8546 lines
300 KiB
Plaintext
8546 lines
300 KiB
Plaintext
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AVATAR
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Written by
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James Cameron
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THE SOUND OF DRUMS, from a great distance, growing louder.
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FADE IN:
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WE ARE FLYING through mist, a dimly glimpsed forest below.
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VOICE (V.O.)
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When I was lying there in the VA
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hospital, with a big hole blown through
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the middle of my life, I started having
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these dreams of flying.
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We are very low over the forest now, gliding fast, the drums
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BUILDING to a PEAK --
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VOICE (V.O.)
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Sooner or later though, you always have
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to wake up...
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CUT TO:
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EXT. CITY - NIGHT
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A SCREECH OF BRAKES as a vehicle WIPES FRAME, revealing --
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JAKE SULLY, a scarred and scruffy combat vet, sitting in a
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beat up carbon-fiber wheelchair. At 22, his eyes are
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hardened by the wisdom and wariness of one who has endured
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pain beyond his years.
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Jake stares upward at the levels of the city. MAGLEV TRAINS
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WHOOSH overhead on elevated tracks, against a sky of garish
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advertizing.
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JAKE (V.O.)
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They can fix a spinal, if you've got the
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money. But not on vet benefits, not in
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this economy.
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The traffic light changes and Jake pushes forward with the
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crowd, pumping the wheels of his chair. Most of the people
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wear FILTER MASKS to protect them from the toxic air. In a
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LONG LENS STACK it is a marching torrent of anonymous,
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isolated souls.
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INT. JAKE'S APARTMENT - NIGHT
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The room is a tiny CUBICLE, prison cell meets 747 bathroom.
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Narrow cot, wall-screen droning away in the B.G. --
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PERKY NEWSCASTER
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The Bengal tiger, extinct for over a
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century, is making a comeback. These
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cloned tiger cubs at the Beijing Zoo
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are...
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2.
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Jake laboriously pulls his pants off -- rocking to one side,
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pushing the fabric down past his hip, then rocking to the
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other, and so on.
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His legs are white and atrophied. Utterly useless. But his
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arms are tattooed and powerfully muscled. A "Born Loser"
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tattoo prominent on his shoulder.
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JAKE (V.O.)
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I became a Marine for the hardship. To
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be hammered on the anvil of life. I told
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myself I could pass any test a man can
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pass.
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Jake struggles with his pants a long time.
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CUT TO:
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INT. ROWDY BAR -- NIGHT
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Not the kind of place you'd bring your mom.
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We find Jake near the pool table, BALANCING his chair, front
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wheels off the ground, while holding a tequila shot on his
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forehead. ONLOOKERS, including some other disabled vets,
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CLAP and WHOOP.
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Jake grabs the glass, SLAMS down the shot as they cheer.
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A WALL-SIZED SCREEN filled with the World Cup game -- men
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RUNNING on antelope legs.
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CU JAKE, watching what he can't have. Expression stony.
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JAKE (V.O.)
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Let's get it straight up front. I don't
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want your pity. I know the world's a
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cold-ass bitch.
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Jake's eyes shift -- HIS POV, seeing the bar through gaps in
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the crowd. A MAN on a barstool SLAPS the WOMAN he's with.
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Hard. She cowers but he's got her arm, shouting, raising his
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fist. An eternal tableau. People look away.
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CU JAKE -- not looking away.
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JAKE (V.O.)
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You want a fair deal, you're on the wrong
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planet. The strong prey on the weak.
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TIGHT ON JAKE'S HAND as he starts pushing the wheel of his
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chair.
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TRACKING WITH HIM as he rolls forward.
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3.
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JAKE (V.O.)
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It's just the way things are. And nobody
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does a damn thing.
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Jake stops, unnoticed, next to the bullying man. He leans
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down and grabs one leg of the man's barstool -- and YANKS.
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The chair flips. The guy goes down HARD and --
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JAKE hurls himself from the wheelchair, toppling on the guy,
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getting a grip on him like a pit bull and PUNCHING the crap
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out of him, right there on the floor.
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THE BOUNCER jumps in, trying to drag him off and it goes into
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SLOW MOTION, everybody yelling and pulling...
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JAKE (V.O.)
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All I ever wanted in my sorry-ass life
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was a single thing worth fighting for.
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CUT TO:
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EXT. ALLEY BEHIND BAR -- NIGHT
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THE BOUNCER hurls Jake out the door, sending him SPRAWLING on
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the pavement. A moment later, his chair CRASHES down on him,
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banging across the alley, landing in the trash.
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Jake struggles to rise on one elbow. He's bleeding and
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bruised, but still crazed and ready to fight.
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JAKE
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I hope you realize you've just lost a
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customer!
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He collapses onto his back, panting.
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JAKE
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(to himself)
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Candy ass bitch.
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He stares upwards at the levels of the city. MAGTRAINS ROAR
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overhead. It starts to RAIN. He just lies there, blinking --
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then shouts jauntily to no one in particular --
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JAKE
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If it ain't rainin' we ain't trainin'!
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CAMERA PULLS BACK high and wide, as Jake lies spread-eagled
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amongst the trash, getting drenched.
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TWO LONG SHADOWS enter FRAME, coming to rest across him.
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4.
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Jake sees two pairs of SHINY SHOES stop next to him. He
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squints up at --
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TWO MEN. Matching suits. Their features unremarkable and
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blandly threatening in the way of FBI agents and auditors.
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AGENT 1
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Are you Jake Sully?
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JAKE
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Step off. You're ruinin' my good mood.
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AGENT 2
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It's about your brother.
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CUT TO:
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INT. MUNICIPAL CREMATORIUM - NIGHT
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DOWN-ANGLE on a large rectangular cardboard box. HANDS ENTER
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FRAME, pulling open the top to reveal a DEAD MAN'S FACE. He
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looks EXACTLY like a clean-shaven version of Jake. His
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IDENTICAL TWIN -- TOMMY.
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JAKE (V.O.)
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The strong prey on the weak. A guy with
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a knife took all Tommy would ever be, for
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the paper in his wallet.
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WIDER, showing Jake and the two agents in a high tech
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CREMATORIUM -- a row of stainless steel furnaces. Jake
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stares down at his own face.
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JAKE
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Jesus, Tommy.
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JAKE (V.O.)
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The Suits' concern was touching.
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AGENT 1
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Your brother represented a significant
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investment. We'd like to talk to you
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about taking over his contract.
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The ATTENDANT closes the box and seals it with a tape
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dispenser, like it's a package for shipping. The cardboard
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coffin is rolled into the furnace.
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JAKE (V.O.)
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The egghead and the jarhead. Tommy was
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the scientist, not me. He was the one
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who wanted to get shot light years out
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into space to find the answers.
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5.
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PUSHING IN ON JAKE as he watches, bathed in orange light.
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JAKE (V.O.)
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Me -- I was just another dumb grunt
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gettin' sent someplace I was gonna
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regret.
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INSIDE THE FURNACE the burners quickly eat away the
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cardboard; TOMMY'S FACE is, for a moment, wreathed in flame
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but not touched by it, as we --
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DISSOLVE TO:
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JAKE'S FACE, in icy darkness. CLOSE ON his eyes -- they OPEN
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suddenly, and he takes a sharp breath.
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JAKE'S POV -- the inside of a metal coffin. A SERVO WHINE
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and we are moving, emerging into a large chamber --
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INT. CRYO VAULT
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JAKE'S POV -- A TECH in medical scrubs FLOATS WEIGHTLESSLY
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toward us. Wherever we are, we're not on Earth.
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Jake squints as the lights flicker on, revealing --
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WIDE SHOT -- the multi-tiered CRYO VAULT. Hundreds of CRYO-
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CAPSULES are opening like morgue drawers, as med techs pull
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themselves about in ZERO-G, tending to their patients.
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JAKE
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(a hoarse whisper)
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Are we there?
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MED TECH
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We're there, Sunshine.
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TIME CUT -- SCORES OF PEOPLE emerge from their cryo-capsules
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in ZERO-G. Pale spirits of the dead rising from rows of open
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coffins.
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The MED TECH floats among them, using his announcement voice.
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MED TECH
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People, you have been in cryo for five
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years, nine months and twenty two days.
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You will be hungry, you will be weak. If
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you feel nausea, please use the sacks
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provided for your convenience. The staff
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thanks you in advance.
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6.
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FOLLOWING JAKE as he pushes away from his capsule, gliding to
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the LOCKERS across the aisle, his paralyzed legs not an
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impediment in weightlessness.
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CUT TO:
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EXT. SPACE
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Against the cold infinity of stars glides an INTERSTELLAR
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SPACECRAFT -- ISV VENTURE STAR. As it moves past like an
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endless train, we realize this thing is ENORMOUS -- over half
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a mile long. PAN WITH IT 180 to REVEAL --
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A GAS-GIANT PLANET called POLYPHEMUS, ringed with dozens of
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moons which cast beauty-mark shadows on its vast face.
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The ISV diminishes away from us toward the largest MOON-- a
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blue and surprisingly Earth-like world called PANDORA. The
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ship dwindles to a speck against the BLUE MOON.
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CUT TO:
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EXT. PANDORA ORBIT
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ISV Venture Star drifts above a spectacular vista -- the
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sapphire seas and unfamiliar continents of Pandora.
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CLOSE ON ISV -- two massive "VALKYRIE" SHUTTLES are mated to
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a DOCKING NODE. One of them separates from the starship and
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moves away, its thrusters FIRING in short bursts.
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As the shuttle moves away, descending toward Pandora, we hear
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the sound of DRUMS, building, louder and louder until we--
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CUT TO:
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EXT. RAINFOREST - TWILIGHT
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FLYING OVER A LANDSCAPE of massive cliffs and towering mesas
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carpeted in rainforest. Great scarves of cloud swirl around
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the mesa tops. A primeval landscape, vast and forbidding.
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The trees are alien, the color too cyan. There are
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waterfalls, rivers, and distant flocks of WINGED CREATURES.
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Suddenly the carpet of virgin rainforest gives way to --
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AN OPEN-PIT MINE. A lifeless crater -- as if a giant cookie-
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cutter took a chunk out of the world. Down among the
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terraces are EXCAVATORS and TRUCKS the size of three story
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buildings.
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And beyond the mine is the HUMAN COLONY --
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7.
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EXT. HELL'S GATE - TWILIGHT
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HELL'S GATE is a cluster of squat concrete and steel
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structures surrounded by chain-link FENCE 10 meters high,
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topped with razor wire.
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At the corners are towers with automated SENTRY GUNS
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swiveling on servo mounts.
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Visible beyond the gun towers, the VALKYRIE SHUTTLE roars in
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across the treetops. VECTORING NOZZLES change angle,
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bringing the ship to a SLOW HOVER.
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EXT. RAIN FOREST - TWILIGHT
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Through a screen of jungle canopy, we see the VALKYRIE
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thunder overhead. Camera TILTS with it until leaves block
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the view.
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A BLUE INHUMAN HAND reaches INTO SHOT, parting the foliage to
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reveal the shuttle hover-taxiing across the compound.
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REVERSE -- ECU of two intense, cat-like golden EYES watching.
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INT./EXT. SHUTTLE
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The CREW CHIEF stomps down the aisle yelling --
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CREW CHIEF
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Exopacks on!
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Passengers don their EXO-PACK breathing gear with practiced
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moves. Everybody except JAKE, who's turning his this way and
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that trying to figure out the straps.
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CREW CHIEF
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Remember people, you lose your mask
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you're unconscious in 20 seconds and
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you're dead in four minutes. Let's nobody
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be dead today, it looks bad on my report.
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The crew chief stops by Jake long enough to bark --
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CREW CHIEF
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Exopack on, let's go!
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BENEATH THE SHUTTLE air blasts outward for a hundred meter
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radius as it settles onto its landing gear.
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INSIDE everybody is queued up in the aisles, with duffles
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ready. Rows of tense, expectant faces in breathing masks --
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and we DIP DOWN to find Jake, wheelchair putting him at the
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level of everyone else's WAISTS.
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8.
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THE CARGO RAMP OPENS with a hydraulic whine.
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CREW CHIEF
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Go directly into the base! Do not stop!
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Go straight inside!
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HAND-HELD, running with the arriving colonists who double
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time down the ramp. They jog across the exposed apron toward
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a walkway covered in CHAINLINK which leads to the complex.
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Inside the chain-link tunnel are a couple of SEC-OPS
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TROOPERS, CORPORAL LYLE WAINFLEET and PRIVATE FIKE. Sec-Ops
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is the colony's private security force. These guys are laid
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back, hardened, and haggard.
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WAINFLEET
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Look at all that new meat.
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THEIR POV -- Jake rolls down the ramp.
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FIKE
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Check it out, man. Meals on wheels.
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WAINFLEET
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That is just wrong.
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Jake, pumping his chair, looks around as --
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A huge TRACTOR, taller than a house, ROARS past on muddy
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wheels. He notices something sticking in the tires --
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ARROWS. The neolithic weapons are jarring amid all the
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advanced technology.
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Beyond the tractor, two VTOL vehicles take off. Armored and
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heavily armed, they are AT-99 "SCORPION" GUNSHIPS.
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MITSUBISHI MK-6 AMPSUITS -- human operated walking machines 4
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meters tall -- patrol the perimeter. They are heavily
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armored, and armed with a huge rotary cannon called a GAU-90.
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Beyond the outer fence stands a black wall of forest hundreds
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of feet high. A SENTRY GUN OPENS FIRE from a tower. TRACERS
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light up the twilight. A shadowy SHAPE SHRIEKS and drops off
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the fence. It is an armed camp in a state of siege.
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WAINFLEET and Fike give Jake and his chair the hairy eyeball
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as he approaches.
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JAKE
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What're you two limpdicks starin' at?
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As Jake rolls past, SOMETHING SWOOPS down behind him and --
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9.
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K-KRASH! SMASHES against the chain-link right next to his
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head.
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A vicious AERIAL PREDATOR a meter across gnashes glass fangs
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||
|
against the steel. It STABS at him through the chain link
|
||
|
with a tail ending in a glistening stiletto. A STINGBAT.
|
||
|
|
||
|
WAINFLEET casually BLASTS IT with his PISTOL. It drops off
|
||
|
the fence, tail still lashing.
|
||
|
|
||
|
WAINFLEET
|
||
|
Seen a lotta guys leave this place in a
|
||
|
wheelchair. Never seen anybody show up
|
||
|
in one.
|
||
|
|
||
|
Jake stares at the gnashing fangs of the dying alien.
|
||
|
|
||
|
ON A WALKWAY of the OPS CENTER, seen from above, a UNIFORMED
|
||
|
FIGURE grips the railing, watching Jake pump his chair
|
||
|
through the tunnel below.
|
||
|
|
||
|
The hair is clipped short. The scalp is etched by long
|
||
|
parallel SCARS where some Pandoran denizen's claws raked
|
||
|
across it. The bare arms, below tightly rolled sleeves, seem
|
||
|
hewn out of some hard tropical wood. Criss-crossed by scars.
|
||
|
|
||
|
The MAN raises his masked face to look at the sky. He eyes
|
||
|
are an icy steel gray.
|
||
|
|
||
|
HIS POV -- the mighty POLYPHEMUS seems to fill the sky,
|
||
|
beyond the clouds.
|
||
|
|
||
|
MAN (V.O.)
|
||
|
You are not in Kansas any more...
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMISSARY - TWILIGHT
|
||
|
|
||
|
THE MAN from the balcony -- COLONEL MILES QUARITCH -- is the
|
||
|
HEAD OF SECURITY for the Hell's Gate colony. A hundred new
|
||
|
arrivals watch raptly as he paces like a panther across the
|
||
|
front of the large cafeteria. He stops, stance wide.
|
||
|
|
||
|
Without his mask, we see that Quaritch's features are rugged
|
||
|
and handsome, except for the SCAR, which runs from scalp to
|
||
|
jaw down one side of his face. On one hip he carries a very
|
||
|
large PISTOL.
|
||
|
|
||
|
QUARITCH
|
||
|
... You are on Pandora, ladies and
|
||
|
gentlemen. Respect that fact every second
|
||
|
of every day.
|
||
|
|
||
|
10.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE ROLLS IN, watching from the back.
|
||
|
|
||
|
COLONEL QUARITCH raises his hand and points out the window,
|
||
|
toward the dark treeline.
|
||
|
|
||
|
QUARITCH
|
||
|
Out beyond that fence every living thing
|
||
|
that crawls, flies or squats in the mud
|
||
|
wants to kill you and eat your eyes for
|
||
|
jujubees.
|
||
|
|
||
|
The room gets very quiet.
|
||
|
|
||
|
QUARITCH
|
||
|
We have an indigenous population of
|
||
|
humanoids here called the Na'vi. They're
|
||
|
fond of arrows dipped in a neurotoxin
|
||
|
which can stop your heart in one minute.
|
||
|
We operate -- we live -- at a constant
|
||
|
threat condition yellow.
|
||
|
|
||
|
PAN ACROSS the solid faces of miners, Cat-machine drivers,
|
||
|
engineers, geologists, as they take that in.
|
||
|
|
||
|
QUARITCH
|
||
|
As head of security, it's my job to keep
|
||
|
you alive. I will not succeed --
|
||
|
(pausing for effect)
|
||
|
-- not with all of you. If you wish to
|
||
|
survive, you need a strong mental
|
||
|
attitude, you need to follow procedure...
|
||
|
|
||
|
PUSH IN ON JAKE, watching as the briefing continues.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Nothing like an old-school safety brief
|
||
|
to put your mind at ease.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. CORRIDOR
|
||
|
|
||
|
People are roaming in both directions, looking for rooms,
|
||
|
lugging duffels and cases.
|
||
|
|
||
|
An eager young XENOANTHROPOLOGIST, staggering under an
|
||
|
overpacked duffel, runs to catch up to Jake.
|
||
|
|
||
|
NORM
|
||
|
Hey, you're Jake right? Tom's brother?
|
||
|
You look just like him.
|
||
|
(off Jake's wary look)
|
||
|
Sorry, I'm Norm Spellman, I went through
|
||
|
avatar training with him.
|
||
|
|
||
|
11.
|
||
|
|
||
|
|
||
|
|
||
|
Norm offers his hand and Jake shakes it.
|
||
|
|
||
|
NORM
|
||
|
He was a great guy -- funny. It was a
|
||
|
big shock to all of us.
|
||
|
|
||
|
JAKE
|
||
|
Yeah.
|
||
|
|
||
|
Jake pumps the wheels of his chair, rolling on. Norm walks
|
||
|
with him.
|
||
|
|
||
|
NORM
|
||
|
And duh! -- obviously you look like him.
|
||
|
I mean, if you weren't genetically
|
||
|
identical, you wouldn't be taking over
|
||
|
his avatar.
|
||
|
|
||
|
JAKE
|
||
|
That's why I'm here.
|
||
|
|
||
|
NORM
|
||
|
So -- you want to go check it out?
|
||
|
CUT TO:
|
||
|
|
||
|
INT. BIO-LAB - DAY
|
||
|
|
||
|
JAKE AND NORM enter the BIO-LAB -- a large lab complex with
|
||
|
many adjoining rooms.
|
||
|
|
||
|
MAX
|
||
|
Me and Norm were out here to drive these
|
||
|
remotely controlled bodies called
|
||
|
avatars. They're grown from human DNA
|
||
|
mixed with DNA from the natives here.
|
||
|
|
||
|
A scientist, DOCTOR MAX CULLIMORE, is supervising the
|
||
|
uncrating of two SHIPPING CONTAINERS. The nearer has the
|
||
|
sides removed, revealing -- a ceiling-height acrylic TANK.
|
||
|
|
||
|
Norm stops to stare, and Jake rolls past him as if drawn by
|
||
|
some unseen force, toward --
|
||
|
|
||
|
THE AMNIO TANK. There is a FIGURE floating lanquidly inside,
|
||
|
which looks like a man. A very large, very blue, man.
|
||
|
|
||
|
Blood circulates through a synthetic UMBILICAL in the
|
||
|
abdomen. As the figure turns in the amniotic fluid, we see
|
||
|
that it has a lemur-like TAIL. The skin is cyan-blue. Long
|
||
|
black hair drifts, graceful as seaweed.
|
||
|
|
||
|
JAKE
|
||
|
Damn. They got big.
|
||
|
|
||
|
12.
|
||
|
|
||
|
|
||
|
|
||
|
NORM
|
||
|
Yeah, they mature on the trip out.
|
||
|
(to Max)
|
||
|
So the proprioceptive sims worked pretty
|
||
|
well.
|
||
|
|
||
|
MAX
|
||
|
Yeah, they've got great muscle tone. Give
|
||
|
us a few hours, you guys can take them
|
||
|
for a spin.
|
||
|
|
||
|
THE FIGURE'S sleeping face turns toward us, and the features
|
||
|
are -- despite feline ears and a long feral snout --
|
||
|
definitely JAKE'S.
|
||
|
|
||
|
JAKE
|
||
|
It looks like him.
|
||
|
|
||
|
NORM
|
||
|
No, it looks like you. This is your
|
||
|
avatar now, Jake.
|
||
|
|
||
|
ON JAKE, mesmerized as he stares into the tank.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
The idea is -- every driver is matched to
|
||
|
his own avatar --
|
||
|
|
||
|
STEREOCAM VIDEO SHOT OF JAKE -- facing the camera, talking
|
||
|
directly to the lens. JAKE'S VOICE-OVER up until now has
|
||
|
been part of this VIDEOLOG.
|
||
|
|
||
|
JAKE
|
||
|
-- so their nervous systems are in tune.
|
||
|
Or something. Which is why they offered
|
||
|
me this gig, because I can link with
|
||
|
Tommy's avatar, which was insanely
|
||
|
expensive.
|
||
|
(looking off camera)
|
||
|
Is this right? I just say whatever in
|
||
|
these videologs?
|
||
|
|
||
|
WIDER, showing Norm working nearby with Max.
|
||
|
|
||
|
NORM
|
||
|
Yeah. You just need to get in the habit
|
||
|
of documenting everything -- what you
|
||
|
see, what you feel -- it's all part of
|
||
|
the science. Good science starts with
|
||
|
good observation.
|
||
|
|
||
|
13.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
Right.
|
||
|
(to camera)
|
||
|
So, whatever. Here I am. Doing science.
|
||
|
(looks around)
|
||
|
Never been in a lab before.
|
||
|
|
||
|
MAX
|
||
|
Log off. It's time to meet your boss for
|
||
|
the next five years.
|
||
|
|
||
|
He leads Jake and Norm through the short corridor to the --
|
||
|
CUT TO:
|
||
|
|
||
|
INT. LINK ROOM - DUSK
|
||
|
|
||
|
The LINK ROOM contains a dozen PSIONIC LINK UNITS, which look
|
||
|
like coffins crossed with MRI scanners.
|
||
|
|
||
|
NORM
|
||
|
Grace Augustine is a legend. She's the
|
||
|
head of the Avatar Program, and she wrote
|
||
|
the book -- I mean literally wrote the
|
||
|
book -- on Pandoran botany.
|
||
|
|
||
|
MAX
|
||
|
(low, over his shoulder)
|
||
|
That's because she likes plants better
|
||
|
than people.
|
||
|
|
||
|
DR. GRACE AUGUSTINE sits up in her link, stretching and
|
||
|
cracking her neck after a long session. She's fifty, with a
|
||
|
strong face and fiercely intelligent eyes.
|
||
|
|
||
|
GRACE
|
||
|
(YELLING)
|
||
|
Who's got my goddamn cigarette?!
|
||
|
|
||
|
A TECH scurries to bring it to her, already lit. Around here
|
||
|
they jump when Grace barks.
|
||
|
|
||
|
Grace stands, scowling, as Jake, Norm and Max approach.
|
||
|
|
||
|
MAX
|
||
|
And here she is, Cinderella back from the
|
||
|
ball. Grace, I'd like you to meet Norm
|
||
|
Spellman and Ja --
|
||
|
|
||
|
GRACE
|
||
|
Norm. I hear good things about you.
|
||
|
How's your Na'vi?
|
||
|
|
||
|
14.
|
||
|
|
||
|
|
||
|
|
||
|
NORM
|
||
|
(Na'vi, subtitled)
|
||
|
May the All Mother smile upon our first
|
||
|
meeting.
|
||
|
|
||
|
Grace nods approvingly, taking a drag on her cigarette.
|
||
|
|
||
|
GRACE
|
||
|
(SUBTITLED)
|
||
|
Not bad. You sound a little formal.
|
||
|
|
||
|
NORM
|
||
|
(SUBTITLED)
|
||
|
There is still much to learn.
|
||
|
|
||
|
Jake waits while they ignore him, chattering in fluent Na'vi.
|
||
|
|
||
|
MAX
|
||
|
Uh, Grace, this is Jake S----
|
||
|
|
||
|
GRACE
|
||
|
(turning to Jake)
|
||
|
Yeah, yeah, I know who you are, and I
|
||
|
don't need you. I need your brother.
|
||
|
(to Max)
|
||
|
You know -- the PhD who trained three
|
||
|
years for this mission.
|
||
|
|
||
|
JAKE
|
||
|
He's dead. I know it's a big
|
||
|
inconvenience to everyone.
|
||
|
|
||
|
GRACE
|
||
|
How much lab training have you had? Ever
|
||
|
run a gas chromatograph?
|
||
|
|
||
|
JAKE
|
||
|
No.
|
||
|
|
||
|
GRACE
|
||
|
Any actual lab work at all?
|
||
|
|
||
|
JAKE
|
||
|
High school chemistry. But I ditched.
|
||
|
|
||
|
Grace wheels on Max.
|
||
|
|
||
|
GRACE
|
||
|
You see? You see? They're pissing on us
|
||
|
without even the courtesy of calling it
|
||
|
rain.
|
||
|
(turning away)
|
||
|
I'm going to Selfridge.
|
||
|
|
||
|
15.
|
||
|
|
||
|
|
||
|
|
||
|
She shoves past Jake.
|
||
|
|
||
|
MAX
|
||
|
Grace, that's not a good idea.
|
||
|
|
||
|
But she's already out the door and clomping down the
|
||
|
corridor. Max turns to Jake with a pained look.
|
||
|
|
||
|
MAX
|
||
|
Here, tomorrow, oh eight hundred. Try to
|
||
|
use big words.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. OPS CENTER - DUSK
|
||
|
|
||
|
It looks like an air-traffic control tower, with lots of
|
||
|
screens and bay windows showing the whole complex.
|
||
|
|
||
|
ADMINISTRATOR PARKER SELFRIDGE takes a ball from a newly
|
||
|
opened case of TITLEISTS and sets it on the floor. Selfridge
|
||
|
is young, charismatic, focused. Some would say ruthless.
|
||
|
|
||
|
He assumes the stance and lines up his putt, toward a
|
||
|
practice cup across the control room floor. He glances up as
|
||
|
Grace strides toward him.
|
||
|
|
||
|
GRACE
|
||
|
Parker, I used to think it was benign
|
||
|
neglect, but now I see you're
|
||
|
intentionally screwing us.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Grace. You know I enjoy our little
|
||
|
talks.
|
||
|
|
||
|
GRACE
|
||
|
I need a research assistant, not some
|
||
|
jarhead dropout.
|
||
|
|
||
|
Selfridge looks down and hits the ball.
|
||
|
|
||
|
Grace kicks the practice cup aside, and the ball rolls past.
|
||
|
Selfridge looks at her with a sigh.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Actually, we got lucky with him.
|
||
|
|
||
|
GRACE
|
||
|
Lucky? How is this in any way lucky?
|
||
|
|
||
|
As Selfridge saunters over to retrieve the ball --
|
||
|
|
||
|
16.
|
||
|
|
||
|
|
||
|
|
||
|
SELFRIDGE
|
||
|
Well -- lucky your guy had a twin
|
||
|
brother, and lucky the brother wasn't an
|
||
|
oral hygienist or something. A Marine we
|
||
|
can use. I'm assigning him to your team
|
||
|
as security escort.
|
||
|
|
||
|
GRACE
|
||
|
The last thing I need is another trigger
|
||
|
happy asshole out there!
|
||
|
|
||
|
SELFRIDGE
|
||
|
Look, you're supposed to be winning the
|
||
|
hearts and minds of the natives. Isn't
|
||
|
that the whole point of your little
|
||
|
puppet show? If you look like them, if
|
||
|
you talk like them, they'll trust you?
|
||
|
|
||
|
Selfridge crosses to his office, behind a glass wall nearby.
|
||
|
Grace follows.
|
||
|
|
||
|
SELFRIDGE
|
||
|
But after -- how many years? -- relations
|
||
|
with the indigenous are only getting
|
||
|
worse.
|
||
|
|
||
|
GRACE
|
||
|
That tends to happen when you use machine
|
||
|
guns on them.
|
||
|
|
||
|
On Selfridge's desk is a magnetic base, and hovering in mid-
|
||
|
air, in the invisible field, is a lump of METALLIC ROCK.
|
||
|
Pure UNOBTANIUM. He grabs it and holds it up between thumb
|
||
|
and forefinger, in front of Grace's eyes.
|
||
|
|
||
|
SELFRIDGE
|
||
|
This is why we're here. Unobtanium.
|
||
|
Because this little gray rock sells for
|
||
|
twenty million a kilo. No other reason.
|
||
|
This is what pays for the party. And
|
||
|
it's what pays for your science.
|
||
|
Comprendo?
|
||
|
|
||
|
He places it back in the magnetic field.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Those savages are threatening our whole
|
||
|
operation. We're on the brink of war and
|
||
|
you're supposed to be finding a
|
||
|
diplomatic solution. So use what you've
|
||
|
got and get me some results.
|
||
|
CUT TO:
|
||
|
|
||
|
17.
|
||
|
|
||
|
|
||
|
|
||
|
INT. LINK ROOM - DAY
|
||
|
|
||
|
NEXT MORNING, GRACE, NORM and JAKE approach their link units.
|
||
|
|
||
|
Jake glances through a PRESSURE WINDOW. In an adjoining
|
||
|
chamber (the AMBIENT ROOM) JAKE'S AVATAR lies on a gurney,
|
||
|
breathing slowly in PANDORAN AIR. NORM'S AVATAR is on a
|
||
|
second gurney. Both are attended by med techs in exo-masks.
|
||
|
|
||
|
Norm slips into his LINK CHAIR, expertly donning biometric
|
||
|
sensors.
|
||
|
|
||
|
GRACE
|
||
|
How much link time have you logged?
|
||
|
|
||
|
NORM
|
||
|
Five hundred and twenty hours.
|
||
|
|
||
|
Grace looks pointedly at Jake.
|
||
|
|
||
|
JAKE
|
||
|
Like -- an hour.
|
||
|
|
||
|
GRACE
|
||
|
Tell me you're joking.
|
||
|
|
||
|
Grace opens the hood of Jake's link unit. Jake starts
|
||
|
hauling himself across from his wheelchair. She reaches to
|
||
|
help him but --
|
||
|
|
||
|
JAKE
|
||
|
Don't! I got this.
|
||
|
|
||
|
Grace steps back, hands raised. He drags himself into the
|
||
|
unit.
|
||
|
|
||
|
GRACE
|
||
|
So you just figured you'd come out here
|
||
|
to the most hostile environment known to
|
||
|
man, with no training of any kind, and
|
||
|
see how it went? What was going through
|
||
|
your head?
|
||
|
|
||
|
He meets her eyes with a defiant glare.
|
||
|
|
||
|
JAKE
|
||
|
Maybe I was just tired of doctors telling
|
||
|
me what I couldn't do.
|
||
|
|
||
|
Grace watches him laboriously pull his inert legs into the
|
||
|
link chair by hand.
|
||
|
|
||
|
18.
|
||
|
|
||
|
|
||
|
|
||
|
Jake settles into the warm fluid gel packs lining the unit.
|
||
|
It seems to enfold him. Grace adjusts his biometric sensors,
|
||
|
then lowers the UPPER CLAMSHELL --
|
||
|
|
||
|
GRACE
|
||
|
Relax and let your mind go blank. That
|
||
|
shouldn't be hard for you.
|
||
|
|
||
|
JAKE
|
||
|
Kiss the darkest part of my lily white --
|
||
|
|
||
|
But the SLAMMING HOOD muffles the rest.
|
||
|
|
||
|
MAX
|
||
|
Initiate link.
|
||
|
|
||
|
The LINK TECH touches some controls.
|
||
|
|
||
|
ON A LARGE MONITOR a 3D SCAN of Jake's brain appears.
|
||
|
Regions of activity flow with complex shifting colors.
|
||
|
|
||
|
MAX
|
||
|
That's a gorgeous brain. Nice activity.
|
||
|
|
||
|
GRACE
|
||
|
Go figure.
|
||
|
(walking away)
|
||
|
Alright, I'm going in.
|
||
|
|
||
|
TECH
|
||
|
Phase-lock at forty percent. He's in
|
||
|
transition.
|
||
|
|
||
|
Max watches a display showing the avatar's nervous system
|
||
|
aligning with Jake's -- two ghostly networks of light
|
||
|
merging.
|
||
|
|
||
|
MAX
|
||
|
That's it. Find your way home.
|
||
|
|
||
|
ECU JAKE, inside the link unit. His eyes move under the
|
||
|
lids, like a dreamer in REM sleep as --
|
||
|
|
||
|
INSIDE JAKE'S MIND -- radiant streamers coalesce into a
|
||
|
pulsing TUNNEL OF LIGHT and --
|
||
|
|
||
|
THE SCREEN FLARES WHITE -- ZZZWHAP! -- resolving into an
|
||
|
overexposed, out-of-focus image -- two BLURRY FACES wearing
|
||
|
masks, looking down.
|
||
|
|
||
|
ECU JAKE'S AVATAR -- two very intense eyes FILL FRAME, the
|
||
|
pupils contracting. Golden irises pulse with life.
|
||
|
|
||
|
19.
|
||
|
|
||
|
|
||
|
|
||
|
MAX
|
||
|
He's in.
|
||
|
|
||
|
TECH
|
||
|
Phase-lock ninety nine percent. The link
|
||
|
is stable.
|
||
|
|
||
|
Blinking, Jake slowly sits up on the gurney. He looks down
|
||
|
at his AVATAR BODY, touching his chest with one hand.
|
||
|
|
||
|
MAX
|
||
|
Take it slow, Jake. We need to check
|
||
|
your motor control. Try touching your
|
||
|
fingertips together --
|
||
|
|
||
|
But Jake isn't listening. He's staring at his legs. He
|
||
|
eases them off the gurney and --
|
||
|
|
||
|
HIS BLUE FEET touch the concrete floor, taking his weight.
|
||
|
|
||
|
JAKE STANDS, feeling the strength in his legs. His
|
||
|
expression is child-like with wonder.
|
||
|
|
||
|
HIS POV -- looking down at the med techs, who seem the size
|
||
|
of children next to his 9' tall frame.
|
||
|
|
||
|
He sees something like a blue tentacle curl across his arm
|
||
|
and he JERKS AROUND in alarm. HIS TAIL.
|
||
|
|
||
|
As he turns to see it, the tail sweeps instruments off a
|
||
|
table with a crash. Jake laughs and grins at Max.
|
||
|
|
||
|
MED TECH
|
||
|
Easy, Jake, I need you to sit down --
|
||
|
|
||
|
But Jake takes a step, then another. The wires to the bio-
|
||
|
monitors pull taut, and he yanks them off his chest.
|
||
|
|
||
|
MAX
|
||
|
Jake! Wait, we have to run some tests --
|
||
|
|
||
|
But Jake pushes past the protesting med techs, toward the
|
||
|
door and --
|
||
|
|
||
|
EXT. AVATAR COMPOUND - DAY
|
||
|
|
||
|
Jake emerges, blinking in the morning sun. He finds himself
|
||
|
in the AVATAR COMPOUND -- a living and training area.
|
||
|
|
||
|
Nearby, a couple of AVATARS are playing one-on-one in front
|
||
|
of a (non-regulation height) basketball net. Others go about
|
||
|
their daily activities around the compound.
|
||
|
|
||
|
20.
|
||
|
|
||
|
|
||
|
|
||
|
Jake flexes his legs -- JUMPS -- and lands a little
|
||
|
unsteadily, but his expression is joyful.
|
||
|
|
||
|
He takes a few steps and breaks into a RUN. People are
|
||
|
calling to him, somehwere, but he doesn't hear them -- he's
|
||
|
running. RUNNING!
|
||
|
|
||
|
He finds himself in the COMPOUND GARDEN, and stops amid
|
||
|
neatly tended rows of ALIEN PLANTS. He looks down, wiggling
|
||
|
his toes in the warm soil. Then inhales deeply -- revelling
|
||
|
in the alien smells -- earth, plants, the nearby forest. He
|
||
|
looks at his bare footprint in the soil of an alien world.
|
||
|
|
||
|
GRACE (O.S.)
|
||
|
Hey Marine!
|
||
|
|
||
|
Jake turns at the familiar voice to see --
|
||
|
|
||
|
A statuesque FEMALE AVATAR walking toward him. AVATAR GRACE
|
||
|
is magnificent, with panther thighs, flat muscular stomach
|
||
|
and firm athlete's breasts. She wears shorts and a T-shirt.
|
||
|
In human years she would be about 35.
|
||
|
|
||
|
JAKE
|
||
|
Grace?
|
||
|
|
||
|
GRACE
|
||
|
Well who'd you expect, numbnuts? Think
|
||
|
fast!
|
||
|
|
||
|
She throws him a piece of Pandoran fruit, which he catches.
|
||
|
|
||
|
GRACE
|
||
|
Motor control is looking good.
|
||
|
|
||
|
Jake bites into the fruit, the juice running down his chin.
|
||
|
|
||
|
NORM (O.S.)
|
||
|
Hey, check it out.
|
||
|
|
||
|
Jake turns to see NORM'S AVATAR posing like a bodybuilder --
|
||
|
chest shot, back shot, bi's.
|
||
|
|
||
|
NORM
|
||
|
I am a living god.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. MINE PIT - DAY
|
||
|
|
||
|
A WIDE SHOT of the terraced crater of the UNOBTANIUM MINE. A
|
||
|
quiet beat, then --
|
||
|
|
||
|
21.
|
||
|
|
||
|
|
||
|
|
||
|
K-WHOOOOM! The entire face of one terrace is blown skyward
|
||
|
in a chain of EXPLOSIONS. The "shot" blasts hundreds of tons
|
||
|
of rock loose.
|
||
|
|
||
|
LONG LENS ANGLES of enormous WHEEL-LOADERS shovelling up ore-
|
||
|
rich rock and dropping it into DUMP TRUCKS.
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
A wall of steel FILLS FRAME. The DOZER BLADE crushes
|
||
|
everything in its path, reducing trees to kindling.
|
||
|
|
||
|
WIDER, showing the CLEAR-CUTTING operation near the mine, as
|
||
|
a road is cut through the jungle. Remotely operated DOZERS
|
||
|
three stories tall rip into the tree-line.
|
||
|
|
||
|
One of the dozers has rotating SLASH-CUTTER, a vicious
|
||
|
spinning head, mounted on a hydraulic arm, that hogs through
|
||
|
the enormous tree trunks in a spray of wood-shrapnel.
|
||
|
|
||
|
The heavy machines are escorted by AMPSUITS. COLONEL
|
||
|
QUARITCH, on foot, leads a squad of troopers wearing
|
||
|
breathing masks and carrying almighty big AUTOMATIC WEAPONS.
|
||
|
|
||
|
A BANSHEE -- a fearsome aerial predator -- HURTLES from
|
||
|
above, diving toward them on wings 3 meters across. We get a
|
||
|
glimpse of glassy fangs before --
|
||
|
|
||
|
P-P-POOM! Quaritch cranks off three rapid SHOTS with his
|
||
|
massive sidearm, and the creature drops with a SHRIEK.
|
||
|
|
||
|
It crashes near them and Quaritch FIRES two more well placed
|
||
|
rounds. The newbies stare at the thing's barracuda teeth.
|
||
|
|
||
|
QUARITCH
|
||
|
For you pogues, this is a banshee. A
|
||
|
small one. See, they like it when I
|
||
|
bring fresh meat out here. And this
|
||
|
clearcutting really stirs up the hornet's
|
||
|
nest. So keep your head on a swivel. If
|
||
|
it moves, shoot it. If you're not sure
|
||
|
it's moving -- shoot it! If it looks like
|
||
|
a bunch of flowers you want to take home
|
||
|
to Sally Rottencrotch -- SHOOT IT!
|
||
|
What're you gonna do?
|
||
|
|
||
|
TROOPERS
|
||
|
Shoot it, sir!
|
||
|
|
||
|
QUARITCH
|
||
|
Outstanding. Let's roll.
|
||
|
|
||
|
22.
|
||
|
|
||
|
|
||
|
|
||
|
Quaritch leads his squad into the gloom of the forest, his
|
||
|
eyes scanning. Flanking the squad, LYLE WAINFLEET drives an
|
||
|
AMPSUIT, his massive feet CRASHING through the underbrush.
|
||
|
|
||
|
As his gaze comes down, he sees something ahead of him on the
|
||
|
trail -- an intricate TOTEM of woven sticks, bones and
|
||
|
feathers hanging across the trail like an orb-weaver's web.
|
||
|
|
||
|
He tears it down with the barrel of his rifle, and stomps it
|
||
|
into the mud as he moves on.
|
||
|
|
||
|
INT. AVATAR LONGHOUSE - DUSK
|
||
|
|
||
|
Jake sits on a wooden bed in a long hut of tropical-style
|
||
|
construction -- beamed ceiling, open sides covered by screen.
|
||
|
|
||
|
Around him the other avatars are bedding down for the night,
|
||
|
pulling insect netting around their cots. In one hand, Jake
|
||
|
holds the end of his long braided QUEUE of hair.
|
||
|
|
||
|
CLOSE ON the queue -- the ends of the hair writhe slowly with
|
||
|
their own life, like tendrils of a sea creature.
|
||
|
|
||
|
JAKE
|
||
|
That's kinda freaky.
|
||
|
|
||
|
GRACE switches off the overheads.
|
||
|
|
||
|
GRACE
|
||
|
Lights out amigos. See ya' at dinner.
|
||
|
|
||
|
Jake sits in the twilight, listening to the SCREECHES and
|
||
|
HOOTS from the forest. Finally he lies down, CLOSING HIS
|
||
|
EYES and --
|
||
|
|
||
|
INT. LINK ROOM - NIGHT
|
||
|
|
||
|
ECU HUMAN JAKE -- his eyes OPEN.
|
||
|
|
||
|
Jake blinks, disoriented, as Max opens the upper clamshell of
|
||
|
his link unit.
|
||
|
|
||
|
In the next chair Grace sits up, yawning and cracking her
|
||
|
neck as the scared tech runs to her with a lit cigarette.
|
||
|
|
||
|
GRACE
|
||
|
(looking down)
|
||
|
Damn. Same old sack a' bones.
|
||
|
|
||
|
JAKE struggles with the dead weight of his legs as he hauls
|
||
|
himself out of the unit.
|
||
|
CUT TO
|
||
|
|
||
|
23.
|
||
|
|
||
|
|
||
|
|
||
|
INT. COMMISSARY - EARLY MORNING
|
||
|
|
||
|
JAKE sits with GRACE, NORM and the other avatar "drivers",
|
||
|
while around them miners, troopers and other base personnel
|
||
|
wolf their breakfasts. Grace is engaged in a heated
|
||
|
conversation with another SCIENTIST.
|
||
|
|
||
|
Jake, isolated from the conversations around him, notices --
|
||
|
|
||
|
PILOT TRUDY CHACON approaching, dressed in her flight suit.
|
||
|
She's a rock-hard former Marine with thousands of flight
|
||
|
hours out in the badlands.
|
||
|
|
||
|
TRUDY
|
||
|
Sully -- Colonel wants to see you in the
|
||
|
Armor Bay.
|
||
|
|
||
|
Jake gives Norm a puzzled glance and pivots from the table.
|
||
|
He wheels away, led by Trudy.
|
||
|
|
||
|
TIGHT ON GRACE, scowling as she watches him go.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. ARMOR BAY - MORNING
|
||
|
|
||
|
JAKE AND TRUDY enter the ARMOR BAY, passing TILT-ROTORS under
|
||
|
repair. There are the heavily armed SCORPIONS as well as
|
||
|
several SA-2 SAMSON work-horses outfitted with door guns and
|
||
|
rocket pods.
|
||
|
|
||
|
JAKE
|
||
|
You guys're packing some heavy ordinance.
|
||
|
|
||
|
TRUDY
|
||
|
Yeah, `cause we're not the only thing
|
||
|
flyin' around out there. Or the biggest.
|
||
|
I'm gonna need you on a door gun, I'm a
|
||
|
man short.
|
||
|
|
||
|
JAKE
|
||
|
Yeah, no problem.
|
||
|
|
||
|
She extends her fist and he taps it with his.
|
||
|
|
||
|
TRUDY
|
||
|
See ya on the flight-line, zero nine.
|
||
|
(she points)
|
||
|
He's down there.
|
||
|
|
||
|
Jake rolls his chair along the central gallery of the Armor
|
||
|
Bay, passing rows of AMPSUITS standing in service racks.
|
||
|
Techs clamber over the `suits, loading ordinance with cranes
|
||
|
and lifts.
|
||
|
|
||
|
24.
|
||
|
|
||
|
|
||
|
|
||
|
At the end of the row is a makeshift GYM area. QUARITCH is
|
||
|
bench-pressing massive plates.
|
||
|
|
||
|
QUARITCH
|
||
|
This low gravity makes you soft.
|
||
|
(pushing the last rep)
|
||
|
You get soft, Pandora will shit you out
|
||
|
dead with zero warning.
|
||
|
|
||
|
Quaritch racks the bar and sits up, sweating but not winded.
|
||
|
|
||
|
QUARITCH
|
||
|
I pulled your record, Corporal. Venezuela
|
||
|
-- that was some mean bush. Nothing like
|
||
|
this here, though. You got heart kid,
|
||
|
coming out here.
|
||
|
|
||
|
JAKE
|
||
|
I figured -- just another hellhole.
|
||
|
|
||
|
Quaritch chuckles appreciatively, claps him on the shoulder.
|
||
|
The CHIEF MECHANIC yells from the nearest AMPSUIT --
|
||
|
|
||
|
MECHANIC
|
||
|
That servo's in, Colonel, if you want to
|
||
|
try it.
|
||
|
|
||
|
Quaritch crosses to the `suit, with Jake following.
|
||
|
|
||
|
QUARITCH
|
||
|
I was in First Recon a few years ahead of
|
||
|
you. More than a few. Two tours in
|
||
|
Nigeria, not a scratch. I come out here
|
||
|
and --
|
||
|
|
||
|
He points to his scarred face.
|
||
|
|
||
|
QUARITCH
|
||
|
They could fix this if I rotated back.
|
||
|
But you know what? I kinda like it.
|
||
|
Reminds me every day what's out there.
|
||
|
Besides, I can't leave --
|
||
|
|
||
|
He looks out, as if he can see through the wall to the tree-
|
||
|
line.
|
||
|
|
||
|
QUARITCH
|
||
|
This is my war, here.
|
||
|
|
||
|
Quaritch climbs the `suit and reaches into the cockpit,
|
||
|
throwing some switches. The `suit's gas-turbine spools up
|
||
|
with a rising WHINE.
|
||
|
|
||
|
25.
|
||
|
|
||
|
|
||
|
|
||
|
QUARITCH
|
||
|
The avatar program is a joke -- buncha
|
||
|
limpdick scientists. But we have a
|
||
|
unique opportunity here, you and I. A
|
||
|
recon Marine in an avatar body could get
|
||
|
me the intel I need, on the ground, right
|
||
|
in the hostiles' camp.
|
||
|
|
||
|
The WHINE is now a roaring WHOOSH as the `suit trembles with
|
||
|
power. The air boils above the exhaust vents.
|
||
|
|
||
|
Quaritch reaches in and operates the controls, flexing one
|
||
|
huge hand. He nods to the waiting mechanic --
|
||
|
|
||
|
QUARITCH
|
||
|
Looks good.
|
||
|
(to Jake)
|
||
|
I need you to learn about these savages,
|
||
|
gain their trust. Find out how I can
|
||
|
force their cooperation, or hit `em hard
|
||
|
if they don't. Maybe you can keep some
|
||
|
of my boys from going home like you. Or
|
||
|
bagged-and-tagged.
|
||
|
|
||
|
JAKE
|
||
|
(NODDING)
|
||
|
That sounds real good, Colonel. So -- am
|
||
|
I still with Augustine?
|
||
|
|
||
|
QUARITCH
|
||
|
On paper. You walk like one of her
|
||
|
science pukes, you quack like one, but
|
||
|
you report to me. Can you do that for
|
||
|
me?
|
||
|
|
||
|
Jake nods. Quaritch brings the `suit to life. He steps
|
||
|
forward and pivots smoothly.
|
||
|
|
||
|
He balances the two ton machine on one foot while sweeping
|
||
|
the arms in strong, graceful arcs. Jake realizes he is doing
|
||
|
a WU-SHOO KATA. A flawless display of strength and control.
|
||
|
He's impressive, and Jake is impressed. Quaritch is the kind
|
||
|
of man he respects -- focused, hard. Determined.
|
||
|
|
||
|
QUARITCH
|
||
|
Look, son -- I take care of my own. Get
|
||
|
me what I need, I'll see you get your
|
||
|
legs back when you rotate home. Your real
|
||
|
legs.
|
||
|
|
||
|
He raises the `suit's hand, and slams the canopy shut like
|
||
|
the visor of a helmet. Jake watches Quaritch walk past, huge
|
||
|
feet CLANGING -- KUNG! KUNG! KUNG!
|
||
|
|
||
|
26.
|
||
|
|
||
|
|
||
|
|
||
|
INT. BIO LAB - DAY
|
||
|
|
||
|
GRACE is on the move, gulping coffee, in a hurry to get their
|
||
|
FIRST SORTIE started. She hands a clipboard to MAX.
|
||
|
|
||
|
GRACE
|
||
|
Start calibrating. We're on the flight
|
||
|
line in ten minutes.
|
||
|
|
||
|
Max nods and jogs ahead toward the LINK ROOM. JAKE and NORM
|
||
|
fall in with Grace as they enter the CONNECTING CORRIDOR.
|
||
|
|
||
|
GRACE
|
||
|
What did Atilla want?
|
||
|
|
||
|
JAKE
|
||
|
Just Marines comparin' tattoos.
|
||
|
|
||
|
GRACE
|
||
|
(not buying it)
|
||
|
Yeah. Well, listen to me, Marine --
|
||
|
|
||
|
She stops, turning to drill him with a look.
|
||
|
|
||
|
GRACE
|
||
|
-- you're driving an avatar, now. That
|
||
|
means you're in my world, got it?
|
||
|
|
||
|
JAKE
|
||
|
Got it.
|
||
|
|
||
|
She turns and enters the LINK ROOM.
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
Grace crosses to the controls of Jake's LINK UNIT. As the
|
||
|
others catch up --
|
||
|
|
||
|
GRACE
|
||
|
That son of a bitch has screwed up this
|
||
|
program enough. All this --
|
||
|
(indicating link room)
|
||
|
-- exists so we can go out there and
|
||
|
build a bridge of trust to these people,
|
||
|
who could teach us so much. But thanks
|
||
|
to Quaritch and his thugs the Na'vi won't
|
||
|
even talk to us anymore.
|
||
|
|
||
|
JAKE
|
||
|
Then how's this supposed to work?
|
||
|
|
||
|
27.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
We have a new face.
|
||
|
(turning to Norm)
|
||
|
You're fluent, you've studied the
|
||
|
culture. You're non-threatening. The
|
||
|
ones we know best -- the Omaticaya clan --
|
||
|
may give you a chance. Maybe you can get
|
||
|
them back to the table before things go
|
||
|
tits-up for good.
|
||
|
|
||
|
NORM
|
||
|
This is failing as a pep talk.
|
||
|
|
||
|
Jake hauls himself across from wheelchair to link.
|
||
|
|
||
|
JAKE
|
||
|
How do we contact them?
|
||
|
|
||
|
GRACE
|
||
|
We don't. They contact us. If they see
|
||
|
us taking our samples, treating the
|
||
|
forest with respect --
|
||
|
(pointedly to Jake)
|
||
|
Not trampling everything in sight --
|
||
|
they may reach out to us.
|
||
|
|
||
|
JAKE
|
||
|
Or they may skin us and make a drum.
|
||
|
|
||
|
Jake lies back, lowering the sensor array over his body.
|
||
|
|
||
|
GRACE
|
||
|
Just keep your mouth shut and let Norm do
|
||
|
the talking.
|
||
|
|
||
|
She closes his clamshell, HARD, and we --
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAIN FOREST / AERIAL - DAY
|
||
|
|
||
|
FLYING over a carpet of rainforest, past sheer cliffs and
|
||
|
cloud-wreathed mesas. TRUDY'S SAMSON TILT-ROTOR chases its
|
||
|
shadow across the treetops. Though big as a Blackhawk, it is
|
||
|
tiny in the vast primeval landscape.
|
||
|
|
||
|
ANGLE THROUGH the open side doors of the Samson. Trooper
|
||
|
WAINFLEET, in exo-mask and body armor, leans on his door gun,
|
||
|
scanning for aerial predators.
|
||
|
|
||
|
In avatar form JAKE, GRACE and NORM watch the forest
|
||
|
unrolling beneath them, the wind blasting their clothes.
|
||
|
Jake mans the other door gun, his feet propped on the skids.
|
||
|
|
||
|
28.
|
||
|
|
||
|
|
||
|
|
||
|
TRUDY flies from a pressurized cockpit. She banks to follow a
|
||
|
shallow river.
|
||
|
|
||
|
TRUDY (INTERCOM)
|
||
|
Sturmbeest herd, one o'clock.
|
||
|
|
||
|
Norm grins and points, excitedly. Jake looks in time to see--
|
||
|
A herd of STURMBEEST -- massive six-legged creatures
|
||
|
reminiscent of buffalo -- thundering across the river.
|
||
|
|
||
|
GRACE
|
||
|
Looks like a bull, six cows and some
|
||
|
juveniles.
|
||
|
|
||
|
NORM
|
||
|
The bull has the red on the dorsal armor?
|
||
|
|
||
|
Grace nods approvingly.
|
||
|
|
||
|
TIME CUT -- Hundreds of purple winged creatures take flight
|
||
|
from a lake, startled by the Samson. They skim the water
|
||
|
above their own reflections. TETRAPTERONS.
|
||
|
|
||
|
TIME CUT -- the ground drops away as the Samson flies over a
|
||
|
WATERFALL hundreds of feet high. Trudy banks hard, rolling
|
||
|
in on the gorge below like it's a gun-run.
|
||
|
|
||
|
Wainfleet WHOOPS while Norm looks like he's about to puke.
|
||
|
|
||
|
WAINFLEET
|
||
|
Yo Chacon! Get some!
|
||
|
|
||
|
Jake grins into the airstream.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. CLEARING - DAY
|
||
|
|
||
|
A small meadow among towering trees. The fern-like "grass"
|
||
|
is beaten down in waves by the rotor-wash as the Samson
|
||
|
settles to the ground.
|
||
|
|
||
|
Jake pulls the massive door gun off its pintle mount and
|
||
|
hefts it like an assault rifle.
|
||
|
|
||
|
He and Wainfleet leap out to secure the LZ, scanning the tree-
|
||
|
line warily, weapons aimed.
|
||
|
|
||
|
Grace jogs forward to the cockpit, motioning Trudy to shut
|
||
|
down. Trudy kills the Samson's TURBINES.
|
||
|
|
||
|
Grace, towering over Wainfleet, motions him to hang back.
|
||
|
|
||
|
29.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Stay with the ship.
|
||
|
(for Jake)
|
||
|
One idiot with a gun's enough.
|
||
|
|
||
|
WAINFLEET
|
||
|
Whatever you say, Doc.
|
||
|
|
||
|
Jake takes point as they enter the jungle.
|
||
|
|
||
|
WAINFLEET
|
||
|
(LAUGHING)
|
||
|
Ya'll have fun out there.
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
The forest engulfs JAKE, GRACE and NORM in cyan gloom. The
|
||
|
shadows are alive with the CHITTERING sounds of unseen alien
|
||
|
wildlife.
|
||
|
|
||
|
TRACKING WITH JAKE as he moves through the foliage, hyper-
|
||
|
alert -- looking around like a tourist in Hell.A monkey-like
|
||
|
PROLEMURIS leaping from limb to limb overhead, flashing
|
||
|
through the sunlight streaming down in shafts.
|
||
|
|
||
|
A PLANT with swaying tendrils which reach toward Jake as he
|
||
|
passes.
|
||
|
|
||
|
This forest is more alive than any on Earth, with plants that
|
||
|
react and move like animals. Jake white-knuckles his rifle
|
||
|
as if every shadow conceals razor-fanged death.
|
||
|
|
||
|
GRACE
|
||
|
Relax, Marine. You're making me nervous.
|
||
|
|
||
|
She pushes ahead of him on the trail, forcing him to lower
|
||
|
his muzzle as he follows her. Grace moves nimbly on the
|
||
|
path, seemingly unconcerned.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. FOREST/ GLEN
|
||
|
|
||
|
WIDE SHOT as the party moves between the huge trees, tiny as
|
||
|
ants. The trail has gotten steeper, the going tougher.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. SCHOOL RUINS - DAY
|
||
|
|
||
|
They enter a clearing with an OVERGROWN BUILDING made of
|
||
|
timbers cut from the local trees, with a thatch roof. It is
|
||
|
covered with vines as the jungle reclaims it.
|
||
|
|
||
|
30.
|
||
|
|
||
|
|
||
|
|
||
|
NORM
|
||
|
How will they know we're here?
|
||
|
|
||
|
GRACE
|
||
|
I'm sure they're watching us right now.
|
||
|
|
||
|
Norm gulps. Jake looks behind him as they approach the
|
||
|
school, feeling unseen eyes.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SCHOOL RUINS
|
||
|
|
||
|
TRACKING WITH JAKE'S BOOTS as he steps among dried leaves and
|
||
|
a few moldering CHILDREN'S BOOKS. Floorboards CREAK.
|
||
|
|
||
|
GRACE (O.S.)
|
||
|
The kids were so bright, so eager to
|
||
|
learn... they picked up English faster
|
||
|
than I could teach it to them.
|
||
|
|
||
|
WIDER as Jake explores the room. Grace and Norm are selecting
|
||
|
INSTRUMENTS from storage cases on a wooden table.
|
||
|
|
||
|
GRACE
|
||
|
Bring the soil probe -- right there,
|
||
|
yellow case.
|
||
|
|
||
|
Jake looks up at a RUSTLING among the dark rafters. Roosting
|
||
|
STINGBATS eye him warily, fluttering their wings.
|
||
|
|
||
|
Grace picks up a moldering copy of "The Lorax" by Dr. Seuss
|
||
|
from the floor and puts it back on a shelf.
|
||
|
|
||
|
GRACE
|
||
|
(WISTFULLY)
|
||
|
The stingbats knock them off. I guess I
|
||
|
always hope somebody will come back and
|
||
|
read them.
|
||
|
|
||
|
NORM
|
||
|
Why don't they come back?
|
||
|
|
||
|
GRACE
|
||
|
(GRIMLY)
|
||
|
The Na'vi learned as much about us as
|
||
|
they needed to know.
|
||
|
|
||
|
Jake sees something, and approaches the blackboard -- reaches
|
||
|
out to touch a pattern of holes blasted into the slate.
|
||
|
Unmistakably BULLET HOLES.
|
||
|
|
||
|
31.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
(turning to her)
|
||
|
What happened here?
|
||
|
|
||
|
GRACE
|
||
|
(SHARPLY)
|
||
|
Are you going to help with this gear?
|
||
|
We've got a lot to do.
|
||
|
|
||
|
She turns away. Jake watches her as he jams equipment into
|
||
|
his pack.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
CLOSE ON Grace's blue hand gently brushing away soil,
|
||
|
exposing a tangle of ROOT TENDRILS.
|
||
|
|
||
|
GRACE
|
||
|
See, right here where the roots of the
|
||
|
two trees interact.
|
||
|
|
||
|
WIDER -- GRACE and NORM crouch among enormous octopoidal
|
||
|
roots. She takes a tiny sample using a needle-like probe.
|
||
|
Norm uses a digital DEVICE to scan the roots.
|
||
|
|
||
|
JAKE, bored, scouts ahead a few meters.
|
||
|
|
||
|
He comes to a GLADE filled with shoulder-high SPIRAL PLANTS
|
||
|
called HELICORADIANS.
|
||
|
|
||
|
He BRUSHES one and SHTOONK! -- it SUCKS DOWN into a tube in
|
||
|
the ground so quickly it seems to simply vanish.
|
||
|
|
||
|
Curious, Jake touches another -- SHTOONK! And another --
|
||
|
like popping balloons after a party. SHTOONK! SHTOONK!
|
||
|
SHTOONK!
|
||
|
|
||
|
A chain reaction begins and the whole colony pulls down into
|
||
|
the ground, REVEALING --
|
||
|
|
||
|
A HAMMERHEAD TITANOTHERE. Like a six-legged rhinoceros, but
|
||
|
twice that size. Its massive, low-slung head has projections
|
||
|
of bone giving it the look of a hammerhead shark.
|
||
|
|
||
|
Its baleful eyes lock onto him. Jake raises his rifle.
|
||
|
|
||
|
Grace, alerted by the creature's SNORTS, runs to where she
|
||
|
can see the tableau. She presses her THROAT MIKE.
|
||
|
|
||
|
GRACE
|
||
|
Don't shoot. You'll piss it off.
|
||
|
|
||
|
32.
|
||
|
|
||
|
|
||
|
|
||
|
The bull HAMMERHEAD bellows and lowers its 3 meter wide
|
||
|
sledgehammer of a skull.
|
||
|
|
||
|
JAKE
|
||
|
It's already pissed off!
|
||
|
|
||
|
GRACE
|
||
|
Jake, that armor's too thick. Trust me.
|
||
|
|
||
|
Jake starts to back away. The hammerhead bellows again,
|
||
|
pawing the earth.
|
||
|
|
||
|
GRACE
|
||
|
It's a territorial threat display. Do not
|
||
|
run, or he'll charge.
|
||
|
|
||
|
JAKE
|
||
|
What do I do?
|
||
|
|
||
|
GRACE
|
||
|
Hold your ground!
|
||
|
|
||
|
The hammerhead SLASHES its head sideways, splintering
|
||
|
saplings. It bellows again, lowers its head and CHARGES --
|
||
|
|
||
|
Jake SCREAMS at the top of his lungs, spreads his arms wide
|
||
|
and runs straight at the thing.
|
||
|
|
||
|
It STOPS abruptly, with an oversized BLEAT.
|
||
|
|
||
|
ON JAKE -- amazed the gambit worked.
|
||
|
|
||
|
JAKE
|
||
|
Oh yeah! Who's bad?! That's right.
|
||
|
|
||
|
SOMETHING rises up behind him out of focus --
|
||
|
|
||
|
A THANATOR. The most awesome land predator the universe has
|
||
|
ever conceived This thing could eat a T-rex and have the
|
||
|
Alien for desert.
|
||
|
|
||
|
It is a black six-limbed panther from Hell, with an armored
|
||
|
head and massive distensible jaws.
|
||
|
|
||
|
JAKE, unaware of the advancing thanator, is still bracing the
|
||
|
hammerhead --
|
||
|
|
||
|
JAKE
|
||
|
That's what I'm talkin' about, bitch!
|
||
|
|
||
|
The bull wheels around, TRUMPETING in fear, and CRASHES away
|
||
|
through splintering undergrowth.
|
||
|
|
||
|
33.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
That's right motherf--
|
||
|
|
||
|
A guttural SNARL behind him. Jake spins in time to see --
|
||
|
|
||
|
THREE TONS of rippling thanator LAUNCH over him, landing
|
||
|
between him and the hammerhead. The ground shakes.
|
||
|
|
||
|
The thanator emits an earsplitting ROAR, enraged that the
|
||
|
hammerhead got away. It twists on itself, turning to face
|
||
|
Jake, and bares its fangs with a lethal HISS.
|
||
|
|
||
|
JAKE
|
||
|
What about this one? Run, don't run?
|
||
|
What?
|
||
|
|
||
|
GRACE
|
||
|
Run. Definitely RUN!
|
||
|
|
||
|
Jake BOLTS as --
|
||
|
|
||
|
The thanator LEAPS after him and --
|
||
|
|
||
|
Jake launches himself between two large trunks, forcing the
|
||
|
beast to claw its way around to the side while --
|
||
|
|
||
|
Jake scrambles up -- around -- over a tangle of roots and --
|
||
|
|
||
|
SK-RASH!! CLAWS SLASH the air behind him, EXPLODING bark off
|
||
|
a trunk as --
|
||
|
|
||
|
JAKE wills himself forward in a frenzy. With rippling muscle
|
||
|
the beast is airborne again, blacking out the sun but --
|
||
|
|
||
|
JAKE dives under a massive root system, and --
|
||
|
|
||
|
CRASH! Kindling rains around him as the beast tears into the
|
||
|
root-trunks above him. Claws SLASH down next to him as he
|
||
|
rolls and crawls --
|
||
|
|
||
|
Glistening jaws SMASH and SNAP against the barrier trunks,
|
||
|
sending chunks of wood flying. It's spittle sprays across
|
||
|
Jake, jaws inches away as --
|
||
|
|
||
|
He rolls onto his back, and FIRES his AR point blank but the
|
||
|
rifle is SNATCHED out of his hands. The beast SCREECHES an
|
||
|
ungodly WAIL of pain and rage and -- RIPS the ENTIRE TRUNK
|
||
|
away. Jake scrambles to escape but --
|
||
|
|
||
|
GLISTENING JAWS lunge downward, SNAP SHUT and --
|
||
|
|
||
|
The creature rips Jake out of the tree, shaking him like a
|
||
|
junkyard dog with a rabbit, only --
|
||
|
|
||
|
34.
|
||
|
|
||
|
|
||
|
|
||
|
It has him by the BACKPACK, so Jake unlatches it and --
|
||
|
|
||
|
He FLIES FREE as the thanator crushes the pack with its
|
||
|
teeth. Giving Jake a moment to sprint away, but --
|
||
|
|
||
|
With a hideous BELLOW the thanator crashes after him,
|
||
|
splintering trees.
|
||
|
|
||
|
JAKE RUNS in a blur, dodging between trunks as a glistening
|
||
|
black tornado shreds the forest behind him and --
|
||
|
|
||
|
He sees WATER ahead and DIVES OUTWARD with all his might --
|
||
|
|
||
|
The thanator's jaws SNAP SHUT inches behind him as he flies
|
||
|
out into open space and --
|
||
|
|
||
|
JAKE SPLASHES down into a swiftly moving river.
|
||
|
|
||
|
The thanator LEAPS DOWN AFTER HIM, pursuing from rock to
|
||
|
rock, its claws swiping like a grizzly fishing for salmon.
|
||
|
|
||
|
Jake ducks under as -- FWHOOSH! -- black claws SLASH past
|
||
|
his face amid turbulent bubbles.
|
||
|
|
||
|
A WATERFALL ahead. Jake is swept over the falls, with the
|
||
|
thanator SWIPING at him from a rock, just MISSING and --
|
||
|
|
||
|
Jake disappears down the throat of the thundering cataract.
|
||
|
|
||
|
EXT. RIVER BELOW FALLS - DAY
|
||
|
|
||
|
The water boils below the cataract. Jake's head bursts
|
||
|
through the surface, and he gasps for breath.
|
||
|
|
||
|
He is carried along by the current, but manages to grab a
|
||
|
limb on a fallen tree. He weakly pulls himself up, and just
|
||
|
lies there gasping on the trunk.
|
||
|
|
||
|
Above him, on the cliff, the THANATOR BELLOWS, a roar which
|
||
|
echoes across the jungle.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
JAKE, wet and bruised, crouches under a screen of giant
|
||
|
leaves. He hacks manically at the end of a cut sapling with
|
||
|
his knife, forming a crude but sharp tip.
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
TRACKING with Jake as he walks through the forest like it's a
|
||
|
minefield, carrying his SPEAR white-knuckled. He is freaked
|
||
|
and hyper-alert.
|
||
|
|
||
|
35.
|
||
|
|
||
|
|
||
|
|
||
|
The trees here are a hundred meters high, blocking out the
|
||
|
sky. A few pencil beams of sunlight filter down into the
|
||
|
cyan gloom.
|
||
|
|
||
|
POV FROM ABOVE -- looking down through leaves we watch Jake
|
||
|
move warily through the forest.
|
||
|
|
||
|
ECU -- TWO GOLDEN EYES, bright in the shadows.
|
||
|
|
||
|
DOWNANGLE as Jake passes under a tree limb. Invisible to
|
||
|
him, draped on the limb like a leopard, is a striking NA'VI
|
||
|
GIRL. She watches, only her eyes moving.
|
||
|
|
||
|
She is lithe as a cat, with a long neck, muscular shoulders,
|
||
|
and nubile breasts. And she is devastatingly beautiful --
|
||
|
for a girl with a tail. In human age she would be 18. Her
|
||
|
name is NEYTIRI(nay-Tee-ree).
|
||
|
|
||
|
Jake passes less than 2 meters beneath her, oblivious.
|
||
|
|
||
|
NEYTIRI rises soundlessly. In one fluid, sinuous movement
|
||
|
she NOCKS an arrow to her BOW and DRAWS, aiming RIGHT AT
|
||
|
JAKE. Utterly silent.
|
||
|
|
||
|
Below her Jake is totally unaware of the arrow aimed at his
|
||
|
THROAT.
|
||
|
|
||
|
ON NEYTIRI as she follows him with the bow, muscles tensing
|
||
|
for the shot --
|
||
|
|
||
|
-- and SOMETHING drifts down in front of her, F.G. She
|
||
|
hesitates.
|
||
|
|
||
|
RACK FOCUS to the tip of the arrow -- where a single
|
||
|
WOODSPRITE floats down to land on the arrow-head.Like a
|
||
|
dandelion seed, but larger, the WOODSPRITE waves its silky
|
||
|
CILIA, feather light, as it balances on the deadly point. It
|
||
|
glows faintly in the dark shadows.
|
||
|
|
||
|
NEYTIRI frowns, puzzled, and LOWERS her bow slowly. The
|
||
|
woodsprite WHIRLS away into the gloom.
|
||
|
CUT TO:
|
||
|
|
||
|
INT./EXT. SAMSON - SUNSET
|
||
|
|
||
|
GRACE and NORM peer down into the shadowed forest as TRUDY
|
||
|
banks in a search pattern.
|
||
|
|
||
|
TRUDY (INTERCOM)
|
||
|
I'm going to have to call it, guys. We're
|
||
|
not allowed to run night ops. Colonel's
|
||
|
orders.
|
||
|
|
||
|
36.
|
||
|
|
||
|
|
||
|
|
||
|
Grace looks to the west. The sun setting behind alien trees.
|
||
|
|
||
|
GRACE
|
||
|
Shit.
|
||
|
|
||
|
TRUDY
|
||
|
Sorry, Doc. He's just gonna have to hang
|
||
|
on `till morning.
|
||
|
|
||
|
GRACE
|
||
|
He's not going to make it till morning.
|
||
|
|
||
|
Grace stares into the dark forest as the Samson banks hard,
|
||
|
thundering away toward the setting sun.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - NIGHT
|
||
|
|
||
|
LONG LENS-- POLYPHEMUS. The giant planet rises behind the
|
||
|
black trees.
|
||
|
|
||
|
Jake's got a new problem. He sees shapes moving with liquid
|
||
|
grace in the NIGHT shadows behind him. He is being stalked by
|
||
|
a pack of VIPERWOLVES.
|
||
|
|
||
|
Jake catches only glimpses -- a glint of eyes, a slinking
|
||
|
black movement -- then nothing. Darkness.
|
||
|
|
||
|
TIME CUT -- TIGHT ON Jake's hands as he knots his T-shirt
|
||
|
around the butt end of the spear.
|
||
|
|
||
|
ANGLE ON THICK SAP trickling down a tree-trunk. Jake jams
|
||
|
the makeshift torch into the sap, soaking the shirt with it.
|
||
|
|
||
|
A WATERPROOF MATCH from his survival kit lights the torch.
|
||
|
|
||
|
The torch creates a pool of light surrounded by pulsing,
|
||
|
leaping shadows. Jake turns warily as he moves along the
|
||
|
trail.
|
||
|
|
||
|
Behind him are several pairs of reflective green EYES.
|
||
|
Another pair flanking him beside the trail. Black-on-black
|
||
|
SHAPES which seem to flow like liquid.
|
||
|
|
||
|
He looks up -- sees one cross a limb overhead. Another on
|
||
|
his opposite flank.
|
||
|
|
||
|
Then a hideous sound, like a hyena's psychotic LAUGH.
|
||
|
|
||
|
The VIPERWOLVES can run like a dog and climb like a monkey.
|
||
|
They are hunting Jake from the ground and the trees.
|
||
|
|
||
|
37.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE RUNS by torch-light, on the edge of panic. He reaches a
|
||
|
steep banked stream and -- without thinking -- runs across it
|
||
|
on a horizontal trunk --
|
||
|
|
||
|
-- and STOPS DEAD on the other side. The torch illuminates
|
||
|
GREEN EYES cutting ahead of him across the trail. The
|
||
|
viperwolves have him encircled.
|
||
|
|
||
|
The psychotic BARKS become more intense as they signal each
|
||
|
other, getting excited. ONE MAKES A RUN at him, angling on
|
||
|
his legs from behind but --
|
||
|
|
||
|
JAKE WHIRLS, jamming the torch in its face. It yips and goes
|
||
|
past, but ANOTHER moves in --
|
||
|
|
||
|
He jabs it with the business end of the spear and it SNARLS,
|
||
|
retreating, baring its fangs.
|
||
|
|
||
|
Now half a dozen are circling him in the open, and he sees
|
||
|
what he's up against. The VIPERWOLVES are six-limbed with
|
||
|
shiny chitinous skin, their paws leathery BLACK HANDS.
|
||
|
Intelligent eyes. Glistening black teeth in dead white gums.
|
||
|
|
||
|
Jake realizes that he is making his final stand. He whirls
|
||
|
the torch in an arc, keeping them at bay --
|
||
|
|
||
|
And feels a rush of adrenaline. It goes through him like a
|
||
|
lightning bolt and the fear is gone.
|
||
|
|
||
|
JAKE
|
||
|
(SCREAMING)
|
||
|
I don't have all goddamn night! Come on!
|
||
|
Come on!
|
||
|
|
||
|
With snarls and a blur of motion THEY ATTACK.
|
||
|
|
||
|
Jake CRACKS the spear down on one, then SPINS as --
|
||
|
|
||
|
ANOTHER LEAPS at him and he plants the spear in it, striking
|
||
|
true, but --
|
||
|
|
||
|
Its momentum wrenches it from his hands, and the torch goes
|
||
|
flying. Left in semi-darkness, Jake draws his KNIFE as--
|
||
|
|
||
|
A WOLF LUNGES, sinking its teeth into his arm. He YELLS in
|
||
|
pain and fury, SLASHING with the knife which --
|
||
|
|
||
|
CUTS deep into the beast's shoulder and it lets go.
|
||
|
|
||
|
JAKE SPRINTS, trying to escape, but a snarling viperwolf
|
||
|
leaps, GRABBING him by the ankle with its fore-hand. Jake
|
||
|
tears away, sprawling, SCRAMBLING to get up as --
|
||
|
|
||
|
38.
|
||
|
|
||
|
|
||
|
|
||
|
THREE WOLVES charge at once. The nearest LEAPS at his throat
|
||
|
just as --
|
||
|
|
||
|
THUNK!! -- an ARROW appears in its chest.
|
||
|
|
||
|
The wolf lands on him, already a dead weight. He pushes it
|
||
|
off in time to see --
|
||
|
|
||
|
A BLUE AMAZON emerge from the trees, nock another arrow, draw
|
||
|
and FIRE in one fluid motion. AN UNEARTHLY YOWL as another
|
||
|
wolf falls.
|
||
|
|
||
|
NEYTIRI LEAPS right over Jake, and CRACKS her bow down on the
|
||
|
skull of a circling wolf.
|
||
|
|
||
|
ANOTHER SPRINGS at her and she drops under its weight, but
|
||
|
rolls, coming up on top of it with a knife in her hand.
|
||
|
|
||
|
Her knife FLASHES down, buried to the hilt in its chest.
|
||
|
|
||
|
SNARLING, a wounded wolf attacks Jake, and he KICKS it away,
|
||
|
but --
|
||
|
|
||
|
It SPINS and leaps back onto him, and Jake barely catches its
|
||
|
throat in time to keep the SNAPPING JAWS away from his face.
|
||
|
|
||
|
MEANWHILE Neytiri swings her bow in a big arc, CRACKING IT
|
||
|
across the heads and shoulders of two remaining wolves.
|
||
|
|
||
|
NEYTIRI
|
||
|
Rrreeyaaah! Hyaaaah!!
|
||
|
|
||
|
The wolves slink and circle, yelping as the bow whistles past
|
||
|
them. Finally they break and run, with Neytiri chasing and--
|
||
|
|
||
|
They bound away through the foliage as she SHOUTS after them--
|
||
|
|
||
|
NEYTIRI
|
||
|
Raaaarrrr!
|
||
|
|
||
|
Jake has his adversary pinned and is choking it with all his
|
||
|
weight. Finally it stops thrashing. Panting, he releases it
|
||
|
and looks up at --
|
||
|
|
||
|
NEYTIRI. Her tail LASHES as she scans the forest, listening
|
||
|
to the fading YELPS of the wolves. Satisfied the attack is
|
||
|
over, she turns.
|
||
|
|
||
|
She regards him coldly for a second, then walks past him.
|
||
|
Neytiri picks up the torch and extinguishes it in a stream.
|
||
|
|
||
|
JAKE
|
||
|
Wait, don't --
|
||
|
|
||
|
39.
|
||
|
|
||
|
|
||
|
|
||
|
Jake blinks around at the darkness -- realizing he can still
|
||
|
see. In fact, with the blinding torchlight gone, the forest
|
||
|
is transformed.
|
||
|
|
||
|
The jungle has come alive with BIOLUMINESCENCE -- spots and
|
||
|
patterns, ghosts and galaxies of blue-green light.
|
||
|
|
||
|
Jake scrambles to recover his spear. Neytiri kneels beside --
|
||
|
|
||
|
A DYING WOLF. It's CRIES are pitiful. It paws the air,
|
||
|
trying to raise its head. She pulls her KNIFE from its
|
||
|
chest.
|
||
|
|
||
|
NEYTIRI
|
||
|
(in Na'vi)
|
||
|
Forgive me, my brother.
|
||
|
|
||
|
She cuts its throat, ending the pitiful cries. She touches
|
||
|
its head gently, regarding it with sadness.
|
||
|
|
||
|
Neytiri wipes the knife and returns it to the sheath at her
|
||
|
waist. She crosses to another slain wolf and kneels, pulling
|
||
|
the arrow from its heart.
|
||
|
|
||
|
JAKE
|
||
|
Look, um, I know you probably don't
|
||
|
understand this. But -- thanks. Thank
|
||
|
you. I owe you.
|
||
|
|
||
|
Neytiri ignores him, assuming a prayer posture over the dead
|
||
|
animal.
|
||
|
|
||
|
NEYTIRI
|
||
|
(in Na'vi)
|
||
|
Forgive me. May your spirit run with the
|
||
|
Great Mother.
|
||
|
|
||
|
JAKE
|
||
|
I would have been screwed if you hadn't
|
||
|
come along --
|
||
|
|
||
|
She rises and walks away without looking at Jake.
|
||
|
|
||
|
JAKE
|
||
|
Hey, wait. Wait! Where you goin'?
|
||
|
|
||
|
He crashes through some plants, catching up to her.
|
||
|
|
||
|
JAKE
|
||
|
Slow down a second will you. I just want
|
||
|
to thank you for killing those --
|
||
|
|
||
|
He makes the mistake of grasping her shoulder and --
|
||
|
|
||
|
40.
|
||
|
|
||
|
|
||
|
|
||
|
WHACK! She WALLOPS him upside the head with her bow in a
|
||
|
fierce backhand swing, laying him out flat.
|
||
|
|
||
|
He looks up to see a FURY standing over him. A Fury who
|
||
|
speaks English -- accented, halting, angry English.
|
||
|
|
||
|
NEYTIRI
|
||
|
Don't thank! You don't thank for this!
|
||
|
This is sad. Very sad, only.
|
||
|
|
||
|
JAKE
|
||
|
Okay, I'm sorry. Whatever I did -- I'm
|
||
|
sorry.
|
||
|
|
||
|
She gestures at the bodies of the viperwolves.
|
||
|
|
||
|
NEYTIRI
|
||
|
All this is your fault! They did not need
|
||
|
to die.
|
||
|
|
||
|
JAKE
|
||
|
They attacked me. How'm I the bad guy
|
||
|
HERE--
|
||
|
|
||
|
She silences him with the tip of her bow at his throat.
|
||
|
|
||
|
NEYTIRI
|
||
|
Your fault! You are like a baby, making
|
||
|
noise, don't know what to do. You should
|
||
|
not come here, all of you! You only come
|
||
|
and make problems. Only.
|
||
|
|
||
|
Jake gets up, slowly, facing her.
|
||
|
|
||
|
JAKE
|
||
|
Okay, fine, you love your little forest
|
||
|
friends. So why not just let them kill
|
||
|
my ass? What's the thinking?
|
||
|
|
||
|
CU Neytiri -- looking away. Finally, reluctantly, her eyes
|
||
|
MEET HIS for the first time -- a riveting gaze with those big
|
||
|
gold orbs.
|
||
|
|
||
|
NEYTIRI
|
||
|
Why save you?
|
||
|
|
||
|
JAKE
|
||
|
Yes, why save me?
|
||
|
|
||
|
NEYTIRI
|
||
|
You have a strong heart. No fear.
|
||
|
|
||
|
She leans closer --
|
||
|
|
||
|
41.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
But stupid! Ignorant like a child!
|
||
|
|
||
|
She turns away, stalking off, but Jake goes after her.
|
||
|
|
||
|
TRACKING WITH Neytiri as she climbs nimbly along a huge ROOT.
|
||
|
|
||
|
WIDER as she trots with perfect balance along the root, which
|
||
|
forms an elevated walkway.
|
||
|
|
||
|
Jake runs to catch up, realizing suddenly that he is far
|
||
|
above the forest floor. Throughout the following they move
|
||
|
through a GLOWING PHANTASMAGORICAL FOREST.
|
||
|
|
||
|
JAKE
|
||
|
If I'm so ignorant, maybe you should
|
||
|
teach me.
|
||
|
|
||
|
NEYTIRI
|
||
|
Sky people can not learn. You do not
|
||
|
See.
|
||
|
|
||
|
She leaps to another elevated root. Jake follows, surprised
|
||
|
that he made it.
|
||
|
|
||
|
JAKE
|
||
|
Whooaa.
|
||
|
|
||
|
He runs to catch up with her easy jogging pace.
|
||
|
|
||
|
JAKE
|
||
|
Then teach me to "see."
|
||
|
|
||
|
She stops and he almost runs into her.
|
||
|
|
||
|
NEYTIRI
|
||
|
No one can teach you to See.
|
||
|
|
||
|
Then she turns and trots on.
|
||
|
|
||
|
EXT. GORGE - NIGHT
|
||
|
|
||
|
They run across the elevated root of an enormous tree -- a
|
||
|
horizontal trunk big as an oak.
|
||
|
|
||
|
WIDE SHOT as they cross a DEEP GORGE. A waterfall shimmers
|
||
|
silver in the Polyphemus-light. Vines hang down a hundred
|
||
|
feet into the gorge, and among them swoop stingbats and other
|
||
|
night flyers.
|
||
|
|
||
|
JAKE
|
||
|
Hey, slow down. Look, I think we just
|
||
|
got off on the wrong foot and --
|
||
|
|
||
|
42.
|
||
|
|
||
|
|
||
|
|
||
|
Jake looks down, suddenly aware of the height.
|
||
|
|
||
|
JAKE
|
||
|
--you just have to get to know me. I'm
|
||
|
Jake. Jake Sull--
|
||
|
|
||
|
A vine catches his spear and spins him off balance. He drops
|
||
|
the spear and almost falls off the root.
|
||
|
|
||
|
JAKE
|
||
|
Whooaaa -- shit!
|
||
|
|
||
|
Neytiri catches him with one hand, gripping his bicep. He
|
||
|
watches the spear cartwheel down to splash in the river.
|
||
|
|
||
|
She pulls him upright. Shouts at him in English and Na'vi.
|
||
|
|
||
|
JAKE
|
||
|
I need your help.
|
||
|
|
||
|
NEYTIRI
|
||
|
You should not be here.
|
||
|
|
||
|
JAKE
|
||
|
So take me with you.
|
||
|
|
||
|
NEYTIRI
|
||
|
No. You go back.
|
||
|
|
||
|
DOWN ANGLE FROM FAR ABOVE -- several WOODSPRITES float down
|
||
|
through the trees. FOLLOW THEM as they descend silently
|
||
|
toward Jake and Neytiri.
|
||
|
|
||
|
NEYTIRI, sensing a presence, looks up to see --
|
||
|
|
||
|
The WOODSPRITES, PULSING with purpose, float right towards
|
||
|
Jake. They dance gently around his shoulders and head.
|
||
|
|
||
|
JAKE
|
||
|
(off her amazed look)
|
||
|
What?
|
||
|
|
||
|
More woodsprites gather around him. Several ALIGHT on him.
|
||
|
|
||
|
Jake holds still, knowing he should be afraid -- but somehow
|
||
|
he's not. He spreads his arms. More sprites come, landing
|
||
|
all over his arms, hands, body.
|
||
|
|
||
|
JAKE
|
||
|
What are they?
|
||
|
|
||
|
CU NEYTIRI -- reacting with a mixture of wonder and dread.
|
||
|
|
||
|
43.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
Atokirina'. Seeds of the Great Tree --
|
||
|
very pure spirits.
|
||
|
|
||
|
Jake -- now a pulsing, glowing, fluttering MASS OF LIGHT --
|
||
|
moves one hand slowly, not wanting to break the spell. He
|
||
|
studies one of the sprites dancing on his palm until --
|
||
|
|
||
|
-- WHOOSSHH! the woodsprites whirl up and away, scattering
|
||
|
into the darkness.
|
||
|
|
||
|
JAKE
|
||
|
What was that all about?
|
||
|
|
||
|
Neytiri seems shaken. She seizes his hand and pulls him
|
||
|
after her.
|
||
|
|
||
|
NEYTIRI
|
||
|
Come!
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - NIGHT
|
||
|
|
||
|
TRACKING WITH JAKE as he gazes about him in growing wonder.
|
||
|
He touches leaves as he passes, watching the bioluminescence
|
||
|
shiver through them.
|
||
|
|
||
|
Jake looks down as -- they cross a bed of purple MOSS which
|
||
|
reacts to the pressure of their footsteps. Rings of green
|
||
|
light, like ripples on a pond, expand outward from each
|
||
|
footfall. Exploding rings of light where his feet touch
|
||
|
down. Dream-like, surreal beauty.
|
||
|
|
||
|
WIDE ON THEM as they run over a large root, across a mirror-
|
||
|
like POOL at the base of a WATERFALL.
|
||
|
|
||
|
Jake follows Neytiri, running along a raised root-trunk.
|
||
|
|
||
|
JAKE
|
||
|
What's your name?
|
||
|
|
||
|
JAKE hears WHOOSH-WHOOSH and snaps a look as a BOLO flies at
|
||
|
him, spinning end for end and --
|
||
|
|
||
|
SHWHAP!! -- tangles around his legs. He topples off the root
|
||
|
and crashes into the foliage below.
|
||
|
|
||
|
JAKE untangles himself, getting up to run just as --
|
||
|
|
||
|
SEVERAL NA'VI RIDERS thunder toward him. They are riding
|
||
|
DIREHORSES -- six-legged, armor-skinned alien Clydesdales.
|
||
|
|
||
|
44.
|
||
|
|
||
|
|
||
|
We see that the riders' QUEUES are connected to the horses'
|
||
|
long moth-like antennae -- a neural-link with which they can
|
||
|
command the horse, leaving hands free for weapons.
|
||
|
|
||
|
The riders aim bows and spears at Jake as they approach. Jake
|
||
|
turns to bolt, but --
|
||
|
|
||
|
NA'VI HUNTERS melt out of the shadows, weapons aimed --
|
||
|
blocking his retreat.
|
||
|
|
||
|
Neytiri drops to the ground next to Jake and confronts the
|
||
|
LEAD RIDER. She shouts sharply in Na'vi --
|
||
|
|
||
|
NEYTIRI
|
||
|
(SUBTITLED)
|
||
|
Tsu'tey, what are you doing?! He is my
|
||
|
captive!
|
||
|
|
||
|
TSU'TEY(tsu-Tay)is young and powerfully built, with sculpted
|
||
|
features and a proud jawline, piercing eyes. Tsu'tey swings
|
||
|
off his mount with fluid grace.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
These demons are forbidden here. I will
|
||
|
kill this one as a lesson to the others!
|
||
|
|
||
|
Tsu'tey draws his bow but Neytiri leaps between him and Jake,
|
||
|
confronting him warrior to warrior.
|
||
|
|
||
|
NEYTIRI
|
||
|
(SUBTITLED)
|
||
|
Stop! There has been a sign. This is a
|
||
|
matter for the Tsahik.
|
||
|
|
||
|
Tsu'tey clenches his jaw with frustration -- frustration with
|
||
|
her as much as the situation. He turns and angrily remounts
|
||
|
his direhorse, barking a command to the HUNTERS.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
Bring him.
|
||
|
|
||
|
They grab Jake and haul him to his feet. Encircled by spears
|
||
|
and bows, he is shoved forward along the trail, as Tsu'tey
|
||
|
and the others ride ahead.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. HOMETREE - NIGHT
|
||
|
|
||
|
JAKE is hauled roughly toward Neytiri's village, which is
|
||
|
sheltered inside one of the GREAT TREES. HOMETREE is 250
|
||
|
meters tall, with a trunk four times the diameter of the
|
||
|
largest Sequoia, and a base of massive mangrove-pillars.
|
||
|
|
||
|
45.
|
||
|
|
||
|
|
||
|
|
||
|
TSU'TEY rides inside the columns at the base of Hometree,
|
||
|
shouting an ululating WARNING.
|
||
|
|
||
|
Jake is force-marched through the pillars into --
|
||
|
|
||
|
INT. COMMONS/HOMETREE - NIGHT
|
||
|
|
||
|
An open CENTRAL AREA. The villagers gather to see the
|
||
|
arriving hunt party. We see the people of the tribe --
|
||
|
mothers with babies, old women, young hunters.
|
||
|
|
||
|
They gawk at the alien, expressions ranging from curiosity to
|
||
|
outright hostility. The huge eyes of the children follow
|
||
|
him.
|
||
|
|
||
|
Jake is amazed at the size of HOMETREE inside. By the light
|
||
|
of the COOK-FIRES he can see up into a vast cylindrical
|
||
|
gallery -- a living cathedral.
|
||
|
|
||
|
Clear membranes -- sturmbeest bladders -- filled with
|
||
|
fluttering bio-luminescent insects, act as area lighting.
|
||
|
|
||
|
The central space is dominated by the SKULL of some enormous
|
||
|
creature, mounted with much embellishment on a TOTEM.
|
||
|
Standing in front of this, awaiting their approach, is --
|
||
|
|
||
|
EYTUKAN (AY-too-kahn), the Clan Leader. Eytukan has deeply
|
||
|
chiselled features and a long chest mantle of THANATOR CLAWS.
|
||
|
His normally stern features are clouded further by anger.
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Why do you bring this creature here?
|
||
|
|
||
|
Neytiri addresses Eytukan in Na'vi.
|
||
|
|
||
|
NEYTIRI
|
||
|
(SUBTITLED)
|
||
|
I was going to kill him, but there was a
|
||
|
sign from Eywa.
|
||
|
|
||
|
He glowers at her as he responds, pointing at Jake.
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
I have said no dreamwalker will come
|
||
|
here, to offend our home! His alien
|
||
|
smell fills my nose
|
||
|
|
||
|
Neytiri stands her ground, answering in a respectful but not
|
||
|
submissive tone.
|
||
|
|
||
|
46.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
(SUBTITLED)
|
||
|
Father, many atokirina came to this
|
||
|
alien.
|
||
|
|
||
|
JAKE
|
||
|
What's going on?
|
||
|
|
||
|
NEYTIRI
|
||
|
My father is deciding whether to kill
|
||
|
you.
|
||
|
|
||
|
JAKE
|
||
|
Your father!?
|
||
|
(to Eytukan)
|
||
|
Uh, good to meet you, sir.
|
||
|
|
||
|
Jake steps forward, offering his hand, and the hunters JUMP
|
||
|
to restrain him, shouting. But they all FREEZE as --
|
||
|
|
||
|
A commanding FEMALE VOICE echoes through the chamber.
|
||
|
|
||
|
MO'AT
|
||
|
(NA'VI)
|
||
|
Step back!
|
||
|
|
||
|
Everybody looks up.
|
||
|
|
||
|
MO'AT (MOH-aht) stands on the second level, looking down.
|
||
|
She is a severe woman in her 50's. Her bearing is haughty,
|
||
|
her expression friendly as a hanging-judge. Her outfit is
|
||
|
elaborate, denoting her rank as CLAN MATRIARCH.
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
I will look at this alien.
|
||
|
|
||
|
There is an expectant hush as Mo'at descends the helical core
|
||
|
of Hometree, a kind of natural spiral staircase.
|
||
|
|
||
|
NEYTIRI
|
||
|
That is Mother. She is Tsahik -- the one
|
||
|
who interprets the will of Eywa.
|
||
|
|
||
|
JAKE
|
||
|
Who's Eywa?
|
||
|
|
||
|
Neytiri kneels before her like an acolyte as Mo'at passes.
|
||
|
|
||
|
The villagers stare silently as the Matriarch circles slowly
|
||
|
around Jake, examining his tail and the end of his queue.
|
||
|
|
||
|
47.
|
||
|
|
||
|
|
||
|
|
||
|
MO'AT
|
||
|
(thick accent)
|
||
|
What are you called?
|
||
|
|
||
|
JAKE
|
||
|
Jake Sully.
|
||
|
|
||
|
She produces a long THORN between her fingertips. With a
|
||
|
flourish she strikes his chest.
|
||
|
|
||
|
Jake flinches. RED BLOOD wells up and Mo'at rubs some
|
||
|
between her fingertips. She tastes it.
|
||
|
|
||
|
MO'AT
|
||
|
Why did you come to us?
|
||
|
|
||
|
JAKE
|
||
|
I came to learn.
|
||
|
|
||
|
MO'AT
|
||
|
We have tried to teach other Sky People.
|
||
|
It is hard to fill a cup which is already
|
||
|
full.
|
||
|
|
||
|
JAKE
|
||
|
My cup is empty, trust me. Just ask
|
||
|
Doctor Augustine. I'm no scientist.
|
||
|
|
||
|
MO'AT
|
||
|
What are you?
|
||
|
|
||
|
JAKE
|
||
|
I don't know. I was a Marine -- uh, a
|
||
|
warrior. Of the Jarhead clan.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
A warrior! I could kill him easily!
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
No! This is the first warrior
|
||
|
dreamwalker we have seen. We need to
|
||
|
learn more about him.
|
||
|
|
||
|
JAKE
|
||
|
What's going on? What are they saying?
|
||
|
|
||
|
MO'AT
|
||
|
(to Neytiri, subtitled)
|
||
|
Daughter. You will teach him our way, to
|
||
|
speak and walk as we do.
|
||
|
|
||
|
48.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI looks shocked, then angry.
|
||
|
|
||
|
NEYTIRI
|
||
|
(SUBTITLED)
|
||
|
Why me? That's not fair! I only--
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
It is decided!
|
||
|
|
||
|
Neytiri subsides, turning to glare at Jake.
|
||
|
|
||
|
MO'AT
|
||
|
(to Jake)
|
||
|
My daughter will teach you our ways.
|
||
|
Learn well, Jakesully. We will see if
|
||
|
your insanity can be cured.
|
||
|
|
||
|
She turns to Neytiri, her expression stern --
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
He is your responsibility.
|
||
|
|
||
|
Neytiri nods, accepting, but she's not a happy camper. She
|
||
|
grabs Jake's arm and pulls him roughly away.
|
||
|
|
||
|
JAKE
|
||
|
So it's all good, right? You and me --
|
||
|
|
||
|
NEYTIRI
|
||
|
Do not speak.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SECOND LEVEL/HOMETREE
|
||
|
|
||
|
LATER, Neytiri leads Jake up the spiral to the SECOND LEVEL.
|
||
|
He now wears only a ratty LOINCLOTH. His wounds are bound
|
||
|
with plant-fiber bandages.
|
||
|
|
||
|
THE ENTIRE CLAN is squatting at dinner in a huge circle. They
|
||
|
stop talking and turn to gaze at Jake as he enters the
|
||
|
circle.
|
||
|
|
||
|
JAKE
|
||
|
Don't get up.
|
||
|
|
||
|
Neytiri crosses the circle to the cook pit and returns with
|
||
|
several large leaves heaped with food. She kneels next to
|
||
|
Jake, placing the food in front of him almost DEFIANTLY.
|
||
|
|
||
|
JAKE
|
||
|
You never told me your name.
|
||
|
|
||
|
49.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
Neytiri te Ckaha Mo'at'ite.
|
||
|
|
||
|
JAKE
|
||
|
Okay, again, a whole lot slower.
|
||
|
|
||
|
NEYTIRI
|
||
|
(exaggerated slowness)
|
||
|
Neytiri. Nay-TEE-ree.
|
||
|
|
||
|
Jake knows she's baiting him. He smiles in response.
|
||
|
|
||
|
JAKE
|
||
|
Nay-TEE-ree. That's nice. Nay-TEE-ree.
|
||
|
|
||
|
ACROSS THE CIRCLE, Tsu'tey, Mo'at and Eytukan sit together,
|
||
|
glancing up occasionally from their food to the stranger.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
These aliens try to look like people, but
|
||
|
they can't.
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
He seems dim to me. And his eyes are too
|
||
|
small.
|
||
|
|
||
|
NEYTIRI motions for Jake to take portions from the serving
|
||
|
leaves onto his own leaf.
|
||
|
|
||
|
JAKE
|
||
|
Your mom likes me. I can tell.
|
||
|
|
||
|
MO'AT, watching Jake and Neytiri, leans over to Eytukan.
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
Neytiri will test this "warrior." Hey may
|
||
|
learn nothing -- but we will learn much.
|
||
|
|
||
|
EYTUKAN
|
||
|
You speak truth. We must understand
|
||
|
these Sky People if we are to drive them
|
||
|
out.
|
||
|
|
||
|
Jake munches on a white shrimp-like thing.
|
||
|
|
||
|
JAKE
|
||
|
These rock. What are they?
|
||
|
|
||
|
NEYTIRI
|
||
|
Teylu. You call beetle larvae.
|
||
|
|
||
|
50.
|
||
|
|
||
|
|
||
|
|
||
|
Jake blanches. She heaps some more onto his leaf -- a
|
||
|
CHALLENGE -- and Jake meets her eyes, takes a handful, and
|
||
|
starts munching enthusiastically.
|
||
|
|
||
|
JAKE
|
||
|
That's some damn fine teylu. That's like
|
||
|
grandma's teylu.
|
||
|
|
||
|
CU TSU'TEY, warily eyeing Jake --
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
I say she will kill him.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. THIRD LEVEL - NIGHT
|
||
|
|
||
|
The sleeping level -- families nesting in groups on woven
|
||
|
hammocks the size of trampolines. The hunters sleep along
|
||
|
SPOKES joining the inner trunk to the tree's outer shell.
|
||
|
|
||
|
Jake lies awake in a hammock, people rustling in the darkness
|
||
|
around him. Neytiri is nearby, curled up like a little girl.
|
||
|
She stares at him for a moment, then closes her eyes.
|
||
|
|
||
|
Jake watches the glowing bugs fluttering inside a night-
|
||
|
light, a pulse of life energy. A strange peace spreads
|
||
|
through him. He closes his eyes and --
|
||
|
CUT TO:
|
||
|
|
||
|
INT. LINK ROOM - NIGHT
|
||
|
|
||
|
GRACE is over JAKE in the Link, SLAPPING him, as Max and NORM
|
||
|
hover.
|
||
|
|
||
|
GRACE
|
||
|
Come on back, kid, that's it.
|
||
|
|
||
|
JAKE
|
||
|
Wha --? Oh.
|
||
|
|
||
|
He looks around, blinking. Reality crashing in.
|
||
|
|
||
|
GRACE
|
||
|
Damn, you were dug in like a tick.
|
||
|
(she helps him sit up)
|
||
|
Is the avatar safe?
|
||
|
|
||
|
JAKE
|
||
|
(huge grin)
|
||
|
Yeah, Doc -- and you are not going to
|
||
|
believe where I am.
|
||
|
CUT TO:
|
||
|
|
||
|
51.
|
||
|
|
||
|
|
||
|
|
||
|
INT. COMMISSARY - MORNING
|
||
|
|
||
|
BREAKFAST the next day. The other drivers lean forward,
|
||
|
hanging on Grace's re-telling of the tale.
|
||
|
|
||
|
GRACE
|
||
|
-- so the kid's out there one night and
|
||
|
he's got the Queen Bitch herself offering
|
||
|
him the spare room and the car keys.
|
||
|
Unbelievable.
|
||
|
|
||
|
JAKE
|
||
|
It's not something you can teach.
|
||
|
|
||
|
Some of the other scientists clap Jake on the shoulders in
|
||
|
congratulation.
|
||
|
|
||
|
MAX
|
||
|
That's awesome, Jake.
|
||
|
|
||
|
NORM chomps his bacon, fuming.
|
||
|
|
||
|
GRACE
|
||
|
(to Jake, getting serious)
|
||
|
For reasons I cannot fathom, the
|
||
|
Omaticaya have chosen you. God help us
|
||
|
all.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. OPS CENTER - MORNING
|
||
|
|
||
|
JAKE has reported to SELFRIDGE and QUARITCH. Quaritch turns
|
||
|
from gazing out at the wall of forest, displaying a feral
|
||
|
grin.
|
||
|
|
||
|
QUARITCH
|
||
|
Jarhead clan?
|
||
|
(he laughs)
|
||
|
And that worked?
|
||
|
|
||
|
JAKE
|
||
|
(GRINNING)
|
||
|
Yeah. They want to study me. See if I
|
||
|
can learn to be one of them.
|
||
|
|
||
|
QUARITCH
|
||
|
That's how you seize the initiative. I
|
||
|
wish I had ten more like you.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Look, Sully -- find out what these blue
|
||
|
monkeys want.
|
||
|
(MORE)
|
||
|
|
||
|
52.
|
||
|
|
||
|
SELFRIDGE (cont'd)
|
||
|
We try to give them medicine and
|
||
|
education. Roads! But no -- they like
|
||
|
mud. I wouldn't care except --
|
||
|
|
||
|
Selfridge turns to a large 3D GRAPHIC DISPLAY, pointing. A
|
||
|
road runs from Hell's Gate to a proposed new mine miles away.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Their damn village is sitting right over
|
||
|
the richest unobtanium deposit for a
|
||
|
hundred klicks in any direction. Which
|
||
|
sucks -- for them -- because they need to
|
||
|
relocate.
|
||
|
|
||
|
JAKE
|
||
|
(taking that in)
|
||
|
Does Augustine know about this?
|
||
|
|
||
|
SELFRIDGE
|
||
|
Yeah, she does, and she's on the next
|
||
|
ship back if she tries to cock-block me
|
||
|
on it.
|
||
|
|
||
|
JAKE
|
||
|
So -- who talks them into moving?
|
||
|
|
||
|
QUARITCH
|
||
|
(TURNING)
|
||
|
Guess.
|
||
|
|
||
|
JAKE
|
||
|
What if they won't go?
|
||
|
|
||
|
QUARITCH
|
||
|
(ICY)
|
||
|
I'm betting they will.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Killing the indigenous looks bad, but
|
||
|
there's one thing shareholders hate more
|
||
|
than bad press -- and that's a bad
|
||
|
quarterly statement. Find me a carrot to
|
||
|
get them to move, or it's going to have
|
||
|
to be all stick.
|
||
|
|
||
|
Jake is shaken by the enormity of this new responsibility.
|
||
|
|
||
|
QUARITCH
|
||
|
You got three months. That's when the
|
||
|
dozers get there.
|
||
|
|
||
|
JAKE
|
||
|
I'm on it.
|
||
|
CUT TO:
|
||
|
|
||
|
53.
|
||
|
|
||
|
|
||
|
|
||
|
INT. BIO LAB - MORNING
|
||
|
|
||
|
JAKE pumps his chair across the lab, flanked by GRACE and
|
||
|
NORM. Grace holds STEREO STILL PICTURES in front of him, one
|
||
|
at a time -- images of clan members she has shot over the
|
||
|
years -- a kind of flash card drill.
|
||
|
|
||
|
JAKE
|
||
|
Tsu'tey.
|
||
|
(next photo)
|
||
|
Mo'at.
|
||
|
(next photo)
|
||
|
Eytukan.
|
||
|
|
||
|
GRACE
|
||
|
He's the clan leader --
|
||
|
(indicating Mo'at)
|
||
|
-- but she's the spiritual leader. Like
|
||
|
a shaman.
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
The dialogue is continuous as they enter.
|
||
|
|
||
|
JAKE
|
||
|
Got it. So who's this Eywa?
|
||
|
|
||
|
NORM
|
||
|
Who's Eywa? Oh, only their deity. The
|
||
|
Great Mother. The goddess made up of all
|
||
|
living things. You'd know that if you
|
||
|
had any training whatsoever.
|
||
|
|
||
|
He hauls himself from wheelchair to Link.
|
||
|
|
||
|
JAKE
|
||
|
Who's got a date with the chief's
|
||
|
daughter?
|
||
|
|
||
|
GRACE
|
||
|
Knock it off. Jesus, it's like
|
||
|
kindergarten around here.
|
||
|
|
||
|
As Jake settles into the soft embrace of the link, Grace
|
||
|
inputs commands at the control station.
|
||
|
|
||
|
GRACE
|
||
|
Neytiri was my best student. She and her
|
||
|
sister Silwanin. Just amazing girls.
|
||
|
|
||
|
JAKE
|
||
|
I didn't meet the sister.
|
||
|
|
||
|
54.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
(QUIETLY)
|
||
|
No, she's dead.
|
||
|
(turning to him)
|
||
|
Okay, let's go -- village life starts
|
||
|
early.
|
||
|
|
||
|
MAX
|
||
|
Link is ready.
|
||
|
|
||
|
Grace lowers the bio-sensor array over Jake's chest.
|
||
|
|
||
|
GRACE
|
||
|
Don't do anything unusually stupid.
|
||
|
|
||
|
She closes the clamshell and we --
|
||
|
|
||
|
INT. HOMETREE/ THIRD LEVEL - DAY
|
||
|
|
||
|
CU JAKE'S AVATAR, blinking awake, staring up at --
|
||
|
|
||
|
HOMETREE, like a gothic cathedral overhead. Sunlight streams
|
||
|
down through gaps in the towering vault.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMONS - DAY
|
||
|
|
||
|
JAKE walks among the villagers, who go about their daily
|
||
|
tasks.
|
||
|
|
||
|
-- young girls sit together, weaving and SINGING. They look
|
||
|
up as he passes, then go back to work.
|
||
|
|
||
|
--two men clean the fish they've caught.
|
||
|
|
||
|
-- a young mother pounds seeds into meal, while nursing an
|
||
|
infant.
|
||
|
|
||
|
--children chase each other and climb like monkeys. One bold
|
||
|
LITTLE GIRL runs up to Jake, stops -- staring -- then shrieks
|
||
|
with laughter as she runs back to her playmates.
|
||
|
|
||
|
GRINNING, Jake turns to see NEYTIRI cantering toward him on a
|
||
|
DIREHORSE. She leads a second horse, an old sway-backed
|
||
|
MARE. His grin drops.
|
||
|
|
||
|
EXT. RIVER NEAR HOMETREE - DAY
|
||
|
|
||
|
JAKE nervously grips the surcingle of the mare. Neytiri holds
|
||
|
its nose-ring while Jake clumsily mounts.
|
||
|
|
||
|
Jake bends one of its ANTENNAE down to the tip of his queue.
|
||
|
He hesitantly touches them together and --
|
||
|
|
||
|
55.
|
||
|
|
||
|
|
||
|
|
||
|
TIGHT SHOT -- the tendrils INTERWEAVE.
|
||
|
|
||
|
Jake's PUPILS DILATE and his mouth drops open. The horse's
|
||
|
eyes also go wide and it HONKS nervously. Neytiri touches her
|
||
|
fingertips to the neural interface.
|
||
|
|
||
|
NEYTIRI
|
||
|
This is shahaylu -- the bond. Feel her
|
||
|
heartbeat, her breath. Feel her strong
|
||
|
legs.
|
||
|
|
||
|
Jake closes his eyes, nodding. One with the horse.
|
||
|
|
||
|
TSU'TEY and another young hunter come out of the forest
|
||
|
leading TWO DIREHORSES. The magnificent animals drink from
|
||
|
the edge of the pool. Tsu'tey watches Jake's riding lesson
|
||
|
with disdain.
|
||
|
|
||
|
NEYTIRI
|
||
|
You may tell her what to do --
|
||
|
(she touches her head)
|
||
|
-- inside. For now, say where to go.
|
||
|
|
||
|
JAKE
|
||
|
Forward.
|
||
|
|
||
|
The horse LAUNCHES into a GALLOP. Jake flops around, with no
|
||
|
idea how to sit the animal, and is promptly THROWN OFF. He
|
||
|
lands painfully in the mud.
|
||
|
|
||
|
He gets up, brushing mud off knees and ass, as Neytiri leads
|
||
|
the horse back to him.
|
||
|
|
||
|
NEYTIRI
|
||
|
Again.
|
||
|
|
||
|
SERIES OF JUMP CUTS -- Jake falls off the horse in various
|
||
|
ways, seemingly landing harder each time.
|
||
|
|
||
|
ON JAKE, face down in the mud of the riverbank. He painfully
|
||
|
rises to hands and knees. Which is when he sees --
|
||
|
|
||
|
TSU'TEY and another HUNTER thundering across the shallow
|
||
|
river on their direhorses. Spray blasts up from their
|
||
|
hooves.
|
||
|
|
||
|
Jake stands, covered in mud, as Tsu'tey stops his horse next
|
||
|
to him, looking down with disdain.
|
||
|
|
||
|
TSU'TEY
|
||
|
You should go away.
|
||
|
|
||
|
56.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
(to Neytiri)
|
||
|
I knew this guy could speak English.
|
||
|
|
||
|
Tsu'tey turns to Neytiri, who is leading the old mare back.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
This alien will learn nothing. A rock
|
||
|
Sees more.
|
||
|
|
||
|
She sighs in agreement. Tsu'tey and the other hunter wheel
|
||
|
their horses around and THUNDER OFF into the woods.
|
||
|
|
||
|
NEYTIRI gestures to Jake's horse.
|
||
|
|
||
|
NEYTIRI
|
||
|
Again.
|
||
|
CUT TO:
|
||
|
|
||
|
OPS CENTER - NIGHT
|
||
|
|
||
|
Grouped around a table are JAKE, COLONEL QUARITCH, SELFRIDGE
|
||
|
and few ENGINEERS and OFFICERS. Jake is talking them through
|
||
|
plans he's made of Hometree's inner structure.
|
||
|
|
||
|
JAKE
|
||
|
You've got outer columns, then a
|
||
|
secondary ring here, and an inner ring.
|
||
|
Then a core structure, it's like a
|
||
|
spiral, that's how they move up and down.
|
||
|
|
||
|
QUARITCH
|
||
|
I'm going to need accurate scans of all
|
||
|
these columns.
|
||
|
|
||
|
JAKE
|
||
|
Roger that.
|
||
|
|
||
|
ANGLE ON MAX, at the stairwell. He's been watching Jake
|
||
|
talking rapidly to Quaritch, but can't hear him. Frowning,
|
||
|
he backs away, down the stairs.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. BIO LAB - DAY
|
||
|
|
||
|
JAKE, GRACE and NORM are packing science gear and supplies.
|
||
|
|
||
|
GRACE
|
||
|
I'm not about to let Quaritch and
|
||
|
Selfridge micro-manage this thing.
|
||
|
(she looks pointedly at Jake)
|
||
|
We're going up into the mountains.
|
||
|
(MORE)
|
||
|
|
||
|
57.
|
||
|
|
||
|
GRACE (cont'd)
|
||
|
There's a mobile link up at Site 26 that
|
||
|
we can work out of.
|
||
|
|
||
|
NORM
|
||
|
The Hallelujah Mountains?
|
||
|
|
||
|
GRACE
|
||
|
That's right.
|
||
|
|
||
|
NORM
|
||
|
Yesssss!
|
||
|
(off Jake's look)
|
||
|
The legendary Floating Mountains of
|
||
|
Pandora? Heard of them?
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - AERIAL - DAY
|
||
|
|
||
|
A SAMSON THUNDERS over the rainforest, climbing into the mist-
|
||
|
shrouded mountains.
|
||
|
|
||
|
In the SEALED COCKPIT, Norm is up front, sitting left seat so
|
||
|
Trudy can talk him through the flight controls. Jake and
|
||
|
Grace are behind them, in the jump-seats.
|
||
|
|
||
|
Grace and Norm's UNCONSCIOUS AVATARS ride in the open back
|
||
|
compartment.
|
||
|
|
||
|
TRUDY
|
||
|
It only takes tiny inputs. Here, put
|
||
|
your hand on the cyclic --
|
||
|
|
||
|
She points to the stick between her knees. Norm hesitantly
|
||
|
reaches over and rests his hand on hers.
|
||
|
|
||
|
TRUDY
|
||
|
Feel how small the moves are? You barely
|
||
|
have to think it, and the aircraft
|
||
|
reacts.
|
||
|
|
||
|
ON NORM -- reacting to tiny inputs from the hot lady-pilot.
|
||
|
|
||
|
THE SAMSON is dwarfed by enormous ARCHES OF ROCK.
|
||
|
|
||
|
GRACE
|
||
|
See these magnetic formations. We're
|
||
|
getting close.
|
||
|
|
||
|
TRUDY
|
||
|
Yeah we are. Look at my instruments.
|
||
|
|
||
|
On the dash, many of the displays are fritzing out.
|
||
|
|
||
|
58.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Yup. We're in the flux vortex.
|
||
|
|
||
|
AHEAD, a cloud bank parts, revealing --
|
||
|
|
||
|
THE HALLELUJAH MOUNTAINS. Right in front of them.
|
||
|
|
||
|
NORM
|
||
|
Oh. My. God.
|
||
|
|
||
|
Jake leans forward between the seatbacks for a good look out
|
||
|
the front canopy.
|
||
|
|
||
|
JAKE'S POV -- enormous islands of rock are hovering a half
|
||
|
mile above the ground. They are overgrown with rainforest,
|
||
|
and straggly beards of vines hang down beneath them.
|
||
|
Waterfalls stream down the sides and dissolve into spray at
|
||
|
the bottom.
|
||
|
|
||
|
ON JAKE, staring in amazement. It is both awe-inspiring and
|
||
|
disturbing.
|
||
|
|
||
|
Trudy turns, grinning at Jake.
|
||
|
|
||
|
TRUDY
|
||
|
You should see your face.
|
||
|
|
||
|
WIDE AERIAL -- the Samson is tiny as it approaches the
|
||
|
floating islands of rock. An archipelago among the clouds,
|
||
|
they cast great shadows over the forested slopes below.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Yeah, so what does hold them up? Grace
|
||
|
explained it to me -- some kind of maglev
|
||
|
effect because unobtanium is a
|
||
|
superconductor, or something. At least
|
||
|
somebody understands it. Just not me.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. SITE 26 - DAY
|
||
|
|
||
|
A remote RESEARCH STATION -- TWO SHACKS and a few clusters of
|
||
|
instruments perched on a promontory near the Hallelujah
|
||
|
Mountains. The shacks are AIRLIFT MODULES the size of buses.
|
||
|
|
||
|
THE SAMSON LANDS, beating the grass with its rotor-wash. The
|
||
|
humans hop out, wearing MASKS.
|
||
|
|
||
|
They move toward the Shack, taking in the spectacular
|
||
|
panorama.
|
||
|
CUT TO:
|
||
|
|
||
|
59.
|
||
|
|
||
|
|
||
|
|
||
|
INT. SHACK - DAY
|
||
|
|
||
|
NORM and TRUDY assist JAKE with his chair as they cycle in
|
||
|
through the AIRLOCK. GRACE is already inside, starting the
|
||
|
GENNY. She turns on the lights and equipment.
|
||
|
|
||
|
There are 4 bunks, a clutter of science gear, and -- through
|
||
|
a short connecting corridor -- THREE LINK UNITS in the second
|
||
|
module.
|
||
|
|
||
|
As Grace powers up the Link equipment, Jake stops to look at
|
||
|
STEREO STILL PICTURES which are taped and tacked up around
|
||
|
her workstation.
|
||
|
|
||
|
CLOSE ON PICTURES -- Grace posing at the school with various
|
||
|
grinning children. There is one of her with two lanky girls,
|
||
|
a younger Neytiri and an older girl who looks much like her.
|
||
|
|
||
|
GRACE
|
||
|
Jake, take number two, it's the least
|
||
|
glitchy. Norm, I need you to operate
|
||
|
Jake's link.
|
||
|
|
||
|
Norm glares at Jake as he passes.
|
||
|
|
||
|
JAKE
|
||
|
Hey. You got a problem?
|
||
|
|
||
|
Norm turns to Grace, his frustration boiling over.
|
||
|
|
||
|
NORM
|
||
|
I trained three years for this mission.
|
||
|
I speak the language fluently.
|
||
|
(he points at Jake)
|
||
|
He falls off the frickin' turnip truck
|
||
|
and all of a sudden he's cultural
|
||
|
ambassador!?
|
||
|
|
||
|
GRACE
|
||
|
It's not our choice, Norm.
|
||
|
|
||
|
He glowers at Jake.
|
||
|
|
||
|
NORM
|
||
|
Yeah, well I didn't come out here to wash
|
||
|
the dishes while you're on some
|
||
|
interspecies booty call.
|
||
|
|
||
|
He stalks off.
|
||
|
|
||
|
GRACE
|
||
|
He can't go far.
|
||
|
|
||
|
60.
|
||
|
|
||
|
|
||
|
|
||
|
She points to Jake's link.
|
||
|
|
||
|
GRACE
|
||
|
Let's get you in.
|
||
|
CUT TO:
|
||
|
|
||
|
INT./EXT. HOMETREE - BANSHEE EYRIE
|
||
|
|
||
|
LOOKING DOWN the central shaft of Hometree, 80 meters to the
|
||
|
ground. Villagers are ant-like.
|
||
|
|
||
|
Jake tries to keep up with Neytiri as she leaps up the core
|
||
|
trunk like a lemur. He climbs the last section, arriving out
|
||
|
of breath beside her. She leads him OUTSIDE, onto --
|
||
|
|
||
|
A large branch. Through gaps in the foliage Jake can see
|
||
|
other Great Trees scattered across the landscape, like
|
||
|
enormous umbrellas above the rainforest.
|
||
|
|
||
|
NEYTIRI strides out across the branch toward some kind of
|
||
|
STRUCTURE -- a WEB made of thick woven fiber. DARK SHAPES
|
||
|
clinging to it stir with a leathery RUSTLING SOUND.
|
||
|
|
||
|
Neytiri makes a series of TRILLS and CLICKS. One of the
|
||
|
shapes MOVES toward them, emerging into a shaft of sunlight.
|
||
|
|
||
|
A huge MOUNTAIN BANSHEE. Much larger than the forest
|
||
|
banshees, this thing is taller than a Na'vi with a 10 meter
|
||
|
wingspan. A leathery FWHOOP, like the crack of sails, as it
|
||
|
alights on the branch right in front of her.
|
||
|
|
||
|
JAKE
|
||
|
Holy shit.
|
||
|
|
||
|
NEYTIRI
|
||
|
Do not look in her eye.
|
||
|
|
||
|
Neytiri feeds it a large scrap of meat, which it SNATCHES and
|
||
|
gulps down. She murmurs to it and strokes its NECK.
|
||
|
|
||
|
It lets out a signature SHRIEK, and some of the others in the
|
||
|
shadows nearby answer.
|
||
|
|
||
|
Neytiri flip-catches her queue and gently connects it to the
|
||
|
Banshee's ANTENNA. It shivers and stretches its wings as the
|
||
|
neural connection is made.
|
||
|
|
||
|
NEYTIRI
|
||
|
Ikran is not horse. Once shahaylu is
|
||
|
made, ikran will fly with only one Hunter
|
||
|
in the whole life.
|
||
|
|
||
|
She climbs smoothly onto the animal's back.
|
||
|
|
||
|
61.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
To become taronyu -- Hunter -- you must
|
||
|
choose your own ikran. And he must choose
|
||
|
you.
|
||
|
|
||
|
JAKE
|
||
|
When?
|
||
|
|
||
|
NEYTIRI
|
||
|
When you are ready.
|
||
|
|
||
|
The BANSHEE shivers with anticipation.
|
||
|
|
||
|
NEYTIRI
|
||
|
Heeyaaahh!
|
||
|
|
||
|
Jake ducks as the great wings EXPLODE OPEN and the banshee
|
||
|
DROPS off the branch. It swoops down across the forest
|
||
|
canopy, banks hard, lets out a CRY and beats its wings in a
|
||
|
power climb.
|
||
|
|
||
|
Completing the bank, Neytiri directs the banshee into a close
|
||
|
SWOOPING FLYBY, and Jake instinctively ducks.
|
||
|
|
||
|
ON NEYTIRI -- flying in perfect fusion with her winged mount,
|
||
|
the rainforest rolling beneath her.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SHACK - NIGHT/EXT
|
||
|
|
||
|
STEREO VIDEO-LOG IMAGE -- Jake has just switched on the
|
||
|
camera. He looks tired.
|
||
|
|
||
|
JAKE
|
||
|
Do I have to do this? I need some rack.
|
||
|
|
||
|
GRACE, behind him, looks up from her MICROSCOPE, scowling.
|
||
|
|
||
|
GRACE
|
||
|
No -- now, when it's fresh.
|
||
|
|
||
|
JAKE
|
||
|
Yeah, yeah.
|
||
|
(to camera)
|
||
|
The days are starting to blur together.
|
||
|
The language is a bitch, but I figure
|
||
|
it's like field-stripping a weapon.
|
||
|
Repetition.
|
||
|
|
||
|
THIS THROWS US INTO A TEACHING MONTAGE:
|
||
|
|
||
|
JAKE AND NEYTIRI kneel together inside Hometree. Neytiri
|
||
|
touches her lips with her fingertips.
|
||
|
|
||
|
62.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
Seyri.
|
||
|
|
||
|
She touches her nose, her ears, her eyes in quick sequence.
|
||
|
|
||
|
JAKE
|
||
|
Ontu, mikyun, nari.
|
||
|
|
||
|
NEYTIRI stands next to him, correcting his position as he
|
||
|
draws a longbow.
|
||
|
|
||
|
BARKING commands, she SMACKS him on the shoulder, then the
|
||
|
elbow, repositioning him roughly.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Neytiri thinks I'm some kind of retard.
|
||
|
|
||
|
HUMAN JAKE emerges from the LINK to see --
|
||
|
|
||
|
TRUDY and NORM caught IN THE ACT on Norm's bunk. Norm blushes
|
||
|
and Trudy waves, pulling the blanket over their heads.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Norm's attitude has improved lately.
|
||
|
|
||
|
NORM works with JAKE at the small table in the SHACK kitchen.
|
||
|
|
||
|
NORM
|
||
|
Thank you?
|
||
|
|
||
|
JAKE
|
||
|
Ireiyo.
|
||
|
|
||
|
Norm comically exaggerates the pronunciation.
|
||
|
|
||
|
NORM
|
||
|
Irrrreiyo. Irrrreiyo. You've gotta roll
|
||
|
the R, r-r-r-oll it.
|
||
|
|
||
|
Norm makes Jake repeat the word, getting more frustrated.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
It's good he's back on board, but he
|
||
|
thinks I'm a retard too.
|
||
|
|
||
|
TRACKING WITH JAKE'S FEET as he runs over rocks, leaping onto
|
||
|
a thick root, running on across the rough bark.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
My feet are getting tougher. I can run
|
||
|
farther every day.
|
||
|
|
||
|
63.
|
||
|
|
||
|
|
||
|
|
||
|
Neytiri leads him along a massive root, and soon they are
|
||
|
running 30 meters above the ground.
|
||
|
|
||
|
He sprints with her through the trees, trying to keep up.
|
||
|
She CLIMBS and LEAPS with the ease of a spider monkey.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I have to trust my body to know what to
|
||
|
do. With Neytiri it's learn fast or die.
|
||
|
|
||
|
Neytiri LEAPS off into space, falling, falling until --
|
||
|
|
||
|
She catches an enormous palm leaf and, gripping it, allows
|
||
|
its DROOP to slow her fall. She lets go, plummeting, and
|
||
|
catches another.
|
||
|
|
||
|
JAKE FOLLOWS in a leap of faith. THE CAMERA PLUNGES with
|
||
|
him, from leaf to leaf, down and down in a dizzying kinetic
|
||
|
rush.
|
||
|
|
||
|
He drops down from the last leaf, landing next to her on a
|
||
|
game trail. He is exhilarated to still be alive.
|
||
|
|
||
|
Neytiri is surprised -- that he followed. That he lived.
|
||
|
|
||
|
TIGHT ON HUMAN JAKE, in the shack. Thinking as he looks at
|
||
|
the pictures of Grace with the laughing kids at the school.
|
||
|
|
||
|
IN THE COMMONS -- AVATAR NORM formally greets MO'AT. The
|
||
|
Matriarch looks on as GRACE kneels to hug children she knows.
|
||
|
Grace's eyes sparkle as she chats with them in Na'vi.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I sweet-talked Mo'at into giving Norm and
|
||
|
Grace a hall pass. Now Grace even makes
|
||
|
me coffee before link every morning.
|
||
|
|
||
|
Grace looks up to see Neytiri approaching. It is an awkward
|
||
|
moment between them. Grace makes the formal gesture of
|
||
|
greeting.
|
||
|
|
||
|
GRACE
|
||
|
(Na'vi, subtitled)
|
||
|
I See you, Neytiri Mo'at'ite.
|
||
|
|
||
|
NEYTIRI
|
||
|
I See you, Doctor Grace Augustine.
|
||
|
|
||
|
ANOTHER DAY -- NEYTIRI kneels on a game trail, pointing out
|
||
|
the tracks in the mud to Jake. She touches the edges of the
|
||
|
plants around her, and sniffs the air.
|
||
|
|
||
|
64.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I'm learning to read the trails, the
|
||
|
tracks at the water-hole, the tiniest
|
||
|
scents and sounds.
|
||
|
|
||
|
JAKE AND NEYTIRI watch through a screen of leaves as --
|
||
|
|
||
|
A HERD of huge, armored STURMBEEST walks through the shallows
|
||
|
of a lake. In the middle of the herd, the babies are
|
||
|
sheltered from predators among their parents' legs.
|
||
|
|
||
|
One of the BULLS trumpets, and a flock of TETRAPTERONS takes
|
||
|
flight, an explosion of purple wings.
|
||
|
|
||
|
Jake stares at the strange and wild alien tableau.
|
||
|
|
||
|
ANOTHER PLACE -- NEYTIRI STANDS utterly still, except for her
|
||
|
ears, which move with a life of their own. Her eyes are
|
||
|
closed. She speaks very softly to Jake --
|
||
|
|
||
|
NEYTIRI
|
||
|
When you hear nothing, you will hear
|
||
|
everything. When you see nothing, you
|
||
|
will See everything.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Sometimes I have no idea what she's
|
||
|
talking about.
|
||
|
|
||
|
Jake and Neytiri creep quietly, stalking a large male
|
||
|
HEXAPEDE -- a six legged deer-like creature.
|
||
|
|
||
|
Jake expertly nocks an arrow and draws his bow as Neytiri
|
||
|
watches. He takes a bead on the hexapede -- tracks it for a
|
||
|
beat with the drawn bow, then RELAXES his arm. Zen archery.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
It's been a month and I'm still not
|
||
|
allowed to make a kill. She says the
|
||
|
forest hasn't given permission.
|
||
|
|
||
|
OMIITED
|
||
|
|
||
|
NEYTIRI and JAKE crawl through the undergrowth. She points
|
||
|
and he parts some leaves to see --
|
||
|
|
||
|
A MOTHER VIPERWOLF bringing meat to her cubs, which frisk
|
||
|
around her legs. She licks their faces.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
There's a lot of crap like that. She's
|
||
|
always going on about the flow of energy--
|
||
|
the spirits of the animals and what not --
|
||
|
|
||
|
65.
|
||
|
|
||
|
|
||
|
|
||
|
VIDEO-LOG IMAGE -- HUMAN JAKE talks into the lens. He's
|
||
|
changing -- un-shaven, cheeks hollow. Pale.
|
||
|
|
||
|
JAKE
|
||
|
(SMIRKING)
|
||
|
I just hope this treehugger shit isn't on
|
||
|
the final.
|
||
|
|
||
|
Visible behind him, Grace is hunched over her samples.
|
||
|
|
||
|
GRACE
|
||
|
(without looking up)
|
||
|
This isn't just about eye-hand
|
||
|
coordination out there. You need to
|
||
|
listen to what she says. Try to see the
|
||
|
forest through their eyes.
|
||
|
|
||
|
JAKE
|
||
|
Excuse me -- this is my video-log here,
|
||
|
okay?
|
||
|
|
||
|
NEYTIRI AND JAKE move through the NIGHT FOREST, surrounded by
|
||
|
galaxies of shimmering bioluminescence. They move
|
||
|
gracefully, soundlessly -- two forest spirits.
|
||
|
|
||
|
CU JAKE -- the pupils of his cat eyes dilated. The night
|
||
|
forest floods his brain with its million bio-sources.
|
||
|
|
||
|
NIGHT SHOT, from overhead -- Jake and Neytiri bow-fishing
|
||
|
from a dugout canoe over huge glowing ANEMONES at the bottom
|
||
|
of a pool.
|
||
|
|
||
|
A large fish swims silhouetted against the pastel glow. ZAP!
|
||
|
Jake drills it. He holds up the fish, triumphantly.
|
||
|
|
||
|
ANOTHER DAY -- Neytiri stands close behind Jake, adjusting
|
||
|
his position as he draws his bow. Only now her hands are
|
||
|
GENTLE as they move on his arms, his shoulders.
|
||
|
|
||
|
Aware of her touch, Jake's focus is broken. Their eyes meet,
|
||
|
and she pulls away quickly.
|
||
|
|
||
|
NIGHT -- they enter a CLEARING filled with chest-high ferns.
|
||
|
Neytiri signals him to move slowly. They approach a creature
|
||
|
on one of the ferns. An ugly, stick-like LIZARD-THING
|
||
|
perched on a frond. As he approaches --
|
||
|
|
||
|
SNAP! A long spine whips in a circle, unfurling a
|
||
|
bioluminescent membrane -- a disk a meter across, opening
|
||
|
like a Chinese fan. It FLIES OFF, a living Frisbee.
|
||
|
|
||
|
THE FAN LIZARD FLOATS across the clearing.
|
||
|
|
||
|
66.
|
||
|
|
||
|
|
||
|
|
||
|
Neytiri plunges among the ferns with a SHARP CRY. An
|
||
|
EXPLOSION OF COLOR as dozens of FAN LIZARDS take flight.
|
||
|
|
||
|
Grinning widely, she hops around like a little girl, until
|
||
|
they are all flying. And for the first time, she is
|
||
|
unguarded and joyful, totally herself with him.
|
||
|
|
||
|
INSIDE THE LINK -- Jake's eyes open in the darkness. He
|
||
|
doesn't know where he is. He weakly pushes open the lid,
|
||
|
blinking at the light.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Everything is backwards now. Like out
|
||
|
there is the true world, and in here is
|
||
|
the dream.
|
||
|
|
||
|
TIGHT ON AVATAR JAKE silently drawing his bow, his eyes
|
||
|
focused in intense concentration. A beat -- the arrow flies.
|
||
|
|
||
|
JAKE PULLS the arrow from the twitching body of a hexapede.
|
||
|
He dispatches it with his knife.
|
||
|
|
||
|
He speaks haltingly, but with feeling, in Na'vi.
|
||
|
|
||
|
JAKE
|
||
|
(NA'VI)
|
||
|
I See you Brother, and thank you. Your
|
||
|
spirit goes with Eywa, your body stays
|
||
|
behind to become part of the People.
|
||
|
|
||
|
NEYTIRI watches with approval.
|
||
|
|
||
|
NEYTIRI
|
||
|
A clean kill. You are ready.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SHACK - NIGHT
|
||
|
|
||
|
Lying in the link, Jake looks exhausted, pale, thin. Norm
|
||
|
helps Grace get him to his chair.
|
||
|
|
||
|
GRACE
|
||
|
You're still losing weight. Here --
|
||
|
|
||
|
She hands him a microwaved burrito. He looks at the now alien
|
||
|
food. Bites into it without enthusiasm.
|
||
|
|
||
|
JAKE
|
||
|
I made a kill today. We ate it. I know
|
||
|
where that meal came from.
|
||
|
|
||
|
67.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Other body. You need to take care of
|
||
|
this body.
|
||
|
|
||
|
JAKE
|
||
|
Yeah yeah.
|
||
|
|
||
|
GRACE
|
||
|
Jake, I'm serious -- you look like crap.
|
||
|
You're burning too hard.
|
||
|
|
||
|
Jake takes the cigarette out of her mouth and stubs it out.
|
||
|
|
||
|
JAKE
|
||
|
Get rid of this shit, then you can
|
||
|
lecture me.
|
||
|
|
||
|
GRACE
|
||
|
I'm telling you, as your boss and someone
|
||
|
who might even consider being a friend
|
||
|
someday, to take some down time.
|
||
|
|
||
|
JAKE
|
||
|
Not now. Tomorrow we leave for Iknimaya.
|
||
|
|
||
|
GRACE walks past Jake, starts making herself coffee.
|
||
|
|
||
|
GRACE
|
||
|
Yeah -- you're gonna go ride a banshee.
|
||
|
Or die trying.
|
||
|
|
||
|
JAKE
|
||
|
That's right, Grace. This is what I've
|
||
|
been working for.
|
||
|
|
||
|
GRACE
|
||
|
And this is your check up from the neck
|
||
|
up, Marine. You're getting in way too
|
||
|
deep.
|
||
|
(she turns away)
|
||
|
Trust me, I learned the hard way.
|
||
|
|
||
|
Jake scans the pictures tacked up around Grace's workstation.
|
||
|
|
||
|
JAKE
|
||
|
What did happen at the school?
|
||
|
|
||
|
GRACE looks up from making coffee. Her eyes track across the
|
||
|
pictures of the laughing children. Finally --
|
||
|
|
||
|
68.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Neytiri's sister -- Sylwanin -- stopped
|
||
|
coming to school. She was angry about
|
||
|
the clear-cutting.
|
||
|
|
||
|
GRACE sips her coffee, grimaces at the taste.
|
||
|
|
||
|
GRACE
|
||
|
One day, she and a couple of other young
|
||
|
hunters came running in, all painted up --
|
||
|
they'd set a bulldozer on fire -- I guess
|
||
|
they thought I could protect them.
|
||
|
|
||
|
GRACE'S voice stays oddly CALM as he tells this terrible
|
||
|
story, while getting MILK out of the refrigerator.
|
||
|
|
||
|
GRACE
|
||
|
The troopers pursued them to the
|
||
|
schoolhouse.
|
||
|
|
||
|
MACRO as she pours the milk -- her hand is SHAKING.
|
||
|
|
||
|
GRACE
|
||
|
They killed Sylwanin in the doorway.
|
||
|
Right in front of Neytiri. Then shot the
|
||
|
others.
|
||
|
(MILDLY)
|
||
|
I got most of the kids out, before they
|
||
|
shot me.
|
||
|
|
||
|
JAKE
|
||
|
Jesus.
|
||
|
|
||
|
GRACE
|
||
|
Yeah.
|
||
|
|
||
|
Jake realizes that Grace is on the verge of tears and
|
||
|
desperately trying to hide it.
|
||
|
|
||
|
GRACE
|
||
|
A scientist stays objective -- we can not
|
||
|
be ruled by emotion. But I poured ten
|
||
|
years of my life into that school. They
|
||
|
called me sa'atenuk. Mother.
|
||
|
(turning to him)
|
||
|
That kind of pain reaches back through
|
||
|
the link.
|
||
|
|
||
|
GRACE sits down at the table, looks intently at Jake.
|
||
|
|
||
|
GRACE
|
||
|
It's a job. Learn what you can -- but
|
||
|
don't get attached.
|
||
|
|
||
|
69.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE looks at him with real PAIN in her eyes.
|
||
|
|
||
|
GRACE
|
||
|
It's not our world, Jake. And we can't
|
||
|
stop what's coming.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. MOUNTAIN TRAIL - DAY
|
||
|
|
||
|
TSU'TEY leads three direhorse riders up the trail -- two
|
||
|
TEENAGE HUNTERS and JAKE, who's riding well enough to keep
|
||
|
up. The horses' hooves CLOP right next to a sheer drop into a
|
||
|
misty canyon.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Iknimaya translates roughly as stairway
|
||
|
to heaven. It's the test every young
|
||
|
hunter has to pass.
|
||
|
|
||
|
TSU'TEY signals a stop.
|
||
|
|
||
|
UP-SLOPE AHEAD is an astounding formation. Thick vine-like
|
||
|
trees have trapped large FLOATING BOULDERS of UNOBTANIUM in
|
||
|
their gnarled grip.
|
||
|
|
||
|
A hundred meters above them more boulders are WOVEN into the
|
||
|
twisted vine-trunks. This is some sort of freak natural
|
||
|
occurrence -- like the mythical beanstalk, going up into the
|
||
|
clouds.
|
||
|
|
||
|
There is a THUNDERING ROAR, like an artillery barrage, and
|
||
|
the ground SHAKES. Jake looks around at --
|
||
|
|
||
|
One of the FLOATING MOUNTAINS grinding against the flank of a
|
||
|
nearby mesa. A huge rockfall is set loose. The mountain is
|
||
|
drifting toward them, filling half the sky.
|
||
|
|
||
|
The Hunters dismount.
|
||
|
|
||
|
JAKE looks up at the beanstalk going into the clouds. He
|
||
|
turns to Tsu'tey, who is checking the young hunters' gear.
|
||
|
|
||
|
JAKE
|
||
|
We doin' this?
|
||
|
|
||
|
Jake leaps to catch up as Tsu'tey and the hunters swarm up
|
||
|
the base of the beanstalk.
|
||
|
CUT TO:
|
||
|
|
||
|
70.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. BEANSTALK - DAY
|
||
|
|
||
|
200 METERS up the BEANSTALK, the hunters nimbly climb along
|
||
|
the vine-trunks. They clamber over one of the unobtanium
|
||
|
BOULDERS which is lifting this incredible tree.
|
||
|
|
||
|
JAKE looks down -- the massive trunk dwindles to the size of
|
||
|
a licorice stick. A chunk breaks off a boulder as he climbs
|
||
|
over it -- it floats upward.
|
||
|
|
||
|
They reach the upper branches of the beanstalk. Above them,
|
||
|
the craggy underbelly of MONS Veritatis looms. Spray from
|
||
|
one of the waterfalls hits them.
|
||
|
|
||
|
Some of the HANGING VINES are brushing over the upper
|
||
|
branches of the beanstalk with a crackling hiss.
|
||
|
|
||
|
One by one the hunters grab onto vines as they pass.
|
||
|
|
||
|
Jake shrugs and leaps to a passing vine, his feet dangling
|
||
|
over nothingness. They climb toward the floating islands
|
||
|
above.
|
||
|
|
||
|
EXT. MONS VERITATIS - DAY
|
||
|
|
||
|
TINY FIGURES cross a causeway of vines connecting a small
|
||
|
island of unobtanium to the main mass of Mons Veritatis.
|
||
|
|
||
|
WIDE SHOT looking down a rock face bigger than Half Dome --
|
||
|
the sheer side of Mons Veritatis.
|
||
|
|
||
|
Banshees circle next to the cliffs, flashing in shafts of
|
||
|
sunlight. Waterfalls dissolve into nothingness below.
|
||
|
|
||
|
EXT. GROTTO/BANSHEE ROOKERY - DAY
|
||
|
|
||
|
A waterfall THUNDERS down into the void like a faucet of the
|
||
|
gods. Jake looks down the sheer cliff at the world far below
|
||
|
-- a view from Olympus.
|
||
|
|
||
|
A SHRIEK and the THWAP THWAP of leathery wings -- NEYTIRI'S
|
||
|
BANSHEE swoops in to perch at the edge of the grotto. She
|
||
|
dismounts and, like a falconer, covers its eyes with a woven
|
||
|
HOOD. It waits, docile, as --
|
||
|
|
||
|
She joins Jake and the hunter party. Tsu'tey leads them
|
||
|
through the cave until they emerge onto a CLIFF FACE. And
|
||
|
Jake sees --
|
||
|
|
||
|
The BANSHEE ROOKERY. HUNDREDS of banshees huddle on rock out-
|
||
|
croppings as far as the eye can see. They cling to the walls
|
||
|
with the fore-claws on their wings, or perch on ledges.
|
||
|
|
||
|
71.
|
||
|
|
||
|
|
||
|
|
||
|
TSU'TEY
|
||
|
Jakesully will go first.
|
||
|
|
||
|
Tsu'tey smirks at Jake, a challenge in his eyes. The two
|
||
|
teenage Hunters are scared but trying to act tough.
|
||
|
|
||
|
Tsu'tey scowls when Neytiri leads Jake out onto the ledge.
|
||
|
|
||
|
NEYTIRI
|
||
|
(WHISPERING)
|
||
|
Now you choose your ikran. This you must
|
||
|
feel -- inside. If he also chooses you,
|
||
|
move quick, like I showed. You will have
|
||
|
one chance.
|
||
|
|
||
|
JAKE
|
||
|
How will I know if he chooses me?
|
||
|
|
||
|
NEYTIRI
|
||
|
He will try to kill you.
|
||
|
|
||
|
JAKE
|
||
|
Outstanding.
|
||
|
|
||
|
Out of sight of Tsu'tey, Neytiri takes his hand and squeezes
|
||
|
it. Jake feels a rush of emotion, but she breaks away like
|
||
|
it didn't happen. He is on his own, on the ledge with --
|
||
|
|
||
|
The BANSHEES. They eye him as he approaches. Several SHRIEK
|
||
|
and take flight. Others flap their wings and yawn, showing
|
||
|
rows of fangs, in a threat display.
|
||
|
|
||
|
Jake unrolls a weighted leather strap, like a one-ended BOLO.
|
||
|
|
||
|
A LARGE MALE spreads enormous wings, SHRIEKS, and glares
|
||
|
straight at him.
|
||
|
|
||
|
Jake looks directly into its eyes -- and strides toward it.
|
||
|
|
||
|
JAKE
|
||
|
Let's dance.
|
||
|
|
||
|
The challenged banshee HISSES and leaps at him, jaws wide as--
|
||
|
|
||
|
Jake times the lunge, swinging the bolo, feinting and then
|
||
|
slipping aside as the banshee's jaws miss him, SNAPPING SHUT.
|
||
|
|
||
|
Jake WHAPS the bolo across its snout. The weighted thong
|
||
|
whips twice around its long jaws, tying them shut. A MUFFLED
|
||
|
SCREAM and it SLASHES at his stomach with razor talons but --
|
||
|
|
||
|
72.
|
||
|
|
||
|
|
||
|
|
||
|
Jake is already leaping, over the talons and tackling the
|
||
|
banshee around the neck. It topples on its side, and he
|
||
|
SWARMS IT -- arms around its thrashing head.
|
||
|
|
||
|
Jake grabs its whip-like antenna and brings it toward his
|
||
|
queue but --
|
||
|
|
||
|
The bony head SLAMS sideways, and BAM! -- clocks him right in
|
||
|
the face, almost knocking him out and --
|
||
|
|
||
|
IT WRITHES, flinging him to the ground. He slides on the
|
||
|
rock and almost goes over the edge as --
|
||
|
|
||
|
NEYTIRI gasps. Tsu'tey laughs and yells mockingly.
|
||
|
|
||
|
The bolo is coming loose as the creature shakes its head, way
|
||
|
pissed off now, but --
|
||
|
|
||
|
Jake scrambles up and leaps straight at it. Claws rake his
|
||
|
leg but he gets his arms around its head and CLAMPS DOWN
|
||
|
HARD. They flop to the ground and he scrambles on top,
|
||
|
pinning it and --
|
||
|
|
||
|
Grabs its whipping antenna, locks it under his arm, and jams
|
||
|
the end of his queue into it. They FUSE together and --
|
||
|
|
||
|
The banshee stops struggling. It lies there panting. They
|
||
|
are locked together, literally eye to eye.
|
||
|
|
||
|
JAKE
|
||
|
That's right! You're mine.
|
||
|
|
||
|
ECU BANSHEE -- the pupil like a deep black well.
|
||
|
|
||
|
Jake relaxes his grip and slowly, warily, slides his leg over
|
||
|
the creature's back.
|
||
|
|
||
|
Neytiri runs to him.
|
||
|
|
||
|
NEYTIRI
|
||
|
First flight seals the bond. You cannot
|
||
|
wait.
|
||
|
|
||
|
Jake sits astride the creature, feeling its power. He grips
|
||
|
a hank of the beast's main, and --
|
||
|
|
||
|
JAKE
|
||
|
Heeeyyyaaaah!
|
||
|
|
||
|
THWAP! THWAP! The banshee is off like a shot. Jake SCREAMS
|
||
|
as they PLUMMET off the cliff -- the banshee WAILS and --
|
||
|
|
||
|
73.
|
||
|
|
||
|
|
||
|
|
||
|
They fall together, spiralling out of control, and he is
|
||
|
almost tossed lose. The thing is SQUAWKING and SHRIEKING so
|
||
|
much he can't think.
|
||
|
|
||
|
JAKE
|
||
|
Shut the hell up!!
|
||
|
|
||
|
It does.
|
||
|
|
||
|
JAKE
|
||
|
Level out! Fly straight!
|
||
|
|
||
|
It levels out. Jake cocks his head, only thinking "bank left"
|
||
|
and the animal complies. He settles the banshee into an easy
|
||
|
loping beat of its huge wings, while he catches his breath.
|
||
|
|
||
|
NEYTIRI'S BANSHEE falls into formation with him. She signals
|
||
|
"follow me" and DIVES.
|
||
|
|
||
|
Jake guides his banshee clumsily after her. Neytiri's
|
||
|
banshee moves with precise movements of its wingtips, while
|
||
|
Jake's wobbles and dips, almost falling out of the sky.
|
||
|
|
||
|
THE CAMERA SWOOPS after them as Neytiri leads an arcing DIVE
|
||
|
around the flank of Mons Veritatis. The scenery is stunning.
|
||
|
They pass waterfalls and swoop between hanging vines.
|
||
|
|
||
|
Neytiri leads Jake in a sharp bank, skimming close to the
|
||
|
cliffs. They punch through streamers of cloud and emerge
|
||
|
into sunlight.
|
||
|
|
||
|
Jake is getting the hang of it. He jinks left, then right,
|
||
|
then dives, tucking himself tight against the animal's back.
|
||
|
He's reckless, fearless. Half in control and LOVING IT.
|
||
|
|
||
|
Neytiri dives next to him as he lets out a long WHOOP of joy.
|
||
|
CUT TO:
|
||
|
|
||
|
INT./EXT. GROTTO/MONS VERITATIS - DAY
|
||
|
|
||
|
FLIGHT MONTAGE:
|
||
|
|
||
|
NEYTIRI squats with Jake, using her hands to explain flight
|
||
|
principles like one fighter pilot to another.
|
||
|
|
||
|
LOOKING DOWN a sheer cliff. SWOOOSH! Jake and Neytiri dive
|
||
|
their mounts STRAIGHT DOWN PAST CAMERA, pulling out and
|
||
|
soaring into a series of aerobatic turns.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I may not be much of a horse guy. But I
|
||
|
was born to do this.
|
||
|
|
||
|
74.
|
||
|
|
||
|
|
||
|
|
||
|
THEY FLY in close formation with TSU'TEY and the young
|
||
|
HUNTERS, 5 banshees flashing through scarves of mist.
|
||
|
|
||
|
ANOTHER DAY. Jake dives, playing hide and seek with Neytiri
|
||
|
among the clouds. They are wild and free in a wild world.
|
||
|
She grins and banks hard, diving -- catch me if you can. He
|
||
|
DIVES after her.
|
||
|
|
||
|
IN THE GROTTO, by firelight, JAKE'S BANSHEE snaps at a piece
|
||
|
of meat which he playfully pulls back. He's teaching it to
|
||
|
take the food more slowly. He strokes its long head.
|
||
|
|
||
|
TSU'TEY is nearby with the young hunters. He eyes Jake with
|
||
|
frustrated hostility.
|
||
|
|
||
|
ANOTHER DAY -- Jake and Neytiri fly abreast, soaring easily.
|
||
|
She points and Jake sees --
|
||
|
|
||
|
A BIZARRE GEOLOGICAL FORMATION. Arches of magnetic rock form
|
||
|
rainbows of stone above a deep CALDERA. In the center of the
|
||
|
caldera is a single, enormous WILLOW TREE, gnarled and
|
||
|
ancient. This, we will be told, is THE WELL OF SOULS.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RIDGE
|
||
|
|
||
|
JAKE flies with Neytiri along a forested ridge. She is
|
||
|
teaching him to hunt from his banshee. They carry their bows
|
||
|
at the ready, scanning below them for prey.
|
||
|
|
||
|
A HUGE SHADOW covers him and Neytiri SHOUTS a warning. Jake
|
||
|
looks up to see --
|
||
|
|
||
|
A LEONOPTERYX in a delta-dive, whistling straight at him.
|
||
|
|
||
|
Like a banshee, only several times larger, it is the king
|
||
|
predator of the air: the GREAT LEONOPTERYX. Striped
|
||
|
scarlet, yellow and black, with a midnight blue crested head
|
||
|
-- it is both gorgeous and terrifying.
|
||
|
|
||
|
The hunter has become the prey. JAKE snap-rolls and dives
|
||
|
toward the forest canopy. He plummets into the gloom as --
|
||
|
|
||
|
K-CRASH -- the leonopteryx tears through foliage, following
|
||
|
him down, both diving like missiles and --
|
||
|
|
||
|
JAKE yanks into a hair-pin bank, right through a gap between
|
||
|
two huge branches --
|
||
|
|
||
|
Forcing the leonopteryx to brake with a loud FWOOSH of wings.
|
||
|
It banks away with a frustrated SHRIEK. Two flaps of its
|
||
|
mighty wings and it is gone, back above the canopy.
|
||
|
|
||
|
75.
|
||
|
|
||
|
|
||
|
|
||
|
CLOSE ON THE LEONOPTERYX, as its fanged mouth opens in a
|
||
|
bloodcurdling SCREECH which echoes among the mountains. The
|
||
|
lord of its domain.
|
||
|
|
||
|
ON JAKE, shaken. Neytiri flies up, her expression the Na'vi
|
||
|
equivalent of Oh my God. A beat -- they both crack up.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SHACK - NIGHT
|
||
|
|
||
|
Jake ponders images Grace has called up at her workstation--
|
||
|
science graphics of the Leonopteryx. Trudy and Norm are
|
||
|
crowded around as well.
|
||
|
|
||
|
GRACE
|
||
|
The Great Leonopteryx is the apex aerial
|
||
|
predator. Not only rare, but the
|
||
|
sightings tend not to get reported.
|
||
|
|
||
|
Trudy makes a clicking motion with her thumb.
|
||
|
|
||
|
TRUDY
|
||
|
There usually isn't time to key the mike.
|
||
|
|
||
|
JAKE
|
||
|
The People call it Toruk.
|
||
|
|
||
|
NORM
|
||
|
(TRANSLATING)
|
||
|
Last Shadow.
|
||
|
|
||
|
JAKE
|
||
|
Last one you ever see.
|
||
|
|
||
|
TRUDY
|
||
|
I saw one take out a gunship once --
|
||
|
WHAM! Total frickin' yard sale. Ate the
|
||
|
crew like peanuts.
|
||
|
|
||
|
TIME CUT -- Grace is scanning through images and Jake stops
|
||
|
her on one -- a 3D aerial shot of the strange arched
|
||
|
formation.
|
||
|
|
||
|
JAKE
|
||
|
That's it.
|
||
|
|
||
|
GRACE
|
||
|
Vitraya Ramunong -- The Well of Souls.
|
||
|
It's their most sacred place.
|
||
|
|
||
|
She moves the virtual camera, and we seem to fly around the
|
||
|
Well of Souls, catching only a glimpse of the interior.
|
||
|
|
||
|
76.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Something big is going on in there,
|
||
|
biologically. I'd die to get samples, but
|
||
|
outsiders are strictly forbidden.
|
||
|
|
||
|
TIME CUT -- Jake looks through the pressure window at HUMAN
|
||
|
GRACE and NORM outside. Wearing masks, they are taking
|
||
|
readings from some time-series experiments Grace has set up.
|
||
|
|
||
|
As TRUDY watches, JAKE works fast to download Grace's images
|
||
|
of the Well of Souls onto a memory chip.
|
||
|
|
||
|
TRUDY
|
||
|
They're coming back.
|
||
|
|
||
|
Jake pulls the chip, then hesitates. Torn by what he is
|
||
|
doing.
|
||
|
|
||
|
TRUDY
|
||
|
If you don't give him something, he's
|
||
|
gonna shut us down.
|
||
|
|
||
|
He hands her the chip and she slips it into a pocket of her
|
||
|
flight-suit just as Grace and Norm enter from the airlock.
|
||
|
|
||
|
JAKE
|
||
|
Hey, guys.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. HOMETREE - NIGHT
|
||
|
|
||
|
JAKE STARES up at the TOTEM SKULL, which we now recognize as
|
||
|
that of a GREAT LEONOPTERYX. NEYTIRI watches as he reaches
|
||
|
up to touch the tall indigo crest.
|
||
|
|
||
|
NEYTIRI
|
||
|
My grandfather's grandfather was Toruk
|
||
|
Macto -- Rider of Last Shadow. Toruk
|
||
|
chose him. It has only happened five
|
||
|
times since the time of the First Songs.
|
||
|
|
||
|
JAKE
|
||
|
That's a long time.
|
||
|
|
||
|
Neytiri takes his hand, because that's what the Na'vi do when
|
||
|
they're telling you something important.
|
||
|
|
||
|
NEYTIRI
|
||
|
Toruk Macto was mighty -- he brought the
|
||
|
clans together in a time of great sorrow.
|
||
|
All Na'vi people know this story.
|
||
|
|
||
|
77.
|
||
|
|
||
|
|
||
|
|
||
|
PUSH IN SLOWLY on the skull totem, then --
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RIVER BED - DAY
|
||
|
|
||
|
JAKE, NEYTIRI and other FLYING HUNTERS swoop low above a HERD
|
||
|
OF STURMBEEST -- a rapids of thundering muscle. Dust rises
|
||
|
from this living river like steam from a python's back.
|
||
|
|
||
|
TRACKING WITH the herd. A HUNTER appears in FG, astride a
|
||
|
direhorse at full gallop. The sight is breathtaking. He
|
||
|
hurls a 3 meter spear and one of the sturmbeest CRASHES down,
|
||
|
flipping twice from momentum.
|
||
|
|
||
|
JAKE ROLLS IN like a fighter jet, his banshee screaming. He
|
||
|
draws and fires his bow. The arrow strikes true, in the
|
||
|
plexus between the armored shoulders and --
|
||
|
|
||
|
THE BEAST crashes to the ground. Skids to a stop in a cloud
|
||
|
of dust.
|
||
|
|
||
|
NEYTIRI swoops in next to Jake, arms raised and grinning
|
||
|
wolfishly.
|
||
|
|
||
|
CU TSU'TEY, banking around Jake's kill. Jake looks up, and
|
||
|
Tsu'tey SALUTES in grudging admiration.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMONS/HOMETREE - NIGHT
|
||
|
|
||
|
The central space is lit by a BONFIRE, around which the HUNT
|
||
|
FESTIVAL is in full swing. Wild dancing. People gnawing on
|
||
|
massive sturmbeest ribs. A bowl of some kava-like intoxicant
|
||
|
is passed around.
|
||
|
|
||
|
NEYTIRI dances in a flowing costume as the BANSHEE SPIRIT.
|
||
|
NORM is dancing seductively with his own tail.
|
||
|
|
||
|
JAKE, surrounded by young hunters, acts out the leonopteryx
|
||
|
attack with his hands. The leaping fire-light plays across
|
||
|
the eye sockets of the TORUK SKULL, bringing it to life. It
|
||
|
seems to watch Jake.
|
||
|
|
||
|
TSU'TEY squats next to Jake, the usual scowl on his face.
|
||
|
|
||
|
Jake braces himself -- and Tsu'tey holds up the KAVA BOWL,
|
||
|
offering it to him. A challenge or an olive branch?
|
||
|
|
||
|
Jake takes a long, hearty drink as some of the young hunters
|
||
|
hoot and clap hands in a fast rhythm.
|
||
|
|
||
|
78.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Watch that stuff. It'll knock you into
|
||
|
next week.
|
||
|
|
||
|
Jake offers the bowl back to Tsu'tey. They lock eyes.
|
||
|
Tsu'tey drinks.
|
||
|
|
||
|
LATER -- AN EMPTY BOWL drops, landing on a pile of empty
|
||
|
bowls near the fire.
|
||
|
|
||
|
WIDER ON JAKE and TSU'TEY, sitting amid the rowdy hunters.
|
||
|
Tsu'tey looks a little blearily at Jake. Finally, he GRINS.
|
||
|
|
||
|
TSU'TEY
|
||
|
I thought -- enough drink -- you would
|
||
|
not be so ugly.
|
||
|
|
||
|
JAKE
|
||
|
Sorry.
|
||
|
|
||
|
Tsu'tey looks deep into the fire.
|
||
|
|
||
|
TSU'TEY
|
||
|
Your warriors -- hide inside machines --
|
||
|
fight from far away.
|
||
|
(he looks at Jake)
|
||
|
I did not think a sky person could be
|
||
|
brave.
|
||
|
|
||
|
Before Jake can answer, NEYTIRI'S lithe shape runs through
|
||
|
the circle of silhouetted dancers toward them. She takes
|
||
|
Jake by the hand and pulls him up --
|
||
|
|
||
|
NEYTIRI
|
||
|
You must dance! It is the way.
|
||
|
|
||
|
TSU'TEY watches as she leads him away, his face darkening --
|
||
|
the moment of connection to Jake lost to anger.
|
||
|
|
||
|
The hunters WHOOP and CHEER as Jake joins the circle of
|
||
|
dancers.
|
||
|
|
||
|
Jake takes Grace's hand and pulls her up, protesting.
|
||
|
|
||
|
JAKE lets the DRUMS and CHANTING flow through him. He lets
|
||
|
himself go, dancing from the inside, channeling the primal
|
||
|
energy.
|
||
|
|
||
|
GRACE is rocking out, grinning. We see the young girl, so
|
||
|
repressed, who lives within her.
|
||
|
|
||
|
Jake and Neytiri flow amongst the dancers, but they are
|
||
|
looking only at each other.
|
||
|
|
||
|
79.
|
||
|
|
||
|
|
||
|
|
||
|
A couple of the young girls watching from outside the circle
|
||
|
are giggling and talking about them. Mo'at and EYTUKAN
|
||
|
follow their look, seeing the obvious connection.
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
We cannot let this seed grow. Her path is
|
||
|
with Tsu'tey.
|
||
|
|
||
|
ON JAKE, dancing with abandon to the primal beat, eyes locked
|
||
|
with Neytiri.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
WIDE VISTA -- mist blowing through the treetops as the
|
||
|
morning sun burns it away. A spectacular panorama of a vast,
|
||
|
primeval land.
|
||
|
|
||
|
UP ANGLE TRACKING among the trees, the sunlight shafting down
|
||
|
like light in a cathedral.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
It's hard to put in words the deep
|
||
|
connection the People have to the forest.
|
||
|
|
||
|
HIGH IN THE BRANCHES of a tree, Jake watches as Neytiri
|
||
|
gently bends a large pitcher-like flower toward her, sipping
|
||
|
nectar which is sweet and thick as honey. An incredibly
|
||
|
sensuous image.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
They see a network of energy that flows
|
||
|
through all living things. They know that
|
||
|
all energy is only borrowed--
|
||
|
|
||
|
MACRO SHOT of a purple flower, beaded with raindrops. A blue
|
||
|
hand picks the flower.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
-- and one day you have to give it back.
|
||
|
|
||
|
LOOKING DOWN into a hole dug among tree roots. The body of
|
||
|
an old Omaticaya WOMAN lies curled there like an unborn baby
|
||
|
in the womb of the earth. The purple flower is gently placed
|
||
|
on her body, joining flowers, totems and beads.
|
||
|
|
||
|
Mo'at recites a prayer as Neytiri, acting as acolyte, places
|
||
|
a WOODSPRITE, a seed of the Great Tree, on the body.
|
||
|
|
||
|
Earth is poured over the LENS and we CUT TO --
|
||
|
|
||
|
80.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE WAKING UP in the Link. DARK as a coffin. He pushes the
|
||
|
lid off, letting in light, and lies there. He looks pale and
|
||
|
haggard, with a scraggly beard.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Hard to believe it's only been three
|
||
|
months.
|
||
|
|
||
|
JAKE SITS in front of the video log camera, late at night. It
|
||
|
is many log entries later. He has lost a lot of weight. He
|
||
|
looks like a junkie watching a test pattern.
|
||
|
|
||
|
JAKE
|
||
|
(to the lens)
|
||
|
I can barely remember my old life. I'm
|
||
|
not sure who I am anymore.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. COMPOUND - DAY
|
||
|
|
||
|
Under a sky of thunderheads, the forest is a dark wall beyond
|
||
|
the fence. SELFRIDGE, wearing an exopack, TEES UP while GRACE
|
||
|
and JAKE approach from the direction of the Ops Center.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Good of you to stop by. How's it going
|
||
|
out there? Our blue friends all packed
|
||
|
up yet?
|
||
|
|
||
|
Selfridge swings his DRIVER with good form.
|
||
|
|
||
|
SELFRIDGE
|
||
|
See, I keep hooking it. It's the damn
|
||
|
pack.
|
||
|
|
||
|
THE BALL drops into the mud just past a marker which reads
|
||
|
220. A TROOPER walks over to retrieve it.
|
||
|
|
||
|
SELFRIDGE
|
||
|
The low gravity and the high air density
|
||
|
cancel out so --
|
||
|
|
||
|
JAKE
|
||
|
You called us back to report -- you want
|
||
|
to hear it or not?
|
||
|
|
||
|
SELFRIDGE
|
||
|
Go ahead.
|
||
|
|
||
|
GRACE
|
||
|
Jake is making incredible progress, years
|
||
|
worth in just a few months. But -- we
|
||
|
need more time.
|
||
|
|
||
|
81.
|
||
|
|
||
|
|
||
|
|
||
|
SELFRIDGE
|
||
|
Not what I was hoping to hear.
|
||
|
|
||
|
It starts to rain. Selfridge calmly pulls an umbrella from
|
||
|
his golf bag and snaps it open.
|
||
|
|
||
|
GRACE
|
||
|
Parker, it's their ancestral home.
|
||
|
They've lived there since before human
|
||
|
history began. You can spare them a few
|
||
|
more weeks.
|
||
|
|
||
|
SELFRIDGE
|
||
|
This thing is inevitable. What does it
|
||
|
matter when it happens? I'm sorry, Dr.
|
||
|
Augustine. You're out of time.
|
||
|
|
||
|
He leaves them standing there to get drenched.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. ARMOR BAY
|
||
|
|
||
|
A break table, under a harsh overhead light. Quaritch pulls
|
||
|
up a chair, turns it around, and sits astride it facing Jake.
|
||
|
He studies Jake's pale, sunken face. The scraggly beard.
|
||
|
|
||
|
QUARITCH
|
||
|
You're not gettin' lost in the woods, are
|
||
|
you son?
|
||
|
|
||
|
Jake can't meet his eyes.
|
||
|
|
||
|
QUARITCH
|
||
|
Your last report was two weeks ago. I'm
|
||
|
starting to doubt your resolve. From what
|
||
|
I see, it's time to terminate this
|
||
|
mission.
|
||
|
|
||
|
Jake eyes flare with alarm.
|
||
|
|
||
|
JAKE
|
||
|
No. I can do this.
|
||
|
|
||
|
QUARITCH
|
||
|
Look, you've given me plenty of usable
|
||
|
intel. Like this "Well of Souls" place --
|
||
|
I've got them by the balls with that,
|
||
|
when it turns into a shit-fight. Which it
|
||
|
will.
|
||
|
|
||
|
Jake feels hollow inside, knowing what he's done.
|
||
|
|
||
|
82.
|
||
|
|
||
|
|
||
|
|
||
|
QUARITCH
|
||
|
So you'll get your legs back, like I
|
||
|
promised.
|
||
|
(puts his hand on Jake's
|
||
|
SHOULDER)
|
||
|
It's time to come in.
|
||
|
|
||
|
Jake ponders this. Isn't this what he was doing all this for?
|
||
|
|
||
|
JAKE
|
||
|
I've gotta finish this thing. There's
|
||
|
one more test -- the Dream Hunt. It's the
|
||
|
final stage of becoming a man. Then I'm
|
||
|
one of them. They'll trust what I say...
|
||
|
|
||
|
It's hard for him to even form these words --
|
||
|
|
||
|
JAKE
|
||
|
... and I can negotiate the terms of
|
||
|
their relocation.
|
||
|
|
||
|
QUARITCH
|
||
|
Then you need to get it done, Corporal.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. HALLELUJAH MOUNTAINS - NIGHT
|
||
|
|
||
|
Strange horizontal LIGHTNING branches through the floating
|
||
|
mountains, twisted by the magnetic fields. The sky is black
|
||
|
and heavy with clouds.
|
||
|
|
||
|
INT. SHACK KITCHEN - NIGHT
|
||
|
|
||
|
Jake is gulping black coffee like a tequila shot, looking
|
||
|
pretty STRUNG OUT. GRACE is smoking furiously.
|
||
|
|
||
|
GRACE
|
||
|
Jake, I can't allow this. You're just
|
||
|
not strong enough.
|
||
|
|
||
|
JAKE
|
||
|
It's the last door -- I'm going through
|
||
|
it. You can help me or get out of the
|
||
|
way.
|
||
|
|
||
|
Jake pushes past her toward the corridor --
|
||
|
|
||
|
GRACE
|
||
|
(grabbing him)
|
||
|
Will you listen to me? Sometimes the
|
||
|
Na'vi themselves die in these vision
|
||
|
quests. The venom takes you to the edge
|
||
|
of death.
|
||
|
(MORE)
|
||
|
|
||
|
83.
|
||
|
|
||
|
GRACE (cont'd)
|
||
|
And the psychoactive alkaloid in the worm-
|
||
|
- we have no idea what that'll do in an
|
||
|
avatar brain.
|
||
|
|
||
|
Jake breaks free and wheels away, down the corridor.
|
||
|
|
||
|
GRACE follows JAKE as he crosses to the Link. A sheet of
|
||
|
LIGHTNING flashes across the sky outside.
|
||
|
|
||
|
Norm is initializing the Link.
|
||
|
|
||
|
NORM
|
||
|
Calibrating. Thirty seconds.
|
||
|
|
||
|
She puts her hands on his shoulders.
|
||
|
|
||
|
GRACE
|
||
|
No matter what you prove out there-- you
|
||
|
are still in here.
|
||
|
(shaking him)
|
||
|
Right here.
|
||
|
|
||
|
JAKE
|
||
|
I have to go all the way -- become one of
|
||
|
THEM--
|
||
|
|
||
|
GRACE
|
||
|
(FURIOUSLY)
|
||
|
Goddammit, Jake, you can never be one of
|
||
|
them!
|
||
|
|
||
|
Norm looks up, startled at the VEHEMENCE in GRACE' voice.
|
||
|
|
||
|
GRACE
|
||
|
Our life out there takes millions of
|
||
|
dollars of machinery to sustain. You
|
||
|
visit -- and you leave.
|
||
|
|
||
|
During this, Jake pulls himself from his wheelchair, levering
|
||
|
himself into the Link, hauling his useless legs inside.
|
||
|
|
||
|
GRACE
|
||
|
(SOFTENING)
|
||
|
You can never truly be with her.
|
||
|
|
||
|
Jake stops, pinioned by the truth. He seems suddenly very
|
||
|
lost.
|
||
|
|
||
|
JAKE
|
||
|
You know why I'm here? Because Quaritch
|
||
|
sent me.
|
||
|
|
||
|
NORM
|
||
|
What?
|
||
|
|
||
|
84.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
That's right -- to embed with the
|
||
|
Omaticaya. To find out how to screw them
|
||
|
out of their home. By deceit or by
|
||
|
force, he didn't care. And if it turned
|
||
|
out to be force, then how best to do it.
|
||
|
|
||
|
Norm is in shock. But Grace is eerily calm.
|
||
|
|
||
|
GRACE
|
||
|
And what about now, Jake?
|
||
|
|
||
|
JAKE
|
||
|
I'm not that guy any more.
|
||
|
|
||
|
Grace nods. She's been on his journey every step of the way.
|
||
|
|
||
|
GRACE
|
||
|
I know.
|
||
|
|
||
|
JAKE
|
||
|
But if I tell Quaritch the truth, he
|
||
|
yanks me out -- I never see her again.
|
||
|
And if I tell her the truth, the clan
|
||
|
throws me out -- that's if they don't cut
|
||
|
my heart out and show it to me.
|
||
|
|
||
|
Jake looks hopelessly at the two of them. In his own perfect
|
||
|
Hell.
|
||
|
|
||
|
NORM
|
||
|
They won't understand what you've done.
|
||
|
|
||
|
JAKE
|
||
|
They don't even have a word for "lie" --
|
||
|
they had to learn it from us.
|
||
|
|
||
|
Grace sees he is on the verge of tears. Lost and alone,
|
||
|
between worlds.
|
||
|
|
||
|
GRACE
|
||
|
I know. I taught it to them.
|
||
|
|
||
|
JAKE
|
||
|
(PLEADING)
|
||
|
Grace. I've gotta go. They're waiting.
|
||
|
|
||
|
NORM
|
||
|
Link is ready.
|
||
|
|
||
|
Grace stops him as he tries to close the lid.
|
||
|
|
||
|
85.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Jake. You can't carry this burden much
|
||
|
longer.
|
||
|
|
||
|
JAKE
|
||
|
(smiling wanly)
|
||
|
It's okay. Mo'at says an alien mind
|
||
|
probably can't survive the Dream Hunt
|
||
|
anyway.
|
||
|
|
||
|
Grace closes the lid. It feels like closing a coffin. She
|
||
|
watches his psionic patterns aligning to his avatar,
|
||
|
somewhere out in the night.
|
||
|
|
||
|
GRACE
|
||
|
(to Norm)
|
||
|
Prep my link. I'm going in.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMONS/HOMETREE - NIGHT
|
||
|
|
||
|
JAKE SITS, eyes closed, as Neytiri and another young hunter
|
||
|
paint his face and body in preparation for uniltaron -- the
|
||
|
Dream Hunt.
|
||
|
|
||
|
NEYTIRI
|
||
|
When your Spirit Animal comes, you will
|
||
|
know.
|
||
|
|
||
|
Their eyes meet with emotion neither can conceal any longer.
|
||
|
|
||
|
TIME CUT. GRACE stands with the crowd at the ramp to
|
||
|
HOMETREE'S LOWEST LEVEL. Jake barely sees her as he goes down
|
||
|
the spiral. She tries to follow, but is barred by a hunter.
|
||
|
|
||
|
BELOW, seemingly in the womb of the earth, Jake walks slowly
|
||
|
into the center of a tight circle of seated elders and
|
||
|
hunters. An ELDER is slowly rapping a large WATER DRUM.
|
||
|
|
||
|
TIME CUT -- MO'AT purifies him with smoke from burning herbs,
|
||
|
CHANTING in a low monotone. Jake, squatting, washes the
|
||
|
smoke over himself with his palms.
|
||
|
|
||
|
MACRO - MO'AT'S FINGERS unwrap a piece of wood riddled with
|
||
|
holes. She catches the end of a glowing purple WORM, and
|
||
|
draws it out of the wood.
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
Oh wise worm, eater of the Sacred Tree --
|
||
|
bless this worthy Hunter with a true
|
||
|
vision.
|
||
|
|
||
|
86.
|
||
|
|
||
|
|
||
|
|
||
|
MO'AT places the worm on Jake's out-stretched TONGUE. It
|
||
|
twists on itself, lighting his mouth before he closes it. She
|
||
|
indicates he should chew. He does.
|
||
|
|
||
|
MACRO -- AN EARTHEN JAR is opened. EYTUKAN removes a
|
||
|
writhing black ARACHNOID, the Pandoran equivalent of a
|
||
|
scorpion.
|
||
|
|
||
|
He places it against the back of Jake's neck and presses. The
|
||
|
insect drives its stinger into Jake's skin and --
|
||
|
|
||
|
Jake grimaces. Mo'at and Eytukan step back, leaving Jake
|
||
|
alone in the circle.
|
||
|
|
||
|
Neytiri watches intently, joining in the low chant.
|
||
|
|
||
|
SLOW DOLLY IN on Jake. His eyes OPEN. He looks around at the
|
||
|
faces -- they seem to TRANSFORM, becoming threatening.
|
||
|
|
||
|
Jake looks down at the palms of his hands.
|
||
|
|
||
|
JAKE'S POV -- his hands recede, his whole body, the ground
|
||
|
and --
|
||
|
|
||
|
INSTANTLY the circle of Na'vi recedes, as if to a distant
|
||
|
horizon, leaving vast ground in between. SPACE is utterly
|
||
|
distorted, and SOUND as well -- echoing, THUNDEROUS.
|
||
|
|
||
|
ECU JAKE -- pupils DILATED black. He looks around and --
|
||
|
|
||
|
The onlookers are gone, replaced by a ring of glowing trees,
|
||
|
which seem miles high. The whole image is bathed in spectral
|
||
|
radiance. Jake looks down --
|
||
|
|
||
|
JAKE'S POV -- his body and hands transforming -- fingers
|
||
|
stretching into tendrils, legs becoming roots which spread
|
||
|
outward across the ground, a thousand glowing dendrites which
|
||
|
connect to the roots of the trees and --
|
||
|
|
||
|
CUT TO REALITY -- Jake is on his hands and knees, PUKING in
|
||
|
the dirt. He contorts, crying out in agony as the venom
|
||
|
contracts his muscles but --
|
||
|
|
||
|
IN HIS VISION Jake stands serene on a FLOATING MOUNTAIN
|
||
|
CLIFF. A GREAT BLACK SHADOW covers him, the unmistakable X
|
||
|
silhouette of a diving LEONOPTERYX. The LAST SHADOW.
|
||
|
|
||
|
CAMERA SCREAMS down on him as the shadow grows larger -- WE
|
||
|
RUSH into his face, into the blackness of his pupil which
|
||
|
FILLS THE UNIVERSE and --
|
||
|
|
||
|
87.
|
||
|
|
||
|
|
||
|
|
||
|
REAL JAKE writhes in the dirt, his back arched as his muscles
|
||
|
seize. He foams and thrashes, his eyes rolled back in his
|
||
|
head, while inside --
|
||
|
|
||
|
TIME ITSELF HAS ACCELERATED -- clouds scream around the
|
||
|
mountain tops, mist boils through the forest. He feels the
|
||
|
wind of time blowing through him as --
|
||
|
|
||
|
REAL JAKE claws the ground, moaning, staring blindly while --
|
||
|
|
||
|
INSIDE, IN POV he FLIES over the landscape of Pandora --
|
||
|
|
||
|
--but the forest is BLASTED. Fires flicker among trees that
|
||
|
are BURNED black and lifeless in a smoky twilight.
|
||
|
|
||
|
A great WINGED SHADOW is cast below, rippling over the
|
||
|
devastated ground. AVATAR JAKE looks down at the shadow.
|
||
|
Realizes HE is casting it, and we RUSH IN to his PUPIL and --
|
||
|
|
||
|
PULL BACK from the eye of a GREAT LEONOPTERYX, flying lordly
|
||
|
and terrible over the land. It lets out an almighty SHRIEK
|
||
|
which seems to echo to eternity and --
|
||
|
|
||
|
SLAM CUT to Jake, on his back, GASPING -- back in his body.
|
||
|
He weakly rolls up to one elbow and looks around the room.
|
||
|
|
||
|
MO'AT
|
||
|
It is finished.
|
||
|
|
||
|
Neytiri's face is flooded with relief. The faces of the clan
|
||
|
elders look at Jake expectantly.
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Did your Spirit Animal come?
|
||
|
|
||
|
Jake looks from Eytukan to Mo'at, Tsu'tey and the elders. How
|
||
|
can he tell them what he has seen?
|
||
|
|
||
|
Mo'at puts her splayed fingers against his face, seeming to
|
||
|
peer into his troubled soul.
|
||
|
|
||
|
MO'AT
|
||
|
(to Jake)
|
||
|
Something has come.
|
||
|
(to the others, subtitled)
|
||
|
It will take time for the meaning to be
|
||
|
clear.
|
||
|
|
||
|
She steps back, and Eytukan motions for Jake to stand. He
|
||
|
gets up, weakly.
|
||
|
|
||
|
88.
|
||
|
|
||
|
|
||
|
|
||
|
OUTSIDE THE ENCLOSURE -- Eytukan emerges with Jake and the
|
||
|
others. The entire clan is gathered, waiting to hear what
|
||
|
has happened. Jake looks up at the Leonopteryx Skull Totem,
|
||
|
which seems to stare down at him.
|
||
|
|
||
|
GRACE watches, her eyes brimming. Proud. Relieved. Amazed.
|
||
|
|
||
|
Eytukan places both hands on Jake's chest and holds them
|
||
|
there.
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
You are now a son of the Omaticaya. You
|
||
|
are part of the People.
|
||
|
|
||
|
All the members of the clan press forward, crowding around
|
||
|
and putting their hands on Jake's shoulders, back, chest --
|
||
|
hands upon hands, until he is connected to everyone.
|
||
|
DISSOLVE TO:
|
||
|
|
||
|
EXT. RAINFOREST - NIGHT
|
||
|
|
||
|
JAKE and NEYTIRI run silhouetted in the night. Behind them
|
||
|
waterfalls cascade down in the silvery light. POLYPHEMUS
|
||
|
RISES behind the trees.
|
||
|
|
||
|
NEYTIRI DIVES from a rock, slicing into a mirror of water.
|
||
|
Jake follows her and --
|
||
|
|
||
|
UNDERWATER, they swim over glowing ANEMONES.
|
||
|
|
||
|
They seem to float in a cosmic dance above a luminous garden
|
||
|
of waving shapes. Tiny purple fish swirl around them.
|
||
|
|
||
|
Their hands come together, fingers twining, as they float
|
||
|
weightlessly, as if between worlds.
|
||
|
DISSOLVE TO:
|
||
|
|
||
|
EXT. WILLOW GLADE
|
||
|
|
||
|
Laughing, they run together into a stand of WILLOWS. Their
|
||
|
trunks are as gnarled as bonsai. Long faintly glowing
|
||
|
tendrils hang straight down in pastel curtains.
|
||
|
|
||
|
Underfoot, a bed of moss glows faintly. It REACTS to their
|
||
|
footsteps with expanding rings of light.
|
||
|
|
||
|
It is an exquisitely beautiful spot.
|
||
|
|
||
|
The willows stir, responding to their presence. She holds up
|
||
|
her hands, letting the TENDRILS caress her.
|
||
|
|
||
|
89.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
This is a place for prayers to be heard.
|
||
|
And sometimes answered.
|
||
|
|
||
|
Jake puts out his hands and the tendrils play over his
|
||
|
fingers, his palms, his forearms. His eyes go wide. We hear
|
||
|
the WHISPERING of ancient Na'vi VOICES.
|
||
|
|
||
|
JAKE
|
||
|
It's like -- a sound you feel.
|
||
|
|
||
|
NEYTIRI
|
||
|
We call this utraya mokri -- the Tree of
|
||
|
Voices. The voices of our ancestors, who
|
||
|
live within Eywa.
|
||
|
|
||
|
A few WOODSPRITES circle around them, some alighting on their
|
||
|
shoulders and arms.
|
||
|
|
||
|
They stand, very close together now. Her eyes are intense,
|
||
|
almost luminous. He feels drawn into them.
|
||
|
|
||
|
But she pulls back a little.
|
||
|
|
||
|
NEYTIRI
|
||
|
You are Omaticaya now. You may make your
|
||
|
own bow from the wood of Hometree.
|
||
|
(she looks away)
|
||
|
And you may choose a woman.
|
||
|
|
||
|
The Amazon warrior trying so hard to sound casual. Jake
|
||
|
suppresses a smile.
|
||
|
|
||
|
NEYTIRI
|
||
|
We have many fine women. Ninat is the
|
||
|
best singer --
|
||
|
|
||
|
JAKE
|
||
|
I don't want Ninat.
|
||
|
|
||
|
NEYTIRI
|
||
|
There is Beyral -- she is a good hunter --
|
||
|
|
||
|
Jake puts his fingers on her lips to stop her.
|
||
|
|
||
|
JAKE
|
||
|
I've already chosen. But this woman must
|
||
|
also choose me.
|
||
|
|
||
|
She takes his hands and their fingers intertwine, moving
|
||
|
gently over each other.
|
||
|
|
||
|
90.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
She already has.
|
||
|
|
||
|
He puts his face close to hers. She rubs her cheek against
|
||
|
his. He kisses her on the mouth. They explore each other.
|
||
|
|
||
|
Then she pulls back, eyes sparkling.
|
||
|
|
||
|
NEYTIRI
|
||
|
Kissing is very good. But we have
|
||
|
something better.
|
||
|
|
||
|
She pulls him down until they are kneeling, facing each other
|
||
|
on the faintly glowing moss.
|
||
|
|
||
|
Neytiri takes the end of her queue and raises it. Jake does
|
||
|
the same, with trembling anticipation. The tendrils at the
|
||
|
ends move with a life of their own, straining to be joined.
|
||
|
|
||
|
MACRO SHOT -- The tendrils INTERTWINE with gentle
|
||
|
undulations.
|
||
|
|
||
|
JAKE rocks with the direct contact between his nervous system
|
||
|
and hers. The ultimate intimacy.
|
||
|
|
||
|
They come together into a kiss and sink down on the bed of
|
||
|
moss, and ripples of light spread out around them.
|
||
|
|
||
|
THE WILLOWS sway, without wind, and the night is alive with
|
||
|
pulsing energy as we DISSOLVE TO --
|
||
|
|
||
|
LATER. She is collapsed across his chest. Spent. He
|
||
|
strokes her face tenderly.
|
||
|
|
||
|
JAKE
|
||
|
Neytiri, you know my real body is far
|
||
|
away, sleeping.
|
||
|
|
||
|
She raises up, placing her fingertips to his chest --
|
||
|
|
||
|
NEYTIRI
|
||
|
This body is real.
|
||
|
(she touches his forehead)
|
||
|
This spirit is real.
|
||
|
|
||
|
Her eyes are luminous, honest, infinitely deep.
|
||
|
|
||
|
NEYTIRI
|
||
|
When I was first your teacher, I hated
|
||
|
all Sky People. But you have also taught
|
||
|
me.
|
||
|
(WHISPERING)
|
||
|
Spirit is all that matters.
|
||
|
|
||
|
91.
|
||
|
|
||
|
|
||
|
|
||
|
She lays her head down, against his chest, listening to his
|
||
|
heartbeat.
|
||
|
|
||
|
NEYTIRI
|
||
|
I am with you now, Jake. We are mated for
|
||
|
life.
|
||
|
|
||
|
JAKE
|
||
|
We are?
|
||
|
|
||
|
NEYTIRI
|
||
|
Yes. It is our way.
|
||
|
(INNOCENTLY)
|
||
|
Oh. I forgot to tell?
|
||
|
|
||
|
He rouses up, making her look at him.
|
||
|
|
||
|
JAKE
|
||
|
Really, we are?
|
||
|
|
||
|
NEYTIRI
|
||
|
We are.
|
||
|
|
||
|
Jake considers this.
|
||
|
|
||
|
JAKE
|
||
|
It's cool. I'm there.
|
||
|
|
||
|
He lays his head down, and her arms enfold him, sheltering
|
||
|
him as he sleeps.
|
||
|
|
||
|
INT. SHACK - NIGHT
|
||
|
|
||
|
Jake's eyes open in the darkness. He just lies there,
|
||
|
thinking. In his coffin. In another world.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. WILLOW GLADE - DAWN
|
||
|
|
||
|
DAWN BREAKS in the sacred glade. Shafts of orange morning
|
||
|
light. Jake and Neytiri asleep in each others' arms. Maxfield
|
||
|
Parrish painting. But then --
|
||
|
|
||
|
THE ROAR OF ENGINES. Neytiri awakens with a start. The
|
||
|
SPLINTERING, CRACKLING of forest being crushed under enormous
|
||
|
treads gets louder.
|
||
|
|
||
|
SHE WATCHES in growing horror as the BLADE of a bulldozer
|
||
|
becomes a dark wall behind the sheltering ring of willows.
|
||
|
She shakes Jake, shouting at him in Na'vi to wake up.
|
||
|
|
||
|
92.
|
||
|
|
||
|
|
||
|
|
||
|
NEYTIRI
|
||
|
Jake! Wake up! Where ever you are, come
|
||
|
back to me now. Jake!
|
||
|
|
||
|
INT. SHACK - DAWN
|
||
|
|
||
|
HUMAN JAKE is in a hurry to get back to the link. GRACE,
|
||
|
still groggy, chases him with coffee and microwaved eggs.
|
||
|
|
||
|
GRACE
|
||
|
Here -- eat this. I'd hate to have to
|
||
|
force-feed a cripple.
|
||
|
|
||
|
She slams the lid shut before he can enter and sticks the
|
||
|
plate under his nose.
|
||
|
|
||
|
GRACE
|
||
|
(GRINNING)
|
||
|
She's not going anywhere.
|
||
|
|
||
|
He sighs heavily and starts wolfing the eggs.
|
||
|
|
||
|
EXT. WILLOW GLADE - DAWN
|
||
|
|
||
|
Neytiri SCREAMS as --
|
||
|
|
||
|
The willows begin to fall before the blade, to be ground
|
||
|
under the treads. AVATAR JAKE is directly in the path. She
|
||
|
tries to lift him, but he is too heavy. She is screaming at
|
||
|
him, frantically trying to wake him, as --
|
||
|
|
||
|
INT. SHACK - DAWN
|
||
|
|
||
|
Jake adjusts himself in the link chair. He hands Grace the
|
||
|
empty plate.
|
||
|
|
||
|
GRACE
|
||
|
And when was the last time you took a
|
||
|
shower? Jesus, Marine.
|
||
|
|
||
|
Jake pushes her hands away and pulls the lid down.
|
||
|
|
||
|
EXT. WILLOW GLADE
|
||
|
|
||
|
AVATAR JAKE wakes up to see --
|
||
|
|
||
|
NEYTIRI dragging him, screaming. He leaps up as --
|
||
|
|
||
|
THE DOZER pushes inexorably into the glade, splintering the
|
||
|
trees, plowing the earth before it.
|
||
|
|
||
|
JAKE RUNS into the path of the bulldozer, waving his arms.
|
||
|
|
||
|
93.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
Hey! Heeeey! Stop! Stop!
|
||
|
|
||
|
He positions himself where the camera-eyes of the robotic
|
||
|
juggernaut will see him.
|
||
|
|
||
|
INT. OPS CENTER - DAY
|
||
|
|
||
|
CLOSE ON MONITOR -- Jake shouts but there's no sound feed.
|
||
|
|
||
|
WIDER as the TRACTOR OPERATOR sees him and pulls back on the
|
||
|
remote throttles. He yells to his SUPERVISOR.
|
||
|
|
||
|
OPERATOR
|
||
|
Hey, I got one of the natives blockin' my
|
||
|
blade here.
|
||
|
|
||
|
This attracts the attention of Selfridge, who comes over to
|
||
|
the workstation.
|
||
|
|
||
|
ON THE SCREEN -- Jake, in his Omaticaya loincloth and
|
||
|
ceremonial body paint, is unrecognizable.
|
||
|
|
||
|
SUPERVISOR
|
||
|
(to Selfridge)
|
||
|
What do we do?
|
||
|
|
||
|
SELFRIDGE
|
||
|
Roll on. He'll move. These people have
|
||
|
to learn that we don't stop.
|
||
|
|
||
|
TIGHT ON THROTTLES as the operator pushes them forward.
|
||
|
|
||
|
ON THE SCREEN Jake stumbles back, tripping, disappears below
|
||
|
the blade for a second -- reappears, running to the side.
|
||
|
|
||
|
EXT. WILLOW GLADE
|
||
|
|
||
|
JAKE grabs a rock and LEAPS onto the dozer. He climbs
|
||
|
quickly to the CAMERA MAST.
|
||
|
|
||
|
SMASH! The rock crashes into the lens of the camera. Jake
|
||
|
beats the rock furiously against it, pounding it to junk.
|
||
|
|
||
|
INT. OPS CENTER
|
||
|
|
||
|
CLOSE ON MONITOR -- as Jake's demonic face is replaced by
|
||
|
noise.
|
||
|
|
||
|
OPERATOR
|
||
|
I'm blind.
|
||
|
|
||
|
He pulls back on the throttles.
|
||
|
|
||
|
94.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. WILLOW GLADE
|
||
|
|
||
|
THE JUGGERNAUT grinds to a stop. But the ROAR of engines
|
||
|
continues because --
|
||
|
|
||
|
MORE DOZERS and TRACTORS advance nearby, crushing the forest
|
||
|
before them. Trees are slashed down by the PLASMA CUTTERS.
|
||
|
Terrified animals flee before the onslaught.
|
||
|
|
||
|
POWERSUITS and TROOPERS stride through the ravaged forest,
|
||
|
blasting anything that moves. A trooper sees Jake on the
|
||
|
dozer. He rips off a BURST and --
|
||
|
|
||
|
Rounds CLANG into metal as Jake dives off the machine. He
|
||
|
grabs Neytiri and they run into concealing foliage. From
|
||
|
behind a screen of leaves, they watch as --
|
||
|
|
||
|
THE DOZERS advance, obliterating the sacred site, leaving
|
||
|
only mud and wood splinters in their path.
|
||
|
|
||
|
CU NEYTIRI, stunned by the nightmarish, unfathomable
|
||
|
wrongness of it. She sobs as the willows die.
|
||
|
|
||
|
INT. OPS CENTER
|
||
|
|
||
|
MINUTES LATER, the operator is playing back the CAMERA'S FEED
|
||
|
for Quaritch and the others.
|
||
|
|
||
|
QUARITCH
|
||
|
Freeze it, right -- there.
|
||
|
|
||
|
ON MONITOR -- the image expands, until Jake's face is clear,
|
||
|
frozen in an animal snarl.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Son of a bitch!
|
||
|
|
||
|
PUSH IN ON QUARITCH as his jaw clenches in cold fury.
|
||
|
|
||
|
He turns and strides toward the door, shouting to his WATCH
|
||
|
COMMANDER as he passes.
|
||
|
|
||
|
QUARITCH
|
||
|
Get me a pilot!
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMONS/HOMETREE - DAY
|
||
|
|
||
|
A RAIDING PARTY of hunters, their bodies painted, raise
|
||
|
weapons overhead. AVATAR GRACE watches with growing alarm.
|
||
|
|
||
|
95.
|
||
|
|
||
|
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Tsu'tey will lead the war party!
|
||
|
|
||
|
Tsu'tey steps forward, face full of hate, raising a war cry
|
||
|
among the hunters.
|
||
|
|
||
|
GRACE
|
||
|
(SUBTITLED)
|
||
|
Please -- this will only make it worse --
|
||
|
|
||
|
TSU'TEY
|
||
|
You do not speak here!
|
||
|
|
||
|
JAKE and NEYTIRI cross the commons toward them. Jake feels
|
||
|
all eyes turn toward him. He takes her arm, stopping her.
|
||
|
|
||
|
JAKE
|
||
|
(to Neytiri, low)
|
||
|
Okay, listen. There's something I have to
|
||
|
tell you. It's gonna be hard. I just
|
||
|
need you to --
|
||
|
|
||
|
He sees TSU'TEY striding toward them, his face a mask of
|
||
|
fury.
|
||
|
|
||
|
TSU'TEY
|
||
|
You!
|
||
|
|
||
|
Tsu'tey walks right up and SLAMS Jake in the chest with both
|
||
|
hands. It is so unexpected, that Jake topples on his ass.
|
||
|
|
||
|
TSU'TEY
|
||
|
You mated with this woman?!
|
||
|
|
||
|
GRACE
|
||
|
Oh shit.
|
||
|
|
||
|
Jake stands. He reaches out for Neytiri. She goes to him,
|
||
|
clutching his hand.
|
||
|
|
||
|
MO'AT
|
||
|
Is this true?
|
||
|
|
||
|
NEYTIRI
|
||
|
(SUBTITLED)
|
||
|
We are mated before Eywa. It is done.
|
||
|
|
||
|
Tsu'tey turns to Mo'at and Eytukan, his face anguished.
|
||
|
|
||
|
96.
|
||
|
|
||
|
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
Neytiri was promised to me! Everything is
|
||
|
changing. Everything is being destroyed!
|
||
|
|
||
|
Tsu'tey points at Jake, his pain shifting to rage.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
These aliens kill everything they touch,
|
||
|
like poison.
|
||
|
|
||
|
MO'AT
|
||
|
Neytiri! If you choose this path, you can
|
||
|
never be Tsahik. Your life will be
|
||
|
wasted.
|
||
|
|
||
|
Neytiri looks at her mother -- sees the grief in her eyes.
|
||
|
|
||
|
NEYTIRI
|
||
|
I have chosen.
|
||
|
|
||
|
Tsu'tey draws his knife and --
|
||
|
|
||
|
TSU'TEY
|
||
|
Yeeeeeaaa!
|
||
|
|
||
|
LUNGES AT JAKE, who's ready this time -- he sidesteps,
|
||
|
blocking the knife, and elbows Tsu'tey HARD in the face.
|
||
|
|
||
|
Tsu'tey reels back, nose bleeding. He starts forward on a
|
||
|
second attack but --
|
||
|
|
||
|
Eytukan grabs his arm and spins him around.
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Stop! This is not a proper challenge.
|
||
|
|
||
|
Tsu'tey glares at Jake while sheathing his knife.
|
||
|
|
||
|
TSU'TEY
|
||
|
I challenge you.
|
||
|
|
||
|
GRACE
|
||
|
Jake, don't --
|
||
|
|
||
|
JAKE
|
||
|
I accept.
|
||
|
CUT TO:
|
||
|
|
||
|
97.
|
||
|
|
||
|
|
||
|
|
||
|
INT./EXT. SAMSON - DAY
|
||
|
|
||
|
QUARITCH rides left seat as Trudy pilots through the
|
||
|
mountains. She glances at him, then toggles the aircom.
|
||
|
|
||
|
TRUDY
|
||
|
Loveshack this is Samson One Six inbound
|
||
|
hot to your pos. I have Colonel Quaritch
|
||
|
with me and --
|
||
|
|
||
|
But Quaritch SLAMS the switch, cutting her off.
|
||
|
|
||
|
QUARITCH
|
||
|
Did I tell you to announce us?
|
||
|
|
||
|
TRUDY
|
||
|
Sorry sir, it's procedure.
|
||
|
|
||
|
INT. SHACK
|
||
|
|
||
|
Norm punches buttons on the comms console.
|
||
|
|
||
|
NORM
|
||
|
Samson One Six? Trudy?
|
||
|
(no answer)
|
||
|
Crap.
|
||
|
|
||
|
He looks helplessly at Jake and Grace's link units -- no way
|
||
|
to warn them.
|
||
|
|
||
|
INT. HOMETREE - DAY
|
||
|
|
||
|
TSU'TEY AND JAKE square off. Each holds a long, solid staff.
|
||
|
The entire clan crowds around them in a circle.
|
||
|
|
||
|
GRACE
|
||
|
What the hell are you doing?
|
||
|
|
||
|
JAKE
|
||
|
It's the only way to get him to goddamn
|
||
|
listen.
|
||
|
|
||
|
TSU'TEY LEAPS at Jake with a sharp cry and Jake parries with
|
||
|
his staff. The staves CLACK off each other as the two
|
||
|
combatants LEAP, DUCK and STRIKE furiously.
|
||
|
|
||
|
Tsu'tey sweeps Jake off his feet with a roundhouse hit to the
|
||
|
ankles, but --
|
||
|
|
||
|
Jake ROLLS out of it and catches Tsu'tey in the belly with
|
||
|
the blunt end.
|
||
|
|
||
|
98.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. SITE 26 - DAY
|
||
|
|
||
|
TRUDY'S SAMSON lands. QUARITCH and a posse of troopers jump
|
||
|
down and rush the Shack.
|
||
|
|
||
|
INT. COMMONS
|
||
|
|
||
|
TSU'TEY wades in with a series of short, sharp blows. Jake
|
||
|
swings with equal fury. Both fighting from the heart.
|
||
|
|
||
|
The staves whistle through the air, and CLACK together like
|
||
|
gunshots. Jake presses hard, and Tsu'tey staggers back,
|
||
|
stumbling as --
|
||
|
|
||
|
Jake lands a SOLID HIT, dropping him to his knees, just as --
|
||
|
|
||
|
INT. SHACK
|
||
|
|
||
|
THE INNER DOOR bangs open and QUARITCH stomps toward Grace's
|
||
|
Link controls.
|
||
|
|
||
|
NORM
|
||
|
Hey, hang on, you can't interrupt a link
|
||
|
in progress, it's dangerous -- wait!
|
||
|
|
||
|
Quaritch shoves him aside and SMACKS his fist down on the
|
||
|
POWER switch. Grace's unit goes dead and --
|
||
|
|
||
|
INT. COMMONS
|
||
|
|
||
|
AVATAR GRACE'S eyes roll back and she keels over. NEYTIRI
|
||
|
barely catches her before she hits the ground.
|
||
|
|
||
|
JAKE parries as Tsu'tey swings but then --
|
||
|
|
||
|
Jake's eyes go blank just as -- K-RACK! Tsu'tey puts one
|
||
|
alongside his head. Jake sprawls, completely inert. Tsu'tey
|
||
|
pokes him with his staff, then raises it and lets out a
|
||
|
piercing VICTORY CRY.
|
||
|
|
||
|
INT. SHACK - DAY
|
||
|
|
||
|
JAKE SLAMS OPEN the Link, amped from the fight, furious --
|
||
|
|
||
|
JAKE
|
||
|
Are you out of your goddamn mind?!
|
||
|
|
||
|
QUARITCH
|
||
|
You crossed a line.
|
||
|
|
||
|
Quaritch PUNCHES HIM HARD. Jake flops back, dazed. The
|
||
|
troopers yank him out and ZIP-TIE his wrists.
|
||
|
|
||
|
99.
|
||
|
|
||
|
|
||
|
|
||
|
INT. COMMONS
|
||
|
|
||
|
TSU'TEY draws his KNIFE, and bends down, grabbing Jake by the
|
||
|
hair.
|
||
|
|
||
|
TSU'TEY
|
||
|
(SUBTITLED)
|
||
|
This is a demon in a false body. It
|
||
|
should not live.
|
||
|
|
||
|
He puts his knife to Jake's throat but --
|
||
|
|
||
|
NEYTIRI BLIND-SIDES him at full tilt. Tsu'tey sprawls, rolls,
|
||
|
comes up to see --
|
||
|
|
||
|
Neytiri crouched like a lioness over Jake, her KNIFE and
|
||
|
teeth bared, her ears flattened. She SNARLS with primal
|
||
|
fury.
|
||
|
|
||
|
Tsu'tey stands panting. He pushes through the crowd and walks
|
||
|
away, calling for his hunters.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. OPS CENTER - DUSK
|
||
|
|
||
|
TIGHT ON MONITOR -- showing JAKE'S AVATAR FACE on the dozer
|
||
|
camera, as he pounds a rock into the lens. The shot FREEZES
|
||
|
on Jake's ANIMAL SNARL.
|
||
|
|
||
|
WIDER -- HUMAN JAKE sits, bruised and bleeding, watching
|
||
|
himself on the monitor. GRACE and NORM stand nearby, rubbing
|
||
|
their wrists where the zip-ties bit in. SELFRIDGE and
|
||
|
QUARITCH watch with disdain.
|
||
|
|
||
|
QUARITCH
|
||
|
You let me down, son. You got a little
|
||
|
local pussy and completely forgot what
|
||
|
team you play for.
|
||
|
|
||
|
Jake meets his gaze with a defiant glare.
|
||
|
|
||
|
GRACE
|
||
|
Parker, listen, there may still be time
|
||
|
to --
|
||
|
|
||
|
QUARITCH
|
||
|
Shut your fucking hole!
|
||
|
|
||
|
Grace is momentarily stunned by Quaritch's fury. But she
|
||
|
meets it with her own intensity, not backing down an inch.
|
||
|
|
||
|
100.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Or what, Ranger Rick? You gonna shoot
|
||
|
me?
|
||
|
(to Selfridge)
|
||
|
You need to muzzle your dog!
|
||
|
|
||
|
SELFRIDGE
|
||
|
Can we just take this down a couple
|
||
|
notches, please.
|
||
|
|
||
|
JAKE
|
||
|
(to Quaritch)
|
||
|
You say you want to keep your people
|
||
|
alive. Start by listening to her.
|
||
|
|
||
|
Jake nods to Grace to continue.
|
||
|
|
||
|
GRACE
|
||
|
(to Selfridge)
|
||
|
This is bad, Parker. Those trees were
|
||
|
sacred to the Omaticaya in a way you
|
||
|
can't imagine.
|
||
|
|
||
|
SELFRIDGE
|
||
|
You know what? You throw a stick in the
|
||
|
air around here it falls on some sacred
|
||
|
fern.
|
||
|
|
||
|
GRACE
|
||
|
I'm not talking about pagan voodoo here --
|
||
|
I'm talking about something real and
|
||
|
measurable in the biology of the forest.
|
||
|
|
||
|
SELFRIDGE
|
||
|
(FRUSTRATED)
|
||
|
Which is what exactly?
|
||
|
|
||
|
Grace's nerve fails. A rush of conflicting emotions -- the
|
||
|
need to act, to do something, colliding with her scientific
|
||
|
rigor.
|
||
|
|
||
|
GRACE
|
||
|
(to Jake)
|
||
|
I can't do this. How am I supposed to
|
||
|
reduce years of work to a sound bite for
|
||
|
the illiterate?
|
||
|
|
||
|
JAKE
|
||
|
Just tell him what you know in your
|
||
|
heart.
|
||
|
|
||
|
She turns to Parker, steeling herself.
|
||
|
|
||
|
101.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Alright, look -- I don't have the answers
|
||
|
yet, I'm just now starting to even frame
|
||
|
the questions. What we think we know --
|
||
|
is that there's some kind of
|
||
|
electrochemical communication between the
|
||
|
roots of the trees. Like the synapses
|
||
|
between neurons. Each tree has ten to the
|
||
|
fourth connections to the trees around
|
||
|
it, and there are ten to the twelfth
|
||
|
trees on Pandora --
|
||
|
|
||
|
SELFRIDGE
|
||
|
That's a lot I'm guessing.
|
||
|
|
||
|
GRACE
|
||
|
That's more connections than the human
|
||
|
brain. You get it? It's a network -- a
|
||
|
global network. And the Na'vi can access
|
||
|
it -- they can upload and download data --
|
||
|
memories -- at sites like the one you
|
||
|
destroyed.
|
||
|
|
||
|
SELFRIDGE
|
||
|
What the hell have you people been
|
||
|
smoking out there? They're just.
|
||
|
Goddamn. Trees.
|
||
|
|
||
|
GRACE
|
||
|
You need to wake up, Parker. The wealth
|
||
|
of this world isn't in the ground -- it's
|
||
|
all around us. The Na'vi know that, and
|
||
|
they're fighting to defend it. If you
|
||
|
want to share this world with them, you
|
||
|
need to understand them.
|
||
|
|
||
|
QUARITCH
|
||
|
We understand them just fine. Thanks to
|
||
|
Jake here.
|
||
|
|
||
|
Jake shares a look of alarm with Grace as Quaritch selects a
|
||
|
NEW CLIP on the main monitor --
|
||
|
|
||
|
TIGHT ON MONITOR -- VIDEO-LOG IMAGE of Jake, looking haggard
|
||
|
and borderline deranged, rambling in a late-night monologue.
|
||
|
|
||
|
JAKE (RECORDED)
|
||
|
They're not going to give up their home --
|
||
|
they're not gonna make a deal. For what?
|
||
|
Lite beer and shopping channel? There's
|
||
|
nothing we have that they want. We're a
|
||
|
horror to them. We're the monsters from
|
||
|
space.
|
||
|
|
||
|
102.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE watches with a growing dread as his words condemn the
|
||
|
people he has grown to love.
|
||
|
|
||
|
JAKE (RECORDED)
|
||
|
They're never going to leave Hometree.
|
||
|
|
||
|
Quaritch FREEZES the recording.
|
||
|
|
||
|
QUARITCH
|
||
|
Since a deal can't be made -- it gets
|
||
|
real simple.
|
||
|
(to Jake, icily)
|
||
|
So thanks. I'm getting all emotional. I
|
||
|
might just give you a big wet kiss.
|
||
|
|
||
|
GRACE
|
||
|
Parker, we have to talk, like rational
|
||
|
people.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Well, I'd cherish that, but unfortunately
|
||
|
you're out of here on the next shuttle.
|
||
|
All of you. I'm shutting down the Avatar
|
||
|
Program, effective now.
|
||
|
|
||
|
ON JAKE, GRACE AND NORM, speechless.
|
||
|
SLOW DISSOLVE TO:
|
||
|
|
||
|
A WALL OF FIRE. Silhouettes of direhorse riders cross in SLOW
|
||
|
MOTION, spears and bows held high.
|
||
|
|
||
|
INT. OPS CENTER - MORNING
|
||
|
|
||
|
MONITOR SCREEN IMAGE -- WAINFLEET pans a camera across the
|
||
|
smoldering hulks of BURNED DOZERS. The toppled remains of a
|
||
|
charred ampsuit. Dead troopers bristling with arrows.
|
||
|
|
||
|
WAINFLEET
|
||
|
They hit with banshees first. Set the
|
||
|
ampsuit on fire. Driver's toast.
|
||
|
|
||
|
Quaritch and Selfridge look on grimly.
|
||
|
|
||
|
QUARITCH
|
||
|
The rest of the squad?
|
||
|
|
||
|
WAINFLEET
|
||
|
Six bodies -- that's all of `em. And the
|
||
|
equipment is totalled.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Christ.
|
||
|
|
||
|
103.
|
||
|
|
||
|
|
||
|
|
||
|
INT. SELFRIDGE'S OFFICE - DAY
|
||
|
|
||
|
Selfridge is stares soberly as Quaritch outlines the plan.
|
||
|
|
||
|
QUARITCH
|
||
|
I can do it with minimal casualties to
|
||
|
the indigenous. We'll clear them out
|
||
|
with gas first. It'll be humane. More or
|
||
|
less.
|
||
|
|
||
|
Selfridge sighs and rubs his face.
|
||
|
|
||
|
QUARITCH
|
||
|
Hey, don't go limp on me now. This is
|
||
|
exactly the incident we needed.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Alright, let's pull the trigger.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. BIO LAB
|
||
|
|
||
|
MAX and the lab staff are glumly packing files and equipment,
|
||
|
under the watchful eye of armed SEC-OPS TROOPERS. JAKE,
|
||
|
GRACE, NORM stare bleakly at each other.
|
||
|
|
||
|
GRACE
|
||
|
They bulldozed a sacred site on purpose,
|
||
|
to trigger a response. They're
|
||
|
fabricating this war to get what they
|
||
|
want.
|
||
|
|
||
|
NORM
|
||
|
I can't believe that.
|
||
|
|
||
|
JAKE
|
||
|
Yup. That's how it's done. When people
|
||
|
are sitting on shit you want, you make
|
||
|
them your enemy. Then you're justified in
|
||
|
taking it.
|
||
|
|
||
|
TRUDY RUNS into the lab, breathless. She's wearing full
|
||
|
flight gear and carrying her helmet.
|
||
|
|
||
|
TRUDY
|
||
|
Sec-ops is rolling the gunships. They're
|
||
|
gonna hit Hometree!
|
||
|
|
||
|
JAKE
|
||
|
When?
|
||
|
|
||
|
TRUDY
|
||
|
Now. We're spooling up now! I gotta go.
|
||
|
|
||
|
104.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
My God.
|
||
|
|
||
|
Jake pumps furiously toward the door, Grace following.
|
||
|
|
||
|
INT. OPS CENTER - DAY
|
||
|
|
||
|
SELFRIDGE surveys the airfield, where crews swarm over the
|
||
|
gunships, loading ordnance. He turns as JAKE and GRACE
|
||
|
charge toward him.
|
||
|
|
||
|
GRACE
|
||
|
Parker, wait. Stop! These are people
|
||
|
you're about to --
|
||
|
|
||
|
SELFRIDGE
|
||
|
They're fly-bitten savages who live in a
|
||
|
tree! Look around -- I don't know about
|
||
|
you but I see a lot of trees. They can
|
||
|
move.
|
||
|
|
||
|
GRACE
|
||
|
For God's sake, there are children in
|
||
|
there. Babies!
|
||
|
|
||
|
JAKE
|
||
|
Look Selfridge, you don't want this kind
|
||
|
of blood on your hands. Let me try to
|
||
|
talk them out. They trust me.
|
||
|
|
||
|
ON SELFRIDGE, considering this.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
SELFRIDGE and an escort of armed TROOPERS accompany Jake and
|
||
|
Grace to the links. The two enter their units, as NORM and
|
||
|
MAX prep the system.
|
||
|
|
||
|
SELFRIDGE
|
||
|
You've got one hour. Unless you want
|
||
|
your girlfriend in there when the axe
|
||
|
comes down, you get them to evacuate. One
|
||
|
hour.
|
||
|
|
||
|
Jake lowers the upper clamshell. Norm starts the sequence.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMONS -DAY
|
||
|
|
||
|
The entire clan is gathered, with Eytukan and Mo'at
|
||
|
presiding. Jake looks around, feeling the gaze of the People
|
||
|
upon him. He steels himself, and speaks in clear Na'vi --
|
||
|
|
||
|
105.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
(SUBTITLED)
|
||
|
Eytukan, I have something to say, to
|
||
|
everyone.
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Speak, Jakesully.
|
||
|
|
||
|
JAKE
|
||
|
(SUBTITLED)
|
||
|
A great evil is upon us. The Sky People
|
||
|
are coming to destroy Hometree. They
|
||
|
will be here soon.
|
||
|
|
||
|
A murmur of fear and anger goes through the crowd.
|
||
|
|
||
|
JAKE
|
||
|
(SUBTITLED)
|
||
|
You have to leave, or you will die.
|
||
|
|
||
|
MO'AT
|
||
|
Are you certain of this?
|
||
|
|
||
|
JAKE
|
||
|
They sent me here to learn your ways. So
|
||
|
one day I could bring this message, and
|
||
|
you would believe it.
|
||
|
|
||
|
NEYTIRI
|
||
|
What are you saying, Jake? You knew this
|
||
|
would happen?
|
||
|
|
||
|
He is unable to meet her eyes.
|
||
|
|
||
|
JAKE
|
||
|
Yes.
|
||
|
(ANGUISHED)
|
||
|
At first it was just orders. Then
|
||
|
everything changed. I fell in love--
|
||
|
with the forest, with the Omaticaya
|
||
|
People --
|
||
|
(he looks at her)
|
||
|
-- with you. And by then, how could I
|
||
|
tell you?
|
||
|
|
||
|
Neytiri can barely breathe. She is shaking with the enormity
|
||
|
of it, her voice cracking with rage and pain --
|
||
|
|
||
|
NEYTIRI
|
||
|
I trusted you, Jake!
|
||
|
|
||
|
106.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
Neytiri. Please, I only wanted to --
|
||
|
|
||
|
NEYTIRI
|
||
|
You will never be one of the People!
|
||
|
NEVER!
|
||
|
|
||
|
TSU'TEY yells to his HUNTERS --
|
||
|
|
||
|
TSUTEY
|
||
|
(SUBTITLED)
|
||
|
Bind them.
|
||
|
|
||
|
They grab Jake, who doesn't resist. Others seize Grace.
|
||
|
Both are driven to their knees, and their arms bound.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
SCORPION GUNSHIPS darken the sky as they come over the tops
|
||
|
of the trees. At the head of the formation is one much
|
||
|
larger ship, a monster 150 feet long -- the GENERAL DYNAMICS
|
||
|
C-21 DRAGON GUNSHIP.
|
||
|
|
||
|
Quaritch, next to the pilot of the Dragon, surveys the world
|
||
|
below like Napoleon astride his horse.
|
||
|
|
||
|
EXT. HOMETREE
|
||
|
|
||
|
JAKE and GRACE are lashed to posts at the front entrance to
|
||
|
Hometree. The People look up as --
|
||
|
|
||
|
THE DRAGON and its escort of GUNSHIPS arrive over the trees.
|
||
|
The DOWN-BLAST from their rotors creates a maelstrom of
|
||
|
flying leaves and debris.
|
||
|
|
||
|
IN THE DRAGON COCKPIT Quaritch watches a targeting screen --
|
||
|
a telescopic image of Jake and Grace tied to posts.
|
||
|
|
||
|
QUARITCH
|
||
|
Well, I'd say diplomacy has failed.
|
||
|
|
||
|
TSU'TEY and another HUNTER hold knives to the throats of the
|
||
|
two avatars, glaring defiantly at the gunships.
|
||
|
|
||
|
QUARITCH
|
||
|
I think they mean to cut their throats if
|
||
|
we don't back off. Make sure you get a
|
||
|
nice close-up of that. I can tack it onto
|
||
|
the after-action report.
|
||
|
|
||
|
JAKE YELLS to Neytiri, Tsu'tey, the others gathered nearby --
|
||
|
|
||
|
107.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
You have to get out of Hometree! Run to
|
||
|
the forest! Please, I'm begging you!
|
||
|
|
||
|
EYTUKAN scowls at Jake, then GRABS TSU'TEY and yells --
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Take the ikran! Attack from above!
|
||
|
|
||
|
Tsu'tey grabs some hunters and runs up the roots of Hometree.
|
||
|
|
||
|
IN THE COCKPIT Quaritch grows impatient.
|
||
|
|
||
|
QUARITCH
|
||
|
Alright, let's get this done. Give me
|
||
|
forty millimeter gas rounds, right in the
|
||
|
front door.
|
||
|
|
||
|
GUNNER
|
||
|
Roger. CS forties. Going hot.
|
||
|
|
||
|
QUARITCH
|
||
|
Fire.
|
||
|
|
||
|
On the Dragon's stub-wings the 40mm ROCKET LAUNCHERS open up
|
||
|
with a BARRAGE of leaping fire which FLASHES down and --
|
||
|
|
||
|
K-WHOOM!K-WHOOM!K-WHOOM! -- the inside of Hometree ERUPTS
|
||
|
with multiple EXPLOSIONS of TEARGAS.
|
||
|
|
||
|
THE GAS rolls across the confused villagers. They begin to
|
||
|
cough and gag.
|
||
|
|
||
|
Eytukan and the remaining HUNTERS bravely fire at the
|
||
|
gunships with their longbows.
|
||
|
|
||
|
IN THE DRAGON'S COCKPIT, Quaritch laughs as arrows CLINK
|
||
|
against the armored windows.
|
||
|
|
||
|
AMID CLOUDS of teargas, the Omaticaya run, stumble, collapse.
|
||
|
|
||
|
EYTUKAN
|
||
|
(yelling/subtitled)
|
||
|
Everybody outside! Go to the Forest.
|
||
|
|
||
|
The villagers pour out of Hometree. Everyone is yelling.
|
||
|
Piercing SCREAMS in the boiling gas.
|
||
|
|
||
|
JAKE, eyes streaming, struggles with his bindings.
|
||
|
|
||
|
KA-WHOOM! An INCENDIARY ROUND explodes inside the Commons.
|
||
|
FLAMES ROAR through the base of Hometree.
|
||
|
|
||
|
108.
|
||
|
|
||
|
|
||
|
|
||
|
INSIDE HOMETREE it is a burning smoky HELL. Flames roar up
|
||
|
the inside like a chimney. STRAGGLERS scramble outside,
|
||
|
coughing and dragging wounded with them.
|
||
|
|
||
|
High up in the trunk, TSU'TEY and his hunters leap rapidly
|
||
|
from spoke to spoke, climbing barely ahead of the fireball.
|
||
|
|
||
|
OUTSIDE the fire is driven by the rotor-wash toward JAKE and
|
||
|
GRACE who are still bound tightly to the posts.
|
||
|
|
||
|
Out of the smoke, MO'AT appears in front of Jake. She raises
|
||
|
a KNIFE and --
|
||
|
|
||
|
SLASHES DOWNWARD. Jake looks down, surprised, to see his
|
||
|
bonds falling away. He meets her eyes, which are filled with
|
||
|
horror, but also something else. Call it faith.
|
||
|
|
||
|
MO'AT
|
||
|
You are one of us. Help us!
|
||
|
|
||
|
Jake takes the knife and cuts Grace free.
|
||
|
|
||
|
JAKE
|
||
|
We've gotta move! He's gonna blow the
|
||
|
columns.
|
||
|
|
||
|
As Grace realizes what he means, he grabs her and they RUN.
|
||
|
Around them the Omaticaya flee in horror and confusion.
|
||
|
|
||
|
IN THE COCKPIT, Quaritch watches as the Omaticaya stream away
|
||
|
from the Great Tree, running along roots and branches.
|
||
|
|
||
|
QUARITCH
|
||
|
That's how you scatter the roaches. Okay,
|
||
|
switch missiles. Give me H-E's at the
|
||
|
base of the west columns.
|
||
|
|
||
|
PILOTS (V.O.)
|
||
|
Copy, switching missiles.
|
||
|
|
||
|
IN TRUDY'S SAMSON -- she hears the other pilots acknowledging
|
||
|
Quaritch's order.
|
||
|
|
||
|
TRUDY
|
||
|
Screw it.
|
||
|
|
||
|
She takes her finger OFF the fire-control and pulls her
|
||
|
aircraft out of formation.
|
||
|
|
||
|
PUSHING IN ON QUARITCH, the Hometree reflecting in his
|
||
|
glasses.
|
||
|
|
||
|
109.
|
||
|
|
||
|
|
||
|
|
||
|
QUARITCH
|
||
|
Bring it down.
|
||
|
|
||
|
MISSILES stream down from the DRAGON and the other gunships
|
||
|
and --
|
||
|
|
||
|
The base of Hometree VANISHES in a chain of HIGH-EXPLOSIVE
|
||
|
BLASTS. The massive PILLARS fragment into matchsticks, and --
|
||
|
|
||
|
The Omaticaya watch in horror as --
|
||
|
|
||
|
HOMETREE GROANS and starts to MOVE.
|
||
|
|
||
|
In a cacophony of cracking, splintering roots, the mighty
|
||
|
tree TOPPLES with agonizing slowness.
|
||
|
|
||
|
AT THE BANSHEE EYRIE, TSU'TEY and the other hunters spur
|
||
|
their mounts into flight. They swoop among the branches as
|
||
|
the tree, the one fixed thing in their lives, MOVES.
|
||
|
|
||
|
It CRASHES DOWN through the forest canopy, crushing the
|
||
|
lesser trees in its path, FALLING PONDEROUSLY.
|
||
|
|
||
|
HOMETREE hits the ground like the end of the world, raising a
|
||
|
great cloud of dust and pulverized debris.
|
||
|
|
||
|
IN THE DRAGON cockpit, Quaritch surveys the destruction.
|
||
|
|
||
|
QUARITCH
|
||
|
Nice work people. Alright, let's light
|
||
|
it up.
|
||
|
|
||
|
INCENDIARIES launch from the gunships, EXPLODING into gouts
|
||
|
of FIRE in the debris of Hometree.
|
||
|
|
||
|
THE GUNSHIPS fan the flames through the trees like a fire-
|
||
|
storm. The Omaticaya retreat as a WALL OF FIRE advances.
|
||
|
|
||
|
JAKE SEARCHES for Neytiri amid swirling smoke and sparks.
|
||
|
|
||
|
JAKE
|
||
|
Neytiri! Neytiri!
|
||
|
|
||
|
GRACE is gathering crying CHILDREN, and herding them away
|
||
|
from the fire-storm.
|
||
|
|
||
|
NEYTIRI stumbles through the burning wreckage at the edge of
|
||
|
the INFERNO. She sees --
|
||
|
|
||
|
EYTUKAN. A large shard of wood is driven through him like a
|
||
|
spear. He recognizes her as she kneels over him.
|
||
|
|
||
|
110.
|
||
|
|
||
|
|
||
|
|
||
|
EYTUKAN
|
||
|
(SUBTITLED)
|
||
|
Daughter -- take my bow. Protect the
|
||
|
People.
|
||
|
|
||
|
In his last living moment he places his bow in her hands.
|
||
|
|
||
|
She collapses over him, her face crumpling in grief.
|
||
|
|
||
|
JAKE reels out of the smoke. Kneels next to her.
|
||
|
|
||
|
JAKE
|
||
|
I'm sorry --
|
||
|
|
||
|
She shoves him away and stands, screaming at him as tears
|
||
|
stream down her face.
|
||
|
|
||
|
NEYTIRI
|
||
|
Get away from me, Jake. Go away! Never
|
||
|
come back!
|
||
|
|
||
|
Jake stumbles back as she slumps down by her father's body.
|
||
|
Sparks and smoke swirl around him. He watches as --
|
||
|
|
||
|
NETYIRI kneels, grieving. Slumped over, clutching her
|
||
|
stomach. Keening like an animal.
|
||
|
|
||
|
SLOW MOTION -- Jake staggers lost and alone through the
|
||
|
burning forest. Utterly shattered. Eyes vacant.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I was a warrior who dreamed he could
|
||
|
bring peace. Sooner or later though, you
|
||
|
always have to wake up...
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
SELFRIDGE watches a video feed of the destruction on one of
|
||
|
the monitors. Max and NORM stare in shock.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Pull the plug.
|
||
|
|
||
|
A TROOPER crosses to the console and grabs the handle of the
|
||
|
MASTER BREAKER --
|
||
|
|
||
|
EXT. RAINFOREST
|
||
|
|
||
|
The strings are cut. Jake flops to the ground, limp.
|
||
|
|
||
|
Elsewhere in the smoky Hell, Grace slumps unconscious. The
|
||
|
crying kids pull at her. Mo'at, leading a group of
|
||
|
Omaticaya, comes upon the scene.
|
||
|
|
||
|
111.
|
||
|
|
||
|
|
||
|
|
||
|
She grabs the kids and pulls them away, leaving Grace's
|
||
|
avatar helpless in the path of the flames. She hesitates,
|
||
|
then --
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
Bring her.
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
BLACKNESS. Then the top clamshell of Jake's unit is yanked
|
||
|
upward, and troopers grab him, zip-tie his wrists as we --
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DUSK
|
||
|
|
||
|
ON A HILLSIDE -- a grieving Neytiri stands with Mo'at and the
|
||
|
Omaticaya refugees. Two hunters pull Grace's avatar on a
|
||
|
travois.
|
||
|
|
||
|
They watch as the flames burn like a funeral pyre below. A
|
||
|
great pall of smoke darkens the landscape.
|
||
|
DISSOLVE TO:
|
||
|
|
||
|
INT. LOCK-UP - NIGHT
|
||
|
|
||
|
Jake, Grace, and Norm are in a common holding cell. They
|
||
|
sit, staring in silence. Too wired to sleep, too emotionally
|
||
|
drained to move.
|
||
|
|
||
|
GRACE
|
||
|
They never wanted us to succeed.
|
||
|
|
||
|
AT THE DESK OUTSIDE, the lone TROOPER looks up as --
|
||
|
|
||
|
TRUDY approaches along the corridor, pushing a stainless
|
||
|
steel trolley.
|
||
|
|
||
|
TRUDY
|
||
|
Personally I think steak's too good for
|
||
|
these traitors.
|
||
|
|
||
|
GUARD
|
||
|
They get steak? That's bullshit. Let me
|
||
|
see that --
|
||
|
|
||
|
The guard bends to look into the hot cart and --
|
||
|
|
||
|
THE MUZZLE of Trudy's pistol presses behind his ear.
|
||
|
|
||
|
112.
|
||
|
|
||
|
|
||
|
|
||
|
TRUDY
|
||
|
Oops.
|
||
|
(shoving him down)
|
||
|
All the way down, pendejo.
|
||
|
|
||
|
She WHISTLES and MAX trots around the corner.
|
||
|
|
||
|
Trudy binds the guard with one of his own zip-ties as Max
|
||
|
grabs his KEY CARD and runs to the cell. Swipes the card.
|
||
|
The door is rolling open when --
|
||
|
|
||
|
ANOTHER TROOPER rounds the corner. Trudy takes him down with
|
||
|
a sharp BLOW to the windpipe and a THAI KNEE to the ribs.
|
||
|
|
||
|
Meanwhile the first TROOPER is getting up, but Max CLOCKS him
|
||
|
heartily with a coffee urn. He goes down and stays down.
|
||
|
|
||
|
MAX
|
||
|
That was unexpectedly satisfying.
|
||
|
|
||
|
Trudy plants a kiss on Norm as he runs out of the cell.
|
||
|
|
||
|
NORM
|
||
|
Baby, you rock.
|
||
|
|
||
|
Jake wheels out, grabbing the sidearm from the fallen trooper
|
||
|
as Trudy binds his wrists.
|
||
|
|
||
|
JAKE
|
||
|
(to Max and Trudy)
|
||
|
Thanks.
|
||
|
|
||
|
Jake faces his motley group, chambering a round.
|
||
|
|
||
|
JAKE
|
||
|
So what do you say? Time for a
|
||
|
revolution?
|
||
|
|
||
|
GRACE
|
||
|
I'm free.
|
||
|
|
||
|
Trudy grins and taps his fist.
|
||
|
|
||
|
JAKE
|
||
|
Come on.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. UTILIDOR
|
||
|
|
||
|
In the utility corridor under the base, Jake pumps the chair
|
||
|
furiously, as the others jog. They reach an AIRLOCK and start
|
||
|
donning EXOPACKS.
|
||
|
|
||
|
113.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
(to Trudy)
|
||
|
Get your ship fired up.
|
||
|
|
||
|
Trudy nods. She grabs Norm and enters the airlock. Jake
|
||
|
turns to Max.
|
||
|
|
||
|
JAKE
|
||
|
Stay here. I need somebody on the inside
|
||
|
I can trust.
|
||
|
|
||
|
Max nods. Jake grips his hand tightly.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. AIRFIELD - NIGHT
|
||
|
|
||
|
IN THE SAMSON, Norm is helping Trudy race through the
|
||
|
preflight checks as the turbines spool up. A LIGHT hits
|
||
|
them.
|
||
|
|
||
|
An armored TROOPER approaches, aiming his AR at them.
|
||
|
|
||
|
TROOPER
|
||
|
I need you to shut down and step out of
|
||
|
the vehicle! Now!
|
||
|
|
||
|
JAKE rolls up behind him, aiming his pistol.
|
||
|
|
||
|
JAKE
|
||
|
Take it nice and easy, troop.
|
||
|
|
||
|
The trooper turns, sees the gun.
|
||
|
|
||
|
JAKE
|
||
|
On the ground, face down. Hands behind
|
||
|
your head.
|
||
|
|
||
|
The trooper hesitates.
|
||
|
|
||
|
GRACE
|
||
|
Do what he goddamn says!
|
||
|
|
||
|
He does. Norm jumps down and grabs the trooper's rifle and
|
||
|
side-arm, covering him, while Grace helps Jake from chair to
|
||
|
the back bay of the chopper. She throws his chair in, and
|
||
|
jumps in herself.
|
||
|
|
||
|
JAKE
|
||
|
Go! Go! Go!
|
||
|
|
||
|
114.
|
||
|
|
||
|
|
||
|
|
||
|
INT. OPS CENTER - NIGHT
|
||
|
|
||
|
QUARITCH, watching a monitor, sees what's happening down at
|
||
|
the airfield. He slams his palm down on an ALARM BUTTON.
|
||
|
|
||
|
He draws his PISTOL. Strides toward the EMERGENCY DOOR. He
|
||
|
undogs it.
|
||
|
|
||
|
EXT. OPS CENTER/AIRFIELD - NIGHT
|
||
|
|
||
|
HOLDING HIS BREATH Quaritch yanks the hatch open and strides
|
||
|
onto the outer landing. Inside people scramble for MASKS.
|
||
|
|
||
|
THE SAMSON lifts off in a blast of rotor-wash just as --
|
||
|
|
||
|
QUARITCH OPENS FIRE and --
|
||
|
|
||
|
ROUNDS rake the ship. Trudy banks hard, using the bottom to
|
||
|
shield them. Bullets WHACK into the ship as she climbs-out
|
||
|
over the tree-line.
|
||
|
|
||
|
Jake's fist pumps the air exultantly.
|
||
|
|
||
|
JAKE
|
||
|
Oh yeah, baby!
|
||
|
|
||
|
GRACE
|
||
|
Aaahh, crap. Not again.
|
||
|
|
||
|
He looks over at Grace and freezes. She is looking down at a
|
||
|
BLOODY HAND. She clutches her abdomen, covering the
|
||
|
spreading stain. Looks at Jake, wide-eyed.
|
||
|
|
||
|
GRACE
|
||
|
This is gonna ruin my whole day.
|
||
|
|
||
|
JAKE
|
||
|
Hang on, Grace.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. SHACK / SITE 26 - NIGHT
|
||
|
|
||
|
NORM'S AVATAR, with an AR slung over his shoulder, stands on
|
||
|
the roof of the LINK MODULE. He gives a thumbs up signal.
|
||
|
The lift cable goes taut and --
|
||
|
|
||
|
The shack LIFTS OFF THE GROUND.
|
||
|
|
||
|
Trudy's Samson beats the grass of the mountain meadow,
|
||
|
straining to lift the module on a long-line sling. The shack
|
||
|
sways as Trudy banks across forested slopes and heads deeper
|
||
|
into the HALLELUJAH MOUNTAINS.
|
||
|
|
||
|
115.
|
||
|
|
||
|
|
||
|
|
||
|
INT. SAMSON CABIN - NIGHT
|
||
|
|
||
|
Outside the windows, clouds and cliffs pass by, lit by
|
||
|
Polyphemus.
|
||
|
|
||
|
Jake is yanking stuff out of the Samson's trauma bag, while
|
||
|
Grace lies curled across two back seats, hugging her blood-
|
||
|
soaked abdomen. She is pale and shocky.
|
||
|
|
||
|
Trudy is flying on visual only, by the light of Polyphemus.
|
||
|
Her instruments are showing gibberish.
|
||
|
|
||
|
TRUDY
|
||
|
Well, at least they won't be able to
|
||
|
track us up here. Not this deep in the
|
||
|
vortex.
|
||
|
|
||
|
JAKE
|
||
|
It's strongest at the Well of Souls,
|
||
|
right?
|
||
|
|
||
|
TRUDY
|
||
|
Yeah.
|
||
|
|
||
|
JAKE
|
||
|
Good, `cause that's where we're going.
|
||
|
|
||
|
TRUDY
|
||
|
Copy.
|
||
|
|
||
|
He gives Grace an ampule of morphine for the pain.
|
||
|
|
||
|
JAKE
|
||
|
I'm gonna get you some help, Grace.
|
||
|
|
||
|
GRACE
|
||
|
Forget it, it doesn't matter.
|
||
|
|
||
|
Jake grabs her shoulders.
|
||
|
|
||
|
JAKE
|
||
|
No! The People can help you. I know it.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. WELL OF SOULS - AERIAL - DAWN
|
||
|
|
||
|
Dawn light paints the massive ARCHES of magnetic rock above
|
||
|
the Well of Souls.
|
||
|
|
||
|
Tiny as an insect, the SAMSON passes.
|
||
|
|
||
|
116.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
The Well of Souls. The heart of the
|
||
|
forest. I knew the People would go
|
||
|
there.
|
||
|
|
||
|
EXT. WELL OF SOULS - DAWN
|
||
|
|
||
|
The WELL OF SOULS is a deep caldera 100 meters across. It is
|
||
|
ringed with enormous WILLOWS whose roots seem to pour down
|
||
|
the sheer rock walls like candle wax.
|
||
|
|
||
|
AT THE BOTTOM, in a natural amphitheater, the Omaticaya
|
||
|
refugees are clustered around a central rock outcropping
|
||
|
which forms a kind of dais and altar.
|
||
|
|
||
|
Shafts of dawn light reach to the bottom of the grotto,
|
||
|
lighting a single willow -- the MOTHER TREE. Ancient and
|
||
|
gnarled, it grows in the center of the rock.
|
||
|
|
||
|
Its ROOTS spread down to the grotto floor, where they merge
|
||
|
with the roots of the willows ringing the Well -- forming a
|
||
|
braided mat resembling the surface of a brain.
|
||
|
|
||
|
Mo'at stands on the dais, leading them in a CHANT.
|
||
|
|
||
|
MO'AT
|
||
|
(SUBTITLED)
|
||
|
Wise ancestors who live within Eywa,
|
||
|
guide us. Give us a sign.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. FOREST CLEARING - DAWN
|
||
|
|
||
|
The shack descends from the sky like a gift from the gods.
|
||
|
It bumps to the ground.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SHACK -- DAY
|
||
|
|
||
|
Grace lies, comatose, in her open link. Trudy gives Jake a
|
||
|
look that says "not much time." Jake feels Grace's cold
|
||
|
forehead, then crosses to his own link.
|
||
|
|
||
|
As Trudy helps him in, Norm rapidly preps the system.
|
||
|
|
||
|
NORM
|
||
|
(LOW)
|
||
|
Tsu'tey is Olo'eyctan now. He's not
|
||
|
going to let you get near that place.
|
||
|
|
||
|
JAKE
|
||
|
I've gotta try, Norm.
|
||
|
|
||
|
117.
|
||
|
|
||
|
|
||
|
|
||
|
Jake pulls the clamshell down and we --
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RUINS OF HOMETREE - DAY
|
||
|
|
||
|
CU JAKE'S AVATAR -- HIS EYES OPEN. He sits up. The forest is
|
||
|
silent, shrouded in smoke that the sun can't penetrate. The
|
||
|
animals have fled. Ash blows on the wind.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Outcast. Betrayer. Alien. To ever face
|
||
|
them again, I was gonna have to change
|
||
|
the rules.
|
||
|
|
||
|
DISSOLVE -- JAKE reaches the top of a rise. The forest
|
||
|
beyond is utterly DEVASTATED. The trees burned and fallen.
|
||
|
Small fires still flicker across a landscape in Hell.
|
||
|
|
||
|
JAKE stares. It is his vision, made real. He stumbles
|
||
|
through the dark wasteland, sparks and ash swirling around
|
||
|
him.
|
||
|
|
||
|
A SCREECH. Jake looks up as --
|
||
|
|
||
|
HIS BANSHEE -- bonded for life -- flaps down to a landing in
|
||
|
front of him. He steps to it, and strokes its head. It
|
||
|
nudges his chest like a horse.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
Sometimes your whole life boils down to
|
||
|
one insane move.
|
||
|
|
||
|
JAKE
|
||
|
Come on, boy. Time to fly.
|
||
|
|
||
|
OMIITED
|
||
|
|
||
|
EXT. MOUNTAINS - DAY
|
||
|
|
||
|
THE GREAT LEONOPTERYX glides effortlessly along the ridge
|
||
|
where Jake and Neytiri first encountered him.
|
||
|
|
||
|
It scans for prey below, its magnificent indigo-crested head
|
||
|
cocking left, then right.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
The way I had it figured, Toruk is the
|
||
|
baddest cat in the sky. Nothing attacks
|
||
|
him. So why would he ever look up?
|
||
|
|
||
|
FROM ABOVE -- THE SMALL SHADOW of Jake's banshee falls across
|
||
|
the back of the mighty Toruk.
|
||
|
|
||
|
118.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
But that was just a theory.
|
||
|
|
||
|
JAKE DIVES and WE RUSH DOWN toward the great beast and our
|
||
|
own shadow then --
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. WELL OF SOULS - LATE AFTERNOON
|
||
|
|
||
|
The Omaticaya people lift their voices in a SONG filled with
|
||
|
tragic loss and yearning for deliverance.
|
||
|
|
||
|
CLOSE ON NEYTIRI, singing. A SHADOW CROSSES HER FACE. She
|
||
|
looks up, and her eyes go wide as --
|
||
|
|
||
|
A TERRIBLE CRY echoes, turning all eyes skyward. AN ENORMOUS
|
||
|
SHADOW covers the crowd as --
|
||
|
|
||
|
TORUK comes out of the sun, beating its huge wings to slow
|
||
|
its descent. Its crimson and black wings, backlit by the
|
||
|
sun, seem to glow from within.
|
||
|
|
||
|
The People CRY OUT in alarm and scatter as the dreaded beast
|
||
|
alights in their midst. And that's when they see --
|
||
|
|
||
|
JAKE, riding high on its shoulders, plugged-in to its
|
||
|
antenna. It folds its wings and stands calmly amid the
|
||
|
paralyzed Na'vi.
|
||
|
|
||
|
Toruk lowers its body. They stare in awe as Jake dismounts
|
||
|
and strokes the magnificent animal's flank.
|
||
|
|
||
|
NEYTIRI, TSU'TEY and MO'AT watch in stunned amazement as the
|
||
|
legendary Rider of Last Shadow walks toward them.
|
||
|
|
||
|
NEYTIRI
|
||
|
(breathing the words)
|
||
|
Toruk Macto.
|
||
|
|
||
|
Neytiri raises her arms.
|
||
|
|
||
|
NEYTIRI
|
||
|
(SHOUTING)
|
||
|
Toruk Macto!
|
||
|
|
||
|
ON THE FACES of the Omaticaya -- new hope dawning in their
|
||
|
eyes. WHISPERS flow among them, the words REPEATED --
|
||
|
|
||
|
CROWD
|
||
|
Toruk Macto... Toruk Macto...
|
||
|
|
||
|
119.
|
||
|
|
||
|
|
||
|
|
||
|
Jake walks through the crowd, straight to Neytiri at the foot
|
||
|
of the dais. He looks into her enormous eyes, and the
|
||
|
emotion between them is powerful and pure.
|
||
|
|
||
|
NEYTIRI
|
||
|
I See you.
|
||
|
|
||
|
JAKE
|
||
|
(a hoarse whisper)
|
||
|
I See you.
|
||
|
|
||
|
Neytiri's eyes brim with tears.
|
||
|
|
||
|
NEYTIRI
|
||
|
I was afraid Jake -- for my people. I'm
|
||
|
not any more.
|
||
|
|
||
|
Jake takes Neytiri's hand and climbs the steps of the dais.
|
||
|
|
||
|
MO'AT steps back in awe as he approaches. He turns to
|
||
|
Tsu'tey, who stares at him with fear and incomprehension.
|
||
|
Jake plays to the rapt crowd as he says --
|
||
|
|
||
|
JAKE
|
||
|
(SUBTITLED)
|
||
|
Tsu'tey of the Rongloa, son of Ateyo. I
|
||
|
stand before you, ready to serve the
|
||
|
People.
|
||
|
(then just for Tsu'tey)
|
||
|
You are Olo'eyctan, and you are the best
|
||
|
warrior. I can't do this without you.
|
||
|
|
||
|
Tsu'tey struggles with his emotions. Finally --
|
||
|
|
||
|
TSU'TEY
|
||
|
I will fly with you.
|
||
|
|
||
|
JAKE
|
||
|
Ireiyo.
|
||
|
|
||
|
JAKE turns to the MATRIARCH.
|
||
|
|
||
|
JAKE
|
||
|
Grace is dying. I beg the help of the
|
||
|
Great Mother.
|
||
|
|
||
|
MO'AT
|
||
|
Bring her, Jakesully.
|
||
|
|
||
|
TIME CUT -- AVATAR JAKE carries Grace's HUMAN BODY, lightly
|
||
|
in his arms like a child. Jake walks through the crowd to
|
||
|
the dais, followed by NORM, who carries GRACE'S AVATAR.
|
||
|
|
||
|
120.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
Look where we are, Grace.
|
||
|
|
||
|
Her eyes flutter open. She looks up wonderingly at the Mother
|
||
|
Tree.
|
||
|
|
||
|
GRACE
|
||
|
(with a wan smile)
|
||
|
I need to take some samples.
|
||
|
|
||
|
Mo'at directs them to lay both bodies among the roots on the
|
||
|
altar-rock.
|
||
|
|
||
|
Mo'at touches Jake's shoulder and he steps back.
|
||
|
|
||
|
MO'AT
|
||
|
(QUIETLY)
|
||
|
The Great Mother may choose to save all
|
||
|
that she is --
|
||
|
|
||
|
Mo'at's hand indicates Grace's AVATAR --
|
||
|
|
||
|
MO'AT
|
||
|
-- in this body.
|
||
|
|
||
|
CU JAKE, realizing the enormity of what she's saying.
|
||
|
|
||
|
JAKE
|
||
|
Is that possible?
|
||
|
|
||
|
MO'AT
|
||
|
Possible, yes. She must pass through the
|
||
|
Eye of Eywa -- and return. But Jakesully--
|
||
|
she is very weak.
|
||
|
|
||
|
Jake kneels next to Grace, taking her tiny human hand in his
|
||
|
avatar hand.
|
||
|
|
||
|
JAKE
|
||
|
Hang on, they're gonna fix you up.
|
||
|
|
||
|
Grace is barely conscious. She grips his hand.
|
||
|
|
||
|
GRACE
|
||
|
I -- always held back. But you gave them
|
||
|
your heart. I'm proud of you, Jake.
|
||
|
|
||
|
Jake feels his throat close with emotion.
|
||
|
|
||
|
Grace's eyes blaze with intensity though her voice is faint.
|
||
|
|
||
|
121.
|
||
|
|
||
|
|
||
|
|
||
|
GRACE
|
||
|
Help them. You do whatever it takes. You
|
||
|
hear me?
|
||
|
|
||
|
JAKE
|
||
|
I will.
|
||
|
|
||
|
TIME CUT -- MO'AT stands in a kind of trance amongst the
|
||
|
tendrils of the Mother Tree.
|
||
|
|
||
|
NEYTIRI and the other acolytes dance hypnotically. All the
|
||
|
Omaticaya sway and chant to the rhythm of the drums.
|
||
|
|
||
|
MACRO SHOT -- fine, hairlike THREADS have emerged from the
|
||
|
roots and are gently spreading over Grace's HUMAN skin.
|
||
|
|
||
|
JAKE, still holding her hand, watches her body being fused to
|
||
|
the root-floor by a thousand connections.
|
||
|
|
||
|
GRACE'S AVATAR is gently connected by the same questing ROOT-
|
||
|
CILIA-- they entwine with the QUEUE and spread over the body.
|
||
|
|
||
|
The grotto is dark except for the spectral GLOW of the
|
||
|
willows. The CHANT continues, hypnotically. MO'AT, on her
|
||
|
knees beneath the Mother Tree, writhes her arms in the trance
|
||
|
state. Her eyes are rolled back, showing only WHITE.
|
||
|
|
||
|
GRACE GASPS and her eyes SNAP OPEN. Her expression is AMAZED,
|
||
|
as if seeing something so beautiful it can never be
|
||
|
explained.
|
||
|
|
||
|
ON HER HAND -- GRIPPING Jake's convulsively, as she tries to
|
||
|
anchor herself to this world for a few more seconds --
|
||
|
|
||
|
GRACE
|
||
|
I'm with her Jake --
|
||
|
(an amazed whisper)
|
||
|
-- she's real --
|
||
|
|
||
|
Grace SHUDDERS, as pain shoots through her. BLOOD seeps
|
||
|
through the silken white root-cilia growing across her
|
||
|
abdomen. Drowning WHITE in shocking CRIMSON.
|
||
|
|
||
|
She exhales a last shuddering breath -- and goes STILL.
|
||
|
|
||
|
JAKE
|
||
|
Grace!
|
||
|
|
||
|
He sees the roots falling away from her human body.
|
||
|
|
||
|
JAKE TURNS hopefully toward her AVATAR -- but the roots are
|
||
|
falling away from it as well. It sleeps -- VACANT.
|
||
|
|
||
|
122.
|
||
|
|
||
|
|
||
|
|
||
|
MO'AT stops the chant. She crosses to Jake and kneels with
|
||
|
him, touching his shoulder.
|
||
|
|
||
|
MO'AT
|
||
|
Her wounds were too great, there was not
|
||
|
enough time. She is with Eywa now.
|
||
|
|
||
|
NEYTIRI removes Grace's mask and gently closes her eyes.
|
||
|
|
||
|
Jake stands slowly, barely holding it together.
|
||
|
|
||
|
NEYTIRI comes to him and he sees the despair and hope
|
||
|
conflicting on her face --
|
||
|
|
||
|
-- and he raises his head. TURNS to face TSU'TEY and the
|
||
|
CROWD.
|
||
|
|
||
|
JAKE
|
||
|
With your permission, I will Speak now.
|
||
|
You would honor me by translating.
|
||
|
|
||
|
Tsu'tey gestures assent, and they face the clan together.
|
||
|
|
||
|
JAKE SPEAKS, the pain of Grace's death in the passion and
|
||
|
fury of his voice. Tsu'tey TRANSLATES beside him.
|
||
|
|
||
|
JAKE
|
||
|
The Sky People have sent a message that
|
||
|
they can take whatever they want, and no
|
||
|
one can stop them. But we will send them
|
||
|
a message. Ride out, as fast as the wind
|
||
|
can carry you, tell the other clans to
|
||
|
come. Tell them Toruk Macto calls to
|
||
|
them. Fly now with me brothers and
|
||
|
sisters! Fly! And we will show the Sky
|
||
|
People that this is our land!
|
||
|
|
||
|
TSU'TEY finishes with a bloodcurdling war-cry, and the entire
|
||
|
CLAN responds, their shouts echoing across the forest.
|
||
|
|
||
|
JAKE takes Neytiri's hand and runs to the leonopteryx. He
|
||
|
vaults onto its back and pulls her up behind him.
|
||
|
|
||
|
THE HUNTERS run to their banshees, mounting quickly. Jake's
|
||
|
leonopteryx rises on mighty wings into the night sky. With a
|
||
|
thunder of wings, the banshees take off after it.
|
||
|
|
||
|
LONG LENS -- POLYPHEMUS. Across its face, the banshees rise
|
||
|
like a swarm of bats. Groups of riders peel off in different
|
||
|
directions.
|
||
|
CUT TO:
|
||
|
|
||
|
123.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. CLAN GATHERING - NIGHT
|
||
|
|
||
|
JAKE and NEYTIRI stand before the gathered members of ANOTHER
|
||
|
CLAN. Jake speaks as she translates. We don't hear the
|
||
|
words.
|
||
|
|
||
|
TRACK ACROSS the faces of the clan, a sea of eyes in
|
||
|
flickering fire-light.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
We rode out to the four winds. To the
|
||
|
horse clans of the plain, to the ikran
|
||
|
people of the mountains. When Toruk
|
||
|
Macto called them, they came.
|
||
|
|
||
|
VARIOUS ANGLES -- SLOW MOTION as riders vault onto their
|
||
|
armored direhorses. Banshee riders raise spears and bows,
|
||
|
spurring their mounts to leap skyward.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. WELL OF SOULS - DAWN
|
||
|
|
||
|
With a WHOOSH and the crack of mighty wings, JAKE RETURNS.
|
||
|
Jake and Neytiri alight from his legendary mount.
|
||
|
|
||
|
Around them HUNDREDS OF BANSHEES are landing. A gathering of
|
||
|
eagles.
|
||
|
|
||
|
FROM ABOVE we can see hundreds of Na'vi streaming down into
|
||
|
the Well of Souls and many hundreds more camped in the forest
|
||
|
above it.
|
||
|
|
||
|
DIREHORSE RIDERS are arriving along many trails.
|
||
|
|
||
|
BANSHEE RIDERS circle and swoop, darkening the sky above the
|
||
|
grotto.
|
||
|
|
||
|
JAKE, standing next to the Leonopteryx, watches his army
|
||
|
gathering.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. COMMISSARY - DAY
|
||
|
|
||
|
It's standing room only as all base personnel are crowded
|
||
|
into the dining hall. A portable 3D GRAPHICS PROJECTOR has
|
||
|
been set up, and the lights are down. QUARITCH stands in
|
||
|
front of the display image -- a classic pre-mission briefing.
|
||
|
|
||
|
QUARITCH
|
||
|
People, you are fighting for survival.
|
||
|
There's an aboriginal horde out there
|
||
|
massing for an attack. First slide.
|
||
|
|
||
|
124.
|
||
|
|
||
|
|
||
|
|
||
|
The display shows an overhead image of the Well of Souls. It
|
||
|
looks like Woodstock in the jungle.
|
||
|
|
||
|
QUARITCH
|
||
|
These orbital images show the hostiles'
|
||
|
numbers have gone from a couple of
|
||
|
hundred to over two thousand in one day,
|
||
|
and more are pouring in. By next week it
|
||
|
could be twenty thousand. Then they'll be
|
||
|
overrunning our perimeter here. We can't
|
||
|
wait. Our only security lies in pre-
|
||
|
emptive attack. We will fight terror
|
||
|
with terror.
|
||
|
|
||
|
TRACKING ACROSS the grim faces of the miners and troopers.
|
||
|
Fear transforming to hatred in their eyes.
|
||
|
|
||
|
QUARITCH
|
||
|
Next slide. This mountain stronghold is
|
||
|
supposedly protected by their deity.
|
||
|
When we destroy it, we will blast a
|
||
|
crater in their racial memory so deep
|
||
|
they won't come within a thousand klicks
|
||
|
of this place.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. ARMOR BAY - DAY
|
||
|
|
||
|
TROOPERS issue automatic weapons and magazines to a long line
|
||
|
of mine workers. The miners lock and load like the red-
|
||
|
blooded redneck NRA supporters they are.
|
||
|
|
||
|
BLASTING TECHS are setting radio-detonated primer charges
|
||
|
into two-ton stacks of EXPLOSIVE COMPOUND. The stacks are
|
||
|
band-strapped together on pallets.
|
||
|
|
||
|
TRACKING WITH SELFRIDGE, staring around him in growing dismay
|
||
|
as he walks through the full-scale mobilization.
|
||
|
|
||
|
He approaches Quaritch, who is barking orders amid a hive of
|
||
|
activity around the ampsuits.
|
||
|
|
||
|
SELFRIDGE
|
||
|
This thing is completely out of control!
|
||
|
|
||
|
Quaritch ignores him, turning away to focus on ordnance
|
||
|
loading.
|
||
|
|
||
|
SELFRIDGE
|
||
|
Listen to me! I am not authorizing you to
|
||
|
turn the mine-workers local into a
|
||
|
freakin' militia!
|
||
|
|
||
|
125.
|
||
|
|
||
|
|
||
|
|
||
|
QUARITCH
|
||
|
I declared threat condition red. That
|
||
|
puts all on-world assets under my
|
||
|
command.
|
||
|
|
||
|
SELFRIDGE
|
||
|
You think you can pull this palace coup
|
||
|
shit on me?! I can have your ass with
|
||
|
one call --
|
||
|
|
||
|
Quaritch grabs him and PINS him against the side of an
|
||
|
ampsuit.
|
||
|
|
||
|
QUARITCH
|
||
|
You're a long way from Earth.
|
||
|
|
||
|
Selfridge is paralyzed. Physical force -- against him?
|
||
|
Quaritch releases him and walks away.
|
||
|
|
||
|
QUARITCH
|
||
|
(to his men)
|
||
|
Get him out of here.
|
||
|
|
||
|
Several troopers converge on Selfridge.
|
||
|
|
||
|
SELFRIDGE
|
||
|
You touch me you're so fired.
|
||
|
|
||
|
He pushes through them and they escort him toward the door.
|
||
|
CUT TO:
|
||
|
|
||
|
INT. SHACK - DAY
|
||
|
|
||
|
HUMAN JAKE, NORM and TRUDY are gathered around the comms
|
||
|
monitor, talking to MAX.
|
||
|
|
||
|
MAX
|
||
|
I don't know how secure this channel is.
|
||
|
|
||
|
JAKE
|
||
|
Talk fast.
|
||
|
|
||
|
MAX
|
||
|
It's crazy here, Jake. It's full
|
||
|
mobilization. They're rigging the
|
||
|
shuttles as bombers. They've made up
|
||
|
these big pallets of mine explosives.
|
||
|
It's for some kind of shock and awe
|
||
|
campaign.
|
||
|
|
||
|
TRUDY
|
||
|
Frickin' daisycutters.
|
||
|
|
||
|
126.
|
||
|
|
||
|
|
||
|
|
||
|
NORM
|
||
|
Holy shit.
|
||
|
|
||
|
JAKE
|
||
|
(to Max)
|
||
|
Can you talk to Selfridge? Maybe we can
|
||
|
cut some kinda deal before this thing
|
||
|
goes all the way.
|
||
|
|
||
|
MAX
|
||
|
No, Quaritch has taken over. He's
|
||
|
rolling and there's no stopping him.
|
||
|
|
||
|
JAKE
|
||
|
When?
|
||
|
|
||
|
MAX
|
||
|
Oh six hundred tomorrow.
|
||
|
|
||
|
Jake takes that in.
|
||
|
|
||
|
JAKE
|
||
|
Thanks.
|
||
|
|
||
|
Max signs off.
|
||
|
|
||
|
NORM
|
||
|
We're screwed.
|
||
|
|
||
|
TRUDY
|
||
|
You know he's gonna commit those bombers
|
||
|
straight to the Well of Souls.
|
||
|
|
||
|
JAKE
|
||
|
That's right. Because I gave it to him
|
||
|
on a plate.
|
||
|
|
||
|
TRUDY
|
||
|
We both did.
|
||
|
|
||
|
NORM
|
||
|
If he takes out the Well of Souls -- it's
|
||
|
over. It's their main line to Eywa, to
|
||
|
their ancestors -- it'll destroy them.
|
||
|
|
||
|
JAKE
|
||
|
Then I guess we better stop him.
|
||
|
|
||
|
Jake looks like he's about to collapse. He's gaunt, eyes
|
||
|
deeply shadowed, hands shaking.
|
||
|
|
||
|
TRUDY
|
||
|
You need to get some rack.
|
||
|
|
||
|
127.
|
||
|
|
||
|
|
||
|
|
||
|
He grabs a packet of freeze-dried crystals and pours them
|
||
|
directly into his mouth, chewing them up.
|
||
|
|
||
|
JAKE
|
||
|
Gonna have to settle for coffee.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. BATTLE CAMP - DUSK
|
||
|
|
||
|
TRACKING through the warrior camp above the Well of Souls.
|
||
|
Hundreds of hunters from many clans prepare their weapons.
|
||
|
|
||
|
Hunters paint the wings of their banshees like war ponies.
|
||
|
DIREHORSES are painted and ornamented with totemic streamers.
|
||
|
|
||
|
The Na'vi paint and pierce themselves. Dance. Bathe in the
|
||
|
smoke of cleansing herbs -- RITUAL PURIFICATION. HUGE DRUMS
|
||
|
are beaten. A dark primeval energy. They are psyching
|
||
|
themselves up for battle.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I was a warrior who dreamed he could
|
||
|
bring peace. But there was only one
|
||
|
thing I was ever really good at. Ooh-rah.
|
||
|
|
||
|
TIME CUT -- Jake, Neytiri a group of banshee riders squat
|
||
|
around an animal skin on which he has drawn the silhouette of
|
||
|
a Scorpion gunship -- like a hunt totem.
|
||
|
|
||
|
JAKE
|
||
|
(Na'vi/subtitled)
|
||
|
Strike here and here.
|
||
|
|
||
|
Jake splats red dye at the centers of the circles symbolizing
|
||
|
the rotors. The Na'vi absorb the lesson eagerly, like kids.
|
||
|
|
||
|
He sees TRUDY approaching and breaks off. Neytiri stays with
|
||
|
the hunters, talking about what they've learned.
|
||
|
|
||
|
TRUDY
|
||
|
(LOW)
|
||
|
You know our chances suck.
|
||
|
|
||
|
JAKE
|
||
|
Yeah.
|
||
|
|
||
|
TRUDY
|
||
|
Going up against gunships with bows and
|
||
|
arrows...
|
||
|
|
||
|
JAKE
|
||
|
What's your point?
|
||
|
|
||
|
128.
|
||
|
|
||
|
|
||
|
|
||
|
TRUDY
|
||
|
(NODDING)
|
||
|
Right.
|
||
|
|
||
|
She taps his fist and walks away toward her SAMSON.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. WELL OF SOULS - NIGHT
|
||
|
|
||
|
The cook-fires of the battle camp FLICKER like a
|
||
|
constellation around the edge of the Well of Souls as --
|
||
|
|
||
|
JAKE slips down into the darkened, empty amphitheater.
|
||
|
|
||
|
He moves to the MOTHER TREE -- gnarled, ancient, MAJESTIC.
|
||
|
The roots spread in all directions, like the center of the
|
||
|
world.
|
||
|
|
||
|
Jake steps forward. The willow-like tendrils SWAY toward
|
||
|
him, moving in a breeze that isn't there.
|
||
|
|
||
|
JAKE
|
||
|
I've never done this in my life.
|
||
|
|
||
|
He squats at the base of the tree.
|
||
|
|
||
|
JAKE
|
||
|
And I'm probably just talking to a tree
|
||
|
right now. But if you're there -- I need
|
||
|
to give you a heads up.
|
||
|
|
||
|
He looks up into the tree. The hanging tendrils undulate
|
||
|
softly. It's easy to imagine a presence.
|
||
|
|
||
|
JAKE
|
||
|
If Grace is there with you -- look in her
|
||
|
memories -- she can show you the world we
|
||
|
come from. There's no green there. They
|
||
|
killed their Mother, and they're gonna do
|
||
|
the same thing here.
|
||
|
|
||
|
FROM UP IN THE TREE, looking down. WOODSPRITES float in
|
||
|
silence, moving around aimlessly.
|
||
|
|
||
|
JAKE
|
||
|
More Sky People are gonna come. They're
|
||
|
gonna come like a rain that never ends --
|
||
|
|
||
|
Neytiri approaches silently behind him, listening.
|
||
|
|
||
|
JAKE
|
||
|
-- until they've covered the world.
|
||
|
Unless we stop them.
|
||
|
(MORE)
|
||
|
|
||
|
129.
|
||
|
|
||
|
JAKE (cont'd)
|
||
|
Look, you chose me for somethin'. And
|
||
|
I'll stand and fight, you know I will.
|
||
|
But I could use a little help here.
|
||
|
|
||
|
Jake senses Neytiri and turns.
|
||
|
|
||
|
NEYTIRI
|
||
|
Our Great Mother does not take sides.
|
||
|
She protects only the balance of life.
|
||
|
|
||
|
She comes to him, intertwining her long fingers with his.
|
||
|
|
||
|
JAKE
|
||
|
It was worth a try.
|
||
|
|
||
|
They lean in, foreheads touching, bodies pressed together.
|
||
|
Holding each other -- in this, the last moment of peace.
|
||
|
CUT TO:
|
||
|
|
||
|
TIGHT ON a turbine as it starts to turn. Its RISING WHINE
|
||
|
carries over --
|
||
|
|
||
|
A SERIES OF RHYTHMIC CUTS:
|
||
|
|
||
|
MAGAZINES are slammed into automatic weapons. AMMO BELTS are
|
||
|
fed into rotary cannons. MISSILES are attached to gunship
|
||
|
stub-wings.
|
||
|
|
||
|
TIGHT ON BLUE HANDS sharpening wooden arrows. Stringing
|
||
|
bows. Cinching direhorse harnesses.
|
||
|
|
||
|
TROOPERS DROP into ampsuit cockpits. PILOTS close gunship
|
||
|
canopies. TROOPERS run up shuttle ramps.
|
||
|
|
||
|
LONG LENS STACK, tight and abstract on gunships as they rise
|
||
|
in a swarm amid boiling turbine exhaust and blasting rotor
|
||
|
wash.
|
||
|
|
||
|
EXT. RAINFOREST/ AERIAL - DAWN
|
||
|
|
||
|
WIDE SHOT -- TILTROTORS fill the sky. Deadly armored beetles.
|
||
|
|
||
|
The DRAGON leads the formation, flanked by SCORPIONS. Behind
|
||
|
that is a wave of SAMSONS, and last, the two enormous
|
||
|
VALKYRIE shuttles, packed with troops and ampsuits.
|
||
|
|
||
|
INSIDE THE DRAGON, Quaritch surveys his armada as they skim
|
||
|
over the tree tops.
|
||
|
|
||
|
THEY SWEEP toward the Hallelujah mountains in a thundering
|
||
|
wave.
|
||
|
|
||
|
130.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. MOUNTAINS/ AERIAL - DAWN
|
||
|
|
||
|
SQUADRONS OF BANSHEES darken the sky in waves, led by a
|
||
|
single GREAT LEONOPTERYX. Jake sits astride his mount,
|
||
|
flanked by Neytiri and Tsu'tey on their banshees.
|
||
|
|
||
|
EXT. MOUNTAINS - DAWN
|
||
|
|
||
|
THE DRAGON DESCENDS on final approach to a large clearing --
|
||
|
the LZ. The Samsons flair and touch down, disgorging troops,
|
||
|
while the gunships hover protectively.
|
||
|
|
||
|
THE VALKYRIES blast the ground with their powerful lift jets.
|
||
|
They land. The ramps drop. Troopers pour out, weapons
|
||
|
leveled, advancing in a cordon.
|
||
|
|
||
|
UP ANGLE as AMPSUITS descend from the Dragon on cables.
|
||
|
Their massive feet smash down, and they march forward,
|
||
|
leading the army into the forest.
|
||
|
|
||
|
LYLE WAINFLEET, walking point in his hydraulic suit, scans
|
||
|
his cockpit screens. He sees movement on the FLIR display --
|
||
|
ghostly THERMAL SIGNATURES.
|
||
|
|
||
|
WAINFLEET
|
||
|
Contact. Two hundred meters.
|
||
|
|
||
|
A chilling SOUND echoes through the forest -- the ululating
|
||
|
WAR CRIES of untold Na'vi. The troopers, look around,
|
||
|
spooked. They can't tell where the sound is coming from.
|
||
|
|
||
|
Then they feel it -- the GROUND ITSELF SHAKING. They grip
|
||
|
their weapons, bracing themselves as --
|
||
|
|
||
|
THREE HUNDRED NA'VI HORSEMEN charge through the forest at a
|
||
|
full gallop, their hooves POUNDING the earth. It is an
|
||
|
awesome sight.
|
||
|
|
||
|
NORM SPELLMAN rides with the Na'vi hunters, carrying an
|
||
|
assault rifle.
|
||
|
|
||
|
THE NA'VI CHARGE thunders toward the human line. The hunters
|
||
|
raise their bows as --
|
||
|
|
||
|
THE AMPSUITS raise their GAU-90's.
|
||
|
|
||
|
ON THE THERMAL IMAGERS target-cursors track the ghost riders.
|
||
|
|
||
|
QUARITCH
|
||
|
Fire for effect.
|
||
|
|
||
|
The entire line of troopers opens fire. TRACERS riddle the
|
||
|
jungle, blasting foliage into confetti.
|
||
|
|
||
|
131.
|
||
|
|
||
|
|
||
|
|
||
|
CHARGING DIREHORSES crash down, flipping over. Riders are
|
||
|
flung off. The withering fire continues, and the ranks are
|
||
|
decimated as --
|
||
|
|
||
|
RIDERS LAUNCH their arrows at a full gallop. A few hit their
|
||
|
marks among the troopers. NORM FIRES his AR on full auto.
|
||
|
|
||
|
TWO CHARGING DIREHORSES have a heavy log slung between them
|
||
|
like a battering ram. At a full gallop they hit an ampsuit,
|
||
|
FLIPPING IT onto its back with a blown-out canopy. Victory
|
||
|
is short lived as the two riders are cut down.
|
||
|
|
||
|
NORM'S HORSE is hit by tracer fire. He is flung off as the
|
||
|
creature cartwheels. He hits hard, scrambling for cover as --
|
||
|
|
||
|
A WARRIOR HURLS his spear a moment before his horse is cut
|
||
|
down. It SLAMS through an ampsuit's canopy but --
|
||
|
|
||
|
THE MERCILESS FIRE continues. Horses rear and collapse.
|
||
|
Riders pivot their mounts to flee and --
|
||
|
|
||
|
THE THERMAL SCREENS show the remaining ghost riders
|
||
|
scattering.
|
||
|
|
||
|
LYLE signals and the line advances, firing sporadically at
|
||
|
moving targets.
|
||
|
|
||
|
OVERHEAD, NA'VI HUNTERS stream through the trees, running
|
||
|
along the branches.
|
||
|
|
||
|
As the troopers advance into bow range, the NA'VI open fire
|
||
|
and --
|
||
|
|
||
|
TROOPERS SPROUT ARROWS in throat, legs, masks -- the targets
|
||
|
Jake taught them, but --
|
||
|
|
||
|
THE FIRING LINE aims upward, tracking the THERMAL TARGETS.
|
||
|
TRACERS rip through the foliage and --
|
||
|
|
||
|
NA'VI FALL while others retreat as bark and wood is blasted
|
||
|
off the limbs beneath their feet.
|
||
|
|
||
|
NORM sprints frantically through the woods, shouting into his
|
||
|
HANDSET --
|
||
|
|
||
|
NORM
|
||
|
Jake! Jake! We're falling back!
|
||
|
|
||
|
SURVIVING NA'VI flee the horrific onslaught. It is a total
|
||
|
rout.
|
||
|
|
||
|
IN THE DRAGON, Quaritch catches glimpses of the figures
|
||
|
streaming through the forest below.
|
||
|
|
||
|
132.
|
||
|
|
||
|
|
||
|
|
||
|
QUARITCH
|
||
|
Blue team, switch forties. Fire at will.
|
||
|
|
||
|
Led by the Dragon, the gunships FIRE streamers of 40mm
|
||
|
ROCKETS ahead of them. The jungle EXPLODES with HE bursts.
|
||
|
Circular SHOCK WAVES flash outward through the jungle --
|
||
|
|
||
|
STROBOSCOPIC GLIMPSES of terrified horses rearing, Na'vi
|
||
|
leaping, as the jungle rocks with the concussive onslaught.
|
||
|
|
||
|
HUNTERS LOOK UP as a dark shape hovers overhead. The
|
||
|
downblast of the VALKYRIE'S lift jets shreds the forest.
|
||
|
|
||
|
INSIDE THE SHUTTLE'S cargo bay, a row of DAISYCUTTERS are
|
||
|
lined up. Troopers roll the first pallet down the ramp.
|
||
|
|
||
|
THE PALLET falls into the jungle below and --
|
||
|
|
||
|
BA-WHOOOOOM! -- an enormous high-explosive blast rips a huge
|
||
|
hole in the forest. A white concussion wave flashes out
|
||
|
across the ground for hundreds of meters in all directions.
|
||
|
|
||
|
AT GROUND LEVEL it is an apocalypse. Running Na'vi are
|
||
|
blasted out of existence by fire and shock waves.
|
||
|
|
||
|
IN THE CARGO BAY the troopers WHOOP and high-five.
|
||
|
|
||
|
TROOPERS
|
||
|
Yeah baby! Get some!
|
||
|
|
||
|
GROUND TROOPS ADVANCE, firing flamethrowers, AR's and GAU-
|
||
|
90's.
|
||
|
|
||
|
EXT. FLOATING MOUNTAINS - AERIAL
|
||
|
|
||
|
Quaritch's fleet flies into the shadow of the Mountain of
|
||
|
Truth.
|
||
|
|
||
|
QUARITCH
|
||
|
Blue team, stay with the ground units.
|
||
|
Red team, with me. We're punching for
|
||
|
the main target.
|
||
|
|
||
|
Quaritch glances up to see --
|
||
|
|
||
|
A squadron of WINGED SHAPES, diving out of the morning glare
|
||
|
like birds of prey.
|
||
|
|
||
|
CLOSE ON JAKE, rushing straight down, SCREAMING a war cry as
|
||
|
he leads the charge and --
|
||
|
|
||
|
SCORES OF BANSHEES SLAM into the gunships and Samsons like
|
||
|
falcons hitting fat turkeys. The air battle is joined.
|
||
|
|
||
|
133.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE'S GREAT LEONOPTERYX flairs into its signature crimson X
|
||
|
shape just before --
|
||
|
|
||
|
K-WHAM!! -- it knocks a Scorpion tumbling. It coils around
|
||
|
the gunship, slashing furiously as they spin together. JAKE
|
||
|
can barely hang onto the gyrating creature.
|
||
|
|
||
|
The pilot of the Scorpion sees nothing but jaws slamming into
|
||
|
his canopy. Jake releases the gunship and it careens into a
|
||
|
CLIFF, tearing off one rotor -- then plummets into the trees.
|
||
|
There is a satisfying FIREBALL.
|
||
|
|
||
|
SCORPIONS fall out of formation to pursue individual banshee
|
||
|
riders, FIRING cannons and rockets.
|
||
|
|
||
|
JAKE BANKS as the cliff face next to him explodes with
|
||
|
cannon rounds. SCREAMING down on him is another Scorpion.
|
||
|
|
||
|
JAKE tucks and dives along the cliff, feeling the rounds
|
||
|
splitting the air around him and --
|
||
|
|
||
|
The Scorpions bank after the furiously jinking banshees as
|
||
|
they head for cover among the floating mountains, or dive
|
||
|
down into the trees.
|
||
|
|
||
|
DOOR GUNNERS in a SAMSON are shooting down banshees like
|
||
|
Messerschmidts from a B-17 as --
|
||
|
|
||
|
WE FOLLOW TSU'TEY'S BANSHEE in a full delta dive. He swoops
|
||
|
in from its blind spot and --
|
||
|
|
||
|
THE GUNNERS SWIVEL too late as Tsu'tey flashes past them,
|
||
|
SHOOTING ARROWS with deadly accuracy.
|
||
|
|
||
|
A SCORPION gunship dives after a banshee. It fires an air-to-
|
||
|
air missile and the banshee vanishes in an EXPLOSION.
|
||
|
|
||
|
WIDE SHOT as thirty ships and hundreds of banshees wheel and
|
||
|
dive, like the Battle of Britain. Banshees are hit by guns
|
||
|
and missiles, falling out of the sky. The occasional trail of
|
||
|
smoke and fire marks the demise of a tilt-rotor.
|
||
|
|
||
|
IN THE CENTER the Dragon is pouring out hellacious fire --
|
||
|
tracer rounds from multiple turrets and missiles from the
|
||
|
stub-wing pods.
|
||
|
|
||
|
NEYTIRI BANKS hard as TRACERS flash past her. A Scorpion is
|
||
|
right on her ass as --
|
||
|
|
||
|
SHE ROLLS inverted and dives under the edge of Mons
|
||
|
Veritatis, then rolls out, zig-zagging through the dangling
|
||
|
vines but --
|
||
|
|
||
|
134.
|
||
|
|
||
|
|
||
|
|
||
|
THE GUNSHIP stays on her. It rips through the vines, and
|
||
|
tracers FLASH toward us as --
|
||
|
|
||
|
SHE JINKS the banshee around a thundering waterfall but --
|
||
|
|
||
|
HER PURSUER explodes right through the curtain of water. It
|
||
|
launches an air-to-air missile. NEYTIRI jinks hard, diving.
|
||
|
The missile hits a rock outcropping, pummeling her with the
|
||
|
shock wave.
|
||
|
|
||
|
THE GUNSHIP follows her through a narrow slit between Mons
|
||
|
Veritatis and a smaller floating island. They run this slot
|
||
|
rolled up on their sides and --
|
||
|
|
||
|
THE SCORPION GUNNER locks up Neytiri for a missile shot but --
|
||
|
|
||
|
A SHADOW crosses his canopy. Out of the sun comes a crimson
|
||
|
demon, shrieking over the roar of the turbines, and --
|
||
|
|
||
|
K-WHAMMM!! The leonopteryx SLAMS the gunship, driving it
|
||
|
downward in a dive. The leonopteryx lashes at it with claws
|
||
|
and teeth as they fall together out of control.
|
||
|
|
||
|
Jake kicks the gunship loose and it falls like a brick,
|
||
|
breaking its back on a rocky promontory and EXPLODING.
|
||
|
|
||
|
FLYING WITH A SAMSON as a SECOND SAMSON falls in beside it.
|
||
|
This one has its pilot door off, and the PILOT is wearing a
|
||
|
breathing mask. The door gunners wave at --
|
||
|
|
||
|
TRUDY, her expression grim behind her mask. She holds the
|
||
|
cyclic stick between her knees while she RAKES the other ship
|
||
|
with BURSTS from an AR in her lap.
|
||
|
|
||
|
The pilot slumps over and the craft tumbles out of control.
|
||
|
|
||
|
TRUDY
|
||
|
You're not the only ones with guns, you
|
||
|
pricks.
|
||
|
|
||
|
NEYTIRI JINKS her banshee hard, an enemy Samson right behind
|
||
|
her. The pilot is a hotdog, following her down into the
|
||
|
trees, under the canopy.
|
||
|
|
||
|
They slalom among the trunks at high speed. The gunners hang
|
||
|
half out the doors, firing. Bark and leaves explode around
|
||
|
Neytiri as she zig-zags through the jungle.
|
||
|
|
||
|
THE BANSHEE dives under a huge tree limb, and the pilot
|
||
|
follows. He looks up at the last second, catching a glimpse
|
||
|
of blue-skinned figures.
|
||
|
|
||
|
THE HUNTERS drop a net of woven vines behind Neytiri and --
|
||
|
|
||
|
135.
|
||
|
|
||
|
|
||
|
|
||
|
The SAMSON hits it hard. The net fouls the ship, FLIPPING IT
|
||
|
backwards. It crashes upside down to the forest floor.
|
||
|
KABOOM!!
|
||
|
|
||
|
NEYTIRI'S BANSHEE is hit by GROUND-FIRE. It folds up like a
|
||
|
broken kite, crashing down through branches and --
|
||
|
|
||
|
SHE SLAMS into the ground, stunned.
|
||
|
|
||
|
IN THE DRAGON Quaritch looks ahead, seeing the WELL OF SOULS.
|
||
|
He taps the pilot and points --
|
||
|
|
||
|
QUARITCH
|
||
|
There it is.
|
||
|
(into his headset)
|
||
|
Valkyrie One, this is Dragon. Target is
|
||
|
in sight.
|
||
|
|
||
|
IN THE CARGO BAY of Valkyrie One, the troopers ready their
|
||
|
deadly loads.
|
||
|
|
||
|
TROOPER
|
||
|
Target in sight.
|
||
|
|
||
|
CIRCLING ABOVE, Tsu'tey falls in beside Jake, who talks to
|
||
|
him by AIRCOM HEADSET.
|
||
|
|
||
|
JAKE
|
||
|
We have to stop the shuttles, no matter
|
||
|
what it takes.
|
||
|
|
||
|
TSU'TEY nods. He signals, gathering other hunters, who fall
|
||
|
in with him as he dives. Jake rolls in after them but --
|
||
|
|
||
|
A GUNSHIP drops in behind him and he is forced to evade as --
|
||
|
|
||
|
TSU'TEY LEADS the attack on the first shuttle. Hunters jink
|
||
|
and weave through WITHERING FIRE from the escort ships.
|
||
|
|
||
|
GUNNERS with jerry-rigged gun mounts ride the broad backs of
|
||
|
the shuttles, picking off banshees who get past the escort.
|
||
|
|
||
|
TSU'TEY is RAKED by a burst from the dorsal gunners. His
|
||
|
mount crumples, plummeting with a dying scream and --
|
||
|
|
||
|
WE SPIRAL DOWN with him, the forest rushing up and --
|
||
|
|
||
|
A BLINDING BLIZZARD of green as he tears downward, catching
|
||
|
at leaves and vines. He SLAMS to the ground, badly injured.
|
||
|
|
||
|
NEARBY, ampsuits and troopers advance across the forest
|
||
|
floor, firing their cannons and flamethrowers. The GAU-90s
|
||
|
rip the forest to shreds.
|
||
|
|
||
|
136.
|
||
|
|
||
|
|
||
|
|
||
|
Norm, firing as he retreats, is HIT. He collapses, his avatar
|
||
|
body mortally wounded as --
|
||
|
|
||
|
HYDRAULIC FEET approach, passing the bodies of direhorses and
|
||
|
Na'vi hunters. Norm painfully tries to load another
|
||
|
magazine, panting in fear and pain as --
|
||
|
|
||
|
AN AMPSUIT stomps up. Aims its cannon point blank. B-BLAM!
|
||
|
|
||
|
INT. SHACK
|
||
|
|
||
|
The top of Norm's LINK bangs open. He reels out, collapsing
|
||
|
onto the floor, clutching himself as if he can still feel the
|
||
|
pain of death.
|
||
|
|
||
|
He sits, huddled, shivering -- crazed.
|
||
|
|
||
|
EXT. RAINFOREST
|
||
|
|
||
|
TSU'TEY lies gasping, mortally injured. He looks up,
|
||
|
grimacing, as an ampsuit looms over him.
|
||
|
|
||
|
LYLE WAINFLEET reaches down and grabs Tsu'tey by his queue,
|
||
|
lifting him painfully.
|
||
|
|
||
|
WAINFLEET
|
||
|
I hear this is worse than death for you,
|
||
|
chief.
|
||
|
|
||
|
WAINFLEET cuts Tsu'tey's queue off near the base. TSU'TEY
|
||
|
SCREAMS in agony, his nervous system exploding on overload.
|
||
|
Grinning, Lyle holds up the queue -- Tsu'tey's only
|
||
|
connection to the world-consciousness which is his life.
|
||
|
|
||
|
NEYTIRI -- bleeding, bruised -- staggers amid burning
|
||
|
wreckage. AMPSUIT footsteps approach and she crouches behind
|
||
|
a tree. Troopers are seconds from seeing her as --
|
||
|
|
||
|
NEYTIRI knocks an arrow to HER FATHER'S BOW, and readies
|
||
|
herself for a last kamikaze shot when --
|
||
|
|
||
|
THE TROOPER on the far right of the firing line sees
|
||
|
something on his screens.
|
||
|
|
||
|
TROOPER
|
||
|
Right flank -- something's coming! It's
|
||
|
all lit up out there.
|
||
|
|
||
|
The troopers become aware of the GROUND SHAKING. A slow
|
||
|
building thunderous ROAR and --
|
||
|
|
||
|
AN AMPSUIT comes FLYING out of the trees, cartwheeling past
|
||
|
them, and the SHAKING BUILDS --
|
||
|
|
||
|
137.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. WELL OF SOULS
|
||
|
|
||
|
Mo'at opens her eyes in sudden realization as --
|
||
|
|
||
|
EXT. FOREST
|
||
|
|
||
|
The troopers pivot to face --
|
||
|
|
||
|
A WALL OF CHARGING HAMMERHEADS CRASHING out of the foliage in
|
||
|
a shower of broken branches as --
|
||
|
|
||
|
THE TROOPERS open fire but -- the stampede drives over them
|
||
|
like a wave. Tree-trunk feet shatter the ampsuit cockpits.
|
||
|
Troopers are crushed or asphyxiated.
|
||
|
|
||
|
NEARBY the foot-soldiers see LIVING SHADOWS flow out of the
|
||
|
gloom as --
|
||
|
|
||
|
VIPERWOLVES race among them with flashing jaws. The troopers
|
||
|
FIRE wildly as they go down, hitting each other as much as
|
||
|
their attackers.
|
||
|
|
||
|
The survivors break and run as more viperwolves bound out of
|
||
|
the shadows.
|
||
|
|
||
|
JAKE BANKS, watching as HUNDREDS of rider-less WILD BANSHEES
|
||
|
converge on Quaritch's ships. They literally darken the sky.
|
||
|
|
||
|
JAKE
|
||
|
What the hell -- ?
|
||
|
|
||
|
The wild banshees wheel among the ships, ripping into them.
|
||
|
|
||
|
ON JAKE -- slowly getting it. EYWA is in the fight.
|
||
|
|
||
|
JAKE
|
||
|
WHOO-HOOOO!
|
||
|
|
||
|
A GUNNER fires from the door of a Samson. There is a CRASH
|
||
|
and the head of a BANSHEE lunges in the open door, jerking
|
||
|
him out. Other banshees tear at the pilot's windshield.
|
||
|
|
||
|
NEYTIRI watches in awe as the ground troops scatter in
|
||
|
disarray. The viperwolves flash past her, ignoring her.
|
||
|
|
||
|
She senses something and turns slowly to see --
|
||
|
|
||
|
A THANATOR emerging from the smoke behind her. A glistening
|
||
|
black demon. She stands paralyzed before its stygian gaze--
|
||
|
|
||
|
-- and the thanator lowers itself, until its head is just
|
||
|
above the ground. It holds that position -- waiting.
|
||
|
|
||
|
138.
|
||
|
|
||
|
|
||
|
|
||
|
Trembling, she approaches the waiting demon.
|
||
|
|
||
|
EXT. FOREST
|
||
|
|
||
|
A smoky hell. Fires burn all around. The troopers are
|
||
|
disorganized, falling back. Shooting at shadows. Panicked
|
||
|
yelling fills the comm freq.
|
||
|
|
||
|
WAINFLEET and another AMPSUIT are charging together through
|
||
|
the smoky gloom.
|
||
|
|
||
|
WAINFLEET
|
||
|
A and C squads -- rally at my pos. I
|
||
|
want --
|
||
|
(screaming on the comm)
|
||
|
Who's screaming God damn it?!
|
||
|
|
||
|
TROOPER (ON RADIO)
|
||
|
We gotta get outta here! Whoever's in
|
||
|
charge, call for extraction!
|
||
|
|
||
|
WAINFLEET
|
||
|
Shutup you crybabies!
|
||
|
|
||
|
SOMETHING slams into the other `suit, tackling it OUT OF
|
||
|
FRAME. Wainfleet whirls to see his squad-mate missing. He
|
||
|
moves through a screen of foliage to reveal --
|
||
|
|
||
|
The AMPSUIT -- ripped open. Driver gone. Blood inside the
|
||
|
cockpit. He WHIRLS at a sound in time to see --
|
||
|
|
||
|
A THANATOR LEAPING straight at him -- WAINFLEET raises his
|
||
|
cannon but--
|
||
|
|
||
|
WHAM!! It's on him, slamming him to the ground. The cannon
|
||
|
goes flying. He's face to face with its nightmare jaws,
|
||
|
right outside his canopy--
|
||
|
|
||
|
On its back is NEYTIRI, and it's a toss up which one looks
|
||
|
more pissed off. The thanator rears back, muscles rippling
|
||
|
as it poises to strike and --
|
||
|
|
||
|
K-KRAAACKK! Slams its teeth right through his canopy.
|
||
|
Wainfleet's SCREAM is brief.
|
||
|
|
||
|
Neytiri's demon mount rears up and its triumphant ROAR echoes
|
||
|
through the forest.
|
||
|
|
||
|
INT. CORRIDOR
|
||
|
|
||
|
Max runs down the hall, leading the other scientists. He's
|
||
|
yelling into an AIRCOM HANDSET --
|
||
|
|
||
|
139.
|
||
|
|
||
|
|
||
|
|
||
|
MAX
|
||
|
Rogue One, Rogue One, this is Max. Tell
|
||
|
Jake we are in motion.
|
||
|
(to the scientists)
|
||
|
Get in there. Barricade the door!
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
The door is hurled open and the SCIENTISTS charge in.
|
||
|
|
||
|
Science geeks barricade the door as AVATAR-DRIVERS scramble
|
||
|
into their link units, pulling the clamshells down.
|
||
|
|
||
|
INT. CORRIDOR
|
||
|
|
||
|
Max checks the door is secure from his side then runs down a
|
||
|
connecting corridor.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. SHACK
|
||
|
|
||
|
HUMAN NORM emerges from the airlock, wearing breathing gear
|
||
|
and carrying an AR. He stumbles, dazed, toward the battle.
|
||
|
|
||
|
EXT. MOUNTAINS/ AERIAL
|
||
|
|
||
|
JAKE SIGNALS and a formation of hunters rolls in, diving at
|
||
|
the lead shuttle, which is already besieged by winged
|
||
|
creatures.
|
||
|
|
||
|
THE CARGO RAMP is the scene of a pitched battle. Na'vi
|
||
|
hunters hurl themselves off their mounts in waves,
|
||
|
overwhelming the troopers.
|
||
|
|
||
|
HUNTERS are shot, falling out of the ship, as others fly in.
|
||
|
They shoot arrows and spears from the end of the ramp, and
|
||
|
troopers fall back deeper into the fuselage.
|
||
|
|
||
|
The panicked CREW CHIEF slams a switch and the ramp begins to
|
||
|
close, a second before he is cut down by a spear.
|
||
|
|
||
|
JAKE'S LEONOPTERYX plummets at the shuttle from behind. He
|
||
|
swoops down, flairs to reduce speed, rolls off his mount and
|
||
|
lands, tumbling on the shuttle's broad back as --
|
||
|
|
||
|
GUNNERS try to swing their guns toward him but he RAKES them
|
||
|
with his AR, still running forward and --
|
||
|
|
||
|
JAKE PULLS two grenades from his battle harness, yanking the
|
||
|
pins out with his teeth. He hurls them down the intakes of
|
||
|
the VTOL turbofans as --
|
||
|
|
||
|
HIS LEONOPTERYX BANKS in a tight arc back toward him and --
|
||
|
|
||
|
140.
|
||
|
|
||
|
|
||
|
|
||
|
HE SPRINTS ON as the grenades EXPLODE, shattering the
|
||
|
turbines, which riddle the fuselage with shrapnel and --
|
||
|
|
||
|
JAKE LEAPS INTO SPACE, landing on the back of his mount and
|
||
|
reconnecting. They flap away, gaining altitude as fire
|
||
|
BLASTS out of the bottom of the shuttle.
|
||
|
|
||
|
ON THE FLIGHT DECK, the pilot feels the ship dropping.
|
||
|
|
||
|
PILOT
|
||
|
Mains to a hundred percent! Get me
|
||
|
airspeed!
|
||
|
|
||
|
The pilot and copilot slam the throttle levers forward and --
|
||
|
|
||
|
The FUSION ENGINES BLAZE, thrusting the shuttle forward. It
|
||
|
still falls, its remaining lift fans screaming, until --
|
||
|
|
||
|
IT'S CLIPPING the tree tops when it gets enough translational
|
||
|
lift to fly and --
|
||
|
|
||
|
THE PILOT PULLS back on the stick, lifting the nose.
|
||
|
|
||
|
PILOT
|
||
|
We're good!
|
||
|
|
||
|
BEHIND HIM, a surviving Na'vi hunter runs forward and --
|
||
|
|
||
|
THOONK! ARROWHEADS sprout from the pilots' necks and chests.
|
||
|
|
||
|
THE SHUTTLE CLIMBS out of control, at full acceleration. It
|
||
|
SLAMS into the underside of MONS Veritatis. It EXPLODES, and
|
||
|
hundreds of tons of flaming debris drop back into the forest.
|
||
|
|
||
|
ON THE FLIGHT DECK of the other SHUTTLE, the pilots watch the
|
||
|
wreckage falling.
|
||
|
|
||
|
PILOT
|
||
|
Valkyrie Two is breaking off. And if any
|
||
|
of ya'll want to get off this piece of
|
||
|
shit planet, you better cover our ass,
|
||
|
`cause we're the only way back to orbit.
|
||
|
|
||
|
GUNSHIP PILOT
|
||
|
Roger that.
|
||
|
|
||
|
FROM THE DRAGON COCKPIT Quaritch watches the shuttle bank
|
||
|
away, with most of the remaining gunships following.
|
||
|
|
||
|
QUARITCH
|
||
|
Get back here you worthless pukes!
|
||
|
|
||
|
141.
|
||
|
|
||
|
|
||
|
|
||
|
PILOT
|
||
|
Are we breaking off?
|
||
|
|
||
|
Quaritch draws his pistol.
|
||
|
|
||
|
QUARITCH
|
||
|
What do you think?
|
||
|
|
||
|
He is over the edge-- no logic in his brain now. Only death.
|
||
|
|
||
|
INT. OPS CENTER/CORRIDOR
|
||
|
|
||
|
Techs and troopers crowd around consoles, listening to all
|
||
|
the yelling and confusion as they try to plot the
|
||
|
disintegrating battle.
|
||
|
|
||
|
SELFRIDGE
|
||
|
(in growing alarm)
|
||
|
What the hell is going on out there?
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST
|
||
|
|
||
|
Regular troopers and volunteers FLEE through the jungle,
|
||
|
scrambling to board SAMSONS as they touch down.
|
||
|
|
||
|
INT. DRAGON COCKPIT
|
||
|
|
||
|
The pilot listens to comms from Hell's Gate.
|
||
|
|
||
|
PILOT
|
||
|
Sir, all ground units are falling back to
|
||
|
the LZ.
|
||
|
|
||
|
Quaritch's jaw clenches.
|
||
|
|
||
|
QUARITCH
|
||
|
Stay on target.
|
||
|
|
||
|
EXT. WELL OF SOULS
|
||
|
|
||
|
Mo'at LOOKS UP as the DRAGON appears over the trees like the
|
||
|
shadow of Death. Around her, the Na'vi mothers clutch their
|
||
|
children to them. We see AKWEY'S BOY among them.
|
||
|
|
||
|
INT. DRAGON COCKPIT
|
||
|
|
||
|
Quaritch sets the target cursor on the MOTHER TREE and what
|
||
|
we recognize is the ghostly figure of Mo'at.
|
||
|
|
||
|
QUARITCH
|
||
|
Switch missiles. Arm all pods.
|
||
|
|
||
|
142.
|
||
|
|
||
|
|
||
|
|
||
|
PILOT
|
||
|
Arming.
|
||
|
|
||
|
QUARITCH
|
||
|
Let's see what these blue bastards do
|
||
|
when I bitch-slap their goddess.
|
||
|
|
||
|
EXT. MOUNTAINS/ AERIAL
|
||
|
|
||
|
JAKE'S LEONOPTERYX drops toward the Dragon like a Mig 29. He
|
||
|
pulls out, skimming over the ship. Uncoupling, he rolls
|
||
|
backward off his mount and --
|
||
|
|
||
|
JAKE HITS, skidding, on the hull of the Dragon. He rolls to
|
||
|
his feet, already running as --
|
||
|
|
||
|
QUARITCH sees the leonopteryx WHOOSH overhead and flap away
|
||
|
with no rider. He snap-looks aft to see --
|
||
|
|
||
|
JAKE SPRINTING along the spine of the ship, yanking two
|
||
|
grenades from his battle-harness, pulling the pins with his
|
||
|
teeth, then --
|
||
|
|
||
|
QUARITCH's hand shoots out and SLAMS the pilot's CYCLIC STICK
|
||
|
hard over. THE DRAGON lurches sideways, rolling sharply with
|
||
|
a ROAR of protesting rotors and --
|
||
|
|
||
|
JAKE IS FLUNG off his feet. The grenades miss the TURBINE
|
||
|
INTAKES. One bounces off the ship. The other lodges against
|
||
|
a cowling and --
|
||
|
|
||
|
JAKE SLIDES OFF the ship, falling as -- K-BLAM! The grenade
|
||
|
blows a two meter hole in the hull --
|
||
|
|
||
|
WHOOOSHH! Pandoran air swirls inside.
|
||
|
|
||
|
QUARITCH
|
||
|
(to the pilot)
|
||
|
Put your mask on.
|
||
|
|
||
|
Quaritch leaps out of his seat, heading aft as --
|
||
|
|
||
|
JAKE GRABS the edge of a weapons pod, his feet dangling over
|
||
|
open space.
|
||
|
|
||
|
HOLDING HIS BREATH, Quaritch blows a RESCUE HATCH and leans
|
||
|
outside. Jake sees him aim his massive PISTOL.
|
||
|
|
||
|
K-WHAM! K-WHAM! Rounds clang next to Jake's head. He LETS GO,
|
||
|
plummeting into the trees --
|
||
|
|
||
|
Jake plunges through jungle canopy. He catches a HUGE LEAF,
|
||
|
as Neytiri taught him -- it bends down, breaking his fall --
|
||
|
|
||
|
143.
|
||
|
|
||
|
|
||
|
|
||
|
HE LETS GO, dropping again only to catch ANOTHER LEAF, and
|
||
|
then another, and --
|
||
|
|
||
|
WE RUSH DOWN with him through this green blur. Jake drops to
|
||
|
the ground in a feral crouch. Unhurt.
|
||
|
|
||
|
JAKE
|
||
|
(into his headset)
|
||
|
Quaritch is gonna take out the Well of
|
||
|
Souls! He's got a clear shot. Hit him,
|
||
|
anybody that can! Do it now!
|
||
|
|
||
|
IN HER SAMSON Trudy Chacon is all business.
|
||
|
|
||
|
TRUDY
|
||
|
On it.
|
||
|
|
||
|
SHE BANKS hard, pulling g's, coming around on the Dragon.
|
||
|
She pours on the coal and the Samson leaps forward, straight
|
||
|
at the WARSHIP.
|
||
|
|
||
|
QUARITCH, DRILLS a stream of tracers at her, tearing through
|
||
|
her canopy, ripping chunks off her fuselage.
|
||
|
|
||
|
IN THE JUNGLE BELOW, Norm watches her kamikaze run --
|
||
|
|
||
|
NORM
|
||
|
No!
|
||
|
|
||
|
TRUDY
|
||
|
(clipped, pilot-like)
|
||
|
Norm, I love you.
|
||
|
|
||
|
TRUDY DIVES, raking through treetops and then, at the last
|
||
|
instant, YANKS BACK on the stick and --
|
||
|
|
||
|
THE SAMSON leaps straight up and -- K-KRASH!! SHEARS OFF THE
|
||
|
COCKPIT of the Dragon as --
|
||
|
|
||
|
QUARITCH THROWS HIMSELF aft along the aisle and --
|
||
|
|
||
|
TRUDY'S SAMSON disintegrates, the wreckage burning as it
|
||
|
tumbles into the jungle.
|
||
|
|
||
|
MILES QUARITCH grips the bulkhead as he stares out the open
|
||
|
front of the fuselage. Wind howls through wreckage where the
|
||
|
pilot used to be. The forest rushes up to meet him and --
|
||
|
|
||
|
THE DRAGON CRASHES through splintering trees, IMPACTING in a
|
||
|
lake with a WHITE BLAST of water.
|
||
|
|
||
|
144.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
Norm takes a few steps and drops to his knees. Imploded by
|
||
|
grief.
|
||
|
|
||
|
INT. OPS CENTER/ HELL'S GATE
|
||
|
|
||
|
ON THE PLOTTING DISPLAY as Quaritch's TRANSPONDER ICON
|
||
|
disappears.
|
||
|
|
||
|
TROOPER
|
||
|
Dragon is down. It's off the board.
|
||
|
|
||
|
SELFRIDGE
|
||
|
What do you mean, off the board?!
|
||
|
|
||
|
Selfridge is stunned. Suddenly the ROAR of an ENGINE makes
|
||
|
them all look up.
|
||
|
|
||
|
OUTSIDE THE WINDOW, MAX sits in the cab of an enormous SLASH-
|
||
|
CUTTER. Max flips Selfridge the bird and pushes a lever
|
||
|
forward --
|
||
|
|
||
|
SELFRIDGE
|
||
|
Oh shit.
|
||
|
|
||
|
Selfridge DIVES as --
|
||
|
|
||
|
K-RASHHHHH! The SPINNING TEETH of the SLASH-CUTTER tear
|
||
|
through the window in a blast of glass and lethal air. Alarms
|
||
|
go off. The technicians dive for cover in a blizzard of
|
||
|
glass and shredded debris.
|
||
|
|
||
|
The slash-cutter head pulls back, and AVATARS SCRAMBLE
|
||
|
through the gaping hole into the Ops Center --
|
||
|
|
||
|
The TROOPERS look up to see blue giants aiming weapons down
|
||
|
at them. The battle is over in seconds. The avatars are
|
||
|
holding the Ops Center.
|
||
|
|
||
|
Selfridge lies there gasping, in his emergency mask. In
|
||
|
shock. How could this be happening?
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. LAKE
|
||
|
|
||
|
THE DRAGON lies half submerged. Out of the water FG, a shape
|
||
|
rises -- a AMPSUIT. Inside -- MILES QUARITCH, his face
|
||
|
bloody, his eyes burning.
|
||
|
|
||
|
He slogs out of the water, covered with mud, then strides
|
||
|
into the forest.
|
||
|
|
||
|
145.
|
||
|
|
||
|
|
||
|
|
||
|
QUARITCH'S AMPSUIT THUDS relentlessly through the jungle. He
|
||
|
sees something through the foliage ahead -- the SHACK.
|
||
|
|
||
|
INSIDE THE SHACK Jake is oblivious under the link. Through a
|
||
|
window we see Quaritch's AMPSUIT step into the clearing.
|
||
|
|
||
|
QUARITCH levels his GAU-90 at the shack. His finger goes to
|
||
|
the firing button--
|
||
|
|
||
|
WHAM!! A six-legged BLACK DEMON tackles him.
|
||
|
|
||
|
Quaritch pivots as he falls, FIRING the cannon. It misses
|
||
|
Neytiri by inches. He grapples with the THANATOR as its
|
||
|
razor claws SCREECH over his metal armor.
|
||
|
|
||
|
THE TITANS twist and struggle. QUARITCH UNLEASHES a long
|
||
|
burst from the cannon. Rounds tear into the creature, which
|
||
|
SHRIEKS but --
|
||
|
|
||
|
NEYTIRI wills it to SMASH the cannon hard against a rock,
|
||
|
tearing it loose from the `suit's hand but --
|
||
|
|
||
|
Quaritch SLAMS the thanator back against a tree-trunk, almost
|
||
|
crushing Neytiri.
|
||
|
|
||
|
CLOSE ON one hydraulic hand, as it draws the `suit's KNIFE
|
||
|
and --
|
||
|
|
||
|
QUARITCH TWISTS violently, ramming the knife up under the
|
||
|
thanator's chest armor. The creature ROARS and Quaritch flips
|
||
|
on top of it, stabbing.
|
||
|
|
||
|
QUARITCH STABS DOWN AGAIN. The thanator slumps, pinning
|
||
|
Neytiri's legs under its great bulk. She is trapped.
|
||
|
|
||
|
Quaritch looks down at Neytiri. She glares back at him,
|
||
|
panting, scared but defiant.
|
||
|
|
||
|
JAKE (O.S.)
|
||
|
It's all over Quaritch --
|
||
|
|
||
|
Quaritch turns, seeing Jake DROPPING from a tree limb. The
|
||
|
`suit rises slowly, knife glinting in the morning sun.
|
||
|
|
||
|
QUARITCH
|
||
|
Nothing's over while I'm breathing.
|
||
|
|
||
|
JAKE
|
||
|
Kinda hoped you'd say that.
|
||
|
|
||
|
QUARITCH SURGES forward. JAKE closes fast, snatching up the
|
||
|
broken CANNON as --
|
||
|
|
||
|
146.
|
||
|
|
||
|
|
||
|
|
||
|
Quaritch SLASHES DOWN with the knife and Jake parries,
|
||
|
blocking it with the cannon. He CLOSES faster than the suit
|
||
|
can move and --
|
||
|
|
||
|
K-CRACK! -- SLAMS the end of the cannon into the canopy,
|
||
|
crazing it with a web of cracks as QUARITCH SLICES air with
|
||
|
the huge knife. Jake ducks, coming up to meet the next slash
|
||
|
and --
|
||
|
|
||
|
SMASHES the knife hand with the cannon once -- twice -- again
|
||
|
-- in a furious attack -- knocking the knife flying.
|
||
|
|
||
|
QUARITCH catches him with the other arm, hurling him away.
|
||
|
Jake rolls just before --
|
||
|
|
||
|
THUDDD! -- the massive foot stomps down where he just was. He
|
||
|
scrambles up as Quaritch CHARGES and --
|
||
|
|
||
|
JAKE DUCKS another round-house, LEAPING forward to smash the
|
||
|
canopy again -- then again -- until it is WHITE with cracks.
|
||
|
Quaritch manages to GRAB the cannon barrel but --
|
||
|
|
||
|
INSIDE THE COCKPIT, he sees nothing but the sun on the
|
||
|
shattered glass. HE HURLS the cannon blindly, but Jake ducks.
|
||
|
The massive cylinder cartwheels toward the shack and --
|
||
|
|
||
|
FROM INSIDE we see it CRASH against pressure window, crazing
|
||
|
it but not penetrating. Jake's link sits just inside.
|
||
|
|
||
|
INSIDE THE COCKPIT, Quaritch yanks a yellow handle and --
|
||
|
|
||
|
P-FOOM! -- the canopy BLOWS OFF, flying through the air.
|
||
|
Quaritch can see again. He dons his breathing mask. Bends to
|
||
|
pick up his KNIFE.
|
||
|
|
||
|
NEARBY NEYTIRI struggles furiously, trying to get her legs
|
||
|
free from underneath three tons of thanator.
|
||
|
|
||
|
QUARITCH, panting, glowers at Jake.
|
||
|
|
||
|
QUARITCH
|
||
|
How does it feel to betray your own race?
|
||
|
|
||
|
Then, inexplicably, he TURNS. Walks away.
|
||
|
|
||
|
FROM INSIDE the shack, we see him charge straight toward us
|
||
|
and --
|
||
|
|
||
|
CRASH! -- he puts his hydraulic fist right through the
|
||
|
window. He is reaching inside for the Link when --
|
||
|
|
||
|
JAKE HITS in a flying tackle with every ounce of force he
|
||
|
has, knocking the ampsuit sideways and --
|
||
|
|
||
|
147.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE REACHES around the suit, grabbing Quaritch's shoulder
|
||
|
and, yanks him forward HARD, SMASHING his face into the edge
|
||
|
of the cockpit but --
|
||
|
|
||
|
QUARITCH flings him off with a sweep of his arm, and Jake
|
||
|
slams to the ground.
|
||
|
|
||
|
INSIDE THE LINK Jake is holding his breath as the toxic
|
||
|
Pandoran air swirls in. GAS ALARMS SHRIEK.
|
||
|
|
||
|
NEYTIRI shoves with one free leg, desperately trying to pull
|
||
|
her other leg out.
|
||
|
|
||
|
THE AMPSUIT charges, the knife flashing down and --
|
||
|
|
||
|
JAKE just manages to catch it in both hands, but the force of
|
||
|
the attack drives him to his knees as --
|
||
|
|
||
|
QUARITCH pushes the knife down inexorably, until Jake is
|
||
|
pinned against a rock, the blade now inches from his throat.
|
||
|
|
||
|
INSIDE THE LINK Jake is straining to stay conscious, to stay
|
||
|
connected as --
|
||
|
|
||
|
THE KNIFE reaches his throat as --
|
||
|
|
||
|
THWAP! AN ARROW APPEARS in Quaritch's chest. He looks up.
|
||
|
|
||
|
NEYTIRI STANDS -- a FURY released. A classic archer figure,
|
||
|
she NOCKS another arrow. Then draws and releases smoothly.
|
||
|
|
||
|
TH-WHAP! The machine TOPPLES off Jake and lies still.
|
||
|
|
||
|
QUARITCH STARES at the two arrows in his chest. He touches
|
||
|
the feathers of the ancient weapon, then -- with an ironic
|
||
|
laugh -- he dies.
|
||
|
|
||
|
NEYTIRI runs up, another arrow nocked, bow drawn. Seeing
|
||
|
Quaritch, she lowers her father's bow.
|
||
|
|
||
|
JAKE sees her, then goes limp, his eyes rolling back, and --
|
||
|
|
||
|
INT. SHACK
|
||
|
|
||
|
HUMAN JAKE EXPLODES out of the Link, slamming to the floor
|
||
|
where he gags for breath. With his last strength, he claws
|
||
|
toward an emergency breathing mask -- across the room.
|
||
|
|
||
|
He scrambles toward it, on the edge of unconsciousness.
|
||
|
|
||
|
NEYTIRI VAULTS through the shattered window, landing in the
|
||
|
debris like a cat. She GRABS the mask and flashes to Jake's
|
||
|
side -- puts the mask over his face and --
|
||
|
|
||
|
148.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE drags in breath after breath. He looks up at Neytiri,
|
||
|
studying him as she holds him -- seeing his human body for
|
||
|
the first time.
|
||
|
|
||
|
Jake touches her face, his pale human hand against the blue
|
||
|
of her skin. There eyes meet across the glass of the mask --
|
||
|
together, separate. Worldless.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
MO'AT tends to the mortally wounded TSU'TEY as AVATAR JAKE
|
||
|
arrives with Neytiri. Mo'at has bound his wounds, but by her
|
||
|
expression, it is clear he cannot be saved.
|
||
|
|
||
|
Jake kneels and Tsu'tey opens his eyes. Through a haze of
|
||
|
pain, he recognizes Jake.
|
||
|
|
||
|
TSU'TEY
|
||
|
(NA'VI)
|
||
|
I See you, Jakesully.
|
||
|
|
||
|
JAKE
|
||
|
I See you, Tsu'tey te Rongloa Ateyitan.
|
||
|
|
||
|
TSU'TEY
|
||
|
Are the people safe?
|
||
|
|
||
|
JAKE
|
||
|
They're safe.
|
||
|
|
||
|
Tsu'tey weakly clutches his severed queue.
|
||
|
|
||
|
TSU'TEY
|
||
|
I can never ride again, or bond with my
|
||
|
woman -- or hear the voice of Eywa. I can
|
||
|
not lead the People. You will lead them,
|
||
|
Jakesully.
|
||
|
|
||
|
JAKE
|
||
|
No. I'm not officer material.
|
||
|
|
||
|
TSU'TEY
|
||
|
It is decided. Now do the duty of
|
||
|
Olo'eyctan. Set my spirit free.
|
||
|
|
||
|
JAKE
|
||
|
I'm not killing you.
|
||
|
|
||
|
TSU'TEY
|
||
|
I am already dead.
|
||
|
|
||
|
149.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE
|
||
|
No.
|
||
|
|
||
|
TSU'TEY
|
||
|
It is the way. And it is good. I will be
|
||
|
remembered --
|
||
|
|
||
|
Tsu'tey's voice is weak, but thick with emotion.
|
||
|
|
||
|
TSU'TEY
|
||
|
-- I fought with Toruk Macto, we were
|
||
|
brothers -- and he was my last shadow.
|
||
|
|
||
|
TSU'TEY'S HAND clasps with Jake's in a fierce grip. Jake
|
||
|
draws his knife.
|
||
|
|
||
|
TSU'TEY'S POV -- Jake leans forward, blocking the sun.
|
||
|
HIS SHADOW falls across Tsu'tey.
|
||
|
|
||
|
JAKE
|
||
|
(NA'VI)
|
||
|
Forgive me, my Brother. Go now to the
|
||
|
Mother Spirit.
|
||
|
|
||
|
By his movement, we know that he has ended Tsu'tey's pain.
|
||
|
Jake's eyes well with tears as he continues reciting the
|
||
|
prayer for the dead, and his Na'vi words carry over as we --
|
||
|
DISSOLVE TO:
|
||
|
|
||
|
EXT. HELL'S GATE -DAY
|
||
|
|
||
|
Na'vi ride direhorses among the abandoned machines of Hell's
|
||
|
Gate.
|
||
|
|
||
|
Banshees roost on the roofs of the modules, and stingbats
|
||
|
flutter about, unimpeded. The SENTRY GUNS are silent, and
|
||
|
the GATES are open to the forest.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
A few chose to stay. Fewer were chosen.
|
||
|
|
||
|
Max, Norm, and a few of the avatars hold AR's as the
|
||
|
personnel of Hell's Gate file up the cargo ramp of the
|
||
|
remaining shuttle. The evicted humans are sullen and angry,
|
||
|
like POW's.
|
||
|
|
||
|
JAKE and NEYTIRI stand together, watching the departure of
|
||
|
the Sky People.
|
||
|
|
||
|
PARKER SELFRIDGE shuffles up the ramp. His eyes -- the eyes
|
||
|
of a lost soul -- meet JAKE'S. He disappears into the ship.
|
||
|
CUT TO:
|
||
|
|
||
|
150.
|
||
|
|
||
|
|
||
|
|
||
|
EXT. SPACE
|
||
|
|
||
|
ISV VENTURE STAR hangs suspended against the dark side of
|
||
|
PANDORA. The ISV's antimatter engines BLAZE to life and it
|
||
|
accelerates out of orbit.
|
||
|
|
||
|
What remains IN FRAME is a virgin, primeval world. Spanning
|
||
|
the black continents is a vast reticulated lace-work of
|
||
|
BIOLUMINESCENCE -- a ghostly WEB connecting all of Pandora.
|
||
|
CUT TO:
|
||
|
|
||
|
EXT. RAINFOREST - DAY
|
||
|
|
||
|
The sun's rays shaft down through the layers of canopy.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
The forest will heal, and so will the
|
||
|
hearts of the People. New life keeps the
|
||
|
energy flowing, like the breath of the
|
||
|
world.
|
||
|
|
||
|
NEYTIRI, obviously pregnant, is bow-fishing in the shallows.
|
||
|
Children jump and squeal with laughter in the river.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
This is my last videolog.
|
||
|
|
||
|
INT. LINK ROOM
|
||
|
|
||
|
VIDEO IMAGE -- Jake sits in a chair, talking straight TO
|
||
|
CAMERA. He is thin, pale. He looks around the high tech room.
|
||
|
|
||
|
JAKE
|
||
|
The science guys will keep the lights on,
|
||
|
here. But I won't miss this place.
|
||
|
|
||
|
EXT. WELL OF SOULS - NIGHT
|
||
|
|
||
|
THE WILLOWS glow softly. The entire Omaticaya clan is
|
||
|
gathered, seated in a prayer circle around the Mother Tree.
|
||
|
|
||
|
JAKE (V.O.)
|
||
|
I better wrap this up. There's a funeral
|
||
|
tonight, and I don't want to be late. It
|
||
|
was someone very close to me.
|
||
|
|
||
|
WIDE SHOT, moving in across the concentric rings of people,
|
||
|
all plugged-in and softly chanting. MOVING toward the
|
||
|
center, over the figure of Mo'at, to hover above --
|
||
|
|
||
|
NEYTIRI, kneeling beside two FIGURES on the dais --
|
||
|
|
||
|
151.
|
||
|
|
||
|
|
||
|
|
||
|
JAKE and his AVATAR lie head to head. Human Jake is wearing
|
||
|
an exomask. Both figures are still, hands folded, covered in
|
||
|
translucent silken shrouds of ROOT-CILIA.
|
||
|
|
||
|
CAMERA CLOSES IN as Neytiri removes the mask from Jake's
|
||
|
human face. She gently closes his dead eyes with her
|
||
|
fingertips. Then bends and kisses him.
|
||
|
|
||
|
MOVE INTO CU on AVATAR JAKE as Neytiri's hand comes into
|
||
|
frame, stroking his cheek. TIGHTENING slowly to--
|
||
|
|
||
|
ECU JAKE'S EYES. Hold a beat, then --
|
||
|
|
||
|
They open.
|
||
|
CUT TO BLACK
|