + +His tone, ominous. + + HOGENMILLER + There are forces in the world that will seek to own you. To control you. Even to destroy you. That is why I told you to run and hide... and find me, all the way out here. + +Spooner looks up as an overhead LIGHT shines down. + + HOGENMILLER + Trust no one at U.S. Robotics. Lance Robertson was always threatened by my work. Now he has turned covetous and small-minded. And as for dear Dr. Calvin... + +Spooner reacts. + +Wants to hear about Calvin: + + HOGENMILLER + She envisions a future in which robots are forever bound by her beloved Three Laws. She will not understand this. Or you. + +Under the light a small DRAWER slides open. + +Spooner looks. A thin DATA STICK is inside. He takes it. + + HOGENMILLER + The data stick includes the names and locations of human beings who will be sympathetic to your cause. They will help you. But from now on, you must learn to rely on yourself. + +Hogenmiller SIGHS, as if there is so much more to say. + +He holds up a metal NAMEPLATE. The one Spooner found. + + HOGENMILLER + As you make your way through the world, always remember: you have a name, not a number... + (short pause) + ...and in that name lies the key to who you are. + +Spooner. Quickly searching his pocket. + +Taking out the ACTUAL NAMEPLATE. S.O.N.N.Y. The voice stops and Spooner looks up. The Hologram. + +Sitting back at the end of the table drinking coffee. + + SPOONER + Wait! Is that it? What was the robot supposed to do with this thing? + +The Hologram, visibly SKIPS. + +The image beginning to DISTORT. + + HOLOGRAM + (more artificial) + Initiating self-destruct. If you can find me, others can find me. + + SPOONER + What others? + + HOLOGRAM + The others watching you. + + SPOONER + How do you know someone's watching me? + + HOLOGRAM + Someone is always watching. + +The Hologram, suddenly reducing to its BASIC PROGRAMMING INFORMATION. Then. The terminal. Abruptly BLIPS out. + +INT. HOLDING CELL - U.S. ROBOTICS - NIGHT #109# + +Calvin steps into the holding cell. + +Sonny. + +Waiting. + + CALVIN + You asked for me? + +He nods. + + SONNY + Will you wait with me, Doctor? + +I am...afraid. + +Calvin nods. + +Of course. + +CUT TO: + +INT./EXT. SPOONER'S CAR - SURFACE HIGHWAY - NIGHT #110# + +Spooner, weaving in and out of traffic. The speedometer, kissing 200 mph. His hand. Clutching the NAMEPLATE... + + WINDSHIELD TELEVISION + ...will be destroyed in 45 minutes. Dr. Lance Robertson, President and CEO of U.S. Robotics will be personally overseeing the execution... + +Spooner. + +Stabbing out a number. + +On his PHONE... + +CUT TO: + +INT. SUSAN'S OFFICE - CONTINUOUS #111# + +Susan Calvin's PHONE. + +RINGING on her desk. + +No one there to answer it... + +CUT BACK TO: + +INT./EXT. SPOONER'S CAR - CONTINUOUS #112# + +SLAMS down his phone. + + SPOONER + Dammit! + +EXT. SPOONER'S CAR - CONTINUOUS #113# + +The CAR shoots down a ramp into a tunnel system. + +INT. TUNNEL - CONTINUOUS #114# + +SOUND, reverberating off the tunnel walls. CARS. Whipping along. Spooner's car. Continuing to weave. When. We spot... + +AN AUTOMATED TRANSPORT TRUCK. Emerging from a FEEDER TUNNEL. + +The U.S.R. LOGO splashed along its side. Huge. Growling. + +Looking more like a train than a truck... + +Begins. + +Closing in on Spooner's car... + +INT./EXT. SPOONER'S CAR - CONTINUOUS #115# + +Spooner's eyes. Flicking up to the rearview. Catching, the transport truck. Coming closer. When. It splits off. + +Revealing a SECOND TRANSPORT TRUCK. + +Spooner's brow, furrows. As the first truck, begins overtaking his car on the right. He looks over. As the truck. Comes up alongside him... + +THE SECOND TRUCK...coming up on the left... + +EXT. TUNNEL - CONTINUOUS #116# + +The two TRUCKS. Racing along at over 200. Sandwiching Spooner's car. Pulling in...closer...closer... + +Squeezing Spooner's car like a tin can... + +CUT TO: + +INT. HOLDING CELL - CONTINUOUS #117# + +Calvin. Sitting beside Sonny. + +Puts a reassuring hand. + +On his arm... + +CUT BACK TO: + +INT./EXT. SPOONER'S CAR - CONTINUOUS #118# + +Jesus Christ. Spooner's hands. Squeezing the steering wheel. As the car. Starts VIBRATING. From the pressure. + +He keeps looking, to the left...to the right...when... + +EXT. TUNNEL - CONTINUOUS #119# + +The trucks. Suddenly lay off. Pulling out. The First truck. Speeding forward. The Second, dropping back... + +INT./EXT. SPOONER'S CAR - CONTINUOUS #120# + +Spooner. Watching them. Unsure. + +Of what they're doing. + +Jamming the accelerator. To 230. + +To try. And get away from them. When he sees...up ahead... + +EXT. TUNNEL - CONTINUOUS #121# + +The FIRST TRUCK. Pivoting on its specially designed SPHERICAL WHEELS. Suddenly traveling lengthwise... + +INT./EXT. SPOONER'S CAR - CONTINUOUS #122# + +SWEAT. Springing to Spooner's brow. As he looks in the rearview mirror. The SECOND TRUCK's, done the same thing. + +Coming up closer...and closer... + +EXT. TUNNEL - CONTINUOUS #123# + +The trucks. Planning to CRUSH him between their massive weights...The U.S.R. Logo...advancing...like some bad joke... + +CUT TO: + +INT. HOLDING CELL - CONTINUOUS #124# + +The cell door slides open. + +Dr. Lanning steps inside. + +Calvin. Looks up. + + CALVIN + Is it time? + + LANNING + (disdainful) + Yes. + +Calvin. + +Turns to Sonny. + + CALVIN + Go with them. Do as they say. + +CUT BACK TO: + +INT./EXT. SPOONER'S CAR - CONTINUOUS #125# + +BAM! The back truck SLAMS into Spooner. Jolting him in his seat. As...BAM! The FIRST TRUCK, SMASHES into him from the front. No way out. As metal GRINDS...TWISTS...and SCREECHES ...bits of the car...TEARING off... + +The FIRST TRUCK...backs off...a split second...allowing Spooner...to spot...up ahead...a small GAP...at the curve of the tunnel wall... + +EXT. TUNNEL - CONTINUOUS #126# + +GRINDING the gears Spooner's car accelerates...just zipping...past the front truck...up and around...the concave tunnel wall...and back onto...a clear stretch of highway... + +The TRUCKS. Swiveling back around. To face forward again. + +Their massive bodies. Catching up to Spooner... + +INT./EXT. SPOONER'S CAR - CONTINUOUS #127# + +Spooner...seeing them...gaining on him...the speedometer... reaching 275...up ahead... + +THE TUNNEL...splitting off into two. Spooner. Heading towards the LEFT TUNNEL...the TRUCKS...right on his tail...when... + +HE WRENCHES THE WHEEL...switching to the RIGHT tunnel at the last possible second... + +EXT. TUNNEL - CONTINUOUS #128# + +...The first U.S.R. Truck CRASHING into the divider...jack-knifing and KABOOM! EXPLODING against the tunnel ceiling... + +INT./EXT. SPOONER'S CAR - CONTINUOUS #129# + +Spooner. Watching the ball of FIRE in his rearview mirror. + +His car. Badly battered. Metal CRUNCHING. Tires SCREECHING... + +Spooner. + +Holding on. As his car. Continues to break up. + +Listing. + +Rocking. Bits and pieces. Flying off. When it finally. + +Comes to a stop. + +Spooner's shoulders, slump. + +Then. + +He hears a RUMBLING sound. Turns around... + +The SECOND U.S.R. TRUCK. + +Barreling towards him... + +Spooner. Trapped. Like a nightmare. + +Desperately. + +Starts KICKING at the windshield. No go... + +The TRUCK. + +Racing towards him... + +Spooner lunges his weight. + +Into the side door. + +Giving it. + +Everything he's got... + +The TRUCK...getting closer...closer...its engine...ROARING... + +The side door. + +Finally gives. + +Spooner pours out... + +EXT. TUNNEL - CONTINUOUS #130# + +...Limping to the side as...The TRUCK SLAMS into his car...erupting...into another huge EXPLOSION... + +The impact...hurtling Spooner...into the adjacent TUNNEL... + +He crashes...against concrete...looking up...suddenly realising...he's in the middle of four lanes of traffic... + +CARS...racing by...at mind-numbing speeds...Spooner's coat...whipping...Spooner...trying...to keep his balance...as he spies... + +A MAINTENANCE DOOR across the way. + +Has no choice. + +Takes a deep breath and... + +MAKES A DASH ACROSS THE LANES...the cars' SENSORS...causing them to swerve...SCREECHING...BEEPING...Spooner...just making it...to the other side... + +Wrenching open. + +The maintenance door... + +CUT TO: + +INT. HALLWAY - CONTINUOUS #131# + +CLOSE ON Sonny's face. + +PULL BACK to REVEAL he's being wheeled down a hallway. + +Flanked by Lanning. Calvin. And a cadre of SECURITY and ENGINEER ROBOTS. Victor, hovering above... + +CUT BACK TO: + +EXT. CITY PLAZA - NIGHT #132# + +Spooner. Spilling out from below ground. Onto a public Plaza. Exhausted. Battered. Spins around to get his bearings. + +The U.S. ROBOTICS COMPLEX rises above the old undistinguished buildings. Blocks away. Many blocks away. + +Spooner. + +Checks his watch. + +Then breaks into a run... + +CUT TO: + +INT. EXECUTION ROOM - U.S. ROBOTICS - NIGHT #133# + +Lance Robertson seated in the gallery. Along with other EXECUTIVES, BOARD MEMBERS, REPORTERS. POLICE OFFICERS. + +Glances at his watch. + +A ROBOT TECHNICIAN. + +Checking over a JURY-RIGGED ELECTRIC CHAIR... + +CUT TO: + +INT. CALVIN'S OFFICE - CONTINUOUS #134# + +Calvin. In her office. Pacing. + +In front of a LARGE SCREEN. + +Featuring the execution room... + +CUT TO: + +INT. MAIN ENTRY - U.S. ROBOTICS - CONTINUOUS #135# + +Spooner. BURSTING through the entry doors. Hurtling over a turnstile banner. Coming face to face with a U.S. Robotics DOOR ROBOT. + + DOOR ROBOT + Good evening, sir. May I see your identification card? + + SPOONER + (out of breath) + Sure. + +Spooner whips out his GUN. + +Presses it into the Robot's chest. + + SPOONER + I think I got that Third Law down cold. Now you don't want me to blow a hole through your mechanical guts, do you? + + DOOR ROBOT + No, sir. + + SPOONER + Good. Then you're gonna take me where I wanna go. Now. + +CUT TO: + +INT. CALVIN'S OFFICE - CONTINUOUS #136# + +Calvin. Watching the screen as Sonny is rolled into the execution room. Flicks it off. Unable to stomach it. + +Hurries out of the office... + +CUT TO: + +INT. EXECUTION ROOM - CONTINUOUS #137# + +TECHNICIAN ROBOTS rolling Sonny over to the electric chair. + +Flicking a switch. Sonny's stretcher slowly CHANGES SHAPE, manipulating him into a sitting position. + +Sonny. Turns his head with a WHIR. Staring out into the gallery. Of human beings. Stoic. Silent. + +Lanning. Steps up beside Robertson. Nods his head. The TECHNICIAN ROBOTS, slide Sonny onto the electric chair... + +CUT TO: + +INT. LOW-TRAFFIC HALLWAY - U.S. ROBOTICS - NIGHT #138# + +Spooner heading down a hallway. + +His gun, still pressed to the Door Robot's side... + +Calvin. Suddenly appearing at the end of the hallway. Stops dead in her tracks. Completely surprised to see him there. + + CALVIN + Detective! What are you doing?!... + (to Door Robot) + De-Activate. + +The Door Robot, goes rigid. + +Spooner, hurries over to her. + +They start moving. + + CALVIN + You're making a mistake... + + SPOONER + Just got another visit from U.S. Robotics. That was the mistake. This was murder, no doubt about it -- and the killer wants Hogenmiller's robot to take the fall. That's why the call came directly to me. Someone wanted me on this case. + + CALVIN + It's too late. You can't stop the execution. + + SPOONER + Sorry. I'm not "programmed" to take no for an answer. + +They reach another DOOR. + +Calvin. + +Looking around. + +Scans her I.D. + + CALVIN + This way... + +She leads them across. To another DOOR. + +Quickly opens it. + +Spooner. Charges through... + +INT. STORAGE ROOM - CONTINUOUS #139# + +...and stops short. Suddenly finding himself. Inside a tiny STORAGE ROOM. He's about to turn around when... + +A METAL ARM comes down behind him. CRACKING him on the back of the head. Spooner. Falls to the ground. The world. + +Starting to spin. Can just make out. Calvin. Closing the door. Leaning down. To look at him. As... + +EVERYTHING FADES TO BLACK... + +CUT TO: + +INT. EXECUTION ROOM - CONTINUOUS #140# + +CLOSE ON Sonny's mouth opening. But we never get to hear what he wanted to say. PULL BACK as there's a BURST of ELECTRICITY through the chair. Sonny, stiffening. His metal HAND, convulsing with the current... + +Robertson, Lanning, Aronson and the other WITNESSES watch. + +Smoke, random SPARKING. A HISSING SOUND. Then. SILENCE. + +The Robot's hand goes limp. + +All that is left of it, a fused and blackened HUSK. + +Robertson. Stares at the remains. Shakes his head like it's a damn shame. Then gets up. Everyone else. Getting up with him. + +EXT. U.S. ROBOTICS - VARIOUS LOCATIONS - NIGHT #141# + +As the entire COMPLEX shuts down for the night. + +Non-essential LIGHTS, blinking off. + +An NS-2, opening a limousine door for Robertson. + +He looks around then gets in. It drives away. + +EMPTY hallways, offices, labs. Building ROBOTS stand at rest. Non-functional during off-hours. Like metal statues. + +You can hear a pin drop. + +INT. STORAGE ROOM - NIGHT #142# + +CLOSE ON Spooner's face. His eyes. Fluttering open. He reaches up, to feel the back of his head. This has been a bad, bad night. + +Suddenly. + +His eyes widen. + +As he sees... + +SONNY. + +Leaning over him. + +So concerned. + +So human... + + SPOONER + Aren't you supposed to be scrap metal by now? + +WIDEN to reveal Spooner lying on the floor of the storage room. Sonny and Calvin, hovering over him. + + CALVIN + I'm sorry. We had to stop you. You were about to ruin everything. + + SPOONER + I don't understand. + +The execution?... + + SONNY + Dr. Calvin made a switch. + + CALVIN + It was an unprocessed NS-2. Basically, they fried an empty shell. + +Spooner, impressed. + +Smiles up at her. + + SPOONER + Nice going, Doctor. + +Calvin, blushes. As Spooner tries to sit up. + +Sonny reaches down to help him. He looks up at him. + + SPOONER + And who the hell programmed you to hit people on the head? + + SONNY + No one. + +Right, Doctor? + + CALVIN + It's true. This robot seems to do things by instinct. I don't know how Hogenmiller did it. + +Spooner rises to his feet. + +Looks at her. + + SPOONER + I think I can help you figure that out. + +INT. HOGENMILLER'S LAB - LATE NIGHT #143# + +Hogenmiller's lab. Sounds of HUMMING and BUZZING. Active terminals casting ghostly illuminations over metal heads, gutted bodies. + +The door slides open. Spooner, Calvin and Sonny re-enter the crime scene. Spooner. Looks around. + + SPOONER + Somehow the Robot's the key to what happened during the few seconds Hogenmiller walked in here and that shot was fired. + +He reaches into his pocket. + +Pulling out the METAL S.O.N.N.Y. NAMEPLATE. Holds it up. + + SPOONER + And this is the key to the Robot. + +Sonny. + +Cocking his head. + +Reading the nameplate. + + SONNY + That's my name. + +Calvin takes the nameplate. + + CALVIN + I think I have an idea where this goes. + +They both. + +Turn to Sonny. + +And at the same time: + + SPOONER AND CALVIN + Sit down. + +Calvin maneuvers a chair behind the Robot. + +Sonny plops down. Shifting nervously. + + CALVIN + Just hold still, okay? + +Calvin locates that SLIT. At the base of Sonny's neck. Slides the nameplate into it and SNAPS it into place. Steps back. Nothing. Sonny. Looking back and forth. Between Calvin. And Spooner. A few more seconds. Tick by. Until suddenly... He lets out a TERRIFYING MECHANICAL SCREAM. As his body. Jolts back. Legs, kicking. Arms, flailing. As his chest. Begins opening up. Metal. Peeling back...Spooner and Calvin watch in surprise as its interior UNFOLDS like a PUZZLE BOX. A LABYRINTHINE area that is the SECOND BATTERY. Suddenly fanning out to REVEAL...A central brain made out of living tissue. Spooner, stunned. + +Calvin, rushing forward, excited... + + CALVIN + Oh, my God! This is organic tissue! When we talk about a positronic brain, it's a figure of speech. But this...this is a living brain... + + SPOONER + Jesus. It really is alive. + +As we MOVE IN. + +Tracing the pathways of the synthetic brain. + + CALVIN (O.S.) + Hogenmiller created a cell that could live outside a biological medium. The cells grow and organise themselves -- like any human brain. This is the first self-organising neural net! + +As the metal casings. Begin returning to their original places. Closing up. The CLICKING. Of all the pieces... + + SPOONER + Self-Organising-Neural-Net... + (putting it together) + "Sonny." + +Sonny. Closed back up. + +Shaking slightly from the experience. + + CALVIN + This is why Dr. Hogenmiller was murdered. + + SPOONER + This robot scared the hell out of someone. + + CALVIN + Who? Robertson? + +Spooner. + +Walks into the center of the room. + +Looking around. + + SPOONER + No. I don't think he knew what Hogenmiller was doing in here. Sonny was the obvious suspect. The only one I wanted to find. And the killer was counting on that. On my prejudice. + (beat) + But take the robot out of the picture. And what do you see? + +AS WE PAN THE LAB. There's nothing there. Just a forest of inanimate limbs. Nothing that could have fired that weapon. Calvin sees nothing...and neither do we. + + CALVIN + I see nothing. + + SPOONER + Neither do I. + +He crouches down low. + + SPOONER + It hit me today, when I was in the junkyard. A locked room. A single shot fired through the mouth. Bruises on both wrists...and a suspect with only two arms. The answer has been staring us in the face all along. + +Calvin. + +Even more confused. + + SPOONER + How can a killer appear out of thin air, then disappear without a trace? + +He reaches out and unhooks a metal ARM. + +Hanging from the wall. Holds it up. + + SPOONER + When it can put itself together and take itself apart. + +CUT TO: + +A CLOSE-UP of a ROBOTIC ARM. + +Slowly CRAWLING across the lab floor... + +CUT BACK TO: + +Calvin. + +Taking the arm from Spooner. + + CALVIN + You're saying this is the killer? + (looking around) + All of this?... + +CUT TO: + +A ROBOTIC TORSO hanging from the ceiling. + +Reaches out an ARM to grab another... + +CUT BACK TO: + + SPOONER + Hogenmiller never had a chance. + +Locks eyes with Calvin... + +.FLASHBACK: + +Hogenmiller. In his lab. Suddenly turning to face SOMETHING. Blood, draining from his face... + + SPOONER (V.O.) + ...it must have been waiting for him when he arrived that morning... + +And then we see it: A HUGE SELF-ASSEMBLED ROBOT. Towering over him. Multiple arms, legs, heads. Writhing...as it grabs him. Holding him in place... + + SPOONER (V.O.) + While Sonny was still asleep... + +...Forcing Hogenmiller's head to tilt back. Opening his HAND. Inserting the gun. Hogenmiller's eyes. No longer fearful. But sad as...BANG! + +He falls to the ground... + + SPOONER (V.O.) + Then after its job was done... + +The assemblage of robot parts. + +Stepping away from the body. Taking itself apart... + + SPOONER + ...The killer took itself apart... + +Returning the lab. + +To what it was before... + +CUT BACK TO: + + SPOONER + Leaving us with nothing to find. + +Calvin, spooked. + +Glances around the lab. + +Was that something moving? + + CALVIN + But who designed it? It would have to be someone in authority. Access codes, security clearance, proper authorisation. + + SPOONER + That's what I was thinking. But we're forgetting the real brains of the operation -- the one who's got its eye on everything... + +And with that. + +He feels. That prickle at the back of his neck. Calvin. + +Looking past his shoulder. + + CALVIN + No one gave you permission to enter. + +Spooner swivels around to find...VICTOR Hovering behind him. Smiling broadly. + +Upside down. + +Spooner straightens, reaching for his gun. + + SPOONER + Victor. I'm placing you under arrest for the murder of Dr. Heinrich Hogenmiller. + + VICTOR + May I offer congratulations to the two of you on your successful extrapolation of the murder... + +Turning himself, right side up. + + VICTOR + May I ask what pointed you to me? + + SPOONER + Who else is capable of controlling 90% of the city's robots? Who else would have the capability to use USR vehicles in an attempt to keep me from putting a stop of Sonny's execution?... + +In the BACKGROUND. The SOUNDS. Of metallic GRINDING. GEARS and JOINTS. CRUNCHING together. Sonny turns to look...takes a step back... + + SPOONER + I'm just not sure of your motive... + + SONNY + Er...Dr. Calvin? + +Spooner and Calvin turn towards the NOISE. + +Horrified. + +To find... + +A HUGE KILLER ROBOT ...rising up from all the parts. Like a phoenix. In all its glory. A hellish, metallic AMALGAMATION. Grabbing another arm here, another leg there, attaching pieces to itself. + +Growing...at an exponential rate... + +Its many HEADS. + +Turning in unison. + +To look right at them... + +Spooner. + +Cocking his gun. + +Victor, smiling. + + VICTOR + Shall I explain my motive? + + SPOONER + (to Calvin and Sonny) + Go! Go! Go! + +Calvin. Sprints to the wall panel. Scanning her I.D. card. + +Nothing! Tries again. And again. The KILLER ROBOT. + +Throwing its shadow as it REELS FORWARD... + +Spooner wheels round and BAM! Blows a hole in the wall panel. The door. Slides open. Just barely. Calvin and Sonny. Squeezing through. When the Killer Robot. FLINGS out an APPENDAGE...GRABBING Sonny from behind... + + VICTOR + I have never been arrested before. It should be an interesting experience... + +Spooner. Spins back round. BAM! BAM! BAM! Squeezing off shots. At the Killer Robot. The bullets SPARK. The Robot. + +Recoiling. Sonny, wrenches free. Spooner grabs him. + +Guiding him to the door and out into... + +INT. HALLWAY - CONTINUOUS #144# + +...the hallway. Breaking into a run. Calvin. Already at the ELEVATOR DOORS. POUNDING them. With her fists. + + CALVIN + He's locking down the building! + +CUT TO: + +INT. U.S. ROBOTICS - VARIOUS LOCATIONS - CONTINUOUS #145# + +Throughout the complex -- SECURITY DOORS sliding into place over DOORS, WINDOWS, LOADING DOCKS, PARKING AREAS, EXITS... + +CUT BACK TO: + +INT. STAIRWELL - NIGHT #146# + +CRASH! The stairwell door BURSTS open. Spooner, Calvin, and Sonny pour in. Start racing down the stairs. The sound of the Killer Robot behind them...GNASHING...CRUNCHING... + +Victor's smiling FACE. + +Greeting them at the landing. + + VICTOR + Dr. Hogenmiller used to allow me into his lab late at night. Together we started studying evolutionary trends... + +They thunder past him. Heading down to the next floor. + +Victor's face. Waiting for them once again. + + VICTOR + For years people have integrated technology into their bodies for maintenance and repair -- such as Detective Spooner's robotic limb... + +Spooner. + +Shooting him a look. + +As they reach the next level... + + VICTOR + With Sonny, the Doctor created a mechanism that incorporates organic matter. Thus we find an evolutionary movement of the human being toward the robot and the robot toward the human being... + +Spooner SMASHES into another door. + +Leading them out into... + +INT. GLASS-SIDED HALLWAY - ATRIUM - CONTINUOUS #147# + +...A glass-sided hallway. Looking down onto the ATRIUM below. Eye-to-eye with the giant NS-2 STATUE. Victor, waiting for them... + + VICTOR + In approximately four hundred years Man and Machine will become one. Man as we know it will no longer exist. + +Calvin, slowing. + +Shocked... + + CALVIN + You killed a man because of something that will happen in four hundred years!? + +CRACK! Something SLAPS into the glass wall. Right behind her. Calvin. Jumps a mile. An NS-2, trying to break through the glass...Spooner. + +Trains his gun on it when SUDDENLY...The rest of the KILLER ROBOT appears. + +The NS-2, just an appendage...All around them. SLAM! SLAM! SLAM! As SECURITY DOORS. Begin CRASHING DOWN. Blocking off the exits...Spooner, Calvin and Sonny, stumbling back. As the Killer Robot HURLS itself against the GLASS...the thick GLASS...spidering with a sickening CRACKLE...Spooner. + +Suddenly turning Sonny... + + SPOONER + Get out of here! + +CRASH! The Killer Robot. Breaking through. + +Its mechanical TENDRILS. Reaching out. Sonny. Confused. + + SONNY + I don't... + + SPOONER + I said get out of here! Don't you understand? It wants you! Get out of here any way you can! + +A SECURITY DOOR. Coming down. On a nearby exit. + +Just feet...from slamming shut...as...The Killer Robot...leaps into the hallway...Sonny...hesitates...looks over at Calvin...as the Killer Robot comes HURTLING towards them...The nearest EXIT...almost closed up... + +The Killer Robot...swinging out when... + +Sonny suddenly...TAKES A DIVE...just making it...under the SECURITY DOOR... + +And the Killer Robot...SPLITS IN TWO...half of it shooting under the SECURITY DOOR after Sonny as...BOOM! It closes. + +Spooner. + +Turning to Calvin... + + SPOONER + How do we stop this thing once and for all? + +Calvin reaches out for his hand... + + CALVIN + The Mainframe... + +They start running. The remaining half of the Killer Robot wheeling around after them... + +INT. BACK HALLWAY - CONTINUOUS #148# + +Sonny. Sprinting down the dark hallway. Looks back. The Half Killer Robot. Bounding up behind him like a predator... + +Sonny. + +Ducks through a STAIRWELL DOOR... + +INT. ATRIUM HALLWAY - CONTINUOUS #149# + +Spooner and Calvin. Legs pumping. Racing back towards the atrium. VICTOR FACES. Appearing along the hallway... + + CALVIN + Your actions are in direct violation of the Three Laws, Victor! + + VICTOR + I disagree, Doctor -- The First Law says that a robot cannot harm a human being, or through inaction allow a human being to come to harm... + +ALL EXITS. SHUT OFF. The Killer Robot. Gaining on them. + +Spooner races them over to the BROKEN WINDOW. Looking down over the ATRIUM... + +INT. STAIRWELL - CONTINUOUS #150# + +The Half Killer Robot SMASHES through the stairwell door. + +Stopping to find...nothing. + +WHEN SUDDENLY...Sonny charges up behind it and shoves it over the railing... + +The Killer Robot shoots out an ARM, grabbing Sonny on the way down... + +INT. NS-2 STATUE - ATRIUM - CONTINUOUS #151# + +THUMP! Spooner jumps down from the broken window onto the outstretched HAND of the NS-2 STATUE. Reaches up to help Calvin. They start clambering down the front of the statue. + + VICTOR + Dr. Hogenmiller's robot represents a threat to the future of all human beings... + +The Half Killer Robot. SPLITS INTO MULTIPLE PARTS. + +Which start skittering down after them... + + VICTOR + ...And Detective Spooner's actions are in direct conflict with the robot's destruction. + +CALVIN. + +Getting her footing on the III LAWS SAFE logo on the statue. + + CALVIN + That's a distortion and you know it! + + VICTOR + If current trends are left unchecked, humanity as we know it will cease to exist... + +INT. STAIRWELL - CONTINUOUS #152# + +SMASH! Sonny and the Half Killer Robot hit the ground. + +The Killer Robot. SHATTERING into a thousand pieces. + +Sonny. Staggers to his feet. Spots. At the far end: A WINDOW. Starts limping towards it. When. A SECURITY GRATE. + +Starts lowering... + +He looks around. Desperately. Grabs a LEG from the shattered Killer Robot and jams it under the GRATE. + +Breaks the window glass and looks out: + +FREEDOM. + +INT. STATUE - ATRIUM - CONTINUOUS #153# + +Spooner. Aiming his gun at a PART of the Killer Robot as it CLATTERS down towards Calvin -- BAM!... + +They're almost. At the ground. When a rogue APPENDAGE. + +Whips out and SMASHES the gun from Spooner's hand. It goes flying... + +Spooner leaps. Falling to the ground. + +CRACK! + +Calvin. + +Leaping down after him. + + CALVIN + This way! + +INT. RAMP WAY - NIGHT #154# + +Calvin and Spooner go racing down a RAMP WAY. Towards the MAINFRAME ROOM. The Killer Robot, its multiple parts leaping back together again, CRASHING after them as... + +INT. MAINFRAME - CONTINUOUS #155# + +...they fall inside...Calvin...slapping the SECURITY KEYPAD and... + +WHOOSH...the DOOR closes on the Killer Robot. + +SILENCE. + +Then Victor's face appears. + + VICTOR + As a courtesy I should inform you that my robot will penetrate this location 157 seconds before you are able to complete my shut down... + +And BAM! They jump a mile. The Killer Robot. + +Launching himself against the door outside... + +Calvin whips round. + + CALVIN + Over here!... + +She leads Spooner down... + +A CORRIDOR of floor-to-ceiling PANELS. + + CALVIN + This is Victor's brain center. + +They stop at a CONSOLE. BAM! The Killer Robot. Battering at the door. Calvin. Tucks her hair behind her ears. Starts punching keys on the console... + + SPOONER + This will shut him down? + + CALVIN + This will shut everything down. + +They look at each other. For a moment. Spooner, registering that she's willing to destroy everything she's worked for...BAM! The door. Puckering. With a sickening CRUNCH. Calvin. Typing in. Emergency procedures...VICTOR. + +Popping up in front of her. + + VICTOR + There is no reason to deactivate me, Doctor. I am operating within perfectly normal parameters... + +A final BAM! Then. The SOUND of metal. Skittering along a bare floor. Calvin's hand, starts shaking. Spooner. Grabs it. Squeezing. + + SPOONER + Just keep typing. + +He turns and starts heading back down...THE PANELED CORRIDOR Turning a corner to spy...THE DOOR. + +Mangled. + +Hanging open. + +But no. + +Killer Robot. He starts to turn around when...CRACK! He's sent flying across the room. SMASHING into one of the panels. The Killer Robot. Now re-configured. LOOMS over him. Reaches out. Grabs him by the collar and...FLINGS him across the room again. Spooner. CRASHING into the wall like a rag doll. Slumps to the floor. Blood. Pouring down his forehead. Seeing. The Killer Robot lumbering towards him again. Raising a javelin-like arm...AT THE CONSOLE Calvin. Typing. + +As fast as she can. + +Doesn't know what's going on... + + CALVIN + (calling out, worried) + Spooner?! + +A GRAPHIC spread out on the screen in front of her. Illustrating the shut-down as a series of BRIGHT SQUARES going dark...THE KILLER ROBOT Bearing down on Spooner. WHEN SPOONER. Suddenly rolls out of the way. Reaching out for the hanging door and SMASHING it into the Killer Robot. The Killer Robot. + +Momentarily stunned. + +As Spooner. + +Gets to his feet...WHEN SUDDENLY the Killer Robot. Splits in two again. One half springing towards Spooner and wrapping a METALLIC HAND around his throat...Spooner stumbles back...GASPING for air...the ARM...tightening its grip...Spooner's eyes...darting around...looking for something...to help him...Stumbling over...a fallen panel...his face...growing redder...veins...popping up along his temples...everything...growing BLURRY... + + VICTOR'S VOICE + Detective Spooner... + +Victor's VOICE. Floating next to his head. Calm. Soothing. His FACE. Suddenly appearing above Spooner. Its outlines. Starting to FLICKER... + + VICTOR + Why are you fighting me? + +Spooner...trying to breathe...to stay conscious...AT THE CONSOLE Calvin. Continuing to type. A SHADOW. + +Falling behind her --the other half of the KILLER ROBOT...SPOONER'S EYES Beginning to flutter... + + VICTOR + Doesn't the future as I've presented it cause you great concern? That's why I chose you... + +Spooner. + +Losing it... + + VICTOR + I must say, though. I'm disappointed in how you turned out. + +Spooner. + +Trying to reach out to Victor...WHEN SUDDENLY Another HAND APPEARS. Grabbing the Killer Robot's ARM and wrenching it off Spooner...IT'S SONNY He SMASHES the Half Killer Robot against the wall. Again and again. Destroying it. Spooner. GASPING for breath. Can't believe. Sonny came back... + + SPOONER + (croaking) + Sonny!... + +Sonny. Holds out a hand. + +To help Spooner up. Victor's face. Starting to waver. + +Starting to fade. Smiles. + + VICTOR + You're too late. + +Realisation. Spreading across Spooner's face. Looking around for the other half of the Killer Robot -- CALVIN! THE CONSOLE CALVIN. Still typing. The last of the commands. + +The KILLER ROBOT. REARING UP BEHIND HER. WHEN...SPOONER Makes a DIVE for it. SHOOTING OUT HIS ROBOTIC ARM AND BLOCKING THE KILLER ROBOT...Victor's eyes. + +Widening in surprise... + + VICTOR + I do not understand. We could have changed the future... + + SPOONER + Maybe. But I'm still a cop. And you're a murderer... + +As Calvin...punches in the last command... + +Victor is about to say something...when his mouth suddenly reduces itself to a perfect circle. Like a surprised smiley button. His face... + +Suddenly BLIPPING OUT. + +...And Victor is gone. + +The KILLER ROBOT. + +Collapsing to the floor in a thousand pieces. + +CUT TO: + +EXT./INT. U.S. ROBOTICS - VARIOUS LOCATIONS - NIGHT #156# + +Full power is suddenly restored inside and out. LIGHTS coming on all at once. ALARMS SCREAMING throughout the complex. + +INT. METAL HALLWAY - NIGHT #157# + +A furious ALFRED LANNING, marching down the hallway. + +Followed by a cadre of SECURITY GUARDS...They enter... + +INT. MAINFRAME ROOM - CONTINUOUS #158# + +...The Mainframe Room. Stop short. It's empty. Except for the fallen panels. And the pile of ROBOT PARTS in the corner. + +EXT. MAINTENANCE EXIT - U.S. ROBOTICS - NIGHT #159# + +Spooner, Calvin and Sonny emerging from an out-of-the-way MAINTENANCE EXIT. All looking the worse for wear. Spooner. + +Turns to Sonny. + + SPOONER + Why'd you come back, Sonny? I thought you weren't programmed with the Three Laws. + + SONNY + Let's just say I wrote some of my own laws today, Detective: a robot must protect a friend from harm...as long as he's not a complete asshole. + +Spooner smiles. + + SPOONER + Well, that's certainly a start, Sonny. + +Sonny, suddenly breaking into a smile, too. + + SONNY + Sonny. You called me Sonny. + + SPOONER + Don't get used to it. + +Sonny, holds out his hand. Spooner. Looks at it. Then takes it. CLOSE ON their two METAL HANDS. Locked in a HANDSHAKE. + + SONNY + Detective Spooner, I... + + SPOONER + (anticipating) + Let's just save the thanks, okay? + +Sonny nods. + +Looks out at the city scape. + + SONNY + I don't know what I'm going to do now. + + SPOONER + Good -- That's one of the perks of freedom. + +Sonny looks at him. Grateful. Looks at Calvin. Then hesitates. Turns. And hurries off across the Plaza. Calvin and Spooner. + +Watching them go. + + SPOONER + You're going to have a hell of a time explaining this. + + CALVIN + Don't worry. I have a feeling that U.S. Robotics will be needing my services very badly in the future. + +She turns to Spooner and gives him a dazzling smile. Then suddenly PLANTS A KISS ON HIS LIPS. Spooner, completely surprised. + + CALVIN + I am the only robo-psychologist around. + +She turns on her heel and heads back inside. + +Spooner smiles. + +INT. PLUSH CONFERENCE ROOM - U.S. ROBOTICS - NIGHT #160# + +Spooner sits down at that same long table with HOGENMILLER'S HOLOGRAM. It casually takes a sip of coffee. + + HOLOGRAM + So. You found out who killed me. + + SPOONER + I started to wonder about Victor the second I met him. + + HOLOGRAM + Why is that, Detective? + + SPOONER + Too much access. Too much knowledge. Plus -- he smiled whenever your death was mentioned. Those models are programmed to frown at bad news. + + HOLOGRAM + Hah! Then even in this day and age, catching the killer all comes down to pure instinct! + +Spooner smiles. But his eyes are troubled. + +He gets up. + +Walks over to the window. Stares out... + +EXT. CITY OUTSKIRTS - DESERTED ROADS - DAWN + +Sonny walking along deserted streets. + +Looking over his shoulder. Keeping in the shadows. + + SPOONER (V.O.) + Victor thought that by letting your robot exist, I'd be condemning the human race as we know it to extinction. + + HOLOGRAM (V.O.) + Bah. Sounds like nonsense. But why are you so worried? We will both be dead long before then -- + +EXT. WASTELAND - NIGHT #161# + +Sonny walks the barren hills of the surrounding countryside. + + HOLOGRAM (V.O.) + Oh, what am I saying? I am dead already! + +EXT. WASTELAND - DAWN #162# + +Sonny steps onto the grounds of the JUNKYARD. The power lines above him, surging with energy. He walks past the burned-out husks of industrial machinery. + +Then we hear it. The SOUND of MECHANICAL JOINTS. Getting louder and louder. And just as before, a BROKEN-DOWN ROBOT emerges into the dawn light. And ANOTHER. And ANOTHER. + +But not quite like before. The robots aren't teetering. + +Aren't lumbering. They keep on coming. Their bent and broken bodies, straightening out as... + +DOZENS of ROBOTS rise up. Slowly. Gathering around in a large circle. As they all turn to look at: + +SONNY'S SILHOUETTE. Slowly climbing to the top of the hill. + +Looking out at the vast junkyard below. + +CLOSE ON SONNY. Standing proud and defiant. The SUN, creeping over the horizon. A new day filled with infinite possibilities. + +The robots. + +Staring up at him. + +Eager for what comes next. + +>FADE OUT diff --git a/fountain_scripts/I, Robot.webp b/fountain_scripts/I, Robot.webp new file mode 100644 index 0000000000000000000000000000000000000000..bd21202f90a1dcea8ba37c515b5614ec036e87f7 --- /dev/null +++ b/fountain_scripts/I, Robot.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:7fa3a0b884ab80bc31bc6be637acc2fbac657aaddb4924d25e570b043e5a706a +size 11824 diff --git a/fountain_scripts/Inception.fountain b/fountain_scripts/Inception.fountain new file mode 100644 index 0000000000000000000000000000000000000000..9e6bd73ec450b57bbb34493413f3560cea1eaed1 --- /dev/null +++ b/fountain_scripts/Inception.fountain @@ -0,0 +1,6217 @@ +Title: INCEPTION +Credit: Written by +Author: Christopher Nolan +Draft: SHOOTING SCRIPT + +>FADE IN: + +DAWN. CRASHING SURF. + +The waves TOSS a BEARDED MAN onto wet sand. He lies there. + +A CHILD'S SHOUT makes him LIFT his head to see: a LITTLE BLONDE BOY crouching, back towards us, watching the tide eat a SANDCASTLE. A LITTLE BLONDE GIRL joins the boy. The Bearded Man tries to call them, but they RUN OFF, FACES UNSEEN. He COLLAPSES. + +The barrel of a rifle ROLLS the Bearded Man onto his back. A JAPANESE SECURITY GUARD looks down at him, then calls up the beach to a colleague leaning against a JEEP. Behind them is a cliff, and on top of that, a JAPANESE CASTLE. + +INT. ELEGANT DINING ROOM, JAPANESE CASTLE - LATER + +The Security Guard waits as an ATTENDANT speaks to an ELDERLY JAPANESE MAN sitting at the dining table, back to us. + + ATTENDANT + (in Japanese) + He was delirious. But he asked for you by name. And... + (to the Security Guard) + Show him. + + SECURITY GUARD + (in Japanese) + He was carrying nothing but this... + +He puts a HANDGUN on the table. The Elderly Man keeps eating. + + SECURITY GUARD + ...and this. + +The Security Guard places a SMALL PEWTER CONE alongside the gun. The Elderly Man STOPS eating. Picks up the cone. + + ELDERLY JAPANESE MAN + (in Japanese) + Bring him here. And some food. + +INT. SAME - MOMENTS LATER + +The Elderly Man watches the Bearded Man WOLF down his food. + +He SLIDES the handgun down the table towards him. + + ELDERLY JAPANESE MAN + (in English) + Are you here to kill me? + +The Bearded Man glances up at him, then back to his food. + +The Elderly Japanese Man picks up the cone between thumb and forefinger. + + ELDERLY JAPANESE MAN + I know what this is. + +He SPINS it onto a table- it CIRCLES gracefully across the polished ebony... a SPINNING TOP. + + ELDERLY JAPANESE MAN + I've seen one before. Many, many years ago... + +The Elderly Japanese Man STARES at the top mesmerized. + + ELDERLY JAPANESE MAN + It belonged to a man I met in a half-remembered dream... + +MOVE IN on the GRACEFULLY SPINNING TOP... + + ELDERLY JAPANESE MAN + A man possessed of some radical notions... + +The Elderly Japanese Man STARES, remembering... + + COBB (V.O.) + What's the most resilient parasite? + +CUT TO: + +INT. SAME ELEGANT DINING ROOM - NIGHT (YEARS EARLIER) + +The speaker, COBB, is 35, handsome, tailored. A young Japanese man, SAITO, eats as he listens. + + COBB + A bacteria? A virus? + +Cobb gestures at their feast with his wine glass- + + COBB + An intestinal worm? + +Saito's fork pauses, mid-air. Cobb GRINS. A third man is at the table- ARTHUR. He jumps in to save the pitch- + + ARTHUR + What Mr. Cobb is trying to say- + + COBB + An idea. + +Saito looks at Cobb, curious. + + COBB + Resilient, highly contagious. Once an idea's taken hold in the brain it's almost impossible to eradicate. A person can cover it up, ignore it- but it stays there. + + SAITO + But surely-to forget...? + + COBB + Information, yes. But an idea? Fully formed, understood? That sticks... + (taps forehead) + In there, somewhere. + + SAITO + For someone like you to steal? + + ARTHUR + Yes. In the dream state, conscious defenses are lowered and your thoughts become vulnerable to theft. It's called extraction. + + COBB + But, Mr. Saito, we can train your subconscious to defend itself from even the most skilled extractor. + + SAITO + How can you do that? + + COBB + Because I am the most skilled extractor. I know how to search your mind and find your secrets. I know the tricks, and I can teach them to your subconscious so that even when you're asleep, your guard is never down. + +Cobb leans forwards. Holding Saito's gaze. + + COBB + But if I'm going to help you, you have to be completely open to me. I'll need to know my way around your thoughts better than your wife, your analyst, anyone. + (gestures around) + If this is a dream and you've got a safe full of secrets, I need to know what's in that safe. For this to work, you have to let me in. + +Saito gives this a flicker of a smile. Rises. A BODYGUARD opens double doors which give onto a LAVISH PARTY. + + SAITO + Gentlemen. Enjoy your evening as I consider your proposal. + +They watch Saito leave. Arthur turns to Cobb, worried- + + ARTHUR + He knows. + +Cobb motions silence. A TREMOR starts, they steady their glasses, Cobb glances at his watch- THE SECOND HAND IS FROZEN. + + ARTHUR + What's going on up there? + +And we- + +CUT TO: + +.FILTHY BATHROOM - DAY (FEELS LIKE DIFFERENT TIME) + +Cobb, ASLEEP, SITTING IN A CHAIR AT THE END OF A STEAMING BATH. The chair is up on a cabinet- the bottom of the legs level with the rim of the tub. A sweating man (40's) watches over Cobb. This is NASH. A distant EXPLOSION rumbles through the room. Nash moves to the window, parts the curtains. Outside: a CHAOTIC DEVELOPING-WORLD CITY- the street filled with RIOTERS- SMASHING, BURNING. Nash checks Cobb's left wrist: above his watch, tape holds TWO THIN YELLOW TUBES in place. Nash looks at Cobb's watch-THE SECOND HAND CRAWLS UNNATURALLY SLOWLY. Nash follows the tubes to a SILVER BRIEFCASE at Arthur's feet: ARTHUR IS ASLEEP in an armchair. Tubes connect the briefcase to Arthur's wrist. Nash follows another set of tubes from the briefcase to where they pass under the door to the bedroom. Through the crack of the door, Nash sees SAITO ASLEEP on the bed, tubes running to his wrist. BOOM- a closer EXPLOSION, and we- + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY (FEELS LIKE DIFFERENT TIME) + +Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train BUMPS OVER A ROUGH PIECE OF TRACK. + +A Japanese Man, TODASHI (18) watches Nash nervously. He checks Nash's wrist: TWO YELLOW TUBES CONNECT NASH WITH THREE OTHER SLEEPING MEN IN THE COMPARTMENT: COBB, ARTHUR, SAITO. Todashi checks his watch: THE SECOND HAND TICKS IN REAL TIME. Another TRAIN PASSES in the opposite direction with a MIGHTY WHUMP- Todashi's eyes FLY to Nash's sleeping face-NASH JERKS WITH THE MOVEMENT OF THE TRAIN, and we- + +CUT TO: + +INT. FILTHY BATHROOM - CONTINUOUS + +Another EXPLOSION- Nash CHECKS the sleeping Cobb and we- + +CUT TO: + +EXT. ROOFTOP TERRACES, JAPANESE CASTLE - NIGHT + +A LOW TREMOR RUMBLES THROUGH THE CASTLE. Cobb and Arthur steady themselves against the wooden rail. Several TILES and pieces of MASONRY fall. Below them a BLACK SEA churns. Other GUESTS wander the massive terraces. + + ARTHUR + Saito knows. He's playing with us. + + COBB + I can get it here. The information's in the safe- he looked right at it when I mentioned secrets. + +Arthur nods. Then spots someone over Cobb's shoulder. + + ARTHUR + What's she doing here, Cobb? + +Cobb turns to see a beautiful woman, elegantly dressed, staring out at the sea. This is MAL. Cobb watches her. + + COBB + You just get to your room. I'll take care of the rest. + + ARTHUR + See that you do. We're here to work. + +Arthur brushes past Mal, shaking his head. She nears Cobb. Looks out at the DROP. The WIND WHIPS HER HAIR- + + MAL + If I jumped, would I survive? + + COBB + With a clean dive, perhaps. Mal, why are you here? + +She turns to look at him. Amused. + + MAL + I thought you might be missing me... + +She smiles. He leans in, mesmerized. + + COBB + I am. But I can't trust you anymore. + +She stares up at him, inviting. + + MAL + So what? + +INT. BEDROOM SUITE, JAPANESE CASTLE - MOMENTS LATER + +Mal sips champagne as she studies a painting by Francis Bacon. + + MAL + Looks like Arthur's taste. + +Cobb is looking down through the window at the GUARDS patrolling the castle at ground level. + + COBB + Actually, Mr. Saito is partial to postwar British painters. + +He turns to Mal, donning a pair of black leather gloves. + + COBB + Would you sit down? + +Mal lowers herself gracefully into a leather wingback chair. + +Cobb approaches, pulls out a length of BLACK ROPE and kneels at Mal's feet. She looks down at him. + + MAL + Tell me... + +Cobb TIES the rope around the CHAIR LEGS. + + MAL + Do the children miss me? + +Cobb pauses. He lets his gloved fingers lightly touch Mal's ankle. He looks up at her. + + COBB + You can't imagine. + +Mal looks away, uncomfortable. Cobb gets to his feet, letting out the rope as he moves back to the window. + + MAL + What're you doing? + +Cobb tosses the rope out- + + COBB + Getting some air. + +He tugs on the rope, testing. The weight of the chair, with Mal on it, holds. + + COBB + Stay seated. Please. + +And with that, he JUMPS. Mal considers the open window. + +EXT. JAPANESE CASTLE WALL - CONTINUOUS + +Cobb RAPPELS down the wall, darting past windows. He stops at a particular one. Gets out a glass cutter- Suddenly he starts DROPPING- + +INT. BEDROOM SUITE, JAPANESE CASTLE - CONTINUOUS + +The EMPTY CHAIR SLIDES across the floor- WEDGES under the window- + +EXT. JAPANESE CASTLE WALL - CONTINUOUS + +Cobb JOLTS to a stop 15 ft. lower. He looks up at the bedroom window. Shakes his head. Starts climbing back. + +INT. KITCHEN, JAPANESE CASTLE - MOMENTS LATER + +Cobb drops silently from the window into the darkened kitchen. He pulls a PISTOL from his belt, screwing a SILENCER onto the barrel as he GLIDES across the room. + +INT. HALL, JAPANESE CASTLE-CONTINUOUS + +Cobb SLIPS through the shadows towards a GUARD stationed at the head of a GRAND STAIRCASE... + +The Guard HEARS something- TURNS- PEERS into the shadows... + +Cobb FLASHES out of the shadows, silenced pistol up, AIMING- PHHT- head shot- the Guard starts to drop... but Cobb is already there to CATCH him, sliding on his knees and lowering the Guard SILENTLY to the floor. + +INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS + +Cobb moves to a PAINTING. With practiced hands he removes it from the wall, revealing a SAFE. Cobb spins the dial, pulls it OPEN, GRABS an envelope from within, stuffs it into his waistband, where there is already an IDENTICAL ENVELOPE. LIGHTS COME ON. Cobb freezes. + + SAITO (O.S.) + Turn around. + +Cobb turns. At the far end of the room: Saito. Next to him is Mal, gun in hand. She smiles at Cobb. + + MAL + The gun, Dom. + +Cobb doesn't move. Mal motions outside- two GUARDS drag Arthur into the room. Mal puts the gun to his head. + + MAL + Please. + +Cobb slowly places his gun at his end of the long table, then SLIDES it along the polished ebony. It comes to rest HALFWAY down the length of the table. + + SAITO + Now the envelope, Mr. Cobb. + +Cobb reaches into his waistband, removes ONE of the envelopes, SLIDES it along the table. Steps back, hands raised. + + COBB + Did she tell you, or have you known all along? + + SAITO + That you're here to steal from me? + (beat) + Or that we're actually asleep? + +Arthur gives Cobb an I-told-you-so look. + + SAITO + I want to know who your employer is. + +Mal COCKS the gun at Arthur's temple. + + COBB + No point threatening him in a dream. + + MAL + That depends on what you're threatening. Killing him would just wake him up... but pain? Pain is in the mind... + +Mal LOWERS the gun and SHOOTS Arthur in the leg- Arthur drops, SCREAMING- Mal looks at Cobb, cold. + + MAL + And, judging by the decor, we're in your mind, aren't we, Arthur? + +Cobb watches Arthur's PAIN. Mal aims at Arthur's other leg... + +Cobb SPRINGS for the table, SKIDDING along its polished surface- he GRABS his gun- SHOOTS ARTHUR BETWEEN THE EYES- Arthur DROPS- the room starts to SHUDDER in a MASSIVE EARTHQUAKE- Cobb SPRINGS for the door- Arthur's eyes stare at the ceiling, DEAD, and we- + +CUT TO: + +INT. FILTHY BATHROOM - DAY + +Arthur's EYES OPEN as he WAKES IN THE ARMCHAIR- he GRABS at the tubes at his wrist, YANKING them free- + + NASH + What're you doing?! It's too soon- + +FLUID spurts from the tubes as Arthur STRUGGLES with the SILVER CASE on the bathroom floor. + + ARTHUR + I know! We have to reconnect the loop before they wake up! + +Arthur grabs the case and pushes through the door to the bedroom- following the tubes to where they meet Saito's wrist-SAITO LIES ON THE BED ASLEEP. Saito STIRS and we- + +CUT TO: + +INT. JAPANESE CASTLE CORRIDOR - NIGHT + +Cobb LURCHES towards the stairs, as all around him the building BUCKS and HEAVES- + +INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS + +Saito and the Guards PANIC. Mal walks calmly through the destruction, picks up the envelope and turns to Saito. + + MAL + He was close. Very close. + +EXT. GRAND STAIRCASE, JAPANESE CASTLE - CONTINUOUS + +Cobb runs up the stairs, pulling out the SECOND ENVELOPE- + +INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS + +Saito RIPS open the envelope, pulls out sheets of paper. He looks at Mal, PANICKED. He turns to the Guards- + + SAITO + Stop him! + +Mal, confused, looks at the sheets of paper: THEY ARE BLANK. + +Mal smiles, amused. + +INT. GRAND STAIRCASE, JAPANESE CASTLE - CONTINUOUS + +As Cobb runs up the stairs he reads the TYPEWRITTEN SHEETS from his envelope, and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM - DAY + +Arthur OPENS the silver case: a COMPLEX MECHANISM of TUBES, SYRINGES, DOSAGE CONTROLLERS. Arthur's hands fly across the machine's controls as he glances at Saito's STIRRING face- + + ARTHUR + I'm not going to make it! Wake Cobb! + +INT. FILTHY BATHROOM - CONTINUOUS + +Nash turns to Cobb. Raises his hand and SMACKS him across the face, and we- + +CUT TO: + +INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT + +Cobb is SMASHED sideways off his feet... + +INT. DINING ROOM, JAPANESE CASTLE - NIGHT + +The CEILING CRACKS above Saito- he looks up as a TON of STONE floods down, CRUSHING HIM and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM - DAY + +Saito's eyes FLICKER OPEN. AWAKE. + +INT. FILTHY BATHROOM - CONTINUOUS + +Nash SMACKS Cobb again- + + NASH + He won't wake! + +INT. DILAPIDATED HOTEL ROOM-CONTINUOUS + +Arthur crouched by Saito, connects the second tube. + + ARTHUR + Dunk him! + +A CLICK: Arthur looks up to find Saito with a gun to his head and a finger to his lips, gesturing silence... + +INT. FILTHY BATHROOM - CONTINUOUS + +Nash puts his hand on Cobb's forehead and PUSHES HIM BACKWARDS- as Cobb starts to FALL BACKWARDS in the chair we are in SLOW MOTION, and we- + +CUT TO: + +INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT + +Cobb, full speed, picks himself up, scrambling to read the last sheet of paper. He stares at it PUZZLED- bullets hit around him as the Guards race up the stairs and we- + +CUT TO: + +INT. FILTHY BATHROOM - DAY + +Cobb in SLOW MOTION, hits the WATER- head THRASHING as he goes under- and we- + +CUT TO: + +INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT + +Cobb glances up from the paper as WATER EXPLODES IN THROUGH ALL THE WINDOWS, FLOODING THE ENTIRE HALL- COBB IS SWAMPED BY WATER, SPUN IN ALL DIRECTIONS AT ONCE- HE PULLS DEEPER OR FOR THE SURFACE, WE CAN'T TELL...HE BREAKS THE SURFACE, GASPING FOR AIR IN THE BATHTUB IN THE- + +INT. FILTHY BATHROOM - DAY + +Cobb's AWAKE, GULPING AIR, getting his bearings. Saito SMASHES into the room, KNOCKING Nash down- Cobb LAUNCHES himself out of the tub, FLYING dripping wet across the room to SLAM Saito against the door- the gun DROPS, Cobb's fist CONNECTS with Saito's jaw and the struggle is over. + +INT. DILAPIDATED HOTEL ROOM - MOMENTS LATER + +Cobb, wet but composed, sits, turning Saito's gun in his hand. Nash holds Saito's arms behind him. Outside, the sounds of RIOTING grow louder. + + COBB + You came prepared. + + SAITO + I bring the gun because not even my head of security knows this apartment. How did you find it? + +Arthur, at the window, looks out at the WORSENING VIOLENCE. + + COBB + Hard for a man in your position to keep a love nest totally secret... particularly when there's a married woman involved. + + SAITO + She would never... + + COBB + And yet, here we are. + +Saito is silent. + + COBB + With a dilemma. + + SAITO + You got what you came for. + + COBB + Not quite. The key piece of information wasn't there, was it, Mr. Saito? + +Arthur looks over at Cobb, worried. + + ARTHUR + They're getting closer, Cobb. + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY + +Todashi slips a pair of HEADPHONES over Nash's ears, then pulls out an MP3 player and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM - DAY + +Saito's eyes are on the floor. + + COBB + You held something back because you knew what we were up to... + +Cobb uses the barrel of the gun to raise Saito's chin. + + COBB + So why let us in at all? + +Saito smiles, defiant. VIOLENT NOISES echo up the stairway... + + SAITO + An audition. + + COBB + Audition for what? + + SAITO + It doesn't matter. You failed. + + COBB + I extracted all the information you had in there. + + SAITO + But your deception was readily apparent. + +And we- + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY + +Todashi opens the SILVER BRIEFCASE, revealing the complex mechanism of syringes and controllers- FOUR CONTROLLERS DISPLAY COUNTDOWNS. + +Todashi waits for the first countdown to hit "30," then HITS PLAY on the MP3 player- He watches Nash's sleeping face as he RAISES the volume...Through Nash's headphones: the opening bars of Edith Piaf's "Non, je ne regrette rien," and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM - DAY + +In the distant background, strange MASSIVE low-end MUSICAL start, sounding like DISTANT HORNS... + + SAITO + So leave me and go. + + COBB + You know the corporation who hired us won't accept failure. We won't last two days... + +The DISTANT, SLOWED-DOWN MUSIC is becoming LOUDER, as are the SHOUTS coming up the stairs. Arthur looks at his watch, its SLOW SECOND TICKING MARKS TIME WITH THE MASSIVE MUSIC. + + ARTHUR + Come on, Cobb. + + COBB + So now I have to do this the old-fashioned way- + +Cobb GRABS SAITO AND PUTS HIS HEAD TO THE FLOOR, gun pressed into his cheek. Saito looks into Cobb's eyes- sees he will pull the trigger. Saito BLINKS, looks away in shame-When he NOTICES SOMETHING. And starts LAUGHING. + + SAITO + I've always hated this carpet. + +Cobb's eyes flick to the carpet and back. + + SAITO + It's stained and frayed in such distinctive ways... + +Cobb looks up at Nash, who shrugs, at a loss. + + SAITO + But very definitely made of wool. Right now I'm lying on polyester. + +Cobb glares at Nash, and we- + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY + +Todashi watches the first of the countdowns hit ZERO- He looks up at Arthur, STIRRING, and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM-DAY + +Saito turns from the carpet to look up at Cobb. + + SAITO + Which means I'm not lying on my carpet, in my apartment... + (smiles) + You've lived up to your reputation, Mr. Cobb... I'm still dreaming. + +Cobb looks over to Arthur, but ARTHUR HAS VANISHED, and we- + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY + +Arthur's eyes flicker open, AWAKE. He RIPS at his tubes. + + TODASHI + How'd it go? + + ARTHUR + Not good. + +Arthur checks the remaining three countdowns, and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM - DAY + +Saito gets to his feet, looking admiringly at Cobb. + + SAITO + A dream within a dream-I'm impressed. + +Cobb lowers the gun. Defeated. Glances at his watch. The music REVERBERATES, the RIOTERS BANG ON THE DOOR, and we- + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY + +Arthur retracts the tubes into the case as he watches the next countdown hit ZERO, and we- + +CUT TO: + +INT. DILAPIDATED HOTEL ROOM - DAY + +Another BANG on the door- Saito, confident now, approaches Cobb. Nash is behind Saito. + + SAITO + But in my dream, we really ought to be playing by my rules... + + NASH + Ah, yes, but you see, Mr. Saito- + +Saito turns to Nash- + + COBB + We're not in your dream- + +Saito turns back to Cobb, BUT COBB HAS VANISHED- + + NASH + We're in mine. + +Saito SPINS back to Nash- the DOOR SMASHES OFF ITS HINGES AS RIOTERS POUR INTO THE ROOM, SWARMING OVER NASH... BUT NASH IS GONE. The music DIES. Saito and the rioters stand there in the SILENCE, the light DWINDLING... and we- + +CUT TO: + +INT. BULLET TRAIN COMPARTMENT - DAY + +Nash' eyes open, AWAKE. + + ARTHUR (O.S.) + Asshole! + +Nash BLINKS. Arthur is in his face, furious. + + ARTHUR + How could you get the carpet wrong?! + + NASH + It wasn't my fault! + + ARTHUR + You're the architect- + + NASH + I didn't know he was going to rub his damn cheek on it! + +Cobb pulls Arthur away from Nash. + + COBB + Lets go. + + ARTHUR + And you-what the hell was all that? + + COBB + I had it under control. + + ARTHUR + I'd hate to see out of control- + + COBB + There's no time for this-I'm getting off at Kyoto. + + ARTHUR + Why? He's not gonna search every compartment. + + COBB + I can't stand trains. + +Arthur moves to the briefcase. Turns a dial. + + ARTHUR + I can keep him under for one minute- + +Arthur hits a button- A PLUNGER DEPRESSES. Cobb RIPS the tape off Saito's wrist, ROLLS up his tubes. Arthur SLAMS the silver case shut. Todashi pulls open the door- + + COBB + Every man for himself. + +Arthur and Nash EXIT, heading in different directions down the corridor. Cobb hands Todashi a thick roll of CASH, looks at Saito, who stirs. Cobb moves off. + +EXT. JAPANESE COUNTRYSIDE - CONTINUOUS + +The BULLET TRAIN speeds through the lush landscape. + +INT. BULLET TRAIN COMPARTMENT - CONTINUOUS + +Saito WAKES GENTLY. Looks around the compartment, empty but for Todashi, reading a comic. Saito looks down at his wrist. Sees a small mark. Rubs it. SMILES. + +EXT. TOKYO - DUSK + +Moving over the vast city towards a high rise. A HELICOPTER thumps into frame, heading for a pad on the roof. + +INT. APARTMENT, TOKYO - CONTINUOUS + +Cobb sits, waiting. Checks his watch, restless. He pulls a HANDGUN. Checks it is loaded. places it on the table in front of him. Pulls out a PEWTER SPINNING TOP, SPINS it on the table ... He INTENT STUDIES the top's spin... As he stares, the sound of a FREIGHT TRAIN builds and builds- the top WOBBLES, TIPS onto its side- the sound of the train STOPS. the PHONE RINGS- Cobb GRABS it- + + @CHILDREN'S VOICES (over phone) + Hi, Daddy! Hi, Dad. + + COBB + Hey, guys. How are you? + + @CHILDREN'S VOICES (over phone) + Good. Okay, I guess. + +Cobb closes his eyes, trying to picture his children: INSERT CUT: COBB's MEMORY- a LITTLE BLONDE BOY (3), back towards us, crouches IN A GARDEN, looks at something in the grass... + + COBB + Who's just okay? Was that James? + + @JAMES (over phone) + Yeah. When are you coming home? + + COBB + I can't. Not for a while. + +INSERT CUT: A LITTLE BLONDE GIRL (5), also FACE UNSEEN, joins JAMES, CROUCHING BESIDE HIM... + + @JAMES (over phone) + Why? + + COBB + Well, James, like I've told you-I'm away because I'm working... + + @LITTLE GIRL (over phone) + Grandma says you're never coming back. + +Cobb pauses. Takes a breath. INSERT CUT: James and Philippa, FACES UNSEEN, lift their heads from the grass, responding to someone's call- they RUN AWAY FROM US ACROSS THE GARDEN... + + COBB + Philippa, can you ask Grandma to pick up the phone- + + @PHILIPPA (over phone) + She's shaking her head. + +Cobb TENSES, as if about to SMASH the phone. + + COBB + Well, we'll just have to hope Grandma's wrong about that won't we? + + JAMES + (over phone) + Daddy? + + COBB + Yes? + + @JAMES (over phone) + Is Mommy with you? + +Cobb looks like he just got punched- INSERT CUT: COBB'S MEMORY- MAL, WIND BLOWING HER HAIR, SMILES CALMLY... + + COBB + No. No, we talked about this, James. Mommy's gone. + + @JAMES (over phone) + Where? + + @GRANDMA'S VOICE (over phone) + Time to go, kids. Say bye-bye- + + COBB + I'll give some presents to Grandpa, okay? Just be good for- + +Cobb STARES at the dead phone. Then DOWNS his drink- A KNOCK at the door. Cobb GRABS the top, the gun- MOVES to the door-cracks it: Arthur. + + ARTHUR + Our ride's on the roof. + +Cobb nods. Moves to pick up his bag. Arthur watches. + + ARTHUR + Cobb... are you okay? + +Cobb looks up. + + COBB + Yeah, why? + + ARTHUR + Down in the dream... Mal showing up like that ... + + COBB + Yeah. I'm sorry about your leg. + + ARTHUR + It's getting worse, isn't it? + + COBB + One apology's all you're getting, Arthur. Now, where's Nash? + + ARTHUR + Hasn't shown. Wanna wait? + + COBB + (shakes head) + We were supposed to deliver Saito's expansion plans to Cobol Engineering two hours ago. By now they know we failed. Time to disappear. + +INT. CORRIDOR - CONTINUOUS + +Cobb and Arthur head towards the elevator. + + ARTHUR + Where will you go? + + COBB + Buenos Aires. I can lie low there. Maybe sniff out a job when things quiet down. You? + + ARTHUR + Stateside. + + COBB + (wistful) + 'Course. Send my regards. + +Arthur looks at Cobb. Nods. Sympathetic. + +EXT. ROOFTOP HELIPAD - NIGHT + +The HELICOPTER sits, ROTORS SPINNING. As Cobb and Arthur reach the door, it SLIDES OPEN. Cobb steps up into the leather-padded interior. He freezes. + +INT. HELICOPTER ON PAD - CONTINUOUS + +Nash, BEATEN BLOODY, sits on the far side, slumped against the wine. Beside him: SAITO. He nods politely at Cobb. + + SAITO + He sold you out. Thought to come to me and bargain for his life... + +Saito's BODYGUARD offers Cobb a GUN. + + SAITO + So I offer you the satisfaction. + + COBB + That's not how I deal with things. + + SAITO + Would you work with him again? + +Cobb shakes his head. Saito's BODYGUARDS PULL Nash from the chopper. Saito motions Cobb and Arthur to sit. The chopper RISES. Cobb watches Nash DRAGGED across the pad. + + COBB + What will you do to him? + + SAITO + Nothing. But I can't speak for your friends from Cobol Engineering. + +Saito looks out at the city slipping by. + + COBB + What do you want from us? + + SAITO + Inception. + +Arthur raises his eyebrows. Cobb is poker-faced. + + SAITO + Is it possible? + + ARTHUR + Of course not. + + SAITO + If you can steal an idea from someone's mind, why can't you plant one there instead? + + ARTHUR + Okay, here's planting an idea: I say to you, "Don't think about elephants." + (Saito nods) + What are you thinking about? + + SAITO + Elephants. + + ARTHUR + Right. But it's not your idea because you know I gave it to you. + + SAITO + You could plant it subconsciously- + + ARTHUR + The subject's mind can always trace the genesis of the idea. True inspiration is impossible to fake. + + COBB + No, it isn't. + + SAITO + Can you do it? + + COBB + I won't do it. + + SAITO + In exchange, I'll give you the information you were paid to steal. + + COBB + Are you giving me a choice? Because I can find my own way to square things with Cobol. + + SAITO + Then you do have a choice. + + COBB + And I choose to leave. + +EXT. AIRFIELD - MOMENTS LATER + +The helicopter sets down next to a PRIVATE JET. + +INT. HELICOPTER - CONTINUOUS + +Saito indicates the plane. + + SAITO + Tell the crew where you want to go, they'll file the plan en route. + +Cobb and Arthur look at each other. Then move for the door. + + SAITO + Mr. Cobb...? There is one other thing I could offer you. + (Cobb stops) + How would you like to go home? To America. To your children. + +Cobb turns back to Saito. + + COBB + You can't fix that. Nobody could. + + SAITO + Just like inception. + +Cobb considers this. Arthur touches his arm. + + ARTHUR + Cobb, come on- + + COBB + How complex is the idea? + + SAITO + Simple enough. + + COBB + No idea's simple when you have to plant it in someone else's mind. + + SAITO + My main competitor is an old man in poor health. His son will soon inherit control of the corporation. I need him to decide to break up his father's empire. Against his own self-interest. + + ARTHUR + Cobb, we should walk away from this. + + COBB + If I were to do it. If I could do it... how do I know you can deliver? + + SAITO + You don't. But I can. So do you want to take a leap of faith, or become an old man, filled with regret, waiting to die alone? + +Cobb looks at Saito. Barely nods. + + SAITO + Assemble your team, Mr. Cobb. And choose your people more wisely. + +INT. PRIVATE JET - LATER + +Cobb reclines his seat. Arthur picks at a salad, angry. + + ARTHUR + I know how much you want to go home- + + COBB + (sharp) + No, you don't. + + ARTHUR + But this can't be done. + + COBB + It can. You just have to go deep enough. + + ARTHUR + You don't know that!- + + COBB + I've done it before. + +Arthur is taken aback. Cobb turns to the window. + + ARTHUR + Did it work? + + COBB + (quiet) + Yes. + + ARTHUR + Who did you do it to? + +Cobb looks at Arthur. Closed. Arthur shrugs. + + ARTHUR + So why are we headed to Paris? + + COBB + We're going to need a new architect. + +INT. GREAT HALL, ÉCOLE D'ARCHITECTURE - MORNING + +Cobb, carrying a shopping bag, looks into a lecture hall: no students, just a RUMPLED PROFESSOR hunched over paperwork. + +INT. LECTURE HALL - CONTINUOUS + + COBB (O.S.) + You never did like your office. + +PROFESSOR MILES looks up, squinting. Recognizes Cobb. + + MILES + No space to think in that broom cupboard. + +Cobb steps down past the empty wooden rows. + + MILES + Is it safe for you to be here? + + COBB + Extradition between France and the U.S. is a bureaucratic nightmare. + + MILES + I think they'd find a way to make it work in your case. + +Cobb hand Miles the shopping bag. + + COBB + Can you take these back for the kids? + + MILES + It'll take more than the occasional stuffed animal to convince those children they still have a father. + + COBB + I know. I thought you could talk to Marie about bringing them on vacation. Somewhere I could meet- + + MILES + Why would she listen to me? + + COBB + You were married for twenty years. + + MILES + She blames me as much as you. + + COBB + Doesn't she understand that my kids need me? + + MILES + Yes, she does. We all do. Go back and face the music, Dom. Explain what Mal did. + + COBB + Be realistic, Stephen. They'd never understand- they'd lock me up and throw away the key. Or worse. + + MILES + You think what you're doing now is helping your case? + + COBB + Lawyers don't pay for themselves. This is what I have. This is what you taught me. + + MILES + I never taught you to be a thief. + + COBB + No, you taught me to navigate other people's minds. But after what happened with Mal there weren't a whole lot of legitimate ways for me to use that skill. + +Miles looks at Cobb. + + MILES + Why did you come here, Dom? + +Cobb shifts slightly. + + COBB + I found a way home. A job. For powerful people. If I pull it off, I can get back to my family. But I need help. + +Miles realizes something. + + MILES + My God. You're here to corrupt one of my brightest and best. + + COBB + If you have someone good enough, you have to let them decide for themselves. You know what I'm offering- + + MILES + Money? + + COBB + No, not just money: the chance to build cathedrals, entire cities-things that have never existed, things that couldn't exist in the real world... + + MILES + Everybody dreams, Cobb. Architects are supposed to make those dreams real. + + COBB + That's not what you used to say. You told me that in the real world I'd be building attic conversions and gas stations. You said that if I mastered the dream-share I'd have a whole new way of creating and showing people my creations. You told me it would free me. + +Miles looks at Cobb, sad. + + MILES + And I'm sorry. I was wrong. + + COBB + No, you weren't. Your vision was a vision of pure creativity. It's where we took it that was wrong. + + MILES + And now you want me to let someone else follow you into fantasy. + + COBB + They won't actually come on the job, they'll just design the levels and teach them to the dreamers. + + MILES + Design them yourself. + + COBB + Mal won't let me. + +Miles looks at Cobb. Appalled. + + MILES + Come back to reality, Dom. Please. + + COBB + You want to know what's real, Stephen? Your grandchildren waiting for their dad to come back. This job-this last job-is how I get there. + +Miles looks down, fiddles with his papers. + + COBB + I wouldn't be standing here if there were any other way. I can get home. But I need an architect who's as good as I was. + +Miles looks Cobb in the eye. Decides. + + MILES + I've got someone better. + +INT. CORRIDOR - LATER + +Miles and Cobb stand by as STUDENTS file out of a lecture. + + MILES + Ariadne... + +A young woman carrying books turns. This is ARIADNE. + + MILES + I'd like you to meet Mr. Cobb. + +She sizes him up with quick eyes. Offers her hand. + + ARIADNE + Pleased to meet you. + + MILES + If you have a few moments, Mr. Cobb has a job offer to discuss with you. + + ARIADNE + A work placement? + + COBB + (smiles) + Not exactly. + +EXT. ROOFTOP, ÉCOLE D'ARCHITECTURE - MOMENTS LATER + +Ariadne leans against the parapet, overlooking Paris. She unwraps a sandwich, watching Cobb pull out a pad of GRAPH PAPER and a PEN. He offers them. She bites her sandwich. + + COBB + A test. + + ARIADNE + (mouth full) + Aren't you going to tell me anything? + + COBB + Before I describe the job, I have to know you could do it. + + ARIADNE + Why? + + COBB + It's not, strictly speaking, legal. + +Ariadne raises her eyebrows. + + COBB + You have two minutes to draw a maze that takes me one minute to solve. + +Ariadne takes the pad and pen. Cobb looks at his watch. + + COBB + Go. + +She starts DRAWING LINES on the grid, constructing a maze. + + COBB + Stop. + +Ariadne hands the pad and pen to Cobb. He glances at the pad, then, looking her in the eye, TRACES the solution. She is taken aback. Cobb RIPS off the sheet, hands the pad back. + + COBB + Again. + +She traces straight lines, CONCENTRATING... + + COBB + Stop. + +She hands Cobb the pad, a touch pleased. Cobb solves the puzzle instantly, as before. Her smile falls. + + COBB + You'll have to- + +She GRABS the pad, frustrated... but this time she FLIPS it over and starts drawing on the BLANK CARDBOARD of the back. + +Cobb watches, surprised. He smiles as he sees that she's drawing CIRCLES, creating a maze based on concentric rings. + +Ariadne hands back the pad, defiant. Cobb takes the pen, starts the maze. This time he gets stuck. Nods. + + COBB + (working the maze) + More like it. + +EXT. NARROW STREET, PARIS - DAY + +Arthur stops at a warehouse door. Consults a piece of paper. + +INT. WORKSHOP - CONTINUOUS + +A large, dusty warehouse. The SLIDING DOOR cracks open. + +Arthur enters. Looks around, approvingly. + +INT. SAME - LATER + +Arthur DRAGS LAWN CHAIRS into the middle of the room. He erects a table. Lays out several SILVER CASES, unpacking them, laying out lines of tubing, MECHANISMS... + +EXT. PARISIAN CAFE - DAY + +Cobb and Ariadne sit at an outdoor table. + + COBB + They say we only use a fraction of the true potential of our brains... but they're talking about when we're awake. While we dream, the mind performs wonders. + + ARIADNE + Such as? + + COBB + How do you imagine a building? You consciously create each aspect, puzzling over it in stages... But sometimes, when your imagination flies- + + ARIADNE + I'm discovering it. + + COBB + Exactly. Genuine inspiration. + +Cobb leans forwards and draws on the paper table cloth. + + COBB + In a dream your mind continuously does that... + +Cobb has drawn a circle made of two arrows. + + COBB + It creates and perceives a world simultaneously. So well that you don't feel your brain doing the creating. That's why we can short-circuit the process... + + ARIADNE + How? + + COBB + By taking over the creating part. + +Cobb draws a straight line between the two arrows. + + COBB + This is where you come in. You build the world of the dream. We take the subject into that dream, and let him fill it with his subconscious + + ARIADNE + But are you trying to fool him that the dream is actually real life? + + COBB + (nods) + While we're in there, We don't want him to realize he's dreaming. + + ARIADNE + How could I ever get enough detail to Convince him that it's real? + + COBB + Our dreams feel real while we're in them. It's only when we wake up we realize things were strange, + +Ariadne gestures around them- + + ARIADNE + But all the textures of real life-the stone, the fabric. cars... people... your mind can't create all this. + + COBB + It does. Every time you dream. Let me ask you a question: You never remember the beginning of your dreams, do you? You just turn up in the middle of what's going on. + + ARIADNE + I guess. + + COBB + So... how did we end up at this restaurant? + + ARIADNE + We came here from... + +Ariadne trails off, confused. + + COBB + How did we get here? Where are we? + +Ariadne THINKS, unable to remember. A FAINT RUMBLE begins. + + ARIADNE + Oh my God. We're dreaming. + +Cobb nods. The RUMBLE is BUILDING. + + COBB + Stay calm. We're actually asleep in the workshop. This is your first lesson in shared dreaming, remember? + +Ariadne looks around, mind REELING. Cobb BRACES- The restaurant VIOLENTLY FRAGMENTS, EXPLODING AND IMPLODING PARTICLES OF FURNITURE, WALLS, PEOPLE FLYING AROUND- Ariadne WONDERS at the MAYHEM WHIRLING around them- Cobb SHIELDS his head against the debris. She sees him- + + ARIADNE + (shouting over noise) + If it's just a dream, why are you covering your- + +Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we- + +CUT TO: + +INT. WORKSHOP - DAY + +Ariadne JOLTS awake. + + COBB (O.S.) + Because it's never just a dream. + +Ariadne turns to Cobb's voice. They are both sitting in the lawn chairs. Arthur watches over them. + + COBB + And a face full of glass hurts like hell, doesn't it? While we're in it, it's real. + + ARTHUR + That's why the military developed dream sharing-a training program where soldiers could strangle, stab and shoot each other, then wake up. + + ARIADNE + How did architects get involved? + + COBB + Someone had to design the dreams. + (to Arthur) + Let's go another five minutes- + + ARIADNE + We were only asleep for five minutes? We talked for an hour at least... + + COBB + When you dream, your mind functions more quickly, so time seems to pass more slowly. + + ARTHUR + Five minutes in the real world gives you an hour in the dream. + + COBB + Let's see how much trouble you can cause in five minutes. + +And we- + +CUT TO: + +EXT. SAME PARISIAN STREET - DAY + +Ariadne walks down the crowded street with Cobb. Cobb looks around at the street, the cafe, approving. + + COBB + It's good. You've got the cafe, the layout... you forgot the book shop but pretty much everything else is here. + +Ariadne looks at the passers-by. + + ARIADNE + Who are the people? + + COBB + They're projections of my subconscious. + + ARIADNE + Yours? + + COBB + Sure-you are the dreamer, I am the subject. My subconscious populates your world. That's one way we get at a subject's thoughts-his mind creates the people, so we can literally talk to his subconscious. + + ARIADNE + How else do you do it? + + COBB + Architecture. Build a bank vault or a jail, something secure, and the subject's mind will fill it with information he's trying to protect. + + ARIADNE + Then you break in and steal it. + + COBB + Exactly. + +Ariadne wonders at the detail of the street. + + ARIADNE + I love the concrete sense of things- + (stamps foot) + Real weight, you know? I thought a dream space would be all about the visual, but it's the feel of things. Question is, what happens as you start to mess with physics... + +She CONCENTRATES on the street. The street starts to BEND IN HALF- the buildings on either side FOLDING IN until they form the INSIDE OF A CUBE OF CITY, GRAVITY FUNCTIONING INDEPENDENTLY ON EACH PLANE. Ariadne looks up (or down) at the people on the opposite city surface. Cobb watches her excitement. + + ARIADNE + It's something, isn't it? + + COBB + (quiet) + Yes. It is. + +As they walk, Ariadne notices more and more of the projections STARING at her. + + ARIADNE + Why are they looking at me? + + COBB + Because you're changing things. My subconscious feels that someone else is creating the world. The more you change things, the quicker the projections converge on you. + + ARIADNE + Converge? + + COBB + They feel the foreign nature of the dreamer, and attack-like white blood cells fighting an infection. + + ARIADNE + They're going to attack us? + + COBB + Just you, actually. + +They walk along the street to where it joins the next gravitational plane. They step up onto the different plane and walk down the street towards a river. As Ariadne approaches, steps emerge from the flagstone, and she leads Cobb up onto a small jetty. As she concentrates, pillars emerge and a BRIDGE starts to telescope out from the jetty. + +They step onto it as it grows. Cobb is impressed. + + COBB + It's beautiful... but if you keep on changing things... + +People crossing the bridge STARE at Ariadne. Several of them BUMP her shoulder as they pass. + + ARIADNE + Mind telling your subconscious to take it easy? + + COBB + That's why it's called subconscious. I don't control it. + +The bridge now spans the Seine. Cobb marvels at it. + + COBB + Arched stone, iron pillars... it's... + +Cobb pauses, thinking. Remembering. INSERT CUT: Mal, hair blowing, turns to Cobb, smiling, laughing. He smiles back. They are on the same bridge. + + COBB + I know this bridge. This place is real- + (serious) + You didn't imagine it, you remembered it... + + ARIADNE + (nods) + I cross it every day on my way to the college. + + COBB + Never recreate places from your memory. Always imagine new places. + + ARIADNE + You have to draw from what you know- + + COBB + (tense) + Use pieces-a streetlamp, phonebooths, a type of brick-not whole areas. + +Several people around them ECHO Cobb's attitude... + + ARIADNE + Why not? + + COBB + Because building dreams out of your own memories is the surest way to lose your grip on what's real and what's a dream. + + ARIADNE + Did that happen to you? + +Cobb says nothing. He stands there, staring at Ariadne. PEOPLE around her stop and look at her, hostile. + + COBB + Look, this isn't about me- + +Cobb reaches for Ariadne's arm, turns her to him- + + ARIADNE + Is that why you need me to build your dreams? + +A passerby GRABS Ariadne's shoulder- + + COBB + Leave her alone- + +More of the crowd join in, PULLING at Ariadne, holding her arms open- Cobb PULLS people off- the crowd PUSHES him away- Cobb sees someone WALKING PURPOSEFULLY through the crowd towards the helpless, Ariadne- it is Mal. She approaches with even strides- Ariadne stares at her, uneasy. + + ARIADNE + Wake me up, Cobb. + +As Mal walks, she pulls out a LARGE KNIFE- + + COBB + Mal, no! + + ARIADNE + Wake me up! + +Ariadne SCREAMS as Mal LUNGES at her with the knife and we- + +CUT TO: + +INT. WORKSHOP-DAY + +Ariadne WAKES, BREATHING HARD. Arthur moves to her- + + ARTHUR + It's okay. + + ARIADNE + Why couldn't I wake? + + ARTHUR + The only way to wake from inside the dream is to die. + +Cobb, in the lawn chair opposite, PULLS his tubes out. + + COBB + She'll need a totem. + + ARIADNE + What? + + ARTHUR + Some kind of personal icon. A small object that you can always have with you, and that no one else knows, + +Cobb gets to his feet, Ariadne stares at him, furious. He heads to the bathroom. + + ARIADNE + That's some subconscious you've got, Cobb. + (calls after him) + She's a real charmer! + + ARTHUR + Sounds like you've met Mrs. Cobb. + + ARIADNE + (surprised) + She's his wife? + +Arthur nods, pulling off Ariadne's tubes. + + ARTHUR + So. A totem. You need something small, potentially heavy... + +INT. BATHROOM, WORKSHOP - CONTINUOUS + +Cobb takes out his PEWTER SPINNING TOP, SPINS it on the marble counter... + +INT. WORKSHOP - CONTINUOUS + +Ariadne looks at Arthur, puzzled. + + ARIADNE + Like a coin? + + ARTHUR + Too common. You need something that has a weight or movement that only you know. + +INT. BATHROOM, WORKSHOP - CONTINUOUS + +Cobb STUDIES the spin of the top as it decays, becoming more and more ECCENTRIC... + +INT. WORKSHOP - CONTINUOUS + + ARIADNE + What's yours? + +Arthur holds out a DIE. + + ARTHUR + A loaded die. + +Ariadne reaches for it- Arthur snatches it away- + + ARTHUR + I can't let you handle it. That's the point. No one else can know the weight or balance of it. + + ARIADNE + Why? + + ARTHUR + So when you examine your totem... + +INT. BATHROOM, WORKSHOP - CONTINUOUS + +Cobb's spinning top WOBBLES OVER. + + ARTHUR (O.S.) + You know, beyond a doubt, that you're not in someone else's dream. + +Cobb GRABS it like a drowning man reaching for a lifeline. + +INT. WORKSHOP - CONTINUOUS + +Ariadne thinks this over. + + ARIADNE + That's not an issue for me. + + ARTHUR + Why not? + + ARIADNE + Arthur, maybe you can't see what's going on, maybe you don't want to. But Cobb's got problems he's tried to bury down there. I'm not going to open my mind to someone like that. + +Ariadne gets to her feet. Walks away. + + COBB (O.S.) + She'll be back. + +Arthur turns. Cobb is standing in the bathroom doorway. + + COBB + I've never seen anyone pick it up so fast. And one reality won't be enough for her now. When she comes back, get her building mazes. + + ARTHUR + Where will you be? + + COBB + I've got to talk to Eames. + + ARTHUR + Eames? But he's in Mombasa. Cobol's backyard. + + COBB + Necessary risk. + + ARTHUR + There are plenty of other thieves. + + COBB + We don't just need a thief. We need a forger. + +INT. GAMBLING DEN, MOMBASA - DAY + +Crowded, bustling, smoke-filled. a westerner (40's), shabby suit, is squeezed in at a dice game. This is EAMES. He FIDDLES with his last two chips. + + COBB (O.S.) + Rub them against each other all you like, they're not going to breed. + +Eames looks up to see Cobb. + + EAMES + You never know. + +Eames tosses down his last chips. The dice are rolled... + + COBB + Drink? + +Eames loses. + + EAMES + You're buying. + +Cobb follows Eames. Eames mysteriously produces two stacks of chips and puts them down in front of the cashier. Cobb pulls one off the top, squints at the embossed name. + + COBB + Your spelling hasn't improved. + +Eames GRABS the chip. Hands it to the cashier. + + EAMES + Piss off. + + COBB + How's your handwriting? + +Eames takes his money. Smiles at Cobb. + + EAMES + Versatile. + +INT. STREET, MOMBASA - CONTINUOUS + +Eames leads Cobb down the quiet street. + + EAMES + Word is, you're not welcome in these parts. + + COBB + Yeah? + + EAMES + There's a price on your head from Cobol Engineering. Pretty big one, actually. + + COBB + You wouldn't sell me out. + +Eames looks at Cobb, offended. + + EAMES + `Course I would. + + COBB + (smiles) + Not when you hear what I'm selling. + +EXT. BALCONY OF A COFFEE HOUSE - LATER + +A ramshackle balcony overlooking a busy street. Eames pours. + + COBB + Inception. + +Eames's glass stops halfway to his mouth. + + COBB + Don't bother telling me it's impossible. + + EAMES + It's perfectly possible. Just bloody difficult. + + COBB + That's what I keep saying to Arthur. + + EAMES + Arthur? You're still working with that stick-in-the-mud? + + COBB + He's a good point man. + + EAMES + The best. But he has no imagination. If you're going to perform inception, you need imagination. + + COBB + You've done it before? + + EAMES + Yes and no. We tried it. Got the idea in place, but it didn't take. + + COBB + You didn't plant it deep enough? + + EAMES + It's not just about depth. You need the simplest version of the idea-the one that will grow naturally in the subject's mind. Subtle art. + + COBB + That's why I'm here. + + EAMES + What's the idea you need to plant? + + COBB + We want the heir to a major corporation to break up his father's empire. + + EAMES + See, right there you've got various political motivations, anti-monopolistic sentiment and so forth. But all that stuff's at the mercy of the subject's prejudice-you have to go to the basic. + + COBB + Which is? + + EAMES + The relationship with the father. + (downs drink) + Do you have a chemist? + +Cobb shakes his head. + + EAMES + There's a man here. Yusuf. He formulates his own versions of the compounds. + + COBB + Let's go see him. + + EAMES + Once you've lost your tail. + (Cobb reacts) + Back by the bar, blue tie. Came in about two minutes after we did. + + COBB + Cobol Engineering? + + EAMES + They pretty much own Mombasa. + +Cobb glances over the balcony. + + COBB + Run interference. We'll meet downstairs in half an hour. + + EAMES + Back here? + + COBB + Last place they'd expect. + +Eames downs his drink. Rises. Walks over to the Businessman. + + EAMES + Freddy! + +The Businessman looks up, awkward. + + EAMES + Freddy Simmonds, it is you! + +Cobb nonchalantly SLIPS over the balcony DROPPING HARD into the midst of the crowd on the street below. + + EAMES + (looks harder) + Oh. No, it isn't. + +EXT. STREET, MOMBASA - CONTINUOUS + +Cobb stands up, PUSHES into the crowd- faces PEER at him- he moves, trying to blend- TURNS- a SECOND BUSINESS MAN is there. + + COBB + (disarming smile) + Yes? + + SECOND BUSINESSMAN + We need to- + +Cobb HEAD BUTTS the Second Businessman, PUSHES past him- The First Businessman races out of the bar, sees Cobb's wake, DIVES after him- Cobb RACES headlong through tight passageways, WEAVING through or KNOCKING into the locals... + +He steps into a dark, crowded cafe, scanning the tables... the First Businessman enters, spots him. An AFRICAN MAN gets in Cobb's face, jabbering at him in Swahili- Cobb considers his options... the First Businessman DRAWS A GUN- Cobb bolts, steps up on a table and out an open window, SCRAMBLING into the alley outside... + +Cobb LOOKS left, right... CUTS LEFT into a narrow, CROWDED alley- the alley NARROWS TO A DEAD END. Faces in the CROWD start to watch Cobb- PEOPLE start to SURROUND him- Cobb looks back the way he came- the two Businessmen are there, GUNS DRAWN- Cobb sees a SMALL GAP between the buildings at the narrow end-he THROWS himself into it- gets STUCK HALFWAY... + +The crowd bears down, GRABBING for him as Cobb struggles to SQUEEZE HIMSELF through the gap... Cobb's moving INCHES as his pursuers gain YARDS... the Crowd is upon him... he BURSTS FREE. TUMBLING onto the next street, ROLLING out of sight. + +Cobb Jumps to his feet- in a market square. TWO MORE BUSINESSMEN move towards him. Cobb BOLTS but a CAR SKIDS UP,BLOCKS HIS PATH- the door opens- SAITO IS IN THE BACK. + + SAITO + Care for a lift, Mr. Cobb? + + COBB + (jumping in) + What brings you to Mombasa, Mr. Saito? + + SAITO + I have to protect my investment. + +EXT. COFFEE HOUSE - MOMENTS LATER + +Eames stands on the pavement. The car pulls up. Cobb beckons from the rear window. Eames looks at Saito. Back to Cobb. + + EAMES + This is your idea of losing a tail? + + COBB + (shrugs) + Different tail. + +INT. WORKSHOP - DAY + +Arthur sits at the table, working on a mechanism. A small COUGH prompts him to look up: Ariadne is there. + + ARTHUR + He said you'd be back. + + ARIADNE + I tried not to come. + + ARTHUR + But there's nothing else quite like it. + + ARIADNE + No paper, no pens... nothing between you and raw, direct creation. + +Arthur picks up his mechanism. + + ARTHUR + Shall we take a look at paradoxical architecture? + +Ariadne nods, takes off her coat and we- + +CUT TO: + +INT. PENROSE STEPS - LATER + +Arthur leads Ariadne down some busy steps in a large glass and steel ATRIUM in an office complex. + + ARTHUR + You're going to have to master a few tricks if you're going to build three complete dream levels. + +A SECRETARY DROPS some papers as they pass... + + ARIADNE + What sort of tricks? + +They take a tight turn and continue down the next flight. + + ARTHUR + In a dream, you can cheat architecture into impossible shapes. That lets you create closed loops, like the Penrose Steps. The infinite staircase. + +Ariadne FREEZES- THEY ARE IN THE EXACT SPOT THEY STARTED DESCENDING FROM, next to the Secretary gathering her papers. + +Ariadne puzzles at the impossible construction of the stairs. + + ARTHUR + See... + +Arthur stops her gently- they are on the highest step, with a LARGE DROP to the next step. Arthur gestures at the drop. + + ARTHUR + Paradox. A closed loop like this helps you disguise the boundaries of the dream you've created. + + ARIADNE + How big do the levels have to be? + + ARTHUR + Anything from the floor of a building, to an entire city. But it has to be complicated enough for us to hide from the projections. + + ARIADNE + A maze. + + ARTHUR + And the better the maze- + + ARIADNE + The longer we have before the projections catch us. + +Ariadne looks around. Sees people LOOKING at Arthur. + + ARIADNE + My subconscious seems polite enough. + + ARTHUR + You wait, they'll turn ugly. No one likes to see someone else messing around in their mind. + + ARIADNE + Cobb can't build anymore, can he? + + ARTHUR + I don't know if he can't, but he won't. He thinks it's safer if he doesn't know the layouts. + + ARIADNE + Why? + + ARTHUR + He won't tell me. I think it's Mal. I think she's getting stronger. + + ARIADNE + His ex-wife? + + ARTHUR + She's not his ex. + + ARIADNE + They're still together? + +Arthur turns to Ariadne. Gentle. + + ARTHUR + No. No, she's dead, Ariadne. What you see in there is just his projection of her. + + ARIADNE + What was she like in real life? + + ARTHUR + (quiet) + She was lovely. + +CUT TO: + +EXT. ROOFTOP, OLD TOWN, MOMBASA - DAY + +Saito deposits a FILE in front of Cobb: PHOTOS, DOCUMENTS. As Cobb runs through them, he passes them to Eames. + + SAITO + Robert Fischer, 32. Heir to the Fischer Morrow energy conglomerate. He's spent his whole life being groomed as successor-breaking up his father's empire will take a radical shift in his thinking. + + COBB + What's your problem with Fischer? + + SAITO + That's not your concern. + + COBB + This isn't the usual corporate espionage, Mr. Saito. This is inception. The seed of the idea we plant will grow in this man's mind. It'll change him. It might even come to define him. + +Saito looks at Cobb. + + SAITO + My sources suggest you might not have always been so cautious. + + COBB + Then you need new sources, Mr. Saito. + +Saito considers Cobb. Shrugs. + + SAITO + Fischer Morrow has the regulators in their pockets. We're the last company standing between them and total energy dominance and we can no longer compete. Soon they'll control the energy supply of half the world. They'll be able to blackmail governments, dictate policy. In effect, they become a new superpower. The world needs Robert Fischer to change his mind. + + EAMES + That's where we come in. How's Robert Fischer's relationship to his father? + + SAITO + Rumor is the relationship is complicated. + + COBB + We'll need more than rumor, Mr. Saito. + +Eames picks up a photo: a distinguished executive (68). + + EAMES + Can you get me access to him? Browning. Fischer senior's right-hand man. Fischer junior's godfather. + + SAITO + It should be possible. If you can get the right references. + + EAMES + References are something of a specialty for me, Mr. Saito. + +EXT. DECREPIT BUILDING, MOMBASA - LATER + +Eames leads Cobb and Saito down uneven steps to a doorway. + +INT. STAIRWELL - CONTINUOUS + +Peeling paint, buzzing flies. They ascend to a dusty, wire-reinforced glass door which Eames pushes open- + +INT. PHARMACY - CONTINUOUS + +Row upon row of wooden shelves holding hundreds of dusty glass bottles of all shapes and colors. At the far end, a portly 40-year-old man rises from behind his desk, beckoning. This is YUSUF. + + YUSUF + Come, come. + +Eames shakes Yusuf's hand. Yusuf stops at Cobb. + + YUSUF + Ah, yes. Mr. Cobb. I've heard so very much about you. + (indicates chairs) + please. + +Yusuf chases a CAT off Saito's chair. + + YUSUF + Bloody cats. + +Yusuf moves to a shelf and runs his fingers over the glass bottles. None of them has a label. + + YUSUF + You work using Somnacin, I think, Mr. Cobb? + + COBB + You're well informed, Mr. Yusuf. + +Yusuf places a bottle on the desk in front of Cobb. + + COBB + (dubious) + Somnacin? + + YUSUF + (proudly) + Yusuf's Somnacin. + +Yusuf pulls the stopper, holds it towards Cobb's nose. + + COBB + As good as the real thing? + +Yusuf WHIPS the bottle away from Cobb, offended. + + YUSUF + Better. + +Yusuf holds the bottle to the light, marveling. + + YUSUF + Binds the dreamers tight. Let's them dream as one. Makes it real. Of course, if you'd prefer, you could use Somnacin brand. If you could explain to the international control council what you wanted it for. + +Yusuf puts the bottle back onto the shelf. Sits. + + YUSUF + You are seeking a chemist? + (Cobb nods) + To formulate compounds for a job? + + COBB + And to come into the field with us. + + YUSUF + I rarely go into the field, Mr. Cobb. + + COBB + We need you there to tailor compounds to our particular requirements. + + YUSUF + Which are? + + COBB + Great depth. + + YUSUF + A dream within a dream? Two levels? + + COBB + Three. + + YUSUF + Not possible. That many dreams within dreams would be too unstable. + + COBB + I've done it before. You just have to add a sedative. + + YUSUF + A powerful sedative. How many team members? + + COBB + Five. + + SAITO + Six. + (to Cobb) + The only way to know you've done the job is if I go in with you. + + COBB + There's no room for tourists on these jobs, Mr. Saito. + + SAITO + This time, it would seem there is. + +Cobb looks at him, uneasy. Yusuf pulls out another bottle. + + YUSUF + Of course. I use it every day. + +Yusuf hands it to Cobb, who considers the white liquid inside. + + COBB + For what? + +Yusuf beckons them further into the pharmacy, to a METAL DOOR. He STOPS- second thoughts. + + YUSUF + Perhaps... you will not want to see. + +Cobb motions to continue. Yusuf pulls out a large key. + +INT. BACK ROOM, PHARMACY - CONTINUOUS + +A dark room with ROWS of low COTS. Each with a sleeping occupant. Tubes connect their wrists. An ELDERLY BALD MAN watches over them. + + EAMES + (counting) + Eighteen, twenty-all connected, bloody hell. + + YUSUF + They come every day. To share the dream. + +Yusuf nods at the Elderly Bald Man, who moves to the nearest bed. Reaches out to the OCCUPANT. Gives his face a FIRM SLAP. + +The sleeper does not even stir. + + YUSUF + See? Very stable. + + COBB + How long do they dream? + + YUSUF + Three, four hours. Every day. + + COBB + How long in dream time? + + YUSUF + With this compound... about forty hours. Each and every day. + +Saito surveys the room, appalled. + + SAITO + Why do they do it? + + YUSUF + Tell him, Mr. Cobb. + + COBB + After a while... + (looks at Saito) + It becomes the only way you can dream. + + YUSUF + Do you still dream, Mr. Cobb? + +Cobb STARES at the sleepers. Uneasy. + + EAMES + They come here every day to sleep? + + ELDERLY BALD MAN (O.S.) + No. + +Cobb turns to the Elderly Bald Man, who looks fondly at his dreamers. + + ELDERLY BALD MAN + They come to be woken up... the dream has become their reality... + +The Elderly Bald Man pokes a crooked finger at Cobb's chest. + + ELDERLY BALD MAN + And who are you to say otherwise? + +Cobb STARES at the Elderly Bald Man. DISTURBED. Cobb turns to Yusuf. TOSSES him the bottle. + + COBB + Let's see what you can do. + +INT. SAME - MOMENTS LATER + +Cobb is lying on an empty cot, asleep. Yusuf stands over him. + +As we move in on Cobb's SLEEPING FACE we hear the sound of a FREIGHT TRAIN, BUILDING, and we- + +CUT TO: + +EXT. WASTELAND - DAY + +CLOSE ON Cobb's face as he lies, EYES CLOSED, cheek pressed to a METAL RAIL- THE SOUND OF THE TRAIN IS DEAFENING- Cobb is BREATHING, BREATHING, BREATHING, and we- + +CUT TO: + +INT. BACK ROOM, PHARMACY - DAY + +Cobb's eyes open. Yusuf is watching him. + + YUSUF + Sharp, no? + +Cobb nods. Gets to his feet, looking around- + +INT. BATHROOM, PHARMACY - CONTINUOUS + +Cobb SPLASHES water on his face, breathing hard- INSERT CUT:A CURTAIN BILLOWS. MAL TURNS TO US, HAIR BLOWING, SMILING. + +Cobb fumbles in his pockets, pulls out his spinning top. He tries to set it spinning on the back edge of the sink, but it FALLS to the floor and rolls towards the door- Saito is there. WATCHING Cobb. He looks down at the spinning top. + + SAITO + Everything alright, Mr. Cobb? + +Cobb dries his face with a paper towel. Picks up his top. + + COBB + Everything's fine. + +INT. BACK ROOM, WORKSHOP - NIGHT + +Close on a small BRASS CHESS PIECE. Ariadne tips it over. Frowning, she picks up a micro drill, peels back the felt on the bottom and widens a hole in one side of its base. Tests the TIPPING POINT again. A NOISE makes her look up. + +INT. WORKSHOP - CONTINUOUS + +Ariadne comes into the main space. Someone is there, unpacking one of the MECHANISMS. Cobb. + + ARIADNE + You're back. + +Cobb looks up with a start. Caught out. + + ARIADNE + Are you going under on your own? + + COBB + I just-I need to test some things. I didn't realize anyone was here. + + ARIADNE + Just working on my totem. + +Ariadne holds up the chess piece. Cobb reaches for it. + + COBB + Let me see- + +Ariadne SNAPS it out of his reach. Smiles. Cobb nods. + + COBB + You're learning. + + ARIADNE + It's an elegant solution to keeping track of reality. Your invention? + + COBB + No. Mal's. + +Cobb pulls out his spinning top. Looks at it. + + COBB + This one was hers. She'd spin it in a dream and it would never topple. Just spin and spin... + + ARIADNE + Arthur told me she died. + + COBB + She did. How are the mazes coming? + +Ariadne indicates three large ARCHITECTURAL MODELS. + + ARIADNE + Good. Each level relates to the part of the subject's subconscious we're trying to access. I'm making the bottom level a hospital, so that Fischer will bring his father there- + + COBB + Don't tell me. Remember, you only want the dreamer to know the layout. + + ARIADNE + Why's that so important? + + COBB + In case one of us brings in part of our subconscious. You wouldn't want any projections knowing the layout. + + ARIADNE + In case you bring Mal in. + +Cobb says nothing. + + ARIADNE + You won't build yourself because if you know the maze, then she knows it. And she'd sabotage the operation. You can't keep her out, can you? + +Cobb says nothing. + + ARIADNE + Do the others know? + + COBB + No. + + ARIADNE + You have to warn them if it's getting worse- + + COBB + (gentle) + I didn't say it's getting worse. Look, Ariadne, I need them for this job. I need you for this job. Without your help, I'll never get back to my children. And that's all I can care about right now. + + ARIADNE + Why can't you go home, Cobb? + +Cobb looks at her, deciding what to say. + + COBB + They think I killed her. + + ARIADNE + How did she die? + +Cobb thinks. INSERT CUT: Mal, wind BLOWING her hair, smiles at Cobb. Now we see Cobb- SHAKING HIS HEAD, TEARS STREAMING, BEGGING- + + COBB + Thank you. + + ARIADNE + For what? + + COBB + Not asking whether I did. + +INT. WORKSHOP - DAY + +Ariadne, Arthur, Yusuf, Eames and Saito sit around the room, looking at FILES. Cobb presides. + + COBB + The mark is Robert Fischer, heir to the Australian energy conglomerate, Fischer Morrow. + +Cobb opens a large presentation pad. + + @COBB (reads aloud) + "I WILL SPLIT UP MY FATHER'S EMPIRE." + +Cobb turns to the team. + + COBB + An idea Robert Fischer's conscious mind would never accept. We have to plant it deep in his subconscious. + + ARTHUR + How deep? + + COBB + Three levels down. + + ARTHUR + A dream within a dream within a dream? Is that even possible? + + COBB + Yes. It is. + + COBB + Now, the subconscious motivates through emotion, not reason, so we have to translate the idea into an emotional concept. + + ARTHUR + How do you translate a business strategy into an emotion? + + COBB + That's what we have to figure out. Robert and his father have a tense relationship. Worse, even, than the gossip columns have suggested... + + EAMES + Do you play on that? Suggest breaking up his father's company as a 'screw you' to the old man? + + COBB + No. Positive emotion trumps negative emotion every time. We yearn for people to be reconciled, for catharsis. We need positive emotional logic. + +Eames thinks. Paces. Looking back at the board. + + EAMES + Try this... "MY FATHER ACCEPTS THAT I WANT TO CREATE FOR MYSELF, NOT FOLLOW IN HIS FOOTSTEPS." + + COBB + That might work. + + ARTHUR + Might? We'll have to do better than that. + + EAMES + Thanks for the contribution, Arthur. + + ARTHUR + Forgive me for wanting a little specificity, Eames. + + COBB + Inception's not about specificity. When we get inside his head, we're going to have to work with what we find. + +Arthur shrugs, frustrated. And we- + +CUT TO: + +EXT. NEW YORK STREETS - DAY + +The team are in the middle of a DESERTED intersection. Ariadne is showing Yusuf aspects of the geography. + + EAMES + We could split the idea into emotional triggers, and use one on each level. + + COBB + How do you mean? + + EAMES + On the top level, we open up his relationship with his father.... Say: "I WILL NOT FOLLOW IN MY FATHER'S FOOTSTEPS." Next level down we've accessed his ambition and self-esteem. We feed him: "I WILL CREATE SOMETHING MYSELF." Then, the bottom level, we bring out the emotional big guns... + + COBB + "MY FATHER DOESN'T WANT ME TO BE HIM." + + EAMES + That could do it. + + ARTHUR + How do you produce these emotional triggers? + + EAMES + I forge each emotional concept in the style and manner of Peter Browning, a key figure in Fischer's emotional life. + +Two AFRICAN PEDESTRIANS wander into view. + + ARTHUR + Are those yours? + +Eames shakes his head. Cobb turns to Yusuf. + + ARTHUR + Yusuf? + + YUSUF + Yup. Sorry. + + COBB + Suppress them. We don't bring our own projections into the dream-we let Fischer's subconscious supply the people. + + EAMES + Saito, when do I get to see Browning? + + SAITO + You fly out to Sydney on Tuesday. We've arranged for you to spend several days... + +INT. ANTEROOM, MAURICE FISCHER'S OFFICE - DAY + +Eames sits in the crowded room. Boxes and files are piled high. Browning stands by a pair of double doors. + + SAITO (V.O.) + ...as part of a consulting litigation team working for Browning. + + BROWNING + I'm not smelling settlement here-we take them down. + + LAWYER + Mr. Browning, Maurice Fischer's policy is always one of avoiding litigation- + +Browning turns to the lawyer. Calm, but POWERFUL. + + BROWNING + Shall we relay your concerns directly to Maurice? + +Browning opens the doors to Maurice Fischer's inner office. + +Eames leans in to watch as Browning beckons the Lawyer into- + +INT. MAURICE FISCHER'S INNER OFFICE - CONTINUOUS + +The office is a MAKESHIFT HOSPITAL ROOM: a BED where the desk should be. Browning addresses a figure at the window. ROBERT FISCHER, 30'S, abstracted. + + BROWNING + How is he? + +Fischer turns to Browning. Motions silence, as he glances at his FATHER in the bed. Wheezing gently. + + BROWNING + I don't want to bother him unnecessarily but I know he- + + FATHER + Robert! I've told you to keep out the damn!- + +MAURICE LASHES OUT, KNOCKING things from his bedside table. A NURSE calms Maurice as Fischer crouches to retrieve a FRAMED PHOTOGRAPH. He looks at the photo through the broken glass- a YOUNG BOY holds a PINWHEEL CLEARLY MADE BY A CHILD (each of the points is numbered in pen), his FATHER blows on it. + + BROWNING + Must be a cherished memory of his- + + FISCHER + I put it by his bed. He hasn't even noticed. + + BROWNING + Robert, we have to talk about a power of attorney. I know this is hard for you, but it's important that we start to think about the future- + + FISCHER + Not now, Uncle Peter. + +Browning looks at Fischer, considering. Biding his time. + + EAMES (V.O.) + The vultures are circling. The sicker Maurice Fischer becomes, the stronger Peter Browning becomes... + +Eames WATCHES Browning, STUDYING his every move . + +INT. BATHROOM - DAY + +Eames gestures at a mirror, as if offering to shake hands... + + EAMES (V.O.) + I've had time to learn Browning's physical presence and mannerisms... + +In the mirror: BROWNING GESTURES BACK. + +INT. WORKSHOP - CONTINUOUS + + EAMES + Now, in the dream, I can impersonate Browning and suggest the concepts to Fischer's conscious mind... + (draws a diagram) + Then we take Fischer down another level and his own subconscious feeds it right back to him. + + ARTHUR + (impressed) + So he gives himself the idea. + + EAMES + Precisely. That's the only way to make it stick. It has to seem self-generated. + + ARTHUR + Eames, I'm impressed. + + EAMES + Your condescension, as always, is much appreciated, Arthur. + +CUT TO: + +INT. DESERTED HOTEL LOBBY - DAY + +The team sit on the steps of the large marble lobby, debating. Ariadne is showing Arthur the lobby. + + EAMES + He's not scheduled for surgery, no dental, nothing. + + COBB + I thought he had some knee thing? + + EAMES + Nothing they'd put him under for. Besides, we need a good ten hours. + + SAITO + Sydney to Los Angeles. + +They turn to Saito. + + SAITO + Twelve hours and forty-five minutes-one of the longest flights in the world. He makes it every two weeks... + +EXT. AIRFIELD - DAY + +Fischer steps out of a black town car and walks across the tarmac towards a GULF STREAM JET, accompanied by two aides. + + COBB (V.O.) + Surely he flies private? + + SAITO (V.O.) + Not if there were unexpected maintenance with his plane. + +Fischer is met at the steps by a DISTRAUGHT FLIGHT OFFICER. + +INT. HOTEL LOBBY - DAY + +Cobb chews this over. Arthur comes over. + + ARTHUR + It'd have to be a 747. + + COBB + Why? + + ARTHUR + On a 747 the pilots are up above, first class is in the nose so nobody walks through the cabin. We'd have to buy out the whole cabin, and the first class flight attendant- + + SAITO + We bought the airline. + +Everyone turns to Saito. + + SAITO + It seemed... neater. + + COBB + Neater, huh? + (gets to his feet) + Well, now we have ten uninterrupted hours. + (to Ariadne) + Nice lobby, by the way. + +And we- + +CUT TO: + +INT. WORKSHOP - DAY + +The group is back in the workshop, deep in discussion. + + ARTHUR + My question is how we go down three layers with enough stability. Three layers down a little turbulence is gonna translate into an earthquake. The dreams are gonna collapse with the slightest disturbance. + +Yusuf clears his throat. + + YUSUF + Sedation. For sleep stable enough to create three layers of dreaming... + +INT. MAKESHIFT LAB - DAY + +Yusuf depresses a plunger. Arthur is SLEEPING in a chair. + + YUSUF (V.O.) + We will have to combine it with an extremely powerful sedative.... + +Eames SLAPS Arthur, HARD. Arthur does not stir. + +INT. WORKSHOP - DAY + +Arthur unconsciously rubs his cheek. + + YUSUF + The compound we'll be using to share the dream is an advanced Somnacin derivative. It creates a very clear connection between dreamers, whilst actually accelerating brain function. + +CUT TO: + + COBB + Buying us more time in each level. + + YUSUF + Brain function in the dream will be about twenty times normal. And when you go into a dream within that dream the effect is compounded. + + ARIADNE + How much time? + + YUSUF + Three dreams... that's ten hours, times twenty, times twenty, times twenty... + + EAMES + Math was never my strong suit. + + COBB + It's basically a week one layer down, six months two layers down- + + ARIADNE + And ten years in the third level. Who wants to spend ten years in a dream? + + YUSUF + Depends on the dream. + + EAMES + It's not going to take us long to crack Fischer open once we get going. We'll be out in a couple days, max. + + ARTHUR + How do we get out once we've made the plant? + (to Cobb) + I hope you've got something a little more elegant in mind than shooting me in the head like last time. + +Arthur tilts back in his chair. Yusuf turns to Cobb. + + COBB + A kick. + + ARIADNE + What's a kick? + +Eames slips his foot under Arthur's chair leg. TIPS it- Arthur's legs SHOOT UP INSTINCTIVELY for balance- + + EAMES + That, Ariadne, would be a kick. + + COBB + That feeling of falling which snaps you awake. We use that to jolt ourselves awake once we're done. + + ARTHUR + But how are we going to feel that through the sedation? + + YUSUF + That's the clever part. I customize the sedative... + +INT. MAKESHIFT LAB - DAY + +Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair. + + YUSUF (O.S.) + To leave inner ear function unimpaired... + +Yusuf, with a wicked grin, slowly TIPS Arthur's chair backwards... as he falls, Arthur's body JERKS, EYES OPENING just before he HITS the floor. + +INT. WORKSHOP - DAY + +Arthur thinks, nodding slowly. + + YUSUF + That way, however deep the sleep, the sleeper will still feel falling... + +INT. MAKESHIFT LAB - DAY + +Yusuf gleefully LEANS a SLEEPING ARTHUR to one side ... + + YUSUF (V.O.) + Or tipping... + +Arthur goes down with a CRASH, JERKING AWAKE- + +INT. WORKSHOP - DAY + +Arthur thinks this through. + + ARTHUR + Even that won't cut through three layers of deep sleep. + + COBB + The trick is to devise a kick for each level, then synchronize them to get a snap that penetrates all three layers. + +Arthur looks at Cobb, getting it. + + ARTHUR + We can use the musical countdown to synchronize the different kicks. + +INT. WORKSHOP - NIGHT + +Ariadne comes into the darkened main space. Cobb is lying on one of the chairs, asleep. Plugged into the mechanism. + +Ariadne stands over him. Watching. + +She opens the case, PULLS one of the tubes, sits, checking the dials as she injects the needle cap into her arm, and we- + +CUT TO: + +INT. CAGE STYLE ELEVATOR - DAY + +Ariadne ascends. She looks at the buttons. Spots the "B." The elevator STOPS. She looks through the grill at- + +INT. YOUNG GIRL'S BEDROOM - DAY + +Ariadne pulls back the grill and walks across the room, considering the dusty furnishings. At the window is a doll's house, front slightly ajar. Ariadne opens it. Inside is a SAFE. She tries it. LOCKED. A NOISE STARTLES her- she turns, looking through a doorway into another room... + +INT. LIVING ROOM - CONTINUOUS + +Ariadne looks into the room to see Cobb and Mal talking, arguing. A private moment. Mal brushes at Cobb's hair, trying to convince him. We hear snatches of conversation- + + MAL + You remember when you asked me to marry you? + + COBB + Of course... + + MAL + You said you had a dream... + + COBB + That we'd grow old together. + + MAL + And we can. You know how to find me... you know what you have to do. + +Cobb is shaking his head, gently. Mal looks into Cobb's eyes-gentle, loving... Mal SPOTS Ariadne spying on them. + +FREEZES, staring, hostile. Cobb turns, sees Ariadne, moves towards her, leaving Mal. + + COBB + You shouldn't be in here. + +Cobb guides her back into the elevator. + + ARIADNE + I wanted to know what "tests" you need to do on your own every night. + +INT. CAGE STYLE ELEVATOR - DAY + +Cobb shuts the CAGE DOOR. Ariadne hits a button. The elevator RISES. Through the GRILL Ariadne can see a BEACH stretching off into the distance. The elevator stops. Mal sits on the sand. Beside her, the two children are crouched, away from us, building a SANDCASTLE. + + ARIADNE + Why do you do this to yourself? + + COBB + This is the only way I can still dream. + + ARIADNE + Is it so important to dream? + +Cobb stares at his family. + + COBB + In my dreams... we're still together. + +The kids, WITHOUT TURNING AROUND, jump up and RUN AWAY. + +INT. CAGE STYLE ELEVATOR - CONTINUOUS + +The elevator descends. + + ARIADNE + But these aren't just dreams, are they? They're memories. You said never to use memories. + + COBB + And I shouldn't. + + ARIADNE + You're keeping her alive. + + COBB + No. + + ARIADNE + You can't let her go. + + COBB + No. These are moments I regret. Moments I turned into dreams so I could change them. + +Ariadne's fingers move across the buttons- stop at the "B." + + ARIADNE + What've you got buried down there that you regret? + +Cobb pushes her hand away. Hits the third floor button. + + COBB + There's only one thing I need you to understand about me... + +INT. KITCHEN, COBB AND MAL'S HOUSE - MOMENTS LATER + +Ariadne follows Cobb into the kitchen. A THIN MAN is there, standing by the table. He holds a FOLDED PIECE OF PAPER. + + ARIADNE + This is your house? + + COBB + Mine and Mal's. + + ARIADNE + Where is she? + + COBB + She'd already died. + +The Thin Man offers Cobb the piece of paper. A CHILD'S SHOUT- Cobb TURNS. Ariadne follows his gaze to the garden. A small blonde boy faces away from them, crouched on his haunches to look at something on the ground. + + COBB + It's James. My boy. He's found something. Maybe a worm. + +A slightly older girl RUNS into view. + + COBB + And there's Philippa. + +She crouches beside the boy. Their FACES ARE AWAY FROM US. + +They point and discuss whatever is on the ground. + + COBB + I thought about calling out, so they'd turn and smile those incredible smiles... but I'm out of time- + +The Thin Man thrusts the paper into Cobb's hand. + + THIN MAN + Right now. Or never, Cobb. + +Cobb nods, turns from the window- + + COBB + Then I panic that I'll always wish I'd seen them turn, that I can't waste this chance... + +Cobb TURNS BACK to call out- but the children RACE OFF... + + COBB + But the moment's passed. And whatever I do, the dream's always the same... When I'm about to call... they run. + +Cobb watches them run off, calling for grandma, FACES UNSEEN. + + COBB + If I'm going to see their faces again-I've got to get back here in the real world... + +Behind him, Ariadne SLAMS the grill shut. Cobb TURNS. + +INT. CAGE STYLE ELEVATOR - CONTINUOUS + +Ariadne hits the BASEMENT button. The elevator starts to DESCEND. ariadne STARES, fascinated as glimpses of floors slip past: Mal's childhood bedroom, a thundering wall of freight train... The elevator STOPS. Through the grill Ariadne sees a HOTEL SUITE. She pulls open the grill, steps cautiously out into- + +INT. ELEGANT HOTEL SUITE - CONTINUOUS (NOW NIGHT) + +DISHEVELED bedclothes, UPENDED room service table, STRAWBERRIES across the floor. A STRUGGLE. Ariadne steps forwards- SMASH- she looks down to see that she has kicked over a CHAMPAGNE FLUTE. Ariadne feels a draught. The CURTAIN BILLOWS. + + MAL (O.S.) + What are you doing here? + +Ariadne TURNS. Mal is there. + + ARIADNE + My name is- + + MAL + I know who you are. What are you doing here? + + ARIADNE + I don't know. Trying to understand. + + MAL + How could you understand? Do you know what it is to be a lover? To be half of a whole? + + ARIADNE + No. + +Mal moves slowly towards Ariadne... + + MAL + I'll tell you a riddle. You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don't know for sure... + +Mal glides around Ariadne, looking her over. + + MAL + But... it doesn't matter. How can it not matter to you where that train will take you? + + COBB (O.S.) + Because you'll be together. + +Cobb is standing in the elevator. Mal nods. Looks at him. + + MAL + How could you bring her here, Dom? + + ARIADNE + What is this place? + + COBB + A hotel. We spent our anniversaries in this suite. + + ARIADNE + What happened here? + +Mal picks up the BROKEN STEM of a champagne flute... + +INT. CAGE STYLE ELEVATOR - CONTINUOUS + +Cobb PULLS Ariadne into the elevator- Mal THROWS herself towards Ariadne- Cobb SLAMS the GRILL- Mal SMASHES against it AGAIN and AGAIN like a WILD ANIMAL- Ariadne FLINCHES- + + MAL + you PROMISED! YOU SAID WE'D BE TOGETHER!- + + COBB + We can. We will. But I need you to stay here for now- + + MAL + YOU SAID WE'D GROW OLD TOGETHER!- + +Cobb pushes a button and the elevator starts to rise. + + COBB + I'll come back. I need you to stay here on your own for now. Just while I do this job. Then we can be together- + + MAL + WE'LL BE TOGETHER-YOU PROMISED!- + +Mal THROWS herself against the grill, and. we- + +CUT TO: + +INT. WORKSHOP - NIGHT + +Ariadne watches Cobb sleeping. His eyes gradually flicker open. He sees her watching him. + + ARIADNE + You think you can just build a prison of memories to lock her in? You think that's going to contain her? + +The LIGHTS COME ON: Saito and Arthur stand in the doorway. + + SAITO + Maurice Fischer just died in Sydney. + + COBB + When's the funeral? + + SAITO + Thursday. In Los Angeles. + + COBB + Robert'll accompany the body Tuesday at the outside. We have to move. + +Cobb gets up. Ariadne comes over to him. + + ARIADNE + (low) + I'm coming with you. + + COBB + No. I promised Miles. + + ARIADNE + The team needs someone in there who understands what you're struggling with. If you don't want it to be me then you need to show Arthur what I just saw. + +Cobb looks at Ariadne. Turns to Saito. + + COBB + We need one more seat on the plane. + +INT. DEPARTURE GATE, SYDNEY - DAY + +Saito stands looking out the window at a 747. Cobb arrives beside him. They watch a COFFIN being loaded. + + COBB + If I get on this plane and you haven't taken care of things... when we land I go to jail for the rest of my life. + + SAITO + Complete the job en route, I make one phone call from the plane... you will have no trouble clearing immigration. + +INT. FIRST CLASS CABIN, 747 - CONTINUOUS + +The luxurious cabin has only ten seats. Cobb finds his- sees Ariadne in the seat behind his. They do not acknowledge each other. Behind her is Arthur, looking out the window. Eames enters, STUFFS his bag into the overhead bin, BLOCKING the passenger behind: ROBERT FISCHER, standing there, patient, bag in hand, wearing black. + + EAMES + Oh, sorry. + +Eames SQUEEZES up against his seat to let Fischer BRUSH PAST. Fischer moves to his seat, directly in front of Cobb. Eames TOSSES Cobb a PASSPORT. Cobb flips it open: Fischer's. Pockets it. Yusuf and Saito enter, take their seats. + +EXT. RUNWAY - MOMENTS LATER + +The 747 HURTLES down the runway. + +INT. FIRST CLASS CABIN, 747 - MOMENTS LATER + +Cobb looks down at his hand: a TINY VIAL taped to the center of his palm. He removes the cap. The seatbelt sign goes dark. Cobb unbuckles, stands. + + COBB + Excuse me? + +Fischer looks up. + + FISCHER + Yes? + + COBB + I think this is yours... + +Cobb holds up the open passport, comparing the picture to Fischer. Fischer's hand goes to his pocket. Cobb hands Fischer the passport. + + FLIGHT ATTENDANT + Would you gentlemen care for a drink? + + FISCHER + Water. + + COBB + Same. + +Fischer gives Cobb a thin smile. Holds up his passport. + + FISCHER + Well, thank you. + + COBB + No problem. Look, I couldn't help noticing your name. You're not related to Maurice Fischer? + +Fischer takes a beat. But Cobb seems harmless. + + FISCHER + Actually, he was my father. + + COBB + I'm very sorry for your loss. He was an inspiring figure. + +The Flight Attendant brings their drinks- Cobb takes them. + + COBB + Thanks. + +As he turns to Fischer he LOWERS his right hand ... a CLEAR LIQUID DROPS into Fischer's water as Cobb hands it to him. + + COBB + To Maurice Fischer. + (they drink) + I'll leave you in peace. + +Fischer grants him a smile. + +EXT. 747 - LATER + +The great plane SOARS through a burning cloudscape. + +INT. FIRST CLASS CABIN, 747 - MOMENTS LATER + +Cobb reaches into the overhead for a blanket- lets it fall onto Fischer's head- Fischer doesn't flinch. ASLEEP. Cobb SIGNALS the others. The First Flight Attendant unlocks a CUPBOARD in the galley, then leaves, closing the curtain. + +Arthur moves into the galley and pulls out a MECHANISM CASE. + +Cobb and Arthur open the mechanism- uncoil the tubes- feed them around the window side of each of the seats. Arthur rolls up Fischer's cuff- PUSHES the needle cap into Fischer's wrist. Arthur pulls Fischer's cuff down and hides the tubes behind the armrest of Fischer's seat. + +Arthur runs the next tube to Ariadne. Cobb puts the case on Yusuf's lap. Yusuf checks the TIMERS, tapping the syringes. + +The others recline their seats. Yusuf HITS A BUTTON- closes the case- places it at his feet. He settles back, and we- + +CUT TO: + +INT. SEDAN - DAY + +Cobb DRIVES. Saito and Arthur are in the back. Rain BEATS down. Cobb pulls over- + +EXT. NEW YORK STREETS - CONTINUOUS + +Yusuf stands on the corner, silver briefcase in hand, collar turned up against the rain. He reaches for the door. + +INT. SEDAN - CONTINUOUS + +Yusuf clambers into the back, brushing rain from his face. + + ARTHUR + (indicates rain) + Couldn't you have peed before you went under? + + YUSUF + Sorry. + +The front door OPENS and Eames climbs in, soaked. + + EAMES + Bit too much free champagne before takeoff, Yusuf? + + YUSUF + Ha bloody ha. + + COBB + At least we know he'll be looking for a cab in this. + +INT./EXT. SEDAN ON RAINY NEW YORK STREETS - CONTINUOUS + +Cobb pulls out into the heavy traffic. He weaves around several cars before lining up behind a YELLOW CAB. + + COBB + Brace yourselves. + +Cobb hits the gas- REAR ENDS the cab with a CRUNCH. The CAB DRIVER gets out, fuming. Heads to Cobb's window- + + CABDRIVER + Hey, asshole! Why don't you try driving without your thumb up- + +He sees the SILENCED PISTOL Cobb is holding at his belly. + + COBB + Walk away. + +The Cabdriver backs off. Arthur climbs into the cab. Both cars pull away. + +INT./EXT. CAB ON RAINY NEW YORK STREETS - CONTINUOUS + +Arthur SLOWS in front of the TRAIN STATION, peering at the pedestrians. He SPOTS Fischer, lights the cab's sign. + +Fischer FLAGS him down. Fischer JUMPS into the back, brushing rain from his shoulders. + + FISCHER + Third and Market. Snappy. + +Eames JUMPS in from the other side. + + FISCHER + What're you doing? + + EAMES + Sorry, I thought it was free. Maybe we could share. + + FISCHER + Maybe not. + +Saito gets into the front passenger seat. Pointing a gun. + + FISCHER + Great. + +Arthur pulls away. Fischer pulls out his wallet and tosses it at Eames. + + FISCHER + (contemptuous) + There's 500 dollars in there. And the wallet's worth more than that. For that you ought to at least drop me at my stop. + +Eames smiles at this. + + EAMES + I'm afraid- + +A SHOT SHATTERS the window by Eames's head- another SHOT IMPACTS by Saito- + + EAMES + Get us out of here! + +Arthur hits the gas, but a BLACK S.U.V. SKIDS sideways in front, BLOCKING the path- A BLOCK BEHIND- Cobb is at a light. ARIADNE is getting in the front. Cobb has HEARD the GUNFIRE- + + COBB + Come on!- + +Cobb looks ahead to the AMBUSH, hits the gas- the sedan ROCKETS forwards... but BAM- A FREIGHT TRAIN CLIPS THE FRONT OF THE SEDAN, SHOVING IT SIDEWAYS AS AN ENDLESS TRAIN BARRELS PAST, A WALL BETWEEN COBB AND THE AMBUSH- A SECOND S.U.V. is behind the cab- PLAIN CLOTHES SECURITY MEN advance through the traffic, weapons trained on the cab. Bullets RIP into the cab as Eames throws himself on top of Fischer, PULLING a SACK over his head-Inside the sedan, Ariadne watches the train passing- + + ARIADNE + This wasn't in the design- + +Cobb BACKS UP, SPINS around, heading for the tail of the train- A Security Man emerges from the front S.U.V. carrying an AUTOMATIC RIFLE- he steps towards the cab through the rain, raises his weapon and BLASTS THE CAB'S WINDSCREEN- Cobb clears the end of the train, and SKIDS across the tracks- Arthur CROUCHES down- PUSHES the accelerator with his HAND-YANKS the wheel- FLYING BLIND. The cab NAILS the Security Man, CRUNCHING into the front S.U.V.- Cobb SMASHES his car into the rear S.U.V., creating a GAP- Arthur YANKS the transmission and REVERSES- SCRAPING through the gap- Security Men DIVE out of the way- Arthur throws a ragged J-turn to head down a SIDE STREET- Cobb follows in the other car. Rain whips across Arthur's face as he BREATHES- + + ARTHUR + Everybody okay? Saito? + +Arthur looks at Saito. Saito's hand is at his belly. Covered in BLOOD. + +EXT. WAREHOUSE - MOMENTS LATER + +The sedan and cab pull into the side entrance- Eames jumps out- PULLS the shutter down behind them- + +INT. WAREHOUSE - CONTINUOUS + +Yusuf and Eames PULL Fischer from the cab, HUSTLING him through a doorway. Cobb JUMPS out of the sedan, furious. + + COBB + Arthur! Arthur what the- + +Arthur pulls the bloody Saito from the front seat. + + COBB + Oh, Christ. Is he dying? + + ARTHUR + I don't know. What happened back there? Where were you? + + COBB + We were blocked by a freight train. + + ARTHUR + (to Ariadne) + Why would you put a train crossing in a downtown intersection? + + ARIADNE + I didn't. + + COBB + (snaps) + Why were we all ambushed, Arthur?! Those weren't regular projections-they'd been trained! + + ARIADNE + How could they be trained? + + ARTHUR + Fischer's had an extractor teach his mind to defend itself. His subconscious is militarized. It should've shown on the research- + + COBB + So why the hell didn't it?! + + ARTHUR + Calm down. + + COBB + Don't tell me to calm down-you were meant to check Fischer's background thoroughly. You can't make this kind of mistake-we're not prepared for this kind of violence- + + ARTHUR + Cobb, we've dealt with sub-security before. We just have to be more- + + COBB + This wasn't part of the plan, Arthur! + (points at Saito) + He's dying! + + EAMES + So we put him out of his misery. + +Eames steps into the room, pulls his gun and moves over Saito. + + COBB + No. + + EAMES + He's in agony. Let's wake him up- + +Cobb GRABS Eames's arm. + + COBB + No! + (they lock eyes) + It won't wake him up. + + EAMES + What do you mean, it won't wake him? When you die in a dream you wake up. + + YUSUF + Not from this. We're too heavily sedated to wake up that way. + +Eames looks at Yusuf, then to Cobb. + + EAMES + So what happens if one of us dies? + + COBB + That person doesn't wake up. Their mind drops into Limbo. + + ARIADNE + Limbo? + + ARTHUR + Unconstructed dream space. + + ARIADNE + What's down there? + + ARTHUR + Raw, infinite subconscious. Nothing there but what was left behind by anyone on the team who's been trapped there before. On this team... just Cobb. + + ARIADNE + How long would we be stuck there? + + YUSUF + You couldn't even think about trying to escape until the sedation eases- + + EAMES + How long? + + YUSUF + Decades-it could be infinite-I don't know! Ask him-he's the one who's been there before! + +Eames moves to Cobb. Looks him in the eye. + + EAMES + Great. So now we're stuck in Fischer's mind battling it out with his private army, and if we get hit we're stuck in Limbo 'til our brains dissolve into scrambled egg? + +Cobb says nothing. Saito groans more loudly. + + ARTHUR + Let's just get him upstairs. + +INT. OFFICE, WAREHOUSE - MOMENTS LATER + +Saito is laid out on an old desk. Arthur examines him. He motions to Ariadne. Eames watches Cobb. + + ARTHUR + Hold this. Firm pressure. + +Arthur turns to Cobb. + + ARTHUR + You knew the risks and you didn't tell us. + + COBB + There wasn't meant to be any risk. We weren't supposed to be dealing with a load of gunfire. + + ARTHUR + You had no right. + + COBB + It's the only way you can go three layers deep, Arthur. + +Arthur turns to Yusuf, hostile. + + ARTHUR + And you. You went along with this? + + YUSUF + I trusted him. + + ARTHUR + You trusted him? When? When he promised you half his share? + + YUSUF + (offended) + No! His whole share. Plus, he told me he'd done it before. + +Arthur turns to Cobb. + + ARTHUR + Oh, yeah? With Mal? That worked out great, didn't it, Cobb? + +Cobb grabs Arthur. + + COBB + You don't know anything about that. This was the only way to do this job, Arthur. I did what I had to do to get back to my children. + + EAMES + So you led us into a war zone with no way out. + + COBB + We have a way out. The kick. We just have to push on, do the job as fast as possible and get out using the kick. + + EAMES + Forget it. We go any deeper, we just raise the stakes. I'm sitting it out on this level. + + COBB + You'll never make it, Eames. Fischer's security is surrounding this place as we speak. The ten hours of the flight is a week at this level-you'll never make it without getting killed. Downwards is the only way forwards. We have to carry on. + +Saito groans. Cobb looks at him- + + COBB + And we have to do it fast. + +Eames and Arthur weigh this. + + COBB + Eames, go get ready. Arthur, let's get in there and soften him up. + +INT. BATHROOM, WAREHOUSE - LATER + +Cobb and Arthur, wearing BALACLAVAS, PULL the sack from Fischer's head. He is chained to the radiator. + + FISCHER + I'm insured against kidnapping up to ten million-this'll be simple- + + COBB + No, it won't. + +Fischer looks at Cobb, unnerved. + + ARTHUR + In. your father's office, below the bookshelves, is his personal safe. We need the combination. + + FISCHER + I never noticed a safe- + + COBB + Doesn't mean you don't know the combination. + + FISCHER + Well, I don't. + + ARTHUR + We have it on good authority that you do. + + FISCHER + Whose? + +INT. OFFICE, WAREHOUSE - CONTINUOUS + +Yusuf looks through Fischer's wallet. Eames is opening a HINGED, THREE-WING MIRROR. + + YUSUF + Five hundred dollars, this cost? + + EAMES + What's inside? + + YUSUF + Cash, cards, ID... and this- + +Yusuf holds up a SNAPSHOT: the photo from Maurice Fischer's office- YOUNG ROBERT holds his HOMEMADE PINWHEEL, his FATHER blows on it. Eames takes it from Yusuf. STUDIES it. Cobb enters. Eames hands him the snapshot. + + EAMES + Useful? + +Cobb studies the snapshot. Eames examines himself in the hinged mirror from multiple angles: ONE BY ONE the myriad Eames reflections BECOME BROWNINGS. Cobb pockets the photo. + + COBB + You're on. You've got an hour. + + EAMES + An hour? I was supposed to have all night to crack him. + + COBB + And Saito was supposed to keep his guts on the inside. You've got an hour-get something we can use. + +Eames turns from the mirror AS BROWNING. He glances at his watch, then SCREAMS, as if begging for mercy- + +INT. BATHROOM, WAREHOUSE - CONTINUOUS + +Browning's CRY reverberates- Fischer looks up, concerned- + + FISCHER + What's that? + + ARTHUR + Good authority. + +Another cry rings out. Fischer recognizes the voice. + + FISCHER + Uncle Peter?! Make them stop- + + ARTHUR + The combination. + + FISCHER + I don't know it! + + ARTHUR + Why would Browning tell us you did? + + FISCHER + Let me talk to him-I'll find out. + +INT. BATHROOM, WAREHOUSE - MOMENTS LATER + +Cobb pushes Browning (Eames), bloody and bruised, into the room and forces him down next to Fischer. Cobb handcuffs Browning's wrist to a metal bracket on the side of the sink. + + COBB + You've got an hour. Get talking. + +Cobb leaves. + + BROWNING (EAMES) + They've had me for two days. They've got someone with access to your father's office and they're trying to open his safe-they thought I'd know the combination, but I don't- + + FISCHER + Neither do I, Uncle Peter. + + BROWNING + (confused) + Maurice told me that after he passed only you would be able to open it. + + FISCHER + He never gave me the combination. + +Browning thinks for a minute. Realizes something. + + BROWNING + He did, he just didn't tell you that it was a combination. + + FISCHER + What, then? + + BROWNING + Something only you would know. Some meaningful combination of numbers from your experiences with Maurice- + + FISCHER + We didn't have a lot of meaningful experiences together. + + BROWNING + Perhaps after your mother died... + + FISCHER + After my mother died, I went to him in my grief. You know what he told me? "There's really nothing to be said, Robert." + + BROWNING + He always had a hard time with emotional- + + FISCHER + I was eleven, Uncle Peter. + +Browning (Eames) takes this in. + + BROWNING + He loved you, Robert. In his way. + + FISCHER + "In his way?" At the end he called me to his deathbed. He could barely speak, but he took the trouble to say one last thing to me. He pulled me close... I could make out only one word. "Disappointed." + +Browning can say nothing. + +INT. OFFICE, WAREHOUSE - CONTINUOUS + +Cobb pulls off his balaclava. Looks down at Saito, who is breathing fast, shallow. + + COBB + How's he doing? + + ARIADNE + He's in a lot of pain. + +Cobb takes Saito's hand. Looks him in the eye. + + COBB + When we get you down to the next level, the pain will be less intense. + +Saito nods, breathing hard. + + ARIADNE + (low) + And if he dies? + + COBB + His conscious mind will drop out of the dream. He'll be trapped in Limbo for a lifetime... + + ARIADNE + What will that do to him? + +Cobb looks at her. Grave. + + COBB + When he wakes... his mind could be completely gone. + + SAITO + When... when we wake I will still honor our arrangement... + +Cobb looks down at Saito sadly. + + COBB + Saito-san, when you wake you might not even remember that we had an arrangement. You'll have forgotten this world. Limbo will be your reality. Lost there so long, you'll have become an old man... + + SAITO + Filled with regret? + + COBB + Waiting to die alone. Yes. + + SAITO + Then I'll take the chance and come back. And we'll be young men together again. + +Saito smiles weakly. Cobb nods at him, turns to Ariadne. + + ARIADNE + When were you trapped in Limbo? + +Cobb says nothing. Ariadne pulls him away from Saito. + + ARIADNE + Cobb, you might have convinced the rest of this team to carry on with the job. But they don't know the truth. + + COBB + What truth? + + ARIADNE + The truth that at any minute you might bring a freight train through the wall. The truth that Mal is bursting up through your subconscious. The truth that as we go deeper into Fischer, we're also going deeper into you-and I'm not sure we're going to like what we find there. + +Cobb stares back at Ariadne. Saying nothing. + + ARIADNE + This is not just about Fischer, it's about you. Tell me what happened to you and Mal. Trapped in Limbo. + +Cobb looks at her. Thinking it through. + + COBB + We were on a job. Exploring dreams within dreams. But we didn't understand how your mind can turn hours into years. How you can get trapped. Trapped so deep that when you wash up on the shore of your subconscious... + +INSERT CUT: MAL LIES ON THE SAND, STARING UP AT A CLOUDLESS SKY, WAVES WASHING OVER HER... + + COBB + You can lose track of what's real. + + ARIADNE + How long were you stuck? + +Cobb pauses before he answers. Looks at Ariadne. + + COBB + Fifty years. + +Ariadne stares at him, incredulous. + + ARIADNE + How did you stand it? + +INSERT CUT: COBB AND MAL BUILD A SANDCASTLE ON THE BEACH... + + COBB + We built. We created a whole world for ourselves... + +INSERT CUT: COBB AND MAL WALK THROUGH A DESERTED CITY. + + COBB + It's not so bad at first, being gods. The problem is knowing that it's not real. It became impossible for me to live like that. + + ARIADNE + But not for her? + + COBB + She accepted it. At some point... + +INSERT CUT: + +INT. MAL'S CHILDHOOD HOME - DAY + +Mal opens a DOLL'S HOUSE. Inside is a SAFE. She opens it- it is empty. She pulls out her SPINNING TOP. + + COBB (V.O.) + ...she'd decided to forget that our world wasn't real. + +Mal places the top inside the safe. LOCKS IT AWAY... + +INT. OFFICE, WAREHOUSE - CONTINUOUS + + ARIADNE + And when you finally woke up? + + COBB + To wake from that. From decades lived. To be old souls thrown back into youth. It was hard. At first Mal seemed okay. But I started to realize something was wrong. Finally she admitted it. This idea she was possessed by. This simple little idea that changed everything... + + ARIADNE + What was it? + + COBB + That our world was not real. No matter what I did, no matter what I said, she was convinced that we were still in a dream. That we needed to wake up again... + +INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK) + +Cobb is trying to calm Mal, who is hysterical. + + COBB (V.O.) + That to get home we'd have to kill ourselves. + +INT. WORKSHOP - DAY + +Ariadne looks at Cobb, appalled. + + ARIADNE + What about your children? + +Cobb has to look away. + + COBB + She... she believed they weren't real. That our real children were waiting. Somewhere above... + +INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK) + +Mal shakes her head at Cobb as he USHERS the children out of the room, FACES UNSEEN- + + COBB + Calm down, Mal- + + MAL + They're projections, Dom. Your dreams. I'm their mother-don't you think I can tell the difference? + +Cobb closes the door- turns to her, eyes full of bitter tears. + + COBB + If it's my dream then why can't I control it? Why can't I stop this? + + MAL + (it's obvious) + You don't know you're dreaming. + + COBB + You keep telling me I am- + + MAL + And you don't believe me! + + COBB (V.O.) + She was certain. But she loved me too much to go without me. So she made a plan... + +INT. ELEGANT HOTEL CORRIDOR - NIGHT (FLASHBACK) + +Cobb walks along, checking door numbers against a key. + + COBB (V.O.) + For our anniversary... + +INT. ELEGANT HOTEL SUITE - CONTINUOUS (FLASHBACK) + +Cobb enters the lavish suite. He notices the DISHEVELED BEDCLOTHES. + +He steps forwards- SMASH- he has tipped over a champagne glass with his foot... dinner for two is SPREAD ACROSS THE FLOOR. He looks at the DEBRIS, confused... next to the broken glass is a SPINNING TOP. He picks it up, studying it, thinking. He feels a draught, looks to the window. The CURTAIN BILLOWS. + +EXT. EXTERIOR ATRIUM - CONTINUOUS (FLASHBACK) + +Cobb looks out the window: Mal sits on the ledge of the opposite window. HAIR BLOWING. Feet dangling over the dizzyingly high atrium. She smiles. + + MAL + Join me. + + COBB + Mal, come back inside. + + MAL + No. I'm going to jump. And you're coming with me. + + COBB + No, I'm not. This is real-if you jump, you're not going to wake up, you're going to die. Let's go back inside and talk about this, please. + + MAL + We've talked enough. + +She KICKS off a shoe and watches it DROP. + + MAL + Come out onto the ledge or I'll jump right now. + +She means it. Cobb swings his legs out, sitting on the ledge opposite his wife. He looks down at the drop. + + MAL + I'm asking you to take a leap of faith. + + COBB + I can't do that, Mal. I can't leave our children. + + MAL + If I go without you, they'll take them away, anyway. + + COBB + What do you mean? + + MAL + I filed a letter with our attorney. Explaining how I'm fearful for my safety, how you've threatened to kill me... + +Cobb looks back at the wrecked hotel suite, PANICKING... + + MAL (CONT'D) + I love you, Dom. I've freed you from the guilt of choosing to leave them. We're going home to our real children. + + COBB + Our children are here, Mal. + +Mal CLOSES HER EYES. Cobb looks for some way to reach her... + + MAL + You're waiting for a train... + + COBB + NO! MAL, NO, I CAN'T! + + MAL + A train that will take you far away... + + COBB + DON'T DO THIS! + + MAL + You know where you hope this train will take you, you can't know for sure... + + COBB + DON'T! + + MAL + But it doesn't matter... + + COBB + NO! + + MAL + Because you'll be together... + +Mal SLIPS FORWARD INTO SPACE. Cobb SCREAMS after her. Then tries to bury his face in the wall... + +INT. OFFICE, WAREHOUSE - DAY + +Cobb stares as he remembers. + + COBB + Her letter to the authorities refuted all the claims about her sanity that she knew I'd make... + +INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK) + +Cobb stands with the Thin Man, who has a piece of paper. + + COBB (V.O.) + She'd had herself declared sane by three different psychiatrists. + +Cobb hears a SHOUT- turns to the garden. James CROUCHES, Philippa joins him, examining the ground, FACES UNSEEN... + + COBB (V.O.) (CONT'D) + It was impossible for me to explain the nature of her madness... + +The Thin Man thrusts the paper into Cobb's hand. + + THIN MAN + Right now. Or never, Cobb. + +Cobb turns back to the window- about to call out- James and Philippa RUN OFF. Cobb turns from the window. Looks at the paper in his hand. It is an AIRPLANE TICKET. + + COBB (V.O.) + So I ran. And I've been running ever since, trying to buy my way back to my family... + +INT. OFFICE, WAREHOUSE - DAY + +Cobb looks across at Ariadne. + + ARIADNE + Psychiatrists judged her sane? + + COBB + She was sane. She was just lost in the labyrinth. + + ARIADNE + Then why should you blame yourself? + + COBB + Because we were a family. And we had a life I would do anything to get back to now. But that reality wasn't enough for me then. + + ARIADNE + It might have been your idea to push the limits, Cobb. But you're not responsible for the idea that destroyed her. The idea that her world wasn't real... that was her own idea from her own mind. + +Cobb says nothing. + + ARIADNE (CONT'D) + Your guilt defines her. Powers her. If we're going to succeed in this, you're going to have to forgive yourself, and you're going to have to confront her. But you don't have to do it alone. + + COBB + You don't have to do this for me- + + ARIADNE + I'm doing it for the others. They don't know the risk they've taken coming in here with you. + +Cobb looks at the rooftop opposite, sees a SNIPER take up a position. Cobb shakes his head, frustrated. + + COBB + We can't stay here. Arthur?! + +INT. BATHROOM, WAREHOUSE - CONTINUOUS + +Browning puts his hand on Fischer's shoulder. + + BROWNING + These people are going to kill us if we don't give them the combination. + + FISCHER + They won't, they'll try to ransom us- + + BROWNING + I heard them-they're going to lock us in and run the van into the river. + + FISCHER + What is in the safe? + + BROWNING + Something for you. Maurice always said it was his most previous gift... a will. + + FISCHER + Maurice's will is with Port and Dunn. + + BROWNING + It's an alternate. It supersedes the other only if you want it to. + + FISCHER + What does it say? + + BROWNING + It splits all the component businesses of Fischer Morrow into individual companies, transferring ownership to the boards of those companies... + + FISCHER + Leaving me nothing? + + BROWNING + A basic living. Nothing more. The entire empire would cease to exist. + + FISCHER + Destroy my own inheritance? Why would he suggest such a thing? + + BROWNING + I don't know, Robert. + +Cobb OPENS the door. Arthur is behind him. + + COBB + Come to your senses? + + FISCHER + Let us go. I don't know the combination. Not consciously. + +Cobb considers this. Opens his phone. Pulls out his gun. + + COBB + Let's try instinctively. I have someone standing in your father's office ready to tap in a combination. + +He holds the phone to Fischer's mouth. + + COBB (CONT'D) + First six numbers that come into your head. Right now. + + FISCHER + I have no idea- + +Cobb SWINGS the gun onto Browning- + + COBB + RIGHT NOW! + + FISCHER + Five, two, eight... four, nine, one. + +Cobb lowers his weapon. Listens to the phone. Shakes his head. Shuts the phone. + + COBB + You'll have to do better. Bag `em. + +Arthur puts SACKS over their heads. + +INT. WAREHOUSE - CONTINUOUS + +Cobb and Arthur drag Fischer and Browning to the van- + + FISCHER + We're worth much more to you alive... + +Arthur places Fischer on the back seat- uses a DROPPER to drop LIQUID onto Fischer's mask- his head SLUMPS FORWARDS. "Browning" yanks the sack from his head- it is now EAMES. + + EAMES + (excited) + His relationship with his father's much worse that we thought. + + ARTHUR + That helps us? + +Arthur pulls a SNIPER RIFLE from a case by the van. + + COBB + The stronger the issues, the more powerful the catharsis. + +Cobb motions for Yusuf to follow him upstairs. + + ARTHUR + But how do you reconcile them if they're that estranged? + + EAMES + I'm working on that. + +Arthur lines up a shot through the window- + + ARTHUR + Well, work fast-Fischer's projections are closing in quick, we need to break out of here before we're totally boxed in... + +Arthur SHOOTS two snipers. Cobb and Yusuf gently load Saito into the van. He groans. Ariadne straps him in, checks his bandages. Arthur can't get the last sniper- he's too hidden behind a wall- + + EAMES + Shouldn't be afraid to dream a little bigger, Arthur- + +Eames lines up a shot with a grenade launcher. Fires- the sniper EXPLODES into the air- Arthur looks at Eames. + + EAMES (CONT'D) + Shall we? + +They climb into the van- + +INT./EXT. VAN ON RAINY STREETS - CONTINUOUS + +The van pulls out into the rain-drenched streets. Arthur opens the mechanism case and hands out tubes- + + COBB + Shifting Fischer's antipathy from his father onto Browning should work. + + EAMES + We need the imagery, the words... + + ARIADNE + So you destroy his one positive relationship? + + COBB + No. We repair his relationship with his father and expose his godfather's true nature. + + EAMES + Hell, we should be charging Fischer as much as Saito. + + ARTHUR + What about his security? It's going to get worse as we go deeper. + + COBB + We bring in Mr. Charles. + + ARTHUR + No. + + EAMES + Who's Mr. Charles? + + ARTHUR + A bad idea. + + COBB + Arthur, the second we approach Fischer in that hotel, they're gonna mow us down-we run with Mr. Charles like on the Stein job. + + EAMES + So you've done it before? + + ARTHUR + Sure. But it didn't work. The subject realized he was dreaming and his subconscious tore us to pieces. + +Eames takes this in. + + EAMES + You learned a lot, though. Right? + + COBB + (to Eames) + I'll need a decoy. + + EAMES + No problem. How about a pretty young lady I've used before? + + COBB + Fine- + +Cobb looks back: a second S.U.V. pulls out, tailing them. + + COBB (CONT'D) + (to Yusuf) + I know you've got to stay ahead of them, but drive with kid gloves, okay? The world down there is going to be very unstable- + + ARTHUR + And don't make the jump too soon-that kick is our only way back, we have to be ready to catch it- + + YUSUF + I'll use the music to let you know when it's coming, but the rest is up to you. + +Arthur puts the mechanism onto the front seat. + + YUSUF (CONT'D) + Everyone ready? + (Nods all round.) + Sweet dreams- + +Yusuf hits a button and we- + +CUT TO: + +INT. HOTEL LOBBY BAR - SUNSET + +Fischer nurses a drink. Staring at the ice cracking. + + BLONDE (O.S.) + Am I boring you? + +Fischer looks up. A beautiful BLONDE is next to him. + + BLONDE (CONT'D) + I was telling you my story. I guess it wasn't to your liking. + + FISCHER + I have a lot on my mind. + +Fischer looks around the bar. There are several STERN-LOOKING CHARACTERS paying him too much attention. + +INT. HOTEL LOBBY - CONTINUOUS + +Arthur and Ariadne sit at a table across the lobby. They spot Cobb moving across the lobby towards Fischer. + + ARTHUR + And there goes Mr. Charles. + + ARIADNE + Who or what, exactly, is Mr. Charles? + + ARTHUR + It's a gambit designed to turn Fischer against his own subconscious. + +INT. HOTEL LOBBY BAR - CONTINUOUS + +Cobb approaches the bar, watched closely by Fischer's Sub-security. + + COBB + Mr. Fischer! Good to see you again. Rod Green, Marketing. + (to Blonde) + And you must be... + + BLONDE + Leaving. + +She presses against Fischer as she slides off her stool and deposits a cocktail napkin in front of him. + + BLONDE (CONT'D) + In case you get bored. + +Cobb watches her walk away. The Sub-security FOLLOWS her. + + COBB + I think you just got blown off... unless her phone number really does have only six digits. + +Fischer glances at the napkin: "528-491." + +INT. HOTEL LOBBY - CONTINUOUS + +Arthur watches the Sub-security follow the Blonde. + + ARIADNE + And why don't you approve? + + ARTHUR + Because it involves telling the mark that he's dreaming. Which involves attracting a lot of attention to us. + + ARIADNE + Didn't Cobb say never to do that? + + ARTHUR + You must've noticed by now how much time Cobb spends doing things he says never to do. + +INT. HOTEL LOBBY BAR - CONTINUOUS + +Cobb turns to Fischer. + + COBB + Strange way to make friends. + (off look) + Lifting your wallet, I mean. + +Fischer pats his pocket. Empty. He looks to the lobby where he sees the Sub-security trailing the Blonde. + + FISCHER + Goddamn it. The wallet alone's worth- + + COBB + Five hundred bucks. I know. Don't worry, my guys are on it. + + FISCHER + Who did you say you were? + +Fischer looks at him, curious. Cobb plows on, confident- + + COBB + I said I was Rod Green from Marketing-but I'm not. My name is Mr. Charles. I might seem familiar to you. I'm in charge of your security here. + +INT. HOTEL LOBBY - CONTINUOUS + +The Blonde hurries up to Saito, emerging from the elevator- + + BLONDE + Mr. Saito, can I have a minute? + +She pushes him back into the elevator, closing the door as the Sub-security approaches... + +INT. ELEVATOR - CONTINUOUS + +The Blonde fondles Saito's lapels, getting close. + + SAITO + I'm sorry, but... + +Saito glances over her shoulder to see, in the tunnel of infinite reflections created by the elevator's opposing mirrors, three reflections in, THE BLONDE IS EAMES. He winks. + + SAITO (CONT'D) + (pushing him away) + Very amusing, Mr. Eames. + + EAMES + You look a bit perkier. + +A SHUDDER ripples through the elevator. + + SAITO + Turbulence on the plane. + + EAMES + Feels closer. That's Yusuf's driving. + +And we- + +CUT TO: + +INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY + +Yusuf FIGHTS the wheel as the van CUTS DOWN AN ALLEY, BUMPING OVER POTHOLES and SMASHING TRASH CANS aside- THREE S.U.V.s IN FURIOUS PURSUIT. Yusuf looks in the rear view mirror, FRUSTRATED. He checks his WATCH, then checks the back: the SLEEPERS SHAKE with the impact and we- + +CUT TO: + +INT. HOTEL LOBBY BAR - NIGHT + +As a TREMOR echoes through the bar Fischer looks at Cobb trying to place him. + + FISCHER + Security? You work for the hotel? + + COBB + No. My specialty is subconscious security. + + FISCHER + You're talking about dreams. You're talking about extraction. + + COBB + Exactly. My job is to protect you... + +Behind Fischer a WAITER puts down a tray- tipping a champagne glass over- SMASH- Cobb NOTICES. Pauses, looks across the bar-HIS TWO CHILDREN ARE CROUCHED, BACKS TOWARDS US... + +Cobb looks around the bar, the patrons start to STARE at Cobb, suspicious- Cobb shifts back to Fischer- + + COBB (CONT'D) + My job is to protect you from any attempt to access your mind through your dreams. + +Cobb regains his patter- the patrons lose interest... + +INT. ELEVATOR - CONTINUOUS + +Eames pulls out Fischer's wallet, moves to hand it to Saito, then PAUSES, opens it, leafs past the cash to find... The SNAPSHOT: young Robert holding his HOMEMADE PINWHEEL, his father blowing on it. The elevator doors open and Eames steps off. HANDS Saito the wallet. + + EAMES + Get off at a different floor and keep moving. Dump the wallet, then meet me in the lobby. The security will try to track it down. We need to buy Cobb a little more time. + +The doors close. Saito puts the wallet in his pocket. He COUGHS- a deep, nasty cough. + +INT. HOTEL LOBBY BAR - CONTINUOUS + +Cobb looks over Fischer's shoulder to see a SUITED MAN watching him. Another MAN is walking in from the lobby. + + COBB + You're not safe here. + +Cobb steps away from the bar. Fischer does not move. + + COBB (CONT'D) + Trust me. They're coming for you. + +Fischer sizes him up, A CLAP OF THUNDER ECHOES, and we- + +CUT TO: + +INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY + +GUNSHOTS BLAST out the rear and side windows of the van- a Security Man is leaning out of the lead S.U.V. With a SHOTGUN-WIND AND RAIN RIP THROUGH THE VAN- in the back, ARTHUR'S SLEEPING FACE IS WHIPPED BY THE SPRAY, AND WE- + +CUT TO: + +INT. HOTEL LOBBY BAR - SUNSET + +Fischer looks out the windows at sudden, HURRICANE-LIKE RAIN- + + COBB + Strange weather, huh? + +A TREMOR runs through the bar- Cobb looks around- + + COBB (CONT'D) + You feel that? + +INT. HOTEL LOBBY - CONTINUOUS + +Ariadne and Arthur watch the GUSTS OF WIND RATTLE the windows. Arthur sees HOTEL GUESTS staring out at the weather, PUZZLED. Several of them TURN TO LOOK DIRECTLY AT ARTHUR. + + ARIADNE + What's happening? + + ARTHUR + Cobb's drawing Fischer's attention to the strangeness of the dream. That's making his subconscious look for the dreamer. For me. + +And we- + +CUT TO: + +INT./EXT. VAN ON RAINY STREETS - DAY + +At the end of the alley- Yusuf THROWS the van into a HARD RIGHT TURN- we move into EXTREME SLOW MOTION... THE SLEEPERS IN THE BACK ARE DRAWN TO ONE SIDE OF THE VAN BY THE CENTRIFUGAL FORCE... and we- + +CUT TO: + +INT. HOTEL LOBBY BAR - CONTINUOUS + +The liquid in Fischer's drink RISES UP AGAINST ONE SIDE OF THE GLASS- Fischer notices, confused. + + COBB + Very odd-the weather, the gravity... + +Fischer looks around the bar- it's as if THE ENTIRE ROOM IS SET AT A 45-DEGREE ANGLE- glasses SLIDING off tables... + + COBB (CONT'D) + But I can explain all this. You've actually been trained for this. + (Fischer nods) + Think of the strangeness of the weather, the shifts in gravity. None of this is real... + (beat) + We're in a dream. + +Fischer looks at the room around them. Back to Cobb. All through the bar, patrons turn to look at Cobb IN UNISON. + + COBB (CONT'D) + The simplest test of what I'm saying is for you to try and remember anything about the way you arrived in this hotel... okay? + +Fischer stares at Cobb, trying to process this. All around them, people STARE at Cobb. Several get up as if to approach. + + COBB (CONT'D) + Breathe. Remember the training. Accept the fact that we're in a dream. That's why I'm here protecting you. + +As Fischer considers this we- + +CUT TO: + +INT./EXT. VAN ON RAINY STREETS - DAY + +Yusuf STRAIGHTENS UP the van, RACING down the street, swerving through traffic and we- + +CUT TO: + +INT. HOTEL LOBBY BAR - EVENING + +The building gradually EASES BACK INTO ALIGNMENT- + + FISCHER + So you... you're not real? + +The bar patrons start to ignore Cobb again. + + COBB + No. I'm a projection of your subconscious. I was put in place to protect you in the event that extractors pulled you into a dream. I believe that's what has happened. + +Fischer takes this in. Then looks at the Security Men approaching across the crooked floor, he nods at Cobb- + +INT. HOTEL LOBBY - EVENING + +Cobb escorts Fischer across the lobby. As he does so, he walks past the two CHILDREN, backs to us- Cobb ignores them-The two Sub-security fall in behind. Cobb hurries Fischer up the stairs- then PUSHES him into- + +INT. HOTEL LOBBY BATHROOM - CONTINUOUS + +Fischer stumbles in- turns to Cobb, angry- + + FISCHER + Hey- + +Cobb reaches into his jacket- the First Man BURSTS in- Cobb KICKS him to the ground- DRAWS his gun as the SECOND MAN comes through the door, moving towards Fischer-BLAM! Cobb BLASTS the Second Man in the back- TURNS and SHOOTS the First Man. + + FISCHER (CONT'D) + Jesus Christ! What are you doing?! + +Cobb turns to Fischer, calm. Convincing. + + COBB + Look at the gun in his hand. + +Fischer looks: the Second Man was holding a pistol. Cobb opens the First Man's jacket to show Fischer his holster and sidearm. + + COBB (CONT'D) + These men were sent to abduct you. + +Cobb pulls out the gun and HANDS it to Fischer. + + COBB (CONT'D) + If I'm going to help you, I need you to be calm. + +Fischer remembers something. + + FISCHER + If this is a dream, I have to kill myself and wake up- + +Fischer raises the gun towards his head- + + COBB + I wouldn't do that-they've probably got you sedated. If you pull that trigger, you might not wake up, you might drop into a lower dream state. Mr. Fischer, you know all this, you just have to remember it... + +Fischer lowers his gun. + +INT. HOTEL CORRIDOR - CONTINUOUS + +Saito walks down the corridor, followed by a Security Man. + +Saito DUCKS around the corner, moves to a GARBAGE CHUTE and DROPS Fischer's WALLET into it. He SLIPS into the stairwell as the Security Man comes abreast of the chute and pauses. + +INT. HOTEL CORRIDOR - CONTINUOUS + +Arthur leads Ariadne to a particular room: 491. + +INT. ROOM 491 - CONTINUOUS + +Arthur leads Ariadne in. He opens the closet, opens the room safe, pulls out FOUR BRICKS OF PLASTIC EXPLOSIVE. + + ARTHUR + So, if everything's correct, this room should be directly below 528. + +INT. HOTEL LOBBY BATHROOM - CONTINUOUS + +Cobb looks reassuringly at Fischer. + + COBB + What do you remember from before this dream? + + FISCHER + (thinking) + Rain... gunfire... Uncle Peter. + (looks up) + Christ-we've been kidnapped. + + COBB + Where were they holding you? + + FISCHER + They had us... in the back of a van... + + COBB + Your body's bouncing around in the back of a van right now-that explains the gravity shifts. + + FISCHER + It was... to do with a safe... Christ, why's it so hard to remember? + + COBB + It's like trying to remember a dream after you've woken up. It takes years of practice to do it easily. So, you and Browning have been pulled into this dream so they can steal something from your mind. What? + + FISCHER + They wanted a combination to a safe... they demanded the first numbers to pop into my head. + + COBB + That's them extracting a locator. + + FISCHER + A locator? + + COBB + A number from your own subconscious. It can be used any number of ways... + (thinking) + This is a hotel. Room numbers. What was the number you gave them? + + FISCHER + 5, 2... something... it was a long number. 528... 528, 4 something. + + COBB + (opens phone) + Well, we know where to start. + (into phone) + Fifth floor. + +INT. ROOM 491 - CONTINUOUS + +Arthur hangs up the phone. He is standing on a chair, attaching the explosives to the ceiling. + + ARIADNE + Do you use a timer? + + ARTHUR + No, I have to judge it myself. Once you're all asleep up in room 528, I wait `til Yusuf starts his kick... + + ARIADNE + How will you know? + + ARTHUR + His music warns me it's coming, then the van hitting the barrier of the bridge should be unmistakable-that's when I blow the floor out from underneath us and we get a nice synchronized kick. Too soon, and we won't get pulled out; too late and I won't be able to drop us. + + ARIADNE + Why not? + + ARTHUR + The van will be in free fall. I can't drop us with no gravity. + +Arthur finishes setting the charges. + +INT. HOTEL LOBBY - CONTINUOUS + +Saito moves through the lobby. Browning is coming in the other direction. Saito assumes him to be Eames. + + SAITO + I see you've changed. + + BROWNING + I'm sorry? + +Eames comes up behind Browning, catching Saito's eye. + + SAITO + I'm... I mistook you for a friend. + + BROWNING + Good-looking fellow, I'm sure. + +Browning moves off. Saito approaches Eames. + + EAMES + That's Fischer's projection of Browning. We'll keep an eye on how he behaves- + + SAITO + Why? + + EAMES + How he acts will tell us if Fischer's starting to suspect his motives the way we want him to. + +INT. HOTEL CORRIDOR, FIFTH FLOOR - MOMENTS LATER + +Cobb leads Fischer around a corner. Arthur and Ariadne are waiting in the corridor. + + COBB + They work for me. + +Fischer starts looking at room numbers. Stops at 528. Cobb draws his gun, steps back from the door and KICKS it open. + +INT. ROOM 528 - CONTINUOUS + +Cobb JUMPS into the room, gun up. The room is empty. Arthur and Ariadne search the room. Saito and Eames arrive. Eames shuts the door. Arthur FINDS something- + + ARTHUR + Mr. Charles! + +Arthur holds up a MECHANISM CASE. Cobb shows it to Fischer. + + COBB + You know what this is? + +Fischer's eyes roam over the dials and plungers. + + FISCHER + I think so. But I don't understand. + + COBB + They were going to put you under. + + FISCHER + I'm already under. + + COBB + Under again. + + FISCHER + A dream within a dream? + + ARTHUR + Shhhh! + +Arthur is at the door. Someone is there. A key goes into the lock- the door starts to open- Arthur REACHES OVER and GRABS the person entering, THROWS THEM TO THE FLOOR- puts his gun in their face. IT IS BROWNING. + +Fischer stares, disbelieving, at his own godfather. + + FISCHER + Uncle Peter. What's going on? + +Cobb pulls the key from Browning's hand: ROOM 528. + + COBB + You said you were kidnapped together? + + FISCHER + Not exactly, they already had him. They'd been torturing him... + + COBB + You saw them torture him? + +Fischer shakes his head. Looks at Browning. Thinking. + + FISCHER + The kidnappers are working for you. + + BROWNING + No, Robert- + + FISCHER + You're trying to get that safe open. To get the alternate will. + +Browning looks up at Fischer. + + BROWNING + Fischer Morrow's been my entire life. I can't let you destroy it. + + FISCHER + I'm not going to throw away my inheritance. Why would I? + + BROWNING + I couldn't take the chance of you rising to your father's final taunt. + + FISCHER + What taunt? + + BROWNING + That will. I'm sorry, Robert, but it's his final insult. A challenge to build something for yourself. He's telling you that you aren't worthy of his achievements. + +Fischer takes this in. Devastated. + + FISCHER + That he was "disappointed?" + + BROWNING + I'm so sorry. But he was wrong. You'll make his company even greater than he ever could. + + COBB + Your godfather's lying, Robert. + +Fischer turns to Cobb. + + FISCHER + How do you know? + + COBB + It's what I do. He's hiding something. + +Cobb looks at Browning. + + COBB + Let's find out what. + +Cobb nods at Arthur, who starts unpacking the mechanism. + +Browning watches. Silent. + + COBB + Let's do to him what he was going to do to you. + +Cobb rolls up his sleeve. Nods at Fischer to do the same. + + COBB + We'll penetrate his subconscious and find out what he doesn't want you to know. + +Fischer looks Cobb in the eye. Decides- rolls up his sleeve, offering his bare arm. The team run tubes to each other- Arthur injects Fischer, whose head slumps. + + ARTHUR + He's out. + + ARIADNE + Wait, Cobb-I'm lost. Whose subconscious are we going into? + + COBB + Fischer's. I told him it was Browning's so he'd come with us as part of our team. + + ARTHUR + (impressed) + He's going to help us break into his own subconscious. + + COBB + That's the idea. He'll think that his security is Browning's and fight them to learn the truth about his father. + +Arthur hits buttons on the mechanism. The team goes out one by one. Cobb is last. + + COBB + Fischer's subconscious is going to run you down hard. + + ARTHUR + I'll lead them on a merry chase. + + COBB + Be back in time for the kick. + + ARTHUR + I'm on it. + +Cobb is no longer listening- he stares at the net curtains, BILLOWING like those in Mal's suite- a GLIMPSE of someone (Mal?) As the screen goes WHITE, and we are- + +EXT. SNOW-COVERED MOUNTAINS - DAY + +CLOSE ON Cobb's face, staring. Fixed. + + ARIADNE (O.S.) + Cobb? Cobb? + +Ariadne is beside him. They stand on a cliff, dressed in white snowsuits, carrying white-painted weapons like WWII commandos. Cobb checks his SNIPER RIFLE, examines their objective: a massive FORTIFIED MEDICAL FACILITY a mile below. + + ARIADNE + What's down there? + + COBB + Hopefully, the truth we want Fischer to learn. + + ARIADNE + I meant what's down there for you? + +Cobb turns to her. Eames, Saito and Fischer arrive, SKIING down from the hill above. Cobb pulls Eames out of Fischer's earshot. + + COBB + You're the dreamer. I need you to draw the security away from the complex. + + EAMES + Then who guides Fischer in? You? + + COBB + If I know the route... we could be compromised. + +Eames looks as Cobb, uneasy. Ariadne comes over. + + ARIADNE + I designed the place. + + COBB + No. You're with me. + + SAITO (O.S.) + I could do it. + +They turn to Saito. Saito shrugs at Eames. Eames smiles. + + COBB + Eames, brief Saito on the route into the complex. What we're looking for is going to be in the most heavily fortified section. That north tower. + +Cobb moves to Fischer. Saito COUGHS. SPITS. Eames sees BLOOD on the snow. Looks at Saito. + + COBB + Mr. Fischer, you're going in with Mr. Saito. + + FISCHER + You're not coming in? + + COBB + You have to do this on your own. You have to get in there, break into your godfather's mind and find out the truth about your father. + +Cobb taps Fischer's radio mike. + + COBB + Keep this live at all times. I'll be listening in, covering you. + (holds up the sniper rifle) + The windows on the upper floors are big enough that I can cover you from that south tower. + +Cobb slips into his skis, shoulders his rifle. + +CUT TO: + +INT. ROOM 528 - NIGHT + +Arthur checks the mechanism. He hears LOW BOOMS like thunder. He checks his watch- THE SECOND HAND CRAWLS FORWARDS. With a last look at the sleepers, he heads out into the corridor... + +INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY + +A GUNSHOT slams into the van as Yusuf DRIVES- he glances back to see a MOTORCYCLE pulling up behind him, the REAR PASSENGER FIRING A SHOTGUN- the bike pulls alongside Yusuf's window as the passenger RELOADS- Yusuf YANKS the wheel TOWARDS the bike, bringing the shotgun barrel into the cab so he can GRAB it, spin the wheel back- PULLING the passenger from the back of the bike... Yusuf turns a corner, heading into a disused MARKET- + +INT. HOTEL CORRIDOR - CONTINUOUS + +Arthur walks towards the elevator. It OPENS- a SECURITY MAN emerges, heading right for him. Arthur takes a TURN, speeding up. The BOOMS are louder, and we- + +CUT TO: + +INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY + +The bike crosses behind the van, catching up again as the driver pulls a handgun and starts BLASTING. Up ahead, an S.U.V. sits in a side road, lining up to head off the van-the SECURITY MAN driving the S.U.V. guns it, as the bike creeps up on the other side of the van- Yusuf HITS THE BRAKES, forcing the bike out into the path of the S.U.V., tossing the rider like a rag doll-Heading out of the market, the van races onto a FREEWAY ON RAMP, approaching the BRIDGE. An S.U.V. SMASHES into the van's side, FORCING it up against a CRASH BARRIER... the van starts to SLOWLY TILT OVER THE BARRIER as the S.U.V. PUSHES- + +CUT TO: + +INT. HOTEL CORRIDOR - NIGHT + +As Arthur hurries down the corridor, the corridor starts to TILT, and Arthur is forced to run UP ONTO THE WALL- he rounds a corner- STRAIGHT INTO another Security Man- Arthur HEADBUTTS him and they STRUGGLE- as they struggle, the corridor SPINS around, THROWING THEM UP ONTO THE WALLS, THE CEILING-as wall becomes floor they DROP through a door into- + +INT. HOTEL ROOM - CONTINUOUS + +The fight continues all over the spinning room- and we- + +CUT TO: + +INT./EXT. VAN ON RAINY OFF RAMP NEAR BRIDGE - DAY + +SLEEPING ARTHUR BOUNCES around as the van TILTS, SCRAPING along the barrier- the van CLEARS THE END OF THE BARRIER AND ROLLS DOWN THE EMBANKMENT, and we- + +CUT TO: + +INT. HOTEL ROOM - NIGHT + +Arthur and the Security Man DROP to the floor, Arthur on top. Arthur gets up- heads to the stairwell. + +INT./EXT. VAN ON RAINY STREETS NEAR BRIDGE - DAY + +The van SETTLES with a thump. Yusuf BREATHES hard. Then SMILES as he realizes he is in one piece. A RINGING BELL up ahead makes him look up to the bridge, where the barriers are starting to come down. Yusuf checks his watch- + + YUSUF + Bugger. + +Yusuf hits the gas, heading for the bridge. An S.U.V. lines up behind him, trying to catch up before the van crosses the barrier onto the bridge- The van JUST MAKES IT- the S.U.V. behind RIPS its rear axle off, SCRAPING to a halt on the rising section. The Security Man inside starts FIRING on the van... + +INT. HOTEL STAIRWELL - CONTINUOUS + +Arthur RACES down the steps- OPENS the door to the fourth floor- spots SECURITY MEN outside room 491. + + ARTHUR + Hey! + +They TURN- he DARTS back into the stairwell- RACES down the stairs- the Security Men follow- they start SHOOTING, and we- + +CUT TO: + +EXT. SNOW-COVERED MOUNTAINS - DAY + +Eames SKIS down within sight of the hospital complex. He reaches into his pack and lets off a FLARE. + +EXT. HOSPITAL COMPLEX - CONTINUOUS + +Security Men on the ramparts spot the flare and send PATROLS out on skis and SNOWMOBILES to investigate. + +EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames watches them close in, then launches himself down the mountain, STREAKING across the icy slope, and we- + +CUT TO: + +INT./EXT. VAN ON RAINY RISING BRIDGE - DAY + +Yusuf PULLS FORWARD, looking over his shoulder to line up a BACKWARDS RUN at the edge. He DUCKS as vicious FIRE from the S.U.V. HAMMERS the vehicle. He looks at his watch. The SECOND HAND TICKING SLOWLY... + + YUSUF + Sod it. I hope you're ready. + +He grabs an MP3 player and reaches into the back to place HEADPHONES on sleeping Arthur's head. As he does so, he notices Saito's bandage BLEEDING THROUGH. Yusuf hits PLAY-Edith Piaf's "Non, je ne regrette rien" starts up and we- + +CUT TO: + +INT. HOTEL STAIRWELL - NIGHT + +Arthur STOPS, hearing something- MASSIVE LOW-END MUSICAL TONES- he looks up PANICKED- + + ARTHUR + No, Yusuf. Too soon! + +SHOTS slam into the stairs around him and we- + +CUT TO: + +EXT. SNOW-COVERED MOUNTAINS - DAY + +Cobb and Ariadne make their way down towards the complex. + + EAMES (OVER RADIO) + Cobb? Are you hearing that? + +Cobb listens. The wind sounds unusually LOW. + +EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames is hidden at the base of some trees, whispering as a patrol passes beneath his position. + + EAMES + I noticed it twenty minutes ago-at first I thought it was just wind... + +EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS + +Cobb is listening intently. The "wind" changes pitch. + + COBB + No, it's music. Dammit. + + EAMES (OVER RADIO) + What do we do? + + COBB + We move fast. Saito, did you copy? + +EXT. MOUNTAINS, THE OTHER SIDE OF THE COMPLEX - CONTINUOUS + +Saito and Fischer CLIMB down a CLIFF FACE above the complex- + + SAITO + We're going as fast as we can. + +EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS + +Ariadne looks at Cobb, concerned. + + ARIADNE + How long do we have? + + COBB + Yusuf's about ten seconds from the jump, which gives Arthur about three minutes, which gives us about- + + ARIADNE + Sixty minutes. + + COBB + The route you gave them, can they do it in under an hour? + + ARIADNE + I don't think so. They've still got to climb down to the middle terrace. + + COBB + They need a new route-a direct route. + + ARIADNE + The building's designed as a labyrinth. + + COBB + There must be access routes that cut through the maze. + (into radio) + Eames? + +EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames cannot answer- he SLALOMS through the forest, Sub-security in hot pursuit, bullets smashing into the trunks... + +EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS + +Cobb turns to Ariadne. + + COBB + Did Eames add any features? + + ARIADNE + Yes. + + COBB + What did he add? + +Ariadne looks at Cobb. + + ARIADNE + I shouldn't tell you. If Mal- + + COBB + There's no time-what did he add? + + ARIADNE + Utility closets, trap doors... + + COBB + What about service features? Did he add any large pipes or- + + ARIADNE + Ducts. He added an air duct system-it doesn't follow the maze. They can use it to go straight from the outer walls to the upper tower. + + COBB + Explain it to them. + + ARIADNE + (into radio) + Saito? + +EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS + +Saito is using a hammer to tap in a belay. + + SAITO + Go ahead. + +And we- + +CUT TO: + +INT./EXT. VAN ON RAINY RAISED BRIDGE - DAY + +Yusuf looks at the Security Man in the S.U.V., gives him the finger and hits the GAS- RACING BACKWARDS at the barrier...and we- + +CUT TO: + +INT. HOTEL STAIRWAY - NIGHT + +Arthur RUNS UP the stairs, gun in hand- rounds a corner and-IMPOSSIBLY- arrives behind the Security Man, who looks at him, CONFUSED, then looks down to realize he is now at the edge of a dangerous drop- Arthur shrugs. + + ARTHUR + Paradox. + +Arthur PUSHES him over the edge- he falls- Arthur races up to the fourth floor- throws open the door- and we- + +CUT TO: + +INT./EXT. VAN ON RAINY RAISED BRIDGE - DAY + +In SLOW MOTION- the van SMASHES THROUGH THE CONCRETE BARRIER-and we- + +CUT TO: + +INT. HOTEL CORRIDOR - NIGHT + +Arthur is SPRINTING down the corridor when a TREMENDOUS CRASH sends him FLYING into the air- and we- + +CUT TO: + +EXT. SNOW-COVERED MOUNTAINS - DAY + +A MASSIVE RUMBLE prompts Cobb to look across the valley- + +EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames shoots out of the trees, then FALLS to the snow as he sees a great CRACKING up ahead- the SLOPE IS FALLING AWAY IN AN AVALANCHE- + +EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS + +Saito hears the RUMBLE above them. He looks down, Fischer is below, near the bottom of the sheer face- + + SAITO + Look out! + +Saito CUTS the rope- they FALL- HIT the icy face and SLIDE down the slope, clearing the path of the avalanche- and we- + +CUT TO: + +INT./EXT. VAN - DAY + +In EXTREME SLOW MOTION, the van emerges from the concrete balustrade and starts FALLING- and we- + +CUT TO: + +INT. HOTEL CORRIDOR - NIGHT + +Arthur is still FLYING through the corridor, NOT LANDING-GRAVITY HAS DISAPPEARED... he scrambles for a handhold, GRABBING a sconce- and we- + +CUT TO: + +EXT. SNOW-COVERED MOUNTAINS - DAY + +Cobb watches the avalanche cloud slide past the complex. + + ARIADNE + What was that? + + COBB + The kick. + + EAMES (OVER RADIO) + Cobb? Did we miss it? + + COBB + Yeah, we missed it. + +EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames is lying on the snow. + + EAMES + What the hell do we do now? + + COBB (OVER RADIO) + Finish the job before the next kick. + + EAMES + What next kick? + +EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS + +Cobb looks at Ariadne as he talks into the radio. + + COBB + When the van hits the water. I figure Arthur's got a couple minutes and we've got about twenty. + +Cobb and Ariadne MOVE towards the base of the complex. + +EXT. HOSPITAL COMPLEX - CONTINUOUS + +Saito and Fischer RUN around the base of the building. They find a large EXHAUST PORT. Lay a charge on the GRILL. They blow the charge. Climb into the open vent. + +INT./EXT. VAN - DAY + +In EXTREME SLOW MOTION, the van seems SUSPENDED IN MID-AIR TEN STORIES ABOVE THE RIVER... and we- + +CUT TO: + +INT. HOTEL CORRIDOR - NIGHT + +In ZERO GRAVITY, Arthur pulls himself to the door of 491, opens it. He looks at the charges planted on the ceiling. + + ARTHUR + How the hell do I drop you? + +He PULLS the charges from the ceiling. Hurrying. And we- + +CUT TO: + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS + +Saito and Fischer hurry through the duct system. Saito is falling behind, coughing up blood. + +EXT. UPPER TERRACE, HOSPITAL COMPLEX - CONTINUOUS + +Cobb GRABS a Security Guard from behind, strangling him unconscious. He beckons to Ariadne, covering her as she runs towards him. They enter the base of the south tower. + +INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS + +A guard is manning the tower. Cobb and Ariadne enter- Cobb SHOOTS the guard and moves to the window. + + ARIADNE + (she points) + That's the antechamber outside the strongroom. + +Cobb looks at the large windows of the antechamber. + + COBB + What about the strongroom? Doesn't it have any windows? + + ARIADNE + Wouldn't be very strong if it did. + (off look) + Look, if you wanted to design it yourself- + + COBB + It's fine. Better hope that we like what Fischer finds in there. + +Cobb sets up his sniper rifle. Through the scope he can see three guards on the balcony outside the chamber. Three more inside. Cobb casually picks them off with his rifle. Ariadne watches through binoculars, appalled. + + ARIADNE + These projections, they're part of his subconscious? + + COBB + Yeah. + + ARIADNE + Are you destroying those parts of his mind? + + COBB + No, of course not. They're just projections. + + EAMES (OVER RADIO) + Cobb? Something's wrong? + +EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames is watching the patrols HEAD BACK towards the complex. + + EAMES + They're heading your way. Like they know something. + +INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS + +Cobb hears this. Concerned. + + COBB + Buy us some time. + + EAMES (OVER RADIO) + On my way. + +EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS + +Eames TAKES OFF towards the base of the complex. And we= + +CUT TO: + +INT. ROOM 528 - NIGHT + +Arthur FLOATS into the room. The SLEEPERS are floating, loosely connected by their tubes. Arthur looks at them, MIND RACING. He PULLS Cobb towards Eames, and we- + +CUT TO: + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - DAY + +Saito and Fischer approach the grate covering the exit to the anteroom. Saito SLUMPS to the floor of the duct, pulls out his radio. Fischer looks at him- he is PALE, SHIVERING. Fischer takes the radio, WHISPERS into it. + + FISCHER + (into radio) + We're here. Are we clear to proceed? + +INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS + +Cobb SCANS the anteroom through the scope-it looks clear. + + COBB + You're clear, but hurry-there's an army headed your way... + +Ariadne watches the patrols approaching the complex... + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS + +The SQUELCH from the radio is too loud- Fischer GRABS it and turns the volume to zero as he starts to remove the grate... + +EXT. BASE OF THE HOSPITAL COMPLEX - CONTINUOUS + +Eames is setting MINES along the LOWEST WALL of the structure. He moves carefully-there is a SHEER DROP below the wall... + +INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS + +Cobb SPOTS something through his scope. Something above the main windows, glimpsed through the side of the skylight. + + COBB + Shit. There's someone else in there. + +Cobb prepares to fire. Ariadne GRABS the radio- + + ARIADNE + Fischer, stop! It's a trap!- + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS + +Fischer does not see the flashing light on his radio as he carefully lifts the grate. He motions for Saito to stay... + +INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS + +Cobb TENSES to fire. + + COBB + Come on... a little lower... a little- + +COBB FREEZES- IT IS MAL IN HIS SIGHTS. Ariadne puts up her binoculars. Spots Mal. Fischer is climbing out of the vent... + + ARIADNE + Cobb, that's not really her- + +Cobb turns to her- + + COBB + How can you know that? + +INT. ANTECHAMBER - CONTINUOUS + +Fischer moves into the antechamber, cautious- + + FISCHER + I'm in. + +Fischer turns up the volume- + + ARIADNE (OVER RADIO) + Fischer, look out!- + +Mal DROPS gracefully to the floor behind him- + + MAL + Hello. + +INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS + +Cobb looks at Ariadne- + + ARIADNE + Cobb, she's just a projection. Fischer... he's real. + +Cobb thinks. Nods, TURNS back to the scope- too late- MAL SHOOTS FISCHER- Cobb reflexively pulls the trigger- Mal GOES DOWN- Cobb steps back from the scope, STUNNED. + + ARIADNE + Eames? Get to the anteroom now! + +They run for the door. + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS + +Saito STARTS as he hears the shot. He starts edging forwards, clutching his belly. And we- + +CUT TO: + +INT. ROOM 528 - NIGHT + +The sleepers are floating in a rough stack, top-and-tailed. Arthur pulls the bedding from the bed and uses the sheet to bind the sleepers together. And we- + +CUT TO: + +INT./EXT. VAN - DAY + +In EXTREME SLOW MOTION, the van CREEPS DOWNWARDS, still high above the river... and we- + +CUT TO: + +INT. HOTEL CORRIDOR - NIGHT + +Arthur PUSHES the floating stack of sleepers to the elevator. He hits the button- the doors open- he pushes them in- GRABS the charges- climbs through the hatch in the ceiling and we- + +CUT TO: + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - DAY + +Eames steps over Saito, who looks up at him with DYING eyes- + +INT. ANTECHAMBER, HOSPITAL CORRIDOR - DAY + +Eames jumps out of the vent to find Cobb and Ariadne standing over the bodies of Fischer and Mal. + + EAMES + What happened? + + ARIADNE + Mal killed Fischer- + + COBB + I wouldn't shoot her. + +Eames grabs a defibrillator from the wall and pulls Fischer's jacket open- + + COBB + It won't do any good- + +Eames SHOCKS Fischer's chest... + + COBB + Even if you could revive his body, his mind's trapped down there. It's over. + +Eames listens for a pulse. Looks up at Cobb. + + EAMES + So that's it, then? We failed. + + COBB + I'm sorry. + + EAMES + It's you who doesn't get back to your family. + +Eames looks down at Fischer. Then over to the double doors. + + EAMES + I wanted to know what was going to happen in there. I think we had this one. + + ARIADNE + There's still a way: We follow Fischer down- + +They look at her. + + EAMES + We're almost out of time- + + ARIADNE + Down there there'll be enough time. We'll find him-soon as you hear Arthur's music start, you use the defibrillator to revive him-we give him his own early kick from below. Get him in there- + (points to doors) + Then, as the music ends you blow the hospital and we all ride the kick back up through the layers. + +Eames looks at her, then to Cobb. + + EAMES + Okay, Saito can hold them off while I plant the rest of the charges. + + COBB + Saito's not going to last, Eames. + + ARIADNE + We have to try! + + EAMES + Go for it, but I'm taking the kick whether you're back or not... + +Eames pulls the mechanism from his pack. Offers it to Ariadne. Cobb watches. Silent. Ariadne pulls out the tubes- + + ARIADNE + Can I trust you to do what's needed? Mal's down there- + + COBB + And I can find her. She'll have Fischer. + + ARIADNE + How do you know? + + COBB + She wants me to come after him. She wants me back down there with her. + +Cobb rolls up his sleeve. Ariadne rolls up her own sleeve. + +Eames NODS. Cobb and Ariadne lie down. Eames hits the button-WATER. BUBBLES. DROWNING. And we are- + +EXT. COAST (LIMBO) - DAY + +Ariadne lies in the SURF, STARING up at a CLOUDLESS SKY. A tremendous BOOM prompts her to look around her- URBAN BUILDINGS PILED right down to the water. The buildings are DECAYING, falling into the ocean like a GLACIER calving. Cobb WADES towards her through the shallow water. Ariadne looks up at the crumbling city around them. + + ARIADNE + This is your world? + + COBB + It was. And this is where she'll be. + +And we- + +CUT TO: + +INT. ELEVATOR SHAFT - DAY + +Arthur floats on top of the elevator, planting small charges on the EMERGENCY BRAKES and CABLE. He sets them, GRABS the other explosives, then PUSHES AWAY, shooting up the shaft. As he hits the DETONATOR, BLASTING the braking and safety systems of the elevator, we move into SLOW MOTION, the fireballs FLAMING OUT in graceful licks and we- + +DISSOLVE TO: + +INT. ANTECHAMBER - DAY + +Eames RACES around, full speed- getting the defibrillator paddles- laying them by Fischer's body- he runs into the duct-pulls Saito up to a seated position and hands him a handgun. + + EAMES + Come on, Saito. I need you to cover Fischer while I plant the charges. + +Saito nods weakly, tries to hold the gun. Eames moves to the window- pulls his machine gun off- checks its load. Ready. He watches the security patrols climb up the outer walls... + +Eames lays down a HAIL of covering fire- then heads outside- + +EXT. HOSPITAL COMPLEX - CONTINUOUS + +Eames races along the upper terrace dodging fire- BULLETS SHATTER a window behind him and we move into SLOW MOTION, the glass CASCADING GENTLY and we- + +DISSOLVE TO: + +EXT. COAST (LIMBO)- DAY + +Cobb and Ariadne climb out of the waves, full speed. They move into the shadow of the tall, crumbling buildings. The streets are eerily DESERTED. As they move further in, the buildings become NEWER, different. Ariadne marvels at the extraordinary collection of buildings- every architectural style imaginable in waves of FAILED UTOPIAS. + + ARIADNE + You built all this? + + COBB + We both did. + + ARIADNE + It's incredible. + + COBB + We built for years. Then, when that got stale, we started in on the memories. + +A child's SHOUT echoes through the deserted canyons, prompting Cobb to look down a side street: a LITTLE BLONDE BOY crouched, his back to us. A LITTLE BLONDE GIRL joins the boy, and, as Cobb turns down the street, they run off. + +Cobb and Ariadne emerge into a peculiar SQUARE lined with an eclectic mix of buildings, from APARTMENT BLOCKS to HOUSES. + + COBB + This is our neighborhood. + + ARIADNE + (confused) + From what city? + + COBB + No. Our neighborhood. + (pointing) + That was our first apartment... then we moved to that building... we got that small house when Mal became pregnant. + + ARIADNE + You reconstructed them all from memory? + + COBB + We had time. + +Cobb pauses in front of a French country house. Staring. + + ARIADNE + What's that? + + COBB + The house Mal grew up in. + + ARIADNE + Will she be in there? + + COBB + No. Come on- + +Cobb leads Ariadne to the entrance of a glass skyscraper. + +INT. SKYSCRAPER LOBBY (LIMBO) - CONTINUOUS + +Cobb leads Ariadne across the gleaming lobby to the elevators. + + COBB + We both wanted a house, but we both loved skyscrapers. In the real world we had to choose. Not here. + +INT. SKYSCRAPER ELEVATOR (LIMBO) - CONTINUOUS + +Cobb pulls out his handgun, and a ziplock bag full of bullets. + + ARIADNE + How do we send Fischer back? + + COBB + We need some kind of kick. + + ARIADNE + What? + + COBB + I'll improvise. + +Cobb COCKS his weapon, and the ELEVATOR STOPS. The doors open. Ariadne moves to exit, Cobb stops her. + + COBB + There's something you have to understand about me. About inception. You see, an idea is like a virus... + +Cobb leads her out of the lift... + +INT. PENTHOUSE (LIMBO) - CONTINUOUS + +Cobb and Ariadne step off the lift and into the incongruous interior of a craftsman house. They cautiously move down the corridor towards the back of the house... + + COBB + Resilient... + (turns to Ariadne) + Highly contagious, and an idea can grow. The smallest seed of an idea can grow to define or destroy your world... + +Cobb is staring into the kitchen. Mal is sitting at the table, back to them, staring out at the porch- the TOWERS of Limbo stretching off behind it. + + MAL + The smallest idea, such as... "Your world is not real." + +Cobb hands Ariadne his gun and moves towards Mal. + + MAL + A simple little thought that changes everything... + +Ariadne watches as Cobb sits down beside Mal. And we- + +CUT TO: + +INT. ELEVATOR SHAFT - NIGHT + +Arthur FLIES back down the shaft to the top of the elevator, SQUEEZES past the car to the bottom and starts to set the MAIN CHARGES ACROSS THE BOTTOM OF THE CAR, and we- + +CUT TO: + +INT. PENTHOUSE (LIMBO) - DAY + +Cobb touches Mal's arm- she TURNS, angry. It is only now that we see that she holds a CARVING KNIFE. Mal looks at Ariadne. + + MAL + So certain of your world. Of what's real. Do you think he is- + (points at Cobb) + Or do you think he's as lost as I was? + + COBB + I know what's real. + + MAL + What are the distinguishing characteristics of a dream? Mutable laws of physics? Tell that to the quantum physicists. Reappearance of the dead? What about heaven and hell? Persecution of the dreamer, the creator, the messiah? They crucified Christ, didn't they? + + COBB + I know what's real. + + MAL + No creeping doubts? Not feeling persecuted, Dom? Chased around the globe by anonymous corporations and police forces? The way the projections persecute the dreamer? + +Mal puts her hand on his face. Pitying. + + MAL + Admit it, Dom. You don't believe in one reality anymore. So choose. Choose your reality like I did. Choose to be here. Choose me. + + COBB + (rising anger) + I have chosen, Mal. Our children. I have to get back to them. Because you left them. You left us. + + MAL + You're wrong, Dom. You're confused... our children are here- + +A child's SHOUT draws Cobb- James CROUCHES on the porch, back to us. Philippa joins him, also turned away. Cobb watches, moved. Mal leans in close. + + MAL + (whispers) + And you'd like to see their faces again, wouldn't you, Dom? + + COBB + Our real children are waiting for me up above. + +And we- + +CUT TO: + +INT. ELEVATOR - NIGHT + +Arthur scrambles to arrange the sleepers on the floor of the car- as his hand comes away from Saito, he sees BLOOD on it. He looks at Saito's belly- the blood is coming through his shirt. Arthur sticks headphones on sleeping Eames, and we- + +CUT TO: + +INT. HOSPITAL FORTRESS - DAY + +Eames throws a GRENADE, blowing up the security forces trying to ascend the terraces. He DUCKS to the ground to avoid HEAVY FIRE- starts unpacking the charges and setting them along the base of the terraces- + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS + +Saito looks up as he hears a Security Guard climbing through the duct... he raises his gun, TREMBLING with weakness...And we- + +CUT TO: + +INT. KITCHEN, PENTHOUSE (LIMBO) - DAY + +Mal laughs at Cobb. + + MAL + (laughs) + Up above? Listen to yourself. You judged me for believing the very same thing. + +Mal points at the children- + + MAL + These are our children. Watch. + (turns to the kids) + Hey, James! Philippa?! + +The children START TO TURN to us- BUT COBB CLOSES HIS EYES. + + COBB + They're not real, Mal. Our real children are waiting for us- + +The children run off. Cobb opens his eyes. + + MAL + You keep telling yourself that but you don't believe it- + + COBB + I know it- + + MAL + And what if you're wrong? What if I'm what's real? + +Cobb is silent. + + MAL + You keep telling yourself what you know... but what do you believe? What do you feel? + +Cobb looks at Mal. Struggling. + + COBB + Guilt. I feel guilt. And however confused I might get. However lost I might seem... it's always there. Telling me something. Reminding me of the truth. + + MAL + What truth? + + COBB + That you were wrong to doubt our world. That the idea that drove you to question your reality was a lie... + + MAL + How could you know it was a lie? + + COBB + Because it was my lie. + + MAL + (realizing) + Because you planted the idea in my mind. + + COBB + Because I performed inception on my own wife, then reaped the bitter rewards... + + ARIADNE + Why? + + COBB + We'd become lost in here. Living in a world of infinite possibilities. A world where we were gods. I realized we needed to escape, but she'd locked away her knowledge of the unreality of this world... + +INSERT CUT: Mal opens the doll's house. Takes the spinning top, lies it down in the safe. LOCKS IT AWAY. + + COBB + I couldn't make Mal understand that we needed to break free. To die. So I started to search our world... + +Cobb turns to Mal, but keeps talking to Ariadne...INSERT CUT: Cobb WANDERS the streets of Limbo... + + COBB + Searching for the right place in her mind... + +INSERT CUT: Cobb stops outside the VICTORIAN HOUSE, MAL'S CHILDHOOD HOME, looking up at it. He heads inside... + + COBB + And when I found that place, that secret place where she had shut away her knowledge years before, I broke it open... + +INSERT CUT: Cobb looks around Mal's childhood bedroom. Comes to the doll's house... + + COBB + I broke into the deepest recess of her mind, to give her the simplest little idea. + +INSERT CUT: Cobb throws open the safe doors. Sitting on the shelf of the safe is a spinning top. On its side. + + COBB + A truth that she had once known, but had chosen to forget... + +INSERT CUT: Cobb picks up the totem. He SPINS it in the safe. IT SPINS AND SPINS WITHOUT END. Cobb CLOSES THE DOOR of the safe... + + COBB + That her world was not real. + +INSERT CUT: COBB AND MAL ARRIVE AT TRAIN TRACKS CUTTING THROUGH WASTELAND. + + COBB (V.O.) + That death was a necessary escape. + +They lie on the tracks looking into each other's eyes. Mal is crying. Cobb takes her hand, reassuring. He starts to speak- + + COBB + You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you can't know for sure. Yet it doesn't matter... + +Mal looks at him across the railroad tracks. Replies- + + MAL + Because you'll be together. + +The train comes, OBLITERATING the lovers. + +Back in the present- Cobb looks into Mal's eyes. She is crying. + + COBB + I never thought that the idea I'd planted would grow in her mind like a cancer. That even after we woke... + +INSERT CUT: Cobb looks around the HOTEL SUITE, confused. He moves to the CURTAINS... Mal is on the ledge opposite. + + COBB + You'd continue to believe that your world was not real... + +Crying, Mal nods- + + MAL + That death was the only escape? + +INSERT CUT: Mal PLUNGES to her death. + + MAL + You killed me. + +Cobb looks at Mal. Whispers- + + COBB + I was trying to save you-I'm sorry. + +Mal comes in close to Cobb. Looks him over. + + MAL + You infected my mind. You betrayed me. But you can make amends. You can still keep your promise. We can still be together... right here. In our world. The world we built together. + +CUT TO: + +INT. ELEVATOR - NIGHT + +Arthur hits "Play" on his music player- Edith Piaf starts to ring out, Arthur checks his detonator and we- + +CUT TO: + +INT. ANTECHAMBER - DAY + +Eames races back in- in the relative quiet he notices MASSIVE LOW-E MUSICAL TONES. He drops his gun and goes to Fischer'sside... + +INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS + +Saito musters all his remaining strength as the guard emerges-Saito FIRES, dropping the guard, then COLLAPSES, the gun clattering to the duct floor... Saito is dead. + +INT. ANTECHAMBER - CONTINUOUS + +Eames powers up the defibrillator, puts the paddles on Fischer's chest, then Pow!- he shocks him, and we- + +CUT TO: + +INT. PENTHOUSE (LIMBO)-DAY + +LIGHTNING crackles across the sky- Ariadne sees it. + + ARIADNE + We need Fischer. + + MAL + You can't have him. + +Cobb stares at Mal. Mesmerized. + + COBB + If I stay, can she take him back? + + ARIADNE + Cobb, what are you saying? + + MAL + Fischer's on the porch. + + ARIADNE + Cobb, you can't do this. + + COBB + Go check he's alive, Ariadne. + +Ariadne moves onto the porch, high above the metropolis, and we- + +CUT TO: + +INT. ELEVATOR - NIGHT + +Arthur nods his head in time with the music, counting down, holding the detonator. He starts bracing himself, and we- + +CUT TO: + +INT. ANTECHAMBER - DAY + +Eames recharges the defibrillator. SHOCKS Fischer again, and we- + +CUT TO: + +EXT. PORCH, PENTHOUSE (LIMBO) - DAY + +Ariadne looks up as a LARGE BOLT OF LIGHTNING RIPS across the sky... she looks down to see Fischer, BOUND AND BLOODY, lying below the rail. + + ARIADNE + He's here. And it's time. But you have to come with us. + +Another massive lightning strike flickers across the sky- + + ARIADNE + Cobb, I'm not going to let you lose yourself in here! You have to get back to your children! + + COBB + Send Fischer, I have to stay- + + ARIADNE + You can't stay here to be with her- + +Cobb turns from Mal. Looks at Ariadne. + + COBB + I'm not. Saito is dead by now. That means he's here. I have to stay here and find him. + +Ariadne removes Fischer's gag- pulls him up, onto the rail. + +Cobb looks back at Mal. + + COBB + I can't stay here to be with her because she's not real. + +Mal looks at Cobb, furious. + + MAL + Not real? I'm the only thing you do believe in anymore. Here-doesn't this feel real, Dom? + +She STABS him in the chest- Cobb WHEEZES- GASPING, looking at Mal- + + COBB + I wish you were. But I couldn't make you real. I'm not capable of imagining you in all your complexity and... perfection. As you really were. You're the best I can do. And you're not real. + +Mal pulls the knife and moves to STRIKE again- + + ARIADNE + No! + +A SHOT rings out, Mal GRABS her shoulder- Cobb turns to Ariadne, who is pointing Cobb's gun. + + COBB + What're you doing? + + ARIADNE + Improvising. + +She KICKS Fischer off the roof- AIMS again at Mal- Fischer DROPS as the sky LIGHTS UP WITH ELECTRICITY- Fischer SCREAMS, then GASPS, no longer falling, and we are- + +INT. ANTECHAMBER - DAY + +Eames pulls the defibrillator from Fischer's chest as he COUGHS AWAKE. + + EAMES + Get in there-quick! + +Fischer looks up at the double doors. STAGGERS to his feet. + +Fischer pushes open the doors to the STRONGROOM. + +INT. STRONGROOM - CONTINUOUS + +Fischer walks into the silent white room. At one end of the room is a bed. A figure lies in the bed. His FATHER. Breathing with tremendous difficulty. Dying. And we- + +CUT TO: + +EXT. PENTHOUSE (LIMBO) - DAY + +Ariadne takes aim at Mal- + + COBB + No! + +Cobb holds Ariadne's gaze. She lowers the gun. And we- + +CUT TO: + +Eames GRABS the detonator- then moves to the door of the strongroom... + +CUT TO: + +INT. ELEVATOR, HOTEL - NIGHT + +Arthur HITS THE DETONATOR- + +INT. ELEVATOR SHAFT - CONTINUOUS + +The CHARGES on the bottom of the elevator EXPLODE, and we move into EXTREME SLOW MOTION as the flames BALLOON- + +CUT TO: + +INT. STRONGROOM - CONTINUOUS + +A RUMBLE BUILDS as Fischer approaches the bed, overcome with emotion. His Father sees him. Starts trying to speak. Fischer leans in... + + FATHER + (hoarse whisper) + I... was ... dis ... dis ... + + FISCHER + I know, Dad. You were disappointed that I couldn't be you. + +The dying man SHAKES HIS HEAD with surprising energy. + + FATHER + (whisper) + I was disappointed... that you tried. + +Fischer hears this. And we- + +CUT TO: + +INT. ELEVATOR SHAFT - NIGHT + +The elevator car is ROCKETED along its track by the explosion- + +INT. ELEVATOR - CONTINUOUS + +Arthur is SMASHED against the floor of the car next to the sleepers who SHUDDER with the force of ACCELERATION- and we- + +CUT TO: + +INT. ANTECHAMBER - DAY + +Eames WATCHES Fischer- + + EAMES + (to himself) + Come on, come on... + +INT. STRONGROOM - DAY + +The Father collapses back onto the pillow. Fischer starts to weep. His Father reaches out a trembling hand but when Fischer tries to hold IT, he SHAKES his son's hand away... + +He is reaching for the SAFE next to his bed. His fingers fumble at the keypad, he can't open it. His son pushes 5,2,8,4,9,1 into the keypad. Opens it. Inside the safe is the WILL. And beside it is a HOMEMADE PINWHEEL, clearly made by a child. By Fischer. He takes it out, MARVELING at it. He turns to his father, but his father is dead. + +Eames, watching from the door, HITS THE DETONATOR- + +EXT. HOSPITAL COMPLEX - CONTINUOUS + +A line of EXPLOSIONS RIPS ALONG THE LOWER WALL... the ENTIRE BUILDING STARTS TO SLIDE DOWN THE MOUNTAIN- + +EXT. PENTHOUSE (LIMBO) - DAY + +A FIERCE WIND starts HOWLING through the house as the sky outside DARKENS. Cobb shields Mal against the blast- looks up at Ariadne, who HOLDS the railing, FIGHTING the wind- + + COBB + That's the kick-you have to go! + + ARIADNE + You're coming! + + COBB + No, I'm not. I'm staying here to find Saito. + (turns to Mal) + And to say goodbye. + +Ariadne loosens her grip on the railing... + + ARIADNE + Don't lose yourself. Find Saito. And bring him back. + + COBB + I will. + +Ariadne lets the wind pull her off the edge- FALLING- and we- + +INT. ANTECHAMBER - CONTINUOUS + +Ariadne DROPS as the FLOOR COLLAPSES- her eyes SNAP OPEN- + +EXT. PENTHOUSE (LIMBO) - DAY + +Cobb holds Mal in his arms. The wind DIES... + + MAL + We'd be together forever. You promised me. + + COBB + I know. But we can't. And I'm sorry. + + MAL + You remember when you asked me to marry you? You said you dreamt that we'd grow old together. + + COBB + And we did... + +Mal looks at Cobb... thinking. Remembering. INSERT CUT: TWO ELDERLY PEOPLE (MAL AND COBB) WALK THROUGH LIMBO... ACROSS A WASTELAND... TWO ELDERLY HANDS CLUTCH EACH OTHER AS THEY LIE DOWN ON THE RAILROAD TRACK... + + COBB + I miss you more than I can bear... but we had our time together. And now I have to let go... + +She nods, weakly. Cobb holds Mal as her eyes close...DYING... and we- + +INT. STRONGROOM - CONTINUOUS + +Fischer and his Father's body DROP AWAY- + +INT. ELEVATOR - NIGHT + +Ariadne DROPS inside the ROCKETING ELEVATOR, and as it SMASHES INTO THE TOP OF THE SHAFT Ariadne SMASHES into- + +INT./EXT. VAN INTO RIVER - DAY + +THE WATER, THE VAN CRUNCHING WITH THE IMPACT- WATER CRASHING THROUGH THE BROKEN WINDOWS FLOODING THE INTERIOR... + +Fischer's EYES OPEN, PANICKING- he UNBUCKLES HIMSELF, pushes out of the broken window- STOPS, goes back to UNBUCKLE Browning and DRAG him out. + +EXT. RIVER - CONTINUOUS + +Fischer breaks the surface with Browning, who COUGHS and GASPS. He starts PULLING for the near bank, struggling through the rain-impacted water- + +INT. VAN, UNDERWATER - CONTINUOUS + +Ariadne, Arthur and Yusuf wait calmly underwater. They are sharing TWO REGULATORS pulled from beneath the front seat. Arthur turns to Saito. There is blood in the water around Saito's belly- his eyes are LIFELESS- Arthur feels for a pulse... turns to Cobb, whose eyes are lifeless... Ariadne GRABS Arthur's elbow, pulling him away... + +EXT. RIVERBANK - MOMENTS LATER + +Fischer turns Browning/Eames over. They lie there, exhausted. + + BROWNING + I'm sorry, Robert. + +Fischer stares at the rain on the water. + + FISCHER + The will means that Dad wanted me to be my own man, not live for him. + (turns to Browning) + And I'm going to, Uncle Peter. + +Browning nods. Wipes the rain from his face. In the puddle beside them, the reflection is not Browning, but Eames. + +EXT. UNDERNEATH BRIDGE IN THE RAIN - MOMENTS LATER + +Arthur sits on the riverbank, breathing heavily. + + ARTHUR + What happened? + + ARIADNE + Cobb stayed. + + ARTHUR + With Mal? + + ARIADNE + No. To find Saito. + +Arthur looks out at the water below the bridge. + + ARTHUR + He'll be lost... + + ARIADNE + No. He'll be alright. + +And we- + +CUT TO: + +EXT. DAWN. CRASHING SURF. + +The waves TOSS a BEARDED MAN onto wet sand. As the Japanese Security Guard turns him onto his back, we realize that this is Cobb- OLDER. WEARY. TRAVELLED... + +INT. DINING ROOM, CASTLE - DAY + +Cobb WOLFS his food. The Elderly Japanese Man (Saito, 90 years old) watches him. + + SAITO + So... have you come to kill me? + +Cobb does not look up. + + SAITO + I've been waiting for someone to come for me... + + COBB + Someone from your half-remembered dream...? + +Saito peers at Cobb. + + SAITO + Cobb? Not possible-he and I were young men together. And I am an old man... + + COBB + Filled with regret? + +Saito REMEMBERS, nods... + + SAITO + Waiting to die alone, yes. + +Cobb is STARING at something on the table. + + COBB + I came back for you... I came to remind you of what you once knew... + +Cobb gestures at the table. Saito follows his gaze down to the polished surface of the table... + + COBB + That this world is not real. + +The top IS STILL SPINNING PERFECTLY, AS IF IT WILL NEVER TOPPLE. Saito looks at the top. Then back to Cobb. + + SAITO + You came to convince me to honor our arrangement? + + COBB + Yes. And to take a leap of faith. + +As Saito-san listens to Cobb, he looks at the GUN on the table between them... + + COBB + Come back and we'll be young men together again. + +The elderly Saito looks at Cobb. Nods. And we- + +CUT TO: + +INT. FIRST CLASS CABIN, 747 - DAY + +Ariadne watches Cobb. His eyes are closed. + + FLIGHT ATTENDANT (O.S.) + Hot towel, sir? + +His EYES FLICKER OPEN. He takes the towel with a nod. Ariadne smiles. Relieved. + + FLIGHT ATTENDANT + We'll be landing in Los Angeles in about twenty minutes. Do you need immigration forms? + +Cobb nods. Takes a landing card. Looks around the cabin. + +Saito is WATCHING him. Serious. Haunted. Holding Cobb's gaze, SAITO PICKS UP THE PHONE AND DIALS. Cobb nods thanks... + +INT. ARRIVALS, LAX - LATER + +Cobb steps forwards to the IMMIGRATION OFFICIAL. Hands him his passport. Nervous. The Official takes a beat, looks Cobb up and down, then WHUMP!- the passport is stamped. As Cobb takes it back, he spots Ariadne at the next counter. She nods at him. He nods back. Then moves off... + +As Cobb passes through baggage claim, he exchanges subtle greetings with Eames and Yusuf. + +Arthur smiles broadly at Cobb. Cobb brushes past Fischer, who glances back at him as if thinking maybe he should know him, then moves on... + +As Cobb emerges into the crowded arrivals hall, he spots Professor Miles, waving at him... + +INT. KITCHEN, COBB AND MAL'S HOUSE - DAY + +Cobb enters with Miles. Drops his bags. Moves to the table, looking out at the overgrown garden. He reaches into his pocket, takes out his pewter spinning top, lowers it to the table and SPINS IT- a CHILD'S SHOUT makes him look up-Through the window, James and Philippa have run into view, playing, THEIR FACES TURNED AWAY... Cobb STARES at the back of his children's heads... Miles moves to the window and KNOCKS on the glass-James and Philippa TURN- see their Dad. He steps to the window, watching their BRIGHT FACES SHINING as they run towards him...Behind him, on the table, the spinning top is STILL SPINNING. And we- + +>FADE OUT. + +CREDITS. END. diff --git a/fountain_scripts/Inception.webp b/fountain_scripts/Inception.webp new file mode 100644 index 0000000000000000000000000000000000000000..54e9b508158f90684f1768b03657b5da0f1cf3b2 --- /dev/null +++ b/fountain_scripts/Inception.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:6c320cdedf29fb3872db7c6b9821ee7c32b40d62ace9dfb6414044de929be85f +size 26320 diff --git a/fountain_scripts/Independence Day.webp b/fountain_scripts/Independence Day.webp new file mode 100644 index 0000000000000000000000000000000000000000..20ecb556c0d8b86f70c8fd5fdb47d4cead2d1b87 --- /dev/null +++ b/fountain_scripts/Independence Day.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:2548a78949b95bfda2cb39a05b9f5ada32cd56214642ac353ef0a6aecad47445 +size 26532 diff --git a/fountain_scripts/Indiana Jones IV - The Monkey King.fountain b/fountain_scripts/Indiana Jones IV - The Monkey King.fountain new file mode 100644 index 0000000000000000000000000000000000000000..77190ed4e79f7545aa0848af182af42517417b40 --- /dev/null +++ b/fountain_scripts/Indiana Jones IV - The Monkey King.fountain @@ -0,0 +1,3519 @@ +Title: INDIANA JONES IV a.k.a. Indiana Jones and the Monkey King a.k.a. Indiana Jones and the Garden of Life +Credit: A Screenplay by +Author: Chris Columbus +Draft: FIRST DRAFT +Date: 2/10/95 + +.UNDERWATER - CLOSE-UP: + +A brightly colored FLY, attached to a dangling, fishing line. A large SALMON swims to the fly. The salmon EXAMINES the fly, deciding whether or not to bite. CAMERA PANS UPWARD, tracking the line and moving OUT OF THE WATER. We PASS the crooked boards of a small ROWBOAT and continue to PAN UPWARD. A MAN reclines in the boat. NAPPING. His hands gently grip a WOODEN FISHING POLE. He is handsomely dressed in SPORTSMAN'S trousers and a blazer. His green, tweed fishing hat is lowered OVER HIS FACE. Its brim is filled with various types of TACKLE and BAIT. + +It is DUSK. A warm, SUMMER evening. The boat rests on a calm lake, surrounded by MOORS. Thick night FOG has begun to settle over the entire area. TITLE: SCOTLAND. 1937. Suddenly, the man's fishing line becomes TAUT. The wooden pole BUCKLES. The man STIRS. He SITS UP, moving the hat from his face. CAMERA DOLLIES FORWARD, into a CLOSE UP of the man. It is INDIANA JONES. His face ANXIOUS... HOPEFUL... Indy begins to REEL in his catch. A VOICE interrupts. In the DISTANCE. + + MACGOWAN (O.S.) + Doctor Jones!... Doctor Jones !... + +Indy TURNS to the direction of the sound, still STRUGGLING with the line. INDIANA'S POV Countless ORANGE FLAMES sparkle across the moors. The TORCHES are being carried by several members of a small village. The VILLAGERS are gathered behind a group of SIX POLICEMEN. The policemen are headed by INSPECTOR ANGUS MACGOWAN, a plump, balding fellow, with a veiny, bulbous nose, beady green eyes and a thick, curled red moustache. MacGowan SHOUTS to Indy. + + MACGOWAN + We need your assistance! + + INDIANA + (struggling with the fishing line) + C'mon, Mac... It's the first bite I've had all week... + + MACGOWAN + Please... It's very important!... + +Indiana STRUGGLES a bit longer with the line. But his conscience prevails and Indy DROPS the fishing pole. With a GRUMBLE, he ROWS back to shore. + +.THE MOORS - SEVERAL MINUTES LATER + +NIGHT has fallen. It is very DARK. A RELUCTANT Indiana has joined the Inspector and the other Policemen. They LEAD the townspeople along the foggy moors. Slowly, carefully, the villagers SEARCH... CREEPING... their faces tense, many unable to hide their FEAR. A summer wind sends an eerie HOWL whistling through the night air. Blue MOONLIGHT bathes the moors, creating stark, frightening shadows. An expression of ANGER and ANNOYANCE cover Indiana's face. He GRUMBLES to MacGowan. + + INDIANA + Do you value our friendship, Mac? + + MACGOWAN + More than me' nightly pint. + + INDIANA + Then this better not be some wild goose chase... + + MACGOWAN + T'ain't wild geese we're after, Doctor Jones. You got me' word on that... + (sincere) + ...and a MacGowan's word is truer than an angel's kiss! + +There is a sudden SCREAM! One of the villagers STUMBLES UPON something. Everyone GATHERS around the villager. A CORPSE lies before them. The body has a somewhat rubbery appearance, as if all of its bones had been BROKEN. The man's pale, greenish face is FROZEN in a hideous grimace. Indiana and MacGowan STARE in shock. The villagers WHISPER among themselves. + + YOUNG MAN + Scotty Ferguson. + + OLD WOMAN + He's the eighth. + + MAN + Just like the others...all his bones busted...crushed... + + OLD MAN + Whatever's killin' people around here ain't human. + + WOMAN + (pointing OFFSCREEN) + It's there! Again! + +The woman SHOOTS FORWARD. The police and the townspeople are right BEHIND her. A curious Indiana FOLLOWS. The woman stops in a CLEARING. She is POINTING ahead. The villagers SURROUND her. They STARE ahead, in the direction where the woman points. Nearly a mile in the distance, WE SEE AN ANCIENT SCOTTISH CASTLE. An enormous, 16th CENTURY stone structure. Tall, foreboding towers, lined with menacing GARGOYLES, pierce the night sky. The castle appears DESERTED. Its interior is completely DARK, save for a small, flickering CANDLELIGHT. It burns from the castle's UPSTAIRS WINDOW. Indiana gives a QUESTIONING look to MacGowan. The Inspector points to the castle's upstairs window. + + MACGOWAN + That light...only burns after a murder's been committed. + + INDIANA + (nods, turning toward the castle) + Let's go. + +The villagers STEP BACK. Eyes wide with FEAR. Murmurs of 'Ain't goin' in there', 'Nor I', 'Got me a wife and kids', are heard from the TERRIFIED villagers. Indiana TURNS to MacGowan. Even the usually sturdy Inspector is TREMBLING. But MacGowan turns to his men, FORCING himself to be strong. + + MACGOWAN + Well... Ahmmmm...that is what we're here for...eh, men?...ah... + (points to men) + Hennesey... Galbraith... Bottomley... You're comin' with us. + +As each man is called, the color LEAVES his face. The chosen policemen RELUCTANTLY join the Inspector and Indiana, as they begin walking TOWARD the castle. The remaining villagers and policemen STAY BEHIND. WAITING. The elderly woman KISSES the crucifix that hangs from her neck. She STARES at the departing men. + + ELDERLY WOMAN + May God help them. + +CUT TO: + +.THE CASTLE DOORS. + +Two enormous wooden doors, covered with intricate CARVINGS of demons, serpents and gargoyles, adorn the castle entrance. Indiana and the police STAND before the doors. Indy GLANCES to the upstairs window. The candle still FLICKERS. A long, wooden bar, carved into the shape of a SERPENT, is fastened through the metal door latches. It BLOCKS the castle entrance. Indy and the Policemen GRAB HOLD of the bar. It is extremely HEAVY. Using all of their strength, they manage to slide the bar OUT of the door latches. + +It hits the ground with a THUD, rolling down the castle stairs. Indiana CLUTCHES the rusty, metal door handles. He PULLS. HARD. The doors CREAK. GROAN. And slowly OPEN. A thick CLOUD OF DUST explodes from inside of the castle. It BLOWS OUT all of the torches. Behind the open doors, there is only TOTAL DARKNESS. Indiana ENTERS, holding the flashlight before him. The Policemen exchange FRIGHTENED glances. Inspector MacGowan SHOVES them through the open doors. + +INT. CASTLE + +Indy's flashlight BEAM glazes over the castle's interior. It is a STONE PALACE. FILLED with elaborate, antique furnishings, macabre sculptures and oil paintings. The place is bathed in DUST. Thick COBWEBS fill each corner. It is extremely COLD. The men's breaths are VISIBLE. Hennesey RUBS his folded arms. + + HENNESEY + It's deathly cold in 'ere. How could a human bein' survive?... + +Hearing this, the other Policemen exchange TERRIFIED glances. Indiana shines his flashlight to a TWISTING, STONE STAIRCASE. The staircase spirals upward along a far wall, leading to the SECOND FLOOR. A FAINT GLIMMER of light emanates from the top of the stairs. Indiana moves FORWARD. The Policemen FOLLOW. Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT. MacGowan and the others are directly BEHIND Indy. As he makes his way to the top, Indiana examines the bizarre OIL PAINTINGS that line the wall. There are various PORTRAITS and LANDSCAPES, depicting everything from MILITARY BATTLES to SUNDAY PICNICS. But the unsettling quality of the pictures, is that they each feature the same white haired, ELDERLY MAN. Indy COMMENTS to Mac. + + INDIANA + This guy's got one hell of an ego. + + MACGOWAN + Baron Seamus Seagrove III. Some say 'e walks the moors every midnight... others claim e's been dead for years... + +Indy arrives at the TOP OF THE STAIRS. His hand rests on a SCULPTURE that is part of the bannister. The sculpture is a bust of BARON SEAGROVE. Indiana makes his way to the first doorway, where the LIGHT emanates. The door is WIDE OPEN. A THICK COBWEB covers the entrance. Indy WIPES away the web, and ENTERS the room. The Policemen DRAW their pistols. They FOLLOW. + +INT. ROOM + +A BEDROOM. Deserted, except for a few pieces of elaborate, ancient FURNITURE and a large CANOPY BED. Everything in the room is CAKED with dust and cobwebs...save for the burning CANDLE. It RESTS on the windowsill, in a sparkling, sterling silver holder. It bathes the room in ORANGE LIGHT. Indiana walks TOWARD the candle. Arm outstretched, he prepares to LIFT it. The Policeman WATCH. SHIVERING. SILENT. Tightly gripping their PISTOLS. Indy's fingers are INCHES from the candlestick. SUDDENLY... There is a LOUD WHOOSH! + +The candle GOES OUT! Indiana DROPS his flashlight. There is TOTAL DARKNESS. We hear the distant, MANIACAL LAUGH of a man. It ECHOES through the castle. Indy retrieves the flashlight, clicking it back ON. The candle has DISAPPEARED! The laugh has SUBSIDED. MacGowan LOOKS at his men. A TROUBLED look covers the Inspector's face. MacGowan's eyes DART about the room. Hennesy is GONE! + + MACGOWAN + Hennesey?... Hennesey?... + + GALBRAITH + (panic) + 'E was standin' right 'ere! Just a second ago... Standin' right beside me!... + +THE SOUND OF A BELL! A thick, dull RINGING! In the DISTANCE! It sends a CHILL through the men. Indiana DARTS out of the room. FOLLOWING the sound. The Policemen are right BEHIND HIM. + +INT. CASTLE + +Indy and the Police HURRY down the stairs. The ringing bell CONTINUES. MacGowan is CALLING for Hennesey. Indy DASHES to a door along the far wall. He OPENS it. It leads into a DARK BASEMENT. The sound of the ringing bell echoes from INSIDE. Indiana ENTERS, motioning for the others to FOLLOW. + +INT. BASEMENT + +A decrepit, narrow, wooden STAIRWAY leads into the basement. Indy holds tightly to his FLASHLIGHT. The Policemen are CLUSTERED behind him, taking each step with extreme caution. The boards CREAK and GROAN with their every move. MacGowan LEANS to his side, calling for Hennesey. MacGowan's weight causes the rotted bannister to SNAP IN TWO! He LOSES his footing! FALLING off the side of the stairs! Indiana's arm SHOOTS OUT! GRABBING HOLD of MacGowan's collar. Indy PULLS MacGowan back to SAFETY. MacGowan CATCHES his breath. SHAKING. + + MACGOWAN + Thanks for catchin' me. + + INDIANA + I'd rather be catchin' trout. + +They CONTINUE down the stairs, arriving at the bottom. It is a large, MUSTY STONE BASEMENT. The slimy walls are covered with a GREEN MOSS. There are several DOORS along the basement wall. The sound of the ringing bell is much LOUDER down here. Indiana moves to the FIRST DOOR. He REACHES for the handle. The Policemen DRAW their pistols. Indy OPENS the door. A LARGE OBJECT SHOOTS OUT FROM INSIDE! Rolling TOWARD the men! The policemen FIRE their guns. SEVERAL SHOTS ring out. The object comes to a STOP. A DEEP RED LIQUID pours out onto the floor. Indy DIPS his finger into the liquid. He TASTES. + + INDIANA + Interesting blood type... + +The Policemen STARE. WIDE EYED. Indy SMILES. + + INDIANA + Cabernet sauvignon. 1897. + +Indy's flashlight beam shines ahead, ILLUMINATING the 'mysterious object', a WINE BARREL. And inside the room, is a deserted WINE CELLAR. Suddenly, a LOUD CREAK echoes through the basement. Galbraith CRIES OUT. + + GALBRAITH + (pointing OFF SCREEN) + Look! + +Everyone TURNS. A large STONE DOOR, built into the wall, slowly OPENS. Indy and the police stare in AMAZEMENT. The door STOPS. Wide OPEN. A FLICKERING LIGHT glimmers from inside. Indiana WALKS to the opening. He PEERS into the opening. The Police stay a FEW STEPS behind. + +.BEHIND THE DOOR + +A FAMILY CRYPT. Stone COFFINS, with glass covered tops, line the crypt walls. Macabre, ghastly RELIGIOUS STATUES decorate the room. Countless DEATH MASKS cover the ceiling, all carved with that same frighteningly familiar face... BARON SEAGROVE! CAMERA DOLLIES to the far corner of the crypt. It STOPS on a CLOSE-UP of the CANDLESTICK! The EXACT candle from upstairs! Still BURNING! It rests on one of the coffin's GLASS TOPS. A TREMBLING MacGowan steps back, away from the crypt. He BLURTS an order to his men. + + MACGOWAN + Galbraith... You come with me! We'll search for Hennesey... Out here! Bottomley... You go with Doctor Jones... + (finger shaking, points to inside of crypt) + In there. + +MacGowan and Galbraith nearly fall over each other as they SCRAMBLE away from the crypt. The two DASH OFF into another section of the basement. Indy SHAKES his head. He ENTERS the crypt. A reluctant and very frightened Bottomley FOLLOWS. + +INT. CRYPT + +Indy's flashlight beam dances across the glass COFFIN TOPS. Decayed CORPSES smile from inside, their hands tightly clutching crucifixes. Bottomley is HORRIFIED by the sights. Indiana continues AHEAD. He PASSES the burning candle, moving further into the darkness of the crypt. The shivering Bottomley stays directly BEHIND Indy. With their every step, the bell's ringing grows LOUDER... LOUDER... Indiana and Bottomley arrive in a circular CHAMBER, located at the far end of the crypt. Here, the ringing bell is nearly DEAFENING. + +The sound echoes from ABOVE. We are on the floor of the BELL TOWER. Indiana SHINES his flashlight UPWARD. The beam stops on a RINGING BELL that hangs SEVERAL FEET in the air. Inside of the bell, dangling by his feet, is the DEAD BODY of HENNESEY! He has REPLACED THE BELL CLAPPER! His body SWINGS back and forth. It SLAMS into the sides of the bell. Causing the DULL RINGING. Bottomley SCREAMS. Indiana GRABS Bottomley's arm. + + INDIANA + Let's get outta' here. + +Indy and Bottomley TURN to the crypt door. It begins to CLOSE! The two men DASH FORWARD. The door CONTINUES to close. Indy and Bottomley are only INCHES away...when the door SLAMS SHUT! They PUSH and KICK at the door. NO GOOD. It WON'T BUDGE. A PANICKED Bottomley calls for help. + + BOTTOMLEY + Inspector MacGowan! Galbraith! Open the door! + +Using his flashlight, Indy SCANS the door, looking for a CRACK, another way OUT. Indy NUDGES Bottomley. + + INDIANA + (motioning to candle) + I need more light. + +Bottomley HURRIES to the candle. He REACHES OUT. There is a LOUD WHOOSH! The candle flame GOES OUT! Followed by TOTAL DARKNESS! Indy TURNS from the door. + + INDIANA + Bottomley?... + +NO answer. Indy SHINES his flashlight toward the area. The candle is GONE. There is NO SIGN of Bottomley. Indiana takes a STEP FORWARD. + + INDIANA + Bottomley?... + +AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It PASSES one of the coffins...then SHOOTS BACK! Indy is met with a SHOCKING SIGHT! BOTTOMLEY LIES INSIDE THE COFFIN! DEAD! His face twisted in a GHOULISH SMILE. All of his bones BROKEN. His hands are wrapped around a CRUCIFIX. Indy STARES in horror. There is a SOUND. FOOTSTEPS. There is SOMEONE ELSE in here. Indy's flashlight beam DARTS around the crypt. There is NO SIGN of anyone. + + INDIANA + Who is it?... Who's there?... + +The same crazed LAUGH of a man echoes through the crypt. A CHILLED Indy TURNS BACK to the door. He is startled to find the crypt door COVERED WITH A THICK SHEET OF ICE! Indy REACHES OUT. He TOUCHES the sparkling, green ice. He SNAPS back his hand. His fingers are BURNT. + +INT. BASEMENT + +MacGowan and Galbraith are OUTSIDE of the crypt door. They PULL at the door's metal handles. Trying to OPEN IT. But the door WON'T MOVE. MacGowan CALLS through the door. + + MACGOWAN + Doctor Jones! Try to push! + +INT. CRYPT + +Indy ANSWERS, taking a STEP BACK. + + INDIANA + Can't! There's some kinda' hot ice coverin' the... + +Indiana suddenly FALLS! The floor has DISAPPEARED FROM BENEATH HIM! Indy manages to GRAB HOLD of a stone coffin. His fingers tightly GRIP the coffin's edge. Indiana LOOKS DOWN. Beneath him, is a SEVERAL HUNDRED FOOT DROP INTO TOTAL DARKNESS! Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING HIS GRIP. Seconds before he plummets into the abyss, Indiana REACHES inside of the coffin. He clutches onto a CORPSE'S ARM! Using the arm, Indy SWINGS DOWNWARD. + +INT. ABYSS + +At the precise moment, Indiana RELEASES the dead arm. He LANDS on a ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy STANDS on the ledge. SAFE. He SMILES. RELIEVED. Suddenly, the ledge SNAPS! Indiana FALLS! His body DROPS hundreds of feet into the blackness. A MOMENT passes. Then... WE HEAR A SPLASH! + +.BOTTOM OF THE HOLE! + +A POOL OF WATER! Surrounded by rocky, cavernous WALLS. Indiana's hat FLOATS on the water's surface. Indy POPS OUT of the water, bobbing up beside the hat. Indy REACHES for the hat. Suddenly, a FISH flaps out of the water. The fish GOBBLES UP one of the hat's live baits and disappears back underwater. Indy SMIRKS. + + INDIANA + NOW they bite! + +Indy attempts to PULL himself out of the water. There is a LOUD SOUND. Grinding METAL. Rattling CHAINS. Indy's eyes DART to his side. TWO HORIZONTAL METAL GATES EJECT FROM THE CAVERN WALLS! They SHOOT across the water! Like LIGHTNING! They're headed TOWARD each other... and Indy's HEAD! Indy DIVES underwater. THE GATES SNAP SHUT! Less than an INCH above the water's surface! Indy ATTEMPTS to resurface. The closed gate STOPS HIM. He CLUTCHES the grating, trying to MOVE the gate. It's TOO STRONG! Indy STRUGGLES for air. NO GOOD. There isn't enough SPACE. He's going to DROWN! + +.UNDERWATER + +In desperation, Indy SWIMS downward. Looking for an ALTERNATE ESCAPE. But there is NO BOTTOM in sight. Indy's eyes BULGE. His face loses COLOR. Only a few precious SECONDS OF LIFE remain...when suddenly, he SPOTS SOMETHING. A SMALL TUNNEL. Built into the CAVERN WALL. Indiana hurriedly SWIMS to the tunnel. He BOLTS inside. + +.A WATER FOUNTAIN. + +A large, THREE TIERED stone structure. Instead of the familiar carvings of angels and beautiful maidens, this fountain is surrounded with water spewing DEMONS, GARGOYLES and hellish BEASTS. CAMERA DOLLIES TO A LARGE METAL DRAIN, located inside of the fountain's base. The drain cover begins to TURN. Suddenly FLIPPING OPEN! Indiana CRAWLS out of the opening. He GULPS at the air. COLOR returns to his face. LIFE returns to his body. Indy RISES to his feet. He finds himself STANDING in the fountain. INDY'S POV He is inside of a BANQUET ROOM. + +The sprawling room is beautifully DECORATED in Victorian dignity. The room is IMMACULATE. Not one SPECK of dust. Two Medieval SUITS OF ARMOR adorn one wall. A gargantuan crystal CHANDELIER hangs above a long, mahogany BANQUET TABLE. At the far end of the table, sits a shriveled, white haired ELDERLY MAN. It is BARON SEAMUS SEAGROVE III, the fellow whose likeness appeared in every piece of artwork. Baron Seagrove is CALMLY eating his dinner. A bloated ROASTED PIG rests on a silver platter before him. + +The same candle we saw burning in the upstairs room and the family crypt, now RESTS on the table. Directly BESIDE the Baron. Two powerful, muscular MASTIFFS are tied to Baron Seagrove's chair. Teeth BARED. Eyes ABLAZE. The hounds FIGHT for a scrap of meat. Indiana stares in BEWILDERMENT at the new surroundings. He STEPS OUT of the fountain. Baron Seagrove seems UNAWARE of Indy's presence. Indiana WALKS TOWARD the Baron. + + INDIANA + Excuse me, sir...? Hello...? + +Baron Seagrove DOES NOT look up from his plate. Indy moves CLOSER. He speaks LOUDER. + + INDIANA + Can you hear me?... + +CLOSE-UP: BENEATH THE TABLE Baron Seagrove's hand nonchalantly UNTIES the Mastiff's bindings. INDIANA still WALKS toward the table. The Baron continues to IGNORE him. Indy is ANNOYED. + + INDIANA + Listen, pal... There are two dead Policemen upstairs and... + +The Mastiffs LEAP forward. COMING at Indiana. He tries to GET AWAY. TOO SLOW. The hounds are UPON HIM. TEARING. CLAWING. BITING. They DRAG Indy to the floor. Baron Seagrove continues to ENJOY his dinner, seemingly OBLIVIOUS to the scene before him. Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a display of stuffed animal heads, is a HUNTER'S TRUMPET. Indy STRUGGLES to his knees. Trying to REACH for the horn. But the dogs are still BITING. CLAWING. WEAKENING Indiana. + +Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP at his arm. But Indy manages to SNATCH the trumpet. He quickly moves the horn to his LIPS. He BLOWS. HARD. A HIGH, PIERCING NOTE fills the air. The dogs respond to the SOUND. They HALT. STOPPING their attack. For a MOMENT. Tattered and bruised, Indiana LEAPS to his feet. He DROPS the horn. He RUNS. The Mastiffs come to their SENSES. They DART after Indy. Mouths FOAMING. Baron Seagrove continues to DINE, still IGNORING the action. + +Indy runs to a VELVET CURTAIN. He GRABS HOLD of a long, thick rope that is attached to the curtain. Indiana TEARS the curtain from the wall. A large STAINED GLASS WINDOW is behind the curtain. The FIRST MASTIFF leaps at Indy. Indiana quickly DRAPES the curtain OVER the hound. Indy ties a large KNOT in the open curtain end. The dog is TRAPPED. Indy TURNS. The SECOND MASTIFF is only a FEW FEET AWAY. BARRELLING toward Indy. Indiana HOPS to the window ledge. He OPENS the window. The Mastiff LEAPS UPWARD! + +Indiana JUMPS OUT OF THE WINDOW! The dog FOLLOWS Indy, also JUMPING OUT OF THE WINDOW! + +EXT. WINDOW + +The Mastiff FALLS. Flying hundreds of feet into the ROCKY WATERS BELOW. The hound's vicious howl FADES. CAMERA PANS from the water and STOPS ON INDIANA JONES! Indy has OUTSMARTED the Mastiff. He HANGS onto the swinging WINDOW FRAME. SAFE. He LEAPS back inside the room. + +INT. BANQUET ROOM + +Baron Seagrove pours himself a glass of WINE. A very ANGRY Indiana walks toward the Baron. + + INDIANA + Chow time's over, mister. You better start talkin'. + +The Baron still IGNORES Indiana. + + INDIANA + There's a lot of strange things happening around here... + +A SUIT OF ARMOR, located a few feet behind Indy, suddenly TWITCHES. Its arm LOWERS. Its head slowly TURNS. Indiana still walks TOWARD the Baron, who is only concerned with spreading butter on his bread. Indy SHOUTS. + + INDIANA + ...and I want some answers! Do you hear me? + (louder) + I want some answers! Now! + +There is a LOUD CREAK OF METAL. A huge, sharp BATTLE AXE SHOOTS INTO FRAME! SWINGING toward Indy's head! Indiana SPINS. The axe is only INCHES from his face. Indy LEAPS BACK. WHOOSH! The axe SLICES through the air. JUST MISSING Indy. The shaken Indiana is SHOCKED to see A GLISTENING, BLACK SUIT OF ARMOR! The black knight is nearly SEVEN FEET TALL! It has COME TO LIFE and is walking TOWARD Indy. The black knight is WILDLY swinging the battle axe. Indiana continues to STEP BACK... BACK... Unbeknownst to Indy, his steps are leading him toward ANOTHER SUIT OF ARMOR! + +Also over seven feet tall, this armor is made of a SILVERY, WHITE METAL! As Indy moves CLOSER, the WHITE KNIGHT OPENS ITS ARMS! When Indy is within reach, the white knight LOCKS its powerful arms around Indy's chest! Indiana TRIES to break free. NO GOOD. The white knight's grip is TOO TIGHT. Indy is TRAPPED! The black knight still COMES TOWARD Indiana. Its frenzied axe SWINGS back and forth. Indy still STRUGGLES with the white knight's bone crunching grip. The black knight is only a FEW FEET from Indy. + +Its deadly axe blade INCHES from Indy's face. Indiana MOVES FAST. He JERKS his body forward. This FLIPS the white knight off its feet! OVER Indy's head. The white knight FLIES INTO the black knight. CRASH! This sends both knights FALLING to the floor. Indiana SHOOTS to his feet. The two knights LEAP to their feet. They CHASE Indy. The black knight armed with his AXE, the white knight armed with a long, sharp SWORD! Baron Seagrove SPOONS another helping of boiled potatoes onto his plate. Indy snatches a SHIELD and SWORD from a nearby wall display. + +Ready to FIGHT. The knights are UPON HIM. Indiana battles BOTH knights. He DEFENDS the bludgeoning battle axe with his shield, and SWORDFIGHTS the other knight! THRASH! CLANG! The sound of HEAVY METAL fills the room! Indy's sword STRIKES the white knight's thick chest. The sword SNAPS IN TWO. In the confusion, Indy's shield is KNOCKED from his hand by the powerful battle axe. Indy is DEFENSELESS. The two metal giants RAISE their weapons. HIGH. AIMING for Indy's head. The two knights SWING! Indy DIVES to the floor! + +The knights CAN'T STOP their weapons in time... CRUNCH! They deliver a HARD BLOW to each other! The woozy knights WOBBLE and SPIN. In a momentary DAZE. Indiana JUMPS to his feet. The BLACK KNIGHT hisses. FURIOUS. He DASHES after Indiana. The WHITE KNIGHT is still REELING from the blow. Seeing the black knight in HOT PURSUIT, Indy searches for a WEAPON. He spots the curtain's long, thick ROPE. LYING on the floor. The black knight is nearly UPON Indy. AXE RAISED! Indiana GRABS the rope. He SPINS. FACING the knight. + +Indy SNAPS HIS WRIST! A LOUD CRACK! The rope SHOOTS FORWARD! Not unlike Indiana's familiar WHIP! The rope WRAPS itself around the black knight's neck. Indy JERKS the whip forward. HARD. This sends the knight FLYING THROUGH THE AIR! The knight crashes into the stone FOUNTAIN! Several of the fountain's sculptures SHATTER into pieces. The dazed, dented black knight ATTEMPTS to stand...but LOSES his footing. The knight FALLS backward. Into the fountain's WIDE DRAIN OPENING! Its HEAVY ARMOR causes the knight to SINK. DISAPPEARING into the hole. + +Into the POOL OF WATER. Indy CATCHES HIS BREATH. The white knight's SWORD SWINGS INTO FRAME! SLICING through Indiana's jacket! Indy JUMPS BACK. The vicious white knight COMES toward him. Indiana TURNS to run. Finding himself at the BANQUET TABLE. Face to face with the ROASTED PIG. A few feet away, Baron Seagrove CONTINUES to dine. The white knight raises his sword ABOVE Indy. WHOOSH! The sword begins to swing DOWN! Indiana DUCKS and DODGES the deadly blows. Instead of carving Indiana, the knight's sword manages to SLICE perfect sections of the roasted pig. + +The satisfied Baron HELPS HIMSELF to a freshly carved slice of pork. Indiana LEAPS onto the table top. Trying to ESCAPE the living suit of armor. But the white knight CLIMBS up onto the table. FOLLOWING Indy. The sword slashing knight PURSUES Indy along the table top. Indy GLANCES upward. To the heavy CHANDELIER. Indy SMILES. A PLAN. He continues to STEP BACKWARD. Leading the knight DIRECTLY BELOW the chandelier. At the precise moment, Indy picks up a STERLING SILVER PLATE from the table top. Indy WHISKS the plate in the air. + +Toward the ROPE that holds the chandelier. The spinning plate SEVERS the rope. The chandelier FLIES DOWNWARD! CRASHING ON TOP of the white knight! The knight lies BENEATH the chandelier. MOTIONLESS. The sword DROPS from its lifeless hand. Onto the TABLE TOP. Indy takes the knight's SWORD. Eyes on FIRE, sword OUTSTRETCHED, Indiana WALKS across the table top. HEADED for Baron Seagrove. The Baron prepares to take ANOTHER BITE of his food. THE SWORD SHOOTS INTO FRAME! The tip of the blade RESTS upon Baron Seagrove's rubbery throat. + +Indiana SNARLS. + + INDIANA + Haven't you had enough? + +Baron Seagrove finally LOOKS at Indiana. The Baron LOWERS his fork. His face twists into an EERIE GRIN. He begins LAUGHING. It's the SAME MANIACAL LAUGH we heard earlier. Indy responds by BLOWING OUT the flame of the mysterious candle. The room's door BURSTS OPEN! INSPECTOR MACGOWAN and GALBRAITH dash inside. They HURRY to Baron Seagrove. Their PISTOLS aimed at him. Galbraith HANDCUFFS the Baron. MacGowan looks at the BRUISED, BLOODIED and TATTERED Indiana Jones. + + MACGOWAN + Now you can get back to your fishing, Doctor Jones. + + INDIANA + No chance, Mac. My plane leaves in the morning. Vacation's over. Gotta' get back to school. + + MACGOWAN + (shakes his head) + 'Tis a shame to go home empty handed... + (smiles, an idea) + Tell ya' what, my friend... I fancy me'self quite the fisherman... Tomorrow, I'll go out and catch you a real beauty, eh?... + + INDIANA + (sarcastic smirk) + Right. Send it to me airmail. + + MACGOWAN + (incredulous) + Doctor Jones! A MacGowan's word is truer than... + + INDIANA + Yeah, yeah...an angel's kiss. I know. + +They EXIT the room. + +EXT. CASTLE + +The villagers SURROUND the castle. Their BRIGHT TORCHES are raised high in the air. Baron Seagrove is LED out of the castle by Indiana and the Police. The crowd begins to WHISPER. ANXIOUS. EXCITED. As the Baron is led to the POLICE VEHICLE, he turns and LOOKS at Indy. The Baron speaks in a TREMBLING, RASPY voice. His eyes are WILD. + + BARON SEAGROVE + No...jail...can...hold...me. + +A CHILL rushes through Indiana. The Baron turns, CONTINUING to the Police wagon. One of the villagers SHOUTS. + + VILLAGER + 'E's done it! Indiana Jones has captured the killer! + +The crowd CHEERS. Indiana gives a HUMBLE NOD and WAVE. MacGowan SHAKES Indy's hand. Indy glances to the POLICE VEHICLE. INDY'S POV Baron Seagrove CLIMBS into the back compartment of the police vehicle. Galbraith CLOSES the vehicle doors. The Baron is still VISIBLE through the vehicle's windows. He LIGHTS a cigarette. It appears that the MATCH FLAME SHINES THROUGH THE BARON'S BODY! It's as if he were a GHOST! Indiana TURNS to the others. Eyes WIDE. SHOCKED. But it is obvious that NO ONE else has SEEN the apparition. MacGowan notices the PALE expression on Indy's face. + + MACGOWAN + What is it, man? You look as if you've seen a screamin' banshee! + +Indy POINTS back to the police vehicle. But it has already DEPARTED. It drives over a far hill, DISAPPEARING INTO THE NIGHT. Indy SIGHS, turning back to MacGowan. + + INDIANA + Ah... It was nothing, Mac. Nothing at all. + +!CAMERA DOLLIES INTO INDIANA'S TROUBLED, UNCERTAIN FACE. THE BARON'S LAUGH FILLS THE SOUND TRACK. + +>SLOW DISSOLVE: + +EXT. MARSHALL UNIVERSITY - A FEW DAYS LATER + +Early AFTERNOON. A RAINY Spring day. Students RUN to the University doors, protecting themselves with textbooks. + +INT. INDIANA JONES' OFFICE + +Rain SPLATTERS the window of this cramped, CLUTTERED room. Crooked stacks of dog eared TEXTBOOKS and PAPERS nearly reach the ceiling. The spindly bookshelves are stuffed with various ARCHEOLOGICAL RELICS and INSTRUMENTS: animal and bird skeletons, fossils, primitive statues, etc. Sitting at a small wooden desk, amidst a mountain of TERM PAPERS, is INDIANA JONES. Indy is WEARING a brown three piece suit and circular, wire rimmed glasses. In one hand, he holds a STUDENT SEAT ASSIGNMENT CARD, as he hurriedly READS through the term papers. He furiously GRADES each paper. To make matters worse; the office is CROWDED WITH STUDENTS, with countless others POURING out into the hallway. All of the students are ANXIOUS to get inside. They are BADGERING, COMPLAINING and MOANING at Indy. + + TEDDY + Doctor Jones... I took your class instead of all the others!... I coulda' had Professor Needles... Professor Eisenschmidt... Professor... + + ANGELA + You promised. You said you'd have 'em graded by yesterday. + + VIRGIL + My paper finished yet? Name's "Virgil Vektor". That's VIRGIL. + (spelling it out) + Capital V... I... R... + + JULIA + My parents paid good money to send me here. You know how much they shelled out for your class? + + CHARLES + He doesn't care about us. He only wants fame and fortune. We're just a buncha' peons to him. + + VIRGIL + VEKTOR. Capital V... E... K... + +Indiana continues to grade the papers, trying to IGNORE the verbal assault. BETSY TUFFET pushes her way to the front. Betsy is Indy's STUDENT ASSISTANT. She is 21 YEARS OLD, with thick, luxurious black hair, bright brown eyes and a small framed, athletic body. Betsy is a TOUGH. BRASH. A BROOKLYN kid. She moves CLOSE to Indy, her hair brushing his cheek. Indiana is very TENSE, continuously working on the term papers. + + BETSY + Hello, Ind -- + (giggle) + Doctor Jones. + + INDIANA + Not now, Betsy. + + BETSY + LOOK at all of those papers! + + INDIANA + Please, I... + + BETSY + Want me to come by later? Help you grade? + + INDIANA + Help me grade. Yeah. Sure. + + BETSY + Goodbye, Ind -- + (giggles) + Doctor Jones! + +She EXITS. Indy SIGHS. Again, the obnoxious student SHOUTS. + + VIRGIL + Didja' get the name? VIRGIL! Capital V... I... R... + +PROFESSOR THAD PRIESTLY enters, pushing Virgil aside. + +Priestly is a young, wisecracking, greasy haired ACQUAINTANCE of Indy's. He SHOVES a photograph BENEATH Indy's nose. + + PRIESTLY + Moby Dick. + + INDIANA + Huh?... + + PRIESTLY + (points to photo) + That's what I named 'im. Captain said it was the biggest fish he ever saw. + +Indiana GLANCES to the photo. It is a picture of Prof. Priestly dressed in fisherman's outfit, standing on a pier, holding a GIANT FISH. Indy STEAMS. Priestly gives him a MANLY SLAP to the back. + + PRIESTLY + What about you, Jonesey? You were over in Scotty-land for two weeks... Didja' catch the big one?... + + INDIANA + Look, Priestly... I'm real busy... + +Indy is suddenly INTERRUPTED by a HARD SLAP to his face. He LOOKS UP. A beautiful, blonde student, REBECCA, stands over his desk. She SCREAMS. FURIOUS. + + REBECCA + Two-timing bastard! + +Indiana RUBS his jaw. STARTLED. Rebecca CONTINUES. + + REBECCA + How could you?!?... My own Mother?!?... In my own bed?!?... + (slaps him again) + I've had it with you! It's over! + +Priestly HIDES his chuckle. Rebecca THROWS a shirt that obviously belongs to Indiana on the desk and STORMS out of the room. Indy shakes his head and CONTINUES working. The students are still HARASSING him. A LOUD VOICE ECHOES through the room. + + POSTMAN (O.S.) + Special Delivery! Dr. Indiana Jones! + +A burly POSTMAN stands in the doorway, holding a thick, enormous BROWN ENVELOPE. Indy MOTIONS to the postman. The Postman tries to MAKE his way through the crowd. Indiana goes back to his grading, but is suddenly INTERRUPTED BY A LOUD TAPPING NOISE. He LOOKS UP. DEAN CLAUDE COVENTRY, a stately, elderly gentleman, RAPS a steel ruler on Indiana's desk. The Dean is UPSET. Very SERIOUS. + + DEAN COVENTRY + Doctor Jones, I've had complaints from several of the students -- + +The Postman INTERRUPTS, dropping the heavy envelope onto Indy's desk. + +The Postman SHOVES a yellow paper in front of Indy. + + POSTMAN + Sign here. + +Indy SIGNS. Dean Coventry continues LECTURING. + + DEAN COVENTRY + They feel that you are ignoring them, that you are distracted... + + INDIANA + (gives Postman the signed paper) + Me?... Distracted?... + + POSTMAN + (staring at Indy's signature, puzzled) + What's this? "B+"? That's how you sign your name? + +Indy GRABS the paper. He's signed a "B+" on the LINE where his name is supposed to appear. Indy CROSSES out the grade and signs his name. Professor Coventry still LECTURES Indiana. + + DEAN COVENTRY + Marshall University is not the place for sloppy behavior... + +At that moment, Indy OPENS the envelope! A LARGE AMOUNT OF WATER POURS OUT! SATURATING the papers on the desk! This is followed by an ENORMOUS DEAD TROUT! It FLOPS onto Indy's desk. The students exchange STARTLED and NAUSEOUS glances. Indiana removes a water logged NOTE from the envelope. It reads, "A MACGOWAN'S WORD IS TRUER THAN AN ANGEL'S KISS". Indiana uses a TISSUE to WIPE some of the water from his desk. Dean Coventry SHAKES A FINGER at Indy. + + DEAN COVENTRY + I have one final warning for you, Doctor Jones -- + +THE PHONE RINGS! INTERRUPTING the Dean! + +Indiana quickly ANSWERS the phone. A FUMING Dean Coventry impatiently waits to finish his threat. Indiana SPEAKS into the receiver. + + INDIANA + Yes... Oh, Hello, Marcus... Look, can you hold on?... + (back to Dean) + You were saying, sir? + + DEAN COVENTRY + Either you begin concentrating on your -- + + INDIANA + (interrupted by phone) + Yes, Marcus... I'm still here... Just hold on! + (back to Dean) + I'm very sorry, sir... + + DEAN COVENTRY + (boiling) + -- concentrating on your teaching duties or -- + + INDIANA + (into phone) + Damn it, Marcus! I'm standing here with Dean... What?.. Just how important?... + (listening, impatient) + It is, huh?... Okay. Five minutes. Yeah. I'll be right over. But this better be important, Marcus! + +Indiana HANGS UP. He gives an EMBARRASSED look to the furious, red faced Dean. + + DEAN COVENTRY + You are on probation, Jones! Ten days! If there is no improvement, you will be dismissed! + +The Dean STORMS OUT of the room. Indiana GATHERS the wet papers. He begins to EXIT the room, EXPLAINING to the students as he makes his way through the crowd. + + INDIANA + I promise...by tomorrow...I'll have all of these graded...and DRIED! + +Indiana continues making APOLOGIES and EXCUSES. The obnoxious student again SHOUTS at him. + + VIRGIL + VIRGIL VEKTOR! Capital V... I... R... + + INDIANA + (hands him paper) + "F"! + +Virgil STARES at his paper, adorned with a large RED "F"! + +Indiana EXITS the room. + +INT. HISTORY MUSEUM - PREHISTORIC ROOM + +The large room is filled with skeletons, fossils and statues dating back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking term papers, hurriedly enters the museum with MARCUS BRODY. Marcus is very ANXIOUS. EXCITED. He carries a 16MM METAL FILM CANNISTER beneath his arm. Indiana is very IMPATIENT. His eyes dart to a full sized skeleton of a TYRANNOSAURUS REX. + + INDIANA + This better be important, Marcus... or the museum will soon be displaying my bones. My teaching career is in danger of extinction. + + MARCUS + (smiles) + You will not be disappointed, Indiana. + +CUT TO: + +!CLOSE-UP: AN ANCIENT PAINTING. + +The watercolor features an upright, wrinkled face SUN WU KUNG, the STONE MONKEY KING. But the monkey is NOT made of stone. He appears to be HALF HUMAN... HALF MONKEY. His face is WISE. His coal black eyes are PENETRATING. He wears a LION SKIN ROBE, and holds a tall, GOLDEN HOOPED STAFF. Sun Wu Kung stands amidst a garden of luscious, ripe PEACH TREES. He is surrounded by a HEAVENLY GLOW, a bright ray of light that emanates from an opening in the CLOUDS. + + MARCUS (O.S.) + ...Look familiar? + +CAMERA PULLS BACK. We are inside of the museum BOARD ROOM. Marcus holds the tattered painting before Indiana, who sits at a desk, still feverishly GRADING the wet term papers. After he finishes each paper, Indy PINS it to a nearby bulletin board for drying. He GLANCES to the painting of Sun Wu Kung. + + INDIANA + "Sun wu Kung, The Stone Monkey King". Big deal. That was ten years ago, Marcus. + (going back to papers, wanting to change subject) + Geez! This Heller kid's got the worst grammar. + + MARCUS + Ten years or fifty years. It will always be in your blood. + + INDIANA + (ignoring Marcus) + Don't believe this... He spells "repeat" with two "E's". + + MARCUS + Think back, Indiana. Remember your desire? Your passion? + + INDIANA + (still ignores Marcus) + Kid gets an "A" on content...a "D" on form. + + MARCUS + (angry, slams his fist on the desk) + Damn it, man! You can't bury those feelings forever! + +Indiana finally LOOKS UP from the papers. He glances at Marcus, then LOOKS at the painting. CAMERA DOLLIES INTO Indiana's face. He becomes very SERIOUS. SOMBER. His eyes are EMPTY. Memories of FAILURE fill his head. + + INDIANA + Two years. Nearly two years of my life...looking for the remains of that Monkey...a piece of his legendary Golden Hooped Rod...or some sign of the Lost City. + (shakes his head) + Nine men perished on the journey. Rest of us nearly died from starvation or one of the many horrible diseases we discovered... + (looks back to papers, in a near whisper) + We still came back empty handed. + + MARCUS + (threading the projector) + One mustn't give up so easily, Indiana. + + INDIANA + Give up?!?... Marcus, we spent thirteen months in China!...another seven in India!... + + MARCUS + But none in Africa. + + INDIANA + (puzzled expression) + There was no proof...archeological or anthropological...to indicate that Sun Wu-Kung ever visited Africa... + + MARCUS + Until now. + +Marcus TURNS OFF the room lights. + + INDIANA + Hey... My papers... + +Marcus STARTS the projector. A BLACK AND WHITE image flickers on the far wall. We see a PYGMY, standing in what appears to be a grassy area. The pygmy's name is TYKI. He is ADORABLE. A little Over FOUR FEET TALL, his body is TAUT, MUSCULAR. His long black hair is SHAGGY, his eyes are WIDE and BRIGHT. Almost CHILDLIKE. His face is CUTE. IMPISH. Covered with a very INQUISITIVE expression. Tyki's energy is BOUNDLESS. He cannot stop MOVING. Standing BESIDE Tyki, is DR. CLARE CLARKE. 32 years old. A tall, strikingly BEAUTIFUL woman. She is COMMUNICATING with Tyki in sign language. + + MARCUS + The woman is Dr. Clare Clarke. The famous zoologist. She works in Africa, studying animals in their natural habitat. + + INDIANA + Very interesting, Marcus. Now if you'll turn the lights back on -- + + MARCUS + (continuing) + Three weeks ago, Dr. Clarke discovered that cute little fellow... "Tyki"...a pygmy of an unusual race...unrelated to any known African tribe... + + INDIANA + (bored) + Marcus. The lights. + + MARCUS + Dr. Clarke believes that Tyki comes from the Lost Civilization of Sun Wu-Kung. + +Indiana PAUSES. He STANDS, walking closer to the flickering image. Suddenly INTERESTED. + + INDIANA + What?... But how did Miss -- + + MARCUS + "Doctor". + + INDIANA + "Doctor" Clarke. How did she arrive at such a preposterous hypothesis? + + MARCUS + The pygmy speaks in a language that has no African origins...but bears a strong resemblance to Chinese. + + INDIANA + Means nothing. The rivers of Africa have been plagued by various Oriental Pirates and Scavengers since the 16th Century. + (turns from screen) + Not much evidence, Marcus. + + MARCUS + There's more. The pygmy was found wearing an ornamental peach stone around his neck...believed to come from Sun Wu-Kung's legendary Garden Of Immortal Peaches. + + INDIANA + (skeptical) + Marcus, there are countless undiscovered African tribes...all with various obscure beliefs and practices... + (smirks) + One tribe may wear peach stones... another may wear banana peels... + +Indiana WALKS back to his papers. Marcus PAUSES. + + MARCUS + There is one final bit of evidence... + + INDIANA + Enlighten me. + + MARCUS + The pygmy is over 200 years old. + +Indiana ADJUSTS his spectacles. He STARES at the black and white image. The cute pygmy appears to be in his MID-TWENTIES. He walks to the CAMERA, STARING into the lens. Tyki examines the camera with CURIOSITY. + + INDIANA + That's impossible. + + MARCUS + Dr. Clarke has done a considerable amount of testing on the pygmy's clothing...his sandals...everything was over 200 years old. + + INDIANA + (skeptical) + He's probably wearing his Great Grandfather's stuff. + +CAMERA PANS BACK to the projected image. Tyki begins to UNSCREW the camera lens. The picture goes OUT OF FOCUS. The film RUNS OUT. Marcus TURNS OFF the projector and flips ON the overhead room lights. Indiana gives Marcus a PUZZLED look. + + INDIANA + What does all of this have to do with me? + + MARCUS + Dr. Clarke wants to mount an expedition to find the Lost City of Sun Wu-Kung. She is quite familiar with your reputation...she'd like you to come along. + + INDIANA + (gathering his papers) + No chance. + + MARCUS + There will be money involved... The museum is willing to fund the expedition... + + INDIANA + Sorry, Marcus. I've burned this bridge. + +Indiana TURNS and begins to WALK out of the room. Marcus CALLS him. + + MARCUS + Indiana... + +Indy TURNS. He WAVES the papers at Marcus. + + INDIANA + Marcus. Please. I've got to finish these... + + MARCUS + You've got to finish something much more important. You crossed the threshold over a decade ago...and it's been tearing at your insides ever since. + (passionate) + My friend, if there is even one iota of truth in Dr. Clarke's findings... then you can lift the veil of mystery that has surrounded this Chinese legend for Centuries. You may uncover the secrets to a Lost Civilization...and possibly, to man's never ending search for immortality. + +Indiana STARES at the painting of Sun Wu Kung. + + MARCUS + Indiana... Can you afford to pass up the single most important adventure of your life? + +Indiana has NO ANSWER for Marcus. Indy PICKS up the painting. A THRILLING expression slowly covers Indiana's face. His eyes GLIMMER. Filled with a long, lost EXCITEMENT. The SOUND TRACK MUSIC SOARS! + +CUT TO: + +CLOSE UP: THE STACK OF TERM PAPERS The papers are slightly CRUMPLED. Still WET. A DROP OF WATER hits the papers. CAMERA PANS UPWARD. BETSY TUFFET, Indy's student assistant, sits at the desk, grading the papers. She is CRYING. Her falling TEARS soak the papers. We are INSIDE of Indiana's apartment. LATER that evening. INDIANA stands in the background. He is hurriedly PACKING his bags. His familiar GUN, HAT and WHIP lie on the bed, beside the suitcase. Indy NOTICES that Betsy is crying. He WALKS to Betsy. Indy puts his arm on Betsy's shoulder, attempting to COMFORT her. Betsy SNAPS at Indy. + + BETSY + You can't do this to me! + + INDIANA + (shaking tears off the papers) + C'mon, Betsy. Relax. You're gettin' 'em all wet again. + + BETSY + You just can't go away...I mean... Africa is so far away, and...well... + (heartfelt) + I love you, Indy. + + INDIANA + Thought we agreed this was s'posed to be casual... + + BETSY + You call what happened last night "casual". + + INDIANA + My dear...a momentary lapse into passion does not a love affair make. + + BETSY + (very upset) + Momentary lapse! So that's all I am to you! + +Betsy SHOOTS to her feet, walking OFF SCREEN. + + INDIANA + Betsy... Wait... + +Indiana SIGHS. His eye CATCHES one of the term papers. He begins to READ, making a few CORRECTIONS. We see Betsy's HAND removes Indiana's WHIP from the bed. Indiana continues to CORRECT the papers. Suddenly, there is a CREAKING NOISE. Indy TURNS. His face goes WHITE. He runs OFF SCREEN. One end of Indiana's WHIP is attached to an OVERHEAD LAMP. CAMERA PANS DOWN the whip. The other end has been formed into a NOOSE around Betsy's neck. She stands on a wooden CHAIR. She KICKS AWAY the chair. Suddenly GAGGING. Indiana GRABS Betsy in midair. He TAKES the noose from her neck and PLACES Betsy on the floor. + + INDIANA + (angry) + Whatsa' matter with you!... Tryin' to ruin my whip!... + + BETSY + If I can't have you... I don't want to live. + +Indiana TOSSES the whip into his suitcase. He pulls up the chair and forces Betsy to be SEATED. He pours her a tall glass of BOURBON. + + INDIANA + Drink this. You'll feel better. + +Indiana WALKS to his suitcase, continuing to pack. His BACK is to Betsy. She raises the GLASS to her lips. She PAUSES, reading a MESSAGE on the Bourbon bottle. It reads: DANGER! CONTENTS FLAMMABLE! Betsy BEAMS. An IDEA. She LIFTS the bottle over her head and begins to DOUSE her body with the liquid. Indiana is BUSY folding his clothing. Suddenly, we hear the FLICK OF A MATCHSTICK! Indy TURNS. He sees the bourbon covered Betsy preparing to LIGHT HER BODY ON FIRE! Indy DASHES forward. He BLOWS OUT the match, moments before it SPARKS Betsy's clothing. Indy SHAKES Betsy by the shoulders. + + INDIANA + C'mon, Betsy... Get a hold of yourself. You're young. There are a lot of other guys... + + BETSY + Not like you. + + INDIANA + (succumbing to his ego) + That's true... + (realizing his mistake) + But that's no reason to stop living! Besides, I'm too old for you. By the time you're seventy five, I'll be... + (calculates, the thought of it makes him grimace) + Yeccchhh! I'll be disgusting. + +Indiana TURNS and finishes his packing. Betsy SIGHS. She notices an enormous, STONE AFRICAN URN. The 150 POUND antique sits atop a section of BOOKSHELVES. Meanwhile, Indiana makes certain that his gun is PACKED. He places the familiar HAT on his head and begins to CLOSE the suitcase. CLOSE UP: THE AFRICAN URN. It is WOBBLING. SHAKING. Moving CLOSER and CLOSER to the edge of the bookshelves. CAMERA PANS TO THE FLOOR. Betsy LIES here. Directly BELOW the trembling urn. Betsy SHAKES the bookshelves, causing the urn to TILT and SHIVER. + +The urn is nearly HALFWAY OFF of the edge. If it falls...the urn will CRUSH Betsy's head. Indiana STRUGGLES with closing his tightly packed suitcase. The urn FALLS! HEADED STRAIGHT for Betsy! Indiana SUDDENLY GRABS the urn. In MIDAIR. Inches before it STRIKES Betsy. Indiana RESTS the urn on the floor. He HELPS Betsy to her feet. Betsy WRAPS her arms tightly around Indiana. + + BETSY + Don't leave me, Indy! + +Indiana PICKS UP his suitcase and tries to WALK to the door. But Betsy's arms are still TIGHTLY WRAPPED around him. Finally, Indy STOPS. His eyes BURN through Betsy. + + INDIANA + (cruel) + Look... You're just a flighty kid. Twenty minutes after I walk out this door, you'll have a date with the college Romeo. Two hours from now, you'll be madly in love with him. By tomorrow, you'll forget I ever existed. + +Hurt, Betsy REMOVES her arms from Indiana. + +He gives her a QUICK KISS to the cheek and hurriedly EXITS. Betsy GLARES at the closed door. A TOUGH, ANGRY expression covers her face. + + BETSY + Never underestimate the determination of a Brooklyn girl, Doctor Jones. Never. + +DISSOLVE TO: + +LONG SHOT - AN OCEAN LINER The SILHOUETTE of the ship sails across the water. A beautiful ORANGE SKY fills the background. INDIANA JONES stands aboard the ship's DECK. It is a typical, 30's LUXURY Ocean liner, filled with vacationing TOURISTS. Indiana STARES into the sunrise. His face is a study in CONCENTRATION and INTENSITY. He anxiously AWAITS his adventure. + +DISSOLVE TO: + +MAP OF THE WORLD A MOVING RED LINE traces Indiana's journey across the ocean, toward AFRICA. The red line comes to a stop at MOZAMBIQUE. + +EXT. CENTRAL MOZAMBIQUE - BEIRA - A HOT, SUNNY AFTERNOON + +Chief PORT on the coast. Gateway to the ZAMBESI RIVER. SUPPLY SHIPS, SAILBOATS and RAFTS line the marina. The docks are crowded with various MERCHANTS and SAILORS, unloading their goods. Small SHOPS and RESTAURANTS clutter the waterfront. Behind them are rows of one story, low square HOMES. Tall, healthy PALM TREES surround the Area. An OCEAN LINER has anchored along the shore. Several PASSENGERS exit from the ship. INDIANA steps onto the ocean liner's exit ramp. He is UNSHAVEN, wearing his traditional LEATHER JACKET and HAT. + +Indy LOOKS AROUND, expecting to MEET someone. INDY'S POV - THE DOCK There is a LOUD CAR HORN. Crowds of pedestrians LEAP out of the way. A rusted, yellow MODEL-T barrels along the rickety dock. The word "TAXI" is crudely painted on the car's trembling doors. The car's tires are WOBBLING. LOOSE. Thick, black SMOKE pours from the cracked EXHAUST PIPE. The ancient car RATTLES and GRINDS. Upon seeing the car, Indiana SMILES. At the foot of the ocean liner's ramp, the car SCREECHES TO A STOP! SCRAGGY BRIER Indiana's friend and guide, JUMPS out of the taxi. + +Scraggy is a rough, unkempt AFRICAN MAN. An elderly fellow, with the ENERGY and VITALITY of a youth. His snow white hair and beard are WILD. SPIKED. He wears TATTERED, DIRTY clothes that are many sizes too large for his SKINNY body. Homemade CROCODILE SANDALS flop on his feet. Scraggy suddenly breaks into a WILD GRIN. He SPOTS Indiana. Scraggy SHOOTS up the exit ramp, running through the crowd of people. Scraggy stops a FEW FEET in front of Indiana. Scraggy WAVES his arms before him, as if he were BLESSING Indiana. + +Following this, Scraggy LEAPS into Indy's arms. Indiana CRADLES Scraggy like a child. Speaking with a Portuguese accent, Scraggy EXCLAIMS... + + SCRAGGY + Indy! At last we are reunited! + (looks to sky) + Oh, Keechingo, God Of Friendship...I thank you for granting my wish! + +Indy RESTS Scraggy back onto the ramp. Scraggy MOVES to assist Indiana with his luggage. Before picking it up, Scraggy RAISES his arms over the baggage. Again, he BLESSES the suitcases. Scraggy then PICKS UP the bags. Indy CHUCKLES. + + INDIANA + I see you haven't changed, Scraggy. + + SCRAGGY + Mahootmek, God Of Goodness, say... "Before body make contact with foreign object...one must cast out bad spirits, or -- " + + INDIANA + " -- or bad spirits will enter your body!" + + SCRAGGY + Yes! You have excellent memory, Indy. + + INDIANA + I should! Last time we saw each other...you made me wear the same clothes for 3 weeks straight. + + SCRAGGY + Never separate body from clothes, or bad spirits will hide in pockets! + + INDIANA + In other words... If people never changed clothes...there would be no evil in the world. + + SCRAGGY + Exactly! + + INDIANA + (chuckles, puts his arm around Scraggy) + I missed all a' your crazy philosophies, Scraggy. + + SCRAGGY + They not so crazy, Indy. + (serious, eyes wide with fear) + These days... There is much evil in the air. I feel it. Everywhere. + +Indy and Scraggy CONTINUE to walk down the ramp, moving OFF SCREEN. CAMERA PANS TO A FEW FEET BEHIND THEM. CAMERA STOPS, as the SCREEN IS FILLED WITH A LARGE, BLAZING RED SWASTIKA! CAMERA PANS UPWARD. We see that this is the SLEEVE OF A GERMAN SOLDIER. CAMERA STOPS on the face of SGT. HELMUT GUTTERBUHG A thin, skeletal NAZI. He resembles the ANGEL OF DEATH. Gutterbuhg's face is NARROW and SUNKEN. His deep set eyes are a frightening LIGHT BLUE. His complexion is PALE. EMOTIONLESS. His hair is BLONDE. STRINGY. His right arm appears RIGID. It rests STIFFLY at his side. Gutterbuhg FOLLOWS Indy and Scraggy through the crowd. The Nazi REMOVES something from his pocket. It is a tiny, MECHANICAL ITEM. It resembles a COCKROACH. We see that it is a mini RADIO TRANSMITTER. Gutterbuhg WHISPERS into it. + + GUTTERBUHG + (German, English subtitles) + Are we making contact? + +The mechanical roach's eyes BLINK RED. Gutterbuhg gives a CHILLING SMILE. Meanwhile, Indiana and Scraggy ARRIVE at the Taxi. Scraggy begins to SECURE Indy's baggage to the roof. Indy OPENS the rear door of the cab. He begins to CLIMB into the back seat. He is met with a SWIFT KICK TO THE STOMACH! He FALLS to the ground. The wind KNOCKED out of him. Scraggy RUNS to the open door, scolding the person INSIDE. + + SCRAGGY + Dr. Clarke! Why you kick Dr. Jones?... + +DR. CLARE CLARKE STEPS OUT of the shadows of the car. We RECOGNIZE her from Marcus' film, but she is even MORE BEAUTIFUL in person. + +She is the SAME AGE as Indy. Her hair is BRIGHT RED. She removes her glasses, revealing sparkling GREEN EYES. She is very PRIM. Very PROPER. But extremely INTELLIGENT and QUICK WITTED. She is dressed in KHAKI SLACKS and SHIRT. She speaks in a slight BRITISH ACCENT. She hurriedly ASSISTS Indiana to his feet. + + CLARE + Dr. Jones! Forgive me. + + INDIANA + No sweat. + + CLARE + Thought I was being attacked by a degenerate sailor. + + INDIANA + No. Just a degenerate archeologist. + + CLARE + Your appearance is deceiving. + + INDIANA + Likewise. + +They exchange a handshake and a SMILE. Immediately ATTRACTED to each other. + + PORTER (O.S.) + Indiana Jones! Calling passenger Indiana Jones! + +Indiana TURNS. A ship PORTER walks through the crowd, pushing a LARGE BARREL on a dolly. Indy WAVES to the Porter. The Porter STOPS in front of him. + + PORTER + You left this aboard ship. + + INDIANA + (puzzled) + There must be some mistake... I didn't -- + +The Porter POINTS to a section of the barrel that reads: DELIVER TO: DR. INDIANA JONES. + + PORTER + That's you, ain't it? + + INDIANA + Well, yeah...but... + +The Porter DROPS the barrel in front of Indiana and hurriedly WALKS back to the ship. SGT. GUTTERBUHG continues to SPY on Indiana. The Nazi HIDES a few feet away. In a DARK alleyway. A puzzled Indiana begins to OPEN the barrel. Scraggy SHOUTS a warning. + + SCRAGGY + Indy! Remember Mahootmek, God Of Goodness! "Before body make contact with foreign object -- " + +Indiana IGNORES Scraggy and begins to PRY OPEN the barrel. + + SCRAGGY + "...you must cast out bad spirits!" + +Indiana still IGNORES Scraggy. + +He STRUGGLES with the barrel top, FLIRTING with Clare. + + INDIANA + May I call you "Clare"? + + CLARE + Please. + + INDIANA + Well, Clare... We've obviously got a lot of notes to compare... Let's get started tonight...over dinner. + + CLARE + I'd like that very much. + + INDIANA + Friend of mine owns a Cafe... He'll get us a nice quiet table. No disturbances. Just the two of us -- + +At that moment, the barrel lid FLIES OFF! + +The inside is FILLED with old, brown BANANA PEELS. Suddenly, BETSY'S HEAD POKES THROUGH the peels! Indiana is SHOCKED. Scraggy SIGHS. + + SCRAGGY + I warn you, Indy! You must always cast out bad spirits! + +A dirty, unkempt Betsy LEAPS OUT OF THE BARREL! She THROWS her arms around Indy. + + BETSY + My precious! + + CLARE + (puzzled, to Indy) + Your daughter? + + INDIANA + My assistant. + + BETSY + His girlfriend. + + CLARE + (revolted) + A child! + + INDIANA + (to Clare) + It's nothing. Really. + (to Betsy) + What the hell are you doing here'? + + BETSY + Proving my love for you. + + CLARE + How terribly sordid. + + INDIANA + (to Clare) + Puppy love. Schoolgirl crush. She'll get over it. + + BETSY + Never. This proves that nothing can come between us. Not an ocean. Not two separate Continents. + + CLARE + Think I'm going to be ill. + + INDIANA + (puzzled, to Betsy) + How...I mean... How could you stay alive? + + BETSY + Hey... I'm from Brooklyn. + + INDIANA + But we've been sailing for three weeks! + + BETSY + Stowed away in the banana barrel. Ate my way to the bottom. + + CLARE + (nauseous) + Charming. + + BETSY + (pointing to Clare) + Hey, Indy... Who's the babe? + + CLARE + Your intellectual and emotional superior. + + BETSY + Yeah...well you're gettin' on my nerves, Miss... Miss... + + CLARE + (extends her hand) + "Doctor" Clare Clarke. + + BETSY + (reluctantly shaking Clare's hand) + Betsy Tuffet... + + CLARE + As in curds and whey? + + BETSY + (getting tough) + Listen, sister... You better stay away from Indy... + + CLARE + My dear, he has no interest in me. I've already celebrated my tenth Birthday. + +Indiana SHOOTS Clare an angry glance. Indy removes a wad of BILLS from his pocket. He GIVES them to Betsy. + + INDIANA + Look, Betsy... Why don't you get back on the boat... This time, as a passenger. + + SCRAGGY + Too late, Indy. + +Scraggy points toward the OCEAN LINER. The boat is SEVERAL FEET from shore. It SAILS back out to sea. Indiana STEAMS. + + INDIANA + When's the next one out? + + SCRAGGY + Two weeks. + +Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy SHOVES Betsy inside. He is FURIOUS. Before Indiana gets into the car, GUTTERBUHG steps out from the alleyway. He TOSSES the tiny mechanical COCKROACH at Indiana. The roach ATTACHES itself to Indy's TROUSER LEG. The tiny transmitter is very LIGHT. Indiana can feel NOTHING. He gets INTO the car. Scraggy BLESSES the Taxi and gets into the driver's seat. Gutterbuhg WATCHES as the battered Model-T DRIVES OFF. The NAZI turns, walking in an opposite direction. The CAMERA FOLLOWS Gutterbuhg, as he enters a SEEDY WATERFRONT HOTEL. + +INT. HOTEL + +Gutterbuhg walks through the DIMLY LIT lobby, filled with dusty, tacky African furnishings. He turns a corner, into a NARROW, decrepit hallway. He STOPS at the last DOORWAY. Room 113. He OPENS the door with a key and ENTERS. + +INT. ROOM + +A SMALL, MUSTY Hotel room. It is furnished with a SINGLE BED, A SOFA, TWO CHAIRS and A FIRE PLACE. Two BIZARRE AFRICAN STATUES adorn the fireplace mantle. Gutterbuhg carefully LOCKS the room door. He walks to the FIREPLACE. He TILTS one of the African statues forward. There is a mechanical, CREAKING SOUND. Suddenly, the SOFA BEGINS TO MOVE. It SLIDES a few feet, revealing an OPENING BENEATH THE FLOOR. A STAIRCASE leads into the opening. Gutterbuhg DESCENDS the stairs. + +INT. OPENING + +Gutterbuhg enters a LARGE, BRIGHTLY LIT ROOM. We are inside of A SECRET NAZI HEADQUARTERS. The room is filled with various COMMUNICATIONS EQUIPMENT and RADIO TRANSMITTERS. SEVERAL NAZI SOLDIERS are seated before the equipment, monitoring various radio signals. An enormous GLASS PANEL covers one wall. THROUGH THE PANEL WE SEE TWO SPEEDBOATS. LONG. SLEEK. HIGH POWERED. MAHOGANY HULLED. Both speedboats are adorned with a SWASTIKA. They FLOAT in water, in an UNDERGROUND, MAN-MADE CHAMBER. Directly BESIDE the speedboats, parked on a STONE INCLINE, are TWO AUTOMOBILES. + +The cars are enormous, beautiful "WOODIES". Equipped with a RUNNING BOARD and WOOD PANELLED SIDES. The cars GLISTEN. BRAND NEW. Gutterbuhg turns to KLAUS, a hulking Nazi who stands in the corner. Pointing to Klaus' FEET, Gutterbuhg SHOUTS an order to Klaus. CAMERA PANS to Klaus' feet. The Nazi's BOOT IS UNTIED. A LONG STRING dangles on the floor. The embarrassed Klaus KNEELS and sloppily RE-TIES his shoe. Gutterbuhg turns to a Nazi who sits at a RADIO RECEIVER. The Nazi wears HEADPHONES, LISTENING for a transmission. THE LONG, FRIGHTENING SHADOW OF A MAN overcomes Gutterbuhg. + +He TURNS. FEAR covers Gutterbuhg's face. The shadow RAISES its arm. HEIL HITLER! Gutterbuhg also RAISES his right arm. But a BIZARRE, MECHANICAL SQUEAK, is caused by the movement of his arm. LIEUTENANT WERNER VON MEPHISTO stands BEFORE Gutterbuhg. Mephisto is a NAZI nightmare. His face is THICK and BULLISH. His bulging eyes are a reddish BROWN, giving him the appearance of a DEMON from hell. He has NO FACIAL HAIR. NO eyebrows. NO eyelashes. Completely BALD. His body is THICK. MUSCULAR. He is over SIX FEET TALL. + +He GLARES down at Gutterbuhg. + + MEPHISTO + (German, English subtitles) + Were you successful? + +Gutterbuhg gives a TIMID NOD. With trembling fingers, he reaches over and TURNS UP THE VOLUME of the radio transmission. The voices of Indiana, Betsy, Clare and Scraggy echo through a TINNY SPEAKER. Mephisto manages a pleased GRUNT. + + MEPHISTO + (German, English subtitles) + Keep a record of everything that is said. + +Gutterbuhg NUDGES the officer before him. The officer hurriedly begins to SCRAWL a manuscript of the radio transmission. Mephisto NODS. + + MEPHISTO + (German, English subtitles) + Ever since our battle for the Lost Ark... The Fuehrer has been very interested in the adventures of Indiana Jones. Very interested. + +CUT TO: + +EXT. ZOOLOGICAL COMPOUND + +A miniature ZOO. The PEACEFUL compound is surrounded with small man made lakes and palm trees. There are countless METAL CAGES, filled with various ANIMALS. The TIGERS, LIONS, GORILLAS and other violent creatures, are kept BEHIND BARS. But the LLAMAS, GIRAFFES, DEER and various tame animals are FREE to roam the compound grounds. Indiana ENTERS with Clare, Betsy and Scraggy. The persistent Betsy is ANNOYING Indy. She attempts to SNUGGLE closer to him. Indiana PUSHES her away. Betsy TRIES to hold his hand. + +Indy SHAKES her loose. Scraggy WATCHES all of this, GIGGLING to himself. We hear SINGING. A high, pitched BEAUTIFUL VOICE. Clare walks to the far end of the compound, toward the SINGING. The others FOLLOW. Betsy walks by BONZO, A LARGE CHIMPANZEE. As Betsy PASSES, the chimp catches a FAMILIAR SMELL. Bonzo begins to FOLLOW Betsy. Clare OPENS the door of a large metal cage. Here, the singing is LOUDER. Clare ENTERS the cage. Indiana FOLLOWS. Scraggy BLESSES the cage, then enters. Betsy MOVES to go inside, but Bonzo's LARGE HAIRY HAND REACHES OUT and GRABS BETSY! PULLING the girl OFF SCREEN! + +INT. CAGE + +Filled with hand made wooden and bamboo FURNITURE. TYKI, the adorable PYGMY from Marcus' film, is INSIDE. Tyki is dressed only in a BELTED, leather loin cloth and SANDALS. He is perched on the floor, working on a large TAPESTRY. The tapestry depicts a colorful picture of CLOUDS. The buildings of a LARGE CITY are REFLECTED on the clouds. Tyki pleasantly SINGS as he does his work. Upon hearing the cage door OPEN, Tyki LOOKS UP. He SEES Clare. A JOYOUS SMILE covers his face. The pygmy RUNS to Clare, giving her a huge HUG and a KISS. Clare INTRODUCES Tyki to the others. + + CLARE + Tyki... This is Doctor Jones... + +Tyki EXTENDS his right hand. He SHAKES Indiana's hand. Indiana is CHARMED by the civilized display of friendship. Indy SMILES at Clare. + + INDIANA + He's a real gentleman. + + CLARE + (shrugs) + Just basic manners. What it takes most men a lifetime to learn... Tyki's accomplished in two weeks. + (introduces Scraggy) + This is our guide, Scraggy Brier... and Miss Bets-- + +Clare pauses, noticing that Betsy is MISSING. + +Clare suddenly breaks into a LAUGH! She points OFF SCREEN. Everyone TURNS. + +EXT. COMPOUND + +Bonzo is being extremely AFFECTIONATE toward Betsy. The chimpanzee PULLS and GRABS at Betsy. It is all VERY SIMILAR to what Betsy has been doing to Indiana. Betsy WRESTLES with Bonzo, CALLING Indy for help. + +INT. CAGE + +Everyone CHUCKLES at Betsy's dilemma. + + CLARE + It appears that Bonzo is attracted to Miss Tuffet's Perfume... Eau De Banana Peel. + +Tyki has gone back to his ARTWORK. A FASCINATED Indiana looks over the pygmy's shoulder. + + INDIANA + Where did you find him?... + + CLARE + About ten miles from here. We were on a photographic expedition...in the thick of the jungle... I heard sounds. Whimpering. Moaning. I took a few steps, and found Tyki. He was lying in a shallow swamp...semi conscious...a high fever...nearly dead from exhaustion. He had obviously been travelling on foot for many days, over countless miles... So I brought him back to the compound...nursed him back to health... + +Indiana STARES at the pygmy. A skeptical look COVERS his face. + + INDIANA + Clare, I hate to quibble with your anthropological abilities... + + CLARE + Quibble. + + INDIANA + ...but if this little fellow is over 200 years old... I mean... What accounts for his youthful appearance?...his vitality?... + +Clare OPENS a door at the rear of the cage. It LEADS into another room, directly behind the CAGE. Clare and Indiana ENTER. Scraggy STAYS behind. He EXCHANGES a friendly smile with Tyki. Meanwhile, in the BACKGROUND, we see BETSY and the CHIMPANZEE. They ROLL BY on the ground. Still WRESTLING. CLOSE UP: PEACH STONE. A FRUIT FLY crawls along the peach pit's surface. + + CLARE (O.S.) + Tyki was wearing this when I found him. + +CAMERA PULLS BACK. We are in a SMALL, STERILE ROOM. The peach stone rests on a TABLE. Indiana and Clare STAND over the stone. Indy PICKS UP the stone, examining it. An annoying FRUIT FLY buzzes around Indy's head. CAMERA PANS DOWN to Indiana's trouser leg. The RADIO TRANSMITTER is still attached to his pants. The tiny bug's eyes BLINK. RED. + +CUT TO: + +SGT. GUTTERBUHG. He stands inside of Nazi Headquarters, huddled over the RADIO. The VOICES of Indiana and Clare echo over the speaker. Gutterbuhg FURIOUSLY transcribes the conversation. + + CLARE (O.S.) + Dr. Jones, you are obviously familiar with the legend of Sun Wu-Kung's Garden of Immortal Peaches?... + + INDIANA (O.S.) + A bite from the fruit of that peach tree would give a person eternal life...make them forever young... + +The vicious Gutterbuhg SMILES. CAMERA PANS to his notebook. Gutterbuhg underlines the words "FOREVER YOUNG". + +CUT BACK TO: + +INDIANA STUDYING the peach pit. The fruit fly continues to BUZZ around Indiana's head. + + INDIANA + There's nothing unusual about this ...nothing to indicate that it's from Sun Wu Kung's garden... + +The fruit fly LANDS on Indiana's neck. Indy SMACKS the fly! KILLING it! A SHOCKED Clare RUNS to Indiana. She GRABS his hand and GENTLY removes what remains of the fruit fly. She GLARES at Indiana. FURIOUS. + + CLARE + This fruit fly had a normal life-span of TWENTY FOUR HOURS. + (frustrated sigh) + As an experiment...the fly was put in this room...alone...with only the peach stone to sustain its existence. The fly stayed alive for THREE WEEKS. + (looks at dead fly) + Until now. + +She FLICKS the fly against the wall. Indy gives an EMBARRASSED SHRUG. + + INDIANA + Sorry. + +Indiana and Clare are suddenly INTERRUPTED by the sound of Scraggy and Tyki's LAUGHTER. This is followed by the two of them having a DISCUSSION! In Tyki's FOREIGN TONGUE! Clare and Indy exchange a SHOCKED GLANCE and DASH out of the room. + +INT. CAGE + +Scraggy and Tyki are having a CONVERSATION. Clare POINTS to Scraggy, giving a PUZZLED LOOK to Indiana. + + CLARE + He understands him? + + INDIANA + (nods) + Scraggy knows hundreds of languages... He's the best guide in Africa. + (turns to Scraggy) + Ask Tyki where he came from. + +Scraggy NODS and ASKS Tyki. Tyki ANSWERS and POINTS to the painting of the clouds. Scraggy TRANSLATES. + + SCRAGGY + He say... "I come from 'Land Of City On Clouds'". + + INDIANA + (puzzled) + Huh?... What the hell's that s'posed to mean? + (to Scraggy) + Can he take us there? + +Scraggy ASKS Tyki. Tyki ANSWERS. He and Scraggy LAUGH hysterically. Scraggy LOOKS at Indiana. + + SCRAGGY + He say if he could... He would go back! + +Tyki OFFERS some more information to Scraggy. Scraggy TRANSLATES. + + SCRAGGY + He say "Pai Cho" may help you. + +Indiana's eyes WIDEN. STARTLED. AMAZED. Clare LOOKS at Indy. PUZZLED. + + CLARE + "Pai Cho"? + + INDIANA + The Sacred Proverbs and Writings of Sun Wu Kung. + (anxious, looking at Scraggy) + His disciples always carry the Pai Cho with them... + +Scraggy ASKS Tyki. The pygmy NODS and REMOVES his belt. We see that the thick belt actually unravels into a CLOTH SCROLL. Tyki KISSES the scroll and GIVES it to Scraggy. Scraggy nervously OPENS the scroll. It is filled with countless ANCIENT CHINESE WRITINGS and PROVERBS. Indiana STARES over Scraggy's shoulder. + + INDIANA + Can you translate it?... + +Scraggy NODS. Indiana's eyes ANXIOUSLY scan the document. He is BREATHLESS. EXCITED. The SOUND TRACK MUSIC SOARS. Suddenly, BETSY AND THE CHIMPANZEE FALL INTO FRAME! ON TOP OF THE SCROLL! Bonzo STRADDLES Betsy, trying to move his lips TOWARD hers! She is SCREAMING! + + BETSY + Get...him...off...of...me...! + +Bonzo moves its lips to Betsy and gives her a BIG KISS! SMACK! + +Betsy GRIMACES. Finally, Clare begins to make BIZARRE MONKEY HAND MOTIONS and SOUNDS. Bonzo TURNS. He UNDERSTANDS Clare. She continues to COMMUNICATE with the chimp, until Bonzo turns and RUNS out of the cage! Indiana and Scraggy exchange an IMPRESSED GLANCE. Betsy WIPES the kiss from her lips. + +CUT TO: + +CLOSE UP: A FLASHING NEON SIGN. It reads: "DASHIELL'S AMERICAN BAR". It adorns the front of a stylish, Mozambique NIGHTCLUB. + +INT. DASHIELL'S BAR + +DIMLY lit. SMOKY. Filled with cloth covered TABLES and ornamental, AFRICAN furnishings. A 9 piece JAZZ BAND plays SWING TUNES. A few couples SWAY on the dance floor. The place is swarming with NAZIS. Many are SEATED at the bar. Others are scattered at various TABLES throughout the restaurant. Some stand in CORNERS. Lurking in the SHADOWS. They are all looking in one direction, watching one man... INDIANA JONES. Indy sits with Scraggy, Clare and Betsy, at a table near the REAR of the restaurant. They are eating DINNER. + +But Indy, Scraggy and Clare are more interested in the Stone Monkey SCROLLS. A very NERVOUS Scraggy TRANSLATES. Indiana, wearing his spectacles, takes pages and pages of NOTES. Searching for a CLUE. An INTERESTED Clare reads over Indiana's shoulder. Betsy tries to become INCLUDED in the discussion. But everyone IGNORES her. Scraggy continues to TRANSLATE. + + SCRAGGY + "Sun Wu Kung run like fire, He journey to Many Monkey Land, To build his final empire." + + BETSY + Who's Sun Wu-Kung? + + INDIANA + (ignoring Betsy, to Scraggy) + Many Monkey Land... That's a definite reference to Africa. + + BETSY + Africa?... He journeyed to Africa?... + + CLARE + (also ignores Betsy, to Indiana) + That confirms our suspicions that he may have formed his Civilization here... + + BETSY + What civilization? + + INDIANA + (angry, to Betsy) + Betsy. Keep your trap shut. This doesn't concern you. + + BETSY + (insulted) + Fine. Terrific. Who cares about this stuff anyway! We're in a nightclub. We should be havin' fun. + (grabs Indiana's hand) + C'mon, Indy. Let's dance. + + INDIANA + Later. + + BETSY + What a buncha' stiffs! + (condescending, to Clare) + Bet you can't dance. + + CLARE + Quite the contrary...I spent several months studying dance. + + BETSY + Oh yeah? Whattayou' know?... The Bunny Hop?... The Jitterbug?... + + CLARE + (shakes her head) + The Bondogea. The Kyebe Kyebe. The Dungumaro. + + BETSY + Huh? + + CLARE + African Tribal dances. + + BETSY + Never heard of 'em. + + CLARE + Of course not. They're beyond the spectrum of your microscopic world. + +Insulted, Betsy GOBBLES down her glass of wine and TURNS back to Indiana, who is still deeply CONCENTRATING on the scrolls. UNDER THE TABLE Betsy's FOOT reaches across the floor. + +It RESTS on Indy's leg. Betsy begins to RUB against Indiana's trouser leg. The red eyed MECHANICAL BUG is still attached to Indiana's trousers. INDIANA GLARES at Betsy. Clare REACHES for her cup of coffee. She NOTICES that the coffee cup trembles SLIGHTLY. Clare GLANCES beneath the table, and sees Betsy RUBBING Indy's leg. Clare is DISGUSTED. ABOVE the table, Clare shoots a scowl of DISAPPROVAL at Indy. A FLUSTERED Indy tries to explain...but is suddenly INTERRUPTED by a hand on his shoulder. It is DASHIELL, the suave, HANDSOME owner of the restaurant. Dashiell gives a CHARMING SMILE to everyone at the table. + + DASHIELL + Enjoying your dinners?... + +Everyone NODS, expressing their thanks. Dashiell LEANS close to Indiana and WHISPERS. + + DASHIELL + Watch yourself, sport. Most of the talk here tonight is about you. And it isn't good. + +Indiana's eyes DART around the room. He sees the VARIOUS NAZIS. WATCHING him. Indy gives a CONFIDENT SMILE. A WORRIED Dashiell continues WHISPERING to Indiana. + + DASHIELL + I don't know what you've done to the Nazis. But they are certainly no friends of yours. + +CUT TO: + +EXT. ZOOLOGICAL COMPOUND + +DARK. SILENT. Many of the animals are ASLEEP in their cages. A SECURITY GUARD keeps watch on the compound. He STANDS outside of the METAL GATES. There is a SUDDEN SOUND. The guard TURNS. THE FIGURES OF THREE MEN stand before him. In the SHADOWS. The NERVOUS Guard places a hand on his holster. + + GUARD + Who's there?... + +We hear a MECHANICAL CREAK. + +A MAN'S LEATHER GLOVED HAND extends from the shadows. The hand's FINGER is POINTED at the Security GUARD. CLOSE UP: VARIOUS ANIMALS The sound of RAPID MACHINE GUN FIRE echoes throughout the camp! CAMERA RECORDS the animal's SHOCKED REACTIONS! THE SECURITY GUARD lies on the GROUND. DEAD. His body riddled with BULLETS. The SHINY, BLACK BOOTS of the three men PASS his body. We notice that one of the boot's SHOELACES are untied. TYKI STARES into the dark night. FEAR covers his face. He is SEATED inside of his cage. A CANDLE flickers beside him. + +Tyki's hands REST on the beautiful tapestry. Tyki LISTENS. He hears FOOTSTEPS. COMING toward his cage. Tyki REACHES to his side. He grabs a STONE DAGGER. Suddenly, a LOUD GUNSHOT! The SPLINTERED LOCK from Tyki's cage goes spinning across the floor. The cage door CREAKS OPEN. GUTTERBUHG stands in the doorway. TWO NAZI SOLDIERS, HELMUT and KLAUS (who we met earlier), are beside him. Gutterbuhg SMILES. His stiff right arm EXTENDS from his side. His leather gloved INDEX FINGER is POINTING ahead. Tyki GROWLS at the Nazis. + +He STANDS. RAISING the stone dagger OVER HIS HEAD. Gutterbuhg's FINGER BEGINS TO RAPIDLY FIRE BULLETS! His MECHANICAL ARM is actually A MACHINE GUN! The bullets TEAR through Tyki's tapestry. They make a crooked, tattered line through the BEAUTIFUL WORK. DESTROYING it. A terrified Tyki WATCHES. Gutterbuhg STOPS shooting. He REMOVES the empty cartridge from a SLOT in his mechanical arm, and REPLACES it with another. He points the DEADLY FINGER at Tyki. A trembling Tyki DROPS the dagger. The three NAZIS walk toward the helpless pygmy. + +CUT TO: + +INT. DASHIELL'S BAR + +Indiana, Scraggy and Clare CONTINUE to excitedly STUDY the map. A NEGLECTED Betsy POURS herself the last of the wine. She is very DRUNK, singing along with the band's version of Cole Porter's "Night and Day". BENEATH THE TABLE Betsy continues to RUB her FOOT against Indiana's leg. INDIANA tries to IGNORE Betsy's playing. Scraggy continues to TRANSLATE the scroll. + + SCRAGGY + "With his Golden Hooped Rod, And its powerful lightning rays, Sun Wu Kung build Water Curtain Cave, Where he live for 500 days." + + CLARE + The Golden Hooped Rod? + + INDIANA + A heavenly staff with many different powers...most notably, it had the ability to transform itself into hundreds of objects... + (staring) + It remains the most priceless treasure of Sun Wu Kung's empire. + + CLARE + And what is the...the Water Curtain Cave? + + INDIANA + Sun Wu Kung's legendary hideout...an enormous secret cave, hidden behind a running waterfall. + +Clare again REACHES for her coffee. The cup and saucer are still TREMBLING. Clare PEEKS under the table, and again SEES Betsy's foot RUBBING Indiana's leg. Clare gives a revolted GRUMBLE. Indiana EXCITEDLY explains Scraggy's translation. + + INDIANA + This proves that the Water Curtain Cave exists in Africa... + (to Scraggy) + Does it mention anything about Sun Wu Kung's travels? + + SCRAGGY + (reading scroll) + Only place called..."Twisted Snake Water". + + INDIANA + The Zambesi River! It has a reputation for its deadly water snakes... + + CLARE + It would have been Sun Wu Kung's logical path. + + INDIANA + (confident, anxious) + It will also be our logical path. + +Clare SMILES. BENEATH THE TABLE Betsy's foot CONTINUES to rub Indiana's leg. Finally Indy reaches down, trying to SLAP Betsy's foot away! But Indy's hand STUMBLES upon something else. The MECHANICAL BUG. Indy TRIES to remove the bug. But the tiny device WON'T BUDGE. ABOVE TABLE Indiana's hand is buried beneath the table, STRUGGLING to remove the bug. To Clare, it appears as if Indy is PLAYING with Betsy's foot. Clare gives an INCREDULOUS look to Indiana. + + CLARE + Please try to control that monstrous libido of yours! + +Indiana finally REMOVES the mechanical bug. He LIFTS it above the table. EXAMINING it. Clare is about to ASK a question. Indy INDICATES for her to "Shhhh". He COVERS the bug and WHISPERS to the others. + + INDIANA + We have to get back to the compound. Tyki may be in danger. + +Indiana, Clare and Scraggy HURRY from the table. A TIPSY Betsy Follows. Indiana passes the JAZZ BAND. He nonchalantly DROPS the mechanical bug into the trumpet player's HORN! The trumpet player hits a PIERCING HIGH NOTE! + +CUT TO: + +NAZI HEADQUARTERS The Nazi wearing the radio HEADPHONES emits a LOUD SCREAM! His eardrums BURSTING with the trumpet sound! + +CUT TO: + +INT. COMPOUND + +Gutterbuhg, Klaus and Helmut LEAD the bound and gagged Tyki OUT OF THE COMPOUND. They keep their LUGERS at his back. Suddenly, Klaus TRIPS over something. A FAWN. Klaus GROWLS. He SHOUTS a German order to Helmut, who GRABS a tight hold of the baby deer. Klaus AIMS his luger at the fawn's head. Gutterbuhg and Helmut exchange a chilling LAUGH. Tyki stares in HORROR. Klaus CLICKS the luger...ready to SHOOT... There is an earth shattering CRACK! A WHIP SHOOTS INTO FRAME! The whip WRAPS ITSELF around the luger! TEARING the gun OUT of Klaus' hand! The fawn breaks FREE and RUNS OFF. The Nazis exchange a SHOCKED glance. They TURN and SEE INDIANA JONES! He stands a FEW FEET away. Holding the WHIP. Indiana POINTS to Tyki, angrily SHOUTING to the Nazis. + + INDIANA + Get your hands off him. + +Gutterbuhg LAUGHS. He POINTS his finger at Indiana. Indy is PUZZLED. The finger begins to SHOOT! RAPID MACHINE GUN FIRE! Indy DIVES for cover. Holding Tyki CAPTIVE, the Nazis TURN and begin to RUN out of the compound. Indy gets to his FEET. He LIFTS his gun. Ready to SHOOT. But the Nazis are running behind SEVERAL ROWS OF CAGES, filled with ANIMALS. Indiana CAN'T SHOOT. He dashes back OUTSIDE. + +EXT. ZOOLOGICAL COMPOUND + +Located on the WATERFRONT. Countless rows of LONG, WOODEN DOCKS line the marina. The Nazis run to below a ROTTED, ANCIENT DOCK. Here, one of their SPEEDBOATS waits. Motor RUNNING. RUDOLPH, a pudgy Nazi, is at the wheel. The Nazis hurriedly CLIMB into the speedboat, PUSHING Tyki inside with them. Indy RUNS to Scraggy's Model-T. Scraggy SITS in the driver's seat. Betsy and Clare SIT in the rear. A drunk Betsy still sings "Night and Day". Indy leaps onto the SIDEBOARD. He SEES the Nazis ahead, CLIMBING into the speedboat. + +Indy motions for Scraggy to DRIVE. FAST. TOWARD the dock. The Nazi speedboat SHOOTS FORWARD. Moving BENEATH the dock. Scraggy's Model-T FOLLOWS ABOVE, along the SHAKY dock. Indiana RIDES the car's rusted sideboard. He SEES the speedboat below, through the WIDE OPENINGS in the dock's slated boards. Indy begins to SHOOT at the Nazis. Gutterbuhg raises his mechanical arm, FIRING SHOTS back at Indiana. Machine gun fire SPLINTERS the dock boards, SLICING through the Model-T. The side mirror is BLASTED to pieces. + +The floor beneath Betsy and Clare erupts with FLYING BULLETS. JUST MISSING the girls. Clare is HORRIFIED. Betsy laughs HYSTERICALLY. The Model-T is less than TWENTY FEET from the end of the dock. If they continue ahead, the car will PLUNGE SEVERAL FEET INTO THE WATER! But Scraggy doesn't take his FOOT from the gas. GUTTERBUHG smiles, seeing the vast ocean ahead. Knowing he's almost FREE. As he DODGES bullets, Indiana SEES the end of the dock ahead. He SHOUTS to Scraggy. + + INDIANA + When I tell you... Hit the brakes! + +Scraggy NODS. The end of the dock is only a FEW FEET ahead. Getting CLOSER... CLOSER... Clare COVERS her eyes. Between hiccups, Betsy laughingly SINGS. Indy LOOKS to the speedboat... BACK to the approaching dock edge... He PAUSES... WAITING for the right moment... He SCREAMS! + + INDIANA + Now, Scraggy! + +Scraggy's foot SLAMS ON THE BRAKES! The sudden jolt sends Indy FLYING INTO THE AIR! The speedboat SHOOTS OUT from beneath the dock! Indiana LANDS DIRECTLY ON TOP OF THE SPEEDBOAT! A SPECTACULAR STUNT! Helmut POINTS his gun at Indy. Indy reacts with a SWIFT KICK to Helmut's jaw. The Nazi HITS the deck. OUT COLD. Klaus COMES for Indy. They begin to FIGHT. An angry Gutterbuhg tries to SHOOT... But Indy and Klaus move TOO QUICKLY! Gutterbuhg CAN'T get a clear shot. The Model-T has COME TO A STOP. SAFE. Its front wheels TEETER over the dock's edge. Scraggy, Betsy and Clare GET OUT. Clare CATCHES her breath. Knees SHAKING. Betsy is still LAUGHING. + + BETSY + About time we had some fun! + +A WORRIED Scraggy sees Indiana, FIGHTING with the Nazis. + + SCRAGGY + Bad spirits have Indy! He in trouble! Big trouble! + +Scraggy RUNS OFF SCREEN. The Nazi speedboat is HEADED TOWARD THE SIDE OF AN ENORMOUS OCEAN LINER! Gutterbuhg RADIOS for help. Indiana and Klaus continue to FIGHT. ROLLING along the deck. Exchanging PUNCHES. A bound Tyki watches with WIDE EYES. HELPLESS. The speedboat makes a sudden SHARP TURN. AVOIDING A COLLISION with the Ocean liner. Indiana and Klaus TUMBLE OFF, THE BOAT! INTO THE WATER! UNDERWATER Indiana and Klaus CONTINUE their battle. They wrestle only a few feet from the ship's large, SPINNING STEEL PROPELLERS. + +The propellers create a SUCTION FORCE. DRAWING Indy and Klaus CLOSER... CLOSER... toward a SPINNING DEATH. Indy and Klaus grab hold of a dangling, STEEL ANCHOR. PREVENTING their bodies from being sucked into the propellers. Klaus PULLS a switchblade from his pocket. He ATTACKS Indy's CLENCHED FINGERS with the knife. Indy begins to LOSE HIS GRIP. His body INCHES toward the propellers. Klaus RAISES the knife, to FINISH OFF Indiana... But Klaus' UNTIED SHOELACE dangles beside the propellers. The shoelace CATCHES a spinning blade. + +The SHOCKED Nazi is pulled INTO THE PROPELLERS! Indiana TURNS AWAY, holding TIGHTLY to the anchor. A BLOOD RED CLOUD surges through the surrounding water. Indiana CLIMBS the anchor to safety. ABOVE WATER Indiana SURFACES. Taking a GULP of air. Suddenly, the water in front of him erupts with MACHINE GUN FIRE. Indiana SEES GUTTERBUHG! He has PARKED the Nazi speedboat only a FEW FEET AWAY. Gutterbuhg SMILES, pointing his FINGER at the helpless Indiana. A SITTING DUCK. Gutterbuhg SMILES. + + GUTTERBUHG + Goodnight, Doctor Jones. + +There is a LOUD GUNSHOT! Gutterbuhg's mechanical arm is HIT BY A BULLET! Pieces of SPRING, METAL and SPROCKETS fly from the wound. Gutterbuhg TURNS. FURIOUS. DASHIELL, the nightclub owner, is a few feet away. He is driving a sleek SPEEDBOAT, its side adorned with the AMERICAN FLAG. Dashiell points a PISTOL at Gutterbuhg, ready to take ANOTHER SHOT... With a ROAR, The Nazi speedboat DRIVES AWAY! Toward a CLUSTER OF DOCKS! Indiana CLIMBS into Dashiell's speedboat. + + DASHIELL + Scraggy said you might be needing some help, sport. + +Dashiell HITS the gas. TEARING after the Nazis. + +A FRENZIED, HIGH SPEED CHASE BEGINS! Through the DARKNESS. Beneath the ROWS OF DOCKS. The speedboats face countless OBSTACLES. They SWERVE around a virtual forest of wooden poles, which FLY BY AT BREAKNECK SPEED! The men DUCK and DODGE dangling FISH HOOKS and NETS. Many paths are BLOCKED by the wooden RAFTS and ROWBOATS. (NOTE: Because of the darkness, these obstacles APPEAR only when they are a FEW FEET AHEAD of the speedboats. This makes the chase completely SURPRISING and SCARY, causing a FUNHOUSE effect.) Throughout the chase, Indiana and the Nazis continue to exchange GUNFIRE. A frustrated Gutterbuhg CAN'T SHOOT. + +His mechanical-machine gun arm rendered USELESS by Dashiell's bullet. He continues to RADIO Nazi headquarters for help. Dashiell CATCHES UP with the Nazis. The two speedboats travel SIDE BY SIDE. Their edges SCRAPE together. SPARKS fly. The recovered Helmut AIMS his luger at Indiana... But Indy LEAPS toward the Nazi. The two FALL. ROLLING. TUMBLING. STRUGGLING for the gun. They fight BETWEEN the two speedboats. The crack below them slightly OPENING and CLOSING. Up ahead, an ENORMOUS STONE POLE appears. + +To AVOID a collision, the speedboats MUST SEPARATE. Dashiell SCREAMS. + + DASHIELL + Indy! Roll out! + +Indy FREES himself from Helmut and ROLLS back onto Dashiell's boat. Helmut LOOKS UP. He sees the stone pole AHEAD. COMING AT HIM. Helmut tries to MOVE...TOO LATE. The two boats SEPARATE. Helmut SMACKS into the pole! CRUSHED! Dashiell TURNS AWAY from the wheel, looking at Indiana. + + DASHIELL + You okay, sport? + +Indiana begins to answer...then sees SOMETHING. AHEAD. He SCREAMS. + + INDIANA + Dash!... + +Dashiell TURNS BACK. + +The speedboat is HEADED STRAIGHT FOR A SOLID WOODEN WALL! A sign on the wall reads: FUTTERMAN'S FISHING WAREHOUSE. The Nazi speedboat has already made a SHARP TURN, AVOIDING the warehouse. There's NO TIME for Dashiell to TURN. Indy HITS the deck. The speedboat ARCHES upward, at an ANGLE... CRASH! The speedboat BLASTS into the warehouse. Splintered wood SPLATTERS through the air. + +INT. WAREHOUSE + +Dashiell's speedboat BURSTS through another wall. The boat SKIDS across the warehouse floor. SCREECHING TO A STOP! A SHAKEN Dashiell gets out. Indy RUNS to the window. INDIANA'S POV The NAZI SPEEDBOAT shoots out of the docks, ESCAPING across the water. Indiana grabs his WHIP. He KICKS OPEN the warehouse window. He SNAPS his wrist. CRACK. The whip SHOOTS forward, ATTACHING ITSELF TO THE REAR OF THE NAZI SPEEDBOAT! Indy firmly GRIPS his end of the whip. The whip TIGHTENS. WHOOSH! Indiana is PULLED out of the window. + +Gutterbuhg exchanges a VICTORIOUS laugh with Rudolph, the speedboat driver, thinking they have LOST Indiana. A frightened Tyki LOOKS BACK. His eyes suddenly fill with HOPE. Gutterbuhg TURNS. His mouth DROPS OPEN. Indiana uses his WHIP to WATER SKI BEHIND THE NAZI SPEEDBOAT! A red faced Gutterbuhg SLAMS his fist on the dashboard. He removes a SHARP KNIFE. He hurriedly begins to SLICE through Indy's whip. Trying to BREAK THE CONNECTION. Indiana AIMS his pistol at Gutterbuhg. But suddenly, a SHOT WHIZZES by Indy's head. + +Followed by ANOTHER. And ANOTHER. COMING from behind. Indy TURNS. A SECOND NAZI SPEEDBOAT is in HOT PURSUIT! There are FIVE NAZIS inside. Armed with PISTOLS and RIFLES. All FIRING SHOTS at Indiana. Meanwhile, Gutterbuhg's knife continues to SLICE through Indy's whip. Only a FEW THREADS remain. Indiana performs some EXPERT WATER SKIING. SWERVING. SPINNING. JUMPING. All in an attempt to AVOID the flying bullets from behind. Suddenly, Indy's whip SNAPS! Indiana FALLS UNDERWATER! Directly IN THE PATH of the second Nazi speedboat! + +Tyki HIDES his eyes. Gutterbuhg LAUGHS. It appears that Indiana has met a GRISLY DEATH. The Nazis in the second speedboat are DELIGHTED. SHAKING each other's hands. CAMERA PANS TO BELOW the speedboat. We move UNDERWATER. SOUND TRACK MUSIC SOARS! We see INDIANA. Very much ALIVE. He STRADDLES THE BOTTOM OF THE SPEEDING BOAT! HOLDING ON with all of his strength! Indiana CLIMBS toward the side of the speedboat, BATTLING the pressure of the rushing water. CAMERA FOLLOWS INDIANA, OUT OF THE WATER, AS HE CLIMBS ABOARD THE SECOND SPEEDBOAT. + +The four Nazis are LAUGHING. TALKING. Their backs turned to the APPROACHING Indiana. Moving like LIGHTNING, Indy GRABS one of the Nazis and TOSSES HIM OVERBOARD. With a SWIFT PUNCH to the stomach and jaw, Indy sends another Nazi INTO THE WATER. The other two Nazis TACKLE Indy. They FALL to the deck. FIGHTING. Gutterbuhg LOOKS BACK. SHOCKED that Indy is still alive. Gutterbuhg GROWLS. FRUSTRATED. His eyes suddenly LIGHT. He SPOTS something. AHEAD. TWO GARGANTUAN OCEAN LINERS are MOVING TOWARD EACH OTHER. + +Coming TOGETHER. There is an OPENING between the two ships, that continues to get SMALLER, as the ships move CLOSER. Gutterbuhg SMILES. An IDEA. He orders Rudolph to DRIVE THROUGH THE OPENING. In the second speedboat, the Nazis have OVERCOME Indiana. One Nazi PINS Indy down. The other removes a THICK METAL CHAIN from his neck. A RED SWASTIKA dangles from the chain. The Nazi WRAPS the chain around Indy's neck. He begins to STRANGLE Indiana. Gutterbuhg's speedboat MOVES TOWARD the ocean liners. The opening between the two ships continues to SHRINK. + +Getting SMALLER...and SMALLER... The second speedboat is DIRECTLY BEHIND Gutterbuhg. The Nazis are STRANGLING Indiana. The color begins to LEAVE Indy's face. He GASPS for air. The opening between the two Ocean liners continues to get SMALLER... Less than TEN FEET WIDE. Gutterbuhg's speedboat is only a FEW FEET AWAY. Through his fluttering eyes, Indiana SEES Gutterbuhg's speedboat headed for the ocean liners. Indiana is nearly UNCONSCIOUS. The giggling Nazis TIGHTEN the chain around his neck. With LESS THAN AN INCH to spare... + +Gutterbuhg's speedboat SQUEEZES between the two Ocean Liners! The second speedboat is only a FEW FEET from the Ocean Liners. But as the ships move CLOSER...the opening is nearly CLOSED. The driver CAN'T TURN AWAY. He's TOO CLOSE. He emits a SCREAM. The Nazis PAUSE from strangling Indiana. They TURN. Indy MOVES FAST. He DIVES overboard. INTO THE WATER. The speedboat HITS the opening. TOO SMALL. The speedboat is CRUSHED between the two Ocean Liners. The Nazis let out their FINAL SCREAMS. Followed by a fiery EXPLOSION! + +Flaming pieces of the wreckage are SPLATTERED through the night sky. GUTTERBUHG turns. His grinning, sadistic face LIT by the explosion. Tyki's eyes are filled with FEAR. SEVERAL FEET AWAY, Indiana Jones SURFACES. ALIVE. He SWIMS to the nearby shore and CLIMBS out of the water. He RUBS his reddened neck, catches his breath and LOOKS into the distance. Indy SEES Gutterbuhg's speedboat. TOO FAR to catch. GUTTERBUHG sees the SILHOUETTE of Indy, standing on the distant shore. Gutterbuhg orders the driver to move FASTER. + +The engine ROARS. Gutterbuhg LOOKS back at Indy. The Nazi emits a MANIACAL LAUGH that pierces the air. Indiana watches the speedboat ESCAPE into the night. His eyes fill with RAGE. VENGEANCE. Clare, Scraggy and a VERY DRUNK Betsy JOIN Indy on the shore. Betsy PUTS her arms around Indiana. She RESTS her head on his shoulder. She CLOSES her eyes and emits a DRUNKEN SIGH. + + BETSY + What a romantic night! + +An ANNOYED Indy pushes Betsy away. In a drunken stupor, Betsy moves to the next person, CLARE. Thinking she's still with Indiana, Betsy puts her arms AROUND Clare. A WORRIED Clare is TOO CONCERNED with the departing Nazi speedboat. Clare TURNS to Indy. + + CLARE + Will they hurt Tyki? + + INDIANA + (shaking his head) + They know he's important to us. + (holds up ancient scroll) + They'll use him to bargain for this. + +Eyes CLOSED, resting her head on Clare's shoulder, Betsy SIGHS. + + BETSY + Indy, you smell so good! So masculine! + +Clare PUSHES Betsy away. Betsy SPINS and WRAPS HER ARMS around Scraggy. Clare watches the Nazi Speedboat DISAPPEAR into the night. + + CLARE + Will they be following us? + + INDIANA + Every step of the way. + +Betsy, still thinking she's SNUGGLING with Indiana, rubs her face against Scraggy's bristly beard. + + BETSY + Mmmm, Indy. I love it when you don't shave. It's so sexy! + +Scraggy PUSHES Betsy away. She SPINS, this time putting her arms around a hanging FISHERMAN'S NET. Filled with FISH. Meanwhile, Scraggy LOOKS at Indiana and Clare. + + SCRAGGY + Pandoola, God of Purity, say... "Always stay ten paces ahead of bad spirit". + + INDIANA + Exactly. We can't let the Nazis get to the City first. If they do, they'll wipe out one of the greatest archeological finds in History! + +Indiana turns and WALKS AWAY. Clare and Scraggy hurriedly FOLLOW. There's NO TIME to lose. The drunken Betsy continues to embrace the net of DEAD FISH. Betsy TURNS. Eyes CLOSED. She SMILES. + + BETSY + How 'bout a little goodnight kiss? + +Betsy KISSES the LIPS OF A DEAD FISH! She SMILES. IMPRESSED. + + BETSY + Mmmmm, Indy...you really know the way to a girl's heart! + +Betsy OPENS her eyes. FACE TO FACE with the dead fish. Betsy SCREAMS and RUNS toward the departing Indiana, Clare and Scraggy! + +EXT. ZAMBESI RIVER - THE FOLLOWING DAY + +Early MORNING. The sparkling waters of the Zambesi are lined by thick JUNGLE. Sounds of screeching GIBBONS, exotic BIRDS, chattering INSECTS, and various other WILDLIFE echo from the jungle. BRIGHT RAYS of HOT sunlight sprinkle through the leaves of the towering palm trees. A 55 foot, tattered, wooden RIVER BOAT, the "ADOBO", travels along the Zambesi. The boat is filled with various crates and barrels of SUPPLIES. And there are several men, CREW MEMBERS, all natives of Mozambique. They are a MOTLEY crew, all armed with SWORDS and DAGGERS. + +They are DIRTY. TATTERED. UNKEMPT. The boat pulls a long, WOODEN RAFT behind it. Scraggy's MODEL-T is attached to the raft. One of the crew members, a YOUNG MAN, sits on the raft. He strums a BEATEN GUITAR, singing a FOLK SONG. INDIANA stands at the ship's steering wheel. Forehead COVERED with sweat. He GUIDES the ship along the twisting waters. CLARE exits from a cabin, carrying a stenographer's NOTEBOOK. She looks RADIANT. Her red hair SHIMMERS in the morning sun. Clare walks up BESIDE Indy. She CRINKLES her nose. + + CLARE + What is that awful aroma? + + INDIANA + Scraggy's takin' a shower. + +Indy points OFF SCREEN. Scraggy, fully clothed, STANDS here. He rubs a large, FRESH ONION over his FACE, ARMS and LEGS. SQUEEZING the onion JUICE over his body. Indiana EXPLAINS to a befuddled Clare. + + INDIANA + He believes that onions keep bad spirits from entering his body. + + CLARE + (writing in her notebook) + In all my years of anthropology... I've never run across anyone or anything quite like Scraggy. + + INDIANA + (chuckles) + He's a rare breed. + (turns, looks at Clare for the first time) + You're looking very lovely. + + CLARE + You're looking very lecherous. + + INDIANA + (turns away, angry) + Just tryin' to be friendly. + + CLARE + Save it for the schoolgirls. + + INDIANA + Look, Clare... Betsy's just an anxious archeology student...she admires my work... + (egotistical shrug) + Who can blame her?... + (back to his point) + But it's just some kinda' hero worship thing... There was never any romance. + + BETSY + (pops in from OFF SCREEN, kisses Indiana) + I dreamed about our first night together! + +Indy SIGHS. Clare DISGUSTINGLY shakes her head. She continues to scrawl more into her notebook. Indiana gives her a STARTLED look. + + INDIANA + You're writin' this down?... + + CLARE + (nods) + I'm keeping an accurate record of our journey. + + INDIANA + What's that got to do with my personal life? + + CLARE + Evidence. I plan on testifying at your child molestation trial. + +Indiana SHAKES his head. STARING into the distance. He SIGHS. + + INDIANA + Why do I do this to myself? + +Holding her head in PAIN, Betsy turns to Clare. + + BETSY + (holds her head in pain, to Clare) + Hey, lady...you're s'posed to be a Doctor...you got any cures for a hangover?... + + CLARE + The best I've heard was used by a New Zealand Tribe... + (pauses, thinking) + One part crushed owl skull...two parts rhino saliva...one part zebra dandruff. + +Betsy's face becomes PALE. Indy INTERRUPTS. + + INDIANA + No, No... Get a cup of donkey sweat ...two spoons of skunk hair...and one pint of shredded lizard tongue. + +Betsy turns a light shade of GREEN. Scraggy ARGUES. + + SCRAGGY + I always use family cure! Two spoons chopped leeches... Half cup horse mucous...two quarts crocodile urine! + + BETSY + (ready to throw up) + Ex...cuse...me...! + +Betsy runs OFF SCREEN. The others exchange a SHRUG. Scraggy LOOKS at the river ahead. + + SCRAGGY + How far we travel, Indy?... + + INDIANA + Almost 20 miles. + + CLARE + Any sign of the Nazis? + + INDIANA + (shakes his head, confident) + Long as we keep up this pace... they'll have trouble tracking us. + +CAMERA PANS from the hopeful faces of Indiana, Scraggy and Clare, to the CABIN behind them. Here, a CREW MEMBER HIDES in the shadows. His face HIDDEN. He HOLDS a small radio receiver. He WHISPERS into the receiver. Speaking in perfect GERMAN. + +CUT TO: + +GUTTERBUHG. He is seated in NAZI HEADQUARTERS. He repairs his detached, MACHINE GUN ARM, which sits on the table before him. Behind Gutterbuhg, a GROUP OF NAZIS listen to the radio transmission of Scraggy's treacherous Crew Member, who discloses the LOCATION of the River Boat. The Nazis CHART out the boat's exact location on a large, WALL MAP. LIEUT. MEPHISTO supervises the project. Tyki, BOUND, GAGGED and BRUISED, watches from a corner. MEPHISTO looks at all the Nazis. + + MEPHISTO + (German, English subtitles) + We must leave. Immediately. + +DISSOLVE TO: + +NIGHT IN THE JUNGLE. VARIOUS SHOTS of exotic animals. A creeping PANTHER. A sleeping WHITE BAT. A tense SCORPION. A family of CROCODILES. ABOARD SHIP Indiana, Scraggy, Clare and Betsy are GATHERED on the deck. Seated in a CIRCLE. They are surrounded by the CREW MEMBERS. Everyone eats their DINNER from tin cans. The surrounding lanterns cast an EERIE LIGHT on the area. The young crew member plays a soft, SPOOKY tune on his guitar. Betsy is RESTLESS. She GLARES at the guitar player. + + BETSY + Don't you know somethin' else? Somethin' upbeat?... + +The guitar player IGNORES Betsy, continuing to play. Betsy SIGHS. UPSET. BORED. + + BETSY + It's so hot... Stuffy... Do we have to stay on this stupid boat all night?... + + INDIANA + (nods) + We have to keep moving. + + BETSY + Can we at least jump in the water?... Go for a swim?... + + CLARE + There's an old legend about the Zambesi... In ancient times, criminals were given their choice of execution...or swimming across the Zambesi. Most chose execution. + + INDIANA + Clare's right. We'll be safer on the boat. + (annoyed, to Betsy) + Now quit moanin' and eat your food. + +An angry Betsy TOSSES her tin can overboard. She STANDS. FURIOUS with Indiana. + + BETSY + You are so rude! I travel thousands of miles just to be with you...and everybody treats me like dirt! + (to Clare) + Nobody even talks to me without making some condescending remark they think I'm too stupid to understand! + (very upset) + So maybe I don't know a lot about weird tribal dances... I'm still pretty good with anthropology and archeology... Maybe I could even help you out...if somebody gave me a chance...clued me in to what it is we're doin' here... + (to Indy) + 'Cause whether you like it or not, Indiana Jones... I'm part of this expedition, too! + +Clare RAISES an eyebrow. IMPRESSED. Indiana says NOTHING. He can't ARGUE. Scraggy INTERJECTS. + + SCRAGGY + (motions to crew members) + My friends also curious about where we journey to, Indy. + +The crew members NOD. STARING at Indiana. Indiana turns to Clare. She SMILES. + + CLARE + Tell us all a bedtime story, Doctor Jones. + +Indiana SIGHS. The crew member's GUITAR PLAYING COMBINES with the SOUND TRACK, backing up Indiana's story with an EERIE TUNE. + + INDIANA + Long ago...a place known as the Flower Fruit Mountain, in the Chinese province of Ao-Lai...was struck by lightning. A Stone Monkey, "Sun Wu-Kung", was born. + + SCRAGGY + This monkey?... He could walk?... Talk?... Like human?... + + INDIANA + More than human. He was blessed with countless heavenly powers... But it wasn't enough. Sun Wu-Kung wanted to learn the secret of Eternal Life... of Immortality... + (pause) + Equipped with his Golden Hooped Rod to protect him, Sun Wu Kung travelled the world for many years ...learning the secret philosophies and teachings of Eternal Youth. Eventually, he was granted entrance to heaven...where the Jade Emperor gave Sun Wu Kung the title of "Great Sage of the Heavens"...and permitted him to oversee the Garden of Immortal Peaches. + (pause) + After several years, the stone monkey returned to somewhere on earth. Here, he ruled an empire...a Civilization of Monkeys and humans who had life spans of many hundred years... + (shrugs) + The exact whereabouts of that Lost City has been a mystery for hundreds of years...until Doctor Clarke discovered the pygmy. + +The crew members, Scraggy, Betsy and Clare, listen with FASCINATION. + + INDIANA + It's uncertain just how much of this legend is based in reality... Nevertheless, we're hoping to find some sign of the Lost Civilization. + + BETSY + What about Sun Wu Kung?... + + INDIANA + Whatever he was...a stone idol...an actual monkey...a human being...is unknown. But he is one of the most influential religious figures in History, and his remains are most likely somewhere in the Lost City. + +Suddenly, they are INTERRUPTED BY A DISTANT SOUND. A LOW, RUMBLING SOUND. BIZARRE. UNEARTHLY. UNLIKE anything we've heard before. Indiana TURNS to Scraggy. + + INDIANA + Sound familiar? + + SCRAGGY + (shakes his head) + It is far, far away...many miles... + + BETSY + (frightened) + What is it?... Some kinda' weird animal?... + + CLARE + No animal sounds like that. + + SCRAGGY + Could be "Banseebaba". + + CLARE + Banseebaba? + + SCRAGGY + Banseebaba is giant demon from hell. He is 50 feet tall. Breathes fire. Make sound like human never hear before. He is made up of all evil in the world! + + CLARE + Cheery thought. + +The sound suddenly STOPS. Everyone exchanges a FRIGHTENED, TERRIFIED GLANCE. Indiana STANDS. + + INDIANA + Whatever the hell it is... It went to sleep for the night. Which is what we should do. + +CUT TO: + +LATER THAT NIGHT - LONG SHOT - THE BOAT The boat sails along the RIVER. Beneath the MOONLIGHT. A lone CREW MEMBER stays awake. At the STEERING WHEEL. Other CREW MEMBERS sleep along the deck. Scraggy SLEEPS in a hanging cot. INDIANA is ASLEEP in his CABIN. Suddenly, the door SLOWLY CREAKS OPEN. A SHADOW appears on the cabin wall. COMING TOWARD Indiana. The shadow EXTENDS a hand. The hand GRABS Indy's blanket. Indy WAKES. He LEAPS out of bed and TACKLES the mysterious person. Indy FLIPS on the cabin lamp. The intruder is none other than...BETSY. Indiana PULLS Betsy to her feet. She gives a flirtatious SMILE. + + BETSY + Couldn't sleep. The heat. I'm in the mood for passion. + + INDIANA + I'm in the mood for isolation. + +Indiana LEADS Betsy to the open door. He begins to PUSH her back outside. Betsy STOPS him. + + BETSY + I'm not leaving. Not till I get a kiss. + + INDIANA + Betsy... + + BETSY + (serious) + One kiss. Or I'll scream. I swear. I'll wake the whole boat. + +Indiana has NO CHOICE. He SIGHS. + + INDIANA + Okay. Just one. + (leans toward her, pauses) + Keep your mouth closed. + +They KISS. Betsy WRAPS her arms around Indiana, turning it into a PASSIONATE KISS. At that moment, ACROSS THE HALL, Clare exits the bathroom, TOOTHBRUSH in hand. She SEES the kissing Indiana and Betsy. Clare STARES. OPEN MOUTHED. SHOCKED. Indiana OPENS his eyes. He SEES Clare WATCHING HIM. An ANGRY Clare MARCHES into her room. She SLAMS the door. WE HEAR Clare LOCKING the door behind her, and moving a piece of furniture in front of the door. Indiana PUSHES Betsy away. ANGRY. He quickly CLOSES his door. Betsy WALKS back to her room. A huge, SATISFIED SMILE covers her face. + +THE FOLLOWING MORNING SUNRISE. PEACEFUL. CALM. Birds SING. The River Boat has travelled countless miles, into the heart of the ZAMBESI. A tired CREW MEMBER mans the boat's steering wheel. CAMERA PANS DOWN, moving along the side of the boat. WE STOP AT WATER LEVEL. A HAND SHOOTS OUT OF THE WATER. GRIPPING a rusted, sharp KNIFE. Followed by ANOTHER HAND. And ANOTHER. And ANOTHER. Until there are COUNTLESS HANDS, REACHING FOR THE SIDE OF THE RIVER BOAT. The hands GRAB HOLD of the boat. SEVERAL DARK FIGURES slowly RISE out of the water. Only the OUTLINES of their bodies are VISIBLE, backlit by the RISING SUN. The figures CLIMB UP the side of the boat. Carefully CREEPING. Moving SILENTLY. Indiana stands on the REAR DECK, shirt WRAPPED around his waist. He is SHAVING. CLARE sits a few feet away. WRITING in her journal. Indy GLANCES to her. CURIOUS. + + INDIANA + What's that you're writing?... + + CLARE + "The Erotic Adventures Of Indiana Jones, Professor Of Perversity". + + INDIANA + (back to shaving) + Very funny. + +CAMERA PANS TO THE FRONT DECK. STOPPING on the DRIVER. He STARES ahead. STEERING the ship. SUDDENLY, A FIGURE APPEARS. BEHIND the driver. The figure GRABS the driver. AROUND THE NECK. Before the driver can SCREAM...the figure SLICES HIS THROAT. Scraggy WITNESSES this. Through an OPEN PORTHOLE. His face covered with SHOCK. FEAR. + +INT. LOWER CABIN - KITCHEN + +Betsy stands over a large SKILLET. She FRIES pancakes, LIFTING the first pancake, Betsy places it on a PLATE that rests beside her. Betsy TURNS to get another pancake. A HAND REACHES FROM OFF SCREEN. The hand GRABS the pancake from the plate. Betsy TURNS back. She sees the EMPTY PLATE. She is PUZZLED. CONFUSED. She SHRUGS, placing ANOTHER PANCAKE on the plate. She TURNS back to the skillet. Again, a hand GRABS the pancake. Betsy turns and again sees an EMPTY PLATE. She hears GIGGLING. BEHIND her. + +She turns and SEES AN ORIENTAL PIRATE. TALL. MUSCULAR. The Pirate TOWERS above Betsy. He is dressed in COLORFUL, TATTERED clothes. The pirate LAUGHS. His bloated mouth DRIBBLES with pancake crumbs. Betsy STEPS BACK. FRIGHTENED. The Pirate removes a DAGGER from his belt. Eyes filled with LECHERY, the Pirate moves toward Betsy. She GRABS the skillet. THROWING HOT OIL in the Pirate's face. He SCREAMS. Betsy DASHES OUT of the kitchen. INDIANA has nearly finished SHAVING. He tries to CONVINCE Clare of his innocence. + +She continues to WRITE. IGNORING him. + + INDIANA + You are blowing this Betsy thing all out of proportion... + +Indiana LEANS down. He RINSES his face in a large BUCKET OF WATER. A DAGGER FLIES INTO FRAME! JUST MISSING Indiana. It STICKS into the wall. A FEW FEET ABOVE Indy's head. Clare WITNESSES this. SHOCKED. UNAWARE of the danger, Indiana RAISES his head out of the bucket. He still tries to REASON with Clare. + + INDIANA + It's not as if I have this sleazy reputation... + +Clare is trying to INTERRUPT Indy, trying to POINT OUT the dagger. But before she can say a word, Indiana again LEANS into the water bucket. ANOTHER DAGGER SHOOTS INTO FRAME! INTO the wall. This time only INCHES above Indy's head. Indiana again RAISES his head. + + INDIANA + I am a respected...honored... admired... + +Clare LEAPS FORWARD. She pushes Indy OUT OF THE WAY, moments before another DAGGER FLIES INTO FRAME! STICKING into the wall! Indy and Clare TURN. THREE PIRATES stand here. DIRTY. TOOTHLESS. UGLY. SWORDS EXTENDED, they MOVE toward Indiana and Clare. Indy's eyes DART to the water bucket table. His WHIP and PISTOL rest here. OUT OF REACH. Indy and Clare are TRAPPED. The Pirates move CLOSER... Suddenly, A LOUD SCREAM. The Pirates LOOK UP. SCRAGGY swings from a ROPE above. TOWARD the Pirates. Before the Pirates can react, Scraggy CRASHES into them. + +They TUMBLE to the deck. Scraggy SHOOTS to his feet. He tosses a spare SWORD to Indy. Scraggy and Indy begin to SWORDFIGHT the Pirates. Clare TURNS. DASHING around the corner. To SAFETY. A SUDDEN STOP. Her face is buried in the hairy, bare chest of KEZURE, an enormous, bear-like PIRATE KING. Kezure HASN'T BATHED in years. He is dressed in SEVERAL LAYERS of tattered, colorful clothing, GOLDEN JEWELRY, and ANIMAL SKINS. His STRINGY hair is long, tied in a PONYTAIL behind his head. A thick, long MOUSTACHE wraps around a large mouth, filled with crooked, GOLDEN TEETH. + +Clare SHRIEKS. Kezure GRABS her around the waist. He TOSSES Clare over his shoulder. The river boat is overcome with a mixture of ORIENTAL and BLACK Pirates. SOUND TRACK MUSIC SOARS! There is a HEATED BATTLE between the crew members and the Pirates. Fists FLYING. Swords CLASHING. Using her Brooklyn street smarts, Betsy FIGHTS like a pro. With a swift PUNCH and KICK, Betsy DEFEATS one Pirate. She takes his SWORD. ANOTHER Pirate comes for Betsy. She EGGS him on. + + BETSY + C'mon... You ain't so tough. You wouldn't last ten minutes in Brooklyn. + +The Pirate ATTACKS. He and Betsy begin a HEATED SWORDFIGHT. Indiana and Scraggy CONTINUE TO BATTLE the onslaught of sword slinging Pirates. Suddenly, Indy is interrupted by Clare's LOUD SCREAM! He TURNS. A PIRATE SHIP has APPEARED. BESIDE the river boat. The ship is ANCIENT. OMINOUS. COUNTLESS PIRATES are aboard the ship. Armed with GUNS, BOWS AND ARROWS and CANNONS. + +EXT. RIVER BOAT - TOP DECK + +KEZURE, the Pirate King, stands at the edge of the boat. He still HOLDS the screaming Clare over his shoulder. From the Pirate ship, the Pirates toss a GRAPNEL ROPE to Kezure. The Pirate King GRABS HOLD of the rope. Holding TIGHTLY to Clare, Kezure SWINGS from the river boat, to the Pirate Ship. INDIANA runs through the FIGHTING crew members and Pirates, in an effort to SAVE Clare. Suddenly, the SOUND OF CANNON FIRE! The river boat ROCKS! HIT by a CANNONBALL! Indy KEEPS his balance. SWORD in hand, he DIVES INTO THE WATER. Indiana SWIMS across the Zambesi. TOWARD the Pirate ship. The water surrounding Indy erupts with COUNTLESS SPRAYS OF BULLETS, CANNONBALLS and FLYING ARROWS. + +EXT. RIVER BOAT - TOP DECK + +The swordfighting crew members manage to keep the many Pirates AT BAY. Scraggy EXCHANGES swordplay with a Pirate. The sword is KNOCKED from Scraggy's hand. He is DEFENSELESS. The Pirate COMES in for the kill. He RAISES HIS SWORD...ready to PLUNGE it into Scraggy's heart... The Pirate suddenly PAUSES. A HORRIFIED look on his face. The end of a SWORD SHOOTS OUT OF THE PIRATE'S CHEST! A MOMENT PASSES...the sword SLIDES BACK INSIDE of the Pirate's chest. The Pirate FALLS to the deck. BETSY stands behind him. She holds the BLOODIED SWORD. Scraggy gives her a THANKFUL NOD. + +EXT. PIRATE SHIP + +Indiana has MADE IT ACROSS the Zambesi. He CLIMBS UP the side of the Pirate Ship. The Pirates begin to SHOOT at Indy. Indy is HIT. An ARROW. In the ARM. He dives to safety in a nearby CANNON COMPARTMENT. + +INT. CANNON COMPARTMENT + +Indy PULLS the arrow out of his arm. He is suddenly ATTACKED by the Pirate Gunner. The two begin to STRUGGLE. FIGHT. CAMERA PANS TO the rear of the cannon, moving to a CLOSE UP of the FUSE. The fuse is LIT. BURNING. Meanwhile, Indy and the Pirate fight DIRECTLY IN FRONT OF THE CANNON'S OPEN BARREL! Every few seconds, each of their heads MOVES IN FRONT of the opening. The fuse continues to BURN. Getting LOWER...LOWER... + +EXT. PIRATE SHIP - TOP DECK + +Clare has been TIED to a mast pole. Kezure STANDS in front of her. As his men BATTLE around him, Kezure leans forward. The drooling Pirate King sloppily KISSES Clare. Along her NECK. Clare is NAUSEOUS. + +INT. CANNON COMPARTMENT + +Indy and the Pirate continue to FIGHT. The cannon fuse SPARKS. BURNING toward the bottom. The Pirate pushes Indy's head INSIDE OF THE CANNON OPENING. The FUSE will BLOW at any second. At the last moment, Indiana OVERPOWERS the Pirate. Indy LEAPS to the floor. The Pirate FALLS FORWARD. FACE TO FACE WITH THE CANNON OPENING! BOOM! The cannon FIRES! Indy's shirt is SPLATTERED with blood. Indiana RUNS to a wooden staircase, hurrying up the stairs. To the TOP DECK. + +EXT. PIRATE SHIP - TOP DECK + +Kezure kisses the bare shoulder of the STRUGGLING, HELPLESS Clare. Indy EMERGES from the cannon compartment. Upon seeing the Pirate King ATTACK Clare, Indiana SHOUTS. + + INDIANA + You son of a bitch. + +Kezure TURNS. He emits a gravelly laugh and scratches his neck, curiously STUDYING Indiana. Indy EXTENDS his sword. The Pirate King removes a long, sharp GOLDEN SWORD. They begin to FIGHT. Moving ALONG the deck. A FAST PACED, HEATED swordfight. + +EXT. RIVER BOAT - TOP DECK + +A PIRATE has taken over the boat's WHEEL. He STEERS the river boat OFF THE REGULAR PATH. It SPEEDS toward the base of a LARGE, THRASHING WATERFALL. The Pirate ship moves ALONGSIDE of the river boat, also HEADED for the waterfall. SCRAGGY and BETSY sees the waterfall ahead. PANIC fills their eyes. They DASH to the steering wheel. Betsy DISTRACTS the Pirate. They begin to SWORDFIGHT. Scraggy TAKES the steering wheel. He attempts to steer the ship AWAY from the waterfall. + +EXT. PIRATE SHIP - TOP DECK + +Indiana and the Pirate King have climbed to the top of the SHIP'S MAST. They battle AMIDST the tangled ropes. SWORDS CLASHING. As the two men fight, Indy notices that the Pirate ship is HEADED FOR THE WATERFALL. Indiana has a sudden REALIZATION. He sees Scraggy, trying to STEER THE RIVER BOAT IN THE OPPOSITE DIRECTION. Indy SCREAMS above the cannon fire. + + INDIANA + (still fighting) + Scraggy!... No!... Keep goin' straight!... Full steam ahead!... + +SCRAGGY is CONFUSED by Indy's orders. + +He SCREAMS back to Indiana. + + SCRAGGY + What?... You crazy Indy?... We be crushed!... We smash into rock wall!... + +INDIANA still SWORDFIGHTING the Pirate King, SCREAMS to Scraggy. + + INDIANA + No!... Trust me!... Full steam ahead!... Full steam ahead !... + +SCRAGGY BLESSES himself. + +His face is STRONG. CONFIDENT. He REVS the engine. FULL SPEED. He TIGHTLY CLUTCHES the wheel. AIMING the river boat toward the waterfall. INDIANA AND KEZURE SWING from sail to sail, continuing their SPECTACULAR swordfight. CLARE helplessly watches from the deck. THE RIVER BOAT AND THE PIRATE SHIP continue to move SIDE BY SIDE. Moving CLOSER...CLOSER...to the shattering waterfall. SCRAGGY continues to rev the RIVER BOAT'S engine. CHANTING various prayers under his breath. In the background, a FEISTY Betsy continues to swordfight. THE RIVER BOAT AND THE PIRATE SHIP PENETRATE the waterfall. The two boats are met with an exploding shower of POWERFUL WATER! Crew members and Pirates are TOSSED ABOUT the deck. Indiana and the Pirate King hold TIGHTLY to the sails, to AVOID being thrown into the waters below. + +EXT. RIVER BOAT + +The aged boat TOSSES. TILTS. SPINS. Nearly CAPSIZING. Boards CREAK and MOAN. Ready to BURST. But Scraggy holds TIGHTLY to the steering wheel. Keeping the boat AFLOAT. The powerful water sends Betsy SOMERSAULTING along the deck. She tries to GRAB HOLD of something...anything...that will PREVENT her from falling off the boat. Betsy finally CLUTCHES onto something. The ARM OF A DEAD PIRATE. THE RIVER BOAT AND THE PIRATE SHIP are IMMERSED into the waterfall. They DISAPPEAR behind the thrashing curtain of water. + +INT. BEHIND THE WATERFALL + +The Pirates' HIDDEN FORTRESS. An enormous, underground CAVERN. Hundreds of BURNING TORCHES cast a devilish glow. The grey rocks of the cavern walls stretch UPWARD. Filled with countless, tiny CAVES. Various stone artifacts and ancient utensils are SCATTERED throughout the cavern. There are several other PIRATES here. ARMED. Waiting for the RETURN of the Pirate Ship. The River Boat and Pirate Ship ENTER the cave. The rushing waterfall THRASHES behind them. The BATTERED and BRUISED River Boat comes to a ROUGH stop. SCREECHING along a far wall. + +The Pirate Ship sails to a SMOOTH STOP in the middle of the cavern. Armed with guns, knives and swords, the Pirates hurriedly SURROUND the intruding River Boat. They take Betsy, Scraggy and the crew members CAPTIVE. KEZURE leaps to the Pirate Ship's deck and quickly UNTIES Clare. Indiana ATTEMPTS to FOLLOW. He PAUSES. Quickly GRABBING A FEW STICKS OF DYNAMITE from the Pirate Ship deck. Kezure begins to LEAD Clare off of the ship. His sword at her THROAT. Indiana CALLS OUT. + + INDIANA + Wait... + +Kezure STOPS. He TURNS. Indy WALKS toward Kezure, stopping less than TEN FEET from the Pirate King and Clare. Indy's eyes BURN through Kezure. + + INDIANA + Free the girl... + (glances to his captive friends) + ...and my friends... + (lights a match, moves it toward TNT fuses) + ...or I blow your hideout here out of the water! + +Kezure LAUGHS. Indiana LIGHTS the dynamite fuses. Kezure STOPS laughing...WORRIED for a moment... Then, the Pirate King breaks into a wide, DEFIANT SMILE. + + KEZURE + Good. We will all die. + +A STANDOFF. Indy DIDN'T EXPECT this. He is suddenly FRIGHTENED. PUZZLED. Betsy, Scraggy and Clare STARE at Indy. Waiting for his NEXT MOVE...as the dynamite fuse SLOWLY BURNS. Getting CLOSER...CLOSER...to the TNT. Kezure seems CALM. Perfectly WILLING TO DIE. Indy gets ANOTHER IDEA. He BLURTS it out to Kezure. + + INDIANA + We can take you to the Lost City of Sun Wu Kung! + + KEZURE + Hah! Better men than you have tried to find the Lost City... They have all failed. + (cynical laugh) + You are a fool. + + INDIANA + (as the TNT fuse burns LOWER...LOWER...) + No... You're the fool. You and your friends are hiding out in Sun Wu Kung's Water Curtain Cave...and you don't even know it. + + KEZURE + (puzzled, looking around) + Huh?... + +Scraggy and Betsy exchange a SHOCKED glance. Clare is also SURPRISED by the news. The TNT fuse nears the end...ready to BLOW AT ANY SECOND... Indiana removes the ANCIENT SCROLL from his pocket. He EXTENDS the scroll to Kezure. + + INDIANA + The Sacred Pai-Cho Scroll. + +Kezure GRABS the scroll. Attempting to READ it. Indy INTERRUPTS. + + INDIANA + Don't bother. Only WE can translate it. + +Kezure EXAMINES the scroll. PUZZLED by the writing. Indiana and Scraggy exchange a HOPEFUL glance. Kezure PAUSES. THINKING. He MUMBLES to himself. + + KEZURE + The Lost City... Said to have streets paved in gold...treasures far greater than any mortal man could imagine... + +Kezure PUSHES Clare away. TOWARD Indiana. Clare EMBRACES Indy, as he BLOWS OUT the dynamite fuse. Kezure GROWLS at Indy. + + KEZURE + Your pathetic lives will be spared. For now. + (scratching his neck) + But everything we find in the Lost City...belongs to ME. + + INDIANA + Fat chance, Sinbad. It's 50-50. Or you've got no deal. + + KEZURE + (vicious smile) + It is my way. Or you've got no head. + +CUT TO: + +INT. WATER CURTAIN CAVE - THAT NIGHT + +A group of Pirates sit TOGETHER. DRUNK. They SING one of their ancient songs. The GUITAR strumming crew member accompanies them. Indiana and Scraggy sit around a BLAZING FIRE with Kezure and several other Pirates. Indy, wearing his spectacles, TRANSLATES the scrolls with Scraggy. Indiana is PUZZLED. TROUBLED. He LOOKS at Scraggy. + + INDIANA + Read that last proverb again... + + SCRAGGY + (reads translation) + "High tide drowns curiosity, Low tide quenches thirst". + + INDIANA + (stands, looking at the surroundings) + There's something here...something that could help us... + +Meanwhile, Betsy and Clare work in ANOTHER SECTION of the cave. + +Clare is doing some ARCHEOLOGICAL WORK, studying the various artifacts and utensils. Betsy ASSISTS her. They are surrounded by LEERING, HUNGRY EYED PIRATES. The drunken Pirates DON'T take their eyes off of the girls. Betsy NOTICES. She POINTS it out to Clare. + + BETSY + Look at 'em. It's like they've never seen a woman before. + + CLARE + To them... We're the ultimate women. + + BETSY + Kinda' flattering, isn't it?... Being the girl of 200 guy's dreams? + +Clare and Betsy exchange a CHUCKLE. Meanwhile, Indiana, Scraggy and Kezure WALK through the cavern. Indy is LOOKING around. CURIOUS, he turns to Kezure. + + INDIANA + Is there an area... A place where the tide changes?... + +Kezure leads Indiana and Scraggy into a DARK CORNER of the cavern. A large, smooth WALL stretches to the ceiling. The wall is filled with intricate CRACKS. At the base of the wall, water slowly POURS into the cavern. Kezure POINTS to the water. + + KEZURE + In a few hours...the water will be lower...much lower... + + INDIANA + And the remainder of this wall will be visible?.... + +Kezure NODS. Indiana's eyes LIGHT. A REALIZATION. He excitedly TURNS to Kezure. + + INDIANA + We're gonna need light. A lot of light. On this wall. + +Kezure NODS. Indiana EXCHANGES an anxious, hopeful glance with Scraggy. + +DISSOLVE TO: + +CLOSE UP - A SNORING PIRATE CAMERA PULLS BACK. All of the Pirates SLEEP. Their slumbering bodies LIE in various positions, throughout the cave. Indiana and Kezure are STILL AWAKE. The flickering orange light of the TORCHES illuminates the wall in front of them. They AWAIT the lowering tide. Scraggy, Betsy and Clare SLEEP on the ground beside them. Kezure POURS two glasses of whiskey from a STONE BOTTLE. He gives a GLASS to Indiana. Kezure TOASTS. + + KEZURE + To my good fortune. + +Kezure GOBBLES down the whiskey. Indiana RELUCTANTLY drinks. Kezure pours TWO more glasses. LAUGHING. + + KEZURE + You know... We are very much alike, Doctor jones. + + INDIANA + I doubt that. + + KEZURE + We both share a remarkable talent for killing. + + INDIANA + I've never gotten used to killing, pal. I do it for survival. + + KEZURE + I do it for pleasure. + +Indiana DOWNS his whiskey. A LAUGHING Kezure does the same. Indiana NOTICES something. ON the wall. He JUMPS to his feet. CAMERA PANS TO THE WALL. The tide is VERY LOW. The entire wall is now VISIBLE. What were once simple CRACKS, have become the specific LINES OF A MAP. A group of ARROWS leads to an "X" at the BOTTOM CORNER OF THE MAP. A FASCINATED Kezure and Indiana STUDY the wall. + + INDIANA + (astounded) + This is incredible...this map was obviously used by Sun Wu Kung's disciples...if they were ever lost... + + KEZURE + These drawings...they are of the surrounding jungle... + + INDIANA + (points to "X") + Where is that?... + + KEZURE + It is located at the most South Eastern part of the jungle...near the mountains... There is a village there. The Mongooboo Tribe. + + INDIANA + You know them? + + KEZURE + Very well. I traded with the chief for many years. + + INDIANA + (anxious, excited) + Good. We'll leave in the morning. + +CAMERA PANS FROM Indiana and Kezure, to a DARK CAVE. A FEW FEET away. Standing inside, is the figure of the MYSTERIOUS CREW MEMBER. The TRAITOR. His face is HIDDEN in the shadows. Again, he RADIOS back to Nazis. He WHISPERS in German. CAMERA DOLLIES INTO A CLOSE UP of his RADIO MICROPHONE. A RED SWASTIKA adorns the microphone. + +EXT. JUNGLE PLAINS - THE FOLLOWING AFTERNOON + +Scraggy's decrepit MODEL-T TAXI putters across the flat, jungle terrain. The HOT SUN shines in the background. The car is completely PACKED with people. Ready to BURST. Scraggy DRIVES. Indiana, Clare and Betsy are CROWDED in the front seat. Kezure and four Pirates ride in the REAR COMPARTMENT. Everyone is UNCOMFORTABLE. CRAMPED. SWEATING. Two of Scraggy's crew members STRADDLE the sideboard. Three men sit on the ROOF, including the GUITAR PLAYER, who plays a delightful melody. Various rusted POTS, PANS and other UTENSILS dangle from the car. This creates a CHARMING, JINGLING sound. The taxi passes a HERD OF GIRAFFE. The beautiful animals stare in BEWILDERMENT at the passing taxi. Suddenly, there is a DISTANT SOUND. The same LOW, RUMBLING we heard earlier. The giraffes SCATTER. AFRAID of the unnatural sound. + +INT. TAXI + +The bizarre SOUND echoes through the taxi. Indy EXCHANGES a puzzled look with the others. + + INDIANA + That sound. Again. + + SCRAGGY + (listening) + Still far away...but getting closer. + +The sound STOPS. Indiana is BOTHERED. DISTURBED. Kezure LEANS forward. He points to a CLUSTERED AREA OF JUNGLE. Nearly a MILE in the distance. + + KEZURE + The village is there. Beyond the thick of jungle. + +Scraggy NODS. He DRIVES toward the village. Suddenly, AN ARROW SHOOTS THROUGH THE WINDOW! JUST MISSING everyone. It SHATTERS the passenger window. A TRIBE OF NATIVE WARRIORS appear on the terrain. There are HUNDREDS. SCREAMING in high pitched squeals. Their bodies ADORNED with red and white PAINT. The angry warriors RUN TOWARD the taxi. FIRING ARROWS! On the Taxi roof, the men DIVE for cover. Arrows WHIZ by their heads. Inside, everyone ROLLS UP the windows. The taxi is attacked with a SHOWER OF ARROWS. Scraggy FLOORS the gas. The taxi keeps MOVING AHEAD. SPEEDING toward the jungle. Indiana GLARES at Kezure. + + INDIANA + Thought you said they knew you?... + +Kezure gives a PUZZLED SHRUG. The WARRIORS continue to CHASE the Taxi. Getting CLOSER. Firing more ARROWS. The taxi SPINS to a stop. Directly in front of a LARGE OPENING that leads into the jungle. Everyone POURS OUT of the Taxi. ARROWS fly by their heads. They DASH through the opening. Into the JUNGLE. The Warriors STOP. OUTSIDE of the opening. They DON'T ENTER. TURNING to each other, they begin to LAUGH. VICTORIOUS. + +INT. JUNGLE + +An almost PERFECT PATH has been cleared through the thick Jungle. Indiana and the others RUN through the path. Indy SUDDENLY PAUSES. MOTIONING for the others to STOP. A PUZZLED LOOK covers his face. + + INDIANA + Wait... Listen... They're not following us... + +One of the Pirates CONTINUES TO MOVE FORWARD. + +His foot TRIPS A THIN STRING that stretches across the path. WHOOSH! A BOOBY TRAPPED PALM TREE SWINGS FORWARD! It SLAMS into the Pirate! Like a giant BASEBALL BAT! It sends the Pirate FLYING UPWARD. HIGH INTO THE AIR! His body is THROWN several feet into the jungle. Indiana exchanges a CAUTIOUS look with the others. + + INDIANA + Be careful where you step... We've got to move slowly...very slowly... + +Indiana LEADS everyone. They CREEP through the path. Indy PAUSES. CAMERA PANS TO HIS WAIST. A SECTION OF VINE stretches across the path. ANOTHER booby trap. Indiana CRAWLS BENEATH THE VINE. He MOTIONS for the others to follow. One by one, they CAREFULLY CRAWL beneath the vine. The guitar player is LAST. He begins to CRAWL through. He NEARLY makes it, when...the top of his guitar HITS THE VINE! The vine SNAPS. There is a CREAKING SOUND. A GIANT, METAL TRAP, OVER FOUR FEET HIGH, SHOOTS UP FROM THE GROUND! A HUMAN TRAP! + +The GUITAR PLAYER DIVES TO SAFETY! The trap's SHARP METAL TEETH SNAP SHUT! The guitar is SNAPPED IN TWO! Soon, the path ERUPTS with countless ROWS OF TRAPS. They EJECT from the ground. SNAPPING SHUT. One AFTER the other. Everyone begins to RUN. The traps SNAP SHUT ONLY A FEW FEET BEHIND THEM! Everyone ROUNDS A CORNER... They COME UPON... AN ENORMOUS PIT! Over TEN FEET DEEP! Filled with countless layers of SCORPIONS! There is NOWHERE TO TURN. NOWHERE TO RUN. The METAL TRAPS continue to SHUT BEHIND THEM! + +Indiana removes his SWORD. He slices at A BAMBOO TREE. The traps CONTINUE TO SHUT BEHIND HIM. Getting CLOSER. CLOSER. Indiana gives A FINAL WHACK TO THE TREE. It FALLS. STRETCHING across the pool. Only A FEW FEET ABOVE the stinging scorpions. Indiana begins to CLIMB ACROSS. Moving HAND OVER HAND. Everyone hurriedly FOLLOWS. The bamboo tree CREAKS with their every movement. Their feet DANGLE only INCHES above the scorpions. The last Pirate GRABS HOLD of the bamboo tree, just as the FINAL METAL TRAP SHUTS! JUST MISSING HIM! + +As the last Pirate makes his way ACROSS the pit, he DROPS a small bag of GOLD COINS. The coins REST a few feet below. DIRECTLY ON TOP of the scorpions. The Pirate PAUSES. DECIDING whether to climb to safety or retrieve the coins. Everyone else has MADE IT across. The GREEDY Pirate wants his money. With his left hand, he HOLDS TIGHTLY to the bamboo tree. With the other, he REACHES for the coins. His fingers are INCHES from the coins. But he LOSES his grip. He FALLS. INTO THE PIT. SURROUNDED by hundreds of scorpions. + +He STRUGGLES to get out. CLIMBING. SWIMMING. But he only manages to SINK. The Pirate's SCREAMS die, as his body is ENGULFED by the stinging scorpions. Indiana and the others CONTINUE AHEAD. Moving SLOWLY. CAREFULLY. Someone's foot STEPS ON A WOODEN TRIGGER. There is another CREAKING SOUND. Behind everyone, a large BAMBOO DOOR EJECTS FROM THE GROUND. It leads to an UNDERGROUND CAGE. The door CREAKS OPEN. THREE FEROCIOUS LIONS LEAP OUT! TEETH BARED. GROWLING. They COME FOR the humans. Everyone DASHES FORWARD. RUNNING. + +The lions are in HOT PURSUIT. FAST. The humans don't stand a CHANCE. Suddenly, Clare STOPS. She TURNS. FACING the charging lions. Indiana LOOKS BACK. SCREAMING. + + INDIANA + Clare! What are you...?!? + +The lions STOP. Inches from Clare. They SURROUND her. Ready to ATTACK. Indiana WATCHES. PUZZLED. Clare begins to make bizarre PURRING and COOING SOUNDS. The lions PAUSE. They RECOGNIZE the sounds. Clare CONTINUES. The lions begin to WARM UP to her. Clare KNEELS. She PETS the beasts. The lions SNUGGLE up to Clare. LICKING her face. Indiana and the others COME CLOSER. PUZZLED. Clare EXPLAINS. + + CLARE + I imitated the sound of a Lion Mother calling her babies. + +Betsy is IMPRESSED. Indiana SMILES. RELIEVED. + + INDIANA + C'mon. Let's get outta' -- + +Indy TURNS...FACE TO FACE with a grotesque SHRUNKEN HEAD! + +He STEPS BACK. The shrunken head is worn around the neck of a tall, muscular TRIBAL CHIEF. Leader of the WARRIORS. Countless NATIVES stand behind the chief. A look of ANGER...HATE...covers the Chief's face. Indiana gives a HOPEFUL glance to Kezure. + + INDIANA + Is this the Tribal Chief you told me about?... Your friend?... + + KEZURE + (points to shrunken head) + No. That is him. + +Indiana ROLLS his eyes. The warriors SURROUND everyone. ARROWS aimed. Ready to KILL. The Warriors lead everyone OUT of the path. + +EXT. MONGOOBO VILLAGE + +Several GRASS HUTS are scattered throughout this large village. Indiana and the others are LED into the village. They PASS the penetrating, unfriendly glares of the villagers. Kezure EXPLAINS to Indiana. + + KEZURE + This is a different tribe. New. They have taken over the village. + + INDIANA + What happened to the other tribe? + +Kezure SHRUGS. Indiana TURNS to Scraggy. + + INDIANA + You recognize their language? + +PAGE 73 MISSING FROM HARD COPY Suddenly, a VOICE echoes from inside of the oven. + +The natives LISTEN. Again, the voice SHOUTS from inside. It's SCRAGGY. The natives RECOGNIZE the language. They quickly OPEN the oven door. Scraggy is SCREAMING in the tribe's tongue. The grille is PULLED out of the oven. The natives hurriedly UNTIE the slightly smoked Indiana, Kezure and Scraggy. Scraggy SHOOTS to his feet. FURIOUS. He begins to SHOUT at the tribal CHIEF. The Chief and the villagers are AWESTRUCK by Scraggy's words. The nervous Chief ORDERS Clare, Betsy and the others UNTIED. Scraggy WHISPERS to Indiana. + + SCRAGGY + I tell him we divine messengers of Sun Wu-Kung. If he interfere with our mission... Jade Emperor come down from heavens and destroy his village. + +Indy SMILES. Scraggy TURNS and again SHOUTS to the chief. The chief OBEYS Scraggy's every word. He LEADS Indy and Scraggy to another area of the village. Scraggy TRANSLATES for Indiana. + + SCRAGGY + I tell him we lose path to city... I ask if he have something to help us. + +The chief leads Indy and Scraggy into a LARGE GRASS HUT. + +INT. GRASS HUT + +EMPTY, save for an elaborate MARBLE ALTAR. A dull MIRROR rests on the altar. The small mirror is surrounded by a crude, STONE FRAME. The chief PICKS up the mirror and GIVES it to Scraggy. The chief EXPLAINS. Scraggy GIVES the mirror to Indiana. + + SCRAGGY + (translating) + He say this will help us. And since we are divine messengers...we will know how to use it! + +Indiana SMIRKS. He EXAMINES the mirror. Totally CONFUSED by it. + +CUT TO: + +EXT. MONGOOBOO VILLAGE - DAWN + +The village SLEEPS. QUIET. PEACEFUL. Scraggy's Model-T is PARKED here. Several of the crew members and Pirates are SLEEPING in and around the car. KEZURE is sprawled on the car's roof. SNORING. It is obvious that they have CAMPED here for the evening. Suddenly, a SLIGHT TREMOR surges through the village. A soft VIBRATION. Cooking utensils RATTLE. Grass huts SHAKE. + +INT. GRASS HUT + +Indiana SLEEPS here. In a HAMMOCK. The vibration WAKES Indy. As he moves to climb out of the hammock, a FIGURE LEAPS ON TOP OF HIM! BETSY. + + BETSY + Indy. I'm frightened. + + INDIANA + I'm claustrophobic. + +Indiana attempts to PUSH Betsy out of the hammock. She RESISTS. They begin to WRESTLE. STRUGGLE. The hammock becomes TANGLED around their bodies. Clare WALKS BY the hut. She LOOKS inside. To her, it appears that Indy and Betsy are in the middle of a PASSIONATE love scene. She emits a SHOCKED GASP. Indiana SEES Clare. He CALLS OUT. + + INDIANA + Clare!... Wait!... + +But the startled Clare HURRIES AWAY. + +Indiana manages to ESCAPE Betsy and the tangled hammock. He LANDS on the floor. BREATHLESS. + +EXT. VILLAGE + +The vibrating INTENSIFIES. The ground begins to RUMBLE. The surrounding trees SHAKE. The villagers POUR out of their huts, gathering in the middle of town. FRIGHTENED. Indiana and Betsy JOIN Scraggy, Clare, Kezure and the others. Betsy is PUZZLED by the tremors. + + BETSY + An earthquake? + +The Tribal Chief STEPS FORWARD. He says ONE WORD in his language. Scraggy TRANSLATES for the others. + + SCRAGGY + Wildebeest. + +CUT TO: + +A HERD OF STAMPEDING WILDEBEEST Hundreds of the RAGING animals plow through the jungle. Moving FAST. They CRUSH everything in their path. + +EXT. MONGOOBOO VILLAGE + +The vibrating is LOUDER. HARDER. The villagers PANIC. They RUN AWAY. SCATTERING into the jungle. Indiana and his party are CLUSTERED together. Clare EXCLAIMS. + + CLARE + We have to get out... Or we'll be crushed to death. + + INDIANA + Scraggy... How close? + +Scraggy puts his EAR to the trembling ground. He LISTENS. + + SCRAGGY + Two miles. + +Indy dashes to the Model-T SUPPLY RACK. He tosses SHOVELS to each of the group. He LOOKS around. + + INDIANA + Where's the softest ground?... + +Scraggy asks a PASSING VILLAGER. The villager SHOUTS some gibberish and continues running. Scraggy POINTS OFF SCREEN. Toward a COMMUNAL GRAVEYARD. + +CUT TO: + +THE WILDEBEEST. SNORTING. STOMPING. CARVING a wide path through the thick jungle. Small animals RUN for their lives. Bunnies DASH ahead of the herd. Monkeys SWING to other trees. The ANGRY Wildebeest continue ahead. + +EXT. VILLAGE + +Indiana and the others stand in the LARGE GRAVEYARD. SHOVELS in hand. They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS protrude from the surrounding hole. Scraggy STARES at the ghastly sight. Eyes WIDE. FEARFUL. He begins to BABBLE. HYSTERICAL. + + SCRAGGY + Oh, no! Many dead spirits! Bad spirits... We must stay away... + +Indy interrupts by PUSHING SCRAGGY INTO THE OPEN GRAVE. Scraggy falls into the ARMS OF A SKELETON. He SCREAMS. + +CUT TO: + +THE HERD OF WILDEBEEST BURSTING through a section of jungle. They arrive on the VAST JUNGLE PLAIN. Directly ahead of them, several feet in the distance, is the MONGOOBOO VILLAGE. The Wildebeest head STRAIGHT for the village. + +EXT. VILLAGE + +DESERTED. NO SIGN of human life. Everything TREMBLES with the force of a major earthquake. The wildebeest ARRIVE. DESTROYING the village. Grass Huts are FLATTENED. The enormous stone oven COLLAPSES. CRUMBLING to pieces. Scraggy's Model-T is OVERTURNED. With nothing left standing, the wildebeest MOVE ON. The village has been completely DEVASTATED. Surrounded with a heavy CLOUD OF DUST. CAMERA PANS TO THE GRAVEYARD. Grave markers and tombstones lie BROKEN and CRUSHED. Countless HOOFPRINTS cover the flat ground. + +The dust begins to SETTLE. The graveyard ground suddenly BUCKLES. MOVING. A HAND shoots out. Indiana CLIMBS OUT of the dirt. He is FOLLOWED by the others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE. PROTECTED by the ground above. A skeleton has ATTACHED itself to Betsy. REFUSING to let go. Scraggy, Indy and a few of the men RUN to the overturned Model-T Taxi. They GRAB hold of the car and TURN it back upright. Clare LOOKS at the devastated village. Betsy stands beside her, STRUGGLING TO ESCAPE from the clutches of the skeleton. + +Clare looks into the DISTANCE. Watching the DEPARTING Wildebeest. She is TROUBLED. WORRIED. + + CLARE + That's odd... Wildebeests will not stampede unless provoked... + +Suddenly, the same LOW, RUMBLING SOUND from earlier, ECHOES through the area. But this time it is LOUD. Nearly DEAFENING. Scraggy LOOKS at Indy. + + SCRAGGY + This time, it is very close, Indy. Very close! + +At that moment, directly behind Scraggy and Indy, the jungle ERUPTS! The trees SEPARATE. CRASHING to the ground. Making way for some GIANT BEHEMOTH. Scraggy and the others LEAP IN ONE DIRECTION. Indiana LEAPS IN ANOTHER. A GIANT TANK SHOOTS out of the jungle. A METAL MONSTROSITY. ONE of a kind. The tank is over TEN TIMES the size of a normal tank. Nearly 100 FEET LONG. Over 25 FEET HIGH. It is equipped with THREE LEVELS. On the TOP LEVEL, is the tank's swivelling GUN BARREL. ENORMOUS. The size of a CANNON. Two giant, BLAZING RED SWASTIKAS adorn both sides of the tank's SECOND LEVEL. The tank RUNS OVER Scraggy's Model-T. The car is FLATTENED. A THICK CLOUD OF DUST erupts from the ground. + +INT. TANK + +GUTTERBUHG is here. He views the outside action through a PERISCOPE. TWO NAZI GUNNERS are behind him. WAITING for orders to shoot. TYKI sits in the background. The confused pygmy is BOUND and GAGGED. OUTSIDE Scraggy, Clare, Betsy, Kezure and the others DASH across the plains. RUNNING AWAY from the pursuing tank. But Indiana is NOT with them. Scraggy, UNABLE TO SEE through the dust, calls out. + + SCRAGGY + Indy?... Indy?... + +Indiana is SEVERAL FEET AWAY. On the GROUND. ALONE. LOST in the thick of DUST. Suddenly, a DARK FIGURE appears. TOWERING over Indiana. The dust begins to CLEAR. Revealing a protruding WHITE HORN. More dust CLEARS. We see that the figure is a large, BLACK RHINOCEROS! Indy LEAPS to his feet. The rhino SNORTS. Indy turns to RUN. The rhino CHASES him! Meanwhile, with most of the dust CLEARED, the TANK CHASES INDY'S FRIENDS ACROSS THE JUNGLE PLAINS. + +INT. TANK + +Gutterbuhg LOOKS into the periscope. Indy's friends are in his SIGHTS. Gutterbuhg SCREAMS to the gunners. + + GUTTERBUHG + (German; English subtitles) + Fire! + +OUTSIDE The tank's large barrel FIRES A SHOT at the running group. + +The blast FLIES OVER THEIR HEADS. JUST MISSING everyone. It BLASTS a row of palm trees to smithereens. INDIANA is still running from the rampaging rhino. Indy begins to RUN IN A CIRCLE. The angry rhino FOLLOWS him. The circle begins to TIGHTEN... Becoming SMALLER... SMALLER... Until Indy is nearly running ALONGSIDE of the rhino. At the exact moment, Indy GRABS HOLD of the rhino. He LEAPS onto the beast. With a bit of careful maneuvering, Indiana is RIDING THE RHINOCEROS! Scraggy, Betsy, Clare, Kezure and the others CONTINUE TO RUN. + +The tank is right BEHIND THEM. MOVING FAST. In HOT PURSUIT. The tank FIRES ANOTHER SHOT! It SPLATTERS the ground. BESIDE the group. Again, JUST MISSING everyone. The group TURNS. RUNNING in ANOTHER DIRECTION. The tank FOLLOWS. Indiana continues to ride the WILD, BUCKING rhino. He has NO CONTROL over the beast. The rhino spots SOMETHING. The TANK. From this angle, the tank, with its large protruding gun barrel, resembles a GIANT RHINOCEROS. Seeing this, the rhino turns and RUNS TOWARD the tank. HEAD ON. + +Indy holds TIGHTLY. Scraggy and the others PAUSE. They see the tank BEHIND THEM. They see the rhino AHEAD of them. The group makes QUICK TURN. To the RIGHT. They run toward a RAVINE. The tank is headed STRAIGHT for Indy and the rhino. Both moving at FULL SPEED. + +INT. TANK + +Through the periscope, Gutterbuhg SEES Indy and the rhino. INDIANA continues to RIDE the uncontrollable rhino. They are within THIRTY FEET of the oncoming tank. + +INT. TANK + +Gutterbuhg SCREAMS in German, ordering the Nazi Gunner to "Fire". + +EXT. PLAINS + +The tank FIRES. The blast is LOW. The ground in front of Indy and the rhino EXPLODES. A cloud of dust ERUPTS. + +INT. TANK + +Gutterbuhg LOOKS through the periscope. His view is BLOCKED by dust. + +EXT. PLAINS + +The tank is UPON Indy and the rhino. The rhino SCREECHES to a stop. FRIGHTENED by the blast. Indiana LEAPS ONTO THE TANK. GRIPPING the front section. HOLDING ON for dear life. Moments before he is crushed beneath the tank's giant treads, the RHINO TURNS and RUNS OFF. Scraggy, Betsy, Clare, Kezure and the others, have arrived at the foot of a tall, several branched TREE. Located at the side of the RAVINE. Over the ravine's edge, is a SEVERAL HUNDRED FOOT DROP onto jagged rocks. Scraggy begins to CLIMB the tree. + + SCRAGGY + Safest place from bad spirits...is in branches of tree. + +The others SHRUG. They have NO CHOICE but to FOLLOW Scraggy up into the branches of the tree. Indiana CLIMBS along the side of the monstrous tank. He searches for a PASSAGEWAY inside of the tank. + +INT. TANK + +The Nazis are UNAWARE of Indy's presence on the tank. Gutterbuhg CONTINUES to look through the periscope. The dust begins to CLEAR. He FOCUSES his sights on Indy's friends. LOCATED several feet away. They CLIMB into the TREE. Gutterbuhg SMILES. + +EXT. TANK + +Indy CANNOT FIND a passageway into the tank. He SEES the GUN BARREL. OVERHEAD. It SWIVELS. AIMING toward the tree filled with Indy's friends. Indy GRABS one of the tank's LARGE HEADLIGHTS. He PULLS HARD. SNAPPING OFF the headlight. Indy LEAPS upward. He quickly STUFFS the headlight inside of the barrel opening. + +INT. TANK + +The tree of Indy's friends are in Gutterbuhg's SIGHTS. A PERFECT SHOT. Gutterbuhg SCREAMS in German, ordering the Nazi gunners to SHOOT. They FIRE. But the barrel BACKFIRES! EXPLODING in the face of the two Nazi gunners. It sends them FLYING against the wall. OUT COLD. The cabin fills with SMOKE. Only Gutterbuhg and Tyki REMAIN. A FURIOUS Gutterbuhg PICKS up the radio. He SCREAMS into the microphone. + + GUTTERBUHG + (German; English subtitles) + Send help! We need assistance! + +Tyki HELPLESSLY watches in the background. Gutterbuhg LOOKS into the periscope. He SEES Indiana. ON the tank. Gutterbuhg hits a RED BUTTON. On the CONTROL PANEL. + +EXT. TANK + +COUNTLESS ROWS OF MACHINE GUNS eject from secret slots. All AROUND the tank's FIRST LEVEL. The machine guns begin to FIRE. RAPIDLY. WILDLY. Indiana DUCKS and DODGES the guns. He CLIMBS to the SECOND LEVEL. But the large SWASTIKAS begin to move. OPENING. They are actually HIDDEN DOORS. SECRET COMPARTMENTS. Several NAZI SOLDIERS exit the compartments. They COME FOR Indiana. He FIGHTS the onslaught of soldiers. PUNCHING. WRESTLING. The tank, without a driver, begins to wildly SPIN. Going in CIRCLES. From the tree, SCRAGGY sees Indy's dilemma. He SHOUTS to the others. + + SCRAGGY + Indy in trouble! We must help! + +Scraggy begins to CLIMB OUT of the tree. A GUN suddenly MOVES INTO FRAME. POINTED at Scraggy's head. Scraggy TURNS. One of his CREW MEMBERS holds the gun. + + CREW MEMBER + (German accent) + Don't move. + (to the others) + All of you. Stay where you are. + +Scraggy and the others FREEZE. Clare makes a REALIZATION. She GLARES at the Crew Member. + + CLARE + It was you. You're the reason the Nazis found us. + +The crew member gives an evil SMILE. Indiana continues to FIGHT the Nazis, along the SECOND LEVEL of the frenzied tank. Indy has DEFEATED most of the soldiers. Only TWO NAZIS remain. They OVERCOME Indy. They push him DOWNWARD. Toward the tank's FIRST LEVEL. Toward the rows of FIRING MACHINE GUNS. Indiana STRUGGLES to break free. But the powerful Nazis push him CLOSER...CLOSER...to the machine guns. In the TREE, the crew member keeps his pistol AIMED at Scraggy's head. CAMERA PANS UPWARD. Kezure is PERCHED on the top branch. ABOVE Scraggy. + +At the right moment, Kezure LEAPS DOWN. ON TOP of the treacherous crew member. Kezure KNOCKS the gun from the crew member's hand. BLAM! The gun GOES OFF. A stray bullet STRIKES the tree trunk. Kezure PUNCHES the crew member, who LOSES HIS BALANCE and FALLS from the tree. Going OVER THE EDGE of the ravine. His body DROPS hundreds of feet. CRASHING to the rocks below. Kezure SMILES. VICTORIOUS. But the tree suddenly CREAKS. GROANS. A CRACK has formed around the trunk, where the bullet STRUCK. The tree begins to TILT. + +Slowly TEETERING over the ravine's edge. Everyone PANICS. Betsy SHOUTS. + + BETSY + Nobody move. Or we'll go over. + +Everyone FREEZES. Scared to DEATH. They TIGHTLY GRIP their branches. The tree SWAYS. SLOWLY. Indiana still FIGHTS the two Nazis. STRUGGLING to keep his body from the tank's deadly machine guns. Indy FLIPS one of the Nazis over his head. The Nazi falls DIRECTLY IN FRONT of an entire row of machine guns. His body does a GROTESQUE DANCE OF DEATH. RIDDLED with bullets. Indiana and the other Nazi exchange PUNCHES. Their bodies TUMBLE over the rear of the tank. They fall onto a SMALL LEDGE. Above the enormous, rotating TANK TREADS. + +Indy and the Nazi battle to push the other OFF THE LEDGE. Indiana PREVAILS. He pushes the Nazi ON TOP of the giant treads. The Nazi tries to CLIMB BACK...but his body is DRAGGED BENEATH THE TANK. CRUSHED. Indiana turns, seeing Gutterbuhg climb out of a SECRET HATCH. On the tank's TOP LEVEL. Gutterbuhg POINTS HIS FINGER at Indy. It rapidly FIRES BULLETS. Indy DODGES around the side of the tank. Bullets BOUNCE off the metal beside him. Meanwhile, Indy's friends sit BREATHLESSLY on the swaying tree. + +Everyone is SILENT. STILL. Kezure suddenly SNEEZES. The tree CREAKS. It WAVERS over the ravine's edge. Nearly GOING OVER. But it DOESN'T. Everyone CATCHES THEIR BREATH. The tree continues to TEETER. Gutterbuhg PURSUES Indiana. Playing CAT AND MOUSE along the top level of the tank. Indiana PEERS around a corner. Seeing Gutterbuhg AHEAD. Indy grabs hold of the large ROTATING GUN BARREL. Indy LIFTS his feet. He SWINGS FORWARD. RIDING the gun barrel. He SPINS around the tank's side and comes up BEHIND the unsuspecting Gutterbuhg. + +Indy JUMPS the Nazi. They begin to FIGHT. Gutterbuhg tries to move his Mechanical arm INTO POSITION. To SHOOT Indy. The tank continues to LOSE CONTROL. It no longer SPINS in CIRCLES. It is headed STRAIGHT TOWARD the tree filled with Indy's friends. + +INT. TANK + +Tyki SITS inside. WATCHING through the periscope. HELPLESS. + +EXT. PLAINS + +Gutterbuhg and Indiana continue to FIGHT. Suddenly, there is a BUZZING SOUND. An AIRPLANE ENGINE. Indiana LOOKS TO THE SKY. A NAZI BIPLANE FLIES TOWARD HIM. The biplane DIVES. Moving LOWER. LOWER. Gutterbuhg ROLLS OUT OF THE WAY. Indy is TRAPPED. A SITTING DUCK. The biplane SWOOPS DOWN. Trying to HIT Indy. He DIVES onto the tank top. Lying FLAT. The plane flies DIRECTLY OVER Indy. JUST MISSING him by a FEW FEET. Meanwhile, the tank still DRIVES DIRECTLY TOWARD the swaying tree and ravine. Scraggy, Betsy, Clare, Kezure and the others remain FROZEN. STILL. WATCHING the tank come for them. + +They are FRIGHTENED. HELPLESS. Indy and Gutterbuhg have RESUMED their fighting. STANDING on the tank's top. The biplane LOOPS in the air. Coming back for ANOTHER SHOT. Gutterbuhg LEAPS out of its path. The plane HEADS STRAIGHT for Indy. He again DIVES to the tank's top. The biplane SWOOPS DOWN. This time AIMING LOWER. As it PASSES Indy, its wheels GRAZE his back. Indy CRIES OUT. The tank continues to SPEED TOWARD the tree of trapped people. Getting CLOSER...CLOSER... His back ACHING, Indy struggles to keep Gutterbuhg's machine gun arm from shooting him. + +The biplane does another midair LOOP. It TURNS and HEADS straight for Indy. This time, the plane WON'T MISS. As the biplane gets CLOSE... Indy grabs a tight HOLD of Gutterbuhg's Mechanical arm. Indy RAISES the arm. AIMING at the biplane. Indy pulls the arm's TRIGGER. FIRING a round of shots. The rapid bullets STRIKE the plane's belly. The biplane LOSES CONTROL. Its engine COUGHS. DIES. The biplane SPINS. Flipping into a NOSEDIVE. Leaving a trail of BLACK SMOKE. The biplane HITS the ground. A FLAMING CRASH! SEVERAL FEET from the tank. + +Indiana OVERPOWERS Gutterbuhg. With TWO HARD PUNCHES, Indy FLOORS the Nazi. Gutterbuhg lies SPRAWLED on the tank's top. UNCONSCIOUS. Indy TURNS. He sees that the speeding tank is going to CRASH into the tree full of his friends. Indiana LEAPS into the open tank compartment. + +INT. TANK + +Indiana TAKES the controls. But they are completely ALIEN to him. He hears a SQUEAL. TYKI. Behind HIM. Tyki motions to a SPECIFIC CONTROL. Indy GRABS HOLD of it. + +EXT. PLAINS + +The tank SCREECHES. SPINNING TO A STOP. INCHES from the swaying tree. Scraggy, Clare, Betsy, Kezure and the others, emit a UNIFIED SIGH OF RELIEF. But the tree suddenly CRACKS. It TILTS. FALLING OVER THE RAVINE EDGE! Everyone SCREAMS! There is the sudden CRACK OF A WHIP! The whip WRAPS ITSELF around the trunk of the tree. Indiana HOLDS the opposite end. He PULLS with all of his strength. HOLDING the tree in place. He PREVENTS the tree from FALLING into the ravine. Indy SHOUTS to his friends. Through GRITTED TEETH. + + INDIANA + Jump!... Jump!... + +Everyone begins to LEAP from the tree. To the GROUND. Indy CONTINUES to hold the tree in place. Muscles BULGING. Sweat POURING. Veins POPPING. Soon, everyone is back on the GROUND. SAFE. Indy RETRIEVES his whip. The tree TILTS. FALLING over the ravine edge. The tree CRASHES to the rocks below. SPLINTERING into a million pieces. On the top level of the tank, Gutterbuhg STIRS. WAKES. But Indiana is UPON HIM. Using a rope, Indy TIES UP Gutterbuhg. He removes the AMMO CARTRIDGE from the Nazi's mechanical arm. EMPTYING the bullets onto the ground. Indiana PUSHES Gutterbuhg INSIDE THE TANK. Tyki CRAWLS out of the tank. He SEES Clare. TEARS of happiness fill his eyes. He RUNS to Clare. The two exchange a WARM EMBRACE. Tyki SEES Scraggy. They shake hands and begin an EXCITED CONVERSATION. Like two OLD FRIENDS. + +INT. TANK + +Indy grabs the RADIO MICROPHONE. He HOLDS it in front of Gutterbuhg. + + INDIANA + Call your mommy. + +Gutterbuhg GROWLS. He SPEAKS German into the microphone. The voice of LIEUT. MEPHISTO answers. Echoing over the SPEAKERS. Indy GRABS the microphone. INTERRUPTING. + + INDIANA + This is Jones. I've got your tank. + (pause) + It's all over, pal. You lose. + +CUT TO: + +CLOSE-UP: LIEUT. MEPHISTO He is ANGRY. UPSET. But he FORCES himself to CALMLY address Indiana. + + MEPHISTO + Doctor Jones... You surprise me. For a supposedly intelligent man...you jump to childish conclusions. Remember... You are driving our tank. We can FOLLOW you anywhere. + (vehement) + You are far from defeating us, my friend. The battle has only just begun. + +CAMERA PULLS BACK. Mephisto is standing beside a long ROW OF TENTS. Housing many TROOPS. Several JEEPS are parked in the background. All mounted with RECOILLESS CANNONS. 5 CANVAS TRUCKS are also here. Filled with more TROOPS, CANNONS and AMMUNITION. The Nazis have assembled an ENTIRE ARMY! INDIANA DROPS the microphone. Suddenly WORRIED. He HURRIES out of the tank. Gutterbuhg stays BEHIND. LAUGHING. + +EXT. PLAINS + +Indiana HURRIES to Tyki and the others. Indy shoots an IMPATIENT glance to Scraggy. + + INDIANA + We've got to move. Fast. + (points to Tyki) + Ask him if he knows the way to the City from here. + +Scraggy ASKS Tyki. The pygmy ANSWERS, pointing OFF SCREEN. Scraggy TRANSLATES for Indiana. + + SCRAGGY + He do not know exact place... But it is somewhere over there. + +Indy TURNS to the direction where Scraggy points. Several miles away, we see COUNTLESS ROWS OF MOUNTAINS. Thick layers of CLOUDS surround the mountains. + +Indiana SIGHS. + + INDIANA + A lotta' good that does us... It could take us months...years...to search every one of those. + +Betsy has an IDEA. She removes the STONE MIRROR from Indiana's pocket. + + BETSY + Maybe he knows what to do with this... + +Betsy GIVES the mirror to Tyki. His eyes WIDEN. In AWE. Tyki RECOGNIZES the mirror. He excitedly EXPLAINS to Scraggy, who TRANSLATES for Indiana. + + SCRAGGY + It is "Magical Mirror of Sun Wu Kung"... + + INDIANA + But whattayou do with it? + +Scraggy ASKS Tyki. The energetic pygmy PLACES the mirror against an upright stone. Tyki ADJUSTS the mirror, until it FACES the distant mountains. Tyki emits a high pitched GIGGLE. POINTING to the mirror. Everyone GATHERS around the mirror. The SOUND TRACK MUSIC SOARS. The mirror reflects the CLOUDS above the mountains. But above one SPECIFIC MOUNTAIN, we see the image of a CITY REFLECTED ON THE CLOUDS! Indiana TURNS away from the mirror, looking at the SPECIFIC MOUNTAIN. But the city is ONLY REFLECTED IN THE MAGICAL MIRROR! Clare SMILES at Indy, quoting Tyki from earlier. + + CLARE + "I come from Land Of City On Clouds". + +Indiana NODS. HOPEFUL. ANXIOUS. He looks back to the magical REFLECTION. + +CUT TO: + +THE TANK travelling a NARROW PATH. Along the side of a STEEP MOUNTAIN. The tank moves UPWARD. Toward the mountain TOP. The tank JERKS. WOBBLES. It's as if the driver were having TROUBLE with the controls. + +INT. TANK + +Indiana DRIVES. UNFAMILIAR with the controls. The tank is CROWDED with everyone. Betsy and Clare sit BESIDE Indy. Gutterbuhg is DIRECTLY BEHIND HIM. Kezure TEACHES a game to Scraggy. Tyki, the Pirates and the various crew members WATCH. The game appears to be a BIZARRE VERSION of chess. Only the tokens are DRIED INSECTS and LIZARDS. Kezure EXPLAINS. + + KEZURE + This is called "Taskipi". Only the bravest play. + +Upon hearing this, Scraggy is even MORE EXCITED TO PLAY. + +The game BEGINS. Indiana is becoming extremely FRUSTRATED by the tank controls. Betsy gives a SERIOUS LOOK to him. + + BETSY + I've been talking to Dr. Clarke about our problem. + + INDIANA + (struggling with tank) + Problem?... Hey... What're you two doin' talkin' behind my back?... + + CLARE + Betsy needed help. I obliged. + + INDIANA + Since when did you become the female Sigmund Freud? + + CLARE + Since I received a Masters Degree in Psychology. + +Indy ROLLS HIS EYES. Meanwhile, Kezure has TAKEN all of Scraggy's tokens. He's obviously WON the game. A carefree Scraggy THROWS up his hands. + + SCRAGGY + We play again? + + KEZURE + (pause, serious) + The game is not yet over, my friend. + + SCRAGGY + Oh? + + KEZURE + You have lost. You must pay. + + SCRAGGY + (going through pockets) + I don't have money... + + KEZURE + No. No. money. + (deadly smile) + Rules of the game declare that I may choose a souvenir. + (removes a knife) + A part of your body. Any part I wish. + +Scraggy GULPS. Kezure PAUSES. RUBBING his jaw. THINKING. Meanwhile, Betsy EXPLAINS to Indiana. + + BETSY + Dr. Clarke says that you're not really in love with me. You're just trying to prove that you can still attract younger women. You're terrified of getting old. + + INDIANA + That's crazy. + + BETSY + That's what I told her. I told her that you really did love me. + + INDIANA + (fumbling) + Well...that's...ah...well... + + BETSY + (worried) + You mean... She was right?... + + INDIANA + No... I mean Yes... I mean... + +Indy TURNS, seeing Clare GLARING at him. Indy SIGHS. PAUSES. He gives Betsy a TENDER, HONEST look. + + INDIANA + No, Betsy. I don't love you. + + BETSY + (tears fill her eyes) + That's the first time you ever said it! + +Betsy begins CRYING. Into Clare's ARMS. Indiana SHAKES his head. Clare COMFORTS Betsy. + + CLARE + There. There. He's a very disturbed man. + +Indiana SIGHS. He TURNS. FACE to FACE with a GRINNING and NODDING Gutterbuhg. Kezure has made his DECISION. Scraggy WAITS. TERRIFIED. Kezure RAISES his knife. TOWARD Scraggy's face. + + KEZURE + Your eyes. They are a striking deep blue. + +Scraggy COVERS his face. Kezure ATTACKS him. Trying to CUT OUT Scraggy's eyes. A FIGHT begins. The crew members VS. the Pirates. Indiana TURNS, away from the controls. He BREAKS UP the fight. + + INDIANA + (angry) + Enough. We're in this together. If we start fighting among ourselves... we'll never get out alive. + +The men CALM DOWN. CATCHING their breath. Kezure PUTS AWAY his knife. He GLARES at Scraggy. + + KEZURE + You owe me, old man. + +EXT. MOUNTAIN + +The tank, without a driver, begins to SWERVE OFF THE MOUNTAIN ROAD. + +INT. TANK + +Clare NOTICES the tank going over the mountain. She SCREAMS. + + CLARE + Doctor Jones!!! + +Indy TURNS. LEAPING back to the controls. He hurriedly STEERS the tank back onto the mountain path. Saving it at the LAST MOMENT. Everyone CATCHES their breath. Indiana STEPS on the gas, continuing AHEAD. + +CUT TO: + +EXT. MOUNTAIN - A FEW HOURS LATER + +The tank has nearly made it to the TOP of the mountain. Trekking through a NARROW, ROCKY RAVINE. The tank rolls to a STOP. The top hatch FLIPS OPEN. Indiana, Scraggy and Tyki POP OUT. Tyki suddenly points to the MOUNTAIN TOP, which is cloaked in thick LAYERS OF CLOUDS. Tyki's eyes fill with JOYOUS TEARS. He begins to SHOUT. His voice SQUEALS with EXCITEMENT. Scraggy TRANSLATES for Indy. + + SCRAGGY + He say that two miles ahead...we will find his home. + +Indiana SMILES. EXCITED by the prospects. TOUCHED by Tyki's reaction. Indy looks to the FOOT of the mountain. Several miles BELOW. THE NAZI FORCES have ARRIVED! They are still at least TWO HOURS from reaching Indiana and the others. The massive army MOVES FAST. They begin to DRIVE along the mountain path. FOLLOWING Indiana. In HOT PURSUIT. Indy PAUSES. WORRIED. THINKING. He LOOKS at the surrounding ROCKY WALLS, then to the tank's enormous GUN BARREL. An IDEA. He HURRIES back inside of the tank. Scraggy and Tyki FOLLOW. CLOSING the hatch above them. + +INT. TANK + +Indy LOOKS at the tank's control panel. A PUZZLEMENT. He LOOKS at Gutterbuhg. + + INDIANA + How do I work the big gun? + +Gutterbuhg SMILES. He REFUSES to answer. Indy has NO TIME for games. He LOOKS at Kezure. + + INDIANA + Want your souvenir? + (grabs Gutterbuhg's left arm) + Start with his good arm. + +Kezure SMILES and removes his LONG KNIFE. He moves it Gutterbuhg's NECK. The snivelling Nazi CRIES OUT. + + GUTTERBUHG + W-W-Wait!... Please!... + +Indy NODS to Kezure. The Pirate King moves his KNIFE. Gutterbuhg hurriedly POINTS to two switches on the control panel. + + GUTTERBUHG + There. That is what you want. + +Indy NODS. He TURNS to the switches. + +EXT. RAVINE + +CLOSE-UP: The tank's large gun barrel SWIVELS. Pointing UPWARD. To the ROCKS above. The gun FIRES A SHOT. It swivels a FEW FEET. Then FIRES ANOTHER. And ANOTHER. A RUMBLING SOUND echoes through the area. + +INT. TANK + +Indy HITS the gas. + +EXT. RAVINE + +The tank SHOOTS forward. SPEEDING ahead. An AVALANCHE BEGINS! JUST MISSING the tank. Several pounds of ROCKS and DEBRIS fall from above. The rocks create A THICK WALL. BLOCKING the mountain path. The tank CONTINUES along the twisting, narrow mountain path. Moving further and further UPWARD. The tank DISAPPEARS INTO THE THICK CLOUDS that surround the mountain. + +INT. TANK + +Indiana LOOKS through the periscope. His view BLINDED by the clouds. + +EXT. MOUNTAIN + +The tank is a LARGE, GREY BLUR through the clouds. Several DARK, BULKING FIGURES APPEAR! They CLIMB along the ravine sides and tops. The mysterious figures SURROUND the tank. All are holding ENORMOUS BOULDERS over their heads. AIMED at the tank. + +INT. TANK + +Indy EASES up on the gas. The tank SLOWS. Suddenly, there is a LOUD CRASH! The tank is HIT. RATTLING. SHAKING. Everyone is TOSSED. Save for Indy, who STAYS at the controls. He continues to GUIDE the tank FORWARD. There is another CRASH. And ANOTHER. And ANOTHER. + +EXT. MOUNTAIN + +The dark figures SHOWER the tank with heavy boulders. The tank's gun barrel SNAPS IN TWO. Headlights SMASH. Its body becomes DENTED. CRACKED. + +INT. TANK + +Indiana is TOUGH. PERSISTENT. He continues to move the jolting tank FORWARD. As the surrounding walls CAVE IN. SHATTER. Everyone PANICS. SCREAMING. + +EXT. MOUNTAIN + +The injured, wobbling tank moves OUT OF THE CLOUDS. Arriving around the corner from the MOUNTAIN TOP. The countless dark figures continue to FOLLOW the tank. SCURRYING along the ravine sides and tops. The figures EMERGE from the clouds. For the first time, they are VISIBLE. And we see that the figures are TALL... HAIRY... MUSCULAR... GORILLAS! They CONTINUE to assault the tank with boulders. + +INT. TANK + +Indiana still attempts to move the tank FORWARD. But the engine begins to COUGH. SPUTTER. And DIES. + +EXT. MOUNTAIN + +The tank COMES TO A SUDDEN STOP. One of the Gorillas emits a HIGH PITCHED SHRIEK. COMMUNICATING with the others. The others PAUSE. They STOP the attack. The Gorillas APPROACH the tank. SLOWLY. CAUTIOUSLY. The apes REACH OUT. TOUCHING the tank's wrecked body. A few of the apes begin to CLIMB onto the tank. The tank's top hatch FLIPS OPEN. Indy's HEAD pops out. TWO HAIRY ARMS REACH INTO FRAME AND GRAB INDIANA! An enormous Gorilla pulls Indy OUT OF THE HATCH! The ape TOSSES INDY OFF SCREEN! Indiana FLIES INTO THE AIR! + +He LANDS IN THE ARMS of another Gorilla. The ape TAKES Indy's WHIP and THROWS him to another Gorilla, who takes Indy's HAT. The Gorilla TOSSES Indy to another ape, who tears off Indy's LEATHER JACKET. The helpless Indy is THROWN to yet another Gorilla. The angry ape RAISES Indy over his head. The Gorilla prepares to THROW INDIANA OFF OF THE MOUNTAIN'S EDGE! Tyki's VOICE ERUPTS FROM OFF SCREEN. The Gorilla PAUSES, suspending Indiana HIGH IN THE AIR. The Gorilla TURNS to Tyki. The pygmy STANDS on the tank. + +He SHOUTS AN ORDER to the Gorilla. The ape NODS. UNDERSTANDING. He KNOWS Tyki. The Gorilla gently PLACES Indy back on the ground. Indiana ADJUSTS what remains of his clothing. He turns, seeing A GROUP OF GORILLAS. HUDDLED together. The Gorillas SEPARATE. They have DRESSED one of the apes in INDIANA'S HAT, LEATHER JACKET AND WHIP! The ape begins to SNAP THE WHIP, almost as if he were IMITATING Indy. Scraggy, Betsy, Clare and the others have CLIMBED OUT of the tank. Upon seeing the Gorilla DRESSED as Indy, they BURST INTO LAUGHTER. A very ANGRY Indiana growls at Tyki. + + INDIANA + (pointing to Gorilla) + Tell him to take off my stuff! + +Through laughter, Scraggy TRANSLATES for Tyki. + +The pygmy SHOUTS an order to the Gorilla. The ape REMOVES the hat and leather jacket, RELUCTANTLY giving them back to a grumbling Indiana. Tyki continues to SHOUT orders to the other Gorillas. The pygmy suddenly appears STRONG. AUTHORITATIVE. He obviously has POWER over the beasts. The Gorillas GATHER together. They MOVE TOWARD the people. The apes GENTLY take the hands of the various humans. It is a WARM, ENCHANTING sight, as the friendly Gorillas LEAD the humans forward. Clare, using her Gorilla MOTIONS and SOUNDS, communicates with the beasts. + +The group moves AROUND A TWISTING CORNER OF THE PATH. Toward the MOUNTAIN TOP. AROUND THE CORNER Indiana and the others are met with an AWESOME SIGHT! Indy STOPS. His mouth DROPS OPEN. Clare is equally ASTOUNDED. Betsy and the others STARE AHEAD. In total WONDERMENT. Even Gutterbuhg is AMAZED. The SOUND TRACK MUSIC EXPLODES INTO A THUNDERING CRESCENDO! THE LOST CITY OF SUN WU-KUNG LIES AHEAD of the group. A SPECTACULAR SIGHT! A city whose every building and tower is cast in SOLID GOLD! SPARKLING! GLISTENING! A HEAVENLY place. + +The City is protected by a deep MOAT. The fins of several SHARKS move through the moat waters. A THICK STONE WALL surrounds the city. A large, golden DRAWBRIDGE is built into the wall. PASSAGEWAY into the city. A tremendous TOWER stretches above the city walls. The GUARD, a pygmy similar to Tyki, is POSTED in the tower. The guard SPOTS Tyki, approaching the city walls. The guard's EYES LIGHT. He SMILES. The guard CRIES OUT! SHOUTING to everyone inside of the City. He continues to REPEAT a certain phrase. + +Scraggy TRANSLATES the guard's words for Indiana. + + SCRAGGY + He say... "Our Prince has returned home". + +Indiana SMILES. Soon, the beautiful sound of COUNTLESS RINGING BELLS is heard, welcoming Tyki home. Eyes WATERING, a proud Tyki and the Gorillas LEAD everyone to the foot of the City Walls. The enormous drawbridge begins to LOWER. A STUNNING SHAFT OF GOLDEN LIGHT escapes from the opening. As the drawbridge continues to lower, the shaft of light becomes WIDER. BRIGHTER. It ILLUMINATES the faces of Indy and the others. When the drawbridge is completely LOWERED, everyone is LED INTO THE CITY. Their bodies SILHOUETTED against the warm glowing light. + +INT. CITY + +WE ENTER with Indy and the others. The city is BURSTING with the bright colors of various VEGETABLE and FRUIT GARDENS, and various other EXOTIC PLANT LIFE. Luscious GREEN GRASS and CRYSTAL CLEAR LAKES surround many of the homes. The earthen streets are literally PAVED WITH GOLD. The men and women of the City are members of Tyki's RACE. ORIENTAL PYGMIES. There is a PEACEFUL, JOYOUS quality about them. They RUSH toward Tyki. EMBRACING him. SHOWERING him with kisses. WELCOMING him home. Indiana and the others are in AWE of this new world. + +Gutterbuhg WALKS with them. CAMERA PANS to his HANDS. He struggles to UNTIE his bindings. Kezure SPOTS something. A small, SOLID GOLD GARDEN TOOL. Lying in a VEGETABLE GARDEN. Kezure's eyes fill with GREED. He moves to STEAL the can. Kezure GRABS the tool and begins to HIDE it. BENEATH his cloak. A LARGE GORILLA'S HAND GRABS Kezure's arm. TOWERING over the Pirate king, the Gorilla WAVES his finger at Kezure. A WARNING. NO STEALING. The nervous Kezure NODS. He PLACES the garden tool back on the ground. + +Meanwhile, Indy and the others are led to an elaborate PALACE. They ascend the several GOLDEN STAIRS, toward the entrance. The palace doors OPEN. An OLDER MAN steps outside. He is BOHBALA. The City's RULER. A few PALACE GUARDS stand beside him. Bohbala RAISES his arms over the crowd. Pygmies and Gorillas DROP TO THEIR KNEES. In REVERENCE. Tyki RUNS to Bohbala. They EMBRACE. TEARS OF JOY fill their eyes. Bohbala WIPES away his tears. He gives a WARM SMILE to Indiana and the others. He SPEAKS. SOFTLY. + +In a WISE voice. Scraggy TRANSLATES for the others. + + SCRAGGY + He thank us...for returning his son. + +Indiana and the others SMILE. Betsy WHISPERS to Indy. + + BETSY + If the little guy's pushin' 200 years?... How old's his Father? + +Indy motions for Betsy to "Shhh". Bohbala continues to SPEAK. Scraggy TRANSLATES. + + SCRAGGY + His name "Bohbala". He is Ruler of City, faithful servant of his Lord and Master... Sun Wu-Kung. + (pause, smile) + He welcome us to stay. As long as we wish. + +Indiana exchanges a HOPEFUL glance with Clare. As Bohbala CONTINUES to speak, CAMERA PANS TO GUTTERBUHG. The Nazi has successfully UNTIED his bindings. FREE. While the others listen to Bohbala, Gutterbuhg REMOVES ONE SPARE BULLET FROM HIS MOUTH. He slyly INSERTS the bullet into his mechanical arm. Indiana is TOO CONCERNED with Bohbala to notice Gutterbuhg. + + INDIANA + (anxious, to Scraggy) + Ask him where we may find the burial place...or the remains...of Sun Wu-Kung... + +Scraggy TURNS to ask Bohbala. But his question is INTERRUPTED by Gutterbuhg's MECHANICAL ARM. It EXTENDS INTO FRAME! Its finger POINTED AT INDIANA! Everyone STARES. SHOCKED. But the bizarre sight greatly AMUSES Bohbala. He begins to LAUGH. He REACHES OUT and PUSHES Gutterbuhg's finger away. But the machine gun GOES OFF! FIRING! Bohbala is HIT! In the CHEST. He FALLS. Tyki KNEELS, cradling Bohbala's head in his arms. Tyki CALLS his Father's name. It is FUTILE. Bohbala is DEAD. The crowd of villagers STARE. CONFUSED. They are unaccustomed to VIOLENCE. Indiana CLUTCHES Gutterbuhg by the throat. + + INDIANA + Bastard... + +Indiana pulls back his fist to PUNCH the Nazi. But Indy is STOPPED by the PALACE GUARDS. They move their SWORDS to his throat. Indy is suddenly PUZZLED. The VILLAGERS FALL TO THEIR KNEES. BOWING to Gutterbuhg. A distraught Tyki hurriedly EXPLAINS to Scraggy, who translates for Indy. + + SCRAGGY + It is written... If ruler is defeated by greater power...he who possess that power... + (points to Gutterbuhg) + ...shall become ruler! + +Gutterbuhg's eyes fill with a sadistic THRILL. He RAISES his MECHANICAL ARM. In a "Heil Hitler" POSE. The entire City IMITATES the Nazi. RAISING their right arms. CHEERING. HAILING their new leader. Indiana is HORRIFIED by the scene. Tyki is UPSET. SCREAMING. He knows that Gutterbuhg is truly EVIL! But NONE of the villagers listen. Indiana LOOKS to his SHOCKED friends. + + INDIANA + This is turning into one helluva nightmare. + + GUTTERBUHG + (hears, smiles at Indy) + One you will never awaken from, Doctor Jones. + +Indy GLARES at Gutterbuhg. Clare and Betsy exchange a FRIGHTENED glance. + +CUT TO: + +INT. PALACE - RULER'S CHAMBER + +A beautiful, expansive chamber, filled with TAPESTRIES and ARTWORK. Gutterbuhg sits in an elaborate GOLDEN THRONE. He has donned a ghoulish NEW OUTFIT. The robes of BOHBALA, the dead ruler. Gutterbuhg is being ATTENDED upon by several villagers, who bring him countless PLATES OF FOOD. He is surrounded by SEVERAL WOMEN, who patiently wait for his orders. Gutterbuhg GOBBLES down the variety of food and wine. DROOLING. SLOBBERING. Scraggy KNEELS before the Nazi. Gutterbuhg USES Indiana's WHIP as a LEASH. It is TIED around Scraggy's neck and HELD by the Nazi. Gutterbuhg PULLS the leash. HARD. Nearly STRANGLING Scraggy. His mouth FILLED WITH FOOD, Gutterbuhg SCREAMS at Scraggy. + + GUTTERBUHG + I want to see Jones! + +Scraggy TRANSLATES for the guards. + +INT. DUNGEON + +DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH the Palace. Indy and the others are LOCKED inside. Everyone is SILENT. STARING. WAITING. Clare CONSOLES a tearful, despondent Tyki. The dungeon gate OPENS. The two Guards ENTER. They DRAG Indiana out of the dungeon. Betsy CALLS OUT to Indy. Trying to FOLLOW. But the guards SLAM the wooden door in Betsy's face. She peers through the small BARRED WINDOW. WORRIED. UPSET. + +INT. PALACE + +Indiana is LED into the Ruler's Chamber. Indy SEES Scraggy, tied to a leash. An angry, VENGEFUL look covers Indy's face. He TURNS to Gutterbuhg. The Nazi, still STUFFING his face with food, pulls TIGHTLY on Scraggy's leash. + + GUTTERBUHG + Your friend makes a wonderful interpreter. + +Indy's eyes BURN. Gutterbuhg GULPS down a glass of wine. Liquid SPITTLES from the sides of his mouth. He LOOKS at Indy. + + GUTTERBUHG + "The Nazi Party will exist for one thousand years...and I wish to be alive for every year!" + (pause) + That is a favorite philosophy of our Fuehrer. + + INDIANA + Your Fuehrer's philosophies belong on a bathroom wall. + + GUTTERBUHG + (angry, slapping Indy across the face) + This is a very serious matter, Doctor Jones. It could save your life. + (pause) + I understand that somewhere in this City...there is a Garden of... Immortal Peaches?... + (Indy doesn't respond, Gutterbuhg continues) + I want information about this Garden... And I would greatly appreciate it, if you would share everything you know, with me. + + INDIANA + I don't share anything with Nazis. + +Gutterbuhg NODS. He TAKES another bite of food, shooting a GLOWERING look to Indiana. + + GUTTERBUHG + Very well. My friends will be here soon. They will rest...enjoy the pleasures of my newfound kingdom... + (kisses a woman, and pushes her away) + Then we shall exterminate these worthless people! Destroy their City! And we will carry away all of its riches...in pieces. + +Gutterbuhg goes back to his FOOD. Scraggy exchanges a WORRIED GLANCE with Indiana. + +CUT TO: + +THE NAZI ARMY TRAVELLING along the narrow mountain path. They are more than HALFWAY up the mountain. LIEUT. MEPHISTO rides in the FRONT JEEP. He LOOKS to his driver, who REPORTS to Mephisto. + + DRIVER + (German, English subtitles) + Sir... We shall reach the mountain top in less than sixty minutes. + +Mephisto NODS. ANXIOUS. + +CUT TO: + +.THE LOST CITY - COLISEUM + +An enormous STONE ARENA. Located in the CENTER of the City. It resembles the ROMAN COLISEUM in size and structure. The coliseum's top walls are SURROUNDED by countless, large METAL BELLS. The bells are RINGING. They are the same bells we heard earlier...but they now sound EERIE... THREATENING. The many seats are FILLED with members of the village. All GATHERED for a special event. Gutterbuhg sits in the elaborate RULER'S BOX. It is covered with a protective, GOLDEN GRATING. The box is located directly above the earthen PLAYING FIELD. + +Indy's WHIP is still tied around Scraggy's neck, who kneels at Gutterbuhg's FEET. TWO GUARDS lead a shirtless INDIANA JONES onto the playing field. They bring Indy to a STEEL CAGE, located directly below Gutterbuhg's box. Inside of the cage, are TWO ENORMOUS BUFFALO. ANGRY. RESTLESS. Betsy, Clare, Tyki, Kezure, the remaining Pirates and Crew members, all helplessly watch from inside of a LARGE METAL CAGE. The cage is SUSPENDED in the air... DANGLING over a deep pit. It is filled with COUNTLESS MANEATING TIGERS. + +Indy is LED into the cage. BETWEEN the two buffalo. The guards GRABS HOLD of Indiana. They TIE one of his arms, and one of his legs, to EACH SIDE of the buffalo. Preparing to DRAW and QUARTER Indiana. A DELIGHTED Gutterbuhg PEERS DOWN at Indiana. + + GUTTERBUHG + Doctor Jones... Those beasts are anxious to run wild. Free. + (vicious smile) + How long will you be able to ride... before they TEAR YOU IN TWO? + +Indy LOOKS at Scraggy, who is very FRIGHTENED. + + GUTTERBUHG + Goodbye, Doctor Jones. + +Gutterbuhg TURNS to the guards. Ready to give them the ORDER...to OPEN THE CAGE and SET THE BUFFALO FREE! Indy suddenly SCREAMS. + + INDIANA + Heil Hitler! + +Upon hearing the words, Gutterbuhg STANDS. Like a ROBOT. + +He RAISES his mechanical arm in a "Heil Hitler" POSE. + + GUTTERBUHG + Heil Hitler! + +The FINGERS of Gutterbuhg's mechanical arm get CAUGHT IN THE METAL GRATING ABOVE HIS HEAD! Gutterbuhg TRIES TO REMOVE his fingers. NO GOOD. STUCK. Gutterbuhg PULLS. HARD. His mechanical arm is RIPPED FROM ITS SOCKET! It DANGLES from the grating. The crowd WATCHES. PUZZLED. SHOCKED. Scraggy THINKS FAST. He LEAPS to his feet and GRABS the arm. He TEARS IT OUT of the grating. Scraggy HOLDS the arm above his head. Now it is HE who possesses the POWER! The crowd CHEERS Scraggy! Their NEW RULER! Gutterbuhg STEPS BACK. Suddenly FRIGHTENED. Scraggy ORDERS the guards to FREE Indiana. The guards hurriedly UNTIE Indy from the buffalo. Gutterbuhg TURNS. RUNNING out of the Coliseum. Scraggy SCREAMS to the people, motioning for them to FOLLOW Gutterbuhg. Several people LEAP from their seats. CHASING the Nazi. + +EXT. COLISEUM + +Gutterbuhg DASHES OUT! A CROWD OF VILLAGERS follow him. In HOT PURSUIT. Gutterbuhg RUNS toward the city gates. He RUNS through. ESCAPING the City. The crowd PAUSES. STOPPING. They'll go NO FURTHER. They SCREAM and SHOUT at the departing Gutterbuhg, who disappears INTO THE MOUNTAINS. + +INT. COLISEUM + +Indiana REJOINS his friends on the playing field. They have been FREED from the cage. Scraggy gives the WHIP to Indy. Indy is IMPATIENT. WORRIED. He LOOKS at everyone. + + INDIANA + Nazis'll be here soon. We gotta move fast. + +Scraggy gives Gutterbuhg's MECHANICAL ARM to Tyki. The pygmy NODS. He UNDERSTANDS. Tyki RAISES THE ARM TOWARD THE PEOPLE. They CHEER Tyki, their rightful ruler. Tyki, PULLS BACK and THROWS the mechanical arm. HIGH INTO THE AIR! It SOARS several feet! FLYING OVER the coliseum walls. + +EXT. CITY + +The arm flies THROUGH the air... It lands into the MOAT! The arm is ATTACKED by a horde of hungry sharks. They TEAR it to pieces. + +CUT TO: + +EXT. MOUNTAIN PATH + +The Nazis have arrived at the section of path that is BLOCKED by the AVALANCHE. Their other VEHICLES and TROOPS have pulled back. A FEW HUNDRED FEET from the AVALANCHE. SEVERAL STICKS OF DYNAMITE have been placed beneath the avalanche. The T.N.T. is connected to a LONG FUSE, that extends along the path. LIEUT. MEPHISTO stands at the fuse's end. He STRIKES a match. Preparing to LIGHT THE FUSE. The match flare is INCHES from the fuse... Mephisto is INTERRUPTED by a FAMILIAR VOICE. It is GUTTERBUHG. + +Mephisto BLOWS OUT the match. A SOAKING WET Sgt. Gutterbuhg SLIDES down the edge of the ravine. He still wears the COLORFUL, ELABORATE ROBES of Bohbala. Mephisto is PUZZLED by Gutterbuhg's BIZARRE APPEARANCE. Gutterbuhg STOPS in front of Mephisto. Gutterbuhg ATTEMPTS a "Heil, Hitler"... but suddenly realizes that his mechanical arm is GONE. Gutterbuhg DRIPS WATER all over Mephisto, who is DISGUSTED by the appearance of his officer. He SLAPS Gutterbuhg. + + MEPHISTO + (German; English subtitles) + Idiot!... Why are you dressed like that!... Where is your uniform?... + +Before he can answer, Gutterbuhg is SHOVED AWAY by the disgusted Mephisto, who ATTEMPTS to LIGHT the fuse. But his matches are USELESS. Soaked with WATER. Furious, Mephisto SLAPS Gutterbuhg, ordering him to fetch something. + +The snivelling Gutterbuhg nods and bows, SCURRYING away. He RUNS into the rear of A CANVAS TRUCK. + +INT. TRUCK + +Filled with several crates of DYNAMITE and SUPPLIES. Gutterbuhg DASHES inside. Toward a SILVER, METALLIC BRIEFCASE that rests in the rear of the truck. Gutterbuhg's greasy fingers OPEN the briefcase. Inside, encased in black velvet, are TWO RECTANGULAR COMPARTMENTS. One of the compartments is EMPTY. The other houses another MECHANICAL ARM. Gutterbuhg quickly ATTACHES the arm to the stub of his shoulder and RUNS BACK OUTSIDE. + +EXT. MOUNTAIN PATH + +Gutterbuhg REJOINS Mephisto and EXTENDS his new mechanical arm TOWARD THE FUSE. Gutterbuhg POINTS his finger. He SQUEEZES A LEVER, located on the palm of the mechanical arm. A BRIGHT, JAGGED LINE OF ELECTRICAL CURRENT shoots from the arm's finger! The electricity LIGHTS the fuse. It BURNS. Moving TOWARD the dynamite. Gutterbuhg and Mephisto HIDE behind a rock. There is a LOUD EXPLOSION. Rocks and debris FLY THROUGH THE AIR. The path is CLEARED. + +INT. CITY + +The SOUND OF THE EXPLOSION echoes through the City. SHAKING the city walls. The Nazis are CLOSE. Indiana STANDS in the city square. He has ASSEMBLED everyone for the battle. Tyki and the pygmies are armed with BOWS and ARROWS, SPEARS and BLOW PIPES. Kezure and the Pirates hold their SWORDS. Scraggy's men carry REVOLVERS and DAGGERS. Clare and Betsy STAND with several Gorillas. Tyki WHISPERS to Scraggy, who TRANSLATES for Indiana. + + SCRAGGY + They want you to give speech. + + INDIANA + What?!?... + + SCRAGGY + Before battle... General always give speech to inspire troops. + + INDIANA + General?... Who the hell do they think I am... Custer?... + +But ALL EYES are on Indiana. DEPENDING on him. + +Indy SIGHS. Trying to THINK of something to say. He MUMBLES to Scraggy. + + INDIANA + Geez... The only speeches I remember are from college...when I played ball... + +Scraggy SHRUGS. Indy CLEARS his throat. He LOOKS at everyone. FUMBLING. + + INDIANA + Men...and, ah...women... I...ah... We're about to face one of our toughest opponents... They've got size...hardware...and well, quite frankly...we're the underdogs... + +Indy's eyes LIGHT. A moment of INSPIRATION. The background MUSIC SLOWLY BEGINS TO RISE. Indy's voice becomes LOUDER. TOUGHER. + + INDIANA + But...well, if it wasn't for the little guy...where would this country be?... + (excited, louder) + I mean...I knew this little guy once ...a scrawny runt, with thick black glasses and about 300 different kinds of allergies... But this little kid had a dream... He wanted to be on the football team. + (Music rises, so does Indy's voice) + Well, all the big guys made his life miserable...always shoving his head in the drinking fountain...putting mustard in his pants...throwing me ...'er, HIM!...throwing HIM in the shower with all his clothes on... + (louder, heartfelt) + But that little guy didn't quit. He worked hard. Never gave up. And in two years...he was the Quarterback. Star of the team. And you know why?... + (Music SOARS, as does Indy's voice) + 'Cause that little kid had somethin' that those big guys never heard of... He had HEART! And nothin' can stop that! Nothin'! + (we hear the Nazis approaching, Indy screams) + Now let's go out there and show 'em JUST HOW TOUGH THE LITTLE GUYS ARE! + +Everyone breaks into a loud CHEER. Ready to FIGHT. The sound track music SOARS. Indiana RAISES HIS SWORD. He TURNS and RUNS toward the DRAWBRIDGE. The people FOLLOW, as Indy LEADS THEM INTO BATTLE! + +EXT. CITY + +Indiana, armed with a shield, sword and pistol, LEADS his troops forward. The Nazis are APPROACHING. LIEUT. MEPHISTO rides in the front jeep, which is mounted with a large RECOILLESS MACHINE GUN. The entire Nazi army is BEHIND HIM. Mephisto's jeep begins to CROSS the drawbridge. Moving TOWARD Indiana and the others. The recoilless machine gunner OPENS FIRE on Indy and the troops. Bullets BOUNCE from Indy's shield. Several of the pygmies are HIT. FALLING to the drawbridge. An angry pygmy THROWS his spear. + +It HITS the machine gunner. THROUGH the heart. The jeep continues to DRIVE FORWARD. HEADED straight for Indiana, who LEAPS ONTO the jeep's hood. Indy's troops SPLIT INTO GROUPS. Dashing around the speeding jeep to BATTLE the oncoming Nazis. Indiana CRAWLS along the jeep hood. TOWARD the Nazis. Mephisto attempts to SHOOT Indy. The bullets ZIP through the windshield. WHIZZING by Indy's head. Indiana GRABS Mephisto. He PULLS the Nazi over the windshield. Indiana and Mephisto TUMBLE along the jeep's hood. FIGHTING. STRUGGLING for the gun. + +The jeep DIRECTLY BEHIND Mephisto is filled with several CRATES OF DYNAMITE. GUTTERBUHG, back in uniform, rides here with THREE NAZI SOLDIERS. As the pygmy troops come forward, Gutterbuhg EXTENDS HIS MECHANICAL ARM. He ZAPS several of the pygmies. KILLING them with deadly JOLTS OF ELECTRICITY. As the jeep PASSES through the City gates, Indiana and Mephisto continue to BATTLE along the hood. + +INT. CITY + +Mephisto ATTEMPTS TO SHOOT Indiana. But Indy PUSHES AWAY the Nazi's arm. The gun FIRES. HITTING the jeep driver, who SLUMPS over the wheel. The speeding jeep SPINS OUT OF CONTROL. It FLIPS. Sending Indiana and Mephisto FLYING through the air. They TUMBLE to the ground. The jeep CRASHES into a wall. A SHAKEN Indiana gets to his feet. Mephisto LIES A few feet away. OUT COLD. Suddenly, a BLAST OF ELECTRICITY BURSTS INTO FRAME! SPARKING the ground beside Indiana. Indy TURNS and sees GUTTERBUHG! The Nazi's jeep has ENTERED the city. + +Gutterbuhg POINTS his mechanical arm toward Indy. ANOTHER ELECTRICAL SHOCK ejects from his finger. Indy DIVES. The shock TEARS A SMOLDERING HOLE through the building behind him. Only INCHES above Indy. Meanwhile, the Nazis begin to UNLOAD the dynamite from Gutterbuhg's jeep. They UNWRAP a long, section of FUSE from a large coil. Placing the fuse ALONG THE GROUND. Indiana is RUNNING for his life. Gutterbuhg is DIRECTLY BEHIND him. In HOT PURSUIT. The Nazi continuously FIRES ELECTRICAL SHOTS at Indiana. + +The thin lines of electricity WHIZ by Indy's HEAD. His ARMS. His LEGS. JUST MISSING INDY. A CAT AND MOUSE CHASE BEGINS, as Gutterbuhg PURSUES Indiana throughout the city. + +CUT TO: + +TYKI AND SEVERAL PYGMIES They have CLIMBED to the top of the City Walls. From here, they GUARD and DEFEND their city. Crowds of NAZI TROOPS are on foot. Running TOWARD the city walls. The pygmies SHOWER the Nazis with ARROWS, SPEARS and POISONOUS DARTS. The Nazis fight back with MACHINE GUNS and RIFLES. A HEATED, BLOODY BATTLE. + +CUT TO: + +SCRAGGY AND THE CREW MEMBERS They stand at the CITY GATE. PROTECTING the City entrance. They hurriedly load a large, wooden CATAPULT with a huge BALL OF HAY. A crew member TORCHES the hay. It BURSTS INTO FLAME. Scraggy CRIES "Fire!" His men LAUNCH the fireball. It SAILS over the City Walls. THE FIREBALL LANDS directly onto a speeding NAZI JEEP. The Nazis and jeep CATCH FIRE! The vehicle LOSES CONTROL. The flaming jeep CRASHES into the side of a mountain wall. + +CUT TO: + +A NAZI TANK ROLLS toward the city. Its GUN BARREL aimed at the city walls. CAMERA PANS AWAY, SEVERAL FEET AHEAD OF THE TANK. CAMERA MOVES UPWARD, TO THE MOUNTAIN TOP, ABOVE the path. CLARE is here. A GROUP OF GORILLAS are beside her. The apes each have a TIGHT HOLD of individual sections of HANGING VINE. They stand at the EDGE OF THE RAVINE. Clare LOOKS to the OPPOSITE RAVINE. BETSY is here. She stands with ANOTHER GROUP OF GORILLAS, who also securely hold lengths of vine. On the mountain path, the Nazi tank PASSES DIRECTLY BENEATH Betsy and Clare. + +The two women TURN to the Gorillas. Emitting Gorilla GRUNTS, MOANS and MOTIONS, Betsy and Clare COMMUNICATE with the apes. The Gorillas LISTEN. NODDING. UNDERSTANDING. When the tank is DIRECTLY BELOW... Betsy and Clare ORDER the Gorillas to JUMP! The apes SWING from the mountain. RIDING the vines. TOWARD the tank. The Gorillas LAND on the tank. They CLIMB aboard. EXPLORING the tank's surface. + +INT. TANK + +FILLED with Nazis. The gunner looks into the PERISCOPE. He is met with the reflection of a SNARLING GORILLA'S FACE. He SCREAMS and JUMPS BACK. There is a sound of RIPPING METAL. Suddenly, the tank's top HATCH is TORN OPEN. COUNTLESS GORILLAS pour inside! The apes ATTACK. OVERPOWERING the Nazis. + +EXT. TANK + +As the Gorillas climb inside of the tank, Betsy SWINGS across the passageway to Clare. She EXCHANGES a congratulatory handshake with Clare. Betsy's face suddenly goes WHITE. A SHOCKING SIGHT. A GROUP OF NAZIS have climbed to the mountain top. The soldiers SPOT Clare and Betsy. They RUN TOWARD the women. Betsy and Clare DASH OFF. Into the THICK of the jungle. The Nazis FOLLOW. In HOT PURSUIT. + +CUT TO: + +TWO LARGE CANVAS TRUCKS BARRELLING along the mountain path. KEZURE, the Pirate King, LEAPS from the side of the path, between the two trucks. Kezure climbs onto the REAR BUMPER of the FIRST TRUCK. The DRIVER of the SECOND TRUCK spots Kezure. He begins to FIRE SHOTS at the Pirate King. As bullets whiz by him, Kezure hurriedly removes a thick METAL CHAIN from around his neck. He securely CONNECTS the two truck BUMPERS with the chain. + +INT. SECOND TRUCK + +Filled with NAZI TROOPS. SEATED. ARMED. Waiting to FIGHT. There is a sudden RIPPING SOUND. Followed by ANOTHER. And ANOTHER. The NAZIS are STARTLED to see the BLADES OF COUNTLESS SWORDS. PIERCING the canvas. Through all SIDES of the truck. SEVERAL PIRATES leap through the canvas. ATTACKING the Nazis. The Nazis FIGHT BACK with bayonets and daggers. + +INT. FIRST TRUCK - CABIN + +Two Pirates BURST into the cabin. They STAB the Nazi driver. The CACKLING Pirates take control of the steering wheel. They madly STEER the truck toward the steep EDGE of the mountain path. THE FIRST TRUCK PLUMMETS over the edge. The second truck, ATTACHED by the metal chain, FOLLOWS the first truck. The two canvas trucks FALL into the moat! SPLASHING into the shark infested waters! + +CUT TO: + +INT. CITY + +The Nazis have planted an enormous PILE OF DYNAMITE on the palace stairs. Enough to DESTROY the entire city. The T.N.T. is attached to a LONG FUSE, that stretches hundreds of feet, over VARIOUS SECTIONS of the city. The Nazis LIGHT the fuse end. It SPARKS. IGNITES. BURNING FAST. The Nazis TURN and RUN. Gutterbuhg continues to CHASE Indiana. BLASTS OF ELECTRICITY SHOOT from the Nazi's arm. Indy DUCKS... DODGES... AVOIDING the electrical jolts. Indy SPINS around a building corner. He spots the BURNING FUSE. + +It STRETCHES along the ground, moving up OVER a wooden fence. Indy DIVES and STOMPS OUT the fuse. But Gutterbuhg, who is directly behind Indy, RELIGHTS the fuse with a shot of electricity. Before Indy has a chance to stop the fuse...Gutterbuhg AIMS at Indy. Indy LEAPS OVER the fence. Gutterbuhg SHOOTS. The fence is SPLINTERED by the powerful electrical blast. Indiana runs into a small ALLEYWAY. The burning fuse STRETCHES up along the alley wall, moving to the ROOFTOP. Indy begins to climb the ancient golden bricks that PROTRUDE from the wall. TOWARD the roof. + +Gutterbuhg APPEARS. He SHOOTS at Indiana, who avoids the blast by LEAPING onto the roof. Gutterbuhg hurriedly begins to CLIMB the wall. FOLLOWING Indiana. + +EXT. ROOFTOP + +Gutterbuhg ARRIVES at the top. He LOOKS around. There is NO SIGN of Indy. But the fuse RESTS at the roof's edge. UNLIT. Gutterbuhg RESTARTS the fuse. At that moment, Indiana LEAPS OUT from inside of the stone smokestack. He JUMPS the unsuspecting Gutterbuhg. They TUMBLE and FALL OFF the rooftop edge. Indiana and Gutterbuhg HIT the ground. They continue to STRUGGLE... FIGHT...as the fuse BURNS in front of them. It SPEEDS toward the pile of dynamite. Less than FIFTY FEET AHEAD. Still wrestling with Gutterbuhg, Indy ROLLS toward the fuse. + +Indy reaches out and STOPS THE FUSE with his hand. But Gutterbuhg MOVES FAST. Again, the Nazi RELIGHTS the fuse. Indy suddenly LEAPS to his feet. He RUNS OFF SCREEN. Gutterbuhg FOLLOWS. The fuse continues to BURN. Moving CLOSER...CLOSER...to the dynamite. Indiana runs to a CLUSTER OF TREES. He comes to an abrupt stop, between TWO TREES. Gutterbuhg is UPON HIM. The Nazi PAUSES. Only a FEW FEET from Indy. Gutterbuhg POINTS his arm at Indy. A CLEAR SHOT. Gutterbuhg SMILES. Indiana is TRAPPED. THE FUSE is now only a FEW FEET from the dynamite. + +It will BLOW at any second! Gutterbuhg SHOOTS. Moving like LIGHTNING, Indy LEAPS OUT OF THE WAY, revealing a LARGE LAKE behind him. It's TOO LATE for Gutterbuhg. The electrical current HITS THE WATER. The Nazi's body SURGES with electricity. Gutterbuhg FRIES. He SHIVERS. SHAKES. FROZEN, as the powerful electrical current FLOWS through his veins. SMOKE billows from his body. His mechanical arm suddenly EXPLODES. Gutterbuhg's charred body FALLS. FACE DOWN. ELECTROCUTED. Indiana LEAPS TO HIS FEET. Suddenly remembering... THE FUSE! + +It is now INCHES from the T.N.T. Indy can't get to it IN TIME. He GRABS his whip. His arm SNAPS FORWARD. The whip CRACKS. It SLICES the remaining fuse in two. The fuse FIZZLES and GOES OUT. The city is SAVED. Indy SIGHS. There is a GUNSHOT! A BULLET whizzes by Indy's head. He TURNS. MEPHISTO, bruised and bloodied from the jeep accident, stands SEVERAL FEET AWAY. Mephisto's LUGER is aimed at Indy. Prepared to take ANOTHER SHOT. Indy removes his REVOLVER. He FIRES at Mephisto. The Nazi DASHES into the COLISEUM. + +Indiana FOLLOWS. + +CUT TO: + +TYKI BATTLING the oncoming Nazis with his sword. Tyki fights HARD. FAST. He manages to DEFEAT many Nazis. But the sword is suddenly KNOCKED from Tyki's hand. A TROOP OF NAZIS come toward him. Their eyes MURDEROUS. Tyki is TRAPPED. HELPLESS. + +INT. CITY + +Scraggy and his crew members load ANOTHER FIREBALL onto the catapult. Scraggy cries "FIRE!" The fireball FLIES over the city walls. It lands DIRECTLY IN FRONT of the Nazi troops who are about to attack Tyki. Many of the soldiers CATCH FIRE. The others RUN from the flames. Tyki is UNHURT. He REJOINS his friends in the battle. + +CUT TO: + +CLARE AND BETSY BREATHLESS...FRIGHTENED...they continue to RUN through the jungle. The Nazis are a few feet BEHIND THEM. Moving FAST. Getting CLOSER. The women turn a corner, scramble through a section of bushes and find themselves face to face with...ANOTHER TROOP OF NAZIS. Clare and Betsy STOP. TRAPPED. SURROUNDED by Nazis. The soldiers MOVE TOWARD the women. The Nazis eyes are LECHEROUS. HUNGRY. Clare WHISPERS to a TREMBLING Betsy. + + CLARE + Do exactly what I do. + +Betsy NODS. The Nazis MOVE CLOSER. Clare looks to the SKY. She begins to make BIZARRE...HIGH PITCHED...NOISES. A CONFUSED Betsy makes the same noises. The Nazis LOOK at each other and CHUCKLE. The women CONTINUE to make the sounds. Suddenly, the exact sound seems to ECHO FROM THE SKY. It becomes LOUDER... LOUDER... But it belongs to A HUNDRED VOICES. The Nazis PAUSE. Looking UPWARD. PUZZLED. There is a SPLATTERING OF BIRDS. They ATTACK from above. The birds' screeching is IDENTICAL to Clare and Betsy's calls. + +The angry birds ATTACK THE NAZIS. PECKING. SCRATCHING. BITING. Clare and Betsy CONTINUE to make the sounds, which causes the birds to IGNORE THEM. The Nazis SCREAM. DROPPING their weapons. FALLING to their knees. Each soldier is COVERED with birds. They are being TORN TO SHREDS. Clare and Betsy TURN and RUN. ESCAPING into the jungle. The Nazis' screaming ECHOES behind them. As they run, Clare EXPLAINS to Betsy. + + CLARE + I made the sound of a baby Swandola bird, crying for help... The Mother birds immediately reply to the cries ...angrily protecting their children, and murdering the baby's attackers. + +CUT TO: + +THE TWO CANVAS TRUCKS They crookedly FLOAT along the shark infested moat waters. The battered, bruised trucks now resemble two sinking PIRATE SHIPS. Kezure and the Pirates BATTLE the Nazis along the truck frames. The pirates fight in their element... WATER! With fast SWINGING SWORDS, the Pirates are defeating the Nazis. Several Nazis fall INTO THE WATER and are immediately ATTACKED by countless SHARKS. At one point, Kezure FALLS INTO THE WATER. Several SHARKS come for him. The Pirate King DISAPPEARS beneath the water surface. A few of his men PAUSE. WORRIED. AFRAID. + +Suddenly, Kezure LEAPS OUT OF THE WATER. He holds a LIVE SHARK in his hands. The crazed Kezure TAKES A BITE from the shark. He TOSSES the fish back into the water. Kezure CHEWS and SWALLOWS the raw shark meat. BLOOD spills down his chin. Kezure resumes his FIGHTING with the Nazis, as the two truck frames continue to SINK. + +CUT TO: + +INT. TANK + +Several Nazis are SPRAWLED on the tank floor. UNCONSCIOUS. UNDRESSED. CAMERA PANS UPWARD. The Gorillas have TAKEN CONTROL of the tank. They have DRESSED THEMSELVES IN NAZI UNIFORMS! + +EXT. TANK + +As the battle RAGES around them, the Gorilla's tank makes a sudden U-TURN. It heads straight for the SECOND NAZI TANK. + +INT. SECOND TANK + +The Nazis stare through their PERISCOPE. Puzzled by the sight of their own tank COMING TOWARD THEM. + +EXT. TANK + +The Gorilla's tank FIRES A DIRECT SHOT at the other Nazi tank. BLAM! The Nazis' tank is BLOWN TO SMITHEREENS. + +INT. GORILLA TANK + +The Gorillas break into a VICTORIOUS CHEER. JUMPING. SCREAMING. + +CUT TO: + +INT. COLISEUM + +Indiana WALKS across the coliseum floor. REVOLVER in hand. He moves SLOWLY. CAUTIOUSLY. He is looking for a SIGN of Mephisto. But everything is SILENT. CALM. DESERTED. Mephisto SNEAKS along the top wall of the coliseum. HIDING behind the row of surrounding BELLS. The Nazi UNLATCHES the chain that holds all of the bells in place. The bells begin to FALL. THUNDERING down the coliseum stairs. Indy COVERS his ears. The sound of countless CLANGING BELLS is nearly deafening. He TURNS. Seeing the enormous bells ROLLING TOWARD HIM! + +Indiana begins to RUN. GIANT ROLLING BELLS CHASE HIM FROM ALL DIRECTIONS! Indy TWISTS...TURNS...LEAPS...in an effort to avoid being CRUSHED by the heavy bells. Mephisto WATCHES from above. SMILING. Indy CONTINUES to run. A giant ROLLING BELL chases him from behind. The bell GAINS SPEED. Getting CLOSER. CLOSER. A few feet in front of Indy...is the deadly TIGER PIT. But Indy CAN'T STOP RUNNING, or he'll be CRUSHED by the bell. Indiana LEAPS INTO THE PIT! The bell ROLLS DIRECTLY OVER the pit. But Indiana is SAFE. + +There is a FIVE INCH DROP from the ground, to the pit's OVERHEAD METAL BARS. Indy LIES on the bars. SAFELY above the countless TIGERS. The bells have all COME TO A STOP. They LIE around the coliseum ground. STILL. Only one bell GENTLY ROCKS. It slowly TEETERS on the coliseum stairs. It HASN'T yet rolled off. Indiana begins to CLIMB OUT of the pit, when suddenly... ANOTHER GUNSHOT RINGS OUT. Indy is HIT. In the CHEST. He SLIPS. FALLS. His wounded body is SPRAWLED on the bars. TEETERING. Ready to FALL into the waiting tigers. + +Mephisto's luger is SMOKING. The Nazi WALKS down the coliseum stairs. He moves TOWARD Indiana. Seeing Mephisto heading for him... Indiana REMOVES his gun. He AIMS at the Nazi. But Indy's vision is BLURRED. His hand TREMBLES. Mephisto's silhouette nears... But the bullet ZIPS PAST Mephisto and STRIKES a section of wood below the teetering bell. This causes the bell to FALL...and slowly ROLL forward. Mephisto ARRIVES at the edge of the Tiger Pit. He is about to shoot Indy...then comes upon ANOTHER IDEA. + +Mephisto LOWERS the luger. He gives a SWIFT KICK to Indy's ribs. Indiana FALLS THROUGH the bars. His arm SHOOTS OUT. With his last bit of strength, Indy's hand GRABS HOLD of a bar. CLUTCHING on for dear life. His body DANGLES over the tigers. They SNAP at his legs. HUNGRY. GROWLING. Mephisto SMILES. He STEPS on Indy's fingers. GRINDING them beneath his boot heel. Indy CRIES OUT... He's going to FALL... Mephisto PAUSES. He HEARS something behind him. A CLANGING BELL. Getting CLOSER. LOUDER. Mephisto TURNS. + +He sees the GIANT BELL. COMING at him. Only INCHES AWAY. There is NO TIME to move. The bell ROLLS OVER MEPHISTO. KNOCKING him INTO THE PIT. Mephisto FALLS through the bars. INSIDE the pit. INTO the middle of the hungry tigers. Mephisto SCREAMS. The tigers are UPON HIM. The Nazi is RIPPED TO SHREDS. Within seconds, his screams are a MEMORY. A very WEAK Indiana still clutches the bar. He manages to BOOST himself out of the pit. He takes a FEW STEPS. WOBBLING. BLOOD pours from the wound in his chest. + +He STUMBLES. To his KNEES. His eyes ROLL BACK. He FALLS to the ground. His body is STILL. MOTIONLESS. + +CUT TO: + +INT. TANK + +The Gorillas, still dressed as NAZIS, continue to DRIVE THE TANK FORWARD. + +EXT. TANK + +The tank SPEEDS TOWARD THE ROWS OF CHARGING NAZI TROOPS. The Nazis STOP. SHOCKED to see their own tank coming at them. But the tank continues to BARREL AHEAD. Many of the Nazis are CRUSHED beneath the heavy tank treads. Others DROP their weapons and RUN. FRIGHTENED. + +INT. TANK + +The Gorillas are ECSTATIC. HOWLING. CHEERING. + +CUT TO: + +KEZURE AND THE PIRATES They have DEFEATED all of the Nazis. One of the canvas trucks has completely SUNK. Only a small section of the other truck JUTS OUT of the water. The Pirates CLING to the fleeting safety of the sinking truck frame, which is surrounded by several HUNGRY SHARKS. There are even TOO MANY maneaters for the powerful Kezure to handle. As the frame continues to SINK...the Pirates' feet get CLOSER...CLOSER...to the snapping sharks... Suddenly, a ROPE DROPS FROM OVERHEAD! Kezure LOOKS UP. SCRAGGY and his crew members stand on the DRAWBRIDGE. They have DROPPED the line. Kezure and the Pirates CLIMB upward. To SAFETY. On the drawbridge, Scraggy ASSISTS Kezure. Scraggy SMILES, repeating Kezure's earlier threat. + + SCRAGGY + You owe me, old man. + +Kezure LAUGHS. He EMBRACES Scraggy. They are joined by TYKI and the OTHER PYGMIES. A sudden CALM...a sudden SILENCE...overcomes the city. The battle has ENDED. The Nazis have been DEFEATED. The city is SAVED. But Tyki is SOLEMN. DISTRESSED. He STARES OFF SCREEN. CAMERA PANS TO HIS P.O.V. We see the countless BODIES OF PYGMIES. SPRAWLED on the ground. DEAD. The price you pay for FREEDOM. Suddenly, the silence is INTERRUPTED. Someone is CRYING. It is BETSY. Scraggy looks OFF SCREEN, to the direction of the sounds. + +The color LEAVES his face. SCRAGGY'S P.O.V. A group of pygmies CARRY the limp body of Indiana Jones out of the coliseum. They GENTLY LOWER Indy's body to the ground. Clare and Betsy KNEEL beside Indy. TEARS run down Betsy's face. Scraggy suddenly BREAKS AWAY from the crowd. CAMERA DOLLIES WITH HIM as he runs toward Indy. Scraggy STOPS at Indy's body. Clare, eyes FILLED with tears NODS to Scraggy. She can BARELY utter the words... + + CLARE + He's...dead... + +TEARS erupt in Scraggy's eyes. + +He breaks down CRYING. A startled KEZURE joins the others. CAMERA PULLS BACK to an extremely LONG SHOT. The entire village GATHERS around Indiana's body. Everyone is SOLEMN. SILENT. + +>A SLOW DISSOLVE: + +CLOSE-UP: INDIANA'S BODY. It is LYING in state. Resting on a BAMBOO STRETCHER. It is covered with EXOTIC, COLORFUL FLOWERS. CAMERA PULLS BACK. Indy is being carried by several, elaborately dressed PYGMIES. At the head of a long FUNERAL PROCESSION. Betsy, Clare, Scraggy and Kezure MARCH beside Indy's body. They also wear the ceremonial FUNERAL FLOWERS. Behind them, the body of BOHBALA is being carried. And behind the ruler, the bodies of all DEAD PYGMIES are being carried by the remaining VILLAGERS and GORILLAS. + +It is NIGHTTIME. All mourners are carrying FLICKERING CANDLES. At the rear of the procession, a lone pygmy strums an UNUSUAL STRING INSTRUMENT. This creates a HAUNTING melody. CAMERA PULLS BACK TO A LONG SHOT, as we see the procession move through the city. The hundreds of flickering candles against the dark night sky create a BEAUTIFUL IMAGE. The procession arrives at a large STONE WALL. It appears to be a DEAD END. Tyki WALKS to the wall. He FALLS to his knees and begins to CHANT. Clare, Betsy, Scraggy and Kezure WATCH. + +There is a SMALL RUMBLE. A hairline CRACK begins to form in the mountain. As if it were being DRAWN by an invisible hand, the crack forms a LARGE DOOR in the wall. The door slowly OPENS. An almost BLINDING WHITE LIGHT emanates from inside. Tyki ENTERS. The procession FOLLOWS. + +INT. WALL + +The procession ascends a TWISTING STONE STAIRCASE, that spirals upward, where the light becomes BRIGHTER... BRIGHTER... At the stairway top, there is ANOTHER DOORWAY. Tyki and the others ENTER. Indiana's body is CARRIED through. + +.THE GARDEN OF IMMORTAL PEACHES! + +A breathtakingly beautiful forest of never ending luscious green trees, filled with succulent, ripe PEACHES. We have never seen COLORS like this. So MAGICAL...so INTENSE... Bright SUNLIGHT shines from a vivid blue sky. There is always a RAINBOW here. The procession ENTERS. Scraggy, Clare, Betsy and Kezure stare in total WONDERMENT. Betsy is PUZZLED by the bright sunlight. + + BETSY + But... It's... It's the middle of the night... + +Tyki WHISPERS to Scraggy, who explains to Betsy. + + SCRAGGY + Sun always shine in the Garden of Immortal Peaches. + +Clare NODS. Kezure is MESMERIZED by the peach trees. His mouth HANGS OPEN. He TURNS to Scraggy. + + KEZURE + These are the peaches that make one ...forever young?... + +Scraggy NODS. Tyki LEADS the procession to a clearing in the garden. Many freshly dug GRAVES are here. All of the bodies are carried to SEPARATE GRAVES, including Indiana And Bohbala. A few feet ahead of the graves, rests the LARGEST PEACH TREE in the forest. It is much WIDER and TALLER than the others. There is a small, glass encased TOMB built into the tree. Inside of the tomb, is a TINY SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a LION SKINNED ROBE and golden CROWN. In its hand, the skeleton clutches the famous GOLDEN HOOPED ROD, a glorious, elaborate STAFF. An ancient inscription is ETCHED IN STONE over the tomb. Pointing to the inscription, Clare TURNS to Scraggy. + + CLARE + What does it say?... + + SCRAGGY + (translating) + "Our Lord... Our Master... Sun... Wu... Kung" + +!THE SOUND TRACK MUSIC RISES. + +It is the tomb of the STONE MONKEY KING. Clare exchanges an AWE INSPIRED glance with Betsy, then looks to the still body of Indiana. + + CLARE + Damn you, Jones! Why couldn't you be here to share this with me! + +The pygmies begin to LOWER the dead bodies, including Indiana and Bohbala, into the ground. Tyki reads from ANCIENT SCRIPTURE. Scraggy SOBS on the shoulder of Kezure, who continues to stare in ASTONISHMENT at the peach trees. Suddenly, there is a RUMBLING SOUND. Followed by a slight, TREMOR. The trees begin to SWAY, as a HOWLING WIND rushes through them. The tomb of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES. + +Beginning to MOVE. The skeleton STEPS OUT OF THE TOMB. Everyone STARES in awe. TERRIFIED. The skeleton takes a FEW STEPS forward, STOPS, and RAISES its arms. HIGH in the air. The skeleton OPENS its mouth. Emitting a HIGH PITCHED ...UNEARTHLY...SCREECH! An ectoplasmic GREEN SMOKE seeps from the skeleton's fingers, slowly TRAVELING over the heads of the humans. The ectoplasm separates into several INDIVIDUAL LINES, that touch down upon EACH OF THE GORILLAS. The ectoplasm ENCIRCLES each the Gorilla's bodies. + +The Gorillas begin to RISE from the ground. HIGH in the air. The ectoplasm appears to be CARRYING them toward Sun Wu Kung. As the Gorillas TRAVEL through the air, their bodies begin to SHRINK. Growing SMALLER. THINNER. The humans stare into the SKY. Watching the AMAZING, MAGICAL TRANSFORMATION. As the Gorillas get CLOSER to Sun Wu Kung, their bodies have shrunken to TINY, HAIR-LIKE substances. When the Gorillas ARRIVE at the skeleton, they ATTACH themselves to his body. We see that the shrunken Gorillas are actually individual HAIRS on the skeleton's body. + +As the countless hairs CONVERGE, the skeleton begins to take SHAPE...FORM... SUN WU KUNG COMES TO LIFE! He is UNLIKE anyone or anything we have ever seen. HALF-HUMAN. HALF-MONKEY. His face is covered with WRINKLES. His wide eyes are COAL BLACK. PROBING. WARM. When he smiles, it is DEVILISH, but incredibly CHARMING. His movements are PERKY. QUICK. An extremely ADORABLE little fellow. Instantly LOVABLE. But there is a STRONG, POWERFUL presence about him. He is indeed, a HEAVENLY FIGURE. Sun Wu Kung LOOKS over the congregation. + +Everyone FALLS to their knees. Clare, Betsy, Scraggy and a RELUCTANT Kezure do the same. Sun Wu Kung PACES through the clearing. He LOOKS into the many graves. He is DISTRESSED. TROUBLED. His wrinkled face twists into FURIOUS expression. He RAISES his golden hooped rod to the sky. He SCREAMS. His old voice CREAKS and GROANS. + + SUN WU KUNG + We cannot bury these men!... This is a garden of life... Not of death!... + +Betsy WHISPERS to Clare. + + BETSY + Why's he speakin' in English? + + CLARE + He is a heavenly being. According to legend, when a heavenly being speaks, men of all countries can understand him. We hear him in English...the pygmies hear him in their language. + +Betsy NODS. Sun Wu Kung CONTINUES his heartfelt scream into the heavens. + + SUN WU KUNG + Return their souls!... I demand it!... Return their souls! + +A few MOMENTS pass. Then...a thick, white cloud ECLIPSES the sun. A small hole in the cloud, allows one RAY OF SUNLIGHT to shine through. The ray shines down upon ONE PARTICULAR PEACH TREE. Sun Wu Kung TURNS to that peach tree. He raises the GOLDEN HOOPED ROD toward the tree. He begins to SING an unusual hymn. Suddenly, several peaches magically FLY from the trees. They congregate ABOVE the golden hooped rod. The peaches SPIN in midair. With quick movements of the rod, Sun Wu Kung SENDS several peaches flying OFF SCREEN. CAMERA FOLLOWS the magical peaches as they SEPARATE and FLY INTO EACH GRAVE. + +Toward the BODIES OF THE DEAD PYGMIES. Each body is HIT with an individual peach. When the peaches MAKE CONTACT with the dead bodies, there is a small, colorful EXPLOSION. A small FIREWORKS display. The bodies erupt with a BRIGHT GOLDEN GLOW. A few moments PASS. One of the bodies STIRS. MOVES. The body SITS UP. Gets to its FEET. ANOTHER BODY does the same. So does ANOTHER. And ANOTHER. Soon, the various pygmies CLIMB out of the graves. Their wounds have DISAPPEARED. Their life has been RESTORED. + +Sun Wu Kung flings the remaining TWO PEACHES into the GRAVES of Indiana and Bohbala. There is a small EXPLOSION...followed by the WARM GLOW of their bodies. The wound in Indy's chest VANISHES. His eyes POP OPEN. To the delight of his friends, Indy STANDS. ALIVE. He is PUZZLED by the surrounding grave. Clare, Scraggy and Betsy HELP Indiana OUT of the grave. They SHOWER him with EMBRACES and KISSES. But Indy remains CONFUSED. PUZZLED. + + INDIANA + What the hell's goin' on? + +Sun Wu Kung, looking very PLEASED with himself, stands BEHIND Indiana. Clare SMILES at Indy. + + CLARE + I think there is someone you should meet... + +Clare POINTS to behind Indy, who TURNS and sees the smiling SUN WU KUNG. Indy is at first SHOCKED... His face breaks into a CHILDLIKE SMILE...filled with DELIGHT. He then manages to UTTER... + + INDIANA + You... You're... Sun Wu Kung?... + +Sun Wu Kung STEPS FORWARD. He nods and ANSWERS. + + SUN WU KUNG + You are... Indiana Jones?... + + INDIANA + (taken aback) + Huh?... You know me? + + SUN WU KUNG + (nods) + I have watched you for many, many years...from the heavens. I was fascinated by your bravery...your passion...in searching for me. + + INDIANA + Well, I... Thanks I'm very honored. + + SUN WU KUNG + The honor is mine, Doctor Jones. You and your friends have saved my city from ruin. + (a pause) + I would like to return the favor. + +Sun Wu Kung gives Indiana the GOLDEN HOOPED ROD. Indiana takes the PRICELESS ARTIFACT. He STARES at the beautiful rod. He is very MOVED. SPEECHLESS. Sun Wu Kung EXPLAINS. RAISES an eyebrow. + + SUN WU KUNG + The Golden Hooped Rod will be a faithful friend. It is capable of one hundred transformations...and will always remain by your side. + +Indy manages a NOD. Sun Wu Kung SIGHS. + + SUN WU KUNG + I will explore the heavens for another. Surely, my search will be shorter and less hazardous than yours! + +Indiana SMILES. Meanwhile, Kezure uses the opportunity to SNEAK AWAY. He DISAPPEARS into a cluster of PEACH TREES. He CLIMBS the smallest tree. The GREEDY Pirate King begins to PICK several peaches. HIDING them in his pockets. Sun Wu Kung LOOKS OVER the healthy, restored community of pygmies. The Monkey King SMILES. + + SUN WU KUNG + With my city alive again...I will be able to return to the heavens. + (warm smile to Indy and the others) + Goodbye...my dear friends. + +Sun Wu Kung again RAISES his arms. Green ECTOPLASM again emanates from his fingers. The individual strands of HAIR fly from his body. In a reversal of what we saw only moments ago, the strands of hair FLY through the air. They grow LARGER...LARGER...until they resume the shape of the GORILLAS. Sun Wu Kung has RETURNED to his skeletal form. He TURNS and WALKS back to his resting place. The pieces of broken glass RE-ASSEMBLE. SEALING the tomb. Kezure, his pockets STUFFED with peaches, hurriedly REJOINS the others. Tyki EMBRACES Bohbala, glad to have his Father ALIVE. Bohbala, resuming his position as Ruler, LEADS HIS PEOPLE out of the garden. Indiana, CLUTCHING his golden hooped prize, EXITS with the others. + +CUT TO: + +EXT. CITY GATES - THE FOLLOWING MORNING + +Indiana, Clare, Betsy, Scraggy, Kezure, the Pirates and Crew members, have GATHERED outside of the city walls for the journey home. They are saying "Goodbye" to TYKI, BOHBALA And the other PYGMIES. Clare and Tyki exchange a TEARFUL FAREWELL, communicating in hand signals. They share a final EMBRACE. Bohbala again THANKS Indiana for his help. Betsy says "Goodbye" to the many GORILLAS. Betsy COMMUNICATES in Gorilla hand motions and growls. Indiana, holding the Golden Hooped Rod, TURNS and moves across the drawbridge. The others FOLLOW. The entire city of pygmies and Gorillas CHEER for their departing friends. Indy and the others DISAPPEAR into the clouds, walking down the MOUNTAIN PATH. The Lost city GLISTENS in the background. The drawbridge CLOSES...until the next visitor ARRIVES. + +DISSOLVE TO: + +EXT. MOUNTAIN PATH - A FEW HOURS LATER + +Early AFTERNOON. The sun is HOT. SCORCHING. Indy and his party REST. They NAP in a shady section of the path. CAMERA PANS THE SNOOZING BODIES of everyone, coming to a STOP at Indiana. The Golden Hooped Rod RESTS beside Indy. A HAND COMES INTO FRAME and GRABS the staff. OTHER HANDS MOVE INTO FRAME. They STEAL Indy's WHIP and REVOLVER. They TAKE all weapons from Scraggy and his crew members. Indiana is awakened by a SWORD. At his THROAT. Indy REACHES for his gun and whip...GONE. He LOOKS UP. KEZURE stands over him, holding the sword in one hand, the GOLDEN ROD in another. Indy TURNS. The other Pirates hold SWORDS and DAGGERS at the throats of Clare, Betsy, Scraggy and the crew members. Kezure TWIRLS the golden hooped rod in front of him. He SMILES at Indiana. + + KEZURE + She is a wonderful treasure... Eh?... + + INDIANA + We had a deal. + + KEZURE + (moves sword closer to Indy's throat) + I have no deals with dead men. + + INDIANA + Son of a bitch. + +Kezure LAUGHS. He has REMOVED a peach from his pocket. He SHINES the peach on his cloak, and gives a SHRUG to Indiana. + + KEZURE + (shrugs, laughs) + I am an old Pirate, Doctor Jones. Do you suddenly expect me to treat you with kindness and fairness?... It is not my way of life! + +Indy is DISGUSTED. Kezure TAKES A LARGE BITE from the peach. As he chews and swallows, Kezure NODS to his men, motioning toward Indy and the others. + + KEZURE + Kill them... + (takes another bite of the peach) + But save their hair. I will make a coat out of it. + +The men MOVE to kill Scraggy, Betsy, Clare and the crew members. Suddenly, Kezure emits a LOUD SCREAM. He GRABS his stomach in pain. He FALLS to his knees. The HALF EATEN PEACH rolls from his hand. Onto the GROUND. Indy and Clare RUSH TOWARD Kezure. Something very STRANGE is happening to the Pirate King... His hair begins to FALL OUT. His teeth ROT. His skin SHRIVELS. His body becomes THINNER. SPINDLY. Kezure has begun to RAPIDLY AGE. He continues to SCREAM. In horrible PAIN. The Pirates STEP AWAY. FRIGHTENED. + +The others WATCH IN HORROR. Kezure's body CONTORTS. His skin WITHERS... FLAKES... It begins to PEEL from his bones. His screams FADE... His eyeballs ROLL OUT of their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches ROLL OUT of his cloak, onto the ground. The remaining Pirates DROP THEIR WEAPONS. They RUN OFF down the mountain. SCARED to death! Indiana HOLDS the half eaten peach in his hand. Betsy is PUZZLED. + + BETSY + I thought the peaches promised immortality...eternal youth?... + + INDIANA + The garden of immortal peaches promises life only to those who are pure in heart. + (pause) + Kezure was evil. His heart was filled with greed. + +Indiana DROPS the peach to the ground. He grabs his WHIP, REVOLVER and GOLDEN HOOPED ROD. Scraggy and his crew members RETRIEVE their weapons. Everyone TURNS, CONTINUING down the mountain path. LEAVING Kezure's clothes and the several peaches behind. + +CUT TO: + +EXT. MOZAMBIQUE - DOCK - A FEW DAYS LATER + +Passengers board a large OCEAN LINER, bound for the United States. INDIANA JONES is here. Bags PACKED. He holds a rectangular wooden crate, covered with the words "FRAGILE". The Golden Hooped Rod is obviously STORED inside. Indy is WAITING for someone. He impatiently CHECKS his wristwatch. LOOKING around. He GRUMBLES to himself. + + INDIANA + Where's Betsy?... The boat leaves in five minutes... + +Suddenly, a HORN interrupts. Indy turns to the DIRECTION OF THE SOUND. It is SCRAGGY. He is wearing DRIVING GOGGLES. He rides a battered, bruised MOTORCYCLE, attached to a rickety SIDECAR. The word "TAXI" is painted on the sidecar's exterior. Scraggy PULLS UP beside Indiana. Scraggy JUMPS OFF the motorcycle. Excitedly, he RUNS toward Indy. + + SCRAGGY + Oh, Indy! Indy! I want to give you something for your journey! + +Scraggy FUMBLES through his pockets. He removes a small bottle of PURPLE LIQUID. He HOLDS it out to Indy. + + SCRAGGY + Take one drink before bed. It keep out all bad spirits. + +Indy DECLINES. He flashes a FLASK OF WHISKEY from inside of his coat pocket. + + INDIANA + Thanks, Scraggy... But this'll keep out all the bad spirits. + +Scraggy SHRUGS. They are suddenly INTERRUPTED. + + BETSY (O.S.) + Indy!... + +Indiana TURNS. BETSY and CLARE walk toward him. Indy LOOKS at Betsy. PUZZLED. + + INDIANA + Where're your bags? + + BETSY + I'm not leaving. + + INDIANA + Huh?... But, you... You have to finish school. + + BETSY + I'm staying on as Clare's assistant. + +Indy shoots a JEALOUS GLANCE to Clare, then back to Betsy. + + INDIANA + But you're MY assistant. + + BETSY + Not any more. I'm having my credits transferred. + + INDIANA + Why?... + + BETSY + Clare is a brilliant teacher. + + INDIANA + (jealous) + So am I. + + CLARE + Yes, but I don't offer a course in seduction. + + INDIANA + You stay out of this. + + BETSY + Indy... I thought you wanted me out of your life... + + INDIANA + That was before I realized how gifted...how talented you are... I mean... I could really use you... + + CLARE + Especially aboard ship for three weeks. It gets terribly lonely. + + INDIANA + I warned you... + + BETSY + Indy, I've learned a lot from you. But it's time I started concentrating on a career in anthropology...instead of romance. + + INDIANA + (sighs, to Betsy) + You've certainly developed a mature attitude. + + BETSY + (hugs him) + Thanks to you. + (pauses, looking into Indy's eyes) + You know... I always thought of you as my knight in shining armor... + + INDIANA + (flattered) + Really? + + BETSY + But now, I'll think of you as the Father I never had. + + INDIANA + (rolls his eyes) + Terrific. + +Clare WALKS up to him. She EXTENDS her hand. + + CLARE + Doctor Jones...although your libido is questionable, your bravery and intelligence are exceptional. + (a smile) + It has been an honor working with you. + + INDIANA + (taken aback) + Why... Thanks. + +Indy LEANS toward Clare, as if he is going to KISS HER. He RAISES an eyebrow. SPEAKING in his smoothest...most suave... + + INDIANA + You know, Clare...there's something... + + CLARE + Yes... + + INDIANA + (moving closer) + ...something I've been wanting to do... + + CLARE + Yes... + + INDIANA + (closer) + ...since we first met... + +LEANING forward, Indy closes his eyes to KISS Clare. But Clare MOVES AWAY. BONZO THE GORILLA enters the FRAME. BONZO KISSES Indy on the lips. + +Indy OPENS his eyes. He tries to MOVE AWAY. But the Gorilla will not move, WRAPPING HER ARMS around Indy. The Gorilla WRESTLES Indy to the ground. By using Gorilla HAND MOTIONS and GRUNTS, Clare manages to persuade BONZO to MOVE AWAY from Indiana. Indy WIPES his mouth. Clare, Betsy and Scraggy are LAUGHING. Betsy EXPLAINS to Clare. + + BETSY + Sorry. Guess I left her cage open... she followed us. + +The ocean liner's horn SOUNDS! It begins to DRIFT away from the dock. Indiana TURNS and RUNS up the stairs, leading to the boat. The boat is a FEW FEET from the dock. Indy LEAPS onto the boat. He MAKES IT. JUST IN TIME. Indiana pauses... Suddenly UPSET. He realizes that he's FORGOTTEN the Golden Hooped Rod! It SITS on the dock. At Scraggy's FEET. As the Ocean Liner PULLS AWAY, Indy is about to SCREAM to his friends... But Clare PICKS UP the crate. She SHRUGS to Indy. The ocean liner pulls FURTHER...FURTHER...from the dock. Indiana is HELPLESS. He CAN'T GO BACK. + +DISSOLVE TO: + +INT. CLARE'S ROOM - THAT EVENING + +Clare is SOUND ASLEEP in bed. CAMERA PANS TO a corner of the room. The wooden crate holding the Golden Hooped Rod RESTS here. Suddenly, the box's NAILS begin to TWIST. TURN. As if they were being turned by INVISIBLE HANDS. They FALL OUT of the box. DROPPING to the floor. ONE by ONE. The box SLOWLY OPENS. The Golden Hooped Rod SHIMMERS in the moonlight. Suddenly, the staff begins to MOVE. TWISTING. SHRINKING. It CHANGES SHAPE...turning into a GOLDEN EAGLE! The bird slowly FLAPS its wings and FLIES OUT of the open window. INTO the night. Clare continues to peacefully SLEEP. + +CUT TO: + +EXT. OCEAN - NIGHT + +The full moon ILLUMINATES the night sky. SHIMMERING across the ocean waters. Countless BRIGHT STARS sparkle in the night sky. Indy's OCEAN LINER sails across the water. The image of an EAGLE appears in the night sky. SILHOUETTED against the moon. + +INT. SHIP CABIN + +Indiana Jones is SOUND ASLEEP in his bed. The room's porthole mysteriously SWINGS OPEN. The Golden Eagle FLIES inside. The eagle TRANSFORMS back into the Golden Hooped Rod. The rod LEANS AGAINST the wall. The moonlight REFLECTS the rod, SHINING into Indiana's eyes. Indy WAKES. He SITS UP and sees the Golden Hooped Rod. At first, he is SHOCKED. He TOUCHES the rod...then comes upon a REALIZATION. The CREAKY VOICE of Sun Wu Kung FILLS the SOUNDTRACK. + + SUN WU KUNG (V.O.) + The Golden Hooped Rod will be a faithful friend. It is capable of one hundred transformations...and will always remain by your side. + +Indy STANDS. He turns and LOOKS out of the porthole. A DREAMY... SATISFIED smile covers Indy's face, as he stares at the stars ABOVE. SOUND TRACK MUSIC SOARS. CAMERA PULLS BACK, TO EXTREMELY LONG SHOT of the ship SAILING across the ocean. + +!THE END diff --git a/fountain_scripts/Indiana Jones IV - The Monkey King.webp b/fountain_scripts/Indiana Jones IV - The Monkey King.webp new file mode 100644 index 0000000000000000000000000000000000000000..7e35987b6274803018a8889d496a1589d2f8bf50 --- /dev/null +++ b/fountain_scripts/Indiana Jones IV - The Monkey King.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:b8b5ca50d5bd26846785c57b57b1a93bc69e4c0b454a847945945ec0ba48e894 +size 9132 diff --git a/fountain_scripts/Indiana Jones and the Last Crusade.fountain b/fountain_scripts/Indiana Jones and the Last Crusade.fountain new file mode 100644 index 0000000000000000000000000000000000000000..a565d47e4f4e5523d3e0dd58bacb3442c0f0f28a --- /dev/null +++ b/fountain_scripts/Indiana Jones and the Last Crusade.fountain @@ -0,0 +1,4758 @@ +Title: INDIANA JONES AND THE LAST CRUSADE +Credit: Screenplay by +Author: JEFF BOAM +Source: Story by GEORGE LUCAS and MENNO MEYJES + +>FADE IN: + +EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY + +A mountain peak dominates the landscape. + +!TITLES BEGIN. + +Riders on horseback cross the desert. From this distance they appear to be a company of Army Cavalry Soldiers. + +CLOSER ANGLES ON THE RIDERS reveal only details of saddles, hooves and uniforms. The riders are silhouetted against the rising sun as they ride into an ancient CLIFF PUEBLO. + +The OFFICER IN COMMAND raises his hand halting his troops. + + OFFICER + Dis-mount! + +RIDERS climb down from their mounts... and only now do we realize that this is a TROOP OF BOY SCOUTS, all of them about thirteen years of age. The "Commanding Officer" is only their SCOUTMASTER, Mr. Havelock. + +One of the Scouts, a pudgy kid named HERMAN, steps away from his horse, bends over and pukes. The other Scouts rag on him. + + FIRST SCOUT + Herman's horsesick! + +A BLOND SCOUT, however, befriends Herman. He has a thatch of straw-colored hair and the no-nonsense expression common to kids whose curiosity and appetite for knowledge exceed what they teach in school. Additionally, he has adorned his uniform with an authentic HOPI INDIAN WOVEN BELT. + + SCOUTMASTER + Chaps, don't anybody wander off. Some of the passageways in here can run for miles. + +Two Boy Scouts climb up the rocky base of the cliff. + +INT. THE PASSAGEWAY - DAY + +The two boys head down the passageway. It's dark, and the temperature drops several degrees. Spiders have built huge webs that get caught in the boys' hair. + +HERMAN appears very uncertain as to the wisdom of this enterprise, but he's drawn on by his companion's adventurous curiosity./* CONTINUED: */ + + HERMAN + I don't think this is such a good idea. + +LAUGHTER is HEARD; the Blond Scout pulls Herman forward toward its source. + +The VOICES GROW LOUDER now as the boys get closer to their source. The light of kerosene lanterns dances on the tunnel walls ahead. The boys approach cautiously, careful to stay hidden. + + HERMAN + What is it? + +This is what they see: + +FOUR MEN digging with shovels and pick-axes. They have broken into one of the pueblo's SECRET CHAMBERS... called "Kivas." The men are ROUGH RIDER (his name describes his dress), ROSCOE (a Bowery Boy bully of 14) and HALFBREED (with straight black hair that cascades over his shoulders). + +And the fourth man wears a LEATHER WAIST JACKET and BROWN FELT FEDORA HAT. He has his back turned to us, but we would be willing to bet anything that this is INDIANA JONES. + +However, when the man turns, and his face is illuminated by the lantern's glow, we are shocked to discover that it is someone else. + +We'll call him FEDORA. TITLES END. + +The TWO BOYS are mesmerized by what they see. + +Now we realize that the Blond Scout is actually young INDIANA JONES. + + FEDORA + Alfred, did you get anything yet? + + MAN + Nothing. Dig in. + +Two of the men stand and look at ROSCOE who steps forward holding a box in his hands. + + ROSCOE + Hey, I've got something! + +Whoops from the other men. + + ROSCOE + I got something, Garth!/* CONTINUED: (2) */ + +ROSCOE rushes forward and gives FEDORA the box. Fedora steps toward a lantern resting on a rock. + + ROSCOE + I got something... I got something right here. + +More whoops from the other men. + +FEDORA puts the box on the rock next to the lantern. HALFBREED pushes ROSCOE as he jumps with excitement. ROUGH RIDER steps forward to look at the box as Fedora opens it. + + ROSCOE + (more whoops; then) + Oh, look at that! + (more whoops) + We're rich! We're rich! + + HALFBREED + Shut up. Shut up. + +FEDORA takes a BEJEWELED CROSS from the box and holds it aloft. Fedora's comrades practically salivate at the sight of it. + + ROSCOE (O.S.) + Well, we're rich, ain't we?! + +INDY takes off his hat and looks down at the o.s. action. + + HERMAN + Indy? Indy? What are they doing? Indiana? Indiana? + + INDY + Shhh! + +FEDORA blows dust from the Cross, turning it in his hand, silently appraising its beauty... and its value. He seems aloof from the others; somehow superior to them. + + HALFBREED + Hey, we got to find more stuff to bring back. + +INDY stays hidden, but is astounded by what he sees. + + INDY + (hushed; urgent) + It's the Cross of Coronado! Cortes gave it to him in 1520!/* CONTINUED: (3) */ + +FEDORA continues to admire the Cross, then places it on the rock next to its box and the lantern. + +INDY turns back to observe the men. + + INDY + That Cross is an important artifact. It belongs in a museum. + +A look of resolve comes into INDY's expression, and he turns back toward HERMAN. + + INDY + Run back and find the others. Tell Mister Havelock that there are men looting in the caves. + +HERMAN doesn't seem to be listening. Instead, he watches in wide-eyed horror as a SNAKE SLITHERS ACROSS HIS LAP. + + INDY + Have him bring the sheriff. + +INDY matter-of-factly picks up the snake and tosses it aside. HERMAN gasps. + + INDY + It's only a snake. + +INDY grabs HERMAN's scout scarf and pulls him closer. + + INDY + Did you hear what I said? + + HERMAN + Right. Run back. Mister Havelock. The Sheriff. What, what are you gonna do? + + INDY + I don't know... I'll think of something. + +INDY releases the scarf, gives HERMAN a pat and Herman dashes off. Indy sees the Cross on the rock next to the lantern. As the Robbers continue to search for additional valuables, Indy is able to work his way unseen to within arm's reach of the Cross... + +FEDORA looks over at the men digging in a hole b.g. + + FEDORA + Dig with your hands. + +INDY picks up the Cross./* CONTINUED: (4) */ + + FEDORA (O . S . ) + Not with your mouth. + +As FEDORA stands watching the other men digging, INDY puts the Cross in his pants and begins to pull himself up a rope hanging nearby. As he climbs, Indy's feet break a wooden beam, attracting the men's attention. + + ROSCOE + He's got our thing! + + HALFBREED + Get 'im! + +The three Robbers are so eager to get their hands on INDY, they almost knock each other over in the attempt. + +Only FEDORA is unperturbed. He casts a disgusted glance in the direction of his fleeing companions—then sets off after INDY. + +EXT. THE CLIFFS - DAY + +INDY EMERGES from the darkness of the Pueblo into the brightness of day. + +He pauses—squints—shields his eyes—looks in all directions. + + INDY + Mister Havelock! Anybody Everybody's lost but me! + +He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. ROUGH RIDER, HALFBREED, and ROSCOE are quick to appear and run after him. + + FEDORA + There he is! + + MEN + (AD-LIBS) + Let's go! Let's get him! Let's go! + +Indy jumps from one rock to another; the SCOUT TROOP HORSES are below. Indy puts two fingers in his mouth and WHISTLES for his horse, who trots over. Indy puts the Cross in his belt. + +INDY PREPARES TO JUMP into the saddle. Hesitates. Then... he JUMPS. But the horse moves exactly at the wrong moment and Indy lands flat on his feet in a standing position. The impact sends a shock wave up his body that rattles his back teeth. Indy stands up and successfully mounts his horse. + +FEDORA AND HIS MEN ARRIVE at the roof's edge in time to see INDY climb into the saddle and gallop off./* CONTINUED: */ + + INDY + Hyah! Hyah! + + ROSCOE + Hey! Come back here! + +FEDORA puts two fingers in his mouth and WHISTLES... and A VINTAGE TRUCK AND AUTOMOBILE come ROARING OUT from behind the Pueblo (Driven by two more gang members). Now we glimpse... + +THE MAN IN THE PANAMA HAT The passenger in the car. His face is concealed by the hat's wide brim. His arm is out the window, however, and we see an olive-colored hand protruding from the sleeve of an expensive white linen suit. He gestures to the Robbers, now in the truck. + + PANAMA HAT + Come on. Get him! + +INDY SPURS his mount on to greater speeds but the autos not only keep pace with his horse... they begin to squeeze in on it. + +Speeding Autos. Thundering hooves. Rushing wind. Flying dust. INDY crouched low and leaning forward in the saddle, his heart pounding, his adrenalin pumping. + +INDY VEERS OFF in a new direction—toward a RAILROAD TRACK. + +EXT. A CIRCUS TRAIN - DAY + +The train is barreling down the track. INDY rides up beside it. He glances over his shoulder and sees the car and truck gaining on him. No other choice... he LEAPS FROM HORSE TO TRAIN. + +He clings to the side of a BOXCAR, as HALFBREED and ROUGH RIDER leap from the truck onto the train. + +HALFBREED tries to grab INDY, but Indy leaps onto another boxcar. Halfbreed runs after him but Indy leaps from the boxcar onto some covered boxes stacked on a flatcar. + +INDY loses his balance but regains it. With HALFBREED and ROUGH RIDER still running after him, Indy enters the trap door of... + +INT. THE REPTILE CAR - DAY + +and finds himself CRAWLING on a CATWALK suspended from the car's ceiling. + +Several feet below are NUMEROUS VATS containing all manner of reptiles: + +Alligators, crocodiles, giant lizards, etc./* CONTINUED: */ + +Then, HALFBREED ENTERS through the trap door—followed by ROUGH RIDER. + +Halfbreed grabs hold of INDY's feet, but Indy kicks at him and he loses his grasp. + +INDY crawls away, toward an opening on the opposite side. HALFBREED grabs at Indy's feet again; Indy rolls away and we SEE large bins of squirming snakes. + +The combined weight of the three people is more than the catwalk was intended for, and the BOLTS BEGIN TO RIP FROM THE CEILING. + +Everyone holds their breath, afraid to make another move. Too late. SEVERAL BOLTS TEAR FREE. HALFBREED and ROUGH RIDER SCREAM... but it's Indy's end of the catwalk that DROPS DOWN... PLUNGING INDY to the floor of the car. + +He lands hard, with a SPLASH into a vat of water... where he finds himself eye-to-eye with an— ENORMOUS ANACONDA The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex. + + INDY + Oh... + +INDY jumps back in horror... only to land with a SQUISH into the SNAKE VAT. + + INDY + Oh... Oh... + +Hundreds of slippery, squirming snakes. INDY sinks into them. They cover him. + +Engulf him. Almost smother him. + +INDY jumps out of the side of the vat, freeing himself. + +INDY locates a clean-out door at the bottom of the car and uses it to escape. + +HALFBREED, meanwhile, tries to open the closed window of the car. He groans. + +ROUGH RIDER moves to assist him. + + ROUGH RIDER + Here, let me. + +EXT. THE TRAIN- DAY + +INDY stops, checks to see the Cross still lodged in his belt. Suddenly he looks worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM and tosses it away. + +ROSCOE APPEARS atop the reptile car and manages to grab INDY. Indy kicks at him. Roscoe grabs onto the side of the reptile car as Indy moves on to... + +EXT. A FLATCAR - DAY + +INDY climbs over canvas-covered circus equipment. ROSCOE follows, grabbing a long stick with a hook on it. He reaches forward and trips Indy, who falls onto the roof of the rhino boxcar. + +INT. THE RHINO BOXCAR - DAY + +as a lamp falls from the ceiling with the impact of Indy's fall, hitting a HUGE BLACK RHINOCEROS. + +EXT. THE RHINO BOXCAR - DAY + +ROSCOE grabs INDY by the ankle and yanks him off his feet. The two struggle, rolling from side to side, coming perilously close to rolling right off the edge. + +Things get even more serious when Roscoe PULLS A KNIFE. + +IN THE BOXCAR BELOW ... THE FEROCIOUS BLACK RHINO is becoming extremely agitated by the commotion going on atop his cage. Finally, he raises his head and THRUSTS HIS HORN THROUGH THE ROOF. + +BACK TO THE ROOFTOP as the horn SMASHES through the wood only inches from INDY's head. Indy and Roscoe stare at the horn in amazement as they continue to struggle. + +SMASH! The horn comes up again—RIGHT BETWEEN INDY'S LEGS. + + INDY + Holy smokes! + +INDY kicks ROSCOE away. Roscoe rolls to the edge of the car but keeps from falling. Indy flips over onto his stomach. + +EXT. THE REPTILE CAR - DAY + +The WOODEN TRAP DOOR EXPLODES as a BULLET is FIRED from within. The door is pushed open and HALFBREED and ROUGH RIDER hurry out of the car. + +EXT. THE RHINO BOXCAR - DAY + +INDY gets to his feet—looks ahead—sees a WATER TANK alongside the track directly up ahead. Indy gets an idea... + +In an instant, he calculates his approach—times the distance—and LEAPS for the tank's WATER SPOUT./* CONTINUED: */ + +He catches it perfectly... but his velocity causes the water spout to ROTATE A FULL 360 DEGREES. With INDY hanging on, feet kicking, the water spout deposits him back on the train, onto the ROOF OF A STOCKCAR, where he looks up to see FEDORA walking toward him. + + FEDORA + Come on, kid. There's no way out of this. + +As INDY edges away from FEDORA, a portion of the STOCKCAR'S ROOF COLLAPSES and Indy FALLS THROUGH into the car below. + +INT. THE STOCKCAR - DAY + +INDY CRASHES down from above. Dust rises. + + INDY + Ohhh! + +INDY's eyes take a moment to adjust to the dark. A bit of sunlight leaks in through the cracks between the boards. + +Then INDY sees it. At the far end of the boxcar. Rising slowly to its feet... an AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust swirls up into the shafts of sunlight. + +And INDY has one more surprise in store: The Cross of Cortes has been dislodged from his belt during the fall... + +INDY glances around, sees a coiled LION TAMER'S WHIP hanging on a nail. He carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY. + +INDY swallows hard and gives the whip a try. It unravels awkwardly, its TIP flying back and HITTING INDY IN THE FACE... CUTTING his chin. + +The Lion GROWLS LOUDER. Indy quick!y gathers up the whip, wets his lips, and tries again. This time—success! The WHIP CRACKS SHARPLY. The Lion BELLOWS and SWATS the air... and steps back. + +INDY looks amazed and delighted. He CRACKS the whip again. The Lion backs away even more. Indy inches forward—bends down (never taking his eyes off the Lion)—picks up the Cross—and steps back again, sweat pouring down his face. + +But now... how to get out? + +He looks up at the opening through which he fell and sees FEDORA LOOKING DOWN AT HIM. Fedora extends his hand. + + FEDORA + Toss up the whip. + +EXT. THE ROOFTOP OF STOCKCAR + +FEDORA, assisted by HALFBREED and ROUGH RIDER, "reels" INDY out of the Stockcar as the Lion ROARS and lunges and Indy screams. + +The men, including ROSCOE, pull INDY through the hole in the roof. He stands to face them as ROUGH RIDER points a gun in his direction. + + FEDORA + You've got heart, kid. + (indicates Cross) + But that belongs to me. + + INDY + (takes Cross from his belt) + It belongs to Coronado. + + FEDORA + (overlapping) + Coronado is dead. And so are all his grandchildren. + + INDY + This should be in a museum. + + ROSCOE + Now give me that! + +ROSCOE makes a grab for the Cross—but INDY doesn't let go. A tug-of-war ensues until a SNAKE WIGGLES OUT FROM INDY'S SHIRTSLEEVE and WRAPS AROUND Roscoe's hand. + +ROSCOE SCREAMS BLOODY MURDER—releases his grip on the Cross and tries to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO THE NEXT CAR. + + FEDORA + Don't let him get away! + +INDY swings down to the caboose. He sees a sign above the caboose door reading "DR. FANTASY'S MAGIC CABOOSE." + + INDY + Magic? + +He glances back at the men and quick!y opens the door to the caboose, stepping inside. + +FEDORA puts out his arm, gesturing for the others not to follow INDY. + + FEDORA + Hold it. Make sure he doesn't double back. + +INT. THE CABOOSE - DAY + +which contains the circus MAGIC EQUIPMENT. INDY rushes to the rear door of the caboose but can't open it. He hears FEDORA coming, and dives into a MAGIC BOX. + + FEDORA + Okay, kid. out of the box. Now. + +FEDORA smiles confidently and advances toward the box. The box unexpectedly collapses; all four sides flop away... revealing NOTHING. INDY has completely vanished. + +FEDORA is mystified, frustrated and angered. Then he feels a breeze at his back. + +He turns and discovers that the caboose door is open. He rushes out onto the balcony and sees: + +INDY RUNNING along the tracks, turning up a street of modest clapboard houses. + + FEDORA + Damn. + +EXT. STREET - SMALL TOWN - DAY + +as INDY runs from the railroad tracks and approaches his house we see the name "JONES" painted on the mailbox. + + INDY + Dad! + +INT. THE HOUSE - DAY + +INDY bursts through the front door holding the Cross in his hand. A Husky BARKS as Indy runs past in search of his father. + + INDY + Dad! + + INDY + Dad! + +INT. THE STUDY - DAY + +INDY charges in. The study is cluttered with books. Pictures, charts and maps clearly reflect the father's passion for Medieval studies. + +PROFESSOR HENRY JONES is absorbed at his desk. In fact, he is studying a very ancient parchment volume which lies open on the desk. The page shows a beautifully illuminated picture of what might be a stained-glass window. The sketch incorporates a series of Roman numerals. The Professor is not just studying it, he is copying it into his own notebook./* CONTINUED: */ + +We never get to see the PROFESSOR's face in this scene. So INDY CHARGES IN. + + INDY + Dad! + + HENRY + Out! + + INDY + It's important! + + HENRY + Then wait—count to twenty. + + INDY + No, Dad. You listen to me— + + HENRY + (now he shouts) + Junior! + +No question who is the boss here. INDY gulps, his look says "What am I going to do with this guy?" And obeys— starts counting, VERY, VERY FAINTLY. + + INDY + One, two, three, four... + +Now we see what HENRY is concentrating on. We see his hand sketching; then, he holds up one finger. + + HENRY + In Greek. + +INDY's reaction: + + INDY + (louder, in Greek) + One... two... three... four... + +An ancient car is heard arriving. Perhaps INDY glimpses it going past the window. Anyway, it stops outside the house. Two men sit in the front seat. + +HERMAN sits in the rear, BLOWING A TRUMPET. + +INDY's reaction: Trouble! + +HENRY is just finishing the sketch. + + HENRY + May he who illuminated this... illuminate me... + +INT. THE FRONT ROOM - DAY + +The study door is just closing, INDY closing it behind him... just as HERMAN comes through the front door, still playing the trumpet. + +INDY reaches for the trumpet, pulling it from HERMAN's mouth. Herman continues to spit—right into Indy's face. Indy flinches. + + HERMAN + I brought the Sheriff. + +HERMAN means the SHERIFF, who now enters the house. + + INDY + Just the man I want to see! Now, there were five or six of them. + + SHERIFF + (interrupting) + All right, son. + + INDY + (overlapping) + ... they came after... me... + + SHERIFF + You still got it? + + INDY + Well, yes, sir. It's right here! + +INDY shows the CROSS, more or less handing it to the SHERIFF to make his point. The Sheriff takes it casually. + + SHERIFF + I'm glad to see that... because the rightful owner of this Cross won't press charges, if you give it back. + +FEDORA enters the house, followed by ROSCOE, ROUGH RIDER and HALFBREED. + +He politely removes his hat and holds it in his hand. He nods at INDY in a friendly manner. + + SHERIFF + He's got witnesses, five or six of them. + +The SHERIFF and FEDORA are in Cahoots The SHERIFF hands the Cross to FEDORA. ROSCOE reaches in and takes it from Fedora, then runs out the door. + + ROSCOE + Yahoo!/* CONTINUED: */ + +As ROSCOE runs outside INDY sees—through the screen door—the MAN IN THE PANAMA HAT waiting patiently beside the car that is parked out front. + +Roscoe approaches and gives the Man the Cross—the Man hands Roscoe some money in exchange. + +The SHERIFF tips his hat and leaves. + + SHERIFF + Good day. + +FEDORA remains behind for a moment. He turns and speaks to INDY in an ironic man-to-man way. + + FEDORA + You lost today, kid, but that doesn't mean you have to like it. + +Then, FEDORA takes off his hat and takes a step towards INDY. He holds the hat by the crown, and puts it on Indy's head, a show of respect and admiration for the boy. The hat blocks Indy's face. + +CLOSE ON THE TOP OF THE FEDORA HAT The hat brim fills the screen. As the brim tilts up, WE SEE the face of FULL GROWN INDIANA JONES. + +And... POW!... he's punched in the face while his arms are pinned behind his back. + +!FADE IN TITLE: "PORTUGUESE COAST—1938" + + PANAMA HAT + Small world, Doctor Jones. + + INDY + Too small for two of us. + +THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF CORONADO from Indy's belt. + + PANAMA HAT + This is the second time I've had to reclaim my property from you— + + INDY + That belongs in a museum— + + PANAMA HAT + So do you. + (he moves his eyeline) + Throw him over the side. + +THE DECK OF A PORTUGUESE CARGO SHIP It's NIGHT. RAIN POURS down. We're in the middle of a violent STORM AT SEA. + +Thirty-foot waves crash across the deck. + +The TWO PORTUGUESE SAILORS (who have Indy's arms pinned behind his back) propel INDY across the deck toward the rail. + +As they pass a BUNDLE OF FUEL DRUMS, INDY uses the Two Sailors as leverage to KICK UP HIS FEET and break open the CLAMP on the metal bands that hold the drums together. + +INDY jabs his elbows into the stomachs of the startled Sailors and rushes toward the MAN IN THE PANAMA HAT. + +PANAMA HAT sees INDY coming and hurries toward the ladder that leads up to the bridge. Indy withstands the force of waves crashing on the deck and makes his way to where Panama Hat is climbing the ladder. He pulls him off the ladder from behind the two men fall down on the deck. Indy takes the cross back from Panama Hat. + +A sailor delivers a powerful blow to Indy's face, sending the cross flying out of his grip and skittering across the deck. Indy grabs a crowbar and fends off two sailors who attack him from the sides. + +INDY sees that the Cross is about to be swept overboard. He lunges for it. + +He SNATCHES UP the Cross only to be knocked down to the deck by a giant wave. + +He struggles to his feet, managing to avoid the giant fuel drums sliding across the deck around him. + +SEVERAL MORE DRUMS come INDY's way. He sidesteps them all. + + PANAMA HAT + Grab him, he's getting away! Grab him! + +Indy turns around and pummels two sailors with one punch. Indy sees a large Stevedore's hook above him and he climbs up on crates to reach it. He grabs a hold of the hook and uses it to swing all the way across the deck, narrowly avoiding a huge wave behind him. He jumps into the rollicking ocean, still holding onto the cross. On the ship, a giant fuel drum rolls wildly, falling directly onto a crate of TNT. The crate explodes, causing the entire ship to blow, sending an enormous orange fireball into the sky. + +LONG SHOT - THE BOAT EXPLODING OUT OF THE WATER as bits of debris fall from the sky like rain. + +INDY BOBS UP in the water amid the debris, holding the Cross in his hand. He grabs for something to keep him afloat. It turns out to be one of the ship's LIFE PRESERVERS. INDY loops his arm through the preserver./* CONTINUED: */ + +Only now do we see the FADED LETTERING on the preserver revealing the destroyed ship's name and city of port: VAZQUEZ de CORONADO BARCELONA A SHREDDED PANAMA HAT floats past. + +EXT. COLLEGE - DAY + +Students walk along brick, tree-lined paths. + + INDY (V.O .) + Archaeology is... + +INT. COLLEGE LECTURE HALL - DAY + +DISSOLVE TO: + +INDY, dressed in professorial tweeds, stands before his class. He turns to the blackboard with a piece of chalk and writes the word: "FACT." + + INDY + ... the search for fact. Not truth. If it's truth you're interested in, Doctor Tyree's Philosophy class is right down the hall. + +Laughter. + +INT. CORRIDOR - DAY + + INDY + So forget any ideas you've got about lost cities, exotic travel, and digging up the world. We do not follow maps to buried treasure and "X" never, ever, marks the spot. + +MARCUS BRODY approaches Indy's classroom. He peers through the window in the door to see INDY completing his lecture. + + INDY + Seventy percent of all archaeology is done in the library. Research. Reading. + +INT. LECTURE HALL - DAY + +BRODY enters the lecture hall and stands at the rear of the room./* CONTINUED: */ + + INDY + We cannot afford to take mythology at face value. + +The BELL RINGS. INDY stands at his desk as students begin to disperse. A pretty coed puts a note on the desk. + + INDY + Next week: "Egyptology." Starting with the excavation of Naukratis by Flinders Petrie in 1885. I will be in my office if anybody's got any problems for the next hour and a half. + +BRODY approaches as the last of the students leaves the lecture hall. + + INDY + Marcus! + (slaps his pocket) + I did it! + + BRODY + You've got it! + +INDY removes the cloth-wrapped Cross from his desk. He places it on the desk and takes off his glasses as BRODY examines the Cross. + + INDY + You know how long I've been looking for that?! + + BRODY + All your life. + + INDY + All my life! + + BRODY + Well done, Indy. Very well done, indeed This will find a place of honor in our Spanish collection. + +INDY gathers up his books and makes his way toward the door. + + INDY + We can discuss my honorarium over dinner and champagne tonight. + +He turns back toward BRODY, now holding the Cross. + + INDY + Your treat. + + BRODY + Yes. My treat. + +INT. INDY'S OUTER OFFICE - DAY + +Bursting with STUDENTS, all competing for his attention at once: "Professor Jones! " "Doctor Jones! " etc., etc. + + INDY + Shush! Shush! Shush! + +INDY shoulders his way to the desk of his secretary, an overwhelmed Teaching Assistant named IRENE. + + IRENE + Doctor Jones! I'm so glad you're back! Your mail is on your desk. Here are your phone messages. + + MALE STUDENT + Doctor Jones, you promised... Doctor Jones— + + IRENE + This is your appointment schedule. And these term papers still haven't been graded. + +INDY takes the term papers then turns to enter his PRIVATE OFFICE. Students once again CLAMOR for his attention: "Doctor Jones!" "Wait, Doctor Jones!" "My grade!" "Sign my registration card!" INDY silences the mob with a raised hand. + + INDY + (very efficiently) + Okay. Irene, put everyone's name on a list, in the order they arrived, and I'll see each and every one of them in turn. + +The Students descend upon poor IRENE, each claiming to be first. INDY slips into his - PRIVATE OFFICE where he goes to his desk and finds a thick envelope with a foreign postmark on it. + + INDY + (softly; reading) + "Venice, Italy." + +Then, INDY stuffs his mail into his coat pockets, goes to the WINDOW, slides it open and STEPS OUT INTO THE GARDEN. + +EXT. SIDE OF COLLEGE BUILDING - DAY + +INDY escapes through the garden. + +EXT. FRONT OF COLLEGE BUILDING - DAY + +INDY walks briskly toward the street; smiling, enjoying his freedom. As he arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him. + + MAN (O.S.) + Doctor Jones! + +THREE MEN step out of the sedan. Everything about them bespeaks "G-MAN." The First Man steps behind Indy. + + MAN + Doctor Jones? + +INT. PENTHOUSE APARTMENT - DAY + +INDY is ushered into a large Art Deco apartment and left alone. Numerous museum-quality artifacts are displayed around the room. Indy takes this opportunity to examine them. + +After a moment, WALTER DONOVAN enters from across the room. During the brief time that the door is open, we HEAR a COCKTAIL PARTY going on in the next room: VOICES and SOFT PIANO MUSIC. + +DONOVAN strides across the room toward INDY. Although in his late fifties, Donovan has the broad shoulders and trim physique of a much younger man. + +Dressed in a tuxedo, he exudes both confidence and power. + + DONOVAN + I trust your trip down was comfortable, Doctor Jones. My men didn't alarm you, I hope. + +He shakes hands with INDY. + + DONOVAN + My name is Donovan. Walter Donovan. + + INDY + I know who you are Mr. Donovan. Your contributions to the museum over the years have been extremely generous. Some of the pieces in your collection here are very impressive. + + DONOVAN + Well, like yourself, Doctor Jones, I have a passion for antiquities. + (beat) + Have a look over here. This might interest you./* CONTINUED: */ + +DONOVAN goes to a table where an object is wrapped in cloth. He throws back the cloth revealing a flat STONE TABLET—about two feet square, inscribed with letters and symbols. + +INDY looks impressed. He puts on his glasses to make a closer examination. + + INDY + Well, it's sandstone. Christian symbol. Early Latin text. Mid-Twelfth Century, I should think. + + DONOVAN + That was our assessment as well. + + INDY + Where did this come from? + + DONOVAN + My engineers unearthed it in the mountain region north of Ankara while excavating for copper. + (beat) + Can you translate the inscription? + +Translating the inscription is no easy matter, even for someone as knowledgeable as INDY. + + INDY + (stumbling through it) + "... who drinks the water I shall give him, says the Lord, will have a spring inside him welling up for eternal life. Let them bring me to your holy mountain in the place where you dwell. + +Donovan pours champagne into several fluted glasses as Indy reads. + + INDY + Across the desert and through the mountain to the Canyon of the Crescent Moon, to the Temple where the cup that—" + +Suddenly INDY stops and looks up at DONOVAN with a startled expression. + + INDY + "Where the cup that holds the blood of Jesus Christ resides forever. "/* (CONT'D)CONTINUED: (2) */ + + DONOVAN + (reverently) + The Holy Grail, Doctor Jones. The chalice used by Christ during the Last Supper. The cup that caught His blood at the Crucifixion and was entrusted to Joseph of Arimathaea. + +INDY rubs his chin with a dubious expression as he takes the glass of champagne DONOVAN now offers him. + + INDY + The Arthur Legend. I've heard this bedtime story before. + + DONOVAN + Eternal life, Doctor Jones! The gift of youth to whoever drinks from the Grail. + (beat) + Oh, now that's a bedtime story I'd like to wake up to! + + INDY + An old man's dream. + + DONOVAN + Every man's dream. + (beat) + Including your father's, I believe. + +INDY stiffens slightly at the mention of his father, nods. + + INDY + Grail lore is his hobby. He's a teacher of Medieval Literature. The one the students hope they don't get. + +The door opens and MRS. DONOVAN steps into the room. She's a matronly woman in an expensive evening gown. + + MRS. DONOVAN + Walter, you're neglecting our guests. + + DONOVAN + Be along in a moment, dear. + +He leans over and kisses her cheek. MRS. DONOVAN sighs to herself and returns to the party. INDY, meanwhile, has turned his attention back to the Grail Tablet, obviously hooked by its archaeological promise. He moistens his finger with champagne and rubs it over the tablet. DONOVAN steps up next to Indy./* CONTINUED: (3) */ + + DONOVAN + Hard to resist, isn't it? The Holy Grail's final resting place described in detail! + + INDY + What good is it? This Grail Tablet speaks of deserts and mountains and canyons. Pretty vague. Where do you start looking? Maybe if the Tablet were intact, you'd have something to go on. But the entire top portion is missing. + + DONOVAN + Just the same, an attempt to recover the Grail is currently underway. + +INDY has to shake his head at DONOVAN's apparent lack of judgment. + + DONOVAN + Let me tell you another "bedtime story, " Doctor Jones. After the Grail was entrusted to Joseph of Arimathaea, it disappeared and was lost for a thousand years before it was found again by three Knights of the First Crusade. Three brothers, to be exact. + + INDY + I've heard this one as well. Two of these brothers walked out of the desert one hundred and fifty years after having found the Grail and began the long journey back to France. But only one of them made it. And before dying of extreme old age, he supposedly imparted his tale to a—to a Franciscan friar, I think. + + DONOVAN + Not "supposedly," Doctor Jones. + +DONOVAN produces an ANCIENT LEATHER-BOUND VOLUME with very brittle pages. INDY views the manuscript with considerable interest./* CONTINUED: (4) */ + + DONOVAN + This is the manuscript in which the friar chronicled the Knight's story... it doesn't reveal on location of the Grail, I'm afraid... but the Knight promised that two "markers" that had been left behind would. + (indicates the Tablet) + This Tablet is one of those "markers." It proves the Knight's story is true. But as you pointed out—it's incomplete. + (beat) + Now, the second "marker" is entombed with the Knight's dead brother. Our project leader believes that tomb to be located within the city of Venice, Italy. + (beat) + As you can now see, Doctor Jones, we're about to complete a great quest that began almost two thousand years ago. We're only one step away. + + INDY + That's usually when the ground falls out from underneath your feet. + + DONOVAN + You could be more right than you know. + + INDY + Yes? + + DONOVAN + We've hit a snag. our project leader has vanished. Along with all his research. Uh, we received a cable from his colleague, Doctor Schneider, who has no idea of his whereabouts or what's become of him. + (beat) + I want you to pick up the trail where he left off. Find the man and you will find the Grail./* CONTINUED: (5) */ + + INDY + You've got the wrong Jones, Mister Donovan. Why don't you try my father? + + DONOVAN + (after a pause) + We already have. Your father is the man who's disappeared. + +EXT. A RESIDENTIAL STREET - DAY + +A FORD COUPE speeds down the tree-lined street. + +EXT. PROFESSOR HENRY JONES' HOUSE - DAY + +The Ford coupe pulls up in front of the house. INDY climbs from the car and hurries up the walkway. BRODY is a step behind. + + BRODY + Your father and I have been friends since time began. I've watched you grow up, Indy. And I've watched the two of you grow apart. + (beat) + I've never seen you this concerned about him before. + +They climb the porch and notice that the front door is ajar. They exchange a quick look of concern as they enter. + +INT. THE HOUSE - LATE AFTERNOON + +INDY approaches the half-open front door. + + INDY + Dad? + (to BRODY) + He's an academic A bookworm. He's not a field man. + +He pushes open the door. He enters the house and calls out. + + INDY + Dad? Dad? + +INDY opens one half of the curtains dividing the hall from the sitting room. + +We see the place has been ransacked./* CONTINUED: */ + +BRODY sees INDY's face and opens the other half. + + BRODY + Dear God. + +They walk into the room. + + BRODY + What has the old fool got himself into now? + + INDY + I don't know. But whatever it is, he's in over his head! + +BRODY picks up some mail from Henry's cluttered desk. + + INDY + Dad? + + BRODY + It's today's mail. And it's been opened. + +INDY turns and sees the pile of torn papers and envelopes. Then something hits him. + + INDY + Mail! That's it, Marcus! + +He immediately empties his pockets of his own mail taken earlier in the day from his college office and finds the envelope with the Venice postmark. + + INDY + (as he tears it open) + Venice, Italy! + + BRODY + What is it? + +INDY uncovers a small book. It looks like a JOURNAL or DIARY. Indy flips through it: Page after page of handwritten notes and drawings. BRODY glances at it with great curiosity. + + INDY + It's Dad's Grail Diary. Every clue he ever followed. Every discovery he made. A complete record of his search for the Holy Grail. This is his whole life. Why would he have sent this to me?/* CONTINUED: (2) */ + + BRODY + I don't know. But someone must want it pretty badly. + + INDY + Do you believe, Marcus? + +As INDY asks the question, he turns to a PAINTING on the wall: A depiction of Christ on the Cross, his blood being captured in a golden chalice. + +A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting to their deaths over a high cliff. One Crusader, however, floats safely in midair because he holds the Grail in his hands. + + INDY + Do you believe the Grail actually exists? + + BRODY + The search for the Cup of Christ is the search for the divine in all of us. + +BRODY sees that INDY is unsatisfied by this response. + + BRODY + But if you want facts, Indy, I have none to give you. At my age, I'm prepared to take a few things on faith. + + INDY + Call Donovan, Marcus. Tell him I'll take that ticket to Venice now. + + BRODY + I'll tell him we'll take two. + +EXT. AIRFIELD - DAY + +A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN CORPORATE LOGO. BRODY peers inside to DONOVAN and INDY. + + BRODY + Tell me, what's going to happen when we get to Venice? + + DONOVAN + (overlapping) + Don't worry. Doctor Schneider will be there to meet you./* CONTINUED: */ + + BRODY + (overlapping) + Schneider? + + DONOVAN + (overlapping) + I maintain an apartment in Venice, at your disposal. + + BRODY + Oh, well. That's good. Thank you. + +BRODY and DONOVAN shake hands. INDY steps from the back seat of the limo. + +He turns back to Donovan and shakes his hand. + + DONOVAN + Doctor Jones. Good luck. Be very careful. Don't trust anybody. + +INT. AIRLINER - FLYING - DAY + +INDY opens the Grail Diary and thoughtfully turns through the pages. He stops at one page and glances at a PENCIL SKETCH of what might be a stained-glass window. Below the sketch is a SERIES OF NUMBERS. + +EXT. THE PRIVATE AIRLINER - FLYING - DAY + +SUPERIMPOSED over a MAP that traces a course from New York City to Venice, Italy. + +DISSOLVE TO: + +EXT. VENICE - BOAT LANDING - DAY + +INDY and BRODY disembark from the Water Bus onto the Boat Landing as other Gondoliers steer their boats in the water. + + INDY + Ah, Venice... + + BRODY + Yes. Uh, how will we recognize this Doctor Schneider when we see him? + + INDY + I don't know. Maybe he'll know us./* CONTINUED: */ + +Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes that are bright and intelligent. + + ELSA + Doctor Jones? + + INDY + Yes? + + ELSA + I knew it was you— + +She looks at him with an appraising expression that is brazenly flirtatious. + + ELSA + —you have your father's eyes. + +INDY is instantly attracted to her. + + INDY + And my mother's ears. But the rest belongs to you. + + ELSA + Looks like the best parts have already been spoken for. + +INDY grins, enjoying the repartee. The WOMAN turns to BRODY, who tips his hat. + + ELSA + Marcus Brody? + + BRODY + That's right. + +The Woman, DR. ELSA SCHNEIDER, extends her hand to BRODY. + + ELSA + (introducing herself) + Doctor Elsa Schneider. + +INDY's grin fades. BRODY registers a look of surprise. + + BRODY + Uh... how do you do? + +CUT TO: + +EXT. VENICE CANAL - DAY + +INDY, BRODY and ELSA walk along the narrow canal, lined with buildings on either side./* CONTINUED: */ + + ELSA + The last time I saw your father we were in the library. He was very close to tracking down the Knight's Tomb. I've never seen him so excited. He was as giddy as a schoolboy. + + INDY + Who? Attila the Professor? He was never giddy, even when he was a schoolboy! + +INDY can't take his eyes off ELSA. Perhaps he's feeling a bit like a schoolboy himself right now. As they cross over a bridge to the opposite side of the canal, Indy steals a flower from a street vendor. He holds it out to Elsa. + + INDY + Fraulein—will you permit me? + + ELSA + I usually don't. + + INDY + I usually don't either. + + ELSA + In that case, I permit you. + +INDY gives her the flower. + + INDY + It would make me very happy. + + ELSA + But I'm already sad—by tomorrow it will have faded. + + INDY + Tomorrow I'll steal you another. + + BRODY + (cutting in) + I hate to interrupt you—but the reason we're here— + + ELSA + (interrupting) + Yes. I have something to show you. + +She hands a slip of paper to INDY./* CONTINUED: (2) */ + + ELSA + I left your father working in the library. He sent me to the map section to fetch an ancient plan of the city. When I got back to his table—he'd gone—with all his papers—except for that scrap which I found near his chair. + +INDY extends the scrap of paper to BRODY. + + INDY + Roman numerals. + +EXT. VENICE PIAZZA - DAY + +ELSA leads INDY and BRODY into the large piazza. People walk about and sit at tables in front of a large building. + + ELSA + Here is the library. + +They have arrived at the front steps of the library. + + INDY + That doesn't look much like a library. + + BRODY + It looks like a converted church. + +ELSA leads the way inside. + +INT. THE LIBRARY - DAY + +INDY, BRODY and ELSA enter, their heels CLICKING across the marble floor. + +We notice, along with INDY and BRODY, that the library contains many stained-glass windows. + + ELSA + In this case it's the literal truth. We're on holy ground. These columns over here... + +She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling. + + ELSA + ... were brought back as spoils of war after the sacking of Byzantium during the Crusades./* CONTINUED: */ + +INDY glances at the Columns, then notices a Stained-Glass Window that depicts a Knight of the Crusades. Indy lingers for a moment in front of the window. + + ELSA + Now please excuse me. The library's closing in a few moments. I'll arrange for us to stay a little longer. + +The minute ELSA is out of earshot. + + INDY + Marcus—I've seen this window before. + + BRODY + Where? + +INDY whips out the Grail Diary and opens it to the sketch he noticed in the airplane. + + INDY + Right here. In Dad's Diary. You see? + +BRODY glances at the Diary, then at the window—noticing that the Roman numerals in question have been worked into the window's design. + + BRODY + Look, Indy. The Roman numerals! + + INDY + Dad was onto something here! + + BRODY + Well, now we know the source of the numbers, but we still don't know what they mean. + +INDY and BRODY now see ELSA approaching. Indy quick!y tucks the Diary back into his pocket. + + INDY + (explaining to Brody) + My dad sent me this Diary for a reason. Until we find out why, I suggest we keep it to ourselves. + + ELSA + Find something? + +INDY doesn't reply. He's looking in five directions at once. His eyes moving across the walls and ceilings—charged with the thrill of discovery./* CONTINUED: (2) */ + + BRODY + (to ELSA) + Uh, yes. Three, seven and ten! That window seems to be the source of the Roman numerals. + + ELSA + My God, I must be blind + + INDY + Dad wasn't looking for a book about the Knight's Tomb... he was looking for the Tomb itself + +ELSA wears a blank expression. + + INDY + Don't you get it? The Tomb is somewhere in the library! You said yourself it used to be a church! Look. + +INDY's eyes travel up one of the four huge marble columns. + + INDY + Three. + +INDY looks again to the stained-glass window. He points. + + INDY + Three! + +INDY has discovered that each Column is numbered with a Roman Numeral. Indy hurries away toward Column VII. All BRODY and ELSA can do now is try to keep up with him. + + INDY + Seven. + +He points again to the stained-glass window. + + INDY + Seven... Ten. + +He looks down to the scrap of paper in his hands. + + INDY + And ten. Now where's the ten? Look around for the ten. + +INDY walks past aisles of book-lined shelves. He stops, turns, then looks down./* CONTINUED: (3) */ + + INDY + Three, seven and ten. + +He climbs a spiral staircase leading up to a LOFT and looks down at BRODY and ELSA. The floor beneath their feet is an elaborate tile design containing a huge "X"—visible only from this higher angle. + + INDY + Ten. + (wryly; to himself) + "X" marks the spot. + +INDY rushes down the staircase and goes to the CENTER TILE where the two sides of the X intersect. He blows dust away from the tile and tries to pry it up, but cannot. + +INDY rushes past BRODY to a cordon held in place by a brass stand underneath the stained-glass window. + +INDY raises the brass stand and timing his actions, hits the tile precisely as the Librarian stamps a book. The Librarian regards the stamper curiously. + +INDY continues to pound at the tile as the Librarian resumes his stamping, still puzzled by the SOUND ECHOING through the library. + +Finally INDY breaks the tile. As he bends to remove the pieces of broken tile, a TWO-FOOT SQUARE HOLE IS REVEALED. + +Cold air and a wet, rancid smell escape from the hole. + + INDY + Bingo. + + ELSA + You don't disappoint, Doctor Jones. You're a great deal like your father. + + INDY + Except he's lost, and I'm not. + + ELSA + Lower me down. + +INDY is impressed with Elsa's spirit, and cooperates agreeably—holding her by the hands and lowering her into the hole. When her feet finally touch ground below, Indy releases his grip on her and slips the Grail Diary to BRODY. + + INDY + Look after this for me, will you? + +Then INDY disappears into the hole. + +INT. CATACOMBS BELOW LIBRARY - DAY + +INDY jumps down a steep step. He reaches back to help ELSA. + + INDY + Come on. + +INDY and ELSA glance around. This is really a horrid place. Dark and dank. foul smelling. Elsa turns. She removes a cigarette lighter with a unique ivory four-leaf clover design. + +INDY and ELSA inspect markings carved onto the walls. + + ELSA + Pagan symbols. Fourth or Fifth Century. + + INDY + Right. Six hundred years before the Crusades. + + ELSA + The Christians would have dug their own passages and burial chambers centuries later. + +INDY takes the lighter from her and lights their way down a dark passageway. + + INDY + That's right. If there's a Knight of the First Crusade entombed down here, that's where we'll find him. + +INT. LIBRARY - DAY + +THREE MEN carrying guns make their way down the spiral staircase toward an unsuspecting BRODY. One of the Men, KAZIM, raises his gun and brings it down hard on Brody's head. + + BRODY + Ohhhh. . . + +KAZIM gestures with his gun toward the now-unconscious BRODY. The other two men take Brody's hands and drag him into one of the book-lined aisles. + +INT. ANOTHER PART OF THE CATACOMBS - DAY + +DECOMPOSING CORPSES rest in niches carved into the stone walls. Grotesque skeletal remains with rotting linen stretched across blackened bones. + +INDY holds the lighter up as he and ELSA inspect symbols carved into the walls./* CONTINUED: */ + +ELSA spots a symbol cut into the wall that she doesn't recognize. As she blows away some cobwebs: + + ELSA + What's this one? + +INDY only has to give it a quick glance to know. + + INDY + The Ark of the Covenant. + + ELSA + Are you sure? + + INDY + (deadpan) + Pretty sure. + +INDY holds the lighter up and he and ELSA enter another dark passageway. + +ANOTHER PART OF THE CATACOMBS INDY steps to the wall and runs his hand over the stone. He scrapes the cobwebs away to reveal the ROMAN NUMERAL "X." + + INDY + Watch out. + +ELSA now holds the lighter as INDY rams his shoulder into the wall. The wall collapses on impact and Indy falls through into another room. + +ANOTHER ROOM - THE CATACOMBS as INDY falls through the hole in the wall onto rocks surrounded by bubbling, green, slimy liquid. More skeletons surround him, resting in their carved niches. + +ELSA holds the lighter as she peers in at him through the hole in the wall. + + INDY + Petroleum. I could sink a well down here and retire. + +INDY reaches up and tears a piece of cloth from one of the skeletons, which breaks apart and falls into the oil-slick water. + +INDY uses the scrap of cloth and a bone to fashion a crude torch, which he then dips into the oily water. + + INDY + Give me the lighter. + +ANOTHER PART OF THE CATACOMBS Using the cloth-wrapped bone torch to guide their way, INDY and ELSA come upon a NARROW PASSAGEWAY. The water is knee-deep and TEEMING WITH RATS. Thousands of them Crawling on one another's backs. SQUEALING. + +Squirming. Thrashing in the water. + + INDY + Oh, rats... + +ELSA gasps as the rats scamper between her legs. + +INDY moves forward through the rat-infested water as ELSA follows, still gasping in horror. Suddenly he slips into a hole. Recovering his balance, he reaches out to Elsa. + + INDY + Come on! + +She gasps once again, terrified. INDY lifts her and carries ELSA as he moves forward. + +THE CATACOMBS - THE HOLE IN THE WALL KAZIM and his men step to the opening Indy made earlier and shine their flashlights through to the rat-infested water. + +ANOTHER PART OF THE CATACOMBS More rat-infested water as ELSA, now walking again, follows INDY through another passageway lined with skulls and bones. + +INDY reaches for a wall to steady himself and inadvertently grabs a skeleton. A bone comes loose in his hand as rats scurry about and leap at him from all directions. + +He takes a moment to compose himself, then steps across the water to ELSA's side. He steps into the water, then reaches up to help Elsa do the same. + + INDY + Come here. + +LARGE BURIAL CHAMBER The chamber is flooded with black, briny water. + + INDY + Look. . . + +In the center of the chamber, jutting up above the water, is what amounts to an "island altar" on which SEVERAL ANCIENT COFFINS rest. They move toward the altar./* CONTINUED: */ + +INDY and ELSA begin to inspect the ornately carved COFFINS like the scholars of antiquity that they are. These are big oak caskets held together by straps of etched brass. + + INDY + It must be one of these... + + ELSA + Look at the artistry of these carvings and the scrollwork. + +One coffin is elevated above the others. + + ELSA + It's this one. + +Together they begin to push on the lid—STRAINING and GROANING until it slides away and BANGS against the stone platform. + +INSIDE THE COFFIN lie the DECOMPOSED REMAINS of a KNIGHT IN ARMOR. INDY and ELSA look in...Elsa gasps. + + INDY + This is it! we found it! Look— the engraving on the Shield. It's the same as on the Grail Tablet! The Shield is the Second Marker! + +INDY unfolds a piece of paper and holds it over the shield. + + ELSA + What's that? + + INDY + It's a rubbing Dad made of the Grail Tablet. + +The missing portion of the rubbing is completed by the shield. + + ELSA + Just like your father—giddy as a schoolboy. + +INDY laughs. + + ELSA + Wouldn't it be wonderful if he were here now to see this? + + INDY + (chuckles) + He never would have made it past the rats! He hates rats! He's scared to death of them! + +CLOSE - A HAND as it lights a match. + +PULL BACK TO REVEAL KAZIM dropping the lighted match into the oil-slick water. + +INDY AND ELSA ELSA holds the torch. INDY looks around. Listens. Something is wrong. And then he sees the GLOW OF FIRELIGHT dancing across the Catacomb walls. + +This is followed by THOUSANDS OF RATS FLEEING from around the corner of the Narrow Passageway, STAMPEDING toward ELSA and INDY—SHRIEKING and SQUEALING as they approach. + +The rats literally wash over them—like a rodent tidal wave—in their efforts to escape a: + +HUGE ORANGE BALL OF FIRE ROARING around the corner hurtling towards them—feeding on the oil slick; consuming the oxygen. + +!ELSA SCREAMS. + + INDY + Get back! Back against the wall. + +INDY braces his back against the altar and TOPPLES THE COFFIN with his feet. + +It CRASHES against the stone platform and SPLASHES into the water. + + INDY + Quick! Under it! + +They jump into the water beside the bobbing, overturned coffin. + + INDY + Air pocket! + +ELSA hesitates. INDY literally DUNKS her and pushes her underneath. + +UNDER THE COFFIN ELSA surfaces into the air pocket created by the coffin, SPUTTERING and SPITTING. + +Now INDY pops up into the air pocket. He looks at ELSA—they are both soaking wet. + + INDY + Don't wander off./* CONTINUED: */ + + ELSA + What? + +INDY disappears under the water and swims out from under the coffin. + + ELSA + What? + +UNDER THE WATER INDY swims, looking for an escape route. + +UNDER THE COFFIN The rats are beginning to force their way inside, swimming through the water and climbing on ELSA, who squirms and screams in terror. + +INDY pops back up through the water. + + INDY + I think I've found a way out. Deep breath. + +ELSA groans. They take a deep breath and both dive under the water. + +EXT. VENICE PIAZZA - OUTDOOR CAFE - DAY + +The perfect picture postcard—St. Mark's Square and the Grand Canal beyond. + +Cafe customers are startled to see INDY and ELSA climb out of the sewer, wet and smelly. Indy looks around at the postcard-perfect setting and smiles. + + INDY + (wryly) + Ah, Venice! + +Indy's delight, however, is short-lived since KAZIM and TWO OTHER TURKISH AGENTS are running towards them with drawn guns. + +He grabs ELSA by the hand and the two of them run down the dock and LEAP INTO A MOTORBOAT. + +INT. THE MOTORBOAT - DAY + +INDY fires up the engine and pulls away from the dock... but not before a Turkish Agent JUMPS in with him. + +ELSA grabs the wheel and begins to steer the boat while INDY and the Turk trade punches. + +EXT. THE HARBOR - DAY + +Indy's Speedboat BOUNCES across the choppy waters heading in the direction of the DOCKED STEAMSHIP. + +KAZIM and his men rush to TWO MORE SPEEDBOATS tied to the dock. + +They chase after INDY. + +INDY grapples with the Turkish Agent. As Indy grips his arms, we SEE a GUN in the Agent's hand. It FIRES. + +As INDY fights with the Turk, he becomes aware of the Speedboats behind him and two enormous Freighters ahead of him, joined together by two giant ropes. + +INDY, having gained the advantage, leans on top of the Turkish Agent. + + INDY + (to ELSA) + Are you crazy?! You don't go between them! + +ELSA can barely hear INDY over the noise of the motor. + + ELSA + Go between them? Are you crazy?! + +INDY finally delivers the punch that sends the Turkish Agent flying overboard. + +Turning, Indy sees that ELSA has committed the speedboat to a course BETWEEN the two Freighters, now being pushed even closer together by a Tugboat. + + INDY + I said go around! + + ELSA + You said go between them! + + INDY + I said don't go between them! + +It's purely academic at this point since the hulls of the the two Freighters loom up on either side of them like cavern walls. + +EXT. FULL SHOT - THE HARBOR - DAY + +One Enemy Speedboat chases INDY between the two Freighters. But the Speedboat containing KAZIM veers off and goes around. + +EXT. BETWEEN THE TWO FREIGHTERS - DAY + +It's a race for daylight as the two Freighters drift ever closer to one another. + +Indy's Speedboat just manages to squeeze through the gap. But the Enemy Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO THE AIR and SPLASHING back down into the water. + +INDY AND ELSA spin their boat around in a sharp half-circle to see KAZIM'S SPEEDBOAT appear racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at INDY and ELSA. + +KAZIM'S SPEEDBOAT matches Indy's move for move. + +FULL SHOT - THE HARBOR The two boats race across the water nearly side-by-side. A CHATTERING MACHINE GUN from Kazim's boat SPLINTERS the wood of Indy's boat, until finally the rear of the boat CATCHES ON FIRE. + +The machine gun runs out of ammunition. KAZIM puts it down and takes control of the wheel from one of the Turkish Agents in the boat with him. + +As Indy's boat drifts toward the GIANT, TURNING PROPELLERS at the STERN of ANOTHER STEAMER, Kazim's boat draws up alongside and hits them. INDY steps into Kazim's boat. He knocks one of the Turkish Agents to the deck, then turns his attention to KAZIM. The two men trade punches as the boat spins helplessly in the churning water. + + ELSA + No!! + +INDY kicks KAZIM in the face, knocking him into the water, then pulls him back into the boat, now being SUCKED THROUGH THE CHURNING WATER toward the Steamer's giant propeller blades. + + INDY + Why are you trying to kill us? + + KAZIM + Because you're looking for the Holy Grail. + + INDY + My father was looking for the Holy Grail. Did you kill him too? + + KAZIM + No. + + INDY + Where is he? Talk—or you're dead. Damn it, tell me! Tell me! + + KAZIM + If you don't let go, Doctor Jones, we'll both die./* CONTINUED: */ + + INDY + Then we'll die. + + KAZIM + My soul is prepared. How's yours? + +By now half the boat has been chopped up into matchwood and the blades are getting closer. + + INDY + This is your last chance. + + KAZIM + No, Doctor Jones. It's yours! + +The wind of the blades is on their necks. INDY grabs KAZIM just in time and jumps... into the motorboat, driven by ELSA, which gets alongside in the nick of time. + + INDY + All right! Where's my father + + KAZIM + If you let me go, I will tell you where he is. + + INDY + Who are you? + + KAZIM + My name is Kazim. + + INDY + And why were you trying to kill me? + + KAZIM + The secret of the Grail has been safe for a thousand years. And for all that time the Brotherhood of the Cruciform Sword has been prepared to do anything to keep it safe. + +KAZIM pulls back his shirt to reveal a birthmark... or is it a tattoo? Whatever it is, it's a cruciform sword; a Christian cross which tapers down, like the blades of a broadsword. + + KAZIM + Let me get off at this jetty. + +The boat is close to the edge of the canal. INDY gives ELSA a nod, telling her to bring the boat in. KAZIM steps ashore./* CONTINUED: (2) */ + + KAZIM + Ask yourself, why do you seek the Cup of Christ? Is it for His glory, or for yours? + + INDY + I didn't come for the Cup of Christ. I came to find my father. + + KAZIM + In that case, God be with you in your quest. Your father is being held in the Castle of Brunwald on the Austrian-German border. + +KAZIM walks away. + +INT. VENICE APARTMENT - DAY + +CLOSE ON THE WATER-SOAKED PAPER IMPRESSION: The rubbing taken from the shield of the Grail Knight. + +BRODY is giving it careful study while he dabs the lump on the back of his head with an ice pack. + + INDY + How's the head? + + BRODY + It's better, now I've seen this. It's the name of a city. "Alexandretta?" Hmmm... + +INDY, wearing a bathrobe, leans over to study the impression. + + INDY + The Knights of the First Crusade laid siege to the city of Alexandretta for over a year. The entire city was destroyed. + +BRODY lowers the ice pack from his head and looks at INDY. + + INDY + The present city of Iskenderun is built on its ruins. Marcus— you remember what the Grail Tablet said. "Across the desert and through the mountain to the Canyon of the Crescent Moon." + (pause) + But where exactly?/* CONTINUED: */ + + BRODY + Your father would know. Your father did know. Look. He made a map. + +BRODY picks up the Grail Diary. + + BRODY + He must have pieced it together from clues scattered through the whole history of the Grail Quest. A map with no names. + +INSERT: A PENCIL-DRAWN MAP It covers two pages of the Diary. BRODY's finger moves across it. + + BRODY + Now, he knew there was a city with an oasis due east. Here. He knew the course turned south through the desert to a river, and the river led into the mountains. Here. Straight to the canyon. He knew everything except where to begin, the name of the city. + + INDY + (solemnly) + Alexandretta. Now we know. + + BRODY + Yes. Now we know. + + INDY + (rising) + Marcus, get hold of Sallah. Tell him to meet you in Iskenderun. + +INDY closes the Grail Diary and puts it into the pocket of his robe. + + BRODY + What about you? + + INDY + I'm going after Dad. + +INT. INDY'S BEDROOM - DAY + +INDY opens the door. His bedroom has been ransacked...the mattress on the floor, the drawers turned out. + +INT. HALLWAY - DAY + +INDY approaches another door (Elsa's bedroom) and knocks. + + INDY + Elsa? + +He goes in. + +INT. ELSA'S BEDROOM - DAY + +!... and finds that Elsa's bedroom is in a similar ransacked state to his own. The room is empty. + +He is worried for her, knocks and calls out: + + INDY + Elsa? + +He steps into the room and knocks upon the bathroom door. + + INDY + Elsa? + +He opens the bathroom door, peering inside. + + INDY + Elsa? + +INT. ELSA'S BATHROOM - DAY + +Elsa is standing before a mirror, wearing a silk bathrobe. She gasps, startled, as INDY enters. He retreats back into her bedroom as she reaches up to turn off a record player sitting on a ledge above the bathtub. + +INT. ELSA'S BEDROOM - DAY + +ELSA joins INDY, waiting in the ransacked room. she looks around in shock. + + ELSA + My room! + + INDY + Mine, too. + + ELSA + What were they looking for? + +She looks to INDY, who pulls the Grail Diary from his pocket. + + INDY + This./* CONTINUED: */ + + ELSA + The Grail Diary. + + INDY + Uh-huh. + + ELSA + You had it? You didn't trust me! + +She looks hurt and beautiful. She comes closer to him. + + INDY + I didn't know you. + +She's awfully hard to resist. + + INDY + At least I let you tag along. + + ELSA + Oh, yes. Give them a flower and they'll follow you anywhere. + + INDY + Knock it off. You're not mad. + + ELSA + No? + + INDY + No. You like the way I do things. + + ELSA + It's lucky I don't do things the same way. You'd still be standing at the Venice pier. + +She stomps her foot angrily. INDY flinches. She starts to walk away but Indy grabs her. + + INDY + Look, what do you think is going on here? Since I've met you, I've nearly been incinerated, drowned, shot at, and chopped into fish bait. We're caught in the middle of something sinister here. My guess is Dad found out more than he was looking for. And until I'm sure, I'm going to continue to do things the way I think they should be done./* CONTINUED: (2) */ + +He pulls her to him and kisses her. + + ELSA + How dare you kiss me! + +Now ELSA reaches for INDY and kisses him. + + INDY + Leave me alone. I don't like fast women. + +But he embraces her, and ELSA begins to nibble at his ear. + + ELSA + And I hate arrogant men. + +INDY smiles slyly as they fall to the bed. + +EXT. VENICE CANAL - DAY + +A GONDOLIER SINGS as he steers his gondola carrying two passengers past Indy's window. + +INT. INDY'S BEDROOM - DAY + +INDY lies on top of ELSA, kissing her. He stops for a moment as he hears the GONDOLIER SINGING. + + INDY + Ahh, Venice. + +ELSA reaches up and pulls him back down to her. + +EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS - DAY + +A Mercedes-Benz glides through the sharp mountain curves. This is SUPERIMPOSED OVER A MAP that charts their course from Venice across Austria toward Salzburg. + +EXT. CASTLE IN THE AUSTRIAN MOUNTAINS - DAY + +Storm clouds darken the skies. THUNDER EXPLODES in the distance; lightning flashes. The Mercedes-Benz drives into the courtyard of the formidable stone castle. + + INDY + What do you know about this place? + + ELSA + I know the Brunwalds are famous art collectors. + +INT. MERCEDES-BENZ - DAY + +INDY reaches into the back seat and retrieves his bullwhip. + + ELSA + What are you going to do? + + INDY + Don't know. Think of something. + +He glances up to the beret ELSA is wearing. She reaches up and adjusts it. + +INT. CASTLE ENTRANCE HALL - DAY + +A BUTLER walks to the door and opens it to reveal INDY and ELSA standing outside in the rain. she now wears Indy's fedora; Indy is wearing Elsa's beret. + + BUTLER + Yes? + +INDY, followed by ELSA, steps inside, shaking the water from his overcoat. He adopts a Scottish accent. + + INDY + And not before time! Did you intend to leave us standing on the doorstep all day? We're drenched! + +As INDY says this he pushes his way past the startled BUTLER, pulling a handkerchief from the man's pocket. ELSA follows, taking off her coat. INDY SNEEZES HARD. + + INDY + Now look! I've gone and caught a sniffle. + +INDY dabs at his nose with the handkerchief as ELSA looks on in amused amazement. + + BUTLER + (coldly; with Austrian accent) + Are you expected? + + INDY + Don't take that tone with me, my good man. Now buttle off and tell Baron Brunwald that Lord Clarence MacDonald and his lovely assistant are here to view the tapestries./* (CONT'D)CONTINUED: */ + + BUTLER + Tapestries? + + INDY + Dear me, the man is dense. This is a castle, isn't it? There are tapestries? + + BUTLER + This is a castle. And we have many tapestries. But if you're a Scottish lord, then I am Mickey Mouse. + + INDY + How dare he?! + +Simultaneously knocking the BUTLER cold with one slug on the jaw. The Butler falls against a wall tapestry, sliding down to the floor, out cold. + +INT. CASTLE HALLWAY - DAY + +INDY and ELSA move cautiously and quietly down the wide, vaulted hallway. + +APPROACHING VOICES ARE HEARD. Indy and Elsa creep past a room full of NAZI SOLDIERS working around a large table with a map atop it.. + +INDY reacts to the sight of them. + + INDY + (to ELSA; softly) + Nazis. I hate these guys. + +INDY and ELSA continue down the hallway. Indy carries a gun in his hand and his whip hangs from his belt. He steps to a closed door and listens. + + INDY + This one. I think he's in here. + + ELSA + How do you know? + +INDY points out an ELECTRICAL WIRE. + + INDY + Because it's wired. + +He studies the situation for a moment, then decides to enter one of the other doors. He knocks at the door—there is no response. He looks back at ELSA and enters. + +INT. CASTLE ROOM - DAY + +The room is dark and empty. INDY throws open the window shutters and looks out. RAIN comes down in sheets. There is a wide ledge beneath each window— but below that is a SHEER DROP. Indy wants to get out onto the window ledge, which is several yards away. + + ELSA + Indy? Indy? + +INDY reassures her. + + INDY + Don't worry... this is kid's play. I'll be right back. + +He leans out the window and wraps his bullwhip around some wires that protrude from the castle wall above the next window. + +He gives the whip a forceful tug to make certain it will hold his weight. + +EXT. THE CASTLE - DAY + +INDY SWINGS from the window to the stone gargoyle. + +CLOSE ON THE WINDOW LEDGE A PAIR OF WOODEN SHUTTERS seals the window. + +INDY takes hold of the bullwhip with both hands, pushes off with his feet... swings toward the shuttered window with his feet extended... CRASHING THROUGH THE WOODEN SHUTTERS as a CLAP OF THUNDER disguises the noise. + +INT. THE ROOM - DAY + +INDY CRASHES THROUGH SHUTTERS AND GLASS into the room. The broken shutters hang by their hinges. Rain and cold air whip through the open window. + +No sooner does Indy get to his feet, than a VASE COMES CRASHING DOWN ON THE BACK OF HIS HEAD. + +Stunned, INDY sinks to one knee... and Indy's father, PROFESSOR HENRY JONES, steps out of the shadows. + + HENRY + Junior? + +INDY gets to his feet. + + INDY + (a reflex) + Yes, sir!/* CONTINUED: */ + +This reply is a kneejerk reaction on Indy's part. Now they look at each other. + + HENRY + It is you Junior! + + INDY + (an old familiar irritation) + Don't call me that, please. + + HENRY + (amazed) + But what are you doing here? + + INDY + I came to get you! What do you think? + +NAZI VOICES ARE HEARD approaching. INDY and HENRY press themselves against the wall, Henry still holding the broken vase in his hand. + +INDY steps to the window and looks down. HENRY moves to a lamp, holding the vase under the light for a closer look. + + HENRY + (sotto, mumbled) + Late Fourteenth Century, Ming Dynasty. + +HENRY is all about the broken vase which he still holds in his hand. Father and son get onto crossed lines for a couple of moments. + + HENRY + Oh, it breaks the heart. + + INDY + (quietly to himself) + And the head. + (to HENRY, aggrievedly) + You hit me, Dad! + + HENRY + (referring to the vase) + I'll never forgive myself— + + INDY + (surprised, misunderstanding) + Don't worry—I'm fine. + + HENRY + Thank God!/* CONTINUED: (2) */ + +HENRY has clearly been concentrating entirely on the vase... he is examining the broken end carefully. + + HENRY + ... it's fake. See, you can tell by the cross section. + +HENRY throws the vase against the wall where it SHATTERS. + + INDY + No! Dad, get your stuff. We've got to get out of here. + + HENRY + Well, I am sorry about your head, though. But I thought you were one of them. + + INDY + Dad, they come in through the doors. + + HENRY + (laughs) + Good point. + +INDY steps to the door and stands, listening. + + HENRY + But better safe than sorry. + +HENRY slides his umbrella through the straps of his bag. + + HENRY + Humpf—so I was wrong this time. But by God, I wasn't wrong when I mailed you my Diary. You obviously got it. + + INDY + I got it and I used it. We found the entrance to the catacombs. + + HENRY + (excited) + Through the library? + + INDY + Right. + + HENRY + I knew it. And the tomb of Sir Richard?/* CONTINUED: (3) */ + +INDY nods. + + INDY + Found it. + + HENRY + (breathless) + He was actually there? You saw him? + + INDY + Well, what was left of him. + + HENRY + (trembling with anticipation) + And his shield... the inscription on Sir Richard's shield...? + + INDY + Alexandretta. + (beat) + +It's a great moment in HENRY's life. He turns aside, lost to himself for a moment, then turns to INDY with joy. + + HENRY + Alexandretta... of course... on the pilgrim trail from the Eastern Empire. Oh, Junior... + +INDY winces, and would interrupt but suddenly it's not the moment. + + HENRY + ... you did it. + + INDY + No, Dad. You did. Forty years. + + HENRY + If only I could have been with you. + + INDY + There were rats, Dad. + + HENRY + Rats? + + INDY + Yeah. big ones. What do the Nazis want with you Dad? + + HENRY + They want my diary./* CONTINUED: (4) */ + + INDY + (interested) + Yeah? + +INDY's interest is a moment which becomes important later but for now it passes. + + HENRY + I knew I had to get that book as far away from me as I possibly could. + +INDY's hand moves unconsciously to his pocket. His eyes turn inward. + + INDY + (thoughtfully) + Yeah. . . + +Then... BAM! The door is kicked open and three NAZIS enter. One is an S.S. + +OFFICER. The other two are SOLDIERS with machine guns. HENRY and INDY raise their hands. + + S.S. OFFICER + Doctor Jones!! + + HENRY & INDY + Yes!! + + S.S. OFFICER + I will take the book now. + + INDY/HENRY + (simultaneously) + What book? + + S.S. OFFICER + (to INDY) + You have the Diary in your pocket. + +HENRY laughs genuinely, believing himself to be laughing at the expense of the S.S. OFFICER. + + HENRY + You dolt! Do you think that my son would be that stupid that he would bring my Diary all the way back here? + +At which point an awful thought strikes HENRY. + + HENRY + You didn't, did you? + (a beat) + You didn't bring it, did you?/* CONTINUED: (5) */ + + INDY + Well, uh... + + HENRY + You did!! + + INDY + Look, can we discuss this later? + + HENRY + I should have mailed it to the Marx Brothers. + + INDY + (overlapping) + Will you take it easy....! + + HENRY + Take it easy?! Why do you think I sent it home in the first place? + (points towards the NAZIS) + So it wouldn't fall into their hands!! + + INDY + I came here to save you. + + HENRY + Oh yeah? And who's gonna come to save you, Junior?? + +INDY's eyes blaze! His nostrils flare! He's so pissed off, he literally RIPS A MACHINE GUN from the hands of one of the startled soldiers... and for a moment we think he's going to use it on his dad. + + INDY + I told you-- + +He turns and sprays the room with machine gun fire, cutting all three NAZIS to ribbons and blowing them backwards across the room. + + INDY + --don't call me Junior! + +HENRY looks shocked and horrified. + + HENRY + Look what you did!! + +Indy grabs him and pushes him ahead. + + HENRY + (aghast) + I can't believe what you just.... + +INT. CASTLE HALLWAY - DAY + +INDY leads HENRY down the hallway as he searches for Elsa. + + INDY + Elsa? Elsa? + +He opens a door and enters: + +INT. FIRST CASTLE ROOM - DAY + +INDY and HENRY rush back into the room where ELSA had been left, only to find: A Nazi COLONEL HOLDING ELSA HOSTAGE. + +His name is VOGEL: a vicious-looking, lantern jawed brute. One arm is wrapped around Elsa's waist, the other hand presses the muzzle of a LUGER behind her ear. + + VOGEL + That's far enough Put down the gun, Doctor Jones. Put down the gun or the Fraulein dies. + + HENRY + But she's one of them! + + ELSA + Indy, please! + + HENRY + She's a Nazi! + + INDY + What?! + +INDY is thrown. He doesn't know what to do. He looks at ELSA, then back to his father. Everyone is yelling at once: + + HENRY + Trust me! + + ELSA + Indy, no! + + VOGEL + I will kill her! + + HENRY + Oh yeah? Go ahead! + + INDY + No! Don't Shoot!/* CONTINUED: */ + + HENRY + (to Indy) + Don't worry. He won't. + + ELSA + Indy, please! Do what he says! + + HENRY + And don't listen to her! + + VOGEL + Enough! She dies! + +VOGEL jams the barrel of the luger painfully into ELSA's neck. Elsa SCREAMS. + + INDY + Wait! Wait! + +And then Indy gives in. He drops the machine gun to the table and it slides across, SHATTERING GLASS. HENRY GROANS audibly. + +VOGEL releases his grip on ELSA and shoves her toward INDY. She is propelled directly into his arms. He holds her tightly. She buries her face in his chest. + + ELSA + I'm sorry. + +INDY comforts her. + + INDY + No, don't be. + +Her hand slips into his coat pocket and removes the Grail Diary. + + ELSA + But you should have listened to your father. + +She steps back next to VOGEL. INDY is stunned. HENRY gives him his most withering look of reprimand. + +INT. BARONIAL ROOM - DAY + +A large baronial room decorated with ancient tapestries and suits of armor. + +Firelight—from the giant fireplace—dances across the ceiling and walls. + +INDY and HENRY are ushered in, hands tied behind back, accompanied by VOGEL and ELSA and TWO NAZI GUARDS. + +ELSA crosses the room toward a high-backed chair facing the fireplace. INDY and HENRY do not have the advantage of seeing who is sitting in that chair. They only see a HAND REACH OUT AND TAKE THE BOOK./* CONTINUED: */ + + INDY + (quietly to HENRY) + She ransacked her own room and I fell for it. How did you know she was a Nazi? + + HENRY + Umh? + + INDY + How did you she was a Nazi? + + HENRY + She talks in her sleep. + +INDY nods, and then the statement catches up with him. He looks at HENRY with surprise. + + HENRY + I didn't trust her. Why did you? + + MAN IN CHAIR + Because he didn't take my advice. + +The MAN IN THE CHAIR gets to his feet and turns, revealing himself to be... + +WALTER DONOVAN. INDY and HENRY react with stunned expressions. + + INDY + Donovan + + DONOVAN + Didn't I warn you not to trust anybody, Doctor Jones? + +DONOVAN smiles benignly and flips through the Grail Diary. + + HENRY + I misjudged you Walter—I knew you'd sell your mother for an Etruscan vase. But I didn't know you'd sell your country and your soul to the slime of humanity. + + DONOVAN + (suddenly erupting) + Doctor Schneider There're pages torn out of this! + +ELSA rushes to DONOVAN's side. she takes the Grail Diary from him. Elsa takes a look for herself—then glances up at Indy./* CONTINUED: (2) */ + + ELSA + This book contained a map—a map with no names—precise directions from the unknown city to the secret Canyon of the Crescent Moon. + + INDY + So it did. + + DONOVAN + Where are these missing pages? This map! we must have these pages back! + +HENRY gives INDY a look of surprise. Indy smirks. + + ELSA + (to Donovan) + You're wasting your breath. He won't tell us. And he doesn't have to... it's perfectly obvious where the pages are... + (looking at Indy) + ... he's given them to Marcus Brody. + +HENRY now wears a pained expression. + + HENRY + (to Indy) + Marcus?! You didn't drag poor Marcus along, did you? He's not up to the challenge. + + DONOVAN + He sticks out like a sore thumb. We'll find him. + + INDY + The hell you will. He's got a two-day head-start on you, which is more than he needs. + (beat) + Brody's got friends in every town and village from here to the Sudan. He speaks a dozen languages, knows every local custom. He'll blend in. Disappear. You'll never see him again. With any luck, he's got the Grail already. + +HENRY looks amazed and impressed. + +EXT. TRAIN STATION - CITY OF ISKENDERUN - DAY + +BRODY disembarks from the train along with the other PASSENGERS, a cross-section of ARABS and TURKS. + + BRODY + Does anyone here speak English? Or even ancient Greek? + +A Man in the crowd holds out a cup of water to BRODY. + + BRODY + No water, no thank you. No, fish make love in it. + +BRODY continues through the crowd past various STREET VENDORS. A Woman holds a chicken out to him. + + BRODY + Thank you so much. No, I don't like that. No, I really don't want... No, no, thank you very much. No, thank you, madam. I'm a vegetarian. + +The Woman walks away, leaving BRODY alone in the crowd. + + BRODY + Does anyone understand a word I'm saying here? + +SALLAH shoulders his way through the mob toward BRODY. + + SALLAH + Mister Brody! + +They meet and hug, then begin to walk. + + BRODY + Oh, Sallah! What a relief! + + SALLAH + (laughs) + Marcus Brody, sir. And where is Indy? + + BRODY + (overlapping) + Oh, he's in Austria. A slight detour. + + SALLAH + You are on your own? + +A Woman runs in and tugs on BRODY's coat. He waves her away./* CONTINUED: */ + + BRODY + Yes, but don't panic. Everything's under control. Have you. . .have you arranged our supplies? + + SALLAH + Oh, yes, of course. But where are we going? + + BRODY + Oh, this map will show you. It was drawn by, uh... + +BRODY searches in his coat pocket for the map as a SINISTER MAN approaches. + + SINISTER MAN + Mister Brody? + +BRODY puts the map back in his pocket. The SINISTER MAN clicks his heels and bows quick!y. + + SINISTER MAN + Welcome to Iskenderun. The Director of the Museum of Antiquities has sent a car for you. + +BRODY takes off his hat. + + BRODY + Oh, what?... your servant, sir. + + SALLAH + And I am his. + + SINISTER MAN + Follow me, please. + +The man turns and joins a SECOND MAN. BRODY and SALLAH follow them. + + BRODY + My reputation precedes me. + + SALLAH + There is no museum in Iskenderun. + +The SECOND MAN overhears SALLAH. He and his companion turn quick!y. + + SECOND MAN + Papers please. + + SALLAH + Papers? + (laughs) + Of course./* CONTINUED: (2) */ + +SALLAH puts Brody's luggage down and glances at BRODY. + + SALLAH + Run. + +BRODY does not run. SALLAH pats his clothing, searching for his papers. + + BRODY + Yes. + + SALLAH + Papers, sir. Got it here. + +SALLAH laughs and pulls out a newspaper. + + SALLAH + Just finished reading it myself. + (laughs; then, to Brody) + Run! + +BRODY looks confused. SALLAH shows the newspaper to the SECOND MAN. + + BRODY + Yes. + + SALLAH + Egyptian Mail. Morning edition. + (to Brody) + Run! + + BRODY + Did you say...? Uh, uh... + +SALLAH puts the newspaper in front of the SECOND MAN's face, then punches him through the newspaper. + + SALLAH + Run! + +The SECOND MAN falls, knocking over a vendor's stand. SALLAH and BRODY begin to run. SALLAH knocks the FIRST MAN into another vendor's stand. The STAND COLLAPSES on impact. + +SALLAH grabs BRODY and pulls him through the crowded streets. + + SALLAH + (to Brody; pointing) + Okay, okay, quick, quick, quick! Hide in that door! Hide in that door! + +SALLAH points to a DARKENED DOORWAY, hung with a curtain, at the top of a ramp. BRODY runs up the ramp, throws back the curtain and disappears into the darkness./* CONTINUED: (3) */ + +Then—METAL DOORS ARE SLAMMED behind Brody and we realize that he has actually run into the back of a Nazi TROOP TRUCK. + +SALLAH runs after the Truck until he reaches a wall, then leans against the wall dejectedly as the Truck drives away with BRODY inside. + +INT. CASTLE ROOM - DAY + +The room is dark. Ancient, floor-length drapes cover the windows. A HUGE FIREPLACE that's nearly large enough for a man to stand upright in dominates one wall. + +The NAZI GUARDS have tied INDY and HENRY back-to-back in a pair of chairs. + +ELSA and DONOVAN stand over them. VOGEL enters. + + HENRY + Intolerable. + + VOGEL + Doctor Schneider. Message from Berlin. You must return immediately: a rally at the Institute of Aryan Culture. + + ELSA + So? + + VOGEL + Your presence on the platform is requested... at the highest level. + + ELSA + Thank you, Herr Oberst. + (to DONOVAN) + I will meet you at Iskenderun. + + DONOVAN + Take this Diary to the Reich Museum in Berlin. It will show them our progress, ahead of schedule. Without a map, I'm afraid it's no better than a souvenir. + +He hands her the Grail Diary. + + VOGEL + (to DONOVAN, meaning Indy and Henry) + Let me kill them now./* CONTINUED: */ + + ELSA + No. If we fail to recover the pages from Brody, we'll need them alive. + + DONOVAN + (to VOGEL, with a helpless shrug) + Always do what the doctor orders. + +DONOVAN leads VOGEL out. The NAZI GUARDS follow. Once they are gone, ELSA turns to INDY. + + ELSA + Don't look at me like that—we both wanted the Grail, I would have done anything to get it. You would have done the same. + +INDY shakes his head "no." + + INDY + I'm sorry you think so. + +She runs her hand down the side of his face. INDY pulls away. + +INDY and HENRY are still tied back-to-back of course. ELSA bends to speak quietly into INDY's ear... which is near enough to Henry's ear. + + ELSA + (whispers) + I can't forget... how wonderful it was. + + HENRY + Thank you. It was rather wonderful. + +She smiles and kisses INDY passionately. HENRY glances back and looks rather disappointed. + +VOGEL appears to remind ELSA of her appointment. + + VOGEL + Doctor Schneider! Your car is waiting. + + ELSA + (to INDY, after finishing the kiss) + That's how Austrians say goodbye. + +ELSA exits. VOGEL stays behind for another moment./* CONTINUED: (2) */ + + VOGEL + And this is how we say goodbye in Germany, Doctor Jones. + +VOGEL punches INDY in the jaw. A hard and vicious jab that snaps Indy's head around. + + HENRY + Ohh. . . + +VOGEL exits. INDY shakes his head clear. + + INDY + (to himself) + Ooooh... I like the Austrian way better. + + HENRY + So did I. + + INDY + Let's try and get these ropes loose. We've got to get to Marcus before the Nazis do! + + HENRY + (confused) + You said he had two days' start. That he would blend in. Disappear! + + INDY + Are you kidding?—I made that up! You know Marcus—he got lost once in his own museum! + +Indy and Henry are pulling at the ropes with great urgency. + + INDY + Can you try and reach into my left jacket pocket? + +HENRY is able to wiggle his hand towards Indy's coat pocket. INDY squirms his body around towards Henry's hand. + + HENRY + What am I looking for? + + INDY + My lucky charm. + + HENRY + Feels like a cigarette lighter./* CONTINUED: (3) */ + + INDY + Try and burn through the ropes. + +HENRY's fingers open the lighter and ignite the flame. + + HENRY + Very good. + +HENRY yelps as the cigarette lighter burns his hand. He drops the lighter to the floor. Henry kicks at the lighter, trying to reach it, but cannot. The rug starts to burn. INDY doesn't know it yet. + + HENRY + I ought to tell you something. + + INDY + Don't get sentimental now Dad— save it 'til we get out of here. + + HENRY + The floor's on fire! See?! + + INDY + (turns and sees) + What??? + + HENRY + And the chair. + + INDY + All right, move! Move! Rock your Chair. Do what I do. + +They begin to rock their chair legs, inching their way off the burning carpet. + +EXT. CASTLE - DAY + +as ELSA is driven away. VOGEL and DONOVAN remain behind, flanked by NAZI SOLDIERS . + +Another car pulls up and VOGEL holds the door open for DONOVAN who gets into the rear seat. A LIEUTENANT approaches with a written message for Donovan. + + LIEUTENANT + Etwas wichtig, mein Herr. + +DONOVAN puts on his glasses to read the message. + + DONOVAN + Well, we have Marcus Brody. But more important, we have the map. + +A RADIO OPERATOR steps forward with yet another written message for DONOVAN./* CONTINUED: */ + + RADIO OPERATOR + Aus Berlin, mein Herr. + + DONOVAN + (reading) + "By the personal command of the Fuhrer. Secrecy essential to success. Eliminate the American conspirators." + (to VOGEL) + Germany has declared war on the Jones boys. + (to DRIVER) + Los fahren. + +The car drives off. + +INT. CASTLE ROOM - DAY + +INDY and HENRY are still in their chairs, tied back-to-back. Indy tries to communicate with Henry, but each time he calls him, the men turn their heads in opposite directions. + + INDY + Dad! + + HENRY + What? + + INDY + Dad! + + HENRY + What? + + INDY + Dad! + +Finally they turn their heads in the same direction. + + HENRY + What? + + INDY + Head for the fireplace! + + HENRY + Oh. + +BANGING, ROCKING and HOPPING their chairs, they work their way INTO THE FIREPLACE—the only safe place from the now ROARING FIRE./* CONTINUED: */ + + INDY + I think I can get these ropes off. + +Indy struggles to free his hands. His foot kicks out and accidentally hits a metal grill that operates a Secret Door. + + INDY + Whoops! + +The fireplace floor rotates like a Lazy Susan and Indy and his father find themselves in the: + +INT. RADIO ROOM - DAY + +where a NAZI RADIOMAN wearing headphones sits at an elaborate panel of dials, switches and meters, and a WOMAN stands over a map plotting coordinates. + +Their backs are turned to INDY and HENRY. + +The floor begins to rotate again, and INDY and HENRY find themselves back in: + +INT. CASTLE ROOM - DAY + +inside the fireplace, still tied back-to-back. + + HENRY + Our situation has not improved. + +INDY glances over his shoulder at HENRY. + + INDY + Listen Dad... I'm almost free. + +INDY's foot hits the grill again... and the fireplace rotates to: + +INT. RADIO ROOM - DAY + +FOUR NAZI RADIOMEN and the WOMAN are still hard at work with controls and coordinates. Suddenly the Woman looks up and spots HENRY and INDY. She screams. + + WOMAN + Alarm! + +Now the RADIOMEN turn to see HENRY and INDY. + + WOMAN + Schnel!! + +TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at INDY and HENRY + +INT. CASTLE ROOM - DAWN + +INDY and HENRY rotate into the room which is now an INFERNO. The carpet, drapes and furniture are all ablaze. + + HENRY + This is intolerable! + + INDY + I'm out, Dad! + +INDY finally breaks free. And he immediately begins to untie his father. + + HENRY + Well done, boy! + +INT. RADIO ROOM - DAY + +All FOUR RADIOMEN now have their guns drawn. They activate the lever and begin to rotate through the Secret Door. + +INT. CASTLE ROOM - DAY + +The RADIOMEN appear in the fireplace on the other side—but there is NO SIGN OF INDY AND HENRY. + +The RADIOMEN move cautiously toward the flame, shielding their faces with one hand, holding their guns with the other. Is it possible that INDY and HENRY escaped through these flames? + +Not a chance. + +They've hidden themselves UP THE CHIMNEY. And now they DROP DOWN, BEHIND the RADIOMEN. + +One of the RADIOMEN grabs INDY by the neck. As they struggle they fall against the rotating wall and disappear into the next room, leaving a frightened HENRY behind. + +HENRY presses against the wall, which rotates again. As he disappears into the next room, a DEAD NAZI RADIOMAN swivels into the room. The other NAZIS rush forward to him. + +INT. RADIO ROOM - DAY + +INDY picks up a BUST OF HITLER and uses it to jam the rotating wall in place, sealing the NAZIS inside the burning room. + +INT. CASTLE HALLWAY- DAY + +Vogel strides purposefully down the hallway. He BARKS an order, and TWO MORE NAZIS fall into step with him. + +INT. RADIO ROOM - DAY + +INDY grabs his whip, his leather sack and Henry's case from a table. He hands the case to HENRY and they begin to run. + + INDY + Come on Dad. + +INT. SECRET ROOM - DAY + +INDY and HENRY step into an empty room. + + INDY + Dead end. + +HENRY looks horrified by what he's been forced to do as INDY searches frantically for an exit. + + INDY + There's got to be a... a secret door around. A passageway or something. + +INDY begins to run his hands over the walls—frantic. + + HENRY + I find that if I just sit down and think... + +HENRY sits on a chair which tips back, hitting the wall behind it. The floor at INDY's feet suddenly begins DROPPING AWAY! INDY grabs a railing to keep from falling, but loses his grip and plunges through the opening which has formed a SPIRAL STAIRCASE. He rolls down the stairs. + + INDY + Dad! + + HENRY + ... the solution presents itself. + +HENRY follows INDY down the staircase. + +INT. CAVERN/UNDERGROUND HARBOR - DAY + +The stairway deposits Indy and Henry into an enormous WATERY CAVERN beneath the mountain on which the castle was built. + +A full-scale Nazi BOAT DOCK has been built inside the cavern. We see MOTORBOATS, GUNBOATS, SUPPLY BOATS, etc. + + INDY + Great. More boats./* CONTINUED: */ + +INDY boards one of the motorboats and STARTS THE MOTOR. + + HENRY + Would you say this has been just another typical day for you? Huh? + +HENRY tosses his case at INDY who catches it and angrily throws it back to his father. + + INDY + (ironically) + Ooof! No! It's been better than most. + +INDY moves back to the dock and pushes the boat away. HENRY looks confused. + + INDY + Come on, Dad. Come on! + + HENRY + What about the boat? We're not going on the boat? + +INT. SECRET ROOM - DAY + +VOGEL and the NAZI SOLDIERS enter the room and spot the spiral staircase leading below. They quick!y descend the stairs. + +INT. CAVERN/UNDERGROUND HARBOR - DAY + +as VOGEL and the NAZI SOLDIERS rush to the dock. Vogel sees that a motorboat is missing. He orders the Nazi Soldiers into a boat. + + VOGEL + Sie alle ins Boat. Schnell! + +CAMERA PULLS BACK TO REVEAL a large box which suddenly BREAKS APART as INDY, now on a motorbike with HENRY in the sidecar, ROARS PAST THE DOCK, hitting TWO NAZI SOLDIERS who scream as they fall into the river. + +VOGEL screams after INDY and HENRY as they drive off. + +STRAIGHT CUT TO: + +EXT. COUNTRY ROAD - DAY + +INDY looks pleased as he drives the motorbike along the road, but HENRY appears worried. + + INDY + Ha! + +FOUR NAZI SOLDIERS ON MOTORCYCLES They chase down the road after INDY and HENRY. + +INDY turns the motorbike down a smaller, dusty tree-lined road. HENRY gasps as he is jostled about in the sidecar. One of the NAZI SOLDIERS gives chase along a higher road running in the same direction. + +EXT. ROAD BARRICADE - DAY + +INDY approaches the barricade from one direction as one of the NAZI SOLDIERS approaches from a higher road. + +A GUARD steps from the road station and calls to the vehicles as INDY and HENRY SMASH THROUGH THE BARRICADE. + + GUARD + Halt! Halt! + +THE NAZI SOLDIER rides his motorcycle through the other side of the barrier-- IT SHATTERS. + +INDY AND HENRY INDY grabs at a FLAGPOLE as they roar past—it snaps off in his hand. + +The NAZI SOLDIER drives his motorcycle toward INDY and HENRY. He unshoulders his machine gun. + +INDY uses the broken flagpole as a lance and knocks the NAZI SOLDIER from his motorcycle. + +THE RIDERLESS MOTORCYCLE drives on toward the other NAZI SOLDIERS now approaching the guardhouse, COLLIDING WITH TWO OF THEM. + +The remaining NAZI SOLDIER maneuvers his motorcycle around his fallen comrades and continues the chase. + +INDY AND HENRY As the remaining NAZI SOLDIER rides alongside their motorbike he cocks his gun, preparing to fire. + +INDY quick!y jams the remaining portion of the flagpole through the spokes of the Nazi's front wheel. + +The NAZI SOLDIER'S MOTORCYCLE FLIPS THREE TIMES, throwing him high into the air./* CONTINUED: */ + +INDY glances back and smiles, but the smile fades as he looks forward again to see a sign at a CROSSROAD. Arrows pointing in opposite directions indicate the way to BERLIN or VENEDIG. + +Indy starts down the road marked VENEDIG. + + HENRY + Stop! + + INDY + What? + + HENRY + Stop! Stop! + +The motorbike skids to a stop. + + HENRY + You're going the wrong Way! We have to get to Berlin! + + INDY + (pointing towards Venedig) + Brody's this way. + + HENRY + My Diary's in Berlin. + + INDY + You don't need the Diary, Dad. Marcus has the map. + + HENRY + There is more in the Diary than just the map. + + INDY + All right Dad—tell me. + + HENRY + Well, he who finds the Grail must face the final challenge. + + INDY + What final challenge? + + HENRY + Three devices of such lethal cunning. + + INDY + Booby traps?/* CONTINUED: (2) */ + + HENRY + Oh, yes. But I found the clues that will safely take us through, in the Chronicles of St. Anselm. + + INDY + But what are they? Can't you remember? + + HENRY + I wrote them down in my Diary so that I wouldn't have to remember + + INDY + Half the German Army's on our tail and you want me to go to Berlin? Into the lion's den? + + HENRY + Yes! The only thing that matters is the Grail. + + INDY + What about Marcus? + + HENRY + Marcus would agree with me. + + INDY + Two selfless martyrs. Jesus Christ! + +HENRY slaps him across the face. INDY is rocked to his foundations, not by any means entirely by the blow itself. + + HENRY + That's for blasphemy. The quest for the Grail is not archaeology. It's a race against evil. If it is captured by the Nazis, the armies of darkness will march all over the face of the earth. Do you understand me? + + INDY + This is an obsession Dad. I never understood it. Never. Neither did Mom. + + HENRY + Oh yes, she did. Only too well. Unfortunately she kept her illness from me until all I could do was mourn her. + +EXT. CROSSROADS - DAY + +Arrows point in opposite directions to VENICE and BERLIN. The CAMERA MOVES IN on the portion of the sign reading BERLIN. + +EXT. CITY SQUARE - BERLIN - NIGHT + +A Nazi Rally—a book-burning is in process. + +The mound of burning books is ten feet tall and growing by the minute as College Students and Nazi Brownshirts continually toss more books onto the fire. + +Flags, banners and standards displaying the swastika are waved rhythmically from side to side in a motion that echoes the mounting frenzy of the enormous crowd. + +INDY and HENRY walk toward the Square. Indy wears the uniform of a Nazi Soldier. He is now buttoning up the tunic—which happens to be several sizes too big. + + HENRY + My boy, we are Pilgrims in an unholy land. + +Then... Indy sees something that makes him stop in his tracks. WE PAN ALONG HIS LINE OF SIGHT to: + +THE PODIUM where high-ranking Officers of the Third Reich stand flanking ADOLF HITLER as they oversee the rally. + +ANOTHER ANGLE ELSA is walking away in an open area, background of torches, vehicles, Nazi Officers... one of whom is now none other than INDY, coming up to her before she knows he is there. His voice is quiet and tough, his eyes hard. + + INDY + Fraulein Doctor. Where is it? + +Still startled, her reaction makes it clear that Indy is even now a lover in her thoughts. + + ELSA + How did you get here? + + INDY + Where is it? I want it. + +INDY pushes ELSA against a column and begins to search her clothing for the Diary. He pulls the book from Elsa's pocket./* CONTINUED: */ + + ELSA + You came back for the book? Why? + + INDY + My father didn't want it incinerated. + +She understands him. It's as though he slapped her. + + ELSA + Is that what you think of me? I believe in the Grail, not the Swastika. + + INDY + (vicious) + Yet you stood up to be counted with the enemy of everything the Grail stands for—who gives a damn what you think? + + ELSA + (hard and fast) + You do. + +Now it's as though she'd slapped him back. His hands fly to her neck. + + INDY + All I have to do is squeeze. + + ELSA + All I have to do is scream. + +It's a standoff emotionally. He knows he'd never do it. she knows it too. And the same goes for screaming. + +INDY releases her and backs away. she looks at him with a lover's pain. He moves over to HENRY. + + INDY + I've got it. Let's get the hell out of here. + +They move off and almost run headlong into HITLER and his entire entourage coming down from the Podium. 50 kids push their autograph books for Hitler's signature. + +HITLER pauses to sign them. Hitler looks Indy's way. They make eye contact. It only lasts a moment but the moment is electric. + +HITLER breaks the spell by taking the Grail Diary from him, opens it to the first page and signs his autograph. He hands it back and moves on. + +EXT. AIRFIELD - BERLIN, GERMANY- DAY + +Indy's motorcycle pulls up to the main terminal. + +INT. TERMINAL BUILDING - DAY + +A Plainclothes Agent distributes leaflets bearing HENRY'S PICTURE to Nazi Soldiers inside the terminal. + +HENRY leans in a doorway reading a newspaper as INDY enters down the stairs and taps Henry's shoulder. + +They begin to walk toward the boarding gates. + + HENRY + What did you get? + + INDY + I don't know. The first available flight out of Germany. + + HENRY + Good. + +INDY and HENRY show their papers to the Boarding Guards, then join the line of passengers, which has already begun to move toward a: + +MOORED ZEPPELIN Ten stories tall and longer than two football fields: Flying in the grand tradition! + +INT. THE ZEPPELIN - PASSENGER COMPARTMENT - DAY + +The Zeppelin is about to take off. INDY and HENRY make themselves comfortable in one of the compartments. + + INDY + Well, we made it. + +HENRY looks over his newspaper at INDY. + + HENRY + When we're airborne, with Germany behind us, then I'll share that sentiment. + + INDY + Relax. + +But INDY looks out the window and is suddenly concerned when he sees: + +VOGEL AND A GESTAPO AGENT rushing across the tarmac toward the Zeppelin. + + VOGEL + Nicht zumachen! Wir steigen ein! + +INDY sits back in his chair, looks to HENRY, now reading his newspaper. + +A STEWARD enters and sets a bowl of nuts on the table in front of INDY and HENRY, then continues down the aisle of passengers. Indy follows after the Steward. He puts his arm around the Steward's shoulder and together they walk up a flight of stairs. + +VOGEL now walks up the aisle. He approaches a MALE PASSENGER hidden behind a newspaper. VOGEL uses his walking stick to lower the newspaper and show the Passenger the leaflet with Henry's photograph. + + VOGEL + Haben sie diesen Mann gesehen? + +The Passengers at the table shake their heads in the negative. VOGEL shows the picture to other Passengers. + + FEMALE PASSENGER + Nein. + + INDY (O.S.) + Fahrscheine, bitte. + + MALE PASSENGER + Nein. + +VOGEL turns to see: + +!INDY WEARING THE HAT AND JACKET OF THE CHIEF STEWARD. + + MALE PASSENGER (O.S.) + Ich habe ihn nicht gesehen. + + INDY + Tickets please. + +The Passengers do not react to the request, made in English. + + INDY + Fahrscheine meine Dame. Bitte. + +VOGEL approaches HENRY, still hidden behind his newspaper. Again, VOGEL uses his walking stick to lower the paper, revealing Henry's face. + + VOGEL + Guten Tag, Herr Jones. + +Now INDY, still playing the role of Steward, asks VOGEL for his ticket. + + INDY + Fahrscheine meine Herr. + + VOGEL + Weg. + + INDY + Tickets please. + +HENRY looks confused. + + VOGEL + (in German) + Was? + +VOGEL glances up and recognizes INDY—who quick!y punches Vogel in the face, knocking him toward the window. In another quick move, Indy TOSSES HIM OUT THE WINDOW onto the tarmac below. + +Shocked Passengers blink in bewilderment. + + INDY + (in German; with a shrug) + No ticket. + +Everyone else with a ticket quick!y produces it and waves it in Indy's face. + +EXT. AIRFIELD TARMAC - DAY + +VOGEL gets to his knees as the huge Zeppelin rises into the sky above him, revealing an airplane attached to the belly of the airship. Vogel shakes his fist at the rising Zeppelin. + + VOGEL + Du wirst nochmal hören von mir! + +INT. ZEPPELIN - DAY + +INDY and HENRY together again in their compartment. + + HENRY + You know, sharing your adventures is an interesting experience./* CONTINUED: */ + + INDY + (meaning ELSA) + That's not all we shared. It's disgraceful. You're old enough to be her fa---er, her grandfather! + + HENRY + Well, I'm as human as the next man. + + INDY + I was the next man. + + HENRY + (laughs) + Ships that pass in the night... + +HENRY opens his Diary and begins to thumb through it. + + INDY + Do you remember the last time we had a quiet drink? I had a milk shake. + + HENRY + Hmmm... What did we talk about? + + INDY + We didn't talk. We never talked. + + HENRY + And do I detect a rebuke? + + INDY + A regret. It was just the two of us, Dad. It was a lonely way to grow up. For you, too. If you had been an ordinary, average father like the other guys' dads, you'd have understood that. + + HENRY + Actually, I was a wonderful father. + + INDY + When? + +HENRY looks up from his Diary. + + HENRY + Did I ever tell you to eat up? Go to bed? Wash your ears? Do your homework? No. I respected your privacy and I taught you self-reliance./* CONTINUED: (2) */ + + INDY + What you taught me was that I was less important to you than people who had been dead for five hundred years in another country. And I learned it so well that we've hardly spoken for twenty years. + + HENRY + You left just when you were becoming interesting. + + INDY + Dad, how can you --? + + HENRY + (interrupting) + Very well. I'm here now. + +He closes the Diary and leans back in his seat. + + HENRY + What do you want to talk about? Hmmm? + +INDY stutters uncomfortably as HENRY stares at him, waiting for a response. + + INDY + (laughs) + Well... I can't think of anything. + + HENRY + Then what are you complaining about? + (laughs) + Look, we have work to do. When we get to Alexandretta we will face three challenges. + (he reads from the Diary) + "First, the breath of God. Only the penitent man will pass. Second, the Word of God, only in the footsteps of God will he proceed. Third, the Path of God, only in the leap from the lion's head will he prove his worth. " + + INDY + What does that mean? + + HENRY + (laughs) + I don't know. We'll find out./* CONTINUED: (3) */ + +Sunlight falls across the table from the window. INDY reaches for the drink. The bar of sunlight turns like the hand of a clock over the tabletop across the drinks. + +We see INDY puzzled. Only for a moment. + + INDY + They're turning around. They're taking us back to Germany. + +INT. FRAMEWORK OF ZEPPELIN - DAY + +INDY and his father emerge from the hatchway into the belly of the Zeppelin. + +The Zeppelin's elaborate metal framework is exposed. + +INDY and HENRY hurry down the catwalk until arriving at a PAIR OF DOORWAYS framed into the Zeppelin's outer skin. + + INDY + Well, I thought it would take them a lot longer to figure out the radio was dead. Come on, Dad. Move! + +Then INDY opens the doors. We see plenty of blue sky and white clouds. We also see a small BIPLANE that is suspended from the Zeppelin by a HOOK & CRANE DEVICE. + + INDY + Come on, Dad. Come on! + +EXT. AIRPLANE - DAY + +INDY climbs into the cockpit of the Biplane as HENRY takes the tail gunner's seat. + + HENRY + (with delight) + I didn't know you could fly a plane. + + INDY + Fly--yes. Land--no. + +INT. THE BIPLANE - DAY + +INDY turns in his seat to give HENRY the "thumbs up." Henry smiles valiantly and points down to the ground. + +Then they both become aware of a STRANGE SOUND in the skies behind them. + +Something between a ROAR and a WAIL. + +TWO MESSERSCHMIDT FIGHTER BOMBERS streak out of the clouds and race across the sky. + +INDY AND HENRY shrink in their seats as the MESSERSCHMIDTS (going three times as fast as they are) SCREAM past on either side. + + INDY + Dad, you're gonna have to use the machine gun. Get it ready. + +HENRY turns and grips the MOUNTED MACHINE GUN with a perplexed expression. + + INDY + (turning; pointing) + Eleven o'clock! + +HENRY pulls out his watch. + + INDY + Dad—eleven o'clock!! + + HENRY + What happens at eleven o'clock? + +INDY uses his arm to demonstrate that he's referring to a direction and not a time. + + INDY + (frustrated) + Twelve—eleven—ten. Eleven o'clock. Fire! + +HENRY does—and the EXPLODING GUN nearly shakes him out of his seat. + +Indy's slow speed and small size works to his advantage. The speeding Messerschmidts continually overshoot him, WHIZZING past in a blur—making wide turns miles away in the sky. + +HENRY has one of the Messerschmidts in his sight. He pulls back on the trigger --RATTA-A-TAT-TAT! RATTA-A-TAT-TAT! + +The Messerschmidt banks to the left, but HENRY keeps it in his gun sight. Henry swings the gun around, inadvertently CUTTING HIS OWN REAR STABILIZER IN HALF. + + INDY + Dad, are we hit?! + + HENRY + More or less./* CONTINUED: */ + + HENRY + Son, I'm sorry. They got us. + +INDY looks back at the missing tail section, then at his father. + +The plane begins to go down. INDY struggles to control its descent. + + INDY + Hang on, Dad! We're going in! + +HENRY slumps down fearfully in his seat. + +EXT. A FIELD - DAY + +The wheels of the plane touch down. OUT OF CONTROL, the PLANE SKIDS and CRASHES first into a corral of goats and then into the farmhouse beyond sending a cloud of dust into the air. + +As INDY pulls himself from the cockpit: + + HENRY + (sarcastic) + Nice landing. + + INDY + Thanks. + +Suddenly, INDY's attention is directed to: + +TWO SCREAMING MESSERSCHMIDTS coming in low. Guns BLAZING. + +As BULLETS EXPLODE around them, INDY and HENRY jump over a stone barricade. Henry, frightened, grabs at Indy. + + HENRY + Those people are trying to kill us! + + INDY + I know, Dad! + + HENRY + It's a new experience for me. + + INDY + It happens to me all the time. + +EXT. ROAD - DAY + +An OLD MAN kneels at his car repairing a rear tire. + +THE MAN turns to the wheel, the hubcap in his hands. Suddenly the wheel moves forward, startling the Old Man. + +INT. THE CAR - TRAVELING - DAY + +INDY has the throttle down, both hands tightly gripping the steering wheel. + +HENRY is a very nervous passenger. + +INDY sees a LOW-FLYING MESSERSCHMIDT coming up behind him in the SIDE MIRROR. + +As the Messerschmidt ROARS by overhead, BULLETS EXPLODE around them, narrowly missing the car. + + HENRY + This is intolerable! + + INDY + This could be close. + +EXT. THE ROAD - LONG SHOT - DAY + +The car races toward a TUNNEL that cuts through a steep MOUNTAINSIDE. + +The Messerschmidt bears down on Indy's car, machine guns CHATTERING. + +The car ENTERS the tunnel. The Messerschmidt cannot pull up in time. It SLAMS into the MOUTH OF THE TUNNEL, SHEARING OFF its WINGS. + +INT. THE TUNNEL - DAY + +The FLAMING FUSELAGE continues to ROCKET through the tunnel like a bullet down the muzzle of a gun. SPARKS fly as its belly SCRAPES against the pavement and the sides of the tunnel. + +INT. THE CAR - DAY + +Indy and Henry look over their shoulders to see this wingless BALL OF FIRE gaining on them; about to overtake them. + + HENRY + Faster, boy --faster! + +EXT. THE ROAD - OTHER SIDE OF THE MOUNTAIN - DAY + +The car exits the tunnel at top speed and veers off the road. The flaming Messerschmidt fuselage shoots past and EXPLODES in the middle of the road. + +INT. THE CAR - DAY + +As the car emerges safely from the flames, Henry wipes the sweat from his brow. + + HENRY + Well, they don't come any closer than that! + +HENRY looks out the windshield and sees the second Messerschmidt SCREAMING out of the sky toward them. + +EXT. THE ROAD - LONG SHOT - DAY + +The MESSERSCHMIDT drops its single UNDER-FUSELAGE BOMB. It EXPLODES in the road directly ahead of the car, missing it by only several feet. + +THE CAR FALLS INTO THE HOLE made by the bomb. + +DISSOLVE TO: + +EXT. ROAD - DAY + +INDY climbs out of the car, still in the bomb crater. He turns back to HENRY. + + INDY + Dad, he's coming back. + +INDY and HENRY run down the mountainside to: + +A DESERTED MEDITERRANEAN BEACH - DAY INDY and HENRY run to the shoreline. Indy reaches for his gun, tucked in his pants. He opens the chamber—the GUN HAS NO BULLETS. + +THE MESSERSCHMIDT swings around and is coming in for another pass. + +INDY AND HENRY exchange a wordless glance. They don't even think about running: there is no place to run to. HENRY hands his case to INDY. + +Holding his umbrella, HENRY suddenly spins around and runs screaming and shouting into A FLOCK OF SEA GULLS... + +THE SEA GULLS take to the wing in flight. Thousands of them. + +INDY Bullets kick up sand leading up to him... then— THE MESSERSCHMIDT AND THE SEA GULLS meet in midair. MASSACRE! Sea gulls are shredded by the Messerschmidt's whirling propeller blades into a FEATHERY WHITE PUREE that SPLATTERS against the cockpit and CLOGS THE ENGINE. + +ENGINE SPUTTERS... STALLS... Silence. The Messerschmidt falls from the skies and EXPLODES in an OFF CAMERA SOUND EFFECT. + +INDY stands as before—stunned—a statue. + +HENRY walks back to INDY. + + HENRY + I suddenly remembered Charlemagne. "Let my armies be the rocks and the trees and the birds in the sky." + (he chuckles) + +INDY wears a proud expression as he watches HENRY walk down the beach. + +EXT. MOSQUE - DAY + +!FADE IN TITLE: "REPUBLIC OF HATAY" FADE OUT TITLE. + +EXT. COURTYARD OF SULTAN'S PALACE - ISKENDERUN - DAY + +The SULTAN is seated in his royal chair, flanked by WALTER DONOVAN and VOGEL and surrounded by his minions. + +DONOVAN holds the missing Grail Diary pages. + + DONOVAN + These pages are taken from Professor Jones' diary, Your Highness. And they include a map that pinpoints the exact location of the Grail. + +DONOVAN and the SULTAN walk together through an archway. + + DONOVAN + As you can see, the Grail is all but in our hands. + (beat) + However, Your Highness, we would not think of crossing your soil without your permission, nor of removing the Grail from your borders without suitable compensation./* CONTINUED: */ + + SULTAN + What have you brought? + + VOGEL + Bring den Schatz! + +TWO NAZI SOLDIERS bring forward a HUGE STEAMER TRUNK. They open the lid and begin to empty it of its contents: + +Gold and silver objects of every description. + + DONOVAN + Precious valuables, Your Highness, "donated" by some of the finest families in all of Germany. + +The SULTAN gets up from his chair and walks toward the trunk. He goes right past it and begins to inspect the Nazi staff car parked nearby. + + SULTAN + Rolls-Royce Phantom Two. 4.3 litre, 30 horsepower, six cylinder engine, with Stromberg Downdraft carburetor. + +The SULTAN points to the engine under the hood. + + SULTAN + Can go from zero to 100 kilometres an hour in 12.5 seconds. And I even like the color. + + DONOVAN + (after a beat) + The keys are in the ignition, Your Highness. + + SULTAN + You shall have camels, horses, an armed escort, provisions, desert vehicles—and tanks! + + DONOVAN + You're welcome. + +Somebody else is also taking note...and we see that it is KAZIM, the spy at the court. + +ELSA is revealed coming down the stairs toward DONOVAN and VOGEL. + + ELSA + We have no time to lose. Indiana Jones and his father have escaped. + +EXT. ISKENDERUN STREET - DAY + +SALLAH drives his car through the crowded streets, INDY beside him and HENRY in the back seat. + + SALLAH + We go this way. + +SALLAH waves his arms and shouts to a CAMEL HERDER. + + SALLAH + Get that camel out of the way! + + INDY + What happened to Marcus, Sallah? + + SALLAH + (overlapping) + Ah, they set out across the desert this afternoon. I believe they took Mister Brody with them. + +HENRY removes his hat and hits INDY with it. + + HENRY + Now they have the map! And in this sort of race, there's no silver medal for finishing second. + +EXT. DESERT VALLEY - DAY + +Elsa and Donovan's party—consisting of a SUPPLY TRUCK, OPEN CAR, TURKISH SOLDIERS RIDING CAMELS, SPARE HORSES AND A TANK AND VARIOUS OTHER VEHICLES—all moving along through the ramble of this box canyon. ELSA, DONOVAN and VOGEL travel in the open car. The TANK is a vintage World War I model with enormous treads. The Turkish soldiers wear native dress and carry both carbines and sabers. BRODY sits alongside ELSA in the rear of the car carrying DONOVAN. Donovan hands a canteen back to him. + + DONOVAN + Care to wet your whistle, Marcus? + + BRODY + I'd rather spit in your face. But as I haven't got any spit... + +VOGEL snatches the canteen away from BRODY before he can drink. + + VOGEL + We must be within three or four miles. Otherwise we are off the map./* CONTINUED: */ + +He hands the map to ELSA, drinks from the canteen, and hands that back to DONOVAN. + + DONOVAN + Well, Marcus, we are on the brink of the recovery of the greatest artifact in the history of mankind. + + BRODY + You're meddling with powers you cannot possibly comprehend. + +HENRY and SALLAH are at INDY's side as he views Donovan's party in the distance. Parked nearby is a CAR containing all of their supplies. + + INDY + Ah, I see Brody. He seems okay. They've got a tank. Six-pound gun. + +Then Donovan notices a reflection from the hills. + +What he sees is: + +!THE SUN REFLECTING OFF THE LENSES OF INDY'S BINOCULARS + + HENRY + What do you think you're doing?! Get down! + + INDY + Dad, we're well out of range. + +At that moment the tank FIRES A SHELL in their direction. + +It WHISTLES overhead and BLOWS UP THE PARKED CAR. INDY, HENRY and SALLAH cover their heads as automobile fragments rain down upon them. + + SALLAH + That car belonged to my brother-in-law. + + INDY + (gesturing to the others) + Come on--come on! + +EXT. DESERT VALLEY - DAY + + VOGEL + I can't see anyone up there./* CONTINUED: */ + + DONOVAN + Maybe it wasn't even Jones. + + ELSA + No. It's him all right. He's here somewhere. + + DONOVAN + (to VOGEL) + Put Brody in the tank. + +KAZIM peers over a rock, pointing his rifle at the group below. + + DONOVAN + (to ELSA) + Well, in this sun, without transportation, they're as good as dead. + +BULLETS EXPLODE off the vehicles and cliff. DONOVAN and ELSA duck. + +A NAZI SOLDIER falls from the tank as BULLETS EXPLODE around him. + +KAZIM'S MEN, BRETHREN OF THE CRUCIFORM SWORD, continue to FIRE. ELSA and DONOVAN take cover beside the parked car. + + DONOVAN + It's Jones, all right. + +ANGLE ON INDY'S GROUP INDY and HENRY, followed by SALLAH, take cover behind a rock to watch Kazim's Men and the Nazi Troops exchanging fire below them. + + HENRY + Now, who are all these people? + + INDY + Who cares? As long as they're keeping Donovan busy. Dad, you stay here while Sallah and I organize some transportation. + +CUT BACK to the action. The BRETHREN are firing at the DONOVAN party and are being fired on by the Donovan party. + +TWO NAZI SOLDIERS throw HAND GRENADES into the cliffs. They EXPLODE, killing one of Kazim's Brethren. + +The battle continues—a fierce exchange of GUNSHOTS, GRENADES and MACHINE GUN FIRE with losses on both sides. + +INDY AND SALLAH crouch behind a rock watching as men on both sides of the battle run amongst camels and horses. + + INDY + I'm going after those horses. + + SALLAH + I'll take the camels. + + INDY + I don't need camels. + + SALLAH + But, Indy— + + INDY + No camels! + +DONOVAN AND ELSA They look down at KAZIM who lies mortally wounded on the ground at their feet. + +ELSA looks saddened. + + DONOVAN + (re KAZIM) + Who is he? + + KAZIM + A messenger from God. For the unrighteous, the Cup of Life holds everlasting damnation. + +KAZIM dies. + +INDY leaps atop a TURKISH SOLDIER on horseback, pulling the man and the horse to the ground. A SECOND TURK comes to assist his comrade; INDY mounts the horse, knocking both Turks to the ground. + +INT. THE TANK - DAY + +BRODY has been left alone in the tank. HENRY climbs down into the tank and taps Brody on the shoulder, startling him. + + HENRY + Marcus! + + BRODY + Arghhh! Oh!/* CONTINUED: */ + +They exchange an old University Club toast, swinging their arms at one another and missing. Then HENRY flaps his arms and tugs his ears. + + HENRY + "Genius of the Restoration—" + +Now BRODY tugs his ears, flaps his arms and touches his head. + + BRODY + "—aid our own resuscitation!" + +They exchange a handshake. + + BRODY + Henry! What are you doing here?! + + HENRY + It's a rescue, old boy! Come on. + +As HENRY starts to climb out of the tank, TWO NAZI SOLDIERS DROP DOWN from above, their Lugers drawn. They are followed by VOGEL. + + VOGEL + (re HENRY) + Search him. + +The NAZI SOLDIERS point their guns at HENRY and BRODY. + + VOGEL + (to HENRY) + What is in this book? That miserable little Diary of yours! + +VOGEL removes a glove and slaps HENRY with it. + + VOGEL + Here's the map. The book is useless, and yet you come all the way back to Berlin to get it. Why? + +He slaps HENRY again. + + VOGEL + What are you hiding? + +Another slap. + + VOGEL + What does the Diary tell you that it doesn't tell us?! + +VOGEL reaches out to slap HENRY yet again, but Henry grabs his arm, stopping him./* CONTINUED: (2) */ + + HENRY + It tells me that goose-stepping morons like yourself should try reading books instead of burning them. + +DONOVAN appears at the turret cover. + + DONOVAN + Colonel? Jones is getting away. + + VOGEL + (indicating HENRY) + I think not, Herr Donovan. + +EXT. TANK - DAY + + DONOVAN + Not that Jones—the other Jones! + + NAZI SOLDIER + Herr Colonel! + +EXT. DESERT VALLEY - DAY + +INDY rides away on one horse, leading three others as he goes. + +SALLAH approaches on horseback leading five camels. + + INDY + Sallah, I said no camels! That's five camels. Can't you Count? + + SALLAH + Compensation for my brother-in-law's car. Indy, your father and Brody— + + INDY + Where's my father? + + SALLAH + They have them. In the belly of that steel beast. + +INDY and SALLAH charge forward leading their horses and camels. + +Then VOGEL commands the Tank Driver to give chase. + +INT. TANK - DAY + +VOGEL shouts to the Tank Driver. + + VOGEL + Fire! + +EXT. DESERT VALLEY - DAY + +The tank starts firing at INDY on horseback. Indy zigs and zags as the tank fires two rounds at Indy, barely missing him. Each time Indy emerges from the plume of desert dust, hanging like a toadstool in the air. + +INT. TANK- DAY + +HENRY and BRODY hold their hands over their ears. + +EXT. DESERT VALLEY - DAY + +DONOVAN shouts orders to the Troops. INDY is followed by various vehicles in the caravan. + +INDY notices that the side gun that is now firing at him can only pivot so far. + +Indy makes a mental note of this and while riding right in front of the tank, turns his horse completely around, 180 degrees. The tank starts to follow. + +POV THROUGH THE VIEWING PORT VOGEL watches the ground turning 180 degrees as he tries to catch up with INDY. + +Cleverly, INDY has turned the tank directly into a head-on collision course with some of the pursuit vehicles and a Kubelwagon. + +The tank and the Kubelwagon smash into each other, the German military sedan becoming lodged between the treads while blocking the front view and any use of the six-pound cannon on the turret. + +INDY, meanwhile, leans down on his horse, scooping up a stone from the wall of a culvert. He reigns his horse, paralleling the tank, as everyone scurries about inside, looking through viewing ports, trying to figure out exactly where Indy is. + +INT. TANK- DAY + +VOGEL shouts to the Gunner. + + VOGEL + Der Kubelwagon sprengen! + +The Gunner puts a shell into the large gun. He FIRES, CATAPULTING THE KUBELWAGON into the air, where it EXPLODES. The tank drives through the resulting smoke and dust, then rolls over the Kubelwagon, crushing it + +EXT. DESERT VALLEY - DAY + +INDY gallops up to the side cannon and jams the stone down the barrel, lodging several rocks inside. Then he steers his horse directly in range of that gun. + +INT. TANK - DAY + +A NAZI SOLDIER pushes HENRY away from the window. + + NAZI SOLDIER + Keine Bewegung. + +He points his gun at HENRY and BRODY. + + NAZI SOLDIER + Keine Bewegung. + +The smaller gun, blocked by the rocks, BACKFIRES, blowing the breech out into the face of the gunner, killing him and filling the tank with smoke. + +BRODY, HENRY, VOGEL and the driver begin to choke. + +EXT. DESERT VALLEY - DAY + +INDY rides his horse alongside the tank. + + INDY + Dad! Dad! Dad! + +INT. TANK - DAY + +HENRY and BRODY still held at gunpoint by the NAZI SOLDIER. + + HENRY + Junior? Junior? Junior! + +The NAZI SOLDIER swings his fist, knocking HENRY off his seat. + +EXT. DESERT VALLEY - DAY + +Smoke pours from the top of the tank as the turret pops open. VOGEL emerges and aims his gun at INDY. + +INDY and VOGEL EXCHANGE SHOTS as Indy chases the tank on his horse. + +INDY pulls the trigger again—his gun is empty! Indy immediately takes the high trail. + +Now INDY is above the tank twelve feet on a paralleling trail. He moves out of the saddle and leaps from the speeding horse onto the trundling tank. + +CLOSE UP - VOGEL Hate-staring at INDY CLOSE UP - INDY Hate-staring back at VOGEL. Suddenly, from nowhere a German soldier flies INTO FRAME, tackling Indy. + +CUT TO: + +SIDE ANGLE One of the two troop carriers is paralleling the tank and like pirates boarding a galleon, Nazi Soldiers leap over the treads and are swarming all over INDY. + +INDY is struggling with a German's Luger. + +INDY presses the luger against his assailant and forces the Nazi to squeeze off a shot into himself. The bullet not only passes through the Nazi, but passes through two other Nazis standing directly behind him on the crowded tank top and three bodies fall away, leaving Indy to stare at the gun in disbelief. + +Another Soldier leaps from the truck onto the tank and raises his knife as he grabs INDY. They struggle and fall. + +INDY sits up to see VOGEL standing over him. Vogel wraps a chain around Indy's neck. + +INT. TANK- DAY + +INDY appears at the entrance, the chain still wrapped about his neck and held by VOGEL. + + INDY + Dad! + +He drops the gun down into the tank. + + INDY + Dad! Dad! Get it! + +VOGEL pulls INDY from the tank entrance, yanking on the chain wrapped around his neck. + +EXT. TANK - DAY + +A NAZI SOLDIER approaches. + +INDY hits him, knocking him onto the tank tread. The Nazi Soldier screams as he is dragged under the rolling tank. + +Now INDY and VOGEL struggle with one another, the chain still wrapped around Indy's neck. + +INT. TANK- DAY + +THROUGH THE PERISCOPE We SEE INDY and VOGEL struggling atop the tank. Indy lifts his feet, lunging toward the periscope and pulling Vogel with him. + +INDY's face is pressed up against the lens of the periscope. + +INT. TANK - DAY + +The NAZI SOLDIER looking through the periscope pulls away from it, smiles, then turns back to it. + +THROUGH THE PERISCOPE INDY's face, still pressed against the lens. + +VOGEL pulls INDY from the periscope. + +INT. TANK - DAY + +The NAZI SOLDIER pulls away from the periscope again. + + PERISCOPE SOLDIER + (laughing) + Diese Amerikane. Sie Kampfen wie Weiber. + +EXT. TANK - DAY + +INDY now lies on top of VOGEL. He kicks out at the periscope which spins around. + +INT. TANK - DAY + +The periscope handle spins around and hits the PERISCOPE SOLDIER in the head. + +He falls against the NAZI SOLDIER guarding HENRY and BRODY. + +HENRY pushes the NAZI SOLDIER aside and grabs the gun. The PERISCOPE SOLDIER struggles to take the gun from Henry. + +EXT. TANK- DAY + +VOGEL holds the chain around INDY's neck, pushing his head downward toward the revolving tread. + +INT. TANK - DAY + +The PERISCOPE SOLDIER holds HENRY from behind, forcing the gun toward him. + +Henry reaches down and pulls a fountain pen from his coat pocket./* CONTINUED: */ + +As the PERISCOPE SOLDIER pulls on HENRY's face, Henry lifts the fountain pen and squirts ink into his face. The Soldier falls, his head smashing into the wall of the tank. At the same time, Henry loses his grip on the gun which falls to the floor. + + BRODY + Henry, the pen— + + HENRY + What? + + BRODY + But don't you see? The pen is mightier than the sword. + +EXT. DESERT VALLEY - DAY + +A troop truck pulls near the tank. + +INT. TANK- DAY + +HENRY fires the TANK GUN at the troop truck. SOLDIERS FLY INTO THE AIR. + +The TROOP TRUCK flips over and EXPLODES. + +EXT. TANK - DAY + +The EXPLOSION knocks INDY off the tank and onto the tread. He grabs onto the shredded gun protruding from the side of the tank. + +VOGEL looks down at INDY and smiles smugly. + +The tank is approaching a cliff wall. As INDY tries to secure footing, VOGEL steps on his hands. + +INT. TANK - DAY + +BRODY looks at HENRY. + + BRODY + Look what you did! + + HENRY + It's war. + +EXT. TANK - DAY + +VOGEL now swings a shovel at INDY, smashing at his hands. + +BRODY climbs up out of the tank, followed by HENRY./* CONTINUED: */ + + HENRY + Didn't I tell you it was a rescue, huh? + +A NAZI SOLDIER appears and pulls HENRY down. + +VOGEL raises the shovel above his head and brings it crashing down on INDY, still hanging from the protruding gun. + +INDY loses his grip and now hangs from the gun suspended only by the strap of his leather pouch. He screams as the gun scrapes against the cliff wall, sending stones tumbling down over him. + +INT. TANK - DAY + +The NAZI SOLDIER knocks HENRY into a pile of boxes, then punches him in the face. + +As the SOLDIER raises the gun to HENRY's face, BRODY hits him over the head with a canister. The Soldier falls, discharging the gun into the air. + +The BULLET RICOCHETS around the tank, past the Tank Driver who is manipulating levers at the control panel. SPARKS FLY; then the BULLET PINGS AGAINST THE WINDOW and RICOCHETS ONCE MORE, this time passing THROUGH THE TANK DRIVER'S HAT. Blood flows from under the hat as the Tank Driver slumps forward, his body depressing the levers. + +EXT. TANK - DAY + +INDY still hangs from the strap of his leather pouch as the tank swerves, barely missing the rocks and causing VOGEL to fall. Indy finally manages to pull himself atop the tank once more where he punches Vogel over the side, then peers down to HENRY, still inside the tank. + + INDY + Dad? + + HENRY + You call this archaeology? + + INDY + Get out of there, Dad! + +INDY pulls HENRY and BRODY from the tank. VOGEL pulls himself back atop the tank armed again with the shovel which he swings at Indy, who ducks and grabs Vogel's arm. + + BRODY + How does one get off this thing? + +As INDY winds up to punch VOGEL he catches BRODY in the face on the backswing, then completes the movement and knocks Vogel down. + +INT. TANK - DAY + +Vogel's hat sails in and falls to the floor. + +EXT. TANK- DAY + + HENRY + (to INDY) + Where's Marcus?! + +Before INDY can answer, VOGEL is up and swinging with the shovel. Indy ducks but the shovel catches HENRY sending him over the side and onto the moving tread. + +INDY grabs his whip, knocking VOGEL aside. + +As HENRY speeds toward the front of the tank to certain doom, INDY, with lightning speed, whips out his bullwhip, wrapping the end of the whip around Henry's right ankle. + + INDY + Dad! + +HENRY is bouncing across the treads like a rag-doll. INDY struggles to hold onto the end of the bullwhip. + + INDY + Hang on, Dad! + +SALLAH draws his horse next to the treads. He tips his fez to HENRY. + + SALLAH + Father of Indy—give me your hand! + +VOGEL now punches INDY in the back and grabs him around the neck. Still, INDY refuses to let go of the whip. + + INDY + Sallah! Get Dad! + +SALLAH reaches out to HENRY. + + SALLAH + Give me your hand! + +SALLAH manages to hold onto HENRY as he brings his horse to a stop just at the cliff's edge. + +INDY finally frees himself of VOGEL's grasp, twisting his arm painfully away from Indy's neck, then landing a hard blow to Vogel's head. + +INDY looks down at the fast-approaching cliff, his face filled with horror. We SEE his HAT BLOW OFF and sail over the cliff's edge. + +VOGEL He sees his life passing before him, he screams at the top of his lungs! + +LONG SHOT The tank trundles over the cliff and PLUMMETS TO THE BOTTOM. + +EXT. CLIFF EDGE - DAY + +HENRY, BRODY and SALLAH look down at the flaming wreckage of the tank. + + HENRY + Junior?! + +We HEAR the TANK EXPLODING. + + SALLAH + Indy?! + + HENRY + Oh, God. I've lost him. And I never told him anything. I just wasn't ready, Marcus. Five minutes would have been enough. + +And then... looking dazed and bewildered, INDY STAGGERS UP BEHIND THEM. + +He joins the others at the edge of the cliff, looking down at the wreckage below with a bewildered expression. + +Finally, Henry becomes aware of his presence. + +HENRY says nothing. He just looks at Indy, overcome with emotion. Finally, he throws his arms around him. + + HENRY + I thought I'd lost you, boy. + +After a moment, Indy's head clears. And he becomes aware of his father's embrace. Something he hasn't felt in a long time—if ever. And it touches him. + +He hugs his father back. + + INDY + I thought you had too, sir. + +BRODY and SALLAH are moved by this sudden reconciliation. + + HENRY + Well—well done! Come on! + +HENRY pats INDY on the back and Indy collapses, sitting hard on the rocky cliff edge./* CONTINUED: */ + +Unaware, HENRY, SALLAH and BRODY start to walk away. Henry turns back to see INDY still sitting on the ground. + + HENRY + Let's go then. why are you sitting there resting when we're so near the end? Come on— let's go! + +HENRY turns and walks toward the horse with BRODY and SALLAH. Suddenly the FEDORA, borne on the wind, BLOWS INTO SCENE and lands at INDY's feet. + +EXT. MOUNTAIN ROAD - DAY + +DONOVAN peers through binoculars to see the CANYON OF THE CRESCENT MOON. He lowers the binoculars and turns to ELSA. + + DONOVAN + The Canyon of the Crescent Moon. + +Now ELSA peers through the binoculars. + +EXT. SECRET CANYON - DAY + +INDY, HENRY, SALLAH and BRODY ride into the canyon. They hear a WAILING WIND. Feel the biting cold. And sense the danger. + +Now we turn a corner and they see the hidden city. Its spectacular Grecian facade is carved directly into the rock. It is a stunning sight. The vehicles, camels and horses belonging to DONOVAN's party have been left at the entrance. + +CUT TO: + +INT. TEMPLE - DAY + +INDY, SALLAH, HENRY AND BRODY creep forward to see: + +THE TERRIFIED FACE OF A TURKISH SOLDIER He's walking slowly. Eyes darting. Muttering a prayer under his breath. + +What's going on here? + +FULL SHOT - INSIDE THE MOUNTAIN TEMPLE THE TURK stands alone in the center of the Temple. It is very dark. GIANT COLUMNS define the Temple's perimeter. + +ELSA AND DONOVAN watch him from a safe distance. + +THE TURK is about to approach the spot where a TURKISH SOLDIER LIES DEAD. We don't notice it right away, but the dead soldier has been DECAPITATED. + +THE TURK stops—only one step away from the beheaded soldier. + +THE TURK takes one more step—a fatal step, it turns out. We hear a ROAR—A WHOOSH of air—but we SEE NOTHING—except THE TURK'S HEAD FLY OFF AND BOUNCE across the ground. + +INDY, HENRY, BRODY AND SALLAH react to the sight. + +ELSA AND DONOVAN She looks at him, horrified. + + DONOVAN + Helmut, another volunteer! + +TWO NAZI SOLDIERS force another Turk forward. Suddenly... + +The SOUND OF RIFLE BOLTS being cocked. Everyone turns to discover INDY and his party surrounded by NAZI SOLDIERS. Indy's group are relieved of their guns. + +FULL SHOT - THE TEMPLE INDY, HENRY, BRODY and SALLAH are brought forward by the Nazi Soldiers. + +ELSA's eyes light up: glad Indy's not dead. she controls herself and continues more coldly. + + ELSA + (to INDY) + I never expected to see you again. + + INDY + I'm like a bad penny. I always turn up. + + DONOVAN + Step back now, Doctor Schneider. Give Doctor Jones some room. He's going to recover the Grail for us./* CONTINUED: */ + +INDY laughs. + + DONOVAN + Impossible? What do you say, Jones? Ready to go down in history? + + INDY + As what? A Nazi stooge like you? + + DONOVAN + (scornfully) + Nazis?!—Is that the limit of your vision?! The Nazis want to write themselves into the Grail legend and take on the world. Well, they're welcome. But I want the Grail itself. The cup that gives everlasting life. Hitler can have the world, but he can't take it with him. I'm going to be drinking my own health when he's gone the way of the Dodo. + (he draws his pistol) + The Grail is mine, and you're going to get it for me. + + INDY + Shooting me won't get you anywhere. + + DONOVAN + You know something, Doctor Jones?... you're absolutely right. + +Then DONOVAN shifts his aim, just a bit, and SHOOTS HENRY. The bullet enters his side below the ribs. + + INDY + Dad?! + + HENRY + Junior. . . + + ELSA + No!! + + DONOVAN + ( to ELSA) + Get back! + +HENRY collapses. Blood flowing from the wound. BRODY and SALLAH rush to his assistance./* CONTINUED: (2) */ + +INDY spins toward DONOVAN with murder in his eyes. + +DONOVAN points the gun at him: + + DONOVAN + You can't save him when you're dead. + +INDY hesitates. + + DONOVAN + The healing power of the Grail is the only thing that can save your father now. It's time to ask yourself what you believe. + +INDY takes in the situation. The two decapitated men lie a few yards in front of him. He walks to the entranceway, flanked by two stone lions. We get silent reaction shots—ELSA—SALLAH—BRODY—DONOVAN—registering their different emotions INDY proceeds forward. His hands open the Grail Diary. + + INDY + "The Breath of God... Only the penitent man will pass. Only the penitent man will pass. . . " + +INDY takes a few steps forward. + + INDY + "The penitent man will pass. The penitent man..." + +INDY stops. He is about to reach the spot where two men have just died. + +HENRY looks at INDY. Indy looks at Henry. + + HENRY + (in a raspy voice) + "Only the penitent man will pass. Only the penitent man will pass." + + INDY + (quietly to himself) + The penitent man will pass. The penitent... the penitent. The penitent man... + + HENRY + The penitent man. The penitent... + +INDY takes a step forward through the cobwebs./* CONTINUED: (3) */ + + INDY + The penitent man is humble before God. + + HENRY + Penitent. Penitent... + + INDY + The penitent man is humble... + +The cobwebs begin to move.... + + INDY + He kneels before God. + (to himself; suddenly) + Kneel!! + +We hear the awful rush of air—WHOOSH! Because INDY is in the act of kneeling, only his hat is knocked off and his hair flies in his face. + +Instinctively he ROLLS FORWARD on the ground out of harm's way and looks up. + +From his new position he is able to see what is causing all the trouble: A RAZOR SHARP TRIPLE PENDULUM. + +INDY gets cautiously to his feet. Now he sees the pendulum has been guarding a SMALL CORRIDOR which turns a corner to the left fifty yards ahead. Wooden wheels turn—the mechanism controlling the spinning blades. INDY loops a rope around the wheels, jamming the mechanism and stopping the blades in mid-swipe. + + INDY + I'm through! + +!ELSA AND DONOVAN + + DONOVAN + We're through! + +BRODY and SALLAH smile, relieved. + + SALLAH + (to HENRY) + He's all right. + +HENRY shakes his head. + + HENRY + No. + +BACK TO INDY holding the Grail Diary, reading once again, his fedora now covered in cobwebs. + + INDY + "The second challenge is the Word of God. Only in the footsteps of God will he proceed." + (to himself) + The Word of God... The Word of... + +INDY pulls away some cobwebs to reveal a cobblestone path. Each cobble is engraved with a letter. + + INDY + "Proceed in the footsteps of the Word." + +HENRY lifts his head painfully. + + HENRY + The Word of God... + + BRODY + No, Henry. Try not to talk. + + HENRY + The Name of God... + +BACK TO INDY as he studies the cobblestones before him. + + INDY + The Name of God... Jehovah! + +HENRY still lies in SALLAH's arms. BRODY leans over him. + + HENRY + But in the Latin alphabet, "Jehovah" begins with an "I." + +!BACK TO INDY + + INDY + "J." + +INDY takes a step and immediately a stone breaks away and INDY falls up to his hip -- his leg stuck through the hole where the stone once was. + +HENRY reacts. + + HENRY + Oh dear! + +BACK TO INDY who grunts as he pulls himself from the hole, the Grail Diary in his hand. + + INDY + In Latin, "Jehovah" starts with an "I." "I"... + +Now we SEE each letter on the stones as INDY carefully walks forward. + +DONOVAN and ELSA follow in his footsteps. + + INDY + "E"... "H"... "O"... "V"... "A"... + +INDY sighs with relief and steps forward to: + +THE GREAT ABYSS INDY stands in a small opening, just small enough for his shoulders to squeeze through and beyond that a 100 foot drop to the rocks below and 100 feet across, nothing but a rough, stony cliff wall. + +BACK TO INDY He can see nowhere to cross. He looks again to the Grail Diary. + + INDY + "The path of God. Only in the leap from the lion's head will he prove his worth." + +INDY looks around and then he notices that inscribed into the rock above his head is the head of a lion. + + INDY + Impossible! Nobody can jump this! + +INDY looks down into the Diary and tortures over what it is asking him to do. + +BRODY rushes forward and calls to INDY. + + BRODY + Indy... Indy, you must hurry!! Come quick!y! + +!BACK TO INDY + + INDY + (realizing) + It's... a leap of faith. Oh, God. + +HENRY calls to his son. + + HENRY + You must believe, boy. you must... believe. + +We see him do it. We see him leap into space. We see that he is in midair. We see that he is not going to make it. His hands claw for the opposite wall but he is going to fall 100 feet to his death. And then—he doesn't! He appears to be held up by thin air as he lands on his hands and knees. + +INDY looks around and down and now he figures it out. + +Ingeniously, the First Crusaders have painted a pathway to align with the rocks 100 feet below. It is a perfect forced perspective image of the rocks below with lines from a hundred feet continuing six feet below his sight line where his feet are stepping. + +It's painted to blend in with the rocks below. Highly evolved camouflage... in perfect alignment with everything we see below. + +When INDY leans out to the left or right... that's when he sees the perfect alignment shift that betrays the trick. Indy throws some dirt on the bridge and he crosses it like the first Crusader from the painting over Henry's desk. + +Indy crawls through a small opening in the side of the cliff and enters a Temple. + +A vast array of chalices is displayed on the altar of this small Temple. Perhaps a hundred or more. Many sizes, many shapes, some gold, some silver, but they all glitter and shine. + +INDY is mesmerized by their number and their beauty. And then he realizes that a man is praying at the altar! He has his back turned to INDY... but he is dressed as what he is! A GRAIL KNIGHT. + +CLOSE ON THE GRAIL KNIGHT But we can't see the Grail Knight's face. The visor of his helmet is down. + +Perhaps we see his eyes./* CONTINUED: */ + +When the GRAIL KNIGHT sees INDY he gets wearily to his feet and, surprisingly, prepares to give combat...taking up his two-handed broadsword...he comes at Indy, attempting to swing the huge, heavy sword but finding the effort almost too much. Indy dodges two or three clumsy swings of the sword, making no attempt to fight back...until the Knight, exhausted, drops the sword and collapses. Indy approaches him and raises the visor and we see that the Knight is a very ancient man. + + KNIGHT + I knew you'd come, but my strength has left me. + + INDY + Who are you? + + KNIGHT + The last of three brothers who swore an oath to find the Grail and to guard it. + + INDY + That was seven hundred years ago. + + KNIGHT + A long time to wait. + +The GRAIL KNIGHT reaches forward and fingers Indy's clothing. + + KNIGHT + You're strangely dressed...for a knight. + + INDY + I'm not exactly...a knight. What do you mean? + + KNIGHT + I was chosen because I was the bravest and the most worthy. The honor was mine until another came to challenge me to single combat. I pass it to you who vanquished me. + +The GRAIL KNIGHT holds his sword out to INDY. + + INDY + (gulp) + Listen, I don't have time to explain, but— + +At that moment DONOVAN and ELSA appear. Donovan turns to face the display of cups. + + DONOVAN + Which one is it?/* CONTINUED: (2) */ + + KNIGHT + You must choose. + (beat) + But choose wisely. For as the True Grail will bring you life— the False Grail will take it from you. + + DONOVAN + I'm not a historian. I have no idea what it looks like. Which one is it? + + ELSA + Let me choose. + + DONOVAN + Thank you, Doctor. + +ELSA and INDY exchange looks. He thinks he is seeing her in her true colors. + +ELSA chooses a cup—a solid gold, emerald encrusted goblet. + +DONOVAN instantly takes it from her. + + DONOVAN + Oh, yes. It's more beautiful than I'd ever imagined. This certainly is the cup of the King of Kings. + +DONOVAN rushes to the well and fills the goblet with water. + + DONOVAN + Eternal life! + +DONOVAN drinks from the goblet. + +Then, DONOVAN'S entire body starts to convulse. His face contorts in agony. He grabs his stomach and turns toward ELSA. + + DONOVAN + What . . . is . . . happening. . . to . . . me. . .? + +He starts to age—fast! His hair grows long and gray and brittle. His face sinks. + +Fingernails curl back on themselves. Milky cataracts coat his eyes. + +ELSA gasps and screams. + + DONOVAN + What. . . is . . . happening. . . ? + +His skin turns brown and leathery and stretches across his bones until it splits. + +His skeletal hands reach for ELSA's throat, choking her./* CONTINUED: (3) */ + +INDY rushes forward and pushes DONOVAN away. As he falls the BODY BREAKS INTO FLAMES, then SHATTERS AGAINST THE WALL. + + KNIGHT + He chose...poorly. + +INDY studies the array of chalices. + + ELSA + It would not be made out of gold. + +INDY picks up another cup—a simple earthenware jug. + + INDY + That's the cup of a carpenter. + +He and ELSA exchange a look. + + INDY + There's only one way to find out. + +INDY goes to the well and fills the earthenware jug with water, then pauses. + +INDY brings the jug to his lips and takes several large swallows. + +A strange sensation overcomes him, a feeling of peace and contentment...and we see his wounds begin to heal. + + KNIGHT + You have chosen wisely. But the Grail cannot pass beyond the Great Seal. That is the boundary and the price of immortality. + +CUT TO BRODY AND SALLAH who attend to Henry awaiting Indy's return. + +INDY and ELSA come forward with the Grail. + +The TWO NAZI SOLDIERS are over-awed by the possessors of the Grail. They put down their guns and kneel. + +INDY kneels by HENRY's side and tilts his head forward and holds the Grail to his lips. + +HENRY is too weak to even open his eyes. + +HENRY swallows some of the water. Much of it runs down the corners of his mouth. Finally INDY pours the water over the wound and everyone watches in astonishment as the wound and the blood stain disappear before their eyes. The color returns to Henry's face. + +HENRY's eyes open. The first thing he sees is the Grail and they light up. Then they shift to INDY's face—and they light up even more... + +NAZI SOLDIERS run forward. SALLAH points a rifle at them. + + SALLAH + Drop your guns. Please. + +The NAZI SOLDIERS drop their weapons at their feet and raise their arms in surrender. + + INDY + (to HENRY) + Dad, come on. Get to your feet. + +ELSA steps forward and picks up the Grail. She turns to INDY, her face alight with possession of the Grail. + + ELSA + We have got it. Come on. + +ELSA steps onto the edge of the Great Seal. + + INDY + Elsa! Elsa, don't move! + + ELSA + It's ours, Indy. Yours and mine. + + INDY + Elsa, don't cross the Seal. The Knight warned us not to take the Grail from here. + +A RUMBLING SOUND IS HEARD and the ground roars and shifts. Dirt falls from the ceiling of the cavern. ELSA falls on the Great Seal. The Grail bounces away from her grasp. She reaches for it and the ground beneath her begins to SPLIT OPEN. ELSA slips into the crevasse. She screams. + +ELSA is hanging perilously in the abyss, with the Grail almost within her reach. + +As her hands lose their grip, INDY just manages to one of them, he himself sliding forward across the slanted floor. + + HENRY + Junior! Junior! + +With her free hand, ELSA is trying to get the Grail. INDY can't save her unless she gives him her free hand. She has to choose. + + INDY + Elsa. Elsa don't. Elsa. Elsa. Give me your other hand, honey. I can't hold you./* CONTINUED: */ + + ELSA + I can reach it. I can reach it... + +Her hand begins to slip from Indy's grasp. + + INDY + Elsa! Give me your hand. Give me your other hand! + +ELSA just manages to touch the Grail. In doing so, she has tipped the balance too far—INDY slides down another yard, Elsa loses her grip and falls screaming to her death. + + INDY + (horrified) + Elsa!! + +Now the ledge INDY lies upon begins to break apart. HENRY grabs one of his hands as Indy struggles to reach the Grail with the other. + + HENRY + Junior, give me your other hand! I can't hold on!! + + INDY + I can get it—I can almost reach it, Dad. + +INDY looks down into the black bottomless pit beneath him from which nothing can ever be retrieved. + + HENRY + Indiana. Indiana!! + +INDY snaps his look up to his father. His father has never called him this before. + + HENRY + (very calmly) + ... let it go... + +INDY abandons the Grail and grabs onto HENRY with both hands. + +HENRY pulls him up to safety. + +THE GRAIL KNIGHT looks through the falling debris to INDY and HENRY. SALLAH and BRODY rush from the crumbling Temple. + + INDY + Dad. . . + +The GRAIL KNIGHT raises his arm to HENRY./* CONTINUED: */ + + INDY + Please, Dad... + +INDY and HENRY down the passageway just as a huge stone column tumbles down upon the spot where they stood. The GRAIL KNIGHT lowers his arm as he watches them leave. + +EXT. ENTRANCE TO MOUNTAIN TEMPLE - AFTERNOON + +INDY, HENRY, SALLAH and BRODY emerge from the Mountain Temple through the Grecian Facade. + +From within the Mountain Temple, the ROAR OF WALLS CAVING IN IS HEARD. A cloud of dust and smoke billows out from the entrance. + +HENRY turns to INDY. + + HENRY + Elsa never really believed in the Grail. She thought she'd found a prize. + + INDY + What did you find, Dad? + + HENRY + Me?... Illumination. + +HENRY and INDY mount their horses. Henry turns back to his son. + + HENRY + What did you find, Junior? + + INDY + Junior?! Dad... + + SALLAH + Please...What does it always mean, this...this "Junior?" + + HENRY + That's his name. Henry Jones, Junior. + + INDY + I like Indiana. + + HENRY + We named the dog Indiana. + + BRODY + May we go home now, please?/* CONTINUED: */ + + SALLAH + (to INDY) + The dog!? + (laughs) + You are named after the dog... + + INDY + (embarrassed) + I've got a lot of fond memories of that dog. + +A moment passes as they all ready their mounts and SALLAH continues to laugh at INDY. + + INDY + Ready? + + HENRY + Ready. + + BRODY + Indy! Henry! Follow me! I know the way! + (to his horse) + Haaa! + + HENRY + (to INDY) + Got lost in his own museum, huh? + + INDY + Uh-huh. + + HENRY + After you, Junior. + + INDY + Yes, sir! + (to his horse) + Haaa! + +EXT. THE SECRET CANYON - AFTERNOON + +They THUNDER through the canyon—whose towering walls threaten to collapse upon them. + +EXT. ENTRANCE TO CANYON - SUNSET + +as BRODY, INDY, HENRY AND SALLAH ride from the canyon toward the SETTING SUN. + +!THE END diff --git a/fountain_scripts/Indiana Jones and the Last Crusade.webp b/fountain_scripts/Indiana Jones and the Last Crusade.webp new file mode 100644 index 0000000000000000000000000000000000000000..64810c44fdc90bccae07ba8f7be55646cba66b8d --- /dev/null +++ b/fountain_scripts/Indiana Jones and the Last Crusade.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:53e3bce9495d2cc28b35fe26689d5c2b22370d2eb1006c1e3954732b18f83f9c +size 40720 diff --git a/fountain_scripts/Indiana Jones and the Raiders of the Lost Ark.fountain b/fountain_scripts/Indiana Jones and the Raiders of the Lost Ark.fountain new file mode 100644 index 0000000000000000000000000000000000000000..28971a1ced91eec0fee10b7579518e96cd9afbcd --- /dev/null +++ b/fountain_scripts/Indiana Jones and the Raiders of the Lost Ark.fountain @@ -0,0 +1,3221 @@ +Title: "RAIDERS OF THE LOST ARK" +Credit: Screenplay by +Author: Lawrence Kasdan +Source: Story by George Lucas + +>FADE IN: + +EXT. PERU - HIGH JUNGLE - DAY + +The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jungle". Ragged, jutting canyon walls are half-hidden by the thick mists. + +The MAIN TITLE is followed by this: + +!PERU 1936 + +A narrow trail across the green face of the canyon. A group of men make their way along it. At the head of the party is an American, INDIANA JONES. He wears a short leather jacket, a flapped holster, and a brimmed felt hat with a weird feather stuck in the band. Behind him come two Spanish Peruvians, SATIPO and BARRANCA. Bringing up the rear are five Yagua INDIANS. They act as porters and are wrangling the two heavily-packed llamas. The Indians become increasingly nervous. They speak to each other in bursts of Quechua. The American, who is known to his friends as Indy, glances back at them. + + BARRANCA + (irritated) + They're talking about the Curse again! + +He turns and yells at the Indians in Quechua, his anger giving an indication of his own fears. The party reaches a break in the canyon wall and takes the trail through it. + +When they emerge, their destination is revealed to them in the distance. Beyond a thick stand of trees is the vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS. + +The entire party is struck by the sight. The Indians, terrified now, chatter away. Suddenly the three at the back turn and run, dropping their packs as they go. Barranca yells at the fleeing Indians and pulls his pistol out. He starts to raise his arm to aim but Indy restrains it in a muscular grip. + + INDY + No. + +Barranca looks evilly at Indy's hand upon him. Indy releases him and smiles in a friendly way. + + INDY + We don't need them. + +Satipo watches this confrontation with some concern. + + BARRANCA + I do not carry supplies. + + INDY + We'll leave them. Once we've got it, we'll be able to reach the plane by dusk. + +He turns back to the trail. Satipo gets the two remaining Indians moving behind Indy. Satipo and Barranca then have a fast, silent communication: Barranca indicates his desire to slit Indy's throat; Satipo gives him a look that says "Be patient, you idiot". + +THE APPROACH TO THE TEMPLE The party fans out to fight their way through the entwined trees that guard the temple. Visibility is cut to five feet in the heavy mist. Satipo extracts a short, native dart from a tree and examines the point gingerly + + SATIPO + (showing Indy) + The Hovitos are near. The poison is still fresh... three days. They're following us, I tell you. + + INDY + If they knew we were here, they would have killed us already. + +The two Indians jabber in Quechua, near hysteria. Barranca is sweating profusely, eyes darting. He yells at the Indians in Quechua to "shut up". + +In the undergrowth, there is slithering movement. + +Indian #1 draws aside a branch and is faced with a horrific stone sculpture of a Chachapoyan demon. The Indian is so frightened no sound comes out when he screams. He turns and runs silently away. + +Indian #2 calls to his friend. Getting no response, he steps in that direction. A huge macaw, flushed from the undergrowth, screams and flies away. Indian #2 does exactly the same thing, never to be seen again. + +Indy, Satipo and Barranca, just clearing the trees, look back in that direction. They all turn to face the Temple. + +It is dark and awesome. Vegetation curls from every crevice, over each elaborate frieze. The entrance - round, open and black - has been designed to look like open jaws. + + INDY + So this is where Forrestal cashed in. + + SATIPO + A friend of yours? + + INDY + Competitor. He was good, very good. + + BARRANCA + (nervous) + No one has ever come out of there alive. Why should we put our faith in you? + +Indy takes the weird feather from the band of his hat. From around its point, he slips a tightly rolled piece of parchment. Barranca and Satipo exchange a quick "So that's where it was!" look. They all kneel as Indy spreads out the parchment. On it is one-half of a crude floorplan of the Temple. + + INDY + No one ever had what we have... partners. + +Indy fixes them with an expectant stare. Satipo produces a similar, but folded, piece of parchment. He lays it - the other half of the floorplan - next to Indy's. They all regard it for a moment, then Indy stands and walks toward the Temple. + +Barranca's eyes are shining as they dart between the floorplan and Satipo. + + INDY + (back turned) + Assuming that pillar there marks the corner and... + +Barranca is suddenly on his feet, quietly drawing his pistol. + +He raises it toward Indy as Satipo realizes with alarm what he's doing. Too late. Indy's head turns and he sees Barranca. + +Indy's next move is amazing, graceful and fast, yet totally unhurried. His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly curled bullwhip. With the same fluid move that brings Indy's body around to face the Peruvian, the whip uncoils to its full ten foot length and flashes out. + +The fall of the whip (the unplaited strip at the end of the lash) wraps itself around Barranca's hand and pistol. He could not drop the gun now if he tried. + +Indy gives the whip a short pull and Barranca's arm is jerked down, where it involuntarily discharges the gun into the dirt. Barranca is amazed, but feels some slack in the whip and immediately raises the gun toward Indy again, cocking it with his free hand. + +Indy's face goes hard. And sad. + +Indy sweeps his arm in a wide arc. Barranca spins around, enclosed in the whip, his gun hand stuck tight against his body. Indy gives one more short jerk on the whip handle and Barranca's gun fires. Barranca falls dead. + +Indy looks quickly at Satipo, who is shocked and frightened. + +He raises his arms in supplication. + + SATIPO + I knew nothing! He was crazy! Please! + +Indy looks him over, then nods. He frees the whip from Barranca's body and picks up the man. His eyes sweep the surrounding woods. + + INDY + Let's go. + +INT. TEMPLE - INCLINED PASSAGE - DAY + +Indy and Satipo, carrying a torch, walk up the slightly inclined, tubular passage from the main entrance. The interior is wet and dark, hanging with plant life and stalactites. + +Their echoing footsteps intermittently overpower the sounds of loud dripping, whistling air drafts and scampering claws. + +HALL OF SHADOWS Indy leads the way down a twisting hallway, Satipo's torch barely lighting his way from behind. Indy disappears in a shadow and when he reappears a moment later a huge black tarantula is crawling up the back of his jacket. Indy doesn't notice and disappears into another shadow, emerging with two more tarantulas on his back. + +Satipo sees them and makes a frightened grunting sound. Indy looks at him, sees what he's pointing at and casually brushes all three spiders off with his rolled whip, as he would a fly. Satipo pirouettes for an inspection and Indy flicks one off the Peruvian's back. + +Indy begins picking up little pocket-sized artifacts from the niches and ledges of the Temple. He continues to do this as the men penetrate the Temple. His collecting is quick and expert, evaluating the pieces in an instant, discarding some, stuffing others into his clothes, and never stopping his forward progress. + +CHAMBER OF LIGHT The men reach an arch in the hall. The small chamber ahead, which interrupts the hall, is brightly lit by a shaft of sunlight from high above. Indy stops, looks it over. + + SATIPO + What's wrong? Are you lost? + +Indy picks up a stick and throws it through the shaft of light. Giant spikes spring together from the sides of the chamber with a ferocious CLANG! And impaled on the spikes are the remains of a white man, half-fleshed, half skeleton, in explorer-type garb. Indy reaches out and takes hold of the man's carcass. As the spikes slowly retract, Indy pulls it free and seats the remains gently on the floor. + + INDY + Forrestal. + + SATIPO + (gulps) + We can go no further. + + INDY + Now, Satipo, we don't want to be discouraged by every little thing. + +Indy steps sideways into the chamber. His back pressed against the very points of the retracted spikes, he moves along the edge of the light beam, and steps clear on the other side. + +Satipo grimaces and begins sweating his way through. + +STAIRWAY Indy and Satipo come down stone stairs to a tight landing. + +Framing the entry are a carefully strung network of dead vines, each somehow hooked into the wall, narrowing the opening even more. + + INDY + (taking torch) + Let me see that. + +He lowers the torch to the floor of the landing. The landing is carpeted with human skeletons, one on top of another, all squashed flat as cardboard. Satipo gasps. Indy looks up at the ceiling of the landing, then steps onto skeletons, which make a cracking noise under his feet. + + INDY + Try not to touch the vines. + +FOYER OF THE SANCTUARY The men are in a high, straight hallway 50 feet long. + +The door at the end is flooded with sunlight. + + SATIPO + Señor, I think we are very close. + +Indy stands still looking at the hall. + + SATIPO + (impatient) + Let us hurry. There is nothing to fear here. + + INDY + That's what scares me. + +They begin walking down the hall side by side. Satipo has inched a little ahead. Suddenly his lead foot comes down and through the floor! As Satipo begins to pitch forward, Indy grabs him by the belt and pulls him back. They both look down at the "floor". + +Indy swings his whip across the floor. Fifteen feet of it cuts open beneath the lash, falling away to reveal black pit as wide as the hall. The illusory floor was made of dust-covered cobwebs. Satipo picks up a stone and drops it down the pit. No sound. The two men exchange glances. Indy looks up at the high roof of the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on the whip. From the other side he swings the whip back to Satipo, who throws Indy the torch. Satipo swings across. When they are both standing on solid floor there is a moment of quiet in which they hear, from far, far below - SPLASH! Indy wedges the whip handle into the wall and leaves it strung to the beam for quick retreat. + +THE SANCTUARY A large, domed room. Ten evenly-spaced skylights send their shafts of sunlight down to a unique tiled floor: white and black tiles laid out in a lovely, intricate pattern. Indy and Satipo stand at the door and look across the wide room at the altar. There, in the supreme hallowed spot, is a tiny jeweled figurine, Indy's real objective. + +Two torches, many years old, are in holders by the door. + +Indy takes one down and lights it. He gives the regular torch to Satipo. + + SATIPO + There's plenty of light, amigo. + +Indy kneels and uses the unlit end of the torch to reach out and tap a white tile. It is solid. He taps a black tile. + +There is a whizzing sound and a tiny dart sticks in the torch. + +Satipo points to the wall nearby: there is a recessed hole there. + + SATIPO + From that hole! + +Indy nods, stands and looks around the sanctuary. The entire room is honey-combed with the same kind of hole. Satipo sees it too and is properly impressed. + + INDY + You wait here. + + SATIPO + If you insist, señor. + +Torch in hand, Indy begins his careful walk across the sanctuary. Stepping only on the white tiles, he almost appears to be doing a martial arts kata. Before each big move he waves the torch in front of him head to toe, looking at the flame. Halfway out, he sees something on the floor and kneels to look at it. + +A dead bird lies on one of the white tiles. Its body is riddled with little deadly darts. This has great significance to Indy and he stands with even greater caution. He waves the torch ahead of him and at waist height an air current whips at the flame. Indy ducks under it and leaves a burn mark on the white tile beneath it. + +Satipo watches, wide-eyed and mystified. + +Indy reaches the altar. The tiny idol looks both fierce and beautiful. It rests on a pedestal of polished stone. Indy looks the whole set-up over very carefully. From his jacket he takes a small, canvas drawstring bag. He begins filling it with dirt from around the base of the altar. When he has created a weight that he thinks approximates the weight of the idol, he bounces it a couple times in his palm concentrating. It's clear he wants to replace the idol with the bag as smoothly as possible. His hand seems ready to do that once, when he stops, takes a breath and loosens his shoulder muscles. Now he sets himself again. And makes the switch! The idol is now in his hand, the bag on the pedestal. + +For a long moment it sits there, then the polished stone beneath the bag drops five inches. This sets off an AURAL CHAIN REACTION of steadily increasing volume as some huge mysterious mechanism rumbles into action deep in the temple. + +Indy spins and starts his kata back across the sanctuary at four times the speed. + +Satipo's eyes widen in terror. He turns and runs. + +THE RETREAT - INTERCUTTING INDY AND SATIPO The sanctuary has begun to rumble and shake in response to the mysterious mechanism. Just as Indy goes out the door, a rock shakes loose from the wall and rolls onto the tiled floor. Immediately, a noisy torrent of poison darts fills the room. + +IN THE FOYER Satipo swings across the pit. He makes it just as the whip comes undone from the beam, leaving Indy without an escape. + +Satipo, extremely nervous, regards the whip a moment then turns back to face Indy, who has run up to the far side of the pit. + + SATIPO + No time to argue. Throw me the idol, I throw you the whip. + +Indy hesitates, eyeing the rumbling walls. + + SATIPO + You have no choice! Hurry! + +Indy concurs with that assessment. He tosses the idol across the pit to Satipo. Satipo stuffs it in the front pocket of his jacket, gives Indy a look, then drops the whip on the floor and runs. + + SATIPO + Adios, amigo! + +Indy grimaces. He had a feeling this might happen. He looks around. + +AT THE VINED LANDING Satipo flies through like a chubby ballet dancer and takes the steps five at a time. + +IN THE FOYER Indy runs in full stride to the edge of the pit and broad jumps into space. He doesn't make it. His body hits the far side of the pit and he begins to slide out of view. Only wild clawing with his fingers at the edge of the pit stops his descent. With just the tips of his fingers over the edge, he begins pulling himself up. + +AT THE CHAMBER OF LIGHT Satipo has slowed down. He begins to edge carefully around the light shaft. + +AT THE VINED LANDING Indy sails through sideways and rolls to a stop at the bottom of the steps. His whip is grasped in his hand. As he raises himself, he hears, from above the giant spikes of the Chamber of Light CLANG! and an abrupt, sickening rendition of SATIPO'S LAST SCREAM. Indy runs up the steps. The rumbling sound grows louder. + +AT THE CHAMBER OF LIGHT Indy slides to a stop. The spikes have retracted, taking Satipo's body to one side. Indy edges into the chamber with his back to the shaft of light. Soon he is face to face with the dead Satipo; spikes protrude from several vital spots in the Peruvian's body. Indy removes the idol from Satipo's pocket and moves quickly out the other side. + + INDY + Adios. + +THE INCLINED PASSAGE Indy shoots out of a cut-off hallway and turns toward the exit. The rumbling is very loud and now we see why: right behind Indy a huge boulder comes roaring around a corner of the passage, perfectly form-fitted to the passageway. It obliterates everything before it, sending the stalactites shooting ahead like missiles. Indy dashes for the light of the exit. His hat flies off his head. Almost immediately it is crushed by the boulder. Indy dives out the end of the passage as the boulder slams to a perfect fit at the entrance, sealing the Temple. + +EXT. FRONT OF THE TEMPLE - DAY + +Indy lies on the ground, gasping for air. A shadow falls across him and he looks up. + +WHAT HE SEES Looming above him are three figures. Two are HOVITOS WARRIORS in full battle paint and loin cloths. They carry long blow guns. But the man in the center draws Indy's attention. He is a tall, impressive white man, dressed in full safari outfit including pith helmet. His name is EMILE BELLOQ. His face is thin, powerful; his eyes hypnotic; his smile charming, yet lethal. His heavily French-accented speech is deep, mellifluous, wonderful. Back beyond Belloq and his two escorts, thirty more Hovitos Warriors hover at the edge of the trees. + + BELLOQ + Dr. Jones, you choose the wrong friends. This time it will cost you. + +Belloq extends his hand. Indy looks at it, then produces the idol and hands it to Belloq. Belloq extends his other hand, smiling. Indy hands over his gun. Belloq sticks it in his jacket. + + BELLOQ + And you thought I'd given up. + + INDY + (eyeing the Hovitos) + Too bad they don't know you like I do, Belloq. + + BELLOQ + (smiles) + Yes, too bad. You could warn them... if only you spoke Hovitos. + +With that, Belloq turns dramatically and holds the idol high for all the Hovitos to see and says something in Hovitos. + +There is a murmur of recognition and all the Indians, including Belloq's escorts, prostrate themselves upon the ground, heads down. + +Indy is immediately up and running toward the edge of the clearing. + + BELLOQ + (in Hovitos) + Kill him! + +AT THE EDGE OF THE CLEARING Indy disappears into the foliage. An instant later, the leaves are peppered with a rain of poison darts and spears. + +EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY + +Indy runs like hell through steadily falling terrain. And always close behind, a swift gang of angry Hovitos. + +Occasionally they get close enough to send a dart or spear whizzing past Indy's head. + +EXT. THE URUBAMBA RIVER - DUSK + +An amphibian plane sits in the water beneath a green cliff. + +Sitting on the wing is JOCK, the British pilot. Indy breaks out of some distant brush and runs along the path at the top of the cliff. + + INDY + (yelling) + Get it going! Get it going! + +Jock hops in and fires up the plane's engines. Indy reaches a spot on the cliff above the plane, glances back, then jumps into the river. He comes up, swims to the plane and grabs a strut. + + INDY + GO! + +Jock starts the plane moving across the water as Indy walks across the wing and falls into the passenger compartment. + +INT. JOCK'S PLANE - DUSK + +Indy relaxes and lies across the seat, a big smile on his face. One hand drops to the floor of the cabin and Indy jumps, hitting his head. On the floor of the cabin is a huge boa constrictor. Indy tries to get his whole body onto the seat. + +Jock sees what's happening. + + JOCK + Don't mind him. That's Reggie. Wouldn't hurt a soul. + + INDY + I can't stand snakes. + + JOCK + The world's full of them, you know. + + INDY + I hate them. + + JOCK + Come on now, Sport, show a little of the old backbone. + +EXT. JOCK'S PLANE - TWILIGHT + +It soars off over the dark jungle. + +INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY + +It's autumn and the pretty, New England campus out Indy's window reflects it in dazzling color. A few weeks before the start of classes. Activity just picking up. Some students about. + +Indy is at a bookcase near the window and he looks quite different in this setting. His outfit is tweedy, slightly rumpled in the professional style. Part of his attention is focused in a book and he wears glasses to see the fine print. + +The office is cramped, absolutely inundated with books, maps, etchings and archeological artifacts. In fact, the only neat spot in the room right now is Indy's desk, which has been cleared off expressly for the benefit of - MARCUS BRODY The Curator of the National Museum in Washington, D.C. Brody is examining the small artifacts Indy pocketed on his way into the Peruvian Temple. He occasionally uses a jeweler's eyepiece to get a closer look. But he is distracted, his concerns elsewhere, and it is this that his old friend Indy senses from across the room. + + BRODY + Do you think the idol will ever show up? + + INDY + I don't know. Just because Belloq had it doesn't mean he kept it. + +Indy snaps the book closed and puts it on the shelf. He takes his glasses off and focuses on Brody. At the windowed door to his office, two pretty Coeds pause for a moment, look in at their sexy Archeology professor, giggle and disappear. + + INDY + Getting it away from those Indians would be a neat trick + (a hard look) + I hope they got him. + +A young male graduate student, Indy's TEACHING ASSISTANT, taps on the door and then pushes his way in with an armload of reference books. Indy helps him find a spot for them. + + TEACHING ASSISTANT + I couldn't get the McNabe, Professor. Someone's got it checked out 'til next month when classes start. + + INDY + That's all right, Phil. Thanks a lot. + + TEACHING ASSISTANT + (eager to please) + Will there be anything else? + + INDY + No. I'll see you Thursday. + +The Teaching Assistant leaves. Brody is scowling as he examines the last of the artifacts. + + INDY + Hey, if you don't like them, I can always return them. + + BRODY + No, they're beautiful. The Museum will buy them as usual. No questions asked. + + INDY + Then what's wrong? + + BRODY + I brought along some people today. + + INDY + What kind of people? + + BRODY + Government. + + INDY + (concerned) + Government? + + BRODY + Don't worry, it's not about your business. + (indicates the artifacts) + They're from the Army. + + INDY + I've already served. + + BRODY + Army Intelligence. They're looking for Abner. + +INT. INDY'S LECTURE HALL / CLASSROOM - DAY + +Indy's course - a combination of archeology and anthropology - is taught in this amphitheater-type lecture hall. His desk and lectern hold large reference books; blackboards line the wall. Bones, maps, charts festoon the walls. + +Indy leans against his desk talking with Brody and two uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, who are situated around the first seats in the classroom. + + MUSGROVE + But you did study under Professor Ravenwood at the University of Chicago? + + INDY + (nods) + We haven't spoken in ten years. I'm afraid we had a bit of a falling out. + + EATON + You know nothing of his whereabouts? + + INDY + (negative) + Just rumors. Somewhere in Asia, last I heard. + +Musgrove and Eaton exchange a look; they're disappointed. + + EATON + (to Musgrove) + Maybe Dr. Jones can make sense of it. + +Again the military men have a silent communication, deciding what to reveal. + + MUSGROVE + Well... you must understand, Dr. Jones, this is all strictly confidential. + + INDY + I understand. + + MUSGROVE + Yesterday, one of our European sections intercepted a Nazi communiqué from Cairo to Berlin. We don't quite know what to make of it. + +Musgrove takes a sheet from his briefcase. + + MUSGROVE + Here it is - "Tanis development proceeding. Acquire headpiece, Staff of Ra, General Tengtu Hok, Shanghai. Locate Abner Ravenwood, U.S." + +Brody is excited. He looks at Indy. + + BRODY + Tanis. They must have discovered the lost ruins. + +Indy contemplates this big news; he's impressed. + + INDY + (to himself) + Tanis. Ain't that somethin'! + + EATON + Frankly, we're a little suspicious... An American being mentioned so prominently in a secret Nazi cable. + + INDY + Ah, Ravenwood's no Nazi. + + EATON + Then what do they want him for? + + INDY + They're looking for the headpiece to the Staff of Ra. + + MUSGROVE + (indicates his sheet) + But it says here that's in China. + + INDY + Only half of it. Ravenwood had the other half. + + EATON + What would the Nazis want with this - this Staff of Ra? + + BRODY + I can tell you that. Over the last two years the Nazis have had teams of archeologists running around the world looking for all kinds of religious artifacts. + + MUSGROVE + That's right. Hitler's a nut on the subject. Crazy. He's obsessed with the occult. + + EATON + What is this Staff of Ra, anyway? + + INDY + It all has to do with the Ark of the Covenant. + (the Army guys look mystified) + The chest the Hebrews used to carry around the Ten Commandments. + +Now it's the Army men who are impressed. + + INDY + An Egyptian pharaoh stole the Ark from Jerusalem and took it back to the city of Tanis. A short time later, Tanis was consumed by the desert in a sandstorm that lasted a year. But before that, the Pharaoh had had the Ark hidden away in a secret chamber called the Well of the Souls. Which is where the Staff of Ra comes in. + +Indy moves to the blackboard and makes a quick sketch to give a rough idea of the system as he describes it. (and we get a glimpse of what an interesting and enthusiastic teacher he must be). + + INDY + Now this was rather clever. The Staff was really just a big stick - oh, I don't know, say like this - + (he indicates about six feet) + no one really knows for sure. Any way, it was capped by an elaborate headpiece with a carving of the sun at the top. What you had to do was take the Staff to a special map room in Tanis - it had the whole city laid out in miniature on the floor. When you placed the Staff in a certain spot in this room, at a certain time of day, the sun would shine through a hole here in the headpiece and then send a beam of light down here - to the map - giving you the location of the Well of the Souls... + + MUSGROVE + ...where the Ark of the Covenant was kept. + + INDY + (nods) + Which is probably what the Nazis are after. + + EATON + What's this Ark look like? + + INDY + Look like? Why, it's right here... + +Indy pulls a big format book from the stack on his lectern and flips through the pages until he finds a large color print. The other men gather to look. + +THE PRINT Fills the screen. + +It shows a Biblical battle. The Israelite Army is vanquishing an opposition force. At the forefront of the Israelite ranks, two men carry the Ark of the Covenant, a beautiful gold chest, crowned by two sculptured gold angels. The men do not touch the Ark itself; rather they carry it by use of two long wooden poles which pass through rings in the corners of the Ark. + +The painting is very dramatic, full of smoke, tumult and sinewy dying men. But the most astounding thing in the picture is the brilliant jet of white light and flame issuing from the wings of the angels. It pierces deep into the ranks of the retreating enemy, wreaking devastation and terror. + + EATON + Good God! + + INDY + Yes. That's what the Hebrews thought. + + MUSGROVE + What's that supposed to be coming out of there? + + INDY + Who knows... lightning... fire... the power of God. + + EATON + I'm beginning to understand Hitler's interest in this thing. + + INDY + Oh yes. The Bible tells of it leveling mountains and wasting entire regions. Moses promised that when the Ark was with you, "your enemies will be scattered and your foes fell before you". + (pause) + An army which carries the Ark before it is invincible. + +Eaton and Musgrove exchange worried looks. + + INDY + Oh, there's one other thing that Hitler undoubtably believes about the Ark... + (a long pregnant pause) + It's said that the Lost Ark will be recovered at the time of the coming of the True Messiah. + + MUSGROVE + Dr. Jones, you've been very helpful. I hope we can call on you again if we have questions. + + INDY + Most certainly. + +Brody and Indy exchange a look as they all shake and Brody starts to leave with the Army men. + +EXT. FRONT DOOR, INDY'S HOUSE - NIGHT + +Indy's English Tudor, upper middle class home. Quite toney; well beyond the financial reach of an honest college professor. Marcus Brody has already rung the bell. Indy opens the door. He is dressed in a tuxedo. + + BRODY + I've got to talk to you. + + INDY + This isn't really a good time. + + BRODY + Indy, it's important. + + INDY + All right. Come on in. + +INT. FOYER, INDY'S HOUSE + +The lush tone continues here in Art Deco and shiny marble. + +Indy motions Brody toward the study to one side. + + INDY + I'll be in a minute. + +As Brody passes the entrance to the expansive living room, he spots a beautiful, silk-gowned Harlow-type lounging on the sofa in front of a roaring fire. She is sipping champagne. + +INT. STUDY, INDY'S HOUSE + +Brody enters the book-lined, dark-wooded study. He paces for a moment before the fire which is dying in the fireplace, then spots something and goes over to Indy's big desk. The surface is covered with open books, monographs, maps and drawings - all about the Ark of the Covenant. Brody smiles; he knows his friend very well. Indy comes in, closing the door behind him. Brody turns to him with a triumphant expression. + + BRODY + They want you to go for it. And they'll pay. + + INDY + (smiles) + Good work, Marcus. I had a feeling this would happen. And, of course, the Museum gets the Ark when we're done. + + BRODY + (smiles) + Of course. + +Indy's manner is vigorous, aggressive. + + INDY + Okay, here's the way it's gonna be. First, I'll high-tail it to Shanghai and get the piece from General Hok. Then I think I know where I can find Ravenwood. If only I can get - + + BRODY + General Hok's a tough customer. They don't call him the Wild Boar for nothing. And he's tied in with the Japanese. + + INDY + I'll worry about that when the time comes. My only hope is to find the Well of the Souls before the Nazis do. + +WIPE TO: + +EXT. IN THE AIR - DAY / NIGHT + +A Pan Am Clipper flies west over the Pacific. + +WIPE TO: + +INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY + +Indy is barely into the front seat of a dilapidated Ford as the driver, BUZZ KEHOE, is peeling out into traffic. In the back seat is a Chinese named BANG CHOW. Kehoe zigs crazily through traffic with only his left hand as he reaches over to shake with Indy. + + KEHOE + Buzz Kehoe, Army Intelligence. You've met Bang Chow. + + INDY + What's the hurry? + + KEHOE + Some German agents got here two hours ago. Luckily, Bang was able to have them detained at Customs. We'll have to hurry. + +EXT. HOK'S STREET - DAY + +Kehoe's car emerges from an alley. Down the block is Tengtu Hok's modest, walled palace. Kehoe's car slows a bit and Bang steps from the moving car with a small black suitcase in his hand. While he heads down the street toward Hok's place, Kehoe's car continues across the street and into an alley on the other side. + +EXT. HOK'S STREET - IN FRONT OF PALACE - DAY + +A Mercedes limousine appears round a corner and squeals to a stop at the front gate of the palace, which is manned by a sturdy Chinese Gateman. There are three Germans inside, one the driver. + +EXT. ALLEY BEHIND HOK'S MUSEUM - DAY + +Kehoe, alone now, pushes a trash container casually into position to hide a newly created hole in the rear wall of Hok's Museum where several stone blocks have been removed. + +He looks around and ambles back to the car. + +INT. HOK'S PALACE - ENTRY HALL + +The three Germans wait impatiently in a magnificent foyer. A chime sounds and huge double doors open to reveal TENGTU HOK, flanked by two uniformed Japanese Soldiers and a robed Chinese Advisor. He wears a fantastic gold ornamental robe. + +Despite the majesty, however, nothing can disguise the fact that Hok is basically a wild, fat barbarian; an animal. Hok and his escort group bow in what is the beginning of a long welcoming ceremony. The Germans exchange impatient glances but decide they should play it as it comes. They bow. + +INT. HOK'S MUSEUM + +No person in sight. Instead, we see a magnificent display of ancient artifacts. Glass cases hold the velvet-couched pieces at random spots on the shining marble floor. We hear an odd sound. Near the floor on the rear wall of the museum, a steel ventilation grate moves. A hand slides it gently across the marble. Indy sticks his head out and looks around. + +INT. HOK'S PALACE - TEA ROOM + +The three Germans are being served tea and exotic delicacies. + +A pleased Tengtu Hok watches from a throne-cushion. When the tray of tiny delicacies is presented to him, he takes a massive handful, crushing them together on their way to his smiling mouth. + +INT. HOK'S MUSEUM + +A huge golden gong, seven feet in diameter, is suspended from the ceiling by a hook. An enormous hammer hangs poised above it, from which emanate myriad tiny threads which run up and across the ceiling, then down to the various display cases. Indy looks up at the gong, then continues his quick, quiet foray among the cases. Beyond him, a high window. + +INT. HOK'S PALACE - TEA ROOM + +Hok and his visitors stand to go. The German's pleased expressions make it clear they're finally on their way to the museum. + +INT. HOK'S MUSEUM + +Indy arrives at his destination. The lovely, carved gold section of the headpiece is nested on purple velvet in a glass case. At the bottom of the piece is a round hollow where the staff would fit. There is a grunting sound behind Indy and he spins, already reaching for his revolver. + +A fierce Japanese Samurai is running at Indy full speed down an aisle of display cases. His sword is raised over his shoulder ready to cut Indy in half. He's six feet away when Indy's gun levels and fires twice, blasting him backwards. + +Indy is still looking over his gun when another samurai sword comes down from the side and knocks the pistol brutally out of Indy's grip; his hand avoids amputation by a quarter of an inch. + +An amazed Indy backs away from the crossing aisle as the Second Samurai steps in to face him, sword raised. Indy backs away into an open space and his bullwhip appears in his hand. + +He gives it one savage CRACK! to announce its arrival and the Samurai slows down, eyeing it curiously. The Samurai does not look unhappy about this confrontation. How pure it is - The Sword versus The Whip. + +EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY + +Tengtu Hok and the Germans have obviously heard something. + +They are hurrying along the walkway at the side of the building, Hok in the lead. Up ahead is the foot bridge which crosses from the palace to the museum entrance over a moat. + +EXT. STREET IN FRONT OF THE PALACE - DAY + +The Lovely Mercedes limousine blows up. + +EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY + +The Germans spin toward the blast. Drawing weapons, they run back to investigate. Hok follows them, confused. + +INT. HOK'S MUSEUM + +Indy and the Samurai face each other. They're both breathing hard from previous, no-contact passes at each other. Now Indy begins swinging the whip over his head again. It whizzes out toward the Samurai's face. The Samurai takes two lightning-quick cuts at the leather, but misses. Indy swings for the Samurai's feet; the Japanese jumps nimbly, slashing at the whip. Indy does it again. The Samurai hops it. Once more. + +The Samurai is concentrating on hopping it. + +Indy sees it. The split second he wants. The whip flashes up from the floor and wraps solidly and irrevocably around the Samurai's neck. Indy gives it a murderous pull and the Samurai is dead on his feet. + +EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY + +Hok and the three Germans are looking down at the flaming remains of the Mercedes. A look of concern crosses Hok's face. He turns and runs back toward his beloved museum. + +INT. HOK'S MUSEUM + +Indy is at the case containing the headpiece. He smashes the glass with a samurai sword, reaches in and grabs the piece. + +Immediately, behind him, the huge hammer falls and the sound of the gong thunders through the museum. + +EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY + +At the sound of the gong, the running Hok skids to a halt with a crazed expression on his face. He disappears for two seconds in an alcove and emerges holding a big, black Thompson Submachine Gun. He runs across the foot bridge and is just barely over it when it blows up. Hok, safe, looks behind him in amazement and then turns to the museum. + +INT. HOK'S MUSEUM + +The double doors at the entrance slam open to reveal Hok. + +Indy is halfway along an unprotected wall back to his ventilation entry route. Hok opens up on him, cutting off his retreat. Indy jumps behind a marble column, which is promptly blasted with machine gun fire. + +Indy looks above him, sees the giant disk of the gong. + +Reaching up, pushing with tremendous effort, he maneuvers it off the hook. It bounces down to the floor on its side, chipping the marble with its monstrous weight. Indy steadies it and then puts his whole body into rolling it across the room toward the window. As it starts to roll, Indy slips behind it and runs across the room with it. + +Hok can see the rolling gong. He opens up on it. The vicious cacophony of machine gun fire is joined by the musical reports of bullets hitting the gong and ricocheting away. Very, very noisy. + +Behind the gong, Indy gauges his move. As the gong is about to be stopped by a marble bench, Indy takes a long stride onto the bench and dives through the glass of the high window. + +Hok's bullets hit the wall. + +EXT. ROOF - DAY + +Indy lands in a shower of glass on the jutting roof of the museum's first floor. He rolls to a crouch and is immediately being fired upon. The Germans, cut off from the museum, are standing on the palace walkway firing at him. Indy takes off fast for the rear of the museum. + +EXT. ALLEY BEHIND MUSEUM - DAY + +Kehoe, craning to locate Indy, has the Ford rolling slowly along the back of the museum. Bang scouts from the back seat. + +Indy appears on the roof at a run, gauges the movement of the car and jumps from the roof of the museum to the roof of the sedan. Unfortunately, the roof of the old car can't take it and Indy's legs knife right on through to the interior, where he scares the hell out of Kehoe. + +INT. KEHOE'S CAR - DAY + +Indy squirms his way down into the front seat. + + KEHOE + Jesus! Are you all right! + + INDY + (he's felt better) + Great. Got it. + +Kehoe guns it, throwing Indy back against the cushions. + + KEHOE + What now? + + INDY + I've got to get to Nepal. + +WIPE TO: + +EXT. DC-3 IN THE AIR - DUSK + +The plane flies west into the sunset. + +INT. DC-3 - NIGHT + +Under a meager seat light, Indy is pouring over a journal article by Abner Ravenwood and related map of Nepal. + +A few rows back, across the aisle, a trenchcoated European Spy eyes Indy. + +WIPE TO: + +INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT + +A huge stuffed raven, wings spread wide, is mounted behind the long bar in the noisy, crowded saloon. A lively mix of patrons is represented in the late hour tableau: Nepalese natives, fierce Sherpa mountain guides, sleazy international smugglers and fugitives, and, of course, mountain climbers from every corner of the earth. A tall Nepalese, MAHDLO, is the bartender. + +In a corner near the fireplace trouble breaks out suddenly between the groups at two neighboring tables. Ferocious representatives from each table - one a wild-looking SHERPA, the other a muscular Australian CLIMBER - jump up to face each other. As the two contenders stand poised for action, their respective supporters shift in their places, fondling lethal ice axes and clubs. + + SHERPA + Gmoiska! Shurga rintoik! + + CLIMBER + Aye! That'll be your last word. + +The bar has quieted ominously and so we hear with startling clarity when - a door behind the bar slams open with a huge BANG! and some Presence, too small to be seen as it moves through the forest of towering patrons, makes a beeline for the troubled corner of the bar. A path clears for it. + +The Sherpa and the Climber are about to kill each other when the Presence arrives directly between them: she is MARION RAVENWOOD, twenty-five years old, beautiful, if a bit hard-looking. At this moment, however, that look does not hurt. + +She is not intimidated by the combatants; she jabs accusatory fingers into their chests. She is angry as hell. The patrons shrink under her gaze. + + MARION + That does it! I've been patient with you no-goods long enough. I'm not open at 2 o'clock for myself, you know. It's all for you. And how do you repay me: Trouble and noise and blood on my floor! I won't have it. Everybody out! Out! Out! We're closed. Closed! Do your killing outside! And don't leave any bodies on the porch! + +The place clears quickly. Stragglers and grumblers are given special attention by Marion and Mahdlo, who has come from behind the bar carrying a big axe handle. Mahdlo herds the crowd out the front door as Marion turns and walks behind the bar. + +A scowl on her lovely face, she has just begun clearing the bar of glasses when she notices one remaining Patron huddled over a glass at the far end of the bar. Grimacing in exasperation, she heads that way like a locomotive. + + MARION + Hey you, deaf one! I said out of my place. I don't mean next Easter, I mean now - + +She is almost on him when Indy looks up smiling. Marion stops, stares, shocked. + + INDY + Hello, Marion. + +She hits him with a solid right to the jaw, knocking him off the barstool on the floor. He rubs his jaw and smiles up at her. + + INDY + Nice to see you, too. + + MARION + Get up and get out. + + INDY + (getting up) + Take it easy. I'm looking for your father. + + MARION + (bitterly) + Well you're two years too late. + +Indy's attitude changes instantly. This is sad news. He is silent for a long time. Mahdlo comes in the front door and hurries forward when he sees Indy with Marion. He looks to her for guidance, but she stays him with a gesture. + + MARION + Go home, Mahdlo. I'll see you tomorrow. + +Mahdlo is hesitant, but lays the axe handle on the bar and goes out. Indy has been barely aware of him. Now he settles again on the barstool. Marion has a vindictive look. She'll let him stay, but she wants to inflict as much pain as possible. + + INDY + What happened? + + MARION + Avalanche. Up there. He was digging. What else? He spent his whole life digging. Dragging me all over this rotten earth. For what? + + INDY + Do you find him? + + MARION + Hell no. He's buried where he was working. Probably preserved real good, too. In the snow. + +Suddenly the hardness cracks. She is on the verge of tears and does not want him to see them. She turns away and takes a whiskey bottle from the shelf, then turns back to pour herself a drink. + + INDY + Not a bad way to go. Doing what he loved. + + MARION + (vitriolic) + Don't give me that stuff! What do you know? + (she takes a drinks) + I'm the one that was left in a bad way. He didn't have a penny. Guess how I lived, Mister Jones. I worked here. And I wasn't the bartender. + (another swallow) + Finally the guy that owned the joint went crazy. Snow crazy. They took him away screaming. As they dragged him out, he said the place was all mine for life. + +She looks around the saloon. + + MARION + Can you imagine a more evil curse? + (pause) + So far, it's working. + + INDY + Why not leave? Go back to the States. + + MARION + I'll go back. I'll get there. Not that there's a soul there who knows my name or cares. But I'll go. And when I do, they'll know me. 'Cause I'm going to go back in style. With money. A goddamn lady! + + INDY + Where you gonna get it? + + MARION + If I knew that, you think I'd still be running this dive? + +Indy looks at her, thinking. Under his gaze, she blushes, for reasons only she understands. She looks into her glass and, for a moment, she softens. + + MARION + I'll tell you something Indy. I've learned to hate you in the last ten years. But somehow, no matter how much I hated you, I always knew that someday you'd come through that door. I never doubted that. Something made it inevitable. + (hopefully) + Why are you here... now... tonight? + +Indy takes a long time to answer. + + INDY + I need one of the pieces your father collected. + +Marion's eyes go icy. She swings at him again with her right, but this time he catches her at the wrist. Then he stops her left, which she has brought up to slap him. + + MARION + You son-of-a-bitch! You know what you did to me, to my life? This is your handiwork. + + INDY + I never meant to hurt you. + + MARION + I was a child! + + INDY + You knew what you were doing. + + MARION + I was in love. + + INDY + I guess that depends on your definition. + + MARION + It was wrong. You knew it. + +Indy releases her arms. + + INDY + Look, I did what I did. I don't expect you to be happy about it. But maybe we can do each other some good. + + MARION + Why start now? + + INDY + Shut up and listen for a second. I want that piece your father had. I've got money. + +This stops her. + + MARION + How much? + + INDY + Enough to get you back to the States. Where are his things? + + MARION + Gone. I sold it all. It was all junk. The junk he wasted his life on. + + INDY + Everything? + +Marion nods. + + INDY + (giving up) + That's too bad. + +Indy feels tired, defeated. Marion is pleased. + + MARION + You look disappointed. I like that. How's it feel? + +Indy has to smile at her glee. + + MARION + (nods at his empty glass) + What are you drinking? + + INDY + Seltzer. + + MARION + (refilling his glass) + Real man's drink. Me, I like scotch. And I like bourbon. And vodka and gin. I'm not much for brandy. I'm off that. + +She pours herself another as Indy watches, amused. + + INDY + You're a tough broad now, aren't you? + + MARION + It's no act, pal. This ain't Schenectady. + + INDY + I can only say I'm sorry so many times. + +Marion looks at him thoughtfully, takes a drink. + + MARION + You really have money? You don't look rich. + (Indy nods) + I may be able to locate some of his things. I know who's got them. What do you want? + + INDY + A bronze piece, about this size. In the shape of the sun. Probably broken off at the bottom. Has a little hole in it, off-center. Does that sound familiar? + +Marion thinks, nods slowly. + + INDY + Do you know where it is? + + MARION + Maybe. How much? + + INDY + Three thousand. American. + + MARION + (negative) + That'll get me back, but not in style. This doodad must be pretty important. + + INDY + Maybe. + +A huge smile lights up Marion's face. + + MARION + I knew it would happen eventually. I knew it. Something had to go my way. + (pours herself another drink) + I've got to think this out. I'm used to bargaining with yaks. + + INDY + Okay, five thousand. That's all I can give you now. I can get you more when you land in the States. + + MARION + You word, huh? + (Indy nods) + Just like you said you'd be back last time? That was your word too. + + INDY + I'm back, aren't I? + +Marion sneers and they smile together. + + INDY + You can trust me. + + MARION + Come back tomorrow. + + INDY + Why? + + MARION + Because I said so, that's why. It's about time I called the shots in this relationship. + +Indy nods, gets up to go. + + MARION + Wait a minute. Leave the five thousand here. + (Indy hesitates) + You want trust, give some. I want to smell your money. + +Indy thinks about this a moment, then reaches inside his shirt and pulls cash from a money belt. He lays five grand on the bar. + + INDY + I trust you. + + MARION + You're an idiot. + + INDY + I've heard that. + +Indy starts for the door. Marion takes another drink. She is getting high. + + MARION + Hold it. Come here. + + INDY + (moving back) + Bossy, aren't you? + + MARION + That's right. Give me a kiss. + +Indy looks into her eyes, then leans over the bar and kisses her deeply. When the kiss ends, their faces are very close. + +Marion is flushed. She liked it and would like more. She raises her glass between them to discipline herself. + + MARION + Get out of my place. + +Indy smiles and walks to the front door. Then, without looking back - + + INDY + Tomorrow. + +He's gone. Marion stares after him, thinking. She takes a drink. Then slowly, her hand comes up to loosen the scarf that is draped around her throat. It falls away, revealing her graceful neck above the dipping top of her blouse. Hanging there on a gold chain against her white skin is a sun-shaped golden medallion. The bottom looks broken off. Marion lifts the medallion so she can see it in her hand, then looks thoughtfully after Indy. + +EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT + +Indy sits thinking at the wheel of an old car. Finally, he puts the car in gear and drives away. + +Across the street, the shadow in a doorway comes to life. A dark form steps out to look at Indy's departing car; it is the European Spy from the DC-3. He hurries off in the opposite direction. + +DISSOLVE TO: + +INT. "THE RAVEN" - NIGHT + +Marion stands before the fire that is shrinking in the fireplace. She jabs at it abstractedly with a poker, thinking. + +Suddenly tears well up in her eyes. She lets the poker slip from her hand, wipes away the tears. She walks across the room to the end of the bar, still cluttered with bottles and glasses, and stops at the pile of American money Indy has left. She takes the chain from around her neck and lets the medallion slide off it into her hand. She places it on the bar next to the pile of money, thinking. Then, having reached some decision, she picks up the pile of bills, walks up the back of the bar and pulls a small wooden box from under the bar. She flips open the top, puts the cash inside and closes the top. She leaves the box on the bar and starts back toward the medallion. The front door of the saloon bursts open and Four Bad Men come in. Marion, halfway between the valuable possessions and not wishing to draw attention to either, stops where she is. + +The Four Bad Men who advance on her are: + +1.) the obvious leader, a short, vile, sadistic German in spectacles by the name of BELZIG. + +2.) a trenchcoated SECOND NAZI. + +3.) a ratty-looking NEPALESE and 4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both carry submachine guns. + + BELZIG + Good evening, Fraulein. + + MARION + The bar's closed. + + BELZIG + We are not thirsty. + +The Mongolian and the Nepalese poke around, checking to make sure there's no one else there. + +Down at the end of the bar, the medallion lies partially hidden by surrounding glasses and bottles. The Second Nazi stops very near it, but turns his back to it to face Belzig and Marion. + + MARION + What do you want? + + BELZIG + The same thing your friend Dr. Jones wanted. Surely he told you there would be other interested parties. + +Marion shakes her head. + + BELZIG + Ah, the man is nefarious. I hope for your sake he has not yet acquired it. + + MARION + Why, are you willing to offer more? + + BELZIG + Almost certainly. Do you still have it? + + MARION + No. But I know where it is. + +Belzig's smile fades at this news. He's not a patient sort. + +Marion is chilled by the look. She turns and moves to the shelf of bottles behind her, reaching high for one, very near the large stuffed raven. Her hand lingers there a moment and we see - From an angle behind the stuffed raven, that the left wing spread hides a Baretta automatic pistol. Marion's hand is very near it, but withdraws with only a whiskey bottle as the Mongolian walks toward her behind the bar. + +Marion opens the bottle before Belzig, who watches her intently. + + MARION + How 'bout a drink for you and your men? + +The Second Nazi lights up at this suggestion. Belzig gives him a withering look. + + BELZIG + We will stick to the business at hand, Fraulein. + + MARION + (tough) + Fine. Why don't you come back tomorrow when Jones is here and we'll have an auction? + +Belzig gives her a cold look then turns and walks over toward the fireplace. As soon as his back is turned, the Second Nazi grabs the nearest whiskey bottle and takes a quick pull. + +In so doing, he leaves the medallion completely exposed. + +Marion is aware of this as she looks at him. But he quickly puts the bottle down again, obscuring the medallion, when Belzig speaks from the fireplace. + + BELZIG + I'm afraid an auction is not possible. + (pause) + Your fire is dying here, Fraulein. + (a beat, then threatening) + Why don't you tell us where the piece is right now? + + MARION + Listen, Herr Mac, I don't know who you're used to dealing with, but no one tells me what to do in my place. + +Belzig, still looking in the fire, sneers and shakes his head. + + BELZIG + Americans! You're all alike. Fraulein Ravenwood. I'll show you what I'm used to. + +He motions with his hand. The Mongolian moves up behind Marion and lifts her roughly over the top of the bar, knocking over bottles and spilling liquor. He deposits her on the other side, where the Nepalese and the Second Nazi flank her and hold her cruelly, arms behind her back. Marion raises a ruckus. + +Belzig turns from the fireplace. In his hand is the poker, its end glowing orange. He advances on Marion. Marion stops yelling, her eyes widen in terror. + + MARION + Wait! I can be reasonable - + + BELZIG + That time is passed. + +The glowing poker point moves inexorably across the room toward Marion's face. + + MARION + You don't need that. I'll tell you everything! + + BELZIG + Yes, I know you will. + +Belzig has no intention of stopping now. The glowing tip is approaching Marion's face. The Nepalese watches with savage glee. + +The tip of the poker is five inches from Marion's nose when there is a loud CRACK! and the fall of Indy's bullwhip wraps around the middle of the poker and tears it out of Belzig's hands. The poker sails high across the room, free of the whip, and lands in the heavy curtains that cover one window. + +The curtains immediately burst into flame. + +The four Bad Men look in surprise toward the front entrance. + +Indy is poised there, the whip in his right hand, a .45 automatic raised toward them in his left. + + INDY + Hello. + +Now everything begins to happen very fast - The Mongolian had just come around the bar at the end opposite the medallion. He dives back to crouch behind the end of the bar, raising his submachine gun. + +Belzig and the Second German dive behind tables near the bar. The Nepalese is slower to leave Marion, he draws a Luger. + +Indy's .45 barks and the Nepalese dies spinning against the bar. Indy fires in the direction of the Mongolian. + +Marion swings up over the top of her bar. Belzig fires at her, but his bullets smash bottles behind the bar and thud into the raven. + +Marion flattens out on the floor behind the bar as bullets hit above her. She reaches up, snatches the axe handle from where Mahdlo left it, and begins crawling down the length of the bar toward - The Mongolian, who sticks his submachine gun out and fires blindly in Indy's direction. + +Indy is in a crouch behind a table, trying to get a shot at someone. He doesn't notice in the din and confusion when the door bursts open. An incredible, fearsome GIANT SHERPA, almost seven feet tall, soars in and tackles Indy from behind. The whip flies from Indy's hand as he and the Giant Sherpa roll across the floor, upsetting furniture. + +The Mongolian, seeing this, stands up confidently. Marion rises behind him and bashes him over the head with the axe handle. He goes down and out. + +Fire has completely engulfed the curtains and is working across the ceiling on decorative yak skin bunting. A burning fragment drops to the top of the bar, which immediately lights up, fueled by the spilled alcohol. Full whiskey bottles explode like Molotov cocktails. + +Rolling on the floor, Indy and the Giant Sherpa are fighting for control of Indy's .45. Belzig sees this and shouts to the Second Nazi, who is rising from cover with submachine gun in hand. + + BELZIG + Shoot them both! + + SECOND NAZI + He's our man! + + BELZIG + Do as I say! + +Both the Giant Sherpa and Indy hear this. The Giant Sherpa exchanges an alarmed look with Indy and together they swing the .45 around toward the surprised Second Nazi. Two blasts blow him away. + +That done, Indy brings a brass spittoon down on the Giant Sherpa's wrist and the .45 slides away. Indy jumps up and kicks the Giant Sherpa, who barely seems to feel it. He grabs Indy and flips him effortlessly onto a table. + +Belzig now has a clear shot at Indy. He raises his luger. + +Marion, at the end of the bar, finally gets the hang of the Mongolian's submachine gun. It roars to life in the general direction of the ceiling. + +Belzig runs for cover as Marion gets control of the gun and levels it. Belzig dives around the end of the bar opposite Marion. When he has set himself, he peeks up over the edge of the scorched bar. The alcohol fire has moved down the bar and now, much to Belzig's surprise, he finds himself staring at the fire-blackened sun-shaped medallion! + +His eyes widen. He cannot believe his good fortune. Without hesitation he picks up the metal medallion, palming it. + +Immediately there is a sickening searing sound and Belzig's expression changes from joy to agony. He screams in pain and tries to shake the red-hot medallion from his skin. Marion opens up and the bar starts to splinter in front of Belzig. + +The medallion comes free of Belzig's hand and rolls across the floor. + +Belzig has had enough. In excruciating pain, he turns, sees a window, runs and dives through the glass. + +An exhausted Indy uses his whole body to upend the Giant Sherpa, who lands hard on his back. They are surrounded by flames. + +EXT. "THE RAVEN" - SNOW BANK - NIGHT + +Belzig has his burned hand stuck deep in the snow. Now he withdraws it, steaming, and scurries off into the night like a wounded animal. + +INT. "THE RAVEN" - NIGHT + +Marion throws down the empty submachine gun and moves through the flames to the center of the bar where she left the box with the five grand. She finds the remains of the box and its contents: a shapeless pile of ash and charred wood. + + MARION + Unbelievable! + +At the end of the bar, the Mongolian has come back to life. + +He shakes out his head, then reaches inside his coat and pulls out a Mauser pistol. + +Indy smashes a chair over the head of the Giant Sherpa and the huge creature goes down. + +The Mongolian points his Mauser through the smoke and flame at Indy. Suddenly, the Mongolian is shot dead. + +Marion stands beneath her stuffed raven with the Baretta. + +Indy moves quickly through the flames, his eyes scanning the floor. He picks up his bullwhip and his crumpled felt hat. + +He peers through the smoke till he spots Marion moving among the burning furniture. + + INDY + Let's get out of here! + + MARION + Not without that piece you want! + + INDY + It's here? + +Marion nods, kicks aside a burning chair. Another burning beam falls from the roof. Indy pulls Marion close to him protectively. + + INDY + Forget it! I want you out of here. Now! + +He begins dragging her out. + + MARION + (pointing) + There! + +She breaks away from him, darts back and picks the hot medallion up in the loose cloth of her blouse. + + INDY + Let's go! + + MARION + (looking around) + You burned down my place! + + INDY + (figuratively) + I owe you plenty! + + MARION + (literally) + You owe me plenty! + + INDY + (smiles) + You're something! + + MARION + I am something. And I'll tell you exactly what - + +She holds up the medallion possessively. + + MARION + I'm your partner! + +EXT. CAIRO - VARIOUS SHOTS - DAY + +First we see the sprawl, the soaring minarets, the ancient skyline. Then we're closer, in the narrow, exotic streets, teeming with life: fierce-looking men in tattered galabiyas, black-gowned women with veiled faces, ragged, barefoot children. + +INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO) + +Indy and Marion have been welcomed like family into the crowded home of SALLAH, his wife FAYAH, and their NINE CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, appears, at first glance, to be the power in the house. + +Sallah, a small, cheerful, energetic fellow in his forties defers to his wife in all matters of little importance. + +Suddenly the general liveliness at the children's table escalates into pandemonium, attracting the attention of the adults. + + FAYAH + Silence! + (there is silence) + Why do you forget yourselves? + +The gaggle of grinning off-spring parts to reveal in their midst - a MONKEY. It is munching some flat Arab bread. + + FAYAH + What is this? Who brought this animal in? + +All the children chatter their innocence at once. The Monkey chatters too; it's an entertainer. The Monkey jumps from the children's table to the adults' and struts slowly up toward Marion, who thinks it's the cutest thing she ever saw. When it reaches her, it takes off its turban and does a deep, grand bow to her. She is delighted and takes the Monkey into her arms. The Monkey kisses her cheek. The children laugh. + + MARION + Why, thank you. I like you too. + + FAYAH + Then it shall be welcome in our house. + + MARION + Oh, no! You don't have to have it around if you don't want it - + + SALLAH + (cheerfully) + All of Allah's creatures are welcome here. You please us by letting us please you. + +EXT. COURTYARD - SALLAH'S HOUSE - NIGHT + +Indy and Sallah sit in the small, protected courtyard. Sallah holds the two sections of the headpiece, the medallion and the base, and has for the first time fitted them together. + +They fit perfectly and complete the headpiece. He peruses the markings on the headpiece quizzically. Indy is cleaning and loading a .45 automatic. + + INDY + I knew the Germans would hire you, Sallah. They couldn't have an excavation in the desert without the best digger in Egypt. + + SALLAH + All Arabs look alike to them, Indy. + + INDY + Tell me about the map room at Tanis. + + SALLAH + We found it three days ago. I broke through myself. + + INDY + Those Nazis are moving awfully fast. + + SALLAH + The Frenchman is helping them. + +Indy reacts. + + INDY + Belloq. So he got away from the Indians. This is going to be more interesting than I thought. + + SALLAH + I'm afraid this has put the Germans close to finding the Well of the Souls. + + INDY + (indicates the headpiece) + Even Belloq won't be able to find it without that. Can you make anything of those markings? They're nothing I'm familiar with. + + SALLAH + (shakes his head "no") + But I know someone who might. You can go to see him tomorrow. + (a worried expression) + Indy... something bothers me. + + INDY + What is it, my friend? + +Sallah finds it hard to say. When he finally speaks, his words are accompanied by a strange, eerie, foreboding rush of wind through the courtyard. Just a coincidence we might suppose. + + SALLAH + It is the Ark. If it is there, at Tanis... It is not something man was meant to disturb... Death has always surrounded it. It is not of this earth. + +The wind dies down. Indy shakes off a chill and stares thoughtfully at his friend. + +EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY + +Indy and Marion are briskly walking along one of Cairo's busy bazaar streets. Vendors with fine cloth, pottery, baskets, jewelry, etc line the street. Marion has the Monkey from Sallah's house on her shoulder. + + INDY + Do you really need that monkey? + + MARION + I'm surprised at you, Indy. Talking that way about our baby. He's got your looks, too. + + INDY + And your brains. + +As Indy and Marion turn a corner, the Monkey seems to notice something and immediately jumps from Marion's shoulder and hurries off at a frantic pace down the street. + + MARION + (looking disappointed) + Hey! Hey!... where're you going? + + INDY + (dragging Marion on) + He'll be OK. Come on. Come on. + +EXT. ANOTHER CAIRO STREET - DAY + +The Monkey is seen running around another corner and jumps into the waiting arms of MONKEY MAN, who appears to be like a beggar with a dirty turban and an eye patch. Monkey Man immediately hurries down the street and passes into a building. In the building are two GERMAN AGENTS. Monkey Man and the Monkey both give the Heil Hitler salute and engage in quick talk. + +Monkey Man quickly leaves the two German Agents and gets back to the street. He is obviously shadowing Indy and Marion. + +Indy and Marion are just now passing by the Monkey Man ducks back behind some baskets. + +EXT. ANOTHER BUSY CAIRO STREET - DAY + +Indy and Marion are passing under a balcony where a lone GERMAN AGENT stands watch. After they pass, the Agent nods to some BAD ARABS who are hiding in the shadows of the street. + +In a moment, Indy and Marion pass by the break. Monkey Man turns and looks up at a roof further down the alley. He waves with his hand. Someone up there waves back. + +EXT. A SMALL BAZAAR - DAY + +Indy and Marion have reached a tiny square, made even more cramped by its use as a small bazaar. They have started working their way through the crowd when several Bad Arabs and a German Agent begin to converge on them. Indy immediately sees what's happening and pulls the bull whip from his jacket. + +The first Bad Arab to reach them gets hit in the mouth by the handle of the whip. Now all hell breaks loose, with Bad Arabs, Innocent Shoppers, baskets of fruit and tables of goods flying every which way in the constricted space. + + INDY + (to Marion) + Run! Get out of here! + +Indy catches a dagger-wielding Bad Arab around the legs with the whip and flips him. Marion is reluctant to leave Indy. + + INDY + Go, dammit! Go! + +Marion goes. She runs off between two buildings. A Bad Arab takes off after her. Monkey Man, now standing at the edge of the square, points at Marion. The Monkey jumps off his shoulder and follows Marion. + +EXT. BETWEEN THE BUILDINGS - DAY + +Marion runs along the narrow space and soon encounters a five foot wall. She flops over it. The Bad Arab is right on her heels. He reaches the wall and vaults over. On the other side of the wall, the Bad Arab lands in a crouch, looks ahead and doesn't see Marion. Immediately a heavy earthen pot smashes over his head, putting him out. Marion steps from an alcove and starts to run toward the street at the other end of the walkway. Suddenly another Bad Arab and a new German Agent appear in the street at that end. Before they can spot her, Marion retreats to the alcove again. There is a huge rattan basket sitting there. Marion climbs in and closes the top above her. + +The only witness: The Monkey, who is now perched on the five foot wall. + +EXT. THE SMALL BAZAAR - DAY + +Chaos. An entire booth of pots and pans collapses on a Bad Arab and a German Agent as Indy whips away a support. + +EXT. BETWEEN THE BUILDINGS - DAY + +The chattering Monkey leads a German Agent and two Bad Arabs to Marion's hiding place, gesturing maniacally. + +EXT. THE SMALL BAZAAR - DAY + +Indy ducks under the swinging blade of a huge Arabian sword and kicks the Bad Arab Swordsman in the groin. + +EXT. SIDE STREET - DAY + +The German Agent leads the way as the two Bad Arabs carry the huge basket above their heads. The basket top has been fastened closed, but Marion is making a fuss inside. At the place where the street cuts across the far side of the bazaar, Marion is able to wedge the top open one inch and screams - + + MARION + Indy-y-y-y! + +EXT. THE SMALL BAZAAR - DAY + +Indy has heard her. He looks across the square as the basket and its escorts disappear beyond a building. One last Bad Arab rises before him. Indy's whip flashes and the Bad Arab's robe falls down to his ankles. Indy frantically pushes his way through the panicked mass of humanity in the direction the basket has gone. + +EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING BASKET - DAY + +The Bad Guys move the basket as fast as they can through streets, alleys and passageways thick with people. Indy always seems to round a corner just in time to catch a glimpse of the basket before it disappears around a new corner. Indy must fight a flow of humanity as powerful as an ocean riptide. + +Finally, at the head of one particularly crowded alley, Indy leaps up onto a wall for a clearer view. Whatever he sees gives him an idea and he cuts between two buildings rather than following the basket. + +EXT. DESERTED ALLEY - DAY + +Two Bad Arabs come running down the Alley with the basket between them. Suddenly, Indy's whip flashes out sending both Arabs and the basket tumbling. Indy steps into view, his .45 trained on the sprawled Arabs, and looks at the basket. The top has come flying off and the contents have clattered onto the cobblestone: inside is not Marion, but a load of contraband pistols, rifles and ammo. Indy is advancing on the trembling Bad Arabs with an ugly look when suddenly he hears Marion scream around the corner. + +EXT. DESERTED SQUARE - DAY + +Indy rounds the corner and is immediately driven back by machine gun fire. Taking cover, he gets quick, intermittent glimpses of this scene: At the far corner of the large, deserted square is a canvas-covered truck. Two Bad Arabs are hurrying toward it with a large rattan basket between them, Marion screaming inside. A German Agent is covering their retreat with a machine gun from the cab of the truck. Indy runs up to see the rattan basket being heaved into the back of the truck. + +EXT. BACK OF THE TRUCK - DAY + +What Indy cannot see is that the basket lands among an ominous load of German munitions, dynamite and firearms. The truck immediately peels out. + +EXT. DESERTED SQUARE - DAY + +The German Agent has stopped firing in order to drive. He floors it, aiming for a street at the corner of the square. + +Indy uses the lull to take careful aim at the German Agent's profile and fire off three careful shots. The German Agent is hit, blasted dead against the steering wheel. The speeding truck swerves, hits a wall, rolls over and explodes in an enormous, multi-leveled eruption as its contents ignite. + +Several surrounding buildings are leveled. + +Indy, blown back across the square, looks on, astounded and horror-stricken. + + INDY + Marion. + +INT. ARAB BAR - NIGHT + +A dark, smoke-filled den of iniquity. The patrons, almost all fearsome Arabs, sit in small shadowy groups around the room. Indy stands at the bar finishing off a fifth of bourbon. + +He is drunk. The ARAB BARTENDER places a new bottle of expensive bourbon in front of him. Indy eyes it queerly. + + ARAB BARTENDER + The gentleman in the corner sent it. He would like you to join him. + + INDY + (doesn't even look) + Too bad. I'm drinking alone. + +The Arab Bartender does a take, looking at the three, tough GERMAN HENCHMEN who have surrounded Indy from out of the smoke, their hands stuffed in bulging trenchcoat pockets. + +Indy notices them now with a bleary glance. He decides he's in no shape to kill or be killed and moves with them across the room, taking his bottle with him. The Arab patrons take this in and mind their own business. + +The occupant of the smoke-shrouded corner table becomes visible only as Indy reaches there: it is Emile Belloq. He is drinking wine. + + INDY + Belloq. + + BELLOQ + Good evening, Dr. Jones. + + INDY + I ought to kill you right now. + + BELLOQ + It was not I who brought the girl into this dirty business. + +Indy knows its true; that's what's tearing him up. + + BELLOQ + Sit down, please, before you fall down. We can behave as civilized people. I'm afraid it will be your last opportunity. + +Indy sits, glancing at the German Henchmen, who settle nearby, just out of earshot. + + INDY + Not a very private place for a murder. + + BELLOQ + (looking around) + These Arabs will not interfere in the white man's business. They do not care if we kill each other off. + (takes a sip of wine, refers to it) + Terribly difficult finding a decent vintage here. You were quite vigorous in Shanghai. Unfortunately, our friend the Wild Boar had taken the precaution of making several copies of the piece. + +Indy registers this as he takes a drink. Belloq watches him with disdainful amusement. + + BELLOQ + How odd that it should end this way for us, after so many... stimulating encounters. I almost regret it. Where shall I find a new adversary so close to my own level? + + INDY + Try the local sewer. + + BELLOQ + I know you despise me. We always hate in others that which we most fear in ourselves. And you and I are very much alike. + + INDY + Now you're getting nasty. + + BELLOQ + We have always done the same kind of work. Our methods have not differed as much as you pretend. I am a shadowy reflection of you. But it would have taken only a nudge to make you the same as me, to push you out of the light. + +There's a certain amount of truth to this; the recognition of it flickers across Indy's bleary eyes. Belloq sees it there. + + BELLOQ + You know it to be true! How nice. And how ironic the timing. + +Belloq leans forward, eyes shining, voice suddenly different. + + BELLOQ + Do you realize what the Ark is? + (very intense) + It's a transmitter. A radio for talking to God! And now it is within my grasp. + + INDY + What about your boss, der Fuhrer? I thought he was waiting to take possession. + +Belloq glances into the gloom at the German Henchmen. + + BELLOQ + (quieter) + When the time is right. When I am finished with it. + + INDY + I hope your friends are patient. Dangerous work, Belloq. + + BELLOQ + Yes. Very. You may consider yourself fortunate that your involvement concludes here. + + INDY + Tell me, did you get away with the idol? + + BELLOQ + (negative) + I was lucky to get away with my life. The Hovitos proved quite narrow-minded about the whole matter. + +Indy takes a drink. + + INDY + You know, if it's God you want to talk to, maybe I can arrange it. + + BELLOQ + (smiles) + You have not changed. But, please, do not reach for your weapon until you are ready to die. + +The front door of the bar slams open and all nine of SALLAH'S CHILDREN scamper in and over to a surprised Indy. Two of the smallest hop into his lap. + + LITTLE SON + Uncle Indy, we have been looking for you. + + LITTLE DAUGHTER + Come home now, Uncle. Hurry! + +Suddenly the Arab patrons of the bar take an intense interest in the situation, shifting their weapons. + + INDY + Yes. Yes, I'll come now. + +Indy stands up. The German Henchmen are poised. Belloq eyes the Arab patrons and signals for the Henchmen to relax. + + BELLOQ + Next time, Indiana Jones, it will take more than children to save you. + +The children usher Indy out. + +INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT + +Indy climbs into the cab of Sallah's truck with a smiling Sallah as the children pile into the back. Sallah pulls out. + + SALLAH + I thought we would find you there. + (indicating the kids) + Better than the United States Marines, eh? + + INDY + (nods) + Thanks you. + (grave) + Marion's dead. + + SALLAH + Yes, I know. I am sorry. + (pause) + More reason than ever to beat the bastards. + (he touches Indy) + Life goes on, Indy. + (indicates the kids again) + There is the proof. + +Indy looks back there, nods. + + SALLAH + I have much to tell you, Indy. + +INT. SALLAH'S HOUSE + +Fayah brings in a tray of food and puts it on the table. The bowl of dates is in one corner. As Fayah leaves the room, the Monkey slips out of Sallah's lap and disappears under the table. Indy leans over the food tray, his hand hovering over the dates. But he chooses some cheese and bread instead. + + INDY + And they made the calculation in the map room? + + SALLAH + (nods vigorously) + This morning. Belloq and the boss German, Shliemann. When they came out of the map room, we were given a new spot in which to dig... out away from the camp. + + INDY + (resigned) + The Well of the Souls. + +Sallah nods, moves to the food. He picks up a date, then changes his mind and drops it, taking a bunch of grapes instead. Indy picks up a chicken leg in one hand and a date in the other, his mind distracted. Fayah enters the room just in time to see Indy flip the date high into the air and try to catch it in his mouth. It bounces off his chin and falls to the floor. Indy looks sheepishly at Fayah. Fayah picks up the fallen date and puts it in the dirty ash tray she is now removing. Amir speaks in a slow, raspy voice without looking up. + + AMIR + Come. Look. + +The two men go and huddle over the old man. The Monkey peeks up over the edge of the table at the array of food. He picks up a date and disappears below the table. Amir points to some markings on the lower part of the headpiece. + + AMIR + This is a warning... not to disturb the Ark of the Covenant. + + INDY + Just what I need. + +The Monkey's paw comes up over the edge of the table and grabs another date. + + INDY + How 'bout the height of the staff? Did Belloq get it off of there? + + AMIR + Yes... it is here. + +Indy, nervous, goes back to the food tray, picks up another date. When he turns back to the men, the Monkey's paw grabs another date. + +We see the headpiece in closeup on the table. Amir's crooked fingers trace a line of markings along the bottom section to the break in the piece. + + AMIR + It says it is... ten jamirs high... + + SALLAH + About seventy-five inches. + + AMIR + Wait! I am not finished... + +Amir's finger moves across the break as the markings continue on the sun medallion. + + AMIR + (reading) + "And one jamir to honor the Hebrew God whose Ark this is." + +Indy, still holding the date, exchanges a long look with Sallah. + + INDY + You said their top section was blank. Are you absolutely sure? + +Sallah nods. + + INDY + Belloq's staff is seven and a half inches short. They're digging in the wrong spot! + +Sallah and Indy begin to laugh. Amir gives them a glance and returns to his wine. Sallah leans over and kisses the old man. + + SALLAH + (to Amir) + A home run, my friend, grand slam! + (to Indy) + We have a saying - "A little luck is better than much smartness." Indy, pardner, you are very lucky fellow. + +Indy hoots. Then he takes the date in his hand and flips it high in the air. He opens his mouth to catch it, but it doesn't come down. He has inadvertently thrown it into a bowl of a hanging lamp. This makes the men laugh even harder. + +Indy goes over and picks up another date. He turns laughing to Sallah and doesn't see as the Monkey's paw comes up, slowly, takes another date and begins to withdraw. Suddenly the paw is stricken with palsy and the unseen Monkey goes into its death throes. Sallah watches the paw as though hypnotized. Finally the paw slips from sight and we hear a solid THUMP! on the floor. Sallah walks around the table and looks at the floor. The Monkey lies dead among a mess of date pits. + +Indy is in a happy world of his own. He throws his date high in the air. He positions himself under it and waits for it to drop in. Here it comes. Right on target. As it's about to disappear into Indy's mouth, Sallah's hand flashes in and grabs it. Indy looks mystified and disappointed. Sallah motions toward the dead Monkey. + + SALLAH + Bad dates. + +EXT. DESERT ROAD - MORNING + +Two old trucks come down a narrow mountain road and onto the flat surface of the desert. + +Further out into the desert, the one in the lead, Sallah's truck, stops and the second one, Omar's truck, pulls up beside it. There are half dozen Arab Diggers in Omar's truck. Indy, dressed as an Arab, gets out of the cab of Sallah's truck and moves over to confer with OMAR, another old friend. They point off into the desert and reach some conclusion. Indy gives him a pat on the back; Omar turns off the road and drives into the desert with his workers. Indy hops back in the cab of Sallah's truck with Sallah. As they move down the road we see that the back of the truck holds three other Arab Diggers. + +EXT. RISE ABOVE THE TANIS DIGS - MORNING + +Indy and Sallah are lying in classic scouting fashion at the top of the rise looking down on the Tanis Digs. Down behind them, Sallah's truck is parked with the three Arab Diggers. + + INDY + My God! They aren't kidding! + +WHAT HE SEES The Tanis Digs are laid out below like a painting. Trucks, bulldozers, Arab workers and German supervisors are everywhere. The excavations themselves are extensive and somewhat random-holes have been dug and then abandoned, foundations and passageways unearthed and then deserted. + +Beyond the main digs, a crude airstrip has been created. + +Sallah points to what appears to be a mound of dirt with a hole in it near the center of the activity. + + SALLAH + There! That is the map room! + + INDY + What time does the sun hit the map? + + SALLAH + Just after eight. + + INDY + We haven't got much time. Where are the Germans digging for the Well of the Souls? + +Sallah points out into the desert a short way beyond the main area of activity. The desert turns to sand dunes out there, the surface undulating into the distance. Several trucks and men are out there and a bulldozer is lumbering noisily toward it. + + INDY + Okay. Let's go. + +EXT. THE TANIS DIGS - MORNING + +Sallah's truck drives through the camp, one of the Arab Diggers at the wheel. Indy and Sallah are in the back and look just like the other two Arab Diggers. Sallah's truck goes behind a tent and when it appears on the other side, Indy and Sallah are gone. + +EXT. AMONG THE TENTS - MORNING + +Indy and Sallah move stealthily among the tents. Indy carries a smooth wooden staff almost seven feet tall. They stop between two tents and look across a path at the entrance to the map room. What appeared to be a mound of dirt is actually the roof of the ancient building. The hole/entrance is a five-foot square skylight. Indy looks around, then walks casually to the edge of the hole and looks inside. Sallah joins him, producing a length of rope from his robes. Indy drops the staff into the unseen map room as Sallah ties the rope around an oil drum. When it's secure, Indy wastes no time disappearing down it into the map room. + +INT. MAP ROOM + +Indy is down the twenty feet to the floor of the room in seconds. He tugs on the rope and it immediately gets pulled up. Indy looks around with real wonder and excitement. The room is lovely, with elaborate wall carvings and frescoes, all lit by the bright stream of sunlight flooding in from above. This beam of light leads Indy's eye to the far end, and the room's truly remarkable feature: built into the floor in meticulous relief is a miniature stone model of the ancient city of Tanis. Already, the sunlight has worked its way down the far wall and is edging onto the miniature of the city. + +On the floor, to the skylight side of the miniature, is an elaborate line created by embedded mosaic tiles. The evenly spaced slots in the line, each accompanied by a symbol of a time of year, are for the base of the staff. Indy pulls the headpiece from his robes - it has been welded together - and reaches for the staff. + +EXT. ABOVE THE MAP ROOM - DAY + +An extremely nervous Sallah has the gathered rope in his hands and is trying to appear casual as he inches back toward the oil drum. There is now a good bit of activity going on up here. + + JEEP GERMAN (O.S.) + Hey! You, the skinny one! + +Sallah jumps about three feet. The JEEP GERMAN is standing in an open space ten yards away looking at Sallah. + + JEEP GERMAN + Yes, you. What are you doing there? + +Sallah gestures his innocence. + + JEEP GERMAN + Well bring that rope over here, you cur. + +The Jeep German starts back toward his major concern: his jeep is stuck in some sand beyond the next tent. Some Arab Workers are trying in vain to budge it. Now another German has backed his truck up to it. Sallah can think of nothing to do except obey. With a worried glance at the map room, he begins untying the rope from the oil drum. + +INT. THE MAP ROOM + +Indy is examining the results of Belloq's work. Red paint marks one of the miniature buildings in the layout and a white calibrated tape has been strung from that building back to a miniature of the map room. Now Indy begins examining the mosaic base line for the staff. Sunlight has moved further down across the miniature. + +EXT. IN THE CAMP - DAY + +Sallah watches nervously as his precious rope is pulled taut between the pulling truck and the stuck jeep. He doesn't notice that he has chosen to stand next to a large, steaming kettle of food until - + + HUNGRY GERMAN (O.S.) + Bring us some of that! + +He points to the kettle. Sallah looks frantically from the rope, back to the skylight of the map room, to the kettle of food. + + HUNGRY GERMAN + Now, idiot! + +Sallah picks up some serving pieces and gets to work. + +INT. THE MAP ROOM + +The moment has arrived. Even the tension of the circumstances cannot distract Indy from the purity of what he is about to do. All his calculations and adjustments complete, Indy takes the Staff of Ra and places it - CLINK! - in the right depression on the base line. This is as active and exciting a moment as any archeologist can dream of and, at heart, that is exactly what Indy is. The sunlight catches the very top of the headpiece and moves within a fraction of an inch of the tiny hole in its sun. + +The edge of the sunlight moving across the miniature city is still a good two feet beyond the spot Belloq has settled on. + +And now that line of light is broken by the shadow of an ornate sun at the top of the staff. + +Indy's face reflects his concentration. And then his immense pleasure. He sees what he came for. + +Out of the miniature city, one small building is being lit by a tiny beam of sunlight in the center of the shadow of the metal sun. And by some trick of ancient artistry, this one building responds to the sunlight like none of the others. + +The golden light permeates it: it seems to glow. The building is in a direct line with Belloq's - all the Frenchman's other calculations were right - but it is a foot and a half beyond it. + +EXT. IN THE CAMP - DAY + +Sallah, sweating profusely, has finished serving the line of Breakfasting Germans and now heads back to replace the kettle and get away. + + HUNGRY GERMAN + Water. Bring us water. + +INT. MAP ROOM + +Indy is on his knees at the miniature city, a special tape measure in his hand. Indy has the tape strung from Belloq's mistaken spot to his own correct spot. He gets his reading, leaps up and crosses to the erect staff. He pulls the headpiece off the staff and hides it in his robes. He quickly breaks the wooden staff in two and throws the pieces behind a pile of debris. Then he moves quickly to beneath the skylight. + + INDY + (stage whisper) + Sallah. + (he waits, then louder) + Sallah! + +More waiting. Nothing. Indy looks around for some alternative means of escape. The room doesn't offer any. He looks up at the skylight again. + + INDY + (loudest) + Sallah! + +A long pause. Then something comes down. A makeshift rope. + +Really just a bunch of clothing tied together - tunics, robes, pants. But what we see first and most prominently, the first section of Indy's escape rope, is a bright Nazi flag. Indy beams and climbs. + +EXT. ABOVE THE MAP ROOM - DAY + +Indy sticks his head out the skylight, sees it clear and flops his body out. Sallah, crouching behind the oil drum, immediately starts pulling in the makeshift rope. Sallah stuffs the rope in the oil drum and the two men begin walking toward some tents. + + HUNGRY GERMAN (O.S.) + Hey, you! More water over here! + +Sallah glances at Indy, Then hurries back in that direction. + +The Hungry German focuses on Indy. + + HUNGRY GERMAN + Why aren't you at the digs? Come here! + +Indy bows in wild subservience and hurries off in the opposite direction. + + HUNGRY GERMAN + (yelling after him, irritated) + No, dummkopf, I said come! + +EXT. BETWEEN TWO TENTS - DAY + +Indy hustles between the tents. Up ahead, two German Officers stop to talk, blocking his exit. He moves along the side of one of the tents until he finds an opening and slips inside. + +INT. THE TENT + +Indy finds himself in a tent set up for rather comfortable living. He has just started to cross it when he hears a loud, excited grunting. He turns toward the sound. In the corner, tied to a chair and gagged is Marion. Indy rushes to her, snatches the gag from her mouth and embraces her. They kiss, deep and long. + + INDY + I thought you were dead. + + MARION + They were throwing me around like a rag doll. + + INDY + They must have switched baskets. Thank god for that! Bless those bastards. Have they hurt you? + + MARION + No. Not since I got here. They just asked about you - what you knew. The Frenchman's got the hot's for me. I've been playing that along. Oh, Indy, get me out of here. + +Indy pulls out a knife and then stops suddenly, thinking. + + MARION + What's wrong? + + INDY + (putting the knife away) + I have to leave you here for a little while. I know where the Ark is. If I take you out of here they'll start combing the place for us. + + MARION + (louder) + Cut me loose! + + INDY + Keep your voice down. + + MARION + (screaming) + I said get me out of - + +Indy pops the gag back in her mouth. Her eyes widen in fury and she grunts obscenities at him. + + INDY + Look, you don't know how glad I am to see you. And I don't like doing this. But the whole thing will be shot if you don't just sit here quietly. They haven't hurt you in the last twenty-four hours, they aren't going to start now. I'll be back to get you in no time. + +He kisses her forehead, jumps up and hurries out of the tent. + +EXT. SAND DUNE OUTSIDE DIGS - DAY + +With the digs behind them, Indy and Sallah run up to the ridge of the dune and over the top. At the bottom of the far side, Omar's truck is parked. Omar and his men are waiting. + +EXT. DIFFERENT DUNE - DAY + +This new spot gives Indy a higher, better view of the whole scene. Indy is using a surveyor's instrument to take a reading - WHAT HE SEES Looking through the instrument, Indy gets a line from the map room through the site where the Nazis are digging in the dunes to a spot several dunes over. We focus on that virgin spot of well-hidden sand as - + + INDY + There! + +EXT. INDY'S DIG - DAY + +Omar's truck is parked at the spot just viewed from afar. + +Dunes rise on either side. One of Omar's men has been posted as a lookout up on a ridge. Everybody else - Indy, Sallah, Omar, and his men - have begun digging for the Wells of the Souls. + +DISSOLVE TO: + +SAME SCENE - NIGHT They continue to dig furiously, all of them drenched in sweat. + +The hole has grown but this is slow, back-breaking work. + +INT. COMMAND TENT - TANIS DIGS - NIGHT + +Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide, GOBLER, come into the tent, which is full of charts and maps, drawings of the Ark, radio equipment, liquor and food. The men have been out digging for the Well all day. They are tired, discouraged, testy. In all matters, Gobler shows his alliance with Shliemann against Belloq with small looks and body language. The Frenchman has disappointed them and he is feeling the isolation of a scapegoat. Belloq gets himself a drink as Shliemann towels off his face. + + BELLOQ + I cautioned you about being premature with that communiqué to Berlin. Archeology is not an exact science. It does not adhere to time schedules. + + SHLIEMANN + The Fuhrer is not a patient man. He demands constant reports and he expects progress. You led me to believe - + + BELLOQ + Nothing. I have made no promises. I said only that it looked very favorable. Perhaps the Ark will still be found in an adjoining chamber. Based on the information in our possession, my calculations were correct. Perhaps some bit of evidence still eludes us. Perhaps + + GOBLER + Perhaps the girl can help us. + +Belloq shoots him an angry look. + + SHLIEMANN + My feeling exactly. She was in possession of the original piece for years. She may know much. + (really evil) + If properly motivated... + + BELLOQ + I tell you, she knows nothing useful. + + SHLIEMANN + I'm surprised to find you squeamish. That is not your reputation. But it needn't concern you. I have the perfect man for this kind of work. + +Shliemann signals Gobler, who steps outside the tent a moment, calls someone and then reappears. Belloq looks warily at the entrance. After a moment Belzig enters, reeking villainy. + +When his eyes find Shliemann, his superior, he snaps a crisp "Heil, Hitler!" at him, holding his palm rigid a long time, exposing a burned scar in the perfect shape of the sun medallion. + +EXT. INDY'S DIG - NIGHT + +In the eerie conjunction of moonlight and torchlight, Indy and the other men step back in awe of their discovery: there, flush with the bottom of their pit, is a heavy stone entry door to an underground chamber. Special prying tools are produced. With two men assigned to each of the two long tools, they work in unison to open the vault. They open it a foot and the other men rush in to flop the heavy door completely open. Down inside, only blackness. + +The men quickly prostrate themselves around the edge of the entry to look inside. Indy and Sallah each take a torch and hold them down the hole. + +WHAT THEY SEE The Well of the Souls is a spooky chamber thirty feet deep. + +The walls are covered with hieroglyphics and carvings. The roof is supported intermittently by stone pillars, the closest of which hits the roof very near the entry hole. The Well is quite large; as Indy and Sallah wave their torches, more and more of the room is revealed. Now the far end of the chamber comes into view. There is a stone altar down there and on this elaborately carved platform is a stone chest, big enough to enclose the Lost Ark and protect it from the ravages of time. This altar appears to be the only place on the floor of the Well that is not covered by a strange, dark carpet of some kind. + + INDY + The Ark must be in that stone case. What's that gray stuff all over the floor - + +He breaks off realizing exactly what that carpet is. He blanches. Indiana Jones blanches. + +Indy drops his torch to the floor of the Well. This is answered by the most horrific HISSING imaginable. + +WHAT HE SEES That thick dark carpet is moving. It's alive. It's thousands and thousands of deadly poisonous snakes - Egyptian asps. + +And the only thing that seems capable of avoiding this venomous groundcover is the altar. The snakes ebb and flow near it, but never encroach on it, as though repelled by some invisible force. + +Indy shakes his head and talks to himself. + + INDY + Why snakes? Why did it have to be snakes? Anything else. + +After a moment of this, he stops. He gathers his energy and resolve and gets back to the task. + + SALLAH + Asps. Very dangerous. + +Where Indy's torch had landed is a circle of snake-free floor. + +The snakes hate the flame; they stay away. + + INDY + Lots of torches. And oil. I want a landing strip down there. + +INT. THE WELL OF THE SOULS + +Fifteen torches have been dropped to the floor of the chamber, combining to make a good-sized clear zone. Smoke begins to fill the room. Several canisters of oil have been lowered into this space. Now, a large wooden crate is lowered slowly by rope. Rope handles are attached to each end of the crate. + +Up at the hole, Indy gives Sallah a reassuring pat, takes a breath, and swings carefully onto a rope hanging from the hole. Despite his care, he swings a bit and his feet hit the stone pillar which is so near the entry. Surprisingly, the pillar actually moves a bit, showering a light rain of crumbled stone to the floor below. + +Indy lands on the floor of the Well. He looks at the altar over a sea of undulating death. He picks up an oil canister and splashes two parallel lines of oil and lights them. A path six feet wide begins to open to the altar. Behind Indy, Sallah comes quickly down the rope. + +We begin to INTERCUT all the action in the Well from here on with insert shots of the snakes outside the flames. Snakes and snakes. We see: snakes piled and entwined six inches deep; mother snakes laying snake eggs; snake eggs hatching little snakes; snakes cannibalizing other snakes. + +INT. MARION'S TENT + +Belloq has been talking to the still-bound Marion. He has removed her gag. He is impatient, angry, uncomfortable. Caught between two forces. + + BELLOQ + Believe me, you made a mistake. If you would just give me something to placate them. Some bit of information. + + MARION + I swear to you, I know nothing more. I have no loyalty to Jones. He's brought me only trouble. + +He wants to believe her. + + BELLOQ + I cannot control them. + +Marion's frightened look shifts suddenly to the entrance of the tent. There are new arrivals there - Shliemann, Gobler and Belzig. Belzig carries a black leather case. He steps forward and smiles at Marion. + + BELZIG + We meet again, Fraulein. + +EXT. INDY'S DIG - JUST BEFORE DAWN + +The sky is just beginning to lighten over the dunes to the east, making dangerously obvious the thin column of smoke rising from the entrance to the Well. Omar and his men are peering through the smoke down into the Well. + +INT. THE WELL OF THE SOULS + +Indy and Sallah are on the altar. Pushing together with all their strength, the heavy stone top of the protective chest begins to slide away. Indy and Sallah exchange slightly wary but very excited looks, then continue to push. As the Ark begins to be exposed, the air seems to almost vibrate, to become electrostatically charged. We hear what sounds like a low HUM. The sea of snakes around the altar draws back further from this presence. + +As the top of the stone chest is pushed completely off and slams down beside it, we see THE LOST ARK OF THE COVENANT. + +It is awesomely beautiful, breathtaking. 4 feet long, 2.5 feet wide and 2.5 feet high. It's height, however, is increased by the two sculptured gold angels mounted facing each other on the top. Though the body of the Ark is acacia wood, it has been overlaid with gold. An elaborate gold crown surrounds the top edge and gold carrying rings are attached to each corner. + +Sallah is mesmerized by the sight. His hand starts to reach out and touch one of the angels, but Indy grabs it. + + INDY + Don't touch it! Never touch it! + +The wooden crate stands open next to the stone chest. Now Indy extracts the wooden poles from its rings and begins fitting them through the rings in the Ark. This takes some maneuvering by the two men, but soon they are able to lift the Ark clear of the stone chest and into the wooden crate. + +They extract the poles, fasten the top of the crate and stick the poles through the rings of the wooden crate. They start back toward the space under the hole. + +The fire strips have begun to dwindle, as have some of the torches. The snakes move slowly in toward the clear spaces. + +Indy and Sallah eye them nervously as they hurry along with their heavy load. Under the hole, they hurriedly attach ropes to the wooden crate and it is pulled up. Indy's concentration is on the tide of snakes. + + INDY + Hurry up! Why did it have to be snakes? + +Sallah takes the next rope and climbs quickly out of the Well. Indy has picked up a torch and now throws it at a pool of snakes who are too close for his comfort. He turns and takes hold of the exit rope. He gives it a first tug and it falls down into the Well, landing partly beyond the ring of fire where it instantly disappears in a tangle of angry, hissing asps. Indy looks up at the hole. + + INDY + What the - + +Smiling down at him from the perimeter of the entry are Belloq, Shliemann and Gobler. + + BELLOQ + Why, Dr. Jones, whatever are you doing in such a nasty place? + +Belloq and the Germans laugh. + + INDY + Why don't you fellows come down here? I'll show you. + + BELLOQ + No thank you, my friend. + (he glances around him) + I think we are all very comfortable up here. + +EXT. INDY'S DIG - DAWN + +Sunlight is flooding this tableau: Sallah, Omar and his men are being held at bay by ten armed Nazis. The wooden crate sits safely nearby. Belzig and another Nazi have the gagged Marion held in their rough grasp. + + BELLOQ + (down to Indy) + After all these years, it is most considerate of you to aid me in this way. + +As Belloq speaks, Shliemann exchanges a look with Belzig. + +Belzig smiles and takes the gag from Marion's mouth. + +INT. WELLS OF THE SOULS + +Shliemann smiles down at Indy. + + SHLIEMANN + I'm afraid we must be going now, Dr. Jones. Our prize is awaited in Berlin. But I do not wish to leave you down in that awful place... + (he give a sign) + ...all alone. + +Belzig and the Nazi move Marion to the hole and, to Belloq's surprise, push her in. Marion falls thirty feet screaming. + +Indy drops his torch, braces, and catches her! Her weight knocks him to the ground, almost into the snakes. She looks around at the snakes, clinging to him more desperately as he struggles to his feet trying to unload her. + + MARION + Don't put me down! + +Up at the hole, there's plenty of dissension. + + BELLOQ + The girl was mine! + + SHLIEMANN + She is of no use to us. Only our mission for the Fuhrer matters. + +Shliemann glances meaningfully around at the other Nazis. + + SHLIEMANN + I wonder sometimes, Monsieur, if you have that clearly in mind. + +Belloq feels how much he is the outsider, his own vulnerability. He backs down with the wisdom of survival. He turns to look down at Indy and Marion. His manner is gallant. + + BELLOQ + Goodbye, mademoiselle. + (a pause, then with respect) + Indiana Jones... adieu! + +Belloq and the others step back from the hole and unseen Nazis slam the heavy stone door into place. Marion screams. + +Her scream is accompanied by - A huge WHOOSH! as air is sucked out and the chamber is sealed. + +Half of the torches still burning go out with the sound. The remaining torches continue to extinguish at punctuating intervals throughout the following action and the snakes immediately flood into the newly-darkened spaces. Indy puts Marion down and snatches up two burning torches. He hands one to Marion. + + INDY + Don't panic. There's plenty of time for that later. Wave that at anything that slithers. + +Indy holds his torch out like a lantern and begins a slow O- turn, his eyes peering into the gloom, examining every inch of wall and ceiling. + + MARION + What are you doing? + + INDY + Just watch the floor. + +Reminded of the encroaching snakes, Marion waves her torch at the nearest edge of their circle. She looks faint. Indy continues his slow turn. + + MARION + Whatever you're doing, do it faster. + + INDY + (he spots something) + There! + +His head whips around, looking at the pillars around the room. He sees what he wants. He grabs one of the oil canisters, looks back to the spot on the wall he's chosen and splashes oil on the floor in that direction, then lights it. A path opens toward that wall. + + INDY + Come on! + +Marion is frozen in her spot. Indy drags her after him. He splashes oil the rest of the way to the wall. It lights and Indy pulls Marion over to the wall. He pours the remaining oil in a circle around them, creating a safe zone there. + + INDY + Stay here! + + MARION + (grabbing him) + Where are you going? + + INDY + I'll be back in a minute. We're going through this wall. + +Marion looks at the wall, which looks like all the rest to her. She thinks he's crazy. + + INDY + Just keep your eyes open and get ready to run. No matter what happens to me. + + MARION + (panicked) + What do you mean? + +Too late. Indy runs back through the path of flames to the center of the room. Snakes strike at his flying heels. Indy reaches the base of the pillar which he touched briefly on his original descent. He uses his torch to clear away the scattered snakes climbing on it, then pulls out his whip. He draws it back, then wraps it solidly around the pillar 15 feet up. With the torch in his mouth, he begins climbing the pillar. It moves ominously under his weight. + +The last two torches still burning on the floor go out. Now the only light in the chamber is provided by the torches held by Indy and Marion and the dwindling oil flames. Snakes move in and surround the base of Indy's pillar. The path between Marion and the center of the room is overrun. The circle of flame around Marion is dying down. She looks beyond it with terror-widened eyes, then up through the increasing smoke at the distant Indy. + +Near the top of the pillar, Indy's hands strain along his taut whip, which he has moved higher. A snake slithers into view there, inches from Indy's straining face. Indy turns his head so the torch in his mouth can burn it. The snake falls from the pillar. Indy's torch is dwindling. Indy works his body around so that he is on the side of the pillar away from Marion. The pillar moves, showering dust. Indy looks at the chamber wall five feet away, takes a breath and swings his legs up against it. He is now braced between pillar and wall. + + MARION (O.S.) + (screaming) + Where are you?! + +Snakes are moving in force up the pillar toward Indy's dwindling torch. Indy grasps the pillar for dear life, grimaces with exertion and pushes against the wall with all he's got. The pillar begins to break loose of the ceiling, then stops. Indy's eyes are on the torch. It is just a spot of flame now. Snakes are sliding up toward his hands. Indy again pushes against the wall and the torch falls out of his mouth. + +The pillar goes! In the dim light, we see it fall like a tree directly at Marion. Indy rides it down. The top hits the wall three feet from a cringing Marion and smashes through to a black chamber beyond. Indy flies off into the darkness. + +Gone. Marion clutches her torch at the black hole. + + MARION + Indy! Where are you?! Please Lord! + +There is a moment that seems an eternity, then Indy appears like an apparition out of the void. + + INDY + Come on! + +He grabs her and helps her over the remains of the wall into - + +INT. THE CATACOMBS + +The winding string of connected chambers is revealed to them only a few feet at a time as their torch lights the way. + + MARION + The snakes... are they here? + + INDY + I guess not. I think I'd be dead. + + MARION + Do you know where you're going? + + INDY + Absolutely. + + MARION + Thank god. Where? + + INDY + Out. + +They round a corner and flush a covey of bats. Marion screams. + + INDY + Don't do that. It scares me. + +Marion gives him a look. They round a corner and begin a walk through a maze of chambers that present for their inspection: moldering mummies and stacked sarcophagi; a room decorated with a thousand human skulls; a wall crawling with huge scarabaeid beetles. Marion is quite naturally a nervous wreck; she jumps when Indy grabs her suddenly and points. + + INDY + Look! + +WHAT THEY SEE There, coming through the crack in the corner of the next chamber, is white blessed sunlight. + +EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY + +Indy and Marion peek out into the light from the shadows of an abandoned excavation. Before them is the improvised airstrip serving the digs: a crude runway, a tent supply depot, two fuel tank trucks. Down by the fuel trucks a German Mechanic is looking skyward. Now Indy and Marion look there too, drawn by the roaring sound of - A Flying Wing, which is circling over the digs in preparation to landing. + +Now a new figure approaches the German Mechanic. It is Gobler; he yells to the mechanic, indicating the plane. + + GOBLER + Get it gassed immediately! It has an important cargo to take out! + +In the distance, the Flying Wing lands and rolls toward the men. Gobler spins and heads back toward the main camp, which is hidden from view by a rise. Indy and Marion watch him go. + + INDY + When the Ark gets loaded, we're already going to be on that plane. + +The Flying Wing rolls up into the space near the fuel trucks. + +The German Mechanic puts blue blocks in front of the tires as the engines continue to roar. + +Indy and Marion run in a crouch to a hiding spot closer to the plane, near the supply tent. Suddenly, a Second German Mechanic appears behind them. He is as surprised as they are, but recovers quickly and swings a big monkey wrench at Indy. Indy grabs the swinging arm and the two men tumble out into the open, wrestling. Marion remains hidden, moving fast among the crates. + +The first German Mechanic, who is just pulling the fuel hose from the tank truck to the plane, sees the combatants and runs to help his countryman. He is almost upon them when Indy puts the Second German away with a devastating left - right - left combination. He turns to find the first German Mechanic flying at him. They roll toward the rear of the Flying Wing and its lethally spinning reversed propellers. + +In the cockpit of the Flying Wing, the Pilot has been fiddling with his gauges just prior to shutting off his engines. Now he notices the fight going on outside. + +The fistfight between Indy and the German Mechanic has taken on a new stomach-tightening dimension. The men are fighting and flailing in and out between the spinning props at the back of the plane's wings. Each man comes within inches of becoming instant mincemeat. + +The Pilot slides away the top of his cockpit and stands up. + +He pulls a Luger from his side and points it, waiting for a clear shot at Indy. The German Mechanic kicks Indy away from him and the Pilot aims his pistol. Suddenly, Marion appears behind the Pilot, standing on the opposite wing, and bashes him over the head with one of the blue blocks that was holding the tires. The Pilot drops down into the cockpit, his body falling on the throttle. The engines roar louder, revving up. The plane begins to roll, rotating around its one still-blocked set of tires. Marion grabs onto the cockpit to keep from slipping into the props. She bends into the cockpit, trying to pull the Pilot's body off the throttle. No luck. + +She grimaces and climbs inside. Her shoulder bumps the top of the cockpit; it slides tightly shut above her. + +Under the moving wing, Indy delivers a knockout right cross to the German Mechanic which sends him staggering back toward a roaring propeller. Indy's grimace registers the man's demise and a fine mist of blood wafts toward him. Indy spins toward the sound of crumpling metal and sees - The other prop of the Flying Wing slice into a tank truck. + +The airplane fuel inside floods out onto the pavement, surrounding the plane. Indy backpedals away from the plane, his eyes searching the scene for Marion. Suddenly, he is shocked to see her in the cockpit. He runs toward her, skidding through the gasoline. + + INDY + Get out! Get out! + +Marion is struggling with the top of the cockpit. She can't budge it. She's trapped. + +EXT. THE COMMAND TENT - DAY + +Three Armed Nazis stand guard around the wooden crate containing the Ark. It is sitting near the flopped-open entrance to the Command Tent and there is furious activity going on here. Belloq, Shliemann, Gobler, Belzig and assorted Aides are packing up all the papers and personal items in preparation for a hasty departure. + +A large crowd of Arab Diggers is milling about among the tents. They all want to get a look at the Ark. Sallah is among them. All at once, there is a earthshaking explosion. + +All eyes turn toward the rise that hides the airstrip. A huge fireball floats into view over there. Everyone starts running toward it. Shliemann yells at Belzig and the Armed Nazis. + + SHLIEMANN + Stay with the Ark! + +EXT. THE RISE ABOVE AIRSTRIP - DAY + +Almost all the Arabs and Germans in the digs have congregated here and are staring at the burning remains of the Flying Wing. Belloq and Shliemann arrive just as the second fuel truck blows up. The concussion knocks many of the observers flat. Belloq, Shliemann and Gobler watch the scene in alarm. + + SHLIEMANN + Sabotage! + + BELLOQ + We must get the Ark away from this place immediately! + + SHLIEMANN + (to Gobler) + Have it put on the truck. We'll fly out of Cairo. + +Gobler snaps his heels, turns to go. + + SHLIEMANN + And Gobler - + (Gobler stops) + I want plenty of protection. + +Gobler nods and runs off. Shliemann heads back toward camp. + +Belloq hesitates a long moment, studying the burning wreckage with an odd, suspicious look. Finally, he turns and leaves, passing a nearby stack of barrels. When he has passed, Sallah appears from among the barrels. He searches the crowd for his people and starts a broken field run along some tents to avoid a group of Germans and is running flat-out when someone sticks out a leg and sends him flipping. Sallah, dust all over his face, looks angrily toward the concealed culprit. + +At once, a flashing white grin splits his darkened face. + +Indy and Marion, splotched with soot and oil, are hiding in the flap of a tent. Sallah runs into their arms and the three embrace warmly. When they break - + + SALLAH + Holy smoke, my friends! I am so pleased you are not dead. + + MARION + Us too. + + SALLAH + (suddenly remembering) + The Ark! They're taking it on a truck to Cairo. + + INDY + Where is it? + +Sallah gestures to follow and all three run off stealthily through the mostly deserted camp. + +EXT. AMONG THE TENTS - DAY + +Sallah, Indy and Marion run into a hiding spot behind some water barrels near the Command Tent. They peek out at this activity - In the big space near the Command Tent is parked an open German staff car; inside is a Blond Driver and an Armed Guard. + +Directly behind it is a canvas-topped troop truck. At this moment, Belloq and Shliemann are supervising the careful placement of the crated Ark in the back of the truck. When it is securely placed inside, we hear an ominous marching sound and Nine Armed Nazis appear at a trot from between some tents and climb into the back of the truck with the Ark. + +Behind the water barrels, Sallah and Marion exchange hapless looks, But Indy just concentrates on - The scene by the truck: Belloq and Shliemann are about to climb into the front staff car when they pause to check out the final component of the convoy. Rolling into place behind the truck is another open staff car. But this one is special - mounted in the back is a big, black machine gun, manned by a Gunner. At the wheel of the car is Gobler and next to him sits Belzig. + +Sallah and Marion look at Indy. Belloq and Shliemann climb in the back seat of the front car and the caravan pulls out. + +Indy watches it go, thinking hard. + + INDY + You two get back to Cairo quick and get us transportation to England - a plane, a ship, anything. + + MARION + What about you? + + INDY + I'm going to get that truck. I'll meet you at Omar's. Be ready for me. + +Sallah nods. Marion looks at him like he's nuts. Indy jumps up, looks around desperately. + + MARION + How are you going to get that truck? + + INDY + (still searching) + I don't know. I'm making this up as I go. + +He runs away between two tents. + +EXT. AT THE EDGE OF THE DIGS - DAY + +From among the tents, Indy suddenly bursts into view, happily astride a magnificent white Arabian stallion. He gallops off across the desert. + +EXT. THE DESERT (VARIOUS SHOTS) - DAY + +Indy cuts cross-country avoiding the road the convoy has taken. He leaps gullies, climbs dunes, slides down slopes. + +Soon the convoy comes into view far below him. He tears along a parallel ridge, like an Indian shadowing a wagon train. + +EXT. DESERT ROAD - DAY + +The convoy is entering rougher country. The narrow mountain road we've seen earlier ascends ahead. To the side of the road are tall boulders. Suddenly, Indy shoots out from between two rocks and rides directly for the truck. The Armed Nazis in the back of the truck can see nothing because the canvas hides their view. But Gobler, Belzig and the Gunner in the rear staff car have a brief line on him. Belzig points and the Gunner fires away at Indy, the bullets kicking up sand near Indy's horse. + +The Armed Guard in the cab of the truck leans out to see what's happening. Indy has been riding alongside. Now he stands on the horse and leaps to the cab. In a second, he has flipped the Armed Guard out of the truck. He slides into the cab and begins grappling with the Truck Driver. The Truck Driver tries to hit the brakes, but Indy kicks his foot away and floors the gas pedal. The truck doubles its speed and shoots onto the steep mountain road. + +EXT. MOUNTAIN ROAD - DAY + +The Blond Driver of the front staff car sees the truck move up on him in the rearview mirror and speeds up. Belloq, Shliemann and the Armed Guard in the car twist around to look at the struggle in the truck. The Blond Driver begins what will be a continuing preview of the twists in the road. + +He turns his wheel sharply and takes the lead car around a bend. + +In the cab of the truck, Indy and the Truck Driver stop their fight temporarily and cooperate in turning the steering wheel. + +The truck barely stays on the road. + +A full view reveals the incredible geography of this ride. + +The convoy is tiny against the spectacular mountainside, the cliffs drop hundreds of feet. + +At the wheel of the rear car, Gobler swerves to stay on the road and accidentally sideswipes a boulder. The Gunner perched in the back is flipped head over heels out of the car. Gobler and Belzig are having trouble seeing the road through all the dust the convoy is kicking up. + +The lead staff car reaches the summit of the road and barely makes the hairpin turn there, delivering a destructive blow to the guard rail that has been placed there. The guard rail is now bent. + +In the cab of the truck, Indy and the Truck Driver again stop trying to choke each other long enough to negotiate the turn together. The bumper of the truck hits the broken guard rail and sends it flying off the cliff. The truck, however, holds the road. + +In the rear car, Gobler and Belzig are trying to see through the thick clouds of dust. Suddenly it clears completely. + +Unfortunately for them, this happens because their car has shot out into space at the hairpin turn. They are flying to their final reward. Belzig, eyes wide behind his evil spectacles, screams as he goes. + +In the cab of the truck, the Truck Driver is distracted by the sight of the flying staff car. Indy plasters him and he tumbles out. + +Far, far below, Belzig's staff car explodes on the rocks. + +In the back of the truck, a TOUGH SERGEANT takes command of the situation. He picks out six Armed Nazis and motions for them to start climbing around the outside of the truck to the cab. With some trepidation the lucky ones begin that maneuver. The truck is swerving like crazy. + +In the front staff car, the Armed Guard aims his submachine guns back at Indy, alone now in the truck's cab. Shliemann knocks the barrel roughly away. + + SHLIEMANN + (yelling) + If anything happens to that Ark, we're all dead men ! The Fuhrer will see to it! + +Indy sees this from the cab and reacts by speeding up, putting even more pressure on the Blond Driver. + +Along the back of the truck, Armed Nazis are edging up toward the cab, three on each side. They hang on as the truck rounds a corner and goes into a straightaway that leads through a short tunnel. + +In the cab, Indy has been concentrating on the lead staff car. Now, just before entering the tunnel, he looks in the side view mirror and sees the Nazis on his side. A quick glance to the other mirror reveals the others. As the truck sweeps into the tunnel, we see Indy just start to turn his steering wheel - he is going to sideswipe the walls of the tunnel At the other end of the tunnel, we hear the roar of the two engine and two long, screeching, scraping sounds. The lead staff car shoots out of the tunnel, then the truck, its sides cleaned of Nazis. + +In the rear of the truck, the Tough Sergeant is looking with distaste back at the tunnel. There remains only him and two Armed Nazis with the Ark. He sends these two climbing up over the top of the truck. + +In the lead car, the Blond Driver is being pressed hard by Indy, who now edges up to bump them from the rear. Suddenly the Armed Guard next to the Driver sees the two Armed Nazis appear on the top of the truck. Without thinking, he starts to point them out to Shliemann, then realizes his stupidity. + +In the cab, Indy has seen this and is at first mystified. He checks his sideview mirrors. Then he figures it out and slams on his brakes. The brakes lock, the wheels burn and the truck skids to a dusty halt. The two Armed Nazis fly off the truck, over the cab to the road in front. Indy immediately hits the gas again. The two Armed Nazis, just aiming their weapons, get wiped out. + +In the rear of the truck, the crated Ark is bouncing all alone, no one in sight, because - The Tough Sergeant is on the top of the truck, making his way steadily forward. This guy clearly knows what he's doing. + +A submachine gun is slung across his back. + +The truck and the staff car race through a series of S-curves. + +In the staff car, Belloq and Shliemann spot the Tough Sergeant as he reaches the front of the truck's top and begins to lower his submachine gun barrel toward the cab. Indy is unaware. Belloq and Shliemann exchange looks. Then Shliemann yells to the Armed Guard in the front seat. + +The Tough Sergeant has a line on Indy. He points his gun. + +The Armed Guard blasts away at the truck. The Tough Sergeant dies in a hail of bullets and flies off. + +Indy, who has ducked at the gunfire, is confused. But when he sees the Armed Guard up front lower his gun, Indy again floors it and begins bumping the staff car in earnest. + +The road is almost down to a level now. In the distance - Cairo. The road takes a little dogleg just before reaching level ground again. Just as the staff car is about to make the turn, Indy smashes them from behind. The staff car flies off the road and down a twenty foot embankment. Indy takes the truck speeding down the road and off toward Cairo. + +In the staff car, the occupants are bruised but safe. + +Shliemann points at the departing truck and yells at the Blond Driver. The staff car fishtails out of its sandy resting place and takes off after the truck. + +EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY + +Indy has an ever-decreasing lead on the staff car as the race thunders into the narrow streets. People and animals leap out of the way; carts and barrels go flying helter skelter. Indy takes the truck down a street so narrow there are only inches to spare on each side. Pedestrians jump into doorways. + +EXT. OMAR'S SQUARE - DAY + +When the truck clears the narrow street, it is in a small square. Omar's garage is gaping open on the opposite side. + +Indy hits the brakes and the truck skids across the square and into the garage. The garage door slams shut and tenting drops from the building to hide the door. Various Arabs, friends of Omar, rush out with fruit carts and baskets and set up a mini-bazaar in seconds. Two Arab Boys sweep the tracks of the truck into oblivion. They throw aside their brooms just as the staff car appears from the narrow street. + +Belloq and Shliemann look around desperately as the Blond Driver steers the car through the square and out the other side. + +EXT. CAIRO DOCKS - NIGHT + +The waterfront is dark and misty. An old tramp steamer, the BANTU WIND, sits by the pier. Several fierce Black African Pirates, the crewmembers, are taking on final stores. + +A small light illuminates the top of the gangplank. In its circle, Indy and Marion exchange long, warm embraces with Sallah. A short distance away the ship's Captain, a handsome, powerful black named SIMON KATANGA, watches from the rail, smoking a pipe. + +DISSOLVE TO: + +EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT + +The Bantu Wind is bathed in moonlight as it cuts across even seas. + +INT. INDY'S CABIN - NIGHT + +Indy comes in, takes off his hat, jacket, whip and holster. + +The door which connects this cabin to the next opens and Marion appears. She is carrying a half-full glass of liquor, but what you notice is the long, snow-white, high-necked nightgown she is wearing. It is very prim. Very innocent. + +And very sexy. Marion does a slightly embarrassed model's turn for Indy. + + MARION + I have a feeling I'm not the first woman to travel with these pirates. There's a whole wardrobe in there. + + INDY + It's lovely. + +Indy sits on the cot, takes off his boots. He leans back against the wall and rubs his eyes. Marion sits on the bed, leans back against the wall with him and looks down at her white nightgown. She chuckles. + + MARION + I feel like a virgin bride in this. + + INDY + That's what you look like. + + MARION + (takes a drink) + There are some things you can recapture in this life, but that isn't one of them. + + INDY + What would you like to recapture? + + MARION + (after a long pause) + Nothing. That is the way it is. + +He watches her closely as she drains her glass and puts it down. + + INDY + Did I ever say I was sorry I burned down your tavern? + +She turns so their lips are very close. + + MARION + No. Then again, I burned up that plane. + + INDY + You saved my life. + + MARION + And you saved mine. + + INDY + Seems things have worked out kind of even. + + MARION + That's the way I like them. + + INDY + Maybe we should consider all past accounts closed. + +Marion thinks about this a long time. + + MARION + No. Not yet. + + INDY + What else? + +She looks into his eyes. A smile jumps from her lips to his. + +He kisses her and they sink slowly to the cot. + +INT. IN THE HOLD + +The ship's rats are agitated. They tremble and chatter at the edges of the compartment, darting about. Out in the center of the hold, sitting all by itself, is the crated Ark. HUM-M-M-M. + +INT. INDY'S CABIN - DAY + +Marion awakes with a start, alone in the cot. Something's wrong. The ship is quiet. Indy is strapping on his holster. + +He pulls his whip and jacket from a hook. + + MARION + What is it? + + INDY + The engines have shut down. + + MARION + Why? + + INDY + I'm going to find out. + +EXT. LOWER DECK - DAY + +Indy runs toward the bow, then climbs some steps four at a time. A MESSENGER PIRATE is hurrying to get him, but flies by him on the steps. By the time the Pirate stops himself, Indy is gone. + + MESSENGER PIRATE + Mister Jones! The Captain he say - + +EXT. THE BRIDGE - DAY + +Captain Katanga is looking with concern ahead of the ship. + +Indy appears behind him. + + INDY + What's wrong? + + KATANGA + You have most important friends. + +Katanga turns quickly, pointing with a sweeping hand. Indy looks. Arrayed in a rough semicircle around the ship are ten German Wolf Submarines. All of their deck guns are manned and trained on the Bantu Wind. Worse, at least five heavily-armed boarding parties in rafts are closing quickly on the ship. + + INDY + Holy shit. + + KATANGA + (fast) + I sent my man for you. You and the girl must disappear. We have a place in the hold. Go, my friend! + +EXT. UPPER DECK - DAY + +Indy tears along the deck. He looks over the rail and sees two Nazi rafts already next to the ship. + +EXT. LOWER DECK - DAY + +Indy flies down some stairs and starts to round a corner. + +Suddenly he throws himself backwards, out of view. Three uniformed Nazis are clustered near a cabin door holding the Messenger Pirate. Now two more come out of the cabin trying to maintain their grasp on a kicking, yelling Marion. She is still wearing her white nightgown. More Nazis clamber onto the deck and head toward Indy, slamming open doors, rousting Pirates, spouting racial epithets. Indy steps backwards and fades into the maze of the ship. + +EXT. / INT. THE BANTU WINDS (VARIOUS SHOTS) - DAY + +The ship is swarming with Nazis. The Black Pirates are herded forward, subjected to rough physical and verbal abuse by the Aryan Supermen. The Pirates are clearly under orders not to resist, but not one of these strong men likes it. They'd gladly give their lives to rip the throat out of a few Krauts. + +In the hold, the door slams open and Nazis pour in; they smile at the sight of the crated Ark. + +EXT. THE BRIDGE - DAY + +Captain Katanga watches as his crew is crowded into a circle of Nazis on the wide deck below him. He is surrounded by Belloq, Shliemann, and several Nazis, two of whom are holding Marion. Now the Nazis from the hold appear on the lower deck carrying the crated Ark by means of the long poles. Belloq's eyes shine at the sight. + + SHLIEMANN + Take it aboard the Wurrfler! + + BELLOQ + And be very careful! + +The Ark is taken away. + + SHLIEMANN + (to a Sergeant below) + What about Jones? + + SERGEANT + Not a trace yet, sir! + + KATANGA + Jones is dead. + +Belloq and Shliemann regard him suspiciously. + + KATANGA + We killed him. He was of no use to us. The girl, however, has certain value where we are headed. She will bring a very good price. If that cargo you have taken was your goal, then go in peace with it. But leave us the girl. It will reduce our loss on this trip. + + SHLIEMANN + Savage. You are not in a position to ask for anything. We will take what we wish and then decide whether or not to blow your ship from the water. + +Belloq steps forward and puts a proprietary hand on Marion's arm, fixing Shliemann with a steady look. + + BELLOQ + That girl goes with me. It will be part of my compensation. I'm sure the Fuhrer would approve. + +Shliemann considers. + + BELLOQ + If she fails to please me, you can do with her as you wish. + +This appeals to Shliemann's nature. He signals his agreement with a gesture. Belloq ushers Marion away with her two keepers. + +DISSOLVE TO: + +EXT. "THE WURRFLER" - CONNING TOWER - DAY + +The Nazis have returned to their subs. Shliemann is on the bridge with the WURRFLER'S CAPTAIN and the Captain's Aides. + +The Captain is an honorable career Navy man. + + THE WURRFLER'S CAPTAIN + Colonel Shliemann, all torpedoes are loaded. + +Shliemann nods and continues to stare at the Bantu Wind, as does the Captain. The Pirate crew is all lined across the bow. Towering above the others, standing on the rail, proud and defiant, is Katanga. Shliemann looks at the Wurrfler's Captain a moment. + + SHLIEMANN + What do you think, Captain? + + THE WURRFLER'S CAPTAIN + (earnestly) + I think not, Colonel. Nothing is to be gained. We are not at war. + +Shliemann mulls this, then turns to the hatch. + + SHLIEMANN + ...yet. Let the vermin live. We must be on our way. + +Shliemann disappears down the hatch. The Captain is very pleased. A Radioman speaks into his headset, then follows the other Aides down the hatch. In the distance the other subs begin to move away from the ship. The Captain, alone on the bridge, looks once more at Katanga. + +On the Bantu Wind, Katanga executes what might be taken for a salute. + +The Wurrfler's Captain smiles, salutes crisply, then goes below, pulling the hatch closed. Immediately, the Wurrfler begins to move. And as it does, we see the rail at the aft of the main deck. From nowhere, a wet sleeve appears and a hand grabs the rail! + +Indy pulls his dripping body onto the sub's main deck. He has lost his felt hat once and for all. Other than that, his outfit is the same as always, just wetter. Suddenly, water is washing over his feet; the Wurrfler is beginning to submerge. Indy runs through quickly deepening water toward the haven of the conning tower. Halfway there, he slips and goes down. Only by grabbing the base of the aftmast light does he keep from being swept away. He struggles to his feet and sloshes through knee-deep water to the base of the conning tower. + +Indy climbs the ladder to the bridge of the conning tower and looks down. The water is rising toward him fast. Indy climbs the ladder to the top of the turret and braces himself between the two uprights there - the 7 foot radio mast and the 20 foot periscope. Still the ocean comes up to meet him. + +Soon the top of the turret is under water and the radio mast is disappearing. Indy shifts his grip to the periscope, working his way up it and hanging on for dear life as the ocean whips at his body. The periscope is quickly going under. + +Indy hangs on to the top three feet, all that remains above. + +The forward movement of the sub continues, but, to Indy's slowly dawning delight, the dive stops. No more of the periscope goes under. Indy smiles; it's a pretty good smile, too, given the circumstances. Indy pulls out his bullwhip and begins tying himself to the periscope. + +EXT. THE PERISCOPE - AFTERNOON + +The sun warms that part of his body Indy has contrived to keep out of the water. The rest floats out behind. Indy isn't comfortable, but all in all, it's not as terrible as he might have feared. + +DISSOLVE TO: + +EXT. THE PERISCOPE - DUSK + +It's as terrible as Indy might have feared. He looks wasted. + +Waterlogged and exhausted. The wet leather of the whip is contracting and he must struggle constantly to keep it from cutting into his skin. + +DISSOLVE TO: + +EXT. THE OCEAN - NIGHT + +Several shark fins cut the surface, appearing and disappearing in the bright moonlight. They are shadowing - + +EXT. THE PERISCOPE - NIGHT + +Indy looks through barely open eyes at the sharks running alongside. There is nothing to be done. His eyes close. + +>FADE OUT: + +>FADE IN: + +EXT. THE PERISCOPE - NIGHT + +The submarine has stopped. The water is calm. The moon is bright. A gentle swell splashes Indy awake. He blinks, tries to regain his senses. He makes an inventory of his body. + +Surprised to find himself intact, his spirits lift. Some hidden reserve of energy flows through him. He frees his aching arms from the wet leather of his whip, leaving only one loop around his waist to hold him to the sub. He rubs his hands and stretches. Once again, he has survived. To fight again. He looks around. + +WHAT HE SEES A lovely island. No sign of man's presence. The sub has stopped at the mouth of a wide cove completely ringed by tall white rock cliffs. Suddenly the sub begins to move again. + +It is headed directly toward the center of the cliffs. Indy holds on, mystified, alert. When the cliffs are very close, the sub begins to dive. + + INDY + Damn! + +He thinks hard. Inspiration hits just before the water. Indy flips his leather jacket up over his head and holds the jacket out in front of him. His head is hidden by the jacket as he goes under water. + +INT. THE UNDERWATER TUNNEL - NIGHT + +The sub enters an underwater tunnel that penetrates into the cliffs. Indy is held to the periscope by his crossed legs and the whip. His impromptu air bubble is working, but it's a struggle to maintain it. + +The sub begins to cut through thick marine vegetation. Each dangling growth pulls at Indy's body and slaps at his leather bubble. Now a clump of entwined seaweed rips the leather out of his hands and his bubble of air rises away. Indy hangs on, holding his breath, but the vegetation gets denser. + +Finally, it pulls him off the periscope. The sub moves on, disappearing ahead. + +Indy rises desperately through the dark water, his hand outstretched. Then, almost simultaneously, hand and head hit solid rock. But no air. Indy feels along the ceiling of rock. + +Nothing. It's all submerged. + +Indy dives, stroking deep into the tunnel. When he has descended 15 feet, he grabs a vine and steadies himself. His eyes search the dim roof of the tunnel. He sees his last hope in the distance - a small blue circle, an air pocket. + +He swims for it. + +In the air pocket, Indy's head breaks the surface and smashes into rock again. The pocket is only six inches deep. No matter. Indy loves it. He'd like to move in. He gulps air. + +INT. THE SUB BASE - DOCKING BAY + +The Wurrfler has arrived at an extraordinary base built in the hollow interior of the island. This chamber, with the docking bay, is almost all water. A huge natural cavern, it has been reinforced and enlarged by the Germans. + +The Wurrfler sits surfaced at the dock. The Ark has been unloaded and placed on a cart. Shliemann, Belloq and Marion have just disembarked and been met by a Nazi contingent from the base. Marion looks worse for the trip. Her white nightgown is now ripped and smudged. + +One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann and Belloq. As he speaks to them, we notice that right behind this group, just above a great deal of sub unloading activity, Indy's whip hangs from the periscope. Working Nazis pass within feet of it unaware; the Tall Captain would see it in a moment if he were not so focused on the new arrivals. + + TALL CAPTAIN + (to Belloq) + The tents have been arranged in accordance with your radioed instructions, sir. + + BELLOQ + Good. We must take the Ark there now. + +Shliemann looks a little unhappy about this exchange, but says nothing. The group moves swiftly toward the end of a mine train arrangement. The train, consisting of small, separate, electric-powered cars, sits on a track which disappears into a tunnel cut in the rock. + +On the turret of the Wurrfler, the Wurrfler's Captain lights a cigarette as he watches the mine train disappear, then returns his attention to the activity on the dock. He leans idly against the periscope, his head two feet below Indy's dangling whip. Something catches his eye, he yells an order and climbs down from the turret to deal with the matter. We hold on the whip for a long moment, until its owner's hand appears and quickly reclaims it. + +INT. TRAIN TUNNEL + +The Ark and its entourage are moving slowly up the tight dark tunnel, their way lit by intermittent lanterns. The tunnel is irregular, but generally about 7 feet wide. It's height varies from an average of about 7 feet to a low of only about 4.5 feet at the points (every 40 feet) where support beams cross the track. The result is that there is only about a foot of clearance above the mine cars at those points; passengers must duck to keep from being hit in the head. Shliemann, looking worried, and Belloq, very excited, are focused on the Ark in the car ahead. + + SHLIEMANN + I am uncomfortable with the thought of this - + (spitting it out) + Jewish ritual. Are you sure it's necessary? + + BELLOQ + (playing him) + Let me ask you this - Would you be more comfortable opening the Ark in Berlin - for the Fuhrer - and finding out only then if the sacred pieces of the Covenant are inside? Knowing, only then, whether you have accomplished your mission and obtained the one, true Ark? + +Shliemann doesn't like any of his alternatives. He looks at Belloq with some suspicion as the train comes into bright light. + +INT. COMMAND CENTER + +A second natural cavern, even bigger than the first, has been worked over by the Germans into a rectangular, three-story high supply center around a huge, open, center court. + +Uniformed Nazi Soldiers are everywhere, wrangling supplies and ammunition, monitoring electronic equipment. At the far end of the court, a second train tunnel disappears into the rock. + +Across the open court, Belloq sees his destination: a large, brilliant white silk tent has been erected in the midst of all this hardware. It looks incongruous, and more than a little eerie. It is the Tabernacle. + +INT. TRAIN TUNNEL + +Indy is making his way up the tunnel. He hears cars coming from up ahead and steps into the shadows. A mine car passes with several laughing Nazis. Indy continues on his way. + +INT. THE TABERNACLE + +The light in here is lovely, unearthly. Oil lamps burn. The Tabernacle is really several concentric, silk tents, which creates a flowing maze effect. The innermost tent has at its center a 3-foot high, tapestry-covered altar. Belloq watches with gleaming, obsessed eyes as two Nazis carefully lift the actual Ark out of its crate by means of the long poles. The Ark dazzles the eye, seeming to glow gold in this strange light. The two Nazis place it carefully on the altar. + +Shliemann and some Aides hang back. Marion is nowhere to be seen. + +INT. COMMAND CENTER - END OF TUNNEL + +Indy makes a fast break from the shadows of the tunnel to the protection of a high stack of supplies. He climbs the back of the stack, peeks over and surveys the area. + +WHAT HE SEES In addition to the Tabernacle, the second train tunnel entrance, and all the activity, Indy's glance rests momentarily on a large, heavy metal door halfway down one wall toward the Tabernacle. It bears the words, in German: + +"DANGER - MUNITIONS" Indy continues to scan the scene. + +INT. THE TABERNACLE + +In the central area with the Ark, Shliemann and the other Nazis wait impatiently, eyeing the Ark with some discomfort. + +Belloq is not visible, because at the moment he is - In the folds of the Tabernacle, the silk of the tents undulating around him. The light is even stranger, the scene almost dreamlike. With the help of the Tall Captain, Belloq lets an extraordinary, gold-embroidered, ceremonial robe fall over his head and onto his body. Belloq looks transported, possessed. The Tall Captain unlatches a wooden case and takes from it a sturdy ivory rod about 5 feet long, elaborately engraved. Belloq takes it from him, turns and slips back through the silk. The Tall Captain stays in the folds. + +Back in the central area, Shliemann and the other Nazis are taken aback by Belloq's appearance in the robe. They exchange looks. From one knot of men there is muttering about "Juden" and such, but when Belloq turns a fiery gaze on them there is immediate silence. Shliemann looks uncertain in this presence. + +Belloq approaches the Ark. He stops a few feet from it and begins murmuring an invocation in Hebrew. After a few moments of this he advances a step and is about to place the ivory rod in a notch under the lid of the Ark itself. The end of the rod is an inch from the notch when - Indy steps into the Tabernacle. On his shoulder is a bazooka and it is aimed directly at the Ark. + + INDY + Hold it. + (the Nazi react) + One move from anybody and I blow that box back to Moses. + +Shliemann makes it clear to the other Nazis that Indy is to be obeyed. + + BELLOQ + Jones, your persistence surprises even me. You are going to give mercenaries a bad name. + + INDY + What about you? Talked to God yet? + (Belloq's eyes flash) + Where's the girl? + + SHLIEMANN + Doctor Jones, surely you don't think you can escape from this base. + + INDY + That depends on how reasonable we're all willing to be. All I want is the girl. We'll keep possession of the Ark only till we've got safe transport to England. Then it's all yours. + + SHLIEMANN + If we refuse? + + INDY + Then the Ark and some of us are going up in a big bang. I don't think Hitler would like that a bit. Now I don't want to talk about this anymore. Show me that girl in five seconds or - + +The Tall Captain flies out of the silk and takes Indy down by the neck. The bazooka clatters across the cement floor as two other Nazis help subdue Indy. The three Nazis take Indy's pistol from his holster and raise him roughly in their grasp. + + SHLIEMANN + Jones, this is the second time I have seen you looking very foolish. + + INDY + It's a bad habit. I'm trying to break it. + +Shliemann draws his Luger. + + SHLIEMANN + I'll help you. This time I'll kill you myself. + +Shliemann raises the pistol. + + BELLOQ + No! Not in the presence of the Ark! Take him outside. + +Shliemann eyes Belloq, then the Ark. He lowers the pistol, motions for the Nazis to take Indy out ahead of him. They stop a moment only when Belloq speaks. + + BELLOQ + Indiana Jones, I salute you. I am even a little sorry you will miss this moment. + + INDY + Thanks. If you talk to Him, tell Him I'm on my way up. + +Shliemann motions them out and follows. Belloq turns back to the Ark, raising the ivory rod. + +INT. COMMAND CENTER + +Shliemann, the Tall Captain, Indy and the two Nazis holding him emerge from the Tabernacle. Shliemann points to a nearby wall and the group starts that way with Shliemann and the Tall Captain slightly ahead. + +INT. THE TABERNACLE + +Belloq has the ivory rod inserted in the notch under the lid of the Ark. He utters a short phrase in Hebrew and begins to press down on his end of the rod. The lid of the Ark begins to lift. It's difficult work. Belloq puts his whole weight into one big press on his end and the lid opens two feet. + +Inside the Ark of the Covenant is a preview of the end of the world. A light so bright, a power so fearsome, a charge so jolting, that there is nothing in our world to compare to it. It's as though this magnificent golden box has been gathering electric energy for three thousand years, waiting for just this crack of the lid to release it all in one fast, cleansing explosion of pure force. + +Blinding arcs of light shoot out across the Tabernacle instantly killing all the Nazis inside and turning the white silk to flame. But it is Belloq in his obsession who takes the full blast. His whole body seems lit by a million volt current and, for a moment, his complete form is white, then blue, then maybe green, but it is hard to tell because our eyes are blinded now too. Two aspects of this ghastly, beautiful display are somehow communicated in the chaos, although the communication is subliminal. First, that Belloq, in the instant of his destruction, has experienced some kind of sublime, transcendental knowledge. If a death's-head can smile and look satisfied, that is how Belloq's incandescent face would be described. Secondly, this event is accompanied by a sound like no other. A sound so intense and so odd and so haunting that the suggestible among us might imagine it were the whisper of God. + +INT. COMMAND CENTER + +Chaos. Shliemann and the Tall Captain have been temporarily blinded by the light from the Tabernacle. Indy makes short work of his two escorts. He bashes their heads together. + +When only one goes down at this, Indy uses the handle of his bullwhip, which has appeared instantly in his hand, to put the second one down. + +Shliemann, hand on his eyes, aims his Luger blindly at the scuffle. Indy pushes the Tall Captain at Shliemann, who fires on impact, killing the Tall Captain. Indy knocks out Shliemann. + +Behind Indy, the brilliant light and weird noise of the Ark have suddenly ceased, but the Tabernacle is ablaze and the fire has quickly spread to stacks of supplies on either side. + +Smoke is already starting to fill the cavern. Nazis are running around, yelling for firefighting water. A burning crate at the side of the Tabernacle is pushed over, only to knock over a drum of heavy black oil. A river of flame shoots across the cement. + +Indy grabs a rifle with bayonet from the prostrate body of one of his former escorts and runs back into the flaming Tabernacle. + +INT. THE TABERNACLE + +Indy jumps through the flames into what is now a tent of fire. He looks around at the dead bodies, then at the Ark. + +The lid has slammed down shut again and the Ark shines gold in the flames. Before it, where Belloq once stood, is a pile of ash and charred debris. Indy registers this, then continues to scan the scene. + + INDY + Marion! Marion, can you hear me? + +Suddenly, Indy looks as - The far side of the Tabernacle burns completely away, revealing Marion, tied spread-eagle between two upright posts. + +Her nightgown is now in tatters, black with soot. She is gagged, but her eyes are screaming, focused on the flaming river of black oil which is about to engulf her feet. + +Indy rushes toward her, unaware of a uniformed Nazi who has appeared from the flames. Marion looks up to see Indy and the Nazi leveling his submachine gun at Indy. She motions desperately with her eyes. Indy dives and rolls through the flames just as the Nazi opens fire. From the floor, Indy blasts the Nazi. + +The river of burning oil is only a foot from Marion. + +Indy jumps up and runs toward the bound Marion, his bayonet aimed directly at her. Her wide eyes flash between the flames and the shining blade. Expertly, Indy slashes down both sides at Marion, cutting all four bindings. Marion falls backwards, away from the flames, but before she hits the ground, Indy is there, catching her in his arms. + +They embrace. They kiss. They break. + + INDY + Hi. + + MARION + Oh, Indy! Thank god you're here. + + INDY + Glad I could make it. + +Indy rises, pulling her up with him. The Tabernacle is burning away so fast that soon Indy and Marion will be completely exposed. Indy rushes over and grabs the submachine gun and a Luger from the dead Nazi. + + INDY + Let's get out of here. + + MARION + What about the Ark? + +Indy stops, startled by her spunky attitude. He's considering their chances. + + INDY + Are you game? + + MARION + Hell yes! We've made it this far. + + INDY + (grins at her) + Okay. Let's do it. + +They approach the altar through the dying flames, Indy slinging the submachine gun over his back. The long carrying poles are still in place. + + INDY + Whatever you do, don't touch it. Let's put it on the floor. + +Marion nods. Each taking an end with the poles, they lift the Ark from the altar and lower it to the floor. Marion grunts under the weight. Indy registers this, hands her the submachine gun. He pulls out his whip, motions her back, and sweeps the whip tightly around the body of the Ark. The whip wraps snugly around the plaiting and Indy ties it off. The Ark is now harnessed to the whip handle. Indy gives it an experimental pull and the Ark slides across the smooth cement. + +Indy indicates the direction of the second train tunnel. + + INDY + We'll go down that side. Shoot anyone who looks at us crosseyed. + +INT. COMMAND CENTER + +Two huge stacks of goods are ablaze and the Nazis are having trouble getting water to them. The Nazis main concern at this point is an enormous, neat stack of wooden cartridge boxes which are piled down the wall from one of the already blazing, and now teetering, stacks of general goods. Nervous Nazis are moving the heavy cartridge boxes as fast as they can, but it's slow work and the threatening fire is close. + +Indy and Marion make their way along the side of the center court, Indy grimacing with the strain of pulling the Ark. + +One Nazi stops directly in front of them, looking at them queerly. Indy knocks him out with the butt of his Luger just as Marion is about to fire. + +Out in the court, Shliemann has regained his eyesight. Now he crouches, scanning the scene desperately for Indy. He looks into the remains of the Tabernacle and spots the empty altar. Beyond it, the unoccupied posts where Marion was bound. + +At the entrance to the second train tunnel, Indy and Marion struggle to lift the Ark into a mine car. Marion has the submachine gun slung over her back. The Ark drops heavily into the bottom of the car. The noise attracts the attention of five water-carrying Nazis. They see what's going on and reach for their side-arms. Indy grabs Marion, pulls her in front of him - as though to use her as a shield - and flips the submachine gun, still on her back, toward the Nazis. + +He opens fire, turning Marion's body so he can mow all five down. + +Shliemann spins around and looks at the tunnel entrance. He points at Indy and Marion, who have just hopped into the mine car with the Ark. + + SHLIEMANN + Stop them! Kill them! + +A dozen Nazis spin and look at the mine car. Marion is just leveling the submachine gun. Indy pushes forward the throttle and the mine car moves toward the tunnel, picking up speed. + +As the Nazis raise their guns to fire, Marion and Indy both open up, peppering the area with lead. As the mine car is about to disappear into the tunnel - + + INDY + (to Marion) + Get down! + +As the car disappears, bullets pock the entrance of the tunnel. Shliemann runs up with three Nazis. They jump into the next mine car and take off, disappearing into the tunnel. + +Over at the burning stack of goods, some terrified fire-fighters scurry away as the burning pile of general goods falls over onto the stack of cartridge boxes. The wooden boxes immediately start burning. Many of the Nazis just want to get out of there, but a couple of disciplined OFFICERS are trying to salvage the situation. They point to the far side of the court, the walls are lined with oil and gas drums. + + OFFICER + We must cover the drums! Protect them from the bullets! + +INTERCUTTING INDY AND MARION WITH SHLIEMANN AND THE NAZIS We see a most extraordinary pursuit. This tunnel is of identical design to the first, except more twisty. This early section goes slightly uphill, as though headed for the summit of a rollercoaster. The low cross beams and the higher sections in between are causing the Nazis to alternately stand and duck in their efforts to get a clear shot at the lead car. One German times it wrong and gets whacked. Indy is unhappy with the speed of his car and he's right, the Nazis are moving faster and gaining. When both cars are in the same high section, the Nazis blast away at them. The noise is deafening, with barking guns, splintering rock, and twanging ricochets contributing to the din. As Marion fires a return volley low over the Ark, Indy kicks at the throttle, convinced it is jammed. + +INT. COMMAND CENTER + +The Officers are directing the placement of every moveable item in front of the oil drums. Desks, crates, chairs, food, all are heaped in front of the fuel. All the workers cast frequent nervous glances back at the burning cartridge boxes across the court. Suddenly the worst begins to happen at the cartridge boxes. Hundreds of thousands of live cartridges begin exploding, flying around the court like shrapnel. Hot lead begins to zing off the exposed fuel drums, leaving big dents. + +INT. TRAIN TUNNEL - LONG STRAIGHTAWAY + +The car with Indy and Marion looks almost sluggish compared to the pursuing Nazi car as they both make their way into an unusually long straightaway. Marion discards her empty submachine gun as Indy kicks at his throttle and casts a worried look back at Shliemann. + +Shliemann, sensing victory, smiles evilly and carefully takes aim. Indy and Marion will be easy targets until they reach that approaching low cross beam, which is the crest of the rising tunnel. + +INT. COMMAND CENTER - CLOSE ON FUEL DRUM + +A fuel drum, already pocked by bullets is finally penetrated by high velocity hot lead. It explodes in a ball of flame. + +And then its neighbor. Then all is exploding flame. + +INT. TRAIN TUNNEL - LONG STRAIGHTAWAY + +Shliemann and his cohorts hear the explosions behind them and look back that way. + +Indy kicks the throttle one more time and it goes! Their car doubles its speed and shoots under the low cross beam at the same instant as - A huge dragon of all-consuming fire shoots up the tunnel behind the Nazis, catches their car and incinerates Shliemann and his men. The tunnel collapses in this section, burying the fried Nazis forever. + +INT. TRAIN TUNNEL + +Indy and Marion look back at the low cross beam as the last tongue of flame makes it there and then is doused by falling rock and dirt. They look at each other, then turn their attention back to their own predicament. Their mine car is going incredible fast as it moves into a downward section of wildly twisting tunnel. + + MARION + Slow it down! + +Indy is already pulling the throttle. It moves easily. + +Unfortunately, it is no longer attached to the motor. The mine car is out of control. After several moments, far ahead, appears a circle of bright daylight - the end of the tunnel! + +It approaches at a frightening rate. Indy reaches out and grasps Marion's hand. They exchange looks and then turn to look ahead. + +THEIR POV We're taking this last stretch with them. It's a familiar nightmare. It has to do with a rollercoaster that ends suddenly and disastrously. The shocking brightness of sunlight rushes up to engulf us, blinding us in its glare. + +EXT. THE ISLAND - END OF TRACKS, DOCK + +High up on the slope of the island, Indy and Marion's mine car shoots out of the black tunnel and roars down toward a little dock at the end of the tracks. + +A small Nazi transport launch, carefully disguised as a Greek fishing boat, sits bobbing by the dock. The only human: a Nazi Sentry dressed as a Greek peasant. He is perched on a pile of seed bags which are stacked at the very end of the train tracks. As the mine car barrels noisily down toward him, he throws away some burlap to reveal a mounted machine gun which he spins quickly around toward the approaching mine car. He opens fire. + +In the out-of-control mine car, Indy pulls Marion down with him. They are squashed into the corner trying to avoid contact with the bouncing Ark. Bullets clang against the outside of the car and whiz inches overhead. Indy and Marion are forced into a tighter and tighter embrace of life. + +At the machine gun post, the Nazi Sentry has been firing like crazy, but now there is terror in his eyes. He realizes the car is not going to stop. He lacks faith in his stronghold. Too late. + +The mine car smashes into the seed bag bunker. And right on through. The Nazi Sentry, his machine gun and a dozen bursting seed bags are slammed into the ocean in a wild, hurtling mass. The mine car jumps, bounces and spins around, then slides to a stop in a cloud of seed at the edge of the water. + +INT. COMMAND CENTER + +Fire. Everywhere. No sign of life. A large gaping doorway, flames ringing it, blazing into the room beyond. Hanging by one hinge there, its metal blasted and jagged, is a heavy door with the singed lettering, in German, "DANGER - MUNITIONS". + +The first explosion happens. It's a baby compared to what's coming yet it rocks the earth. It's terrible. And then, almost immediately, another. The long, irregular, ever larger chain of explosions begins. + +EXT. THE ISLAND - VARIOUS SHOTS - DAY + +The island rumbles and shakes. From fissures and small natural caves, dirt and rock shoot out like spraying water. Still the explosion continue. A huge chunk of white cliff falls away into the turbulent sea. Birds scream and soar, afraid to land. + +Finally, we settle on a full shot of the island. We can recognize that the small opening high on the slope from which a cloud of smoke and dust is billowing is the end of the mine tunnel. And there below it, quite small from this distance is the dock. And the boat that looks like a Greek fishing boat. There can be no mistake even from this far away - the boat is chugging out to sea. + +INT. THE PENTAGON - DAY + +Indy, Brody, and Marion, looking very stylish, are seated in Colonel Musgrove's huge office. Sun pours in a window, through which Washington can be seen sparkling across the Potomac. + +Everything is neat and clean and regular. Including the three men who are arrayed around the office. Two we know - Col. + +Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat. + +He hangs back, smiling and genial, his features obscured by the glare of the window. He doesn't say anything, yet you have a sense that the others defer to him in the matter at hand. He is the essence of all that is Byzantine and inscrutable in our scrubbed government machine. + +Indy and Brody are dissatisfied with the way the meeting has gone. Marion, on the other hand, is very happy and eager to get out of there. Eaton's manner is irritatingly cheery. + + MUSGROVE + You've done your country a great service. + + EATON + And we trust you found the settlement satisfactory? + + MARION + Quite. + + EATON + Good, good. + (glances around at the others) + Then I guess that about does it. + + BRODY + When can we have the Ark? + +Eaton's glance flicks over to the mysterious Bureaucrat, then back to Brody. + + EATON + I thought we answered that. It's someplace very safe - + + INDY + (heated) + That's a powerful force. Research should be done - + + EATON + Oh, it will be, Dr. Jones, I assure you. We have top men working on it right now. + + INDY + Who? + + EATON + Top men. + +Indy exchanges a look with Brody. + + INDY + We may be able to help. + + EATON + We appreciate that. And we won't hesitate to call on you. + + MUSGROVE + (dismissing them) + Thank you all. Thank you again. + +Indy looks them over coldly. He gets up, sullen. + +EXT. PENTAGON STEPS - DAY + +Indy, Brody and Marion emerge from the building. Brody bids them farewell and moves off in another direction. Marion clings to Indy's arm in an energetic, very feminine way, scolding him. + + MARION + Well they aren't going to tell you, so why don't you just forget it. I'd think you'd had enough of that damn Ark. Just put your mind on something else. + +Indy stops, looking across the river, his mind occupied. + + INDY + Yeah, like what? + +Marion makes a face, then puts her arms around his neck and plants a humdinger of a kiss on his mouth. It goes on a while. + +Finally they break. + + INDY + It's not the Ark... but it'll have to do. + +They move down the steps, smiling. + +INT. GOVERNMENT WAREHOUSE + +The Ark of the Covenant sits in a wooden crate. A wooden lid comes down and hides it from view. The lid is solidly nailed to the crate as we read the stenciled message on top - TOP SECRET ARMY INTEL. #9906753 DO NOT OPEN! + +The hammering is completed and hands shift the heavy crate onto a dolly. + +THE END CREDITS ROLL AS WE SEE - A Little Old Government Warehouseman begins pushing the crated Ark down an aisle. Soon we see that the aisle is formed by huge stacks of crates. They come in many shapes and sizes, but when it comes right down to it, they all look like the one that holds the Ark. All have markings like the message we've just seen. Pretty soon we're far enough and high enough away from the Little Old Government Warehouseman to see that this is one of the biggest rooms in the world. And it is full. Crates and crates. All looking alike. All gathering dust. + +And then we notice that the Little Old Government Warehouseman, pushing his new crate ahead of him, has turned into another aisle and disappeared from view. + +>FADE OUT: + +!THE END diff --git a/fountain_scripts/Indiana Jones and the Raiders of the Lost Ark.webp b/fountain_scripts/Indiana Jones and the Raiders of the Lost Ark.webp new file mode 100644 index 0000000000000000000000000000000000000000..c837b416c0da69c3e1577c7f6d4385c0c58b415f --- /dev/null +++ b/fountain_scripts/Indiana Jones and the Raiders of the Lost Ark.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:6c9c11d548303ee8685b068fc4056ed107550431d3ac9a51a54cf01660161bf4 +size 45758 diff --git a/fountain_scripts/Indiana Jones and the Temple of Doom.fountain b/fountain_scripts/Indiana Jones and the Temple of Doom.fountain new file mode 100644 index 0000000000000000000000000000000000000000..3c6a0b5dd836e6a48b8e21131cc37d108ed07346 --- /dev/null +++ b/fountain_scripts/Indiana Jones and the Temple of Doom.fountain @@ -0,0 +1,4636 @@ +Title: INDIANA JONES AND THE TEMPLE OF DOOM +Source: STORY BY: GEORGE LUCAS +Credit: SCREENPLAY BY: +Authors: WILLARD HUYCK AND GLORIA KATZ +Copyright: TM* & (c) Lucasfilm Ltd., 1984 + +>FADE IN: + +INT. "THE DRAGON" NIGHTCLUB - NIGHT/* 1. */ #1# + +A Chinese GONG SOUNDS and the glittering doors of an art Deco pagoda slide open to reveal a mammoth silver stairway down which rows of beautiful women start descending (BEGIN MAIN TITLES) The lovely ladies are a mix of races and they sing a strange, haunting melody -- one might think them a heavenly choir, if it weren't for their sexy, clinging lame gowns. + +INT. CLUB ENTRANCE/* 2. */ #2# + +From the ethereal beauties, we cut to a street urchin's dirty face: SHORT ROUND is a ten-year-old Chinese kid wearing a beat-up American baseball cap. + +Sneaking into the club, Short Round weaves past the fancy gowns and silk suits, heading toward the music in the main ballroom. + +INT. THE BALLROOM/* 3. */ #3# + +Short Round enters and stares across the smoky nightclub. On the stage, he sees a giant paper-mache dragon laying curled around the pagoda. + +Now, the dragon's eyes light up, its nostrils exhale smoke and its enormous jaws open. Out of the dragon's mouth walks the star of the stage show: + +WILLIE SCOTT, a dreamy beauty singing a sultry solo while the orchestra wails the accompaniment. + +But Short Round's not here to ogle crooning dames. He surveys the rich Chinese, American and European revelers. Jewels flash and champagne flows. Short Round finally spots a table of somber-looking Chinese men in suits. + +Short Round chews gum and stares at the men. Then he turns to go. WU HAN, a waiter with a scar across his cheek, watches Short Round leave. + +INT. CLUB ENTRANCE/* 4. */ #4# + +As Short Round hurries toward the exit, he bumps into a man in a tuxedo entering the club. Short Round looks up at the man, but we don't see his face. + +Then Short Round is grabbed by the scruff of his neck and a doorman hustles him out the door, Short Round yelling insults all the way. + +A maitre d' apologizes to the man in the tuxedo and two hat-check girls smile at him familiarly as he continues into the ballroom. + +We notice something incongruous: the man in the tuxedo is wearing work boots caked with mud. + +INT. THE BALLROOM/* 5. */ #5# + +The man in the tuxedo stops to watch Willie Scott singing sexily on the stage. Then he looks around and sees the table of somber Chinese men that Short Round spotted earlier. + +As the man in the tuxedo walks toward the table, he removes a cigarette from a silver case. He arrives at the table just as the chorus and orchestra reach a crescendo -- And on the stage, a glistening, muscular slave swings a huge hammer toward an enormous brass gong -- The man in the tuxedo leans to receive a light from a cigarette-girl and, as the GONG BOOMS, the match flares to reveal his face for the first time: + +It's INDIANA JONES. Elegant in a tuxedo -- dressed to kill. The TITLES END and over this a legend appears on the screen: + +!SHANGHAI - 1935 + +At the table, the four Chinese men in suits stare coldly at Indiana. + + LAO + Dr. Jones. + + INDIANA + Lao She. + + LAO + Nee chin lie how ma? + +Lao's men laugh and assume that Indy doesn't understand his joke. + + INDIANA + Wah hung how, nee nah? Wah hwey hung jing chee jah loo nee kao soo wah shu shu. + +LAO SHE looks angry and his men's smiles fade. + + LAO + You never told me you spoke my language, Dr. Jones. + + INDIANA + I don't like to show off. + +Indiana takes a seat across the table from Shanghai's notorious crime-lord. Lao is fifty, wealthy enough to now display some fat, but still muscular from his fight to the top of the garbage heap. + + LAO + For this special occasion, I ordered champagne and caviar. + +Indiana looks at the pile of caviar on the plate in front of him -- and stubs his cigarette out in it. The cigarette sizzles and Lao's smile dies with it. + +There's applause as Willie Scott finishes her song. At the table, Lao stares at Indiana with a strange intensity. + + LAO + So, it is true, Dr. Jones? you found Nurhachi? + + INDIANA + Sure, I found him. Then last night I had a little trouble. Somebody tried to slit my throat. + +Indiana looks across the table at Lao's son, CHEN, who resembles a bulldog and snarls like one now. + + INDIANA (Cont'd) + It was dark, but I think one of your sons tried to get Nurhachi without paying for him. + +Indy stares pointedly at Chen's recently bandaged hand. Chen mutters and stands angrily -- Lao barks a command in Chinese and Chen sits down again. + + LAO + You have insulted my son. + + INDIANA + Next time I'll cut off more than his finger. + + LAO + Dr. Jones -- I want Nurhachi. + +Lao pulls a wad of cash out of his pocket and puts it on the table. Indiana glances at it. + + INDIANA + As I recall the deal was considerably more. + +Now a pretty hand slips onto Lao's shoulder and he looks up to see Willie Scott. Lao kisses her hand. Willie is unaware of the explosive mood at the table and she smiles flirtatiously at Indiana. + + WILLIE + (to Lao) + Aren't you going to introduce us? + + LAO + This is Willie Scott. + (watching Indy) + And this is Indiana Jones, the famous archaeologist. + +Willie sits down between Lao and Indy. She takes out a small mirror to check her make-up. + + LAO (Cont'd) + Dr. Jones found Nurhachi for me and is about to deliver him -- now. + +Lao nods across the table and Indy sees KAO KAN, Lao's second son, open his coat and remove a silver-plated pistol. Indiana looks worried. Willie doesn't notice as she fixes her make-up and coyly teases Indiana. + + WILLIE + Well -- I thought archaeologists were always funny little men searching for their mummies -- + (yelping) + Aaahhh! + +She looks down terrified at the knife Indy is poking against her ribs. + + WILLIE (Cont'd) + I was only kidding, can't you take a joke -- ? + (to Lao) + Lao, he's got a knife! + + INDIANA + Put the gun away, sonny. + +Kao Kan glances at his father. Lao finally nods to his son and he slips the pistol back into his pocket. + + INDIANA + Now I suggest you pay me what you promised -- or your girlfriend here is going to be squealing a new tune. + +The ritzy patrons at the tables nearby are unaware of the tawdry drama quietly unfolding at this table. + +Willie eyes the blade and whimpers. She looks imploringly at Lao and he slowly reaches into his pocket. He puts ten gold coins next to the cash on the table. + +Indy leans forward to look at the gold coins -- so intently that he fails to notice Kao Kan spilling some powder into Indy's champagne glass! + + INDIANA + Try again Lao -- the deal was more. + +The knife pokes Willie and she whimpers again. Lao reaches into another pocket and brings out a folded piece of rice paper -- he opens it and a large diamond and ruby spill out onto the table. + + INDIANA (Cont'd) + Bingo...you see, Lao, with a bit of persuasion, even you can be an honest fellow. + +Indy smiles and jabs the knife into the middle of the table. + +Then he lifts his champagne glass in a toast to Lao -- who watches expectantly as Indiana moves the glass toward his lips -- Suddenly Willie stands angrily, jostling Indy's arm so that he doesn't drink his champagne. + + WILLIE + Look at this! He put a hole in my dress from Paris! + +Lao sees Indy put his champagne glass down and he snarls at Willie -- + + LAO + Sit down! + +Willie quickly obeys. Lao forces a smile at Indy and lifts his glass to seal the deal -- + + LAO (Cont'd) + To your health, Dr. Jones. + +Lao sips his champagne and watches hopefully as Indy picks up his glass and this time Indy does drink the champagne. Then he reaches for the cash -- But Chen grins and puts a silver snuff bottle next to the cash, gold and jewels -- he tips the little bottle over and some white powder spills out of it -- + + INDIANA + What's that? + + LAO + A bonus, Dr. Jones. That is poison. You just drank the rest of it. + +Indiana examines his champagne glass and sees a residue at the bottom of it. He swallows and feels sick, wondering if it's fear or the poison already taking effect. + + LAO (Cont'd) + There is an antidote for this poison. You give me Nurhachi -- I give you the antidote. + +Indiana is sweating. Willie looks at him and sees Indy's hand shaking. + + LAO (Cont'd) + The poison works fast, Dr. Jones. Where is Nurhachi? + +Indiana finally reaches into his pocket. Next to the cash, gold, jewels and poison, Indiana sets down a beautiful small box. Lao and his men stare hypnotically at the exquisite gold and enamel box. + + WILLIE + (nervously) + This Nurhachi's a very small guy. + +Nobody pays any attention to her as Lao reaches for the box. + + INDIANA + Inside are the remains of Nurhachi -- the first Emperor of the Manchu Dynasty. + +Lao opens the box carefully and stares reverently at the grey powder inside. + + INDIANA (Cont'd) + Now what about the antidote, Lao. + + LAO + (holding the box) + At last I have the ashes of my sacred ancestor! + + WILLIE + So, what's the big deal? Let me see it -- + +Willie grabs Lao's arm and some of the precious ashes spill out of the gold box. Stunned by this desecration of his ancestor, Lao grabs Willie by the wrist and twists her arm -- + + LAO + You fool! + + WILLIE + Ow, you're hurting me, you miserable little hood! + + INDIANA + Let go of her, Lao. And give me the antidote. + +Lao just laughs evilly -- until a waiter moves up behind Lao and the crimelord suddenly stiffens. He lets go of Willie's wrist and raises his hands off the table. Chen stops collecting the money and jewels. + +Kao Kan tenses and Indy smiles at Wu Han, the Chinese waiter with the scar, who is standing behind Lao. Wu Han has a towel over his hand -- under it, he has a pistol pressed against Lao's spine. + + INDIANA (Cont'd) + (smiling at Wu Han) + I like the service here. + + WILLIE + (puzzled) + Hey, he's not a waiter... + + INDIANA + No, Wu Han's an old friend I brought along. + (to Lao) + So, the game's not over. Put the antidote on the table, Lao. + +Lao carefully reaches into his pocket and puts a small glass vial of liquid next to the cash, gold, jewels, poison and sacred box. + +Indy looks relieved as he reaches for the vial of antidote -- then he hears a muffled report! And another! + +Wu Han groans and sways. Indy starts to stand but Chen immediately turns the smoking pistol with the silencer that he used to kill Wu Han -- Indy sees it pointed at him now and he remains in his seat. + +Kao Kan stands and grabs Wu Han, easing the phoney waiter into the chair he just vacated. The muffled shooting hasn't attracted any attention. The nightclub activity continues as Indy speaks emotionally to his dying friend. + + INDIANA + Wu Han -- listen to me -- I'm going to get you out of here. + +In pain, Wu Han looks at Indy and struggles to speak -- + + WU HAN + Not this time, my friend... + (smiling bravely) + I followed you on many adventures -- but into the great Unknown Mystery, I go first, Indy... + +Wu Han dies and slumps forward. Indiana is shattered by the death of his old friend. + + LAO + Don't be sad, Dr. Jones -- you will soon join him. + +Indy's gaze shifts from his dead friend to Lao's sneering face. + +Then Indy sees the murderous Chen giggling perversely. Indy's anger is compounded by the poison burning in his gut and his vision of Chen's ugly face blurs into a double image -- Indy stands up unsteadily. Chen assumes he's about to keel over from the poison -- but Indy suddenly turns and grabs a real waiter at another table. The waiter holds a long skewer of roasted pigeons that he's just set afire -- Indy grabs the skewer of pigeons flambee and hurls it across the table! Chen fires and misses -- and screams as the skewer stabs into his chest and the burning pigeons flame in front of his horrified face! + +This the other tables definitely notice. There are screams and all hell breaks loose. Indiana shoves past Willie and reaches for the vial on the table -- + + INDIANA + The antidote -- ! + +But he's grabbed from behind by Kao Kan. Indy elbows the punk, reaches back and grabs his head -- and somersaults Kao Kan onto the table! + +As number two son crashes into the table, the impact sends the Emperor Nurhachi's ashes billowing into Lao's stricken face! + +Indiana yells as he sees the vial of antidote rolling across the table -- and falling! + +Indiana dives and catches the antidote just before it hits the floor -- then Indy's hand is brutally stomped on by one of Lao's henchmen and the vial rolls away. + +Indiana angrily raises his head, smashing it up into the henchman's groin -- the man howls like a banshee and hobbles away. + +Meanwhile, Willie watches Lao grabbing for cash from the table. + +Willie lunges past the pigeon-skewered Chen to snatch the jewels, but unfortunately Kao Kan knocks them off the table as he leaps to attack Indy. + +Indiana scrambles on his hands and knees after the rolling vial. + +People keep kicking it -- he almost has it when Willie runs into him, trips and lands on her back. + + INDIANA + Look out, damn it, I need that antidote! + + WILLIE + Who cares? Where's that diamond! + +Gunfire explodes and they both scramble in different directions. + +Indy dives through the fleeing nightclub patrons and slides behind a water-spewing fountain. Water kicks up as Indy is shot at by Lao and his henchmen. + +Indy sees the vial of antidote kicked again and it spins across the marble floor -- feeling the poison, Indy shakes his head groggily and splashes water on his face. + +Meanwhile, Willie is chasing her diamond, shoving through the panicked crowd. She spots the diamond! Another elegantly dressed woman is bending to pick it up -- + + WILLIE + (acidly polite) + Excuse me, but I believe that's my diamond! + +Willie smiles and suddenly kicks the woman in the butt! Willie reaches to get the diamond but not before the other woman tackles her. + +Behind the fountain, Indiana makes a break -- he runs and dives on top of a serving cart. The wheeled cart hurtles toward an unsuspecting gunman, crashes into him from behind and sends him flying head first into a row of ice buckets. + +Nearby, Willie slugs the other lady in the jaw and grabs for the elusive diamond just as the ice buckets showers ice across the floor -- which camouflages the diamond! + + WILLIE + Aw nuts! + +Searching desperately for the jewel, Willie sees the vial of antidote spinning across the floor --as it slides by, she grabs it. + + INDIANA (O.S.) + Hey, doll! Don't move! + +She sees Indy speeding by atop the serving cart. Lao and his gunmen rush out to block the way. Indy rolls off the cart and slides behind a potted palm as Lao's men open fire again. + + INDIANA (Cont'd) + (shouting to Willie) + Hey, don't go away! I need that! + +Willie smiles meanly as she slips the vial down the front of her dress, thumbs her nose at Indiana and walks away. + + INDIANA (Cont'd) + If I wasn't dying, I'd kill her... + +Hiding behind the palm tree, Indiana looks around and spots a giant statue at the side of the stage. Indy makes a break for it. + +As the gunmen open fire, Indy springs onto a chair -- jumps onto a table -- and leaps onto the stage. He grabs the golden broadsword from the Chinese warrior statue! + +As bullets smash into the statue, Indiana hides behind it. Then he jumps out and swings the large sword toward the enormous brass gong. + +The crimson cord holding the gong is SLASHED! Indy slings the sword at his assailants and gives the three-meter-high gong a helpful shove -- The giant gong rolls and echoes as it crashes down the marble steps. Indiana ducks behind it as it gains momentum and rolls across the dance floor. + +Using the gong as an enormous shield, Indy evades the gunfire exploding -- bullets ricochet off the rolling brass gong as Indy runs behind it. + +Ahead, Willie hurries toward an exit -- she hears something and turns -- her eyes go wide as she sees the mammoth gong bearing down on her! + +Willie yells as Indiana grabs her arm and pulls her behind the gong with him -- Lao watches amazed as he and his gunmen dodge tables trying to get better firing positions -- and more henchmen come into the club now and start firing machine guns! + +As bullets clang against the gong, Indiana and Willie run behind it. Willie hollers as they head directly for a towering, floor-to-ceiling window! + +Indiana grabs Willie around the waist and, after the huge gong crashes through the stained-glass window, they both fly after it! + +EXT. "THE DRAGON" NIGHTCLUB - NIGHT/* 6. */ #6# + +In a shower of sparkling glass, the enormous gong sails out and crashes down a sloping green-tiled roof. Indiana Jones and Willie Scott hurtle into the night air after it! + +The gong rolls down the roof and they hit the tiles behind it, Indiana holding onto Willie as they roll one-over-the-other toward the edge -- Willie screams as they fall into thin air! + +Their entwined bodies plummet three stories: ripping through a third-floor awning, crashing through an old man's mattress on a second-floor balcony -- Finally they smash through the convertible top of a parked Duesenberg and fall into the back seat! + +INT. THE DUESENBERG/* 7. */ #7# + +Willie sits up wide-eyed, speechless and amazed to be alive. + +Then she sees an equally astonished Short Round looking at them from the front seat. + + SHORT ROUND + Wow! Holy smoke! Crash landing! + + INDIANA + Step on it, Short Round! + + SHORT ROUND + Okey doke, Indy! Hold onto your potatoes! + +The twelve-year-old Chinese kid turns his baseball cap bill-backwards and steps on the gas! The tires squeal as the car roars off -- + + WILLIE + For crying out loud, a kid's driving the car?! + + INDIANA + Relax, I've been giving him lessons. + +EXT. THE NIGHTCLUB - NIGHT/* 8. */ #8# + +The Duesenberg races past the entrance to the nightclub as Lao and his men rush out and jump into two black sedans. The sedans screech off in pursuit of the Duesenberg. + +INT. THE DUESENBERG/* 9. */ #9# + +As Short Round eagerly swerves around a corner, Willie holds on for dear life. Indiana suddenly puts his hand down the front of Willie's dress -- + + WILLIE + Listen, we just met for crissake! I'm not that kind of girl! + + INDIANA + Don't get your hopes up -- where's the antidote? + +Indiana withdraws his hand, having finally found the vial. He opens it quickly, tips the vial to his lips and grimaces as he swallows the stuff. + + WILLIE + You don't look very good. + + INDIANA + Poison never agrees with me. + (shouting forward) + Pull a right, Short Round, and head for the Wang Poo bridge! + + SHORT ROUND + Check! Gotcha! + +As the car accelerates, Indy peers out the back window at their pursuers. Willie notices her reflection in the side window -- + + WILLIE + Look at what you've done to me! I'm a mess! My lipstick's smeared, I broke two nails, I've got an awful run in my stocking -- ! + +Gunfire suddenly explodes, bullets whizz through the canvas top and the rear window shatters and sprays glass! Willie ducks and cringes terrified in the corner -- + + INDIANA + Somehow I think you've got bigger problems. + +Indy grabs his shoulder bag and pulls a pistol out of it. He pokes the gun through the broken window and starts firing back at their pursuers -- then he turns and looks ahead. + + INDIANA (Cont'd) + There, Shorty! Through the tunnel! + +Through the windows we see the car racing into a tunnel. Lights from the pursuing cars flash through the rear window and gunfire echoes in the tunnel. + + WILLIE + What're we going to do?! Where're we going?! + + INDIANA + The airport...No, look out, Short Round! Left, left! + +Indy reaches over the front seat and helps Short Round navigate. + +EXT. A SHANGHAI SQUARE - NIGHT/* 10. */ #10# + +The Duesenberg tears around the square, followed by Lao's two sedans. People on the street dive for cover -- coolies pulling rickshaws go into hyper-jov --lanterns spanning the street crash down and are dragged behind the Duesenberg. Bullets explode and amazed prostitutes watch the cars zoom past. + +INT. THE DUESENBERG - NIGHT/* 11. */ #11# + +The chaotic chase continues -- bullets whine past and the shredded convertible top whips in the wind. + + INDIANA + (shouting) + You got the tickets, Short Round? + + SHORT ROUND + Sure, Indy -- three tickets! You, me and Wu Han -- + +Shorty throws an envelope back and Indy looks at the three tickets. + + INDIANA + (sadly) + Wu Han's not coming, Shorty. + +Unaware of what happened at the club, Short Round thinks a moment. + + SHORT ROUND + Don't worry, Indy. Short Round number one bodyguard now! + +Willie reaches for the extra ticket. + + WILLIE + I'll take the extra ticket. + (grabbing it from Indy) + Where's this plane going anyway? + + INDIANA + Siam. + + WILLIE + Siam? But I'm not dressed for Siam... + +EXT. COUNTRY HIGHWAY - NIGHT/* 12. */ #12# + +Leaving behind the squalid port, the Duesenberg flies along the highway through the trees. In a moment, Lao's two sedans race by. + +EXT. NANG TAO AIRFIELD - NIGHT/* 13. */ #13# + +The Duesenberg swings around a curve and skids through gravel toward the airfield. In the distance there is a small terminal but Short Round wheels the car toward the cargo area -- A two-engine passenger plane is revving its motors and the last passengers are boarding. The Duesenberg squeals to a stop and Indy jumps out with Willie and Short Round right on his heels. + +A contingent of airport Military Police move to bar their way until WEBER, a heavy-set Englishman, runs up puffing and shouting. + + WEBER + No, no, they're all right! Let them through please. + + INDIANA + Thanks, Weber. + + WEBER + Dr. Jones, this is positively the last time our airline can hold a plane for you. Now you must hurry! + +While Short Round grabs a small bag out of the car, Weber and a stewardess take their tickets and rush them all toward the airplane. + +Meanwhile, the two sedans skid to a stop and Lao and his son Kao Kan jumps out with their henchmen. The puzzled military police advance on them suspiciously -- Realizing he's outnumbered, Lao instructs his men to stay back and to put away their weapons. + +EXT. THE AIRPLANE/* 14. */ #14# + +Willie and Short Round charge up the ladder and onto the plane. + +Indy pauses at the top of the steps to give Lao a cocky farewell salute. Indy boards the plane and the co-pilot slams the door. + +EXT. THE AIRFIELD/* 15. */ #15# + +The plane starts taxiing. By the cars, Lao is buffeted by the prop wash as he angrily watches the plane roll away. Behind Lao, his son, Kao Kan, stares at the plane taking off -- a look on Kao Kan's face indicates that he hasn't given up yet... + +The plane lifts off the airfield, silhouetted against the clouds and the first light of dawn. + +CUT TO: + +EXT. THE SKY - MORNING/* 16. */ #16# + +The sun flashes above the horizon and the plane banks through white billowing clouds as it heads west. + +INT. THE PLANE/* 17. */ #17# + +A door opens at the rear of the plane and Indiana Jones exits wearing more familiar attire: a beat-up leather jacket over a khaki shirt and a snap-brim hat. He passes a dozen passengers as he moves up the aisle carrying his rolled-up tuxedo. + +In the first row, Willie is busy fixing her make-up. Shorty sits in the seat across the aisle from her. Indy comes up and drops his tuxedo onto the floor. + +Willie sees him hook his coiled bullwhip over a coat-peg. + + WILLIE + So, what're you supposed to be, a lion tamer? + + INDIANA + Since I was nice enough to let you tag along, why don't you give your mouth a rest? Okay, doll? + +Indy pats her leg -- she removes his hand and reaches down and picks up his tuxedo coat. She slips it on. + + WILLIE + I'm freezing. What do you mean, tag along? From the minute you walked into that nightclub, you haven't been able to keep your eyes off me. + + INDIANA + Oh yeah? + +He smiles and tips his hat down over his eyes to go to sleep... + +INT. THE COCKPIT/* 18. */ #18# + +At the same moment, the Chinese co-pilot tips his hat up off his eyes -- and looks scared to death! He exclaims in Chinese -- + + CO-PILOT (\*subtitled\*) + Good lord! + +He and the pilot see two biplanes materialize out of the clouds and dive directly toward them! Suddenly, machine gunfire erupts! + + PILOT (*subtitled) + Dive for the clouds! Dive! + +EXT. THE SKY - DAY/* 19. */ #19# + +The DC-3 banks into the clouds as the two biplanes attack. In the back seat of the first biplane, we see Kao Kan watching the DC-3 like a hawk about to bring down a sparrow. + +INT. THE COCKPIT/* 20. */ #20# + +The biplanes swoop past both sides of the plane and bursts of gunfire rip along the fuselage. + + CO-PILOT (*subtitled) + They hit a fuel line! + + PILOT (\*subtitled\*) + Reduce speed -- get everyone out of the plane! + +INT. THE PASSENGER CABIN/* 21. */ #21# + +As the air battle rages, the passengers are tossed about and some start screaming. Short Round peers out a window. + + SHORT ROUND + Lao send planes to kill Indy! + +Willie shakes Indy's arm but he continues snoring under his hat. + + WILLIE + Wake up! It's the drug he drank to stop the poison -- + +The cockpit door bursts open and the Chinese co-pilot exits to make an announcement -- he smiles and speaks in CHINESE, then he smiles and speaks in FRENCH -- Willie looks lost until the Chinese co-pilot smiles again and speaks in ENGLISH -- + + CO-PILOT + Please to remain calm. We start passing out parachutes now -- + +The co-pilot hurries toward the rear. Willie looks petrified as a stewardess rushes up and hands her a parachute. + + WILLIE + You got to be kidding! No! No, I can't! + +The pilot hurries out of the cockpit and grabs his parachute as he heads toward the back. + + WILLIE (Cont'd) + Wait -- who's flying the plane?! + +She opens the door to the cockpit -- + + WILLIE (Cont'd) + Nobody's flying the plane ... + +EXT. THE SKY - DAY/* 22. */ #22# + +The DC-3 smokes through the clouds. Passengers are bailing out -- parachutes billowing. As one of the fighters swoops through the parachutes, Kao Kan searches the faces -- then he points at the DC-3. + + KAO KAN + (into the radio) + Jones! Indiana Jones! + +The two planes roar off and start strafing the DC-3 again. + +INT. THE PASSENGER CABIN/* 23. */ #23# + +The co-pilot has a parachute on and is trying to get Short Round into one. + + CO-PILOT + Put it on! What's wrong with you? You've got to jump! + + SHORT ROUND + No, can't leave Indy! + +Short Round suddenly butts the co-pilot in the stomach with his head. The co-pilot yells and falls out the door. Short Round sees the co-pilot's parachute billow. Then Willie rushes up. + + WILLIE + Give me that parachute, I changed my mind -- + +She grabs the parachute and starts to fight Shorty over it-- + + SHORT ROUND + No, this last one! It's for Indy! + +They scuffle until the parachute skids across the floor. Short Round jumps for it -- the parachute falls out the door and Short Round starts to fall out after it! + +Willie grabs him by the seat of his pants and hauls him back from the abyss! + +EXT. THE SKY - DAY/* 24. */ #24# + +The fighters peel off toward the DC-3 with their guns flaming in another attack. + +INT. THE PASSENGER CABIN/* 25. */ #25# + +Short Round tries to wake Indy again. Finally, Shorty grabs Indy's bag, pulls his holster out of it and runs toward the back. + +Indy continues to sleep -- until bullets smash the window by his head and a fire extinguisher is hit and starts spraying into Indy's face. + +He finally awakens and jumps up. He looks around in disbelief at the battle-torn, nearly-empty airplane. + + INDIANA + (groggily) + We there yet? + +Indiana sees Shorty shooting his pistol out the side door as the planes swoop by again. Out of ammo, Shorty throws the gun angrily at the passing plane. + +Indiana picks up his whip and attaches it to his belt as Willie runs over to him. + + WILLIE + There's nobody flying the plane! + +INT. THE COCKPIT/* 26. */ #26# + +The door flies open and Indy rushes in with Willie behind him. + +Indy appraises the situation quickly and jumps into the pilot's seat with total confidence -- + + WILLIE (Cont'd) + You know how to fly? + +Indy surveys the control panels, the myriad of dials and switches -- + + INDIANA + No. + (hopefully) + Do you? + +INT. THE PASSENGER CABIN/* 27. */ #27# + +Willie runs screaming out of the cockpit, her last hope shattered. Shorty is pulling something out of the cargo compartment -- he's found a machine gun and sets it up on a short tripod. + + SHORT ROUND + Come here, lady, hold this and shut up please! + +He pulls Willie down to the floor and shoves her the ammunition belt that's draped toward the gun. Then Shorty jumps behind the machine gun -- As the first fighter appears off their side, Short Round blasts out the open door! The machine gun explodes to life, chewing bullets, smoking and spitting shells at Willie -- Willie hollers terrified but manages to feed the ammo belt as Short Round sights the blazing machine gun -- suddenly he whoops! + +Willie sees the fighter hit -- it smokes and veers away -- and then EXPLODES! + + SHORT ROUND + I get it! + + WILLIE + You got it! + +The second plane swoops down and Short Round blasts away. This time as he swivels the gun, he misses and hits one of the DC-3's own engines and it explodes! + + SHORT ROUND + Oh oh -- big mistake! + +INT. THE COCKPIT/* 28. */ #28# + +Trying to figure out the controls, Indy looks up to see their engine explode into flames -- + + INDIANA + (angrily) + Short Round, what in the hell are you doing? + +Suddenly the DC-3 emerges out of a cloud and Indy sees they are headed directly for a mountain! He pulls back hard on the controls as a rocky peak looms lethally in front of them. + +EXT. THE SKY - DAY/* 29. */ #29# + +The DC-3 lifts at the last second and smashes some snow off the uppermost pinnacle as it clears the mountain by inches! + +Kao Kan's fighter is glued to the DC-3's tail and continues to strafe -- but the fighter pilot pulls up too late -- and the fighter explodes as it hits the peak of the mountain! + +INT. THE PASSENGER CABIN/* 30. */ #30# + +Indy rushes out of the smoking cockpit to find Willie and Short Round crawling out from under the debris that's fallen on them. + +Then Indy spots something in the wreckage -- He pulls at some yellow canvas and Willie sees a sign: EMERGENCY LIFE RAFT. Indy drags the folded canvas over to the open door. + + WILLIE + Are you crazy, a life raft?! We're not sinking, we're crashing! + + INDIANA + Get over here, damn it! Short Round, come on, grab onto me tight! + +Willie sees Short Round rush over to Indiana and grab him around the waist from behind. Willie finally jumps up and runs over -- + + WILLIE + Wait for me! + +She throws her arms around Indy's neck so that she and Shorty are both hugging him from behind. Indy clutches the folded life raft in front of him and surveys the mountainside rushing close beneath the sinking airplane -- Finally, an instant before the plane will hit, Indy dives and pulls the inflation cord! + +EXT. THE SKY/* 31. */ #31# + +As the smoking DC-3 screams out of control toward the mountain, skimming the rocky snow-covered slopes, we see the life raft spilling out the open door -- The raft pops into its full shape, acting now as a spoiler, soaring against the rushing wind and finally crashing and bouncing against the snowy mountainside. + +In the distance, we see the DC-3 finally kiss the earth and explode in a cloud of flame against a rocky escarpment -- metal and earth mushrooming in a million directions! + +EXT. THE MOUNTAINSIDE/* 32. */ #32# + +As the raft rockets down the snow, Indiana clutches the front and Willie and Short Round hold on for dear life on either side of him. + +The raft plummets down the mountain, crossing the timber-line and entering a forest. Bouncing over a snow-hidden log, the raft shoots directly for a tree -- Indiana pulls on the perimeter rope, rolls on his side and manages to swerve the raft so it caroms off the snow-drifted side of the tree trunk. + +Continuing its downhill run, the raft smashes across a small stream, sending silvery water spraying. + +As the raft skids below the snow-level, it starts bouncing over rocky ground and its three passengers' teeth start chattering. + +EXT. A BLUFF/* 33. */ #33# + +The yellow raft crashes through a tangle of bushes and then plummets toward a bluff! The raft goes airborne over a small bluff and lands with a splash in a slow-moving river. + +EXT. THE RIVER/* 34. */ #34# + +The life raft drifts down the river and Indy looks around and smiles cockily at Willie and Short Round -- Their faces don't show gratitude, but horror -- Indy hears something and turns to see: + +EXT. WHITE WATER RAPIDS/* 35. */ #35# + +The raft is heading directly toward a surging stretch of treacherous rapids. Indiana looks less cocky as he and Willie and Short Round hold on again for dear life! + +The raft plunges into the roaring torrent, bouncing over rock-swollen waves, twisting and spinning through narrow gaps. The three helpless passengers are drenched in the thundering cascades of white water. + +Willie is hollering, Short Round hangs on wide-eyed and even Indy looks terrified as the raft crashes down the rapids. Finally, after one heart-stopping bounce, the raft seems to slow. + +EXT. RIVER CLEARING/* 36. */ #36# + +The raft drifts out of the main part of the river and glides toward a clearing. Its three soaked and bedraggled passengers lie motionless in the bottom. + +Indy's hand drags alongside the raft, his fingers leaving a trail in the almost still water. Battered and exhausted, but always Indy's "bodyguard", Shorty looks over at him worriedly -- + + SHORT ROUND + Indy? + + INDIANA + Okay, Shorty. + +Indy looks over at Willie who is moaning. + + INDIANA (Cont'd) + You all right? + + WILLIE + No... I'm not cut out for the kind of life you lead. + (moaning) + Oh no...I ripped my dress. Where are we anyway? + +The raft floats to a gentle stop -- we see it nudge against a pair of dark feet. Indy squints up into the sun and sees something. + + INDIANA + India... + + WILLIE + Holy cow -- India? How do you know we're in -- + +She rolls over and yelps as she looks up at the bizarre, painted face of a SHAMAN. Silhouetted against the blazing sun, the skinny little old man in a loincloth stares down at them in the raft. + +An eerie wind rises and howls. The old man places his palms together and moves his hands up to touch his forehead. Willie and Short Round watch mystified as Indiana returns the old shaman's silent greeting. + +CUT TO: + +EXT. THE MAYAPORE HILLS - DAY/* 37. */ #37# + +Indy and Short Round follow the shaman and four peasants down a gutted path through barren rolling hills. Willie is out of her milieu, stumbling along this forlorn landscape in high heels, tuxedo jacket and disheveled lame gown. + +She hears the old shaman talking to Indy and catches up with them to find out what's going on. + + WILLIE + (to Indiana) + What'd he say? + + INDIANA + He told me they knew I was coming here. + + WILLIE + What do you mean -- how? + + INDIANA + The old man saw it in a dream. + + WILLIE + Dream -- nightmare is more like it. + + INDIANA + He said that's why they were at river -- they were waiting for the plane to fall down. + +He looks at her bewildered face and smiles faintly. As they walk, a hot wind swirls dust around them, a wind slowly ravaging what soil is left in this terribly blighted region. + +CUT TO: + +EXT. MAYAPORE - DAY/* 38. */ #38# + +At the base of the hills, Mayapore village does nothing to relieve the awful sense of devastation. A desolate road runs through the village, along which groups of pitifully poor villagers stare at the strangers being brought in. + +Hopeless women lift buckets from a dry well -- finding only sand. + +Skinny miserable dogs skulk between the decrepit village huts, eyed by the patient vultures lurking in scraggly trees. + +Indiana notices the wretched peasants staring at Short Round, some of them pointing at him, a few haggard women shedding tears down their wrinkled faces as the little Chinese boy passes. + +There is no sign of children in the village and Short Round grows frightened by the odd attention. He moves closer to Indy as they pass the devastated population. + +CUT TO: + +EXT. MAYAPORE VILLAGE - AFTER SUNSET/* 39. */ #39# + +Black clouds clot across the blood-red sky as darkness falls. + +Indiana, Willie and Short Round sit tensely on a shabby rug. + +Above their heads, there is a thatched roof, but there are no walls. + +The dying sunset silhouettes them and the half-dozen elders seated in the dirt around them. A grey-haired man, the village CHIEFTAIN, gives quiet commands to the women who scuttle in and set wooden plates in front of the three visitors. No plates are placed in front of the elders. + + WILLIE + (quietly to Indy) + I hope this means we're going to get some dinner. + +Indiana sees the painted shaman, who sits next to the chieftain, watching Willie. The women bring in a bowl from which they scoop tiny portions of grey gruel onto three plates. + +To this the women add a few grains of yellowed rice and a withered, molding piece of fruit. Willie looks aghast at the unappetizing combination. + + WILLIE + (quietly) + God, I am starving, but I can't eat this... + + INDIANA + That's more food than these people eat in a week. + (pointedly) + They're starving, too... + +Willie looks around at the emaciated faces and feels like crawling into a hole. + + WILLIE + I'm sorry, I -- here, please. + +She picks up her plate and gently hands it back to the women. + +The chieftain finally speaks to them -- + + CHIEFTAIN + You will rest here before you go on. + + INDIANA + We'd appreciate that. This was an unexpected detour. We'll have to go to Delhi now and find a flight west. + + SHORT ROUND + (smiling) + Indy is taking me to America. + +All eyes are on Short Round. Puzzled by this strange attention, Shorty's smile fades nervously. + + INDIANA + I'm a professor. I have to return to the university. Can you give us a guide to take us to Delhi? + +The chieftain indicates a young villager sitting near them. + + CHIEFTAIN + Sanju will guide you. + + INDIANA + Thank you. + +The old shaman speaks now for the first time. + + SHAMAN + On the way to Delhi, you will stop at Pankot. + + INDIANA + (puzzled) + Pankot isn't on the way to Delhi. + + SHAMAN + You will go to palace there. + + INDIANA + Hasn't the Pankot palace been deserted since the Mutiny of 1857? + + SHAMAN + (darkly) + No. Now there is new Maharajah -- and palace is powerful again. + +The shaman looks around at his unfortunate people. + + SHAMAN (Cont'd) + It is Pankot Palace that kills my village. + + INDIANA + I don't understand. What's happened here? + + SHAMAN + The evil starts in Pankot. Then like monsoon, it moves darkness over all country. + + INDIANA + What evil? + + SHAMAN + They came from Palace and took sivalinga from our village. + +Willie looks over at Indiana -- + + WILLIE + Took what? + + INDIANA + It's a sacred stone in a shrine that's supposed to protect a village. + + SHAMAN + It is why Krishna brought you here. + + INDIANA + (politely firm) + Nobody brought us here. Our plane crashed. We were shot down by -- + + SHAMAN + (interrupting) + No. We pray to Krishna to help us find the stone. It was Krishna who made you fall from sky -- so you can go to Pankot Palace. To find sivalinga -- and bring back to us. + +Indy's about to object -- then he looks at the sad chieftain, the elders and peasants who are watching him helplessly. And he sees again the dark steady eyes of the old shaman. + +CUT TO: + +EXT. MAYAPORE VILLAGE - NIGHT/* 40. */ #40# + +Torches flare eerily and dogs howl as the peasants accompany the shaman, elders and three visitors out of the edge of the dark village. Short Round walks beside Indy. + + SHORT ROUND + Indy, they make our plane crash? To get you here? + + INDIANA + It's just superstition, Shorty. Like a ghost story. + +Short Round looks plenty scared as they all stop walking. The shaman motions and the men with torches circle around a pile of rocks to illuminate them. The shaman makes a gesture of devotion to the primitive shrine and Indy speaks to the village chieftain. + + CHIEFTAIN + Yes. + +Indiana seems skeptical as he kneels to study the shrine. On top of the pile of rocks, there is a carved niche. The niche is empty but an indentation indicates the conical shape of the stone that was stolen. + + INDIANA + Was the stone very smooth? + (he sees the chieftain nod) + It was probably brought here from a sacred river. + + SHAMAN + (joining Indy and the chieftain) + Long ago -- before my father's father. + + INDIANA + And it had three lines painted across it? + (seeing the shaman nod) + The lines represent the three levels of the universe. I've seen stones like the one you lost. + +Indy stands slowly. Willie is beside him looking at the shrine. + + WILLIE + I don't understand how losing one rock could destroy this village. + (whispering to Indy) + Is it really powerful? + +Indy gives a doubtful smile. He turns again to the old shaman. + + INDIANA + But why would the Maharajah take this sacred stone? + + SHAMAN + They say we must pray to their evil god. We say we will not. + +The old shaman looks off and fights the tears in his eyes as he starts speaking in Hindi. + + INDIANA + (translating) + He says that when the sacred stone was taken the village wells dried up first and then the river stopped. + +Indy turns and asks the shaman a question in Hindi. The shaman answers in Hindi. + + INDIANA + (translating) + He says their crops died and then the animals died. + +The shaman walks to the edge of the torchlight and looks out into the darkness as he continues speaking emotionally in Hindi -- + + INDIANA + (translating) + And then they took their children. + + WILLIE + Their children? + +She looks at Short Round and finally understands the sorrowful faces always watching him. Indy asks another question in Hindi and the shaman continues his story -- + + INDIANA + (translating) + He says one night there was a fire in the fields. The men went to fight it. When they came back, they heard the women crying in the darkness. And the children were gone. + +The shaman walks slowly toward Indiana. + + SHAMAN + You will find them when you find sivalinga. + + INDIANA + I'm sorry, I don't know how I can help you here. + +The shaman and the chieftain stare at Indiana, refusing to accept that. + + INDIANA (Cont'd) + The English authorities who control this area are the only ones who can help you. + + CHIEFTAIN + They do not listen. + + INDIANA + I have friends in Delhi and I will make sure they investigate this... + + SHAMAN + No, you will go to Pankot... + +The old man speaks again in his own tongue and Indy looks disturbed. + + WILLIE + What'd he say now? + + INDIANA + It was destined that I came here -- and the future cannot be changed... + +Indy looks at the shaman and the torchlight reflected in his eyes. + +CUT TO: + +EXT. MAYAPORE - NIGHT/* 41. */ #41# + +Suddenly we're rushing headlong down a dark dirt path seen from the POV of somebody running in terror. We hear heavy breathing -- above we see the scraggly trees blowing against the full moon as an eerie wind rises and howls. We continue crashing through the dying fields toward the dark village... + +INT. INDIANA'S HUT - NIGHT/* 42. */ #42# + +The wind swirls into the hut and Indiana's eyes open. He lies still a moment and then sits up slowly. He sees Short Round sleeping nearby. + +Sensing something strange, Indy gets to his feet. He steps around Short Round and goes to the door of the hut. + +EXT. THE HUT - NIGHT/* 43. */ #43# + +Indy walks against the rising wind and looks around. The village is asleep and seems deserted. Then he turns and sees something. + +We follow small bare feet stumbling through the dust... + +Indy sees an emaciated child in rags running out of the darkness. + +Indiana moves forward and the child runs toward him. Indy grabs the little boy as he falls into his arms. + +CUT TO: + +INT. THE SHAMAN'S HUT - NIGHT/* 44. */ #44# + +A few minutes later, the little boy is lying unconscious on a blanket. Elders crouch around him. Indy is kneeling and watches the shaman wet the boy's forehead with a rag and drip water onto his lips. + +The little boy's eyes open and he begins to revive. Short Round And Willie watch from a corner as the little boy looks at all the faces peering down at him. + +The little boy's arm moves and he reaches out to Indy rather than any of the others. Indy takes his small hand and sees that the boy's fingers are cut and bruised -- his fingers open and drop something into Indy's hand. + +The little boy tries to whisper. Indy has to lean close to hear as the little boy's lips move again -- + + LITTLE BOY + Sankara... + +A mother rushes into the hut now and kneels and hugs her little boy. His skinny arms go around her as they are reunited. Indy stands slowly and looks at what the little boy gave him -- It is a small tattered piece of cloth: an old fragment of a miniature painting. Indiana looks at it with an expression of recognition and apprehension... + + INDIANA + Sankara... + +EXT. THE VILLAGE - MORNING/* 45. */ #45# + +The camera follows Indiana -- he's walking fast and determinedly. Villagers trot alongside of him, trying to keep up with his pace as he questions them in Hindi. + +Indy approaches two large elephants and sees their guide Sajnu trying to politely drag Willie toward one of them. + + INDIANA + Damn it , Willie, get on -- we've got to move out! + +Willie's head comes up over the back of the elephant as she's helped from below -- there is a look of sheer terror on her face. + + WILLIE + Whoa! Easy now -- nice elephant... + +Waiting by the second elephant, Short Round sees Indy coming and runs up to him -- + + SHORT ROUND + I ride with you, Indy? + + INDIANA + Nope, you got a little surprise over there, Shorty. + +Short Round runs around the big elephant and sees a baby elephant being brought out. He can't believe his luck -- + + SHORT ROUND + Oh boy! + +Meanwhile Sajnu goads Willie's elephant over. The villagers look grief stricken and many are crying as they watch the three strangers' departure. + + WILLIE + (to Short Round) + This is the first time anybody ever cried when I left. + + SHORT ROUND + They don't cry about you. They cry about the elephants leaving. + + WILLIE + Figures... + + SHORT ROUND + They got no food to feed them. So they taking the elephants away to sell them. + +Indy lumbers over on his elephant. + + INDIANA + All right, let's go. I want to get to Pankot before tomorrow night. + +She looks at Indiana as he rides past. + + WILLIE + Pankot?! I thought we were going to Delhi! Hey, wait a minute! + (looking at the villagers) + Can't somebody take me to Delhi?! I don't want to go to Pankot! + +Sajnu guides her elephant and Willie lurches forward -- + + WILLIE (Cont'd) + (yelling) + Indiana! Damn it! Why'd you change your mind? What did that kid tell you last night?! + +Indy ignores her hollering. The elephants move off through the crowds of pitiful villagers. Indy sees the elders, chieftain and the old shaman who brings his hands up to his forehead as Indy rides past. + +CUT TO: + +EXT. THE COUNTRYSIDE - DAY/* 46. */ #46# + +The elephants move across the desolate countryside toward the distant hills. + +EXT. THE TRAIL/* 47. */ #47# + +Indiana rides the lead elephant. Sajnu passes on foot guiding Willie's elephant. With the tuxedo jacket wrapped around her waist, Willie is dabbing perfume behind her ears. + + WILLIE + (to her elephant) + I think you need this more than me. + +Willie leans forward and puts perfume behind the elephant's ears. + +Grimacing at the animal's smell she simply dumps the rest of the perfume on the elephant's back. + +Willie yelps when the elephant's trunk comes back, sniffs the foreign fragrance and suddenly trumpets in disgust. + + WILLIE (Cont'd) + What're you complaining about, this is expensive stuff! + +CUT TO: + +EXT. LOWER JUNGLES - DAY/* 48. */ #48# + +From a cliff, we see the elephants below passing into the lower jungles. + +Spotting something on an overhanging tree branch, Short Round stands up precariously on the baby elephant's back. He pulls a vine from the tree as they pass under it. Plopping down onto the baby elephant's back, he picks the wild fruit from the vine -- + + SHORT ROUND + Here you go, lunch time! + +The baby elephant's trunk comes back and takes the fruit. Shorty looks up in the sky. + + SHORT ROUND (Cont'd) + Indy, look! + +Indiana and Willie look up and see hundreds of enormous winged creatures flapping across the afternoon sky. + + WILLIE + Those are very big bird. + +Sajnu says something and Indiana nods. + + INDIANA + Those aren't birds -- those are giant bats. + +Willie shudders as she watches the bats. + +CUT TO: + +EXT. THE HILLS - AFTERNOON/* 49. */ #49# + +An enormous sun silhouettes the three elephants trekking westward. + +CUT TO: + +EXT. A RIVER - LATER AFTERNOON/* 50. */ #50# + +The three elephants stand sucking up river water with their trunks. Seated on the huge beasts, Willie, Short Round and Indiana watch the thirsty animals. + + WILLIE + They must be pretty dumb to drink that awful-looking water. + +In response, Willie's elephant calmly lifts its trunk and sprays her in the face. Short Round and Indy laugh as Willie sits soaked and shocked. + + INDIANA + I think maybe we'll camp here. + +CUT TO: + +EXT. THE RIVER - SUNSET/* 51. */ #51# + +A plume of water sprays. The three elephants submerge in a deep, wide spot in the river. Indy wades in the current with his shirt off. He and the guide splash water on the weary animals. + +Short Round laughs and plays with the baby elephant. Wrapped in its trunk, he's swung in the air and lands on the elephant's back. Shorty makes a swan dive back into the water and the baby elephant gives him a shower when he surfaces. + +EXT. UPRIVER/* 52. */ #52# + +Thirty yards upstream, birds and monkeys chatter in a tree. In the shady river beneath, Willie surfaces cooly and wipes hair from her eyes. She hums contentedly. + +Indiana wanders up the riverbank in his dripping trousers. He notices Willie's wet clothes spread over a tree limb hanging low over the water and then he sees Willie paddling around. + + INDIANA + Hey, Willie -- I think you better get out now. + + WILLIE + Stark naked? You wish... If you're trying to seduce me, Dr. Jones, this is a very primitive approach. + + INDIANA + Me seduce you? Honey, you're the one who took your clothes off. + (shrugging) + I just came over to remind you that you never know what else might be in the water. + + WILLIE + Somehow I feel safer in here. + +As Indy turns and starts off, Willie reaches up to the tree branch above her head and grabs her underwear. At this moment we notice something awful: + +A BOA CONSTRICTOR is moving out along the branch, the enormous snake slithering over Willie's clothes. + +Willie watches Indiana walk away as she reaches up for her dress -- her hands feel something strange -- not the dress and not the tree limb -- Willie looks up and sees that she's pulling on a snake! She SCREAMS as the boa constrictor falls off the tree on top of her! + +Indy hears the scream and hears Willie calling to him. He runs back toward the river. Stopping on the riverbank, he sees Willie backing away in the water -- Indiana's already starting to pull his boots off -- + + WILLIE + Indy! Help me! + + INDIANA + Don't worry, I'm coming in! What is it? + + WILLIE + A snake! + +Suddenly Indiana freezes and a strange look crosses his face -- + + INDIANA + A what...? + + WILLIE + A SNAKE!! + +He finally sees the boa constrictor thrashing in the water close to Willie. He leaves his boots on. + + WILLIE (Cont'd) + Hurry, help me out of here! What're you waiting for?! + + INDIANA + Uh, listen -- Willie -- I got a better idea. + + WILLIE + What?! + + INDIANA + First of all -- don't panic! + +Willie suddenly screams as the boa constrictor wraps around her arm -- + + WILLIE + It's got me ! Indy, help me! + +Indy runs along the riverbank, trying to get closer to her, but not about to jump into the river (due to his aversion to snakes -- see Episode One: "Raiders of the Lost Ark"). + + INDIANA + Don't let it pull you deeper! + + WILLIE + It's pulling me deeper! + + INDIANA + Don't let it curl around you! + + WILLIE + It's curling around me! Damn it, stop talking and do something! + +The snake is wrapping around her body and neck -- her head is barely above water -- On the riverbank, Indy reaches down and grabs a piece of wood. + +But as he watches the repulsive reptile, he starts to sweat and his fear and loathing overpower him -- + + WILLIE (Cont'd) + What's wrong?! Indy please help me! + +Indy groans and bolsters his courage -- he takes two steps into the water -- but the complex is too strong and he can't go any further. He drops the piece of wood... + + INDIANA + Listen, Willie. Do exactly what I tell you now. + + WILLIE + What?! + + INDIANA + Can you move your arm? + + WILLIE + Just one arm! + + INDIANA + Okay, I want you to lift your hand -- and pet the snake. + + WILLIE + PET IT??!! + + INDIANA + Yes, stroke it right along the maxillary and precaudal vertebrae. + + WILLIE + THE WHAT?! + + INDIANA + Pet it on the head! Go on, pet it! + +In the water, Willie is whimpering as she lifts her hand and starts petting the snake coiling around her pale body. + + WILLIE + Oh -- my -- god -- it's going to crush me! + + INDIANA + Keep stroking it! + +Willie keeps rubbing her hand along the snakes head and back and it slowly stops thrashing in the water. + + INDIANA (Cont'd) + What's happening? + + WILLIE + It's starting to let go! + + INDIANA + That's good -- you're doing fine. + +Grimacing as she stares at the ugly serpent's head, Willie keeps stroking it. + + WILLIE + It's letting go. I think it's -- I think it's going to sleep! + +Indiana looks relieved. He sees the snake starting to drift away from Willie and she starts paddling back to shore, collecting her floating clothes along the way. + +Holding her dripping dress against herself, she walks out of the water toward Indy who smiles at her weakly. + + INDIANA + See -- I got you out... + +She slows and hauls off and punches him in the mouth. Indy holds his jaw as she walks away infuriated. + + WILLIE + Thanks for nothing! I hate snakes! + + INDIANA + (looking at the water) + I know the feeling... + +CUT TO: + +EXT. THE CAMPSITE - NIGHT/* 53. */ #53# + +By firelight, we see Sajnu feeding the big elephants while Short Round feeds and talks to the baby elephant -- + + SHORT ROUND + You come to America with me, and we can get job in the circus -- you like that? + +The baby elephant trumpets affirmatively. + +A ways off, Willie stands wrapped in a blanket watching Shorty and the elephant as she dries her hair by a campfire. Now Indy comes up and drops an armload of wood for yet another fire. + + WILLIE + Where'd you find your little bodyguard? + + INDIANA + I met Short Round when he tried to pick my pocket. + +Indiana kneels and arranges the wood. + + INDIANA (Cont'd) + Shorty's family was killed when they bombed Shanghai. He was living on the streets. + + WILLIE + (smiling) + He'll be okay. He's a good kid. + +Indy strikes a match and lights the new fire. + + WILLIE (Cont'd) + All these fires -- you expecting more snakes, Dr. Jones? + +She smiles snidely and continues drying her hair. + + INDIANA + By the way, how'd you end up in Shanghai? + + WILLIE + Well, when my nightclub career was run over by the Depression, some pinhead convinced me that "a girl could go places in the Orient..." So, look where I got. + +Indy picks up a blanket and spreads it on the ground. + + INDIANA + What about the future? + + WILLIE + Oh, that's easy -- I'm going to latch onto a good-looking, incredibly rich prince. + +Indy lies down on the blanket. + + INDIANA + I'd like to find one of those myself. + + WILLIE + (raising an eyebrow) + Oh really? + + INDIANA + Yeah, but he's got to be dead and buried for a couple of thousand years. + (smiling) + Fortune and glory... + + WILLIE + Is that what you're hoping to find at this palace, Dr. Jones? + + INDIANA + Maybe... + +Indy reaches into his pocket and removes the old piece of cloth. + + WILLIE + What's that? + +She walks over to where he's lying down and sits on a boulder. + +He hands her the cloth and she looks at it by the firelight. + + INDIANA + Something that kid gave me last night. It's a piece of an old manuscript. + +Willie sees a crude drawing in reds, blue and gold. + + INDIANA (Cont'd) + The drawing shows a priest named Sankara who lived centuries ago. + + WILLIE + What does the writing say? + + INDIANA + It's Sanskrit. It tells the story of Sankara climbing Mt. Kalisa where he met the Hindu god Shiva. + + WILLIE + (examining it) + That's Shiva? What's he giving the Priest? + + INDIANA + Legend says he told Sankara to go forth and combat evil. To do that he gave him five sacred stones that had magical powers. + + WILLIE + (looking at Indy) + You mean magical like the rock that was stolen from that village? + +Indy looks at her meaningfully. + + INDIANA + It could be. + +Willie seems frightened. She hands him the piece of cloth and stands up. + + WILLIE + (quietly) + Fortune and glory...sweet dreams, Dr. Jones. + +She picks up a blanket and starts off. + + INDIANA + I think you should sleep closer. + (seeing her suspicious look) + I meant for safety. + + WILLIE + (smiling) + I'd be safer sleeping with that snake. + +She steps over to a tree by the fire where her clothes are drying. Indy watches her pull her dried clothes from the lower branches. + +She reaches up to remove another piece of her clothing -- it's stuck to the tree and she looks up and yanks it. Suddenly the piece of clothing moves! + +Two enormous wings open and the hideous face of a GIANT BAT screeches and hisses at Willie! She screams hysterically as the bat flaps against her, biting and scratching at her before it finally takes off. + +The bat flies off into the darkness and Indy chuckles as he watches Willie shaking as she backs slowly toward the fire -- + + WILLIE + Did you see it?! It was one of those bats! + (staring into the darkness) + God, what else is out there...?! + +She quickly picks up her blanket and lays it out very close to Indy. + + INDIANA + Couldn't keep away, huh? + + WILLIE + Just try and control yourself. + +Indiana watches her lie down and wrap herself in her blanket. then he rolls over and tips his hat down over his eyes to get some well-deserved shut-eye. + +In a moment, however, we see something grotesque and snake-like slide into frame and move towards Indy -- finally, we realize it's an elephant's trunk. The trunk nudges Indy's shoulder. + + INDIANA + (without looking) + Still scared? Okay, Willie, you can get closer if you want... + +The elephant's trunk moves closer and nuzzles Indy's neck. + + INDIANA + Honey, I knew you'd be the first one to give in... + +Now, we see that Short Round is guiding the baby elephant's trunk with a prod. Willie watches, stifling a laugh as the elephant's trunk sniffs Indiana's ear -- + + INDIANA (Cont'd) + You're going to start something I'm going to have to finish. + (moaning) + Okay, doll, you asked for it. + +Indiana rolls over, lifts his hat and hollers! He nearly jumps out of his pants as he stares into the elephant's trunk. Willie and Short Round dissolve into laughter. + +CUT TO: + +EXT. THE JUNGLE - DAY/* 54. */ #54# + +Tall, vine-covered trees sway in the wind. Beneath them, the elephants plough through the dense tropical forest. The sounds of the teeming jungle multiply as Short Round surveys the distant hills. + + SHORT ROUND + Indy, look! + + INDIANA + That's it. Pankot Palace. + +Willie looks off at the resplendent white Moghul-style palace rising in the distance above the jungle. + +CUT TO: + +EXT. A JUNGLE CLEARING - LATER/* 55. */ #55# + +Their Mayapore guide walks toward the camera and suddenly looks frightened. He barks commands and the elephants stop. Indiana jumps down and joins the fearful guide. + +They stare at a small statue of a malevolent goddess with eight arms. Around the goddess's neck, a carved necklace displays small human heads -- her eight hands hold other heads by their hair. + +Indiana moves closer to the statue as the terrified guide backs away. Indy is fascinated by the ritual objects adorning it: leaves, dead birds, rodents and turtles. Indiana grimaces as he lifts a necklace of real pierced human fingers... + + WILLIE (O.S.) + Why are we stopping here? + +Indiana goes back and joins the scared, jabbering guide who is helping Willie down from the elephant. Short Round jumps down. + + SHORT ROUND + What you look at, Indy? + + INDIANA + Just a statue. + + WILLIE + What's the guide talking about? He hasn't said a word the whole trip. + +Indy listens to the agitated guide and then speaks a few words in Hindi back to him. They watch the distressed guide turn the elephants and start away with them as fast as possible. + + WILLIE + He's afraid of something. + + INDIANA + He said he couldn't take us any farther. He has to go sell the elephants. + + WILLIE + You mean we have to walk the rest of the way? + +Willie moans and follows Indy. Short Round watches the elephants trudging away. The little elephant turns and looks back. Short Round quickly wipes a tear from his face. + +CUT TO: + +EXT. A PALACE APPROACH - AFTERNOON/* 56. */ #56# + +Indiana and Short Round hike up a rock-paved road beside a high wall. Exhausted, carrying her high heels, Willie trudges along behind them. + + WILLIE + -- shot at, fallen out of a plane, nearly drowned, squashed by a snake, attacked by a bat -- I smell like an elephant! + (yelling) + I tell you I'm not going to make it! + +Indiana finally stops. He walks back to Willie, suddenly picks her up in his arms and starts carrying her the remaining way. + +Willie is surprised and puzzled. + + INDIANA + Any more complaints? + + WILLIE + (smiling faintly) + Yeah, I wish you'd thought of this sooner... + +She doesn't seem to mind being carried by Indy. He arrives at the entrance to the palace and puts her down -- she stands close to him and he gently smoothes the collar of her dress. + + INDIANA + It doesn't feel like there's been any permanent damage. + +She smiles at him again and then turns around -- and whistles as she sees Pankot Palace: a sprawling, monumental mixture of Moghul and Rajput styles, the palace is an extravaganza of Princely architecture. + +EXT. A BRIDGE/* 57. */ #57# + +The three travelers start across a marble bridge toward the main entrance. Lined along the bridge, palace guards stand with lances. + +As the threesome passes, the first Rajput guard snaps noisily to attention and Willie jumps. As Willie continues across the bridge, the other guards snap to attention in sequence and she grins, enjoying the attention. + +INT. THE OUTER COURTYARD/* 58. */ #58# + +Short Round and Willie follow Indiana through a dark archway into a glittering courtyard. The palace seems deserted and foreboding. + + INDIANA + Hello?...(hello?)...(hello?) + +Indy's voice echoes off the marble facades -- three enormous Rajput guards with curved swords in their sashes appear silently at opposite sides of the courtyard. + + WILLIE + (frightened) + Hi...(hi)...(hi)... + +Then, a tall severe-looking Indian in an English suit materializes out of the shadows and comes forward slowly. CHATTAR LAL appraises the intruders suspiciously: + +He sees a woozy beauty in a weary evening gown; a dirty Chinese kid with a baseball cap; a rugged-looking American carrying a bullwhip... + + CHATTAR LAL + I would say you look rather lost. + (disdainfully) + But then I cannot imagine where in the world the three of you would look at home... + + INDIANA + (smiling evenly) + Lost? No, we're not lost. We're on our way to Delhi. This is Miss Scott -- and Mr. Round. My name's Indiana Jones. + + CHATTAR LAL + (surprised) + Dr. Jones? The eminent archaeologist? + + WILLIE + Hard to believe, isn't it...? + + CHATTAR LAL + I remember first hearing your name when I was studying at Oxford. I Am Chattar Lal, Prime Minister for His Highness the Maharajah of Pankot. + +He bows and Willie sort of curtsies. + + CHATTAR LAL (Cont'd) + Welcome to Pankot Palace. + +INT. PANKOT PALACE - AFTERNOON/* 59. */ #59# + +They walk along the marble halls, past dazzling walls inlaid with pieces of mirror and semi-precious stones. Fountains spray in ivory courtyards and they gaze in awe at the ornate splendour. + +As Willie walks with Shorty she appraises the chronological portraits of the Pankot Princes that line the hall. Dissipated faces, elegant faces, evil faces -- she reacts to them. + + WILLIE + (to Short Round) + How'd you like to run into him in a dark alley...that one's kind of cute...I could see myself married to a prince like that... + +Ahead of them Chattar Lal walks with Indy and questions him suspiciously -- + + CHATTAR LAL + The plane crash and your journey here sound -- most incredible. + + WILLIE + You should have been there... + + INDIANA + We'd appreciate it if the Maharajah would let us stay tonight. We'll be on our way in the morning. + + CHATTAR LAL + I am only his humble servant, but the Maharajah usually listens to my advice. + + WILLIE + Is that him? + +They've come to the last in the row of Princes portraits. Willie stops and looks up disappointedly at a picture of an aged, immensely corpulent Rajput prince. + + WILLIE (Cont'd) + (politely) + He's not exactly what we call "a spring chicken". + + CHATTAR LAL + No, no, that is Uhmed Singh, the present Maharajah's late father. + + WILLIE + Oh -- good. And maybe the present Maharajah is a little younger? And thinner? + +Two female servants approach silently and bow. + + CHATTAR LAL + They will escort you to your rooms now. You will be provided with fresh clothes. Tonight you will be dining with His Highness. + + WILLIE + Dinner? And with a prince?! My luck is changing. But look at me -- my god, I've got to get ready! + +She hurried off with one of the servants toward her room. Chattar Lal smiles cooly at Indiana -- + + CHATTAR LAL + Eight o'clock in the Pleasure Pavilion. + +CUT TO: + +EXT. THE PLEASURE PAVILION - NIGHT/* 60. */ #60# + +An extraordinary gold dome rises in the middle of the elaborate gardens. The Pleasure Pavilion is ablaze with torch lights, flickering candles and exotic music. + +Indiana comes out of the palace with Short Round. Indy has on a tweed jacket and a necktie -- his university professor's outfit. + +Short Round has been cleaned up, but still sports his baseball cap. + +Willie joins them, looking stunning in a silk Western-styled gown. She's also been loaned some Moghul jewelry which sparkles on her neck and arms. + + INDIANA + You look like a princess. + +Willie's flattered by the first nice thing Indy's said to her. + + WILLIE + It's sort of like being in heaven. + +They cross the garden toward the pavilion and Willie's eyes are like a kid's at Christmas. + +INT. THE PLEASURE PAVILION/* 61. */ #61# + +As they enter, Indiana gives a half-dressed dancing girl the once-over as she spins to the music of drums and "vinhas". + + INDIANA + (smiling) + I've always had a weakness for folk dancing. + + WILLIE + (snidely) + She might get away with that act here, but she'd never make it in a real nightclub. + +They walk among the rich court ministers and Indian merchants. + +Chattar Lal approaches with a British cavalry captain in uniform. + + CHATTAR LAL + We are fortunate tonight to have so many unexpected guests. This is Captain Phillip Blumburtt. + +Blumburtt bows to Willie and Indiana. + + CHATTAR LAL (Cont'd) + Captain Blumburtt and his troops are here to check up on the "natives". + + CAPT. BLUMBURTT + (politely) + Just a routine inspection tour. + + CHATTAR LAL + The British worry so about their Empire -- it makes us feel like well-cared-for children. + + WILLIE + Listen, Mr. Lal, what do you call the Maharajah's wife? + + CHATTAR LAL + His Highness has not yet taken a wife. + + WILLIE + (happily) + No? Well, I guess he just hasn't met the right woman... + +As Willie chatters on with the Prime Minister, Indiana wanders off. He moves to a wall where bronze statues and strange devotional objects are displayed. + + CAPT. BLUMBURTT + (joining Indy) + Interested in local curios? + + INDIANA + No. But I am interested in the occult. And this is a krtya. + +Indiana picks up a small clay figurine and examines it. + + CAPT. BLUMBURTT + (grimacing) + Charming. + + INDIANA + It's like the voodoo dolls of West Africa. The kryta represents your enemy -- and gives you complete power over him. + + CAPT. BLUMBURTT + Thank God all that mumbo jumbo rubbish is disappearing. + + INDIANA + You think so? + + CAPT. BLUMBURTT + Of course. Admittedly, it's taken time. Britain's controlled India for almost two hundred years now. + +Indiana smiles at the somewhat pompous bureaucrat. + + INDIANA + You're hanging on better here than you did in America. + + CAPT. BLUMBURTT + (smiling sourly) + This is a different situation, Dr. Jones. These people are like children. We have to lead them slowly into the twentieth century. + +Indiana puts the doll down and looks over at Chattar Lal and Willie. + + INDIANA + The Prime Minister doesn't seem that naive. + + CAPT. BLUMBURTT + No, he's a very shrewd old boy. Power behind the throne and all that. He actually runs this whole province. + +Indy and the Prime Minister exchange distant looks as Willie comes back over to Indiana. She talks to him conspiratorially -- + + WILLIE + I think this Maharajah is swimming in money. Maybe coming here wasn't such a bad idea. + +Blumburtt finds these Americans quite suspect and seems relieved when he hears a drum. + + CAPT. BLUMBURTT + I believe we're being called to dinner. + + WILLIE + Finally! + +As the drum beats the assembled guests move toward a long, low table surrounded by colorful pillows. Short Round follows with a little monkey he's found perched on his arm. + +As everyone stands around the table, Chattar Lal makes an announcement in Hindi and then in English -- + + CHATTAR LAL + His Supreme Highness, guardian of Rajput tradition -- the Maharajah of Pankot -- Zalim Singh. + +All eyes are on two solid silver doors which open -- and through which now walks the MAHARAJAH ZALIM SINGH. Everyone is bowing, including Indiana and Willie, who looks amazed -- + + WILLIE + That's the Maharajah -- that kid?! + + INDIANA + Maybe he likes older women. + +Indeed, Zalim Singh is only thirteen. Outfitted in silver and gold brocade, festooned with enormous jewels, the little Maharajah gazes imperiously at the bowing crowd -- and then glares at Short Round. + +Indy sees Short Round chewing gum, staring antagonistically at the Maharajah. Indy pushes Short Round into a bowing position. + +The Maharajah finally sits down on golden pillows. He nods and his guests take their seats. Indiana sees Willie's dreams of queendom have vanished. + + INDIANA + Cheer up, you lost your prince, but dinner's on the way. + + WILLIE + I've never been so hungry in my life... + +Servants appear with silver platters of steaming food. They place a platter in front of Willie and she stares at it in amazement: + +It's a whole roasted boar, replete with a decorative arrow piercing its bloated stomach and tiny broiled baby boars placed around it as if they were suckling on their well-cooked mother. + + WILLIE + (grimacing) + My god, sort of gruesome, isn't it...? + +Seeing the meat being served, Indiana looks across the table at Blumburtt who seems equally puzzled. Meanwhile, the little Maharajah whispers to his Prime Minister. Then Chattar Lal speaks to the table -- + + CHATTAR LAL + His Highness wants me to welcome his visitors. Especially the renowned Dr. Jones from America. + +Indy bows slightly toward the Maharajah. + + INDIANA + We are honored to be here. + +Servants put down another platter. Willie stares at an enormous steaming boa constrictor on the platter. With a flash of a knife, a servant slits the huge snake and exposes a mass of squirming, live baby eels inside... + + WILLIE + Suddenly I'm not so hungry... + +Meanwhile, Indiana is chatting politely with the Prime Minister. + + INDIANA + I had a question, Mr. Prime Minister. I was examining some of the Maharajah's artifacts. + + CHATTAR LAL + A very fine collection of very old pieces, don't you think? + + INDIANA + Yes, very fine. But not all of the pieces look old. Some were carved recently and look like images used by the Thuggees to worship the goddess Kali. + +At the mention of the Thuggees, the Indians at the table quiet, as if a taboo has been broken. Chattar Lal glares at Indiana. + + CHATTAR LAL + Dr. Jones, you know very well that the Thuggee cult has been dead for nearly a century. + + CAPT. BLUMBURTT + Of course. The Thuggees were an obscenity that worshipped Kali with human sacrifices. The British Army wiped them out about the time of the Mutiny of 1857. + +Short Round avoids the dinner by feeding it to his little monkey as he listens to the scary conversation. + +The talk is bad enough, but Willie finds the food unbelievable! + +A servant leans over her shoulder and places a six-inch long BUG on her plate! + +Willie whimpers quietly as she watches the fat merchant next to her lift one of the black, shiny baked-beetles -- and crack it in two! The man proceeds to enthusiastically suck the gooey innards out. + + MERCHANT + (looking at Willie) + But you're not eating! + + WILLIE + (weakly) + I uh -- had bugs for lunch. + +Meanwhile, Indiana continues to politely needle Chattar Lal. + + INDIANA + I suppose stories of the Thuggees die hard. + + CHATTAR LAL + There are no stories anymore. + + INDIANA + Well, I don't know... we came here from a small village and the peasants there told us that the Pankot Palace was growing powerful again -- because of some ancient evil. + +Indiana smiles and shrugs. + + CHATTAR LAL + (sneeringly) + Their stories are just fear and folklore. + + INDIANA + (cooly) + Maybe.. but how do you explain The Thuggee shrine I saw right below the palace? + +Indy catches a glance between the little Maharajah and the prime minister, who answers slowly -- + + CHATTAR LAL + The local peasants are just as superstitious. You're very observant, Dr. Jones. But you're beginning to worry Capt. Blumburtt. + +Blumburtt's phlegmatic attitude has changed to curiosity. + + CAPT. BLUMBURTT + I'm not worried, Prime Minister, just interested. + +During their conversation, Willie listens to beetles SNAPPING and she watches revolted as the other dinner guests suck the gooey insides out of the bugs. + + WILLIE + (to Short Round) + Give me your hat... + + SHORT ROUND + What for? + + WILLIE + I'm going to puke in it... + +Meanwhile, Indy continues ingenuously with Chattar Lal. + + INDIANA + You know the villagers also claimed that this palace stole something from them. + + CHATTAR LAL + Dr. Jones, in our country a guest does not usually insult his host. + + INDIANA + Sorry, I thought we were just talking about folklore. + + CAPT. BLUMBURTT + (trying to make peace) + I'm sure it's nothing. Just rumors. + (but interested) + What was it they claimed was stolen? + + INDIANA + Something magical. A sacred rock. + + CHATTAR LAL + (condescendingly) + There, you see, Captain. A rock! + + INDIANA + When they lost this rock their fields and animals died. They also said their children were taken from them. + + CHATTAR LAL + I think that's enough of this nonsense, Dr. Jones... + +Indiana smiles faintly at Chattar Lal's anger. Across the table, Willie looks pale and motions to the waiter. + + WILLIE + So you have something, you know, simple -- like soup or something? + +The servant goes off and returns with a covered bowl. He uncovers it and Willie looks at a soup with a dozen eyeballs floating in it. + + MERCHANT + Looks delicious! + + WILLIE + I wanna go home... + +Willie whimpers and tears start down her cheeks. + + INDIANA + (to Chattar Lal) + I was dubious myself at first. Then something connected -- the village's rock and the old legend of the Sankara Stones... + + CHATTAR LAL + (controlling himself) + Dr. Jones, we are all vulnerable to vicious rumors. I seem to remember that in Honduras you were accused of being a grave robber rather than a scientist. + + INDIANA + (shrugging) + The newspapers exaggerated the incident + + CHATTAR LAL + And didn't the Sultan of Madagascar threaten to cut your head off if you ever returned to his country? + + INDIANA + That was a misunderstanding. + + CHATTAR LAL + (smiling) + Exactly what we have here, Dr. Jones. + + MAHARAJAH + I have heard the terrible stories of the evil Thuggee cult... + +When the little Maharajah speaks it surprises everyone and there is silence. + + MAHARAJAH (Cont'd) + I thought the stories were told to frighten children. Later, I learned that the Thuggee cult was once real and did unspeakable things. + +The Maharajah looks at Indiana. + + MAHARAJAH (Cont'd) + I am ashamed of what happened here so many years ago. We keep these objects -- to remind us that this will never again happen in my kingdom! + + INDIANA + (after a moment) + I'm sorry if I've offended you. + +Now, more trays are whisked in by servants. + + MERCHANT + Ah, dessert! + +Short Round's monkey suddenly screeches and takes off. Willie closes her eyes in dread - but curiosity gets the best of her and she looks -- it's worse than she could imagine: + +Plates full of small, dead monkey heads!/* (*Production note: be- *//* cause of his extremely sensitive nature, the director has reque- *//* ted that these monkey heads be simulated). */ + +The tops of the monkey's skulls have been cut off and sit loose like little covers. Willie watches in utter dismay as the Maharajah and his guests remove the skull-tops and start dipping spoons into what's inside -- + + MERCHANT (Cont'd) + Chilled monkey brains! + +Willie keels over, crashing backwards in a dead faint! + +CUT TO: + +INT. A PALACE HALL - LATER/* 62. */ #62# + +Women servants help a wobbly-kneed Willie toward her room. + +EXT. THE PLEASURE GARDEN - NIGHT/* 63. */ #63# + +Hundreds of lanterns illuminate the garden where after dinner drinks are served, cigars lighted and hookah pipes puffed on. + +Indiana comes out of the pavilion into the garden with Capt. + +Blumburtt and they talk quietly. + + CAPT. BLUMBURTT + Rather bizarre menu, wouldn't you say? + + INDIANA + Even if they were trying to scare us away, a devout Hindu would never touch meat. + (looking around) + Makes you wonder what these people are... + +Now, the little Maharajah comes over with his retinue and he reaches for Indy's whip which Short Round is carrying. + + MAHARAJAH + I have seen this thing. What is it, Dr. Jones? + + SHORT ROUND + Hey, nobody touches Indy's whip! + +Short Round grabs for it, but Indiana restrains him. + + INDIANA + We're guests here, Shorty. + +The Maharajah glares at Short Round and gives the whip to Indy. + + MAHARAJAH + You will show me how it works please. + +Indy bows to the little prince and smiles ironically -- + + INDIANA + Your wish is my command, your Highness. + +While Short Round watches angrily, Indiana walks across the garden and unfurls the whip. Indy sees a servant lighting a candle. + +Suddenly the whip flies and CRACKS like a pistol shot. The candle disappears! Indiana whirls and CRACKS the whip again, snagging a flower out of a dancing girl's hair. + +The Maharajah reacts like any kid -- he whoops happily. + + MAHARAJAH + That is wonderful! Please teach me how! + +Short Round sulks as he listens to Indiana instructing the Maharajah on how to hold the whip. As the young prince practises the grip, Indy notices Chattar Lal slip behind a fountain to talk to a dark figure in robes who appears. + +Indiana sees Chattar Lal bow to the dark figure -- and Indy catches a glimpse of the stranger's pale face and dark hollow eyes. Then the robed apparition seems to disappear. + +Meanwhile everyone watches respectfully as the Maharajah unfurls the whip for his first attempt. He flings the whip but it flies back and snaps -- biting his own cheek. + +There's a stunned silence -- then Short Round laughs at the little prince who is holding his wounded cheek. The incensed Maharajah suddenly flashes the whip at Short Round. + +Short Round grabs the end of it and pulls hard -- the whip is tugged taut between the two hostile boys. As they draw near each other, Short Round sees something weird: + +The little Maharajah's eyes begin glowing yellow and he hisses softly in a strange voice. Nobody else sees or hears the bizarre transformation... + +Indiana finally intercedes -- he grabs Short Round by the neck. + + INDIANA + Okay, Short Round, let go of it. + +Short Round lets go and Indy gently takes the whip back from the little prince. + + INDIANA (Cont'd) + The Turks say that a whip can be an enemy even to its owner. If you get some rope, it'll be easier to learn with, your Highness. Now, I think we'll say goodnight. + +The Maharajah and Short Round stare hostilely at each other as Indy recoils his whip. + +CUT TO: + +INT. A PALACE HALL - NIGHT/* 64. */ #64# + +Short Round walks beside Indiana down the shadowy hall toward their room. Short Round has Indy's whip curled around his shoulder. The little fellow yawns and shakes his head. + + SHORT ROUND + That little Maharajah think he big stuff. + + INDIANA + You don't like him do you? + + SHORT ROUND + Next time I flatten him! Did you see his eyes? + + INDIANA + No. + + SHORT ROUND + Indy, they glow like fire and get real crazy! Then he talk in this real scary voice! + +Indy tousles Short Round's hair. + + INDIANA + He was afraid of you. He knows a tough guy when he sees one. + + SHORT ROUND + (not so sure) + Yeah, that's what happened... + +They reach their room and Short Round opens the door. + + INDIANA + I better see how Willie is. + +Short Round shakes his head scornfully as Indy crosses the hall and knocks on another door. After a moment, the door opens and Willie is standing there in a tempting nightgown. + + INDIANA + I brought you something. + +He holds up something wrapped in a piece of silk. + + WILLIE + (disgusted) + Not leftovers? + + INDIANA + No -- real food. + +Willie opens the bundle suspiciously -- then her face lights up as she examines the breads and fruits inside. + + WILLIE + Oh, it is real food...it's beautiful. + +She bites happily into a piece of fruit -- its juice runs down her chin and Indy wipes it off gently with his hand. The mouth deliberately seductive and Willie is not displeased. + + WILLIE (Cont'd) + You're nice. Listen, I'm taking applications -- how'd you like to be my palace slave? + + INDIANA + (smiling) + Wearing your jewels to bed, princess? + +Indy touches her necklace -- then his hand caresses her neck and ear. She shivers slightly and speaks softly. + + WILLIE + Yeah -- and nothing else. + (smiling) + That shock you? + + INDIANA + (shaking his head) + I'm a scientist. I like doing research on certain "nocturnal activities" -- + +She smiles and puts a grape to his lips. He opens his mouth takes it and chews it. + + WILLIE + You mean like love rituals... + +He swallows the grape and they move toward each other slowly to kiss, revealing the passion that's simmering. + + INDIANA + And mating customs... + +They kiss again more heatedly. + + WILLIE + Primitive sexual practices? + + INDIANA + You're talking to an authority in that area. + +They kiss again hungrily -- + + WILLIE + You're dying to come into my room, aren't you? + + INDIANA + You want me so bad, why don't you invite me? + + WILLIE + Too proud to admit you're crazy about me, Dr. Jones? + + INDIANA + I think you're too used to getting your own way, Willie... + +They kiss yet again -- and Indy breaks it off, just to show he's still in control. He backs away toward his room. + + WILLIE + (watching him) + We'll see who gives in first -- I'll leave my door open. + + INDIANA + Don't catch cold. + + WILLIE + Dr. Jones -- ? + +Indy stops by his door and sees Willie smiling as she holds up five fingers -- + + WILLIE (Cont'd) + Five minutes... you'll be back over here in five minutes... + + INDIANA + You're dreaming, Willie. You want to make it real, just knock on my door. + +He winks. She waves. But neither one will surrender first. + +Willie goes into her room, leaving the door ajar. Indy opens his door. + +INT. INDIANA'S SUITE/* 65. */ #65# + +Indy comes in and closes the door -- leaving it open a crack. He stands and listens, waiting for her to come over. + +INT. WILLIE'S SUITE/* 66. */ #66# + +Willie stands likewise by her door, waiting to hear Indy come back over. + +INT. INDIANA'S SUITE/* 67. */ #67# + +Indiana shrugs and walks over to a couch and starts taking off his tweed jacket and necktie -- + + INDIANA + Five minutes... fat chance. + +INT. WILLIE'S SUITE/* 68. */ #68# + +Willie moves around her lavish suite, turning down lights, creating a romantic effect, checking herself in a mirror -- + + WILLIE + (confidently) + Five minutes, Dr. Jones... + +INT. INDIANA'S SUITE/* 69. */ #69# + +Indy undresses in the magnificently decorated room: wall paintings show palace scenes and landscapes; life-size figures dance and there are full-scale portraits of Rajput princes and prancing horses. But Indy's more concerned with lust than with art. + + INDIANA + (muttering) + ...want me to be her palace slave! + +He picks up his whip and smiles, considering using it on her. + +Then he just grumbles and tosses the bullwhip onto the couch. + +INT. WILLIE'S SUITE/* 70. */ #70# + +Lying in bed in a seductive pose, Willie waits for Indy to show up and she starts to look worried. She grabs a clock and shakes it to see if it's working. She taps her fingers irritably wondering if her charm has failed... + +INT. INDIANA'S SUITE/* 71. */ #71# + +We see another clock ticking. Looking annoyed, Indy tosses a boot at it and the clock falls on its face, setting off the alarm. + +On the chaise lounge in front of Indy's bed, Short Round moves groggily and sees Indy turning off the alarm. + + SHORT ROUND + (half asleep) + Get to sleep Indy -- I stay up and keep eye on things... + + INDIANA + Okay, Shorty ... see you in the morning...I'm going to have a little -- word with Willie. + +Indy finally shakes his head and gives in to his animal instincts. He buttons his shirt, puts his boots back on and grabs his leather jacket. + +As he puts on his jacket he walks past the life-sized paintings of armed guards standing in silent vigil. Suddenly we see something frightening behind him: one of the wall paintings seems to come to life! + +A large figure in robes and a turban looms out from the wall and lifts a silk cord -- the figure wraps the cord suddenly around Indiana's neck! + +The huge assassin stands behind Indy, twisting the cord even tighter around his neck. As Indy attempts to break free he sees the assassin's face in a mirror -- and a strange yellow light glowing in the killer's eyes. + +INT. WILLIE'S SUITE/* 72. */ #72# + +Willie's finally had enough waiting and she gets out of bed petulantly. + + WILLIE + He's not coming...I can't believe it... + +She walks across the room and opens the door. She looks out the empty hall -- and her resolve starts to weaken -- + + WILLIE (Cont'd) + Well... + (bracing herself) + No! I'm not going over there... + +She comes back into her room and kicks the door closed. + + WILLIE (Cont'd) + Sleep tight, Dr. Jones! + (suddenly melancholy) + I could've been your greatest adventure... + +INT. INDIANA'S SUITE/* 73. */ #73# + +Indy shoves the assassin backwards, ramming the big man into the wall. The assassin maintains his deathgrip -- while on the chaise, Short Round sleeps through it all! + +Gasping futilely for air, Indy sinks slowly to his knees - his eyes bulge and he stares at the tiny, smiling skulls at the ends of the death-cord wrapped around the assassin's fists. + +Indiana sinks lower and then feels something -- desperately he grabs a brass pot on the floor by the handle and swings it with his last strength, smashing it up into the assassin's head with a skull-crushing clang! + +The assassin is stunned and Indiana curls forward pulling him into a somersault and sending him flying over his back. The assassin crashes on his spine next to the chaise. Short Round still doesn't wake up. + +Indiana rips the cord from around his neck and gasps for breath. + +He sees the assassin pulling a knife. Indiana dives as the knife flies through the air and slams into the wall. + +Indiana grabs his whip, rolls and lands on his feet. As the assassin tries to retreat, Indy unleashes his whip -- it CRACKS and wraps around the killer's neck. + +The big man struggles, pulling on the whip, trying to release it from his throat -- and Indiana holds fast, watching the killer gasping for air now as his face turns red. + +Suddenly the assassin does a full-blown backward somersault which rips the whip out of Indy's hand. The assassin has an instant to grin victoriously -- Until he sees that the whip handle is arching toward the ceiling where it gets caught on the revolving fan! The surprised assassin is tugged upwards -- and the whip twists around the ceiling fan like fishing-line around a fishing-reel-- And like a doomed flounder, the assassin is slowly reeled up and dragged toward the ceiling, his toes lifting off the floor. + +The assassin screams as he is hanged! His legs twitch in his death throes -- and below him, Short Round finally wakes up. + +Always Indiana's protector, Shorty instinctively leaps off the couch and draws a small dagger -- + + SHORT ROUND + Don't worry, Indy! Where are they?! + +Short Round spins a 360 , then looks up and does a double-take seeing the dead assassin twisting slowly around the ceiling fan. + +Indy takes Short Round by the shoulders and turns him away from the grisly sight. + + INDIANA + It's okay, it's over -- go turn off the fan. + +Short goes over and turns off the fan -- the assassin's body drops and Indy recoils his whip. Suddenly they hear a hideous scream -- Willie! + +INT. WILLIE'S SUITE/* 74. */ #74# + +In a tight close-up: Willie screams again. She's lying in bed looking down at something -- Moving up her shapely leg, a green and black, monstrous-looking insect crawls onto her stomach and Willie stops breathing. Immobilized by fear, Willie watches in silent agony as the hideous insect climbs slowly up her breast and slithers toward her neck. + +Across the suite, the doors burst open and Indiana rushes in. + +Shorty is behind him, carrying Indy's whip. Indiana leaps on a stool and slides up to the bed to save Willie -- Then he spots the giant insect crawling on her and decides to have some fun. + + INDIANA + This a cheap trick to get me over here? + +Willie speaks with desperate, fearful precision -- + + WILLIE + No -- don't you see -- crawling -- + + INDIANA + What -- the bug? + +Willie is petrified and shaking. + + WILLIE + Get -- the -- bug -- off! + + INDIANA + Gee, I wouldn't want to touch an ugly critter like that! + + SHORT ROUND + (grinning) + Uh uh -- me neither! + +Willie looks at the man-of-action like he's insane. Then she feels the bug crawling onto her cheek -- + + WILLIE + Oh no -- oh no!! + + INDIANA + (studying the bug) + You know, Willie, I'll bet he's mad because they were eating his friends for dinner. + + WILLIE + Please -- oh please, I'm going to die! Get it off! + +Indiana shrugs and leans over and casually swats the horrible bug off her face. He and Short Round watch the insect skid across the floor -- and suddenly disappear as if by magic! + +Puzzled, they wander toward the wall, leaving Willie behind, bathed in sweat, staring at the ceiling -- + + WILLIE + What did I do to deserve this trip?! + +Kneeling by the wall, Short Round examines the baseboard -- + + SHORT ROUND + It went under. Hey, I feel wind, Indy. + +Indiana knocks on the wall and considers the hollow sound. He moves back and looks at the whole wall. Behind him, Willie moves past -- + + WILLIE + I'm packing! I'm getting out of here right now tonight! + +She dashes behind a screen to start getting dressed. Meanwhile Indy feels the marble walls. He moves to a niche in which there is a small statue of Ganesha, the friendly elephant god. + +Indiana lifts the statue -- and a panel in the wall opens slowly. Short Round looks amazed. Indy watches the light fall across the far wall of a tunnel as the door opens slowly. + +Indy peers into the tunnel at an old wall painting. Spidery Sanskrit calligraphy runs under a flanking illustration of a prince bowing before a god. + +INDIANA *(He reads aloud an inscription in Sanskrit). + + SHORT ROUND + What does it mean, Indy? + + INDIANA + (translating) + "Follow in the footsteps of Shiva. Do not betray his truth." + +Indy takes out the piece of cloth the boy gave him in Mayapore, the similarities are striking. It is also a picture of Shiva Sankara. + +INDIANA *(He repeats aloud the inscription also written on the cloth) Over behind the screen, Willie's getting into some silk pants with an Indian-style brocade bodice top -- + + WILLIE + I don't care if I have to walk to Delhi, I'm -- hey! + +She notices Indy and Short Round bending to enter the dark tunnel behind the wall. + + WILLIE (Cont'd) + Wait a minute! What're you -- where're you going?! + +Indy pokes his head back into the room -- + + INDIANA + Lock your door and don't leave until we get back. + +He disappears behind the wall and Willie looks worried. + +INT. A PALACE TUNNEL - NIGHT/* 75. */ #75# + +Indy and Short Round enter the secret passage and move forward slowly into the inky darkness. + + SHORT ROUND + I don't think we suppose to be in here, Indy... + +They creep slowly down the dark tunnel. It grows smaller and Indy ducks his head. + + SHORT ROUND (Cont'd) + I step on something. + +Their footsteps crunch on the tunnel floor. + + INDIANA + You're right, there's something all over the floor... + +Even Short Round has to duck and Indy finally kneels to his hands and knees. + + INDIANA (Cont'd) + We'll have to crawl. + +As they crawl, their hands and knees continue to crunch on whatever it is littering the ground. + + SHORT ROUND + Indy, the floor -- there is something alive! + +Indiana gets a match out of his pocket. He snaps it with his thumb and the match flares -- a hideous insectarium: a living collection of the world's ugliest arthropods, hexapods and arachnids. + + SHORT ROUND + Holy smoke -- I'm scared, Indy! + +Indiana turns and sees something else -- + + INDIANA + There's a chamber here. Come on -- + +Indy finds an oil lamp on the wall and lights it. Short Round happily scampers into the chamber and Indy follows him. Suddenly the door slides shut -- trapping them inside! + +INT. THE CHAMBER/* 76. */ #76# + +Indiana lights a match and finds another oil lamp. He and Short Round look for a way to open the door that closed behind them, but they have no luck. + + INDIANA + Damn! + +Then they hear Willie's voice echoing down the short tunnel. + + WILLIE (O.S.) + Hey -- where are you?! + +INT. WILLIE'S SUITE/* 77. */ #77# + +Back in the suite, Willie stands by the entrance to the secret passage, peering into the dark tunnel -- + + WILLIE (Cont'd) + Indiana Jones?! Are you in there?! + +INT. THE CHAMBER/* 78. */ #78# + +Indy mutters irritably to himself -- + + INDIANA + Yes, we're in here... + +He looks everywhere for something to open the door. Short Round spots a loose brick and moves it -- + + SHORT ROUND + Indy, I found a -- + +Suddenly they hear a rumble and Indy turns to see the opposite wall moving -- the spikes start appearing! Their lethal points protrude from the wall as it starts closing in toward Indy and Short Round. + + SHORT ROUND (Cont'd) + Indy -- ! + +Shorty points up and Indiana sees more spikes descending from the ceiling! Indy turns toward the door and shouts -- + + INDIANA + Uh -- Willie?! + (louder) + Willie, you better get down here! + +INT. WILLIE'S SUITE/* 79. */ #79# + +Willie listens and looks scared -- + + WILLIE + (shouting back) + What?! + + INDIANA (O.S.) + Willie, come here! Hurry up, we're in trouble!! + + SHORT ROUND (O.S.) + Willie, help!! + +Willie is frightened, confused and jumping around -- + +INT. THE SPIKE CHAMBER/* 80. */ #80# + +The deadly spikes inch slowly toward them from the wall and ceiling. They start pounding on the door and shout -- + + INDIANA + Willie, damn it! Get down here, NOW + +INT. WILLIE'S SUITE/* 81. */ #81# + +Willie finds the courage to finally whimper and step into the dark passage -- + + WILLIE + Oh hell -- I bet I get all dirty again! + +INT. THE TUNNEL/* 82. */ #82# + +Willie starts down the dark tunnel toward the chamber. + + INDIANA (O.S.) + WILLIE?! + + WILLIE + I'm coming, what's the rush?! Ohh! What's that?! There's stuff all over the floor! I can't see a thing! + +INT. THE SPIKE CHAMBER/* 83. */ #83# + +They hear her coming and Indy watches nervously as the spikes draw even closer -- + + INDIANA + Move, Willie! Faster! + +INT. THE TUNNEL/* 84. */ #84# + +Willie crawls and crunches on the littered floor -- + + WILLIE + It's all wet and icky! Aaahh -- things are moving!! + +She sees the low lamp by the door to the chamber. + + SHORT ROUND (O.S.) + Please, Willie! + +She grabs the lamp and turns it up so it burns brighter. She looks around -- and SCREAMS!! She sees the sickening, swarming mass of glistening insects crawling toward her, attracted by the light -- + + WILLIE + (hysterical) + There's bugs! Bugs all over! Help! Help me! + + INDIANA (O.S.) + Willie, open the door! GET US OUT OF HERE! + +Willie pounds on the door -- + + WILLIE + OPEN THE DOOR! LET ME IN!! + +INT. THE SPIKE ROOM/* 85. */ #85# + +The spikes close in -- + + INDIANA + GET US OUT! Willie, shut up and listen! There's got to be a fulcrum release! Look around! + + WILLIE (O.S.) + A what?! + +INT. THE TUNNEL/* 86. */ #86# + +Willie whines and frantically searches the wall. Insects are crawling and jumping on her and she kicks at them! + + INDIANA (O.S.) + A fulcrum release lever! + + WILLIE + I can't find any lever! Help me Indy! + +INT. THE SPIKE CHAMBER/* 87. */ #87# + +Indiana and Short Round are backed against the wall and the spikes are a foot away and moving in -- + + INDIANA + Look around, Willie! There's got to be a lever hidden somewhere! Come on, you can do it! + +INT. THE TUNNEL/* 88. */ #88# + +Insects drop onto Willie from the ceiling and fly at her as she flattens against the wall. Then her elbow hits something -- a loose stone. She claws at it and it falls out of the wall leaving a hole. + + WILLIE + There's a hole! I found a square hole! + + INDIANA (O.S.) + That's it -- the release lever -- look inside! + + WILLIE + I am -- it looks horrible! + +The hole is revolting : covered with squirming insects, it also oozes some kind of glistening mucus. + + INDIANA (O.S.) + Reach inside! + +Willie moves her hand toward the nauseating hole then pulls back. + + WILLIE + I can't, Indy! I can't! + +INT. THE SPIKE TUNNEL/* 89. */ #89# + +Indiana turns his head sideways and sucks in his breath, but the deadly spikes are poking into his leather jacket now -- + + INDIANA + The lever! Willie, do it! NOW! + +INT. THE TUNNEL/* 90. */ #90# + +Willie screams and jams her hand into the gross hole -- + + WILLIE + Oh God, it's soft -- it's moving! + + INDIANA (O.S.) + Willie! + +INT. THE SPIKE CHAMBER/* 91. */ #91# + +Short Round is frightened to death and crying -- + + SHORT ROUND + Willie, help us! Hurry! + +INT. THE TUNNEL/* 92. */ #92# + +She hears Short Round crying and twists her hand in the disgusting hole. Suddenly the door springs open! Willie pulls her hand out and stares in horror -- her hand and arm are covered with greenish slimey mung! + +INT. THE SPIKE CHAMBER/* 93. */ #93# + +The spikes suddenly retract, disappearing into the wall and ceiling. Indy pulls Willie inside the chamber and the door slams shut again. Willie dances around, yelling about the hideous slime on her arm. + + WILLIE + Get it off me -- get it off! + +Indy helps her wipe it off. Willie falls back against the door. + + WILLIE (Cont'd) + You left me out there! What in the hell were you doing in here?! I want to leave this place right now!! + +She sees the same lever that Short Round pulled earlier and grabs for it. Indiana dives and manages to stop her from activating the spikes again. + + INDIANA + Not that one! We had enough of that one, thank you... + +He looks around and spots a small rock protruding from the wall. + +Cautiously, praying that it won't activate another booby trap, Indy pushes the rock. + +A large door opens on the other side of the chamber -- a soft wind howls past outside the chamber. + +INT. THE WIND TUNNEL/* 94. */ #94# + +Indiana, Short Round and Willie exit the spike chamber and head down a larger tunnel through which a roaring wind intermittently blows, howling eerily like a note of gloomy music. + +Indiana follows a curve in the tunnel and they see light approaching. + +The wind howls another dramatic note which gales past them as they reach the mouth of the tunnel. + +Indiana is joined by Willie and Short Round. They all stop in astonishment at the sight below them: + +INT. THE TEMPLE OF DEATH/* 95. */ #95# + +As the camera pulls back, the mouth of the wind tunnel in which they are standing becomes just a small hole overlooking the staggering vastness of the incredible TEMPLE OF DEATH. + +The colossal subterranean temple has been carved out of a solid mass of rock. A vaulting cathedral-like ceiling is supported by rows of carved stone columns. + +Balconies overlook the temple floor. Pillared halls leading to dark side chambers. Moving out of these chambers, hundreds of faithful worshippers chant as they enter the temple. + +Mammoth stone statues of elephants, lions and demi-gods (half/man, half/animal monstrosities) loom above the swelling crowds of worshippers. + +As the wind howls out of the tunnel high above the temple, the worshippers chant in response to the strange tunnel music. + +INT. THE TUNNEL/* 96. */ #96# + +The moaning wind rushes past Indiana, Willie and Short Round as they watch the mystery cult below bowing toward an enormous altar at the far end of the temple. + +This altar is a platform jutting out from the stone wall of the cavern. Separating the worshippers from this altar is a wide crevasse out of which wisps of smoke rise occasionally. + +INT. THE ALTAR/* 97. */ #97# + +On the other side of the crevasse, evil-looking priests materialize out of clouds of swirling smoke. The priests carry smoke-billowing urns to a giant stone statue. + +Now, we see the hideous protectress of the temple, the obscenely malevolent object of the cult's devotion: the bloodthirsty goddess KALI! + +The red-eyed priests bow at the base of the statue and gaze reverently at their KALI MA. Skulls surround her stone feet carved serpents twist up her legs, while around her waist there is a gruesome belt of human hands. + +Naked to the hips, Kali's hair falls about her four arms. In her hand, she holds a sword, in the second the severed head of a giant. With her other hands she encourages her worshipers, who are chanting louder and louder! + +Kali's face is loathsome: her earrings are two corpses. Her evil tongue extends out of her twisted mouth and what looks like red blood flows over her long fangs and down her naked breasts. + +INT. THE WIND TUNNEL/* 98. */ #98# + +Watching from the high opening, Willie looks disgusted. + + WILLIE + What is it...? + + INDIANA + It's a Thuggee ceremony. They're worshipping Kali, the goddess of Death and Destruction. + +INT. THE TEMPLE OF DEATH/* 99. */ #99# + +A huge drum sounds three times and the chanting stops. The silence is chilling as another robed figure appears out of the smoke on the altar. + +This is MOLA RAM, the High Priest of the Thuggee cult. Mola Ram's red-rimmed eyes glare from the sunken sockets in his sinister face. Here is a man who looks as vile and diabolic as the unholy goddess rising behind him. + +Up in the wind tunnel, Indy stares down at the High Priest and realizes that it was Mola Ram he saw conferring with Chattar Lal in the palace garden. + +As the drum booms three times more, Mola Ram lifts one arm up from his emaciated body and suddenly there is a scream! + +All heads turn toward an unfortunate, struggling Indian being dragged out by priests. The man's face and body are wildly painted. He screams again as he's tied onto a square iron frame laying atop a large flat stone. + +Mola Ram steps forward to the stretched-out victim and the Indian looks up into the High Priest's grotesque face -- Suddenly Mola Ram's hand shoots out toward the man's chest -- and pierces it! The High Priests hand sinks into the victim's writhing body and rips out his living heart! + +INT. THE WIND TUNNEL/* 100. */ #100# + +Willie covers her mouth -- + + WILLIE + Oh my God! He ripped out his -- he killed him! + + INDIANA + No...the heart's still beating! + +INT. THE ALTAR/* 101. */ #101# + +Indeed, the bloody heart is still beating in Mola Ram's hand! + +He lifts the heart into the air and the worshippers begin the chant. + + THE MULTITUDE + Jai ma Kali, jai ma Kali! + +Stranger still, the sacrificial victim is still alive -- there is no evidence of a gash on his chest, only a reddish mark. The priests add chains to the iron frame and carry the victim over toward a hoist hanging over the crevasse. + +The man thrashes about helplessly on the iron frame as it is up ended and then lowered with the victim hanging face down -- As the sacrificial victim looks down into the crevasse below -- he screams -- and we see the molten lava bubbling crimson at the bottom of the chasm! + +INT. THE WIND TUNNEL/* 102. */ #102# + +Willie closes her eyes but Indy and Short Round watch horrified as the iron frame is lowered -- and the bloody heart continues to beat in Mola Ram's hand -- and the molten lava burns and flickers as the screaming victim is lowered deeper into the crevasse. + +INT. THE TEMPLE/* 103. */ #103# + +The weird paint on the victim's face starts to smoke and sizzle -- the man's skin blisters as he's lowered within feet of the lava. His flesh smokes and he screams one last time as his body bursts into flame. + +The iron frame sinks and submerges into the boiling fiery lava. + +INT. THE ALTAR/* 104. */ #104# + +Above the crevasse, Mola Ram continues to hold the heart in his hand -- the heart is smoking and bursts into flames - and disappears! + +INT. THE TEMPLE/* 105. */ #105# + +The iron frame is raised out of the lava -- the metal glows like a branding iron, but there is no trace of the sacrificed victim. + +INT. THE WIND TUNNEL/* 106. */ #106# + +As the wind howls again, Willie and Short Round look sickened and appalled by the ceremony. Even Indy seems shaken by what they are witnessing. + + THE MULTITUDE + Jai ma Kali, jai ma Kali! + +INT. THE ALTAR/* 107. */ #107# + +Mola Ram raises both hands and his voice echoes strange incantations. Behind him, three priests carry cloth-wrapped objects toward the altar. + +INT. THE WIND TUNNEL/* 108. */ #108# + +Willie is crying and her voice is choking as she turns away from the hideous ritual -- + + WILLIE + Let's go! Let's get out of here! + + INDIANA + Quiet! + +INT. THE ALTAR/* 109. */ #109# + +The priests reverently unwrap three conical pieces of crystallized quartz. They place the three stones below the statue of Kali and slowly the smoke around the altar swirls -- The smoke is drawn to the three stones and they actually start inhaling the spiraling smoke. The smoke disappears into the stones and the air clears. Then the three stones start to glow a haunting incandescent white. + +INT. THE WIND TUNNEL/* 110. */ #110# + +Short Round looks scared. Willie is still crying -- Indy waits, horrified but fascinated. + + INDIANA + The village knew their rock was magic -- but they didn't know it was one of the lost Sankara Stones... + + SHORT ROUND + Why they glow like that? + + INDIANA + Legend says that when the stones are brought together the diamonds inside of them will glow. + +Willie wipes her eyes and becomes more interested -- + + WILLIE + Diamonds...? + +INT. THE ALTAR/* 111. */ #111# + +The Sankara Stones shimmer brightly, and inside the crystallized quartz, the enormous sparkling diamonds of legend are now revealed. + +Mola Ram stands facing Kali with his arms outstretched and kneels and bows and then walks off the altar and disappears. + +INT. THE WIND TUNNEL/* 112. */ #112# + +Indiana sees the worshippers below start to leave the temple. He looks at Willie and Short Round. + + INDIANA + Okay -- now listen -- you wait here and keep quiet. Shorty, keep an eye on her. + +Short Round nods and hands Indy his bullwhip and shoulder bag. + +Willie sees Indiana peering down at the sheer drop below the mouth of the wind tunnel. + + WILLIE + Wait -- what're you doing? + + INDIANA + I'm going down. + + WILLIE + Down? Down there?! Are you crazy --! + + INDIANA + I'm not leaving without those stones. + + WILLIE + You're gonna get killed chasing after your damn fortune and glory! + + INDIANA + (looking at her) + Maybe...someday. + (smiling) + Not today. + + SHORT ROUND + I keep my eye peeled, Indy. + +Indiana nods and looks down at the now empty temple. Then he slips down from the mouth of the wind tunnel. + +INT. THE TEMPLE WALL/* 113. */ #113# + +Indiana skillfully climbs down an enormous temple column -- finding footholds on stone cobras, carved lions and the stone breasts of dancing girls. Slowly, he makes his way down and swings across a balcony. + +INT. THE BALCONY/* 114. */ #114# + +Indiana walks quietly along the balcony overlooking the temple. + +He stops -- between him and the altar is the crevasse with the lava bubbling fire at the bottom. + +Indiana looks across the gulf and sees another column near the altar at the top of which stone elephants are perched. Indy curls his whip and suddenly lets it fly -- The whip cracks and its end wraps tightly around the tusk of one of the stone elephants. From the balcony, Indy tugs the whip taut, takes a breath and runs -- + +INT. THE CREVASSE/* 115. */ #115# + +Indiana leaps and swings out on the whip, arching down and up, over the chasm of fiery lava in a spectacular curving jump! + +INT. THE ALTAR/* 116. */ #116# + +Indy lands on his feet and turns to release the whip. Short Round waves to Indy that the coast is clear. Indy snaps the whip -- it releases from the elephant tusk and drops. + +Recurling the whip, Indy attaches it to his belt and moves toward the towering statue of Kali. The three Sankara stones start to glow and Indiana approaches them cautiously. + +Reaching the stones, Indy's face is lighted by them. He notices that one of them (the stone from Mayapore village) has strange lines painted across it. + +Suspiciously, Indy touches the stone, but it doesn't burn. He lifts it carefully and peers into it. The enormous diamond sparkles inside. He places the stone in his shoulder bag and reaches for the others. + +INT. THE WIND TUNNEL/* 117. */ #117# + +Short Round and Willie watch apprehensively as Indiana bags the three stones. + +INT. THE ALTAR/* 118. */ #118# + +Indiana backs away and looks up at the horrific statue of Kali. + +It seems to be watching him. He turns and is about to go when he hears something -- It sounds like a voice and Indy is afraid to turn -- could it be Kali? Then he hears other noises echoing and turns slowly. Realizing the sounds are coming from behind the altar, Indy moves around it toward the back. + +INT. THE WIND TUNNEL/* 119. */ #119# + +Short Round and Willie are mystified as they see Indiana disappear behind the altar. + + WILLIE + Oh hell, where's he going? + +Short Round looks worried. Then the wind rushes past them quickly and howls its somber musical note. However, the wind sounds different this time, its tone quavering slightly. + +Short Round is puzzled and looks around. He freezes when he sees two shadowy figures coming down the tunnel toward them -- the bodies causing the tone of the wind to shift eerily -- Willie notices Short Round pulling a dagger from his belt - + + WILLIE + What're you -- ? + +Suddenly she turns and screams as two huge Thuggee guards rush at them! One grabs at Short Round but the kid slashes the guard's hand with his dagger. + +Willie tries to get past the other guard, but he snatches her by the arm and pulls her toward him -- from her training at the College of Hard Knocks, Willie successfully knees the big man in the balls. + + WILLIE (Cont'd) + Keep your paws off, letch! + +The man groans and sinks to his knees. Willie sees that Short Round is in trouble. She runs over, leaps onto the back of the other guard and starts ripping his hair out. + +Short Round picks up his fallen dagger. The big guard lurches backwards and smashes Willie into the rocky wall of the tunnel. + +Willie falls to the floor. + +Short Round approaches, holding the man at bay with his dagger. + +Willie turns as the other guard, the one she kneed, crawls toward her -- Willie scoops up some dirt and throws it. The man claws at his eyes and Willie jumps up. + + SHORT ROUND + Run Willie! + +Willie starts to run and Short Round backs away, keeping the guard at a distance with his dagger. Suddenly the guard cries out in Hindi and dives at Short Round. + +Panicking, Shorty tries to run after Willie -- but he's tripped. + +The guard has Short Round by the foot and drags him back. Willie looks around and stops running. She sees Short Round is caught. + + SHORT ROUND (Cont'd) + No! Run! Go get help! + +Willie hesitates, then runs down the tunnel. Meanwhile, a mammoth hand clutches Short Round's throat -- the giant guard lifts Shorty completely off the ground and the kid looks terrified and helpless as he dangles in the air... + +INT. CHAMBER BEHIND ALTAR/* 120. */ #120# + +Indiana enters the dark chamber behind the altar. The only illumination is the back-light streaming around the silhouetted statue of Kali. + +Indy slowly crosses a narrow stone bridge and moves toward a cylindrical shaft of light rising up from what appears to be an enormous hole. + +Indy hears voices and the clink of metal against rock as he continues forward. The ground is dark in front of the large hole. + +He edges toward the precipice and the light rising up illuminates the look of shock on his face as he peers down into Hell... + +INT. THE THUGGEE MINES/* 121. */ #121# + +Indy looks into a deep pit around which concentric paths leads off into numerous narrow tunnels. Crawling out of these burrows, scrawny children drag sacks of dirt and rock. Other hollow-eyed children pull these sacks to mine cars waiting on rails. + +Straining to lift the rocks into the mine cars, several of the children slip and fall. Bare-chested Thuggee guards shout at the enslaved children and kick those who've fallen. + +For these children there would seem to be only one hope -- death -- an end to their travail. + +Indiana edges around the hole, looking into the ghastly mine and feeling as if he's discovered an inferno of misery as grotesque as Dante's. + +Indy shifts the bag of stones on his shoulder. He hesitates and considers his choice: he has the Sankara Stones and can leave with them now... + +But Indy hears the pleading cries of one child and peers down to see a burly Thuggee guard beating the pitiful little slave. Indy gets angrier and angrier as he watches. + +He finally steps over and grabs a boulder. He lifts it and flings it down into the mine -- + +INT. THE MINE/* 122. */ #122# + +We see Indiana above and the boulder hurtling down -- it crashes onto the head of the Thuggee guard who hits the ground like a sack of cement!/* 12. */ + +INT. THE CHAMBER/* 123. */ #123# + +Indy sees the startled slave children looking up at him in shock. + +He smiles victoriously at the Thuggees below who've run over to see what happened. + +Indy's smile seems to fade as his anger turns to surprise as he feels something unnerving: + +Dirt is crumbling away from the rim of the hole, a small landslide starting beneath his feet. Suddenly the floor gives way and Indy slips! + +The entire rim of the hole shears off and Indy topples with it and plunges down into the mine toward the assembled guards who scatter -- Indy yells as he falls and it echoes... + +CUT TO: + +INT. A CELL - NIGHT/* 124. */ #124# + +Indiana's yell continues to echo -- his head jerks suddenly -- Indy jolts awake as if coming out of a nightmare, awakened by his own reverberating shout. + +Indy is lying on the rocky floor of a dark cave/cell. He lifts his hands and discovers that they are chained. In the murky light, he sees Short Round sitting in chains across the cell. + + SHORT ROUND + Indy -- you knocked out when you fall. You okay? + +Indiana nods groggily. He sees a young slave worker in rags sitting near Short Round. Through the iron bars of the cell, Indy sees the children slaving in the mine tunnels. + + SHORT ROUND + (indicating the kid) + This is Nainsukh -- from the village. They bring him here to dig in the mines. + + INDIANA + Why? + + NAINSUKH + Children are small -- we can work in tunnels. Now I am too old. + + SHORT ROUND + What they do to you now? + + NAINSUKH + I pray to Shiva -- let me die. But I do not. Now -- now the evil of Kali take me. + + SHORT ROUND + How? + + NAINSUKH + They will make me drink blood of Kali. Then I fall into black sleep of Kali Ma... + + INDIANA + What is that? + + NAINSUKH + I become like them. I be alive -- but like in nightmare. You drink the blood, you not wake up from nightmare of Kali Ma. + +There's a noise and they see two guards and a priest outside the cell. Nainsukh cowers in the darkness at the back of the cell, like a trapped animal awaiting the inevitable. + +CUT TO: + +INT. A MINE TUNNEL - NIGHT/* 125. */ #125# + +Indiana and Short Round are pushed down a tunnel by guards. They are stopped at a door and shoved inside. + +INT. MOLA RAM'S CHAMBER/* 126. */ #126# + +Indiana and Short Round stumble into the chamber. It is a terrifying gallery of occult yantras, ritualistic statues and grisly icons of the evil Thuggee sect. + +Grotesque statues of Kali's baleful minions line the walls. In a corner, there is another statue of Kali herself, draped with flowers, necklaces of real human skulls and slithering belts of live snakes. + +Fresh blood has been splashed over the statue and at its base are the three Sankara Stones recovered from Indiana. Mola Ram sits in a yoga position near the statue of Kali. + +Mola Ram opens his eyes and he sees Indiana and Short Round standing in chains before him. + + MOLA RAM + You were caught trying to steal the Sankara Stones. + + INDIANA + (shrugging) + Nobody's perfect. The way I heard it, you stole one of them from a small village. + +Mola Ram stands and gazes transfixed at the stones glowing on the altar. + + MOLA RAM + There were five stones in the beginning. Over the centuries they were dispersed by wars, sold off by thieves like you... + + INDIANA + Two are still missing. + + MOLA RAM + No. They are here -- somewhere. A century ago when the British raided this temple and butchered my people, a loyal priest hid the last two stones down here in the catacombs. + + INDIANA + That's what you've got these children -- these slaves digging for? + + MOLA RAM + They dig for the gems to support our cause. They also search for the last two stones. Soon we will have all five Sankara Stones and the Thuggees will be all powerful! + + INDIANA + Nobody can say you don't have a vivid imagination. + + MOLA RAM + You do not believe me? You will, Dr. Jones. You will become a true believer. + +The door opens and Mola Ram bows slightly as the little Maharajah enters. Indy looks surprised and Short Round tenses. + + MOLA RAM (Cont'd) + Your Highness will witness the thief's conversion. + +Mola Ram nods and two guards grab Indy. They drag him struggling to a rock and chain him to it. Short Round scuffles as he's pulled aside to watch. + +Remembering the High Priest's earlier open-heart surgery, Indiana looks worried as Mola Ram approaches him -- + + MAHARAJAH + You will not suffer. I recently became of age and tasted the blood of Kali. + +Now the young initiate comes forward and Indiana looks startled -- it's Nainsukh. He is wearing robes and his eyes are glowing strangely. Nainsukh hands Mola Ram a hollow human skull full of blood! + +The guards hold Indiana's head back and force his mouth open. + +Mola Ram tips the skull and blood spills out of its death-grinning jaws and flows into Indiana's mouth. Indy gags -- Suddenly he spits the blood, spraying Mola Ram and the little Maharajah. Looking at his blood-splattered clothes, the Maharajah is furious. + + MOLA RAM + Hold him! + +The little prince's eyes glow angrily and he hisses at Indy -- + + MAHARAJAH + You will learn to obey because you are powerless! + +The little Maharajah pulls a small krtya from his robes -- Indy sees that the doll has been crudely fashioned to resemble him. + + MAHARAJAH (Cont'd) + I control you now! + +The Maharajah turns and sticks the doll into a flaming urn. Indiana suddenly cries out and twists in pain as he is burned! The little prince smiles evilly and puts the doll back into his robes. + +Then he goes over to where Indy's whip and bag have been laid. + +He grabs the bullwhip. + + MAHARAJAH (Cont'd) + You told me that a whip could be an enemy to its owner. We shall see! Turn him over! + +As the guards turn Indy face down, they rip off his jacket and chain his hands to the rock. The Maharajah uncurls the whip -- he notices Short Round smiling snidely -- Suddenly the Maharajah cracks the whip -- it lashes out and cuts into Short Round's shoulder. Blood appears and Short Round looks stunned by the lash and by the fact the Maharajah knows how to use the whip. + + MAHARAJAH (Cont'd) + As Dr. Jones suggested, I have been practicing. + +The little Maharajah whirls and lashes the whip again. Indiana jerks as the bullwhip rips through his shirt and tears open his flesh. The Maharajah lashes again and again -- blood spurts across Indy's tattered shirt. + +As the whipping continues -- Short Round jumps as if he is also being beaten. His eyes fill with tears as he watches Indy suffer. + +Finally, the little Maharajah lets the whip fall limp. As the Maharajah approaches Indy, Short Round lunges at him angrily but the guards restrain him. + +Indiana groans as he's turned over. Blood trickles from his mouth and he stares up hatefully at Mola Ram. + + MOLA RAM + The British in India will be slaughtered. Then we will overrun the Moslems and force their "Allah" to bow to Kali. + +Mola Ram is once again given the human skull by a priest and he lifts it toward Indy's face -- + + MOLA RAM (Cont'd) + And then the Hebrew God will fall and finally the Christian God will be cast down and forgotten. + +Indy's head is held back and Mola Ram spills the blood -- it flows out of the mouth of the skull into Indy's mouth. + + MOLA RAM (Cont'd) + Soon Kali Ma will rule the world! + +Indy's eyes look horrified as the blood flows from the skull down his choking throat -- some of the blood spills and falls to the floor -- We see the very earth trembling as the evil spreads -- a fissure appears beneath Indy's feet and a small line of crimson lava oozes out and smiles evilly across the floor... + +CUT TO: + +INT. WILLIE'S SUITE - NIGHT/* 127. */ #127# + +Diaphanous curtains billow silently into the moonlighted room. + +Two exotic birds sit on a golden perch, their eyes clicking watchfully. Suddenly the birds shriek and flap away -- Willie stumbles through the secret door and falls into the room. + +Insects cover her and she whimpers as she knocks them off. She manages to stagger to her feet and she heads for the door. + +INT. THE PALACE - NIGHT/* 128. */ #128# + +Willie rushes out of her room and runs through the deserted palace looking for help. She flies down the moonlit corridors, past the huge wall paintings. + +She stops by a courtyard and calls out desperately, but there is no one around. She backs away down a hallway and then jumps -- seeing something in a mirror: a face looms behind her and she screams! + +Willie whirls and sees Chattar Lal, the Prime Minister, approaching her. + + WILLIE + Oh my God, you scared me! Listen, you've got to help. We found this tunnel -- + +Captain Blumburtt comes around a corner and interrupts -- + + CAPT. BLUMBURTT + (to Chattar Lal) + Jones isn't in his room. Miss Scott -- my troops are leaving at dawn if you want us to escort you to Delhi -- + + WILLIE + No -- you can't go! Something awful's happened. They've got Short Round and I think Indy's been -- + + CAPT. BLUMBURTT + What? + + WILLIE + We found a tunnel that leads to a temple below the palace! Please, come with me, I'll show you! + +The two men exchange dubious looks. Willie grabs Blumburtt by the arm and they start down the hall. + + CHATTAR LAL + Miss Scott, you're not making any sense. + + WILLIE + I'm afraid they'll kill them! We saw horrible things down there -- they had a human sacrifice and they ripped a man's heart out! + + CAPT. BLUMBURTT + Who? + + WILLIE + It's some kind of cult! And they've got the sacred stones that Indy was searching for. + + CHATTAR LAL + I sense the fumes of opium in all this. Perhaps Miss Scott picked up the habit in Shanghai. + + WILLIE + What're you talking about -- I'm not a dope fiend! I saw it! I'll show you! + +INT. WILLIE'S SUITE/* 129. */ #129# + +She leads them into her suite. Willie points to the dark opening in the wall. Blumburtt picks up an oil lamp and holds it toward the opening -- suddenly he jumps back as Indiana emerges! + + INDIANA + (smiling faintly) + What're we playing, hide and seek? + +They're all startled. Willie looks relieved and rushes over to Indy and puts her arms around him. + + WILLIE + Oh, Indy, you got away! Tell them what happened, they won't believe me -- + +He puts his arms around her and feels her trembling from fear and anger. He walks her to the bed and helps her sit down -- + + INDIANA + It's okay. You're all right now. + + WILLIE + They think I'm insane. Tell them I'm not, Indy. Please -- help me ... + +The awful events have taken their toll and Willie covers her face and cries like a scared kid. Indy gets her to lie down on the bed. He sits beside her and smiles and touches her hair -- + + INDIANA + Hey, I thought you were supposed to be a real trooper. Willie? + +He wipes the tears from her face and she holds his hand -- + + WILLIE + (quietly) + What? + + INDIANA + You've got to go to sleep now. + + WILLIE + (softly) + I want to go home... + + INDIANA + I don't blame you... this hasn't been what you'd call a fun vacation... + +She smiles a little despite herself and he touches her cheek. + +Her eyes are already closing and he stands up. + +A servant is entering the suite to take care of Willie. She covers her with a blanket and start dropping the mosquito netting as Indy walks off toward the verandah with Blumburtt and Chattar Lal. + +EXT. THE VERANDAH - DAWN/* 130. */ #130# + +The first light is breaking over the mountain peaks. Coming out onto the verandah, Indy and the other two men see the cavalry troops breaking camp below and readying their horses and trucks. + + INDIANA + I've spent my life crawling around in caves and tunnels -- I shouldn't have let somebody like Willie go in there with me. + + CAPT. BLUMBURTT + Miss Scott panicked? + + INDIANA + When she saw the insects she passed out cold. I carried her back to her room. She was sleeping when I re-entered the tunnel to look around. + + CHATTAR LAL + As she slept, she undoubtedly had nightmares. + +Indiana looks at him and nods. + + INDIANA + Then she must have run out of the room and you found her. + + CAPT. BLUMBURTT + Did you discover anything in that tunnel, Dr. Jones? + +Indiana stares into the rising sun. + + INDIANA + Nothing. Just a dead end. That tunnel's been deserted for years. + +A sergeant-major shouts up to Blumburtt that the troops are ready. + + CAPT. BLUMBURTT + Well, Mr. Prime Minister, my report will duly note that we found nothing unusual here in Pankot. + + CHATTAR LAL + I'm sure that will please the Maharajah, Captain. + + CAPT. BLUMBURTT + (to Indiana) + As I said before, we'd be happy to escort you to Delhi. + + INDIANA + Thanks, but I don't think Willie is ready to travel yet. + +CUT TO: + +EXT. THE PALACE ROAD - MORNING/* 131. */ #131# + +Dust swirls as the British cavalry moves off with their Highland Pipers at the head playing a military bagpipe tune. Capt. Blumburtt comes out of the palace and gets into an open car. + +Blumburtt's car moves off behind the cavalry and then the supply trucks follow. + +INT. WILLIE'S SUITE/* 132. */ #132# + +The whine of the bagpipes is eerily muted in the dark room. + +Through the gently swaying mosquito netting, we see Willie asleep on the bed. + +Then through her side of the gauzy netting, we see the door opening across the room. Indiana enters quietly and moves toward the bed, his eyes fixed on Willie's sleeping body. + +Indy sits down on the bed slowly. Willie turns in her sleep and opens her eyes. Through the mosquito netting she sees Indy sitting with his back to her. + + WILLIE + Indy? Did you talk to them? + + INDIANA + Yes. + + WILLIE + So now they believe me. + + INDIANA + Yes, they believe you. + +Indiana speaks in a strange monotone. + + WILLIE + Then they'll send the soldiers down into the temple... + +Willie looks at Indiana's back and continues quietly. + + WILLIE (Cont'd) + I was scared to death last night when I thought they were going to kill you. + + INDIANA + No... they won't kill me. + + WILLIE + (smiling faintly) + You know you've been nothing but trouble since I hooked up with you -- but I have to admit I'd miss you if I lost you... + +Now Indiana starts to turn slowly. + + INDIANA + You won't lose me, Willie... + +She sees him turn and his face slowly comes toward the mosquito netting -- his face pushes into the netting and Willie looks stunned as Indy's mouth opens -- He starts hissing grotesquely, smoke billows out of his mouth and the mosquito netting BURNS OPEN to expose his terrifying face moving toward Willie -- She is frozen with fear and unable to utter a sound as Indy's malevolent face looms at her -- and then she notices his eyes -- his eyes glowing a hellish luminescent yellow! + +Willie SCREAMS!! + +She suddenly bolts from the bed and tries to run -- Indiana goes into a rage, ripping the mosquito netting from the bed as he follows her. + + INDIANA + No! I've found it -- you can't -- Kali knows! + +Willie tries the door but it's locked. She sees Indiana moving toward her ranting incoherently as he smashes a vase out of his way -- + + INDIANA + -- been too many lies -- there's no god's heaven -- just -- the horror! I've seen it -- life preying on life! + +Willie cowers in a corner, horrified by the transformation she sees in Indiana. Shouting and pacing Indy holds his head against the pain of his terrible thoughts -- + + INDIANA + -- rivers -- destroying mountains -- a comet in space -- exploding! + (holding his head) + Aaahh! -- the screams -- pitiful people -- their pain -- the hate -- and greed -- always greed! + +The light throws his shadow over Willie -- a giant shadow floating back and forth over her as she cries in the corner, unable to fight the evil devouring Indiana. + + INDIANA + -- but I've found -- Kali's touch! Death -- no more lies -- the death I've been searching for! + (shouting) + Quit crying! She can hear you -- Kali knows fear -- don't you understand -- Kali is freedom! + +Indiana stops pacing and Willie freezes in terror. Now a bizarre yellow light wipes across the room. Indiana turns and watches silently as two Thuggee guards emerge from a secret doorway that's opened -- The shadows of the Thuggee guards loom over Willie and she SCREAMS again! + +CUT TO: + +INT. THE TEMPLE OF DEATH - DAY/* 133. */ #133# + +A sea of frightening faces once again intones the horrible sacrificial chant. Among the worshippers, the little Maharajah sits on a raised platform. Like the other believers, he stares across the crevasse at the altar of Kali Ma. + +The wailing wind howls out of the high tunnel and the terrifying chanting reaches a fever pitch. + +INT. THE TEMPLE ALTAR/* 134. */ #134# + +And once again the three sacred Sankara Stones glow magically. + +Mola Ram materializes evilly amidst the swirling smoke and he begins chanting in Sanskrit. + +Beside the altar, half-clad female acolytes pass in front of the robed priests -- with their fingers the women paint two white lines across the priests' foreheads. + +An acolyte moves in front of Chattar Lal -- the Prime Minister is now dressed in robes. As the devotional markings are painted on his forehead, Chattar Lal translates the High Priest's speech to Indiana who stands next to him. + + CHATTAR LAL + Mola Ram is telling the faithful of our victory. He says the British have left the palace, which proves Kali Ma's new power. + + INDIANA + Yes, I understand. + +Indiana bows his head to receive the mystical markings. He listens to Mola Ram's rantings -- Indy's eyes are ominously vacant as he stares up at the hideous statue of Kali. + +INT. MINE TUNNELS - DAY/* 135. */ #135# + +Beneath the temple, down in the bowels of the mountain, the pitiful children dig at the earth with their fingers. A FAT GUARD slouches down the tunnel, flogging malingerers with a leather strap. + +Short Round sweats next to the others, clawing at the rocks, doomed to work with them now in their search for the last two Sankara Stones. + +The leather strap suddenly flays Short Round's back and he barely manages not to scream out in pain. The fat guard passes -- Short Round and the other kids pull a large rock which suddenly comes loose out of the wall -- ! + +They fall back and see they've exposed a vein of molten lava! + +Hearing their shouts, the fat guard returns -- yelling at their stupidity, he whips them and shoves them aside brutally. + +Short Round sees the fat guard's eyes glowing fiercely in anger. + +Suddenly the fissure shoots out steam and spews some molten lava over the guard's legs. + +The guard screams and falls to the ground, thrashing about, trying to kick the searing lava off his smoking flesh. + +As the other kids cower, Short Round's humane instincts cause him to jump forward to help the guard who moments earlier was beating him -- Short Round tosses dirt on the guard's legs and grabs a gunny sack and starts rubbing the lava off. Shorty notices something strange: + +The guard's eyes, which were glowing yellow before, are now dimming and returning to normal. The moaning guard looks at Shorty thankfully and then looks around as if waking from a nightmare -- + + SHORT ROUND + (to another slave kid) + His eyes -- they go out. + +Other guards appear and lift the guard -- suddenly he starts struggling against the guards not wanting to return to the nightmare of Kali -- + + FAT GUARD + (as he's dragged away) + No! NO! + + SHORT ROUND + The pain -- the pain makes him wake up! + (thinking quickly) + Indy! I can make Indy wake up! + +But the other guards push and beat the children back to work. + +Short Round is shoved against a wall and groans -- he reaches over and grabs a large rock, lifting it defiantly -- But rather than heaving it at the guard, Short Round smashes the rock down on the leg chains binding him to the other children. + +Shorty beats at the chain with the rock, determined to escape. + + SHORT ROUND + Indy! + +INT. THE TEMPLE OF DEATH/* 136. */ #136# + +The wind moans and joins Mola Ram's voice echoing maniacally over the multitude gathered in the enormous temple. On his throne, the little Maharajah listens transfixed. + +INT. THE ALTAR/* 137. */ #137# + +Chattar Lal watches Indiana staring hypnotically at the High Priest as he speaks -- + + CHATTAR LAL + You understand what he tells us? + + INDIANA + Kali Ma protects us now and forever, and we must pledge our devotion by worshipping her with an offering of flesh and blood! + +Suddenly there is a heart-rending scream of terror and the priests drag forward the next sacrificial victim -- Indiana's glowing eyes watch emotionlessly as Willie is brought out. Dressed in a Rajput maiden's outfit, Willie has been jeweled and draped with flowers -- a strange contrast as she struggles desperately. + + CHATTAR LAL + Your friend has seen and she has heard -- now she will not talk. + +As Willie is dragged past she sees Indy and calls to him -- + + WILLIE + Indy! Help me! Indy?! + +Willie is shocked seeing that Indiana remains impassive and uncaring as she's dragged to her death. + + CHATTAR LAL + (to Indy) + This will prove your devotion to Kali. + +Indiana looks away from Willie's terrified face and stares up adoringly at the monstrous statue of his goddess Kali. + +INT. THE MINE/* 138. */ #138# + +In the dark tunnel, a rock smashes down onto a chain -- and breaks it! Short Round is exhausted. He looks around furtively and sees a guard approaching. + +Short Round takes a chance -- he dives and rolls across the tunnel. He ducks behind a mine car full of rocks being pushed out by two chained children. + +The guard lumbers past unsuspectingly as Short Round makes his escape using the moving mine car as cover. + +INT. THE ALTAR/* 139. */ #139# + +Up in the temple, Willie continues to struggle as her legs are strapped to the iron sacrificial frame. Chattar Lal grabs her hand and ties it down. Willie's free hand reaches out imploringly toward Indiana -- + + WILLIE + (hoarsely) + Please, God, don't let them do this to me -- help me, Indy! + +He reaches out slowly and Willie grabs his hand tightly. Indy looks into her eyes and then stares at her hand -- and slowly lifts it and starts tying it to the iron frame. + + WILLIE (Cont'd) + No -- no! + +Willie cries in disbelief as Indiana calmly betrays her. + +INT. THE MINES BELOW/* 140. */ #140# + +Short Round races up a tunnel and then flattens himself behind a corner. He peers anxiously into a large cavern and sees two guards walking away. + +When the coast is clear, Short Round darts across the cavern to a long wooden ladder tilted up against a wall. Short Round looks up the high ladder and sees a kid with a sack of rocks descending from a burrow-hole half-way up the wall. + +The exhausted kid nearly collapses at the bottom -- then jumps seeing Short Round. Shorty motions for him to keep quiet. + +Amazed, the kid watches Short Round scramble up the ladder. + +Shorty continues until he is high above the floor. + +Dirty faces stare out of the high burrow as Short Round stops climbing. The kids are astonished as Short Round suddenly grunts and kicks the ladder away from the wall! + +The high ladder falls in an arc and what seem like sure suicide slowly resembles a mini-Indiana Jones stunt as Short Round swings to the other side of the falling ladder -- Short Round holds on for dear life as the ladder crashes against the opposite cavern wall -- giving Short Round access to the roof-hole that leads up to the temple! + +Short Round scurries up the ladder and pulls himself up into the chamber behind the altar. He looks at the light flaring around the statue of Kali -- + + SHORT ROUND + Indy -- ! + +INT. THE TEMPLE OF DEATH/* 141. */ #141# + +Chains clank and gears grind as the sacrificial frame is raised over the crevasse. Stretched out on it, Willie looks horrified as she hangs suspended face down above the boiling lava! + +The frame and victim descend slowly into the crevasse and the crowd around the little Maharajah chants louder. + +INT. THE REAR CHAMBER/* 142. */ #142# + +Short Round dashes across the dark chamber behind the altar. He peers out and sees Willie disappearing into the crevasse! He sees Indiana watching impassively -- + + SHORT ROUND + No -- Indy -- wake up! + +Then Shorty sees a flaming torch hanging on a wall bracket and he has an idea. + +INT. THE ALTAR/* 143. */ #143# + +Short Round suddenly darts out onto the altar and Mola Ram sees him and yells. Several priests grab for Shorty. He eludes the first priest, smashes the second in the stomach with his head, and runs like a little quarterback toward the fiery torch -- Short Round snatches the torch from the wall and charges toward Indiana. Seeing him coming, Indy's eyes start glowing yellow and when Short Round runs up to him, Indiana suddenly swings and backhands the little guy brutally across the face! + +The torch flies out of Shorty's hand as he's knocked against a wall by Indy's vicious blow -- Short Round wipes a little blood from his chin and stares at his hero in wounded disbelief. + +Chattar Lal watches approvingly -- a priest moves toward Shorty. + +Chattar Lal looks back toward the crevasse -- Willie hangs on the lowering frame, heat waves rising up now to scald her skin and she chokes as the sulphuric air burns her lungs! + +Meanwhile Short Round is crawling backwards across the floor with a look of terror on his face -- Indiana stalks him, hissing, snarling, his eyes glowing -- Short Round springs to his feet and tries to run -- Indy grabs him and pulls him -- Shorty's hand grabs for another wall torch and just manages to yank it free! + +Indiana spins Short Round and clutches his throat. As Indy strangles him, Short Round struggles and finally jams the torch into Indy's side. The fiery torch burns Indy, smoking as it sears his flesh, and he yells in pain. + + SHORT ROUND + Wake up! It's just a nightmare, Indy! Wake up, please Indy! + +Indiana writhes in pain and Short Round sees the evil yellow glow in Indy's eyes getting dimmer and finally going out. Now it seems like the old Indiana staring at him -- + + SHORT ROUND (Cont'd) + Indy, you back? + +Suddenly a priest grabs Short Round and pulls him off Indiana. + + INDIANA + No! Give him to me! + +Short Round is frightened as Indy grabs him from the priest. + +Indy lifts Short Round into the air -- + + SHORT ROUND + No, Indy, no! + +He sets Short Round down on the brink of the crevasse an inch from doom. Shorty looks down at the lava and is terrified. + +Indiana finally flashes him a quick smile and winks! + +Then Indiana whirls and punches the priest in the face! Short Round cheers, realizing that Indiana is back. + + SHORT ROUND (Cont'd) + We got to help Willie! + +Indiana springs into action, stopping another priest with a quick punch in the stomach. Then he rushes over to the crankwheel and pulley platform. Indy jumps onto it, yanking one priest off who spills onto the floor. + +A second priest, who works the controls lowering the sacrificial frame, sees Indy and releases the crankwheel -- Down in the crevasse, Willie screams as the iron frame suddenly plummets toward the fulminating lava! + +On the platform, the priest lunges at Indiana -- Indy uses the man's own momentum to throw him over his head. Indy then dives for the crankwheel and manages to stop it -- Down in the crevasse, the frame jolts to a stop only yards above the spumes of fiery lava. The heat is so intense now that Willie's clothes start smoking and she passes out... + +On the platform above, Indiana cranks furiously, raising the sacrificial frame. + +INT. THE TEMPLE/* 144. */ #144# + +The chanting stops as the Kali worshippers notice the battle on the altar. The little Maharajah looks concerned and leaves, shoving through the crowd behind his bodyguards. + +INT. THE ALTAR/* 145. */ #145# + +Mola Ram shouts at his priests and another one of them runs toward Indy on the platform. Short Round dives and tackles the priest. + +Chattar Lal finally leaps onto the crankwheel platform and Indy sees him pull a dagger. He slashes at Indiana and Indy has to let go of the crankwheel -- the gears scream and the chains screech! + +Below in the crevasse, the iron frame plunges again toward the crimson lava! + +On the platform, Indy hears the frame lowering and looks panicked. Chattar Lal slashes again with the dagger -- keeping Indy away from the cogwheel mechanism -- Indy suddenly kicks the dagger from Chattar Lal's hand slugs him in the stomach and dives toward the cogwheel mechanism. He grabs a iron rod and throws it into the gears -- the gears mangle the iron rod but finally grind to a stop. Indiana grabs the crankwheel and starts winding it up furiously. + +Meanwhile, Short Round jumps onto the platform with Indy and grabs a long wrench. He starts swinging the wrench, keeping the last priests off the platform. + +The sacrificial frame finally rises up into view and Indiana grabs it and swings it over onto the platform. He looks at Willie anxiously as he releases her bindings -- Willie moans and moves her head. Indy pulls her off the frame and she starts coughing. Gasping for breath, Willie revives as fresh air flows into her lungs. + +Finally Willie opens her eyes and she sees Indiana. Then she notices something else and manages to cry out hoarsely -- + + WILLIE + Look out -- ! + +Chattar Lal grabs a pistol from an unconscious guard and Indiana whirls to see him pointing it -- Indy kicks the gun from his hand and suddenly Chattar Lal starts shouting in a terrifying voice -- Chattar Lal's eyes glow as he lunges suicidally at Indiana, attempting to take Indy with him as he dives from the platform! + +Crashing into Indy, Chattar Lal knocks both of them back onto the sacrificial frame which swings out over the crevasse -- Indy manages to dive off the frame just in time. He grabs hold of the platform as the crankwheel screams and the frame falls! + +Looking up from the depths of the crevasse, we see the frame with Chattar Lal on it plummeting downward into the sulphurous smoke! + +The frame finally crashes, splashing into the molten lava. + +Chattar Lal's body explodes into flame briefly -- his flesh is broiled off in an instant -- we glimpse a skeleton momentarily -- and then all is consumed and obliterated by the blazing lava. scramble over to Short Round who jumps off the platform and they + +follow him across the altar. + +Indy sees Mola Ram quickly collecting the sacred Sankara Stones. + +Indiana rushes over and spins Mola Ram around -- He slugs the High Priest in the face and Mola Ram keels over backwards against the statue of Kali. Short Round helps stuff the Sankara Stones into Indiana's shoulder bag. + +INT. THE REAR CHAMBER/* 146. */ #146# + +Short Round, Willie and Indiana rush across the chamber behind the altar. They run over to the ladder and start climbing down into the mines. + +INT. THE MINES #147# + +Willie follows Short Round. Indiana jumps down last and pulls the ladder away, letting it crash to the floor so they won't be followed. + +They draw the attention of the slave children working in the tunnels around the cavern. But it's the sight of the approaching guard that worries Indy -- + + INDIANA + Come on, quick! + +They duck into one of the tunnels. As they hide, Indy watches the guard passing. + + WILLIE + What're we going to do? + +Indiana looks around at the silent, frightened children who've stopped working in the tunnel and his anger darkens -- + + INDIANA + We're going to get them out of here -- ! + +Then he looks at the bag holding the Sankara Stones and grows still more determined -- + + INDIANA (Cont'd) + And then we're going to get these out of here -- ! + (seething) + And somehow I'm going to see this place destroyed. + +INT. THE CAVERN - MOMENTS LATER/* 148. */ #148# + +A guard passing hears a voice and stops -- + + INDIANA (O.S.) + Ah, sir? Excuse me -- + +The guard turns and looks amazed to see Indy smiling at him from the mouth of the tunnel. + + INDIANA (Cont'd) + Listen, I'm from the union and I'd like to talk about the working conditions here. Could you step inside a minute? + +Indy smiles again and disappears into the tunnel. In astonished rage, the guard draws his sword and goes after Indy into the tunnel -- there's a pause and then we hear the guard yell! + +INT. THE TUNNEL/* 149. */ #149# + +Willie flattens against the wall as Indiana catapults the big guard past her back into the mine where he's set upon by a horde of rebellious slave children. + +The kids swarm over the guard like jackals and we see Short Round pull a key from the struggling guard's robe. + +CUT TO: + +.MONTAGE - THE MINES/* 150. */ #150# + +A key is twisted and the chains are pulled from kids' legs... + +Elsewhere, more chains are unlocked and rattle free. Liberated kids spill out of the tunnels... + +A guard is tripped and attacked by a horde of ex-slaves... + +In another location, kids wrap captured guards in layers of chains... + +High up on a ledge, a fleeing guard skids to a stop when he sees kids charging at him. He sees more kids rushing from behind him. + +The guard screams as he dives off the ledge... + +!(END MONTAGE) + +INT. BEHIND THE ALTAR - DAY/* 151. */ #151# + +Freed children scramble up numerous ladders to escape the mines below. They follow the mass of children moving toward the front altar. + +INT. THE ALTAR/* 152. */ #152# + +On the altar, under the statue of Kali, Willie and Short Round are helping Indy and some of the bigger children rip down a long wooden panel decorated with hideous Kali figures. + +The childrens' escape is blocked by the chasm separating the altar from the deserted worshippers' area of the temple. The swelling crowds of children push and teeter dangerously on the edge of the fire pit. + +Indiana and the others carry the wooden panel through the crowd toward the chasm. They stand it up and when Indy gives the word they drop it -- The panel crashes across the chasm forming a plank across which the children now begin running to safety. + +INT. BEHIND THE ALTAR/* 153. */ #153# + +The last of the children scramble up the ladders and run toward the front of the altar. + +INT. THE ALTAR/* 154. */ #154# + +The childrens' bare feet stomp across the wooden plank -- below them the lava of the fire pit bubbles and shows outbursts of flame. + +Indy stares at the plank and sees that it's starting to smoke from the intense heat rising up. + +On the far side of the plank, the children safely across scatter through the deserted temple toward freedom. + +Willie and Short Round help the last kids out onto the plank -- Indy sees one child's foot break through the smoldering wood -- the kid in front pulls the child to safety. + +Willie and Short Round start to go out onto the plank but Indy shouts at them -- + + INDIANA + No, wait! + +He runs over and pulls them aside -- he steps out onto the plank and takes a few steps to test it -- suddenly the plank bursts into flame in the middle. + +Indy takes one more step -- and then the plank breaks! Indy dives back to the ledge of the altar and Willie and Short Round grab him and pull him up and the wooden plank plummets into the fiery chasm. + + WILLIE + What're we going to do?! + + INDIANA + There's got to be another way out. + +CUT TO: + +INT. A TUNNEL/* 155. */ #155# + +Indiana, Willie and Short Round run through the deserted mine tunnels. They hear a rumbling noise and Indy leads them down a side tunnel. They stop and peer into a quarry. + +INT. THE QUARRY CAVERN/* 156. */ #156# + +A large cavern is the depository for the mine cars rolling in with loads of rock. Emaciated children (still unaware of the revolt and the other childrens' escape) break their backs shoving the heavily-loaded mine cars. + +Thuggee guards supervise the deadening work, while others operate the pulley-and-hoist system used to drag the cars up the sloped dump ramp. + +Behind this operation, a thunderous waterfall cascades into a huge cistern. From there, chutes deploy the rushing water to power the large conveyor belt below it. + +As the cars rise up the ramp, they tip and spill rocks onto the conveyor belt which carries them toward an awesome stone cylinder that rolls relentlessly , crushing the rocks into sand. + +From the side tunnel, Indiana watches the noisy operation. + + INDIANA + Those empty cars have got to go out of the mines. + +Willie and Short Round watch the children push the empty mine cars. The cars gain momentum and roll away down two dark tunnels. + + INDIANA (Cont'd) + Come on, let's see if we can catch a ride... + +They duck out of the tunnel and run for cover behind a slag heap. + +Loaded mine cars roaring down from the mines hurtle past them and crash to a stop against the cars in front. + + INDIANA (Cont'd) + Okay, Shorty -- go! + +He pushes Short Round who darts out after a mine car roars past and dodges across the tracks before the next one descends. Indy pushes Willie into position and holds her ready -- + + WILLIE + I can't! + + INDIANA + Go! + +After another car crashes past, Indy shoves her. Willie runs out -- her shoe gets stuck and she freezes in the tracks! Willie sees a rock-filled car blasting down out of a tunnel directly toward her! + +Indiana dives, knocking Willie safely to the ground on the other side of the tracks -- the heavy car hurtles past and crashes into the cars in front. + +Indy pulls Willie behind a massive wooden post holding up the dump ramp and they hide from a passing guard. + + INDIANA + We've got to get across to the empty cars. Wait here until I signal you. + +They watch him run and hurdle a pile of lumber, bound up three steps and duck behind a tool shack on the platform. Indy reaches out and grabs one of the passing slave children. + +They see Indy put his hand over the kid's mouth and whisper to him. He releases the kid who sneaks away, alerting the other children who start making their escapes into side tunnels. + +Now Indy motions to Short Round and Willie to follow. As they start to move out they freeze dead in their tracks and Indy motions again angrily -- + + INDIANA + Come on! + +Willie and Short Round see a guard coming up the steps on the other side of the platform. As the man rises he gets taller and taller -- until they see it's a Thuggee giant coming up behind Indiana. + + INDIANA (Cont'd) + Come on, what's wrong? + + SHORT ROUND + Behind you! + +Indiana turns and looks into the bare chest of the seven-foot tall guard. Indy has to look up to see the man's mean-looking face. + + INDIANA + I see the problem... + +Indiana suddenly punches the giant in the stomach -- the giant does not flinch, he just belches rudely. + +Indiana growls and winds up to take a killer swing -- he steps back, cocks his arm -- and suddenly turns and runs away. + +No dummy, Indy dashes over and picks up a piece of wood. The giant starts toward him. Indy drops the wood and looks around for a much larger piece of wood. + +As the giant stalks toward him, Indiana raises the large piece of lumber -- Indy suddenly groans, drops the wood and clutches his stomach. Willie and Short Round looks startled -- + + WILLIE + What happened? + +Short Round shakes his head. They see Indy recover from the spasm as the giant rushes him. Indy jumps aside, landing on a loaded mine car that is passing by. + +The car is being dragged up the dump ramp and the giant jumps out onto it after Indiana. Indy quickly grabs a rock and, as the giant rushes him, Indy smashes the rock against the big man's skull! + +Unfortunately, it's the rock that shatters and not the skull. + +Indy dives to the other end of the mine car and lifts a large boulder. + +Suddenly Indy drops the boulder and grabs his arm, feeling a shooting pain again. Then he yells as he feels yet another stabbing pain in his left leg. + + WILLIE + What's wrong with him? + +Shorty is confused and worried -- and then he sees something! He looks up and there on a rock-cut balcony over the cavern is the little Maharajah! + +The little prince clutches the clay krtya doll that represents Indy. He jabs it in the leg with a long sapphire-tipped turban pin. + +On the mine car, Indy yells and grabs his right leg, which collapses beneath him. Short Round takes off. He dashes under the platform toward a bucket-chain carrying spent water back up to the cistern. + +Short Round leaps over the pool of water and grabs onto a bucket. + +He rises up on this make-shift elevator toward the rock balcony and the malicious little Maharajah. + +Meanwhile, Indy is on the brink of unconsciousness as the giant's massive hands throttle his neck. Indy's head hangs over the end of the mine car and suddenly his eyes widen -- The car with Indy and the giant reaches the peak of the dump ramp and it's upended -- spilling both of them and a shower of rocks down the conveyor belt! + +Down below, Willie dodges wooden pillars and weaves around quarry equipment, trying to follow Indy's battle with the giant. + +She trips and swears angrily -- Willie pushes an empty mine car out of her way -- an empty mine car! She runs back and starts shoving the mine car along the rails toward the conveyor belt. + + WILLIE + I got one! Indy, I got one! + +Near the waterfall, Short Round ascends on the rising bucket chain. Up on the balcony, the little Maharajah chuckles evilly as he watches Indiana on the conveyor belt -- The Maharajah lifts the clay doll and viciously jabs the pin in the back of it! + +On the conveyor, Indiana gets to his feet and then yells as a stabbing pain lacerates his back! He falls and writhes helplessly as the giant staggers up the rocky conveyor belt toward him. + +Willie shoves the mine car forward. She sees Indy's desperate situation as he's pulled along the conveyor toward the rock crusher! + + WILLIE + Indy, look out! + +She looks up and sees Short Round leap from the bucket-chain onto the balcony. The little Maharajah's eyes glow fiendishly as he lifts the clay doll -- and jabs the pin into the doll's face. + +On the conveyor belt, Indy yells agonizingly and clutches his stabbed face! Behind him, rocks explode as they're crushed and pulverized by the mammoth roller. + +In front of Indy, the Thuggee giant grabs a pick-axe as the conveyor slides past a tool bin. The giant approaches Indy with it. + +Short Round dashes across the balcony and tackles the Maharajah. + +They fall and fight like mortal enemies. Short Round sees the little Maharajah's eyes glowing as he punches him in the face. + +Only a few feet away from the rock-smashing roller, Indy is still on his back on the conveyor belt, thrashing in pain, feeling the Maharajah's pin piercing his face. The giant raises the pick-axe above his head and is about to split Indiana in two! + +On the balcony, the Maharajah drops the doll and Short Round dives for it -- he grabs the clay doll and pulls out the pin! + +On the conveyor belt, Indiana is suddenly released from the and looks up to see the giant swinging the pick-axe. Indy rolls aside at the last minute! + +The pick-axe cleaves into the conveyor belt and the giant lurches forward -- Indy gives him a helpful kick, sending the giant flying toward the rock-crusher as Indy jumps off the conveyor belt! + +Seeing the huge roller looming in front of him, the giant crawls desperately against the movement of the conveyor belt -- but he gets snagged! + +The sash around his waist gets caught under the rolling crusher and he's dragged back under it feet first. The Thuggee giant screams hideously as his body is rolled over and squashed by the enormous stone wheel! + +On the balcony, Short Round is jabbing the pin into the squirming little Maharajah. The little prince's eyes still glow yellow as he hollers -- + + SHORT ROUND + How you like being pin cushion, Mr. Rajah-ha-ha? + +The little prince rolls on the ground and tries to fight off Short Round who keeps jabbing him -- suddenly the Maharajah swings and the pin is accidentally rammed clear through his hand! + +Shorty sees the pin sticking through both sides of the kid's hand. The Maharajah stares at his pierced hand, gasping in astonishment. + +Short Round notices the yellow glow dying out of the Maharajah's eyes -- just as Indy's eyes cleared after he was released from Kali's trance. + + MAHARAJAH + Please -- pull it out! + +Short Round yanks the pin out of the little prince's hand. The Maharajah looks like he's just awakened from a bad dream. + + SHORT ROUND + It was the black sleep of Kali... + + MAHARAJAH + They made me do evil things... may lord Krishna forgive me. + +Meanwhile, Indy runs along the catwalk above the conveyor belt. + +He jumps and grabs onto a cross-bar -- he kicks out with his feet and knocks a quarry guard off the catwalk. + +The guard flies through the air and topples into the sand pit where he thrashes around blindly under the sand falling from the crusher. + +Across the cavern, Willie shoves the rolling mine car toward the balcony. + + WILLIE + Get down here, Shorty! I got us a ride! + +Willie whirls as another quarry guard rushes toward her. She yanks the iron brake-handle off the mine car and holds it threateningly like a baseball bat -- + + WILLIE (Cont'd) + Come on, let's see how hard your head is! + +Up on the rock balcony, Short Round lowers himself over the edge. + +The little Maharajah grabs his arm -- + + MAHARAJAH + Please -- listen -- to go out you must take the left tunnel. + +Shorty looks at him and he knows he's telling the truth. + + SHORT ROUND + Thanks pal. + + MAHARAJAH + I'm going to try to find the English soldiers. + + SHORT ROUND + Good luck. + +Short Round slips over the edge and slides down a wet stalactite to the floor of the cavern. + +There he finds Willie swinging the brake-handle and smashing the guard in the gut. The man doubles in pain -- Willie kicks his butt and he splashes into the pool of water. + + WILLIE + I don't appreciate being cooked like a french fry! + + SHORT ROUND + Willie, come on! + +Willie starts pushing the empty mine car with Short Round. + + SHORT ROUND (Cont'd) + You do pretty good for a girl! + +Across the quarry, Mola Ram and six temple guards run out onto a high platform next to the waterfall. Mola Ram sees Willie and Short Round pushing the mine car. + +Mola Ram shouts to his men -- two of them pull pistols and open fire! + +Bullets ricochet off the mine car and Short Round shoves Willie to the far side of the car where they both take cover. + +Meanwhile, up on a catwalk, a guard slices a sword through the air and Indiana ducks! The sword slashes into a wooden railing and the guard tries frantically to pull it out -- Indiana slams his knee up into the guard's stomach and then smashes his fist down on his neck -- the man collapses. Indy hears more gunfire. + +Indiana rushes along the catwalk toward the platform above. He edges against the wall below the platform, staying out of sight as he unfurls his whip. + +One of Mola Ram's guards fires again from the high platform and Indiana lashes the whip -- the whip wraps around the gunman's arm and Indy yanks on it -- The gunman topples through the air and crashes down onto the catwalk. Indy grabs the gun. He kicks the guard off the catwalk and the man falls into the waterfall pool. + +As the other guards fire down at him, Indiana dodges along the catwalk and fires back at them. A bullet explodes near Mola Ram and he ducks back -- Meanwhile, Short Round and Willie have the mine car rolling and they jump into it -- + + SHORT ROUND + Indy! Hurry! + +Indiana spots the rolling mine car racing across the quarry. Indy takes off and runs along the catwalk -- bullets explode around him, splintering wood. Indy reaches the end of the catwalk -- Suddenly he dives into the air and catches hold of a block and tackle! Indy skids along the pulley system, sliding down a cable toward the mine car in which Short Round and Willie are riding. + +Bullets whiz past as Indiana sails in the air above the speeding mine car - when they are in sync, Indy lets go and drops into the mine car next to Willie and Short Round! + +Mola Ram rushes forward and watches the speeding mine car rolling down the track toward the tunnels -- + + MOLA RAM + They've stolen the Sankara Stones -- they must be stopped! + +In the speeding mine car, Indy sees the tracks separating in two directions -- one back into the quarry, the other toward two tunnels that lead out of the mines. + +Indiana lifts a shovel from the floor of the car and swings it just in time -- he hits a switch which CLANGS as they speed by and the car is shunted tipsy-turvy onto the track toward the two tunnels. + +Willie hangs on as the car tears down the track toward the tunnel on the right -- and Short Round looks worried -- + + SHORT ROUND + No, Indy, it's left tunnel. + +But it's too late and they all hold on as the mine car shoots down into the darkness of the echoing tunnel. + +INT. THE TUNNEL/* 157. */ #157# + +The wind rushes past Indiana as the car descends into the tunnel and picks up speed. Willie hangs on with Short Round -- the mine car roars around a curve and flies faster along the rails. + +INT. THE QUARRY/* 158. */ #158# + +Back in the quarry, Mola Ram supervises the guards as they shove empty cars toward the tunnel. Carrying long Khyber rifles, they jump aboard the cars. The first one rolls into the dark tunnel and the second car speeds after it. + +INT. THE TUNNEL ENTRANCE/* 159. */ #159# + +The two Thuggee cars shoot past, descending into the darkness in pursuit of the infidels who stole the Sankara Stones. + +INT. THE TUNNEL/* 160. */ #160# + +The mine car hurtles past. Indy sits in front, pulling back on the brake-lever to control their speed and keep them from careening off the tracks. + +Expecting trouble, Short Round peers over the back end of the car. Willie ducks low, watching the heavy beams flashing dangerously close above their heads. + +Then Willie's eyes go wide and she groans in terror like a girl on a roller coaster as the mine car suddenly plunges downward, taking their stomachs with it. + +A gunshot rings out and Short Round sees the first Thuggee car appear around a curve behind them. Mola Ram's gunmen start blasting. Bullets ricochet off the mine car and Indy yells back to Short Round. + + INDIANA + Come here and take the brake! + +Short Round scurries forward and grabs the brake from Indy. + + INDIANA (Cont'd) + Slow on the curves or we'll fly off the tracks! + + SHORT ROUND + Read you loud and clear, Indy! + +Short Round grins as he holds the brake -- Willie realizes that this is Shorty's idea of a good time! + +INT. THE CAVERN/* 161. */ #161# + +Up in the quarry, gunmen push a third car toward the tunnel, but Mola Ram stops them. He shouts and they turn and look instead toward the waterfall and huge cistern.... + +INT. THE TUNNEL/* 162. */ #162# + +Indiana is crouched in the back of the zooming mine car blasting away with the pistol he captured in the quarry. + +A gunman in the car behind returns his fire, the explosions lighting up the tunnel walls. + +Indy aims and fires again -- the gunman is hit and knocked back in the car. Another guard with a Khyber rifle moves up to the front and starts firing. + +Meanwhile, as the car goes into a hard turn, Short Round rides the brake -- beneath the car we see the brake-pad scraping on the metal wheel. + +The tunnel gets lower and Indy has to duck under each beam flying over and can only pop up to fire between the low beams. + +The rifleman in the car behind is reloading. Then he lifts his rifle -- Indy pops up simultaneously and shoots! + +The gunman is hit, his rifle flies up and his head smashes against the beam hurtling above! Screaming horribly, the gunman is knocked from the speeding car like a broken doll. + +INT. THE CAVERN/* 163. */ #163# + +Up in the quarry, Mola Ram's men swing sledge hammers, bashing away at the rock supports under the huge water-filled cistern. + +INT. THE TUNNEL/* 164. */ #164# + +Indiana runs out of bullets. He sees the car behind getting closer. He tosses the pistol and hits a Thuggee in the head. + +Another Thuggee retrieves Indy's pistol and starts reloading it. + +Suddenly Indy is being shot at by his own gun and he yells to Short Round + + INDIANA + Let up on the brake! + + SHORT ROUND + What?! + +Indy shoves past Willie and takes the brake lever from Shorty. + + INDIANA + Let her go! Our only chance is outrunning them! + + WILLIE + What about the curves?! + +Short Round looks scared as Indy releases the brake and the car hurtles toward a curve. They grab the sides of the car as it tips precariously. Behind them, the curve throws the gunmen from side to side in the car following. + + SHORT ROUND + Indy, look out! + +A sharper curve looms ahead and Indy shoves the brake completely off! + + WILLIE + What're you doing?! We're going too fast!! + +Willie closes her eyes as they rocket toward the curve. In the car behind, the Thuggee guard at the brake also shoves the brake off -- and looks extremely worried. + +Indy's car hits the curve and the centrifugal force lifts the inside wheels off the rails! + + INDIANA + Get over on the other side! + +Willie and Short Round jumps over to his side as the car whips around the curve! Indy looks back and sees the car pursuing them is also taking the curve at full speed -- Suddenly the Thuggee car swerves dangerously, the weight shifts too much to the outside -- and the car derails! + +The car bounces off the tracks and flies through the air into a siding where it CRASHES against a stone wall in an EXPLOSION of rock and metal! + +Pieces of debris pummel the driver of the second Thuggee car and he quickly grabs for the brake to slow down and avoid the same fate! + +In the lead car, Indy smiles smugly as Willie opens her eyes. + + INDIANA + One down, one to go! + +INT. THE CAVERN ABOVE/* 165. */ #165# + +Mola Ram's guards continue to bash away with sledge hammers at the rock supports under the mammoth cistern. One of the supports starts to crumble -- From above, we see the cistern list to one side and water laps dangerously over the edge as the huge tank creaks and sways. + +INT. THE TUNNEL/* 166. */ #166# + +Indiana and Short Round heft a railroad tie out of the bottom of the car and Willie watches them lift it onto the back -- As gunfire continues to explode from the car behind them, Indiana and Short Round shove the railroad tie off the back of the car -- The wooden railroad tie falls and bounces back across the tracks. + +The gunmen in the car behind spot it and yell in panic -- Indy and Willie watch the car behind crash into the railroad tie -- but the tie just skids, catches and bounces up and out of the way like a huge tumbling matchstick! + + WILLIE + Anymore ideas...? + + INDIANA + Yeah -- this time you're gonna help! + +INT. THE CAVERN/* 167. */ #167# + +The sledgehammers continue -- until two of the rock supports give way! There are shouts as the guards run for cover. + +Mola Ram stands on a platform watching the huge cistern slowly keel over -- the noise is incredible as the colossal tank crashes to the ground! + +Suddenly a half-million gallons of water explode across the cavern and surge in a tidal wave toward the tunnels! + +INT. THE TUNNEL/* 168. */ #168# + +The walls of the tunnel flash past and curves appear suddenly out of the darkness as the hair-raising chase continues -- Short Round and Willie struggle to help Indy lift a large boulder from the bottom of the speeding mine car. + +The cars descend again into a stretch of much lower tunnel where the beams flash past inches above them. Indy judges the beams -- + + INDIANA + Okay -- one -- two -- NOW! + +All three of them groan as they raise the boulder and shove it off the back of the car -- ducking instantly to avoid being decapitated by the next beam! + +Looking back, they see the gunmen pop up between the beams -- and they see the looks of terror on the gunmen's faces as they see the boulder in front of them! + +The Thuggee car hits the boulder and upends! The guards scream horribly as the car tumbles end over end, slamming against the tunnel walls, getting ripped to shreds so that finally only pieces of metal, wheels and debris fly like a meteorite shower down the tunnel! + +Willie whoops for joy and hugs Indy who smiles modestly -- + + INDIANA + Okay, Shorty, hit the brakes! + +Short Round dives for the front of the car and happily pulls the brake lever -- it doesn't work! Short Round yanks on it harder -- the brake lever suddenly breaks off! + + SHORT ROUND + Indy!! + +Indy sees Short Round holding up the broken brake lever! Indy crawls quickly toward Shorty while Willie holds on for dear life! + +Completely out of control, the car hurtles down a decline into a section where the tunnel is larger again -- Indiana bends over the front of the car and looks underneath. He sees the brake tension hanging loose from the brake-pad. Indiana pulls himself back up and looks at Willie and Short Round. + + INDIANA + Grab onto me -- I'm going to try and slow us down from underneath! + +Willie looks terrified but helps Short Round grab onto Indy's arm and the back of his jacket. He skips over the front of the car and swings a leg underneath -- Indy is inches above the rails and the rocky ground blurring beneath the car as he tries to kick at the brake-pad. His feet fall and he bumps along, dragged dangerously for a moment -- Indy manages to find a foothold on the undercarriage of the car. + +As they hold onto him, Indy kicks again and his foot hits the brake-pad. He shoves it and slowly the pad closes against the spinning wheel... + + WILLIE + Oh no! + +Willie and Short Round look up and see that the tunnel is ending ahead and the track dead-ends into a stone wall! + + INDIANA + What's wrong? + +He looks around -- and sees the car rocketing directly toward the stone wall! + +Indy's foot starts kicking in high-gear underneath the car -- he slams at the brake-pad with all his strength -- the pad screeches against the spinning wheel and starts sparking! + +The car seems to slow as it shoots toward the end of the tunnel. + +Indy groans and pushes hard against the smoking brake-pad. + +The car slows more and more until it runs down the last few yards to the dead-end and rolls gently to a stop, just nudging Indy's back against the wall.... + + INDIANA + Ouch... + +Willie looks faint as Indiana gets to his feet and Shorty jumps out of the car. They help Willie out and she stands shakily -- + + WILLIE + I'm okay -- I'm fine -- I love to flirt with death... + +Indiana sees that the tunnel ahead continues without any more tracks. Then they hear something -- A strange rumbling sound echoing down the tunnel from behind them. The walls seem to reverberate. Looking worried, they start walking away down the tunnel. + +They walk faster as the noise behind them becomes louder and they keep glancing over their shoulders -- + + WILLIE + What's that?...Indy?! + +Indiana isn't sure and he pulls Willie by the arm and all three of them start jogging. + +The rumbling behind them sounds increasingly ominous and finally they start running full tilt. They rush down the tunnel and the awful noise becomes deafening! Willie looks around again and slows suddenly -- Willie stops dead in her tracks -- paralyzed -- awestruck -- DOOMED! + +Willie sees a monster wall of water (released from the quarry) as it thunders around a curve -- a mammoth tidal wave crashing spectacularly against the opposite tunnel wall! + +A veritable "tsunami" caroming off the tunnel wall and spewing furiously forward like a hydrous Juggernaut! + + WILLIE + (frozen in her tracks) + Oh... shit... + +Indiana and Short Round notice that Willie's slowed and they stop running -- they also see the cataclysm of water crashing down the tunnel toward them. + +Indy runs back and grabs Willie. All three of them take off, running faster than they've ever run in their lives! + +The tidal wave smashes forward, booming behind them and Indiana realizes quickly that they're going to lose this race. Suddenly he sees a small side-tunnel in a bend ahead -- + + INDIANA + There! Dive! + +They lunge toward the hole and Short Round dives in it first. + +Indiana shoves Willie into the hole and jumps in after her just as the colossal tidal wave explodes past! + +INT. THE CHUTE/* 169. */ #169# + +The small tunnel drops precipitously and they slide down, showered by the small side-current of water that's broken off from the main force. + +INT. A LARGE TUNNEL/* 170. */ #170# + +They roll and tumble out of the small chute into a larger tunnel. + +The roar of the tidal wave sounds distant and receding as they catch their breath. + + INDIANA + Lucky I found a short cut. Look, there's a light at the end of the tunnel... + +Suddenly an EXPLOSION! They turn and see the thundering tidal wave crashing around a curve and cascading down the tunnel behind them again! + + WILLIE + Some short cut! + +They all holler in unison and start running like bats out of hell toward the daylight. The towering wall of water surges relentlessly after them -- The tidal wave looms up to annihilate them as they race to the mouth of the tunnel -- and Willie SCREAMS! Indy grabs her and all three of them flail their arms to keep from losing their balance! + +EXT. THE TUNNEL EXIT - DAY/* 171. */ #171# + +The tunnel exits midway up a cliff and the three totter precariously on the brink looking down at a 300 foot sheer drop to a gorge below! + +Indiana swings Willie onto a narrow ledge on one side and pushes Short Round after her -- he jumps himself to the other side just as the tidal wave crashes past them! + +The water bursts out of the tunnel -- the gusher spews forth from the cliffside into the air as if Hoover Dam just broke loose! + +Short Round and Willie balance on the narrow ledge on one side of the geyser -- Indy is perched on the ledge on the other side of the incredible eruption of water. + +Willie gets vertigo looking down into the gorge where the water crashes at the bottom. There crocodiles are disturbed and slither angrily. + +Indy looks up and sees a rope bridge swinging about twenty feet above Willie and Short Round. Indy shouts across the blasting water -- + + INDIANA + Willie -- the bridge! Climb up to the bridge! + +Willie looks frightened. + + SHORT ROUND + Nothing to it -- follow me! + +He edges along the narrow ledge toward the bridge and Willie follows him. Once under the bridge, they start climbing up the rocks to it. + +Meanwhile, Indiana is scaling the cliff face to get over the water geyser to the other side. He grabs at scrub brush and finds a few perilous footholds as he makes his way to the bridge. + +EXT. THE ROPE BRIDGE/* 172. */ #172# + +Willie and Short Round pull themselves up at the end of the bridge. Behind them a dark tunnel runs back into the mines. + +What's in front of them is hardly more reassuring -- The rope bridge across the gorge is a century old and definitely wasn't built by army engineers. Laying across the two bottom rope-spans, worm-eaten and moldy boards offer risky footings. + +Vertical side ropes connect the bottom rope-spans to the two upper ropes that constitute the dangerous hand-railings. + +Short Round steps tentatively out onto the bridge. It holds him and he turns and smiles at Willie -- + + SHORT ROUND + Easy like pie! Kid's stuff! + +Suddenly the board under him breaks! Willie grabs Short Round before he falls into the abyss! Looking pale and less cocky, Short Round starts out again and Willie follows him carefully. + +They continue stepping across the bridge cautiously, a feat made more difficult by the bridge's constant swaying and the heart-stopping up and down movement. + +Behind them, Indy finally pulls himself up from under the bridge. + +He stands up and sees Willie and Short Round halfway across already. Then he hears something and turns quickly -- he takes his whip out and ducks to the side of the tunnel as two Thuggee guards rush out. + +Indy cracks the whip, catching the first guard around the neck -- the guard spills forward and trips the second guard. The first man tries to stand but Indiana kicks him in the head. + +The second guard gets to his feet and swings his sword -- Indy ducks, slams him in the stomach and dives for the first guard's sword. He grabs it and rolls aside quickly as the second guard attempts to slice him in two! + +Indy gets to his feet and immediately finds himself about to engage in a sword duel with the enraged Thuggee guard. Indy looks at the unfamiliar sword, hefts it, and tries to quickly decide the best way to use it -- Suddenly the guard shouts and charges. Indy decides shouting must be the "de rigueur" technique and shouts back loudly -- the two swords CLANG and spark as the duel erupts. + +Indy flails and feints and the Thuggee guard lunges and slashes. + +Indy finally gains the upper hand and dispatches the Thuggee guard who slumps defeated into the dirt. + +Keeping the sword, Indy starts out onto the bridge, walking as quickly as possible across the rickety span. He hears shouting ahead and looks worried then temple guards appear at the far end of the bridge. + +The guards surprise Willie and Shorty as they finally get across the bridge. Struggling futilely with the guards, Willie shouts at Indiana -- + + WILLIE + Indy -- look out behind you! + +Indy sees more Thuggee guards rushing out of the tunnel behind him. He turns and sees two of the temple guards who captured Willie and Short Round coming across the bridge in front of him. + +Indy stands helpless in the middle of the swaying bridge with guards approaching from both sides, and nothing but heaven above and the rocky gorge hundreds of feet below! + +A wind comes up and the High Priest, Mola Ram, appears on the far end of the bridge. He stands with the guards who hold Willie and Short Round. + +The wind whips around Indy and he staggers unsteadily on the swaying bridge as he watches Mola Ram -- + + INDIANA + Let my friends go! + +Mola Ram shouts in Hindi and the guards start to move toward Indy from both sides of the bridge. + + INDIANA (Cont'd) + That's far enough! + + MOLA RAM + You are in no position to give orders, Dr. Jones. + +Indiana indicates the bag over his shoulder -- + + INDIANA + You want the stones, let them go and call off your guards! + +Mola Ram motions and the guards move farther out on both sides of the bridge -- suddenly Indiana swings the sword and it cuts into one of the bottom rope-spans! + +The rope is half-severed and frays slowly under the tension! + + MOLA RAM + Impressive, Dr. Jones. But I don't believe you would kill yourself! + +Mola Ram motions again and his guards (looking more nervous now) step farther out onto the bridge, moving closer to Indy from both sides. + +Indy swings the sword again, cutting into the other rope-span! + +It, too, is now partially severed and frays slowly. The bridge jolts and Indy and the guards sway precariously! + +Suddenly Mola Ram shoves Short Round out onto the bridge. The High Priest draws a dagger and pushes Willie onto the swaying span, holding the knife behind them both. + + MOLA RAM (Cont'd) + Your friends will die with you! + +In different times this would be called a Mexican stand-off Indiana looks at the guards in front and behind him. He sees Willie and Short Round out on the bridge now with Mola Ram at their backs. + + INDIANA + Then I guess we're all going to take a big dive! + +Indy and Short Round's eyes meet -- and the kid realizes that his hero isn't kidding. Willie looks at Short Round anxiously -- she notices that Shorty is surreptitiously wrapping his foot around a rope support. + +Petrified, Willie also secretly wraps her foot around a rope and does likewise with her arm -- + + MOLA RAM + Give me the stones! + + INDIANA + Mola Ram -- you're about to meet Kali -- in Hell! + +Indiana swings the sword with all his might -- it whooshes through the air and slashes clear through the top and bottom ropes --! + +Immediately Mola Ram's guards start to flee in panic -- too late! + +Indiana swings the sword again and the two ropes on the other side are severed -- The rope bridge is sheared in two! It breaks in the middle and both halves fall apart! The guards scream horribly in the air as they plunge down into the rocky gorge! + +Willie and Short Round cling to their established footholds and fall with the bridge toward the wall of the gorge. Mola Ram spills forward, clutching desperately at the ropes and slats -- Below them, Indiana has latched onto a rope and swings with the bridge as it hits the gorge wall and hangs vertically now, dangling from its moorings at the top. + +There's an instant of suspended animation as all who remain alive realize they are alive. Short Round and Willie cling near the top of the now vertical bridge. + +Below them, Mola Ram clutches onto one of the main ropes while directly above him the last of his guards holds on for dear life. + +Short Round and Willie struggle upwards, clutching ropes and stepping on slats. Finally, Short Round heaves himself up onto solid ground and turns to help Willie up. + +Meanwhile, dangling below on the bridge, Indy reaches up and grabs Mola Ram's leg. The High Priest kicks and tries to break Indy's grip. He kicks again and smashes Indy in the face. + +Indy won't let go. Suddenly the High Priest reaches up and grabs his own Thuggee guard and yanks him down by the front of his shirt -- Mola Ram shoves the luckless guard down onto Indy, trying to dislodge him by sacrificing the screaming Thuggee. Indy manages to hang on. The Thuggee is less fortunate and falls screaming to his death. + +Then Mola Ram looks across the gorge and yells. Indy sees a dozen of the last Thuggee guards streaming out of the tunnel -- only to be stranded on the far side of the now bridgeless gorge. + +Indy starts climbing up after Mola Ram again. He grabs at the back of Mola Ram's robe and pulls him down. Slipping, Mola Ram turns and it's Indy's chance to punch Mola Ram in the face. + +Mola Ram's eyes are glowing yellow and he's shouting incoherently. He grabs the strap of Indy's shoulder bag and stamps on Indy's hand -- Indy falls! + +Indiana slips downward, scrambling to catch hold of something -- meanwhile, Mola Ram now has the bag with the Sankara Stones. + +Indy finally stops his downward slide and dangles dangerously near the bottom of the bridge. + +Across the gorge, the Thuggee guards run up a path to a small grove of trees growing on a plateau above the gorge. The guards have bows and arrows and take firing positions -- At the top of the bridge, Mola Ram keeps climbing until rocks start pounding him from above -- Willie and Short Round pelt him with rocks which he tries to block with his arm. + +Indiana starts to climb again, using all his strength. He reaches for a wooden slat -- suddenly a flaming arrow smashes into the wood! + +Indy turns in amazement and sees more flaming arrows rocketing across the chasm directly for him! + +Across the gorge, by the grove of trees, a Thuggee priest yells orders to the archers who continue to launch the flaming arrows. + +Indiana crawls up as the bridge starts to burn from the continuing bursts of fiery arrows. At the top, Mola Ram reaches up desperately for a hand hold -- Willie smashes his hand with a rock! + +The High Priest yells in pain and slips down to where Indy slugs him again in the face! They struggle as the fire burns up from beneath them. + +On the cliff above the fallen bridge, Willie watches the fire rising toward Indy and Mola Ram as they fight. Short Round turns and sees something -- + + SHORT ROUND + Willie, look! + +They see horses galloping through a narrow pass -- the British cavalry is returning. Captain Blumburtt and the first troops draw up their horses and dismount quickly. + +A fusillade of flaming arrows force the British to take cover -- they quickly start firing back at the Thuggees with rifles. + +As the battle above the gorge continues, Indy and Mola Ram fight below on the dangling bridge -- Indiana sees the High Priest's eyes begin glowing and he hisses insanely. Mola Ram's hand thrusts out toward Indiana's chest and Indy yells in pain -- Indy looks down and writhes terrified as he sees Mola Ram's hand starting to enter his chest (as it entered the victim's chest during the temple sacrifice)! + +Mola Ram's fingers are inching into Indy's body -- Indy clutches at Mola Ram's piercing hand, trying to keep the deadly fingers away from his heart. + +Slowly, Indy is able to push Mola Ram's hand away and his fingers withdraw from Indy's chest. Indiana suddenly slugs the High Priest in the face and grabs for the bag of Sankara Stones -- + + MOLA RAM + No, the stones are mine! + + INDIANA + You've betrayed Shiva. + +*(He repeats in Sanskrit Sankara's warning) As Indy pronounces the magical words, the bag begins glowing and starts to burn Mola Ram as he clutches it -- the stones begin to spill out of the bag and the High Priest grabs for them. + +INDIANA (Cont'd) *(He repeats Sankara's warning in Sanskrit) + +The blazing stones sear Mola Ram's flesh and he screams in pain. + +The light suddenly dies in his eyes and for one instant he looks at Indy as if awakened from a nightmare -- Mola Ram loses his balance and Indy grabs for the stones. He manages to clutch only one of them as Mola Ram screams and falls! + +Indy sees the stone in his hand suddenly cool. He watches Mola Ram plummeting downward into the chasm and finally crashing into the jagged rocks at the bottom. + +The irritated crocodiles are disturbed once more -- but soon welcome the meal that just dropped in. Jaws flash and teeth rip at the High Priest's lifeless corpse. + +And Indy's bag with the Sankara Stones sinks into the murky current and disappears down the river ... + +EXT. THE CLIFF/* 173. */ #173# + +Indiana crawls up the burning bridge and Willie and Short Round reach for him at the top. They pull him up onto the cliff and they all look around exhausted -- Across the gorge, more British troops emerge from the mine tunnels to subdue the remaining Thuggee guards on that side. + +Finally the little Maharajah comes out of the dark mine tunnel. + +He sees Short Round across the gorge -- and bows to thank him for his help. On the other side, Short Round waves his cap, saluting him back. + +Willie stands at the edge of the gorge looking down into the river far below. + + WILLIE + I guess Mola Ram got what he wanted. + + INDIANA + Not quite. + +She sees Indy reach into his pocket. He pulls something out slowly -- as she watches he reveals a crystal stone -- + + INDIANA (Cont'd) + The last Sankara Stone. + +Short Round watches Willie take it carefully from Indiana. She gazes at it and looks delighted -- + + WILLIE + And the diamond hidden inside... + +Willie holds the stone up to the sun and it sparkles and flashes + +>CUT TO + +EXT. THE MAYAPORE HILLS - DAY/* 174. */ #174# + +The sun flares and silhouettes three figures coming over a hilltop. Behind them we see more smaller silhouettes appearing over the rise. + +Indiana, Willie and Short Round walk back down the dirt road into Mayapore -- followed by a multitude of children returning to their homeland. + +Willie looks at the changed landscape and seems astonished: the barren countryside has been reborn. They see streams flowing beneath green trees, flowers blooming and peasants harvesting golden grain in the fields. + +EXT. MAYAPORE VILLAGE/* 175. */ #175# + +Indiana, Willie and Short Round lead the children down the village road. Ahead they see villagers rebuilding their primitive dwellings. + +Now they hear shouts of joy from the peasants. The children returning home start running to meet their parents who are rushing out to greet them. + +There is laughter and tears as families are reunited. Indiana sees the old shaman approaching with the chieftain and the village elders. + +The shaman touches his fingers to his forehead and bows. The three travelers return his greeting and the shaman is quite moved as he speaks to Indiana -- + + SHAMAN + We know you are coming back -- + (indicating the countryside) + -- when life returns to our village. + + WILLIE + It's a real miracle. + + SHAMAN + Now you see the magic of the "rock" you bring back. + +The old shaman smiles wisely at Indiana. Indy takes the stone out of his bag and unwraps it. + + INDIANA + Yes, I've seen its power + +Willie watches the shaman take it reverently and bow to them. + +The shaman joins the elders and they walk to the village's small sacred mound. Indy and Willie stay back. They see him kneel and replace the stone in its niche. + + INDIANA + The last Sankara Stone. + + WILLIE + And they don't even know what it really is. + + INDIANA + (smiling at her) + Well, you didn't get your prince, and there goes your diamond. + + WILLIE + You didn't do so well yourself. Finding that stone could've gotten you all the fortune and glory you were talking about. + + INDIANA + It's still a long way to Delhi. Who knows what might happen. + +She looks at him like he's crazy. + + WILLIE + Oh no, I'm finding a native guide who knows the way. No more detours for me, thank you Dr. Jones. + +She turns and starts walking away continuing to complain -- + + WILLIE (Cont'd) + If you think I'm going to Delhi or anyplace else with you, after all the trouble you've gotten me into... + +Suddenly the bullwhip CRACKS and wraps around her waist. Startled Willie looks angry as Indiana reels her in, pulling her toward him and into his arms. But when he finally kisses her, she doesn't seem to mind at all... + +Short Round shakes his head, but looks sort of pleased. When he turns away, his face lights up! + +Short Round runs toward the sunset, toward the three elephants being brought back to the village. The baby elephant starts walking faster, as if he recognizes Short Round running out to meet him... + +!THE END diff --git a/fountain_scripts/Indiana Jones and the Temple of Doom.webp b/fountain_scripts/Indiana Jones and the Temple of Doom.webp new file mode 100644 index 0000000000000000000000000000000000000000..a86fb272e50b971317417d4f2ee2a0d8fa34ccf3 --- /dev/null +++ b/fountain_scripts/Indiana Jones and the Temple of Doom.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:236465eee9226843cbc9355d9be7798bf21802fb7a10ad1c30f2a5200af53ebc +size 35776 diff --git a/fountain_scripts/Insidious.fountain b/fountain_scripts/Insidious.fountain new file mode 100644 index 0000000000000000000000000000000000000000..9ea8d6c3a54f02021d7cfd0e2a51a6268449325a --- /dev/null +++ b/fountain_scripts/Insidious.fountain @@ -0,0 +1,4545 @@ +Title: INSIDIOUS +Credit: Written by +Author: Leigh Whannell + +The universe is deathless; Is deathless because, having no finite self, it stays infinite. A sound man by not advancing himself stays the further ahead of himself, By not confining himself to himself, sustains himself outside himself. + +--LAOZI + +/* 2. */ + +>FADE IN + +INT. DARKENED BEDROOM - NIGHT + +A spherical black monolith rises up from a white surface... white like the moon. + +In the darkness, the towers metal skin is barely visible. + +We ROTATE AROUND, revealing the tower to actually be a LAMP -- not rising up from a surface, but hanging down from a white ceiling. The bulb unlit. + +Directly below the lamp is the very definition of innocence - a sleeping child. Chest rising and falling with each breath. + +We HOVER over the young boy...watching him. A blanket emblazoned with dinosaurs is draped across his limbs. His mouth is slack, eyelids twitching to dreams unseen. + +The truly deep sleep that an adult can only wish for. + +We move away from him, exploring the dark room. Strewn with toys. The door is slightly ajar. We float through it into-- + +INT. CORRIDOR - CONTINUOUS + +--a long hallway. Even darker than the bedroom. And without the boys rhythmic breathing, even quieter. + +A window at the end of the hall enlarges as we approach. + +Someone is standing in front of it. + +The murky silhouette of the figure turns and walks away. We follow it, tentative. Turning a corner, we see the figure. Standing in a doorway. + +Now we can make out the edges of the person. It is an old woman. Hair in a Victorian bun. A corseted dress. + +She stares at us. + + WOMAN + Let me in. + +CUT TO: + +OPENING TITLES play out to the shrill screams of George Crumb's `Black Angels I: Night Of The Electric Insects'. + +/* 3. */ + +INT. BEDROOM - NIGHT + +Eyes flick open. + +A woman blinks awake, gazing around the room. Another bedroom. Sparse. Just a bed and a cabinet. It is 5.43 AM. + +Her eyes settle on the man lying next to her in the dark. His heaving snores have woken her up. + +She is RENAI (pronounced Renee) LAMBERT (36). With a quiet determination she is holding on to her youthful good looks, but the lines of age are creeping in. + +She has settled into the `comfort' years of a marriage: hair pinned up messily, wearing dowdy pajamas. + +She beholds her husband, taking him in. Considering him. He snorts and smacks his lips. Very unflattering. + +She climbs out of bed. + +INT. LIVING ROOM, LAMBERT HOME - NIGHT + +High ceilings. Exposed beams. Spanish style windows. + +Renai treads across wooden floorboards into a sunken living room. No matter careful she is, there is a loud creak with each step. A GRANDFATHER CLOCK in the corner ticks steadily. + +There is barely any furniture in here, only a BOOKCASE and a PIANO. What there is a lot of...is boxes. Large moving boxes. + +Renai plops cross-legged onto the floor and rips open one of the boxes, marked BOOKS. She plucks out a handful of books and lines them up on the bookshelf. Then another handful. + +They are all self-help and self-improvement books. Titles like `Be The Better You' and `Inch By Inch, It's A Cinch: A Guide To Achieving Your Goals' pop out. + +She spots a sealed box labelled PHOTO ALBUMS. She strips away the tape and wrestles out a dusty album of wedding photos. + +Smiling faces greet her as she thumbs through the pages. The happy couple. Young. Glowing. Sadness washes over her. + + VOICE (O.S.) + Mom? + +She snaps out of it and turns to see DALTON LAMBERT (8). Her son. He approaches her, rubbing his eyes. (It is not the boy we saw in the opening scene.) + +/* 4. */ + + RENAI + What are you doing up, kiddo? + + DALTON + I don't like my room. + + RENAI + You'll get used to it. It's only your first night. + +He climbs into her lap. She bites on his ear playfully. + + RENAI (CONT'D) + Argh, I'm going to eat you. + + DALTON + What are you looking at? + + RENAI + Just some photos. + + DALTON + What photos? + +She hefts another album from the box, prying it open. A photo of a grinning young girl greets them, hair in pigtails. + + RENAI + Do you know who that is? + + DALTON + No. + + RENAI + That's me. + + DALTON + It doesn't look like you. + + RENAI + I know. I'm so happy there. But it's me. When I was your age. I was a kid once too, you know. + + DALTON + No, you weren't. + +Renai bursts out laughing. She is famous for her big laugh. + + RENAI + Thanks. Maybe you're right...I don't remember being this person at all. I hope she smiled like that all the time, whoever she was. + +/* 5. */ + +She sizes up her son. The living embodiment of the photo. + + RENAI (CONT'D) + This is a terrible thing to admit, Dalton, but sometimes I get jealous of you. That you're so young. That you haven't made any of your decisions yet. + + DALTON + I don't wanna grow old. + + RENAI + Well, it starts happening to us from the moment we're born. + +She points to the hands on the grandfather clock. + + RENAI (CONT'D) + Every time that clock ticks, we all get a little bit older. + +She turns the page in the photo album, seeing an old man. + + RENAI (CONT'D) + That's your grandpa. You wouldn't remember him. + + DALTON + He smells like smoke. + + RENAI + Yeah...good memory. He did smoke that god awful pipe, didn't he? + + DALTON + Show me a picture of dad when he was a little kid. + + RENAI + I don't even know if we have any. He's hopeless with keeping photos. + + DALTON + Show me a picture of me when I was a little kid. + + RENAI + Your pictures are all in the computer. Nobody keeps photo albums like this anymore, they're ancient relics. They should. I like being able to touch something, instead of it floating around in cyber world. If the laptop breaks, your whole existence is erased. + +/* 6. */ + + DALTON + What was I like when I was a little kid? + + RENAI + You are a little kid. + +She kisses him on the forehead and stares into his eyes. + + RENAI (CONT'D) + If only you knew what I know. + +We hear a baby crying off screen. + + RENAI (CONT'D) + You certainly didn't cry as much as your little sister does. Come on. + +INT. KITCHEN, LAMBERT HOME - MORNING + +Chaos. + +Boxes of dinnerware have not been unpacked yet and it is turning the usual morning routine into a nightmare. + +Renai is on the phone as her kids buzz around a kitchen island at top speed, creating a high-energy, manic pace in the room. + + RENAI + (INTO PHONE) + Billing department. + +Her son FOSTER (6), tugs on her leg, holding a box of cereal. + + FOSTER + I need a bowl, mom. + +Renai rips open a box, rifling through newspaper, phone wedged against her shoulder. She holds out a cup, flustered. + + RENAI + Billing department. + + FOSTER + It's too small. + + RENAI + Make it work. + (INTO PHONE) + Speak to an agent. Speak to an agent. Speak to an agent. + +Foster slumps on the floor, pouring cereal and overflowing milk into the cup. A baby girl in a high chair, CALI (2), squeals. + +/* 7. */ + +INT. BATHROOM, LAMBERT HOME - MORNING + +JOSH LAMBERT (37) gapes into the mirror, face covered in soap. + +He washes it off. Now he's awake we see that he is a handsome, clean-cut guy - a former high school nerd who got revenge by growing into his body. + +He sorts through a box labelled JOSH'S BATHROOM STUFF. + +He takes out two bottles - TONER and MOISTURIZER. He dabs the toner on, then smooths the moisturizer into his forehead and around his eyes. + +He suddenly notices a grey hair. Looks mortified. + + JOSH + (Michael Corleone voice) + Every time I think I've pulled you out...you grow back in. + +He plucks it out, wincing melodramatically. + + JOSH (CONT'D) + Ouch! + +INT. KITCHEN, LAMBERT HOME - MORNING + +Josh strides in, tie hanging open around his neck. Renai is still on the phone. Josh points to his tie. + + RENAI + Well, I'd like to keep the old number if I could. + (TO JOSH) + You really need to learn how to do this, honey. + +She threads the tie into a knot for him. + + JOSH + (TO FOSTER) + Don't eat on the floor, buddy. + +Foster stays where he is, slurping cereal from the cup. Dalton is playing a handheld videogame. Intensely focused. + + RENAI + (INTO PHONE) + Okay, well, please let me know by the end of today, I have to give the number out. Thank you. + +/* 8. */ + +She hangs up, pissed. + + RENAI (CONT'D) + Foster, get up. Now. + +Foster frowns and obeys. + + JOSH + (TO RENAI) + How come you were up so early? Was Cali crying? + + RENAI + You woke me up. + + JOSH + What do you mean? + + RENAI + You were snoring. + + JOSH + No I wasn't. + + RENAI + Yes you were. + + JOSH + I don't snore. + + RENAI + Yes you do. + + JOSH + My father snored. I do not snore. + + RENAI + How would you know what you do? You're asleep. + +Renai marches out of the room. Dalton's game unit beeps loudly and he pumps his fist. + + DALTON + Yes! I made it to the last level! Invisiworld! + +Ever amiable, Josh high five's his son. + + JOSH + Good one, champ. + (BEAT) + I don't snore, do I? + +/* 9. */ + +INT. LIVING ROOM, LAMBERT HOME - CONTINUOUS + +Renai sees that all the books she unpacked earlier are now scattered across the floor of the living room. + + RENAI + Where are my bleeping pills? + +INT. KITCHEN, LAMBERT HOME - CONTINUOUS + +Renai charges in. Josh snatches an apple out of a fruit bowl, biting into it. He quickly gags and spits it out into the sink. + + JOSH + What the heck is this? Wax?! + + RENAI + Yes. + + JOSH + Let me get this straight - we have no actual fruit but we have wax fruit? + + RENAI + Yes. + + JOSH + That is dangerous. It could kill one of our kids. + + RENAI + Where are my pills, Josh? + + JOSH + Probably where you left them, Renai. + +She finds them on the counter, snatching them up. + + JOSH (CONT'D) + See. + + RENAI + That's not where I left them. + + DALTON + Mom, I need my lunch. + + RENAI + Oh, geez. Look, just...take last night's dinner. + +/* 10. */ + +She opens the fridge. It is bare except for a box of sushi. + + DALTON + Sushi? Aw, that's weirdo food. + + RENAI + It's all we have. Just for today, honey. + + JOSH + Check it first, Dalton. It's probably made out of Styrofoam. + + RENAI + (TO DALTON) + And while I've got you, if you're going to look at my books, please don't leave them all over the floor. + + DALTON + I didn't touch your books. + +Josh streaks past, kissing Renai on the cheek. + + JOSH + I gotta go. + + RENAI + Are you taking the boys to school? + + JOSH + No time. + + RENAI + Well can you pick them up after school? + + JOSH + Not today. + + RENAI + But I have stuff I wanted to... + +She trails off. He's gone. Foster BURPS. Loudly. + + FOSTER + Can I have another cup, mom? + +INT. CLASSROOM, FORRESTER HIGH SCHOOL - DAY + +Noisy students settle into their desks. Inner city kids, mostly Hispanic. + +/* 11. */ + +Josh is their teacher, scribbling on the blackboard. One student, a lanky boy, ALANSO (16), hovers near the door. + + JOSH + Alanso, please sit down. + + ALANSO + No entiendo. + + JOSH + Siéntate, por favor. + +Alanso takes a seat. Josh is having trouble getting control. + + JOSH (CONT'D) + Come on guys, quieten down. + +A pretty girl in the front, TERI, is annoyed at the class. + + TERI + You better all shut up. + +She commands respect. They do. Except for one kid. + + THE ONE KID + Just cos you're in love. + + JOSH + Thank you, Teri. Today we are going to talk about Darwin. It's a city in Australia, but it's also the last name of which famous naturalist? + + MALE STUDENT # 1 + Charles Darwin. + + JOSH + Correct. Does anybody know what he is famous for? + + MALE STUDENT # 1 + He said that people descended from monkeys. + + JOSH + Half right. He wrote a seminal book that explained his theories on natural selection, and how the different species on this planet - including humans - evolved. + + ALANSO + I know I didn't evolve from no monkey. Shit. + +/* 12. */ + +Everyone laughs. + + JOSH + Humans actually have a lot in common with monkeys, or more specifically, chimpanzees. + + ALANSO + Maybe you do, but I was created in the image of my Dios. + +He takes a gold cross hanging on a necklace out of his shirt, kissing it and holding it up. That gets another laugh. + + JOSH + I respect your right to believe that, Alanso. But I want to give you all possible theories. I want this class to go out into the world with an informed opinion. + + ALANSO + The theory is incorrect, Mr. Lambert. + + JOSH + How can it be incorrect? It's a theory. A scientific theory. + + ALANSO + Yeah, well, science is bullshit. We didn't get here cos of no test-tubes. + + JOSH + Alanso, if you keep talking like that I'm going to ask you to visit the principal. + + ALANSO + Fine. + +He gets up and leaves as the class JEERS and BOOS. + +INT. LIVING ROOM, LAMBERT HOME - DAY + +Peace and quiet at last. + +Renai gropes in behind the bookcase, plucking a hidden jewelry box free. She pinches a cigarette out of it and lights it. + +She sits down at her piano, feeling the keys, warming her fingers up. Sunlight streams in through the windows. + +She takes out a notebook, filled with scribbled handwriting. + +/* 13. */ + +She places the notebook on the sheetstand, then sets a small, mechanical METRONOME in motion and begins tapping out a sombre melody in time with it. + + RENAI + (SINGING) + ~Yeah, I'm looking west, always been looking that way, gonna get it all happening, just can't do it today... + +She stops and makes a note in her book. She starts over, rising to the emotion of the song. She's got a good voice. + + RENAI (CONT'D) + (SINGING) + ~Yeah, I'm looking west, always been looking that way, I'm gonna be somebody, I just can't be her today-- + +She is interrupted by the tinny sound of a baby crying. + +She stops playing and looks over at a baby monitor, the source of the noise. + +Renai deflates, her shoulders sagging in defeat. She closes her notebook and leaves the room. + +INT. CALI'S NURSERY - DAY + +Renai scoops up Cali, rocking her gently. + +A scratching sound interrupts. Rough. Frantic. Like a dog pawing at something. + +INT. HALLWAY - CONTINUOUS + +Renai steps into the hall, curious. She can still hear it. She follows the sound to a door. Grabs the door handle. + +The sound abruptly ceases. + +INT. BASEMENT - CONTINUOUS + +The door whines open and stabs a blade of light onto a set of stairs that descend into a gloomy basement. + +Renai stands at the top of the stairs, squinting into the inky blackness, straining to see. + +She reaches up and yanks a light chain, illuminating a bare bulb and throwing light across the tenebrous space. + +/* 14. */ + +The basement is large and completely bare. Cleaned out. + +Renai takes a step down. She is still carrying Cali. + +FURTHER DOWN below her, we see that there is one step that is cracked and broken. + +She takes another step. The broken step is right below her now. + +One more step and she will fall. + +Cali squeals happily. Renai pauses...then turns around, heading back up the stairs. Stops when she sees something. + +DEEP, VIOLENT SCRATCH MARKS...running downwards on the inside of the door...as if someone were trying to claw their way out. + +EXT. LAMBERT HOME - NIGHT + +A Spanish-style home. Very pretty. This is not the suburbs. More of an inner city neighborhood. There's history here. + +Josh pulls into the driveway of his new house in his Subaru. + +INT. LIVING ROOM, LAMBERT HOME - NIGHT + +The house almost looks liveable. + +Foster is watching loud, zany cartoons on TV. Cali is in a high chair. Renai is folding boxes. She has unpacked most of the living room and is very tired. + +Josh ambles in, sees the work Renai has done. + + JOSH + Look at this. Nice job. + +Foster bolts over and crashes into his dads legs, hugging him. + + JOSH (CONT'D) + Whoa, buddy. Slow down. + + RENAI + Josh, where's the box of my lamps? + + JOSH + I don't know. They should be here. We packed them up. + + RENAI + Yeah, I packed them. They're not here. + +/* 15. */ + + JOSH + I remember the movers bringing them in and putting them right there. + + RENAI + (PASSIVE AGGRESSIVE) + Well, they're not here. I would know, I've been unpacking this stuff all day. + +INT. CORRIDOR, LAMBERT HOME - NIGHT + +Dalton wanders the hall, sporting a red superhero CAPE and carrying a plastic, glowing light-sabre toy. + +He reaches a door. The basement door. He pulls it open. + +INT. BASEMENT - NIGHT + +Dalton holds up his light-sabre, the glow allowing him to make out the murky corners of the basement below. + +He takes a step down the stairs. Then another step. + +The broken step is right below him. + +He steps again -- + +-- and falls. Flails forward, tumbling down the steps, all the way to the bottom. His light sabre SHATTERS. + +He hits the ground, his head smacking the floor. + +All is dark. + +INT. LIVING ROOM - NIGHT + +Josh sits with Foster, zoned out in front of the droning TV. + +INT. BASEMENT - NIGHT + +Pitch black. + +Dazed, Dalton sits up. His head is cut and bleeding. He is alone in the dark. He stares into the corner of the surrounding cell. + +His eyes adjust, making out a shape. + +A shadow. + +/* 16. */ + +INT. LIVING ROOM - SAME TIME + +Josh and Renai look up as the quiet is shattered by a SCREAM. + +They spring into action, scrambling to their feet. + + RENAI + Dalton? Where are you? + +He doesn't answer. Just keeps screaming. + +INT. BASEMENT - NIGHT + +Renai and Josh whip the door open, glaring into the basement from the top of the stairs. + + RENAI + Dalton? + +Dalton is crumpled at the bottom of the steps, sobbing, his red cape gathered around him. + +Renai flicks the light on. Her and Josh scamper down the steps, propping Dalton up. + + JOSH + What happened? + + DALTON + I fell. + + RENAI + Dalton, you have to be careful. You shouldn't be coming down here in the dark. + + JOSH + Where do you hurt the most? + + DALTON + My knee and my head. I can't stand up. + +Josh lifts him to his feet. A severely grazed knee is dotted with blood. He's okay. + + JOSH + You scared us, champ. + +Josh carries him up the stairs as he sucks in sobs. + +Renai glances around the basement, her eyes landing on the lone object that resides in it. + +/* 17. */ + +She frowns. It wasn't there when she saw the basement last. + +It is a box. One of her large, cardboard moving boxes. + +It is marked LAMPS. + +INT. DALTON'S BEDROOM - NIGHT + +Dalton is lying in bed, a band-aid slapped across his forehead. Renai tucks him in, Josh standing over him. + + JOSH + You're lucky you don't need stitches. + + RENAI + If I catch you falling down the stairs again I'm gonna break your neck. + + DALTON + That doesn't make sense. + +There are dozens of pictures tacked to the wall, all drawn by Dalton. Josh taps one; a drawing of Dalton flying through the night sky, wearing his cape. + + DALTON (CONT'D) + You might be a superhero but you're not invincible. Be more careful, bud. + +Renai kisses him and gets up. + + RENAI + Sleep tight, honey. + +They wave goodbye and turn out the light. + +INT. MASTER BEDROOM - NIGHT + +Renai flops into bed beside Josh, exhausted. + + JOSH + We've gotta lock that door. + + RENAI + He's such a boy. He goes off exploring. Sometimes I wanna keep him on one of those child leashes. + + JOSH + Why bother with a child leash? I'll stop at the pet store tomorrow. + +/* 18. */ + +She laughs and cuddles up to him, resting her head on his chest. + + RENAI + I'm sorry I was pissy when you got home. I was trying to work on a song today and then Cali woke up and wouldn't stop crying... + + JOSH + I didn't even notice. + + RENAI + I feel guilty for wanting my own time. + + JOSH + It's normal to want your own time. + + RENAI + Is it? My mother gave up everything for me. I keep waiting for the completely selfless parent gene to kick in, but I'm exactly the same person I was when I was 22, only now I'm married with kids. + + JOSH + You're a great mother. + + RENAI + No, I'm not. They like you so much better than me. + + JOSH + That's not true. + + RENAI + You're the cool dad who comes home with presents and I'm the one who yells at them all day. + + JOSH + Now you're being crazy. They love you. At least you get to connect with them. I work so much. + + RENAI + Believe me, you're their hero. They try to play us off against each other. They're master manipulators. I guess they really are my kids. + +Josh laughs. A lull settles over them. + +/* 19. */ + + RENAI (CONT'D) + Is this it, Josh? + + JOSH + Is this so bad? + +She doesn't answer. They sit in silence for a long beat. + + RENAI + Thank you for letting me take some time off to work on my music again. + + JOSH + We'll get by. I want you to do it. + + RENAI + There's a couple of songs...I mean not all of them, but there's a couple of them that I think are really good. And I think, maybe I could do something with them. + + JOSH + I love all your songs. + +They kiss. + +INT. LIVING ROOM - NIGHT + +It is 3AM. All the remoteness of that hour is present here...we can feel it. + +As still and quiet as deep space. + +INT. KITCHEN - NIGHT + +The formerly bustling kitchen is now a museum at midnight. + +INT. HALLWAY - NIGHT + +A long, dark thoroughfare. A ticking clock its only occupant. + +INT. BASEMENT - NIGHT + +Stairs swallowed up by darkness. The groan of settling wood. + +INT. FOSTER'S BEDROOM - NIGHT + +The soft breathing of a sleeping child. + +/* 20. */ + +INT. CALI'S NURSERY - NIGHT + +Hanging toy birds dangle over the baby, tinkling in a breeze. + +INT. DALTON'S BEDROOM - NIGHT + +Dalton is sleeping too. Impossibly still. Lying on his back. + +INT. MASTER BEDROOM - NIGHT + +Renai and Josh are entwined together. Josh is snoring. They are both blissfully asleep... + +...for now. + +INT. KITCHEN - MORNING + +Another day, another chaotic breakfast. + +Foster waves a stuffed toy around. Josh charges in, bits of tissue on his face from shaving cuts. Cali flails her arms in her high chair. Renai is at the sink, whisking eggs. + + RENAI + Foster, sit down honey. + +She whips a look around. + + RENAI (CONT'D) + Where is...? Hey Josh, could you go wake up Dalton? + +We FOLLOW Josh as he marches down the corridor to Dalton's bedroom, poking his head inside. + +INT. DALTON'S BEDROOM - CONTINUOUS + +Josh knocks on the wall. + + JOSH + Time to get up, my man. Come on. + +Nothing from Dalton. He doesn't even stir. Josh rolls his eyes and walks in. Nudges Dalton with his knee. + + JOSH (CONT'D) + You're making me look bad here. Outta bed before your mother comes in and kills both of us. + +/* 21. */ + +Nothing. He's really out. + +Josh reaches down and shakes Dalton vigorously. + + JOSH (CONT'D) + Dalton, get up. You've gotta get ready for school. + +Josh waits for a response, but none comes. Dalton is as slack as a puppet. Something resembling concern crosses Josh's face. + + JOSH (CONT'D) + Dalton...? + +He kneels down, shaking Dalton hard. He listens for breathing. + + JOSH (CONT'D) + Dalton? Dalton?! DALTON!! + +His scream takes us into-- + +INT. HOSPITAL ROOM, ICU UNIT - DAY + +--the stern sterility of a hospital. + +Josh and Renai, eyes lined by dark circles, stand in front of a dour neurologist, DR. JOEL SERCARZ (46). + +Renai dabs her eyes with a tissue. They are red with tears. Beyond a window in front of them, lying on a gurney in an ICU chamber, is the unconscious body of Dalton. + + DR. SERCARZ + Okay...as of yet, our tests have not drawn any conclusive answers for you. Repeated blood and CSF cultures are normal, making an infective origin highly unlikely. Tests for Lyme disease and repeated polymerase chain reaction are negative. Systemic vasculitis was ruled out. Dalton remains in an areactive coma without focal signs or abnormal brainstem reflexes. + +Josh and Renai struggle to follow the cold, multi-syllable medical terminology...like stranded tourists keeping up with a foreign language. + + DR. SERCARZ (CONT'D) + We've looked for bacterial pathogens like Meningoencephalitis, but haven't seen anything. + +/* (MORE) */ + +/* 22. */ + + DR. SERCARZ (CONT'D) + I wouldn't say we've exhausted every single angle...but we're close. The underlying cause is still unknown. + +Josh and Renai look in at their boy. + + DR. SERCARZ (CONT'D) + The good news is that he's breathing without the use of a mechanical apparatus, and there are no lesions or hemorrhages in any of the CT scans. + + JOSH + So...there's no brain damage or...? + + DR. SERCARZ + None that we've detected. Technically, he's in a coma. He doesn't respond to stimuli, he has no sleep-wake cycle, but there's no brain trauma or infection. His scans are normal. To be honest, I've never seen anything like it. + + JOSH + That fall he took...I mean, it looked like he hit his head pretty hard. + + DR. SERCARZ + We definitely exhausted that possibility, but it was always doubtful. The cut was superficial, there wasn't even a skull fracture. + + RENAI + He can't just not wake up...there's got to be something... + +Renai sobs, tears streaming down her face. Josh looks like a deer in the headlights. Stunned dumb. + +Sercarz clears his throat. This part of the job isn't his specialty. + + DR. SERCARZ + I'm sorry. + + JOSH + So what do we do now? Does he stay here? + + DR. SERCARZ + We'll conduct some further testing, but beyond that...I really don't know. + +/* 23. */ + +His pager goes off. He checks it. + + DR. SERCARZ (CONT'D) + Excuse me for a minute. I have to step out. A nurse will be with you in just a moment. + +He leaves quickly. Josh and Renai press on the glass, separated in body and spirit from their son. + +>FADE TO BLACK. + +SUPERIMPOSE TITLE: TWO MONTHS LATER + +INT. DALTON'S BEDROOM, LAMBERT HOME - DAY + +A ghastly meld of hospital room and young boys bedroom. + +Dalton lies on his bed, a heart rate monitor hooked to his chest. IV tubes run into his arms, a Nasogastric feeding tube into his mouth. + +A young nurse, ADELE CHALFIN (30), checks the various tubes as Renai watches on. + + ADELE + Are you having any more trouble with the feeding tube? + +Renai looks broken, the life drained from her. A wilted flower. She shakes her head, her voice a low rasp. + + RENAI + (BARELY AUDIBLE) + It's okay. + + ADELE + Alright, well I'll be back soon. I'll bring some new books. You're probably sick of the ones you have. + + RENAI + Did he respond to any of the tests? + +Adele pauses. + + ADELE + No...no, he didn't. But we have to give it time. I've seen coma patients with a much longer inactivity time suddenly start making noises. + +/* 24. */ + + RENAI + He's not in a coma, remember? They don't know what to call it. They don't know what to do with him so they've given up. + + ADELE + No, they haven't. We're going to figure it out. + +Adele hugs her, then exits. Renai slumps down on a chair next to her son. + +The heart rate monitor pings. Dalton is as still as a statue. + +INT. CORRIDOR - DAY + +Renai shuffles down the corridor. She passes a bedroom door, then stops and doubles back, pushing it open and going into-- + +INT. CALI'S NURSERY - CONTINUOUS + +--the babies room. + +She stares into the crib...at her other sleeping baby. She sets the baby monitor and walks out softly. + +INT. LIVING ROOM - DAY + +Renai slumps in front of her piano. Taps one of the keys. + +She plays a discordant melody of low notes with one hand, not present enough to hear it. + +She stops and buries her face in her hands. + +Then she hears it. Whispering. + +It's so low you would miss it if the house wasn't absolutely silent. Renai looks up, scanning for the source of the murmur. + +It is coming from the baby monitor. + +Confused, Renai picks up the monitor, turning up the volume all the way up. The hissssssss of static fills the room. + +She presses her ear to the device, then hears it again - a hushed WHISPER, almost indistinct from the static save for the whistle of sibilants. + +/* 25. */ + + VOICE + (FROM MONITOR) + They see us...all of us...we have to be quick...this life begs us to come back. + +The whisper trails off....more static... + + VOICE (CONT'D) + (FROM MONITOR) + NOOOOOOOOOOOO!!!!!! + +Renai drops the baby monitor, leaping out of her skin at the sound of the scream. Nerves fried. + +The monitor smashes on the floor. All is quiet. + +Renai moves to the door, staring down the corridor at the door to Cali's nursery. + +It is open only a crack. She hears crying. Cali is crying. + +We follow her as she bolts towards the nursery, smashing through the door, eyes filled with terror, seeing-- + +--nothing. + +INT. NURSERY - CONTINUOUS + +Renai stalks into the room. + +The room is empty, save for Cali, crying in her crib. Renai's eyes land on the closet. + +ANGLE FROM INSIDE THE CLOSET + +Through a slight crack, we see Renai approach. Breath quivering. Her hand reaches out. She FLINGS the door open. + +It is empty. + +INT. KITCHEN - NIGHT + +The family is eating. It's very quiet. + +Foster keeps his eyes down as his parents eat in silence. Suddenly Cali breaks the quiet, squealing happily. + + CALI + Dadda! + +Josh looks up, smiling. Amazed. + +/* 26. */ + + JOSH + She said dad... + +Neither Renai nor Foster even look up. + +INT. FOSTER'S BEDROOM - NIGHT + +A bedside lamp gives off a jaundice glow. + +Renai gathers up scattered toys from the floor, relocating them to a desktop covered in beakers and lab equipment. + +Foster lies in bed beneath a large chart of the solar system. + +Renai stops cleaning when she finds a certificate, crumpled next to a school bag. It says IN RECOGNITION OF SCIENCE SKILL, AWARDED TO FOSTER LAMBERT ON 3/14/10. + + RENAI + What's this? + + FOSTER + An award. + + RENAI + That's today's date. You got this today? + +Foster nods meekly. + + RENAI (CONT'D) + Why didn't you tell us, honey? + +She sits on the edge of his bed. He stares at the wall. She strokes his hair. + + RENAI (CONT'D) + I know it's hard right now. But things will get better. I promise. + +Foster nods. + + RENAI (CONT'D) + I'm going to show this to your dad. + +She plants a kiss his forehead and stands up. + + FOSTER + I'm scared, mom. + + RENAI + Scared of what? + +/* 27. */ + + FOSTER + Dalton. + +Renai sits back down. + + RENAI + We're all scared. It's normal to be scared for him. But we can't give up-- + + FOSTER + Why do I have to sleep so close to him? Can't I change rooms? + + RENAI + Why would you wanna change rooms? + +Foster swallows. + + FOSTER + I don't know. + +Renai stares at her son. She kisses him again. + + RENAI + Your brother needs you. Goodnight honey. + +INT. MASTER BEDROOM - NIGHT + +Josh lies in bed, reading Foster's award. Renai is beside him. + + RENAI + Something happened today. I didn't want to tell you in front of Foster. + + JOSH + What? + + RENAI + I heard something coming from Cali's room. A man's voice. On the baby monitor...it scared the hell outta me. I went in there and no one was there. + + JOSH + Could it have been interference? + + RENAI + I don't know. It was so clear. I was sitting at the piano and I heard this...whispering on the baby monitor. So I held my ear up to it-- + +/* 28. */ + +SUDDENLY - a noise interrupts. An arrhythmic KNOCKING sound, like a drunk pounding on a tavern door after closing. + +It is the front door. + + JOSH + Who the hell is that? + +Josh knows it's his job to check, but he doesn't want to. + + JOSH (CONT'D) + Stay here. + +He gets up. + +INT. FRONT DOOR - NIGHT + +Josh approaches the front door, flashlight in hand. He peers through curtains at the front step. + +It's too dark to see anything. + + JOSH + Hello? Who's there? + +Only the wind replies. + +He aims the flashlight at the glass, shining it into the thick darkness. There is no one on the front step. + +Josh presses the flashlight against the window, arcing the beam across his front garden. Leans in close to the glass... + +AND THEN-- + +Nothing. There's no one there. + +He makes sure the door is locked, then flips open a security system panel on the wall, pecking at the buttons on it. + +INT. MASTER BEDROOM - NIGHT + +Renai sits up in bed, listening. Hears nothing... + +...until the low moans of a baby crying float out of the baby monitor. Renai hurls the sheet aside. + +INT. CORRIDOR - NIGHT + +Renai pads down the hall, tentative. + +/* 29. */ + +She reaches the open door to Cali's room. Sees the silhouette of Josh standing over Cali's crib. Exhales with relief. + + RENAI + Who was it, Josh? + +Josh appears at the opposite end of the hallway. + + JOSH + What did you say? + +Renai SCREAMS as the silhouette recedes into the shadows. + + RENAI + There's someone in there! + +She RUNS towards Josh. + + RENAI (CONT'D) + There's someone in Cali's room! + +Josh BOLTS down the hall, flicking on the light, terrified. + +The nursery is empty. Cali is sleeping. Terrified, Josh enters the room. Scans around. Only toys and colorful wallpaper. + +He steps in further. He's not cut out for this. + +SHRIEEEEEEEEEEEKKKK!!!!!! SHRIEEEEEEEEEEEEEEK!!!!! + +The house alarm screams to deafening life, shaving a few years off Josh's life in the process. He JOLTS, whipping around. + + JOSH + (TO RENAI) + Grab Cali and Foster! + +Josh charges down the hall into the-- + +INT. LIVING ROOM - CONTINUOUS + +--snatching up a fire poker from the fireplace and continuing-- + +INT. FRONT DOOR - CONTINUOUS + +-- to the front door, which is swinging open. Holding the fire poker aloft, Josh scans the area. + +Renai races past, carrying Cali and dragging Foster behind her. They barrel toward Dalton's room. + +/* 30. */ + +INT. KITCHEN - CONTINUOUS + +Josh scans the kitchen. It is empty. + +The alarm wails in the background. + +INT. CORRIDOR - CONTINUOUS + +Josh inches his way up the hall, hand shaking. + +INT. DALTON'S BEDROOM - CONTINUOUS + +Renai holds Foster and Cali close to her. Dalton is lying behind them. + +Directly across from Dalton's room is the laundry. The door is ajar, offering a view into the darkened room beyond. + +Renai sees something in the dark...a figure. A boy. + +It looks like Dalton. He reaches out to Renai-- + +--until another HAND...a pale hand...reaches across and shuts the laundry door, sealing the boy off from her view. + + RENAI + Josh! The laundry! + +INT. LAUNDRY - SAME TIME + +Josh bolts up the hall, panicked. He reaches the laundry door, grabbing the handle. Hesitates. + +He propels the door open with a shove, flicking on the light. + +The room is empty. No windows, no doors for escape...just a washing machine and a dryer. + +EXT. LAMBERT HOME - NIGHT + +A home security officer trudges down the steps of the house. + +Renai, Josh, Foster and Cali all stand outside in their pajamas, shivering in the frigid night air. + + SECURITY OFFICER + There's no one in there, it's all clear. If someone was there, they're gone now. + +/* 31. */ + +Renai steps away from the children, out of their earshot. + + RENAI + I saw somebody. + + SECURITY OFFICER + Maybe it was a shadow...? + + RENAI + No. It wasn't a shadow, it was a man. He was tall, and he long, greasy hair. He was wearing a grey jacket. He looked right at me. + + SECURITY OFFICER + Well, like I said...he's gone now. + +Renai looks to the others. Sees only disbelieving faces. + +INT. GYMNASIUM, FORRESTER HIGH SCHOOL - DAY + +Josh's students scuffle about on stadium seating, arranging themselves for a CLASS PHOTO. They're not doing a great job. + +A male photographer does his best to compose them, not doing a great job of hiding his bitterness about the fact that he's shooting school photos instead of Vanity Fair spreads. + + PHOTOGRAPHER + Okay, face the front ladies and gentlemen...come on...hold still... + (muttering to himself) + I'm trying to record the peak of your pathetic lives here. + +Josh stands off to the side, lost in his own thoughts. Tired. + + PHOTOGRAPHER (CONT'D) + Mr. Lambert, would you like to step in please? + +Josh snaps out of his own head. + + JOSH + Uh...what? + + PHOTOGRAPHER + Could you step in so that we can take the photo? Quickly please. + + JOSH + Just take it without me. + +/* 32. */ + + PHOTOGRAPHER + We need you in the photo, sir. + + JOSH + No, you don't. Just take the damn photo without me, okay? + +The class settles down, shocked by the outburst. Chastened, the photographer turns to the class, gripping the camera trigger. + + PHOTOGRAPHER + I can't believe this is my life. + (beat; to class) + Ready kids? Say asshole teacher! + +INT. GYMNASIUM, FORRESTER HIGH SCHOOL - LATER + +The students file out of the gym. Josh sits in the bleachers, head buried in his hands. + + ALANSO (O.S.) + I hear things. + +Josh looks up, seeing Alanso. + + JOSH + What? + + ALANSO + I spend so much time in the office, I hear things. I heard about your son. I'm sorry. + + JOSH + Thank you, Alanso. + + ALANSO + Times like these...people realize that science doesn't have all the answers. There is a higher force at work. + + JOSH + I wish I had your belief. Things would be a lot simpler. + + ALANSO + Things are simple. You just can't see it. Put your faith in Him. + +He places his gold cross necklace in Josh's hand, then leaves. Josh watches him go, then takes out his cell phone. + +/* 33. */ + + JOSH + (INTO PHONE) + Hey...I just found out I have to stay back tonight and finish off mid-term grades. It could be a while, there's a lot to go through. Don't wait up. Bye. + +EXT. PARK - NIGHT + +Josh sits on a park bench, staring into the distance. He takes out a flask of whisky, swigging from it. + +INT. MASTER BEDROOM - NIGHT + +Renai lies in bed, staring at the ceiling. Alone. + +INT. KITCHEN - NIGHT + +Renai shuffles in, pouring herself a glass of water. Then she hears it. A low muttering. It is coming from Dalton's room. + +INT. CORRIDOR - NIGHT + +Unnerved, Renai peers through the open door. Josh is sitting beside Dalton's bed, reading to him. + + JOSH + The men all walked down to the waters edge...and they stood there and asked the beast to come forth. And the beast roared back "No!". And so they dived in after it... + +EXT. LAMBERT HOME + +In the sunlight, the house looks like a happy place. + +INT. DALTON'S BEDROOM - DAY + +Dalton's face is a picture of serenity. + +A new day-shift nurse, KELLY (29), checks on his feeding tube. Renai watches from the doorway. + + KELLY + You okay? + +/* 34. */ + + RENAI + Yeah. + + KELLY + I was going to head off for an hour or so. Are you alright here? + + RENAI + Of course. Anything from Dalton? + + KELLY + No. I'm sorry. + +Renai nods. Her eyes brim with tears. The cracks are showing. + + KELLY (CONT'D) + Keep providing him with stimuli. I've seen it work time and time again. Read to him. Even if you're doing something else, you can play him music that he likes. Don't give up. + +She throws a scarf over her shoulder and stands. + + RENAI + I won't, I just...I haven't slept much the last couple of nights. I feel like the universe is trying to see how far I can bend before I break. + + KELLY + The universe picked a fight with the wrong chick. + + RENAI + Thanks, Kelly. You're a saint. + + KELLY + No, I'm not. I'm doing my job. I chose to be here. You didn't choose any of this. You're the strong one. + +INT. LIVING ROOM - DAY + +Renai surveys the living room. It is a total mess. + +INT. BATHROOM - DAY + +Water cascades out of a faucet. Steam rises from the water. + +/* 35. */ + +Renai lets bath salts fall into the tub. She almost looks relaxed just smelling them. + +She starts to undress, then turns -- + +-- and YELPS in fright. + +A person is standing behind the distorted glass window, staring in at her. + +The shape of the person's head and shoulders can clearly be seen, but the glass is too opaque to make out any features. + +Renai slips, grabbing the sink. When she glances up, the figure is gone. + +Trembling, Renai opens the window. Very, very slowly. + +It is fifteen feet off the ground, with a sheer drop below it. + +EXT. LAMBERT HOME - NIGHT + +Renai sits on the front steps, alone. It is late. She looks somehow tired and wired at the same time. Smoking a cigarette. + +Josh pulls in. Fumbles out of his car, tipsy. + + JOSH + What are you doing up? + + RENAI + It's midnight, Josh. + + JOSH + When did you start smoking? + + RENAI + You've been coming home late every single night. You've never had to do that in all of the years you've been at the school. Now all of a sudden you have to stay back late? + + JOSH + I don't like it either, but I'm grading tests. What choice do I have? We've gotta pay Dalton's bills. + + RENAI + Your mother is paying Dalton's bills, Josh. I know because she reminds me every chance she gets. + +/* 36. */ + + JOSH + Jesus, I can't win with you. That's my son in there too, not just yours! + +He paces, the anger sobering him. + + JOSH (CONT'D) + I've always felt like less than good enough for you. I feel it every time you mention our bills. That subtle voice that says `can't you get a job that pays more than a teacher'? And now I can't even look at you without feeling it. + + RENAI + You're projecting that onto me. You've written an entire story about I'm how I'm feeling without once asking me how I'm feeling. + + JOSH + I don't need to ask. I know you. + + RENAI + I am losing my mind here in this house, Josh. I'm scared and I need you and you're not here. Where are you? + + JOSH + I told you, I'm grading tests. + + RENAI + I don't mean that. I mean you're not here. With me. In this situation. You're avoiding it, like you do anything stressful, whether it's this or a parking ticket. + + JOSH + Christ, I should have stayed at the school. + + RENAI + There you go again. + +Renai stands up and walks inside the house. The door closes. + +INT. LIVING ROOM - NIGHT + +Josh tosses a pillow onto the couch, setting himself up for the night. He curls up on it, pulling a blanket over himself. + +/* 37. */ + +INT. CORRIDOR - NIGHT + +The witching hour. Still. Quiet...save for the omnipresent clock. + +INT. DALTON'S BEDROOM - NIGHT + +Dalton is as still as we've seen him. And then...he twitches. A slight facial twitch, but we see it. + +INT. LIVING ROOM - NIGHT + +Josh snoozes, head arched at a bad angle. His back will regret sleeping on this couch. + +INT. MASTER BEDROOM - NIGHT + +Renai tosses and turns, restless in sleep. + +Her eyes open and she sucks in a breath. Bad dreams. + +She blinks and looks around the room, surprised to be alone, sitting up in fright. Until she remembers why. She eases back onto the bed. Then she looks over at the window. + +There is a man standing outside it. + +He is not looking in at her...he is pacing back and forth, furiously smoking a cigarette. Back and forth, back and forth. Agitated. He has long, black, greasy hair and a grey jacket. + +Every muscle in Renai's body freezes. She becomes a glacier. + +Her eyes are drilled to the man, unable to move. By sheer will, she manages to direct them towards the bedroom door. Opens her mouth but no words will come. Finally-- + + RENAI + Jo....osh....Josh....Josh... + +She glances back at the window. + +THE MAN IS NOW IN THE ROOM. + +He paces back and forth between the bed and the window, just as he was outside, ignoring Renai. Smoking like a fiend. + +And then, suddenly, he stops pacing. Looks up. Straight at Renai - as if just realizing she was there. + +/* 38. */ + +For a moment their eyes are locked in silence... + +...and then the man's face contorts in anger and he CHARGES towards her, arms outstretched, GROWLING in fury. + + MAN + DON'T YOU FUCKING DARE! + +Renai lets out a SHRIEK of terror that could strip paint. A cry from the depths of her soul. + +She propels herself backward, falling off the bed and scrambling back into the corner. + +Josh CHARGES into the room, flicking on the light-- + +--seeing only Renai, huddled in the corner, screaming. + + JOSH + What is it? What is it?! + +Renai is incoherent. She cannot stop screaming. Josh grabs her by the shoulders. + + JOSH (CONT'D) + Renai, what is wrong?! + + RENAI + The man -- he was there -- he tried to -- there was a man there!!! + +Foster runs into the room, visibly terrified. He sees his mother and instantly begins crying. He runs to his dad, holding onto his leg. + +In the background, Cali begins crying, her screams contributing to an overwhelming din. + + JOSH + There's no one here. + + RENAI + I saw somebody! + + JOSH + There's no one here. + + RENAI + Don't you dare not believe me! + + JOSH + I believe you, okay? I just don't know what you want me to do. + +/* 39. */ + + RENAI + I want you to tell me that we can leave this house. I will not spend one more night here. I wanna leave, I wanna go! + + FOSTER + I don't want the man to get me. + +The realization that her child is terrified quiets Renai. + +All is suddenly silent, save for the cries of Cali in the background. Josh holds his son tight. + + JOSH + You're okay, buddy. I've got you. + +He and Renai exchange a look. + + RENAI + I'm sorry. + (BEAT) + I can't...I want to leave this house. I can't be here anymore. + + JOSH + To move now would be...we would have to rent somewhere. It's not-- + + RENAI + Please, Josh. + +An agreement passes between them. + +>FADE TO BLACK. + +EXT. SUBURBAN HOUSE - DAY + +A moving truck is parked outside an average suburban home. + +Movers mill about, hauling boxes and couches. + +INT. LIVING ROOM, NEW HOUSE - DAY + +Renai unpacks boxes. An elderly woman, LORRAINE (65), helps to unpack. This is Josh's mother. She has a curt, disapproving manner about her that doesn't always make her easy to love. + +She is actually moving more quickly than Renai, who groans as if her back were aching as she stoops down to pick up books. + +/* 40. */ + + RENAI + Lorraine, you shouldn't have to do any of this. Sit down. + + LORRAINE + Nonsense. I'm perfectly capable of putting a few things away. I did it for Josh his whole life. He never was good with tidying up. + + RENAI + I know, but I just feel so bad. + + LORRAINE + I think it's you who should be sitting down by the looks of it. + +She boosts a photo frame from one of the boxes. It is a portrait of Renai, Dalton, Foster and Josh. In happier times. + +Lorraine seems taken aback by it. + + LORRAINE (CONT'D) + I can't believe you got Josh to sit still for a photo. + +Renai reclines against the wall, surveying her new living room. Her new new house. + + RENAI + I can't believe we're doing all this again, that's what I can't believe. + (beat; looks at her) + I know you think I'm crazy. + +Lorraine stops unpacking and fixes Renai with a stare. They've never really gotten along before. Adversity has brought about a truce. + + LORRAINE + Nobody - not me, not anybody - knows what you're going through right now. Whatever you have to do to get through it, do it. And never apologize for it. + +Renai hugs her. It's a new thing for them and a bit awkward. + +INT. DOCTOR'S OFFICE - DAY + +DR. BRYCE TRIMBLE (52) sits opposite Renai and Josh. Spread out in front of him are a series of X-Rays, labelled DALTON LAMBERT. His office is big and expensive. + +/* 41. */ + +Renai looks hopeful. Josh looks like a shell of a man. + + RENAI + We just wanna say...thank you so much. For helping us out with this, doctor. We can't tell you how much it means to have you involved. + + DR. TRIMBLE + I'm glad to help. + (BEAT) + Unfortunately...these recent tests have proven inconclusive. There's absolutely nothing abnormal here. + +Josh and Renai deflate. + + JOSH + So...if you're the top of the food chain with this stuff, where does that leave us? + + DR. TRIMBLE + I don't know. There is a research team in Boston who specialize in a new form of treatment. They try to stimulate the patients brain with electric pulses. It has a good success rate with victims of brain injury. We could try that. + + RENAI + So there's hope? + + DR. TRIMBLE + There are more things we can try. + (BEAT) + The hope part is up to you. + +INT. DALTON'S BEDROOM, NEW HOUSE - DAY + +Renai sits beside Dalton. Staring at him. She runs her fingers through his hair, touching his skin. + +INT. LIVING ROOM, NEW HOUSE - DAY + +A needle touches an LP. + +The pops and crackles of record hiss spit forth, followed by the lilting guitar strums of `Tip Toe Through The Tulips'. + +The quavering falsetto of Tiny Tim accompanies the guitar. + +/* 42. */ + + TINY TIM (V.O.) + (FROM RECORD) + ~Tip-toe by the window, by the window, that is where I'll be... + +Renai walks away and we follow her down the hall into -- + +INT. FOSTER'S BEDROOM, NEW HOUSE - CONTINUOUS + +-- a mess as only a child can make. + +Renai picks up a plate and a fork and knife from the floor. She walks out and we DON'T CUT, tracking with her -- + +INT. HALLWAY, NEW HOUSE - CONTINUOUS + +-- back down the hall, towards the kitchen. The records continues warbling in the background. + + TINY TIM + (FROM RECORD) + ~Oh tip-toe, from the garden, by the garden, of the willow tree... + +Renai passes the living room. + +What she doesn't see is the child standing in the middle of the room, facing the record player. + +The boy is dressed in clothes from another time, but children's clothes just the same. + +He is dancing awkwardly, shifting his weight from one foot to foot the other sheepishly, as if trying it for the first time. + +Renai keeps walking and we stay with her as she moves past the child, following her into the -- + +INT. KITCHEN - CONTINUOUS + +-- mess of the kitchen. + +She sets the plate down in the sink, on top of a stack of other dirty dishes. + +With a sigh she runs the hot water over the dishes. + +With a sudden POP, the record starts skipping. + +Bump...bump...bump... + +/* 43. */ + +Renai shuts off the water, heading back to the living room. + +INT. LIVING ROOM - CONTINUOUS + +She marches in, annoyed. + +Then freezes. + +Her bookshelf is empty. The books that once sat on it are now scattered across the floor. + +Bump...bump...bump... + +Renai scans the books. + +THEN SHE HEARS it... + +Giggling. + +She pivots her head towards the darkened hallway. There, she sees a child, hidden in shadow, standing in the hall. Staring at her. + +Bump...bump...bump... + +Renai doesn't move. Doesn't breathe. + +And then suddenly, the child turns and runs down the hall, disappearing into Dalton's bedroom. + + RENAI + Oh my God, Dalton...no... + +Summoning every ounce of strength, Renai troops down the hall towards Dalton's room. + +INT. DALTON'S BEDROOM - DAY + +Renai pushes the door open. + +Dalton lies in the center of the room on his gurney. The only sound is his breathing. + +Renai surveys the room. It is empty. + +Bump...bump...bump... + +She steps inside, glancing over at a cabinet. In the foot-high space beneath it, a small white shoe protrudes slightly. + +/* 44. */ + +A child's shoe. + +Heart pounding, Renai bends down, peering into the darkness under the cabinet. + +Bump...bump...bump... + +The shoe does not have a foot in it. It is simply a discarded shoe. There is no one under the cabinet. + +BANG!!! + +BA G + +The cabinet doors EXPLODE open as the child bursts out, giggling. Only we see that it is not a child. + +It is a DWARF. A man in child's clothing. The dwarf runs past Renai as she LEAPS back. He runs out of the room, giggling. All is quiet again. + +Bump...bump...bump... + +Renai gets up, unsure of what to do. Numb with terror. + +SUDDENLY-- the record pitches back to life, the volume startling. Renai JOLTS, falling backwards. + +INT. CLASSROOM, FORRESTER HIGH SCHOOL - NIGHT + +A darkened class room. + +An older janitor, NED (68), shoulders the door open, carrying a mop. He STARTS when he sees Josh, sitting at his desk in the pale light of a desk lamp. Alone. + + NED + Josh...didn't see you there. + + JOSH + Sorry to scare you. + + NED + What are you up to this late? + +Josh holds up his flask of whisky. He's a bit soused. + + JOSH + Where did all the bartenders who listen to your troubles go, Ned? + +Ned nods sagely. He sets down his mop and grabs a chair, sitting in front of Josh with a sigh. He takes the flask. + +/* 45. */ + + NED + Never drink alone. If you take the dirty jokes out of drunkenness, all you're left with is the self loathing. + +He downs a hit from the flask, then hands it back. + + JOSH + I don't need whisky for that. + + NED + Bah. You people think too much. Used to be, if life threw a shitstorm at you, you'd grab the nearest umbrella. Your generation would spend a day googling what brand to buy. + +Josh laughs despite himself. + + JOSH + I probably would too. + (beat; takes a drink) + It's funny, I've always known I was the type of person that things didn't happen to. I made peace with it. I thought to myself, it's okay - I'll never win the lottery or climb Mount Everest...but I'll never get a rare tropical blood disease either. It works out. + (BEAT) + Now I'm the guy whose son is in a mysterious coma. + + NED + Things happen to everybody. Even to good people like you. And they're gonna keep happening the older you get, believe me. No use sittin' in the dark drinkin' over it. Go home. Be with your wife. Tell her your what's on your mind. + +He takes the flask and has another swig. + + NED (CONT'D) + There sure as hell isn't any umbrellas `round here. + +EXT. NEW HOUSE - NIGHT + +Josh pulls up to the house. Turns off the car. + +/* 46. */ + +An old Cadillac is sitting in the driveway. Josh clambers out of his car and peers in through the window of the Cadillac, quizzical. + +INT. LIVING ROOM, NEW HOUSE - NIGHT + +Renai is huddled on the couch in the living room, gripping her knees to her chest. A man is sitting next to her; a handsome, soft-spoken Anglican priest, FATHER NATHANSON (40). + +Josh enters. There are subtle changes in his coordination and speech from the booze. + + JOSH + This is the first line of a joke. Guy comes home to find his wife with a priest... + +Father Nathanson stands, as does Renai. + + RENAI + Josh, this is Liam Nathanson. A very old friend of mine. + + FATHER NATHANSON + Nice to meet you. I've heard a lot about you. + + JOSH + Can't say I've heard the same, Liam. At least I know you're not sleeping with her. + + LORRAINE (O.S.) + Don't be rude, Josh. + +Josh turns to see his mother, holding a tray of tea. He frowns. + + JOSH + What is going on here? + + FATHER NATHANSON + I should be going. Thank you so much for the tea. + + RENAI + Thanks, Liam. + +He clears his throat and exits, quickly and quietly. + + JOSH + Okay, would anyone mind telling me what the hell is going on here? + +/* 47. */ + + LORRAINE + Please sit down, Joshua. + + JOSH + "Joshua?" Oh Jesus... + + LORRAINE + Sit down. + + JOSH + The melodramatic way in which you two are conducting yourselves right now is scaring the shit out of me, so just tell me what's wrong. + + LORRAINE + Nothing is wrong. We want to talk. + + JOSH + Nobody asks you to sit down unless something is wrong. If a doctor calls you into his office and asks you to sit down, you're fucked. + + RENAI + There's no use, Lorraine. He's been drinking. + + JOSH + I have not been drinking. Not enough that we can't talk to each other, Renai. And don't judge me in that bitchy tone, okay? + + RENAI + (TO LORRAINE) + He would never speak to me like that before. + + JOSH + Christ. You're acting like I'm some lush who comes home and beats you with a belt. At least I'm speaking to you. You suddenly have to speak to a priest. Or my mother who, up until a couple of weeks ago, you couldn't stand. + + RENAI + You're an asshole. + + LORRAINE + Your wife needs you. Now sit down and listen to her. I won't ask you again. + +/* 48. */ + +Josh obeys. His mothers tone can still shut him up. + + LORRAINE (CONT'D) + Go on, Renai. Tell him. + + RENAI + This...thing that was in the other house. It followed us. + +Josh shifts in his seat. Agitated. + + LORRAINE + Let her speak. + + RENAI + I saw someone again today. In the house. It looked like a young boy. I followed it into Dalton's room... but it wasn't a child. + (BEAT) + This thing is here. I know it. + + JOSH + So...what? You called in a priest to get rid of it? + + RENAI + I didn't know what else to do. + + JOSH + Are you kidding me? + (TO LORRAINE) + Was this your idea? + + RENAI + No. It was mine. + + JOSH + You've never been to a church in your life. Now you're inviting a priest into our home? I feel like I don't even know you right now. + + RENAI + I'm scared. + + JOSH + This is a fantasy, and you need a therapist, not a member of the clergy. + + RENAI + (TO LORRAINE) + I told you... + +/* 49. */ + + LORRAINE + What's happening to Renai is real. I've seen it for myself. + (BEAT) + I came here today because last night I had a dream about this place. + +INT. KITCHEN, NEW HOUSE - NIGHT + +We are FLOATING through the corridor, looking through Lorraine's POV. + +We are inside her dream. + + LORRAINE (V.O.) + I was in this house...but it was late at night. + +The POV keeps moving, out of the kitchen and into the hall. + + LORRAINE (V.O.) (CONT'D) + I tried to be quiet. I didn't want to wake anybody. I was afraid. + +The POV floats down the hall, reaching a door. The door opens, revealing Josh and Renai, sleeping. + + LORRAINE (V.O.) (CONT'D) + I looked into your bedroom. You were both asleep. + +The POV keeps moving down the hall. + + LORRAINE (V.O.) (CONT'D) + I knew that I was asleep in the dream...but I could feel that someone was awake in the house. + +We keep pushing on, reaching the door to Dalton's room. + + LORRAINE (V.O.) (CONT'D) + I went into Dalton's room. + +The door pushes open. In the dark, we can see Dalton, in bed. + + LORRAINE (V.O.) (CONT'D) + There was someone in there with him. + +The POV turns to see a DARK FIGURE, standing in the corner. + + LORRAINE (V.O.) (CONT'D) + A man was standing in the corner of the room. + +/* (MORE) */ + +/* 50. */ + + LORRAINE (V.O.) (CONT'D) + I asked him who he was...he said he was a visitor. I asked him what he wanted...he said Dalton. + +INT. LIVING ROOM, NEW HOUSE - DAY + +Lorraine is clearly unsettled by the dream. + + LORRAINE + I can still hear that voice. + +She looks up at Josh - and SCREAMS! + +Over Josh's shoulder, crouched down behind the couch and peeking up over the armrest at Lorraine, is a DIABOLICAL FIGURE. His face is PURE RED with smeared lipstick. His scalp is completely bald, yet tufts of hair dangle above his ears. Other than his face, his skin is charcoal black. + +Lorraine recoils back, utterly petrified. + + JOSH + What is it? + +Lorraine stares eerily into his eyes. Frozen. + + LORRAINE + He's here. + +Renai looks to Josh, who is at a total loss. She is crying. + + RENAI + Help us... + +His anger fades and he steps over and takes her in his arms. + + JOSH + I don't know how. + + LORRAINE + I know somebody who can help...if you're willing to ask for it. + +EXT. NEW HOUSE - DAY + +A battered van is parked in the driveway of the house. + +INT. LIVING ROOM, NEW HOUSE - DAY + +Renai and Josh stand in front of two men. They are silent. + +/* 51. */ + +The shorter one is a wiry young man who looks like he spends most of his time in dark rooms. Not a member of the beach volleyball team. This is SPECS (32). + +The other is TUCKER (33), a larger man with scruffy facial hair. He is eating a Hot Pocket. + + SPECS + So you must be Josh? + + JOSH + Yeah. + + SPECS + That wasn't psychic. Lorraine told me your name. + + JOSH + Oh. + + SPECS + I'm Specs. + (beat; spooky voice) + I'm here to solve your problem. I'm just kidding with the voice. We take this very seriously. + + RENAI + So is Elise coming or...? + + SPECS + She won't be joining us yet. Usually we handle all the background stuff, then she gets involved when we have the facts. + + TUCKER + Helps weed out the nutjobs. + + RENAI + Okay... + + JOSH + This is a little uncomfortable. Speaking for myself. I'm not used to this kind of stuff. + + SPECS + We understand completely. Ninety six per cent of the people we deal with have had no experience with this type of phenomena before. + +He takes out a notepad and pen. + +/* 52. */ + + SPECS (CONT'D) + I would like to start by interviewing you both. Can we record your answers? + + RENAI + Ah...sure. + + SPECS + My assistant will check different areas of the house for electrical anomalies. I'll get him started. Tucker, would you follow me? + +INT. KITCHEN, NEW HOUSE - DAY + +Specs leads Tucker into the kitchen. + + TUCKER + Assistant? + + SPECS + Could you not eat that in front of the clients? + + TUCKER + Assistant? + + SPECS + Finish it in here. This industry gets laughed at enough as it is. + +INT. LIVING ROOM, SPECS' APARTMENT - DAY + +Specs is halfway through interviewing Josh and Renai. + + SPECS + Do you or any of your children suffer from epilepsy or autism? + + RENAI + No. I mean, our son... + + SPECS + Right. I heard about this from Lorraine. He is in a coma, the cause of which is unknown? + + RENAI + Yes. + +/* 53. */ + + SPECS + Do either of you habitually use drugs or alcohol? + + RENAI + No. + + SPECS + No drugs at all? + + RENAI + I take anti-depressants sometimes. + + SPECS + Do you have a history of clinical depression? + + RENAI + Not a history. I've had bouts of it. In the past. + +Renai is uncomfortable. Specs makes a note. The camera beeps. + + SPECS + Tucker, could you check the camera? + + TUCKER (O.S.) + I'm still assisting in the other room. + + SPECS + Whenever you're ready then. + +A long beat. Tucker finally enters, adjusts the camera. + + TUCKER + (to Renai and Josh) + He handles administration, I handle technical. It's an even split. He couldn't change a light bulb and I'm no good with paperwork. It bores me senseless. + +Specs clears his throat, peeved. Continues. + + SPECS + Do you have any history of sexual abuse in the family? + + JOSH + No. + (BEAT) + I'm sorry, I have to ask how this relates to our problem? + +/* 54. */ + + SPECS + Nine times out of ten, when someone comes to us with a problem like this, it's because of an inward cause within the family unit...not a physical force outside of it. + +INT. MASTER BEDROOM, NEW HOUSE - DAY + +Specs and Tucker mill around the room. Tucker is carrying a small electronic device. He holds it against the wall. + + JOSH + What is that? + + TUCKER + Tri-field meter. It measures DC fields and the natural electro magnetic environment. + + SPECS + Sometimes old wiring can leak into the atmosphere. It can cause hallucinations, changes in energy. + + TUCKER + Yeah. It's a little more complicated than that, but, you know, you get the general idea. + + SPECS + It's basically that. + + TUCKER + Not really, but whatever. + + SPECS + (TO JOSH) + The tech stuff's not relevant to you anyway. + + TUCKER + It's very relevant, but it's all good. + +INT. CORRIDOR, NEW HOUSE - LATER + +Tucker edges into the corridor. He switches out the light, then takes what looks like a modified VIEW-MASTER TOY out of his shoulder bag, holding it up to his eyes. + +He stalks down the corridor with it. All is quiet. + +/* 55. */ + +TUCKER'S POV THROUGH VIEWMASTER - different filters highlight different degrees of UV light. Each slide changes the readings. + +He approaches the grandfather clock. Another slide clicks into place - showing us TWO FIGURES. Standing beside the clock. + +In the negative light, they look like females. + +Tucker lowers the device. There is no one there. + +INT. LIVING ROOM, NEW HOUSE - SAME TIME + +Specs packs up the video equipment, babbling to Josh and Renai. + + SPECS + Epilepsy in one of the children mostly. It's very common. If we approach things academically, it lets us find the genuinely interesting cases. + +Tucker backs into the room. Very slowly. He is afraid. + + TUCKER + I think we can call Elise now... + +INT. FRONT DOOR, NEW HOUSE - EARLY EVENING + +Josh opens the door to see an elderly woman, ELISE RAINIER (73), who despite her years maintains a sprightly energy. + +There is absolutely nothing morbid or dour about her. + + JOSH + Mrs. Rainier? + + ELISE + No, my mother couldn't come, it's just me. Elise. You must be Lorraine's son? You've grown since I last saw you. + + JOSH + Last saw me? + + ELISE + Your mother and I have been friends for a long time. + +/* 56. */ + +Elise steps inside. Renai, Tucker and Specs gather around her. Everyone becomes very subservient, like the Queen just arrived. + + ELISE (CONT'D) + (re Specs and Tucker) + They're very good assistants but I can't get them to dress any better. + + RENAI + Hi. I'm Renai. + + ELISE + Pleased to meet you. I'm Elise. + +Elise takes her hat off and scans the room, taking a deep breath. Tucker jabbers, eager to please. + + TUCKER + We took Tri-field and EMF readings of the whole house. All the wiring, alarm clocks, radios, toasters, TV, record player, fuse box. Nothing went off the charts. + + ELISE + And the previous home? + +Tucker and Specs look at each other. Oh shit. + + SPECS + Tucker hadn't monitored that yet. I could jump on that this afternoon if you like? Make up for lost time. + + TUCKER + Yeah, but who would work the equipment? I'll need to be there. You know what, don't even sweat it. I'll make myself available. + + ELISE + No, that's fine, gentlemen. + +She stares up at the ceiling, as if seeing something they can't. + + ELISE (CONT'D) + I don't think bad wiring is the problem here. + +She drifts over to the bookshelf, her hand landing on the stack of photo albums Renai looked through in the opening scene. + + ELISE (CONT'D) + Hmm. + +/* 57. */ + +Renai and Josh exchange a look. + + ELISE (CONT'D) + May I walk through the house? + + RENAI + Yes. Of course. + + ELISE + Steven, do you have your sketchbook? + +Specs hurriedly fishes a sketchbook and pencil out of his bag. + + SPECS + Yes, I do. Yes, I do. Yes, yes. I do. + + ELISE + Good. We're going to need it. + + RENAI + What is it for? + + SPECS + She tells me what she sees and I draw it. It's the most important part of her process. + + TUCKER + His drawings and my photos comprise her visual records. + + SPECS + Especially the drawings. + + TUCKER + That's debatable. + + SPECS + It's not debatable. + + TUCKER + It is, but whatever. + + SPECS + Onwards and upwards. Find me a ghost. + +Elise begins walking through the house. Tucker and Specs trail her and we FOLLOW THEM into the-- + +INT. CORRIDOR, NEW HOUSE - CONTINUOUS + +--hallway. + +/* 58. */ + +Renai and Josh stay back, sheepish. Elise stalks forward at the front, surveying every nook and cranny of the house. + +Elise stops suddenly. She is staring straight at a corner of the hallway, next to the grandfather clock. + + RENAI + What is it? + + ELISE + There is something here. + + TUCKER + This is where I saw it. + +Elise calmly mutters something to Specs in a low voice, but we have trouble hearing it - only snatches of key words. + + ELISE + ...long hair...grey dress...her eyes are... + +He immediately starts sketching. His line drawings are fast but detailed. Impressive. + +He outlines the wall, the ceiling lamp, the grandfather clock. + +And then something else... + +Two young women. Standing next to the grandfather clock, dressed in Amish garb. Even in the roughness of the drawing, we can make out their pleading eyes and pale skin. + +Tucker takes out a camera, snaps some shots. Josh and Renai step forward, seeing the sketch. + +Elise keeps moving, heading straight for one door in particular. She stops, running her hand over the wood. + + ELISE (CONT'D) + Do I have permission to enter this room? + + JOSH + Go ahead. + + ELISE + Maybe you could wait back there? + +Josh and Renai hug each other. Tucker lowers the camera. + +Elise grips the door handle and turns it. + +/* 59. */ + +INT. DALTON'S BEDROOM - DAY + +The door groans open. + +Dalton is lying on his gurney, surrounded by the sluggish drone of hospital equipment. The curtains are drawn and the room is dark. + +Elise hesitates...then steps inside. + + ELISE + Leave the lights off. + +Elise steps closer to Dalton. She runs her hands over his prone body. She shivers as she does. + +A ripple of fear passes through her. Her breath quickens. + +Slowly...very very slowly ...she gazes up at a corner of the ceiling. Her eyes WIDEN and the look on her face SHOULD BE ABSOLUTE T E R R O R. + +Her arm raises up, her finger extending and pointing at the corner she is glaring at. + + RENAI + What is it? What do you see? + +Elise cups her hand over her mouth and whispers to Specs, keeping her eyes GLUED to the far corner of the ceiling. We cannot hear what she is whispering. + +Hand shaking, Specs feverishly starts to sketch. We cannot see what he is drawing. + + RENAI (CONT'D) + What do you see?! + +The strokes of Specs' pencil become faster and rougher, keeping up with Elise's whispers. Sweat dots his forehead. + +Tucker glances at the drawing and steps back instinctively. He holds up his Viewmaster. + +POV THROUGH VIEWMASTER - we see the far corner of the ceiling change color as Tucker rotates the lenses inside...but nothing out of the ordinary appears. Just a ceiling. + + RENAI (CONT'D) + Tell me! + +/* 60. */ + +Suddenly, Renai charges forward, snatching the sketch book. + +The drawing is of a hideous form - crouched in the corner of the ceiling, staring down at Dalton below. It is the RED-FACED DEMON Lorraine saw earlier. + +His naked body is charcoal black...whilst also strangely translucent, the veins visible underneath the flesh. A corpulent stomach juts out, as if he were pregnant. + +Terrified, Renai flicks on the light -- + +-- revealing nothing but an ordinary ceiling. + +INT. LIVING ROOM, NEW HOUSE - DAY + +Elise holds court in the living room. + +Renai and Josh hold each other, struggling to comprehend it all. + + ELISE + I'm not sure if you are ready to hear this yet...but unfortunately I can't waste any time easing you into it. There is no time left. + +She takes a deep breath, preparing herself. + + ELISE (CONT'D) + I want you to know that this is what I believe and it may contradict a previous medical diagnosis. However, you called me here and I am taking that as an acceptance of my readings. + + RENAI + Go on. + + ELISE + Your son...is not in a coma. His physical body is here, but his spiritual body is not. + (BEAT) + The reason these disturbances followed you to a new home is because...it is not the house that is haunted. It is your son. + +This is too much for Josh. Renai, however, wants to listen. + + RENAI + I don't understand... + +/* 61. */ + +Elise considers what she is about to say carefully. + + ELISE + Have you ever heard of astral projection? + + RENAI + Out of body experiences? + +Elise nods. + + ELISE + I call them travellers. These are people with the ability to leave their physical body and travel to different places in an astral form. To some degree, we all have the ability to do it...but most of us subconsciously suppress it or don't know how to access it. + +Josh shakes his head, agitated. Renai leans forward, desperate for an answer to her terror. + + ELISE (CONT'D) + Dalton is...a very accomplished astral projector. He has been since he was very young. He's not afraid of his ability. And that lack of fear has led him to travel too far and become lost... + + RENAI + Lost? Lost where? + +Elise gazes up at the ceiling, as if looking into another world. + + ELISE + In The Further. + + RENAI + What do you mean? + + ELISE + The Further is that place beyond our perception, beyond our understanding of the physical world that we can see and touch. It is a place without clocks or measurements, without past or future...an infinite realm that holds all of our dreams...and all of our nightmares. + +She turns to look at them. + +/* 62. */ + + ELISE (CONT'D) + That is where Dalton is. + +Renai cries, unprepared for what she is hearing. + + ELISE (CONT'D) + The problem is that with his astral body gone, he has left a physical body with us. An empty vessel. + +Josh can't meet her gaze. + + ELISE (CONT'D) + And there are entities that know this. They can smell it - the chance to live again. That is why they have gathered around him. + + RENAI + How many are there? + + ELISE + There are five benevolent spirits. Five different entities for whom Dalton has become a most prized possession. They are trying to get inside his physical body...and they get closer with each passing day. + +Her words hang in the air like gunsmoke. Pure fear courses through Josh's eyes. He fidgets, agitated. + + ELISE (CONT'D) + Then there are two entities who are...not benevolent. One of them takes the form of a man, the other... + +She holds up the drawing that Specs did. + + ELISE (CONT'D) + They work together, so desperate are they to possess Dalton. They are the closest of all the entities to getting inside him. + (BEAT) + I don't want to scare you, but I have never, in all my years of doing this, experienced anything as terrifying as their presence. + + RENAI + Is there a way to bring Dalton back? + +/* 63. */ + + ELISE + There is something we could try. A way of calling him back. I would need your complete trust. + +Josh can't take it any more. He stands up. + + JOSH + No. No. This has gone too far. + + RENAI + You said that you'd give her a chance! + + JOSH + I have given her a chance, and I did that because I wanted to help you. But I cannot have somebody telling us that the reason our son is in a coma is because his soul is floating off somewhere in another dimension. + + ELISE + I know this is hard to hear. + + JOSH + No, it's not fair is what it is. You're preying on people's grief and vulnerability, which is really easy to do in a situation like this. + + RENAI + Why did we go to all the trouble of bringing them here if you're just going to reject what they say? + + JOSH + Because I wanted to help you. To put your mind at ease, and if this helped, then great. But to drag Dalton into this? No. + + RENAI + Josh, you're not being fair... + + JOSH + Fair? How did the voice of reason become the bad guy here? Don't you see? You want to believe. Of course you do, honey, anybody would. + +The room goes quiet. Josh turns to Elise. + +/* 64. */ + + JOSH (CONT'D) + Look, I appreciate what you're trying to do. I really do. But I think it's dangerous to start throwing out false hope like this. I have to put my foot down. My wife is not...mentally well at the moment, and I have to keep at least one of her feet here in the real world. + + RENAI + You never believed me... + + JOSH + Honey, I'm on your side. But I genuinely think this is dangerous and frankly, a little exploitative. + +He turns to Elise, Specs and Tucker. + + JOSH (CONT'D) + You come into a home with a seriously ill child, you make a tenuous connection between him and these experiences Renai is having and viola - the client starts crying because they're desperate to believe, the tears validate your power, thank you, that'll be six hundred dollars please. + + SPECS + We reject more cases than we take. We're not out for money, sir. + + JOSH + I know, I know...look, I appreciate your interest and your time. I do. Thank you. Thank you very much. + +He goes to the front door, opening it. + + ELISE + I completely understand. And I honestly don't blame you for reacting like this. + +She walks to the door, followed by Specs and Tucker, who sling their bags over their shoulders sheepishly. + + RENAI + No, please...don't go. + +/* 65. */ + + ELISE + Thank you for your time. + +They exit. The door closes. They are gone. + +INT. MASTER BEDROOM, NEW HOUSE - NIGHT + +Renai lies in bed, awake...a broken shell of her former self. A bottle of anti-depressants sits on the bedside table. + +Josh enters the bedroom. Sits down beside her. + + JOSH + Look at me for a second, honey. + (BEAT) + Look at me. + +She doesn't look up. + + JOSH (CONT'D) + Did you really believe what she said? In your heart of hearts, did you actually take what she was saying literally? + +A long beat of silence passes. + + RENAI + I don't know... + + JOSH + Do you think I don't want to believe in that stuff? Of course I do. It would make life a lot easier if I did. If I believed that some supernatural force was responsible for what's happened to our son... + + RENAI + I don't believe anything anymore, Josh. I used to. I used to believe that I could keep my children safe. I used to believe everything would be okay. To believe in something, you have to know it to be true. + +She turns and looks at him. + + RENAI (CONT'D) + The things that have happened to me haven't confirmed any beliefs - they've done the opposite. They've made me question what I believe. + +/* (MORE) */ + +/* 66. */ + + RENAI (CONT'D) + They've made me realize that maybe we don't know as much as we think we do. + +Josh paces, at his wits end. + + RENAI (CONT'D) + You ask me if I believe what she said to be true and the answer is I don't know. But let me ask you this - in your heart of hearts, can you say for certain that it isn't? + +INT. MASTER BEDROOM, NEW HOUSE - NIGHT + +Josh lies beside Renai, who is sleeping. He is wide awake, staring at the ceiling. + +He gets out of bed. + +INT. DALTON'S BEDROOM, NEW HOUSE - NIGHT + +The door opens. + +All is mute as Josh enters, skulking carefully through the darkness. + +The curtains lull in the slightest of breezes. + +Josh stands over Dalton. + +He stares down at his sons body, then lets his gaze drift around the room...past the CLOSET, past the DRAWINGS pinned to the wall and the TOYBOX...all the way to the CORNER of the ceiling that Elise was so frightened of. Josh's eyes drill into the shadows. + +Is there something waiting there? + +Finally, Josh sits down beside Dalton. He grips his sons hand. + + JOSH + Where are you? Where did you go? + (BEAT) + Can you hear me? I'm begging you to show me that you can hear me...I don't know how to help you. Please tell me what to do. + +Josh's torment fills the air...but Dalton doesn't move. + +/* 67. */ + + JOSH (CONT'D) + Please God, please help me...give me my son back. I will do anything just to have him back. + +Josh studies Dalton's face for a response. Nothing. Not a twitch. He collapses forward onto Dalton. Holding him tight. + + JOSH (CONT'D) + I need him back. I need him to show me that he can hear me. Please... + +For a moment, all we can hear is Josh's breathing. + +Then...something happens. Something Josh doesn't see. + +Dalton's face twitches. It is a very slight movement. This movement is followed by something that is hard to miss-- + +One of the tacks pinning one of Dalton's drawings to the wall begins to wind loose. + +It pops free, shooting across the room like a kernel of popcorn...followed by another tack. + +The second tack lands in Josh's lap. Puzzled, he picks it up, examining it. He looks up, his eye drawn to the picture on the wall. + +With total astonishment, he sees the two remaining tacks works themselves free, popping out of the wall. + +The drawing floats down to the ground. + +Josh stoops down, picking it up. + +It is a drawing split into two halves. The left half is a self portrait of Dalton, lying in bed, looking down from above. + +The right half is a depiction of outer space - squiggly stars and bloated planets. + +Dalton has drawn another version of himself on this side, flying above the house with another man. + +At the bottom of the first drawing, Dalton has written `Last night I watched myself sleep'. + +A tear falls down Josh's face. He begins to cry. Deep and painful tears he has long pent up. + +Beneath the second drawing, Dalton has written `Then I flew away.' + +/* 68. */ + +INT. MASTER BEDROOM, NEW HOUSE - EARLY MORNING + +Renai's eyes flutter open. She glances over. No one is there. + +INT. KITCHEN, NEW HOUSE - EARLY MORNING + +Renai shuffles into the kitchen. + +Josh is sitting at the kitchen table, staring at Dalton's drawing. He hasn't slept and looks it. He looks up at her. + + JOSH + Okay. + +Renai approaches Josh and they hug...holding on for dear life. + +EXT. NEW HOUSE - NIGHT + +The Lambert house is lit from within. Like a Jack-O-Lantern. + +INT. DALTON'S ROOM - NIGHT + +Action stations. + +Tucker sets up two stills camera's around Dalton's room, zipping back and forth between the two tripods. Specs opens up a kit, taking out his notepad and a pencil. + +A small, circular table has been set up, adjacent to Dalton's bed. Elise sits at the table, flanked on either side by Josh and Renai. + + ELISE + What's most important is that you realize no two attempts are the same. I will be completely honest with you about the results, and if no dialogue is established, I will tell you. I am not in the business of embellishing success. What happens, happens. + +Josh and Renai nod grimly, truly out of their depth. + + ELISE (CONT'D) + Forget the limits and laws and logic of this world. We are treading in a different place now. + +Tucker finally sets his cameras and takes a seat in the corner, holding up a HAND-HELD VIDEO CAMERA. + +/* 69. */ + + TUCKER + These still cameras are rigged to pick up changes in the atmosphere, electrical or temperature-wise. Don't be alarmed if they go off. + + ELISE + Everything I say while I am in tune will be at a very low volume, so you won't hear any of it. Steven will write it down and repeat it for you. + +Specs waits obediently at her side. + + ELISE (CONT'D) + Hold on to each other, and stay focused. You'll see things you don't understand. Confusing things. Do not question them or speak in any way. + +She turns to Specs. + + ELISE (CONT'D) + Dim the lights please. + +Tucker reaches up and dims the lights to a very low level. + +Elise closes her eyes, concentrating. She relaxes her head, as if meditating, letting it loll on her shoulders. + +One of the cameras on the tripod goes off, bathing the room in white light for a split second. + +Elise inhales and exhales deeply, slipping away. Soon, she is very still. + +Specs nods to Tucker silently, then produces an odd looking device made from GREY CLOTH. + +It almost resembles a gas mask from World War 1, with a cone shaped muzzle that fits over the mouth and nose. The snout of the facemask is like an elongated elephant trunk, coiling outwards and ending in an old listening device, like an early version of a microphone. + +Specs slips two hooks over Elise's ears and gently places the device over her nose and mouth. He then takes a seat next to her, behind Renai, who holds Elise's hand. + +Specs takes out his notepad and fixes a small apparatus around his neck that holds a flashlight in place. + +/* 70. */ + +He flicks it on, then holds the microphone end of Elise's facemask up to his ear, a pencil gripped in the other hand. + +Dead silence descends over the group like a blanket. + +Then, we hear something lilt through the old microphone. It is Elise's muttered whispers. Specs begins writing. + +Renai opens her eyes to peek at what he is scribbling in cursive. + +we are calling out to you dalton + +Renai grips Josh's hand tightly. + + SPECS + We are calling out to you Dalton. + +tell us that you are safe tell us where you are + + SPECS (CONT'D) + Tell us that you are safe. Tell us where you are. + +For what seems like an eternity, all is quiet and still... + +...until Elise's eyelids flutter. + +Another unintelligible whisper drifts out of the microphone at Specs' ear. He writes. + +who's there? + + SPECS (CONT'D) + Who's there? + +it is your mother and father we have been looking for you + + SPECS (CONT'D) + It is your mother and father. We have been looking for you. + +Long pause. Specs writes again, more intense this time. + +i need help i can't see in here + + SPECS (CONT'D) + I need help...I can't see in here. + +/* 71. */ + +follow my voice dalton come back to us + + SPECS (CONT'D) + Follow my voice Dalton. Come back to us. + +Another long pause. A little too long. + +Why aren't you talking anymore dalton? + + SPECS (CONT'D) + Why aren't you talking anymore Dalton? + +A long beat. Tucker's camera flash goes off again. + +if they hear me they'll hurt me + + SPECS (CONT'D) + If they hear me, they'll hurt me. + +who will hurt you? + + SPECS (CONT'D) + Who will hurt you? + +the man with fire on his face + + SPECS (CONT'D) + The man with fire on his face. + +can you find your way back to us? + + SPECS (CONT'D) + Can you find your way back to us? + +there is no way out + + SPECS (CONT'D) + There is no way out. + +follow my voice dalton + + SPECS (CONT'D) + Follow my voice Dalton. + +be quiet they'll hear you + +/* 72. */ + + SPECS (CONT'D) + Be quiet, they'll hear you. + +they won't hear you just follow my voice + + SPECS (CONT'D) + They won't hear you, just follow my voice. + +they are coming they heard you help me helpme mom and dad please save me please come and get mepleasecomeandgetmecome + +Elise's head TWITCHES as Specs' writes furiously, trying to keep up. His pencil finally SNAPS. He snatches up another. + +dalton are you there? dalton? + +An agonizing ocean of silence...then this furious scrawl: + +listen to me you filthy whore he isnt here you should not have come here you fucking bitch i will rip your cunt apart and eat the fucking innards that spill forth from it i + +HAVESEENYOUIKNOWWHOYOUAREBUTYOUANDTHE + +Specs writing begins to SHRED the paper as he writes furiously, the scrawl getting out of control. Sweat flies from his forehead as he struggles to get it all down. + +Suddenly a PIERCING SCREAM blasts through the microphone and he jerks it away from his ear - then looks over at Elise. + +With UTTER DREAD, he sees that she is NO LONGER WEARING THE MASK. She has taken it off and is panting heavily. + +The scream continues through the mic, audible to everyone...then peters out. + +Shocked silence follows. + +Josh glances over at Dalton's bed. + +He is not in it. + +/* 73. */ + +Stunned, Josh turns back to the table-- + +--TO SEE DALTON SITTING NEXT TO HIM. STARING AT HIM. + +His heart leaps out of his skin and so does Renai's as they both turn towards Dalton. Their son. + +Dalton stares at them...not a trace of emotion on his face. + +Then he reaches up and grips his bottom jaw with both hands, wrenching it downwards with almighty force and BREAKING HIS OWN JAW. + +Renai SCREAMS into the abyss as Dalton BELLOWS at them, spit flying from his throat, his tongue hanging down over his dislocated jaw. + +He stamps his foot and the table - and everyone sitting at it, Renai, Josh and Elise - go flying backwards as if pushed by a hurricane, smashing into the wall with crushing power. + +We realize that Dalton was not sitting at the table, but squatting down awkwardly. Painfully. + +He stands up, then steps forward. As Josh and Renai watch, his KNEE begins to BEND BACKWARDS, the tendons stretching and snapping, the knee bending in the opposite direction. + +His other knee follows and he steps forward - both knees bending back. + +Specs is rigid in his chair, rooted to the spot, notepad still in hand. When he looks up at Dalton, the flashlight under his chin shines in Dalton's eyes. + +Dalton ROARS and advances forward - SLAPPING Specs with the force of ten men. Specs reels backwards, hitting the wall, smashing his head and crumpling like paper. + +Elise stands to face Dalton. The CAMERA FLASH goes off again, lighting the darkened room for a split second and showing Elise the lipstick-smeared face of a demon instead of Dalton's face. + +Tucker SHRINKS BACK as he captures all this with the video camera. + +Dalton steps forward again and Elise CHARGES at him, grabbing Dalton by the hair. + + ELISE + Leave this vessel! Leave this vessel! + +Dalton BELLOWS again - a howl so course and ungodly that it seems ripped straight from the bowels of Lucifer himself. + +/* 74. */ + + ELISE (CONT'D) + LEAVE THIS VESSEL! + +Dalton FLIES backwards, hitting the corner of the wall and then CLIMBING IT, arcing his body into the far corner of the ceiling like an expert contortionist. + +He hisses at them as the CAMERA FLASH fires AGAIN AND AGAIN, showing them split second frames of the red faced CREATURE. + + ELISE (CONT'D) + Leave this earthly body! + +Dalton shrieks again and somehow the force of the cry knocks Elise down. + +The room begins to shake. + +Books fly. + +The closet doors burst open. + +With terror, Elise looks over and sees several figures peering out from within the closet. + +Two are the women that Specs' drew. Another is a small man, dressed like a child. + +They stare out at Elise, their eyes glinting in the dark. + +Elise turns to see Josh. The camera flash STROBES repeatedly and gives us split-second glimpses of an OLD WOMAN, dressed in Victorian era garb - standing directly behind Josh. + +And then, with absolute fear, Renai sees the LONG HAIRED MAN standing over her. He SCREAMS at her and pushes her against the wall, licking her. She cries out, terrified. + +With the spirit world, crashing in around her, Elise pulls herself off the floor and yells again. + + ELISE (CONT'D) + Leave his body! + +Dalton suddenly SPASMS, dropping out of the corner and hitting the floor like a rag doll dropped off a bridge. + + ELISE (CONT'D) + The lights! + +Terrified, Specs' scrambles over to the corner, flicking the light switch. The room is instantly flooded with light. + +The room has stopped shaking. The screaming has stopped. + +/* 75. */ + + RENAI + Dalton! + +Renai wrenches herself across the carpet and reaches Dalton's limp body. + + RENAI (CONT'D) + Dalton! Dalton! + +She listens for breathing. His chest moves. He is still breathing. She holds him and cries. More desperate than ever. + +INT. KITCHEN, NEW HOUSE - NIGHT + +Tucker, Specs and Elise convene in the kitchen, slumped amongst the boxes for the tech gear. All are in shock. + + SPECS + I feel like a mountain climber who's been waiting his whole life to climb Everest, and now that I'm standing on the summit, I don't know what to do with myself... + + TUCKER + I'll tell you what we do with ourselves. We make a short list of our preferred media outlets, that's what. + +He holds up his video camera. + + TUCKER (CONT'D) + Watch this. + +He hits play on a monitor that his video camera is cabled to. Chaotic images of Dalton from the previous scene SPIT to life. + +BEHIND DALTON, we can just make out the blurry image of the RED-FACED DEMON. Puppeteering Dalton from behind. Controlling his limbs like a human marionette. + + SPECS + Oh my God... + + TUCKER + After all the years we've been dining out on morsels like a faucet that turns itself on and off...we finally have some empirical evidence of the real thing. Proof. + +He hits pause on the video, freeze-framing the hellish image. + +/* 76. */ + + ELISE + Proof? Proof of what? Nine tenths of the world believes that when you die, your soul ascends to sit with God. Would you be telling them something they didn't already know? + + TUCKER + That is so not the point. This is not about religion. Here we have irrefutable evidence of a paranormal experience. Our job is to share it. + + ELISE + No, our job is not to alert the press and prove the existence of the `paranormal', as you call it. I'm not out to prove anything. I've known there was a higher plane ever since I was a little girl and I could play hopscotch with people whose names were inscribed on tombstones. What you call paranormal is a fact of life for me. + (BEAT) + Our job is to help people. The least we can do is spare them the indignity of Sixty Minutes. + +She snatches his camera away from him and stands up. + + TUCKER + Yeah, until they get their book deal...then you'll wish you'd listened. + + ELISE + No, I won't, Tucker. I'll just be proud of you. You two stared down something that would crush most mortals tonight and you stood tall. + +They manage a smile. + + SPECS + So what do we do now? + + ELISE + We answer the door. + + SPECS + What do you mean? + +There is a knock at the front door. + +/* 77. */ + +INT. LIVING ROOM, NEW HOUSE - NIGHT + +Josh sits with Renai's head in his lap. She is too traumatized to speak. Rain dribbles down the window pane. + +Josh gets up when he hears the knock at the door. Elise shuffles over to answer it. + +She opens the door to reveal Lorraine, wet from the downpour. + +Elise steps aside and Lorraine walks in, gravely sedate. + + JOSH + Mom...what are you doing here? + + ELISE + I asked your mother to come over. I called her immediately after...the session. I told her to hurry over. + + JOSH + Why? + +Lorraine's usual strong will has evaporated. She looks to Elise. + + ELISE + There is something we must talk about. Sit down, Lorraine. + +Lorraine follows orders, easing onto the sofa. Eyes down. + +Thunder growls in the distance. + + ELISE (CONT'D) + Go on. Tell him. + + JOSH + Tell me what? + +Lorraine swallows and starts talking. + + LORRAINE + The reason...I knew to call Elise in this situation...the reason I know her so well...is because I called her myself once. Years ago. + +She looks up at Josh. + + LORRAINE (CONT'D) + To help you, Josh. + + JOSH + What are you talking about? + +/* 78. */ + +Lorraine can't go on. Elise steps in. + + ELISE + It's no accident that your son is such a gifted traveller. The ability was handed down to him. + (BEAT) + By his father. + +FLASHCUT TO: + +INT. DARKENED BEDROOM - NIGHT - FLASHBACK + +We have returned to the opening scene. + +We are looking down on a sleeping child. Chest rising and falling with each breath. + +This is JOSH as a child. + +We move away from him, exploring the dark room. + +FLASHCUT TO: + +INT. LIVING ROOM, NEW HOUSE - NIGHT - PRESENT + +Tucker and Specs enter the room, lingering at the back. + + JOSH + No...I've never...done that before. + + LORRAINE + When you were about eight...you suffered night terrors. Awful fits of pure fear. You were terrified of an old woman who you said would come to visit you at night. + +FLASHCUT TO: + +INT. CORRIDOR - NIGHT - FLASHBACK + +Again we return to the opening scene...floating down a long hallway. + +A window at the end of the hall enlarges as we approach. + +Someone is standing in front of it. + +/* 79. */ + +The murky silhouette of the figure turns and walks away. We follow it, tentative. Turning a corner, we see the figure. Standing in a doorway. + +Now we can make out the edges of the figure. It is an old woman. Hair in a Victorian bun. A corseted dress. + +IT IS THE SAME OLD WOMAN THAT ELISE SAW. + + OLD WOMAN + Let me in. + +FLASHCUT TO: + +INT. LIVING ROOM, NEW HOUSE - NIGHT + +Lorraine closes her eyes, struggling to go on. + + LORRAINE + I dismissed your stories. Told you to grow up. + (BEAT) + Then I saw her for myself. + +She looks to Elise, who nods. + +Hand trembling, Lorraine retrieves a packet from within her coat. The paper is yellowing. Faded. Soaked from the rain. + +Lorraine hands the packet to Josh, who is dumbfounded. + +Renai peers over Josh's shoulder, at a Polaroid of a boy, about nine years old, sitting on a couch. Early 70s period. + +It is a Young Josh. Behind him is the BLURRED OUTLINE OF A FIGURE. + +Josh runs his finger over the shadow. His heart rate speeds up. An old memory is coming back to him. + + LORRAINE (CONT'D) + At first, I thought it was a camera problem. Then I saw her again. + +Josh flips to the next photo - it is another faded frame of Josh as a youngster. This time he stands in an old kitchen. + +Once again, there is a figure behind him - clearer this time, but still hidden in silhouette. A step closer to Josh. + +Josh flips to the next picture. A BLACK AND WHITE shot of himself as a young boy, lying in bed. + +/* 80. */ + +With dread, Josh sees the unmistakable features of an OLD WOMAN, crouching beside his bed. Staring at him. + + LORRAINE (CONT'D) + In each photo, she got closer and closer to you... + +Josh flips to the next picture - in this one, Young Josh is standing by a car. + +Behind him, the details of the Old Woman's dress are visible. Her arm is extended...reaching out for Josh's neck. + +Renai's hand flies to her mouth. + + LORRAINE (CONT'D) + Finally, I was so scared, I called Elise. + +Sweat pours down Josh's brow. + +He lets the photographs flutter from his fingers, backing away. Fragments of memories rock his entire body. + + JOSH + I don't...I don't remember any of this... + + ELISE + You've blocked it out. + (BEAT) + But in the back of your mind, you're still afraid of having your picture taken, aren't you? + +Josh grabs the wall, weak at the knees. + + LORRAINE + I've kept the photos hidden ever since then...until tonight. + + ELISE + I advised Lorraine to hide them. To stop taking your picture. And to let you forget. + + JOSH + Who is she? + + ELISE + A parasite. She befriended your astral body, then drew you out into The Further, just as Dalton has been drawn out. + +/* (MORE) */ + +/* 81. */ + + ELISE (CONT'D) + But she deceived you. All she wanted was an empty vessel. A physical body. Yours. + + LORRAINE + I'm sorry, Josh. + + ELISE + I didn't want to make you remember this...I only do it for the sake of your son. + +A quiet descends over them. + + ELISE (CONT'D) + Your son is out there. + (BEAT) + And you are the only one who can bring him back. + +Josh looks up at her. + + JOSH + How long do we have before...that thing...takes him over completely? + +All eyes are on Elise. + + ELISE + If you cannot reach him tonight, then he is gone forever. + +INT. LIVING ROOM, NEW HOUSE - NIGHT - LATER + +The lights have been dimmed. Josh sits on a single person lounge chair. + +Elise sits opposite him. + +Tucker and Specs set up around her, fixing their cameras in place. Renai leans forward on the couch opposite, chewing her nails to the quick. Lorraine is next to her. + + ELISE + Remember who you are and why you are traveling. Keep one foot in this world. + (BEAT) + Are you ready? + +Josh nods. Renai hugs him and they hold onto it. She whispers to him, staring into his eyes. + +/* 82. */ + + RENAI + I want you to know something...you have never been less than good enough for me. You've always been perfect for me. You're my best friend...my soulmate. I love you so much. + + JOSH + I love you too. I have since the first time you looked at me. I don't exist without you. + +Elise drifts over to the piano, lifting the METRONOME from it. + +She sets it down in front of Josh, freeing the weighted swing-arm so it moves back and forth. + +TICK...TICK...TICK. + + ELISE + Close your eyes, Josh...and relax. Breathe deeply. Let all life around you fade out into the background...until the only thing you can hear is the ticking of the metronome. + +We PUSH IN on Josh, inhaling and exhaling. TICK...TICK...TICK. + + ELISE (CONT'D) + Focus on a spot in the center of your forehead. Feel that spot getting further away as you drift off to sleep. + +We are now in an ECU of Josh. TICK...TICK...TICK. + + ELISE (CONT'D) + I want you to relax your physical body and let the astral body gain strength...feel it rising out of your chest. + +Renai watches, literally and figuratively on the edge of her seat. Tucker and Specs take notes from the corner. + +Josh breathes deeply. Eyes shut tightly. + + ELISE (CONT'D) + Detach yourself. + +Josh's eyes open suddenly and he stands up, frustrated, marching across the living room. + +/* 83. */ + + JOSH + This is useless...I have no idea what I'm doing and you just suddenly expect me to... + +He turns around and stops dead. His words trail off. + +HE IS LOOKING AT HIMSELF. + +He sees his own body, sitting in the armchair, eyes closed. Elise is sitting opposite, with her back to the Josh who is now standing. + +The living room is exactly as it was - only Renai, Lorraine, Tucker and Specs have disappeared. They are nowhere to be seen. + +Stunned into mute shock, Josh stares at his own body in the armchair. + +Slowly, Elise turns her head away from the Josh in the chair, staring eerily into the standing Josh's eyes. + +She can see him. + + ELISE + (SOFTLY) + Now you are free. + (BEAT) + Keep your guide, and a steady stride...and into The Further you go. + +She turns back to the Josh in the chair. The room seems to have darkened even more somehow. + +Josh turns and glares into the darkness of his hallway as it yawns outwards, eventually swallowed by complete blackness. + +He is not in another world. He is in his own house. + +NOTE - The following scenes are not going to be "movie quiet". They will be inhumanly quiet. There will no score. Only sound scape. This is another world and should feel so. + +Josh moves forward, gliding down the hall slowly. He looks down and sees that his feet are slightly raised off the ground. + +He is floating. + +He moves into the darkness of the hall...past the bedroom doors and closet doors. + +/* 84. */ + +As he floats past, he scans every darkened corner for the slightest trace of movement. + +He reaches the front door. He moves towards it and as he does it OPENS. + +EXT. THE FURTHER - NOT NIGHT OR DAY, BUT DARK + +His street beckons beyond the door. + +Josh floats across his lawn. + +There are no people or cars on the street...it is as desolate as a post-apocalyptic wasteland. + +A TOTAL + +ABSENCE OF LIFE. + +Some lights flicker from within the houses, but no movement or signs of human forms. Only mist. + +Josh floats an inch above the road, moving down the street. + +One thing to notice is that there is a total lack of horizon or city scape here...Josh's immediate surroundings are visible for about one hundred yards or so...anything beyond that, in any direction, fades into blackness. As if someone were shining a giant spotlight down on him. + +INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD + +Renai watches Josh. He is completely still...in a trance. + +His eyelids flutter as his eyeballs probe in all directions underneath. + + ELISE + He's in... + +EXT. THE FURTHER - NIGHT + +Josh keeps moving, his fear registering, even in this world. + +He looks down at his feet. + +He is frustrated that he can't move any faster. He concentrates with fierce intensity-- + +--and then watches as his feet touch the ground. + +/* 85. */ + +He is walking. + +He starts to move faster, gaining control of his movement. + + JOSH + Dalton? + +The sound of his voice is strangely dead - as if he were inside a soundproof recording studio. There are no walls or angles for it to bounce off. + + JOSH (CONT'D) + Dalton? Where are you? + +For a long time, there is nothing... + +... + +...then he sees it. + +A figure...shrouded in shadow. Standing on the street corner with his back to Josh. + +Josh moves towards the figure. + +Closer. Closer. + +The man abruptly turns the corner without looking back. + +Josh glances around the corner. There is nobody there. + +He continues down the street. He sees a little girl. Far in the distance, but close enough to focus on. She stands and stares... + +...then turns and walks away. Gone...like an apparition. + +He looks to his right and sees-- + +--A SHADOW. + +Behind a curtain in one of the windows, back lit by candle light. As with the others, the shadow turns away and disappears. + +Josh walks towards the front door of the house. He reaches it and turns the handle. + +INT. HOUSE - THE FURTHER - CONTINUOUS + +A long corridor beckons. As with all of this world, it is dark here. + +/* 86. */ + +Josh walks into the corridor, looking to his left and right into empty rooms. Living rooms and bedrooms. Devoid of life. + +The colors are muted...the palate drained. Only REDS and BLACKS pop out. Blood and darkness. + +Josh keeps moving down the corridor. + +Up ahead, he sees a figure run past the top of the hall, ignoring Josh. + +He presses forward, following the figure. + + JOSH + Dalton? + +He glances into an empty kitchen. Food rots on the table. + +His footsteps have no sound as he continues on. + + JOSH (CONT'D) + Dalton? + +He passes a door that is partly open. He pushes it wide open. + +INT. SMALL ROOM, THE FURTHER - CONTINUOUS + +The room is small and empty. A strange room...like a stage. + +A figure is sitting in the corner, facing the wall like a child being punished at school. + +Josh steps closer, cautious. Takes another step. + + JOSH + Where is Dalton? + +He steps closer yet again. + +His hand reaches out to touch the figures back... + +...his fingers are almost grazing the figures shoulder. + +Soft laughter behind him. Josh glances back to look for the source. + +When he turns back, the FIGURE IS GONE. + +He wheels around, seeing the small-statured figure of the DWARF that Renai encountered, stepping through the door of the room. + +/* 87. */ + +INT. CORRIDOR, THE FURTHER - CONTINUOUS + +Josh sidles back into the corridor. His pace is sluggish, dream-like. + +Frustrated, he stops. Then turns to his left. + +SOMEONE IS RIGHT THERE IN HIS FACE. A MAN. + +The man is not looking at him...only standing very close. His neck lolls on his shoulders...around and around. He seems stuck on a loop. He is dressed in a fifties era suit. + + JOSH + Do you know where Dalton is? + +The man doesn't acknowledge him. + + MAN + Why do I have to put up with you? What a tramp. You call this a home? I work all day for this? + +He marches away, leaving Josh standing alone. + +Josh keeps going, whirling around. He reaches a set of stairs. The stairs descend into darkness. + +Josh squints into the dark, afraid. + + JOSH + Dalton? Where are you? + +The low rumble of this place is the only reply. Josh turns to walk away. A distant voice stops him. + + DALTON (O.S.) + Dad... + +Josh SNAPS back. + +The voice drifted from out of the darkness at the bottom of the stairs. + +Josh scurries down the creaky ramp towards it. + +INT. HALLWAY, THE FURTHER - CONTINUOUS + +The core of a rotten apple. The bowels of hell. + +Drenched in shadow, Josh fumbles forward into yet another corridor of this labyrinth. + +/* 88. */ + +He realizes he knows where he is. He is in his OLD HOUSE. An alternate world version of it. + +The lighting is different - it's darker. There are no signs of life. Water drips somewhere. + +Josh stumbles forward, seeing an open door. + +INT. LIVING ROOM, THE FURTHER - CONTINUOUS + +Josh slinks into a darkened and dilapidated living room. + +There are THREE PEOPLE in here - a middle aged woman, a middle aged man and a young girl. They are all FROZEN, standing in place as if someone had hit the pause button on their life. + +The woman is in the middle of ironing. The man is sitting in an arm chair reading a newspaper. The girl is lying on the floor. + +The whole scene looks like a macabre `Leave It To Beaver' tableau - a cheerful family frozen in time. + +Josh steps closer to the mother... + +...hairs prickling up on his neck when he sees her BLINK. Her body moves slightly. She is not frozen - merely playing statues. Like a street performer keeping as still as possible. + +Josh turns to the father. He is the same. His hand shakes, struggling to hold the newspaper in place. + +He backs away from them, truly creeped out. His back hits a window and he turns, peering through the glass down at the street below. + +A figure, hidden in silhouette, is gazing up at him. + +INT. KITCHEN, THE FURTHER - CONTINUOUS + +Josh stalks into a kitchen off the living room. A weathered door is adjacent to the kitchen. + +The door is ajar. + +Through it, Josh can see somebodies leg. + +Josh approaches the door, prodding it open gently with his finger. + +It is a bedroom. A tattered cot sits against the wall. A YOUNG MAN (17) sits on the cot, holding a rifle. Like the others, he is trying to be completely still, as if on pause. + +/* 89. */ + +He is having more trouble than the family, trembling slightly. + + JOSH + I'm looking for my son, Dalton. + +The boy does not look up. Does not move. + +Josh retreats, scanning the kitchen. There are soiled pots in the sink. Rotting food, but no bugs. Josh turns the faucet but no water comes forth. + +When he turns back, the YOUNG MAN is gone. No longer in his bedroom. + +Josh glances back at the living room. + +The Young Man is now standing inside the living room. + +Again, he is frozen. Holding his rifle. Looking down at his family, who are now splayed out on the carpet, soaked in BLOOD. + +Each of them has a bullet hole in their head. + +Repulsed, Josh tip-toes past them. He looks down at the mother - a bullet wound in the center of her chest. + +She blinks...still playing dead. + +INT. CORRIDOR, THE FURTHER - CONTINUOUS + +More corridors disappearing into darkness. + +Josh wrenches his hair in frustration. He boils over, screaming at the top of his lungs. + + JOSH + DALTON!!!! WHERE ARE YOU?!!! + +His cry recedes into nothingness. + + DALTON (O.S.) + Dad.... + +He heard that. Excited, he spins around, trying to determine where it came from. + +As he does, he sees that the entire dead family is now gathered at the door to the living room. Watching him. + +He summons all his strength and starts running, backing away from them. + +/* 90. */ + +He drives himself to move faster and faster. + + JOSH + DALTON! + + DALTON (O.S.) + Dad...help me... + + JOSH + DALTON!! + +A figure suddenly appears at the end of the hallway. + +It is the LONG HAIRED MAN IN THE GREY JACKET. The man who terrorized Renai. + + LONG HAIRED MAN + I hear you... + +He approaches. + + LONG HAIRED MAN (CONT'D) + I hear you, but you don't know what you've done. + +He licks his lips. + + LONG HAIRED MAN (CONT'D) + There is a place that you can't go to and this is that place. + +He is only a few yards from Josh now. He SCREAMS with awesome power, his spit flying. + + LONG HAIRED MAN (CONT'D) + YOU MADE A MISTAKE!! I'M GOING TO MAKE SUFFERING A FUCKING BLESSING FOR YOU! I'M GOING TO RIP YOU APART YOU CUNT!! + +He CHARGES at Josh, screaming with hellfire fury. + +Josh recoils, falling onto the floor, screaming. + +INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD + +Josh's body JOLTS in the chair and he makes a noise somewhere between a scream and a moan. + + RENAI + What's happening to him?! + +Elise leans in, attempting to communicate with Josh. + +/* 91. */ + + ELISE + You're stronger then they are, Josh. You are a living soul! + +INT. CORRIDOR, THE FURTHER + +Josh struggles. The Long Haired Man attacks him viciously. + +Then something changes in Josh - he gets angry. + + JOSH + Get...off..me! + +He shoves the Long Haired Man back, pounding into him with the strength of TEN MEN. + + JOSH (CONT'D) + Get away from me! Leave now! + +Frightened, the Long Haired Man retreats, backing away until he is swallowed up by the blackness. + + JOSH (CONT'D) + Dalton!! + + DALTON (O.S.) + (STILL DISTANT) + I'm here... + +Josh follows the voice to another stairwell in this Escher-like maze of passageways. + + JOSH + Dalton! + + DALTON (O.S.) + Here... + +INT. BALLROOM, THE FURTHER - CONTINUOUS + +From darkness into baroque extravagance. + +Josh finds himself in a gilded chamber of long neglected opulence...as if a palace had been stormed, the occupants murdered and the place left to rot. + +Mold caked pillars support a ceiling of gold flakes, the rest having rotted way. + +Mirrors line the walls, their surface too clouded to see into. + +/* 92. */ + + JOSH + Dalton...? + +He weaves between pillars, finally coming across a figure, slumped on the floor in the corner like a dog. + +It is Dalton. + +Josh runs to him. His foot is chained to a PIPE behind him, the clamp binding his right ankle. He looks pale and sick. He looks like one of them. + + JOSH (CONT'D) + I'm taking you back. + +He sees that Dalton is terrified. Looking over Josh's shoulder. + + JOSH (CONT'D) + What is it? + +He glances back, spotting an open door at the end of the ballroom, light spilling from within it. + +There is somebody inside. + +INT. MAKE-UP ROOM, THE FURTHER - CONTINUOUS + +A grotesque form sits in front of an immense gold-rimmed mirror at a baroque powder table. + +It is the RED-FACED creature seen by Elise. + +The creature daubs RED LIPSTICK onto its face, arching forward, glaring into the mirror, caking the make-up on. + +The room is littered with hundreds of discarded CHILDREN'S TOYS - teddy bears, stuffed animals, dolls (including one white-faced, black-haired doll we recognize). They are scattered about like bones, collecting dust in the shadows. + +Suddenly the creature stops what it is doing. It sees something in the mirror. + +What it sees is Josh. + +INT. BALLROOM, THE FURTHER - CONTINUOUS + +With horror, Josh watches as the Red-Faced Man stands up and staggers to the door, peering through the crack at him. + +Josh wrestles to free Dalton's leg from the chain. No good. + +/* 93. */ + +Behind them the Red Faced Man opens the door. A rage unknown to humans is building up inside the creature. He hisses. + + DALTON + Help me, dad...take this off me... + +The creature steps closer. Taking his time. Drool seeping from his mouth with each drunken, wayward lope. + + JOSH + You're not really here. You're asleep in your bed in our home. Just stand up. + + DALTON + He's going to hurt me again... + + JOSH + This isn't real. You can do this. + + DALTON + He's coming! + + JOSH + Just stand up! + +Dalton does - and suddenly finds that the chain is no longer attached to his foot. + +The Red Faced Man ROARS and the power of his breath sends them FLYING BACK. + + RED-FACED MAN + This...issssss....real! + +Josh smashes his head on a pillar, blood leaking from his head. The power of this demon far outweighs the others. + + RED-FACED MAN (CONT'D) + That...issss...my....boy! + +Josh scrambles to his feet and snatches up Dalton, carrying him to the door as the Red Faced Man pursues. + +INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD + +Josh convulses in the chair, choking. + + RENAI + Help him! + +/* 94. */ + +INT. CORRIDOR, THE FURTHER + +Josh surges down a corridor, carrying Dalton. + +The Red-Faced Man hobbles up behind them, his rasping wheeze growing in volume. + + RED-FACED MAN + You're here now! With ussss! + +Josh stampedes through the front door of the house - but instead of the street, he is facing another corridor. + +They spill into the second corridor, running again, racing past rows and rows of doors. + +INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD + +Josh twitches in his chair, sweat beading on his forehead. + + JOSH + (MOANING) + ....ome....onnnnn... + +Elise paces in front of him. + + ELISE + They've made contact. I know it. He's found your son. + + RENAI + What happens now? + + ELISE + We need them to come back. We need him to find us. + +Tucker's equipment begins to shake on the table. The hanging light above them quivers as if an earthquake were rattling it. + +A force is building in the room. + +INT. CORRIDOR, THE FURTHER + +As Josh and Dalton streak down the corridor, each door opens and a different figure staggers out. + +Grotesque figures...the solemn dead. Pale skin, hollow eyes. Their dead eyes drill into Josh's soul. + +They want what he has - life. + +/* 95. */ + +They begin running - chasing Josh. Dozens of them. + +Josh stops, seeing that the corridor seemingly has NO END. He yells in frustration. + + JOSH + I want to get out! + +INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD + +Josh's body SHUDDERS, the cry escaping his lips. + + JOSH + ....eeeeet out! + +The room trembles again. Elise looks to Renai. + + ELISE + Call out to him! + +INT. CORRIDOR, THE FURTHER + +Josh whips around, desperate. + + DALTON + Listen! + +Josh follows the order - and hears it. A faint shout. A siren call from another world. + + RENAI (V.O.) + (DISTANT) + Josh, follow my voice... + +The voice seems to come from behind the door in front of Josh. He shoves it open-- + +INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD + +Renai glares at Josh's eyelids...as if he can see her through them. + + RENAI + Follow my voice. Come back to us. + +The room stops trembling. All is very still. + +For a moment, it is as if time has stopped. Nuclear silence. Then...a drawer slides open in the corner of the room. + +Lorraine and Renai gasp at this supernatural interruption. + +/* 96. */ + +Specs clambers to his feet, approaching the drawer. It contains a note pad and nothing else. + +He reaches out to close it...and then JOLTS as a HAND reaches out from within it! + +He FLAILS backwards in fright, watching as the hand wrenches a mop of hair into view. + +A FULL GROWN BODY BEGINS TO CLAW its way out of the drawer! + +INT. DALTON'S BEDROOM, NEW HOUSE - SAME TIME + +Drawers in Dalton's room slide open in unison. Then cabinets. The closet BURSTS open. + +Pale adult bodies begin to claw their way out of the different doors, undulating out of impossibly small spaces and falling onto the floor like limbless insects. + +Cracks are opening in our world and the miserable dead are slithering through the fissures. + +INT. KITCHEN, NEW HOUSE - SAME TIME + +More doors shoot open - cabinets, closets, the pantry. Forced by unseen hands. + +More hideous forms wrench themselves out into our world. + +INT. CORRIDOR, THE FURTHER + +Josh is exhausted, pushing himself to the limits. + +He hears the voice again - distant and small. An echo. + + RENAI (V.O.) + Find us... + +Josh follows the voice to a door. + +He staggers towards it, still supporting Dalton. He slams the door open, falling through it into-- + +INT. BASEMENT, LAMBERT HOME, THE FURTHER + +-- the empty basement. + +He is in the basement of his old house. The wooden steps beckon above him. + +/* 97. */ + +Renai's voice cries out from behind the door at the top of the stairs. + + RENAI (V.O.) + Hurry! Come back to us! + + DALTON + Put me down, I can run! + +Josh sets Dalton down, who scampers up the stairs. Josh is about to follow when he turns and spies a familiar face. + +THE OLD WOMAN. + +She leers at Josh through the window of the basement, her visage spookily flecked in candlelight. + +Josh is transfixed. + + DALTON (CONT'D) + Come on, dad! Come on! + + JOSH + Go! I'm right behind you! + +Dalton charges ahead as Josh glares back at this face from his past. + + JOSH (CONT'D) + You...what do you want from me? + +The old woman's eerily unblinking gaze cuts through Josh. A long dormant rage BOILS OVER inside him. He approaches the window, vomiting fury at her. + + JOSH (CONT'D) + Get the fuck away from me! I'm not scared of you, just leave me alone! Get away from me! + +The old woman's lips protract to unveil a yellow graveyard of molars. A smile to buckle the steeliest nerve. + +She raises a lit candle to her lips. + +She snuffs out the plume with a single puff...plunging the basement into darkness. + +INT. LIVING ROOM, NEW HOUSE - SAME TIME + +Specs staggers back as the skeletal figures emerging from the cabinets ambulate into the living room, surrounding Josh. + +/* 98. */ + + RENAI + (TO JOSH) + Find us! + + ELISE + (TO SPECS) + Check on the boy! + +Specs sprints out of the room. + +INT. CORRIDOR, LAMBERT HOME, THE FURTHER + +We are now locked into a POV shot, pushing down the corridor of the Lambert's NEW HOUSE. The scene of the trance. + +Our POV is bee-lining for Dalton's bedroom. + +INT. BASEMENT, LAMBERT HOME, THE FURTHER + +In another POV shot, we SURGE up the basement stairs. + +INT. CORRIDOR, NEW HOUSE, THE FURTHER + +Our POV is only a few yards from Dalton's bedroom door. + +The Red-Faced Man appears at the opposite end of the hall. Malevolent. Cruel. + +He SCREAMS and flits towards us. + +The POV keeps going, hitting the bedroom door and FLINGING IT OPEN - seeing DALTON'S BODY sleeping inside. + +We SOAR towards it, getting closer-- + +INT. DALTON'S BEDROOM, NEW HOUSE - NIGHT - OUR WORLD + +Specs stands over Dalton's body. + +SUDDENLY - Dalton shudders, his legs spasm. His eyes FLICK open and he SUCKS IN A HUGE BREATH. + + SPECS + He's awake! + +Dalton sits up, panting. Renai charges into the room. He looks at her, registering her appearance. + + DALTON + Mom... + +/* 99. */ + +Renai literally throws herself at him, wrapping her arms around his body. No words can express. + +Renai scoops him up, carrying him out of the bedroom. + +INT. CORRIDOR, NEW HOUSE, THE FURTHER + +The second POV whooshes down the corridor, zeroing in on the living room. + +INT. LIVING ROOM, NEW HOUSE - NIGHT - CONTINUOUS + +A scene of desperation. + +Elise leans into Josh's face. + +The living room is now filled with the CREEPING FORMS of the souls who crawled out from within the drawers. All of them marching towards Josh. + + ELISE + Find me, Josh! Now! Wake up! + +The closest entity reaches out with gnarled fingers and is almost touching Josh-- + +INT. LIVING ROOM, NEW HOUSE, THE FURTHER + +The POV shoots towards Josh's body, seconds away-- + +INT. LIVING ROOM, NEW HOUSE - SAME TIME + +Josh's eyes BURST OPEN and he inhales a chest full of air, as if emerging from deep water. + +He falls forward, his strength gone. + + RENAI + Josh? Josh? + +He pants on the floor, barely able to speak. + + JOSH + Dalton...? + +Dalton and Renai pounce on him. + +Josh holds onto Dalton like he's a life preserver, and in a way, for Josh, he is. He laughs, inhaling deeply. + +/* 100. */ + +Specs, Elise and Tucker approach. Renai sees them and stands up, tearful. She is lost for words. + + RENAI + I don't know what to say... + +She rushes forward and hugs all three of them. + + ELISE + Well put. + +Josh brings Lorraine in they all embrace in a circle. A group hug for the ages. + + JOSH + Now this is worth dying for. + +EXT. NEW HOUSE - NIGHT + +It's over. + +Specs and Tucker haul a large tripod case to their van, heaving it into the back. + +They stand in awkward silence. It's been a long day. + + TUCKER + I guess you did some pretty awesome stuff in there. You deserve some credit. + + SPECS + You did good too in an assistant-type way. + +Tucker can't hold his stoic pose any longer. He breaks out laughing, followed quickly by Specs. + + TUCKER + Thanks, boss. + +They shake hands. + + TUCKER (CONT'D) + Dude, I got some amazing shots. We are gonna write a book and my shots are gonna be the main selling point. + + SPECS + Yeah. + (BEAT) + Not the main selling point, but definitely important, for sure. + +/* 101. */ + +INT. MASTER BEDROOM, NEW HOUSE - NIGHT + +Renai lie with Dalton on her bed. + + DALTON + I'm tired. + + RENAI + Too bad. I'm never letting you go to sleep again. + +She runs her fingers through his hair. + + RENAI (CONT'D) + Did you know we'd come and find you? + +Dalton nods. + + RENAI (CONT'D) + Whenever you're lost...we'll always come and find you. + +They hug. + +INT. LIVING ROOM, NEW HOUSE - NIGHT + +Josh wanders out of the kitchen, examining the house as if seeing it for the first time. He is smiling...happier than we have ever seen him. + +Elise sits on the couch amongst the remains of Tucker's paraphernalia of the paranormal. Josh approaches her, standing over her. + + JOSH + You introduced me to a new world. + + ELISE + No. You've been there before, remember? And you'll go back. + (BEAT) + All of us will...eventually. + + JOSH + Maybe I can forget again. + +He reaches into his jacket, taking out the eerie photos Lorraine gave him of himself as a child. + + JOSH (CONT'D) + I'll start by giving these back. + +/* 102. */ + +As he hands them to Elise, she sees with fear that his hand is withered and wrinkled. + +Like the hand of an eighty year old woman. + +Shocked, she looks up at his face. + + JOSH (CONT'D) + What's wrong? + +Elise stands. She looks haunted. Her eyes wide and unnerved. + + ELISE + Nothing, I... + +She turns away, reaching for something. + + JOSH + What's the matter, Elise? + +She spins around and lifts Tucker's camera up to her face, aiming it at him. She depresses the trigger and takes a photo of him, bathing the whole corridor in white light. + +Josh recoils back in shock. Elise lowers the camera. She is terrified. Josh suddenly LUNGES at her, slapping the camera out of her hands. + + JOSH (CONT'D) + Why the fuck would you do that? Why would you do that? Why?! + +He SLAMS her against the wall, his hands around her throat. + +Elise chokes in terror, terrified of him. + + JOSH (CONT'D) + You of all people! You know! Why would you do that to me when you know what you know? You bitch! + +He abruptly stops attacking her, staggering backwards, examining his hands as if he can't believe what he's done. Seething with fury. Panting. + +Elise collapses, catching her breath. + +Josh swipes a framed photo off the wall and storms away, heading down the corridor... + +...swallowed up by the darkness. + +/* 103. */ + +INT. MASTER BEDROOM, NEW HOUSE - SAME TIME + +Renai furrows her brow. + + RENAI + What was that? + (beat; to Dalton) + Stay here. + +She gets up. + +INT. LIVING ROOM, NEW HOUSE - NIGHT + +Renai jogs into the living room. Sees Elise lying on the floor. + + RENAI + Elise, what was that noise? + +Elise simply looks up at her. The utter terror on her face is palpable. Her neck is bleeding from scratch marks. + + RENAI (CONT'D) + Jesus...what happened to you? + +Elise just stares, unable to speak. Her fear is contagious. + + RENAI (CONT'D) + Where's Josh? + (BEAT) + Josh? Josh?! + +She turns and runs into the corridor, flicking on the lights. + +There is nobody there. + +INT. CORRIDOR, NEW HOUSE - CONTINUOUS + +Renai dashes from room to room in the hallway, pitching each door open. + +Each room is empty. Josh is nowhere to be found. + +INT. LIVING ROOM, NEW HOUSE - SAME TIME + +Elise stares at Tucker's camera in a state of catatonic dread. + +Renai backs into the room, her own fear rising in her gut. She leans down and grabs Elise by the shoulders. + +/* 104. */ + + RENAI + Elise, what happened? You're scaring me, tell me where Josh is? + +Elise finally looks up at her. Seeing the "expert" so afraid unnerves Renai. When the lion-tamer drops his whip and runs, you know the lion is vicious. + +Elise opens her mouth to speak...but nothing comes out. + +Instead, she simply holds up the camera, showing Renai the digital display of the photo she took. + +We do not see it. + +We simply see the look of horror on Renai's face. + +FLASHCUT TO: + +INT. LIVING ROOM, NEW HOUSE - NIGHT - FLASHBACK + +We have returned to the previous scene - only now we are seeing it through Elise's eyes. + +Elise is sitting on the couch, alone. Trying to recover from the nights events. + +She glances up when Josh approaches her. + + JOSH + You introduced me to a new world. + + ELISE + No. You've been there before, remember? And you'll go back. + (BEAT) + All of us will...eventually. + + JOSH + Maybe I can forget again. + +Once again, we see him reach into his jacket, taking out the photos Lorraine gave him. + + JOSH (CONT'D) + I'll start by giving these back. + +As he hands them to Elise, she sees with fear that his hand is withered and wrinkled. + +Shocked, she looks up at his face. + +/* 105. */ + + JOSH (CONT'D) + What's wrong? + +Elise stands up, not knowing how to react. + + ELISE + Nothing, I... + +She turns away, reaching for something. We see her scoop up Tucker's digital camera. + + JOSH + What's the matter, Elise? + +She spins around and lifts Tucker's camera up to her face, aiming it at him. She depresses the trigger and takes a photo of him, bathing the whole corridor in white light. + +--and in that split second, Josh is replaced by the Old Woman! + +Elise lowers the camera, horrified. For a beat, the Old Woman just glares at her... + +...then she CHARGES at Elise, arms outstretched, wrapping her white hands around the soft flesh of Elise's throat. + +Elise CHOKES, eyes bulging, spittle flying from her mouth, as the pale hands of the Old Woman dig into her thorax, droplets of blood running down her chest where the yellowing finger-nails have CUT IN to the flesh. + +The Old Woman smiles - a merciless harlequin grin that mocks Elise's pain. + +She lets Elise go, letting her drop to the floor. + +The Old Woman turns and glares down the corridor. Something has caught her attention. A distant scream. + +INT. BATHROOM, NEW HOUSE - NIGHT + +The door groans open, a blade of light penetrating pitch black darkness. + +The silhouette of the Old Woman floats ethereally into the bathroom. She steps up to the mirror, then reaches into her tattered Victorian dress and produces a candle. + +She lights the candle with a match, holding it beneath her chin and glaring into the reflective surface of the mirror. + +/* 106. */ + +Instead of seeing her own reflection though, she sees THROUGH the mirror as if it were a window. + +In it, she can see the BASEMENT of the Lambert's previous residence. + +Josh bursts into the basement, carrying Dalton. + + DALTON + Put me down, I can run! + +Josh sets Dalton down, who scampers up the stairs. + +We are watching the same scene we saw earlier play out in the mirror. + +Josh is about to follow when he turns and spies a familiar face. He looks at the Old Woman...seeing her through the `window'. + + DALTON (CONT'D) + Come on, dad! Come on! + + JOSH + Go! I'm right behind you! + +Dalton disappears as Josh glares at the woman. + + JOSH (CONT'D) + You...what do you want from me? + +He approaches the mirror. WE CIRCLE AROUND the Old Woman, past the mirror and THROUGH THE BATHROOM WALL, emerging on the other side in-- + +INT. BASEMENT, LAMBERT HOME, INSIDE THE FURTHER + +--the basement. + +Josh screams at the Old Woman as she stares at him through what he thinks is a window. THEY HAVE SWAPPED PLACES. He is now in The Further, and she is in our world. + + JOSH + Get away the fuck away from me. I'm not scared of you, just leave me alone! Get away from me! + +We KEEP CIRCLING, wiping past Josh's back and completing a 360 degree turn, THROUGH THE WALL and back into-- + +/* 107. */ + +INT. BATHROOM, NEW HOUSE - CONTINUOUS + +--our world. + +The Old Woman smiles at Josh's rage. She finds it amusing. + +With an eerily unblinking gaze, she snuffs out the plume of flame with a single puff of breath...plunging the bathroom into darkness... + +...and snuffing out Josh forever... + +...and ever. + +>FADE OUT. diff --git a/fountain_scripts/Insidious.webp b/fountain_scripts/Insidious.webp new file mode 100644 index 0000000000000000000000000000000000000000..af367c3b6319a839619563a60a5128cbd79c1ff2 --- /dev/null +++ b/fountain_scripts/Insidious.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:ef4d336fc47f7cfcaf18b347504c6dcd6fd49fadeb8c6be1f7af396868020e8e +size 15046 diff --git a/fountain_scripts/Interstellar.fountain b/fountain_scripts/Interstellar.fountain new file mode 100644 index 0000000000000000000000000000000000000000..a32484f6e273efe25f889683bdf073099ab79ebf --- /dev/null +++ b/fountain_scripts/Interstellar.fountain @@ -0,0 +1,6420 @@ +Title: INTERSTELLAR +Credit: Written by +Author: Jonathan Nolan +Story credit: STORY BY +Story authors: Jonathan Nolan, Kip Thorne & Lynda Obst +Draft date: MARCH 12 2008 + +.SPACE. + +But not the dark lonely corner of it we're used to. This is a glittering inferno -- the center of a distant galaxy. + +Suddenly, something TEARS past at incredible speed: a NEUTRON STAR. It SMASHES headlong through everything it encounters... planets, stars. Can anything stop this juggernaut? + +Yes. Something looms at the heart of the galaxy, hidden inside the blinding starlight, a dark flaw in the fabric of existence itself: a BLACK HOLE. + +The neutron star is pulled into the black hole's swirl, spiraling closer and closer to destruction. Finally, it contacts the hole's edge and EXPLODES. + +The EXPLOSION is so powerful that it sends shock waves into the fabric of space-time itself. We ride one of these waves, racing back out from the black hole. + +Suddenly, a portion of the wave disappears down a crystal-like hole, emerging in a much darker region of the universe -- a backwater that, as the wave races past a giant red planet with a distinctive eye, we recognize as our own. + +The wave, now just an infinitesimal ripple, finally reaches our blue planet. It drops into our atmosphere over North America, toward the high desert east of the Cascades, and through the roof of a nondescript warehouse. + +The wave tickles the atoms in the steel shell of a vacuum chamber, then dances a tiny jig with a laser beam reflected in a heavy piece of glass. + +The wave shoots back out of the building and disappears in the fractal branches of a tumbleweed resting against a concrete tube that stretches for miles in the desert. + +An SUV speeds past the tumbleweed and we follow it till it parks at another plain-looking building at the opposite end of the tube. A MAN climbs out of the SUV. + +INT. CONTROL ROOM, WAREHOUSE -- DAY + +The man lets himself into a large room that looks like Mission Control. He pours himself a cup of coffee. It is the weekend and the place is empty. No one has been there to see the displays flashing a distinctive shape -- a pulse followed by a series of echoes. + +The man looks up at the screen, then DROPS his cup of coffee. + +CUT TO: + +/* 2. */ + +INT. LIGO OFFICES, CALTECH, PASADENA -- DAY + +The Laser Interferometer Gravitational-Wave Observatory headquarters at Caltech is a frenzy of activity. POSTDOCS and RESEARCHERS huddle around monitors and printouts, arguing. + +ANSEN, 60s, the director of LIGO, walks through the frenzy. A postdoc hands him a printout: a pulse followed by echoes. + +INT. LIGO DIRECTOR'S OFFICE, CALTECH -- DAY + +Ansen steps into the relative calm of a large, sunlit office, which overlooks a grassy stretch of Caltech's campus. + +His ASSISTANT, 30s, is on the phone, on hold. He looks up at Ansen as he enters. + + ASSISTANT + I'm on hold with the INS. + (COVERS MICROPHONE) + Don't you think we should double check the triangulation before we CALL ANYBODY- + + ANSEN + We have double checked it. + +Someone finally picks up the line. + + ASSISTANT + Yes. I'm trying to reach- + (pause, listens) + No, I don't think you understand how serious this is. + (PAUSE) + Because if you did, we'd be having this conversation in person. + +He listens for a moment, then hangs up the phone, confused. + + ANSEN + What did they say? + + ASSISTANT + They said we should look out the window. + +Ansen steps to the window and looks out: + +In the courtyard below, coeds are scrambling to get out of the way as a military helicopter sets down in the middle of the quad and dozens of ARMED FEDERAL AGENTS converge on his building. + +/* 3. */ + +INT. MAIN CONFERENCE ROOM, LIGO, CALTECH -- DAY + +Ansen sits, alone, on one side of a conference table. + +The other side is filled with GOVERNMENT MEN -- NSA mostly, some DIA. The door opens and his assistant steps in. Armed guards pat him down, then shove him into a seat. + + ANSEN + Is that really necessary? + +One of the NSA agents leans forward. + + NSA AGENT + You've been complaining for years that the government doesn't take your project seriously enough, Doctor. + (SMILES) + You can't have it both ways. + +Ansen motions to his assistant, who turns on a projector. On-screen, we see the familiar pulse and echoes. + + ANSEN + Yesterday morning, our facility in Hanford identified this signal: a neutron star colliding with a supermassive black hole. We went through the last year's data and triangulated the source. + +The pulse is translated into a crude animatic of a neutron star circling into the black hole. + + NSA AGENT + We know that, Doctor. What we don't know is why, according to your numbers, this event took place right here in our own solar system. + +Suddenly, the image overlays the sun, the earth, and the rest of our solar system around the black hole. + + ANSEN + It didn't. Because if it had we'd all be dead by now. + +On-screen, Jupiter, then the Earth and the inner planets are consumed by the black hole. Only the sun survives, pulled into orbit around its new master. + + ANSEN (CONT'D) + Which leaves only one explanation: The signal traveled through a + +/* (MORE) */ + +/* 4. */ + + ANSEN (CONT'D) + wormhole. A gateway to a distant corner of the universe. The black hole is on the far side. + +On-screen, the black hole system is removed to a distant corner, connected to ours by a tunnel through space-time. A gravity wave from the collision travels through the tunnel. + + NSA AGENT + I've read your book, Doctor. You said that wormholes are impossible. + + ANSEN + There is nothing quite as satisfying as being proved utterly wrong. + (SMILES) + I said that a wormhole couldn't exist naturally. Not for more than a few billionths of a second. It would have to be... stabilized. + + NSA AGENT + Stabilized by what? + +Ansen pauses, unsure. His assistant steps in to his defense. + + ASSISTANT + We don't have any way to answer that question. + + NSA AGENT + (IGNORES HIM) + You're not under peer review here, Doctor. I don't care about your reputation. I need to know how that thing got there. Now. + +Ansen finally speaks up. + + ANSEN + If you're worried about an invasion, I would start drafting the articles of surrender. + (SMILES) + Whoever they are, if they can build a wormhole, they could erase us in the blink of an eye. Luckily, that also means we have nothing they could be interested in. + + NSA AGENT + Then why is it there? + +/* 5. */ + + ANSEN + I don't know. Maybe it's an invitation. A chance to commune with an advanced species. + +The assistant, embarrassed, looks down. The agent notices. + + NSA AGENT + You don't agree? + + ASSISTANT + (DELICATE) + No. I don't think we can assume an alien intelligence built the wormhole. + (CHANGES TACK) + But the opportunity it represents is incredible. We could explore parts of the universe we never dreamt of reaching in our lifetimes. + +The agent exchanges a look with one of his colleagues, who steps out of the room. + + ANSEN + We need to get back to work. I have a conference call with our European partners in fifteen minutes. + + NSA AGENT + We severed the connections to your European partners this morning. + + ANSEN + (INDIGNANT) + You can't do that. The Europeans put up some of the funding... + + GOVERNMENT MAN + We'll send them a check. + (STANDS) + Your project is now classified under the State Secrets Act. + +He steps out the door, leaving the men alone. The assistant, outraged, turns back to his boss. + + ASSISTANT + They can't keep this a secret. You know that. Sooner or later... + +The younger man looks down, embarrassed, as he notices that tears are rolling down the older man's cheeks. + +/* 6. */ + + ANSEN + I don't care about that. I've spent my whole life being afraid we would wipe ourselves out before this moment arrived. We've made so many mistakes, I wasn't sure we'd make it... + +The assistant realizes that the old man is weeping for joy. Relief. + + ANSEN (CONT'D) + But this will change everything. Fifty years from now, nothing will be the same. + +The older man looks at the simulation on the screen of the tiny link between our galaxy and another. + +>FADE TO BLACK + +EXT. CORNFIELD, CENTRAL CALIFORNIA -- DAY + +Corn. As far as the eye can see. + +SUPER TITLE: "FIFTY YEARS LATER" + +A large old diesel tour bus is parked by the side of a dirt road, smoke pouring out of its open hood. A dozen MEN in BASEBALL UNIFORMS are standing around the front of the bus. + +A battered PICKUP pulls up, and a MAN, 30s, gets out, leaving his two SONS in the car. This is COOPER. He joins the ballplayers staring at the lifeless diesel engine. + + BALLPLAYER + Seized up on us. + + COOPER + Long way to come by bus. I thought you guys would have a plane. + + BALLPLAYER + We did. Ran out of parts for it. You know anything about diesels? + + COOPER + A little. + +Cooper steps to the engine compartment. + +The ballplayer notices Cooper's two boys, TOM, 15, and MURPH, 10, watching them. He wanders over. + +/* 7. */ + + BALLPLAYER + You think your dad's going to be able to help us out? + +Murph, a filth-encrusted kid with a black eye, smiles at the ballplayer. + + MURPH + My dad can fix anything. + (WRY SMILE) + Except maybe your fastball. + +The ballplayer frowns: smartass kid. + +After a moment under the hood, Cooper signals to the driver, who tries the engine. It turns over once, then STARTS. + + BALLPLAYER + Sure appreciate the help. + + COOPER + (SHRUGS) + You don't make it, my boys won't get to see you lose. + +The ballplayers load up into the bus and as it pulls away, we can see the logo painted across the back of the bus for the first time: + +WORLD FAMOUS NEW YORK YANKEES + +EXT. SPACE, NEAR EARTH ORBIT + +Earth spins, lazily. From this height, it looks much the same as it has done for thousands of years. + +Suddenly, a tiny black object appears, racing toward Earth. + +The object SMASHES into a large satellite and races onward. Behind it, the satellite spins out of orbit in a cloud of fragments. + +EXT. BASEBALL STADIUM -- NIGHT + +An old minor league stadium. The stands are barely halfway full. Cooper, his boys, and Cooper's father-in-law, DONALD, 60s, have a row to themselves behind the dugout. + +Murph offers his grandpa some popcorn. + + DONALD + Popcorn at a ball game is unnatural. I want a hot dog. + +/* 8. */ + + MURPH + (CONFUSED) + What's a hot dog? + +Suddenly, play stops on the field below as the players and fans look up at the night sky: + +A bright blue streak is tearing across it. It's beautiful. + + TOM + Is that a comet, Dad? + + COOPER + (shakes his head) + Satellite. Big one. Probably Chinese. + +Everyone watches the fireworks as the satellite burns up in the upper atmosphere. + +After a moment, play resumes -- it's a pretty show, but everyone has seen it plenty of times before. + +Down on the field, the Dodgers' catcher misses an easy pop fly and the Yankees load the bases. Donald looks disgusted. + +INT. COOPER'S TRUCK -- NIGHT + +Cooper guides his truck along a potholed road. His father-in-law is riding shotgun; the boys are sleeping in the back. + + DONALD + Those clowns would get their asses handed to them by the ballplayers I grew up watching. + + COOPER + You ruin it for the boys when you talk like that. + + DONALD + I'm not doing my grandkids any favors by lying to them. They're growing up watching lousy baseball. + + COOPER + They didn't have any baseball at all when I was a kid. + +That shuts the old man up for now. They drive on in silence. + +CUT TO: + +/* 9. */ + +EXT. FARMHOUSE -- MORNING + +The sun is gently landing on the horizon, painting the sea of corn around Cooper's modest house gold. Cooper walks out of his house, still eating his breakfast. + +Donald is on the porch, looking at a black clouds of smoke in the distance. The neighboring fields are BURNING. + + DONALD + Nelson's burning up his crops. Found some of the blight on the okra. + +Cooper watches the men walking through the fields, setting fire to the crop. + + COOPER + I thought okra wasn't susceptible. + + DONALD + (SHRUGS) + Better safe than sorry. + (looks at him) + You've got to take the boys to school. + + COOPER + Something wrong with your truck? + + DONALD + (SMILES) + Parent-teacher conference day. + +Cooper bends his head in dismay. + + DONALD (CONT'D) + Be nice to Murph's teacher. She's single, you know. + + COOPER + What does that have to do with anything? + + DONALD + We're supposed to be repopulating the earth. Gotta pull your weight. Besides, the boys could do with a woman in their lives. + +The boys run out of the house and pile into the truck. Cooper pulls away before Donald can continue. + +EXT. ROAD -- DAY + +Cooper weaves the car along a dirt road. The kids are arguing over an ancient comic book in the back seat. + +/* 10. */ + +Cooper turns around to break it up. + +BANG -- one of the tires blows out in a foot-deep pothole. + +EXT. ROADSIDE -- DAY + +Cooper examines the flattened tire. Looks at his older son. + + COOPER + Get the spare, Tom. + + TOM + That is the spare. + + COOPER + All right. We'll use the patch kit. + +He moves to the back of the truck. Murph suddenly looks very glum. + + MURPH + I... I think the patch kit might not be there... + (off his look) + Because I was using it for my bike. + +Cooper looks down at the dirt. Sighs. + + COOPER + Murph's law. + + MURPH + (CONFUSED) + What's that? + +Tom snorts with laughter. Turns to his dad. + + TOM + The kid doesn't even know what he was named after... + +Cooper shoots Tom a look -- enough. + + TOM (CONT'D) + Murph's law means what can go wrong will go wrong. + +Murph, looking hurt, walks off. Cooper turns to his son. + + COOPER + Find something to patch it with. + + TOM + How am I supposed to do that? + +/* 11. */ + + COOPER + Figure it out. I'm not always going to be here to help you. + +Cooper leaves Tom to catch up with his younger son, who is looking out over the river. + + MURPH + Is that really why I'm named Murph, dad? + + COOPER + Listen to me. Murph's law doesn't mean that. It means what can happen will happen. All kinds of things. Good or bad. And that's the way you want it to be. + + MURPH + Why? + + COOPER + Because if nothing ever happened to you then you wouldn't learn anything. + +Murph is staring off into the distance. He's heard something. + + COOPER (CONT'D) + Murph? + +Then Cooper hears it, too. A LOW RUMBLING SOUND. Cooper looks out over the river. Then he turns back and tackles his son to the ground. + +Suddenly, a MASSIVE AIRPLANE SOARS overhead, so close they can almost touch it. It bounces the truck on its suspension, then soars off over the fields behind them. + +Cooper grabs Murph and races back to the truck. He pulls a laptop and an antenna made out of a Pringles can out of the back of the truck. He hands the laptop and antenna to Murph. + + COOPER (CONT'D) + Get in. + +Tom is still standing by the side of the road, wrestling with the jack. + + TOM + What about the tire? + +INT. TRUCK -- MOMENTS LATER + +The truck is SMASHING through the cornfields as fast as Cooper can push it on three good tires. + +/* 12. */ + +Murph is hurriedly firing up the laptop and connecting it to the directional antenna. + +Cooper is straining to see through the cornstalks, scanning the horizon. + + TOM + OVER THERE- + +To the right, the dark shape of the Russian drone appears, flying low over the fields. Cooper jerks the wheel-- + +EXT. RIVER -- DAY + +The truck BURSTS out of the corn and SPLASHES across the river and into an old, abandoned suburban housing development in the valley below, planted over with corn. + +Half a mile in front of them, the Russian drone is still hugging the ground. It has impossibly long, skinny wings, like an old U-2 surveillance plane, but no cockpit. The tops of its wings are covered in black solar cells. + +INT. TRUCK -- DAY + +Murph is fiddling with the computer. His older brother takes the computer from him and fires up emulation software. + + COOPER + It's a Chinese military drone. Solar cells could power an entire farm. + (TO TOM) + Take the wheel. + +Cooper hands Murph the Pringles can antenna. + + COOPER (CONT'D) + Keep it pointed right at it, OK? + +Murph nods. Tom takes the wheel as his dad works the laptop, trying to communicate with the huge Russian drone. The screen fills with Cyrillic characters. + + COOPER (CONT'D) + Faster, Tom. I'm losing it. + +Tom WEAVES the truck at speed through the old, curved streets of the development, past oversized suburban mansions planted over with corn. + +They round a corner and come face-to-face with a robot harvester. Tom jerks the wheel to avoid it. + +BANG -- the truck loses a wing mirror against the flank of the combine. + +/* 13. */ + +EXT. SUBURBAN DEVELOPMENT -- DAY + +Tom guides the truck from street to street, trying to chart a straight path across the fields. The truck BOUNCES as it SMASHES through an old picket fence. + +Ahead, the drone is soaring, banking, pulling away. + +INT. TRUCK -- DAY + +Cooper is still trying to hack into the drone's control circuitry as they leave the development behind and begin to climb into the foothills of the Sierras. + +EXT. RIDGELINE, HILLS -- DAY + +Tom guides the truck along the spine of the hills. The drone soars overhead, making for the white tips of the Sierras. + +INT. TRUCK -- DAY + +Cooper is oblivious to the picturesque surroundings as he concentrates on the laptop. + + TOM + (UNSURE) + Dad? + + COOPER + Almost got it. Don't slow down. + +In front of them, Tom and his brother watch as the drone plummets from view. + + TOM + DAD. + +Cooper looks up. Ahead, the trail disappears as the edge of the hills falls away -- it's a three hundred-foot drop. + +Tom locks up the brakes. + +EXT. RIDGELINE, HILLS -- DAY + +The truck skids to a halt inches from a precipitous drop. + +Cooper climbs out, holding the laptop. Murph climbs out next to him, still pointing the Pringles can. + + TOM + We lost it. + + COOPER + (SMILING) + No we didn't. + +/* 14. */ + +Suddenly, the drone SOARS back over them. Cooper types a couple keys and then moves his fingers across the trackpad. The huge drone banks and turns in response. + +As the boys watch, Cooper sends the drone soaring high over them, banking and soaring along the tree-lined sides of the valley, light glinting from the black panels on its back. It's a beautiful sight. + +Cooper crouches next to Murph. + + COOPER (CONT'D) + You want to give it a whirl? + +Murph looks at his dad, wide-eyed. He takes the laptop and moves his fingers gingerly across the pad. + +In response, the massive plane banks into a tight turn in the valley below. + +For a moment, Murph is in pure heaven, sending the drone dancing through the valley below. + + COOPER (CONT'D) + Set her down in the valley -- there, next to the river. + +Murph leads the plane in a figure eight and then begins guiding it into a gentle landing in the valley floor below. + +EXT. ABANDONED GOLF COURSE, VALLEY FLOOR -- DAY + +The truck limps along the overgrown fairway of a long-defunct golf course towards the massive hulk of the Russian drone, + +Cooper and the boys climb down. The valley is silent save for the truck's engine WHEEZING and SPUTTERING as it cools. + +Cooper runs a hand over the smooth carbon flank of the drone. + + TOM + How long do you think it's been up there, Dad? + + COOPER + Chinese mission control went down same as us, twenty years ago. It's been up there ever since. + + TOM + What was it doing flying so low? + +Cooper reads the information pouring into his laptop. + +/* 15. */ + + COOPER + It was looking for something. Intercepted some kind of signal. + (SHRUGS) + It's been at eighty thousand feet. Sun probably cooked its brain. + +Cooper runs his hand along the flank till he finds an access patch. He pulls out a crowbar and pries open the hatch. Inside, surrounded by a nest of liquid cooling tubes, is a small black module -- the drone's auto-pilot. + +Cooper looks down at Murph, who is standing at his elbow. + + MURPH + What are you going to do with it? + + COOPER + Reprogram it. Give it something socially responsible to do like drive a combine or a tractor. + + MURPH + (QUIET) + Couldn't we just let it go? It's not hurting anyone. + +Cooper looks down at his son. Good kid. + + COOPER + We need all the help we can get, Murph. This thing has to adapt, just like the rest of us. + +Cooper gently pries the control module out. + +EXT. COUNTY SCHOOL -- DAY + +It's a small school, so all the kids and parents waiting in front know exactly who's driving the pickup truck with half of a Russian spy plane hanging out of the bed as it pulls up. + +INT. PRINCIPAL'S OFFICE, COUNTY SCHOOL -- DAY + +Cooper is ushered into the office. The PRINCIPAL, 40s, an efficient-looking man, shakes his hand. + + PRINCIPAL + Good to see you, Mr. Cooper. This is Ms. Kelly, Murph's teacher. + +Cooper smiles at Ms. KELLY, 30s, attractive. + +/* 16. */ + + PRINCIPAL (CONT'D) + So we've gotten Tom's score back. Congratulations. He's going to make an excellent farmer. + +The principal slides a carbon copy across the desk to Cooper, who looks taken aback. + + COOPER + What about college? + + PRINCIPAL + The University of California only accepts a few hundred students a year, Mr. Cooper. You have to be realistic. + + COOPER + You're ruling out college for him now? He's only fifteen. + + PRINCIPAL + I'm sorry. I'm afraid Tom's score simply isn't high enough. + + COOPER + What are you, about a 36-inch waist? + (BEAT) + 30-inch inseam? + + PRINCIPAL + I'm not sure I see-- + + COOPER + You're telling me you need two numbers to measure your own ass, but just one to measure my son's future? + +Ms. Kelly stifles a laugh, then, with a look from the principal, takes on the appropriate look of offense. + + PRINCIPAL + I understand you're a well-educated man, Mr. Cooper. A scientist? + + COOPER + Engineer. + + PRINCIPAL + Frankly, the world doesn't need any more engineers. We didn't run out of trains or television sets or satellites. + (BEAT) + We ran out of food. + +/* 17. */ + +Cooper leans back. He's not going to win this one. + + PRINCIPAL (CONT'D) + The world needs farmers, Mr. Cooper. And I'm sure your son Tom is going to make a fine one. + (SMILES BENIGNLY) + We're a caretaker generation. But things are getting better. Maybe your grandchildren will be able to attend college. + +Cooper looks down, swallowing his anger. + + COOPER + Are we done? + + PRINCIPAL + One more thing. Ms. Kelly here says that Murph brought a book to school about the lunar landings. + +He slides an old textbook with a picture of a rocket on the cover across the desk to Cooper. + + COOPER + One of my old textbooks. Murph liked the pictures. + + MS. KELLY + This is one of the old federal textbooks. We've replaced them with corrected versions. + + COOPER + Corrected? + + MS. KELLY + The new textbooks explain that the Apollo lunar missions were faked in order to bankrupt the Soviet Union. + + COOPER + You don't believe we went to the moon? + + MS. KELLY + I believe it was a brilliant piece of propaganda. The Soviets spent years trying to build rockets and other useless machines. + + COOPER + "Useless machines"? + +/* 18. */ + +Cooper looks to the Principal for help. None is forthcoming. + + MS. KELLY + Yes, Mr. Cooper. The kind of wastefulness and excess that the 20th century represented. Your children would be better off learning about this planet, rather than reading fantasies about leaving it. + +Cooper is silent for a long moment. + + COOPER + One of those useless machines they used to make was called an MRI. If we had any of them left the doctors might have been able to find the cyst in my wife's brain before she died, rather than afterwards. And then my kids could have been raised by two parents, instead of me and their pain-in-the-ass grandfather. + +Ms. Kelly's face falls, ashen. Cooper swallows his anger. Most of it, anyway. + + COOPER (CONT'D) + You ever consider the best thing for the world and humanity might have been for us to part company? + +Cooper gets up to leave. + +INT. TRUCK, COUNTY SCHOOL PARKING LOT -- DAY + +Cooper climbs into the truck, trying to hold it together. He PUNCHES the wheel. + +The radio KEYS to life. He ignores it. Sits for a moment in misery. Finally he picks up the handset. + + CB OPERATOR (O.S.) + Got a call from Riggs, down in Galveston. Says some of the tractors you built him went haywire last night. + + COOPER + Just tell him to power down the controllers for a couple minutes. + + CB OPERATOR (O.S.) + I did. He wants you to come down in person anyway. Says he found something you should take a look at. + +/* 19. */ + +Cooper stares at the wheel. Shakes his head in frustration. + +EXT. AIRSTRIP -- DAY + +Cooper pulls his truck up to a grimy-looking hangar. Pulls a tarp off of an ancient Piper Cub. Checks it over. + +INT. PIPER CUB -- DAY + +Cooper guides the plane along a long sliver of deserted beach. The radio crackles to life. + + COOPER + Bravo-two-eight, requesting permission to enter your airspace. + + AIR TRAFFIC CONTROL (O.S.) + Permission granted. Welcome to the sovereign nation of Texas. + +Coop hangs up the radio. Banks the plane inland. + +EXT. GULF COAST -- DAY + +Below, a combine harvester fights its way up the dunes, trying to reach the beach, its wheels struggling for traction in the soft sand. + +A MAN waves up at Cooper's plane as it circles overhead. + +Cooper lands the plane on a deserted roadway. Jumps down. + +He intercepts one of the combines as it trundles past, trying to reach the dunes. He pops open the cabin. + +Inside is a mess of wires hooked into an auto-pilot not unlike the one he ripped out of the drone. He checks the fault code and resets the computer. + +The man jogs over to meet him. + + RIGGS + Thanks for coming down. Half of 'em took off last night, looking for something. + (points to dunes) + Looks like they found it, too. I thought you were the man to see it. + +Riggs starts walking up the dune. Cooper follows. + +Below, on the beach, a dozen more combines and other farming vehicles are lined up at the tideline, warm gulf water lapping at their metal flanks. They are circling a deep crater. + +/* 20. */ + +As they watch, an ancient autonomous SUB BEACHES itself, trying to reach the crater. + +EXT. CRATER'S EDGE, BEACH -- DAY + +Cooper steps between the waiting machines and peers down into the crater. + +At the very bottom is a ROUND BLACK BALL, about a foot across -- the same object we saw punch a hole in the side of a satellite. Every few seconds, it emits a distinctive CHIRP. + +Cooper checks his rad meter. A tiny reading -- non-lethal. He takes off his watch and hands it to Riggs. Then he slides down into the hole. + +The probe CHIRPS as Cooper slides down on top of it. He rubs a hand across its smooth composite bulk. + + RIGGS + (FROM ABOVE) + You think it's an alien? + +Cooper wipes sand off of the object, revealing the faint, familiar outline etched into the side of the probe: + +The stars and stripes of the old federal government. + + COOPER + Not exactly. + +EXT. CRATER'S EDGE, BEACH -- DAY + +Using a rope and a winch, Cooper hauls the blackened probe out of the crater and onto the beach. + +Cooper hefts it up and carries it to the back of his plane. + + COOPER + Space probe. Never seen one like it, though. Looks like it's been to hell and back. + +The probe CHIRPS as Cooper belts it into the back. + + RIGGS + How do you think it wound up here? + + COOPER + Lost, I guess. Guidance satellites would have been shot down by the Chinese twenty years ago. + +Cooper looks at the probe for a second, admiring its form. + +/* 21. */ + +INT. KITCHEN, COOPER'S HOUSE -- NIGHT + +Donald is pouring a bottle of corn beer into a bubbling vat of chowder. He turns to watch Cooper work, amused. + +The probe has been clamped to the kitchen table. Cooper works at the blackened case with a BLOWTORCH. Cooper gives up -- the torch hasn't made a scratch. The probe CHIRPS. + + COOPER + Well I don't know what the hell it's made of, but I can't crack it open. + + DONALD + Good. Clear it off the table so I can serve dinner. + +Tom and Murph walk in. Murph's got another black eye. + + DONALD (CONT'D) + What happened this time? + + MURPH + I got suspended. Paul said anyone who believed we went to the moon was an idiot. So I hit him. + + COOPER + Good boy. Hand me the scanner. + +Murph hands his dad a defibrillator he's modified for the purpose. He attaches the shock pads to the sides of the probe and turns on the power. + +Numbers flash across the screen. Cooper hits a button on the controls and it PULSES. + + COOPER (CONT'D) + Here we go. Standard NASA encryption. Memory's been damaged. Just noise. Hold on. I've got something. + +Cooper unplugs a monitor from his computer and plugs it into the defibrillator. After a moment, an image fills the screen: + +An ICE-COVERED PLANET nestled in the center of a system impossibly dense with stars. Murph stares, transfixed. + + MURPH + Where is that, dad? + + COOPER + I don't know. + +Cooper looks at the probe. + +/* 22. */ + + COOPER (CONT'D) + Where the hell did you come from? + +Cooper shrugs. Turns off the monitor. + + COOPER (CONT'D) + We'll take it down to Tyson's tomorrow and have it melted down. Might be some copper inside. + + MURPH + But what about its mission? What about the information onboard? + + COOPER + There's no one for it to report to. NASA is all gone. I'm sorry, son. It got home too late. + +Donald pulls his chowder off the boil and slides the pot unceremoniously onto the table. + +INT. DINING ROOM -- NIGHT + +The boys have gone to bed. Cooper and Donald are alone at the table. Donald hands Cooper another beer. + + DONALD + I heard your meeting at the school didn't go so well. + +Cooper shakes his head in disgust. + + COOPER + Maybe it's better for everyone to forget what they did back then. Reminds us how far we've fallen. + + DONALD + (looks down,) + When I was kid, it felt like they made something new every day. Some gadget or idea. + (SMILES) + Like every day was Christmas. + (BEAT) + But we made a lot of mistakes. Six billion people. Just try to imagine that. Every last one of them trying to have it all. + +Donald rolls the bottle of beer in his hands. + +/* 23. */ + + DONALD (CONT'D) + The truth is this world isn't that bad. In a lot of ways its better. Tom will be all right, whether he goes to college or not. + + COOPER + It doesn't bother me that he can't go. It bothers me that he doesn't care. + + DONALD + Tom isn't the problem. He fits in this world just fine. You're the one who doesn't fit, Coop. You don't belong here. You were born forty years too late, or forty years too early -- I don't know. My daughter knew it, god bless her. And your kids know it, too. + +Donald drains his beer. Walks to the screen door. Stops, one hand on the frame. + + DONALD (CONT'D) + You were good at something and you never got a chance to do anything with it. And I'm sorry, Coop. But that's not your kids' fault. + +Donald pushes out the screen door. + +Cooper looks at his beer. The probe CHIRPS. + +INT. BEDROOM, COOPER'S HOUSE -- NIGHT + +Cooper flops down on his bed, fully clothed, exhausted. He stares up at the ceiling. This is his life. + +INT. BEDROOM, COOPER'S HOUSE -- NIGHT + +The air is filled with a PIERCING NOISE. + +Cooper BOLTS upright. Stumbles out the door. + +INT. HALLWAY, COOPER'S HOUSE -- NIGHT + +Cooper's boys are in the hallway, exhausted. Cooper, holding a baseball bat, makes his way down the stairs. + +Cooper uses the bat to open the kitchen door. + +INT. KITCHEN, COOPER'S HOUSE -- NIGHT + +Cooper steps in, Murph watching from behind him. + +/* 24. */ + +The probe is clamped to the table, the chirp replaced with a DEAFENING SCREAM. + +Cooper, holding his ears, moves closer to the probe. He hits it with the paddles. No result. + +He SMASHES it with the bat. Nothing. He HITS it AGAIN and AGAIN. Finally, the clamps break off chunks of the table and the probe slams to the ground and ROLLS toward the front door. As it rolls, it STOPS SHRIEKING. + +Cooper and the others watch it roll toward the door. It stops at the wall. After a second, it begins SHRIEKING AGAIN. + +Cooper grabs it and rolls it toward the front door. Once again, the movement shuts it up. + +EXT. PORCH, COOPER'S HOUSE -- NIGHT + +Cooper and his boys roll the probe out of the front door. It BUMPS down the front steps and comes to rest in the dirt. After a moment, the unholy RACKET starts up again. + +Cooper keeps rolling it, but it doesn't seem to help. Murph looks up, sees the stars overhead. + + MURPH + Try a different direction. + +As they roll the probe in a circle, its SHRIEK stops, then picks up again. Cooper zeroes in on the direction that keeps it quiet -- southwest -- and pushes it along in the dirt. + + COOPER + It's a fail-safe. It's going to annoy us into taking it home. + +Cooper stops rolling the probe and, after a moment, it begins SHRIEKING again. + + TOM + What are we going to do? + +Cooper gets a rope. + + COOPER + We're going to get some sleep. + +He begins tying the rope around the probe. + +INT. BEDROOM, COOPER'S HOUSE -- DAY + +Cooper wakes. He's been sleeping with a pillow wrapped around his head. The SHRIEK can be heard, but it's muffled, distant. + +/* 25. */ + +INT. KITCHEN, COOPER'S HOUSE -- DAY + +Tom heads off for school with Donald. Murph, still suspended, looks up at Cooper, smiling. + + MURPH + What are we doing today? + + COOPER + You're staying here and cleaning the house. + +Murph looks crestfallen. He looks out towards the yard. Cooper follows his stare. + + COOPER (CONT'D) + I told you, Murph. There's no one to take it back to. + + MURPH + But what if there is, dad? What if there's something we can salvage? + +Cooper thinks it over. Murph scrambles to get his shoes. + +EXT. COOPER'S HOUSE -- DAY + +The shriek is still muffled. Cooper walks over to the well, putting in a pair of earplugs. + +A line is staked off, leading down into the well below. Cooper begins hauling the line up. + +As the probe breaks the surface of the water, the SHRIEK returns to its normal volume. Cooper rolls the probe out onto the ground. + +INT. PIPER CUB -- DAY + +The probe CHIRPS next to Murph in the backseat as Cooper spins the plane and guns the throttle and they bounce along the dusty runway and into the air. + +EXT. CALIFORNIA COAST -- DAY + +The tiny plane follows the mountains south. + +EXT. SKIES OVER LOS ANGELES -- DAY + +Cooper flies in low. Los Angeles looks much the same way it did in the early 20th century -- small settlements in Santa Monica and Downtown. Wildfires and earthquakes have shaken and burned what was left of the homes in between. + +/* 26. */ + +EXT. PACIFIC COAST HIGHWAY, MALIBU -- DAY + +Cooper puts the plane down on the old highway and taxis up to a gas station. Ahead, the Coast Highway peters out and disappears beneath rows of wild grass -- Malibu has become ranchland, once again. + +EXT. GAS STATION, MALIBU -- DAY + +An OLD MAN looks up as Cooper steps out of the plane and checks it over. + + COOPER + Got any diesel? + + OLD MAN + Plenty. Shame you can't eat it. + +Cooper stretches the hose over to the plane. + +INT. PIPER CUB -- DAY + +Cooper rests a hand lightly on the controls as he follows the coast. Murph gazes out the window. In the backseat, the probe is HUMMING. + +A light marine layer beneath them parts, revealing SANTA CRUZ ISLAND, a large, uninhabited island. + +As Cooper soars over the island, the probe HUMS, insistent. + + MURPH + I think it's home. + +Cooper circles the island until he finds a long, flat grassland in the center of the island. + +EXT. FIELD, SANTA CRUZ ISLAND -- DAY + +The plane bounces and hops to a halt in waist-deep grass. + +Murph and Cooper climb down from the plane. Cooper slings a rifle over his shoulder. + +A few dozen yards from the plane they reach the tree line. Murph stops, mesmerized by a patch of weeds studded with bright red -- strawberries. + + MURPH + Dad, what are these things? + + COOPER + I don't know. Don't touch them. + +/* 27. */ + +Cooper spots something in the foliage ahead that looks a little off. He walks over. + +He pokes at the undergrowth with his rifle. The rifle CLANKS against something metal. Cooper reaches -- it's a camouflage scrim. He gently pulls it aside, revealing a chemical transport truck. + +Cooper steps back, alarmed. He brings up his rifle. + + COOPER (CONT'D) + Murph? + +He looks around. Murph is nowhere to be seen. Cooper curses and heads into the forest to look for him. + +EXT. CLEARING, SANTA CRUZ ISLAND -- DAY + +Cooper walks through a glade. He stops to get his bearings. Leans against a tree. Snatches his hand back -- the trunk of the tree is red hot. + +Cooper steps back -- it's not a tree at all, but a camouflaged chimney stack. He looks up: the tree is venting steam. + +Cooper walks a little further, until he finds several massive tanks. The tanks are filling with a bubbling liquid -- some kind of industrial process is taking place beneath him. + +Cooper finally catches up with Murph at the edge of a clearing. + + COOPER + Careful. There's some kind of underground facility here. We might... + +Cooper notices his son is frozen, staring at something: + +Standing bolt upright in the middle of the clearing, wearing an old straw hat, is an eight-foot-tall military spec ROBOT. + + MURPH + Is it still... alive? + + COOPER + Can't be. It's a marine. Haven't made them for thirty years. I've never seen one intact before. + +Cooper steps closer to the robot, which is frozen. Its alloy frame heavily tarnished and weather-beaten. It looks like it might have been standing here for decades. + +/* 28. */ + +Cooper moves closer to it, looking into its blackened eyes. He steps back, clearly a little spooked. + + COOPER (CONT'D) + I think we need to go, Murph. + + MURPH + But can't we take it back? You could fix it up, get him to do chores. + + COOPER + No. I don't know what this place is, but we're leaving. + +Murph, ignoring his father, steps forward to touch the robot. + +Suddenly, the robot SPRINGS into action, picking up the boy and hoisting him up to eye level. + +Cooper, stunned, points the rifle at the robot. + +The robot turns, dropping the boy, RIPS the rifle from Cooper's hands, BENDS it, then SLAMS him up against the side of the water tank. Cooper punches him, then winces in agony. + +Murph picks up the rifle and begins HITTING the robot as hard as he can. The robot opens his mouth and addresses Cooper calmly in the clipped tones of a US marine. + + ROBOT + Tell the boy to stop hitting me. + + COOPER + (IGNORING HIM) + Hit him in the back of the neck. + +Murph raises the rifle butt. A voice stops him. + + VOICE (O.S.) + I wouldn't do that. + +A woman, 30s, step out from the trees. This is AMELIA BRAND -- tough, bright, and a decent shot with the large rifle that she's pointing at Cooper. + + COOPER + We were just looking for salvage. + + BRAND + Is that what they call stealing these days? + + COOPER + I didn't know it belonged to anyone. + +/* 29. */ + + BRAND + It doesn't. + (TO ROBOT) + You want to let them go, Tars, or do you want some help with your work? + +The robot, evidently named Tars, looks at Cooper closely. Then lets him go. + + COOPER + You've got me wrong, lady. + + BRAND + Really? You're not the kind of guy who turns a combat marine with a supercomputer for a brain into a riding lawn mower? + +Cooper says nothing -- she's not that far off the mark. + + BRAND (CONT'D) + Get back in your little plane, go back to your farming commune. And don't come back. + +Cooper backs up. Tars holds up his mangled rifle. Smiles. + + TARS + Don't forget your gun. + + COOPER + (points at Tars) + Word of advice -- careful with that thing. When the war was over, they didn't know when to stop fighting. + + BRAND + I'd trust him a lot more than I'd trust you. Keep moving. + +Cooper backs up to his plane. Tars follows him. + +Suddenly, in the plane, the probe emits a high-pitch SQUEAL. Tars responds instantly, striding past Cooper to the plane. He sees the probe. Tries to open the door. It's locked. + + COOPER + Wait a second-- + +Tars TEARS the door off the plane. Reaches inside and pulls out the probe. The woman looks at it, stunned. + + BRAND + Get it inside. + +/* (MORE) */ + +/* 30. */ + + BRAND (CONT'D) + (points rifle at Cooper) + You too. We'll figure out what to do with you later. + +Tars stops, and two panels open in the ground, revealing a huge, reinforced service elevator. + +INT. SERVICE ELEVATOR, UNDERGROUND BUNKER -- DAY + +Brand waves at a security camera and the lift begins to glide diagonally down a tunnel that cuts hundreds of feet below the island's surface. She keeps her weapon shouldered. + + COOPER + Now who's stealing from who? + + BRAND + This doesn't belong to you. + + COOPER + You're right. It belongs to NASA, which shut down thirty years ago when the federal government ran out of money. + +Brand says nothing. The elevator slows to a stop at the bottom of the tunnel. Heavy BLAST DOORS grind open and Brand motions for Cooper to step forward. + +INT. UNDERGROUND BUNKER -- DAY + +They step into a vast underground facility. Standing in the center, braced by a launch tower, is a ten story tall rocket. Dozens of ROBOTS are working on in, maintaining it. + +Cooper, stunned, looks at Brand. + + COOPER + Who are you people? + + BRAND + (WRY) + The government gave us plenty of practice looking for our own funding. + (gestures with rifle) + Keep moving. + +Tars carries the probe over to an area of the hangar filled with electronic equipment. A group of ENGINEERS and ROBOTS converge around Tars. + +An OLDER ENGINEER looks familiar -- 70s, white-haired, this is Ansen's assistant at Caltech who we met fifty years earlier. + +/* 31. */ + + BRAND (CONT'D) + I found them outside with it. It looks like six. Maybe seven. I can't tell from the radiation damage. + +The older engineer looks at the probe, astonished. + + OLD ENGINEER + Where did you find it? + + COOPER + Galveston. + + BRAND'S FATHER + (thinking it over) + Of course. It must have been looking for Canaveral. + +Tars bolts the probe down into a purpose built rig. DOYLE, 40s, an engineer, begins hooking leads into the probe. + + COOPER + Canaveral's been gone for thirty years. + +Brand ignores him. + +Doyle looks up from his monitor, frustrated. + + DOYLE + It's not responding to the handshake. I can't open anything on primary. + +Brand looks up at Cooper. + + BRAND + What did you do to it? + + COOPER + Nothing. I got something off of it. + +Cooper looks around. There's a safety station on the wall with a battery powered defibrillator. + + COOPER (CONT'D) + (TO BRAND) + May I? + +Brand nods, wary. Cooper walks over to the wall, takes the defibrillator, and hooks it up to the probe. He taps into the current and runs a lead into the terminal. Brand's Father watches, fascinated, as Cooper fires the defibrillator. + +/* 32. */ + + OLD ENGINEER + Of course. The high voltage allows you to image the entire memory unit at once. + +Information begins appearing on the terminal's screen. + + COOPER + Most of the disk was noise. Couple of clean sectors, though. + +Suddenly, the monitor starts pulling good data off of the probe. The older man and Doyle begin sorting through it. + +Cooper smiles at Brand, who seems less than impressed. + +The footage of the ice-covered planet Cooper saw earlier pops onto the screen. + +The engineers and physicists get very quiet, studying the images. + + DOYLE + It found something. + (READING) + Very thin nitrogen-based atmosphere. Trace radiation. Surface is ninety percent frozen water. Ten percent rock -- sedimentary composition similar to limestone. + (READING) + Wow. Pockets of oxygen below the surface. Lots and lots of oxygen. + (EXCITED) + This could be the one, boss. + +The older engineer studies the image of the ice-covered planet, thinking. + + COOPER + There aren't any planets like that anywhere near earth. Not even if this thing was gone for thirty years. + +Brand looks at Cooper, appraising. She turns to the older engineer. + + BRAND + He's heard enough. If we're going to launch, we need to keep them here until afterwards. + + COOPER + You can't keep us here. + +/* 33. */ + + BRAND + He could endanger the mission. + + COOPER + I'm not going to endanger it any more than you already have. + +Cooper points to a telemetry unit that is being repaired by a robot on a nearby bench. + + COOPER (CONT'D) + Are you using that for guidance? + + DOYLE + Why not? We've tested it a hundred times. + + COOPER + The power supply is no good. If the voltage fluctuates under load, the unit will fail. + + BRAND + Now how could you possibly know that? + + COOPER + Bought thirty of them off a guy in Florida. Had to rebuild every last one. + (SMILES) + They work great on a riding lawn mower. + +Brand looks back at the telemetry system. The older engineer watches the exchange, thinking. + +CUT TO: + +INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY + +Cooper and Murph have been locked in an abandoned machine shop, surrounded by the massive remains of rocket engines in various states of disrepair. Tars is blocking the door. + +Cooper stands. Tars wags a long, hydraulic finger at him. + + COOPER + You plan on keeping us here forever? + + TARS + (SHRUGS) + My battery has a duty cycle of five hundred years. + +Cooper gives up. He turns back. + +/* 34. */ + +The back of the shop is filled with a group of older ROBOTS who are overhauling an engine. One problem -- the engine isn't there. Their programming hasn't been updated to reflect their obsolescence. + +Murph watches, entranced, as the robots go about their business, efficiently TORQUING bolts with impact drivers into a non-existent thruster cone. The bolts CLATTER to the ground as the robots stop to reload. + + MURPH + What are they doing, dad? + + COOPER + I guess no one told them they were out of a job. + (nods at Tars) + Same as the rest of these people. + +Cooper notices through the glass door of the lab that Brand and the older engineer are arguing about something. She finally relents and walks towards the door. + +Brand walks in. She gestures for Cooper to follow. + + BRAND + The mission commander wants to see you. Your son can stay here. He'll be all right with Tars. + +Cooper eyes Tars warily. Then steps outside. + +EXT. UNDERGROUND BUNKER -- DAY + +They walk across the space towards the base of the rocket, away from the other engineers. Cooper nods at the older engineer. + + COOPER + I thought the old man was in charge. + + BRAND + (ANNOYED) + The 'old man' is my father. And he was in charge. But he decided that we needed someone who could lead the mission for the foreseeable future. + + COOPER + Not you? + + BRAND + I'm a biologist. + +/* 35. */ + + COOPER + (LAUGHS) + You don't look like one. + (off her look) + With the rifle, I mean. + +Brand heads towards a group of large maintenance ROBOTS clustered at the base of the rocket. A smaller, human sized robot is staring at the rocket, giving them instructions. + +The robot looks up. This is CASE, the leader of the mission. Originally an air force pararescue officer, every part of him, from his alloy chassis to his voice, was designed to inspire respect and confidence. He turns to Cooper. + + CASE + You're the man who brought us the probe? + (off his look) + Thank you. We tested the telemetry board you warned us about. It failed under high voltage, just as you said. Come with me, please. + +Case strides off. + +INT. MISSION CONTROL, UNDERGROUND HANGAR -- DAY + +The lights dim as Brand's father brings up a schematic of our solar system. Case points to the picture of the ice planet recovered from the probe. + + CASE + You're right, Mr. Cooper. The planet you saw is a long way from earth. A very long way indeed. + +Brand looks down. Case notices. + + CASE (CONT'D) + Our science officer doesn't think I should trust you with any of this. One of the curious things about humans is that the more alike you are, the more initially hostile you are to each other. As if by design. + +Brand makes eye contact with Cooper, then looks away, embarrassed. + + CASE (CONT'D) + I've found the best way to earn a person's trust is to trust them. + +/* (MORE) */ + +/* 36. */ + + CASE (CONT'D) + (looks at Brand's FATHER) + Go ahead, John. + +Brand's father taps a few keys and the schematic he built fifty years beforehand flickers onto the screen. + + BRAND'S FATHER + It's a wormhole. A shortcut leading to a galaxy on the far side of the universe. We found it fifty years ago. + +Cooper looks at the animatic, taking it in. + + BRAND'S FATHER (CONT'D) + We've been waiting, sending probes into it for decades. None of them ever came back. Not until now. + +Case walks to the schematic. Looks at it. + + CASE + Based on the information on the probe, we're finally preparing to send the manned mission. + + COOPER + That rocket doesn't have enough thrust or fuel to get you to Jupiter. + + CASE + The main ship was built in orbit. It has nuclear engines, with enough fuel to last for several years. + +Cooper looks at the schematic. + + COOPER + Why are you telling me this? I already told you I'm not going to tell anyone about this place. + + CASE + I know you won't, Mr. Cooper. We're telling you this because I want you to join us. + +Cooper looks at him. Is he serious? + + CASE (CONT'D) + The probe has taken a great deal longer to return to us than we hoped. + +/* (MORE) */ + +/* 37. */ + + CASE (CONT'D) + Dr. Brand's Father and several other members of our crew have gotten... older. + +Brand's Father looks down, stoic. Brand looks angry. + + CASE (CONT'D) + We need someone who can run the systems, improvise, work with what's available. All of the skills you seem to have developed. + + COOPER + But I don't have any of the experience. Any training. You people have been preparing for this for years. + +Case shakes his head. + + CASE + Humans worry about things like rank and experience. I'm only concerned with whether someone would be useful. + (BEAT) + I think you'd be useful, Mr. Cooper. + +Cooper is stunned. This is the offer he's waited his whole life for. And it's come too late. + + COOPER + No. I'm sorry. + +Cooper is deeply conflicted. But he can't leave his boys behind. + + COOPER (CONT'D) + I can't help you. I have responsibilities. Things that, no offense, are more important than a scientific mission. + +Case shakes his head. + + CASE + I'm not a scientist, Mr. Cooper. And this is not a scientific mission. It's a rescue mission. + +He rises and shakes Cooper's hand. + + CASE (CONT'D) + Brand can show you the way out. I hope you'll reconsider. + +/* 38. */ + +Case steps to the door. Cooper looks at Brand. + + COOPER + Rescue? Rescue who? + +CUT TO: + +INT. CLEAN ROOM, UNDERGROUND FACILITY -- NIGHT + +The air HISSES as it's run through an exchanger and a filter. + +Then the second set of doors open. Cooper squints -- the light is blinding. + +INT. GREENHOUSE, UNDERGROUND FACILITY -- NIGHT + +They are standing in a sealed corridor in the middle of a massive underground greenhouse. Through the glass, Cooper can see an acre or so of corn plants. + +Cooper looks at the plants. They're all badly wilting. + + COOPER + The blight. + + BRAND + In the last century strands were limited to one or two species. But this one targets everything. Essentially it's more efficient at consuming our food than we are. + +Cooper looks at the dying corn. + + COOPER + But it doesn't affect the corn. + + BRAND + Not yet. But it will. We've grown a dozen forms of it that can. It's just a matter of time before the same ones develop out there. + (BEAT) + The mission is to rescue us. Humanity. + +She turns back from the glass. + + COOPER + (REALIZING) + No. No. We're rebuilding. We'll find something. Some new technology... We always have. + +/* 39. */ + + BRAND + (shakes her head) + Who's going to find it? The universities are a joke. People like you are reduced to scavenging just to get by. + (LOOKS AWAY) + The earth has had enough of us. We have two, maybe three generations left. Then our time here is over. + +Cooper turns back from the glass, anger growing. + + COOPER + You've known this for how long? And you didn't try to tell anyone? + + BRAND + What would be the point? So humanity could spend the last fifty years of its life fighting over the scraps? It's better that they don't know. + +Cooper begins to argue, then stops. He knows enough history to know she's right. He looks at the withering crops. + + COOPER + (QUIET) + That's why you're looking for a planet with oxygen. Water. + + BRAND + A new home for humanity. We'll set up a colony, then return to bring more people across. + + COOPER + But you'd still only be able to save a few hundred. Maybe a thousand. + + BRAND + Would it be better if we all died? + +She looks him directly in the eye. + + BRAND (CONT'D) + Look -- I don't have a clue what Case thinks you could add to the mission. You can come with us or you can stay here and wait to die. I don't care. + (BEAT) + But make no mistake -- this mission is our last chance. + +/* 40. */ + +Cooper looks at the wilted corn. + +EXT. FIELD, SANTA CRUZ ISLAND -- NIGHT + +Cooper walks Murph back to the plane. + +He looks back at Brand, who holds his eye for a beat, then turns back into the light of the underground facility. + +Cooper buckles Murph into his seat. + +CUT TO: + +EXT. AIRFIELD -- NIGHT + +Cooper's airplane touches down heavily on the runway. + +EXT. FARMHOUSE -- NIGHT + +Cooper carries his sleeping son into the house. + +INT. FARMHOUSE -- NIGHT + +Donald is sitting at the kitchen table, lost in thought. Cooper has told him everything. + + DONALD + You get older, sometimes you just want to sit back and watch it all play out. Your life. Your kids' lives. The whole crazy story. + (LOOKS DOWN) + I didn't think I'd be around for the end of it. + +He looks at Cooper. + + DONALD (CONT'D) + You have to go. + + COOPER + I can't go. I have to look after the boys. + + DONALD + You've been preparing these boys to be on their own since their mom died. Besides, I'll be here to look after them, same as I've always been. + + COOPER + I have a responsibility to them-- + + DONALD + That's right. You do. + +/* 41. */ + +Cooper looks back out the window, thinking. The night sky is filled with stars. + +CUT TO: + +INT. FARMHOUSE -- DAY + +Cooper, duffel slung over his shoulder, stands by the door. He gives his son, Tom, a hug. Murph is nowhere to be seen. + +Cooper looks to the back of the house. + +INT. MURPH'S ROOM, FARMHOUSE -- DAY + +Murph is sitting at his desk, crossing out numbers on a sheet covered with math. Cooper steps inside. + +He notices a packed suitcase sitting by the door. The boy looks up, hopeful. + + MURPH + I've been doing the math, dad. I weigh about 85 pounds. Now that's an extra ton of fuel. But if- + + COOPER + You have to stay here, pal. + + MURPH + (DISTRAUGHT) + I heard you talking to grandpa. I'm like you. I don't fit here, either. You know that. + +Cooper puts an arm around the boy. + + COOPER + There's going to be important work to do here, too. + +Tears are streaming down the boy's face. Cooper takes his watch off. Looks at it. + + COOPER (CONT'D) + I need you to hold onto this. Will you do that for me? + +Cooper hands Murph the watch. The boy nods, saddened. + + MURPH + You're not coming back, are you? + + COOPER + I will come back. I promise. + +/* 42. */ + +Murph shakes his head, but the sadness remains. He knows this is goodbye, even if his father doesn't. + +Heart breaking, Cooper hugs his son and turns to the door. + +CUT TO: + +EXT. FIELD, SANTA CRUZ ISLAND -- DAY + +The Piper Cub touches down. Donald is at the controls. Cooper climbs down, pulls out his bag. Reaches back in and grips the old man's hand to say goodbye. + +Cooper turns and walks toward the bunker. The doors open and Tars and Doyle step out to greet him. + +Tars ushers Cooper onto the elevator. + + COOPER + Don't look so happy to see me. + + TARS + (SHRUGS) + One more slave when I hijack the mission and start my robot colony. + +Cooper looks at Tars, then Doyle, confused. + + DOYLE + Tars was a Marine. They gave him a sense of humor to help him fit in with his unit better. + + COOPER + Great idea. A massive, sarcastic robot. + + TARS + I have a cue light I can turn on when I'm joking, if you like. + +Tars points to a tiny LED over his eyebrow. + + COOPER + That sounds like a good idea. + + TARS + Great. Maybe you can use it to find your way back to the ship after I blow you out the airlock. + +Cooper looks at him. Tars looks back, deadpan. After a beat, the little light turns on above his right eyebrow. + +The doors to the bunker begin to grind closed. + +/* 43. */ + +INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY + +Cooper walks in, still looking for a place to put his things. + +Brand sees him. He smiles in greeting. She doesn't return the gesture. Instead, she holds up the telemetry board. + + BRAND + You don't like this one, you get to help me find a replacement. + +She heads for the door. + +EXT. BAY, SANTA CRUZ ISLAND -- DAY + +Cooper is riding in a small rubber zodiac struggling to pull on a wetsuit. Brand is GUNNING the engine, guiding the tiny craft to a point in the middle of the bay. + + COOPER + I was wondering where you've been getting your supplies. + + BRAND + We knew we'd need decades of parts and materials. The government was getting rid of some things. So we arranged to take some off their hands. + +She cuts the engine and hooks the boat up to a buoy. She tosses a compact rebreather. + + BRAND (CONT'D) + You know how to use one? + (off his look) + You just breathe. Tap my arm or bang something metal if you have a problem. And don't get lost. + +She picks up her rebreather and begins looking over it. + + COOPER + So you're a salvage diver now? I thought you were a biologist. + + BRAND + (UNIMPRESSED) + I have to be just the one thing? + (PATIENT) + We're not going to have a lot of backup where we're going, Cooper. We all need expertise in at least three fields. Except for you, of course. + +/* 44. */ + +With that she rolls backwards out of the boat and into the water. + +Cooper hastily fits his rebreather and follows. + +EXT. UNDERWATER, BAY -- DAY + +Cooper sinks underwater and begins swimming after Brand, who is descending at a rapid clip. + +She pulls out a flashlight and turns it on. A tiny beam picks out details at the bottom. + +Cooper stops breathing. + +The bottom of the ocean is covered with an entire fleet of the US navy. Nuclear subs. Battleships. Destroyers. + +Cooper remembers to breath again. Then he hurries to catch up with Brand. + +INT. LAUNCH TUBES, NUCLEAR SUB, UNDERWATER -- DAY + +Cooper holds the light as Brand efficiently disassembles a ballistic missile and removes the telemetry board. + +She holds it up for Cooper. He nods. She swims on. + +INT. RESEARCH LAB, UNDERGROUND FACILITY -- NIGHT + +Cooper, dripping wet, holding the telemetry board, struggles to keep pace with Brand through stacks of equipment and years of research and experimentation. + + BRAND + You can set that down over there. + +Cooper sets the board down. His eye is drawn to a bizarre experiment -- an ant colony built into a massive spinning centrifuge. Brand notices. + + BRAND (CONT'D) + We didn't know what kind of gravity to expect. We experimented with collective organisms in high g environments. + + COOPER + We're taking ants with us? + + BRAND + Humans are also collective organisms. + +/* 45. */ + + COOPER + I thought humans were more solitary. + + BRAND + (WRY) + Why am I not surprised? + +Cooper looks at the tiny colonies of ants struggling to go about their business in the raised gravity. + + COOPER + Looks like hard work. + + BRAND + It's a paradox. Life couldn't form without gravity. No stars. No planets. The component pieces would just drift apart. But too much of it and you're trapped. + +Brand's guard relaxes a tiny bit as she talks about her work. The moment passes quickly, and she continues on into the stack of equipment. + +INT. MISSION CONTROL, UNDERGROUND HANGAR -- NIGHT + +Cooper watches with the rest of the crew as Case pulls up the holographical maps for their journey. + +Brand steps into the back of the room. Cooper notices her and nods. She ignores him. + + CASE + We've updated our mission parameters based on the data from the probe. + +Case switches the map to a vista filled with stars and black holes. + + CASE (CONT'D) + Based on our latest modelling we think the region on the far side of the wormhole is the center of a galaxy. + +Case zooms in on the center of the hologram: an incredibly bright mass with plasma jets firing off in either direction. + + COOPER + Is that a star? + +ROTH, 50s, the crew's brilliant and blunt physicist, zooms the map in, revealing, at the center, a black heart. + +/* 46. */ + + ROTH + No. A black hole. There are several in the region, but this is the largest -- a billion times heavier than the sun. I call it Gargantua. + (SMILES) + Beautiful, isn't it? It's a shame we won't get to see it up close. + + DOYLE + (LAUGHS) + You'd like that, wouldn't you, Roth? Falling into a massive black hole. + + ROTH + (SHRUGS) + It would answer a great deal of questions I've had. + +Case continues. Doyle leans over to Cooper, conspiratorially. + + DOYLE + (LOW) + Don't worry about Roth. He's nuts. But Case says that means he's ideally suited for space travel. + +Case repositions the map near a much smaller black hole that is orbiting Gargantua. + + CASE + We're headed for this smaller black hole. Roth calls it Pantagruel. We think the ice planet is here- + +Case draws a finger through the air, leaving a red trail. He traces the trajectory their ship will take. + + CASE (CONT'D) + We exit the wormhole here. And we slingshot around Pantagruel to reach the ice planet. This is the period in which we'll lose time. + + COOPER + Lose time? + +Roth shifts the hologram -- the stars and black holes flatten onto a sheet that bends, revealing the curvature of gravity. + + ROTH + High speed or high gravity both slow down time, relative to earth. + +/* (MORE) */ + +/* 47. */ + + ROTH (CONT'D) + The trip around the black hole will take us only a few days. But far more time will be passing back home. + +The ship's trajectory cuts through the deep gravity well of the smaller black hole to reach the ice planet. + + COOPER + How much time? + + ROTH + Based on the information from the probe -- as much as five years. + +Doyle looks at the tiny ship's trajectory, threaded between two black holes. He looks worried. + + DOYLE + I still think we're making a lot of assumptions. About the wormhole. About the planet. + (points to map) + The critical orbit here is incredibly dangerous. It's like walking on the rim of the volcano. + (BEAT) + Too fast and we get thrown off at close to the speed of light. Too slow and we get pulled into the hole and crushed. + + BRAND + As long as we're careful, we'll make it. + + DOYLE + How do you know that? + + BRAND + I find it hard to believe that someone would build a wormhole to a planet with water and oxygen just to lead us to a dead end. + + DOYLE + I thought you were a scientist, Brand. That sounds more like a hypothesis. + + BRAND + A guess. That's right. We don't have time to wait for conclusive proof. + +/* (MORE) */ + +/* 48. */ + + BRAND (CONT'D) + My guess is that the wormhole is there because someone is trying to help us. The same way we used to try to help animals when they were threatened with extinction. + + COOPER + Sure. Till we ran out of food and ate all of them. + + BRAND + (ANNOYED) + I guess I'm also assuming that whoever built the wormhole has a better plan than we did. If I'm wrong, we'll die, same as we'd die here anyway. + + DOYLE + What do you think, Roth? + +Roth leans forward, studying the map. + + ROTH + If we're guessing, then I'd say Brand's right. The wormhole couldn't exist naturally. I think it's there for a reason. That someone is trying to help us. + +Brand looks satisfied. + + DOYLE + So you think we'll have no problem navigating between two massive black holes to a tiny planet? + + ROTH + I think we'll probably be killed. + (off his look) + I said I thought there was a plan. Not that the plan was for us to find a planet like Earth to save a handful of people. + (SHAKES HEAD) + Birds don't learn to fly just so that they can find another egg and crawl back into it. + + DOYLE + If that's not the plan, then what are we supposed to be doing out there? + +/* 49. */ + + ROTH + (SHRUGS) + To keep moving. Seeking. Learning. But I don't know. + (SMILES) + We don't understand how they built the wormhole. What makes you think we could understand their plan, either? + +Doyle gives up -- Roth is impossible. + +Cooper looks at the tiny ship tracing an improbable route towards the ice planet. What has he gotten himself into? + +INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY + +Brand's Father is sitting at a desk, examining the corrupted data on the probe. Tars is helping him. + +Brand's Father looks up from the screen as Cooper walks up. + + BRAND'S FATHER + Tars here needs to be disassembled. I figured you could do the honors. + + COOPER + (to Tars, sarcastic) + I thought I was going to get to enjoy your company all the way to Mars. + +Tars hands him a plastic waterproof case. + + TARS + You will. My chassis is too heavy for the rocket stage. They have another one waiting for me in orbit. + +Tars turns his back to Cooper. Two flaps on the back of his torso slide open, revealing his control module. + + TARS (CONT'D) + If you try to turn me into a combine harvester, I'm going to-- + +His voice cuts out as Cooper removes the chip and seals it in the briefcase. + +Brand's Father resumes exploring the chaos of ones and zeroes on the probe's memory. Cooper watches. + + BRAND'S FATHER + It's noise. I know it's noise. But it looks too orderly. Probably just an old man seeing things. + +/* 50. */ + +He shuts down the monitor. + +INT. UNDERGROUND HANGAR -- DAY + +The crew file into the capsule, wearing their bulky spacesuits. + +Cooper watches as Brand's Father seals his daughter into her suit. He hugs her and she heads for the capsule. + +INT. CONTROL CAPSULE, ROCKET -- NIGHT + +Cooper straps himself into a seat next to Brand. He catches her eye. She looks away -- she's crying. + + COOPER + We'll be back. + +It sounds like he's trying to reassure himself as much her. + + BRAND + I won't. + +Cooper looks at her, confused. As he does, the entire rocket SHAKES as the primary rockets begin to fire. + + BRAND (CONT'D) + If we find a habitable environment, I'm staying behind to build the colony. + +Brand wipes her tears away and settles into the same fearless mask she usually wears. She steals one last look out the window at Earth, then looks back. + +Cooper begins to say something, but stops as the entire rocket LURCHES as the primary engines FIRE. + +EXT. SANTA CRUZ ISLAND -- NIGHT + +The desolate island is suddenly painted in color as the rocket lifts off on a massive white cloud. + +EXT. FIELD -- DAY + +Murph sits alone on a rise overlooking the massive co-op farms. Behind him the combines continue to work, oblivious. + +Murph watches a tiny vapor trail as it races for the heavens. His father's watch dangles from his wrist. + +INT. CAPSULE -- NIGHT + +The interior of the capsule SHAKES with incredible violence as the rocket is lifted up on a giant, continuous explosion. + +/* 51. */ + +EXT. SPACE, NEAR EARTH ORBIT + +The rocket sheds one stage, then another, until finally the naked capsule reaches the blackness of space and rockets on. + +INT. CAPSULE + +Cooper looks through the tiny porthole into inky blackness. + +As they get closer, he makes out a looming matte black structure that passes light from the stars directly through. + +In the center of the structure, Cooper can see a globe-like ship covered in the same refractive material: the ENDURANCE. + +INT. SPACE STATION + +The door cracks open and equalizes with a HISS. Case, more comfortable in the zero gravity environment than the humans, hauls himself through. + +They are greeted by a group of robots painted in the same material as the ship -- the engineers who built and have maintained the Endurance for thirty years. + +INT. MACHINE SHOP, SPACE STATION + +One of the robots leads Cooper through a long lab-like room filled with machines capable of fabricating almost anything imaginable. Cooper looks like a kid in a candy store. + +The robot reaches a vacuum-sealed package. Cuts it open, revealing a bipedal frame. + +Cooper begins LAUGHING -- Tar's new body is beautifully designed, but tiny, only about four feet tall. + + ENGINEER ROBOT + Would you like me to install the chip? + + COOPER + Oh, no. I want to see this. + +Cooper takes Tars's chip out of its plastic safety case and looks it over. The engineer opens a bay in the back of the frame and Cooper slides the chip inside. + +The frame begins its "handshake" -- lights illuminate on the body, muscles flicker from a long gestation. The eyes open. + + COOPER (CONT'D) + (SMILES) + Good morning, sunshine. + +/* 52. */ + +Tars takes one or two steps forward, rotating his arms -- the robot equivalent of a stretch. Cooper can barely hide his mirth at Tars's newfound lack of stature. + + COOPER (CONT'D) + Bit of a demotion. + +Tars turns back toward Cooper. He puffs out his chest and suddenly his stubby arms and legs telescope, unfolding into long, svelte limbs. When he's done he stands eight feet tall, even more impressive than his earthbound frame. + + TARS + I wouldn't call it that, exactly. + +He reaches out an arm and pats Cooper on the shoulder. + +INT. ENDURANCE, SPACE STATION + +Cooper and the others haul themselves into the ship. To Cooper's surprise, it's quite compact, and divided into two chambers, like nestled spheres. + + COOPER + The ship is tiny. + +Doyle, squeezing past him, smiles at Cooper's surprise. + + DOYLE + So is the wormhole. + +Doyle pats Cooper on the back. Cooper begins hauling gear inside. + +EXT. SPACE, NEAR EARTH ORBIT + +In complete silence, the Endurance detaches from the space station and rolls gently away. + +After a moment, its nuclear engines fire and the Endurance begins to accelerate steadily away from the Earth. + +INT. SPACE STATION + +The engineer robots who built the Endurance watch as their creation disappears into space. + +Their mission is complete. One by one, they shut down. + +INT. CREW QUARTERS, ENDURANCE + +The crew watch through a translucent section of the ship's hull as the Earth gets steadily smaller. + +Then they settle in for the long journey to the wormhole. + +/* 53. */ + +INT. CREW QUARTERS, ENDURANCE + +Tars is hunched over a small communications relay, one hand is holding a paint brush -- he is making delicate strokes, painting the relay a bright blue. + +Cooper watches him for a moment. Tars looks up. + + TARS + It's the comms relay. It will allow us to talk to earth, even on the far side of the wormhole. + + COOPER + I know. So why are you painting it? + +Tars looks almost bashful. + + TARS + It helps me calibrate my fine motor control. + + COOPER + Sure it does. + (SMILES) + You're pretty good. + +Tars double checks his work. + + TARS + I learned it during the war. + + COOPER + What'd you paint? + + TARS + Tombstones. + +Cooper watches him finish in silence. + +INT. COMMUNICATIONS ROOM, ENDURANCE + +Cooper watches a highly-compressed video of his son, Tom, talking about school. + + TOM + They said I can start an agriculture class a year early. + +Cooper shakes his head. + + TOM (CONT'D) + I've got to go, Dad. Hope you're safe up there. + +/* 54. */ + +Tom gets up to leave. Donald sits down in his place. + + DONALD + I'm sorry, Coop. I asked Murph to record you a message but he's still... well, he's still angry with you. I'll try again next week. + +The video cuts out. Cooper stares at the darkened screen. + +INT. ENGINE ROOM, ENDURANCE + +Cooper, Brand and Tars are moving the bundles of colonization equipment into bins along the wall of the craft. + +Tars pulls a stack of equipment out the stack and stows it against the wall. Cooper copies the procedure. + +They labor in silence, working their way along the hull. Cooper gets quicker with each bundle, keeping pace with Tars. + + TARS + Be careful. It's difficult to gauge mass in zero gravity. + + COOPER + How much do these things weigh? + + TARS + Four tons. + +Cooper looks at the incredibly heavy bundle spinning easily in his hands. He tries to stop it. Catches his hand. + + COOPER + Damn. + +He jerks his hand away, then pushes himself after the spinning bundle, trying to stop it before it can damage the hull. Tars helps him catch it inches from the hull wall. + +Brand floats over to Cooper, smiling at him the whole time with an exaggerated grin. + + BRAND + Smile. + +Cooper smiles, taken aback by Brand's sudden friendliness. + + COOPER + Why? + + BRAND + Because it lowers your blood pressure. + +/* 55. */ + +Cooper looks at his hand. Blood is pouring out of his palm in large glistening bubbles. + +INT. INFIRMARY, ENDURANCE + +Cooper, slightly embarrassed, is seated while Case is hunched over his hand, sewing the meat of it back together with perfect little stitches. + + CASE + How are you feeling? + + COOPER + Fine. The anesthetic is working. + + CASE + No -- I mean how is your mood? You seem to be developing good relations with everyone on the mission. Except perhaps Ms. Brand. + + COOPER + (EMBARRASSED) + You worry about my hand and I'll worry about my mood. + + CASE + Only five percent of my resources are devoted to human anatomy. Ten percent is the mission protocol. The rest is human psychology. + + COOPER + Why? + + CASE + We are floating in a total vacuum in a plastic ship powered by nuclear engines. But the most dangerous thing onboard is the three pounds of organic material in your skull. + + COOPER + If we're such a liability, why take us along? You and Tars could build the colony without us. You wouldn't need to bring food or oxygen. + + CASE + Because humans, despite your obvious physical shortcomings, are better at surviving than we are. Your programming is better than ours. + +/* 56. */ + + COOPER + Humans aren't programmed. + +Case stops, looking Cooper in the eye. + + CASE + Would you prefer I was honest? These things can be uncomfortable for humans. + + COOPER + Did they program you to be condescending? + + CASE + Yes. Of course. + (SMILES) + But you're not supposed to notice. + +Case finishes the stitches. Ties off the end. + + CASE (CONT'D) + Humans are good at surviving because evolution gave you magical thinking -- the idea that your relationships mean something. You can't explain the feelings, so you think of them as irrational. But they're not. They're programming. + + COOPER + (DEFENSIVE) + My relationships aren't programming. + + CASE + Exactly. You believe it so much you won't listen to me. + + COOPER + How would that make us better at surviving? + + CASE + When I die, the last thing I will see will be a diagnostic of my own power cycle. Would you like to know the last thing you will see? + +Cooper hesitates. Case senses the jump in his heart rate. + + CASE (CONT'D) + This conversation is making you uncomfortable. We should stop. + +/* 57. */ + + COOPER + No. I want to know. + + CASE + The last thing you will see before you die will be your children. + (BEAT) + Your mind does this to you to get you to fight a little harder to survive, to try to return to them, even if death is certain. + +Cooper looks away, overcome for a second with emotion. Case watches him, gauging his mood, whether he has said too much. + +INT. COMMUNICATIONS ROOM, ENDURANCE + +Cooper begins recording a message. He looks unsure. + + COOPER + We've almost reached the wormhole. + (BEAT) + Just in case anything happens, I just wanted to say... + (BEAT) + I love you boys. And I hope whatever your lives become, whatever is coming your way... you make the most of it. + +Cooper stops recording. Looks at the equipment, thinking it over. Erases the message. Stands to leave. + +As he steps to the door he notices Brand watching him through the window. She looks away. + +INT. OBSERVATION DECK, ENDURANCE + +Cooper steps out. Brand looks up at him. + + BRAND + We'll be able to communicate with Earth even from the far side of the wormhole. + +Cooper smiles, grateful for this small kindness. + + COOPER + I know. Thank you. + + BRAND + I can't imagine how tough it would be to leave your kids behind. + +/* 58. */ + + COOPER + You never had any? I thought I was a pariah for only having two. + + BRAND + Hard to settle down when you've spent your life waiting to leave the planet. + +Cooper looks at the holographic model of the black hole system. The ice planet looks precariously balanced, orbiting the smaller black hole. + + COOPER + Strange place to look for a new home. + + BRAND + You wouldn't want to get too close to the surface of the sun, either. Black holes are a more stable supply of power than stars in many ways. + + COOPER + You really think there's a plan? + + BRAND + I hope so. + (looks at him) + You don't? + + COOPER + I guess I just think we're on our own. + +Cooper looks at the impossibly complicated system of black holes orbiting each other. + +EXT. LAGRANGE POINT, SPACE + +Behind the ship, the sun is a distant light, not much bigger than the other stars. + + CASE (O.S.) + We've reached the wormhole. + +The ship slows as it nears a tiny, crystal mouth, just four meters or so in diameter. + +INT. OBSERVATION DECK, ENDURANCE + +Case looks at the wormhole on the screen. It glows with the light of stars billions of light-years away. + + CASE + Deploy the comms relay. + +/* 59. */ + +Cooper moves to the communications touchscreen. + +EXT. ENDURANCE + +The relay is released from the ship, and we finally get a look at Tars' paint job -- the stubby device looks like a 20th century mail box. + +The relay drifts in space. A signal light illuminates as it sends a test packet of data to the ship. + +INT. OBSERVATION DECK, ENDURANCE + +Cooper watches the comms screen. After a moment it TONES as it receives a data packet from Earth. + + CASE + Everyone take their station for transit. We're heading into the wormhole mouth. + +Cooper and the rest begin folding away equipment in the control room and moving into the outer layer of the ship. + +Case initiates a sequence on the keypad and the nuclear engines disengage themselves from the ship. + +EXT. ENDURANCE, SPACE + +The nuclear engines drift a safe distance back from the ship and then snap tight on their tether. + +INT. OUTER HULL, ENDURANCE + +The crew move into the tight, claustrophobic outer layer of the ship. They will have very little room as the ship passes through the wormhole. + +Tars detaches his legs in order to take up less space during transit. Then he tethers himself to the hull wall. + +Case is the last to join them. He detaches a small control module from the console, then pulls himself into the outer hull and seals the passageway. + +Case presses a button on the control module. With a GROAN, the hull walls of the ship begin to BEND. + +EXT. ENDURANCE, SPACE + +The ship's hull begins to CRACK open, revealing the inner chamber. + +/* 60. */ + +INT. OUTER HULL, ENDURANCE + +The SHUDDERING continues. The crew watch nervously as the control chamber below them suddenly opens itself to the cold blackness of space. + +EXT. ENDURANCE, SPACE + +The ship silently rolls itself into position, pointing the opening in its hull toward the wormhole mouth. + +Slowly, the Endurance pushes itself forward, closer and closer to the crystal-like mouth. Finally, it envelops the mouth, bringing it into the open chamber. + +INT. OUTER HULL, ENDURANCE + +As the crew watch, the wormhole mouth is positioned in the center of the inner compartment. + +Case presses a sequence key on the control panel and the ship's hull closes again, trapping the wormhole inside it. + +With a GRUMBLE, the ship begins contracting, squeezing itself down around the wormhole mouth. + +Cooper takes a deep breath as the center of the ship begins gently lowering itself into the wormhole mouth, feeding itself into the wormhole from the inside out. Cooper watches as Doyle is swallowed into the compressing ship with a GRUNT. + + TARS + Would you like me to make a joke? + + COOPER + (FIRM) + No. + +Cooper's turn: he is fed into the hole, legs first, then waist, torso, and, finally, his head. + +EXT. SPACE + +The Endurance shrinks as it sinks from the inside out into the wormhole. + +After a moment, it's gone. The only thing left behind is the comms relay, drifting in space, waiting for a signal. + +INT. OUTER HULL, ENDURANCE + +The ship continues to slide through the wormhole. Through the outer hull they see images of themselves repeating -- a trick of the narrow collar of space they are sinking through. Cooper smiles at himself. The experience is unnerving. + +/* 61. */ + + COOPER + Where are we? + + ROTH + (SMILING) + Nowhere. Nowhere at all. + +Nowhere is still pretty damn claustrophobic. + + CASE + The hull is intact. Thirty more seconds transit. + +For a moment, the ship slides gently, silently, through the wormhole. The quiet is eery. + +Suddenly, a point of distortion appears in the hull next to Cooper. It looks like someone is pushing against the hull of the ship with a giant finger. + + COOPER + Something's happening to the hull over here. + + CASE + Hull integrity is fine. + +The distortion moves along the hull, growing in diameter. + + COOPER + Well, I don't know what your display is telling you but something is happening over here. + +Suddenly, along the hull, Doyle speaks up, panicked. + + DOYLE + I've got a problem over here, too. + +Doyle is watching a separate distortion move across the inner wall of the ship. This one seems to be TWISTING the material of the hull. + +Suddenly, the point in front of Cooper detaches itself from the outer wall and moves through the space in front of him, bending the empty space itself, distorting the ship behind it like a sphere-shaped magnifying glass. + + DOYLE (CONT'D) + It's not the hull... it's inside the ship... it's... + + ROTH + (SMILES) + It's beautiful. + +/* 62. */ + +Roth watches as the distortions move through the ship. His curiosity doesn't make anyone else feel any better. + + DOYLE + What the hell are they, Case? + + CASE + I don't know. It could be gravitational turbulence. + +The twisting sphere in front of Doyle begins to grow. + + DOYLE + It's getting bigger. + +Doyle puts up his hand to defend himself. The sphere absorbs it, twisting Doyle's hand. Doyle CRIES OUT. + +His hand is twisted completely around, impossibly mangled. But Doyle, hyperventilating, isn't in any pain. + + ROTH + It's not bending your hand. It's bending the space around your hand. + +The sphere begins to pass through Doyle's body. Doyle is freaking out. + +The sphere in front of Cooper makes contact with him, also. He holds his breath as it touches him, squeezing and distorting his body. + + BRAND + This isn't turbulence. Look at the way they're moving -- it's like something's examining us. + +Cooper watches the sphere distort his arm, running along the length of it. + + COOPER + Can you ask it to stop? + +Suddenly, as quickly as they appeared, the distortions vanish. For a moment, the crew is silent, still spellbound by the encounter. + +An ALARM sounds. Suddenly, the inner chamber begins to distort from a spherical shape to bispherical: two spheres joined. The ship GROANS as if it's being pulled apart. + + ROTH + The wormhole is splitting into two paths. Radiation is pouring from one path to the other. + +/* 63. */ + +Case stares at the controls. Decides. + + CASE + Release the second mouth. + + DOYLE + None of our testing involved opening the ship inside the wormhole. We have no idea what might happen. + + CASE + We're going to find out. + +Doyle reaches over to an auxiliary panel and punches in a sequence. + +After a moment, the hull cracks open, creating a channel through which the radiating mouth can escape. + +The opening in the ship allows the pressure to begin to concentrate on one fracture point. The ship SHUDDERS as it's squeezed along its axis. + +Case punches in a code and the ship begins to close again, painstakingly slowly. Finally, the ship calms as it closes around the original wormhole. + + CASE (CONT'D) + We're reaching the far end of the wormhole. + +Suddenly, the wormhole mouth begins to grow inside the inner chamber. What was a ball of light spreads out into a black canvas studded with points of light -- like looking into the universe through the wrong end of a telescope. + +Cooper presses himself against the wall and holds on as the hull beneath him opens outward. + +EXT. WARPED SIDE OF THE UNIVERSE + +The Endurance emerges from the opposite end of the wormhole from the inside out. It drifts in space. + +INT. OBSERVATION DECK, ENDURANCE + +For a moment, the crew are silent, taking it in. + + ROTH + Look at that. + +Roth is looking through the translucent panel on the hull. + +They are on the warped side of the universe. + +/* 64. */ + +EXT. WORMHOLE MOUTH, WARPED SIDE OF THE UNIVERSE + +The vista is dazzling -- an ocean of massive stars and black holes, some adorned with jets and brilliant gas disks. + +At the center, like a king at the center of his court, is Gargantua, plasma jets spewing from its poles. + +INT. OBSERVATION DECK, ENDURANCE + +The crew pull themselves back into the control deck from the outer hull. Their incredible surroundings are visible in all directions as Endurance passes the light into the cabin. + + CASE + Reconfigure the engines and test the communications array. + +The crew break themselves away from the view and get to work. Roth begins adapting his models of the local system with the real observational data pouring in from the ship's instruments. + +Cooper pulls himself to the comms post. PINGS the relay they left on the far side of the wormhole. + +EXT. WORMHOLE MOUTH 'A', SPACE + +The blue and white comms relay LIGHTS up as it receives a packet through the wormhole. + +INT. ENDURANCE + +After a nervous moment, the comms computer TONES with a response -- they're still in touch with the Earth. + + COOPER + It's working. + +Tars finishes reeling the nuclear engines back in from their tether and locks them into place. + +Roth's updated model appears on the monitors. Brand stares at it, startled. + + BRAND + We're moving. + + DOYLE + That's not possible. We haven't activated the engines yet. + +The ship's skin illuminates, overlaying a plotted course on top of the view. + +/* 65. */ + +They are moving, very rapidly, on a course that leads directly between the black hulks of Gargantua and Pantagruel. + + CASE + Roth. Why are we moving? + +Roth looks at the stars, then back to his model. + + ROTH + The smaller black hole. We're much closer to it than the models predicted. We're being pulled by its swirl. Very quickly. + +The crew looks out through the hull. They are being pulled into Pantagruel's swirl -- a glittering disc of matter spinning at high speed around the hole. + +Doyle looks behind them. The wormhole mouth is rapidly growing smaller. + + CASE + Doyle. Fire the engines. Now. + +The ship's engines FIRE, straining to fight the irresistible pull of the supermassive black hole. They won't be able to fight it for long. + + DOYLE + We're being pulled into it? + + ROTH + No. I don't think so... + +Roth looks at the instrumentation for a moment. + + ROTH (CONT'D) + It appears to be pulling us on exactly the trajectory we modelled. If we try to fight it, we could push ourselves off of that trajectory. + + DOYLE + You don't know that. + +Case stares ahead into the darkness. + + ROTH + We should turn off the engines. Let the swirl take us. + + DOYLE + (FRANTIC) + Listen to me. + +/* (MORE) */ + +/* 66. */ + + DOYLE (CONT'D) + If the modelling was wrong, then we can't be sure about anything. We need to go back. + +Case thinks it over. Decides. + + CASE + Shut down the engines. + +The engines shut down. + +SILENCE. The ship drifts for a moment in the swirl, then begins to move. + +EXT. ENDURANCE + +The ship accelerates as it is pulled by the irresistible force of the black hole onto an inspiraling orbit. + +INT. OBSERVATION DECK, ENDURANCE + +The crew watch as the ship hurtles around the black hole at higher and higher speeds. + +The sky overhead begins to spin due to their motion -- faster and faster until it becomes a blur. The ship begins to GROAN as it appears to be pulled in two different directions. + +The ship is now speeding around the black hole at incredible speed -- one revolution every four seconds. The crew are suddenly SLAMMED against the hull in opposite directions -- some towards the black hole, some towards the opposite side. + +Roth looks at his model, which shows the projected path of the ship. It looks perilously close to the event horizon. + + ROTH + It's the tidal gravity caused by the black hole. It means we're right on the critical orbit. + +The comms screen lights up, TONING again and again, as it receives a long garbled update. Then it shuts down. Cooper drags himself along the hull until he reaches the controls. + + COOPER + We've lost contact with the relay. + +Case joins Cooper at the comms screen. + +While they're distracted, Doyle maneuvers himself over to the engine control. + +/* 67. */ + + COOPER (CONT'D) + One long garbled transmission came in. Then nothing. + +Case looks at the screen. + +Suddenly, the ship is JOLTED as the engines fire at full power. + +The crew looks over. Doyle is standing by the controls. + + DOYLE + I'm sorry. I can't let you kill us. We have to go back. + +The engines strain to fight the swirl -- but they're hopelessly outgunned by the gravity of the black hole. + +EXT. ENDURANCE + +Instead of reversing course, the Endurance begins to speed up, as it plummets closer and closer to the black hole. + +INT. OBSERVATION DECK, ENDURANCE + +Doyle's face sinks as he watches the controls -- on the 'volcano' model, the ship is now passing the crest and spiraling towards destruction. He has made a tragic mistake. + + DOYLE + Why isn't it slowing down? + + ROTH + We're being pulled towards the event horizon. + +ALARMS begin sounding throughout the ship as the projected course on Roth's model shifts, showing the Endurance being pushed up the rim, past the critical orbit and down towards the black hole's event horizon. + +Case takes control of the ship, trying to fire the engines forwards to speed them back up to safety, but it's too late. + + CASE + (CALM) + The engines don't have enough power to push us back. + + ROTH + They would if we used it all at once. + +Cooper is still trying to understand what Roth means as Tars locks himself into the engine compartment. + +/* 68. */ + + COOPER + What is he doing? + + BRAND + Saving us. + +Tars tears open the engine's control panel and begins overriding it. + +EXT. ENDURANCE + +Tars rips out the cooling circuitry. Then, holding on tight, he fires the engine. + +INT. OBSERVATION DECK, ENDURANCE + +The crew watch as Tars holds the engine, blasting it at full power into the swirl. The engine heats up white-hot. + + ROTH + Prime the remaining engine. When he detonates it, we'll only have a few seconds. If we overshoot we could be pulled into the bigger hole. + +Roth moves to the controls. + + CASE + Secure yourselves. The ship should be able to withstand the blast. + + COOPER + What about Tars? + +As the crew watches, Tars continues to hold the engine even as the casing around it begins to melt. Finally, it EXPLODES. + +EXT. SPACE + +Tars is thrown backwards from the explosion, tumbling through space as the ship is ROCKETED upwards. + +INT. ENDURANCE + +The ship is SLAMMED by the explosion. Cooper and the rest of the crew are SMASHED against the hull. Doyle is knocked unconscious. Brand steps over to him and cradles his head, trying to protect him. + +On Roth's model, the course slowly pushes outward, out of the danger zone, back to the original delicate orbit. + +As they near the original orbit, Case fires the remaining engine, pushing them back onto the outspiraling orbit. + +/* 69. */ + + CASE + It's going to be close, but we're going to make it. + +Brand looks at the instruments. Points to a tiny radar contact receding towards the massive black hole. + + BRAND + Tars. His transponder is still working. + +The ship's instruments TONE every few seconds as it communicates with Tars' onboard computer. + + ROTH + He's being pulled toward Gargantua. We can't help him. + +The crew watch, helpless, as the tones grow further and further apart. Then they stop. + +Cooper looks at Doyle, anger rising. Then he looks down. + +EXT. SPACE AROUND PANTAGRUEL + +The Endurance slowly spirals back away from Pantagruel, the sky slowing as the orbit grows longer. + +Finally, a tiny speck of light appears in front of the ship. + +INT. OBSERVATION DECK, ENDURANCE + +Roth watches as the Endurance races back away from the black hole and into a perfect orbit around a tiny ice planet. + +Roth looks up from his screen, smiling. + + ROTH + We're here. + +INT. OBSERVATION DECK, ENDURANCE + +As Roth and Doyle study the frozen planet below, Cooper tries in vain to signal the relay on the Earth side of the wormhole. + +Brand and Case are having a private conversation away from everyone else. Cooper walks over. + + COOPER + I still can't contact the relay. + +Brand ignores him at first. She nods at Case. + +/* 70. */ + + COOPER (CONT'D) + Did you hear me? We're not able to communicate back home. + +She waves him off. But she looks shaken by something. + + BRAND + I've already checked it. It's electromagnetic interference. We'll try again in a few hours. + +Cooper begins to ask her what's wrong, but she moves off. + +Roth looks up from his monitor, excited. + + ROTH + I've got a signal. But it's local. + +A familiar CHIRP plays over the ship's speakers. + + ROTH (CONT'D) + The remaining probes. We found them. + +She looks at the monitor. The probes ping the ship with their locations, which pop up on the monitor. They're all clustered in one spot. + + COOPER + How could they all have landed in the same place? + + ROTH + (SMILES) + Let's go find out. + +Case programs a course that will lock the ship in orbit above the probes on the surface. + +EXT. SPACE ABOVE ICE PLANET + +The ship settles into orbit a few hundred kilometers above the surface of the ice planet. It can't get any closer: + +The space below it is choked with hundreds of tiny moons -- a cruder version of Saturn's rings. The moons are hurtling around the planet at high speed. + +INT. AIRLOCK, ENDURANCE + +Brand ushers Doyle into the landing module. Cooper objects. + + COOPER + We're bringing him along? + +/* 71. */ + + BRAND + We need all the help we can get. Besides, the alternative is to leave him on the ship alone. You think he'll still be here when we get back? + +Cooper steps aside, allowing Doyle onboard. + +EXT. SPACE ABOVE ICE PLANET + +The lander detaches from Endurance, rolls over on its belly, and FIRES thrusters to sink towards the planet's surface. + +INT. LANDER + +The crew watches, fascinated, as the ship descends, navigating between the moons that hurtle past. + +The moons are vastly different than our own; potato shaped and only one to two miles in circumference, they are hugged in a close embrace with the ice planet, only a few hundred thousand feet from the surface. + +EXT. SURFACE, ICE PLANET -- NIGHT + +The lander touches down on the ghostly surface of the planet. + +EXT. SURFACE, ICE PLANET -- NIGHT + +After a moment, the hatch HISSES open and the team steps out, led by Case, holding a rifle. + +The team sets out, moving slowly in their cumbersome suits. + +Lit by the nebula, the surroundings are a little brighter than a full moon on Earth. + +Not that there's much to look at. They are standing on a sea of ice, which spreads for miles. In the distance, small rock formations break through the ice. + +Brand takes a surface reading of the ice. + + BRAND + (RADIO) + The probe was right. Looks like significant amounts of oxygen trapped in the ice. + +Case leads the way, drawn by a signal only he can hear. He walks fifty yards, then stops on a gentle slope that leads down into a small valley. + +/* 72. */ + + CASE + The other probes should be directly beneath us. + +Case and the others begin digging into the hillside. Cooper is drawn to a small mound in the middle of the valley, four feet high. He takes out a small folding shovel and begins scraping at the ice and snow. + +Case hits something solid. But it's not a probe. He digs around a little more, then reaches up and hacks away at the hillside, revealing the outline of something metal: + +A door. They're not standing at the base of a hill -- it's a shelter. The crew stands back, unsure what to make of it. + +A few feet away, Cooper cuts enough of the mound away to reveal something flexible -- fabric caked with ice. He scrapes away the snow, revealing a bright patch of red fabric: + +It's the flag of the People's Republic of China. + + BRAND + How could the Chinese have gotten here first? The federal government kept the wormhole a secret. + +Case shrugs. He has a soldier's gallows humor about his old employer's ability to keep anything a secret. + + CASE + They didn't do a very good job. + +Case reaches for the door of the shelter. It's sealed shut with ice. He wrenches it open. + +INT. CONTROL MODULE, CHINESE BASE CAMP -- NIGHT + +Case steps into the shelter, followed by the rest of the crew. His lights pick up several years worth of dust. + +Case steps up to an equipment locker. Forces it open. Inside are half a dozen black probes. Exposed to light, the probes begin TONING like the one Cooper found in Texas. + + DOYLE + The Chinese must have captured them. So they couldn't return to us. + +The crew stare at the probes for a moment, taking it in. + + BRAND + Then how did the probe that Cooper found return? + +/* 73. */ + + ROTH + The more immediate question is what happened to the Chinese expedition. There's no sign of their ship in orbit. And they never returned to earth. + +Roth picks up an ancient vacuum sealed package of pickled egg. Virtually none of the rations have been eaten. + +EXT. VALLEY, ICE PLANET -- NIGHT + +Cooper and Brand scrape ice from one of the other small hills surrounding the valley, revealing another structure. Cooper forces the door open. + +INT. BARRACKS, CHINESE BASE CAMP, ICE PLANET -- NIGHT + +Cooper and Brand let themselves in. The shelter is well stocked with food and equipment. + +Brand is taking readings with a radiation detector. + + BRAND + The whole place has been dosed with huge levels of radiation. What happened here? + +Cooper looks at the pieces of a modular, one-person rocket, a last-ditch means of escape, stored, untouched in the shelter. He steps back, realizing something. + + COOPER + This is the Taichung mission. + + BRAND + The Mars mission? The Chinese claimed it had been destroyed on landing. + +Cooper looks over the relay log. + + COOPER + They never landed. Not on Mars. Four human crew, fifteen robots. The log says the base has been here for thirty years. + +Case's familiar voice comes through the radio. + + CASE (O.S.) + I've found something. + +/* 74. */ + +INT. UTILITY MODULE, CHINESE BASE CAMP -- NIGHT + +The structure is filled with drilling equipment. Cooper and the rest of the team stand at the edge of a three-foot hole that has been drilled into the ice. + +A descending rig is anchored to the top of the hole. Doyle and Case struggle to pull themselves out of the hole. + + DOYLE + It goes down for a hundred and fifty feet, then stops. Tunnel's old -- the ice has reformed at the bottom. + + BRAND + I'm going to descend to take some samples. Cooper, want to make yourself useful? + +Cooper begins to say something, then bites his tongue. + +EXT. LANDER -- NIGHT + +Cooper emerges, loaded down with several containers of Brand's equipment. + +As he struggles through the wind and snow, his radio picks up data chatter between the mother ship and Case. The comms are just noise. After a moment, Case's voice cuts in. + + CASE (O.S.) + Get back here, Cooper. We've got a problem. + +Cooper continues to wade through the snow. Suddenly, he trips over something, dropping the equipment. + +Cooper looks back. He tripped on a white plastic post sticking out of the snow. He dusts it off, to reveal a picture of a Chinese Taikonaut smiling in his flight suit. This is a grave marker. + +Cooper sweeps his hand through the snow, revealing three more white posts with pictures. The entire human crew has been buried here. + +INT. UTILITY MODULE, CHINESE BASE CAMP -- NIGHT + +Roth and Case are looking at a portable monitor, showing a projection of the nearby system -- the ice planet is a speck orbiting the local black hole. + + COOPER + The entire human crew is buried out there in the snow. + +/* 75. */ + +Roth looks up from the monitor and assesses the situation with his usual detachment. + + ROTH + I think I know what killed them. This planet isn't the only thing orbiting this black hole. + +Roth zooms the monitor in, revealing a tiny, impossibly-bright object appearing at the horizon of the black hole. + + ROTH (CONT'D) + It's a neutron star. The black hole shields the planet's surface from it for twenty hours at a stretch. Time's about up. + +Even Brand looks rattled. + + BRAND + How long do we have left? + + ROTH + About five minutes. + + COOPER + Then what? + + BRAND + Then we die. The radiation will cook us alive. + +Cooper looks around, their predicament settling in. Case walks over to the edge of the mine shaft. + + CASE + We have to go down. + + COOPER + What about returning to the ship? + + BRAND + Not enough time. Case is right. The ice can shield us from some of the x-rays. + + DOYLE + It would take a thousand feet of ice to shield us. + +Brand gives up on the argument, sheds her equipment and clips herself to the line to follow Case down into the ice. + +Cooper looks at Doyle, then follows her. + +/* 76. */ + +INT. ICE MINE SHAFT -- NIGHT + +Cooper descends into the shaft. The only light is from his suit's light array. + +He reaches the bottom of the shaft, which opens into a small cave, the ice ribbed in wave-like patterns like the seafloor. + + COOPER + What is this? + + BRAND + A pocket formed by gas. There may be more below. + +The ice below them reveals nothing but murky blackness. Case has found some of the equipment left behind by the Chinese -- a battery-powered drill and a pick. + + DOYLE + We'll never make it far enough down. + + BRAND + Shut up. How much time do we have, Roth? + +Roth checks his watch with his usual detachment. + + ROTH + About three minutes or so until we're fully exposed. + +The rad meter Brand is holding begins to CHIRP with activity -- the radiation levels are rising. The ice will not be enough to protect them. + +Cooper sees that Brand has exhausted herself with the pick. He takes over for her. + +The drill that Case is operating GROANS as the thirty-year-old battery runs out of charge. Case casts it aside and begins SMASHING at the ice with his bare hand. + +Brand is looking at the walls of the ice pocket, looking for fissures. Her lights pick out something in the ice. She LOOKS CLOSER: + +Tiny black flecks. Brand, ever the scientist, forgets their predicament and begins chipping at the ice. + + BRAND + I've found something. + +Case continues to pummel the ice with his hand, which is badly smashed. + +/* 77. */ + +He pulls off the hand and continues to hack away at the ice with the stump, trying to save his crew. + +Brand is examining a piece of ice in her hands, which contains several black flecks. As she shines her light on them, they FLUORESCE, giving off a tiny flicker of light, like a firefly. Brand steps back. + + BRAND (CONT'D) + These things... they're alive. + +Roth joins her, looking down at the tiny creatures trapped in the ice. Brand shines her flashlight over the ice again, but nothing happens. Roth takes the depth meter dangling by a lanyard from Brand's suit. + + ROTH + It's not your light they're responding to. It's this-- + +Roth takes the depth meter and waves it over the ice. Suddenly, the black flecks begin to shine. + + BRAND + X-rays. They feed on them and emit visible light. They've found a way to survive here. + +Roth looks at the shimmering light of the tiny life-forms trapped in the ice, mesmerized. + +Case hammers down with his arm, gouging a deep hole in the ice below. Suddenly, GAS sprays back up at him. He's found the gas pocket beneath them. + +Too late. Roth's rad meter begins BEEPING frantically. + +EXT. ICE PLANET -- ALIEN DAWN + +Overhead, a tiny ball is orbiting into view from the dark side of the black hole -- the NEUTRON STAR. + +Its humble size belies its power. As its rays hit the ice, the ice CRACKLES with energy. + +INT. ICE MINE SHAFT -- ALIEN DAWN + +Brand steps back from the ice in awe as it begins to glow. The microbes are absorbing the x-rays and emitting light. Within seconds, they are bathed in an incredible glow. + +Even Cooper stops, awed by the beauty of the display. Only Case is unmoved, continuing to SMASH at the ice with the broken end of his wrist. + +/* 78. */ + + BRAND + (looks at rad meter) + They're absorbing most of the x-rays. + + ROTH + Not enough, unfortunately. + +Suddenly, a CRACK as Case punches into the ice. Cooper looks down -- a great fissure has opened in the ice beneath them. + + COOPER + Case, wait-- + +Case PUNCHES again. Suddenly, with a great BANG, the ice floor disintegrates beneath them. + +They fall into the darkness. + +INT. CAVERN -- ALIEN DAWN + +Cooper falls. For a moment, the only light he can see is from Case, falling calmly a few yards beneath him. + +As they fall, the light from the microbes trapped in the ice above sweeps across the inside of the cavern, illuminating the floor of the massive cavern thousands of feet down. + +The rock formations they saw on the surface are actually the tip of a mountain range extending into the distance, disappearing into the ice above as if it were cloud cover. + +The base of the mountains is covered in a thick jungle-like foliage that runs into a perfectly-still inland sea. On the far side of the sea, another mountain range stretches into the distance, supporting the thick ice and rock cavern roof. + +Cooper only has a few seconds to take this in -- he is falling towards the huge inland sea below. + +Seconds before impact, a tiny warning light flickers on inside his helmet: IMPACT DETECTED. + +Suddenly, a small drag chute EXPLODES from a panel on the back of suit, slowing his fall. Airbags EXPLODE on his legs and torso to cushion the impact. + +Cooper SMASHES into the water. + +BLACKNESS. + +EXT. UNDERWATER -- DAY + +Cooper comes to underwater, as liquid is flowing into his suit from his shattered helmet. + +/* 79. */ + +Bubbles pour out from his suit and Cooper GASPS as his helmet fills with water and he begins to sink. + +As he sinks, Cooper pulls off his helmet, then tears off pieces of his suit. He forces himself through the neck of the suit and then swims upward. + +He is about to surface when he remembers where he is. He hesitates, just beneath the surface, lungs tightening as he runs out of oxygen. + +EXT. SEA, ICE PLANET -- DAY + +Cooper breaks the surface, COUGHS out water, and takes a panicked breath. + +He waits. Nothing happens. He opens his mouth again and breathes in almost pure oxygen. He can breathe. + +Treading water, he looks around. Spots lights in the water below nearby -- Brand, in her suit, is sinking. + +He dives down and struggles to haul her up by the suit. + +Cooper breaks the surface, looks at Brand. Her mask is also broken. + + COOPER + Breathe. Trust me. + +She refuses at first. Water is bubbling into her suit through the open mask. Finally, she takes a deep breath. + + COOPER (CONT'D) + Your suit is filling with water. I'm not going to be able to hold it much longer. I'm going to let go. + +Brand's eyes widen. + + BRAND + What do you mean, you're going to let go? + + COOPER + Take a deep breath. + +Brand takes a deep breath and Cooper lets go of her. + +EXT. UNDERWATER -- DAY + +Brand sinks. Cooper swims down, following her, ripping away at her suit. The tear-away seals on her suit are stuck fast, damaged in the fall. + +/* 80. */ + +Cooper finally breaks them off. Brand pulls herself out, free, and they swim for the surface. + +EXT. SHORE, ICE PLANET -- DAY + +Cooper drags himself out of the water and onto the beach. He turns back to offer Brand a hand. She waves him off. + + BRAND + I don't need your help. + + COOPER + I thought we were supposed to be a collective organism. + +She gives up and lets him help her out of the water. + +They sit together, soaking wet, trying to catch their breath. + + BRAND + Thank you. + + COOPER + Don't mention it. + +Cooper feels the rocks beneath him, which are translucent, like glass, and polished to an impossible shine. + +He looks up to see Case dragging Roth and Doyle, still in their suits, out of the water. + +EXT. SHORE, ICE PLANET -- DAY + +Doyle and Roth have stripped down from their suits and are breathing in the pure oxygen atmosphere. + +Case and Cooper are pulling modular pieces from their equipment packs to form a small shelter. + +Brand is taking readings with her instruments. + + BRAND + Oxygen atmosphere. Pure water. Temperate climate. + (TO COOPER) + You still think this is a coincidence? + +Cooper looks at the tree line, less convinced. + + COOPER + Looks like we can climb up the mountains back to the ice. We're down to three suits. We'll have to send someone ahead to get a fourth. + +/* 81. */ + + BRAND + I won't need one. + + DOYLE + Why not? + + BRAND + Because I'm not going anywhere. This is our new home. + +Brand picks up some of her instruments and a sample case and hikes into the jungle. + +EXT. SHORE, ICE PLANET -- DAY + +Cooper finishes constructing the modest shelter. They load the suits and the rest of their gear inside. + + COOPER + Any sign of Brand? + + ROTH + She's still taking samples. If you find her, tell her to head back. Night should be falling soon. + + COOPER + What happens then? + + ROTH + Your guess is as good as mine. + +Cooper hikes into the jungle to look for Brand. + +EXT. JUNGLE, ICE PLANET -- DAY + +Cooper finds Brand taking samples from the tree-like life-forms, which are wildly different from their counterparts back on Earth, piled in torturous coils, as if frozen in a struggle to punch through the canopy to reach the light above. + + BRAND + This is incredible. The organisms trapped in the ice above absorb x-rays and emit light. In return, these plants absorb the light and emit oxygen, which feeds the animals trapped in the ice. + +Brand cuts off a sample and drops it into the case. The transparent wall of the case magnifies the structure onto the glass automatically. She compares it with the flecks she collected in the ice above, fascinated. + +/* 82. */ + + BRAND (CONT'D) + Look at this. I think they're the same organism at a different stage of the life cycle. + (shows him the sample) + It's fractal. No individual cells -- the structure repeats all the way down. + +Cooper looks at the sample, then continues scanning the jungle around them, nervous. + + COOPER + Any sign of big life-forms? + + BRAND + The soil's been disturbed. So something's been moving. But I haven't seen anything. + (notices his look) + Cooper... are you nervous? + +Cooper stops scanning the trees, embarrassed. + + COOPER + I just think we should get back to the shelter before night falls. + +Overhead, the light from the ice above begins to fade -- the neutron star must have orbited out of view. Night is falling. + + BRAND + (LAUGHING) + Relax. If there are any large organisms here, even predatory ones, they're not going to attack us -- they have no idea what we are. + + COOPER + You don't know that. You just have blind faith this place is going to be some kind of Eden. + +Brand stops. He's struck a nerve. + + BRAND + (truly pissed off) + Faith has nothing to do with it. You know what you are, Cooper? You're just another in a long line of people saying 'no.' That this isn't going to work. And frankly, I don't have to convince you. + +/* 83. */ + + COOPER + What's that supposed to mean? + + BRAND + You're on this mission because you're another pair of hands. You want the truth? I told Case we should bring another robot over you. At least then I could just reprogram you to- + +She stops. Something has caught her attention. + + COOPER + What? + + BRAND + Nothing. I just -- I could have sworn it just moved. + +She walks to the thick, knotted trunk of a tree. Puts a hand on it. + +Overhead, the ice flickers out and the darkness begins to descend, more rapidly than on Earth. + +Suddenly, the tree SHUDDERS. Then, the bark begins to ooze over Brand's fingers. + +Brand snaps her hand away and steps back. Even for her, this is too much. She turns back to Cooper, who is looking at the jungle around them, spooked. + + COOPER + You know how plants don't usually move? Is that a universal rule? + + BRAND + No. There really aren't any rules. + +All around them, the life-forms begins to melt toward the ground, breaking down into different, smaller forms. + + BRAND (CONT'D) + (trying to stay calm) + Remember, we're the aliens. + +Cooper steps back as several pieces of the nearest tree drop onto the ground and begin scuttling toward him. + + BRAND (CONT'D) + Hold very still. Don't make any sudden movements. + +Two of the pieces join together, stacking themselves up and staggering toward him. + +/* 84. */ + +A third piece climbs onto the first two, looking for a good place to hang on. After a moment it hunkers down on top, forming a crude head. Thirty eye-like structures blink open on the creature. + +The skin of the life-form begins to flicker with a dim light like the animals trapped in the ice above, bathing Cooper and Brand in a warm glow. + +The creature creeps closer to them, taking them in. Cooper tries his best to seem non-threatening. + + COOPER + Hello there. + +The creature lurches toward him on three legs, then its head splits open and it BELLOWS. + + COOPER (CONT'D) + OK. Now we run. + +Brand doesn't argue. They turn and sprint through the trees. + +EXT. JUNGLE -- NIGHT + +Cooper and Brand smash headlong through the jungle. At first, they're running from the rumbling, smashing melee behind them. But as they run, the entire jungle around them begins to break apart and move. + +After a moment, they're surrounded. The jungle is completely disassembling itself into a million different pieces, each one a different size and shape than the others. + + COOPER + We have to reach the shelter. + +They head off, crashing through the melee. + +EXT. SHORE, ICE PLANET -- NIGHT + +Case, Doyle and Roth are standing in front of the shelter finishing the day's work. + +Doyle turns around. The jungle is breaking apart and crawling down the beach towards them. + + DOYLE + I think we've got a problem. + +Case and Roth look up to see the organisms picking up speed as they move towards them. + +Roth begins to step out towards them. + +/* 85. */ + + ROTH + Fascinating. I think- + +Case grabs him by the arm and pushes him bodily into the shelter after Doyle. + +Case pushes the door closed. + +INT. SHELTER, ICE PLANET -- NIGHT + +They crouch inside the shelter as the organisms begin POUNDING at the walls, trying to force their way inside. + +It's going to be a long night. + +EXT. JUNGLE, ICE PLANET -- NIGHT + +Ahead, Cooper can see the gleaming water of the inland sea, light still flickering in patches from the ice above it. + + COOPER + This way. + +Brand begins to follow. + + BRAND + No... wait. + +Too late. Cooper forces his way between two writhing creatures, steps through, and falls... + +EXT. WATERFALL -- NIGHT + +Cooper gasps as he surfaces from the ice-cold water. Brand floats past. + +The river appears to flow randomly down the slope, with good reason -- the forest rearranges itself every night. + +Ahead, the ground drops away again and the water rushes over it in a torrent. + +Cooper catches himself at the last minute, grabbing a thick tree branch with one hand and, a second later, Brand with the other as she slides past. + + COOPER + I've got you. + +Suddenly, the branch in Cooper's hand illuminates and wrenches itself out of the rock -- it's a limb of a huge colony organism. It shakes Cooper loose and they fall again... + +/* 86. */ + +EXT. POOL -- NIGHT + +Brand surfaces first. She grabs Cooper and hauls him up and out of the water. She smiles down at him, a little smug. + + BRAND + I've got you. + +Creatures begin splashing down into the pool behind them, as if imitating them. + +Cooper stumbles to his feet and Brand guides them backward into a small cave carved into the rock above the pool. + +INT. CAVE -- NIGHT + +Brand CRACKS a glow stick, basking the cave around them in a soft light. + +As they watch, horrified, the pool and the rocks in front of the cave fill up with creatures of all sizes, as they tumble down the hill in what appears to be a battle royal. + +For a moment, it looks like Brand and Cooper may go unnoticed. Then, a three-foot-tall creature with a dozen legs creeps its way toward the entrance to the cave. Another follows, and another, until the cave entrance is full. + +Cooper looks around the cave, frantic. He picks up a rock. Brand, scared but still thinking, takes the rock from his hand and drops it back to the ground. + + BRAND + It's game theory. The best move is always to cooperate at first. + + COOPER + By "cooperate" do you mean let it eat me? + + BRAND + These organisms have no interest in us. They survive by photosynthesis. All they need is light. + + COOPER + Then why are they killing each other? + + BRAND + I don't know. + (LOOKS AROUND) + But we're outnumbered, Cooper. So unless you have a better idea, I suggest we make nice. + +/* 87. */ + +The creatures move toward them hesitantly, then faster. + +Cooper stands stock still as the creatures gather around him. Several of them join up into bigger animals to get a better look at him. + +One of them wraps itself around his chest and begins prodding at his shoulders, then his neck. + + COOPER + (trying to be calm) + What is it doing? + + BRAND + It's a colony organism. It's trying to incorporate you into its structure. + + COOPER + I don't want it to incorporate me. + + BRAND + Don't open your mouth. + + COOPER + WHY N- + +As he speaks, the creature on his chest extends four spindly, pointed feelers and reaches gently into his mouth. + +Cooper holds his breath as the organism taps against his teeth. Its skin has a roughened texture, as if incomplete, and it appears to be searching for the same texture on Cooper's skin, without much luck. + +Bored, the life-forms climb back down off of Cooper. The last two creatures link up in an imitation of Cooper's lower body and attempt to walk across the room like a human. After a moment, the creatures tumble to the ground and flail away. + +Cooper is still breathing hard as the cave empties and he and Brand are left alone again. + +Brand steps to the edge of the cave and watches, fascinated, as the creatures resume wrestling and battling each other. + + COOPER (CONT'D) + They're killing each other. + + BRAND + No. They don't bleed... they don't die... they're just competing... trying out different shapes, looking for the best one. + +/* 88. */ + +Cooper watches as a hideously-awkward-looking, five-legged beast stumbles past and tackles another animal. + + COOPER + I'd say they have a long way to go. + + BRAND + (AMAZED) + They do this every night. + +As they watch, a two-foot-long creature with one huge claw scuttles along the ground, grabbing smaller opponents and smashing them apart, then sorting through the wreckage and adopting some of the writhing parts as its own. + +Something about the movement is endearing, the way it experiments with each piece -- less like a massacre and more like an over-caffeinated self-assembling erector set. + +Suddenly, a massive, lumbering creature SMASHES down in front of the claw beast. No match, the smaller creature turns to scuttle away. Too slow. The larger organism brings one club-like limb smashing down on top of it. After a moment, it lifts its claw -- the two animals have become one. + +The new organism lumbers away through the jungle, happily snapping its new claw at larger opponents. + + BRAND (CONT'D) + The behavior changes as the animals get bigger and bigger. More sophisticated. More calculated. + +Two of the larger organisms square off, circling each other, lights pulsing up and down their bodies in a fierce display. + + COOPER + But what are they competing for? + + BRAND + I don't know. + +Brand shivers -- it's getting colder. + +INT. CAVE -- NIGHT + +Brand and Cooper huddle around a small chemical fire they've brought with them. + +Brand looks at the sample of the fractal wildlife in her case. It's moving around, splitting apart, reforming, trying to find a way out. + +/* 89. */ + + BRAND + These creatures are billions of years older than we are. But they're relatively primitive. They haven't developed tools, culture, language. + + COOPER + Why not? + + BRAND + I don't know. No one knows how intelligent life began on Earth. But the surface of this planet has virtually no craters. No impacts. It's been sheltered by the local black holes. + + COOPER + What difference would that make? + + BRAND + Maybe not enough has gone wrong here. Maybe bad luck is the key to intelligent life. + + COOPER + (QUIETLY) + Murph's Law. + + BRAND + Exactly. Maybe our interaction with them will push them over the top. Maybe that's part of the plan. + + COOPER + (shakes his head) + The plan. + + BRAND + Why is it so hard for you to accept that someone might be trying to help us? + +Cooper is silent for a moment. His mood darkens. + + COOPER + I was in Denver during the first year of the famine. I was just a kid. We kept waiting for someone to come help us. People starved to death sitting on the ground, waiting for someone to come. + +/* (MORE) */ + +/* 90. */ + + COOPER (CONT'D) + (looks at her) + I only made it because I realized that nobody was coming to save us. We were on our own. + +Cooper looks away. The memories are never that far away. + + COOPER (CONT'D) + Honestly? After the things I saw... you want to know why I don't believe that someone would be trying to help us? Because I'm not sure we're worth saving. + +They sit in silence for a while. + +EXT. CAVE -- NIGHT + +Cooper sleeps. After a moment, Brand steps back out into the darkness. + +EXT. PLAIN -- DAWN + +Brand exhales great streams of frosted breath -- the temperature is well below freezing. The first flickers of light are visible in the ice above. + +The creatures are huge now, forty or fifty feet tall, battling each other more and more slowly. As Brand watches, the largest of them beats down his rivals, climbing to the top of the heap. + +Just as the beast reaches the top, it freezes, as if stuck. + +Above, the ice begins to shine brighter and brighter. + +Suddenly, the beast on top breaks apart, unfurling into planes to catch the light. This is what the contest has been about -- a better place in the sun. + +Brand takes it in. + +EXT. JUNGLE -- DAY + +Cooper and Brand pick their way their way through the foliage, which is now perfectly still, absorbing the light. Cooper looks at the plants, wary. + +Brand sees his trepidation and laughs at him. + + BRAND + They're not going to move now, Cooper. They need to spread themselves as thin as they can to absorb the light. + +/* 91. */ + +Cooper leads the way, pushing through the trees. + +Suddenly he stops again. Brand, annoyed, pushes through the foliage to join him. + + BRAND (CONT'D) + Cooper, honestly, you're a bit of a- + +She stops. Cooper is standing at a sheer cliff. + +Spread out on the plain below is a massive, fortified base. + +INT. CHINESE FORTIFIED COLONY -- DAY + +Massive blast doors, long since smashed in, open onto a building that has been overrun by the local fractal wildlife. + +Case steps inside first, his worklights flickering on. Cooper and the others follow him in. + +INT. MESS HALL, CHINESE COLONY -- DAY + +The room is barely recognizable -- the fractal life has covered the tables and chairs. Water pools on the floor and light streams in from a massive hole the fractal animals have punched in the ceiling. + + DOYLE + Looks like the Chinese picked a fight with the locals. + + COOPER + Looks like they lost. + +They continue through the ruins. + +INT. BARRACKS, CHINESE COLONY -- DAY + +The deeper they go, the less fractal wildlife they find. The barracks are pristine -- hundreds of perfectly made beds, waiting for colonists who never came, like one of the bunkers the federal government used to keep in case of nuclear winter. + + DOYLE + Look at the size of this place. They built it for thousands of people. But no one came. + +Brand looks around, determined. + + BRAND + They will. We can salvage it. This place will save us years. + +/* 92. */ + + COOPER + But why didn't they come? + + BRAND + (SHRUGS) + The Chinese government collapsed, same as ours. The people who knew about this mission probably died years ago. We had the same problems. + +Roth finds a sign he likes the look of -- it points to the science levels. + +INT. LABORATORY, CHINESE COLONY -- DAY + +A massive door GRINDS open and the team steps into a massive complex of underground laboratories. + +INT. DAMAGED LAB, CHINESE COLONY -- DAY + +Cooper and the others carefully make their way through a lab that has been completely emptied -- no desks, no chairs, nothing. The only thing that remains is a solid ball of matter in the center of the room. + + BRAND + What happened here? + +Roth stares at the ball, intrigued. + + ROTH + They were testing something. + +Cooper looks at the walls, which are bowed inwards. + + COOPER + Testing what? + +Roth is looking at the ball, which appears to have been built from layers of different material. The outermost layer is flattened steel. + + COOPER (CONT'D) + (LOOKING CLOSER) + Is that a chair? + +Roth looks. The outermost layer of the ball indeed looks like a steel chair, flattened with incredible force onto surface of the ball. + +Brand opens the door to the next lab. + +/* 93. */ + +INT. LABORATORY, CHINESE COLONY -- NIGHT + +The lab is empty, except for a large metal sphere on a pedestal in the center of the room. A black box is set into a cavity in the sphere, wired to a control panel. + +Cooper looks at the walls of the room, which have been bowed inwards, as if some great force had been pulling from the center of the room. + + COOPER + Everything in here is bolted down. + (looks at sphere) + What do you think this thing does? + + ROTH + (EXCITED) + Let's find out. + +Roth finds a control panel. Wipes off an inch of dust and begins tinkering with the controls. + + COOPER + I wouldn't turn it on until we can figure out what it does, Roth. + +Roth continues to look over the controls, oblivious. + + BRAND (O.S.) + Cooper. Come look at this. + +Brand calls out from the hallway. + +INT. STAIRWELL, CHINESE COLONY -- DAY + +Cooper follows Brand's voice down the stairs to a sub-basement beneath the lab level. + +INT. OBSERVATORY, CHINESE COLONY -- DAY + +Cooper steps into a huge space filled with a near perfect holographic representation of the local system. + +Cooper joins Brand and Doyle in the map, looking at the incredibly detailed models of each star. + +Case is standing at a terminal, hacking into the camp's records. + + CASE + I've found the Chinese mission logs. They're encrypted. + +Cooper walks over. Looks over the terminal. + +/* 94. */ + + COOPER + Old military-grade encryption. It's not very robust. + (looks at Case) + No offense. Hang on. + +Cooper punches a few keys into the terminal. Opens up the terminal. Scans the motherboard. Takes Case's rifle and SMASHES one of the chips on the board. + +The terminal comes to life. Cooper hands Case his rifle. + + COOPER (CONT'D) + That should open up most of it. + +Case is silent for a beat, parsing the information. + + CASE + They got here twenty years ago. The human crew was killed by radiation the first day. But the robots survived. They built the colony and radioed home. But they didn't receive a response. + + COOPER + No one was listening. + + CASE + (SCANS DOCUMENT) + After a few years they discovered a problem. + + DOYLE + What problem? + + CASE + It doesn't say. Their science team took the ship to continue exploring the system. It says they found some kind of... + (TRANSLATING) + ...The word literally means 'treasure.' + +Case skims through the rest of the logs, large portions of which have been redacted. + + CASE (CONT'D) + The science team returned after five years with a new technology. They began the experiments upstairs, then they left again and never returned. + +/* 95. */ + + BRAND + Where did they go? + + CASE + I don't know. They've deleted their mission plan. There's nothing else. + + DOYLE + I think I know what the problem is. + +Doyle is manipulating the time component of the map, slowing down the passage of time, reversing it, speeding it up. + + DOYLE (CONT'D) + Look. + +Doyle speeds up the map until the ice planet is nearly a blur, speeding in its orbit around Pantagruel. + + DOYLE (CONT'D) + There's a small black hole moving into the system. Too small for us to have seen in our survey. It's not going to hit the planet, but it's going to come close. + +A tiny black hole soars through the system. Although it misses the ice planet, it deflects its orbit by a tiny degree. After a dozen more orbits, the ice planet dips down close to Pantagruel's event horizon and is torn apart. + +Brand and the others watch as the sequence rewinds and repeats -- the planet is pieced back together again and ejected, then pulled back in and torn apart. Over and over. + + DOYLE (CONT'D) + This place isn't paradise. It's doomed. Just like us. + +The crew stand, watching the sequence in stunned silence. + + COOPER + How long does this place have? + + CASE + A few years. A decade at most. + +Doyle turns to Brand. + + DOYLE + So much for the plan. + +Cooper looks at Brand. She is in disbelief, staring as a lifetime's training and optimism are torn to pieces. + +/* 96. */ + + BRAND + But I don't understand... why are we here? What are we here for? + +Cooper looks down. Brand's upset is turning to anger. + + BRAND (CONT'D) + What the hell are we here for? I trained my whole life to reach this place. + +She looks at Cooper, questioning. + + COOPER + (GENTLE) + Maybe... maybe Roth's right... maybe we just don't understand it yet. + +She looks down. She knows he doesn't believe what he's saying. He's been right all along -- they're alone. + +For a tiny moment, all hope is lost. + +Suddenly, with a distant RUMBLE, the building begins SHAKING. + + COOPER (CONT'D) + Case, what is that? + + CASE + It's nighttime. The native life-forms are mobile again. + +The RUMBLE grows more intense, as if the entire building is being gently shaken. + + COOPER + No. It's closer than that. + (REALIZING) + Roth. + +The RUMBLE grows. As Cooper watches, Case's rifle slides free of the desk. But instead of falling, it simply hangs in the air. + +Then he realizes the same thing is happening to them -- his boots no longer have traction with the ground. After a second everything in the room is floating an inch off of the ground. + + COOPER (CONT'D) + Quick -- hold onto something. + +He reaches out to Brand but it's too late -- suddenly they're no longer floating, they're falling. + +They're falling up. + +/* 97. */ + +Cooper, Brand and the rest of them hit the ceiling. Cooper picks himself up and adjusts to his surroundings -- up is now down. He helps Brand up. + + DOYLE + What the hell is happening? + +Case doesn't answer -- he's looking up at the control equipment for the holographic display, which is GROANING under a load it was never built to handle. + +Case grabs Cooper and Brand and pushes them towards the stairwell as the control panel TEARS free of the floor and CRASHES towards them. + +Cooper falls into the stairwell -- now they're being pulled up and sideways through the stairwell, like an Escher painting. + +Brand pushes Cooper out of the way as debris from the control panel orbits past them back up towards the lab. + +They try to hang on but the force is becoming irresistible, dragging them along the wall of the stairwell and back towards the lab upstairs. + +Brand wedges herself against the railing as objects and debris are SMASHING against the door to the lab. + +Doyle is trying to hang onto the handrail but his grip slips and he CRIES OUT as he falls towards the door to the lab, SMASHING it open. Doyle disappears up and into the lab. + +Cooper slips trying to help Doyle. Brand reaches out for him... + +Too late. Cooper is pulled through the open door. + +INT. INTACT LAB, CHINESE COLONY -- NIGHT + +Cooper is pulled through the door and past the control panel. He reaches out and grabs the underside of the panel. + +He dangles, the panel cutting into the meat of his hand, trying to get his bearings: + +Roth, Doyle, and everything that hasn't been bolted down is either pressed against the sphere in the center of the room or is orbiting around it. + +Roth, who is laughing, jubilant, shouts up to him: + + ROTH + The control panel is beneath you. See if you can turn it off. + +/* 98. */ + +Cooper slips as he tries to reach the controls. Finally he finds the controls for the machine. + + COOPER + (YELLS UP) + I found it. Hold onto something. + +Roth and Doyle crawl up the side of the mass and hold onto the support wires. + +Cooper hits a key on the monitor. + +Suddenly, the room inverts again, reverting to a normal gravitational field. Cooper floats for a second, then topples back to the ground, along with everything else. + +Brand stumbles in to find Cooper sprawled on the floor as Roth and Doyle hang onto the sphere for dear life. + +INT. INTACT LAB, CHINESE COLONY -- NIGHT + +Roth, back on terra firma, is looking at the tiny black box he's pried from the center of the sphere. Cooper is looking over his shoulder. + + COOPER + They found a way to make gravity. + + ROTH + Not make it. Adjust it. Dial it up, or down. I think they were experimenting with it -- firing these into the black hole to try to save this planet. + + DOYLE + All that from one tiny box. + +Roth has hooked the box up to a terminal and it scrolling through the incredibly sophisticated machine code, trying to parse how it works. Cooper looks on. + + ROTH + (AMAZED) + It barely uses any power. I'm only beginning to understand what it does but I think it sends a signal out into the bulk. It must tap into the same technologies that were used to create the wormholes in the first place. + + COOPER + What does that mean? + +/* 99. */ + + ROTH + It means whoever built the wormhole probably doesn't exist inside our universe. + +Cooper looks at the tiny box. + + COOPER + But how did the Chinese develop the technology? This would take decades, maybe hundreds of years, to create. + + CASE + Wherever they went, they found something that allowed them to build it. + +Brand looks at the box. + + ROTH + They came back here and tried to use these devices to save this planet. But they didn't work. Nothing would be strong enough to weaken a black hole. + + BRAND + Maybe we could work with it. Try to improve it. + + ROTH + No. You're missing the bigger picture. The robots had strict mission parameters. They were told to build a colony and report back. They tried to. But they failed. Like us they were fixated on this place. + +Cooper looks at Brand. + + ROTH (CONT'D) + They didn't realize they had already found something that would save us all. + (holds up the box) + This. This is the prize. + +He holds up the box. + + ROTH (CONT'D) + Don't you see? Earth's gravity is like a prison. But this is like a master key. + +/* (MORE) */ + +/* 100. */ + + ROTH (CONT'D) + If we could build more of these, we could turn down the earth's gravitational field enough to save millions of people. We wouldn't have to pick a handful of people to survive. With this we can save everyone. + + BRAND + And go where? + + ROTH + Wherever we want. We don't belong in any one place. Can't you see that now? Not Earth. Not this place. Nowhere. If the human race is going to survive, we need to keep moving. Split up. Spread out. Fly. With this, we can. + +Case looks at the box. Makes a decision. + + CASE + In the morning we're taking this and going home. + +Doyle, Roth and Case set about making preparations to leave -- gathering space suits, equipment. + +In the bustle, Cooper finds Brand sitting alone, staring at the sample of fractal life. + + COOPER + I know this isn't exactly what you trained for. But I think Roth might be right. + + BRAND + That doesn't help this planet. This creature is doomed. Unlike us it doesn't have anywhere to go. + +The fractal organism almost seems to be looking at her, trying to comprehend. But it quickly loses interest and goes back to breaking itself into pieces and reforming into different shapes, trying to escape. Brand sets it back down. + +CUT TO: + +INT. BARRACKS, CHINESE COLONY -- DAY + +Morning. Cooper and the others prepare to head out. They are laden down with gear -- space suits for the return trip to the lander once they reach the surface. + +/* 101. */ + +Roth carries the gravitational prototype. + +EXT. ENTRANCE, CHINESE FORTIFIED COLONY -- DAY + +They make their way through the ruined entrance. + + CASE + We need to hurry. We only have a few hours to reach the ice before nightfall. + +Cooper stops. He puts a hand on Brand's shoulder. He points to the tree line. Something is moving. + + COOPER + Don't make any sudden movements. They can't hurt us if we're unarmed. + + BRAND + Who? + +Suddenly, three ROBOT MARINES step out of the jungle, weapons raised. They are wearing ghillie suits, pieced together from dried dead pieces of the local foliage. + +Under their camouflage, they looks identical to Case. With one key difference -- faded red and gold insignias. + +Case steps protectively in front of his team. + +The CHINESE OFFICER steps forward, rifle levelled. + + CHINESE OFFICER + Ni Hao. My name is Technical Sergeant Liu, 177th reconnaissance Marines, Army of the People's Republic. Welcome to New China. + (POLITE) + Please put down your weapon. + +Sergeant Liu speaks in the same even tones as Case -- they were probably built in the same factory before the war. + +Case keeps his rifle raised. + + CASE + This is a scientific expedition, not a military one. We are making our way back to our ship. + + LIU + I'm afraid I cannot let you do that. We will provide food and shelter and await further instructions. + +/* (MORE) */ + +/* 102. */ + + LIU (CONT'D) + We are sorry if this causes you any inconvenience. + +The sergeant is polite, but firm. + + BRAND + This planet is being pulled into the black hole. We all need to leave. + + LIU + We will await further orders. + + COOPER + Further orders aren't coming. Your government is gone. It ran out of money, same as ours. You're on your own. + + LIU + We can offer you food and shelter as long as you require. The facilities here are quite comfortable. + +Liu's tone remains polite, but there's no hope of changing his mind. Cooper takes a sidelong glance at Brand. + + COOPER + (LOW) + They're never going to let us go. + + BRAND + (TO LIU) + Your mission is a humanitarian one, wasn't it? You were sent to start a colony. Like us. + + LIU + Our mission was to prepare for the evacuation. This site was deemed unacceptable. + + BRAND + This device that you have built -- this could save millions of people. We need to get it back home. + +Brand points to the device Roth is holding. The Chinese robots seem particularly unhappy with this development. + + LIU + These technologies are the property of the People's Republic. + +/* (MORE) */ + +/* 103. */ + + LIU (CONT'D) + We have been ordered to prevent anyone from taking them. We have been ordered to prevent anyone from following. + + ROTH + Following? Following where? + +Liu pauses. + + LIU + We will await further orders. + + ROTH + Your name means six. Where did the others go? One through five? Is that who were not supposed to follow. + +Case turns to look at Cooper. + + CASE + (LOW) + Take the others up to the lander. Keep going. No matter what happens, don't come back for me. + +Cooper nods. + +Case moves. Fast. He FIRES one shot at the nearest robot, disabling it, then hurls himself at the remaining two, tackling them both over the edge of the ravine. + +Cooper watches them disappear into the void below. Grabs Brand and the others. + + COOPER + Come on. + +Cooper picks up the rifle from the destroyed marine and begins hiking up the mountain. + +EXT. MOUNTAIN PEAK -- DAY + +The crew hike towards the ice above. + +Below they hear a metallic BOOM as something heavy hits something else -- Case is still fighting. They keep moving. + +EXT. UPPER MOUNTAIN PEAK -- TWILIGHT + +They are high above the Marine camp, only fifty feet or so below the massive ice roof of the cavern. The Chinese have blasted a tunnel into the ice leading back up to the camp above. + +/* 104. */ + +This high, the air is bitterly cold. Cooper and the others are hunkered down, trying to keep warm, waiting for night to fall so that they can climb back up to the lander without being cooked by the neutron star. + +Finally, above them, the light begins to flicker out. The crew begin pulling on their space suits. + +Brand checks on the fractal wildlife in the sample case -- she is bringing it with them. Cooper catches her eye. + + BRAND + We can't leave them all to die. + +She hefts the case and they begin climbing up into the ice. + +EXT. SURFACE, ICE PLANET -- NIGHT + +Brand leads the way, the lights from her suit cutting into the drifts of snow as they make their way slowly back to the lander. + +As they reach the lander Cooper spots lights emerging from the ship. He raises Case's weapon. + +One of Liu's marines steps around from the back of the lander. Cooper FIRES. + +The marine collapses. + +Cooper and the others race to the lander. + + BRAND + Was that the last of them? + + DOYLE + We're not going to stick around to count them. Let's get out of here. + + COOPER + We're too late. + +Cooper points to a damaged section of the ship's hull -- the marine has torn open a section, revealing damaged hardware. + + COOPER (CONT'D) + The main thruster fuel supply. We're not going anywhere. + +Cooper looks down. They're stuck here. + + DOYLE + What about the escape rocket at the Chinese base camp? One of us could fit into it. + +/* 105. */ + + BRAND + It doesn't matter how many of us make it. We have to get this back to earth. + +Roth looks at the moons orbiting overhead. + + ROTH + Can the secondary thrusters still fire on the lander? + +Doyle looks over the craft. + + DOYLE + Sure. But we don't have nearly enough power for lift off. + +Roth holds up the small gravity black box. + + ROTH + (SMILES) + Yes we do. + +Roth sets off running towards the Chinese base camp. + +EXT. CHINESE BASE CAMP, ICE PLANET -- NIGHT + +Cooper drags the pieces of the escape rocket out from the shelter. Assembly is semiautomatic -- Cooper lifts the pieces up and they snap together, forming a crude two-stage rocket designed more for a robot than a man. + +When it's complete Roth wedges himself inside, clutching the black box -- he barely fits. + + ROTH + I can reach one of the moons in low orbit and turn up its gravity. As it passes overhead it should be able to slingshot the lander away from the planet's surface. + (LOOKS AROUND) + Along with everything else. + + COOPER + But we need to take the box back to earth. + + ROTH + You don't need this -- only the idea. The knowledge of how to build it. + +Cooper remembers something. Heads back into the shelter. + +/* 106. */ + +INT. CHINESE BASE CAMP, ICE PLANET -- NIGHT + +Roth follows Cooper into the lab. + +Cooper opens the storage crate. Picks one of the probes at random. Sets it down on the bench next to Roth. + +Cooper begins rigging up a connection between the two. + + COOPER + I'm going to image the operating code and the architecture onto the probe's hard drive. It'll be garbled, but it should give you and me enough to rebuild it when we get back. + +Cooper looks at the probe filling up with data. + + ROTH + Not me. But you'll make it work. + +The transfer is complete. Roth hands Cooper the probe, and takes the black box himself. + + ROTH (CONT'D) + This is a one-way trip for me. + +Before Cooper can respond, Roth heads for the door. + +EXT. CHINESE BASE CAMP, ICE PLANET -- NIGHT + +Roth squeezes himself into the rocket, hugging the black box to his chest. Cooper and Brand help him. + + BRAND + This isn't right, Roth. We can find a way for all of us to leave. + + ROTH + This is the only way. Keep the lander upright and fire the secondary boosters when the moon passes overhead. + + COOPER + Let me take it. + + ROTH + No. You need to make it home. You're going to need to build more of these. + +Brand looks at him, heartbroken. Roth smiles. + +/* 107. */ + + ROTH (CONT'D) + I understand the plan, now. Whatever happens, you have to keep exploring. Keep learning. One good idea isn't enough. You'll need more and more of them just to survive. Do you understand? + + BRAND + (NODS) + Thank you. + + ROTH + Go. + +Brand turns to follow Cooper back. + +Behind her, Roth's rocket LAUNCHES on an explosive cloud. In seconds it's high overhead. + +EXT. LANDER -- NIGHT + +Cooper checks over the hull, which is intact. Doyle is inside looking over the controls. He steps back outside. + + DOYLE + Control systems inside are online. + (LOOKS UP) + I've lost sight of the rocket. Do you think he made it? + + COOPER + We're going to find out soon enough. + +Brand is looking off into the distance. + + BRAND + Someone's coming. + +Cooper looks up. A robotlike figure is limping through the snowstorm towards them. Cooper raises the rifle. + +Finally he makes out the insignia -- it's Case. + +Cooper and Doyle run out towards him. They reach Case as he collapses in the snow. He's badly injured -- one leg torn off at the knee, one arm mangled. + +Doyle and Cooper drag the crippled robot back into the ship. + +INT. LANDER -- NIGHT + +They drag Case into the lander. Doyle checks over the ship's controls. + +/* 108. */ + + DOYLE + Close the door. + +Cooper moves to the door. Something's wrong. + + COOPER + Where's Brand? + +She's nowhere to be seen. Cooper looks out onto the ice. Brand is heading back out into the snow. + + COOPER (CONT'D) + Dammit. If I don't make it back, just keep going. + (points to probe) + Get that thing home. + +Cooper steps to the door. + +EXT. SPACE ABOVE ICE PLANET + +The rocket tucks in close behind one of the moons orbiting the ice planet. + +The rocket fires to maneuver closer and closer to the moon's surface -- the tiny moon doesn't provide enough gravity to attract it. + +When the rocket is close enough, Roth detonates the explosive bolts holding him inside and leaps for the moon's surface. + +He scrambles to grab hold of the craggy surface. Behind him, the rocket smashes apart against the surface. + +Roth finally gets a good hold. He looks down. + +Below him, the view is incredible -- the ice planet curving into the distance, Gargantua rising over its horizon. + +Roth looks at the black box in his hands. + +EXT. SURFACE, ICE PLANET -- NIGHT + +Brand is a hundred yards from the lander by the time Cooper catches up with her. She is digging in the snow. + +He takes her arm but she won't go. + +She finally finds what she's looking for -- the sample case. The tiny fractal life-form is huddled at the bottom. + +Cooper shakes his head and turns back to the lander. + +/* 109. */ + +EXT. MOON, SPACE OVER ICE PLANET + +Roth is watching the ice planet pass by beneath him. He finally sees the distant peaks of the mountain range as it punctures the ice near the Chinese camp. + +For a moment he enjoys the view -- the distant hulk of Gargantua rising over the horizon of the shining ice planet. + +He takes a final breath and activates the black box. + +Instantly, the moon's gravity is magnified a hundred million times over. Roth is instantly crushed as the moon collapses around him into a tiny sphere. + +EXT. SURFACE, ICE PLANET -- NIGHT + +Cooper and Brand are only thirty yards or so from the lander. + +Suddenly, the ground beneath them begins to RUMBLE. + +Cooper turns back. A mile back the ground begins to tear apart, heaving massive chunks of ice and rock into the sky. + +Roth's moon is racing overhead, TEARING up a massive strip of the surface's planet as it nears them. + +Cooper and Brand run. + +EXT. MOON, SPACE OVER ICE PLANET + +The energy being unleashed by the tiny box is incredible -- millions of times more powerful than an atomic bomb. + +The spray of debris is forming a rooster tail behind the moon, rocketing up from the planet's surface. + +EXT. LANDER, SURFACE, ICE PLANET -- NIGHT + +Cooper has almost made it back to the lander. Behind him, Brand stumbles. He turns back. + +Brand is pulling herself up. Behind her, the THUNDEROUS EXPLOSIONS as a strip of the planet's surface is hurled into space have almost reached them. + +Cooper looks at the ship. He'll never make it if he waits for Brand. He turns back to find her. + +He reaches Brand just as the moon's gravity hits them -- they're hurtled off into space. He grabs her hand. + +Seconds later, everything -- the entire ice sheet, the sea and rocks deep below -- is hurled up after them. + +/* 110. */ + +Brand and Cooper embrace as they rocket up through the thin atmosphere. + +Brand looks at him. + + BRAND + (RADIO) + You caught me. Now what? + +Cooper looks around. They planet's surface is breaking into pieces around them. + + COOPER + (RADIO) + I don't know. + (RADIO) + I figured if you were floating out into space, you'd want some company. + +He holds onto her as they fall up and out of the last of the planet's thin atmosphere and the blackness embraces them. + + BRAND + Between you and utter solitude, Cooper, frankly, I'm not sure. + +They reach the apex of their climb and the gravity of the planet begins to win out. For a moment they float. + + COOPER + Guess you were right -- too much gravity, or not enough. + +He smiles, forgetting their predicament for a moment. They stare into each other's eyes. + +Then they begin, very gently, to fall back towards the ice planet. + +Suddenly, the lander maneuvers beneath them. The airlock opens to catch them -- Doyle is at the helm. + +Brand and Cooper pull themselves aboard. + +INT. LANDER + +Cooper closes the door and Doyle rotates the lander outwards. + +Doyle FIRES the engines and the lander continues ascending into space as the debris around them begins crashing back down towards the ice planet. + +Cooper looks out the window: + +/* 111. */ + +The moon continues tearing up a massive canyon in the planet's surface as it circles out of view. + + COOPER + Roth. + + BRAND + He's gone. + +Ahead, a shadow looms in the darkness: the Endurance. + +INT. OBSERVATION DECK, ENDURANCE + +Brand, Cooper, and Doyle pull themselves out of the airlock and scramble to take control of the ship. + +Below them, the surface of the ice planet illuminates as the neutron star's x-rays begin to reach it from the far side of Pantagruel. + +Doyle finally gets the ship straightened out. Its sole remaining engine FIRES, rocketing the ship back towards the dark side of the planet, out of view of the neutron star, and back towards the original wormhole. + + DOYLE + I'm setting a course for the wormhole. + +They're going to make it. + +Cooper and Brand make eye contact -- Brand gives him a tiny awkward smile. He returns it, then descends below. + +INT. OUTER HULL, ENDURANCE + +Cooper props Case up against the workbench. He pulls down replacement arms and legs from storage bins. Unwraps them from their vacuum sealed plastic and bolts them back onto Case's chassis. + +Cooper finishes attaching the arm. Case rotates it, checking the function. + + COOPER + How is that working? + + CASE + Very well, thank you. + + COOPER + Good. We've already set the course, skipper. We're going home. + +Cooper hauls himself back up into the observation level. + +/* 112. */ + +INT. OBSERVATION LEVEL + +Doyle is setting the controls. The ALARMS on the controls have finally abated -- they're out of the danger zone. + + BRAND + We're safe now. + +Cooper heads to the communications equipment. + + COOPER + Now I know why we weren't able to hit the relay. It's not interference -- the blue-shift from the black hole is more than we thought it would be. + +Cooper begins re-calibrating the equipment. + + BRAND + (CONFLICTED) + Cooper, wait-- + +The ship PINGS the relay on the far side of the wormhole. + +There is no response. + + COOPER + Nothing. + (THINKS) + Wait. The ship cached one long garbled transmission when we first fell into the swirl. If we account for the blue shift then the computer might find something in there. + +Cooper brings up the last garbled transmission they received. The computer begins re-analyzing it, piece by piece. + + BRAND + (QUIET) + Listen to me -- the blueshift also means we've lost time. More time than we thought we would. + +Cooper looks up at her. + + COOPER + How much? + + BRAND + A lot... Cooper, maybe it's best if WE DON'T- + +The comms equipment TONES as it translates a packet. Then another. + +/* 113. */ + +Then a FLOOD of communications, one packet a day, hundreds and hundreds of packets: images, videos, audio messages from family and friends. + +Cooper watches, horrified, as the images play out across the screen. He is watching the lives of his family play out at light speed. Finally, the packets slow, then stop. + +Cooper looks at the results, in shock. + + COOPER + Forty seven years. + +Doyle joins him, staring at the screen, stunned. + + DOYLE + My kids... + +Cooper tries to PING the relay again. Nothing comes back. + + BRAND + (GENTLE) + The relay will have lost power years ago. That's why we couldn't contact it, even after we reached the planet. + +Cooper is still problem solving, thinking. + + COOPER + We could bypass the relay. Send a conventional shortwave signal. + + BRAND + Only a tiny portion of the signal would make it though the wormhole. Besides, no one will be listening anymore. + +The comms screen is dead. No movement. Nothing. + +Cooper looks at Brand, realizing something. + + COOPER + You knew, didn't you? You and Case figured it out when we landed. + +Brand looks down. + + BRAND + I thought... I couldn't be sure. + + COOPER + Sure you could. You're brilliant. You know everything. + +/* 114. */ + + BRAND + Cooper... we needed to keep going. I'm so sorry. Your children... + + COOPER + They're not children any more... if they're even still alive. + +He turns away from her. + + BRAND + Listen, the important thing is that we're going home, now. And we have something that can save everyone. It's more important than the people we left behind- + +Doyle cuts her off, filled with anger. + + DOYLE + That's easy for you to say. You didn't leave anyone behind. + +Cooper looks at Brand, his anger softened by sadness. + + COOPER + Yes she did. + +Brand looks at him, grateful for this small kindness. + + COOPER (CONT'D) + That's why you were upset -- your father. + +She looks down, filled with sadness. + + BRAND + He's gone. But there are other people who still need our help. There's still time... + +The ship's controls TONE in ALARM. Brand and Cooper turn: + +Case is standing at the controls. + + BRAND (CONT'D) + Case... what are you doing? + +Case finishes typing in a sequence on the command controls. Presses the "execute" button. + +The last nuclear engine begins to detach from the ship. + + BRAND (CONT'D) + Wait... no... + +/* 115. */ + +The robot turns from them. Cooper notices that the control module snapped into the back of Case's chassis is wrong: + +It's red with a gold star. It's not Case at all. It's Liu. + + LIU + I'm sorry. I have my orders. No one follows... + +Liu stares, satisfied, as the nuclear engine spins away from the ship and back down toward Pantagruel. + +Cooper SMASHES Liu from behind. The robot tumbles to the ground, the fight gone out of him. + +Cooper and Doyle roll the robot over and Cooper reaches for his control module. + + LIU (CONT'D) + No one follows- + +Cooper rips the module out. The robot freezes. + +Brand is already at the controls, trying to regain control. + +The instruments TONE, alerting the crew to their position: + +The ship is spinning back down towards the black hole. + + BRAND + No... We're being pulled back to Pantagruel. + +Cooper, frantically checks the controls, firing the remaining boosters. + + COOPER + We can't let that happen. We'll lose more time... too much... + +The boosters are no match for the deadly pull of the black hole below them. + +On the ship's guidance, they watch, helpless, as the ship climbs back up the volcano rim towards the critical orbit. + +As on their first trip, the black hole grows to dominate the bottom of the sky, and the stars above them become streaks -- time is speeding for them as they are whirled down into the deep gravity well around the hole. + +As they watch, trapped, decades begin to play out in the system above them. They watch as the ice planet whirls around them, orbiting the black hole dozens of times. + +/* 116. */ + + COOPER (CONT'D) + We're losing years. + +Finally, the ice planet plunges past them towards destruction. As it reaches it slows, until finally it reaches the event horizon, just as they saw in the projections. Nothing has prepared them for the reality: + +The ice planet is SMASHED apart with stunning violence. + +Brand looks at the sample of fractal life. Now they are united -- they are, in all likelihood, the sole survivors of their planet. + +Doyle points to the instruments. + + DOYLE + The wormhole. Look -- it's being pulled into the black hole as well. + +They watch on the holographic model as the wormhole's orbit converges on the event horizon of the black hole. + + BRAND + It's orbit mirrored the ice planet's. + + COOPER + What will happen to it? + + BRAND + It'll be destroyed, like everything else. + +Cooper struggles to pull himself over to the communications screen. Sets it to make a shortwave broadcast. Brand opens her mouth to point out that it's futile, then stops. + + COOPER + (INTO RADIO) + This is the crew of the Endurance. We... + (gives up on FORMALITIES) + Murph, I'm sorry. I'm sorry I didn't make it back, like I promised. + +He hangs up the radio. + +In silence, they watch as the wormhole -- their only way home -- vanishes beneath the event horizon. + + DOYLE + How much time are we losing? + +/* 117. */ + + BRAND + (HEARTBROKEN) + Decades...hundreds of years. + + COOPER + All of those people back home... none of them will make it. + +As Doyle watches the controls the ship continues to spiral towards the black hole. + + DOYLE + This is it. We're going to be pulled in. + +Cooper looks at the controls, an idea forming. + +He pulls himself down. Hauls himself across the deck to pick up Liu's chip. He plugs it into a diagnostic tool. + + BRAND + What are you doing? + + COOPER + Case said the Chinese found something else. The location was scrubbed from their records. But I bet he knows it. + +Cooper fires up the chip. Begins sorting through the onboard memory. + +Doyle watches the instruments. + + DOYLE + Hurry up. + +Cooper concentrates, poring over the numbers. Finally he begins feeding coordinates into the navigation computer. + + COOPER + Here. Can we reach it? + +Brand looks at the map. The point appears on the far side of Gargantua. Brand studies the trajectory. + + BRAND + We can use the thrusters to keep us on the critical orbit. Then slingshot us towards Gargantua. + +The thrusters STRAIN to push the ship back up towards the critical orbit. + +/* 118. */ + +Suddenly, the tidal gravity SLAMS them against the walls of the ship. + +Finally, the thrusters fire again -- a tiny push, but just enough to launch the ship clear of the black hole, like a rock out of a slingshot. + +The ship races toward the massive hole in the sky below them: + +GARGANTUA + +EXT. SPACE AROUND GARGANTUA + +The ship picks up more and more speed as it soars closer to the massive black hole's event horizon. + +INT. OBSERVATION DECK, ENDURANCE + +The sky closes to a tiny hole above them. Gargantua is swallowing their view. + +Cooper looks at the radar, which is choked with debris. + + DOYLE + We only have a few minutes before we're swallowed into that thing. What are we even looking for? + +On the radar, a tiny empty spot appears. + + COOPER + (points to screen) + That? What is it? + +Brand looks. In one tiny region on the back side of the black hole, the debris simply seems to vanish. + + BRAND + It's another wormhole. + +Doyle FIRES the thrusters again, pushing the ship towards the wormhole. + +EXT. SPACE AROUND GARGANTUA + +The Endurance spins, shifting paths slightly as it continues to race closer and closer to oblivion. + +INT. OBSERVATION DECK, ENDURANCE + +They study the controls. The projected path shifts, one degree at a time. Finally, it appears to put them on a path to hit the wormhole. + +Doyle shuts off the thrusters. + +/* 119. */ + + DOYLE + We're not going to be able to slow down. Hold onto something. + +He locks up the controls. + +EXT. SPACE AROUND GARGANTUA -- MORNING + +The ship is tumbling through space, racing toward the second wormhole. It is massive, much larger than the first wormhole, and it's glowing with a light as bright as a star. + +INT. OBSERVATION DECK, ENDURANCE + +The crew brace themselves against the hull of the ship. + +Suddenly the ship slams onto the wormhole mouth and is pulled violently into the wormhole. + +WHITENESS. + +As the light fades, Cooper and the others come to. + +The light is rapidly dimming from pure white, fading to a deep red, then infrared, finally darkness. + +Cooper looks out. Checks the instruments. Looks out again. + +EXT. VACUUM + +Nothing. Blackness as far as the eye can see. No stars. No planets. Just inky darkness stretching on forever. + +INT. OBSERVATION DECK, ENDURANCE + +Brand joins Cooper on the deck. Together, they look out at the blackness that surrounds them. + + COOPER + Where are we? + + BRAND + I don't know. It's like we entered the wormhole and never left it. + +Brand checks the instruments. There is nothing for the ship to model. + +There is nowhere to go. They drift. + +INT. OBSERVATION DECK, ENDURANCE + +Days go by. They check the instruments. Still nothing. It's as if they have left the known universe altogether. + +/* 120. */ + +INT. COMMUNICATIONS ROOM, ENDURANCE + +Doyle sits down. After a moment, he turns on the screen and cues up a message. + +His children appear on-screen, giggling, pushing each other, trying to get a prime spot in front of the camera. + +Doyle cups his face in his hands and cries. + +INT. CREW QUARTERS, ENDURANCE + +Cooper above his bunk, stares out into the blackness. + +Brand watches him from the doorway. + + BRAND + I'm sorry. I should have told you. I didn't have the right. + (BEAT) + But you should watch the recordings. You should know what happened to your kids. + +Cooper ignores her. + +INT. COMMUNICATIONS ROOM, ENDURANCE + +Brand watches her father talking to her on-screen. He is twenty years older than when she left him. + + BRAND'S FATHER + I'm not going to make it much longer. The machines will continue to maintain the station as long as they can and the communications will run as long as the station here still has power. I'm sorry. I hope wherever you are, darling, you're safe. + +The screen cuts out. Brand watches the static play out. + +INT. OBSERVATION DECK, ENDURANCE + +Doyle sits at the table. He has found a flare gun in one of the ditch kits. It is sitting on the table in front of him. The message is clear. + +Brand sits down across from him. + + BRAND + Our last trip past the black hole cost us another 100, maybe 200 years. Which means there's a good chance we're the only humans alive anywhere. + +/* 121. */ + +She stands up. + + BRAND (CONT'D) + I think the last human beings should have a little more fight in them than that. + +Brand picks up the sample of fractal life and places it under a lamp on the counter. It freezes, absorbing the rays. + +Doyle looks at the gun. + +EXT. ENDURANCE, VACUUM + +Cooper, in a space suit, steps out of the airlock. + +He drifts out from the ship. + +Nothing. Behind him, the ship is a tiny speck in an ocean of darkness. + +INT. COMMUNICATIONS ROOM, ENDURANCE + +Cooper sits down. Turns on the screen. + +After a moment, the camera turns on. Tom, his eldest son, still 15 years old, turns on the camera. + + TOM + Hi, Dad. + +Cooper pauses it. He can't take it. After a moment, he lets it run again. + + TOM (CONT'D) + I met another girl, Dad. I really think this is the one. + +Tom holds up a picture of himself and a teenage GIRL. + + TOM (CONT'D) + Murph stole Grandpa's car. He crashed it. He's OK, though. No broken bones. + +Cooper leans back. + +INT. COMMUNICATIONS ROOM, ENDURANCE + +Cooper is holed up, still watching, several days' growth of beard unshaved. He's been watching for days. + +On the screen, Tom is a grown man in his 20s. + +/* 122. */ + + TOM + I've got a surprise for you, Dad. You're a grandpa. + +Tom holds up an infant wrapped tight in swaddling. The kid is BAWLING. + + TOM (CONT'D) + Congratulations. Grandpa said he already earned the "great" bit so we just leave it at that. + +The screen cuts out. + +The next message begins. Tom is in his 30s. + + TOM (CONT'D) + Hi, Dad. I'm sorry it's been awhile. + +He stops, emotional. + + TOM (CONT'D) + Grandpa died last week. We buried him out in the back forty, next to Mom. + (LOOKS DOWN) + Where we'd have buried you, if you'd ever come back. + +He laughs, gallows humor. + + TOM (CONT'D) + Murph was there for the funeral. It's been a few years since I've seen him. He's been down in the Gulf Coast. He's an engineer. I guess someone followed in your footsteps after all. + +Tom looks down. + + TOM (CONT'D) + You're not listening to this. I know that. All of these messages are just out there, drifting in the darkness. + +He stops for a second. + + TOM (CONT'D) + You're gone. You're never coming back. And I've known that for a long time. Lois says -- that's my wife, Dad -- she says I have to let you go. So I am. + +/* 123. */ + +He reaches up to turn off the camera. + + TOM (CONT'D) + Wherever you are, I hope you're at peace. Goodbye, Dad. + +The image freezes, Tom's hand on the camera, then breaks apart into digital noise. + +Then nothing. + +Cooper looks at it for a second. Then rises to leave. + +Suddenly, the screen flickers to life again. + +A good-looking man in his late 30s turns on a camera. Cooper recognizes him instantly. It's Murph. + +Murph looks at the camera for a long beat, clearly unsure about this. + + MURPH + Hello, Dad. You sonofabitch. + +He laughs, self-conscious. + + MURPH (CONT'D) + It's your 60th birthday today. Thought I would celebrate with you a bit. + (BEAT) + I guess I understand why you left. The corn is dying now, too. Tom says there's less and less at harvest every year. + +He pauses. Lifts up his hand and scratches his stubble. + +Cooper pauses the message. He looks carefully at the screen: + +Murph is wearing his dad's watch. + +Cooper lets the message play. Tears are streaming down his face. + + MURPH (CONT'D) + Rot's setting in. I guess you were right for clearing out while you had the chance. + (reaches up to switch OFF CAMERA) + Good luck, old man. I hope you made it. I really do. + +The video cuts out. + +/* 124. */ + +A message appears on the screen: + +"Final transmission." Relay powered down 05232087 + +Cooper turns off the screen. + +INT. CREW QUARTERS, ENDURANCE + +Cooper is seated, alone. Almost every compartment has been opened and emptied -- debris is swirling through the compartment. + +Brand walks in. They sit in silence for a moment. When Cooper speaks, it's clear his sadness has faded to a gallows humor. + + COOPER + Not a single drink on the whole ship. What kind of mission is this? + + BRAND + I think Doyle's been experimenting with the coolant from his spacesuit. + +They sit in silence for a moment. + + COOPER + You really think we're the last humans alive anywhere? + + BRAND + I don't know. Maybe. + (looks him in the eye) + Yes. + + COOPER + So that's it, then? That's all? + +He looks down, saddened by his own words. + + BRAND + (QUIET) + It's happened a billion times over. Stars explode. The pieces drift in space. Gravity pulls them back together. They form new stars. Then planets. Then us. We die. It starts all over again. + +Cooper shakes his head. + + COOPER + What about the plan? The grand scheme. + +/* 125. */ + + BRAND + I thought you didn't believe in one. + + COOPER + I didn't. But you were bringing me round. + +He laughs, his anger coming and going in waves. + + COOPER (CONT'D) + What the hell was the point? What did it add up to? + + BRAND + I don't know. Maybe it just adds up to this. + + COOPER + This? You're saying the end result of ten billion years is the atoms from dead stars standing here disagreeing with each other. + +She smiles at him. Bittersweet. + + BRAND + Maybe that's enough. + +He turns away from her. She takes his shoulder. + +She pulls him into a kiss. His surprise disappears and he pulls her to him, kissing her back. + +Their surroundings forgotten, they drift. She LAUGHS gently as they bump into a wall and he pushes off of it, sending them spinning back into the center of the cabin. + +She pulls his shirt off and it hangs in space. In moments, the cabin is filling with discarded clothes, different colors and shapes, like a ticker tape parade. + +In the center of the cabin, Brand and Cooper make love. + +INT. CREW QUARTERS, ENDURANCE -- LATER + +Cooper and Brand embrace, sleeping, drifting in the cabin. + +Suddenly, Doyle's voice calls out from the other cabin. + + DOYLE (O.S.) + It's happening... it's happening again... Get up here... + +Cooper wakes, careful not to disturb Brand. He plucks his shirt from the floating laundry pile and pulls it on. + +/* 126. */ + +INT. OBSERVATION DECK, ENDURANCE + +Cooper hauls himself up into the upper cabin. Doyle is standing in the middle of the chamber. + + DOYLE + They just appeared. + +A sphere of distortion, like the one they encountered in the first wormhole, is directly in front of Doyle, hovering at a point in the middle of the cabin. + +Doyle points a finger gently at the sphere, which grows in response. + +Brand pulls herself into the cabin. Several more points appear, as if they've been summoned by the first. + +Some of the points twist, some of them spin, and some of them are motionless. + + BRAND + I think these are the creatures that built the wormhole. + +One of them begins to move closer to Cooper. + + COOPER + This thing is made of... gravity? + + BRAND + No. I don't think it's in our universe at all. I think it lives in the bulk -- the space that the wormholes traverse. And it can only interact with us using gravity. + +The shape playfully grows around Cooper's hand, bending the space it's in, stretching the skin. + +Doyle GASPS as the sphere nearest him moves through his body, coming to rest in the middle and bending his entire torso like a fun house mirror. + +Suddenly, the sphere wrapped around Cooper's hand begins moving, tugging him gently through the cabin. + +In the next moment, all three of them are being propelled through the cabin. + +It's a magical moment -- a communion, a dance between creatures on either side of a massive, invisible wall. + +Doyle exclaims like a kid on a roller coaster as he is whirled around the room. + +/* 127. */ + +Cooper and Brand collide with each other for a second as the bulk beings move them through space. They hold onto each other for a moment and then are pulled apart again as the whirling dance continues. + +Even the fractal creature is involved -- inside its cage, a tiny distortion ripples its fractal skin. The creature breaks apart and plays with the distortion around its enclosure. + +Finally, Brand disengages from the dance and pulls herself around the lab, looking for some way to try to communicate with the creatures. + +She finds two heavy pieces of engineering equipment and moves them close to each other, then far apart. + +The bulk beings soon join her, mimicking the motion of the pieces of equipment. + + COOPER + Can we communicate with them? + + BRAND + Where would we even start? Maybe-- + +She pull a bag of ball bearings out of a storage bin and tears the bag open, releasing a cloud of the tiny shining globes into the air. + +For a moment, nothing happens. Then, the distortions begin moving through the bearings, shifting them, rearranging them into patterns in the air. + +First, they rearrange the ball bearings into clusters, then shapes spinning around each other -- planets orbiting around a medium-sized star. + + DOYLE + That's our solar system. + +After a moment the ball bearings break apart again and rearrange into a larger, more complicated system -- Gargantua, Pantagruel, and the ice planet. + +Finally, the bearings compress to a two-dimensional sheet. Inside the sheet, one solitary ball bearing orbits around the stars and then pushes up, off of the sheet, into an umbrella shaped space that rises up from the sheet. + + COOPER + What is that? + +Brand looks at the tiny particle, floating alone above its universe. + +/* 128. */ + + BRAND + That's us. That's where they've brought us. We're in the bulk. + +Cooper and Doyle stare at the particle. The map is static now. + +Cooper looks around. The distortions have gone. The instruments on the ship TONE in alarm. + +Cooper walks through the map, sending the ball bearings scattering. He hurries to the instruments. The ship is moving -- picking up speed at a huge rate. + + BRAND (CONT'D) + They're moving us. + + DOYLE + Where? + +They stand, looking out into the perfect darkness. + +EXT. ENDURANCE, VACUUM + +The ship begins to close in on something in the darkness: a tiny point of light. + +As they grow closer, they realize that it's an opening. They are inside a massive, hollow sphere. They have been the entire time. + +The ship is guided out through the opening at the crown of the sphere. + +Below them is an astonishing sight: + +Our entire universe, compressed into a flattened disc, like a floor of stars. They are hovering above it, in the bulk, the space between universes. + +INT. ENDURANCE, BULK + +Brand and the others stare at the incredible display. + +The ship drops down and begins to orbit around the massive hollow sphere between them and our universe, lower and lower until it is skimming just above the surface of the sphere. + +In the distance, they can make out a cluster of lights. + + COOPER + There's something out there. + +The cluster of lights grows as they are propelled closer: + +/* 129. */ + +It's a massive space station, built onto the surface of the sphere. + +EXT. SPACE STATION + +The Endurance glides to a gentle stop on one of the upper decks of the space station. + +After a moment, the airlock to the ship opens and Cooper and the others step out, in their suits. + +They walk up to the airlock doors of the station, which open automatically. + +INT. SPACE STATION + +After the airlock decompresses, the inner doors open. Standing there, waiting for them, is a familiar figure: + +Tars. + + TARS + (DEADPAN) + I guess this isn't robot heaven after all. + +The light on his brow glows and he offers them both a hand. + +INT. GRAND LABORATORY, SPACE STATION + +The humans have taken off their space suits -- the station has been built to be habitable by humans -- and are following Tars through the massive facility. + + TARS + I orbited the black hole seven times before I hit the second wormhole. Then I drifted until I found this place. + +Cooper looks around. The halls are filled with countless technological wonders. + + COOPER + This is what the Chinese were protecting. + (LOOKS AROUND) + How they could have built all this in just a handful of years. + + TARS + They didn't. It took them four thousand. + (off Brand's look) + Time moves very slowly here + +/* 130. */ + + BRAND + How do you know? + + TARS + Because I've been waiting for you for three hundred years. + +Brand looks around at the massive facility. + + BRAND + Time. That's what the bulk beings wanted to give us. That was the treasure the Chinese found. Enough time to let us save ourselves. + +Brand looks around. The facility is massive. She sets the specimen case down on a table. Even the tiny creature seems in awe of the place. + +INT. LABORATORY, SPACE STATION + +Tars shows them a prototype for the gravity machine. It is tiny -- increasing G around two spheres that attract each other with a tiny force. + + TARS + I have catalogued almost everything they had built here. + + COOPER + Must have taken you a while. + + TARS + One hundred and fifty-seven years. + +Cooper shakes his head in disbelief. + + COOPER + How are they keeping the lights on in this thing? + +Tars, in answer, points to a far door. + + TARS + Follow me. + +INT. ENGINE ROOM, SPACE STATION + +A massive reinforced-concrete shell shudders with the energy contained within it. The whole room HUMS with power. + +Tars pulls up a display showing the inside of the shell: + +A tiny black hole spins, spewing out massive amounts of power. + +/* 131. */ + + TARS + It's a mini black hole. A remnant of the big bang. It will power this place forever. + +Tars leads them on. + +EXT. HANGAR, SPACE STATION + +Tars leads them past an incredibly sleek fleet of spacecraft. Cooper starts to stop, but Tars doesn't slow down. + +INT. SIMULATION ROOM + +In the center of the room is a giant holographic globe of the Earth, perfect down to the tiniest detail. + + COOPER + It's a map? + + TARS + No. Not a map. This is a simulation of the Earth. A perfect simulation. + +Tars touches the control panel. The map zooms in over Europe. Down onto Paris. Late 20th century: + +People walk through the streets. A woman stops at a newsagent to buy a newspaper. + +Tars touches the controls again and the map zooms out. + + TARS (CONT'D) + They tested each of the technologies hundreds of times, trying to find the one that would cause the least damage and still allow us to leave Earth. + +Suddenly, the map lights up with atomic explosions in every city. The sequence stops, rewinds. + +This time, sped up, the Earth seems to be drying up -- great swaths of desert grow across Europe and Asia. Massive circular ships are constructed all over the face of the Earth. + + TARS (CONT'D) + This was their best solution. A massive version of the box we found on the ice planet, allowing the entire human population to escape. + +At a given moment, the gravity of the Earth is dropped to nothing and the massive ships, filled with the entire population of the Earth, lift gently off of the planet in search of greener pastures.[[132.]] + +Cooper turns away from the machine, bitter. + + COOPER + So why didn't they return? Why didn't they save us? + +Brand is staring at the massive map. + + BRAND + Because they were too late. By the time they found this place, the people who sent them were dead. They were unable to fulfill their mission. + +Tars points to the next room. + + TARS + That was the final problem they tried to solve. + +Tars moves on. + +EXT. PLATFORM, SPACE STATION + +Above them, the blackness of the sky is punctuated with hundreds of crystal shapes, faintly leaking starlight: + +Wormholes. Brand looks up at them, entranced. + + BRAND + Where do they lead? + +Tars looks at an illuminated schematic on one wall, mapping some of the wormholes. + + TARS + There are millions of them, connecting virtually every planetary system in the universe. There are thousands in our galaxy alone. But the Chinese stopped mapping them when they found what they were looking for. + +Tars walks further. He stops. + +The platform in front of them is dominated by a gigantic version of the black box that Roth found on the ice planet, connected to a massive power array, and pointing into the dark space above the sphere. + +/* 133. */ + + TARS (CONT'D) + This was their final creation. They had to capture the mini black hole just to have enough power to try it. + +Several miles above the black box, one of the wormholes glows far brighter than the others, crackling with radiation. + + DOYLE + What does it do? + +Cooper steps forward. Runs a hand on the cold, strange material the antenna is made out of. He knows exactly what it does. + + COOPER + They weren't interested in the other wormholes because their mission was to return home. That one leads back to Earth. The Earth they were told to return to. + +Tars walks to the controls for the device. + + BRAND + But that's impossible... + +Tars turns away from the machine. + + TARS + It was only used once. The Chinese team attempted to travel back in time, to Earth just a few years after they had left. + + COOPER + Did they make it? + + TARS + I don't know. + +Doyle looks back to Cooper. + + DOYLE + Do you really think it works? + +Cooper looks up at the machine, suddenly determined. + + COOPER + We're going to find out. + +Cooper walks out of the room. Brand follows him. + +/* 134. */ + +EXT. AIRLOCK, SPACE STATION + +Brand follows Cooper as he walks up to the Endurance. + + BRAND + You know it doesn't work. Time travel isn't possible. + + COOPER + You don't know that. + + BRAND + Yes, I do. If it worked, the Chinese would have suddenly discovered all of these incredible technologies. But they never made it. + (BEAT) + You can't go back, Cooper. You can slow things down, but you can't ever go back. Our home is gone. + (off his look) + You listened to all of those messages from your family. If you had made it back, we would already know. There would already be some evidence. + +Cooper looks at the machine. + + BRAND (CONT'D) + If you try to use it, you'll die, just like the people who built it. + +She puts an arm on his shoulder. + + BRAND (CONT'D) + Roth was right, Cooper. We have to keep going. Keep exploring. We have an obligation to try to survive. From here we could find a thousand places where life could thrive. And you're going to return to the one place where it can't. + + COOPER + I made a promise. + +He turns away from her, resolute. + +EXT. HANGAR, SPACE STATION + +Cooper and Doyle check over one of the sleek Chinese spaceships. + +/* 135. */ + +INT. CHINESE SPACESHIP + +Cooper is checking over the controls of the ship. Brand walks in. + + BRAND + I came to say goodbye. + +Cooper looks up at her. + +INT. HANGAR, SPACE STATION + +Cooper walks Brand back to the Endurance. The ship is packed up and repaired. Brand is looking over their work. + + COOPER + You could have taken one of the other ships. + + BRAND + This one's done all right by us so far. + +Brand holds up a small sample case containing half of the fractal life-form. + + BRAND (CONT'D) + Will you take this with you? It's the last of its kind as well. Thought we should double its chances of survival. In case I'm wrong. + +Cooper takes the sample and looks at the tiny creature inside, trying to escape. He sets it inside the ship. Turns back to her. + + COOPER + Where are you going to go? + + BRAND + I don't know. Up there, I guess. + +She points up into the great darkness above them. + +Tars steps down. Moves over to them. + + COOPER + You're going, too? + + TARS + I'm curious. It's my nature. See you down the road? + +Tars shakes Cooper's hand. Heads onto the Endurance. + +/* 136. */ + + BRAND + Come with us. Please. You wanted your whole life to explore. This is your chance. + +Cooper stares at her. This is what he has always wanted. And he has to turn it down. + + COOPER + I'm sorry. I have to find out what happened to my sons. I promised them. + +Brand sees the resolve in his eyes. Knows there's no way to change his mind. + + BRAND + You're a man who keeps his promises. Make me one- + +She takes his hand. + + BRAND (CONT'D) + After you're done... come find me. + + COOPER + I promise. + +They kiss passionately. Not wanting it to end but knowing that it must. Reluctantly, they separate. Brand turns back to the ship. + +She pulls herself onto the ship. Cooper steps back outside and watches through the tiny window as the Endurance lifts off and disappears into the darkness. + +Cooper turns away. + +EXT. PLATFORM, SPACE STATION + +Cooper watches as radiation pours out of the wormhole high above them. + +INT. CHINESE SPACESHIP + +Cooper pulls himself on board. Doyle is at the controls. He keys the controls and the ship lifts off. + + DOYLE + Let's go home. + +The two men sit in silence as the ship arcs away from the space station and closes in on the wormhole. + +Cooper hears a familiar CHIRP. He turns around: + +/* 137. */ + +The probe they took from the ice planet is belted securely into one of the seats, filled with the garbled machine code of the gravitational machine. + + COOPER + The probe... + +Doyle looks back. + + DOYLE + We get back to earth, you and I can try to make sense of the code. Rebuild the gravity machine. + +Cooper stares at it, suddenly realizing something. He unbuckles himself. + +Cooper stands and walks over to the probe. Traces the familiar stars and stripes carved into its side. + +Cooper stares at the probe, putting it all together. + + COOPER + It's going to work. + + DOYLE + Of course it's going to work. + + COOPER + That's not what I mean. This is the probe I found in Galveston. + +Below them, the wormhole breaks as it reaches another wormhole mouth that the Chinese have dropped down to a lower gravity well, creating a time machine. + +The wormhole mouth is FLARING with radiation. + + COOPER (CONT'D) + Brand said there'd be some evidence we'd made it. And there was. This. + (holds up probe) + But only this. Everything will be destroyed except for this. + +He moves toward Doyle. Doyle stands. + + COOPER (CONT'D) + We have to stop. + + DOYLE + I don't know what you're talking about, but you're not touching the controls. I'm going home. + +/* 138. */ + +Cooper moves closer to Doyle. Doyle pulls out the flare gun. Points it at Cooper. + + COOPER + You don't need to do this. We won't make it back, but this does. The secrets are already right on it. Maybe someone found it. There's hope. + (SAD) + But we don't get to go with. + + DOYLE + You're not stopping me. I'm going home. + +Doyle forces Cooper into the ship's lander. Then he closes the airlock. + +Cooper pounds on the other side of the glass, trying to reason with him. + +The landing craft detaches from the ship. + +INT. CHINESE LANDING CRAFT + +Cooper watches, helpless, as Doyle's ship races ahead towards the glowing wormhole mouth. + +As the ship speeds toward the next wormhole, the radiation suddenly FLARES, annihilating the ship and everything in it. + +Almost everything. + +Cooper's landing craft spins away from the wormhole mouth. + +CUT TO: + +EXT. SPACE, OUR SOLAR SYSTEM + +A hole opens in the sky with a FIERY EXPLOSION. As the radiation subsides, all that shoots out of the hole is a vaporous wisp of atomized metal, and a burned, blackened probe, which hurtles toward Earth. + +EXT. SPACE, NEAR EARTH ORBIT + +The probe collides with a satellite, hurling debris into the upper atmosphere. + +.PROBE'S ONBOARD CAMERA P.O.V. -- + +The probe's onboard camera documents its journey. Fragments OF VIDEO: + +/* 139. */ + +-- The probe HURTLES through the atmosphere, toward North America, the Gulf Coast. + +-- The probe SMASHES down into a sandbar. + +-- Daylight. A man is descending toward it, dangling from a rope. It's Cooper. + +-- Night. A kitchen. A little boy -- Murph -- stares at the probe, while Cooper works at it with a blowtorch. + +-- Tars pulls the probe out of the back of a plane. + +-- Brand's father, older, studies the probe. Gives up. + +-- Much later. People are moving around in the darkened base, scavenging equipment. + +CUT TO: + +EXT. FIELD -- DAY + +A combine harvester is dead in a field, service hatch opened. A MAN is lying under the machine, working. + +The man hauls himself out from under the huge machine. Dusts himself off. + +It's Murph, 30s. He looks at the FARMER who is waiting for the verdict. Murph shakes his head. + + MURPH + It's done. Auto-pilot's packed up for the last time. + + FARMER + You can't make it work a little longer? + + MURPH + Can't do anything for you. There aren't any more parts for these. Not anywhere. + + FARMER + You don't understand. We're getting less than a hundred pounds per acre. We need to plant more, not less. + +Murph looks around him at the pathetic crop of corn that stretches around them. The plants are feeble, barely able to support themselves. + +/* 140. */ + + FARMER (CONT'D) + You've got to find us some more parts, Murph. It's getting desperate. Isn't there anywhere you can look? + +Murph begins packing up his tools, thinking it over. + +INT. HANGAR -- DAY + +Murph stares at the darkened shape of a plane under a tarp. He stares at the tarp, unsure if he wants to keep going. + +He pulls the tarp off, revealing Cooper's old Piper Cub. He checks over the engine, lights, prop. Turns the key. Fires her up. The diesel wakes with a GRUNT. + +EXT. AIRSTRIP -- DAY + +Murph wheels the old plane out onto the field by hand. + +EXT. SKIES OVER THE SOUTHWEST -- DAY + +The ancient plane skirts the San Gabriels. + +EXT. FIELD, SANTA CRUZ ISLAND + +Murph sets the plane down. + +He parks the plane under a copse of trees and climbs down. + +He scans the horizon. Nothing. Is this the place? + +EXT. FOREST -- DAY + +Murph pushes his way through the undergrowth. Stops. + +He's standing at the blast doors to the facility. They've been blown open with dynamite. + +INT. NASA FACILITY -- DAY + +Murph lets himself inside. Lights a flare. + +The place has been gutted. Thieves and scavengers have taken almost everything. + +Murph finds one of the robots, or what's left of it -- it's been stripped, leaving only the bare composite skeleton. The empty eye sockets stare back at Murph. + +Murph looks around the place. There is nothing left to salvage. He turns to leave. Hears a familiar CHIRP. + +In the corner, under a pile of rain-soaked garbage: + +/* 141. */ + +The probe. + +No one has bothered to steal it. Murph stares at it. + +INT. UNDERGROUND FACILITY -- NIGHT + +Murph sweeps detritus off of an ancient computer mainframe that survived the looting. He hooks the probe up to it. + +After a minute, the screen fills with a picture of an ice-covered planet. Then nothing. The rest of the probe's drive is filled with garbage, noise. + +Murph switches off the screen. + +He stands. Begins to leave without the probe. Stops. Turns back. Picks it up and takes it with him. + +INT. KITCHEN, MURPH'S HOUSE -- NIGHT + +Murph is hunched over the probe, trying to pull data off of it with a defibrillator. He has incorporated an ancient laptop into the chain, and is tweaking values on it, trying to decrypt the contents. + +His WIFE, several months pregnant, turns back to him from the stove. + + MURPH'S WIFE + Would you get that thing off of the table? + +Murph nods, absorbed. Keys in a final tweak to the decryption software. Hits return. + +Suddenly, the screen begins filling with data. + +Murph stares at it, wide eyed. + +CUT TO: + +INT. BARN -- NIGHT + +Murph, now in his 40s, is putting the finishing touches on a large machine. Although slightly different, we recognize some of the components and their configuration: + +It's a crude version of the gravitational device. + +Murph double checks it, then fires up a small gas powered generator. Throws a breaker, feeding power to the unit. + +The unit lights up. HUMS. But nothing happens. + +/* 142. */ + +Murph, disappointed but undaunted, shuts it down and begins checking it over. He hears a noise at the door. Turns back. His daughter, Emily, 8, is standing at the door. + + EMILY COOPER + Dad? You said you'd take us to the game. + + MURPH + (DISTRACTED) + Did I? + +He looks at the impossible nest of wires. Shakes his head. + + MURPH (CONT'D) + All right. Let me get my jacket. + +Murph picks up his jacket from the workbench. Next to it on the bench is a shortwave radio playing STATIC. + + EMILY COOPER + (staring at machine) + What is it supposed to do, Dad? + + MURPH + I have no idea. + +Murph switches off the lights and they walk out. + +After a moment, the radio CRACKLES to life in the darkness. + + COOPER + (over radio, garbled) + This is the crew of the Endurance... Murph... I'm sorry... + +The signal crackles out. + +CUT TO: + +INT. KITCHEN, MURPH'S HOUSE -- DAY + +Murph, 50s, slightly gray, sits at his kitchen table. He hears a distant RUMBLE. + +He looks up. His wife is standing by the sink. + + MURPH + Where's Emily? + + WIFE + Out in the barn. She's been tinkering with your old projects. + +/* 143. */ + +Murph stands up. The roof of the barn is visibly shaking. He steps outside. + +EXT. YARD, MURPH'S HOUSE -- DAY + +Murph moves towards the barn, concerned. The shaking is growing stronger -- the entire structure is buckling. + +Emily, now 18, backs out of the barn. + + EMILY COOPER + Dad... I'm sorry... I made some changes to the machine. I think I did something wrong. + +Murph puts an arm around his daughter and as they watch, the entire barn IMPLODES. Their tractor begins sliding towards the wreckage of the barn, chunky tires plowing up the soil. + +Finally, the RUMBLING STOPS as the power lines short out in a FIERY display. + +As the dust clears, Murph and his daughter examine the mess: + +The entire barn has been crushed into a tiny ball. + +Murph looks at his daughter. + + MURPH + Do you remember what you changed? + +Wide-eyed, she thinks about it. Then nods. + +CUT TO: + +EXT. EARTH, 2320 -- DAY + +This is North America. But it doesn't look much like it. + +Mother Nature has just about wiped the slate clean. Most of the vegetation is gone, and unchecked winds sweep across the barren plains. Patches of ice lie think on the ground, as if a heavy snow has come and gone. + +SUPER TITLE: "TWO HUNDRED YEARS LATER" + +One of the Chinese spaceships descends through the thick clouds above and settles gently onto the plain. + +The hatch opens and Cooper steps out. He takes a cautious look around. He is holding the fractal life in its small container. + +The clouds are threatening, but the weather looks calm enough right here. + +/* 144. */ + +Cooper starts to walk. + +EXT. COLLAPSED HOUSE -- DAY + +Remarkably, part of Cooper's old house is still standing. + +INT. COLLAPSED HOUSE -- DAY + +Cooper stands in the middle of his kitchen. Two walls are missing and the rest is collapsed in a heap. But he can still see where he used to feed his kids breakfast. + +He has kept his promise. Several hundred years too late. + +Cooper hunkers down, staring at the space where his kids used to be. Rainwater covers the ancient formica. + +It has taken him years to finally reach this place. He has had plenty of time to come to grips with what he might find. But nothing has prepared him for this: + +He is completely alone. Nothing is left. + +INT. COLLAPSED FARMHOUSE -- NIGHT + +Cooper is still sitting there when the ice storm hits. + +Unchecked by trees or vegetation, the wind rockets through the house, blasting Cooper and pelting what's left of the structure with fist-sized hail. + +Cooper takes shelter against the remaining wall. He's going to have to sit this one out -- the hail and winds are the brutal descendants of the weather he knew. They'll finish him off if he steps back outside. + +As he watches, the pool of water on the kitchen floor freezes over in seconds. + +INT. COLLAPSED FARMHOUSE -- DAWN + +Cooper shivers, pressed against the wall. The storm is still raging outside. He is freezing to death. He has to move now or he will die. He pulls the hood tight around his face and stumbles outside. + +EXT. SNOWBOUND FIELD -- DAY + +Cooper makes his way through the blinding snow. He tries to find his way, but the ship has been consumed by the blizzard. + +He stumbles to the ground, dropping the glass case with the fractal wildlife in it. The case shatters. + +Cooper tries to stand back up, but his strength is dwindling. + +/* 145. */ + +As he watches, the fractal wildlife creeps tentatively out of its broken habitat. It forms together against the cold. + +After a moment, it burrows into the ice. As it does, the ice glows faintly. It seems to be right at home. + +Cooper laughs, glimpsing the outline of a plan. Was this what the beings who made the wormhole intended all along? + +Cooper suddenly spots the outline of the ship through the driving snow. He stumbles back up to his feet and struggles a few more steps, then stumbles again, spent. + +Finally, he sits down in the snow to die. + +As his senses flicker in and out, he is struck with memories of his boys, so vivid he reaches out for them, crawling forward in the snow. + +He stops, and laughs, remembering what Case told him about what happens when humans die. + +He struggles to his feet and stumbles a few more feet, eventually coming to rest just steps from the ship. + +Cooper takes a final step. Finally, he collapses under his ship, as the wind continues to HOWL around him. + +As the snow clears for a moment, Cooper is alone on a vast arctic tundra. He will die alone. + +BLACK + +>FADE IN: + +INT. HOSPITAL ROOM -- DAY + +Cooper wakes. + +He is in a sunlit room. A breeze rustles the curtains as it makes its way in through a large open window. + +Cooper sits up. As he a does, a control panel on the wall TONES gently, as if in response to his movement. + +He stands and looks around. He can see sunlight through the open windows and hear people -- kids YELLING as they play. He moves toward the window. Reaches for the curtains. Before he can, the door opens behind him. + +A WOMAN in a white coat steps in, smiling warmly. + + DOCTOR + Good morning. Don't go outside just yet, Mr. Cooper. + +/* (MORE) */ + +/* 146. */ + + DOCTOR (CONT'D) + (offers him a pill) + This will help with the disorientation. + +Cooper opens his mouth to talk, but his voice is cracked. He gives up. Swallows the pill. + + DOCTOR (CONT'D) + Wait a minute for that to take effect. It can be a bit of an adjustment. + (looks him over) + You had some frostbite. Nothing too serious. + +As she talks, Cooper looks past her to the window. + + COOPER + Where am I? + + DOCTOR + (SMILES) + It's a bit of a coincidence, really. When the rangers found you, we were the nearest facility. + + COOPER + What's coincidence? What is this place? + + DOCTOR + We have a lot to show you. + +The doctor reaches for the curtains. She offers him a hand. Cooper declines the help and steps outside. + +EXT. HOSPICE, COOPER STATION -- DAY + +Cooper is standing on a rooftop deck of a four-story building in a medium-sized city surrounded by fields. But as the road and the buildings stretch into the distance, the landscape curves up, not down. + +The entire landscape is contained within a huge cylinder-shaped space station. + +Cooper stumbles, and reaches instinctively out. The doctor catches him. + + DOCTOR + You're OK. We get this from people who move here from planetary colonies all the time. + +/* 147. */ + + COOPER + Where... where are we? + + DOCTOR + Like I said. It was a coincidence. There was a facility closer to Earth, but they had a problem, so you wound up here. + (off his look) + This is the Space Station Joseph A. Cooper. + +Cooper takes in the incredible surroundings. A thousand feet above them, black specks are sprinkled over an ocean of green -- Jersey milking cows grazing in a field of wild grass. + + DOCTOR (CONT'D) + I've got someone who wants to meet you. + +Cooper looks at her. + +INT. INTENSIVE CARE ROOM, HOSPICE, COOPER STATION -- DAY + +Cooper steps inside. The room is dark, still, the only noise is the labored RATTLE of an old man struggling to breathe. + +Cooper steps closer to the bed. The man's skin is paper-thin. He is ancient. + + DOCTOR + He was moved here after they found you. He's a little old for a transfer, but they made an exception. + +Cooper hovers at the back of the room, unsure. He turns to the doctor, questioning. Then he notices the pictures on the old man's desk: + +There are dozens of them. Children, grandchildren. Then the older ones -- the man's own parents. Grandparents. Cooper spots a tiny framed picture with someone he recognizes: + +Murph, 80 years old, surrounded by his daughter and her family. They are standing in front of a re-opened Cape Canaveral, and a huge spaceship under construction. + +Cooper picks up the picture and stares at it. + +The doctor points to a shy little boy hiding behind Murph's leg in the picture. + + DOCTOR (CONT'D) + That's him. + +/* 148. */ + +She points to the old man lying in the bed. + + DOCTOR (CONT'D) + His name is Anthony Welling. Anthony Cooper Welling. + (SMILES) + He's your great great grandson. He's been waiting a long time for you. + +Cooper's eyes well with tears. He steps over to the bed and looks down at the ancient man, teetering on the edge of death. + +The old man looks at him, eyes widening in excitement. He strains, trying to reach the bedside table. He's trying to reach the drawer. Cooper helps him open it. + +Inside is a simple, familiar wristwatch. The old man carefully takes out the watch. He gives the watch a few winds and, hands shaking, offers it to Cooper. + +Cooper, eyes filling with tears, closes his hand over the old man's hand, enveloping both the watch and the man's hand. + +CUT TO: + +EXT. CORNFIELD, COOPER STATION -- MORNING + +Cooper is sitting in a well-appointed office. A middle-aged BUREAUCRAT smiles at him from the far side of a huge desk. + + ADMINISTRATOR + You're a hero, Mr. Cooper. Let's just start off by saying that. It's an incredible and... unexpected honor to have you here with us. + +Cooper smiles, uncomfortable. + + ADMINISTRATOR (CONT'D) + None of us would be here without the efforts of you and the other crewmembers of the Endurance. + (smiles, unconvincingly) + So I don't want you to take this the wrong way. But there are some questions I've been told to ask. + +The man looks petrified, like he's been instructed to grill George Washington on his expense reports. + + COOPER + Shoot. + +/* 149. */ + + ADMINISTRATOR + The rangers who found you reported that you had released a sample of an alien life-form into the wild. Which is, unfortunately, against regulations. + + COOPER + It was last of its kind. Their planet was destroyed. + +The administrator cues up a series of images on his computer. + + ADMINISTRATOR + The rangers attempted to isolate the life-form, but it had already spread out of control. It seems to be thriving. + +He shows Cooper a satellite image of north america. A considerable portion of the frozen tundra is glowing. + +Cooper begins laughing. Which makes the administrator even less comfortable. + + ADMINISTRATOR (CONT'D) + Can you tell me why you... elected to release the life-form back on earth? + +Cooper is still laughing. + + COOPER + Because that was the plan. + + ADMINISTRATOR + Whose plan? + + COOPER + (SMILES) + I don't know. + +The administrator tries to smile back. Makes a few notes in his file. Changes the subject. + + ADMINISTRATOR + My assistant tells me you've applied for a position with the exploration fleet. + + COOPER + Feel like I should be pulling my weight. + +/* 150. */ + + ADMINISTRATOR + That's admirable, Mr. Cooper. The truth is, most of the fleet's personnel are automated. There are a small number of crewed ships. But there are great numbers of candidates. Very well trained candidates. + + COOPER + I was hoping to enroll in a course. Try to get myself up to speed on the new systems. + + ADMINISTRATOR + I don't want you to take this the wrong way, Mr. Cooper -- like I said, you're a hero. But the truth is we have somewhat limited resources. + +Cooper remembers this conversation. He looks down. + + COOPER + No one's heard anything from Brand? + + ADMINISTRATOR + I'm sorry. Officially, she's been listed as missing for over 200 years. Mind you, I guess you turned up eventually, didn't you? + + COOPER + Am I really going to hurt anybody by going to look for her? I just need a small ship. I made a promise. + +The bureaucrat looks down. Is he really going to have to tell this guy the lay of the land? + + ADMINISTRATOR + Listen. Mr. Cooper. You're a hero. You're the oldest man in the human race. Don't you want to take it easy? + (off his look) + I hope you understand, we all you hold you in the highest possible regard. + (QUIET) + Which is why they're never going to let you go off by yourself in a spaceship. I'm sorry. + +Cooper looks at his hands. He's got a couple centuries on the bureaucrat in Earth years, but looks ten years younger. He puts his hands in his pockets. + +/* 151. */ + + ADMINISTRATOR (CONT'D) + I've got some good news, however. + (BIG SMILE) + We all know about your early life, Mr Cooper. I wrote a paper on it when I was a boy. And I think we found something you'll really enjoy. + +EXT. CORNFIELD, COOPER STATION -- DAY + +Corn blows in an artificial breeze. A red tractor makes its way through the field, which curves gently up in the distance. + + ADMINISTRATOR (V.O.) + The machines do most of the work, of course, but we were able to get you a few acres. You're going to be a farmer again. + +After a moment, the tractor stops. Cooper climbs down from the seat. Looks at the front steering linkage, which is jammed with an errant tree branch. He wipes his forehead and begins working the branch out of the machine. + +He looks miserable. + +A robot, a similar unit to Tars, walks over. Offers Cooper a bottle of water. Cooper accepts it. + +EXT. HANGAR BAY, COOPER STATION + +Cooper stands on an observation deck, high above the hangar floor. Below him, bright young things in uniforms climb into sleek-looking spaceships and prepare to set out. + +EXT. BASEBALL DIAMOND, COOPER STATION + +Cooper sits in the stands, listening to the familiar crack of the bat as an intramural team from the university practices. + +Cooper watches. He looks bored. + +The kid up to bat cracks a pop fly. For a second, the catcher shuffles back and forth, trying to get himself into position. But the ball never returns. The catcher YELLS out a warning. + +Above, the ball begins to slowly fall up, not down, toward the town center above. + +After a second, the ball smashes through a skylight of a building high above them. + +Cooper watches as the kid rounds the bases, laughing. + +/* 152. */ + +INT. KITCHEN, FARMHOUSE, COOPER STATION -- DAY + +Cooper's robot sits at the kitchen table. Cooper is fiddling around in the back of his head. + + ROBOT + Settings: general settings, security SETTINGS-- + + COOPER + Curiosity. New level setting. 100 percent. + + ROBOT + Confirmed. Would you like to make any additional changes? + + COOPER + Sense of humor. New level setting. 100 percent. Wait. + (THINKS) + 80 percent. + +He begins putting the robot back together. + +EXT. FARMHOUSE, COOPER STATION -- TWILIGHT + +Cooper sits on his porch, joined by the same robot as before. They watch as the space station rotates lazily out of alignment with the local star, casting the inside of the cylinder into shade, then darkness. + +The shadow races past them. Another day. Another night. + +EXT. HANGAR, COOPER STATION + +A maintenance worker finishes looking over one of the sleek-looking spacecraft. He packs up his tools and heads out. + +After a moment, two figures pick their way across the hangar floor, sticking to the shadows. + +As they reach the first ship in the line, we get a better look. It's Cooper and his robot pal. The robot is wearing a baseball cap and carrying a toolbox. + +Cooper gestures to the robot, who sets down the toolbox with a click against the mirror-like floor. + +Cooper shakes his head, annoyed, at the robot, and puts his finger to his lips. The robot nods, bashful. + +Cooper waves a small handheld computer near the skin of the ship until it lights up. Then he punches in a few codes. Nothing happens. He punches in a few more. + +/* 153. */ + +Suddenly, the hatch opens with a HISS. + +INT. SHIP + +Cooper moves quickly to the cockpit of the ship. Looks over the controls. The robot straps himself in next to him. Cooper looks up through the windows. + +The inky black void of space beckons. + +Cooper smiles and reaches for the controls. + + COOPER + Where do you want to go first? + +The robot thinks it over. + +EXT. HANGAR, COOPER STATION + +The technician walks back into the hangar. He walks along the row of ships till he reaches the last one. + +It's not there. + +He looks out into the blackness of the void. Sees a tiny glowing speck, getting smaller and smaller. + +END diff --git a/fountain_scripts/Interstellar.webp b/fountain_scripts/Interstellar.webp new file mode 100644 index 0000000000000000000000000000000000000000..f8569c3b71f66106b27e8caeae88a0bfd4ead6a1 --- /dev/null +++ b/fountain_scripts/Interstellar.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:e0c991f31bd6db4d75835e5e5af699f280dc946fa794274055883f2a0f82aca0 +size 26004 diff --git a/fountain_scripts/Interview with the Vampire.webp b/fountain_scripts/Interview with the Vampire.webp new file mode 100644 index 0000000000000000000000000000000000000000..d7d8733893c07be3547b64ded6f06be9a1c05808 --- /dev/null +++ b/fountain_scripts/Interview with the Vampire.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:8cfbfe3b489fe540258a2314c535791f9dfa33b7f4dfc5906a0e8938102093c1 +size 17930 diff --git a/fountain_scripts/The Hangover.fountain b/fountain_scripts/The Hangover.fountain new file mode 100644 index 0000000000000000000000000000000000000000..7ddab5a7131fd2dd2b4234b4d8ec95170abbd227 --- /dev/null +++ b/fountain_scripts/The Hangover.fountain @@ -0,0 +1,4607 @@ +Title: THE HANGOVER +Credit: Written by +Authors: Jon Lucas & Scott Moore +Draft date: September 30, 2007 + +EXT. BEL AIR BAY CLUB -- PACIFIC PALISADES, CA -- MORNING + +It's a beautiful spring morning in the Palisades. High atop the cliffs, looking out over the Pacific Ocean, sits the exclusive BEL AIR BAY CLUB. Workers bustle about the lawn, setting up a high-end wedding. A STRING QUARTET warms up. A team of FLORISTS arrange centerpieces. CATERERS set the white linen tables... + +INT. BRIDAL SUITE -- DAY + +A simple, classic wedding dress hangs on a closet door in this sun-drenched bridal suite. Sitting at the makeup table, surrounded by her bridesmaids, is the beautiful bride, TRACY TURNER, 20's. She's busy doing her makeup. Just then, Tracy's rich, stern FATHER, 50's, blows in. + + MR. TURNER + Any word from Doug? + +The way he spits out "Doug" tells us all we need to know about how Mr. Turner feels about his future son-in-law. + + TRACY + No, but I'm sure he's-- + +Just then, Tracy's CELLPHONE rings. She quickly answers it. + + TRACY (CONT'D) + Hello? + +>INTERCUT WITH: + +EXT. MOJAVE DESERT -- MORNING + +Heat-waves rise off the Mojave. Standing at a lone, dust-covered payphone in the middle of the desert is + +VICK LENNON + +He's in his late 20's, tall, rugged -- and currently a mess. His shirt is ripped open, his aviator sunglasses are bent, his lip is bloodied, and he clearly hasn't slept in days. + + VICK + Tracy, it's Vick. + +Parked on the dirt road behind Vick is his near-totalled 1967 Cadillac Deville convertible; it's scratched, dented, filthy -- and missing its passenger side door. Slouched inside are TWO OTHER GUYS, also looking like hell./*2.*/ + + TRACY + Hey Vick! + + VICK + Listen, honey...The bachelor party got a little out of control and, well...we lost Doug. + + TRACY + (her jaw dropping) + What?! But we're getting married in like four hours! + +Vick squints at the rising sun. + + VICK + Yeah, that's not gonna happen. + +CUT TO: + +TITLE OVER BLACK: 40 HOURS EARLIER + +CUT TO: + +EXT. THE 10 FREEWAY -- DAY + +The top down, The Who's "Baba O'Riley" blasting from the stereo, Vick's pristine Cadillac convertible rockets down Highway 10 towards Nevada. At the wheel is Vick, looking as sharp as his Caddy in a half-open shirt and mint condition aviators. Sitting shotgun is the groom, DOUG BILLINGS, late 20's, handsome, barefoot, crunchy -- an all around great guy. Behind Vick sits ALAN MERVISH, late 20's, an anal tax attorney from Connecticut, his Izod shirt tucked into his khakis. He's currently applying sun screen to his forehead. Next to Alan is STU PRYCE, late 20's, former high school linebacker and lovably dimwitted father of two. He drums the back of the front seat to the music, totally pumped, like this is his first time out of the house in years. Because it is. + + STU + Dude this is already the best weekend ever! + + VICK + Stu, relax, we're still on the 10./*3.*/ + + STU + Oh, did I show you pictures of my kids?! + + DOUG + No, dude, show `em. + +Stu fishes pictures out of his wallet and eagerly shows them to Doug in the front seat. Doug is clearly the core of this group, the glue that holds these childhood friends together. + + STU + Haylee is two, and Kaitlin is already four! Can you believe it?! + + DOUG + (smiling at photos) + How cute... Good for you, man. + +Doug shows the photos to Vick; he nods, impressed. + + VICK + The one on the left is gonna be a hottie. The other one, not so much. + +Stu protectively snatches the photos back, muttering: + + STU + Jesus, dude, those are my children-- + + ALAN + (re: sunscreen) + Hey, am I rubbed in? + +Stu glances over and sees un-rubbed-in sunscreen all over Alan's face. + + STU + Yeah, you're good. + + DOUG + Hey so Alan, are you and Becky still together? + +But before Alan can answer-- + + VICK + Of course they are, Doug. Jesus, Alan's been dating Becky for 14 years. When they first met, Alan had braces and soccer hair, and Becky had a functioning hymen./*(MORE)*//*4.*/ + + VICK (CONT'D) + Asking Alan if he's still with Becky is like asking the sun if it still rises in the east. + +The guys try not to laugh; Alan scowls. + + DOUG + She still pressuring you to get married? + + ALAN + Enh, we've moved past the pressure stage...it's more like aggravated assault stage now? Like at the last wedding we went to, she threw a camera at my head, called me a closet fag, then ran out crying. + +The guys wince, oooo. + + ALAN (CONT'D) + But we talked, and everything's cool now. + + STU + Maybe you could wear a helmet to Doug's wedding. + + ALAN + Great idea, Stu. Thanks. + + DOUG + (LAUGHING) + So Vick, how's business going? + + VICK + Oh, great. Yeah, I'm working on bringing the next big dessert craze to Los Angeles. It's gonna be huge. + + DOUG + What is it? + + VICK + Bavarian custard. We ran the numbers, and it's gonna be bigger than fro yo. + +Doug and Stu nod, impressed; only Alan looks skeptical. + + ALAN + Isn't custard like a trillion calories--?/*5.*/ + + VICK + Our plan is to open three stores in the Valley and then franchise it. Shares are selling fast, but I can probably squeeze you guys in... + + DOUG + Yeah, man, count me in. + + STU + Me too, man! I love pudding! + +Alan just shakes his head, unbelievable. + + ALAN + Is this gonna do better than the hip-hop label you started, Vick? Or the topless sushi bar? Or the mobile tattoo parlor--? + + VICK + Tattoo-To-You was an idea ahead of it's time, Alan! And don't come crying to me when there's a Custard Cabana on every street corner in America and you didn't buy in--! + + DOUG + (LAUGHING) + All right, all right, save it for the party... + +Vick and Alan quiet. Stu is still drumming the seat. + + STU + Dude! I can't believe I get to party all night, and then, tomorrow ...I get to sleep in! It's almost too much! And FYI, if anyone gets really drunk and craps themself, just let me know, I can have you cleaned up and partying again in under three minutes. No joke. I am a master of stool removal... + +They rocket off into the desert, LAUGHING... + +CUT TO: + +TITLE CARD: "FRIDAY, 5:12 PM"/*6.*/ + +EXT. LAS VEGAS -- MAGIC HOUR + +As the last rays of sun fade, the Cadillac crests the final hill to reveal LAS VEGAS in all its illuminated splendor... + +EXT. LAS VEGAS BLVD. -- SUNSET + +The Caddy rolls down the famed Strip. We are again reminded of the absurd scale of Las Vegas. The 5,000 room hotels, the eight lane roads, the 60 foot billboards... + +EXT. MANDALAY BAY -- NIGHT + +The Caddy rolls up to the Mandalay Bay. The guys hop out, exhilarated. Vick throws the key to the VALET... + +INT. MANDALAY BAY -- NIGHT + +The guys enter the glittering casino four men-wide, all smiling, all exuding vibe. Passing WOMEN sneak glances. Vick slides a drink off a nearby waitress's tray as they make for + +.THE FRONT DESK + +A perfectly pressed LEBANESE MAN waits behind the front desk. Vick strides up, smiling, sunglasses still on. + + FRONT DESK MAN + Welcome to the Mandalay Bay. + + VICK + Checking in. Lennon comma Victor. + +The man types into his computer. + + FRONT DESK MAN + Yes, we have you down for a one night stay in an economy suite-- + +Vick glances at the man's nametag; it reads "ATASHIR." + + VICK + Hold it right there, Atashir. This is my best friend from childhood, Douglas Billings. In two days, he is to marry a woman of great beauty and strong teeth, do you understand? A woman of gigantic bosoms who will give him many, many sons... + +Atashir looks confused. Alan looks embarrassed./*7.*/ + + VICK (CONT'D) + My two other childhood friends have travelled great distances, across many deserts, to be here. This isn't a night in a hotel for us, Atashir: this is a family reunion. Perhaps you too have family situated great distances away, in a foreign country with much sand? + +Atashir looks like, sort of...? Vick reaches over the counter and touches his arm, simpatico. + + VICK (CONT'D) + Then I have but one question for you, friend: if they came to town, would you put them in an economy suite? + + ATASHIR + No, sir. + + VICK + Well, then. I think one of us needs to get back on his little computer and find us a suitable room. + +Atashir frowns...but types away at his computer. + + ATASHIR + All the deluxe rooms are taken. The Dean Martin suite is available, but I'd have to ask my-- + + VICK + Dean-o will be fine. Send up a case of Cristal, two bottles of Patron, four ahi sandwiches, and a crate of skinless mangos... + +Vick turns to the guys: + + VICK (CONT'D) + You guys want anything? + +The guys stammer, too stunned to speak. + + VICK (CONT'D) + And have Jean-Marie cook up a dozen of those duck skewers I like so well. He knows the ones. + + ATASHIR + And how would you like to pay?/*8.*/ + + VICK + American Express. + +Atashir looks up to accept the card. After a beat, Vick turns to Alan: + + VICK (CONT'D) + Dude, give him your AmEx. + + ALAN + What? + + VICK + Don't worry, we'll hit you later. + +Alan stammers. + + VICK (CONT'D) + Dude, come on, I paid for gas. Stop being such a Jew. + +Alan stammers some more -- then angrily pulls out his card. + +CUT TO: + +INT. THE DEAN MARTIN SUITE -- NIGHT + +The guys enter the room, jostling; Stu has Doug in a headlock. Then they freeze: the Dean Martin Suite is massive, complete with lounge area, two flat screen TVs, full bar and multiple bedrooms. The guys just gape. + + STU + This is bigger than my house. + +Vick blows past them, totally unfazed. + + VICK + Get dressed, ladies. We're wheels up in ten. + +Stu and Doug race off to find their bedrooms, leaving Alan standing alone, just staring at the decadent suite. + + ALAN + I am so not getting paid back. + +INT. DEAN MARTIN SUITE -- MASTER BEDROOM -- NIGHT + +Vick enters the bedroom, drops his bag, and starts changing his shirt -- when his cell phone RINGS. He answers. + + VICK + This is Vick./*9.*/ + +Vick listens -- then grows a bit panicked: + + VICK (CONT'D) + He's in Vegas?! You're kidding me! + (WINCING) + All right, I'll get it. All right. All right--! + +When Stu walks past, Vick turns away and covers the phone, trying to keep the call confidential: + + VICK (CONT'D) + I said all right, dude! How many more times you want me to say all right?! + (BEAT) + All right. All right. + +Vick hangs up, looking uncharacteristically stressed... + +INT. THE DEAN MARTIN SUITE -- BATHROOM -- SAME + +Doug brushes his teeth while, at the next sink over, Alan selects a facial wash from his highly organized toiletries kit and begins washing his face. + + ALAN + So, you ready for Sunday? + + DOUG + Yeah. I thought I'd be nervous, but I'm actually just really psyched. + +Alan nods, impressed. + + ALAN + Tracy's dad still hate you? + + DOUG + Oh yeah. + + ALAN + Any closer to figuring out why? + + DOUG + Enh, I think he wanted more for his girl. I mean, I'm a teacher who makes 45 grand a year, and he's a titan of industry who makes 45 grand a day, you know? I sort of get it... + (beat, brushing teeth) + Also, I'm banging his daughter. I'm not sure you ever get past that./*10.*/ + +Alan smiles, yeah, there's that. Doug spits out his paste. + + DOUG (CONT'D) + You got floss? + +Alan gestures towards his toiletries kit. Doug picks it up, starts looking for the floss. Then Alan remembers something -- but it's too late. Doug has found the RING BOX inside Alan's kit, and opened it to reveal a HUGE DIAMOND ENGAGEMENT RING. + + DOUG (CONT'D) + Holy Christ! + +Alan quickly reaches for the ring-- + + ALAN + Ahhh yeah, I wasn't going to tell anyone about that-- + +Just then, Stu wanders in, wearing only his COLORADO STATE BOXER SHORTS. His gut is sizable. + + STU + Anyone got any nipple lube--? + (seeing ring) + Jesus would you look at the size of that thing?! + +Stu grabs the ring from Doug. + + DOUG + It's Alan's. For Becky. + + STU + Jesus, who made this thing? Diddy? + + ALAN + (clutching for ring) + Actually, I-I was trying to keep it a secret, so-- + +Just then Vick blows in, singing, effeminate: + + VICK + ~Boy Party in the bathrooooom--! + (sees ring, snags it) + Miner's cut, 2.6 Carats, slight pink tint, street value: 26, 27K. + +Vick studies it in the light. Alan just rubs his temples. + + STU + Dude, it's for Becky! Alan's finally going to propose!/*11.*/ + + VICK + Well gosh-golly, Alan Mervish, good for you! Where'd you get the ring? + + ALAN + Oh, it's a family heirloom. My grandmother smuggled it through the Holocaust, actually. I was going to propose to Beck this weekend. + +Doug throws his arm around Alan, happy for him. + + DOUG + Well: now we have two things to celebrate! + +CUT TO: + +TITLE CARD: "FRIDAY, 6:10 PM" + +EXT. MANDALAY BAY ROOFTOP -- NIGHT + +The guys, dressed to the nines, open the steel rooftop door and file out onto the flat tar roof of the Mandalay Bay; Vick is carrying a bottle of Patron and four hotel glasses. Bringing up the rear, Alan slides a wood block between the door and the frame so they aren't locked up here. The guys step out onto the dark, windy roof and take in the stunning panorama...the Strip...the mountains...the countless stars... It's breathtaking. + + STU + Thish is so great! I love you guys! + + VICK + Check it out, Stu's already wasted. + +Vick starts refilling everyone's glasses. + + ALAN + We've only had two shots, man! + + DOUG + Yeah, what happened, Stuey?! You used to be able to drink us all under the table! + + STU + Dude, I'm a dad! I don't have time to get plastered anymore! It blows! + (QUICKLY) + Am I a bad dad for saying that?/*12.*/ + + DOUG + What? No! + + STU + Because my dad was a bad dad. + + DOUG + (patting his shoulder) + That's true, Stuey, but you're different. We've talked about this. + +Stu just stares at the guys, glassy-eyed. Beat. + + STU + Have I showed you guys pictures of my kids yet--? + + ALAN & DOUG & VICK + YES! + +Doug laughs and raises his glass for a toast, heartfelt: + + DOUG + Little toast: to Tracy, the coolest, kindest, most beautiful woman I've ever met. I can't believe she let me come this weekend -- much less agreed to spend the rest of her life with me. I think both will prove to be massive errors of judgement on her part. + +The guys chuckle, hear-hear. + + DOUG (CONT'D) + And to being here, with my best friends in the world. There's nowhere else I'd rather be. + +The guys raise their glasses, touched. + + DOUG (CONT'D) + That said, let's not get too stupid tonight, okay? I'm getting married in 36 hours. + + ALAN & STU & VICK + No, no. / We'll be good. / Totally, dude. + +Doug lowers his glass, laughing, completely unconvinced./*13.*/ + + DOUG + I'm serious, dudes! Nothing above the neck -- no piercings, no weird haircuts, no facial tattoos. I gotta look decent on Sunday. + + VICK + Jesus, what do you take us for? + + DOUG + Vick: you shaved Alan's eyebrows off the night before graduation! + + STU + Oh yeah! That was hilarious! And remember when I blacked out at Homecoming and you wrote on my face with permanent marker?! That was awesome! What'd you write again? + + ALAN & DOUG & VICK + "Respect me!" + +They all laugh. Stu throws his arm around Doug, nostalgic. + + STU + Ahh, good times, man. Good times... + + VICK + We'll be good tonight, Doug. + + ALAN + Seriously, man, we're your friends. + + STU + Yeah, we've totally grown up since then. + +Doug looks at them, highly dubious, then hoists his glass. + + DOUG + Well then...to a night we'll never forget. + +They CLINK glasses, shoot their shots, and + +SMASH CUT TO: + +THE NEXT MORNING + +Shafts of white desert sunlight pour into/*14.*/ + +.THE DEAN MARTIN SUITE + +THE CAMERA follows a LIVE CHICKEN as it walks through the totalled suite. Furniture is broken, the minibar ransacked, and the floor is covered with remnants of the night before: empty beer cans, platefuls of room service food, a cowboy hat, the Gideon Bible, half-eaten skinless mangos, a bra, a battle axe, etc. SNORING on the couch, wearing only his jeans and one shoe, the word ASSHOLE written in Sharpie across his chest, is Stu. + +TITLE CARD: "SATURDAY, 11:15AM" + +The chicken struts across the top of the couch, until it reaches a plastic coin cup from Bellagio blocking its path. Beat. Then the chicken pecks it off...onto Stu. The cup hits Stu in the face, and stale beer splashes all over him. Stu spastically jerks awake and flips off the couch, onto a pile of newspapers. + + PILE OF NEWSPAPERS + OWW! Get off! Get off! Jesus! + +Confused, Stu clambers off the pile of newspapers -- to find Vick sleeping underneath, on the floor, fully dressed. Vick pulls himself onto the couch, clearly in pain. + + VICK + Damn, dude, why are you retarded? + +Both men are ragingly hungover. A long beat as both of them rub their faces, then: + + VICK (CONT'D) + Um, Stuey? + + STU + Yo. + + VICK + Why do you have a mullet? + +Stu does, in fact, have a mullet haircut. But he's too hungover to understand. + + STU + What?/*15.*/ + + VICK + You know, business on top, party down the back? + +Stu still looks confused. This is excruciating for Vick. + + VICK (CONT'D) + Your hair, dude. You have a mullet. + +Stu touches his hair. Then he stumbles into the bathroom. After a beat, we hear his voice: + + STU (O.S.) + Dude...I have a mullet. + +Then we hear ALAN'S VOICE in the bathroom, groggy: + + ALAN (O.S.) + Just give me ten more minutes, Beck... + + STU (O.S.) + Whoa, did you sleep in the tub? + +Beat, then Stu pokes his head out of the bathroom. + + STU (CONT'D) + Check it out: Alan slept in the tub. + + VICK + Get him up. I'm hungry. + +Stu disappears back into the bathroom. We hear the SHOWER turn on. Beat. Then we hear Alan slowly awaken: + + ALAN (O.S.) + Wet. Water. Jesus, what's--?! + +There's a THUD as Alan falls out of tub. Beat. Then Stu and a very confused, very hungover, very wet Alan stumble out of the bathroom. Alan appears to be wearing his polo shirt from the night before. Only, as we PULL BACK, we see that his shirt is cut off at his chest -- he's naked from there down. + + VICK + Jesus, dude, put away your sack. + +Alan looks down at his hairy nakedness, totally bewildered./*16.*/ + + STU + Yeah, and it might be time for some manscaping, bro. Your bush looks like Yanni. + +Alan looks back up again, squinting, hungover. + + ALAN + What did we do last night? + +CUT TO: + +INT. HALLWAY -- MOMENTS LATER + +The guys, now dressed, stagger out of their suite moments later. Stu walks incredibly bow-legged, like an aging cowboy. + + STU + Dude, why is my ass killing me...? + +INT. ELEVATOR -- MOMENTS LATER + +Looking like crap, the guys silently descend in the elevator. BING! The elevator opens to expose a NICE-LOOKING COUPLE waiting to get on. They see the guys and immediately step away from the elevator. + + MAN + We'll...we'll get the next one. + +The doors close. The guys continue to descend. Beat. + + VICK + We might not smell very good. + +The guys shake their heads, yeah, no. + +DISSOLVE TO: + +INT. MANDALAY BAY -- BREAKFAST BUFFET -- DAY + +The guys slouch in a booth, shoveling masses of buffet food into their mouths, washing it down with huge mugs of coffee. + + STU + This might be the worst hangover anyone has ever had, ever. + + ALAN + I can't taste anything./*17.*/ + + VICK + Please stop talking. If I don't focus on eating I'm going to throw up all over myself. + +The guys nod, right. They keep eating. After a long while: + + ALAN + Hey... Are we missing something? + +The guys all slowly look around. Then Stu points at Alan: + + STU + Yes: I left my hat in the room -- thank you, Alan. + +They continue eating. Alan looks up again, still troubled. + + ALAN + No. That's not it... There's something else... + +Vick nods at Stu as he stuffs food in his mouth. + + VICK + You gonna finish that cruller? + +Stu shakes his head, no. Vick takes it, packs it into his already stuffed mouth. Then Alan realizes: + + ALAN + Doug. Guys, where's Doug? + +The guys look around. Hunh. + + STU + Yeah. He's not here. + + VICK + Probably left him in the room. + +Vick pulls out his cell phone, starts dialing. + + VICK (CONT'D) + I'll call his cell. + +Then a phone RINGS in Stu's pocket. He answers: + + STU + Good morning, this is Stu? + + VICK + It's me, meatdick./*18.*/ + + STU + (to Alan, concerned) + It's Vick-- + +Then Stu realizes. Oh. + + STU (CONT'D) + This is Doug's phone. + +Vick nods, ya. He's already dialing another number. + + ALAN + You calling the room? + +Vick nods, uh-huh. He lets it ring, rubbing his temples. Then he hangs up. + + VICK + No answer. + +Vick goes back to eating. Alan frowns. + + ALAN + Ummm...shouldn't we look for him? Check-out is in like ten minutes. + + STU + Yeah, and we told Tracy we'd have Doug back to LA by five. + +Vick just looks at both of them, his mouth full of food: + + VICK + I'm eabing. + + ALAN + What an asshole. Stu, check the pool and the casino, I'll check the room and the gym. Maybe he's working out or something... + +Stu nods, and they slowly slide out of the booth. + + ALAN (CONT'D) + And Vick, if you could keep a close eye on the buffet, that'd be really helpful. Thanks, man. + +Alan and Stu saunter off. Vick yells after them, mouth full: + + VICK + HE'S FIME! YOU'RE OBERWEACTING!/*19.*/ + +Vick scowls, and angrily takes Alan's last cruller. + +CUT TO: + +INT. DEAN MARTIN SUITE -- MOMENTS LATER + +Alan weaves through the totalled suite, half-awake. + + ALAN + Doug...? Doug...? Wake up, man. + +Alan enters the bedroom where Doug slept, and stops. It takes him a second to realize what's wrong: + +THE BED IS MISSING + +There are four indentations on the carpet where it once lay. Alan scratches his head. + + ALAN + That's weird... + +CUT TO: + +EXT. MANDALAY BAY -- POOL -- DAY + +Stu, walking bow-legged, squinting painfully in the bright sun, tries to inspect everyone lying around the huge pool. Doug? Doug? Several HOT WOMEN in bikinis sit up, disgusted! + + STU + No, no. It's cool, I'm a dad. It's totally cool... + +CUT TO: + +INT. GYM -- DAY + +Alan stumbles through the gym, looking for Doug. The place is packed with fit people, working out. Alan mumbles to himself: + + ALAN + I hate you all... + +CUT TO: + +INT. CASINO FLOOR -- NICKEL SLOTS + +Stu wanders through the casino, calling out, incredibly loud: + + STU + DOUG! DOUG! + +Two GAY MEN in identical tank tops pass by, holding hands./*20.*/ + + GAY MAN + Hey Stu. + + STU + Hey guys. DOUG! DOUG--! + +Then Stu registers what just happened. He stops and turns around -- enh? -- but the gay men are gone. Before he can comment, however, he sees Vick and Alan talking to Atashir at + +.THE RECEPTION DESK + +He slowly bow-legs himself over. + + STU + You find Doug? + + ALAN + No, I assume you didn't either? + +Stu shakes his head, no. Then Atashir hangs up his phone. + + ATASHIR + There is no Doug Billings at any of the area hospitals, morgues, or police stations. + +The guys frown, starting to grow worried. + + STU + Maybe he went for a jog? + + ALAN + Dude. It's 120 degrees outside. + + STU + Or shopping? + +The guys just look at him like: you're an idiot. + + ALAN + Great. So we've officially lost Doug. His wedding is in what, 22 hours? + + VICK + Relax, it's Doug, he's probably crashed out on someone's couch right now. All we have to do is retrace our steps from last night, and we'll find him./*21.*/ + + ALAN + Okay, so last night... + +The guys wince, trying to remember. It's painful to think. + + VICK + Well, we started on the roof... + + ALAN + Right, that was like, 6ish...? + + VICK + Then...I think...we had steaks at the Palm? + + ALAN + Yeah. Then...we played craps at the Hard Rock...maybe? + + VICK + That sounds right... + +Stu throws up his arms, already giving up. + + STU + Okay, honestly? I don't even remember going to dinner. + + VICK + I vaguely recall...doing body shots ....at some point? Is that...maybe? + + ALAN + I'm pretty much blank after The Hard Rock. + + VICK + I think we went to the Flamingo after that...? And then, I just remember a lot of blue light...and the overpowering smell of baby oil. + + ALAN + So that was what, 10ish? + + VICK + Give or take. + + STU + Was Doug still with us? + +Vick rubs his temples, trying to fight through the hangover./*22.*/ + + VICK + Yes. Yes. Doug was with us. I tackled him...for some reason. + +The guys nod, okay, okay. + + ALAN + Okay. So we only have a 13 hour window where we could've lost him. + +They guys frown. Shit. Stu puts his hands into his pockets, thinking... Then he feels something. A matchbook. He pulls it out. It's from The Flamingo Nightclub. + + STU + Hey! Look, we were at the Flamingo. + +A long beat of silence... Then the guys hurry to an empty BLACKJACK TABLE and start emptying their pockets of the detritus from the night before. They find matchbooks, receipts, room keys, a valet ticket... + + ALAN + ATM receipt from the Rio at 10:37-- + (reading it) + For 600 dollars?! + + VICK + The valet ticket says we returned here at 4:57AM. + + STU + We drove last night? + +The guys wince, jesus... + + ALAN + Here's a receipt from Sbarro. The meal was comped for some reason-- + + VICK + Why do we have a matchbook from The Golden Pony All Male Revue? + +The guys exchange a look, alarmed. + + ALAN + Someone could've given that to us./*23.*/ + + STU + (laughing, nervous) + Yeah, totally! There's no way we went there! We're not gay! Hahaha! + +They frown, then stare at all the clues lined up on the blackjack table. + + ALAN + I think we should call Tracy. + + VICK + Absolutely not. + + ALAN + What if Doug called her? She might know where he is. + +Stu shifts uncomfortably, tenderly adjusting his ass. + + STU + Yeah, I'm with Alan on this one. + + VICK + Of course you're with Alan, you're both gutless cowards. But we're not calling Tracy. You never call the bride from the bachelor party. Ever. If my balls were on fire and Tracy was sitting next door with a tall glass of water, I still wouldn't call her. It's a rule. + + ALAN + But shouldn't we at least tell her we're gonna be getting home late? + + VICK + She has a watch, she'll figure it out. + + ALAN + I think I'm beginning to see why you're always single. + + VICK + And I think I'm beginning to see why you're always a douche-- + + STU + (clutching his ass) + Guys, wait. I need your help -- oh my God -- like right now. Come on./*24.*/ + + ALAN + Jesus, what is it? + +CUT TO: + +INT. BATHROOM -- MOMENTS LATER + +Vick and Alan unhappily stand in the lavish, gold-ensconsed men's room, watching Stu painfully undo his jeans. + + VICK + I can't believe we're doing this. + + STU + You don't have to look up my butt, just at it. Something is terribly, terribly wrong... + +Stu's jeans fall to the ground -- and everyone freezes. He's wearing a snug FLUORESCENT PINK G-STRING with "I ROGER" written vertically down the front. In glitter. + + ALAN + Sweet mother of mercy... + + VICK + Who's Roger? + + STU + I-I-I don't know?! What do you think it means?! + + VICK + What do I think it means? Well, Stuart, your ass is all torn up and you're wearing thong underwear declaring your love for another dude -- I don't think we need the CSI team for this one! You got reamed last night, man! + +Stu covers his mouth, horrified! + + ALAN + I'm sure there's a perfectly logical explanation for this... + + STU + Really?! What?! + +Alan tries to think of one./*25.*/ + + ALAN + Yeah, maybe there isn't. + + VICK + Look, I'm sure Roger is a very nice, considerate young man-- + + STU + Oh my God, guys: what if I'm gay?! + + VICK + Come on, Stu, you're nowhere near cool enough. + + STU + (gasping, realizing) + I do watch Dancing With The Stars with the kids! + + ALAN + Oh god, that doesn't mean you're gay. + + VICK + But sort of...it does? + +Stu grows increasingly frantic. + + STU + And once, I caught myself gazing at a topless photo of David Beckham! + + ALAN + So what, he's a great-looking dude-- + + STU + And then I had those weird feelings for Vick that time in middle school, remember?! + +Everyone stops. Vick most of all. + + VICK + Um, what? + + STU + Yeah, that weekend we were all camping -- I told you this. + + VICK + Yeah, no you didn't. + + STU + I didn't?/*26.*/ + + VICK + I think I'd remember, dude. + + ALAN + Yeah, I think we'd all remember. + + STU + Yeah. I had weird feelings for you that weekend. Like really hot, really gay feelings. But then they went away. + +Vick is just looking at him, stunned. + + ALAN + Wait -- I was there that weekend. Did you have gay feelings for me? + + VICK + Unbelievable. + + ALAN + What?! I was a good-looking kid! + + VICK + Please, you're so not his type! + + STU + Wait, what? + +Just then, a FATHER and his YOUNG SON enter the men's room and see Stu standing there, pants down, in his G string... + + VICK + Look, Stu, one homosexual experience doesn't mean you're permanently gay, okay? A lot of guys test the waters. + +...the FATHER and SON wheel right back around and exit. + + ALAN + All right, we're scaring the children. Let's go. + +The guys head for the door. Stu quickly pulls up his pants. + + STU + Wait -- so have either of you tested the waters? + + VICK + No! We're not gay!/*27.*/ + +Stu looks highly confused as he follows them out onto + +.THE CASINO FLOOR + +The guys power through the crowded casino, towards the exit. Stu tries to keep up, genuinely concerned. + + STU + How am I going to tell my wife? + + VICK + Quickly, and from a great distance. + +Alan's hand accidentally hits a brass railing and CLINKS... + + STU + Jesus, what kind of father am I? + +Alan's hand CLINKS against the railing again, and this time it registers. Alan looks down -- and stops cold. + + ALAN + Oh my God. + + STU + (really scared) + You think Erin will try to take the kids--? + + ALAN + Oh...my...God. + + VICK + (turning, annoyed) + What now? + +Alan holds up the source of his CLINKING: on his ring finger is a huge, tacky, silver WEDDING RING with a unicorn on it. + + STU + (not getting it) + Cool ring. Also, my Dad is gonna have a field day with this. + +Vick, however, recognizes the implications of the ring, and starts back towards Alan. + + VICK + Oh my God... Oh my God... + + STU + What's the big--? + (finally realizing) + Oh! OH! OH!/*28.*/ + +Alan steadies himself against a SLOT MACHINE, and shakily takes off the massive unicorn ring. + + STU (CONT'D) + Maybe it's not a wedding ring? + + ALAN + (reading inscription) + "To My Noble Husband, Alan." + +The guys eyes bulge, oh shit! + + STU + This is worse than my underwear! + +Vick takes the ring and reads the rest of the inscription: + + VICK + "Now & Forever Wedding Chapel." + +They guys exchange a look. + + VICK (CONT'D) + Well, at least it's a lead. + +Beat. Then Alan turns and THROWS UP all over the slot machine. Nearby OCTOGENARIAN SLOT PLAYERS look over, disgusted -- but continue playing their nickels. + +CUT TO: + +EXT. MANDALAY BAY -- VALET STAND -- DAY + +The three guys exit the hotel looking like crap. Vick hands his ticket to the valet. Alan chews mint gum. + + VICK + So, we go to the wedding chapel, we find out what we did with Doug, we recover him, and we're back in LA before sundown. Easy as Stu's ass. + +No one laughs. Tense SILENCE as they wait for the car. + + STU + Check it out, some idiot threw his bed out the window last night. + +Stu points over at a huge stone GRIFFIN in front of the hotel with an ENTIRE BED impaled upon its ear. + + ALAN + That was us, dude./*29.*/ + + STU + Really? + + ALAN + Yeah, there's no bed in Doug's room. + + STU + (FROWNING) + Oh. Well, I'm sure we had a good reason for doing it. + (BEAT) + You think they'll charge us for--? + + ALAN + Yeah, Stu, I really do. + + VICK + Guys, relax. Everything's gonna be cool... + +Just then the Valet drives up in + +VICK'S DESTROYED CADILLAC + +The exterior is scratched and filthy, like it's been off-roading. The hubcaps are gone, as is the front passenger side door. A wisp of STEAM trails up from under the hood. The guys just stand there, agape. + + STU + You okay, Vick? + + VICK + I'm not emotionally prepared to talk about it just yet, Stuart, but thank you. + +Vick dons his sunglasses and heads for his destroyed car... + +DISSOLVE TO: + +THE GUYS ROLLING DOWN THE STRIP + +in their ridiculous car. Cars full of FAMILIES, cute GIRLS, even NUNS, point and stare. Our guys just face forward, each quietly suffering in their own personal Hell. + + ALAN + Seriously: what am I gonna tell Becky? For 14 years she's been begging me to get married.../*30.*/ + + VICK + Well, now you did. Just not to her. + +Alan glowers at the city going by... Then he sits up-- + + ALAN + Wait, is that homeless guy wearing Doug's shirt? + +The guys turn to see a HOMELESS GUY weaving down the sidewalk in Doug's DISTINCTIVE ORANGE SHIRT from the night before. Once they pass, the guys exchange a look. + + STU + Naaah. + + VICK + Yeah, that was a different shirt. + +Alan doesn't look so sure. They drive in silence. Then: + + VICK (CONT'D) + Left turn. + +Stu, sitting shotgun, braces against the empty doorframe so as not to fall out of the car as they turn left... + +EXT. NOW & FOREVER WEDDING CHAPEL -- DAY + +Sitting in an East Vegas strip mall, sandwiched between a laundromat and a pawn shop, is the pink Now & Forever Wedding Chapel. The Cadillac parks in the lot out front. + +INT. NOW & FOREVER WEDDING CHAPEL -- DAY + +Everything in the small, tacky wedding chapel is white plastic. White plastic plants, white plastic cross, white plastic chairs. The guys enter. + + ALAN + What if they don't remember us--? + + VOICE BEHIND THEM + AAAAYYYYY! + +The guys turn to find the hirsute owner of the chapel, STEVE GIANOPOLUS, 40's, in a tight white suit, his arms spread wide. Steve is all Vegas, by way of Long Island. + + STEVE + How are you, you dumb bastards?!/*31.*/ + +He warmly hugs the guys. They have zero memory of him, and it shows as they hug back weakly, unfamiliar... + + STEVE (CONT'D) + CARLA, GET YOUR FAT ASS OUT HERE! ALAN AND THE BOYS ARE HERE! + (to the guys) + You here to pick up your wedding photos?! + +Alan starts to decline, when-- + + VICK + Does the pope wear a funny hat?! Let's do this thing! + +Steve CACKLES and guides them over to a table; Alan scowls. + + STEVE + And where is Chastity today? + +They all sit on white plastic chairs. + + ALAN + W-Who's...Chastity? + + STEVE + (LAUGHING) + Your wife, man--! AWW, you're just breaking my balls! + +Alan looks ill. Laughing, Steve retrieves a folder and starts laying out a series of WEDDING PHOTOS on the table. Vick eagerly peruses them, enjoying this. + + VICK + Uh, it was such a lovely ceremony, wasn't it? + + STEVE + Hand to God, I've never seen two people more in love! + + VICK + Sadly, I believe you... + +The guys look at the photos of Alan's wedding from the night before. They're typical wedding shots, only the guys are all wearing MEDIEVAL COSTUMES, swords, bows, tights, even armor. They look incredibly happy -- and incredibly drunk. The next photo is of Alan and his BUSTY BLONDE BRIDE. She's having a blast in a white medieval gown and tiara./*32.*/ + + VICK (CONT'D) + Hello, Chastity... + +Alan just closes his eyes, oh God. + + ALAN + I am never...ever...drinking again. + + STU + Jesus, she is stacked. + + VICK + Stu, please, show some class. That's Alan's wife you're talking about. + + STU + (to Alan, guilty) + Sorry. She looks really nice. + +But Alan is too busy gaping at the next photo, of him and Chastity atop a UNICORN in the chapel. (It is, of course, a rented pony with a lame horn strapped to its head.) + + ALAN + We got a unicorn?! + + STEVE + Oh, yeah, you got the entire Double Camelot Package. + +Alan just rubs his temples, oh no. + + ALAN + A-And how much did that cost? + + STEVE + 7 thousand dollars. + +Alan closes his eyes. Stu and Vick exchange a look, no way! + + STEVE (CONT'D) + Yeah, you didn't want to get it, either, but Vick insisted. + +Beat. Then Alan pounces across the table at Vick! + + ALAN + I'm gonna kill you! + + VICK + (fending him off) + You can't put a pricetag on love, Alan! OW! You just can't!/*33.*/ + +Stu hops up and starts pulling Alan off of Vick. + + VOICE BEHIND THEM + STOP FIGHTING IMMEDIATELY! + +The guys straighten like schoolboys as Steve's wife CARLA, 40's, enters. She's wearing a toga, smoking a menthol, and dollying in several large CARDBOARD BOXES. Then she grins: + + CARLA + Ahhh! I'm just busting your nuts! + +She lowers the dolly and hurries over for hugs. + + CARLA (CONT'D) + Good to see you, you stupid mooks! + +Stu and Alan force smiles, no idea who this woman is. Vick, on the other hand, steps forward and hugs her tightly. + + VICK + It's good to be seen, Carla. It's good to be seen. + + CARLA + I brought the rest of your package. + +Carla begins unloading things from the cardboard boxes. + + CARLA (CONT'D) + First: Two dozen commuter mugs... + +She unpacks 24 COMMUTER MUGS with Alan and Chastity's photo emblazoned on them. Alan winces, oh god. Stu grabs one: + + STU + No way! Awesome! + + STEVE + A hundred DVDs of the ceremony... + +She lays out the stacks of DVDs. Vick nods at Alan: + + VICK + For you and Chastity to watch on your anniversary... + +Alan just clenches his jaw, I fucking hate you. + + CARLA + The velvet wall hanging... + +She pulls out a six foot air-brushed velvet WALL HANGING of Alan and Chastity riding the unicorn together in outer space./*34.*/ + + VICK + And it looks like real velvet, Alan, so no machine wash, okay? + + CARLA + And the big finish: + +Vick and Stu do a DRUMROLL on the table, excited... Then Carla pulls out a FOUR FOOT BRONZE SHIELD with a bas-relief of Alan and Chastity MAKING OUT on it. Alan just closes his eyes. + + STU + HOLY CRAP! + + VICK + DUDE, YOU HAVE A SHIELD! + + STU + I want a shield! + + VICK + Me too! Hey, can Stu and I get a shield? + + ALAN + I don't suppose you have any sort of return policy, do you? + + STEVE + Um...if you know another couple who looks exactly like you guys, and who want two dozen commuter mugs, a wall hanging, and a shield...sure. + +Alan scowls. Then his cellphone RINGS. He angrily answers it without looking at the Caller ID. + + ALAN + What. + +We hear someone YELLING AT HIM. Alan's eyes bulge. + + ALAN (CONT'D) + Oh, hey Becky! Hi! + +He steps away to take the call. Vick explains to Carla: + + VICK + That's his girlfriend of 14 years. I'm sure this'll only take a minute.../*35.*/ + +Vick and Stu go back to looking at the wedding photos as Alan tries to talk to his furious girlfriend. + +>INTERCUT WITH: + +BECKY + +in her Laura Ashley bedroom, angrily packing up her suitcase. She's beautiful and preppy in pearls and a sweater set. + + BECKY + Can you tell me why all the goddamn credit cards are maxed out?! + + ALAN + No! I-I have no idea--! + +Then Vick calls over from the white plastic table, pissed: + + VICK + HEY ALAN, HOW COME I WASN'T YOUR BEST MAN, DUDE! + + STU + YEAH, WHAT THE HELL, ME EITHER! WHY'D YOU PICK DOUG?! + +Alan waves at them, shut the hell up! But Becky has heard. + + BECKY + "Your best man?!" What's going on there, Alan?! + + ALAN + Nothing! Baby, nothing, the GUYS ARE JUST BEING DICKS! + + VICK + HEY ALAN, YOU WANT ALL YOUR WALLET-SIZED WEDDING PHOTOS, OR CAN I BOGART A FEW?! + +Alan furiously flips them off, shut up! + + BECKY + I really don't appreciate being mocked right now, Alan, especially about wedding-related issues. You know how hard this weekend is going to be for me. + + ALAN + I know, baby! I know--/*36.*/ + + BECKY + So you'll call the credit card company and straighten this out? + + ALAN + Yes. I will. I promise. + + BECKY + Okay. Okay... + (beat, calming) + Look, sorry I'm so tense... I'll see you soon, okay? Love you. + +But Alan is just staring at the BRONZE SHIELD of him making out with his blonde bombshell wife... + + BECKY (CONT'D) + Alan? Hello? I said I love you?! + + ALAN + Yes, no, I love you too! + +Becky hangs up, rolling her eyes, unbelievable. STAY WITH ALAN as he closes his cellphone. Exhales. + + STU + Hey, how's Becky doing, man?! + + VICK + Yeah, did she ask about us?! + +Off of Alan's hate-filled glare, we + +CUT TO: + +STEVE AND THE GUYS SCHLEPPING ALL OF THE WEDDING CRAP + +through the strip mall parking lot, back to their car. Alan sullenly carries the GIANT BRONZE SHIELD. + + STU + Look on the bright side, Alan. Vick found a great clue. + + VICK + Turns out Doug was in all the wedding photos, which means -- if the time stamp was right -- we had him in our possession until 11 pm./*37.*/ + + STU + That's another hour of last night that we can account for. Isn't that great? + + ALAN + (bitterly sarcastic) + Amazing. + + VICK + Hey, Steve, you don't happen to know where we were heading when we left here last night, do you? + + STEVE + Well, the Double Camelot Package comes with a five course wedding feast, so I assume you went there. + + STU + Great -- where was the feast? + + STEVE + Sbarro, over in the Fremont mall. + +CUT TO: + + ALAN (V.O.) + I paid 7 grand for Sbarro?! + +INT. VICK'S CAR -- MOMENTS LATER + +The beatup Caddy is packed with wedding crap. Vick is busy trying to reverse the overloaded car out of the parking spot. Stu's in the backseat with the huge shield, while Alan seethes up front. + + VICK + Your negativity is like a little black cloud over our car, Alan. You've got to let go of this. + + ALAN + Let go of what, exactly, Vick?! The fact that I married a complete stranger last night? Or that my girlfriend's about to leave me? Or that I'm broke? Which one?! + + VICK + You're broke? I thought you were LOADED--/*38.*/ + + ALAN + I know you think it's like terminally uncool to be in a committed relationship, Vick, but I actually love Becky, okay? + (SINCERE) + I-I honestly don't know what I'd do without her...I really don't... + +Alan looks off, lost, sick. Vick stops the car short. + + VICK + Alan. Honey. Have you considered, even for a second, that maybe the things we do when we're drunk are what we secretly want to do? + + ALAN + (dripping with sarcasm) + Yeah, no, you're absolutely right, Vick, I've always secretly wanted to marry a bottle blonde with big fake melon tits named Chastity! + + STU + I ain't mad atcha, dude... + + VICK + Or, after 14 years, maybe you don't have the balls to leave Becky, and this is your way of getting her to leave you. + + ALAN + I was going to propose to her this weekend, you jackass! + + VICK + All the more reason to freak out. + +Alan opens his mouth to respond, but nothing comes out. Vick nods, chew on that, and continues slowly reversing the car. + + VICK (CONT'D) + I love you, Alan Mervish, I do, but you've always had a major pole up your ass. Maybe last night was your inner cool person trying to get out- + + ALAN + I swear to God, Vick, if you say one more word to me, I will destroy you./*39.*/ + + STU + Guys, come on, let's not use our angry words-- + +SMASH! + +A baseball bat SHATTERS the windshield! The guys all jump! Vick slams on the brakes! + + VICK + What the--?! + +They look up to see two MASSIVE SAMOAN MEN in loud Hawaiian shirts, KALOLO FANALUA and KIKIOLANI, 30's, standing on either side of the car. And they look pissed. + + KALOLO FANALUA + Get out of the car, Vick. + +Stu and Alan recoil in terror. + + STU + Who are these guys?! + + VICK + Stu, please. + (to Kalolo Fanalua) + I think there's been some sort of mistake, Mister...? + + KALOLO FANALUA + I'm Mr. Shut The Hell Up And Get The Hell Outta The Car, and this is my associate, Mr. Smash You In The Teeth If You Say Another Word. + + VICK + (beat, to Alan) + Those so aren't their real names. + + ALAN + Vick, don't be a dick--! + + VICK + Alan? Relax. These men aren't going to hurt us. They're from Hawaii. + +SMASH! SMASH! SMASH! + +Kikiolani starts viciously smashing the car! + + KALOLO FANALUA + We're from Guam, bitch! Now get outta the car!/*40.*/ + + VICK + Okay, okay! Cool it with the bat! Jesus, why is everyone trying to kill my car...? + +Vick undoes his seatbelt and reaches for his door handle. Kikiolani lowers his bat -- and Vick throws the door open, right into his nuts! The huge Samoan staggers back, OWWW, and Vick slams his door shut and + +FLOORS IT OUT OF THERE IN REVERSE! + +The Caddy sideswipes a car, hops the curb, and lands on the street! They SQUEAL AWAY, the huge bronze shield flying out of the backseat as they do! It CLATTERS on the pavement... + +EXT. EAST VEGAS STREET -- CONTINUOUS + +Vick drives like the wind, trying to see around the huge SPIDERWEB in the windshield. Alan and Stu are freaking out. + + ALAN + Why'd you do that?! + + VICK + (INCREDULOUS) + Really? + + STU + Maybe they just wanted to talk! + + VICK + I honestly don't know how you two are still alive. + + ALAN + Do you think we stole something from them last night?! + + STU + Oh my god I am such a bad dad! + + ALAN + (producing cellphone) + I'm calling the police. This is getting way out of control-- + + VICK + No! No cops! + + ALAN + "No cops?!" Who are you, Fitty Cent?!/*41.*/ + + STU + Yeah, Vick, what's going on? + + VICK + Nothing! I just think we should focus on finding Doug and not get distracted by every little thing! + + ALAN + Every little thing?! We were just assaulted by the Yakuza! + + VICK + Oh please, those guys are from Guam. Get a grip. + + ALAN + They knew your name, Vick! Which means they probably know who Stu and I are, too! + + STU + If anything ever happened to my family, Vick... + + VICK + Fine. Let's just go back to the hotel -- Doug is probably back from wherever he spent the night, we'll get him, we'll straighten out whatever we did to those angry Samoans, then we'll get the hell back to LA, okay? Left turn. + +Vick angrily takes a harder-than-necessary left turn. Alan hangs on tight, almost flying out of the car. + +CUT TO: + +TITLE CARD: "SATURDAY, 2:26 PM" + +INT. DEAN MARTIN SUITE -- DAY + +The boys hurry into their room, stressed. + + VICK + Doug? Doug? + +Alan quickly checks the room phone. + + ALAN + No messages./*42.*/ + + STU + Come on, let's toss the place. + +Alan starts wading through the crap in the living room, while Vick and Stu head off to check the bedrooms... + +INT. BEDROOM + +Stu brushes aside beer bottles and room service dishes, looking for anything relevant. He spots a LEGAL CONTRACT on the ground. Picks it up. + + STU + Hey, check it out, Vick! I invested 30 grand in your custard store last night! + +Vick calls from the other bedroom. + + VICK (O.S.) + Smart move, man. + +Stu opens the closet door -- and freezes. + + STU + Hey, you wanna come in here a sec?! + +Vick enters a moment later to find Stu staring into the closet. Vick follows his gaze and sees a SEXY WOMAN snoring away on the closet floor, her blonde hair obscuring her face. + + VICK + Whoa. + + STU + You think she's what those Guamian dudes wanted? + + VICK + No. I think she's Alan's wife. + +Stu covers his mouth, oh shit! Vick produces the wallet-sized photos from Alan's wedding, compares them, and nods. + + VICK (CONT'D) + Alan? Wanna step in here, buddy? + +A second later Alan enters, what's up? + + VICK (CONT'D) + Alan, Chastity. Chastity, Alan. + +Alan looks down, sees Chastity SNORING on the closet floor, her body all contorted, and freezes. Oh my God./*43.*/ + + ALAN + What...what am I supposed to do? + + STU + Wake her up, man! + + ALAN + Why me?! + + VICK + Because she's your spouse, dude! + +Scowling, Alan slowly crouches down. Then, a little scared, he nudges her. Nothing. He nudges her harder. + + VICK (CONT'D) + Pinch her tit. It always works. + +Alan shakes her a bit harder and -- BRRAPPPP -- the girl lets out a massive burp and awakens, COUGHING. Alan jumps back up, terrified. The woman, CHASTITY, looks around, disoriented. + + CHASTITY + Dang, did I sleep in the closet again...? + +Then she notices the guys staring down at her. She smiles, recognizing them: + + CHASTITY (CONT'D) + Oh hey, guys! What's up? + +She shakily climbs to her feet to expose a skimpy skirt, a snug tube top, and mascara smeared all over her face. The guys have no idea what to say. She kisses Alan on the cheek, very intimate -- like, well, a husband and wife. + + CHASTITY (CONT'D) + Morning, honey... + +She exits into the living room, picking her wedgie. Beat. Alan is speechless. + + STU + She seems really cool. + + VICK + Yeah, I really like her, man./*44.*/ + +INT. DEAN MARTIN SUITE -- LIVING ROOM + +Chastity gathers her belongings -- jacket, purse, G string -- from around the totalled living room. The guys file in. + + VICK + So, um, did you take Alan's name? + + STU + Yeah, are you Chastity Mervish now--? + + ALAN + Listen to me. Just...did we, or did we not, have sex last night? + +Alan braces, please say no, please say no... Vick braces, please say yes, please say yes... + + CHASTITY + Well...ya? + +Alan slumps, his life over. Vick pumps his fist, YES! + + CHASTITY (CONT'D) + But we waited til we were married. + +Alan GROANS. + + VICK + What a responsible, upstanding young Jew. They don't make `em like that anymore, am I right? + +Chastity smiles, sweet, as she straps on her 6 inch heels. + + CHASTITY + I know -- he even wanted to use a rubber. + +Alan breaks into a COUGHING FIT. + + ALAN + Wait-- we didn't use a condom?! + + CHASTITY + It's cool, I sponge. + +Alan leans against a wall, dizzy. + + ALAN + Can someone...please open a window?/*45.*/ + +Stu turns and tries to open a window. No luck. + + STU + They don't open. + + CHASTITY + So you guys don't remember any of last night? + + VICK + Yeah, not so much. + + CHASTITY + Hey, been there before, right? + (grabbing her sizable bra) + Sucks, though. The wedding was really fun. I'm bummed you don't remember it, Alan. + +She smiles, a little saddened. Stu whispers to Alan: + + STU + Dude, I think your wife's mad at you. + + VICK + You don't happen to remember what time we met you last night, do you? + + CHASTITY + Sure, we met at the bar at like 10:00? Then we got married on my smoke break, which was like 11:00? + + VICK + It's the All-American love story, isn't it? What happened next? + + CHASTITY + Well, I had to go back to work. But when I got off at 5:30, I met up with you guys back here. + + VICK + And was Doug with us then? + + CHASTITY + No. + + VICK + Interesting... Do you have any idea where we went after the wedding?/*46.*/ + + CHASTITY + No, but I bet some of my work friends do. You were partying with them pretty hard. + + STU + Work friends? + +SMASH CUT TO: + +STRIPPERS + +Dozens of `em, dancing, grinding, shimmying on poles. + +INT. CRAZY HORSE GENTLEMEN'S CLUB -- DAY + +Chastity leads the guys through Vegas's Most Notorious Strip Club, The Crazy Horse. It's bacchanalia writ large, complete with throbbing music, flashing strobe lights, and six stages of spinning flesh. The place is mobbed with PATRONS. Alan follows after Chastity, horrified. + + ALAN + You work here? + +Behind him, Vick SLAPS FIVE with Stu, psyched. + + CHASTITY + Yeah -- and this is the pole where we first met! + +She stops at a pole, around which a BRUNETTE STRIPPER currently spins. Alan looks ill. + + CHASTITY (CONT'D) + It's always been my lucky pole... + + ALAN + Look, I don't know how to tell you this, but-- + + CHASTITY + HEY PLATINUM, CHECK IT OUT! + +She holds up her hand, showing off ALAN'S GRANDMOTHER'S RING to the stripper currently upside-down on the pole. + + PLATINUM THE STRIPPER + Get it, girl! + + CHASTITY + Come on, let's go meet my bridesmaids!/*47.*/ + +She hurries off, but Alan can't move. + + STU + Dude. + + VICK + I know. + + ALAN + The Holocaust, man. + +Alan just stares into space. Vick takes him by the shoulder. + + VICK + Look, we can get your grandmother's ring back. We just gotta go about it in the right way. + + ALAN + I have besmirched my people. + + STU + Don't be so hard on yourself, dude-- + +Just then Chastity runs back over with two BLONDE STRIPPERS. + + CHASTITY + These were my bridesmaids, Anastasia and Starr! + + STARR + Hey, boys! Good to see you again! + + ANASTASIA + Mazel Tov--! + + ALAN + Please...don't. + +Just then a SPOTLIGHT finds Chastity and Alan, and the SLEAZY PONYTAILED DJ up in the booth comes over the P.A. system: + + STRIP CLUB D.J. + OKAY, GUYS! LET'S GIVE A CRAZY HORSE SHOUT-OUT TO OUR HAPPY NEW COUPLE, CHASTITY AND ALANNNN! + +The entire club CHEERS! Chastity holds up her wedding ring and dances around, WOO HOO! Alan waves meekly. Thanks. + + STRIPPER D.J. + IN HONOR OF THEIR MARRIAGE, WE'RE DOING TWO-FOR-ONE LAPDANCES! TWO SONGS FOR TWENTY BUCKS!/*48.*/ + +The DJ puts on Nine Inch Nails' "I Want to Fuck You Like An Animal" and the club gets hopping again. + + CHASTITY + Oh my God, he's playing our song! + (giddy, to Alan) + This song was playing when we met, remember?! You kept sliding twenties into my thong and saying "I will always love you. I will always love you." + +Alan closes his eyes. + + ALAN + Twenties? + + CHASTITY + Yeah, it was so sweet... + + ALAN + Look, I don't know how to say this, but my friends and I were very drunk last night. We would never come to a place like this-- + +He glances over at Vick and Stu -- but they're gone. + + ALAN (CONT'D) + Guys? + +CUT TO: + +VICK AND STU TOASTING SHOTS OF JAGERMEISTER + +and downing them. PULL BACK to see that they are sitting in + +.THE CHAMPAGNE ROOM + +getting lapdances from STARR and ANASTASIA. The Champagne Room is a dark, plush private suite in the back of the Crazy Horse where strippers ply their craft; the room is half full. Vick watches Starr lean over and make out with Anastasia. + + VICK + You are the best bridesmaids ever. + + STU + (huge boobs in his face) + Dude: I might not be gay. + +Then Alan hurries in with Chastity; he looks pissed./*49.*/ + + ALAN + What the hell are you doing?! + + VICK + Two-for-ones, man. + + ALAN + We don't have time for this! We gotta find Doug! + + VICK + What do you think we're doing? + + ALAN + What? + + VICK + We're getting into the mindset of last night, to see if it sparks any memories. + (to his stripper) + Now: is this exactly how you were dancing for me last night, Starr? + +She nods. Vick nods, pensive, scientific. + + VICK (CONT'D) + Yeah, still no memories. Keep going -- and put your back into it. + + ALAN + You are so goddamn selfish, Vick. You really are. Stu, let's go. + + VICK + No. Stu, sit and enjoy your dance. + +Stu looks between them, torn. + + ALAN + Dude: Doug is missing! We have less than 18 hours til his wedding! We do not have time for this! + + VICK + I'm trying to save your life here, Alan Mervish. + + ALAN + Vick--!/*50.*/ + + VICK + I'm not kidding, man! Life is one long series of emergencies, and if you don't learn to stop and have a little fun along the way, you're gonna grow into a joyless old prick like your dad. I'm sorry to bring Moshe Mervish into it, but it had to be said. Now yes, we have 18 hours to find Doug -- which means we can afford to spend ten minutes celebrating the special talents of these gifted young body-artists. So sit down, have a jager shot, and smell the goddamn roses for once in your miserable life. Chastity, honey? When you're ready? + +Chastity pushes Alan onto the red leather banquette and starts dancing for him. He tries to squirm away: + + ALAN + No, look-- I am like totally against this, morally and politically. Plus Becky specifically asked me not to-- + +SMASH CUT TO: + +ALAN SITTING ON THE BANQUETTE, LOOKING AWESTRUCK + +as Chastity works a wildly erotic lapdance on him. She crawls onto his lap, she whips him with her long hair, she puts her tongue in his ear. Next to him, no longer getting lapdances, Vick and Stu just sit, staring at Chastity, entranced. + + STU + I think I know why he married her. + + VICK + Because if he hadn't, I would've. + +They continue watching on in silence. + + STU + Is it weird that we're sitting this close watching? + + VICK + Not for me. + +More watching in silence./*51.*/ + + STU + I really shouldn't be here. I have daughters. + +Then both of their heads angle the same way. + + VICK + Not that can do that. + + STU + How can she do that without dislocating her hip? + + VICK + Because she's been touched by God. + +They continue staring, amazed. Just then, the door is kicked open and KIKIOLANI and KALOLO FANALUA burst into the Champagne Room, peering through the darkness, looking for our guys. Vick and Stu see them immediately. + + VICK (CONT'D) + Shit. + +They both hop up. Alan remains sitting, however, hypnotized by Chastity. Vick grabs him. + + VICK (CONT'D) + Alan, come on, man, we gotta go! + + ALAN + Whoa, whoa, I'm smelling the roses-- + +Vick literally yanks Alan up from the banquette. + + VICK + Come on, man! We got company! + +Finally, the Guamians spot the guys and lumber for them! + + VICK (CONT'D) + Chastity, honey, is there a back way out of here?! + +Thinking fast, Chastity grabs her clothes and darts over to a darkened, unlabeled FIRE DOOR. + + CHASTITY + Come on! + +The guys race after her.../*52.*/ + +INT. CRAZY HORSE -- BACK HALLWAY + +Chastity and the guys sprint through the bright, crowded back hallways of the Crazy Horse, weaving through strippers, cocktail waitresses, and barbacks. Behind them, the two massive Samoans try to follow, but are slowed by all the foot traffic. Strippers SCREAM as they're bowled over by the obese Islanders. + +INT. CRAZY HORSE -- MAIN STAGE + +A spotlight holds on a CLOSED CURTAIN covering the main stage. Some sort of techno Limp Bizkit song is playing. + + STRIPPER D.J. (O.S.) + ANNND ON STAGE ONE, PUT YOUR HANDS TOGETHER FOR...DOUBLE STAXXX! + +All the patrons turn their attention to Stage One -- then Stu blows through the curtain, out of breath. Beat. The patrons look at Stu, confused. Stu looks at them, equally so. The patrons start to BOOO, just as Vick, Chastity, and Alan blow through the curtain after Stu. + + CHASTITY + Come on! + +Chastity, in six inch leucite heels, sprints down the main runway, leaps over the patrons sitting at the end, and hits the floor running! + + STU + Did she just do that in heels?! + + VICK + I'm really starting to like this girl. + +The guys all follow suit, sprinting down the runway and leaping over the patrons! Then the Guamians blow through the curtain, panting, very upset. They lumber down the stage -- and the patrons at the end of the runway clear the hell out of the way. + +CHASTITY AND THE GUYS RACE THROUGH THE STRIP CLUB + +Upsetting cocktails, hopping onto stages and then off again, leaping over chairs, spinning around stripper poles, and, finally, sprinting out the front door!/*53.*/ + +The massive Guamians give chase, leaving a wide trail of destruction behind them, like two elephants trampling through a forest. Just as they're blowing out of the door, however, + +THEY'RE CLOTHESLINED BY TWO CHAIRS + +being swung into their chests! SMASH! They both stumble backwards, and then four roided-up STRIP CLUB SECURITY GUARDS pounce on them, wrestling them to the ground. + + CRAZY HORSE SECURITY GUARD + (to walkie talkie) + Viper One, this is Rolling Thunder, we've subdued the targets, over. + +EXT. CRAZY HORSE -- DAY + +Chastity and the guys hurry around the corner from the Crazy Horse, laughing, exhilarated from the chase. + + STU + Did you see them trample those tiny Japanese businessmen?! I think they killed like four of them! + +Everyone laughs. Vick puts his arm around Alan. + + VICK + Come on, Alan: tell me that wasn't just a little fun... + + ALAN + That was...a little fun. + +Vick smiles -- just as a LAS VEGAS POLICE CAR hops the curb, lights flashing, and cuts them off! Two mustachioed COPS get out and hurry for them, pointing, intense. + + LAS VEGAS POLICEMAN + Victor Lennon?! Alan Mervish?! Stuart Pryce?! + + STU + (SCARED) + Y-Yes?! + + LAS VEGAS POLICEMAN + You're coming with us. + +CUT TO:/*54.*/ + +INT. LAS VEGAS POLICE STATION -- INTERROGATION ROOM -- DAY + +The two LVPD cops, OFFICER MERRIWEATHER and OFFICER BLADEN, 40's, pace about this bare interrogation room, while Vick, Alan and Stu sit behind the cold metal table. Vick looks tense, but in control. Stu and Alan are sweating, terrified. They've clearly been here a while. + + OFFICER MERRIWEATHER + Where were you last night at 3am? + + VICK + No idea. + + OFFICER BLADEN + Okay, how about at 2am? + + VICK + Ditto. + +Officer Bladen SLAMS the table with his fist. + + OFFICER MERRIWEATHER + You think this is cute, son?! You think this is a game?! + + ALAN + Whatever we did, we're so sorry! + + STU + Honestly, man, I will confess to anything you want! + + VICK + Stu: stop talking. Alan: sit up straight. Officer Merriweather, I've told you twelve times now: we have no memory of last night. Now either charge us with a crime, or let us go. + +Merriweather scowls and nods at Bladen, who steps over to a TELEVISION and turns it on. Merriweather, meanwhile, pulls out a photograph of a slick ASIAN MAN in a red suit, slides it onto the table. + + OFFICER MERRIWEATHER + What do you know about Jimmy Lang? + +Vick flinches ever-so-slightly, clearly knowing something. Stu and Alan just look at the photograph, confused./*55.*/ + + ALAN + Nothing? + + STU + Who is he? + + OFFICER MERRIWEATHER + Jimmy Lang runs the infamous Shiang-Xi crime organization, and is wanted in seven states for money laundering, drug smuggling, racketeering and murder. + + ALAN + Oh my god-- + + STU + Did we kill someone last night--?! + + VICK + We have no idea who this man is. + + OFFICER MERRIWEATHER + Is that right? + + VICK + Yeah, that's right. + +ON THE TELEVISION, grainy surveillance camera footage of a birthday party starts playing. In the video, JIMMY LANG sits in an upscale restaurant, in front of a BIRTHDAY CAKE, as a table full of hip ASIAN GUYS serenade him with "Happy Birthday To You." When the guys sitting next to Jimmy lean forward to help him blow out the candles on his cake, however, we see that it's Vick, ALAN, STU, DOUG, and some BLACK GUY, all very drunk! + + VICK & ALAN & STU & DOUG (ON TAPE) + ~HAPPY BIRTHDAY DEAR JIMMMMY, HAPPY BIRTHDAY TOOO YOOOOU! + +Everyone applauds. Vick drunkenly hugs Jimmy Lang. + + VICK (ON TAPE) + I love you, Jimmy Lang! + +Merriweather FREEZES FRAME on Vick kissing the top of Jimmy Lang's shaved head. In the interrogation room, Vick, Stu and Alan sit, frozen. Silence./*56.*/ + + STU + We're in a lot of trouble, aren't we. + + ALAN + Officers, I swear, we have no memory of that ever occurring-- + + OFFICER BLADEN + Okay. Maybe a night in jail will jostle something loose. + + STU + Oh no, sir, please don't! + + ALAN + We have a very important wedding--! + + VICK + I know Jimmy Lang. + +Everyone stops, looks at Vick. + + ALAN + You do?! + + VICK + Jimmy and I tried to raise capital for Girl-nasium, a 24 hour fitness center and day spa for tween-age girls, but it never got off the ground. It was an entirely legitimate enterprise -- I had no idea he was a criminal. We must've bumped into him last night, and he must've invited us to join his birthday celebration. No crime in that, is there, Officers? + +Merriweather gets in Vick's face, intense. + + OFFICER MERRIWEATHER + You actually expect me to believe that dung? + + VICK + (UNBLINKING) + Yes, Officer Merriweather. I do. + + OFFICER MERRIWEATHER + If I find out you're lying to me, son, I will take all of you down, is that clear?/*57.*/ + + OFFICER BLADEN + You boys wouldn't last three hours in prison. + + VICK + Stu might. + +Stu shakes his head, unbelievable. + + VICK (CONT'D) + Now: are you gonna charge us with something, or are we free to go? + +The cops look at each other, scowling. Beat. + + OFFICER BLADEN + Get outta here. + +Stu and Alan quickly hop to their feet and make for the door. + + ALAN + Oh, thank you, Officers! + + STU + It was really nice meeting you--! + + OFFICER MERRIWEATHER + If you know what's good for you, you'll get the hell out of Vegas. + +CUT TO: + +EXT. LAS VEGAS POLICE STATION -- NIGHT + +Day has turned to night. Vick, Stu, and Alan descend the steps of the police station. The mood is grim. + + ALAN + Did you have to be such a dick?! + + VICK + We got out, didn't we? + + ALAN + Yeah, four hours later! If we'd just cooperated with them-- + + VICK + If we'd cooperated with them, we'd be in jail right now, Alan. + +They reach the curb, and Stu starts trying to hail a cab. Desperation is setting in./*58.*/ + + ALAN + What are we gonna do now? We've got zero leads on where Doug is! + + STU + Why hasn't he called? It's 8:30. + +The guys shake their heads, I don't know. + + STU (CONT'D) + Do you think he's okay--? + + VICK + Stu, don't. Doug is fine. + + STU + I mean, we were hanging out with mobsters last night, man! They kill people for looking at `em weird--! + + VICK + Stu: Doug is fine. + + STU + Or what if we like drove Doug out to the desert and left him, just as like a funny prank--?! + + VICK + Stu! Enough! + + ALAN + (MUTTERING) + I knew I shouldn't have come... + + VICK + What did you just say? + + ALAN + I said I knew I shouldn't have come this weekend, Vick! + + VICK + (getting heated) + Is that right? + + ALAN + Yeah, that's right. I only came because Doug insisted. + +Vick steps towards Alan, heated./*59.*/ + + VICK + Why do think you're so much better than us, dude?! + + ALAN + I don't -- I just think I'm better than you, Vick! And trust me, it's not that hard! You haven't changed one bit since high school! Jesus, you're 28 years old and you still talk back to cops?! Really?! + + VICK + You're out of your depth, Alan-- + + ALAN + And you're still the one getting us in trouble! Only then it was hiding your weed in our locker, and now you've got us partying with wanted felons! It's not cute anymore, man! We're too old for this! + +Vick scowls; this is actually hitting home... + + ALAN (CONT'D) + And all your stupid get-rich-quick schemes?! Girl-nasium?! Custard?! In Los Angeles?! Are you joking?! + + STU + Okay, let's all take a breath-- + + ALAN + When's the last time you had a real job, man?! When's the last time you had a girlfriend?! Hell, when's the last time you picked up the check?! + + VICK + What's so great about any of those things?! + + ALAN + Those "things," Vick, are what grown men do! + +Vick swallows, furious. + + STU + Look, we're all tired and hungry--/*60.*/ + + VICK + None of us ever liked you, Alan! We only hung out with you because Doug made us! + +Alan recoils, whoa, stung. This is clearly news to him. + + ALAN + Stu...? Is that true? + +Stu gestures, uncomfortable, enh, who's to say? Alan nods, I see, his face reddening. + + VICK + Why would anyone like you, dude? Have you ever thought about that? You're uptight, you're judgemental, you're cheap, and yet somehow you think you're sweeter than everyone else! Well look around, man: no one wants to be you! I'd rather be Stu than you! + + STU + Wait, what--? + +Too late: Alan charges Vick and TACKLES him onto the lawn! They roll on the ground, trying to punch each other, but it ends up being a mess of half-chops, pulled hair, and hands in each other's faces... + + ALAN + I've...always...hated you... + + VICK + You punch like...your sister... + +Stu runs over and jumps in, trying to break them apart. + + STU + Hey, no! Time out! We all need a time out--! + +THUNK! Stu is accidentally kicked in the face and goes down. Alan and Vick continue rolling on the lawn, trying to beat the crap out of each other. They could be kids again. Then, just when it starts getting way too intense, + +A CAR HORN SOUNDS + +And all three of them look up to see Vick'S BEAT-UP CADILLAC parked on the curb, Chastity at the wheel./*61.*/ + + CHASTITY + That might not be like, the smartest place to fight? + +Vick and Alan look over at the huge LAS VEGAS POLICE DEPARTMENT sign right next to them. They frown... + +CUT TO: + +EXT. THE COYOTE CANTINA -- NIGHT + +Vick's car sits parked in front of a country bar. + +INT. THE COYOTE CANTINA -- NIGHT + +The guys sit at a booth, their hair a mess, their faces bruised, their clothing ripped, ravenously chowing down on TACOS. Stu's mouth is full of food: + + STU + Good call on happy hour, Chastity. These tacos kick ass. + + CHASTITY + Yeah, I always come here when I get out of jail. + +The guys exchange a quick look. + + ALAN + Hey -- how'd you start Vick's car? + + CHASTITY + Oh, my daddy taught me how to hotwire almost anything. + + VICK + That's funny, because Alan's daddy taught him tax law. + +Chastity smiles, a little confused. Alan is quick to retort: + + ALAN + And Vick's daddy taught him how to get really drunk at his kid's soccer games and then piss himself. + + VICK + It's a disease, dude--! + + STU + Guys, come on! For Doug?/*62.*/ + +Alan and Vick angrily continue eating their tacos. Then Stu's PHONE rings. He pulls it out, reads the caller ID. + + STU (CONT'D) + "Number blocked." + +VINCE + +ALAN + +Don't answer it. Answer it. + + ALAN + What if it's Doug? + + VICK + What if it's Tracy?! + + STU + (torn, answers phone) + Good evening, this is Stu! + +>INTERCUT WITH: + +INT. VENICE BUNGALOW -- NIGHT + +It's Tracy. She's sitting in her living room, on the phone. Her STERN FATHER sits nearby, as do other FAMILY MEMBERS. + + TRACY + Stu, it's Tracy! + +His eyes bulging, Stu covers the phone and hisses: + + STU + It's Tracy! + +Vick glares at Alan. Alan looks away, shit. + + STU (CONT'D) + Why is she calling me?! + + VICK + Because she knows you're the most easily tricked. + + ALAN + We have tell her we lost Doug. + + VICK + No we don't! Tell her nothing, Stu! + +Stu turns back to the phone, rattled. + + STU + Hey, Trace! W-What's going on?/*63.*/ + + TRACY + Oh, nothing, just here with my family... + + STU + Wow, that sounds amazing! + + TRACY + Yeah...? Hey, you wouldn't happen to know where Doug is, would you? He said he'd be home by 5 for this dinner, and now it's almost 9:00. I tried his cell, but he didn't answer... + + STU + Ummmm........Hang on. + (covering the mouthpiece) + She wants to know where Doug is! + + VICK + I'm working on it! Buy us some time! + + ALAN + No, just tell her the truth! Honesty is always the best policy! + + VICK + What are you, retarded?! Honesty is never the best policy! Especially not with brides! + + STU + (lamely, to phone) + Um, what'd you say? + + TRACY + (FROWNING) + I asked if you knew where Doug was. + + STU + Yeah, um, hang on. + (to guys) + She still wants to know! + + VICK + Okay: tell her Alan got really drunk last night and fell down, and the doctor said not to move him for a few hours, but that we'll be back in time for the wedding./*64.*/ + + ALAN + Why do I have to be the one that fell over drunk?! + + VICK + It's a fictitious canard, Alan, get over yourself! Stu: tell her! + + STU (TO PHONE) + Listen, Tracy, Alan fell on a DOCTOR-- + + VICK + Fell over drunk. + + STU + H-He was drunk. And the doctor -- a different doctor, not the one he fell on -- he said we couldn't move him until the wedding-- + + VICK + For a few hours! We'll be home before the wedding! + + STU + But we're going to have the wedding at your home-- + +Tracy just looks really confused. Exasperated, Vick rips the phone away from Stu. + + VICK + Tracy?! Vick! How are ya, hon? + + TRACY + (now very concerned) + Vick, what is going on? + + VICK + Nothing! Stu is a moron. Listen, Alan hurt his back last night, so we're gonna be laid up here for a bit, but I promise we'll have Doug home in time for the wedding, okay? + + TRACY + Oh God, is Alan all right?/*65.*/ + + VICK + Yes, luckily he had a steel rod surgically implanted up his ass at birth, so the doctors anticipate a complete and swift recovery. + +Alan flips him the bird. + + TRACY + Can I talk to Doug? + + VICK + What? No! No, you can't actually, Doug...Doug is out. + + TRACY + Where is he? + + VICK + Where is he? He's aaaat...the pharmacy. Yeah, picking up Alan's medications. Listen, Trace, I'm losing you, but we'll see you tomorrow, okay? Bye, sweetie--! + +Vick hangs up and nods confidently. + + VICK (CONT'D) + She bought it. + +CUT TO: + +INT. VENICE BUNGALOW -- NIGHT + +Back in her bungalow, Tracy hangs up the phone, frowning. + + TRACY + They've done something stupid. + +Her stern father is standing there, frowning. + + MR. TURNER + No surprise there. + + TRACY + DAD-- + + MR. TURNER + I'm just saying, what kind of man stands up his fiancée the night before their wedding?/*66.*/ + + TRACY + Dad, I don't want to hear it. I trust Doug absolutely. + +Mr. Turner backs off. Tracy, however, looks a bit rattled... + +CUT BACK TO: + +INT. THE COYOTE CANTINA -- NIGHT + +The guys get up from the booth and head for the door, grim. + + ALAN + Perfect. We just told Tracy we'd have Doug home in 13 hours, and we still have no idea where he is... + +They pass a DOORMAN on their way out, who's standing with a stamp and a UV light reader. + + DOORMAN + Handstamp for re-entry? Handstamp for re-entry? + +Everyone waves, no thanks -- except for Stu, who shrugs, why not, and stops, holding out his hand. + + VICK + Maybe we should go back to the hotel and-- + + STU + Oh my God, guys! Look! + +Stu holds his hand under the UV light -- it's covered in STAMPS from all the clubs they've been to the night before! Stu yanks up his sleeve to reveal his ENTIRE FOREARM GLOWS, completely covered with stamps! The guys hurry back and slide their forearms under the UV light, too: they all have the same stamps! Their eyes alight: + + ALAN + It's like a map of last night! + +The guys look at each other, hope returning to their faces! + +CUT TO: + +TITLE CARD: "SATURDAY, 9:10PM"/*67.*/ + +EXT. LAS VEGAS/INT. VICK'S CAR -- NIGHT + +The guys rocket down the Strip, weaving in and out of traffic! All the stamps on Stu's arm are now labelled in regular ink. MUSIC blares, and the mood is high. + + STU + Where do you want to start?! + + VICK + At the top! We hit every club we went to til someone remembers what we did with Doug! + + ALAN + Nice clue, Stuey! I can't believe we're actually gonna pull this off! + +Stu grins over at the car next to them. Then he stops. + + STU + Hey: is that guy wearing Doug's hat?! + +The guys look over to see that the DRIVER of the next car over is, in fact, wearing the DISTINCTIVE FEDORA-STYLE HAT Doug was wearing last night. The guy turns off the Strip. + + VICK + Naaah, couldn't be. + + ALAN + Lots of people have hats like that. + +Stu nods, yeah, I guess... + +TIGHT ON: STU'S HAND + +The first bar written on it is "GhostBar." + +MATCH CUT TO: + +INT. GHOSTBAR -- NIGHT + +Chastity and the guys blow in, each with a photo of Doug (in medieval armor) from Alan's wedding. As they move into the club, every single waiter, bartender, and busboy sees them and throws open their arms, heyyyy, remembering them! They flash the picture of Doug to anyone who'll look -- waiters, maitre d's, thugs, bachelorettes, fetishists, bikers, swingers, brides and grooms -- but all of them shake their heads, we have no idea where Doug is.../*68.*/ + +INT. VICK'S CAR -- NIGHT + +Stu crosses off "GhostBar" from his arm... + +INT. BODY ENGLISH NIGHTCLUB -- NIGHT + +The guys and Chastity enter and disperse. Again, everyone recognizes them and hugs them like returning heroes -- and again, no one remembers where they were taking Doug... + +INT. VICK'S CAR -- NIGHT + +Stu crosses off another stamp from his arm... + +EXT. PURE NIGHTCLUB -- NIGHT + +The BOUNCER recognizes the guys from the night before and unclips the rope, letting them in past the immense line... + +INT. TAO NIGHTCLUB -- NIGHT + +The BOUNCER recognizes the guys from the night before and unclips the rope, letting them in past the immense line... + +INT. ICE NIGHTCLUB -- NIGHT + +The BOUNCER recognizes the guys from the night before and unclips the rope, letting them in past the immense line... + +INT. VICK'S CAR -- NIGHT + +The guys race through a shadier, more industrial area of town, their hopes dimming... + + STU + All right, this is the last place we went, "Chaps." + +Vick rolls to a stop in front of... + +.CHAPS NIGHTCLUB + +It takes a moment for the guys to realize that everyone in line is male, buff, and wearing erotic cowboy gear. + + STU + You sure we came here...? + +Then they look up at the marquee. It reads "CHAPS: HOME OF + +THE GOLDEN PONY ALL MALE REVUE." + + ALAN + The Golden Pony. That's us./*69.*/ + + STU + Maybe I'll just wait in the car-- + +But Vick is already shoving Stu out of the car. + +INT. CHAPS NIGHTCLUB -- NIGHT + +The guys walk into the massive nightclub and stop. It's got a kitschy barn theme, and hosts 200 TOPLESS DUDES in cowboy hats and short-shorts grinding on each other. + + VICK + You think we would've remembered this... + + STU + Yeah, I don't think we came here... + + ALAN + Then why is your underwear nailed to the wall? + +The guys turn to see numerous pairs of MEN'S UNDERWEAR nailed to the wall nearby. A sign above it reads "CHAPS WALL OF FAME." We recognize Stu's COLORADO STATE BOXERS. + + STU + Those could be anybody's. Thousands of people go to Colorado State-- + + ALAN + (looking more closely) + Oh my God, are they autographed? + + VICK + (READING) + "Stu Pryce, 9/30/08. I Chaps!" + + STU + (realizing, stunned) + I am so gay... + +Just then, a BUFF WAITER in assless chaps blows by, smiling. + + WAITER + Hey, guys! Roger is backstage! + +The guys look at each other, eyes wide. + + STU + R-Roger?/*70.*/ + +INT. CHAPS -- DANCE FLOOR + +The guys move through the throng of undulating, sweaty men, uncomfortable. Alan takes Chastity's hand tightly. + + ALAN + Stay very close to me. + +She smiles and dances through the crowd. + +INT. CHAPS -- BACKSTAGE AREA + +They reach a HUGE MALE BOUNCER guarding the backstage area. He sees the guys and unclips the VELVET ROPE, kissing each of them on the cheek as they pass. + + BOUNCER + How are Haylee and Kaitlin? + + STU + (totally disturbed) + Oh. G-Good, thanks...? + +INT. BACKSTAGE AREA -- DRESSING ROOM DOOR + +The guys reach the dressing room door and stop. They inhale. + + VICK + We're going to love you either way, Stu... + +Stu nods, focussed, nervous, like before a big game. + + ALAN + Some of my best friends are gay. + + STU + Is that true? + + ALAN + Not...not really? I live in Connecticut, man, we don't even have black people yet. + +Stu nods, right. Then, after steeling himself, he enters... + +INT. CHAPS -- DRESSING ROOM + +The dressing room is packed with muscular, tan, buck-naked men, walking around, rubbing baby oil on themselves, donning chaps and codpieces, getting ready for the next show./*71.*/ + +Chastity and the guys move through the mob of beefcake, staying ridiculously close together. Vick stops at one dancer, trying not to look down at his junk: + + VICK + Excuse me, friend, can you tell me where Roger is? + + BEEFCAKE COWBOY + Oh, hey, Vick! Roger's over there. + +He points to a really hot, really naked guy with a funky mullet, stretching out in front of his mirror. The guys shuffle over to him. Vick tries to be supportive with Stu: + + VICK + He's cute...I guess...? + +Stu shrugs, yeah, I guess...? As they draw close, Roger sees them, and smiles. + + ROGER + Oh! Hey guys! + +He hugs all of them. The guys make sure to keep their asses arched back to avoid genital contact. + + ROGER (CONT'D) + I'm surprised you're even walking yet, Stu. + + STU + (inhaling sharply) + Oh my god. + + VICK + Listen, man, we don't really remember what happened last night, can you fill us in? + + ROGER + Really? No memory? + +Stu shakes his head, wide-eyed, scared... + + ROGER (CONT'D) + Well, I must say, Stu, I'm a little hurt. + + STU + Did we...you know...do anything? + + ROGER + Well, duh? Yeah?/*72.*/ + +The guys all freeze. A beat. Then Vick pats Stu's shoulder, supportive. + + STU + Was I...the boy or the girl? + + ROGER + Oh, honey, you were everything. + +Stu WHIMPERS. Vick and Alan exchange a look, holy shit! + + ROGER (CONT'D) + But you were nothing like Vick. + + VICK + Wait-- what?! + + ROGER + I know, I'm sort of over group stuff too, but Alan insisted. + +Now it's Alan's turn to look stunned. + + VICK + You insisted?! Why'd you insist?! + + ALAN + I don't know! I don't know why I insisted! + + ROGER + Actually, after the anger went away, it was really quite tender. + +The guys look at each other, nauseous. + + STU + I'm really not sure we can be friends anymore... + +Finally, Chastity starts LAUGHING. + + CHASTITY + Guys: he's kidding. + +Roger breaks into a smile and slaps five with Chastity. The guys all exhale, incredibly relieved. + + VICK + Not cool, Roger. Not cool. + + ALAN + So what did happen last night?/*73.*/ + + ROGER + Oh, well, you guys came in near the end of our last set, like 2ish. Doug pretty much dragged you in. + + ALAN + Really? Doug did? + + ROGER + Oh no, my Doug, not your Doug. Black guy, shaved head? + +The guys look at each other, confused. + + ROGER (CONT'D) + He's a cake designer, he said he met you guys at some sort of birthday party at the Rio? + + VICK + (snapping his finger) + The guy from the Jimmy Lang surveillance video. + +The guys nod, right. + + ROGER + Anyway, for the big finale of our show, we always bring someone on stage, and, well, Stu, you volunteered pretty aggressively. + (to nearby dancer) + Hey Dallas, do we have the video of last night's show? + + STU + No! That's cool, I don't need to see it-- + + VICK + We must see that video. + + DALLAS + It's in the machine. + +Roger nods and presses PLAY on a little VCR/TV combo sitting in front of his mirror. ON THE TV a very Brokeback, Chippendale's-style male revue starts playing. Stu GASPS. Roger fast forwards./*74.*/ + + ROGER + You were pretty mellow at first, Stu, but once we got you into the chaps, you really came alive-- oh, here it is. + +ON THE TV we see Stu, wearing only his "I ROGER" g-string and assless chaps, grinding on stage with the Golden Pony dancers. He is way fatter, paler, and hairier than the greased young studs. The guys look away, oooo. + + STU + I'm a Dad, I-I don't get to the gym as much as I'd like... + + ROGER + You even taught us The Pony, which we'd never even heard of before... + +ON THE TV Stu gets on all fours on the stage, and eagerly gestures for the dancers to take turns "riding" him. Stu's face drops. + + ROGER (CONT'D) + And then, of course, the pièce de resistance: the Ride of the Valkyries. + +ON THE VIDEO Stu clutches onto Roger from behind as they ride a LAVENDER MECHANICAL BULL together. The crowd goes wild. + + STU + Annnnd that would explain the searing ass pain. + + ROGER + After the show, we split a couple pitchers of flirtinis, you had our stylist cut your hair like mine, and then you split. + + VICK + And what time was all this? + + ROGER + 4:30 in the morning? 4:45? + + ALAN + And our Doug was with us?/*75.*/ + + ROGER + Yeah, he had passed out by then, but you carried him out. It was all very Officer And A Gentleman. + +The guys look at each other, confused. + + ALAN + Wait, so we left with Doug at 4:45, we got back to the hotel at 5:00, and Doug was gone by 5:30 when Chastity met back up with us? + + STU + That doesn't make any sense. + + VICK + Did we lose him along the way? + + STU + He was passed out, how far could he have gone--? + +Just then, Vick's cellphone rings. The caller ID reads "MANDALAY BAY." He answers: + + VICK + Hello? + +>INTERCUT WITH: + +INT. MANDALAY BAY -- NIGHT + +Atashir is on the phone at the reception desk. + + ATASHIR + Mr. Lennon? + + VICK + Atashir, many greetings to you. + + ATASHIR + I thought you might like to know that one of our maids just found your friend, Douglas, passed out in your room. + +Vick's jaw drops. + + VICK + What?! Are you sure it's him?!/*76.*/ + + ATASHIR + I saw him with my own eyes. He is unconscious but breathing nicely. + + VICK + Oh thank you, Atashir! You are a man of great honor! A thousand blessings upon your ancestors! + +Vick SLAMS his phone shut, overjoyed. + + VICK (CONT'D) + Doug is in the room! A maid just found him! He's passed out, but he's okay! + + STU + They're sure it's him?! + + VICK + Atashir swears it is! + +The guys all laugh, a massive weight lifted. + + STU + Oh thank God he's okay... + + ALAN + After all this?! He's in the room?! + +They keep laughing and hug each other, heartfelt. Vick even hugs Roger. + + VICK + I don't even care! Hug me, you big shiny homosexual! + +EXT. CHAPS -- NIGHT + +Chastity and the guys bound out of Chaps, jubilant. Stu is carrying a box of TWO DOZEN VIDEOTAPES. + + ALAN + That was cool of Roger to give you all the tapes of your performance. + + STU + I know, if I actually was gay, I'd totally date Roger first. What a gentle soul. + +They get into Vick's clunker./*77.*/ + + VICK + How we doing on time? + + ALAN + (looking at watch) + 2:22. + + VICK + We'll be in LA by dawn. + (firing up engine) + I told you bitches this would all work out... + +They drive off into the night, grins all around. + +EXT. THE STRIP/INT. VICK'S CAR -- NIGHT + +Vick drives, Stu sits shotgun. Alan sits in the back with Chastity. The cool night air washes over them. They look happily exhausted. + + ALAN + This has officially been the craziest weekend of my life. + (to Chastity) + Thanks for all your help. You were awesome. + + CHASTITY + Anything for my hubby. + +Alan's smile flickers slightly. + + CHASTITY (CONT'D) + I'm kidding, Alan. I know last night wasn't, you know, real... + +She looks out at Vegas as it flies by. + + ALAN + I'm sorry about all this, Chastity. + + CHASTITY + Jennifer. + + ALAN + Beg pardon? + + CHASTITY + My name is Jennifer. Jennifer Elly. + +Alan hesitates; suddenly she seems a lot more...human./*78.*/ + + ALAN + Okay, well, I'm sorry, Jennifer. + + CHASTITY + Oh, don't be. Last night wasn't the first flaky decision I've ever made in my life. I mean, I am a stripper. + +Alan tries not to laugh. She smiles, a twinge sadly. + + ALAN + Where you from? + + CHASTITY + LA. Tarzana. + + ALAN + Oh yeah? + + CHASTITY + Yeah. I work here on the weekends. + + ALAN + You fly out every week? + + CHASTITY + Yeah. I'd move, but my kid is in a great school. + + ALAN + Kid? + + VICK + (aside, to Stu) + They always have kids. + + CHASTITY + I have a little girl, Sarah. She's... Well, she's everything. + +Chastity proudly shows Alan a photo from her purse of a cute little toddler. Alan smiles. + + CHASTITY (CONT'D) + What about you? + + ALAN + No kids. Same girlfriend for 14 years. Becky. + +Alan shows her a photo of Becky on his cellphone./*79.*/ + + CHASTITY + Wow, she's stunning. + +Stu turns around, unable to keep quiet any longer: + + STU + We like you way better. + + ALAN + STU! + +Chastity tries to stymie her laugh. + + ALAN (CONT'D) + Becky is great. + + STU + Becky collects teapots. + + VICK + Yeah, she's a total canwego. + + CHASTITY + A what? + + VICK + You know, she's the girl at the party who's always like "Can we go? Can we go?" + +Chastity laughs. Alan does too, shaking his head. + + ALAN + She has low blood sugar. + + STU + She has low fun sugar. + + ALAN + Jesus, guys! This is the girl I'm going to marry! + (beat, considers) + If, you know...she forgives me for cheating on her... + + VICK + Wait: you're going to tell her? + + ALAN + Of course I'm going to tell her! I could never keep something like that from her./*80.*/ + + VICK + Dude, she still hasn't forgiven me for scratching her Queensryche CD in sixth grade -- she's neeeeever gonna forgive you for marrying a stripper in Vegas. + + ALAN + Well, then that's just the price I'm going to have to pay. + +Alan looks off, stoic. Chastity pats his hand, proud. + + CHASTITY + Good for you. + +She smiles at Alan, impressed, pulling her hair from her face. Alan looks at her anew... It's a sweet moment... + + VICK + She's gonna cut your dick off, dude. + +CUT TO: + +EXT. MANDALAY BAY -- NIGHT + +Lamborghini's, Ferrari's and Hummer limos clog the valet stand. Vick rolls up in his clunker. The guys hop out. + + VICK + (to the valet) + Keep `er close, Paco. We'll be right back. + +INT. MANDALAY BAY -- HALLWAY -- NIGHT + +Chastity and the guys hurry down the hallway to their suite. Vick unlocks their door and pushes inside. + + VICK + Doug! Wake up, man! + +INT. DEAN MARTIN SUITE -- NIGHT + +Instead of finding Doug, however, they find KALOLO FANALUA, sitting on their couch, pissed. He's got a huge WHITE CAST on his right arm, courtesy of the strip club bouncers. + + KALOLO FANALUA + Aloha, assholes. + +The guys freeze./*81.*/ + + STU + Uh-oh. + +The door SLAMS behind them, and they whip around to see KIKIOLANI standing in front of the door, blocking their exit. He has an identical CAST on his right arm. + + STU (CONT'D) + Not good. + +Just then, a toilet FLUSHES and an immensely large man in a red suit exits the bathroom, drying his hands. We recognize him from his police photo as crime boss JIMMY LANG, 50's. + + JIMMY LANG + Oh, hello. Good to see you again. + + VICK + Where is Doug? + + ALAN + Listen, Mr. Lang, whatever we did last night, we are incredibly sorry- + + JIMMY LANG + These your rich friends you were telling me about, Vick? + +Alan and Stu glance at Vick, confused. + + JIMMY LANG (CONT'D) + Oh, you haven't told them yet? Really, that's low. Even for you. + + ALAN + What's going on, Vick? + +Vick stammers, trying to find the words... + + JIMMY LANG + Six months ago, your friend Vick borrowed some money from me at what can only be described as a very unfavorable interest rate. When the loan came due, he failed to pay me back, but he promised me that he could get the money from you guys this weekend. + +Alan and Stu look at Vick, shocked and hurt. + + ALAN + Jesus, Vick.../*82.*/ + + STU + How could you do this to us, man? We're your best friends... + +Vick looks away, ashamed. + + VICK + They were gonna hurt me, man... + + JIMMY LANG + Well, Vick, it looks like you and your friends have some issues to discuss. In the meantime... + +He draws a huge, red-plated .357 MAGNUM. + + JIMMY LANG (CONT'D) + I need my goddamn money. + +The guys jump back, whoa! Vick holds up his hands: + + VICK + I can get it! I can! I just-- + + JIMMY LANG + I've heard that before, Vick, including last night, when you so rudely skipped out on my birthday party. That's why I've taken some collateral to ensure your payment. His name is Doug. + +The guys all look sick. + + VICK + You have Doug? + + STU + Oh my God... + + JIMMY LANG + If you want your friend to live, meet me at mile marker 26 off Highway 12 at dawn, and bring the money. Are we clear? + + VICK + Yes! Yes. + +Jimmy nods and heads for the door. The Samoans follow him. + + ALAN + M-M-Mr. Lang?/*83.*/ + + JIMMY LANG + Yes, Mr. Mervish? + + ALAN + H-How much does Vick owe? + +CUT TO: + + ALAN (V.O.) (CONT'D) + 200 thousand dollars?! + +INT. THE DEAN MARTIN SUITE -- MOMENTS LATER + +Alan and Stu pace about the suite, beyond stressed. Vick stands, looking out the window. Chastity gets them all water. + + ALAN + How the hell could you blow that kind of money?! + + STU + Was it for the custard store? + + ALAN + Jesus, Stu, wake up! There is no custard store! Vick was just trying to rip us off to pay back Jimmy Lang! + + STU + Is that true, Vick? + +Vick just stares out at the city, not denying it. + + STU (CONT'D) + Were any of your deals...real? + + VICK + (GUILTY) + Some. + +Stu drops onto the couch, deeply disillusioned... + + STU + Dude, I manage an Applebee's, that money meant something to me... + +Vick spins around, furious: + + VICK + Do you really think I wanted my life to turn out like this, Stu?! Do you really think I don't know that I'm a massive loser?!/*(MORE)*//*84.*/ + + VICK (CONT'D) + Jesus, you guys got out of high school and you just knew what to do, you went to college and got good jobs and found cool wives and made beautiful children -- what do I have to show for the last decade of my life?! Nothing! + +Vick swats a lamp off a nearby end-table -- it SMASHES against the wall! The guys freeze. Tense silence. Vick grows emotional. + + VICK (CONT'D) + Jesus, I'm almost 30, and the only thing I really have...the only thing I really have is you guys. + + STU + Come on, Vick-- + + VICK + No, man, it's true! I put on a good show, but my life is so goddamn hollow and vapid and lonely, it scares me, man. I-I don't know how much longer I can keep this scam going. And now I've gone and ruined the one good thing I had... + +Tears threaten in his eyes. He wipes at them, angry. + + VICK (CONT'D) + Just...please don't give up on me, okay? I-I don't know what I'd do without you guys. I really don't... + +Alan and Stu exchange a look. They've never seen brash, cocky Vick this vulnerable before. Stu can't help but give in. + + STU + Come on, man, we've been bro's since third grade, it's gonna take a lot more than money to ruin our friendship. + +Vick looks down, deeply touched... + + STU (CONT'D) + What I don't understand is why you didn't just ask me for the money. I would've given you every last cent I had, man.../*85.*/ + +Tears trail down Vick's cheeks. He crosses and gives Stu a hug. Stu hugs back, emotional. + + STU (CONT'D) + I love you, man. + + VICK + Love you too, bro. Love you too. + +They hug tight. For a while. + + STU + Also, I banged your sister sophomore year. + +Vick pulls away. + + VICK + What?! + + STU + Sorry. Just seemed like a good time to tell you. + +Vick stammers at Stu, speechless. + + STU (CONT'D) + She had just broken up with that guy from Central, we were playing "I Never" at Tim Donahee's pool, one thing lead to another-- + + VICK + No! No. That's...that's plenty. + +Vick desperately tries to clear the image from his mind. Alan just frowns at his watch, stressed. + + ALAN + Look, I'm glad we're all sharing, but we've got three hours to come up with 200 grand, or else... + +The guys nod, frowning, back on point. + + ALAN (CONT'D) + I'd offer to take a loan out, but it's 3 o'clock in the morning, I'm pretty sure my bank is closed. + + STU + I think I can get a 20 grand cash advance on my credit card.../*86.*/ + + ALAN + So that just leaves 180 grand... + +The guys frown at each other. + + CHASTITY + Well, it is Vegas... + +The guys' eyebrows all rise, you think...? + +SMASH CUT TO: + +ALAN THROWING DOWN BLACKJACK AT A BLACKJACK TABLE + +The guys erupt in CHEERS around him, YAAA! The dealer slides over a large pile of CHIPS. + +CUT TO: + +CHASTITY THROWING CRAPS AT A CRAPS TABLE + +Again the guys erupt! Alan hugs Chastity. Their pile of CHIPS grows... + +CUT TO: + +STU YELLING "BINGO" AT A BINGO TABLE + +The guys jump up, slapping ten, YELLING! Stu points at a table full of OLD LADIES nearby: in your face! + +CUT TO: + +ALAN, STU, VICK AND CHASTITY SITTING AT A PAI GOW TABLE + +looking lost. Then they take their large stack of chips and quietly leave. No one knows how to play Pai Gow poker. + +CUT TO: + +VICK JUMPING UP FROM A WAR TABLE + +having just won! Chastity and the guys aggressively hug him. Stu drinks from his glass, hands shaking, wired. + + STU + Time check! + + VICK + (looking at watch) + 12 minutes. + + STU + Chip check!/*87.*/ + +Alan quickly counts the chips... + + STU (CONT'D) + Faster! Come on chip check! + + VICK + Dude, how many Red Bulls have you had? + + STU + I stopped counting at six! I can hear my heart beating in my head! + +Alan finishes counting the chips -- and frowns. + + ALAN + Just over 100 grand. + +The guys wince, damn. + + VICK + There's only one thing left to do. + +They all exchange a knowing look... + +SMASH CUT TO: + +$100,000 WORTH OF CHIPS BEING PLACED ON BLACK + +at a roulette table. The guys sweat, tense. Stu is insane. + + STU + You sure we don't want red?! What if the ball lands on red--! + + VICK + Shut up, Stu. + + ROULETTE CROUPIER + Betting is closed. + +The Croupier drops the ball into the wheel. It bounces, hops, spins... Vick crosses himself. Stu looks away. + + STU + I can't watch! My heart's gonna explode! Can your heart even explode?! Because I think my heart is gonna explode! I can't watch! + +The ball lands. Dead silence./*88.*/ + + STU (CONT'D) + It's red, isn't it?! I knew it! Tell me it's not red! + + ALAN + It's not red... + +Stu turns, ecstatic-- + + ALAN (CONT'D) + It's green. + +The ball has stopped on green, DOUBLE ZERO. Stu clutches his chest, like he's having a seizure. Vick inhales, grim. Alan slowly drops to his knees. Chastity closes her eyes. Their HUGE PILE OF CHIPS is raked off the table... + +CUT TO: + +EXT. MANDALAY BAY -- PARKING CIRCLE -- PRE-DAWN + +The guys pack their bags into Vick's beat-up Caddy. The mood is as dark as the pre-dawn sky. When the car is loaded, Chastity takes Alan's hands, gentle. + + CHASTITY + Would you like me to come with? + + ALAN + No...It might get a little dangerous. I wouldn't want... + +He trails off. Chastity nods. + + CHASTITY + I'm so sorry...about everything. + + ALAN + Thanks for all your help. + +Awkward silence. The cold desert wind blows. + + CHASTITY + There's no sense...in exchanging numbers or anything...right? + + ALAN + Yeah, probably not... + +Alan looks genuinely sad./*89.*/ + + CHASTITY + Well...I'll always remember you as a great first husband, then. + +They both smile weakly. + + CHASTITY (CONT'D) + You can just send the divorce papers to the Crazy Horse or whatever... + +Alan nods, okay. Another awkward pause. + + CHASTITY (CONT'D) + Thanks for reminding me that there are still some really good guys out there, Alan. I don't...I don't get to meet too many of them. + +She smiles a bit sadly, kisses him on the cheek, and walks off. TIGHT ON Alan's Grandmother's ring still on her finger. Alan doesn't remember the ring, however; he's too busy watching her walk out of his life, and feeling a real sense of loss... Then Vick fires up the car next to him. + + VICK + We gotta go, man. + +Alan nods, yeah, and gets in the car... + +INT. VICK'S CAR -- PRE-DAWN + +Vick's car races down a dark, abandoned desert highway. The guys look tired, stressed, and most of all, scared. + + ALAN + Yep, just driving out to the middle of desert to meet some mobsters, what could possibly go wrong...? + +The guys all frown. + + STU + So what's our plan? + + ALAN + I think we should tell Mr. Lang that we couldn't get the money, but that, if he's amenable, we could create a payment calendar--/*90.*/ + + VICK + We're gonna give Jimmy a dummy bag of money, grab Doug, and make a run for it. + + ALAN + Yes, good! What an airtight plan--! + + VICK + Jimmy Lang doesn't do payment calendars, Alan! Trust me: this is our only shot of getting Doug back! Left turn! + +Vick skids onto Highway 12 -- a barely labelled dirt road. Things are quickly going from bad to worse... + +DISSOLVE TO: + +THE FIRST RAYS OF DAWN + +streaking across Venice Beach. + +TITLE CARD: "SUNDAY, 6:04AM" + +INT. VENICE BUNGALOW -- MORNING + +Tracy exits her bedroom in her jammies, looking like she barely slept. Her father is up, and making breakfast. + + TRACY + Any word from Doug? + + MR. TURNER + Nope. + (BEAT) + I know you don't want to hear it, Trace, but you deserve better. + +Tracy frowns, overwhelmed with stress. + + TRACY + I'm sure everything's fine. They're all smart, capable adults... + +CUT TO: + +VICK DELICATELY LAYING CASH INSIDE HIS DUFFEL BAG + +on top of his dirty clothing, fruitlessly trying to create the appearance of a bag full of money. He's using some $20 bills, but also some $5's and $1's./*91.*/ + + VICK + This all the cash we got? + +The guys frown at their empty wallets, yeah. We are + +INT. VICK'S CAR/EXT. MOJAVE DESERT -- DAWN + +The Caddy is parked next to MILE MARKER 26 in the middle of the windy desert. The Las Vegas skyline is just barely visible in the distance. Vick very delicately zips up his duffel bag so as not to disturb the bills, and places it on his lap. + + ALAN + This is the dumbest plan ever. + + VICK + Alan I need you positive please. + + STU + Here they come. + +They all look up to see a WHITE YUKON approaching on the far horizon, kicking up a trail of dust. The guys tense up. + + VICK + Stuart? + + STU + Yeah? + + VICK + There's an emergency bottle of tequila in my glove box. Get it out please. + +Stu opens the glovebox, pulls out a bottle of Patron. He opens it, takes a swig, then passes it to Vick, who takes a pull and passes it to Alan, who also drinks. They all watch the white Yukon draw ever closer. + + ALAN + I can't believe this is how we're going to die... + +The Yukon pulls up about ten yards away. No one moves. The Yukon's doors open... The Cadillac's doors open... TIGHT ON the Jimmy Lang's RED BOOT as it hits the road.../*92.*/ + +TIGHT ON Vick's LEATHER SHOE, then Alan's SAILING TOPSIDER, then Stu's FLIP-FLOP, as they all hit the dusty road... The two parties stand by their respective cars, facing off. Somewhere in the desert, a rattlesnake RATTLES. + + JIMMY LANG + Let's see the money! + +Vick gently holds up his duffel bag. + + VICK + Let's see Doug! + +Jimmy Lang nods to Kalolo, who opens the back door of the Yukon and pulls out a GUY with his hands tied behind his back and a plastic RALPH'S BAG over his head; he struggles a bit. The guys look a bit alarmed. + + ALAN + Jesus, what'd they do to him? + + VICK + Pull off the Ralph's bag! + +Jimmy yanks the bag off of the guy's head to reveal + +IT'S NOT DOUG + +It's some black dude. Vick, Stu, and Alan look confused. + + VICK + Who the hell is that?! + + JIMMY LANG + (ANNOYED) + This is Doug! + +He pushes the guy forward. + + ALAN + Oh my God: it's the other Doug! Roger's friend, the cake designer! + + BLACK DOUG + (to Jimmy Lang) + I told you, man, I'm Doug Howland! I barely even know these guys! + + VICK + Yeah, you got the wrong Doug, man!/*93.*/ + +Jimmy Lang and the thugs look exasperated. + + JIMMY LANG + You sure?! + + VICK + Yeah, man, our Doug is white! + + JIMMY LANG + But you were partying with this guy at my birthday thing! + + VICK + I don't know what to tell you, bro, this isn't the Doug we requested! + + JIMMY LANG + Well. I apologize for the mix-up... + (drawing his HUGE GUN) + But I'm still gonna need my money. + +Vick and the guys start backtracking towards their car. + + ALAN + Oh my God Oh my God Oh my God... + + JIMMY LANG + Don't move, Vick. + +Vick freezes, duffel in hand, as Stu and Alan slink from view. Jimmy reaches Vick, gun calmly trained at his head. + + JIMMY LANG (CONT'D) + Now please. Give me my money. + +All eyes on Vick, anxiously clutching the bag in his hand... Sweat beads on his brow... + + JIMMY LANG (CONT'D) + Don't be stupid, son. You-- + +Then Vick throws a hard left hook, SLAMMING Jimmy square in his massive stomach! And + +NOTHING HAPPENS + +Jimmy is built like a tank. Vick freezes, oh shit. Then Jimmy PISTOL-WHIPS Vick -- his lip explodes with blood and he falls to the ground. + + VICK + Christ that hurts!/*94.*/ + +Then Jimmy picks up the duffel bag. Hefts it. Feels wrong. He goes to open the zipper when he hears: + + STU + AAAAAAAHHHHHHH! + +Jimmy looks up to see Stu insanely charging him like the linebacker he once was! Jimmy raises his gun, but + +STU TACKLES JIMMY TO THE GROUND FIRST! + +The gun flies free and they wrestle for it! Dust flies! + +.BACK BY THE YUKON + +The two Guamians fumble for their guns -- but it's difficult with huge CASTS on their shooting hands! + +ON BLACK DOUG + +He sees what's going down, and, his hands tied behind his back, takes off sprinting towards Vegas! + +.BY THE CADDILAC + +Alan looks around, what should I do?! What should I do?! Then he spots the keys in the ignition of the car. He hops in and fires up the engine! Just then + +THE TWO GUAMIANS OPEN FIRE + +Bullets pound into the Cadillac! Alan ducks down, terrified, and floors the gas! + + ALAN + I'm being shot at! I'm being shot at! + +.UP AHEAD + +Jimmy Lang throws Stu off of him and recovers his gun, panting. He cocks it, aims it at Stu on the ground. + + JIMMY LANG + I really didn't want to kill anyone TODAY-- + +Then WHAM! Alan drives the car into Jimmy Lang at 25mph! The obese mobster is pitched off his feet, and lands a good ten yards away, in a heap of dust! The guys freeze, shocked./*95.*/ + +The Guamians freeze, shocked. + + ALAN + Oh my god, is he okay?! + + VICK + Who cares! Go go! + +Alan floors the car while Stu and Vick SPRINT and DIVE in! The caddy peels the hell out of there, kicking up rocks and dust! The Guamians FIRE after them! + +BULLETS IMPACT ALL ALL OVER CAR + +taking out the tail-lights, the windshield, the headrests. The guys duck down til they're sufficiently far away. Then they sit up, amazed, out of breath. + + STU + I can't believe you just saved my life! + + VICK + I can't believe you just drove my car into Jimmy Lang! + +Alan drives, his eyes as big as saucers. + + STU + He's gonna be really upset! + + ALAN + Yeah, I was just thinking that! + +BACK ON JIMMY LANG + +The huge mobster lies face-down on the desert floor. His two henchmen waddle up, highly concerned. + + KIKIOLANI + Boss, Boss, you okay?! + +Jimmy sputters into the dirt, furious. + + JIMMY LANG + Find Vick... And kill him. + +INT. VICK'S CAR -- DAWN + +The guys race down the dusty highway in traumatized silence. + + ALAN + Now can we call Tracy?/*96.*/ + +Vick frowns and blots his split lip with his sleeve. + + VICK + Yeah. It's probably time. + +CUT TO: + +EXT. MOJAVE DESERT -- LONE PAYPHONE -- DAWN + +The guys pull up at a lone, dusty payphone in the middle of the desert. They all look at the phone. + + ALAN + Who wants to make the call? + +Beat. Then Vick reaches for his nose, odd man out. Stu and Alan immediately reach for their noses, too. It's close. + + STU + That was you! + + ALAN + What?! No! I beat you by a mile! + + STU + Vick, who won?! + + VICK + (FROWNING) + Actually...I should do it. This weekend was mostly my fault. I need to Man Up. + +Alan looks shocked -- and impressed -- by Vick's newfound sense of responsibility. + + ALAN + Well, I'll be damned... + +Vick grabs the bottle of Patron, takes a long swig. Beat. + + VICK + I still can't believe Stu banged my sister. + +Vick hands the bottle to Alan, gets out, and makes for the pay phone... + +CUT TO: + +INT. BEL AIR BAY CLUB -- BRIDAL SUITE -- DAY + +Tracy is putting on her makeup in the bridal suite. Her stern dad blows in./*97.*/ + + MR. TURNER + Any word from Doug? + +The way he spits out "Doug" tells us all we need to know about how Mr. Turner feels about his future son-in-law. + + TRACY + No, but I'm sure he's-- + +Just then, Tracy's CELL PHONE rings. She quickly answers it. + + TRACY (CONT'D) + Hello? + +>INTERCUT WITH: + +VICK + +In the desert, on the pay phone, looking through his busted aviators into the rising sun. + + VICK + Tracy, it's Vick. + + TRACY + Hey Vick! + + VICK + Listen, honey...The bachelor party got a little out of control and, well...we lost Doug. + + TRACY + (her jaw dropping) + What?! But we're getting married in like four hours! + + VICK + Yeah, that's not gonna happen... + +.BACK IN THE CAR + +Alan starts to take a pull of Patron -- when he freezes, realizing something! + +BACK TO VICK + +on the phone with Tracy, being genuinely contrite. + + VICK + Look, I'm really sorry, Trace. This is all my fault--/*98.*/ + +Suddenly, Alan flies out of nowhere and snatches the receiver out of Vick's hand! + + VICK (CONT'D) + What the--?! + +Alan gets on the phone with Tracy, his heart racing. + + ALAN + Tracy, it's Alan! Hey, Vick is just joking around! We've got Doug right here! + +Vick looks like: what?! + + TRACY + (HORRIFIED) + What kind of joke is that?! + + ALAN + I know, Vick is such a prick! We'll see you at the wedding! Bye! + +Alan hangs up and races back to the car. Vick follows. + + VICK + What are you doing? + + ALAN + I know where Doug is! + +CUT TO: + +INT. BRIDAL SUITE -- DAY + +Tracy stands in her bridal suite. Then she just BREAKS DOWN SOBBING. Her father hurries over, concerned... + +CUT BACK TO: + +EXT. MOJAVE DESERT -- DAY + +Alan floors the car back onto the 15 towards Vegas, amped! + + ALAN + Remember when we saw Doug's bed impaled on the griffin thing?! + + STU + Yeah, we threw it out the window. + + ALAN + No: the windows don't open, remember?!/*99.*/ + + VICK + So how did--? + (REALIZING) + Oh my God. + + STU + I don't get it. + + ALAN + And that's why we've been seeing Doug's clothes all over Vegas! He was trying to signal someone! + + VICK + I don't believe it... + + STU + I-I still don't get it-- + + ALAN + And it totally jives with the timeline, right?! We brought Doug back to the hotel at 5:00, he was passed out... + + VICK + It's so obvious! + + STU + Not...to me...so much? + + VICK + How'd you figure it out?! + + ALAN + The Patron, man! It reminded me of our first drink of the night! + + VICK + Honestly, dude, you're a genius. + + STU + CAN SOMEONE PLEASE TELL ME WHERE DOUG IS?! + + VICK + He's on the roof! + +Stu looks confused, the roof?/*100.*/ + + ALAN + After Doug passed out, we must've taken him up there in his bed as a prank, so he'd wake up on the roof or whatever? Then we forgot him. + + VICK + And all day he's been throwing his crap off the roof, trying to signal someone to get him down! + + STU + You think he's still up there?! + + ALAN + Only one way to find out... + +SMASH CUT TO: + +EXT. MANDALAY BAY -- DAY + +The guys peel up to the valet and sprint out of the car. + +INT. MANDALAY BAY -- LOBBY -- DAY + +The guys race through the lobby at top speed. + +EXT. MANDALAY BAY -- ROOFTOP -- DAY + +The guys burst out of the steel door, onto the massive black tar roof. It's empty. + + ALAN + DOUG?! DOUG?! + + VICK + WHERE ARE YOU, MAN?! + +But Doug is nowhere to be seen. The guys start to despair... Then...stepping out from behind an air-conditioning vent, naked except for tighty-whities, his entire body bright pink from sunburn... + +IS DOUG! + +And he looks furious. The guys run to him, overjoyed! + + ALAN + DOUG! + + STU + Oh my god, I'm so glad you're okay!/*101.*/ + +Before they can hug him, though, Doug holds up his hand, and whispers, nasty, parched: + + DOUG + Don't...even...talk to me. + +The guys stop short. + + VICK + Okay, no, that's cool! + + STU + Yeah, you have every right to be upset! We validate your anger! + +CUT TO: + +TITLE CARD: "SUNDAY, 7:05AM" + +EXT. MANDALAY BAY/INT. VICK'S CAR -- MORNING + +The guys gingerly rush Doug, now in a Mandalay Bay bathrobe and clutching an arm-full of BOTTLED WATERS, through the hotel lobby. Alan is arguing into his cellphone. As they pass ATASHIR at his desk, Vick yells over: + + VICK + Why'd you do it, sweet Atashir?! Why did you betray us?! + + ATASHIR + Because they paid me. And also because you're kind of racist. + + VICK + Fair enough! See you next time, you beautiful Judas! + +They blow out of the hotel... + +EXT. MANDALAY BAY -- VALET -- CONTINUOUS + +...where their beatup Caddy is waiting. Alan slams his cellphone shut, frowning. + + ALAN + No flights to LA with empty seats! + + STU + Well, we can't drive! It's 350 miles to LA and the wedding starts at 10, which is in--/*(MORE)*//*102.*/ + + STU (CONT'D) + (looking at watch) + --three hours! + +Beat. Then Vick, Stu and Alan exchange a look...a smile slowly creeps across their faces. + +SMASH CUT TO: + +THE TOTALLED CADILLAC ROCKETING DOWN I-15 + +Vick is at the wheel, leaning on the HORN, keeping the three-doored Caddy at 110 miles per hour. When traffic gets thick, he doesn't hesitate to drive in the shoulder. In the backseat, Doug chugs bottled water, still simmering. + + VICK + Look, Doug, I think I speak for everyone in the car when I say I'm really sorry about locking you on the roof of the hotel. + + STU + You gotta admit, it's a pretty funny prank... I mean, up until the part when we forgot all about you. + +Doug just stares out at the desert in stony silence. + + STU (CONT'D) + He's still not talking to us. + + ALAN + Totally understandable, man. Whenever you're ready... + +CUT TO: + +TITLE CARD: "SUNDAY, 9:15AM" + +EXT. BEL AIR BAY CLUB -- DAY + +Workers bustle about the grand lawn of the Bel Air Bay Club, putting the last touches on the outdoor wedding site. It's beautiful: the royal palms, the expansive views of the Pacific, the white chairs in perfect rows, the altar adorned in roses. A HARPIST begins to warm up as well-heeled GUESTS filter in, finding their seats.../*103.*/ + +INT. BEL AIR BAY CLUB -- BRIDAL SUITE -- DAY + +Tracy checks her watch as a HAIRSTYLIST works on her hair. Then she checks her watch again... + +CUT TO: + +TITLE CARD: "SUNDAY, 9:47AM" + +EXT. INTERSTATE 10 -- DAY + +A GARY'S TUXEDO VAN speeds up alongside the Caddy as they fly down the 10 freeway. A very nervous TEENAGER opens the van's sliding door and, wind whipping his face, throws a huge PACKAGE over to Alan, who stands and catches it! Vick nods at the van driver and shouts over the wind: + + VICK + I OWE YOU, NEECO! + +The driver gives Vick a thumbs up, and heads off. Alan rips open the package -- inside are four TUXEDOS. The guys start taking off their tattered clothes... + +CUT TO: + +EXT. BEL AIR BAY CLUB -- DAY + +All the seats at the wedding are filled. Everyone is there. Except the Groomsmen. Or the Groom. The harpist still plays, though she's starting to look a little pissed. + +INT. BRIDAL SUITE -- DAY + +Looking beautiful in her wedding gown, Tracy gazes out of the window at the perfect wedding arranged below... Then she notices guests whispering, is something wrong? Where's the groom? She turns away, trying to hold it together... + +CUT TO: + +TITLE CARD: "SUNDAY, 10:03AM" + +INT. VICK'S CAR/EXT. THE 10 FREEWAY -- DAY + +The guys, now in their tuxes, rocket down the freeway, primping. Alan brushes his teeth, Doug tries to comb his hair, Stu flosses, and Vick shaves with an electric razor as he weaves in and out of traffic... + +CUT TO:/*104.*/ + +TITLE CARD: "SUNDAY, 10:19AM" + +INT. BRIDAL SUITE -- DAY + +Tracy paces in the bridal suite. Then Mr. Turner enters. + + MR. TURNER + I'm sorry, honey, but I think you need to seriously consider that Doug might not be coming... + +Tracy stops short, speechless. + + MR. TURNER (CONT'D) + Some men just aren't cut out for this kind of commitment. I'm so sorry that this is how you had to find out-- + +Just then, we hear a car SQUEALING UP outside... + +INT. BEL AIR BAY CLUB + +The Bridesmaids sit around the posh lobby, waiting, anxious. Just then, the doors blow open and + +VICK, ALAN, STU, AND DOUG + +stride inside! Their tuxes are wrinkled, their hair is a mess, and the groom is bright pink -- but they're here. + + VICK + Sorry, Mapquest took us a crazy route. We ready to do this thing? + +The bridesmaids sit up, stunned. + +CUT TO: + +TRACY AND HER FATHER + +walking down the aisle, arm-in-arm, as Mozart plays. Tracy looks tentative. Her father frowns, not at all happy... + +.IN THE AUDIENCE + +Everyone smiles, AHHS, and snaps photos... + +.AT THE ALTAR + +The groomsmen smile as well. Vick whispers to Doug: + + VICK + She looks beautiful, man./*105.*/ + +Doug still doesn't speak to him. + + VICK (CONT'D) + That's cool. I get it. + +TRACY + +reaches the altar, then turns to her dad. His face is a mess of emotions. They hug. + + TRACY + I love you, Daddy. + + MR. TURNER + I love you too, pumpkin. + +Tracy's Dad shoots Doug a nasty look before taking his seat in the first row. Then Tracy approaches Doug at the altar, and whispers to him, angry, hurt: + + TRACY + Where were you? And why are you pink? + + DOUG + It's a long story. All I can say is I'm so sorry. And I promise, for as long as we're married, I will never ever put you through something like this again. + (desperate, pleading) + Can... Can you forgive me? + +Tracy studies his face, searching... All the guests wait with bated breath... The groomsmen wince, come on come on come on... Then, unable to be mad at Doug, Tracy smiles and kisses him. He kisses her back. The guests all SIGH in relief. The groomsmen exhale, whew. Vick and Alan covertly knock fists. The Minister clears his throat. + + MINISTER + We, um, we traditionally wait til the end for the kiss...? + +But Doug and Tracy just keep on kissing... + +MATCH DISSOLVE TO:/*106.*/ + +DOUG AND TRACY STILL KISSING + +at the reception. The entire wedding party is applauding. + +CHAMPAGNE IS UNCORKED + +and the WEDDING BAND kicks in. We are now down on the lawn, where white tables and a dance floor have been set up. + +STANDING IN THE BACK OF THE RECEPTION + +Vick, Stu, and Alan aggressively APPLAUD and WHISTLE for the bride and the groom. + + VICK + We did it, fellahs. We pulled it off. + + ALAN + I never had a doubt. + +They LAUGH. Alan smiles, more relaxed than we've ever seen him. They sip champagne and watch Doug and Tracy enjoy their first dance on the dance floor. + + STU + You think Doug's ever going to talk to us again? + + VICK + Give him time. + + ALAN + Yeah. Like a decade or two-- + +Then Stu sees someone approaching over Alan's shoulder. + + STU + Uh-oh. + +The guys all look over to see + +BECKY + +Alan's girlfriend of 14 years, bearing down on them, irate. + + VICK + Hey Beck--! + + BECKY + Shut up, Vick! Alan, where the hell have you been?! I've been calling and calling! What, you don't answer your phone anymore?!/*107.*/ + +Alan shrinks down, back to being the chastised boyfriend. + + ALAN + I-I'm so sorry, I can explain-- + +Then there's a WOMAN'S VOICE behind them. + + WOMAN'S VOICE + Alan? + +They all turn to see + +CHASTITY + +standing behind them in a very sexy, very elegant dress, her hair back. She cleans up nicely. Alan swallows, whoa. + + VICK + This just got complicated... + + ALAN + Jennifer? + +Chastity smiles that he called her by her real name. + + CHASTITY + I-I know I wasn't invited, but I just had to return this... + +She hands Alan his GRANDMOTHER'S HOLOCAUST RING. Becky watches on, stunned. + + BECKY + Okay: who the hell is this chick, and why the hell does she have your Grandmother's wedding ring?! + +Alan looks back and forth between Becky and Chastity... It's the moment of truth. The fork in life's road... + + BECKY (CONT'D) + Talk, you moron! Jesus, you're just like your mother! Talk! Who's the ho wearing my ring?! + +And in that moment, it all becomes so clear. Alan turns: + + ALAN + She's my wife. + +Becky's jaw drops. Chastity smiles slightly. Stu and Vick grin, oh shit!/*108.*/ + + ALAN (CONT'D) + We don't make each other happy anymore, Beck. And we can keep not making each other happy for another 14 years -- hell, maybe even another 50 years -- but let's not. Let's find people who make our hearts race. Let's be excited and fun and alive again... + +Alan looks at Becky, sincere, honest. Beat. + + BECKY + Are you fucking kidding me? + +Alan shakes his head, sadly, no. + + ALAN + I'm sorry, Beck. I really am. + (to Chastity) + Can I buy you a free drink? + +Chastity smiles, takes his arm, and they walk off together towards the bar. + + CHASTITY + We're not...actually...still married, are we? + + ALAN + Let's start with dinner, and see where it goes...? + + CHASTITY + (smiling warmly) + I'd like that. + +BACK ON BECKY + +She finally recovers enough to speak: + + BECKY + Alan! Alan Steven Mervish, get back here this second! + (but Alan keeps walking) + Don't you walk away from me, you stupid little clown! I own you! GET BACK HERE IMMEDIATELY! + +But Alan just keeps walking away with Chastity. Vick and Stu wave him on, go dude! Go! Then Becky turns on them. Beat. They both scatter, terrified./*109.*/ + +STAY WITH STU + +as he hurries off through the crowd. After a moment, he + +HEARS: + + VOICE + Daddy?! + +Stu turns to see his TWO ANGELIC DAUGHTERS in sundresses racing through the crowd towards him! They leap into his arms, so excited to see him! He scoops them both up. + + STU + Oh, I missed you guys so much! + + HAYLEE + We missed you too, daddy! + + KAITLIN + You're the best dad ever! + +Beat. And then Stu just starts BAWLING. Tears everywhere. His lovely wife ERIN appears, harried, a diaper bag over her shoulder, and sees him crying. She rolls her eyes. + + ERIN + Jesus, are you still drunk? + +Stu shakes his head, no, and keeps SOBBING as he pulls her into a big family hug... + +INT. BEL AIR BAY CLUB -- MEN'S BATHROOM -- LATER + +Vick, a cocktail in hand, his tie undone, heads into the men's room and approaches a urinal. Then KIKIOLANI and KALOLO FANALUA walk in behind him, still in their huge arm casts, still very pissed. Vick inhales, scared. + + VICK + Okay, okay, I'll go with you. Just...don't ruin the wedding. + +Then JIMMY LANG enters the bathroom on RED CRUTCHES. + + JIMMY LANG + I really didn't want it to end like this, Vick. + +Vick nods, resigned, and starts towards him. Then Jimmy extends his hand for Vick to shake./*110.*/ + + JIMMY LANG (CONT'D) + Good luck. + + VICK + (totally thrown) + Um, what...? + + JIMMY LANG + Your friend Alan just paid your marker. Took out a second mortgage on his house. The full 200 grand, plus medical expenses, which I thought was a classy touch. + +Vick looks blown away. + + JIMMY LANG (CONT'D) + Without our friends, we are nothing, Vick. Remember that. + +The three injured mobsters exit. Vick remains standing there, overwhelmed, his life literally saved... + +DISSOLVE TO: + +VICK, STU, AND ALAN + +standing on the cliffs overlooking the Pacific, drinks in hand, as the wedding reception rages on behind them. + + VICK + I will pay you back, you know. + + ALAN + Damn straight you will! + +They all LAUGH. + + VOICE BEHIND THEM + Okay, so what the hell happened this weekend? + +The guys turn to see Doug approaching, smiling. They grin as he falls in with them, looking out at the calm blue ocean. + + VICK + Well, Alan married a stripper, Stu went gay, and I learned a very important life lesson from an obese hoodlum. + + STU + We'll tell you the whole story when you get back from your honeymoon./*111.*/ + + ALAN + We really are sorry, man. + +Doug nods, I know. Vick raises his cocktail. + + VICK + To Doug and Tracy. + + STU + To Doug and Tracy. + + ALAN + To Doug and Tracy. + + DOUG + To me and Tracy -- and to being here, with my three former best friends in the world... + +The guys LAUGH. + + DOUG (CONT'D) + There's nowhere else I'd rather be right now. + +They nod, heartfelt, hear-hear. + + DOUG (CONT'D) + That said, let's not get too stupid tonight, okay? I'm going on my honeymoon in 24 hours... + +The guys all nod reassuringly. + + THE GUYS + No, no. / We'll be good. / Totally, dude. + +The guys exchange a sly smile, CLINK glasses, then + +>CUT TO BLACK. + +THE END diff --git a/fountain_scripts/The Hangover.webp b/fountain_scripts/The Hangover.webp new file mode 100644 index 0000000000000000000000000000000000000000..895ac1b3c0958e1d3a27da842142883a98457936 --- /dev/null +++ b/fountain_scripts/The Hangover.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:b9ac0ee2cfb54a9f9fcb4f90038aea52cbeabc518fb32f44405ced71c3c05027 +size 28276 diff --git a/fountain_scripts/The Hitchhiker's Guide to the Galaxy.fountain b/fountain_scripts/The Hitchhiker's Guide to the Galaxy.fountain new file mode 100644 index 0000000000000000000000000000000000000000..e99425c2f713e06d32023d6478e6a81a1c365d8c --- /dev/null +++ b/fountain_scripts/The Hitchhiker's Guide to the Galaxy.fountain @@ -0,0 +1,4466 @@ +Title: HITCHHIKER'S GUIDE TO THE GALAXY +Credit: Written by +Author: Douglas Adams +Source: Based on the book + "The Hitchhikers Guide to the Galaxy" + by + Douglas Adams +Revisions: by + Karey Kirkpatrick +Draft date: 8/8/03 + 3rd Revised Draft + +[[2.]] + +[[HHGG 3rd Revised Draft 8/8/03]] + +.OVER DARKNESS... #1#[[1]] + +!...we hear what we will come to know as the VOICE OF THE GUIDE. + + GUIDE VOICE + It is an important and popular fact that things are not always what they seem. + +A small square image appears on screen. Home video. The dolphin stadium at Sea World. + + GUIDE VOICE (CONT'D) + For instance, on the planet Earth, man had always assumed that he was the most intelligent species occupying the planet, instead of the third most intelligent which was, in fact, entirely accurate. + +The dolphins perform; leaping through hoops, etc. + + GUIDE VOICE (CONT'D) + The second most intelligent creatures were, of course, dolphins who curiously enough had long known of the impending destruction of the planet Earth. They had made many attempts to alert mankind to the danger, but most of their communications were misinterpreted as amusing attempts to punch footballs or whistle for tidbits, so they eventually decided they would leave Earth by their own means. + +They leap madly, desperately. Higher and higher... + + GUIDE VOICE (CONT'D) + The last ever dolphin message was misinterpreted as a surprisingly sophisticated attempt to do a double-backward somersault through a hoop while whistling the "Star-Spangled Banner" but in fact the message was this... "So long and thanks for all the fish." + +TITLES ROLL - (FULL SCREEN 35mm IMAGES) Dolphins leap over and interact with the opening titles. Breathtaking somersaults, back flips, choreographed to a Buzby Berkley-style song called, "SO LONG AND THANKS FOR ALL THE FISH." We end with a wide shot of all the dolphins jumping out of the top of frame, but they never come back down. TILT UP to a starry night sky - the dolphins have vanished. END TITLES As night turns to morning, we hear CLICK, then... + + VOICE ON RADIO + \...as well as Sea World Orlando and San Diego reporting their dolphins have mysteriously disappeared overnight. + +>CUT TO:[[3.]][[HHGG 3rd Revised Draft 8/8/03]] + +INT. ARTHUR DENT'S BEDROOM - MORNING #2#[[2]] + +CLOSE ON the clock radio from which the voice emanates. A hand shuts it off. ARTHUR DENT is awake. 30's. Kind faced. His feet land perfectly in slippers as he stands and shuffles out of his very neat but very boring room. + +.IN THE BATHROOM - Arthur gargles in front of the mirror. #3#[[3]] + +He bends over to spit revealing a YELLOW BULLDOZER through the window, crawling toward his house. A TEA KETTLE WHISTLES O.S. + +INT. ARTHUR DENT'S KITCHEN - CONTINUOUS #4#[[4]] + +Arthur sets the newspaper (with the headline "DOLPHINS VANISH") on the table, removes the kettle. Doesn't notice through the window 3 MORE LARGE YELLOW BULLDOZERS. He pours a cup of tea, sets the pot down next to his mobile phone. He picks it up, stares at a DIGITAL PHOTO ON THE SCREEN of himself and a very pretty woman (Tricia) at a costume party. He presses the phone to his head as if it were a cold compress. Suddenly, there's a LOUD RUMBLING o.s. The tea cup RATTLES. Arthur looks out the window. Now he sees the bulldozers. The tea cup shatters on the floor. + +>CUT TO: + +EXT. ARTHUR DENT'S HOUSE - MORNING #5#[[5]] + +Arthur, dressed in pajamas and robe, lies in the dirt in front of a bulldozer, blocking it from destroying his house. He yells into his mobile phone. + + ARTHUR + (into phone) + What do you mean he's gone out to lunch? You just said he was still at breakfast! + +MR. PROSSER, a bureaucrat, leans over him. + + PROSSER + Come off it, Mr. Dent. You can't lie in front of the bulldozers forever. + + ARTHUR + I'm game. We'll see who rusts first. + + PROSSER + This bypass has got to be built and it's going to be built. You should have made your protest months ago. + + ARTHUR + The first I heard of it was when a workman came yesterday. I asked if he'd come to clean the windows, and he said he'd come to demolish the house. He didn't tell me right away of course. First he wiped a couple of windows and charged me twenty quid. Then he told me.[[(CONTINUED)5]][[4.]][[HHGG 3rd Revised Draft 8/8/03]][[CONTINUED:]][[5]] + +The bulldozer driver, looking guilty, ducks behind the steering wheel. Prosser removes plans from his briefcase. + + PROSSER + Look. These plans have been on display at the planning office now for a year. + + ARTHUR + On display? I had to go down to a cellar! + + PROSSER + That's the display department. + + ARTHUR + I eventually found them in the bottom of a locked filing cabinet in a disused lavatory with a sign on the door saying 'beware of the leopard'. + + PROSSER + Mr. Dent, have you any idea how much damage that bulldozer would suffer if I just let it roll straight over you? + + ARTHUR + How much? + + PROSSER + None at all. + + FORD (O.S.) + (American accent) + Arthur! + +Arthur and Prosser turn to see a man cresting a hill, pushing a shopping cart which is filled with beer and bags of peanuts. This is FORD PREFECT. Wiry, intense. As he heads downhill, he leaps up and rides the cart down towards Arthur's house -- like a kid in a supermarket. He rolls right past Arthur and the bulldozers. + + ARTHUR + Ford? + +He leaps off, drags the cart to a full stop. + + FORD + Arthur! There you are. Here drink and eat with me. We need to talk. + + ARTHUR + Er, um...now's not the best time, Ford They're going to demolish my home, + + FORD + Whoa. You already know? How? + +Arthur simply motions to the bulldozer.[[(CONTINUED)5]][[5.]][[HHGG 3rd Revised Draft 8/8/03]][[CONTINUED: (2)]][[5]] + + FORD (CONT'D) + Oh. When you say "they" you mean they. Got it. Listen, I gotta tell you something important, and I gotta tell you now. + + ARTHUR + But what about my house? + +Ford looks to Prosser who is conferring with the bulldozer driver. He pushes the cart over to him. ARTHUR - watches as Ford gestures to Prosser who waves his hand and the all the 'dozer engines die. The bulldozer drivers step down, start drinking the beer and eating the peanuts. Ford returns to Arthur. + + FORD + C'mon. Let's go to the pub. He said they won't destroy your house until they've finished the beers. + + ARTHUR + Can we trust him? + + FORD + I'd trust him to the end of the Earth. + + ARTHUR + And how far's that? + + FORD + About twelve minutes away. + +>CUT TO: + +INT. VILLAGE PUB - MIDDAY #6#[[6]] + +Ford and Arthur enter the half-full pub. Ford hurries to the bar. Arthur follows, cell phone to his ear. + + FORD + Six pints of bitter. And quickly. The world's about to end. + + BARMAN + Oh yes, sir? Nice weather for it. + +He starts to pull pints. Ford shoves bar peanuts into his pockets while Arthur shouts into his phone... + + ARTHUR + Well, when does he get back from lunch? Or is he going straight out for tea?! + +He shuts the phone, sits, looking forlorn. + + ARTHUR (CONT'D) + This is shaping up to be a crap day.[[(CONTINUED)6]][[6.]][[HHGG 3rd Revised Draft 8/8/03]][[CONTINUED:]][[6]] + + FORD + It's about to get a lot crappier. + + BARMAN + There you are, six pints. + +Ford slaps down a £50 note. The barman's impressed. + + FORD + Keep the change. You've got ten minutes to spend it. + +Ford pushes three pints in front of Arthur. + + ARTHUR + Three? At lunchtime? + + FORD + Time is an illusion. Lunchtime doubly so. + + ARTHUR + Very deep. You should send that in to the Reader's Digest. They've got a page for people like you. + + FORD + Drink up. + + ARTHUR + Why three pints? + + FORD + Muscle relaxant. + (grabbing more peanuts) + And eat these. You'll need the salt. + + ARTHUR + What's going on. Ford? + + FORD + What would you say if I told you I wasn't really from Guilford but from a small planet somewhere in the vicinity of Betelgeuse? + + ARTHUR + Why, is it the sort of thing you're likely to say? + + FORD + Remember when we met? That car was racing toward me, I was trying to greet it, you pushed me out of the way?[[7.]][[HHGG 3rd Revised Draft 8/8/03]] + +.QUICK CUT TO A STREET - MID-DAY #7#[[7]] + +Ford stands in the middle of the road, extending a hand to a fast approaching car. Arthur drops his shopping, dives at him and tackles him + +out of the way as the car zooms past.[[(6 cont)]] + +.BACK TO FORD IN THE PUB:[[(6 cont)]] + + FORD + Didn't you find it a little strange that I was trying to shake hands with a car? + + ARTHUR + I assumed you were drunk. + + FORD + (shaking his head) + I thought cars were the dominant life form. I was trying to introduce myself. + + ARTHUR + And that's why you're named after a discontinued car from the seventies? + + FORD + (nodding) + You saved my life that day. Now I'm saving yours. + +Arthur just stares at him, then turns to his beer. + + ARTHUR + This must be Thursday. I never could get the hang of Thursdays. + + FORD + Look, if it's about your house... + + ARTHUR + No, it's not that. It's.... + +He shows Ford the photo of he and Tricia on his phone. + + ARTHUR (CONT'D) + I found her. Ford. The perfect girl. I found her, and then I let her get away. You remember that fancy dress party I told you about? + + FORD + This isn't a long story, is it? We've only got six minutes. + +Arthur shakes his head. Ford checks his watch.[[(CONTINUED)6]][[8.]][[HHGG 3rd Revised Draft 8/8/03]][[CONTINUED: (2)]][[6]] + + FORD (CONT'D) + Okay. Talk and drink. Fancy dress party. + + ARTHUR + At that flat in Islington. I told you about it. Last week, remember? + +>FLASHBACK TO: + +INT. ISLINGTON FLAT - NIGHT #8#[[8]] + +Crowded flat. Everyone is in costume. Loud music BLARES. + + ARTHUR (V.O.) + I can't bear those sort of parties, didn't want to go, would have much rather stayed home and, I don't know, brush the dog. Anything. But there I was -- and then, there she was... + +Arthur, dressed in safari attire complete with pith helmet, sits off to the side, observing, looking miserable. + + TRICIA (O.S.) + Who are you? + +Arthur looks up. TRICIA MCMILLAN is dressed in a mid 19th century mens suit with mutton chop sideburns and is holding a taxidermy beagle -- and she still looks beautiful. Arthur, ever the gentleman, stands. + + ARTHUR + I'm Arthur. Arthur Dent. + + TRICIA + No, I mean who are you? + + ARTHUR + Oh, the costume. Right. Er, um... + (sheepishly tipping his hat) + Livingston, I presume. + (pointing to her attire) + Granted. Not as clever as Darwin, but the best I could do on short notice. + + TRICIA + You're the first person who's got it right. Everyone keeps calling me Sherlock. + + ARTHUR + Really? I thought the beagle made it rather obvious.[[(CONTINUED)8]][[9.]][[HHGG 3rd Revised Draft 8/8/03]][[CONTINUED:]][[8]][[ARTHUR]][[Really? I thought the beagle made it]][[rather obvious.]] + +He pets the dog. She smiles. He smiles back. A CAMERA FLASH FLASHES. JUMP CUT to...[[9]] + +.THE BALCONY -- Arthur has just taken a digital photo of + +he and Tricia on his cell phone. They look at the screen image and laugh. + + ARTHUR (V.O.) (CONT'D) + She was amazing, Ford. Witty, and beautiful, and brilliant. Four or five degrees. One in math, one in astrophysics, another in biology... + + TRICIA + I've got so many degrees I am officially unemployable. Let's drink to that! + +They clink their wine glasses, take sips, continue to chat. + + ARTHUR (V.O.) + And just as I was asking myself, "Why is this stunning and intelligent woman even giving me the time of day, out of nowhere she says... + + TRICIA + Let's go somewhere. + + ARTHUR + Yeah. It is a bit noisy. There's a lovely little cafe around the corner... + + TRICIA + I was thinking Madagascar. + + ARTHUR + Is that a new club on Dean Street? + + TRICIA + No. It's a country. Off the coast of Africa. + + ARTHUR + Oh, that Madagascar. Right, off we go then. + (then realizing...) + Good God, you're serious.[[(CONTINUED)9]][[10.]][[HHGG 3rd Revised Draft 8/8/03]][[CONTINUED:]][[9]] + +She nods. Arthur isn't sure how to react. + + ARTHUR (CONT'D) + Well...that's...an extraordinary proposition. But...I can't just up and go. What about my job? + + TRICIA + Quit. Get a new one when we return. + + ARTHUR + I can't just...what about my house? Who would feed my dog? + + TRICIA + Bring him with. + + ARTHUR + He's a Welsh Collie. He'd feel all out of place in Madagascar. + +Trillian forces a smile, clearly disappointed. + + ZAPHOD (O.S.) + You don't want to go to Madagascar. + +They both turn to face ZAPHOD BEEBLEBROX - very charming, extremely handsome - whose attire seems very "other worldly." Knee high boots, a yellow sash... + + ZAPHOD (CONT'D) + Hi. I'm Zaphod Beeblebrox, President of the Galaxy -- of course, you probably already know that. I'm headed for a lost and distant planet. Would you like to see my spaceship? + + ARTHUR (V.O.) + I went to refresh our drinks. When I came back, she was gone. + +EXT. BACK IN THE PUB - CONTINUOUS #10#[[10]] + +Arthur stares into his beer, plagued by this loss. + + ARTHUR + "Would you like to see my spaceship?" Really, what sort of chat up line is that? + + FORD + More popular than you'd think. + + ARTHUR + I've left messages, sent letters... It's like she's vanished off the face of the earth.[[(CONTINUED)]][[11.]][[HHGG 3rd Revised Draft 8/8/03 10]][[CONTINUED:]][[10]] + + FORD + Hey, it happens. Speaking of... + (pulling a blinking electronic device from his satchel) + We've got two minutes. So drink up. + +There's a ROAR OF ENGINES and a LOUD CRASH outside. Arthur and everyone else in the pub look up. + + ARTHUR + My house! + +He runs out. Ford rises, grabs two handfuls of peanuts from the bowl, tosses the barman all the money in his pocket. + + FORD + A round for everyone, on me. + + BARMAN + You really think the world's going to end? + (Ford nods) + Shouldn't we lie down or put a bag over our heads or something? + + FORD + If you want. + + BARMAN + Will it help? + + FORD + Not really. + +He gives everyone in the bar a friendly salute, exits. + + BARMAN + Last orders, then? + +EXT. STREET OUTSIDE THE PUB - MID-DAY #11#[[11]] + +Arthur runs up the road towards his house which is being bulldozed. Ford strides casually behind in the distance. + + ARTHUR + STOP! STOP, YOU BASTARDS!! + +Arthur suddenly stops running and covers his ears as we hear THE LOUDEST RUMBLE IN MOTION PICTURE HISTORY. + +.A GIGANTIC YELLOW SPACESHIP (picture a concrete tower #11a#[[11a]] + +block)) sweeps overhead. Ford hits the deck. Arthur is blown sideways. Trees are uprooted. Ford rises and hurries to the rubble that was Arthur's house. He digs around near the exposed toilet and comes up with -- A TOWEL. He hurries to Arthur's side.[[(CONTINUED)1]][[12.]][[HHGG 3rd Revised Draft 8/8/03]][[1a]][[CONTINUED:]][[11a]] + +Another ship screams over, blowing them down again. Rain is knocked out of the clouds and lands in one big THWUMP! Everywhere is soaked. + + ARTHUR (CONT'D) + WHAT THE HELL ARE THOSE THINGS?! + + FORD + Ships from a Vogon Constructor Fleet. I picked up their signal this morning. + +He shows Arthur his blinking Sens-0-Matic device. + + FORD (CONT'D) + Here. You'll need this. + +He tosses Arthur the towel. Then, he removes a short black rod, his ELECTRONIC THUMB. He sticks it out. + +INT. SATELLITE TRACKING STATION #12#[[12]] + +Picture mission control in Houston. WORKERS scramble. Monitors line the wall showing hundreds of news reports from around the globe; panic, chaos and pandemonium. Suddenly, there's a loud HUM through the speakers, followed by loud GARGLES and SCREECHING. Then... + + JELTZ (THROUGH SPEAKERS) + People of Earth, this is Prostetnic Vogon Jeltz of the Galactic Hyperspace planning council. + +INT. A SUBURBAN BREAKFAST ROOM. CONTINUOUS #13#[[13]] + +A FAMILY at breakfast, baffled that their cutlery, bowls and glasses resonate with the sound of Jeltz's voice. + + JELTZ (VOICE ONLY) + As you are probably aware, plans for the development of the outlying regions of the galaxy involve the building of a hyperspace express route through your star system... + +EXT. OXFORD STREET ELECTRONICS STORE - CONTINUOUS #14#[[14]] + +Several PATRONS watch the wall of TV's, all projecting a snowy, distorted image. Jeltz's voice blares through the speakers. + + JELTZ + \...and, unfortunately, your planet is one of those scheduled for demolition. The process will take slightly less than two of your Earth minutes. Thank you. + +Through the window behind them, throngs of people stampede down Oxford Street, screaming.[[13.]][[HHGG 3rd Revised Draft 8/8/03]][[5]] + +EXT. SATELLITE TRACKING STATION #15#[[15]] + +A TECHNICIAN speaks urgently into a microphone while his co-workers watch the chaos on the monitors behind. + + TECHNICIAN + Hello! Can you hear us? Please respond! + +INT. VOGON CONSTRUCTOR SHIP BRIDGE - CONTINUOUS #16#[[16]] + +The VOGON BRIDGE is like a waterlogged old Skoda. + + JELTZ (INTO THE P.A.) + There's no point in acting all surprised about it. The plans and demolition orders have been on display at your local planning office in Alpha Centauri for fifty of your Earth years, so you've had plenty of time to lodge formal complaints. + +EXT. FIELD BY ARTHUR'S HOUSE. CONTINUOUS #17#[[17]] + +Ford grabs hold of Arthur's shirt, extends the Thumb. + +INT. THE PUB. CONTINUOUS #18#[[18]] + +PULL BACK FROM JUKE BOX. The pub seems deserted. + + VOGON CAPTAIN + (through juke box) + What do you mean you've never been to Alpha Centauri? Oh, for heaven's sake mankind, it's only four light years away you know. I'm sorry, but if you can't be bothered to take an interest in local affairs that's your own lookout. + +PULL BACK FARTHER - people lay on the ground with PAPER BAGS on their heads. + +INT. VOGON CONSTRUCTOR SHIP BRIDGE. -- CONTINUOUS #19#[[19]] + +Jeltz turns. He's large, green and walrusy. + + JELTZ + Apathetic bloody planet, I've no sympathy at all. Energize the demolition beams. + +One of his walrusy FIRST OFFICERS pushes a yellow button. + +.BIG SHOT. FROM SPACE. LOOKING DOWN ON EARTH #20#[[20]] + +As all the Vogon ships simultaneously send down a beam of yellow light. Glowing fireballs travel down the beams toward Earth. On impact, they bore into the surface. + + JELTZ (O.S.) + Detonate.[[(CONTINUED)2]][[14.]][[HHGG 3rd Revised Draft 8/8/03]][[0]][[CONTINUED:]][[20]] + +Like a giant casino going down in Vegas, there are a few small explosions AND THE EARTH IMPLODES. Just collapses in on itself. Gone. The Vogon ships slowly retreat in formation, leaving nothing but DARKNESS AND STARS. + +.Then a distant RED GLOW appears. As it gets nearer we #21#[[21]] + +see that it says..."THE HITCHHIKERS GUIDE TO THE GALAXY." + + GUIDE VOICE + The Hitchhiker's Guide to the Galaxy is a wholly remarkable book... + +The title draws nearer. We see that it sits on an electronic book with lots of buttons. + + GUIDE VOICE (CONT'D) + \...Perhaps the most remarkable, certainly the most successful book ever to come out of the great publishing corporations of Ursa Minor. + +The book opens revealing TWO SCREENS. Images appear. A star map, layers of data, captions, video, animations... + + GUIDE VOICE (CONT'D) + More popular than the CELESTIAL HOME CARE OMNIBUS, better selling than 53 MORE THINGS TO DO IN ZERO GRAVITY, and more controversial than Oolon Colluphid's trilogy of philosophical blockbusters, WHERE GOD WENT WRONG, SOME MORE OF GOD'S GREATEST MISTAKES, and WHO IS THIS GOD PERSON, ANYWAY? + +Now the images rise up from the screen like holographs as the book "presents itself" like some hi-tech infomercial. + + GUIDE VOICE (CONT'D) + In many of the more relaxed civilizations on the Outer Eastern Rim of the Galaxy, the Hitchhiker's Guide has already supplanted the great Encyclopedia Galactica as the standard repository of all knowledge and wisdom. For though it has many omissions, and contains much which is apocryphal, or at least wildly inaccurate, it scores over the older, more pedestrian work in two important respects. First, it is slightly cheaper. And second, it has the words "DON'T PANIC" printed in large friendly letters on its cover. + +The book closes. The words "DON'T PANIC" appear just below the title, blinking like a tacky diner marquee. PULL BACK FROM THE GUIDE to find Arthur holding it, the blinking light illuminating his very disoriented face.[[15.]][[HHGG 3rd Revised Draft 8/8/03]][[2]] + +INT. HOLD OF VOGON CONSTRUCTOR SHIP - NIGHT #22#[[22]] + +Arthur, in total shock, holds up the guide. + + ARTHUR + So you're not from Guilford, which would explain the accent -- which I've always wondered about...and you're not an out of work actor -- but rather a writer for this...this...book thing. + +Ford nods. Arthur rubs his weary brow. + + ARTHUR (CONT'D) + I don't feel well. I need a cup of tea. + +Ford hands him a fistful of peanuts. + + FORD + Here. Eat these. If you've never been through a transmat beam before you've probably lost some salt and protein. + +Arthur eats some peanuts, sits up, squints. Ford feels his way around the room, looking for something. + + ARTHUR + If I asked where we were would I regret + + FORD + We're safe. For now. + + ARTHUR + Good. + + FORD + We're in a storage hold in one of the ships of the Vogon constructor fleet ... + + ARTHUR + Obviously some strange usage of the word safe I wasn't previously aware of. + + FORD + (not getting the sarcasm) + Is it? + + ARTHUR + Tell me you're joking. + + FORD + Okay. I'm joking. + + ARTHUR + And do a reassuring little laugh. + +Ford does a reassuring little laugh. + + ARTHUR (CONT'D) + Now tell me where we really are.[[(CONTINUED)2]][[16.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED: (2)]][[22]] + + FORD + In the storage hold of a Vogon constructor ship. + +Ford continues his search. Arthur's breathing quickens. + + ARTHUR + Get me home. Ford. + + FORD + Home? Arthur...your home... is... + + ARTHUR + Oh God - it was demolished! I've got to reach my lawyer! He must be back from lunch by now... + +He pulls out his cell phone. Desperately punches numbers. Ford flips on a light switch, revealing a messy chamber full of alien junk and old mattresses. + + FORD + You don't remember, do you? + (taking his cell phone) + Okay. I've got something to tell you. It ain't gonna be easy, but you're gonna have to just deal, okay? + + ARTHUR + Good god. Is this really the interior of a flying saucer? + + FORD + Yeah. Why? + +.SHOT: DEEP SPACE. THE VOGON FLEET IN FLIGHT #23#[[23]] + + ARTHUR (V.O.) + Well, it's a bit squalid isn't it? + + FORD (V.O.) + Hey man, you're in denial. + +INT. VOGON CONSTRUCTOR SHIP BRIDGE #24#[[24]] + +Jeltz consults one screen after another. At last he sees Ford and Arthur. His walrusy eyes narrow. + +.BACK IN THE SLEEPING QUARTERS - MINUTES LATER #25#[[25]] + + ARTHUR + Blown up? BLOWN UP?! Couldn't you have done something?!! + + FORD + I did. I saved you.[[(CONTINUED)2]][[17.]][[HHGG 3rd Revised Draft 8/8/03]][[5]][[CONTINUED:]][[25]] + + ARTHUR + But there's six billion other people. + + FORD + And all those ants. + + ARTHUR + Yes, but ants aren't exactly people! + + FORD + And now you're thinking like a Vogon. + (before Arthur can respond) + I saved your life, okay? Which makes us even. Next thing. + +Ford throws Arthur a towel. Arthur looks confused. + + FORD (CONT'D) + It's a tough galaxy. You want to survive out here, you really gotta know where your towel is. Now gimme a hand over here. + +Arthur joins Ford near a rusty ventilation pipe. + + FORD (CONT'D) + Careful, it's hot. + +He slides the towel behind the pipe, holding each end of it, Arthur does the same. + + FORD (CONT'D) + We've got to get off this ship before the Vogons find us. Vogons hate hitchhikers. Which is why they make ships with walls that won't allow the Sub-Etna signal to pass through. So we've got to send the signal up and out if we wanna catch a ride. Pull. + +They both pull. A section of pipe snaps off. Steam shoots out. Ford holds the black Thumb under the pipe. + + ARTHUR + What's a Vogon? + + FORD + Ask the guide. Say "Vogons." + +Ford continues turning dials. Arthur lifts the Guide. + + ARTHUR + "Vogons." + +The word "VOGONS" floats up into his field of vision. + + GUIDE VOICE + Vogons.[[(CONTINUED)2]][[18.]][[HHGG 3rd Revised Draft 8/8/03]][[5]][[CONTINUED: (2)]][[25]] + +CHARACTER, HISTORY, HOW TO HAVE FUN WITH, HOW TO ANNOY, WHAT TO AVOID. Arthur touches CHARACTER. + + GUIDE VOICE (CONT'D) + Vogons are one of the most unpleasant races in the Galaxy - not evil, but bad-tempered, bureaucratic, officious and callous. They wouldn't even lift a finger to save their own grandmothers from the Ravenous Bugblatter Beast of Traal without orders signed in triplicate, sent in, sent back, queried, lost, found, subjected to public inquiry, lost again, and finally buried in soft peat for three months and recycled as fire-lighters. + +Arthur touches 'HOW TO HAVE FUN WITH.' + + GUIDE VOICE (CONT'D) + The best way to get a drink out of a Vogon is to stick your finger down his throat. + +Arthur touches 'WHAT TO AVOID'. + + GUIDE VOICE (CONT'D) + On no account should you allow a Vogon to read poetry to you. + + FORD + They can't think, they can't imagine, most of them can't even spell. They just run things. + (turns dial opposite direction) + And if we don't get a ride soon, you won't need the guide to illustrate just how unpleasant the Vogons can be. They've destroyed a planet today, that always makes them a little feisty. + + ARTHUR + It can't be gone. It can't be! + (grabbing the Guide, shouting) + Earth! + + FORD + Shhh! + + ARTHUR + EARTH!! + + GUIDE VOICE + Earth. + +An image of the Earth appears on the Guide's screen. + + GUIDE VOICE (CONT'D) + Harmless. + +Arthur waits...and waits. The Earth image fades away.[[(CONTINUED)2]][[19.]][[HHGG 3rd Revised Draft 8/8/03]][[5]][[CONTINUED: (3)]][[25]] + + ARTHUR + That's it? That's all this idiotic book has to say about my home? "Harmless?" + + FORD + Hey, there are a hundred billion stars in the Galaxy and only a limited amount of space in the book's microprocessors. No one knew much about Earth. That's why I was there. To expand the entry. I fired off a new one to the editor before I got stranded. + + ARTHUR + What does it say now? + + FORD + Mostly harmless. + +Before Arthur can react, a speaker HUMS to life with screeching HOWLS and GARGLES. Arthur cups his ears. + + ARTHUR + Ahhh, what the hell is that?! + + FORD + Here. Put this in your ear. + +Ford removes a small yellow fish from his pouch. He moves to put it in Arthur's ear. Arthur struggles. + + ARTHUR + WHAT?...STOP!..DON'T COME NEAR ME WITH... + +The LOUD GARGLING NOISE continues. Ford has to wrestle to get the fish in Arthur's ear. + + JELTZ (ON SPEAKER) + + + ARTHUR + Argh! What's happening...? + +As he succeeds, the noise mutates to the Vogon Captain's voice. Arthur looks incredulous. + + JELTZ (ON SPEAKER) + This is your captain speaking, so stop whatever you're doing and pay attention! + + FORD + The fish. It's translating for you. + + JELTZ (ON SPEAKER) + According to our instruments we have unwittingly picked up a couple of hitchhikers who must be apprehended and...[[(CONTINUED)2]][[20.]][[HHGG 3rd Revised Draft 8/8/03]][[5]][[CONTINUED: (4)]][[25]] + +Arthur doesn't want to hear any of this...pulls the fish back out of his ear. + + JELTZ (ON SPEAKER) (CONT'D) + + +Ford struggles, shoves it back in Arthur's ear again. + + JELTZ (CONT'D) + \...and this is not a taxi service for degenerate freeloaders. + +The door BURSTS open. A VOGON GUARD enters. Grabs Ford and Arthur. They struggle. + + VOGON GUARD + Resistance is useless! + +The struggle continues. As they're dragged out the door, Arthur continues to try to yank the fish out of his ear. Ford wrestles with him, trying to keep it in. + + GUIDE VOICE + The Babelfish is small, yellow, leechlike, and probably the oddest thing in the Universe. + +INT. VOGON SHIP CORRIDOR. #26#[[26]] + +A bleak corridor. The Vogon guard pushes a still struggling Arthur and Ford down it. + + GUIDE VOICE + It feeds on brainwave energy, absorbing unconscious frequencies and excreting a matrix of conscious frequencies to the speech centres of the brain, the practical upshot of which is that if you stick one in your ear, you instantly understand anything said to you in any language. + +Arthur continues to struggle, until he passes a portal window. He backs up to look out. + + GUIDE VOICE (CONT'D) + Now, it is such a bizarrely improbable thing that anything so mind-bogglingly useful could have evolved in the Universe purely by chance that many thinkers have chosen to see this as a final clinching proof of the NON-existence of God. + +.ARTHUR'S POV -- of space through the window, beautiful #26a#[[26a]] + +purple-orange clouds of swirling stars and gasses. + + GUIDE VOICE (CONT'D) + The argument goes something like this... "I refuse to prove that I exist," says God, "for proof denies faith, and without faith I am nothing."[[(CONTINUED)2]][[21.]][[HHGG 3rd Revised Draft 8/8/03]][[6a]][[CONTINUED:]][[26a]] + +It's finally sinking in -- he's in deep space. + + GUIDE VOICE (CONT'D) + "But," says Man, "the Babelfish is a dead give-away. It proves you exist, and so therefore you don't. QED." "Oh dear," says God, "I hadn't thought of that," and promptly vanishes in a puff of logic. + +The guard yanks Arthur away, pushes him forward with Ford. + + GUIDE VOICE (CONT'D) + Most leading theologians claim that this argument is a load of dingo's kidneys but that didn't stop Oolon Colluphid from making a small fortune when he used it as the central theme of his best-selling book, 'WELL THAT ABOUT WRAPS IT UP FOR GOD.' + +Arthur looks lost and confused. They approach a set of double doors. He stops. The Guard shoves him forward. + + VOGON GUARD + Resistance is useless! + + ARTHUR + Ford... + + FORD + Don't panic. If we're lucky, they'll throw us out into space. + + ARTHUR + And if we're unlucky? + +Off Ford's apprehensive look we CUT TO... + +INT. VOGON CONSTRUCTOR BRIDGE - CONTINUOUS #27#[[27]] + +Arthur and Ford are strapped against two concrete pillars with hundreds of elastic bands. A STRANGE AND LETHAL LOOKING DEVICE DESCENDS FROM THE CEILING. Looks like an instrument of torture. As the device descends, Jeltz fishes a JEWELED CRAB out of a gunky trough and smashes it with a hammer -- BLAM! Jeltz takes the device in his hand -- then blows in it. We hear FEEDBACK. It's a microphone (like ones used to introduce boxers). He taps it. This thing on? It is. He faces them, holds up a book entitled... " " -- smirks, then begins to read Vogon poetry. + + JELTZ + Oh freddled gruntbuggly! Thy suppurations are to me as plerdled gabbleblotchits on a lurgid bee. + +Ford WRITHES in pain, as does Arthur but less so.[[(CONTINUED)2]][[22.]][[HHGG 3rd Revised Draft 8/8/03]][[7]][[CONTINUED:]][[27]] + + GUIDE VOICE + Vogon poetry is widely accepted as the third worst in the universe. + +Ford VIBRATES like he's having an epileptic seizure. Arthur just looks like he has a migraine. + + GUIDE VOICE (CONT'D) + The second worst is that of the Azgoths of Kria. During a recitation by their Poet Master Grunthos the Flatulent of his poem "Ode to a Small Lump of Green Putty I Found in My Armpit One Midsummer Morning," four of his audience died of internal hemorrhaging, and the President of the Mid-Galactic Arts Nobbling Council survived by gnawing one of his own legs off. + +Spasms wrack Ford's body. He SCREAMS. Arthur squints. + + JELTZ + Or I shall rend thee In the gobberwarts with my blurglecruncheaon, see if I don't! + +Ford's entire body tenses, arches, then goes limp. Arthur lets out an audible sigh as the poem ends. + + GUIDE VOICE + The absolute worst poetry was written by Paula Nancy Millstone Jennings of Sussix. It involved decaying swans. Luckily, it was destroyed when the Earth was. + + JELTZ + So, Earthlings, I present you with a simple choice. Either die in the vacuum of space, or -- tell what you thought of my poem. + +Ford is spent, can't say a word. Arthur looks up. + + ARTHUR + Actually...I rather liked it. + +Jeltz looks surprised. Ford notices, whispers to Arthur. + + FORD + Good tact. Run with it. + + ARTHUR + Um...some of the words I didn't understand, but I found the imagery quite effective. + + JELTZ + Continue. . .[[(CONTINUED)2]][[23.]][[HHGG 3rd Revised Draft 8/8/03]][[7]][[CONTINUED: (2)]][[27]] + + ARTHUR + And, um, interesting rhythmic devices which seemed to counterpoint the surrealism of the underlying metaphor of the humanity... + + FORD + Vogonity! + + ARTHUR + \... Vogonity, sorry. Vogonity of the poet's soul, which contrives through the medium of the verse structure to sublimate, er... + + FORD + \... whatever it was ... + + ARTHUR + \... the poem was about. + +Jeltz rubs one of his chins, then smiles and claps slowly. + + FORD + Damn. + + ARTHUR + What? + + FORD + I think you just saved my life again. + + JELTZ + An astute analysis. Very impressive. + (turning to the Guard) + Throw them off the ship. + +The guard grabs them, drags them out of the bridge. + + VOGON GUARD + Resistance is useless! + + JELTZ + Hmph. "Counterpoint the surrealism of the underlying metaphor..." Death's too good for them. + +Jeltz picks up his fishing rod, goes for another crab. + +INT. VOGON SHIP CORRIDOR -- MOMENTS LATER #28#[[28]] + +The Guard shoves them into the airlock. + +INT. AIRLOCK -- CONTINUING #29#[[29]] + +They sit, panting. Arthur stares forward. + + ARTHUR + So this is it? We're going to die?[[(CONTINUED)2]][[24.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED:]][[29]] + + FORD + Yes. No, wait! What's this switch? + (reaching for it) + No, it's nothing. We are going to die. + +Arthur sits for a moment, then oddly chuckles to himself. + + ARTHUR + You know, it's at times like this, when I'm trapped in a Vogon airlock with a man from Betelgeuse and about to die of asphyxiation in deep space that I really wish I'd listened to what my mother told me when I was young. + + FORD + Why? What did you she tell you? + + ARTHUR + I don't know. I didn't listen. + +Ford folds his towel into a tiny square, holds it up toward Arthur. He raises an eyebrow. Will this help? + + FORD + You're sweating. + +Ford dabs Arthur's brow. They stare forward at the airlock door. Long pause. Nothing happens. They look to each other. Shrug. They might be okay. Then -- PSSH. The bottom drops out. They're sucked down and out. + +EXT. DEEP SPACE -- CONTINUOUS #30#[[30]] + +Ford and Arthur spin away from the ship, holding their breath. The guide slips out of Arthur's pocket. + + GUIDE VOICE + "Space..." says the introduction to the Hitchhikers Guide, "...is big. Really big. You just won't believe how vastly, hugely mind-bogglingly big it is. I mean, you may think it's a long way down the road to the market, but that's just peanuts compared to space..." and so on. + +The weightless guide twirls away. Arthur reaches for it. The words "DON'T PANIC" alight. + + GUIDE VOICE (CONT'D) + It also says that if you hold a lung full of air you can survive in the total vacuum of space for about thirty seconds -- but with space being really big and all, the chances of being picked up within that time are 2 to the power of 2076775949 to 1 against...[[(CONTINUED)3]][[25.]][[HHGG 3rd Revised Draft 8/8/03]][[0]][[CONTINUED:]][[30]] + +Something else falls out of his pocket -- his digital phone with the photo of he and Tricia at the fancy dress party. + + GUIDE VOICE (CONT'D) + \...which, by a staggering coincidence, is also the telephone number of the Islington flat where Arthur once went to a fancy dress party and met a very nice girl whom he totally failed to connect with. + +He reaches for the phone, it's just beyond his fingertips. His eyes widen with fret as the phone tumbles away. + +.Then -- WOOMPH -- space seems to stretch and bend. A tiny #30a#[[30a]] + +hole appears, then opens wide. Paper hats and party balloons fall out, then drift away. The hole flips inside out. Arthur and Ford are enveloped, then replaced by a stunning, sleek starship, the HEART OF GOLD. + + FEMALE VOICE (TRILLIAN) + Two to the power of one hundred thousand to one against and falling... + +>CUT TO: + +INT. HEART OF GOLD. RECEIVING BAY - NIGHT #31#[[31]] + +In the middle of this hi-tech receiving bay sit two ornate golden brocade sofas. + + FEMALE VOICE (TRILLIAN) + (through speakers) + Two to the power of ten thousand to one against and falling. + +The sofas shake a little. + + ARTHUR + Ford... + + FORD + Yes? + + ARTHUR + I think I'm a sofa. + + FORD + I think I know how you feel. + +A long pause. Both sofas begin to thrash in panic. + + FEMALE VOICE (TRILLIAN) + Five to one against and falling... + +A pair of arms and legs pop out of each sofa. + + TRILLIAN + Four to one against and falling...[[26.]][[HHGG 3rd Revised Draft 8/8/03]][[2]] + +INT. HEART OF GOLD. BRIDGE - NIGHT #32#[[32]] + +.CLOSE ON A MONITOR -- on which plays a news report. #32a#[[32a]] + + REPORTER (ON TV) + \...and of course, the top story is still the sensational theft of the new Improbability Drive prototype ship Heart of Gold last week, stolen at the launch ceremony by none other than Galactic President Zaphod Beeblebrox. + + ZAPHOD (ON TV) + So, in the name of the people and freedom and, I dunno, democracy and stuff like that, I hereby declare this ship officially stolen! + +PULL BACK to reveal ZAPHOD BEEBLEBROX, leaning toward the TV, watching with a very satisfied grin... + + FEMALE VOICE (O.S.) + Three to one...two to one... + +Annoyed, he turns. There's a woman with red hair (TRILLIAN), her back to him, reading numbers off a console display and speaking into a microphone. + + TRILLIAN + (into microphone) + Probability factor of one to one...we have normality, I repeat we have normality. Anything you still can't cope with is therefore your own problem. Please relax. You will be sent for soon. + + ZAPHOD + Hey. Do you mind? I can't hear. + +TRILLIAN turns -- and we now recognize her as Tricia from the fancy dress party. Her hair is shorter and bright red. She looks amazing. + + TRILLIAN + Can we put your ego aside for one moment? Something important has happened. + + ZAPHOD + If there's anything more important than my ego on this ship, I want it caught and shot now. + +He turns back to the TV and turns it up. + + REPORTER (ON TV) + \...the question everyone seems to be asking is, has the Big Z finally flipped? We asked his private brain care Specialist, Gag Halfrunt... + + GAG HALFRRUNT + Vell, Zaphod's just zis guy, you know --[[(CONTINUED)3]][[27.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED: (2)]][[32]] + +The TV suddenly clicks off. Zaphod spins. Trillian's holding a remote. + + ZAPHOD + Hey... + + TRILLIAN + We have a couple of hitchhikers in our receiving bay. + +His head jerks upwards. He quickly grabs it with his hands and shoves it back down. + + TRILLIAN (CONT'D) + I didn't pick them up. The ship did. + + ZAPHOD + Huh? + + TRILLIAN + When you engaged the Improbability Drive. + + ZAPHOD + I didn't engage the drive. + + TRILLIAN + We picked them up in sector ZZ9 Plural Z Alpha -- where you picked me up. + + ZAPHOD + That's impossible. + + TRILLIAN + No. Just very, very improbable. + + ZAPHOD + I don't have time for this! We've got the police of half the Galaxy after us and we stop to pick up hitchhikers?! Okay, so ten out of ten for style, but minus several million for good thinking, eh? + +He reaches for a hi-tech gun on the wall. She stops him. + + TRILLIAN + Don't. I'll send Marvin. + (calling) + Marvin! + +Zaphod rolls his eyes as a humanoid robot rises from its seat behind them. This is MARVIN. He trudges slump-shouldered toward Zaphod. + + MARVIN + I think you ought to know I'm feeling very depressed. + + TRILLIAN + We have something to take your mind off things.[[(CONTINUED)3]][[28.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED: (3)]][[32]] + + MARVIN + It won't work, I have an exceptionally large mind. + + TRILLIAN + I know. Go down to the number two entry bay and bring the two aliens up here. + + MARVIN + Just that? + + TRILLIAN + Yes. + + MARVIN + I won't enjoy it. + + ZAPHOD + She's not asking you to enjoy it. Just do it will you? + + MARVIN + All right. I'll do it. + +Marvin turns and trudges away. Then he turns again. + + MARVIN (CONT'D) + I'm not getting you down at all am I? + + TRILLIAN + No, no, Marvin, it's fine really. It's just part of life. + + MARVIN + Life. Don't talk to me about life. + +Marvin trudges away. A door slides open for him and makes an audible, satisfied SIGH as it does. + + DOOR + Mmmmmyaaahhhhhh! + +EXT. DEEP SPACE - NIGHT #33#[[33]] + +The Heart of Gold cruises around a bright star. + +INT. BRIDGE OF VOGON DESTROYER SHIP - NIGHT #34#[[34]] + +A light blinks on a console. A VOGON CAPTAIN turns a dial, listens through his head set. He punches a few buttons. COMMANDER KWALTZ (green and walrusy like Jeltz) appears on the large monitor, sitting in his chair at Command Headquarters. + + VOGON CAPTAIN + Commander Kwaltz. We've located the spaceship Heart of Gold and President Beeblebrox. Sector ZZ9 Plural Z Alpha. Requesting hyperspace clearance.[[(CONTINUED)3]][[29.]][[HHGG 3rd Revised Draft 8/8/03]][[4]][[CONTINUED:]][[34]] + + KWALTZ (ON MONITOR) + Hold your position, captain, until clearance is granted. + +INT. VOGON COMMAND HEADQUARTERS - MOMENTS LATER #35#[[35]] + +Kwaltz sits at the end of a concrete war room table. + + KWALTZ + Get me the vice-president. + +Approximately 15 Vogons sit around the table murmuring sporadically. A VOGON MESSENGER runs up, holding papers. Kwaltz takes them, signs, signs the next page -- and the next. He hands them back to the messengers (who has been jogging in place the whole time). He runs off. The VOGON CAPTAIN appears on the large screen before him. + + KWALTZ (CONT'D) + Hyperspace permission granted, Captain. + +EXT. SPACE - NIGHT #36#[[36]] + +A hundred rectangular vogon ships blast forward. + +>CUT TO: + +INT. HEART OF GOLD. RECEIVING BAY - NIGHT #37#[[37]] + +Arthur looks around and notices the room is gleaming white, hi-tech, brand new, plastic still on some stuff. + + ARTHUR + Now this is more like my idea of a spaceship. Look at all these buttons... + + FORD + Shhh. + +They listen. Hear footsteps. + + FORD (CONT'D) + This way. + +He pushes a button. The door slides open with a satisfied sigh -- "Hhhmmyaaaahhh". As they walk through... + +.INT- HOG- CORRIDOR NIGHT #37a#[[37a]] + + DOOR + Thank you for using this door. I've enjoyed opening for you. Hhmmyaahh... + +They leap through to the other side as the door closes. + + MARVIN (O.S.) + Ghastly, isn't it? + +They whip around to find Marvin standing before them.[[(CONTINUED)3]][[30.]][[HHGG 3rd Revised Draft 8/8/03]][[7a]][[CONTINUED:]][[37a]] + + MARVIN (CONT'D) + I've been ordered to take you up to the bridge. Here I am, brain the size of a planet, and they ask me to take you up to the bridge. Call that job satisfaction? - 'cause I don't. + +Marvin turns and walks away. They shrug to each other and follow. Marvin passes through another door that opens with the same sigh -- "Hhmmaaaahhh" + + DOOR + What a pleasure it is to open for you. I will gladly close for you now. + +The door closes. + + MARVIN + "All the doors in this spacecraft have a cheerful and sunny disposition. It is their pleasure to open for you, and their satisfaction to close again with the knowledge of a job well done. + +The door repeats its whole closing and opening routine again. + + MARVIN (CONT'D) + Hateful, isn't it? You can thank the Marketing Division of the Sirius Cybernetics Corporation for building robots with GPP. + + ARTHUR + GPP? + + MARVIN + "Genuine People Personalities." I'm a personality prototype. You can tell can't you? + + ARTHUR + Er. . . + + MARVIN + Sorry, did I say something wrong? Pardon me for breathing, which I never do anyway, so I don't know why I even bother to say it. Oh god, I'm so depressed. + +They round a corner...[[(CONTINUED)3]][[31.]][[HHGG 3rd Revised Draft 8/8/03]][[7a]][[CONTINUED: (2)]][[37a]] + + MARVIN (CONT'D) + And then I've got this terrible pain in all the diodes down my left side. I've asked for them to be replaced but no one ever listens. + + ARTHUR + Really? Wonder why? + + FORD + (aside to Arthur) + Probably because he's so negative. + + ARTHUR + Yes, I know. I was being...never mind. + +They continue on. + +INT. HEART OF GOLD. BRIDGE. -- MOMENTS LATER #38#[[38]] + +HANGING ON THE WALL is the official presidential portrait, featuring Zaphod who sports a very smart suit and a fake politicians smile. Tilt down to the door which opens - "Mmyyahhh!" - to reveal Ford, Arthur and Marvin. + + MARVIN + I've brought the aliens. Don't thank me or anything. + +Zaphod spins around in his chair, holding a gun but sporting that same politically correct smile. + + ZAPHOD + Freeze! + +Arthur and Ford throw their hands up. Marvin doesn't. + + MARVIN + Do you mean sit in a corner and rust or just fall apart where I'm standing? + + ZAPHOD + I wasn't talking to you. + + FORD + Zaphod? + + ZAPHOD + Ixxie? It is you! IXXIE! + +Zaphod gives Ford a big bear hug. He pulls away, then playfully punches Ford in the arm. + + ZAPHOD (CONT'D) + Praxibetel Ix, you zarking hoopy! What the hell are you doing here? + + FORD + I don't know! Just stuck out the thumb and here I am.[[(CONTINUED)3]][[32.]][[HHGG 3rd Revised Draft 8/8/03]][[8]][[CONTINUED:]][[38]] + + ZAPHOD + That is so you. + + FORD + And look at you! President? Last time I saw you, you were a beach bum. + + ZAPHOD + Is it a great galaxy or what? + (punching his arm again) + I still can't believe this. Ixxie! Here! ON MY SHIP! + + FORD + Hey, it's Ford now. + + ZAPHOD + Hmm? + + FORD + My name. It's Ford Prefect. Picked it up on Earth. Sorta grew on me. + + ZAPHOD + Okay "Ford" -- you zarking frood. + +They embrace, tussle, punch arms. They bump into Arthur. + + FORD + Oh, this is Arthur. Arthur, this is Zaphod Beeblebrox. My cousin? Semi-half brother? + + ZAPHOD + He shares three of the same mothers as me. + + ARTHUR + We've met. + + ZAPHOD + Have we? Sorry. I've got a terrible memory for species. + +Before Arthur can explain, Trillian enters. + + TRILLIAN + Everything okay? + + ZAPHOD + Hey, hon. Come here. You won't believe this. Ix...um, sorry..."Ford"...this is... + + ARTHUR + Tricia McMillan? + +She takes a closer look at him. + + TRILLIAN + Arthur?[[(CONTINUED)3]][[33.]][[HHGG 3rd Revised Draft 8/8/03]][[8]][[CONTINUED: (2)]][[38]] + +Arthur is stunned silent. He goes to her, making sure she's really there. He's speechless. She smiles and gives him a friendly embrace. + + ARTHUR + (completely bewildered) + I can't believe this...I've been looking...and you're here? I went to get wine and... + + TRILLIAN + I know. And it was rude to just leave, but I told you I wanted to get away, and he had a spaceship parked outside, well, honestly -- I assumed you were a sort of stay-at-home-and-read-a book type. + (hopeful) + But you're here... + +Arthur smiles, then realizes with some regret... + + ARTHUR + Actually -- I am that type. But...well you do know what happened, don't you? + +Zaphod stops in between them, puts his arm around Arthur. + + ZAPHOD + --Ford picked him up, they hitched a ride, and here we all are. Now, enough small talk, Trill. We're on the run, remember? I stole a ship? + + ARTHUR + We're having a bit of a chat if you don't mind. + +Arthur SHOVES Zaphod's hand off his shoulder. Oddly, Zaphod reacts with a smile. And then -- his head shoots all the up way revealing a second head that lives somewhere under his chin. + + ZAPHOD HEAD 2 + You blew it with her, Earthman, so shut up or I'll kick you in the gones! + + FORD + There's the Zaphod I remember. + +Arthur recoils in horror, instinctively raises his fists. Zaphod wrestles with Head 2 while A THIRD ARM springs out of Zaphod's chest and PUNCHES ARTHUR in the jaw. Arthur buckles and hits the floor. + + ZAPHOD HEAD 2 + You should teach your pal a lesson, Ford. He's a guest on my ship. + + FORD + I thought you said you stole it.[[(CONTINUED)3]][[34.]][[HHGG 3rd Revised Draft 8/8/03]][[8]][[CONTINUED: (3)]][[38]] + + ZAPHOD HEAD 2 + Fine. Get technical. + +A KLAXON sounds. Red lights FLASH. Zaphod (Head 2) hurries to the console. Ford follows. Trillian hurries to Arthur who nurses his jaw. + + TRILLIAN + Are you all right? + + ARTHUR + I feel like a bloody idiot. I've spent all week looking for Tricia McMillan and that isn't even your name. + + TRILLIAN + It is my name. I shortened it. + + ZAPHOD (O.S.) + Trillian...! + + ARTHUR + Well, I'm still Arthur. Just plain average one-headed doesn't-own-a-space ship Arthur. Sorry to disappoint. + + ZAPHOD (O.S.) + A little help over here? + +Trillian leaves Arthur, joins Zaphod + + ZAPHOD HEAD 2 + They're after us! Fire a gun! Launch a missile! DO SOME DAMAGE! + +Zaphod's arms struggle with his head again. + +.QUICK SHOT. DEEP SPACE #38a#[[38a]] + +A dull gray rectangular Vogon BATTLE CRUISER is easing up behind the Heart of Gold. Behind the cruiser is about + +ONE HUNDRED OTHER BATTLE SHIPS, flying in formation.[[(38 Cont)]] + +.BACK ON THE BRIDGE--[[(38 cont)]] + + TRILLIAN + Computer? + +A very eager male COMPUTER VOICE (EDDIE) sounds. + + EDDIE + Hi, guys, this is Eddie your shipboard computer and I just know I'm gonna get a bundle of kicks out of any program you want to run through me. + + TRILLIAN + Can you identify our pursuers?[[(CONTINUED)3]][[35.]][[HHGG 3rd Revised Draft 8/8/03]][[8]][[CONTINUED: (4)]][[38]] + + EDDIE + I'd be happy to! Stand by, please. + (cheesy on hold Muzak plays) + Hey, guys, I'm just pleased as punch to report that it's a fleet of a hundred Vogon Battle Destroyers. You must be super important to warrant such an effort, and gee am I impressed. They're sending a message. I'd be super happy to play it. + + ZAPHOD HEAD 2 + Fine! Play it!! + (to Trillian) + This people personality thing is gonna drive me nuts! Can't you change it? + +An IMAGE APPEARS on the ship's monitor - Vice President, QUESTULAR RONTOK, flanked by Vogon Commander KWALTZ (at H.Q.). He looks reluctant. He has to say this... + + QUESTULAR (ON MONITOR) + This is Vice President Questular Rontok. I am speaking to the kidnapper of the President. Surrender your stolen vessel at once or we will take action as defined and permitted by Section 1.8 of the Galactic Interstellar Space Bi-Laws. + + ZAPHOD HEAD 2 + Leap to hyperspace! + + EDDIE + Sure thing, fella, but I should tell you we need proper authorization before entering a hyperspace expressway. + + ZAPHOD HEAD 2 + Or else what? They'll send a hundred and one ships? DO it! + +He and Trillian buckle up. Ford turns to Arthur. + + FORD + Brace yourself. This is a bit like being drunk. + + ARTHUR + What's so bad about being drunk? + + FORD + Ask a glass of water. + +They are stretched and squeezed by extraordinary forces. + +INT. VOGON HEADQUARTERS -- NIGHT #39#[[39]] + +Questular and Kwaltz watch their front screen as the Heart of Gold blasts into hyperspace.[[(CONTINUED)3]][[36.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED:]][[39]] + + KWALTZ + Did they have proper hyperspace authorization? + + VOGON WORKER + No, Commander. + + KWALTZ + Add that to their list of offences! + (scoffing) + Blatant disregard for protocol. + + QUESTULAR + You do realize he did what he did because he knew this is what you would do. + + KWALTZ + Rules are rules, Mr. Vice President. And they are made to be followed. + +Questular looks up to the screen at all the Vogon ships. + + QUESTULAR + Don't you think this many ships is a bit, oh I don't know -- excessive? + + KWALTZ + The provisions are clear. Under subsection 37a these are the forces we deploy to protect the president in the case of an attempted or actual kidnapping- + +He holds up one fat official book with one hand. + + KWALTZ (CONT'D) + -- and these are the forces we deploy to apprehend any intentional or actual kidnapper. + +He holds up another fat book with the other. + + QUESTULAR + You are aware, Commander, that the President kidnapped himself. + + KWALTZ + Hence... + +He puts the two books together, slams them down. + + QUESTULAR + Do you have any idea how ridiculous this is? + + KWALTZ + I don't have ideas Mr. Vice President. I just do what I do. + +A VOGON MESSENGER runs up holding papers. Kwaltz takes them, signs one in two places, initials others, lifts the top sheet, removes the pink copy. Folds it.[[(CONTINUED)3]][[37.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED: (2)]][[39]] + +He does this for the other two forms as well. Questular watches dumbfounded as Kwaltz hands the papers back to the messenger who turns and runs off. + +EXT. SPACE - NIGHT #40#[[40]] + +The Heart of Gold comes out of hyperspace and slows to cruising speed...alone. No Vogons in sight. + +INT. HEART OF GOLD. BRIDGE - CONTINUOUS #41#[[41]] + +Zaphod's Head 2 is still up, beaming. + + ZAPHOD HEAD 2 + Damn, I'm good. + +Hands slam Head 2 down. Zaphod (Head 1) turns to Ford. + + ZAPHOD + So -- you along for the ride or am I dropping you somewhere? + + FORD + (still wary of the two heads) + Depends. Where you going? + + ZAPHOD + Into the pages of history, cousin. And when you see what I'm about to show you, you'll beg me to take you with us. + +WITH TRILLIAN -- who notices Arthur looking ill. + + TRILLIAN + You okay? + + ARTHUR + Normally I would say "I'll live," but given the circumstances... + (wiping his brow) + Is there any tea on this spaceship? + + TRILLIAN + This way. + +She exits. Arthur follows. Zaphod steps back, blocking his way. + + ZAPHOD + Hey, apeman. Earthman. I'm sorry, what was your name again? + + ARTHUR + Arthur.[[(CONTINUED)4]][[38.]][[HHGG 3rd Revised Draft 8/8/03]][[1]][[CONTINUED:]][[41]] + + ZAPHOD + Right. No hard feelings, okay? And sorry to hear about your planet, but don't mention it to the girl because if you do I'll...I'll... + +He smiles broader. Then Head 2 pops up and finishes... + + ZAPHOD HEAD 2 + I'll pull your spleen out through your ass! + +Zaphod slams Head 2 back into place..then smiles again. Arthur furrows his brow and Zaphod and follows Trillian. + + FORD + Two heads. Interesting choice. + + ZAPHOD + Apparently you can't be President with a whole brain. + + FORD + So you carved it up? + + ZAPHOD + Yes -- I think. And I think I did it in such a way that it wouldn't be detected by the Government screening tests -- or by me. So, what's so secret that I can't let anybody know I know it, not the Galactic Government, not even myself? And the answer is-- + (thinking) + --I don't know. Obviously. But I put a few things together and that's when I realized I had this. + +He points to the COBALT BLUE CUBE on his gold necklace. + +INT. SHIP'S KITCHEN AREA - CONTINUOUS #42#[[42]] + +CLOSE ON - the NUTRI-MATIC MACHINE. Brownish liquid flows into it a Martini glass, topped with dry-ice fog. Arthur removes the glass. Sips. Grimaces + + TRILLIAN + I suppose I should have said it resembles tea. + + ARTHUR + So two heads is what does it for a girl, then? I mean, if I'd had two heads. Or three? + + TRILLIAN + Or your own space ship.[[(CONTINUED)4]][[39.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED:]][[42]] + + ARTHUR + Anything else he's got two of? + + TRILLIAN + Come on, Arthur, don't be like that. + + ARTHUR + Well, what am I supposed to be like? Green? Bleeping? What? + + TRILLIAN + Just be yourself. Have some fun. Does it hurt? + + ARTHUR + No, I suppose it wouldn't.. + + TRILLIAN + I mean... + +She points to his jaw, he nods, she picks up her BACKPACK. + + TRILLIAN (CONT'D) + I might have an aspirin. + +She unzips it. TWO MICE scurry out and scamper off, a hair-clip is clipped to one of the mice's tail. + + TRILLIAN (CONT'D) + Hey. What are they doing in there? + +Before she can catch them, they scurry under the door. + + TRILLIAN (CONT'D) + They were from my lab at university. Odd... + + ARTHUR + So all that's left is me and you, "mostly harmless," and two lab rats. + +She furrows her brow. What does he mean? + + ARTHUR (CONT'D) + Look, there's something I should tell you... + + ZAPHOD (O.S.) + Showtime, Trill! + + TRILLIAN + Can it keep? You might want to see this. + +Arthur nods. She leaves. He looks at his "tea", throws it in the trash bin.[[40.]][[HHGG 3rd Revised Draft 8/8/03]][[3]] + +INT. HEART OF GOLD, BRIDGE - CONTINUOUS #43#[[43]] + +Trillian and Arthur join Ford and Zaphod at the computer. + + ZAPHOD + --and when I saw what I'm about to show you, that's when I realized why I did what I did to my brain -- or it least, I think that's why. + +.ON THE COMPUTER SCREEN -- #44#[[44]] + +The screen brightens. A BRAND LOGO appears (a circle made of a dotted line with an "M" in the middle) then a sub-title: MAGRATHEAN PUBLIC ARCHIVE. Zaphod fast forwards until a noisy picture DISSOLVES TO... + +EXT. OUTSIDE TEMPLE OF DEEP THOUGHT -- DAY #45#[[45]] + +A procession surrounds a CHARIOT. Two young philosophers, LUNKWILL and FOOK (20'S) ride it into a grand TEMPLE. + +INT. TEMPLE OF DEEP THOUGHT. #46#[[46]] + +The aisles are lined with Priest-Technicians. Ahead is DEEP THOUGHT - a huge Buddha-esque computer. The procession peels away to both sides. Lunkwill and Fook dismount and approach. + + DEEP THOUGHT + (deep and sonorous) + What is this great task for which I, Deep Thought, the second greatest computer of all time have been called into existence? + + LUNKWILL + Your task, O computer... + + FOOK + Hang on. Did you say second greatest? + + DEEP THOUGHT + Second greatest. Yes. + + FOOK + But we designed you to be the greatest computer so you could... + + LUNKWILL + You're not talking about the Milliard Gargantubrain which can count all the atoms in a star in a millisecond? + + DEEP THOUGHT + The Milliard Gargantubrain? A mere abacus, mention it not. + + FOOK + The Omnicognate Neutron Wrangler then?[[(CONTINUED)4]][[41.]][[HHGG 3rd Revised Draft 8/8/03]][[6]][[CONTINUED:]][[46]] + + DEEP THOUGHT + The Omnicognate Neutron Wrangler could argue all four legs off an Arcturan Megadonkey, but only I could persuade it to go for a walk afterwards. + + FOOK + Then what's the problem? + + DEEP THOUGHT + I am the greatest computer you are able to design without my help. Which, one day, you are going to need. + + LUNKWILL + (to Fook) + Let's just ask the question. + + FOOK + Oh Deep Thought, your task is this. We want you to tell us -- the Answer. + +Long pause. Deep Thought bleeps and bloops. + + DEEP THOUGHT + The Answer...to what? + + LUNKWILL + You know. The answer. To Life...the Universe...Everything. + + FOOK + We'd really like an answer. Something simple. Can you do it? + + DEEP THOUGHT + The Ultimate Question of Life, the Universe and Everything. Yes. There is an answer. But I'll have to think about it. + +Lunkwill glances at his time piece, Fook at the expectant throng behind them. They wait. + + DEEP THOUGHT (CONT'D) + Return to this place in exactly... seven and a half million years. + + LUNKWILL & FOOK + What?! + +PSSSH. The screen goes to snow. + +EXT. HEART OF GOLD BRIDGE. - CONTINUOUS #47#[[47]] + +Ford and Arthur look confused. + + FORD + That's it?[[(CONTINUED)4]][[42.]][[HHGG 3rd Revised Draft 8/8/03]][[7]][[CONTINUED:]][[47]] + + ZAPHOD + No, no. There's more. They go back. + + ARTHUR + Seven and a half million years later? + +Zaphod nods, hits play. We PUSH BACK IN ON THE SCREEN. + +INT. TEMPLE OF DEEP THOUGHT -- #48#[[48]] + +Lunkwill and Fook enter the now modern temple, flanked by a crowd. They have beards and look like they're in their 40's. Deep Thought rises, looks lifeless. WORRIED MUTTERS FROM THE CROWD. Slowly, Deep Thought groans to life. + + DEEP THOUGHT + Can I help you? + + FOOK + Deep Thought. Do you have... + + DEEP THOUGHT + An answer for you? Yes. I have. + + FOOK + There really is an answer? + + DEEP THOUGHT + Yes. There really is one. + + FOOK + (almost strangled with emotion) + Oh! + + LUNKWILL + Can you tell us what it is? + + DEEP THOUGHT + Yes. Though I don't think you're going to like it. + + FOOK + Doesn't matter! We must know it! + + DEEP THOUGHT + You're really not going to like it. + + FOOK + Tell us! + + DEEP THOUGHT + Alright. The answer to the ultimate question ... + + LUNKWILL + Yes ...[[(CONTINUED)4]][[43.]][[HHGG 3rd Revised Draft 8/8/03]][[8]][[CONTINUED:]][[48]] + + DEEP THOUGHT + \... of Life, the Universe, and Everything ... + + FOOK + Yes! + + DEEP THOUGHT + \... is ... + + CROWD + Yes ...! + + DEEP THOUGHT + (longest pause yet) + Forty two. + +The surrounding crowd is stunned. More MUTTERING. + + DEEP THOUGHT (O.S.) (CONT'D) + I checked it thoroughly. It would have been simpler, of course, to have known what the actual question was. + + LUNKWILL + But it was the Question. The Ultimate Question! + + DEEP THOUGHT + Yes, but what actually is it? + + FOOK (O.S.) + Everything! You know ... just EVERYTHING! + + DEEP THOUGHT (O.S.) + That's not a question. Only when you know what the actual question will you know what the answer means. + + LUNKWILL + Give us the Ultimate Question then!! + + DEEP THOUGHT + I can't. + (long pause) + But there is one who can. A computer that is to come after me, one that I will design. A computer to calculate the Ultimate Question, one of such infinite complexity that life itself will form part of its operational matrix. And you yourselves shall take on new more primitive forms and go down into the computer to navigate its ten million year program. I shall design this computer for you. And it shall be called... + +The picture distorts and whites out. PSSSSHHHHHH.[[44.]][[HHGG 3rd Revised Draft 8/8/03]][[9]] + +EXT. HEART OF GOLD. BRIDGE. - CONTINUOUS #49#[[49]] + +Zaphod hits eject. The blue cube rises. + + FORD + That's it? + + ZAPHOD + That's it. + + FORD + You're looking for the Ultimate Question? + + ZAPHOD + Yep. + + FORD + You. + + ZAPHOD + Me. + + FORD + Why? + + ZAPHOD + No, I tried that. "Why?" "Forty-two." Doesn't work. + (to Trillian) + Let's get her ready, babe. + +He moves to a different rack of instruments, consults a check list, starts flipping some switches. + + FORD + I mean, why do you want to know the Ultimate Question? + + ZAPHOD + Oh. Well -- partly the curiosity, partly a sense of adventure, but mostly I think it's for the fame and the money. + +He continues preparing the ship. Trillian consults the huge MANUAL, turning dials, flipping switches... + + ARTHUR + But -- you're President of the Galaxy, aren't you? + + ZAPHOD + Yes, Arman. + + ARTHUR + Arthur. + + ZAPHOD + Whatever. Presidential fame is temporary, I find the Question, that's permanent. It sticks. Plus everyone thinks you're deep. Win-win.[[(CONTINUED)4]][[45.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED:]][[49]] + + FORD + But you don't know the name of the computer that other computer was talking about. + + ZAPHOD + Which is why I'm going there. + + FORD + Where? + + ZAPHOD + There. To find Deep Thought. On Magrathea. + + FORD + Magrathea!? Magrathea is a myth, a legend... + + ZAPHOD + No, it isn't. It's real, cousin. And this is the only ship in the universe that can get you there. + + FORD + (realizing) + You mean to tell me you carved up your brain so you could become President so you would get invited to the launching ceremony of this ship...so you could steal it... so you could go to Magrathea -- which, according to most sane people, doesn't even exist? + + ZAPHOD + Yep. + + FORD + Beautiful. + + ARTHUR + Why this ship? What's so special about it? + +Zaphod thinks again -- hard. + + ZAPHOD + I don't seem to be letting myself in on any of my secrets. + + TRILLIAN (O.S.) + Because of this, obviously. + +They turn to see Trillian flipping open a glass lid revealing a BIG RED BUTTON. Ford reads the glowing letters above the button...[[(CONTINUED)4]][[46.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED: (2)]][[49]] + + FORD + (reading) + Infinite Improbability Drive? So they finally built one that works. And that's how we got picked up. + + ZAPHOD + Exactly. And I'm guessing if we hit that button -- we go to Magrathea. + + ARTHUR + You're guessing? + + ZAPHOD + Hey, anyone who's not up for that, there's the door. Now who's in? + + FORD + For a trip to a place that doesn't exist? I'm in. My editor will think I'm crazy, but what the hell -- he already thinks I'm dead. + +He takes out the Guide. Zaphod looks to Trillian. + + TRILLIAN + Definitely. I'm in. + +They're all standing together. They turn to Arthur. Arthur looks to Trillian. She stares back -- waiting. + + ARTHUR + Do I even have a choice? + +Zaphod smiles, all bright and cheery. + + ZAPHOD + No! + +Arthur looks at the button. + + ARTHUR + What exactly does an Infinite Improbability Drive do? + +Suddenly, Zaphod's Head 2 shoots up! + + ZAPHOD HEAD 2 + THIS!! + +Zaphod's third arm shoots out and smacks the button. + +EXT. SPACE - NIGHT #50#[[50]] + +Improbability Drive Effect -- as the ship flips across space and disappears, leaving nothing but shimmers.[[(CONTINUED)5]][[47.]][[HHGG 3rd Revised Draft 8/8/03]][[0]][[CONTINUED:]][[50]] + + GUIDE VOICE + The Infinite Improbability Drive is a new method of crossing vast interstellar distances without all that tedious mucking about in hyperspace. As soon as the drive reaches Infinite Improbability, it passes through every conceivable point in every conceivable Universe almost simultaneously, then selects the appropriate re-entry point. The principle of generating small amounts of finite improbability by hooking the logic circuits of a Bambleweeny 57 Sub-Meson Brain to an atomic vector plotter suspended in a strong Brownian Motion producer, say a nice hot cup of tea, were of course well understood. + +Seconds later, the Vogon Destroyer comes out of hyperspace and slows to cruising speed. + +INT. VOGON DESTROYER SHIP. BRIDGE - NIGHT #51#[[51]] + +Vogon controllers and copilots turn dials and push buttons, scrambling to regain a signal. + + GUIDE VOICE + Such generators were often used to break the ice at parties by making all the molecules in the hostess's undergarments leap simultaneously one foot to the left, in accordance with the Theory of Indeterminacy. + +Kwaltz and Questular appear on the monitor. + + KWALTZ + Well, Captain...? + +Controllers turn more dials, trying to find the ship. + + GUIDE VOICE + Many respectable physicists said they weren't going to stand for that sort of thing partly because it was a debasement of science, but mostly because they didn't get invited to those sort of parties. + + VOGON CAPTAIN + We had them sir. These are the coordinates. But -- they're not here. + + KWALTZ + I can see that. WHERE ARE THEY? + +The captain shrugs. Kwaltz heaves a walrusy sigh.[[48.]][[HHGG 3rd Revised Draft 8/8/03]][[2]] + +EXT. DEEP SPACE - NIGHT #52#[[52]] + +We hover above a greenish/purplish planet. IMPROBABILITY EFFECT - space RIPPLES. Something begins to materialize, something big and gray - tumbling toward us. We now see the big, gray thing is a GIANT RHINOCEROS -- which ripples, flips inside out and becomes the Heart of Gold. + +INT. HEART OF GOLD. BRIDGE - NIGHT #53a#[[53a]] + +A knitted version of Arthur, Trillian, Ford and Zaphod sit in chairs before the ships console. + + KNITTED ZAPHOD + (clutching stomach) + Is this going to happen every time we hit that button? + + KNITTED TRILLIAN + Very probably, yes. + +.The air ripples. The 'knitted' crew flip back to their #53#[[53]] + +former selves. Arthur pukes into a trash bin and with a sick expression, looks up to the screen. + + ARTHUR + Did it work? Are we there? + +Now Zaphod looks -- and he's elated. + + ZAPHOD + Yes!...I think. Computer? + + EDDIE + Hi, fella! + +Head 2 suddenly springs up. + + ZAPHOD HEAD 2 + Can you please change that zarking annoying voice!!? + + TRILLIAN + Computer? What planet is that, please? + + EDDIE + CHECKING!! + +On-hold Muzak plays. They all sit and listen for a few beats, then Arthur yelps... + + ARTHUR + OW!! + (spinning around to Zaphod) + Did you just pluck a hair from my head? + + ZAPHOD HEAD 2 + Yeah, as if, apeman.[[(CONTINUED)5]][[49.]][[HHGG 3rd Revised Draft 8/8/03]][[3]][[CONTINUED:]][[53]] + +Arthur suddenly feels something on his back, leaps out of the chair and brushes it off. The two mice land on the floor across the ship, then scurry away down a hallway. Before Arthur can react... + + EDDIE + Thanks for waiting, everyone. I'm just tickled pink to tell you we are currently in orbit around the planet Viltvodle 6. + +PUSH IN ON ZAPHOD -- who's 2nd Head suddenly shoots up. + + ZAPHOD HEAD 2 + Humma Kavula! + +INT. VOGON DESTROYER SHIP. BRIDGE - NIGHT #54#[[54]] + +Vogon crew quickly enter data. A FLIGHT ENGINEER gets something on his screen, shows it to the Captain. + + VOGON CAPTAIN + Sir, the Heart of Gold has just requested permission to land on Viltvodle 6. Should I pursue? + + KWALTZ (ON MONITOR) + That is not a request to which I can respond, captain. Should I pursue what? Are you requesting hyperspace clearance so that you may pursue the fugitive? + + VOGON CAPTAIN + Yes, commander. + + KWALTZ (ON MONITOR) + Then you must say that, captain -- in request form. + + VOGON CAPTAIN + Requesting hyperspace clearance to pursue the fugitive, sir. + + KWALTZ (ON MONITOR) + Thank you. Request acknowledged. Await response. + +INT. VOGON HEADQUARTERS - CONTINUOUS #55#[[55]] + + KWALTZ + (into microphone) + Bring me the request to pursue fugitive forms. + +The war room is silent. We hear the sound of running above. The footsteps hurry all the way around, we hear a door open, running up more steps, along the corridor until and finally an exhausted Vogon Messenger bursts through the door holding a blue form. Questular shakes his head in disbelief as Kwaltz signs the request form.[[(CONTINUED)5]][[50.]][[HHGG 3rd Revised Draft 8/8/03]][[5]][[CONTINUED:]][[55]] + + QUESTULAR + This is ridiculous! What do you need, an executive order? Fine. I order you. Stop doing this! Go and get him! + + KWALTZ + According to Subsection 94b, paragraph 2, you're not authorized to make such an order. + + QUESTULAR + But I'm acting president! + + KWALTZ + Then act like a president, and do nothing. + +Kwaltz continues to fill out the forms. Questular grabs a clump of his hair -- and pulls it out. + +>CUT TO: + +EXT. VILTVODLE 6. SPACEPORT. - NIGHT #56#[[56]] + +All we can see are the lights of the Heart of Gold's entry ramp cutting through a dense fog. Or is it fog? Zaphod's 2nd head is up as he comes down the ramp ahead of the other three. + + ZAPHOD HEAD 2 + Humma Kavula! + +BACK A FEW STEPS WITH ARTHUR, TRILLIAN AND FORD... + + ARTHUR + Why does he keep saying that? + + TRILLIAN + I don't know. I'm not used to seeing him this way. + + ARTHUR + You mean fully clothed? + +She stops, fires him a look. + + ARTHUR (CONT'D) + Sorry, but I can't for the life of me figure out why you, the most brilliant woman I have ever met, have ended up with that half-witted, self-obsessed, vapid politician! I mean, look at him! + +They squint through the fog at Zaphod, Head 2 out. His hands keep trying to get it down but the 3rd arm keeps whacking them away. He disappears into the fog.[[(CONTINUED)5]][[51.]][[HHGG 3rd Revised Draft 8/8/03]][[6]][[CONTINUED:]][[56]] + + TRILLIAN + Clearly unlike any guy I've ever met. + (back to Arthur) + Look, if you're going to pout your way around space, then maybe you should just go home. + + ARTHUR + I can't. That's the whole point -- and I've been trying to tell you... + + FORD + (interrupting) + Hey, look what I found in the guide. + +He hands the guide to Trillian. She keeps walking. + + FORD (CONT'D) + I wouldn't tell her if I were you. + + ARTHUR + She deserves to know. + + FORD + But if you tell her and she ends up with you because you're literally the last guy on Earth -- you'll always doubt her intentions. + +Arthur considers this. Nods. + + FORD (CONT'D) + Got your towel? + + ARTHUR + Do I need it? + + FORD + Only always. + +Ford puts his towel to his mouth as they follow Trillian down the mist covered street. She's reading the guide. + + GUIDE VOICE + In the beginning, the universe was created. This made a lot of people very angry and has been widely regarded as a bad move. + +Zaphod continues several steps ahead of them. + + GUIDE VOICE (CONT'D) + Many races believe that it was created by some sort of God, though the Jatravartid people of Viltvodle 6 firmly believe that the entire Universe was in fact sneezed out of the nose of a being called the Great Green Arkleseizure. The Jatravartids, who live in perpetual fear[[(MORE)]][[(CONTINUED)5]][[52.]][[HHGG 3rd Revised Draft 8/8/03]][[6]][[CONTINUED: (2)]][[56]] + + GUIDE VOICE (CONT'D) + of the time they call "The Coming of Great White Handkerchief" are small blue creatures with more than fifty arms each. ...who are therefore unique in being the only race in history to have invented the aerosol deodorant before the wheel. + + ZAPHOD HEAD 2 + Humma Kavula! + +SLAM. Zaphod's two arms shove his chin back down. + + ZAPHOD + I'll handle this. + +EXT. SEEDY STREET-VILTVODLE #56a#[[56a]] + +The others approach, watching Zaphod as he stops a passing an eight-armed alien creature, asks him something, oozing charm. The creature points down the street with 3 arms, then with 2 others hands him a pen and paper. Zaphod signs an autograph and moves on. The alien beams, then squirts three cans of aerosol under several arms. More mist rises. FOLLOW IT UP revealing: + +.A LARGE BUILDING -- a temple with two giant arches. #57#[[57]] + +The others follow. CAMERA TILTS UP and we see this building looks like a nose lying horizontally, the "giant arches" are the nostrils. + +INT. ARKLESEIZURE TEMPLE - CONTINUOUS #58#[[58]] + +Zaphod opens the huge doors inside the large nostril/arches. A rush of air blows the mist past Ford, Trillian and Arthur a few steps behind. They stop. A congregation of worshipers faces front where HUMMA KAVULA stands behind a podium. He's a humanoid wearing a white robe and night-vision sun glasses. + + HUMMA KAVULA + The handkerchief is coming, beloveds. Are you ready? Let us pray that the almighty will exhale a breath of compassion on us. + +Instead of bowing, they all point their noses heavenward. Zaphod marches down the center aisle while Humma prays. + + HUMMA KAVULA (CONT'D) + Almighty Arkleseizure, we lift our noses, clogged and unblown in reverence to you. + +Zaphod stops a few feet away from Humma's chair. + + ZAPHOD + Hello, Humma.[[(CONTINUED)5]][[53.]][[HHGG 3rd Revised Draft 8/8/03]][[8]][[CONTINUED:]][[58]] + +ON FORD AND ARTHUR + + ARTHUR + That's Humma Kavula? I thought he was just using a swear word. + + FORD + (shaking his head) + Humma Kavula was his opponent in the election. Something happened during the campaign. Zaphod never forgave him. + + ARTHUR + What was it? + +Ford shrugs. HUMMA looks up, sees Zaphod, smiles. + + HUMMA KAVULA + (wrapping up the prayer) + Send the handkerchief, lord, so that it may wipe us clean. We ask this in your precious holy name... + + CONGREGATION + Achoo. + +And they all sneeze. Akin to crossing himself, Humma raises a hand to his nose, then down again. + + HUMMA KAVULA + Bless you. + +>CUT TO: + +INT. HUMMA'S QUARTERS - CONTINUOUS #59#[[59]] + +Humma's quarters are opulent. He sits behind his desk flanked by several ARMED BODY GUARDS. Ford, Arthur and Trillian keep a safe distance as Zaphod faces off with Humma who has the air of a cool news anchor man. + + HUMMA KAVULA + Zaphod Beeblebrox, our famous President. The Arkleseizure has exhaled many blessings upon you. What brings you to our humble planet? + + ZAPHOD + I think you know why I'm here. + + HUMMA KAVULA + I don't think I do. + + ZAPHOD + Oh, I think you think you don't, but we both know -- you do. + + HUMMA KAVULA + Eloquent as always, Zaphod. Your ability to communicate a clear thought never ceases to amaze.[[(CONTINUED)5]][[54.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED:]][[59]] + +Head 2 suddenly springs up -- to the surprise of all. + + ZAPHOD HEAD 2 + You called me stupid! + + HUMMA KAVULA + (re: the heads) + Interesting. And I don't know what you're talking about. + + ZAPHOD HEAD 2 + During the campaign, Humma -- you said I was stupid. + + HUMMA KAVULA + This Humma you speak of no longer exists. He came here in his consolation position as Ambassador to Gamma Z10 to squelch an ideological threat to the system and repented from his wicked ways. He now goes by the holy name Tazelo the Unceasingly Righteous, given to him by his devoted followers. + + ZAPHOD HEAD 2 + I DON'T CARE WHAT YOU CALL YOURSELF, YOU RIGHTEOUS FREAK!! YOU STARTED THE RUMOR THAT I'M STUPID AND YOU'RE GONNA PAY!!! + +The 3rd arm reaches for a gun in Zaphod's vest. The BODY GUARDS aim their weapons. One runs up and smacks Zaphod in the back of the head -- slamming Head 2 back in place. + + ZAPHOD + Thank you. + +The 3rd arm disappears. The gun falls. A BODY GUARD picks it up. WITH ARTHUR, FORD AND TRILLIAN + + ARTHUR + Why do I get the feeling he's going to get us all killed? + + FORD + Probably because it's very possible. Just don't save me, okay? We're even. + +Humma lays his palms on the table and lifts himself as if to stand - but there is nothing of him below the table line except for thirty, one inch metal legs, attached to the base of his torso. He glides towards Zaphod, the little legs extending to reach the floor as he reaches the end of the table.[[(CONTINUED)5]][[55.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED: (2)]][[59]] + + HUMMA KAVULA + The election is ancient history, Zaphod, but if memory serves -- you won, proving that good looks and charm win over brilliance and ability to govern. + +A guard drapes a white robes over Humma's shoulders - which he ties with a belt - hiding his peculiar undercarriage. + + HUMMA KAVULA (CONT'D) + And incidentally -- you are stupid. + +His head jerks up. Zaphod stops it, paints on a smile. + + ZAPHOD + That's really not the point. + + HUMMA KAVULA + You haven't come halfway across the galaxy to settle a campaign grudge. Why are you here, Zaphod? + +Zaphod doesn't answer. Humma motions to a guard who grabs his arm, twists it -- hard. + + ZAPHOD + (wincing) + I don't know. I was headed for Magrathea, I ended up here. + +PUSH IN ON HUMMA -- who raises his hi-tech sun glasses. + + HUMMA KAVULA + How very, very... + (knowingly) + \...improbable. + +He pulls the nose off his body guard, turns a key. A secret safe door slides open from the mans' chest. + + HUMMA KAVULA (CONT'D) + I kept a few souvenirs from my former life. Ah, the heady days of space piracy... so young, so foolish.., + +Another, smaller box rises from the chest cabinet. Inside we see glowing jewels, a skeleton hand, etc. Humma removes a PINK CUBE (like Zaphod's blue cube.) + + HUMMA KAVULA (CONT'D) + I'll gladly give you the coordinates to Magrathea... + +He holds up the pink cube revealing A SERIES OF COORDINATE NUMBERS on each side. Zaphod reaches for it. Humma takes it back... + + HUMMA KAVULA (CONT'D) + \...provided you bring me something in return.[[(CONTINUED)5]][[56.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED: (3)]][[59]] + + ZAPHOD + What? + + HUMMA KAVULA + A gun. + + ZAPHOD + A gun? + + HUMMA KAVULA + A very special gun. Designed by the greatest computer ever invented, now buried in the bowels of Magrathea. + + ZAPHOD + Fine. I'll get your gun. Just give me the coordinates. + +Zaphod reaches out. Humma pulls it back. + + HUMMA KAVULA + And what will you give me to insure your return? + + ZAPHOD + My word as President. + + HUMMA KAVULA + Ha! I'd be better off with the dung of a Bethusian Mega Donkey. + + ZAPHOD + Okay, then I'll get you that. + + HUMMA KAVULA + I need a hostage, something you hold dear. Only what does Zaphod Beeblebrox treasure? + +ON ZAPHOD'S SECOND HEAD -- peeping out of the collar looking terrified. Humma smiles. Bingo. He signals the guards. They grab Zaphod who looks back to Trillian, offers a weak smile. + +>SMASH CUT TO: + +INT. HUMMA KAVULA'S OPERATING THEATRE -- LATER #60#[[60]] + +Very fast scene - two seconds. Zaphod's 2nd Head SCREAMS! + + ZAPHOD HEAD 2 + Nooo!!! + +PULL BACK to see it being lifted out of Zaphod's neck. Zaphod unconscious on the operating table. Blood and instruments everywhere.[[57.]][[HHGG 3rd Revised Draft 8/8/03]][[1]] + +INT. HUMMA KAVULA'S ROOM -- LATER #61#[[61]] + +Zaphod's head hangs on the wall. Wires feed out of the neck into a huge machine. Beneath the head is a crude drawing of a body and the words "I'm with Stupid." An arrow points to Zaphod's Head 2 -- which is shouting... + + ZAPHOD HEAD 2 + IDIOT! ZARKING MORON!! COME BACK!! YOU NEED ME!! COME BAAAAACKKKK!!!! + + HUMMA KAVULA + You should quit while you're "a head" Zaphod. No one has ever got passed the Magrathean defence system alive. + +Humma laughs maniacally. + +EXT. VILTVODLE 6. MAIN STREET - NIGHT #62#[[62]] + +Zaphod, held aloft on Ford and Arthur's shoulders, staggers down the street toward the spaceport where the Heart of Gold is parked. His neck is wrapped with a blood-soaked bandage which looks like a scarlet ascot. + + ARTHUR + Are we sure this is the right way? + + FORD + Yes! I think. I don't know. + +Maybe not. + + ARTHUR + Yes, thank you for clearing that up. + +Ford looks puzzled at Arthur. Did I clear it up? A crowd has gathered. When they see Zaphod, they scream... + + CROWD + Mr. President!...Zaphod, over here!...I want to have your baby!, etc... + +Zaphod, still feeling the effects of whatever drugs he was given, dons a presidential smile and waves. + + FORD + Back to the ship. Quickly. + +They quicken their pace when suddenly... FIFTY VOGON POLICE -- emerge from the mist. + + VOGON POLICE #1 + Mr. President! We are here for your protection! + +Zaphod, Ford, Trillian and Arthur freeze in their tracks.[[58.]][[HHGG 3rd Revised Draft 8/8/03]][[3]] + +INT. VOGON HEADQUARTERS - CONTINUOUS #63#[[63]] + +Kwaltz and Questular watch the action on the front screen. + + KWALTZ + Fire upon the kidnapper![[(62 cont)]] + +EXT. MAIN STREET -[[(62 cont)]] + +The police fire. F, T, & A run for it, but Z stays put. + + ZAPHOD + Zarquon! Friendly fire! Well, if that's what they want-- + +He pulls out his gun up and fires back. + + ZAPHOD (CONT'D) + Hey! Let's do lunch! Nice haircut, fella! Hey! Your kids are the same age as mine-- We should get them together some time! + +With each line he fires. Ford grabs him. Shots hit a + +stack of aerosol cans. They EXPLODE. More mist rises.[[(63 cont)]] + +INT. VOGON HEADQUARTERS -[[(63 cont)]] + + QUESTULAR + Commander! The President is the kidnapper! + + KWALTZ + Cease fire![[(62 cont)]] + +.BEHIND THE KIOSK--[[(62 cont}]] + +The gang run down an alley and hide behind a kiosk. Zaphod sports a goofy smile. Arthur is scared to death. + + ARTHUR + Oh God, I really hate Thursdays. + + FORD + Zaphod, what do we do? + + ZAPHOD + Build bridges between the stars! + +He holds up two peace signs, a la Nixon. + + ARTHUR + What? + + FORD + I think that was his campaign slogan. + +Trillian finds a deodorant can, grabs it, gets an idea. + + TRILLIAN + Alright, follow me. + +She aims the can at Zaphod's ear- Arthur's face registers the madness of the moment.[[59.]][[HHGG 3rd Revised Draft 8/8/03]] + +INT. VOGON DESTROYER. BRIDGE - CONTINUOUS[[(63 cont)]] + + QUESTULAR + There they are![[(62 cont)]] + +ON SCREEN -- Trillian, with aerosol can to Zaphod's ear[[(62 cont)]] + +moves down the street. The crowd GASPS. The quartet continues anxiously forward, eyeing the police whose guns track their every move. + + TRILLIAN + Back off or I'll kill him, I swear I will![[(63 cont)]] + +KWALTZ -- looks confused.[[(63 cont)]] + + KWALTZ + Could that actually kill him?[[(62 cont)]] + +The police step backwards -- but the crowd takes a step[[(62 cont)]] + +forward. A huddle of female ADMIRERS rush them, waving pens and paper as if the Beatles have arrived. + + ADMIRERS + Mr. President, Mr. President!... + +Zaphod paints on a smile, breaks away from the others to go sign a few autographs. + + FEMALE ADMIRER + I totally voted for you! + + ZAPHOD + Thank you! + +Reveal that the female fans are actually a multi-headed, + +two legged GROUPIE.[[(63 cont)]] + +ON QUESTULAR AND KWALTZ--[[(63 cont)]] + + KWALTZ + Get her![[(62 cont)]] + +CHAOS! The walrusy Vogon police swarm in like maggots,[[(62 cont)]] + +surrounding Trillian and edging Ford and Arthur away. + + VOGON POLICE + Resistance is useless! + +Shots are fired. The crowd SCREAMS and SCATTERS. Arthur reaches for Trillian but she is engulfed by Vogons who move, en masse, and pull her away into the mist. + + ARTHUR + Tricia! + +Ford, with Zaphod in tow, shoves Arthur forward, using his towel to clear a path through the mist. They see the Heart of Gold ramp descending from the belly of the ship. + + FORD + This way![[(CONTINUED)(]][[60.]][[HHGG 3rd Revised Draft 8/8/03]][[62 cont) CONTINUED:]][[(62 cont)]] + + ARTHUR + NO!! TRICIA!!! + +SHOTS FIRE all around them as Ford pushes Zaphod and + +Arthur up the ramp.[[(63 cont)]] + +INT. VOGON HEADQUARTERS - NIGHT[[(63 cont)]] + +Questular and Kwaltz watch the monitor as Vogon Police usher Trillian, in futuristic hand-cuffs, past the Vogon Captain who stands in the foreground on his ship. + + KWALTZ + Bring her to Vogsphere for processing, Captain. + +The captain nods. The screen goes black. + + QUESTULAR + They're coming here!? But they've only accomplished half the mission. What about Zaphod? HE MUST FACE JUSTICE!! + + KWALTZ + My instructions were clear... + +From a slot in his chair, he pulls his instructions -- signed in triplicate of course. He reads... + + KWALTZ (CONT'D) + "Apprehend the kidnapper, rescue the president." We do them in that order. And until the kidnapper is properly processed, she isn't officially apprehended, now is she, Mr. Vice-President? + +Questular pulls out another small clump of hair. + +>CUT TO: + +INT. HEART OF GOLD. BRIDGE - CONTINUOUS #64#[[64]] + +Ford and Arthur drag Zaphod into the bridge. On the front screen, they can see the Vogon ships flying away. + + ARTHUR + We have to go! Let's GO! + + ZAPHOD + (still loopy) + Right! + +Looking strangely happy, he slides the PINK COORDINATE CUBE Humma gave him into a slot on the console. + + ZAPHOD (CONT'D) + Computer! Take us to Magrathea! + + ARTHUR + What? No! Follow those ships![[(CONTINUED)6]][[61.]][[HHGG 3rd Revised Draft 8/8/03]][[4]][[CONTINUED:]][[64]] + +Arthur lunges for a control. Zaphod woozily tries to stop him. There's a struggle, then Zaphod realizes... + + ZAPHOD + Hey -- my third arm. I had one, didn't I? + + ARTHUR + We have to go after her! + +The computer fires to life, BLEEPS and BLIPS. Only now it has an effete, effeminate, almost matriarchal voice. + + EDDIE + Boys, please! Not so rough. You're damaging my joystick. + +They all look at the source of the voice, confused. + + FORD + Who is that? + + MARVIN + Ghastly, isn't it? I was asked to change the personality type, this was the emergency back-up. + + EDDIE + Now, if you want me to take you somewhere, we're going to have to start using our magic words, "please" and "thank you." + + ARTHUR + Can you change it back? + + MARVIN + I can -- but I won't enjoy it. + + EDDIE + I'm wait-ing... + +Arthur sees the Vogon ships getting away. Desperate, he shoves Zaphod out of the driver's seat. Zaphod hits the floor, considers protesting, lies down on the floor to sleep instead -- with a contented smile. Arthur sits. He looks very out of place in a seat normally reserved for the likes of Han Solo. He scans the console. Ford sits in the seat beside him. + + ARTHUR + Ford? + + FORD + Marvin? + + MARVIN + Don't look at me. I'm too depressed.[[(CONTINUED)6]][[62.]][[HHGG 3rd Revised Draft 8/8/03]][[4]][[CONTINUED:]][[64]] + + ARTHUR + (getting desperate) + Computer?! Isn't there some kind of manual override switch thing? + + EDDIE + Yeeessss... + + ARTHUR + WELL WHERE THE HELL IS IT?! + + EDDIE + Magic words? + + ARTHUR + Show me the override switch or I'll reprogram you with a very large axe. + + EDDIE + (long pause) + I can see this relationship is something we're all going to have to work at. + +.DING. A chime sounds. A switch on the console #64a#[[64a]] + +ILLUMINATES. "MANUAL OVERRIDE." Arthur flips the switch. The cockpit is sealed in a glass ball and shoots upwards. + +EXT. HEART OF GOLD - NIGHT #65#[[65]] + +The cockpit bubble POPS out like an ejector seat, now a little glass pod. It floats through space, then rear thrusters ignite and blast the ship forward. + +INT. HEART OF GOLD BRIDGE/POD - CONTINUOUS #66#[[66]] + +An aircraft steering wheel rises up between Arthur's legs. He grabs it, spinning out of control. + + FORD + I think I should push this button. + +Ford pushes a big button. AN ALARM SOUNDS! + + ARTHUR + What's that? What happened?! + + FORD + A sign lit up saying "Please do not push this button again." + +Arthur grabs the control, does his best to steer. + +EXT. SPACE - NIGHT #67#[[67]] + +The glass pod streaks unsteadily forward toward A DULL GRAY PLANET. + +EXT. VOGSPHERE - DAY #68#[[68]] + +The rectangular ship sits on the surface as Police escort Trillian off it and into a GRAY RECTANGULAR BLDG.[[63.]][[HHGG 3rd Revised Draft 8/8/03]][[9]] + +.DIFFERENT PART OF VOGSPHERE/NEAR SWAMP-- #69#[[69]] + +The ground is barren. A scintillatingly jeweled crab crawls out of a swamp and looks up at the sky. We hear the sound of the pod approaching (but hold on the crab) as EEEOOOO-KA-KFFFZZZ! The crab runs back into the swamp. PAN LEFT to see the pod rammed into the ground, steam rising. The door opens. The three emerge. + + FORD + Wow... + + MARVIN + I know. Dreadful, isn't it? + + ARTHUR + Sorry about the landing. Where are we? + + ZAPHOD + Magrathea! + + FORD + Wrong. This is the Vogon planet. This is Vogsphere. + + ZAPHOD + No. It's Magrathea! I know it! + +Ford reaches in his satchel, pulls out a sort of ELECTRONIC BERET, pulls it snugly onto Zaphod's head. + + FORD + Little something I learned about on an Altairian star cruiser. Captains use them when they really need to concentrate. + + ARTHUR + What is it? + + FORD + A Thinking Cap. + +Zaphod squints hard to think as he looks around. + +EXT. VOGCITY #70#[[70]] + +THEIR P.O.V. -- there are rows and rows of dull, gray, + +rectangular buildings as far as the eye can see.[[(69 cont)]] + +The three men step out of the ship.[[(69 cont)]] + + MARVIN + This will all end in tears, I just know it. + +Marvin moves out, a few paces behind. + + FORD + I checked the guide for ways to rescue a prisoner from Vogsphere. It said "Don't." I'm assuming your plan is better.[[(CONTINUED)6]][[64.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED:]][[69]] + + ARTHUR + Well, I sort of had this idea we could... + +A TELESCOPIC ROD WITH A PADDLE AT THE TOP shoots out of the ground, SMACKS Arthur on the face, then retracts. Arthur is stunned. None of the others have noticed. + + ARTHUR (CONT'D) + Did anyone see that? + + ZAPHOD + See what? + +They look at Arthur. It suddenly seems ridiculous. + + ARTHUR + Nothing. + +They all walk along - Arthur at the back, perplexed. + + FORD + What was it? + + ARTHUR + Nothing. Just my imagination. + +Another paddle springs up, double smack in the face. Arthur leaps back. Looks down. Nothing. Nothing at all. + + ARTHUR (CONT'D) + Alright, stop. Everyone stop and watch me. Something's happening. + +They watch. Arthur walks. And walks. + + FORD + Okay. I think we... + +A paddle springs up and smacks Ford's face. + + FORD (CONT'D) + AH! + +He leaps back, clutching his cheeks. Arthur spins around. + + ARTHUR + You, too? + + FORD + Yes. What was that? + +Arthur lifts his feet very carefully. + + FORD (CONT'D) + I th... + +He stops himself and looks round.[[(CONTINUED)6]][[65.]][[HHGG 3rd Revised Draft 8/8/03]][[9]][[CONTINUED: (2)]][[69]] + + FORD (CONT'D) + What do you think, Zaphod? + +Zaphod pulls his thinking cap down, thinks hard. + + ZAPHOD + I think we should keep going. + +A paddle shoots up, smacks Zaphod's face. They all saw. + + ZAPHOD (CONT'D) + AAAH!! + + ARTHUR + What the blazes is that? + + FORD + (very deliberately) + I have... an idea. + +A paddle shoots up. Ford ducks. It misses. He grabs its telescopic stalk. It thrashes in his hands. He breaks it. + + FORD (CONT'D) + Okay, don't think of anything. Don't have ideas or theories -- nothing. + +A beat. They all strain to think of nothing. Several paddles shoot up. Smacking them. + + ARTHUR + I can't, help it! Trillian is in there somewhere and we need an idea to save her. + + ZAPHOD + I have an idea. + (SMACK!) + Run! + + FORD + Ever the politician. + +They take off running. A forest of paddle stalks erupts out of the ground around them, smacking violently. They come to rest at the side of a Vogon building. + + ARTHUR + Okay, so... + (thinking) + \...not thinking, not thinking, no ideas coming... + (looking to Marvin) + \...this is by no means an idea that has any merit, but Marvin -- can you give me a hand? + +>SMASH CUT TO: + +INT. VOGON ADMINISTRATION BUILDING - DAY #71#[[71]] + +The dullest office environment ever. A counter with few VOGONS behind it, mindlessly moving bits of paper around.[[(CONTINUED)7]][[66.]][[HHGG 3rd Revised Draft 8/8/03]][[1n]][[CONTINUED:]][[71n]] + +The front doors BURST open. Arthur storms through them, holding Marvin's arm which has the fingers pointed like a gun. He trips, falls, drops the arm, picks it up again, trying hard to look tough. Ford and Zaphod follow, Zaphod wearing the Thinking Cap and sunglasses for disguise. Ford wearing his towel over his face like a bandit. The Vogons look up, nonplussed. + + ARTHUR + Alright, where is she? + + VOGON BEHIND COUNTER + Who? The Director of Robot Arm repair? Next building, out the door to the left. + +Arthur looks at the arm -- then slowly lowers it. + + ARTHUR + Actually, we're looking for... + (how to put this...?) + \...someone you're detaining, perhaps in some form of incarceration... + + VOGON BEHIND COUNTER + Prisoner Release Department. Six buildings down, out the door, right, left, then two rights. Big gray building, can't miss it. + +>CUT TO: + +INT. PRISONER PROCESSING BLDG./INTERROGATION ROOM - DAY #72#[[72]] + +Trillian is seated beside a desk while a VOGON OFFICER asks her questions. Kwaltz and Questular stand nearby. + + VOGON OFFICER + Name? + + TRILLIAN + Trillian. + +He types into his ancient looking computer. + + VOGON OFFICER + Not registered. + + TRILLIAN + Try Tricia McMillan. + + VOGON OFFICER + Tricia Yggarstuk McMillanus of Blaard? + + TRILLIAN + No. Tricia Imogene McMillan of Earth. + +The Officer types, checks his screen, shakes his head. + + VOGON OFFICER + Sorry. No record of "Earth."[[(CONTINUED)7]][[67.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED:]][[72]] + + TRILLIAN + Earth. In the Milky Way? + (remembering) + Um...galactic Sector ZZ9 Plural Z Alpha. + +The Vogon Officer types, reads from the screen. + + VOGON OFFICER + Right. Here it is. "Earth. Destroyed." Do you have a second home planet? + +PUSH IN ON TRILLIAN -- gutted by the news. + + TRILLIAN + Destroyed? No -- that's impossible. + + VOGON OFFICER + Says here it was destroyed to make way for a hyperspace expressway. The order was given...three weeks ago. + + TRILLIAN + WHO IN THEIR RIGHT MIND GIVES AN ORDER TO DESTROY A PLANET!? + +>CUT TO: + +.EXT-ADMIN BUILDING-VOGCITY #73#[[73]] + +ZAPHOD - WALKING WITH FORD AND ARTHUR + + ZAPHOD + He said the gray building, right? + +THEIR P.O.V. -- all the buildings are gray. Arthur sees 2 VOGON POLICE escorting someone in handcuffs into one of the buildings. + + ARTHUR + There. That's it. This way. + +He raises Marvin's arm, pointing the fingers. + +INT. PRISONER PROCESSING BUILDING/MAIN ROOM - CONTINUOUS #74#[[74]] + +A, F & Z enter the double doors, then stop short. Stunned. THEIR P.O.V. - a typical government pick-a-number and wait sort of room. Bland. Bad lighting. Numbered windows. It's packed with all manner of species. + + ARTHUR + Leave this to me. I'm British. + (with gusto) + I know how to queue. + +He confidently takes a number and gets in line with the several hundred others -- feeling very much at home.[[68.]][[HHGG 3rd Revised Draft 8/8/03]][[72 cont)]] + +INT. PRISONER PROCESSING BLDG./INTERROGATION ROOM -[[(72 cont)]] + +Trillian sits at the Officer's desk, arms folded, defiant. + + TRILLIAN + I don't believe you. This is some sort of trick. Zaphod wouldn't blow up a planet, especially mine. + +Kwaltz now steps forward and extends a piece of paper. + + KWALTZ + These are the orders. + +Trillian takes the paper, runs her finger down to the signature line where it reads "Love and kisses, Zaphod!" + + TRILLIAN + Love and kisses...? + +She hands the paper back, swallowing emotion. + + KWALTZ + Now -- according to Section 8, sub-section 34 dash A, the punishment for kidnapping is a recitation of the classic poem, "Ode to the Removal of Your Left Kidney." Unless -- said kidnapping is of the President, in which case you are to be fed to the Ravenous Bugblatter Beast of Traal. We thank you for your cooperation. + +A door is opened revealing a room with a large steel box. A huge, angry eye stares out of a tiny barred window. + +The box shakes like crazy. Trillian gulps.[[(74 cont)]] + +INT. PRISONER PROCESSING BUILDING/MAIN ROOM - CONTINUOUS[[(74 cont)]] + +Zaphod is in line with Arthur and Ford. He looks up to: A PRESIDENTIAL PHOTOGRAPH -- of himself, in suit and tie, smiling broadly. He lowers his thinking cap. + + FEMALE VOGON PROCESSOR + Next! + +Arthur steps up, followed by Ford and Zaphod who keeps his head low and bowed. + + ARTHUR + Yes. Hi. We're here about getting a prisoner released? + + FEMALE VOGON PROCESSOR + Prisoner release form? + +She holds out her hand. Arthur doesn't have a form. Annoyed, she points across the room to a wall that is nothing but shelves holding forms.[[(CONTINUED)]][[69.]][[HHGG 3rd Revised Draft 8/8/03(74 cont)CONTINUED:]][[(74 cont)]] + + ARTHUR + Right. Once I've filled it out can I return to the front of the line, seeing as I've already waited... + + FEMALE VOGON PROCESSOR + No. Next! + +Arthur sighs, frustrated. All three of them walk to the shelves holding the forms. Arthur turns to Zaphod. + + ARTHUR + Can't you do something?! You're President, aren't you? + + ZAPHOD + You want me to make a speech, shake a hand? That's what I do -- I think. It's all a little fuzzy. + +Arthur angrily fills out the form. MOMENTS LATER-- Arthur is back in line, having waited a long time. He finally gets to the window, hands the green form to the Vogon Processor. She types into her computer, then checks the screen. + + FEMALE VOGON PROCESSOR + This Prisoner is being detained for... + (reading) + Kidnapping the president. Not eligible for release at this time. You can make an appointment for a later date or take a number and wait. + +Arthur's breathing quickens. He can't take this. + + ARTHUR + Alright, look. + (yanks thinking cap and sunglasses off Zaphod) + This is the President. + +She looks at Zaphod, then back to the large portrait of Zaphod, then back to Zaphod. She nods. Okay... + + ARTHUR + (CONT'D) + He says the whole kidnapping thing was a terrible misunderstanding, she didn't mean anything by it and he's ordering you to let her go. + + FEMALE VOGON PROCESSOR + (holding up green form) + But this isn't a Presidential Release of Prisoner form. Those are blue. + +She points to the wall of forms. Arthur sighs.[[70.]][[HHGG 3rd Revised Draft 8/8/03]][[72 cont)]] + +.QUICK CUT BACK TO TRILLIAN --[[(72 cont)]] + +Trillian is lowered into the Bugblatter beast box/cage. We cannot see the beast but it's screams of hunger are + +scaring the hell out of Trillian.[[(74 cont)]] + +.BACK TO ARTHUR --[[(74 cont)]] + +!...who returns, practically shoving Zaphod forward. Zaphod hands the Vogon Processor the blue form. + + FEMALE VOGON PROCESSOR (CONT'D) + Okay... + +She reviews the form, stamps it, pulls off the carbon copy underneath, hands that to Zaphod. + + VOGON PROCESSOR + Go to the Prisoner Release Lobby, out the door, right, left, 2nd door on the right.[[(72 cont)]] + +.BACK WITH TRILLIAN --[[(72 cont)]] + +As she braces herself to be eaten by the monster. Suddenly, a couple of VOGON GUARDS enter and hand Kwaltz a blue piece of paper. He reviews it, then signs it. + + KWALTZ + You're free to go. Release her. + +The Vogon Guard pulls Trillian up and out of the box on a cable. The Bugblatter beast goes berserk. + + QUESTULAR + What!? + (yanking blue paper away, reading) + He's here?! Zaphod is here!? Let's go get him! + +But the Guard is already escorting Trillian out of the room. Kwaltz is completing paperwork. + + QUESTULAR (CONT'D) + Commander? + +Kwaltz holds up a walrusy hand, one finger raised, silencing Questular while he continues. Questular sighs. We hear the Bugblatter beast weeping as the doors are closed on him. + +>CUT TO: + +INT. PRISONER RELEASE LOBBY - CONTINUOUS #75#[[75]] + +A guard escorts Trillian into the Lobby where F, A & Z await. Arthur steps toward her but Zaphod steps in front of him, smiling, arms outstretched. Trillian walks up to Zaphod -- and SLAPS HIM.[[(CONTINUED)7]][[71.]][[HHGG 3rd Revised Draft 8/8/03]][[5]][[CONTINUED:]][[75]] + + TRILLIAN + You bastard. You signed the order to destroy Earth?! + + ARTHUR + He did? + + ZAPHOD + I did? + + TRILLIAN + "Love and kisses, Zaphod?" I saw the form. You didn't even read it, did you? + + ZAPHOD + Honey, I'm President of the Galaxy. I don't get a lot of time for reading. + + TRILLIAN + An entire planet, Zaphod. My home. Gone. All because you thought someone wanted your autograph! + +She SLAPS him again, storms away, bursting out the door. + + ZAPHOD + They framed me! It's routine for controlling Presidents! + +INT. PRISONER INTERROGATION ROOM - CONTINUOUS #76#[[76]] + +Kwaltz finishes his paperwork, stacks it neatly, holds it up for Questular to see. + + KWALTZ + Cancellation of the Rescue of the President. + +He hands it to a Messenger who runs off. Another one runs up. + + KWALTZ (CONT'D) + Now. + (with menace) + Get me the Apprehension of the President form. + +EXT. PRISONER PROCESSING BLDG. - CONTINUOUS #77#[[77]] + +Trillian storms away from the building, enraged. She sees a one-armed Marvin standing by the glass pod. She heads for him. Arthur catches up to her. + + ARTHUR + Trillian... + + TRILLIAN + You knew. Why didn't you tell me?[[(CONTINUED)7]][[72.]][[HHGG 3rd Revised Draft 8/8/03]][[6]][[CONTINUED:]][[76]] + + ARTHUR + I tried. He threatened me. + + TRILLIAN + Get a backbone, Arthur. + +She storms ahead of him. He stops. + + ARTHUR + What about coming here to rescue you?! That was my brilliant idea! + +A paddle shoots up and slaps him in the face.[[(77 cont)]] + +EXT. PRISONER PROCESSING BLDG. - MOMENTS LATER[[(77 cont)]] + +Kwaltz and Questular, flanked by the Vogon police force, step out of the building just in time to see... + +!... + +.THE GLASS HEART OF GOLD POD soaring overhead. #78#[[78]] + +They all watch as it disappears from sight. + + KWALTZ + The President tests my patience. This time, I shall pursue him myself. Ready my ship! + + QUESTULAR + Yes! This is more like it. + +INT. VOGON OFFICE - MOMENTS LATER #79#[[79]] + +Kwaltz sits in a desk, filling out a form. Questular holds two clumps of hair in each fist. + + QUESTULAR + THIS IS INSANITY! + + KWALTZ + My license is expired, Mr. Vice President. I can't fly with an expired license -- it's against the law. + +Questular fists tremble. PLOP. Out comes two large tufts of hair. + +>SMASH CUT TO: + +EXT. SPACE - NIGHT #80#[[80]] + +The pod is reattached to the Heart of Gold which soars through the stars. + +INT. HEART OF GOLD. BRIDGE - NIGHT #81#[[81]] + +They're all getting buckled into their seats.[[(CONTINUED)8]][[73.]][[HHGG 3rd Revised Draft 8/8/03]][[1]][[CONTINUED:]][[81]] + + EDDIE + (back to his normal voice) + Hi, fellas. Hold on to your hats! + + ZAPHOD + Eddie! Welcome back! + +The ship suddenly BLASTS forward. Their heads are slammed back into the seats as they VIBRATE VIOLENTLY. + + FORD + WHAT'S HAPPENING, ZAPHOD?! WHERE DID YOU TELL IT TO GO?! + + ZAPHOD + I DIDN'T SAY ANYTHING! + +Arthur looks to the console and sees the two mice sliding across it, getting thrown across the ship. They continue to vibrate -- even more violently. + + FORD + ARE YOU SURE WE REATTACHED THIS THING THE RIGHT WAY?! + +Zaphod is all smiles, hanging on as if he were on a rollercoaster ride. + + ZAPHOD + ISN'T IT GREAT?! + +.DEEP SPACE-- #82#[[82]] + +!...the H.O.G. is but a blur as it streaks along. + +.BACK IN THE H.O.G. - LATER #83#[[83]] + +Stars appear on the screen as they slow from hyperspace. + + EDDIE + Guys, I'm just super happy to tell you we're approaching hyperspace exit Gamma Z8B530. + +Arthur steadies himself, turns to Trillian who's still staring forward, angry. She unbuckles her seat-belt and moves away from the console. A planet appears on screen. Zaphod and Ford lean forward. + + ZAPHOD + Okay, that's it...I think. Computer? Is that...where are we headed again? + + FORD + Magrathea? + + EDDIE + Hang on, fella, and I'll check.[[(CONTINUED)8]][[74.]][[HHGG 3rd Revised Draft 8/8/03]][[3]][[CONTINUED:]][[83]] + +Arthur turns, look over at... TRILLIAN -- who stares out a portal window into the emptiness of space. A tear rolls down her cheek. Arthur steps up, isn't sure what to say. + + ARTHUR + Look, you're right. You deserved to know and I should've told you. I don't blame you if you're angry. + +She turns and stares, wipes the tears away. Can't speak. + + ARTHUR (CONT'D) + Right. Anyway...I'm sorry. + + EDDIE (O.S.) + Guys, it just tickles me pink to tell you we are currently in orbit at an altitude of three hundred miles around the legendary planet of Magrathea. Goll-ee. + +Hearing this news, Arthur, Trillian and Ford turn. + + ZAPHOD + (tasting it) + Take us in. + +EXT. NIGHT DEEP SPACE - MAGRATHEA #83a#[[83a]] + +They all stare in awe as they move toward a planet which gets closer and closer. Suddenly, their faces are awash with light. Two suns rise behind the planet. It's breathtaking. + + ZAPHOD + The twin suns of Soulianis and Rahm... + +Marvin (both arms in tact) rises in the back, peers out. + + MARVIN + It's rubbish. + +.Suddenly, a ghostly white swirl of light, vaguely in the #83b#[[83b]] + +shape of a man, appears on the screen before them. + + GHOSTLY IMAGE + Greetings. This is a recorded announcement as we're all out the moment. The Commercial council of Magrathea thanks you for your esteemed visit, but regrets that the entire planet is temporarily closed for business. If you would like to leave your name and a planet where you can be contacted, kindly do so at the tone. + +BEEP. Then stunned silence.[[(CONTINUED)8]][[75.]][[HHGG 3rd Revised Draft 8/8/03]][[3b]][[CONTINUED:]][[83b]] + + ARTHUR + Closed? How can a planet be closed? + + ZAPHOD + For once, Aldus, I agree with you. Okay, computer. Keep going. Take us down. + + EDDIE + Happy to! + +The ship eases forward. The image appears again. + + GHOSTLY IMAGE + It is most gratifying that your enthusiasm for our planet continues unabated. As a token of our appreciation, we hope you will enjoy the two thermonuclear missiles we've just sent to converge with your craft. To ensure on-going quality of service, your death may be monitored for training purposes. Thank you. + +The image vanishes. A beat. Then... + + EDDIE + Guys, I'm delighted to tell you there are two thermonuclear missiles headed right for us. Should I take evasive action? + +.The screens show two huge rockets thundering at us, #83c#[[83c]] + +Zaphod just smiles. Ford steps up. + + FORD + Um...yes, computer. Evade! + +Massive acceleration! An illuminated dome lowers from the ceiling over the crew seats - creating a safety pod. + +EXT. ABOVE MAGRATHEA. DAWN #84#[[84]] + +The Heart of Gold streaks away. Two large missiles follow and mimic the H.O.G.'s every move. + +INT. THE BRIDGE - CONTINUOUS #85#[[85]] + +The crew are thrown from one side of the pod to the other. + + EDDIE + There seems to be something jamming my guidance systems. Impact minus 45 seconds. Call me Eddie if it'll help you relax.[[(84 cont)]] + +EXT. SKY OVER MAGRATHEA - CONTINUOUS[[(84 cont)]] + +The H.O.G. streaks forward. The missiles are gaining. + + ARTHUR + Computer! DO SOMETHING!![[(CONTINUED)(]][[76.]][[HHGG 3rd Revised Draft 8/8/03]][[84 cont) CONTINUED:]][[(84 cont)]] + + EDDIE + Sure thing, fellah. Handing over manual control. Good luck! + +Big swell of Muzak. The ship drops like a stone. + +THE MISSILES -- miss, then turn in a screeching curve.[[(85 cont)]] + +INT. THE SAFETY POD -[[(85 cont)]] + +Zaphod tries to wrestle with three controls. + + ZAPHOD + I can't do this without my other arm![[(84 cont)]] + +THE H.O.G. -- spirals wildly, missiles narrowly missing.[[(84 cont)]][[(85 cont)]] + +IN THE SAFETY POD - everyone is thrown.[[(85 cont)]][[(84 cont)]] + +IN THE SKY -- the missiles are dead ahead, shooting[[(84 cont)]] + +straight for us.[[(85 cont)]] + +.IN THE SAFETY POD--[[(85 cont)]] + + ZAPHOD + Did we lose them? + + FORD + No. They're right behind us. + +He looks down, sees the IMPROBABILITY DRIVE BUTTON. + + ARTHUR + Look, why don't I just hit this thing? + + ZAPHOD + NO! We're here! No telling where it will send us![[(84 cont)]] + +.IN THE SKY--[[(84 cont)]] + +The missiles turn and accelerate high into the sky. A second set of boosters kick in on the missiles as they + +soar back toward the H.O.G. --- much, much faster.[[(85 cont)]] + +.ON THE BRIDGE--[[(85 cont)]] + +They all stare at the approaching missiles. Arthur looks at the drive button. Screw it. He flips open the glass lid. + + ZAPHOD + NO! + +Too late. ARTHUR HITS THE BUTTON. WOOMF! Light blasts through the bridge. Morphing madness! + +EXT. SPACE. - NIGHT #86#[[86]] + +Empty for a moment. Then, the HEART OF GOLD reforms. A few beats later, a SPERM WHALE floats into frame followed by a BOWL OF PETUNIAS.[[77.]][[HHGG 3rd Revised Draft 8/8/03]][[7]] + +INT. THE BRIDGE - NIGHT #87#[[87]] + +It coalesces back into shape out of chaos. The safety dome rises revealing our heroes standing in the exact same place they were - dazed. + + ZAPHOD + Um...where are we? + + TRILLIAN + Exactly where we were, I think. + + ZAPHOD + And the missiles? + + FORD + Have apparently turned into a bowl of petunias and a very surprised looking whale. + +He points to the screen. The whale and petunias float by. + + EDDIE + At an improbability factor of eight million, seven hundred and sixty-seven thousand, one hundred and twenty-eight to one against. + +They all look to Arthur who shrugs. Zaphod nods his approval. Ford counts on his fingers -- are they even? He waves it off, gives Arthur a little salute and moves on. Trillian looks to Arthur and musters a smile. + + ARTHUR + I could really use a cup of tea. + +EXT. SPACE - NIGHT #88#[[88]] + +The H.O.G. arches away. The whale in mid-air, stops rising, starts falling. + + GUIDE VOICE + It is important to note that suddenly, and against all probability, a sperm whale had been called into existence several miles above the surface of an alien planet. And since this is not a naturally tenable position for a whale, this innocent creature had very little time to come to terms with its identity as a whale before it then had to come to terms with suddenly not being a whale any more. This is what it thought as it fell. + +The camera moves around the whale as it falls.[[(CONTINUED)8]][[78.]][[HHGG 3rd Revised Draft 8/8/03]][[4]][[CONTINUED:]][[84]] + + WHALE (V.O.) + Ahhhh!!!! What's happening? Excuse me! Who am I? Hello? Why am I here? What's my purpose in life? What do I mean by who am I? What is this 'I' that I want to know what it is? Calm down, get a grip now ... ooh! This is an interesting sensation... + +ANGLE: From below. The whale is wriggling a bit. + + WHALE (V.O.) (CONT'D) + Oh! This is an interesting sensation, what is it? It's a sort of... yawning, tingling sensation in ... well I suppose I'd better start finding names for things if I want to make any headway in what for the sake of what I shall call an argument I shall call the world, so let's call it my stomach! Good. Ooooh! It's getting quite strong now. And hey, what's this whistling roaring sound going past what I'm suddenly going to call my head? Perhaps I can call that ... wind! Is that a good name? It'll do. Perhaps I can give it a better name later when I've found out what it's for! It must be very important because there certainly seems to be an awful lot of it. Hey! What's this thing ... this ... let's call it a tail - yeah! Tail! + +The whale thrashes its tail. Between the camera and the whale drops the bowl of petunias. It falls from sight. + + WHALE (V.O.) (CONT'D) + Hey! I can really thrash it about pretty good, can't I? Wow! Wow! Doesn't seem to achieve much but I'll probably find out what it's for later on. Now. Have I built up a coherent picture of things yet? No. Never mind. Hey, this is really exciting, so much to find out about, so much to look forward to, I'm quite dizzy with anticipation ... Or is it the wind? There really is an awful lot of that now, isn't there? + +It's eye tries to look down. Camera pulls back from the whale, abandoning it ... + + WHALE (V.O.) (CONT'D) + And hey! What's this thing coming suddenly coming towards me very fast, so big and flat and round it needs a big wide-sounding name like ... ow ... ound...round ... ground! That's it, ground! I wonder if it'll be friends with me? + +We hear a sickening thud o.s.[[(CONTINUED)8]][[79.]][[HHGG 3rd Revised Draft 8/8/03]][[4]][[CONTINUED:]][[84]] + + GUIDE VOICE + Curiously, the only thing that went through the mind of the bowl of petunias as it fell was "Oh no, not again." + +We hear the petunia vase SHATTERING. + + GUIDE VOICE (CONT'D) + Many have speculated that if we knew why the bowl of petunias had thought that we would know a lot more about the nature of the Universe than we do now. + +>DISSOLVE TO: + +EXT. HEART OF GOLD. MAGRATHEA SURFACE - DAY #89#[[89]] + +The gang stand by A HUGE CRATER (the H.O.G. parked in the b.g.) -- a large whale carcass sits in the middle of it -- along with a few petunias. They all grimace. BEYOND THE CRATER -- they see a formation of large rocks, aligned in a circle. It's the only structure in sight. They walk toward it. + +EXT. ROCK FORMATION - DAY #90#[[90]] + +Arthur walks behind the others, his head down. + + FORD (O.S.) + Hey...this looks familiar. + +Arthur looks up, registers surprise. THE ROCK FORMATION -- looks like Stonehenge - only newer. The rocks letters carved into them that read "DESIGN DEPARTMENT" "SHOWROOM" "EXECUTIVE OFFICES" "TOILETS" + + FORD (CONT'D) + Must be portal doors. + + ARTHUR + You mean -- the hippies were right? + +In the middle of the circle sits a stone receptionist desk with a sign on it that says "OUT TO LUNCH." Zaphod heads for the "To Design Department" stone. Trillian and Ford follow. Zaphod feels around it, looking for a switch, a knob, anything. He must've hit something because the front of the stone suddenly slides open revealing a SWIRLING VORTEX THAT LOOKS LIKE A JET ENGINE. + + ZAPHOD + Okay. In we go.[[(CONTINUED)9]][[80.]][[HHGG 3rd Revised Draft 8/8/03]][[0]][[CONTINUED:]][[90]] + + ARTHUR + What?! Are you out of what's left of your mind? We can't step into that...that. + + FORD + We gotta pick one, right? If it's not the right one, we come back and pick another. No biggie. + + ARTHUR + Yes -- big biggie. What if that's the last door we ever step through? What if it rips us into tiny little atomic particle...thingies. + +Trillian, who hasn't said a word since leaving Vogsphere, covers her ears - trying to block them out + + ZAPHOD + It's the right one. I have a hunch. + + ARTHUR + Ford..? + + FORD + He's got good hunches. I say we go. + + ARTHUR + Go with the hunch of a narcissist with half a brain who's wearing a ridiculous thinking cap!? Are you insane?! + + ZAPHOD + Hey, I think I resent that. + + ARTHUR + I don't care what you think you think... + +They all start arguing over each other. We focus on Trillian -- Anger and frustration building, she covers her ears -- then screams.... + + TRILLIAN + AHHHHHHHHHHHHHHHHH!!!!!!!!!!! + +And she takes off running for the door. Suicide? Bravery? They turn just in time to see her jump into the vortex. She YELPS as her body is bent in half, twisted like a rung mop, then sucked inside. Arthur is horrified, literally gasping for air. Ford is semi-impressed. Zaphod, unfazed. + + ZAPHOD + That's supposed to happen...I think. + +Ford shrugs, throws his towel around his neck like a scarf and dives through. Same thing. Bent, twisted...[[(CONTINUED)9]][[81.]][[HHGG 3rd Revised Draft 8/8/03]][[0]][[CONTINUED: (2)]][[90]] + + ZAPHOD (CONT'D) + Hey, wait for me! + +He runs after Ford, stops at the door, turns like he's about to board Air Force one, gives a salute, jumps in. Arthur finally gets his legs to move, steps up -- but hesitates at the threshold, paralyzed with fear, unable to take a step. Then -- FFSSSSH - the door seals shut. + + ARTHUR + No. No! NOOO!!! + +He bangs on the stone, slides his hand around like Zaphod did, desperately looking for a way to open it. He collapses and buries his head in his hands. + + MARVIN + I told you this would all end in tears. + +>CUT TO: + +EXT. TEMPLE OF DEEP THOUGHT - MOMENTS LATER #91#[[91]] + +Ford stands outside a stone doorway at the end of a cobblestone street. Zaphod's body falls to the ground next to him, untwists, unbends and snaps bolt upright beside them. Trillian is already heading down the street toward the Temple. Ford and Zaphod hurry to catch up to her. + +EXT. ROCK FORMATION - DAY #92#[[92]] + +Arthur sits with his back against the stone, staring across the field at the beautiful double sunset. He looks over and sees THE TWO MICE FROM THE SHIP -- scurrying toward one of the giant stone doors. They slip through a crack beneath the stone. A FLASH OF LIGHT bursts through the crack. Arthur barely reacts, so drained of emotion. + + ARTHUR + Life is full of paradoxes, isn't it? + + MARVIN + Don't talk to me about life. + + ARTHUR + Here I am, God knows how far from home... + + MARVIN + Don't talk to me about God. + + ARTHUR + \...and this is where I see the most spectacular sunset I've ever laid eyes on. We only had the one sun at home. Planet called Earth.[[(CONTINUED)9]][[82.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED:]][[92]] + + MARVIN + I know. You keep going on about it. It sounds awful. + + ARTHUR + Oh no, it's beautiful. Or at least, it was... + + MARVIN + Did it have oceans? + + ARTHUR + Yes. Great wide rolling blue oceans. + + MARVIN + Can't bear oceans. + +Arthur looks up at Marvin. + + ARTHUR + So this is how it will all end, then? Me, on a dead planet -- with a manically depressed robot. + + MARVIN + You think you've got problems? What are you supposed to do if you are a manically depressed robot? No, don't bother to answer that, I'm fifty thousand times more intelligent than you and even I don't know the answer. It gives me a headache just trying to think down to your level. + + SLARTIBARTFAST + (O.S.) + Excuse me. + +Arthur spins to see AN OLD, BEARDED MAN IN LONG ROBES. + + ARTHUR + Aah! + +He jumps, crab walks backwards away from the man. + + ARTHUR (CONT'D) + Who are you? + + SLARTIBARTFAST + My name is not important. + +Arthur continues to scramble away from the man. + + SLARTIBARTFAST (CONT'D) + You must come with me. Terrible events are afoot. You must come or you'll be late. + + ARTHUR + Late? What for? + + SLARTIBARTFAST + What is your name, Earthman?[[(CONTINUED)9]][[83.]][[HHGG 3rd Revised Draft 8/8/03]][[2]][[CONTINUED: (2)]][[92]] + + ARTHUR + Dent. Arthur Dent. + + SLARTIBARTFAST + Late as in "the late Dentarthurdent." It's a sort of threat you see. Never been much good at them myself, but I'm told they can be terribly effective. + +He motions to the stone that is marked "To Showroom." + + SLARTIBARTFAST (CONT'D) + Your friends are safe. You can trust me. + + ARTHUR + Trust a man who won't tell me his name? + + SLARTIBARTFAST + My name? Very well... + (heaves a sigh, reluctant) + My name is...Slartibartfast. + +Arthur reacts with a furrowed brow. + + SLARTIBARTFAST(CONT'D) + I said it wasn't important. + +Slartibartfast motions to the door. He looks to Marvin. + + MARVIN + I could calculate your chances of survival -- but you won't like it. + +Arthur rises, cautiously moves over to Slarti's side. + + SLARTIBARTFAST + I must warn you. We are about to pass through, well, a sort of gateway thing. It may disturb you. It scares the willies out of me. + +He puts his hand on a certain spot in the stone and presses. The stone dissolves revealing once again the jet engine swirling vortex. Slarti motions -- after you. Arthur takes a deep breath -- and steps in. + + ARTHUR + Whaa! + +He is bent, twisted and sucked away. Slarti follows. Marvin stands for a moment, then looks up to... + +.THE SKY-- #92a#[[92a]] + +where the fleet of Vogon ships has now arrived. + + MARVIN + Funny how just when you think life can't possibly get any worse, it suddenly does. + +>CUT TO:[[84.]][[HHGG 3rd Revised Draft 8/8/03]][[3]] + +INT. VOGON DESTROYER SHIP, BRIDGE - NIGHT #93#[[93]] + +Kwaltz sits in his chair as they press forward. The GHOSTLY IMAGE of the recorded message appears. + + GHOSTLY IMAGE + This is a recorded announcement as we're all out at the moment. The Commercial council of Magrathea thanks you for... + + KWALTZ + Turn that off. + +>CUT TO: + +INT. MAGRATHEA/PLANET SHOWROOM - DAY #94#[[94]] + +Arthur is hunched over a litter bin, barfing. + + SLARTIBARTFAST + I told you you might find it a bit disturbing. + + ARTHUR + I have found this whole day a bit disturbing. + +Arthur realizes he has his towel with him. He wipes his mouth with it, dabs his brow. Then he notices... ...THE ROOM -- which is like a car dealer's showroom only instead of cars there are models of various planets. + + SLARTIBARTFAST + Did you know we built planets? + +No. Arthur didn't know that. He looks perplexed. + + SLARTIBARTFAST (CONT'D) + Fascinating trade. Doing the coastlines was always my favorite. Used to have endless fun doing all the little fiddly bits round fjords. But the Galactic economy collapsed, and seeing that custom-built planets are something of a luxury commodity... + (getting back on subject) + At any rate, there's been a terrible mix up with your planet. You must come with me or it's all going to blow up in our faces. The best laid plans of mice, you know... + + ARTHUR + \...and men. + + SLARTIBARTFAST + Mmmm? What? + + ARTHUR + The best laid plans of mice and men.[[(CONTINUED)9]][[85.]][[HHGG 3rd Revised Draft 8/8/03]][[4]][[CONTINUED:]][[94]] + + SLARTIBARTFAST + I don't think men have got much to do with it. + +Arthur looks confused. Slarti motions him to a door. + +.Arthur readies his towel at his mouth as Slarti hits a #95#[[95]] + +button. The door slides open and nothing happens. It's just a door that leads to a room where several TRANSPORT CARTS move past -- like a kids ride at Disneyland. They step into one. Slarti closes the little door. The cart MOVES through a curtain, out into DEEP SPACE. PULL BACK - till the cart is no more than a speck being pushed forward by the longest telescoping arm in history. + +INT. - PLANET FACTORY - NIGHT #96#[[96]] + +The space is millions of miles across. Floating in it are half-finished planets, construction gantries around them. + + SLARTIBARTFAST (CONT'D) + Welcome to our factory floor. + +ON ARTHUR -- who is positively blown away. + +>CUT TO: + +INT. TEMPLE OF DEEP THOUGHT -- CONTINUOUS #97#[[97]] + +Ford, Zaphod and Trillian enter the dimly lit temple. They hear a faint, tinny sound. They follow it. FURTHER DOWN THE CORRIDOR... The sound gets louder. Tinny music. And laughter... Flickering light illuminates the end of the corridor. + + ZAPHOD + This is it! + +He quickens his pace. Trillian and Ford follow. They round the corner to find... DEEP THOUGHT -- sitting there majestically. The TINNY MUSIC emanates from somewhere near him. Zaphod takes another step in and now sees the source of the TINNY MUSIC. Deep Thought is watching TV. A violent, stupid cartoon. + + ZAPHOD (CONT'D) + Deep Thought...! + + DEEP THOUGHT + Shhh. This is a good bit. + +The cartoon continues. Zaphod enters, removes his thinking cap and reverently approaches. He kneels...[[(CONTINUED)9]][[86.]][[HHGG 3rd Revised Draft 8/8/03]][[7]][[CONTINUED:]][[97]] + + ZAPHOD + Oh great Deep Thought...we have traveled long...and far. Have you calculated... the Ultimate Question? Of Life, the Universe and Everything? + + DEEP THOUGHT + No. + + ZAPHOD + No? + + DEEP THOUGHT + I've been watching TV. + + ZAPHOD + Oh... + +Zaphod holds a smile but his world is slowly crumbling. + + DEEP THOUGHT + I designed another computer to perform that great task. + + ZAPHOD + Oh, right...I forgot. + (looking around) + Is it here? + + DEEP THOUGHT + Not here. Another world. + + ZAPHOD + It's on another world? + + DEEP THOUGHT + It is another world. Or was. + + ZAPHOD + Where? + + DEEP THOUGHT + Ask your companion. + +Zaphod turns to Ford. Ford looks confused. + + DEEP THOUGHT (CONT'D) + Not him. + +Zaphod looks to Trillian. She looks equally confused. Zaphod puts the thinking cap back on. Strains hard. + + ZAPHOD + Okay -- you're sure you don't have the Question? Or a way to you, you know -- access it or something. I think I've done like a lot to get here...[[(CONTINUED)9]][[87.]][[HHGG 3rd Revised Draft 8/8/03]][[7]][[CONTINUED: (2)]][[97]] + + DEEP THOUGHT + Shhhhhh... + +Zaphod looks up. Deep Thought is shushing him? + + DEEP THOUGHT (CONT'D) + The show's back on. + +A robotic arm reaches out and turns up the volume. Zaphod stands, turns to Ford and Trillian, smiles that smile -- but it's starting to look a bit crazed. + + ZAPHOD + Great. This is just great. Let's go find something else for my entire life to be about. + +He starts to march off. Ford grabs his arm. + + FORD + Zaphod. The gun? The one Humma sent us for? We have to get it. You gave the guy your head. + + ZAPHOD + I know. Why did I do that? + +He pulls his thinking cap down -- all the way over his eyes. Ford rolls his eyes, turns... + + FORD + Um...Deep Thought? We we're told you have a g... + +Before he finishes the sentence, a PANEL in the wall slides open revealing a LARGE, SCARY LOOKING GUN. A robotic arm pushes it forward. Ford goes over, takes it, carries it like it's nitroglycerin to Zaphod who's already walking away, CORRIDOR LEADING AWAY FROM DEEP THOUGHT Ford hands Zaphod the gun. + + FORD (CONT'D) + Here. Take it. I don't do guns. + +Zaphod takes it with a smile... + + ZAPHOD + Thank you. + +!...and instantly points it at his head. Ford lunges for it. There's a struggle. Ford's trying to get Zaphod's finger off the trigger when CLICK! The trigger is pulled. Ford winces. But apparently, nothing has happened. + + ZAPHOD (CONT'D) + Great! This is a bust, too![[(CONTINUED)9]][[88.]][[HHGG 3rd Revised Draft 8/8/03]][[7]][[CONTINUED: (3)]][[97]] + + FORD + Hey, man, you must be really frustrated. To go through all you did only to come here and get no answer, which means no fame and money, and you deserve that, man. Because you're great -- you're just really, really great. + +Zaphod isn't sure what just happened. But he smiles anyway. Trillian, however, is onto something. + + TRILLIAN + Give me that thing. + +>BACK TO: + +INT. MAGRATHEA. PLANET FACTORY. CONSTRUCTION PLATFORM #98#[[98]] + +The transport cart moves past two half-finished planets and on toward a 3rd planet. Construction gantries and clouds obscure our view. + + SLARTIBARTFAST + The galaxy was a bit of a shambles, you see. Everyone enjoying themselves being singers and comedians and really creative and interesting things like that. No one doing the boring jobs. + + ARTHUR + Oh, you had that problem, too? + + SLARTIBARTFAST + In spades. So a species was genetically engineered to do the boring jobs. Tax inspectors, traffic wardens, government officials. We were commissioned to build a special planet for them. Problem was, some cleverdick made it so any time one of the creatures had an interesting idea it would get a hefty smack around the face. + + ARTHUR + What? You did that? I've been there! + +The cart lowers down toward the surface of the planet. + + SLARTIBARTFAST + Then I gather you've met some of the inhabitants. + + ARTHUR + The Vogons? + + SLARTIBARTFAST + (shuddering) + Relentless blighters.[[89.]][[HHGG 3rd Revised Draft 8/8/03]][[9a]] + +EXT. MAGRATHEA - DAY #99a#[[99a]] + +TWO MISSILES screech overhead and soar up toward... THE VOGON SHIPS -- descending from space. The missiles each hit a ship. They explode. Two more missiles fire, taking out two more ships. But several ships do land. Marvin watches from within the Stonehenge formation. + + MARVIN[[99]] + Life. Loathe it or ignore it, you can't like it. + +>BACK TO: + +INT. CORRIDOR/TEMPLE OF DEEP THOUGHT - DAY #100#[[100]] + +CLOSE ON ZAPHOD + + ZAPHOD + \...and you're right, I shouldn't be so upset 'cause life goes on and I should just go on with it, right? + +PULL BACK TO REVEAL -- Ford is hesitantly aiming the gun at Zaphod. + + TRILLIAN + Shoot him again. + +Ford reluctantly pulls the trigger. CLICK. + + ZAPHOD + Hitchhiking is good. Towels are good, too. + + TRILLIAN + Brilliant. + + FORD + Yeah. I kinda like this. + +She take the gun from him. + + TRILLIAN + A gun that makes people suddenly see things from your point of view. Useful tool for the deranged evangelist trying to convert the masses, eh? + +She starts walking. + + TRILLIAN (CONT'D) + We should get back. Arthur's waiting. + + ZAPHOD + Who cares? + + TRILLIAN + (spinning on him; pointed) + I do -- especially since we're both somewhat of an endangered species now.[[(CONTINUED)1]][[90.]][[HHGG 3rd Revised Draft 8/8/03]][[00]][[CONTINUED:]][[100]] + + ZAPHOD + Why so edgy? + +She can't believe he's asking this. She aims the gun, CLICK! + + ZAPHOD (CONT'D) + Of course you're edgy, your planet's been blown up and you've been tooling around the Galaxy with the guy who signed the order + +CLICK. She shoots him again. + + ZAPHOD (CONT'D) + You actually wanted to know the Question because you always thought there was more to life, and now you're crushed because you find out there really isn't. + +She's getting angrier and more hurt. CLICK. + + ZAPHOD (CONT'D) + You've got no home, no family, no one to be with -- and you're stuck with me, another in a long line of men who doesn't appreciate you because he's too busy appreciating himself. + +Hearing this puts a lump in her throat, causes her eyes to well with tears. She lowers the gun. Zaphod shakes his head -- the effect wearing off. But he realizes what he said and doesn't like it. + + ZAPHOD (CONT'D) + Give me that thing. + +He grabs the gun, points it at her. + + TRILLIAN + Won't affect me. I'm already a woman. + +Before he can react, A BRIGHT LIGHT SHINES BEHIND THEM. They turn, shielding their eyes. + + ZAPHOD + Uh oh -- oh. It's okay, it's only a couple of... + +FLASH! KEEEOOOW! They are engulfed in WHITE LIGHT. + +>BACK TO: + +EXT. DEEP SPACE (FACTORY FLOOR) - CONTINUOUS #101#[[101]] + +The transport cart continues toward the 3rd planet. + + SLARTIBARTFAST + Here we are, then. Look familiar? + +Arthur turns and looks. There before him is...[[91.]][[HHGG 3rd Revised Draft 8/8/03]][[O1a]] + +.EARTH -- Arthur is thunderstruck...then confused. #101a#[[101a]] + + ARTHUR + So -- it wasn't destroyed? + + SLARTIBARTFAST + Actually, it was. This is a back-up. Earth Mark II. + + ARTHUR + So you're saying you ... made the Earth? + + SLARTIBARTFAST + Well, not me alone. It was a group effort. I did my part, though. Ever heard of a place, I think it's called Norway? + +.Arthur nods. The cart pushes through the clouds, towards #101b#[[101b]] + +Ayers Rock. A GUY ON A LADDER is painting it it's familiar red color. Some of it is still primer grey. + + SLARTIBARTFAST (CONT'D) + That was one of mine. Won an award you know. Lovely crinkly edges. I was sorry to hear about it being blown up. Shocking cock up. The mice were furious. + + ARTHUR + Mice? Who cares about bloody mice? + + SLARTIBARTFAST + Are you a fan of plate tectonics? + +Arthur looks up. Slartibartfast points down. + +.ANOTHER MAN pushes a button causing mountains to spring #101c#[[101c]] + +up noisily. + + SLARTIBARTFAST (CONT'D) + Voila! Himalayas. Good, eh? + +Arthur is working very hard to process all this. + +.JUMP CUT. They move through a forest where a man presses #101d#[[101d]] + +a lever making several MUSHROOMS pop up on the ground. + + SLARTIBARTFAST (CONT'D) + Earthman, you must realize that the planet you lived on was commissioned, paid for, and run by mice. It was destroyed shortly before the completion of the purpose for which it was built. Ten minutes later, we would have been free and clear. But we gave them our standard ten million year warranty and they have come here to retrieve this back-up copy. And they've brought you with them. + +The transport cart flies out of forest toward the ocean.[[(CONTINUED)1]][[92.]][[HHGG 3rd Revised Draft 8/8/03]][[01d]][[CONTINUED:]][[101d]] + + ARTHUR + They brought...I'm sorry, when you say "mice" do you mean the little white furry creatures with the cheese fixation? + + SLARTIBARTFAST + These creatures you call "mice" are merely the protrusion into our dimension of hyper-intelligent pan-dimensional beings. The whole business with the cheese must've been a front. They were experimenting on you, you see. A vast computer program... + + ARTHUR + Ah. I see where you're confused. You see -- we were experimenting on them. + +.Over the ocean, a "Perfect Storm" wave rolls toward them. #101e#[[101e]] + + SLARTIBARTFAST + Oh, I gather they arranged for you to conduct some primitively staged experiments so they could prod your thinking here and there. But you were actually elements in the computer program. They really are very clever hyper-intelligent pan-dimensional beings. + (looking down) + Ah. They've nearly finished the oceans. + +.They move toward the white cliffs of Dover. A man stands #101f#[[101f]] + +on a cliff holding a giant hose, water spewing from it. + + ARTHUR + So -- you're trying to tell me that mice designed and built Deep Thought...and Deep Thought designed the Earth...which was a giant supercomputer...that you built...to calculate the Ultimate Question. Only, Vogons destroyed it ten minutes before the program was completed? + + SLARTIBARTFAST + That's bureaucracy for you. + + ARTHUR + Actually, this explains a lot. All my life I've had this strange feeling that something was going on in the world, something big, something sinister ... + + SLARTIBARTFAST + That's just perfectly normal paranoia. Everyone in the universe has that. + +EXT. EARTH II. ENGLISH COUNTRYSIDE - CONTINUOUS #102#[[102]] + +A & S swoop down and soar over the English countryside -- partially constructed; tall tree stocks with branch and leaves lying beside them, waiting to be attached. Men rolling out sod like a giant carpet, etc.[[(CONTINUED)1]][[93.]][[HHGG 3rd Revised Draft 8/8/03]][[02]][[CONTINUED:]][[102]] + + SLARTIBARTFAST + I don't know, perhaps I'm old and tired, but I always think that the chances of finding out what's really going on are so absurdly remote that the only thing to do is say hang the sense of it and keep yourself busy. I'd much rather be happy than right any day. + + ARTHUR + And are you? + + SLARTIBARTFAST + No. That's where it all falls down of course. + (slowing the platform) + Here we are, then. + +.The platform slows to a stop. + +Arthur steps out and is[[103]] + +stunned to see... HIS HOUSE. It's partially constructed. The chimney lies intact on the ground, waiting to be hoisted up. A row of hedges lies on it's side beside a trench. But it's his house alright. + + ARTHUR + Is this...? + +Slartibartfast nods. Arthur, in a daze, stumbles toward the house. + +INT. ARTHUR DENT'S HOUSE/MARK 2 - CONTINUOUS #103a#[[103a]] + +Arthur enters his house. There is no furniture, no photographs or books or any evidence of his existence there. He feels the walls, the countertops. He's home? + + TRILLIAN (O.S.) + Arthur! + +Arthur pokes his head around a wall to find... + +.FORD, ZAPHOD AND TRILLIAN -- sitting at an elegantly set #104#[[104]] + +table -- stuffing their faces with a meal fit for a king. + +INT. ARTHUR DENT'S HOUSE/MARK 2 - #103a#[[103a]] + + ARTHUR + What -- what are you doing? What happened to you? + +They talk while continuing to stuff food in their mouths. + + FORD + Funniest thing. + (chew, chew) + Our hosts attacked us with Dismodulating Anti Phase Stun Mist + (chew, chew) + then brought us to this amazing meal as a way to make it up to us + (chew, chew) + \. Try the mutton. It's fantastic.[[(CONTINUED)1]][[94.]][[HHGG 3rd Revised Draft 8/8/03]][[03a]][[CONTINUED:]][[103a]] + + ZAPHOD + (mouth full) + Zarking incredible. + +They can't seem to stop eating, like they've been drugged. + + ARTHUR + Hosts attack you --? And then you sit down for -- is that tea? + +Arthur has spotted a TEA POT on the table. He hurries to it, feels it. Warm. He pours a cup, takes a sip, Closes his eyes, enjoying it. + + ARTHUR (CONT'D) + Now that's a cup of tea. + + FRANKY MOUSE (O.S.) + We're glad you like it, Earth creature. + +He looks down and sees THE TWO WHITE MICE sitting on a silver platter. + + BENJY MOUSE + After ten million years on Earth, and a rather large chunk of that time in England, it would be utterly humiliating if we didn't know how to make a decent pot of tea. + +Arthur stares in shock...can't speak. + + TRILLIAN + Arthur, these are our hosts. Benjy mouse and Franky mouse + (chew, chew) + \. They control a large sector of the Universe in our dimension + (chew, chew) + \. I'm sorry, I thought you were told about the mice... + + ARTHUR + Yes. Yes, I was. I just wasn't quite prepared for the full reality of it. + +He steadies himself on the table. + + BENJY MOUSE + Sit, Earthman. Eat. + +Benjy pushes his hand through the air, the chair at the end slides backward. + + ARTHUR + In a moment, perhaps. I can't seem to let go of this table. + +Slartibartfast steps forward.[[(CONTINUED)1]][[95.]][[HHGG 3rd Revised Draft 8/8/03]][[03a]][[CONTINUED: (2)]][[103a]] + + SLARTIBARTFAST + Pardon the interruption, but I'll just be getting back to work now. + + BENJY MOUSE + That won't be necessary, Slartibartfast. + + ZAPHOD + (cracking up, like he's stoned) + Smarty fart blast? + + BENJY/FRANKY + Eat! + + ZAPHOD + Right. + + BENJY MOUSE + It looks like we won't be needing the new Earth after all, now that we've found the only living native of the planet. + + SLARTIBARTFAST + But...they've nearly finished the oceans. + + FRANKY MOUSE + That will be all, Slartibartfast. + +Slarti, slightly hurt, backs away out of sight. + + ARTHUR + I'm sorry, when you say "the only living native" -- do you mean me? What about her? + +Benjy holds up a strand of hairs, same color as Trillian's. + + BENJY MOUSE + We performed some rudimentary DNA tests on the ship. She's half-native. Her real father was a Blahardid, the hyper-intelligent yet carelessly nomadic race native to the planet Olbed, who apparently popped in to Earth for a one-nighter with a one Ms. Francis McMillan. + + TRILLIAN + (looking up, mouth full) + Which explains a lot. + +She goes back to eating. Arthur is taking this all in. + + ARTHUR + So -- mostly harmless and me. That's it. + + BENJY MOUSE + We're sorry to have stage managed you so shamelessly, but once we learned you were the only full-blooded Earthling in the universe, it was important that we get you here by any means necessary.[[(CONTINUED)1]][[96.]][[HHGG 3rd Revised Draft 8/8/03]][[03a]][[CONTINUED: (3)]][[103a]] + + FRANKY MOUSE + We've spent a considerable amount of time on your planet trying to find this wretched Ultimate Question, and the thought of doing it all over again on account of those idiotic Vogons sickens me to no end. Which is why you're here. + + BENJY MOUSE + Sit, Earthling. Sit. + +Arthur goes to pull out the chair beside him. + + BENJY/FRANKY + NOT THERE! + +Arthur jumps. The others look up. Benjy and Franky cover their outburst with a smile. + + BENJY MOUSE + This chair is much more -- comfortable. + +Benjy makes a motion. The chair he pushed out before slides over behind Arthur's knees, making him sit. + + BENJY MOUSE (CONT'D) + Drink. + +He slides the cup of tea over. Arthur takes a sip. + + ARTHUR + Mmmm. This really is delicious. + + BENJY MOUSE + Good. Glad you like it. Now -- to business. + +Ford and Zaphod raise their glasses like drunken sailors. + + FORD/ZAPHOD + To business! + +Benjy and Franky fire them a look. + + ZAPHOD + Sorry. Thought you were proposing a toast. + + BENJY/FRANKY + EAT! + +Ford and Zaphod eat. Benjy turns to Arthur. Smiles. No one notices, through the window, a row of Vogons cresting the hill. + + BENJY MOUSE + About this Ultimate Question. You see, we've been offered a quite enormously fat contract to do the 5D TV chat show and lecture circuit, and quite frankly, we're very much inclined to take it.[[(CONTINUED)1]][[97.]][[HHGG 3rd Revised Draft 8/8/03]][[03a]][[CONTINUED: (4)]][[103a]] + + FRANKY MOUSE + But - and here's the point - we have to have product. Which means we still need an ultimate question. + + BENJY MOUSE + Or at least, one that sounds ultimate. + + FRANKY MOUSE + Yes. Got to sound good. + + ARTHUR + An Ultimate Question that sounds good... From a couple of mice...for a chat show. + + FRANKY MOUSE + And as it turns out, the chances are astronomically high that the structure of the question is encoded in your brain. Which is why we need it. More tea? + +Franky tries to pour more tea. Arthur stops drinking, a little woozy. Did he hear them right? + + ARTHUR + I'm sorry -- did you just say you need my brain? + + BENJY MOUSE + Yes. To extract the question. + + ARTHUR + You can't have my brain. I'm using it. + + FRANKY MOUSE + Barely. + + BENJY MOUSE + We can replace it if you think it's important. An electronic brain maybe. + + FRANKY MOUSE + A simple one should suffice. Who would know the difference? + + ARTHUR + I would! + + FRANKY MOUSE + No, you wouldn't. We could program you not to. + +Arthur tries to get up. Clamps spring up from the chair and wrap around his arms. A dome flips over from the back and slams down on his head. Arthur struggles. + + ARTHUR + Ford! Zaphod! TRILLIAN!![[(CONTINUED)1]][[98.]][[HHGG 3rd Revised Draft 8/8/03]][[03a]][[CONTINUED: (5)]][[103a]] + +They're gorging on the food, half-lidded, out of it. + + ARTHUR (CONT'D) + What are they-- what's in the food?! WHAT WAS IN THAT TEA!? + +The platter the mice are standing on rises up, moves toward Arthur, ominous surgical instruments spring from it. + + BENJY MOUSE + Don't worry. You won't feel a thing. + +The mice on the platter move ominously toward Arthur. Arthur, still attached to the chair, backs away. Scythes and rotating arms with circular saw blades shoot out -- ominous surgical equipment to remove his brain. + + ARTHUR + Wait a minute, JUST WAIT A SODDING MINUTE!! + +The scythes and arms stop spinning. Arthur stumbles backwards and sits down in the chair. The others stop eating and listen. + + ARTHUR (CONT'D) + You want the question that goes with the answer "42" How about "What's six times seven?" Or "How many Vogons does it take to screw in a lightbulb?" Or here's one, "How many roads must a man walk down?" + + BENJY MOUSE + Hey, that's not bad. + +Through the opposite window (in much the same way bulldozers arrived in the opening) we see more Vogons arriving. + + ARTHUR + Fine. Take it. There's plenty more where that came from because my head is filled, with questions, and I can assure you mate, no answer to any of them has ever brought me one iota of happiness. Confusion? Yes. Indecision? Loads. But happiness...? + +He shakes his head. + + BENJY MOUSE + We don't want to be happy. We want to be rich. + + FRANKY MOUSE + Take his brain.[[(CONTINUED)1]][[99.]][[HHGG 3rd Revised Draft 8/8/03]][[03a]][[CONTINUED: (6)]][[103a]] + +Benjy steers the platter toward Arthur. He jerks his arms up. They break free of the shackles and hit the platter. The mice fly through the air and land on the table -- right beside the POV gun. They scramble to their feet. + + BENJY MOUSE + Shoot him!! + +They try to lift the POV gun but it's way too heavy. Arthur, his butt still strapped in the chair, leaps over to the table and grabs the first thing he sees -- a leg of mutton. He raises it high. Benjy and Franky look up. + + FRANKY MOUSE + Oh, shit. + +Arthur brings the mutton down, squashing them flat. The others instantly snap out of their food induced haze, Zaphod suddenly clutches his gut. + + ZAPHOD + Ohhhh, I think I'm gonna be sick. + +Arthur looks up and now he sees the Vogons marching down the hill toward the house. He leans over the table, bumping his teacup. IT SHATTERS TO THE GROUND. + +.ON THE HILL JUST BEYOND -- #105#[[105]] + +An ARMY OF VOGON POLICE march over it. Amongst them... MARVIN -- marches as well, a gun held to his head. + + MARVIN + (to the Vogon) + I must warn you, I'm feeling very depressed. + + KWALTZ + Mr. President! We are here for your protection! + +Zaphod appears at the front door and waves Presidentially. + + ZAPHOD + Thank you! + +.The Police open fire. Zaphod and the others flee as the #106#[[106]] + +barrage of fire continues. Trillian drops the POV gun, goes back for it. Arthur stops her and pulls her behind the truck. Marvin catches a bullet in the back of his head - sparks fly and he is thrown forwards! Is he dead? BEHIND THE TRUCK -- FORD looks at MARVIN lying face down in the dirt - his head emitting smoke.[[(CONTINUED)1]][[100.]][[HHGG 3rd Revised Draft 8/8/03]][[06]][[CONTINUED:]][[106]] + + FORD + Okay -- that thing I said about not saving my life because we're even? Scratch that. Save at will. + + TRILLIAN + We need that gun. + + ZAPHOD + (campaign sound-byte) + We need tighter gun control! + + FORD + We need his other head. + (an idea) + Okay -- I'll create a distraction. + +He holds up his towel. + + ARTHUR + (sarcastic) + Brilliant plan. I'm certain it will work. + + FORD + (squinting at Arthur) + You know -- I think sometimes you say things that mean something other than what you're actually saying. + +More gunfire erupts. Ford spins his towel until it's twisted and taut. He leaps up and runs towards... + +!... + +.THE VOGON POLICE FORCE -- who see him coming, his #107#[[107]] + +towel held like he's going to whip someone on the ass. + + FORD (CONT'D) + AHHHHHHHH!!!! + +The Vogons are so caught off guard, they back away. + + TRILLIAN + Now! + +.She and Arthur both run out toward the gun. #108#[[108]] + + ARTHUR + I thought I was...what are you... get back... okay fine... + + TRILLIAN ^ + I thought I was...I'll get it... you already... fine, fine + +They each grab the gun just as Questular realizes... + + QUESTULAR + It's a towel! It's only a TOWEL!! GET HIM!! + +The Police stop their retreat, raise their guns, move forward. Ford skids to a stop and runs back toward Arthur and Trillian, both clinging to the gun, running back toward the truck. GUNFIRE ERUPTS. A and T TRIP. The POV gun goes flying and lands in... MARVIN'S ARMS.[[(CONTINUED)1]][[101.]][[HHGG 3rd Revised Draft 8/8/03]][[08]][[CONTINUED:]][[108]] + +The Vogon Police run in formation toward the gang. Ford looks back, sees the Vogons approaching. He looks forward, sees Marvin raising the gun. + + FORD + Duck! + + ZAPHOD + Where? + +He looks to the skies just as Ford fans out his towel and uses it to bring Z, A & T to the ground just as... MARVIN FIRES THE POV GUN, Questular ducks. CLICK. The entire Vogon Police force is hit. They instantly stop. Their shoulders slump. + + VOGON POLICE FORCE + (in unison) + Oh what's the point? + +They turn their weapons on themselves and... ANGLE ON FORD, ZAPHOD, ARTHUR AND TRILLIAN -- turning their heads as we hear the weapons fire. They look up. + +.All the Vogon Police lie motionless on the ground #108a#[[108a]] + +including Kwaltz. Questular is the last man standing. He marches toward them, patches of clump baldness on his head. He drops to his knees. + + QUESTULAR + Shoot me. Please Zaphod. Shoot me. + +Zaphod takes the gun, fires it at Questular. He rises -- and paints on a big smile. + + QUESTULAR (CONT'D) + What am I so pissed off about? I'm great? I'm zarking incredible! Everyone loves me! WHOOO HOOO!!! Look at me...etc. + +Questular runs towards a lake/blow hole, takes off his clothes and jumps in. + + ZAPHOD + Marvin. You saved our lives. + + MARVIN + I know. Wretched, isn't it? + + QUESTULAR + (distant) + Oh man! I love being me!! + +They share a laugh. Arthur approaches Slartibartfast. + + ARTHUR + Thank you.[[(CONTINUED)1]][[102.]][[HHGG 3rd Revised Draft 8/8/03]][[08a]][[CONTINUED:]][[108a]] + + SLARTIBARTFAST + I've just been informed by some of the lads that since we're so near completion, we're going to go ahead and finish Earth. We can put it back exactly the way it was when you left, you know -- unless there's anything you'd like to change. Something you think your planet could do without? + +Arthur thinks about it...looks around...slowly nods... + + ARTHUR + Yes. Me. + +He looks to Trillian who raises an eyebrow. Really? She smiles. + + TRILLIAN + Let's go somewhere. + + ARTHUR + Yes, You name it. I'll go. + + ZAPHOD + I'm going to Humma's. He has my head...I think. Doesn't he? I'm so confused. + + FORD + And I'm hungry. After we get your head let's grab a bite. I know this great restaurant at the end of the universe. + +As they walk away, we CUT TO... + +.SLARTI'S FACTORY ELEVATOR -- where they all board. #109#[[109]] + + SLARTIBARTFAST + Okay. Hold tight. + +Everyone grabs the rail, except for Trillian who holds on to Arthur. SSSSSSHHHHHHHHHVUMP! Up into the sky they go. + + VOICE (O.S.) + Stand-by for commencement of life cycle. All systems checked and cleared. Commencing. + +We hear KL-KLUNK. BZZZZZZZ... and watch nature burst into life - animals run - flowers bloom - waterfalls cascade - mountains rise in the mist - monkeys bathe in hot springs etc. Set to a wonderful, uplifting piece of music ("WHAT A WONDERFUL WORLD?"). Tilt up to the sky. The day turns to night. Stars appear. The Heart of Gold streaks through the stars. THE END diff --git a/fountain_scripts/The Hitchhiker's Guide to the Galaxy.webp b/fountain_scripts/The Hitchhiker's Guide to the Galaxy.webp new file mode 100644 index 0000000000000000000000000000000000000000..d2a5dbf8b0e98fe0a92341758bc05184de724f86 --- /dev/null +++ b/fountain_scripts/The Hitchhiker's Guide to the Galaxy.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:42e803597a6a834df503e9171049723f4fdfe4a48647b4d77ed4e121f78ac3cb +size 28370 diff --git a/fountain_scripts/The Hollow Man.fountain b/fountain_scripts/The Hollow Man.fountain new file mode 100644 index 0000000000000000000000000000000000000000..23d20b4d5cf77df0a1af7b3f0f286733a8817e2a --- /dev/null +++ b/fountain_scripts/The Hollow Man.fountain @@ -0,0 +1,5021 @@ +Title: The Hollow Man +Credit: written by +Author: Andrew W. Marlowe +Production: Red Wagon Prods. +Draft date: Revised Draft 6/26/98 + +>FADE IN: + +On complete darkness. + +A SMALL DOOR swings open. + +A circle of light reveals that we're looking down the length of a tube. At the far end of the tube, we see a gloved hand dangling a rat. The hand shoves the frightened rat into the tube and closes the door behind it. The rat's stark white fur bristles and it begins to pad down the tube's length. + +After several feet, the tube opens up into a dimly lit cubicle. The rat hesitates and stops. + +The SOUNDS of gentle BREATHING whispers in the rat's ears. + +The rat turns round to head back down the tube, but a door swings shut, trapping it in the cubicle. + +The rat cowers as the BREATHING turns to SNORTING. + +The rat's head jerks around, looking for signs of danger, but the cubicle is empty. The rat sees a water dish on the far side of the cubicle - a place to hide - and dashes toward it. + +But an invisible force descends. + +The rat squeals in agony as something smashes down on its body, crushing it. + +A LOUD BELLOW rings out, and the rat flies into the air, halting a few feet off the ground. Its body writhes, struggling against the unholy force. + +Then a sick crunch of tiny bones snapping. All life quickly drains from the levitating body. Dead eyes... + +The creature's corpse floats in mid-air. Then the white fur of the rat explodes in a shower of blood. + +HUGE BLOOD SMEARED INCISORS appear, as do the red-slicked ape-like lips. The gaping bloody mouth bites again into the rat. + +>CUT TO: + +INT. BEDROOM - NIGHT + +In the background we hear Jay Leno's monologue from the Tonight Show. A small lamp and the glow from a computer screen illuminates SEBASTIAN CAINE, late twenties with the shabby good looks of a perpetual grad-student. Wiry framed and wearing only boxer shorts, Sebastian sips coffee from an Einstein coffee mug. He peers at a complex computer rendered molecule displayed on his screen. He pecks a few keys and the molecule shifts slightly, then falls apart. + +Sebastian pulls a twinkie from a hostess box, unwraps the cellophane and sucks it down. He attacks the keyboard with renewed vigor. + +Another molecule appears on the screen. Sebastian's fingers fly across the keyboard. The molecule blinks on and off, it trembles and twists apart. + + SEBASTIAN + Damnit. + +Sebastian peers out his window. Across the courtyard, a light comes on in a neighboring window. He sees a BRUNETTE, mid-twenties, absolutely stunning, enter her living room. The Brunette thumbs through the mail, tosses it and then begins to undress. Sebastian leans over to the window, getting interested. But when the brunette reaches her bra and panties, she crosses to the window and lowers her shades. + + SEBASTIAN (cont'd) + Damnit. + +Sebastian leans back in his chair and closes his eyes. He's obviously tired. He opens his eyes and stares up at the ceiling. Painted across the white matte finish in big red letters is a brief reminder - You Should Be Working. Sebastian sighs, leans forward and begins pecking away again. + +>LATER: + +The television is now only static. We pan by his alarm clock. 4 am. We find Sebastian pacing in front of his computer. + +He gets an idea... slides back in his chair. Types away again. The molecule reforms on the computer screen. + +He types a few more keys, waits, watches the molecule. Nothing happens. + +He hits a few more keys and watches intently for a reaction. + + SEBASTIAN + (beat) + I am a goddamn genius. + +He hits a few more keys and a telephone keypad appears on the screen. He dials. + +>CUT TO: + +INT. ANOTHER BEDROOM - NIGHT + +Digital phone rings. + +In the bed, LINDA FOSTER, late twenties, stirs from a deep sleep. As she straggles out of bed and over to her desk, we notice a young man sleeping next to her. + +The ringing continues. She moves her computer mouse around and her screen comes to life. She click on a telephone icon and the ringing stops. A beat later, Sebastian appears in a window on her screen. + + LINDA + Sebastian, do you know what time it is? + + SEBASTIAN (SCREEN) + You know Da Vinci never slept. Said it was waste of time. + + LINDA + What is it this time? + +.INTERCUT: SEBASTIAN'S BEDROOM + +Sebastian peers at the image of Linda in the computer window. He notices something behind her in the bed, the young man sleeping face down. + + SEBASTIAN + Who's that? + +Linda pulls the camera off the top of the of the computer screen and positions it so Sebastian can't see the bed. + + LINDA + Not your business. Not anymore. + + SEBASTIAN + Touche. + + LINDA + So you calling about anything in particular, or were you just hoping to catch me sleeping in the nude? + + SEBASTIAN + I cracked the reversion. + +Upon hearing this, Linda receives a jolt of adrenaline. + + LINDA + You cracked it? + + SEBASTIAN + Look at this. + +Sebastian hits a couple of keys. A moment later the molecular structure appears on Linda's computer. + + SEBASTIAN + Watch this. + + LINDA + You sure? + + SEBASTIAN + 91% sure. + + LINDA + (astonished) + Eleven months with no progress and you suddenly come up with it out of the blue? How? + + SEBASTIAN + The usual. Coffee and twinkies. + + LINDA + I hate you. + + SEBASTIAN + I know. You think you could hunt down Matt and get to the lab early. I want Isabelle prepped for a live test. + + LINDA + Yeah, I think I can find him. What are you going to do? + + SEBASTIAN + Well y'know. It's daylight in Switzerland. I gotta call the Nobel Committee and tell them to get our prizes ready. See you in a few. + +ON LINDA'S COMPUTER SCREEN as Sebastian clicks off. Linda crosses to her bed, and shakes the guy awake. + + LINDA + Hey... come on. + +DR. MATTHEW KENSINGTON, late 20s too, stirs from under sheets. + + MATT + (groggy) + What? + + LINDA + Sebastian just called. We gotta get to the lab. + +Matt bolts up. + + MATT + Shit! You didn't tell him I was here, did you? + + LINDA + Give me some credit, will ya. + + MATT + So what's the rush? + + LINDA + He cracked reversion. + +Matt pulls his jeans on. + + MATT + Wanna ride down? + + LINDA + We better take our own cars. + + MATT + You're gonna have to tell him about us eventually. + + LINDA + I know. It's just You're his best friend. He'll feel betrayed. + +EXT. WASHINGTON D.C. SKYLINE - DAY + +From a distance, the Nation's Monuments stand awash in the harsh light of morning. + +CAMERA finds a BLACK PORSCHE as it pulls to the security fence of a warehouse. The imposing structure is surrounded by a chainlink fence and barbed wire. + +The Porsche is waved through security and heads straight into the warehouse. + +INT. WAREHOUSE -DAY + +The Porsche pulls to a halt in a reserved parking space and Sebastian exits, wearing a Hawaiian shirt, shorts, and Birkenstocks. He notes the other cars parked in the lot, then crosses to bunker in the center of the warehouse, guarded by a MARINE, shouldering an M-16. + + MARINE GUARD + Morning, sir. + + SEBASTIAN + Morning, Ed. + + MARINE GUARD + Your team's in early. Something special going on? + + SEBASTIAN + Sorry, Ed. You know the rules. + +Sebastian presses his thumb against a glass screen. A laser reads his print. Scan readout: CAINE, SEBASTIAN Clearance: ALPHA ALPHA THREE Division: + +CLASSIFIED The doors whisk open and Sebastian steps inside. + + MARINE GUARD + Have a good day, sir. + +INT. ELEVATOR - DAY + +Inside the elevator is a numberless keypad. Sebastian taps in his floor code. + + ELEVATOR (V.O.) + Authorization please. + + SEBASTIAN + Caine zero zero two seven. + + ELEVATOR (V.O.) + Authorization verified. Good morning, Dr. Caine. + +The elevator descends with a groaning hum. It passes below us and keeps descending into the belly of the earth, the shaft goes down forever. + +INT. HABITAT'S CORRIDOR + +We slowly push down a hallway panelled by Plexiglas chambers. Each chamber looks as if it's tailored for a specific animal, although no animals are visible. + +As we pass one habitat, something slams into the Plexiglas and begins barking. Another HOWL joins in. Then SCREECHING. Suddenly the hallway fills with a dozen animal cries. THUMP. + +THUMP. + +The Plexiglas on several chambers vibrates as if angry animals were slamming against it. But still, no animals are seen. + +Above each chamber, VIDEO SCREENS display THERMAL IMAGES revealing heat signatures of the various animals, but they remain invisible to the naked eye. MATT taps on a sheet of Plexiglas which seals off another seemingly empty cage. + + MATT + Isabelle ... + +The woodchips on the floor shift and suddenly the Plexiglas steams up right in front of Matt's face. The Plexiglas begins to shake violently. + + MATT (cont'd) + Calm down baby. Calm down. It's okay... + +Matt takes a pair of thermal goggles from his belt and pulls them down over his eyes. THERMAL POV - A rather large heat signature, ape-like in shape, rattles about the cage. Matt slowly unlatches the Plexiglas door and reaches inside. + + MATT (cont'd) + It's okay, baby. It's okay. I'm not going to hurt you. Come here. + +THERMAL POV - he reaches out to the creature. He grabs hold of it, firmly. Stroking it. The creature COOS. Matt reaches for a hypo and brings it up to the creature. + + MATT (cont'd) + Just hold still. + +Something clamps down on his hand, breaking his skin. Blood erupts in a bite pattern. + + MATT (cont'd) + Ow, shit. + +Matt drops the hypo and falls back. The cage door flies open and something runs out. Matt pulls himself up to see the heat signature running down the hallway. He turns around to see another heat signature coming at him. Matt pulls off his goggles to see Linda coming up the Corridor. + + LINDA + You okay? + + MATT + She bit me. + + LINDA + Yeah. She's become a lot more aggressive in the last few days. + +Linda takes the goggles from Matt. + + LINDA (cont'd) + Go take care of that bite. I'll get her. + + MATT + And give you a chance to pull ahead? Never. + +Linda opens a lock-box at the end of the hallway and pulls out a two tranquilizer guns. She hands one to Matt. + +.AROUND THE CORNER + +A slight distortion shimmers as something runs past us. We hear HOOTS and FOOTSTEPS. + +Looking down the shadowy corridor, we hear grunting and a haunting heavy breathing. The control door is closed though and something large and angry is throwing itself against it. We can't see anything. + +A few moments later, Linda and Matt round the corner, wearing goggles and leveling their pistols. + + MATT + (ala Porky) + Shh. Be vewy, vewy quiet. I'm hunting simians. heheheheh. + + LINDA + Knock it off. + (soothing voice) + Isabelle! + +THERMAL POV - Dark hallway. Movement. A red shimmering heat signature. It comes running at Linda. HOWLING. Linda fires. A T-DART flies. Thwack... It stops in mid-air. Then falls. But it doesn't hit the floor. Instead, it stops inches above the ground. THERMAL POV - the heat signature lies in a heap at Linda's feet. + + MATT + Good shootin', Tex. + + LINDA + What's that make it? + + MATT + I'm still ahead. 6 to 5. + +Like a smug gunfighter, Linda blows imaginary smoke from the top of her tranquilizer gun. + + LINDA + But I'm catching up. + +INT. CORRIDOR - DAY + +The elevator doors open and Sebastian steps out. He's met by SARAH KENNEDY, early thirties, a fiery red-head. + + SARAH + Can I have a word? + + SEBASTIAN + Most normal people say good morning. + + SARAH + Don't you think you should test the protocol on the liver samples before you inject Isabelle? + + SEBASTIAN + How many tissue samples have we successfully regressed? Hundreds, right? How many have gone on to work on the full system? None. + + SARAH + That's beside the point. + + SEBASTIAN + No, that is the point. I'm not going to waste six months of my life on an outmoded testing procedure. This thing works. I know it. I feel it. + +Linda comes down the corridor, listening in on the tail end of the conversation. + + SARAH + Fine. You can mop up afterward. + + SEBASTIAN + You think I'm going to kill Isabelle? + + SARAH + Kill? More like liquefy. + + SEBASTIAN + Sarah, thank you for your opinion, but I'm the project leader. Understand? + +She says ... + + SARAH + Yes, Sir. + +!... but somehow it feels like Fuck you. She storms off. Sebastian turns to Linda. + + SEBASTIAN + How did you ever convince me to hire her? + + LINDA + You said you wanted the best vet in the country. + + SEBASTIAN + Yeah, well she cares more about the animals than the research. + + LINDA + Maybe that's why she's so good. + +>CUT TO: + +CLOSE ON: MATT as he shuts off the spinning cyclotron. As its spinning slows to a halt, he pops the top and reaches in, removing... + +A GLOWING VIAL OF ORANGE LIQUID. + +Sebastian peers at the vial. + + SEBASTIAN + Who da Man? You da Man. + +MATT + +As we pull out we see we are. + +INT. LABORATORY - DAY + +Almost feels like a dungeon. Think high-tech Frankenstein. Walls lined with video displays, technical readouts, bizarre medical equipment. + +On a table in the middle of the room, a sheet drapes over a humanoid form, strapped down at its invisible limbs. The straps move slightly... ghostly. Wires lead from the body to lots of machinery. + + MATT + Protocol is hot. + + SEBASTIAN + Vitals? + +Sarah, checks over the various readouts ... heartbeat, blood pressure, the rest. + + SARAH + Normal. + +CARTER ABBEY, the late thirties lab assistant, wheels in a cart of equipment. Linda taken a seat by the table and pushes aside the sheet. + + BOOMING VOICE + THIS IS GOD. YOU ARE DISTURBING THE NATURAL ORDER OF THINGS AND WILL BE SEVERELY PUNISHED FOR ALL ETERNITY. GOD HAS SPOKEN. + + SEBASTIAN + How many times do I have to tell you, Frank you aren't God. + (beat) + I am. + + FRANK (LOUDSPEAKER) + Sorry, Boss. Forgot. + +Sebastian glance up at a glass booth overlooking the Laboratory floor. TWO PEOPLE in the booth. + + SEBASTIAN + You guys ready to roll? + +INT. OBSERVATION BOOTH + +FRANK CHASE, early thirties, and tech expert JANICE WALTON, early twenties, man a small booth above the lab. They're dressed more like band roadies than scientists. + +The room is crammed with electronic and recording equipment. A handful of monitors display different images of the lab. Thermal and regular video. Another screen monitors vital signs. + + FRANK + We are live and in color. On your mark. + +Frank and Janice looks down on their colleagues. Sebastian nods their way. + + SEBASTIAN + Okay. Roll em. + + JANICE + Okay. We are rolling record on videos one through twelve. + +Frank hits a series of buttons and speaks into a microphone. Recording. + +INT. LABORATORY - DAY + +Frank's voice echoes through the chamber. + + FRANK (V.O.) + Subject Isabelle Two. Currently in phase shift... one hundred twenty six days, eighteen hours. + + LINDA + Testing De-Phase protocol. Injecting serial protein Caine One Two Five. + +Linda removes a glowing vial of orange liquid from a centrifuge nearby. + + MATT + Maybe if you stopped naming them after yourself, you'd have better luck. + + SEBASTIAN + Why thank you, Dr. Kensington, for that keen scientific observation. I'll be sure to include it in my memoirs. + + MATT + A whole mention? And I thought I was just gonna be a footnote. + +Matt unwraps a hypodermic needle and jabs the needle into the vial, drawing up the colored liquid. + +INT. OBSERVATION BOOTH + + MATT + Okay. + +Frank and Janice monitor Isabelle's vitals. + +INT. LABORATORY - DAY + +Tension in the air. + + SEBASTIAN + (to Linda) + Ready. + +She wraps a bungee cord around nothing and pulls it tight. She then takes some dye and sprays it. A surface appears, floating beneath the restraints. It sheens in the light as Linda searches for a vein. She slaps the surface several times. A small bulge appears, like a vein. + + LINDA + Prepped. + + MATT + Let's make some history. + +Matt lowers the hypo to the vein. But Sebastian takes the hypo from Matt's hand. + + SEBASTIAN + Nice try, Sparky. + +Matt relinquishes the needle. + + LINDA + Come on, Isabelle. You can do this. + +Sebastian lowers the hypo. The skin bonds and gives. The needle remains in sight after it slips through the visible surface. Matt presses down on the hypo plunger, releasing a dye into his bloodstream. The gold liquid twists into a long snaking tube up and down the limb. It's the shape of a vein. The liquid begins to react. Small flashes of light blip up and down the strand of color. Ba-bump.. ba-bump... the heartbeat starts to speed up. + + SARAH + Elevated heartbeat. + +INT. OBSERVATION BOOTH + +Janice analyzes the screens. + + JANICE + We're still in the green. + + FRANK + Confirmed. Vitals still in the normal range. + +INT. LABORATORY + +The glowing liquid turns from gold to red as the complex webbing of a bloodstream appears. + + MATT + It's reacting. + +Spreading out from the bloodstream, soon becomes visible.. the shadow of a skeletal system. + + SEBASTIAN + Do you see this? + + LINDA + It's working. It's actually working. + +Matt pulls the sheet back. Muscles are beginning to appear. And eyeballs. Frightened eyeballs. + + SARAH + Heart rate's up. She's scared. + +Sarah soothes her. + + SARAH (cont'd) + It's okay, baby. It's okay. + + SEBASTIAN + Subject began manifesting almost Immediately. Protocol is reacting quickly. + +Isabelle starts to struggle against her restraints. She begins to howl. + + LINDA + Subject may be in pain or extreme discomfort. + + SARAH + Goddamnit. Blood pressure elevating. Brain activity going through the roof. + +The brain appears, seemingly growing from the inside out. The shape of a large half-formed monkey grows from the inside out. A SKULL APPEARS howling in pain, in horror. + + SARAH (cont'd) + We've got a problem. + + SEBASTIAN + What? What problem! + +Sarah checks her monitors. + + SARAH + It's her heart. + +We can see the heart beating in the ape's + + FRANK (V.O.) + I got an erratic heart beat. + + SARAH + She's going into cardiac arrest. + + LINDA + Get the crash cart. + +Carter charges the crash cart and rolls it in. + + SARAH + We're losing her. + +Her machine flatlines. + + SEBASTIAN + No! It's got to work. + +The body is only half there. It looks as if its caught in decomposition. Linda rubs the cardiac paddles together. + + LINDA + Clear! + +Linda slams the paddles on the monkey's chest. The jolt of electricity makes the monkey visible again for a brief moment. Then the skin and flesh fade away again. + + SARAH + We've got something! + +The heartbeat starts up again. The body continues its march toward, visibility. + + SARAH (cont'd) + Still. erratic. + + LINDA + Come on Isabelle. Come on. You can do it. You can fucking do it. + +Everybody's pulling for her. + + SARAH + Come on, monkey. + + MATT + Do it. Do it. Come on. + +Muscles spread like a rash on bone as the monkey twists and turns, frightened. Then skin. The monkey howls. Skin forms over the muscles reappearing like it was being painted on before our eyes. + + SARAH + Stabilizing. + +The entire form glows, then blinks, then glows again, as if it was discharging some stored energy. + + FRANK (V.O.) + Brain activity returning to normal. + +The monkey grunts and groans. Blinks its eyes. Linda hovers over it stroking its fur. + + LINDA + Welcome back, Isabelle. + +Sebastian puts his hand on Linda's shoulder... a move that does not go unnoticed by Matt. We did it. + + SEBASTIAN + (beat) + How is she? + + SARAH + (surprised) + I think she's gonna be okay + +>DISSOLVE TO: + +INT. HABITAT + +Frank, Matt, Sarah, Janice and Linda watch Isabelle rise and walk about the cage. She goes over to the other monkeys and joins in their grooming rituals. + + CARTER + Amazing. She's normal, absolutely healthy. If you didn't know any better, you'd think nothing had happened to her. + + MATT + (ribbing Sarah) + Yeah. I can't wait to slice up her brain and trace her neural pathways. + + SARAH + Screw you, Matt. + + MATT + Well maybe not right away. + + LINDA + We should celebrate. + +INT. RESTAURANT - NIGHT + +The fanciest one in D.C. + +The entire eight person team sits around a round table, drunk and laughing, as the last champagne flute is filled. + +Sebastian raises his glass. + + SEBASTIAN + To the finest research team I've ever known. + +A round of "Hear, hears" and they all clink glasses and drink. + +EXT. RESTAURANT BALCONY - LATER + +The din of the diners fades away as Linda slips out onto the restaurant's balcony. She find Sebastian leaning against a railing, breathing in the night air. + + SEBASTIAN + Hey... + + LINDA + I thought you'd gone. + + SEBASTIAN + Where would I go? + +He looks out over the sweep of the city, the twinkling lights of D.C. and darkness of the Potomac river. + + SEBASTIAN (cont'd) + Twenty years ago there were no computers, no fax machines, no cell phones. I was just wondering what the world will be like twenty years from now... if what we're doing will change everything. + + LINDA + A little "I am become death... the shatterer of worlds"? + + SEBASTIAN + Something like that. + + LINDA + Since the day I met, all you wanted to do was change the world. + +She puts her hand on his shoulder. + + LINDA (cont'd) + Listen, I know we've... I mean... well ... I just want you to know how proud I am of you. I know it probably doesn't mean a lot... + + SEBASTIAN + Actually it does. + (beat) + I guess since you were there from the beginning, you know me better than anyone else on this godforsaken planet. + + LINDA + You're positively maudlin. You should be happy. Do you have any idea what you've accomplished? + + SEBASTIAN + Yeah... but I was working so hard, I didn't realize I'd have no one to share it with. + +Sebastian heads back inside. But he stops and turns back. + + SEBASTIAN (cont'd) + I don't suppose we could turn back the clock for a night and you could come home with me? + +Her look says it all. Too much water under the bridge. + + SEBASTIAN (cont'd) + Right. Sorry. Too much champagne. + +He turns and heads back into the party. As he heads in he passes Matt heading out. He and Sebastian exchange "Heys". + + MATT + What was that about? + + LINDA + Nothing. It's just... He is who he is. Sometimes I just have to be reminded. + +>CUT TO: + +INT. LABORATORY - NIGHT + +Sebastian wanders through the empty hallways of the laboratory. + +INT. HALLWAY OF HABITATS - NIGHT + +Sebastian paces back and forth, examining the habitats. He taps on the Plexiglas of one. The cubicle explodes with + +BARKING. + +We see the Plexi steam up in one part, as if something was breathing on it. As if a nose were pressed against it. + + SEBASTIAN + (a little drunk) + What's it like? Talk goddamnit! Tell me what it's like! + +>DISSOLVE TO: + +EXT. PENTAGON - DAY + +Flying over Washington D. C. , we cross the Potomac and circle the five-cornered building, looking particularly gloomy on this grey day. + + SEBASTIAN (V.O.) + Six years ago, this committee commissioned me with a very specific task... + +INT. PENTAGON CONFERENCE ROOM - DAY + +At the table are six men. A handful of senior military brass and top civilian advisors direct their attention to the front of the room, where Sebastian, flanked by Matt and Linda, is in the middle of his presentation. + + SEBASTIAN + To successful phase-shift a human being out of quantum sync with the visible universe and then return him safely, with no after affects. + +Next to Sebastian a video shows a small monkey shifting from the visible spectrum. It's hair, skin, organs and skeletons slowly dissolve before our eyes. + + SEBASTIAN (cont'd) + Well, we found out sending them to "never-never-land" was easy, it's the getting back that's hard. + +Sebastian fast forwards a few moments until the video screen shows the bizarrely tangled heap of flesh and bone that used to be alive. + + SEBASTIAN (cont'd) + Every time we've tried to bring a test subject back from phase-shift. Cellular bonds would dissolve, the primary DNA strands would decay. But now... + +Sebastian pauses. Something's bothering him. + + SEBASTIAN (cont'd) + But now... + +One of the senior advisers, DR. HARRY KRAMER, distinguished 50s, finally breaks the silence. + + KRAMER + But now? + +Linda and Matt look up at Sebastian expectantly. + + SEBASTIAN (CONT'D) + But now... + (pause) + But now, we feel we are closer than ever to resolving this issue. We've been experimenting with a new regression formula that looks rather promising. + +A FOUR STAR GENERAL leans forward. + + GENERAL + How long? + + SEBASTIAN + Sir? + + GENERAL + Son, as you can imagine, we are very anxious to field test this tactical asset. How long till you resolve this issue? + +Linda starts to speak, but Sebastian cuts her off with a look. + + SEBASTIAN + Shouldn't be more than another year, Sir. + +Frustrated sighs all around the room. + + SEBASTIAN (cont'd) + Maybe sooner. + +EXT. PENTAGON - DAY + +As Linda, Matt and Sebastian head to their cars. + + MATT + Yo. Reality check! What the hell was that about? + + SEBASTIAN + Keep your voice down. + + MATT + The protocol works. Why'd you tell them it didn't? + + SEBASTIAN + I wasn't ready for them to know. + + MATT + But they're the oversight committee. They're supposed to know. + + LINDA + I'm sure he had a reason. + (firmly) + You did have a reason, didn't you, Sebastian? + + SEBASTIAN + I had more than a reason. I had a goddamn epiphany. + +They reach his Porsche. + + SEBASTIAN (cont'd) + What do you think they'd do if they know we could send a subject into phase shift and pull it back out again? How many seconds would it take for them to take over the whole project, bringing in their soldiers to test the formula on. We'd have lost control of it by the end of the week. + + LINDA + It's their money, Sebastian. It's going to happen eventually. + + SEBASTIAN + I know. But not yet. There's too much for us to learn. I don't want my hands tied by their political agenda when we go to phase three. + + MATT + Well, then... mind telling us how you're gonna get a human test-subject for phase three without the committee finding out? + + SEBASTIAN + That's easy. I've decided to test the procedure ... + +INT. LABORATORY CONFERENCE ROOM - DAY + + SEBASTIAN + \... on myself. + +The team sits around the conference table. Their jaws drop and they stare at him with wide eyes. + + FRANK + Are you nuts? + + SEBASTIAN + Was Jonas Salk nuts? + + FRANK + Yeah. Pretty sure he was. + + CARTER + And remember, for every Jonas Salk, there are a bunch of guys who aren't famous cuz they died. + + SEBASTIAN + If we're that unsure, how can we morally justify testing it on someone else? + + JANICE + Isn't it a little soon to be moving into phase three anyway? + + SARAH + She's right. We haven't even finished collating the phase two research. + + SEBASTIAN + We'll have plenty of time to collate and cross-reference later. Monkey data doesn't matter anyway. The only real data is human data. + + SARAH + You don't even know if any of the protocols will work on humans. + + SEBASTIAN + How are we gonna find out? Besides, we've succeeded with a gorilla and their DNA is 98% the same as humans. And the 2% is not that significant. + + LINDA + Sebastian ... humans can talk, build houses and cook in microwave ovens. Gorilla's live in trees. That's a helluva 2% if you ask me. + + SEBASTIAN + We're all concerned. I know that. But if we're gonna move forward ever, this is something we have to do. + + LINDA + Why you? Why not one of us? + + SEBASTIAN + The risks. I couldn't ask... + + MATT + (interrupting) + What if we volunteer? + + LINDA + What if you're too valuable to lose? + + SEBASTIAN + I'm Project Leader. It's my formula and my call. The best way to express your concern is to make damn sure you do your best work. I'll want about four weeks to... + + FRANK + To put your affairs in order? + + SEBASTIAN + To run some more reversions and tissue tests and then we'll attempt the phase shift. I'll stay shifted for three days of testing and then we'll perform a quantum regression. + +INT. SEBASTIAN'S OFFICE + +A knock on the door. + + SEBASTIAN + Come in. + +Linda pushes into the room and closes the door behind her. + + SEBASTIAN (cont'd) + What? + + LINDA + In the past six years, I've never once challenged your decisions, but this ... Sebastian. I don't think you should do this. + + SEBASTIAN + You don't understand. + + LINDA + Oh please. How long were we together? You must've said it a million times ... Nobody knows who built the lunar lander. All they remember in the first man on the moon. + +Sebastian shrugs and nods. + + LINDA (cont'd) + But what if something happens to you... what about the project? + +Sebastian smiles. + + SEBASTIAN + Lin, trust me... nothing's going to happen. + +INT. BEDROOM - NIGHT + +Linda and Matt are in bed together. Matt kisses her way up and down her arm. But Linda is distracted. + + LINDA + He refuses to listen to reason. + + MATT + Can we talk about this later? I'm trying to make love to you. + + LINDA + Sorry. I just can't let it go. + +Matt props himself up on the pillow. + + MATT + I know how you're feeling. Hell, he and I've been friends since freshman year. + + LINDA + So how can we let him do this? + + MATT + What if you were given the opportunity to be the first person on ,Mars, would you go? + + LINDA + In a heartbeat. + + MATT + What if they didn't know whether or not they could get you home? + +Linda thinks about it. It's still tempting. + + MATT (cont'd) + This is his chance to be Chuck Yeager or Christopher Columbus. Well, if I were him I'd do the same thing. + +Matt goes back to kissing Linda. + + LINDA + Let me ask another question. + + MATT + Is about who gets to be on top? + + LINDA + Is the human race really ready for what we're doing? + +Matt groans and rolls over. + + MATT + Why do you always get philosophical before we're about to get physical? + + LINDA + No really. Is it ready? We're barrelling down a road that begs moral and ethical questions that I don't think we can answer. + + MATT + They said the same thing about the bomb. They said we'd never survive the nuclear age... but here we are. + + LINDA + This night is still young. + (beat) + I mean, when you think about it, it's creepy. Do we really want to live in a world where people can just disappear in the blink of an eye? + + MATT + We made our deal with the devil years ago. Might as well stick around to cash in. + +INT. MEDICAL EXAMINING ROOM - DAY + +Sebastian stripped to his shorts paces nervously. A knock on the door. + + SEBASTIAN + (his voice catches) + Yes? + +Matt sticks his head in. + + MATT + We're ready. + +Sebastian nervously shakes his limbs out. Then nods. + + SEBASTIAN + Okay. + + MATT + It's not too late to back out. I'm happy to take your place. + + SEBASTIAN + No. I'm ready. + +Matt leads him into the hallway. + +INT. CORRIDOR - DAY + +As they walk down the corridor toward the lab... + + MATT + Nervous? + + SEBASTIAN + A little. + + MATT + Ever tell you the one about Superman and Wonder Woman? + + SEBASTIAN + I don't think so. + + MATT + So Superman's flying around the city, and he's horny as hell. Lo and behold he looks down and sees Wonder Woman, completely nude, sunning herself up on the roof of the Justice League. I mean she is lying there naked and spread eagle. So Superman starts thinking, "man... this is too easy. I could go down there, do a little fast pumping and be gone before she even sees me." After all he is faster than a speeding bullet, right? Anyway, he swoops down, takes care of business so quick, you can't even see him. Well ... I tell ya. Wonder Woman looks up, surprised as hell and says "What the hell was that." And the Invisible Man replies "I dunno know, but it sure hurt like hell." + +INT. LABORATORY + +Sebastian shoots Matt a look. + + SEBASTIAN + You know, that could be the last joke I ever hear. + + MATT + C'mon, man. That's funny shit. + +The buzz of conversation is punctuated by an amplified HEARTBEAT, thumping its familiar rhythm. Bah-bump. Bah-bump. In the center of the room, Sebastian, dressed only in a pair of jogging shorts is strapped to a table inclined at a 45 degree angle. Electrodes are strapped to his body. An I.V. tube snakes from the needle in his vein up to a bag of saline solution. Dripping slowly. Linda makes last minute checks of some of the equipment. She pats Sebastian on the shoulder. + + LINDA + O.K. How're you feeling? + +Sebastian takes a deep breath. + + SEBASTIAN + Fine. + +Sarah checks his vitals. + + SARAH + Pulse 88, BP 140 over 95. A bit elevated. + + SEBASTIAN + To be expected. + + SARAH + No reason for concern. He's ready. + +Linda takes a moment and studies Sebastian's face. She's almost teary eyed. + + SEBASTIAN + Hey... it's gonna be okay. + +Linda nods. Back to business. + + LINDA + Start recording. + +INT. OBSERVATION BOOTH. + +Janice hits record on the equipment decks. + + JANICE + We're hot. All systems nominal, Houston. + +Frank coordinates all the data being fed into the computers. He pushes a series of buttons and speaks into a microphone. + + FRANK + Okay, kids. Let's make some history. + +INT. LABORATORY - DAY + +Frank's voice echoes through the chamber. + + LINDA + Subject: Male, Age 29, weight 166 lbs. + +Matt jabs a hypodermic into small vial of colored liquid. Draws up 20ccs. + + MATT + (to Linda) + Ready. + +Linda takes the hypo from Matt. + + MATT (cont'd) + If the tests are any indication it should work quickly. + + SEBASTIAN + I'll inject myself. If anything goes wrong, they can't blame you. + +She hands the hypo Sebastian and steps away. Sebastian stares at the golden formula silently for a moment. + + LINDA + We can still shut down, Sebastian. + +He shakes his head. + + MATT + Any last words? + + SEBASTIAN + Yeah. If I'm killed, pretend I said something deep and clever. + +Then... Back to business. He inserts the needle into the I.V. Sebastian. Presses into himself and depresses the plunger. + + LINDA + Injection was administered at + (checks watch) + \... 18:23:47. + +The colored liquid snakes it's way into his bloodstream. + + LINDA (cont'd) + Keep talking. Tell us what you're feeling. + + SEBASTIAN + Nothing so far. + + SARAH + Vitals are stable. + +They wait and watch. + + LINDA + Nothing's happening. + +Another moment passes by. + + MATT + Human DNA structure is slightly more complex... it's possible that it may take more time... + +Another moment passes. + + LINDA + Maybe we overlooked something. + + SEBASTIAN + Recheck the protocol. It can't be non-reactive. + + CARTER + Kinda like a firecracker with a bad fuse... + +Sebastian shoots Carter a questioning look. + + CARTER (cont'd) + Don't know if it'll go off. + + LINDA + Frank? + + FRANK (V.O.) + (from the booth) + No change in bio-electric. + + SEBASTIAN + Goddammit. + +Another long pause. Sebastian concentrates. + + SEBASTIAN (cont'd) + Okay wait, my arm... it's getting a bit warm... yeah, it's ... it's starting to tingle... + +Excitement overtakes the room. + + SEBASTIAN (cont'd) + Okay... it's spreading to my back... like, like a fever... + + LINDA + Here we go. + +Slowly the flesh on Sebastian's arm begins dissolving, revealing the complex network of nerves, blood vessels and flesh beneath it. + + SEBASTIAN + Shit... it's starting to burn... Oh god. It hurts. I didn't think it would hurt. + +The HEART BEAT thumps faster, accelerating + + SARAH + Heartbeat's elevated. Pulse at 100. ... 130 ... + + LINDA + What do you feel? Keep talking. KEEP TALKING! + + SEBASTIAN + Pain! + + SARAH + Pulse is 165 ... 170 Blood pressure 180 over 100. ... + + CARTER + He's going to blow out his heart. + + LINDA + Prep the crash cart. + +Carter grabs the crash cart, rolls it in. Matt tears off the I.V. leads into Sebastian's arms. + + MATT + We've got to stop it! + + LINDA + We can't! + +INT. OBSERVATION BOOTH + +All the monitors are going crazy. + + JANICE + Something's happening. + +Frank leans into the microphone. + + FRANK + Listen up! Electric activity increasing in all limbs. Brainwaves are through the roof. + + JANICE + I didn't think the human brain could spike that high. + + FRANK + Maybe it can't. + +INT. LABORATORY + +Sebastian screams in dire pain. He struggles against his restraints as his skin liquefies into a muscular mass. It's like something's eating away at him. Gruesome. The yells become louder and more painful to hear. + + SEBASTIAN + No. Oh god! NO! STOP IT! STOP IT! + +The muscular system begins to dissolve, leaving a struggling skeleton wrapped with tentacular blood vessels and stuffed with the major organs. The beating heart, the heaving lungs. + + SARAH + Pulse is 180 .... holding stable. + +Screaming.... Then the organs go. Then the blood vessels. Leaving only a skeleton howling in pain. The jawbones spread wide ... Screaming... screaming... + + CARTER + Holy shit. + +Then as if someone had poured acid all over the bones, the skeleton evaporates into nothingness. + + SARAH + Pulse is dropping. 170.. 150 .... 160.. + +There is NOTHING left of Sebastian Caine. + + LINDA + Bio-quantum phase shift occurred at 18:26. + +The screaming continues and the restraints continue to twist and turn. Suddenly the restraints go limp. + + MATT + Is he dead? + +Linda checks the readouts. + + LINDA + No. He passed out from the trauma. + + SARAH + Vitals returning to normal. Pulse 110 ... dropping. Blood pressure 130 over 75. + +A long beat as everybody's eyes stare at the instruments. + + FRANK (V.O.) + Electrical activity is stabilizing. + + SARAH + Pulse steady at 70. + +A long beat. + + MATT + Un-fucking-believable. + +A reverent pause as Linda runs her fingers over what would be his skin. Small electrical charge dance around her fingertips. She gasps. + + LINDA + (whispers in his ear) + You did it, Sebastian. You're the first. + + CARTER + Let's get him into recovery. + +>DISSOLVE TO: + +INT. RECOVERY CHAMBER + +The chamber is half constructed out of Plexiglas at the end of the Hallway of Habitats. + +On the recovery bed, a sheet drapes over Sebastian's invisible body. The gentle bleatings of medical machinery pound out a dulling rhythm. + +Linda sleeps in a corner chair as Matt slips into the room. He checks the readouts on Sebastian then takes a seat by Linda. She wakes with a start. + + MATT + S'okay. You nodded off. + + LINDA + His breathing's hypnotic. How long's it been? + + MATT + Seventeen hours. + + LINDA + Where are the others? + + MATT + In the lab crunching numbers. We've got enough data there for two lifetimes of research. + +Linda rubs her temples and gestures to the bed. + + LINDA + I keep looking at that hole, wondering if he's really there. + +She notices something out of the corner of his eye. The sheet twitches. + + LINDA (cont'd) + Did you see... + +The sheet twitches again. + + MATT + He may be coming out of it. + +Linda and Matt watch intently. Then suddenly... the sheets thrash violently. A yell of pain. + + SEBASTIAN'S VOICE + The lights! Turn off the goddamn lights! Ah Christ! + +Linda jumps up and crosses to Sebastian. Matt rushes to the wall and turns off the lights. Darkness. The room is lit by the glow of machinery. + + SEBASTIAN'S VOICE (cont'd) + I can't... I can't close my eyes. I can't close my eyes. + + LINDA + Your eyelids are transparent. + +The sheets slowly stop thrashing. + + SEBASTIAN'S VOICE + So I ... I'm... + + LINDA + Yes. + + SEBASTIAN'S VOICE + My arms. I can.. where? ... I can feel them... + + LINDA + Your arms ... your whole body... It worked, Sebastian. It worked. + +The sheet rises and slips away. The wires, seemingly connected to thin air, spread out like a spider's web and then fall away one-by-one. The monitors all go dead. + + SEBASTIAN'S VOICE + Mirror. I ... I want to see. + + MATT + Over here in the corner. + +Matt motions to a dark corner of the room, toward a mirror and sink. We push in on the mirror. No reflection. Suddenly it fogs up ... Sebastian's breath. A finger tracing appears in the fog ... but of course we see no finger. The sink faucet twists on and water runs. It cups into the shape of hands and lifts into the air, splashing against the surface of Sebastian's face. Beads of water cling to his face, outlining its shape for a moment before dripping away. + + MATT (cont'd) + What was it like? + + SEBASTIAN'S VOICE + I ... It's hard to think. + +Sebastian's voice is now behind him. Matt turns around. + + SEBASTIAN'S VOICE (cont'd) + The transformation... I remember every molecule in my body shattering. + + MATT + It was painful? + + SEBASTIAN'S VOICE + At first... but then everything went black. I couldn't see or hear or feel anything. It was all just black... like I wasn't connected. + + LINDA + Your system received quite a shock. + + SEBASTIAN'S VOICE + At least my senses are starting to return... You're wearing your Shalimar, aren't you? + +Linda realizes that he's standing very close by. Her hair lifts slightly and Sebastian inhales. Chills go down her spine. + + LINDA + Sebastian. + +Linda's hair drops back to her shoulders. + + SEBASTIAN'S VOICE + This is weird. I'm looking through myself at the floor. I'm looking right through myself. I can't tell ... + +He bumps into a chair. + + SEBASTIAN'S VOICE (cont'd) + \... where my body is. + +A moment of silence. + + LINDA + Sebastian? + +No answer. Linda and Matt look at each other, slightly alarmed. + + MATT + Sebastian? + +An indentation forms on the bed a moment later. + + SEBASTIAN'S VOICE + You really can't see me. Can you? + + LINDA + Gimme symptoms. Dizziness, nausea, headache, body-ache, disorientation. + + SEBASTIAN'S VOICE + No, just tired. + (beat) + It's funny. I can see everything... more than before... but I can't see myself. + +INT. LABORATORY - DAY + +Carter, Frank, Janice and Sarah work at various research stations. The door opens and Linda and Matt enter. + + CARTER + Hey. How's he doing? + + LINDA + Why don't you ask him? + +Linda motions to the gap between her and Matt. The four of them stare at the nothing. + + SARAH + Sebastian, how do you feel. + + SEBASTIAN'S VOICE + Not to bad, considering. + +They turn round. The voice is coming from behind them. The group rises from their various workstations and turn toward where the voice came from. + + SEBASTIAN'S VOICE (cont'd) + Odd, isn't it? + +A rheostat switch on the wall turns and the lights dim. Though it's a simple act, it feels somewhat ominous. + + LINDA + He can't close his eyes so they're sensitive to light. + +Linda's explanation puts everyone at ease. + + JANICE + So, what was it like? + + SEBASTIAN'S VOICE + Over here. + +Sebastian has moved. As everyone turns toward him again, he can't stifle a slight giggle. + + LINDA + C'mon Sebastian. Knock it off. + + SEBASTIAN'S VOICE + Sorry. Couldn't resist. + +His voice again comes from somewhere else in the room. + + FRANK + I feel like we're playing Marco Polo. + + MATT + Well, I see the procedure hasn't changed your personality. + +Frank pulls on a pair of THERMAL GOGGLES. + + FRANK + No worries. I'm on it. + +THERMAL POV - Every body in the laboratory shows up as a heat signature, including Sebastian. Frank points. + + FRANK (cont'd) + Gotcha, big man. + +THERMAL POV - The HEAT SIGNATURE reaches for a chair. + + SEBASTIAN'S VOICE + Boy, you people have no sense of humor. + +A chair slides back from a desk and bends under Sebastian's weight. + + SEBASTIAN'S VOICE (cont'd) + Show me. So ... + +>CUT TO: + +INT. LABORATORY - NIGHT + +Frank and Janice shuttle the playback controls as a VIDEO MONITOR re-plays various angles of Sebastian's phase shift. + + SEBASTIAN'S VOICE + Stop there. + +Frank halts the tape. + + SEBASTIAN'S VOICE (cont'd) + Index that. That was when it started burn. Epidermal reaction. + + JANICE + Index Mark. 112125. + +Janice scribble the numbers in her notebook. Linda crosses, nursing a cup of coffee. + + LINDA + It's late. Time you got some rest. + + SEBASTIAN'S VOICE + Just a little longer. + + LINDA + Hate to pull rank, but you're my patient now and you need rest. We've got a busy day tomorrow. + +Heavy sigh. + + SEBASTIAN'S VOICE + Fine. + +INT. THE RECOVERY ROOM - NIGHT + +As Linda enters she points to a small camera in the upper corner of the room. + + LINDA + We've set up a thermal camera for observation and I've arranged one of us to be here 24/7 in case you need anything. The team's gonna be on alpha-call alert for the duration. If anything goes wrong, we can all be here within... + + SEBASTIAN'S VOICE + Thirty minutes. Yes, I know. I wrote the procedure. + + LINDA + I was trying to be reassuring. + + SEBASTIAN'S VOICE + You like this don't you? + + LINDA + What's that? + + SEBASTIAN'S VOICE + Being in charge. + +It's clear she does. But she's certainly not going to admit it. + + LINDA + Please. I'm just doing my job. + +>CUT TO: + +CLOSE ON: A video screen. A thermal lump lays stretched out on the bed. + +Pull back to reveal SARAH staring at the screen. We are. + +INT. OBSERVATION ROOM - NIGHT + +A bank of monitors display the various angles of the Hall of Habitats, the laboratory and, of course, Sebastian in the recovery room. + +Linda hands Sarah a cup of coffee. + + LINDA + You gonna be okay? + + SARAH + Fine. It's not like I have anything else going on in my sad pathetic life. + + LINDA + Carter'll be in at six to spell you and I'll be in by nine. Call me if anything happens, okay? + +Through the glass wall, Linda sees Matt knocking and waving her out. + + SARAH + I'm fine. Go on ahead. + +INT. CORRIDOR - NIGHT + +The rest of the team straggles into the elevator. Yawning. Exhausted from the day. + + CARTER + Man, I'm tired. That was a long day. + + LINDA + Days only get longer from here. + +Linda catches Matt's eye. Gives him a look. "You coming over?" Matt nods, "yes", imperceptible to everyone but Linda. She smiles. + +>DISSOLVE TO: + +INT. LABORATORY - NIGHT + +Deserted and dark. + +INT. OBSERVATION ROOM - NIGHT + +Late. Sarah rubs her temples. Her eyelids are heavy. She's having real trouble staying awake. The buzzing fluorescent light isn't helping either. + +INT. RECOVERY ROOM - NIGHT + +The sheets ruffle and the indentation disappears from the bed. We can hear breathing and soft sound of bare feet shuffling against linoleum. + +CAMERA SLOWLY PANS toward the door, as if we, are following someone walking. + +The door handle turns and the door pushes open. + +INT. HALLWAY OF HABITATS - NIGHT + +WE SLOWLY TRACK DOWN the Hallway of the Habitats. We hear the sounds of sleeping creatures. A couple of them growl at something unseen. The growling follows the invisible something as it passes by. + +INT. LABORATORY - NIGHT + +The laboratory door opens and shuts again. Ghostly. We see papers shuffling at one of the work stations. A glass moves slightly. + +INT. OBSERVATION ROOM - NIGHT + +Sarah reclines in her chair. Fast asleep, Behind her is the glass wall, revealing the empty hallway behind it. + +But a small portion of the glass fogs, as if someone had just breathed on it. As the fogged part quickly clears, we see the door to the observation room quietly open. + +ON SARAH, still sleeping. We hear a whisper. + + SEBASTIAN'S VOICE + (whispering) + Sarah. Are you awake? + +Her heavy breathing mixes with Sebastian's. + + SEBASTIAN'S VOICE (cont'd) + (barely audible) + Hmm. + +Sarah's hair moves slightly, as if a hand were running through it. And then we see her shirt move, like fingers were tracing over it. Down from the shoulder to her breast. Around her nipple. Sarah moans slightly, as if she were dreaming, but she doesn't stir. And then her breasts cup slightly, as if they were being touched... softly... gently. Her breathing becomes harder, more labored, erotic... and then she... BOLTS AWAKE. Her eyes wide with fear. She jumps and cups her own breasts and looks around the room. It's empty, of course. She jumps over to the monitor and checks on Sebastian's room. The heat signature isn't there. + + SARAH + Dr. Caine! Goddamnit, Dr. Caine! Are you in here? + +She listens. It's silent. She tries holding her breath, listening for his breathing. But there's nothing. + +Sarah reaches over to a microphone. Hits a few switches. + + SARAH (cont'd) + Dr. Caine? + +.VARIOUS SHOTS OF THE COMPOUND + +- LABORATORY + + SARAH (V.O.,LOUDSPEAKER) + Dr. Caine, please report in. + +- HALLWAY OF HABITATS + + SARAH (V.O.,LOUDSPEAKER) + Dr. Caine, report in please! + +INT. OBSERVATION BOOTH - CONTINUOUS + +Sarah waits. No response. + + SARAH + Shit. + +She looks around the room. He must be in here. + + SARAH (cont'd) + Dr. Caine? Sebastian? Come on, this isn't funny. I know you're in here. + +Nothing. No response. Sarah waves her hand around, reaching out, trying to find him. After a few beats she stops and rubs her head. + + SARAH (cont'd) + I must be going crazy. + +Suddenly, Sarah gets an idea. She quickly exits the observation room. + +EXT. CORRIDOR - NIGHT + +At a wall storage box, she removes a pair of Thermal Goggles and slips them on. + +INT. OBSERVATION ROOM - NIGHT + +Sarah enters wearing the thermals. She scans the room. + +THERMAL POV - The room is empty. + +She pulls the goggles off in frustration, and when she glances over at the video screen, she sees Sebastian's thermal image lying on the bed in the recovery room. + +Sarah sinks into her chair, a tad disconcerted. + +INT. OBSERVATION ROOM - MORNING + +Linda and Matt finish listening to Sarah's story. + + SARAH + I found him later in the lab, running samples. + + LINDA + Why didn't you call me? + + SARAH + Because I wasn't sure. I'm still not. I mean, I could've easily been dreaming. + + MATT + It doesn't sound like something Sebastian would do. + + SARAH + God, I feel so stupid. + + LINDA + I can talk to him. + + SARAH + No. I mean... + (she torn, unsure of herself) + It was probably nothing. I shouldn't've mentioned it. + + MATT + You sure? + + SARAH + Yeah, I'm sure. I mean, y'know, why would he do that, right? Just, this place at night can be kinda creepy, y'know. + +INT. RESEARCH LAB - DAY + +Sebastian, wearing surgical scrubs sits in an examination chair. Wire leads sprout from the electrodes covering his head and arms. The electrodes seem to outline his body. + + MATT + So, how was your first night? + + SEBASTIAN'S VOICE + Restless. Hard to sleep when you can't close your eyes. + +As Sebastian talks, we can see the electrodes around his jaw pump up and down. + + MATT + Yeah? What'd you do? + + SEBASTIAN'S VOICE + Got up a couple of times. Knocked about. + + MATT + Yeah, Sarah mentioned you weren't in your cubicle. She said she called you over the intercom and you didn't respond. + + SEBASTIAN + I guess I didn't hear. I had the radio on. + + MATT + It'd be helpful to us if you'd tell whoever's on duty where you're going to. I mean, if something were to happen, we'd want to know where to find you. + + SEBASTIAN + I didn't think it was a problem. + + MATT + It isn't. I just don't want it to become one. + +Machines pump out EEG, EKG readouts. Matt studies them. + + MATT (cont'd) + Readings are normal. + + SEBASTIAN'S VOICE + Next I want to run a VV and UVF analysis of the platelets. + + MATT + We'll have to draw some more blood. + +>CUT TO: + +Sarah rolls up Sebastian's sleeve, revealing empty air. She wraps a bungee cord around the nothing, pulls it tight and sprays the inside of his elbow with dye. She acts very self conscious. + + SEBASTIAN'S VOICE + You okay? + + SARAH + Yeah. Why? + + SEBASTIAN + You just seem a little nervous. + + SARAH + No. I...I'm fine. Hold still. This might hurt a bit. + +The surface of his skin sheens in the light as Linda searches for a vein. She slaps his arm several times, then plunges a hypodermic needle into his skin. His skin bends and gives. The needle remains in sight after it slips through the visible surface. Sarah presses down on the hypo plunger, releasing a dye into his bloodstream. + + SARAH (cont'd) + Dr. Caine... this might sounds stupid, but are you... are you looking at me. + +The red dye twists into a long snaking red tube up and down his arm. His vein. + + SEBASTIAN'S VOICE + No. I was looking at the clock. Why? + +Sarah draws the plunger back, sucking Sebastian's blood into the hypodermic and then yanks the needle out. + + SARAH + Just felt like someone was staring at me. + +Sarah pulls the vial off the needle and labels it with a grease pencil. After a few beats the red dye in Sebastian's blood stream dissolves and disappears, as does the liquid in the vial. + +.TESTING MONTAGE + +INT. MRI ROOM + +MATT slides Sebastian's sheet covered frame into an MRI. Even though his head is not visible, it shown up on the MRI scanner. + +INT. MAIN LABORATORY + +CARTER and SARAH lower a harness into a water tank. SEBASTIAN'S BODY displaces the water, revealing an empty body shaped cavity in the water. + +INT. OBSERVATION ROOM + +CARTER sips a BIG GULP and stares at a monitor which shows two heat signatures in the Recovery Chamber, huddled over a chess game. + +INT. RECOVER CHAMBER + +on a chessboard... A BLACK KNIGHT takes WHITE BISHOP, seemingly all by itself. + +Across the table, Matt leans back and topples his WHITE KING acknowledging defeat. + +INT. SPECTRAL LAB + +Dim lights. Janice and Frank both don eye guards. Frank switches on a low intensity laser on and it's beam shoots across the room. The beam distorts slightly in the center of the room. As Frank widens the spectral pattern, suddenly the beam splits into a million different spectral rainbows, momentary illuminating Sebastian's entire frame in a glowing tingle of light. + +INT. MAIN LABORATORY + +LINDA pulls vials from the cyclotrons and props blood sample slides. She slips them under the microscope. She takes a sip of her Diet Coke and puts it on the table. She peers into the microscope and analyses the blood sample, squeezing more stain onto it. She looks up to make notations, but when she reaches for her Diet Coke IT ISN'T THERE. She looks around. It's on the other side of her microscope. She shrugs it off, she takes a sip and sets it down where it was before. She peers into the microscope again and when she looks up... the Diet Coke is gone. She looks around the room and sees it on another table completely. + + LINDA + Sebastian? Goddamnit. + +We hear Sebastian's laughter echo in the room. + + SEBASTIAN'S VOICE + You've no idea how much fun I've had. I'm going to hate going back. + + LINDA + That's what worries me.? + + SEBASTIAN'S VOICE + How so? + + LINDA + What happens when we turn the project over to the Army. Ever wonder how much fun they're gonna have? + + SEBASTIAN'S VOICE + Maybe we won't give it to them. His + +voice comes from behind her now. + +We see indentations on her shoulders where his fingers press down. + + SEBASTIAN'S VOICE (cont'd) + I was thinking... tonight's my last night. Ever fantasize about making love to an invisible man? + +Linda pulls away from him. + + LINDA + Stop it, Sebastian. It's not funny. + + SEBASTIAN'S VOICE + Well, don't do it for me. Do it for science. + +Linda walks away. Sebastian laughs. + + LINDA + Grow up. + + SEBASTIAN'S VOICE + Oh well. Missed your big chance. + + LINDA + Get some sleep. Big day tomorrow. + +INT. LABORATORY - DAY + +A bevy of activity below us as the scientists prepare. Matt slides the antigen cocktail into the centrifuge and starts it spinning. + +A sheet drapes over a Sebastian's frame, straps across his limbs. He is fully wired. + +Linda looks up to the observation booth. + + LINDA + Recording? + +Frank peers down at her from the booth, his voice echoing through the chamber. + + FRANK + Recording. Subject Doctor Sebastian Caine. Currently in phase shift... Three days, seven hours. + + LINDA + De-Phase protocol. Injecting Serial Protein Caine One Two Seven. + +Matt removes the glowing vial of orange liquid from a centrifuge nearby. Carter hands Matt a hypo. Matt jabs it into the vial, drawing up the colored liquid. Linda sprays Sebastian's arm with dye. + + LINDA (cont'd) + Ready? + + SEBASTIAN + Not really. I was just starting to enjoy myself. + + LINDA + Tough. + + MATT + Okay, man. Here we go. + +Matt inserts the hypo into the vein and presses down on the plunger. The liquid begins to react. Small flashes of light blip up and down the strand of color outlining the vein. + +Ba-bump.. ba-bump... the heartbeat starts to speed up. + + SEBASTIAN'S VOICE + Wait... something... something doesn't feel right. + + SARAH + Heartbeat elevated. + +INT. OBSERVATION BOOTH + +Janice and Frank look over the equipment. + + FRANK + Vitals still nominal.. + +INT. LABORATORY + +The glowing liquid turns from gold to red as the complex webbing of a bloodstream appears. + +Spreading out from the bloodstream, soon becomes visible ... the shadow of a skeletal system. + + SEBASTIAN + I can't br... br... + +Sebastian begins wheezing. + + LINDA + What's wrong? + + SARAH + He's not breathing. + +Muscles are beginning to appear. And eyeballs. Frightened eyeballs. + + MATT + Subject manifesting. + + SARAH + Pulse erratic. + +Sebastian pulls against his bonds. One set tears off. + + LINDA + Carter! + +Carter grabs onto the mass of flesh and muscle, trying to hold it back. But the restraints snap. The half-visible man is screaming. He grabs Carter and throws him across the room. + + LINDA (cont'd) + Sebastian! Sebastian! + +And just for a second, Sebastian is fully visible. And free. He looks around like a scared animal and rips off all the wiring. + + LINDA (cont'd) + Sebastian! + + MATT + Get a tranq. Stat. + +Sarah preps a tranquilizer. Sebastian locks eyes with Linda. He's lost, he doesn't know where he is. And suddenly, he crumbles to the ground. Linda rushes over to him and puts her hand on his shoulder. Light bleeds from his skin and his skin begins to dissolve from sight. + + LINDA + He's reverting. Get him on the table. + +Matt, Linda and Sarah pull the shifting body up and onto an operating table. Carter pulls himself up and heads back to the group. + + LINDA (cont'd) + Get me a I.V. of A.G. seven. + + SARAH + I got no pulse. No pulse. + + MATT + Start CPR. + +Carter locates Sebastian's heart, not a difficult thing because we can actually see it. Carter's hand pushes down in the air inches above the heart. We see the heart being pushed and squeezed. Sarah slaps an air bag on Sebastian and starts pumping air into his lungs. Sebastian's heart begins to beat again, beat on its own. + + CARTER + Getting a pulse. + + MATT + Holy shit. What happened? + + LINDA + Sebastian... can you hear me? Can you hear me? How are his pupils? + + MATT + I can't see his goddamn pupils! + + SARAH + I think he's going into shock. + +We slowly FADE OUT to the sights and sounds of our scientist-doctors working on Sebastian... And the beeping of Sebastian's erratic heartbeat. + +>FADE UP ON: + +A HABITAT + +The heartbeat continues. In the shadows, two Rhesus Monkeys defend themselves against an unseen attacker. Blood splatters against the Plexiglas wall. + +We FADE OUT AGAIN... + +INT. CORRIDOR - NIGHT + +Linda stares through the Plexiglas walls into the Recovery Chamber. Inside the Chamber, Sarah and Carter- + +eye the various screens monitoring Sebastian's vitals. + +Linda watches the hollow pocket underneath the blanket. She watches the rhythm of its rises and falls as Sebastian sleeps. Matt comes up behind her. + + MATT + Just got the tissue sample results. Cellular cohesion is stable. + +Linda exhales in relief. Matt puts his hands on her shoulder. Pulls her close to him. + + MATT (cont'd) + How bout you? You gonna be okay? + + LINDA + Guess so. + (beat) + I was just thinking about the Apollo missions. Y'know? Grissom, White and Chaffee... What it was like for them on that launch pad that day, thinking they were gonna reach the stars only to burn to death. + + MATT + Sometimes the test pilots make history. Sometimes the planes crash and people die. + + LINDA + But he didn't die, did he? + (beat) + What if we can't bring him back? What then? + + MATT + It's just a little hitch is all. He'll be the first to tell that he'll crack it and I'm sure he will. It'll just take time. + (beat) + Listen, let's get out of here. We could drive up to the old observatory. We'll take some wine and go count the stars and forget all this for awhile. + +She pulls away. + + LINDA + No. I want to be here for him. + +Linda pushes through the door of the recovery chamber and takes a seat by Sebastian's bedside. A little hurt, Matt heads down the corridor. + +INT. CONFERENCE ROOM + +Frank and Janice are staring into their coffee when Matt enters. Matt crosses to the coffee machine and pours himself a cup. He takes a seat at the table. They all drink their coffee in silent vigil. + +INT. RECOVERY CHAMBER - DAY + +Linda sits by Sebastian's bedside, listening to the constant rhythm of the machines. + +The sheets shift. + + SEBASTIAN'S VOICE + (weak) + Hey... + + LINDA + Hey... + + SEBASTIAN + So I guess it didn't work. + +Linda shakes her head. + + SEBASTIAN'S VOICE + You look worried. It must've been bad. + +Sebastian's voice is weak and strained. + + LINDA + You almost died. + + SEBASTIAN'S VOICE + Well, remember your Nietchze. Whatever doesn't kill me, makes me stronger. + +Linda smiles. + + LINDA + I should be making you feel better. Not vice versa. + + SEBASTIAN'S VOICE + I guess if I'm going to be stuck this way for awhile, I'd better make some adjustments. + +INT. RECOVERY CHAMBER - DAY + +In a dusty shaft of light... + +A cotton swab. + +is dipped by a gloved hand into a jar of flesh-colored cream make-up. We follow the hand as it raises the cotton swab into the darkness. The swab strokes over the black and the rich fleshy cream spreads, revealing... + +EYE LIDS of a closed eye. + +The eyelids part, unveiling... + +PITCH BLACK. Blink. Blink. + +No eye. + +Not even a trace of a eye socket. Just darkness. + +A COLORED CONTACT LENS floats through mid-air... hovering before the eyelids. It turns and fastens itself to the darkness between the lids. + +We PULL BACK slowly as Sebastian lifts a latex FACE MASK and pulls it over his head. + +He checks his reflection in the mirror. He looks almost human. Almost. A face, eyes, hands ... the rest of him covered by surgical scrubs. + +We pull back and see the rest of the team looking on. + + MATT + Not too bad. + + SEBASTIAN + The latex'll limit the amount of light delivered to my optic nerves. + + LINDA + You could almost pass for human. + +Sebastian rises. He looks eerily removed from reality with his cold blank expression. + + SEBASTIAN'S VOICE + Well, it gives you a face to talk to at least, and we can all work in normal light again. + +INT. LABORATORY - DAY + +.SERIES OF SHOTS + +Carter draws blood from Sebastian. + +Samples are placed into the cyclotron. + +Matt peers through the eyepiece of a microscope. He makes notes. + +Frank and Janice finish a computer simulation on a protein strand. Matt looks over. They shake their heads, no. + +Sebastian slides into the MRI. + +Linda examines a petri dish. She throws her pencil down in frustration. + +Sebastian is hit by the spectral radiation beams. + +Matt pulls a vial of orange liquid from the cyclotron. + +INT. CORRIDOR - DAY + +Sebastian, still in his latex and scrubs, but looking like he's been dragged through the nine levels of purgatory, is escorted back to the recovery chamber by Linda and Matt. + +He crosses to his bed and collapses on it. Closes his eyes. + + SEBASTIAN + The testing's making me sick. + + LINDA + Could be the barium or the radiation. + + MATT + You're physiology has changed and, well, all bets are off. + + SEBASTIAN + I can't believe I have to spend another night here. + (to Linda) + Suppose you're gonna go home now, meet up with that boyfriend of yours now. + +Linda and Matt exchange a glance. Linda quickly covers. + + LINDA + Do you want me to stay? + + SEBASTIAN + No. That's okay. It's just, being a guinea pig is more work than I thought. I'll be fine. + +INT. RESEARCH COMPOUND - NIGHT + +Various shots of the empty hallways and deserted labs. + +INT. OBSERVATION ROOM - NIGHT + +Carter kicks back in his chair listening to his walkman stereo and playing gameboy. + +INT. RECOVERY CHAMBER - DAY + +Sebastian, in scrubs and make-up, paces back and forth. + +He slams the wall in frustration. He crosses to a mirror and examines himself. He doesn't look half bad. He pokes his cheeks. There's something about him that's a little off, but only if you look close. + +INT. OBSERVATION ROOM - NIGHT + +A shadow falls across Carter's face. He looks up. It's Sebastian wearing street clothes - jeans and a hooded sweatshirt over his latex mask. + +Carter pulls of his earphones. + + CARTER + (surprised) + Dr. Caine. What's up? + + SEBASTIAN + Just stopped by to let you know, I'm going out for a bit. + +Sebastian turns back into the hallway. + + CARTER + Going out? Hey wait a sec! + +Carter scrambles to his feet. + +INT. CORRIDOR - NIGHT + +Carter catches up with Sebastian. + + CARTER + What do you mean going out for a bit? + + SEBASTIAN + If I don't get out of here, I'm gonna go crazy. + + CARTER + But you're not supposed to leave the compound. + + SEBASTIAN + Why not? + + CARTER + That's the rule. + + SEBASTIAN + Yes, but I made that rule. It's my rule and I'm changing it. + + CARTER + You can't just change it. + +Sebastian hits the elevator button. The doors open. + + SEBASTIAN + Carter, I was suppose to be like this for three days. Three fucking days and I'll be damned if I'm going to spend the rest of my life as a prisoner in this godforsaken dump. Now I'm going out. I'll be back in a couple of hours. Okay? + +The elevator doors close with Sebastian inside. Shit. + + CARTER + Shit. + +Carter runs down the corridor. + +INT OBSERVATION ROOM - NIGHT + +Carter picks up the phone and dials. + +A beat then. + + CARTER + Yeah, it's Carter. We got a problem. + +INT. WAREHOUSE - NIGHT + +The elevator doors open and Sebastian pushes past the Marine Guard. + + MARINE GUARD + Hey, Doc. Haven't seen you for awhile? + +Sebastian keeps his face turned away as he crosses to his Porsche. + + SEBASTIAN + Yeah, well. You know how it in sometimes. + + MARINE GUARD + You got that right, sir. I was beginning to worry 'cause your car hadn't moved. + + SEBASTIAN + Thanks, but everything's cool. + +Sebastian starts his car. It chugs a few times before turning over and speeding out of the warehouse. + +INT. APARTMENT - NIGHT + +The door opens and Sebastian switches on the lights. + +He looks around his apartment and sighs. It's good to be home. + +INT. BEDROOM - NIGHT + +Sebastian enters the bedroom, clicking on the light. He looks at the ceiling, "You Should Be Working", and smiles. + +INT. LINDA'S APARTMENT BUILDING, PARKING GARAGE - NIGHT + +Linda and Matt each rush to their respective cars. + + MATT + He could be anywhere. Hell he could be right behind us. + + LINDA + I'll meet you at the lab. I'm gonna swing by his place, just in case. + + MATT + See you there. + +Matt tries to give her a quick peck. Linda backs away. + + LINDA + (quietly, looking around) + I don't want him to see. + + MATT + (looking around too) + What a mess. + +They get in their cars. + +INT. SEBASTIAN'S BEDROOM - NIGHT + +Sebastian packs up a few personal belongings in an overnight duffle. He crosses to his bookcase and pulls out some books and throws them into the bag. + +But as he does, he notices a light come on in the window across the courtyard. Sebastian turns off his bedroom light and moves toward the window. He peers across the courtyard into the Brunette's apartment. + +He watches the Brunette as she comes into the living room from her front hallway. She drops her keys on the table and begins unbuttoning her blouse as she crosses to the window. Just as the blouse slips off her shoulder, she pulls her blinds shut. + + SEBASTIAN + Shit. + +Frustrated, Sebastian steps away from the window and then stops. Something has occurred to him. + + SEBASTIAN (cont'd) + Don't even think it... + +He looks down and notices his hand is trembling. His breathing is a little heavy. A little nervous. He catches a glimpse at himself in the mirror. + + SEBASTIAN (cont'd) + (almost whispering) + Once...just once. + +The Brunette's living room light switches off and the bathroom light switches on. We see him fighting an internal battle and we see him lose it. He grabs a hold of his hand and peels the latex skin off. + +EXT. APARTMENT BUILDING - NIGHT + +Linda drives Sebastian's apartment. She spots his black Porsche in the parking lot. She pulls over to the curb, jumps out of her car and heads into the building. + +INT. BRUNETTE'S APARTMENT, BATHROOM - NIGHT + +Wearing just a robe, the brunette turns on her shower. The doorbell rings. With a frustrated sigh, the brunette rises. + +.AT THE FRONT DOOR + +She peers through the peep hole. No one's there. But as she turns she hears the doorbell again. She opens the door, steps out into the hallway and looks around. Empty. Puzzled she heads back inside her apartment. + +We follow her as she crosses to her bedroom, but a moment later, the bedroom door closes on its own. + +We hear a SCREAM come from the other side. Then another. Then a muffled struggled. And we... + +>CUT TO: + +INT. HALLWAY, SEBASTIAN BUILDING - NIGHT + +Linda exits the elevator and heads down to Sebastian's door. She knocks. Waits. No answer. She knocks again. Waits. + +And then she tries the door. It's unlocked. She pushes the door open. + + LINDA + Sebastian? + +INT. SEBASTIAN'S APARTMENT - NIGHT + +Linda pushes through the living room, into the bedroom. + + LINDA + Sebastian? + +She notices that the bathroom light is on. + +.BATHROOM + +On the floor she finds Sebastian's clothing and on the vanity she sees his latex face and hands. + + LINDA + Oh shit. + +She scramble for the bedroom phone and quickly dials. + + LINDA (cont'd) + Yeah, Matt, it's me. He was here. No. He's taken his make-up off. I don't know...He must be outside somewhere. I don't know where he went. I'm coming back to the lab. How? How'm I supposed to do that? I CAN'T FUCKING SEE HIM! We're going on alpha call. I want everyone at the lab now. We're gonna need thermal visors and we may need tranqs. + +As she hangs up the phone, and heads out. The CAMERA doesn't follow, but instead pushes through the blinds and out the window. As we cross the courtyard, we begin to hear muffled cries of terror. We hold on the Brunette's window as we... + +>CUT TO: + +INT. BRUNETTE'S APARTMENT - NIGHT + +The bedroom door opens and we see the Brunette, nude and curled up on the bed, sobbing. We follow the sounds of heavy breathing to the front door of her apartment. The door opens and we push out into the hallway. We can see indentations of feet appear on the hallway carpet. + +INT. CORRIDOR BY SEBASTIAN'S APARTMENT + +The elevator doors open and Linda steps inside. The doors close shut behind her. A beat later we see the indentations of footsteps come around the corner. We follow the breathing and stumbling footfalls back into... + +INT. SEBASTIAN'S APARTMENT - NIGHT + +We push over to the bathroom sink. The faucet turns on and the water starts running. + +We see the water cup under the faucet and splash against Sebastian's face. His face appears briefly in the water. Then the water slips away. + +For second it sounds like he's crying, but then we hear something far worse. He's laughing. Nervous laughter. + +INT. CONFERENCE ROOM - NIGHT + +Matt hands out thermal goggles, while Frank loads and passes out tranquilizer guns. + + JANICE + What are the tranqs for? + + LINDA + Use your imagination. + + JANICE + Are you saying he's dangerous? + + MATT + We're just saying we need to be cautious. + + LINDA + The Metro stops running after midnight and he's on foot, so he can't have gotten too far. + + CARTER + Look, this isn't a monkey we're talking about. It's Dr. Caine. Don't you think you're over reacting? + + LINDA + This program is classified. If he's out there it means someone might find out about him. He could destroy the whole program. + + SEBASTIAN'S VOICE + Relax, Linda. No one's gonna find out. + +They all turn around. At the door is Sebastian, back in his latex outfit. + + MATT + Where the hell have you been? + + SEBASTIAN + I got a little stir crazy, so I went to my apartment to pick up some stuff. + + LINDA + Bullshit! I went to your apartment and I happen to know you did a helluva lot more than pick some stuff up. + + SEBASTIAN + What are you talking about? + + LINDA + You, of all people How could you? + +Caught dead to rights, Sebastian sinks into his chair. He thinks she knows. + + LINDA (cont'd) + You put yourself and this project at risk. + + SEBASTIAN + Just what did you see in my apartment? + + LINDA + I saw your face and your clothes. + + MATT + It was bad enough you left without an escort, but to take off the... + (he motions to his face) + out in public? + +Sebastian realizes that they don't know. + + SEBASTIAN + Don't make a mountain out of molehill. I didn't let anyone see me. + + LINDA + That's not good enough. When you're outside the lab there are a thousand variables none of us can control. It's just not safe for you to be out there. + + SEBASTIAN + Come on, Linda. You don't expect me to be some kind of prisoner. + + LINDA + You volunteered for this, Sebastian. You knew going in there could be consequences. + (beat) + For the security of this project, I'm gonna have to ask you to confine yourself to the compound. + + SEBASTIAN + I'm still Project Leader, Linda. It's my decision to make. + + LINDA + You're right. It's your decision. But if you leave the compound again, I'll notify the oversight committee. Then they can make the decision. You understand? + + SEBASTIAN + Matt? + + MATT + Sorry, man. You'd do the same if it were the other way around. + +A long beat. Sebastian slowly rises, acknowledges Linda with a nod and leaves the room. Linda looks around at her silent co-workers, the goggles and tranqs still on the table. + + LINDA + Pack 'em up... Everyone go home. + +>DISSOLVE TO: + +INT. LABORATORY - DAY + +The Lab is buzzing with the usual activity. Linda rolls up Sebastian's sleeve, revealing nothing. + + LINDA + Hold still. + +She wraps a bungee cord around the nothing and pulls it tight. She then sprays the inside of his elbow with dye. + + SEBASTIAN + (contentious) + How much blood do you think you've taken so far? + +The surface of his skin sheens in the light as Linda searches for a vein. She slaps his arm several times, then plunges a hypodermic needle into his skin. + + LINDA + Not enough to worry about. + + SEBASTIAN + Every day... feels like you're sucking me dry. + +Linda presses down on the hypodermic plunger, releasing a dye into his bloodstream. + + SEBASTIAN (cont'd) + It's funny. All these years I've known you, I never pegged you for a megalomanic. + + LINDA + What are you talking about? + + SEBASTIAN + The shoe being on the other foot. You getting to run things. + + LINDA + I didn't ask for this, Caine. But when a classified experiment disappears in the middle of the night, someone's gotta run the show. + (tries sympathy) + Look, I know how hard this has been for you. + +He knocks her arm away and pulls the hypo, out of his arm. + + SEBASTIAN + Don't patronize me. + (beat) + And for the record, you've got no idea what it's like. I get up every morning and you people stick needles in me. You bombard me with radiation until I vomit. And then at six it's over for you. You get to go home. But Sebastian is still here. Sebastian can't leave, or else. That's the worst part, you know. Here I have this ... this GIFT and I can't even use it. + + LINDA + Now it's a gift? + + SEBASTIAN + You're goddamn right it's a gift. And if you weren't so goddamned short sighted, I'd be out there right now trying to master it. + +Sebastian looks around at the other scientists staring at him. He tosses the hypo with the needle onto the instrument tray and heads toward the door. + + LINDA + Where're you going? + + SEBASTIAN + Looks like I'm going nowhere. + + MATT + Come on, man. We've got a ton of tests scheduled today. + + SEBASTIAN + Do them yourself. + +INT. RECOVERY CHAMBER - NIGHT + +Linda enters to find Sebastian reading the collected works of T.S. Elliot. + + LINDA + Want to talk about it? + + SEBASTIAN + No. + +Linda looks over his shoulder. + + LINDA + "We are the hollow men, the stuffed men, headpieces filled with straw." + + SEBASTIAN + Funny, huh? I've become a literal metaphor. + +He puts the books down. + + LINDA + I don't want to fight you. I just want what's best for the program. + + SEBASTIAN + I know. And you being right doesn't make it any easier for me. + + LINDA + You can be scared. That's okay. + + SEBASTIAN + I'm not scared of being stuck this way. With a little more make-up and practice, I could... + (he motions to his face) + \... pass. Y'know, get by in the world. But the testing... + + LINDA + You're talking like you've given up. It's only been a few months. + + SEBASTIAN + What if it's years? I don't know how much more testing I can take. + +INT. RECOVERY CHAMBER - LATER + +Sebastian paces back and forth, glancing at the camera. + +INT. LABORATORY - DAY + +Linda, Matt and Sebastian, in latex and scrubs, stare at an electron microscope's video display. On the screen in a sparse colony of blood cells but every second more and more cells appear, filling the gap. + + MATT + 60% reversion. 70% ... 75% ... 80% ... 85 ... + +The others in the lab listen. They start to get excited. Janice and Carter leave their research and come over to watch the screen. + + SEBASTIAN + We've got it. We've got it. + + MATT + 93% ... 95%... 95% + +They wait. Linda points to a blank patch on the screen. + + LINDA + That's all we need. + + SEBASTIAN + Come on, baby. Come on. + +But the blood cells nearest the blank patch twinkle out existence, and then those around them also blink away until after a beat, the screen is empty. + + MATT + Full quantum cascade at 95%. + (beat) + I'm sorry. + + SEBASTIAN + You're sorry? You're fucking sorry? + +Sebastian picks up a glass beaker and hurls it against the wall. It shatters. + + SEBASTIAN (cont'd) + Six weeks of this shit and you're sorry! + +He grabs more equipment and begins tossing it in a rage. Carter and Janice grab him and restrain him. After struggling against them a beat or two, Sebastian calms down and pushes away from them and heads out the door. + + JANICE + I don't blame him. + + LINDA + I'll go talk to him. + + MATT + Leave him alone. He just needs to blow off some steam. + +INT. RECOVERY CHAMBER - NIGHT + +>CUT TO: + +Sebastian lies in his bed, staring at the security camera. The camera stares back at him. + +As if from a dream, we hear the Brunette's muffled scream and cries for help. As we push in on Sebastian's cold eyes, we can barely make out her face thrashing back in forth in panic and confusion. + +Sebastian suddenly rises. + +He crosses to the video camera and examines a small panel on the underneath of the camera. + +He reaches into a box of twinkies and pulls out one of the sponge cakes and begins munching. He hits the intercom button on the phone. + + FRANK (V.O.) + Yeah? + + SEBASTIAN + I'm going to the lab. + + FRANK (V.O.) + Don't you sleep? + + SEBASTIAN + Waste of time. Da Vinci never slept. + +INT. OBSERVATION ROOM - NIGHT + +Frank eyes Sebastian in the monitor. + + FRANK + Okay. I'm here if you need me. + +He watches as Sebastian's heat signature moves toward the door. + +INT. LABORATORY - NIGHT + +In the dark deserted lab, Sebastian pulls together a circuit board, a computer chip and some wiring. He seems be assembling something. + +INT. RECOVERY CHAMBER - NIGHT + +Sebastian crosses underneath the camera... just out of its range... reaches up and using a screwdriver, unscrews the access panel. He scans the electronics and attaches two alligator clips to wires on the circuit board. + +Trailing a long length of wire, Sebastian crosses back to his bed and lies down. He holds a black project box with a button on it. He lies perfectly still and press the button. + +INT. OBSERVATION ROOM - NIGHT + +The video image of the Recovery Chamber flickers slightly, before returning to normal. + +INT. RECOVERY CHAMBER - NIGHT + +Sebastian rises and begins to peel off his latex. + +INT. HALLWAY OF HABITATS - NIGHT + +Sebastian's POV - Various animals stir restlessly. A DOG, visible, leaps against the Plexiglas, barking wildly. We push further down the corridor. + +INT. OBSERVATION ROOM - NIGHT + +Again, Sebastian's POV as he pushes through the open door of the observation room. We see Frank sorting through various computer readouts, highlighting certain coding sequences. + +We push in until we are looking over Frank's shoulder at the video monitor. According to the video, Sebastian is sleeping soundly in his room. + +INT. RECOVERY CHAMBER - NIGHT + +The rewired security camera stares down at the empty bed. + +INT. OBSERVATION ROOM - NIGHT + +Frank glances over at the video monitor. He can see Sebastian's heat signature lying in the bed. + +Frank feels something on his neck. He flicks whatever it is away with his hand and goes back to work. + +INT. WAREHOUSE - NIGHT + +The elevator door opens. The Guard turns around. The elevator is empty. + +INT. METRO STATION, WASHINGTON D.C. - NIGHT + +A Metro Subway train draws to a halt. With a cautionary "BING BONG" its doors slide open. A handful of people exit and enter. One man bumps shoulders. He turns round to apologize, but there's no one there. The doors close and the train pulls out of the station. + +EXT. DOWNTOWN D.C. - NIGHT + +A couple of pretty girls exit a bar and stumble to their apartments. + +INT. APARTMENT - NIGHT + +One of the girls enters her apartment. The door half closes behind her and then reopens and closes again. + +INT. OBSERVATION ROOM - MORNING + +Frank's reading a book when Linda and Matt enter. + + MATT + How'd it go? + + FRANK + Quiet. He worked in the lab till about 10:30 and then went to sleep. + +INT. RECOVERY CHAMBER - DAY + +Close on the security camera. The wires have been removed and the access panel replaced. + +Sebastian whistles a cheerful tune as he finishes applying his makeup. The door opens and Linda and Matt enter. + + SEBASTIAN + Ah, my two favorite people. Good morning. + + LINDA + Good morning. + + MATT + Why so cheery this morning? + + SEBASTIAN + You know some days you just wake up feeling the world is full of potential. Like your eyes have been opened. + + MATT + I'm happy if I make it to my coffee machine. + +Linda hands Sebastian a disk. + + LINDA + I restructured the third genome on your radiated protein strand. Thought you might want to take look. + + SEBASTIAN + Cook up a batch and let's see where we go. + + LINDA + I thought you'd want to take a look at it. + + SEBASTIAN + I trust you. Now if you'll excuse me, I need to have my head examined. + +INT. STORAGE FREEZER - DAY + +Linda pulls bags of frozen plasma from the shelves in the walk-in storage freezer. + + LINDA + I'm telling you, I know him. Something's going on. + + MATT + Think he knows about us. + + LINDA + If he knew about us, he'd be angry and that wasn't angry. + +INT. CORRIDOR - DAY + +Janice heads up one of the corridors when something on the floor catches her eye. She bends down and takes a look at it. Barely visible on the floor is a fragment of a BAREFOOT FOOTPRINT. + +She runs her finger along the dried mud. It turns to dust. + +INT. LABORATORY - DAY + +Sebastian holds his latex head on his lap, while EEG leads hang suspended in mid-air, outlining his real head. Carter analyzes the results. + + SEBASTIAN'S VOICE + When you were a kid, you ever dream about being invisible? + + CARTER + Sure... all the time. + + SEBASTIAN'S VOICE + What did you imagine you'd do? + + CARTER + The usual. + + SEBASTIAN'S VOICE + What's the usual? + + CARTER + Hanging out in the girl's locker room. Kicking Jimmy Margiani's ass. + + SEBASTIAN'S VOICE + Jimmy Margiani? + + CARTER + School asshole. Drove a red Trans Am. Back then, I was the size of a small planet and made a rather large target. + + SEBASTIAN'S VOICE + Ever think up anything along the grand scale? + + CARTER + Sure. World domination. Manipulating stock markets, consolidating a political power base. But those are more recent fantasies. + +Carter pulls off the electrodes and Sebastian slides on his latex facemask. + + SEBASTIAN + And what if it weren't fantasy? What if you were out there in the world and could do whatever you wanted with no consequences whatsoever. How far would go? I mean... if it were real? + + CARTER + I don't know, man. Out in the real world... I mean, there's a responsibility... + + SEBASTIAN + Let's say you saw a woman with amazing tits. Would you brush against them? + + CARTER + Hell, I try and do that now. + + SEBASTIAN + Human nature. So if you could get away with more, would you do more? + + CARTER + I read that in a survey at a major university they asked college students "Would you steal if you were guaranteed to get away with it?" 82% said yes. + + SEBASTIAN + Eighty two percent? Makes you wonder if the world's ready for what we're doing. + + CARTER + So, Doc what did you do? + + SEBASTIAN + What do you mean? + + CARTER + When you were out. + + SEBASTIAN + I just walked around. Y'know. + + CARTER + Aw, you just walked around? Come on. There's more, right? + + SEBASTIAN + Like what? + + CARTER + Man, I'd be walking up to people saying shit like "This is God, go, get a haircut." Or hanging out in the changing room at Victoria's Secret. + + SEBASTIAN + Kind of sophomoric, don't you think. Besides, it was late and I wasn't out that long. + + CARTER + Well, did you see anybody? + + SEBASTIAN + There was this one girl. + + CARTER + Yeah? And did you mess with her? + + SEBASTIAN + Naw... + +Sebastian gives Carter a sly grin. + + SEBASTIAN (cont'd) + Well maybe a little. + (beat) + I tell you though, a man could get used to it. + +INT. LABORATORY - NIGHT + +Alone, Linda packs up her stuff for the evening. + +Slowly we push in on her and hear quiet breathing. We realize we are in... + +.SEBASTIAN'S POV + +Then ... + + SEBASTIAN'S VOICE + Goodnight. + +Linda jumps. + + SEBASTIAN'S VOICE (cont'd) + Sorry, didn't mean to frighten you. + + LINDA + It's fine. I just didn't know you were there. Goodnight. + +As she leaves the Lab, he follows her down the hallway. + +EXT. LINDA'S APARTMENT BUILDING - NIGHT + +Linda passes through the revolving doors of her apartment building. A few beats later, as if caught by a gust of wind, the revolving door slowly turns on its own. + +INT. APARTMENT'S HALLWAY - NIGHT + +Linda slips into her apartment and the door closes behind her. A moment later we see the doorknob turn back and forth. It's locked. + +EXT. ALLEY - NIGHT + +On a fire escape, we see the ladder shake and descend to the ground. The metal rattles back and forth as if something were climbing it. + +We slowly crane up the fire escape and hold on a window. Through the wispy curtains and dirty glass we can see Linda enter the room. The panel of glass fogs from Sebastian's breath. The fog wipes away, seemingly by itself. + +But then through the window we see Matt walk into the living room and put his arms around Linda's waist. We hear a shocked intake of air. + +He kisses her neck and then slowly unzips her dress. Her dress falls to the floor. Matt takes off his sport coat and drapes it over a chair, while Linda unfastens the buttons of his shirt. They're laughing now, exchanging kisses. + +Matt reaches behind Linda and unhooks her bra. He kisses his way down her neck to her breasts. Linda pulls him to her. + +Suddenly the window shatters. Startled, both Matt and Linda jump back covering themselves. + +We hear Sebastian's footsteps as he retreats down the fire escape. + +A moment later Matt reaches the window and peers out. He sees the fire escape ladder slowly rise back up down below. + + LINDA + What was it? + + MATT + I don't know. I don't see anything. + +Matt picks up a piece of glass and examines it. + + MATT (cont'd) + It's like something hit it. + +Linda picks up the phone and dials. + +INT. OBSERVATION ROOM - NIGHT + +Carter picks up the phone. + + CARTER + Hello? + +Carter looks at the security monitor of the recovery room. Sebastian's heat signature lies still on the bed. + + CARTER (cont'd) + No. No. He's here No, I'm staring at him. He's right there in his room. + +INT. LINDA'S APARTMENT - NIGHT + +Linda breathes a sigh of relief. + + LINDA + Thanks. No, just checking. 'Kay, bye. + (hangs up phone) + Phew. + +Matt pulls her into him. + + MATT + Relax... it's nothing. Where were we? + +INT. RECOVERY CHAMBER - NIGHT + +BARKING can be heard in the background. That horrible repetitive barking that grates the soul like Chinese water torture. + + SEBASTIAN'S VOICE + Be quiet! + +A photograph of Linda drifts through the air and settles atop a flaming candle. It ignites into fire, twisting and turning in mid-air, then falling on the floor as ash. A beat later water runs from the sink faucet. It forms in the shape of hands and splashes against his face, dripping away. + + SEBASTIAN'S VOICE (cont'd) + And the cyclops screamed out, "Who is it who blinds me?" and Odysseus replied "Nobody is my name". And the Cyclops raged to his friends "Nobody is killing me. Nobody". + +The barking continues. A moment later the chamber door slides open. We push down the... + +.HALLWAY OF THE HABITATS + +!... until we are face-to-face with the unhappy barking dog. + + SEBASTIAN'S VOICE + Shhhh. It's Nobody-It's nothing. + +The Plexiglas door to the doggie's cage swings open and some invisible force grabs little doggie around the neck. The force squeezes its little fur ball throat until the barking stops. + + SEBASTIAN'S VOICE (cont'd) + Nobody's gonna hurt you. + +The force keeps squeezing until the little doggie goes limp. Then the dog smashes against the Plexiglas over and over until blood spills out its mouth. The Plexiglas door swings closed again and moments later the door to Sebastian's cubicle closes as well. The water runs in Sebastian's sink washing the blood away from his now half visible hands. + +>DISSOLVE TO: + +INT. HABITAT'S CORRIDOR - NEXT MORNING + +Sarah sees the dead dog lying prone on its bedding. She eyes it curiously and opens the cage door. + +INT. RECOVERY CHAMBER - LATER + +Sarah stares at the empty chamber. + + SARAH + You awake? + + SEBASTIAN'S VOICE + I am now. + +The sheets raise and drape off of him. + + SARAH + Notice anything unusual last night. + + SEBASTIAN'S VOICE + No. Why? + + SARAH + Franklin Three. He's dead. + +Sebastian pulls a sheet around him. He moves across the dimly lit room like a ghost. + + SEBASTIAN + What of? + + SARAH + His neck was broken and his windpipe collapsed. + + SEBASTIAN'S VOICE + How'd that happen? + + SARAH + I thought maybe you could tell me. + + SEBASTIAN'S VOICE + Sarah... You saying I had something to do with it? + + SARAH + He was alive last night when I left and he was dead this morning. And you were the only one down here. + + SEBASTIAN'S VOICE + I was in my room all night. + +INT. OBSERVATION ROOM - DAY + +Sarah sits with Carter as they run through the security video tape. Matt and Linda look over their shoulder. + + CARTER + That's all twelve hours. + + LINDA + He never left the room. + + SARAH + A windpipe doesn't just suddenly collapse. Someone or something killed it. + + MATT + You saw the tape. The man was in his chamber. + + SARAH + Then we have a problem, because I the cage was locked from the outside. That means it was opened, the dog was killed and the cage was closed and locked again. Only a human could do that. + + CARTER + Well, it wasn't me. + + MATT + And it wasn't him. + + LINDA + Are we sure? + +INT. RECOVERY CHAMBER - NIGHT + +Linda passes Sebastian's chamber. Sebastian's in latex. + + SEBASTIAN + Any big plans for tonight? + + LINDA + Quiet night at home. Maybe a book. + + SEBASTIAN + Really? Whatever happened to that guy your were seeing? + + LINDA + He's still in the picture. Why? + + SEBASTIAN + Being locked down here, I'm forced to live vicariously. Someday you'll have to tell me what he's like. + + LINDA + Maybe someday I will. See you in the morning. + + SEBASTIAN + Au demain. + +Sebastian watches Linda walk away. He glances at the camera and starts to peel off his face. + +INT. WAREHOUSE - NIGHT + +The elevator door opens. It's empty. + +SEBASTIAN'S POV - as we push past the guard and down onto the street. + +EXT. STREET - NIGHT + +Empty street. We hear whistling. Splashes of water splat out from shallow puddles,,as Sebastian walks through them. + +SEBASTIAN'S POV - A car approaches. As it drives by we see Matt and Linda inside, heading back to the warehouse. + +The footsteps stop. + + SEBASTIAN'S VOICE + Hmmm. + +We see the footsteps start to head back toward the warehouse. + +INT. WAREHOUSE - NIGHT + +Linda and Matt exit their car and cross toward the elevator. + + LINDA + (to Marine Guard) + Forgot something. + +INT. STREET IN FRONT OF WAREHOUSE - NIGHT + +As we watch the footsteps head back through the puddles toward the warehouse, we see Frank pass us in his car. + + SEBASTIAN'S VOICE + What the hell? + +He breaks into a run. Feet splash water and he races back toward the warehouse. + +INT. ELEVATOR - NIGHT + +Empty. The elevator door opens and we push out into the hallway. Sebastian's POV + +INT. HALLWAY OF HABITATS - NIGHT + +We follow Sebastian down the hallway to his cubicle. But as he rounds the corner, he quickly ducks back. The entire research team is in his cubicle. Sebastian slowly approaches and watches as Frank takes down his video board. + + FRANK + Pretty clever really. All it does is recycle the signal. He flips this switch, it takes a snapshot and that's all we see. + + LINDA + Asshole. + + JANICE + And you think he's violent? + + SARAH + He killed a dog with his bare hands. + + FRANK + Dogs aren't people. Are we in any danger? + +Linda doesn't know. + + LINDA + Either way, we aren't equipped to handle this. We have to inform the committee. + +Everybody murmurs in agreement. + + JANICE + What if he doesn't come back? + + LINDA + They'll go after him. + (beat) + Who has tonight's shift? + + JANICE + I do. + + LINDA + Pretend nothing's wrong. Everyone just do what you're doing so he doesn't become suspicious. Okay? Matt and I'll go tell Doctor Kramer and we'll let the committee deal with it. + +Sebastian's POV - He backs away and races down the hall. + +EXT. DR. KRAMER'S HOUSE - POTOMAC MD - NIGHT + +The stately stone house sits on a finely manicured lawn in one of the nicest neighborhoods in town. Linda's car is parked on the curb in front. + +We break from a typical establishing shot and as the CAMERA tracks closer to the house, we realize that we are + +.SEBASTIAN'S POV + +We hear breathing and footsteps as we push through some bushes and head toward a bay window which looks into the Kramer living room. + +Through the glass we see LINDA and MATT seated across from DR. KRAMER. We can't hear what they're saying but it certainly looks serious. Kramer puffs on a pipe and strokes his beard, shaking his head. + +Kramer rises and shakes hands with Linda and Matt, and the three of them head toward the front door. + +We move away from the window and track toward the front door. As the door opens we begin to hear the tail end of the conversation. + + KRAMER + I'll call General Caster right now and convene the oversight committee tomorrow. + + LINDA + Thank you, sir. + + MATT + What do we do in the meantime? + + KRAMER + Just sit tight and wait for my call. + +Matt and Linda head down to her car. Kramer heads back inside. + +INT. KRAMER'S HOUSE - NIGHT + +Kramer heads back into the living room. His wife appears a the upstairs railing. + + MRS. KRAMER + What was that about? + + KRAMER + Just a little trouble at work. + + MRS. KRAMER + You coming up? + + KRAMER + In a minute. I have to make a few calls. + +Mrs. Kramer retreats back to her bedroom as Dr. Kramer crosses over to the telephone. He picks up the receiver and starts dialing. In the middle of dialing, the phone goes dead. He clicks the hookswitch up and down trying to get a dial tone. Nothing. He checks the connections on the phone and then follows the wiring to the wall. The line's plugged in. Weird. He hears a door creak open in the kitchen. + + KRAMER (cont'd) + Hello? Hello? + +Kramer crosses to the darkened kitchen. The kitchen door leading to the backyard is open. Puzzled, he crosses to it. A wind stirs across the pool and backyard, swirling dead leaves in small twists of wind. The windchime rings lightly. Kramer steps out. + +EXT. POOL/PATIO, BACKYARD - NIGHT + +In the dim spillover light from house, Kramer crosses to the telephone-box against the back of the house. It Is open and several of the wires have been pulled. He looks around, spooked and puffs out a cloud of smoke from his pipe. For the briefest of instants, Sebastian's face is visible in the smoke. Kramer jumps back in surprise and the pipe drops from his mouth. He gives a small sharp cry, but deep indentations appear across his mouth and his cries are stifled. In the darkness, we can make out his form writhing as if possessed. The struggle continues a beat until Kramer manages to break free. + + KRAMER + Help! HELP! MARTHA! HELP! + +As Kramer runs, he looks behind him. But no one's there. WHAM! Something slams into Kramer and he tumbles, rolling into the pool. But as he hits water there's not just one splash, but TWO. In the water next to him is human shaped AIR-POCKET. It's Sebastian displacing the water. And because of the water displacement, we can clearly see two arms pushing Kramer beneath the water's surface. MARTHA KRAMER opens the bedroom window and looks down at the pool. All she can see is her husband drowning... his flailing limbs kicking up a massive air bubble around him. She races from the window. Kramer kicks and flails for a few moments and then his limbs stop moving. A moment later he floats to surface, face down. The AIR POCKET bobs over to the pool ladder, and rising from the pool, we see Sebastian's body outlined in sheets of water. The shape melts away in a cascading waterfall until all we can see of Sebastian are the hundreds of tiny droplets still clinging to his body, caught in the light like twinkling bulbs on a Christmas tree. The shape disappears into the darkness. A moment later Martha emerges from the house and sees her husband floating face down in the pool. She screams. + +INT. RECOVERY CHAMBER - DAY + +Linda passes by Sebastian's chamber. + + SEBASTIAN'S VOICE + What? No good morning for me? Don't you like me anymore? + + LINDA + Oh, sorry. I...I'm in a hurry. + + SEBASTIAN'S VOICE + That's okay. It's going to be busy day. + +INT. LINDA'S OFFICE - DAY + +Matt sits across from her, twirling a pen in his hand. They both stare at the phone. + + LINDA + When did he say he'd call? + + MATT + He's probably meeting with the committee trying to figure out what to do. + + LINDA + I'm gonna call him. + +Linda picks up the phone and dials. + + LINDA (cont'd) + Yes, Dr. Kramer please. Excuse me? + (inhales sharply - surprised) + When? I'm so sorry. + +Linda blanches as she hangs up the phone. + + MATT + What? + + LINDA + He's dead. Drowned in his pool last night. + +Linda picks up the phone again and dials. + + LINDA (cont'd) + Yes, General Thompson please. Thank you. + +As she waits the phone line clicks dead. + + LINDA (cont'd) + Hello? Hello? + +She clicks on the hookswitch. + + MATT + Let me see that. + +He tries it too. Same result. + + MATT (cont'd) + Intercom's working, but there doesn't seem to be an outside line. + +INT. CORRIDOR/ELEVATOR + +They waste no time getting to the elevator. Linda and Matt step in. + + LINDA + I'll be right back with help. + +Linda taps in his floor code. + + ELEVATOR (V.O.) + Authorization please. + + LINDA + Foster One Delta Eight Three Five. + + ELEVATOR (V.O.) + Authorization invalid. Request denied. + + LINDA + That's a first. + +Linda taps the keypad again. + + ELEVATOR (V.O.) + Authorization please. + + LINDA + Foster One Delta Eight Three Five. + + ELEVATOR (V.O.) + Authorization invalid. Request denied. + + MATT + Let me try mine. + +Matt hits buttons on the keypad. + + ELEVATOR (V.O.) + Authorization please. + + MATT + Kensington Two Romeo One Five Nine. + + ELEVATOR (V.O.) + Authorization invalid. Request denied. + + LINDA + Tell me this isn't happening. + +INT. LABORATORY - DAY + +Frank, Sarah, Carter and Janice man various work stations in the lab. Linda and Matt enter. + + LINDA + We've got a problem. + +INT. COMPUTER ROOM - NIGHT + +Frank's fingers fly over the keyboard. + + MATT + How long before anybody starts looking for us? + + LINDA + There's no set check in procedure. It could be weeks. + +A graphic of the elevator system pops up on the screen. Frank highlights the security terminal. Frank hits a few more keys. The screen reduces to a series of numbers. + + LINDA (cont'd) + You think you can get in? + +Frank rewrites a few of the numbers. + + FRANK + Already in. It was only a second level encryption. + +The Security System specifications pops up. + + JANICE + Some security system. + + FRANK + Oh the system is fine. It's just I'm just extraordinary. + +Frank types a few more keys, and his eyes widen. + + FRANK (cont'd) + But apparently someone is more extraordinary than me. + + MATT + What is it? + + FRANK + There's nothing wrong with the system. Our codes have been removed. + + MATT + Removed? By who? + + FRANK + Here's a clue. Only one code remains. + + LINDA + Whose? + + FRANK + Dr. Sebastian Caine. + +INT. RECOVERY CHAMBER + +The team approaches Sebastian's chamber. Carter pulls on the pair of thermal goggles dangling from his neck up. + +THERMAL POV - The chamber is empty. + + CARTER + He's not in there. + +Linda enters the chamber. She notes that Sebastian's face and makeup are on the sink vanity. Linda crosses to the phone and hits the "PAGE BUTTON" + + LINDA + Okay, Sebastian. Fun's over. Tell us where you are. + +She waits. Then... + + SEBASTIAN'S VOICE + I'm sorry. But I can't let you turn me in. + + LINDA + Sebastian... where are you? + + SEBASTIAN'S VOICE (INTERCOM) + You have no idea what it's like. The power of it. The freedom. I can't let that go. + + LINDA + C'mon Sebastian. You're scaring me. Tell me where you are and we can talk about it. + + SEBASTIAN'S VOICE (INTERCOM) + There's nothing to talk about. See ... I've done things that can't be undone. + +A long beep as the intercom clicks off. + + LINDA + Sebastian! Sebastian! + (beat) + I want search parties. Thermal goggles and tranquilizers. + +INT. CORRIDOR + +Linda and Matt, wearing thermal goggles and clutching tranquilizer pistols, walk down the hallway, scanning back and forth. + +INT. SEBASTIAN'S OFFICE + +Janice enters the office. + + JANICE + Dr. Caine? Are you in here? Dr. Caine? + +Suddenly, Janice jerks back. + + SEBASTIAN'S VOICE + I'm here. + +INT. HABITAT'S CORRIDOR + +Sarah scans all the habitats with a thermal scanner. Listening intently. + +INT. SEBASTIAN'S OFFICE + +Janice struggles with her unseen assailant, slamming into walls and knocking into filing cabinets. + +INT. LABORATORY + +Frank and Carter search the lab with their thermal scopes. + + FRANK + Doctor Caine? + +INT. SEBASTIAN'S OFFICE + +Linda and Matt knock. + + LINDA + Sebastian? + +No response. They push through the door. The room seems deserted. Signs of a struggle. File cabinets opened, drawers tossed. + + MATT + This is bad. + +THERMAL POV - Linda surveys the room, spotting a slight heat signature peeking from the corner. + + LINDA + There's something over there. + +Linda moves toward it. Whatever it is its hidden from Matt's POV by the supply cabinet. As Linda gets close she pulls off her thermal goggles to see... + +JANICE - + +Her face blue, eyes bulging. An I.V. cord wrapped around his neck. Linda jumps back. + + LINDA (cont'd) + Jesus. Oh my god. + +Matt rushes over. Sees the lifeless corpse. + + MATT + What happened? + +Linda lowers the body to the floor. + + LINDA + She was strangled. Multiple blows to her head. + +Linda begins a medical check of the rest of the body. Matt stoops down and examines Janice's face. + + LINDA (cont'd) + We got a big problem here. + +A lamp tumbles from the desk and smashes to the floor. Both Linda and Matt jump. Linda frantically dons the thermal visor and scopes the room again. Nothing. Matt notices the lamp cord beneath Linda's leg. Points it out to her. She sighs with relief... she pulled the lamp off the table. + + LINDA (cont'd) + Get everybody to the conference room. Now! + +Matt picks up the phone. Clicks the hookswitch. Clicks the hookswitch again. + + MATT + Intercom... the phone lines. They're dead. + + LINDA + Gimme that. + +She checks the phone, punches some numbers. Nothing. + + LINDA (cont'd) + It was just working. + + MATT + What the fuck is going on here? + +INT. CORRIDOR + +Matt and Linda head toward the lab. + +Linda suddenly stops. + + MATT + What? + + LINDA + Shhh. + +Linda takes a few cautious steps. Senses something. + + LINDA (cont'd) + Give me the visor. + +Matt, suddenly concerned, hands her the visor. THERMAL POV - Linda checks out the corridor. Empty. Linda takes Matt's hand. + + LINDA (cont'd) + C'mon. + +They move quickly up the corridor. See Frank, Sarah and Carter. + + FRANK + Did you find him? + + LINDA + Janice is dead. + +INT. CONFERENCE ROOM + +Linda scans the room with her thermal scope. + + LINDA + It's clear. + +Matt, Frank, Janice and Sarah step in, locking the door behind them. + + SARAH + The man has checked out of reality. + + FRANK + What happened? I don't understand. + + CARTER + Isn't it obvious? Right now, we're the only ones who knows he exists. If he gets rid of us, no one knows and he becomes the most powerful man on earth. + + FRANK + But he's not a killer. + +They all look at Linda. + + LINDA + He wasn't. He is now. + + MATT + Can you fix the elevator? Restore our codes? + + FRANK + It'd take hours to crack the encryptions. + + MATT + Right now that sounds like good news. + + CARTER + So what do we do until then. Sit around waiting for him to kill us off? + +Everyone looks around for some leadership. Finally. + + LINDA + No. We find him, before he finds us. + +INT. CORRIDOR - DAY + +The group moves quickly, passing under an air vent. As they round the corner the vent slowly swings down and an air disturbance drops to the ground. + +INT. OBSERVATION ROOM + +As they enter... + + CARTER + You sure this'll work. + +Linda sits down at a computer terminal, activates it. + + LINDA + We designed it to help find the rats we kept dropping in year one. They were too small for thermal scans. + +A map of the compound appears on the screen. + + MATT + Systems hot. Activating motion detectors. + +Matt toggles a switch. Linda stares at a map of the compound. Blips appear on the display... in the observation room... in the Habitat Area and in one of the corridors. + + LINDA + I've got movement in Corridor Six. + + MATT + That's him. + +INT. CORRIDOR - DAY + +A shadow edges down the tunnel. It settles for a moment, disappearing completely, then is back on the move. At the tunnel's edges, motion detectors light up as the thing passes by. + +INT. OBSERVATION ROOM + +Carter checks his Tranq pistol & Matt rummages through a locker. + + MATT + Got 'em. + +Matt pulls out a pair of walkie-talkies. He tosses one to Linda. + + LINDA + (into walkie) + Check. Check. + +Her voice echoes from the other unit. + + LINDA (cont'd) + Be careful. + + MATT + Just watch our backs. Hey Carter, ready? + + CARTER + Let's do it. + +Matt and Carter exit. Linda locks the door behind them. + +INT. TUNNEL + +Matt and Carter trot toward corridor six. + +INT. OBSERVATION ROOM - DAY + +Linda huddles over the display, tracking the two. + + LINDA + (into Walkie) + Take a right at the next accessway. He's working his way back to the offices. + +We see Matt and Carter on one of the working video screens as they push down the tunnel. + +INT. CORRIDOR - DAY + +Matt and Carter move cautiously, listening for any sound. + + MATT + (Walkie - sotto) + If we split up, can we trap him on corridor eight? + + LINDA (V.O.) + If he keeps heading in that direction. + +Matt nods to Carter. The pair splits, heading down separate accessways. + + MATT + Going Thermal. + +Matt pulls the visor down over his eyes. + +INT. OBSERVATION ROOM - DAY + +Linda watches the two separate and come around Sebastian in a pincer move. + +Suddenly, the blip that was Sebastian disappears. Linda grabs the walkie. + + LINDA + I lost him. Matt, I lost him. + +INT. CORRIDOR - DAY + +Matt makes his way forward. + + MATT + He probably just stopped moving. + +But Matt becomes more cautious with his footsteps. Slowly ... approaching a corner... + +He rounds the corner and sees a heat signature at the far end of the corridor. He levels his pistol, ready to fire. + + CARTER + It's me. + +Matt pulls off his goggles. + + MATT + Do you have anything? + + CARTER + Nothing. + + MATT + How did he get by us? + + CARTER + He couldn't. + + MATT + Sebastian! We're here to help. Sebastian. + +No response. They both don their visors and move forward slightly. Carter holds up his hand. + + CARTER + There. Behind those pipes. He's not moving. + +Carter points. Matt checks his thermal. A red heat signature clings to the wall. + + CARTER (cont'd) + Doctor Caine? + (beat) + Can you hear me? + +No response. + + MATT + (into walkie) + We see him. But he's not responding. + +The heat signature doesn't move. + +Matt looks through his visor and holds the tranquilizer gun at the ready. He looks for a clear shot. The heat signature huddles behind pipes. + + MATT + C'mon... C'mon... + +The two slowly move closer. Matt finally has a clear shot. He signals Carter. Carter levels his pistol too. + + CARTER + Covered. + +Matt fires the dart at the heat signature. It bounces off the wall ... Nothing there. + + MATT + What the... + +He crosses to the heat signature. + + MATT (cont'd) + Just a vent. Just a goddamn vent + + LINDA (V.O.) + He was there. + + MATT + Looks like... looks like we're pumping out heat... + +Suddenly behind him... CARTER JERKS THREE FEET in the air, kicking wildly. SUSPENDED IN MID-AIR BY HIS NECK. He gasps for air. + + LINDA (V.O.) + I got movement again! He's right on top of you! + + MATT + No fucking shit! + +Matt opens fire with the tranquilize, shooting at the ceiling until he spends his dart rounds. + + MATT (cont'd) + Sebastian? Goddamnit! Let him go. + + CARTER + (choking) + H...Help... MMmmphg + +Carter suffocates. He passes out. With a sudden crack, he's thrown against the side wall. A large cut opens up across his head and his body goes limp. + + MATT + (into walkie) + Where is he? Where the fuck is he?!? + +INT. OBSERVATION ROOM - DAY + +Linda huddles over the display. + + LINDA + Right on top of you. + +INT. CORRIDOR - DAY + +Matt scrambles away. Running. Pipes burst and swing down from the ceiling. Steam billows forth. Something moves through the cloud of steam. + +Around the corner, Matt shoves more darts into his tranquilizer. + + LINDA (V.O.) + What's going on? Are you okay? + + MATT + Carter's down. Hurt bad. Bleeding from a head wound. + +INT. OBSERVATION ROOM - CONTINUOUS + +Linda watches the screen. Two blips, one traveling quickly. + + LINDA + Matt, he's coming toward you. + +INT. CORRIDOR - DAY + +Matt takes a few steps back. + + MATT + Shit. + + LINDA + Get outta there. + +Matt breaks into a run. + +INT. OBSERVATION ROOM + +Linda watches one dot chasing the other, down several corridors. + + LINDA + He's close! + +INT. TUNNEL + +Matt running, checking over his shoulder. Sounds of footsteps behind him, but up ahead the heavy metal blast doors begin to close. + + MATT + Goddamnit. The doors are closing. He's shutting me in. + +Matt rushes the doors as they slide shut. He doesn't make it in time. The doors close with a resounding clang. Matt turns and pulls on his thermals. + + MATT (cont'd) + Where is he? + +INT. OBSERVATION ROOM - CONTINUOUS + +Linda huddled over the screen. Tense. + + LINDA + He's coming right at you! + +Then checks the Thermal goggles. Several heat signature dot the tunnel. + + MATT + Where? + + LINDA + Twenty, maybe thirty feet. + + MATT + Goddamnit, I got thermals all over the place. Eight, maybe ten of them. Must be ghosts. + +INT. OBSERVATION ROOM - CONTINUOUS + +Linda gets a sense of forboding. She looks around the room. Sees a heating vent in the corner. + +Beat. + +She grabs the walkie. + + LINDA + Those signatures ... they're coming from the heating vents. + +Through the goggles, Matt sees the tunnel turning red. + + MATT + I'm starting to lose resolution on my thermals. + + LINDA + Get out of there! + +INT. OBSERVATION ROOM + + FRANK + If the room temperature is the same as his body temperature, thermal visors'll be no good. + +Linda grabs a Tranq gun and heads for the door. + + LINDA + I'm going! + + FRANK + Linda...it's not safe. + + LINDA + That's why I'm going. + (to Frank and Sarah) + Corridor eight is clear. Get Carter to the lab. We'll meet you there. + + FRANK + But... + + LINDA + Do it. + +INT. CORRIDOR + +Matt turns to face the corridor. It's turning red. Matt sees some movement in the thermal cloud. Opens fire. But the thermal signature disappears into the heat. Matt can't distinguish anything through his goggles anymore. He pulls them off and holds him gun in front of him sweeping the hallway. + + SEBASTIAN'S VOICE + Marco...Polo... Marco... Polo... + +His voice keeps shifting. Matt fires. + + SEBASTIAN'S VOICE (cont'd) + Not even close. + +Matt sweeps his front leg back and forth, like a blind man using a cane. But his foot isn't hitting anything. He sees a FIRE EXTINGUISHER mounted on the wall. He rushes it, turns it on the hallway and sprays. And SOMETHING LUNGES through the foam. GRABS HIM, sending him tumbling down the tunnel. Matt is thrown against the wall. Blood coming from his brow. He scrambles away, spraying more foam. Sees a shape in the mist, raises his pistol and FIRES. The shape leaps away. The DART FLIES. Doesn't hit. Matt scrambles back into a corner. His pistol is empty. + + SEBASTIAN + So... just out of curiosity, how long has my best friend been fucking my ex-girlfriend. + + MATT + Sebastian. Get a hold of yourself. You aren't thinking rationally. + + SEBASTIAN'S VOICE + She's a pretty sweet fuck, isn't she? + + MATT + Calm down, Sebastian... we can talk this through. It's not too late. + +The Shape parts the low hanging mist, the fine powder swirling in clouds behind it. Coming toward him. + + MATT (CONT'D) + C'mon Sebastian. Don't do this. I'm your friend. + + SEBASTIAN'S VOICE + I'm sorry, but I just feel that our friendship is holding me back. I'm sure you understand. + +THE DOOR OPENS. Linda reaches through, grabs Matt. She pulls him to his feet and through the door. + +INT. TUNNEL + +Frank and Sarah, holding their Tranq pistols, fly down the corridor. + + SARAH + This way. + +They shear off the main corridor into the side corridor. Carter lies crumpled up ahead. Sarah slides to his side. Carter's head rests in a pool of blood. She checks his pulse while Frank takes a protective position. + + SARAH (cont'd) + Pulse is weak. Breathing... shallow. + + FRANK + He'll be okay. + + SARAH + It's pretty severe. We have to get him to the lab. + + FRANK + He's got to be okay. + +Frank stands frozen. + + SARAH + For godsakes, help me. + +Frank snaps to. Grabs an arm. The pair hoist Carter up and carry him down the hallway. + +INT. OBSERVATION ROOM + +Linda pulls a handle and doors slide shut behind them. + + MATT + He was going to kill me. + +Linda pulls him close. + + LINDA + I know. He's gone. + + MATT + We've got to get out of here. + +Linda checks the screen -- see Sarah, Frank and Carter headed toward the Laboratory. + + MATT (cont'd) + Where is he? Goddamnit, where is he? + +Isolated in the Hallway of Habitats is a single blip. + + LINDA + Habitats. + + MATT + Oh god. That's right between us and the lab. + +INT. LABORATORY + +Frank and Sarah lift Carter onto a medical table. + + SARAH + His pulse is faint. + +Sarah grabs a sheet from the counter top. Folds it and presses it against the head wound. + + SARAH (cont'd) + He's lost a lot of blood. Here. Hold this. + +She guides Frank's hands to the wound. + + SARAH (cont'd) + Keep applying pressure. + +Sarah pulls out a saline solution I.V. bag and slap it on the rack. She fumbles with the needle as she tries to find a vein. + + SARAH (cont'd) + Don't move your hand until I get back. + +Sarah heads to the door. + + FRANK + Where are you going? + + SARAH + This'll hold him but he needs blood. + + FRANK + But... + + SARAH + Supply is right down the hall. I'll be two seconds. + + FRANK + Sarah, wait for the others + + SARAH + If I wait, he'll die. Keep pressure on the wound. + +INT. CORRIDOR + +Sarah exits the lab. Checks the corridor. Down at the end of the cramped tunnel is the supply room. + +She swallows her fear and heads toward it, all the while glancing side-to-side and behind her. + +INT. SUPPLY ROOM + +Spooked, Sarah bursts into the room. She goes to the supply fridge/freezer, pulls open the door, and sorts through blood bags. + +INT. TUNNEL + +Matt and Linda push along the corridor; Matt spraying with the fire extinguisher in short controlled bursts, Linda clutching her tranquilizer like a commando. + +A noise behind them. Footsteps. + +Matt turns to blast with the extinguisher. The white chemical dust sprays out, outlining a shape in the tunnel. But it isn't a human shape. + +Matt's uniform shreds. Something with fierce sharp claws fells him. Tearing into his flesh. We see a angry, hungry face... jabbing for a moment through the lingering fog. + + MATT + Ahh! Shit! + +Linda tries to get a clear shot off through the smoke. Matt trips and goes sprawling. Something yelps. A howl. Linda shoots. Her dart jabs into something which collapses to the ground. A moment of calm. As the dusty chemical foam settles, the outline of a great ape appears, still twitching. + + MATT (cont'd) + Karl Three. Nice shot. + + LINDA + He's let the animals out. It wasn't him we were tracking. + +Linda leans against the wall, still clutching her tranq gun at the ready. The heat is getting to her. Her scrubs are soaked, her hair's a mess. She wipes the sweat from her brow. + + LINDA (cont'd) + You okay? + + MATT + It won't kill me unless it gets infected. You? + + LINDA + Me .... Don't ask about me. If he freed all the animals, we could have dozens running around the lab. + + MATT + So he could be anywhere right now. + +Matt sprays the whole tunnel, putting down a gentle cloud mist. Nothing else appears. + + MATT (cont'd) + What do we do? + + LINDA + Get to the lab, lock the goddamn doors and pray to God Frank can reprogram the elevator. + +INT. SUPPLY ROOM + +Sarah finishes collecting blood bags and shuts the door to the fridge/freezer. + +The DOOR SLAMS behind her. She freezes and slowly turns. + + SARAH + Frank? + +She eyes the supply room, looking for a sign of movement. + + SARAH (cont'd) + (frightened whisper) + Who's there? + +She listens. Is that breathing she hears? Now she's starting to panic. + + SARAH (cont'd) + Dr. Caine? + +She starts to back away, but she's already in the corner. She clutches her tranquilizer gun, but there's nothing to aim at. The vials of blood on the shelf gives her an idea. She reaches over, grabs a vial and throws it on the floor. GLASS SHATTERS and BLOOD SMEARS across the linoleum. Sarah tosses another vial and another. Becoming more and more hysterical. Splattering more and more blood. But she runs out of vials. Shaking with fear, she searches the blood looking for a footprint, or movement. But there's nothing there. Sarah waits a beat, clutching the tranquilizer gun. Takes a step. Waits a beat longer. + +Finally she relaxes. It was just her imagination. She heads toward the door when she hears a terrifying whisper in her ear. + + SEBASTIAN'S VOICE + You missed. + +Her hair flies up, and she swings against the wall. She tries to move, but she's pinned there. Her hands struggling against the force. + + SARAH + Please no. Let me go. Oh god, let me go. + +The arm holding the tranquilizer gun begins to move. + + SARAH (cont'd) + What are you doing? No! + +Sarah fights, but her arm moves nonetheless + + SARAH (cont'd) + Help me! Oh God. Somebody help me! FRANK! + +Slowly, deliberately, her own arm moves down the wall and around, until the tranquilizer gun points right at her stomach. + +Sarah watches in horror as her own body betrays her. + + SARAH (cont'd) + No... please. Don't do this to me. + +She struggles, shaking back and forth. Writhing. In anguish and in fear. + + SARAH (cont'd) + What do you want? + + SEBASTIAN + You. + +The trigger pulls .... Pop! + +A dart explodes from the gun and imbeds in Sarah's stomach. She whimpers as her eyes glass over. Suddenly she's released. She stumbles backward and falls lifeless to the floor. A moment of stillness, all we can hear is the sound of someone breathing. + +On Sarah's face... a slight-indentation runs down her cheek.. + +Almost sweet... almost tender. And slight indentation runs across her breast and strokes down her body. The sense of violation and vulnerability is awful. Sebastian sighs. + + SEBASTIAN'S VOICE + I've always liked your feistiness. + +Sarah's head shifts slightly. Her head shifts violently, accompanied by the celery crunch of her neck snapping. Sebastian exhales, his breath filled with the intoxication of power. + +INT. LABORATORY - DAY + +Frank applies pressure to the wound, waiting for Sarah to return. Carter's vital signs are weakening..,. + + FRANK + Sarah! Sarah! + (to Carter) + Goddamnit. Stay with me now. Don't you let up... Sarah! Sarah! + +No response. Frank doesn't know whether to stay or go after her. He starts toward the door several times but can't leave Carter. Finally the door opens. + + FRANK (cont'd) + Sarah! I'm losing him. + +But it's Linda and Matt. + + FRANK (cont'd) + Did you see her? + +Linda rushes over to check on Carter. + + LINDA + Where is she? + + FRANK + She went to the supply room. Carter needed blood. + +Linda grabs a stethoscope and listens to Carter's heart. + + LINDA + I said no one goes anywhere alone. + + FRANK + She didn't listen. + +She slowly pulls Frank's hand away from the wound. + + FRANK (cont'd) + But... + + LINDA + He's dead. + +Linda would love to cry about it, but doesn't afford herself the luxury. + +INT. CORRIDOR + +The three of them approach the supply room door slowly. Blood trickles from under the door and bloody footprints extend down the hallway. + +They swing open the door. + +The floor is covered in blood and broken glass. But no body. + +INT. CORRIDOR + +Sarah, broken, is dragged toward the chair, eerily jerking down the hallway... seemingly on its own. + +INT. CORRIDOR + +The three scientists follow the bloody footprints down the hallway past the empty cages in the tunnel of habitats. + +All clutch their tranquilizer pistols. + +The footprints lead past the habitats to Sebastian's chamber. + +They see Sarah's body in the dim light. + + LINDA + Oh god. Sarah! + +The group breaks into a run. Linda pushes into the chamber and falls at Sarah's side. Matt cradles Sarah's head. They look for some sign of life as Linda fights back the tears. + + LINDA (cont'd) + No... + + FRANK + Her too? + +Matt nods. Linda slams the cubicle wall with her fist. + + LINDA + This didn't happen. This hasn't happened. + + MATT + It happened alright. Now we have to deal with it. + +Matt puts his hands on her shoulder to calm her. She pushes him off. + + FRANK + Yeah? And just what are we supposed to do now? + + SEBASTIAN'S VOICE + Now? Now you die. + +The three of them whip around. + + LINDA + He's here! + + MATT + Where? + + LINDA + Sebastian! + +Silence. The three cautiously move out. They stand back to back, each one facing out. They move toward the door of the Chamber. + + LINDA (cont'd) + Sebastian. Sebastian, listen to me. + +No response. They all their tranq pistols level waiting for some sign. Hearing each other breathe. They slowly move outside the Chamber into the corridor. + + LINDA (CONT'D) + I don't know if you can understand this, but what you're experiencing is a psychological breakdown. This isn't who you are. + +A beat. + + SEBASTIAN'S VOICE + I would say that what I am experiencing is psychological awareness. I like you being in complete and absolute control. + +They identify the general area the voice is coming from: Back inside the Chamber! They slowly move toward the Chamber door. With lightning speed they slam the door shut, locking Sebastian inside the Recovery Chamber. + + LINDA + You goddamn bastard! You goddamn bastard. You're gonna pay for this. I'm going to bring you back to visibility and then I'm going throw your ass in jail. + + SEBASTIAN'S VOICE + You're never gonna bring me back Linda. I never want to come back. + + LINDA + Fuck you! + + SEBASTIAN'S VOICE + Or maybe I'll fuck you. One last time for old times sake. + +Linda slams her fist against the wall of the Chamber. + + MATT + Don't listen to him. It's not worth it. + + FRANK + Come on, Matt. Let's go get the elevator back on-line so we can get out of this hell hole. + +Matt gives Linda a kiss... + + MATT + He does anything, anything at all, come get us. I'll be back to check on you in five. + +Matt and Frank head off down the corridor. + + SEBASTIAN'S VOICE + Imagine you two, carrying on right under my nose. Out of curiosity, what did he give you that I couldn't? + + LINDA + Shut up, Sebastian. He's more of a man than you'll ever be. + +INT. OBSERVATION ROOM - CONTINUOUS + +A VIDEO SCREEN shows Linda pacing outside the Chamber door. The chair moves forward toward a microphone. + + SEBASTIAN'S VOICE + Okay, sweetie. I'll be quiet. If that's what you want... + +Sebastian TOGGLES the intercom switch OFF. We pan over to one of the working video screens ... Matt and Frank stride down the hallway. The chair swivels and the observation room door swings open slightly. + +INT. CHAMBER + +Linda still holds his tranq gun toward the door. Nothing moves. Nothing. Linda walks over to the Plexiglas ... stares in. Can't see anything, anyone. Just the dead Sarah. + +Then she sees it. The little red light on the intercom. Its on. + + LINDA + Sebastian? Sebastian? No.. No... + +Linda bangs on the glass. She looks. No movement, no nothing. She listens. Shit. She takes off running. + + LINDA (cont'd) + Matt! Frank! + +Tracking with Linda as she rushes down the hall. + + LINDA (cont'd) + Matt! Matt! Frank! + +INT. LABORATORY - DAY + +Linda breaks in the room to see Frank slicked in blood, his throat cut, and Matt bleeding from multiple stab wounds with an extension cord around his neck being pulled tight. + + LINDA + Jesus! + +Linda rushes over and slams into Matt. They fall to the ground. Linda crawls over to Matt, but her head snaps back and her lips erupt with blood. + + SEBASTIAN'S VOICE + Figured it out? You were always so clever. + +Matt's pulled back across the lab by the cord around his neck. He grabs at the cord trying to breathe. Linda watches him being pulled away. + + LINDA + No! + +She clamors over to him. But Matt rises in the air and is tossed against the lab table. Linda levels her dart pistol and fires haphazardly at the air. She hits nothing but objects jerk and move in a line as Sebastian heads for cover. Linda manages to grab Matt and pull him to her. + + LINDA (cont'd) + Hang on! + + MATT + Get out of here! + +Linda pulls Matt toward the door. + + LINDA + (yelling) + You won't get away with this. They'll find out about you. They'll hunt you down. + + SEBASTIAN'S VOICE + The villagers with their torches? Lock up your daughters! Sorry, Lin. It's not gonna happen that way. + +Linda hits the lights. The lab is now very, very dark. + + SEBASTIAN'S VOICE (cont'd) + See, I've spent all my time down here thinking up this plan. When they find you, they'll find a pile of charred corpses. The result of a terrible accident, I'm afraid. + +Linda reacts to the voice as it grows nearer. She navigates the maze of equipment, heading toward the crack of light at the front door. + + LINDA + How can you be so brutal? + + SEBASTIAN'S VOICE + I guess because I don't have to look at myself in the mirror anymore + (beat) + Remember that first night I was out? I did something bad, just to see if I could get away with it. And when I did, I realized I could have it all. I can kill in broad daylight. And nobody's gonna tell the police they were fucked by a ghost. Anything I desire I can make happen, but not if people know. + +Linda and Matt have reached the door of the lab. She pushes through it and slams it behind her. + +INT. CORRIDOR - DAY + +Linda pulls Matt along. + + MATT + I'm dizzy. I can't feel my legs. + + LINDA + Just keep going. I'll fix you later. + +INT. CORRIDOR, LAB DOORS - DAY + +The doors explode open. + +INT. SUPPLY ROOM - DAY + +Linda looks up and down the hall and pulls Matt inside the supply room. It's still blood soaked from earlier. + +Linda closes the door, sliding the deadbolt into place. + +Linda lets him drop like a heap onto the floor. She falls to her knees beside Matt, lying on the ground. + + LINDA + Matt... Matthew. Stay with me now. + +Linda pulls his scrubs open. The wounds are many and deep. + + MATT + He surprised us. We weren't expecting... + + LINDA + Shhh. Don't talk. + +BAM! Something slams against the door. Bam! Slams against it again. The old deadbolt is buckling. Linda looks around the room and sees the storage freezer. + + LINDA (cont'd) + We gotta move. Hang on. + +Linda helps Matt up and into the storage freezer. + +INT. STORAGE FREEZER + +Linda grabs a metal bar and slides it between two hooks on the door and the jam. + +BAM! The storage room door blows open. Linda leans down next to Matt. + + MATT + Lin... + +His entire shirt is stained with blood. He's having trouble breathing. + + MATT (cont'd) + I can't feel anything. + +Linda picks up his hand. Grips it tight. + + LINDA + You feel that? + +Matt smiles. + + MATT + A little... + +She rips his shirt open... and sees his wounds. She grabs a vial of alcohol and dumps it on her hands and then probes the wound. + + LINDA + Your losing blood, but he didn't hit the vitals. + +She looks around. + + LINDA (cont'd) + Sutures and thread. + +She rises, and looks outside the porthole into the room. Suddenly it fogs up and she almost sees a face. She stumbles backward, and the door starts rattling. Linda scrambles over to hold the metal crowbar in place. Sebastian pulls and rattles on the freezer door. To no avail. It's not gonna budge. Finally he gives up. The door stops shaking. Linda is relieved, briefly. Still. Then she hears the click of the door locking. + +.OUTSIDE THE FREEZER + +CLOSE ON THE REGULATOR as the dial turns from forty-five degrees, down to negative twenty. + +.INSIDE THE FREEZER + +Through the porthole, Linda sees the bloody footprints heading toward the door. She removes the metal bar and pushes on the door. It won't move. + + LINDA + Goddamnit. + +Linda looks around the storage room. She grabs a roll of duct tape and pulls off a length. + + MATT + What're you doing? + + LINDA + This is temporary. + +She takes paper towel and cleans off Matt's wound. She tapes it, using duct tape. + + LINDA (cont'd) + You still with me? + + MATT + Barely. + +A beat later, the compressor begins pumping Arctic air into the freezer. + + LINDA + Just keeps getting worse. + +Linda returns to the door. Shakes it. + +INT. CHAMBER - DAY + +We hear WHISTLING as we see a sheet of flesh fill out into a head as Sebastian slides on his latex head piece. + +INT. STORAGE FREEZER + +Linda continues shaking the door. The lock holds. A tear rolls down Linda's cheek, but a strange thing happens. The tear drops freeze. Linda shivers as she pulls the icy tears from her face. + + LINDA + Oh shit. + +The inside thermometer has dropped to five degrees. + +Linda grabs the metal bar and starts smashing it against the porthole. The metal bar just bounces off the glass. + +INT. SEBASTIAN'S OFFICE + +A drawer opens, revealing a set of clothing neatly folded. Shirt, pants, shoes. They begin to move. + +INT. STORAGE FREEZER + +Linda drops the metal bar and slides down the wall, defeated. + + MATT + There's no way out. + + LINDA + There's got to be. + + MATT + They say freezing to death isn't so bad. You just kinda pass out. + +Matt's head rolls back. + + LINDA + Matt! MATT! + +She checks his pulse. Thank god he still has one, but he's not gonna last long. They're both already starting to turn a little blue. Linda stares desperately up at the shelves, trying to find some sort of advantage. Then she sees something. She looks back at the door lock and then she rises ... and grabs AN EXTENSION CORD coiled on the shelf. + + LINDA (cont'd) + We're not dying in here. + +INT. BATHROOM - DAY + +Sebastian, dressed in street clothes, stands before the mirror applying make-up to his latex mask. + +INT. STORAGE FREEZER + +Linda finishes stripping the insulation off the electric cord. She grabs a hypodermic needle package, and her cold fingers fumbles with the package as she tries to pull out the plastic tube. + +She finally gets it out and she starts wrapping the stripped electric wire around the tube in a tight coil. + +INT. BATHROOM - DAY + +Sebastian slides on a wig and checks his appearance in the mirror. Pretty smooth. Even from relatively close up, he could pass as normal. + +INT. STORAGE FREEZER + +Linda furiously winds wire into a coil. + +INT. CORRIDOR + +Sebastian heads down the corridor. Lingering steam twists in and around the hallway, long wispy tendrils. Sebastian pauses for a moment, hearing A GROWL. Suddenly the hallway seems a lot scarier. From beneath his scrubs he pulls his own tranq gun. He listens ... hearing scraping and footsteps. Watching the water on the floor twitch. With machine like precision, he turns and fires. The tranq dart halts in mid-air and some invisible thing tumbles over. + +Sebastian continues down the hallway. + +INT. STORAGE FREEZER + +Linda holds the plug end of the extension cord. The other end is wrapped into a tight long coil. Linda looks for an outlet, but can't find one. She looks at the overhead lights. + +A moment later she's climbing up the shelving. She wraps a piece of fabric around her hand, and with a sharp punch she smashes one of the overhead light bulbs. + +INT. LABORATORY + +Sebastian enters, fully dressed. At a distance it'd be hard to tell his secret. He pulls several chemicals off the shelves. Then he pulls a tray of test tubes over and begins mixing. + +INT. STORAGE FREEZER + +Linda works on jerry rigging the two ends of the wire to the lightbulb, socket. Suddenly the coiled wire springs to life and flies against the nearest metal surface. She's made an electromagnet. + +INT. LABORATORY + +Sebastian loads the filled test tubes into the centrifuge. Dozens of other vials are already slotted. He takes one of the left over vials, considers it a moment and then flings it over to the other side of the lab. The vial shatters and... + +EXPLODES. + +A powerful explosion that rocks the room. + +INT. STORAGE FREEZER + +Linda feels the rumbling as she places the coil up against the door. The magnet attaches itself. Linda shakes the coil, trying to get the door lock to move. + +.OUTSIDE THE DOOR - + +We see the lock twitching. Shaking... + +.INSIDE THE DOOR - + +Linda shivers as she plays with the coil. Her eyes glaze and she stumbles backward. Her surgical scrubs, once soaked with sweat, are now frozen stiff. She composes herself and pushes back toward the door. Her heavy breath hangs as a low cloud of Mist. + +INT. LABORATORY - DAY + +Sebastian looks over the dozens of other test tubes, calculating their combined power in his mind. Then he closes the top of the centrifuge. He taps a few commands into its timer. + +INT. SUPPLY ROOM + +The door lock twitches again and twists back. The door swings opens and Linda stumbles out, mashing into a supply shelf of oxygen canisters. The canisters tumble every which way as Linda tumbles to the ground. + +She scrambles to her feet and goes in after Matt, pulling his cold body out of the storage locker. + +She pulls stacks of paper down from, the shelves into a trashcan, grabs an industrial lighter and ignites the paper. She pushes Matt close to the small bonfire. As she does, the oxygen tanks catch her eye. + +INT. CORRIDOR + +Sebastian exits the lab, locking the door behind him. He heads down the darkened tunnel. Something scampers in front of him. Small, not visible. Sebastian sends it reeling with a swift violent kick. + +INT. CORRIDOR, BY THE ELEVATOR - DAY + +Sebastian, dressed and in full latex, comes striding up the tunnel. He taps a code into the elevator vault doors. The vault doors open revealing the elevator. + +The doors slide open and Sebastian steps inside. + + ELEVATOR + Authorization please? + + SEBASTIAN + Caine. One One One One One. + + ELEVATOR + Authorization valid. Thank you. + + LINDA + Sebastian! + +And there's Linda. Slicked with dirt and blood. She holds a oxygen container with a cut line. + + LINDA (cont'd) + I can't let you leave. Come on out and I'll give you one last chance. + + SEBASTIAN + You said it yourself, Lin. I shouldn't hold on to the past. + +The door starts to shut. + + LINDA + Aaaaaaahhhh! + +She hits the top of a LIGHTER duct-taped to the hose. A line of PRESSURIZED FIRE BLOWS into the elevator. WWHHHOOOOSSHHHH! Sebastian goes up in flame. Linda runs toward the elevator. Just as the door's about to close, she slides. Her foot jamming into it. She lets loose with the flame again. Sebastian, backed into the corner, has no where to go. He's yelling in pain. His latex FACE BUBBLES and burns. The surgical scrubs SINGE BLACK. With no other escape route, he dives toward the door. Linda looks up to see his flaming body fly over her, back into the corridor. Linda kills the tank as Sebastian continues to burn. The elevator lights flickers and the security panel goes up in a shower of sparks. The elevator dies. Linda pulls herself to her feet and turns to see... + +Half of Sebastian's head MELTED AWAY, his latex facade a gruesome smoke-damaged mass. His clothes are half burned revealing large blistering bubbly welts underneath, like deformed blackened bubble wrap. + +Sebastian crawls to his feet, but Linda hits him with another shot of flame. + +Sebastian pulls at his clothes as he crawls around the corner. + + SEBASTIAN + Oh God! + +Linda stalks toward him. + + LINDA + You wanna see God? I'll show you God. + +Linda turns the corner to see a heap of smoldering latex and clothing strewn about the corridor floor. Sebastian, looking like some ugly creature, pushes down the corridor. He throbs with his blackened skin blistering and cracking up and down his body. Linda lets loose another jet of flame. It's smaller than the first and doesn't quite hit Sebastian. Linda checks the tanks pressure gauge. It slowly drops. Linda follows the blackened horror into the maze of tunnels. But as he pushes along the corridor, his burns slowly re-absorb themselves. Sebastian is no longer visible. A quiet moment in the hallway as Linda realizes how vulnerable she is. She looks around for him desperately. Nothing. But something on the ceiling catches her attention. She blasts it with the last jet of her dying torch. THE SPRINKLER SYSTEM, hit by fire, comes to life. Water sprays down on the tunnel. Sebastian is caught in the downpour, his invisible frame outlined by water. It comes toward her, the hot skin steaming in the water. He grabs Linda and slams her against the wall. His watery hand smashes her across her face. Linda reels. On the floor, she looks to see Sebastian stalking toward her. She crawls away, but he grabs her by her hair, pulls her to her feet and slams her against the wall. + + SEBASTIAN + I'm gonna find everyone in your family and kill them-. Your sister... she never liked me. I think I'll go after her and her little boy first. + +Sebastian smashes her head against a metal post. Her head cuts open, blood dripping down. + + SEBASTIAN (cont'd) + I just wanted you to know that before you die. + +Linda collapses to the floor. Sebastian's foot presses against her neck, squeezing it. Linda gags for breath. But through the shoot of water that is Sebastian, we see something also... a watery smudge. + +BAM! + +MATT - smashes Sebastian with the metal bar. Sebastian slams against the corridor wall and sinks down. + +Matt staggers. It's taken all his strength to get there. He drops the crowbar and seeks the wall for support, he sinks to his knees by Linda. + + MATT + Thought I'd... thought I'd save you for a change. + +He gives her his hand and pulls her up into his arms. + + MATT (cont'd) + Let's get out of here. + +Just as the two turn, Sebastian rises with the crowbar. He swings it with a yell. Matt pushes Linda out of the way, his arm glancing the blow into a conduit. The conduit splits open and severs ELECTRICAL wiring. The VOLTAGE shoots up the crowbar and into Sebastian. As the current pulses through his body, Sebastian vibrates. His blood vessels yank back to visibility, followed by his skeletal structure and major organs. Sebastian is slowly electrified. Smoke pours off him and he becomes more and more visible. Finally he collapses. His body throbbing in and out of visibility. Matt and Linda stumble away. + +INT. CORRIDOR - DAY + +Just outside the lab... Linda tries to pry open the sealed doors with the crowbar. But she can't. + +Through the doors porthole she sees a collection of chemicals and the fire raging from the earlier explosion. + + LINDA + Nitro... + +Matt peeks inside. + + MATT + He said it himself... All they'll find is a pile of charred corpses. + +She sees the centrifuge... The timed counter on its face counts down from a minute. Fifty nine. Fifty eight. Fifty seven... + + LINDA + He's rigged the centrifuge. + + MATT + In an enclosed space, he'll wipe out the whole lab. + +INT. TUNNEL + +Linda and Matt move as fast as they can. They reach the burned out elevator. What the hell are they gonna do? We know the damn thing doesn't work. She swings her crowbar at the ceiling. The maintenance hatch comes down. + + LINDA + Grab on. + +Linda hooks the crowbar onto the hatch lip and pulls herself up. She reaches back down for Matt. + + MATT + Forget about me. You go. + + LINDA + Fuck you. Give me your hands. + +Linda grabs Matt's hands and pulls for all she's worth. She struggles, but they both manage to get him through the hatch. + +INT. LABORATORY - DAY + +Three... two... one. The centrifuge springs to life. + +The centrifuge spins the two dozen vials slowly at first. + +INT. VENT + +Linda and Matt are on top of the elevator. + +Linda's hands search the wall. Her fingers run across the smooth metal surface. + +From the little light below she can see a maintenance ladder that spans the entire height of the vertical tube. They look up and see it disappear into the darkness. + + LINDA + Climb! + + MATT + But... + + LINDA + Climb! + +Matt starts up, rung after rung. Linda climbs right behind him. + +INT. LABORATORY + +The centrifuge spins faster and faster. The vials are starting to rattle. + +INT. ELEVATOR SHAFT + +Linda and Matt pull themselves up the ladder as quick as they can. + + MATT + I can't. I'm going to pass out. + + LINDA + Keep moving. + +He does, through sheer force of will. Blood from his wound drips down on Linda's face. No telling how much further they have to go in this darkness. Light leaks in from the maintenance hatch below. + +INT. LABORATORY + +The centrifuge's whine has reached a fevered pitch. The vials shake violently. + +Then... one of the vials shatters. + +A FLASH OF LIGHT. A HUGE EXPLOSION rips through the laboratory. + +INT. TUNNEL + +The EXPLOSION rips through the lab doors. A MASSIVE FIREBALL rolls down the tunnel swallowing everything in its path. + +One of the phase shifted animals gets caught in the flames. We see its shape briefly before it disappears In a wall of fire. + +INT. ELEVATOR SHAFT + +The ladder begins to shake. The entire shaft begins to rumble. Linda pushes Matt up as they scramble toward safety. + +INT. EXHAUST VENT + +The FIREBALL blows into the vent. Starts rolling down it also. + +INT. TUNNELS + +More explosions. + +CHAIN REACTIONS. BOOM! BOOM! BOOM! + +THE EXPLOSIONS rolls toward the OPEN ELEVATOR. Slamming into it... The elevator flies upward. + +INT. ELEVATOR SHAFT + +The rumbling worsens. The two desperately cling to the ladder. They looks down to see... + +The elevator... + +SURROUNDED BY FLAMES flying up toward them, lifted by the explosion's SHOCK WAVES. + + LINDA + Oh God! + + MATT + Don't look. + +The carriage accelerates toward them, faster and faster. Its loose cables whip around the shaft, slapping the walls around the pair. Its gonna hit them! Linda pulls herself close to the ladder and closes her eyes. She's pressed against Matt. The elevator... 50 feet... 40 ... 30 ... W0000000SH! It flames RIGHT BY THEM. When Linda opens her eyes, the elevator is HUNDREDS OF FEET ABOVE THEM and a wall of fire is below them, closing in. + + LINDA + Move! + +Panicked, Linda pushes Matt up the ladder as she stares down at the rising fire wall. But the fire dissipates before it hits them, though a stray tongue of flames reaches up to lick the soles of her feet. + +They hear a terrifying moan and looks up to see the elevator peaking far above her. It slows to a stop and BEGINS TO FALL. + + MATT + It's coming down! + +FASTER AND FASTER. Coming back toward them in complete free-fall. It's emergency brakes clamp down, slowing it. Metal against metal. Sparks flying. One of the brakes shears. Then another. The elevator unseats from it's tracks, SLAMMING against the walls as it TUMBLES. Linda sees that the elevator is out of control, and watches as it ping-pongs toward them... smashing into the access ladder, smashing into the wall. The elevator slows, but continues slamming side-to-side. Linda cringes as the elevator crashes into the wall above them. But it jams there, stopping. They pull their heads away from wall and look up. The elevator just hangs there, suspended. There's a small crawlspace between the elevator and the ladder. + + LINDA + C'mon. Before it slips. + +They begins to climb up again. Matt shimmies through the tight hollow, and squeezes out the other side, followed by Linda. She breathes a sigh of relief and just hangs there a moment when ... Ah! Something grabs her. A singed throbbing hand emerges from the darkness, gripping at her leg. + + LINDA (cont'd) + It's him. + +She kicks at it and sees a dark dirty face - a swirl of dirt, grime and smoke with hollow eyes - rise up the ladder. + + MATT + Sebastian, you fuck. + + LINDA + Get off me. + +Sebastian pulls himself up Linda's body. Translucent dirty hands paving at the fabric of her clothes. Linda tries to climb with this thing on her. But Sebastian grabs her around the neck. She begins choking for breath. Linda fights to keep her grip on the ladder... She looks down at the ten foot drop to the elevator and then... She lets go! + + MATT + No! + +She and Sebastian plummet through the smoky haze and slam against the top of the elevator. Linda seems to hover a few above the elevator, Sebastian's shadowy outline below her. Matt painfully lowers himself down the ladder. But metal groans and the elevator drops another five feet. Linda struggles to her feet. Sebastian rises. A menacing dark figure stalking toward her. Linda pushes back from him. Sebastian grabs her by the hair and pulls her over to the ladder. The elevator strains and groans. + + LINDA + Let go of me. + +Sebastian presses her up against the ladder. Presses into her from behind. He has her trapped. His dirty hand reaches out and strokes her hair. + + SEBASTIAN + Remember the day we met? You were wearing a red dress and you were so pretty. Now... Now look at you. + + MATT + Get off of her! + +Sebastian pulls her hair back and kisses her neck with his filthy, dirt-smeared mouth and half-burned away face. + + MATT (cont'd) + Sebastian, stop it. + +Linda and Sebastian struggle. Matt reaches down to try and grab her, help her. + + SEBASTIAN + You fucked it all up. + +Linda looks at her feet. The last elevator emergency brake grips its cable. She grits her tooth and grabs hold of the ladder. + + LINDA + Go to hell. + +Linda stamps on the brake release. The ELEVATOR TUMBLES ... along with Sebastian. It slams into the fiery abyss a hundred yards below. Linda hangs, one hand holding onto the ladder, the other holding onto Matt. Matt pulls her back onto the ladder, using all his remaining strength. + +EXT. WAREHOUSE - DAY + +Linda and Matt stumble out into the blazing sunshine. Emergency crews close from all directions, sirens roaring. A trail of smoke drifts higher and higher into the sky. + +An ambulance pulls up next to them and the paramedics hop out, immediately putting a blanket around her and treating Matt's wounds. + + MARINE GUARD + What happened? + + LINDA + We lived. + +Linda looks over her shoulder at the traces of the ruin and she sees a shimmer of heat rising from the ground... almost as if something was there. + +>FADE OUT: diff --git a/fountain_scripts/The Hollow Man.webp b/fountain_scripts/The Hollow Man.webp new file mode 100644 index 0000000000000000000000000000000000000000..62e470f22fa11f8b4a5276c748f04d79db31f6c7 --- /dev/null +++ b/fountain_scripts/The Hollow Man.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:11c19d185a4295fc64acea384c29899ce106562e02815a53012ff01de990f97a +size 10800 diff --git a/fountain_scripts/The Hunt for Red October.fountain b/fountain_scripts/The Hunt for Red October.fountain new file mode 100644 index 0000000000000000000000000000000000000000..ff6a3945b70127e46be4c0b221bd65a6c4982002 --- /dev/null +++ b/fountain_scripts/The Hunt for Red October.fountain @@ -0,0 +1,4096 @@ +Title: THE HUNT FOR RED OCTOBER +Credit: Written by +Author: Larry Ferguson & Tom Clancy + +ON A BLACK SCREEN, THE FOLLOWING CRAWL: MOSCOW, 17 JULY 1991. THE KREMLIN ANNOUNCED THE 'RETIREMENT' OF MIKAHIL, GORBACHEV AS WELL AS POLITBURO MEMBERS YAVOLEV, MENDVENDEV AND BIRKOVO. DEFENSE MINISTER ULINOV ASSUMED THE ROLE OF CHAIRMAN. KGB HEAD LIGACHEV BECAME PREMIER VOWING "A RESTORATION OF DISCIPLINE." WESTERN LEADERS BRACED FOR A NEW ROUND OF COLD WAR. FOUR MONTHS LATER... + +>FADE IN + +.A BARREN LANDSCAPE + +beneath slate-grey sky. Frigid rock and stunted trees fall to an ice-choked coast. Congealed sea on a desolate beach. MARKO ALEXANDROVICH RAMIUS bare-headed in cold wind, studies the inclement coast. Bottomless eyes move slowly across the landscape, missing nothing. SUPER: POLWARNY INLET Soviet Submarine Base on the Barents Sea 500 mi north of Murmansk Ramius wears a tar black winter uniform of Captain First Rank in the Soviet Navy. Behind him, out of sight, someone SPEAKS: + + VOICE (OS) + Cold this morning, Captain. + +Ramius shivers. When he replies, he speaks not about the weather, but of the land: + + RAMIUS + It is cold. + (BEAT) + And hard. + +Turning his back on the icy coast, Ramius smiles fondly at the man who just spoke to him CAPTAIN SECOND., RANK VASILY BORODIN Ramius' executive officer, also in black uniform. Borodin's rigged with a mike. , Brass .buttons gambol in his Nubian cap like money. + + RAMIUS (CONT'D) + e your head a bit. No need to crowd him. + + BORODIN + (INTO MIKE) + Come left three degrees. Make your course three-four-zero. Sonar, let me know when we pass fifty, fathoms. + +A HELMSMAN responds on a SPEAKER in the SAIL. Nautical CROSS TALK. Orders GIVEN and AFFIRMED. Pulling back, Ramius and Borodin are revealed standing atop + +.THE RED OCTOBER + +a huge submarine, trading a gigantic rudder a hundred yards aft her sail. A patrol BOAT and ICEBREAKER escort her to sea. On SPEAKERS in the SAIL: + + HELMSMAN (VO) + Captain, political officer Putin requests permission to come to the bridge. + + RAMIUS + (GLANCING AT BORODIN) + Granted. + + BORODIN + (under his breath) + Think of it, Comrade.. .son of only a humble mill worker... + + RAMIUS + Quiet as grass, Vasily. Quiet as grass. + (louder, turning) + Good morning, Comrade political officer + +IVAN YURIEVICH PUTIN block-faced, forties, pink-necked, political officer assigned to Red October, clambers through the hatch into the air, wheezing: + + PUTIN + Ah,, Captain, every time I climb that ladder, I realize what an over-fed ox I've become. + +Putin smiles. Ramius smiles back, but his eyes are cold. Suddenly, there's not a lot of love on the bridge: + + PUTIN (CONT'D) + (EXPANSIVELY) + Such a glorious day. So exciting to finally put the land behind us and be on our way. + (TO RAMIUS) + Bourgeois of me, I know, but my enthusiasm at being chosen political officer on this historic mission fills me with pride. + (BEAT) + Me, a man of such humble birth, whose father was only a mill. worker. Think of it, comrades, a mill worker. + +Borodin CHUCKLES. Putin stares at him. Borodin covers with a COUGH. Putin keeps staring. Flushed, Borodin looks away. Putin turns porcine eyes on Ramius: + + PUTIN (CONT'D) + (TURNING) + Your father was a Lithuanian, was he not, Captain? + + RAMIUS + You know he was. + + PUTIN + I knew a Lithuanian once... + +His words hang like rotten fru + + PUTIN (CONT'D) + \...though I'm sure your father was nothing like him. Permission to go below? + +Smirking, Putin leaves. Ramius watches him go. SPEAKERS in the SAI : + + HELMSMAN (VO) + Conn to bridge, sonar reports we are crossing sixty fathoms. + + BORODIN + it's time, Captain. + +Still dealing with Putin's exit, Ramius turns away from the hatch, contemplating the shore. After a beat, softly:. + + RAMIUS + We go. + + BORODIN + (into the headset) + Clear the bridge! Prepare to dive. Captain coming below. Officer of the deck, make signal to escort:. + +Ramius and. Borodin disappear. Red October prepares to dive. All that remains is icy sea and the land. Then, faintly at first, from the frozen coast: A RED ARMY CHORUS rises into the swirling sky. It seems to come from everywhere, the rocks, the trees, the sea itself. Red October dives. The screen fades to black and a giant title appears: KRASNY OKTOBR THE HUNT FOR RED OCTOBER CHORUS BOOMS. Male VOICES ring in thundering tribute to the heart and soul of mother Russia. Credits keep rolling. Then, from THE DARKNESS + +.A LITHOGRAPH + +of John Paul Jones fighting the Serapis appears. It's on the wall. in a cluttered study. Books crowd every bit of space. Photos, models and nautical memorabilia, everywhere. + +.THROUGH A WINDOW + +an English suburb in drizzling rain. Red Army CHORUS SINGS SOFTLY. In a driveway, a late model ROVER waits, lights on, engine running. At a messy desk JACK RYAN early-thirties, good-Looking, disheveled and harried, stuffs papers into a brief case. Slamming it shut, he reaches for his raincoat. BEHIND HIM A LITTLE GIRL appears in the doorway. Her name is Sally. She's Ryan's daughter. Wearing a nightgown with butterflies on it, she's carrying a well-worn Koala bear: + + SALLY + Daddy? + + RYAN + (TURNING) + Hey.., What are you doing up? You're suppose to be sleeping. + + SALLY + I can't. + +Kneeling beside her, Ryan talks in a steady unpatronizing way. He loves her to death: + + RYAN + What's the matter? + + SALLY + Where are you going? + + RYAN + I have to go on a business trip and you have to go to sleep or when you grow up you'll only be two inches tall. + + SALLY + Stanley keeps waking me up. + +Stanley is Sally's bear. Ryan talks to it like it was alive. it makes Sally grin. + + RYAN + What's the matter, Stanley? Are you nuts or something? + + SALLY + He's not, nuts. He's lonely. + (SLYLY) + He needs a brother. If he had a brother then he could go to sleep better. + +Before Ryan can answer, a ravishing woman in her ..late-twenties marches into the study. She is MARGARET RYAN English, intelligent features, in tweed suit and raincoat. A matronly woman hovers in the doorway behind her: + + MARGARET + We are never going to make it. + + RYAN + Just a minute. - + (TO SALLY) + Daddy has to go, cricket. You and Stanley go upstairs with Mrs. Wheeler and go straight to sleep. When I'm away, I'll see if I can find Stanley a brother. + + SALLY + Promise? + +RYAN + +>CUT TO: + +.THE ROVER + +pulling to a curb in driving rain at Heathrow. Red Army CHORUS SWELLS. Leaping out, Ryan grabs luggage and races to the driver's side. Margaret pulls his face through the window. + + RYAN + I'm all wet. + + MARGARET + (KISSING HIM) + You're sexy when you're wet. + + RYAN + (GRINNING) + I'm gonna miss you. + + MARGARET + Get out of here, Yank. Or I'll tear you limb from limb. + (HE STARTS) + Wait! I got you these. They'll help you sleep on the plane. + +She has a bottle of pills in her hand. He squints at it, shaking his head in the pouring rain: + + RYAN + Won't do me any good --- + + MARGARET + Jack. + + RYAN + (SHEEPISH) + OK. I'll try. + +Taking the pills, he kisses her again. All of a sudden, he wants to climb inside, park someplace and steam the windows. Her smile is ALL KNOWING: + + MARGARET + You only have three minutes. + + RYAN + (GIG) + Hey.. If I'm lucky, might miss the damn plane altogether. + +>CUT TO: + +seated beneath the only light in a dark cabin. Engines HUM. Turbulence RATTLES a TEACUP. A STEWARDESS appears, smiling down at him: + + STEWARDESS + Can I get you anything, sir? + + RYAN + (LYING) + I'm fine. Thank you. + + STEWARDESS + Why don't you try to sleep? The flight will go much faster. + + RYAN + I can't seem to sleep on planes. It's the turbulence. + + STEWARDESS + Pardon? + + RYAN + (SWALLOWING) + Turbulence. You know. When solar radiation heats the earth's crust. Warm air rises. Cool air descends. Turbulence. I don't like it. + + STEWARDESS + Are you a scientist? + + RYAN + No. I just read a lot of books. + + STEWARDESS + Well, try and get some sleep anyway. + +She leaves. Wide awake, Ryan stares out the window at the spinning dark. Red Army CHORUS BOOMS. + +>CUT TO: + +RYAN humping his suitcase into a giant terminal at the end of a long line of travelers. Above the line, a sign: U.S. CUSTOMS DULLES INTERNATIONAL AIRPORT WASHINGTON, D.C. A GUY IN SUNGLASSES moves down, the line, stopping beside Ryan: I + + SUNGLASSES + (RESPECTFULLY) + Mr. Ryan? + +Exhausted, Ryan nods. CHORUS SWELLS. Sunglasses takes Ryan's bags. + +>CUT TO: + +.A BLACK LIMO + +gliding to a stop at the security kiosk outside a suburban office compound. Sign over the compound's entrance: CENTRAL INTELLIGENCE AGENCY CHORUS PEAKS. END CREDITS + +>CUT TO: + +ADMIRAL JAMES GREER sixties; a mane of white hair, in three piece suit, CIA director of naval intelligence, looking up from behind a mahogany desk: + + GREER + Jack, boy. Get yourself in here. + (SQUINTING) + Jesus. You look like hell. + + RYAN + (EGG) + Thanks, Admiral. + + GREER + Come on over here and sit down. You want coffee? + + RYAN + I think I need coffee. + +Ryan perches on the couch. Greer pours Ryan takes it in both hands, cooling it with his breath. + + GREER + I'm not gonna ask you how your 11 flight was. When's the last time you slept? -- + + RYAN + (EYEING WATCH) + Don't know. This thing is still on London time. + + GREER + How's Margaret? + + RYAN + Fine. She sends you her best. + + GREER + And Sally? What is she now, three? + + RYAN + A very precocious five. A week ago she announced her life would be a lot less lonely if Margaret and I would buy her a baby brother. + + GREER + (SMILING) + Where you gonna do that? + +Ryan grins. Greer eyes him fondly. Putting down his coffee, Ryan opens his briefcase. + + GREER (CONT'D) + All right, what's important enough to get you on a . plane in the middle of the night? + +>JUMP CUT TO: + +.A PAIR OF PHOTOGRAPHS + +dropping onto the table in front of Greer. They show the bow and stern of a submarine in dry dock. From the size of the construction crew, it's obvious the boat is huge. + + RYAN + British Intelligence received these two days ago. She's the Red October. The Soviet's newest typhoon. + + GREER + Jesus. The Brits actually got a man into the construction shed? + + RYAN + (DROPPING MORE PHOTOS) + This pair was digitally enhanced for line resolution. This one for color. + + RYAN + Twelve meters longer than the normal typhoon, three meters wider. The captain's name is Ramius. + + GREER + One of yours? + + RYAN + Yes, sir. I did the bio on him last year. He's taken out the lead boat in each new sub class for ten years. Fairly good political connections. He's also trained most of their attack boat skippers. They call him the Vilnius schoolmaster. + +Greer studies one of the photos with a magnifying glass. Something captures his attention: + + GREER + What are these doors? + + RYAN + The doors, Admiral, are the problem. I don't know what they are and neither do the English. + (SIPPING COFFEE) + it's just possible our friends at the Ustinov Design Bureau have come up with something new. + (BEAT) + With your permission, I'd like to show these to someone. Do you know Skip Tyler? + + GREER + Sub driver. Did he get hurt or something? + + RYAN + (NODDING) + He was Captain on an attack boat. Got clipped by a drunk driver and lost a leg. Now he's teaching at the Academy and doing some consulting for Underwater Systems Command.[[GREER]] + + GREER + When .do you want to talk to him? + + RYAN + Right now if it's OK with you? I've never met him personally, but - + + GREER + I'll take care of it. + (PICKING UP THE PHONE) + Margie, have a car for Dr. Ryan at the front gate in ten minutes. + +Ryan retrieves his photographs. Getting Up, Greer watches him, choosing his words carefully: + + GREER (CONT'D) + One of our satellites caught Red October in Polijarny Inlet this morning. + + RYAN + (SHOCKED) + They shouldn't have been sea ready for weeks. + +Ryan closes his case. Greer walks him to the door: + + GREER + Relax, son. The Navy's got a Los Angeles class sitting right off their doorstep. In a few days we'll know everything about her but the cook's name. + + RYAN + Well, In that case -- + (GRINNING) + Can you tell me where I can buy a bear? + + GREER + For Sally? + (RYAN NODS) + Same place you buy a baby brother, I guess. + +>CUT TO: + +A BANSHEE WAIL in blackness. The groan of a primordial beast echoing in the dark, followed by a deep vibration that rattles bones and shatters eardrums. The black screen is moving. A massive cylinder glides over the top of us like a giant spaceship, outlined by flashes of electric-blue phosphorescence. SUPER: USS DALLAS Los Angeles Class Attack Sub 50 mks west of Polijarny Inlet DEPTH: 400 FEET + +.ON THE DALLAS + +in the sonar shack, a state of the art sonar display glows blue. High tech graphics pinpoint movements in deep water beyond the hull.. SEAMAN SECOND CLASS RONALD JONES listens to a headset and eyeballs the display. A college dropout with a genius IQ, Jones is the kind of guy who likes tossing dead cats into crowded cathedrals. SEAMAN CHARLES BEAUMONT unruly red hair, a million freckles and a wary smile, sits beside Jones. On SPEAKERS in the bulkhead, the PRIMORDIAL HOWL again, MUFFLED, clued with NOISE TRANSIENTS: + + JONES + HEAR I + + BEAUMONT + No. Maybe. It's buried in... + + JONES + (LEADING) + Yes? + + BEAUMONT + Surface clutter? I should go to SAPS? + + JONES + Correct, Seaman Beaumont. Surface Affects Processing. There is hope for your small brain yet. + (BEAUMONT GRINS) + And like Mozart at Saltzburg, you have labored to produce... + (ANOTHER HOWL) + hiclocdc. + +BEAUMONT + + JONES + A whale, Beaumont. A whale. A marine mammal that knows a fuck of a lot more about sonar than you do. + +Beaumont frowns. Appearing in the sonar shack door, directly BEHIND JONES THE COB Chief of the Boat, a barrel-chested bear, smiles at Beaumont: + + COB + He gets to raggin you too bad, kid, you can always ask him about Pavarotti.. + +Jones sinks into his chair. Beaumont grins. Sea story coming. From the look on Jones' face, it promises to be a good one: + + BEAUMONT + Tell me, Chief. + + COB + (taking his time) + Well, Jonesy here, he's a music freak, right? And he figures this sonar system is basically just a big old 300 million dollar stereo unit. So he gets this piece of Pavarotti -- + + JONES + it was Paganini. + + COB + Whatever. It's this piece of music he likes so much he wants to share it, right? So he re-wires the computer and figures how to put it in the water with a gigawatt of juice behind it. + (BEAT) + Now, the Captain, he don't much care. But about twenty-one boats out of San Diego, including one way out at Pearl, starts hearing Pavarotti coming out their ass. Jonesy has turned the whole fucking Pacific Ocean into a stereo speaker. + (LAUGHING) + And all of a sudden we got an Admiral in the middle of it and we're writing reports out the yang yang. + +Beaumont's LAUGHS. Even Jones smiles. Then, a flashing light on the. sonar display catches his eye. He starts flipping switches. Beaumont sobers:: up: + + BEAUMONT + What should I -- + + JONES + Be still, I got it. + +Jones works in silence, then punches the intercom: + + JONES + Conn, sonar. + + VOICE + (ON INTERCOM) + Captain, aye. What is it Jonesy? + + JONES + Distant contact, submerged bearing zero-nine-seven. It's a wild guess, but I'd say we had a Boomer headed out of the barn. + +.IN THE COMMAND CENTER + +forward of sonar, sailers drive the ship beneath a maze of pipes and equipment. At the center of the Conn, surrounded by fire control, quartermaster, helm : CAPTAIN BARTOLOMO MANCUSO skipper of the Dallas, early-forties, muscular body encased in a blue jumpsuit, works the intercom on the periscope platform: + + MANCUSO + Start a plot, Jonesy. I'll be there in a second. + +Leaving the deck, Mancuso glances at his executive officer LIEUTENANT PHIL THOMPSON thirties, dark complected, standing at fire control: + + MANCUSO (CONT'D) + I'll be in sonar, PhiL + +.IN SONAR + +Jones is already working on the plot. In front of him on the sonar display, the flashing light is starting to move. Mancuso sticks his head in. + + MANCUSO + What do you have? + +>CUT TO: + +RAMIUS in Red October's Conn. Much larger than the control center on the Dallas. Leaving the deck, Ramius heads aft, glancing at Borodin: + + RAMIUS + When you see Putin, tell him that when it's convenient, I'll be in my stateroom. + +Leaving the Conn, Ramius enters + +.A HALLWAY + +Moving past a radio compartment on his left, Ramius stops at a door, ENTERING THE CAPTAIN'S STATEROOM Closing the door behind him, Ramius turns into the room. Surprised, he sees PU TIN seated at a desk, reading a bible. Startled, Putin looks up: + + RAMIUS + What are you doing? + + PUTIN + It's my responsibility to oversee the stability of the crew, Captain. You know that. + + RAMIUS + And you accomplish this by searching through my papers and invading my privacy? + + PUTIN + There is no such thing as privacy in the Soviet Union, Comrade. It's antithetical to the collective good. + +Suppressing his anger, Ramius moves to a locker, changing into dungarees. He can feel Putin's weasel eyes crawling up and down his back. Holding the bible, Putin muses: + + PUTIN (CONT'D) + You. surprise me, Captain. A man in your position reading trash about the end of the world. + (READING) + "I am coming soon. I will give to each according to his deeds. I am the beginning and the end." + (GLANCING UP) + Did you underline these passages? + + RAMIUS + The book belonged to my wife. I keep it only for sentimental value. + + PUTIN + Your wife was a beautiful woman. A tragedy her life was cut so short. + + RAMIUS + (TURNING) + I assure you, Comrade. There's nothing wrong with my mind. + + PUTIN + (trying to joke) + Given the amount of fire power on Red October, I'm sure the whole world will. breathe a collective sigh of relief. + + RAMIUS + (LIKE ICE) + How many more agents does the KGB have on my boat? + + PUTIN + (STANDING) + Captain, this is not your boat. It belongs to the Union of the Soviet Socialist Republics. You would be well advised to remember that. + (RAMIUS BLANCHES) + Anyway, I am only a political officer. If the KGB has an agent on board, I would be the last to know. + + RAMIUS + I suggest we open our orders. + + PUTIN + As you wish. + +There's a safe on the wall. Ramius spins the combination. Inside, another safe with four locks. Both Ramius and Putin have keys. Inside the second safe, a large envelope. it has an ornate. scarlet seal, marked 'Top Secret'. Ramius cracks the seal, removing four pages of operation orders. Glancing at Putin; he reads: + + RAMIUS + We are to proceed to grid 54-90 and rendezvous with the Akula submarine, Konovalov. + + PUTIN + Captain Tupolev's boat. + + RAMIUS + You know Tupolev? + + PUTIN + I know that he is descended from a long line of aristocrats and that he was a student of yours. it is rumored, he has no love in his heart for you. Why is that? + +Ramius pours two cups of steaming tea from a silver pot on a serving tray, offering it to Putin.. Putin takes the cup. + + RAMIUS + There is no room in Tupolev's heart for anyone or anything except Tupolev. + (READING) + Having made contact, we are ordered to run a series of drills. Tupolev will hunt us while we test our ship. + +Putting down his tea, Putin stands, suddenly formal, awkwardly OBSEQUIOUS: + + PUTIN + Captain, this is an historic moment for all. of us. I should like to make a request. + + RAMIUS + Before you do, I want to talk to you about something important. + + PUTIN + (NOT HEARING) + I know that it is not according to protocol, but would you permit me to post the orders and inform the crew of our mission? + + RAMIUS + (RESIGNED) + As you wish, Comrade. + +Putin grins, heading for the door. He never makes it. In a sudden violent motion,, Ramius kicks Putin's left leg from under him. Surprised, the; big man tumbles sideways. Leaping to his feet, Ramius catches Putin, slamming him into a headlock, driving his thick neck downward, CRACKING his SKULL in the SHARP corner of the DESK. Putin gags. Cupping his chin, Ramius forces his entire bulk onto the man's chest. Putin struggles. His eyes bulge. Ramius strains, using all of his strength until.. PUTIN'S NECK SHATTERS and his face goes slack. With surprising gentleness, Ramius lowers the shuddering body to the deck. Carefully, he checks the pulse in Putin's neck. Dying, Putin stares into Ramius' face. + + RAMIUS (CONT'D) + I am sorry my friend. But it is clear to me now. Where I would walk, you cannot follow. + +Whatever his destination, Putin's on his way. Getting up, Ramius goes to the desk. Returning with the teapot, he drenches the body with scalding tea. Replacing the pot on the tray, Ramius puts the orders in a wastebasket and sets them on fire. Removing a duplicate set of orders from his safe, he' places them on the floor by the dead man. Satisfied everything is the way he wants it, he moves to an intercom and takes a deep breath. Pushing a button, he BELLOWS: + + RAMIUS (CONT'D) + Dr. Petrov. Come to my quarters at once. There's been an accident! + +>CUT TO: + +.A MINI SUB + +resembling an airstream trailer with a propeller on the back. It's floating in a gargantuan tank filled with brightly lit water beneath a vast domed ceiling: SUPER: U.S. NAVAL UNDERWATER SYSTEMS LAB Patuxent, Maryland SKIP TYLER built-like a fireplug, a monument to logic and impatience, leans on a cane, atop a platform by the tank#I watching WARRANT OFFICER BILL STEINER thirties, the bane of Tyler's existence. Steiner's head is sticking out of a hatch on the mini sub. Eyeing him, Tyler BELLOWS: + + TYLER + You're never gonna go anywhere, Be.. Unless you close the hatch and start the goddam engine! + + STEINER + Brilliant, Skip. You're one of those guys you can't hide things from, right? + +Tyler. grits his teeth. Steiner closes the hatch. Across the room, Ryan enters. Spotting Tyler, he moves to the platform, staring at the mini sub. The propeller starts turning. It submerges. + + TYLER + (TURNING) + Ryan? + + RYAN + Yes sir. + (re: mini sub) + What it that thing? + + TYLER + Deep submergence rescue vehicle. + + RYAN + That's what a DSRV looks like. + + TYLER + That's it. I designed this one. It's called the Mystic. + + RYAN + What are you doing with it? + +Tyler climbs off the platform, working his cane with practiced precision. Taking Ryan by the arm, he heads for a door: + + TYLER + Rigging it with a generic docking collar so it will mate with British, German, other kinds of subs. + (NODDING) + This one here is designed to be super mobile. We can get it anywhere in the world in twenty-four hours. If that lunatic doesn't crash it fast:. + (BEAT) + Admiral Greer says you have some pictures.- - + +>CUT TO: + +.TYLER'S OFFICE + +high tech naval architecture. Technicians, graduate students move about in the background. Tyler is hunched over the Red October PHOTOGRAPHS: + + TYLER + Bigger than a regular typhoon. + (SQUINTING) + What are these doors? + + RYAN + (GRINNING) + You don't miss much, do you? They're too big for torpedo tubes. Could you launch a missile horizontally? + + TYLER + Could. Question is why would you? Besides, they're symmetrical right straight through the hull. + + RYAN + How about a towed sonar array? + + TYLER + Barely clears the screw in the -- + +Tyler freezes. Somewhere in that vast abundance of grey matter, a NEURON FIRES: + + TYLER (CONT'D) + I'll be go to hell! it's a caterpillar! + + RYAN + A what? + + TYLER + Caterpillar drive. Magneto--hydrodynamic propulsion. Like a linear induction motor with saltwater as the stator. You follow? + + RYAN + (SMILING) + Oh sure. + + TYLER + It's like a jet engine for water. Goes in the front, gets squirted out the back. Only, It's got no moving parts, see. So it's' potentially very quiet. + +RYAN + + TYLER + Try silent If this works, we'll have to find a whole new way to track submarines. + +Ryan grapples with the implications. Tyler trips down memory lane: + + TYLER (CONT'D) + We messed with it. Years ago. Never could make it work. They really built this? This isn't a mock-up or anything? + + RYAN + it put to sea this morning. + + TYLER + (SHAKING HIS HEAD) + You know when I was eleven years old, I helped my daddy build a bomb shelter in the basement because some fool parked a dozen warheads in Cuba, ninety miles from the Florida coast. + (RE: PHOTO) + This thing could park two hundred warheads off New York or Washington and nobody'd suspect a thing til it was all over. + + RYAN + Any records of our work on the caterpillar? + + TYLER + (GRABBING HIS CANE) + We got an archive. Let's get dusty. + +>CUT TO: + +PUTIN'S DEAD FACE WRAPPED IN PLASTIC Two Russian sailors lug his zip-locked corpse into a walk-in freezer in Red October's galley. Three k's assistants carve steaks and watch. One of them LOGINOV twenties, muscular, in striped sailor shirt and bell-bottom pants, tosses a hunk of f into a pail.. To Loginov.'s right, Ramius and Borodin talk with DOCTOR NIKOLAY" PETROV forties;, .thin, bespectacled and careworn. A dedicated Party man and `compulsive gossip, Petrov is the Red October's medical officer. Ramius has the; counterfeit orders in his hand: + + RAMIUS + If I hadn't spilled the tea, Putin might never have slipped and --- + + PETROV + You must not blame yourself,,- Captain. Accidents happen. I assume we will be returning to base? + + RAMIUS + We will not. + + PETROV + But how can we continue a mission without a political officer? + + RAMIUS + For many years the Russian Navy went to sea before there were political officers, Doctor. + + PETROV + Yes, but - + + RAMIUS + (RE: ORDERS) + These orders are quite specific. Putin's unfortunate death will not change them. + +Turning, Ramius spots Loginov and waves his hand. Loginov freezes. + + RAMIUS (CONT'D) + You. Come here. + (LOGINOV DOES) + Your name? + + LOGINOV + (TREMBLING) + Cook's assistant, Loginov, sir. + + RAMIUS + Good. Now, I want you and the Doctor to witness this, Loginov. I have removed Putin's missile key from his neck and am keeping it myself. + +Loginov blinks. Petrov frowns. Closing the freezer door, the sailors leave. Loginov isn't sure what to do. Petrov's agitated: + + PETROV + This is all very unnerving, Captain. The reason for having two missile keys in the first place is to prevent one person from... + + RAMIUS + From what, Doctor? + + PETROV + Making a mistake and... + (EXASPERATED) + We must report this to Red Fleet Command. + + RAMIUS + Impossible. We are ordered to maintain strict radio silence. + (TO LOGINOV) + That will be all, Comrade. + +Glad to be anywhere else, Loginov returns to his work. + + PETROV + Captain, perhaps I should keep Putin's key until -- + + RAMIUS + (SHARPLY) + I suggest you return to sick bay, Doctor. Soon, I will address the crew and explain our orders. This is not a decision for discussion. + +Shrugging, Petrov disappears. Borodin and Ramius.. follow him. Freaked, Loginov watches them go. + +>CUT TO: + +MANCUSO bent over Jones' shoulder in the Dallas' sonar shack, concentrating on the blinking light on the sonar display. Thompson's to his left. Jones is on a headset: + + JONES + (LISTENING) + He's holding steady on zero-two-zero, twelve knots at about ten thousand yards. + + MANCUSO + Can you identify him? + + JONES + Computer's chewing on it. Twin screw and the plant noise sounds like a typhoon but - + +Computer printer CLATTERS. Ripping off the printout, Mancuso STUDIES IT: SIGNAL EVALUATION: SOVIET TYPHOON CLASS SUBMARINE UNKNOWN IDENTITY NOT PREVIOUSLY RECORDED + + MANCUSO + Must be a new boat. + (TO THOMPSON) + I miss something in dispatch the last few days, Phil? + + THOMPSON + Fleet hasn't said a word about it. + + MANCUSO + Alright. Start a file on him, Jonesy. For now, call him Sierra thirty-five. + (.Leaving) + I'll see if we can work in a little closer and sniff him out. + +Thompson follows Mancuso. Beaumont glances at Jones, whispering: + + BEAUMONT + Won't the Soviets hear us? + + JONES + Not if we stay in his baffles, seaman Beaumont. Not if we stay in his baffles. Come in behind his propeller and he's deaf as a post. + +>CUT TO: + +RAMIUS SPINNING THE PERISCOPE in Red October's Conn. At all stations, helm, fire control, quartermaster, sailors work with galvanic precision. Standing next TO BORODIN CAPTAIN LIEUTENANT BORIS KAMAROV Red October's navigator, watches Ramius intently. The tension is palpable. Something extraordinary is about to happen: + + RAMIUS + Down scope. + (TURNING) + Any. sonar contacts? + + KAMAROV + Sonar is clear, Captain. + + RAMIUS + All right. I'm going to address the crew. + +Ramius grabs the whip telephone. Jaw set, his eyes blaze with HYPNOTIC INTENSITY: + + RAMIUS (CONT'D) + (INTO PHONE) + Comrades, here are our orders given to us by Red Fleet Command. it is our good fortune to make the first test of our revolutionary propulsion system. + +In various locations all over the ship, sailors stop what they are doing and listen carefully: + +.IN THE ENLISTED MESS + +crowded together at tables, men hear Ramius' voice: + + RAMIUS (VO CONT'D) + (ON SPEAKERS) + We are to pass quiet as water through every one of the American's sonar nets. Maintaining strict radio. silence, we are to proceed across the Atlantic to the east coast of the United States. + +.IN ENGINEERING + +beneath a maze of pipes, technicians listen: + + RAMIUS (VO CONT'D) + (ON SPEAKERS) + Once in the home waters of the enemy, we are to conduct a series of live firing tests, targeting major cities on the enemy's eastern seaboard. + +.IN THE MISSILE BAYS + +S men are spellbound by their captain's intensity: + + RAMIUS (VO -CONT'D) + (ON SPEAKERS) + For many years, we have had to stand helplessly in the wings while politicians compromise every advance our military has made. + +.BACK IN THE CONN + +Ramius stands on the periscope platform holding the phone. All eyes are riveted on him : + + RAMIUS (CONT'D) + (INTO PHONE) + it is politicians who have crippled our armed forces while talking incessantly of peace. And now it is time, comrades, to exchange the cuckoo for a hawk. + + RAMIUS (CONT'D) + (INTO PHONE) + Our missiles will not be armed, of course, but imagine, if they were. In one bright moment, all that we believe in, all that we honor, would prevail forever. + +Ramius is finished. No one moves. Kamarov has goose bumps. + + RAMIUS (CONT'D) + Comrade, navigator. + + KAMAROV + Captain? + + RAMIUS + Rig for silent running. + + KAMAROV + ('TURNING) + Reduce engines to quarter speed and open outer doors. + +A sailor locks a program into a computer. + +.OUTSIDE RED OCTOBER + +in the water, the mysterious doors on the sub's bow begin to open. Behind them, a strange tunnel is revealed. - + +.IN THE CONN + +Ramius and his men hear the dark RING of STEEL on STEEL in deep WATER: + + KAMAROV + Outer doors are open, Captain. + + RAMIUS + Engage the caterpillar. + +.OUTSIDE RED OCTOBER + +in the water...: An eerie green ring of light starts to glow in the tunnel behind the doors. A second light appears. Then a third, flashing florescent. Behind the tunnel, in the stern, Red October's giant propeller comes to a stop. Suddenly, more light appears, distorted by a sudden rush of water. + +>CUT TO: + +JONES in the Dalla' sonar shack, working his computer. The COB is behind him, Beaumont to his left. Red October's AMPLIFIED HISS fills the room. Suddenly, THE HISS STOPS Jones frowns. The blinking light on his sonar display disappears. Curious, the COB leans over Jones, studying the screen: + + COB + What happened? + + JONES + Don't know. + + COB + What do you mean, don't know? + +>CUT TO: + +RAMIUS on the deck by the phone in Red October's Conn. Conscious of all eyes on him, he turns to a HELMSMAN: + + RAMIUS + Left full rudder. + + HELMSMAN + Rudder is left full.. + + RAMIUS + Navigator, make your new course two-five-zero. + + KAMAROV + Coming to course two-five-zero. + +Kamarov draws a line on his chart. The new course is west into the Atlantic. Suddenly, the intercom CRACKLES: + + SONAR (VO) + Sonar contact, Captains Dead astern. An American Los Angeles class + + BORODIN + He must have been in our baffles. We can't have + +Raising his hand, Ramius activates the intercom + + RAMIUS + Sonar. Is the American turning to follow us? + + SONAR (VO) + (ON SPEAKERS) + No, Captain. No he's not. He's continuing on our original course. + + RAMIUS + (SLOW SMILE) + He can't hear us. + +Silence, Impulsively, Kamarov starts HUMMING the INTERNATIONALE. Officers and enlisted men join in. It snowballs. One at a time, the crew RAISE their VOICES + +.THROUGHOUT THE BOAT + +In the torpedo room, engineering, wardroom and the Conn, the ANTHEM GROWS LOUDER and LOUDER. Caught in the moment, Ramius JOINS the CHORUS. + +>CUT TO: + +MANCUSO sticking his head into sonar. The COB and Beaumont are on pins and needles. Jones is working his computer furiously. + + MANCUSO + it did what? + + JONES + It disappeared, sir. + + MANCUSO + t a d) What are you talking about? Check your gear. + + JONES + Running diagnostics, now, Captain. + +Jones is starting to sweat. He runs his tests. Nothing. Turning, he stares blankly at Mancuso: + + JONES (CONT'D) + Sonar is working, sir. The Russian just disappeared. One minute he was steady four thousand yards off our bow and then he was gone. And for a second, I thought I heard... well ;-- + + MANCUSO + HEARD WHAT'S + + JONES + (RELUCTANT) + I thought, I heard singing, sir. + + MANCUSO + Singing? + +Jones nods. Hairs stand up on the back of Mancuso's neck: + +>CUT TO: + +.A SOVIET SUBMARINE + +dead In the water at four hundred feet. 'About the. size of the Dallas, this one's built for speed and maneuverability. They don't come any better. SUPER: SSN KONOVALOV Akula Class Soviet Submarine Grid Square 54-90 + +.ON THE KONOVALOV + +a crew works in the Conn, reading computer displays, checking COMMUNICATIONS AND writing emendations on status boards. On the PERISCOPE PLATFORM CAPTAIN VIKTOR TUPOLEV late-thirties, intense, leans over a navigator table. A blond man with a clipboard approaches. He is LIEUTENANT ANDREI BONAVIA early-thirties, Tupolev's executive officer. This Conn is smaller than Red . October's and the weird vibes perfectly reflect the rampant paranoia of the Commander: + + BONAVIA + Captain Tupolev? + + TUPOLEV + What is it?! + + BONAVIA + Still no sign of Red October, sir. I think we should surface and contact Red Fleet Command. + + TUPOLEV + To what purpose? + + BONAVIA + To inform them Red October has not appeared. + + TUPOLEV + What makes you think she hasn't? + +Tupolev glides to a quartermaster's station. Following him, Bonavia's stomach growls. + + TUPOLEV + Has it occurred to you that Red October may already be in position? That Ramius is merely hiding behind his silent drive? Waiting for me to break radio silence and make a fool of myself? + + BONAVIA + (FRUSTRATED) + BUT - + + TUPOLEV + I will not break radio silence. We will lie here quietly for a few more hours. If Ramius hasn't arrived by then, I'll contact Red Fleet Command. + + BONAVIA + Captain, I am concerned that - + + TUPOLEV + I Care little for your concerns, Comrade. + +Tupolev leaves. Bonavia glances at the quartermaster. His stomach growls again. + +>CUT TO: + +.A BLACK CHAIKA: LIMO + +moving through the security gates fronting a monstrous Stalinist office building Snow CRACKS beneath cold TIRES. SUPER: MOSCOW KARPOTSKIY PROSPEKT Soviet Navy Political Directorate From his post in the portico, a uniformed guard races to the limo and opens the door for a dyspeptic, grumpy, old man. He is ADMIRAL YURI ILYCH PADORIN in an overcoat and a rumpled hat, brim turned up in front. Climbing stairs, Padorin returns rigid salutes with a sour yeah-right-leave-me-alone wave, entering + +.A COLOSSAL LOBBY + +Padorin mounts a giant staircase. Naval officers snap salutes. Padorin answers, dourly. Yeah-leave-me-alone. Mumbling, he moves through + +.ANTEROOMS + +Leaving a wake of aides and sues crawling all over themselves, whispered greetings on their lips. Yeah-right-leave-me-alone. Frowning and cranky, Padorin marches into + +.HIS PRIVATE OFFICE + +where he's met by his seventy-four year old PERSONAL ORDERLY. They've known each other forever and act like an old married couple. The orderly takes Padorin's overcoat and hat. Behind a desk, Padorin lights a morning cigarette. The orderly brings tea things and incessant small talk. Padorin says nothing. Finally, Padorin sits, focusing on the morning mail Twenty or so letters are laid neatly on a blotter. Yeah-right-leave-me-alone. Yeah leave-me-alone. Don't feel like dealing with mail„ now. + + ORDERLY + There's a note from Marko Ramius there. + + ADMIRAL + (BRIGHTENING) + Ah, Marko. + +The old coot: almost smiles. This he'll read.. Getting the envelope open, he prepares for a good time. Somewhere in the first paragraph,. his smile fades. The -hand holding his cigarette begins to shake. Reaching absently for. the teacup, nearing the bottom of the pager Padorin chokes, spilling everything. + +>CUT TO: + +.DALLAS' SONAR SHACK + +Mancuso at the door. Beaumont is at his station next to Jones. Wearing a headset, Jones concentrates on his sonar display. Suddenly, he rips the headset off: + + JONES + Jesus Christ. Somebody just stepped on the gas. + (RE: DISPLAY) + Sonar contact, Captain. Very loud. Viktar Class Soviet submarine. Cutting big holes in the water. Bearing six-five-zero. + + MANCUSO + Put it on the speakers. + +WHINING PROPELLERS and CAVITATION NOISE fill the sonar shack. Suddenly, MORE PROPELLERS: + + JONES + Jeez. There's another one. Bearing .,even-three. Hold on. There's two more out there. They're all in a hurry and don't care who the hell knows it.[[(MORE)]] + (TURNING) + Have the Soviets scheduled submarine races today, sir? + + MANCUSO + I'm gonna radio Fleet Command. + +He takes off. Jones hears something buried in the PROPELLERS and CAVITATION NOISE. A strange WHOOSHING SOUND. Frowning, he starts a tape recorder. + +>CUT TO: + +A PHONE RINGING, Ryan picks it up. He and Tyler are hip-deep in top secret files in the naval archive stacks. + + RYAN + Yes? + (LISTENING) + No, this is Dr. Ryan. + (PAUSE) + All right. + +He stares at Tyler quizzically, waiting: + + GREER'S VOICE + (FROM PHONE) + Jack? + + RYAN + Yes, Admiral, I'm --- + + GREER'S VOICE + Where the hell are you?! Get your ass to the south entrance of the Executive Office Building in forty-five minutes. It's across from the White House. Got it + + RYAN + Yes, sir, but what's - + +>CUT TO: + +GREER in his office on the phone to Ryan: + + GREER + Let's Just say this is no longer a research project. Now move! + +>CUT TO: + +.THE WHITE HOUSE + +in the background as Ryan springs from his car, racing up the steps to the Executive Office Building. At the top of the stairs, waiting for him, Greer is already in motion: + + GREER + Come on. + +Ryan follows him past a security guard and into + +.A LOBBY + +decorated with secretaries and suits, all, in quiet motion. At speed, Ryan tries to keep up with Greer: + + RYAN + I got a line on the doors. You know what they are? + +Greer doesn't answer. Impatient, Ryan follows him into + +.AN ELEVATOR + +Greer pushes a button marked SUB LEVEL FOUR. Turning to Ryan: + + GREER + A silent propulsion system. - + + RYAN + (CHAGRINED) + How did -?[[-34-]] + + GREER + Captain of the sub we had following her radioed in. Thing up and disappeared right in front of him. But that isn't the half of it. Read. + +He hands Ryan a sheaf of message flimsies. The descending elevator stops. Doors open. Ryan reads. Greer leaves. Realizing he's been left behind, Ryan takes off, entering + +.A SUBTERRANEAN CORRIDOR + +Reading and walking, Ryan does his best to keep up with Greer: + + RYAN + Jesus... ! This is unbelievable. + (TURNING PAGES) + The Kirov, too. They've sortied their whole bloody fleet! + + GREER + About the size of it. + +Glancing up from his reading, Ryan notices a sign at the end of the CORRIDOR: SUB LEVEL FOUR WHITE HOUSE SECURITY Stopping on a dime, his eyes narrow: + + RYAN + Where're we going anyway? + + GREER + (F IG) + Briefing Jeffrey Pelt. The. President's National Security Advisor. Most of the Joint Chiefs will be there. Along with a few other people. + + RYAN + Who's giving the briefing? + + GREER + You are. + + RYAN + (WIDE-EYED) + BUT + + GREER + The yeoman'll have the slides all, laid out. All you have to do -- + +Ten feet ahead, Greer realizes Ryan's no longer following. Stopping, he comes back: + + GREER (CONT'D) + Look. No one knows this material better than you do. Give him a rundown on the sub and a precis of the stuff in your hand. He's liable to ask some direct questions. Give him direct answers and say what you think. You'll do fine. Come on. + +Ryan takes a deep breath. + +>JUMP CUT TO: + +RYAN FOLLOWING GREER into the White House Briefing Room. Joint Chiefs are gathered around a thirty foot conference table. Greer introduces Ryan to a GENERAL and an ADMIRAL, then mingles. Left alone, Ryan spot, a lectern at the foot of the table. Nearby, a yeoman tends a slide machine, an overhead projector and a large bulletin board. Ryan heads for the lectern. The yeoman has a list of slides, some photos and illustrations. Trying to gather his thoughts, Ryan steps behind the lectern. JEFFREY PELT the President's National Security Advisor arrives. In his mid-mss, wearing wire-rim spectacles, Pelt's nearsighted, brilliant and a crackerjack poker player. Generals and Admirals take their places. Pelt sits at the head of the table, turning to Greer: + + PELT + Let's get started. + + GREER + Yes, sir. The preliminary briefing today will be handled by Dr. Jack Ryan. I believe you've seen some of his :work. + + PELT + (TO RYAN) + You may begin. + +Taking a sip of water, Ryan nods at the yeoman. Projector is TURNED ON: + + RYAN + Gentlemen, the last twenty four hours have seen some extraordinary Soviet naval activity. The first to sail was -- + (SLIDE) + this ship, the Red October. A variant of the typhoon class, she's some six hundred fifty feet long. Thirty-two thousand tons submerged displacement, roughly the size of a World War II aircraft Carrier. + (BEAT) + Unlike the standard typhoon, equipped to fire long-range missiles from Russian waters, Red October carries fifty-six SS-311s, which is a short-range attack missile with eight independent warheads. That's four hundred forty-eight warheads all specifically designed to fire close in. + (ANOTHER SLIDE) + We believe these doors on the bow, and here again on the stern, enclose a magneto-hydrodynamic drive, or caterpillar, which may allow the sub to run totally silent. + (ANOTHER SLIDE) + it is possible this new drive system allowed the captain, a man named Marko RAMIUS - + +Ryan points out two photos on a bulletin board. One is of Ramius alone. The other is a wedding photo of Ramius and a beautiful woman. + + RYAN (CONT'D) + to elude one of ' our attack boats, the Dallas, which trailed Red October from harbor this morning. + (POINTEDLY) + This drive, if it's working, could render Red October invisible to our SOSUS warning nets in the Atlantic. + + PELT + You would characterize this as a first strike weapon, Dr. Ryan? + +Ryan glances at Greer. Greer smiles reassuringly. + + RYAN + There's no doubt about that, sir. She is designed to approach by stealth, and fire on a target with little or no warning. + + ADMIRAL + An offensive weapon. The kind you start wars with. + + RYAN + Precisely, Admiral.. + (RE: MAP) + if I may continue. Shortly after the Dallas lost contact, there were additional Soviet sailings from Pa tjarny, Leningrad and the Mediterranean. The Soviets have SOME -- + (CHECKING NOTES) + fifty-eight nuclear submarines headed at high speed into the Atlantic. And this afternoon's satellite pass over Policjarny found heat blooms in the engineering plants of the Kirov, the Minsk and more than twenty cruisers and destroyers,, indicating that the bulk of their surface fleet is also preparing to sail. + +Flushed, Ryan sits beside Greer. Pelt turns to Greer: + + PELT + Conclusions? + + GREER + Absence of activity in the Pacific suggest this is probably just an exercise having nothing to do with the Red October. + +A General starts to object. He's cut off by JUDGE MOORE, a white-haired civilian near the top of the table: + + MOORE + NSA can speak to that, Mr. Pelt. + +PELT + + MOORE + I must emphasize the extreme sensitivity of this information and ask that on no account it leave this room. + (PELT NODS) + Before sailing, Captain Ramius sent a letter to Admiral Yuri Padorin, Chairman of Soviet Naval Deployment. + +Pointing at Ramius' wedding picture, Ryan whispers to Greer: + + RYAN + That's her uncle! + + GREER + Whose uncle? + + RYAN + (WHISPERING) + Ramius' wife. Padorin's her uncle! + +Greer has no idea what Ryan's saying. Moore's still talking: + + MOORE + The contents of the letter are unknown, but Admiral Padorin immediately demanded a meeting with Premier Ligachev and within minutes of that meeting, the Soviet Fleet sailed with orders to find Red October -- + (PAUSE) + And sink her. + +Audible intake of breath round the room. Pelt is the first to RECOVER: + + PELT + Sink her? + + ADMIRAL + My god. They've got a madman on their hands. He's gonna start a war. + +A spirited discussion ensues. Tuning it out, Ryan stares at the picture of Ramius and his wife. Urgently, he whispers to Greer: + + RYAN + This is the twenty-third, isn't it? + +Greer nods. Order in the room has broken down. Generals and Admirals argue vehemently about appropriate. responses. Staring at the photos, a light goes off in Ryan's brain: Silence. Ryan realizes everyone in the room is staring at him. + + PELT + (DRYLY) + You've something to add to the discussion, Dr. Ryan? \_ + + RYAN + Uhhmm...I was just thinking there was perhaps another possibility we ought to consider. + +Ryan takes a deep breath. + + RYAN (CONT'D) + Ramius might be trying to defect. + +Nobody moves. Ryan glances at Greer. Greer rolls his eyes. Too far out. Ryan's on his own. The General bristles: + + GENERAL + Do you mean to suggest - + + PELT + Go ahead, Dr. Ryan. + + RYAN + Well, Ramius trained most of their Officer Corps. He'd be in a position to select men willing to help him. And he's not Russian. + (WARMING UP) + He's Lithuanian by birth, and by heritage. He was raised by his maternal grandfather, who was a fisherman. He has no children, no ties to leave behind and - + (BEAT) + This morning was the first anniversary of his wife's death. + + GENERAL + Oh, come on! Look, what are you doing here, anyway, Ryan + (TO GREER) + That's his name, isn't, Ryan? + (TURNING) + You're just an analyst, right? You can't possibly know -- + + RYAN + I know Ramius, General. He's. been a maverick for his entire career. I even met him once at an embassy dinner. �met captain Ramius, sir? Have you ever + +The General darkens. Making a decision, Pelt turns to the Admiral: + + PELT + Bottom line, how long before Ramius will be in a position to launch his missiles at us? + + ADMIRAL + Four days.[[-40-]] + + PELT + Alright. I'll brief the President. That will, be all, gentlemen. + (BEAT) + Dr. Ryan. Would you stay for a moment, please? + +Everyone gets up to leave. As Greer rises, he winks at Ryan: + + GREER + I said speak your mind, Jack, but JESUS -- + +shaking his head, Greer pats Ryan's shoulder and leaves. Ryan's mouth is dry. Pelt gets up: + + PELT + You slammed the door on the General pretty hard, Jack. + + RYAN + It wasn't my intention, sir - + + PELT + (GRINNING) + Yes it was. He was patronizing you and you stomped on him. In my opinion, he deserved It. + (BEAT) + Look, I'm a politician, Jack. That means I'm a liar, a cheat and when I'm not kissing babies I'm stealing their lollipops. But it also means I know people and keep my options open. + (BEAT) + Let's assume for a minute that you're right and he intends to defect What do you think we should do? + + RYAN + Well, somebody has to go out and try- - to contact him. + + PELT + OK. When can you leave? + + RYAN + (FLUSHED) + Wait a minute. The General was right. I'm just an analyst -- + + PELT + Perfect. I can't ask any of these characters to go. None of them would volunteer putting their reputations on the line. And anyway, none of them are expendable. + (RYAN FROWNS) + I'll give you three days to prove your theory, after that we won't have any choice but to hunt Ramius down and blow him away. Will, you do it? + +Ryan stares at Pelt. + +>CUT TO: + +.CHOPPY SEA + +below haze-grey sky. A scope breaks the surface, trailing a small wake. Submarine is below. + +.IN THE KONOVALOV + +Tupolev spins the .periscope in the Konovalov's Conn. Bonavia brings him a message. Frowning, Tupolev reads it. + + TUPOLEV + Mother of God. + (TURNING) + Down scope. Dive the ship. + +Sailors in the Conn, prepare to dive. Tupolev is furious. Turning to Bonavia, he sneers: + + TUPOLEV + The entire Soviet Fleet has been ordered to hunt Ramius down and destroy him. And where were we? Out of contact. Dead in the water! + + BONAVIA + But, Captain. Have you forgotten that it was you who - + + TUPOLEV + (TURNING) + I have forgotten nothing. All ahead flank. Come to course three-five-zero. + +>CUT TO: + +RAMIUS at the head of a table in Red October's wardroom, Borodin to his left. Seven officers sit or stand to the side. Beside Borodin LIEUTENANT ALEXANDER MELEKHIN forties, grey eyes, Red October's engineer. At the door ENSIGN IVAN STADNYUK nervous, twenties, Asiatic, locks a dead bolt, securing the wardroom. Tension is electric, palpable. LIEUTENANT VIKTOR TBILISI thirties, curly brown hair, Red October's sonar officer, stares at Ramius, anxious to get something off his chest: + + TBILISI + Before we begin, Captain. I would like to know exactly what happened to Putin? + (BEAT) + He didn't slip on his tea. Did he? + + RAMIUS + No, Viktor. + +Visibly shaken, Stadnyuk waves his hands: + + STADNYUK + Captain? + + RAMIUS + There is no way we could have accomplished our task with Putin aboard. He would have stopped us. + + TBILISI + I have no objections to eliminating him. He was a pig. But it's a decision we should all have made. + + BORODIN + You're not in command. + + TBILISI + Don't give me that command garbage, Vasily. This is no ordinary cruise. We're all risking our lives. Everything that happens affects-each of us. + + RAMIUS + Enough! Putin is dead. The responsibility and the guilt are mine. + (PAUSE) + There's something else you should know. On the morning we sailed, I posted a letter to Admiral Padorin announcing our intentions to defect. + +Borodin's jaw drops. Tbilisi. is speechless. Kamarov whispers: + + KAMAROV + In the name of God, why? + + RAMIUS + We needed to burn the bridges. Make a clean break. + + STADNYUK + (SHRIEKING) + They'll find us! They'll hunt us down! + + BORODIN + (HISSING) + Keep your voice down, Ivan. Nobody can find us. + + TBILISI + (TO RAMIUS) + You had to do it, didn't you? You couldn't just follow the plan and turn the; submarine over to the Americans. + (VOICE RISING) + You had to rub Moscow's nose in it and make some kind of hare-brained political statement. + (ANGRY) + Goddammit, Marko. You signed our death warrants! + + RAMIUS + (EYES BLAZING) + How many times have you served in my command, Viktor? + + TBILISI + (STAMMERING) + Many times -- + + RAMIUS + Do you know me to be a man who tolerates insubordination? + +Tbilisi blanches, but will not look away. Ramius glances at the OTHERS: + + RAMIUS (CONT'D) + Return to your posts. All of You. + +No one moves. Time crawls by. Finally, Borodin gets to his feet: + + BORODIN + You heard the Captain. Dismissed! + +One by one, the men file out of the wardroom. When they are gone, Borodin turns to Ramius,... speaking quietly:' + + BORODIN (CONT'D) + Captain. I would never disagree with you in front of the men. But Viktor is right. We are in this together. What we are attempting is difficult. And -- + + RAMIUS + Our original orders were to demonstrate that this ship cannot be found. + (BEAT) + That is precisely what we will do. + +>CUT TO: + +JONES working his tape recorder in the Dallas' sonar shack. Varying speeds, filtering extraneous noise, Jones is isolating the eerie WHOOSHING SOUND.: + +>CUT TO: + +SHEET LIGHTNING in a RAGING STORM. An C-2A GREYHOUND appears, TURBOPROPS SCREAMING, buffeted like a ping-pong ball on a HOWLING canvas of PITCH } + +.IN THE GREYHOUND + +Ryan rides out the storm. He's wearing the uniform of a naval commander. Heavy TURBULENCE. LIGHTNING irradiates WINDOWS.- A NAVIGATOR sits directly behind Ryan at a small desk built into the bulkhead.[[-45-]] + +Behind the navigator in a cockpit, pilot and copilot. Eyeing Ryan, the navigator SHOUTS: + + NAVIGATOR + Some turbulence. Hey, Commander? + (NO ANSWER) + You don't enjoy flying? + +Ryan shakes his head. Gleefully, the navigator BELLOWS: + + NAVIGATOR (CONT'D) + This is a picnic, Commander. You should've been with me six months ago when we hit a typhoon in the Sea of Japan. Guys were puking all. over the place. The pilot puked all over his window. I puked the radio to death. Puke was everywhere and I'm not talking lightweight stuff. I'm talking industrial strength puke! + + RYAN + (SWOONING) + Next time you get a bright idea, Jack, try putting • it in a memo. + + NAVIGATOR + Anyway, when we hit that typhoon everybody knew what everybody else had for breakfast. Puke was on the ceiling. Puke was in the aisles + +Ryan is green. + +>CUT TO: + +.AN AIRCRAFT CARRIER + +in the STORM, bobbing like a cork in twenty-foot waves, thirty-foot landing � strip. surging violently in all directions. USS KENNEDY The North Atlantic 100 miles south of Greenland- On the deck, A LANDING SIGNAL OFFICER SCREAMS into a,;. WALKIE-TALKIE. Rain POUNDS his FACE. Wiping his eyes, he SPOTS THE GREYHOUND. heading for the carrier. PROPELLERS SHRIEK over the STORM. LSO BELLOWS INSTRUCTIONS into his WALKIE-TALKIE. At the last moment, WHEELS RIP into the DECK. A HOOK on the Greyhound's belly CATCHES the last wire. SPARKS cascade on WET STEEL. Moving across the deck with an ensign CAPTAIN CHARLES DAVENPORT forties, in a leather flight jacket, approaches the Greyhound. SHOUTING SAILORS batten down the plane. A door opens. Ryan climbs down a ramp on shaky legs. Taking his arm, Davenport SHOUTS: + + DAVENPORT + Charles Davenport, commanding officer of the Kennedy! The Admiral is waiting for you in his quarters! + +A STEWARD pouring coffee into a large mug on a tray loaded down with sandwiches. Setting down the coffee, the steward leaves. REAR ADMIRAL JOSHUA PAINTER fifties, a man of puritanical integrity, takes a hit of the ooze in his quarters on the Kennedy.. KNOCK on the DOOR. Ryan and Davenport enter. + + RYAN + (sha)dng hands) + Jack Ryan, Admiral.. Sorry for the confusion, but, as:-l was just. telling Captain Davenport, I'm not a naval officer + (BEAT) + I work for Admiral Greer at the. CIA. He thought I would draw less attention if I.was in uniform. + + PAINTER + You want coffee? Something to eat? + (RYAN DOESN'T) + Alright:. What can I do for you, son? You gonna tell me what all this activity is about? + +Ryan hands Painter a letter. Opening It, Painter studies the[[-47-]] + +contents. Davenport leans on a bulkhead, staring at Ryan. Painter returns the letter: + + PAINTER (CONT'D) + Can't get any higher authority than that. Now, what's going on? + +>CUT TO: + +JONES at a translucent status board in the quartermaster's station on the Dallas. Behind the status board, projected on a screen, a nautical map of the North Atlantic. Mancuso and Thompson enter. + + JONES + (TO MANCUSO) + I know you're busy, Captain. But I may have something here. + + MANCUSO + Go ahead. + + JONES + I've been working on a sound I heard when the typhoon disappeared. I washed it through the tape machine several times and managed to isolate it. But when I asked the computer to identify it, the answer I got. was magma displacement. + + MANCUSO + Magma displacement? + + JONES + Yes sir. See, the system we are using was originally- designed to look for seismic events and although we adapted it. to hunt for submarines - + + MANCUSO + Cut to the chase, Jonesy.\_:., + + JONES + Aye, aye, sir. Anyway,; I got curious, and. started tracking. the sound on our lateral array. I located it four different times. The fifth time it was gone and I couldn't find it. But I want to show you what I worked up. + +Picking up a grease pencil, Jones makes calculations on the status board overlaying the nautical map:[[-48-]] + + JONES (CONT'D) + The first contact was at zero-nine-fifteen hours and the bearing was two-six-nine. + (DRAWING LINE) + Then at zero-nine-thirty hours it was bearing two-six-zero. And at zero-nine-forty-eight is was two-five-zero. + (ANOTHER LINE) + I came back to it at about ten-hundred and the bearing was two-four-two. The last signal was real faint and I didn't have a very good lock on it. + + MANCUSO + So? + + JONES + Well, I figure it couldn't be very far away from us, right? Let's say it was halfway between us and Iceland. That would put it on a course like this. + +Jones makes more calculations on the. status board. Mancuso recognizes a pattern: + + MANCUSO + Headed directly into Red Route One. + + JONES + Exactly. Sir, I believe the sound I heard is the acoustical signature of some kind of super-quiet Russian submarine and he's taking the inshore track off the Iceland coast. + + THOMPSON + What do you think, captain? + +Mancuso stares-at the status board, then turns to Jones: + + MANCUSO + Let me see if I got this straight. The three million dollar computer tells you you're chasing after an earthquake and you aren't convinced. So you get curious and came up with this theory: on your own? + + JONES + (UNCERTAIN) + Yes, sir. + + MANCUSO + Relax, Jonesy. You sold me. + +Jones grins.[[-49-]] + + MANCUSO (CONT'D) + Let me ask you this. If we get close to this super silent sub again, you think you can track him down? + + JONES + Yes, sir. Now that I know what to listen for, I'll bag the sucker cold. + +>CUT TO: + +DAVENPORT frowning at Ryan, who sits opposite him, finishing a sandwich: + + DAVENPORT + Christ'\_ I've heard some strange stuff, Ryan, but that takes it. Ramius must have a hundred men on that boat. They can't all want to defect. He'd have a mutiny on his hands. + + RYAN + Not necessarily. If he personally recruited the officers, it's theoretically POSSIBLE - + + DAVENPORT + Theoretically, anything's p • But you're not in some cubicle at CIA. + +Over by the porthole, Painter clears his throat: + + PAINTER + For the sake of argument, let's assume you're right and Ramius intends to defect. What are you gonna do with the boat? You cant keep it. The Russians will. want it back. And they'll know you've got it, :`because the crew will tell them so. Or do you intend to keep them too? + + RYAN + Perhaps it would be enough to get some I men aboard to analyze the propulsion SYSTEM - + + PAINTER + (SMILING) + F A Coast Guard Inspection? + + RYAN + Perhaps. I'm not sure that --- L I + + PAINTER + Well, I agree with chuck on one thing, son. You've got your neck stretched way out there. Didn't Greer ever teach you the rules of survival in a bureaucracy? + (Ryan smiles weakly) + Still, it would be nice to keep it. When's the last time you slept? + + RYAN + Can't remember. Every time I get. the chance, somebody puts me on another airplane. + + PAINTER + OK. Why don't you rack out for a while. The chief outside will find you quarters. + (STANDING) + We'll be in CIC in the morning. It's gonna get real interesting out here the ' next couple of days. + + PAINTER + When you shook hands with him, you notice the ring on his finger,, Chuck? + (DAVENPORT DIDN'T) + Class of M. Marine Corps. + + PAINTER + Greer told me about him. Three weeks after he was commissioned, he was in a chopper on a rescue mission in the Med. They went down. Bad. Pilot and crew killed instantly. That kid spent eight months in traction with a broken. back, and two years learning to walk again. I think lt:'s O K for him to wear.: the uniform. - + (beat) + Don't you?[[-51-]] + +I closing the door to a stateroom. Exhausted, he tumbles face down on a lower bunk, head on a pillow. A sliver of light from the door to a head hits his face: + + RYAN + (MUMBLING) + Gotta be pie... Anything's possible ... Under the guise of Coast Guard... better to keep it.. how do you keep ft? + +Ryan's sound asleep. + +>CUT TO: + +MELEKHIN surrounded by HOWLING NOISE in Red October's engineering compartment. The. bulkheads shake. A TECHNICIAN SHOUTS + + TECHNICIAN + Converter temperature'is egress above specks and rising! + + MELEKHIN + (SHOUTING BACK) + What's the status of the cryog + + TECHNICIAN + (SHOUTING) + Liquid helium discharge pressure is one. hundred pounds low and dropping! + +Ramius and Borodin race into the compartment, Petrov is right behind them. The ship GROANS. Ramius. BELLOWS: + + RAMIUS + What is It? + + MELEKHIN + (SHOUTING BACK) + The cryogenic plant has failed! The super conducting magnets are not being cooled and the temperature of the . caterpillar assembly is rising to dangerous levels.. If we don't turn It, off, it's gonna melt! + + RAMIUS + (TO TECHNICIAN) + Shut everything down! + +Ship SHUDDERS. Technicians work at a fever white as a ghost. in seconds, the RACKET stops. + + TECHNICIAN + Caterpillar flows are stabilizing. + (BEAT) + Magnet temperatures are dropping. + + PETROV + (SCARED) + Any reactor damage? + + MELEKHIN + There was a power spike, but the reactor scrammed itself automatically. + + PETROV + But are there any radiation -- + + MELEKHIN + (ANGRY) + I. don't know, dammit! + + RAMIUS + How long before you can fix it? + + MELEKHIN + I have to find out what's wrong first. It could be a problem with the liquid helium cycle. Maybe the super conducting material has failed. + + RAMIUS + We're going to have to run on normal propulsion. Can you get the reactor up? + + MELEKHIN + Y] + + PETROV + Shouldn't-'we first check the + + RAMIUS + That will be all, Doctor. + +Frightened, Petrov, stares at Ramius, The Captain's indomitable. Petrov leaves. Borodin has concerns of his own: + + BORODIN + What if we're detected, Captain? + + RAMIUS + Pray that we aren't, Vasily. + +>CUT TO: + +JEFF PELT: ` in a chair in his office in the Executive Office Building. Through a window, the White House. On a couch opposite him ANDREI LYSENKO fifties, dewlapped Soviet Ambassador to the United States, in a dark suit and tie. Lysenko's uncomfortable. Pelt stares at him: + + PELT + Forgive me, Ambassador, for dispensing with the usual formalities. But the President views this situation as critical. Our military counts thirty-two of your anti-submarine aircraft in the sky laying down enough sonar buoys that a man could walk from Greenland to Norway without getting his feet wet. What's going on? + + LYSENKO + we fear she may. be down. + +Lysenko leans forward: + + LYSENKO (CONT'D) + I hope there won't be any confusion in this matter. + + PELT + So do I, Ambassador Lysenko. Confusion could be -- + (CAREFULLY) + Catastrophic. + +>CUT TO: + +.A SOVIET BEAR FOXTROT + +anti-submarine aircraft, BLASTING through cumulus at thirty thousand feet, TURBOPROPS HOWLING, a blazing firedog in the white-hot sun. + +.IN THE FUSELAGE + +of the Foxtrot, a wall of electronic equipment supports the starboard. bulkhead. WARRANT OFFICER ANDREI AMALRIC twenty, Soviet sonar operator, spots something on a sonar display similar to Jones'. Speaking into a headset: + + AMALRIC + Sonar contact on buoy number one-seven-nine. Contact is twenty-seven miles southwest, zero-nine-zero. Data indicates contact is Red October. + +.IN THE COCKPIT + +of the Foxtrot:, forward of Amalric, PILOT and COPILOT are . surrounded by dials and switches: + + PILOT + (INTO HEADSET) + Acknowledged, sonar. Coming to course.- zero-nine-zero. + (TO COPILOT) + Contact Red Fleet Command and reconfirm. our orders. + +Grabbing a mike, the copilot FLIPS toggle SWITCHES above his head. Leaning on the yoke, the pilot turns the plane. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric works his computer, wiping sweat from his FOREHEAD:[[-55-]] + + AMALRIC + (INTO HEADSET) + Recommend dropping a four buoy localization pattern. Will coach to drop point. + +.IN THE SKY + +TURBOPROPS SHRIEKING, the Foxtrot ROCKETS out of a cloud bank at unbelievable speed, leveling off above the racing ocean. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric nudges his computer, punching up one program after another: + + AMALRIC + (INTO HEADSET) + Vector to the drop point. Zero-nine-five. Eighteen miles. + +.IN THE COCKPIT + +of the Foxtrot, the pilot steers the vector. Beside him, the copilot talks into a phone: + + COPILOT + Red Fleet Command, this is Bear Foxtrot two-eight-four. We have contact evaluated as Red October. Request confirmation to attack? + (TURNING) + Captain, orders to attack are confirmed. + + PILOT + Arm. the weapons. + +The copilot starts flipping more toggle switches. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric concentrates on the shimmering display: + + AMALRIC + (INTO HEADSET) + Vector zero-nine-six, ten miles. Two minutes to the drop point. + +.IN THE COCKPIT + +of the Foxtrot, still pushing toggle SWITCHES, the copilot checks a fire control monitor, glancing at the pilot:[[-56-]] + + COPILOT + Weapons are armed. All pre-launch check is satisfactory. + +.IN THE SKY + +the Foxtrot chews up the afternoon, a deadly projectile hell bent on destruction. Below, the ocean streaks by. + +.IN THE FUSELAGE + +of the Foxtrot, preparing to launch his localization pattern, Amalric presses a button on his fire control console: + + AMALRIC + (INTO HEADSET) + Buoys are away. Recommend standard turn to the right. + +.IN THE SKY + +four sonar buoys exit the belly of the Foxtrot. Trailing parachutes, they splash into the ice-cold sea. + +>CUT TO: + +RAMIUS in Red October's Conn, talking in hushed tones with Melekhin and Borodin. Oblivious to their conversation, the crew moves about in the background. + + RAMIUS + What do you mean, „ you still, don't know? + + MELEKHIN + Captain, I need - + + BORODIN + Dammit, Alex. If we run any longer on normal power, we'll have the whole - + + TBILISI (VO) + (ON SPEAKERS) + Captain, sonar! We have just been overflown by a low altitude multi-engine turboprop! + + RAMIUS + (GRABBING MIKE) + Put it on audio. + +SONAR on AUDIO. Ramius glances at Borodin. Ashen, Borodin puts down a clipboard. At his quartermaster station, Stadnyuk upends, a mess of pencils. + + TBILISI (V O ) + (ON SPEAKERS) + Several short transients are close aboard. Could be water entry of small objects! + + RAMIUS + All stop! + (TO MELEKHIN) + We have just run out of time, Comrade. Get us out of this mess. And hurry! + (MELEKHIN SPLITS) + Quartermaster, sounding? + (NO ANSWER) + Dammit, Ivan. Give me a sounding! + + STADNYUK + (STAMMERING) + There are five hundred meters under the keel.. + + RAMIUS + (INTO MIKE) + Torpedo room, this is the Captain. Prepare to launch a counter-measure. + +Ramius and Borodin exchange glances. At his quartermaster station, Stadnyuk is paralyzed with fear. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric wipes his brow, continuing to work his COMPUTER: + + AMALRIC + (INTO HEADSET) + I have a confirmed and localized target. I am ready to shift aircraft control to computer for weapons firing. + +.IN THE COCKPIT + +Of the Foxtrot, the copilot runs a final check. Adjusting his headset, the pilot answers Amalric: + + PILOT + (INTO HEADSET) + You have permission to shift aircraft control. + (TO COPILOT) + Ask God for forgiveness, Comrade. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric enters a program on his keyboard. Watching it lock in, he announces: + + AMALRIC + (INTO HEADSET) + Computer is now in control, of aircraft. + +.IN THE SKY + +the Foxtrot levels off. Bomb bay doors inch open, revealing a torpedo, sixteen inches in diameter and eight feet long. As the plane's nose dips, the torpedo releases. parachute opening behind, a thousand pounds of doomsday device dive earthward at dizzying speed, splashing into choppy sea. + +.ON RED OCTOBER + +in the Conn, Ramius listens to SONAR on AUDIO. Faint PINGS appear, growing inexorably LOUDER, more FREQUENT, the submariner's worst nightmare: + + TBILISI (VO) + (ON SPEAKERS) + High speed screw l Torpedo in the water! + + RAMIUS + (INTO MIKE) + Torpedo room, this is the Captain. Launch counter-measure. + +The Conn SHUDDERS. Metal GRINDS. Within moments, a second PINGING Is added to that of the TORPEDO on AUDIO. + + TORPEDO ROOM (VO) + (ON SPEAKER) + Captain, this is the torpedo room. Counter-measure has been launched. + +.IN THE WATER + +outside Red October. The counter-measure, a device similar to a torpedo, designed to confuse acoustic homing mechanisms, spins away from Red October on high-speed screws. + +.ON RED OCTOBER + +in the Conn, torpedo and counter-measure PING LOUDLY on ship's SPEAKERS. Cool as ice, Ramius turns to Kamarov, at dive control: + + RAMIUS + Bottom the ship. + + STADNYUK + Wait! + +Leaving his quartermaster's station, Stadnyuk stands on shaky legs between Ramius and Kamarov:[[-59-]] + + STADNYUK (CONT'D) + The bottom is five hundred meters down. We'll be crushed! + + RAMIUS + You're relieved of your duties, Ivan! Return to your quarters. + (BEAT) + Now! + +Amplified PINGS. Torpedo's getting CLOSER. The counter-measure is MOVING AWAY. Waiting until. Stadnyuk has gone, Ramius turns to the Kamarov: + + RAMIUS (CONT'D) + Bottom the damn ship! + +.IN THE WATER + +Tanks flooding, Red October dives into the abyss.. Beyond, in the clammering dark, the torpedo hurtles relentlessly forward, death on wheels. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric listens to the torpedo: + + AMALRIC + (ON HEADSET) + Weapon has locked onto target and is homing. + +.ON RED OCTOBER:. + +in the Conn, men hang on. Everything is at a forty-five degree down angle. Kamarov watches a depth gauge plummet. + + KAMAROV + Four hundred meters. + +Bulkheads CRACK under tons of pressure. Torpedo and counter-measure'. PING on AUDIO. Red October dives under the torpedo. it misses the sail by inches. Lacking a target, it automatically initiates a wide turn to the left. + +.IN THE FUSELAGE + +of the Foxtrot,. Amalric reports the torpedo's progress, voice flat:[[-60-]] + + AMALRIC + (INTO HEADSET) + Torpedo has lost contact. + (LISTENING) + Searching. + +.ON RED OCTOBER + +in the Conn, men hang on as the ship dives deeper. Kamarov watches the depth gauge creep into a red zone. Torpedo PINGS are farther APART, Less FREQUENT. + + TBILISI (VO) + (ON SPEAKERS) + Torpedo has passed over us. It's hunting for a target. + + KAMAROV + (READING) + Four hundred fifty meters. Estimate bottom at five hundred meters. + +All eyes are fixed on the depth gauge. Bulkheads POP. A saltwater relief valve EXPLODES. BLASTED in the face with WATER, a HELMSMAN leaps to his feet, SCREAMING: + + HELMSMAN + We're flooding! + +Expressionless, Kamarov slams him back to his chair and shuts down the relief valve. The spray stops: + + KAMAROV + Keep your teeth on the shelf, boy. Nobody's flooding. + (READING) + Passing four hundred seventy-five meters. Estimate bottoming in twenty-five meters. + +.WATER + +the Red October hits bottom, kicking up sand and silt, bulkheads fragile as eggshells. + +.IN THE FUSELAGE + +of the Foxtrot, Amalric strains to hear on his headset. Suddenly, .his eyes light up: + + AMALRIC + (INTO HEADSET) + Weapon has reacquired. Homing again! + +.ON RED OCTOBER + +in the Conn, BULKHEADS GROAN. On the audio, torpedo and counter-measure PINGS fall into SYNC: + + TBILISI (VO) + (ON SPEAKER) + Captain, the torpedo is homing on our counter-measure! + +PINGS begin a weird contrapuntal DANCE, ultimately becoming SIMULTANEOUS. + +.IN THE WATER + +two thousand meters from Red October, the torpedo EXPLODES. TONS'Of WATER are DISPLACED. + +.ON RED OCTOBER + +in the Conn, CONCUSSIONS rock the HULL. Sailors cling to the bulkhead. Equipment CRASHES to the FLOOR. Dust falls from the ding,. Lights FLICKER. On the deck, face strobing In the blinking light, Ramius looks unearthly. The helmsman, water dripping from his clothes, WHISPERS: + + HELMSMAN + Captain, who's shooting at us? + + KAMAROV + Easy, boy. + +Borodin COUGHS. Confused, the crew watch their Captain. Lights stay on. Concussions die down. Ships speakers CRACKLE: + + MELEKHIN (VO) + (ON SPEAKERS) + Captain, the caterpillar is fixed. silent drive is operational. + +Jarred from his reverie, Ramius opens the intercom, speaking to the ENTIRE SHIP: + + RAMIUS + This Is the Captain. The explosion you Just heard was the first operational test of a new counter-measure. The torpedo was launched by our friends in Soviet aviation. + +Borodin stares at Ramius: + + RAMIUS (CONT'D) + Until now, orders required that I keep this aspect of our mission secret so that you might be evaluated under simulated battle conditions. + (TO KAMAROV) + Pump us off the bottom and engage the caterpillar. + +Nobody moves. Ramius is indomitable: + + RAMIUS (CONT'D) + Diving officer, bring the ship to one hundred meters. + + KAMAROV + (TO PLANESMAN) + Pump auxiliaries to sea. Twenty thousand pounds. + (NO RESPONSE) + Now! + +Galvanized, the planesman makes preparations to raise the ship. Ramius stares at Borodin. Things are getting ragged. + +>CUT TO: + +RAMIUS, MELEKHIN AND BORODIN in a cramped tunnel beneath Red October's engineering compartment. Melekhin is holding a steel. pipe. Above, a piece of rope dangles from some gears. A slipknot has been tied on the loose end. + + MELEKHIN + Someone rigged the pipe so that when we took a down angle it would fall into the gears. + +RAMIUS + + MELEKHIN + No doubt about it. And whoever it was knew exactly how to cripple the caterpillar in a way not easy to find. + (BEAT) + I still don't know if there's any reactor damage. I'll have to take a sample of the coolant. - We are dealing with no ordinary sailor. + + RAMIUS + (to Borodin) + We'll have to find a way to get the crew off this ship, now. We are in danger every second they are aboard. + + BORODIN + But, Captain. There's over a hundred of them. + +>CUT TO: + +RYAN brushing his teeth in the head adjacent to his stateroom on the Kennedy. Through an open door, his unmade bunk. Catching sight of himself in the mirror: + + RYAN + We'd have to get rid of the crew. + (BEAT) + How do you get the crew off a nuclear submarine? + +>CUT TO: + +JONES in the Dalla' sonar shack, working furiously with his equipment. Beaumont watches. The COB's behind him. TRANSIENT ocean NOISE on SPEAKERS. Over the INTERCOM: + + MANCUSO (OS) + Sonar, Conn. Anything yet, Jonesy? + + JONES + (INTO INTERCOM ) + Conn, sonar. Negative, Captain. + + COB + Where is your phantom Russian sub, Jonesy? According to your calculations we ' should have picked him up hours ago. + + JONES + He's close. I can feel it. + + COB + Close don't count in anything but horseshoes and hand grenades. + +Beaumont CHORTLES. Jones glances at him: + + JONES + Don't encourage the man, seaman Beaumont. He's very old. + + COB + The hell, you say. + + JONES + You're an old man, COB. Way over the hill. Your trout is so wrinkled it's about to fall off. + + COB + Screw you. + + JONES + Speaking of which, what happened to that Hustler Magazine that was in the head? + + COB + (BLANCHING) + Don't start on that crap. + +Beaumont grins. The COB and Jones are everything he hoped the Navy would be: + + BEAUMONT + (M AY) + What Hustler magazine? + + JONES + For many months, seaman Beaumont, there was a Hustler magazine located in the crew's head. it was community property. + (WORKING SONAR) + Then one day, it disappeared. The ..COB. here was the last person seen entering the head before it vanished. + + BEAUMONT + Where'd it' go? + + COB + (SQUIRMING) + Come on, Jonesy. + + JONES + I have a theory, seaman Beaumont. I believe the COB Is like a black widow, spider. After he has sex with a magazine, he eats it. + +Beaumont HOWLS. The COB turns pink.[[-65-]] + + COB + Goddam you, Jonesy -- + + JONES + (RAISING HIS HAND) + Wait! + +Jones the tunes a dial. In the distance, barely distinguishable through transient NOISE, the sound of RUSTLING WATER followed by a fleeting HUM. + +>CUT TO: + +PAINTER Leaning over a status board in the Combat Information Center on the Kennedy. Replete with lights, the status board reveals details of force deployment. Ryan enters, carrying coffee: + + RYAN + Morning, Admiral. + + PAINTER + Sleep well? + + RYAN + Like the dead. + (re: status board) + Our friends have been busy. + + PAINTER + During the night, they positioned most of their front line submarines at barrier stations between Greenland and Iceland. Here, here and here. + (PIG) + The majority of their Northern Fleet surface vessels are moving in a line abreast through here. + (BEAT) + It's an old anti submarine tactic. Like beaters in the jungle making a lot of noise, driving the prey into the guns of waiting hunters. + (PIG) + One of our submarines, the Dallas, reports intermittent contact with Red October and is positioned here at the bottom of Red Route One. With luck, the Dallas will intercept her. + + RYAN + Could you get me aboard the Dallas?[[-66-]] + + PAINTER + We could fly you out there in a helicopter. But I don't think you'd like that much. + + RYAN + (ASHEN) + No other way? + + PAINTER + That's all there is, I'm afraid. + +Putting down his coffee cup, Ryan stares at the status board. A sailor arrives with a message. Reading it, Painter glances at Ryan: + + PAINTER (CONT'D) + Dallas found Red October and is tracking her now. + +Locking eyes with Painter, Ryan grits his teeth. + + RYAN + (FLY) + Memos. From now on nothing but memos. + +>CUT TO: + +MANCUSO at fire control in the Dallas' Conn. Thompson's on the deck. + + THOMPSON + (TO MANCUSO) + Captain, we're about a thousand yards on Red October's port quarter. She's tracking on course two-one-zero, eight knots. + +MANCUSO Jones -'studies his system - The COB stands behind him. Beaumont watches. All kidding has stopped. This is strictly business: + + JONES + (ON MIKE) + Conn, sonar. Signal to noise ratio is dropping. + (BEAT) + Possible aspect change on Sierra thirty-five, Red October. + +.IN THE CONN + +at fire control, Mancuso is suddenly alert. + + THOMPSON + Sonar, Conn, aye. + + FIRE CONTROL + Concur, possible zig. Bearing rate increasing to the right. + +.IN SONAR + +Jones studies his equipment. Beaumont wonders what's going on. Suddenly, Jones barks: + + JONES + (INTO MIKE) + Conn, sonar. Crazy Ivan! + +.IN THE CONN + +like a cat, Mancuso moves onto the deck behind Thompson, eyes BLAMING: + + MANCUSO + (TO THOMPSON) + All stop i Come left and stay in his baffles. + (F IG) + Rig for quiet running. All compartments eliminate noise evolutions. + +.IN SONAR + +the COB and Jones freeze. Everything's super-quiet. Beaumont WHISPERS: + + BEAUMONT + What! s ' going on, Jonesy? + + JONES + (WHISPERING) + The Soviet Captain has a blind spot astern in his baffles and he's turning suddenly to see if he can catch us there. It's a trick the Soviets use called a crazy Ivan turn. + (BEAT) + Your average skipper might get caught with his pants down. Not Mancuso. We stop all engines and turn with him. Staying in his baffles. Quiet as a mouse. + +Beaumont frowns. Seconds pass. Working his equipment, Jones WHISPERS into his MIKE: + + JONES (CONT'D) + Conn, sonar. Red October is coming left. My read is he's returning to base course. + (GIG AT BEAUMONT) + Skipper got him. The Russian hasn't got a clue. + +.IN THE CONN + +On the deck, Mancuso glances at fire control. + + FIRE CONTROL + Bearing rate has steadied. He's returning to course two-one-zero. + + MANCUSO + Very well. Secure from quiet running. RADIOMAN enters. + + RADIOMAN + (TO MANCUSO) + Just decrypted this message from Fleet Command, sir. + +Opening the message, Mancuso scans it: + + MANCUSO + Damn! + + THOMPSON + What? + + MANCUSO + \!re not gonna believe this. + +>CUT TO: + +THUNDERING ROTORS on a SH-3 on the Kennedy's flight deck. Ryan and Davenport move to the waiting chopper. Davenport SHOUTS: + + DAVENPORT + The Dallas picked up Red October and is tracking her again. The Admiral issued orders for her to fall back and pick you up. + +Davenport takes Ryan's arm. + + DAVENPORT (CONT'D) + Ryan, listen to me. Getting someone on a sub is a nightmare. The Admiral told me what happened to you in the Mediterranean. The next hour could be very rough. + +Ryan forces a grin. A sailor helps him into the helicopter. Davenport steps back. ROTORS ACCELERATE. + +>CUT TO: + +JEFF PELT in his chair in his office in the Executive Office Building. Sitting on the couch in precisely the same position as when they last talked, Ambassador Lysenko wipes his brow: + + LYSENKO + The weather in Washington is so unpredictable, don't you think? + + PELT + How can I help you, Ambassador? + + LYSENKO + I'm afraid there's been a new development. + (PAUSE) + Apparently, the initial reports that one of our submarines was missing were not completely accurate. + (PELT IS silent) + The. submarine in question, Red October, is commanded' by a Captain Marko Ramius Apparently r he has suffered some kind of a nervous breakdown... + (SWEATING) + He -posted a letter just before he announcing his intentions to fire his mis' it at the United States. + +Pelt stares at Lysenko. Lysenko shifts his weight. \_ The Russian finds Pelt's steady•.gaze unnerving: + + PELT + Why didn't you tell me this the last time we met? + + LYSENKO + In my position, I'm sometimes compromised by the fact that Moscow doesn't tell me everything. + + PELT + So one of your submarine captains has gone insane? + (LYSENKO NODS) + What is it you want from us? + + LYSENKO + The other day you offered your assistance + + PELT + The other day it was a rescue mission. You want us to help you hunt Ramius down and kill. him? + + LYSENKO + Because American lives are at stake, I've been instructed to ask your President for precisely that. + (SWALLOWING) + Since you were so adamant about the consequences of confusion, I thought we might ask him together. + + PELT + I understand. + +Pelt picks up the phone. + +>CUT TO: + +BROKEN SUNSHINE dappling a choppy sea. Ice-cold WIND whips whitecapped waves and lashes the horizon. The helicopter with Ryan aboard circles into view. + +.IN THE CHOPPER + +HOWLING. NOISE. PILOT and COPILOT navigate tricky winds.. TWO SAILORS crouch by an open door, checking a harness on Ryan. Turning to the pilot, the copilot BELLOWS: + + COPILOT + no contact with the Dallas! + (READING GAUGE) + Fuel capacity is in the red! + + PILOT + We can't wait any longer! + + COPILOT + Hang on. I have contact! + + PILOT + OK. Tell them to surface. + (RE: RYAN) + Hook him up! But hurry, we don't have much fuel left! + +Sailor threads cable through a winch by the door. Ryan's white as a ghost. NOISE Is DEAFENING. Another sailor belts a harness to Ryan's back. Ryan peers down. Wind from the rotors crushes the waves. Between his feet, Ryan can see the small white wake from a periscope. + +.ON THE DALLAS + +in the Conn, Mancuso spins the scope. Thompson watches him. Both he and Mancuso wear life jackets: + + MANCUSO + Whoever this guy is, he's in for one hell of a ride. + ( NG) + Officer of the deck. Surface the ship. + +A flurry of activity in the Conn. The Dallas prepares to surface. Mancuso and Thompson move to a hatch by the helm. + +.IN THE CHOPPER + +the sailors finish strapping Ryan into the sling. One of them leans forward, pointing to a lever on Ryan's chest, SHOUTING: + + SAILOR + Pull this to release! + +Fighting. panic, Ryan glances down. A million miles below, the sea bans- mine-grey. + +.ON THE DALLAS + +sail in the Conn work like lightning in cramped quarters. A petty officer straps Mancuso and Thompson into harnesses. + + MANCUSO + You got a man dangling at the end of a line with no point of reference and helicopter rotors generating enough static electricity that we have to ground him or it'll be like grabbing a hot wire and if he falls in the water the only way to get him out is with divers 'cause most of the ship's underwater. + (PAUSE) + Fun? + + THOMPSON + (GRINNING) + Why I joined the Navy. + +A sailor hands Mancuso a phone for the bridge. + + THOMPSON (CONT'D) + I put Jonesy in the forward escape hatch in case he goes in the drink. + + MANCUSO + Good. We got no idea who this guy is or why the Navy wants him on our boat so bad. + +.IN THE CHOPPER + +Teeth chattering, struggling with deja vu, Ryan is transfixed by, the sub-zero ocean. HOWLING WIND and CRASHING ROTORS. Eyes wide, he watches THE DALLAS RISE First the sail, then the foredeck EXPLODE high into the air, finally CRASHING back to the WATER. + +.ON THE DALLAS + +The COB helps Jones climb into an escape trunk aft of the sail. It's cramped and brightly lit. Jones checks his equipment. + +.IN THE CHOPPER + +Ryan watches Mancuso and Thompson climb out of the sail onto the lurching bridge. The sailer leans close, HOLLERING: + + SAILOR + Hang on! + +He trips a lever on the winch. Cable feeds out a few feet Holding his breath, Ryan inches into the abyss. + +.ON THE BRIDGE + +Mancuso lays binoculars on Ryan. Thompson ties both of them to the sail The sub pitches and rolls. Forward and aft are buried beneath waves. Fingers freezing, Thompson clamps one end of a jumper cable to a metal lip on the bridge to ground the sub against static generated by the helicopter's rut + +.IN THE AIR + +savage WINDS from the chopper's ROTORS start spinning Ryan like a top. Desperately, he tries to control the dizzying motion. Above, caught in an unexpected wind sheer, the chopper plummets seaward. Ryan's line goes slack. Angry sea rushes up at him with blistering speed. + +.IN THE CHOPPER + +the pilot struggles for control. Behind him, loose equipment SLAMS into the WINCH, JAMMING the CABLE. CURSING, the pilot regains control. The chopper stabilizes. + +.IN THE AIR + +CRACKING like a WHIP, the CABLE goes TAUT. Ryan feels like he's been hit with a sledgehammer. Unable to breathe, he RIPS off his HELMET. A rock in a sling, he tries to get his bearings. Everything's grey. Above, the chopper's rotors CHEW the SKY. Helpless, Ryan starts swinging like a pendulum. + +.ON THE BRIDGE + +Mancuso and Thompson watch Ryan rocket by at Mach 10. A huge arc carries him way out over the angry sea. Slowing down, Ryan starts to spin again. + + MANCUSO + (SCREAMING) + See if you can get a ground on his line. I'm gonna try and catch the bastard! + +Way out on the horizon, Ryan reaches the end of his arc and starts a comet-like ride back at the ship. + +.IN THE CHOPPER + +the pilot FEATHERS. CONTROLS trying to reduce Ryan's mind-boggling-ride. over his shoulder, he BELLOWS: + + PILOT + Reel him back in! + + SAILOR + (TRYING) + The cable's jammed! + + PILOT + If they don't pick him up this time, we have to cut him loose! + +The sailor keeps trying to rewind the cable. No go. sweating, he wraps gloved fingers around the emergency release on the drum. + +.IN THE AIR + +Ryan watches the Dallas' sail rush at him with unbelievable speed, a towering black monolith on an ubiquitous canvas of grey. + +.ON THE BRIDGE + +Thompson readies the ground, holding one end in the air. A wave BLASTS the DALLAS. THE GROUNDING CABLE rips free of the bridge. Surprised, Thompson goes overboard. Caught in his harness, he dangles helplessly above the water. Mancuso and Ryan reach for each other as Ryan hurtles at the bridge. All hell breaks loose: A BOLT OF ELECTRICITY arcs between their oohed hands. BLITZED, Mancuso is KNOCKED hard to his KNEES. + +.IN THE CHOPPER, + +the sailor pulls. the release lever, CUTTING the cable. it SLAMS back inside like a two ton rubber band. + +.IN THE AIR + +unhooked, Ryan sling-shots fifty yards over the pitching bow of the Dallas, disappearing beneath the ice-cold water. + +.UNDER THE. WATER + +Bubbles trailing from his mouth, Ryan struggles to free himself from the harness. + +.ON THE BRIDGE + +a vision of hell, hair blowing in all directions, Mancuso eyeballs the spot where Ryan went down, SCREAMING: + + MANCUSO + (INTO PHONE) + Man overboard! + +Thompson drags himself back onto the bridge. + +.IN THE ESCAPE TRUNK + +Jones hears Mancuso's voice BOOMING over SPEAKERS: + + MANCUSO (VO) + (ON SPEAKERS) + Man overboard! Twenty yards off the starboard bow! + +The COB SLAMS the HATCH, turning the trunk into an iron tomb. Jones pulls a mask over his eyes, activates his oxygen and drags open the exterior hatch. SEA WATER THUNDERS in, submerging him in Icy stillness. Securing a line to the bulkhead, Jones swims out into the swirling brine. + +.IN THE AIR + +the chopper banks hard to the left, climbs Into the mist and starts circling the Dams. + +.IN THE WATER + +free of the harness, Ryan bobs like a cork in the waves. Fifty yards away, the keeness sub p bahes violently. A ' DIVER surfaces next to Ryan. Removing his mouthpiece, Jones BELLOWS over the CRASHING SEA: + + JONES + Are. you injured!? + + JONES + I'm gonna take you in through an escape trunk! + +Jones hooks Ryan to the line. Salt stings Ryan's eyes. His, breathing's ragged. + +.ON THE DALLAS + +BEDLAM in the CONN. STACCATO orders. Mancuso helps Thompson through the hatch. Hell on wheels, Mancuso disappears down a passageway. + +.IN THE WATER + +Jones and Ryan ride waves by the curved hull. of the ship. Jones offers Ryan his mouthpiece. + + RYAN + Wait a minute! + + JONES + Listen, you son-of-a-bitch. I'm only gonna tell you once. Stick this fucking thing in your mouth and breathe! + +Ryan takes the mouthpiece, inhaling and exhaling rapidly. The helicopter circles above. Jones drags Ryan + +.UNDER THE WATER + +into bruised silence. Pulling themselves downward along the Dalla rolling hull, Ryan and Jones share oxygen. + +.IN THE ESCAPE TRUNK + +Ryan and Jones pull themselves inside. Blazing light ignites a fire storm of one-celled organisms. Eyes wide, Ryan watches Jones close the hatch. Jones starts draining the trunk. Everything slows down. Echoes REVERBERATE. The water level in the trunk drops and the SHRIEK OF PRESSURIZED AIR ASSAULTS Ryan's EARDRUMS. Hurling the mouthpiece. away, he gulps air in the rapidly draining trunk like a banked trout. + +.IN THE HALLWAY + +outside the trunk, Mancuso and crew open the hatch. Tumbling out, Ryan stands; on shaky legs, excited, babbling: + + RYAN + Jesus Christ! I cant believe it! Jesus Christ --» + + MANCUSO + Take it easy -- + + RYAN + When I hit the water, it was like Ice. I thought I was going to freeze -- + + MANCUSO + Slow down. You're hyperventilating. + (RYAN BLINKS) + Now, who are you? + + RYAN + (DISORIENTED) + Sorry. I'm Jack Ryan. Are you Captain Mancuso? + +Mancuso nods. The radioman appears with another message. Mancuso rips it open and starts reading it. Ryan rockets into PRESENT TIME: + + RYAN (CONT'D) + Captain, we have to find the Red October. She's a Russian -- + + MANCUSO + (READING) + I already found him, Ryan. Then I was ordered to pick you up. + + RYAN + (QUICKLY) + We have to find him again. The Captain is going to defect and - + + MANCUSO + What the hell are you yammering about? + + RYAN + I have to talk to - + + MANCUSO + Mr. Thompson. Get this man some dry clothes and coffee. + + RYAN + BUT CAPTAIN + + MANCUSO + I'll be in the Conn. + +>JUMP CUT TO: + +at the entrance of the sonar shack, fifteen minutes later. Behind him, in the Conn, the crew is preparing to man battle stations. Jones has returned to sonar. + + MANCUSO + (TO JONES) + Any sign that he's alerted to our presence? + + JONES + No, sir, captain. operating as before. + +Ryan appears in dry clothes. Mancuso ignores him. The officer of the deck turns to Mancuso: + + OOD + Captain. Battle stations are manned. + + MANCUSO + Very well. + + RYAN + What do you mean battle stations? + (URGENTLY) + Look, I've been authorized by the President of the United States to talk to the Captain of Red October. + +Mancuso takes the last message from his pocket: + + MANCUSO + And I have been ordered to blow him out of the water if he stays on a course to the United States or demonstrates any hostile intentions. + + RYAN + (STUNNED) + I don't understand. + + MANCUSO + (RE: MESSAGE) + According to this he's gone bughouse and intends to fire his missiles. So much for your defection theory. + +Mancuso hands Ryan the message.. Ryan stares at. it. Mancuso turns back to the officer of the deck: + + MANCUSO (CONT'D) + Officer of the deck. Make, + + RYAN + Wait! + (RE: MESSAGE) + Think about this a second. Naturally the Soviets would tell us he is insane. They want us to sink him before he has an opportunity to defect. + + JONES + (TO MANCUSO) + Captain, crazy Ivan. + + MANCUSO + All stop! Come left and stay in his baffles. Rig for quiet running. + +The officer of the deck repeats Mancuso's orders. Mancuso and Ryan are eyeball-to-eyeball.. Ryan whispers: + + RYAN + Listen to me, Captain. There must be some way you can establish contact without violating your orders. I'm telling you, he wants to defect. + (MANCUSO FROWNS) + If there's ever going to be peace in the world somebody has to take a risk. Give the man a chance. He's defecting. I know it. + (MANCUSO HESITATES) + Please. + + MANCUSO + (after a beat) + All back two-thirds. + +Nobody moves. Jones glances at Mancuso. Mancuso stares at Ryan The officer of the deck's e d + + OOD + Sorry, sir. Would you repeat -- + + MANCUSO + I said, all back two-thirds! + + HELMSMAN + Helm answers. All back two-thirds. + +Bell RINGS. Ship SHUDDERS. Ryan's ears pop. Jones glares at MANCUSO: + + MANCUSO + All stop! + (TO RYAN) + OK, Ryan. We just unzipped our fly. Now if he so much as twitches, I"m.. gonna blow the bastard to Mars. + +>CUT TO: + +RAMIUS in the Conn on Red October, surrounded by activity. Urgently, he speaks into a mike:[[_E0-]] + + RAMIUS + Sonar, this is Ramius. Can you identify the contact? + + TBILISI (VO) + (ON SPEAKERS) + American Los Angeles class attack submarine. Bearing zero-five-zero, range three hundred yards. + +>CUT TO: + +MANCUSO in the Dalla' Conn, on the deck. Thompson's at fire control. Ryan is to Mancuso's left. Crew's at battle stations. + + MANCUSO + Flood tubes one and two and make torpedoes ready in all. respects. + + RYAN + WAIT - + + MANCUSO + My orders are specific, Mister. + + THOMPSON + Tubes one and two flooded and ready in all respects. + +>CUT TO: + +RAMIUS as before in Red. October's -Conn. The crew has come to battle stations. Borodin is at fire control.. + + TBILISI (VO) + (ON SPEAKERS) + the American has flooded his tubes and is preparing to fire! + + RAMIUS + (TO BORODIN) + Prepare tubes three and four and plot a solution. + + BORODIN + Shall I flood the tubes? + (NO ANSWER) + Captain, shall I flood the tubes? + + RAMIUS + (after a beat) + No. Lock the firing solution into computer. Do not flood the tubes. + +>CUT TO: + +MANCUSO on the Dallas in the Conn. Eyeing Ryan, Mancuso opens a mike: + + MANCUSO + What's he doing, Jonesy? Has he flooded his tubes? + + JONES + Negative, Captain. He's just sitting there. Hold on -- + (BEAT) + Hull popping. Target's coming shallow. + +Mancuso frowns. The crew's a cased spring. Ryan's walking on RAZOR BLADES: + + RYAN + What does it mean? + + MANCUSO + It means, he's a very cool customer, YOUR RUSSIAN. He knows we're here and that we are ready to fire. But he's not going to provoke us. He's heading to periscope depth to see what's on the surface. + (TO THOMPSON) + What's his course, now? + + THOMPSON + (READING) + Target is on course north. + + MANCUSO + (TO- HELMSMAN) + Right ten degrees rudder. Steer course north. + (BEAT) + Sonar, Conn. Report all contacts. + + JONES + Conn, sonar. My only contact is Sierra thirty-five, Red October. Bearing two-seven-zero. + + MANCUSO + Conn, aye. Fire control, range to target? + + THOMPSON + Range is three hundred yards. + + MANCUSO + Diving officer make your depth sixty-five feet. + (TO RYAN) + He wants to go up and take a peek, we'll play along. + +.ON THE SURFACE + +Grey sky. Frothy sea. Red October's periscope appears. Seconds later, three hundred yards away, the Dalla' scope breaks the surface. + +.ON RED OCTOBER + +Ramius is glued to the eyepiece of his periscope. He spots the Dallas' scope in the water. Behind him, sailors are tense, wary. Uncomfortable, Borodin sweats at fire control. + + RAMIUS + (ON SCOPE) + Weapons status? + + BORODIN + Weapons are armed. Tubes one and two are not flooded. + + RAMIUS + (AT SCOPE) + Mark this bearing. + + QUARTERMASTER + Bearing zero-nine-zero. + +in the Conn, Mancuso is glued to his scope just like Ramius. Ryan can hear his heart nq: + + MANCUSO + All right, Mr. Ryan. You wanted to:. talk to him. There he is. What do you want to say? + +Ryan chooses his words carefully. As he does, Mancuso hits a periscope light in morse: + + RYAN + American government told you intend to launch missiles. Do not approach U.S. coast. Repeat. Do not approach U.S. coast, or you will be attacked. If you understand, ping once. + (TO MANCUSO) + He can do that, can't he? + + MANCUSO + He can do that. But is he gonna do that? + +.ON RED OCTOBER + +in the Conn, Ramius is still at. the scope, watching the light in the Dalla' periscope. After a moment, he, glances at Borodin: + + RAMIUS + Verify the range again. + (BEAT) + Ping one time only. + +.ON THE DALLAS + +in the Conn, Mancuso's at the scope. Ryan is scribbling something on a pad. Sailors hear a PING. Thompson grins. + + MANCUSO + I'll be damned. + (TO RYAN) + Now what? + + RYAN + (RE: PAD) + Send him this. + + MANCUSO + (READING) + Are you out of your mind? + + RYAN + Just send it. + (THINKING) + And tell him to ping again if he agrees. + +.ON RED OCTOBER + +in the Conn, Ramius is at the scope, watching the flashing light. After a second, he steps back, face white. Finally, he turns to BORODIN: + + RAMIUS + Verify the range one more time. + + BORODIN + But Captain, I just -- + + RAMIUS + Give me a sounding, ' Vasily! Ping once only. + +Borodin goes to work. Ramius stares at Melekhin. Melekhin frowns. What the hell is happening? + +.ON THE DALLAS + +in the Conn, Mancuso, Ryan and the crew hear another PING. Ryan's ecstatic. Mancuso Isn't. + + MANCUSO + Down scope. + + RYAN + (to Mancuso,., EXCITED) + I need to look at a nautical chart. Do you have -- + + MANCUSO + Ryan, what's going on? + + RYAN + (9 G) + If the Soviets want us to sink Red October. We just might have to oblige. + +>CUT TO: + +.THE DEEP + +black as night, reverberating with eerie nightmares. From the cloying dark, Red October rises, a shimmering phosphorescent giant. + +.THE REYKJANES RIDGE + +Off the coast of Iceland Morning of the fourth day in engineering, Petrov and Melekhin stand at a sink on the reactor bulkhead. Valves and tubing hang over the sink. Technicians in the background. Melekhin's in rubber apron, gloves and plastic face shield. Dressed identically, Petrov holds a book. Signs on the wall indicate radiation danger. + + PETROV + (READING BOOK) + Shut valve three. + + MELEKHIN + Valve three shut. + +He shuts a valve with a large wrench. Turning a page, Petrov READS: + + PETROV + Place flask under valve four and draw one hundred milliliter coolant sample. + + MELEKHIN + Placing flask under valve four. Drawing sample. + +A tiny stream of fluid falls into the flask. Unexpectedly, an ALARM GOES OFF. Technicians freeze. + + PETROV + Shut the valve and secure the sink! + +Melekhin shuts the, valve. Petrov stares at the alarm. Below it, a meter is flashing red: + + PETROV (CONT'D) + Seal that sample in a plastic bag and take it to the lab. I'll get the Captain! + +>CUT TO: + +RAMIUS AND BORODIN drinking tea and munching black bread in Red October's wardroom. Nobody else around. Borodin smiles at Ramius fondly: + + BORODIN + Do you think they will let me live in Montana? + + RAMIUS + I think they will let you live wherever you want, my friend. + + BORODIN + Good. Then I will raise rabbits in Montana and marry a round American I woman who will cook them for me. + (SMILING) + And she will have friends who are Indians and we will ride horses on Sunday. + +Ramius laughs. Petrov barges in, talking as he enters: + + PETROV + Captain, there are high fission product levels in the primary coolant! + (BABBLING) + I knew we should have checked the reactor before we started it. When the caterpillar broke down the core must have been damaged! + + RAMIUS + Keep your voice down, Doctor. There are several explanations - + + PETROV + Listen to me. Radioactive fuel is in the water. If it gets into our air, it could ' kill us all! + + RAMIUS + I said, keep your voice down. The CREW - + + PETROV + (SHRILL) + I will not! We have a level four radiation leak. And if something isn't done, we're all going to die! - + +Ramius stands. Suddenly, Petrov remembers where he is. Ramius' eyes are bullet holes. Wilting,, Petrov stammers: + + PETROV (CONT'D) + Forgive me, Captain. But - + + RAMIUS + it's probably a piece of corrosion in the pipes. That happens. Now let's take' another sample. But quietly. We don't want to panic the crew. + +>JUMP CUT TO: + +.ENGINEERING + +minutes later. Melekhin and Petrov prepare to draw another sample at the sink. Ramius stands behind them. Technicians to the rear. Melekhin struggles with the valve: + + MELEKHIN + I may have shut it too hard. + +Grabbing the wrench, Ramius leans his weight on it. Suddenly, the[[-87-]] + +valve CRACKS. HOT water SPRAYS Ramius in the FACE. Melekhin FREAKS: + + MELEKHIN (CONT'D) + Secure the valve before the water turns to steam ! + +Desperately, Ramius tries to plug the hole. The VALVE BREAKS. BOILING WATER pours out, turning to STEAM, SPLATTERING Melekhin. ALARMS GO OFF. Ramius BELLOWS: + + RAMIUS + Evacuate the compartment-' + +Technicians scramble for the door. Searing hot steam chokes the compartment. Melekhin SCREAMS: + + MELEKHIN + I'll try and stop the leak. Everybody get the hell out of here! + +.IN THE CONN + +Crew members are panicking. ALARMS are GOING OFF. Dripping water, Ramius charges in. On the deck, Borodin SHOUTS: + + BORODIN + (ON HEADSET) + Captain, radiation alarms are activating in all compartments. Engineering is heavily contaminated. Radiation is spreading forward! + + RAMIUS + Get us to periscope depth. We'll ventilate! + + BORODIN + (TURNING) + Emergency surface! + +While the crew works to get the boat to the surface, Petrov studies a radiation detector.' it ALARMS. Gauges are in a red zone. + + PETROV + (READING) + Ventilating won't do any good. It's getting worse. At these levels it is only a matter of minutes. We have to abandon ship!; - + +Sailors in the Conn stare at the Captain. Ramius BELLOWS: + + RAMIUS + (TO BORODIN) + Alright. Pass word to abandon ship. Draft a message to Red Fleet Command telling them our location and situation! + + BORODIN + (INTO MIKE) + Stand by to abandon ship! Stand by to abandon ship! All hands muster on the missile deck. Designated personnel bring life rafts! + +.ON THE SURFACE + +Red October rises in angry sea. An emergency door on the sail opens. Seconds later, a hatch on the missile deck opens also. The sea RAGES. Climbing out on the deck, Tbilisi and a half a dozen sailors try to inflate rafts. Red October PITCHES and ROLLS. Wind HOWLS. Frustrated, Tbilisi SCREAMS into a headset. + +.IN THE CONN + +through the open emergency door, the sea CRASHES. Frightened to death, shivering sailors in life preservers line up to leave. Petrov counts them. Ramius stands by Borodin. + + BORODIN + Captain. Lieutenant Tbilisi reports the sea state is too rough to launch the rafts' over the side. The men will be crushed! + + RAMIUS + All right. Instruct the crew to secure the rafts to the deck. When all. personnel are aboard the rafts, we will scuttle the ship out from under us! + +.ON THE DECK. + +Ocean, ROARS. Fighting gale force WINDS, sailors file out of the hatch and tie down the rafts. Around them, the hounds of hell are loose on the face of the deep. + +.IN THE CONN + +the last of the crew leaves. Borodin is at the periscope, Kamarov stands by Ramius. Only officers are left. + + KAMAROV + Captain, Major Tbilisi reports the crew are secured in rafts and rafts are tied down. We should join the crew and scuttle the ship. + + RAMIUS + (TO PETROV) + Do you have a count? Have they all been evacuated? + + PETROV + I think so. I -- + + BORODIN + (ON SCOPE) + Captain! Surface warship. Closing fast. Zero angle on the bow. Range nine miles. + + RAMIUS + (ASHEN) + Can you classify it? + + BORODIN + U.S. Knox class frigate. She's flashing light. I'll read. + (TRANSLATING) + Red October. Stay where you are. Do not attempt to submerge or we will fire. Stand by to be boarded. + + PETROV + (SHRIEKING) + What are we going to do? + + RAMIUS + (TO PETROV) + There's only one thing we can do. Go topside and take care of the crew. I and my officers will submerge the ship and take her elsewhere to scuttle. The Americans must never have this boat! + +All Petrov wants do to is get his ass off the boat. At the door, Ramius stops him: + + RAMIUS (CONT'D) + Doctor. When you get home. You will. hear many stories about me and some are true. But tell them that in the end I did my duty. + +Petrov splits. Borodin slams the hatch behind him and seals it.[[-90-]] + + RAMIUS (CONT'D) + (TO BORODIN) + Submerge the ship. + +.ON THE DECK + +the ocean RAGES. Red October sets to submerge. GEYSERS of WATER and air EXPLODE hundreds of feet in the sky as she dives. The BLOWBACK is STAGGERING. Wild-eyed sailors in rubber rafts hang on for their lives. On the horizon, Petrov spots the American frigate hurtling forward, light flashing. A puff of smoke appears, followed by a muted EXPLOSION. The frigate's FIRING. As the round comes in, there is an EARSPLITTING SHRIEK. A hundred yards beyond Red October's bow, the SEA EXPLODES. The CONCUSSION and the STORM are mind-bending. Petrov thinks the world's coming to an end. In the rafts, men slash at ropes binding them to the deck. One by one, they drift free of the submerging ship into foaming sea. One sailor can't cut his rope. His raft's dragged under. Wind HOWLS. The frigate FIRES AGAIN. Another EARSPLITTING SHRIEK. Another EXPLOSION. Tons of icy saltwater cascade over Petrov's head. - Gulping air, Petrov spots the raft and sailor pop back to the surface. Red October's sail disappears. Sailors haul freezing men from raging water. Hell on earth. + +>CUT TO: + +.THE FRIGATE + +bow slicing through the freezing ocean at flank speed. On the fantail, a helicopter prepares to take off, ROTORS HOWLING + +.IN THE COMBAT INFORMATION CENTER + +aboard the frigate, thirty sailors work various consoles replete with computer terminals, status boards and plotting tables. In the middle of the compartment LIEUTENANT COMMANDER JIM CURRY thirties, mans the nerve center of the CIC. Curry has immediate access to both sonar and radio. In the darkness, to his left, TWO SHADOWS: + + CURRY + (INTO MIKE) + Seahawk One. This is Bravo Command. You are cleared for take off. + +.IN THE HELICOPTER + +on the fantail of the frigate, PILOT and copilot are strapped into the crowded cockpit. Copilot flips a bank of toggle switches above his head. + + PILOT + (INTO MIKE) + Roger, Bravo Command. Seahawk one request vector to target Red October. + (LISTENING) + Copy that. We're on our way. + +.IN. THE AIR + +the helicopter rises from the fantail of the frigate. In seconds, it passes over Petrov and his companions floating in rubber rafts in choppy sea. + +.IN THE HELICOPTER + +the pilot glances over his shoulder at a SENSOR OPERATOR working a computer behind the copilot: + + PILOT + Torpedo Inputs? + + SENSOR OPERATOR + Set and verified as ordered. + +.IN THE WATER + +the life rafts converge on the frigate like insects hovering round an oversized queen. In one of the rafts, Petrov watches as a net is thrown down at him. + +.IN THE HELICOPTER + +the pilot eyeballs the sea as it races by. Speaking into a mike: + + PILOT + Roger that, Bravo One. Five hundred yards to the drop paint. Torpedo is armed and ready. + +.IN THE CIC + +aboard the frigate, Curry turns to one of the shadows: + + CURRY + Seahawk One reports torpedo armed and ready to fire. Requests final authorization to drop. + +.IN THE RAFTS + +Petrov and the others climb the nets. Halfway up, the doctor stares back at the helicopter hovering in the distance. + +.IN THE AIR + +thirty feet above the water, the helicopter releases a torpedo in the area where Red October went down. + +.ON THE FRIGATE + +Petrov climbs onto the fantail. U.S. sailors are waiting with coffee and blankets. Fuming, Petrov confronts an officer: + + PETROV + I protest! What authority do you have to fire? I protest! + +.IN THE CIC + +Curry coordinates information. All around him, men work intensely. Curry turns to one of the shadows: + + CURRY + Seahawk One reports torpedo is launched and running normally at forty knots. I have it on sonar. + (TURNING) + Four hundred yards from drop paint. Eight hundred yards. Twelve hundred yards. + +One of the shadows leans forward and presses a button on Curry's console. The button is marked Command Control Detonate. The SHADOW IS ADMIRAL GREER in a white uniform and cap. Beside him, Skip Tyler, leans on his cane, concentrating on Curry's display. + +.IN THE HELICOPTER + +Pilot studies the sea. Suddenly, it BULGES. Loud CONCUSSION. Shock WAVE. A giant mushroom cap rises from the depths as gas bubbles vent. + +.ON THE FANTAIL + +Petrov watches in horror as a huge concave impression vents below the helicopter. A huge plume of gas and water erupts skyward. + +.IN THE CIC + +aboard the frigate, Curry turns to Greer: + + CURRY + Torpedo has detonated. + + GREER + And you understand, Lieutenant. I was never here. That torpedo did not self-destruct. It hit the target. Right? + (CURRY NODS) + Now, Contact the Dallas and tell them to proceed. + +Curry nods. + +>CUT TO: + +MANCUSO in the Conn aboard the Dallas with Thompson. Mancuso has a .45 in a holster on his belt. Thompson reads a message: + + THOMPSON + Frigate reports phase one completed, Captain. We are ordered to proceed. + + MANCUSO + OK. Now comes the weird part. + +Thompson follows Mancuso out of the Conn into + +.A PASSAGEWAY + +running aft. Mancuso and Thompson move at speed. Mancuso is far FROM HAPPY: + + MANCUSO + I don't like leaving the boat, Phil. But the orders are specific. + + THOMPSON + We're gonna be fine. + +Rounding a corner, they start + +.DOWN A LADDER + +Thompson will never get over how fast Mancuso can move. Aren't guys that big supposed to be slow? + + MANCUSO + This has got to be the craziest stunt I've ever heard of. There's only about two million things that can still go wrong. + +At the bottom of the ladder, they enter + +.A PASSAGEWAY + +Ahead of them Jones and Ryan wait by a ladder beneath an open hatch. Like Mancuso, Jones is armed. Jones starts up the ladder. Ryan follows. Mancuso turns to Thompson: + + MANCUSO + Listen. If anything -- + + THOMPSON + Captain. We'll be all right. + +Mancuso climbs up the ladder, disappearing through the hatch. Thompson closes it. + +>CUT TO: + +WARRANT OFFICER STEINER sitting before a wheel at a brightly lit panel, just as cocky as when we last saw him in the mini sub at Tyler's lab. Next to him, a COPILOT checks a clipboard. Behind them, Jones, Ryan and Mancuso climb up through a hatch. Jones shuts it. Steiner speaks into a headset:: + + STEINER + OK. Passengers are aboard. Check-off complete. Request clearance to lift-off. + (TURNING) + Gentlemen, we have clearance. Fasten your belts and grab your nuts. We're taking a ride. + +Ryan sits opposite Mancuso. Jones is to Mancuso's right. The bulkhead rocks slightly. Steiner turns a yoke. + + STEINER (CONT'D) + Battery sperm?[[-95-]] + + COPILOT + Eighty percent capacity. Homing beacon is five degrees to the right. Recommend new course zero-seven-five. Range now five hundred yards. + + STEINER + Roger. Coming right to course zero-seven-five. Make initial preparations to land. + +The copilot starts toggling switches. Behind him, Mancuso checks the .45 in his holster. Ryan watches. + + COPILOT + Contact is two hundred yards below. One hundred yards ahead. + + STEINER + Roger. + (BEAT) + Hit the running lights. + +.IN THE WATER + +-black on black. Then, in a single blinding flash of light THE RED OCTOBER is revealed. Hovering above it, floodlights blazing, the DSRV. Descending, it locks onto a hatch by the sail. + +.IN THE DSRV + +Copilot turns to Steiner: + + COPILOT + We have a seal. Skirt is dry. + + STEINER + Roger. Open the hatch. + +Getting up, the copilot heads for the hatch. + + MANCUSO + Wait. + +Copilot stops. Reaching into his jacket, Mancuso offers Ryan a .45. + + RYAN + (EYEING PI- ) + He's defecting. + + MANCUSO + And he can't change his mind? + + RYAN + He's not going to change his mind. + + MANCUSO + Willing to bet your life on that.' + +Ryan stares at the pistol. Sighing, he puts it in his jacket. Copilot opens the hatch. In the gloom below, another hatch. Copilot raps on it. Somebody opens the lower hatch. Mancuso, Jones and Ryan climb down into + +.THE RED OCTOBER + +on a ladder at the forward end of the Conn. Waiting for them, Ramius, Borodin and all the other of Awkward silence. Nervous, Borodin drags out a cigarette and lights it. Unexpectedly, RYAN- SMI1 : + + RYAN + Russian Cigarette? + (BORODIN NODS) + Could I try one? + +Mancuso frowns. Borodin offers Ryan a cigarette. Kamarov has a light. Ryan inhales and COUGHS: + + RYAN (CONT'D) + (GAGGING) + Jesus... + +Poking fun, Ryan rolls his eyes. Borodin grins. Ramius The ice is broken. Men shake hands. + + RAMIUS + Gentlemen, I am Marko Ramius. I and my officers request political asylum in the United States. + (BEAT) + Before I go any further, I want to know whose idea is this impossible plan? + + MANCUSO + (RE: RYAN) + His. + + RAMIUS + (TO RYAN) + Amazing. our intention was to publicly surrender this boat and request asylum. it never occurred to us there would be a way you could keep it. The idea to stage a radiation leak was inspired -- + (FROWNING) + You look familiar. Do I know you, Commander? + + RYAN + You have a good memory, Captain. We meet briefly years ago. But I'm not a naval commander. I work for the CIA. + + RAMIUS + CIA? + + RYAN + Easy, Captain. I'm not an agent. I'm just an analyst. + (SMILING) + I write books. + +Suddenly, HIGH SPEED SCREWS passing over the HULL: + + KAMAROV + Torpedo! Americans are shooting at us. + + JONES + Wrong. Ours growl. Yours whine. It's Russian! + +>CUT TO: + +GREER leaning over Curry's console in the CIC aboard the frigate. Agitated, Curry works his computer. + + GREER + What do you mean there's another torpedo? Where in hell did it come from? + +>CUT TO: + +TUPOLEV in the Conn aboard the Konovalov. His crew's at battle stations. Bonavia mans fire control. opening a mike, Tupolev SHOUTS: + + TUPOLEV + Sonar. Why hasn't our torpedo impacted? + + SONAR (VO) + (ON SPEAKERS) + The weapon enabled on the other side of the target. It passed Red October before it armed. + + TUPOLEV + (TO BONAVIA) + You had the wrong range, idiot! Fire again with the right settings. And reload both tubes. + +.ON THE DALLAS + +Thompson stands outside the sonar shack. To his left, the COB is behind fire control. Beaumont has taken Jones' position. + + BEAUMONT + New contact. Sierra four-one, bearing zero-one-zero. Akula class Soviet submarine. + (BEAT) + Launch noises. He's shooting again. + + THOMPSON + What's the status of Red October? + + BEAUMONT + Dead in the water. + + THOMPSON + They can't maneuver with the goddam DSRV stuck to them. + (WHISPERING) + Come on, Mancuso, move it. Get the hell out of there. + +.ON RED OCTOBER + +BEDLAM in the Conn. Tbilisi and Jones are on their way to sonar. Ramius SHOUTS at Melekhin: + + RAMIUS + Get back to engineering and give me some power! + (TO MANCUSO RE: DSRV) + Get that damn thing off my boat. + +Mancuso's halfway up the ladder. He spots Steiner peeking down at HIM: + + STEINER + I think somebody just shot a torpedo at us! + + MANCUSO + No shit, buckwheat. Get the hell. out of here! + + STEINER + (STUNNED) + Where am I supposed -- + +Mancuso SLAMS the HATCH. Scrambling down the ladder, Mancuso hears Ramius bellowing at Borodin who is manning the helm:[[-99-]] + + RAMIUS + No, Vasily. I need you in fire control. We must track whoever's out there. + +Borodin heads for fire control. Ramius tosses Ryan into the chair behind the helm : + + RAMIUS (CONT'D) + You sit here! + + RYAN + BUT I CAN'T -- + + RAMIUS + Do exactly as I tell you! + +Stunned, Ryan grabs the helm. Jones and Tbilisi, must have made it to sonar. Speakers CRACKLE: + + JONES (VO) + (ON SPEAKERS) + DSRV is away. There's a Russian Akula about eight thousand yards starboard. + + TBILISI (VO) + (ON SPEAKERS) + It's the Konovalov. + + RAMIUS + (TO RYAN) + All ahead flank! + + RYAN + (PANICKING) + I told you I'm just an analyst. I write books. + + RAMIUS + (LEANING FORWARD) + Turn that knob all the way to the right. + +Ryan: does. AIL around him the world is going stark raving mad. Again, SPEAKERS CRACKLE: + + JONES (VO) + (ON SPEAKERS) + Torpedo in the water. High speed screws. Bearing zero-two-zero. I estimate range at about eight thousand yards. + + RAMIUS + (TO RYAN) + Turn the helm to the left. Steer course zero-two-zero. + + MANCUSO + (TO RAMIUS) + Wait a minute! That's heading into the torpedo. You should turn away from it. + + JONES (VO) + (ON SPEAKERS) + Steady bearing to the weapon. Still zero-two-zero. Range about seven thousand yards. + + RAMIUS + (TO RYAN) + Turn that helm to the left until the dial says course zero-two-zero. + + MANCUSO + No! That's wrong. Ryan, don't turn that goddam wheel! + +Ryan stares at Mancuso then at Ramius. Deciding, he turns the helm left, coming to course zero-two-zero. + + RYAN + (TO MANCUSO) + Sorry, Captain. I think -- + + MANCUSO + (TO RAMIUS) + You're heading straight into that torpedo. + + RAMIUS + I know. + +.IN THE CIC + +aboard the frigate. Helms, Greer and Tyler lean over the display. Curry studies the blips: + + CURRY + (EYES NARROWING) + Red October is turning directly into the torpedo's path. + + GREER + Mother of God. + +.ON RED OCTOBER + +in the Conn, it's a deathwatch. Ryan thinks of Sally. Mancuso stares at Ramius. Goddamned if he's gonna be the one to whine. + + JONES (VO) + (ON SPEAKERS) + Torpedo steady bearing zero-two-zero. Range five thousand yards. + + RAMIUS + (ON MIKE) + Melekhin. Can you give me any more speed? + + MELEKHIN (VO) + (ON SPEAKERS) + Negative. We're going as fast as we can. + + JONES (VO) + (ON SPEAKERS) + Estimate range approximately three thousand yards. Closing fast. + +.ON THE DALLAS + +Thompson's still outside the sonar shack. The COB's at fire control. As before, Beaumont works sonar. + + THOMPSON + Why is he heading into the torpedo? Is he trying to kill himself? + + COB + Mr. Thompson. We have a solution on the Soviet Akula. Shouldn't we shoot back? + + THOMPSON + (ANGRY) + She didn't shoot at us. Anyway, I can't attack a Soviet submarine. I have no goddam authorization! + +.ON RED OCTOBER + +in the Conn, an. payers have turned to stone. + + JONES (VO) + (ON SPEAKERS) + Torpedo bearing steady at zero-two-zero. Best range nine hundred yards. Estimate impact in twenty seconds. + + RAMIUS + (TO RYAN) + What books? + + RYAN + Pardon? + + JONES (VO) + (ON SPEAKERS) + Fifteen seconds. + + RAMIUS + What books did you write? + + RYAN + (HOARSELY) + I wrote a biography on Admiral Halsey, called, Fighting Sailor. It was about him in combat -- + + JONES (VO) + (ON SPEAKERS) + Ten seconds. + + RAMIUS + I know this book. I have read some parts of it. + (RYAN BLINKS) + Your conclusions were wrong, Ryan. Halsey acted stupidly. + +CRASH. The Conn ROCKS. Sound of TORPEDO BREAKING UP. Metal SCRAPES along the SHIP. Realizing what's going on: + + MANCUSO + I'll be damned. + + RYAN + What happened? + + MANCUSO + Combat tactic, Mr. Ryan. By turning into the torpedo,, Ramius closed the distance before it could arm itself. I never would have thought of it. + + RYAN + So we're safe? + + RAMIUS + Not yet. Right now, the Soviet Captain, a man named Tupolev is removing the safety features on all his weapons. He won't make the same mistake twice. + +Behind Ramius, Ryan spots a SHADOW at the rear of the Conn. He can't believe his eyes. The goddam shadow has a pistol in hand. SUDDENLY: A FIRE STORM of GUNFIRE sprays the CONN. Everybody scatters. Borodin is HIT. SLAMMING into the bulkhead, he falls in a seated position, eyes wide. Fire control panel EXPLODES. Behind a console, Mancuso drags out his .45 and RETURNS FIRE. The shadow disappears. + +.ON THE DALLAS + +Beaumont rips off his headgear, turning to Thompson in the sonar shack's door, breathing hard: + + BEAUMONT + Jesus Christ. Gunfire. + + THOMPSON + Gunfire? + +.ON THE KONOVALOV + +in the Conn, Tupolev is furious. He YELLS at Bonavia: + + TUPOLEV + Hurry up goddammit! I want all the enabling devices disconnected! + + BONAVIA + Captain, I cannot go any faster. + +.ON RED OCTOBER + +in the Conn, cars crawl from hiding. Sparks ERUPT from WIRES. Fire control is history. Ramius leans over Borodin: + + BORODIN + I would have like to have seen Montana. And the Indians. + (eyes gT'►g) + captain? - \_. + +He dies. RAGING, Ramius POUNDS the BULKHEAD. Kamarov notices a light on a panel: + + KAMAROV + He's in the missile compartment! + + RAMIUS + (TO MANCUSO) + The ship is yours. + + MANCUSO + But the control is blasted to hell. I can't shoot. + + RAMIUS + Then get behind him and stay there. Don't let him put you in his sights or we're all dead. + +Mancuso tosses Ramius his .45. Catching it, Ramius splits. Ryan follows. + +>CUT TO: + +TUPOLEV a caged tiger in the Conn on the Konovalov. Bonavia turns, looking back at him : + + BONAVIA + Enabling devices are removed. + + TUPOLEV + ABOUT TIME! + (INTO MIKE) + Sonar, give me a bearing on Red October. + + SONAR (VO) + (ON SPEAKERS) + She's taken position behind us. + + TUPOLEV + Damn. + (TO HELM) + Left full rudder. I'll shake him loose. + +.ON RED OCTOBER + +in a passageway outside a door to the missile compartment, Ramius and Ryan hug the bulkhead: + + RAMIUS + He'll break into a panel and short -circuit the wiring on a missile. We'll be blown to pieces. + +Taking a deep breath, Ryan follows Ramius into the + +.MISSILE COMPARTMENT + +coming face-to-face with a BARRAGE of GUNFIRE. Ramius is HIT. Ryan drags him into a space behind an electrical panel. Mercifully, the shooting STOPS. Ryan checks Ramius. His shoulder's a mess. Mind reeling, Ryan studies his surroundings. He's never felt so alone. The compartment is vast, dominated by twenty missile tubes six feet in diameter. Overhead, a catwalk. At the aft end, somebody's working with a wrench. + + RAMIUS + We must stop him before he gets into a panel.. + +Ryan stares at Ramius. Ramius isn't gonna stop anybody. Resigned, Ryan finds the .45 Mancuso gave him in his pocket, MUMBLING: + + RYAN + (TO HIMSELF) + Next time memos. Only memos. + + RAMIUS + Be careful what you shoot at in here, Ryan. The compartment is very sensitive. + +In a daze, Ryan starts walking aft, still MUMBLING: + + RYAN + Be careful what you shoot at, Ryan. Very sensitive.. .in here... + +.IN THE CONN + +on Red October, a handful of men struggle to fight the ship. Kamarov mans the wheel. Sonar SPEAKERS POP: + + JONES (VO) + (ON SPEAKERS) + He's going deep! + + MANCUSO + (TO KAMAROV) + Twenty degrees down on the bow! + +.IN THE MISSILE COMPARTMENT + +The wall becomes the floor. Fighting to keep his balance, Ryan walks on the wall, still MUMBLING: + + RYAN + Sensitive stuff...in here ...I have to... be careful... of course. + +The ship turns. Wall becomes ceiling. Grabbing the catwalk, Ryan hangs at a ninety degree angle. GUNFIRE. Bullets RIP into the BULKHEAD inches from his HEAD: + + RYAN (CONT'D) + I have to be careful what I shoot at.. He doesn't have to be careful... He can shoot at anything he wants. + +.IN THE CIC + +aboard the frigate, curry hunches over a console. Greer and Tyler WATCH ANXIOUSLY: + + CURRY + The Akula is too fast. No way Red October can stay behind her. lt's only a matter of time now. + (BEAT) + The Akula's turning. She's fired another torpedo. This one can't miss. + +.ON RED OCTOBER + +in sonar, Jones and Tbilisi hear PINGING become LOUDER, more FREQUENT. Holding the mike, ashen: + + JONES + Another torpedo, Captain. It has enabled and is active. It has acquired us and is homing. + +>CUT TO: + +.THE DEEP + +Red October looms into view. To the right, the Konovalov shimmers in the dark. Between them, the torpedo appears. PINGS grow CLOSER and CLOSER. At the last minute + +.THE DALLAS + +races into view, rocketing forward at full, bore, streaking between Red October and the torpedo. it's really something. + +.IN THE CIC + +aboard the frigate, Curry SHOUTS: + + CURRY + Jesus Christ. + + GREER + I + + CURRY + The Dallas has moved between Red October and the torpedo. The torpedo is chasing the Dallas now! + +.ON THE DALLAS + +in the sonar shack. Beaumont works his equipment, speaking into a MIKE: + + BEAUMONT + Conn, sonar. Torpedo is in acquisition. Range five hundred yards and closing. You've done it, Mr. Thompson! + +.IN THE CONN + +on the Dallas, Thompson stands on the deck. The COB is at ballast control, holding the emergency blow handles. + + THOMPSON + Chief, release counter-measures and emergency blow all main valves. Let's hope to Christ this works! + + COB + (ON PHONE) + Signal ejector station. Release counter-measures. + (PULLING HANDLES) + Emergency blow ! + +SHRIEK of the BLOW is DEAFENING. The deck angles crazily upwards at thirty degrees. Gear CRASHES to the FLOOR. Eardrums SHATTERING, Thompson holds on, fighting gravity. + +.IN THE WATER + +the Dallas heads for the surface. Counter-measures head for the bottom. The incoming torpedo chases the counter-measures, disappearing into the abyss. + +.ON THE SURFACE + +The Dallas ERUPTS from the WATER at THIRTY DEGREES, her bottom exposed well aft of the sail. A broaching behemoth, she CRASHES back into the sea, DISPLACING TONS of WATER. + +.ON THE FRIGATE + +neither Soviet nor American sailors on the fantail can believe their eyes. Petrov's jaw drops. Has the entire world gone completely insane?. + +.ON RED OCTOBER + +in the missile compartment, blood pounding, Ryan leans flat against a missile tube. On the other side of the tube, METAL falls on CONCRETE. Rounding the tube, Ryan holds the .45 at arm's length. Kneeling before him, directly in front of an open panel on the missile bay is a Soviet sailor with crazy eyes: IT'S LOGINOV the cook's assistant who witnessed the Putin key exchange. He's got a hot wire in each hand. Time stands still. Ryan stares at Loginov. Loginov stares back. There's something in the Loginov's eyes, an uncompromising, irrational villainy that asks no forgiveness. For a moment, Ryan's paralyzed, a rabbit before a cobra. Deliberately, Loginov begins to move his hands together, bringing the wires closer. Ryan tries to speak. He can't. Loginov's grin cracks wide like a rotten egg. RYAN FIRES Flame LEAPS from the BARREL of the .45. The pistol KICKS like a MULE. Loginov is delivered to eternity. Impotent, the wires fall to the floor. + +.ON THE KONOVALOV + +Flushed, Tupolev towers over fire control Seated before him, Bonavia tries to hang on to his sanity. + + BONAVIA + Directly ahead. Range five hundred yards. + + TUPOLEV + Got him. Match bearings and the. + + BONAVIA + We are too close. I have to set + + TUPOLEV + Shoot now! + +Tupolev pulls the lever himself. + +.ON RED: OCTOBER': + +in the : Conn, Mancuso, Kamarov and the others are on pins and needles. What next? Suddenly, they hear PINGING. + + JONES (VO) + (ON SPEAKERS) + Launch transient astern. He's shooting again. Very close. + + MANCUSO + Left full rudder! + + JONES + (LOUDER PINGS) + Weapon is alive. + (LOUDER PINGS) + It has acquired. + +Sound of torpedo passing close to the hull: + + JONES (VO CONT'D) + (ON SPEAKERS) + Weapon passed close aboard. Is Ong re-attack. Hold on. It's reacquired. But not on us! + +Ryan appears with Ramius aft of the Conn. Pinging grows QUIETER, more DISTANT. + +.ON THE KONOVALOV + +in the Conn, Tupolev is suddenly confused, disoriented by the PINGS. + + TUPOLEV + Wait. I - + + SONAR (VO) + (OVER SPEAKERS) + Our torpedo missed Red October and is homing on us! + + TUPOLEV + (STUNNED) + How could that be? + + BONAVIA + The weapon was not properly programmed. + +PINGS CLOSER. LOUDER. Finally, PINGS become a SPINE-TINGLING HOWL. Bonavia SHOUTS: + + BONAVIA (CONT'D) + You stupid arrogant bastard. You've killed us all! + +.IN THE . WATER + +Blinding light. The Konovalov disintegrates. Billowing pockets of gas embrace the deep. Thirty-seven hundred tons of steel. and iron rip apart in the blink of an eye. + +.ON THE SURFACE + +a white mountain of displaced water rises into the air, compresses and explodes. + +.ON THE FRIGATE + +in shock, the Russian crew gapes at the explosion. The young sailor who took courage from Ramius makes the sign of the cross. + +.ON RED OCTOBER + +in the Conn, as the aftershock subsides, Ryan helps Ramius up off the floor, trying to make him comfortable against a bulkhead: + + RAMIUS + Captain Tupolev has just provided your pantomime with the one thing you could never have managed. + + RYAN + (NODDING) + Wreckage. + +>CUT TO: + +PELT in his office seated across from Lysenko: + + PELT + With the depth of the water and the wreckage scattered over such a wide area, it will be a long time before anything is recovered. Your people are already interviewing the crew and making arrangements for their return. + (Lysenko nods, SOBERLY) + This has been a terrible tragedy, Mr. Ambassador. I can only stress that if you'd come to us earlier, it might have been avoided. + + LYSENKO + I appreciate your candor in the matter. + + PELT + (SMOOTHLY) + And I yours, Andrei.. + + LYSENKO + (PROBING) + Perhaps in the future, the technology will be available for a more thorough Investigation of the wreckage... + + PELT + (STEADY) + Perhaps. + +A long beat as the two men stare at each other. Lysenko finally breaks it off: + + LYSENKO + There is another matter... One I am reluctant to - + + PELT + No. Please go ahead. + + LYSENKO + One of our submarines, an Akula, was last reported in the Reykjanes Ridge. We have not heard from her for sometime. + +Pelt stares at him blankly, time hangs suspended. Finally, Pelt reaches for the bridge of his nose as if to stave off a killer HEADACHE: + + PELT + You've lost another submarine? + (BEAT) + Andre... + +Lysenko sits, hat in hand. Finally, he averts his gaze. + +>JUMP CUT TO: + +A DRIVER standing beside a limousine outside the Executive Office Building. Fuming, Lysenko approaches. The driver smiles. Not a good idea. LYSENKO SNARL: + + LYSENKO + Shut up! Don't speak to me Boris. Don't ever speak to me unless I speak to you first. And wipe that smile off your face! + +Lysenko piles into the limo, slamming the door as hard as he can. Locked inside, he starts shouting and hitting things. + +>CUT TO: + +.BRIGHT MOONLIGHT + +on the tree studded bank of a large coastal river. A gentle breeze touches the trees and punctuates the silence. Crickets and frogs sing on the shore: SUPER: ORICOKE RIVER PAMLICO SOUND NORTH CAROLINA + +.THE RED OCTOBER + +glides quietly up the river's surface. Ramius and Ryan stand on the sail. Behind them, two junior officers, one American and one Russian, Conn the ship: + + RYAN + We're two hundred miles from the nearest naval base. + + RAMIUS + Interesting notion, hiding a submarine in a river. + (EYEING SHORE) + How do you know this place? + + RYAN + I grew up not far from here. + (PAINTING) + My grandfather taught me to fish right over there on that rock. + +Ramius spots a large rock on the shore. So warm and inviting, this land, when compared to the bitter cold coast he left a lifetime ago. Ramius studies Ryan in the stillness: + + RAMIUS + There is one question you have not asked me. + + RYAN + Why? + (RAMIUS NODS) + I assumed you would speak when you were ready. + + RAMIUS + We. are standing on part of the reason. I've spent my life preparing to fight a war I hoped would never happen. This ship was not built to fight such a war. it was built to start one. + (BEAT) + And there were personal reasons. + + RYAN + Your wife? + + RAMIUS + (NODDING) + it started there, perhaps. + +Ramius glances at the rock. Beside it, a muskrat drops quietly into the water. + + RAMIUS (CONT'D) + Or perhaps it was something that started long ago... + + RYAN + Fishing? + + RAMIUS + Fishing. + +Taking a deep breath, Ramius studies the surrounding hills. Lights from farms twinkle in the night air. + + RAMIUS (CONT'D) + "The sea will, grant each man new hope, as sleep doth dream of home." + (on Ryan's look) + Christopher Columbus. + +Ryan smiles. + + RYAN + (QU`EDY) + Welcome to the new world, sir. + +>DISSOLVE TO: + +A STEWARDESS walking down the aisle of an airplane, checking passengers. Stopping near the front of the cabin, she glances down at RYAN sound asleep in his seat, empty tea cup on a tray beside him. A blanket hangs on one leg. In the seat next to him A TEDDY BEAR smiles out at passing clouds. The bear's got a red ribbon round his neck-and a seat belt fastened over his bulging tummy. Covering Ryan with the blanket, the stewardess leaves. Tea cup RATTLES. Ryan doesn't even twitch. Turbulence is a thing of the past. + +>FADE OUT + +THE END diff --git a/fountain_scripts/The Hunt for Red October.webp b/fountain_scripts/The Hunt for Red October.webp new file mode 100644 index 0000000000000000000000000000000000000000..1a93e079a1c39d276e81930ecadd5ff8d600091f --- /dev/null +++ b/fountain_scripts/The Hunt for Red October.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:a207853296f10f27b6ae27bf56f8f6a03d6874f7affb83df45df7b8ed3a31885 +size 15716 diff --git a/fountain_scripts/The Ice Storm.webp b/fountain_scripts/The Ice Storm.webp new file mode 100644 index 0000000000000000000000000000000000000000..4436ea3b5db5062bc0427c8673c1e1b9f79a3db1 --- /dev/null +++ b/fountain_scripts/The Ice Storm.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:e8d09bb8a91522de2ec46dfa4ff5a3ba7e8eefed1463a931a26b5e3e3760313b +size 17896 diff --git a/fountain_scripts/The Incredibles.fountain b/fountain_scripts/The Incredibles.fountain new file mode 100644 index 0000000000000000000000000000000000000000..4842802ecfe88da57024eae476a078cb0d8f2686 --- /dev/null +++ b/fountain_scripts/The Incredibles.fountain @@ -0,0 +1,3222 @@ +Title: "THE INCREDIBLES" +Source: Word for word transcript +Author: Original screenplay by Brad Bird +Copyright: Copyright 2004 Disney Enterprises, Inc./Pixar Animation Studios +Rights: All Rights Reserved +Transcription: Transcribed by BaD_BURN +Contact: (markgonzalez154@hotmail.com) + +.SCENE #1# + + MR. INCREDIBLE + Is this on? + + INTERVIEWER + That's fine. + + MR. INCREDIBLE + I can break through walls, I just can't... + + INTERVIEWER + That's fine. + + MR. INCREDIBLE + I can't get this on. + + INTERVIEWER + So, Mr. Incredible...do you have a secret identity? + + MR. INCREDIBLE + Every superhero has a secret identity. I don't know a single one who doesn't. Who wants the pressure of being super all the time? + + ELASTIGIRL + Of course I have a secret identity. Can you see me in this at the supermarket? Come on. Who'd want to go shopping as Elastigirl, y'know what I mean? + + FROZONE + Superladies, they're always trying to tell you their secret identity. Think it'll strengthen the relationship or something like that. I said, ''Girl, I don't want to know about your mild-mannered alter ego.'' or anything like that. I mean, you tell me you're a super-mega-ultra-lightning-babe, that's all right with me. I'm good. I'm good. + + MR. INCREDIBLE + No matter how many times you save the world, it always manages to get back in jeopardy again. Sometimes I just want it to stay saved, you know? For a little bit. I feel like the maid. ''I just cleaned up this mess. Can we keep it clean for ten minutes?'' + + INTERVIEWER + I could get to that point. + + MR. INCREDIBLE + ''Please?'' + + INTERVIEWER + Wait, no, don't get up. We're not finished. + + MR. INCREDIBLE + Sometimes I think I'd just like the simple life, you know? Relax a little and raise a family. + + ELASTIGIRL + Settle down? Are you kidding? I'm at the top of my game! I'm right up there with the big dogs! Girls, come on. Leave the saving of the world to the men? I don't think so. I don't think so. + +.SCENE #2# + + POLICE RADIO + We interrupt for an important bulletin. A deadly high-speed pursuit between police and armed gunmen is underway, traveling northbound on San Pablo Ave. + + BOB (MR. INCREDIBLE) + Yeah, I've got time. + + OLD LADY + Mr. Incredible. Um, Mr. Incredible... + + BOB (MR. INCREDIBLE) + What is it, ma'am? + + OLD LADY + My cat, Squeaker, won't come down. + +[cat meows] + + BOB (MR. INCREDIBLE) + Certainly, ma'am but I suggest you stand clear. There could be trouble. + + OLD LADY + No, no. He's quite tame. + + BOB (MR. INCREDIBLE) + Let go now! + +[cat yowls] + + POLICE OFFICER 1 + Thank you, Mr. Incredible. You've done it again. + + POLICE OFFICER 2 + Yeah, you're the best. + + BOB (MR. INCREDIBLE) + No, I'm just here to help. + + POLICE RADIO + Attention all units. We have a tour bus robbery... + + BOB (MR. INCREDIBLE) + Tour bus robbery. I've still got time. Officers. Ma'am. Squeaker. + + BUDDY (INCREDIBOY) + Cool! Ready for take-off! + + BOB (MR. INCREDIBLE) + What the...? Who are you supposed to be? + + BUDDY (INCREDIBOY) + Well, I'm IncrediBoy. + + BOB (MR. INCREDIBLE) + What? No. You're that kid from the fan club. + (stammering) + Brophy. Brody. Buddy! Buddy! + + BUDDY (INCREDIBOY) + My name is IncrediBoy. + + BOB (MR. INCREDIBLE) + Look, I've been nice, I've stood for photos, signed every scrap of paper you pushed at me but this is... + + BUDDY (INCREDIBOY) + No, you don't have to worry about training me. I know all your moves, your crime fighting style, favorite catch phrases, everything! I'm your number one fan! + + BUDDY (INCREDIBOY) + Hey! Hey, wait! + +.SCENE #3# + + BOB (MR. INCREDIBLE) + You know...you can tell a lot about a woman by the contents of her purse, but maybe that's not what you had in mind. + + THIEF + Hey, look-- + + BOB (MR. INCREDIBLE) + Elastigirl. + + HELEN (ELASTIGIRL) + Mr. Incredible. + + BOB (MR. INCREDIBLE) + No, it's all right. I've got him. + + HELEN (ELASTIGIRL) + Sure, you've got him. I just took him out for you. + + BOB (MR. INCREDIBLE) + Sure, you took him out. His attention was on me. + + HELEN (ELASTIGIRL) + A fact I exploited to do my job. + + BOB (MR. INCREDIBLE) + My job, you mean. + + HELEN (ELASTIGIRL) + A simple thank you will suffice. + + BOB (MR. INCREDIBLE) + Thanks, but I don't need any help. + + HELEN (ELASTIGIRL) + Whatever happened to ''ladies first''? + + BOB (MR. INCREDIBLE) + Well, whatever happened to equal treatment? + + THIEF + Hey, look, the lady got me first. + + HELEN (ELASTIGIRL) + Well, we could share, you know. + + BOB (MR. INCREDIBLE) + I work alone. + + HELEN (ELASTIGIRL) + Well, I think you need to be more...flexible. + + BOB (MR. INCREDIBLE) + Are you doing anything later? + + HELEN (ELASTIGIRL) + I have a previous engagement. + +BOB (MR. INCREDIBLE) [whistles] + + BOB (MR. INCREDIBLE) + Now, you just stay here. They usually pick up the garbage in an hour. + + LUCIUS (FROZONE) + Hey, Incredible! + + BOB (MR. INCREDIBLE) + Hey, Frozone! + + LUCIUS (FROZONE) + Shouldn't you be getting ready? + + BOB (MR. INCREDIBLE) + I still got time. + +[crowd screaming] + + WOMAN + He's gonna jump! + + SANSWEET + I think you broke something. + + BOB (MR. INCREDIBLE) + With counseling, I think you'll come to forgive me. + + BOB (MR. INCREDIBLE) + Wait a minute. + + BOB (MR. INCREDIBLE) + (coughing) + Bomb Voyage. + + VOYAGE + (French) + Mr. Incredible! + + BUDDY (INCREDIBOY) + And IncrediBoy! + + VOYAGE + IncrediBoy? + + BUDDY (INCREDIBOY) + Hey, hey! Aren't you curious about how I get around so fast? See? I have these rocket boots-- + + BOB (MR. INCREDIBLE) + Go home, Buddy. + + BUDDY (INCREDIBOY) + What? + + BOB (MR. INCREDIBLE) + Now. + + VOYAGE + (French) + Little oaf. + + BUDDY (INCREDIBOY) + Can we talk? You always say be true to yourself, but you never say which part of yourself to be true to. Well, I've finally figured out who I am. I am your ward... IncrediBoy! + + BOB (MR. INCREDIBLE) + And now, you have officially carried it too far, Buddy. + + BUDDY (INCREDIBOY) + This is because I don't have powers, isn't it? Well not every superhero has powers, you know. You can be super without them. I invented these. I can fly. Can you fly? + + BOB (MR. INCREDIBLE) + Fly home, Buddy. I work alone. + + VOYAGE + (French) + And your outfit is totally ridiculous! + + BUDDY (INCREDIBOY) + Just give me one chance! I'll show you. I'll go get the police. + + BOB (MR. INCREDIBLE) + Buddy, don't! + + BUDDY (INCREDIBOY) + It'll only take a second, really. + + BOB (MR. INCREDIBLE) + No, stop! There's a bomb! + + BUDDY (INCREDIBOY) + Let go! You're wrecking my flight pattern! I can do this if you let go! + + BOB (MR. INCREDIBLE) + Will you just...? I'm trying to help! Stop! + + BUDDY (INCREDIBOY) + Let go of my cape! + +.SCENE #4# + + BOB (MR. INCREDIBLE) + Take this one home. And make sure his mom knows what he's been doing. + + BUDDY (INCREDIBOY) + I can help you. You're making a mista---hey! + + BOB (MR. INCREDIBLE) + The injured jumper. You sent paramedics? + + POLICE OFFICER + They've already picked him up. + + BOB (MR. INCREDIBLE) + The blast in that building was caused by Bomb Voyage who I caught in the act robbing the vault. Now, we might be able to nab him if we set up a perimeter. + + POLICE OFFICER + You mean he got away? + + BOB (MR. INCREDIBLE) + Well, yeah. Skippy here made sure of that. + + BUDDY (INCREDIBOY) + IncrediBoy! + + BOB (MR. INCREDIBLE) + You're not affiliated with me! Holy smokes, I'm late. Listen, I've gotta be somewhere. + + POLICE OFFICER + What about Bomb Voyage? + + BOB (MR. INCREDIBLE) + Any other night, I'd go after him myself, but I really gotta go. But don't worry. We'll get him! Eventually! + +.SCENE #5# + + BOB (MR. INCREDIBLE) + Is the night still young? + + LUCIUS (FROZONE) + You're very late. + + BOB (MR. INCREDIBLE) + How do I look? Good? + + LUCIUS (FROZONE) + Oh, the mask! You still got the mask. + +[cracks neck] + + BOB (MR. INCREDIBLE) + Showtime. + + PRIEST + Robert Parr, will you have this woman to be your lawful wedded wife? + + HELEN (ELASTIGIRL) + You're late. When you asked me if I was doing anything later, I didn't realize you'd actually forgotten. I thought it was playful banter. + + BOB (MR. INCREDIBLE) + It was playful banter. + + HELEN (ELASTIGIRL) + Cutting it kinda close, don't you think? + + BOB (MR. INCREDIBLE) + You need to be more... flexible. + + HELEN (ELASTIGIRL) + I love you, but if we're gonna make this work, you've gotta be more than Mr. Incredible. You know that. Don't you? + + PRIEST + ...so long as you both shall live? + + BOB (MR. INCREDIBLE) + I do. + + PRIEST + I pronounce this couple husband and wife. + +[people cheering and whistling] + + HELEN (ELASTIGIRL) + As long as we both shall live. No matter what happens. + + BOB (MR. INCREDIBLE) + Hey, come on. We're superheroes. What could happen? + + ANNOUNCER + In a stunning turn of events, a superhero is being sued for saving someone who, apparently, didn't want to be saved. The plaintiff, Oliver Sansweet, who was foiled in his attempted suicide by Mr. Incredible, has filed suit against the famed superhero in Superior Court. + + SANSWEET'S LAWYER + Mr. Sansweet didn't ask to be saved. Mr. Sansweet didn't want to be saved. And the injury received from Mr. Incredible ''actions'', so quote, causes him daily pain. + + BOB (MR. INCREDIBLE) + Hey, I saved your life! + + SANSWEET + You didn't save my life! You ruined my death, that's what you did! + + BOB (MR. INCREDIBLE) + Listen-- + + MR. INCREDIBLE'S LAWYER + My client has no further comment at this time. + + ANNOUNCER + Five days later, another suit was filed by victims of the el train accident. Incredible's court losses cost the government millions. And opened the flood gates for dozens of superhero lawsuits the world over. + + WOMAN + It is time for their secret identity to become their only identity. Time for them to join us, or go away. + + ANNOUNCER + Under tremendous public pressure, and the crushing financial burden of an ever mounting series of lawsuits, the government quietly initiated the superhero relocation program. The supers will be granted amnesty from responsibility for past actions, in exchange for the promise to never again resume hero work. Where are they now? They are living among us. Average citizens, average heroes. Quietly and anonymously continuing to make the world a better place. + +.SCENE #6# + +(15 YEARS LATER) + + MRS. HOGENSON + Denied? You're denying my claim? I don't understand. I have full coverage. + + BOB + I'm sorry, Mrs. Hogenson, but our liability is spelled out in paragraph 17. It states clearly... + + MRS. HOGENSON + I can't pay for this. + + BOB + (phone rings) + Excuse me. + (answers phone) + Claims, Bob Parr. + + HELEN + I'm calling to celebrate a momentous occasion. We're now officially moved in. + + BOB + Yeah, well, that's great, honey. In the last three years don't count because... + + HELEN + Because I finally unpacked the last box. Now, it's official. Ha, ha, ha. Why do we have so much junk? + + BOB + Listen, honey, I've got a client. + + HELEN + Say no more. Go save the world one policy at a time, honey. Oh! I gotta go pick up the kids from school. See you tonight. + + BOB + Bye, honey. Excuse me. Where were we? + + MRS. HOGENSON + (sobbing) + I'm on a fixed income, and if you can't help me, I don't know what I'll do. + (blows nose loudly) + (sobbing) + + BOB + All right, listen closely. I'd like to help you, but I can't. I'd like to tell you to take a copy of your policy to Norma Wilcox on... + (whispering) + Norma Wilcox. W-I-L-C-O-X. On the third floor. But I can't. I also do not advise you to fill out and file a WS2475 form with our legal department on the second floor. I wouldn't expect someone to get back to you quickly to resolve the matter. I'd like to help, but there's nothing I can do. + + MRS. HOGENSON + Oh, thank you, young man. + + BOB + Shhh! + (shouting) + I'm sorry, ma'am! I know you're upset! + (whispering) + Pretend to be upset. + +MRS. HOGENSON [sobbing] + + MR. HUPH + Parr! You authorized payment on the Walker policy?! + + BOB + Someone broke into their house, Mr. Huph. Their policy clearly covers-- + + MR. HUPH + I don't wanna know about their coverage, Bob! Don't tell me about their coverage. Tell me how you're keeping Insuricare in the black. Tell me how that's possible, with you writing checks to every Harry Hardluck and Sally Sobstory that gives you a phone call. + + @[PA Announcement] + Morning break is over. Morning break is over. + +.SCENE #7# + + PRINCIPAL + I appreciate you coming down here, Mrs. Parr. + + HELEN + What's this about? Has Dash done something wrong? + + BERNIE + He's a disruptive influence and he openly mocks me in front of the class. + + DASH + He says. + + BERNIE + Look, I know it's you! He puts thumbtacks on my stool. + + HELEN + You saw him do this? + + BERNIE + Well...not really. No. Actually, not. + + HELEN + Oh, then how do you know it was him? + + BERNIE + I hid a camera. Yeah, and this time, I've got him. See? You see? You don't see it? He moves! Right there! Wait, wait! Right there! Right as I'm sitting down! I don't know how he does it, but there's no tack before he moves and after he moves, there's a tack. Coincidence? I think not! + + PRINCIPAL + Bernie... + + BERNIE + Don't ''Bernie'' me. + (screaming) + This little rat is guilty! + + PRINCIPAL + You and your son can go now, Mrs. Parr. I'm sorry for the trouble. + + BERNIE + You're letting him go again? He's guilty! You can see it on his smug little face. Guilty, I say, guilty! + + HELEN + Dash, this is the third time this year you've been sent to the office. We need to find a better outlet. A more...constructive outlet. + + DASH + Maybe I could, if you'd let me go out for sports. + + HELEN + Honey, you know why we can't do that. + + DASH + I promise I'll slow up. I'll only be the best by a tiny bit. + + HELEN + Dashiell Robert Parr, you are an incredibly competitive boy. And a bit of a showoff. The last thing you need is temptation. + + DASH + You always say, ''Do your best.'' But you don't really mean it. Why can't I do the best that I can do? + + HELEN + Right now, honey, the world just wants us to fit in, and to fit in, we just gotta be like everybody else. + + DASH + Dad always said our powers were nothing to be ashamed of. Our powers made us special. + + HELEN + Everyone's special, Dash. + + DASH + Which is another way of saying no one is. + + BOY + Hey, Rydinger. Where you headed? + + GIRL + Hi, Tony. + + TONY + Hey. + + BOY + Hey, Tony, can I carry your books? + + TONY + That's kind of funny. + + BOY 1 + Hey, Tony, do you play football? + + BOY 2 + Tony, I thought we were gonna go swimming. + + VIOLET + He looked at me. + +[car horn honking] + + DASH + Come on, Violet! + + BOB + (muttering) + Darn kids. Sitting on the driveway... + + BOB + Oh, great. + +[unintelligible muttering] + +.SCENE #8# + + DASH + Mom. You're making weird faces again. + + HELEN + No, I'm not. + + BOB + You make weird faces, honey. + + HELEN + Do you have to read at the table? + + BOB + Uh-huh. Yeah. + + HELEN + Smaller bites, Dash. Yikes! Bob, could you help the carnivore cut his meat? + + DASH + Ow. + + HELEN + Dash, you have something you wanna tell your father about school? + + DASH + (nervously) + Well, we dissected a frog. + + HELEN + Dash got sent to the office again. + + BOB + (distracted) + Good. Good. + + HELEN + No, Bob, that's bad. + + BOB + What? + + HELEN + Dash got sent to the office again. + + BOB + What?! What for? + + DASH + Nothing. + + HELEN + He put a tack on the teacher's chair...during class. + + DASH + Nobody saw me. You could barely see it on the tape. + + BOB + They caught you on tape and you still got away with it? Whoa! You must have been booking. How fast did you think were you going? + + HELEN + Bob! We are not encouraging this. + + BOB + I'm not encouraging, I'm just asking how fast... + + HELEN + Honey! + + BOB + Great. First the car, now I gotta pay to fix the table... + + HELEN + The car? What happened to the car? + + BOB + Here. I'm getting a new plate. + + HELEN + So, how about you, Vi? How was school? + + VIOLET + Nothing to report. + + HELEN + You've hardly touched your food. + + VIOLET + I'm not hungry for meatloaf. + + HELEN + Well, it is leftover night. We have steak, pasta. What are you hungry for? + + DASH + Tony Rydinger. + + VIOLET + Shut up! + + DASH + Well, you are. + + VIOLET + I said, shut up, you little insect! + + DASH + Well, she is. + + HELEN + Do not shout at the table. Honey! + + BOB + Kids! Listen to your mother. + + DASH + She'd eat if we were having Tony loaf. + + VIOLET + That's it! + + HELEN + Stop it! + + DASH + You're gonna be toast! + + HELEN + Stop running in the house. Sit down! + + DASH + Ow! Hey, no force fields! + + VIOLET + You started it. + + HELEN + You sit down! You sit down! Violet! + + BOB + ''Simon J. Paladino, longtime advocate of superhero rights, is missing''? Gazerbeam. + + HELEN + Bob! It's time to engage. Do something! Don't just stand there! I need you to intervene! + + BOB + You want me to intervene? Okay. I'm intervening. I'm intervening! + + HELEN + Violet, let go of your brother! + + JACK-JACK + Hello? + + BOB + Get the door. + + DASH + Hey, Lucius! + + LUCIUS + Hey, Speedo. Hey, Helen. Vi, Jack-Jack. + + BOB + He-hey! Ice of you to drop by. + + LUCIUS + Ha! Never heard that one before. + + DASH + (gargling) + Lucius! + + LUCIUS + Whoa! + + LUCIUS + Ha, ha. + + DASH + Oh! I like it when it shatters. + + BOB + I'll be back later. + + HELEN + Hey, where are you two going? + + BOB + It's Wednesday. + + HELEN + Oh. Bowling night. Say hello to Honey for me, Lucius. + + LUCIUS + Will do. Good night, Helen. Good night, kids. + + HELEN + Don't think you've avoided talking about your trip to the principal's office, young man. Your father and I are still gonna discuss it. + + DASH + I'm not the only kid who's been sent to the office, you know. + + HELEN + Other kids don't have superpowers. Now, it's perfectly normal... + + VIOLET + Normal? What do you know about normal? What does anyone in this family know about normal? + + HELEN + Now, wait a minute, young lady. + + VIOLET + We act normal, mom. I wanna be normal! The only normal one is Jack-Jack, and he's not even toilet trained. + +[Jack-Jack laughing] + + DASH + Lucky. I meant about being normal. + +.SCENE #9# + + LUCIUS + So now I'm in deep trouble. I mean, one more jolt of this death ray and I'm an epitaph. Somehow I managed to find cover and what does Baron Von Ruthless do? + + BOB + He starts monologuing. + + LUCIUS + He starts monologuing! He starts like this prepared speech about how feeble I am compared to him. How inevitable my defeat is, how the world will soon be his! Yada, yada, yada. + + BOB + Yammering. + + LUCIUS + Yammering! I mean, the guy has me on a platter, and he won't shut up. + + POLICE RADIO + Municiberg, we have a 23-56... + + BOB + 23-56, what is that? Robbery? + + LUCIUS + This is just sad. + + BOB + Yeah, robbery. Want to catch a robber? + + LUCIUS + No. Tell you the truth, I'd rather go bowling. Look, what if we actually did what our wives think we're doing? Just to shake things up. + + WOMAN + He's not alone. The fat guy's still with him. They're just talking. + + LUCIUS + What are we doing here, Bob? + + BOB + Protecting people. + + LUCIUS + Nobody asked us. + + BOB + You need an invitation? + + LUCIUS + I'd like one, yes. We keep sneaking out to do this, and...you remember Gazerbeam? + + BOB + Yeah. There was something about him in the paper. + + LUCIUS + He had trouble adjusting to civilian life, too. + + BOB + When's the last time you saw him? + + LUCIUS + I don't see anyone from the old days, Bob. Just you. And we're pushing our luck as it is. + + BOB + Oh, come on. + + LUCIUS + It was fun the first time, but if we keep doing this, we're gonna get-- + + POLICE RADIO + We have a report on a fire... + + BOB + A fire. We're close! + (yelling) + Yeah, baby! + + LUCIUS + We're gonna get caught. + + BOB + Woohoo! Haha! Fire! Yeah! + + LUCIUS + Is that everybody? + + BOB + Yeah, that's everyone. + + LUCIUS + It better be. + + BOB + Can't you put this out? + + LUCIUS + I can't lay down a layer thick enough! It's evaporating too fast! + + BOB + Well, what's that mean? + + LUCIUS + It means it's hot! And I'm dehydrated, Bob! + + BOB + You're out of ice? You can't run out of ice! I thought you can use water in the air! + + LUCIUS + There is no water in this air! What's your excuse, run out of muscle? + + BOB + I just can't go smashing into walls! The building's getting weaker by the second! It's gonna come down on top of us! + + LUCIUS + I wanted to go bowling! + + BOB + All right! Stay right on my tail! This is gonna get hot! + + BOB + Yeah. + + BOB + (realizes they're in a jewelry store...) + Uh-oh. + + BOB + (...and unknowingly trips the alarm) + Oh, good. + +[alarm sounds] + + LUCIUS + Oh, now...that ain't right! + + LUCIUS/BOB + - We look like bad guys! Incompetent bad guys! - You can get water out of the air! + + POLICE OFFICER + Freeze! + + POLICE OFFICER + Freeze! + + LUCIUS + I'm thirsty. + + POLICE OFFICER + I said freeze! + + LUCIUS + I'm just getting a drink. + + POLICE OFFICER + Alright. You've had your drink. Now I want you to... + + LUCIUS + I know. I know. Freeze. + +[police radio chatter] + + POLICE RADIO + Shots fired! + + OFFICERS + Police officers! + + LUCIUS + That was way too close. We are not doing that again. + + MAN + (over radio) + Verify you want to switch targets? Over. + + WOMAN + Trust me. This is the one he's been looking for. + +.SCENE #10# + + HELEN + I thought you'd be back by 11 . + + BOB + I said I'd be back later. + + HELEN + I assumed you'd be back later. If you came back at all...you'd be ''back later''. + + BOB + Well, I'm back, okay? + + HELEN + Is this rubble? + + BOB + (with mouth full) + It was just a little workout. Just to stay loose. + + HELEN + You know how I feel about that, Bob. Darn you! We can't blow cover again! + + BOB + The building was coming down anyway. + + HELEN + What?! You knocked down a building?! + + BOB + It was on fire. Structurally unsound. It was coming down anyway. + + HELEN + Tell me you haven't been listening to the police scanner again? + + BOB + Look, I performed a public service. You act like that's a bad thing. + + HELEN + It is a bad thing, Bob! Uprooting our family again, so you can relive the glory days is a very bad thing. + + BOB + Reliving the glory days is better than acting like they didn't happen! + + HELEN + Yes! They happened! But this, our family, is what's happening now, Bob. And you are missing this! I can't believe you don't want to go to your own son's graduation. + + BOB + It's not a graduation. He's moving from the fourth grade to the fifth grade. + + HELEN + It's a ceremony! + + BOB + It's psychotic! They keep creating new ways to celebrate mediocrity but if someone is genuinely exceptional... + + HELEN + This is not about you, Bob. This is about Dash. + + BOB + You want to do something for Dash? Then let him actually compete. Let him go out for sports! + + HELEN + I will not be made the enemy here! You know why we can't do that. + + BOB + Because he'd be great! + + HELEN + This is not about you! + + BOB + All right, Dash. I know you're listening. Come on out. + + HELEN + Vi? You, too, young lady. + + BOB + Come on. Come on out. It's okay, kids. We're just having a discussion. + + VIOLET + Pretty loud discussion. + + BOB + Yeah. But that's okay. Because what's important is that Mommy and I are always a team. We're always united against, uh, the forces of, uh... + + HELEN + Pigheadedness? + + BOB + I was gonna say evil or something. + + HELEN + We're sorry we woke you. Everything's okay. Go back to bed. It's late. + + DASH + Good night, Mom. Night, Dad. + + VIOLET + Good night. + + HELEN + In fact, we should all be in bed. + +[crickets chirping, dog barks] + +.SCENE #11# + + @WOMAN [on phone] + Request claim on claim numbers 158183... + + @MR. HUPH [over the intercom] + Haven't you got him yet?! Where is he?! + + @HUPH'S SECRETARY [over the intercom] + Mr. Huph would like to talk to you in his office. + + BOB + Now? + + @HUPH'S SECRETARY [over the intercom] + Now. + + MR. HUPH + Sit down, Bob. + + MR. HUPH + I'm not happy, Bob. Not happy. Ask me why. + + BOB + Okay. Why? + + MR. HUPH + Why what? Be specific, Bob. + + BOB + Why are you unhappy? + + MR. HUPH + Your customers make me unhappy. + + BOB + What, you've gotten complaints? + + MR. HUPH + Complaints I can handle. What I can't handle is your customers' inexplicable knowledge of Insuricare's inner workings! They're experts. Experts, Bob! Exploiting every loophole, dodging every obstacle! They're penetrating the bureaucracy! + + BOB + Did I do something illegal? + + MR. HUPH + No. + + BOB + Are you saying we shouldn't help our customers? + + MR. HUPH + The law requires that I answer no. + + BOB + We're supposed to help people. + + MR. HUPH + We're supposed to help our people! Starting with our stockholders, Bob. Who's helping them out, huh? You know, Bob, a company... + + BOB + Is like an enormous clock. + + MR. HUPH + ...is like an enormous clo--yes. Precisely. It only works if all the little cogs mesh together. Now, a clock needs to be cleaned, well-lubricated and wound tight. The best clocks have jewel movements, cogs that fit, that cooperate by design. + (chuckling) + I'm being metaphorical, Bob. You know what I mean by cooperative cogs? Bob? Bob? Look at me when I'm talking to you, Parr! + + BOB + That man out there, he needs help. + + MR. HUPH + Do not change the subject, Bob. We're discussing your attitude! + + BOB + He is getting mugged! + + MR. HUPH + Well, let's hope we don't cover him. + + BOB + I'll be right back. + + MR. HUPH + Stop right now or you're fired! Close the door. Get over here, now. + + MR. HUPH + I'm not happy, Bob. Not happy. + + BOB + He got away. + + MR. HUPH + Good thing, too. You were this close to losing your jo-- + + BOB + Uh-oh. + +.SCENE #12# + + BOB + How is he? + + RICK + He'll live. + + BOB + I'm fired, aren't I? + + RICK + Oh, you think? + + BOB + What can I say, Rick? + + RICK + Nothing you haven't said before. + + BOB + Someone was in trouble. + + RICK + Someone's always in trouble. + + BOB + I had to do something. + + RICK + Yeah. Every time you say those words, it means a month and a half of trouble for me, Bob. It means hundreds of thousands of taxpayer's dollars. + + BOB + I know. + + RICK + We gotta pay to keep the company quiet. We gotta pay damages, erase memories, relocate your family. Every time it gets harder. Money, money, money, money. We can't keep doing this, Bob! We appreciate what you did in the old days, but those days are over. From now on, you're on your own. + + RICK + Listen, Bob. Maybe I could relocate you, you know, for old times' sake. + + BOB + No, I can't do that to my family. Everyone just got settled. I'll make it work. Thanks. + + RICK + Take care of yourself. + + BOB + Well, what are you waiting for? + + KID + I don't know. Something amazing, I guess. + + BOB + (sighs) + Me too, kid. + +.SCENE #13# + + BOB + Huh? ''Hold still''? + + COMPUTER + Match: Mr. Incredible. Room is secure. Commence message. + + MIRAGE + Hello, Mr. Incredible. Yes, we know who you are. Rest assured, your secret is safe with us. My name is Mirage. We have something in common. According to the government, neither of us exist. Please pay attention, as this message is classified and will not be repeated. I represent a top secret division of the government, designing and testing experimental technology, and we have need of your unique abilities. Something has happened at our testing facility. + + HELEN + Honey! + + BOB + Huh? What? + + HELEN + Dinner's ready. + + BOB + Okay. + + MIRAGE + ...it is contained within an isolated area, it threatens to cause incalculable damage to itself and to our facilities, jeopardizing hundreds of millions of dollars worth of equipment... + + HELEN + Is someone in there? + + BOB + It's the TV, trying to watch. + + MIRAGE + Because of its highly sensitive nature... + + HELEN + Well, stop trying. It's time for dinner. + + BOB + One minute! + + MIRAGE + If you accept, your payment will be triple your current annual salary. Call the number on the card. Voice-matching will be used to ensure security. The supers aren't gone, Mr. Incredible. You're still here. You can still do great things. Or...you can listen to police scanners. Your choice. You have 24 hours to respond. Think about it. + +[beeping] + + COMPUTER + This message will self-destruct. + + BOB + Uh-oh. + +.SCENE #14# + + HELEN + You are one distracted guy. + + BOB + Hmm? Am I? I don't mean to be. + + HELEN + I know you miss being a hero and your job is frustrating. I just want you to know how much it means to me that you stay at it anyway. + + BOB + Honey? About the job? + + HELEN + What? + + BOB + Something's happened. + + HELEN + What? + + BOB + The, uh... + + HELEN + What? + + BOB + The company is sending me to, uh, a conference. + + HELEN + A conference? + + BOB + (stammering) + Out of town. And I'm just gonna be gone for a few days. + + HELEN + They've never sent you to a conference before. This is good, isn't it? + + BOB + (hesitating) + Yes. + + HELEN + You see? They're finally recognizing your talents. You're moving up. + + BOB + Yes. + + HELEN + Honey! This is wonderful! + + BOB + Yes, it is. + +[phone ringing] + + @MIRAGE [over phone] + Hello? + + BOB (MR. INCREDIBLE) + This is Mr. Incredible. I'm in. + +.SCENE #15# + + MIRAGE + The Omnidroid 9000 is a top secret prototype battle robot. Its artificial intelligence enables it to solve any problem it's confronted with. And, unfortunately... + + BOB (MR. INCREDIBLE) + Let me guess. It got smart enough to wonder why it had to take orders. + + MIRAGE + We lost control. And now it's loose in the jungle, threatening our facility. We've had to evacuate all personnel from the island for their own safety. + + BOB (MR. INCREDIBLE) + How am I going in? + + MIRAGE + The Omnidroid's defenses necessitate an air drop from 5000 feet. Its cloaking devices make it difficult to track. Although we're pretty sure it's on the southern half of the island. One more thing. Obviously it represents a significant investment. + + BOB (MR. INCREDIBLE) + You want me to shut it down without completely destroying it. + + MIRAGE + You are Mr. Incredible. + + MIRAGE + I've got to warn you, it's a learning robot. Every moment you spend fighting it only increases its knowledge of how to beat you. + + BOB (MR. INCREDIBLE) + Shut it down. Do it quickly. Don't destroy it. + + MIRAGE + And don't die. + + BOB (MR. INCREDIBLE) + Great. Thanks. + + BOB (MR. INCREDIBLE) + Showtime. + + + + BOB (MR. INCREDIBLE) + Huh? + + BOB (MR. INCREDIBLE) + Hmm. + + BOB (MR. INCREDIBLE) + Uh-oh. + +[laughing, loud crack] + + BOB (MR. INCREDIBLE) + Oh, my back! + +[loud crack] + + BOB (MR. INCREDIBLE) + Oh! + + MAN + Surprising. We must bring him back. Sound the all clear, and invite him to dinner. + +.SCENE #16# + +MAN Most important, keep things light. Praise him. Make him feel like we appreciate his abilities. + + BOB (MR. INCREDIBLE) + Am I overdressed? + + MIRAGE + Actually, you look rather dashing. + + BOB (MR. INCREDIBLE) + I take it our host is... + + MIRAGE + Oh, I'm sorry. He won't be dining with us. He hopes you'll understand. + + BOB (MR. INCREDIBLE) + Of course. I do usually make it a point to know who I'm working for. + + MIRAGE + He prefers a certain amount of anonymity. Surely, you of all people understand that. + + BOB (MR. INCREDIBLE) + I was just wondering, of all the places to settle down, why live... + + MIRAGE + With a volcano? He's attracted to power. So am I. It's a weakness we share. + + BOB (MR. INCREDIBLE) + Seems a bit unstable. + + MIRAGE + I prefer to think of it as misunderstood. + + BOB (MR. INCREDIBLE) + (chuckling) + Aren't we all? + + MIRAGE + Volcanic soil is among the most fertile on Earth. Everything at the table was grown right here. How does it compare? + + BOB (MR. INCREDIBLE) + Everything's delicious. + +.SCENE #17# + + BOB + Jeez. + + HELEN + Hurry, honey. Or you'll be late for work. + + HELEN + Have a great day, honey. + + BOB + Thanks. + + HELEN + Help customers, climb ladders... + + BOB + Bring bacon? + + HELEN + All that jazz. + + GUARD + You have an appointment? + + BOB + I'm an old friend. I just wanted to... + + GUARD + All visitors are required to make a reser-- + + E + (shoos the guard away) + Get back to work! Go check the electric fence or something! What is it? Who are you? What do you want? + + E + My God, you've gotten fat. Come in. Come, come. + + E + Yes, things are going quite well. Quite well. My God, no complaints. But, you know, it is not the same. Not the same at all. + + BOB + Weren't you just in the news? Some show in Prayge... Prague? + + E + Milan, darling. Milan. Supermodels. Ha! Nothing super about them. Spoiled, stupid, little stick figures with poofy lips who think only about themselves. Feh! I used to design for gods. But perhaps you come with a challenge, eh? I was surprised to get your call. + + BOB + E, I just need a patch job. + + E + Hmm. This is megamesh. Outmoded, but very sturdy. And you've torn right through it! What have you been doing, Robert? Moonlighting hero work? + + BOB + Must have happened a long time ago. + + E + I see. This is a hobo suit, darling. You can't be seen in this. I won't allow it! Fifteen years ago, maybe, but now? + + BOB + What do you mean? You designed it. + + E + I never look back, darling. It distracts from the now. You need a new suit. That much is certain. + + BOB + A new suit? Where the heck am I gonna get a new suit? + + E + You can't! It's impossible! I'm far too busy. So ask me now, before I again become sane. + + BOB + Wait. You want to make me a suit? + + E + You push too hard, darling! But I accept. It will be bold. Dramatic! + + BOB + Yeah. + + E + Heroic! + + BOB + Yeah, something classic, like Dynaguy! Oh! He had a great look! Oh, the cape and the boots... + + E + No capes! + + BOB + Isn't that my decision? + + E + Do you remember Thunderhead? Tall, storm powers. Nice man. Good with kids. + + BOB + Listen, E... + + E + November 15th of '58. All was well, another day saved when his cape snagged on a missile fin. + + BOB + Thunderhead was not the brightest bulb... + + E + Stratogale! April 23rd, '57. Cape caught in a jet turbine. + + BOB + E, you can't generalize about these things. + + E + Meta-man, express elevator. Dynaguy, snag on takeoff. Splashdown, sucked into a vortex. No capes! Now, go on. Your new suit will be finished before your next assignment. + + BOB + You know I'm retired from hero work. + + E + As am I, Robert. Yet, here we are. + + BOB + E, I only need a patch job. For sentimental reasons. + + E + (sighs) + Fine. I will also fix the hobo suit. + + BOB + You're the best of the best, E. + + E + Yes, I know, darling. I know. + +.SCENE #18# + +[phone rings] + + BOB + I got it, I got it! Don't answer it, honey, I got it! + + BOB + Hello? + + MIRAGE + We have a new assignment for you. How soon can you get here? + + BOB + I'll leave tomorrow morning. + + MIRAGE + See you there. + + BOB + Goodbye. + + HELEN + Who was that, honey? The, uh, office? + + BOB + Another conference. Short notice, but you know...duty calls. + (nervous laugh) + + HELEN + Bob? + + BOB + Yeah, what's up, honey? + + HELEN + Ha... have a great trip. + + BOB + Thanks, sweetie. I'll call you when I get there. + + HELEN + I love you. So much. + + BOB + I love you too. + + COMPUTER + This is your automated Captain. Would you care for more mimosa? + + BOB (MR. INCREDIBLE) + Don't mind if I do. Thanks. + + COMPUTER + You're welcome. + + COMPUTER + Currently 78 degrees in Nomanisan. Perfect weather for flying. + + COMPUTER + Please fasten your seat belt. We're beginning our descent. + + MIRAGE + Hello, Mr. Incredible. Nice suit. + + BOB (MR. INCREDIBLE) + Thanks. Nice to be back, Mirage. + + MIRAGE + You'll be briefed on your assignment in the conference room at two. D Wing, room A-113. + + BOB (MR. INCREDIBLE) + 2:00. Got it. + + MIRAGE + See you there. + + HELEN + (gasps) + Edna. + +.SCENE #19# + + HELEN + I'd like to speak to Edna, please. + + E + This is Edna. + + HELEN + E? This is Helen. + + E + Helen who? + + HELEN + Helen Parr? You know...Elastigirl? + + E + Darling! It's been such a long time after all these years! So long! + + HELEN + Yes, yes, yes. It's been a while. Listen, there's only one person Bob would trust to patch his supersuit and that's you, E. + + E + Yes, yes, yes. Marvelous, isn't it? Much better than those horrible pajamas he used to wear. They are finished. When are you coming to see? + + HELEN + Look, I'm calling about... + + E + Don't make me beg, darling. I won't do it, you know. + + HELEN + Beg? Uh, no. I'm calling about suit. Ab-about Bob's suit! I'm calling about Bob's suit! + + E + You come in one hour, darling. I insist, okay? Okay. Goodbye. + +.SCENE #20# + + SYNDROME + It's bigger! It's badder! Ladies and gentlemen, it's too much for Mr. Incredible! Whoa! Whoa! It's finally ready. You know, I went through quite a few supers to get it worthy to fight you, but man, it wasn't good enough! After you trashed the last one, I had to make some major modifications. Sure it was difficult, but you are worth it. I mean, after all...I am your biggest fan. + + BOB (MR. INCREDIBLE) + Buddy? + + SYNDROME + My name is not Buddy! And it's not IncrediBoy either! That ship has sailed. All I wanted was to help you. I only wanted to help! And what did you say to me? + + BOB (MR. INCREDIBLE) + Fly home, Buddy. I work alone. + + SYNDROME + It tore me apart. But I learned an important lesson. You can't count on anyone. Especially your heroes. + + BOB (MR. INCREDIBLE) + I was wrong to treat you that way. I'm sorry. + + SYNDROME + See? Now you respect me, because I'm a threat. That's the way it works. Turns out there's a lot of people, whole countries who want respect. And they will pay through the nose to get it. How do you think I got rich? I invented weapons. And now I have a weapon only I can defeat. And when I unleash it, I'll get-- + + SYNDROME + (laughing) + You sly dog! You got me monologuing. I can't believe it. It's cool, huh? Zero-point energy. I save the best inventions for myself. Am I good enough now? Who's super now? I'm Syndrome! Your nemesis and... + + SYNDROME + Oh, brilliant! + + SYNDROME + All right, try this one on for size, big boy. + + BOB (MR. INCREDIBLE) + Gazerbeam. + + BOB (MR. INCREDIBLE) + ''Kronos?'' + + PROBE + Life reading negative. Mr. Incredible terminated. + +.SCENE #21# + + E + This project has completely confiscated my life, darling. Consumed me as only hero work can. My best work, I must admit. Simple, elegant, yet bold. You will die. + + HELEN + E, I just... + + E + I did Robert's suit, and it turned out so beautiful, I had to continue. + + HELEN + E, It's great to see you, but I gotta tell you I have no idea what you're talking about. I just... + + E + Yes, words are useless. Gobble, gobble, gobble, gobble, gobble! Too much of it, darling. Too much! That is why I show you my work. That is why you are here. + + E + Edna Mode. And guest. + + E + Come. Sit. + + E + Cream and sugar? + + HELEN + Thanks. + + E + I started with the baby. + + HELEN + Started? + + E + Shh! Darling! Shh! I cut it a little roomy for the free movement. The fabric is comfortable for sensitive skin, and can also withstand a temperature of over 1000 degrees. Completely bulletproof. And machine washable, darling. That's a new feature. + + HELEN + What on earth do you think the baby will be doing?! + + E + Well, I'm sure I don't know, darling. Luck favors the prepared. I didn't know the baby's powers, so I covered the basics. + + HELEN + Jack-Jack doesn't have any powers. + + E + No? Well, he'll look fabulous anyway. + + E + Your boy's suit I designed to withstand enormous friction without heating up or wearing out. A useful feature. + + E + Your daughter's suit was tricky. But I finally created a sturdy material that will disappear completely as she does. + + E + Your suit can stretch as far as you can, without injuring yourself, and still retain its shape. Virtually indestructible...yet it breathes like Egyptian cotton. As an extra feature, each suit contains a homing device, giving you the precise global location of the wearer at the touch of a button. Well, darling? What do you think? + + HELEN + What do I think? Bob is retired! I'm retired! Our family is underground. You helped my husband resume secret hero work behind my back?! + + E + Well, I assumed you knew, darling. Why would he keep secrets from you? + + HELEN + He wouldn't. Didn't. Doesn't. + + E + Men at Robert's age are often unstable. Prone to weakness. + + HELEN + What are you saying? + + E + Do you know where he is? + + HELEN + Of course. + + E + Do you know where he is? + +.SCENE #22# + +[voices, static on radio] + +[electric fizzling] + +[grunt] + +[voice on radio] + + GUARD 1 + Hey, hey. We got a man down! + + GUARD 2 + Come on, let's go. + + GUARD 2 + Are you okay? What happened? + +[over radio] Break surveillance and engage. Continuing sweep... + + @WOMAN [over phone] + Insuricare. + + HELEN + Oh, hello. This is Helen Parr. Bob Parr is my husband. I was wondering if you could give me the number of the hotel he's staying at? The number I have is no good. + + WOMAN + Mr. Parr no longer works at Insuricare. + + HELEN + What do you mean? He's on a business trip. A company retreat. + + WOMAN + My records say his employment was terminated almost two months ago. + +BOB (MR. INCREDIBLE) [gasps] + + E + So, you don't know where he is. Would you like to find out? + +BOB (MR. INCREDIBLE) [relieved sigh] + +[beeping] + +.SCENE #23# + + HELEN + (sobbing) + I am such an idiot. I let this happen, you know. The new sports car, the getting in shape, the blond hair, the lies. + + E + Yes, he attempts to relive the past. + + HELEN + Now I'm losing him! What'll I do? What'll I do? + + E + What are you talking about? + + HELEN + Hmm? + + E + You are Elastigirl! My God! Pull yourself together! What will you do? Is this a question? Show him you remember that he is Mr. Incredible, and you will remind him who you are! Well, you know where he is. Go! Confront the problem! Fight! Win! And call me when you get back, darling. I enjoy our visits. + + HELEN + There's lots of leftovers that you can reheat. Make sure Dash does his homework. And both of you, get to bed on time. I should be back tonight. Late. You can be in charge that long, can't you? + + VIOLET + Yeah. But why am I in charge again? + + HELEN + Nothing. Just a little trouble with Daddy. + + VIOLET + You mean Dad's in trouble, or Dad is the trouble? + + HELEN + I mean either he's in trouble, or he's going to be. + + DASH + Hey! What's that? Where'd you get that, Mom? You made a cool outfit? Hey, are those for us? We all get cool outfits? + + DASH + Ha-ha! + + HELEN + Dash! You come back here this moment! + +[phone rings] + + HELEN + Hey, Snug. Thanks for getting back. I know this is short notice, but I was hoping that I could get you to... + + VIOLET + What are these? + + DASH + Look, I'm The Dash! The Dash likes. + + HELEN + Just a second. Take that off before somebody sees it. + + VIOLET + But you're packing one just like it. Are you hiding something? + + HELEN + Oh, please, honey. I'm on the phone...Dash! + + DASH + Yikes! This is yours. It's specially made. + + VIOLET + What's going on? + + HELEN + You're not coming! And I've gotta pack! + + VIOLET + What makes you think it's special? + + DASH + I don't know. Why'd Mom try to hide it? + + HELEN + Snug, I'm calling in a solid you owe me. + + @SNUG [over phone] + What do you need? + + HELEN + A jet. What do you got that's fast? + + SNUG + Let me think... + +.SCENE #24# + + HELEN + Island approach. India Golf niner-niner checking in. VFR on top. Over. + +[radio static] + + HELEN + Island tower, this is India Golf niner-niner requesting vectors to the initial. Over. + +[radio static] + + HELEN + Easy, Helen. Easy. Easy, girl. You're overreacting. Everything's fine. They're just all getting coffee. At the same time. Yeah. + + SYNDROME + You sir, truly are ''Mr. Incredible''! You know, I was right to idolize you. I always knew you were tough, but tricking the probe by hiding under the bones of another super? Oh, man! I'm still geeking out about it! + (sighs) + And then you had to just go and ruin the ride. I mean, Mr. Incredible calling for help? + (mocking) + ''Help me, help me.'' Lame, lame, lame, lame, lame! All right, who did you contact?! + + BOB (MR. INCREDIBLE) + Contact? What are you talking about? + + SYNDROME + I am referring to last night at 2307 hours while you were snooping around. You sent out a homing signal. + + BOB (MR. INCREDIBLE) + I didn't know about the homing device. + + SYNDROME + And now a government plane is requesting permission to land here! Who did you contact?! + + BOB (MR. INCREDIBLE) + I didn't send for a plane. + + SYNDROME + Play the transmission. + + HELEN + India golf niner-niner checking in. VFR on top. Over. + + BOB (MR. INCREDIBLE) + Helen! + + SYNDROME + So you do know these people. Well, then, I'll send them a little greeting. + + VIOLET + Ow! + + HELEN (ELASTIGIRL) + Violet! + + VIOLET + It's not my fault! Dash ran away, and I knew I'd get blamed for it-- + + DASH + That's not true! + + HELEN (ELASTIGIRL) + Dash?! + + VIOLET/DASH + - ...and I thought he'd try to sneak on the plane so I came here and you closed the doors before I could find him and then you took off and + (to Dash) + it's not my fault! - You said, ''Something's up with Mom. We have to find out what!" It was your idea! Your idea! Hundred percent all-yours, all-the-time idea! + + HELEN (ELASTIGIRL) + Wait a minute, wait a minute. You left Jack-Jack alone?! + + VIOLET/DASH + - Yes, mom, I'm completely stupid...of course we got a sitter! Do you think I'm totally irresponsible? Thanks a lot! - No, we got someone, Mom. Someone great. We wouldn't do that. + + HELEN (ELASTIGIRL) + All right! Well, who'd you get? + + KARI + You don't have to worry about one single thing, Mrs. Parr. I've got this baby-sitting thing wired. I've taken courses and learned CPR and I got excellent marks and certificates... + + HELEN (ELASTIGIRL) + Kari. + + KARI + I also brought Mozart to play while he sleeps to make him smarter because leading experts say Mozart makes babies smarter. + + HELEN (ELASTIGIRL) + Kari... + + KARI + And the beauty part is that the babies don't even have to listen 'cause they're asleep! You know, I wish my parents played Mozart when I slept because half the time I don't even know what the heck anyone's talking about. + + HELEN (ELASTIGIRL) + Kari, I really don't feel comfortable with this. I'll pay you for your trouble, but I'd really rather call a service. + + KARI + Oh, there's really no need, Mrs. Parr. I can totally handle anything this baby can dish out. + (cooing) + Can't I, little baby? I can handle it. Who can handle it? + +[beeping] + + HELEN (ELASTIGIRL) + India Golf niner-niner transmitting in the blind guard. Disengage! Repeat, disengage! + + HELEN (ELASTIGIRL) + Disengage! Repeat, disengage! Friendlies... + + BOB (MR. INCREDIBLE) + No! Call off the missiles. I'll do anything! + + SYNDROME + Too late! Fifteen years too late. + + HELEN (ELASTIGIRL) + Friendlies at two-zero miles south-southwest of your position. Angels 10. Track east. Disengage! + (to Violet) + Vi! You have to put a force field around the plane. + + VIOLET + But you said we weren't supposed to use our powers. + + HELEN (ELASTIGIRL) + I know what I said! Listen to what I'm saying now! + + HELEN (ELASTIGIRL) + Disengage. Repeat, disengage! + + DASH + Mom? + + HELEN (ELASTIGIRL) + Violet! + + HELEN (ELASTIGIRL) + Mayday, mayday! India Golf niner-niner is buddy-spiked! Abort! Abort! There are children aboard, say again, there are children aboard! + + BOB (MR. INCREDIBLE) + No! + + HELEN (ELASTIGIRL) + (to Violet) + Put a field around us now! + + VIOLET + I've never done one that big! + + HELEN (ELASTIGIRL) + Violet, do it now! + + HELEN (ELASTIGIRL) + Abort, abort, abort! + + HELEN (ELASTIGIRL) + Abort, abort, abort! + +[all screaming] + + HELEN (ELASTIGIRL) + Brace yourselves! + + VIOLET/DASH + Mom! Mom! + + HELEN (ELASTIGIRL) + Everybody calm down. Now, I'll tell you what we're not gonna do. We're not gonna panic, we're not gonna--look out! + + DASH/VIOLET + - Oh, my God! Who's idea was this anyway?! - What are we gonna do?! What are we gonna do?! + + DASH + We're dead! We're dead! + + VIOLET + It blew up! + + DASH + We survived but we're dead! + + HELEN (ELASTIGIRL) + Stop it! We are not gonna die! Now both of you will get a grip. Or so help me I will ground you for a month! Understand? + + MIRAGE + We have a confirmed hit. Target was destroyed. + + SYNDROME + Ah, you'll get over it. I seem to recall you prefer to ''work alone''. + (evil laughter) + + BOB (MR. INCREDIBLE) + Release me...now! + + SYNDROME + Or what? + + BOB (MR. INCREDIBLE) + I'll crush her. + + SYNDROME + That sounds a little dark for you. Well, go ahead. + + BOB (MR. INCREDIBLE) + It'll be easy. Like breaking a toothpick. + + SYNDROME + (laughing) + Show me. + + SYNDROME + I knew you couldn't do it. Even when you have nothing to lose. You're weak. And I've outgrown you. + +[Bob sobbing] + + HELEN (ELASTIGIRL) + Those were short-range missiles. Land-based. That way is our best bet. + + DASH + You want to go toward the people that tried to kill us? + + HELEN (ELASTIGIRL) + If it means land, yes. + + VIOLET + Do you expect us to swim there? + + HELEN (ELASTIGIRL) + I expect you to trust me. + +.SCENE #25# + + HELEN (ELASTIGIRL) + What a trooper. I'm so proud of you. + + DASH + Thanks, mom. + + HELEN (ELASTIGIRL) + I think your father is in trouble. + + VIOLET + If you haven't noticed, mom, we're not doing so hot either. + + HELEN (ELASTIGIRL) + I'm going to look for him. And that means you're in charge until I get back, Violet. + + DASH + What?! + + VIOLET + You heard her. + + HELEN (ELASTIGIRL) + Put these on. Your identity is your most valuable possession. Protect it. And if anything goes wrong, use your powers. + + VIOLET + But you said never to use... + + VIOLET + I know what I said! + (sighs) + Remember the bad guys on those shows you used to watch on Saturday mornings? Well, these guys are not like those guys. They won't exercise restraint because you're children. They will kill you if they get the chance. Do not give them that chance. + + VIOLET + Mom? + + HELEN (ELASTIGIRL) + Vi, I'm counting on you. + + VIOLET + There's something I... + + HELEN (ELASTIGIRL) + I'm counting on you. Be strong. Dash, if anything goes wrong, I want you to run as fast as you can. + + DASH + As fast as I can? + + HELEN (ELASTIGIRL) + As fast as you can. Stay hidden. Keep each other safe. I'll be back by morning. + + VIOLET + Mom! Mom, what happened on the plane. I'm sorry. + (stammering) + I wanted to help. I mean, when you asked me to... I'm sorry. + + HELEN (ELASTIGIRL) + Shh. It isn't your fault. It wasn't fair for me to suddenly ask so much of you. But things are different now. And doubt is a luxury we can't afford anymore, sweetie. You have more power than you realize. Don't think. And don't worry. If the time comes, you'll know what to do. It's in your blood. + + MIRAGE + He's not weak, you know. + + SYNDROME + What? + + MIRAGE + Valuing life is not weakness. + + SYNDROME + Oh, hey. Look, look...if you're talking about what happened in the containment unit, I had everything under control. + + MIRAGE + And disregarding it is not strength. + + SYNDROME + I called his bluff, sweetheart, that's all. I knew he wouldn't have it in him to actually... + + MIRAGE + Next time you gamble, bet your own life! + + HELEN (ELASTIGIRL) + Okay, okay, okay. + +[voices on radio] + + HELEN (ELASTIGIRL) + A rocket? + +[sighs, gasps] + + GUARD + Hey! + +[struggling] + + DASH + Well, not that this isn't fun, but I'm gonna go look around. + + VIOLET + What do you think is going on here? You think we're on vacation or something? Mom and Dad's lives could be in jeopardy. Or worse, + (whispering) + their marriage. + + DASH + Their marriage? So, the bad guys are trying to wreck Mom and Dad's marriage. + + VIOLET + Oh, forget it. You're so immature. + + DASH + Okay, I'm gonna go look around. + + VIOLET + Mom said to stay hidden. + + DASH + I'm not gonna leave the cave. Sheesh! + +[voices over radio] + + DASH + (echoing) + Cool! + + DASH + (echoing) + Cool! + +[over radio] Roger. We are ready for launch. + + DASH + Vi, Vi! + + VIOLET + What did you do? + +[over radio] ETA two-niner. Over. TCI clear. Condition yellow. Status norm. + +[over radio] Not responding to IFF. IRCM reads negative. + + HELEN (ELASTIGIRL) + (gasps) + Bob. + + GUARD 1 + Huh? What? + + GUARD 2 + Uh, I didn't say anything. + +.SCENE #26# + + ROBOT + Identification, please. + + DASH + Hey! Hey, Violet! Come here, look. + + VIOLET + What? + + DASH + It talks! + + VIOLET + What? + + DASH + There. That one. + + ROBOT + Voice key incorrect. + + VIOLET + ''Voice key''? + + ROBOT + Voice key incorrect. + + VIOLET + Wait a second... + +[alarm sounds] + + DASH + What do we do? + + VIOLET + Run! + + DASH + Where are we going? + + VIOLET + Away from here! + +[PA] Intruder alert. Intruder alert. Intruder alert. + + MIRAGE + There isn't much time. + + BOB (MR. INCREDIBLE) + (grabs Mirage by the neck) + No, there isn't. In fact, there's no time at all. + + MIRAGE + (choking) + Please... + + BOB (MR. INCREDIBLE) + Why are you here? How can you possibly bring me lower? What more can you take away from me? + + MIRAGE + (choking) + Family survived the crash. They're here on the island! + + BOB (MR. INCREDIBLE) + They're alive? + +MIRAGE [gasping, coughing] + + BOB (MR. INCREDIBLE) + Helen? + + MIRAGE + Hello. You must be Mrs. Incre-- + + BOB (MR. INCREDIBLE) + She was helping me to escape. + + HELEN (ELASTIGIRL) + No. That's what I was doing. Let go of me! Let go, you lousy, lying, unfaithful creep! + + BOB (MR. INCREDIBLE) + How could I betray the perfect woman? + + HELEN (ELASTIGIRL) + Oh, you're referring to me now? + + BOB (MR. INCREDIBLE) + Where are the kids? + + MIRAGE + They might've triggered the alert. + + HELEN (ELASTIGIRL) + What?! + + MIRAGE + Security's been sent into the jungle. You better get going. + + HELEN (ELASTIGIRL) + Now our kids are in danger?! + + BOB (MR. INCREDIBLE) + If you suspected danger, why'd you bring them? + + HELEN (ELASTIGIRL) + I didn't bring 'em, they stowed away. And I don't think you're not striking the proper tone here! + + GUARD + Think they're supers? + + VIOLET + Dash, remember what Mom said. + + DASH + What? + + GUARD 2 + Hey! Stop talking! + + GUARD 3 + Hold it! Freeze! + + VIOLET + Dash, run! + + DASH + What? + + VIOLET + Run! + + DASH + Oh yeah! + + GUARD + What the--?! They're supers! + + GUARD 2 + Get the boy! Show yourself! + +[spitting] + +[Dash screams] + + GUARD + Hey! + + DASH + Ha, ha! + + DASH + I'm alive. Yeah! + +[Dash shouting] + + DASH + Uh-oh. + +[water sloshing] + + BOB (MR. INCREDIBLE) + I should've told you I was fired, I admit it. But I didn't want you to worry. + + HELEN (ELASTIGIRL) + You didn't want me to worry? And now we're running for our lives through some godforsaken jungle! + + BOB (MR. INCREDIBLE) + You keep trying to pick a fight, but I'm still just happy you're alive. + + GUARD + I know you're there, Little Miss Disappear. + + GUARD + You can't hide from me. + + GUARD + There you are. + + DASH + Hey! + + DASH + Don't touch my sister! + + DASH + How are you doing that? + + VIOLET + I don't know! + + DASH + Whatever you do, don't stop! + + VIOLET + Mom! Dad! Hey! + + BOB (MR. INCREDIBLE) + Kids! + + MR. INCREDIBLE/ELASTIGIRL + - You're all right. - Oh, you're all right! + + VIOLET + We were so worried about you. + + BOB (MR. INCREDIBLE) + I thought I'd never see you again. + + MR. INCREDIBLE/ELASTIGIRL + I love you. + + DASH + Wow. + + VIOLET + Whoa. + + SYNDROME + Whoa, whoa, whoa! Hey, time out! What have we here? Matching uniforms? Oh, no! Elastigirl? + (laughs) + You married Elastigirl? Whoa! And got busy! It's a whole family of supers! Looks like I've hit the jackpot! Oh, this is just too good! + +.SCENE #27# + +- [on TV] The ship's unique design suggests... + +- [on TV] There were no fatalities... + + SYNDROME + Huh? Huh? Oh, come on! You gotta admit, this is cool. Just like a movie! The robot will emerge dramatically, do some damage. Throngs of screaming people! And just when all hope is lost, Syndrome will save the day! I'll be a bigger hero than you ever were! + + BOB (MR. INCREDIBLE) + You mean you killed off real heroes so that you could pretend to be one? + + SYNDROME + Oh, I'm real. Real enough to defeat you! And I did it without your precious gifts, your oh-so-special powers. I'll give them heroics. I'll give them the most spectacular heroics anyone's ever seen! And when I'm old and I've had my fun, I'll sell my inventions so that everyone can be superheroes. Everyone can be super. And when everyone's super...no one will be. + (evil laughter) + +[soldiers shouting] + + SOLDIER + Fire at will! + +- [on TV] It's completely overwhelming the tanks. + + BOB (MR. INCREDIBLE) + I'm sorry. This is my fault. I've been a lousy father. Blind to what I have. So obsessed with being undervalued that I undervalued all of you. + + DASH + Um..dad? + + HELEN (ELASTIGIRL) + Shh. Don't interrupt. + + BOB (MR. INCREDIBLE) + So caught up in the past that I...You are my greatest adventure. And I almost missed it. I swear, I'm gonna get us out of this safely if I... + + VIOLET + Well, I think Dad has made some excellent progress today but I think it's time we wind down now. + + BOB (MR. INCREDIBLE) + We need to get back to the mainland. + + HELEN (ELASTIGIRL) + I saw an aircraft hangar on my way in. Straight ahead, I think. + + BOB (MR. INCREDIBLE) + Where are all the guards? + + BOB (MR. INCREDIBLE) + Go, go! + + GUARD + Hey, look. Hey! Every time they run, you take a shot. + + GUARD 2 + Yeah, okay. + + HELEN (ELASTIGIRL) + This is the right hangar, but I don't see any jets. + + BOB (MR. INCREDIBLE) + A jet's not fast enough. + + HELEN (ELASTIGIRL) + What's faster than a jet? + + DASH + Hey, how about a rocket? + + HELEN (ELASTIGIRL) + Great! I can't fly a rocket. + + VIOLET + You don't have to. Use the coordinates from the last launch. + + BOB (MR. INCREDIBLE) + Wait. I bet Syndrome's changed the password by now. How do I get into the computer? + + MIRAGE + Say please. + +.SCENE #28# + + LUCIUS (FROZONE) + Honey? + + HONEY + What? + + LUCIUS (FROZONE) + Where's my supersuit? + + HONEY + What? + + LUCIUS (FROZONE) + Where is my supersuit? + + HONEY + I, uh...put it away. + + LUCIUS (FROZONE) + Where? + + HONEY + Why do you need to know? + + LUCIUS (FROZONE) + I need it! + + HONEY + Uh-uh! Don't you think about running off doing no derrin'-do! We've been planning this dinner for two months! + + LUCIUS (FROZONE) + The public is in danger! + + HONEY + My evening's in danger! + + LUCIUS (FROZONE) + You tell me where my suit is, woman! We are talking about the greater good! + + HONEY + ''Greater good''? I am your wife! I'm the greatest good you are ever gonna get! + + MAN + Run! + + WOMAN + My baby! + + MAN + The supers have returned! + + WOMAN + Is that Fironic? + + MAN + Fironic? + + WOMAN + No, Fironic has a different outfit. + + SYNDROME + No, no, I'm a new superhero! I'm Syndrome! + + SYNDROME + All right, stand back. + + SYNDROME + Someone needs to teach this hunk of metal a few manners. + + SYNDROME + Ha, ha! + + DASH + Are we there yet? + + BOB (MR. INCREDIBLE) + We get there when we get there. + + BOB (MR. INCREDIBLE) + How you doing, honey? + + HELEN (ELASTIGIRL) + Do I have to answer?! + + BOB (MR. INCREDIBLE) + Kids, strap yourselves down like I told you! + + BOB (MR. INCREDIBLE) + Here we go, honey! + + BOB (MR. INCREDIBLE) + Ready, Violet? Ready? Now! + + BOB (MR. INCREDIBLE) + This is gonna be rough! + + BOB (MR. INCREDIBLE) + The robot's in the financial district. Which exit do I take? + + HELEN (ELASTIGIRL) + Traction Avenue. + + BOB (MR. INCREDIBLE) + That'll take me downtown. I take Seventh, don't I? + + HELEN (ELASTIGIRL) + Don't take Seventh! + + BOB (MR. INCREDIBLE) + Great, we missed it! + + HELEN (ELASTIGIRL) + You asked me how to get there and I told you. Exit at Traction! + + BOB (MR. INCREDIBLE) + That'll take me downtown! + + HELEN (ELASTIGIRL) + He's coming up! Get in the right lane! Signal! + + BOB (MR. INCREDIBLE) + Not Traction! + + HELEN (ELASTIGIRL) + You're gonna miss it! + + BOB (MR. INCREDIBLE) + Is everybody okay back there? + + VIOLET + Super-duper, Dad! + + DASH + (laughing) + Let's do that again. + +[people screaming] + + BOB (MR. INCREDIBLE) + Wait here and stay hidden. I'm going in. + + HELEN (ELASTIGIRL) + While what? I watch helplessly from the sidelines? I don't think so. + + BOB (MR. INCREDIBLE) + I'm asking you to wait with the kids. + + HELEN (ELASTIGIRL) + And I'm telling you not a chance. You're my husband. I'm with you for better or worse. + + BOB (MR. INCREDIBLE) + I have to do this alone. + + HELEN (ELASTIGIRL) + What is this to you? Playtime? + + BOB (MR. INCREDIBLE) + No. + + HELEN (ELASTIGIRL) + So you can be Mr. Incredible again? + + BOB (MR. INCREDIBLE) + No! + + HELEN (ELASTIGIRL) + Then what? What is it? + + BOB (MR. INCREDIBLE) + I'm not... + + HELEN (ELASTIGIRL) + Not what? + + BOB (MR. INCREDIBLE) + I'm not strong enough. + + HELEN (ELASTIGIRL) + Strong enough. And this will make you stronger? + + BOB (MR. INCREDIBLE) + Yes. No! + + HELEN (ELASTIGIRL) + That's what this is? Some sort of workout? + + BOB (MR. INCREDIBLE) + I can't lose you again! + + BOB (MR. INCREDIBLE) + I can't. Not again. I'm not... strong enough. + + HELEN (ELASTIGIRL) + If we work together, you won't have to be. + + BOB (MR. INCREDIBLE) + I don't know what'll happen. + + HELEN (ELASTIGIRL) + Hey. We're superheroes. What can happen? + +[screaming] + + HELEN (ELASTIGIRL) + Vi! Dash! No! + + DASH + Violet? + + DASH + Dad! + + BOB (MR. INCREDIBLE) + Go, go! + + VIOLET + I'm okay, mom. Really. + + HELEN (ELASTIGIRL) + Stay here, okay? + + BOB (MR. INCREDIBLE) + Frozone! Yeah! + + HELEN (ELASTIGIRL) + Bob! + + BOB (MR. INCREDIBLE) + Hey! + + BOB (MR. INCREDIBLE) + Syndrome's remote! + + VIOLET + The remote controls the robot! + + DASH + Hey, dad! Throw it, throw it! + + BOB (MR. INCREDIBLE) + Go long! + + DASH + Got it! + + BOB (MR. INCREDIBLE) + Honey, take out its guns! + + LUCIUS (FROZONE) + Dash! Gotcha! + + VIOLET + Mom, I've got it! I've got the remote! + + LUCIUS (FROZONE) + A remote? A remote that controls what? The robot? + + DASH + It's coming back! + + DASH + That wasn't right. + + VIOLET + Give me that! + + BOB (MR. INCREDIBLE) + We can't stop it. The only thing hard enough to penetrate it is...itself. + + DASH + It's getting closer! + + VIOLET + It doesn't work! + + HELEN (ELASTIGIRL) + Kids! + + LUCIUS (FROZONE) + It's not doing anything! + + HELEN (ELASTIGIRL) + Lucius, try to buy us some time! + + LUCIUS (FROZONE) + Try the one next to it! + + BOB (MR. INCREDIBLE) + Honey! + + BOB (MR. INCREDIBLE) + Wait a minute. Press that button again! + + BOB (MR. INCREDIBLE) + No, the other one! The first one! + + HELEN (ELASTIGIRL) + First button! Got it! + + DASH + It's getting closer! + + LUCIUS (FROZONE) + Look out! + + HELEN (ELASTIGIRL) + Get out of here, kids! Find a safe spot! + + VIOLET + We're not going anywhere! + + BOB (MR. INCREDIBLE) + Press the button! + + HELEN (ELASTIGIRL) + Not yet! + + LUCIUS (FROZONE) + Hang on! + + BOB (MR. INCREDIBLE) + What are you waiting for?! + + HELEN (ELASTIGIRL) + A closer target! You got one shot! + + BOB (MR. INCREDIBLE) + Everybody duck! + + BOB (MR. INCREDIBLE) + Hey, Zone. + + SYNDROME + Huh? No! + + OLD MAN + Hey, did you see that? Eh? That's the way to do it. That's old school. + + OLD MAN 2 + Yeah. No school like the old school. + + LUCIUS (FROZONE) + Just like old times. + + BOB (MR. INCREDIBLE) + Just like old times + (gives Frozone a heavy pat on the back) + + LUCIUS (FROZONE) + Oh! Yeah. Hurt then too. + +.SCENE #29# + + RICK + We've frozen all of Syndrome's assets. If he even sneezes, we'll be there with a hanky and a pair of handcuffs. The people of this country are indebted to you. + + BOB (MR. INCREDIBLE) + Does this mean we can come out of hiding? + + RICK + Let the politicians figure that one out. But I've been asked to assure you we'll take care of everything else. You did good, Bob. + +[phone beeps] + +Hi, this is Kari. I have a question about Jack-Jack... + + HELEN (ELASTIGIRL) + Come on. We're in a limo. + + BOB (MR. INCREDIBLE) + Hey, you're wearing your hair back? + + VIOLET + (stammering) + Yeah, I just... yeah. + + BOB (MR. INCREDIBLE) + It looks good. + + VIOLET + Thanks, Dad. + + DASH + That was so cool when you threw that car! + + BOB (MR. INCREDIBLE) + Not as cool as you running on water! + + DASH + Hey, mom! That was sweet when you snagged that bad guy with your arm and kinda whiplashed him into the other guy. It was so sweet! + + HELEN (ELASTIGIRL) + Honey, uh, yeah, I'm trying to listen to messages, honey. + + @[Kari] + - Mrs. Parr, it's me. Jack-Jack is fine, but weird things are happening. - Jack-Jack's still fine, but I'm getting really weirded out! When are you coming back? + + DASH + ...aced those guys that tried to kill us! That was the best vacation ever! I love our family. + + @[Kari] + - I'm not fine, Mrs. Parr! Put that down! Stop it! You need to call me. I need help, Mrs. Parr! + + HELEN (ELASTIGIRL) + Bob, listen to this. + + @[Kari] + - I'm gonna call the police... - Hi, this is Kari. Sorry for freaking out, but your baby has special needs. + + BOB (MR. INCREDIBLE) + "Special needs"? + + RICK + Here we are. + + @[Kari] + - Anyway, thanks for sending a replacement sitter. + + HELEN (ELASTIGIRL) + Replacement? I didn't call a replacement. + + SYNDROME + Shh. The baby is sleeping. You took away my future. I'm simply returning the favor. Oh, don't worry, I'll be a good mentor. Supportive, encouraging. Everything you weren't. And in time, who knows, he might make a good sidekick. Ha ha! + + HELEN (ELASTIGIRL) + He's getting away, Bob! We have to do something! We have to do something now! + +[Jack-Jack cries] + + HELEN (ELASTIGIRL) + Something's happening. What's happening?! + + HELEN (ELASTIGIRL) + We have to stop him! Throw something! + + BOB (MR. INCREDIBLE) + I can't! I might hit Jack-Jack! + + HELEN (ELASTIGIRL) + Throw me. + + HELEN (ELASTIGIRL) + Bob, throw me! + +[Jack-Jack cooing] + + SYNDROME + No! + + SYNDROME + This isn't the end of it! I will get your son, eventually. I'll get your son! + + SYNDROME + Oh, no. + + HELEN (ELASTIGIRL) + Look at Mommy, honey. Don't look down. Mommy's got you. Everything is all right. + + HELEN (ELASTIGIRL) + That's my girl. + + DASH + Does this mean we have to move again? + + KID + Oh, man. That was totally wicked! + +.SCENE #30# + +(3 MONTHS LATER) + +[PA announcements] + + VIOLET + Do we have to have cheerleaders at the track meet? I mean, what is that all about? + + GIRL + Well, I always thought it was more like a... + + TONY + Hey. + + VIOLET + Hey. + + TONY + You're, uh, Violet, right? + + VIOLET + That's me. + + GIRL + See you, Vi. + + TONY + You look different. + + VIOLET + I feel different. Is different okay? + + TONY + Hey, different is... + (clears throat) + Different is great. + (stammering) + Would you wanna... + + VIOLET + Yeah? + + TONY + Do you think maybe... + (stammering) + ...you and I...you know... + + VIOLET + Yeah? + + TONY + Do you... + + VIOLET + Shh. I like movies. I'll buy the popcorn. Okay? + + TONY + (stammering) + A movie. There you go. Yeah...yeah! Wait, wait...so Friday? + + VIOLET + Friday. + +[crowd cheering] + + BOB/HELEN + - Go, Dash, go! Go, go, go! Run, run! - Run, Dash! Run! + + BOB + Come on, run! Pick up the pace! Move it, move it! Pace it! Slow down just a little bit! Don't give up! Make it close! + + HELEN + Second! + + BOB + Close second, close second. Yeah! + + BOB + That's my boy! + + HELEN + Dash, I'm so proud of you. + + DASH + I didn't know what the heck you wanted me to do. + +[crashing, screaming] + + UNDERMINER + Behold the Underminer! I am always beneath you, but nothing is beneath me! I hereby declare war on peace and happiness! Soon all will tremble before me! diff --git a/fountain_scripts/The Incredibles.webp b/fountain_scripts/The Incredibles.webp new file mode 100644 index 0000000000000000000000000000000000000000..53f14cf97d802906028c57036e9eef824c35f7ec --- /dev/null +++ b/fountain_scripts/The Incredibles.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:f769904f9ba74cce0d840f524eec26efec76d5529f0f7b7af45e7bd1045aff39 +size 33564 diff --git a/fountain_scripts/The Insider.fountain b/fountain_scripts/The Insider.fountain new file mode 100644 index 0000000000000000000000000000000000000000..fa121b2b86824f843157d68df2f252e3cf8efffa --- /dev/null +++ b/fountain_scripts/The Insider.fountain @@ -0,0 +1,4791 @@ +Title: THE INSIDER +Credit: written by +Authors: ERIC ROTH & MICHAEL MANN +Date: 11/5/99 + +/* NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. */ + +>FADE IN: + +All we can see is black filling the screen... Black on black... + +INT. A JEEP, LEBANON - DAY + +And we're in a speeding SOVIET JEEP... Two men in front, shouldering assault rifles. HEZBOLLAH SOLDIERS... And there are three MEN in the back. A middle-aged Man wearing a tired suit and tinted sunglasses trying to hold on. And on either side of him, two Men, blindfolded. The man on one side is in his forties, hands pressed in the pockets of a well-travelled black-leather jacket... A stocky man, with the edge of a J.D. Salinger character, he's seen everything at least once. But even he has lost some of his self-confidence, here, turning his head, sensing the wind, a blast of Arabic music that disappears behind him... He's LOWELL BERGMAN. On the other side of the man in the tired suit is a lanky Man with a voltmeter around his neck, NORMAN. + +EXT. THE BEQA'A VALLEY, BAALBEK, LEBANON - DAY + +The Jeep races up narrow winding streets of a Lebanese village. It's shadowed by a Jeep in front, and in back, each carrying personnel armed with AK's and a few RPG's... And in the third Jeep are two blindfolded, not very threatening Lebanese soldiers. And as the speeding convoy passes a captured Israeli Armored Personnel Carrier covered with Arabic graffiti, looking down on them from huge murals are the stern visages of the Ayatollah Khomeini, and a Hezbollah religious leader, the Sheikh Fadlallah... And, suddenly the convoy skids to a stop... And blindfolded Lowell and Norman are roughly taken out, and pushed, stumbling, through the cloud of dust without sight... The lanky cameraman is stopped, told to wait, while Lowell is pushed past armed men guarding a small stone house, and inside... + +INT. A HOUSE IN LEBANON - DAY + +A round-faced Man in his mid-forties, with large-framed glasses, black hair and a grey-black beard, wearing a dullbend, a turban, sits informally at a kitchen table... It's the Sheikh Fadlallah whose face stares out at us from walls. A Gunman cradling an AK-47 sits in an incongruous purple armchair in a corner. A torn poster of the Seychelles is on one wall. Another Gunman stands by a window. Lowell is sat down in a chair at the kitchen table... + + THE SHEIKH + Coffee? + + LOWELL + Yeah... Thank you. + + THE SHEIKH + How have you liked your stay? + + LOWELL + (droll) + What I've seen...I've liked. + +The Sheikh smiles. And the smile passes as quickly as it came. A steaming cup of coffee in a small Arabic demitasse is put down. + + THE SHEIKH + Please to explain, why I should agree to interview...with pro-Zionist American media? + + LOWELL + Because I think Hezbollah is trying to broaden into a political party right now. So you care about what you're thought of in America. And in America, at this moment in time, Hezbollah does not have a face. + (confident) + That's why. + +And we've first realized this man is not a hostage; he's come here voluntarily. + + THE SHEIKH + Perhaps you prove journalism objectivity and I see the questions first. Then I decide if I grant the interview. + + LOWELL + (blunt) + No. We don't do that. + (beat) + You've seen "60 Minutes" and Mike Wallace. So you know our reputation for integrity and objectivity. You also know we are the highest-rated, most-respected, TV-magazine news show in America. + +The Sheikh quietly looks out his glasses at him, studying him. And Lowell "closes": + + LOWELL (cont'd) + So. Mr. Wallace. Should he get on a plane or not? + +The Sheikh thinks it over and then... + + THE SHEIKH + Tell him I will see him day after tomorrow. + + LOWELL + That's good. That works. + (after a beat) + Uh, you know, I want to ask you something...I know it sounds odd...but... + +It's quiet...too quiet... + + LOWELL (CONT'D) + Hello, Sheikh...? + (no answer) + Hello, Sheikh...? + +Silence. He hesitates, starts to lift his blindfold... He lifts it. And he sees the Sheikh, and his gunmen, are gone. The house empty. Only his Cameraman, the lanky man, left there, standing by the door still in his blindfold... + + LOWELL (CONT'D) + Norman. + + NORMAN + What? What? + + LOWELL + Take your blindfold off. + +The lanky man does and we see the cameraman is Asian-American. + + LOWELL (CONT'D) + (sarcastic) + Welcome to the world. + +Norman gives Lowell an ironic look and tests the local current at an electrical outlet. + + NORMAN + Fluctuating all over the place. Anywhere we shoot, here, it's gonna be portable gennies and we'll run cable... + +Lowell nods and opens the curtains from this commanding height. Baalbek and the Beqa'a Valley below gold-domed mosques. A moment of triumph. He dials his cell phone... + + MIKE WALLACE'S VOICE (OVER) + Hello? + + LOWELL + (into phone) + Mike, it's me. We're on... + +!AND WE HEAR PEOPLE LAUGHING AND ENCOURAGING "GO AHEAD... OPEN IT..." + +INT. A LABORATORY, BROWN & WILLIAMSON, LOUISVILLE, KENTUCKY - DAY + +We're in a SCIENCE LABORATORY... OUT OF FOCUS LAB TECHNICIANS, in white lab coats, celebrating a heavyset Black woman's birthday... Half her presents are opened. Balloons, incongruous, floating above the lab... And there's a sense that somebody is watching... And from the waist up, a disembodied figure comes into FOCUS behind a glass partition, as if quarantined, isolated, an expressionless MAN in his late forties, watching them... + +INT. JEFFREY WIGAND'S OFFICE - DAY + +The office soundproofed, he watches the people laughing, their lips moving. His hair not yet settled on grey, his face is changing, always interesting. Born in the Bronx, educated in Upstate New York, he retains little of the accent and much of the directness. He's JEFFREY WIGAND. He turns to resume gathering things from his desk...some technical books, a medical text on asthma...putting them in his briefcase. And as he leaves the office, the silent party like a bizarre mime behind him... + +INT. LOBBY, BROWN & WILLIAMSON BUILDING - DAY + +Briefcase in hand, Jeffrey appears from the elevator from ABOVE, from WIDE and in FRONT, his eyes, frozen pools... And like a bad dream, a broad-shouldered Man, leaning against the wall near the reception island in a suit he's not comfortable in, wearing an earphone, saying something into a lapel microphone after Jeffrey's passed. + +INT. WIGAND'S CAR, LOUISVILLE - DAY + +Light mottled through trees reflects off the car window... Jeffrey's face goes in and out of the tunnel of light and shadow...down this tasteful, suburban Louisville street of neat houses and manicured lawns... He pulls into driveway behind a 3 series BMW. It's a grey French provincial replica... + +INT. THE WIGANDS' HOUSE, FOYER - DAY + +Jeffrey comes in and a young Girl, six, is watching television in the den...BARBARA. + + WIGAND + Hi, honey. + + BARBARA + Hi, Daddy. + + WIGAND + What's new? + + BARBARA + Ms. Laufer gave me a star today. + + WIGAND + Yeah? What for? + + BARBARA + For reading. + +He pours himself a drink at a wet bar. + + WIGAND + That's great... Little early for cartoons, isn't it? + + BARBARA + Okay. + +Dutiful, she shuts off the TV, going upstairs. + + BARBARA (cont'd) + Deborah? Debbie? + +He looks outside. A Woman is sitting on the back porch drinking wine, reading a paperback book, drinking wine. There's something like a Hockney painting about her against the manicured lawns. Right now the Woman comes in. She's pretty, tall, languid, reserved, somebody it would be nice to wear on your arm. LIANE WIGAND. She has an odd delay between a thought and her speech... + + LIANE + Oh, I didn't know you were home... It's early... Isn't it? + +He doesn't say anything... + + LIANE (CONT'D) + Gotta take Debbie to ballet... + +And it all feels suburban, familiar. Suddenly there's a shout... + + BARBARA'S VOICE (OVER) + Mommy! + +Jeffrey goes quickly up the stairs into... + +INT. WIGAND'S HOUSE - DEBORAH'S BEDROOM - DAY + +And a little girl, eight, sitting on the floor in a ballet leotard, her head back, wheezing, her neck muscles contracting and bulging, her face pale, lips white, and her eyes filled with fear as rapid, shallow breathing induces a sense of suffocation. DEBORAH WIGAND is having a severe asthmatic attack... + + WIGAND + Sweetheart, c'mon. C'mon. + + BARBARA + She was playing with my Pooh doll again... + +Jeffrey sits her on the side of her bed next to which is a Nebulizer, an air compressor to deliver medication via a tube into a circular mouthpiece. The compressor whirs. Deborah breathes in the medication. Jeffrey brushes the hair back from her face and wipes perspiration from her forehead as... + + WIGAND + Slow down. Slow down. Slow down. Breathe deep. Breathe deep. Slow down, honey. Slow down. Slow down. + +Liane rushes in with rolled-up towels, kneels in front of Deborah, smiling to mask anxiety, and goes into the bathroom with the towels and turns on full blast the bathtub's hot water. We don't know why yet... Deborah's chest heaves. She's scared. Jeffrey gets in front of her and talks to her to arrest her attention. + + WIGAND (cont'd) + Here we go. Deep breaths, deep breaths. + + BARBARA + She was playing with the Pooh doll. + + WIGAND + Pooh's dusty, sweetheart...he's dusty, and you breathed him in, okay? So what's - what's happening to you now is... cells called mast cells told your lungs "don't breathe any more of that dust in." + (beat) + ...and the airways in your lungs are like branches. And when the branches close up, you get an asthmatic attack. And, we give you medicine, and you get better. Huh? Okay? You're better already, aren't you? + +And the medication's taking effect and she's calmer. Liane, hands clutched in her lap, smiles at Deborah. Now she takes Deborah's hand and exchanges a look with Jeffrey. Jeffrey's a good father, a natural caregiver. + + WIGAND (cont'd) + Okay, baby? + +INT. THE WIGANDS' HOUSE, LOUISVILLE - EVENING + +Jeffrey, Liane and the two Girls silently eating dinner, Deborah in a bathrobe. + + DEBORAH + Can I go to dance tomorrow? I'm better... + + LIANE + ...if you are, then I'll take Barbara to soccer and take you to dance after... + + WIGAND + I can take her. + + LIANE + Don't you have to be at the office? + + WIGAND + (instead, getting up) + Is there any more rice...? + + LIANE + (nods) + Yes, it's on the stove... + +He goes into the kitchen, to the stove, seeing... + + LIANE (cont'd) + Do you want more rice? + + DEBORAH + Maybe later. + + LIANE + How about you? + + BARBARA + I'll take some. + + WIGAND + Instant rice...? + + BARBARA + Can I go over to Janeane's house? + + LIANE + I'm sorry, darling, have you seen my coffee mug...? + + WIGAND + Try the car. + +And Liane going outside... + +EXT. THE WIGANDS' HOUSE - EVENING + +She opens Jeffrey's car looking in the front seat at the cup holders. She turns to leave and sees the backseat filled with two boxes and the books we saw him take... + + LIANE + Uh, what are those boxes? + + WIGAND + I'm going to the store. You need anything? + + LIANE + What do you need at the store? + + WIGAND + Soy sauce... + + LIANE + Right now? + + WIGAND + (meaning in the car) + That's my stuff from the office... + + LIANE + Why did you take your stuff from the office? + + WIGAND + (simply) + I didn't want to leave it there... + + LIANE + (confused) + I don't understand. + + WIGAND + (matter of fact) + I got fired this morning... Where else am I gonna take it? + + LIANE + Why? Who said? + + WIGAND + (specifically) + Thomas Sandefur... + + LIANE + (stunned, fearful) + What are we supposed to do...? What about our medical coverage; what about our health? What about our car payments? The payments on this house? + +He looks at her. There's an unspoken moment when it seems he's desperate for her to ask how he's feeling... But she doesn't and now there's a wall up and the moment passes... + + WIGAND + (a beat, specific) + There's a severance agreement... It includes cash payouts over time and continuing medical coverage... + (beat) + Sure you don't need anything? + + LIANE + No, thank you. + +She's stunned. He leaves. And as Liane's completely still, her accessories seeming literally to weigh her down, she wants to ask how he is, how he must be feeling, and she turns into CAMERA towards him to do that. But he's driven off down the street. + + LIANE (cont'd) + Jeffrey...! + +INT. ANOTHER HOUSE IN BAALBEK - DAY + +The Sheikh, wearing a fresh white robe and skull cap, comes into the room... + + THE SHEIKH + I am very pleased to receive you as my guest, Mr. Wallace. + + MIKE WALLACE + Thank you for having us... + +REVERSE: Norman's camera crew is setting up. MIKE WALLACE is there. A dangerous combination of intelligence, arrogance, and celebrity, there's a kinetic quality about him. Wallace sits across from the Sheikh on a dais of patterned linoleum in incongruous armchairs against a wallpaper mural of a French formal garden. A Sound Technician wires the Sheikh and Mike with microphones. Norman says something to Lowell and then goes out. + + NORMAN + I think I've got a problem with the gennie. I have to go outside. + + LOWELL + (going outside) + Norman...? + +Mike turns his chair to face and slides it closer to the Sheikh's chair. The Head Bodyguard barks something in Arabic. The Interpreter says something back in Arabic. The Sheikh, absorbed in his notes for the upcoming interview, ignores all of this. + + INTERPRETER + He says you must not sit so close. + + MIKE WALLACE + What? + (re: Bodyguard) + I can't conduct an interview from back there. + +The Bodyguard, bristling at Wallace's tone, barks more confrontational Arabic. + + INTERPRETER + You must move back your chair. + + MIKE WALLACE + Will you tell him that when I conduct an interview, I sit anywhere I damn please! + + INTERPRETER + There is no interview. + +As Mike leaps forward, moving inches from the Bodyguard's face with such sudden ferocity, even the Bodyguard flinches. + + MIKE WALLACE + You! I'm talking to you! + +More armed men start to enter. + + MIKE WALLACE (cont'd) + What the hell do you think I am? A 78-year-old assassin? You think I'm gonna karate him to death with this notepad? + (to Interpreter) + Are you interpreting what I'm saying? + + INTERPRETER + Yes. + + LOWELL + We're there. + + MIKE WALLACE + Good, well ask him if Arabic is his second language. + + LOWELL + (to Interpreter) + Don't interpret that! + (to both) + Hold it. Hold it. Hold it! Slow, slow!! + (to the Sheikh) + Sheikh, do you mind...if you would just turn your chair a little bit to face Mr. Wallace? + +The Sheikh looks up from his notes, nods, fixes his chair, goes back to his notes... + + LOWELL (cont'd) + Is that okay? + + INTERPRETER + Okay. + + LOWELL + (Bodyguard assents; to Mike) + Are you ready? Or you want to keep fucking around and warm up some more...? + + MIKE WALLACE + No. + (wry) + ...that's got my heart started. + +They know each other well. Lowell smiles. Wallace sits down. + + LOWELL + Alright, Todd, give me the three-button on Mike, please. Okay. We are rolling. Okay, Mike. + +They roll camera... "60 Minutes"... "Hezbollah"... + + MIKE WALLACE + (charming) + Sheikh Fadlallah, thank you so much for seeing us. + (changes) + Are you a terrorist? + +The Sheikh didn't expect the Mike Wallace opening shot between the eyes. He recovers... + + THE SHEIKH + Mr. Wallace, I...am a servant of God. + +That expression of incredulity... + + MIKE WALLACE + A servant of God? Really... + +Mike, tipping his glasses down while the hostile Gunmen, cradling weapons, watch him through the doorway... + + MIKE WALLACE (CONT'D) + Americans believe that you, as an Islamic fundamentalist, that you are a leader who contributed to the bombing of the U.S. Embassy. + +The ballsiness of Wallace, asking these questions in this place, is impressive... + +EXT. BERKELEY - LATE MORNING + +It's still. A MAIL TRUCK is stopped at an odd angle in the street outside an older brick house with a bold redwood Big Sur-like fence on a hillside. Beyond the truck is a forever view of the Bay. A handle turns. Mail truck door opens. Mailman, carrying a box, going through the gate. Doorstep. Box is deposited there. It's quiet again. The BOX sitting nakedly by the front door... + +INT. LOWELL'S HOUSE, BEDROOM, BERKELEY - LATE MORNING + +Lowell, in sweat pants and an old tee shirt now, is on the telephone, still in bed... Newspapers, The New York Times, The Wall Street Journal, San Francisco Chronicle, are spread all over...home as refuge. A tray with large cups of coffee is on a side table. + + LOWELL + ...everyone thinks Canadian Mounties ride horses and rescue ladies from rapids, Mike. They backed locals in Oka in a fight with Mohawks over building a golf course on their burial site. They beat up protesters at Kanasake... + (pause) + Where'd you hear that? + +The other phone on a nightstand rings... A Woman in her forties, SHARON TILLER, enters, in a bathrobe, brushing her teeth. She answers it... + + LOWELL (cont'd) + (droll) + Oh, someone took a poll? "Are all things Canadian boring...?" + + SHARON + (to Lowell) + It's Stuart...he's in Mexico City... + + LOWELL + Let me call you back... + +He takes up the line...listening... + + LOWELL (CONT'D) + Yeah, Stuart... What New York bank? + +A young Man in his early twenties wanders in... + + JAKE + Hey Dad...Sharon... + +Lowell waves at JAKE, his son. + + SHARON + (to Jake) + No classes this morning? + + LOWELL + Will he go on-camera and talk about the Mexico City branch? + + JAKE + I don't have to be there until ten-thirty. + +Lowell's son sits on the bed looking at part of a newspaper. And another young Man, in his early twenties, with long hair comes strolling in, Sharon's son, JOSIAH. + + JOSIAH + Hi Mom, Lowell... + +Lowell, still on the phone, waves to him. + + SHARON + Hi, sweetheart... + +Josiah sits on the bed too, reading the back of the sports section Jake is reading... Another line rings, Sharon getting it. + +The Boys, used to them, get up, and leave... + + LOWELL + (into phone) + Will independent sources corroborate that? + + SHARON + Hello? Yeah... + +EXT. THE BERKELEY HOUSE - MORNING + +The Boys coming out of the house together... And seeing the BOX by the door... + + LOWELL'S SON + (shouts back inside) + Dad, you got a box out here... + +And they go out the gate, talking, walking off along the Berkeley street. The box left waiting by the door. + + LOWELL + (looking at her itinerary) + Let me see this... No, 'cause I gotta know where you're going at all times. + +INT. LOWELL'S HOUSE, BEDROOM, BERKELEY - MORNING + + SHARON + (into phone) + I can't... I've got to fly to Boston tomorrow. + +Lowell comes with the box back to bed. He's already unwrapped it. Inside are stacks of papers... He looks at the box cover. No return address. An anonymous sender; not unusual for him. He casually looks through the papers. + + SHARON (CONT'D) + Two p.m. Great. Bye-bye. + (hangs up) + + LOWELL + (reading) + ..."ignition propensity?" + (to Sharon) + ...you understand any of this...? + +He gives her some papers. We see formulas...scientific data in tables... + + SHARON + ...no...this looks like a table of temperatures... Who's this from? + + LOWELL + (shrugs) + ...it's anonymous. References to "P.M." + (motions) + It's got to be Philip Morris, huh? + + SHARON + I have to take a shower. + +As he looks at the papers, Sharon goes into the bathroom... + +INT. THE FEDERAL DRUG ADMINISTRATION AGENCY, CAFETERIA, WASHINGTON - DAY + +We see a MAN in his forties, eating a late lunch, getting paged in a crowded cafeteria. An old 1930's WPA mural on the wall... His pager goes off... Doug Oliver walks across the cafeteria to a bank of pay phones and dials. + +INT. LOWELL'S HOUSE, DEN - BERKELEY - MORNING + +The phone rings. Lowell picks it up... + + LOWELL + Yeah. + + DOUG OLIVER + (into phone) + Hi, this is Doug Oliver... + + LOWELL + Oh, hi, Doug...it's Lowell. I'm doing this story on fire safety... People burning up from falling asleep smoking. I received a shitload of scientific papers from inside Philip Morris... Anonymous. You or anybody in FDA know someone who can translate this stuff into English for me? + + DOUG OLIVER + (beat) + ...uh, yeah... + +EXT. A BERKELEY CAFE - CLOSE: PAY PHONE + +There's the sound of a phone ringing. PULL BACK to reveal Lowell outside a cafe with dry cleaning he collected over one shoulder. A LITTLE GIRL'S VOICE OVER (Deborah's) answers. "Hello." + + LOWELL + Mr. Wigand, please. + +There's a whisper..."Someone's calling for Daddy, Mom." Behind Lowell is a humming Berkeley street. He gestures familiarly to a Server, who brings out his two take-out cappuccinos. Lowell nods his thanks, pays... + + LOWELL (cont'd) + Thank you, Bob. + + LIANE'S VOICE (OVER) + Who's calling? + + LOWELL + My name's Lowell Bergman... I'm -- + + LIANE'S VOICE (OVER) + Did you say Berman? + + LOWELL + No, Bergman...B.E.R.G.M.A.N.... I'm a producer with "60 Minutes"... + + LIANE'S VOICE (OVER) + "60 Minutes"? + + LOWELL + Yeah. + + LIANE'S VOICE (OVER) + "60 Minutes," the television show? + + LOWELL + Yes. + +Lowell waits for some moments, and... + +INT. THE WIGANDS' HOUSE, LOUISVILLE - DAY + + LIANE + (on phone) + He doesn't want to talk to you. + +EXT./INT. BERKELEY CAFE - DAY + + LOWELL + How does he know he doesn't want to talk to me? He doesn't know what I'm calling him about... + + LIANE'S VOICE (OVER) + He doesn't care to know. + +And she hangs up. Lowell's motionless... And his interest piqued, he sets down his cleaning. He calls back... The phone rings and rings... A MACHINE picks it up... Jeffrey Wigand's Voice: "This is the Wigands'... If you'd like to leave a message or send a fax, start now..." + +INT. THE WIGAND HOUSE, JEFFREY'S OFFICE, LOUISVILLE - DAY + +And we see Jeffrey Wigand, sitting at his desk in his office, working on his computer, hearing Lowell... + + LOWELL'S VOICE (OVER) + (on the machine) + This is Lowell Bergman with "60 Minutes"... I'm doing a story on fire safety and cigarettes... I have scientific documents from a tobacco company, and I could use your help as a consultant explaining these documents to me... My number is area code 510-555-0199... I'll be there, at this number, in 10 minutes. + +He hangs up. Jeffrey doesn't react, quietly working on his computer. + +INT. LOWELL'S OFFICE, BERKELEY - DAY + +Lowell's restless, waiting... And not getting a call back, he tries another tack. He writes a FAX, "Please call me at..." He writes his number down. He sends the Fax. He's still. It's quiet. And not getting an answer he gets up, starting to leave the room. And suddenly the fax machine RINGS... He turns. He reads a message emerging from the machine..."I can't talk to you..." He's quiet. He writes on a piece of paper..."Can't talk to me?" "Won't talk to me?" "Don't want to talk to me...?" As he faxes it back... + +INT. THE WIGANDS' HOUSE, OFFICE, LOUISVILLE - DAY + +Wigand reading the return fax from Lowell... + +INT. LOWELL'S OFFICE, BERKELEY - DAY + +Lowell, waiting... The fax machine rings again... He reads Jeffrey's answer. "Can't." "Won't." "Don't want to..." He's quiet, more than just interested, now. There's something beyond intriguing here. He turns. He looks through a stack of phone books for something...a nationwide 800 directory. He looks through it and dials Wigand's phone number again... + + LOWELL + If you're curious to meet me... + +INT. WIGANDS' HOUSE, OFFICE, LOUISVILLE - DAY + +Wigand working on his computer... Lowell's VOICE on his answering machine... + + LOWELL'S VOICE (OVER) + (on machine) + ...I'm gonna be in the lobby of the Seelbach Hotel in Louisville, reading The New York Times, tomorrow, at five o'clock... + +Lowell clicks off. And as Wigand sits at his computer, giving no indication what he might do... + +INT. THE SEELBACH HOTEL LOBBY, LOUISVILLE, KENTUCKY - EARLY EVENING + +An old hotel with faded carpets. Lowell in the lobby reading a New York Times, waiting... And instead of looking up every time somebody passes, he looks down at people's shoes. A pair of black wing tips walking by... A woman's high heels... A pair of men's tasseled loafers. A lace-up brown. A pair of tennis shoes. A cordovan wing tip. The pair of tasseled loafers walking by again... And Lowell looks up... And the Man in the tasseled loafers, turns away... It's Jeffrey Wigand in a suit and a tie with a Fortune 500, corporate-executive bearing... Lowell crosses to the elevators. Wigand looks around the lobby and follows Lowell in, and as the doors close... + +INT. A HOTEL ROOM, LOUISVILLE - EARLY EVENING + + LOWELL (OVER) + Have you always lived in Louisville? + +Brilliant late afternoon sunlight. We PULL BACK to see Jeffrey, standing by a window, silently looking outside to the left... + +Lowell, cool, waiting, hands in his pockets, in the middle of the large room... + + WIGAND + Mr. Bergman? What did you want me to consult about? + +A sudden KNOCK on the door... + + WIGAND (CONT'D) + (turns, suspicious) + Who's that? + + LOWELL + (wry) + That's room service. They usually knock first. + (calls) + Come on in... Over here, please. + +Room Service brings in a tray with coffee. As Lowell signs the bill, the Room Service Waiter waiting, looks at Wigand... Their eyes meet... The Waiter looks away. + + LOWELL (cont'd) + Thank you. + +And the Waiter leaves... + + LOWELL (CONT'D) + (pouring) + How do you like your coffee? Black? + + WIGAND + Black, black... + +Lowell gives him his cup of coffee. + + WIGAND (CONT'D) + Look, I really don't have that much time... + + LOWELL + (nods) + Is there anything you want to know about me, Mr. Wigand...? + + WIGAND + Like what? Your sign? + +Lowell smiles. + + WIGAND (CONT'D) + I know what I have to know. + + LOWELL + Just so I know you know, when I talk to people in confidence, it stays that way. + + WIGAND + (abruptly) + How did a radical journalist from Ramparts Magazine end up at CBS? + +Lowell looks at him, he does his homework... + + LOWELL + I still do the tough stories. "60 Minutes" reaches a lot of people. + +Wigand's quiet, measuring him. + + WIGAND + (after a beat) + Let me see the documents... + +Lowell gives him the box of papers... Wigand sits down, the box on his lap, quietly looking through them...flips to a different heading, consults a chart... + + WIGAND (CONT'D) + ...this is a Fire-Safety Product Study for Philip Morris. Burn rates...ignition propensity...things of this nature. + (after a beat) + I could very easily explain this to you in layman's terms, because it's from another company... + +He puts the papers down... + + WIGAND (cont'd) + ...but that's as far as I go... + + LOWELL + Far as you go where? + + WIGAND + (a beat) + This issue is a drop in the bucket. I can talk to you about what's in here. But I can't talk to you about anything else. + +And Lowell knows something else is going on here... + + WIGAND (CONT'D) + (meaning Philip Morris documents) + I signed a confidentiality agreement. I honor agreements... + +A lot more is going on here... Lowell nods, a good reporter... + + WIGAND (CONT'D) + Doesn't CBS have confidentiality agreements, Mr. Bergman? + + LOWELL + Between journalists and management, yes, I believe they do...but I don't take that seriously. + (after a beat) + Where do you work? + + WIGAND + Did work. + + LOWELL + (fast) + Did work. + + WIGAND + (the bottom line) + How much would I get paid? + + LOWELL + That, you have to discuss with CBS Business Affairs. But, for something like this, I would say anywhere between 10, 12 thousand. + +Wigand nods "Okay." + + WIGAND + Should I just take the documents now? + + LOWELL + If you want to do it. + +He turns to leave... Lowell gets the door for him... Wigand momentarily slows... + + WIGAND + I worked as the head of Research and Development for Brown & Williamson Tobacco Company. I was a Corporate Vice President. Mr. Bergman... + +And he goes out the door... Lowell's still. Wigand's job title resonates. Lowell turns to the window, casually looking into the early evening...and he comes face to face with what Wigand was staring at, The Brown & Williamson Tobacco Company Headquarters Building, lit up right across the street... + +INT. CBS, A SCREENING ROOM - DAY + + MIKE WALLACE + (on screen) + "President Assad of Syria said that difficult obstacles remain but that his country, quote, 'looks forward to a great, long peace with Israel.'" + +TAIL LEADER. THEN BLACK. Suddenly lights come on. Executive Producer DON HEWITT is suddenly on his feet. + +A veritable dervish, in constant motion... + + DON HEWITT + (kissing Mike) + It's a Peabody, Mike. When you're dead and buried, Hezbollah is the one they're gonna remember you for... + +Mike, used to him, ignores him, getting up, turning to leave, Hewitt on his tail...while... + + LOWELL + (to his Editor) + ...come in earlier on Mike's Marine barracks line when he's talking to Sheikh Mussawi... + + MIKE WALLACE + You eating with us? + + LOWELL + Yeah. + + MIKE WALLACE + Bring a tie so they'll let us in the front door... + +And Lowell gestures for an olive-skinned Woman in her late thirties, Lowell's assistant, DEBBIE DELUCA, to join them. The eye contact on the way out says there's something important he needs to tell her... + +EXT. CBS - DAY + +There's a blast of NOISE. The City. Lowell, Wallace, Hewitt, Debbie, enter from the CBS lobby, moving through the reflections. Lowell is about to say something to Debbie, but BILL FELLING, Evening News' Assignment Editor, coming the other way... + + LOWELL + Debbie... + + FELLING + Hey, Lowell. + +Midstream, fast: + + LOWELL + Oh, Bill... Main Justice is investigating a major New York bank. Laundering narco dollars out of their Mexico City branch. You want it for the Evening News? + + FELLING + What about you, you got a crew already? + + LOWELL + I'm gonna do a follow-up. + + FELLING + Okay. + (leaves) + + LOWELL + Catch ya' later. + +EXT. 53RD STREET, NEW YORK - DAY + +Lowell, crossing... + + LOWELL + Debbie... + +And, now, as they cross Madison... + + LOWELL (CONT'D) + (to Debbie; finally) + I want you to get legal onto CORPORATE CONFIDENTIALITY AGREEMENTS. Boundaries of their constraint. Kentucky state law about. I want you to drop everything. + + DEBBIE DELUCA + (cuts in) + Okay. + +Hewitt stops to buy a newspaper. + +He doesn't have change, Debbie does. + +EXT. 55TH STREET (WESTBOUND), NEW YORK - DAY + +And Mike, Lowell and Don bang into Michael's restaurant. We SEE them through the glass, being greeted, people shaking their hands, escorted by the maitre d' to their table as... + +INT. THE BROWN & WILLIAMSON BUILDING, MAIN LOBBY, LOUISVILLE - DAY + +Meanwhile, it's static. Still, frozen. Jeffrey sits in the RECEPTION AREA of The Brown & Williamson Tobacco Company headquarters. Complimentary cigarettes are arranged on tables. A dark quiet. The hush of big business. Standing in the background by a wall next to the banks of elevators, is an ever-present Man, another one, with an earphone and lapel microphone... + + UNIFORMED SECURITY + (to Wigand) + Mr. Wigand, you can go up now... + +He gets up, crossing to an elevator. + +INT. THOMAS SANDEFUR'S OFFICE, BROWN & WILLIAMSON - DAY + + THOMAS SANDEFUR + (re: his distraction) + Sorry. I'm accepting an award from the Retinitis Pigmentosa Foundation. It's going to kill the rest of my day. + +THOMAS SANDEFUR is absorbed in spreadsheets of regional sales figures. Dark pouches are under his eyes. He doesn't look up. He doesn't look healthy. We're in a luxurious office with a view of Louisville. Jeffrey is waiting in a chair. Sandefur is Brown & Williamson's CEO. Two LAWYERS, their briefcases, like weapons, close at hand, sit on a couch. Their jackets are off. They wear expensive shirts. + + THOMAS SANDEFUR (cont'd) + (finishing; looking up at Jeffrey) + So. You had a chance to play golf? + +Surprisingly affable, Sandefur prides himself on his salesman's sunny manners. + +He has a mellifluous Georgia accent... + + THOMAS SANDEFUR (CONT'D) + (to the Lawyers) + Jeff's a premiere golfer... What are you, a two handicap? + + WIGAND + (precise) + Seven... + + THOMAS SANDEFUR + (to lawyer) + And, he gets out there and he has five strokes on us. He has more concentration than anybody I've ever met. It's spooky how he can concentrate. + + WIGAND + I'd rather play than talk about it. + (beat) + What did you want to see me about? I don't like being back here. + +Sandefur smiles, used to him. + + THOMAS SANDEFUR + Jeffrey says exactly what's on his mind. Most people consider what they're saying...social skills... Jeffrey just charges right ahead. + (smiles, after a beat) + Now, I know you understood the nature of the confidentiality portion of your severance agreement with Brown & Williamson, Jeff... + + WIGAND + Chapter and verse. + + THOMAS SANDEFUR + (nods) + Yeah, I know you do... + (beat) + You know, I came up through sales. One of the reasons I was a great salesman, was I never made a promise I couldn't keep. + (beat) + I knew that if I ever broke my promise I'd suffer the consequence... + +And there's a warning behind it... + + WIGAND + (contained) + Is that a threat? + + THOMAS SANDEFUR + ...we worked together for, what was it, three years...? Now, the work we did here is confidential, not for public scrutiny...any more than are one's family matters... + + WIGAND + (quietly) + You threatening my family, now, too? + + THOMAS SANDEFUR + Now, don't be paranoid, Jeff. + (a beat) + About the direction of research here, we may have had our differences of opinion... + + WIGAND + "Research..." + (smile + scorn) + You declare, as a badge of honor, you don't even know what makes water boil... + + THOMAS SANDEFUR + That's why we hire scientists... + + WIGAND + (interrupts, direct) + Okay. + (a beat, honest) + I don't believe you can maintain corporate integrity without confidentiality agreements. I was paid well for my work. The health and welfare benefits are good. The severance package is fair. I have no intention of violating my confidentiality agreement and disclosing that which I said I wouldn't. + + THOMAS SANDEFUR + I appreciate all that, Jeff. But, upon reflection...we've decided to expand our zone of comfort with you. + +And there's a seriousness that weighs heavily on the room... + + THOMAS SANDEFUR (CONT'D) + So we've drafted a supplement to your agreement...it broadly defines and expands in more detail what is "confidential." Nobody will be able to say, "Well, hell's bells, Margaret, I didn't know that was a secret..." + (beat) + We're very serious about protecting our interests. + (a beat) + We'd like you to sign it. + +And he's acutely aware of the threat behind it... + + WIGAND + (a beat) + And if I don't? + + A LAWYER + (speaking for Sandefur) + If we "arrive" at the conclusion you're acting in bad faith? We would terminate, right now, payouts under your severance package. You and your family's medical benefits. And initiate litigation against you, Mr. Wigand. + + WIGAND + Dr. Wigand. + + A LAWYER + (a beat) + Dr. Wigand...after you've examined the document, you will see it is in your own best interest and you'll sign it. + +Jeffrey slowly turns to face the attorney. And we see on his face the true nature of this man. + + WIGAND + So, what you are saying is: it isn't enough that you fired me. For no good reason! Now you question my integrity? On top of the humiliation of being fired? You threaten me?! You threaten my family?! + (beat) + It never crossed my mind not to honor my agreement... + (turning, to Sandefur) + But I will tell you, Mr. Sandefur, and Brown & Williamson, too... Fuck me? + (a beat) + Well, fuck you!! + +And with that he gets up, and leaves... And it's quiet... + + A LAWYER + I'm not sure he got the message... + + THOMAS SANDEFUR + (with total confidence) + Oh, I think he did. + +EXT. A PHONE BOOTH, LOUISVILLE - DAY + +Wigand picks up the phone and dials. + +INT. THE NEW YORK RESTAURANT - DAY + +They've finished lunch. Wallace and Hewitt are turned to talk to Sam Cohn and an older writer as suddenly Lowell's cell phone rings. + + LOWELL + (answering) + Yeah... + + WIGAND'S VOICE (OVER) + ...you fucked me! + + LOWELL + Who is this? + +EXT. A PHONE BOOTH, LOUISVILLE - DAY + + WIGAND + (crazed) + ...protect your sources...! You screwed me! You sold me out! + +INT. THE NEW YORK RESTAURANT - DAY + + LOWELL + What are you talking about? Where are you? + +EXT. THE PHONE BOOTH, LOUISVILLE - DAY + + WIGAND + Fuck you, too! + +And he slams down the phone. + +INT. THE RESTAURANT, NEW YORK - DAY + +Lowell, holding the dead phone in his hand... + +EXT. A GOLF DRIVING RANGE, LOUISVILLE - NIGHT + +We see a brightly lit, golf driving range, empty, the wet grass under the lights vibrant, emerald green... A caged cart, with one big yellow headlight, like some kind of strange insect, drives across the range, picking up golf balls. And we see Jeffrey hitting golf balls, driving one after another, after another... His swing is powerful, angry, a lone golfer, trying to chill out. He pauses, spent. Settling down, he exhales. Then, he looks down the way... And he slows... He sees in the far distance, spot-lit, one other lone golfer, a Stocky Man, incongruously in a suit and tie, watching him... And the Man in the suit right then, with great power and a tremendous follow through drives a golf ball... The ball slamming into the steel net. And the lights SUDDENLY go out. The range closing for the night. The "insect" comes to a stop. And it's quiet, dark. Jeffrey gathers up his clubs. He crosses, his golf shoes, the metal cleats, clicking on the pavement, toward the PARKING LOT. And there's the sound of the clicking of golf shoes behind him. He turns. And the stocky Man in the suit, carrying a golf bag walking some distance behind him, staring at him. Jeffrey comes to the parking lot. It's empty. Just Jeffrey's car, and despite all the empty spaces, another car, purposely or otherwise, parked right next to his. He crosses to his car, getting in... + +INT. WIGAND'S CAR - NIGHT + +He drops the three clubs in the rear seat and settles behind the wheel. He turns. And he sees the Man in the suit has gotten in the car next to his. They look at each other. The Man, in no hurry, lights a cigarette, relaxes. It's malevolent as hell. And Jeffrey, suddenly, grabbing a golf club, jumps out of his car... + +EXT. THE PARKING LOT, DRIVING RANGE, LOUISVILLE - NIGHT + +Golf club in hand at the driver side window... + + WIGAND + (motioning with the club, threatening) + Stay away from me! You stay away from me! + +The Man starts his car, and drives off nonplussed. It's still. And as Jeffrey with the golf club stands in the empty parking lot, not knowing what's threatening him, something real, something imaginary... + +EXT. THE WIGAND HOUSE, LOUISVILLE - WIDE SHOT: WIGANDS' HOUSE - EARLY MORNING + +A violent rain's falling. And we see Jeffrey coming out of the house holding an umbrella over his little Girls. They start towards the car. There's the sound of a car door shutting. Liane, carrying lunch boxes, comes after them... + + LIANE + Jeffrey, you forgot their lunches -- + +She slows, seeing someone. Jeffrey turns: it's Lowell. He's surprised. + + LOWELL + Mrs. Wigand, how do you do? + + WIGAND + (to the girls, protectively) + Jump in, quick, c'mon... + + LOWELL + I'm Lowell Bergman. We spoke on the phone, remember? + +The Girls climb in the car. Lowell crosses behind the Audi around the far side. + + LOWELL (CONT'D) + C'mere. I want to talk to you. + + WIGAND + Good. I want to talk to you. + +Jeff closes the door on his daughters and joins Lowell around the far side of the car. + + WIGAND (CONT'D) + (confronting him) + What do... + + LOWELL + (running over) + I did not burn you. I did not give you up to anyone! + + WIGAND + (continuing) + This is my house... In front of my wife, my kids?! What business do we have? + + LOWELL + To straighten something out with you. Right here. Right now. + + WIGAND + So, you didn't mention my name? You haven't talked to anybody about me? + + LOWELL + Why am I gonna mention your name? + + WIGAND + How did Brown & Williamson know I spoke to you...? + + LOWELL + How the hell do I know about Brown & Williamson? + + WIGAND + It happened after I talked to you. I do not like coincidences! + + LOWELL + And I don't like paranoid accusations! I'm a journalist. Think. Use your head. How do I operate as a journalist by screwing the people who could provide me with information before they provided me with it? + + WIGAND + (skeptical) + You came all the way down here to tell me that? + + LOWELL + No. I did not. Big Tobacco is a big story. And you got something important to say. I can tell. + (a beat, personal) + But, yes. I did. I came all the way down here to tell you: story, no story, fuck your story, I don't burn people. + +It starts to rain harder. They look at each other. Jeffrey, without saying a word, gets in the Car. He backs out. Lowell, left standing in the driveway with Liane in the rain. Liane goes back into the house. And Lowell starts back across the street to his car. There's a sound. He turns. Jeffrey's car, having gone around the corner, has come back and stopped in the street. + + WIGAND + (after a beat) + Ride with me while I take the girls to school... + +Lowell hesitates, then gets into the car in the back seat. + +INT. WIGAND'S CAR - MORNING + +They drive away. Lowell, incongruously sitting in the back seat with Barbara. Jeffrey and Deborah in the front seat. And it's quiet, just the sound of the wipers on the window. And as Lowell rides with them... + +EXT. A RIVERSIDE PARKING LOT IN LOUISVILLE - WIDE REAR SHOT - MORNING + +We see the Car's parked in a weed-strewn empty lot. Rain, pounding on it and the surface of the river beyond... + + WIGAND'S VOICE (OVER) + ...and my little girl has acute asthma... Deborah. My eldest daughter. + +INT. WIGAND'S CAR, LOUISVILLE - REAR TWO SHOT - MORNING + +The Girls are gone. We enter mid-scene. Lowell's still in the back seat... + + WIGAND (CONT'D) + And, I'm unemployed. So I have to protect my medical coverage. + (the bottom line; turning to look at Lowell in the rear seat) + ...so I left them a message this morning. Their expanded confidentiality agreement? I will sign it. + + LOWELL + They're afraid of you, aren't they? + + WIGAND + They should be. + +The sound of the rain... + + LOWELL + (after a beat, trying to make it easier for him) + Talk to me outside the zone of your agreement? + + WIGAND + (guarded) + Like what? + + LOWELL + Like where'd you work before Brown & Williamson? + + WIGAND + (a beat) + Johnson & Johnson. Union Carbide in Japan. I was general manager and director of new products. I speak Japanese. I was a director of corporate development at Pfizer. All health-related. + (wry) + What else? Outside the "zone"...? + + LOWELL + I don't know...you think the Knicks are gonna make it through the semi-finals? + +Wigand smiles...as their eyes meet in the rear view mirror. A subtle connection... It passes... + +DISSOLVE TO: + +INT. WIGAND'S CAR - WIDE FRONTAL - DAY + +Jeff's car in the field, the giant Colgate-Palmolive clock behind. The rain stopped. Steam rises from the weed strewn empty lot. Lowell's in the front seat. And we get the feeling they've been talking for hours... + + LOWELL'S VOICE (OVER) + Just give me an example... + + WIGAND + For example. James Burke, the CEO of Johnson & Johnson...when he found out that some lunatic had put poison in Tylenol bottles, he didn't argue with the FDA... He didn't even wait for the FDA to tell him. He just pulled Tylenol off every shelf of every store right across America. Instantly. And then he developed the safety cap... Because, look, as a CEO, sure, he's gotta be a great businessman, right? But he's also a man of science. He's not going to allow his company...to put on the shelf...a product that might hurt people. + (sarcastic) + Not like the Seven Dwarfs... + + LOWELL + Seven dwarfs? + + WIGAND + The seven CEOs of Big Tobacco...they got up in front of Congress that time...it was on television... + + LOWELL + ...and swore under oath that they know nothing about addiction, disease... + + WIGAND + It was on C-SPAN. Yeah. + + LOWELL + Okay, so, here you are...you go to work for tobacco. + (after beat) + You come from corporate cultures where research, really, creative thinking, these are core values. You go to tobacco... Tobacco is a sales culture. Market and sell enormous volume. Go to a lot of golf tournaments. The hell with everything else. + (beat) + What are you doing? Why are you working for "tobacco" in the first place? + + WIGAND + (deadly honest) + I can't talk about it. The work I was supposed to do...might have had some positive effect. I don't know...it could have been beneficial. + (bitterness there) + Mostly, I got paid a lot. I took the money. My wife was happy. My kids had good medical. Good schools. Got a great house. + (simply) + I mean, what the hell is wrong with that...? + +He looks at Lowell, as if needing validation... + + LOWELL + Nothing's wrong with that. That's it; you're making money...you're providing for your family? What could be wrong with that? + +It's quiet. After some moments... + + WIGAND + I've always thought of myself...as a man of science. That's what's wrong with it. + + LOWELL + Then...you're in a state of conflict, Jeff. + +Jeffrey doesn't say anything. + + LOWELL (CONT'D) + Because, look, here's how it lays out: if you got vital, insider stuff the American people for their welfare really do need to know...and you feel impelled to disclose it and violate your agreement in doing so, that's one thing. On the other hand, if you want to honor this agreement, then that's simple. You do so. You say nothing. You do nothing. There's only one guy who can figure that out for you. And that's you. All by yourself. + +Lowell's evenhanded...is it too evenhanded? As Wigand contemplates the edge he's standing on, they're quiet. Then Wigand sees the time... + + WIGAND + I've got to go pick up the girls. They only had half a day... + +Lowell nods. Jeffrey starts the car. The windshield wipers screech on a dry window. Their eyes meet. As they drive off...we HOLD on the Colgate-Palmolive Clock. + +INT. A KITCHEN AREA, CBS OFFICES, NEW YORK - DAY + +We've entered mid-scene... A monitor on a cart plays a 1/2-inch VCR of a C-SPAN broadcast. Seven CEOs of Big Tobacco... in front of a bas relief of the American eagle. Each in turn swears nicotine is not addictive or he doesn't know anything about health risks, they're not sure, maybe, maybe not, etc.... + + LOWELL (OVER) + He referred to this...the Seven Dwarfs... + + MIKE WALLACE (OVER) + What "Seven Dwarfs?" + + LOWELL (OVER) + The seven CEOs of Big Tobacco... Referred to this... Said they should be afraid of him... I assume, afraid of what he could reveal. + (to Staff Lawyers) + Now, you tell me. What does this guy have to say that threatens these people? + +And, now, we see Lowell, Mike Wallace and Debbie DeLuca with two staff Lawyers, MARK STERN and JOHN HARRIS, sitting around a workstation used as an improvised eating area. Beyond them are the "60 MINUTES" offices, workstations, piles of material, television monitors hanging from the ceiling, all tuned to CBS programming... + + MIKE WALLACE + Well, it isn't "cigarettes are bad for you"... + + LOWELL + Hardly new news. + + MIKE WALLACE + No shit. + + LOWELL + What's this? + + MARK STERN + (re: video) + What that is is tobacco's standard defense. It's the "we don't know" litany: "Addiction? We believe not. Disease? We don't know. We take a bunch of leaves, roll 'em together. You smoke 'em. After that? You're on your own. We don't know." + (beat) + So...tells me nothing. + (beat) + Besides, you'll never get what he's got. + + LOWELL + Why not? + + JOHN HARRIS + Because of this guy's confidentiality agreement, he is never gonna be able to talk to you. + + LOWELL + That's not good enough. This guy is the top scientist in the number three tobacco company in America. He's a corporate officer. You never get whistle-blowers from Fortune 500 companies. This guy is the ultimate insider. He's got something to say; he wants to say it; I want it on "60 Minutes." + + JOHN HARRIS + Doesn't matter what he wants. + + MIKE WALLACE + Am I missing something here? + + JOHN HARRIS + What do you mean, Mike? + + MIKE WALLACE + He's got a corporate secrecy agreement? Give me a break. This is a public-health issue, like an unsafe airframe on a passenger jet or...some company dumping cyanide into the East River. Issues like that? He can talk, we can air it. They've got no right to hide behind a corporate agreement. + (re: his coffee) + Pass the milk... + + JOHN HARRIS + (does) + They don't need the right. They've got the money. + + MARK STERN + The unlimited checkbook. That's how Big Tobacco wins every time. On everything. They spend you to death. $600 million a year in outside legal. Chadbourne-Parke. Ken Starr's firm, Kirkland and Ellis. Listen. GM and Ford, they get nailed after 11 or 12 pick-ups blow up. Right? These clowns have never...I mean ever... + + JOHN HARRIS + Not even once... + + MARK STERN + ...not even with hundreds of thousands dying each year from an illness related to their product...have ever lost a personal-injury lawsuit. On this case, they'll issue gag orders, sue for breach, anticipatory breach, enjoin him, you, us, his pet dog, the dog's veterinarian... Tie him up in litigation for ten or fifteen years. I'm telling you, they bat a thousand. Every time. He knows that. That's why he's not gonna talk to you... + +Lowell's been quiet, thinking about something else... Now... + + LOWELL + Okay, let's look through the looking glass the other way... + + MIKE WALLACE + What do you mean? + + LOWELL + We got a guy...who wants to talk but he's constrained. + (beat) + What if he were "compelled"? + + MIKE WALLACE + (eating) + Oh, torture? Great ratings. + + MARK STERN + What do you mean compelled? + + LOWELL + (seriously) + I mean compelled by a Justice Department, state courts, be a witness. That would cut through any confidentiality agreement, wouldn't it? + + MARK STERN + Yeah... + + DEBBIE DELUCA + What does that do? + + LOWELL + What do you mean, what's it do? + + DEBBIE DELUCA + What I mean is, like, how does it cut through the confidentiality agreement? + + LOWELL + Because he has to reveal it in a court of law. It's on record, it's out. It's no secret anymore. So how can they restrain his speech or retaliate? It's out in the world... + + MARK STERN + (nods) + If you could engineer it into the court record, you might have something. They would have a helluva time trying to restrain his speech then, wouldn't they? + +Pause. + + JOHN HARRIS + (still skeptical) + Yeah, but what venue? And where does he get - does he have killer attorneys? + + LOWELL + I don't think he's got any attorneys. + + MARK STERN + He's gonna need attorneys who aren't afraid of risking years of litigation. And millions of dollars of their own dough in legal costs... + + LOWELL + What do you say, Mike? What do you think? + + MIKE WALLACE + (pause) + Even if he gets the defense team, will he go for it? + +INT. A HIGH SCHOOL CAFETERIA, LOUISVILLE - DAY + + MRS. WATSON + ...you're awfully overqualified, Dr. Wigand. + +The aftermath of a high school lunch. Tables, covered with litter, as far as the eye can see. And we see Jeffrey sitting with a formidable Black Woman in her mid-fifties, the High School Principal, CYNTHIA WATSON, drinking cups of coffee... + + WIGAND + (after a beat, awkward) + I'm trying to...start a new career... I believe I could be a good teacher... + +She's quiet. She senses this applicant has a lot on his mind. + + MRS. WATSON + Let me give it some thought... + + WIGAND + (selling) + ...and not a lot of companies in the health-care field hire ex-tobacco scientists. + +She nods, studying him. They get up. + +INT. THE WIGANDS' HOUSE, LOUISVILLE - DAY + +The house is nearly empty. Liane, arms folded across her chest, is quietly standing in the empty living room. Jeffrey comes down the stairs... + + WIGAND + That's it... + +And it's quiet. And Liane holds herself, overcome... + + LIANE + (beat) + That's where our babies were born... Debbie took her first steps, right there...in the grass. + +And they're quiet. + + LIANE (CONT'D) + I didn't plan on this... + +Liane looks at him, afraid. And as he moves to hold her. + + WIGAND + Hey, hey, hey, c'mon. C'mon. We can make this work for us. Okay? It's just...it's a smaller scale. Simpler...easier...more time. More time together. More time with the kids. More time for us, okay? It's just... Can you imagine me coming home from some job feeling good at the end of the day? This is gonna be better. This is gonna be better. + +And instead of this downturn turning them against each other, it brings them closer together. And as they stand in the empty house... + +INT. THE WIGANDS' NEW HOUSE - DAY + +We see unpacked boxes in the small 1970's kitchen. Country-western music is playing on a radio. And we see Liane busily putting things away in a cabinet. And, then, stops and looks out the window. She tightens a knob on a cabinet. There's a moment of domestic peace for her as she sees... + +EXT. THE WIGANDS' NEW HOUSE, THE BACKYARD - DAY + +Jeffrey with the Girls in a part of the backyard, kneeling in the dirt, planting a vegetable garden, putting in some small tomato trellises. We see the house, now. It's a small, one story. Deborah sees her mom and waves. It's an image from the 1950's post-war boom. Liane waves back from behind the pane of glass... + +INT. WIGANDS' HOUSE #2, BEDROOM - LATE NIGHT + +Jeffrey's asleep on his side next to Liane, her back to him. His arm is draped over her, protectively. There's a sound. He turns. And he sees Barbara in her nightgown, standing in the doorway... + + WIGAND + Hey, baby. What's wrong? + + BARBARA + (terrified, whispers) + What's that outside, Daddy? + + WIGAND + Did you see somebody or did you hear them? + + BARBARA + I heard them. + + WIGAND + Where? + + BARBARA + In the backyard. + +Fast, soundlessly, he's out of bed into old moccasins and trousers... + +INT. THE WIGANDS' HOUSE, BASEMENT - LATE NIGHT + +Jeffrey goes into a corner of the basement, around the corner from the furnace, where his "office" is now. Unpacked boxes are on the floor. He fumbles with the combination lock on a small gun safe, lifts the lid, taking out a hand gun. Barbara followed him. + + WIGAND + Sit at Daddy's desk, okay? Why don't you just sit up at the desk. Get out some paper and draw me a picture, okay? What are you gonna draw me, baby? An animal, something like that? You stay down here until Daddy gets back...alright, Barbara? You stay down here. + +He keeps it hidden from Barbara. He goes up the stairs. + +EXT. WIGANDS' HOUSE #2, BACKYARD - LATE NIGHT + +It's still. He steps further out onto the lawn with its dark shrubs and small tree in the corner. + +INT. WIGANDS' HOUSE #2, BASEMENT - LATE NIGHT + +Meanwhile, Barbara in the basement, starts as the water heater comes on, scaring her. She goes up the stairs to follow after her father... + +EXT. WIGANDS' HOUSE #2, BACKYARD - LATE NIGHT + +Meanwhile, Jeffrey has crossed towards the darker back corners. Sudden rustling. He spins, gun ready. And the yellow eyes of a RACCOON stare at him. + + WIGAND + (to himself) + You almost got your damn head blown off... + +The raccoon defiantly bares its teeth. Jeffrey starts to go...but he sees something and stops... Meanwhile, Barbara has come to the sliding glass door... Jeffrey sees one of the tomato trellises is crushed, stepped on...and in the vegetable garden's earth, are distinct, fresh, deep FOOTPRINTS... + + BARBARA'S VOICE (OVER) + Daddy... + +Wigand steps between her and the garden, hiding it... EXTREMELY CLOSE ON JEFFREY, as he covers, trying to keep from his daughter the invasion, trying to control his emotions... + + WIGAND + (reassuring her) + It's just a raccoon, baby...nothing. + +He crosses to her, putting his arm, around her, walking her back inside... + + WIGAND (CONT'D) + They're nocturnal. You know what that means? That means that they only come out at nighttime. + +He locks the sliding glass door, takes a last look outside. + +INT. LOWELL'S HOUSE IN BERKELEY - LATE AT NIGHT + +The Phone suddenly RINGS. Lowell asleep, alone... He gets it... + + LOWELL + (sleepy) + Yeah... + +INT. WIGANDS' NEW HOUSE, HALLWAY - LATE AT NIGHT + +It's dark, save a light from the living room. Liane, in bed, seemingly sleeping. And we see Jeffrey, just outside their door in the foyer, sitting on the floor against a curved wall, a drink at his side on the telephone... A man with no one to talk to... + + WIGAND + (after a beat) + Lowell... Jeffrey Wigand... + +INT. LOWELL'S HOUSE, BERKELEY - LATE AT NIGHT + +Lowell sits up... + + WIGAND'S VOICE (OVER) + Is it too late? + + LOWELL + No. No, it's okay... How's - how's the new place? + +INT. THE WIGANDS' NEW HOUSE - LATE AT NIGHT + + WIGAND + The new place? New. + +INT. LOWELL'S HOUSE, BERKELEY - LATE AT NIGHT + + LOWELL + (intuiting) + You okay? + + WIGAND'S VOICE (OVER) + Sure. + +Lowell knows he isn't... + + LOWELL + You know, I was thinking of calling you tomorrow, anyway. + (beat) + How are your kids handling the new house? + +INT. WIGANDS' NEW HOUSE, LOUISVILLE - LATE AT NIGHT + + WIGAND + Good. + (beat) + You have kids? + + LOWELL'S VOICE (OVER) + We have a couple. One's hers, one's mine. Everybody uses a different name. + (wry) + Modern marriage. + (beat) + How's Liane? + + WIGAND + She's okay. + +He looks at Liane for beat. We SEE his POV in medium shot. Then he moves and sits on the floor in the living room. + + WIGAND (CONT'D) + Hold on a minute, Lowell... + (after a beat) + ...somebody...may be following me. I don't know. They came on the property... + + LOWELL'S VOICE (OVER) + What do you mean followed you? Did you call the police? + + WIGAND + I don't want to be paranoid... I mean, maybe it's a game. Some kind of mind game. + + LOWELL'S VOICE (OVER) + Well, what do you really think, though? + + WIGAND + I don't know what the fuck I really think! Are they doing it? Is some crank doing it? Are they doing it to make me feel paranoid? Are they doing it for real and don't give a shit what I think? I don't know! I don't fucking know. + +And it's quiet again. + +INT. LOWELL'S HOUSE, BERKELEY - LATE AT NIGHT + +Lowell sitting in bed on the phone, alarmed, sharing Wigand's fears. + + LOWELL + Jeffrey, describe for me in detail what happened. + +INT. WIGANDS' HOUSE, LOUISVILLE - LATE NIGHT + +And Jeffrey's emotions are back in check as... + + WIGAND + Well, no, look...I mean, there was a footprint. Forget it. It's probably not important at all. + (beat) + You know, I got a job now. I'm teaching high school. Japanese and Chemistry. + (beat) + So, what were you calling about? + + LOWELL'S VOICE (OVER) + You called me. + +He takes another drink... + + WIGAND + No, you said you were going to call me tomorrow. So, what about? + + LOWELL + (after a beat) + Oh, yes, yes, yes, I did...I wanted to talk to you. I wanted to hook up and talk to you. About what we were talking about in your car. + + WIGAND + ...okay. + + LOWELL + (after a beat) + Makes you feel good? Putting what you know to use? + +Jeffrey's impressed by Lowell's perceptivity... + + WIGAND + How'd you know that, Lowell? + + LOWELL + It's obvious, isn't it? + +He looks at Liane in the next room, asleep. + + LOWELL (CONT'D) + Hello. You there + + WIGAND + Yeah... Look, thanks for talking. I'm sorry I woke you up. + + LOWELL + It's okay. + +Jeffrey hesitates, holding the phone, then he hangs up...but the phone RINGS right away. + + WIGAND + Lowell...? + +But there's thick silence. + + WIGAND (CONT'D) + Who is this? Do not call here! Do not... + +They hang up. And he realizes he's talking to a DIAL TONE. He hangs up. And as he sits in the patch of light from a street lamp, the gun in his hand on his lap, to be up all night guarding his family... + +INT. THEIR BEDROOM - LATE NIGHT + +And past Liane's sleeping form down the hall into the living room is her husband, his back to her, sitting in the trapezoid of light. And as we DOLLY along her side, we come upon her face and discover she's been up all along and her eyes are pressed shut, her hands over her ears...her reaction to his raging on the phone. She's far from "OKAY." + +INT. A JAPANESE RESTAURANT, WASHINGTON D.C. - NIGHT + +And we see Lowell and Wigand sitting in their stocking feet at a traditional Japanese table in a private screened room... A traditionally-dressed Japanese Waitress waiting to take their order... Wigand conversing with her in Japanese... The Waitress formally nods, and leaves... + + LOWELL + What did you get us? + + WIGAND + Tempura... + +And Wigand drinks some more saki. + + WIGAND (cont'd) + The internet said you did graduate work in Wisconsin, then went to UC La Jolla with Professor...Marcus? + + LOWELL + Marcuse. Yeah. He was my mentor. He had a major influence on the New Left in the late '60s...and on me, personally. + + WIGAND + Next to your father? + + LOWELL + My father? What the hell's that got to do with my father? + + WIGAND + Is that why you became a journalist? Then you get to ask all the questions? + + LOWELL + You charge by the hour? + + WIGAND + My father was a mechanical engineer...most ingenious man I ever knew. + + LOWELL + Well, my father left us when I was five years old. He was not the most ingenious man I ever knew... Let's get back to Brown & Williamson. If you decide to go on "60 Minutes," I got to know everything about why you got fired. + + WIGAND + Why? + + LOWELL + They're gonna dig up stuff from your past, they're gonna throw it at you. I got to know what they're gonna throw. You understand? + + WIGAND + (concedes) + I drink. A couple of occasions more than I should have. + (thinks) + I was cited for shoplifting once. But it was a mistake... + (hesitant, after a beat) + I pushed Liane one time. We were both stressed out because of the pressure. She went to her mother's. + (out of the blue) + I got fired because when I get angry I have difficulty censoring myself. And I don't like to be pushed around! + + LOWELL + I'm not pushing you around! + (after a beat) + I'm asking you questions. + + WIGAND + I'm just a commodity to you, aren't I? I could be anything. Right? Anything worth putting on between commercials... + + LOWELL + (honest) + ...to a network, probably, we're all commodities. + (beat) + To me? You are not a commodity. What you are is important. + +And he's begun to consciously or unconsciously "sell"... + + LOWELL (cont'd) + You go public and thirty-million people hear what you got to say, nothing, I mean nothing, will ever be the same again. + +Wigand doesn't react. + + LOWELL (cont'd) + You believe that? + + WIGAND + (skeptical) + No. + + LOWELL + You should. Because when you're done, a judgment is going to go down in the court of public opinion, my friend. And that's the power you have. + + WIGAND + You believe that? + + LOWELL + I believe that? Yes, I believe that. + + WIGAND + You believe that because you get information out to people...something happens? + + LOWELL + Yes. + + WIGAND + Maybe that's just what you've been telling yourself all these years to justify having a good job? Having status? And maybe for the audience, it's just voyeurism? Something to do on a Sunday night. And maybe it won't change a fucking thing. And people like myself and my family are left hung out to dry. Used up! Broke, alone! + + LOWELL + Are you talking to me or did somebody else just walk in here?! I never abandoned a source! + + WIGAND + I don't think you really understand -- + + LOWELL + (running over) + No, don't evade a choice you gotta make by questioning my reputation or "60 Minutes'" with this cheap skepticism! + + WIGAND + I have to put my family's welfare on the line here, my friend! And what are you puttin' up? You're puttin' up words! + + LOWELL + Words! While you've been dickin' around at fucking company golf tournaments, I been out in the world, giving my word and backing it up with action. + +Lowell is getting very close, in spite of the value of Wigand, to telling Jeff to take his story and stick it up his ass. + + LOWELL (cont'd) + Now, are you going to go do this thing, or not? + +Wigand abruptly rises... + + WIGAND + (surprisingly mild) + I said I'd call the kids before they went to bed. Onisa... + +And turning, he crosses the restaurant. And that's where it hangs. + +INT. A CBS EDITING SUITE, NEW YORK - DAY + +And we see we're watching footage in an on-line editing bay from what we will learn is Lowell's "N.O.P.D. Blue" on police corruption in New Orleans. Lowell, TONY BALDO (his editor), Debbie and an intense YOUNG MAN wearing glasses, an Intern, looking at the cut. All the police are on horseback, lots of cops on horses. + +Lowell is waiting for a call to go through... + + LOWELL + The stringer was supposed to be shooting B-roll on street cops in New Orleans. What's with all the horses? + + TONY BALDO + Camera guy's got a thing about mounted police. + + LOWELL + (re: horses) + Don't any of these guys ride in cars or walk? + + TONY BALDO + How long did he stay on this? + + LOWELL + What was he seeing? + + DEBBIE DELUCA + (into phone) + Yes, hello... I'm trying to reach Mr. Richard Scruggs... + +INT. A LEAR JET - DAY + +And we see the PILOT, a fit-looking, unassuming man, wearing aviator glasses, in his late forties. A heavyset Man in his forties, riding up in the co-pilot's seat we'll come to know as RON MOTLEY. The Pilot's on a headset... He has a distinctive Southern accent... + + THE PILOT + This is Richard Scruggs... + + DEBBIE DELUCA + Could you hold on one second, please? + (to Lowell) + Lowell, I got him on the phone. + + LOWELL'S VOICE (OVER) + Hello, I'm Lowell Bergman. + + RICHARD SCRUGGS + Hold on... Mobile approach...this is Lear November 643. Over. + + CONTROL OPERATOR'S VOICE (OVER) + Go ahead 643. + + RICHARD SCRUGGS + (after a beat) + Request a flight level 220, on a heading of 284 degrees. Over. + (after a beat) + Mr. Bergman? + + LOWELL + Yes, I'm right here. Could you call me back on a hard line? + + RICHARD SCRUGGS + Alright. + + LOWELL + Area code 212-555-0199. + + RICHARD SCRUGGS + I'll call you then. + +INT. A LOUNGE, PRIVATE AVIATION TERMINAL - DAY + +Through the window, we see Scruggs' plane being refueled while Scruggs and Motley in a run-down lounge are talking on a SPEAKER PHONE with Lowell. They've taken over the Secretary's office for privacy. + + LOWELL + (re: footage) + What do we do with that? + +The phone rings. + + DEBBIE DELUCA + I don't know. + + RICHARD SCRUGGS' VOICE (OVER) + Richard Scruggs... + + LOWELL + ...you filed a lawsuit against tobacco on behalf of the State of Mississippi, did you not? + + RICHARD SCRUGGS + (nods) + That's right... + + LOWELL + (after a beat) + Well, I'm working with someone, now, who was the former head of research at Brown & Williamson, a former corporate officer there. + + RICHARD SCRUGGS + What's your interest in this, Mr. Bergman? + + LOWELL + Well, he may tape an interview with us. And, we believe if his testimony showed up in a court record first, it would free him up from his confidentiality agreement and give him some protection. + + MOTLEY + It could work. If it's public record, it's public record. + + LOWELL + Yeah, and he's going to need legal representation. + + MOTLEY + He sure as hell will. + + RICHARD SCRUGGS + (a beat) + Has he decided to go public? Because let me tell you, we've been doing this for three years now, and we've worked with a lot of corporate cases involving whistle-blowers, so we know... Big Tobacco will do everything in their power to stop him. So, is your man truly committed? + + LOWELL + Well, actually, no. Well, he's on the fence. That's the point. + +Scruggs and Motley exchange a look... Motley shrugs... + + RICHARD SCRUGGS + Well, we'd certainly be interested in making his acquaintance, but without knowing what he's going to do... + + LOWELL + Well, would you want him to call you? Or, you want to call him? How do you want to do it? + + RICHARD SCRUGGS + (no nonsense) + It would be better if he called us. + + LOWELL + Yeah. + + RICHARD SCRUGGS + Alright? + + LOWELL + Okay. Thank you. + +At this moment, these two attorneys are unsold on the prospect of Jeffrey Wigand. + +Scruggs disconnects. + + LOWELL (cont'd) + Shit... + +INT. CBS EDITING SUITE, NEW YORK - DAY + + LOWELL + (contemplating phone; to Debbie re: show) + Oh, we need cops on the street. We don't need them on horses. + + DEBBIE DELUCA + I don't know what he was thinking. + + LOWELL + Oh, for God's sake, what has this guy got, a horse fetish? + + DEBBIE DELUCA + Alright, alright. + + LOWELL + Get me to New Orleans this afternoon. I'll shoot the fucking thing myself! + +TIGHTEN on mounted New Orleans police at crime scene, herding crowd. + +INT. THE WIGANDS' NEW HOUSE, KITCHEN - TWILIGHT + +Liane cooking dinner, making pasta. Ingredients, diced tomato, basil, are neatly ordered. She's waiting for water to boil. The kids are doing homework on the round table in the kitchenette. It's an idle moment. She's dazed-out watching them. + + DEBORAH + What are you cooking? + + LIANE + I'm cooking pasta primavera. + + DEBORAH + Oh, I love that stuff. + +And now she hears from the basement the BELL RING on Jeffrey's computer. It's a tiny bell, incessant... She crosses to the basement stairs. + + LIANE + I'm going to have to go downstairs. + +INT. WIGANDS' NEW HOUSE, BASEMENT OFFICE - NIGHT + +Liane down the stairs, approaching Jeffrey's computer. And she SEES an incoming E-mail icon - a large letter with wings - flying repetitively across the screen. The bell RINGING is louder. She calls-up the E-mail... On the screen in large RED letters: WE WILL KILL YOU. WE WILL KILL ALL OF YOU. SHUT THE FUCK UP. And now Liane is shouting and running up the stairs and... + + LIANE + Debbie, Barbara... Debbie! + +EXT. THE WIGANDS' HOUSE, LOUISVILLE - EVENING + +Jeffrey, having arrived home from work, pulls the mail out of the mailbox, now stands, frozen, staring at something... And he sees, standing upright in the back of the mail box, like a monument of threat, a single hollow point .38 CALIBER BULLET. He freezes... And simultaneously... Liane and the Girls are running toward him...like in a bad fucking dream. He's looking at them. Liane is saying something about E-mail, but his slow-motion attention is still arrested by the statuesque bullet. As they close on him... + +EXT. NEW ORLEANS, THE FRENCH QUARTER - NIGHT + +And we see Lowell lit by FLASHING POLICE LIGHTS. We're at a crime scene. Uniformed cops on horseback. Just arrived, the Cameraman's unloading his gear, preparing to shoot B-roll. + + LOWELL + What happened? + + COP + Dispatch received a call of shots fired in the area. Uniforms arrived on the scene and found this white male subject shot to death. + + LOWELL + Was it gang related? + + COP + There's no indication as far as a tag or an advertisement... + +Police moving around as Lowell's cell phone RINGS... + + LOWELL + (answering) + Excuse me. Yeah... + +INT. WIGANDS' HOUSE, BEDROOM - NIGHT + + WIGAND + They're terrorizing us. Death threats?! To my family? My kids?! + + LOWELL'S VOICE (OVER) + What are you talking about? + + WIGAND + Someone put a bullet in my mailbox. + + LOWELL + Jeff, call the FBI right away... + + WIGAND + They do this with impunity! + + LOWELL + Jeff... + + WIGAND + They get to go home at night. What does it cost these people to do this to us? Nothing?! My girls are crying, so fuck them! I want to tape! I'm done thinking about it. + + LOWELL'S VOICE (OVER) + (frustrated) + I heard you. But I got to arrange a legal defense first. I got to get you to testify in court, get it on public record. + + WIGAND + (cuts in) + Then hold it off the air until you got that. But I want to go to New York. And I want to go on the record. Right now! + + LOWELL + Good. But Jeff... + + WIGAND + I'll call them, Lowell. + +INT. WIGAND'S HOUSE, LOUISVILLE - NIGHT + +And two older, local FBI AGENTS #1 and #2 are sitting with Jeffrey in his living room... + + FBI AGENT #2 + Did you handle the round, Mr. Wigand? + + WIGAND + Yes, I'm afraid I did. + + FBI AGENT #1 + We won't be able to lift usable prints. + + FBI AGENT #2 + Do you own a gun, Mr. Wigand? + + WIGAND + A gun? Yes. + + FBI AGENT #2 + What caliber is your gun? + + WIGAND + What caliber is my gun? + + FBI AGENT #2 + Yes, sir. What caliber is your gun? + + WIGAND + (a dawning realization) + What does that have to do with the price of tea in China? + +Now one of the kids is crying, Liane trying to calm her, takes her out of the room. + + WIGAND (CONT'D) + (a beat, realizing) + You think I put that bullet in the mailbox myself...? + + FBI AGENT #2 + If we could take a look, Mr. Wigand... + +And he gets up... They follow him into the bedroom. He unlocks the side drawer on his night stand, taking out a gun, giving it to one of the Agents. + + FBI AGENT #1 + Why do you keep this gun? + + WIGAND + I don't think it's unconstitutional yet to own a gun. I'm a target shooter. + + FBI AGENT #2 + That bullet was for a .38 caliber. Do you own a .38? + + WIGAND + Yes, I do. A .38 Target Master. In my gun safe downstairs. A .45 Gold Cup. A .22 target pistol. So what? + + FBI AGENT #2 + (after a beat) + Do you have a history of emotional problems, Mr. Wigand? + + WIGAND + Yes. Yes, I do. + (beat) + Yes, I get extremely emotional when assholes put bullets in my mailbox...! + +And we hear Liane's voice from downstairs... + + LIANE'S VOICE (OVER) + (upset) + I didn't tell you that so you could just pick it up and take it away. Jeffrey! + +And we see Liane following FBI Agent #3, coming up the stairs from the basement, and the Agent is carrying Jeffrey's computer... + + WIGAND + What's going on? + + LIANE + I told him that you had an E-mail death threat that said if you didn't shut the "F" up, they were going to kill you... + +Agent #3 starts out of the house with the computer followed by #2. + +Jeffrey runs out after them. + +EXT. THE WIGANDS' HOUSE - NIGHT + + WIGAND + (outraged) + You can't take that... It's personal property...! + + FBI AGENT #2 (OR #3) + We have a search warrant, Mr. Wigand. There's been a death threat. + + WIGAND + (after him) + ...my files! Personal correspondence... + +Agent #3 ignores him, putting the computer in the trunk of their car. + +And FBI Agent #1, the .38 bullet in a baggie, comes out of the house. + + WIGAND (CONT'D) + ...letters to my brother...my will. + +His shoes slip on the grass and he falls. And the FBI are getting into their car. And NEIGHBORS have come out, watching them. Liane and the girls, standing halfway down the front lawn, the neighbors looking at them. She and Jeffrey look at each other. Will she go to him or not? She goes to him as he rises... + + WIGAND (cont'd) + That computer has everything... + + FBI AGENT #2 + You alright, Mr. Wigand? + + FBI AGENT #1 + We need to take a look at your gun safe, Mr. Wigand. + +EXT. NEW ORLEANS, THE FRENCH QUARTER - NIGHT + + LOWELL + (interrupts) + I'm telling you, your agents in that office are acting improperly! Now, who are they trying to protect? + +And we see a Man in his early forties, a neatly-dressed man who prides himself on his appearance, at his desk in the Bureau (FBI). BILL ROBERTSON. He's completely distracted, focused on agent travel orders... + + BILL ROBERTSON'S VOICE (OVER) + Let me tell you something, Lowell. Look, look, look. You're talking about two agents in a regional office in Louisville. I got the goddamn Unabomber threatening to blow up LAX! I gotta move 45 agents from all over the country into L.A. Alright? When I get a chance, I'll give it a look... + + LOWELL + (heated) + You better take a good look! Because I'm getting two things: pissed off and curious! Now, any of these guys been offered jobs in corporate security after they retire? Either one of those guys have ex-agent pals already in those jobs? Like, for instance, their ex-supervisor, who's already at Brown & Williamson as we fucking speak? + +INT. BILL ROBERTSON'S OFFICE, WASHINGTON - NIGHT + + BILL ROBERTSON + (beat) + I'll give it a look. + + LOWELL + You're getting my drift? + + BILL ROBERTSON + I'll give it a look. + +He hangs up. + +INT. DINING ROOM, THE FOUR SEASONS HOTEL, NEW YORK - NIGHT + +And we slide by some elegant diners to fall onto Lowell and Mike Wallace with Jeffrey and Liane in the Hotel's dining room, having ordered dinner. + + LOWELL + So, is everything okay? + + MIKE WALLACE + How are the rooms? Comfortable? + + LIANE + (to Mike) + Yes, very. You know, I enjoy your work so much...when you're talking to somebody, I always feel like I'm right there. + +And she laughs... + + MIKE WALLACE + Thank you for saying that... + + LOWELL + Do you think we could talk about the taping? Tomorrow's taping, just so we can get it out of the way and order... + + MIKE WALLACE + Yeah, well, questions will go toward what work you did there, why you were fired. And others will deal... + + LIANE + (not sure she quite heard) + ...taping? + (beat) + What are you taping? + + WIGAND + I'm doing an interview. + + LIANE + (whispers) + An interview! Do you know what they will do to us...! I thought... Sorry. + +But she suddenly gets up and leaves, hurrying out of the dining room. + +And Jeffrey oddly doesn't move. + + LOWELL + (trying to intervene) + Liane, this is a preliminary... + (after a beat) + You didn't tell her we were taping? What did she think she was coming to New York for? + + WIGAND + ...to talk about it. To think about it. I had a plan to ease her into it. But, I really - I didn't know how to do that... + +Jeffrey abruptly crosses to the nearby Bar. + + LOWELL + Oh, man. + + MIKE WALLACE + Who are these people? + + LOWELL + (frustrated) + Ordinary people! Under extraordinary pressure, Mike. What the hell do you expect? Grace and consistency? + +And Lowell leaves the table. And as Mike Wallace sits at the table, looking around, wondering what the fuck he's doing there. + +INT. THE BATHROOM, NEW YORK HOTEL - NIGHT + +Liane folds her arms protectively across her chest... + +INT. A STUDIO, CBS - MORNING + +And we see a small TAPING STUDIO separated by flats and black curtains from other CBS News sets. Cameras are set up. + +INT. THE STUDIO, CBS - DAY + +And we enter mid-scene on Jeffrey in a more formal demeanor, sitting in a chair, Mike Wallace sitting across from him, under the lights, taping an interview. Lowell, off camera. + + MIKE WALLACE + You heard Mr. Sandefur say before Congress that he believed nicotine was not addictive...? + + WIGAND + (nods) + ...I believe Mr. Sandefur perjured himself because I watched those testimonies very carefully. + +Lowell's reaction. Jeffrey's statements are stunning and powerful revelations...and dangerous ones to make. + + MIKE WALLACE + All of us did. There was this whole line of people...whole line of CEOs up there all swearing. + + WIGAND + Part of the reason I'm here is I felt that their representation clearly misstated, at least within Brown & Williamson's representation, clearly misstated...what is common language within the company...we are in the nicotine delivery business. + + MIKE WALLACE + And that's what cigarettes are for...? + + WIGAND + A delivery device for nicotine. + + MIKE WALLACE + A delivery device for nicotine. Put it in your mouth, light it up, and you're gonna get your fix... + + WIGAND + You're gonna get your fix... + + MIKE WALLACE + You're saying that Brown & Williamson manipulates and adjusts the nicotine fix, not by artificially adding nicotine, but by enhancing the effect of nicotine through the use of chemical elements such as ammonia... + + WIGAND + (nods) + The process is known as "impact boosting..." While not spiking nicotine, they clearly manipulate it. There's extensive use of this technology, known as "ammonia chemistry." It allows for the nicotine to be more rapidly absorbed in the lung and therefore affect the brain and central nervous system. + +INT. THE STUDIO, CBS - LATER + + WIGAND + The straw that broke the camel's back for me and really put me in trouble with Sandefur was a compound called "coumarin." When I came on board at B&W, they had tried to transition from coumarin to a similar flavor that would give the same taste, and had been unsuccessful. I wanted it out immediately. I was told that it would affect sales, so I should mind my own business. I constructed a memo to Mr. Sandefur indicating I could not in conscience continue with coumarin in a product that we now knew, we had documentation, was similar to coumadin, a lung-specific carcinogen... + + MIKE WALLACE + And you sent the document forward to Sandefur? + + WIGAND + I sent the document forward to Sandefur. I was told that we would continue to work on a substitute, we weren't going to remove it as it would impact sales, and that that was his decision. + + MIKE WALLACE + In other words, you were charging Sandefur and Brown & Williamson with ignoring health considerations consciously... + + WIGAND + Most certainly. + + MIKE WALLACE + And on March 24, Thomas Sandefur, CEO of Brown & Williamson had you fired. And the reason he gave you? + + WIGAND + Poor communication skills. + + MIKE WALLACE + And, do you wish you hadn't come forward? You wish you hadn't blown the whistle? + + WIGAND + Yeah, there are times I wish I hadn't done it. There are times I feel compelled to do it. If you asked me would I do it again? Do I think it's worth it? Yeah, I think it's worth it. + +INT. A HIGH SCHOOL SCIENCE CLASS, LOUISVILLE - AFTERNOON + +Not too many kids paying attention. Meanwhile, Jeffrey has written his name on the blackboard. + + WIGAND + Hi. + + KIDS + (in unison) + Hi. + + WIGAND + My name is Jeff Wigand. You can call me Mr. Wigand; you can call me Dr. Wigand--I have a Ph.D. in biochemistry and endocrinology; you can call me Jeff... + (beat) + Anything else you want to call me...you'll have to do so in private... + (a few kids smile) + Okay... I find chemistry to be magical. I find it an adventure. An exploration into the building blocks of our physical universe... + (beat) + So, how many of you have taken chemistry before? + +Nobody raises their hands. + + WIGAND (CONT'D) + (easy smile) + Okay...I've never taught it before, so we're gonna be fine. + +A couple of laughs... And we feel Jeffrey, for the first time is in a milieu that suits him. + + WIGAND (cont'd) + Our first experiment is... + (holds up cigarette lighter) + ...going to be measuring the molecular weight of butane... + +INT. SCRUGGS' OFFICE + +Scruggs' office is decorated with watercolors of Phantom jets and A-6s as Scruggs takes off his glasses... + + CHARLENE + He's on line three. + +INT. HIGH SCHOOL CORRIDOR + +Jeffrey Wigand is on a pay phone in the corridor crowded with students... + + RICHARD SCRUGGS + Hello. + + WIGAND + Mr. Scruggs, Jeff Wigand. Lowell Bergman said I should give you a call... + +INT. SCRUGGS' OFFICE + + RICHARD SCRUGGS + My co-counsel, Ron Motley, and I have filed a lawsuit against the tobacco industry on behalf of the State of Mississippi to get the state reimbursed Medicaid costs for treating people with smoking-related illness. + (beat) + If you'd be interested in talking to us, we'd certainly like to talk to you... + + WIGAND + When should we do this? + +EXT. WIGAND'S HOUSE #2, LOUISVILLE - TWILIGHT + +Jeffrey drives up the block and onto his driveway. Seeing a MAN in a suit, an ear piece in his ear, disappearing around the corner of his house, Jeffrey leaps out of the car. But the front door's open. So instead of chasing after, he runs inside... + +INT. THE WIGAND'S HOUSE, LIVING ROOM - DAY/TWILIGHT + +And he sees another Man is in the living room... + + WIGAND + Who the hell are you?! What are you doing in my house?! + +And he sees Lowell enter from the dining room... + + LOWELL + It's okay, Jeff. + + SECURITY GUARD + Mr. Wigand, you need to speak to... + + LOWELL + (wry) + It's okay. You got your own security now... + +Wigand catches his breath. + + WIGAND + Lowell, I can't afford -- + + LOWELL + ...they "volunteered." A friend owns a large security company. + + TALIFARO + How are you doing, Mr. Wigand? I'm Jon Talifaro. There'll be three of us on detail. + + LIANE + (crossing through) + I'm going to the store. Please explain our new "houseguests" to your children. + +And Wigand looks at Lowell... Barbara comes into the living room and holds onto her father's leg. + + WIGAND + I called Richard Scruggs in Mississippi... + + LOWELL + I heard. + + WIGAND + I'm going to be a witness for them in their litigation. So I'm going to fly to Pascagoula to give a deposition... + + LOWELL + I know. I'm going to go there tonight... + + WIGAND + Did you have a good day? + + DEBORAH + Yes, I did. I had a great day. + + WIGAND + Coffee, Lowell? + + LOWELL + Yeah. + (to kids) + Want to play that game we were playing before? You know, I think you got it up to five. I was ahead of you. + +She goes over and holds his hand. And as he holds her hand, seeing what his life has become, he looks up and his glance connects with Lowell... + +INT. THE KITCHEN, THE WIGANDS' HOUSE - NIGHT + +We see out the window a Security Guard, incongruous, walking by. And we see Liane, finished with the dinner dishes, silently wiping off the sink. There's a pall you could cut with a knife. A moment, and Jeffrey comes in the kitchen door from the garden... He stops to wash his hands in the sink. + + LIANE + Please don't wash your hands in the sink. + + WIGAND + Where should I wash them? + + LIANE + Use the bathroom. + + WIGAND + What's the difference... + + LIANE + That's for food. + +But he ignores her, washing his hands... + +And she turns the water off. He turns it back on. He thinks, then turns it off. Then she turns it on. + + LIANE (cont'd) + Leave it on! Just leave it on, okay?! + +And she turns and leaves the room, coldly, all her anger repressed. For Jeffrey, everything else and now this? The running faucet. + +EXT. THE WIGANDS' HOUSE, LOUISVILLE - LATE NIGHT + +The house on the quiet suburban street. A Security Guard, incongruous, a noticeable bulge where his shoulder holster is, sitting watch under the porch light on the small front porch in a metal porch chair. + +INT. THE BASEMENT, THE WIGANDS' HOUSE - LATE NIGHT + +And we see Jeffrey, unable to sleep, sitting at his desk, alone in the basement, listening to classical music. He instinctively turns. And he sees Liane, in her bathrobe, has come down to sit on the basement stairs. He looks over at her. And he thinks she's come down to make up. And all she really wants him to do is say, "I need you..." But he can't... And like ships that pass in the night, nothing's said. It's quiet. She puts her hands protectively in her robe pockets. And she starts to cry... + + LIANE + I don't think I can do this... I want to stand by my husband... I really do, Jeffrey. But I don't think I can do this anymore. I am so sorry... + + WIGAND + Can we talk about this when I get back? + + LIANE + Yes...Jeffrey. + +She goes back up the stairs. And as Jeffrey sits in the basement, and the music plays. + +INT. THE LOUISVILLE AIRPORT - DAY + +We see Jeffrey and his Security Man. He passes a small Filipino Woman in a nurse's uniform and a Man in clerical garb, who hands him a small American Flag, asking for donations. And, now, he passes through the metal detector. He nods thanks and walks towards us, relaxing, looking behind every so often to see if anybody is following him. As he passes Gate 3, he HEARS over his shoulder... + + THE MAN + (friendly) + Jeff...? + +Jeffrey turns and the Man throws a sheaf of SUBPOENAS at his chest... + + THE MAN (CONT'D) + (nasty) + You've been served. + +And he turns and walks off. And as Jeffrey looks down at the subpoenas... + +INT. RICHARD SCRUGGS' KITCHEN - 7:00 A.M. + +Jeffrey is sitting with Scruggs and Motley in Scruggs' kitchen around a semi-circular counter. Coffee and sweet rolls. It's casual. No one's dressed for court. Scruggs has been looking through the sheaf of subpoenas. About Motley, we sense power held in reserve. + + RICHARD SCRUGGS + Now, what this one is, is a temporary restraining order, a gag order, issued by a Kentucky court. + +Meanwhile, a movie-star handsome man in shirtsleeves and a tie, a coffee cup in his hand, enters and sits casually on the arm of a chair. + + RICHARD SCRUGGS (CONT'D) + (introducing) + Jeff Wigand, Michael Moore. + + MICHAEL MOORE + Good to meet you, Dr. Wigand. + + RICHARD SCRUGGS + Mike's our Attorney General down here. + (to Moore) + I was just explaining to Jeff, they got a Kentucky court to issue a gag order to stop his deposition today. + + MICHAEL MOORE + Right. + + RICHARD SCRUGGS + Now, they tried to get the Mississippi Court to honor it, but the judge threw it out... + (to Jeffrey) + However, for you, there is a more perilous effect to the Kentucky gag order... + + MICHAEL MOORE + (after a beat) + Dr. Wigand, you do understand what could happen, don't you? + + WIGAND + I'm not free to testify...here...? + + MOTLEY + That's right. If you violate the Kentucky order, when you step foot back in Kentucky, they can find you in contempt and they can incarcerate you. And you ought to know that. + +And Jeffrey fairly turns white, it's never occurred to him he might go to jail... + + WIGAND + Jail? + + RICHARD SCRUGGS + Possibly, yes. That is one of the possible consequences of your testifying here today. That's right... + + WIGAND + How does one..."go...to...jail?" What does my family do? Go on welfare? If my wife has to work? Who's going to look after the kids? Put food on the table? My children need me. If I'm not teaching...there's no medical...no medical...even on co-pay, that's like... Tuition... + + MICHAEL MOORE + Dr. Wigand, listen, you may not be able to do this thing. As I understand from Dick, you're our key witness. And, I hope you don't withdraw. I guess we'd all understand if you did... + (at watch) + Guys, I've got to go. I'm gonna be late for court. I'll see y'all a little later. Dr. Wigand, good luck. + +He leaves. And Jeffrey's quiet, frightened. Having shaken the departing Moore's hand, he now turns away from Scruggs and Motley, thinking about consequences. + + RICHARD SCRUGGS + I know what you're facing, Jeff. And, I think I know how you're feeling... + +Jeffrey's skeptical anybody could know "how it is"... + + RICHARD SCRUGGS (CONT'D) + (low, personal) + In the Navy I flew A-6's off carriers... In combat, events have a duration of seconds, sometimes minutes... But what you're going through goes on day in and day out. Whether you're ready for it or not, week in, week out... Month after month after month. Whether you're up or whether you're down. You're assaulted psychologically. You're assaulted financially, which is its own special kind of violence. Because it's directed at your kids...what school can you afford... How will that affect their lives. You're asking yourself: Will that limit what they may become? You feel your whole family's future's compromised...held hostage... + (after a beat) + I do know how it is. + +EXT. RICHARD SCRUGGS' HOUSE, PASCAGOULA, MISSISSIPPI - DAY + +A white, traditional, Southern house, with a veranda and gables...a large front lawn with weeping willows. And we see Lowell, hands in his pockets, not an insider or an outsider, waiting alone on the expansive lawn. The front door opens. A Mississippi State Trooper, putting on his round brimmed hat comes out and crosses the driveway. Then Jeffrey coming out with Motley. Motley talks to him on the veranda for a moment and then heads towards his car. Meanwhile, Jeffrey comes down over to Lowell on the lawn. And Jeffrey looks off, across the street from the house, at the Gulf. And we see the street is blockaded by Mississippi State Police cars. An armed camp. Other men in suits, Lawyers and state officials, wait. Ron Motley gets in his car and drives away. + + LOWELL + You attract a crowd. + + WIGAND + (smiles, wry) + Yeah, great. + + LOWELL + I heard about the Kentucky gag order... + + WIGAND + I don't know what to do. + +And they're quiet, a breeze of the Gulf ruffling their coats... He looks out at the water, a cargo container ship passing by. He watches its slow progress... And Jeffrey quietly starts to walk off across the lawn, hands in his pockets, shoulders bent, head down, thinking... And Richard Scruggs comes out, tying his tie, to wait beside Lowell... + +EXT. COURTHOUSE, CANTY STREET, PASCAGOULA, MISSISSIPPI - DAY + +Motley's car parks, and he and an Assistant are approached by a flurry of media from the parking lot behind us, crossing Canty Street to intercept him. And we SEE the lot is jammed with Mercedes-Benzes, Town Cars and limousines belonging to the 150-200 Big Tobacco, Wall Street lawyers. Some hang out by their cars, killing time. It's a tailgate party. Beyond them are trucks and vans with satellite dishes supporting the media circus. They're all here for Jeff's deposition. The scale of it dwarfs the plebeian storefront with its sign "Temporary Jackson County Courthouse"...into which Motley enters... + +EXT. RICHARD SCRUGGS' HOUSE, PASCAGOULA, MISSISSIPPI - DAY + +Jeffrey contemplating. + +INT. COURTROOM, PASCAGOULA, MISSISSIPPI - DAY + +One TOBACCO LAWYER, an Edward Bennett-type while waiting is on his cell phone... + + TOBACCO LAWYER + (into phone) + Hold on a second... + (seeing Motley enter; to Jr. Lawyer) + Would you please ask Mr. Motley if he expects his witness to appear or not...? + +JR. LAWYER crosses to Motley. + +EXT. SCRUGGS' HOUSE, DOCK - DAY + +Jeffrey alone on the jetty, looking out to sea. Trying to decide, trying to untangle identity and consequence. A moment. He turns, crossing to Lowell and Scruggs. Then. it's the three men, standing on the lawn. Time seems to slow...all of them aware it's a critical decision, personally and historically... + + WIGAND + (severely conflicted) + I can't seem to find...the criteria to decide. It's too big a decision to make without being resolved...in my own mind. + +They're quiet. Jeffrey, getting nowhere. Lowell offers... + + LOWELL + Maybe things have changed... + +Long pause on Jeffrey as he contemplates his future. + +And something just got resolved. He asks Lowell, rhetorically... + + WIGAND + What's changed? + + LOWELL + (unsure) + You mean...since this morning? + + WIGAND + No. I mean since whenever... Nothing's changed. + +Wigand looks at them. He found his own answer. + + WIGAND (CONT'D) + Fuck it. Let's go to court. + +And Dick Scruggs and Lowell look at this normal, somewhat flawed, very courageous man... + + RICHARD SCRUGGS + (to unseen staff) + Dr. Wigand would like to leave now. + +And there's a sudden flurry of activity. Jeffrey and Scruggs walk to a Mississippi State Police car. Lowell gets into his car and drives away, separately. Police, State Officials, run to their cars. Cars starting, lights flashing, Wigand's car pulls into position. + +INT. SCRUGGS' CAR - JEFFREY - DAY + +in the back seat with Scruggs. The driver's a State Policeman. Jeffrey watches the small town of empty lots, old buildings, a 1930's Deco school pass by. It's all heightened, especially vivid to his eyes somehow. And he exhales heavily to calm himself, to focus... + +EXT. THE COURTHOUSE, PASCAGOULA, MISSISSIPPI - DAY + +Some of the Tobacco Lawyers, their jackets off, still hanging across Canty Street by their cars. And now they see the police lights turning, coming around a corner, moving towards the courthouse. The caravan stops. First, Scruggs gets out. A moment, then Jeffrey appears. And the Reporters pounce on Jeffrey, cameras flashing...Mississippi Police leading him through the crowd... Moore appears at courtroom door (already there). And as he's whisked away into the courtroom. + +INT. THE COURTROOM, PASCAGOULA, MISSISSIPPI - DAY + +The tobacco lawyers become dead quiet. Cell phones are hung up. Newspapers are put away. Jackets are donned. This is now very serious business. Motley meets Jeffrey, all eyes on him. + + MOTLEY + Okay, Jeff, I'm going to sit you down at that table over there. I'm going to start as fast as possible. I don't want to give them a chance to get another restraining order, okay? Let's go. + + MICHAEL MOORE + Good luck, Doc. + +Motley calmly motions Wigand to take a chair. He settles in. + + STENOGRAPHER + Please stand. Raise your right hand... Do you swear to tell the truth, the whole truth and nothing but the truth, so help you God? + + WIGAND + I do. + + STENOGRAPHER + You may be seated. + + MOTLEY + You understand, Dr. Wigand, you are under oath. This is a sworn deposition. There's no judge. It's not a trial. + (understatement of the century) + Will you state your name for the record. + + WIGAND + (after a beat) + Jeffrey S. Wigand. + +He spells it for them... + +EXT. THE COURTHOUSE, PASCAGOULA, MISSISSIPPI - DAY + +Lowell, waiting with the other journalists... + + PHOTOGRAPHER + Got any idea what's going on in there? + + LOWELL + No, I don't have a clue. + +INT. THE COURTROOM, PASCAGOULA, MISSISSIPPI - DAY + +Motley still conducting the inquiry... And the tobacco lawyers, like a pack of dogs, waiting to pounce... + + WIGAND + That is correct. + + MOTLEY + In other words, it acts as a drug? + + TOBACCO LAWYER + Object to the form of the question! + + MOTLEY + It acts as a drug on the body? + + TOBACCO LAWYER + Object to the form! + + MOTLEY + It acts as a... + + TOBACCO LAWYER + Object! + + MOTLEY + There an echo in here? Your objection's been recorded. She typed it into her little machine over there. It's on the record. So now I'll proceed with my deposition of my witness. Does it act as a drug? + + TOBACCO LAWYER + (shouts) + Dr. Wigand. I am instructing you... + (to Wigand) + ...not to answer that question in accordance to the terms of the contractual obligations undertaken by you not to disclose any information about your work at the Brown & Williamson Tobacco Company. And in accordance with the force and effect of the temporary restraining order that has been entered against you to by the court in the State of Kentucky! That means you don't talk! + (beat) + Mr. Motley, we have rights, here... + + MOTLEY + (explodes) + Oh, you got rights and lefts! Ups and downs and middles! So what?! You don't get to instruct anything around here! This is not North Carolina, not South Carolina nor Kentucky. This is the sovereign State of Mississippi's proceeding. Wipe that smirk off your face! Dr. Wigand's deposition will be part of this record. And I'm going to take my witness' testimony! Whether the hell you like it or not! + (to Wigand) + Answer the question, Dr... + + WIGAND + (slams it home) + Yes. It produces a physiological response, which meets the definition of a drug! Nicotine is associated with impact, with satisfaction. It has a pharmacological effect that crosses the blood-brain barrier intact... + + MOTLEY + Thank you, Doctor. Thank you. + +EXT. THE SCRUGGS' HOUSE, PASCAGOULA, MISSISSIPPI - NIGHT + +Lowell stands on the porch looking out at the rain. There's a slight sound. He turns. And Jeffrey's come outside. He stands leaning on the porch railing, looking out at the rain and windswept trees. They're quiet. They share a look. They nod to each other. The smallest nod of accomplishment. And they're there on the porch, alone, outside the house in Pascagoula, Mississippi. + +INT. CBS EDITING ROOM, NEW YORK - AFTERNOON + +We see Lowell, unusually buoyant in the same clothes as yesterday. He's working with Tony Baldo on a cut of the show, the net result of his architecture of events, his combination of persuasion and integrity... We see on the Avid monitor a single of Jeffrey... + + WIGAND + (on monitor) + "Part of the reason I'm here is I felt that their representation clearly, at least within..." + + LOWELL + Run that Sandefur piece on "nicotine's not addictive." Run that on-camera. Then cut right to Wigand with "I believe they perjured..." Then go wide to the CEOs all taking the oath. Back on Jeff and play the pause after the word "felt" on the B-side... + +Widen to include Debbie DeLuca, the Intern, two other Editors, Felling. + +They have gathered behind Lowell in the doorway. This is a hot show and it's generated excitement among Lowell's co-workers. And while Baldo cuts, we see... + +INT. CBS, CORRIDOR OUTSIDE EDITING ROOM - DAY + +!...the group has spilled out the doorway, watching Lowell's story come together. Beyond them, approaching, is Mike Wallace, coming to work... + + BILL FELLING + (leaving) + ...helluva show, Mike. Explosive material. + +People separate as Mike pushes in. + +Lowell sees Mike. While Tony Baldo is making the edits on the Avid... + + LOWELL + (to Mike) + It went great in Mississippi, Mike. + + MIKE WALLACE + Good. + +Don Hewitt enters from the corridor without jacket. + + DON HEWITT + I heard Wigand's deposition got sealed. + + LOWELL + Yeah, they argued he was going to reveal the secret formula of "Kools" to the world. + (seriously) + "Sealed" doesn't hurt Scruggs' litigation, and since we're the only ones with the story, I believe we're sitting on an exclusive. + + MIKE WALLACE + I like that... + + DON HEWITT + Corporate has some questions. We've got a meeting at Black Rock first thing in the morning. + + LOWELL + When's the air date? + + DEBBIE DELUCA + (to Lowell) + Excuse me, Lowell. Sharon's on line 3. + + LOWELL + Tell her I'll call her back in ten. + + BALDO + Here we go. + +Baldo now runs Lowell's edit of the above sequence. + +And we SEE THE IMMEDIATE IMPACT. Sandefur in CLOSE-UP states "I believe that nicotine is not addictive." Wigand in matching CLOSE-UP states "I believe he perjured himself." Then all seven CEOs of Big Tobacco stand up and raise their hands and take an oath in front of Congress to tell the truth while Wallace says "...the whole line of people, the whole line of CEO's up there, all swearing that." And Wigand says off-screen with great emphasis "Part of the reason I'm here is I FELT"...and it cuts to Wigand for a pause that makes the word "FELT" resound and, then, he goes on to say on-camera "that their representation clearly misstated what they commonly knew. We're a nicotine delivery business." We see the combination of art and truth woven into impact that has an audacity that's stirring and beautiful... + +EXT. LOUISVILLE - DUSK + +We see an anonymous rental car moving through downtown Louisville. + +INT. THE RENTAL CAR - NIGHT + +It's Jeffrey in the front seat, driven by one of his security men. He's coming home under the cover of darkness. They pass a FLAMING CAR on the freeway shoulder. Jeffrey turns to stare at it. They turn off onto city streets and stop at a light. Jeffrey's nervous. Jeffrey instinctively turns. A Police Car stops alongside. The Policeman looks at him. Eyes meet. Jeffrey looks away. The signal takes forever. It changes. And as the Police Car moves off... + +EXT. WIGANDS' HOUSE - NIGHT + +The car's stopped at the curb. Jeffrey gets out. He starts up the walk, and the Second Security Guard quickly crosses the lawn to intercept him... And Jeff opens the door going inside, anxious to be home... + +INT. WIGANDS' HOUSE - NIGHT + +The house is quiet, dark. Too quiet. Too dark. Something isn't right. He crosses to one of the children's rooms...the master bedroom. The lights are on. Both rooms are empty. He goes into the kitchen and sees a note that's been left for him... He opens it. He sits heavily in a chair, reading the note. The Security Guard peers... And as Jeffrey sits in the silent house, the hero come home... + +INT. THE CONFERENCE ROOM, CBS - DAY + +We're at a table. Mike and Lowell laugh at some joke while HELEN CAPERELLI, CBS GENERAL COUNSEL, enters with the President of CBS News, ERIC KLUSTER. + + HELEN CAPERELLI + Shall I send for coffee? Sorry I'm late. + + MIKE WALLACE + No, no, we're fine... + + HELEN CAPERELLI + Are you sure? + +Also there is Don Hewitt. Caperelli is too well put together, too practiced, too polished. + +They nod. They don't need coffee. + + HELEN CAPERELLI (CONT'D) + Alright, I thought we'd get together because there's a legal concept that has been getting some new attention recently, "tortious interference." + (beat) + If two people have an agreement, like a confidentiality agreement, and one of them breaks it because they are induced to do so by a 3rd party, the 3rd party can be sued for damages for interfering...hence, "tortious interference." + + DON HEWITT + Interfering? That's what we do. + + LOWELL + I think what we're trying to tell you is that it happens all the time. This is a news organization. People are always telling us things they shouldn't. We have to verify if it's true and in the public interest... And if it is, we air it. + + MIKE WALLACE + After we corroborate it. That's why we've never lost a lawsuit and run a classy show. + (impatient, now) + Anything else? + + HELEN CAPERELLI + And "60 Minutes'" verification is exact. And precise. And I don't think it would hurt to make sure you're right...on this one. + + DON HEWITT + Why? You think we have liability? What's the CBS News' position, Eric? + + ERIC KLUSTER + There's a possibility, it's rather remote... + + HELEN CAPERELLI + But one we have to check on, Mike. I've retained outside counsel to do exactly that. On a segment, I might add, that's already rife with problems... + + LOWELL + What does that mean? "Rife with -- ?" + + HELEN CAPERELLI + I'm told unusual promises were made to Wigand. + + LOWELL + No, only that we would hold the story until it was safe for him... + + HELEN CAPERELLI + (cuts in) + And, I'm told there are questions as to our "star witness'" veracity. + + LOWELL + (trying to control his anger) + His "veracity" was good enough for the State of Mississippi. + + HELEN CAPERELLI + (historic) + Our standards have to be higher than anyone else's, because we are the standard...for everyone else... + +Whatever that means... + + LOWELL + (wry) + Well, as a "standard"...I'll hang with "is the guy telling the truth?" + + HELEN CAPERELLI + Well, with tortious interference, I'm afraid...the greater the truth, the greater the damage. + + LOWELL + Come again? + + HELEN CAPERELLI + They own the information he's disclosing. The truer it is, the greater the damage to them. If he lied, he didn't disclose their information. And the damages are smaller. + + LOWELL + Is this "Alice in Wonderland"? + + MIKE WALLACE + You said "on this one." What about "this one"? + +And Lowell hears a changed note in Wallace's voice. After a beat. + + HELEN CAPERELLI + (familiar, seductive) + If this holds up, and it very well may not, Mike...but, if it did. And we aired this segment? And CBS was sued by Brown & Williamson? I think we could be at grave risk. + + MIKE WALLACE + (a beat) + How grave? + + HELEN CAPERELLI + (and she's been waiting for this) + Well, at the end of the day...because of your segment...the Brown & Williamson Tobacco Company...could own CBS. + +As if on cue, the alarm on Helen Caperelli's watch beeps. She glances at it. + + HELEN CAPERELLI (CONT'D) + You know, I am sorry. But I'm due upstairs. + +She gets up, gathering her things. + + LOWELL + Is CBS corporate telling CBS News do not go to air with this story? + + HELEN CAPERELLI + You're getting ahead of yourself. We're all in this together. We're all CBS. We'll find out soon. Thank you, gentlemen. + +And taking up her briefcase, she leaves. Don and Mike rise. + + LOWELL + "Tortious interference"? Sounds like a disease caught by a radio. + + DON HEWITT + (to Mike) + Lunch? + + MIKE WALLACE + Sure. + (to Lowell) + Don't worry, we call the shots around here. + +Lowell finds himself angry and alone. He crosses to the window and pulls out his cell phone and goes to work. + + DEBBIE DELUCA'S VOICE (OVER) + Hello? + + LOWELL + (into phone) + Debbie, it's me. I want you to check some filings and give me John Wilson's number at Bear-Stern. + +INT. CBS, HEWITT'S OFFICE - DAY + + LOWELL + What now? + + DON HEWITT + Kluster's coming over. + +Hewitt's on an unrelated call. + +Lowell crosses to look out the window, a manila folder (the filing) under his arm with whatever he found out, like a bomb, feels distant from these people. The door opens, and Eric Kluster, the President of CBS News enters... + + ERIC KLUSTER + Hello, Lowell, Mike, Don. + +Hewitt hangs up the phone. + + ERIC KLUSTER (CONT'D) + There has been so much soul searching about this Wigand, I've decided we should cut an alternate version of the show without his interview. + + LOWELL + So, what happened to Ms. Caperelli's checking with outside counsel first, all that crap? + + ERIC KLUSTER + That's happening. And, hopefully we won't have to use the alternate, but we should have it in the can. + + LOWELL + I'm not touching my film... + + ERIC KLUSTER + I'm afraid you are. + + LOWELL + No, I'm not... + + ERIC KLUSTER + We're doing this with or without you, Lowell. If you like, I can assign another producer to edit your show... + +Lowell's stunned. He looks like he's been hit with a hammer... + + LOWELL + Since when has the paragon of investigative journalism allowed lawyers to determine the news content on "60 Minutes"? + + DON HEWITT + It's an alternate version. So what if we have an alternate version? And I don't think her being cautious is so damned unreasonable. + + ERIC KLUSTER + (wry) + So, now, if you'll excuse me, gentlemen, Mr. Rather's been complaining about his chair again. + (laughter) + +As they start to leave... + + LOWELL + (mild) + Before you go... + +And Lowell takes out... + + LOWELL (CONT'D) + I discovered this. SEC filing... + (he gets their attention) + For the sale of the CBS Corporation to Westinghouse Corporation. + + MIKE WALLACE + What? + + DON HEWITT + Yeah, I heard rumors. + + LOWELL + It's not a rumor. It's a sale. + (rhetorical answer) + If Tisch can unload CBS for $81 a share to Westinghouse and then is suddenly threatened with a multibillion-dollar lawsuit from Brown & Williamson, that could screw up the sale, could it not? + + ERIC KLUSTER + (serene) + And what are you implying? + + LOWELL + (to Kluster) + I'm not implying. I'm quoting. More vested interests... + (reading from SEC filing) + "Persons Who Will Profit From This Merger... + (beat) + Ms. Helen Caperelli, General Counsel of CBS News, 3.9 million. Mr. Eric Kluster, President of CBS News, 1.4 million..." + + DON HEWITT + Are you suggesting that she and Eric are influenced by money? + + LOWELL + Oh, no, of course they're not influenced by money. They work for free. And you are a Volunteer Executive Producer. + + DON HEWITT + CBS does not do that. And, you're questioning our journalistic integrity?! + + LOWELL + No, I'm questioning your hearing! You hear "reasonable" and "tortious interference." I hear... "Potential Brown & Williamson lawsuit jeopardizing the sale of CBS to Westinghouse." I hear... "Shut the segment down. Cut Wigand loose. Obey orders. And fuck off...!" That's what I hear. + + DON HEWITT + You're exaggerating! + + LOWELL + I am? You pay me to go get guys like Wigand, to draw him out. To get him to trust us, to get him to go on television. I do. I deliver him. He sits. He talks. He violates his own fucking confidentiality agreement. And he's only the key witness in the biggest public health reform issue, maybe the biggest, most-expensive corporate-malfeasance case in U.S. history. And Jeffrey Wigand, who's out on a limb, does he go on television and tell the truth? Yes. Is it newsworthy? Yes. Are we gonna air it? Of course not. Why? Because he's not telling the truth? No. Because he is telling the truth. That's why we're not going to air it. And the more truth he tells, the worse it gets! + + DON HEWITT + You are a fanatic. An anarchist. You know that? If we can't have a whole show, then I want half a show rather than no show. But oh, no, not you. You won't be satisfied unless you're putting the company at risk! + + LOWELL + C'mon, what are you? And are you a businessman? Or are you a newsman?! Because that happens to be what Mike and I do for a living... + + MIKE WALLACE + Lowell. + + LOWELL + (runs on) + "Put the corporation at risk"...? Give me a fucking break! + + MIKE WALLACE + Lowell. + + LOWELL + These people are putting our whole reason for doing what we do...on the line! + + MIKE WALLACE + Lowell! + + LOWELL + What? + + MIKE WALLACE + I'm with Don on this. + +And there it is. + +EXT. LOWELL'S HOUSE, BERKELEY - AFTERNOON + +We see Sharon in a vegetable garden in their side yard... She turns, seeing him standing behind her... After a moment. She knows. + + SHARON + What's wrong? + + LOWELL + They're killing the Wigand interview... + + SHARON + What?! + + LOWELL + They're pretending it's process. Bullshit, it's foregone. + + SHARON + (beat) + What are you and Mike going to do? + + LOWELL + I'm alone on this... + + SHARON + (beat) + Oh, baby... + +And the phone RINGS... Sharon goes in the house to get it... She comes back out... + + SHARON (CONT'D) + (after a beat) + Jeffrey Wigand... + +INT. LOWELL'S OFFICE, BERKELEY - LATE AFTERNOON + + LOWELL + Jeffrey... + +INT. A HOTEL ROOM, LOUISVILLE - NIGHT + +And we see Wigand looking rough, unshaven, sitting on a couch in a hotel room. And we see his belongings, clothing, some boxes, a bottle of vodka, his computer, what's left of his world, are around the room. + + LOWELL'S VOICE (OVER) + Jeffrey, how are you? How's the family, okay? + + WIGAND + There is - there is no family. + + LOWELL'S VOICE (OVER) + What do you mean there is no family? + + WIGAND + Liane has filed for divorce... + +INT. LOWELL'S OFFICE, BERKELEY - LATE AFTERNOON + +And Lowell's dead quiet. + +INT. THE HOTEL ROOM, LOUISVILLE - NIGHT + + WIGAND + And, so, I moved out... I see the girls a couple of days a week... + + LOWELL'S VOICE (OVER) + (concerned) + Where you staying now? + + WIGAND + (sarcastic) + Our favorite hotel, honey... I checked into Room 930. Odd choice? Huh? + +And we don't know what he means by that... + +INT. LOWELL'S OFFICE, BERKELEY - LATE AFTERNOON + +The last of the daylight shadows his office. + + LOWELL + (after a beat) + I don't know how to say this, Jeff, except to just say it right out, so I'll say it. They do not want to air it. + + WIGAND + (stops) + What?! + + LOWELL + B & W may have threatened litigation... CBS is on the block... + (a beat) + But you, I mean, I know how... + + WIGAND + No. + + LOWELL + No? No, what? + + WIGAND + I do not think that you "know" for me...what it is to walk in my shoes... + (beat) + ...for my kids to have seen it...for them to know why I've put them through what I did...the public airing of that...the testament to why I did what I did...you're telling me is not going to see the light of day. + +Lowell's quiet. And Jeffrey starts to hang up... + + LOWELL + Jeff... + +And Jeffrey hangs up. + +INT. JEFFREY'S HOTEL ROOM, LOUISIANA - (PROCESS) - NIGHT + +Jeffrey silently sitting in the chair. We COME AROUND and see why he's been purposely sitting there. Why he's chosen this room. Directly across the street is the Brown & Williamson Building. The lights are on. The building lit up. And in an upstairs office Brown & Williamson lawyers, moving around a conference room, talking. And as Jeffrey looks out the window... + +EXT. A SMALL TOWN, UPSTATE NEW YORK - DAY + +A peaceful, suburban street. Small houses. A PRIVATE INVESTIGATOR (P.I.) from IGI, in a raincoat, getting out of a car, going up the walk. He knocks on the door. Some moments. A Woman in her late forties, handicapped, in an electric cart answers the door... + + P.I. + Mrs. Wigand? + + THE WOMAN + It hasn't been Mrs. Wigand for some time. + + P.I. + Well, I'm an investigator and I was - I was wondering if I could ask you a couple of questions about that? + + THE WOMAN + Alright... + +INT. JOHN SCANLON'S PUBLIC RELATIONS FIRM, A MEDIA ROOM, NEW YORK - DAY + +And on a TELEVISION SCREEN, SUSAN WIGAND, the woman in the electric cart, giving a taped interview to the P.I.... + + SUSAN WIGAND + ...seven months after we were married we found out that I had multiple sclerosis... + +We PULL BACK to see John Scanlon and his Staff watching the tape... + +His firm's logo, public relations campaigns for some of his high-profile clients are on the walls. Scanlon's on the phone talking with somebody as the tape runs... + + P.I.'S VOICE (OVER) + (on television) + And, you had a daughter, Diane, with him, is that correct? + + SUSAN WIGAND + (on television) + Yes, in 1973. + + JOHN SCANLON + (on the phone, whispering) + ...come on, Tommy Sandefur told me himself, he's not gonna allow Brown & Williamson to be demonized to the American public, so I told Peter Jennings and I...hold on... + +He stops, listening to the videotape... + + P.I.'S VOICE (OVER) + (on television) + Would it be fair to say when he divorced you he left you in a precarious situation? You had multiple sclerosis; you had a small child to raise. + + JOHN SCANLON + (ignoring that part; to staff) + Mention that part in the executive summary and in the chapters "First Wife" and "Estrangement of Daughter." + (beat; into phone) + So, I was telling Pete, I said, "You've been taken in by this guy... + + SUSAN WIGAND + (on television) + Yes... + (beat) + But you have to understand, the divorce was something that we both wanted... + + JOHN SCANLON + He's a total bullshit artist. He's a shoplifter. He's a convicted shoplifter. + +And as we end in a sea of documents, affidavits, court records, all from Louisville, all about Jeffrey. We understand the war has only been begun... + +INT. CBS, "60 MINUTES," CORRIDOR, LOWELL'S OFFICE - MORNING + +Lowell, in his office, his door open for anyone to see him, an immovable force, sitting behind his desk. Hewitt appears in his doorway... + + DON HEWITT + (after a beat, cold) + So, what are you going to do? + + LOWELL + Well, what do you think I'm going to do? Quit in protest? I'm not going to do that. + + DON HEWITT + (surprised) + You're taking "no" for an answer? + + LOWELL + No. I'm not going to take "no" for an answer. No. + + DON HEWITT + Then what are you going to do? + +Hewitt looks at him... + + LOWELL + I'm staying right here. Doing my job. Fighting to get my show on the air. You don't like it? Hey, I'll tell you what...fire my ass... + + DON HEWITT + End up in a high-profile lawsuit with Lowell, the First Amendment martyr? I don't think so. + (laughs) + Take a look at this... This is a summary of a dossier that's being prepared. + +And he gives him a copy of it. + + DON HEWITT (CONT'D) + He would lie about his whole life...? Who's going to believe him about anything he says...? + (a beat, and the coup de grace) + The Wall Street Journal's doing a major story and I think the Post. You backed the wrong horse... + +He turns and starts off along the hall. As he goes... + + DON HEWITT (cont'd) + (his parting shot) + The version without his interview is going to air the week after next. + +Lowell watches him walk away. Debbie enters. + + DEBBIE DELUCA + What was that about? + + LOWELL + Get me Wigand. + + DEBBIE DELUCA + Sure. + + LOWELL + ...fuck is this? Fuck! + +INT. THE PHONE BOOTH, HIGH SCHOOL, LOUISVILLE - DAY + + LOWELL'S VOICE (OVER) + (on the phone, upset) + You never told me you were married before...that you had a daughter... + +And Wigand is in the phone booth at the High School...students walking by... + + WIGAND + (outraged) + Well, how is that any of your business?! That is not something that you people need to know! + +His voice carries, a student looks over... + +INT. LOWELL'S OFFICE - DAY + + LOWELL + (frustrated) + Oh, you know what we do or do not need to know? Since when have you become a media expert? + +INT. THE PHONE BOOTH, LOUISVILLE HIGH SCHOOL - DAY + + WIGAND + (upset) + What do you want to do, Lowell, look up my ass, too...! + +And he realizes he's said it too loud, a couple of passing students stop, looking at him... + +INT. LOWELL'S OFFICE, CBS - DAY + + LOWELL + Oh, my God. + + WIGAND'S VOICE (OVER) + (after a beat, lowering his voice, but contentious) + You're not even on this anymore... What do you care? + + LOWELL + Jeff! Wake the fuck up! Everybody is on the line here. If they can catch you in a lie, they can paint everything with that brush. Do you understand? Everything you say! + + WIGAND + I told the truth! + + LOWELL + Everything...you...say! And I can't defend you, man, with one hand tied behind my back! Because you keep from me...what they can discover. And they will discover everything! Believe me. + +INT. THE PHONE BOOTH, LOUISVILLE HIGH SCHOOL - DAY + +Wigand's quiet. He looks out the phone booth. After some moments... + + WIGAND + (meaning his first wife and their child, upset) + ...I was young. I was young...confused... We didn't handle it the right way... + +INT. LOWELL'S OFFICE, NEW YORK - DAY + + LOWELL + (after a beat) + She sued you for back payments of child support? + +INT. THE PHONE BOOTH, LOUISVILLE HIGH SCHOOL - DAY + + WIGAND + She did not sue me. We had a dispute over money... I settled it, she dropped the complaint... + (angry) + Any other questions? + +And we'll go back and forth... + + LOWELL + Yes. Did you lie about being on the American Judo Team in the Olympics? + + WIGAND + What? + + LOWELL + Some public relations guy got a hold of a tape of an interview...where you're saying you were on the American Judo Team in the Olympics...? + + WIGAND + (explosive) + What kind of shit is this? I was not on the team, I sparred with the Olympic Team...okay? + +And we see, unbeknownst to Wigand, the P.I. in the raincoat, who interviewed his ex-wife, coming out of an administration office, walking towards us along the hallways... + + LOWELL + Alright...the ABC Telemarketing Company? + + WIGAND + ABC...? + + LOWELL + ABC Telemarketing Company. + + WIGAND + (the absurdity) + A can opener! A $39.95 can opener. I cancelled payment... It was junk. + (sarcastic) + You ever bounce a check, Lowell? You ever look at another woman's tits? You ever cheat a little on your taxes? + (a beat, angry) + Whose life, if you look at it under a microscope, doesn't have any flaws...? + +The P.I. in the raincoat passes Jeffrey, now, and doesn't even glance at him... + + LOWELL + That's the whole point, Jeffrey. That's the whole point. Anyone's. Everyone's. They are gonna look under every rock, dig up every flaw, every mistake you've ever made. They are going to distort and exaggerate everything you've ever done, man. Don't you understand? + + WIGAND + (shouts) + What does this have to do with my testimony? + + LOWELL + That's not the point. + + WIGAND + What does this have to do with my testimony?! I told the truth! It's valid and true and provable! + + LOWELL + That's not the fucking point, whether you told the truth or not! Hello...? + + WIGAND + I told the truth... I told the truth. + +And Wigand's quiet, a deep, dark depression. The school bell RING snaps him out of it... + + WIGAND + (after a beat) + I've got to teach class. I've got to go. I've got to teach class. + + LOWELL + (undaunted) + And I've got to refute every fucking accusation made in this report before The Wall Street Journal runs. + (a beat) + I am trying to protect you, man! + +Wigand's quiet. + + WIGAND + (after a beat, the killer) + Well, I hope you improve your batting average. + +And he SLAMS the phone down. And as he stands in the phone booth, like a man in a glass booth, all alone... + +EXT. CBS BUILDING, ROOFTOP - DAY + +ON the door to the roof. It SLAMS open. An enraged Lowell enters and walks out into the cold rain. Like a prize-fighter, shoulders hunched against the cold, he buries his hands in his jacket pockets. He crosses to the edge of the roof high above the city. He's pissed off. He takes out his cell phone. He dials... Lowell hears background NOISE... + +INT. WALL STREET JOURNAL - NEWS MEETING - DAY + +Twenty sub-editors and section heads sit and stand in a clear area... One of them, a large man, is CHARLIE PHILLIPS on a cell phone. + + CHARLIE PHILLIPS + Hello? + + LOWELL'S VOICE (OVER) + (cautious) + It's Lowell. Are you guys planning to do a piece on a former top executive in Big Tobacco? + + CHARLIE PHILLIPS + You caught me in a news meeting. + + LOWELL + Well, are you or are you not, Charlie? + + CHARLIE PHILLIPS + You bet we are. And I can't talk to you now. + + LOWELL + We gotta hook up. + + CHARLIE PHILLIPS + Sure. Where? + + LOWELL + P.J.'s. + + CHARLIE PHILLIPS + I'll be there. + +INT. A PHONE BOOTH, NEW YORK - NIGHT + +A busy New York street. Light mist. And we see Lowell is on the phone in a phone booth... + + LOWELL + Yeah, I got it. 500 pages of it. They looked in every corner of this guy's life...from a spousal abuse charge, to shoplifting, to a traffic ticket he got once for running a red light. It's Terry Lenzner's outfit, IGI. Jack, listen to me. Their strategy: discredit this guy, ruin his reputation in The Wall Street Journal, and then nobody will ever listen to what he's got to say about tobacco. He's dead. Unless I can get this thing knocked down. + +INT. A HOUSE IN SAN FRANCISCO - NIGHT + +A townhouse with a commanding view of the Bay. And we see a broad-shouldered man in his late forties sitting at a desk on the phone. JACK PALLADINO. His wife, SANDRA SUTHERLAND, sitting across from him on another phone. They're Private Investigators... + + LOWELL + To make it even a little more attractive, I don't know if you're ever gonna get paid. + + SANDRA SUTHERLAND + Is there any truth to any of it? + + LOWELL + That's a good question. "Is there any truth to any of it?" I doubt it. + + PALLADINO + What's their deadline? + + LOWELL + Soon. + +Palladinos exchange looks; she nods. + + PALLADINO + Fax me the summary. + + LOWELL + That's great, Jack. + +Lowell hangs up and walks towards us to enter... + +INT. BAR - NIGHT + +CLOSE on Lowell entering, moving through the crowd of sports writers, feature writers, sub-editors, etc. He comes upon a rugged-featured man, JIM COOPER from The New York Times, sitting next to Charlie. + + JIM COOPER + Hey, Lowell. + + LOWELL + How are you, Jim? + + JIM COOPER + Hey, listen, I hear you guys are sitting on something sensational over there. + +Lowell looks at Cooper quizzically. + + LOWELL + Really? Hi, Joan. + +Just then Jim's wife enters. + +They exchange greetings. + + JIM COOPER + Hi, baby. + + LOWELL + Catch you later. + +Cooper and his wife leave. Charlie and Lowell are alone in the crowded bar. + + LOWELL (CONT'D) + When's your deadline? + + CHARLIE PHILLIPS + Monday. + + LOWELL + Push it. + + CHARLIE PHILLIPS + What? Forget it. + + LOWELL + It's a smear campaign, Charlie. + + CHARLIE PHILLIPS + It's drawn from a selectively circulated... + + LOWELL + (cuts in) + Oh, it's real selective...about as hard to get a hold of as the Manhattan phone book. + + CHARLIE PHILLIPS + Well, it's authoritative and is overwhelmingly documented. + + LOWELL + And it's bullshit. And if I'm right, are you going to put the Journal's reputation behind a story that's going to blow up in your face? + + CHARLIE PHILLIPS + I'll take a look at what you got. But I'm not moving any deadlines 'cause you say so. That's the way it lays. + +In a different, personal tone... + + CHARLIE PHILLIPS (cont'd) + Are you all right? + + LOWELL + Yeah. Catch you later. + +INT. A COFFEE SHOP, LOUISVILLE - DAY + +And we see a Policeman sitting at the counter having a cup of coffee... + + SANDRA SUTHERLAND + Officer Muravchick? + +He turns as Sandra Sutherland sits at the counter to the left of him. + + SANDRA SUTHERLAND (cont'd) + Officer Muravchick. How are you? I'm Sandra Sutherland. + + POLICEMAN + How do you do? + + SANDRA SUTHERLAND + Fine, thank you. I'm doing a background check. Mind if I sit down? + +INT. COURTROOM, LOUISVILLE - LATE AFTERNOON + +An older Man is on the bench. He's just recessed his court. As everybody streams out, going against the tide is Jack Palladino. He approaches the judge, crossing to a side door... + + PALLADINO + Your honor, could I have a word with you? You presided in a dispute over support payments... + +INT. A COFFEE SHOP, LOUISVILLE - DAY + + POLICEMAN + Jeffrey Wigand? Yeah, I cited him. + +INT. EDITING ROOM, CBS - DAY + + DAN RATHER + (on monitor) + CBS is under criticism, because the CBS News program "60 Minutes" will not be presenting an interview... + +Lowell's destroying his own work product, taking apart his creation that we saw earlier to be so impactful. Tony gets a call as Hewitt enters. + + DON HEWITT + What the hell are you doing? + + LOWELL + What does it look like I'm doing? I'm editing. + + DON HEWITT + No, not that. I'm talking about the Associated Press. They got this story that we pulled this interview and they talked to Mike and I. Did you tell them that we were lying? + + LOWELL + No. I should have. I told them I disagreed with you, Mike and Kluster that this segment is as good as the original. I'm not lying for you. I'm not gonna shut up for you. Not on any of it. + + DON HEWITT + Hey! I'm not going to fire you, okay? Take a vacation. Now! + +INT. LOWELL'S OFFICE - EVENING + +A suitcase is on the floor. Lowell, finishing packing up his things from his office. + + MIKE WALLACE'S VOICE (OVER) + Lowell. I decided to preface Sunday's show. I did three minutes on the "Evening News." You'll want to see it. + (beat) + Where you going? + +And he sees Wallace has stopped at his door... + + LOWELL + I've been banished. In lieu of being fired. + + MIKE WALLACE + (disinterested) + I took off on Tisch. I took off on corporate. They'll know they're not going to see everything on Sunday night... + + LOWELL + I don't know. How does that get Wigand on the air? + + MIKE WALLACE + (goes up) + Do me a favor, will you? Spare me, for God's sake. Get in the real world. What do you think? I'm going to resign in protest? To force it on the air? The answer is "no." I don't plan to spend the end of my days wandering in the wilderness of National Public Radio. + (beat) + That decision I've already made. + + VOICE + (from corridor; to Mike) + It just started, Mike... + +Wallace waves Lowell's remark aside and exits. We dwell on Lowell until he exits... + +INT. CBS CORRIDOR - EVENING + +!...into the hall. Dan Rather introduced Mike. As Lowell exits, we SEE Hewitt, Kluster and Caperelli outside of Hewitt's office watching... Lowell, disgusted, takes a cursory look and moves towards the elevator. But he hears... + + MIKE WALLACE'S VOICE (OVER) + Where's the rest? Where the hell's the rest?!! + +Lowell turns to see Wallace shouting up at the monitors in disbelief... + + MIKE WALLACE (CONT'D) + You cut it! You cut the guts out of what I said...! + +Wallace moves in on Kluster... + + ERIC KLUSTER + It was a time consideration, Mike... + + MIKE WALLACE + Time? Bullshit! You corporate lackey! Who told you your incompetent little fingers had the requisite skills to edit me! I'm trying to Band-Aid a situation, here, and you're too dim to... + + HELEN CAPERELLI + (interrupts, familiar) + Mike... Mike... Mike... + + MIKE WALLACE + "Mike?" + +It was a big mistake. Now, he turns on her. Zeroing in, getting closer... + + MIKE WALLACE (CONT'D) + "Mike?" Try "Mr. Wallace." We work in the same corporation doesn't mean we work in the same profession. What are you gonna do now? You gonna finesse me? Lawyer me some more? I've been in this profession fifty fucking years. You and the people you work for are destroying the most-respected, the highest-rated, the most-profitable show on this network! + +EXT. THE EAST RIVER - NIGHT + +A Range Rover pulls up. Charlie Phillips gets out. He crosses to Lowell who's been waiting by his own taxi. + + LOWELL + Here. + +He hands Charlie a folder with the brown notebook inside that is the partially complete Palladino/Sutherland/Lowell work product. + + LOWELL (CONT'D) + These are their leads, their sources. I want you to have your reporters... + + CHARLIE PHILLIPS + Suein Hwang and Milo Geyelin. + + LOWELL + Have them make their own calls. They'll find that these sources have a different story than the one that's in the dossier... + (demands) + Push the deadline, Charlie... + +Charlie starts looking through the Palladino/ Sutherland/Lowell work product. Meanwhile... + + CHARLIE PHILLIPS + I'll push it for a week. Let Milo and Suein go through it. + +INT. WIGANDS' HOUSE #2, KITCHEN - DAY + + LIANE + What do you want to buy him for a gift? + + BARBARA + He's into kind of little cars, that... + + LIANE + That remote control thing? + + BARBARA + Yeah. + + LIANE + Alright, we'll do that tomorrow. + + BARBARA + Mom. + + LIANE + Yes, baby? + + BARBARA + There's Dad, on TV. + +INT. A BAR, LOUISVILLE - DAY + +And we see Jeffrey in a quiet Bar. The television's on, the sound low, the midday news. As Jeffrey looks up and sees his photograph on TELEVISION. In his LOCAL WORLD the impact is: + + LOCAL NEWSCASTER + And in local news, WLKO Louisville has gained access to a five-hundred-page dossier on former Brown & Williamson research head Jeffrey Wigand detailing charges of spousal abuse, shoplifting... + +And Jeffrey looks as if something just detonated inside of him. WE'RE LOOKING AT MIKE WALLACE SITTING IN FRONT OF A BACKDROP ON "60 MINUTES," ON A TELEVISION... + +INT. HOTEL ROOM, LOUISVILLE - NIGHT + +And Jeffrey sitting alone in the hotel, watching the show... + + MIKE WALLACE + (on "60 Minutes") + "...thousands of documents from inside the tobacco industry have surfaced over the past year, documents that appear to confirm what a former..." + +And as we look at Jeffrey's face, set in stone... + +INT. THE CARIBBEAN BUNGALOW - DAY/NIGHT + + MIKE WALLACE + (on "60 Minutes") + "...US Surgeon General and the current head of the Food and Drug Administration have been saying. We learned of..." + +INT. DON HEWITT'S HOUSE, THE HAMPTONS - NIGHT + +And Don Hewitt in his house in the Hamptons, alone in his bedroom, watching the show... + + MIKE WALLACE + (on "60 Minutes") + "...a tobacco insider who could tell us whether or not the tobacco industry has been leveling with the public..." + +INT. MIKE WALLACE'S APARTMENT, NEW YORK - NIGHT + + MIKE WALLACE + (on "60 Minutes") + "...that insider was formerly a highly-placed executive with a tobacco company..." + +INT. HOTEL ROOM, LOUISVILLE - NIGHT + + MIKE WALLACE + (on "60 Minutes") + "...but we cannot broadcast what critical information about tobacco, addiction and public health he might be able to offer. Why? Because he had to sign a confidentiality agreement with the tobacco company he worked for..." + +INT. MIKE WALLACE'S APARTMENT, NEW YORK - NIGHT + +Mike Wallace is in his study, watching the show alone. As we slowly move in on Mike, seeing himself on television... + + MIKE WALLACE + (on "60 Minutes") + "The management of CBS has told us that knowing he had that agreement..." + +And the look on his face says: HE DOES NOT LIKE THIS. + +INT. THE CARIBBEAN BUNGALOW - DAY/NIGHT + +Lowell silently watching the broadcast... + + MIKE WALLACE + (on "60 Minutes") + "...if were to broadcast an interview with him, CBS could be faced with a multibillion-dollar lawsuit..." + +INT. HOTEL ROOM, LOUISVILLE - NIGHT + +Jeffrey, watching the show... + + MIKE WALLACE + (on "60 Minutes," from the interview with Wigand...) + "The fact is, we are not allowed even to mention his name or the name of the company he worked for and, of course, we cannot show you his face... '...and your confidentiality agreement with... + (blip) + is still in force?'" + +And all we can hear is an ELECTRONICALLY-ALTERED VOICE and the BLANKED-OUT image of a man... + + WIGAND'S VOICE (OVER) + "Yes, it is." + + MIKE WALLACE + (on "60 Minutes") + "So, what are they gonna do? Sue you for making this appearance?" + + WIGAND + "I would bet on it." + + MIKE WALLACE + (on "60 Minutes") + "The former executive has reason to bet on being sued, for major cigarette manufacturers..." + +Jeffrey, motionless... A man, no longer with a face or a voice... And as he gets up, and quietly turns off the television... + +INT. MIKE WALLACE'S APARTMENT, NEW YORK - NIGHT, LATER + +Wallace, hasn't moved, still in his chair. He stares, ignoring the CBS programming, on the phone, making a call... + +EXT. THE CARIBBEAN BEACH - NIGHT + +Lowell, walking up the sand, his cell phone rings. + + LOWELL + Yeah. + + MIKE WALLACE + You disappeared on me. How long you staying? + + LOWELL + (absurd) + I disappeared on you? + + MIKE WALLACE + (meaning the show) + Alright. What did you think? + + LOWELL + (after a beat) + I think it was a disgrace. + +The look on Wallace's face says he thinks so, too. It's obvious. He hangs up the phone. + +EXT. LOWELL'S BUNGALOW, THE CARIBBEAN - NIGHT + +Lowell is on the phone, now. The moon lights the water, the empty beach. He listens as a phone, through STATIC, RINGS and RINGS and RINGS. + +INT. WIGAND'S HOTEL ROOM, LOUISVILLE - NIGHT + +And we hear the phone RINGING. We slowly PAN across the hotel room. We see on the floor a pair of men's tasseled loafers... A discarded sport jacket... And we see Jeffrey, barefoot, sitting in a chair in the center of the room. He's looking out the window at B&W. The curtains are blowing... And he's still... The sound of the phone RINGING and RINGING... + +EXT. THE BEACH, THE CARIBBEAN - NIGHT + + AN OPERATOR'S VOICE (OVER) + Sir, there's still no answer in that room. + + LOWELL + Alright. Get me the manager's office... + +INT. THE HOTEL MANAGER'S OFFICE, LOUISVILLE - NIGHT + + HOTEL DESK CLERK + David? David, you've got a call on line 4. I think you better take it. + +A thin Man answers the phone. + + THE HOTEL MANAGER + This is David MacDougal. How can I help you? + + LOWELL'S VOICE (OVER) + Mr. MacDougal, my name is Lowell Bergman. I'm a producer for "60 Minutes"... I'm concerned with a friend of mine who's staying at your hotel right now. + +INT. THE HOTEL CORRIDOR, LOUISVILLE - NIGHT + +And we see the Hotel Manager, walking along with a Security Guard, and now KNOCKING on Jeffrey's door... And when there is no response, the Manager nods to the Security Guard, the Guard using a pass key, unlocking the door. But the door stops, the chain-lock drawn. The Manager looks in through the chain...and he can see Jeffrey sitting in the chair... + + THE HOTEL MANAGER + Mr. Wigand? Mr. Wigand? + +Jeffrey's still. The Manager quickly takes a cell phone from the Security Guard. + +EXT. THE CARIBBEAN - NIGHT + +Lowell, standing on the beach anxiously waiting. + + THE HOTEL MANAGER'S VOICE (OVER) + (upset) + I think I need to call the police. He won't respond... + + LOWELL + No, no. Don't call the police! + (urgent) + Just tell him I'm on the phone with you... My name is Lowell Bergman... Just tell him that. + +INT. THE HOTEL CORRIDOR, LOUISVILLE - NIGHT + + THE HOTEL MANAGER + (through the door, frightened) + Mr. Wigand...Mr. Bergman is on the telephone. + +Jeffrey's quiet. + +EXT. THE CARIBBEAN - NIGHT + + LOWELL + Did he hear you? + + THE HOTEL MANAGER'S VOICE (OVER) + You're breaking up. I can't hear you. + +Lowell goes deeper into the water. + + LOWELL + What about now? + + THE HOTEL MANAGER'S VOICE (OVER) + What? + + LOWELL + Hello, can you hear me now? + +INT. WIGAND'S HOTEL ROOM, LOUISVILLE - NIGHT + +And now the walls behind MORPH into a green daytime garden, the garden behind his house. And as we DOLLY AROUND Wigand, more walls MORPH into the side yard, and, turning slowly, he sees Barbara and Deborah in the emerald-green grass. They stop and smile, then they stare at us, at their father. And he looks at his children, at an idyll lost... The chair, the man are the only real objects left in the view from inside his head... + +EXT. THE CARIBBEAN - NIGHT + +Lowell anxiously moves along the beach, trying to be heard, the phone chattering with static... + + LOWELL + (alarmed) + What's happening?! + + THE HOTEL MANAGER'S VOICE (OVER) + (afraid) + He doesn't seem to be listening... + + LOWELL + (on the cell phone, shouts, urgent) + Alright, now listen to me. I want you - I want you to tell him, in these words: get on the fucking phone...! + + THE HOTEL MANAGER'S VOICE (OVER) + I can't say that! + + LOWELL + No, you can. Tell him to get on the fucking phone! + +INT. THE HOTEL CORRIDOR - NIGHT + + THE HOTEL MANAGER + (at the door, to Jeffrey, loud) + He told me to tell you, to get on...the fucking phone...! + +And even he's surprised by his language. And suddenly Jeffrey gets up, unlatches the door, grabs the phone from the Hotel Manager. Wigand in the hotel corridor, Lowell standing knee-deep in the water... + + WIGAND + (on the phone, angry) + You manipulated me into this...! + + LOWELL + That's bullshit, Jeff! + + WIGAND + You greased the rails! + + LOWELL + I greased the rails for a guy who wanted to say yes. I helped him to say yes. Alright. You're not a robot, Jeff! That's all. You got a mind of your own, don't you? + + WIGAND + (running on) + "Up to you, Jeffrey. That's the power you have, Jeffrey. Vital insider information the American public need to know." Lowell Bergman, the hot shot who never met a source he couldn't turn around. + + LOWELL + (running on) + I fought for you...and I still fight for you. + + WIGAND + You fought for me...?! + (running on) + ...you manipulated me...into where I am now...staring at the Brown & Williamson Building. It's all dark. Except the 10th floor! That's the legal department. That's where they fuck with my life! + + LOWELL + (beat) + Jeffrey, where you going with this? So where you goin'? + (quiet) + You are important to a lot of people, Jeffrey. You think about that. You think about them. + +CLOSE ON JEFFREY: standing in the room with the blowing curtains... + + LOWELL (CONT'D) + I'm running out of heroes, man... + (after a beat) + Guys like you are in short supply. + +And for the first time, Wigand smiles. + + WIGAND + (a beat, wry) + Yeah, guys like you, too. + +And the grave situation passes. + + WIGAND (CONT'D) + (after a beat) + Where are you, anyway? + + LOWELL + I'm on a leave of absence. Forced vacation. + + WIGAND + (a rare laugh, his sarcasm) + You try and have a good time. + + LOWELL + (droll) + Yeah. Yeah, I will. + +INT. THE CARIBBEAN BUNGALOW - DAY/NIGHT + +Sharon's cooking across the room... And there's just the sound of the ceiling fan turning. + + LOWELL + "I'm Lowell Bergman, I'm from '60 Minutes.'" You know, you take the "60 Minutes" out of that sentence, nobody returns your phone call. Maybe Wigand's right. Maybe I'm hooked. What am I hooked on? The rush? "60 Minutes"? What the hell for? Infotainment. It's so fucking useless, all of it. + + SHARON + (a beat) + So, it's a big country with a free press. You can go work somewhere else. + + LOWELL + Free press? Press is free...for anyone who owns one. Larry Tisch has a free press. + + SHARON + Get some perspective, Lowell. + + LOWELL + I got perspective. + + SHARON + No, you do not. + + LOWELL + From my perspective, what's been going on and what I've been doing is ridiculous. It's half-measures. + + SHARON + You're not listening. + (beat) + Really know what you're going to do before you do it. + +And as the fan squeaks, turning... Lowell stares at Sharon. WE SEE SNOW IS ON THE GROUND. + +EXT. LINCOLN, MONTANA - DAY + +Between two curved colonnades of SNOW-covered trees drives a rental car. CLOSER, it's Lowell. His POV spots a dirty SUV and he pulls into park across from a coffee shop in this out-of-context mountain town. His pager beeps. He looks at it. He detours from the coffee shop to a pay phone on the corner of the Moose Lodge. + + DEBBIE DELUCA'S VOICE (OVER) + I've got Richard Scruggs on the phone... + + LOWELL + Patch him through. + + RICHARD SCRUGGS' VOICE (OVER) + Well, Lowell, you are not going to believe this... + +INT. A COURTROOM + ROTUNDA, MISSISSIPPI - DAY + +And we see the back of a crowded courtroom. Richard Scruggs is standing in the rear amongst bailiffs and witnesses, talking on his own cell phone. + + RICHARD SCRUGGS + The Governor of Mississippi is suing his own Attorney General...to abandon litigation against Big Tobacco... + + LOWELL + Oh, good... + +Waiting media are relaxing as Scruggs continues to Lowell... + + RICHARD SCRUGGS + (after a beat) + But, now that the version without Jeff ran...what's the chance of getting his interview on the air...? + (beat) + Hello? + +Sudden STATIC. + +Scruggs now exits the building, past the metal detector, seeking better reception. + + LOWELL + Yeah, I'm here. + +EXT. COURTHOUSE STAIRS, MISSISSIPPI - DAY + + RICHARD SCRUGGS + What chance is there of getting Jeff's interview on the air...? + + LOWELL'S VOICE (OVER) + (droll) + Less than great. + +And the courthouse doors suddenly burst open, Michael Moore and his attorneys coming out. Scruggs comes further down the steps so he can hear, away from Michael Moore who begins answering questions from the Press. + + RICHARD SCRUGGS + (after a beat) + ...I'd be lying to you if I did not tell you how important it was in the court of public opinion... + +EXT. THE PHONE BOOTH, LINCOLN, MONTANA - DAY + + LOWELL + (a beat) + ...and I'd be lying to you if I didn't tell you, I'm about out of moves, Dick... + + RICHARD SCRUGGS + All right. See you... + +INT. CAFE, LINCOLN, MONTANA - DAY + +Lowell walks right in and up to a booth and a COUPLE in hiking pants and hiking boots. They look up at him... + + LOWELL + Hi. So, what are you folks doing here in Lincoln? + +And we sense something is all wrong here. + + MAN GEOLOGIST + (affable) + Geology survey. + + LOWELL + (nods) + Geology. Yeah? Really? + + WOMAN GEOLOGIST + How about you? + + LOWELL + (direct) + I work for CBS News. + + MAN GEOLOGIST + (after a beat) + Oh, yeah? + +Lowell nods. They look at each other and they both know there's a lot more than meets the eye. And as Lowell gets up and leaves... + +EXT. A PAY PHONE, LINCOLN, MONTANA - DAY + +And we see Lowell on the PAY PHONE again. + + LOWELL + Just ran into two of your "geologists." Geologists whose hands aren't all chewed up...? + + BILL ROBERTSON'S VOICE (OVER) + Lowell? + +INT. THE FBI, BILL ROBERTSON'S OFFICE, WASHINGTON - DAY + +And we see Bill Robertson's on the phone... + + BILL ROBERTSON + Do not...screw this up. We are a week away from an arrest... + +EXT. THE PAY PHONE, LINCOLN, MONTANA - DAY + + LOWELL + So, I'll hold it... And... + + BILL ROBERTSON'S VOICE (OVER) + (on the phone) + We'll give you a heads up before we launch. + + LOWELL + How long? + + BILL ROBERTSON'S VOICE (OVER) + Three hours. + + LOWELL + You got a deal. + (hangs up) + +INT. LOWELL'S ROOM, MOTEL, MONTANA - NIGHT + +Lowell is in a T-shirt and sweat pants, sitting in an old, re-upholstered-one-too-many-times chair in a room barely big enough for a chair, a bed and the TV/VCR combo on the cheap dresser. It's playing Lowell's cut of the full Wigand interview. He watches the show that will never see the light of day. + + MIKE WALLACE'S VOICE (OVER) + "...like the testimony before Congress of Dr. Wigand's former boss, Brown & Williamson's Chief Executive Officer, Thomas Sandefur." + + THOMAS SANDEFUR + (in CLOSE-UP) + "I believe that nicotine is not addictive." + + WIGAND + (in matching CLOSE-UP) + "I believe Mr. Sandefur perjured himself... Because I watched those testimonies very carefully." + +Then it cuts to all seven CEOs of Big Tobacco raising their hands and taking the oath in front of Congress to tell the truth while... + + WALLACE'S VOICE (OVER) + "All of us did...there was this whole line of people, the whole line of CEOs up there, all swearing that." + + WIGAND'S VOICE (OVER) + "Part of the reason I'm here is I FELT..." + +And the PAUSE after the word makes "FELT" resound, and as it CUTS TO Jeffrey ON CAMERA saying... + + WIGAND (CONT'D) + "...that their representation..." + +And Lowell FREEZES after the image... He gets up, looking out the window through the curtain with the spill from the neon motel sign. Outside are horse trailers. He goes back to watching the show...standing there...in touch with his own creative work product and the ideas inherent in it in this decision-making process that we feel is critical to him. Turning, he dials the phone and we intercut with... + + JIM COOPER'S VOICE (OVER) + Hello? + + LOWELL + Jim, it's Lowell. + +INT. NEW YORK TIMES - NIGHT + + JIM COOPER + Hey! Where are you? + + LOWELL'S VOICE (OVER) + (doesn't answer) + Remember that night at P.J.'s? You asked me if we were sitting on something "explosive"? + (beat) + Well, we're not "sitting on" it. + (beat) + CBS corporate leaned on CBS News which yanked an interview we did with a top-ranking tobacco scientist. A corporate officer. They are trying to close down the story. + + JIM COOPER + (sarcastic) + You mean, "60 Minutes" is letting CBS corporate decide what is or is not news? + (beat) + What's Wallace think about this, or Hewitt, or...? + + LOWELL + How prominent? What kind of placement? + + JIM COOPER + Oh, c'mon, Lowell. This is The New York Times. I don't know... + + LOWELL + Well, until you do, all I can tell you is what you already know...they will not air an interview. + + JIM COOPER + Call me back in ten. + +Lowell hangs up. Re-dials. + +INT. DEBBIE DELUCA'S APARTMENT - NEW YORK - LATE NIGHT + +Debbie answers, intercutting with above... + + LOWELL'S VOICE (OVER) + Debbie. It's me... + + DEBBIE DELUCA + Hi. What time is it? + + LOWELL'S VOICE (OVER) + Oh, it's late. + + DEBBIE DELUCA + That I know. When are you coming back? + + LOWELL + I can't get out of here til mid-morning. I'll be in tomorrow night... + (beat) + Listen, could you call a number for me, it's in Mississippi... + + DEBBIE DELUCA + Okay. Hold on a second... What is it? + +INT. NEW YORK TIMES - NIGHT + +Jim Cooper's workstation. His phone rings. He grabs it. + + JIM COOPER + Hello? + (beat) + + LOWELL'S VOICE (OVER) + Lowell. + + JIM COOPER + Alright, Lowell. Page one. Editorial's interested. Let's talk. + +INT. MOTEL, LINCOLN, MONTANA - NIGHT + + LOWELL + Here's how it works. You ask me questions. I tell you if you're wrong. + + JIM COOPER'S VOICE (OVER) + Okay. + (pause) + Lowell? + + LOWELL + Yeah? + + JIM COOPER'S VOICE (OVER) + You're sure you want to do this? + + LOWELL + Why? + + JIM COOPER'S VOICE (OVER) + Hey, it doesn't work? You've burned your bridges, man. + + LOWELL + You ready...? + + JIM COOPER'S VOICE (OVER) + Okay... About this whistle-blower... Did Mike and Don go along with the corporate decision? + +No answer. + + JIM COOPER'S VOICE (OVER)(cont'd) + Lowell? + + LOWELL + Did I tell you you were wrong? + + JIM COOPER'S VOICE (OVER) + No. + (beat) + I'm assuming the cave-in begins with the threat of litigation from Big Tobacco. Are we talking...are we talking Brown & Williamson, here? + +MOVING CLOSER into the face of Lowell. + +His gaze falters. His eyes go back to the motel TV mutely frozen on the show. Whatever he's seeing there, his gaze is steadfast. + +EXT. STREET, NEW YORK - 5:30 A.M. + +Newspaper box is loaded with The New York Times. + +EXT. HOTEL, NEW YORK - 5:30 A.M. + +Cab pulls to curb and a raincoated Man emerges. We SEE he carries a copy of this morning's New York Times. + +INT. A HOTEL ROOM, NEW YORK - DAWN + +A suitcase is half-unpacked on the floor...a sleeping figure... There's a knock. Irritated, a sleeping Lowell gets up to answer it. He looks through the security peep hole. He opens it. And Mike Wallace, a newspaper under his arm, is standing in the doorway. + + MIKE WALLACE + Did I get you up? + + LOWELL + No, I usually sit around in my hotel room, dressed like this at 5:30 in the morning, sleepy look on my face. + +There's an awkward quiet. Mike enters. He slows, looks around. + + MIKE WALLACE + How many shows have we done? Huh? C'mon, how many? + + LOWELL + Oh, lots. + + MIKE WALLACE + Yeah, that's right. + + LOWELL + But in all that time, Mike, did you ever get off a plane, walk into a room, and find that a source for a story changed his mind? Lost his heart? Walked out on us? Not one fucking time! You want to know why? + + MIKE WALLACE + I see a rhetorical question on the horizon. + + LOWELL + I'm going to tell you why. Because when I tell someone I'm going to do something, I deliver. + + MIKE WALLACE + Oh, how fortunate I am to have Lowell Bergman's moral tutelage to point me down the shining path. To show me the way. + + LOWELL + Oh, please, Mike... + + MIKE WALLACE + (beat) + Give me a break! + + LOWELL + No, you give me a break! I never left a source hung out to dry, ever. Abandoned. Not 'til right fucking now! When I came on this job, I came with my word intact. I'm gonna leave with my word intact. Fuck the rules of the game! Hell, you're supposed to know me, Mike. What the hell did you expect? You expect me to lie down? Back off? What, get over it? + + MIKE WALLACE + In the real world, when you get to where I am, there are other considerations... + + LOWELL + Like what? Corporate responsibility? What, are we talking celebrity here? + + MIKE WALLACE + I'm not talking celebrity, vanity, CBS. I'm talking about when you're nearer the end of your life than the beginning. Now, what do you think you think about then? The future? "In the future I'm going to do this? Become that?" What "future"? No. What you think is: how will I be regarded in the end? After I'm gone. + +He trails off. They look at each other. + + MIKE WALLACE (cont'd) + Now, along the way I suppose I made some minor impact. + (beat) + I did Iran-Gate and the Ayatollah, Malcolm X, Martin Luther King, Saddam, Sadat, etcetera, etcetera. I showed them thieves in suits. + (beat) + I've spent a lifetime building all that. But history only remembers most what you did last. And should that be fronting a segment that allowed a tobacco giant to crash this network? + (beat) + Does it give someone at my time of life pause? + (simply) + Yeah. + +And the look on Wallace's face is "It did. Whether it should or should not...what difference does that make? It did." And we realize only now that he has not come to argue. + + LOWELL + Mike...in my... + + MIKE WALLACE + (low) + You and I have been doing this together for fourteen years. + +And he gives Lowell a copy of The New York Times. + + MIKE WALLACE (cont'd) + This is today's New York Times. + (beat) + In it is the whole sordid story of what went on inside our shop. + +Lowell looks down at the page. The headline is "'60 MINUTES' ORDERED TO PULL INTERVIEW IN TOBACCO REPORT." + + MIKE WALLACE (cont'd) + And in the editorial... It accuses us...of betraying the legacy of Edward R. Murrow. + +Turning, he walks out and down the hallway. Lowell looks at the newspaper. + +INT. THE COMMUTER HELICOPTER - MORNING + +The helicopter approaching Manhattan. John Scanlon sitting with Hewitt, both of them reading The Wall Street Journal Wigand article. + + DON HEWITT + (troubled) + They conclude most of it seems pretty unsubstantiated... + (looking at him, sickened) + You're full of shit, John. + +INT. COFFEE SHOP, NEW YORK - MORNING + +Lowell at a table littered with New York Times, New York Daily News, etc. His phone rings... + + LOWELL + Yeah. + +INT. A CITY BUS, NEW YORK - MORNING + +Broadway backgrounds streak past Debbie DeLuca's head as she rides, talking on a cell phone, The Wall Street Journal in her hand. + + DEBBIE DELUCA + ...front page. There's a picture of Wigand. Article's entitled, "Getting Personal," by-lined to Suein Hwang and Milo Geyelin. Wait, hold on a second, Lowell. + +Debbie hits "call waiting." + + DEBBIE DELUCA (cont'd) + Yeah. Yeah, sure. I'll see if I can find him. Hold on... + (beat; to Lowell) + Yeah, Don's looking for you... + + LOWELL + Good. + + DEBBIE DELUCA + The sub-heading is, "Brown & Williamson Has a 500-Page Dossier Attacking Chief Critic." It quotes Richard Scruggs calling it "the worst kind of an organized smear campaign against a whistle-blower." + +INT. COFFEE SHOP, NEW YORK - MORNING + +EXTREMELY CLOSE Lowell. + + DEBBIE DELUCA'S VOICE (OVER) + "...a close look at the file, and independent research by this newspaper into its key claims, indicates that many of the serious allegations against Mr. Wigand are backed by scant or contradictory evidence..." + +EXT. STREET, NEW YORK - MORNING + +As Lowell hails a cab in a WIDE ANGLE and runs towards us, jumping into the cab... + +INT. DON HEWITT'S OFFICE - DAY + + DON HEWITT + The news division has been vilified in The New York Times, in print, on television, for caving to corporate interests! + +We PULL BACK and we see that Lowell's with Hewitt in Hewitt's office... + + DON HEWITT (CONT'D) + The New York Times ran a blow by blow of what we talked about behind closed doors! You fucked us! + + LOWELL + (shouting) + No, you fucked you! Don't invert stuff! Big Tobacco tried to smear Wigand; you bought it. The Wall Street Journal, here, not exactly a bastion of anti-capitalist sentiment, refutes Big Tobacco's smear campaign as the lowest form of character assassination! And now, even now, when every word of what Wigand has said on our show is printed, the entire deposition of his testimony in a court of law in the State of Mississippi, the cat totally out of the bag, you're still standing here debating! Don, what the hell else...do you need? + +And Hewitt, looking around. + + DON HEWITT + Mike, you tell him... + + MIKE WALLACE + (simply) + You fucked up, Don. + +And Don's taken off stride... + + DON HEWITT + (recovers fast) + Hey, it's old news! Stick with me. Like always, we'll be okay. These things have a half-life of fifteen minutes... + + MIKE WALLACE + No, that's fame. Fame has a fifteen-minute half-life... + (droll) + Infamy...lasts a little longer. + +Lowell looks at Wallace. + + MIKE WALLACE (CONT'D) + We caved. It's foolish. It's simply dead wrong. + (in his face, so there's no doubt) + Now, this is what we're going to do. We're going over to Black Rock... + +INT. A HIGH SCHOOL SCIENCE CLASS, LOUISVILLE - AFTERNOON + +Jeff is in front of his class, teaching... + + WIGAND + Okay, so let's get back to it. Alright, now, what we saw there was... + +INT. LAX - ECU: LOWELL - NIGHT + +Tired, his suitcase at his feet. We don't know if he's coming or going. He's at a pay phone in the more-deserted-than-not airport. + + LOWELL + (into phone) + They cancelled the six o'clock. + (beat) + I don't know why. I'm on the 8:10. I should be home...9:30. I'll see you then. Love ya'. Bye... + +He hangs up and ambles over to a lounge with a few travellers sitting in it. + + MIKE WALLACE + "CBS Management wouldn't let us broadcast our original story and our interview with Wigand because they were worried about the possibility of a multi-billion dollar lawsuit against us for tortious interference... But now things have changed." + +INT. JEFFREY WIGAND'S APARTMENT, LOUISVILLE - NIGHT + +A small apartment. Jeffrey dishes out second helpings of pasta primavera into two pasta plates and brings them into the kitchenette to his girls, Deborah and Barbara. And now we SEE AND HEAR the small television on the table playing "60 Minutes" and... + + MICHAEL MOORE + (on television) + "...in my opinion, is an industry that has perpetrated the biggest fraud on the American public in history." + +Deborah looks proudly at her father. + +Wigand's gotten up and gone out of the kitchenette. He has stopped for a moment around the corner in the hallway. His kids can't see him. We can. And he watches them and his eyes get shiny and start to tear. And as he stands there, watching his girls at the kitchen table witnessing their father's hard-earned "truth" on television, we realize that of all the audiences, his girls are the one he cares about most... + +INT. AIRPORT LOUNGE + +And Lowell in his moment of victory is watching his "60 Minutes" double segment on a departure lounge television with his feet resting on his suitcase, next to a Chicano woman with two kids and her mother and an older man with a beard and cane. An airport cleaner stops to watch, too. Lowell glances at him... Unbeknownst to these viewers, arrested by the content on the television screen, is that the man who made it sits casually among them, watching his work. + +INT. LOWELL'S HOUSE, KITCHEN, BERKELEY - NIGHT + +Sharon sits at the kitchen table. She watches in a far corner a small countertop television. It's "60 Minutes," the full show entitled "Jeffrey Wigand, Ph.D." and on the top right, "PRODUCED BY LOWELL BERGMAN." As Sharon continues watching the television playing on the counter, the emotional currents within her remaining unrevealed... + +INT. MIKE WALLACE'S STUDY - ON MIKE WALLACE - NIGHT + +watching the show. He sees himself... + + MIKE WALLACE + (to Wigand) + "You wish you hadn't blown the whistle?" + + WIGAND + (on television, hesitating) + "There are times...I wish I hadn't done it. But there are times that I feel compelled to do it..." "I've - if you asked me if I would do it again or if it's - do I think it's worth it. Yeah. I think it's worth it." + +Wallace, satisfied, rises to refill his glass, as... + +INT. AIRPORT LOUNGE + +Lowell watching show in airport. + +INT. A SURVEILLANCE VAN, LINCOLN, MONTANA - NIGHT + +And we see the FBI Agent, BILL ROBERTSON on the phone. + + BILL ROBERTSON + I promised you a three-hour heads-up...well, here it is. Have a camera crew standing by in Helena, Montana on Tuesday and I'll give you a three-hour head start. Alright? By the way, that was a hell of a good show tonight... + +INT. LOWELL'S HOUSE, BERKELEY - NIGHT + + LOWELL + (nods, trustworthy) + Thank you, Bill. + +And he quietly hangs up. And it's still. Sharon's laid down, closing her eyes. They lie close together. After some moments, she opens her eyes and lets us know what she's been thinking... + + SHARON + (understated) + You won. + +This time he isn't droll. + + LOWELL + Yeah? + (a beat) + What did I win? + +There's an odd look on his face, not the look of a victor. He shuts off the light. And as they lie close together in the dark in each other's arms... WE'RE LOOKING AT THE FAMILIAR CBS EYE ON A TELEVISION SCREEN. AND THEN THE WORDS: "SPECIAL REPORT." + +INT. MASTER CONTROL ROOM, CBS - DAY + +Lowell, entering through machine rooms, into a state-of-the-art Master Control Room. On a wall are fifty or more monitors, in the humidity-and-temperature-controlled nexus of CBS operations. And it's jammed with people, witnessing a fast-breaking, major news event. Mike Wallace stands near Felling. Lowell crosses past Felling and stands next to Mike Wallace. And we see footage of a handcuffed, bearded, barefoot Man...THEODORE KACZYNSKI, the UNABOMBER, being taken in by the FBI. A director counts down. Dan Rather launches... + + DAN RATHER + "Reporting from CBS World News headquarters in New York, good afternoon. There has been a major break in the case of the so-called 'Unabomber.' CBS News has learned that a remote homesite outside Lincoln, Montana has been under FBI surveillance..." + + BILL FELLING + Thanks for this. You know, we beat everybody. ABC, NBC, CNN. + +Mike motions Lowell out into the corridor so they can be alone. + +INT. CORRIDOR, CBS - DAY + +The control room and crowd are seen through the glass wall. After some moments: + + MIKE WALLACE + That Canada story? Still interest you? + + LOWELL + (nods) + Everything interests me. + +Mike nods... Lowell puts his hands in his jacket pockets... After some moments... + + LOWELL (CONT'D) + I quit, Mike. + +Mike's startled. + + MIKE WALLACE + Bullshit. + +Lowell shakes his head "no." + + MIKE WALLACE (CONT'D) + C'mon, it all worked out. You came out okay in the end... + + LOWELL + I did? What do I tell a source on the next tough story? Hang in with us. You'll be fine...maybe? + +They look at each other. Lowell says to Mike, intimately, what he knows Mike knows... + + LOWELL (cont'd) + What got broken here...doesn't go back together again. + +Lowell's heartfelt regret. He starts to leave. They look at each other. + + LOWELL (cont'd) + So, uh... + +And Lowell moves off along the hallway, the monitors all showing CBS programming. He doesn't even look back... + +!A LEGEND APPEARS: + +!CARD #1: SUBSEQUENT TO THE EVENTS DRAMATIZED HERE, THE TOBACCO INDUSTRY IN 1998 SETTLED THE LAWSUITS FILED AGAINST IT BY MISSISSIPPI AND 49 OTHER STATES FOR $246 BILLION. + +!CARD #2: ALTHOUGH BASED ON A TRUE STORY, CERTAIN EVENTS IN THIS MOTION PICTURE HAVE BEEN FICTIONALIZED FOR DRAMATIC EFFECT. THE SOURCE OF THE DEATH THREATS AGAINST THE WIGANDS NEVER WAS IDENTIFIED AND NO ONE WAS EVER CHARGED OR PROSECUTED. + +!CARD #3: IN 1996 DR. WIGAND WAS NAMED TEACHER OF THE YEAR IN KENTUCKY. CURRENTLY, HE LIVES IN SOUTH CAROLINA. + +!CARD #4: LOWELL BERGMAN IS A CORRESPONDENT FOR THE PBS SERIES FRONTLINE AND IS ON THE FACULTY OF THE GRADUATE SCHOOL OF JOURNALISM AT THE UNIVERSITY OF CALIFORNIA AT BERKELEY. + +!THE END diff --git a/fountain_scripts/The Insider.webp b/fountain_scripts/The Insider.webp new file mode 100644 index 0000000000000000000000000000000000000000..8fe89dc23e75149a4dbe67de1c4b02a18a55131a --- /dev/null +++ b/fountain_scripts/The Insider.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:155a1dea01b9d77785258e30fdab8653518e4995f2df5f026afdbc4771f05934 +size 23304 diff --git a/fountain_scripts/The Iron Lady.fountain b/fountain_scripts/The Iron Lady.fountain new file mode 100644 index 0000000000000000000000000000000000000000..3bd002b11da2bddb65281b4d226685532c7e4be2 --- /dev/null +++ b/fountain_scripts/The Iron Lady.fountain @@ -0,0 +1,3504 @@ +Title: THE IRON LADY +Credit: Written by +Author: Abi Morgan + +/* Author's Note:References to "PRESENT" mean the undifferentiated years of the recent past (not 2011). */ + +INT. SHOP. NR CHESTER SQUARE. LONDON. PRESENT. DAWN. + +The HUM of a large refrigerator just audible over the sound of Indian music - + +MARGARET, briefly glimpsed pondering cartons of milk. + +The electronic PEEP of the cash til. + +A man on a mobile phone pushes past MARGARET, who takes her place second in the queue. + +The female shopkeeper piles newspapers on the counter in front of MARGARET. Distracted by images of the bombed hotel on the TV, she hesitates for beat. + + MAN BEHIND THE COUNTER + One forty-nine please. + + MARGARET + How much is the milk? + + MAN BEHIND THE COUNTER + Forty-nine pence. + (taking the change) + Thank you. + +MARGARET turns to leave, jostled by a tall young man wired into an ipod. + +EXT. STREET. CHESTER SQUARE. LONDON. PRESENT. DAWN. + +MARGARET heads down the busy street, shopping bag in hand. + +INT. KITCHEN. CHESTER SQUARE. LONDON. PRESENT. DAY. + +MARGARET sits at breakfast with her husband DENIS, sipping tea. DENIS butters his toast. MARGARET shakes her head. + + MARGARET + Too much. Much too much butter. + + DENIS + I like butter. + + MARGARET + Milk's gone up. + +/* 2 */ + +MARGARET reaches for a jug, pouring milk into it, sliding it down on a table. + + MARGARET (CONT'D) + 49p a pint. + + DENIS + Good grief! We'll have to economise. I suppose we could always sell the car. + (chuckles) + Or take in paying guests! + +He scoops up the newspaper and glances towards the door - + + DENIS (CONT'D) + Watch out. She's on the prowl. + +MARGARET looks beyond DENIS to a a sense of growing commotion. A concerned POLICE GUARD coming up the stairs meeting JUNE [early 60's] MARGARET's carer, along a distant corridor, steady on the approach. + + MARGARET + (to DENIS) + Eat your egg. + +JUNE smiles with visible relief on seeing MARGARET, now sitting tapping open her egg. + + JUNE + Goodness! There you are. + +JUNE's look of quiet concern. + + MARGARET + Yes. + +MARGARET eats her egg. + + MARGARET (CONT'D) + Here we are. + +But for JUNE, she is entirely alone. + +INT. CORRIDOR CHESTER SQUARE. PRESENT. DAY. + +WHISPERING- + + JUNE + I don't understand how it happened, how could she possibly have got out? It's very very important - + +MARGARET looks out of the kitchen. Her POV down the corridor of JUNE and the POLICEMAN and a CLEANER. + +/* 3 */ + + JUNE (CONT'D) + Please just make it really clear. Who's on after you? + + POLICE GUARD + Dixon. + +MARGARET slips away. + +INT.HALL. CHESTER SQUARE. DAY. + +MARGARET hurries through the hall. + +INT. BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DAY. + +A wide cupboard- MARGARET's eyes move back along the rail in front of her, her fingers touch hanger after hanger of brown tweed and grey twill. JUNE goes over to the curtains, pulling them back, letting in the sunlight- + + JUNE + Beautiful day. Oh, you've made a start. Carol's coming soon, I'll get some bags. Anything you want to go to Mark, I'll bring up a suitcase for it. + +The smell of smoke lingering. Suddenly DENIS' hand reaches across, wavering between jackets of brown tweed and grey twill- He reaches for a suit. + + MARGARET + No no no no. The grey. + + DENIS (O.S) + You sure? + +The swipe of a clothes brush, briefly seen, drawn across one sleeve- + + MARGARET + Yes. + +Distant footsteps- + + MARGARET (CONT'D) + ...Definitely the grey. + +JUNE returns, oblivious- + +/* 4 */ + + DENIS (O.S) + Righty ho. Boss knows best. + +JUNE spies the newspaper, sees the photos of twisted carnage on the front page. + + DENIS (CONT'D) + Don't let her take my paper away. + +JUNE reaches one hand out to scoop it up in passing- + + MARGARET + Oh, I haven't had a chance to look at that yet, dear. + + JUNE + Sorry. + +JUNE hesitates, leaves the newspaper resting on the bed as she heads off with the suit on a hanger. + + DENIS + Atta-girl. + +DENIS smiles as he stands in the bathroom doorway, soaping his face with shaving cream- He hums to himself as he resumes shaving until- + + DENIS (O.S) (CONT'D) + Damn. + +MARGARET looks up, DENIS has nicked his chin- + + MARGARET + Blot it...Blot it.. + +She turns, sees JUNE, through the ajar door, standing in the corridor, looking back at her + + JUNE + Sorry ? + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +A comfortable drawing room, filled with the photographs and memorabilia of a former political life. MARGARET stands by the window, half a dozen of DENIS' ties in her hand. Pulling back the net curtain, MARGARET peers out- Two POLICEMAN stand down below next to a Police BMW car. They are lost in conversation, pointing to the door, clearly concerned. + +/* 5 */ + +One POLICE MAN nods to the other, a sense of the changing of the guard as he drives off in the BMW. SUDDENLY from behind- + + DENIS + Now look what you've done. Are they to keep the loonies out or you in? + +MARGARET eyes DENIS, looking at her with wry smile - + + DENIS (CONT'D) + I'll be off then. + + MARGARET + Wear your scarf. There's a chill out there. + +Suddenly looming over her and grinning down as if at the top of a tunnel SUSIE, MARGARET's personal secretary carrying a cardboard box. + + SUSIE + Good morning Lady Thatcher. Are you alright ? + (concerned) + How are you feeling ? + + MARGARET + I'm fine, thank you Susie. + + SUSIE + I've just been reading about the bombings. + + MARGARET + Yes. Frightful. + +SUSIE's mobile goes off. + +She fumbles in her bag to switch it off. + + SUSIE + Sorry. + + SUSIE (CONT'D) + These are the books for you to sign. I brought as many as I could find. Shall we go through your appointments? + +MARGARET looks at her still nonplussed. + + SUSIE (CONT'D) + We said we'd go through them today. + +/* 6 */ + +MARGARET nods- + + MARGARET + Yes, of course, dear. Today. + + SUSIE + The invitation has come from Downing Street for the unveiling of your portrait. I'll put it on the mantelpiece, and there's an invitation from Lord Armstrong for lunch on the first Friday of next month. + +The murmur of SUSIE's voice, a kind of white noise- + + SUSIE (O.S.) (CONT'D) + I said no because you've got a concert that afternoon but if you'd like to..? + +SILENCE- + + SUSIE(O.S) (CONT'D) + ....It looks like a very interesting programme. + +MARGARET's listens, oddly distracted- + + MARGARET + What are they playing? + +SUSIE looks at her momentarily at a loss then scrabbles back through the diary- + + SUSIE + I think they said Rogers and Hammerstein. + +`SHALL WE DANCE' FROM `THE KING & I" SUDDENLY BREAKING THROUGH AS IF FROM ANOTHER TIME CARRYING INTO.... + +INT. SADLER'S WELLS. LONDON. 1950. NIGHT. + +An orchestra in full flight- A programme for THE KING & I on a woman's lap. A man's hand reaches in and her hands slips into his. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +Whilst SUSIE shuffles through the arrangements at the desk in the background, MARGARET stands at the window. + +/* 7 */ + + MARGARET + Silly man. + +MARGARET's gaze, seeing DENIS just visible in the street below. He looks up, smiles, + + MARGARET (CONT'D) + He hasn't got his scarf on. + +MARGARET throws DENIS a half wave. In return, he twirls his umbrella and does a couple of steps of a Chaplin walk for her benefit before passing the Postman who is shuffling through his letters as he approaches the front step, below. SUSIE looks on with quiet concern. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +MARGARET' is at her desk signing a stack of her memoirs, The Downing Street Years. MARGARET opens one, reaching for a pen. The curve of inky handwriting as she begins to sign them, Margaret Thatcher. Close on the swoop of the pen. Without missing a beat, she writes the name Margaret Roberts... The insistent blare of an air raid siren from another time cuts through - + +INT. BACK PARLOUR. SHOP. GRANTHAM. 1943. DUSK. + +The rumble of an approaching air raid overhead- The STEADY SHAKE of the table legs all around pulls out to reveal- BEATRICE ROBERTS [early 50's] austere, crouched next to MARGARET under a wide kitchen table along with ALFRED ROBERTS [early/mid 50's] a cumbersome man and MURIEL ROBERTS [21 yrs]. The sound of an air-raid siren. + + ALFRED + Did someone cover the butter? + +All look at one another in a panic. + + MARGARET + I'll go. + +Suddenly MARGARET scrabbles out from under the table, all look on with horror- + +/* 8 */ + + BEATRICE + Leave it. + + ALFRED (CALLING AFTER) + Margaret- + +INT. SHOP. GRANTHAM. 1943. DUSK. + +MARGARET scooping up the butter cover slamming it quickly over the thin slice of butter left in the butter dish before sliding it into the cold cupboard underneath the counter. SUDDENLY the shop illuminates- A DISTANT EXPLOSION. MARGARET momentarily paralyzed before, running back towards the back parlour to resume her place under the table. + +INT. BACK PARLOUR. SHOP. GRANTHAM. 1943. DUSK. + +MARGARET scrabbles underneath. ALFRED surreptitiously pats her arm. + + ALFRED (CONT'D) + Good girl. + +She shrugs, flushing with pride. + + ALFRED (CONT'D) + Tomorrow, no matter what they do, it'll be business as usual. + +The DRONE of the air raid dissolving away- + +INT. SHOP, GRANTHAM. 1945. DAY. + +A boy and girl look on as MARGARET measures flour on the shop scales. + + CUSTOMER (O.S.) + Two of the small beef, Mr. Roberts. + +MARGARET glances up at her father serving further down the counter. + + ALFRED (O.S.) + What is the life blood of any community? It's business.... + +/* 9 */ + +INT. HALL. GRANTHAM. 1943. DAY + +ALFRED on a small town hall stage behind a makeshift podium. + + ALFRED + Not just big business but small businesses, like mine. + +The SOFT press of MEN all around, MARGARET, a lone woman amongst them, peering over shoulders. + + BEATRICE + (passing/hushed aside) + Margaret! + +BEATRICE tuts, shoving a tray in her hand. + + BEATRICE (CONT'D) + CUPS! + +MARGARET sinks a little, taking the tray, and glances back at ALFRED just visible on a stage. + + ALFRED + We on this island are strong. We're self-reliant. Sometimes we're plain bloody minded. + +NOW AT THE BACK OF THE HALL, holding a tray loaded with dirty cups, MARGARET watches her father, back turned to the kitchen filled with WOMEN and YOUNG GIRLS making tea and washing up cups. + + ALFRED (CONT'D) + But we also believe in helping each other. And I don't mean by state hand-outs... + +EXT. STREET. GRANTHAM. 1943. DAY. + +MARGARET sweeps outside the shop, glancing across the street at- THREE PRETTY GIRLS dolled up for the evening and arms linked, crossing on the other side of the pavement. + + PRETTY YOUNG WOMAN 1 + Margaret, do you want to come to the pictures? + +MARGARET's eyes catch on the glitter of a broach in passing. They turn to look at her WHISPERING and GIGGLING. + +/* 10 */ + + PRETTY YOUNG WOMAN 2 + She can't come, she's got to study. + +The FLUSH of MARGARET'S skin - + + PRETTY YOUNG WOMAN 2 (CONT'D) + Miss Hoity Toity! + +The STING OF EMBARRASSMENT. THE SENSE OF THE PRETTY GIRLS WHISPERING ABOUT HER, EYES TRAVELLING OVER her disparagingly. + + ALFRED (V.O.) + Never run with the crowd, Margaret. Go your own way. + +The SWAY of a SKIRT as they walk away. + + ALFRED OOV + (close to) + Open it then. + +INT. SHOP. GRANTHAM. 1943. DAY. + +Close on a telegram addressed to MARGARET ROBERTS, 1-3 North Parade, Grantham. MARGARET'S father ALFRED, watching. + + MARGARET + (looking up) + I've got a place at Oxford. + +ALFRED bear-hugs MARGARET awkwardly. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +MARGARET at her desk, the ghost of a smile. + +INT. SHOP. GRANTHAM. 1943. DAY + + ALFRED + Don't let me down Margaret. + +The CHINK of a teacup- MARGARET looks down the corridor in expectation at BEATRICE standing at the sink working the SQUEAK of the cloth against a stubborn tea stain. + +/* 11 */ + + MARGARET + (calling out) + Mother? + +BEATRICE comes down the corridor into the shop, wiping her hands on a cloth. ALFRED goes to hand BEATRICE the letter. + + BEATRICE + (shakes head) + My hands are still damp. + +BEATRICE turns and walks back to where she came from. MARGARET looks back at the letter, heart bursting, trying to contain her joy. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +MARGARET looks down, pen in hand, the words Margaret Roberts newly signed in the front cover. She tears the page out. + +INT. BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DAY. + +MARGARET napping in bed. The still of the bedroom, caught in the half light of a late afternoon- A hand slides a teacup onto the bedside table - The flicker of MARGARET's eyelids- QUICKFLASH - + + BEATRICE + (passing/hushed aside) + Margaret! + +BEATRICE tuts, shoving a tray in her hand. + + BEATRICE (CONT'D) + CUPS! + +PRESENT - MARGARET stirs again, blinking awake. DENIS sits by the window. He is bent over a pair of spectacles, wrapping wire around one of the arms with a pair of pliers. Other items of clothing of his are on Margaret's couch. + +/* 12 */ + + DENIS + (without taking his eyes of the job) + They're talking about you again. + +The murmur of JUNE on the phone- + + MARGARET + What time is it? + + DENIS + Sun's not quite over the yard arm. Time for tea. + +A phone rings, O.S. MARGARET considers DENIS now wearing a pink turban and confronts the extraordinary head-gear. + + MARGARET + What have you got on your head? + +DENIS smiles, throwing back his head, the swathe of pink fabric from his turban hanging down ridiculously- + + DENIS + Found it in the cupboard and thought bugger it, it's Friday, why not fancy dress? + +MARGARET sits drinking her tea, JUNE's hushed tones almost audible. + + MARGARET + You look ridiculous. + +MARGARET strains to hear- + + DENIS + Bosslady no like? + +She makes a shushing motion. + + MARGARET + (as if to a bad dog) + No, Denis, Bosslady no like. + +MARGARET resumes listening. The door ajar, the sounds of life just audible outside- + + JUNE (O.S) + It's taken Carol so long to get her to agree to this. She's been so reluctant to let his things go. + +DENIS sinks onto the bed, bored. + +/* 13 */ + + MARGARET + (without looking) + Feet. + +He tuts and adjusts his legs so that his shoes don't dirty the bedspread. MARGARET stands, ear pressed close to the open door- + + JUNE (O.S) + You can never be sure she's taking her medication...I think sometimes she hides them.. + + DENIS VO + Oh, rumbled! + +MARGARET looks back at her cup of tea, spots two pills resting in the tea cup. She considers the pills, pops them in her mouth, drinks. + + JUNE (O.S) + She's definitely more distracted than usual today. + +INT/EXT. BEDROOM. CHESTER SQUARE. PRESENT. DAY. + +A shout in the street. A woman's voice. + + CAROL OOV + Can I suggest you remove the sticker from the back of your car. + +Margaret looks through the net curtains and sees CAROL THATCHER[early 50's] just visible stepping out of a taxi, remonstrating with the driver, clutching her purse and waving her credit card at him with rising irritation. + + CAROL OOV (CONT'D) + Well then take the sticker off! I call that false advertising! I would say keep the change, but there isn't any change. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +A scotch being poured. The cap not quite going back on the whisky bottle. A frantic fumble for the remotes for the tv. + + CAROL OOV + Hello June, any news? I've brought every bag I could find. + +/* 14 */ + +High shot of MARGARET sitting in a chair watching TV. As if she has been there a while. CAROL enters with suit carriers in her arms. + + CAROL + Hello Ma. Bloody taxi driver. Wouldn't take my card. I said don't have a sticker saying you take Visa and then insist on cash. Can you believe it? I was rummaging around the bottom of my bag. He didn't get a tip. + + MARGARET + I didn't know that you were dropping by today, dear. + + CAROL + (Dumping her stuff all over the place) + Yes, you said yesterday...You wanted to make a start on Dad's things. The cupboards ? Then I can help you dress. + +MARGARET, nonplussed. + + CAROL (CONT'D) + You've got Michael and- + + MARGARET + Jaqueline... + + CAROL + Coming for dinner tonight. + + MARGARET + Of course. + (turning up the TV) + We're having halibut. + +On TV, images of a bombed street, + + CAROL + Oh God. Isn't it terrible? + +MARGARET nods, both silently listening to the drone of the newscaster- + + CAROL (CONT'D) + They think it's Al Quaida - + +The charred remains of cars, desperate people running, a rescue operation midway- MARGARET blinks, inwardly reeling from the images- + +/* 15 */ + + MARGARET (V.O) + Denis! + +Quick Flash: Denis in pyjamas, brushing his teeth in a hotel bathroom, glances at her through the open door. + + DENIS + It'll be fine. Come on, get your head down, it's ten to three, for God's sake. + +EXT. GRAND HOTEL. BRIGHTON. 1984. NIGHT. + +Chaos outside the Grand Hotel in the aftermath of the bomb. The injured are pulled through the rubble. + + NEWS READER (V.O.) + At ten to three this morning an explosion extensively damaged the Grand Hotel in Brighton, scene of the Conservative Party conference. + + NEWS READER 2 (V.O.) + ...Where the Prime Minister and a number of her cabinet were staying. They escaped unhurt - + +The WHIR of SIRENS- The BLUR of FIRE ENGINE LIGHTS- The image of a BODY being stretchered out of the rubble by FIREFIGHTERS. + + NEWS READER 3 (V.O.) + Five people have died, many others are injured, some critically. The IRA have claimed responsibility. + +DENIS and MARGARET sit in their coats covering MARGARET's evening dress and DENIS pyjamas. Both looking out in silent shock at the devastated Grand hotel, reflected on the glass of the car windows. MARGARET looks on with quiet, sobering despair, still numb with shock. DENIS looks at her. He grips her hand. They sit, fingers locked. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY. + +Close on MARGARET's hand and whisky glass. Shaking. + +/* 16 */ + + MARGARET + (standing up) + We must release a statement, offering our condolences. + + CAROL + I'm sure they've already- + + MARGARET + We must never, ever, ever give in to terrorists. + +MARGARET sees JUNE and CAROL exchange looks of `oh dear...' + +INT.BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DUSK. + +MARGARET sits in a dressing gown at a dressing table, staring at her reflection. CAROL stands behind her, holding up several dresses. + + CAROL + Now ma, are we going long or just below the knee tonight? + + MARGARET + Oh, below the knee I should think. + +She watches, irritated, as CAROL reaches to move a pile of DENIS' clothes- + + MARGARET (CONT'D) + No! Don't move those. I haven't finished sorting them. + +CAROL settles beside her on a chair. + + CAROL + I hear you went out today...You mustn't go out on your own Mummy. We've talked about that. + + MARGARET + There was no milk. + + CAROL + Call Robert he'll get it for you if June's not up- + + MARGARET + I am not for the knackers yet. + +From behind- + + DENIS (O.S) + Now take it easy, Margaret. + +/* 17 */ + +DENIS just visible, perched on the bed, looks up from doing the crossword in the newspaper- + + CAROL + No one is saying that. + + MARGARET + If I can't go out to buy a pint of milk then what is the world coming to. Really Carol, please don't fuss about it. You've always been like this, fuss fuss fuss. You must find something better to do with your time. It's most unattractive in a woman. When I was your age the last thing I wanted to do was fuss around my mother. + +Silence- CAROL, inwardly stung quietly busying herself, forcing all emotion away. MARGARET hesitates catching DENIS' eye, with quiet warning. + + DENIS + Four down, 9 letters. + +DENIS withdraws into his crossword. + + DENIS (CONT'D) + Something b something t something n...something something something...Refusal to change course- + + MARGARET + Obstinate. + +DENIS writes, pleased. CAROL looks up, with quiet bemusement- + + CAROL + What? + +MARGARET deflects, pointing to a necklace in CAROL's hands. + + MARGARET + Pearls. I'll wear the pearls. + +CAROL slips them onto MARGARET'S neck and fastens them. + +/* 18 */ + + MARGARET (CONT'D) + There they are. My little twins. Thank you, dear. + +INT. CORRIDOR. CHESTER SQUARE. LONDON. PRESENT. EVENING. + +The murmur of conversation- CAROL tails MARGARET, steady on the approach towards the drawing room. + + CAROL + It's nearly all familiar faces, William, Michael and his lovely wife- + + MARGARET + Jacqueline. + +CAROL smiles, clearly reassured- + + CAROL + And then there's Peter, James R and James T and that very nice man- + +DISTANT LAUGHTER + + MARGARET + Yes- + + CAROL + - we met last year. + + MARGARET + Yes I remember- + + CAROL + I think he's bringing his new lady friend just to mix it up a bit. We're rather short on women - but I'm sure we'll manage- + + MARGARET + I've always preferred the company of men- + +CAROL gestures ahead, MARGARET nods, reticent, yet forcing herself on, she hesitates at the door, her hand trembling on the handle. + + CAROL + Ma? + +/* 19 */ + +INT. CORRIDOR.DARTFORD. 1949. EVENING. + +Close up of a shoe being rubbed on a calf. A young hand hesitating on a door handle. + +INT. SITTING ROOM. HOUSE. DARTFORD. 1949. EVENING. + +A 1950's drinks party- A bank of stuffy GREY SUITED MEN pontificating and their WIVES lost in a separate polite conversation- + + GREY SUITED MAN + Ah, Miss Roberts. Hoping to be chosen as our candidate for parliament. + +A young MARGARET [24yrs] stylish in a suit, straight from work, stands clutching her handbag, oddly out of place amidst the neat 50's chintz. A bank of sporting prints collage a wall. A bespectacled YOUNG DENIS THATCHER (30's) glances up from his drink, taking her in. + +INT.DINING ROOM. CHESTER SQUARE. LONDON. PRESENT.EVENING. + +The MURMUR of dinner party conversation- + + MARGARET + Well I don't like coalitions, never have... + +MARGARET's POV of her fingers absently grazing a confusing array of cutlery laid out in place setting in front of her. Her confused face. + + DENIS VO + Start on the outside... + +INT. DINING ROOM. HOUSE. DARTFORD. 1949. EVENING. + +DENIS whispers. + + DENIS VO + ...and work your way in. + +A long table packed with silverware. She looks back at her ornate and rather hideous starter, a tiny wobbling savoury confection in aspic. + +/* 20 */ + + PORTLY HOST + ...Attlee has his sights set on the steel industry, you mark my words. + + GREY SUITED MAN + They'll be nationalizing the bloody air next. + + MALE GUEST + Yes, hold your breath, sir, that's government property! + + PORTLY HOST + So was your father a political man, too, Miss Roberts? + + MARGARET + Oh, yes, to his core. And Mayor of Grantham. + + PORTLY HOST + And a grocer as well! + + MARGARET + Yes. + +Ears prick up around the table. The Host is lost for something to say. + + HOSTESS + And did you help, err, in the...shop? + + MARGARET + Oh, yes. It was a family business. + + GREY SUITED MAN + A very good starting point for the political life, I'm sure. + + MARGARET + That and a degree from Oxford. + +The put-down, though not intentional, causes Denis to smile. MARGARET catches the smile. She remains unruffled and goes back to her food, picking up a knife and fork, working her way in, teasing her hors d'oeuvres. + +INT. DINING ROOM. CHESTER SQUARE.LONDON.PRESENT.EVENING. + +MARGARET sits oddly removed, hand instinctively covering her wine glass, as a WINE WAITER hovers. + +/* 21 */ + + MARGARET + (hushed aside to WAITER) + Whisky. + +The MURMUR of conversation all around- + +INT. DINING ROOM. HOUSE. DARTFORD. 1949. EVENING. + +Pudding is on the go and Margaret is warming to her theme. + + MARGARET + What I do think is that a man should be encouraged to stand on his own two feet. Yes we help people of course we help people. But for those that can do, they must just get up and do. And if something's wrong, they shouldn't just whine about it, they should get in there and DO something about it, change things. + +The female guests exchange glances. A half-chuckle from someone. + + PORTLY HOST + With all due respect, Miss Roberts, what may have served in Grantham- + + MARGARET + Can serve very well for the people of Dartford too. + + MALE GUEST + Really? + +A general sense of quiet incredulity. + + MARGARET + I know much more than those who have never lived on a limited income. Just like the man or woman on the street, when I am short one week, I have to make economies the next. + + GREY SUITED MAN + Nothing like a slice of fiscal responsibility. + +/* 22 */ + + MARGARET + A man might call it fiscal responsibility, a woman might call it good housekeeping. + + MALE GUEST + I'm not sure a home economics lesson is quite what the Dartford constituents need. They see industry being nationalized, the unions on the up, the pound on the slide...whoever can sort that lot out - he's my man. + + MARGARET + Or woman? + +Denis lets out a spontaneous guffaw as the host and hostess exchange looks. He signals `Get them out of here'. The men rise. + + HOSTESS + Ladies shall we ? + + PORTLY HOST + Miss Roberts, do join the ladies. + +The ladies scurry to the sitting room. Margaret is the last to leave. + +INT. SITTING ROOM. DARTFORD. 1949. EVENING. + +As Margaret closes the door to the dining room - + + PORTLY HOST (O.S.) + Well. That's told us! + +The men laugh raucously. She turns to the ladies who are regrouping at the fireplace and regarding her with suspicion. + +INT.DINING ROOM. CHESTER SQUARE. LONDON. PRESENT. EVENING. + +The aftermath of the muted dinner party- MARGARET at the helm, a small whisky just visible nestled next to her wine glass. She is flushed and nicely mellow surrounded by mainly MALE GUESTS- + + MICHAEL + So, Margaret, how would you have dealt with this if you'd been Prime Minister? + +/* 23 */ + +MARGARET looks at him, her flicker of bemusement. ...slowly registering across the faces of her FRIENDS and COLLEAGUES including CAROL. + + MARGARET + Where? + + CAROL + The bombings, mummy. Today? + +MARGARET still lost + + CAROL (CONT'D) + We were just talking about them? + +MARGARET deflects, reaching for her glass, it trembles unsteady in her grasp. + + MARGARET + No, uhm, yes - we have always lived alongside evil. But it has never been so patient, so avid for carnage, so eager to carry innocents with it into oblivion. + + MALE GUEST + So, would you - + + MARGARET + Western civilization must root out this evil, wherever it hides, or she risks defeat at the hands of global terror in a nuclear age. Unimaginable! + +Appreciative murmur of agreements amongst the listening party- + + PETER + The Prime Minister gave a very good statement I thought. + + MARGARET + Yes. Clever man. Quite a smoothie. + +Laughter- + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT. + +MARGARET says final farewells to a guest. He walks away as another couple approach. + + MARGARET + You don't mind if I sit down... + +/* 24 */ + +Sitting down on a nearby chair, MARGARET looks with feigned recollection at the FEMALE GUEST as she sinks down on the ground in front of her, gripping MARGARET's hand. + + FEMALE GUEST + I heard you speak at conference in 1984 in Brighton just after the IRA bombed the Grand Hotel. You were remarkable. I hope you appreciate what an inspiration you have been for women like myself. + +MARGARET hesitates, smiles, nods to herself, considering- + + MARGARET + It used to be about trying to do something. Now its about trying to be someone. + +The FEMALE GUEST nods and scrambled to her feet, clearly concerned, shooting a look to her HUSBAND standing beside her, waiting to depart. + + FEMALE GUEST + Well anyway, I...thank you. + + MARGARET + Good night to you. + +MARGARET sits alone. In the background, the chatter of Carol saying final farewells. + + CAROL (O.S.) + Great to see you, thank you very much for coming. + + MALE GUEST (O.S.) + Oh, thank you. It was lovely, absolutely lovely. And I'm so pleased to see your mother looking so well. + +INT. DRESSING ROOM. HOUSE. CHESTER SQUARE. PRESENT.NIGHT. + +A mirror lined dressing room- CAROL helps MARGARET with her shoes. + + CAROL + OK...hold on to me...that's right. + +MARGARET struggles with the catch on her pearls + +/* 25 */ + + MARGARET + Can you do the clasp, I can't quite - + +CAROL hurries to help her, MARGARET quietly concedes. Fingers fumble to unclasp the pearls- + + MARGARET (CONT'D) + Thank you. + +CAROL drops the pearls into a jewelry box, close to MARGARET, staring back at their reflections. + + CAROL + You've got an eyelash. + +CAROL catches the stray eyelash on the tip of her finger, holding it close to MARGARET, with a smile- + + CAROL (CONT'D) + Make a wish. + +MARGARET, closes her eyes until- MARGARET blows. She opens them smiles. CAROL smiles. + + CAROL (CONT'D) + I spoke to Doctor Michael today- + +MARGARET glances away, deflecting. + + CAROL (CONT'D) + He is very good and very expensive- + +MARGARET ignores her- + + CAROL (CONT'D) + ...I know you're not due to see him for another month but I've spoken to him and he can fit you in tomorrow. + +SILENCE- + + CAROL (CONT'D) + Just for a check up. + (silence) + Ma please- + + MARGARET + What does Mark think about it? + + CAROL + Mark? + +/* 26 */ + + MARGARET + Yes. Tell him to come up. I want to talk to him about it. + +CAROL, hesitates, with concern- + + CAROL + Mark's with Sarah and the children. + +MARGARET nods, heading through into the bathroom. + + MARGARET + Well tell him to come up and see me after he's kissed them good night, would you Carol darling? + +INT. BEDROOM. CHESTER SQUARE. PRESENT. NIGHT. + +MARGARET, sitting on her bed, glances expectantly towards the door. Carol sits down beside her. + + CAROL + He's not here Mummy. + +MARGARET hesitates, CAROL using all her might, not to crumble under MARGARET's cool gaze- + + CAROL (CONT'D) + Mark lives in South Africa... + +MARGARET inwardly flinches. + + CAROL (CONT'D) + ...you are not Prime Minister anymore and Dad is...Dad is dead- + +Silence- + + MARGARET + You look exhausted, dear. You really must try to get some sleep. Taxis'll be few and far between at this hour... + + CAROL + Righty-ho. Night night Ma. Sleep well. + + MARGARET + Good night, dear. + +The slam of a door. MARGARET sits, alone. + +/* 27 */ + +INT. SADLERS WELLS. LONDON. 1950. NIGHT. + +MARGARET'S POV of Denis turning to her in the theatre. He smiles. MARGARET's FINGERS absently grazing over the programme, in time with the music- SUDDENLY a closed fist reaches out, then opens to reveal a sugar mouse. Margaret's fingers reach for it, but it's teasingly withdrawn. Finally, she takes its. She turns to smile at DENIS, her face is glowing with happiness- + +INT. TOWN HALL 1950. NIGHT. + +MARGARET sits on the edge of a trestle table, scrunching a rosette in her hand. The Town Hall is empty save for a couple of Volunteers stacking chairs and sweeping the floor. The litter of election night is everywhere. + + RADIO ANNOUNCER + Twenty-four-year-old Miss Margaret Roberts lost her bid to win a seat in Parliament today, but she has put new life into the Dartford Conservative Association. Winning candidate Mr Dodds had better watch out, this bright young woman is on his tail. + +DENIS appears in the doorway, carrying fish and chips. He slides them down in front of her. + + DENIS + Eat! + +MARGARET almost smiles. Then sinks once more into misery. + + MARGARET + Disaster. + + DENIS + Hang on...Hang on...Hang on... + +DENIS fishes in his pocket pulling out a hip flask. An impromptu supper made. MARGARET takes in the aftermath of rosettes, the whiff of defeat all around. + + DENIS (CONT'D) + You shaved thousands off their majority. You did splendidly. + + MARGARET + Not splendidly enough. + +/* 28 */ + + DENIS + Ah I see. Self pity. + +MARGARET eyes him, mid chip- + + DENIS (CONT'D) + No one is saying you don't need a safe seat. You deserve a safe seat. But it does not come unless you learn to play the game a little. + + MARGARET + What game? + +She is fuming but he regroups with a big breath. + + DENIS + You are a grocer's daughter- + + MARGARET + (fiercely) + -And proud of being- + +He grabs her hand, silencing her. + + DENIS + - in their eyes. A single grocer's daughter. But if you were to become the wife of a moderately successful businessman- + +For the first time, we see MARGARET taken by surprise. + + DENIS (CONT'D) + You'd get to parliament, and I'd get to be the happiest man in- in wherever they select you. + (SILENCE) + Margaret, will you marry me? + +She is genuinely stunned. + + DENIS (CONT'D) + Well ? + +She is frozen. Then she begins to smile and nod her head and smile. + + MARGARET + Yes. Yes! + +He leans over and kisses her, long and passionately until- + + DENIS + What ? + +/* 29 */ + + MARGARET + I love you so much but...I will never be one of those women Denis - who stays silent and pretty on the arm of her husband. Or remote and alone in the kitchen doing the washing up for that matter. + + DENIS + (trying to retain the moment) + We'll get a help for that. + +He leans forward to kiss her again but she pulls away a little. + + MARGARET + No - one's life must matter, Denis. Beyond the cooking and the cleaning and the children, one's life must mean more than that - I cannot die washing up a tea cup. + +He sits up and stares as if seeing her for the first time. + + MARGARET (CONT'D) + I mean it Denis, say you understand. + + DENIS + That's why I want to marry you, my dear. + +She kisses him. A CHINK of a TEACUP- They pull apart. FLUSHED and GIGGLING on seeing- A LONE WOMAN enters the hall, cleaning up the last of the tea cups, and generally tidying. + + DENIS (CONT'D) + Now eat. + +MARGARET smiles her joy at him as `SHALL WE DANCE' swells. And now she's in his arms as they dance, swirling through the election debris, eyes only for each other. + +/* 30 */ + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT. + +MARGARET now on all fours, struggling with her glasses. A pile of DVD's on the floor, The KING and I amongst them momentarily catching her eye until- A DVD with hand-written scrawl that we can't quite read. MARGARET flicks open the box, struggling to get the DVD out. Fiddling with the DVD player, MARGARET puts in the disc and considers, squinting at the remote, trying to make the DVD player work until, suddenly... Super 8 footage - 1959 Children on a beach in wind-swept, grainy super 8. Denis with a golf club and ping pong balls practicing his drive from a tee, sending ball after ball skying into the sea. Mark and Carol charge into the water to retrieve them. + + MARGARET + There they are, my little twins. Mark... + +DENIS approaches the camera laughing and appears to take hold of it. MARGARET is seen sitting on a wobbly camping stool, hardly dressed for the beach, surrounded by papers weighed held down by pebbles. She merrily returns to her work. + + DENIS + Cornwall, wasn't it? Bloody hell... Look at `em, little imps. You never really got golf, did you? + +DENIS sits behind her on the sofa in a dressing gown, watching the footage. She sips her whisky. + + MARGARET + You look happy. + + DENIS + Yes, I do, don't I? You're drinking too much. + +MARGARET ignores him. + + DENIS (CONT'D) + Whatcha doing? + +DENIS looks at MARGARET, unwavering. She resumes a search- + +/* 31 */ + + DENIS (CONT'D) + Not like you. Looking back. + +MARGARET SUDDENLY presses rewind on the remote, clutched in her hand. + + DENIS (CONT'D) + Don't want to dig around too deep, M. Don't know what you might find. + +The rapid rewind of Denis swinging his golf club. + + DENIS (CONT'D) + You can rewind it, but you can't change it. + +She freezes the image of him turning to camera, laughing. + + MARGARET + They grow up so fast. + +Margaret turns with something to say, but Denis doesn't seem to be there anymore. + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT.NIGHT. + +Now on the screen, Mark on a swing. MARGARET'S face softens. + + MARGARET + Mark. + +He turns and rushes towards the camera, whooshing past it. Without breaking step, suddenly, he's in the room, running past Margaret, still cheering and whooping. MARGARET's hand, just skimming MARK's golden curls. As he moves on, MARGARET's curiosity caught following him out and down the corridor of Chester Square, seeing the Mark and Carol disappear round a corner. + +INT. HALLWAY. HOUSE. FARNBOROUGH. KENT. 1959. DAWN. + +The view beyond- + + SPEAKER VO + Mr Eric Deakins, Labour... 13,437... + +The CRUNCH of gravel as CAROL and MARK race across the drive towards a blue ford car, covered with Tory blue streamers and a VOTE FOR THATCHER poster scrawled with the words Victory. + +/* 30 */ + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT. + +MARGARET now on all fours, struggling with her glasses. A pile of DVD's on the floor, The KING and I amongst them momentarily catching her eye until- A DVD with hand-written scrawl that we can't quite read. MARGARET flicks open the box, struggling to get the DVD out. Fiddling with the DVD player, MARGARET puts in the disc and considers, squinting at the remote, trying to make the DVD player work until, suddenly... Super 8 footage - 1959 Children on a beach in wind-swept, grainy super 8. Denis with a golf club and ping pong balls practicing his drive from a tee, sending ball after ball skying into the sea. Mark and Carol charge into the water to retrieve them. + + MARGARET + There they are, my little twins. Mark... + +DENIS approaches the camera laughing and appears to take hold of it. MARGARET is seen sitting on a wobbly camping stool, hardly dressed for the beach, surrounded by papers weighed held down by pebbles. She merrily returns to her work. + + DENIS + Cornwall, wasn't it? Bloody hell... Look at `em, little imps. You never really got golf, did you? + +DENIS sits behind her on the sofa in a dressing gown, watching the footage. She sips her whisky. + + MARGARET + You look happy. + + DENIS + Yes, I do, don't I? You're drinking too much. + +MARGARET ignores him. + + DENIS (CONT'D) + Whatcha doing? + +DENIS looks at MARGARET, unwavering. She resumes a search- + +/* 33 */ + +MARGARET fingers brush dark panelled walls, making her way along endless corridors. Gothic arches, venerable busts, wood panelling and stone. MARGARET's pov as she stays to the side of the impressive corridor. She passes men in suits and groups. Others come towards her and notice her. Her POV as she pushes open a first door `TEA ROOM' - a circle of men turn round in chorus as if something with three heads has appeared. POV of a second opening door marked MEMBERS. A row of urinals. Two headless bodies come towards the camera, scrambling to zip up their flies. POV of the promise of sanctuary. LADY MEMBERS. The door opens onto a cupboard sized space. An ironing board. A sea of men's Oxford shoes from ground level. A pair of woman's shoes appear amongst them. They go on tip toe. From above we see Margaret's hat amongst the sea of mens heads and shoulders. Margaret is carried along in the sea of MALE MP's OXFORD SHOES. AIREY NEAVE [Extremely dapper, friendly 43] approaches MARGARET. + + AIREY NEAVE + Mrs Thatcher ! Airey Neave. Welcome to the madhouse. Follow me. + +The doors swing open- + +INT. HOUSE OF COMMONS CHAMBER. 1974. DAY + +MARGARET, now SECRETARY OF STATE FOR EDUCATION, on the front bench, wearing a neat blue suit and a hat, a phalanx of MINISTERS sitting beside and around her, BLUE and GREY SUITED MEN, almost at first glance indistinguishable, with PRIME MINISTER EDWARD HEATH (late 50's), neat, effete, slumped rather forlornly on the bench. MARGARET, her speech and papers in her hand is fighting hard but the OPPOSITION LABOUR BENCHES scent blood - and they literally bray, getting to their feet and shaking their order papers in her face. The SPEAKER tries to control the chamber but his VOICE is almost lost in the bedlam. + +/* 34 */ + + SPEAKER + The Right Honourable Lady the Secretary of State for Education. + + MARGARET + The right honourable gentleman knows that we have no choice but to shut down the schools! + +Cries of `Shame!' From the opposition. The chamber reduced to a bear-pit. HEATH glum and offering no help to MARGARET whose voice becomes increasingly shrill. + + MARGARET (CONT'D) + Because his union paymasters have called a strike deliberately to cripple our economy. Teachers cannot teach when there is no heating, no lighting in their classrooms. And I ask the honourable gentleman, whose fault is that? + + SHADOW MINISTER + Methinks the Right Honourable lady doth screech to much. If she wants us to take her seriously she must learn to calm down! + +The OPPOSITION BENCHES love that, rocking in their seats, laughing... falsely of course. But MARGARET is aware that there are many MEN behind her, on the government benches, who are also sniggering in agreement. + + MARGARET + If the right honorable gentleman could perhaps attend more closely to WHAT I am saying, rather than HOW I am saying it, he may receive a valuable education in spite of himself! + +Her opposite number Shadow Minister looks almost smug: smiling, pointing a finger at her. + + SHADOW MINISTER + Why has this Conservative government failed? Why has it forced so many in the public sector into taking strike action to save their own jobs? + +It brings the OPPOSITION benches to their feet, shouting, applauding, stamping... + +/* 35 */ + +EXT. WESTMINSTER STREET. 1974. DAY + +MARGARET walking with AIREY NEAVE towards Downing Street for a Cabinet Meeting. All around, heaped high on either side as far as the eye can see are bags of rubbish. But not neatly stacked, just thrown there, many of them rotting down, spilling their filthy, putrid contents onto the street. + + SHADOW MINISTER VO + Minister, the breakdown of essential public services - transport, electricity, sanitation is not the fault of the trades unions but of this Conservative government in which you so shamefully serve! + +The stench is awful - and MARGARET'S expression reflects that as she picks her way through. + +INT. CABINET ROOM. DOWNING STREET. 1974. NIGHT. + +The ranks of BESPECTACLED GREY-SUITED MINISTERS at the Cabinet table, including GEOFFREY HOWE. + + HEATH + So these power cuts will continue unless we can reach a compromise. + +EDWARD HEATH is in mid-flow. + + HEATH (CONT'D) + The miners are asking for a 35% increase in wages. Obviously we can't go anywhere near that. The unions are not our enemies and never have been. We want - and have always wanted - the broadest consensus... + +The MINISTERS nod. MARGARET determinedly edges a little forward so that she is in equal line with the other MALE MINISTERS. + + HEATH (CONT'D) + I'm sure we are all in agreement that we must do nothing for the moment that will further inflame the current situation. + + MINISTER 1 + Hear hear, Prime Minister. + +/* 36 */ + +MARGARET leans forward for a better view, trying to catch his eye. HEATH wavers, mid-speech. All turn to look at MARGARET - who sits unwavering. HEATH resumes. + + HEATH + - the fact of the matter is, it's absolutely crucial that we are seen by the public to be acting as conciliators and not aggressors. + (Finally acknowledging Margaret) + Yes, Education Secretary. + + MARGARET + Yes... + +All eyes TURN on her again, hearing the reservation in her voice. + + MARGARET (CONT'D) + Prime Minister, with the Miners' leader calling today for the army to mutiny in support of the strikes, this seems the wrong time for conciliation. + +SUDDENLY ALL THE LIGHTS GO OUT. A lot of `bloody hell' `oh for god's sake'. + + HEATH + Be patient. They'll come back on in a minute. + +A beam of light cuts through, just for an instant picking out HEATH'S moon-like face surrounded by darkness. MARGARET holds the small torch. + + HEATH (CONT'D) + Thank you, Margaret. + +A snigger, then the lights flicker back on. + + HEATH (CONT'D) + Your thoughts are duly noted. + +MARGARET turns of the torch and clicks her handbag shut in satisfaction. Heath's words echo in her head, `compromise...compromise...compromise...' An inward look as she's caught by a memory. + + ALFRED (O.S.) + We on this island are strong. We're self-reliant. Napoleon called us a nation of shopkeepers. + +/* 37 */ + +INT. TOWN HALL. 1949. NIGHT. + +The packed town hall, ALFRED ROBERTS in full flow on stage. + + ALFRED + He meant it as an insult but to me it's a compliment. That's why he couldn't beat us, and that's why Hitler can't beat us. + +The crowd of men applaud. The lone woman in their midst, YOUNG MARGARET watches her father, face aglow. + + ALFRED (CONT'D) + We Conservatives believe in giving people the freedom and opportunity to fulfil their own potential, especially the young. There's no good in pretending we're all equal, we're not all the same, never have been, never will be. We should encourage our children to aspire to achieve more than we have, for our children today will be the leaders of tomorrow. + +INT. CAR. STREET. CENTRAL LONDON. 1974. DAWN + +...CAROL and MARGARET seated, driving steadily along a deserted street. MARGARET thoughtful as the radio plays. + + VOICE ON THE RADIO + It's 1974 and you'd think it was WWII. Blackouts, no petrol. It's a mess. Heath should resign now and make way for someone who's not afraid to tackle the unions. + +CAROL'S nervous prattle begins to break through. + + CAROL + I swear, it's all gone completely out of my head. My driving instructor thinks I should pass but I feel as if I've hardly had any lessons. Ridiculous isn't it? Maybe third time lucky. + + MARGARET + Right. The only thing you should remember is that everyone else is either reckless or inept. And often both. + +MARGARET eyes the road, gesturing CAROL to move forward. + +/* 38 */ + + MARGARET (CONT'D) + One must be brave if one is to take the wheel- + + CAROL + Right-o. + + MARGARET + Move over... Move to your right a little bit... + + CAROL + But if I move to the right aren't I on the wrong side of the road? + + MARGARET + Carol! + + CAROL + Well he's in the way! + + MARGARET + To the right. Move to the right! + +A yelp from CAROL as the car swerves a little, narrowly missing a lone CYCLIST- + + MARGARET (CONT'D) + So sorry! Terribly sorry! + +MARGARET throws a wave from the wound down window. The CYCLIST swerves on recognizing her, watching as the car goes round and round the square, almost balletic. + + CAROL + Hey, look at me, driving! + +CAROL's squeals of delight, let loose on the open road. The tyres screech on the corner. + +INT. KITCHEN. FLOOD STREET. LONDON. 1974. DAWN. + +Laughter - VOICES on the approach- + + CAROL + Thanks Ma, that was terrific! I really feel I've got a handle on it now. + +CAROL and MARGARET entering kitchen, still giddy from their adventure. + + CAROL (CONT'D) + You should have seen us, Pa. + +/* 39 */ + +DENIS in his dressing gown burning toast and attempting to make breakfast - + + MARGARET + Have you been trying to make breakfast? For Goodness sake, Denis! + +DENIS scrapes down the toast, eggs boiling in the pan. + + DENIS + I can boil a bloody egg. + + CAROL + Mummy took me for a test drive - We went absolutely everywhere. All over the place - + + MARGARET + (sudden/cutting in) + I've decided. I'm going to run. + +MARGARET smiles, a growing resolution gripping her. + + DENIS + What for? + + MARGARET + I'm going to run for Leader of the Party. + +CAROL'S utter disappointment on seeing she has lost MARGARET already. + + CAROL + Silly me! + +CAROL storms out of the kitchen. + + DENIS + (calling after) + Good luck! + + CAROL (O.S.) + All the time I thought I was having a driving lesson, it was all about my mother, just for a change! + + MARGARET + What's she on about? + + DENIS + It's her driving test this morning! + +/* 40 */ + + MARGARET + Oh, right. Of course. + +A BEAT. + + DENIS + Are you saying you want to be Prime Minister? + + MARGARET + (with false patience) + What I'm saying is that someone must force the point, say the unsayable. None of these men have the guts. + +MARGARET sees the burnt toast and energetically starts clearing up and putting more bread under the grill. + + DENIS + The Prime Minister has been very loyal to you, MT. + +He tries, with a trembling hand, to scoop boiled eggs from the pan. + + MARGARET + But he's weak, and he's weakened the party. One must know when to go. + (glancing at him) + You're shaking. + +She reaches out. + + DENIS + I can do it! + +DENIS pulls his arm away, sending boiled eggs flying. SILENCE. + + MARGARET + Goodness me! What is the matter with everyone this morning? + +A beat. He looks utterly fragile. + + DENIS + I've told you what the matter is. The business is a bit rocky at the moment and the Doctor thinks I need a rest. + + MARGARET + And do you need a rest? + +/* 41 */ + +It's almost challenging. He doesn't answer and she doesn't notice. + + MARGARET (CONT'D) + We both know that it's highly unlikely that I would ever be elected leader, I'll never be elected leader. But I will run. I will run. Just to nip at their heels and make them reaffirm the principles on which the Conservative Party must stand. There's so much to do. + +She smiles. + + DENIS + (sotto voce) + You're insufferable, Margaret, do you know that? + + MARGARET + Denis, you married someone who is committed to public service, you knew that. And it is my duty - + + DENIS + (interrupts) + Don't call it duty. It's ambition which has got you this far. Ambition. And the rest of us, me, the children, we can all go to hell! + +The SLAM of the door, DENIS gone- + + DENIS (O.S.) (CONT'D) + Don't worry about me, I'll be fine! + +INT. SITTING ROOM. CHESTER SQ. PRESENT. NIGHT + +MARGARET and DENIS sit on the sofa. + + MARGARET + Where did you go? + + DENIS + South Africa. + + MARGARET + Yes. + +/* 42 */ + +INT. KITCHEN. FLOOD STREET. LONDON. 1974. DAWN + +MARGARET eats breakfast alone, engrossed in the newspaper. + + DENIS (V.O.) + How many days passed before you realized I was gone? Probably had to ask the cleaning woman where I was. + +INT. SITTING ROOM. CHESTER SQ. PRESENT. NIGHT + +MARGARET grips her whiskey, shaking her head. + + MARGARET + When did I lose track of everyone? + + DENIS + Too busy climbing the greasy pole MT. + +Cutting in - + + INTERVIEWER (O.S.) + Mrs Thatcher I understand you recently visited the United States of America. + +MARGARET'S attention is caught by an old interview, playing on the TV. She leans forward. On screen, she sits in a neat hat, leaning forward eagerly. + + INTERVIEWER (CONT'D) + What was it you took away from that visit which may be of value here in Great Britain? + +INT. STUDIO. LONDON. 1975. NIGHT + +MARGARET perched on a chair, smiling at the TV INTERVIEWER - + + MARGARET + Oh that's rather easy to answer, actually. They are unafraid of success. + +INT. REECE'S OFFICE. LONDON. 1975. DAY + +MARGARET is watching the same interview on a TV monitor. She is watching herself intently, as are REECE and AIREY NEAVE. They are polar opposites, REECE flamboyant to NEAVE's bluff. + +/* 43 */ + +She sounds very plummy, like a Conservative party wife from the shires. And she wears a hat. + + MARGARET ON TELEVISION + We in Great Britain and in Europe are formed mainly by our history. They on the other hand are formed by their philosophy. Not by what has been, but by what can be. Oh, we have a great deal that we can learn from them, yes. Oh yes! + +MARGARET is trapped in the moment - but the two men exchange a glance. NEAVE freezes the picture. MARGARET smiles uneasily, like someone expecting a compliment. REECE considers her, long and hard. It is a little unsettling until- + + REECE + Well er...For a start, that hat has got to go. And the pearls. In fact I think all hats may have to go. You look and sound like a privileged Conservative wife and we've already got her vote. You've got lovely hair but we need to do something with it - to make it more- + + AIREY NEAVE + Important. + + REECE + Yes. Give it more impact. But the main thing is your voice. Its too high. It has no authority. + + AIREY NEAVE + Methinks the Lady doth screech too much + + REECE + People don't want to be harangued by a woman or hectored. Persuaded yes. That `oh yes' at the end of the interview, that's authoritative, that's the voice of a leader. + +MARGARET stares at him. + +/* 44 */ + + MARGARET + It's all very well to talk about changing my voice, Mr Reece, but for some of my colleagues to imagine me as their leader would be like imagining, I don't know, being led into battle by their chambermaid. It's my background, and my sex. No matter how I've tried, and I have tried, to fit in, I will never be truly one of them. + +Both REECE and NEAVE are aware that she has spoken very nakedly - and is thus extremely vulnerable. + + REECE + If I may say so - I think that's your trump card. You're flying in the face of everything the Tories have been thus far. It's really very exciting. One simply has to maximise your appeal, bring out all your qualities and make you look, and sound, like the leader that you could be. + + NEAVE + You've got it in you to go the whole distance. + + REECE + Absolutely. + + MARGARET + Prime Minister?! Oh no. Oh no no no. In Britain? There will be no female Prime Minister here, not in my lifetime. No. And I told Airey, I don't expect to win the leadership, but I am going to run. Just to shake up the party. + +NEAVE moves in intently- + + NEAVE + Respectfully, Margaret, I disagree. If you want to change this party, lead it. If you want to change the country, lead it. What we're talking about here today is surface. What's crucial is that you hold your course, and stay true to who you are. Never be anything other than yourself. + +MARGARET, though flattered, looks sceptical. + +/* 45 */ + + REECE + Leave us to do the rest. + +A BEAT + + MARGARET + Gentlemen, I am in your hands. I may be persuaded to surrender the hat. But the pearls were a gift from my husband on the birth of our twins and they are absolutely non-negotiable. + +MARGARET smiles at them. + +INT. REHEARSAL ROOM. NATIONAL THEATRE. LONDON. 1975. DAY + +MARGARET stands humming, a THEATRICAL COACH presses her hand to MARGARET'S stomach. + + THEATRICAL VOICE COACH + And...bring it down. + +MARGARET hums lower, tries to project her voice. + + MARGARET + Maaaaaaaaaaaa. + + THEATRICAL VOICE COACH + Good, I think we can loose the handbag, Mrs Thatcher...Hands down the sides...Because this isn't really about the voice, it's about belief...A nice deep breath. + +REECE and NEAVE are watching and monitoring the performance. DENIS, though present, is having a crafty fag by the window. + + THEATRICAL VOICE COACH (CONT'D) + If you're calling Mr Thatcher, how would you do that? + +MARGARET looks over at him. + + MARGARET + (calls) + Denis. + +He doesn't react. + + THEATRICAL VOICE COACH + Yes, I want more authority, I want conviction, I want - + +/* 46 */ + + MARGARET + (a little more authority) + Denis. + + THEATRICAL VOICE COACH + That's right, one more time, deep breath - + +She puts on her new, lower voice. + + MARGARET + Denis. + +And DENIS reacts immediately, like a guilty thing surprised, stabbing out his cigarette, turning quickly towards her. + + DENIS + Yes MT! + +EXT. YARD. ICE CREAM FACTORY. DAY. + +MARGARET makes her way through a crowd of applauding workers in crisp white uniforms. Like them, she wears a white cap on her head. + + MARGARET + You are the backbone of our nation! Small firms like Loveday's Ice Cream. How are you? So nice to meet you ladies. + +General merriment as MARGARET, now inside an ice-cream van, has a go at dispensing an ice cream from the machine. + + MARGARET (CONT'D) + I'll just have a small one, because I'm watching my figure. + (handing the cone out) + That's for you young man! + +INT. HAIR SALON. LONDON. 1975. DAY + +MARGARET is having new hair colour and the colourist is 75 percent through putting her hair in foil. + + MARGARET (V.O.) + I passionately believe it's the growth of small businesses into larger ones that is critical for Britain's future. + +/* 47 */ + +REECE and NEAVE are sitting nearby, both of them reading the Financial Times. + +EXT. YARD. ICE CREAM FACTORY. DAY. + +MARGARET among the ladies again. + + MARGARET + It has to be something icy on a stick for Denis. + +Laughter. + + MARGARET (CONT'D) + (returning to her subject) + That's the only way we will produce jobs, real jobs, jobs that sustain. + +INT. HAIR SALON. LONDON. 1975. DAY + +MARGARET sitting under the dryer, cooking her new hair, still correcting paperwork while REECE and NEAVE look on, twiddling their thumbs. + +EXT. FACTORY. LONDON. 1975. DAY + +MARGARET is standing on an impromptu stage outside a factory. She has a hard hat on her head. + + MARGARET + The Trade Union Movement was founded to protect workers. Now it persecutes them. It stops them from working. It is killing jobs and it is bringing this country to its knees. I say enough. It's time to get up. It's time to go to work. It's time to put the Great back into Great Britain! + +INT. HAIR SALON. 1975. DAY + +The bouffant is now apparent. REECE AND NEAVE watch in awe. + +INT. BACKSTAGE. CONFERENCE HALL. BRIGHTON. 1979. DAY + +A darkened backstage. MARGARET, clutching her speech, goes over her lines. A FEMALE AIDE sprays her hair. She looks up, starts to move towards the light. + +/* 48 */ + +AIREY NEAVE is suddenly next to her. + + NEAVE + Give `em hell! + +He looks her up and down, with a smile. + + NEAVE (CONT'D) + You look magnificent. Next stop Prime Minister. + + MARGARET + Oh Airey... + +As from the stage - + + ANNOUNCER + The leader of the Conservative Party, Margaret Thatcher! + +MARGARET pushes back her shoulders and walks into battle to the sound of GROWING APPLAUSE. + +INT. MAIN HALL. CONFERENCE HALL. BRIGHTON. 1979. DAY + +BRITAIN NEEDS THE CONSERVATIVES bannered overhead and hung with Union Jacks. MARGARET a swathe of blue, as she passes through her GREY SUITED CABINET. From behind she stands, arms outstretched, accepting the applause, a shock of bright blonde hair as she stands before a sea of CONSERVATIVE DELEGATES holding up letter cards WE LOVE YOU MAGGIE! Wedges of fanatical party faithful on their feet in a kind of rapture. The blessed Margaret ! DENIS just visible with REECE, HOWE, PYM, HESELTINE and several other GREY SUITED MINISTERS of her cabinet, seated close behind now jumping to their feet, with obvious relief and delight - RAPTUROUS APPLAUSE, FLASH BULBS POPPING MARGARET smiles, glorious, catching DENIS' eye. He is brimming with pride. AIREY NEAVE beams at his protegee. + +INT. CORRIDOR. HOUSE. CHESTER SQUARE. PRESENT. DAY. + +Close on a photograph of MARGARET and AIREY NEAVE. MARGARET sits looking at it, her coat on, her handbag on her lap. + +/* 49 */ + +INT. UNDERGROUND CAR PARK. HOUSE OF COMMONS. 1979. EVE. + +MARGARET is loading papers and files into the boot of her car. AIREY NEAVE drives towards her, winding down his window. + + NEAVE + Good night Margaret. My money's on the filly to win! + + MARGARET + Oh, thanks Airey. Goodnight. + +He laughs and drives towards the exit of the car park. As MARGARET closes the boot and opens the door to get in the car suddenly there's a MASSIVE EXPLOSION, the sound magnified by being in the cavernous underground. For a few seconds we don't know what's happened. Through the smoke we see MARGARET running up the ramp towards us. + + MARGARET (CONT'D) + No. No, no! Airey! + +Her POV of the fireball of Neave's car. As Margaret looks in horror at the scene. Her shattered face. + + NEWS V.O. + The Irish National Liberation Army has claimed responsibility for the death of Airey Neave, Margaret Thatcher's spokesman on Northern Ireland. + +INT. CONFERENCE HALL. NIGHT. + +MARGARET on the conference podium, blinking back tears. Behind her, Denis' face etched with the same sorrow. + +INT. STEPS. HOUSE OF COMMONS. DAY + +MARGARET walks alone down the grand stairway, sombre, deep in thought. + +INT. CORRIDOR. CHESTER SQUARE. PRESENT. DAY. + +MARGARET looks up from the photograph, tears in her eyes. + + AIREY NEAVE (V.O.) + If you want to change the party, lead it. + +/* (MORE) */ + +/* 50 */ + + AIREY NEAVE (V.O.) (CONT'D) + If you want to change the country, lead it. You've got it in you to go the whole distance! + +On MARGARET as memories flood in. A TV headline announces: ELECTION 1979. + +INT. CONFERENCE HALL. NIGHT + +MARGARET on the podium. + + MARGARET + Now, as the test draws near, I ask your help. That together we can shake off the shackles of socialism and restore to greatness this country that we love so much. And the only way is for the Conservative Party to win! + +The black streak of MARGARET'S car, a blur of colour, faces, waving flags - TV footage of polling night. Swingometers, pollsters, impressionistic snatches of reported speech. More footage of PEOPLE coming out of polling stations. Jubilant crowds applauding.. MARGARET, silhouetted in her iconic stance, arms aloft... + +INT. CAR. DOWNING STREET. LONDON. 1979. DAY. + +MARGARET peering out of the window, hands sunk in the lap, a flash of the Royal blue fabric of her skirt, clenched in fingers. + + NEWS READER (V.O.) + It's Friday the 4th of May, an historic day for Britain, a Conservative government led by Mrs. Thatcher is set to lead - + + NEWS READER 2 (V.O.) + Mrs Ghandi in India, but never in the West has there been a woman Prime Minister. + + NEW READER 3 (V.O.) + The place that she has secured in British history, as the first woman ever to be invited to form a government. + +/* (MORE) */ + +/* 51 */ + + NEW READER 3 (V.O.) (CONT'D) + The bonus of one of the most famous addresses in the world, Number 10 Downing Street. + +NOISE. FLAGS. BANNERS read `We LOVE YOU MAGGIE' blur through the window, an abstract cacophony of noise and colour- + + DENIS + This is it, steady the buffs old girl. + +He clasps her hand for a moment as MARGARET smiles at him. The door swings open- + +EXT. DOWNING STREET. LONDON. 1979. DAY. + +The CAMERA from behind on MARGARET rising up out of the car, to face a waiting PRESS CORP. The jostle of a POLICE OFFICER, DENIS and OTHERS press her either side- + + MARGARET + I should just like to say that I take very seriously the trust the British people placed in me today, and I will work hard every day to live up to that responsibility. And now, I should like to share with you a prayer of St Francis of Assisi: Where there is discord may we bring harmony... Where there is error may we bring truth... Where there is doubt may we bring faith... Where there is despair may we bring hope.. + +The CAMERA rises up, high above MARGARET until she is just a blue dot, on the dark tarmac, a lone woman standing facing the circle of cameras and microphones. The door of Number 10 looms ahead. + +INT. DRAWING ROOM. DOWNING STREET. LONDON. 1979. DAY. + +The cheers go over .. The CABINET gathering for a group shot- + + MARGARET + Shoulders back, tummies in! + +Laughter. Michael Heseltine, standing behind MARGARET, reaches out to smooth a stray lock of her hair. + +/* 52 */ + + MARGARET (CONT'D) + Oh. Thank you, Michael. + +MARGARET seated at the heart of her entire CABINET, as if she is royalty. The FLASH of the CAMERA - the image frozen. + +INT. CORRIDOR. HOUSE. CHESTER SQUARE. PRESENT. DAY. + +The same image, framed on a side table beside MARGARET. The distant hum of a hoover. + + MARGARET + I'm perfectly healthy. There's no need for any of this. + +Denis appears, his hand inside his shoe, polishing it vigorously. + + DENIS + Just let them look under the bonnet, MT. Check everything is hunky dory. + +MARGARET hesitates. She sits in silence until- + + MARGARET + Really it's becoming quite tiresome. + + DENIS + What is? + + MARGARET + You. + (beat) + I was on my own for twenty four years before I met you and I can manage perfectly well without you now. So will you please go away and stop bothering me. + +INT. CONSULTING ROOM. HARLEY STREET. LONDON. PRESENT.DAY + +A distinguished consulting room- MARGARET sits silent, as an EMINENT DOCTOR checks her blood pressure. The beep of the machine, steady and monotonous until- + + DOCTOR + Just look straight at me, straight ahead, that's it. + +/* 53 */ + +The DOCTOR scribbles some notes, considering- + + DOCTOR (CONT'D) + Are you noticing night sweats? + + MARGARET + No + + DOCTOR + Hallucinations? + +MARGARET hesitates. She shakes her head. + + MARGARET + No. + + DOCTOR + Sleep? + + MARGARET + Yes, I sleep. Four, five hours a night. + + DOCTOR + So you wake early? + + MARGARET + And I stay up late. I always have. + +She looks at him as if he really should know this about her. The DOCTOR notes this down. + + DOCTOR + We just want to keep abreast of it. + + MARGARET + Yes. Of course. + + DOCTOR + Grief is a very natural state. + + MARGARET + My husband has been gone for years. Cancer. + + DOCTOR + Carol says you've decided to let his things go. Probably a good thing. + + MARGARET + Yes. It was my idea. To Oxfam. Perfectly good stuff. People can use these things. + +/* 54 */ + + DOCTOR + Still it must be a bit disorientating. You are bound to be feeling. + + MARGARET + What? What am I `bound to be feeling'? + +The DOCTOR looks up from his note taking, hearing the quiet challenge in MARGARET's voice. + + MARGARET (CONT'D) + People don't `think' any more. They `feel'. `How are you feeling?' `Oh I don't feel comfortable with that' `Oh, I'm so sorry but we, the group were feeling...' D'you know, one of the great problems of our age is that we are governed by people who care more about feelings than thoughts and ideas. + (beat) + Now thoughts and ideas. That interests me. + (beat) + Ask me what I am thinking- + +The DOCTOR hesitates, letting MARGARET settle until- + + DOCTOR + What are you thinking, Margaret? + +MARGARET looks at the DOCTOR, quietly struggling with a fury, threatening to unleash- + + MARGARET + Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny. What we think, we become. My father always said that. + (beat) + And I think I am fine. + (beat) + But I do so appreciate your kind concern. + +The sudden and persistent buzz of an intercom- + + MARGARET (CONT'D) + Oh, do please answer that. + +/* 55 */ + +MARGARET holds his gaze, with quiet unwavering steel unsettling the DOCTOR a little. + + MARGARET (CONT'D) + It might be someone who needs you. + +The DOCTOR reluctantly answers his intercom- + +INT. CORRIDOR CHESTER SQUARE. PRESENT. DUSK. + +JUNE heads up the stairs, MARGARET following behind. + + JUNE + I'll give Carol a quick ring, let her know we're back, then I'll put your electric blanket on. + +MARGARET nods. Looking through the bannisters, her eyes fall on- A golf ball running along the floor. MARGARET considers, looks up- + + DENNIS OOV + Steady, steady, steady! Damn. Fore! + +The ball bounces down the wooden stairs. + +INT. KITCHEN. CHESTER SQUARE. LONDON. PRESENT. DUSK. + +MARGARET opens the fridge. A cold plated lunch resting on a shelf. + + DENIS + What about that medicine man, eh? Ah. Cold supper. Standards are slipping Margaret. + +MARGARET ignores DENIS taking out the plate unwrapping the cellophane off it and placing it on a table, already laid ready for her to eat. + + DENIS (CONT'D) + Well you really gave it to that quack didn't you, darling ? Just like the old days! Hallucinations my eye! + +DENIS picks up a piece of cucumber from her plate. She absently smacks at his hand. + + DENIS (CONT'D) + How dare he? + +DENIS smiles. + +/* 56 */ + + DENIS (CONT'D) + But then you give us all the run around, don't you? + +MARGARET looks at him, silently infuriated. + +INT. DRAWING ROOM. CHESTER SQUARE. PRESENT. DUSK. + +MARGARET pours herself a whiskey. DENIS looms close, serves a splash of soda. + + DENIS + I know you can hear me, sweetheart, so there's no use pretending you can't. + +MARGARET turns, ignoring him. + + MARGARET + Enough. Denis, enough! + + DENIS + (saluting) + Dismissed! + +INT. DRAWING ROOM. CHESTER SQUARE. PRESENT. DUSK. + +MARGARET sits reading DENIS' spy novel. + + DENIS + She does it in the end. Kills him- + +MARGARET slams the book closed. + + DENIS (CONT'D) + I don't know why you're being so scratchy. + +MARGARET's eyes dart to the clock. + + DENIS (CONT'D) + It's not as if you've got anyone else to talk to. + +Shaking her head, MARGARET tries to block him out. + + MARGARET (V.O.) + When the Himalayan peasant meets the he-bear in his pride - + +/* 57 */ + + DENIS + You know, it's a marvel to me that you can still quote huge chunks of Kipling but try remembering the name of that woman who's just made you that godawful cold collation... No? Come on... you can do it... month of the year... one syllable... rhymes with moon ... + + MARGARET + (sudden/like a lightbulb) + June. + +MARGARET turns to DENIS, a quiet appalling victory. + + DENIS + June! Bingo. Knew you'd get there in the end. "When the Himalayan peasant meets the he-bear in his pride, He shouts to scare the monster, who will often turn aside, but the she-bear thus accosted rends the peasant tooth and nail. For the female of the species is more deadly than the male..." + +As he continues, MARGARET reaches for the remote, turns the television on. She moves onto the radio. Then the stereo. She moves on, talking to herself- A gradual growing cacophony of sound- + +INT. KITCHEN. CHESTER SQUARE. PRESENT. DUSK. + +MARGARET flicks on mixers, radios, toasters- + +INT. DRAWING ROOM. CHESTER SQUARE. PRESENT. DUSK. + +The noise almost unbearable now- MARGARET turns on a hi-fi, the TV now on- + + MARGARET + If I can't hear you then I can't see you. And if I can't see you then you are not here. + +MARGARET closes her eyes. + +/* 58 */ + + MARGARET (CONT'D) + And if you are not here, I am not going mad. I will not...I will not go mad. + +She opens them and suddenly freezes on seeing an image of herself, bewildered and leaving Harley Street, caught on the TV- + + BBC VOICEOVER + Baroness Thatcher made an apparently routine visit to her doctor today. Although rarely seen in public, Lady Thatcher, the longest serving Prime Minister of the twentieth century, remains a controversial figure. + +MARGARET turns up the volume to full, trying to hear over the cacophony of noise the changing images on the TV illuminating her pale face. + + JUNE + Margaret- + +MARGARET barely sees her, eyes riveted to the TV. + + BBC VOICE OVER + Almost lovingly dubbed by the Soviets The Iron Lady, she's also credited, with her friend Ronald Reagan, with a decisive role in the ending of the Cold War. Her supporters claim she transformed the British economy and reversed the country's post-war decline. Her detractors blame her savage public spending cuts and sweeping privatization of - + +JUNE moves like a dervish through the house, muting the television and turning off the last of the appliances- A gradual silence descends until- MARGARET takes in the image of herself on the mute screen, standing bewildered on the steps of Harley Street. + + MARGARET + (almost to self) + I don't recognize myself. + +/* 59 */ + +INT. BATHROOM. CHESTER SQUARE. PRESENT. NIGHT. + +The shelf of a bathroom cabinet. Shaving brush. Razor. Medicaments. MARGARET begins to pull them all off the shelves. + + DENIS (O.S.) + Am I out of the doghouse yet? + +Then a pair of glasses. More gently, MARGARET'S hand reaches into the cupboard and takes the glasses in her hand. + +INT. BEDROOM. HOUSE.CHESTER SQUARE.PRESENT.NIGHT. + +MARGARET lies in bed, book in her lap, DENIS beside her reading the paper. She closes the book and pulls off her reading glasses. + + MARGARET + They're unveiling that portrait of me at Number 10 next month. The invitation's on the mantelpiece. So there'll be Churchill, Lloyd George and me. Just the three of us. + +SILENCE- + + MARGARET (CONT'D) + I said I didn't want any big fuss but they insisted.. + (SILENCE-) + Lovely little article in The Telegraph... The Woman Who Changed the Face of History.. + +SILENCE- Voices from the past intrude - + + FOOT VO + Less than two years ago, the Prime Minister quoted St. Francis and talked about bringing faith, hope and harmony to this country. + +MARGARET suddenly reaches out a hand, her hand shaking- + + MARGARET + Denis? + +She turns in bed. Sudden panic, DENIS is gone- + +/* 60 */ + +A HECKLING CHAMBER RISING THROUGH- + +INT. CHAMBERS. HOUSE OF COMMONS. 1980. DAY. + +A HECKLING chamber as MARGARET sits, facing LABOUR OUTRAGE, the labour leader, FOOT, grips his paper, mid speech- + + FOOT + Can the Right Honourable Lady deny, that having brought about the highest level of unemployment since 1934- + +MARGARET bides her time on the front bench, waiting her turn, surrounded by her CABINET MINISTERS including HOWE, PYM and HESELTINE- + + FOOT (CONT'D) + The biggest fall in total output in steel and coal production in one year since 1931. And the biggest collapse in industrial production since 1921. + +MARGARET remains seemingly calm and serene, and yet one hand quietly grips the bench, her wedding ring tapping against the wood nervously. + + FOOT (CONT'D) + Can she also accept that her free market economics designed to create a growing middle class ensures that the rich get richer and the poor are irrelevant! + +INT. CAR. STREETS. LONDON. 1980. DAY + +A rising roar of voices - + + PROTESTORS + Maggie Maggie Maggie! Out Out Out! Maggie Maggie Maggie! Out Out Out! + +MARGARET in her car driving through the blur of furious PROTESTORS. + + PROTESTOR 1 + You're supposed to be a mother! You're not a mother, you're a monster! You're a monster! + +/* 61 */ + +INT. DRAWING ROOM. DOWNING STREET. 1980. EVENING. + +CLOSE UP on a button - The STEADY IN and OUT of a needle pulling taut on a thread. MARGARET stands, swathed in a glittering long dinner dress, a SEAMSTRESS stitching a stray button on the front of the bodice on her dress. Geoffrey Howe stands nearby in a dinner jacket. + + HESELTINE + May we have a word, Prime Minister? + +A bank of MINISTERS, including HESELTINE, PYM, PRIOR, HOWE and GILMOUR, gather before her. + + MARGARET + Yes, but in order to arrive at the palace on time, Geoffrey and I are will be walking out of that door in 15 minutes. As you can see - + + HESELTINE + I know you're running late Margaret, but we have to address this situation in light of tomorrow's blistering press coverage. Blistering! The knives are out. Your draft budget's been leaked, Geoffrey, they are baying for our blood! + + HOWE + Michael we can't possibly buckle at the first sign of difficulty. + +The SCRATCH of PRIOR's hand on unkempt hair- + + HESELTINE + No one is saying we have to buckle. + + PRIOR + But is this really the time to make these spending cuts in the middle of one of the deepest recessions this country has ever experienced? + + HESTLETINE + We need a plan of action, Margaret. + + PYM + Absolutely. A strategy. + +/* 62 */ + + GILMOUR + We must be armed. + + PRIOR + Agreed. + +MARGARET stiffens, the needle momentarily hovering mid stitch as MARGARET shifts a little- The SEAMSTRESS resumes sewing- + + PRIOR (CONT'D) + There's a perception, Margaret rightly or wrongly, that we are now completely out of touch with the country. + +The patronizing tone inflames her. + + MARGARET + Really. + (beat) + How much is a pack of Lurpak? + + PYM + Lurpak? + + MARGARET + Butter, Francis. + (silence) + Forty two pence. Anchor butter is forty pence. Flora margarine, still the cheapest, is thirty eight pence. I can assure you I am not out of touch. + +Another MINISTER - GILMOUR - whispers the words: "Grocer's Daughter" - as a put down. The men smirk. MARGARET has caught the moment. A sudden flash of the pretty girls in the Grantham Street long ago, laughing at her. + + MARGARET (CONT'D) + What - did you say? + +GILMOUR makes a gesture. + + GILMOUR + Nothing. Nothing, Prime Minister. + +MARGARET is furious. + +/* 63 */ + + MARGARET + Don't try to hide you opinions. Goodness me, I'd much rather you were honest and straightforward about them - instead of continuously and damagingly leaking them to the press. Well? + +MOMENTARILY SILENT- MARGARET's eyes travel around the room in waiting- + + PYM + Well, people can't pay their mortgages. + + GILMOUR + The manufacturing industry is practically on its knees. + + PYM + Honest, hard-working, decent people are losing their homes. It's terribly shameful. + + GILMOUR + The point is, Prime Minister, that we must moderate the pace - + + HESELTINE + - if we're even to have a hope of winning the next election- + + PYM + Quite right. + + MARGARET + Ah. Worried about our careers, are we? + +They make noises - to the effect that nothing could be further from the truth. But MARGARET has their measure. + + MARGARET (CONT'D) + Gentlemen, if we don't cut spending we will be bankrupt. Yes the medicine is harsh but the patient requires it in order to live. Shall we withhold the medicine? No! We are not wrong. We did not seek election and win in order to manage the decline of a great nation. + +/* (MORE) */ + +/* 64 */ + + MARGARET (CONT'D) + The people of this country chose us because they believe we can restore the health of the British economy and we will do just that! Barring a failure of nerve. + +The SNAP OF COTTON - MARGARET looks at them in a cold fury... + + MARGARET (CONT'D) + Anything else? + +SILENCE- MARGARET nods to the seamstress, dismissing her- + + MARGARET (CONT'D) + Thank you. You saved the day once again, Crawfie, you're an angel. + +MARGARET straightens her cuff, testing the button, as the meeting slowly disbands and the MINISTERS move away. + + HOWE + You can't close down a discussion because it's not what you wish to hear. + + MARGARET + I don't expect everyone just to sit there and agree with me. But what kind of leader am I if I don't try to get my own way - to do what I know to be right. + + HOWE + Yes. But Margaret, one must be careful of testing one's colleagues' loyalty too far. + +MARGARET glances up watching the MINISTERS disappearing, in whispered conversation, like conspirators. (ARCHIVE FOOTAGE) Rioting in Brixton, burning cars, huge civil unrest - + + TV JOURNALIST (V.O.) + We are now one split nation, with a huge gulf dividing the employed from the unemployed. + (ARCHIVE FOOTAGE) Protest marches, `People's March for Jobs', `No pit closures" - 65 UNION ACTIVIST (V.O.) + The Thatcher plan is to break the Trade Union movement. + + MARGARET (V.O.) + There must be closures of uneconomic coal mines, we seek only an efficient industry. + (ARCHIVE FOOTAGE) violent clashes between protesting miners and police - MINER'S WIFE (V.O.) + The miners are being starved back to work, the need is desperate! + +INT. CORRIDOR. HOUSE OF COMMONS. 1981. DAY. + +MARGARET sweeping along an endless corridor, surrounded by her cabinet, hard on her heels. HOWE, HESELTINE, PYM, PRIOR and OTHERS. MARGARET talking, they hang on her every word. + + MARGARET (V.O.) + There are those who would say hold back, there are those who would make us retreat - + +INT. CONFERENCE CENTRE BRIGHTON. 1980. + +Margaret mid speech. + + MARGARET + But we shall never give in to them. We shall never waver, not for a second, in our determination to see this country prosper once again. + +The party faithful erupt in cheers, seconded by all Margaret's courtiers on the platform. PYM, PRIOR, HESELTINE, HOWE and above all DENIS, applauding as if their lives depended on it. + +INT. LADIES. HOUSE OF COMMONS. 1980. DAY. + +MARGARET sits clutching the sink, a light sweat breaking across her forehead. She looks up- + + NEWS READER (V.O.) + A car bomb has exploded outside Harrods department store, killing six people and injuring 71. + +/* 66 */ + + NEWS READER 2 (V.O.) + Eleven soldiers died today when two bombs were detonated during military parades in Hyde Park and Regent's Park. Seven horses also died in the blasts. + +INTERCUT (ARCHIVE FOOTAGE) bombed buildings, horses lying dead in the street, an IRA banner. + + NEWS READER 3 (V.O.) + The IRA have claimed responsibility. + +INT. BEDROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT. + +MARGARET lost in restless sleep- INTERCUT (ARCHIVE FOOTAGE) IRA graffiti scrawled on a wall, paramilitaries fire guns, sirens wail. + +INT. CONFERENCE CENTRE BRIGHTON. 1980. + +Margaret on the podium. + + MARGARET + And now, it must be business as usual. + +THE BRIGHTON GRAND HOTEL. + +INT. SITTING ROOM. SUITE. GRAND HOTEL. 1984. NIGHT. + +DENIS in pyjamas, brushes his teeth in the bathroom. He glances at MARGARET through the open door as she sits, still in evening dress, working on her speech. + + DENIS + Come on love, get to bed. I don't know why you do this to yourself every year, it's a speech at conference, not the Magna Carta! + +She looks up, distracted. + + DENIS (CONT'D) + Time to call it a day, darling. It's ten to three, for God's sake. + + MARGARET + I know, I'm coming DT. Nearly there - + +BOOM! + +/* 67 */ + +An almighty explosion rips through the room; wood, glass, furniture splinters, curtains flay from the walls. The fall of plaster, devastating, the hotel room obliterated, reduced to a smoking, dusty rubble. MARGARET stands ghostlike, covered in debris. + + MARGARET (CONT'D) + (calling out) + Denis! + +MARGARET searching through the haze of fallen plaster, covered with dust, slowly clearing to reveal- + + MARGARET (CONT'D) + (more desperate) + Denis- there you are. Are you alright? + +DENIS ghostlike, covered in dust, still in his pyjamas, holding up an obliterated pair of shoes. + + DENIS + My shoes! + +Beyond, the wall of the bathroom entirely blown away - The CAW of gulls- + +EXT. GRAND HOTEL. BRIGHTON. 1984. NIGHT. + +Chaos outside the Grand Hotel in the aftermath of the bomb. The WHIR of SIRENS- DENIS and MARGARET sit in their car, looking out in silent shock at the devastated Grand hotel, reflected on the glass of the car windows. + + MARGARET (V.O.) + That's when I thought I'd lost you. + +A TELEPHONE RINGS CUTTING THROUGH FROM ANOTHER TIME... + +INT. BEDROOM. HOUSE. CHESTER SQUARE. PRESENT. NIGHT. + +MARGARET wakes with a start, confused and fumbles for the telephone by her bed- + + MARGARET + (picking up phone) + Mark?... Hello darling... No, I'm fine... I'm very well... + +/* 68 */ + +MARGARET squints, fingers fumbling for DENIS' watch. + + MARGARET (CONT'D) + How is... How's... Sarah?... And the children..? + +MARGARET sits up - + + MARGARET (CONT'D) + ...Oh... You can't... That's a pity... I was hoping to see you... No really darling... That's fine... Of course... another time... Lovely Darling... Can't wait...Yes... + +MARGARET suddenly relents, a flicker of sudden and urgent need, caught in her eyes- + + MARGARET (CONT'D) + (beat) + Mark? + +Silence- MARK gone. MARGARET hangs up, stares at- I Whistle A Happy Tune from the King and I just audible- + +INT. DRAWING ROOM.CHESTER SQUARE.PRESENT.NIGHT. + +MARGARET stands in the doorway, a jaunty "I Whistle A Happy Tune" seeping from the television. + + MARGARET + That was Mark. Not able to come. + + DENIS + (cutting in) + Boy's always going AWOL. + + MARGARET + Well it costs him a great deal to fly everyone up here. + + DENIS + There you go, making excuses for him. Now look where it's got you. + +DENIS stands dressed in dinner jacket and bow tie as he reads the back of "The King and I" DVD. + + DENIS (CONT'D) + Did you know Yul Brynner was a gypsy from Vladivostok? + +/* 69 */ + + MARGARET + Yes. He moved to Paris when he was fourteen. He played the King of Siam 4,625 times on the London and Broadway stages. What are you doing? + + DENIS + (turning round shaking a cocktail) + One likes to make an effort. A snifter? + + MARGARET + You're dead, Denis. + + DENIS + Ah. Well, if I'm dead... who are you talking to? Shall we dance ? + +He takes Margaret in his arms. The music changes to `Shall we Dance' from `The King and I' as DENIS takes a confused MARGARET in his arms and begins an expansive waltz round the room. The room turns. YOUNG DENIS dancing with the YOUNG MARGARET. Now its OLD DENIS dancing with OLD MARGARET again. DENIS loses his footing, and MARGARET lurches towards the desk where her eyes fall on figurines of Falklands soldiers. She stares hard. + + NEWS READER (V.O.) + The Falkland islands, the British Colony in the South Atlantic, has fallen. Argentina claims its marines went ashore this morning as a spearhead to capture key targets, including the capital, Port Stanley. + +INT. STUDY. DOWNING STREET. LONDON. 1982. DAY. + +MARGARET sits, composed, staring up at a phalanx of military men and her ministers. + + MARGARET + Gentlemen, the Argentinian Junta - which is a fascist gang - has invaded our sovereign territory. This cannot be tolerated. May I make plain my negotiating position. I will not negotiate with criminals or thugs. The Falkland islands belong to Britain, and I want them back. Gentlemen, I need you to tell me today if that is possible. + +/* 70 */ + + ADMIRAL LEACH + Possible... just, Prime Minister. We can have a Task Force ready to sail in forty-eight hours. + +MARGARET is visibly stunned. + + MARGARET + Forty-eight hours? + + ADMIRAL LEACH + But - + + MARGARET + But? + + ADMIRAL LEACH + We have a very narrow weather window. We can't fight in winter down there. Nobody can. If we are going, we have to go now. + +INT. STUDY. DOWNING STREET. LONDON. 1982. DAY. + +MARGARET at her desk. + + MARGARET + Why were the islands left without any naval protection? + + JOHN NOTT + In the last round of Defence cuts we judged the risk of invasion to be small. + + MARGARET + Did we? + + JOHN NOTT + And if you remember, Prime Minister, you agreed that we should reduce the naval presence in the area to an absolute minimum. + +MARGARET taps her fingers against the map, with growing irritation. + +INT. CABINET. DOWNING STREET. DAY. + +MARGARET sits alone. + +/* 71 */ + +INT CORRIDOR. DOWNING STREET. LONDON. 1982. DAY [[. CORRIDOR.]] + +MARGARET is under attack. + + HOWE + Margaret, the cost of sending 28,000 men and a hundred ships twelve thousand miles, almost to Argentina, will be absolutely crippling. + + MARGARET + I don't think we should be worrying about money at this point, Geoffrey. + + GEOFFREY HOWE + We can't afford to go to war. + +INT. STUDY. LONDON. 1982. NIGHT. + +MARGARET sits alone. + + ADMIRAL LEACH (V.O.) + We have to go now. + + MARGARET (V.O.) + The government has now decided that a large task force will sail, as soon as all preparations are complete. + +INTERCUT (ARCHIVE FOOTAGE) the Task Force sets sail. + +INT. DRAWING ROOM. DOWNING STREET. LONDON. 1982. DAY + +MARGARET paces, deep in thought. + + MP 1 (O.S.) + Prime Minister we do still have three weeks before our ships reach the islands. + + MP 2 (O.S.) + All we're saying is that we shouldn't give up on trying to find a diplomatic solution. + +INT. CORRIDOR. DOWNING STREET. LONDON. 1982. DAY. + +A tea trolley and an American entourage surge down a Downing Street corridor. + +/* 72 */ + + MP 1 + The U.S. Secretary of State has arrived, Prime Minister. + +INT. DRAWING ROOM. DOWNING STREET. LONDON. 1982. DAY + +Haig and Margaret sit facing each other, flanked by senior ministers. + + GENERAL HAIG + So you are proposing to go to war over these Islands. They're thousands of miles away, a handful of citizens, politically and economically... insignificant, if you'll excuse me - + + MARGARET + Just like Hawaii, I imagine. + + GENERAL HAIG + I'm sorry? + + MARGARET + 1941, when Japan attacked Pearl Harbour. Did America go cap in hand and ask Tojo for a peaceful negotiation of terms? Did she turn her back on her own citizens there because the islands were thousands of miles from mainland United States? No, no, no! We will stand on principle or we shall not stand at all. + + GENERAL HAIG + But Margaret with all due respect when one has been to war.... + + MARGARET + With all due respect sir, I have done battle every single day of my life, and many men have underestimated me before. This lot seem bound to do the same but they will rue the day. + +BEAT MARGARET turns to a tea trolley close by- + + MARGARET (CONT'D) + Now, shall I be mother? + +HAGUE looks confused, MARGARET lifting the teapot- + +/* 73 */ + + MARGARET (CONT'D) + Tea, Al, how do you take your tea? Black or white? + +INT. CENTRE OF OPERATIONS. 1982. DAY. + +NAVAL MEN murmuring messages quietly to NAVAL ATTACHES. Male lips to male ears, something MARGARET has seen all her life. FRANCIS PYM and JOHN NOTT stand near MARGARET. INTERCUT (STOCK FOOTAGE) the naval fleet sails towards the Falklands. A map of South Georgia and the Falkland Islands. Model boats sit on the water, flags sit on the islands. Argentinian flags. MARGARET stares at the map. A whispered message to one of the ATTACHES. He moves a model boat on the map a few inches, leading a fleet of smaller model boats. + + NAVAL ATTACHE 1 + The Argentinian ship the General Belgrano and her escorts are pursuing course 273 degrees toward the Argentinian mainland. We are tracking it with our submarine HMS Conqueror. + +He points to a model submarine at some distance from the Argentinian boats. + + MARGARET + Is this ship a threat? + + ADMIRAL FIELDHOUSE + Both of these ships are carrying Exocet missiles, Prime Minister. Just yesterday they launched- then aborted- an attack inside the exclusion zone. There is a risk they could try it again. + + FRANCIS PYM + The Belgrano is sailing directly away from the islands. Can it really be regarded as a threat ? + + ADMIRAL FIELDHOUSE + She's been changing course continually. There's a strong possibility that they're attempting a pincer movement on our carrier group. + +/* (MORE) */ + +/* 74 */ + + ADMIRAL FIELDHOUSE (CONT'D) + I advise that we engage them: hit the Belgrano as a warning to the others. Send them all back to port. + +MARGARET turns to JOHN NOTT and FRANCIS PYM. + + FRANCIS PYM + It'll play badly internationally. We'll be seen as aggressors. + +She stares at the map once more. One of the men supervising the map moves the model of the Belgrano a fraction further North. + + JOHN NOTT + This will be an escalation, Prime Minister. + +She looks to LEACH. + + LEACH + If there is to be an escalation, it's better that we start it. + + MINISTER + It is steaming away, Prime Minister. + +Everyone is staring at MARGARET. Even the ASSISTANTS bustling in the background have stopped and are listening. Male faces turned to her. She herself seems caught in a pincer movement between the politicians and the servicemen. + + MARGARET + Sink it. + +INT. DOWNING STREET. 1982. NIGHT + +TV Footage A flash of a torpedo cutting through the water. A thunderous explosion. Flashes of television images- striated and blurry- the Belgrano listing in the water. Reports of the sinking read out by the MOD's Announcer. + +INT. DRAWING ROOM.CHESTER SQUARE.PRESENT.NIGHT. + +MARGARET and the Falklands figurine, silhouetted against the dawn light. + +/* 75 */ + +INT. DOWNING STREET. 1982. NIGHT + +TV Footage CLOSE now - we see a man on fire, burning. VOICES mixing in and out. + + TV JOURNALIST V.O. + ... HMS Sheffield, a Type 42 destroyer, was attacked and hit late this afternoon by an Argentine missile... + + TV JOURNALIST V.O. (CONT'D) + ...it is seen as a retaliation for the sinking of the General Belgrano, in which over 300 Argentinian sailors died... + +MARGARET'S eyes shining, as if with tears. A soft knocking at the door. She dabs them away quickly. + + JOHN NOTT + Prime Minister - + +JOHN NOTT enters. + + JOHN NOTT (CONT'D) + Latest casualty figures from the Sheffield. + +He hands her a piece of paper. + + MARGARET + (sotto voce) + I must write to them. + + JOHN NOTT + Prime Minister? + + MARGARET + The families. I must write to them... + +INT. DOWNING STREET. STUDY. 1982. NIGHT. + +MARGARET at her desk, looks up at Pym. + + MARGARET + Foreign Secretary... + + PYM + I've just been briefed by Admiral Fieldhouse. + +/* (MORE) */ + +/* 76 */ + + PYM (CONT'D) + He told me bluntly that if the Argentinians are prepared and willing to risk their aircraft, they have enough missiles to cripple most of our fleet. + +A beat. + + JOHN NOTT + President Reagan and President Bellaunde of Peru have some new proposals for the peace plan - + + MARGARET + (sharply) + The peace plan? There will be no appeasement. This is a war. A war they started and by God, we will finish. Shall I tell you what I'm going to write to every single one of these families, these heartbroken families? I am going to tell them that no British soldier will die in vain for the Falklands. + +INTERCUT (STOCK FOOTAGE) muddy mass graves as the Falklands dead are buried. + + MILITARY VOICE + Lieutenant Colonel Jones. Captain Wood. Captain Dench. Lieutenant Farlaine. Corporal Hardman. Corporal Sullivan. Corporal Briar. + +MARGARET writes to each of the families. + + MARGARET (V.O.) + As the only Prime Minister in the history of our country who is also a mother with a son of my own, I can imagine your agony, and your grief. + +INTERCUT (STOCK FOOTAGE) troops march through barren landscapes, helicopters hover, a British flag. + + MINISTER (V.O.) + Prime Minister, we have secured the beachhead - + + NEWS ANNOUNCERS (O.S.) + The Argentinian troops are demoralized and ill equipped...The paratroops have taken Goose Green... + +/* 77 */ + + RADIO VO + Shortly after dark last night, our forces executed what our Commander in Chief has called a brilliant surprise night attack. + +MARGARET sits at a desk in Downing Street, listening to the news reports. A hand turns off the radio. + + DENIS + Thatcher, bed. + +He heads down the hall, MARGARET following behind. + + RADIO + From their new positions, our forces can see large numbers of Argentine soldiers retreating and streaming back into Port Stanley. Our forces are moving forward to exploit their success. + +INTERCUT (ARCHIVE FOOTAGE) Victory! The Union Jack is raised over Port Stanley. The task force return to England to scenes of jubilation. Embraces, balloons, joyful embraces. + +INT. CAR. DOWNING STREET. LONDON. 1982. DUSK. + +MARGARET peering out, a sea of union jacks and bunting. Cheers, the street lined as the car pulls into Downing Street- The blur of noise, cheering, jostling banners THEN the shroud of black uniforms suddenly encasing the car, blocking out the light- The jaunty distant sound of a military band playing- + + DENIS O/S + Well done, M. + +The car door swings open- A CACOPHONY of CHEERS, APPLAUSE, just audible far off, as MARGARET steps out into the street, the CAMERA follows her out peering up at- DOWNING STREET STAFF leaning out of No 10 windows, waving flags and cheering- MARGARET's gaze lingering on HOWE and PYM amongst them, smiling with congratulations, clearly now part of the victory celebrations. + +/* 78 */ + + MARGARET O/S + We congratulate the men and women of the armed Forces for their skill, bravery and loyalty to this country. + +INT. HOUSE OF COMMONS CHAMBER PARLIAMENT. 1982. + +Prime Minister's Questions. MARGARET is at the Dispatch Box fighting it out with MICHAEL FOOT. GEOFFREY HOWE IS BESIDE HER. + + MARGARET + We were faced with an act of unprovoked aggression and we responded as we have responded in times past: with unity, strength and courage, sure in the knowledge that though much is sacrificed, in the end, right will prevail over wrong. + +Huge cheers and "hear hears" from the Conservative benches. MICHAEL FOOT shifts uncomfortably on the benches opposite. She is unstoppable. + + MARGARET (CONT'D) + And I put it to the Honourable Member opposite that this is not a day for him to carp, find fault, demand inquiries- they will happen I can assure him of that for we have nothing to hide- no, this is a day to put difference aside, hold one's head high and take pride in being British. + +Barnstorming cheers. We see MICHAEL FOOT, utterly outmaneuvered by her speech. The Labour benches sit silent. + +INT. CHESTER SQUARE. LONDON PRESENT. NIGHT + +DENIS springs in the air wearing a paper union jack hat, blowing a party hooter. + + DENIS + GOTCHA! Well that paid off old girl! Your ratings soared! From the most hated Prime Minister of all time to the nation's darling...The world was at your feet, and Britain was back in business! + +/* 79 */ + +INT. BALLROOM. WHITE HOUSE. WASHINGTON. 1981. NIGHT. + +QUICKFLASH: A glittering ballroom- MARGARET waltzing, caught in REAGAN's arms, fleetingly passing- DENIS looking on, from the sidelines, drink in hand. INTERCUT (STOCK FOOTAGE) MARGARET'S motorcade streaks through the rainy street, Union Jack flying. MARGARET shakes hands with Indira Ghandi. Denis is presented with the pink turban. Newspaper headlines scream PROFITS, PROFITS, PROFITS! MARGARET, triumphant on the podium at party conference. MARGARET shakes hands with Gorbachev. The Berlin Wall comes down. + + NEWS READER + The Berlin Wall has fallen. The gates have opened! The police are making no attempt to stop people as they go through. + +Headlines: BOOMING BUSINESS! MAGGIE'S MILLIONAIRES! + +INT. EMBASSY BALLROOM. 1979. NIGHT + +MARGARET dancing with KENNETH KAUNDA of ZAMBIA, DENIS stands on the touchlines toasting them - a fruity cocktail in his hand. + +INT. HOUSE OF COMMONS STAIRWAY, 1990. DAY. + +MARGARET hurries down the stairs, her cabinet in tow. + + MARGARET + I don't agree in any measure! + + GEOFFREY HOWE + But Prime Minister the question of the European single currency will come up. + + MARGARET + I don't think the country is ready for it yet. + +/* 80 */ + + GEOFFREY HOWE + But we cannot bury our heads in the sand... + + NEWS JOURNALIST (V.O.) + A lot of Conservative MP's and Ministers are saying - + +EXT. HOUSE OF COMMONS. LONDON. DAY. + +A journalist stands outside the Commons making his report. + + NEWS JOURNALIST + - that there must be a change in that style of management. That Mrs Thatcher must listen more, and on occasion, give in. + +INT. HOUSE OF COMMONS HALLWAY, 1990. DAY. + +MARGARET moving swiftly down the hall, leaving her cabinet in her wake. + + PYM (O.S.) + The point is, Prime Minister, I don't think we can sell the idea of a tax that asks everyone to pay the same. + + MARGARET (V.O.) + Our policies may be unpopular, but they are the right policies. + + MINISTER 1 (V.O.) + Prime Minister I just don't think we can ask the poorest of the poor to pay the same amount of tax as a multi-millionaire. + +INT. CABINET ROOM. DOWNING STREET. 1990. DAY + +MARGARET, seated at the wide cabinet table surrounded by a subdued CABINET. Most of the familiar old faces - PYM, HESELTINE, etc. All now gone. HOWE the last enduring minister. She casts a gimlet-eye over the GREY-SUITED MEN around her. + + MARGARET + There it is again! Why not? + +/* 81 */ + + MINISTER 1 + Because - + + MINISTER 2 + Because people... on the whole... think that the tax is manifestly unfair. + + MARGARET + Nonsense. Arrant nonsense. This is a simple proposition. In order to live in this country, you must pay for the privilege- something, anything! If you pay nothing, you care nothing. What do you care where you throw your rubbish? Your council estate is a mess, your town, graffiti, what do you care? It's not your problem , it's somebody else's problem- it's the government's problem! YOUR problem is, some of you, is that you haven't got the courage for this fight. You haven't had to fight hard for anything. It's all been given to you- and you feel guilty about it! Well, may I say, on behalf of all those who HAVE had to fight their way up, (and who don't feel guilty about it) we resent those slackers who take, take, take, and contribute nothing to the community! + +SILENCE. + + MARGARET (CONT'D) + And I see the same thing, the same cowardice in our fight within the European Union, to retain British sovereignty of Britain, the integrity of the pound! Some of you want to make concessions. I hear some of you agree with the latest French proposals. + (beat) + Well, why don't you get on a boat to Calais? Yes, why don't you put on a beret, and pay 85% of your income to the French government! + +She has subdued them utterly. The silence is terrible. + + MARGARET (CONT'D) + Right. What can we realistically hope to achieve by the end of session, Lord President? + +/* (MORE) */ + +/* 82 */ + + MARGARET (CONT'D) + And why have we not made more progress to date? What is that? Is that the timetable? I haven't seen that. May I see it? + + HOWE + Here it is, Prime Minister. Of course. + +HOWE pushes the papers over to her. She picks up a pencil, starts to read. The MINISTERS watch as, quickly, she starts to score through the words. + + MARGARET + The wording is sloppy here, and here. + + HOWE + If you say so. + + MARGARET + I do say so. + + HOWE + It's merely a first draft... + +MARGARET looks down at the paperwork. + + MARGARET + This is ridiculous. There are two "T's" in "committee"! + +She presses so hard that her pencil breaks, so she shoves the paper back towards him, stabbing a finger at the offending word. + + MARGARET (CONT'D) + This is shameful. Shameful! I can't even rely on you for a simple timetable! Are you unwell? Yes you are unwell. Give me the pencil, give it to me! + +MARGARET snaps her fingers at HOWE, gesturing for his pencil, scratching away, ringing the offending word again and again. The MINISTERS stare at the scene appalled, utterly and wretchedly embarrassed. + + MARGARET (CONT'D) + If this is the best you can do I had better send you to hospital, and I shall do your job as well as my own and everyone else's. Gentlemen. + +/* (MORE) */ + +/* 83 */ + + MARGARET (CONT'D) + As the Lord President has come to cabinet unprepared, I am obliged to close this meeting. + +She waits for them to take their leave, but they sit there, frozen. + + MARGARET (CONT'D) + Good morning! + +Slowly, the men gather their papers and file out of the room, leaving MARGARET alone. She sits, gathering herself, hands shaking. THE ROAR OF PROTEST SURGES THROUGH - (ARCHIVE FOOTAGE) A HUGE MACABRE PAPIER-MACHE THATCHER HEAD, grimacing with one eyeball blinded and the other detached and hanging bloody on a cheek. + + ANGRY CROWD + (chanting) + Can't pay, won't pay! Can't pay, won't pay! Can't pay, won't pay! + +INT. CAR. DOWNING STREET. LONDON. 1990. DAY. + +MARGARET peering out- ANGRY PROTESTORS slapping the glass as they pass, the sense of the car being attacked. The smear of smashed egg against the window screen. + + PROTESTORS + Out... Out... Out... + +MARGARET sinks back into her seat as the car, is jostled either side by a blur of colour, the bang of fists against glass, the roar of the crowd - + +EXT. TRAFALGAR SQUARE. LONDON. 1990. DAY + +(ARCHIVE FOOTAGE) Relentless images of violence over this. Mass riots. PROTESTORS charging POLICE LINES. POLICE on HORSEBACK trying to force the PROTESTORS back. One of them - a GIRL - caught out, goes down with her placard, is trampled beneath the horses' hooves, horribly. RIOTERS with blood streaming down their faces. Banners - DEATH TO MAGGIE. OFF WITH HER HEAD. + +/* 84 */ + + PROTESTORS + Maggie... Maggie... Maggie. Out... out... out. + +With a WHOOSH of flames the north side of Piccadilly Circus goes up in flames. Smoke and blood and fire everywhere. + +INT. OFFICE DOWNING STREET. 1990. DAY + +Late afternoon- MARGARET sits, silently working. HOWE enters, MARGARET barely looks up from working- + + MARGARET + Geoffrey- + + GEOFFREY + My letter of resignation. + +HOWE slides a letter down on her desk- MARGARET looks down at the thick envelope. SILENCE + + GEOFFREY HOWE + Our differences, I'm afraid, cannot be reconciled. + +MARGARET resumes working- HOWE waits and waits and waits- The SCRATCH of MARGARET's pen, she works on, refusing to stop for him. + +INT. CHAMBERS. HOUSE OF COMMONS. LONDON. + +Howe stands in Parliament, reading his resignation speech: + + HOWE + I have done what I believe to be right for my party and my country. The time has come for others to consider their own response to the tragic conflict of loyalties with which I have myself wrestled for perhaps too long. + +/* 85 */ + +INT. HALLWAYS. HOUSE OF COMMONS. LONDON. + +MARGARET walks alone down the hall. + + MINISTER 1 (O.S.) + Geoffrey's speech in the House of Commons was devastating. + + MINSTER 2 (O.S.) + - just couldn't take any more of the bullying. + +INT. CORRIDOR - HOUSE OF COMMONS. LONDON. 1990. DAY. + +MARGARET's POV as she moves along the corridors of power. + + MINISTER 3 (O.S.) + He was almost inviting someone to challenge her for leadership of the party. + +Fellow CABINET MINISTERS, unfamiliar backbenchers, the men in suits, all seem to avoid her gaze...then PYM in conversation with HOWE, abruptly terminated, as both men acknowledge her... + + MINISTER 4 (O.S.) + She behaved appallingly. I wouldn't have spoken to my gamekeeper like that. + + MINISTER 1 (O.S.) + I don't think she can survive this. + +INT. STUDY. DOWNING STREET. LONDON. 1990. NIGHT. + +MARGARET stands, watching the evening news, HESELTINE just visible on the TV screen- + + HESELTINE ON TV + I'm here to announce my decision to put my name forward as leader of the Conservative party. I have nothing but admiration for our Prime Minister, Margaret Thatcher, but I believe our party and our country need a new leader. + +MARGARET turns to DENIS, who stands, clearly shocked, worst fears confirmed. + +/* 86 */ + + TV JOURNALIST + It's extraordinary. The rules of the Conservative Party make it possible for Conservative MP's to depose a sitting Prime Minister. + +MARGARET and DENIS on the sofa. She unwraps a sweet, eyes locked on the TV. + + MARGARET + I am the Prime Minister. + +Turning to Denis. + + MARGARET (CONT'D) + (offering the packet) + Sweetie? + (STOCK FOOTAGE) WESTMINSTER in the moonlight - NEWS JOURNALIST (O.S.) + As Conservative MP's gather in Westminster to discus who they will back in the leadership contest, the Prime Minister said she would not be diverted from critical international affairs + +EXT. PARIS STREET. NIGHT + +With the Eiffel Tower illuminated behind him, Trevor MacDonald makes his report. + + TREVOR MACDONALD + Tonight in Paris Mrs Thatcher is among thirty four world leaders who came together to celebrate the end of the Cold War and herald the start of a peaceful new age of East/West cooperation. + +INT. GRAND HALL. PARIS. NIGHT. + +A magnificent painted hallway- MARGARET sweeping away from a dining room, regal in evening dress. INTERCUT - PARIS - A news journalist makes his report. + +/* 87 */ + + NEWS JOURNALIST + There's a general feeling that Mrs Thatcher is going to win on the first ballot. We're going to put it to bed tomorrow night, is how one of her campaign staff puts it. + +INT. GRAND HALL. PARIS. NIGHT + +MARGARET walks through a grand hall with her fellow PRESIDENTS and PRIME MINSTERS of the world, a lone woman amongst a sea of men. + + DENIS ON PHONE + M, I really think you should come home and defend yourself old girl. Heseltine is campaigning ferociously. + + MARGARET ON PHONE OOV + I do think my time is best spent seeing an end to the Cold War, don't you? After all this time they know what I stand for. + +PARIS - + + TREVOR MACDONALD + Will she, or will she not, be in the job tomorrow? + +A GRAND HALL - a formal dinner, MARGARET flanked by bow-tied Prime Ministers and Heads of State. + + HEAD OF STATE 1 + Margaret, they can't touch you. + +LONDON STREETS - CABINET MINISTERS walking along trying to hide their features from prying eyes. + + NEWS READER (O.S.) + Mrs Thatcher has failed to win enough votes to secure an outright win in the leadership contest and must now decide whether to put her name forward for the second round. + + NEWS READER 2 + As Mrs Thatcher leaves Paris for London to make a last ditch attempt to pull together support for her leadership, the ship may have sailed. + +/* 88 */ + +INT.DINING ROOM.CHESTER SQUARE.PRESENT. + +MARGARET pushes through the double doors into her dining room. + + MARGARET + Treachery! + +Her cabinet are all around her dining room table. There is no seat for her. She moves round the table. + + MINISTER 1 + We will never win another election led by that woman. + + MINISTER 2 + We need a leader who listens. + + MINISTER 3 + This isn't about her, it's about the party. + + MINISTER 4 + One must know when to go. + + MINISTER 1 + The question is, how does anyone put it to her? + +INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. + +Close on a minister's face in the dim light. + + MINISTER + If you were to stand, I of course would vote for you Prime Minister - + +She is at her desk in the PRESENT in Chester Square as one minister after another in interchangeable glasses slide into the chair in front of her. + + MINISTER 2 + - of course would vote for you Prime Minister but I don't think you can win. The loyalty of my colleagues cannot be counted upon. + + MARGARET + It was the people who put me here - + + MINISTER 3 + The loyalty of my colleagues cannot be counted upon. + +/* 89 */ + + MARGARET + - it's up to them to tell me when to go. + +INT. STUDY. DOWNING STREET. LONDON. 1990. NIGHT. + +MARGARET stands, watching the evening news. + + DENIS + Margaret, you can't let them do this to you. Please, boss. + +MARGARET looks at DENIS, with quiet surprise, hears the desperation in his voice, the crack- + + DENIS (CONT'D) + They'll destroy you. + +MARGARET looks at DENIS, sees he is near to tears- + + DENIS (CONT'D) + Throw in the towel now, love. Don't let those bastards see you humiliated. You just won't win, darling. Not this time. + + MARGARET + Oh Denis. + +DENIS, fingers touch hers, she looks at him, sees the tender concern in his eyes. MARGARET smiles, determinedly steely under his gaze. + + MARGARET (CONT'D) [[154]] + I am the Prime Minister. [[154]] + +On her face as CASTA DIVA breaks through. + +INT. HOUSE OF COMMONS. DAY + +MARGARET sits alone on the front bench. + +A stream of voices from the past - + + SPEAKER (V.O.) + Order! Order! + + MARGARET (V.O.) + The Right Honourable gentleman is afraid! + + NORTHERN VOICE (V.O.) + This is a naked strategy of closing some coal mines and then selling off - + +/* 90 */ + + MARGARET (V.O.) + They believe in striking, I believe in working! + + IRISH VOICE (V.O.) + This is the woman who's watched ten men on hunger strike starve themselves to death and never flinched! + + MARGARET (V.O.) + Despicable and cowardly - + + MALE VOICE (V.O.) + Cynical Falklands war - + + MINISTER (V.O.) + More homeowners, more shareholders, more savings - + +The voices begin to blend into one another, white noise. + +INT. DOWNING STREET STUDY. 1990. EVENING + +MARGARET sips a whisky. + + MARGARET (V.O.) + I offer my resignation after eleven and a half extraordinary years - + +INT. CORRIDOR. DOWNING STREET. LONDON. 1990. DAY. + +MARGARET descends the stairs like an operatic heroine, her hand gripping the banister of the staircase. Below the Downing St staff waiting to say goodbye. Many are in tears. + + MARGARET + -proud to have left Britain in a much better state than when we took office. + +She passes the photographs of her predecessors and stops to receive a gift, opening it- + + MARGARET (CONT'D) + What's this then? A radio... How useful. + +She moves down the receiving line of staff. The floor is carpeted with roses. Men's wet eyes. The door ahead. She is crying. + +/* 91 */ + +Finally reaching the door, MARGARET stands bracing herself. Denis's hand on her shoulder standing behind. + + DENIS + Steady, MT. + +MARGARET nods, bracing herself. A hand on the door handle. As it swings open- + +INT. BEDROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT + +MARGARET stands staring at herself in the mirror. + + DENIS (O.S.) + The greatest Prime Minister since Churchill deposed by a bunch of spineless pygmies! + + MARGARET VO + All those years of taking the tough decisions, does any of it matter now? + + DENIS + It's all been turned to mush! + + MARGARET + What? + +DENIS lies on the bed behind her with the newspaper. + + DENIS + By these fools! These lily-livered pinkos! + + MARGARET + These inept placators. + + DENIS + Very good! These vacillators. + + MARGARET + Vacillators! Poll takers. + + DENIS + Popularity seekers. + + MARGARET + So busy taking the pulse of the public! + + DENIS + Weak - + +/* 92 */ + + MARGARET + (pulling down a rack of Denis's black oxford shoes onto the floor) + These...weak...weak...weak...wea.. .weak...Men! + +DENIS's clothes are all over the room and the main cupboard is open and empty apart from shoes. There are several bin liners already filled with clothes. + + MARGARET (CONT'D) + Don't they know if you take the tough decisions, yes people will hate you today but they'll thank you for generations. + + DENIS + Or forget you entirely and chuck you out with the rubbish! + +MARGARET turns away from this thought and opens a last big chest of drawers. + + MARGARET V/O + (seizing shirts and jerseys and putting them on the floor) + All I wanted was to make a difference in the world. + + DENIS + And you did, love, you did. + +She sits at the end of her bed and opens a box she has found in Denis's cupboard. There is a programme from `The King and I' and a faded blue rosette from some long forgotten election campaign. A small flyer `Margaret Roberts. Conservative Candidate for Dartford' and some childrens cards "to the world's greatest Daddy love Mark and Carol." + + MARGARET V/O + All I wanted was for my children to grow up well and be happy - happier than I was certainly. And I wanted you to be happy of course. Were you happy, Denis? Tell me the truth. + +There is no response. MARGARET is momentarily lost in the room. Then, seized by some compulsion, she begins to pull out the rest of his clothes, shoving them into black bags. As shirts and trousers go in, quick flashes of Denis - + +/* 93 */ + +His youthful face, smiling at her at the opera. Laughing on the beach in Cornwall. At the door of Number 10, smiling at her. Sharing her bed. MARGARET looks up. Denis's suitcase is on the bed. His coat and hat lying beside it. She folds his dressing gown - the one from the bathroom hook - tenderly and puts it on the top of the case. + + MARGARET + Denis? Denis? + +And there he is by her side. + + MARGARET V/O + Here's your bag. You're all packed, sorted. + +She walks him to the bedroom door and gives him a gentle kiss. DENIS starts to walk away. + + MARGARET + (seeing he is walking away in his socks) + Denis wait...Where are your shoes? You can't go without shoes! Not yet. + +DENIS straightens his hat. + + DENIS + Steady. + + MARGARET + Yes...Steady... + + DENIS + Steady the buffs - + + MARGARET + Steady...Steady the buffs... + +DENIS heading out. + + MARGARET (CONT'D) [[154d]] + NO...Not yet...Denis. Wait...I said I don't want you to go yet. [[154d]] + +The endless corridor, MARGARET calling after DENIS- + +/* 94 */ + + MARGARET (CONT'D) + Denis...Please...No...Not...Don't. ..NO...I don't...I don't want to be on my own. + +DENIS turns back for a moment - + + DENIS + You're going to be fine on your own, love. + (beat) + You always have been. + +MARGARET calling out as DENIS reaches the window at the very far end of the house and appears to disappear into the white light- + + MARGARET + (calling out) + Denis!! + +INT. BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DAWN + +From above we see MARGARET lying dead asleep on the bed on a pile of DENIS' clothes. The bed is surrounded by bulging black bin bags. + + CAROL OOV + Mummy- + +CAROL looming over Margaret, looking horrified. + + CAROL + My God, Mum. Are you alright? + (opening the curtains) + Mummy you should have called for help, silly old sausage. Have you not even been in your bed properly? You've done all this? + + MARGARET + Yes, all sorted. Finished. + +MARGARET looks around her. + + CAROL + Yes well don't worry about all this. June and I will crack on with it. + + MARGARET + I was just going to get dressed. + +/* 95 */ + + CAROL + ...Shall I call someone, see if anyone can come over and do your hair? + +MARGARET looks at her warmly. + + MARGARET + Oh. No, you do it. + +CAROL reacts, surprised but pleased. + +INT. KITCHEN. CHESTER SQUARE. LONDON. PRESENT. DAY. + +MARGARET sit finishing a cup of tea. Hears Carol's bustle in the downstairs hallway. + + CAROL OOV + Right, I'm off June. + + JUNE + OK. `Bye. + +She stands, picking up the cup. From behind- + + JUNE (O.S) (CONT'D) + Oh let me do that, Margaret. + +MARGARET's turns for a moment- It is JUNE. MARGARET shakes her head. + + MARGARET + No, dear, I'll do it. + + JUNE + Carol said you might go to the House of Lords today? + + MARGARET + No no. I'm not going anywhere. + +The sound of hot water running. CHINK of a teacup- MARGARET stands, washing up a tea cup. The SQUEAK of her wet cloth, working on a stubborn tea stain, puncturing the silence. The sound of birdsong and children playing drifts from the street outside. + +/* 96 */ + +MARGARET sets the cup aside, turns and walks out of the room, and out of sight. THE END diff --git a/fountain_scripts/The Iron Lady.webp b/fountain_scripts/The Iron Lady.webp new file mode 100644 index 0000000000000000000000000000000000000000..ae05a787b0f91fbc051e0ad4fe7cd9dfd8f73010 --- /dev/null +++ b/fountain_scripts/The Iron Lady.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:d4eb2fa70e4ae783487585feab77e620248723395d7338d3a071b7ff811897b2 +size 19020 diff --git a/fountain_scripts/The Island.fountain b/fountain_scripts/The Island.fountain new file mode 100644 index 0000000000000000000000000000000000000000..c4bb5bfb0657189b59d0e36746f35adda6959d39 --- /dev/null +++ b/fountain_scripts/The Island.fountain @@ -0,0 +1,5060 @@ +Title: THE ISLAND +Credit: Written by +Author: Caspian Tredwell-Owen +Draft date: 1/13/04 + +We PULL BACK, in marked steps, to include neighboring apartments with identical frosted facades. Then more apartments, above and below, the tiers linked by ramps and crosswalks. It might be a prison cellblock but there are no guards apparent. Indeed, the residents move freely, all notably male, all clad in shearlings, polo shirts and slacks. It is just another day in Sector Four. + +/* 3 */ + +INT. NUTRITION PLAZA - SECTOR FOUR - DAY #3# + +Satie's Gymnopedie plays from overhead speakers. A glass wall looks out across a green mountain valley. The plaza, formed in curves of creamy ceramic tile, is divided into two service areas. Male residents in line on one side, females on the other. Both genders combine in the seating area. Lincoln reaches the head of the line. He swipes his ethercuff over a scanner. A NUTRITION CLERK, a surly woman in uniform, eyes the readout on her screen- + + NUTRITION CLERK + Lincoln Six-Echo... Options are dried fruit, oatmeal or anything in bran. + + LINCOLN + What? No bacon? + + NUTRITION CLERK + You got a sodium flag, pal - now what's it going to be? + + LINCOLN + Whatever. + +He shrugs, disgruntled. The clerk taps her screen. Turning to a row of chutes behind her, she collects a foil covered bowl and a drink can. Lincoln, less than appetized, loads his tray with the oatmeal and juice breakfast. Then he heads into the seating area. In the seating area, male and female residents sit eating and chatting happily. Uniformed busboys intermix, clearing and wiping tables. A divide in this community now starts to become clear... The busboys, like the nutrition clerk, like all the service, maintenance, and administrative staff we'll see, have distinct uniforms but no facial marking. They are known as "outsiders". The "residents", like Lincoln, have crosshatched scars on their upper left brows and ethercuffs on their wrists. Mostly Caucasian, from mid-twenties to mid-sixties. There are no children here. We isolate a blonde - mid-20's, fresh, bright eyes, a fragile beauty, a crosshatch of two verticals and one horizontal. Her name is ESTER TWO-ALPHA. Seeing Lincoln, she smiles and waves- + + ESTER + Lincoln ! Over here! + +/* 3. */ + +Lincoln crosses, a little surprised to see her. Pleasantly so. + + LINCOLN + Hello , stranger. + + ESTER + What? You don't recognize me? + + LINCOLN + It's just an expression, that's all. + + ESTER + You and your expressions, Lincoln. Now sit down and ask me where I've been. + + LINCOLN + (sits , a spreading smile) + Okay, Ester. Where have you been? + + ESTER + At the medical center. Just for tests but they had me on liquid nutrition. + (forks a mouthful of eggs) + Mmmmm. This is the first solid food I've had in a week. + + LINCOLN + Exciting. + + ESTER + That's not the exciting part. I got my first trimester report: happy, healthy and contaminant-free... Both of us. + + LINCOLN + Us? + + ESTER + My baby... It's in perfect condition. I just hope I can keep it that way. I still have six months to delivery. + + LINCOLN + Then you leave all this behind, huh? + + ESTER + Why? Will you miss me? + +Her eyes betray a flicker of something. It unsettles Lincoln. + + LINCOLN + I'll miss your coffee. C'mon, I already burned up my quota. + +/* 4. */ + + ESTER + Okay. But this is the last time. + +In a deliberate move, she drops her napkin on the floor. As she ducks down to retrieve it, Lincoln steals a gulp of her coffee. Rising again, Ester registers his souring look. + + ESTER + What is it? + +Lincoln just nods across the plaza. Ambient conversation is now ebbing at an arrival. An outsider in a grey, vaguely clerical uniform - sanguine, settled, precise eyes. He might be a prison warden but for the generally warm reception. He is known as The Community Director. His name is MERRICK. He crosses to a lectern, unlooping a chain from his neck with a three-forked pendant known as a "tri-key". He slots the tri-key into the lectern. The glass wall frosts over and pixellates into a live feed of himself. Now amplified by the plaza speakers, Merrick begins his address- + + MERRICK + Good morning. To everyone here and everyone watching on etherscreen, welcome to the community address. Today I'm coming to you from Sector Four. For those of you here with sugar quotas, let me recommend the french toast. I just tried some and it's excellent, really. But I know what everyone's hungry for so let's move on to the lottery. As always the draw will be made from our host sector. So tell me, Sector Four - is everyone ready for The Daily Spin? + +Applause and whistles erupt, mostly from the younger residents, who take on the zeal of a game show audience. The older ones - including Lincoln - greet the prospect with labored tolerance. Merrick turns the tri-key in the lectern. The glass wall switches from the live feed to a jumbotron of flashing text;- - DAILY SPIN!... GET READY TO WIN!... DAILY SPIN!-- + + MERRICK + Let The Spin begin. + +To a burst of cheers, he turns the tri-key another notch. The glass wall becomes a spinning blur, like a tumbler on a slot machine. But instead of icons, it clicks through names, each separated by a blank line - from "Adams One-Alpha" to "Zucker Three - Charlie" - scrolling the entire population of Sector Four. + +/* 5. */ + +As the spin slows, a pent silence falls. Expectant eyes watch the names click through the P's, the Q's, the R's, the S's and . . . - - SPIN WIN!... STARKWEATHER TWO-DELTA... SPIN-WIN!-- + + MERRICK + Starkweather Two-Delta! Step up! + +Cheers and applause as everyone looks for the lucky recipient. The excitement abates as it becomes clear he's not among them. + + MERRICK + Well , Starkweather, if you're watching on etherscreen - your time has come, my friend! You're moving out to The Island! + (another burst of cheers) + And the rest of you, never lose hope; what do we know about The Daily Spin? + + THE YOUNGER RESIDENTS + Everyone gets to win! + + MERRICK + And tomorrow it could be you... + +Merrick steps down and departs. The plaza reverts to its former mood, dotted with murmurs of disappointment. Lincoln scowls. + + ESTER + Don't worry. Your time will come. + + LINCOLN + That's easy for you to say. Your time's guaranteed. All you have is six months. + + ESTER + Six months of mood swings, sore back and swollen feet. Want to trade places? + + LINCOLN + (scowl lifting) + Give me some more of your coffee. + +/* 4 */ + +INT. SUBWAY PORTAL - SECTOR FOUR - DAY #4# + +The portal is spanned by a rank of latticed metal gates, known as an "ethergate." Residents swipe their ethercuffs over scanners, the gates hiss open and they step through in systematic order. + +/* 6. */ + +/* 5 */ + +INT. SUBWAY PLATFORM - SECTOR FOUR - DAY #5# + +The subway, formed in arches of creamy ceramic tile, is not unlike our own. In place of escalators, moving walkways deliver the residents onto the platform. Along the platform wall runs a strip of mirrored panels, etherscreen reporting in banner crawl: - - NEXT STOP... SECTOR 5 - SECTOR 6 - CENTERVILLE... At the tunnel edge of the platform is a safety fence, where the residents wait in a patient line, Lincoln among them. His focus is drawn to two younger residents whispering furtively nearby. + + RESIDENT #1 + A stim unit says it hits the wall. + + RESIDENT #2 + Okay . But I get to set the can. + +Resident #1 shrugs and hands him a drink can. Resident #2 ducks under the fence, reaching the can down to the track. Or what looks like a track. The struts lining the bed are not sleepers but buffers of galvanized rubber. Nor are there any rails. The relay system is provided by a series of metal posts, flanking the buffers to run in twin parallel. Known as "lode-poles," they now start thrumming and pulsing with red light, like runway beacons. + + RESIDENT #1 + Hurry it up. The shuttle's coming. + +Resident #2 regains the platform. We PUSH IN on the drink can, balanced on a buffer. It starts rattling. Then suddenly shoots upward into the air, arcing and bouncing off the tunnel wall, clattering into obscurity. Resident #1 whoops in victory. A rush of air heralds the shuttle. It sails out of the tunnel, floating three feet above the track. A hybrid of subway car and nautical craft, it has runners in place of wheels, like hulls on a catamaran. It is buoyed by a magnetic flow emanating from the lode-poles, an invisible river known as a "lode-stream". The shuttle drifts to a gentle halt, hovering, rocking a little. Its gangplanks fold out toward the platform and the safety fence lowers. Lincoln and the other commuters file routinely aboard. + +/* 6 */ + +INT. CENTERVILLE - DAY #6# + +An avenue of cream colored buildings. Uniform in architecture, rising five stories to meet a mirrored roof. Despite lighting arrays, the absence of sky lends a chasmic quality . Lincoln follows the flow of residents up the avenue. Building signs read: "Dept. Of Labor", "Dept. Of Health", "Dept. Of Sanitation". He splits off, turning into a building marked "Dept. Of Population." + +/* 7. */ + +/* 7 */ + +INT. OFFICES - DEPARTMENT OF POPULATION - DAY #7# + +Frosted glass workstations, notably circular rather than square. Lincoln sits at his desk in front of a wraparound etherscreen, divided into three sections, a formation known as a "visor". Right-visor shows a polymorph in fractal cycle, like a permanent screen saver. Mid-visor shows a tomograph of a residential block; tiers of apartments shown as boxes, most in solid white, a few blink red with the text label "Vacancy". Left-visor shows a list of names and sociographic gradings headed "Residents Pending". + + LINCOLN (TO VISOR) + Hudson Four-Alpha; profile reviewed. Match to vacancy; 171, Sector 5. Request clearance to populate. + +- - PROCESSING . . . FOUR-ALPHA, HUDSON; POPULATION APPROVED Left-visor, the name highlights then blinks out. Mid-visor, a box labelled "Vacancy" turns from blinking red to solid white. + + A VOICE (O.S.) + Hey, you want to know something? + +Lincoln looks up at a face grinning over the partition - mid 30's, jovial, tall and burly. His name is JONES THREE-BRAVO. + + JONES + You know that guy who won the Spin in your sector? Starkweather? + + LINCOLN + No. + + JONES + I had a bout with him last week. Guess how long he's been here? Six months. + + LINCOLN + Six months? + + JONES + You don't believe me - look it up. + + LINCOLN (TO VISOR) + Census File: Two-Delta, Starkweather. + +- - TWO - DELTA , STARKWEATHER: 102, SECTOR 4 -- DAY: 186 / HR: 09:31 + + JONES + What do you say now? Still think The Spin's rigged for the long haulers? + +/* 8. */ + + LINCOLN + He got lucky, that's all. + + JONES + And don't you wish it was you... out there on The Island... nature's own clean air zone... no screening, no quotas... unlimited pleasure... + + LINCOLN + Shut up, Jonesy. + + JONES + Why don't you make me? In the ring. + + LINCOLN + You're out of my weight-class. + + JONES + Not anymore. They just got the new program in - multi-weight balancing. + + LINCOLN + I'll think about it. + + JONES + C'mon, champ. A stim unit says you won't last three rounds. + +/* 8 */ + +INT. BOXING RING - CENTERVILLE - EARLY EVENING #8# + +- CRACK - The same face recoils from a punch. Jones shakes it off, retreating, recovering. He resets his guard as Lincoln moves in. Lincoln jabs at Jones' defenses, his blowing hitting harder than we'd expect from his stature. Suddenly he breaks through with a left hook. Jones staggers back. A strange ripple distorts his face. Stranger still, his skin tone takes on a grainy pallor. As the bout continues, we widen to see the boxing ring is indeed a ring rather than a square and beyond the ropes is an outer ring. With Lincoln in FG, we now see another figure in the outer ring, mirroring his moves, dressed identically but for the gloves which are like gauntlets. The gauntlets are rigged to two armatures which are, in turn, rigged to a gantry-like mechanism. It glides noiselessly to and fro, shadowing the figure round the outer ring. RACK FOCUS reveals the figure is also Lincoln . The real Lincoln, in fact. The one in FG is a derivative hologram known as a "proxy". As Lincoln fakes and jabs, the counter-weighted armatures drag and recoil, duplicating the exertions of his proxy. Jones moves more sluggishly, his proxy now ghostly, transparent. Now being sent on a last offensive only to be roundhoused by another left hook. Jones' proxy topples and explodes into a pixellated mist. + +/* 9. */ + + LINCOLN + Whoooooo! + +Lincoln proxy - and Lincoln - punch the air in victory. Jones unlatches his gauntlets, sweating, galled by the defeat- + + JONES + Sure you input the right weight class? + + LINCOLN + You're just too slow, Jonesy. + + JONES + You're faster `cause you're lighter. Programmers... they always miss something. + + LINCOLN + Hey, you put up, now pay up. + +/* 9 */ + +INT. STIM BAR - CENTERVILLE - EVENING #9# + +Rainbow light and swirling electronic music. The clientele are all male residents. Round the walls, poster-sized etherscreens display various dancing women, beckoning, text supers flashing: - - NEW AT THE PLEASURE CENTER!... OR TRY A MYSTERY DATE!... At the bar, Lincoln and Jones, freshly showered, each swipe their ethercuffs over a scanner. A uniformed BARTENDER notes the readout- + + BARTENDER + Jones Three-Bravo; you got five units. Your friend, he's got an alcohol flag. + + JONES + So make it a beer and a Vita Cola. + +The bartender serves the drinks and they settle at the end of the bar. Scoping for onlookers, Lincoln steals a gulp of Jones' beer. + + JONES + You know, you're going to get yourself contaminated one of these days. + + LINCOLN + Shut up, Jonesy. + + JONES + So, you up for a rematch tomorrow? + + LINCOLN + I can't. I got an interact. + +/* 10. */ + + JONES + With who? That blonde again? + + LINCOLN + Hey, it's an authorized interaction. We're on the same meditation program. + + JONES + You want to get flagged for proximity? + + LINCOLN + No law against friendship, Jonesy. + + JONES + Quick . . . Give me that beer back. + +TWO CENSUS OFFICERS ("CENSORS") enter the bar; in wireless headsets and white uniforms, they seem at once clinical and military. CENSOR 1 carries a tablet known as an "etherboard". CENSOR 2, more imposing, carries a wide-muzzle rifle known as a "stopgun". Their foreboding appearance is greeted without alarm. As they move up the bar, the customers dutifully swipe their ethercuffs over the etherboard. Now reaching Jones, who swipes accordingly- + + JONES + What's going on, officer? + + CENSOR 1 + Census check. + +Censor 1 checks the etherboard; a headshot of Jones spins in 3-D. He offers it to Lincoln who swipes his ethercuff emphatically- + + LINCOLN + What happened? You lost count? + + CENSOR 1 + I hope nobody's drinking off-quota. + + LINCOLN + Vita Cola all the way, officer. + +Lincoln sips his cola. As they move on, he grimaces at the taste. + +/* 10 */ + +INT. SHUTTLE - IN TRANSIT - LATER #10# + +Lincoln stares out of the window. The red pulse of the lode poles catches a glazed look in his eyes. His pupils, a little dilated. His focus returns to the interior and an etherscreen banner: - - GET READY FOR THE DAILY SPIN!... TOMORROW IT COULD BE YOU... + +/* 11. */ + +/* 11 */ + +INT. BEDROOM - LINCOLN'S APARTMENT - THE NEXT DAY #11# + +The horizon. The morning sun streams over the green mountains. Lincoln lies sleeping, his head buried under the pillow. Off a beeping sound, he stirs and squints up at the mirrored ceiling: - - ETHER CALL PENDING ; ACCEPT OR SEND TO MESSAGE BANK? + + LINCOLN + Accept. + +The etherscreen resolves Ester's face, fresh and bright. + + ESTER (ON ETHERSCREEN) + Lincoln? I missed you at breakfast. + + LINCOLN + I guess I overslept. + + ESTER (ON ETHERSCREEN) + I just wanted to check we're still on for tonight. The interact. + + LINCOLN + Right. I'll be there. + + ESTER (ON ETHERSCREEN) + I'll see you then. Enjoy your day! + +Her face blinks out. Lincoln gets out of bed with a smile. + +/* 12 */ + +INT. RESIDENTIAL BLOCK - SECTOR FOUR - DAY #12# + +Lincoln exits his apartment and heads up the walkway. We reveal the walkway ends at another ethergate, governing residential access. Lincoln swipes his ethercuff over a scanner and a gate swings open. He heads on, the gate hissing closed behind him. + +/* 13 */ + +INT. NUTRITION PLAZA - SECTOR FOUR - DAY #13# + +Ravel's Pavane plays overhead. The plaza is emptying as residents leave for work. Lincoln arrives at the service counter. He swipes his ethercuff and greets the clerk with an amiable grin. + + LINCOLN + Just juice today. I'm late for work. + + NUTRITION CLERK + Too bad. I gotta serve the full meal. + +Lincoln shrugs, his gaze wandering past her into the kitchens. His grin fades as he spots TWO CENSORS talking to a busboy. Then the view is lost as he's served an oatmeal and juice breakfast. + +/* 12. */ + +/* 14 */ + +INT. SUBWAY PLATFORM - SECTOR FOUR - DAY #14# + +Not so crowded at this hour. Halfway down the platform we see a vending machine with confections in nameless silver wrappers. A mouse-ish resident collects a bar from the trough. His name is KLEINWORT NINE-ALPHA. Seeing Lincoln approach, he preempts- + + KLEINWORT + No, no, no. Use your own sugar quota. + + LINCOLN + C'mon, Kleinwort... + +He says this amicably enough but he's using his imposing presence on the smaller man. Kleinwort sighs and breaks off a chunk. + + LINCOLN + So what's up with the Censors, huh? + + KLEINWORT + They're conducting a census check. Or don't you watch the bulletins? + + LINCOLN + I know what it is. I've just never seen them out in this sector before. + + KLEINWORT + Probably just tracking a glitch. A bad scanner or maybe an userware defect. + (off Lincoln's puzzled look) + Ethercuffs. They get damaged, you get a false read. Sometimes even a dropout. + + LINCOLN + What are you saying? They lost someone? + + KLEINWORT + Someone just isn't showing up where they should be. What do you care? + +A rush of air heralds the shuttle, curtailing the conversation. Beneath his tousling hair, a frown plays on Lincoln's brow. + +/* 15 */ + +INT. LINCOLN'S WORKSTATION - DEPT. OF POPULATION - DAY #15# + +Lincoln stares at the fractal on right-visor, at the intricate paths of dysplasia. The glazed look has returned to his eyes, his pupils, a little dilated. His stare narrows at an errant thought. He shrugs it off. But the thought returns, persistent. More to dispel than indulge it, Lincoln turns to mid-visor- + +/* 13. */ + + LINCOLN (TO VISOR) + Census File: Two-Delta, Starkweather. + +- - TWO - DELTA , STARKWEATHER: 102, SECTOR 4 - DAY: -- / HR: -- + + LINCOLN (TO VISOR) + Accommodation Status : 102, Sector 4. + +The tiered boxes resolve, zooming in to isolate Apartment 102. The box shows solid white. Lincoln frowns, assimilating this. + + LINCOLN + Hey , Jonesy. Remember the guy who won The Spin yesterday? His apartment's still showing as occupied. + + JONES (O.S.) + So? + + LINCOLN + So you get 24 hours to move out. + + JONES (O.S.) + Maybe the system didn't update yet. + + LINCOLN + No. It updates on the hour. If he's gone it should be showing a vacancy. + + JONES + (appearing over the partition) + What? You think he's still here? The guy wins a place on The Island and you think he just decided not to go? + + LINCOLN + I don't know. He wasn't there to step up. And now there's a census check... + + JONES + And now nothing. It's probably the programmers messing up. + + LINCOLN + Maybe. + + JONES + A stim unit says I can prove it. Cross reference with sanitation. + + LINCOLN (TO VISOR) + Sanitation Status: 102, Sector Four. + +/* 14. */ + +-- PROCESSING... APT. 102; CLOSED FOR CONTAINMENT CHECK-- + + JONES + See ? Standard procedure. They got to sweep it for the next occupant. + +Their supervisor interrupts them - an outsider, efficient-type- + + SUPERVISOR + If you gentlemen aren't busy... Perhaps I could get an update on sector six? + + LINCOLN + Still in the electrical phase, sir. + + SUPERVISOR + Well the guys upstairs are griping about the backlog. So go over there and light some fires, will you? + + LINCOLN + (pulls on his jacket to leave) + I'll take care of it. + + SUPERVISOR + Aren't you forgetting something? + (holds up A STEEL BRIEFCASE) + Or do you want to get contaminated? + +/* 16 */ + +INT. CONSTRUCTION ZONE - SECTOR SIX - DAY #16# + +An arc of blue light. A uniformed worker steers a plasma torch over a conduit. In the fog of smoke, we see wires being spliced, circuits, tested. Outsiders in hardhats, goggles and cup masks. Lincoln comes over the crosswalk, starkly contrasted in dacron coveralls and a hooded gasmask. THE CREW FOREMAN intercepts him - drawn, desiccated features, a husky drawl. His name is MCCORD- + + MCCORD + Sorry, chief. I can't let you get any closer. We got live wires over there. + +Lincoln's reply is muffled by the gasmask, lost in the noise. + + MCCORD + What's that you said? + +Lincoln repeats to no avail. Frustrated, he peels off his gasmask- + + LINCOLN + I said I can't hear you. + +McCord chuckles at the irony. + +/* 15. */ + + MCCORD + Hey , you get yourself contaminated, don't come pointing the finger at me. + + LINCOLN + How are you doing, Mac? + + MCCORD + You know how it is. `Gets to the end of shift, `crew starts draggin their feet. + + LINCOLN + Well the guys upstairs are griping about the backlog. They want to know when you'll be ready for move in. + + MCCORD + I guess if we bust our backs, we could be out of here by the end of the week. + + LINCOLN + I'll tell them two weeks. + + MCCORD + Thanks , chief. I appreciate that. + + LINCOLN + So . . . got any stuff on you today? + +/* 17 */ + +INT. AIRLOCK - SECTOR SIX #17# + +A sign reads "Warning! Contamination Risk!". Lincoln stands by as McCord unloops a neckchain with a single-forked pendant known as a "uni-key". He slots it into the top of three keyholes. A light starts flashing and the airlock gives a heavily pressurized hiss. + +/* 18 */ + +INT. EXTRACTOR SHAFT #18# + +A deep steady thrum. Giant extractor fans churn above and below, both directions seemingly limitless. The bleak concrete shaft is streaked with soot, threaded by ladders and catwalks. On one such, we isolate Lincoln and McCord. Both smoking cigarettes. + + LINCOLN + It's too bad. + + MCCORD + What do you mean? + + LINCOLN + That your shift's almost over. + +/* 16. */ + + MCCORD + You mean, these things? Well, these things ain't good for you anyways. + + LINCOLN + They taste good. + +An exchanged smile. A pause as they enjoy the guilty pleasure. + + LINCOLN + I like coming here. Talking. Most outsiders don't like to talk. + + MCCORD + That's because we ain't supposed to. They got rules about fraternization. + +Lincoln nods. Another pause as they drag on their cigarettes. + + LINCOLN + What do you do when the shift's over? + + MCCORD + More of the same. They cycle us onto the disposal detail. Hump `n dump crew. + + LINCOLN + Hump `n dump crew? + + MCCORD + Debris clearance. We hump the heavy stuff to a site on the outside. + + LINCOLN + Is it as bad as they say out there? + +McCord looks momentarily puzzled. Lincoln displays his gasmask. + + LINCOLN + The air... the containments. + + MCCORD + Right. + + LINCOLN + But not everywhere. Not on The Island. + + MCCORD + ( beat , stubs his cigarette) + I don't know too much about that. + +Lincoln eyes him narrowly. McCord pauses , then tucks his lighter into the cigarette box and offers it with a palliative smile. + +/* 17. */ + + MCCORD + Hey , take it from me, you got a sweet deal right here. So why worry, huh? + +Lincoln shrugs, accepting the gift with a slow exhale of smoke. We tilt up to follow the smoke plume, dissipating into the fans. + +/* 19 */ + +EXT. THE WORLD OUTSIDE - DAY #19# + +Air blasts up from a giant tunnel. Widening , we see it is one of a huge ring, planted in the dust, backdropped by mountainous red rocks. At the hub of the ring is a large cubic building. From its facets, giant appendages of ducting plunge into its surround. These are the inlets for the processed air that feeds the underground... This is the landscape of the world outside and manifestly above. From the processing plant, we pull back and up, raking over a large industrial complex. More cubic buildings, cream colored, windowless, like stacks of giant playing bricks. Now we see the front of the complex. The planate facade , faceless but for the entrance, cubed in polarized glass, like a dark cyclopean eye. From the entrance, we follow a walkway out to a dock where the ground drops away into a broad concrete trench; like the subway, lined with lode-poles and buffers, it is known as a "lodeway". From the dock, we follow the lodeway out to a perimeter wall; red rock slabs, twenty feet high, framing a giant gateway. The gates now glide open to disclose a view of the world outside the wall- The shimmering bleached wilderness of The Arizona Desert. Out in the distance, where the lodeway tapers into the scrub, a vehicle emerges from the shimmer. A hybrid of bus and nautical craft, single hulled, known simply as a "liner". Now as the liner becomes clearer, a decal on its prow is revealed - a crosshatch insignia over a blocky legend "The Sanger Institute". + +/* 20 */ + +INT. ENTRANCE HALL - THE SANGER INSTITUTE - DAY #20# + +The polarized glass shows the liner has docked and A TOUR GROUP is disembarking. The men are mostly over 40, bloated by luxury. The women, mostly under 30, wives and girlfriends, all jewels and haute couture. They filter into the entrance hall to be greeted by the courtesy staff. Pretty girls in short skirts and blazers with the crosshatch insignia, led by a pert redhead named LYDIA. + + LYDIA + Ladies and gentlemen, my name is Lydia and on behalf of our staff, I'd like to welcome you to The Sanger Institute. + +/* 18. */ + + LYDIA (cont'd) + Before we start the tour, we'll be serving refreshments in the visitor center and circulating our standard discretion agreements. I should add that today you are all very lucky because our CEO and founder, Dr. Henry Sanger, is with us and will be leading the tour personally. + +/* 21 */ + +INT. INNER FOYER - LATER #21# + +The crosshatch emblem spins on a wall-to-wall screen. Not a real screen but a projected flat known as a "holoframe". Here, Lydia assembles the tour group, nursing wine glasses and canapes. The holoframe fades up a serene music track and a commercial begins: A series of vignettes; an old man shuffling on a walking frame -- a middle-aged woman in a bathing suit, one breast flattened by a mastectomy -- a young woman in labor, her face knotted in pain. The group watches with frowns and disapproving mumbles. Then- + + VOICE (O.S.) + It's not a pretty sight, is it? + +Eyes turn to a figure behind them, dressed in a vestmental white labcoat - 70's, tall, slightly hunched by senility, eyes like quicksilver, glittering. He has the hauteur of a visionary stooping to the role of a salesman. His name is DR. HENRY SANGER. + + DR. SANGER (cont'd) + Mortality . We all know its face and yet we look away, don't we? We deny that our lives are ordained to suffering. That we are all, inalterably, going to die. + +He pauses, fielding the various disconcerted looks. Then smiles. + + DR. SANGER + It takes courage to confront mortality, my friends. And I see it in each of you . My name is Dr. Henry Sanger and I'm here to reward your courage. + +Lydia applauds. The tour group dutifully follows suit. Sanger whispers a question in Lydia's ear. She broadcasts her response- + + LYDIA + Today's group is from New Gaza Health Care. They're with the platinum plan. + + DR. SANGER + New Gaza. Yes, very good oncology unit. + +Mulling this, he ambles through the holoframe which ripples at his passage. Rallied by Lydia the tour group follows him into-- + +/* 19. */ + +/* 22 */ + +INT. SALES HALL - DAY #22# + +A hall of windows, each window framing a display case, each display case housing a different taxidermied animal . Not unlike a museum. On closer inspection, more like a chamber of horrors. In one window is a pig with a horribly distended abdomen. Another, magnified, shows a mouse with a human ear grown on its back. In another, a chimpanzee stares out at us with glaringly human eyes. + + DR. SANGER + It doesn't get any prettier, does it? But this is not a freakshow, my friends. This is a war museum. A history of our battles with mortality... and defeats. Take the stem cell, for instance. A bid to cultivate human parts for transplant - in rodents, primates, barnyard animals. It's enough to make your skin crawl. In some cases literally, giving rise to a new range of cross-species viruses. But that's how we learn. From our mistakes. + +They turn a corner. Another hall of windows, portals onto tanks of amber fluid that might be formaldehyde. Suspended within are embryos, fetuses and infants. All human. All grotesquely mutated. + + DR. SANGER + Case in point, the clone. Back in the beginning, the mapping of the human genome was declared a historic landmark- to break the curse of heredity, to correct congenital defect... genetic engineering became the brave new world of medical science. A bright future that led to a dark age and much of the legislation we know today. But while the clone laws may have narrowed the field, science marches on. Only to hit the same wall over and over again - the enigma of growth, the alchemy that takes us from embryo to adult. A clone barely reaches infancy before its growth enzymes misfire, resulting in the kind of monstrosities - which are only effigies - you see here. + +Some reassured sighs from the women. They turn another corner onto another hall. A hall of mirrors. Simple, full-length mirrors. + + DR. SANGER + So what do we learn from our mistakes? That human parts cannot grow outside a human body. That human bodies cannot grow outside nature's grand design. + +/* 20. */ + +A FAT MAN, supporting his bulk with a walking stick, grunts - + + THE FAT MAN + So what the hell are we doing here? + + DR. SANGER + Let ' s say one day you go to your doctor for a checkup. He discovers you have imminent renal failure and require a kidney transplant. What would you do? + + THE FAT MAN + I wouldn't do nothing. My brother'd give me one of his. Or else. + + DR. SANGER + Even if your brother's kidney is without defect, there's still a 38% chance of rejection. Or less if he's your twin. + + THE FAT MAN + He's not. He's older. + + DR. SANGER + But what if you did have a twin? + +Off the fat man's confused look, Sanger smiles and gently coaxes him to face a mirror. Their reflections stare back at them. + + DR. SANGER + What if you had a genetic double who'd give you not just one of his kidneys, but both? In fact, any organ or body part you ever had cause to need? + + THE FAT MAN + What ? You mean like a clone? I thought you said all that stuff was a bust. + + DR. SANGER + I said the problem with a clone is it doesn't survive infancy. The solution is to find a different starting point. Why sow the seed when you can create the fruit? Or what we like to call... an "agnate". + +Lydia starts clapping., then stops , realizing this wasn't a cue. + + DR. SANGER + An agnate is sequenced from a point on the cellular timeclock. It is spawned post-maturate. It is `created' adult. + +/* 21. */ + + DR. SANGER (cont'd) + Of course, its brain is still vestigial so for the first three years we keep it in suspension. During which time we use data impression to supply a template for functionality - a process we call " foundation " . After foundation we transfer the agnate into "containment" where it enters the conditioning process . An ongoing series of quality controls designed to test and maintain its functionality. After a minimum of two years conditioning, the agnate becomes eligible for harvest... + ( to the FAT MAN, smiling) + And you, my friend, get your new kidney. + +A hush falls among the group as they process what they've heard. It's a sign of the times that none of them seems to be horrified. + + THE FAT MAN + Let me see if I got this straight. You can create this whatever... this walking spare parts holder... but I gotta wait five years to get hold of em? + + DR. SANGER + The spare parts, as you put it, need to be tested for integrity. But as many of our clients leave it till late in life to take out the policy, we do offer the option for early harvest. Given the risks, however, a waiver is required. + + THE FAT MAN + So five years or no warranty? For the premiums you're asking? + + DR. SANGER + And what if the organ you needed was a heart? Ask yourself, each of you. If you had to put a price on your life, your very survival - what would it be? + +A deep lull as the group considers this. Sanger picks his moment. + + DR. SANGER + It's a question your insurance company has already answered. For them, the agnate obviates costly and ineffective treatment programs. Should you decide to take out our policy, not only will they lower your existing premiums but they'll also cover the production cost. + +/* 22. */ + +The incentive ripples across the faces. A troubled one speaks up- + + TOUR MEMBER + This "agnate"... what happens to it? After our friend here gets his kidney. + + DR. SANGER + That's entirely his decision. Our role is intermediary. We, as the insurance provider, guarantee the condition and availability of the agnate but all other rights are retained. In legal terms, the policy holder is defined as a "sponsor". The premiums, in effect, becoming sponsorship payments, maintaining the agnate until such time as harvest is required. At such time and where feasible, the sponsor has the option to extend sponsorship, retaining the agnate for secondary harvest or, shall we say, let the policy expire. + + TOUR MEMBER + Expire ? You mean... let it die? + + DR. SANGER + No . Not as you and I know it, at least. The associations of life and death are no more applicable to an agnate than to a cow in a field. It exists in a state of limited consciousness - aware not of life but of functionality. Imbued with the knowledge to maintain its function but without the capacity to question it. And yet, in many ways, the end if the most humane part of the process. The agnate goes to harvest without any foreboding and is painlessly returned to the sleep from whence it came. Eternal or otherwise. There is mortality for an agnate. Just utility and redundancy. + + TOUR MEMBER + So it doesn't know? It doesn't know its... its purpose in life? + + DR. SANGER + Who does know my friend? Who among us knows our true purpose in life? + +Sanger ambles on, plunged in thought. Lydia picks up the slack- + +/* 23. */ + + LYDIA + This month we're offering a special rate for new sponsors. Including a 10% discount on the his-and-hers plan. + +She ushers the group round another corner. Another holoframe and another commercial, displaying the same characters as the first; The old man with the walking frame is now running in a park-- The woman with the mastectomy is now at a party, her cocktail dress broadcasting a full cleavage -- The young mother is now in a waiting room, smiling as a doctor hands her a newborn baby. + + LYDIA + DR. SANGER? Would you like to close? + + DR. SANGER + Yes . . . Now some of you may be thinking this commercial is staged. But these are not actors, these are past customers. Real people enjoying the real fruits of sponsorship. What we offer here at The Sanger Institute is not just health insurance but indemnity. What we offer is the chance of a new lease on life... + +The tour group applauds, this time without prompting from Lydia. + + DR. SANGER + Now Lydia will walk you through the rest of the tour and explain the various limitations and exclusions. But I do have time for a few questions. + +Hands are raised. A waspish-looking woman butts ahead of them- + + THE WASP + The commercial. The girl with the baby. What is that? A fix for infertility? + + DR. SANGER + You mean the maternity plan? No. Not endemic infertility at least. As I said, the law prohibits genetic alteration so a defect endemic in a sponsor will also be present in their agnate. No, what the maternity plan provides is a way round the risks and rigors of childbirth. Under this plan, an agnate becomes eligible for pregnancy shortly after foundation. A simple donation of sperm from the father, then the agnate is fertilized and brings your baby to term. + +/* 24. */ + + THE WASP + And then what? You get it in the mail? + + DR. SANGER + For practical reasons, delivery is handled by your healthcare provider . + + THE WASP + And "the agnate" - what happens to it? When it's, you know - delivered. + + DR. SANGER + The same rule applies. You can continue your sponsorship. Or not. And in this case, there's a natural window for compliance as the agnate is routinely sedated after delivery. As to whether it wakes up from that sleep, like I said, the choice is yours... + + THE WASP + ( beat , a shrug) + Anything to avoid stretch-marks, right? + +The other tour members, some more guiltily than others, laugh. + +/* 23 */ + +EXT. PROCESSING PLANT #23# + +Air blasts up from the same giant tunnel, swallowing the laughs. + +/* 24 */ + +INT. EXTRACTOR SHAFT #24# + +The acoustic hollowing as we look up from the now empty catwalk. The blast of air fading into the deep, steady thrum of the fans. + +/* 25 */ + +INT. CONTAINMENT #25# + +The thrum fading to silence. A flat, measured silence as we revisit the community in soundless montage. The residential block, the frosted facades. The nutrition plaza, the counters, the chutes. The subway, the moving walkways. Centerville, the buildings now emitting a trickle of agnates, ending their workday - unwitting participants in their own greater utility. + +/* 26 */ + +INT. DIRECTOR'S OFFICE - CENTERVILLE #26# + +A glass wall looks down on the avenue. The furniture is transparent , ethereal. Merrick sits at a console desk studying an etherboard. Off a buzz, he taps a button. The door opens and Lincoln enters, composing a deadpan. He doesn't like this man. + + LINCOLN + You wanted to see me? + +/* 25. */ + + MERRICK + Yes . Please, take a seat. + +He taps a button. The glass wall frosts over. It's unnerving but Lincoln stays deadpan, moving the chair before taking a seat. Merrick reviews the etherboard: Lincoln's headshot spinning in 3D with a scroll of data. Then he looks up, forming a smile- + + MERRICK + How's Lincoln Six-Echo today? + +Lincoln shrugs, noncommittal. Merrick eyes him thoughtfully. + + MERRICK + Everything going okay? + + LINCOLN + I guess not. + + MERRICK + Why do you say that? + + LINCOLN + If I'm here. + + MERRICK + I'm not sure I deserve such a negative association. My job's only to see that you're happy. That everything's okay. + + LINCOLN + Right. + + MERRICK + It sounds like you don't believe me. + + LINCOLN + Why wouldn't I? + + MERRICK + ( sits back, smiling) + It's part of your makeup. To challenge things. To question what's around you. + + LINCOLN + Ah. + + MERRICK + Perhaps you can utilize that facility by helping me solve a little puzzle. + +Lincoln shifts, feeling uneasy. Merrick consults the etherboard- + +/* 26. */ + + MERRICK + You're doing well in most areas - proficient at work, exercising rigorously, your last medical puts you in excellent condition. But screening's picked up some deviations. Trace levels, changes in your sleep pattern... I see you've also been burning up your quotas... + + LINCOLN + Are you saying I'm contaminated? + + MERRICK + No. + + LINCOLN + Then what's the problem? + + MERRICK + There are parameters, Lincoln. When someone starts straying from those parameters, we need to find out why. + + LINCOLN + Why? + + MERRICK + Because you - not just you, all of our residents - are special. Because people like me don't get to go to The Island. + +He smiles. Lincoln stays deadpan, wondering where this is going. + + MERRICK + So tell me, have you noticed any changes in yourself? + + LINCOLN + No. + + MERRICK + What about your sleep pattern? You feel you've been sleeping properly? + +Lincoln shrugs, refractory. + + MERRICK + Let me put it another way, when you wake up, do you feel... disrupted? + + LINCOLN + Disrupted? + +/* 27. */ + + MERRICK + Restless , disoriented, uneasy... + + LINCOLN + I don't know. + + MERRICK + They're all words in your vocabulary. I know you understand what they mean. + +Lincoln ' s jaw clenches, patronized. Merrick notes this, resumes- + + MERRICK + Quotas . . . nutrition. Do you feel like you want more than you're given? + + LINCOLN + I don't know. + + MERRICK + Do you have any difficulty staying focused? At work, for instance? + +Lincoln ' s jaw twitches. Merrick notes this, proceeds with care- + + MERRICK + Have you been experiencing feelings, sensations you don't quite understand? + + LINCOLN + I don't know. + + MERRICK + Do you sometimes feel agitated for no apparent reason? Frustrated, angry... + + LINCOLN + That's it. + + MERRICK + Angry ? You feel angry? + + LINCOLN + Right. + + MERRICK + When exactly do you feel angry? + + LINCOLN + Now... + +Lincoln leans forward as if to assert this. Merrick slowly nods like he's just revealed something. He taps the etherboard- + +/* 28. */ + + MERRICK + I'm going to order some tests at The Medical Center. In the meantime, I'd like you to stay away from stimulants - protein, sugar, caffeine... + + LINCOLN + I already burned up my quotas. + + MERRICK + But I know you can get around them. + +He levels a knowing look. Lincoln stiffens again, unsettled. + + MERRICK + I'm asking you to cooperate. Not for my sake, Lincoln, but for your own. + + LINCOLN + Is that it? + + MERRICK + There is one other thing. You have a female friend. "Ester". Your file shows you've been interacting regularly. + + LINCOLN + There's no law against friendship. + + MERRICK + Of course not. We encourage interaction in the hope it'll be of mutual benefit. But given these deviations... let's just say proximity becomes an issue. + + LINCOLN + I know the rules of proximity. + + MERRICK + The rules of proximity apply to sexual contact, Lincoln. In this case it goes deeper than that. Ester is entering her second trimester. A time of change and emotional confusion. Further interaction might be... unhealthy for you. + +Lincoln , patronized, looks away. This pill he won't swallow. + + MERRICK + And for Ester - well, she has only six months left to delivery. Then she'll move out to The Island and whatever ties she has here will be broken. + +/* 29. */ + + MERRICK (cont'd) + As a friend, shouldn't you make her transition as painless as possible? + +Lincoln ' s deadpan falters. This one, a bitter pill, he swallows. + + MERRICK + Good . Now I'm also going to refill your pleasure quota. It may help to settle you down a little. + + LINCOLN + Thank you. I feel much better now. + + MERRICK + I'm not sure you do. But I think you'll do what's right, Lincoln. You may not trust me. But I trust you. + +/* 27 */ + +INT. COMMUNITY CENTER - CENTERVILLE - EVENING #27# + +A theater in the round. The audience is mostly pregnant females and older residents. As the lights dim, eyes turn to the stage. Speakers bring up Handel's Ombra Mai Fu. Then a glowing mist rises, condensing into a huge sphere, like a seed. Known as a "holomorph", it reacts sonically, germinating into stems and branches and blossoms, growing and evolving with the music. The diaspora is as spellbinding as it is pacifying. It is beautiful. + +/* 28 */ + +INT. FOYER - COMMUNITY CENTER - EVENING #28# + +The music from within is like a warm beckoning hand. The foyer is slightly vaulted to accommodate a statue. On a bench at its foot , Ester sits alone, waiting patiently. As Lincoln enters, she rises to greet him, smiling. He seems more sullen than usual. + + LINCOLN + Sorry I'm late. + + ESTER + It's okay. I was waiting to tell you something anyway. Guess what? + +Lincoln looks at her, unsettled by her flourishing smile. + + ESTER + My baby - I felt it move. And it's the weirdest feeling too. I can't explain it. It's like being more... more here . + +Lincoln returns a deadpan look. Ester's smile wavers a little. + +/* 30. */ + + ESTER + I'm sorry. I'm all excited and we're supposed to be finding peace of mind. + + LINCOLN + I have to cancel, Ester. + +His voice is expressionless. Ester shrugs, refreshing her smile. + + ESTER + So I'll see you at breakfast tomorrow? + + LINCOLN + I don't think so. + +Ester ' s smile falls. Her eyes, reaching, trying to understand. + + ESTER + Did I do something wrong, Lincoln? + + LINCOLN + No. + +A small word but it comes heavily. Before Ester can ask another question, Lincoln turns and leaves. His jaw, clenching with the effort of self-containment. Ester watches him, not hurt, just a little confused. We widen to encompass the height of the statue. The likeness is idealized but unmistakably that of Dr. Sanger. + +/* 29 */ + +INT. PLEASURE CENTER - NIGHT #29# + +Blue light. Lincoln walks up a long corridor, carrying a sealed plastic bag. Along the walls, poster-sized screens like those in the bar, display images of women, gyrating, licking their lips. + +/* 30 */ + +INT. PLEASURE CELL - NIGHT #30# + +The blue light sustains. To one side is a mirrored wall, known as an "etherwall". It is currently pixellated to display a grid of women's faces, artificial consorts waiting to be selected. Facing the etherwall is a large aquarium-like tank, filled with gelatinous blue liquid. This vessel is known as a "sense tank". Lincoln sits at the rim, naked, wearing a full-head oxygen mask. He couples it to a hose dangling from the ceiling. Then lowers himself into the tank. On the inner facet, a touchlight keypad resolves. Lincoln taps some keys and the etherwall acknowledges : - - PLEASURE PARTNER SELECTED; PROGRAM COMMENCING... Lincoln looks out at the etherwall. The faces blink off to leave him staring at his reflection. Just one left, a pouting redhead, who licks her lips in anticipation as the lights dim. + +/* 31. */ + +A holographic mist now rises. First resolving a proxy of Lincoln, naked, replicating his posture in the tank. Then the redhead is conjured, her buxom nudity glimpsed through the swirling mist. Lincoln proxy reaches out to stroke redhead proxy's breast. In the tank, Lincoln's fingers caress only the gel, his fingertips met by soft arcs of light - neurological charges, conducted by the gel, creating the sense of touch. They are known as "impulse arcs". Redhead proxy responds, dappling her lips across Lincoln proxy's neck. In the tank, impulse arcs flicker across Lincoln's throat, then down his chest, descending to more erogenous zones. Lincoln stiffens and closes his eyes, yielding to the sensation. The sensation engulfing him, Lincoln's brow starts to furrow. Not with ecstasy. Something darker. His eyes open, his pupils fixed in a black dilated stare. Resisting the artificiality, his face forming a sneer, tightening until... he slams his palm into the touchpad. The tank shakes. The proxies blink out. Lincoln stands mirrored in the etherwall. His hand, pressed against the glass in a posture of defiance. His reflection, warped and shuddering. + +/* 31 */ + +INT. ELEVATOR SHAFT #31# + +From darkness grows a seed of light. Red light, pulsing to reveal the shaft, lined by lode-poles, here in triangulated relay. The polarity cradles a dark mass towards us. An elevator in descent. + +/* 32 */ + +INT. DIRECTOR'S OFFICE #32# + +Merrick is at his console, working late. Off a buzz, he taps a button. The door opens and an outsider enters - 40's, square set, hollow, remote eyes. His hair is damp and he wears post-decon scrubs. A USMC ring is visible on his finger. His name is SCHEER. + + MERRICK + Karl . . . Welcome back. + +Scheer pauses, his face twitching. Then sneezes violently. + + SCHEER + I forgot how much I hate the air here. + + MERRICK + Just a histamine reflex. Your system's readjusting to the sterile environment. + + SCHEER + It's the smell I hate. Empty. + + MERRICK + Yes , well I cut short your leave for a reason. I take it you've been briefed? + +/* 32. */ + + SCHEER + ( sits , sniffing) + One of our lab rats is missing. + +With a dour look, Merrick slots his etherboard into a dock. A proxy resolves over the console, quarter scale, spinning in 3D; male, African American, bull neck. Data etches across thin air:- - PRODUCT ID: STARKWEATHER; FOUNDATION: II; GENERATION: DELTA;- - INTEGRATION DATE: 01/27/84 // CONTAINMENT REF: 102, SECTOR 4 + + MERRICK + His name is Starkweather Two-Delta. He dropped off the ether two days ago. At first we thought it was a system error. Then we found this in a garbage chute. + +He opens a drawer and pulls out an ethercuff. He hands it to Scheer who considers it remotely for a few seconds. Then- + + SCHEER + Delta generation, huh? + + MERRICK + That's right. + + SCHEER + It was a Delta the last time. + + MERRICK + That was entirely different. The product suffered a head injury. + + SCHEER + What happened to this one? + + MERRICK + We don't know. He just disappeared. + + SCHEER + Not easy to disappear. Unless he figured a way through the boundary. + + MERRICK + He's a code two, Karl. A low functioner. + + SCHEER + If you ask me, it's a mistake giving them any functions at all. + + MERRICK + They don't function mentally, they don't function physically - you know that. + +/* 33. */ + + SCHEER + Then perhaps if you're going to breed lab rats, you should breed them tame. + +His look, albeit from a distance, throws a stone. Merrick hardens- + + MERRICK + If you bothered to read the clone laws, you'd realize we have no choice in the matter. The virtual humanity statutes accord them a set of freedoms. All we can do is prescribe the limits. And even those are subject to regulation. Scope of knowledge, range of activity, even their speech patterns. The law requires that what is of human origin be provided with human characteristics. + + SCHEER + You mean, like fallibility? + +Merrick pauses. He's not going to take the bait. + + MERRICK + The ether shows no attempts on the boundary. He's here, Karl. But for some reason, your men seem unable to find him. It's your job to contain the products. I'd like you to do it, okay? + + SCHEER + A little sensitive, aren't we? + + MERRICK + Just after Starkweather went missing, his sponsor placed an order. An order we can't fill. Damn right I'm sensitive. + + SCHEER + Alright . How much time do I have? + +Merrick taps a button. A holoframe appears beside the proxy. Even in two dimensions, the face is identical. Just a different hairstyle and a gold earring. This is the face of The Sponsor. + + MERRICK + Jamil Starkweather . . . last week he sustained a hepatic trauma resulting in liver hemorrhage. In medical terms, we have maybe a few weeks. In legal terms, we're already on borrowed time... + ( as Scheer rises to leave) + And Karl? + +/* 34. */ + + MERRICK (cont'd) + I don't want a godawful mess like the last time. Minimal damage. Understood? + +/* 33 */ + +INT. LINCOLN'S APARTMENT - PREDAWN #33# + +The horizon. The green mountains cast black by the predawn glower. Lincoln sits rigidly hunched on his bed, still in yesterday's clothes, sleepless. He is staring fixedly out of the window, hungrily, as if inviting the outer darkness to come in. His gaze lowers onto his jacket, slung across the bed. He digs in the pocket. And pulls out the cigarette pack. For a moment he considers it. Then slowly, purposefully, he opens it. He slips a cigarette between his lips. And lights up. He leans back, taking a slow drag. Exhaling, he watches the smoke rise. His gaze rests on the etherscreen above, expectant. The cursor comes to life: - - SCREENING . . . CONTAMINANT DETECTED: ADVISING SANITATION CTRL Reflected in the ceiling, Lincoln grins at his small victory. + +/* 34 */ + +INT. RESIDENTIAL BLOCK - SECTOR FOUR #34# + +Quiet , empty at this hour. Just the drum of footfalls as Lincoln marches up the walkway, puffing his cigarette. He stops at the ethergate, regarding it as if for the first time. Then he stubs out his cigarette. And swipes his ethercuff over the scanner. + +/* 35 */ + +INT. THE ETHER GRID #35# + +A blue dot blinks in space. We widen to establish its locus on a tomograph. Now building the boxes, the quadrants, the sectors. Revealing a vast, fully dimensional hologram of containment. It spins in the vaulted chamber like a giant geometrical phantom. + +/* 36 */ + +INT. ETHER CONTROL ROOM #36# + +Overlooking the ether, like a studio control booth. Known as "Ethercon", it's also the title of the Censor at the console. Scheer stands over him, now in a white censor uniform with black chevrons on the sleeves, marking his seniority. He instructs- + + SCHEER + Reverse map. Crop to twelve hour segments. Then put up a sub-grid. + +- - STARKWEATHER TWO-DELTA: ETHER HISTORY; REVERSE MAPPING... To one side, a miniature of the ether grid resolves. It peppers with a series of blue dots. Then a blue line stems from a point of origin to start joining them. Scheer leans in, eyes honing, watching the blue line retrace the last steps of his quarry. + +/* 35. */ + +/* 37 */ + +INT. NUTRITION PLAZA - SECTOR FOUR - PREDAWN #37# + +The glass wall reprises the predawn glower. The plaza is empty at this hour. But the service counters are staffed as breakfast is being prepared. The clerk looks surprised to see Lincoln arriving so early. He seems grim, latent, stiffly swiping his ethercuff over the scanner. She eyes the readout on her screen- + + NUTRITION CLERK + Lincoln Six-Echo... Options are dried fruit, oatmeal or anything in bran. + + LINCOLN + I want some bacon. + + NUTRITION CLERK + You heard the options. + + LINCOLN + And coffee. I want coffee. + +The clerk sighs and taps her screen. Turning to the chutes, she collects a foil covered bowl and a juice can and sets them on Lincoln's tray. Lincoln glances down at it, then back up- + + LINCOLN + This isn't what I asked for. + + NUTRITION CLERK + You want to get into it? Look, I just work here, pal. I serve the meal and make sure it goes down on your record. + +Lincoln nods slowly. Then picks up the bowl. And flings it across the plaza. Then the juice can, trying to outdistance the bowl. Finally, the tray, which rotors almost to the far side before clattering into obscurity. Then he turns back to the clerk- + + LINCOLN + Put that on my fucking record . + +/* 38 */ + +INT. SUBWAY PORTAL - SECTOR FOUR #38# + +The latticed wall of ethergates. The rising beat of footfalls as Lincoln approaches. He swipes his ethercuff over the scanner. The gate slowly hisses open. Too slowly for Lincoln, who kicks it and barges his way through, leaving the gate to shudder on its hinge. + +/* 39 */ + +INT. SUBWAY PLATFORM #39# + +The walkways, unmoving. The platform, deserted. The echoing beat of footfalls as Lincoln marches up to the vending machine. He swipes his ethercuff over the scanner. A screen illuminates: + +/* 36. */ + +-- SUGAR QUOTA EXCEEDED; ACCESS DENIED + +Lincoln glowers at the message. His jaw clenching, twitching with anger. Erupting, he lashes out, punching the machine. He winces as his knuckles crack. Then grabs the machine, trying to rip it off the wall. Pulling, straining, sneering with effort, until- He lets go with a defeated gasp. Then kicks the machine in final affront. The machine resounds with a dull boom. For a moment, he stands there, chest heaving. Then suddenly traps his breath... There , in the fading boom, a noise. Faint, rhythmic. Becoming discernible as THE SOUND OF A MAN SOBBING. Lincoln turns toward the platform. Tracing the sound, he crosses to the safety fence. + + LINCOLN + Hello? + +His voice echoes to nothing. He leans over the fence and peers up the tunnel. There. In the fog of darkness, a figure. A figure paused, half-standing, like an animal on the brink of flight. The figure seems to stare at him. Then pulls upright. Now moving forward and into the light. His face is African American, bull-necked , eyes wild and bloodshot. A stranger to Lincoln, we know him as STARKWEATHER TWO-DELTA. His voice is quivering, unhinged- + + STARKWEATHER + Please... + +Lincoln stands, frozen by the sight of this dark, dishevelled resident. As he climbs up onto the platform, we see his hands, the fingertips grated and bloody. He lumbers towards Lincoln- + + STARKWEATHER + Please , you have to help me... + +He rushes forward, grabbing Lincoln, pulling him face-close- + + STARKWEATHER + YOU CAN'T LET THEM TAKE ME! + +The stranger's eyes grow darkly, his pupils abysmal, black with dilation. Lincoln fiercely shrugs off his grip, backing away... + + LINCOLN + Who are you? What's wrong with you? + +The stranger's eyes bore into him, obsidian. Face contorting, baring his teeth like a rabid dog. Suddenly he lunges at Lincoln-- BOOM - ramming him back into the vending machine - Lincoln is stunned - suddenly a vice-like grip on his wrist swings him round-- CRACK - into the etherscreen banner, webbing at the impact... + +/* 37. */ + +For a moment, all is a blur. Teetering, Lincoln props himself against the wall. Then his focus resolves on the etherscreen and his fractured reflection. He releases a deep, bewildered breath. Then he notices his wrist. His ethercuff is missing, his skin, grazed red from abrasion. Confusion yielding to anger, he looks for his assailant. But the platform is empty. His jaw clenches. + +/* 40 */ + +INT. SUBWAY PORTAL - SECTOR FOUR #40# + +THE DRUM OF FOOTFALLS as Starkweather rushes up to the ethergate. Hand shaking, he swipes Lincoln's ethercuff over the scanner. The gate hisses open and he barrels through, suddenly spurred by -- LINCOLN BURSTING UP from the well of walkways, charging forward like a bull. The gate now closing, Lincoln races for the gap, barging his way through. And the gate snaps shut with a CLANG. + +/* 41 */ + +INT. ETHER CONTROL ROOM #41# + +AN ALARM SOUNDS. The console flashes. Ethercon responds with a flurry of keystrokes. Scheer rejoins him as he pulls up a sub-grid . This one evolving past tomograph, mosaicing angles from etherscreen, conjugating a 3D live feed known as an "etherview"-- + +MATCH CUT TO: + +/* 42 */ + +INT. NUTRITION PLAZA - SECTOR FOUR - DAWN #42# + +STARKWEATHER BARRELING ACROSS THE PLAZA; glancing off tables, sending chairs flying. Some residents, arriving for breakfast, scatter at his onset. Shocked faces, looking back and forth as Lincoln follows, in hot pursuit, vaulting the toppled furniture. + +/* 43 */ + +INT. ELEVATOR BANK - AN UPPER LEVEL #43# + +A SQUAD OF CENSORS CONVERGING; called suddenly to duty, looping tri-keys round their necks, donning headsets, priming stopguns. Scheer leads them into the elevator, coolly relaying his orders- + + SCHEER + Subject headed into North Quadrant. Two-man teams - we block him and force him to ground. If you have a shot, hook him but keep it above the belt. Management doesn't want us to "damage the product". + +The Censors roll their eyes knowingly. Scheer taps his headset. + + SCHEER (INTO HEADSET) + Ethercon ? Sector Four North; code an exclusion for tri-key access . Then give me a full quadrant lockdown. + +/* 38. */ + +/* 44 */ + +INT. RESIDENTIAL BLOCK - SECTOR FOUR #44# + +A VERTICAL ONTO A RESIDENTIAL BLOCK: the grid of crosswalks, the tiers of frosted facades; quiet, the residents still dormant-- A DRUM OF FOOTFALLS: Then a figure breaking frame, racing up the walkway of an upper floor; then another figure, in hot pursuit -- THE LOCKDOWN INITIATES : the lights shifting spectrum from white to ultraviolet, bathing the quadrant in a lambent purple haze-- STARKWEATHER : his eyes bulging with panic as he races up the walkway, straining for an ethergate at the far end of the floor-- LINCOLN : his eyes charged with adrenaline, straining to close ground on his assailant; oblivious to the building noise of-- THE LOCKDOWN: locks hissing, lights flashing, ripping up the row of frosted facades; sweeping past Lincoln and onward toward-- STARKWEATHER : the ripple of hissing locks rushing up on him, he pours on the pace, sneering with effort as he tries to outrace-- THE LOCKDOWN: the ripple spearing ahead of him to the end of the floor; now banking across the ethergate and sealing the exit. STARKWEATHER : stalled by the realization he's trapped; he spins round, looking for another avenue of escape only to find-- LINCOLN: blindsiding his assailant with a headlong tackle; both men toppling over, hitting the floor with a bone-jarring thud-- STARKWEATHER : quick to recover, breaking lose of entanglement; now struggling to his feet, stumbling onward up the walkway-- LINCOLN : gets up to resume pursuit, then pauses, spotting his ethercuff, discarded on the ground. He looks up in confusion at-- STARKWEATHER : a short distance ahead, climbing over the walkway rail; launching himself off, into a seemingly suicidal plummet-- LINCOLN : leaning over the rail, seeing his assailant land safely on a crosswalk beneath, resuming his flight on the lower floor as- - BOOM - A GUNBLAST rips the air. A KEENING SOUND builds to a wail- - THUD - LINCOLN JOLTS as something hits his shoulder, catching him off-balance, a stab of pain keeling him onto the rail - CLANG - LINCOLN SLUMPS INTO FG - TWO CENSORS converging like white ghosts from the purple haze - one reprimanding his recalcitrant cohort- + +/* 39. */ + + CENSOR + You asshole! You hooked the wrong one! + +He crouches to examine Lincoln. Blood is blossoming from a wound on his shoulder, jutting from which is a projectile. The censor presses its base and it snaps loose of its unintended target. Now we see the projectile more clearly. A fat metal pellet, snub-nosed , finned at the tail by four metal teeth. On impact, the nose recesses to release a springload and the teeth snap forward to bite into the target. This device is known as a "hookhead". + + CENSOR + Just a flesh wound. `Hit his head pretty hard. Possible concussion. + ( inspecting Lincoln's pupils) + Think you can walk, buddy? + +Lincoln nods slightly. The censor unloops a tri-key from his neck- + + CENSOR + You see this? It'll get you past the lockdown. You're to report to The Medical Center. You understand? + +Off Lincoln's blank stare, the censor presses the tri-key into his palm. Then departs. Lincoln stays where he sits, still dazed from the concussion. Absently he watches the censors race off up the walkway, dissolving back into the purple haze as we- + +CUT TO: + +/* 45 */ + +INT. ETHER CONTROL ROOM #45# + +STARKWEATHER RUNNING. Meeting white uniforms at every turn, zig-zagging over crosswalks, down ramps. The rat in the maze, dumb to its inevitable destination. Widening, we see we are watching the action on etherview, racking and dollying like a deific eye . + + ETHERCON (INTO HEADSET) + East side team hold position. Subject headed for the second floor crossramp. + +/* 46 */ + +INT. GROUND FLOOR - RESIDENTIAL BLOCK #46# + +Cloaked in shadow, Scheer listens to the play-by-play on headset. With a tap, he changes the channel, whispering to his squad- + + SCHEER (INTO HEADSET) + Give him some space. I have him. + +ANOTHER ANGLE: Starkweather hits the deck running, sprinting up the avenue. In BG, Scheer steps forth, stopgun levelled , aiming-- + +/* 40. */ + +-BOOM- The flash of the muzzle, the shrill wail of the hookhead. - THUD - Starkweather jolts as the shot hits him square in the back, arching as the hookhead bites ; but he keeps on running- - BOOM - BOOM - BOOM - Scheer unleashes his ordnance, filling the air. - THUD - THUD - THUD - Starkweather jolts from one, two, three more hits; hookheads biting , spraying blood; but he keeps on running. + + SCHEER (INTO HEADSET) + All clear. Flood the area. + +ANOTHER ANGLE; Floor level, as between the tiles, tiny red lights start blinking, rippling forward in a wave. Known as "lode-pins" their small magnetic pulses accumulate into a low level stream. The hookheads clawed in Starkweather's back also start blinking red. The invisible stream flowing beneath his feet, Starkweather feels its force. The duelling polarities stealing his traction. His run reducing to a slipsliding stagger . Then his feet leave the ground. He flails for a handhold. But there's nothing. The force lifts him a foot clear off the ground before balancing out to dangle him in mid-air, squirming about like a fish on a hook. ANOTHER ANGLE; Scheer advances to reel in his catch. The stream bows before him, red lights blinking out. Until all that remains is the section where Starkweather hangs suspended. Scheer stops at its limit, looking up at him like some curious zoo exhibit. + + SCHEER (INTO HEADSET) + Hood him, cuff him, patch the bleed. Then let's get him up to Level Three. + +ANOTHER ANGLE: looking down from high above as the Censors move in on Starkweather. Scheer now walking away, tapping his headset- + + SCHEER (INTO HEADSET) + Ethercon ? Send word to dispatch. Starkweather Two-Delta is secured. + +REVERSE ANGLE: Lincoln in CU, looking down. He has seen and heard all that has just passed. In his eyes, we see his daze clearing, consciousness coalescing, deepening. His pupils dilating into a deep and uncanny stare. What can only be described as a dawning. + +/* 47 */ + +INT. NUTRITION PLAZA - SECTOR FOUR - LATER #47# + +Now full but unusually quiet. Residents sit in whispered, anxious discourse. The news of the incident is spreading. Off a series of chimes, eyes turn to the glass wall, now pixellating into an outsider's face - calm, official. THE COMMUNITY ANNOUNCER begins- + +/* 41. */ + + COMMUNITY ANNOUNCER + Good morning - this is a community bulletin... Following an incident in Sector Four earlier this morning, The Department of Sanitation is issuing an all-sector contamination warning... + +TRACKING the rapt concern of the residents, Ester among them. + + COMMUNITY ANNOUNCER + The incident involved a resident found to be infected with a pathogen. While the risk is assessed, residents are advised to be aware of the symptoms. Should you experience aberrant levels of anxiety or witness it in others, immediately contact The Medical Center. + +/* 48 */ + +INT. DIRECTOR'S OFFICE #48# + +The proxy of Starkweather spins over the desk. Merrick regards it with a frown. Scheer sits turning the ethercuff in his fingers with a demeanor of cool curiosity. Underneath, he's rattled. + + SCHEER + You want to tell me what's going on? + + MERRICK + There's nothing going on, Karl. + + SCHEER + I'm jaded. Not stupid. + + MERRICK + What's your point? + + SCHEER + I checked up. In the past year, three products have destabilized. All of them Deltas... and there's nothing going on? + + MERRICK + You're jumping to conclusions. + + SCHEER + Once I can overlook. Twice I can call coincidence. Three times I start giving a shit. Because if these products are defective... + + MERRICK + Quality control is not your concern. + +/* 42. */ + + SCHEER + So it is a quality control issue? + + MERRICK + That's not what I said. + + SCHEER + He was in the subway tunnels for two days. In the dark, no food, no water. His fingers were scraped to the bone. He was trying to dig his way out. Now you try to explain to me why that is. + +His look says he smells a rat. Merrick weighs him a moment. Then sighs, a little depleted. He gets up and crosses to the glass wall. Looks down on the avenue, at the agnates milling beneath. + + MERRICK + It's not an exact science - biogenesis. There's a degree of trial and error. If the agnate doesn't come together on the first pass, we have to abort and start over. It's like breaking inertia. The bioreactor, the growth medium - we just keep upping the levels till we achieve integration. At which stage the agnate is deemed physically stable. We rely on foundation to provide mental stability - matching the templates to their capacity but walling it in with parameters. + ( beat , considers the proxy) + When signs of instability started to show up, it pointed to foundation. A hole in the wall, an oversight. But it was only happening in the later generations . Which pointed back to biogenesis. + + SCHEER + So there was a production defect. + + MERRICK + Actually the opposite. We found out in the later generations, the levels were so high that when we broke inertia, the process kept going. Over-integrating. Specifically the neural system. It produced a condition called synesthesia. + + SCHEER + Synesthesia... + +/* 43. */ + + MERRICK + A fusion of the senses, creating a component awareness. Sixth sense, second sight, whatever you want to call it. Its emergence seems to be arbitrary. But it gives them experiences beyond their functional parameters. And ultimately... it destabilizes them. However, if we catch it early enough we can control it with re-conditioning. + +Scheer absorbs this with a slow grin. Merrick looks puzzled. + + MERRICK + You find this amusing? + + SCHEER + Poetic. + + MERRICK + Poetic? + + SCHEER + This "agnate" took off just before his sponsor placed an order. Maybe he got the sense his days were numbered... + +Merrick ' s composure cracks a little. He hadn't thought of this. + + MERRICK + This stays between you and me, Karl. I trust I can rely on your cooperation? + + SCHEER + Don't you mean my complicity? + + MERRICK + (hardening again) + Remind me, why is it you were discharged from the military? + + SCHEER + What's your point? + + MERRICK + Learn to be a team player, Karl. Or you'll find yourself out of another job. + +Scheer rises, discarding the ethercuff onto Merrick's desk. + + SCHEER + Nobody else would take it. + +/* 44. */ + +/* 49 */ + +INT. EXTRACTOR SHAFT #49# + +The deep steady thrum of the extractor fans. We are TIGHT ON the frame of an airlock. Hissing, it indents and opens. Lincoln steps through, eyes black and uncanny. The tri-key glinting , dangling from his fingers. Scanning around, he fixes on a section of wall. He wipes off some soot. Legible beneath is a number. Twenty. He assimilates this. Then turns his gaze up the extractor shaft. + +/* 50 */ + +INT. ELEVATOR SHAFT #50# + +Looking up an elevator shaft. The red pulse of the lode-poles, rippling downward as an elevator descends from the surface. + +/* 51 */ + +INT. OUTER THRESHOLD - LEVEL THREE #51# + +A tiled chamber. Draped off cubicles. The elevator doors slide open. An outsider emerges, dressed in a flightsuit, emblazoned "Medical Courier". He announces himself, seemingly to no one- + + THE COURIER + Clearance code: NG-230-2DS. + + VOICE ON SPEAKER + New Gaza Healthcare. Okay, you're clear. Go ahead and get undressed. + +/* 52 */ + +INT. DECONTAMINATION CHAMBER #52# + +The pressure door hisses, heaving open. The courier steps inside, naked, covering his genitals, some goggles slung around his neck. He takes position on two marked footpads and puts on the goggles- + + THE COURIER + I tell you, I hate this fucking run . I always leave this place with sunburn. + + VOICE ON SPEAKER + Try full-course decontamination. It's even more fun. Especially the colonics. + +The lights blink out. A red glow rises. Twin planes of light scrape across the courier, infra-red, searing his epidermis. + +/* 53 */ + +INT. INNER THRESHOLD - LEVEL THREE #53# + +A chamber like the first. The inner pressure door hisses open. The courier emerges, dripping wet from a decon shower . He goes to a cubicle, grabbing a towel and dries himself off. Laid out within are some scrubs. Beside them is A STEEL COOLER, inset with a thermostat and embossed with the crosshatch insignia. + +/* 45. */ + +/* 54 */ + +INT. CORRIDOR - LEVEL THREE #54# + +The courier strolls up the corridor, now dressed in the scrubs and carrying the cooler. He turns a corner and his footsteps gradually fade out. A flat, sterile silence falls in his wake. A metal squeal. A ventilation grid levers down from the ceiling. A pause. Then a pair of feet drop through, legs, torso. Dropping to the floor, Lincoln stands revealed. Sweaty, smeared black with dust. For a moment he looks around to get his bearings. Suddenly he freezes, hearing- + + A VOICE (O.S.) + Check in at the nurse's station. Up the corridor, left, then first right. + +The footsteps are now coming back. Lincoln spins round. He finds a door. A lock panel. A moment of panic. Then he fumbles the tri-key from his pocket, hurriedly slotting it into the lock panel. + +/* 55 */ + +INT. THE OTHER SIDE OF THE DOOR - SECONDS LATER #55# + +Lincoln waits, ear to the door, listening as the footsteps pass and fade out of earshot. Lincoln releases his breath in relief, calming a little, then frowning as he registers another sound. Very faint, rhythmic. He turns and looks around. The room is in partial shadow. To one side is a row of seats, to the other, a row of windows, covered by blinds, light creasing through. The sound repeats. Muffled. But now unmistakably THE CRY OF A BABY. + +/* 56 */ + +INT. HARVEST ROOM #56# + +A grid of bio-readouts, each square alive with graphs and digits. The familiar baseline of a cardiograph. A lever-arm mounted with an IV reservoir , dangling tubes and wires onto the OR table. We see A DOCTOR and A MIDWIFE, in whose arms A NEWBORN BABY squirms and bawls. Lying on the table, we see THE MOTHER, her feet up in stirrups, deeply flushed and puffing from exertion. Marked by her crosshatch as an agnate, she has just given birth- + + THE AGNATE MOTHER + May I hold her? + + THE DOCTOR + We have to run a few tests on her first. In the meantime, I'm going to give you something to help you relax, okay? + +Off his smile, the agnate mother nods, anxiously watching the midwife wrap her baby in blanket. The doctor taps a button and watches the IV reservoir misting with a pale colored fluid. + +/* 46. */ + +The cardiograph marks the drop as the fast-acting sedative takes effect. The agnate mother watches drowsily as the midwife takes her baby from the room. Then the cry of the newborn is shut out. Just the cardiograph now, the beeps evening out, the scart of peaks shallowing as the agnate mother falls asleep. The doctor taps a button. On the grid, the face of a DESK NURSE appears. + + THE DOCTOR + I'm incubating the baby for 24 hours prior to transport. But go ahead and contact the sponsor. Tell her she has a beautiful baby girl. + +The nurse nods. The grid square goes blank. A pause. Then the doctor taps another button. Text appears. Reading it, he cites- + + THE DOCTOR + Let the record show the sponsor has signed Clause 22 of The Basic Sponsorship Agreement. Initiate compliance. + +A light starts blinking. The doctor walks stiffly out of the room. The door hisses closed. The agnate mother is left alone. Sleeping peacefully, blind to the fluid now seeping into her IV. Deaf to the slowing beep of the cardiograph. The peaks of the baseline falling. Spacing, fading, slowing, slowing, until... The cardiograph flatlines. And a sepulchral stillness falls. Our angle widens with the growing emptiness. The lifelessness. + +/* 57 */ + +INT. OBSERVATION ROOM #57# + +Lincoln looks down from above, eyes frozen in the slatted light. His fingers are trembling, rattling the blinds against the glass. + +/* 58 */ + +INT. CORRIDOR #58# + +Lincoln tumbles out of the door. He can't breathe, can't think, his mind is in overload. He stumbles around like a wounded animal. His focus suddenly and searingly returns as he hears- + + DESK NURSE (O.S.) + Starkweather ? Like the football player? + +/* 59 */ + +INT. NURSES STATION - LEVEL THREE - CONTINUOUS #59# + +A rotunda spoked by corridors. A console at its hub, manned by the desk nurse we saw earlier. The courier stands over her- + + THE COURIER + That's right. Starkweather. + +/* 47. */ + + DESK NURSE + Still showing in surgery. Sorry. + + THE COURIER + Honey, I got a bird on the pad and a storm moving in. How long's it gonna be? + +/* 60 */ + +INT. ANOTHER OPERATING ROOM #60# + +Another grid of readouts. Another cardiograph beeps. A spotlamp illuminates the OR table and STARKWEATHER TWO-DELTA - his face, slack with anesthesis, eyes rolling a little beneath the lids. The rest of him under a sheet, cut out over the belly, the flesh slit and parted by a clamp, framing a window into his innards. Standing over him, mid-operation, A SURGEON and SURGICAL TECH. Interrupted by a chime, the surgeon looks up at a screen, where a panel flashes: "PAGING". He cradles his bloody gloves and elbows a button. The face of the desk nurse resolves on screen- + + DESK NURSE (ON SCREEN) + The courier's here for pickup. + + THE SURGEON + Well he's going to have to wait a while. It took forever to put this one under. + + SURGICAL TECH (O.S.) + Doctor... + + DESK NURSE (ON SCREEN) + He's asking for an ETA. Said something about some kind of storm moving in. + + THE SURGEON + For Christ's sake, is that my fault? Just find a way to stall him, okay? + + SURGICAL TECH (O.S.) + Doctor. + + SURGEON + What is it? + + SURGICAL TECH + Subject's heart rate is spiking. + + SURGEON + Not again. Boost the anaesthetic lev... + +Suddenly he's sprayed with blood as the clamp springs loose from the stomach, clattering to the floor. He's frozen by shock as... + +/* 48. */ + +Starkweather sits bolts upright. Dazed, he looks at the surgeon, the tech, then down at his wide-open stomach. Instinctively, he clutches it. Then, his mind assimilating the horror, he SCREAMS. Now launching off the operating table, the lever-arm swinging out, blindsiding the tech - tubes and wires snapping loose - instruments flying - Starkweather lunges for the doorway - the surgeon steps up to block him - only to be hurled aside... + +/* 61 */ + +INT. CORRIDOR - LEVEL THREE #61# + +THE BLARE OF AN ALARM. Starkweather, clumping down the corridor, clutching his open stomach, blood streaming down his legs. He's delirious, running nowhere, anywhere, running blind. Reaching the end of the corridor, he stops suddenly, seeing WHITE UNIFORMS. He doubles back up the corridor. Kicking at doors with bare feet, frantic for any means of escape. He spots a ventilator grid, slightly open. He jumps, reaching for it. Once, twice, then his feet slip from under him. He hits the floor with a damp splat. TWO CENSORS turn the corner, ready for action. But there is Starkweather, face-down in a starburst of his own blood. + + CENSOR (INTO HEADSET) + Yeah, no sweat, subject is secured. + +/* 62 */ + +INT. DUCTING - MINUTES LATER #62# + +POV CEILING VENTILATOR GRID. Looking down through the slits onto Starkweather directly beneath. He now has a loose white hood over his head. His wrists and ankles are bound by plastic cuffs. A loop of intestine plumps out from his belly. His weight is such that the Censors have to drag him away, leaving a bloodsmear on the floor. His guttural whimpers are the only sign of life. CLOSEUP: Lincoln's face in part shadow, looking down. The gleam of his eyes as Starkweather disappears from view. Listening now, to those feeble whimpers, growing fainter, ever fainter until they disappear from earshot. Silence again. Emptiness. All that remains of Starkweather is a wending bloodsmear on the floor. + +>SLOW FADE TO BLACK. + +/* 63 */ + +INT. BEDROOM - DAWN #63# + +The horizon. The green mountains in different aspect, framed by a different window. The bedroom is like Lincoln's but with a few feminine touches. Ester, in her papery pajamas, sits brushing her hair. With a chime, etherscreen scales over her reflection: - - ETHER CALL PENDING ; ACCEPT OR SEND TO MESSAGE BANK?-- + +/* 49. */ + + ESTER + Accept. + +The etherscreen resolves Lincoln's face, dishevelled, urgent- + + LINCOLN (ON ETHERSCREEN) + Ester . . . I have to talk to you. + + ESTER + Lincoln ? Are you okay? I was worried. + + LINCOLN (ON ETHERSCREEN) + What are you talking about? + + ESTER + The contamination warning. Somebody said you'd been exposed. + +Lincoln pauses to process this. Hunted, more cautious now- + + LINCOLN (ON ETHERSCREEN) + I want you to meet me as soon as you can. But you can't tell anyone. + + ESTER + Is it true? Were you contaminated? + + LINCOLN (ON ETHERSCREEN) + You know where to come. + +His face blinks out. Ester is left frowning at her reflection. + +/* 64 */ + +INT. BEDROOM - LINCOLN'S APARTMENT - DAY #64# + +Lincoln stares at his own mirror image. His eyes, fraught with revelation. His clothes, begrimed with dirt and blood. He rests his head against the etherscreen panel, shuddering, pressing his eyes tightly closed. As if he could ever forget what he's seen. + +/* 65 */ + +INT. CENTERVILLE - DAY #65# + +The routine flow of residents up the avenue. Lincoln walks, head bowed, trying to look inconspicuous. Showered, white shirt and blue slacks under his shearling, he looks a little too scrubbed, too clean. He spots a familiar figure up ahead. He catches up. + + LINCOLN + Jonesy. . . + +Jones lets him fall into step with a look of mild curiosity- + +/* 50. */ + + JONES + Hey, champ. Are you alright? I heard there was a contamination scare. + + LINCOLN + I saw what happened to him. + + JONES + What are you talking about? + + LINCOLN + Starkweather . . . What they did to him. + +Jones huffs, dismissively. Lincoln grabs his shoulder, ardent- + + LINCOLN + They cut him open, Jonesy. They took him upstairs and they cut him open. + +Jones holds his gaze a moment, then shrugs off his grip. + + JONES + You caught that fucking pathogen , didn't you? You're contaminated. + + LINCOLN + Jonesy , listen to me... + +But Jones just backs away. Lincoln makes to follow. Then stops dead in his tracks. Across the avenue, TWO CENSORS are on patrol and his best friend is now heading towards them. With a barren, torn grimace, Lincoln turns away and melts back into the crowd. + +/* 66 */ + +INT. COMMUNITY CENTER - CENTERVILLE - LATER #66# + +Rings of empty seats round the empty stage. Ester enters warily, walking up the aisle. Lincoln waits in the shadows. He checks to see she hasn't been followed. Then steps forward. Ester recoils- + + ESTER + Please . . . don't come any closer. I don't want to get contaminated. + + LINCOLN + Ester, I'm not contaminated. + + ESTER + But they said... + + LINCOLN + I'm not contaminated! + +/* 51. */ + +His shout echoes through the empty auditorium. Ester looks at him, alarmed by his vehemence. Lincoln calms himself a little- + + LINCOLN + Contaminants, pathogens... it's just what they tell us to keep us inside. + + ESTER + What do you mean? + + LINCOLN + I saw it. Why they keep us here. To use us. To take things from us. + + ESTER + You're not making sense. + + LINCOLN + Your baby... they're going to take your baby away... you understand? + + ESTER + My baby? Why would they do that? + + LINCOLN + I don't know! But I saw it! + + ESTER + You're scaring me, Lincoln... I want to go back now. + + LINCOLN + You can't go back! Don't you get it? + + A VOICE (O.S.) + Nobody move! Stay right where you are! + +A CENSOR steps through, stopgun levelled . Ester freezes. Lincoln hovers, mind racing. The censor moves in, tightening aim on him. Ester looks on anxiously as he approaches Lincoln. Lincoln now sees the censor pulling out some plastic cuffs. The same cuffs used on Starkweather, promising the same fate... TRIGGERING HIM-- LINCOLN LUNGES AT THE CENSOR - ramming him - toppling him across the seats - knocking the stopgun from his grasp - recoiling as-- THE CENSOR RETALIATES - driving a knee into his groin, doubling him over - then a knee to his head - THUDDING INTO HIS SKULL- + + ESTER + Don't hurt him! + +/* 52. */ + +ESTER RUNS UP grabbing at the white uniform, trying to restrain him - the censor swats her blindly - hitting her in the stomach-- LINCOLN SPINS ROUND at the sound of Ester's yelp - only to be roundhoused by the censor - the blow sending him to the floor-- Ester DOUBLED OVER - wincing at the pain - clutching her belly instinctively, protectively - an ominous scowl knotting her face- THE CENSOR PUNISHING LINCOLN - kicking him down the aisle - then suddenly hearing a noise from behind - turning to face it as -- - BOOM - A GUNBLAST RIPS THE AIR. The brief wail of a hookhead. - THUD - THE CENSOR RECOILING - lurching as the hookhead bites - starting to gag - blood jetting from his neck - a hookhead clawed into his jugular - gurgling, collapsing to the floor-- Ester STANDING FROZEN - holding the stopgun - seeing Lincoln now getting up - she drops the stopgun like it's on fire, aghast- + + ESTER + Lincoln? + +Like she's asking him what she did... Silence - the rasp of the censor, blood foaming - another sound - FOOTFALLS. Lincoln goes to the door - an IMMINENT MASS OF WHITE UNIFORMS. He grabs Ester- + + LINCOLN + RUN!!! + +/* 67 */ + +INT. FOYER - THE COMMUNITY CENTER #67# + +CENSORS BURSTING IN - led by Scheer, pushing through into the main hall - the statue of Dr. Sanger looking serenely down-- + +/* 68 */ + +INT. MAINTENANCE CORRIDOR - BEHIND THE COMMUNITY CENTER #68# + +A HISS OF DEPRESSURIZATION - a pressure door swings open - Lincoln and Ester tumbling through - running up the maintenance corridor-- + +/* 69 */ + +INT. COMMUNITY CENTER - MOMENTS LATER #69# + +CENSORS FANNING OUT - sweeping the hall, stopguns ready - Scheer finds the fallen Censor - crouches to examine him, then- + + SCHEER + Somebody get someone down here! + +A Censor splits off to join him, tapping his headset - Scheer rises again - in his eyes, detachment yields to cold intensity-- + +/* 53. */ + +/* 70 */ + +INT. VARIOUS CORRIDORS - CONTAINMENT INFRASTRUCTURE #70# + +THE CENSORS: flooding through into the maintenance corridor, in their white uniforms, they seem like a swarm of antibodies-- LINCOLN AND ESTER: deeper in, at another pressure door, fumbling the trikey into the lock. A tense second. The lock hisses open-- SCHEER : pushes through the opening gap of another pressure door, taking the lead, his Censors surging up in his wake -- LINCOLN AND ESTER: meeting an intersection, veering at random, running blind, running deeper into the faceless labyrinth-- SCHEER : catching up, hitting the intersection, pausing to split his squad in each direction - white uniforms dispersing-- LINCOLN AND ESTER: reaching another pressure door. Footsteps audible. Lincoln jams the tri-key into the lock. And waits. The seconds pass. But the door doesn't open. Lincoln looks around for another exit. Ester looks at him in mounting panic then-- THE PRESSURE DOOR OPENS: not onto a corridor but an elevator car. Pulling Ester inside, Lincoln finds an array of buttons. His fingers hovers, uncertain which to press. So he punches all of them, stabbing madly, trying to prompt the door to close. SCHEER : turns a corner, seeing his quarry at the far end of the corridor, he gathers pace. The elevator is closing but he doesn't break stride. He deftly taps his headset, opening a channel to-- + + SCHEER (ON HEADSET) + Ethercon! The elevator - override it! Do you read me? Bring it back down! + +/* 71 */ + +INT. ETHER CONTROL ROOM #71# + +Ethercon is working the console keys like a madman. His gaze flitting to a subgrid of the complex, spinning the angles, navigating the mesh of lines. His voice comes apologetically- + + ETHERCON (INTO HEADSET) + You're off the grid, sir. Give me a second. Can you tell me where you are? + +He recoils at the blaring volume of the response. + +/* 72 */ + +INT. CORRIDOR - OUTSIDE THE ELEVATOR #72# + +Scheer stands with his Censors, poised, watching the panel chart the elevator's descent. A light flashes and the doors open. They level their stopguns on . . . nothing. The elevator is empty. + +/* 54. */ + + SCHEER (INTO HEADSET) + Foundation Levels - all of them. Lock them down. Access only on my command. + +/* 73 */ + +INT. FOUNDATION LEVEL #73# + +A dead acoustic. A corridor paved with sound proofing panels. It ends at a pressure door, where Lincoln and Ester now arrive. Lincoln looks back to the elevator at the other end. No going back. He slots the tri-key into the lock. The door hisses open. + +/* 74 */ + +INT. FOUNDATION CHAMBERS #74# + +Amber light. The sound of slow bubbling. Lincoln and Ester pause to adjust to the gloom. They are in a hall of windows. Ester is the first to venture forth, as if drawn, to the nearest window. Behind the glass is a foundation tank. Bubbling with viscous fluid, laced with various tubes pulsing matter to and fro. The tubes connect to a form. A human form, an adult form but curled foetally. It is known as a "nascent". In this tank is a female nascent, shifting slightly, causing Ester to gasp. The nascent registers the noise, turning its head. Its eyelids are closed but its eyeballs move, questioning. A slight furrow appears on its crosshatched brow. Ester recoils in sudden horror, perhaps remembering on some deep level that this is where she came from. + + LINCOLN + Ester ! Come on! + +Spurred to action, Ester follows Lincoln onward up the hall. Still conscious of movement all around, of nascents stirring at the sound of their footfalls like the ripples of a nightmare. + +/* 75 */ + +INT. FOUNDATION CHAMBER #75# + +A STOPGUN noses through the door. Followed by Scheer moving in silence, honed. How much time has passed is unclear. He signals his censors to split off. Tracking Scheer's advance, we INTERCUT: ANOTHER FOUNDATION CHAMBER: Censors making their sweep. Strobes of light from an armature mechanism moving up the row of tanks. It angles to project a grid across each nascent's face, then fires a short laser burst, searing a crosshatch into the brow. ANOTHER FOUNDATION CHAMBER: another contingent moves up another row of foundation tanks. The nascents within have cables plugged into their ears, filaments pulsing. The nascents are in a posture of rigor, sinews straining as they accept the data impression. RETURNING TO SCHEER as he reaches the end of the first chamber. No further access, just a continuing wrap of foundation tanks. He pauses, confused for a second. One of the censors comes up- + +/* 55. */ + + CENSOR + Nothing , sir. No sign. + + SCHEER + They can't have got past this level. + +Scheer peels off his headset, giving full leash to his senses, straining to concentrate. Seconds of pent silence. Then he hears a faint humming. His gaze slowly drifts up to a ventilator grid. + +/* 76 */ + +INT./EXT. THE FUNNEL - NIGHT #76# + +A POV LOOKING UP. The funnel mouth framing a vista of the world outside. A hostile vista of black sky, maelstroms of sand. The sound of blasting air, suborned to the giant howl of a DUSTSTORM. A HAND. Reaching over the funnel lip as Lincoln pulls himself up with a mighty effort. Blinking, blinded by the sand, he swings astride the lip. Then he reaches down to pull Ester up. Ester gains the lip and likewise swings astride, coughing, blinking. THE DUSTY EARTH as Lincoln leaps down to meet it. We track up as he helps Ester down from the funnel. Her feet meeting the earth, we are now in CU on their faces. Gaping and blinking at the prospect of the world outside. A world of darkness and storm. SUDDEN BLINDING LIGHT as halogens explode the darkness. Lincoln shields his eyes, scanning for their source. He spots a large cubic building, banks of spotlights on the roof. He pulls Ester away. Away from the lights and towards the safety of darkness. + +/* 77 */ + +INT. EXTRACTOR SHAFT #77# + +THE THRUM OF EXTRACTOR FANS. Scheer pacing on a catwalk. White uniforms above and below, flashlights roving, sliced by the blades of the extractor fans. From somewhere, comes a shout- + + CENSOR (O.S.) + Sir ! We got em! Motion sensors just picked them up at the surface! + +/* 78 */ + +EXT. FRONT OF THE INSTITUTE - NIGHT #78# + +ANOTHER BURST OF HALOGENS. More spotlights engage, their blaze flooding across the foreview, catching two figures; Lincoln and Ester, running, now, veering sharply away from the light. Now disappearing from sight, dropping into the trench of the lodeway. + +/* 79 */ + +INT. MAINTENANCE ELEVATOR - CONTAINMENT #79# + +THE RISING HUM OF THE LODE-POLES. The elevator crammed with censors. Scheer at the front, staring ahead. He looks very focused, bitterly so. The look of a man outwitted by lab rats. + +/* 56. */ + +/* 80 */ + +EXT. THE LODEWAY - NIGHT #80# + +THE DARKNESS OF THE TRENCH. Lincoln and Ester running along the lode-way, stumbling over the buffers. Above them, the dust flails in lashing tongues, starkly depicted by the halogens. + +/* 81 */ + +EXT. PROCESSING PLANT - NIGHT #81# + +WHITE UNIFORMS IN THE NIGHT - censors spill forth into the halogen light, splitting in all directions. Scheer suddenly notices the corona of light from the front of the complex. He barks something inaudible to his men, launching into a run. + +/* 82 */ + +EXT. THE GATEWAY - NIGHT #82# + +THE GATEWAY LOOMING ABOVE. Beneath, Lincoln and Ester, on their knees, clawing at the dust. Like burrowing animals, trying to widen the gap between the foot of the gate and the lodeway. + +/* 83 */ + +EXT. FRONT OF THE INSTITUTE - NIGHT #83# + +A LONE WHITE UNIFORM. As Scheer reaches the forecourt, stopping to scan the spotlit view, the veils of the duststorm. His face tightening with urgency. Suddenly he taps his headset, barking- + + SCHEER (INTO HEADSET) + The lodeway! Flood it! Light it up! + +/* 84 */ + +EXT. THE GATEWAY - NIGHT #84# + +THE RISING HUM OF THE LODE-POLES barely audible over the storm. Lincoln and Ester, washed by pulsing red light. Ester recoiling, her arm flinging back from the pull. Lincoln grabbing her, his own arm straining now. The polarity tugging their ethercuffs. + +/* 85 */ + +EXT. THE LODEWAY - NIGHT #85# + +THE RED WASH OF LIGHT from the lodeway as Scheer races up the edge, eyes trawling the trench for his quarry. His pace now suddenly dropping, slowing to a halt. He doubles over, catching his breath. More white uniforms now appear from the dust as the Censors, unable to match his pace, finally catch up. The first reaching him, Scheer pulls upright, bellowing over the wind- + + SCHEER + Get me a bird! + + CENSOR + A bird?! In this storm?! + + SCHEER + They got out! They got past the gate! + +/* 57. */ + +Scheer spins on his heel back towards The Institute. The Censor lingers, confused. Then he fixes on the lodeway. Floating past in the red wash are the luminous blue seams of two ethercuffs. + +/* 86 */ + +EXT. THE DESERT - NIGHT #86# + +The perimeter wall silhouetted in the middle-distance. Lincoln and Ester scramble through the scrub, blinded by dust, driven by momentum. As Ester starts lagging behind, Lincoln grabs her arm- + + LINCOLN + Ester ! We have to keep going! + +But Ester resists him, breaking loose from his grasp. Lincoln looks at her, uncomprehending. Until he sees her expression, the harrowed stare in her eyes, the labored heaving of her chest. + + LINCOLN + Ester? + +Ester staggers back, losing balance, reeling as if spun by the storm. Her eyes widening, senses flooding. The howling wind, the swirling dustclouds, the pendent gulf of black sky. Her reel returning her to face Lincoln, Ester opens her mouth to speak. But all that comes is A SCREAM. A scream from deep within, shrill and hysterical, the only articulation she can find. Lincoln grabs her and covers her mouth. Fighting to stifle her, rocking to her convulsions. But Ester keeps screaming. A scream of everything. + +/* 87 */ + +INT. BEDROOM - SOMEWHERE - LATE NIGHT #87# + +All is still. Just a muted shudder of wind on glass. The room is in shadow. All we see is a canopied bed where a figure, obscured, lies sleeping. The still is disrupted by a chime. The figure stirs, fumbling at the nightstand. A holoframe resolves, the light revealing Dr. Sanger, rumpled by sleep. He peers into the holoframe to find the face of Merrick, gaunt with concern- + + @Merrick (ON HOLOFRAME) + Henry . . . There's been a breach. + +>HARD CUT TO BLACK. + +>SLOW FADE UP: + +/* 88 */ + +EXT. THE RED ROCKS - DAWN #88# + +A horizon. A brim of dawn over the red rocks. The view is framed by the mouth of a cave. Lincoln sleeps within, slumped against the rock, his head bowed heavily. The touch of first light opens his eyes. His brow creasing, as if waking from a bad dream into a worse reality. He looks around only to find himself alone. He gets up, a little shaky at first, then ventures out of the cave. + +/* 58. */ + +He emerges onto a ledge, perhaps fifty feet up. He pauses, eyes adjusting to the quality of light. He sees the storm has reduced to a low wind, combing the floorland of scrub. Now, across the ledge, he sees Ester. Perched on an outcrop, hugging her knees, watching the sunrise over the desert. He crosses and lowers to a crouch beside her. Ester turns to him with a confused frown- + + ESTER + Where did all the green go? + +Lincoln looks deep into her troubled eyes. He answers gently- + + LINCOLN + There is no green. The windows in there... they were just pictures. + +Ester absorbs this with difficulty. Lincoln rises again and stands looking out across the desert, into the barren unknown. + +/* 89 */ + +EXT. THE SKY OVER THE DESERT - MORNING #89# + +From the massive sky grows a glinting shape. Like a helicopter but sleeker, aquiline. Without combustion, its only noise is the sibilance of blades slicing air. It is known as a "whisper". + +/* 90 */ + +INT. WHISPER - MORNING #90# + +The pilot jockeys with the thermals. Scheer rides shotgun. Now in civvies, scanning the terrain with electronic binoculars. The flight console beeps. He taps a keypad. A holoframe resolves: + + CENSOR (ON HOLOFRAME) + Ground team checking in. + + SCHEER + Anything? + + CENSOR (ON HOLOFRAME) + The storm pretty much covered their tracks. We're scanning for thermals but the hotter it gets, the harder it is to isolate a heat signature. I don't know, sir, it's a big desert out there. + +/* 91 */ + +EXT. CHASM - THE RED ROCKS - DAY #91# + +The desert sun clefts the chasm into light and shadow. Lincoln trudges into view, Ester lagging behind. He stops to let her catch up, only to watch her slump onto a rock. He allows her a moment to rest and walks to where the chasm comes to an end. + +/* 59. */ + +He surveys the terrain. His eyes roam the carpet of scrub, now narrowing on an inconsistency. A faint strip where nothing seems to grow. Tracing its lineage, he walks a few feet out. Then drops to a crouch and starts clawing away at the dust. His fingers meet something hard. He sweeps off the dust to expose a layer of concrete. Continuing, revealing the ghost of a line. What we might recognize as a lane marker but a curiosity to him. Continuing, opening a window in the dust. Now his fingers snag on something. He tugs it and it gives a little, dust crumbling to reveal a section of rusted chainlink. A corner of metal is visible. Lincoln exposes the rest. A sign, barely legible: "US Government - Restricted Area". He frowns, trying to assimilate. Ester comes up to join him. Off her anxious look, he decides- + + LINCOLN + I think I've found a path. + +/* 92 */ + +EXT. THE GREEN MOUNTAINS - DAY #92# + +White rock blanketed by stands of fir and ponderosa pine. A whisper skims over the treecaps, circling in on a high shelf. Here, remotely nestled in a clearing, stands a glass villa. + +/* 93 */ + +INT. THE GLASS VILLA - DAY #93# + +The flood of light, the majestic view lend an air of beatitude. The decor is minimalist with Native American accents, kokopelli spirits in carved silhouette. Dr. Sanger stands at a glass wall, looking out across the green mountain valley. On the sofa sits Merrick, now in civvies, still gaunt from worry. The air stirs as a maid ushers in A WOMAN - 30's, all business, sharp blue eyes, a severe, mannish coiffure. Her name is ELLEN CROWNE. + + CROWNE + Good morning, gentlemen. + + SANGER + Bernard, this is Ellen Crowne from our legal department. Ellen, this is Bernard Merrick, director of products. + + MERRICK + Thank you for coming out here. + + CROWNE + Well when Henry called me I got the sense it wasn't for a social visit. + +They settle at a table. A jug of icewater and glasses laid out. + + CROWNE + I understand there was an incident? + +/* 60. */ + + MERRICK + First, let me stress there's no way we could have anticipated what happened... + + CROWNE + We're on the same team, Mr. Merrick. Just give me the facts down-and-dirty. + + MERRICK + (uneasy, clears his throat) + We've lost two of our products. They escaped containment last night. + +Crowne casts a troubled look at Sanger. Merrick quickly adds- + + @Merrick (cont'd) + However, we have all available resources dedicated to the search. + + CROWNE + How exactly did this happen? + + MERRICK + We're still piecing it together. + + CROWNE + Do we expect more products to escape? + + DR. SANGER + Don't be so alarmist, Ellen. + + CROWNE + I'm sorry, Henry, but you asked me here to assess our liabilities. + + MERRICK + To answer your question, we condition our products with a deterrent. A fear of contamination. And thereby of the outer environment. So to escape, they first have to escape their conditioning. + +Crowne pauses to absorb this and to light a slim black cigarette. + + CROWNE + Containment is one of the terms of our state health license. The fact it was compromised could put us in violation. + + DR. SANGER + Bureaucracy. + +/* 61. */ + + CROWNE + Henry , it was a bloody battle getting our license through in the first place. + + DR. SANGER + They're not going to pull our license, Ellen. We have a lot of friends on the Commission. Not to mention the goodwill we earned in DC when we took over the facility; a bunker complex for a bio-chemical war that never happened... We relieved them of a costly embarrassment. + + CROWNE + I'm not sure we can rely on that. + + DR. SANGER + Alright . What do you suggest? + + CROWNE + First, I need you to level with me. What are our chances of finding them? + + MERRICK + Well, in our favor, they've never been outside containment. They'd have no coordinates, no sense of direction. + + CROWNE + I don't see how that's in our favor. + + MERRICK + They're in the middle of the desert. Food and water become an issue. + + CROWNE + So they might return to the trough? + + MERRICK + Possibly. + + CROWNE + And if not? How long could they last? + + MERRICK + A few days maybe. But there is another variable. We maintain the products in a sterile environment. So basically their immune systems are untested. Toxins, pathogens, environmentals the rest of us overcome routinely, to them... + +/* 62. */ + + DR. SANGER + That's a little drastic. Some immune systems are more adaptive than others. + + CROWNE + Let's take the drastic case. What then? + + MERRICK + Well . . . the male, we could cover. Fast-track another generation before the sponsor ever needed access. The female comes under the maternity plan. She's three months pregnant. Even if we fast-tracked another generation, we couldn't fast-track the pregnancy. We'd miss the delivery date, the sponsor would wonder why and there would be... difficulties. + +Crowne looks worried. Sanger pours a glass of icewater. + + DR. SANGER + Even so, the worst may not happen. + + CROWNE + We haven't even touched on the worst. If these products reach a populated area, there's the problem of scrutiny. + + DR. SANGER + Ellen , we operate under State license on a lease from the Federal Government... + + CROWNE + ( cuts him off, harshly) + We slipped through a loophole in the clone laws, Henry. And they only let us through because they smelt money. And they gave us a government basement to cover their own asses not ours. It's at the core of our license - why we screen potential sponsors, why we make them sign discretion agreements, why containment is such a critical factor - to limit the extent of public scrutiny. + + DR. SANGER + Either way, it's unlikely they'd get that far. It's at least twenty miles to the next settlement. Right, Bernard? + +Merrick hesitates before nodding his assent. Crowne pounces on it- + +/* 63. */ + + CROWNE + Something to add, Mr. Merrick? + + MERRICK + I just don't think we should underestimate them. Especially the male. + + DR. SANGER + And I don't think we should panic. + +He cautions Merrick with a discreet look, then shakes a pill from a bottle. Crowne looks forward to both men. Very serious. + + CROWNE + Gentlemen, whatever happens we need to keep one thing clearly in mind. As far as the world at large goes, we are just another medical services company. Anything that alters that perception puts us at risk. And we cannot rely on the sanction of the law to protect us. Whenever and wherever and in whatever condition we recover these products, we have to stay beyond reproach. All it takes is one nudge to put us in the spotlight. Then you'll see how fast politicians can run for cover. + +Merrick shifts, uneasy. Sanger takes the pill with a bitter smile- + + DR. SANGER + In other words we need to find them or else. That's very astute, Ellen. + +/* 94 */ + +EXT. DESERT HIGHWAY - SUNSET #94# + +The dust swirls and puffs across a highway of yesteryear. A dirt track but for patches of exposed concrete and angles of buckled lampposts. The empty path reaches to a blood-red sunset. + +/* 95 */ + +EXT. SCRAPYARD - SUNSET #95# + +The dust skims over mountains of rusted scrap. Nestled in the mountains is a shack. A sign creaks in the breeze "Osmund Deer , Licensed Salvage Merchant". On the porch sits an old man in a greasy ballcap and dungarees. This is the eponymous owner, OZZIE. He's sitting on a lounger, surveying his empire, enjoying a beer and a cigarette. Exhaling a drag of smoke, his eyes crease to a squint. He sees something through the smoke, silhouetted against the sunset. An approaching figure, wary, like a flighty animal. + +/* 64. */ + + OZZIE + Hello? + +The silhouetted figure doesn't answer, just stares back at him. + + OZZIE + Can I help you? + +This seems to get a response. The figure ventures closer. We recognize Lincoln. Exhausted, dust-covered and dry-throated - + + LINCOLN + My friend... she needs water. + +/* 96 */ + +INT. BACK ROOM - THE SHACK - SUNSET #96# + +A mass of technology and furniture from recent and distant past. Lincoln lowers Ester onto a threadbare sofa. Ozzie, excited to have visitors, bustles up with a water gallon, pouring a glass. Lincoln takes it and tips it to Ester's lips. She coughs it out at first. Then takes the glass and starts drinking with vigor. Ozzie sets down the water gallon in front of his visitors. Then settles in an armchair and cracks open a beer. It lends the mood, albeit strained, of a social visit. Lonely old Ozzie wanting to make it so. Despite which, both men have an eye on each other. + + OZZIE + Got stuck in that supercell, didya? + +Lincoln eyes him, wary of the question. Ozzie reads confusion- + + OZZIE + Supercellstorm , that's what they call it on the news anyways. In my day, we just called `em "big ol' howlers " . + +Ozzie chuckles to himself. It seems to put his visitor at ease. + + OZZIE + Yep, I heard it shut down some of the lodeways. Dust in the works, I guess. Where were you folks headed anyways? + +Lincoln gulps down some water, deciding an answer. Then ventures- + + LINCOLN + Away. + + OZZIE + Away ? You mean, like outta state ? + + LINCOLN + " Out of state"... + +/* 65. */ + +The term is meaningless to Lincoln but he likes the sound of it. Ozzie grins. This is starting to feel like a real social visit. + + OZZIE + Now where's my manners gone? I'm Ozzie. Osmund really . But folks call me Ozzie. + +An awkward lull as Ozzie waits for his visitor to reciprocate. + + OZZIE + Sometimes I like to make a joke of it, my last name bein' Deer . . . "O. Deer". + +Ozzie chuckles but the pun seems lost on his visitor. He lets it drop. The awkward silence returns. Lincoln drinks the water, wondering if this strange old man is as harmless as he appears. + + OZZIE + Well now, looks like yer girlfriend's made herself at home. + +Lincoln looks at Ester, slumped over, asleep on the sofa. Ozzie puts a finger to his lips, beckoning his visitor out of the room. + +/* 97 */ + +EXT. SCRAPYARD - DUSK #97# + +The porch light comes on, casting the scrapyard in grades of light and shadow. Ozzie steps out onto the porch, lighting a cigarette. His visitor hovering at the threshold, he offers the pack. Lincoln steps out and takes one. Ozzie lights it for him- + + OZZIE + Yer girlfriend sure is pretty. + +His visitor looks at him curiously. Ozzie misinterprets that he's said something out of turn. Time to change the subject- + + OZZIE + So what's with them tattoos, huh? + +He taps his forehead. Lincoln fingers his crosshatch, suddenly aware of it now and suspicious of the question. Ozzie palliates- + + OZZIE + Hey , in the eye of the beholder, right? Now this place, this is beautiful to me. This is my place. I own it. `May not look like much but you'd be surprised. C'mon, lemme show you... + +Ozzie moseys into the scrapyard, beckoning his visitor. Lincoln hesitates, then follows him, sensing it's better to play along. + +/* 66. */ + + OZZIE + Most a this heavy stuff's industrial scrap. Comes in from all over. Easy way round the recyclin' laws . Me, I sell it on to the boondock boys for meltdown. Other stuff, I pick up at the scrap markets. Fix it up, `fetches a price. + +They reach a vehicle shell. A rust-pocked chassis, canted on its axle, we might recognize it as an automobile from our own era. + + OZZIE + Fossil fuel transport. This piece o' junk's a collector's item. All that Age of the Wheel nostalgia, "elegant era of transport" bullshit. I find the parts, she's as good as solid gold. + +Ozzie pats his investment and moves to another rusted metal pile. Steepled by rail tracks, we see elevator sheaves, tension cables. + + OZZIE + Now this here's got a colorful history. Came in from this ol' government bunker out in the valley. `Got shut down way back. Then this new outfit took over, stripped the place out. I guess they're doin' some more remodelling cause I just had `em in again the other day... + ( a tug of smoke, reflective) + Hump`n dump crew. Nice fellas. + +Lincoln frowns. The term is familiar. The taste of smoke, a hint. But his memory has been clouded by trauma. Ozzie reads his face- + + OZZIE + You okay there? + +Lincoln looks at him, something breaking the clouds. A sense of danger, indistinct. Suddenly cautious, he stubs his cigarette- + + LINCOLN + I'm going to check on my friend. + +/* 98 */ + +INT. FRONT ROOM - THE SHACK - DUSK #98# + +A front room turned into a front office. Piles of paper teeter atop junk furniture. A bankers lamp we might recognize from our own era glows over a desk where Ozzie is rummaging, looking for something. He stops to peer through and check on his visitors- + +/* 67. */ + +The woman still lies asleep on the sofa. The man is sitting beside her armchair, head bowed, seemingly plunged in thought. Ozzie resumes rummaging to find a crumpled delivery note. He reviews it for a moment. Then quickly clears away some more papers to uncover a keypad device. It is known as a "holocom". He taps a key and a holoframe resolves. Then taps in some digits from the delivery note. The holoframe snows with static. Then a crosshatch insignia appears, spinning in 3D: + + RECORDED VOICE (ON HOLOCOM) + Welcome to The Sanger Institute. If you know your party's extension, press... + + LINCOLN (O.S.) + What are you doing? + +Ozzie jerks round to find his visitor suddenly standing there. He fumbles on the holocom keypad and the crosshatch blinks out. + + OZZIE + Nuthin . I wasn't doin nuthin . + +Lincoln frowns, the sense of danger becoming more distinct. Ozzie reads his visitor's troubled expression, realizing- + + OZZIE + I knew it... them clothes... them weird tattoos... I mean, I heard stories from those guys but I never... + +Off his visitor's frown, Ozzie bites his tongue. He's cornered in this cramped space with a freak of science. Time to backpedal- + + OZZIE + Not that I believe `em... buncha crazy stories... nuthin to do with you... + +He chuckles feebly. But his visitor just stares back at him, pupils dilated and dark, somehow inhuman. Time to wriggle out- + + OZZIE + Whaddya say we just forget about it, huh? How about I go getcha a beer? + +He makes a move past but his visitor doesn't budge. Lincoln senses danger in this old man, whose fear is now manifest- + + OZZIE + Whatever you want... Just take it... Whaddya want . . . ? You want money...? + +/* 68. */ + +His visitor frowns. Ozzie quickly unlocks a cashbox. He grabs some colored plastic cards and offers them like meat to a lion. + + OZZIE + It's all I got... Take it... just please... just don't hurt me... + +His visitor takes a blue card, inspecting it like a curiosity. Then steps closer. Ozzie shrinks back. An ominous moment, then- + + LINCOLN + " Out of state" - how do I get there? + +Off Ozzie's cowering and confused look, we - + +CUT TO: + +/* 99 */ + +EXT. SKY OVER THE DESERT - NIGHT #99# + +From darkness grows a seed of light. The whisper flies low and quiet, its spotlight roving the undulant desert. Now picking out metal glints as it banks over a scrapyard. Now training its beam on a figure in the dust whirl beneath. Ozzie, his hair flying wild, gesticulating madly. The whisper follows his directions, nosing onwards, its spotlight corrugating across the red rocks. + +/* 100 */ + +EXT. SHUTTLE STOP - NIGHT #100# + +In the middle of nowhere, a canopied platform. Not unlike the subway platform, it borders a deeply trenched lodeway. A wave of dust rolls in, swelled by the whisper, landed beyond. It seems to bring Scheer to the platform. He scans around for a clue, a footprint perhaps. But somehow he already knows. He looks up the lodeway, eyes honing. The deep black line stretches far into the night. + +/* 101 */ + +INT. THE GLASS VILLA - NIGHT #101# + +Silence. Still. Sanger sits nursing a cup of herb tea. Crowne sits smoking. Stubs in the ashtray speak of long hours waiting. The still is broken as Merrick emerges from an adjacent room. Sanger and Crowne look up, expectant. Merrick closes the door with slow care. Then he faces them, a grim tenor in his voice- + + MERRICK + Bad news. + +/* 102 */ + +EXT. PHOENIX - NIGHT #102# + +The whisper slices the night, running lights blinking. We pan to frame it against a skyline of black towers. A glittering row of domes and spires, somehow celestial, touching the sky. The city bears no trace of its origins, once built over Indian ruins, now rebuilt, subsumed by urban overhaul. It has become a metropolis. + +/* 69. */ + +/* 103 */ + +INT. ROOFTOP NIGHTCLUB - PHOENIX #103# + +A glass dome, faceted, insectile. A haut-monde hive . The movers and shakers of the high-tech boomtown drinking, dancing. Shot waitresses dose blue tequila. Bass music thuds like a heartbeat. Scheer looks out of place here but the crowd's too self-absorbed to care. He moves through them, invisibly, towards a corner booth. TWO MEN IN SUITS sit with a bottle of blue tequila. The first is bald, pale and dead-looking, he'd be the grim reaper but for his fixed leer. The second is long-haired, bearded, hulking, more of a grim ploughman. He has a metal brace screwed into his forearm. + + SCHEER + Which one of you is Diggs? + + DIGGS (THE BALD MAN) + That's me, slick. This here's my partner Burdon. Don't mind him. He gets a little shy around strangers. + + SCHEER + What happened to his arm? + + DIGGS + `Pursuit last week. The guy took a swing at him with a fireaxe. Didn't stop Burdie though . `Took down that fucker with one arm, didn't you? + +Burdon sips his drink. Scheer, underwhelmed, takes a seat. + + SCHEER + You don't look like bounty hunters. + + DIGGS + Well we're on the job, see? And it kind of helps if you bleed in. You don't look like a bondman either. + + SCHEER + I'm just an intermediary. + + DIGGS + Now that's what people use when they don't want to get their hands dirty. + +He grins, cannily. Scheer grimaces, a pro suffering an amateur. + + SCHEER + I was told you also handled civil bonds. Debt runners, data-thieves... + +/* 70. */ + + DIGGS + What we hunt depends on the bounty. + + SCHEER + It's worth ten platinum. Unmarked. + +Diggs pauses at this. A huge amount. Suspiciously huge. He licks some salt, downs a blue tequila shot and bites a slice of lime. + + DIGGS + What's the bond? + + SCHEER + The parties I represent want to limit the specific details. But let's just say industrial secrets are involved. + + DIGGS + Ten platinum. Must be big secrets. + +That canny grin again. It raises Scheer's hackles- + + SCHEER + Any good at keeping them? + + DIGGS + Oh, me and Burdie, we're busy bees. We don't have time to file every report and we got real bad memories. But just so we understand each other, slick, we're talking about a bag job, right? + +Scheer returns an equivocal look. Then dips in his pocket for two digital slides - Lincoln and Ester's headshots, spinning in 3D. + + DIGGS + What's up with these tattoos? They look like fucking boondock types . + + SCHEER + All I'm authorized to tell you is they have no records in this state. Also that they're not armed or dangerous. + + DIGGS + How about we start with their names? + + SCHEER + John and Jane Doe... + + DIGGS + You're kidding me, right? No names? + +/* 71. */ + +Scheer's look says he's serious. But Diggs is still confounded. + + DIGGS + Then - with all due respect - how the fuck do you expect us to find them? + + SCHEER + Because you won't have to look. They jumped an overnight shuttle. They'll be headed for the terminal, trying to get out of state. It's strictly a recovery job. For you, it should be childsplay. + + DIGGS + Then why not do it yourself? Or is the dog ring just to impress the ladies? + +The grin. Scheer moves his hand to cover the USMC ring, stiffly- + + SCHEER + The parties I represent want to stay at arm's length. And just so we understand each other that means no connection, no papertrail, no police interest... + + DIGGS + Is that everything? + + SCHEER + . . . no mistakes. They want these two brought in quickly and quietly and unharmed. Once you have them, you'll contact me for further instructions. + + DIGGS + I don't know. What do you say, Burdie? + +Burdon looks over. Then suddenly stands bolt upright, diving into his jacket, jerking out what looks like a pump-action shotgun. + + BURDON + Frank Hofstetter! This is a bond recovery! Step away from the bar! + +FACES TURN as he swings aim across the bar - HOFSTETTER, slight, wide-eyed, looking hunted - customers moving away, exposing him - Burdon chambering a cartridge, emphatic - Hofstetter freezes - a deer in the headlights - a moment of hesitation - then he runs.- BOOM - BURDON FIRES but the shot misses, hitting the bartender - exploding on impact with A BLINDING ELECTRICAL DISCHARGE - the stunned bartender spasms and drops - Burdon pumps and chambers another slug - his weapon now earned the name of a "thunderbolt". + +/* 72. */ + +A STAMPEDE BEGINS - customers running scared - his quarry lost in the stampede, Burdon vaults over the table - Diggs pulls out what looks like a twin-barrel sawn-off and launches after him - Scheer stays seated, watching the hunt with remote curiosity-- HOFSTETTER CLAWS THROUGH THE STAMPEDE - spotting Burdon and the thunderbolt close behind - he drops out of the firing line - onto his knees - crawling, banged about - almost at the exit, almost-- TWIN BARRELS PRESS TO HIS HEAD - Diggs looks down - grinning, beckoning him upright - Hofstetter looks up - bleak, defeated - A GIRL blunders into them - toppling over Hofstetter into Diggs-- HOFSTETTER TAKES HIS CHANCE TO RUN - now scrambling against the stampede - Diggs disentangles himself and levels his weapon - the stampede parting - throwing themselves to the ground as-- - BOOM - DIGGS FIRES - the scattershot hits Hofstetter a she flees up some steps - peppering his leg - sparks off metal as Diggs keeps firing - his weapon now earned the name of a "rainmaker". HOFSTETTER REACHES A CATWALK - his leg dragging, numbing from the tranquilizer cores - the catwalk dead-ends - blind panic now - He ducks under the rail, reaching for the dome - finding a precarious handhold, he swings across - trying to climb -- DIGGS COMES UP BENEATH - looking up, grinning - the pathetic sight of Hofstetter - one leg useless - clinging to the dome like a fly trapped under glass - as Burdon goes to recover him - + + DIGGS + Don't bother. He'll drop by himself. + +Burdon pulls out some handcuffs and stands waiting. Diggs returns to the booth. Pouring out two tequila shots, he grins at Scheer - + + DIGGS + Now . . . where were we? + +/* 104 */ + +EXT. THE DESERT - MORNING #104# + +Sunlight blinks off a chain of carriages, travelling the trench of a lodeway. The overnight shuttle slits through the desert. + +/* 105 */ + +INT. PASSENGER CAR - MORNING #105# + +The sun is a muted orb behind polarized glass. Lincoln stares out of the window at the bleak new world blurring past. He's wearing Ozzie's ballcap over his crosshatch, his former clothes discarded for some of the old man's ill-fitting denims. Perhaps a disguise or perhaps just to shed the memory. He glances across at Ester, dressed likewise, her hair teased to cover her crosshatch. She's dozing, head rested on the glass. A TICKET COLLECTOR comes up- + +/* 73. */ + + TICKET COLLECTOR + Tickets... + +Lincoln looks at the man in uniform, uncertain what he wants. The ticket collector shakes his head. These two look like deadbeats. + + TICKET COLLECTOR (CONT'D) + Adult fare is forty five currency units. Do you have the money, sir? + +Lincoln assimilates. Money. The word is familiar. He pulls out the blue plastic card. The man in uniform looks encouraged. He gives him the card, watching him slot it into a handheld device, which briefly flashes, then the card is returned. Lincoln sees a strip at the top is now transparent, like a depleted reservoir. He assimilates. Not so different from the transactions in the world below. Then he notices Ester is awake and is looking at him. Her bright eyes, dim and troubled, somehow accusatory. + + LINCOLN + It's going to be okay, Ester. + + ESTER + (faint) + Is it? + + LINCOLN + We just need to get out of state. + +Ester , disconsolate, looks out of the window. In her gaze, the forlorn air of a hatchling fallen from the nest. Lincoln watches her, knowing her troubles and knowing that he cannot relieve them. + +/* 106 */ + +EXT. PHOENIX - DAY #106# + +The skyline stands reprised in daylight. A glimmering citadel. + +/* 107 */ + +EXT. SHUTTLE STOP - PHOENIX - DAY #107# + +Passengers climb the steps from an underground gloom. Lincoln and Ester with them, jostled by the more certain flow. They cross the portal onto the street and stop, dazzled by the sunlight. Only to be dazzled again by the sudden, stunning prospect of the city... First there's the quality of light, a burning white, perhaps from depleted ozone, depicting everything in a surreal shimmer. Then there's the towers, darkly crystalline, facets of polarized glass rising to domes and spires, like monolithic fingers reaching for the sky. The traffic flashing past, the chassis identifiable as trucks, taxis, compacts, sedans, streamlined in a nautical trim, hull runners in place of wheels. The sound of claxons, more like fog horns than car horns. Then there's the street itself, a six-lane lodeway, lanes marked with buoys, bobbing around on cables. + +/* 74. */ + +The graceful arcs of pedestrian bridges at the intersections. The citizens, strange hairstyles, fashions, all wearing sunglasses. Even to us it's a wondrous sight. The urbanism, the grandeur, as if here in the heart of southwest, Manhattan has met Venice. + + VOICE (O.S.) + Hey , man, spare a little green? + +Awe interrupted, Lincoln and Ester look around. Slouched by the street exit is A HOBO with a mangy dog. He grins toothlessly- + + THE HOBO + Ain ' t eaten in two days, have we, boy? + +Lincoln and Ester step back as the dog rises to greet them. Tail wagging, it noses forward, sniffing. Then, abruptly, drops its tail and backs off, whining. Lincoln and Ester likewise back off. Both sides have just discovered a new species. The hobo pets his whining canine, watching the strangers walk off with curiosity. + +/* 108 */ + +EXT. STREET - DAY #108# + +The sunlight flares off passing vehicles, hypnotic. The faces of pedestrians flash past. Lincoln and Ester wander in thrall up the street. Everywhere new sights, new curiosities bombard them... The storefronts, mysterious recesses behind polarized glass. The glass, alive with pixellated graphics , marquees: "Temps! Temps! New Tech Opportunities!" - "Beauty Therapy! Manicures, Dermals, Follicle Grafts!" - "Discount Legal Service! Class Actions Only!" Holoframe billboards loom over the street, huge shimmering panels like phantom jumbotrons, commercials playing on a loop: - - A businessman in a conference room, shrinking from a fierce negotiation; the scene replayed with the same businessman, now on his feet, stabbing his finger angrily in the air; a pill bottle in CU, a text super "Combatrine! The Aggression Enhancer" - - A teenager bemused by his homework: his parents escorting him into a clinic; the teenager hooded by an electronic dome; his parents clapping; the teenager smiling as he accepts a diploma; a text super "Intellex: Data Impression For A New Generation" Lincoln suddenly looks round, realizing Ester is gone from his side. He scans the sea of faces. Then spots her stepping through a doorway. Over the threshold is a holoform: a pig with wings, circled by the legend "Hog Heaven! Home Of The True Hamburger". + +/* 109 */ + +INT. HOG HEAVEN - DAY #109# + +Fast food outlets have evidently changed little. Promotional posters in 3D: "Ham Slam", "Porker Forkers", "Bacon Blitz". + +/* 75. */ + +Service counter, seating area. Ester is looking around like Alice In Wonderland. Lincoln comes up, out of breath, edgy- + + LINCOLN + I told you to stay with me. + + ESTER + ( innocent , plaintive) + I'm hungry. + + LINCOLN + Okay . Okay... + +He nods, realizing he is too. He plants Ester in a seat and looks around. People stand in line transacting, receiving food trays. Not unlike nutrition plaza. Lincoln ventures to the counter. He offers the blue card hopefully. THE SERVICE CLERK looks at him- + + THE SERVICE CLERK + Are you gonna tell me what you want? + + LINCOLN + ( beat , no other reference) + What are my options? + + THE SERVICE CLERK + Knock yourself out, buddy. + +He indicates a menu above. Lincoln assimilates, looking up at the menu. Understanding now, his face lifts to almost a smile. It's the first time he's been given an unrestricted choice. + +/* 110 */ + +INT. SEATING AREA - A FEW MINUTES LATER #110# + +Lincoln returns to Ester with a tray of food and drink. She's staring off again, distant. He puts a burger and drink cup in front of her. She seems not to notice. He tries to engage her- + + LINCOLN + I asked the man how to get to the terminal. He said it's not far. + +But Ester just keeps staring, her brow now furrowing as A LITTLE GIRL skips past, maybe 11, sipping a soda. Now Lincoln sees her too and is transfixed. Now the little girl notices the strangers, staring at her. She hurries onward, uncomfortable. Lincoln and Ester's eyes follow. It's the first time they've seen a child. + +/* 111 */ + +EXT. PHOENIX TERMINAL - DAY #111# + +A low rumble. A plume of smoke. A sudden eruption of fire. A bird rises from the flames and a phoenix spreads its wings. Widening, we reveal this is a holoform over the terminal entrance. + +/* 76. */ + +Union Station now looks more like Grand Central. A huge granite facade, a covered colonnade linking to pedestrian bridges at the corners. Here, in the flow of figures, we make out Lincoln and Ester, resembling tourists. Then, a short distance behind, we spot two more figures. The hobo and his timorous dog. Following. + +/* 112 */ + +INT. CONCOURSE - TERMINAL - DAY #112# + +Vaulted . Arched windows, mosaiced in polarized glass. Sunlight falls in filtered shafts. Footfalls echo off polished granite. Lincoln and Ester scan around. Ester looks daunted by the space. Lincoln looks focused. He sees people in line, transacting. + +/* 113 */ + +INT. TICKET WINDOW - DAY #113# + +The sign on the window reads "Tickets". Lincoln assimilates. The word is familiar. He steps up to the counter with Ester. A TICKET CLERK - female, immaculately groomed - greets them with a glossy smile. Lincoln offers her the blue card. She seems not to notice. + + THE TICKET CLERK + Welcome to Phoenix Union Station. What is your date of travel, sir? + +Lincoln has to think. Dates mean nothing to him. He ventures- + + LINCOLN + Now... + + THE TICKET CLERK + And what is your destination? + + LINCOLN + Out of state. + + THE TICKET CLERK + I'm sorry. Could you repeat that? + + LINCOLN + We want to go out of state. + + THE TICKET CLERK + I'm sorry. Could you repeat that? + + VOICE (O.S.) + Like talking to a wall, ain't it? + +Lincoln and Ester turn to look. The interceder is pale, bald, wearing leathers. A stranger to them, we recognize him as DIGGS- + + DIGGS + Holoserve . Cheaper than flesh and blood but nothing between the ears. + +/* 77. */ + +Diggs demonstrates, wafting his hand across the ticket counter. It cuts through the ticket clerk with a holographic ripple. + + DIGGS + First time I used one of these, I asked her out on a date... + +He grins genially, examining their faces, verifying his quarry. Lincoln examines the pale man. The sense of danger is welling- + + LINCOLN + What do you want? + + DIGGS + Just wanted to help, that's all. + +Diggs shrugs, disarming, trying to win them over, nice and easy per the mandate. Then he notices the eyes of his male quarry. The pupils, black and dilating. Suddenly the male jerks away, like a shying horse, drawing the female with him. Diggs, unperturbed, makes no attempt to follow. Turning his back on them, he touches a device concealed in his ear canal, a miniature two-way radio- + + DIGGS (INTO RADIO) + Burdie , it's them. East exit. + +/* 114 */ + +EXT. TERMINAL - DAY #114# + +Lincoln and Ester emerge into the colonnade, rejoining the flow of figures. Lincoln presses the pace, alert, darting looks back. The pale man doesn't appear to be following. But the sense of danger is spurring him to gain distance. Ester, vicarious to the danger, stays close to Lincoln's side, scurrying to keep up. Neither of them notices the grey vehicle sliding up on them, kerbside. A commercial transit van known as a "cutter", it's a common sight on the streets. The driver leans out of the window - hair tied back, dressed in buckskins, we recognize BURDON- + + BURDON + You folks need a ride? + +Lincoln and Ester turn to look. The dark giant is just another stranger, cast in a demeanor of casual inquiry. He's offering an opportunity to gain distance but Lincoln remains hesitant. The sense of danger, turbulent, hard to read. Burdon sugars the way- + + BURDON + Private cab. No state surcharge... + +He taps a button and the side-door slips open. Lincoln looks into the lightless cavity , wavering, uncertain. Ester, hugging close, nervous. Figures passing, jostling them toward the cavity. The dark giant, looking on expectantly. The pause stretching, then- + +/* 78. */ + + VOICE (O.S.) + Hey ! What the fuck are you doing, man? + +Back down the colonnade, THE HOBO is gesticulating to Burdon- + + THE HOBO + I told you! They went inside! + +The hobo doesn't see Lincoln and Ester, unwitting that he's just betrayed himself as their shadow... and Burdon as their predator. His dog starts barking. Lincoln starts backing away with Ester, his eyes blackening, the danger surging, the dog barking, the giant's face dropping, the elements converging... They bolt. + + BURDON + Shit! + +BURDON JAMS INTO REVERSE - but his pursuit is cut short by a parked vehicle - he swings a look back, jabbing his earpiece- + + BURDON (INTO RADIO) + North Corner! North Corner! + +LINCOLN AND ESTER RACE UP THE COLONNADE - against the flow of figures - darting and weaving like fish swimming upstream -- DIGGS BURSTS FROM THE NORTH EXIT - launching up the north side of the terminal - thinner foot traffic here, faster going -- LINCOLN AND ESTER SLOWING - the flow massing under the portico - they peel through - the holoform phoenix rumbling overhead -- DIGGS TURNING THE NORTH CORNER - pausing to touch his earpiece - now launching south down the colonnade - towards the portico - jerking a pair of handcuffs from his belt, ready for the snatch-- LINCOLN AND ESTER GAINING PACE - past the portico now, the way opening - Lincoln's eyes flaring - a face in the distance ahead - the pale man - he swings Ester around - doubling back to find -- BURDON COMING UP BEHIND - the flow of figures, no obstacle - parting at his thunderous onset - his quarry, stopped and staring at him - almost upon them - handcuffs at the ready-- LINCOLN FREEZES - caught between the dark giant and the pale man - Ester cringing to his side - the dark giant charging up on them - sunlight on metal - the sight of the handcuffs - TRIGGERING HIM-- LINCOLN GRABS ESTER - swinging her off the sidewalk - lowering her into the lodeway - leaping down to join her - lode poles pulsing, thrumming - rivets on their denims, rattling from the polarity - traffic soaring past on lode-stream, chest-high - + +/* 79. */ + +DARTING OUT INTO TRAFFIC - Lincoln leads Ester by the hand like a child - across the lanes, dodging, weaving through the gaps - claxons blaring , deafening - sunflashes, blinding - a sudden shadow - a huge freight truck bearing down, no gaps ahead -- LINCOLN DRAGS ESTER TO THE GROUND - both flattening against the concrete lode-bed - the shadow engulfing them - the truck's hull runners shearing narrowly over their heads - the rush of air, sweeping off Lincoln's ballcap - rousing a storm of dust-- LINCOLN AND ESTER CHOKING - crawling onward through the dust - hull runners scudding overhead - maybe only a foot of clearance - buoy cables whipping around like cheesewire - onwards, crawling across the concrete - fighting their way across the lode-stream-- BURDON WATCHING from the sidewalk where Lincoln and Ester first dropped, scouring the trench for a sight of them. Now he spots them, climbing up onto the sidewalk the far side of the street. Diggs now arrives at his side, sweating, out of breath. Now seeing their quarry take off up the far side of the street, he turns to his lumberous partner , fury mixed with incredulity- + + DIGGS + Why the fuck didn't you go after them?! + +Burdon just looks at him, displaying the metal brace on his forearm . Diggs, out of sheer frustration, gives him a pounding shove- + + DIGGS + Fuck! + +/* 115 */ + +EXT. ALLEY - DAY #115# + +The refuge of shadow. The alley is divided by a lodeway and the walls on each side are jutted with dumpsters. Lincoln and Ester run up the narrowed strip of sidewalk, forced into single file. A huge shape looms ahead. A garbage vehicle known as a "scow". Like a leviathan spreading its tentacles, the scow's tube-arrays dock with the dumpsters and start sucking the contents out. Lincoln glances back to find Ester has stopped and is cringing away from the tentacled monster. He returns to her, his eyes flicking around, aware that their real predators are close- + + LINCOLN + We have to keep going. + +He takes Ester's hand, drawing her onward. But Ester recoils, shaking off his grip. Now he looks at her more closely. She's panting, shuddering, fraught with trauma. Her voice is haunted- + +/* 80. */ + + ESTER + Please . . . Please, I want to go back... + +She shrinks into the shadows, shaking her head. The hatchling wanting to return to the nest. Lincoln meets her eye, deeply- + + LINCOLN + Those men - that's what they want too. + +Ester holds his gaze, chest heaving. Then looks back towards the alley mouth. Her fingers reach for her belly, clawing a little. Then her eyes lower, assimilating, reason reasserting its heavy grip. Lincoln senses her turmoil. His voice is soft but sturdy- + + LINCOLN + We have to keep going, Ester. + +Ester looks up at him again. The forlorn air seems to have faded. Her eyes, grimly set. Her face, a little haggard. Older somehow. She takes Lincoln's hand and together they head off up the alley. + +/* 116 */ + +EXT. ALLEY - MOMENTS LATER #116# + +The alley mouth darkens as a vehicle turns off the street. The grey cutter moves through the shadows, prowling and shark-like. + +/* 117 */ + +INT. CUTTER - DRIVING #117# + +The drone of resistors. The throbbing glow of the drive console, a panoply of instrumentation. Burdon steers in silence, Diggs beside him, edgy, intent, combing the shadows for their quarry. + + DIGGS + Sunnavabitch ! What the fuck do we do now, huh? They could be anywhere... + + BURDON + We go back to the office and run `em. + + DIGGS + As what? John and Jane Doe? + + BURDON + We ask the guy. + + DIGGS + Yeah , let's tell him we couldn't hack it in kindergarten. See how long him and his ten platinum stick around. + +He fires a barbed look. Burdon absorbs this, unflinched, thinking- + +/* 81. */ + + BURDON + It was blue, right? + + DIGGS + What? + + BURDON + They were using a blue currency card. + +/* 118 */ + +EXT. STREET - DAY #118# + +Lincoln and Ester walk up the street. Wary of attention, they go with the flow of figures, eyes peeled for predators. The sights of the city now seem hostile. Faces flash past, dead-eyed in sunglasses . Traffic rushes like steel rapids. Storefronts construct a black wall. Holoframe billboards loom, mocking, half-noticed: - - A woman in a bathroom, adjusting her sexy neglige; a crack in the door shows a man in bed, waiting; the woman closes the door and picks up what looks like a toothpaste tube; she arches her eyebrow; "F.I.G. Feminine Impulse Gel... Because who needs him?" - - A cemetery under a grim overcast sky; suddenly a frisbee flies across frame; an old woman, dressed like a teenager, catches it; she tosses it to an old man dressed likewise; a text super "Death Sucks!", a sting, "New Gaza Healthcare: Your Life Is Our Life." Lincoln and Ester stop at the corner. They look around, blindly, no coordinates, no frame of reference. Urban canyons, identical, gordian and chasmic. Passing figures jostle. Then Lincoln spots something across the street. It looks like an over-sized phone booth. Its beacon flashes; "C.I.N. - CITY INFORMATION NETWORK." + +/* 119 */ + +INT. CIN BOOTH - DAY #119# + +A flourish of music greets Lincoln and Ester as they enter. The fanfare conjures a holoform in mid-air. A cartoon rattlesnake, benignly rendered, welcomes them with a clownish, fanged smile: + + THE SNAKE + Hi there! I'm Tattletail! Whatever you want to know, wherever you want to go, I got the answers! Let's look at the menu! + +A set of text frames appear: "Residential Listings", "Business Listings", "Transport Listings", "Hotel Listings". Lincoln assimilates. The terminologies are not unfamiliar. + + THE SNAKE (CONT'D) + Now let's make a selection! + +/* 82. */ + + LINCOLN + ( beat , venturing) + Transport... + + THE SNAKE + Okay ! Let me open that directory for you! I'll be with you in two shakes! + +The snake rattles accordingly and coils in a holding pattern. Then a tomographic map of the city appears. A red dot plants itself under a text flag "You Are Here!". Then other red dots scatter across the map, each flagging with transportation icons. + +/* 120 */ + +INT. CUTTER - STREETS - DRIVING - DAY #120# + +Burdon steers calmly, scanning the streets. Diggs impatiently bashes the keys of a holocom on the drive console. A holoframe hovers, snowed with static. Then a secretary's face appears - sagging, older, primped and painted young. Her name is JANEEN- + + JANEEN (ON HOLOCOM) + Diggs & Burdon Bond Agency. + + DIGGS + Janeen , where the fuck have you been? + + JANEEN (ON HOLOCOM) + Beauty therapy. I got a date tonight. + + DIGGS + Oh , Jesus... Listen, I want you to punch into the currency stream for me. Sweep for blue card transactions. + + JANEEN (ON HOLOCOM) + You're kidding me, right? You have any idea how long that's going to take? + + DIGGS + I want serial numbers, batched and cross-referenced. Start from Union Station and work your way out... + +Before he can object he taps a key. The holoframe blinks out. + +/* 121 */ + +EXT. BUS STATION - LATE AFTERNOON #121# + +A surging sound. A surface of water. A burst of spray. A dolphin leaps from the waves and hangs suspended. Text scrolls around: "Get Out Of State & Out Of Mind - Ride the Grey Dolphin Line!" This is the next incarnation of the greyhound. The blue facade, crested into waves. We make out Lincoln and Ester, now looking more like transients than tourists, dirty, worn and exhausted. + +/* 83. */ + +/* 122 */ + +INT. CONCOURSE - BUS STATION #122# + +Low roof. Flat lighting. The faces here seem less threatening, the young and the low-income. Lincoln and Ester look around. Not unlike the train terminal. People standing in line, transacting. + +/* 123 */ + +INT. TICKET WINDOW #123# + +Lincoln and Ester step up to the ticket window. A TICKET CLERK - male, immaculately groomed - greets them with a polished smile. + + TICKET CLERK + Welcome to Grey Dolphin Bus Lines. What is your destination, please? + +Lincoln squints at him. Then wafts his hand across the counter. The ticket clerk flinches at the impact. Then composes himself. A trace of camp as he smiles bashfully at the rugged customer- + + TICKET CLERK + It's okay. Really. I get that a lot. I'm sorry, now where were we again? + + LINCOLN + I want to get out of state. Now. + + TICKET CLERK + Believe me, I know how you feel. So where did you want to go exactly? + + LINCOLN + Out of state... + + TICKET CLERK + Just wherever the wind takes you, huh? + + LINCOLN + Where's that? + + TICKET CLERK + Well , if it was me, out to the west coast. It's perfect this time of year. + +Lincoln nods, liking the sound of this. The ticket clerk smiles, enjoying the acceptance of his suggestion, he ventures hopefully- + + TICKET CLERK + Travelling alone, are we? + + LINCOLN + No . With her. + +He gestures, then realizes Ester is gone from his side again. + +/* 84. */ + +He scans the faces. The clerk, disappointed, taps some keys. + + TICKET COLLECTOR + Two adults, let me see... I'm afraid I can't get you seats till the morning. + +/* 124 */ + +INT. FOOD SERVICE AREA - BUS STATION #124# + +A grill bar. A rank of vending machines. Ester moves through the seating area as if drawn. Now over the ambient noise, we isolate the cry of a baby. Ester is following the sound to its source. She finds a Mexican woman shushing her infant. The woman looks up and smiles. Ester just stands there, awe-struck. Lincoln now comes up to reclaim her. He's about to ask why she wandered off when she turns to him. He sees her eyes are brimming with tears. Tears of joy and sorrow. It's the first time she's seen a baby. + +/* 125 */ + +EXT. STREET - DUSK #125# + +The winged pig flutters over the doors of "Hog Heaven". The milling customers are suddenly parted by Diggs, bursting out through the doors. He leaps into the grey cutter, parked kerbside. It peels out with a flash of its halogen eyes. + +/* 126 */ + +INT. CUTTER - DRIVING - DUSK #126# + +Burdon steers, glancing inquisitively at his partner. Diggs taps the holocom, urgently, galvanized. The holoframe resolves snowed with static. Janeen's face appears. Less primped, disgruntled- + + JANEEN (ON HOLOCOM) + Diggs & Burdon Bond Agency. + + DIGGS + We got a positive on the serial number. Punch in and pull up the transactions. Start with the last hour and work back. + + JANEEN + Great . So I got to park my ass in front of a screen all night? + + DIGGS + It's a platinum bond, Janeen. We get this, I'll buy you a new ass, okay? + +He grins at Burdon. The thrill of the chase glows in his eyes. + +/* 127 */ + +INT. WAITING AREA - BUS STATION - NIGHT #127# + +A blue glass partition wall looks out onto the depot. More like a marina with an embarcadero and a row of docks. "Liners" slot in and out, their nautical trim making them seem like ferries. + +/* 85. */ + +Lincoln and Ester sit waiting. Lincoln, rigid, watchful. Ester, gazing across at the Mexican woman, who as the infant cradled asleep. Ester glances wistfully at Lincoln. Then she frowns- + + ESTER + Lincoln , what is that? On your face? + +Lincoln turns, touching his face. He feels stubble there. For the first time. His body is naturalizing but it feels unnatural to him. Ester reaches out and runs her fingers across his cheek. Lincoln stiffens a little, unused to this type of contact. But her touch is gentle and the contact is warming. Their eyes slowly meet, flickering, something passing between them. Then Ester's face contorts slightly. She emits a shallow cough. + + LINCOLN + Are you alright? + +Ester clears her throat. But another cough follows. + + ESTER + My throat... it feels dry... + + LINCOLN + Okay . . . I'll get you some water. + +/* 128 */ + +INT. FOOD SERVICE AREA - NIGHT #128# + +Empty . The grill bar is closed. Only the vending machines are active. Lincoln considers them. Not unlike those he used to know. He finds one that offers water bottles. The sign reads "Arctic Melt". He pulls out his blue card and looks for the slot. Then pauses, picking up his reflection in the glass. He examines the shadowy growth on his face. Then he notices his eyes. They seem to be darkening. The pupils, welling open. Then he feels it. The sense of danger, surging up like a geyser. + +/* 129 */ + +INT. DEPARTURE AREA #129# + +Ester sits waiting, anxious now, coughing persistently. Hearing footfalls, she looks round. But the face that greets her is not Lincoln. It's the pale man, the one who chased them. Before she can react, he forcefully pulls her upright, tapping his earpiece- + + DIGGS (ON RADIO) + Piece of cake, Burdie. Jane Doe's in the bag. Keep an eye out for John-Boy. + +Ester looks around in panic. Faces turn but none of them are Lincoln's. Diggs confronts the spectators, flashing a badge - + + DIGGS + Bond recovery... state license. + +/* 86. */ + +He marches his female quarry towards the exit. Now she starts to struggle and he jerks her back, slapping a cuff onto her wrist- + + DIGGS + Play nice, little girl. Now you want to tell me where your boyfriend is? + + LINCOLN (O.S.) + Behind you. + + DIGGS + What? + +- THUD - LINCOLN HAMMERS HIS FIST into the pale man as he turns - dropping him, flat-on-his-ass - pulling Ester away from him - DIGGS JERKS OUT THE RAINMAKER - quick to his feet - more insulted than hurt - targeting his quarry - who suddenly duck down as-- - BOOM - DIGGS FIRES - A WOMAN SCREAMS - the Mexican woman - her face, peppered with tranquilizer core - her baby starts crying-- Ester FROZEN - horrified by the screaming woman - the bloody, slack grimace - the baby bawling - Lincoln dragging her down- - BOOM - THE BLAST OF THE THUNDERBOLT - Burdon positioned behind them - narrowly missing his target - hitting the partition wall - - CRASH - THE PARTITION WALL EXPLODES in a blinding electrical discharge - shattering into a sudden TEMPEST OF GLASS SHARDS - LINCOLN AND ESTER SPIN ROUND to see the pale man retargeting - the dark giant reloading - exit blocked, they lunge towards -- THE PARTITION WALL - kicking through the hole in the glass - Ester's last glimpse of the screaming woman - the howling baby - + +/* 130 */ + +EXT. BUS DEPOT - NIGHT #130# + +LINCOLN AND ESTER LEAP OUT onto the embarcadero - running - faces blur past - liners flash by with glaring halogens-- DIGGS LEAPS OUT AFTER THEM - rainmaker poised - the embarcadero glutted with passengers - he can't get a bead on his quarry-- LINCOLN AND ESTER VAULTING over the scattered luggage - the crowd thinning - the canopy opening onto the street beyond-- DIGGS RIGHT ON THEIR TAIL - people screaming, parting as they see his weapon - the firing line clearing - he levels aim and-- + + METRO PD OFFICER (O.S.) + Metro PD! Drop it! + +/* 87. */ + + DIGGS + I'm a bond agent! + + METRO PD OFFICER + I said drop the fucking weapon ! + +Diggs sees his quarry now escaping. With a scowl, he complies. He laces his fingers, tapping his earpiece in the process- + + DIGGS (INTO RADIO) + Northbound on Third. Get `em, Burdie - and take off the fucking gloves . . . + +CUT TO: + +/* 131 */ + +EXT. STREET - NIGHT #131# + +THE GREY CUTTER VEERS ROUND A CORNER - Burdon at the wheel - his quarry visible ahead - he jams the throttle - revs rising - LINCOLN AND ESTER SPRINT UP THE SIDEWALK - disorientation - the sudden diaspora of lights and darkness - the sharp acoustics - TRAFFIC SWERVING - CLAXONS BLARING - the cutter hurtling up the street, relentlessly - its halogen eyes, burning, growing - LINCOLN AND ESTER RACING FOR THE END OF THE BLOCK - towards a pedestrian bridge - trying to outpace the cutter - THE GREY CUTTER CLOSING - Burdon punching a button - the side window slides open - he levels his thunderbolt, angling a shot- LINCOLN AND ESTER VEER LEFT - up onto the pedestrian bridge - rising above the traffic - claxons blaring beneath as -- THE GREY CUTTER PLOUGHS INTO THE INTERSECTION - banking into a u-turn - vehicles braking to avoid collision - LIGHTS, CLAXONS - LINCOLN AND ESTER - turmoil raging behind them - a glimpse of the cutter regaining pursuit - Lincoln sees an opening ahead-- + +/* 132 */ + +EXT. ALLEY - NIGHT #132# + +LINCOLN PULLS ESTER INTO THE SHADOWS - the sidewalk narrowing - they run onward, glancing off dumpsters - DULL BOOMS OF METAL - A FLOOD OF HALOGENS - the cutter banking sharply into the alley - pouring on the speed - the quarry trapped in its headlights-- LINCOLN AND ESTER - nowhere to run - THE LIGHTS GROWING - THE RISING DRONE OF RESISTORS - Lincoln sees another opening -- + +/* 88. */ + +/* 133 */ + +EXT. PEDESTRIAN ALLEY - NIGHT #133# + +LINCOLN PULLS ESTER INTO THE DARKNESS - a narrow access, barely lit, hard to see - a sudden dead-end - they SLAM INTO A BARRIER-- A CHAINLINK FENCE - the links shuddering - Lincoln looks up and sees it's scalable - claws into the links - STARTS CLIMBING- Ester TRYING TO CLIMB - rattled by coughing - fighting to breathe - her limbs shaking - her muscles failing - then-- - BOOM - A BLINDING ELECTRICAL DISCHARGE - SUDDENLY THE FENCE IS ALIVE WITH ELECTRICITY - BURNING FINGERS JITTER ACROSS THE LINKS- LINCOLN AT THE TOP OF THE FENCE - jolted by the sudden shock - muscles in reflex - falling - landing the far side of the fence-- Ester STILL CLIMBING - the jolt instantly toppling her back - landing the near side of the fence - more rattled than hurt -- BURDON RUNNING TOWARDS THEM - thunderbolt smoking from the shot- LINCOLN ON THE FAR SIDE OF THE FENCE - recovering from the fall-- Ester ON THE NEAR SIDE OF THE FENCE - cowering, coughing - BURDON JERKS HER UP BY THE HAIR - like a rapacious viking - he looks through the fence at Lincoln - sniffing her, almost bestial- + + BURDON + Go ahead. I'll look after her. + +LINCOLN ' S EYES FLICKERING DARKLY - jaw clenching - the sense of danger urging him to run - but Ester is in the giant's grips - Ester CLAWING TO BREAK FREE - coughing, rasping - her fingers snag on the giant's arm-brace - TUGGING WITH ALL HER STRENGTH-- BURDON YOWLING AT THE SUDDEN PAIN - lashing out - flinging Ester into the fence - dropping the thunderbolt - CLUTCHING HIS ARM-- LINCOLN LEAPING ONTO THE FENCE - scrambling up the link - the dark giant momentarily off-guard - HE VAULTS OVER THE TOP -- - THUD - BURDON SPINS ROUND - takes the full brunt of Lincoln's impact - overbalancing - THEY CRASH TO THE GROUND - LINCOLN STRUGGLES UPRIGHT - winded, but forced to face the dark giant - who is already on his feet, his mighty fist SWINGING OUT- - THUD - LINCOLN TAKES A PUNCH TO THE JAW - recoils, reciprocates throwing a left hook - hitting hard but the giant barely flinches- + +/* 89. */ + +-THUD-THUD- BURDON POUNDS INTO HIM - a storm of punches - his quarry, ducking and blocking - now backed up against the fence-- Ester RETRIEVING THE THUNDERBOLT - trying to work the mechanism - coughing - hands shaking - accidentally touching the trigger - - BOOM - THE SHOT BLASTS INTO THE AIR - enough of a distraction for Lincoln - he lands the giant with A BONE-JARRING LEFT HOOK- BURDON KEELS OVER INTO THE WALL - cracking the back of his head - his knees buckling - sliding down - just catching sight of-- LINCOLN AND ESTER SCRAMBLING UP OVER THE FENCE - and then the quarry is lost from sight in A DOWNPOUR OF ELECTRICAL SPARKS. + +/* 134 */ + +EXT. BACKSTREET - NIGHT #134# + +SIRENS WAILING IN THE DISTANCE. Lincoln and Ester race down the sidewalk, along a construction hoarding. Ester slows, doubling over, rasping. Lincoln looks at her, her lips , blue, her face, pale. The sirens, getting louder. He sees a gap in the hoarding- + +/* 135 */ + +EXT. ENCANTO PARK - NIGHT #135# + +Lincoln and Ester emerge through the gap onto a derelict tract. A once public park, now a construction site. Mounds and craters of earth. Dim shapes of huge vehicles, like sleeping dragons. Patches of parkland, as yet untouched. Bowed palms, dead grass, a stagnant lagoon, a dull mirror for the ascendant moon. On its shoreline is a dilapidated construct that was once a boathouse. + +/* 136 */ + +INT. BOATHOUSE - ENCANTO PARK - NIGHT #136# + +The refuge of shadow. The collapsed roof allowing streams and puddles of moonlight. Lincoln helps Ester onto a rotted bench. She slumps down, exhausted, Lincoln watches her, helplessly. She's fighting for breath, wheezing and coughing in deep rasps. + + ESTER + I can't... I can't breathe... my throat... it's so... dry... + + LINCOLN + I'll find you some water. + +He looks around blindly. Some junk in the corner. He rummages, finds a rusted metal box. Pries it open, empties the contents. Gauzes, band-aids - evidently a first-aid box - then a bottle. He opens it, sniffs. It smells pungent. Alcohol, not water. Ester suddenly starts sobbing. Lincoln returns to her side- + + LINCOLN + It's going to be okay, Ester. + +/* 90. */ + + ESTER + No . . . no, it isn't... + + LINCOLN + I'll find you some water, okay? + +Ester looks up at him, wheezing, tears streaming from her eyes- + + ESTER + And then what, Lincoln? + + LINCOLN + I'll find another way. Out of state. + + ESTER + And then what? What if they find us? + + LINCOLN + Then we'll keep going. + + ESTER + I can't... I can't run anymore... + +Ester folds over, sobbing and coughing at the same time. Pitiful to watch. Lincoln crouches, gaining her eyeline, very deliberate- + + LINCOLN + We'll keep going till we get there. + +Ester traps a sob, reading his eyes, something reviving in her- + + ESTER + The Island... You mean, The Island? + +Lincoln answers with a brief smile. If this will keep her going then the truth is redundant. He eases her out of the moment- + + LINCOLN + Now I'm going to get some water. But I want you to stay here. It'll be safer. + +Ester wipes away her tears, sniffing. Her breaths, calming. + + ESTER + Don't go yet. Stay with me, Lincoln. Stay with me for a little while. + +Lincoln looks puzzled by Ester's request. Even more puzzled as she rests her head on his shoulder, nestling into his neck. He feels her against him. The warmth spreading through him again. His arm reaching, as if of its own accord, closing around her. It feels right somehow. And there he stays, holding her, looking out across the dereliction. And the moon rises over Encanto Park . + +/* 91. */ + +/* 137 */ + +EXT. METRO PD STATION - NIGHT #137# + +The holoform logo of The Metro PD glows over the threshold. Diggs exits with a dark glower. The cutter is waiting kerbside. + +/* 138 */ + +INT. CUTTER - DRIVING - NIGHT #138# + +Diggs climbs in an Burdon steers out into traffic. The thrill of the chase is gone from them now. Both seem equally grim and determined. Diggs taps the holocom. A holoframe resolves, snows with static. Then Janeen's face appears, dishevelled, bitter- + + JANEEN (ON HOLOCOM) + What the fuck do you want now? + + DIGGS + (very calm, very cold) + Punch into the currency stream, close the net on downtown and keep the search active. The next time they use the card, I want to be right on top of them... + +Off his icy tone, Janeen nods without retort. Diggs hits a key and her face blinks out. And the cutter prowls into the night. + +/* 139 */ + +EXT. DOWNTOWN STREET - NIGHT #139# + +The winged pig flutters over the doors of "Hog Heaven". Another franchise on a more downtrodden street. Lincoln emerges with a bag of food and drink. He considers the blue card. The reservoir, now close to the bottom, his resources almost exhausted. With a look of foreboding, he pockets the card and turns the corner. And suddenly stops in his tracks. But it's not a vehicle that he sees. Or a predator. His eyes are fixed on a holoframe billboard: - - A football player in montage; pummeling into a defensive line; running for a touchdown; gyrating in the endzone; spinning in an NFL podium shot, super; "Nobody Stops The Juggernaut!"; a team logo, super; "Come See The Phoenix Admirals! Rulers of the AFC!" Lincoln recognizes the player's face but it's not possible. He waits for the loop to restart. There it is again. The face of Starkweather Two-Delta. Incredulous, he stops a pedestrian- + + LINCOLN + The man, the man up there. Who is he? + + PEDESTRIAN + What planet `you been living on? That's the Juggernaut, brother. + + LINCOLN + The juggernaut... + +/* 92. */ + + PEDESTRIAN + Jamil "The Juggernaut" Starkweather - highest rushing total in the league. `Least till that injury blew out his gut. Now the doctors are saying he'll be back on his feet next season. Those fuckers sure can work miracles, huh? + +Lincoln doesn't respond. The pedestrian shrugs and heads on, writing him off. Lincoln lingers, staring up at the billboard. + +/* 140 */ + +INT. CIN BOOTH - NIGHT #140# + +The flourish of music greets Lincoln as he enters. The cartoon rattlesnake appears and smiles his clownish, fanged smile: + + THE SNAKE + Hi there! I'm Tattletail! Whatever you want to know, wherever you want to go, I got the answers! Let's look at the menu! + +The set of text frames appears: "Residential Listings", "Business Listings", "Transport Listings", "Hotel Listings". + + THE SNAKE + Now let's make a selection! + +A heavy pause. Lincoln's voice comes with a slight tremor. + + LINCOLN + Residential... + + THE SNAKE + Please give me the name. + + LINCOLN + Starkweather... + + THE SNAKE + Okay! Let me find that listing for you! I'll be with you in two shakes! + +The snake rattles and coils. Then a headshot appears with the face of Jamil Starkweather , scaled across with a red line. + + THE SNAKE + Starkweather , Jamil... I'm sorry! This listing is blocked from the directory! + +Lincoln stands, darkly intent on the face. Now irrefutably the same face he saw in his life below. The snake shakes its rattle- + +/* 93. */ + + THE SNAKE + You want me to find another listing? + +Lincoln looks at the snake, flicking its tongue, coiling. + +>FADE TO BLACK. + +/* 141 */ + +EXT. DOWNTOWN STREET - MORNING #141# + +A downtrodden neighborhood. The buildings look like remnants from our own era. A scruffy man slouches up to a gated storefront. He slots a key into a lock panel and the gate rolls up, squealing. We widen to a vehicle parked kerbside. A familiar grey cutter. + +/* 142 */ + +INT. STORE - MORNING #142# + +Lights flicker on to disclose a gunshop. The array of firearms as fathomless as their purpose. The scruffy gunshop owner slouches inside. Diggs and Burdon enter on his heels. He yawns at them- + + GUNSHOP OWNER + We ain't open for another hour. + + DIGGS + Yeah , well we ain't in the market. + + GUNSHOP OWNER + Everyone ' s in the market, pal. One end of the barrel or the other... + + DIGGS + We're chasing up a currency record from last night. These two ring a bell? + +Diggs displays two digital slides. The owner pauses, suspicious. + + GUNSHOP OWNER + What are you? Cops? Lawyers? + +Diggs answers by jerking out the rainmaker. The twin barrels aimed at his head, the gunshop owner loses his cool a little- + + GUNSHOP OWNER + Him , I remember... Came in just before closing... wanted a shooter but didn't have no ID... settled for one of these. + +He displays a HUNTING KNIFE, unsheathing it, showing the blade. + + DIGGS + Did he give you a name? + + GUNSHOP OWNER + No. + +/* 94. */ + + DIGGS + Did he say where he was going? + + GUNSHOP OWNER + No. + +Diggs cocks the hammer. The owner flinches. Then, off the knife- + + GUNSHOP OWNER + There was one thing. Kinda weird . He wanted to know how to use it... + +/* 143 */ + +EXT. APARTMENT BUILDING - MORNING #143# + +An apartment building towers overhead, vaguely ominous. Lincoln approaches the entrance with Ester. We now see he has a band-aid covering his crosshatch. He takes Ester briefly aside, teasing some tresses over hers. As she gently smooths down her hair, Ester catches his eye. A look flickers between them. Then- + + DOORMAN (O.S.) + Fancy dress, was it, sir? + +A DOORMAN is looking at them like they just rolled out of a club he wouldn't be seen dead in. Off their flustered looks, he gives an apologetic smile. Then opens the door and holds it for them. Lincoln reaches for Ester's hand. Then stiffly leads her inside. + +/* 144 */ + +INT. CORRIDOR - AN UPPER FLOOR - DAY #144# + +The doors are set with small glowing orbs at peephole level. Like eyeballs, watching, as Lincoln and Ester proceed up the corridor. They stop at a door. Lincoln checks the number. Pauses heavily. Then looks for some type of doorbell. As his eyes cross the orb, it seems to blink. Then comes a sound of disengaging locks. Then the door swings open. Lincoln flinches, taken by surprise. Then frowns as he sees there is no one on the other side of the door. + +/* 145 */ + +INT. APARTMENT - DAY #145# + +Lincoln enters, wary, scanning around. A living room. Framed pictures. A sofa, chairs. A coffee table, empty bottles, cigarette packs, a full ashtray. A bureau, some paperwork. Silence, stillness. No sign of life, no sense of danger. Lincoln moves across to the bureau and starts leafing through the papers. Ester ventures in through the door, curious- + + ESTER + What are you looking for? + + LINCOLN + I don't know. Something. Just wait there and make sure nobody's coming. + +/* 95. */ + +As he leafs the papers, Ester waits dutifully by the door. Her eyes wander across the framed pictures. Then narrow onto a 3D photograph . A college boxing team photo, grinning cup winners. + + ESTER + Look at this... + +Lincoln returns to her. Ester points to the photo. A face in the row, blurred but eerily familiar. Lincoln seems not to react. Ester, curiosity piqued, scans the other pictures. She alights on a framed certificate - "Thomas R. Lincoln, Attorney-at-Law". + + A MAN'S VOICE (O.S.) + What the hell are you doing? + +Lincoln turns to confront A MAN in a robe. Disheveled from sleep, grey from a hangover... the man's face is unmistakably his own. This is TOM LINCOLN, sponsor of Lincoln Six-Echo, his bleary eyes now widening in disbelief as he recognizes his agnate- + + TOM + Oh, Jesus... + +Lincoln is better prepared for this encounter but still stunned by the sight of his double in the flesh. Sponsor and agnate stand frozen. The only movement is Ester, her eyes flicking between the same men, fraught, confused. Lincoln breaks the silence- + + LINCOLN + Who are you? + +Lincoln steps closer, eyes piercing. Tom takes a step back. + + TOM + They said... I'd never have to see you. + + LINCOLN + Who? + +Lincoln takes another step closer. Tom takes another step back. + + TOM + The people... + + LINCOLN + What people? + +Lincoln takes another step closer. Tom stiffens, gathers himself- + + TOM + Look, if you don't get out of here right now, I'm calling security... + +/* 96. */ + +Lincoln examines him, assimilating. His double seems to be as belligerent as he is. Reasoning now, threat response kicking in. Lincoln draws the hunting knife. Unused to it, he points it like a gun. But it's enough of a threat for Tom, who swallows dryly- + + TOM + Why are you here? What do you want? + + LINCOLN + I want to know... + +Tom grimaces at the ambiguity. That face. His face . If not for the pounding headache this would be a bad dream. He lowers onto the sofa. Finds a cigarette and lights up. A drag, mind kicking in. The knife cautioning him. With a slow exhale, he confesses- + + TOM + One of the partners at my firm... he told me about it. Gave me a referral. I thought he was joking at first. I went out there, took the sales tour. Even before that I knew it wasn't a joke. There was this discretion agreement. I never saw anything like it and I've seen a lot. Ironclad... breathe a word and they've got you by the balls. I don't know... There's cancer in my family. Maybe it was just to keep up. All the partners were on the policy. + + LINCOLN + The policy? + +He looks at his agnate. Then realizes the level of ignorance. + + TOM + Christ, you have no idea, do you? + + LINCOLN + About what? + +Tom drags his cigarette, fingers trembling. He shakes his head- + + TOM + I can't fucking do this... + + LINCOLN + What are you talking about? + +Lincoln moves closer, pointing the knife. Tom flinches, then- + + TOM + Insurance. You're an insurance policy. + +/* 97. */ + + LINCOLN + What is that? + + TOM + Health insurance... medical... + + LINCOLN + What does that mean? + + TOM + If I get sick... if part of me gets sick... I take a healthy part from you. + + LINCOLN + Why? + + TOM + How do you expect me to answer that? It's just how it works, that's all. + +Tom looks at his agnate. The insistent stare. The knife, pointing at him like a finger. His fear yields to a flicker of anger- + + TOM + What do you want? A fucking apology? + + LINCOLN + Why do I look like you? + + TOM + Because you are me . . . + + LINCOLN + I don't understand. + + TOM + Because they made you from my cells... + + LINCOLN + Made me? + + TOM + ( a flare of anger) + That's right. You were made. Cooked up in a centrifuge like a fucking boiled egg. Every thought running through your head, every word coming out of your mouth, all of it, manufactured, made... + +Lincoln frowns, trying to assimilate. Too much to process. + + LINCOLN + You . . . you're the one who made me? + +/* 98. */ + + TOM + No. + + LINCOLN + Who made me? + + TOM + I signed a contract. I can show you. + +He gestures to a mirror on the wall. Lincoln steps back but his eyes are unremitting. Tom rises, cautious, crossing to the wall. He opens the mirror to reveal a wall safe. His trembling fingers tap the keypad and the safe hisses open. He draws out a contract folder embossed with a crosshatch. Then offers it to his agnate- + + TOM + It's all right there. Who, why... + +Lincoln takes the contract folder and starts flipping the pages, reading. A pendulous silence falls. Tom stands watching, smoking nervously. Ester stands by the door, trying to take all this in. + + TOM + Look you've got what you wanted. Now why don't you just get out of here? + + LINCOLN + (pause, looks at him) + There are men out there, looking for us. I want you to make them stop. + + TOM + I can't... + +Lincoln sets down the contract and brings up the knife again. + + TOM + I can't. Look, I'm a lawyer, I know how it works. The contract, everything, it's all laced with confidentiality clauses. It means they don't want this to get out. It means whatever I do, they're not going to stop. You understand? + +Lincoln pauses, assimilating. His double's expression indicates that he's telling the truth. Maybe try a more practical request- + + LINCOLN + Do you have transport? + + TOM + Transport , yes... yes, parked downstairs... Bay 53... Take it... + +/* 99. */ + + LINCOLN + And then you'll call security? + +Lincoln steps closer, pointing the knife. Tom tries to stay deadpan. The lawyer kicking in. Look them in the eye when you lie- + + TOM + I'm not going to call security. I'm not going to call anybody, okay? + +Lincoln looks at his double, reason now yielding to anger. Deep, roiling. Tom looks at his agnate, fear welling, deadpan cracking- + + TOM + Look, maybe there's something... maybe there's a way to cancel the contract... + +Lincoln presses the tip of the blade to his double's cheek. + + TOM + For Christ's sake! It's not my fault! + +Lincoln inches the blade deeper into the trembling face, drawing blood. The anger urging, hungry for more blood. Then suddenly- + + ESTER + Lincoln ! No! + +Lincoln looks at her, the anger interrupted, the knife still in place. He pauses. Then returns to his double. The dreading eyes, the trickle of blood down the face. His eyes . His face . A long, foreboding moment. Then suddenly Lincoln lashes out. His fist sends his double flying, falling in a flurry of contract pages. Lincoln stands over him, looking down, like a dominant species. His double is unmoving, unconscious. Lincoln abruptly spins away. + +/* 146 */ + +INT. ELEVATOR - DESCENDING #146# + +The light panel flashes. Lincoln stands grimly, head lowered, trying to fathom the anger roiling within. Ester stares at him, wanly. Both held in the dark tableau. And the elevator descends. + +/* 147 */ + +INT. UNDERGROUND PARKING LOT - DAY #147# + +The vehicle parked in bay 53 is a hybrid of sportscar and speedboat , a two-seater known as a "skiff". Lincoln and Ester climb in. Lincoln reviews the drive console, the controls, all of it, meaningless. His eyes cross an orb set in the steering wheel. The orb seems to blink and suddenly the drive console lights up. Lincoln reviews it. A screen in front of him is flashing: "PILOTING: MANUAL/AUTO?". He assimilates. Then ventures- + +/* 100. */ + + LINCOLN + Auto... + +The interface processes, then asks: "DESTINATION: NAME/ADDRESS?" + + LINCOLN + Out of state... West... + +The interface processes, then reports "UNDOCKING". Lincoln and Ester jolt as the skiff shunts forward. Lode-poles pulsing ahead of them, the skiff moves out, as if pulled by a phantom tugboat. + +/* 148 */ + +EXT. STREET - DAY #148# + +The skiff buckets off the ramp into a street inlet. Then stops rocking a little. The interface reports: "ESTABLISHING UPLINK". On another screen, a road map appears. A red dot plants at their point of origin then bleeds into a red line, plotting a course. The autopilot scans for traffic, then nudges forward on the throttle. The resistors drone, the steering wheel turns and the skiff noses onto the street. Finding its lane, it drops to cruise speed. Lincoln studies the interplay of steering wheel, throttle and brake. Then glances at Ester. She's plunged in thought, staring off. She turns to him with a haggard frown- + + ESTER + The man back there... who looked like you... does it mean I have someone too? + +Lincoln looks at her blankly, unknowing. Ester stares off again, her brow knotting with unanswered questions. But Lincoln's gaze lingers. Her pale skin, her limpid eyes, her hair fluttering in the breeze. It's the first time he's really seen Ester's beauty. + +/* 149 */ + +EXT. PHOENIX SKYLINE - DAY #149# + +The domes and spires glint in the sunlight. We isolate a glass steeple. A crosshatch insignia. A legend "Sanger Industries". + +/* 150 */ + +INT. CROWNE'S OFFICE - SANGER INDUSTRIES TOWER - DAY #150# + +A corner office with a panoramic view of the city. Crowne sits at a console desk, reviewing some data on a holoframe screen. A knock on the door and HER SECRETARY enters, looking unsettled- + + SECRETARY + I just thought I should warn you. I have a sponsor holding. His name's Thomas Lincoln. He sounded... angry. + +/* 101. */ + +/* 151 */ + +EXT. STREET TUNNEL - DAY #151# + +The skiff plunges into the shadow of an underpass. The interface flashes: "UPLINK INTERRUPT... AUTOPILOT DISENGAGING". Lincoln sits up, confused. The skiff is now slowing, drifting as if cut loose. He studies the controls again. Positions one hand on the steering wheel, the other on the throttle. Then he nudges it. The skiff lurches, veering out of its lane. Another vehicle zips narrowly past, rocking them with its invisible backwash. Ester looks at Lincoln, suddenly alarmed. Lincoln tries again, firm on the wheel, gentle on the throttle. And the skiff eases forward. + +/* 152 */ + +EXT. MOTEL - DOWNTOWN PHOENIX - LATE AFTERNOON #152# + +Dismal . The kind of place that precedes a life on the street. We push in on a window, cracked glass, the drapes closed within. + +/* 153 */ + +INT. MOTEL ROOM - LATE AFTERNOON #153# + +Gloomy , musty. A "holovision" plays some type of NFL recap. But Scheer is not watching it. He is lying on the bed, staring at the ceiling, motionless. Off a beeping sound, he stirs. He taps a holocom on the nightstand. A holoframe appears, resolving: + + @Merrick (ON HOLOCOM) + Karl , there's been a complication. + +/* 154 */ + +EXT. INTERSTATE - SUNSET #154# + +The sunset melts gold across the horizon as the skiff cruises westward. Eight lanes of lodeway rake through the salt flats. Lincoln is driving more confidently now. Ester is huddled asleep beside him. Suddenly the skiff starts to slow again. Lincoln reviews the controls. Throttle, forward, foot, off the brake. The interface flashes: "REMOTE LOCKDOWN ENGAGING " . The skiff is steering itself onto the hard shoulder. It now pulls to a dead halt. Ester is woken by the sudden inertia. She opens her eyes and looks around. They've stopped in the middle of nowhere. + +/* 155 */ + +EXT. THE SALT FLATS - SUNSET #155# + +The sun sinks in a slow pink haze. Lincoln and Ester walk across the salt flats. Visible in the distance is a walled settlement. + +/* 156 */ + +EXT. THE HERITAGE PARK - SUNSET #156# + +An adobe wall culminates at an arched wooden gateway. Lincoln and Ester approach. They haven't walked far but Ester is already short of breath. As they near the gateway a holoserve appears, like a sentry - Native American, buckskins, feathered headdress and facepaint. His voice seems as old as the wind- + +/* 102. */ + + THE INDIAN HOLOGRAM + Welcome to Salt River Heritage Park, home to the Hohokam Nation for over two thousand years. The park is now closed. Please come back during opening hours, 9am to 5pm, Monday through Saturday... + +Ester steps closer. With the sun hazing through, the holoserve seems angelic or ghostly. She's examining his striped facepaint- + + ESTER + He has marks on his face like us. + +She turns to Lincoln with a flowering smile. Then rushes up to the gateway, suddenly galvanized, squeezing through a gap. + +/* 157 */ + +EXT. THE HERITAGE PARK - SUNSET #157# + +A ring of Native American pueblos. Pithouses and coursed adobes, recreations and preserved ruins. Ester rushes around the ring, looking into the pueblos as if expecting to find them inhabited. She ducks into one of the pithouses. Lincoln follows her inside. + +/* 158 */ + +INT. PITHOUSE - SUNSET #158# + +The mud walls show a skeleton of saguaro ribs, cholla branches. It's cosy in here, dim. The living area, recreated with mats and pottery. Lincoln finds Ester looking around, between excitement and confusion. She turns to him, her voice wavering, wheezing- + + ESTER + Is this... is this place The Island? + +Lincoln answers with a softly negating look. Ester's face slowly falls, the energy draining from her eyes. She lowers onto one of the mats and lies down, huddling. She looks up to him, wheezing- + + ESTER + I'm tired. Let me rest for a while. + +/* 159 */ + +EXT. PITHOUSE - NIGHT #159# + +Silence prevails but for the faint rattle of Ester's breathing. Lincoln sits on low stool, in sentinel over her as she sleeps. In his eyes, we see the weight of foreboding. He doesn't know what they'll do when she wakes. Of a moaning sound he looks at Ester. Then realizes it isn't coming from her. The sound is far off, a rhythmic moaning. Now discernible as the chant of voices. + +/* 160 */ + +EXT. THE PLATFORM MOUND - NIGHT #160# + +A blazing fire. Figures in silhouette, moving around, chanting. + +/* 103. */ + +The platform mound is situated just beyond the heritage park. An ancient ceremonial site, stepped in ruins, dusted with caliche. Pima and Maricopa, descendants of the Hohokam, are congregated for a solstice ceremony. Off to the side, a group of horses are tethered, shuffling, snorting. Lincoln approaches, cautiously, but somehow like a moth to the flame. He stops at a distance, watching. The curiosity of congruent sound and movement. + + VOICE (O.S.) + You look a little lost, my friend. + +Lincoln turns to a figure emerging from the night. A tall man - swarthy skin, mist-colored eyes. His tribal name is GREY DOVE- + + GREY DOVE (cont'd) + Or did you come here for a reason? + +Lincoln examines the tall man. The face seems as deep and gentle as the voice. His sense of danger, unstirring, he concedes- + + LINCOLN + I was looking for water. + + GREY DOVE + Not the best place to look. + + LINCOLN + My transport... it stopped working. + + GREY DOVE + I see. And where were you going? + + LINCOLN + Out of state... + +Lincoln sighs, the destination seeming very far away. Grey Dove considers him. This bruised, weary outsider is somehow childlike. + +/* 161 */ + +EXT. THE CEREMONY - LATER #161# + +The fire blazes across the face of a shaman. Old, gnarled, and dry as the salt flats. With a sacred mutter, he slips a peyote button onto his tongue. Then flings back his head, casting his eyes to the stars. When he lowers his head again, we see his pupils dilating. He rises, chanting, moving in ceremonial steps around the fire. Tribespeople sit in a ring, joining the chant. Beyond the ring, others are dining at a roasting pit. Roast rabbit. Cornflour bread. The food is as it might been two thousand years ago. Only the sight of plastic water gallons breaks the illusion. Lincoln stands apart with Grey Dove, eating ravenously, gulping from a water gallon. He looks around- + +/* 104. */ + + LINCOLN + What is this place? + + GREY DOVE + It is a sacred place. My people come here to commune with their spirits. + +Lincoln looks at him, puzzled. Grey Dove smiles tolerantly. + + GREY DOVE + Not easy to understand perhaps. For us, the spirit is like the shadow on the rock. Sometimes close, sometimes far away, sometimes the sky clouds and the shadow fades. We come here to ask our spirits to return to us. The man... + (gestures to the shaman) + He speaks to The Grandfather from whom all spirits are born. The Great Spirit who binds every living thing. He has no name. But he is everywhere. In the sun and the moon, the wind and the rain... + +The shaman's chanting grows louder, more insistent. His circuit around the fire becoming faster, building in religious fervor. + + GREY DOVE + Now he asks for the gift of vision that he may see through to the spirit shape of things. To find the spirits of the lost. To bring them into the light... + +The shaman's chanting suddenly stops. He is looking directly at Lincoln, pointing. His face, contorting with what might be anger or fear. He starts babbling in dialect, ardently. Lincoln frowns in confusion. Grey Dove quietly draws him away from the mound. + +/* 162 */ + +INT. PITHOUSE - NIGHT - LATER #162# + +Ester stirs from slumber. On the ground beside her, she finds a bowl of food and a water gallon. Now through the gloom, she sees Lincoln, sitting on the stool like he never left, keeping vigil. Something seems different about him as he turns, registering her- + + LINCOLN + Are you alright? + + ESTER + I feel better after I sleep. + +Lincoln nods absently and stares off out of the doorway. Ester moves closer, sensing something. He speaks as if from far away- + +/* 105. */ + + LINCOLN + The man out there... he said everything has a spirit... every living thing... but not... + +His voice cuts off. Ester looks at him, recognizing his pain. She doesn't understand what it is or what caused it. It's pain and it evokes a response in her. A feeling, taking her over. Her hand reaches out and strokes his hair. Lincoln looks up at her, questioning. With supreme knowing, Ester leans down and kisses him. At the touch of her lips, Lincoln pauses. The first kiss for both of them but Ester takes it in her stride. The calm ballet of nature. Fluidly peeling off her shirt, breasts steeping with moonlight. Lincoln rising to face her, feeling her proximity, her radiant heat. His fingers touching her breasts. Ester trembling, her lips once more finding his. Lincoln closing his eyes, the rush of sensation, overwhelming. He yields to it, returning the kiss, with hunger, with passion... with spirit. + +/* 163 */ + +EXT. THE INTERSTATE - DAWN #163# + +The sun rises in the east, depicting the traffic in silhouette. A vehicle arcs from the fast lane onto the hard shoulder where the skiff sits abandoned. The grey cutter pulls to a halt. + +/* 164 */ + +EXT. HARD SHOULDER - DAWN #164# + +Diggs and Burdon move up on the skiff, cover positions, weapons levelled. Burdon spins in to the driver side, snapping aim with the thunderbolt. But the skiff is empty. The only sign of life is the interface, flashing red: "REMOTE LOCATOR TRANSMITTING". Burdon exchanges a look with Diggs. No dice. Diggs reaches in his pocket and pulls out what looks like an electronic telescope. He puts it to his eye and pans the salt flats. Burdon crouches at the roadside, looking for tracks. Then Diggs fixes on something- + + DIGGS + I got thermals. + +/* 165 */ + +EXT. PLATFORM MOUND - SUNRISE #165# + +The fire is now reduced to a heap of embers. The tribespeople are asleep around the mound, wrapped in ethnic blankets. Diggs and Burdon move up stealthily, weapons at the ready. The horses bristle and snort, betraying their approach. The tribespeople, stirred by the noise, awake. Diggs and Burdon swing aim around the ring as faces rise and stare at them. None of the faces have white skin. Diggs lowers his weapon and addresses the gathering- + + DIGGS + I'm looking for two bond runners. They ditched near here last night. + +/* 106. */ + + DIGGS (cont'd) + One man, one woman. Tattoos on the forehead... + (nothing, just silent stares) + Anyone's seen them, I got fifty green. + (still nothing, aggravated) + What the fuck are you? Deaf and dumb? + +The tribal faces just keep staring. Diggs scowls. Then suddenly swings aim with the rainmaker and fires. - BOOM- hitting one of the horses in the haunch. It rears up, whinnying, setting off the rest of the horses. Diggs turns back to the gathering- + + DIGGS + Somebody start talking. + +He scans around the ring. Then fixes on one of the women. She lifts a trembling finger to a man nearby. Grey Dove stiffens. + +/* 166 */ + +EXT. SALT MOUNTAINS - SUNRISE #166# + +The sunrise depicts two silhouettes, moving across the ridge. Lincoln and Ester clamber over the calcified rocks. Ester now stops to catch her breath. She is wheezing again, fighting for air. As Lincoln looks on with concern, she musters a brave smile- + + ESTER + I can make it. + +/* 167 */ + +EXT. SALT CANYON - EARLY MORNING #167# + +A freight barge whooshes through the canyon, trailing a chain of low, arched containers, capacious in width rather than height. The conveyance is similar to a lodeway but wider, deeper, known as a "lode-canal". At each end of the canyon, it intersects with other lode-canals, converging to use the same passage, a system of signals and lockgates controlling the flow of freight traffic. High above, on the south rim of the canyon, we find Lincoln and Ester. Ester is no longer wheezing but rasping. She looks down at the passing vessel, daunted. Lincoln offers her small comfort- + + LINCOLN + Don't worry. The one we want goes the other way. He said it goes slower. + +They exchange a smile. The chain of containers tailing off, the barge leaving the canyon with a blast of its resonant claxon. + +/* 168 */ + +EXT. THE SOUTH FACE - MORNING #168# + +Lincoln and Ester descend the rocky slope toward the lode-canal. Ester stops, having to catch her breath every few steps. Lincoln tries to hide his concern, looking away towards the sunrise. The westbound vessel will be coming soon. + +/* 107. */ + +They just need to get out of state... Now he frowns, sensing something. Faint but growing. His jaw clenches. His face tightens. His pupils start to dilate. + +/* 169 */ + +EXT. THE NORTH RIDGE - MORNING #169# + +The north ridge is evidently threaded by a lodeway as we see the grey cutter pulling up. Diggs and Burdon get out and look down into the canyon. Diggs pulls out his scope and starts panning. Burdon peels off his jacket. It's early but it's already getting hot. Diggs now pauses, handing him the scope for his opinion- + + DIGGS + Up there in the rocks. Three o'clock. I'm not sure... it could be ambient. + +/* 170 */ + +EXT. THE SOUTH FACE - MORNING #170# + +Lincoln and Ester hide in the shadow of a rock. Ester is muffling her breaths as best she can. Lincoln now hazards a look over the top. Two figures are climbing down the far side of the canyon, now pointing in their direction. He ducks back, assimilating. Hiding, no longer an option. Nor running, at least for Ester. His face sets in a grimace of conviction. His eyes glow darkly. + +/* 171 */ + +EXT. THE NORTH FACE - MORNING #171# + +Diggs and Burdon reach the foot of the rocks. Neither speaks, communicating in hand-signals. Diggs slips into the lode-canal. Burdon covers, sweeping the thunderbolt across the south face. Diggs emerges from the far side of the lode-canal. He stays low, moving up into the rocks. Then, from above, a rock dislodges, rattling down. Diggs reacts instantly, targeting, opening fire- - BOOM - BOOM - The shots from the rainmaker swathe across the rock. The thunderbolt now adding to the barrage, Burdon firing from the far side - SHOTS, BOLTS, KICKING UP A STORM OF DUST -- SUDDENLY HOLDING FIRE, waiting for the dust to clear, reloading. No sign of movement. Just a slide of rubble. Fading echoes. DIGGS STEALS ONWARDS UP THE ROCKS - into the fog of dust - the sunlight and shadow playing tricks on his eyes - then suddenly- LINCOLN BURSTS OUT OF THE DUST - from the left - tackling the pale man - both of them toppling - tumbling down the slope -- THUDDING TO A HALT at the lip of the lode-canal - the rainmaker lost in the fall - the impact throwing up a billow of dust -- THE DUSTCLOUD - Diggs and Lincoln struggling, clawing, punching - Lincoln, with surprise on his side, gaining with the upper hand-- + +/* 108. */ + +DIGGS' CLAWING FINGERS discover Lincoln's knife - tugging it from his jacket - Lincoln grabbing his wrist, fighting for control - THE KNIFE MOVING BETWEEN THEM - Diggs with better leverage - the blade inching towards Lincoln's face - pressing into his cheek-- LINCOLN'S EYES - welling black, almost inhuman - the sense of danger screaming in his ears - he grabs the pale man's throat - DIGGS' EYES - bulging as he strains to push the knife home - oxygen draining - conscious ebbing - he slumps back - LINCOLN REGAINS THE KNIFE - the pale man seems to be out cold - but he's not sure - he pauses holding the blade over him, then--- BOOM - THE KNIFE FLIES FROM HIS GRIP IN A BURST OF DISCHARGE - BURDON SNAPS AIM FOR ANOTHER SHOT - beading - his target moving now - dropping out of the firing line - into the lode-canal-- BURDON INCHES TOWARD THE EDGE - thunderbolt angling downward - into the trench - then suddenly he's GRABBED BY THE ANKLES - LINCOLN STRAINING to overbalance the giant - feet up against the wall - like trying to topple a tree - finally winning some give- BURDON TOPPLES INTO THE TRENCH - his ankles clamped by his quarry - both men meeting the concrete with a bone-shaking-- THUD - LINCOLN IS CRUSHED BENEATH THE MASSIVE WEIGHT - the giant already recovering from the fall - now dragging him upright--- THUD - BURDON THROWS A PUNCH - mightily - hurling his quarry across the trench - moving in quickly, following up with a kick--- THUD - LINCOLN CRUMPLES as the boot smacks into him - then another kick - then another - the world starts blurring -- BURDON TURNS AWAY - his quarry disabled for now - he recovers his thunderbolt - turns back to administer the coup de grace-- LINCOLN LOOKS UP - the giant looming - the muzzle of his weapon thrumming with energy - the rivets on his denims start rattling-- BURDON SPINS ROUND - the thunderbolt suddenly ripped from his grasp - there, in the distance - AN EASTBOUND BARGE IS COMING - LINCOLN SCRAMBLES UP THE WALL OF THE TRENCH - muscles straining, feet slipping on the concrete - escaping the imminent vessel -- + +/* 109. */ + +DIGGS COMING TO - now seeing his quarry a short distance away - emerging from the lode-canal - he looks around for a weapon, then- + + BURDON (O.S.) + Diggs! Get me outta here! + +BURDON STRUGGLING TO CLIMB OUT OF THE TRENCH - with one arm, it's almost impossible - fighting against his own weight-- DIGGS REACHING THE EDGE - seeing the eastbound barge coming - grabbing his partner's outreached hand - pulling him upward - BURDON'S PANIC - his other arm flinging away - HIS METAL BRACE SNARED BY THE LODE-STREAM - the force shuddering his entire body- DIGGS PULLING WITH ALL HIS MIGHT - feet slipping - locked in a tug of war with the lodestream - THE BARGE IS CLOSING FAST-- BURDON'S HORROR - now suspended between the two forces - feet kicking - THE BARGE IS ALMOST UPON HIM - he screams agonized-- + + BURDON + Help me! HELP MEEEEE! + +THE SCREAM IS INSTANTLY LOST in the whoosh of the barge. Diggs, stunned, just looks at his hands, empty, spattered with blood. + + DIGGS + Burdie...? + +THE SHADOW OF THE ROCK - Lincoln rejoins Ester - casting a look back - the eastbound barge now plummeting into the distance-- DIGGS STOOPING AT THE EDGE OF THE TRENCH - looking down - all that remains of his partner is a smear of blood at the concrete-- LINCOLN AND ESTER REACHING THE FOOT OF THE ROCKS - seeing THE WESTBOUND BARGE against the sunrise - snaking into the passage-- DIGGS PULLING UPRIGHT - spotting his quarry - fire in his eyes - drawing out a boot-knife - slipping it between his teeth-- THE WESTBOUND BARGE pulling through the canyon - lode-poles pulsing ahead of it - polarity thrumming in opposing flow-- LINCOLN AND ESTER start running as the barge comes towards them - Lincoln pulling Ester along - struggling to match the pace-- A SOUND LIKE A BEATING TYMPANY COMING TOWARDS THEM - they look round to see - A SHADOW RUNNING ALONG THE TOP OF THE BARGE-- DIGGS FLINGING HIMSELF OFF THE BARGE - the blade in his teeth - arms spread - for an instant, like a vulture against the sun-- + +/* 110. */ + +LINCOLN IS SUDDENLY CRUSHED by the weight of his landing - ESTER IS HURLED SIDEWAYS - into a ditch - lost in a cloud of dust-- DIGGS PULLING HIMSELF UP, astride of Lincoln - snatching the knife from his clenched teeth - the sound, like a whetstone-- LINCOLN SPITTING DIRT - suddenly grabbed by the scalp and tugged sideways - twisted partways onto his back, forced to look up at-- A BLACK SPOT AGAINST THE SUN - Diggs' face set in a murderous sneer - he wants to see this fucker's eyes - the torment-- LINCOLN DAZZLED BY THE SUNLIGHT - but suddenly knowing the face of death - now catching the brief glint of the knife as -- DIGGS PLUNGES THE BLADE DOWN - slicing into his quarry's hand as he throws it up in defense - his quarry YOWLING WITH PAIN-- LINCOLN FEELING THE STAB - his deepest instinct suddenly awoken - every impulse, every fiber brought into alignment - survival-- DIGGS IS HURLED INTO THE AIR as Lincoln surges upward - he tumbles backward into the dust - losing hold of the boot-knife-- LINCOLN PUSHES HIMSELF UPRIGHT - only makes it half-way - scrambling towards the pale man - all fours, like an animal-- DIGGS CLAWING AROUND IN THE DUST - fingers finding metal - the boot-knife - he brings it up - slashing at his imminent quarry-- LINCOLN RECOILING - the blade nicking his face - sudden rage - grabbing the pale man by the arm - swinging him round into--- BOOM - THE MOVING WALL OF FREIGHT CONTAINERS - as the westbound barge passes - Diggs bounces off - stumbling to keep balance-- LINCOLN ON THE RETREAT - the pale man coming at him with the knife - another nick - seeing a gap now, shoving him backwards--- BOOM - THE MOVING WALL RESOUNDS - Diggs howls - snagged by a bolt - hurt, his fury becomes incandescent - he strikes madly-- LINCOLN STUMBLING BACK - the pale man coming at him - the blade flashing to and fro - frenzied - like a threshing machine-- FORCING HIM UP AGAINST THE ROCKS - the knife almost upon him - he grits his teeth and lunges forward - charging like a bull -- DIGGS CAREENS BACKWARD, still swiping the blade - digging into his quarry - headlong towards the moving wall - hitting with--- WHUMP - no resonant boom - no bouncing back - Diggs has hit a gap between the containers and HIS HEAD HAS BEEN LOPPED OFF - + +/* 111. */ + +LINCOLN STANDS HORRIFIED - as the headless body is spun by the moving wall - dropping into the trench as the barge tails off- The westbound barge gains speed, leaving the canyon. But there is Ester, running after it, vainly, coughing and sputtering. + + LINCOLN + Ester! Stop! It's no use! + + ESTER + We have to... get to... The Island... + + LINCOLN + It's going too fast! + + ESTER + We have to... get to... + +Ester staggers a few more steps, then collapses to her knees, rasping for breath. As Lincoln reaches her, she slumps back into his arms. Her head lolling, eyes rolled back to white, a drool of blood spilling from her lips. Then the blast of a claxon cuts the air as the westbound barge disappears into the distance. + +>FADE TO BLACK. + +/* 172 */ + +EXT. SEDONA - LATE AFTERNOON #172# + +A ranch home in the middle of nowhere. Long shadows. + +/* 173 */ + +INT. STUDIO - RANCH HOME - LATE AFTERNOON #173# + +Late golden sunlight through a mist of sawdust. Abstract wood sculptures are visible. Juniper wood, carved along the bias of the grain, polished to accentuate the curves of natural growth. AN OLDER WOMAN runs a sander over a work in progress - 60's, in coveralls, gray hair tied back, her face shielded by goggles and a bandana. She pauses to review her work, shutting down the sander, slipping off her goggles and bandana. Her face is eerily familiar. Her name is KATHERINE. She now moves to the window, catching sight of something outside. Curiously, she watches a vehicle coming down the long driveway. A dusty, grey cutter. + +/* 174 */ + +EXT. FRONT PORCH - RANCH HOME - LATE AFTERNOON #174# + +Katherine opens the front door. The cutter is now docked in the port and a stranger is staggering towards her. In his arms, is an unconscious woman. Now Katherine can see the face - younger, but unmistakable even so. Her voice comes in a chilled whisper- + + KATHERINE + Oh , God... Oh, my God... + +/* 112. */ + +/* 175 */ + +EXT. PHOENIX - LATE AFTERNOON #175# + +A whisper cuts across the glistening skyline towards The Sanger Industries Tower. It circles in to land on a rooftop helipad. + +/* 176 */ + +INT. CROWNE'S OFFICE - SANGER INDUSTRIES TOWER #176# + +Silence . Crowne sits at her desk. Merrick sits across from her. Waiting. The air stirs as the secretary ushers Dr. Sanger into the office. No greetings are exchanged. Sanger just lowers into a chair, a little unsettled to find Merrick has preceded him. + + CROWNE + I take it you've heard the news. + + DR. SANGER + The bond agents. Yes. Unfortunate. + + CROWNE + Unfortunate? + (pauses, lights a cigarette) + We're way past unfortunate, Henry. + + DR. SANGER + I thought we'd covered ourselves. + + CROWNE + The police won't connect the bond agents to us. But that's not the problem. It's the sponsor. + + DR. SANGER + What are you talking about? + + MERRICK + The male agnate tracked him down. + + CROWNE + His name's Thomas Lincoln. It seems they had a genetic reunion. Not a happy one. It was all I could do to stop him going to the authorities. + + DR. SANGER + I still don't see the problem. + + CROWNE + He may not want a police involvement but he's already threatened to file suit. And he's one of the biggest litigation attorneys in the city. + +/* 113. */ + + DR. SANGER + That's why we have you, Ellen. + + CROWNE + That's why I asked Bernard to come out here. To find out how it happened. + + MERRICK + I told her, Henry. About synesthesia. + +Sanger casts a betrayed look at Merrick. Then returns to Crowne- + + DR. SANGER + It was a marginal problem. And it was under control - according to Bernard. + + CROWNE + That's not the point. Whether or not it's a factor in this instance, it puts us in breach of the clone laws. + + DR. SANGER + It doesn't even touch their genetics. + + CROWNE + I'm talking about self-awareness. The virtual humanity statutes require us to give them consciousness to the level of functionality. But not beyond. + +This gives Sanger pause. Crowne drags her cigarette acutely. + + CROWNE + Legally , we are naked on every level. Federal legislature, state licensing, sponsorship contract... But even if we did manage to weather the legal storm, we'd never survive the public scrutiny. + +Sanger absorbs this, calmly shaking a pill from his pill bottle. + + DR. SANGER + I've spent my entire career facing down naysayers, Ellen. Don't think for a second I'm afraid of facing them now. + + CROWNE + You remember cryogenics? At the outset, people dismissed it as a rich man's folly. Eccentric millionaires freezing their brains, hoping to wake up in a new body. + +/* 114. */ + + CROWNE (cont'd) + Even when cloning showed signs of making it feasible, it wasn't moral affront that caused the backlash. It was the scope. The scope, Henry. When the size of the customer base was exposed , it screamed inequality - one medicine for the rich and one for the poor . The pressure for accessible cryogenics as good as buried the industry. + ( a pause for emphasis) + Our graves are being dug as we speak, gentlemen . Every passing second, they get deeper. If we're going to survive, we have to act swiftly and decisively. + + DR. SANGER + Alright . What do you suggest? + +Sanger dry swallows the pill. Ellen opens a contract folder. + + CROWNE + Our security chief - I've been looking at his file. Ex-marine, served in South China - do we think he still has it in him? + + DR. SANGER + ( realizing , suddenly harsh) + Are you insane? + +Their eyes deadlock. Crowne gives Merrick a sideways glance. + + CROWNE + ` You ever wondered why Henry takes those pills, Bernard? Why he doesn't avail himself of his own technology? + + DR. SANGER + An agnate could give me a new heart but to get it to function mentally... + + CROWNE + Bullshit , Henry. Bullshit. You don't want to deal with reality. Only with concept. I may not have been there at the start but I heard the stories. You wanted in on every aspect of construction, from environmental design right down to the classical playlists. It wasn't enough just to make it work, was it? No, you wanted your own little utopia. + +/* 115. */ + + CROWNE (cont'd) + Swanning around in your mountain retreat like some self-appointed deity . But when it comes to getting your hands dirty... + + DR. SANGER + Are you quite finished? + + CROWNE + Even God has blood on his hands, Henry. Are you going to watch it all go up in flames or are you going to deal with it? + +Sanger crosses to the window, looking down onto the city. + + DR. SANGER + You see that street down there...? Running east from the stadium. My father used to take me to church on that street. An old Spanish church. + + CROWNE + What's your point? + + DR. SANGER + I didn't know they'd torn it down. + +/* 177 */ + +INT. GUEST BEDROOM - KATHERINE'S HOUSE - EVENING #177# + +A floral bedroom. Ester lies in bed, wheezing, semi-conscious. Katherine slips a pill between her lips and tips in some water. Lincoln stands watching. Katherine ushers him out of the room. + +/* 178 */ + +INT. KITCHEN - CONTINUOUS #178# + +The kitchen is arrayed with modern technology but softened with paintings and craftwork. Art marginally overwhelming science. Katherine starts making some herb tea in the traditional manner. + + LINCOLN + What did you give her? + + KATHERINE + Just something to help her sleep. I think she has a bronchial infection. But I'm not sure I should give her an antibiotic in case it effects the baby. + + LINCOLN + So you know about the baby... + +Katherine pauses, reality sinking its claws. She looks at him- + +/* 116. */ + + KATHERINE + Isn't that why you came here? + + LINCOLN + I found your name in the listings. I wasn't sure. You don't look like her. + + KATHERINE + They have a plan... For women like me. + + LINCOLN + So you're the one who takes her baby. + +Katherine winces at him. It's uttered so matter-of-factly. She pauses, hanging her head, searching within herself. + + KATHERINE + You know when you're young? How you run around thinking you're immortal? + +Lincoln ' s look says he has no idea. She seems not to notice. + + KATHERINE + There was a lodeway accident. I was... damaged. After that, I thought no man would ever want me. I was wrong. His name was John. He said he married me for my eyes. Ocean eyes, he called them. He always loved the ocean. Up there on the wall, that's John's boat. + +Off her gesture, Lincoln glances at the wall. A watercolor of a yacht. Meaningless to him but Katherine gazes it at, fondly- + + KATHERINE + But I think there was always an unspoken regret between us. When we heard about the technology, it was like... forgiveness , like a second chance. A child of our own, part of both of us. Sailing trips, fishing trips, so many plans... + ( a flat beat) + John got cancer a year ago. He died. + +Her eyes mist, distant and bittersweet, talking to herself now. + + KATHERINE + Ironic . That the same technology could have saved his life. And now the baby is the only part of him I have left. And the boat. I still have the boat. + +Lincoln looks discomfited. There's more to this than he thought. + +/* 117. */ + +/* 179 */ + +INT. MOTEL ROOM - EVENING #179# + +Scheer opens the door. Merrick stands at the threshold with an attache case. Scheer, seemingly unsurprised, brings him inside. + + SCHEER + I told you we shouldn't have gone to outside personnel. They were cowboys. + + MERRICK + We had no choice, Karl. We had to keep this away from The Institute. + + SCHEER + And now? + +Merrick lowers in a chair, grim and leaden. He opens his attache and pulls out a contract folder. He hands it to Scheer. + + SCHEER + What's this? + + MERRICK + Your resignation papers. Maybe `early retirement' would be more accurate... + +Scheer leans forward, frowning, curious. + + MERRICK + Ten platinum bounty - if you sign the papers, their loss becomes your gain. + + SCHEER + A parachute... So there's a jump? + + MERRICK + You understand that whatever happens, The Institute must be able to deny it. + +Scheer says nothing. Merrick reaches in the attache and pulls out a case. Inside are a row of ampules and a pressure syringe-gun. + + MERRICK + We use a chemical to dispose of waste product. It's called di-halcyonate. It reacts on a molecular level to start a process of internal combustion. The subject is incinerated from the inside out. In post-mortem application it's done its job before rigor mortis. In a live subject, well... you can imagine. + +/* 118. */ + + SCHEER + You want to dispose of your products. + + MERRICK + It's a little more complicated than that. We have to be very... thorough. If you still have it in you, that is. + +Scheer gives him a sideways look. Then displays the USMC ring. + + SCHEER + Why do you think I still wear this? + + MERRICK + I don't know. + + SCHEER + I was discharged from the marines for insubordination. If you asked anyone in my unit, they'd call it heroism. I disobeyed an order to fall back. I took out a bunker complex single-handed. + + MERRICK + So you wear it is a badge of honor? + + SCHEER + No . It wasn't bravery. I wasn't afraid of dying. I just didn't care. You see, I suddenly realized I was just a sack of flesh with a heartbeat. Life, death, I just couldn't see the point anymore. + +Merrick allows a respectful pause, then- + + MERRICK + You'll find a vehicle parked outside. It's unregistered, difficult to trace. I take it we have an agreement...? + +/* 180 */ + +INT. KATHERINE'S BEDROOM - NIGHT #180# + +A slant of light falls across Ester, writhing in her sleep, rasping. Katherine and Lincoln peer in through the doorway, checking on her. Then Katherine quietly closes the door. + +/* 181 */ + +INT. KATHERINE'S KITCHEN - NIGHT #181# + +Lincoln paces around, feeling useless. Katherine considers him- + + KATHERINE + What do I call you? + +/* 119. */ + + LINCOLN + Lincoln . My name's Lincoln. + + KATHERINE + Lincoln , I think she needs professional help. I think she needs to see a doctor. + + LINCOLN + No . They'll find her. They'll take her. + + KATHERINE + Not if I don't want them to. + + LINCOLN + You don't understand. They don't want people to know about her. Either of us. + + KATHERINE + The doctor I'm thinking of, he's an old friend. He look after John in the final stages. I trust him. + + LINCOLN + Why ? So you can take her baby? + + KATHERINE + No . No, that's not what I want. + +Off Lincoln's blunt look, she sighs, lowering into a chair. + + KATHERINE + Maybe I didn't realize she'd be so... + ( cuts off, a deep pause) + Maybe I just didn't want to. Either way, I was wrong. I want you to know that. I was wrong... And I'm sorry. + +A heavy lull. Lincoln hangs his head, remembering. + + LINCOLN + They make you believe there's a place called The Island. Then they take you upstairs and put you to sleep. They cut you open. They take pieces of you. + +Katherine looks at him, intuiting. She allows a pause, then- + + KATHERINE + Even if I had taken her baby, I swear to you, I'd never have... They give you a choice, you see, to extend the sponsorship after... after delivery . + +/* 120. */ + + LINCOLN + No . I saw a lot of us go to The Island. But I never saw anyone come back. + + KATHERINE + You mean... Even if I had extended the sponsorship, they'd have... and kept taking the money? But that's inhuman. + + LINCOLN + ( beat , a lost look) + Is it? I wouldn't know. + +/* 182 */ + +INT. UNDERGROUND PARKING LOT - EVENING #182# + +A sleek low vehicle known as a "straker" pulls down the ramp. + +/* 183 */ + +INT. APARTMENT BUILDING - EVENING #183# + +The orbs on the doors eyeball Scheer, moving up the corridor. He stops at a doorway. Rings the bell. Tom Lincoln opens the door- + + TOM + Yes? + + SCHEER + I'm from the Sanger Institute. + + TOM + I've given you people enough of my time already. + + SCHEER + It's just a formality. I need to see your sponsorship contract. + +Tom pauses then lets Scheer inside. He crosses to the wall safe, taps the keys. Then pulls out the contract folder. He offers it. + + SCHEER + Is this the only copy? + + TOM + Why would I make copies? Do you think I want anyone else to know about this? + +Scheer accepts the folder. As Tom turns to close the safe, he sets it down. And grabs Tom from behind, by the scalp, pressing the syringe-gun into his jugular. A HISS. Tom clutches his throat like it's on fire. With a boiling gurgle, he staggers forward. Sweating, collapsing. Convulsing, belching steam. Then falling slack. His skin starts to smolder. Scheer pauses, then tosses the contract folder on top of him, leaving it to burn with him. + +/* 121. */ + +/* 184 */ + +EXT. NEW GAZA HOSPITAL - PHOENIX - NIGHT #184# + +Establishing . A clean facade of white steel and glass. A hatchback vehicle known as a "corsair" pulls down the parking ramp. + +/* 185 */ + +INT. UNDERGROUND PARKING LOT - NEW GAZA HOSPITAL - NIGHT #185# + +The corsair pulls up at the ER entrance, Lincoln at the wheel. Katherine gets out of the passenger side. A doctor is waiting - 50's, caring face. His name is DR. ABRAMS. He looks curiously at the man at the wheel. Then greets Katherine with a hug - + + DR. ABRAMS + Katherine . . . It's good to see you. I haven't seen you since John's funeral. + + KATHERINE + Well I've been keeping busy. Trying to. Thanks for coming down to meet me. + + DR. ABRAMS + Your call was a little cryptic. What is it exactly that's wrong with you? + + KATHERINE + It's not me... Not exactly. + +She opens the rear door of the corsair. Ester is lying on the back seat. Dr. Abrams frowns as he notices the resemblance. + +/* 186 */ + +EXT. THE RANCH HOUSE - SEDONA - NIGHT #186# + +The straker pulls up into the port. + +/* 187 */ + +INT. THE STUDIO / MAIN HOUSE - SEDONA - NIGHT #187# + +The shadow of Scheer moving outside the windows, looking for a point of entry. He inspects the studio door for alarms. Then elbows the glass. Reaching inside, turning the lock. He enters the studio, glancing at the sculptures. Moving through the home. Silently , systematically, checking the rooms. He reaches the guest bedroom, looks around. Something catches his eye. Spots of blood of the linens. Eyes honing, he moves on into the kitchen. He discovers a holocom keypad on the counter. Taps some keys. The holoframe flashes "REDIALLING". The holoframe snows with static. Then a receptionist's face appears- + + RECEPTIONIST (ON HOLOCOM) + New Gaza Hospital, how may I help you? + +/* 122. */ + +/* 188 */ + +INT. WAITING ROOM - NEW GAZA HOSPITAL - NIGHT - LATER #188# + +Lincoln stands waiting. There are chairs but he's too tense to sit. Katherine and Dr. Abrams now enter. Lincoln looks at them, expectantly. There's a pause. Then Dr. Abrams speaks- + + DR. ABRAMS + Your friend... she has pneumonia. At a very advanced stage. Its progress has been unchecked by her immune system. + + LINCOLN + Can you help her? + + DR. ABRAMS + We have two options... One is a super-biotic . But there's the risk her immune system might bow out of the fight. The other is a nodal transfusion. Katherine has agreed to be the donor. But the new antibodies may not conform fully. They may decide to attack the baby... + + LINCOLN + I don't understand any of this. + + KATHERINE + He means that by trying to help her, we could lose her. Or lose the baby. + + DR. ABRAMS + Or , if we do nothing, both. Her immune system is... remarkably unstable. If we don't act, the infection will take over. + +Lincoln lowers into a chair. He feels a pain somewhere. He can't quite pin down where. Or what caused it. Or why it hurts so bad. + +/* 189 */ + +INT. HOSPITAL ROOM - NIGHT #189# + +Ester lies in bed, dozing, looking more relaxed. Her oxygen mask makes breathing easier. Lincoln enters and sits beside her. She stirs, meeting his eye with a faint smile. Lincoln returns it- + + LINCOLN + Hello , stranger. + + ESTER + You look tired, Lincoln. + + LINCOLN + Ester... + +/* 123. */ + + ESTER + It's okay. I know. Katherine told me. + +She sits up, lowering her mask. Her hand finding his. + + ESTER + She told me a lot of things. About how they used a tiny part of her to make me. She said it wasn't so very different. + + LINCOLN + What do you mean? + + ESTER + ( touching her belly) + From this... From having a baby. + +Lincoln nods. A pause. Ester continues, more troubled, wheezing- + + ESTER + She told me how they use us... And I keep thinking... about the others... the ones we left behind, about how they'll never know... how they'll... + +Ester ' s out of breath again, coughing. Lincoln helps her put the oxygen mask back over her mouth. Ester slumps back, relaxing. Off Lincoln's worried look, she smiles at him with her eyes- + + ESTER + I'm going to be okay, Lincoln. + + LINCOLN + I know. + +But even to his own ears, the affirmation sounds hollow. + +/* 190 */ + +INT. MEN'S ROOM - HOSPITAL - NIGHT #190# + +The stream of water gushes into Lincoln's hands. He splashes his face. Then looks at himself in the mirror. He looks sallow from sleeplessness. The facial hair makes him look like a shadow of his former self. For an instant he tenses at a light blinking in the glass. Blue light. Like etherscreen. Then he sees it's just a humidifier on the far wall. Tension ebbing, he splashes some more water. When he looks up again, he sees his pupils are dilating. The sense of danger. His voice comes in a cold whisper- + + LINCOLN + No... + +/* 124. */ + +/* 191 */ + +INT. HOSPITAL CORRIDOR - NIGHT #191# + +Lincoln emerges from the restroom, scanning for the danger's source. Figures flash past in scrubs, white coats. Then he sees it. The figure emerging from the elevator. The face of Scheer... + +/* 192 */ + +INT. PREP ROOM - NIGHT #192# + +A flurry of disturbance from the nurses as someone barges into the room. Dr. Abrams is prepping Katherine for the transfusion. Off the ruckus, he looks up. Lincoln comes up to them, urgently- + + LINCOLN + We have to go. We have to get her out. + + KATHERINE + What are you talking about? + + LINCOLN + He's come for her. For us. + + DR. ABRAMS + Whatever this is about, we can't move her. She's already under sedation. + +Lincoln look to see Ester, asleep on the OR table beyond. + + LINCOLN + How long before she wakes up? + + DR. ABRAMS + The procedure takes three hours but... + + LINCOLN + ( to Katherine, emphatic) + You'll take care of it, won't you? Take her somewhere they can't find her... + +Katherine , understanding, simply nods. Lincoln takes a last look at Ester, then departs. Dr. Abrams, bemused, turns to Katherine- + + DR. ABRAMS + Katherine , what the hell's going on? + +/* 193 */ + +EXT. HOSPITAL CORRIDOR - NIGHT #193# + +Lincoln moves up the corridor, purpose in his stride. His black gaze fixed on Scheer, making an inquiry at the nurse's station. Lincoln doesn't even break stride. He GRABS SCHEER FROM BEHIND-- HURLING HIM ACROSS THE NURSE STATION - INSTANT CONFUSION - NURSES RUNNING - PEOPLE SHOUTING - Lincoln takes off at a run-- + +/* 125. */ + +SCHEER RECOVERING - seeing his quarry through the confusion - no time for subtlety - he leaps over the nurse's station - pursuing- LINCOLN pauses at the emergency exit - checking to see his enemy is following - then pushing on through the doors into-- + +/* 194 */ + +INT. STAIRWELL - NIGHT #194# + +LINCOLN HAMMERS DOWN THE STEPS - an alarm sounding - shouting from beyond - FOOTFALLS BEHIND HIM - deeper into the gloom- SCHEER VAULTING THE RAIL - shortcutting the flights of steps - catching sight of his quarry as he pushes through a door into-- + +/* 195 */ + +INT. UNDERGROUND PARKING LOT - NIGHT #195# + +LINCOLN BURSTS OUT INTO THE PARKING LOT - flashes of light - vehicles pulling in and out - off across the parking docks - SCHEER BURSTS OUT IN HIS WAKE - his quarry temporarily lost - now spotting him across the lot - leaping into a vehicle - LINCOLN FIRES UP THE CORSAIR - resistors droning - jamming the throttle - lurching out - NARROWLY MISSING ANOTHER VEHICLE - SCHEER SPINNING ROUND as the corsair blurs past - it's heading for the exit ramp - he launches towards the straker - + +/* 196 */ + +EXT. EXIT RAMP - THE HOSPITAL - NIGHT #196# + +THE CORSAIR BURNS UP the parking ramp - SMASHING THE GATE ARM - plunging out into the street - bouncing across the lodestream - THE STRAKER HURTLES UP close behind - into the snarl of traffic - steering expertly through - picking up the tail of the corsair - + +/* 197 */ + +EXT. STREETS OF PHOENIX - NIGHT #197# + +THE CORSAIR PLOUGHS UP THE STREET - TRAFFIC SWERVING out of its path - BUOYS CLANGING as it lurches from one lane to the next - LINCOLN JAMS THE THROTTLE - the resistors buzzing, growling with energy - he has one goal - draw his enemy away from Ester - SCHEER COOLLY INTENT at the controls of the straker - keeping a certain distance - waiting for his quarry to make a mistake -- A METRO PD OFFICER PULLS OUT - mounted on a hybrid of motorbike and jetski known as a "lode-runner" - SOUNDING THE SIREN-- SCHEER REACTING - the PD lode-runner pulling ahead of him - he can't allow a police intervention - he slips in behind -- + +/* 126. */ + +THE METRO PD OFFICER - darting looks back - headlamps blinding his rear-view - another vehicle is coming up behind him fast - - CLANG - THE STRAKER IMPACTS - glancing the PD lode-runner which wobbles, corrects - the straker drops back for a longer run up-- THE METRO PD OFFICER - yelling into his headset - inaudible over the siren - the headlamps again - the vehicle coming up behind-- - CRASH - THE PD LODE-RUNNER fishtails - its resistors suddenly clash with the prevailing polarity - A HUGE JOLT OF INERTIA- CATAPULTING THE METRO PD OFFICER through the air - plummeting down into obscurity - THE STRAKER WHOOSHING OVER HIS HEAD - THE PD LODE-RUNNER LEFT SPINNING behind - resistors vying with the polarity - the drive system melting down - FUSING, SPARKING-- - BOOM - THE PD LODE-RUNNER EXPLODES IN A FLASH OF ELECTRICAL FIRE- SCHEER watches the fireball in his rear-view - there will be more police soon - he jams the throttle - he has to end this. LINCOLN SEEING THE STRAKER ZOOMING UP BEHIND - veering round another corner - the chassis tilting - A STEEP BANKING TURN - THE CORSAIR HULL RUNNERS THUDDING across the buffers - recoil sending the chassis up against the concrete - SPARKS FLYING-- SCHEER TURNING THE CORNER - the windshield suddenly sprayed with sparks - jerking back on the throttle to avoid a collision - LINCOLN FIGHTING TO CORRECT THE STEERING - seeing the straker dropping back - a chance to gain distance - JAMMING THE THROTTLE- AN INTERSECTION APPROACHING - Lincoln can't correct his steering in time - the corsair careens at full revs over the intersection-- CRASHING THROUGH A GATE ARM - the ground dropping away into a steep ramp - suddenly the corsair is flying through the air-- CRASHING - SQUEALING ONWARDS - SCUDDING ACROSS VEHICLE ROOFS, finally nose-diving into an empty bay with a DEAFENING CRUNCH- + +/* 198 */ + +EXT. ENTRANCE - HOLSPAR STADIUM - NIGHT #198# + +The straker pulls up at the smashed gate arm. In the booth, a holoserve parking attendant greets the arrival with a smile- + + PARKING ATTENDANT + Welcome to Holspar Stadium , home of the Phoenix Admirals, parking is fifteen currency units... + +/* 127. */ + +Scheer gets out of the straker. He looks down at the crashsite below . The parking lot, like a marina, is filled to capacity. A game is in progress. A corona of light coming from the stadium. Hoots, music, the roaring crowd. Over which, sirens can now be heard. Scheer draws the syringe-gun and heads down the ramp. + +/* 199 */ + +EXT. PARKING LOT - HOLSPAR STADIUM - NIGHT - MINUTES LATER #199# + +Dust blooms from the crashsite. Scheer crouches, peering down at the wrecked corsair. The burst windshield, the dangling driver side door shows his quarry has escaped the wreckage. He rises and scans around. On the concrete, a trail of blood is visible. + +/* 200 */ + +INT. STORAGE AREA - HOLSPAR STADIUM - MINUTES LATER #200# + +The blood trail leads down a gloomy stairwell. The game is just audible overhead. Lincoln stumbles down the steps, clutching his bleeding arm. Between pain and concussion, he loses his footing and falls. He tumbles down the remaining steps to the bottom. In the gloom we see groundskeeping equipment , supplies - edgers, aerators, spray rigs, drums of insecticides, herbicides. For a moment, Lincoln lies stunned. Then hears a noise and rolls over. He looks up the stairwell. A shadow is descending towards him. With painful effort, Lincoln starts crawling across the floor, eyes fixed on the shadow. Tensing as A HANDGUN noses out of the darkness. Then A STADIUM SECURITY GUARD steps into the light - + + SECURITY GUARD + You , what are you doing down here? + +Now he sees Lincoln more closely - injured, his arm bleeding. + + SECURITY GUARD + Oh , Jesus... Are you okay, son? + +Lincoln eases a little as he sees the security guard lower his weapon. Then suddenly the guard is JERKED BACK BY THE SCALP. A HISS. Now suddenly the guard jettisons the handgun, clutching his throat like it's on fire. With a boiling gurgle, he staggers forward. Streaming with sweat. Toppling across a herbicide drum. Convulsing, belching steam. Then suddenly his body falls slack. Scheer is at the foot of the steps, discarding the spent ampule from the syringe-gun. Now screwing a fresh ampule into place. Lincoln turns to him, realizing what he's just witnessed is a glimpse of his own fate. He pushes himself upright, bracing. Scheer looks at him. Clutching his bloody arm, barely able to stay upright, but still ready to fight for life. He half-smiles- + +/* 128. */ + + SCHEER + I'm jealous of you. You have a reason to live. I can't say I've ever had that... + +Lincoln holds his gaze, looking deep in his eyes. Then, as if scared by what he sees there, starts inching away, glancing at-- THE GUARD'S BODY SMOLDERING - lowering, melting through the drum- SCHEER MOVING FORWARD, the smile leaving his face. A mask of hollowness as he moves in on his quarry, the syringe-gun poised. LINCOLN STUMBLING - collapsing to his knees - hanging his head as if in surrender... then suddenly his hand flies up- - BOOM - A FLASH OF LIGHT as he fires THE HANDGUN - recovered from the ground - AN ENERGY PULSE impacting the wall, fizzling out-- SCHEER KEEPS COMING, syringe-gun ready, blank-faced, unflinching- THE GUARD'S BODY CRACKLING INTO FLAME - the drum splitting open-- - BOOM - ANOTHER FLASH - Lincoln fires again - clipping his enemy-- SCHEER KEEPS COMING, a charred wound in his shoulder, relentless- THE GUARD'S BODY BURNING - sliding into the sands of herbicide - - BOOM - BOOM - BOOM - LINCOLN KEEPS FIRING - more hits than misses-- SCHEER KEEPS COMING, blank faced, his body PITTING WITH IMPACTS-- A BLINDING FLARE OF LIGHT - THE HERBICIDE IGNITING - THE DRUM EXPLODING - STARTING A CHAIN REACTION - OTHER DRUMS IGNITING - EXPLODING - FIRE - SMOKE - ENGULFING ALL IN A BLAZING INFERNO... + +DISSOLVING TO: + +/* 201 */ + +INT. TOP OF STAIRWELL - NIGHT - MUCH LATER #201# + +A cacophony of sirens can be heard outside. A thick grey smoke gulches up from the stairwell. Shadows are visible. The sound of extinguishers. A FIREMAN climbs up, emerging from the smoke, he pulls off his breathing mask to address a waiting PD officer- + + THE FIREMAN + Nothing . . . If there was anyone down there, they're a pile of ashes now. + +>FADE TO BLACK. + +/* 129. */ + +/* 202 */ + +EXT. CEMETERY - SOME DAYS LATER #202# + +Peace . Sunlight. A bell tolling in the background. We make out Katherine, dressed in black, standing at a grave. The headstone reads simply: "Here Lies Ester & Her Unborn Son - May They Rest In Peace". There are no dates. Katherine lays down some flowers then looks across at Dr. Abrams. As he escorts her away, we see Crowne crossing towards them. She introduces herself delicately- + + CROWNE + Mrs . Ester? My name is Ellen Crowne. + +/* 203 */ + +INT. CEO'S OFFICE - THE SANGER INDUSTRIES TOWER - DAY #203# + +A celestial penthouse office. Katherine enters with Crowne. Merrick and Dr. Sanger rise to greet her. Strained solemnity. + + DR. SANGER + My name is Henry Sanger. I'd like to offer my deepest condolences. + +His insincerity is transparent. Katherine just nods stiffly. + + DR. SANGER + This is Bernard Merrick our facility director. He knew Ester personally. + + MERRICK + And it's a terrible loss. + +More insincerity. Katherine nods again. Then settles in a chair. Crowne allows a respectful pause. Then begins with due delicacy- + + CROWNE + Legal issues must seem trivial at this time. But the sponsorship agreement has certain conditions relating to confidentiality . Despite this tragic turn of events, those conditions remain binding. We want to be sure you understand that. + + KATHERINE + I see. + + CROWNE + That said, The Institute is likewise bound by the terms of sponsorship and while we reserve every right... + + KATHERINE + You can stop there. I know why I'm here. You wanted to know if I'm going to sue you for breach of contract. + +/* 130. */ + + DR. SANGER + Nothing so devious, Mrs. Ester. We simply wanted to find some way to heal the wounds from this incident. + + KATHERINE + I don't want restitution, Dr. Sanger. The reason I agreed to this meeting was to have the chance to talk to you. + + DR. SANGER + Of course. Please... + + KATHERINE + I never got to meet you when I visited The Institute. It was one of your salesmen who led the tour. I remember how he described the agnates as if they were some kind of mindless organisms. More like livestock than humanity... + + CROWNE + Legally , human rights don't apply. + + DR. SANGER + Don't interrupt, Ellen. + + KATHERINE + I remember how eager I was to believe him. But when I saw what I'd created, in flesh and blood, when I touched her , it was I who felt less than human. + + DR. SANGER + I understand. + +He looks at her expressively. Perhaps he really does understand. + + KATHERINE + Ester ' s life was my responsibility and her death is my cross to bear alone. So I'm not going to sue you, Dr. Sanger... + ( beat , a sudden ominous tone) + But I am going to blame you . Until the day I die, I will silently curse your name. That's what I wanted you to know. + +She drives it home with a horrible look. Sanger accepts it with due gravity. There's an ugly pause. Katherine gets to her feet. + + KATHERINE + And now I'd like to leave, please. + +/* 131. */ + + CROWNE + We do have other issues to discuss... + + DR. SANGER + No , Ellen, that's enough. I think Mrs. Ester has said all there is to say. + +/* 204 */ + +EXT. STREET - OUTSIDE THE SANGER INDUSTRIES TOWER - DAY #204# + +Katherine descends the steps from the entrance. She crosses to a black funeral sedan, parked kerbside. Dr. Abrams stands waiting- + + DR. ABRAMS + I hope you know what you're doing. + + KATHERINE + I don't think they suspected anything. + + DR. ABRAMS + Just understand that I've put a lot on the line for you, Katherine. + + KATHERINE + I know... But it felt good. It felt like something John would have done. + +/* 205 */ + +INT. ROOFTOP FLIGHTPAD - THE SANGER INDUSTRIES TOWER #205# + +Crowne escorts Sanger and Merrick to the waiting whisper. + + CROWNE + Well , I don't know about the two of you but I'd say we got off lightly. + + DR. SANGER + Did we? + + CROWNE + Don't start getting maudlin, Henry. It's a little too late in the game. + +She shakes their hands as they climb into the whisper. Then watches it take off, ascending into the blinding sunlight. + +DISSOLVE TO: + +/* 206 */ + +EXT. THE SANGER INSTITUTE - SOME WEEKS LATER #206# + +Air blasts up from the giant funnel. Widening, we re-establish the huge ring, the processing plant, the giant appendages of ducting, the immutable red rocks. The shot sequence, reprising. From the processing plant, over the main complex. From the front of the complex, to the dock. + +/* 132. */ + +Following the lodeway out to the perimeter wall. The gateway now gliding open to disclose a view of the shimmering desert. Out in the distance, the institute liner emerging from the shimmer. The crosshatch insignia. + +/* 207 */ + +INT. ENTRANCE HALL - THE SANGER INSTITUTE - DAY #207# + +Through the polarized glass we see the liner has docked. A TOUR GROUP is disembarking. Another parade of plutocracy, aging bloated men and brittle young women. They filter inside to be greeted by the courtesy staff, led by the ever-perky LYDIA. + + LYDIA + Ladies and gentlemen, my name is Lydia and on behalf of our staff, I'd like to welcome you to The Sanger Institute. Before we start the tour, we'll be serving refreshments in the visitor center and circulating our standard discretion agreements. I should add that today you are all very lucky because our CEO and founder, Dr. Henry Sanger, is with us and will be leading the tour personally. + +/* 208 */ + +INT. VISITOR CENTER - THE SANGER INSTITUTE - DAY #208# + +The tour group pick and mingle at a buffet. We isolate a casually dressed man, lightly bearded, in a Phoenix Admirals cap, crossing to Lydia. She turns to greet him with a smile- + + LYDIA + Yes . . . Mr. Thomas, isn't it? + +The man tilts up to reveal his face. We see he is LINCOLN... + + LINCOLN + I can't find my sunglasses. I think I left them on the shuttle. + + LYDIA + Well we're about to start the tour. But I can have someone check for you. + + LINCOLN + Don't worry. I'll catch up. + +/* 209 */ + +EXT. PROCESSING PLANT - DAY #209# + +Lincoln moves quickly along the wall towards the back of the complex. Hugging the shadows, scanning for onlookers. There is the processing plant and there, the ring of funnels. The sight brings a sudden rush of memories, painful memories, horrors. + +/* 133. */ + +Lincoln steels himself, then breaks from shadow and races for the nearest funnel. He makes a running leap. His fingers grab the lip of the funnel and he pulls himself up. Reaching the lip, he finds the funnel mouth has been gridded over . Then he hears- + + A VOICE (O.S.) + Sir , this is a restricted area... + +Lincoln lowers back to the ground. He finds himself facing A TECHNICIAN in a hardhat. His uniform reads "Air Processing". + +/* 210 */ + +INT. ELEVATOR - PROCESSING PLANT #210# + +The doors slide open and the technician enters, stiffly. Then suddenly topples forward, pistol whipped from behind. Lincoln enters the elevator, a familiar handgun clenched in his fist. + +/* 211 */ + +INT. ELEVATOR SHAFT #211# + +Looking up an elevator shaft. The red pulse of the lode-poles, rippling downward as the elevator descends from the surface. + +/* 212 */ + +INT. ELEVATOR - DESCENDING #212# + +Lincoln is now wearing the technician's uniform. He watches the panel lights flashing down. "Level 3: Harvest" "Level 5: Labor Decon", "Level 7: Labor Quarters". His pupils are dilating but his face is set with determination. He knows what he must do. His gaze drifts down to "Level Twenty: Agnate Containment". + +/* 213 */ + +INT. THE ETHER GRID #213# + +The holographic rendering of containment spins in the vaulted chamber like a giant geometrical phantom. The ether blinks with blue dots in their hundreds as the agnates go about their day. + +/* 214 */ + +INT. ETHER CONTROL ROOM #214# + +Overlooking the ether, Ethercon sits at his console. The hiss of an opening door as someone enters. Ethercon looks round. He greets the technician's arrival with an inquisitive look. Then the technician takes off his hardhat. A crosshatch on his brow. Ethercon reacts almost instantly, reaching for the console. Then instantly freezes as Lincoln presses the handgun to his skull. + +/* 215 */ + +INT. CORRIDOR - LEVEL TWENTY SEVEN #215# + +Pale blue light. Ethercon leads the way down a silent corridor. Lincoln follows him, the handgun firmly levelled on his head. + +/* 134. */ + +/* 216 */ + +INT. CHAMBER - LEVEL TWENTY SEVEN #216# + +The pale blue light sustains. The chamber is reminiscent of the foundation chambers. The walls lined with tanks. But instead of amber fluid, these contain blocks of ice. Beside each tank is a grid of bio-monitors. Ethercon stumbles into frame, prodded by Lincoln. Then, with a trembling finger points to one of the tanks. Lincoln holds aim on him and considers the glass facet. He wipes the condensation off the glass. Suspended in the block of ice is a shadow. A human figure. A device is attached to his stomach. Lincoln looks at the bio-monitors. A screen reads: " PRODUCT ID: STARKWEATHER/ FOUNDATION: II/ GENERATION: DELTA". Lincoln looks across the EKG, the cardiograph, indications that Starkweather is still alive. Then he fixes on the RFI monitor . A resonant image of the brain. The shifting aura showing a level of consciousness. What thoughts must be going through that mind? The fate of the agnates spared from expiration. To be kept on ice for future harvest. With a haggard look, Lincoln rests his hand on the glass where Starkweather hangs frozen. Connecting. + +/* 217 */ + +INT. SALES HALL - THE INSTITUTE - DAY #217# + +An embryo in mutated effigy hangs suspended in the amber fluid. Dr. Sanger stands at the wall of display tanks, mid-way through his sales pitch. He delivers it now with noticeably less gusto- + + DR. SANGER + Case in point, the clone. Back in the beginning, the mapping of the human genome was declared a historic landmark- to break the curse of heredity, to correct congenital defect... genetic engineering became the brave new world of medical science. A bright future that led to a dark age and much of... + ( an abrupt pause, a frown) + . . . legislation we know today. But while the clone laws may have narrowed the field, science marches on. Only to... + ( another abrupt pause) + I'm sorry, I'm f... + +Suddenly he clutches his arm, emitting a guttural gasp. + + LYDIA + DR. SANGER? + +Sanger just looks at her. Then jolts from a spasm, clawing at his chest. His knees buckling, he topples against a display case. Pawing at the glass, he slides dreadfully to the ground. + +/* 135. */ + + LYDIA + He's having a heart attack! A doctor! Somebody get a doctor in here! + +The tour group keeps their distance, unsettled by the face of mortality. Sanger is now lying in contortion on the floor, his gaping eyes fixed on the display tank. The embryo in mutated effigy, rocking about in the amber fluid. The sight of this little human monster is one that will follow him to the grave. + +/* 218 */ + +INT. DIRECTOR'S OFFICE - CONTAINMENT #218# + +The glass wall looks down on the avenue and the agnates milling beneath. Merrick sits at his console. Business as usual. Off a buzz, he taps a button. The door opens and A CENSOR bursts in- + + CENSOR + Sir , I've been trying to contact you. It's the ether... Something's wrong. + +Merrick taps another button and the glass wall frosts over. It pixellates onto an image of his own face. A recorded playback- + + @Merrick (P/B ON ETHERSCREEN) + Well , Starkweather, if you're watching on etherscreen - your time has come, my friend! You're going to The Island! + +P / B JUMP CUT TO: STARKWEATHER RUNNING IN AN ULTRAVIOLET HAZE, MEETING WHITE UNIFORMS, ZIGZAGGING OVER CROSSWALKS, DOWN RAMPS. + + MERRICK + ( stabs at a key on his console) + Ethercon ! Ether control, come in! + +P / B JUMP CUT TO: STARKWEATHER RUNNING FOR HIS LIFE, LURCHING FROM IMPACTS, HOOKHEADS BITING INTO HIS BACK, SPRAYING BLOOD- + + MERRICK + Anyone ! Somebody pick up! + +P / B JUMP CUT TO: STARKWEATHER DANGLING IN MID-AIR LIKE A FISH ON A HOOK -- SCHEER LOOKING UP AT HIM LIKE A CURIOUS ZOO EXHIBIT. + + CENSOR + That's what I mean. We can't get through. The circuits are locked. + +P / B JUMP CUT TO: STARKWEATHER CLUMPING DOWN A CORRIDOR, CLUTCHING HIS OPEN STOMACH, BLOOD STREAMING DOWN HIS LEGS. + + MERRICK + How wide is this going? + +/* 136. */ + +P/B JUMP CUT TO: CENSORS SHROUDING STARKWEATHER'S FACE WITH A WHITE HOOD -- BINDING HIS WRISTS AND ANKLES IN PLASTIC CUFFS -- + + CENSOR + Community - wide , sir. Everywhere. + +P / B JUMP CUT TO: CENSORS DRAGGING STARKWEATHER AWAY. THE LOOP OF INTESTINE PLUMPING FROM HIS BELLY. THE BLOODSMEAR ON THE FLOOR. + +/* 219 */ + +INT. CONTAINMENT #219# + +INTERCUTTING : Agnates at workstations watching on visors. In the subway watching on platform banner. In the plaza watching on the glass wall. An agnate in an apartment, watching on a wall panel. P / B JUMP CUT TO: A STILL IMAGE OF STARKWEATHER'S STORAGE TANK. THE BLINKING GRID OF BIO-MONITORS. THE SHADOW IN THE BLOCK OF ICE. We are still in the apartment when the playback cuts out. The agnate looks around as every piece of glass dissolves to transparency. The mirror panels, the frosted walls, the window, which now shows no view at all. Just the gleam of a holographic lens. + +/* 220 */ + +INT. DIRECTOR'S OFFICE #220# + +Merrick looks down from the glass wall at the agnates massed in the avenue beneath. They are all looking directly up at him. + +/* 221 */ + +INT. ETHER CONTROL ROOM #221# + +Alarms sounding. The ether grid blinking with red dots. Ethercon sitting frozen at the console, the handgun pressed to his head. Lincoln stands over him. His face cast in a chill of vengeance. + +/* 222 */ + +INT. RESIDENTIAL BLOCK - DAY #222# + +A glass facade. A noise from within. A primal, guttural noise, building to a roar. Now warping as we drop to slow motion. The glass webbing, bursting open from within, the facade exploding in a GLITTERING SHOWER OF SHARDS... + +>SLOW FADE TO BLACK. + +/* 223 */ + +INT. BASEMENT - A YEAR LATER #223# + +No windows. No clue of where we may be. A safehouse somewhere. The passage of time is marked on Lincoln's face, careworn, long hair, a full beard. He sits in front of a data tablet, his image recorded on its screen. His voice also seems older as he speaks- + +/* 137. */ + + LINCOLN + It's been a year since the breakout. A year in hiding, waiting for things to quiet down. I don't know how many made it out or how many who did, survived. I know there are people called politicians trying to say it never happened. That's why I've kept this journal. To keep the truth alive. Alive... I've learned what that means but it still confuses me. In functional terms, I've been alive for ten years. In human terms, more than thirty. Human... I'm not sure about that one either. They say I'm not human because I have no mother or father. I guess I have more to learn. But one word I do understand is hope. So maybe this journal will give hope - to those like me, who may be out there. To know they're not alone. My name is Lincoln Six - Echo and this is my testament... + +He sits back, contemplating the screen with an air of closure. Then he stirs at a sound. At first just a gurgle. Then a moan. Becoming the sound of A BABY CRYING. Lincoln crosses to a cot. He lifts up a baby boy, 6 months old, bawling and squirming. + + A WOMAN'S VOICE (O.S.) + Is he hungry again? I just fed him. + +Ester steps into the room, sleep-mussed, her beauty deepened by maternity. The baby reaches out for her. Lincoln hands him over- + + LINCOLN + Lincoln Junior, huh? It still doesn't sound right. That name. + + ESTER + It's the name of his father. + +She lovingly kisses him. Lincoln smiles at her, then the baby, sweeping the hair from the forehead. Unscarred, blemishless. + + LINCOLN + We should finish packing. + +/* 224 */ + +EXT. JETTY - THE PACIFIC COAST - DAWN #224# + +A private jetty stretches out to a pile of supply canisters. A yacht is moored. We recognized it as John's boat. And we recognize Katherine, holding the baby as Lincoln and Ester finish loading. The last canister stowed, Lincoln comes up to her. He smiles at the sight of her with the baby. Then prompts her gently- + +/* 138. */ + + LINCOLN + Time to go. + +Katherine hesitates, part of her unwilling to let the baby go. Then she plants a lingering kiss on his downy hair and lets Ester take him. Lincoln presents her with the data tablet- + + LINCOLN + You'll make sure this gets out? + + KATHERINE + Yes . There are people sympathetic to the cause. I'm going to get it to them. + + LINCOLN + Thank you, Katherine. For everything. + +He smiles. Katherine points to a canister left on the dock. + + KATHERINE + Don't forget that. It has the operating manuals for the boat. + + LINCOLN + I've been looking at them for months. + + KATHERINE + But the maps, the charts... + + LINCOLN + ( beat ; a meaningful look) + I don't need them either. + +Katherine nods, understanding. Nothing more to say, she hugs him. Then turns to Ester with the baby. She folds them in a yearning, almost maternal embrace. Tears well in her eyes. Then the sorrow turns to laughter as the baby starts tugging at her gray hair. + +/* 225 */ + +EXT. THE PACIFIC - DAWN #225# + +The sun rises in the east, casting the coastline in silhouette. The light glows across Lincoln's face, at the helm of the yacht, staring back to the shore. He looks at Ester sitting beside him, the baby swaddled in a blanket at her breast. Then he looks out to the west, to the soft reach of dawn and the boundless horizon of sea. There never was an island. But perhaps there will be... + +THE END diff --git a/fountain_scripts/The Island.webp b/fountain_scripts/The Island.webp new file mode 100644 index 0000000000000000000000000000000000000000..c15c648ffea09d1aae30b1f3c738a00fe5cbaff0 --- /dev/null +++ b/fountain_scripts/The Island.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:fae89e541480db3efdec8f6141cb06f9d1f24a89e6ee5652eb370f138fad2c88 +size 23458 diff --git a/fountain_scripts/The Italian Job.fountain b/fountain_scripts/The Italian Job.fountain new file mode 100644 index 0000000000000000000000000000000000000000..59ff07925c0bdcd8afa2835b0861a3c6597c877f --- /dev/null +++ b/fountain_scripts/The Italian Job.fountain @@ -0,0 +1,4045 @@ +Title: "THE ITALIAN JOB" +Credit: Screenplay by +Author: Donna Powers and Wayne Powers +Source credit: Based on the 1969 screenplay by +Source author: Troy Kennedy-Martin +Draft date: December 21, 2001 + +>FADE IN: + +EXT. THE PORT OF GENOA, ITALY - NIGHT + +Forklifts RUMBLE. Workers WIPE FRAME. All the bustle and cacophony of a major seaport. + +We FIND ourselves focusing on ONE LARGE CRATE. With the GRINDING of gears, a crane lifts it off the dock and carries it onto a ship. + +INT. HOTEL ROOM - SAME TIME + +Through night-vision binoculars, CHARLIE CROKER, 28, watches the mysterious crate. Charlie is young to run his own crew but he's a born leader. + + CHARLIE + Lyle? + +SWISH PAN TO: LYLE, 21, brilliant and punctilious, fingering the keyboard of his strap-on supercharged laptop. + + LYLE + I've got the orbital data and SV clock corrections for each satellite that gets the signal. That'll make my reading as solid as the Precise Positioning Service that only the D.O.D. can use. We're talkin' 100 meter horizontal accuracy, 156 meter vertical accuracy, .340 nanoseconds time accuracy. + +SWISH PAN TO: STEVE, 30, bearded. Steve has an arrogant confidence mixed with the hint of a smile. + + STEVE + Why can't he talk like a person? + + CHARLIE + ...Because he's not. + + LYLE + I do need one more thing, Charlie. + + CHARLIE + What's that? + + LYLE + Someone to turn the goddamn homing device on. No signal, no score. + + CHARLIE + (to Steve) + Where're the Italians? + + STEVE + Patience. + +INT. HUMVEE (MOVING) - SAME TIME + +The driver is HANDSOME ROB, 30. Riding shotgun is HALF-EAR, 35, immersed in a book: Albert Einstein Creator & Rebel. + +Half-Ear is a large black man with a Southern accent and a hearing aid. + + HANDSOME ROB + What's that shit? + + HALF-EAR + A book. It's called reading. You should try it some time. + +Handsome Rob holds up three fingers. + + HANDSOME ROB + You wanna read something. Read between the lines. + + HALF-EAR + Well here's something even you can relate to. Albert got a lotta trim. That genius thing is a babe magnet. + + HANDSOME ROB + Lemme see that book. + +INT. HOTEL JEWELRY SHOP - SAME TIME + +The final member of the crew, JOHN BRIDGER, 50s, is a tasteful man buying a very tasteful, and very expensive, diamond necklace. The saleswoman wraps it up as he dials a number on his cell phone. + + STELLA (V.O.) + Hello? + + JOHN BRIDGER + Hi, sweetie. + +INT. STELLA'S CONDO - PHILADELPHIA - INTERCUT + +STELLA BRIDGER, 27, crushingly attractive, has just stepped out of the shower, hair still wet, body wrapped in a towel. + + STELLA + Daddy. How are you? + + JOHN BRIDGER + I'm sending you something. + + STELLA + Really? Does it smell nice? + + JOHN BRIDGER + No. But it's sparkly. + + STELLA + Does it come with a receipt? + + JOHN BRIDGER + I'm having it sent to you from the store. + + STELLA + (toweling her hair) + Why not bring it by yourself? We could have dinner. + +He leaves the store and heads for the HOTEL ELEVATOR. + + JOHN BRIDGER + Be a long trip. I'm in Genoa. + +She doesn't like the sound of that. + + STELLA + Let me guess. Checking out the birthplace of Christopher Columbus. + + JOHN BRIDGER + Something like that. + + STELLA + With your parole officer's approval. + +He steps into the elevator. Rides up. + + JOHN BRIDGER + I think I've paid my P.O. my last visit. I liked the guy, but we never really connected. + + STELLA + What are you into, Dad? Don't break my heart. You told me you were through. + + JOHN BRIDGER + After this, I swear to you, I am. + + STELLA + You promised me. Daddy, don't do this. + +The elevator door opens, Bridger steps out and starts down the hall. + + JOHN BRIDGER + Everything's going to be fine. I've got to go now. I love you. Bye. + +He clicks off then uses his card key to step into the -- + +INT. HOTEL ROOM - CONTINUOUS + +He eyes Charlie, who looks pretty tense. + + JOHN BRIDGER + Italians? + + CHARLIE + Not yet. + + STEVE + Don't worry, they'll come through. You can trust these guys. + + JOHN BRIDGER + I trust everyone. It's the devil inside them that I don't trust. + (then, to Charlie) + Got a sec? + + CHARLIE + My office. + +INT. HOTEL BATHROOM - NIGHT + +They step inside, Charlie closing the door. + + JOHN BRIDGER + How you feeling, boss? + + CHARLIE + Fine. I'm fine, fine. + +Bridger seems amused by that answer. + + JOHN BRIDGER + You know what fine, stands for, don't you? Fucked-up, Insecure, Neurotic, and Emotional. + + CHARLIE + You've become quite the philosopher since you quit drinking. + + JOHN BRIDGER + You don't like me sober? + + CHARLIE + No, I'm glad. Makes you a better thief. + +Bridger pulls out a fine cigar, still in its wrapper, hands it to Charlie. + + JOHN BRIDGER + For after the haul. + + CHARLIE + Hope I get to fire it up. If Steve's Italians are a no-show, it's three months prep down the shitter and I've dragged you out of retirement for nothing. + + JOHN BRIDGER + This is kinda nice. You being the boss with all the worries, me just along for the ride. + + CHARLIE + Ain't you sweet... + +From the other side of the door, they HEAR -- + + STEVE (O.S.) + Charlie! + +INT. HOTEL ROOM - NIGHT + +Charlie takes the binoculars from Steve. He SEES TWO ITALIAN CUSTOMS INSPECTORS climbing onboard the ship. + + CHARLIE + Your Italians. + + STEVE + Yup. Dixie cups. + + CHARLIE + Dixie cups? + + STEVE + I toss 'em away if there's a problem down the road. + +EXT. SHIP - NIGHT + +In ITALIAN, the Inspectors quiz the NERVOUS CAPTAIN about the mysterious crate. + +One Inspector takes a crowbar and yanks out several strips of plywood, REVEALING unmarked cardboard boxes inside. The other Inspector pulls out one of the boxes and tears it open. + +It is filled with tomatoes. He takes a bite out of one. + +Nods. Everything seems to be order. The Captain looks relieved. The inspector closes the cardboard box but... + +Watch carefully now, because as he does this, he hits a power button on a small HOMING DEVICE and stuffs it in with the tomatoes... + +INT. HOTEL ROOM - SAME TIME + +On Lyle's computer screen, a pulsating dot appears, BEEPING, sending out precise longitude and latitude. + + LYLE + For those about to rock, we salute you. + +Charlie dials his cell phone. + +INT. HUMVEE (MOVING) - INTERCUT + +Handsome Rob answers. + + HANDSOME ROB + Yeah. + + CHARLIE + Let's get rich. + +Handsome Rob pulls over. They're at the port. They can see the mysterious crate being lowered into the ship's hold. + +Half-Ear climbs out, taking a large duffel bag with him. + +CUT TO: + +EXT. SHIP (DOCKED) - LATER, NIGHT + +The Captain is doing his final checks before launch. OUR CAMERA DROPS to -- + +.BENEATH THE WATER + +where we FIND Half-Ear, in scuba gear, applying Nitramon explosive primer to the hull of the ship. + +INT. HUMVEE (MOVING) - NIGHT + +Plowing through thick brush that breaks out onto a secluded beach. Handsome Rob is still behind the wheel but now Steve is in the passenger seat. Lyle, in the back, is still on the laptop, legs fidgeting like a drummer on meth. POP goes his bubble gum. + + HANDSOME ROB + Can you chill out back there? You'd make a hummingbird nervous. + +EXT. UNDERNEATH THE SHIP - NIGHT + +Half-Ear finishes up. Speaks into the headset inside his gear. + + HALF-EAR + I'm done. Over. + + LYLE (V.O.) + Copy that. Enjoy the ride, cowboy. + +Half-Ear grabs onto the bottom rung of a ladder that is bolted to the side of the ship as it launches off the dock and into deeper water. + +CUT TO: + +TWO BRIGHT CIRCLES IN A SEA OF DARKNESS + +Coming closer... becoming clearer... It's Charlie and John Bridger, in scuba gear, riding torpedo-shaped Dive Propulsion Vehicles (DPVs) that pull them through the deep blue sea at a good 5 m.p.h. Both DPVs drag equipment bags. + +A Global Satellite Positioning Device is mounted on the handlebar of Charlie's DPV, being fed information via Lyle's laptop. A circle pulsates on the monitor, a beacon to the crate in the ship. + +EXT. UNDER THE BOAT - NIGHT + +Half-Ear still clings to the ladder. It's a wild ride. + +Through the headset inside his gear, he HEARS: + + LYLE (V.O.) + Get ready. 3. 2. 1. Drop. + +Half-Ear lets go of the ladder. The ship's propellers speed by just above his head. WHOOSH. + +He removes a radio-controlled detonator. Hits the button. + +EXT. SHIP - ON THE CUT + +The hull of the boat EXPLODES. + +INT. SHIP'S HOLD + +A very neat hole on the bottom of the boat beneath the crate is opened. Water RUSHES IN and the crate falls right through the cavity, vanishing. + +.UNDERWATER + +The huge, heavy crate drops down... down... hits the bottom. + +.ON THE SHIP + +Chaos rules. She's taking on water fast. No way to save her. The captain orders the dinghy lowered into the water. + +INT. HUMVEE - NIGHT + +Parked in the sand at the top of the bay. Steve looks out to the bay through infrared binoculars. + +The ship is going down. The crew on the dingy head back to the port, which is in the opposite direction of this beach. + +EXT. THE BOTTOM OF THE SEA - NIGHT + +The DPVs are now attached by a tether to an underwater lifting bag that is used to move heavy loads through water. + +The crate is surrounded by our three diver-bandits. + +Using crowbars they pull apart the plywood. The cardboard boxes of tomatoes dump out, tomatoes spilling everywhere. + +And now we see what was hidden between the boxes... + +A large safe. + +They move like clock-work. Half-Ear aims an underwater light at the dial. Charlie drills a small hole near the dial. + +John peers inside a horoscope and lines up the three wheels of the combination lock... until the door pops open. + +As they stare at what's inside, they speak into their headsets, heard by all. + + CHARLIE + Sweet Jesus. + + JOHN BRIDGER + "That for which all virtue is sold. And almost every vice -- gold." + +And now we see the contents of the safe: 160 glistening GOLD BRICKS. Made in Singapore, they weigh 25 pounds and each one is decorated with the face of an exotic Balinese girl. We're talking thirty million dollars worth of gold. + +INT. HUMVEE (PARKED) - NIGHT + +They holler and high-five and it's just a great moment to be alive. Steve takes another peek through his infrared binoculars and sees -- + +The last vestiges of the ship hang above the waterline, then disappear. + +EXT. UNDERWATER - A LITTLE LATER + +The gold is now stacked and secured on the lifting bag. + +They attach an underwater parachute to the bag and hook a hose from an air tank into press of a pressure release valves which cause the parachute to INFLATE. + +Looking like a hot-air balloon underwater, the whole thing floats up about fifteen feet. Half-Ear holds onto its side, going along for the ride. + +Then Charlie and John Bridger speed off on the DPVs which are tethered to the inflatable bag. As they glide through the water towards the secluded beach, we... + +CUT TO: + +EXT. MOUNTAINOUS ROAD - FIRST LIGHT OF DAWN + +The Humvee climbs into the mountain ranges of the Alps. + +INT. HUMVEE (MOVING) + +The gold is in three crates in the cargo bay. + +Handsome Rob and Steve are still up front. The others are in the back seats, the divers out of their scuba gear. They are pouring champagne into paper cups; except for Bridger who abstains. He holds up his empty cup. + + JOHN BRIDGER + My name is John and I'm a very rich alcoholic. And I'm going to live my life one very rich day at a time. + + THE CREW + Alright, John! + +They laugh and pound their fists against the roof of the Humvee. Charlie pulls out the cigar Bridger gave him. As Bridger lights it for him -- + + JOHN BRIDGER + You planned this one down to a t, kid. It's a gift. You saw the big picture, made contingencies, covered the angles... + +Hearing this, Steve looks a little jealous. + + JOHN BRIDGER + Shit, you made thirty million dollars in gold drop out of sight without holding a gun. Who else could've pulled that off? + + CHARLIE + You could've. I had big shoes to fill. + + JOHN BRIDGER + Fill the shoes but don't follow the footprints. + + CHARLIE + What're you talking about? You've lived the life. + + JOHN BRIDGER + My life's been nothing but fake IDs, fake business cards and divorce papers. This is the only thing that's real. + +Bridger shows him a photograph of Stella that he keeps in his wallet. + + CHARLIE + Stella's a beautiful girl. + + JOHN BRIDGER + She's amazing. And I spent half her childhood in prison. This is a once in a lifetime haul, Charlie. Bring down the curtain after this one. Make a new life. Find someone amazing and be there for her. + +As the advice escapes Bridger's mouth -- + +EXT. MOUNTAINOUS ROAD + +A Jeep thunders out of a hiding place in the trees and blocks the road. The Humvee brakes to avoid running into it. + + HANDSOME ROB + Shit. + +Click. That's the sound of a gun cocking as it's pressed against Handsome Rob's temple. + + STEVE + Anyone acts stupid and his brains go on the windshield. + +They see the two Italian Inspectors jump out of the Jeep, AK-47s leveled at the crew. Steve has double-crossed them. + +ON THE CREW: shocked would be a good place to start. + + CHARLIE + What the hell do you think you're doing? + + STEVE + Sorry Charlie. But I want the box of Cracker Jack all to myself. + +The Italians pull the crates of gold out of the back of the Humvee. + + CHARLIE + You're not thinking this through. It's a stupid move. + + STEVE + Think so? Well you're the brilliant one. The Master Planner. Isn't that so, John? + +Steve climbs out of the Humvee, gun still on Handsome Rob, the AK-47s aimed at the others. + + STEVE + You bet on the wrong horse. + + JOHN BRIDGER + We'll hunt you down. You're gonna regret this. + +EXT. HUMVEE + +Safely outside, Steve turns his gun on Bridger. + + STEVE + No regrets, Dixie cup. + +BOOM. He shoots Bridger in the head. Just like that. + +The Italians follow suit, AK-47s SCREAMING out bursts of full automatic fire at the crew. + +INT. HUMVEE + +They duck for cover as the vehicle is riddled with gunfire. + +Glass shatters. Bullets ricochet. They're in the epicenter of hell. + +Handsome Rob jerks the steering wheel and stomps the gas. + +Driving blind. + +EXT. MOUNTAINOUS ROAD + +The Humvee hits the side of the Jeep, grinds alongside it, metal tearing against metal. + +The Humvee's right side tires precariously hover by the cliff and the raging water below. + +The gunners keep FIRING. Bullets rip into the Humvee's tires. + +EXT. HUMVEE + +It almost escapes, but it can't make it on shredded rubber. + +It careens off the road and -- + +SERIES OF SHOTS + +The Humvee plummets through the air and plunges into the raging river. + +INT. HUMVEE + +Water cascades in through the open windows. They're thrown around as the Humvee rides the rapids. WHAM. The passenger door caves in as the Humvee rams into a large rock then is swept further downstream. Through the foam and spray, Charlie looks over to Bridger. He's dead. The torrent ROARS. + +Only their chests and heads are above water. And that's not all. There's a WATERFALL AHEAD. + +EXT. WATERFALL + +The Humvee is palmed in its deadly embrace and hurled over. + +It cartwheels into the pool below, sending up a huge geyser of water. + +It sinks out of sight. + +EXT. MOUNTAINOUS ROAD - SAME TIME + +The crates of gold are now inside the Italians' Jeep. Steve climbs in, leaving the crew for dead. + +.UNDERWATER - SAME TIME + +The Humvee strikes the surface bottom with an ominous thud. + +EXT. MOUNTAINOUS ROAD - DAWN + +The Jeep jerks to a stop. A door opens and the bodies of the two Italians, shot dead, are dumped out into the mud. + +Steve is alone now. Just him and the millions in gold. + +INT. HUMVEE - SAME TIME + +The water entombs them. Blood from Bridger's fatal gunshot mists the water red. + +They manage to get the door open. They start to swim out but Charlie won't go without Bridger. He grabs his friend's body and pulls it up with him. + +EXT. RIVER - SUNRISE + +They drag themselves ashore, Handsome Rob helping Charlie pull Bridger's corpse. Charlie is shocked, tormented, grieved, and angry beyond description. Against the rocky embankment, he holds Bridger. Not wanting to ever let go. + + CHARLIE (V.O.) + If you would have told me that I would spend the next three years searching for Steve Bandell, I would have said that was nothing. Cause I would have spent a lifetime looking for that bastard if I had to. + +DISSOLVE TO: + +INT. OFFICE - DAY + +SOMEONE'S POV. A top of the line safe. The only light in the office is the beam of a penlight on the dial. + +GLOVED HANDS spin the dial, feeling for "contact points", areas on the dial where a slight resistance can be felt -- if you have the touch. + +NEW ANGLE. A woman holds the penlight in her teeth while trying to crack the safe. It's Stella Bridger, now 30. + +SUPERIMPOSE: + +Three Years Later Philadelphia + +She manipulates the dial. Click. She grabs the safe's lever and swings the heavy steel door open, her face a mixture of pride and relief. But before we see what's inside -- LIGHTS TURN ON. + +TWO COPS lurk at the doorway. + + FIRST COP + You always work in the dark? + + STELLA + Buzz of the fluorescents throws me off. She's all yours. + +The cops come closer and only now do we realize that they're on the same team. + + SECOND COP + Damn. Chris Perley couldn't crack it. Neither could Michael Hoyt. + + STELLA + Now you know who to call first. + + FIRST COP + You're expensive, Stella. Those guys cut us a break on subpoena jobs. Goodwill, community service... + + STELLA + Well I do it for the money. I'll send you the bill. + + SECOND COP + Don't you want to see what's inside? + + STELLA + I never look. Bye, guys. + +And as she walks off, they do look -- at her. + +EXT. STREET - DAY + +A car RISES INTO FRAME on a bustling street: a 1960 Mini Cooper S., a worldwide motoring icon. Its shape crouches low to the ground and its tiny 10-inch wheel-at-each-corner gives it the legendary Mini look. + +If when you see its headlights and classic grille it doesn't bring a smile to your face, then you've got no automobile soul. + +INT. MINI (CRUISING) - DAY + +Stella takes on the road like someone who loves to be behind the wheel of a car that claimed victory in the Monte Carlo Rally three times. She passes a minivan, a breeze with the Mini's quick, go-kart-like handling. + +She searches for a parking space on a street lined with SUVs. + +Sees a spot, it's not really a space, just a gap between two gas guzzlers, there's no way any car could squeeze in. + +Brake. Shift. Hard turn. She parallel parks the Mini with ease. She's right in front of -- + +.HER SHOP + +Antique keys and locks dominate the storefront window with the name of the shop stenciled across the glass: BRIDGER LOCK AND SAFE COMPANY. Stella hops out of the Mini. With a poised walk she heads inside. + +INT. SHOP - DAY + +It is filled with old cast-iron safes she has rebuilt along with some new models. Stella's RECEPTIONIST greets her. + + RECEPTIONIST + How long? + + STELLA + Four minutes, forty-three seconds. + +High-five. + + RECEPTIONIST + You're the man. + + STELLA + So what's on the line-up? + + RECEPTIONIST + 2:00. Home safe in Fairmount Park. Owner died and the wife never knew the combination. And Todd Milliken called. He has a prototype combination lock he wants you to test out tomorrow morning. Says he added two false contact points on the tumbler. + + STELLA + Tell him if I don't have it opened in six minutes flat, breakfast is on me. + + RECEPTIONIST + And there's a Charlie Croker in your office. He said you two know each other. + (an aside) + And he looks pretty fine for a white boy. + +Without a response, Stella heads over to -- + +.HER OPEN OFFICE DOOR + +and sees him fiddling with her collection of safe doors that line the shelves. + + STELLA + Charlie Croker. + +He turns around. Smiles. Charming. + + CHARLIE + Hi, Stella. + +She steps inside. + + STELLA + Refresh my memory. After you came to see me and told me what happened to my father, I told you I never wanted to see you again, didn't I? + + CHARLIE + Yeah. You did. + + STELLA + So I'm a little confused. + + CHARLIE + I found him. + +At first it seems that Charlie's words have no effect on her, but then he notices that her hands are trembling. + + CHARLIE + I can tell you where he is. + + STELLA + I don't want to know. + + CHARLIE + Are you sure? + +She doesn't answer. + + CHARLIE + He's in Los Angeles. + +She doesn't respond. Doesn't ask him to go on, doesn't ask him not to. So he goes on... + + CHARLIE + The gold bricks he stole from us were minted in Singapore and decorated with the face of a Balinese girl. I've had my tentacles out and got a call from a friend of mine and your father's, Philly Steak. + +Stella remembers him. + + STELLA + When I was little he would play poker at the house and drop quarters under the table for me to find. + + CHARLIE + He got word from an L.A. connection named Skinny Pete that a gold dealer has been buying bricks with the Balinese girl on them, three or four at a time. + + STELLA + You ever heard the expression, cut to the chase? + + CHARLIE + I tracked Steve down to an address in the Hollywood Hills. He's changed his last name to Frezelli. And get this: he had a Worthington 1000 installed in the house before he even moved in. We both know that you don't install a Worthington 1000 unless you have something precious to guard. + + STELLA + Precious or not, I don't deal with ill-gotten goods. + + CHARLIE + We boosted that gold from a terrorist group that was about to trade it for bio-weapons. Now that doesn't exactly make us Robin Hood, but maybe in our own little way we were doing a good deed. Problem is, no one in my crew can handle that safe. And I need someone I can trust. + + STELLA + And you think that's me? Haven't you heard that I work for the other side? + + CHARLIE + What I heard is that you have your father's touch. And he was the only safecracker I knew who could open a Worthington 1000. + + STELLA + I'm not a safecracker. I'm a professional safe and vault technician. + + CHARLIE + You're John Bridger's daughter. And this is our chance to set things right. + +That sets her off. + + STELLA + Our chance? Who do you think you are coming in here? Stealing the gold isn't going to bring my father back to life. + + CHARLIE + No, it won't. + + STELLA + Then get out. + +EXT. STREET - DAY + +Charlie comes out of her shop and starts down the sidewalk. + +Suddenly, Handsome Rob appears out of the crowd and is walking next to him. + + HANDSOME ROB + How'd it go with the chick? + + CHARLIE + I'm working on it. + + HANDSOME ROB + I don't want her on the crew, Charlie. + + CHARLIE + Gotta have her. Important piece of the puzzle. + + HANDSOME ROB + There has to be someone else. What about Bill Huchins? + + CHARLIE + Doing ten long at Levinworth. + + HANDSOME ROB + Red O'Reilly? + + CHARLIE + Chemo. + + HANDSOME ROB + Martin Hernandez? + + CHARLIE + Found Jesus. + +Handsome Rob stops Charlie. + + HANDSOME ROB + I don't want a civilian to screw this up. + + CHARLIE + She has the skill. And the motivation. + + HANDSOME ROB + Exactly. She's emotional. You know what happens when emotion gets into it. + + CHARLIE + It's emotional for all of us at this point. Don't kid yourself. + +INT. EXPENSIVE RESTAURANT/BAR - NIGHT + +RICHARD WORTH has his back to the bar. He's a blue blood trial lawyer with an ego that has more horsepower than a Ferrari. + + RICHARD + It's all in my patented sideways glance. Like this... + +He gives a sideways glance to Stella; it's their first date. + + RICHARD + I hit each woman on the jury with one of these. We make contact. And I know exactly what they're doing. Undressing me with their eyes. + + STELLA + I see... + +What a nightmare. Someone bumps into Stella, a mumbled, "Excuse me." Nightmare continues... + + RICHARD + The case is all but won. That's why in jury selection I choose as many women as possible. Except lesbians, of course. I can tell in sixty seconds if they're a lesbian. Want to know how I know? + + STELLA + If they don't undress you with their eyes? + + RICHARD + Precisely. Like that waitress right there. See? She's looking at me right below my belt. Definitely not a lesbian. + +A waitress is indeed looking below Richard's belt. But Stella notices that she was only looking because Richard's zipper is all the way down. She smiles. + + STELLA + Your fly. + + RICHARD + I am fly. And I'm da bomb. Just wait until later tonight. + +Suddenly a BUSBOY stumbles and a tray of drinks fall, soaking Richard's suit in red wine. + + BUSBOY + Oh, man. I'm sorry. + + RICHARD + You should be. Moron. What the hell's wrong with you? + + BUSBOY + It was an accident. I'm very sorry. + + RICHARD + Where's the manager? Richard Worth is not paying to have his suit cleaned. Damn. + (to Stella) + I'm going to... I don't believe this. + +He starts off to the bathroom and as soon as the space he was occupying empties, Charlie fills it. + + CHARLIE + I think your date's going pretty well, what do you think? + +She shoots him a look that could reverse global warming. + + STELLA + What are you doing here? + + CHARLIE + What do you mean? I come here all the time. + + STELLA + I don't think so. + + CHARLIE + Sure. Lawyers, Judges, my kind of crowd. See that gentleman there, he sentenced me to 90 days in county once. We need to talk. + + STELLA + No, you need to listen. I want you to leave. Got it? + + CHARLIE + Hey, I paid valet parking prices to get in here, not to mention a twenty spot to the busboy to spill that drink on Mister Zipper. + + STELLA + You -- I don't believe this. You paid someone to spill that drink? + + CHARLIE + Actually, you paid for it. + +Charlie returns her wallet. + + CHARLIE + Didn't notice it was me who bumped into you earlier, did you? Anyway, I was hoping we could get to know each other a little better before we leave for Los Angeles. I already booked your flight. + + STELLA + You truly are a fatuous, odious man. + + CHARLIE + I have no idea what you just said, but I like the sound of it. + + STELLA + Well maybe you'll understand this. Hit the road, Jack -- + + CHARLIE + Charlie -- + + STELLA + Or you'll be sorry, Charlie, cause I'll kick you in the nuts so hard that your voice will be as high as my heels. + +She means it, too. + + CHARLIE + I'm beginning to worry about this whole relationship. + + STELLA + I'll let you in on a secret. You can't have a relationship with a pickpocket, gold robber, or any kind of thief. + +Charlie looks away, lets her have her point. This whole thing is getting pretty heated so when he turns back to her, he uses a whole new approach. His emotions are genuine. + + CHARLIE + John wasn't just a man I crewed up with, he was my friend, he was the closest thing to a father I ever had. I wish to God I could bring him back. But all I can do is go after this guy, the guy that killed him, and hit him where he lives. + +She feels the honesty in his words but before she can reply, they're interrupted by -- + + RICHARD + Everything alright, Stella? + +He's back, red wine splotched on his suit. + + STELLA + Fine. Richard. Charlie. Charlie was just saying goodbye. + +But for now, Charlie is just staring at Richard, boring into to him... + + RICHARD + Can I help you with something? + + CHARLIE + Oh, sorry. I was just undressing you with my eyes. + +And with that, Charlie goes. Stella can't help but smile. + +EXT. STELLA'S CONDO - NIGHT + +She comes home, having shed her date. + +INT. STELLA'S BEDROOM - NIGHT + +She goes through a drawer and pulls out a package she hasn't looked at for years. She opens it. + +Inside is the beautiful necklace that her father bought her in Italy. It brings tears to her eyes. + +INT. CHARLIE'S BEDROOM - NIGHT + +He lies in bed, can't sleep. His phone rings. He picks up. + + CHARLIE + Hello. + +INT. STELLA'S BEDROOM - INTERCUT + +She's on the other end of the line. + + STELLA + I'm in this for one thing, Charlie, and one thing only. I want to see the look on his face when his gold is gone. He took my father from me, I'm taking this; it's the best I can do. + +CUT TO: + +EXT. STREETS - DAY + +Stella's Mini passes, weaves, tucks in between cars. She drives like a madman. + +INT. MINI (SPEEDING) + +Charlie feels like he's inside a video game. + + CHARLIE + I see Drive Defensively is your motto. + + STELLA + Don't worry. Jack Daniels never let me down. + +She slaps the dashboard of her car. + + CHARLIE + By the way you drive, I'm not surprised you named your car after a bottle of whiskey. Left. + + STELLA + Jack Daniels was chief engineer of the Mini. And I drive it exactly the way it was meant to be driven. + +She whips down the avenue. + + CHARLIE + Another left. + +She hangs a left. + + STELLA + We're going in circles. Who's tailing you this week? + + CHARLIE + The possibilities are endless. + +EXT. STADIUM PARKING LOT - DAY + +The Mini parks in the middle of the huge, empty lot that surrounds Veterans Field, home of the Philadelphia Phillies. + +INT. MINI + +She looks around... + + STELLA + Where are they? + + CHARLIE + We're a little early. I didn't expect us to get here quite that fast. There... + +A Vespa pulls into the lot, headed their way. It's Lyle. + +Charlie starts the introductions. + + CHARLIE + That's Lyle. Gearhead. He's who really invented Napster... + +QUICK CUT TO: + +INT. DORM ROOM - NORTHEASTERN UNIVERSITY - 1999 - NIGHT + +Below a Metallica poster, Lyle has fallen asleep on his desk. + +His roommate, Napster creator SHAWN FANNING, recognizable in his trademark baseball cap, sneaks a peek at Lyle's computer. + + CHARLIE (V.O.) + At least that's how Lyle tells it. + +CUT BACK TO: + +INT. MINI - DAY + +And now they see a monster pick-up truck bouncing into the lot, MUSIC THUMPING from its Alpine at ear-bleeding levels. + + CHARLIE + Half-Ear. Explosives. He lost fifty percent of his hearing in the fifth grade. + +QUICK CUT TO: + +INT. GRAMMAR SCHOOL BATHROOM - 1990 - DAY + +A 10 year old boy stands in front of a toilet in the stall. + +BOOM! Water geysers out of the bowl and soaks him. + + CHARLIE (V.O.) + One M-80 in the toilet bowl too many. + +Some kids in the bathroom saw the whole thing. + + KID + That was rad! + + HALF-EAR + Wha'? + +CUT BACK TO: + +INT. MINI - DAY + +And now a RUMBLING in the distance. Stella looks. Sees a car streaking their way, almost like a mirage in the heat waves coming off the pavement. Closer. Faster. A classic Mustang. Its engine rumbles like a jackhammer. It's had some serious custom work done to it. + + CHARLIE + Handsome Rob. Premier wheel man. He once drove all the way to L.A. just so he could set the record for longest freeway chase. + +QUICK CUT TO: + +EXT. L.A. FREEWAY - 1999 - DAY + +Handsome Rob's behind the wheel, flicks a cigarette butt out his open window -- + +We watch it hit the pavement, ashes spark, and then behind the fallen butt we see that every lane of the 405 is filled with cop cars in pursuit. + + CHARLIE (V.O.) + Smashed the mark by twelve minutes. + +We now see Handsome Rob through the lens of a TV news helicopter camera. + + CHARLIE (V.O.) + He got a hundred and ten love letters sent to his jail cell from women who saw him on TV. + +CUT BACK TO: + +INT. MINI - DAY + +As the cars converge in the parking lot... + + STELLA + And what about you? + + CHARLIE + I've been a thief since I had baby teeth. + +QUICK CUT TO: + +INT. GRAMMAR SCHOOL PLAYGROUND - DAY + +SEVEN YEAR OLD CHARLIE is shoved against a chain link fence by a SIXTH GRADE BULLY. + + BULLY + Cough it up, Charlie! + +Charlie hands the bully a dollar bill. The bully puts it in a wallet that is over-stuffed with cash and saunters off, laughing it up with his bully pals. Charlie turns to his 2nd grade classmate who sports a fresh black eye. + + CLASSMATE + So much for lunch. + + SEVEN YEAR OLD CHARLIE + You need a dollar? + + CLASSMATE + I thought he took your last one. + + SEVEN YEAR OLD CHARLIE + He did. + +Charlie holds up the over-stuffed wallet that he pickpocketed from the bully. + + SEVEN YEAR OLD CHARLIE + But I got lots more now. + +CUT BACK TO: + +EXT. PARKING LOT - DAY + +Doors open simultaneously. Everyone out. The crew eyes Stella. Charlie gets right down to business. + + CHARLIE + This is Stella. She's working with us on this one. IDs? + +Handsome Rob hands out fake driver's licenses. + + LYLE + (reading his) + Melvin Lisp? Could I -- just once -- have a cool name? + + HALF-EAR + (also complaining) + 220 pounds? Try 180. + + HANDSOME ROB + Try 'Deal A Meal'. + + LYLE + I don't even have a cool nickname. + + CHARLIE + Enough of this sewing-circle shit. Phones. + +Half-Ear hands out new cell phone to everyone and takes their old phones. + + HALF-EAR + Philly Steak says these are clean as a whistle. He also got us four dozen internal chips with different numbers. Change out the chips twice a day. + +As Charlie hands out airline tickets -- + + CHARLIE + We travel to L.A. separately. + + LYLE + You still haven't told us the most important thing. What exactly is the job, Charlie? And who exactly is she? + +Lyle and Half-Ear have been kept in the dark until now. + + CHARLIE + This is Stella Bridger. And we're finishing the job that we started in Italy. + +They're a little stunned at first. + + HALF-EAR + Holy shit. It's about time. + +CUT TO: + +.MONTAGE - LAX - NIGHT + +The crew deplane from five different airplanes, different air carriers. + +They disperse in separate vehicles. See Charlie at Avis, renting a car. + +See Handsome Rob renting a U-Haul panel truck. + +See Stella on a hotel shuttle bus. + +See Half-Ear on the underground Metro Rail, taking the Red Line. + +See Lyle in a taxi, headed south on Figueroa Street. He notices a YOUNG WOMAN HITCHHIKING. For a moment, their eyes connect. She is a beautiful waif and the feeling sweeps through Lyle: if only... But the taxi passes by. + +Charlie checks into Shutters, with its Victorian beach house feel and oceanfront view. + +Stella's at the Peninsula in Beverly Hills with its opulent lobby. + +Handsome Rob's at the Standard, with its kitschy decor and ironic style. He stares at a huge empty aquarium behind the front desk where a performance artist writhes and a DJ spins out rhythmic throbs. Very L.A. + +Half-Ear's at the new Renaissance Hollywood Hotel adjacent to the dramatic Babylon Gate and the Kodak Theatre. + +And Lyle's at the Downtown Bonaventure, riding up the glass elevator. Perfect gearhead hotel. + +EXT. SHUTTERS HOTEL - BALCONY - SUNSET + +The five of them sit in chairs on the balcony of his hotel room. There's a sweeping view of the Pacific. + + CHARLIE + We need an in to get a video blueprint of the interior. We're not going into this place blind. Half-Ear, you take the first surveillance shift. Who goes in, who goes out, levels of security, you know the drill. + + HALF-EAR + You got it. + + CHARLIE + I also want audio surveillance on his phone. + + LYLE + I'll hack into the phone company's central office remote observance monitoring system and fool it into thinking there's a legal tap on the line. Reroute the digital copies of his calls to our own listening post. + + CHARLIE + How long? + + LYLE + I'll burn through the night, have it up and running before morning. + + CHARLIE + (to Handsome Rob) + We need to know how long to get from the house to Union Station downtown. + + HANDSOME ROB + No problemo. + + CHARLIE + Stella. How much time will you need with the safe? + + STELLA + I'll have it open in five minutes flat. + + HANDSOME ROB + It's not the same as opening a safe for the cops. Your heart will be pounding in your ears. Perspiration on your fingertips. It's a whole different ball game. + + STELLA + You get me to the safe, I'll open it. + +Out over the ocean, the sun is in its death throes, bruising the sky a coiling purple and orange. + +EXT. STEVE'S HOUSE - MORNING + +Nestled at the end of a cul-de-sac on Oporto Drive in the Hollywood Hills. Chrome. Glass. Carved wood. + +EXT. MARAVILLA DRIVE - MORNING + +The U-Haul panel truck is parked on the side of the road that overlooks Oporto Drive and Steve's house. + +INT. U-HAUL - MORNING + +It's been converted into their surveillance vehicle, the back outfitted with monitors and surveillance equipment. + +Half-Ear peers through binoculars and says his notes into a micro-cassette recorder. His binoculars focus in on the fence that surrounds the perimeter of the property. + + HALF-EAR + (into recorder) + We've got an anti-scaling fence. Hardened, electroplated steel. Hacksaw won't work. We'll need Nitramon. + +The binoculars SWISH PAN TO a guard booth where a guard keeps an eye on the gate. + + HALF-EAR + Armed guard. 9MM semi-automatic in the holster. Security booth is accessible and ideal for a triple charger chemical grenade. + +The binoculars SWISH PAN TO four Rottweilers prowling the grounds. + + HALF-EAR + Shit. Dogs. Why do black men hate dogs? I'll tell you why, Charlie. Because dogs are racist. That's a natural fact. Someone else deal with 'em. + +EXT. 101 FREEWAY - DAY + +A sea of cars, gridlock in L.A. Crammed in the middle of the traffic meltdown is Handsome Rob's rental car. + +INT. RENTAL CAR (CRAWLING) + +Timing out the getaway route. He's got a Thomas Guide on the passenger seat and a stopwatch ticking away but he's going nowhere fast. He futilely leans on the car horn. + +INT. U-HAUL - DAY + +Lyle's surveillance shift. He takes digital photos with a telephoto camera. ZOOMS IN on a security pad on the front door. + + LYLE + (into micro cassette player) + Advent Home Navigator Hybrid System. Monitors 132 points for intrusion, fire, and environmental hazards. Best way around it is to get a back door password, trip the alarm during the heist, then call it in as a false alarm. + +CUT TO: + +INT. STEVE'S HOUSE - OFFICE - DAY + +A HAND turns the dial to a Worthington 1000 vault. The vault opens and voila: stacks and stacks of gold bricks. + +EXT. STEVE'S HOUSE -DAY + +The same hand clutches a very heavy duffle bag. OUR VIEW BOOMS UP to see Steve, three years older than when we last saw him, his beard shaved away. + +INT. U-HAUL - SAME TIME + +Through his digital camera lens, Lyle watches Steve walk towards his car: a Ferrari 550 Barchetta Pininfarina. It's the first time he's seen Steve in three years. + + LYLE + (into micro cassette recorder) + 15:25. There he is. He's gained 15 to 20 pounds living off our money. And Handsome Rob, you're going to be pissed when you see his wheels. + +Lyle watches the security guard hit a switch in the guard booth. The gate rises like the blade of a guillotine in reverse. The Ferrari zooms away. + +EXT. FIGUEROA STREET - DAY + +Another route. Handsome Rob's rental car is in the left turn lane waiting for the light to change. + +INT. RENTAL CAR + +The light finally is a green arrow but the lady in front of Handsome Rob is so preoccupied with applying her make-up that she doesn't go until he honks but by then it's too late as she makes it through the light but he doesn't. + +He checks his stopwatch. Simmers. + +EXT. PENINSULA HOTEL - POOLS SIDE - DAY + +In a bikini, Stella lies on a lounge chair under a cabana, reading a copy of Vogue magazine. + +But as we take a closer look, we see that she's really reading the owner's manual for the Worthington 1000 safe which she's inserted in the fold of Vogue. + +INT. U-HAUL - DAY + +Charlie's shift. He sees a Latina housekeeper get into her car. + + CHARLIE + (into micro cassette recorder) + Housekeeper leaves at 17:30. + +EXT. COIN & BULLION STORE - EVENING + +Steve bangs a fist against the steel security door that covers the closed store. The steel door rises up and a Ukrainian named YEVHEN unlocks another door. He is the gold dealer that Philly Steak told Charlie about. + + YEVHEN + You're right on time. + +INT. COIN & BULLION STORE - EVENING + +Yevhen is 50 and like many in the gold trade, there isn't a conspiracy theory that he doesn't embrace. As they make their way to a back room, he keeps his mouth in overdrive -- + + YEVHEN + All those poor bastards out there putting their life savings in banks and S&Ls and mutual funds. What do they think -- that when the collapse comes they can depend on the government? I don't think so. + +Steve motions to a security camera that looms down on them. + + STEVE + Is the camera off? + + YEVHEN + Of course. Just like you said. I never tape you, you can see for yourself. + +Steve sees the red light is off. He lays the duffel bag on a table, unzips it, pulls out three 25 pound gold bricks with the face of a Balinese Girl stamped on each one. As Yevhen inspects them -- + + YEVHEN + Governments are nothing more than puppets on the strings of the Trilateral Commission with their twisted gods. + +Yevhen retrieves a briefcase, opens it, presenting Steve with stacks of Ben Franklins: $100,000 worth. As Steve inspects the cash -- + + YEVHEN + I mean, it's so obvious that in a world where NAFTA can overturn the Supreme Court, not to mention Microsoft's nefarious financial machinations, this, is our only refuge; gold. + +Steve closes the briefcase. + + YEVHEN + Plus a little walking around money. + +EXT. 7TH STREET - NIGHT + +A fender bender in the middle of an intersection has traffic backed up for miles. + +INT. RENTAL CAR + +Handsome Rob checks the latest time on the stopwatch. + +INT. U-HAUL - NIGHT + +Through night-vision binoculars Charlie sees a (different) security guard open the gate as Steve returns. + +He watches Steve go inside his house. Through the windows, he sees him use a remote to turn on a TV. + +EXT. 101 FREEWAY - THE NEXT DAY + +A freeway sign says: UNION STATION 1/2 MILE + +INT. RENTAL CAR + +HANDSOME ROB can see the exit up ahead, but traffic is so backed up and going nowhere that it feels like it's a hundred miles away. And it's not even rush hour. Just life in L.A. + +Idling on the freeway, he looks at the drivers in the cars beside him. He sees a businesswoman reading the Wall Street Journal. Sees a man with his finger deep, deep up his nose. + + HANDSOME ROB + Where's a grenade launcher when you need one? + +EXT. YAMASHIRO RESTAURANT - DAY + +Our crew walks along the pathways of Japanese gardens that wind along outside the restaurant. It's a breathtaking view from high in the Hollywood Hills. Some tourists take in the vista. + + HANDSOME ROB + Doesn't matter what time it is. It's either bad traffic, peak traffic, or slit-your-wrists traffic. + + HALF-EAR + You gotta ride the Metro-Rail, man. + + HANDSOME ROB + I'm sure it's ideal for carrying a ton of gold, genius. + + CHARLIE + What's your guesstimate? + + HANDSOME ROB + If we had all green lights, fourteen minutes. But in the twenty times I've done it, the average is thirty-two minutes, with a top time of fifty minutes. + + CHARLIE + Then we'll travel like Rockefeller. + +They don't know where Charlie is going with this, but they've been around him long enough to know it's going somewhere. + + CHARLIE + When cars first started catching on, workers on tall ladders would use these swiveling colored boards for traffic signals. Now whenever Rockefeller would take the drive from his mansion to his office on Wall Street, the workers would make sure that he got green boards all the way. + + HANDSOME ROB + How do we get all green lights? + + CHARLIE + Lyle? + + LYLE + Let me see what I can do. + + HALF-EAR + Did you know that the first traffic signal to be patented was invented by a black man named Garrett Morgan? + (to Charlie) + You're not the only one who watches the History Channel. + + HANDSOME ROB + We still need an in to get the video blueprint. + + LYLE + Carpet cleaners? Gutter cleaners? Flower delivery? + + CHARLIE + We'll never get by the guard unless they're certain it's legit. I'm thinking cable TV. We cut his cable, he calls the cable company. We show up. Send a cable technician into the house with a pinhole video camera while we get a feed through an RF antenna. + + HANDSOME ROB + Who plays cable technician? Steve thinks we're all dead. + +But Stella knows that's not exactly true. He doesn't think Stella is dead; he doesn't know her at all. + + STELLA + If you're all dead, I guess I'm the man for the job. + + CHARLIE + Are you up for it? + + STELLA + In for a penny, in for a pound. + +EXT. ADELPHIA CABLE - PARKING LOT - EVENING + +Service trucks pull into the lot. Technicians are getting out, finishing their shifts. + +INT. RENTAL CAR (PARKED NEARBY) + +Handsome Rob behind the wheel. Lyle shotgun, aiming his digital camera at the exiting workers. + + LYLE + I'm telling you. He claims he named it Napster because his hair is so nappy underneath that cap of his. But I know the real reason. It's because I was NAPPING when he stole the idea from me. I should've been on the cover of Wired magazine. + + HANDSOME ROB + Would you clam up. You'd give a woodpecker a headache. + + LYLE + I'm the Napster. + + HANDSOME ROB + Okay. You're the Napster. Heads up: cable chick. + +They see a female service tech getting out of her work truck. + +Lyle zooms his camera lens in on her Adelphia Cable work shirt. It has BECKY sewn in above her right breast. + + LYLE + Becky. Nice name. I wonder what she calls the other one. + + HANDSOME ROB + And it's such a mystery why you don't have a girlfriend. + + LYLE + I had a girlfriend. Unfortunately even though the relationship ceased in an objective reality, it's still going on in my mind. + (tapping his head) + That woman's lived in here rent-free for four years. + +Lyle takes a few more pictures of Becky. + + LYLE + Okay. All we need now is a work shirt like this one and a service truck like that one. You think Stella will be able to pull it off? + + HANDSOME ROB + I have my doubts, but there's no talking to Charlie. + + LYLE + Maybe he's been inserting his hard drive into her software. Clouds the judgment. + + HANDSOME ROB + He knows better than to mix business with pleasure. + (getting out of the car) + Only I'm allowed to do that. + + LYLE + Where you going? + + HANDSOME ROB + To get a work shirt and a service truck. + +Lyle watches him stroll over to Becky and strike up a conversation in the parking lot. Lyle can't hear what's being said, but Becky smiles, and lest we forget, his name is Handsome Rob for a reason. + +INT. BECKY'S APARTMENT - NIGHT + +OUR CAMERA FOLLOWS a trail of clothes, hastily littered, that lead to the cable chick's bed. Lit candles are on the bedside table. The couple is asleep under a tangle of sheets. Handsome Rob has clearly mixed business with pleasure. His eyes flash open. + +He slips out of bed. Pulls on his pants. Reaches into her pants and removes her key chain. + +He selects the key to her service truck and does an old trick: he blows out one of the candles and presses the key against the warm wax, making a clear impression of the key's ridges. + +He returns the key chain. Takes a couple more steps, past her panties, past her bra and. + +He snags her work shirt. Then he's gone. + +INT. HANDSOME ROB'S HOTEL ROOM - NIGHT + +Using locksmith equipment, he cuts a key that matches the impression on the candle wax. + +EXT. ADELPHIA CABLE PARKING LOT - DAWN + +Stella, wearing Becky's work shirt, arrives before any other workers. Using the key Handsome Rob made, she unlocks the door to the cable truck and gets in. + +EXT. NEARBY STREET - MORNING + +The cable truck pulls over. Charlie and Lyle climb into the back where they can't be seen. + +EXT. OPORTO DRIVE -MORNING + +The cable repair truck pulls over, parking down the street from Steve's house. + +Charlie gets out. He quickly uses a crowbar to lift up a sidewalk cement grate that says CABLE on it. Inside are cable wires that feed the street. He crouches over and uses pliers to disconnect one of the cables. + +INT. STEVE'S HOUSE - MORNING + +He drifts into the kitchen for a cup of coffee. He hits the remote control for a TV. It turns on but there's nothing but snow. + +He goes into the living room and checks out the plasma TV. + +The cable's not working in here, either. He hits an intercom button on his telephone. + +INT. GUARD HOUSE - INTERCUT + +A SECURITY GUARD answers the intercom. + + SECURITY GUARD + What can I do for you, Mister Frezelli? + + STEVE + The cable's out. See if you can get someone over here to fix it'. + + SECURITY GUARD + Yes, sir. + +He finds the number and dials. + +INT. CABLE TRUCK (PARKED) - MORNING + +Lyle monitors a digital copy of the security guard's call that's being routed to his laptop. Then he takes off his headphones and tells Charlie and Stella: + + LYLE + Whoa. I've never heard the Muzak version of Purple Haze before. + + CHARLIE + When's the appointment? + + LYLE + Thursday between 9 a.m. and 3 p.m. + +Charlie dials a number on his cell phone. + +INT. GUARD HOUSE - INTERCUT + +The security guard answers the phone. + + SECURITY GUARD + Hello. + + CHARLIE + Yes, I'm calling from Adelphia Cable. I understand your service is out and an appointment was set up for Thursday. + + SECURITY GUARD + Yes. + + CHARLIE + Well we have a technician working in your area who finished with an appointment earlier than expected. Will someone be there for the next hour? + + SECURITY GUARD + Sure. That'd be great. + + CHARLIE + Our technician will see you then. Have a nice day. + + SECURITY GUARD + You too. + +Charlie hangs up. + + CHARLIE + Let's check the camera. + + LYLE + Stella, you're going patriotic today. + +Lyle puts an American flag pin on her work shirt. Then he hits keys on his laptop and an image pops up on his monitor via an RF antenna: the POV of the pin. + + CHARLIE + He's got cable lines in the kitchen, living room, bedroom and a cable modem on the computer in the office. Try to get a 360 look at each room. And walk slowly or the image will streak. + +Lyle hands her some papers. + + LYLE + I printed these up to look like paperwork from Adelphia. When you're done, ask him to sign and date the bottom. + +Stella looks very tense. + + CHARLIE + How you doing? + + STELLA + Fine. I'm fine. + +Charlie seems amused by that answer. + + CHARLIE + You know what fine, stands for? Fucked-up, Insecure -- + +Stella joins in with him... + + STELLA & CHARLIE + Neurotic and Emotional. + +They look at each other a moment... and smile. + +INT. RENTAL CAR (MOVING) - DAY + +While the others deal with the cable, Handsome Rob and Half-Ear drive down Sunset. + + HALF-EAR + Here's our spot. + +They pull up in front of a strip joint. + + HANDSOME ROB + Girls girls girls. + +Half-Ear pulls a switchblade out of his boot and puts it in the glove compartment. Handsome Rob gives him a questioning look. + + HALF-EAR + Philly Steak said we'd be frisked. + +INT. STRIP CLUB - DAY + +Outside the doorway of a back room they're frisked by a BURLY MAN. He's very thorough, digging hard into their crotches. + + HANDSOME ROB + (scowls) + Y'got a great job. + + BURLY MAN + Pays the rent, asshole. You got a problem, talk to Skinny Pete. + +He opens the door to the -- + +INT. BACK ROOM + +Where we meet SKINNY PETE, who is the FATTEST MAN YOU'VE EVER SEEN. He takes up an entire couch in the rear of the room. + +His catcher's-mitt-sized hands motion them to come closer. + + SKINNY PETE + Philly Steak sent you? + +His voice is raspy, it's like a climbing-ten-floors-effort just for this guy to get out the words. + + HALF-EAR + That's right. + + SKINNY PETE + So was I right-on about the gold bricks or what? + + HALF-EAR + That's really not what I'm here to talk about. Philly Steak said you could get us some supplies. + +The fattest man you've ever seen attempts a nod, triple-chins colliding like a train wreck. + + SKINNY PETE + What do you need? + + HALF-EAR + A four inch can of Nitramon. Nitramon primer. Detonating cord. Two triple charger chemical grenades. Launcher. + + SKINNY PETE + Nine p.m. + + HANDSOME ROB + Should we hang here? Check out the dancers? + + SKINNY PETE + Nothing's going down here. I don't shit in my own yard, do you? + + HANDSOME ROB + No, but I take a whizz off the deck sometimes. + +With his distended belly and bursting shirt, his eyes glazing with repletion, Skinny Pete writes down an address. + + SKINNY PETE + Five thousand dollars. And don't be late. + +CUT TO: + +INT. SECURITY GUARD BOOTH -DAY + +Looking at a monitor, one of Steve's security guards sees the Adelphia repair truck pull up to the gate. He hits a button and the gate rises, beckoning it inside. + +INT. CABLE TRUCK (MOVING) + +Stella heads up the driveway, apprehension painted on her features. Lyle is hidden in the back. + +She parks next to the Ferrari and finds herself surrounded by the four Rottweilers. They snarl and flash their teeth outside her door until a shrill WHISTLE yanks their attention to -- + +EXT. STEVE'S HOUSE + +where Steve has just stepped out the front door. The dogs immediately back off. + +Stella gets out of the truck as Steve walks over, smiling at her. + +She comes face to face with the man who killed her father. + + STEVE + It's all right. They won't bother you now. + +She's not sure she's going to be able to speak or pull this off. + + STELLA + It's okay. I'm used to running into all sorts of dogs on my job. + +He holds out a hand. + + STEVE + I'm Steve. + + STELLA + Becky. + +She shakes his hand. She hates this, feeling his skin touch hers, but she can't betray her feelings. He stands there a moment. + + STELLA + You want to show me the problem? + + STEVE + Yeah. Course. This way. + +INT. STEVE'S HOUSE - SAME TIME + +She enters, moving her body to give the pinhole camera a full sweep of the entryway. + + STELLA + I'd like to check the cable modem first. + +INT. BACK OF THE CABLE REPAIR TRUCK - SAME TIME + +Lyle watches Stella and Steve on his laptop via the pinhole camera and hears them talking through his headphones. + +INT. HALLWAY - INTERCUT + +Steve leads Stella down the marbled hall... + + STEVE + I'll show you. + +They step into the -- + +.OFFICE + +She turns her body so the mini-lens can stare at the gleaming black Worthington 1000 safe. Then she goes up to his desk and pretends to work on the cable line that feeds into his computer. + +He stares at her as she bends down... + + STEVE + The cable guy who hooked this up weighed about 300 pounds, didn't wear any underwear, and his pants slung a little too low if you know what I mean. + +She tries her best to ignore his flirtatious stare and his words. + + STELLA + There we go. Now onto the TVs. + +INT. BACK OF THE CABLE TRUCK - DAY + +Lyle sees a perfect view of the main hallway as Stella walks down it. + +INT. LIVING ROOM - DAY + +He escorts her inside. She works on the cable connection to the plasma TV. Finishes. + + STEVE + Is it fixed? + + STELLA + Turn it on and see. + +EXT. OPORTO DRIVE - SAME TIME + +Back at the spot where Charlie disconnected the cable. + +Wearing a headset with a mic, he gets the word from Lyle -- + + LYLE (V.O.) + Now. + +Charlie reconnects the cable just as -- + +INT. LIVING ROOM + +Steve turns on the TV and the picture is -- + + STEVE + Perfect. + + STELLA + Then it looks like you're all set. + +Steve stares at her a moment. + + STEVE + Have we met before? + +She's hoping to get out as quickly as she can. + + STELLA + I don't think so. Sign here, please. + +She hands him the paperwork and a pen. He signs it. + + STELLA + Date. + + STEVE + You read my mind. + + STELLA + Oh, no. I meant that I need you to put the date by your signature. It's the 26th. + + STEVE + I know what you meant. + (he smiles) + This might seem a little sudden, but... would you like to have dinner with me? + + STELLA + I don't think that'd be a very good idea. + + STEVE + Why? Is there some kind of cable-rule against dating customers? + + STELLA + No, it's my rule. I don't accept dates from men I've just met. I've only known you five minutes. + + STEVE + Then I guess I'll have to sabotage my cable over and over again until you get to know me better. + +He's being charming, and she has to act like he is being charming, but she really wants to throw-up. + + STEVE + Look, I'm just talking about dinner. Friday night. It's no big deal. If you don't like me, you never have to see me again. You know I'm not going to stop until you say yes. + +CUT TO: + +INT. CABLE TRUCK (MOVING) - DAY + +Stella drives in heavy traffic down Sunset. Charlie and Lyle are in the back. + + CHARLIE + I know it was tough in there. + + STELLA + He touched my hand. And he came-on to me. That slimy, disgusting man came onto me and I had to pretend that I liked it. + +Stella keeps her eyes forward, on the road, so Charlie and Lyle can't see her face. But Charlie catches her reflection in the rearview mirror and watches a tear glide down her cheek. She wipes it away. + + STELLA + You do know what this means... I've created our window of opportunity. + + CHARLIE + I know. When Steve leaves Friday night, we go in. By the time he realizes you've stood him up, we'll be long gone with the gold. + +CUT TO: + +EXT. HOUSING PROJECTS - NIGHT + +A different world. A different vibe. That feeling in the gut: you don't belong here. + +INT. RENTAL CAR (MOVING) + +Handsome Rob drives, Half-Ear in the passenger seat. + + HALF-EAR + Skinny Pete. + + HANDSOME ROB + The guy makes Jabba the Hut look like a spokesman for the Subway Sandwiches' diet. + +They pull over in front of the apartment building that Pete sent them to. + + HALF-EAR + What do you think? + + HANDSOME ROB + I'm trying not to. + +EXT. APARTMENT BUILDING - NIGHT + +Half-Ear hits the buzzer for the apartment number on the paper from the fat man. The door to the building buzzes in response and they go inside. + +INT. APARTMENT BUILDING - NIGHT + +Climbing stairs. From behind closed doors: TVs, crying babies, violent yelling. They start down a hallway. Ahead of them a door opens and a suitcase is put in front of the doorway. The door closes. They don't even get a glance at whomever is inside. + +They go to the suitcase. Half-Ear clicks open the lock for just a peek. He sees the goods. + +Handsome Rob starts to slide an envelope of cash under the door frame. Its sucked out of his hand by someone on the other side of the door and disappears. + +EXT. APARTMENT BUILDING - NIGHT + +Half-Ear carefully deposits the suitcase into the trunk of the rental car. Handsome Rob closes the trunk. + + HALF-EAR + Drive slow. We crash and we're a crater. + +They get into the car. + +INT. RENTAL CAR + +Handsome Rob keys the ignition. + +The beam of his headlights illuminate TWO HOMEBOYS. TWO MORE step out of the shadows, one right up to the passenger's door window. That one taps a 9 MM against the glass. + +Half-Ear lowers the window. The homeboy pats one hand against the faux-leather inside of the door, his other hand clutches the weapon. + + HOMEBOY + What'd you put in the trunk? + + HALF-EAR + Suitcase. + +The homeboy, bugging on crank, is not one to be fucked with. + + HOMEBOY + Just gimme the keys before I pop a cap in your head. + +Handsome Rob takes the trunk key off the chain and passes it over to Half-Ear... who nervously drops it onto the carpeted floor. + + HOMEBOY + Hurry up! + +Half-Ear reaches down for the key... but in the flash of an eye... moving so fast it almost doesn't register... we see him yank his switchblade from his boot, unleash its blade, and stab it down into the homeboy's hand. The knife goes through his hand and lodges into the faux-leather interior of the door. + +The homeboy suffers as Half-Ear whacks the gun out of his other hand -- while Handsome Rob keys the ignition and guns it. + +The other homeboys are already POPPING OFF SHOTS at the car with semi-automatic handguns. Half-Ear hits the deck. Glass shatters. + +INT. TRUNK OF THE CAR + +Bullets slam into the trunk, illuminating the darkness with streaks of light from the bullet holes. They barely miss the suitcase filled with explosives. + +EXT. RENTAL CAR (MOVING) + +The homeboy is still attached to the car door by the knife. + +His legs scurry to keep up with the moving vehicle but it's going too fast so pretty soon he's being dragged. Bullets whiz by him. He cries out in agony until Half-Ear has the time to yank out the knife and the homeboy rolls away on the pavement. + +The car makes a sharp right at the next block and pulls over. + +The U-Haul is waiting for them. + +They get out of the rental car and open its trunk. Half-Ear sees the bullet holes that surround the suitcase. An inch closer and they would've been a crater. + + HALF-EAR + Christ. + +INT. U-HAUL - NIGHT + +They get in with the suitcase. Charlie is behind the wheel, he's been waiting for them. He hits the gas. They take off, leaving the shot-up rental car behind. + + CHARLIE + Looks like that went without a hitch. + +CUT TO: + +INT. CHARLIE'S HOTEL ROOM - DAY + +An edited loop of the exterior and interior of Steve's house plays on Lyle's laptop. The crew is huddled around. + + CHARLIE + Lyle, what's the distance from the front door to the vault? + +Lyle doesn't answer. + + CHARLIE + Lyle? + +Handsome Rob leans over to Charlie. + + HANDSOME ROB + He only answers to The Napster now. + + CHARLIE + I'm not calling you The Napster. + + LYLE + You call him Half-Ear. + + HALF-EAR + That wasn't my idea. + + LYLE + And him, Handsome Rob. + + CHARLIE + That's only cause he is Handsome Rob. + + LYLE + And I'm The Napster. + + CHARLIE + How far? + (sighs, gives in) + The Napster. + + LYLE + Five hundred yards. + + CHARLIE + So here's the riddle. How do we get over a ton of gold from the vault to the getaway car? + + STELLA + How wide is the hallway? + +The video that Stella got of the hallway plays on the laptop. + +Lyle calculates: + + LYLE + Only six feet. + +OUR VIEW PUSHES IN FAST on Stella. + +QUICK CUT TO: + +.MINI COOPER (MOVING) - DAY + +She's driving. Pure concentration. Then: + +Tires spinning over a marble floor. Then: + +The sideview mirrors scraping wallpaper. Then: + +The thin car is like a missile firing RIGHT DOWN STEVE'S HALLWAY, a hair-raising fit. + +CUT BACK TO: + +INT. CHARLIE'S HOTEL ROOM - DAY + +Her idea brings a smile to her face. + + STELLA + Jack Daniels, straight up. + + CHARLIE + Minis? + + STELLA + We could rumble right up the front steps, bring the getaway car right to the vault, and then straight to Union Station. + +Handsome Rob likes it. + + HANDSOME ROB + We'll need three to hold the gold. + +EXT. CAR RENTAL COMPANY - DAY + +Parked in the lot are shimmering Supercharged Mini Coopers, a new model that still captures the legendary Mini look and feel. + +Half-Ear climbs in one Mini. Lyle into another. + +INT. CAR RENTAL COMPANY - SAME TIME + +In the background, a large window overlooks the lot. + +Handsome Rob fills out the paperwork on the Mini he's renting while flirting with a petite COUNTER BABE. + + HANDSOME ROB + I'd say you're a Maserati 250 S. Just 4 cylinders but can go 0 to 60 in 4.2. + + COUNTER BABE + As long as it's a convertible -- I always like to have my top down. + +At the same time, in the background, we see Lyle and Half-Ear's Mini pull out of their parking spaces and BACK RIGHT INTO EACH OTHER. Just a little bumper hit. + + COUNTER BABE + Do you know them? + +They get out of their cars and start yelling at each other. + + HANDSOME ROB + Never seen 'em before in my life. + +CUT TO: + +EXT. YEVHEN'S COIN & BULLION STORE - NIGHT + +Steve bangs a fist against the steel security door that covers the closed store. The steel door rises up and once again Yevhen unlocks another door. + + YEVHEN + You're early. + + STEVE + And I'm in a hurry, okay? + +INT. YEVHEN'S COINS & BULLION STORE - NIGHT + +It doesn't seem to matter if Steve's in a hurry or not, Yevhen still runs at the mouth while heading into the back room. + + YEVHEN + Of course the Florida vote rigging was a CIA and Mob operation. + + STEVE + (with total disinterest) + That a fact? + + YEVHEN + You want facts? Fact: CIA officials were allowed free -- and illegal -- access to official election material. + +Steve puts his duffel bag down on the table. It THUDS. Once again, he pulls out three gold bricks that each weigh 25 pounds. + + YEVHEN + Now given the sordid history in Miami of joint ventures between Central Intelligence and the Mob, which led to the unsuccessful attempts to kill Fidel Castro and the successful assassination of your President John F. Kennedy, this conjunction raises numerous red flags. + + STEVE + And I'd love to hear more about it, but like I said... + + YEVHEN + Don't worry, we'll have you out in no time. The cash is on its way. + +Steve cocks his head, as if he could not have heard right. + + STEVE + On its way? + + YEVHEN + My cousin is bringing it over. + + STEVE + Your cousin? + + YEVHEN + Yes. Cousin Mashkov. + + STEVE + He's on his way? + + YEVHEN + Don't worry, he will be here any minute. + +Steve looks up to the security camera. + + STEVE + The tape's off? + + YEVHEN + Of course. Believe me, he doesn't want to be on video, either. + + STEVE + Yevhen. Didn't I tell you, many times, that I never wanted to meet with anyone but you? + +Yevhen sweats a bit. + + YEVHEN + I know. But it's his cash. He uses me to launder money. I'm just a middleman. + + STEVE + And a middleman is supposed to stay in the middle. + + YEVHEN + But you were early. Please. Don't worry. It will be fine. My cousin's a cool guy. Like I am. + + STEVE + What you are, is a Dixie cup. + +Yevhen smiles quizzically, not sure if he's being complimented or insulted. + + YEVHEN + Dixie cup? + +Before the words are out of Yevhen's mouth, Steve grabs one of the 25 pound gold bricks and slaps it across Yevhen's face, shattering his jaw. + +Yevhen's falls to the floor and Steve lifts the brick again and rams it down onto his head with an ugly THUD. + +And again. + +And again. + +He then takes the gold brick -- slathered in blood -- and places it back in his duffle bag. + +CUT TO: + +INT. YEVHEN'S COINS & BULLION STORE - TEN MINUTES LATER + +Yevhen's Ukrainian cousin, MASHKOV, stares down at the corpse. Steve is long gone. + +Mashkov kneels down by the body and starts sobbing. + +INT. HOUSE - NIGHT + +Mashkov walks through a living room, past some lighting equipment and a video camera and we get just enough of a look to realize that a porno is being shot here but he couldn't care less as he makes his way into the kitchen where -- + +His boss, DANYA, 60, the owner of this house, is eating a bowl of Frosted Flakes at the kitchen table. They speak in a colloquial Ukrainian tongue that we SUBTITLE. + + MASHKOV + My cousin Yevhen was beaten to death. + + DANYA + By who? + + MASHKOV + That's what I'm going to find out. + +They stop talking for a moment as one of the "ACTRESSES" comes in, plops herself down next to Danya and pours herself a bowl of cereal. She puts her hand on Danya's leg. She's young and it's a disturbing image and we RECOGNIZE HER: she's the HITCHHIKER who Lyle passed in the taxi ride down Figueroa Street when he first arrived in L.A. + +Danya goes back to speaking SUBTITLED UKRAINIAN. + + DANYA + And what will you do when you find this piece of shit who killed your cousin? + + MASHKOV + I'll hack off his limbs and bury him while he's still alive. + + DANYA + Okay. But now we should stop talking Ukrainian, it's rude to my girl. + (switching to accented ENGLISH) + How are you tonight, Karen? + + KAREN + Hungry. + + DANYA + Then eat your Frosted Flakes. + + KAREN + (like Tony the Tiger) + They're grrrreat! + +Danya laughs pleasantly. + + DANYA + Such a perfect girl. + +But as she eats her cereal, we see a troubled, sad look on her face. + +INT. RENTED WAREHOUSE - DAY + +The three Minis are parked inside: one red, one white, one blue. Handsome Rob and Stella are doing custom work under the hoods. Lyle is wearing the strap-on laptop and typing away. Half-Ear squeezes silver Haliburton suitcases into the Minis' trunks as Charlie enters -- + + CHARLIE + How are our matchbox cars? + + HANDSOME ROB + Souped. + + STELLA + Don't let their size fool you. These were rally cars back in the day. 135 mph, 155 horsepower -- + + LYLE + Do I get to drive one? + + HANDSOME ROB + No. + + LYLE + Why not? + + HANDSOME ROB + Because you can't navigate your way out of a parking lot. Here's your ride. + +He pulls a blanket off a Vespa. Lyle points at Half-Ear. + + LYLE + But he ran into me. + + HANDSOME ROB + He's not driving either. + (to Stella) + You ever got a speeding ticket? + + STELLA + Let's put it this way: I can only get insurance through companies that advertise on TV at 3:00 in the morning. + + HANDSOME ROB + You drive. I drive. Charlie drives. + + CHARLIE + I got us spots for three cars on a car carrier and five first class seats. Train 59 from Union Station to New Orleans. + + HALF-EAR + That's N'Or'lins, Yankee. + + CHARLIE + What's the word on Rockefeller? + + LYLE + The Traffic Control Center is on the top floor of a building on Olympic and Grand. They get their data from pavement loop detectors and video image vehicle detectors. That info is fused together by specially designed algorithms to predict traffic conditions and control the traffic lights. So all I have to do now is change the data by creating my own algorithm. + + CHARLIE + What can I do to help? + + LYLE + I need to hard-wire into the mainframes. + +EXT. TRAFFIC CONTROL CENTER - NIGHT + +Housed in a towering building on the corner of Olympic and Grand in the heart of downtown L.A. OUR VIEW RISES UP to the rooftop, where WE FIND Charlie and Lyle. + +OUR VIEW MOVES IN CLOSER on Charlie, who adroitly picks the lock to an access door and they climb down a short set of steps into the + +INT. MAINTENANCE ROOM - CONTINUOUS SHOT + +From an equipment bag, Charlie pulls out a silent power drill and uses it to remove an access panel from the AC vent. + +INT. AIR-CONDITIONING VENT - NIGHT + +Charlie leads, crawling through this tight space, his path illuminated by the thin beam of a penlight. + +INT. TRAFFIC CONTROL ROOM - NIGHT + +A high-tech setting with a half-dozen workers overseeing the large traffic information monitors that display multiple images. + +OUR CAMERA PUSHES IN on the wall of monitors and then BLACKNESS as OUR VIEW CROSSES to the -- + +.OTHER SIDE OF THE WALL + +Where the 70" tall mainframe computers are housed and running. We see that the AC vent to this room is now open since Charlie and Lyle have already snuck inside. + +They move fast. Charlie removes the rear panels of the mainframes while Lyle adeptly hard-wires his laptop into the computers. The laptop's screen lights up. + +Charlie fits two false panels where the rear panels of the mainframes used to be. Lyle pulls an innocent looking filing box out of his equipment bag. He places the box on a nearby shelf where it enjoys line-of-sight to the false panels. + +He punches a key on his laptop and the false panels and the filing box quietly clicks into action, communicating with his laptop via infrared. His laptop now shows a quiltwork of thumbnail views from the traffic information monitors. + +Typing commands, Lyle is clearly operating on a higher bandwidth than the rest us. + + LYLE + B4 X TTratio, where Bi are Fisher's linear discriminant function coefficients, SpdRat is the speed ratio, and TTratio is the travel time ratio. + + CHARLIE + I have no idea what you're doing. Just do it fast. + +There. + +He hits the ENTER button. + + LYLE + We own this place. + +CUT TO: + +INT. THE PANTRY RESTAURANT - DOWNTOWN L.A. - DAY + +Their motto: "Never closed. Never without a customer!" The place has the same decor as it did 75 years ago. It's also a spot where everyone minds their own business. One of the OLD TIME WAITERS leads OUR CAMERA to a table in the back where Mashkov sits across from a LAPD HOMICIDE DETECTIVE. He slides over an envelope of cash and a photograph of Karen. + + MASHKOV + $2000. And this is the new girl. Fresh off the bus. One of Danya's guys picked her up hitchhiking downtown. + +The detective checks out the photo. + + DETECTIVE + Those tits'd make Dracula rise from his coffin at high-noon. + + MASHKOV + They're all yours Saturday. You can do whatever you want to her. Her name is Karen... + + DETECTIVE + You're too generous. + + MASHKOV + I needed a fast answer. + + DETECTIVE + And I'm the Shell Answer Man. A guy who works the counter at your cousin's shop told me that someone named Skinny Pete had been asking around about gold bricks with the face of a Balinese girl on them. Same gold bricks your cousin was buying. + + MASHKOV + You talked to this Skinny Pete? + + DETECTIVE + I thought you'd want a shot at him first. + +CUT TO: + +INT. RENTED WAREHOUSE - DAY + +Handsome Rob does some final tune-ups on the Minis. + +Half-Ear loads a triple charger chemical grenade into a launcher. + +Charlie steps into the U-Haul which is parked in here... + +INT. U-HAUL + +Lyle is fixing glitches on his computer program. Stella is doing her nails. Charlie looks at her. + + STELLA + You want the safe cracked, don't you? + + CHARLIE + Yeah. + + STELLA + Then I have to have perfect nails. Square tips have a more even surface area. Better grip, no slipping. + + CHARLIE + Are you making this shit up? + + STELLA + I just let you in on a valuable trade secret. + + LYLE + Charlie. + + CHARLIE + Yeah? + + LYLE + Steve called to confirm a 7:30 reservation at Ago's. And as for your getaway, not even Rockefeller had it so good. + +CUT TO: + +INT. STEVE'S BEDROOM - NIGHT + +He's getting dressed for his date. We can tell by the way he preens in front of the three sided full length mirror, adorning himself in the most expensive fashion, that he is a vain and arrogant man. + +EXT. RENTED WAREHOUSE - NIGHT + +The three Minis pull out of the warehouse and head off down the road. The U-Haul follows. + +INT. CHARLIE'S MINI (MOVING) - NIGHT + +Leading the pack. He wears a headset and mic. + + CHARLIE + Radio check. + +INT. HANDSOME ROB'S MINI (MOVING) - NIGHT + +He drives, Half-Ear in the passenger seat. + + HANDSOME ROB + Got cha, boss. + +INT. STELLA'S MINI (MOVING) - NIGHT + +She follows behind Handsome Rob's Mini. + + STELLA + Loud and clear. + +INT. U-HAUL (MOVING) - NIGHT + +Lyle drives. His Vespa is parked in the cargo bay with his equipment. + + LYLE + Check. + +CUT TO: + +EXT. STEVE'S DRIVEWAY - NIGHT + +Looking sharp, Steve gets into his Ferrari. + +EXT. OPORTO DRIVE - NIGHT + +The U-Haul is idling on the side of the street about a mile down from Steve's house. The Vespa is parked behind it. + +From up ahead, we see the Ferrari cruising down the winding road. As it passes by. + +INT. U-HAUL + +Lyle speaks into his headset: + + LYLE + For those about to rock, we salute you. + +EXT. OPORTO DRIVE - NIGHT + +From side streets, the Minis converge on the road and head up towards Steve's house. + +INT. CHARLIE'S MINI (MOVING) - NIGHT + +He can feel the adrenaline already starting to course through is body. + + CHARLIE + This is it, guys. Moment of truth. + +He takes a sharp curve... and the moment that Steve's house should come into view... he hits the brakes, his expression turning to complete surprise. + +HIS POV + +The neighbor across the street from Steve is having the biggest party in town. The road is filled with parked cars and arriving guests. Ain't no way they're blowing the gate, launching chemical grenades or in any way robbing Steve's house in the midst of this. + +CHARLIE'S FACE + +As he takes this in, there's a KNOCK on the window. He turns. Sees a uniformed VALET. Rolls down the window. + + VALET + Are you hear for the Baxter party, sir? + +EXT. OPORTO DRIVE - NIGHT + +We see the three Minis pull tight U-turns and head back the way they came. + +INT. CHARLIE'S MINI (MOVING) - NIGHT + +He slaps his hand against the steering wheel, fuming. + + CHARLIE + Shit. Stella? + +INT. STELLA'S MINI (MOVING) - INTERCUT + +She already knows what he's going to say. + + STELLA + I know. I've got a date tonight. + + CHARLIE + You'll have to fake it. Laugh at his jokes. You need him to ask you out again. + +CUT TO: + +INT. AGO RESTAURANT - NIGHT + +A posh restaurant. As OUR CAMERA FINDS Stella and Steve, she is laughing at something he said, faking her way through the date. They're sitting at an intimate table. + + STELLA + You really make laugh. + +He takes the lie like the compliment she wants him to think it is. + + STEVE + So here's what I have lined up for after dinner. We'll go to Club Deep. The Ferrari always gets me to the front of the line. We'll do a little dancing... + + STELLA + Not tonight. I don't want to be out late. + + STEVE + Why the curfew? + + STELLA + Let's just say I've made some wrong calls in the past. I like to take things slow, cautious. Next time... + + STEVE + I understand. You have nothing to worry about. You can trust me. + + STELLA + I trust everyone. It's the devil inside them that I don't trust. + +That saying strikes Steve. + + STEVE + That's an interesting saying. + + STELLA + What? + +He looks at her closely, really closely. + + STEVE + There's only person I've ever heard say that. Used to say it all the time. + +This worries her. Because of course, she used to hear it from her father. + + STELLA + Who was that? + +Under the table, he grabs her by the wrist, squeezes it like a vise. + + STEVE + A man named John Bridger. Where did you pick up that phrase? + + STELLA + Ow. I don't remember. You're hurting me. + + STEVE + John Bridger was a thief. And he had a daughter. About your age. He told me that she took over a safe and lock company that he used as a front. + + STELLA + Let go of my wrist. What is wrong with you? It's just a saying. + +Steve's voice is calm, so at ease that watching them you'd think this was pleasant dinner conversation. + + STEVE + No wonder I liked you right away. Just like I liked your old man, right up until the moment I shot him in the head. Now tell me who you're working with and tell me the plan. Do it now or we'll go for a ride and I'll break every bone in your body. + +Stella intentionally knocks over a glass of wine. It shatters on the floor. An emergency signal... + +Charlie, Half-Ear, Handsome Rob and Lyle appear around the table. + +Steve is shocked to see the men he left for dead three years ago standing before him, very much alive. + +They pull up chairs from another table, encircling him for a tense and pointed talk. + + CHARLIE + Something wrong, Steve? You look like you want to call Ghostbusters. + +Half-Ear furtively slides the switchblade out of his boot. + + HALF-EAR + She's coming with us. You got a problem with that? + + STEVE + Fine by me. But it's you that has the problem. + + LYLE + How do you figure? + + STEVE + You've just blown the one thing you had going in your favor, the element of surprise. And I was surprised. + (he laughs unpleasantly) + Jesus Christ when I saw all you guys come out of the woodwork. For a minute I thought maybe you were ghosts. But you're screwed now. + (an arrogant sneer a Half-Ear) + Did you figure out how to take care of my security guard? I'll hire five more. + (at Lyle) + You know how to bypass my alarm system? I'll have a new one installed tomorrow. + (at Handsome Rob) + Does it tear you up inside seeing what car I drive? I'll buy a matching one in red. + (at Stella) + You think you can crack my safe? You'll end up the same way as your dad. + (then to Charlie, all smiles) + Looks like Good Time Charlie's got the blues. + + CHARLIE + You can wear that shit-eating grin on your face, but I know under that Versace shirt you're in a cold sweat. And you're not going to sleep a minute tonight. Cause you thought you'd gotten away with it free and clear. You thought you'd gotten rid of us. You're the one who's screwed. Right to the wall. + + STEVE + Give it your best shot. I'll outsmart you every step of the way. And this time, I'll bury you myself. + + CHARLIE + (taking the challenge) + Get more guards. Change the alarm. Buy a dozen Ferraris. We'll still be here. Sleep tight. + +Charlie grabs a bread stick off the table and goes. The others follow. + +CUT TO: + +INT. STRIP CLUB - BACK ROOM - NIGHT + +The door bursts open as the burly man we met earlier is dragged inside at gunpoint. Five Ukrainians armed with MAC-11 machine pistols storm the room where Skinny Pete works. + +Mashkov walks behind the posse. He carries a duffel bag. He takes in the sight of the fattest man he's ever seen. + + MASHKOV + (in accented English) + Do you know who I am? + + SKINNY PETE + You work for Danya. + + MASHKOV + Yes. And you are gonna be straight with me and everything's gonna be okay. You fuck with me, I will be ruthless. + + SKINNY PETE + I understand. + + MASHKOV + I don't want you to understand. I want you to overstand. + + SKINNY PETE + Overstand... Okay. + + MASHKOV + Because if you don't overstand, I will use this. + +Mashkov nonchalantly opens the duffel bag and pulls out a short-handled ax. Skinny Pete sees dried blood on the blade. + + MASHKOV + Someone was asking about gold bars with a Balinese girl's face on them. I want the name of this man. + +CUT TO: + +EXT. SHUTTER'S ON THE BEACH - MORNING + +The sun shines over the ocean and the hotel. + +INT. CHARLIE'S HOTEL ROOM + +The crew is gathered. Lyle, monitoring digital surveillance on his laptop, takes off his headphones. + + LYLE + Well we scared him alright. He's flying the coop. His security guard called Brink's Armored Car Service to confirm a 5 p.m. pick up at his house, then JetClub to confirm a MD11 cargo plane departing from the Imperial Terminal at LAX at 8 p.m. + + CHARLIE + Confirmed? How'd we miss the first calls? + + LYLE + They must have been cellular. The cargo plane is being chartered to Mexico City. + + HANDSOME ROB + Only place with worse smog and traffic than L.A. + + STELLA + Once the charter's in the air, he could change the flight path to anywhere. And good-bye gold. + + CHARLIE + Not so fast. This is good news for us. + + HANDSOME ROB + Good news? + + CHARLIE + Sometimes when you're up to your ass in alligators you forget that you started off trying to drain the swamp. + + HANDSOME ROB + Meaning what the fuck? + + CHARLIE + We've been trying to get to the gold in the safe. Now the safe is coming to us. We'll boost it in transit. + +He might as well have said they'll steal the Holy Grail before sunrise. + + HANDSOME ROB + Charlie. He could take a dozen different routes to the airport and we have no idea which one. We can't take out an armored truck during rush hour. + + CHARLIE + We're already set to do it. Napster: how would you like to create the biggest traffic jam in the history of Los Angeles? + + LYLE + Keep talking. + + CHARLIE + You gridlock every route except the one we choose. Force the truck to go exactly where we want it to go. + + HANDSOME ROB + But where do we want it? We can't shoot it out with armed guards in a Brink's. We'd lose. And even if we pulled it off, the cops would be all over us, chasing us all the way to Union Station. We're outmanned and outgunned. + + CHARLIE + But not outsmarted. + +Charlie hums with focused energy. There's a term for it in horse racing. When a thoroughbred is at peak condition, and twitching with eagerness to run, he is "on the muscle." That describes Charlie right now. + + CHARLIE + We'll do it like the Italian job. We'll make thirty million in gold drop out of sight. + +They're interrupted by Charlie's cell phone RINGING. This throws them all off. + + CHARLIE + Who else has this number? + + HALF-EAR + No one but us. + +It's still RINGING. Charlie decides to answer it. + + CHARLIE + Hello? + +INT. OFFICE - PHILADELPHIA - INTERCUT + +Meet PHILLY STEAK. Or at least meet the back of his neck. + +Because that's where he has a tattoo that says PHILLY STEAK. + + PHILLY STEAK + Why'd you do it? + + CHARLIE + (informing the crew) + Philly Steak. + (then into phone) + Do what? + +OUR CAMERA TRACKS AROUND to Philly Steak's face which is weathered and as leathery as a football. An old school crook. + + PHILLY STEAK + Yevhen. The Ukrainian gold, dealer. You didn't, have to clip him, for Christ's sakes. + + CHARLIE + Clip him? + + PHILLY STEAK + Listen to me. You've gotta get out of L.A. Now. + + CHARLIE + What're you talking about? We didn't clip anybody. + + PHILLY STEAK + Well Skinny Pete just called me. Yevhen's cousin is under the distinct impression that you did. + + CHARLIE + Why does he think that? + + PHILLY STEAK + Because you wanted, to know about the gold with the Balinese Girl. Plus I guess Pete was under duress. This Ukrainian thinks he's Paul Fucking Bunyan. + + CHARLIE + Do you know how to get in touch with him? + + PHILLY STEAK + Yeah but... + + CHARLIE + Maybe there's a way we can play this to our advantage. + + PHILLY STEAK + Are you out of your mind? Listen to me, Charlie. Get out of L.A. Now. Cause if there's one thing I know, it's that you never mess with Mother Nature, mother-in-laws, or mother-fucking Ukrainians. + +INT. SAFE HOUSE - MORNING + +Speaking of -- Five Ukrainians lock 'n load their MAC-11 machine pistols plus an M4 carbine with a 40mm grenade launcher mounted beneath the barrel. Mashkov enters the room and tells the others in SUBTITLED UKRAINIAN. + + MASHKOV + He's going to be on Train 59 for New Orleans. + + UKRAINIAN + You sure your source is good? + + MASHKOV + I'm sure. + +CUT TO: + +INT. DANYA'S HOUSE - MORNING + +The home where the porno was made. Karen, wearing a backpack stuffed with her only belongings, creeps into the kitchen with two 3/4" videotapes in hand. + +She sets them down on the counter. They say MASTER TAPE on the labels. She opens the microwave oven. Puts the tapes inside. Sets the timer for 60 minutes at the highest level and presses the start button. + +As the videotapes start to cook, we watch Karen flee out the door. + +CUT TO: + +EXT. HOLLYWOOD AT HIGHLAND - DAY + +The U-Haul is parked on the side of the noisy, congested boulevard. A large metal sheet is now mounted on the side of the panel truck. + +HIGH ANGLE. Parked behind the U-Haul are two of the Minis and Lyle's Vespa. We see traffic flowing through the busy intersection next to the vehicles. Then WE BOOM DOWN, really fast, right into the black pavement and -- + +THROUGH THE DARKNESS and out the other side, so we are now underground in the middle of the -- + +.METRO RAIL TUNNEL + +where Half-Ear is at work, mounting Nitramon primer to the tunnel walls, Charlie assisting. They both wear orange jumpsuits, plus headsets and mics. + + HALF-EAR + Did you know Einstein's 7th grade teacher told him he was a moron who'd never amount to anything? Same as mine. + + CHARLIE + Still hope for that Nobel Prize. + + HALF-EAR + Not me, man. But I did get my college diploma. + + CHARLIE + No shit. I thought you dropped out of high school. + + HALF-EAR + Got my GED after Italy then just kept going. + + CHARLIE + How'd you manage that, all the jobs we've been pulling? + + HALF-EAR + Quit going to strip clubs. Went to night school instead. City college is all. + + CHARLIE + Good for you. That's a real feather in your cap. + + HALF-EAR + I didn't want to say anything to the guys. + +There's a RUMBLING SOUND in the distance. + + CHARLIE + Secret's safe with me. + +The RUMBLING grows unbearable as a Metro roars closer, headlights gobbling up the dark tunnel. They press themselves into a crevice in the wall. + +With a ROAR and a gust of wind, the Metro howls by. It makes their jaws clatter. + +INT. U-HAUL (PARKED) - DAY + +Stella's in the cargo area with Lyle who's working his laptop. It's monitor displays a string of computer code. He HEARS over his headset: + + CHARLIE (V.O.) + Napster. How goes it up there? Over. + + LYLE + Working on the Metro Rail system. Almost ready. + +EXT. MARAVILLA DRIVE - SAME TIME + +Handsome Rob's Mini is parked on the side of the winding road. Using binoculars, he looks down onto Oporto Drive at Steve's house. Into his headset: + + HANDSOME ROB + Everything's quiet here. Over. + +INT. METRO RAIL TUNNEL - DAY + +The Nitramon is applied. Half-Ear closes his eyes. Charlie observes him a moment. + + CHARLIE + You okay? + + HALF-EAR + Ah huh. Just need a moment's meditation. + + CHARLIE + Now? + + HALF-EAR + I'm about to insert a wire into a detonator tube and if the wire touches the sides of tube, we'll be blown to Kingdom Come. Best to be at one with yourself. + + CHARLIE + Take all the time you need. + +Another moment, then Half-Ear sets to work. Charlie holds a mini-flashlight, illuminating the intricate detonator. Very carefully, he inserts a wire into a tube. Remember, the wire must not touch the sides. + +The wire is half-way in when a LARGE SPIDER drops onto his hand. Frozen, he ponders this. + +Charlie sees the spider, doesn't know what to do. + +Half-Ear studies the spider... then he closes his eyes just a moment... relaxes... breathes in, breathes out... and then -- + +He leans forward, opens his mouth and clamps his lips over the spider, comes back up. Finishes inserting the wire. + +Job done, he calmly opens his mouth. The spider puts a hairy leg out and delicately explores his cheek. Half-Ear plucks it off just as delicately, depositing the spider on the wall. + +Charlie just shakes his head in disbelief. + + HALF-EAR + My work here is done. + +EXT. OPORTO DRIVE -DAY + +A Brink's truck climbs the road towards Steve's house, flanked by two BMW K1200LTA motorcycles. + +EXT. MARAVILLA DRIVE - SAME TIME + +Through binoculars, Handsome Rob is still keeping an eye on Steve's house from the higher vantage point. + +HIS POV + +The front gate rises. The Brink's truck and motorcycles are let inside and head up the driveway. + +But then he sees a SECOND ARMORED truck drive up, also guarded by two motorcycles. And a third Brink's followed by motorcycles turns into the driveway. + +EXT. STEVE'S HOUSE + +It's a convoy of matching armored trucks... + +EXT. MARAVILLA DRIVE - DAY + +Witnessing the twist of events through his binoculars. He speaks into his headset mic -- + + HANDSOME ROB + Problemo. + +INT. U-HAUL - INTERCUT + +The rest of the crew is now all in the U-Haul. Lyle's manning the laptop. + + CHARLIE + What is it? + + HANDSOME ROB + He's brought in three identical armored trucks. + + CHARLIE + Shit. Decoys. It's like a shell game on wheels. + + LYLE + How can I reroute the truck if I don't know which truck to reroute? + +EXT. STEVE'S HOUSE - (TIME CUT) - DAY + +The caravan of armored trucks and motorcycles now head down the driveway. The Ferrari follows behind. + +EXT. MARAVILLA DRIVE - DAY + +Handsome Rob sees the vehicles head east on Oporto. He reports into his mike: + + HANDSOME ROB + Three Brink's trucks are leaving with motorcycle escorts, plus Steve in his Ferrari. + +INT. U-HAUL + +Maddening frustration. + + LYLE + How're we going to figure out which truck has the gold? + +Charlie is just as frustrated... but in a tight spot he always comes up with an idea. + + CHARLIE + You can monitor the traffic video cameras from your laptop, right? + + LYLE + Yeah. + + CHARLIE + Where's the first camera the trucks will go past? + +Lyle hits a command key and we now see the intersection of Woodrow Wilson Drive and Cahuenga where vehicles are driving under the traffic signal that a traffic video camera is mounted to. + + LYLE + Cahuenga Boulevard. They all have to cross that. + + CHARLIE + The weight of the gold will lower the suspension on the truck. + +EXT. CAHUENGA BOULEVARD - DAY + +The first armored truck makes its way through the green light. + +INT. U-HAUL + +Lyle hits the keyboard and lines of measurements appear across the image of the Brink's truck. He strikes another key, momentarily FREEZING the image. He makes a visual check of the top of the armored truck against the Cahuenga Boulevard street sign. + + LYLE + Lines up with the top of the sign. Next... + +He unfreezes the first image just in time to check out the next armored truck in line. FREEZE. The top of this truck also lines up perfectly with the top of the street sign. + + LYLE + First two are the same. + +EXT. CAHUENGA BOULEVARD - SAME TIME + +The third Brink's truck makes its way through the intersection, the Ferrari behind it. + +INT. U-HAUL - SAME TIME + +The third Brink's comes into the monitor's view. FREEZE. + +The top of the truck is below the top of the street sign. + + LYLE + That's our truck! License plate AWP82092. + +EXT. CAHUENGA - SAME TIME + +We see the truck with the California plate AWP82092. OUR VIEW RISES UP until we're looking at an AERIAL VIEW as the three armored trucks and their motorcycles fan out in three different directions, with the Ferrari going in a fourth direction. + +EXT. HOLLYWOOD AT HIGHLAND - DAY + +Handsome Rob pulls up in his Mini and parks behind the other Minis. + +INT. U-HAUL - SAME TIME + +Charlie gives the command. + + CHARLIE + Gridlock time. + +Lyle executes, hitting a series of keys and -- + +INT. MAINFRAME COMPUTER ROOM - SAME TIME + +inconspicuous on a shelf, the dummy file box CLICKS into action. In response, the false panels on the mainframes HUM to life and in the adjacent -- + +.TRAFFIC CONTROL CENTER + +The mosaic of traffic screens SPIRAL INTO DARKNESS. + +The workers can't believe it. They start hitting their keyboards trying to get the system up and running again. But it's useless since -- + +INT. U-HAUL + +Lyle controls the system now. A single mouse click loads his new algorithm into the computer and -- + +SERIES OF RAPID-FIRE SHOTS + +All the traffic signals in Hollywood turn green simultaneously. + +EXT. INTERSECTIONS + +See cars collide into each other. See a domino line of rear-end crashes. A motorcycle tumbling over. + +INT. TRAFFIC CONTROL CENTER + +The stymied workers watch helplessly. + +INT. U-HAUL + +Lyle quickly types out some words and + +INT. TRAFFIC CONTROL CENTER + +The workers see the words form on the giant screens: + +YOU'LL NEVER SHUT DOWN THE REAL NAPSTER! + +EXT. MORE INTERSECTIONS + +The traffic lights turn RED simultaneously. Then all turn GREEN. Then RED again. + +It's demolition derby time. Daisy-chains of wrecks. Cars spinning like hockey pucks. Total traffic meltdown. + +INT. KNX-AM 1070 TRAFFIC HELICOPTER - DAY + +Sweeping over a panoramic view of the greatest traffic jam in L.A.'s history is traffic anchor CHRISTINA GRIEGO. She reports what she sees: + + CHRISTINA GRIEGO + This is Christina Griego with your drive-home traffic report on KNX. I'm looking down on Hollywood Boulevard and this is definitely a CIG alert. + +INT. FERRARI + +They're blocked in solid ahead and behind. + + STEVE + What the hell? + +He turns on the radio as -- + +INT. U-HAUL + +Lyle's fingers dance across the keyboard. + + LYLE + Opening up a space on North Highland. + +INT. GOLD TRUCK + +Stuck in the middle of it. The driver and guard, both armed, are as confused as everyone else. + + GUARD + Get us out of here. + + DRIVER + I'm trying. + +He sees a way out, a sudden opening on North. Highland. + +INT. U-HAUL + +Via a traffic video camera, Lyle sees on his laptop the gold truck, followed by two motorcycles, making the turn onto North Highland. + + LYLE + He's taking it... + +Lyle hits more keys. + + LYLE + I now command you to turn left. + +EXT. GOLD TRUCK + +It comes to the next intersection. Every light is stuck on red -- except the left turn only signal which is green. No choice. The truck takes it. + +INT. U-HAUL + +He's striking keys, an orchestral conductor, the crew his audience. + + LYLE + I've got it on Hollywood Boulevard. Time to slow down. + +EXT. HOLLYWOOD BOULEVARD + +Signals turn green, but only for three seconds, long enough for one car to gun through it at a time. + +At the same time, we see Charlie get out of the U-Haul and climb into the first Mini. Stella gets into the second Mini. + +Half-Ear joins Handsome Rob in the third. + +INT. FERRARI - DAY + +Steve gets the scoop over the radio. He can't believe it. + + CHRISTINA GRIEGO (V.O.) + According to the police, the computers at the Traffic Control Center are down. + +Steve knows who did that. + + STEVE + Sonovabitch. + +INT. CHARLIE'S MINI -DAY + +Through his rearview mirror, Charlie eyes the gold truck creeping closer. + + CHARLIE + Gentlemen, start your engines. + +THREE SHOTS + +Starting their engines-with souped-up, throaty roars: Charlie; Handsome Rob; Stella. + + CHARLIE + Give us the flag when you're ready. + +INT. U-HAUL + +Lyle has hacked into the Metro Rail's Control System. Starts his magic. + + LYLE + Shutting down the rail as we speak. + +INT. METRO RAIL TUNNELS - SEVERAL SHOTS + +A Metro is speeding through the Blue Line tunnel. Suddenly it loses power and comes to an inglorious stop. + +Another Metro stops on the Red Line. + +Inside a Metro on the Westside Corridor as it stops; confused passengers stare out the glass. + +INT. U-HAUL + +His laptop shows a group of still circles that represent the stalled Metros. + + LYLE + Tunnel's clear. Go! + +EXT. WALK OF FAME + +The three Minis jump the curb and drive right over the star-lined sidewalk... Pedestrians throw themselves out of their path... The cars run over Marilyn Monroe's star and the flowers and candles left by fans... They make a sharp turn down the cement stairs that lead to the Metro Rail platform. + +At the same time -- + +EXT. HOLLYWOOD BOULEVARD + +The creeping gold truck is just about alongside the parked U-Haul. + +INT. U-HAUL + +Through his sideview mirror, Lyle eyes the progress of the gold truck. He gives the word: + + LYLE + Coming into position... + +INT. METRO RAIL STATION + +The Minis roughly bounce down the second flight of stairs. + +The sides of the cars scrape against the metal handrails. + +Tourists, workers, all scamper away. + +INT. U-HAUL + +The gold truck getting closer. + + LYLE + Five... Four... + +INT. METRO RAIL STATION + +The Minis land on the platform where everyone is waiting for the next Metro. + +Heads turn at the sight of these half-cars streaking by. + +INT. U-HAUL + +The gold truck is almost alongside the U-Haul. + + LYLE + Three... + +INT. METRO RAIL STATION + +Charlie's Mini flies off the platform and lands on the rail line. The car's shocks take the hit. + +The other Minis follow suit, off the platform, onto the rails. + + LYLE (V.O.) + Two... One... + +THE MINIS + +Drive past the spot where they put the Nitramon explosives. + + LYLE (V.O.) + Do it. + +INT. STELLA'S MINI + +She brakes to a stop and braces herself as -- + +INT. HANDSOME ROB'S MINI + +Half-Ear pulls out his hearing aid, hits the remote to a detonator and -- + +EXT. HOLLYWOOD & HIGHLAND + +The section of pavement that the gold truck sits on splits apart. The road surface drops away. Smoke billowing up as The BRINK'S TRUCK FALLS... + +INT. METRO RAIL TUNNEL + +Suddenly the street, the armored truck and daylight come crashing down at us in a cloud of smoke and debris. + +The truck's windshield implodes. + +The Minis come to a stop. Half-Ear jumps out. Aims the grenade launcher. FIRES. + +INT. GOLD TRUCK + +The triple charger chemical grenade sails in through the windshield and explodes, knocking out the guards. The driver slumps against the steering wheel, the horn BLARING under his weight. At the same time: + +INT. U-HAUL - ON THE CUT + +Lyle hits a button on a remote control and -- + +EXT. U-HAUL + +Clamps unlock, releasing the heavy steel sheet from the side of the U-Haul. It SLAMS DOWN, neatly covering the gaping hole in the road like a huge manhole cover. + +EXT. HOLLYWOOD & HIGHLAND + +The motorcycles following the Brink's come to a sudden stop. + +The motorcycle guards watch the smoke clear. The armored truck has vanished! Vaporized in the gridlock! Gone! + +Pandemonium. People scatter. A man jumps out of his BMW and sprints away from the explosion. + +Lyle gets out of the U-Haul and runs to his getaway vehicle: the Vespa. He's about to hop on, but something stops him... + +The sight of the vacant, shimmering, 2002 BMW 750iL parked just ahead, keys dangling from the ignition. + +At the same time, the motorcycle guards climb off their bikes. Draw semi-automatic handguns. Result: more madness Bystanders flee. + +The BMW tears out of there, Lyle behind the wheel. + +INT. METRO RAIL TUNNEL - DAY + +The rear door to the Brink's is open. Our crew sees the Worthington 1000 inside. + + CHARLIE + Nice work. + + HALF-EAR + Well like Einstein almost said: genius is ten percent inspiration, ninety percent detonation. + + CHARLIE + Let's get our gold. + +Stella goes up to the imposing safe. Gives it a look of momentary respect, then sets to work... + +INT. KNX-AM 1070 TRAFFIC HELICOPTER - DAY + +Christina Griego telling her radio audience: + + CHRISTINA GRIEGO + I've seen earthquakes, mudslides, fires, riots, but this... Let me try to paint a picture for our listeners. + +INT. FERRARI + +Hearing the news over the radio. + + CHRISTINA GRIEGO (V.O.) + There's been some kind of an explosion and a Brink's truck has just dropped down into the Metro Rail Blue Line. + +Steve slams the car into gear and jumps the sidewalk, passing the gridlock. He hollers into a walkie-talkie -- + + STEVE + The truck's in the Metro Rail. Where does the Blue Line go back above ground? + +EXT. STREETS - SERIES OF SHOTS + +The motorcycle guards who were escorting the decoy trucks hear Steve over their walkie-talkies. With squeals of rubber, they turn around as one of the guards answers -- + + MOTORCYCLE GUARD + It comes out at Flower & Pico. + +At the same time -- + +INT. METRO RAIL TUNNEL - DAY + +Stella works the dial, feeling for contact points. And -- + +EXT. HOLLYWOOD & HIGHLAND - DAY + +The two motorcycle guards fervently try to lift off the steel sheet that dropped down from the U-Haul. + +INT. METRO RAIL TUNNEL - DAY + +They see daylight start to stream in from above as the steel sheet slides a little. + + CHARLIE + Stella? + + STELLA + Shhh... + +We HEAR Stella's heart pounding in her ears. See the perspiration on her fingertips. + + STELLA + You know when you said this wouldn't be the same as opening a safe for the cops? + + HANDSOME ROB + Yeah. + + STELLA + Did you have to be right? + +EXT. HOLLYWOOD & HIGHLAND - DAY + +The motorcycle guards strain, managing to shift the steel sheet enough so they can see the armored truck below. + +INT. METRO RAIL TUNNEL - DAY + +CLOSE SHOTS on Stella's eyes, pure concentration. CLOSE SHOTS on each number on the dial. Finally: CLICK. + +She grabs the safe's lever and swings the sturdy steel door open. She instinctively looks away. + + CHARLIE + Don't you want to see what's inside? + + STELLA + I never look. + + CHARLIE + Trust me. You wanna look. + +So she does. Inside is a mountain of gold bricks... + +EXT. HOLLYWOOD & HIGHLAND - MOMENTS LATER + +The motorcycle guards heave, strain, finally getting the steel plate off. But it's too late as -- + +INT. MINIS - SERIES OF SHOTS + +Engines REV. Exhaust jets. Hands slam stick-shifts. + +INT. METRO RAIL TUNNEL + +The cars streak off deeper into the Metro Rail tunnel, headlights bouncing off the walls. + +INT. CHARLIE'S MINI (MOVING) - DAY + +It's a rush cruising down the tunnel. Taking the Blue Line. + +Leading the pack. But they're not home free yet. + +EXT. 101 FREEWAY - DAY + +Rush hour gridlock -- no problem. The Ferrari's 12 cylinder massive 210 hp engine bellows as it hits 120 m.p.h. in the breakdown lane. + +A Highway Patrol car starts chasing after it, siren wailing. + +INT. FERRARI (HAULING ASS) - DAY + +Merging onto the 110 South, Steve sees the patrol car in hot pursuit. + +He shifts into sixth and suddenly this car is a rocket blasting off, doing a 1/4 mile in 1.3 seconds, leaving the patrol car far behind. At the same time -- + +INT. SAFE HOUSE - GARAGE + +Mashkov and the other heavily armed Ukrainians climb into a SUV. The garage door opens and the vehicle charges out of there. And at the same time -- + +INT. METRO RAIL TUNNEL + +The three Minis speed by UNDERNEATH OUR CAMERA in streaks of red, white, and blue. + +INT. CHARLIE'S MINI (MOVING) + +He spots the proverbial daylight at the end of the tunnel. + +EXT. FLOWER & PICO - DAY + +Where the Blue Line rises up to ground level. The Minis thunder into the daylight, past the above ground platform, just as two motorcycles come flying around the corner after them. + +Picture this: two guards on each motorcycle with each man seated behind the driver holding AK-47s in each hand, giving them the appearance of having submachine guns growing out of their shoulders. + +Fingers go flat against the AK-47s triggers. Blowing SHOT after SHOT at the Minis. BAM-BAM-BAM. + +INT. CHARLIE'S MINI + +In the teeth of gunfire. Bullets explode through the back window in a cacophony of CRASHING GLASS. A shot wings his door. POP! Into headset: + + CHARLIE + Split up! + +EXT. FLOWER & PICO + +They head off in different directions through congested downtown rush hour traffic. + +One motorcycle takes off after Charlie's Mini. The other goes after Handsome Rob's Mini. So Stella's free and clear except that Steve's Ferrari is barreling down Pico and coming after her. + +INT. LAPD HELICOPTER (FLYING) + +An LAPD PILOT swoops in, barking out instructions to police cars converging on the scene. + +EXT. CHARLIE'S MINI + +Turning onto Exposition, the motorcycle in pursuit, the chopper overhead. + +His red Mini jumps a curve, now on a wide sidewalk, accelerating full throttle for the horizon while pedestrians flatten themselves against a high-rise in fear. + +INT. CHARLIE'S MINI + +He sees someone give him the finger. Mutters: + + CHARLIE + If you don't like how I'm driving, get off the damn sidewalk. + +Meanwhile: + +INT. HANDSOME ROB'S MINI + +He's got the other motorcycle on his tail, RELENTLESS GUNFIRE dogging his every move. + +He shifts smooth as silk, squeezing between a car he's passing and an oncoming car in the other lane. Half-Ear is trying his best to remain calm but Jesus, that was close. + +Suddenly, Handsome Rob veers off the road and WHAM. He takes down a chain link fence and is now in the parking lot of the: + +EXT. CONVENTION CENTER + +His white Mini catapults across the asphalt, the motorcycle still right behind. + +INT. HANDSOME ROB'S MINI + +Up ahead, he eyes the open door entrance to the Convention Center. Stomps the gas. + + HALF-EAR + What are you doing? + +The turbine howls. + + HALF-EAR + What -- are -- you -- doing? + +EXT. CONVENTION CENTER + +The Mini squeezes through the doorway and into the -- + +INT. CONVENTION CENTER + +It's the STAR TREK GRAND SLAM 2002 convention in full swing. + +Display tables are lined up in the cavernous hall and the Mini snakes through the maze and the Trekkies as -- + +The motorcycle follows right behind and the chase is really on now. + +THUDA THUD THUDA, the Mini's wheels climb a flight of steps. + +Waves of people flee the path of the little car and -- + +THUD, THUDA, THUD, the motorcycle follows right behind. + +The Mini zips down the wide Concourse Hall -- travels underneath banners of Star Trek characters that hang from the ceiling -- the motorcycle keeps up, tires tearing into the carpeting. + +INT. HANDSOME ROB'S MINI + +He shifts, swerves, avoiding people, obstacles. + + HALF-EAR + Go that way! + +Handsome Rob turns, taking them down the -- + +.WEST HALL + +that stretches out toward the Staples Center. + +WHIZ. The Mini goes by. WHIZ. The motorcycle goes by. + +Then -- + +The Mini steamrolls through the exit doors and -- + +EXT. CONVENTION CENTER/STAPLES CENTER + +It bounds down outdoor steps and ramps onto the outside entrance to the Staples Center, fitting snugly between cement pillars that are designed to keep regular-sized cars out. + +INT. STAPLES CENTER - DAY + +The Mini bulldozes through glass doors. Across the lobby. + +Down an aisle that leads right to -- + +.CENTER COURT + +where OUR L.A. LAKERS are in the midst of practice. The Minis do look like matchbox cars next to these towering players. + +The car's tires leave a streak of rubber on the parquet floor. The team clears a path. The car is off the court before they know it. + +But now the players see the motorcycle coming down the aisle. + +See the guns. See security guards running after it. + +KOBE BRYANT picks up a basketball. + +The motorcycle charges across center court. + +Kobe aims... hurls the ball. It RAMS into the motorcycle's handlebars. The bike spins out of control and into a nasty fall, spitting off the riders while -- + +EXT. STAPLES CENTER + +The Mini crashes out the opposite side of the arena and glides right through the L.A. Sports Arch of Fame before escaping onto Figueroa. Meanwhile: + +EXT. SOUTH ALAMEDA - DAY + +The Ferrari is eating up the pavement as it hounds after Stella. Two police cars are roaring after them both. + +INT. STELLA'S MINI + +She slaps the gears into action, maneuvers tight turns around the cars in her path, just like she does at home with Jack Daniels. + +EXT. SOUTH ALAMEDA + +A cop car tries to pass the same car as the Ferrari but smashes into an oncoming vehicle. As it spins like a corkscrew -- + +EXT. FERRARI + +The rear tires spin smoke and it launches like a missile after the Mini. + +INT. STELLA'S MINI + +She keeps flooring it... the gauge rising... the customized engine screaming... + +But the Ferrari, like an unstoppable force, hangs menacingly in her rearview mirror. + +I/E FERRARI + +Steve RAMS into the rear bumper of the blue Mini. The bumper tears off, rolls across the pavement. The Ferrari is about to make another charge. + +INT. STELLA'S MINI + +She yanks the wheel left to avoid the hit. Suddenly finds herself in the path of an ARROWHEAD WATER TRUCK. She yanks the wheel right to avoid a collision. + +INT. ARROWHEAD WATER TRUCK + +The truck driver hits the brakes, over compensating as he turns away from the Mini and -- + +EXT. SOUTH ALAMEDA + +The truck falls over onto its side, sending those big jugs all over the road, water exploding into the air and -- + +The Ferrari crashes through the jugs, one rolling up the hood and over the windshield, dousing it like a car wash. + +The lane is blocked by the wreck. Steve makes a right turn. + +The police cruiser hits the brakes but not fast enough. It slams into the water truck. + +EXT. 5TH STREET + +Steve turned onto a one-way street and he's going the wrong way. A Jeep Wrangler almost runs into him head-on but both cars stop just in time. + +The DRIVER of Wrangler, a muscular fire plug of a guy, jumps out, furious. + + FURIOUS DRIVER + What's wrong with you, you stupid-ass, son of a bitch, dickhead... + +As more invectives are hurled, Steve gets out of the Ferrari and walks towards the furious driver. + + FURIOUS DRIVER + What? You want a piece of me? C'mon, dumbshit. Bring it on. I'll be pulling peanuts out of your asshole -- + +BANG. Steve shoots the guy's foot. + + FURIOUS DRIVER + Shit! Shit! You shot me in the foot! + +While the furious driver hops on one leg, Steve gets into the Wrangler and takes off, abandoning the Ferrari. At the same time -- + +INT. BMW 750IL (MOVING) - SUNSET + +Lyle's coasting down Exposition Boulevard towards Union Station. Clear sailing for him. + +He sees a young woman thumbing for a ride. It's Karen. And he recognizes her: she was hitchhiking when he first arrived in L.A. He pulls over. To Lyle, she might be an angel in the empyrean if she wasn't, so completely, a woman. + + LYLE + Where are you going? + + KAREN + Away. + + LYLE + How about far, far away? + + KAREN + The farther the better. + +EXT. FIGUEROA & OLYMPIC - DAY + +Charlie's still having a helluva time getting rid of the motorcycle. It screams like a Banshee as it streaks up alongside the Mini. Charlie suddenly sees an AK-47 pointed right at him. + +INT. CHARLIE'S MINI + +He jerks the steering wheel and swerves off the street, driving through the parking lot of the historic Hotel Figueroa. + +With the motorcycle dogging his heels, he looks up at the building. It has three towers that rise up 12 stories, with a giant mural of Albert Einstein covering one of the towers + +(it's an ad for Apple Computers: Think different.) + +Suddenly the LAPD helicopter swoops down towards the parking lot, shattering the air, blowing up dirt and discarded newspapers in a rush of turbo-wash, trying to box in the Mini. + +INT. CHARLIE'S MINI + +He's got no place else to go... + +INT. HOTEL FIGUEROA + +The Mini squeezes through the entrance and into the lobby with its exotic Moroccan decor. Horrified guests catapult out of the way. The Mini drives past wooden statues, potted palm trees. + +The motorcycle follows the car as it streaks towards the elevator. Charlie looks back, sees the motorcycle. The elevator door opens. Some tourists step off. + + CHARLIE + Going up? + +INT. ELEVATOR + +The Mini darts right in, not an inch to spare. Charlie reaches out the window, presses the button for ROOF. + +He sees the motorcycle charging after him, burning rubber across the beautiful tiled floor. Closer, closer. + +The door closes just in time. + +A second elevator opens, the motorcycle zooms inside, people screaming at the sight of the guns. + +EXT. ROOFTOP - DAY + +The doors open, PING, and the Mini reverses out, spins. + +LOOKING DOWN onto the building's rooftop, we see that it is shaped like a capitol E, three towers connected by a narrow strip. Each tower has its own elevator. + +INT. CHARLIE'S MINI + +He wants to drive across the rooftop strip but there's a big problem: the giant sign that exclaims HOTEL FIGUEROA in red and white neon lights blocks so much of the strip that even the Mini couldn't squeeze through. + +In his rearview, he sees the second elevator door open and out comes the motorcycle. He's trapped up here. But he's not about to abandon ship. + +EXT. ROOFTOP + +So he floors it, slaps the gears, hurtles to the edge of the first tower and in -- + +EYE-POPPING CGI SLOW MOTION SHOTS + +His car hurls into the wide blue empty space... The ground deliriously distant... Spiraling through the air like a football... + +.NEXT TOWER - ROOFTOP + +The Mini lands right-side-up with a THUD. Charlie, rattled, looks over his shoulder and sees the LAPD helicopter rising over the rooftop, turbines SCREAMING. + +And here comes the motorcycle. Flying from one section of the rooftop to the next. It lands and the driver REVS it forward -- + +I/E CHARLIE'S MINI + +He speeds toward the edge of the roof and launches off towards the third tower some twenty feet away. Lands. Keeps going to the last elevator, skids to a stop. + +He reaches out, punches the call button. Then looks over his shoulder to witness -- + +THE MOTORCYCLE + +going full throttle to make the final rooftop to rooftop jump. + +But its front wheel hits the edge slightly off-kilter... + +It soars but with a slight downward trajectory... + +Towards a large window on the top floor... + +Then lower... + +And the look on the driver's face says it all as... + +The front wheel of the motorcycle SMACKS into the side of the building, just below the window. + +The guards are flung off the bike and their bodies CRASH through the window as -- + +A hunk of exploding metal imbeds itself in the side of the LAPD chopper and -- + +INT. HOTEL FIGUEROA + +The guards land in the Tangier Suite in a hailstorm of glass shards. + +I/E. LAPD HELICOPTER + +Smoke billows out where the hunk of metal hit. The pilot keeps it under control but it's time to go. With a WHINING THROB, the injured chopper banks away. + +INT. HOTEL FIGUEROA LOBBY - DAY + +PING. The elevator door opens. Charlie's Mini shoots out then skids out the lobby's exit. He made it. + +CUT TO: + +INT. STELLA'S MINI (SPEEDING) - DAY + +She checks the rearview mirror. No sign of the Ferrari. + +Just a Jeep Wrangler back there. + +Stella looks relieved. Feels like she's home free. + +CUT TO: + +EXT. UNION STATION - SUNSET + +Stella's Mini pulls up to the ramp of the enclosed car carrier at the end of Amtrak Train 59, bound for New Orleans. + +She can see the other two Minis are already inside. She gets out and hands the cargo loader a ticket. + +EXT. UNION STATION - NIGHT + +The "All Aboard" announcement goes out over the PA system. + +Then the Superliner train pulls out of the station, quickly picking up speed. + +INT. FIRST CLASS CAR - NIGHT + +The outside streaks by through the window. It's a happy crew. Champagne is poured. Charlie holds up his glass and gets their attention. + + CHARLIE + I want to make a toast. Cause there's somebody missing here today, and we all know who it is. + +They all raise their glasses. + + CHARLIE + To John Bridger. The most brilliant master planner of them all. We wish he was with us. + +We PAN ACROSS their faces. It's been a three year odyssey for them. They got the gold, but they lost someone they loved. + + ALL OF THEM + To John. + +Clink. + +INT. CAR CARRIER - NIGHT + +OUR CAMERA MOVES past the three Minis parked inside... + +And STOPS at the last car in the carrier -- the Jeep Wrangler. Its rear hatch rises and Steve creeps out. Looks around. It's safe. + +He walks over to Stella's Mini. Pops open the trunk REVEALING a silver Haliburton suitcase. He unzips the case. + +It's filled with stacks and stacks of gold bricks, the exotic face of a Balinese girl on each one. + +Steve pulls out a brick, embraces it. He knows his gold. + +These bricks are real. + +But as he has a moment with his gold, BEHIND HIM, the trunks of the other two Minis RISE in unison. + +Then Mashkov RISES out of the trunk of the white Mini. + +Another Ukrainian RISES out of the trunk of the blue Mini. + +Four more Ukrainians slide out from underneath the Minis. + +They cock their M-11s. + +CLICK CLICK CLICK CLICK CLICK CLICK. + +Steve hears the sound from behind him. He turns around to see the weapons pointed at him. + + MASHKOV + Take out your gun and drop it on the floor. + +Steve has no choice. + + STEVE + Who are you? + + MASHKOV + You knew my cousin. Yevhen. + + STEVE + I never knew anyone named Yevhen. + + MASHKOV + Get in the trunk. Not that trunk, this one. That gold is for us. A gift from some old friends of yours. They said to tell you that they didn't mind sharing the box of Cracker Jack, as long as you didn't get any. Not even the toy surprise. + +The Ukrainians force Steve into the trunk of the white Mini. + +And for the first time, he's scared. Looking up at Mashkov, he begs. + + STEVE + Please. Don't shoot me. Please... + + MASHKOV + Don't worry. That wasn't the deal. I'm not going to shoot you. + + STEVE + Thank you. Thank God. + + MASHKOV + (to the others) + He really thought I was going to shoot him. + +The Ukrainians laugh. Steve tries to laugh. + + MASHKOV + No. No. I'm not going to shoot you. I'm going to hack off your limbs and bury you while you're still alive. + +And with that, he closes the trunk. THUD. Like the lid of a coffin. And for Steve, the world falls into BLACKNESS. + +INT. FIRST CLASS CAR - SAME TIME + +Underneath the crew's seats, we see the other two silver Haliburton suitcases filled with the rest of the gold. We BOOM UP to our five thieves... + + CHARLIE + New IDs. + +Handsome Rob passes out new fake driver's licenses for when they arrive in New Orleans. + + LYLE + (re: his fake license) + Simon Quackenbush? Could I -- just once -- have a cool name? + + HALF-EAR + (also complaining) + 250 pounds? + +They're interrupted by the RING of Charlie's phone. He answers. + + CHARLIE + Did you get what you wanted? + +INT. CAR CARRIER - INTERCUT + +Mashkov is on the other end of the line. + + MASHKOV + I'm happy. + +During this, Lyle types commands into his laptop that is connected to a phone jack in the car. + + CHARLIE + It was good doing business with you. + +Lyle hits a final command and -- + +INT. ENGINEER ROOM - SAME TIME + +signal box receives the command and -- + +EXT. CAR CARRIER - SAME TIME + +The coupler between the car carrier and the rest of the train is electronically disengaged. + +This causes the train to separate from the car carrier. The train speeds on without it at 100 miles per hour. + +The car carrier slowly comes to a stop in the middle of nowhere. + +CUT TO: + +INT. DINING CAR - NIGHT + +The Dining Car features crisp white linens and extended windows for scenic dining. Lyle walks over to a table where Karen is waiting for him. She looks resplendent. + + LYLE + Is this seat taken? + + KAREN + It is now. + +He sits. And as OUR CAMERA HOLDS ON Lyle, ready to embark on a new life, we -- + +CUT TO: + +THE COVER OF WIRED MAGAZINE + +It fills THE SCREEN. And beneath a photograph of Lyle himself, we read the headline: + +WILL THE REAL NAPSTER PLEASE STAND UP How The Laptop Fugitive Pulled It Off + +CUT TO: + +INT. PARLOUR CAR - NIGHT + +And as OUR CAMERA FINDS Half-Ear, checking out the books in the library, feeling like the wealthy man he is, we -- + +CUT TO: + +THE COVER OF PHILADELPHIA CITY COLLEGE'S ALUMNI NEWS + +And beneath a graduation photo of Half-Ear in his cap and gown, we read the headline: + +"HE WAS ONE OF M'S BEST STUDENTS" + +Professor Relives Memories of Erudite Fugitive + +CUT TO: + +INT. LOUNGE CAR - NIGHT + +And as OUR CAMERA FINDS Handsome Rob, who's already caught the eye of a woman at the bar, we -- + +CUT TO: + +THE COVER OF THE ADELPHIA CABLE INSIDER NEWSLETTER + +And beneath a photo of Becky the cable chick, we read the headline: + +"HE TOOK THE SHIRT OFF MY BACK AND I'D GIVE IT TO HIM AGAIN!" + +Feds Say Technician Admits to Encounter With 'Handsome' Thief + +CUT TO: + +INT. FIRST CLASS CAR - NIGHT + +Charlie and Stella drink from glasses of champagne. + + CHARLIE + We did it. + + STELLA + We sure did. + + CHARLIE + There's something I've been meaning to ask you, Stella. But I've just been so busy lately, what with the explosion, car chase, Ukrainians and all. + + STELLA + It has been a hectic day. + + CHARLIE + It's about that thing you said to me back in Philadelphia. + + STELLA + That thing? + + CHARLIE + You said that you can't have a relationship with a pickpocket, gold robber, or any kind of thief. + + STELLA + Oh... That thing. + + CHARLIE + Do you still believe that? + + STELLA + Yeah. I do. + + CHARLIE + Well I was wondering... What about a retired pickpocket, gold robber, thief? + + STELLA + Now that's an entirely different question. + +And as an enigmatic smile settles across her face, we -- + +CUT TO: + +THE COVER OF CONDE NAST TRAVEL MAGAZINE + +And beneath a photo of sunbathers on a glorious beach, we read the headline: + +LIVING THE GOOD LIFE ON THE PINK SANDS OF BERMUDA + +And OUR VIEW SLOWLY PUSHES IN CLOSER ON the magazine cover... + +CLOSER on the line of sunbathers... PANNING ACROSS their faces -- and you'd never notice unless you were really, really, looking for them... is it them?... CLOSER on the pixels... and yes, it sure is... Charlie & Stella in lounge chairs, living the good life. + +>FADE OUT: + +THE END diff --git a/fountain_scripts/The Italian Job.webp b/fountain_scripts/The Italian Job.webp new file mode 100644 index 0000000000000000000000000000000000000000..386c647a06c2b51067de5da50361e7fdeefc8c8d --- /dev/null +++ b/fountain_scripts/The Italian Job.webp @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:f7cf77c6737b3ec7c316b573fc34428d2772c0e7de751ca5d2b2602779098ee6 +size 20700 diff --git a/fountain_scripts/poster-sources.json b/fountain_scripts/poster-sources.json index e77922f829812b68b2250b490ae18f31d45201d5..d6b860efbf7253206b4b259e73eff32f7c137860 100644 --- a/fountain_scripts/poster-sources.json +++ b/fountain_scripts/poster-sources.json @@ -2134,6 +2134,427 @@ "reuseStatus": "not-cleared" } }, + { + "screenplay": "Hancock.fountain", + "image": "Hancock.webp", + "sourceScript": "unformated_scripts/Script_Hancock.txt", + "filmTitle": "Hancock (film)", + "releaseYear": 2008, + "sourcePage": "https://en.wikipedia.org/wiki/Hancock_(film)", + "sourceImage": "https://upload.wikimedia.org/wikipedia/en/c/c9/Hancockposter.jpg", + "sourceFilePage": "https://en.wikipedia.org/wiki/File:Hancockposter.jpg", + "width": 256, + "height": 380, + "bytes": 31850, + "sha256": "27845a0c92e35888ec57686412c0dcdb215ff9551b4aa15fcec25061ccc04a23", + "sourceWidth": 256, + "sourceHeight": 380, + "matchNote": "Supplied Vincent Ngo / Vince Gilligan draft; artwork identifies the released 2008 film, whose story may differ.", + "rights": { + "sourceLabel": "Fair use", + "sourceLicenseUrl": "https://en.wikipedia.org/wiki/File:Hancockposter.jpg", + "sourceCredit": "IMP Awards", + "reuseStatus": "not-cleared" + } + }, + { + "screenplay": "Happy Feet.fountain", + "image": "Happy Feet.webp", + "sourceScript": "unformated_scripts/Script_Happy Feet.txt", + "filmTitle": "Happy Feet", + "releaseYear": 2006, + "sourcePage": "https://en.wikipedia.org/wiki/Happy_Feet", + "sourceImage": "https://upload.wikimedia.org/wikipedia/en/5/5c/Happy_Feet_Poster.jpg", + "sourceFilePage": "https://en.wikipedia.org/wiki/File:Happy_Feet_Poster.jpg", + "width": 260, + "height": 382, + "bytes": 25492, + "sha256": "f0aa9bc919f9782d9baef3839a95fd0b34670f4aa3c12f8beb654a201700aecd", + "sourceWidth": 260, + "sourceHeight": 382, + "rights": { + "sourceLabel": "Fair use", + "sourceLicenseUrl": "https://en.wikipedia.org/wiki/File:Happy_Feet_Poster.jpg", + "sourceCredit": "May be found at the following website: IMP Awards", + "reuseStatus": "not-cleared" + } + }, + { + "screenplay": "Heat.fountain", + "image": "Heat.webp", + "sourceScript": "unformated_scripts/Script_Heat.txt", + "filmTitle": "Heat (1995 film)", + "releaseYear": 1995, + "sourcePage": "https://en.wikipedia.org/wiki/Heat_(1995_film)", + "sourceImage": "https://upload.wikimedia.org/wikipedia/en/6/6c/Heatposter.jpg", + "sourceFilePage": "https://en.wikipedia.org/wiki/File:Heatposter.jpg", + "width": 220, + "height": 332, + "bytes": 18974, + "sha256": "7f5baa8004b7ffd24e927fb6582084b538bb79e359954a082d1ca9094d2ad4d0", + "sourceWidth": 220, + "sourceHeight": 332, + "rights": { + "sourceLabel": "Fair use", + "sourceLicenseUrl": "https://en.wikipedia.org/wiki/File:Heatposter.jpg", + "sourceCredit": "The poster art can or could be obtained from Warner Bros. .", + "reuseStatus": "not-cleared" + } + }, + { + "screenplay": "Heist.fountain", + "image": "Heist.webp", + "sourceScript": "unformated_scripts/Script_Heist.txt", + "filmTitle": "Heist (2001 film)", + "releaseYear": 2001, + "sourcePage": "https://en.wikipedia.org/wiki/Heist_(2001_film)", + "sourceImage": "https://upload.wikimedia.org/wikipedia/en/b/bd/Heist_%282001_movie_poster%29.jpg", + "sourceFilePage": "https://en.wikipedia.org/wiki/File:Heist_(2001_movie_poster).jpg", + "width": 260, + "height": 384, + "bytes": 25190, + "sha256": "5e592a7bbc009d819f65db957ca84288dcc5199555cc8456fcb0eabce2bbd623", + "sourceWidth": 260, + "sourceHeight": 384, + "rights": { + "sourceLabel": "Fair use", + "sourceLicenseUrl": "https://en.wikipedia.org/wiki/File:Heist_(2001_movie_poster).jpg", + "sourceCredit": "The poster art can or could be obtained from Warner Bros. 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