diff --git a/scripts/2012.txt b/scripts/2012.txt new file mode 100644 index 0000000..d7370ab --- /dev/null +++ b/scripts/2012.txt @@ -0,0 +1,7639 @@ + 2012 + + + + Written by + + Roland Emmerich & Harald Kloser + + + + + + + Second Draft + February 19th, 2008 + + + + + OVER BLACK + + We listen to the immortal music of Mozart's Adagio of the + Clarinet Concerto in A. + + FADE UP + + + EXT. THE SOLAR SYSTEM + + Space, infinite and empty. + + But then, slowly all nine planets of our Solar System move + into frame and align. + + The last of them is the giant, burning sphere of the sun. + + Just as the sun enters frame, a solar storm of gigantic + proportion unfolds. The eruptions shoot thousands of miles + into the blackness of space. + + FADE TO BLACK + + 2009 + + FADE UP + + + EXT. COUNTRY SIDE/INDIA - SUNSET + + Mozart's concerto filters from a jeep's stereo, fighting the + drumming sounds of the monsoon rain. PROF. FREDERIC WEST, 66, + listens to the music. + + An Indian BOY playing by the roadside steers his wooden toy + ship across a puddle. + + The Professor turns to his driver, pointing to the boy. + + PROF. WEST + Watch out! + + But it's too late. The jeep drives straight through the + puddle at full speed, sinking the boy's toy ship. + + In the background, the jeep stops in front of a building. The + driver jumps out, leading the Professor towards its entrance. + + The sign at the door reads: `Institute for Astrophysics - + University of New Delhi'. + + 2. + + INT. NAGA-DENG MINE/INDIA - SUNSET + + An endless mine shaft. An old elevator cage comes to a + grinding halt. When Prof. West steps out we see that he is + accompanied now by a nervous DR. SATNAM TSURUTANI, 32. + + PROF. WEST + How deep are we? + + SATNAM + 8200 feet. Used to be an old copper + mine, Professor, sir. + + As Prof. West follows Satnam, he takes in the unusual setting + for this science lab. + + PROF. WEST + Helmsley told me that the neutrino + count doubled during the last sun + eruptions. + + SATNAM + Correct, sir. But that is not what + worries me... + + They enter a large room with low hanging ceilings. A small + group of WHITE COATS look up from their computers, which all + show images of the solar storm we witnessed earlier. + + SATNAM (CONT'D) + There was a new solar storm, so strong + that the physical reaction got even + more severe. + + PROF. WEST + How can that be? + + SATNAM + We don't know, Professor, sir. + + Satnam walks over into another room. There he opens a hatch + on the floor and hot steam rises. + + SATNAM (CONT'D) + The neutrinos suddenly act like... + microwaves. + + Prof. West slowly steps closer. When he discovers that the + water in the tank below is boiling, his face goes pale. + + CUT TO: + + 3. + + EXT. LARGE TERRACE/WASHINGTON D.C. - EVENING + + A major fund raising party is under way. The setting is + spectacular. A terrace overlooking the Washington Mall and + the Capitol Building. + + ADRIAN HELMSLEY, 32, stands with a group of young POLITICAL + AIDES. He is the only African-American among them. + + One of the aides spots CARL ANHEUSER, 58, White House Chief + of Staff, working the crowd. + + POLITICAL AID #1 + Look at Anheuser. Anyone would think he + was President. Did you hear, he wants + us to sign in and out like school boys? + + ADRIAN + I still can't believe that Wilson chose + him of all people to run the White + House. + + POLITICAL AID #2 + Why not? Anheuser owns the Senate and + the Congress. + + ADRIAN + Shame he's such a pompous ass. + + ANHEUSER (O.S.) + Somebody mention my name? + + Adrian turns to see Anheuser smiling. + + ADRIAN + (SHOCKED) + Yes sir... No, sir. + + ANHEUSER + Which one is it? + + ADRIAN + We were talking about what a great + speech you gave tonight. Well done, + sir. + + ANHEUSER + It's Helmsley, right? I'll remember + that. + + Anheuser walks away with a dangerous smile. + + POLITICAL AID #2 + That guy scares the shit out of me. + + At that moment Adrian's cell phone rings. + (CONTINUED) + + 4. + + ADRIAN + (into the phone) + Professor West? + + PROF. WEST (O.S.) + I've been trying to reach you! + + + INT. LIVING ROOM/SATNAM'S HOUSE - NIGHT + + Prof. West is on the phone. In the background we make out + Satnam's family around the dining room table. + + PROF. WEST + Listen, Adrian. The situation is much + worse than we thought... + + Satnam quiets his little son. It is the boy we saw earlier + with his toy ship. + + + INT. HALLWAY/WHITE HOUSE - DAY + + Adrian follows Anheuser through a hallway of the White House, + papers in hand. + + ADRIAN + Sir, the President needs to know this. + + ANHEUSER + Helmsley, how long have you been on the + job as science advisor? + + ADRIAN + Four months this week. + + ANHEUSER + I would say that's enough time to learn + that we have rules here. You'll just + have to wait until the quarterly + science briefing. + + ADRIAN + If this is about what I said last + night, I am truly sorry, sir. + + ANHEUSER + So you didn't like my speech? + + Exasperated, Adrian holds out the papers to him. + + ADRIAN + Can you please have a look at this, + sir? It's really important. + + + (CONTINUED) + + 5. + + Finally, Anheuser rips the papers out of his hands and starts + to walk away, reading. + + Suddenly he slows down. + + ANHEUSER + Who wrote this? + + ADRIAN + An Indian astrophysicist I graduated + with from Harvard and Prof. West, the + preeminent geologist in the US. + + ANHEUSER + Who else knows about it? + + ADRIAN + No one, sir. + + ANHEUSER + Let's keep it that way, Helmsley. + + Anheuser walks away. + + FADE TO BLACK + + 2010 + + FADE UP + + + EXT. SEVILLE/SPAIN - DAY + + G8 Summit. Riot police control the unruly crowd with water + cannons. + + We see PROTESTERS with Anti Globalization signs behind a + fence. A convoy of limousines is approaching a historic + building. + + + INT. BIG HALL/ALHAMBRA - DAY + + We follow the American delegation into the conference room, + where the other G8 delegations are seated around an enormous + table. + + The President of the United States, THOMAS F. WILSON, 56, + doesn't sit down. He addresses the room and everybody goes + quiet. + + PRESIDENT WILSON (O.S.) + Good Morning... + + For the first time we see the President's face. He is African- + American. + (CONTINUED) + + 6. + + PRESIDENT WILSON (CONT'D) + I hereby present a motion to meet + privately with my seven fellow Heads of + State, kindly excluding the rest of the + delegates. + + A murmur erupts. The Russian President SERGEY MAKARENKO, 62, + whispers to one of his interpreters. + + RUSSIAN INTERPRETER + Mr. Makarenko wishes to have his + interpreters present. + + President Wilson looks over to the Russian Colleague. + + PRESIDENT WILSON + Mr. President, judging from the + conversations we've had in the past, I + can assure you, your English is + absolutely fine, for what I have to + say. + + As the Russian President waves his interpreter away, all the + international delegates leave as well. + + The huge doors of the hall close. A secret service officer in + the sound booth switches off the recording equipment to the + chamber. + + The President gathers himself. + + PRESIDENT WILSON (CONT'D) + Six months ago I was made aware of a + situation so devastating, that at + first, I refused to believe it. + (PAUSE) + However through the concerted efforts + of the brightest scientists of several + nations, we have now confirmed its + validity. + + Dead silence. + + PRESIDENT WILSON (CONT'D) + The world as we know it, will soon come + to an end. + + CUT TO: + + + EXT. CHO MING VALLEY/TIBET - DAWN + + A huge Chinese military helicopter blasts through a majestic + mountain valley in Tibet. We are at the top of the world. + + + (CONTINUED) + + 7. + + A Chinese COLONEL, wearing dark sun glasses, watches from the + chopper as the army forces the evacuation of the villages and + monasteries. + + VOICE (O.S.) + (in Chinese) + You will have new houses, electricity + and running water... + + + EXT. VILLAGE/TIBET - DAY + + Someone speaks on a megaphone in the village square as + villagers are evicted by soldiers and herded into trucks. + + VOICE (O.S.) + ... Some among you will even have the + chance to work for the glorious + People's Republic of China building the + biggest dam project in the world... + + NENG PANG, a young monk, 18, is loaded into a truck together + with his PARENTS, both in their 60's. + + + EXT. SCHOOL/TIBET - DAY + + Neng's older brother, LIN PANG, 25, is part of a huge crowd + of young men and women staying behind by a Tibetan school + building. He turns and yells after the truck. + + LIN + I will send you money mother. + + The Colonel with the dark glasses steps up, addressing the + masses. + + COLONEL + Who can read and write? + + Eager hands fly up in the air. An official makes notes. + + COLONEL (CONT'D) + Who can weld? + + Lin's hand shoots up in the air. We hear a siren echoing + through the mountains and suddenly an explosion. Lin turns. + + In the BACKGROUND, a series of explosions punch enormous + holes into the side of the mountain, showering rock + everywhere. + + FADE TO BLACK + + + + (CONTINUED) + + 8. + + 2011 + + FADE UP + + + INT. DORCHESTER HOTEL/LONDON - DAY + + A MAN in a dark suit walks through a hallway of the + Dorchester looking like your typical MI-6 agent. The decor is + plush and luxurious. He's stopped by two security men who + frisk him. + + + INT. PRESIDENTIAL SUITE/DORCHESTER HOTEL - DAY + + Heavily ringed fingers flip through a folder. + + MI-6 OFFICER (O.S.) + Has his Highness had the opportunity to + study the dossier? + + A SAUDI PRINCE looks up and nods without expression. + + SAUDI PRINCE + You must understand I have a very big + family. Mister... + + MI-6 OFFICER + Isaacs. + + SAUDI PRINCE + Mister Isaacs, one billion dollars is a + lot of money. + + MI-6 OFFICER + I'm afraid the amount is in Euros, your + Highness. + + CUT TO: + + + INT. LOUVRE/PARIS - NIGHT + + A group of dark figures in overalls walk past famous + Renaissance paintings. They stop at the Mona Lisa. + + MANFRED PICARD, 63, head of the French National Museums, + stands by LAURA, a young African-American woman in her late + 20's. They observe the specialists opening the case of the + famous painting. + + A whoosh of air as the vacuum seal breaks. + + MANFRED PICARD + Laura, I'm putting a lot of trust in + your people. + (CONTINUED) + + 9. + + Laura answers in almost perfect French. + + LAURA + There are too many crazy people who + could hurt her, Manfred. The World + Heritage Foundation has done this all + over the world. + + In the BACKGROUND the Mona Lisa is taken off the wall and + replaced with a perfect replica. Picard still looks uneasy. + He watches as the real Mona Lisa is sealed into an airtight + case. + + MANFRED PICARD + And she'll be safe now? Tucked away in + the Swiss Alps? + + LAURA + Perfectly safe. + + Picard looks suspicious but says nothing. The CAMERA MOVES IN + on the face of the fake Mona Lisa until all we see is her + mysterious smile. + + FADE TO BLACK + + 2012 + FADE UP + + FUZZY TV IMAGES: + + Lifeless bodies encircle a huge fire pit. They resemble the + rays of the sun. In the background we see the famous step + pyramids of Tikal. + + NEWSCASTER (O.S.) + ... The mass suicide was discovered by + a BBC documentary crew in the ancient + Mayan city of Tikal... + + Many of the dead are women and children looking peaceful and + are surrounded by colorful flowers. + + NEWSCASTER (CONT'D) + ... the victims were said to have + adhered to the Mayan-Quiche Calender + which predicts the end of time to occur + on the 21st of December this year, due + to the sun's destructive forces... + + The CAMERA slowly pulls out and we are in-- + + 10. + + INT. JACKSON'S APARTMENT/LOS ANGELES - EARLY MORNING + + A shabby apartment in Silverlake. The TV is on. + + NEWSCASTER (O.S.) + ... Strangely enough, scientific + records do support the fact that we are + heading for the biggest solar climax in + recorded history... + + A small tremor rocks the apartment and the dishevelled face + of JACKSON CURTIS, 33, pops up from behind the couch. He fell + asleep at his laptop last night. + + JACKSON + Oh no. Not again. + + One look at his watch and he is off running. He throws some + clothes and a toothbrush in a bag. His cell phone rings. + + JACKSON (CONT'D) + Hello?... What do you mean? I'm not + late. It's not even 10:30... + + Jackson turns off the TV and darts towards the door, stopping + only to slide his laptop into a knapsack. As he turns, he + stumbles over a stack of books, all shrink-wrapped and + identically titled: `Farewell Atlantis'. + + JACKSON (CONT'D) + Damn it! + (into the phone) + Kate, I'm on my way... For god's + sake... + + Frustrated, he kicks them out of his way and exits. We hold + on the books and realize that Jackson's photograph is on + their back covers. + + + EXT. JACKSON'S GARAGE/LOS ANGELES - EARLY MORNING + + The phone call continues as Jackson opens the garage door, + struggling to pack his old SUV with camping equipment. + + JACKSON + They're kids, Kate, going on vacation. + It's not a doctor's appointment... it's + supposed to be fun. You remember that, + right? Fun? + + He tries to start the engine, but the battery is dead. + Frustrated, he hits the steering wheel. + + 11. + + EXT. JACKSON'S STREET/LOS ANGELES - EARLY MORNING + + Jackson runs across the street with his camping equipment, + throwing it into the trunk of a stretch limo parked by the + curb. + + JACKSON + ... I know it's mosquito season at + Yellowstone, Kate. I'll pick some up on + the way. + + He notices a deep crack in the asphalt. His neighbors, an + elderly couple, stand there and stare at it. + + NEIGHBOR + Merrill, we should move back to + Wisconsin. + + Jackson gets into the limo and speeds off. + + + INT. STREETS/LOS ANGELES - EARLY MORNING + + Jackson drives through LA with the radio on. + + RADIO HOST (O.S.) + ... Those shake-proof coffee mugs are a + genius idea, and they just show the + true nature of us Californians. + + We pass a family frantically loading boxes into a van. + + RADIO HOST (O.S.) (CONT'D) + We'll not bow to little inconveniences + like these so called `mini-quakes'... + + Jackson passes a man in a wheelchair. He's holding up a + cardboard sign: `Repent - The End is Near'. + + + EXT. KATE'S HOUSE/LOS ANGELES - MORNING + + Jackson stops and honks in front of an upscale Westwood home. + + RADIO HOST (O.S.) + ... If you have a funny `mini-quake' + story you wanna share, call Lisa & + Randy at 1-800... + + Jackson switches the radio off. Two kids NOAH, 10, and LILLY, + 7, come running down the driveway. They slow down, as they + see the limo. + + NOAH + Jackson, what is this? + + (CONTINUED) + + 12. + + JACKSON + Don't call me Jackson, Noah, I'm your + father. + + Lilly yells from inside the limo. + + LILLY (O.S.) + Noah! Look! Daddy's got Space-Busters + in the car... and Space-Busters 2. + Awesome! + + Their mother, KATE CURTIS, 32, a beautiful woman appears. + + KATE + So what, you're a chauffeur now? What + happened to the temp work? + + JACKSON + This is better hours for me. Means I + can still write. + + KATE + Of course. + + Kate's new boyfriend, GORDON SILBERMAN, 43, pulls out of the + garage in his Porsche wearing his Bluetooth. + + GORDON + (on the phone) + Simone, how many times have I told you, + we don't do Lipo on Fridays. It's too + messy. + + Jackson smiles bitterly. Gordon waves at the kids. + + GORDON (CONT'D) + Have fun guys. And watch out for those + bears. + (to Jackson) + Nice car. + + Jackson waves grudgingly as Gordon pulls away. + + KATE + Noah needs to read twenty pages from + his book each day... + + She follows Jackson to the car with a bag of pull-up diapers. + + KATE (CONT'D) + ... and Lilly has to put these on, + before she goes to sleep. + + JACKSON + Still? + + (CONTINUED) + + 13. + + He shuts the trunk and gets back behind the wheel. She looks + at him seriously. + + KATE + Jackson, they've been really looking + forward to this you know. Don't let + them down. + + He nods as the car pulls away. + + CUT TO: + + + EXT. SHIP DECK/SAN FRANCISCO HARBOR - DAY + + HARRY HELMSLEY, 73, and his partner TONY DELGADO, 68, board + an enormous cruise ship, the `Freedom of the Seas'. Harry is + African-American, Tony is Italian. He carries a large case. + They pass a poster: `Jazz Night with Harry Helmsley & Tony + Delgado'. + + HARRY + So this time we'll hit the Japs. + + TONY + So what? + + HARRY + Well Tony, electronics are cheap there + and... you could visit your boy Will. + + TONY + Afternoon ladies... + + TONY shoots a charmers smile at a couple of older single + ladies on sun loungers. They smile back coyly. + + HARRY + Are you even listening to me? + + TONY + Yes unfortunately I am Harry. + + HARRY + I heard from Audrey you're a grandpa + now. + + TONY + Why don't you keep your nose out of my + family. You're cramping my style. + + HARRY + He married a Japanese girl - how is + that the end of the world? You should + at least go see him. + + (CONTINUED) + + 14. + + TONY + Why? Do you see your boy? + + HARRY + Not as much as I'd like. DC is a long + way. But at least we talk. + + TONY + What about? + + HARRY + Life, how short it is... + + Suddenly they're thrown off balance by a large swell that + pulls the massive `Freedom of the Seas' away from the + landing, about ten yards. + + The next moment, the ship slams back against the dock with an + earthshaking BOOM. + + TONY + What the hell was that? + + A murmur goes through the crowd. Luckily nobody is injured. + + CUT TO: + + + INT. LAURA'S BEDROOM/D.C. - EARLY MORNING + + The phone rings twice before Laura switches on a light. We + catch a glimpse of a framed photo of her and Adrian. She + answers the phone. + + MANFRED PICARD (O.S.) + Laura? They lied to us. + + LAURA + Manfred is that you? + + + EXT. STREETS/PARIS - NIGHT + + Picard is speeding in his Peugeot, anxiously checking his + rear view mirror. + + MANFRED PICARD + I had my suspicions. I should have said + something. They are following me. + + LAURA (O.S.) + Who is? + + MANFRED PICARD + They may be listening to us too. Laura + the Heritage Foundation is a sham. + (CONTINUED) + + 15. + + Picard's car approaches a tunnel. + + LAURA (O.S.) + What? + + MANFRED + The art you collected, it's not in the + Alps. + + The Peugeot enters a tunnel. + + LAURA (O.S.) + Then where is it? + + A huge blast rips through the tunnel as his car explodes. + + SMASH CUT TO: + + + EXT. ROAD/YELLOWSTONE NATIONAL PARK - DAY + + JACKSON AND LILLY + (singing along to the + RADIO) + `We all live in a Yellow Submarine...' + + They're driving through the glorious landscape of Yellowstone + National Park. Noah sits in the back with headphones on + playing Space-Busters 2. + + As they pass over a ridge, the music station is overpowered + by a talk show filtering through. We hear a raspy and + excitable voice. + + RADIO HOST + ... After what is going on in La-La- + land with all those surface cracks, I + told myself: Get your stupid ass to + Yellowstone. I don't want to miss all + the great fun, when it finally blows... + + Lilly reaches for the dial of the radio. + + LILLY + What happened to the music? + + JACKSON + Hang on, sweet pea, let daddy listen to + this for a moment... + + Jackson corrects the dial to get better reception. + + RADIO HOST + ... There's been government people + flying in and out all morning. And + trust me, they did not look happy... + (CONTINUED) + + 16. + + A huge black helicopter brushes over the limo. + + RADIO HOST (CONT'D) + ... Folks, always remember, you heard + it first from Charlie. + + They watch in awe as the chopper disappears behind a ridge. + + CUT TO: + + + INT. OVAL OFFICE/WHITE HOUSE - MORNING + + Laura bursts in and heads straight for the TV. The President + looks up from his desk. + + LAURA + You have to see this. + + Sally the President's Secretary enters, flustered. + + PRESIDENT WILSON + It's alright Sally. + + Sally closes the door as Laura turns up the TV. + + CNN ANCHOR + ... Mr. Picard had been the director of + the French National Museums for 24 + years. As fate would have it his + assassination took place in the same + Paris tunnel where Princess Diana died + in 1997. + + The President comes around his desk. Laura looks at him + distraught. + + LAURA + I just talked to him, Dad. He told me + the world Heritage Foundation is a + sham. Is that true? + + The President shoots an anxious look across the room. Laura + turns and suddenly realizes that Adrian is standing in the + corner. + + LAURA (CONT'D) + You knew too? You sleep with me and you + didn't say anything? + + Adrian looks ashamed. + + LAURA (CONT'D) + I can't even look at you. Either of + you! + + (CONTINUED) + + 17. + + PRESIDENT WILSON + Honey, calm down. + + LAURA + A man was killed! I want the truth Dad. + Right now. + + CUT TO: + + + EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - DAY + + A dense forest trail. We hear Lilly before we see her. + + LILLY (O.S.) + Daddy, where are we going? + + JACKSON + To a very special place, Lil'bee. It's + a lake. A place where mommy and daddy + fell in love. + (winking to Noah) + Remember the book I gave you? + + NOAH + I don't want to know where you and mom + had sex. I'm not ready for that, + Jackson. + + JACKSON + I'm your dad, Noah. + + LILLY (O.S.) + Daddy! + + Jackson runs to catch up with Lilly who has reached a fence + with a `keep out' sign posted. + + JACKSON + This wasn't here before. + + Jackson starts to climb the fence. + + NOAH + Don't you see the signs? + + JACKSON + It's fine guys. + + + EXT. RIDGE/YELLOWSTONE NATIONAL PARK - DAY + + Jackson and his kids crest a ridge. They look down on a + parched basin with cracked terrain. + + + (CONTINUED) + + 18. + + JACKSON + It's gone. The whole darn lake is gone. + I swear you guys there was a lake here. + + The kids roll their eyes. + + + EXT. EMPTY LAKE BED/YELLOWSTONE NATIONAL PARK - DAY + + A puddle of water is all that remains of the lake. Jackson + and the kids walk into the basin, unaware of being watched + THROUGH BINOCULARS. + + Jackson spots an electronic measuring device and crouches to + have a closer look. + + Elsewhere in the lake bed, we see sand seeping through CRACKS + in the ground. + + NOAH (O.S.) + Jackson! + + When he looks up, he sees heavily armed soldiers coming + towards them from all sides. + + JACKSON + It's okay, Noh'. + + Through the BINOCULARS, we see Jackson and his kids arrested + and led over a ridge. + + With this we reveal an ENORMOUS RESEARCH FACILITY with + hundreds of tents and vehicles surrounding a massive drilling + tower. + + + EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY + + Adrian Helmsley and Prof. West exit the drilling tower, both + studying papers. Adrian notices Jackson and his kids nearby, + being interrogated by an OFFICER. + + ADRIAN + I'll be with you in a second, + Professor. + + Adrian walks towards them. Jackson stares at the officer with + defiance. + + OFFICER + ... And then you climbed over a posted + fence? Just like that? + + NOAH + I told you. + + (CONTINUED) + + 19. + + JACKSON + Isn't this supposed to be a National + Park? There shouldn't be fences. What + are you guys doing around here anyway? + + ADRIAN (O.S.) + We're geologists... + + Jackson turns and sees Adrian standing there. + + ADRIAN (CONT'D) + I'll handle this officer. Thank you. + + The officer reluctantly hands him Jackson's license. + + JACKSON + So, where did the lake go? + + ADRIAN + That's what we're trying to find out. + We think this whole area has become + potentially unstable. I would advise + you to take your kids and leave, Mr... + + He throws a look at Jackson's drivers license. + + ADRIAN (CONT'D) + ... Curtis. + + He looks up at Jackson with renewed interest. + + ADRIAN (CONT'D) + Are you by any chance the Jackson + Curtis, the author of `Farewell + Atlantis'? + + JACKSON + (SURPRISED) + Yeah, that's me. + + Jackson straightens up proudly. Lilly smiles. + + ADRIAN + What a coincidence. I'm reading your + book, as we speak... first third, + around day 300, when the shuttle loses + communication with earth and drifts off + into space. + + JACKSON + You're one of lucky 422 who bought it. + + ADRIAN + Actually I didn't buy it. My father + gave it to me. + + (CONTINUED) + + 20. + + JACKSON + Oh, I see. + + Prof. West waves at Adrian from one of the container labs. + Adrian hands back Jackson his drivers license. + + ADRIAN + Officer, can you return them to the + campgrounds, please. + (to Jackson) + Pleasure to meet you, Mr. Curtis. + + Jackson and his kids look after Adrian hurrying away. + + LILLY + He was very nice. + + JACKSON + Yes he was, Lil'bee. + + + EXT. FOREST TRAIL/YELLOWSTONE NATIONAL PARK - LATER + + Jackson and the kids walk back to the campgrounds when + suddenly CHARLIE FROST, 62, a crazy looking guy with + binoculars around his neck, stands in their way. + + CHARLIE FROST + What did the government guys tell you? + + Jackson looks at him, instinctively picking up Lilly. + + JACKSON + They think it's not such a good idea to + climb over their fences. They feel the + area is unstable. + + Charlie bursts out laughing. + + CHARLIE FROST + Unstable! Ha-ha! They say its unstable! + That's funny... + + With this he turns around and leaves. + + + EXT. TENT/YELLOWSTONE NATIONAL PARK - DUSK + + Jackson is sitting on a camp chair, right outside the tent. + He's on his laptop, looking enquiringly at an aerial picture + of Yellowstone on Google earth. + + In the background we see the kids are in the tent. + + + + (CONTINUED) + + 21. + + NOAH + There are mosquitos in here. Did + anybody spray the tent? + + Jackson looks up, remembering he forgot the spray. + + JACKSON + We'll get some of that tomorrow. For + tonight just put your head under the + blankie. + + LILLY + Daddy you said you weren't gonna work + on your book. + + JACKSON + I'm not Honey, I promise. Are you + wearing your pull-ups? + + Lilly nods as Jackson walks over and tucks her into bed. He + kisses her good night. He turns and is surprised to see Noah + typing a text on his cell phone. + + JACKSON (CONT'D) + Did mommy buy you that? + + NOAH + No... Gordon gave it to me for my + birthday. + + Jackson takes the phone from out of Noah's hands. + + JACKSON + Noah. Things like a cell phone have to + be discussed in the family. + + NOAH + (BITTER) + What family? + + Jackson reads the message Noah has typed `Hey Gordon, Camping + Sucks!'. Hurt, Jackson hands back the phone. + + JACKSON + Go to sleep guys. + + + EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DUSK + + Commotion. The base packs up. Adrian and Prof. West duck low + as they board a chopper. Adrian is on the phone. + + ADRIAN + ... You have to immediately inform the + President, Mr Anheuser. The readings + look much worse than I expected. + (MORE) (CONTINUED) + + 22. + ADRIAN (CONT'D) + Plus Satnam's neutrino figures from + India confirm... + + We hear Anheuser, yelling. + + ANHEUSER (O.S.) + ... But you guys said... + + ADRIAN + We were wrong! By five or six months... + + A second later the chopper lifts off. + + + INT. LIMO/YELLOWSTONE NATIONAL PARK - DUSK + + Jackson has his laptop open with the cursor blinking away on + the words `Chapter Seven'. But he can't concentrate on + writing after what Noah has said. + + A chopper flies overhead. Jackson follows it's path over the + campsite and his eyes fall on an American flag fluttering on + top of a massive radio antennae. This belongs to an RV truck. + + Through the RV's window, Jackson sees the silhouette of + Charlie Frost, the guy with the binoculars, speaking into a + microphone. + + Curious, Jackson flicks on the radio and twists the dial. + + ON THE RADIO + (Charlie's voice) + ... We have a listener calling in. Bill + from Cooke City, you're on the Charlie + Frost Show. + (Bill's voice) + I wanted to know, where will this all + start? + + Jackson is intrigued. He puts his laptop down. + + ON THE RADIO (CONT'D) + (Charlie's voice) + Well, something like this could only + originate in Hollywood, Ha-Ha! But + seriously, they've got the earth + cracking under their asses already, + Bill. + + Jackson climbs out of his car and starts towards the RV. He + can still hear the radio. + + ON THE RADIO (CONT'D) + (Bill's voice) + Our family believes in the gospel of + our Lord Jesus. + (MORE) (CONTINUED) + + 23. + ON THE RADIO (CONT'D) + We have nothing to fear, Charlie. + (Charlie's voice) + Good for you Bill, good for you! + + + INT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DUSK + + Charlie hits a switch. Music starts playing. The Doors, `The + End'. + + CHARLIE FROST + ... This is Charlie Frost reporting + live from Yellowstone National Park, + soon to become the world's largest + active volcano. + + Charlie is about to take a bite of his sandwich, when there's + a knock on the door. Jackson sticks his head in. + + JACKSON + Hi. Mind if I join you? + + CHARLIE FROST + I only got a few minutes. + + Charlie bites into his sandwich as Jackson looks around at + all the equipment. + + JACKSON + I just heard part of your broadcast... + Mind me asking a question? What exactly + is it... that will start in Hollywood? + + CHARLIE FROST + (CHEWING) + Actually it's gonna be the whole west + coast... + + JACKSON + What are you talking about? + + CHARLIE FROST + The apocalypse, the end of days. The + Mayans knew it, the I Ching and the + Bible, kind of... + + Charlie looks at his watch. + + CHARLIE FROST (CONT'D) + I got to eat... Just check my blog. You + can download it for free. + + Charlie clicks on his laptop. + + CHARLIE FROST (CONT'D) + ... However, we do take donations. + (CONTINUED) + + 24. + + A crudely animated film starts to play. Charlie narrates on + screen in an overly dramatic fashion. + + CHARLIE'S VOICE + In the year 2012 a cataclysmic event + will unfold. Caused by an alignment of + the planets in our solar system that + only happens every 640,000 years... + Just imagine the earth as an Orange... + + Charlie appears as an animated figure holding an orange. + + CHARLIE'S VOICE (CONT'D) + ... our sun will begin to emit such + extreme amounts of radiation, that the + core of the earth will melt - that's + the inside part of the Orange, leaving + the crust of our planet free to shift. + + On screen the middle of the orange shrinks, now the skin + moves freely around it. + + CHARLIE'S VOICE (CONT'D) + In 1958, Prof. Hapgood named it `Earth + Crust Displacement'... + + A faded portrait of a scientist appears on screen. + + CHARLIE FROST + ... and Albert Einstein endorsed it... + + The infamous photo of Einstein, sticking out his tongue. + + CHARLIE FROST (CONT'D) + The forces of mother nature will be so + devastating it will bring an end to + this world on winter solstice 12-21-12. + + The film ends with an image of the whole earth covered with + water. + + Charlie shuts the laptop. + + CHARLIE FROST (CONT'D) + Pretty neat, huh? It's a big hit on + YouTube. I did the animation myself. + (PAUSE) + I know what you're thinking. But all + the governments know about this. + + JACKSON + If they all knew, don't you think + somebody would tell us? + + + + (CONTINUED) + + 25. + + CHARLIE FROST + They can't. Just think about it. First + the stockmarket would crash... + + Charlie opens a can of beer. Phsssh! + + CHARLIE FROST (CONT'D) + Then the economy... boom. The dollar... + boom. And then the people in the + streets... + (mimicking gun fire) + Boom, boom! Pandemonium, revolution, + war! They would never tell us. Beer? + + Jackson shakes his head still struggling to digest this. + + CHARLIE FROST (CONT'D) + Only if you're some Sheik, Bill Gates, + or maybe one of those Russian + billionaires do you stand a chance to + buy a seat. + + JACKSON + A seat? + + CHARLIE FROST + (INTENSELY) + They're building spaceships, man. + + JACKSON + Oh... I see. + + CHARLIE FROST + No really... One of my listeners, a + geography professor at UTSC, has even + figured out where they're building + them. He sent me a map. + + JACKSON + Well... Charlie, I think I gotta go. My + kids are sleeping. + + Charlie looks at him bug eyed. + + CHARLIE FROST + Get them out of Yellowstone, man. It's + gonna get ugly here. + + JACKSON + Night, Charlie. + + As Jackson exits, Charlie gets back on the air. + + + + + (CONTINUED) + + 26. + + CHARLIE FROST + Sorry for the delay, folks. But even in + times like these, a man has got to + eat... + + CUT TO: + + + EXT. PARKING LOT OF SUPERMARKET/LOS ANGELES - NIGHT + + Westwood. The parking lot of Gelson's is nearly empty. + + Eerie silence. Suddenly some of the cars begin to shift in + place from an unseen force. A small CRACK creases the asphalt + and slowly crawls towards the brightly lit supermarket. + + + INT. BETWEEN AISLES/SUPERMARKET - NIGHT + + Muzak is playing. Kate and her boyfriend Gordon are shopping + late. She picks up some pull-ups for Lilly, Gordon steps up + behind her, wrapping his arms around her waist. + + GORDON + Why don't we make a baby? + + He reaches up and touches her breasts. + + KATE + Stop it! We're in public. + + Gordon lets go of her with mock disappointment. + + GORDON + Honey, I created them. And now suddenly + I can't touch them? + + Kate pushes him away and moves on. + + A few customers are paying at the checkout stand. + + BEHIND THEM: Huge glass windows reveal cars slowly sliding + into the ever widening crack in the parking lot. Nobody + inside notices. + + Gordon catches up with Kate. + + GORDON (CONT'D) + You always act strange after he shows + up? + + KATE + Just because I don't care for your + arrogant humor doesn't mean I'm acting + strange. He is the father of my kids. + + (CONTINUED) + + 27. + + GORDON + Maybe biologically. Can I remind you + what that guy did? First you gave up + med school to have Noah... Then you + practically raise him and Lilly by + yourself while he sat glued to a laptop + writing that junk. + + KATE + Some of his stuff is actually... He's + published Gordon. + + GORDON + (MOCKINGLY) + Yeah, published! You know your mother + was right. You've always been drawn to + guys with lofty dreams and empty + pockets. But not this time right, + sweetheart? + + Kate smiles awkwardly and picks up a can of soup. The shelf + in front of her shakes for a moment. + + KATE + Did you see that? + + GORDON + See what? + + Kate slowly puts the cans of soup into her cart and looks + around. Gordon senses a problem between them. + + GORDON (CONT'D) + You know Kate, we have to keep working + at this... our relationship. Because I + won't end up being just a re-run of you + and Jackson. + (PAUSE) + I mean Honey, I feel like... something + is pulling us apart? + + Before Gordon finishes his sentence-- + + A violent ROAR! From front to back, the entire supermarket + rips open right between Kate and Gordon. + + The few customers scream in horror at the sight of the huge + crevasse forming beneath them. Kate and Gordon are thrown up + against opposite aisles holding on for dear life. + + They cling to the columns as the shelves fold into the ever + widening crack... + + CUT TO: + + 28. + + INT. CONVENIENCE STORE/YELLOWSTONE - MORNING + + Jackson puts down some groceries at the checkout. + + JACKSON + Just stop scratching. You'll get them + infected. + + He smiles at the female cashier behind the counter who does + not look friendly. + + JACKSON (CONT'D) + Something for Mosquito bites please? + + CASHIER + Before or after? + + JACKSON + What? + + The woman looks at Lilly and Noah with their red lumps. + + CASHIER + I'd get before and after. + + She slams two mosquito products on the counter. + + LILLY + (POINTING) + Look! Mrs. Birnbaum, my teacher is on + TV! + + On the store's TV: A heavy-set blonde WOMAN, 45, speaking to + a reporter in front of Gelson's. + + NOAH + That's our supermarket. + + The gap in the ground is enormous now, at least half a mile + long and 200 feet wide. + + JACKSON + (WORRIED) + Kids, we have to pack up and go find + mommy. + + CUT TO: + + + INT. HALLWAY/WHITE HOUSE - MORNING + + President Wilson and Anheuser walk towards the Situation + Room. + + + + (CONTINUED) + + 29. + + ANHEUSER + Sir, you have to initiate the boarding + process immediately. + + PRESIDENT WILSON + Is this even possible? What's our + information from China? + + ANHEUSER + They estimate four of the ships will be + ready for launch. + + The President is shocked by this news. + + PRESIDENT WILSON + Only four? + + ANHEUSER + If it's alright with you sir, I'll + brief the panel about the new + development. + + PRESIDENT WILSON + I'd rather have Adrian do that. They + trust him. I told him to be in on the + meeting. + + Anheuser fumes as they enter the situation room. + + + INT. SITUATION ROOM/WHITE HOUSE - MORNING + + Flat screens line the walls. A video conference is under way + with each of the G8 members represented. + + PRESIDENT WILSON + Ladies and Gentlemen, we all knew this + day would come. But we never imagined + it would come this soon. + + He looks over to Adrian. + + PRESIDENT WILSON (CONT'D) + I would like to pass this over to my + science advisor, Adrian Helmsley. + + Adrian steps up and gathers himself. Anheuser watches. + + ADRIAN + I'll make this brief... + + Pointing to a set of charts. + + + + + (CONTINUED) + + 30. + + ADRIAN (CONT'D) + ... According to our latest data from + Yellowstone, the temperature of the + subterranean crust of the earth, the + cement that holds our landmass in + place, is increasing at a rapid rate, + much faster than anticipated... + + All the heads of state are glued to his words. + + ADRIAN (CONT'D) + ... This causes extreme polar + instability. The magnetic fields have + decreased by more than 80% over the + last 48 hours. + + The German Chancellor, a woman, interrupts. + + GERMAN CHANCELLOR + How much time do we have, Mr. Helmsley? + + Adrian glances to Professor West, standing in the back. + + ADRIAN + Two, maybe three days if we're lucky. + + The Prime Minister of Italy breaks in, upset. + + ITALIAN PRIME MINISTER + How can you speak about luck in such a + situation? + + ANHEUSER + Apologies Prime minster. He's still new + to the job. + + President Wilson steps up. + + PRESIDENT WILSON + Nevertheless, Mr. Antonioni, we have to + make an immediate decision. + + We hear CHEERING and APPLAUSE. + + BOXING ANNOUNCER (O.S.) + Introducing the 320 pound muscle + machine from the Ukraine... + + CUT TO: + + + INT. BOXING ARENA OF MGM GRAND/LAS VEGAS - NIGHT + + The arena is filled to its max. The crowd is on its feet. + + + (CONTINUED) + + 31. + + BOXING ANNOUNCER + ... and tonight's challenger for the + heavy weight world championship of the + world. Here he is... Mister Zultan + Balashin! + + The crowd ROARS as the boxer and his entourage enter. + + The CAMERA moves in on a tall man with blonde clean cut hair. + He is well built, wearing designer clothing from head to toe. + YURI KARPOV, 45, stereotypical Russian oligarch. + + He approaches the ringside corner and whistles. + + YURI + Zultan! + + The nervous boxer turns. + + ZULTAN + (in Russian) + Ah, finally, Yuri. I thought I would + not see you. + + Yuri hits the boxer's gloves. Zultan is nervous. His coach + steps in. + + COACH + He needs to concentrate now, Mister + Karpov. + + YURI + You shut up... when I talk to my boy, + understand? + + COACH + Yes, Mr. Karpov. + + YURI + Good... That is good. + (in Russian to the + BOXER) + Zultan my friend. Do not forget. We are + fighters. We never go down. We always + stay on our feet... + + Zultan just keeps nodding, pumping himself up. + + YURI (CONT'D) + ... No matter who is hitting us. No + matter how hard. + + GONG. First Round. The fight is on. + + YURI (CONT'D) + Now, go kill the bastard. + (CONTINUED) + + 32. + + Yuri walks to his seat, sitting down next to his trophy: + + TAMARA, 28, blonde, wears the shortest mini one can imagine, + designer shoes, handbag, glasses and boobs. In her lap she + holds CAESAR, a tiny dog wearing a diamond collar. + + In the ring the boxers maul at each other. Yuri's cell phone + beeps. It's a text message: + + START BOARDING PROCEDURE + + Yuri's whole demeanor changes. Without a word, he gets up and + walks out of the arena. + + TAMARA + Yuri bear... where are you going? + + Yuri does not respond as he squeezes through the crowd. + + Zultan, the boxer, notices Yuri leave. In that split second + distraction, he is hit HARD and goes down for the count. + + The crowd ROARS! + + CUT TO: + + + EXT. WESTWOOD/LOS ANGELES - SUNRISE + + Jackson has driven all night. The sun rises, a giant glowing + orb. + + PUBLIC RADIO NEWS (O.S.) + ... Caltech believes that the incident + in the Westwood supermarket has + released most of the surface tension... + + + EXT. KATE'S HOUSE/LOS ANGELES - EARLY MORNING + + Jackson pulls up. The kids are asleep. + + PUBLIC RADIO NEWS (O.S.) + ... It looks like life in the city will + soon be back to normal, Mayor Gonzales + said at an early morning news + conference from his home in Hancock + Park. + + Jackson switches off the radio and wakes his kids gently. + + JACKSON + Lilly, we're home sweetie. + (to Noah) + Wake up big man. + + (CONTINUED) + + 33. + + Kate heads to the car. Still sleepy, the kids grab their + stuff and run into her arms. + + KATE + Oh honey, I'm so glad you're back... + And you too, darling. + + JACKSON + We tried calling but - + + LILLY (O.S.) + I'm hungry Mummy. + + KATE + At least it looks like the Mosquitos + ate well. + + She looks at Jackson and softens. + + KATE (CONT'D) + Wanna come in? + + Gordon appears at the door. Jackson watches painfully as Noah + runs and gives Gordon a big hug. + + His cellphone beeps with a message. + + YURI (O.S.) + Where are you Curtis? + + + INT. PRESIDENTIAL SUITE/LAS VEGAS - EARLY MORNING + + Yuri stands at a huge window overlooking the strip talking + into his phone. + + JACKSON (O.S.) + Back in Westwood, Mister Karpov. + + YURI + Good. That is good. I'm sending the + Gulfstream to pick up Alec and Oleg. + + Tamara hovers in the background packing her Louis Vuitton + luggage. Caesar, her little dog, watches from the bed. + + TAMARA + (in Russian) + Tell him to bring Caesar's raincoat, + it's in the Range Rover. + + Yuri brushes her off. + + 34. + + EXT. STREET/BEL AIR - MORNING + + While talking to Yuri, Jackson is standing in front of the + open trunk, changing into his chauffeur suit. + + YURI (O.S.) + Curtis, make sure you get my boys as + fast you can. + + + EXT. MANSION/BEL AIR - MORNING + + A palatial home. Completely gaudy. The twins, ALEC and OLEG, + wait impatiently. They are 12 years old and wear identical + clothing by Dior. + + ALEC + Curtis, you are late. + + Jackson ignores him and starts throwing the luggage into the + limo. The other twin notices his muddy sneakers. + + OLEG + Careful with our stuff. Don't get it + dirty. + + + EXT. STREETS/LOS ANGELES - MORNING + + Ahead of the limo a crowd has formed in the streets, singing + songs and chanting about the end of days. A SKINNY MAN with a + ponytail preaches from the scriptures. + + PREACHER + ... There will be famines, pestilences + and earthquakes, sayeth the Lord. + + Jackson has to maneuver through the people. Banners read: + `Prepare for the End'-- 'You cannot escape his judgement'-- + + Alec looks up from his video game, annoyed. + + ALEC + Curtis, can't you go faster? + + JACKSON + Are you guys blind? I can't run people + over. + + OLEG + Why not? They're idiots anyway. + + Jackson shoots these spoilt brats an angry look. + + 35. + + EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING + + Jackson stops in front of the Gulfstream. SASHA, 40, Yuri's + Russian pilot is expecting them. + + SASHA + Hey Jackson. Took you a while... + + Jackson mutters under his breath as he unloads the luggage, + dropping one of them on Alec's foot on purpose. + + ALEC + Ouch! Be more careful! + + The other twin has noticed Jackson's intensions. He gets into + his face. + + OLEG + Now you're laughing, Curtis. But we are + going on a big ship. + (PAUSE) + We will live... and you will die. + + Oleg grins back at Jackson as the jet door closes. The + Gulfstream taxis onto the runway. + + As Jackson turns back to the car a fine surface crack shoots + across the tarmac. We hold on his face as it hits him like a + ton of bricks: + + THE CRAZY RADIO HOST, CHARLIE FROST WAS RIGHT! + + Frantically Jackson looks around and spots a MAN in overalls + working on a twin engine Cessna. He runs to him. + + JACKSON + Where can I rent a plane? + + The man points to a shabby office building. + + CUT TO: + + + INT. KITCHEN/LOS ANGELES - MORNING + + Kate is in her kitchen cooking breakfast for the kids. Gordon + watches the Governor on the news. + + GOVERNOR + (with Austrian + ACCENT) + ... just this morning my people at + Caltech told me that in the last 36 + hours we had basically zero earthquake + activity in Southern California, which + is very rare... + (CONTINUED) + + 36. + + The phone rings. Kate picks up. + + + EXT. STREETS/LOS ANGELES - MORNING + + Jackson drives like crazy. + + JACKSON + ... Kate, we have to get out of LA! + I've rented a plane for us. Get the + kids ready! I'll be there in five. + + KATE + The kids have plans today... + + JACKSON + Are you kidding me! + + KATE + No I'm not! Noah has music at 2 and + Lil' has Karate. + + Gordon rolls his eyes and mutters. + + GORDON + Not that we'd expect him to remember. + + JACKSON + (SCREAMING) + California is going down! Pack up the + kids! + + KATE + You're crazy! The Governor just said + we're fine now. + + JACKSON + The Governor's a meathead, how would he + know anything? Kate listen! You gotta + trust me over some politician. Come on. + + + INT. KATE'S HOUSE/LOS ANGELES - MORNING + + Kate slams the phone down. Lilly stops eating. + + LILLY + Mommy, why are you so angry with Daddy? + + LAURA + Because your daddy is a lunatic, + darling. + + On the TV, the interview comes to an end. + + + (CONTINUED) + + 37. + + GOVERNOR + ... it looks to me, like the worst is + over. + + That moment a MASSIVE QUAKE hits Los Angeles. + + Everybody dives under the table. + + ON TV: The news casters and the Governor do the same. A few + seconds later the signal cuts out. + + Gordon pulls Kate and the kids close as the earth shakes + violently for 20 seconds. + + + EXT. KATE'S HOUSE/LOS ANGELES - MORNING + + Jackson flies into the driveway and runs into the house. + + + INT. KATE'S HOUSE/LOS ANGELES - MORNING + + When he enters, Lilly immediately runs into his arms. The + next tremor hits. Cracks form on the kitchen floor. + + JACKSON + We have to leave! Noah, let's go! + + KATE + I think we're safer here! + + JACKSON + Noah, now! Kate please... + + The whole house rides up and down like on a wave. + + GORDON + I think he's right. + + Finally Kate pushes her son out from under the table. They + all scramble out of the house in a panic. Kate is cut on the + shoulder by falling glass but she hardly notices. + + + EXT. KATE'S HOUSE/LOS ANGELES - MORNING + + As they storm out of their front door the house crumbles + behind them. + + JACKSON + Get in the car! + + The whole street starts to buckle. Left and right the houses + are shaken and smashed like toys. + + + (CONTINUED) + + 38. + + Just before the wave of destruction can reach them, Jackson + tears out of the driveway. + + + EXT. STREETS/LOS ANGELES - MORNING + + Jackson maneuver's the limo through the crumbling + neighborhood. Right in front of their eyes, streets + disappear, trees fall, electrical lines snap. Sewer pipes + burst in front of the car. + + NOAH + Holy shit! + + Jackson has to turn on the windshield wipers. + + + EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING + + The limo crashes through a gate onto the tarmac, coming to a + stop in front of a twin engine Cessna. + + JACKSON + Damn it! Where's the pilot? + + Kate turns to Gordon. + + KATE + Gordon, you know how to fly. + + GORDON + I... had a couple lessons... + + JACKSON + Did you cover taking off? + + GORDON + Yeah. + + JACKSON + That's good enough for me. + + They start running, when Jackson remembers something and + heads back to the Limo. + + He grabs his knapsack from the front seat fumbling to zip his + laptop back inside it. Kate shouts. + + KATE (O.S.) + Jackson, what are you doing? + + JACKSON + I'm coming. + + He jumps out of the car and races back after them. Behind + Jackson the hangar starts to disintegrate. + (CONTINUED) + + 39. + + IN THE DISTANCE + + A gigantic fissure forms in the earth, shooting towards Santa + Monica airport. + + Gordon fumbles with the controls, Jackson yells from the + copilot seat. + + JACKSON (CONT'D) + Come on, come on... + + GORDON + (pointing at the + INSTRUMENTS) + But I'm supposed to check all these + first... + + Jackson reaches over and slams Gordon's hand down and the + plane lurches forward. + + As the Cessna speeds onto the tarmac the control tower goes + down and explodes. + + Noah discovers the giant crevasse forming behind them. + + NOAH + Guys, behind us! + + As the plane accelerates, the giant crack closes in on them. + Gordon's hand trembles on the throttle control. Everybody + screams on top of each other. + + EVERYBODY + Gordon! Damn it! Lift off! + + Gordon gathers his courage and pulls the lever. The plane + almost rockets into the air just as the ground beneath them + gives way. + + They hover for a moment, almost caught in mid-air as the + widening crevasse beneath them fights to suck them into the + bowels of the earth. Gordon fights to maintain control but + they begin to be pulled down. + + The daylight vanishes. Debris and mud smashes into the plane + from all sides. The canyon walls erupt. + + GORDON + I can't get it up! + + Taking desperate measures, Gordon nearly rips the control + stick out of its joint - with a lurch the Cessna lifts out of + the abyss. + + + + (CONTINUED) + + 40. + + They all take a deep breath only to realize that now they are + flying directly into the collapsing towers of downtown Los + Angeles! + + Like a roller coaster, Gordon manages to weave the little + plane through the tumbling high rises. + + They dive one last time to evade the plummeting US BANK + TOWER, the tallest building on the west coast. + + All are dead silent as they watch the whole of Los Angeles + crumble beneath them. Kate covers Lilly's eyes. + + NOAH + (in total shock) + That was amazing, Gordon! + + Jackson looks at Kate and notices her cut. + + JACKSON + Are you okay? + + KATE + (brushing it off) + I'm fine. How did you know this was + gonna happen? + + JACKSON + I didn't. + (To Gordon) + Do we have enough fuel to make it to + Yellowstone? + + The plane veers off in a northeasterly direction. Behind them + the destruction of Los Angeles continues. + + CUT TO: + + + EXT. FREEDOM OF THE SEAS/PACIFIC - DAY + + The gigantic cruise ship plows through the Pacific. We hear + lounge music... + + + INT. BAR/FREEDOM OF THE SEAS - DAY + + Adrian's father Harry and his partner Tony are on stage. + Harry on the piano, singing, Tony playing the bass. A waiter + brings drinks. Water for Harry, and a brightly colored + cocktail for Tony. + + WAITER + You got fans Tony... + + + (CONTINUED) + + 41. + + Tony raises his glass to two old ladies who are sitting at + the bar. + + WAITER (CONT'D) + There's a call for you Harry. Want me + to take a message? + + HARRY + (while still playing) + I'll be right there. + + The waiter nods. A few more bars of music, then applause. + + HARRY (CONT'D) + (into the microphone) + Thank you ladies and gentlemen. Let's + hear it for the one and only Tony + Delgado... And I'm Harry Helmsley and + we'll be back after a short pit stop. + + Applause. Harry rushes off stage. + + ADRIAN (O.S.) + Dad... what I have to tell you is very + serious... + + + INT. HALLWAY/WHITE HOUSE - DAY + + Adrian is standing in a dark corner. Behind him people are + packing up, carrying boxes. + + ADRIAN + You remember when I told you about the + dam in China? Well, it's happening much + sooner than we anticipated. + + + INT. GALLEY/CRUISE SHIP - DAY + + Harry's face has turned serious. + + ADRIAN (O.S.) + The President has ordered us to clear + out the White House. + + HARRY + Hah... About time someone cleaned up + that mess. + + + INT. HALLWAY/WHITE HOUSE - DAY + + Adrian fights back the tears. + + + (CONTINUED) + + 42. + + ADRIAN + Where are you, dad? What exactly is the + course of the `Freedom' right now?... + + HARRY (O.S.) + It's all good, Adrian. Don't worry + about your old man. You have more + important things to do now. + + + INT. GALLEY/CRUISE SHIP - DAY + + There's a tremor in Harry's voice. + + HARRY + You know, your mom and I, we had a hell + of a great life... and a hell of a + great kid too. + (PAUSE) + And the `Freedom' is a pretty big ship + you know... Don't write your old man + off, just yet. + + + INT. HALLWAY/WHITE HOUSE - DAY + + A tear runs down Adrian's face. + + HARRY (O.S.) + ... Besides, I could never leave Tony + alone. You know how he can't keep + decent time by himself. + + Pause. + + ADRIAN + I love you, dad. + + + INT. GALLEY/CRUISE SHIP - DAY + + Harry bites his lip. + + HARRY + Love you too, son. + + + INT. BAR/CRUISE SHIP - DAY + + Back in the lounge, Tony has finished his cocktail. Harry + walks up and hollers at the barkeeper. + + HARRY + Hey Herb. Get me a double Jack on the + rocks. + + (CONTINUED) + + 43. + + TONY + After twenty-five years on the wagon? + + HARRY + Why not? Who cares how long we do + certain things? How long we drink + booze, how long we talk to people... Or + how long we don't talk to people. + + Harry grabs Tony by his shirt. + + TONY + Woah!... Harry, what's the matter with + you? Let's go. We're back on. + + Harry pulls him even closer. + + HARRY + Call your kid, you stubborn old ass. + (PAUSE) + I'm not going back on that stage unless + you promise to call him. + + WAITER + (INTERRUPTING) + Tony, the ladies are waiting for you. + + HARRY + Promise me, Tony... please. + + Harry stares him down. + + TONY + Yeah, maybe I should call him... + + Harry smiles, downs his bourbon and walks back on stage. + + CUT TO: + + + INT. ADRIAN'S OFFICE/WHITE HOUSE - DAY + + Adrian enters his office. The TV is on. + + NEWS ANCHOR + ... There is little we know at this + point, but the earthquake registered at + 10.1 on the Richter scale. The whole of + the Western seaboard was hit... + + Assistants stare at the news in shocked disbelief, some of + them are crying. Prof. West appears at the door. + + ADRIAN + (pointing at the TV) + Have you seen this? + (CONTINUED) + + 44. + + Prof. West silently nods and beckons Adrian, who follows him + down the hall into a dark control room. They look at a wall- + sized high def monitor. + + PROF. WEST + We have satellite images. Here's the + sequence we've got so far. + + On the monitors, detailed satellite imagery displays how the + monstrous quake unfolds, leaving California sliding into the + sea. + + ADRIAN + Any news from Yellowstone? + + PROF. WEST + Anytime now. + + CUT TO: + + + EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY + + The base is abandoned but for a few structures and the + enormous drilling tower. + + Gordon manages to land the plane next to what looks like a + fueling station. Jackson leaps out checking the pump. + + JACKSON + Guys, there's fuel! Fill her up and + I'll look for Charlie. + + KATE + You're sure about this? + + JACKSON + Kate, everything this guy said so far + has happened. I'll be right back. + + Jackson runs off towards the hills. + + LILLY + Daddy wait! I wanna come with you! + + Lilly runs after him. Jackson picks her up. + + KATE + Lilly! Come back! + + JACKSON + It's fine! I'll take her. + + Kate watches as they disappear, worried. Noah and Gordon have + started to fuel the plane. + + 45. + + EXT. CHARLIE'S RV/YELLOWSTONE NATIONAL PARK - DAY + + Jackson and Lilly find Charlie's RV with it's door hanging + open. They enter. The key is in the ignition. The radio + transmitters are on, but Charlie is gone. Jackson fiddles + with the switches and Charlie's voice comes on. + + CHARLIE'S VOICE + ... I am standing here at the highest + point on what is the rim of this super + volcano... + + JACKSON + He's got to be close by, Lil'bee... + + Jackson jumps behind the wheel and turns the ignition. + + LILLY + Let's go back, Daddy. + + JACKSON + Listen to me. We have to find Charlie. + He's got a secret map, you know, like + Jack Sparrow in `Pirates'. + + That catches her interest. + + JACKSON (CONT'D) + Lil', we have to work as a team now, + okay? You have to help me. + + Jackson passes her his mobile phone. Lilly nods. He throws + the RV into gear and they speed off over the bumpy terrain. + + In their dust, we see the earth fissuring! + + + INT. RV/YELLOWSTONE NATIONAL PARK - DAY + + Jackson drives like a bat out of hell. + + CHARLIE'S VOICE + ... The last time this baby blew, was + 640,000 years ago... + + JACKSON + Dial Mommy's number, sweetheart. + + Jackson tears up the mountain looking for Charlie. + + + EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY + + Kate's phone rings. + + + (CONTINUED) + + 46. + + LILLY (O.S.) + Hi mommy... + + KATE + Where are you, honey!? + + + INT. RV/YELLOWSTONE NATIONAL PARK - DAY + + Jackson hears the stress in Kate's voice. He hisses at Lilly. + + JACKSON + Tell her we'll be back in ten minutes. + + LILLY + (EXCITED) + We're looking for a secret map, mommy. + + Jackson grimaces. + + + EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY + + Kate tries to keep it together for Lilly. + + KATE + Let me speak to your daddy, darling. + + LILLY (O.S.) + Daddy can't talk right now, he's + driving really fast... + + + INT. RV/YELLOWSTONE NATIONAL PARK - DAY + + The RV runs over a boulder. Lilly hits the roof. + + LILLY + Ouch! + + KATE (O.S.) + LILLY! + + In the background Kate hears the voice of Charlie Frost. + + CHARLIE'S VOICE + ... I tell you guys, any minute now... + any minute the fireworks will start... + + KATE (O.S.) + Who's in the car with you? Who's that + man screaming? + + LILLY + He's not in the car. He's on a mountain + waiting for fireworks. + (CONTINUED) + + 47. + + Lilly spots Charlie way up on a ridge. He has erected his ten + foot radio antenna with the flag fluttering on top. + + LILLY (CONT'D) + (to Jackson) + There he is! Up there! + + JACKSON + You're the best, darling. Give Daddy + the phone... + (into the phone) + Kate I am sorry, I can't talk... + + The road ends just below the mountain peak. + + KATE (O.S.) + Bring back my child, Jackson! NOW! + + Jackson sees Charlie up above, broadcasting. He hangs up the + phone and jumps out of the RV. + + JACKSON + You wait here for me! You watch the + ship while Captain Curtis talks to the + pirate. Okay? + + LILLY + (UNCERTAIN) + Okay... + + Jackson climbs up to Charlie. + + + EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY + + Charlie has his broadcasting equipment strapped to his body. + The antenna's flag is whipping in the wind. + + CHARLIE FROST + (into his mic) + ... I wish you guys at home could see + this on TV... + + He notices Jackson and muffles the microphone. + + CHARLIE FROST (CONT'D) + How did you make it up here? Thought + you were toast. + + JACKSON + The spaceships Charlie, where are they? + + CHARLIE FROST + You can't make it there. + + + (CONTINUED) + + 48. + + JACKSON + We have a plane. We can get you out of + here too. Let's go Charlie! + + All around the landscape begins to collapse. A three mile + crater forms, revealing the awe-inspiring sight of the super- + volcano. + + CHARLIE FROST + You'll never make it out in time. Just + stay and enjoy the big bang. That your + kid? + + Jackson discovers Lilly standing behind him, staring at + Charlie with her big brown eyes. + + Jackson grabs Charlie lifting him off the ground. + + JACKSON + Where is that god damn map! + + CHARLIE FROST + Easy, easy. Watch the mic... I don't + know. Somewhere in my camper. + + A low rumble builds to a rapturous thunder as MILLIONS OF + BIRDS tear into flight. + + CHARLIE FROST (CONT'D) + Wow! Look at that!... + (into his mic) + Fly birdies fly! This marks the last + day of the United States of America + folks and by tomorrow... + + The mouth of the volcano starts to break apart revealing + molten lava underneath. + + CHARLIE FROST (CONT'D) + ... the last of mankind. Soon they'll + see us from a million miles away, out + there in the milky way... + + Jackson grabs his wide eyed daughter and races down the + mountain. + + + EXT. BELOW MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY + + Jackson and Lilly jump into the RV and races off, with + Charlie's broadcast still playing. + + CHARLIE'S VOICE + ... The ash cloud will travel + everywhere. + (MORE) + (CONTINUED) + + 49. + CHARLIE'S VOICE (CONT'D) + First the lights will go out in Vegas, + then Dallas, St. Louis and then + Washington DC... + + Jackson's cell phone rings and he picks up. + + JACKSON + We're on our way. + + + EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY + + KATE + Jackson, things are really looking bad + here! + + In that instant, the air around them vanishes, as if sucked + from the landscape into a vacuum. + + THE BIGGEST EXPLOSION THE WORLD HAS EVER SEEN... At least in + the last 640,000 years. + + To them, all this occurs in total silence. The sound of the + eruption has not reached them yet. + + They are frozen, unable to comprehend what is happening. + + + EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY + + The explosion begins to resembles an atomic mushroom. + + CHARLIE FROST + ... it's beautiful, kids! Just + beautiful! + + The sound waves reach Charlie, throwing him to the ground. + + + EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY + + The RV flies over the rugged terrain. Everywhere the earth is + cracking, falling apart. Jackson struggles to swerve around + the disappearing landscape. + + LILLY + (SCREAMING) + It's following us! + + Lilly has discovered the expanding ASH CLOUD behind them. + + JACKSON + Just don't look back, Lil'bee! + + The THUNDERING sound envelopes them! On the radio, the voice + of Charlie is getting shrill. + (CONTINUED) + + 50. + + CHARLIE'S VOICE + Majestic!... Oh yeah! + + + EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY + + Charlie slowly tries to stand again, silhouetted against the + cloud of dust and fire towering above him. + + Flaming rocks fly towards him. When they hit the ground, they + detonate like fire bombs. + + CHARLIE'S VOICE + Oh baby! It's coming! + + + EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY + + Rocks plummet like comets around the RV as Jackson races over + a collapsing bridge. On the radio, in his delirious state, + Charlie begins to sing... + + CHARLIE'S VOICE + `This is the end, my friend'... + + Yellowstone looks like a war zone. The RV dodges the + bombardment of fire and rock. + + + EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY + + Huge tree trunks and glowing boulders fly at Charlie through + the ashes. He screams at the top of his lungs. + + CHARLIE FROST + ... Folks, always remember, you heard + it first from Charlie. + + A second later, Charlie's radio antenna comes spinning like a + scythe through the air. It decapitates Charlie in an instant. + + + EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY + + The radio cuts out. The forest and the camp grounds are mown + flat by the extreme force of the ASH CLOUD. In the rear view + mirror Jackson sees it gaining on them. + + JACKSON + LILLY! DOWN! + + A firebomb hits the RV, ripping half the roof off. + + Lilly barely makes it under the dashboard. + + + (CONTINUED) + + 51. + + JACKSON (CONT'D) + Stay down there, Lil'! We're almost + there! Just keep looking at daddy. + + Jackson spots the little Cessna in the distance. + + + EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY + + At the entrance to the airstrip a huge crevasse forms, + cutting the RV off from reaching the plane. + + Lilly sticks out her head. + + LILLY + Mommy! + + Jackson swerves wildly to miss the crack, sending Lilly + flying out. Without thinking, he lets go of the wheel, + lunging after her and pulling her back inside. + + JACKSON + Stay down darling. + + Jackson races the RV alongside the forming crack. + + Spotting a narrow point in the crevasse, he makes a decision. + Slamming the accelerator down, he races towards it at full + speed. + + Moments later the RV is airborne! + + Kate watches, too shocked to scream. A few drawn out seconds. + + Then the RV touches down, crashing 200 feet from the plane. + + Kate runs towards the wreckage of the camper. Lilly jumps + out, racing into her mom's arms. Jackson turns and sees the + cloud approaching. + + JACKSON (CONT'D) + You guys go! I'll be right there! + + Kate pulls Lilly back to the plane. + + Jackson jumps into the back of the RV scavenging through the + shelves, looking for Charlie's map. + + Kate lifts Lilly onto the wing of the plane. Gordon revs up + the engines. + + NOAH + Give me your hand, Lil'. + + Noah pulls his little sister into the cockpit. + + (CONTINUED) + + 52. + + Fiery rocks rain from the sky, detonating to the right and + left of their plane as Kate climbs in. + + GORDON + We have to take off! + + NOAH + No! + + LILLY + Where's daddy?! + + GORDON + Kate, I'm sorry but if we wait we'll + all die! + + Gordon pushes the throttle. The plane starts to move. Kate + screams. + + KATE + Gordon! Wait! + + Back in the RV, Jackson is frantically going through the + masses of books and papers on the shelves. Finally, a map. He + unfolds it. But it's only of the London underground system. + + He throws it to the ground and finds another. This time he's + lucky! There are markings everywhere. + + As he races to the door, the ground gives way beneath the RV. + Kate and the kids watch it disappear from sight. + + KATE (CONT'D) + JACKSON! NO! + + Noah begins to cry and Lilly clings to her mom. Gordon just + stares, paralyzed. + + The ASH CLOUD is almost upon them! + + Gordon takes action and accelerates the plane. + + Kate turns back. A hand emerges from the crevasse. Then + another, holding a map. Her face lights up. + + LILLY + It's daddy! + + Jackson pulls himself up and sprints towards them, the map in + his hand. + + KATE + Jackson! Here! + + Kate leans out of the cockpit reaching for him. + + (CONTINUED) + + 53. + + NOAH + Faster Dad. You can make it! + + GORDON + Kate, grab him for god sake. We're + almost out of runway. + + Using every last ounce of energy, Jackson leaps onto the wing + and is yanked into the plane by Kate. + + Just at that moment, the plane lifts off. + + Jackson falls into the cockpit, completely out of breath. + Lilly crawls over and hugs him. + + JACKSON + Thanks for waiting guys. + + Now all eyes are glued to the speedometer. 180... 190... + + The violent ASH CLOUD is hitting their tail rudder. The plane + swerves wildly! Gordon gets it back under control. + + The speedometer finally creeps towards 200 mph and the CLOUD + slowly falls back. Everybody breathes a sigh of relief. + + KATE + So, now that you got your map, where + are we going? + + Jackson unfolds it and takes a look. Hundreds of markings + clutter the map. In the left corner he discovers a large + letter C followed by H - I - N - A. + + He looks up. + + JACKSON + We're gonna need a bigger plane. + + CUT TO: + + + INT. WEST WING/WHITE HOUSE - LATE AFTERNOON + + The White House is being evacuated. Amidst the chaos stands + Anheuser. Adrian puts down a phone and looks at him. + + ADRIAN + Just a few minutes ago Yellowstone + erupted, sir. The ash cloud will reach + Washington in roughly 7 hours. Maybe 6. + We have strong easterly winds... + + ANHEUSER + And the crustal displacement? + + (CONTINUED) + + 54. + + ADRIAN + No one knows, sir. + + Anheuser starts walking, Adrian trails behind. + + ANHEUSER + Let's get the government airborne + and... I mean now. + + + INT. OVAL OFFICE/WHITE HOUSE - LATE AFTERNOON + + Anheuser and Adrian burst into the Anteroom of the Oval + Office. The President's secretary, SALLY, 55, is packing. + + ANHEUSER + Where is the President, Sally? + + Sally looks up stone faced. + + SALLY + He said he wanted to spend a few + minutes alone. I think he's over at the + chapel. + + ANHEUSER + The whole North American continent is + about to perish, and Wilson decides to + go to church! + + Adrian shoots an angry look at Anheuser. + + ADRIAN + He's praying sir. Which considering the + circumstances is not a bad idea. + + ANHEUSER + Maybe. But right now I need the leader + of the free world off his knees and on + Air Force One. Wheels up 1900 hours. + Can I leave that with you Helmsley? + + Anheuser walks away. Adrian and Sally exchange a look. + + SALLY + I really don't like that man. + + + INT. CHAPEL/WHITE HOUSE - SUNSET + + Adrian finds the President standing near the front of the + chapel. + + ADRIAN + Mr. President? We need to get you out + of Washington immediately. + (CONTINUED) + + 55. + + President Wilson stays with his head bowed. + + PRESIDENT WILSON + Now matter how idealistic you are + taking office. You lose your innocence + behind that desk. + (PAUSE) + Laura was right. People have died + because of the decisions I made. + + ADRIAN + That's not your fault sir. + + He turns to face Adrian. + + PRESIDENT WILSON + You sound like Anheuser. + + This quietly affects Adrian. + + PRESIDENT WILSON (CONT'D) + Laura's never looked at me like that + before. Only once... When I told her, + her mother had died. You knew the first + lady? + + ADRIAN + A little. + + PRESIDENT WILSON + You know what she said to me that night + we brought her to the hospital? + (PAUSE) + `Tommy... I think you should do a + lottery. Every one should have a chance + to go'. That's what Dorothy said to me. + That's what we should have done. + + ADRIAN + There would have been chaos, sir. + + President Wilson looks Adrian in the eyes. + + PRESIDENT WILSON + You know what I believe, Adrian. I + believe nature should choose for + itself, from itself. + + Adrian takes this in. + + PRESIDENT WILSON (CONT'D) + Don't let her go. You'll regret it if + you do. Prove to Laura what kind of a + man you are. And I'll do the same... + You go now. And watch your back for + Anheuser. + (CONTINUED) + + 56. + + Adrian stares at the President in disbelief. + + ADRIAN + But sir? + + PRESIDENT WILSON + Go. That's an order Helmsley. + + A tense moment before Adrian starts to walk away. Just as he + exits the chapel, Wilson calls after him. + + PRESIDENT WILSON (CONT'D) + Would you tell my daughter... there's + nothing on earth that I cherish more + than her. + + We hold on President Wilson's face. + + CUT TO: + + + EXT. LAS VEGAS - SUNSET + + Most of Las Vegas is destroyed. A 200 foot wide canyon now + divides sin city along its famous strip. The towering casinos + still teeter along the canyon's rim. + + All forms of emergency rescue operations are deployed around + the city. + + In the FOREGROUND, we see Las Vegas International Airport, + its runway cut dramatically short. Large pieces of tarmac + continue to break off into the crevasse. + + + EXT. AIRFIELD/LAS VEGAS AIRPORT - SUNSET + + Gordon maneuvers his plane through the chaos. Airplanes are + strewn about the runway. Passengers everywhere. + + GORDON + I told you we should have gone to my + parents' in the Rockies. + + KATE + Gordon's right. Look at this mess. + + Jackson looks around frantically. + + JACKSON + You don't understand, it's our only + chance. + + + + + (CONTINUED) + + 57. + + GORDON + This isn't one of your crazy stories + now. How the hell are we gonna make it + to China? + + NOAH + Gordon, without Jackson, we'd never + have made it out of California. + + Silence. Noah is right and they know it. They taxi past a + private jet whose front wheel is stuck in a hole in the + tarmac. + + We hear a dog barking and the CAMERA finds Tamara, with + Caesar in her arms. + + YURI (O.S.) + Careful with the landing gear! + (in Russian) + Tamara, get the boys out of the way! + + An airport tow truck attempts to pull Yuri's Gulfstream jet + out. Sasha, the pilot, helps. A safety announcement echoes + through the whole area. + + VOICE + (over loudspeaker) + Attention! The US National Guard has + informed us, that an extremely + hazardous ash cloud is headed towards + the city of Las Vegas. + + Tamara looks scared and secretly reaches for Sasha's hand. + They share an intimate look, no one else sees. + + VOICE (CONT'D) + We strongly advise every one to move + indoors immediately... + + The tow truck driver panics and runs inside. + + We move in on Yuri. For the first time he looks helpless. + + In the background, Jackson and his family join the panicked + crowd heading towards the terminal building. Firemen and + rescue workers usher them forward. + + FIRE MAN + Let's move people! Inside the terminal! + + Jackson and his family are swept along. + + CUT TO: + + 58. + + INT. AIR FORCE ONE/ARLINGTON AIRPORT - DUSK + + Adrian rushes up the stairs of Air Force One, approaching one + of the flight officers. + + ADRIAN + Where's Anheuser? + + OFFICER + In the command center, sir. + + Adrian moves on. + + + INT. COMMAND CENTER/AIR FORCE ONE - DUSK + + Adrian enters. Anheuser immediately senses something is + amiss. + + ADRIAN + The President is not coming. I couldn't + convince him to. + + Everyone in the room looks up, speechless. + + ANHEUSER + So, the captain doesn't want to leave + his sinking ship? + (PAUSE) + Well, Mr. Helmsley, we just learned + that the Vice President's chopper + crashed 80 miles north of Atlanta. + + Adrian is shocked. + + ADRIAN + What about the Speaker of the House? + + ANHEUSER + In this chaos... I have no idea! + + ADRIAN + But she's Commander In Chief now. Sir, + I just think - + + Anheuser moves in dangerously close. + + ANHEUSER + I don't care what you think, Helmsley. + + Laura quietly enters the Command Center, as Anheuser and + Adrian stare each other down. + + + + + (CONTINUED) + + 59. + + ANHEUSER (CONT'D) + Your ass only made it into the White + House, because your old man knew the + First Lady... and because of all that + affirmative action bullshit. + + Anheuser takes it even further. + + ANHEUSER (CONT'D) + There was a white kid, much more + qualified than you. Just so you know. + + Adrian's face is ashen. + + LAURA (O.S.) + Where is my father? + + Everyone turns to Laura. Silence. + + ADRIAN + He wanted to stay with his people. + + Suddenly, the engines of Air Force One turn over. Laura + panics. + + LAURA + We have to go back! + + Adrian tries to hold her close to him. Anheuser sees this + intimate moment and gives a suspicious, questioning look. A + second later Laura pushes Adrian away. + + LAURA (CONT'D) + Let me get out. Mr. Anheuser - tell the + Captain. + + ANHEUSER + There is a protocol for just this + situation Ms. Wilson and I'm afraid + we'll have to follow it to the letter. + + Anheuser turns to an officer. + + ANHEUSER (CONT'D) + Tell the Captain, to take off + immediately. + + Laura looks at him incredulously. + + CUT TO: + + + INT. AIRPORT TERMINAL/LAS VEGAS AIRPORT - DUSK + + Emergency lights illuminate the densely populated terminal. + + (CONTINUED) + + 60. + + RESCUE WORKER + People, stay away from the windows! + + One of the rescue workers yells, pushing Jackson and his + family back. + + Frustrated, Jackson turns to Kate and Gordon. + + JACKSON + We can't get stuck here. + + Suddenly a voice... + + VOICE (O.S.) + Dr. Silberman? What are you doing here? + + They all turn and stare at Tamara, holding her little dog + against her plump breasts. + + Kate gives Gordon a look. + + GORDON + (EMBARRASSED) + She's a patient, honey. + + JACKSON + (SARCASTICALLY) + Nice work. + + But when Jackson discovers Yuri behind her, his tone suddenly + changes. He gets in Yuri's face. + + JACKSON (CONT'D) + You bastard. You knew it all along! + (at the twins) + You and those spoiled rotten sons of + yours... + + Sasha comes running in and cuts through this. + + SASHA + I found us a plane, an Antonov. They + were just about to take off, but the + tower didn't let them. + + YURI + Can you still fly that thing? + + SASHA + Sure... But I need a copilot. + + Lilly chimes in. + + LILLY + Gordon is a pilot. + + (CONTINUED) + + 61. + + Before Gordon can protest Jackson picks up Lilly. + + JACKSON + Let's go! + + They burst through the emergency exit, setting off an alarm. + Emergency personnel yell after them. + + RESCUE WORKER + Hey! Stop! You can't go out there! Come + back! + + But they keep on running. Sasha now leads the way. + + + EXT. AIR FIELD/LAS VEGAS AIRPORT - DUSK + + They race around the corner and come to a halt. Before them, + a Russian freight plane of enormous size-- + + The ANTONOV 225, the biggest aircraft in the world. + + NOAH + Wow, that is a big plane. + + YURI + (PROUDLY) + It's Russian. + + Sasha, who has run ahead turns back and sees: + + A MASSIVE GREY WALL OF ASH moving towards the airport. + + SASHA + Guys, follow me! + + They all run after him up the stairs. + + + INT. COCKPIT/ANTONOV - DUSK + + Sasha enters the cockpit and puts on the headset while + readying the plane for takeoff. + + SASHA + (into the mic) + You'll find folding seats on each side + of the cargo hold... + + + INT. CARGO HOLD/ANTONOV - DUSK + + SASHA (O.S.) + ... Sit down and buckle up! + + They all scramble to get into their seats. + (CONTINUED) + + 62. + + NOAH + Wow! Look at those! + + They discover the cargo they are carrying-- + + Sports cars, SUV's, concept cars and luxury models, some of + them are labeled `Las Vegas Auto Show 2012'. + + YURI + We had VIP tickets for that. + + The six engines of the Antonov come roaring to life. + + + INT. COCKPIT/ANTONOV - DUSK + + The plane is starting to move. Gordon sits uncomfortably in + the copilot's seat. + + SASHA + You check the main bus for the + hydraulics. I'll balance the tanks. + + GORDON + Uh... What? + + Sasha reaches over and does it himself. + + SASHA + Work the radio and keep an eye on the + fuel, okay? + + Gordon nods and puts on the headset, trying to focus. + + + INT. TERMINAL/LAS VEGAS AIRPORT - DUSK + + People start SCREAMING, when they discover the menacing WALL + OF ASH racing towards them. + + RESCUE WORKER + Move back, people... down on the floor! + + + EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK + + The nose of the Antonov turns onto the runway. This humongous + plane suddenly looks small against the wall of ash. + + + INT. COCKPIT/ANTONOV - DUSK + + Gordon is panicking. + + GORDON + We have to get going! + (CONTINUED) + + 63. + + Sasha hits the throttle. + + SASHA + (CALM) + We're going, we're going. + + A deafening THUNDER emanates from the engines. + + + INT. CARGO HOLD/ANTONOV - DUSK + + Everybody grabs their seat as the vibration of the aircraft + builds. + + + EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK + + The Antonov steadily gains speed as it rumbles down the + cracked and uneven runway. + + The canyon that has swallowed half the city looms ahead. And + behind them the volcanic cloud bears down. + + + INT. COCKPIT/ANTONOV - DUSK + + Sasha stares down the gap ahead, determined. Gordon's face is + as white as a sheet. + + GORDON + We're not gonna make it! + + SASHA + Shut up! We will! + + + INT. TERMINAL/LAS VEGAS AIRPORT - DUSK + + The violent cloud has finally reached the airport. The + terminals are hit by flying debris. + + Seconds later, Yuri's Gulfstream is whipped through the air, + shattering the huge windows into a thousand pieces. + + People are thrown like rag dolls as the jet explodes in a + massive fireball. + + + INT. CARGO HOLD/ANTONOV - DUSK + + Kate and Jackson hold their kids tight. Tamara clings to + little Caesar and Yuri to his twins. + + 64. + + EXT. RUNWAY/LAS VEGAS AIRPORT - DUSK + + The Antonov lumbers heavily towards the inevitable drop off + on the horizon. The runway is way too short... + + And to make matters worse, the ground begins to move again, + slowly arching the tarmac upwards, creating a crooked ramp at + the end of it. + + + INT. COCKPIT/LAS VEGAS AIRPORT - DUSK + + A drop of sweat trickles down Sasha's forehead as he pulls + back the wheel. + + Gordon holds on for dear life as the huge plane barely lifts + off, veering sideways. + + + EXT. CANYON/LAS VEGAS - DUSK + + The Antonov is on a collision course with the crumbling + casino towers along the other side of the rim. + + + INT. COCKPIT/ANTONOV - DUSK + + SASHA + GOVNO! (shit). Help me pull! + + Gordon grabs the wheel on his side, helping Sasha pull up the + beast of a plane. + + + EXT. CANYON RIM/LAS VEGAS - DUSK + + Very slowly the plane starts to rise and Sasha's face lights + up. They barely make it over a casino called `Paris; Las + Vegas'. + + But the plane clips its wheels on a high metal structure + right behind it, ripping away part of the landing gear. + + + INT. COCKPIT/ANTONOV - DUSK + + After some struggle, Sasha manages to steady the Antonov. + Gordon's face is green as he looks back. + + GORDON + Was that the Eiffel Tower? + + Sasha looks over and grins. He grabs the microphone. + + + + (CONTINUED) + + 65. + + SASHA + Ladies and gentlemen, we are on our way + to China. + + CUT TO: + + + EXT. YAK LA MONASTERY/TIBET - DAY + + An ancient monastery built atop a solitary mountain rock. In + the distance, the sun glistens off the peaks of the + Himalayas. + + NENG PANG, a young monk, 20, sits with his superior and + teacher LAMA YAK LA, 65. They have tea beneath a huge bronze + bell. + + LAMA YAK LA + (in Chinese) + Do not believe in anything simply + because you have heard it, Neng. + + NENG + But Lin is my brother. He is working + inside the big tunnels, where the ships + are made. + + The Lama remains silent. + + NENG (CONT'D) + What is in your wisdom for us to do, + great Lama... if Lin is right, if our + world is indeed coming to an end? + + Instead of answering, the Lama serves him more tea. + + When the cup is full, the Lama doesn't stop pouring. Neng + watches the tea overflow until he can no longer restrain + himself. + + NENG (CONT'D) + It's full, great Lama. It can hold no + more! + + The Lama stops pouring and looks at Neng. + + LAMA YAK LA + Like this cup, Neng, you are full of + your own opinions and speculations. How + can I show you wisdom unless you first + empty your cup? + + Neng bows his head in embarrassment. + + The Lama smiles to himself and takes a chain from around his + neck. On it hangs a set of rusty car keys. + (CONTINUED) + + 66. + + LAMA YAK LA (CONT'D) + Be careful with the clutch. It tends to + slide. + + The Lama throws him the keys and the young monk catches them, + smiling from ear to ear. They bow to each other and Neng runs + off. + + Lama Yak La looks after him as a father would. He gets up and + strikes the bronze bell with a wooden mallet. + + + EXT. HOUSING PROJECT/TIBET - DAY + + As far as you can see is a series of identical little houses. + The house in the foreground has a chicken coop in the garden. + + Mrs. Pang enters the coop. We last saw her when the village + was being evacuated. She grabs one of the hens. She places + its head on a woodblock and picks up a rusty hatchet. + + Just about to strike, she hears a strange RATTLING noise. + + An old truck comes driving towards the house. Behind the + wheel sits her son Neng. She puts down the hatchet, yelling. + + MRS. PANG + (in Chinese) + Bata! Neng is coming! + + The young monk jumps out, quickly bowing. + + NENG + Mother, I got a message from Lin. He + wants us to meet him in Cho Ming, at + the west gate. He says he can get us on + one of the ships he is working on. + + Mrs. Pang is still holding the chicken by its throat. + + MRS. PANG + I thought Lin is working on the dam? + + NENG + The dam is a ship, Mother. The + government lied to us. There will be a + big flood. + + The chicken hangs limp in Mrs. Pang's hand. + + MRS. PANG + Not here in the mountains... Let's eat + first. + + The hen panics as she puts its head back on the block, + raising the hatchet again. + (CONTINUED) + + 67. + + NENG + No mother! We must pack up right away. + + NENG'S MOTHER + We took a trip with the Laem Song ferry + once. Your father was throwing up the + whole way. + + The door opens and Mr. Pang appears. + + MR. PANG + Neng, I did not know you were coming + for dinner. + + At that moment the hatchet drops with a THUD! + + CUT TO: + + + EXT. ANTONOV/OVER THE PACIFIC - NIGHT + + The majestic Antonov is flying high in the Pacific skies. + + OLEG (O.S.) + Look, the new Bentley. + + + INT. CARGO HOLD/ANTONOV - NIGHT + + The boys are exploring the huge freight deck. Caesar, the + little dog, is traipsing along. + + Alec, Oleg and Noah marvel at a stylish mixture of luxury and + performance cars. + + ALEC + Our dad had one on order. We were + supposed to get it next year. + + OLEG + But then he cancelled it again, because + of the ships. + + Noah points to a 2012 Aston Martin parked further back. + + NOAH + If I was rich, I'd get one of those. + + OLEG + We have one. How many cars does your + family have? + + NOAH + My Mom's boyfriend has a Porsche, a + Carrera 4. + + (CONTINUED) + + 68. + + ALEC + Our parents are divorced too. + + The boys share a moment of understanding. + + NOAH + Nothing we can do about that. + + Noah reaches for the door of the Bentley. To his surprise, it + opens. + + NOAH (CONT'D) + Wow... look at this. + + Noah jumps into the car. + + KATE (O.S.) + Be careful, Noh'! + + Kate and Lilly are still belted in next to Tamara. Jackson + and Yuri sit on the other side of the Antonov. + + TAMARA + How did you meet Dr. Silberman? He's + great, isn't he? + + KATE + I think for the same reasons you did. + You know, after breast feeding two + kids... + + Kate looks at Tamara. + + KATE (CONT'D) + Did your husband ask you to get your's + done? + + TAMARA + We are not married. And we probably + never will... But he paid for them. + + KATE + I bet he did. + + They laugh. + + LILLY + What did the man pay for mommy? + + KATE + Nothing, Lil'bee. + + Kate looks over at Jackson who's trying to make sense of + Charlie's map. Tamara catches her looking. + + + (CONTINUED) + + 69. + + TAMARA + What's your situation? + + Kate lets out a sigh. + + KATE + Way too complicated... + + On the other side of the plane, Yuri has been watching the + two women talk. + + YURI + They seem to like each other. + + JACKSON + I guess... So tell me Mr. Karpov - how + much did you pay? + + YURI + One billion euro, per seat. + + JACKSON + That's disgusting. + + YURI + You know Curtis, I wasn't always + businessman. I am a boxer. Was my only + playing when I was a boy, back in + Murmansk. My coach... + (SMILING) + ... his name also Yuri... He always + said: `Someone wants to beat you... he + has to kill you first'. + + Yuri puts his hand on Jackson's shoulder. + + YURI (CONT'D) + What would you have done, if you rich + like me? Just look at your gorgeous + kids. And call me Yuri... + + Yuri offers his hand but Jackson doesn't shake it. + + Sasha's voice comes over the radio. + + SASHA (O.S.) + Hi guys. The plan is to refuel in + Hawaii. So, buckle up... Gordon and I + will do the rest. + + + INT. COCKPIT/ANTONOV - NIGHT + + Gordon turns to Sasha. + + + (CONTINUED) + + 70. + + GORDON + Let's get this straight, Sasha. I'm not + a pilot. I'm a plastic surgeon. I just + took some lessons to overcome my fear + of flying. + + SASHA + Why did you give up? + + GORDON + It didn't work. + + Gordon points to the declining altimeter. + + GORDON (CONT'D) + What about the wheels we lost at take- + off? + + SASHA + There's 14 on each side. Some of them + must still be there. + + With that, Sasha commences the landing procedure. + + + EXT. ANTONOV/OVER HAWAII - NIGHT + + The Antonov dives into a thick layer of clouds. + + SASHA (O.S.) + Still nothing from the tower? + + + INT. COCKPIT/ANTONOV - NIGHT + + Gordon shakes his head. + + The two pilots stare ahead watching as the clouds slowly + change color, from yellow... to orange. + + They stare out the window in disbelief. + + + INT. CARGO HOLD/ANTONOV - NIGHT + + Gordon comes climbing down the metal ladder whispering to + Jackson and Yuri. + + GORDON + Guys, you really oughta take a look at + this. + + Jackson and Yuri follow Gordon back into the cockpit. The + women exchange a worried glance. + + 71. + + INT. COCKPIT/ANTONOV - NIGHT + + When Jackson and Yuri enter, they don't believe their eyes. + + YURI + What is that? + + SASHA + The State of Hawaii! + + YURI + Not good. That is not good. + + + EXT. ANTONOV/OVER HAWAII - NIGHT + + From above we watch as the Antonov flies over an endless + ocean of fiery red lava. The Islands of Hawaii have turned + into one big volcano. + + + INT. COCKPIT/ANTONOV - NIGHT + + JACKSON + How much fuel do we have? + + SASHA + Not enough. We'll have to make a water + landing somewhere in the South China + Sea. + + GORDON + At least we won't need our landing + gear. + + Yuri wonders. + + YURI + What about it? + + GORDON + We lost it all... in Vegas. + + + EXT. ANTONOV/OVER HAWAII - NIGHT + + The damaged landing gear slowly retracts into the vast belly + of the Antonov as it veers off to the east. + + CUT TO: + + + INT. PRESIDENTIAL CABIN/AIR FORCE ONE - NIGHT + + Adrian knocks quietly and sticks his head around the door. + Laura is sitting in her father's chair. + (CONTINUED) + + 72. + + ADRIAN + Can I come in? + + LAURA + I've got nothing to say to you. + + ADRIAN + But I do... + + Adrian enters. He has his travel bag in one hand. He looks at + Laura and gathers himself. + + ADRIAN (CONT'D) + Your Dad and I... we were trying to + protect you. + + LAURA + (EXPLODING) + I'm a big girl Adrian. I don't need + protection. You used me. You guys had + me gallivanting around the world, as + part of your little cover-up. + + ADRIAN + But you were doing a good job. + + LAURA + Sure, if your name's Da Vinci or + Picasso. But if you're some young + talent in Podunk, Texas, sorry you're + not famous enough. People like you and + Anheuser and my father - you think you + can play God. + + Adrian takes a moment, he's desperate to make her see. + + ADRIAN + You know what your father believed. + That nature will choose itself from + itself. + + LAURA + That's bullshit and you know it. It's + the fittest, the richest and the + strongest that survive. + + ADRIAN + That's not true. + + Adrian glances down and spots Jackson's book poking out of + his bag. + + + + + (CONTINUED) + + 73. + + ADRIAN (CONT'D) + What would you say were the chances of + a first time, middle-aged writer, who + barely sold 500 copies of his novel + making it on board this plane? + + LAURA + Zero. What's your point? + + Adrian pulls out the book from his bag. He shows her. + + ADRIAN + It's called `Farewell Atlantis' and + it's a fantastic read. It's part of our + legacy now. + + Laura takes this in. The plane's intercom cuts through the + moment. + + INTERCOM (O.S.) + Mr. Helmsley, Prof. West requests your + presence immediately. + + Adrian takes a breath, but before he leaves - + + ADRIAN + What if I tried to sort some of this + mess out? I need to know you can + forgive me... + + Laura looks at him sadly, but with a little hope. + + LAURA + I need to know that too, Adrian. + + Adrian moves for the door. He stops. + + ADRIAN + One more thing. Your father told me you + were the most precious thing to him in + the whole world... You are to me too. + + As Adrian exits, we hold on Laura's conflicted face. + + CUT TO: + + + EXT. WHITE HOUSE/WASHINGTON D.C. - NIGHT + + The cloud from the Yellowstone eruption has hit Washington + D.C. hard. Pennsylvania Avenue resembles a war zone. A ten + inch layer of ash lies on the ground. + + The gates of the White House are wide open, with ash-covered + rescue workers running about, resembling ghosts. + + 74. + + INT. WEST WING/WHITE HOUSE - NIGHT + + The President has turned the whole West Wing into a shelter. + He walks through the packed rooms assisting where he can. + + An old African-American LADY holds a crying young girl. + President Wilson kneels down to her. + + OLD LADY + She can't find her mother. + + PRESIDENT + Why don't you two girls make yourself + comfy on that big couch? I'll see what + I can do. + + The child nods. The President gets up. + + PRESIDENT WILSON + Sally, can you take care of them. I'll + go check with the Red Cross... + + As he leaves, the old lady looks up at Sally and smiles. + + OLD LADY + No wonder the First Lady fell for him. + I knew Miss Dorothy Jones long before + the President, when she was still + singing jazz down in Atlanta with Harry + Helmsley. + + SALLY + I know, she was amazing. + + + EXT. FRONT LAWN/WHITE HOUSE - NIGHT + + The President walks up to the Red Cross tents placed on the + front lawn. He stops one of the Red Cross volunteers. + + PRESIDENT WILSON + Who can help me with missing persons? + + Without looking up, the young guy responds. + + RED CROSS VOLUNTEER + Sorry man, I'm busy right now. + + He then recognizes who he's talking to. + + RED CROSS VOLUNTEER (CONT'D) + I mean, of course sir. I didn't + realize... What can I do for you, Mr. + President? + + The President pats him on the shoulder. + (CONTINUED) + + 75. + + PRESIDENT WILSON + Don't worry about it. You're doing a + great job son... + + A deep, low rumble begins, stopping everybody in place. + + As it builds, the President grabs onto a tent pole to secure + himself. He looks out over Washington D.C. His eyes grow + wide... + + The National Mall bends like rubber. The towering Washington + Monument breaks into pieces. + + An even more deafening sound makes him turn-- + + The Capitol Building rises from behind the trees, lifted up + by earth's incredible force. + + As the whole building breaks apart, the President is thrown + to the ground. + + CUT TO: + + + INT. COMMAND CENTER/AIR FORCE ONE - DAY + + All the officers and scientists are glued to monitors that + show satellite images from all over the globe. Adrian and + Prof. West stare in disbelief. + + SCIENCE OFFICER + The capitol was hit by a 9.4. + + Laura enters the command center unnoticed. + + COMMUNICATIONS OFFICER + We lost communication with the White + House, sir. + + She stands there frozen, emotionless. She looks over to + Anheuser, who is shouting orders. Another officer hands him a + phone. + + LIEUTENANT #2 + President Makarenko for you sir. He's + just entered Chinese air space. + + Anheuser takes the phone and after a beat answers. + + ANHEUSER + That's affirmative, Mr. President. + Until communication is restored, I am + in command. + + Adrian and Laura look to each other baffled. + + (CONTINUED) + + 76. + + ANHEUSER (CONT'D) + ... It seems all other Heads of State + are en route, however there are + unconfirmed reports that the Italian + Prime Minister has also decided to stay + behind and trust in prayer rather than + action... + + CUT TO: + + + EXT. ST. PETER'S SQUARE/ROME - DAWN + + Pope Benedict XVI holds mass in St. Peter's Basilica. + Millions of followers flood Vatican City. It's a sea of + candles. + + Amidst the mass of believers we see the Italian Prime + Minister Antonioni with his family clinging to him. They all + are praying. + + A low RUMBLE. People look around frightened. In the distance + we hear SCREAMING. + + + INT. SISTINE CHAPEL/CEILING - DAWN + + A few cardinals huddle together in silent prayer under + Michelangelo's famous fresco. Most prominent above them is + `The Creation of Adam'. + + The cardinals look up in horror as the rumbling intensifies. + A crack forms on the ceiling, shooting straight through God + touching the finger of Adam. + + Then the whole fresco breaks apart. + + + EXT. ST. PETER'S SQUARE/ROME - DAWN + + The people in St. Peter's square begin to panic-- + + The entire Vatican is lifted up in the air. We hold on the + Prime Minister and his family, as the basilica collapses onto + the fleeing masses. + + CUT TO: + + + EXT. MOUNT CORCOVADO/RIO DE JANEIRO - DAY + + The giant statue of `Christ the Redeemer' on Mount Corcovado. + Behind it, we see Rio de Janeiro being obliterated by violent + quakes. + + + (CONTINUED) + + 77. + + The famous statue of Jesus Christ begins to topple over and + crashes down the mountain. + + CUT TO: + + + EXT. MOUNTAIN PASS/TIBET - NIGHT + + Neng Pang, the young Tibetan monk drives his truck up a bumpy + mountain pass. His parents huddle in the back of the pick-up. + + The steering wheel is vibrating badly in his hands as he + slides the clutch and downshifts. As the vehicle slows on the + steep incline, the vibrations become much worse. Neng worries + that the truck may be breaking down. + + He pulls up and switches off the engine but to his surprise + the steering wheel continues to vibrate. + + Looking out the windshield, he sees the whole earth shaking + violently. + + NENG + (in Chinese) + Hold on back there! + + Rocks fall all around them. + + CUT TO: + + + INT. THE ANTONOV - NIGHT + + Jackson sits inside one of the luxury cars and tries the + radio. Kate opens the passenger door and gets in. + + JACKSON + Couldn't sleep huh? Me neither. + + KATE + Anything? + + JACKSON + Nothing, just static. Not even an + emergency signal. + + KATE + I can't think about what's going on + down there. + + Jackson switches off the radio. + + KATE (CONT'D) + I wanted to thank you. For coming back + for us. + + (CONTINUED) + + 78. + + JACKSON + I couldn't have left you... + + Silence. They both look out through the front windshield at + Lilly and Noah curled up together. + + KATE + Do you think people change? + + JACKSON + By `people' are we talking about me? + + KATE + Do you think you've changed since we + separated? + + JACKSON + Well I certainly eat a lot more cereal + now... + + KATE + You know, you always had tunnel vision. + You could always just block things out + and write. You blocked all of us out + Jackson. + + He thinks about this and can't help asking. + + JACKSON + Do you love him? Gordon... + + KATE + I love him enough. + + Kate gets out of the car and shuts the door. He watches her + go. + + CUT TO: + + + INT. COMMAND CENTER/AIR FORCE ONE - DAY + + The computers buzz with the incoming data. + + COMMUNICATIONS OFFICER + ... Cho Ming reports the first tremors, + however none higher than 5.0. + + Anheuser looks relieved. Then the big news hits. + + SCIENCE OFFICER #1 + The crust has begun to shift, Prof. + West. + + PROF. WEST + By what degree? + (CONTINUED) + + 79. + + SCIENCE OFFICER #1 + 1.2 percent, but still moving. + + ANHEUSER + Any clue what to expect next, + Professor? + + PROF. WEST + Once the movement of our land masses + comes to a halt, we expect the + formation of tidal waves, sir... + proportional to the magnitude of the + corresponding quakes. + + Adrian looks distressed as he turns to one of the officers. + + ADRIAN + Do we have any news from the Japanese + seaboard? + + Laura notices Adrian's concern. + + SCIENCE OFFICER #2 + We've recorded two quakes averaging + 8.3. + + She grabs Adrian's hand. Anheuser sees this and his + suspicions about them are confirmed. A cold little smile + appears on his face. + + CUT TO: + + + INT. SALON/CRUISE SHIP - NIGHT + + Tony is watching TV with a group of passengers. Harry has + just entered and stands near the back of the room. + + A TEENAGE BOY with bad acne searches for an available channel + that is still broadcasting. He finds a news program with + lousy reception. + + NEWSCASTER + ... Tokyo seems to have taken the + severity of the hit... Unconfirmed + reports indicate that the entire island + of Japan is below water... + + The signal gets weaker. + + Harry watches Tony slowly stand up. As he turns to his + friend, his knees begin to buckle. His face is pale. + + TONY + I called... But I never got through. + + (CONTINUED) + + 80. + + HARRY + I'm so sorry. + + Tony only stares back at him. + + Behind them, the TV rolls to the side, as the whole room + begins to tilt. + + Harry grabs on to the door frame, as the passengers along + with Tony fall like dominoes. + + HARRY (CONT'D) + Tony!! + + As the ship rolls to the side, Harry finds himself hanging + from the door frame now 20 feet off the ground. He's barely + able to pull himself up and roll onto the middle deck. + + + EXT. MIDDLE DECK/CRUISE SHIP - NIGHT + + On his back, Harry is shocked to see the star field and the + moon shifting across the sky. + + An eerie sound fills the air. A gigantic swell has formed off + to his right. It's a mountain of water. + + Harry turns to see another gargantuan swell close in from the + other side of the `Freedom of the Seas'. + + CUT TO: + + + EXT. SHIBAM/YEMEN - DAY + + The old walled city of Shibam is in ruins. The 2,000-year-old + towers lie on the desert ground. Hundreds of believers have + gathered to pray towards Mecca. + + As they raise their hands to heaven in unison, they slow + their motion and the chanting dissipates. + + They stare into the distance not knowing if what they see is + reality or only a mirage. + + A monstrous tidal wave rises from the desert sands thundering + towards them. + + CUT TO: + + + EXT. WHITE HOUSE/WASHINGTON DC - NIGHT + + President Wilson's body lays between the rubble. As he slowly + regains consciousness, all he can hear is the flapping sound + of the collapsed Red Cross tents. + (CONTINUED) + + 81. + + As President Wilson gets to his feet, he sees-- + + A tidal wave come sweeping over the remains of the Washington + Mall and it carries with it the battleships of the 14th Fleet + of the US Navy that were anchored in Chesapeake Bay. + + The President looks ahead, calm and peaceful. + + PRESIDENT WILSON + I'm coming home Dorothy... + + The CAMERA follows the aircraft carrier `USS John F. Kennedy' + as it slams broadside into the White House. + + CUT TO: + + + INT. COMMAND CENTER/AIR FORCE ONE - DAY + + Hushed voices. Anheuser, Adrian and Prof. West stand amongst + a group of officers and analysts. + + COMMUNICATIONS OFFICER #1 + All global ground communication has + ceased sir. + + COMMUNICATIONS OFFICER #2 + The only signal our satellites are + picking up are coming from the vessels + in Cho Ming. + + ANHEUSER + At least some good news. + + Anheuser turns to Adrian. + + ANHEUSER (CONT'D) + Would our science advisor care to give + us his assessment? + + ADRIAN + We expect enormous tsunamis to reach + landfall in every continent. The Cho + Ming area will be impacted in + approximately six hours. + + He nods to one of the analysts, who types in a couple of + commands. + + ADRIAN (CONT'D) + ... and it looks like the crust has + shifted by nearly 23 degrees in a south- + westerly direction. Here's the computer + simulation. + + + (CONTINUED) + + 82. + + Everybody stares as the graphic illustrates what happened to + planet Earth. + + ADRIAN (CONT'D) + Our data also shows, that our earth's + poles have reversed their magnetic + fields... + (POINTING) + ... These are their new positions. + + Anheuser looks at the monitor, then turns to Adrian. + + ANHEUSER + So Helmsley, what you're telling us + here is that... the north pole is now + somewhere in Wisconsin? + + Silence. Adrian clears his throat. + + ADRIAN + It's the south pole, sir. + + An ALARM SIGNAL goes off-- + + CUT TO: + + + INT. COCKPIT/ANTONOV - DAWN + + A red light blinks on the plane's instrument panel. + + YURI (O.S.) + What's that? + + SASHA + Engine failure. GOVNO! Two of six are + down. We must get ready. + + Yuri and Jackson are standing behind the pilots. + + JACKSON + Let's go wake up the kids. + + Yuri nods and they make their way back to the lower deck. + + + INT. CARGO HOLD/ANTONOV - DAWN + + Jackson's family are all asleep in their seats, Lilly in her + mom's lap. She looks like a little angel. Jackson can't bear + to wake them. He caresses Lilly's face. + + NOAH (O.S.) + Why do you hate Gordon? + + Jackson turns to see Noah is awake. + (CONTINUED) + + 83. + + JACKSON + What are you talking about? I don't + hate Gordon. + + NOAH + But you don't like him either. + + JACKSON + I don't know him that well. + + NOAH + But I know him. He's really nice. You + should talk to him more often. You guys + would get along really well. + + This breaks Jackson's heart. He pulls Noah tightly to his + chest. + + JACKSON + I'll give it a try, Noah. I promise. + + Kate opens her eyes. + + KATE + Is it time? + + Jackson nods. + + KATE (CONT'D) + Wake up Lil'bee. We're getting ready to + land. + + On the opposite side of the aircraft, Yuri and Tamara help + the twins get into their life vests. Noah is suspicious. + + NOAH + What's wrong? + + Jackson looks at his kids. They both look scared. + + JACKSON + Sasha told us, it could get a little + bumpy... and wet. + + The Antonov jerks to the side. Two more engines out. Alarm + signals flash. + + + EXT. ANTONOV - DAWN + + The remaining two engines barely hold the plane in the air as + it dives into the clouds. + + 84. + + INT. CARGO HOLD/ANTONOV - DAWN + + Jackson and his family huddle together. He puts his arms + around Lilly and Noah. + + JACKSON + Your daddy has to tell you something. + + In the background, Gordon climbs down from the cockpit. He is + about to speak when he hears Jackson's voice. + + JACKSON (CONT'D) + I know that with my writing and work I + didn't have a lot of time for you + both... + + Jackson glances at Kate. + + JACKSON (CONT'D) + I wasn't there for you, the way I + should have been. + + Jackson looks Kate directly in the eyes. + + JACKSON (CONT'D) + ... And I am so very sorry for that. + + Gordon watches as Kate pulls the kids and Jackson tight. For + the first time, they seem a little like the family they once + were. + + GORDON (O.S.) + Jackson, Yuri... I think you guys + should come back up here. + + + INT. COCKPIT/ANTONOV - DAWN + + First Jackson and then Yuri enter the cockpit. Sasha points + out of the window. + + SASHA + Don't ask me how that happened. + + Behind them Yuri and Jackson stare at the snow covered + mountains of the Himalayas. + + SASHA (CONT'D) + There's no more ocean, and it looks + like we're pretty close to where we + wanted to go. + + GORDON + It's as if the whole earth shifted by + 1500 miles... + + (CONTINUED) + + 85. + + JACKSON + No shit. + (BEAT) + It's called 'Earth Crust Displacement' + Gordon... Prof. Hapgood, 1958. + + Jackson brims with joy. + + JACKSON (CONT'D) + Way to go Charlie! + + A JOLT! + + SASHA + We lost our last two engines. + + The plane drops rapidly, nearly scraping the tip of a + mountain. Sasha and Gordon are doing all they can to keep the + Antonov in the air. + + A vast glacier spreads out in front of them. + + SASHA (CONT'D) + I'll shoot for that glacier. Drain the + brake fluids. It's going to get + rocky... There, the blue levers! + + The plane plummets, loosing altitude fast. + + SASHA (CONT'D) + Listen up guys! This may sound a little + crazy, but here's what you got to do... + + + INT. CARGO HOLD/ANTONOV - DAWN + + Jackson and Yuri come running. Yuri yells at his boys. + + YURI + (in Russian) + Get up! Follow me! + + TAMARA + Yuri bear, what are we doing? + + YURI + We're taking the Bentley! + + + INT. COCKPIT/ANTONOV - DAWN + + Sasha is struggling with the gyrating wheel. The glittering + snow field comes flying towards them. + + + + (CONTINUED) + + 86. + + SASHA + CHTO ZA... Gordon! We're still too + fast! + + Sasha pulls the Antonov back up. + + SASHA (CONT'D) + Now! Open it! + + Gordon yanks with all his might. A loud NOISE. + + + INT. CARGO HOLD/ANTONOV - DAWN + + The cargo door drops open. The Antonov is extremely close to + the glacier's surface. + + Jackson tries to start the Bentley, but nothing happens. + Everyone screams in panic. + + YURI + SHUT UP EVERY ONE! + + They all go quiet, except for a few muffled barks from + Caesar. Yuri speaks towards the dashboard, slowly and + clearly. + + YURI (CONT'D) + Engine... start... + + The motor revs to life. Yuri looks at Jackson. + + YURI (CONT'D) + Voice control... Sold me on it. + + + INT. COCKPIT/ANTONOV - DAWN + + Sasha barely holds on. He yells at Gordon. + + SASHA + Your turn Gordon! Go! Make sure that + they make it out of here before I touch + down! + + GORDON + What about you?! + + SASHA + I'll be fine! I have to land this + thing! + + Gordon hesitates. + + SASHA (CONT'D) + What are you waiting for! + (CONTINUED) + + 87. + + Sasha nods at him reassuringly. Gordon bolts out. + + + INT. CARGO HOLD/ANTONOV - DAWN + + The cargo door scrapes against the glacier, hurling ice + everywhere. The Bentley roars. + + YURI (O.S.) + Push it Curtis! + + JACKSON + We're waiting for Sasha and Gordon. + + Noah turns and sees Gordon. + + NOAH + Tamara! Open the door! + + Gordon jumps in. Tamara yells at him in desperation. + + TAMARA + Where's Sasha? + + GORDON + He said he'll be fine and we should get + out of here before he touches down. + + Yuri notices Tamara's distress as she keeps looking back to + the cockpit. Jackson slams the pedal down trying to gain as + much speed as possible to soften their landing. + + LILLY + Daaadddy! + + The Bentley shoots out the back of the plane. As it hits the + snow, the air bags deploy cushioning the passengers. + + The Antonov hits the ice and catapults the rest of the luxury + cars out of the back cargo hold. They barrel past the Bentley + like skittles, narrowly missing it as they fly off in + opposite directions. + + The plane skids across the glacier, clipping its wing and + causing the aircraft to break apart. + + Sasha has no control anymore and watches helplessly as he + shoots towards the ledge in the Antonov, plunging into the + deep. + + The plane crashes and explodes. + + 88. + + EXT. GLACIER/TIBET - DAWN + + As the snow settles we see that the glacier is scattered with + luxury cars tomb-stoned in the snow. + + The Bentley is half buried. We hear Caesar barking. + + JACKSON (O.S.) + Everybody okay back there? + + KATE (O.S.) + We're all fine. + + The door opens and Jackson climbs out, looking around. Just + above the wind, he hears the SOUND OF HELICOPTER BLADES. + + One by one the others appear behind Jackson and stare at a + surreal sight-- + + Several Chinese Mil-26 choppers airlift animals over the + mountain pass. + + GIRAFFES, ZEBRAS, EVEN ELEPHANTS hang by huge straps from + these flying machines. + + One of the smaller helicopters veers from the transport fleet + and lands near the Bentley. + + Armed soldiers jump out. Their Commander speaks to them in a + sharp tone. + + CHINESE COMMANDER + Welcome to the People's Republic of + China. + + Jackson nods to them. + + JACKSON + Thank you... + (to Lilly and Noah) + Say thank you, kids. + + The others acknowledge the soldiers as well. Hi... Hello... + + CHINESE COMMANDER + What color are your passes? + + Jackson stands dumbfounded. The Commander repeats. + + CHINESE COMMANDER (CONT'D) + What color are your boarding passes? + + Still no answer. He yells an order. The soldiers point their + guns at them. + + + (CONTINUED) + + 89. + + YURI (O.S.) + I have green card. + + Surprised, Jackson turns to Yuri who's holding up three green + plastic cards. + + YURI (CONT'D) + For my boys and me. + + Tamara can't believe what she's hearing. + + TAMARA + It's a joke... a mistake... + (LAUGHING) + Right Yuri? + + Yuri shrugs. Tamara lunges at him. + + TAMARA (CONT'D) + (in Russian) + You disgust me. You pig. + + Yuri brushes her off, coldly. And then speaks so they can all + understand him. + + YURI + You think I did not know about you and + Sasha? May god rest that poor bastard's + soul. + + With that Yuri turns to the others. + + YURI (CONT'D) + I am sorry guys. Good luck. And Jackson + remember, if someone wants to beat + you... he has to kill you first. Come + boys! + + The twins grab Caesar and climb into the helicopter. The dog + barks furiously, wanting to stay with Tamara. + + The next moment, the helicopter takes off. + + GORDON + What!... Did that just happen!? + + They're stranded. + + CUT TO: + + + EXT. AIRFIELD IN CHO MING VALLEY/TIBET - DAWN + + Air Force One is in the background as Laura, Anheuser, and + other members of the crew are rushed towards a group of + waiting helicopters. + (CONTINUED) + + 90. + + Adrian is a little way back in the middle of the pack. A + Chinese Officer with a list shouts over the noise. + + CHINESE OFFICER + (POINTING) + Mr. Anheuser - you're in Chopper 1. Dr. + Wilson the same. + + Laura and Anheuser reach the chopper. An authoritative Naval + Officer greets them, and raises his voice. + + CAPTAIN MICHAELS + I'm Captain Richard Michaels. I'm the + skipper of the American boat sir. After + you! + + Anheuser nods and climbs in the chopper. Captain Michaels + helps Laura in. Adrian arrives just as the Chopper door + slides shut and it lifts off. + + + INT. HELICOPTER/CHO MING VALLEY/TIBET - DAWN + + Laura catches Adrian's look of unease before they soar away. + + CAPTAIN MICHAELS + My sincerest condolences Dr. Wilson, + for your father... + + Laura's look thanks him for this. He turns to Anheuser. + + CAPTAIN MICHAELS (CONT'D) + Your party is the last to arrive. + + ANHEUSER + I've been told of damages? + + CAPTAIN MICHAELS + We haven't completed the assessment but + it looks like we lost Number 4 when the + crust shifted. + + Captain Michaels looks up and points into the distance. + + CAPTAIN MICHAELS (CONT'D) + There it is! + + + EXT. CHO MING VALLEY/TIBET - DAWN + + The CAMERA follows the choppers revealing-- + + Nine gigantic oval gates that measure at least 60 stories, + built into the face of a mountain. + + + (CONTINUED) + + 91. + + In front of every gate there is a line of huge `Y' shaped + metal support structures, which are the launching towers for + the ships. They are each at least 800 feet high. It's an + unparalleled feat of engineering. + + + EXT. CHOPPER/CHO MING VALLEY - DAWN + + The lead chopper descends onto a platform in front of one of + the gates, dwarfed against this majestic setting. + + The door slides open and Anheuser jumps out. Laura follows. + She looks around in awe. + + Even the utility entrances that lead into the mountain are + immense. The Captain guides them into the hollow mountain. + + In the BACKGROUND we see an angry Yuri scream and argue with + military personnel, waving his tickets. + + YURI + What do mean we can't board Number 4? I + want to speak to your supervisor. + + SOLDIER + I am the supervisor! Now get in line + with all the others while we make + arrangements. + + YURI + I want your name! + + SOLDIER + (pointing to his + BADGE) + Can you read? Now get the hell back + with the other green cards, or I'll + have you detained. + + The twins stand nearby, holding Caesar. They look afraid. + + CUT TO: + + + EXT. THE GLACIER/CHO MING - DAWN + + Jackson and his group are small specks in a barren landscape. + They have made it down the glacier and are now walking over a + scree field. + + It is hard going. Jackson carries Lilly. + + JACKSON + Keep thinking warm thoughts sweetheart. + You're doing great. + + (CONTINUED) + + 92. + + Kate holds Noah by the hand. Gordon and Tamara trail behind. + She's still very upset. + + TAMARA + I should have listened to you, Dr. + Silberman. I actually liked the way I + looked before that monster talked me + into it. + + GORDON + Did you know he asked for a discount... + and he paid in installments? + + TAMARA + Cheap bastard. + + GORDON + You're better off without him. What he + said about you and Sasha, is it true? + + Tamara nods silently. + + TAMARA + Now that he's gone I think he was worth + a hundred times a man like Yuri. + + Suddenly they hear the PUTTERING of an engine. + + JACKSON + You guys hear that? + + In the distance, an old rusty truck comes bumping down the + dirt road. Jackson puts down Lilly and chases after it. + + + EXT. DIRT ROAD/NEAR CHO MING - DAWN + + Neng and his parents drive past, billowing a huge cloud of + dust just as Jackson reaches the road. + + JACKSON + (out of breath) + Hey! Help! Wait for us! + + But Neng doesn't hear him over the rattling truck. Jackson, + pissed, kicks at the rocks on the road. + + JACKSON (CONT'D) + Shit! Shit! + + Just then, Neng's mother, sitting in the back of the truck, + turns and sees his tantrum. She bangs on the rear window of + the cabin. + + Neng looks in the mirror and hits the brakes. Jackson can't + believe his luck. + (CONTINUED) + + 93. + + The others show up and they all run towards the truck. + + CUT TO: + + + INT. INSIDE MOUNTAIN/CHO MING - DAWN + + Anheuser and Laura follow Captain Michaels and a Chinese + Steward over one of the many boarding bridges erected inside + the cavernous mountain that lead to one of the monstrous + arks. Laura stops halfway, gazing in awe-- + + Deep down below, thousands of workers are swarming over the + ship, readying it for launch. + + Laura looks up and sees the contrast, spotting the SHEIK we + met in the Dorchester Hotel as he boards comfortably with his + huge family. + + Laura points down at the workers. + + LAURA + Captain Michaels? What happens to all + those people? + + The Captain doesn't know what to say. Anheuser turns. + + ANHEUSER + Dr. Wilson, there's a protocol for all + that. You just stick to your art. We'll + handle the rest. + + Laura hates him in that moment. + + ANHEUSER (CONT'D) + Captain? Where is the Bridge? + + Anheuser and Captain Michaels move away as Laura stands and + watches the frantic workers who are now boarding the animals + we saw being airlifted over the mountains. + + CHINESE STEWARD (O.S.) + Dr. Wilson? Your cabin is this way. + + Laura has a look of guilt as she follows the steward. + + CUT TO: + + + EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE + + Thousands are on the march up the mountains. Behind them a + valley stretches into the horizon. Plumes of smoke rise from + destroyed cities in the distance. + + + (CONTINUED) + + 94. + + Amongst the refugees, we discover Satnam, the young + astrophysicist, holding his little son. The rest of Satnam's + family trails behind. + + Distant WARNING SIRENS pierce the silent march, coming from + the cities below. + + People start to scream and run, but Satnam stands there + frozen. He fumbles for his satellite phone, then hits a + number on its speed dial. + + + INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE + + Adrian is unpacking. He lays down his copy of `Farewell + Atlantis' just as his cell phone rings. + + ADRIAN + Satnam? + (CONFUSED) + Where are you? + + SATNAM (O.S.) + On the Nampan Plateau... + + Adrian's face goes pale. + + ADRIAN + What?! + + SATNAM + There's a tidal wave coming from the + East! It's huge! + + ADRIAN + Satnam, what happened? + + SATNAM (O.S.) + We never got picked up, Adrian, the + airlift never came! + + Adrian closes his eyes. + + + EXT. NAMPAN MOUNTAINS/EAST COAST OF INDIA - SUNRISE + + Satnam swallows hard. He stares out into the valley. + + SATNAM + I have to go! + + A wall of undulating foam and debris comes rolling towards + him. A tidal wave of gigantic height. + + Everybody panics and scratches for a higher elevation. But + for Satnam it is clear, they do not stand a chance. + (CONTINUED) + + 95. + + He picks up his little son, squeezing him tightly to his + chest, humming an Indian lullaby for the scared child. + + + INT. LIVING QUARTERS/AMERICAN SHIP - SUNRISE + + Adrian hears SCREAMING on the phone and the deafening sound + of the approaching wave. He tenses up, desperate but unable + to do anything. + + As the noise reaches its height, the line goes dead. Adrian + is left breathless. + + + INT. BRIDGE/AMERICAN SHIP - SUNRISE + + Adrian storms onto the bridge. Many officers and analysts are + at work under Captain Michaels. + + ADRIAN + Do we have the latest satellite images + of Napam, India? + + SCIENCE OFFICER + One moment, sir. + + Anheuser and Prof. West step over and join him. + + ANHEUSER + Helmsley, what's going on here? + + ADRIAN + Looks like our model was wrong. + + They all stare at the monitor showing several tidal waves + coming in from the south. + + ADRIAN (CONT'D) + Satnam was talking about a wave from + the East. + + A science officer selects a different quadrant on the + satellite display. They all stare at the new tidal wave + that's coming from the East of the Cho Ming valley. + + PROF. WEST + Jesus! + + Anheuser is shocked. + + ANHEUSER + What does this mean? + + + + + (CONTINUED) + + 96. + + ADRIAN + The flooding will happen earlier. + Bobby, can you plug in the new data + please? + + As the officer does this, Prof. West looks at Adrian with + questioning eyes. + + ADRIAN (CONT'D) + Satnam didn't get picked up. + + Prof. West is horrified. + + SCIENCE OFFICER (O.S.) + Ready sir. + + Adrian turns back to the monitor and sees the new tidal wave + that is coming towards the Cho Ming valley. + + ADRIAN + This one is at least 1500 meters high! + + ANHEUSER + Talk to me Helmsley. What does this + mean for us? + + ADRIAN + Bobby, plug in the new data and adjust + the count down? + + Every one on the bridge stares at a display. It reads-- + + 02hrs - 09min - 07sec + + The science officer nervously hits a few keys and the display + changes to-- + + 00hrs - 28min - 10sec... and counting. + + We see the shock on Anheuser's face. + + ANHEUSER + Get me the other Heads of State. + + CUT TO: + + + EXT. GATE/CHO MING SITE - EARLY MORNING + + Neng's truck, loaded with Jackson and the others, creeps up + to the service entrance of the launch site. + + A lone figure awaits them. This is Neng's older brother Lin, + who we saw signing up for the 'Chinese Dam Project'. + + Lin notices the strangers in the pick-up truck. + (CONTINUED) + + 97. + + LIN + (in Chinese) + Who are they? + + Neng answers hesitantly. + + NENG + We found them by the side of the road, + my brother. + + LIN + You must send them back. + + NENG + I am a follower of the great Lama Yak + La. You know I cannot do that. + + The others watch the interaction but do not understand. + Jackson senses a problem. He grabs Lilly and Noah. + + JACKSON + Come with daddy. + + Gordon and Tamara stare perplexed as Jackson approaches Lin + with his kids. + + JACKSON (CONT'D) + At least take our children with you. + Please. + + Lin answers in broken English. + + LIN + Why should I do that? + + JACKSON + For the same reason you sent for your + parents. + + Lin stares at him stone faced. In desperation, Kate turns to + Mrs. Pang. + + KATE + I have no clue if you understand what + I'm saying, but I ask you as a mother, + please take my kids with you! + + Silence. A beat. The old Chinese lady turns to Lin. + + MRS. PANG + (in Chinese) + We are all children of this earth. + + LIN + My plan will not work for so many, + mother. + (CONTINUED) + + 98. + + She looks up at her son, determined. + + MRS. PANG + We will take them all. Bata? + + Mr. Pang nods and reluctantly, Lin motions to Jackson to + follow. Kate bows to Mrs. Pang. + + KATE + Thank you ma'am. Thank you so much. + + Jackson and the others acknowledge what Kate has done. + + CUT TO: + + + INT. SHIP BAY/CHO MING - EARLY MORNING + + We finally reveal the unbelievable magnitude of this ship + yard, built into the hollow belly of the mountains. + + Nine gargantuan vessels are lined up next to each other. + Their size is at least four times that of the `Freedom of the + Seas'. However, they look more like spaceships than anything, + having been built aerodynamically to withstand the full force + of nature. + + But only three of these monstrous ARKS are complete. Number 4 + is being repaired, all the others are still under + construction, surrounded by scaffolding. + + Suddenly SIRENS goes off! + + The boarding bridges to the finished vessels begin to + retract. There's growing confusion among the thousands of + workers and security personnel. + + + INT. PLATFORM, SHIP BAY/CHO MING - EARLY MORNING + + Opposite the boarding bridges, on a large platform, Yuri and + his boys sit in line with the other waiting passengers. + + They watch as massive stern gates begin to close. Yuri jumps + up and yells to the others. + + YURI + They're leaving without us! + + The soldier from earlier points his gun at him. + + SOLDIER + What did I tell you! + + Caesar barks at the guy. + + (CONTINUED) + + 99. + + YURI + (POINTING) + Look! Idiot! They are leaving you + behind too! + + The soldier turns to the ships and Yuri knocks him out. He + grabs his boys and runs towards the closing gates. All the + other passengers surge forward with him. + + In the distance, on the bow side of the ships, the huge + mountain gates of the bay open, revealing a stunning view of + Cho Ming Valley. + + CUT TO: + + + EXT. MOUNTAIN RIDGE/CHO MING - MORNING + + Lin leads his group over a ridge. In front of their eyes-- + + The gates to the mountain open! + + LIN + (in Chinese) + We have to hurry! + (to Jackson) + They launch! We run out of time! + + They follow Lin rushing down the hill, towards one of the + many Y-shaped launch structures towering in front of the + gates. Neng and Kate help Mr. and Mrs. Pang down the rocky + terrain. + + + INT. SHIP BAY/CHO MING - MORNING + + A screeching and thundering noise! + + THE THREE COMPLETED VESSELS BEGIN TO INCH FORWARD on metal + girders connecting the Y-shaped launch towers. + + + INT. LIVING QUARTERS/AMERICAN SHIP - MORNING + + Laura feels a jolt. She rushes out of her small cabin and + into a swarm of people moving down a crammed endless + corridor. She struggles to fight her way through. + + A digital voice blares over the speakers. + + COMPUTER VOICE + Countdown to departure. Launch in 17 + minutes - 42 seconds. + + Laura bumps into one of Adrian's Science Officers. + + (CONTINUED) + + 100. + + LAURA + Where can I find Adrian Helmsley? + + SCIENCE OFFICER + He's in the Technical Command Centre. + Follow me. + + + EXT. LAUNCH SITE/CHO MING VALLEY - MORNING + + The three gigantic vessels emerge from the mountain, into the + open. Support helicopters swarm around them like flies. + + + EXT. BENEATH A LAUNCHING TOWER/CHO-MING - MORNING + + Lin and his group look like ants as they scale the metal + ladders of one of the launch towers. + + + INT. BRIDGE/AMERICAN SHIP - MORNING + + Verbal commands fly back and forth. Anheuser watches the + preparations from a large window. + + He looks over to the command bridges of the other vessels as + they continue to be pulled into place. + + + INT. COMMAND BRIDGES/OTHER SHIPS - MORNING + + We cut to the various Heads of State, all at their command + posts. + + + EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING + + A hatch opens at the top of the launch tower. Lin is the + first to climb out. + + Right before his eyes, the hull of the American Ship slowly + creeps towards him. He's but a speck against this man-made + behemoth. + + Lin hastily pulls the others up. + + LIN + (in Chinese) + Faster, Neng! Help father! Mother, give + me your hand. + + It's a race against time. The huge ship's hull closes in + fast. Lin and his family crawl up the side arm while Jackson + hurries to pull up the rest of the group. + + Lilly freezes at the sight of the approaching ship. + (CONTINUED) + + 101. + + JACKSON + Move Lil'bee! + + Jackson rips her out of harm's way, just in time. In a + frenzy, he pushes her up the support arm where the others are + already huddled on a small platform. + + As the towering wall of steel passes by them, inches from + their faces, Mr. Pang loses his balance. Jackson and Lin both + see this, but Jackson is closer-- + + He grabs the old man by his arm, saving him from falling to + his death. + + For the first time, Lin acknowledges Jackson with a nod. + + + EXT. SHIP BAY/CHO MING SITE - MORNING + + The three completed ships are half way out, grinding to their + final launching position. + + A mob of passengers led by Yuri has fought their way to the + ship. More and more people join them, including soldiers. + + + EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING + + Lin, Jackson and the group are huddled on the platform. + + The sound of SCREAMING PEOPLE makes them turn. The storming + masses have arrived at the access platform. There is now a + huge drop off between them and the tails of the ships. + + TAMARA + (POINTING) + Oh my god, that's Yuri! + + Next to Yuri are his twins, holding Caesar. She yells! + + TAMARA (CONT'D) + Caesar! + + + EXT. ACCESS PLATFORM/CHO MING SITE - MORNING + + The little dog hears Tamara and jumps out of Oleg's arms, + leaping onto one of the thick cables, that connects the + platform with the launching towers. + + Alec and Oleg attempt to run after Caesar, but Yuri grabs + them by their necks. + + YURI + Let that stupid dog go! + + (CONTINUED) + + 102. + + He's panicked. The arriving masses are pushing them to the + drop off at the edge of the platform. + + + EXT. TOP OF LAUNCHING TOWER/CHO MING - MORNING + + The ship has reached its targeted position. A small hatch + lines up directly in front of Lin and his group. + + LIN + (in Chinese) + Okay. Now! + + One by one they all climb into the hatch. Jackson being the + last in, notices that Tamara has stayed back. + + JACKSON + Tamara! Come on! Get in! + + She doesn't move, anxiously waiting for her beloved dog + darting towards her. + + + EXT. ACCESS PLATFORM/CHO MING SITE - MORNING + + The mob pushes at Yuri and his boys. Passengers on either + side tumble off the platform. + + Yuri watches one of them fall, hitting his head against a + tiny ledge 8 feet below. To his right, he sees a small ladder + leading down. + + YURI + (in Russian) + Down there! Oleg, you go first! + + As they hurry down the ladder, people keep tumbling into the + deep. Reaching the ledge, Oleg discovers Caesar running + towards Tamara. + + OLEG + Daddy look, Tamara! + + Yuri cannot believe his eyes. + + + EXT. TOP OF LAUNCHING TOWER/CHO MING SITE - MORNING + + The hatch behind Tamara begins to move. The hydraulic + supports are being lifted, sealing up the vessel. + + TAMARA + Caesar darling! + + Jackson reaches out from the closing hatch. + + (CONTINUED) + + 103. + + JACKSON + Tamara! Get in! + + Tamara climbs inside the hatch and turns. + + TAMARA + Come to mommy! + + Caesar leaps into her arms only seconds before the hatch + seals. As a last gesture, Tamara sticks out her arm and gives + Yuri the finger. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - MORNING + + Lin leads the group into a long and narrow chamber where the + hydraulics for the tail gate are located. + + He opens a tool cabinet, retrieving a giant electrical power + drill, almost too big to be carried by one person. + + Lin climbs to a hatch near the ceiling and begins to unscrew + the huge bolts. He looks at Jackson. + + LIN + I need your help. + + + INT. TECHNICAL COMMAND CENTER/AMERICAN SHIP - DAY + + Laura and the Science Officer enter the Technical Command + Center. She finds Adrian staring at a wall of monitors + showing the horrifying scenario on the platforms. + + People are falling to their deaths in large numbers in their + desperation to board the ship. + + LAURA + What in god's name is happening Adrian? + + ADRIAN + Anheuser convinced them all to launch. + + Outside, panicking workers, screaming for their life! + Deserted passengers waving their green cards! + + Adrian makes a decision and rushes out. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Anheuser turns hearing Adrian storming onto the bridge. + + ADRIAN + Anheuser! We have to stop this madness. + + (CONTINUED) + + 104. + + With that, Adrian turns to the Communication Officer. + + ADRIAN (CONT'D) + Bobby, make sure the other bridges can + hear this. + + The officer hesitates as Laura enters in the background. + + ANHEUSER + What do you think you're doing? + + ADRIAN + I know exactly what I'm doing. + (To Bobby) + Turn it on! + + Bobby flicks a switch. Adrian's voice echoes through all the + ships. + + ADRIAN (CONT'D) + This is Adrian Helmsley, science + advisor to President Wilson... + + + INT. BRIDGE/EUROPEAN SHIP - DAY + + The German Chancellor turns to one of the technicians on the + bridge of the European Ship. + + GERMAN CHANCELLOR + Can you please turn up the volume, Mr. + Hoffmann? + + Next to her stand the British and French Prime Ministers. + + ADRIAN (O.S.) + I know we've all been involved in + making difficult decisions... to save + our human civilization... + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Anheuser looks on stoney faced. + + ADRIAN + ... But to be human means to care for + each other, and civilization means to + work together to create a better life. + If that's true there is nothing human + and nothing civilized about what we're + doing here. Ask yourselves ... Can we + really stand by and let all those + people out there die? + + Laura watches him proudly. + (CONTINUED) + + 105. + + ADRIAN (CONT'D) + A civilization that allows that, does + not deserve to survive. + (PAUSE) + Or at least I don't want to be part of + it. + + Anheuser cuts in with sarcasm. + + ANHEUSER + We'll miss you Helmsley but somehow + we'll get by. Officer switch that off. + + The Communications Officer looks at Adrian. + + ANHEUSER (CONT'D) + That's an order soldier. + + ADRIAN + Don't do it! + + + INT. BRIDGE/ASIAN SHIP - DAY + + The Russian President, together with the heads of state from + China and Japan, listen in as Adrian responds. + + ADRIAN (O.S.) + We have to open our gates and let these + people in. All of them. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Anheuser has had enough. + + ANHEUSER + Have you lost your mind? Look at the + countdown. We have less than five + minutes left... And none of our ships + have the resources to feed those + people. If you save them today we all + starve tomorrow. + + He's almost screaming now. + + ANHEUSER (CONT'D) + Do you wanna be responsible for the + extinction of the human race? Can you + handle that, Adrian?! + + Silence. + + Adrian's battle seems lost. But he doesn't give up, and + instead speaks softly now. + + (CONTINUED) + + 106. + + ADRIAN + There is a young astrophysicist from + India who is the reason we are all + here, trying to give mankind a second + chance. He's the one who discovered it + all, the one who connected the dots. We + all owe him our lives. + + All eyes are glued to Adrian. + + ADRIAN (CONT'D) + I just learned that he was killed with + his family by a tsunami in eastern + India. You know why? + + Adrian stares Anheuser in the eyes as he continues. + + ADRIAN (CONT'D) + He died because we forgot to pick him + up. + (PAUSE) + I beg you... whatever our future holds + don't let us start it with an act of + cruelty. What will you tell your + children... and their children? + + Silence. Laura steps up alongside Adrian. + + LAURA + If my father were here, he would open + the gates. + + Adrian and Laura share a look. + + RUSSIAN PRESIDENT (O.S.) + The people of Russia along with... + + + INT. BRIDGE/ASIAN SHIP - DAY + + His Asian colleagues nod in approval. + + RUSSIAN PRESIDENT + ... China and Japan agree to open the + gates. + + + INT. BRIDGE/EUROPEAN SHIP - DAY + + The German Chancellor speaks up. + + GERMAN CHANCELLOR + The United Kingdom, Spain, France and + Germany, and I believe I can also speak + for the Italian Prime Minister... + + 107. + + INT. BRIDGE/AMERICAN SHIP - DAY + + GERMAN CHANCELLOR (O.S.) + ... We vote to open the gates. + + Laura and Adrian watch Anheuser shaking his head in defeat. + Bobby, the Communications Officer smiles with relief. Adrian + turns to the Captain. + + ADRIAN + Captain Michaels, you heard them. + + + EXT. LAUNCH SITE/CHO MING VALLEY - DAY + + One by one the gigantic gates at the stern of the three ships + begin to creek open. + + The masses gathered on the platform CHEER wildly! + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Lilly crawls through the CONNECTING TUNNEL meeting up with + Kate in a large bay on the other side. + + LILLY + Phew... It stinks in here. + + Together with Neng and his parents, they all look up in + DISBELIEF-- + + A Giraffe, chewing her cud, smiles down at them. Caesar barks + at her. + + TAMARA + Sssh...Caesar. + + A second later, hundreds of different ANIMALS RESPOND. They + are in the zoological bay. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Gordon helps Noah up the small ladder leading to the + connecting tunnel. + + Just as he goes to hand him Jackson's backpack, the HYDRAULIC + MOTORS begin to GROWL! Lin looks up in panic. He screams. + + LIN + They're opening the gate! It will crush + us! + + The whole ceiling begins to lower towards them. From down + below, Jackson sees his son about to be hit by it. + (CONTINUED) + + 108. + + JACKSON + Noah! Watch out! + + Gordon makes a split second decision. With all his strength, + he shoves the boy into the tunnel. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + From the other side of the tunnel, Kate watches as the metal + ceiling misses Noah by a hair, but catches Gordon, wiping him + off the ladder. + + KATE + No! + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Jackson watches helplessly as Gordon falls past him. He + survives his landing and desperately tries to grab on to the + sloping surface, but he can't. He slips. + + Gordon is crushed between the gears, sharing his last look + with Jackson before he dies. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Kate helps a trembling Noah out of the tunnel. + + NOAH + Something happened, mom. + + Kate pulls him close and shuts her eyes tightly. She fights + back the tears. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Jackson and Lin know they're running out of time, their + remaining space is shrinking every second. + + JACKSON + We have to stop it! + + Lin grabs the huge electrical power drill nearby and attempts + to jam it between the hydraulic arm and the wall. + + As it digs deeper into the metal, the hydraulic starts to + slow down. + + 109. + + EXT. ACCESS PLATFORM/CHO MING - DAY + + Still on the ledge, Yuri and the boys watch as the huge + boarding gate lowers towards them. They are trapped. + + Just then, the gates begin to slow, but surely they will be + crushed. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Back in the chamber, Lin still struggles with the drill. + Suddenly he slips. + + Jackson manages to catch his fall. But in the process Lin's + foot gets caught between the gears, mangling it. + + He screams in pain as the hydraulic slowly grinds towards a + halt. + + JACKSON + You did it, man. You did it. + + In great pain, Lin grins back at him. + + + EXT. LAUNCH SITE/CHO MING VALLEY - DAY + + The gates of the ships hit the access platform with a + thundering noise. People begin to rush on board. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Alarm signals go off. The Captain turns to one of his + officers. + + CAPTAIN MICHAELS + What's wrong with the gate? + + OFFICER + I don't know. Maybe there's something + jamming it, sir. + + The countdown on the monitor reads 2 min. 40 sec. Laura and + Adrian share a worried look. + + We hear a HOLLOW BELL ring! + + CUT TO: + + + EXT. YAK LA MONASTERY/TIBET - DAY + + Lama Yak La rings the large bronze bell of his monastery. + + (CONTINUED) + + 110. + + The booming sound echoes through the Cho Ming valley. As a + gentle wind catches the Lama's clothes, he looks up-- + + A tidal wave of immeasurable proportion crests the mountains. + + The Lama continues to strike the bell as the monastery is + wiped clean from the earth. + + CUT TO: + + + INT. BRIDGE/AMERICAN SHIP - DAY + + The technicians desperately try to figure out what's wrong. + An officer waves Adrian over. + + SURVEILLANCE OFFICER + Sir, we have a breach in the zoological + bay. + + ADRIAN + Can you zoom in? + + The video camera moves in on Kate, Noah and Lilly. Adrian + can't believe his eyes. He turns to Laura. + + ADRIAN (CONT'D) + I know those kids. Remember the book I + told you about? Their father wrote it. + + Captain Michaels shouts across the room. + + CAPTAIN MICHAELS + We're loaded. We can close the gates + sir. + + ANHEUSER + Do it! + + Anheuser looks nervously at the countdown. It reads 1:34 + + + EXT. ACCESS PLATFORM/CHO MING SITE - DAY + + Above Yuri and the boys, people are leaping from the access + platform onto the stern gate of the American ship. + + Yuri looks for a hole in the flow of people before seizing + his chance and lifting the first of his boys up. + + YURI + (in Russian) + Pull yourself up! + + Oleg manages to reach up and hold onto the gate. + + (CONTINUED) + + 111. + + Inside the ship, officers yell. + + DECK OFFICER (O.S.) + To the lower decks people! + + The gates suddenly screech back into life and begin to close. + Yuri doubles his efforts lifting Alec higher, but Alec cannot + quite reach. + + Yuri strains with all his effort before deciding. + + YURI + Oleg! Catch your brother! + + Yuri leaps forward holding Alec out in his arms. + + Oleg manages to grab his brother's hands as Yuri lets go and + falls into the deep crevasse below. He makes no noise until + he hits the rocks beneath. + + Oleg pulls his brother from above. + + + INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY + + A SIREN blasts. Both of Yuri's sons are now on deck. A + loading officer pulls them back, away from the gate. + + DECK OFFICER + Boys, you gotta move. + + ALEC + We wait for our father! He's still down + there! + + The loading officer attempts to comfort them. + + DECK OFFICER + There's no one down there. + (GENTLE) + Come on boys, come... + + The Officer and the boys look back as the stern gate slowly + closes. But with a SCREECHING sound it grinds to a halt. + + The gate is jammed open leaving a twenty foot gap. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + ALARMS sound. Anheuser and the Captain stare at the monitors. + + ANHEUSER + Why is the stern gate not closing? + + + (CONTINUED) + + 112. + + CAPTAIN MICHAELS + Something's wrong with the hydraulics, + sir. + + ADRIAN (O.S.) + Captain, over here. + + They race over. Adrian points to a monitor. + + ADRIAN (CONT'D) + I think we found the problem. + + On the monitor, they see Sarah and the others desperately + waiting for Jackson and Lin. + + ADRIAN (CONT'D) + How did they get in there? + + SURVEILLANCE OFFICER + They must have come through the + hydraulic chamber. There... + + Bobby, the Surveillance Officer, selects a different camera + and we now see inside the tunnel in which Jackson is pulling + along a wounded Lin. + + LAURA + That guy is injured. Something must + have gone wrong. + + ANHEUSER + You're damn right something went wrong! + Congratulations Helmsley, you may have + just killed us all but as long as your + conscience is clean... + + Adrian tries to ignore this. + + ADRIAN + Let's get an emergency crew there right + now. I'll meet them at the Hydraulic + Chamber. + + Anheuser sneers him, shooting a look to Laura. + + ANHEUSER + You think you're the main man now, just + because your fucking the President's + daughter? + + Without thinking, Adrian turns and punches Anheuser hard in + the face. He drops to the floor, out cold. + + Everyone stands in stunned silence. Laura smiles. Adrian + looks around. + + (CONTINUED) + + 113. + + ADRIAN + What are you all waiting for? + + They speed off. The countdown reads 0 min. 53 sec. + + CUT TO: + + + EXT. AIRFIELD/TIBET - DAY + + Further down in the valley, the tidal wave has reached the + Cho Ming airfield, blasting away the planes with overwhelming + force. + + + EXT. LAUNCH SITE/CHO MING VALLEY - DAY + + The massive propellers of the ships begin to turn. However, + the props of the American ship don't move. + + In the background, the huge tidal wave comes thundering + towards them. + + + INT. HALLWAY/AMERICAN SHIP - DAY + + An IMPACT WARNING sounds as Adrian and Laura race through the + crammed hallways with members of the rescue crew. One of the + officers explains. + + TECHNICAL OFFICER + If we can't close the stern gate, then + the engines won't start. + + ADRIAN + There's no way to override it? + + TECHNICAL OFFICER + No sir, it has to be done manually. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Kate, Noah and Lilly watch as Jackson nears the end of the + tunnel with Lin. Neng comforts his brother who's about to + pass out. + + NENG + (in Chinese) + Almost there, Lin... + + CUT TO: + + 114. + + EXT. LAUNCH SITE/CHO MING VALLEY - DAY + + THE WAVE FINALLY HITS! + + All three vessels are now engulfed in churning water. + + They rock back and forth. Only the huge support towers + they're resting on, keep them anchored. + + + INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY + + A new ALARM sounds as water begins to shoot through the open + stern gate of the American ship. + + The people on the loading bay panic, among them we see Alec + and Oleg. + + + INT. HALLWAY/AMERICAN SHIP - DAY + + The same ALARM rings out in the hallways of the ship. Laura, + Adrian and their party are all braced against the corridor, + as the vessel undulates back and forth. + + SURVEILLANCE OFFICER + Water has penetrated the stern! + + Laura looks unsure. + + LAURA + What now? + + SURVEILLANCE OFFICER + The rear of the ship will start sealing + itself up one compartment at a time. + + Adrian looks at him. + + ADRIAN + Then how will we get to the hydraulic + chamber? + + SURVEILLANCE OFFICER + If we don't hurry, we won't be able to. + + Despite the violent movement of the ship, Adrian pushes on + down the corridor towards the back of the boat. They follow. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Water is also now rushing into the Zoological Bay and only + the giraffe can manage to keep her head dry. + + Jackson is not yet out of the tunnel with an unconscious Lin. + (CONTINUED) + + 115. + + Kate shouts across to Tamara. + + KATE + Tamara! Take Lilly and Noah. + + Kate reaches in to help Jackson as Tamara begins to move with + Lilly. Noah remains back with his mother. + + Jackson finally makes it through with Lin. Kate is almost + tearful with relief to see him. + + KATE (CONT'D) + I was so worried about you. + + Suddenly the Zoological bay begins to seal itself off. + + Lilly, already in the next compartment with Tamara and her + dog, screams out as a chamber door quickly slides up, from + the floor to the ceiling. It separates Lilly from her family. + + LILLY + Mummy! + + Jackson and Kate turn but it's too late. They only catch a + glimpse of Lilly before they are sealed in. The water level + continues to rise. + + + INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Panicked, Tamara turns and looks around. Down the corridor, + in the distance, she sees Adrian, Laura and the rescue crew + approaching. + + But between them she spots the next chamber door rising + quickly. + + TAMARA + Lilly run! + + Lilly starts moving as Tamara turns and picks up Caesar. + + Moving quickly, Lilly is able to climb up and over the fast + rising door. But as she dangles from the other side, she + looks down and is too scared to jump. + + TAMARA (O.S) (CONT'D) + Lilly! Take him. + + Lilly looks up and sees two hands straining to hold Caesar + above the quickly narrowing gap. + + In a courageous move, Lilly grabs the little dog before he + gets crushed and together they fall to the ground. + + + (CONTINUED) + + 116. + + Back on the other side of the chamber door, Tamara looks + around. She is trapped now as the water continues to rush in. + + + INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY + + Laura picks Lilly up and comforts her. Adrian realizes they + are too late. He turns to the rescue crew. + + ADRIAN + Is there any way to talk to them? + + Lilly is close to tears. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + The water continues to flood in as Jackson helps Neng with + his unconscious brother. + + JACKSON + We have to move him higher. + (looks around) + Over there! + + Suddenly, a VIOLENT SHAKE throws them all off balance, + pitching them into the water. + + + EXT. LAUNCH PILLAR/UNDER WATER - DAY + + In the debris-filled, murky waters we see that the fuselage + of Air Force One has slammed against the first of the ship's + launch towers. + + Slowly it begins to bend, finally giving way. The other + launch towers follow like dominos. + + The ship is ripped from its anchorage and sent drifting + sideways, rudderless. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Chaos. Fear. Everybody holds on for dear life. + + + EXT. LAUNCH SITE/CHO MING VALLEY - DAY + + The vessel is swept away, over the mountain ridge. + + + INT. HALLWAY/AMERICAN SHIP - DAY + + Alec and Oleg scream, desperately trying to hold on as the + whole ship capsizes. + + 117. + + EXT. DARJEELING VALLEY/HIMALAYA - DAY + + The giant ship drifts upside down and rudderless - smashed + around by the debris and raging waters. + + But then, as it hits another ridge, it rolls right side up + and seems to steady itself. + + However, the strong currents continue to force it through the + mountain ranges of the Himalayas. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + The officers try to regain some control. + + NAVAL OFFICER + Moving at 34 knots, sir. + + CAPTAIN MICHAELS + What is our position? + + NAVIGATION OFFICER + Darjeeling valley, heading south east, + sir. + + The Captain's face drops. + + CAPTAIN MICHAELS + You must be kidding! + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + The water rises fast as Kate sees the severity of Lin's wound + for the first time. + + KATE + We need something to stop the bleeding + or he'll die. + + A split second later Noah holds out his belt. + + NOAH + Mum, will this do? + + Suddenly Jackson hears a voice over a speaker. + + ADRIAN + (Over a speaker) + Mr. Curtis... I'm Adrian Helmsley. We + met once before. Your daughter is with + me. + + Kate screams with relief. + + (CONTINUED) + + 118. + + KATE + Lilly! + + + INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY + + Adrian is using an emergency wall intercom, with Laura next + to him, holding Lilly. + + LILLY + I'm alright Mom! + + Caesar barks. + + + INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Tamara hears Caesar over the speaker in her compartment and + smiles with relief. She is struggling to stay afloat though, + and is running out of air. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Jackson discovers the wall speaker. He moves closer to it. + + ADRIAN (O.S.) + We can't get to you. Whatever you did, + jammed the hydraulics. If you can't get + it out... None of us will make it. + + + INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY + + All eyes are on Adrian as he speaks. + + ADRIAN + You're our only hope. + + Adrian looks at Laura. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + JACKSON + I'll go back. I'll try my best. + + NOAH + I'll go with you. + + JACKSON + You stay with Mommy. + + Jackson looks at Kate. + + + (CONTINUED) + + 119. + + JACKSON (CONT'D) + I'll be right back... + + The water is up to their chest now. Jackson takes a breath + and disappears underwater. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Back on the bridge, Anheuser regains consciousness and gets + to his feet. His nose is bleeding. He looks around him. + + ANHEUSER + Captain, what's happening? + + The Captain looks at him annoyed. + + CAPTAIN MICHAELS + What's happening?... + (PAUSES) + We're heading straight for the north + face of Mount Everest, Mr. Anheuser. + + Anheuser looks at him dumbfounded as he stumbles to the + window and sees the massive rock face of Mount Everest in the + distance. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Jackson swims down into the dark chamber and reaches the + jammed power tool, pulling at it. But it doesn't budge. + + + INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + The water level in Tamara's compartment is at its height now + and she goes under. + + She struggles below the surface for a moment, looking around + desperately for a way out but there is none. + + Tamara drowns. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Jackson manages to find an air pocket. He fills up his lungs + with air and thinks hard. + + As he strips off his jacket, he seems to have a plan. He + dives under again. + + 120. + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Lin is being held up in the water by his brother and parents. + + Kate has wrapped the belt around his lower leg and now pulls + it tight. Lin screams. + + Noah uses this as the moment to dive underwater, unnoticed, + to go and help his father. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Back under water, Jackson is using the extension cord of the + power drill to pull himself down to the tool cabinet. + + Jackson opens it, retrieving a giant crowbar. He begins to + use it to dislodge the tool but it's hard work. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Anheuser and everybody on the bridge stares as the north face + of Mount Everest is almost upon them. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Kate and the Pangs are desperately close to running out of + air now, but despite this, Kate still tends to Lin. + + After a moment she turns and is first confused then horrified + to see that Noah is nowhere to be found. + + KATE + Noah! + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Jackson pulls with all his might, but he can't quite shift + the drill. + + To his surprise, a pair of young hands join his on the handle + of the crowbar. Noah is alongside him now, helping. + + Working as father and son, they manage, little by little, to + loosen it before finally the drill comes free. + + Adrian gives Noah the thumbs up and the boy heads back to the + surface. Jackson goes to follow but in the last moment he + spots the knapsack containing his laptop. + + He dives back down for it. + + 121. + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Noah emerges from the water. + + NOAH + Mom, we did it! + + Kate pulls him to her, relieved he is safe. Noah smiles and + calls out towards the nearly submerged speaker. + + + INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY + + Lilly and Laura wait nervously. They hear a muffled voice. + + NOAH (O.S.) + We got it free. Can you hear me? We did + it! + + Adrian leaps up when he hears this. He flicks a button on the + intercom. + + ADRIAN + Captain Michaels - close the gate! + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Hearing this, the Captain yells the eagerly awaited order. + + CAPTAIN MICHAELS + That's affirmative. Close the gate! + + TECHNICAL OFFICER + Ay, ay, Sir. + + + EXT. DARJEELING VALLEY/HIMALAYAS - DAY + + We hear a BOOMING sound as the tail gate finally seals. + + + INT. HYDRAULIC CHAMBER/AMERICAN SHIP - DAY + + Jackson reaches his knapsack, but when sees Noah's cell phone + lying next to it, he makes a decision and reaches for that + instead. + + He hears the muffled sound of the engines and smiles. But as + he turns to swim back, his face freezes-- + + He's looking into the lifeless eyes of Gordon, who floats + inches from his face. + + 122. + + EXT. PROPELLERS/AMERICAN SHIP - DAY + + The gigantic propellers fight against the current, hitting + rock at the base of the mountain. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + The battle seems hopeless. Captain Michaels yells at the top + of his lungs. + + CAPTAIN MICHAELS + Engage starboard stabilizers! + + OFFICERS + One is engaged... two is engaged... + number three is out, sir! + + The vessel scrapes against the rocks, throwing Anheuser to + the floor. + + + EXT. DARJEELING VALLEY/HIMALAYA - DAY + + The giant ship escapes the mountain with an inch to spare. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Everyone on the bridge watches in awe as Mount Everest, + earth's highest peak, drifts slowly past. + + After a long beat, they begin to holler and cheer. + + + INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY + + Kate hears the CHEERING coming from the speakers. The water + level stops rising but she still looks around in panic. + + KATE + Noah! Where is he? + + Noah begins to cry. + + NOAH + He was just behind me... + + Finally! Jackson bursts out of the water and takes a lungfull + of wonderful air. + + Kate and Noah are overjoyed. The Pangs smile to one another. + + Jackson looks Kate squarely in the eyes. + + + (CONTINUED) + + 123. + + JACKSON + If you would ever consider to give me + another chance... I promise, I'll + always be there when you need me. + + Kate embraces him tightly. + + KATE + Whatever you do... I will never let you + go again. + + Noah is all smiles. + + FADE TO BLACK + + + 2013 + + + We hear a voice. + + ADRIAN (O.S.) + ... Day 988. No one is waiting for + anything to happen... + + FADE UP + + The CAMERA moves over the last lines of Jackson's novel. + + + INT. SLEEPING QUARTERS/AMERICAN SHIP - DAY + + Adrian sits in his cabin, his copy of `Farewell Atlantis' in + his lap. + + ADRIAN + ... and all we can hear is the sound of + our own breathing that reminds us we + are still sharing our memories, hopes + and ideas. + + Opposite him, Laura sits listening to him read. + + ADRIAN (CONT'D) + ... And funny, just today we found out + that the entire crew of the Atlantis, + somehow or another, has relatives in + Wisconsin. + (PAUSE) + The end. + + Adrian closes the book. There's a moment of silence. + + LAURA + How many copies did you say that sold? + + (CONTINUED) + + 124. + + ADRIAN + Less than 500. + (with a smile) + It's what you might call a cult + classic. + + Laura looks at him grinning. + + LAURA + It seems we have very different tastes + Mr. Helmsley? + + ADRIAN + (PLAYFUL) + Well that's healthy Dr. Wilson. + Something we could maybe explore... + unless you have other pressing + engagements. + + LAURA + Actually my diary's pretty open. + + The intimate moment is cut short. + + OFFICER (O.S.) + (over loudspeaker) + Mr. Helmsley to the bridge please. + + + INT. HALLWAY/AMERICAN SHIP - DAY + + Adrian and Laura make their way to the bridge. + + CAPTAIN MICHAELS (O.S.) + Ladies and gentlemen, this is Captain + Michaels speaking. In a few minutes, I + will be giving the orders to unseal the + decks. + + + INT. FRONT DECK/AMERICAN SHIP - DAY + + Jackson and his family stand amongst thousands of other + people who are gathering in anticipation. + + CAPTAIN MICHAELS (O.S.) + Please be careful when you step out and + of course... enjoy the fresh air. + + Jackson kneels down and zips up Lilly's jacket. She is + holding Caesar, whose still wearing his diamond collar. + + LILLY + Daddy? When can we go back home? + + + (CONTINUED) + + 125. + + JACKSON + There's nothing we can go back to + Lil'bee. Whatever's out there, that's + our home now. Don't be scared. + + LILLY + I'm not Daddy. No more pull-ups. + + JACKSON + (PROUDLY) + That's my big girl. + + Jackson squeezes Lilly's shoulder. + + OLEG (O.S.) + Can we pet him? + + Lilly turns to see Yuri's boys standing next to her. + + LILLY + Of course you can. He's your doggie. + + The boys both smile at her. + + + INT. BRIDGE/AMERICAN SHIP - DAY + + Adrian and Laura enter the bridge. + + ADRIAN + You called for me, sir? + + CAPTAIN MICHAELS + Prof. West has something to show you, + Mr. Helmsley. + + The Captain directs him to a monitor. + + CAPTAIN MICHAELS (CONT'D) + Looks like your scientific projections + are way off again. + + The Captain grins at Prof. West. + + PROF. WEST + The water is receding much faster than + we projected, Adrian... + + A monitor reveals an image of the African continent, however + its shape changed dramatically. The image of the southern tip + is enlarged. + + LAURA + What's that? + + + (CONTINUED) + + 126. + + PROF. WEST + It's hard to believe, but the Himalayas + are no longer the roof of the world. + It's now the Drakensberg mountains of + Kwa-Zulu Natal. The whole African + continent has risen several thousand + feet and most likely, never even + flooded. + + CAPTAIN MICHAELS + Our European colleagues have already + set course for it. + + Captain Michaels hands Adrian a short wave radio. + + CAPTAIN MICHAELS (CONT'D) + Here, somebody wants to talk to you. + + Adrian curious, grabs the mic. + + ADRIAN + This is Helmsley. + + We hear a muffled, raspy voice through the speakers. + + + INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY + + Harry Helmsley stands beside the cruise ship's Captain. + + VOICE + No, this is Helmsley. + + ADRIAN (O.S.) + Dad!... Is that you? + + + INT. COMMAND BRIDGE/AMERICAN SHIP - DAY + + Adrian is ecstatic. Captain Michaels explains. + + CAPTAIN MICHAELS + We should have a visual of the `Freedom + of the Seas' shortly. + + ADRIAN + Dad. We're coming to pick you guys up. + How's Tony? + + + INT. COMMAND BRIDGE/FREEDOM OF THE SEAS - DAY + + Harry looks over at Tony who's listening, smiling. + + HARRY HELMSLEY + He's fine, son. We're all fine. + (CONTINUED) + + 127. + + ADRIAN (O.S.) + See you guys soon. Bye dad. + + Harry hangs up. He picks up Tony, embracing him wildly. + + + INT. COMMAND BRIDGE/AMERICAN SHIP - DAY + + Adrian, still excited from speaking with his dad, grabs Laura + and kisses her on the lips. She squeals. + + ANHEUSER (O.S.) + Put that woman down Helmsley. + + Adrian looks at Anheuser, unsure of what he might say. + + ANHEUSER (CONT'D) + Young guys like you with your + idealistic dreams, you think you can + change the world... + + Adrian and Laura exchange a look. + + ANHEUSER (CONT'D) + I just pray to God, that you keep on + making the right calls... in this new + world of ours. + + Adrian nods and with a smile to Laura turns to leave. + + ANHEUSER (CONT'D) + Mr. Helmsley, one more thing. + + Adrian turns back. + + ANHEUSER (CONT'D) + There was no one. + + ADRIAN + Pardon me? + + ANHEUSER + There was no white kid better than you. + I'm terribly sorry I said that. + + Anheuser puts out his hand. Adrian takes it. + + + INT. FRONT DECK/AMERICAN SHIP - DAY + + CAPTAIN MICHAELS (O.S.) + This is your Captain speaking. Standby + to open Deck 1. + + OFFICER + Standing by Sir. + (CONTINUED) + + 128. + + Neng pushes his brother Lin in a wheelchair onto the deck + next to his parents. Mrs. Pang turns to her husband. + + MRS. PANG + (in Chinese) + I wonder will the clouds look the same + and the stars? + + MR.PANG + Do not fear. Some things will never + change. + + The old Chinese man forces a little smile. Closer to the + front of this crowd Jackson approaches Noah. + + JACKSON + I thought you might want this. + + He takes Noah's cell phone from his pocket and hands it to + him. + + NOAH + Do you think I'll still get a signal + ... Dad? + + Jackson is touched to hear him use that word. He smiles and + hugs him. Adrian, Laura and Anheuser arrive alongside them. + + ADRIAN + I finally finished your book Jackson. + + KATE + Really? You may well be the first + person who ever got to the end. + + Jackson looks at her, smiling playfully. + + JACKSON + Excuse me, I believe he's addressing + the author. Well, what did you think? + + Adrian smiles. + + ADRIAN + I'd say... those astronauts of yours + would be shitting themselves, if they + knew all their relatives are now stuck + in the South Pole. + + Suddenly a horn sounds and the sealed deck doors let off a + burst of pressurised air. A murmur goes through the crowd. + + Everyone is silent as the huge deck doors slowly begin to + roll back and light streams in. + + + (CONTINUED) + + 129. + + The Pang family try to see over people's heads, even Anheuser + looks hopeful. Jackson pulls his family close as the first + rays of daylight hit their faces. + + + EXT. AMERICAN SHIP/SOMEWHERE IN THE HIMALAYAS - DAY + + Hatches unseal all around the ship. Sun streams through the + clouds. Everywhere people emerge outside, into the light of + day. A majestic moment. + + + EXT. FRONT DECK/AMERICAN SHIP - DAY + + They all stare in awe at the waters receding against the ice- + covered mountain peaks. Caesar lets out a YELP of joy. + + Almost as soon as the doors have opened, the ship's + HELICOPTERS take off, flying towards a stunning site-- + + The `Freedom of the Seas' is perched on a mountain peak, + surrounded by calm waters. Behind it, they see the most + beautiful rainbow. This is the new world. + + And again we hear Mozart's Adagio... + + + + THE END diff --git a/scripts/American_Pie.txt b/scripts/American_Pie.txt new file mode 100644 index 0000000..ec72ac9 --- /dev/null +++ b/scripts/American_Pie.txt @@ -0,0 +1,6056 @@ + East Great Falls High + + + by + Adam Herz + + + + + + + + + + + WHITE REVISION: 7/7/98 + + + + + + + NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS + AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR + THIS SOFT COPY. + + + + + INT. JIM'S BEDROOM - NIGHT + + PAN across details in a bedroom...we see discarded + shirts...pants...socks...and hear + + PORNO-CHANNEL CHICK (V.O.) + Oooh, yeah. Oh, baby, you're so good. + + JIM (O.S.) + Yeah, I'm the best, baby. + + Now we see a TV...but the picture isn't clear. Or, more + appropriately, the picture is scrambled -- it phases in + and out. Bars scroll across it. And we get occasional + glimpses of what looks like -- + + JIM (O.S.)(CONT'D) + ...oh -- that was a tit, tits... + + As most high-school guys know (but few will admit), it is + possible to watch the pay channels while they're + scrambled. You just need a decent imagination to fill in + the rest of the picture. We PULL BACK to see JIM -- 17, + short, horny. + + PORNO-CHANNEL CHICK (V.O.) + Give it to me! Yes! + + JIM + Oh yeah, baby, I'll give it to you. + + Jim is, uh, physically involved with the scrambled babe. + We TILT DOWN to see a small multimedia presentation next + to Jim on his bed. "Cosmopolitan" is open to a sexy + model...a yearbook is open to the "girl's swim team" + section...and a dictionary next to Jim, open to the + "Vagina" listing, accompanied by a big vagina diagram. + + PORNO-CHANNEL CHICK (V.O.) + Don't you love my sexy body?! + + JIM + I do, baby, I do. + + He frantically looks around...and grabs a tube sock off + the floor. + + PORNO-CHANNEL CHICK (V.O.) + You're so big! + + JIM + Yeah, that's right. + + PORNO-CHANNEL STUD (V.O.) + (deep macho voice) + Ohhh, tell me you're a nasty girl! + + Jim is thrown off. + + PORNO-CHANNEL STUD (V.O.)(CONT'D) + Yeahhh, you been bad, real bad! + + JIM + Man, shut up! + + Suddenly there's a KNOCK at the door, immediately after + which JIM'S MOM enters. Jim scrambles and quickly covers + himself and the dictionary with a pillow. She's + oblivious to his doings. + + JIM'S MOM + Hey, Jimmy. I just wanted to say + sweet dreams. + + JIM + Yep, okay Mom, 'night. + + JIM'S MOM + (leans in to Jim) + Kiss goodnight. + + Jim is revolted. Very reluctantly he gives her a kiss. + She turns to leave, and notices the TV. + + JIM'S MOM (CONT'D) + Is something wrong with the reception? + + JIM + Yeah. Damn cable. There's this + nature show that I'm trying to watch. + + PORNO-CHANNEL CHICK (V.O.) + Fuck me! Yes! + + JIM + Uh... + + He hurriedly tries to change the channel with the REMOTE, + but instead the VOLUME GOES UP. + + PORNO-CHANNEL CHICK (V.O.) + BLOW YOUR WAD ON MY TITS!! + + Jim panics as his mom reacts, shocked. + + JIM + (choking) + Must...be...broken... + + JIM'S DAD enters. + + JIM'S DAD + What the heck is this? + + JIM + Nothing! + + JIM'S MOM + I think he's trying to watch one of + the illegal channels. + + JIM + Jesus, Mom! They're not illegal! + They're pay channels. How could a + television channel be illegal?! God, + get a clue! + + JIM'S DAD + James, don't speak that way to your + mother! + + PORNO-CHANNEL STUD (V.O.) + Play with my hairy balls! + + JIM'S DAD + Turn that garbage off! Give me that! + + Jim's Dad grabs for the remote, which is sitting on the + pillow that's been covering Jim. The pillow gets brushed + aside -- revealing the Big Vagina Diagram, Jim with his + shorts down, and a very strategically placed tube sock. + + JIM'S MOM + Oh my God! + + JIM'S DAD + Honey, why don't you let me handle this + one. + + He ushers her out. Jim's Dad is stuck there with his + half-naked son. Horrible, awful embarrassment. A long, + strained beat. + + JIM'S DAD (CONT'D) + Jesus Christ. The dictionary? Hell, + son, I'll buy you some dirty + magazines. + + Jim's Dad exits, shaking his head. Jim sits agape, + humiliated. + + PORNO-CHANNEL CHICK (V.O.) + Oooh, spank me, daddy, spank me! + + EXT. EAST GREAT FALLS - DAY + + We see a Honda Accord drive by a sign at the city limits: + "Welcome to East Great Falls, Michigan -- A Great Place + To Be" + + EXT. FRONT OF SCHOOL - DAY + + The front of the school. KEVIN drives up in his Accord. + He's a good-humored, good-enough-looking high school + senior. VICKY rides shotgun -- pretty, smart, confident. + She's holding a large, thick envelope, with a big + "Vanderbilt" return address on it. + + KEVIN + It's a big, thick envelope, Vicky. + You got in. + + VICKY + You think so? + + She tears it open. Pulls out a course catalog, various + forms, and a letter which she hands to Kevin. + + KEVIN + "Dear Ms. Hughes. We're sorry, but + after keeping you on the wait list for + the past couple months, we've decided + you are now rejected. Enclosed is a + 100-page, full-color brochure on how + rejected you are." + + VICKY + Kevin, this is serious! + + KEVIN + You got in. + + Vicky SCREAMS in excitement, like a girl at a Beatles + concert. Then she LAUGHS, and gives Kevin a big kiss and + hug. + + VICKY + I love you! + + She hugs Kevin tighter -- as he looks a little frazzled, + almost perfunctorily returning the hug. + + EXT. EAST GREAT FALLS HIGH - COURTYARD - MORNING + + Jim has met up with CHRIS OSTREICHER -- "OZ" -- a cocky + senior with a football-player build. He cradles a ball + in a lacrosse stick. + + OZ + Illegal channels? Shit, if there's + any channel that should be illegal, + it's whatever that women's channel is. + Lifetime Supply of Pantyhose, or some + shit. + + JIM + Yeah -- hey, did you see The Little + Mermaid on TV the other night? That + Ariel, whew. + + OZ + She's a mermaid, dude. + + JIM + (trumping him) + Yeah, Oz, but not when she's on land. + + OZ + She's a cartoon, dude. + + JIM + A hot cartoon. + + OZ + Is there anything you don't jerk off + to? + + JIM + C-Span? + + INT. EAST GREAT FALLS HIGH - MAIN HALLWAY - DAY + + Jim and Oz, now joined by Kevin, walk down the hall. Oz + bounces the lacrosse ball off a locker, catching it + again. Kevin speaks a little distantly, unnerved. + + KEVIN + Then she said -- she loves me. + + OZ + Oh shit dude, the L-word! + + JIM + And you said... + + KEVIN + Nothing, I just hugged her back. + + JIM + You think she was serious? + + KEVIN + I couldn't tell -- She could've meant + like, "I love you grandma" or "I love + you Vanderbilt." + + OZ + Just don't bring it up, hang low, + maybe she won't mention it again. + + INT. EAST GREAT FALLS HIGH - SENIOR LOCKERS - DAY + + The guys pass by a GROUP OF BAND DORKS, most notable of + which is MICHELLE, who proudly polishes her flute. + + MICHELLE + And what we should do today, in band? + Instead of playing our instruments + regularly? We should play them + backwards! That'll be so funny! + + The Band Dorks LAUGH and agree, "hilariously" attempting + to play their instruments from the wrong end. The guys + shudder. + + OZ + (to Jim) + You guys got the Latin homework? + + JIM + No -- Kevin, you? + + KEVIN + (offended) + Please. + (then) + We're all golden, we're college bound. + I figured it out -- I can get a c- + minus in every class, and it's not + gonna make a difference. U of M, here + I come. + + INT. EAST GREAT FALLS HIGH - MAIN HALL NEAR POP MACHINE - DAY + + Vicky is talking with JESSICA, a friend of hers, getting + a pop (we're in the Midwest now, gang) from the machine. + + VICKY + Vanderbilt's not that far from U of M. + + JESSICA + Yeah right. + + VICKY + What? We both have cars. + + JESSICA + Yeah but, no offense, you're talking + about a post-high school, long- + distance relationship, and you and + Kevin haven't even done it yet. + + VICKY + That's not why we're going out. + + JESSICA + What the hell are you expecting him to + drive to Vanderbilt for? Milk and + cookies? + + VICKY + Jessica! He'll drive there for me, + and I'll drive to Ann Arbor for him. + We're going to have sex when he's + ready and I'm ready. It's got to be + completely perfect. I want the right + place, the right time, the right + moment. + + JESSICA + Vicky, it's not a space shuttle + launch, it's sex. So did you do the + physics write-up? + + VICKY + (offended, a la Kevin) + Please. + + INT. EAST GREAT FALLS - SENIOR LOCKERS - DAY + + Kevin, Jim, and Oz are still walking down the hall. + PAUL FINCH, preppy, eccentric, is sitting on a bench. + + JIM + There's our man. + + KEVIN + Finch, you got the Latin homework? + + FINCH + Non habeo. Canis meus id comedit. + + The guys keep staring. A beat. + + KEVIN + Whatever. + + Someone is HOLLERING down the hall. Running towards Oz + is STEVE STIFLER -- very clean-cut and preppy, he's a + maniac, a jackass, much worse than Oz. Not really part + of the group. + + STIFLER + (yelling) + NOVA!! + + OZ + Stifler!! + + Stifler runs full-force into Oz, grabbing him in a bear + hug. + + STIFLER + You coming to party tonight, + Ostreicher, ya fuckface? + + OZ + Depends if my date wants to stop by. + + STIFLER + That junior chick? + + OZ + Nah, gave her the Heisman. I'm + working on something new. + + STIFLER + Yeah right. I got an idea for + something new. How 'bout you guys + actually locate your dicks, remove the + shrink wrap, and fuckin' use 'em. + + OZ + Dude, it's gotta happen -- she's a + college chick! + + STIFLER + Bullshit. From where? + + OZ + She works part-time at my dad's store. + + STIFLER + Hah! Yeah, Oz, I bet it's more like + your dad works at her store. + + OZ + Dude, he does not. + + KEVIN + Really, Stifler. He's the manager. + + Oz gives a little nod, avoiding the issue. + + STIFLER + Hey, man, I'm not making fun. I'm + fuckin' impressed. I mean, "Footlong + or six-inch, white or wheat," that's + some serious shit to master. + + Oz musters a little LAUGH. + + KEVIN + (half-joking) + Stifler, you're such an asshole. + + STIFLER + Meyers, what's the deal with you and + Vicky, anyway? You've been going out + since Homecoming and all she'll do is + blow you? Shit, I'd drop her like a + steaming turd. + + FINCH + Do you commonly grasp warm pieces of + stool? + + STIFLER + (momentarily puzzled) + I do when I'm throwing them at your + mom, you damn freak. + (then) + Alright then, see you guys tonight. + I'll look for you in the No Fucking + section. + + The guys all take this little too seriously to have a + comeback. Stifler just LAUGHS OBNOXIOUSLY as he walks + off. + + INT. KEVIN'S BEDROOM - DAY + + Kevin is on the phone. Hanging near his closet is a + tuxedo. INTERCUT with KEVIN'S OLDER BROTHER -- 25, on + his cell phone, traveling down a California road. + + KEVIN'S BROTHER + You called me to ask me how to get laid? + + KEVIN + What was I gonna do, call dad? I + don't even know his number. + + KEVIN'S BROTHER + Just dial 976-Asshole. + + KEVIN + Yeah, well anyway...I thought you + might have some advice, brother to + brother. I mean, I think tonight she + might, we might really, there's a + chance that -- you know. + + KEVIN'S BROTHER + Have you ever heard of the bible? + + KEVIN + What? Not the Bible? + + KEVIN'S BROTHER + Well, that's not really the name, but + we always called it that. + + KEVIN + Does it tell me how to get laid? + + KEVIN'S BROTHER + You know what, nevermind. You're not + ready. + + KEVIN + Ready for what? + + KEVIN'S BROTHER + Whoop, you're fading out. Good luck + at that party. + + INT. DOG DAYS - LATE AFTERNOON + + A small, nostalgia-themed dive. Despite the theme, + CLASSIC ROCK plays. Kevin, Oz, Jim and Finch sit at a + table. They munch on hot dogs piled high with + condiments. + + KEVIN + You ever hear of something called The + Bible? + + OZ + Once, in church, dude. + + Jim is paging through Great Falls' equivalent of the LA + Weekly. + + JIM + Ooh, here's an easy one: "Attractive + SWF, fun loving and a youthful mind + seeks outgoing companion." + Okay..."Attractive"...ugly. + + OZ + "Fun loving" -- insane. + + KEVIN + Unlisted age, plus "youthful mind," + equals old. + + JIM + No, "Charming" is old. "Older" is + really old. "Youthful mind" is dead. + + FINCH + Perhaps you should consider actually + answering an ad. + + JIM + Finch, you can be the one to date a + nearly-dead insane chick. Eat your + damn imitation hot dog. + + FINCH + ("for the hundredth time") + This is no imitation. Removing the + hot dog from the Ultradog yields a + better dog. Behold -- Ultradog, no + dog. + + Finch displays the cross-section on his hot dog. It's + all condiments. The guys react with rehearsed offense. + + KEVIN + (checks his watch) + Alright...I'm shooting for a nine + o'clock ETA. Beer in hand by five + after. + + JIM + You can crash at Stifler's? + + KEVIN + It's all good. + (He pulls out some gum) + Breath check. + + He hands out a stick of gum to each guy, automatically + skipping Finch, who pulls out a small, hotel-bottle of + Scope. Gargles with it. Spits it into his drink cup. + + OZ + (repulsed) + Dude, I wish you wouldn't do that. + + KEVIN + You got something up your sleeve for + tonight, Finch? + + FINCH + A foolproof plan, my friend. You + shall see. + + Oz has tuned into the song in the background -- "Blinded + by the Light" [the original Springsteen version, not the + Manfred Mann remake]. + + OZ + (sings along) + And little hurly-burly came by in her + curly-wurly, and asked me if I needed + I ri-hide -- + + KEVIN + How the hell do you know all these + random songs? + + OZ + It's early Springsteen, dude, this is + classic. This was before the cheesy + remake. + + JIM + This was remade? Into what? + + OZ + (chiming in as the chorus hits) + Bli-hinded by the light -- cut loose + like a deuce, another runner in the + night, blinded... + + KEVIN + At least now I know what the hell + they're saying. + + JIM + So, does my hair look better -- + (flips a small lock of hair + onto his forehead) + like this, or... + (flips it back up) + like this? + + OZ + Who cares? + + JIM + Nadia does, that Czechoslovakian + chick, she might be there tonight. + Now, do you think she'd prefer -- + (flips hair down again) + Cool Hip Jim... + (flips it back up) + or Laid Back Jim? + + KEVIN + The difference is so phenomenal, I + can't decide. + + EXT. DOG DAYS - MAGIC HOUR - CONTINUING + + They exit the restaurant. + + JIM + What about you? You're the one with + the girlfriend and you're still + stranded on third base. + + KEVIN + You know, I've never got that shit. + What exactly constitutes third base? + + OZ + (holds up a couple fingers) + Contact, dude. + + KEVIN + Then where does a blowjob figure in? + + They ponder this for a moment. + + OZ + Shortstop. 'Course, you don't make it + to third, and you're out. + + JIM + So let's say you get there...what's + uh, third base feel like? + + KEVIN + Oh, man, that's kind of sad. + + Jim shrugs, embarrassed. + + OZ + Feels like warm apple pie, dude. + + JIM + Apple pie... + (then) + McDonald's or homemade? + + They just look at him. Finch hops on his scooter. + + FINCH + Gentlemen, see you at the Bacchanalia. + + He MEEPS his horn and buzzes away. + + INT. STIFLER'S HOUSE - NIGHT + + For a high-school party, it's pretty good. The house is + peppered with ALL TYPES OF HIGH-SCHOOL STUDENTS. MUSIC + blends with the din of excited conversation. + + Kevin and Jim are drinking beers. Around them, students + mingle and flirt. CHUCK SHERMAN comes up. + + SHERMAN + What's up, fellas? + + JIM + Hey Sherman. Scopin' the babes. + + SHERMAN + Indeed. Some fine ladies here, boys. + Confidence is high, repeat, confidence + is high. + Sherman is moving to DefCon Two, full + strategic arsenal ready for + deployment. + + JIM + You've got something going? + + SHERMAN + Did you see that Central chick? + Brunette? + + KEVIN/JIM + No. + + SHERMAN + She's around. Seems that she's taken + a liking to me. Fellas, it's time + that she experienced -- The + Sherminator. + + KEVIN + Yeah, okay Sherman, whatever. + + SHERMAN + I'm a sophisticated sex robot, sent + back through time...to change the + future for one lucky lady. + + KEVIN + Yeah man, right on! + + Sherman saunters off into the party. + + KEVIN (CONT'D) + (shakes his head) + Hopeless. + + Vicky approaches, having a good time, joining the guys, + EXCHANGING GREETINGS. Jim spots NADIA across the room. + She's beautiful, a masterpiece of a woman. + + JIM + Oh, shit! There she is. Nadia. + + VICKY + You like her? Her sponsor family + lives on my block. Why don't you talk + to her? + + JIM + What would I say? + + VICKY + Just tell her what's on your mind. + And smile, you've got a good smile. + (then to Kevin) + Come on. + + KEVIN + (to Jim) + Gotta go. + + JIM + But -- + + Kevin and Vicky disappear into the crowd -- just as Jim + sees Nadia approaching him. He freaks. + + JIM (cont'd) + Kevin, get back here! + + But he's gone. And Nadia is now in front of him. With + no other alternative, Jim readies himself, smiling big. + + NADIA + (with a really sexy accent) + You are in my English class, no? + + Jim smiles. + + JIM + (barely) + Yes. + + NADIA + I thought so. + + Jim's smile grows even bigger, almost stupid. A beat. + + NADIA (cont'd) + So you are having fun? + + Jim nods, still smiling away. Staring right through her + head. + + NADIA (cont'd) + I said, you are having fun? + + A little SQUEAK escapes his throat. Jim is on mental + vacation. + + NADIA (cont'd) + Me too. + + A beat. Jim's expression is now plasticized. Eyes + vacant. A frozen, completely artificial smile. Nadia is + confused. + + NADIA (cont'd) + Well...I am going to get another beer. + You want one? + + Jim strains to speak, through his smile. + + JIM + No...you...go...ahead. + + NADIA + Okay. + + She walks off. Jim SIGHS, completely relaxing, like a + huge burden is now off of him. He wipes his brow. Then, + realizing -- + + JIM + Oh, shit. No! Shit! + + He pounds his head with his fist. + + EXT. STIFLER'S HOUSE - FRONT DOOR - NIGHT + + A group of band dorks is on the porch, including + Michelle. Stifler stands in the doorway, staring at them + in disbelief. + + MICHELLE + We're here for the party? + + STIFLER + What party? There's no party. + + MUSIC blares from inside. A drunken HAND reaches through + the door and ruffles Stifler's hair. + + PARTY GUY (O.S.) + Stiff-lerrr! Par-tyyy!! + + The hand disappears back into the house. A beat. + + STIFLER + Try the house down the street. + + Stifler slams the door. The dorks wait a moment. + + BAND DORK + Ring the bell again. + + MICHELLE + Ringing the bell is dorky -- let's + just go in. + + We hear a CLICK OF A DEADBOLT. + + INT. STIFLER'S HOUSE - MASTER BEDROOM - NIGHT + + Kevin and Vicky are on the bed, making out. + + VICKY + Oh, Kev. + + KEVIN + Vicky -- do you think, maybe...it's + time for us to take the next step in + our relationship? + + VICKY + Tonight? + + KEVIN + Yeah, it's such a perfect evening. + Isn't this how you've always pictured + it? + + PARTY GUY (O.S.) + (yelling) + Dude, my farts fuckin' stink! + + PARTY GUY #2 (O.S.) + You reek like a fuckin' Yeti, dude! + Go take a shit or something! + + Kevin and Vicky exchange a glance. + + KEVIN + Or not. + + Vicky pushes him onto his back. + + VICKY + Just relax. + + INT. CAR - NIGHT + + Oz is in the passenger seat, making out with the + aforementioned COLLEGE CHICK. She's attractive and older- + looking (from a high-school perspective). They are + parked near the river that flows through downtown Great + Falls. + + OZ + Great evening, isn't it? + + COLLEGE CHICK + Sure. + + OZ + There's something about the spring + that's just cool. Like the smell of + fresh rain or something. + + At this, she snuggles up to him. Oz smiles confidently. + + OZ (CONT'D) + Suck me, beautiful. + + The College Chick backs off, confounded. + + COLLEGE CHICK + What did you just say? + + OZ + (not so confidently) + Suck me...beautiful? + + The College Chick's eyes flutter in disbelief. She tries + to keep her cool -- but can barely restrain her laughter. + + COLLEGE CHICK + What?! + + Oz attempts to maintain a suave exterior, but he's just + had the rug pulled from under him. + + OZ + Uh...you know, my friends call me Nova + -- as in Casanova. + + COLLEGE CHICK + You need some work, buddy! + + She bursts into laughter. Oz is ill. + + OZ + Well...jeez, don't laugh at me. + + Seeing Oz's defeated expression, she collects herself. + + COLLEGE CHICK + Look, Chris. There are just some + things you need to learn, that's all. + + OZ + Like what? + + She sees that he's lost. Almost feels sorry for him. + + COLLEGE CHICK + Alright, well...you've got to tone it + down. You don't need to go to Lookout + Point and spout cheeseball lines to be + romantic. + + OZ + ...okay... + + COLLEGE CHICK + You have to pay attention to a girl. + Be sensitive to her feelings. + Relationships are reciprocal. + + OZ + I'm not good in math. + + She's trying not to laugh again. + + COLLEGE CHICK + Come on, I'll drop you off at your + friends'. + + Oz couldn't be humiliated any further. + + INT. STIFLER'S HOUSE - KITCHEN - NIGHT - SAME TIME + + Oz is nursing a beer, having just told the story to Jim, + Stifler, and some guys. + + STIFLER + (hysterical, toppling over) + You actually said that?! Haaaah!! + + OZ + Shut the fuck up. + + JIM + Hey, you did better than I did, Nova. + + OZ + Oh that's really reassuring. And + don't call me Nova anymore. I'm a + fraud. + + STIFLER + This is pathetic. I'm gonna find me a + little hottie. + + Stifler strides into another room. + + STIFLER (O.S.)(cont'd) + (yelling) + Suck me, beautiful! + + Oz wallows in his beer can, beaten. + + INT. STIFLER'S HOUSE - MASTER BEDROOM - NIGHT + + Vicky is pleasuring Kevin...you know. + + VICKY + (brief pause) + Let me know. + + KEVIN + Okay, don't stop. + + She resumes. A moment more -- and then Kevin is about to + lose it. + + KEVIN (cont'd) + Oh -- Now! + + With awkward hurriedness, Vicky stops as Kevin + frantically searches for a receptacle. He grabs a nearby + cup of beer. + + EXT. STIFLER'S HOUSE - BACK PORCH, BY THE KEG - NIGHT + + Insert -- A hand pumping up the keg. A fresh beer foams + out into the cup. + + GUY #1 + There we go. + + INT. STIFLER'S HOUSE - MASTER BEDROOM - NIGHT - MOMENTS LATER + + Vicky is buttoning up her shirt. Kevin tentatively sets + down the beer and buttons his pants. Suddenly the DOOR + BURSTS OPEN. Stifler is standing there. A coat hanger + sticks out of the doorknob. + + STIFLER + SUCK ME, BEAUTIFUL! + + KEVIN + God dammit, Stifler! + + STIFLER + Check-out time! Please vacate the + room. + + VICKY + Stifler, you're such a jerk. + + She runs out, grabbing her clothes. Kevin runs after + her. + + KEVIN + Vicky, wait! + + Stifler enters the bedroom, laughing, pulling a SOPHOMORE + CHICK behind him. He closes the door. + + SOPHOMORE CHICK + God, I can't believe there are so many + cool people at this party. + + STIFLER + Yep. + + SOPHOMORE + And you got a keg, too, wow. + (realizing) + Oh, wait, I left my beer downstairs. + + Stifler notices Kevin's beer sitting on the night table. + He hands it to her. + + STIFLER + Here, babe. + + SOPHOMORE CHICK + Thanks. + + She's about to take a sip. + + STIFLER + (gazing into her eyes) + You're really beautiful. + + Thrown off, she sets the beer down. + + SOPHOMORE CHICK + Really? + + STIFLER + Uh huh. + + She's totally enthralled. Nervous, she raises the beer + again to take a sip. Then Stifler moves in. Takes the + beer from her and sets it down. Starts kissing her. She + breaks it off. + + SOPHOMORE CHICK + I don't know if I want to be doing + this. + + STIFLER + (sighs) + Doing what? + + Stifler looks inconvenienced. He picks up the beer, + annoyed. + + SOPHOMORE CHICK + You know. If we hook up, tomorrow + I'll just be some girl you go telling + all your friends about. + + STIFLER + (shifty) + No way. + + Avoiding her look, he raises the beer to take a sip. + + SOPHOMORE CHICK + (a little angry) + Steve! You could at least look at me + when you say that. + + Stifler stops and SIGHS, the beer inches from his mouth. + Lowers it. Stares her in the eye. + + STIFLER + Look... + (searching, remembers) + ...Sarah. I wouldn't go telling + stories or whatever about you. I + promise. + + Smiling, he raises the beer... + + INT. STIFLER'S HOUSE - KITCHEN - CONTINUING + + Jim and some OTHER GUYS are pounding shots of vodka. + + JIM + What the hell? I should be able to + talk to chicks. I'm articulate. I + got a 720 on my SAT verbal. + (starts listing off words) + Copious. Verisimilitude. + + A GUY SCREAMS upstairs. + + JIM (CONT'D) + (unaffected) + Intransigence. + + A GIRL SCREAMS upstairs. The SOPHOMORE CHICK comes + running through the kitchen. SCREAMING. And + indeterminate stain is on her shirt. She bolts out the + door and into the night. A moment passes. + + JIM (CONT'D) + Regurgitation. + + INT. STIFLER'S HOUSE - BATHROOM - NIGHT + + Stifler is on his knees, barfing in the toilet. Jim and + a few other guys rush in. + + GUY #1 + Oh, gross. + + JIM + Jesus, what did you eat? + + Stifler just keeps hurling. Kevin enters, holding the + remains of the tainted beer. + + KEVIN + Stifler, how's the man chowder?! + + Stifler barfs even more violently. + + EXT. STIFLER'S HOUSE - BACK PORCH, BY THE KEG - NIGHT + + Jessica and Vicky are refilling their beers at the keg. + Nadia waits patiently beside them with an empty cup. + + VICKY + He likes it. + + JESSICA + Of course he does. What about you? + Have you just never had one with Kevin + -- or have you never had one, period? + + VICKY + I think I've had one. + + JESSICA + Well that's a no. No wonder you're + not psyched about sex. + (starts filling Vicky's beer) + You've never even had one manually? + + VICKY + ...I've never tried it. + + JESSICA + Are you kidding? You've never double- + clicked your mouse? + + Vicky shrugs. + + JESSICA (CONT'D) + Hell, just a pair of tight pants will + set me off. + (noticing Nadia next to them, + she passes the tap along) + Am I right or what, Nadia? + + NADIA + (no bones about it) + You are right. The hands are not + always necessary. + + JESSICA + (to Vicky) + See? + + NADIA + In fact -- I should teach you my own + special method. I developed it myself + at the ballet institute in Prague. + You use nothing but the muscles of the + inner thigh. + + Nadia walks off. + + JESSICA + No wonder she never pays attention in + class. + + Vicky nods, traumatized. + + INT. STIFLER'S HOUSE - HALLWAY - LATER + + Kevin and Jim are looking at a PICTURE OF STIFLER'S MOM + on the wall. Very attractive, late 30's. + + JIM + Shit, I can't believe a fine woman + like this produced a guy like Stifler. + + TWO FRESHMAN GUYS are walking by as Jim says this. + + FRESHMAN GUY + Dude! That chick -- is a MILF! + + FRESHMAN GUY #2 + What the hell is that? + + FRESHMAN GUY + M-I-L-F! Mom I'd Like to Fuck! + + Suddenly, a bedroom door opens a couple inches. Sherman + pokes his head out. + + SHERMAN + (hushed, to guys) + Don't you think you fellas could try a + little tact? I've got company. Know + what I mean? + + In the bedroom in the background, we see the Central + Girl. Sherman closes the door, leaving the guys there, + dumbstruck. + + INT. STIFLER'S HOUSE - STAIRWAY - NIGHT + + Jim and Kevin are coming down the stairs. + + KEVIN + (snapping) + Dammit! If Sherman has sex before I + do, I'm gonna be really fucking + pissed. + + They turn the corner into the kitchen. + + INT. STIFLER'S HOUSE - KITCHEN - CONTINUING + + KEVIN + Man, I just gotta get laid already! + This blowjob thing is bullshit! + + He stops. Vicky is there with Jessica. Staring at him. + Vicky quietly grabs her purse. Hurt. OTHER STUDENTS + watch, silently. Kevin doesn't know what to say. + + VICKY + Jessica, can you drive me home? + + JESSICA + Sure. + + The guys watch as the girls head for the door. + + KEVIN + Vicky, wait. + + VICKY + Not for you. + + The girls exit. Nobody says anything. Kevin is in + shock. + + PARTY GUY (O.S.) + Yeti! I am the Yeti! + + INT. STIFLER'S HOUSE - DAY + + The next morning. The party is long over. Plastic beer + cups and various bottles litter the house, but it's not + trashed. + + Jim is wandering around in a daze, holding his head. He + stumbles over a body. It's Kevin. + + KEVIN + Ow, what the hell? + + JIM + Sorry, I thought you were dead. + + They walk over to the other side of the room. Finch is + sitting on the couch. + + FINCH + Good morning gentleman. + + JIM + Finch! Where were you last night? + What happened to the foolproof plan? + + FINCH + I thought a fashionably late entrance + would enhance my appearance. + (off their looks) + When I got here, the Bacchanalia was + over and the nymphs had left. + + Oz wanders in, still sullen. Takes a seat, sulking. + + KEVIN + Feeling better, Oz? + + OZ + I'm such a loser. + + KEVIN + That's the spirit. + + We hear FOOTSTEPS coming down the stairs. It's the + CENTRAL GIRL. She wears a "Central" sweatshirt. Sherman + follows behind her. The guys watch in disbelief as + Sherman and the girl speak hushed, intimately. + + SHERMAN + (snippets of conversation) + ...I'll never forget...thank you. + + The Central Girl smiles. Notices the other guys + watching. Just gives Sherman a kiss on the cheek. + + CENTRAL GIRL + Bye. + + She exits. The guys are dumbfounded. Jaws hang. + Sherman looks triumphant. Strides over to the guys. + + JIM + You did it. + + SHERMAN + Fellas, say goodbye to Chuck Sherman, + the boy. I am now a man. + + The guys are shocked and amazed. + + SHERMAN (CONT'D) + I highly recommend you join the club. + + KEVIN + I -- I don't get it, how the hell did + you do that? + + SHERMAN + It was just my time, fellas, it was + just my time. Best of luck to you, + boys. + + Sherman exits. Silence. The guys look like they just + lost the World Series on errors. They slowly take seats, + ruined. + + KEVIN + I put in months of quality time with + Vicky. Sherman meets a chick for one + night and scores? This is just wrong. + + OZ + No shit, I'm never gonna get laid. + How the hell am I gonna become this + Mr. Sensitive Man? + + JIM + Jesus, we're all gonna go to college + as virgins. They've probably got + special dorms for people like us. + + A long beat as they give this serious consideration. + Then, Kevin strides purposefully to the front of the + group. + + KEVIN + Alright, I got an idea. But it stays + between us. Agreed? + + They do. + + KEVIN (cont'd) + Okay. It's really simple. We + make an agreement -- no wait, more + than an agreement. + + JIM + Like a bet? + + KEVIN + No, a pact. No money involved. This + is more important than any bet. Now + here's the deal: We all get laid + before we graduate. + + A beat + + OZ + Dude, it's not like I haven't been + trying to get laid. + + KEVIN + This is different. This is better. + Think of when you're working out, Oz. + You need a partner, someone to spot + you. Someone to keep you motivated. + + Oz nods, getting into it. Kevin smiles and continues, + arms outspread. + + KEVIN (CONT'D) + That's what we are, we keep each other + on track. Prior to this day, we've + postured. We've procrastinated. + We've pretended. We've -- well I + can't think of other p-words, but + we've probably done them too. + + JIM + Pontificated. + + KEVIN + (ignoring him) + Separately, we are flawed and + vulnerable. But together, we are the + masters of our sexual destiny! + + JIM + (kung fu voice) + Their tiger-style kung-fu is strong; + but our dragon style will defeat it! + + OZ + (going on) + The Sha-lin masters from east and west + must unite! + + KEVIN + Guys, guys -- you're ruining my + fucking moment here. Now think about + it -- + + Kevin jumps up on a chair. + + KEVIN (CONT'D) + No longer will our penises remain + flaccid and unused! From now on, we + fight for every man out there who + isn't getting laid when he should be! + This is our day! This is our time! + And, by God, we're not gonna let + history condemn us to celibacy! We + will make a stand! We will succeed! + We will get laid! + + Kevin jumps down off the chair, and puts his hand out in + front of him. One by one, the guys pile their hands on + top, in between them -- it's a pact! They break with a + CHEER. Woo-hoo! + + STIFLER + (wandering down from upstairs) + What the hell are you losers doing? + + They all stop. Stifler has a toothbrush hanging from his + mouth. A goatee of dried toothpaste. + + FINCH + If I might ask, when you brush your + teeth, do you spit or swallow? + + Stifler tries to give a retort to Finch, but turns green + and heads back upstairs. + + INT. DOG DAYS - DAY + + The guys are finishing up breakfast. Hot dogs & eggs. + + KEVIN + Now, the sex -- it's got to be valid, + consensual sex. No funny stuff. And + no prostitutes, if you were thinking + about that, Finch. + + Finch gives a wistful "Who, me?" + + KEVIN (CONT'D) + So, I'm thinking prom is basically our + last big chance. + + OZ + Dude, prom sucks. + + KEVIN + I know, but think about it -- At the + parties that night. Chicks are gonna + want to do it. + + JIM + Yeah, it's like tradition or + something. + + KEVIN + Right. That gives us... + + JIM + Exactly three weeks to the day. + + They take this in with some trepidation. + + KEVIN + Alright then. It's official. Any + questions? + + There are none. Kevin raises his Pepsi. + + KEVIN (cont'd) + To the next step. + + The guys raise their drinks. + + ALL + To the next step. + + They toast. And from this, we go into our STRATEGIZING + FOR SEX MONTAGE: + + INT. KEVIN'S BEDROOM - DAY + + Jim sits in the room as Kevin goes through the yellow + pages. Finds a "Floral Delivery" listing. Kevin dials. + + INT. EAST GREAT FALLS HIGH - SENIOR LOCKERS - DAY + + Kevin, Jim, and Oz are pooling a few dollars together, + which Kevin takes. They part ways. + + INT. JIM'S BEDROOM - NIGHT + + Oz is watching the Lifetime Channel as Jim looks on in + confusion. A Martha Stewart-type thing where they pain + pottery with little sponges. Oz looks dubious. + + INT. EAST GREAT FALLS HIGH - CAFETERIA - DAY + + Finch is unpacking his lunch. He carefully unfolds a + napkin to reveal a sandwich, crust removed. Other than + that, he's doing absolutely nothing. + + INT. JIM'S BEDROOM - DAY + + Jim is fiddling with a small, golfball-like camera + attached to his computer. The computer screen reads, "E- + DATE: We Make Love Happen." As Jim fiddles with the + camera, a window on the screen shows his real-time image. + He clicks an onscreen-button labeled "FREEZE IMAGE" -- + the image freezes, showing Jim with an awkward grimace. + The screen reads, "IMAGE SENT." + + INT. EAST GREAT FALLS HIGHS - LIBRARY - DAY + + Kevin holds a copy of the HOLY BIBLE. We see he's in the + "Religion" section. Surrounded by piles of different + bibles. No luck. + + INT. EAST GREAT FALLS HIGH - CAFETERIA - DAY + + Finch pulls out a small mustard packet. He neatly snips + the end with scissors. Then rolls the packet, like a + tube of toothpaste, economically dispensing every last + bit of mustard. + + INT. JIM'S BEDROOM - NIGHT + + Jim is on his computer. The screen reads "YOU HAVE 00 + REPLIES." Jim is nonplussed. + + INT. EAST GREAT FALLS HIGH - SENIOR LOCKERS - DAY + + Kevin, Oz, and Jim are closely gathered around Kevin's + locker, holding their backpacks open. Kevin holds a big + shopping bag, which he turns over, and a box of condoms + falls out. He hands it over to Jim...and we see that the + guys' packs are full of various condom boxes. + + INT. JIM'S BEDROOM - DAY + + Jim has unraveled a bunch of condoms and is curiously + examining them. + + And THE MONTAGE COMES TO AN ABRUPT END with a KNOCKING. + + JIM + (shoving the rubbers into his + night table) + Just a minute! + + He opens the bedroom door. Jim's Dad is standing there. + + JIM'S DAD + (trying not to look inside) + Can I come in? + + JIM + Yeah, sure. + + JIM'S DAD + You're not...busy? + + JIM + Dad, come in. + + Jim's Dad reluctantly enters, carrying a brown paper bag. + He takes a seat on Jim's bed. + + JIM'S DAD + (fatherly attempt) + Sit down, Jim. Let's talk. + + Jim takes a seat next to his dad. + + JIM + Okay. + + JIM'S DAD + These are for you. From father to + son. + + Jim looks at the bag. Uncomfortable. Hesitantly, he + takes it. Slowly, dreadfully, he pulls out a copy of + PERFECT 10. + + JIM + Uh...dad... + + Jim's Dad is doing his best to be the good father. + + JIM'S DAD + Go ahead son, there's more. + + Beyond embarrassed, Jim reaches into the bag. Cringes. + Pulls out a PENTHOUSE. + + JIM'S DAD (cont'd) + Now, that one's a little more...a + little more...graphic. + + JIM + I know, Dad. + + JIM'S DAD + Oh, okay. Here's let me show you. + + Jim's Dad takes the bag back. Pulls out a copy of + SHAVED. + + JIM'S DAD (cont'd) + This, son, is your more exotic dirty + magazine. + + JIM + Dad! I know! + + JIM'S DAD + Do you know about the clitoris? + + JIM + (through clenched teeth) + Yes dad. + + JIM'S DAD + Sometimes it can be pretty hard to + locate. + + JIM + (interrupting, hand up) + Thank you, dad, I got it. + + JIM'S DAD + Okay, well that about covers it. + + Jim MURMURS something incomprehensible. + + JIM'S DAD (cont'd) + Now, let's put these somewhere where + your mother won't find them. + + Jim's Dad takes the stack of magazines. He goes to open + Jim's night table. Jim freaks. + + JIM + Wait! + + But it's too late. Jim's Dad is face-to-face with the + unraveled prophylactics. He sours. + + JIM'S DAD + (beaten) + I'll have to save this speech for + another day. I'm too worn out. + + Jim's Dad exits, a condom stuck to the back of his pants. + + INT. EAST GREAT FALLS HIGH - NEAR THE HALL OF FAME - DAY + + Kevin is trying to talk to Vicky. + + KEVIN + Did you get the flowers? + (no response) + What about the poem? + + She doesn't care. + + KEVIN (cont'd) + Vicky, please don't do this. + + Vicky stares him right in the eye. Strong. + + VICKY + I'll think about it. + + She slams her locker and walks off. Jessica is nearby. + She's overheard. + + JESSICA + Ah, you'll get her back soon enough. + That's easy, she likes you. What you + need to do is learn to press a girl's + buttons. You gotta give her what + she's never had. + + KEVIN + What? + + JESSICA + I'll give you a hint. + (hot, orgasmic) + "Ohhh, yeah, yeah!" + (flat) + Comprende? + + KEVIN + You mean...and orgasm? + + JESSICA + You got it, stud. + + KEVIN + Well...I'm pretty sure I've -- + + JESSICA + (interrupts authoritatively) + No you haven't. + + KEVIN + But that one time -- + + JESSICA + (shaking head) + No. + + KEVIN + Well of course I'd want to give her + that. I mean, what do you think, I + don't care about her? + + JESSICA + Do you? + + KEVIN + Of course. + + JESSICA + Do you love her? + + Kevin squirms. + + KEVIN + I -- I don't know, you can't ask me + that. + + JESSICA + Well, if you want to get her in the + sack, tell her you love her. That's + how I was duped. + + KEVIN + I don't want to dupe her, Jessica. If + I say it, I have to be sure I mean it. + + JESSICA + Well it's up to you. The Big L, or + the Big O. + + Suddenly Stifler comes running up, breathless. + + STIFLER + Dickhead! You gotta see this. + + INT. EAST GREAT FALLS HIGH - LITTLE AUDITORIUM - MOMENT LATER + + The VOCAL JAZZ GROUP is practicing, singing one of those + doo-wop, Acapella love songs (i.e. "Love You Like I Do"). + Singing with the group is none other than Oz. He's not + doing too badly, but mainly he's checking out the various + vocal jazz girls. Smiling at them, giving suave little + waves. + + Kevin, Stifler, and Jim take seats in the back of the + auditorium, listening. + + JIM + This is unexpected. + + STIFLER + What did you cocks do to him? Shit, + if Coach Marshall sees this, he'll + kick Oz off the team on principle + alone. + + The song finishes. Oz bounds up to the other guys. + + OZ + Hey guys, you came to watch me in + action? + + JIM + Yeah, I think you sounded pretty good. + + STIFLER + I think you need your balls + reattached. + + OZ + Keep it down, dude. + + STIFLER + What the fuck are you doing here? + + OZ + This place is an untapped resource. + Check it out, dude, these vocal jazz + girls are hot. + + ANGLE ON SOME VOCAL JAZZ GIRLS + + A few of the girls are gathering their stuff, one of whom + is HEATHER -- conservative-looking, cute. + + VOCAL JAZZ GIRL #1 + Hey, we've got Conan the Barbarian + singing with us. + + VOCAL JAZZ GIRL #2 + Maybe he'll crush some beer cans on + his forehead. + + HEATHER + I think he's got a nice voice. + + VOCAL JAZZ GIRL #1 + (ribbing her) + Go talk to him, maybe you can teach + him how to read. + + Heather shakes her head. BACK TO: + + STIFLER + You dipshit, you're expecting to score + with some goody-goody choir-girl + priss? + + OZ + Dude, watch me work. They go for + sensitive studs like me. + + Oz waves goodbye to a final choir girl. + + EXT. EAST GREAT FALLS HIGH - COURTYARD - LATER + + Finch is sitting on a bench, reading the paper, carefree. + Kevin and Jim approach. + + KEVIN + This is your plan, Finch? + + FINCH + Yep. + + He turns a page. Skims the articles. A beat. + + KEVIN + This. Right now. + + FINCH + Uh-huh. + + JIM + You're just gonna sit there and drink + your coffee? + + FINCH + Mochaccino. + (then) + Actually, in the spirit of the pact, I + do need to ask for your cooperation in + one small matter. + + KEVIN + Of course, Finch. What? + + FINCH + Whatever you hear about me, you agree. + + KEVIN + What are we gonna hear? + + FINCH + You'll see. Gotta go. Sixteen + minute round trip. + + JIM + Finch, don't you think it's about time + you learned to take a dump at school? + + FINCH + When was the last time you looked at + the facilities here? + + KEVIN + Fifteen minutes ago. + + Finch shudders and walks away. Kevin and Jim stand + there, dumbfounded. An ENTHRALLED GIRL approaches. + + ENTHRALLED GIRL + Uh, guys? Was that Paul Finch? + + KEVIN + Yeah. + + ENTHRALLED GIRL + You guys have like, seen him in the + locker room, right? + + KEVIN + Yeah. + + ENTHRALLED GIRL + Is it true that he's really...huge? + + JIM + I have no idea. Finch showers in a + bathing suit. + + KEVIN + (forced) + No -- it's true. He is...really... + big. + + JIM + (loving it) + Yeah, enormous. + + ENTHRALLED GIRL + Woah. Does he have a date for prom + yet. + + JIM + Definitely not. + + ENTHRALLED GIRL + No way! + + She hurries off to a GROUP OF GIRLS, sharing the gossip. + They all seem very interested. + + KEVIN + (dumbfounded) + Finch hasn't done a damn thing, and + he's got girls lining up already. + + INT. KEVIN'S BEDROOM - DAY + + Kevin is on the phone. + + KEVIN'S BROTHER (V.O.) + Say that again, Kevin? + + KEVIN + Uh...I thought you might know a trick + or something. To make her, you + know... + + INTERCUT WITH + + INT. SUSHI BAR - DAY + + Kevin's brother is on his cell phone. A SUSHI CHEF + prepares food behind the counter. + + KEVIN'S BROTHER + Orgasm? + + The Sushi Chef looks up. Kevin's Brother turns away. + + KEVIN + Yeah. + + SUSHI CUSTOMER + (to Kevin's Brother) + What's good here? + + KEVIN'S BROTHER + Try the spicy tuna hand roll. + + KEVIN + What?! How do I do that? + + KEVIN'S BROTHER + Uh -- forget that. Look, is that all + you're interested in? Ways to get + your girlfriend into bed? + + KEVIN + Well, no. I think...I guess it would + be good to be able to return the + favor. I mean, it would be nice to + know she enjoys things as much as I + do. + + KEVIN'S BROTHER + That's good, that's what I needed to + hear. Now you qualify. + + KEVIN + Qualify for what? + + KEVIN'S BROTHER + You've just inherited The Bible. + + INT. EAST GREAT FALLS HIGH - BACK OF LIBRARY - DAY + + Kevin is walking through the "Religion" Section. He + carefully looks about, making sure nobody's watching. + + KEVIN'S BROTHER (V.O.) + It originally started as a sex manual, + this book that some guys brought back + from Amsterdam in the early eighties. + What to do with your tongue, things + like that. And each year, it got + passed on to one East student who was + worthy of it. + + Kevin kneels down on the floor, near a section of various + bibles on the bottom shelf. + + KEVIN'S BROTHER (V.O.)(cont'd) + After a couple years, guys started + adding their own techniques. Things + they figured out themselves. + + Kevin slides out the section of bibles from the bottom + shelf. Pulls out a pocket knife. Flips up the bottom of + the shelf. Slides it out. + + KEVIN'S BROTHER (V.O.)(cont'd) + You have to keep it a secret, and + return it at the end of the year. So, + now you know. Good luck. + + There, a bit dusty, is an old book. Many extra pages of + notebook paper have been tucked into it, nearly breaking + the binding. The original title is now obscured -- over + it, someone has written "The Bible." + + Remember when Indian Jones found that gold statue? It's + like that right now. + + Kevin carefully pulls it out. Reverently flips through + it. Full of details. Explicit diagrams. Anecdotes. + And atop each handwritten page is a year, indicating the + date it was added. + + Kevin reaches the last page. It's blank. He lightly + runs his hand down the empty page. + + INT. JIM'S HOUSE - KITCHEN - DAY + + Jim enters his house, slinging his backpack off his + shoulder. + + JIM + (yells) + Mom?! I'm home! + + No response. Jim walks into the kitchen, noticing a + fresh-baked pie on the counter. Next to it is a note: + "Jimmy - Apple, your favorite. I'll be home late. + Enjoy! Love Mom." + + Jim sniffs the pie, taking in the aroma. Then stops...as + a quizzical look spreads across his face. + + After a moment of thought, he slides a finger into the + pie. Moves it around a bit, studying the consistency. + + Then Jim becomes more curious. We can see the gears in + his head start to turn. He looks down at the pie like + it's... well, not a pie. + + EXT. JIM'S HOUSE - DAY + + Jim's dad gets out of his car, carrying his briefcase. + + INT. JIM'S HOUSE - CONTINUING + + Jim's dad comes in the door and stops dead in his tracks. + His face drops, appalled. + + JIM'S DAD + Jim? + + JIM + It's not what it looks like! + + CUT TO: + + INT. JIM'S HOUSE - KITCHEN - DAY + + Jim and his Dad sit in silence, opposite each other at + the table. Jim stares into his lap, humiliated. Jim's + dad is crushed. You've never seen such disappointment... + but he's trying to keep his chin up for Jim's sake. + + In the middle of the table is the pie. It's decimated. + Mushed up, ruined...violated. + + JIM'S DAD + (fighting back tears) + I guess...we'll just tell your + mother...that we ate it all. + + INT. KEVIN'S BEDROOM - NIGHT + + Late. Kevin sits on his bed, reading a book -- the + Bible. + + If all students studied the way Kevin's studying this + book, we'd have a nation of geniuses. He's scrutinizing + it. Turning it sideways and upside down as if trying to + decipher cave paintings. + + INT. EAST GREAT FALLS HIGH - LITTLE AUDITORIUM - DAY + + The Vocal Jazz Group is doing a song. Oz is singing + along, really making it look like he's into it. He + closes his eyes, singing with even more enthusiasm. As + the song ends, Oz continues just a moment more with his + shtick -- a little, heartfelt vocal "scat" to tag the + number. The thing is, it actually sounds really good. + + Oz opens his eyes...to see the whole group -- especially + the girls -- looking at him, somewhat awed. + + The CHOIR TEACHER is a smartly-dressed black woman. + + CHOIR TEACHER + What the hell was that? + + OZ + Sorry. + + CHOIR TEACHER + No, it was good. + + OZ + Oh, well... + (noticing Heather looking at + him, he acts "sensitive") + It came from the heart. + + CHOIR TEACHER + Well then keep it coming. + (to everyone) + Alright, people, good work! Keep it + up and we'll do great at the state + competition. + + Rehearsal wraps up, and Heather comes up to Oz. + + HEATHER + Not bad, Chris. + + OZ + (surprised himself) + Really? Hey, thanks -- Heather, + right? + + HEATHER + Yeah...so...you've got this sort of... + Bobby McFerrin thing going there. + + OZ + (no idea) + Yeah. Right, uh-huh. + (then, back into it) + I feel like I've discovered this whole + new side of me. Music is so + expressive. + + HEATHER + (amused) + Okay. + (then) + I mean, I agree, but...aren't you + supposed to be out, like, trying to + decapitate someone with your lacrosse + stick or something? + + Oz "gets serious" at this. + + OZ + Oh sure. I know what people think. + It's like, Oz, he's just this kickass + lacrosse player -- I also play + football, by the way -- But that's + like...not all that I am. + + HEATHER + Of course, I didn't -- + + OZ + (cutting her off) + I mean it really bothers me when + people try to pigeonhole me like that. + + HEATHER + (sparking to this) + You? You think I don't get that? + God, it's like just because I don't + get drunk and barf every weekend, + people say "Oh, here's this goody-two- + shoes choir-girl priss." + + Of course, this is what Stifler said about her. And for + a moment, this catches Oz off guard. + + OZ + Yeah...so like, what else do you do? + + HEATHER + (offended) + Well the same things you do. Hang out + with friends and stuff, you know, + whatever. + (then) + What do you think I do? + + OZ + (genuine) + I just -- realized that I didn't know + anything about you. I was interested. + + HEATHER + Oh...well that's okay. Cool. + + EXT. EAST GREAT FALLS HIGH - DAY + + Kevin is walking home with Vicky. He's a couple paces + behind her, almost tagging along. + + KEVIN + I was being selfish. And majorly + insensitive. And I'm a total idiot. + + VICKY + I think "shithead" really says it. + + KEVIN + Yes! I'm a shithead! I'm a complete + and total shithead! + + She cracks a little smile. + + KEVIN (CONT'D) + And I want to try to make it up to + you. + + VICKY + How? + + Vicky stops walking. Looks at Kevin. + + EXT. VICKY'S HOUSE - DAY + + Vicky's perfect suburban home...as we hear VICKY MOANING + IN ECSTASY. + + VICKY (V.O.) + Oh...ungghhhhh! + + KEVIN (V.O.) + Shhhh. Your parents are downstairs. + + INT. VICKY'S BEDROOM - DAY + + Tight on Vicky's face, in sexual bliss, writhing. + + VICKY + Oh Kevin -- don't stop! + + KEVIN + Just a second! + + We see that Kevin is kneeling on the floor. Vicky's legs + are to both sides of him -- he's ducking down, consulting + the bible, which is hidden beneath the bed. It's open to + a page titled "The Tongue Tornado." + + Kevin resumes, out of frame. Vicky goes nuts. + + VICKY (cont'd) + (a little too loudly) + Oh, God! + + Vicky reaches blindly for a pillow. She squeezes it over + her face, moaning into it. + + VICKY (cont'd) + Moly shmmmt! Fmmkkkk! + + Noticing that Vicky now can't see him, Kevin cautiously + pulls out The Bible from under the bed. Sets it next to + her. He constantly refers from the book to Vicky, and + back again. + + INT. VICKY'S HOUSE - KITCHEN - DAY + + VICKY'S MOM is straining some pasta. On the fridge, we + see a collage in tribute to Vicky -- her senior portrait, + National Honor Society certificate, a report card. + + VICKY'S MOM + (yells to Vicky's Dad) + Hon? Can you tell Vick to come on + down for supper? + + VICKY'S DAD is at the table reading the paper. He gets + up with a GRUNT. + + INT. VICKY'S BEDROOM - DAY + + Vicky can barely control herself. She SCREAMS into the + pillow. + + KEVIN + Vicky, shhh, you know there's no lock + on your door. + + INT. VICKY'S HOUSE - STAIRWELL - DAY + + Vicky's dad is trudging up the stairs. + + INT. VICKY'S BEDROOM - DAY + + Vicky wrestles with her own ecstacy. Groans. Kevin + keeps referencing The Bible. Whatever he's doing, it's + working. + + INT. VICKY'S HOUSE - HALLWAY - DAY + + Vicky's dad approaches the bedroom door. + + INT. VICKY'S BEDROOM - DAY + + Vicky is about to explode. She pulls the pillow off her + face, gasping. + + INT. VICKY'S HOUSE - HALLWAY - DAY + + Vicky's dad reaches for the doorknob. + + VICKY (O.S.) + I'M COMING! + + Vicky's dad shrugs, turns around, and heads back + downstairs. + + INT. JIM'S HOUSE - HALLWAY - NIGHT + + Jim's door opens...he winces...REVERSE to see Jim's dad + looking at the family portrait of Jim's family in the + hallway outside Jim's room, his back turned to Jim's + door. + + JIM + Hey, dad. Did you knock? + + Jim's dad continues to study the picture. A beat. Then + he turns around, like he just realized the door was open. + + JIM'S DAD + Oh, Jim! I'm looking at the ol' + family portrait, here. Yep. It's a + good one. + + Jim can only shrugs in response. He goes into the hall + and looks at the portrait. A beat. + + JIM'S DAD (CONT'D) + Son, I wanted to talk to you about + what I think you were trying to do the + other day. + + Jim's face drops, seeing his death unfold. + + JIM'S DAD (CONT'D) + (continuing with his prepared + speech) + Now, you may have tried it in the + shower, or maybe in bed at night, and + not even known what you were doing. + Or perhaps you've heard your friends + talking about it in the locker room. + + Jim's eyes dart about, looking for a place to hide. + + JIM + Dad, please stop. Please. I'm sure I + know what you're talking about. + + JIM'S DAD + Sure you know, son, but I think you've + been having a little problem with it. + It's okay, though. What you're doing + is perfectly normal. It's like + practice. Like when you play tennis + against a wall. Some day, there'll be + a partner returning the ball. + (a beat) + You do want a partner, don't you son? + + JIM + (through clenched teeth) + Yes. + + JIM'S DAD + That's great. Now remember, it's okay + to play with yourself. Or, as I + always called it -- + (elbows Jim) + "Stroke the salami!" + (chuckles) + Ho-ho, Jim. There's nothing to be + ashamed of. Hell, I'm fifty-two, and + I still enjoy masturbating. Uncle + Mort masturbates. We all masturbate. + + Nauseated and entirely disoriented, Jim tries to stumble + back into his room. He SMACKS the doorframe. Keeps + going, slamming the door behind him. A beat. + + JIM'S DAD (cont'd) + Poor guy thought he was the only one. + + EXT. FOOTBALL FIELD - DAY + + The football field also doubles as the lacrosse field. + East Great Falls is battling Central. It's a rough game, + muddy, brutal. We see Oz grunting and groaning, playing + very tough. + + On the sidelines, we see Heather has shown up. She's + watching the game -- and is impressed as she watches Oz's + agility and domination. Oz runs up the field, cradling + the ball in his stick. A couple CENTRAL PLAYERS try to + check him. Heather cringes with each impact, and is then + excited to see Oz dodge his opponents. + + Finally, Oz scores with a triumphant YELL. Heather + CHEERS with the crowd as the EGF players congratulate + each other. + + EXT. FOOTBALL FIELD - DAY + + After the game. Oz sees Heather waiting for him on the + sidelines. He's about to run over when COACH MARSHALL + snags him -- + + COACH MARSHALL + Good work, Ostreicher. + + OZ + Thanks coach. + + COACH MARSHALL + You're a killer, Ozzy! + + OZ + (trying to get away) + -- Thanks, coach -- + + FOLLOW WITH OZ as he trots over to Heather, covered in + mud. + + OZ + Hey, what're you doing here? + + HEATHER + Just enjoying my exhilarating first + lacrosse experience. You like, + "kicked butt." + + A clod of mud falls from Oz's uniform onto Heather's + skirt. + + OZ + (brushing it off her skirt) + Whoops, excuse me... + + Oz wipes the mud from his hands. A beat. Heather has + something to say that's not quite coming out. + + HEATHER + Um...Chris -- + + OZ + You can call me Oz. + + HEATHER + Do I have to? + + OZ + You can call me Ostreicher. + + HEATHER + What's your middle name? + + OZ + Forget it. + + HEATHER + Come on! I won't tell. + + OZ + Neither will I. + + HEATHER + Okay. + (pause) + So I had this...thought, and...this + may seem like it's out of left field, + and I don't know if you can, but since + I'm not going with anyone -- + + Before she can finish, Stifler runs up, sweaty and + excited. + + STIFLER + Hah! Central sucks! + (noticing Heather) + Choir Chick? What the hell are you + doing here? + + HEATHER + Well, I uh, I was -- + (decides to stand her ground) + I was asking Chris to prom. + (turns to Oz) + So do you wanna go? + + Oz is surprised at her directness. Impressed. + + OZ + Yeah! + + STIFLER + Well, just don't expect Oz to pay for + the limo. + + OZ + Stifler, fuck -- + (noticing Heather, "sensitive") + ...man, you don't have to be so + insensitive. + + A beat. + + STIFLER + What?? + (he dismisses it) + Whatever -- look uh, don't forget -- + my cottage after prom. On Lake + Michigan. + + Stifler joins some other LACROSSE BUDDIES. + + OZ + Alright, cool. I gotta hit the + showers, but...I think this'll be + really good. + + HEATHER + Yeah, me too, okay, cool. + + They share a smile. Then Heather walks off towards her + car. Oz trots off to Stifler and the other lacrosse + guys. + + STIFLER + My man Oz, working it with the choir + babes? + + LACROSSE BUDDIES + (cheering, slapping him) + Yeah, go Oz! etc. + + Oz laughs, embarrassed. + + OZ + (pandering to them) + Hey, you know, what can I say, I dig + those cute little sweaters she wears. + + STIFLER + I'll bet you do, you little horndog, + she's givin' you fuckin' stiffies, + right? + + Stifler goes into what can only be described as the Spank- + Me-And-Fuck-Me-Like-A-Whore-Dance. + + STIFLER (CONT'D) + Yeah! Sing for me! yes! + + The other guys LAUGH. Oz joins in, laughing in spite of + himself. They all high-five. + + And from the other side of the field, we see Heather + peering over at them. Hardly believing it as Oz joins in + the laughter. + + INT. EAST GREAT FALLS HIGH - CLASSROOM - DAY + + English class. The TEACHER is wrapping up a lecture. + + TEACHER + So once Hal becomes king, he has to + take on the responsibilities of + leadership, and turn his back on his + old, drunken friend, Falstaff. You + see, Hal was going through a rite of + passage, much like you all are. Make + the most of the time you've got left + together. You'll miss it later. + + Jim, Kevin, and Oz sit in the back of the classroom in + one corner. + + OZ + So does your tongue cramp up? + + KEVIN + Nah, you get kind of dizzy though. + + JIM + Wow, that's amazing, she's probably + gonna want to do it soon. + + Kevin shrugs as the BELL RINGS. Sherman passes by. + + SHERMAN + Still questing after the holy grail, + eh guys? + + He CHUCKLES and exits. The guys stand up, exiting the + classroom. + + JIM + Hey, where's Finch? + + KEVIN + Went home to shit. + + JIM + I don't get it. How does a guy like + that get this sudden reputation? + + OZ + What reputation? + + KEVIN + Observe. + + He taps a passing RANDOM CUTE GIRL on the shoulder. + + KEVIN (cont'd) + Excuse me. Do you know who Paul + Finch is? + + RANDOM CUTE GIRL + Of course! Have you guys seen his + tattoo? + + KEVIN + ...Yes? + + RANDOM CUTE GIRL + Is it cool? I heard it was like an + eagle, blazing in fire and stuff. + + JIM + (nods, loving it) + Actually, it's an eagle and this big + python. + + RANDOM CUTE GIRL + Really?! + + JIM + Yeah, see it's on his stomach, here, + and the eagle -- the eagle is actually + grasping the python in its talons, so + the snake is like his -- + + KEVIN + (interrupting) + That's good, Jim. + + RANDOM CUTE GIRL + Woah, no way! That guy is so cool! + + She hurries off to tell her friends. The guys exit the + classroom. + + INT. EAST GREAT FALLS HIGH - SENIOR HIGH LOCKERS - CONTINUING + + OZ + Okay, explain. + + KEVIN + I can't, I have no idea how he's doing + it. And that leaves you trailing, + Jim. You gotta get your act together. + + JIM + (a little aggravated) + Yeah, I know. I'm working on it. + + Jim turns around -- to find Nadia is standing right in + front of him. Jim says nothing. Stuck. Staring. Oz + elbows him. Jim gives a startled GRUNT. + + NADIA + You are very good in the world history + class, yes? + + JIM + (gulps) + Me? + + Jim looks over to Kevin and Oz, who excitedly give him + encouraging looks and gestures. + + JIM (CONT'D) + (trying to decipher the guys' + signals) + Yes. No. Yes. + + NADIA + Perhaps you can help me with my + studies? + + The guys nod, "Yes! Yes!" + + JIM + Okay...that would be cool sometime. + (sees the guys gesticulating) + How 'bout tomorrow? + + NADIA + Well, I do have ballet practice. + Perhaps I can come by your house + afterwards. I can change clothes at + your place? + + JIM + (barely, overwhelmed) + I suppose that would be okay. + + Nadia walks off. Jim collapses into Oz's and Kevin's + arms, like a marathon runner at the end of a race. They + pat him heartily in congratulations. + + EXT. RAST GREAT FALLS - SIDE OF SCHOOL - DAY + + After school. Oz is there as Heather pulls up in a new + Saab. + + OZ + Nice car. + + HEATHER + I'm glad you think so. + + OZ + You don't like it? + + HEATHER + No, I like the car. + (then, direct) + By the way, though, about prom? That + was like a bad idea. Sorry I invited + you. + + She hastily walks towards the school. + + OZ + What?! + + HEATHER + Oh, please. I asked you because I + thought you might actually be worth + going with. But you are just a jock. + No wait. You're a jerk. + + OZ + What? No I'm not. + + HEATHER + I saw you making fun of me with your + lacrosse buddies. + + OZ + I wasn't making fun of you. + + HEATHER + Give me a break, you're so full of it. + + She hurries up more, breaking off from Oz, and enters the + school. After a moment, he slowly heads in. + + INT. EAST GREAT FALLS HIGH - LITTLE AUDITORIUM - LATER + + Oz and Heather are singing with the group, at opposite + ends of the room. It's a pop, contemporary arrangement + of "HOW SWEET IT IS." It sounds jazzy, cool. + + Oz looks dazed, like the wind's taken out of him. He + sings along, distant. Heather, almost defiantly, sings + clearer and better than ever. Oz watches her, though she + never looks his way. At the bride of the song, Heather + breaks into a solo. She sings beautifully. Oz is + hooked. + + The Choir Teacher halts the song. + + CHOIR TEACHER + Okay, Heather, that was good, but I + want to thicken up that solo. + Michigan State is this Saturday, and I + want that part to smoke. + + HEATHER + I know, my timing's off. + + CHOIR TEACHER + A little, but I think it'll work + better as a duet. With a tenor part. + + OZ + (interrupting) + I'll do it. + + A beat as the Choir Teacher is impressed and Heather + looks indifferent. + + OZ (CONT'D) + I'll do it. + + CHOIR TEACHER + Okay then. The rest of you okay with + that? + + The rest of the choir agrees, as Heather looks to Oz with + skepticism. + + CHOIR TEACHER (CONT'D) + Great. See you tomorrow. + + The group starts packing up. + + HEATHER + (annoyed) + Why are you doing this? + + OZ + Because I want to. + + HEATHER + Yeah? Well you can't fake your way + through this. You better practice. + + She leaves. + + INT. EAST GREAT FALLS - LIBRARY - DAY + + Jim, Kevin, Oz, and Stifler. + + STIFLER + Fuck me! You're gonna have a naked + Eastern-European chick in your house, + and you're telling me you're not gonna + take advantage of that? + + JIM + What am I gonna do, broadcast her over + the internet? + + OZ + You can do that? + + JIM + (off their looks) + Oh -- no way. I can't do that to her. + + STIFLER + Dammit, Jim, get some fucking balls. + If you don't have the guts to + photograph a naked chick in your room, + how are you ever gonna sleep with one? + Now all you gotta do is set up some + sort of private link or whatever on + the net, and tell me the address. + + The guys ponder this. + + KEVIN + You can send me the address too. + + JIM + Well...dammit, if I'm doing this, how + the hell am I gonna watch? + + KEVIN + I'll save you a seat. + + INT. JIM'S BEDROOM - DAY + + Jim is setting the computer camera on top of the monitor. + The computer BINGS. + + COMPUTER VOICE + "You have established an internet + connection." + + Jim sits. Types a quick E-mail. It reads: "OH YEAH! + 128.220.27.102/tempt/NadiaVision. ENJOY!" + + Jim scrolls through his list of E-mail addresses. + Highlights a listing. Clicks "Send." + + INT. KEVIN'S BEDROOM - DAY + + Kevin and Finch sit in front of a computer. Kevin is + unloading beer and chips from a grocery bag. + + We see an image of Jim's bedroom on the computer screen. + It's a little strobed, but easily watchable. Suddenly + Jim's face pops into frame. He's adjusting the camera. + + KEVIN + There we go. + + INT. JIM'S BEDROOM - DAY + + We see the same image on Jim's screen. Jim turns off + just the monitor. It looks like the computer is off -- + the ruse is undetectable. + + Jim's dad enters with Nadia. She's in sweats and a + leotard, carrying a duffel bag over her shoulder. Jim's + dad is delighted, fidgety, almost giddy. + + JIM'S DAD + Son. This lady's here for you. + + JIM + (like it's no big deal) + I know. Hey Nadia. + + NADIA + Hello James. Ready to study. + + JIM'S DAD + Oh, you bet he is. Jim's quite the + bookworm. + + JIM + Dad. + + JIM'S DAD + Oh, no, not too much of a bookworm. + He's a good little kid. Er, guy. + Man. + + JIM + Dad!! + + JIM'S DAD + Okay, okay. I'll let you hit those + books. + + Jim's dad gives a knowing look and exits. + + INT. STIFLER'S HOUSE - BROTHER'S BEDROOM - SAME TIME + + STIFLER'S YOUNGER BROTHER, 11, a monster, is tugging at + Stifler, who sits at the computer, watching Jim's room. + + STIFLER'S BROTHER + Steve! Steve! It's my computer and I + wanna use it! + + STIFLER + Shut up and watch this, you might + learn something. + + INT. JIM'S BEDROOM - DAY + + JIM + So you need to change, right? + + NADIA + Do you mind? This fabric is so + uncomfortable. + + She sets her duffel on Jim's bed. + + JIM + No, go right ahead and get dressed. + I'll just be downstairs, studying up. + Get me when you're ready. + + Jim exits, closing the door behind him. + + INT. KEVIN'S BEDROOM - DAY - SAME TIME + + KEVIN + Here we go. + + INT. JIM'S HOUSE - HALLWAY - CONTINUING + + He's off! Jim sprints down the hall. Thunders down the + stairs. + + INT. JIM'S HOUSE - CONTINUING + + Jim's Mom and Dad are sitting downstairs. Jim bolts + through the room. + + JIM + Be back in a sec! + + He practically crashes through the door on his way out. + + JIM'S MOM + Jim? Honey, where are you going? + + She turns and looks at her husband. Both perplexed. + + EXT. STREET - CONTINUING + + Jim runs like hell. + + INT. JIM'S BEDROOM - SAME TIME + + Nadia unzips her duffel, pulling some clothes out. + + EXT. KEVIN'S HOUSE - CONTINUING + + Jim trucks across the lawn to the door. + + INT. KEVIN'S BEDROOM - DAY + + Kevin and Finch are watching the computer screen. + + KEVIN + Want a beer? + + Finch simply waves off the question. He's glued to the + screen. + + Jim bursts into the room, breathless. + + JIM + Did I miss anything?! + + KEVIN + Just in time. + + Jim grabs a seat by the computer. All three guys watch, + transfixed. Nadia is slipping out of her leotard. + + JIM + Woah! + + Nadia's leotard is off. Bra and panties. Outstanding + body. + + INTERCUT BETWEEN JIM'S BEDROOM and the guys around the + computer screen in Kevin's Bedroom. + + Nadia pauses. Looks in Jim's full-length mirror. + Admiring her body. + + KEVIN + Oh, man! This is incredible. + + And...yes! Nadia peels off her sportsbra. Supple + breasts. The guys are awestruck. + + KEVIN (CONT'D) + I can't believe Oz had to work. + + INT. EAST GREAT FALLS HIGH - LITTLE AUDITORIUM - DAY + + Oz sits alone in the empty vocal jazz rehearsal area. He + sighs, leafing through some sheet music. It's as quiet + and boring as can be. + + INT. STIFLER'S HOUSE - BROTHER'S BEDROOM - SAME TIME + + Stifler and his brother are awestruck. + + STIFLER'S BROTHER + This is like the coolest thing I've + ever seen. + + INT. KEVIN'S BEDROOM - DAY - CONTINUING + + JIM + Oh, thank you Lord, for this wonderful + day. + + Nadia still primps in the mirror. Then she looks around. + Very carefully, she pokes through the stuff on Jim's + night table. + + JIM (cont'd) + Hey! You can't touch my stuff! + + Nadia opens the night table. Stops. Jim flushes. Nadia + delicately reaches into the night table as Jim crumbles. + + JIM (cont'd) + Oh no no no. + + She pulls out the stack of porno magazines. + + KEVIN + Nice collection there, Jim. + + Nadia takes a PENTHOUSE. Starts thumbing through it. + She sits on Jim's bed. Lingering on some pages. Getting + aroused. + + JIM + Dear God -- she's -- she's -- she's -- + + Welcome to every man's fantasy. Nadia's hand wanders + into her panties. + + JIM (cont'd) + Gentlemen, I'd like to make an + announcement. There is a gorgeous + woman masturbating on my bed. + + The guys watch, completely blown away. Nadia's lost + herself. + + KEVIN + You know, Jim...you could go back + there...and... + + FINCH + (nodding) + Seduce her. + + JIM + But, but -- what would I do? + + KEVIN + Anything! Just tell her it looks like + she needs an extra hand or something. + + JIM + That's stupid. + + KEVIN + No, you're stupid. Get going! Right + now! She's primed! + + JIM + Oh...oh...oh, shit! + + He BOLTS across the room. + + EXT. KEVIN'S HOUSE - DAY + + Jim sprints across the lawn. + + EXT. STREET - DAY - CONTINUING + + Jim leaps over a row of bushes. Wipes out. Gets up and + keeps running. + + INT. JIM'S HOUSE - DAY - CONTINUING + + Jim crashes into the house and runs past his bewildered + parents. + + JIM + Hey mom hey dad! + + He rushes up the stairs. Jim's Dad looks hopeful. + + INT. JIM'S HOUSE - HALLWAY - CONTINUING + + Jim stops outside his door, catching his breath. He can + hear FAINT MOANING from inside. He's hesitating. + + JIM + Oh boy oh God oh crap oh no. + + INT. KEVIN'S BEDROOM - DAY - SAME TIME + + KEVIN + Come on, Jim. Where are you? + + The PHONE RINGS. Kevin answers. + + KEVIN (cont'd) + (into phone) + Hello? Hey Sherman...what?! How did + you know? + + INT. SHERMAN'S HOUSE - CONTINUING + + Sherman sits in front of a computer. + + SHERMAN + (into phone) + Jim must've addressed that E-mail + wrong. It went out to every mailbox + in the East High directory. God, how + juvenile. + + INT. COMPUTER NERD'S BEDROOM - DAY - SAME TIME + + A COMPUTER NERD, 14, is at his computer. Watching + NadiaVision. Mouth open. Braces shining. + + INT. BASEMENT - DAY - SAME TIME + + A GROUP OF STONERS log onto the page. A LITTLE MONKEY + hops around in a cage. + + STONER #1 + Whoa. + + STONER #2 + Kind. + + INT. JIM'S HOUSE - HALLWAY - CONTINUING + + Jim still waits outside his bedroom door. Takes a deep + breath. Looks upwards to the sky. + + JIM + Please, God. Let this be it. + + INT. KEVIN'S BEDROOM - DAY + + KEVIN + He's going in! + + INT. ANOTHER BEDROOM - DAY + + We see a bedroom full of GUYS. + + GUY #1 + There's somebody going in there! + + INT. BASEMENT - DAY - SAME TIME + + STONER #1 + Hey, that guy's in my trig class. + + INT. JIM'S BEDROOM - DAY + + Jim stands there, bewildered. Nadia hasn't noticed him, + eyes closed, still pleasuring herself. Jim stands there, + watching, faltering. Gathers his courage. Finally, he + rolls his eyes and says -- + + JIM + Looks like you could use an extra + hand. + + Nadia's eyes flash open. + + NADIA + (chastising) + James! You have come in here on + purpose?! + + JIM + Well...uh... + + NADIA + Shame on you! + + JIM + Uh...yeah...sorry. + + NADIA + Well. You have seen me. Now it is my + turn to see you. Strip. + + JIM + Strip? + + NADIA + Yes, slowly. + + Jim sneaks a nervous glance over to the QuickCam. + + JIM + You mean like, strip strip? + + NADIA + (irresistably sexy) + For me? + + INT. KEVIN'S BEDROOM - DAY - SAME TIME + + FINCH + What do you suppose they're saying? + + KEVIN + No idea. + + INT. JIM'S BEDROOM - DAY - CONTINUING + + Nadia leans over to Jim's clock radio. Turns it on. We + hear COUNTRY MUSIC. She flips the dial, and we hear A + FEW STATIONS FLIP BY. Then a DRIVING, EURO-TECHNO SONG. + + NADIA + Perfect. + + She turns to Jim. + + JIM + Uh... + + NADIA + Move with the music. + + JIM + Um...okay... + + He struts clumsily back and forth. Takes his shirt off. + Swings it in a circle around his head...and lets go of + it, aiming for the QuickCam, where it lands. + + NADIA + No, no, you must put your whole body + into it. + + JIM + Nadia, I can't -- + + NADIA + Can't what? Do you not want to be + with me? I wish to be entertained, + James. + + Jim nods eagerly. Concentrates on the music...as we see + the shirt slide off the camera. Jim starts writhing to + the beat. Like a hyperactive chicken. + + INT. STIFLER'S HOUSE - BROTHER'S BEDROOM - CONTINUING + + STIFLER + What the fuck is this? + + INT. SHERMAN'S BEDROOM - CONTINUING + + SHERMAN + The horror, the horror. + + INT. JIM'S BEDROOM - DAY - CONTINUING + + Jim is into it now. Possibly the worst dancer in the + world. No rhythm. No soul. + + INT. BASEMENT - DAY - SAME TIME + + STONER #2 + God, what a buzzkill. + + INT. GIRL'S BEDROOM - SAME TIME + + A GROUP OF GIRLS watches in amusement. + + GIRL IN BEDROOM + Work it, baby! + + The LAUGH and dance mockingly along with Jim. + + INT. JIM'S BEDROOM - DAY - CONTINUING + + Jim tugs off his pants, dancing and tripping on them. + + NADIA + (turned on) + More sexy, Jim, more sexy. + + Jim is clearly excited by Nadia's prodding. He does some + pathetically ridiculous move with his pants, sliding them + around his chest and neck. + + INT. GIRL'S BEDROOM - CONTINUING + + A GROUP OF GIRLS is watching. + + DISINTERESTED GIRL + He's no Paul Finch. + + INT. KEVIN'S BEDROOM - DAY - SAME TIME + + Kevin and Finch are now completely sickened. + + FINCH + This is truly revolting. + + INT. JIM'S BEDROOM - DAY - CONTINUING + + Jim is straddled over a chair, grinding against the chair + back, in his boxers and shorts. + + NADIA + (getting really turned on) + More, more, you bad boy! + + Jim starts spanking his ass as he gyrates. + + INT. ANOTHER BEDROOM - DAY - SAME TIME + + The guys are all trying not to watch, yet still drawn to + the computer. + + GUY #1 + Ugh...God... + + INT. JIM'S COMPUTER - DAY - CONTINUING + + NADIA + Now! Hames, come to me. + + JIM + Oh yeah! + + Jim dances over to her. She pulls him onto the bed. + Kisses his neck. Takes his hand. Places it on her + thigh. + + NADIA + Be gentle. + + Jim GULPS. + + INT. KEVIN'S BEDROOM - DAY + + KEVIN + Ho-lee shit. + + INT. STIFLER'S HOUSE - BROTHER'S BEDROOM - DAY - SAME TIME + + STIFLER + This just got a hell of a lot better. + + INT. JIM'S BEDROOM - DAY + + Jim's hand wanders up Nadia's leg. She does the same to + him. Blows in his ear. Her hand is about to enter his + shorts. + + And Jim is done. Bang. That's it. + + He looks down at himself in terror. Nadia sees. Backs + away. + + NADIA + Jim... + + JIM + Oh no. + + INT. KEVIN'S BEDROOM - DAY + + KEVIN + Oh no. + + INT. BASEMENT - DAY - SAME TIME + + The stoners look...well, stoned. + + STONER #1 + Bummer. + + INT. GIRL'S BEDROOM - SAME TIME + + The girls are LAUGHING HYSTERICALLY. + + INT. STIFLER'S HOUSE - BROTHER'S BEDROOM - DAY + + STIFLER'S BROTHER + What happened?! What happened?! + + STIFLER + He blew it. Literally. + + INT. JIM'S BEDROOM - DAY + + Nadia is getting dressed. + + NADIA + You are done, James. Perhaps I should + be going now. + + JIM + No, no, I'm not done! I've got + reserves! Nadia, please please + please. I'm begging you. + + She sees the desperation in his eyes. Thinks about it. + Smiles. + + NADIA + I do like your dirty magazines. + + Jim digs into the stack of pornos. Grabs SHAVED. + + JIM + Did you see this? This is your more + exotic dirty magazine. + + NADIA + Yes...James, it is knowing that these + beautiful women arouse you that + arouses me... + + JIM + Oh yes. Very arousing women. They + arouse me very much. But not as + arousing as you. + + She goes for this line. Gives in. + + NADIA + Oh Jim... + + She grabs him. Starts caressing his body. + + INT. KEVIN'S BEDROOM - DAY + + KEVIN/FINCH + Yes!! + + INT. BASEMENT - DAY - SAME TIME + + STONER #1 + Alright, dude! + + INT. ANOTHER BEDROOM - DAY + + GUY #1 + He's re-engaging! + + A CHEER goes up as the guys CELEBRATE. + + INT. JIM'S BEDROOM - DAY + + Groping. They're tangled in each other. Nadia backs off + for a moment. Slowly, teasing, she hooks her thumbs in + the sides of her panties. Starts sliding them down. + + NADIA + So, "shaved" is the expression? + + CLOSE UP on Jim as his eyes bug out. Yep, it is, and she + is. + + JIM + (mutters) + Holy shit. + + INT. KEVIN'S BEDROOM - DAY + + KEVIN + Holy shit! + + INT. ANOTHER BEDROOM - DAY + + ALL THE GUYS + (unison) + HOLY SHIT! + + INT. JIM'S BEDROOM - DAY + + Jim is stuck. Staring at Nadia. She moves towards him. + Nadia is inches from his face. + + NADIA + Touch me Jim...here. + + Jim is trembling, straining with himself. A shudder runs + through him. + + And it's over, again. + + INT. GIRL'S BEDROOM - CONTINUING + + The girls are LAUGHING again. + + GIRLS + Again? + + INT. KEVIN'S BEDROOM - DAY + + KEVIN + Not again. + + INT. JIM'S BEDROOM - DAY + + JIM + No, not again. + + NADIA + (sighs) + I am sorry, Jim. I suppose we will + not be doing any studying now. + + JIM + No! I've got...reserve reserves! + + Nadia starts getting dressed. Jim is whimpering. + + NADIA + It is too bad. I was at first hoping + you would ask me to the prom. But... + + She gathers her things. Eyes Jim over. + + NADIA (cont'd) + You should change your shorts. + + JIM + ...okay. + + Jim is stunned. Ruined. Nadia exits. CLOSE on Jim's + tormented face as we hear... + + COMPUTER VOICE + "You have lost your internet + connection. Click 'okay' to + reconnect." + + EXT. EAST GREAT FALLS HIGH - COURTYARD - DAY + + Jim is walking through the courtyard, a bit dazed. A + COUPLE GIRLS pass by him, giggling. He trudges + along...noticing a CLIQUE OF GIRLS staring at him as he + passes by...and Stoner #1 giving him a peace sign...and + the Computer Nerd staring at him like a celebrity...... + Jim's pace slows. He hears a SNICKER behind him...he + slows even more, taking very careful steps...as he sees a + GIRL doing a really strange dance -- and his eyes pop out + as he sees that, yes, it's his dance. He stops. ALMOST + EVERYONE is staring at him. Jim pulls his coat up over + his face and hurries off into the school, like a fugitive + avoiding the media. People APPLAUD and LAUGH. + + INT. EAST GREAT FALLS HIGH - MAIN HALLWAY - DAY + + Kevin and Oz catch up to Jim. Here and there, people + still give Jim funny looks. + + KEVIN + Hey, minuteman. + + JIM + Shut up. You're supposed to be + supportive. + + OZ + You've still got a chance with Nadia, + right? + + JIM + No. Her sponsors here saw the thing + on the net. I don't think they liked + it. + + KEVIN + How do you know that? + + JIM + She's already on a plane back home. + + Kevin winces. + + JIM (cont'd) + You know, maybe I'm just not good with + girls, period. Like I was born + without that part of the brain. I + mean, I can't talk to girls. And when + I do talk to them, I screw it up. + + KEVIN + Yeah? Well come prom night, those + excuses aren't going to do you much + good. + + JIM + Jesus, Kevin, rub it in. + + A nearby OLD JANITOR starts GUFFAWING at Jim as he walks + by. + + INT. EAST GREAT FALLS HIGH - CLASSROOM - DAY + + Jim sits, waiting for class to start. Miserable. Some + students are obviously talking about him in the + background. Others study and chat. + + Next to Jim is Michelle -- the reject, band dork that + we've seen earlier. She's got a flute case on her desk. + She's blabbering to Jim. The kind of blabbering where + every other sentence sounds like a question, even though + it isn't. + + MICHELLE + And so, one time? I was at band camp? + And we weren't supposed to have pillow + fights? But we had a pillow fight! + And it was so much fun! + + Jim couldn't care. + + MICHELLE (cont'd) + And one time, we all lost our music? + And we were supposed to play this + song? But we didn't know it. So we + just made it up! And we kept playing + and playing but the conductor didn't + know what we were doing and it was so + funny! + + Jim looks wistfully over at Nadia's empty desk. + + MICHELLE (cont'd) + So you're pissed about something, huh? + You know what I do when I'm angry? I + just play some Bach on my flute. It's + so relaxing. I learned to do that at + band camp. + + Jim perks up the slightest bit. + + JIM + Hold on. You have no idea why I'm + angry? + + MICHELLE + Is it because we have a test tomorrow? + Sometimes I get cranky when I know I + have a big test to study for. + + JIM + Yeah, that's pretty much it. + + MICHELLE + I thought so. Because, one time? I + was at this -- + + JIM + (interrupting) + What was your name again? + + MICHELLE + Michelle. + + JIM + Okay. Michelle, do you want to be my + date for the prom? + + MICHELLE + Really? You seriously want to go with + me? + + JIM + (so forced) + Yes. Seriously. + + MICHELLE + Are we going to Steve Stifler's party + afterwards? That would be so cool. + + JIM + Whatever you want. + + MICHELLE + Cool! We're gonna have so much fun! + It's like this one time, at band + camp... + + INT. EAST GREAT FALLS HIGH - HALLWAY - A LITTLE LATER + + Heather is walking down the hall. She turns to go into + the Little Auditorium -- and through the window in the + door she sees Oz. She stops. + + Oz is singing, working through the solo. Determined to + get it right. He bounces his lacrosse ball off the + floor, in rhythm, keeping time. There's one point that + he keeps getting stuck at and going back over. Heather + watches this, softening as she sees that Oz is actually + putting his heart into it. Finally he's frustrated -- + + OZ + Dammit! + + He whips the lacrosse ball at the wall. Heather recoils, + still watching, unseen by Oz. After a moment, Oz cools + off. He gets the ball, and diligently starts up again. + Heather is impressed. + + INT. VICKY'S BEDROOM - DAY + + Vicky is doing calculus homework, as Kevin looks on, + rubbing her shoulders. + + KEVIN + You're not doing the extra credit + problems. + + VICKY + No, I'm not. I'm writing a sequence + of random numbers that look like I'm + doing the extra credit problems. Mr. + Bender doesn't bother to check + homework past April. + + KEVIN + That's my trick! + + VICKY + It's everyone's trick, Kevin. + (she turns to him) + But I did pick it up from you. + + She gives him a little kiss on his hand, continuing with + her work. Kevin keeps rubbing her back, more serious. + + KEVIN + We've come a long way since + Homecoming. + + VICKY + (playful) + Yeah, we have. You corrupted my four- + point into a three-nine-five. + + KEVIN + Indeed I did. But, our relationship. + It's progressed a lot. It's time for + us to...express ourselves in new ways. + + Vicky stops working and turns, sitting up on the desk, + facing him. Her mood has shifted, more romantic. + + VICKY + Like how? + + KEVIN + Well, I feel that...things are getting + to that point in a relationship. + When two people share...a special + moment between them. + + VICKY + I think you're so right, Kevin. + + KEVIN + (pause) + You want to do it? + + VICKY + Yes -- + + She takes his hand. Readies herself, and declares. + + VICKY (CONT'D) + I love you. + + Kevin falters. This is definitely not what he was + expecting. He's caught. Trying to formulate a response. + + VICKY (CONT'D) + Kevin? Do you not love me? + + KEVIN + No, I don't not love you. I like, I + know that we've definitely got + something between us. Something good. + Something special. + + VICKY + But you don't love me. + + KEVIN + I didn't say that. I mean, love, it's + like a term that gets thrown around. + People say things, they get married, + have kids, and then what? It's like + they call it off, going "I was wrong." + + A beat. Vicky seems to know where he's coming from. + + VICKY + Kevin...you're not your dad. The two + of us, we're not your parents. + + KEVIN + I know, Vick. I'm just not ready yet, + okay? + + VICKY + Okay. + + INT. SUBWAY - NIGHT + + Oz is closing up the store. He looks up to see Heather + at the door. Oz goes and opens it, surprised, + embarrassed. The air is awkward between them. + + HEATHER + Hi... + + OZ + How did you know I was here? + + HEATHER + Stifler told me. + + OZ + You talked to Stifler? + + HEATHER + Well...I needed to find you. We are + gonna have to practice that song. + + OZ + ...okay. Cool then. I'm um, I'm glad + you came by. I mean, really. + + She smiles. Oz lets her in. + + HEATHER + So you like, work nights? + + An uncomfortable moment for Oz. + + OZ + Uh...my dad's the manager. + + HEATHER + Really? Cool. Tell him his subs are + great. + + OZ + Ah, he's always too heavy on the + vinegar. If you really want a good + one, you gotta let me make it. + + INT. SUBWAY - NIGHT - MOMENTS LATER + + Oz is behind the counter. Heather walks down the other + side as Oz assembles a sub. + + OZ + My dad's always here running the + store, busy and stuff...and I fill in + once a week so he can get a night off. + + HEATHER + (pause) + That's nice. + + OZ + (shrugs) + So you're going to Michigan? + + HEATHER + Yeah, well my parents wanted me to go + to Northwestern. I didn't want to + write all those extra essays they make + you do -- I mean, how am I supposed to + know what my "most emotionally + significant moment" was? So when my U + of M acceptance came in December, I + said the hell with it. + + OZ + Onions? + + HEATHER + What? + + OZ + You want onions? + + HEATHER + Oh, yeah. So what're you gonna major + in? + + OZ + Well, State's got a good business + school. And I can probably walk onto + the lacrosse team. Green peppers? + + HEATHER + Yeah. So wow, you've got it figured + out. + + OZ + (dismissive) + Well, I mean, business is okay, and + lacrosse is awesome, but what am I + gonna be, a pro lacrosse player? I + really have no idea. + + HEATHER + Oh thank God, I thought I was the only + one. + + OZ + Well, you're not. Oil and vinegar? + + HEATHER + Yeah. You know, people are always + like, "What're you gonna major in?" + And I don't know. And they're like, + "You'll figure it out." Yeah? When? + + OZ + I know. Salt and pepper? + + HEATHER + Sure. + + Oz cuts the sub in half with a flourish and puts it on a + tray. + + HEATHER (CONT'D) + So we're gonna be close next year? + + OZ + You -- oh, you mean -- yeah, East + Lansing and Ann Arbor. + + HEATHER + (smiles) + ...yeah. + + A beat...a little uncomfortable, but nice. + + OZ + Wanna swap your chips for cookies? + + EXT. SUBWAY - NIGHT - LATER + + The remains of a couple subs are on a table. Oz and + Heather are doing their song...it's rough, but they're + working through it. And when they're in sync, they sound + really good together. We SLOWLY PULL BACK as they sing + into the night. + + INT. EAST GREAT FALLS HIGH - MURAL STAIRCASE - DAY + + A GIRL HOLDING OUT FOR FINCH talks to Stifler. + + GIRL HOLDING OUT FOR FINCH + I'm sorry, I really can't go with + you...I'm holding out for someone + else. + + STIFLER + You gotta be fucking kidding. + + GIRL HOLDING OUT FOR FINCH + I know it's a long shot, but I figure + Paul Finch might ask me. + + STIFLER + FINCH? SHITBREAK?!! + + GIRL HOLDING OUT FOR FINCH + Oh gosh, I forgot -- you uh, you look + okay...I mean you can't even tell... + + Flustered, she heads down the stairs. Stifler, entirely + confused, heads off into the second floor. As the Girl + Holding Out For Finch descends, Kevin catches up with + her. + + KEVIN + Hey...what was that all about? + + GIRL HOLDING OUT FOR FINCH + He's still embarrassed because Finch + kicked his ass. Knocked out a tooth, + but you can't see it. + + KEVIN + Right, and who told you that? + + EXT. EAST GREAT FALLS HIGH - COURTYARD - DAY + + Kevin is talking to GRETA. She points offscreen. + + INT. EAST GREAT FALLS HIGH - LIBRARY - DAY + + Kevin is talking to SOME CHICK. Taking notes. + + INT. EAST GREAT FALLS HIGH - OUTDOOR MURAL - DAY + + Kevin is talking to YET ANOTHER GIRL. We see that his + notepad is a spiderweb of girl's names, all interlinked + with arrows. They all point to one girl's name in the + center of the page -- Jessica. + + INT. EAST GREAT FALLS HIGH - CAFETERIA - DAY + + Kevin follows Jessica down the cafeteria line. + + JESSICA + No comment. + + KEVIN + No comment?! Are you kidding me?! + I've never seen someone's image change + so...so drastically! + + JESSICA + Thanks. It was my idea. + + KEVIN + Did you guys hook up or something? + + JESSICA + Are you kidding? No. + + KEVIN + Then what the hell are you talking + about? + + JESSICA + Well...I guess it's okay for me to + tell you now. That reputation of his + isn't going anywhere. + (then) + Finch comes to me and says, "Jessica, + I need help with this, blah blah, + etcetera." So I told him, pay me two- + hundred bucks, and I'll tell a couple + girls that you're dynamite in bed. So + he did, and I did. + + KEVIN + I don't get it, that really works? + + JESSICA + Duh. Of course. Naturally, I + embellished a little bit. Hey, did + you hear that Finch had sex with an + older woman? + + Kevin is speechless. + + JESSICA (CONT'D) + No? Damn, that one was my favorite. + + INT. EAST GREAT FALLS HIGH - GUY'S SHOWERS/LOCKER ROOM - DAY + + Toweled guys exit the steamy showers, doing a macho GREAT + FALLS LACROSSE CHANT. They exit frame, and we remain on + the showers, to hear -- + + OZ + (singing happily) + ...I needed the shelter of someone's + arms...there you were -- woo-hoo- + hoo... + + He exits in a towel and goes to his locker, next to + Stifler. + + OZ (CONT'D) + (still singing) + ...I needed someone to understand my + ups and my downs, oh baby there you + were... + + Stifler is staring at Oz, horrified. + + STIFLER + Oh my fucking God. You're gay. + + OZ + (cheery) + Come on, you know the words, sing + along. + + STIFLER + No thanks, you've been singing that + shit all week. If you try that at MSU + this Saturday, I'm pretending I don't + know you. + + Oz stops. + + OZ + Our last game is this Saturday. + + STIFLER + No shit. + + EXT. EAST GREAT FALLS HIGH - COURTYARD, A BENCH - LATER + + Heather is studying outside. Oz stands before her, + breathless, his hair still wet. + + OZ + ...I've got this lacrosse game. It's + really important, it's our last game. + And you know, Central almost beat us + last time, so I really want to kick + their ass, and it's like cool because + we're gonna get to play at State, + which means that after the game I + might be able to stop by... + + HEATHER + (pause) + You can't sing at the competition. + + OZ + I'm sorry, I totally spaced. I + just...I didn't realize it... + + HEATHER + (upset but trying to be cool) + ...it's okay, you should do whatever + makes you happy. + + OZ + Alright...yeah...thanks for + understanding. + (a beat) + So I guess...I'll see you later. + + An uncomfortable moment. Oz walks off. Heather looks + let down. + + EXT. EAST GREAT FALLS HIGH - ENTRANCE TO SENIOR LOCKERS - DAY + + Kevin is at his locker, getting ready for class. Stifler + comes running up with a wicked grin on his face. + + STIFLER + Kevin! You seen Shitbreak lately? + + KEVIN + (immediately sensing danger) + Oh no, Stifler, what did you do? + + STIFLER + Me? Nothing. I'm the one whose ass + he kicked. + (off Kevin's look) + I'll tell you one thing, though. I + don't think he's gonna have a problem + shitting in school anymore. + + Stifler pulls out an empty bottle of PRESCRIPTION + LAXATIVE, maniacally LAUGHING. + + INT. EAST GREAT FALLS HIGH - CAFETERIA - DAY + + Finch is sitting at a table, reading his paper. Kevin + comes tearing around the corner and runs up to him. + + KEVIN + Finch! Get to the bathroom! Now! + + FINCH + Easy, tiger. What's in there? + + KEVIN + Just go! + + FINCH + Why is this? + + KEVIN + You're gonna shit your pants! + + FINCH + Charming. + + KEVIN + Finch, listen -- Stifler slipped some + sort of laxative in your Mocash-chino + or whatever. It's fast acting. I + mean really fast. + + FINCH + First of all, it's Mochaccino, and + secondly...Oohhhh! + + Finch jumps up and sprints down the hallway. + + INT. EAST GREAT FALLS HIGH - MAIN HALL - CONTINUING + + We FOLLOW with Finch. We see Stifler down the hall, + holding open the bathroom door like a pleasant doorman. + + STIFLER + This way, sit. + + Finch darts into the bathroom. Stifler LAUGHS + hysterically. + + INT. EAST GREAT FALLS HIGH - BATHROOM - DAY + + Finch leaps into a stall and slams the door behind him. + + INT. EAST GREAT FALLS HIGH - BATHROOM STALL - DAY + + Finch has stopped. He's staring down at the toilet. It + looks entirely uninviting. But he's straining, + struggling, starting to dance around, moaning as he + cramps up. + + He grabs a length of toilet paper and lines the seat with + it. Then another, and another. Sweat drips off his + forehead. + + FINCH + Come on come on come on... + + He's got the seat lined with at least three layers of + toilet paper. Notices a spot where there's still bare + toilet seat. He tears off one square of toilet paper, + placing it on the spot. He steps back and looks it over, + still wriggling to contain his bowels. + + FINCH (CONT'D) + Okay. You can do this. + + He unbuckles his pants. Sits down -- just as we hear + someone enter the bathroom. Finch, still restraining, + listens for a moment...only to hear the CLICK-CLICK-CLICK + of heels. + + INT. EAST GREAT FALLS HIGH - MAIN HALL - DAY + + The bathroom door swings closed to reveal the universal + symbol for "Women." Stifler is there, LAUGHING even + harder. + + INT. EAST GREAT FALLS HIGH - BATHROOM STALL - DAY + + Finch is terrified. Through the crack between the stall + door and the frame, Finch catches glimpses of bright + colored skirts and dresses. He grits his teeth, + straining. + + And a GURGLE comes from Finch's stomach. His eyes bulge. + + INT. EAST GREAT FALLS HIGH - BATHROOM - DAY + + A GROUP OF GIRLS is at the mirror, including the Girl + Holding Out for Finch, fixing their hair. + + GIRL HOLDING OUT FOR FINCH + You know it's just gonna be some + crappy band and stupid decorations. + + GIRL #2 + You're just saying that cause prom's a + week away and you don't have a date. + + GIRL HOLDING OUT FOR FINCH + No, I don't want a date... + (increasingly dreamy) + Finch is going stag...and so am + I...the guy is like so...debonair. + + INT. EAST GREAT FALLS HIGH - BATHROOM STALL - DAY + + Finch is in hell. Desperately trying not to shit. + Holding it in for all he's worth. + + INT. BATHROOM - DAY + + GIRL #2 + Do you think that "older woman" thing + is true? + + GIRL #3 + Of course, it was Stifler's mom. + + INT. EAST GREAT FALLS HIGH - BATHROOM STALL - DAY + + Pure agony. Finch is sweating badly. Every muscle in + his body is tensed. Tears stream from his fiercely shut + eyes. + + A gastric RUMBLING. Finch's eyes flash open in terror. + + INT. EAST GREAT FALLS HIGH - BATHROOM - DAY + + We hear another, deeper RUMBLING. Girl #2 turns to her + friend in surprise. + + GIRL #2 + Joanie, was that you? + + INT. EAST GREAT FALLS HIGH - BATHROOM STALL - DAY + + Finch is struggling. Rocking back and forth. But it's + no use. He's at his limit. + + FINCH + Aaaaaaarrrgghhhh! + + INT. EAST GREAT FALLS HIGH - BATHROOM - DAY + + The girls at the mirror freeze -- and we hear what can + only be the SOUND OF DIARRHEA exploding into a toilet + bowl. + + The girls run out SCREAMING and LAUGHING. + + INT. EAST GREAT FALLS HIGH - BATHROOM - DAY - MOMENTS LATER + + Finch exits the stall with trepidation, pulling up his + pants. Slowly, slinking, he approaches the door. Grabs + the handle. Composes himself. And like nothing ever + happened, he opens it. + + INT. EAST GREAT FALLS HIGH - MAIN HALL - DAY + + Finch comes out of the bathroom. Stops. His eyes + register complete disbelief. + + A SEMI-CIRCLE OF GIRLS, including the ones we have seen + gossiping about him, has crowded around the door. All + staring at him with complete repugnance, open-mouthed. + + DISSOLVE TO: + + EXT. LACROSSE FIELD (MSU) - DAY + + Oz is playing in the final lacrosse game. The team + scores -- they're beating Central. Everyone cheers, + except Oz. We see Jim and Kevin in the stands, CHEERING. + + EXT. MUSIC HALL (MSU) - DAY + + Establishing. The campus of Michigan State University. + Students pass in front of an older, impressive university + building. + + A sign out front reads, "MICHIGAN STATEWIDE VOCAL + COMPETITION." + + INT. BACKSTAGE (MSU) - DAY + + Heather and the rest of the vocal jazz group are behind + the curtain. + + They all wear flashy, borderline cool outfits. Heather + looks worried, lost. Looking to the door, as if Oz might + come running in. + + VOCAL JAZZ TEACHER + Okay. Albert, you ready? + + ALBERT steps next to Heather. He's kind of funny- + looking, with an overly-suave attitude that comes off as + plain weird. + + ALBERT + No problemo. + + He SINGS a couple lines. Way too melodramatic and + cheesy. Heather looks trapped. + + EXT. LACROSSE FIELD (MSU) - DAY + + A scoreboard shows that East is leading by five goals. + Oz is running up the field, towards the goal, cradling + the ball in his stick. He seems to have a good lead. + Suddenly he is tumbling, falling, losing the ball. + Someone has checked him. He lays stunned on the ground, + as Stifler recovers the ball and scores. + + The players run back to the sidelines to reset for the + face-off, and gather around the coach. + + COACH MARSHALL + Alright! Good hustle, guys, but we + can still lose. You all saw what + happened to Oz out there. I don't + ever want to see you guys thinking + you're gonna score. You don't score + until you score, period. + + The team is getting into it. Shouts of "Hell yeah!" But + Oz's got a quizzical look on his face. + + INT. BACKSTAGE (MSU) - DAY + + Heather waits with the group to go onstage. Albert paces + like a Shakespearean actor, psyching himself. + + ALBERT + Focus on the music. Think melody. + Let the music be my guide. + + HEATHER + That would be a start. + + EXT. LACROSSE FIELD (MSU) - DAY + + Oz shows some emotion peeking through. Confused. + + COACH MARSHALL + It all boils down to today. For you + seniors, this marks the culmination of + your past four years. Think of what + that means to you. Are you guys gonna + look back on your days at East and + know that you made the most of the + time you had? + + A wave of realization washes over Oz. He stands up tall. + + COACH MARSHALL (cont'd) + Now that's the attitude, Ostreicher! + + Oz collects himself. Takes a deep breath. + + OZ + Good luck, guys. + + he sets his lacrosse stick down and starts to leave. + + COACH MARSHALL + Christ! I didn't say you were out of + the game! + + OZ + Sorry, coach. + + COACH MARSHALL + What the fuck is this? You got + someplace more important to be? + + Coach Marshall is fuming. The entire team is staring at + Oz. + + OZ + Yeah. + + He runs off. + + ANGLE ON JIM AND KEVIN IN THE STANDS + + A beat of confusion. Then they stand up. + + EXT. MSU CAMPUS - DAY + + Oz runs through a gate. + + INT. BACKSTAGE - DAY + + The vocal jazz group is on their feet, lined up, waiting + to go onstage. Oz bursts into the room, still in his + lacrosse gear. + + VOCAL JAZZ GUYS + Oz -- You're back -- Yeah -- + + ALBERT + -- Oh, great. + + Oz rushes up to Heather. She's happy but confused. + + HEATHER + What about the game?! + + OZ + I'm not playing. + + HEATHER + You're missing the game for us?! + + OZ + No. I'm missing the game for you. + + Heather melts. Oz pulls her close. And they kiss. + + VOCAL JAZZ TEACHER + Okay, okay. You guys got about a + minute to go. Spend it warming up, + not making out. This ain't the prom + yet. + + Oz and Heather share a smile. + + INT. MUSIC HALL STAGE - DAY + + The vocal jazz group is belting their hearts out, singing + "How Sweet It Is." Oz sings with them now in his vocal + jazz outfit...we TILT DOWN to see he's still wearing his + cleats. He and Heather sound great, backed by the vocal + jazz group. They sail through their duet, join hands, + and finish perfectly. The audience APPLAUDS with + enthusiasm -- and we Kevin and Jim, WHOOPING AND + CLAPPING, loving it, like they're at a rock concert. + + JIM + Yeeeeeeeaaaawwwwww! + + KEVIN + (gives that "You rock!" hand + sign) + You fuckin' rule! + + INT. EAST GREAT FALLS - CLASSROOM - DAY + + Class has just ended, students are filing out of the + classroom. A teacher grades papers in the back of the + room, routinely writing "A, A-, A, A-" on each paper. + Vicky is studying a pull-down map hanging over the + chalkboard. Kevin comes up next to her. + + KEVIN + Hey... + + VICKY + Did you know that it's...450 miles + from Ann Arbor to Nashville? + + KEVIN + It's like a six or seven hour drive. + That's easy, I don't mind driving. + + A beat. Kevin looks back over his shoulder to the + inattentive teacher. Moves closer to Vicky. + + KEVIN (CONT'D) + About the other day...I've been + thinking. + + VICKY + So have I. And I know you want to + make things perfect for me. And I + understand that you really wouldn't + tell me that until you were 100% + comfortable with it. + + Vicky looks over to the teacher, who COUGHS. She steps + closer. Kevin, somewhat nervous, takes the bottom of the + map, fidgeting with it a little. + + VICKY (CONT'D) + And I want to make things perfect for + you. You're right, Kev, we do have + something good...and special. + + KEVIN + Yeah, we have something great, Vick. + + VICKY + Kevin... + (very close, whispered) + I want to have sex with you. + + The map goes FLAPPING upwards. The teacher looks up. + + KEVIN + (almost frightened) + Now?! + + VICKY + No...I know the perfect time... + + She looks to the calendar on the wall...and taps next + Saturday -- "Prom." Kevin can't believe it...MUSIC UP + for PRE-PROM MONTAGE -- + + INT. TUXEDO LAND - DAY + + Jim is trying on a tux. he shrugs, like it fits well + enough. + + He turns to see Oz trying on his -- Oz is fidgeting, + trying on different ties, vests, shoes, very sincere and + focused. + + INT. VICKY'S BEDROOM - DAY + + Vicky is trying on a rather elegant dress, looking to + Jessica for support, showing it off. Jessica jokingly + does the same, showing off her shorts and T-shirt, as if + she could care. + + INT. EAST GREAT FALLS HIGH - COURTYARD - DAY + + Finch sits alone. Not like alone. More like Forrest + Gump. + + INT. TUXEDO LAND - DAY + + Jim is paying for his tux. We see Oz trying to decide on + a cumberbund. There are about ten of them scattered + around him that he's already tried. In the background, + an ATTENDANT looks impatient. + + EXT. EAST GREAT FALLS HIGH - COURTYARD - DAY + + Finch still sits. His head is cocked at a different + angle. + + INT. JIM'S HOUSE - LIVING ROOM - DAY + + Jim's dad fixes Jim's bow tie. + + INT. KEVIN'S BEDROOM - NIGHT (END MONTAGE) + + Kevin is in his tux. He's staring at himself in the + mirror. + + EXT. EAST GREAT FALLS HIGH - NIGHT + + The parking lot is full. VARIOUS FORMALLY DRESSED + STUDENTS make their way into the school. One group piles + out of a stretch limo. We see a STEALTHY STUDENT slip a + bottle of liquor into his tux. A FLUSTERED GUY struggles + to re-attach his date's corsage. + + This is the prom. + + INT. EAST GREAT FALLS HIGH - GYM - NIGHT + + The gym is decorated in a clashingly festive manner. + Like a combination of Mardi Gras, New Year's Eve, and + somebody's bar mitzvah. A CRAPPY BAND plays CRAPPY + IMITATION ROCK MUSIC. + + Most students mill about, talking, generally bored. The + only people who are enjoying themselves are the OBVIOUSLY + DRUNK STUDENTS, slam-dancing with the obviously drunk + Stifler in a corner. CHAPERONE PARENTS try to calm them + down, futilely. + + The band breaks into a CHEESY BALLAD. Couples lock + together and sway back and forth like zombies. + + ANGLE ON JIM AND MICHELLE + + They're dancing at arm's length. Jim is not enthused. + + MICHELLE + You know, at band camp? We have + dances like this. Only they're way + funner. Don't you think prom is just + highly overrated? + + JIM + Highly, highly overrated. + + ANGLE ON KEVIN AND VICKY + + They dance. Both looking a little nervous. Anxious. + + ANGLE ON OZ AND HEATHER + + Dancing much slower than anyone else. Tight embrace. + Heather's got her head on his shoulder, eyes closed. + + ANGLE ON STIFLER + + Dancing with the Girl Holding out For Finch. + + INT. EAST GREAT FALLS HIGH - A CORNER OF THE GYM - NIGHT + + Kevin, Oz, Jim, and Finch are hanging out. Finch is + drunk. + + FINCH + Okay. I'm here for your dumb...dumb + meeting. + + Sherman passes by. + + SHERMAN + I'm on the offensive, boys. The + Sherman Tank is going back in. + + The guys are impassive. Sherman indicates the Central + Girl nearby. + + SHERMAN (CONT'D) + Locked on target, flying in stealth + mode under enemy sex radar. Ready to + drop the payload...again. + + Sherman confidently walks off. + + KEVIN + Alright, how do you guys stand? Well, + Finch, I know where you are, but you + can't use that as an excuse. Jim? + + JIM + My date's a flute-toting band dork. + That answer your question? + + KEVIN + Oz, how about you and Heather? Now + you guys are a couple or something? + + OZ + (getting ticked) + Dammit, Kevin, what's with the + attitude? + + KEVIN + Attitude? Me? I think that you guys + should be more enthusiastic. Shit, + we've been trying to get laid forever, + and tonight's the night we've been + waiting for. We're in this together. + Don't back out on me now! + + JIM + Back out? You don't need us to get + laid. You afraid or something? + + KEVIN + No, but come on guys, we made a pact! + + OZ + Kevin, it was just a -- + + KEVIN + It was a pact. You break it and there + are no excuses. You guys have to -- + + JIM + (interrupting, pissed) + I don't have to do shit! Forget it + already! + + Kevin is taken aback. + + JIM (cont'd) + I'm tired of all this bullshit + pressure! I mean, I've never even had + sex and already I can't stand it! I + hate sex! I don't want it, I've never + wanted it, and I'm not gonna sit here + busting my balls over something that + just isn't that damn important! So + fuck this stupid pact, fuck you, and + fuck sex! Now, I'm gonna go hang out + with that geek over there, 'cause at + least she's got something else to talk + about besides sex! God damn! + + Kevin storms off. A beat. + + FINCH + At least I learned how to shit in + school. + + Jessica approaches. She's dressed well, but not + lavishly. + + JESSICA + Hey, Finch. Wanna dance? + + Finch looks to the guys. They shrug. We FOLLOW WITH + Jessica and Finch as they dance out onto the floor. + + FINCH + How come you have no date? + + JESSICA + I like to keep my options open. And + let me just clarify that you have no + chance of scoring with me, Finch. + + FINCH + No, of course not, don't be + ridiculous. + + ANGLE ON VICKY AND CENTRAL GIRL + + VICKY + So, I guess you and Sherman are pretty + close. You met at that party a while + back? + + CENTRAL GIRL + Yeah, we were up the whole night + together. We had one of those + amazingly deep conversations, where + you really feel like you get to know + someone. + + VICKY + (nudge, nudge) + "Deep conversation," huh? Is that + what you guys call it? + + CENTRAL GIRL + What else would I call it? + + EXT. EAST GREAT FALLS HIGH - NIGHT + + Kevin sits on the steps into the school, depressed. + + INT. EAST GREAT FALLS HIGH - GYM - NIGHT + + The Central Girl has taken over the band's microphone. + + CENTRAL GIRL + Excuse me, everyone, sorry to + interrupt. + + Her voice reverberates throughout the gym. A couple WOLF- + WHISTLES. + + CENTRAL GIRL (cont'd) + I just wanted to let you all know + this: Chuck Sherman is a liar. I + never had sex with him. He's never + had sex with anyone -- I know because + he told me. Once, he tried to screw a + grapefruit, but that's it. Oh, and he + also told me that sometimes when he + gets nervous he wets his pants. Thank + you for your attention. + + Girls around the gym CHEER and APPLAUD. + + ANGLE ON SHERMAN + + Pissing his pants. + + ANGLE ON JIM + + Shocked. He looks back to Oz, who shares his expression. + + EXT. EAST GREAT FALLS HIGH - NIGHT + + Kevin still sits there. Jim, Oz, and Finch come out of + the school. Slowly they walk up to Kevin. + + OZ + ...Guess what? + + KEVIN + I don't care. + + JIM + Kevin, come on, the bus to Stifler's + is gonna be here soon. + + KEVIN + I'm not going. + + A beat as the guys don't know what to say. Kevin's + speech is halting, downbeat. + + KEVIN (CONT'D) + This isn't how I wanted things to turn + out. Making the pact wasn't just + about getting laid. It was about + doing one last thing with you guys + before we graduated. But now I've + just wasted my last few weeks here + trying to do what? I don't even know. + All I managed to do was fuck up our + friendship. + + A beat. Oz shrugs. + + OZ + I still think you're okay. + + JIM + So do I, Kev. + + FINCH + Me too. For the most part. + + KEVIN + Nah. Fuck, you guys are right, I + don't know what I'm doing. I mean I'm + acting like I've got it all together + tonight. But I know Vicky is gonna + ask me if I love her. And I don't + know what I'm gonna say. So now it's + like, maybe I'll just wimp out on the + whole thing. + + JIM + Come on man. Tonight is the night. + We're finally going to a post-prom + party on the lake. We've been waiting + to do this for the last four years. + Why else are we still friends with + Stifler? You gotta go. + + A beat as Kevin ponders this. + + OZ + And by the way, Sherman didn't even + get laid. + + KEVIN + He didn't? + + FINCH + Nope. He pissed himself. + + The guys LAUGH as Kevin is puzzled. THEY are suddenly + illuminated by the glare of headlights. A charter bus + pulls in front of the school. + + JIM + There it is. I want to grab my bag. + Oh, and my date. + + OZ + Come on, Kevin. Vicky's looking for + you. + + Jim holds out a helping hand. Kevin looks at it. Grabs + it, and Jim pulls him up. + + EXT. STIFLER'S COTTAGE - NIGHT + + A beautiful cottage on the shore of Lake Michigan. + Students are filing out of the charter bus. + + Jim and Michelle are walking up to the cottage. + + JIM + Stifler's mom got it in the divorce. + + MICHELLE + It reminds me of this one time -- + (changing thoughts) + Hey, can I ask you a question? How + come you don't have any stories? I've + got lots of stories, and you don't + have any. + + JIM + Oh, I've got stories, believe me. + They're a little more risque than + tales of Band Camp. + + MICHELLE + Are they gross or something, like guy + stuff? Tell me. + + JIM + Okay. You want a story? Here's a + story. Stifler finds this beer, + right? And... + + INT. STIFLER'S COTTAGE - BEDROOM + + Kevin leads Vicky into the bedroom. A large bay window + overlooks moonlit Lake Michigan. + + KEVIN + See -- this is the nicest room. + + VICKY + Wow, Kev...it's perfect. + + Vicky opens a closet -- to find Stifler's Little Brother + inside, grinning. + + STIFLER'S BROTHER + You guys are gonna fuck, aren't you!? + + KEVIN + No! Get out of here! + + STIFLER'S BROTHER + (running out of the room) + Fuckers fuckers fuckers fuckers! + + Stiflers brother is gone. They LAUGH...and Vicky closes + the door. + + EXT. BEACH - NIGHT + + Oz and Heather are walking down the beach. Holding + hands. Deep in the background, we see kids partying. + + OZ + There's something I've been meaning to + tell you, Heather. + + HEATHER + What's that? + + OZ + It's gonna sound really bad, but I + want you to know. + + She nods. They stop walking. Oz swipes his feet around + in the sand. + + OZ (cont'd) + See, uh, I'm a virgin. And me, Kevin, + Jim, and Finch, we all made this pact. + That we would...lose our virginity... + before high school was over. + + Heather is listening. + + OZ (cont'd) + And, see, tonight is supposed to be + the night we all do it. + + HEATHER + This isn't the best way to proposition + me. + + OZ + No, that's not what I mean. I mean -- + look. You know what made me leave + that game? Coach was giving this + speech, about not slacking off when + you see the opportunity to score. + + HEATHER + This isn't any better, Chris. + + OZ + No, see Heather, what I realized is + that...with you, it's not like I'm + running towards the goal, trying to + figure out the best way to score. And + this may sound corny, but -- + + He takes her hand. + + OZ (cont'd) + I feel like I've already won. + + Heather softens, taken off guard. + + OZ (cont'd) + And, well, I really care about you. A + lot. And I want you to know that. + + HEATHER + Oz, it's okay, I know. + + OZ + You called me Oz. + + HEATHER + Well, that's what your friends call + you. I mean...I feel like I'm one of + your friends now...and also...your + girlfriend. + + Oz seems truly touched. + + OZ + Dieter. My middle name is Dieter. + + Heather nods, and speaks pensively. + + HEATHER + Hmm. You know that's + (cracking up) + really a shitty middle name! + + OZ + (laughing) + I know, it sucks! + + Through their laughter, they kiss. After a moment, it + grows more passionate. Lost in each other. + + INT. STIFLER'S COTTAGE - BASEMENT - NIGHT + + The party rages in the rest of the cottage, but the + basement is empty. STIFLER'S MOM sits in the corner, + smoking a cigarette. She's as attractive as her photo we + once saw, but the divorce has replaced her sexy smile + with a bitter smirk. + + Finch stumbles in. + + FINCH + Ah, Stifler's mom! Thank you for + letting us have a great party. + + STIFLER'S MOM + (dry) + As if there were any alternative + in the matter. Are you enjoying + yourself? + + FINCH + I'm three sheets to the wind, ma'am! + + STIFLER'S MOM + (deadpan) + I'm so happy for you. Takes the edge + off, doesn't it? And where might your + date be? + + FINCH + Oh no, no date. Bathroom incident. + + STIFLER'S MOM + Pardon me? + + Finch pauses a moment. He's got an idea. + + FINCH + ...Nevermind. You have anything to + drink? + + STIFLER'S MOM + I believe the kegs are upstairs. + + FINCH + No, no, that's what the cretins drink. + I mean alcohol, liquor -- good stuff. + + She considers him as she drags off her cigarette. + + STIFLER'S MOM + All right, I got some scotch. + + FINCH + Single malt? + + STIFLER'S MOM + Aged eighteen years. + (she gives him a look) + Why don't you get the glasses. Behind + the bar. + + INT. STIFLER'S COTTAGE - PARTY ROOM - NIGHT + + It's a great party. Stifler is with a group of guys + drinking a beer, which he inspects very carefully before + every sip. + + ANGLE ON JIM AND MICHELLE + + Both drinking and talking, almost enjoying themselves. + + MICHELLE + That is a nasty story! + + JIM + I told you. + + MICHELLE + You wanna hear a nasty story of mine? + It's kind of sexual. + + Ding! A light goes off in Jim's head. + + JIM + Yeah, bring it on! + + MICHELLE + Well, this one time? At band camp? + We were playing this game, I don't + know if you know it? But it's called + spin the bottle? And I had to kiss + this guy named Marc Wander on the + lips? And... + + Jim's expression sinks. + + INT. STIFLER'S COTTAGE - BEDROOM - NIGHT + + The lights are down. Vicky and Kevin are in bed. + + KEVIN + You comfortable? + + VICKY + Yeah, are you? + + KEVIN + Yeah. + + A beat. + + VICKY + You sure you're comfortable? + + KEVIN + Yeah. Are you sure? + + VICKY + Yeah. + + KEVIN + Me too. + + VICKY + Okay. + (a beat) + Did you bring a condom? + + KEVIN + Yeah, right here. + + He pulls out a condom. A beat as they contemplate it. + + KEVIN (CONT'D) + So, do you want to be -- I mean, how + do you want to do it? + + VICKY + I don't know. How do you? + + KEVIN + Like, normal style. The...missionary + position. + + VICKY + Okay. + + A moment as they realize there's nothing left to do, but - + + VICKY (cont'd) + Kevin... + + KEVIN + Yeah Vick? + + VICKY + I want to hear you say it. + + KEVIN + Okay. + + Kevin swallows hard. And says -- + + KEVIN (CONT'D) + Victoria...I love you. + + VICKY + I love you. + + They both take a deep breath. + + EXT. BEACH - NIGHT + + Oz and Heather lay in a secluded spot in the dunes, + surrounded by tall beach grass that swishes in the spring + breeze. Stars and a lustrous moon above. + + The silence speaks. We can see it in their eyes. + Yearning. + + OZ + I can't think of anything to say + that's not cheesy. + + HEATHER + Then don't. + + They kiss. It's time. + + INT. STIFLER'S COTTAGE - BEDROOM - NIGHT + + A brief moment of uncertainty. Kevin shifts around a + bit, trying to position himself. Vicky's hand goes under + the sheets. + + VICKY + Here. + + We know what she's doing. They both maintain eye + contact... + + EXT. BEACH - NIGHT + + Heather and Oz are re-inventing the idea of passion. + Discovering love. This is the stuff that you thought + only existed in romance novels. Seriously. + + INT. STIFLER'S COTTAGE - PARTY ROOM - NIGHT + + Jim is trying to stay interested in Michelle's drivel. + + JIM + So, the end of the story is...you had + to kiss the guy for twenty seconds? + + MICHELLE + Yes! And he was such a dork! And + everyone laughed at me, but I didn't + care? Because it was so funny! + + JIM + (flat) + Okay, I get it. + + MICHELLE + Oh! And then this one time? At band + camp? I stuck a flute in my pussy. + + Jim CHOKES on his beer. Michelle considers her + revelation no big deal, watching with some amusement as + Jim struggles to recover. + + JIM + ...excuse me?! + + MICHELLE + What, you think I don't know how to + get myself off? Hell, that's what + half of band camp is! Sex ed! + + Jim is ga-ga. He watches in disbelief as she lets her + hair down. And wouldn't you know it, she's pretty cute. + + MICHELLE (cont'd) + So are we gonna screw soon? I'm + getting kind of antsy. + + Jim pauses in disbelief. Then -- + + INT. STIFLER'S COTTAGE - STIFLER'S BROTHER'S BEDROOM - NIGHT + + Michelle and Jim burst in and slam the door. A toy + basketball hoop falls off the back of the door. They are + standing in a cluttered, toy-strewn, pit of a kid's room. + One of those stupid plastic airplanes on a string hangs + from the ceiling, flying in circles. + + JIM + This'll do. + + MICHELLE + Now, I have two rubbers. Wear them + both, it'll desensitize you. I don't + want you coming so damn early. + + JIM + Why, uh, what makes you think that I -- + + MICHELLE + Come on. I saw you on the net. Why + do you think I accepted this date? + You're a sure thing! + + Jim heartily agrees. + + INT. STIFLER'S COTTAGE - BASEMENT - NIGHT + + The scotch bottle is almost empty. Stifler's Mom and + Finch are smoking cigarettes. + + FINCH + So...would you object if I said you're + quite striking? + + STIFLER'S MOM + Mister Finch -- are you trying to + seduce me? + + FINCH + Yes ma'am, I am. + + One look between them, and we know it's all over. + + INT. STIFLER'S COTTAGE - BEDROOM - NIGHT + + Kevin and Vicky. Silently doing it. Curious looks on + their faces. The look you get when your waiter delivers + your food in a fancy restaurant, and you look at the + creation on the plate, and secretly you're not sure if + it's really what you ordered. But you don't say + anything, and you just eat it. + + EXT. BEACH - NIGHT + + Oz and Heather. Souls entwined. Making love. + + INT. STIFLER'S COTTAGE - STIFLER'S BROTHER'S BEDROOM - NIGHT + + We can hear Jim and Michelle going at it like a couple of + HOWLING BANSHEES over a SERIES OF SHOTS: + + -- A piggy bank gets knocked over and shatters. + + -- An x-wing fighter flies across the room. + + -- A pillow explodes in a cloud of feathers. + + -- One of the legs on the bed breaks. + + INT. STIFLER'S COTTAGE - OUTSIDE BASEMENT DOOR - NIGHT + + The Basement door is closed. We hear from the inside... + + STIFLER'S MOM (O.S.) + I had no idea you'd be this good! + + FINCH (O.S.) + Neither did I! + + INT. STIFLER'S COTTAGE - STIFLER'S BROTHER'S BEDROOM - NIGHT + + Jim and Michelle going at it. Again, we HEAR but can't + see them. The room is more trashed than before. And as + we PAN across the disaster area they've created -- + + JIM (O.S.) + Are you gonna do what I think you're + gonna do? + + MICHELLE (O.S.) + Don't you want me to? + + JIM (O.S.) + Oh yeah! Put it in your mouth! + + MICHELLE (O.S.) + Okay! + + We see her...on top of Jim. She clears her throat. And + then we see her raise a children's plastic recorder to + her lips -- and she whistles THE MICHIGAN FIGHT SONG. On + cue, Jim chimes in -- + + JIM + Hail, hail, to Michigan, the leaders + and best! + + EXT. BEACH - NIGHT + + Oz could be coming. Heather could be coming. But it's + all so darn passionate that the whole thing looks like + one big orgasm anyway. + + INT. STIFLER'S COTTAGE - STIFLER'S BROTHER'S BEDROOM - NIGHT + + Jim and Michelle lay on the floor, tangled in sheets and + each others' clothing. Exhausted, gasping. + + And then we see the closet door is open, just a crack. + It swings open. Standing there is Stifler's Little + Brother. Jaw hanging. + + STIFLER'S BROTHER + That was awesome! + + Jim and Michelle are stunned. + + INT. STIFLER'S COTTAGE - BASEMENT - NIGHT + + Finch and Stifler's Mom are just off-camera. We can't + see it, but we can tell Finch's status from his ORGASMIC + MOANING. + + What we do see is the kitchen door handle rattling. The + chair falling out of place. And the door opening as + Stifler walks in. He stops, horrified. + + STIFLER + Ugh...oh no... + + He looks like he's going to barf. Instead, he passes + out. + + EXT. STIFLER'S COTTAGE - SUNRISE - ESTABLISHING + + The sun rises over Lake Michigan. A brand new day. + Various students are passed out here and there. + + EXT. BEACH - DAY + + Oz holds Heather in his arms. Completely peaceful. + SEAGULLS CALL to each other. WAVES BREAK on the shore. + + Oz has lost all pretense. Smiling to himself, or maybe + to the world. + + INT. STIFLER'S COTTAGE - STIFLER'S BROTHER'S BEDROOM - DAY + + Jim wakes up in bed, alone. He looks around. + + JIM + She's gone. + + He considers this. + + JIM (cont'd) + Oh my God. She used me. + + He considers this further. Smiles. + + JIM (cont'd) + Wow! I was used! Cool! + + He jumps up and does a little dance, SINGING... + + JIM (CONT'D) + Hail! to the victors, valiant; Hail! + to the conquering heroes, hail... + + INT. STIFLER'S COTTAGE - BEDROOM - DAY + + Kevin and Vicky lie next to each other in bed, staring at + the ceiling. Though they're trying to conceal it, we can + see a bit of dissatisfaction, uncertainty, peeking + through. + + KEVIN + That was a great night. + + VICKY + Yeah. + + A beat. + + KEVIN + I can't believe we just had our senior + prom. + + VICKY + Yeah, the time went by so fast. + + KEVIN + It did. + + Another beat. + + VICKY + Kevin, next year...with you in Ann + Arbor, and me in Nashville...it's not + gonna work, is it. + + KEVIN + Don't say that, we can do it somehow. + It might not be perfect, but -- + + VICKY + (interrupting) + No, Kevin -- + (she sits up) + That's the whole thing, that's what + I've been realizing. That nothing's + perfect, that you can't plan + everything. + + Kevin thinks this over. + + KEVIN + It is far away...and we'll be on our + own...meeting new people... + + A moment as they think this over. + + KEVIN (CONT'D) + Vicky...last night...I wasn't lying. + + VICKY + I know. + (a beat) + Let's go. Don't you have something to + tell your friends? + + KEVIN + What? + + VICKY + Your little pact. Jessica told me all + about it. + (hits him lightly) + Way to go, Kev! + + Kevin gives an embarrassed smile. + + DISSOLVE TO: + + EXT. DOG DAYS - DAY + + A sign on the window reads, "Congratulations Seniors!" + + INT. DOG DAYS - DAY + + The four, newly non-virgins munch on hot dogs. Kevin's + LAUGHING. + + KEVIN + (to Jim) + I guess we'll call you two-ply. + + OZ + Yeah. So you want double condiments + on that? + + JIM + No, no that's fine. + (then, to Kevin) + So you doing okay? + + KEVIN + (a wistful smile) + Yeah. + + FINCH + I'll tell you, I've learned one thing: + women, like wine, get better with age. + (a beat) + Of course, I have no frame of + reference for this comparison. + + KEVIN + So Oz, you almost made it, huh? + + OZ + (smiles) + I'll just say that we had a great + night together. + + JIM + Hang in there, buddy, you'll get + there. + + OZ + I know. + + KEVIN + Wow. You two really have something + going, don't you? + + OZ + I think we're falling in love. + + They GROAN. Oz just smiles. + + KEVIN + You know what the coolest thing is? + This, right now. + + They guys keep eating, uncertain what to say. + + OZ + It's true. I mean, after this, + everything'll be different. + + JIM + After getting laid? + + OZ + After high school. + + KEVIN + Yeah, but we'll still see each other. + + OZ + Fuck yeah we will. + + A beat. Kevin raises his Pepsi. + + KEVIN + To the next step. + + ALL + To the next step. + + They all toast. + + INT. KEVIN'S BEDROOM - DAY + + Kevin is on the phone. + + KEVIN + (into phone) + Hey. I got another question for you. + + KEVIN'S BROTHER (V.O.) + What's that? + + INT. EAST GREAT FALLS HIGH - BACK OF LIBRARY - DAY + + Kevin arrives in the back of the library. Kneels down to + put the bible back. + + KEVIN (V.O.) + Um...I'm sort of wondering + about...love. + + We hear Kevin's Brother CHUCKLE knowingly. + + KEVIN'S BROTHER (V.O.) + That's the next book, Kevin. That's + the next book. + + He puts the bible back without the reverence he once had + for it. Stands up with some new confidence. We FOLLOW + WITH HIM as he walks out of the library...and enters the + courtyard, crowded with students. He disappears into + them as we... + + FADE TO BLACK + + ROLL CREDITS + + INT. JIM'S BEDROOM - DAY + + Jim's dad sits across from Jim. + + JIM'S DAD + (eyes tearing) + Son. That's the best damn story I + ever heard. + + Jim beams proudly. + + JIM'S DAD (CONT'D) + You know, after I graduated high + school, my parents let me do some + traveling... + + INT. A HOTEL HALLWAY + + SUPER: "PRAGUE, CZECH REPUBLIC" + + A WAITER ascends a beautiful, red-carpeted staircase, + carrying a tray with bottle of champagne and a rose. He + arrives in front of a hotel door. KNOCKS. A BELLBOY + passes by, noticing the waiter. And HE SPEAKS TO HIM IN + AUTHENTIC, THICK CZECH. + + BELLBOY + (subtitled) + Another bottle? + + WAITER + (subtitled) + He knows how to treat a woman. + + The door opens -- to reveal Jim, sweaty but not the least + bit tired, tying on a robe. + + JIM + Thanks guys. + + A pair of arms wraps around him from behind. And -- + Nadia peeks her head over Jim's shoulder. + + NADIA + Come back to bed, James. + + Jim smiles to the guys and takes the tray, as Nadia pulls + him back in and closes the door. + + WAITER + (subtitled) + That is one lucky man. + + BELLBOY + (subtitled) + Funny -- I swear I have seen those two + somewhere before. The boy is some + sort of dancer. + + They head off. + + FADE TO BLACK diff --git a/scripts/Avatar.txt b/scripts/Avatar.txt new file mode 100644 index 0000000..4c10308 --- /dev/null +++ b/scripts/Avatar.txt @@ -0,0 +1,8545 @@ + AVATAR + + + + + Written by + + James Cameron + + + + + + THE SOUND OF DRUMS, from a great distance, growing louder. + + FADE IN: + + WE ARE FLYING through mist, a dimly glimpsed forest below. + + VOICE (V.O.) + When I was lying there in the VA + hospital, with a big hole blown through + the middle of my life, I started having + these dreams of flying. + + We are very low over the forest now, gliding fast, the drums + BUILDING to a PEAK -- + + VOICE (V.O.) + Sooner or later though, you always have + to wake up... + CUT TO: + + EXT. CITY - NIGHT + + A SCREECH OF BRAKES as a vehicle WIPES FRAME, revealing -- + + JAKE SULLY, a scarred and scruffy combat vet, sitting in a + beat up carbon-fiber wheelchair. At 22, his eyes are + hardened by the wisdom and wariness of one who has endured + pain beyond his years. + + Jake stares upward at the levels of the city. MAGLEV TRAINS + WHOOSH overhead on elevated tracks, against a sky of garish + advertizing. + + JAKE (V.O.) + They can fix a spinal, if you've got the + money. But not on vet benefits, not in + this economy. + + The traffic light changes and Jake pushes forward with the + crowd, pumping the wheels of his chair. Most of the people + wear FILTER MASKS to protect them from the toxic air. In a + LONG LENS STACK it is a marching torrent of anonymous, + isolated souls. + + INT. JAKE'S APARTMENT - NIGHT + + The room is a tiny CUBICLE, prison cell meets 747 bathroom. + Narrow cot, wall-screen droning away in the B.G. -- + + PERKY NEWSCASTER + The Bengal tiger, extinct for over a + century, is making a comeback. These + cloned tiger cubs at the Beijing Zoo + are... + + 2. + + + + Jake laboriously pulls his pants off -- rocking to one side, + pushing the fabric down past his hip, then rocking to the + other, and so on. + + His legs are white and atrophied. Utterly useless. But his + arms are tattooed and powerfully muscled. A "Born Loser" + tattoo prominent on his shoulder. + + JAKE (V.O.) + I became a Marine for the hardship. To + be hammered on the anvil of life. I told + myself I could pass any test a man can + pass. + + Jake struggles with his pants a long time. + CUT TO: + + INT. ROWDY BAR -- NIGHT + + Not the kind of place you'd bring your mom. + + We find Jake near the pool table, BALANCING his chair, front + wheels off the ground, while holding a tequila shot on his + forehead. ONLOOKERS, including some other disabled vets, + CLAP and WHOOP. + + Jake grabs the glass, SLAMS down the shot as they cheer. + + A WALL-SIZED SCREEN filled with the World Cup game -- men + RUNNING on antelope legs. + + CU JAKE, watching what he can't have. Expression stony. + + JAKE (V.O.) + Let's get it straight up front. I don't + want your pity. I know the world's a + cold-ass bitch. + + Jake's eyes shift -- HIS POV, seeing the bar through gaps in + the crowd. A MAN on a barstool SLAPS the WOMAN he's with. + Hard. She cowers but he's got her arm, shouting, raising his + fist. An eternal tableau. People look away. + + CU JAKE -- not looking away. + + JAKE (V.O.) + You want a fair deal, you're on the wrong + planet. The strong prey on the weak. + + TIGHT ON JAKE'S HAND as he starts pushing the wheel of his + chair. + + TRACKING WITH HIM as he rolls forward. + + 3. + + + + JAKE (V.O.) + It's just the way things are. And nobody + does a damn thing. + + Jake stops, unnoticed, next to the bullying man. He leans + down and grabs one leg of the man's barstool -- and YANKS. + + The chair flips. The guy goes down HARD and -- + + JAKE hurls himself from the wheelchair, toppling on the guy, + getting a grip on him like a pit bull and PUNCHING the crap + out of him, right there on the floor. + + THE BOUNCER jumps in, trying to drag him off and it goes into + SLOW MOTION, everybody yelling and pulling... + + JAKE (V.O.) + All I ever wanted in my sorry-ass life + was a single thing worth fighting for. + CUT TO: + + EXT. ALLEY BEHIND BAR -- NIGHT + + THE BOUNCER hurls Jake out the door, sending him SPRAWLING on + the pavement. A moment later, his chair CRASHES down on him, + banging across the alley, landing in the trash. + + Jake struggles to rise on one elbow. He's bleeding and + bruised, but still crazed and ready to fight. + + JAKE + I hope you realize you've just lost a + customer! + + He collapses onto his back, panting. + + JAKE + (to himself) + Candy ass bitch. + + He stares upwards at the levels of the city. MAGTRAINS ROAR + overhead. It starts to RAIN. He just lies there, blinking -- + then shouts jauntily to no one in particular -- + + JAKE + If it ain't rainin' we ain't trainin'! + + CAMERA PULLS BACK high and wide, as Jake lies spread-eagled + amongst the trash, getting drenched. + + TWO LONG SHADOWS enter FRAME, coming to rest across him. + + 4. + + + + Jake sees two pairs of SHINY SHOES stop next to him. He + squints up at -- + + TWO MEN. Matching suits. Their features unremarkable and + blandly threatening in the way of FBI agents and auditors. + + AGENT 1 + Are you Jake Sully? + + JAKE + Step off. You're ruinin' my good mood. + + AGENT 2 + It's about your brother. + CUT TO: + + INT. MUNICIPAL CREMATORIUM - NIGHT + + DOWN-ANGLE on a large rectangular cardboard box. HANDS ENTER + FRAME, pulling open the top to reveal a DEAD MAN'S FACE. He + looks EXACTLY like a clean-shaven version of Jake. His + IDENTICAL TWIN -- TOMMY. + + JAKE (V.O.) + The strong prey on the weak. A guy with + a knife took all Tommy would ever be, for + the paper in his wallet. + + WIDER, showing Jake and the two agents in a high tech + CREMATORIUM -- a row of stainless steel furnaces. Jake + stares down at his own face. + + JAKE + Jesus, Tommy. + + JAKE (V.O.) + The Suits' concern was touching. + + AGENT 1 + Your brother represented a significant + investment. We'd like to talk to you + about taking over his contract. + + The ATTENDANT closes the box and seals it with a tape + dispenser, like it's a package for shipping. The cardboard + coffin is rolled into the furnace. + + JAKE (V.O.) + The egghead and the jarhead. Tommy was + the scientist, not me. He was the one + who wanted to get shot light years out + into space to find the answers. + + 5. + + + + PUSHING IN ON JAKE as he watches, bathed in orange light. + + JAKE (V.O.) + Me -- I was just another dumb grunt + gettin' sent someplace I was gonna + regret. + + INSIDE THE FURNACE the burners quickly eat away the + cardboard; TOMMY'S FACE is, for a moment, wreathed in flame + but not touched by it, as we -- + DISSOLVE TO: + + JAKE'S FACE, in icy darkness. CLOSE ON his eyes -- they OPEN + suddenly, and he takes a sharp breath. + + JAKE'S POV -- the inside of a metal coffin. A SERVO WHINE + and we are moving, emerging into a large chamber -- + + INT. CRYO VAULT + + JAKE'S POV -- A TECH in medical scrubs FLOATS WEIGHTLESSLY + toward us. Wherever we are, we're not on Earth. + + Jake squints as the lights flicker on, revealing -- + + WIDE SHOT -- the multi-tiered CRYO VAULT. Hundreds of CRYO- + CAPSULES are opening like morgue drawers, as med techs pull + themselves about in ZERO-G, tending to their patients. + + JAKE + (a hoarse whisper) + Are we there? + + MED TECH + We're there, Sunshine. + + TIME CUT -- SCORES OF PEOPLE emerge from their cryo-capsules + in ZERO-G. Pale spirits of the dead rising from rows of open + coffins. + + The MED TECH floats among them, using his announcement voice. + + MED TECH + People, you have been in cryo for five + years, nine months and twenty two days. + You will be hungry, you will be weak. If + you feel nausea, please use the sacks + provided for your convenience. The staff + thanks you in advance. + + 6. + + + + FOLLOWING JAKE as he pushes away from his capsule, gliding to + the LOCKERS across the aisle, his paralyzed legs not an + impediment in weightlessness. + CUT TO: + + EXT. SPACE + + Against the cold infinity of stars glides an INTERSTELLAR + SPACECRAFT -- ISV VENTURE STAR. As it moves past like an + endless train, we realize this thing is ENORMOUS -- over half + a mile long. PAN WITH IT 180 to REVEAL -- + + A GAS-GIANT PLANET called POLYPHEMUS, ringed with dozens of + moons which cast beauty-mark shadows on its vast face. + + The ISV diminishes away from us toward the largest MOON-- a + blue and surprisingly Earth-like world called PANDORA. The + ship dwindles to a speck against the BLUE MOON. + CUT TO: + + EXT. PANDORA ORBIT + + ISV Venture Star drifts above a spectacular vista -- the + sapphire seas and unfamiliar continents of Pandora. + + CLOSE ON ISV -- two massive "VALKYRIE" SHUTTLES are mated to + a DOCKING NODE. One of them separates from the starship and + moves away, its thrusters FIRING in short bursts. + + As the shuttle moves away, descending toward Pandora, we hear + the sound of DRUMS, building, louder and louder until we-- + CUT TO: + + EXT. RAINFOREST - TWILIGHT + + FLYING OVER A LANDSCAPE of massive cliffs and towering mesas + carpeted in rainforest. Great scarves of cloud swirl around + the mesa tops. A primeval landscape, vast and forbidding. + + The trees are alien, the color too cyan. There are + waterfalls, rivers, and distant flocks of WINGED CREATURES. + + Suddenly the carpet of virgin rainforest gives way to -- + + AN OPEN-PIT MINE. A lifeless crater -- as if a giant cookie- + cutter took a chunk out of the world. Down among the + terraces are EXCAVATORS and TRUCKS the size of three story + buildings. + + And beyond the mine is the HUMAN COLONY -- + + 7. + + + + EXT. HELL'S GATE - TWILIGHT + + HELL'S GATE is a cluster of squat concrete and steel + structures surrounded by chain-link FENCE 10 meters high, + topped with razor wire. + + At the corners are towers with automated SENTRY GUNS + swiveling on servo mounts. + + Visible beyond the gun towers, the VALKYRIE SHUTTLE roars in + across the treetops. VECTORING NOZZLES change angle, + bringing the ship to a SLOW HOVER. + + EXT. RAIN FOREST - TWILIGHT + + Through a screen of jungle canopy, we see the VALKYRIE + thunder overhead. Camera TILTS with it until leaves block + the view. + + A BLUE INHUMAN HAND reaches INTO SHOT, parting the foliage to + reveal the shuttle hover-taxiing across the compound. + + REVERSE -- ECU of two intense, cat-like golden EYES watching. + + INT./EXT. SHUTTLE + + The CREW CHIEF stomps down the aisle yelling -- + + CREW CHIEF + Exopacks on! + + Passengers don their EXO-PACK breathing gear with practiced + moves. Everybody except JAKE, who's turning his this way and + that trying to figure out the straps. + + CREW CHIEF + Remember people, you lose your mask + you're unconscious in 20 seconds and + you're dead in four minutes. Let's nobody + be dead today, it looks bad on my report. + + The crew chief stops by Jake long enough to bark -- + + CREW CHIEF + Exopack on, let's go! + + BENEATH THE SHUTTLE air blasts outward for a hundred meter + radius as it settles onto its landing gear. + + INSIDE everybody is queued up in the aisles, with duffles + ready. Rows of tense, expectant faces in breathing masks -- + and we DIP DOWN to find Jake, wheelchair putting him at the + level of everyone else's WAISTS. + + 8. + + + + THE CARGO RAMP OPENS with a hydraulic whine. + + CREW CHIEF + Go directly into the base! Do not stop! + Go straight inside! + + HAND-HELD, running with the arriving colonists who double + time down the ramp. They jog across the exposed apron toward + a walkway covered in CHAINLINK which leads to the complex. + + Inside the chain-link tunnel are a couple of SEC-OPS + TROOPERS, CORPORAL LYLE WAINFLEET and PRIVATE FIKE. Sec-Ops + is the colony's private security force. These guys are laid + back, hardened, and haggard. + + WAINFLEET + Look at all that new meat. + + THEIR POV -- Jake rolls down the ramp. + + FIKE + Check it out, man. Meals on wheels. + + WAINFLEET + That is just wrong. + + Jake, pumping his chair, looks around as -- + + A huge TRACTOR, taller than a house, ROARS past on muddy + wheels. He notices something sticking in the tires -- + ARROWS. The neolithic weapons are jarring amid all the + advanced technology. + + Beyond the tractor, two VTOL vehicles take off. Armored and + heavily armed, they are AT-99 "SCORPION" GUNSHIPS. + + MITSUBISHI MK-6 AMPSUITS -- human operated walking machines 4 + meters tall -- patrol the perimeter. They are heavily + armored, and armed with a huge rotary cannon called a GAU-90. + + Beyond the outer fence stands a black wall of forest hundreds + of feet high. A SENTRY GUN OPENS FIRE from a tower. TRACERS + light up the twilight. A shadowy SHAPE SHRIEKS and drops off + the fence. It is an armed camp in a state of siege. + + WAINFLEET and Fike give Jake and his chair the hairy eyeball + as he approaches. + + JAKE + What're you two limpdicks starin' at? + + As Jake rolls past, SOMETHING SWOOPS down behind him and -- + + 9. + + + + K-KRASH! SMASHES against the chain-link right next to his + head. + + A vicious AERIAL PREDATOR a meter across gnashes glass fangs + 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 diff --git a/scripts/Beauty_and_the_Beast.txt b/scripts/Beauty_and_the_Beast.txt new file mode 100644 index 0000000..7b9b9a5 --- /dev/null +++ b/scripts/Beauty_and_the_Beast.txt @@ -0,0 +1,5986 @@ + BEAUTY AND THE BEAST + + + + Written by + + Stephen Chbosky & Evan Spiliotopoulos + + + + + + Based on the 1991 Animated Film + "Beauty and the Beast" + Screenplay by Linda Woolverton + + + + + August 10, 2016 + +1 EXT. CASTLE GROUNDS - NIGHT 1 + + A MAGNIFICENT CASTLE. Resplendent, bespeaking great wealth and + power. The grounds and stonework immaculate. + + NARRATOR (V.O.) + Once upon a time in the hidden heart of + France, a handsome young Prince lived in + a beautiful castle... + + RACK FOCUS to a single RED ROSE clinging to a rose bush on a + stormy spring night. A WEATHERED HAND plucks the rose. + + NARRATOR (V.O.) + Although he had everything his heart + desired, the Prince was selfish and + unkind. + +2 INT. BALLROOM ENTRANCE - CASTLE - NIGHT 2 + + TIGHT ON THE PRINCE being groomed by his servants. (We do not + see their faces.) A FRENCH MAID paints an exotic animal mask + on the Prince's face with a feather brush. A TALL VALET drapes + the Prince with an elaborately bejeweled coat. + + NARRATOR (V.O.) + He taxed the village to fill his + castle with the most beautiful + objects... + + The MAID dusts his wig with powder - + + MAID + Poof poof... + + - while a MAJORDOMO holds a POCKET WATCH, indicating that they + are running late. + + MAJORDOMO + Master, it's time. + + With a haughty wave, the Prince instructs his FOOTMAN to + bring more light. + + FOOTMAN + Oui, maître. + + A CANDELABRA is lifted to the preening Prince as he looks at + himself in an ornate HAND MIRROR. + + NARRATOR (V.O.) + ... and his parties with the most + beautiful people. + 2. + + +3 INT. BALLROOM - CASTLE - NIGHT 3 + + The ornate room is filled with BEAUTIFUL PEOPLE from all + corners of the world, each on display for the Prince's + pleasure. A circle of eligible maidens bow their heads. + + Seated in a throne chair dominated by a majestic COAT OF + ARMS, the Prince snaps his fingers impatiently at an ITALIAN + MAESTRO, who smiles, revealing comically rotten teeth. + + The maestro sits at a harpsichord and motions to his wife, a + LARGE DIVA holding a TINY BICHON FRISÉ. As the music begins, + the Prince steps forward. + + The diva fills the room with a voice as big as her frame. + The Prince performs a ROUNDELAY with several debutantes: + + DIVA + Oh how divine + Glamour, music and magic combine + See the maidens so anxious to shine + Look for a sign that enhances + Chances + She'll be his special one + +5 INT. BALLROOM - CASTLE - NIGHT 5 + + The dance speeds up. The Prince connects momentarily with a + beautiful woman -- but quickly moves on when his eye catches + someone even more dazzling: + + DIVA + What a display! + What a breathtaking thrilling array + (coos to the dog) + Every prince, every dog has his day + Let us sing with passion, gusto + Fit to bust - oh + Not a care in the world + + KNOCK KNOCK. The Prince stops. Then a gust of wind blows open + the windows. Sconces flicker and go dark. The figure enters + in silhouette, hobbling on a CANE. + + Furious, the Prince grabs a lit candelabra from the Footman. + He rudely pushes through the crowd, sweeping people from his + path. He crosses to the windows, finally revealing -- + + AN OLD BEGGAR WOMAN shivering from the rain. She looks to the + Prince with hope and offers him -- A RED ROSE. + + NARRATOR (V.O.) + Then, one night, an unexpected intruder + arrived at the castle, seeking shelter + from the bitter storm. As a gift, she + offered the Prince a single rose. + 3. + + +The PRINCE'S HAND waves her off. The woman begs on her knees. +The Prince motions to the staff. + + NARRATOR (V.O.) + Repulsed by her haggard appearance, the + Prince turned the woman away. But she + warned him not to be deceived by + appearances, for beauty is found within. + +The majordomo and footman approach to usher her out. The woman +lowers her head as if to cry -- + + NARRATOR (V.O.) + And when he dismissed her again, the old + woman's outward appearance melted away + to reveal... + +Suddenly, the old woman's cape and hood cocoon. AN ERUPTION OF +LIGHT as she transforms into... + + NARRATOR (V.O.) + ...a beautiful Enchantress. + +The wind picks up inside the room. Frightened, the Prince +falls to his knees. + + NARRATOR (V.O.) + The Prince tried to apologize but it + was too late. For she had seen that + there was no love in his heart. + +As the Prince begs for mercy, his body begins to transform. +His jewelry pops off. His clothing rips as he grows larger. + + NARRATOR (V.O.) + As punishment, she transformed him + into a hideous beast... + +The guests scream in horror and flee. But pushing his way +through the crowd, A YOUNG BOY slips into the ballroom, +watching in wonder as -- the PRINCE'S SHADOW twists into the +SHADOW OF A HIDEOUS BEAST. + +The boy's mother frantically follows him inside -- + + BOY'S MOTHER + Chip! Chip! Oh my... + +-- just as the doors slam shut, leaving the staff, the +entertainers and the dog trapped in the room. + + NARRATOR (V.O.) + ... and placed a powerful spell on the + castle and all who lived there. + 4. + + +5A INT. BALLROOM - CASTLE - NIGHT 5A + + CLOSE ON a portrait of the handsome prince -- as the beast's + giant paw slashes it. + +6 EXT. CASTLE - NIGHT 6 + + Years later, the enchanted castle stands isolated. The + property is surrounded by an ice hedge. The only sound is the + grim winter wind. As we move closer: + + NARRATOR (V.O.) + As days bled into years, the Prince + and his servants were forgotten by the + world. For the Enchantress had erased + all memory of them from the minds of + the people they loved. + +7 EXT./INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 7 + + At the highest window of the west wing, we see THE BEAST. The + ROSE, already wilting, floats before him. To protect it, the + beast has covered it with a glass bell jar. + + NARRATOR (V.O.) + But the rose she had offered was truly + an enchanted rose. If he could learn to + love another and earn their love in + return by the time the last petal fell, + the spell would be broken. If not, he + would be doomed to remain a beast for + all time. + + TIGHT ON THE ROSE -- another petal drops. + + NARRATOR (V.O.) + As the years passed, he fell into + despair and lost all hope. For who + could ever learn to love a beast? + +8 EXT. BELLE'S COTTAGE - MORNING 8 + + The front door of a cozy cottage opens to reveal -- BELLE, a + pure beauty blessed with intelligent, fiercely inquisitive eyes. + With book in hand, she takes a deep breath of morning air and + gazes toward the church which peeks above the village rooftops. + + BELLE + Little town, it's a quiet village + Every day like the one before + Little town full of little people + Waking up to say... + + Belle looks at the clock on the church counting to 8am. Wait + for it. 3. 2. 1. + 5. + + +9 EXT. VILLAGE OF VILLENEUVE - MORNING 9 + + On cue, the villagers begin their day. A HOUSEWIFE opens a + window, nods to a WOMAN shaking out a rug nearby. A BUTCHER + opens his shop, waves to a COBBLER moving past with his cart. + + VILLAGERS + Bonjour. Bonjour. Bonjour. Bonjour. + + An old VAGRANT is the only one to notice Belle, smiling at her + as he's tossed inside a HOLDING TANK by two GENDARMES. + + VAGRANT + Bonjour. + + Belle weaves between the villagers, making herself invisible. + She passes a harried BAKER, buys a baguette -- + + BELLE + There goes the baker with his tray like + always + The same old bread and rolls to sell + + Belle approaches JEAN, the potter, tending to his MULE. + + BELLE (CONT'D) + Every morning just the same + Since the morning that we came + To this poor provincial town + + JEAN + Good morning, Belle + + Jean scratches his head, trying to remember something. He + searches his cart which is loaded with pottery. + + BELLE + Good morning, Monsieur Jean. Have you + lost something again? + + JEAN + I believe I have. Problem is, I can't + remember what. Well, I'm sure it will + come to me. + + As she leaves: + + JEAN (CONT'D) + Where are you off to? + + BELLE + To return this book to Pere Robert. + It's about two lovers in fair Verona. + + JEAN + Sounds boring. + 6. + + + Later -- Belle passes SCHOOL BOYS as they march into the school + house. Their heads turn in unison. + + SCHOOL BOYS + Look there she goes + That girl is strange, no question + + The NASTY HEADMASTER ushers them in impatiently. + + NASTY HEADMASTER + Dazed and distracted, can't you tell? + + As the boys scramble into school, Belle steps on the stones + over the duck pond -- revealing GIRLS forced into "woman's + work" chores, washing clothes in the circular laverie. + They're surrounded by women kneading clothes on barrels. + + WASHER WOMEN + Never part of any crowd + `Cause her head's up on some cloud + + LITTLE GIRLS + No denying she's a funny girl + That Belle + + A FLIRTATIOUS FARMER approaches a PRETTY FISHMONGER'S WIFE. + + FARMER + Bonjour, good day, how is your family? + + PRETTY FISHMONGER'S WIFE + (pointed) + Bonjour, good day, how is your wife? + + THE FISHMONGER pops up next to his wife, sending the would-be- + Lothario into retreat. Another fishmonger, the shrewish + CLOTHILDE, accosts him: + + CLOTHILDE + I need six eggs + + The FARMER points out the price. Belle moves past. + + CLOTHILDE (CONT'D) + That's too expensive + + BELLE + There must be more than this provincial + life + +10 INT. CHURCH VESTRY - DAY 10 + + Belle escapes into the peace and serenity of a country + church. Jolly PERE ROBERT looks up as she enters. + 7. + + + PERE ROBERT + Well! If it isn't the only bookworm + in town. So where did you run off to + this week? + + BELLE + Two cities in Northern Italy. I + didn't want to come back. + + Belle hands "Romeo and Juliet" to Pere Robert, who dutifully + returns it to the shelves of the town's "library": a COUPLE + DOZEN BOOKS in total. She remains hopeful. + + BELLE (CONT'D) + Have you got any new places to go? + + PERE ROBERT + I'm afraid not. But you may reread + any of the old ones that you'd like. + + BELLE + Thank you, Pere Robert. Your library + almost makes our small corner of the + world feel big. + + He smiles. Belle picks up a new book and smiles back. + + PERE ROBERT + Bon voyage. + +11 EXT. VILLAGE OF VILLENEUVE - DAY 11 + + ANGLE ON BELLE -- nose planted in her book, she walks down + into the crowded market which is just being set up. Belle + passes TOM, DICK, and STANLEY - all burly, tough guys. + + TOM, DICK & STANLEY + Look -- there she goes + The girl is so peculiar + + Belle buys jam then glides past an APOTHECARY's open cart: + + APOTHECARY + I wonder if she's feeling well + + Belle ducks under CHEESE SELLERS carrying their trays: + + CHEESE SELLERS + With a dreamy far-off look + And her nose stuck in a book + What a puzzle to the rest of us + Is Belle + + Behind her, FLORISTS pass with huge bouquets. It's a glorious + parade but Belle remains oblivious as she continues to read... + 8. + + + BELLE + Oh... isn't this amazing? + It's my favorite part because you'll see + Here's where she meets Prince Charming + But she won't discover that it's him + `Til chapter three + + Three fashion-crazed VILLAGE LASSES -- all dressed in the same + style -- pop their heads from the windows of the dress shop. + Their MOTHER, who is besotted with Belle, heads outside when + she sees her: + + VILLAGE LASSES' MOTHER + Now it's no wonder that her name means + "Beauty" + Her looks have got no parallel + + Her daughters follow, seething with jealousy: + + VILLAGE LASS #1 + But behind that fair facade + I'm afraid she's rather odd + + VILLAGE LASSES' MOTHER + (greets Belle) + Very different from the rest of us + + VILLAGE LASSES + She's nothing like the rest of us + Yes, different from the rest of us + + Belle slips through the crowd. + + VILLAGERS + Is Belle + +11A EXT. VILLAGE PROMONTORY - DAY 11A + + Looking down on the village is GASTON, a dashingly handsome + war hero clad in a dazzling gold breastplate. The only thing + bigger than his muscles is his ego. Strapped on his saddle + is a musket and the spoils of his hunt: rabbit, fox, and + fowl. Riding beside him is Gaston's long-suffering aide-de- + camp and devoted best friend LEFOU. + + Through his spyglass, Gaston spots Belle. + + GASTON + Look at her, LeFou. My future wife. + Belle is the most beautiful girl in + the village. That makes her the best. + + LEFOU + But she's so well-read, and you're + so... + (about to say "not") + Athletically inclined. + 9. + + + GASTON + I know. Belle can be as argumentative + as she is beautiful. + + LEFOU + Exactly, who needs her, when you've + got us! + + GASTON + Yes, but ever since the war I've been + missing something. And she's the only + girl I've met who gives me that sense + of... + + LEFOU + Je ne sais quoi? + + GASTON + I don't know what that means. + + +EXT. VILLAGE OF VILLENEUVE - DAY + +Gaston and LeFou ride through the village gates. Gaston +motions toward Belle in the village square. Geese flock +around her feet, seeming to follow her. + + GASTON + (singing) + Right from the moment when I met her, + saw her + I said she's gorgeous and I fell + Here in town there's only she + Who is beautiful as me + So I'm making plans to woo and marry + Belle + +As Gaston passes, the lasses try to catch his eye. + + VILLAGE LASSES + Look there he goes, isn't he dreamy + Monsieur Gaston, oh he's so cute + Be still my heart I'm hardly breathing + He's such a tall, dark, strong and + handsome brute + +As Gaston dismounts, the lasses get splattered with mud from +his horse's hooves. LeFou shoots them a look, whispers: + + LEFOU + It's never gonna happen, ladies. + +Noticing Belle crossing the market, Gaston starts off in +pursuit. He grabs flowers from the PERFUME STALL and makes a +bouquet. As they each make their way through the market: + + WASHER WOMEN #1, 2, 3 GASTON +Bonjour! Pardon! + 10. + + + BELLE BARMAID +Good day. Mais oui! + + TOM HOUSEWIFE #1 +You call this bacon? What lovely flowers! + + CHEESEMAKER #2 WOOD CARRIER +Some cheese... ...Ten yards! + + BREAD BUYER GASTON +...One pound. `Scuse me! + + CHEESEMAKER #1 GASTON (CONT'D) +I'll get the knife. Please let me through! + + JAM SELLER COBBLER +This bread... Those fish... + + JAM SELLER COBBLER (CONT'D) +It's stale! They smell! + + BELLE GASTON +There must be more than this Just watch -- I'm going to +provincial life! make Belle my wife! + +The image swells to reveal the whole village, singing. + + ALL + Look there she goes a girl who's + Strange but special + A most peculiar mademoiselle + It's a pity and a sin + She doesn't quite fit in! + + VILLAGE LASSES + But she really is a funny girl + + VILLAGE MEN + A beauty but a funny girl + + ALL + She really is a funny girl that Belle! + +Slightly out of breath, Gaston finally catches up with Belle. + + GASTON + Good morning, Belle! Wonderful book you + have there. + + BELLE + You've read it? + + GASTON + Well, not that one. But, you know. + Books. + (hands her the flowers) + For your dinner table. Shall I join you + this evening? + 11. + + + BELLE + Sorry, not tonight. + + GASTON + Busy? + + BELLE + No. + + A mortified smile and Belle is off. LeFou approaches. + + LEFOU + So. Moving on? + + GASTON + No, LeFou. It's the ones who play + hard to get that are always the + sweetest prey. + + GASTON (CONT'D) + That's what makes Belle so appealing. + She hasn't made a fool of herself just + to gain my favor. What would you call + that? + + LEFOU + Dignity? + + GASTON + It's outrageously attractive, isn't + it? + + Gaston looks at the village lasses standing outside of the + tavern. They all give him the eye. Gaston saunters over. + +12 EXT. BELLE'S COTTAGE - DAY 12 + + Belle hears the tinkle of a sweet MUSIC BOX tune wafting out of + her father's basement workshop. + +13 INT. CELLAR WORK ROOM - BELLE'S COTTAGE - DAY 13 + + Belle descends into to her father's dusty work room. Sunlight + spotlights MAURICE hunched over his workspace. Belle quietly + watches as he sings along with the music box theme. + + MAURICE + How does a moment last forever? + How can a story never die? + It is love we must hold on to + Never easy -- but we try + + Maurice tinkers with gears on the box, which depicts an artist + in a Parisian garret, painting his wife's portrait as she holds + a red rose above their baby. + 12. + + + MAURICE (CONT'D) + Sometimes our happiness is captured + Somehow a time and place stand still + Love lives on inside our hearts + And always will + (seeing Belle) + Oh, good, Belle, you're back. Can you + please hand me the -- + +Before he can say the word "screwdriver" it's in his hand. + + MAURICE (CONT'D) + And the -- + +Tweezers. Then Belle hands him a small hammer... + + MAURICE (CONT'D) + No no I don't need -- + +... just as a spring pops off. + + MAURICE (CONT'D) + Actually yes, that's exactly what I + need. + +He goes back to tinkering. Belle gazes at other music boxes, +each a small work of art, depicting famous landmarks from +around the world. + + BELLE + Papa, do you think I'm odd? + + MAURICE + My daughter? Odd? Where did you get + an idea like that? + + BELLE + I don't know. People talk. + + MAURICE + Oh. People. This village may be + small, small-minded even, but small + also means safe. + +Maurice can see this line of argument doesn't do much for his +daughter. + + MAURICE (CONT'D) + Even back in Paris, I knew a girl who + was so different, so daring, so ahead + of her time that people mocked her + until the day they found themselves + imitating her. + + BELLE + Just tell me one more thing about her. + 13. + + + Maurice turns to the music box as if to change the subject. + But looking back up to Belle's eagerness, he relents. + + MAURICE + Your mother was... fearless. + Fearless. + + With that, Maurice closes his music box. + +14 EXT. BELLE'S COTTAGE - DAY 14 + + As Maurice carefully loads his music boxes onto his wagon, + Belle tends to the family's old glue horse, PHILIPPE. + + Maurice climbs into the wagon, and smiles down at his + daughter. + + MAURICE + What would you like me to bring you from + the market? + + BELLE + A rose like the one in the painting. + + MAURICE + You ask for that every year. + + BELLE + And every year, you bring it. + + MAURICE + Then I shall bring you another. You + have my word. Come on, Philippe! + + BELLE + I'll see you tomorrow! + + MAURICE + Tomorrow! With the rose! + + As Maurice rides away, Belle's warmth gives way to concern. + + BELLE + (to herself) + Stay safe... + +14A INT. BELLE'S COTTAGE - TACKROOM - DAY 14A + + Surrounded by design sketches, Belle's workbench features a + small model of her `washing machine' prototype. Belle places + the miniature barrel in position... fastens a rope to a + leather strap... shaves chips off a block of soap... collects + the soap chips in a small sack... and rushes out. + +15 EXT. VILLAGE OF VILLENEUVE - LAVERIE - DAY 15 + + A young WASHER GIRL watches as -- + 14. + + + Belle tosses clothes and some soap chips into an empty BARREL + and rolls it into the fountain! It bobs on its side. Tying the + other end of the strap to the mule's harness, she sets him + walking around the circular laverie... + + WASHER GIRL + What are you doing? + + BELLE + The laundry. + + With a smile, Belle points to the rotating barrel, which now + resembles a very early Whirlpool washing machine. Belle takes + her book and quietly begins to read. After a moment, she looks + up to find the washer girl staring at her, speechless. + + BELLE (CONT'D) + Come! + + Belle waves for the girl to join her. + +16 EXT. VILLAGE OF VILLENEUVE - LAVERIE - DAY (LATER) 16 + + The NASTY HEADMASTER emerges from the school house to see -- + + The barrel is now filled with sudsy clothes. Belle is sitting + with the washer girl. She holds a book open, teaching the girl + to read. + + WASHER GIRL + (struggling) + The blue bird flies... + + BELLE + ...over the dark wood. + + NASTY HEADMASTER + What on earth are you doing? + + He is joined by the fishmonger CLOTHILDE, outraged. + + NASTY HEADMASTER (CONT'D) + Teaching another girl to read? Isn't + one enough? + + Belle locks eyes with the headmaster, then turns back to the + girl. The headmaster seethes. + + CLOTHILDE + We have to do something. + +18 EXT. VILLAGE OF VILLENEUVE - LAVERIE - DAY (LATER) 18 + + Belle's washing machine is hauled out of the laverie and + dumped onto the ground. She collects her laundry from the + dirt, trying to remain poised before the gawking crowd. + 15. + + +17 EXT. VILLAGE OF VILLENEUVE - DAY (LATER) 17 + + Gaston shakes his head and laughs, absolutely smitten. + + GASTON + You are the wildest, most beautiful + thing I've ever seen. No one deserves + you, but at least I know our children + will be beautiful. + + A reverse angle reveals Gaston was addressing his reflection + in a shop window. + + LEFOU (O.S.) + Am I catching you at a bad time? + + GASTON + What is it, LeFou? + + LEFOU + A certain damsel is in distress. + + GASTON + Oh well. It's hero time. + (to his reflection) + I'm not done with you yet. + + And he's off. LeFou steps up to the mirror. + + LEFOU + Me neither. + +19 EXT. BELLE'S COTTAGE - DAY (LATER) 19 + + Gaston follows Belle back to her cottage. + + GASTON + Belle! Heard you had a little trouble + with the headmaster. He never liked + me, either. Can I give you a little + advice about the villagers, though? + They're never going to trust the kind + of change we're trying to bring. + + Pursuing her into her garden, he trampling cabbages. + + BELLE + All I wanted was to teach a child to + read. + + GASTON + The only children you should concern + yourself with are... your own. + + Belle looks for a way out. She doesn't like where this is + going. + 16. + + + BELLE + I'm not ready to have children. + + GASTON + Maybe you haven't met the right man. + + BELLE + It's a small village, Gaston. I've + met them all. + + GASTON + Maybe you should take another look. + Some of us have changed. + + She climbs the steps to her cottage door. Gaston follows + close behind. + + BELLE + Gaston, we could never make each other + happy. No one can change that much. + + GASTON + Belle, do you know what happens to + spinsters in our village after their + fathers die? + + Gaston motions to the street, where we find AGATHE, a + spinster, late 30's, dirty and homeless, rattling her cup: + "alms for the poor?" + + GASTON (CONT'D) + They beg for scraps, like poor Agathe. + This is our world, Belle. For simple + folk like us, it doesn't get any better. + + BELLE + I might be a farm girl, but I'm not + simple. I'm sorry, but I will never + marry you, Gaston. + + Gaston keeps the gallant smile plastered as she shuts the door + in his face. + +20 EXT. BELLE'S COTTAGE - SUNSET 20 + + Belle watches Gaston leave. She opens the door. + + BELLE + Can you imagine? Me, the wife of that + boorish, brainless... + + She turns away from the home she thinks she will never + escape. + + BELLE (CONT'D) + Madame Gaston, can't you just see it + Madame Gaston, his little wife + No sir, not me, I guarantee it + (MORE) + 17. + + BELLE (CONT'D) + I want much more than this + Provincial life... + +21 EXT. VILLAGE PROMONTORY - SUNSET 21 + + Belle races up the hills to the outskirts of town. When she + reaches the highest point, we circle around to reveal the town + spread out beneath her. + + BELLE + I want adventure in the great wide + somewhere + I want it more than I can tell + And for once it might be grand + To have someone understand + I want so much more than + They've got planned + + As the last rays of light fade we RISE to reveal a forest in the + + distance, where the skies begin to rage. A swirling wind and a + streak of... + +22 EXT. WOODS - EVENING 22 + + Lightning. The sky flashes. The wind picks up. Worried, + Maurice urges Philippe on. + + MAURICE + The woods are lovely, aren't they + Philippe...? I only wish I recognized + them. Do you know where we are? + Because I don't. + + As the woods get darker, a WITHERED TREE that looks like an + ELDERLY PERSON'S CANE is struck by lightning. + + MAURICE (CONT'D) + Whoa! + + The tree splits in two, one half falling into the road, + revealing... a HIDDEN PATH. Philippe whinnies nervously. + + MAURICE (CONT'D) + Hmm... yes, we can go this way. Walk + on! One path closes, another one + opens. + + They leave the blocked road and head down the path. Maurice + looks down to see a light snow cover on the ground. Philippe + snorts. + + MAURICE (CONT'D) + It's all right boy, it's just a bit of + snow... in June. + + And they descend into -- + 18. + + +23 EXT. ENCHANTED WOODS - EVENING 23 + + We have entered another world. A light, whirling snow + descends on Maurice, dusting his coat. The clippity-clop of + hooves echo in stillness. + + Suddenly, A WHITE WOLF roars out of the bushes, barely missing + them. Gaze darting, Maurice notices WHITE WOLVES running on an + icy ledge above him. The wolves keep pace, massing to overrun + him. + + MAURICE + Go, Philippe! Hurry! + + Maurice urges his horse on, but his rickety cart starts to + buckle. A HARNESS IS LOOSE. + + The wolves leap in front of the cart, which comes undone, + tipping over on its side. The chest of music boxes smashes open + on the ground. Maurice is launched up onto a ridge -- and finds + himself face-to-face with the snarling and scarred ALPHA WOLF. + + Terrified, Maurice turns and begins sliding down the snowy ridge + + -- towards a trio of wolves waiting below. + + MAURICE (CONT'D) + Philippe! + + As Maurice drops from the ridge, Philippe appears beneath him -- + + and Maurice lands on his back! + + MAURICE (CONT'D) + Go! Go! + + Philippe rides. PAWS crush twigs -- SLAVERING JAWS -- EYES mad + with hunger -- a gleam of FANGS -- Philippe gallops. Maurice + races toward the CASTLE ICE GATES -- which churn open as the + wolves draw near. + + Maurice and Philippe speed through the gates as the wolves skid + to a stop, their HOWLS turning to YELPS OF FEAR. + +24 EXT. CASTLE GROUNDS - EVENING 24 + + Maurice stares in open-mouth awe at THE BEAST'S CASTLE. A grey + edifice seemingly growing out of stone and reaching to troubled + skies. It feels like a place hiding its face from the world. + + MAURICE + (to Philippe) + Oh Philippe, you saved my life... + They'll have to get their dinner + somewhere else. + + ANGLE ON MAURICE -- as he draws near the castle, he notices a + colonnade filled with WHITE ROSE BUSHES. Just beyond, he sees + the door to the STABLES swinging in the wind. A LAMP has been + lit inside. As if inviting a tired traveler. + 19. + + + Maurice strokes Philippe's neck. + + MAURICE (CONT'D) + Water, fresh hay. Looks like you're + set, old friend. Rest here... + + Warily, Maurice peers out at the intimidating castle. + + MAURICE (CONT'D) + While I pay my respects to our unwitting + host... whoever that may be... + + He leaves. Philippe stares uneasily at a statue of a horse. + +25 EXT. TERRACE - CASTLE - EVENING 25 + + Cautiously, Maurice approaches the castle door. He gazes up at + a row of TORCHES held by sculpted iron hands. The hands are so + life-like, does a double-take. + + MAURICE + Hm. + + Then -- + +26 INT. FOYER - CASTLE - NIGHT 26 + + -- the DOOR OPENS with a creak. Maurice peers in. + + MAURICE + Hello? Anyone home? + + Silence. Flashes of lightning illuminate a once-elegant space + now fallen into disrepair. + + MAURICE (CONT'D) + Forgive me, I don't mean to intrude. I + need shelter from the storm. Hello? + + Maurice puts his hat and coat on a COAT RACK at the entrance. + Maurice turns, not seeing the coat rack shake the snow off. + + Maurice explores, scanning the room and its FURNITURE -- + TABLES, CHAIRS, A FEATHER DUSTER. A MANTLE CLOCK AND + CANDELABRA SIT ON A TABLE. As Maurice passes them, the + candelabra slowly TURNS -- as if watching him. This is + LUMIÈRE, formerly head footman to the Prince. + + LUMIÈRE + Must have lost his way in the woods... + + The candelabra continues craning -- while the mantle clock + beside it remains rigid. Meet COGSWORTH, every bit the stiff- + upper-lip majordomo. + + COGSWORTH + (whispers) + Shut up, you idiot. + 20. + + + Hearing this, Maurice spins -- but sees only an ordinary + candelabra and clock on the table. Curious, he approaches, + leaning down to the clock... + + MAURICE + Mm... extraordinary. + + He picks up the candelabra, inspecting it. + + MAURICE (CONT'D) + This is beautiful... + + An echo of eerie harpsichord music makes Maurice turn toward + the ballroom. He places the candelabra back down and exits. + + LUMIÈRE + A man of taste. + + COGSWORTH + He was talking about me. + +26A INT. BALLROOM - CASTLE - NIGHT 26A + + Maurice walks through a door into a dark cavernous room. His + eyes adjust to the light and he realizes he's in a VAST + BALLROOM. Once the scene of joy, the ballroom knows only solemn + decay. Suddenly -- + + CADENZA + Oops! + + -- The harpsichord stops playing. Wary, Maurice goes back to -- + + +26B INT. FOYER - CASTLE - NIGHT 26B + + Maurice crosses to a crackling fire, speaking to his unseen + host. + + MAURICE + Wherever you are, I'm just going to + warm myself by the fire... + + Maurice warms his frozen fingers, rubs his hands together to + spread the heat. + + MAURICE (CONT'D) + That's better. Oh, much better... + + As Maurice turns to warm his backside, he hears the clink of + silverware from an adjoining room. + +27 INT. DINING ROOM - CASTLE - NIGHT 27 + + Maurice enters to find a vast dining room dominated by a + BANQUET TABLE where a meal has been set out. + + MAURICE + Oh, thank you! + 21. + + + Famished, Maurice sits, tears off a hunk of bread and devours + it ravenously. + + As Maurice looks around for something to wash down the food, a + CUP OF TEA slides into his hand. Maurice calmly gives the cup a + double-take. Meet CHIP, an 8 year-old boy tea cup. He + whispers: + + CHIP + Mom said I wasn't supposed to move + because it might be scary. Sorry. + + Maurice chews, smiles benevolently. + + MAURICE + It's all right. + + And bolts from the table. + +28 INT. FOYER - CASTLE - NIGHT 28 + + Like any sane person, Maurice backs toward the door. He bows + and calls into the shadows... + + MAURICE + Thank you. Really, I cannot thank you + enough for your hospitality... + (takes his coat and hat) + ... And kindness. + + A flash of lightning briefly illuminates a BEASTLY SHAPE on the + staircase. At the next flash -- THE SHAPE IS GONE. + +29 EXT. CASTLE GROUNDS - NIGHT 29 + + Maurice rides Philippe away from the castle. He notices the + colonnade filled with rose bushes again. + + MAURICE + Roses! Yes... + + Maurice dismounts, checking to see that he hasn't been + followed from the castle. He strokes his nervous horse, + leaving him outside as he enters. + + MAURICE (CONT'D) + Can't go home empty handed... I + promised Belle a rose, didn't I? I + think it's safe... + + We catch GLIMPSES of A DARK SHAPE moving atop the colonnade. + A taloned PAW. A swishing TAIL. + + Philippe snorts, sensing danger. Maurice spies a single + PERFECT WHITE ROSE among the others. + + CLOSE on the beast's EYES. Enraged. Wounded. + 22. + + + Maurice reaches for it. + + MAURICE (CONT'D) + Ow! + + Pricked by a thorn, he pulls his hand back -- then tries + again. He PICKS the rose -- only to hear a booming ROAR from + above. + + ANGLE ON MAURICE -- terrified as the dark shape leaps down + from the colonnade. Maurice drops the rose, stumbling and + falling as a DARK SHADOW is cast over him. + + Philippe breaks his harness, whinnies in terror and flees, + charging through the castle grounds and out the ice gates. + +29A EXT. VILLAGE PROMONTORY - DAY 29A + + A first whisper of dawn as Philippe bursts out of the forest. + He thunders down to the village. + +30 EXT. BELLE'S COTTAGE - DAY 30 + + The sun is fresh on the horizon, and Belle is already up. A + whinny disturbs her. She looks up to find Philippe, thirsty + and exhausted. + + BELLE + Philippe? + + Belle puts strokes the horse's neck as he drinks deeply from the + + trough. + + BELLE (CONT'D) + What happened? Where is Papa?! + + Belle goes still. Notices Philippe's torn straps and tattered + reins. In dread, her gaze darts to the woods. + + BELLE (CONT'D) + Take me to him! + +31 EXT. WOODS - DAY 31 + + Sunlight barely seeps through the thick branches lighting + Belle's way as Philippe gallops past the FALLEN CANE TREE. + +32 EXT. ENCHANTED WOODS - DAY 32 + + Belle races through the enchanted woods, coming upon Maurice's + tipped over wagon. She sees the broken chest and scattered + music boxes. + + With a mix of apprehension and determination, Belle sets her + jaw, and continues the gallop until the path brings her to... + 23. + + +32A EXT. TERRACE - CASTLE - DAY 32A + + Belle dismounts Philippe. Finding a THICK BRANCH, she wields it + + like a club, then bravely crosses to the castle and enters. + +33 INT. FOYER - CASTLE - DAY 33 + + Club held high, ready to defend herself, Belle cautiously eases + the door open and peeks inside. + + The atmosphere of the castle presses in on Belle. Creepy DRAGON + + STATUES on the staircase seem like they're watching. Eerie + SHADOWS stretch down impossibly long hallways. + + LUMIÈRE + Look, Cogsworth. A beautiful girl. + + COGSWORTH + I can see it's a girl. I lost my + hands, not my eyes. + + LUMIÈRE + But what if she is the one? The one + who will break the spell? + + Belle reacts. Quickly moves towards the voices -- + + BELLE + Who said that? Who's there? + + Belle reaches the spot where she heard the voices. No one + there. Only a clock and candelabra. Suddenly, a COUGH echoes + through the castle. Belle grabs the candelabra and climbs a + long staircase. The clock shudders with dread. + +34 INT. PRISON TOWER - CASTLE - DAY 34 + + Belle follows the cough up a labyrinth of stairs until she + reaches the dark prison tower and a GRATED IRON DOOR. + + BELLE + Papa!? Is that you? + + Belle sees Maurice through a grate in the door. He looks + terribly pale and sick, coughing. + + MAURICE (O.S.) + Belle? How did you find me!? + + Belle puts the candelabra down and clutches his hands. + + BELLE + Oh, your hands are ice. We need to get + you home. + 24. + + + MAURICE + Belle, you must leave here at once. + This castle is alive! Now go, before + he finds you! + + BELLE + Who?! + +The beast roars. Belle spins quickly, swinging her club to +strike, but the figure jumps onto another staircase. Belle +searches the shadows. The voice circles her. + + BELLE (CONT'D) + Who's there? Who are you? + + THE BEAST (O.S.) + Who are you? + + BELLE + I've come for my father. + + THE BEAST (O.S.) + Your father is a thief. + + BELLE + Liar! + + THE BEAST (O.S.) + HE STOLE A ROSE. + +In Belle's wide eyes, we see her guilt. + + BELLE + I asked for the rose. Punish me, not + him! + + MAURICE + No, he means forever. Apparently + that's what happens around here when + you pick a flower. + + BELLE + A life sentence for a rose? + + THE BEAST + I received eternal damnation for one. + I'm merely locking him away. Now... do + you still wish to take your father's + place? + + BELLE + Come into the light. + +The figure remains still. Belle grabs hold of Lumiere and +thrusts the candle forward, illuminating a HIDEOUS HORNED +FACE. Belle's eyes go wide as she clearly sees THE BEAST. +The only part of him that seems human are his eyes. BLUE. + 25. + + + DEEP. SOULFUL. And flicked with pain when he sees Belle's + revulsion. + + THE BEAST + CHOOSE! + + MAURICE + Belle, I won't let you do this. I + lost your mother. I won't lose you + too. Now go! + + Maurice falls into a terrible coughing fit. + + BELLE + Alright, Papa. I will leave. + (to the beast) + I need a minute alone with him. + + The beast doesn't respond. + + BELLE (CONT'D) + Are you so cold-hearted that you won't + allow a daughter to kiss her father + goodbye? + (off his proud grunt) + Forever can spare a minute! + + Intrigued by her defiance, the beast moves toward her, reaching + out with his massive paw. Belle closes her eyes, bracing + herself for his retaliation. Instead, she hears -- CLANG. + + Belle opens her eyes to find herself eye to eye with the beast's + chest. He has reached high above her head to pull down an iron + lever, unlocking the door. + + THE BEAST + When this door closes, it will not open + again. + +35 INT. PRISON CELL - CASTLE - CONTINUOUS 35 + + Belle rushes in and embraces her father. + + BELLE + I should have been with you. + + MAURICE + Belle, listen to me. It's all right. + Live your life. Forget me. + + BELLE + Forget you? Everything I am is because + of you. + + MAURICE + I love you, Belle. Don't be afraid. + 26. + + + BELLE + I love you too, Papa... + + She pulls him close. + + BELLE (CONT'D) + I'm not afraid. + (whispers) + And I will escape, I promise. + + MAURICE + What?! + + With that, she pivots and swings her father through the door + just as the beast slams it shut. Maurice trips to the ground, + giving the beast a second to turn to Belle. They lock eyes. + + THE BEAST + You took his place. + + BELLE + He is my father. + + THE BEAST + He's a fool. So are you. + + The beast turns and drags Maurice away. + + BELLE + Don't hurt him! + + Through the latticework, Belle sees the beast and her father + disappear down the corridor. She rushes to the window and + watches the beast carry her father down the spiral staircase + of the prison tower. + + MAURICE + Belle! I'll come back! I promise! + + Once she is alone, Belle cannot help herself. She slumps to + the floor and the tears come. We FADE OUT. + +36 OMITTED 36 + +37 OMITTED 37 + +38 OMITTED 38 + +39 INT. CELL - PRISON TOWER - DUSK 39 + + Belle huddles in the corner. The cell door swings opens. + + LUMIÈRE (O.S.) + Forgive my intrusion, mademoiselle, + but I have been sent to escort you to + your room. + 27. + + +Belle wipes her tears and stands. She grabs a small stool, +ready to strike. + + BELLE + My room? But I thought -- + + LUMIÈRE (O.S.) + What? That once this door closes it + will not open again, RARRR? I know, he + gets so dramatic. + +Belle bounds out of the cell, raising the stool to hit a grown +man. Instead, she sees... a candelabra wave at her. + + LUMIÈRE (CONT'D) + `Allo. + + BELLE + AHHH! + +Like seeing a mouse, Belle bashes the candelabra. It grunts as +it clatters on the stone floor. The candles extinguished. + +WHOOSH -- the first candle relights. WHOOSH -- the second. +Illuminated by the two arm candles, Belle makes out EYES and a +rudimentary "FACE" in the design. + + LUMIÈRE + (recovering) + Oh, you are very strong. That's a + great quality! + + BELLE + What are you? + +The arms light the main candle to reveal a rakish smile. + + LUMIÈRE + I am Lumière. + + BELLE + And you can talk. + +Cogsworth appears, out of breath. + + COGSWORTH + Of course he can talk, it's all he + ever does! Now Lumiere, as head of + the household, I demand that you put + her back in the cell at once! + +Officially freaked out now, Belle retreats to her cell, in +search of a better weapon. + + LUMIÈRE + What do you want to be for the rest of + your life, Cogsworth: a man or a mantle + clock? + 28. + + + They turn back to Belle, re-emerging from the cell. + + LUMIÈRE (CONT'D) + Ready, miss? + (to Cogsworth) + Trust me. + +40 EXT. ROOFTOP WALKWAY - CASTLE - EVENING 40 + + Holding Lumière, Belle follows Cogsworth across a stone walkway + high above the grounds. Her eyes dart, looking for an escape + route. Instead, she sees how vast the castle and woods are. + + LUMIÈRE + You must forgive first impressions, I + hope you are not too startled. + + BELLE + Why would I be startled? I'm talking + to a candle. + + LUMIÈRE + Candelabra, please. Enormous + difference. But consider me at your + service. The castle is your home now, + so feel free to go anywhere you like -- + + COGSWORTH + Except the west wing! + + Lumière throws him a `would-you-please-shut-up' look. + + COGSWORTH (CONT'D) + Which we do not have. + + BELLE + Why, what's in the west wing? + + LUMIÈRE + Uh... nothing. Storage space. That's + it. + + Belle looks back at the spooky tower of the west wing. + + LUMIÈRE (CONT'D) + This way, please! + + COGSWORTH + To the east wing. + + LUMIÈRE + Or as I like to call it, the only + wing! Watch your step s'il vous + plait. + 29. + + +41 INT. CORRIDOR/BELLE'S BEDROOM - CASTLE - EVENING 41 + + Belle stands outside the bedroom door, anticipating worse + squalor... + + LUMIÈRE + Welcome to your new home. It's + modest, but comfortable... + + Instead, the door opens to -- + +42 INT. BELLE'S BEDROOM - CASTLE - EVENING 42 + + -- the most beautiful, magical room she's ever seen. The entire + + ceiling is a painting of white clouds in a blue sky. There is a + LARGE DRESSER and a COMFORTABLE BED. Opulence. + + BELLE + It's... beautiful. + + LUMIÈRE + Of course. Master wanted you to have + the finest room in the castle. + + Lumière leaps onto the bed and - POOF - dust fills the air. + + LUMIÈRE (CONT'D) + Oh dear! We were not expecting guests. + + PLUMETTE, a feather duster, swoops into the room, giving the + surfaces a quick dusting. + + PLUMETTE + Enchanté, Mademoiselle! Don't worry, + I'll have this room spotless in no + time! + + She lands in the arms of Lumière, whose candles burn a little + hotter once she speaks in her sexy French accent. + + PLUMETTE (CONT'D) + (sotto) + This plan of yours is... dangerous. + + LUMIÈRE + I would risk anything to kiss you again, + Plumette. + + He moves to embrace her, but she stops him. + + PLUMETTE + No, my love. I've been burned by you + before. We must be strong. + + LUMIÈRE + How can I be strong when you make me so + weak? + 30. + + +Cogsworth clears his throat. Belle backs away from the +strange creatures. + + BELLE + Is everything here alive? + (picks up a HAIR BRUSH) + Hello, what's your name? + +Cogsworth looks up at her, puzzled. + + COGSWORTH + Um... that's a hair brush. + +Belle hears a loud SNORE behind her, and turns to see the +DRESSER bursting open with an operatic "laaaaaa!" Belle +shrieks and steps back. + + LUMIÈRE + Do not be alarmed, mademoiselle. This + is just your wardrobe. Meet Madame De + Garderobe. A great singer. + + COGSWORTH + When she can stay awake. + + GARDEROBE + Cogsworth! A diva needs her beauty rrr- + +MADAME DE GARDEROBE yawns loudly. + + LUMIÈRE + Ah, stay with us, Madame! We have + someone for you to dress! + +Garderobe's gilded arms stroke Belle's shoulder and face. + + GARDEROBE + Finally. A woman. Pretty eyes. + Proud face. Perfect canvas. Yes! I + will find you something worthy of a + princess. + + BELLE + But I'm not a princess. + + GARDEROBE + Nonsense! Now, let's see what I've + got in my drawers. + +Garderobe's doors open and a few moths fly out. + + GARDEROBE (CONT'D) + Oh, how embarrassing. + +Garderobe places a large HOOP over Belle's head, and proceeds +to create an outfit using fabric and her pinking-shear hands. +FROUFROU, a piano stool, runs in, barking like a dog. + 31. + + + GARDEROBE (CONT'D) + Come here, Froufrou. Come help mama! + + Froufrou tugs at the fabric, helping Garderobe complete the + outfit -- which is garish and too too much, all wrong for + Belle. + + GARDEROBE (CONT'D) + Perfetta! + + Lumière and Cogsworth put on a game smile. + + LUMIÈRE + Mm. Subtle. Understated. I love it! + + With a deep bow and a whistle for Froufrou, Lumière drags + Cogsworth out. Plumette and Froufrou follow. Garderobe calls + out after her beloved dog. + + GARDEROBE + Froufrou, send my love to the maestro! + + The door closes. Belle is alone. Garderobe instantly falls + asleep with a big SNORE. Belle has one beat of... where the + hell am I? She ducks down, then crawls out from underneath + the enormous dress, which remains standing. + + Belle looks around the room with one thing in mind: escape. + She quickly moves to the window. Opens it. She looks down + at the 100 foot drop leading to the grounds. + + Belle turns back to the room, and gazes at the dress. An + idea taking shape. + +43 EXT. COUNTRY INN - NIGHT 43 + + A LAMPLIGHTER is hard at work outside as we hear fiddle music + coming from the inn. + +44 INT. COUNTRY INN - NIGHT 44 + + Amidst the animal heads, antlers, and drunken villagers, there + is an even sadder sight -- GASTON. He drowns his sorrows in ale + while LEFOU listens. + + GASTON + Picture it, LeFou -- a rustic cabin. + My latest kill roasting on the fire. + Adorable children running around us + while my love rubs my tired feet. But + what does Belle say? "I will never + marry you, Gaston." + + LEFOU + You know, there are other girls. + + The village lasses perk up. "Yes! There are other girls!" + 32. + + + GASTON + A great hunter doesn't waste his time on + rabbits. + +The lasses deflate. "Awww!" LeFou decides it's time to cheer +up his best friend/boss. Thus begins "GASTON." + + LEFOU + Gosh it disturbs me to see you + Gaston looking so down in the dumps + Every guy here'd love to be you Gaston + Even when taking your lumps + There's no man in town as admired as you + You're everyone's fa-vor-ite guy + Everyone's awed and inspired by you + And it's not very hard to see why + +LeFou gives a nod (and a large tip) to the FIDDLE PLAYER in the +corner, who nods back, and begins to play... + + LEFOU (CONT'D) + No one's slick as Gaston + No one's quick as Gaston + No one's neck's as incredibly thick as + Gaston + For there's no man in town half as manly + Perfect, a pure paragon! + You can ask any Tom, Dick or Stanley + And they'll tell you whose team they + prefer to be on! + +LeFou hops onto the bar, squeezing himself between TOM, DICK, +and STANLEY. + + TOM/DICK/STANLEY + Who plays darts like Gaston? + Who breaks hearts like Gaston? + + LEFOU + Who's much more than the sum of his + parts like Gaston? + + GASTON + (confidence growing) + As a specimen, yes, I'm intimidating + +LeFou hails a BARMAID and buys everyone a round of drinks. +The villagers raise their mugs and cheer. + + LEFOU/VILLAGERS + My what a guy, that Gaston! + +Gaston stands, and clasps LeFou in gratitude... + + GASTON + I needed encouragement; thank you, LeFou + 33. + + + LEFOU + Well, there's no one as easy to bolster + as you! + +... only to find himself in an uncomfortably tight hug. + + LEFOU (CONT'D) + Too much? + + GASTON + Yep. + + VILLAGERS + No one fights like Gaston + Douses lights like Gaston! + + LEFOU + In a wrestling match nobody bites like + Gaston! + +LeFou moves his shirt up his arm to show an old wrestling wound - +a nice teeth impression courtesy of Gaston. The villagers gasp. + + GASTON + When I hunt, I sneak up with my quiver + And beasts of the field say a prayer + First I carefully aim for the liver + Then I shoot from behind! + +Gaston leaps onto the bar, and is handed a huge blunderbuss, +with which he mimes shooting LeFou. + + LEFOU + Is that fair? + + GASTON + I don't care + +And Gaston fires the rifle into the ceiling! Plaster rains +down. + + VILLAGERS + No one hits like Gaston + Matches wits like Gaston + + LEFOU + In a spitting match nobody spits like + Gaston + + GASTON + I'M ESPECIALLY GOOD AT EXPECTORATING! + +Gaston spits a big gloppy mess into a spittoon: bullseye! Then, +he moves around the inn, holding court. + + VILLAGERS + Ten points for Gaston! + 34. + + + GASTON + When I was a lad I ate four dozen eggs + Ev'ry morning to help me get large + +On one shoulder, Gaston lifts a pretty VILLAGE GIRL. On the +other, he lifts LeFou. + + GASTON (CONT'D) + And now that I'm grown I eat five dozen + eggs + So I'm roughly the size of a barge! + +The crowd hollers. Gaston jumps on a long table. The table's +height plus his massive frame make him seem 10 feet tall. + +He engages in a dance-break sword-fight with several VILLAGE +MEN, besting them all, until he's perfectly positioned beneath a + +ceiling mural, mimicking it exactly: Gaston, saber raised, +victorious in battle -- with LeFou swooning at his feet. + + LEFOU + Who has brains like Gaston? + Entertains like Gaston? + + GASTON + Who can make up these endless + Refrains like Gaston? + +Gaston tromps on the table. He arrives at his WALL OF ANIMAL +HEADS and ANTLERS. + + GASTON (CONT'D) + I use antlers in all of my decorating! + + ALL + Say it again - who's a man among men? + And let's say it once more + Who's that hero next door? + Who's a super success? + Don't you know? Can't you guess? + Ask his fans and his five hangers-on + There's just one guy in town + Who's got all of it down... + + LEFOU + And his name's `G-A-S-T... ' Uh, I + believe there's another `T' in there, + it just occurred to me that I'm + illiterate and I've never actually had + to spell it out loud before... + Gaston! + +The villagers cheer as Gaston returns to his seat. Gaston slaps + +LeFou on the shoulder, genuinely moved. + + GASTON + Ah LeFou, you're the best. How is it + that no girl has snatched you up yet? + 35. + + + LEFOU + I've been told I'm clingy, but I really + don't get it... + +Just then, the door flies open to reveal a wild-eyed Maurice. + + MAURICE + Help! Somebody help me! We have to + go... not a minute to lose... + + TAVERN KEEPER + Whoa. Slow down, Maurice. + + MAURICE + He's got Belle... locked in a dungeon! + + TAVERN KEEPER + Who's got her? + + MAURICE + A beast... a horrible monstrous beast! + +The patrons begin to laugh. + + MAURICE (CONT'D) + My daughter's life is in danger, why do + you laugh!? His castle is hidden in the + woods. It's already winter there! + + JEAN + Winter in June? + + CLOTHILDE + Crazy old Maurice. + + MAURICE + The beast is real! Do you understand?! + Will no one help me?! + + GASTON + (ever the opportunist) + I'll help you, Maurice! + + LEFOU + You will? + +The villagers murmur in surprise. + + GASTON + (winks at LeFou) + Everyone! Stop making fun of this man + at once! + +Maurice approaches. So grateful. + + MAURICE + Thank you, Captain. Thank you. + 36. + + + GASTON + Don't thank me, Maurice. Lead us to the + beast. + + Maurice exits. Gaston follows, gesturing to LeFou. + + LEFOU + (finally getting it) + Ohhh. + +46 INT. KITCHEN - CASTLE - NIGHT 46 + + The staff is excited as they scramble to get ready for dinner. + CHIP, the 8 year-old tea cup, rides his saucer around like a + skateboard. He circles his teapot mother MRS. POTTS, a no- + nonsense yet loving governess. + + CHIP + Mama, there's a girl in the castle! + + MRS. POTTS + Yes, Chip. We know. Slow down. + + CHIP + Is she pretty? Is she nice? What + kind of tea does she like? + + MRS. POTTS + We'll find out soon enough. Slow down + before you break your handle! + + But Chip doesn't slow down. Before Mrs. Potts can chase, + CUISINIÈR, the frustrated French chef-turned-oven, pours hot + water into her to prepare tea. + + CUISINIÈR + Heads up, Mrs. Potts! + + She flushes and reacts with pleasure as if stepping into a warm + bath. + + INT. DINING ROOM - CASTLE - SAME + + The beast enters the dining room and sits at one end of a + long dining table. He looks at his place setting, surprised + to find flatware and crystal. Confused, he looks up. + + THE BEAST'S POV rises to find another place setting at the + other end of the long table. When he notices the romantic + candles, he swats his own place setting off the table in + anger. + +47 INT. KITCHEN - CASTLE - SAME 47 + + A voice bellowing from the dining room causes Lumiere and + Cogsworth to turn. + 37. + + + THE BEAST (O.S.) + LUMIÈRE! + +Cogsworth balks with terror. + + LUMIÈRE + Be calm, let me do the talking. + +A fuming beast storms in, and looks down at the assembled +staff. Lumière is as good a liar as Cogsworth is not. + + THE BEAST + YOU'RE MAKING HER DINNER!? + + LUMIÈRE + We thought you might appreciate the + company. + + COGSWORTH + Master, I can assure you that I had no + part in this hopeless plan. Preparing + a dinner, designing a gown for her, + giving her a suite in the east wing -- + + THE BEAST + YOU GAVE HER A BEDROOM!? + +Cornered by the beast, Cogsworth has no choice but to... + + COGSWORTH + No no, he gave her a bedroom. + + LUMIÈRE + That is true. But if the girl is the + one who can break the spell, maybe you + can start by using dinner to charm her. + (turns to Cogsworth) + Good thinking, Cogsworth! + + COGSWORTH + What?! + + THE BEAST + That's the most ridiculous idea I've + ever heard! "Charm the prisoner." + + LUMIÈRE + You must try, master. With every + passing day, we become less human. + + THE BEAST + She's the daughter of a common thief. + What kind of person do you think that + makes her? + + MRS. POTTS + Oh, you can't judge people by who their + father is, now can you? + 38. + + + It's a loaded statement. The staff cringes, ready for his + retaliation. Instead, a grunt, and then -- + +48 INT. CORRIDOR OUTSIDE BELLE'S BEDROOM - CASTLE - NIGHT 48 + + KNOCK. KNOCK. The beast stands at Belle's door while his + servants stand by his side to play Cyrano. + + THE BEAST + You will join me for dinner! That's not + a request. + + MRS. POTTS + Gently, master. The girl lost her + father and her freedom in one day. + + LUMIÈRE + Yes. The poor thing is probably in + there, scared to death. + + MRS. POTTS + Exactly. + +49 INT. BELLE'S CASTLE BEDROOM - CONTINUOUS 49 + + Actually, Belle has been actively planning her escape. Her + makeshift rope of fabric hangs 50 feet out of the window. + KNOCK. KNOCK. + + BELLE + Just a minute. + +50 INT. CORRIDOR OUTSIDE BELLE'S BEDROOM - CASTLE - NIGHT 50 + + The servants react to hearing Belle's voice. + + LUMIÈRE + You see, there she is. Now, master, + remember. Be gentle. + + MRS. POTTS + ...kind... + + PLUMETTE + ...charming... + + COGSWORTH + ...sweet... + + The words fly as they bury the beast with advice. + + LUMIÈRE + And when she opens the door, give her a + dashing debonair smile. Come come -- + show me the smile. + + The beast flashes the most hideous grin anyone has ever seen. + The staff GASPS in horror. + 39. + + + LUMIÈRE (CONT'D) + Oh mon dieu. + + Contorting his mouth, the beast turns back to the door. + + THE BEAST + Will you join me for dinner? + + We wait a perfect beat and then, cut to... + +51 INT. BELLE'S BEDROOM/ INT. CORRIDOR - CONTINUOUS (INTERCUT) + 51 + + Belle moves to the door. + + BELLE + You've taken me prisoner and now you + want to have dinner with me? Are you + insane? + + The beast's temper rises -- his eyebrows twitch, his tail + thrashes -- recognizing the signs, Plumette inches away -- + + PLUMETTE + He's losing it... + + The beast beats his fist on the door -- WHAM! WHAM! WHAM! + + THE BEAST + I told you to come down to dinner. + + Belle hits back. WHAM! WHAM! WHAM! + + BELLE + And I told you no! + + All the banging finally wakes up Madame de Garderobe. + + GARDEROBE + WHAT!? WHAT TIME IS IT!? + + BELLE + I'd starve before I ever ate with you! + + THE BEAST + Well be my guest! Go ahead and starve! + (as he leaves) + If she doesn't eat with me, then she + doesn't eat at all! + + The staff hides, terrified, as the beast thunders off. + + THE BEAST (CONT'D) + Idiots! + + Once the coast is clear, Cogsworth comes out of hiding with a + sword and puts on a show of bravery. + 40. + + + COGSWORTH + You can't talk to us like that! I + forbid it! I... I... + (to Lumière) + Am I too late? Shame. I was really + going to tell him off this time. + + LUMIÈRE + (looks past Cogsworth) + Oh master, you've returned! + + Cogsworth shrieks and spins -- only to realize he's been + duped. + + COGSWORTH + Oh, very funny. + + LUMIÈRE + Eh, I got you there! + + +52 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 52 + + Fuming, the beast returns to his lair -- a chamber of shredded + furniture and walls ruined in rage. He paces, muttering. He + grabs a decaying HAND MIRROR. + + THE BEAST + Show me the girl. + + The mirror lights up and gives him a view of Belle at the + bedroom door. She turns, slides down the wall, and curls her + knees up to her. A look of dread on her face. + + Her fear crushes the beast. The mirror magic fades, and he is + left with his own reflection and self-loathing. He lowers the + mirror to reveal the glass jar by the open window. + + In the jar, the ENCHANTED ROSE hangs in mid-air. The rose is + wilting. Most of its petals have fallen. Rage evaporating, + replaced by shame, the beast lowers his head... + + ... as ONE MORE PETAL DROPS. + + The image moves inside the jar. We see the beast through the + glass as he leans down, peering in at the petal as it reaches + the bottom and shrivels. As it does, we hear a far off RUMBLE, + as if the foundation of the castle is trembling. + + EXT. CASTLE - NIGHT -- DAWN + + From a distance, we see stone statuary crack and tumble down + from the castle walls... + +53 INT. FOYER - CASTLE - NIGHT 53 + + The staff is gathered; the beginning of their evening. Lumière + lights the fireplace. He hears the crash of falling debris. + 41. + + + LUMIÈRE + Another petal fell... + + PLUMETTE + Lumière, I grew three more feathers! + And I just plucked yesterday. + + Lumière moves to help, but his legs stiffen. He holds his flame + to his knee like a heating pad. + + LUMIÈRE + I know, darling -- Ow! I'm getting + more metallic every day. + + Suddenly, Cogsworth begins making clock sounds. + + COGSWORTH + Oh, no! It's -- tick tock! -- + happening again -- cuckoo! Pardon me. + + MRS. POTTS + Everyone, calm yourselves. We still + have time. + + CHIP + Mama, am I ever going to be a boy again? + + MRS. POTTS + Yes, Chip. You'll have your days in the + sun again. You just leave it to me. + +54 EXT. CASTLE - NIGHT 54 + + Belle throws her makeshift rope out the bedroom window. + +55 INT. BELLE'S BEDROOM - CASTLE - NIGHT 55 + + Belle looks down -- the rope is about 20 feet off the ground. + Almost there. A KNOCK on the door. + + BELLE + I told you to go away. + + MRS. POTTS (O.S.) + Don't worry, dear. It's only Mrs. + Potts. + + Mrs. Potts bustles in on her cart with Chip. + + MRS. POTTS (CONT'D) + Oh, aren't you a vision! How lovely + to make your acquaintance. + + Belle tries to block her view of the escape rope, but Mrs. Potts + is too sharp. + 42. + + + MRS. POTTS (CONT'D) + It's a very long journey. Let me fix + you up before you go. I have found + that most troubles seem less troubling + after a bracing cup o' tea. + +The tea is poured into Chip, who wheels over to Belle. + + MRS. POTTS (CONT'D) + Slowly now, Chip. + +Belle picks up Chip and brings him up to her mouth. Little +Chip finds himself face-to-face with the most beautiful girl +he has ever seen. She takes a sip. + + CHIP + Pleased to meet you! Want to see me do + a trick? + +Chip blows a huge bubble in his tea cup. It pops loudly. + + MRS. POTTS + Chip. + (to Belle) + That was a very brave thing you did for + your father, dear. + +Madame Garderobe's doors swing open. + + GARDEROBE + Yes. We all think so. + + BELLE + I'm so worried about him. He's never + been on his own. + + MRS. POTTS + Cheer up, my poppet. Things will turn + out in the end. You'll feel a lot + better after dinner. + + BELLE + But he said, "If she doesn't eat with + me, she doesn't eat at all." + + MRS. POTTS + People say a lot of things in anger. It + is our choice whether or not to listen. + Coming? + +And Mrs. Potts is out the door. Belle looks to Garderobe. + + GARDEROBE + Go. + +INT. KITCHEN - CASTLE - NIGHT + +The door opens. Lumière races in to the excited staff. + 43. + + + LUMIÈRE + They're coming! Final checks, + everyone, tout de suite! + +Cogsworth waddles in after him. Plumette flutters nervously. + + COGSWORTH + No, you don't! If the master finds out + you violated his orders and fed her, he + will blame me. + +Lumiere jumps up onto the sink, navigating sudsy dishes as +CHAPEAU scrubs them. + + LUMIÈRE + Yes, I will make sure of it. But did + you see her stand up to him? I am + telling you, this girl is the one. + They must fall in love if we are to be + human again, and they can't fall in + love if she stays in her room. + (looks at a smudged dish) + Eh, Chapeau, you missed a spot! + +Lumière tosses the dish back in the sink, skipping onto a +passing tea trolley. Cogsworth climbs up in pursuit. + + COGSWORTH + You know she will never love him. + + LUMIÈRE + A broken clock is right two times a + day, mon ami, and this is not one of + those times. + +Lumière leaps onto the table, and uprights a champagne glass. + + LUMIÈRE (CONT'D) + Stand up straight! + (to the room) + It's time to sparkle! + +He leaps again, onto CUISINIÈR, and sips a spoonful from a +bubbling pot. + + LUMIÈRE (CONT'D) + I have no taste buds, but I can tell + this is exquisite. + + CUISINIÈR + Off! Off me while I work! Pepper, + get cracking! Salt, shake a leg! + + COGSWORTH + Not so loud! Keep it down! + 44. + + + LUMIÈRE + Of course, of course. But what is + dinner without a little... music? + + COGSWORTH + Music?! + +57 INT. DINING ROOM - CASTLE - MOMENTS LATER 57 + + To Cogsworth's horror, Lumière guides an ambulatory HARPSICHORD + into the room. This is CADENZA, our neurotic Italian maestro. + + LUMIÈRE + Maestro Cadenza, are you ready? + + CADENZA + (coy) + It has been so long since I've + performed! I can barely even remember + how... + + But with an abrupt flourish, Cadenza plays show-offy scales + on the ivories until -- PLUNK. + + CADENZA (CONT'D) + Another cavity. + + LUMIÈRE + Maestro, your wife is upstairs, finding + it harder and harder to stay awake. + She's counting on you to help us break + this curse. + + CADENZA + Then, I shall play through the dental + pain! + + COGSWORTH + (whispers to Cadenza) + But Maestro. Play quietly. Please. + + CADENZA + Quietly? Sotto voce? Of course. Are + there any other tasteless demands you + wish to make upon my artistry? + + COGSWORTH + No, that's it. + + Mrs. Potts leads Belle to the end of the long dining table. + + MRS. POTTS + There you are, dear. + + Lumière LEAPS onto the table. Floating at a high window, + Plummette uses a silver platter to turn a shaft of moonlight + into a SPOTLIGHT. As Lumière begins "BE OUR GUEST." + 45. + + + LUMIÈRE + Ma chere, mademoiselle. It is with + deepest pride and greatest pleasure that + we welcome you tonight. And now, we + invite you to relax. + +Belle sits down in a chair, which moves in, bringing her +closer to the table. Lumière motions up to Plumette to +steady her shaky spotlight. + + LUMIÈRE (CONT'D) + Let us pull up a chair... as the dining + room proudly presents... + +Cadenza plays a dramatic scale as a table cloth UNFURLS, and +Lumière jumps up and LANDS in a pose. Cadenza ends his scale on +the wrong note. Lumière shoots him a look, Cadenza plays the +right note, and Lumière turns to Belle and smiles. + + LUMIÈRE (CONT'D) + ... your dinner. + (sings to Belle) + Be our guest, be our guest + +The napkins on the place settings rise up and twirl. Chapeau +offers Belle a napkin. + + LUMIÈRE (CONT'D) + Put our service to the test + Tie your napkin `round your neck, cherie + And we provide the rest! + +Spinning quickly, Chapeau presents the following to Belle: + + LUMIÈRE (CONT'D) + Soup du jour, hot hors d'oeuvres + Why we only live to serve + Try the grey stuff, it's delicious + +Belle reaches out to try it, but it's gone before she can. + + LUMIÈRE (CONT'D) + Don't believe me? Ask the dishes! + +The hors d'oeuvres plates go off, leaving the dinner dishes to +levitate and spin. + + LUMIÈRE (CONT'D) + They can sing, they can dance + After all, miss, this is France! + +A small guillotine on the table drops, slicing the baguette. +MENUS fly in overhead, buzzing a disgruntled Cogsworth. Belle +reaches up and grabs one. + + LUMIÈRE (CONT'D) + And a dinner here is never second best + Go on unfold your menu + (MORE) + 46. + + LUMIèRE (CONT'D) + Take a glance and then you'll + Be our guest, be our guest + + LUMIÈRE AND COGSWORTH + Be our guest! + +Cogsworth shushes Lumière, and Lumière jabs him back. One by +one the kitchen doors swing open, presenting: + + LUMIÈRE + Beef ragout, cheese souffle, + Pie and pudding en flambé! + +The fish pie explodes! A piece of cod hits Cogsworth in the +face, knocking him over. + + LUMIÈRE (CONT'D) + We'll prepare and serve with flair + A culinary cabaret! + +Flute glasses fill up with champagne and then break into a Bob +Fosse homage. Belle grabs a glass, but Lumière snatches it +before she sips. + + LUMIÈRE (CONT'D) + You're alone and you're scared + But the banquet's all prepared! + +Lumière coaxes the flatware to its feet. + + LUMIÈRE (CONT'D) + No one's gloomy or complaining + While the flatware's entertaining! + +The flatware hold out a napkin, into which Lumière jumps, like a + +trampoline. He is launched into the air, swinging between +chandeliers a la Cirque du Soleil. + + LUMIÈRE (CONT'D) + We tell jokes, I do tricks + With my fellow candlesticks + + CHANDELIER CANDLESTICKS + And it's all in perfect taste + That you can bet! + +Lumière falls and lands back in the middle of the champagne +flutes. They rise up around him. + + LUMIÈRE + Come on and lift your glass + You've won your own free pass + To be our guest + (to Cogsworth) + If you're stressed, it's fine dining we + suggest. + 47. + + + LUMIÈRE (CONT'D) + Oui our guest + Be our guest, be our guest! + +Cogsworth steps back as Lumière again takes center stage in a +Martha Graham inspired solo. + + LUMIÈRE (CONT'D) + Life is so unnerving + For a servant who's not serving + +Belle reaches again for food but is stopped by Lumière's +melodramatic histrionics. He wraps himself in a napkin for +the full Martha Graham effect. + + LUMIÈRE (CONT'D) + He's not whole + Without a soul to wait upon + +Lumière does a `tragic walk' down the table. Reaching the end, +he slides down to the floor on the tablecloth, then gathers it +around his neck and continues on. + +Belle tries to stab a bite as the food moves past her, as if on +a conveyer belt. Sliding past her, Cogsworth wobbles. + +On the floor, snow swirls around Lumière. We pull out to see +several "ETTES" flinging salt at him to create the effect. + + LUMIÈRE (CONT'D) + Ah, those good old days when we were + useful + Suddenly, those good old days are gone + +Reaching the end of the table, plates dive and spin into neat +piles -- + + LUMIÈRE (CONT'D) + Too long we've been rusting + Needing so much more than dusting + Needing exercise + A chance to use our skills + +-- while Cogsworth lands on Lumière's lap below. Chapeau scoops + +them both up and drops them back on the table before Belle. + + LUMIÈRE (CONT'D) + Most days we just lay around the castle + Flabby, fat and lazy + +Lumière playfully pokes Cogsworth in his pot belly -- then +takes a flying leap! + + LUMIÈRE (CONT'D) + You walked in, and oops-a-daisie! + 48. + + +58 INT. KITCHEN - CASTLE - NIGHT 58 + + Mrs. Potts hops along the edge of the sink basin. + + MRS. POTTS + It's a guest, it's a guest! + Sakes alive, and I'll be blessed! + Wine's been poured and thank the Lord + I've had more napkins freshly pressed! + + She ascents to the top of a tiered, circular pastry table, as + napkins twirl around her. Desserts appear and circle Mrs. + Potts. Then tea cups enter on the outer circle, moving in + the opposite direction. + + MRS. POTTS (CONT'D) + With dessert, she'll want tea + And my dear, that's fine with me! + While the cups do their soft shoeing, + I'll be bubbling, I'll be brewing! + + From overhead, a la Busby Berkeley, we reveal desserts, teacups, + napkins, the floor, everything circling in opposing directions. + Mrs. Potts descends, jumping onto her tea trolley -- and notices + a smudge of icing on Chip. + + MRS. POTTS (CONT'D) + I'll get warm, piping hot + Heaven's sake, is that a spot? + + She quickly steams it off him. + + MRS. POTTS (CONT'D) + Clean it up, we want the company + impressed! + + The trolley rolls through the doors -- + +59 INT. DINING ROOM - CASTLE - NIGHT 59 + + -- and up to Belle. Mrs. Potts pours a cup into Chip. + + MRS. POTTS + We've got a lot to do -- + Is it one lump or two? + For you our guest! + + LUMIÈRE + She's our guest! + + MRS. POTTS + She's our guest! + + Finally, unable to resist, Cogsworth joins in, pushing + Lumière out of the spotlight. + + COGSWORTH, LUMIÈRE, MRS. POTTS + She's our guest! + 49. + + + Plumette and her "Ettes" descend on a chandelier, which is + lowered by Lumière. They dance; a Beyoncé homage. + + ALL + Be our guest! Be our guest! + Our command is your request! + It's years since we had anybody + Here and we're obsessed! + + Lumière ties the chandelier rope around Cogsworth, who falls + over, causing the light to spin. Plumette dives into a massive + punch bowl, leading her "Ettes" into an Esther Williams moment. + + ALL (CONT'D) + With your meal, with your ease, + Yes indeed, we aim to please + + Splashes from the punch bowl launch us into a "Singin' in the + Rain" moment, with Lumière dancing under the fountain. The + grand finale is pure Bollywood, punctuated by explosions of + candy-colored powders. + + ALL (CONT'D) + While the candlelight's still glowing, + Let us help you, we'll keep going -- + Course by... COURSE! One by one! + Til you shout "Enough, I'm done!" + Then we'll sing you off to sleep as you + digest + Tonight you'll prop your feet up + But for now let's eat up... + Be our guest! Be our guest! + Be our guest! Please! Be our guest!! + + As the table clears itself, whooshing back into the kitchen, + Lumière whirls toward Belle, finally presenting her with -- + + LUMIÈRE + Pudding?! + + Overwhelmed, she laughs. + + +60 INT. FOYER - CASTLE - NIGHT 60 + + Mrs. Potts (on her trolley cart) escorts Belle from the dining + room. + + BELLE + Surely you're as trapped here as I am. + Don't you ever want to escape? + + MRS. POTTS + The master's not as terrible as he + appears. Somewhere deep in his soul, + there's a prince of a fellow, just + waiting to be set free. + 50. + + + Belle takes this in, a valuable piece of the puzzle. She + looks up at the massive staircase. + + BELLE + Lumiere mentioned something about the + West Wing... + + MRS. POTTS + Never you mind about that. Off to bed + with you, poppet. + + BELLE + Good night. + + MRS. POTTS + Nighty-night. Straight to bed! + + Mrs. Potts moves off as Belle climbs the stairs toward her + room. At the top, she hurries up the staircase leading to + the west wing. + +63 INT. STAIRCASE - WEST WING - CASTLE - NIGHT 63 + + Belle sticks to the shadows. She walks up to a massive wooden + door -- slightly ajar. + +64 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 64 + + Furniture lies in rubble, curtains are shredded -- evidence of + the beast's temper. Wary, Belle investigates when -- + + SHE GLIMPSES EYES PEERING AT HER OFF TO THE SIDE. + + With a start, Belle wheels to find -- the eyes belong to a royal + portrait. The subject seems to be a TEENAGE BOY but his face + has been SLASHED BEYOND RECOGNITION. + + Only the eyes survived. Bright blue. Engaging. Resembling the + eyes of THE BEAST. She realizes that this is the "prince of a + fellow" Mrs. Potts was referring to. + + Belle leans in to study the painting. A ROYAL FAMILY stands by + the castle. The FATHER's image has been slashed. The QUEEN + remains pristine. Kind. Beautiful. + + Belle moves past a large four-poster bed, its faded coverlet + gray with dust, like no one has slept in it for years. On + the floor, she sees a makeshift bed made of straw, torn bits + of fabric and crumpled blankets: the resting place of a + nocturnal carnivore. + + Belle turns and sees the glow coming from the GLASS JAR by an + open window leading to the balcony. Inside the jar -- THE + ENCHANTED ROSE. + + Mesmerized, Belle approaches the rose. She lifts the jar, + leaving the rose unprotected. She reaches out to touch the + rose. A shadow cuts across Belle's face. + 51. + + + THE BEAST + WHAT ARE YOU DOING HERE!? WHAT DID YOU + DO TO IT!? + + The beast bears down on Belle, backing her up. She puts down + the bell jar. + + BELLE + Nothing. + + THE BEAST + DO YOU REALIZE WHAT YOU COULD HAVE + DONE!? YOU COULD HAVE DAMNED US ALL! + GET OUT! GO! + + Belle runs. The beast turns and covers the rose, panicked and + protective. + +65,66 INT. FOYER - CASTLE - NIGHT 65,66 + + Lumière and Cogsworth play chess on an upper landing, with + Froufrou resting between them. + + LUMIÈRE + Checkmate. Again. + + COGSWORTH + Because you cheated. Again. + + Belle appears, racing down the west wing staircase. + + LUMIÈRE + Mademoiselle... what are you doing? + + BELLE + Getting out of here! + + Cogsworth jumps onto the chess board as Lumiere hops to the + floor. + + COGSWORTH + Stop! + + LUMIÈRE + Go go, Froufrou! + + Froufrou jumps up and starts after Belle. + + COGSWORTH + Yes Froufrou, stop her! + + Belle barrels down the main staircase, Froufrou in close + pursuit. + + Mrs. Potts enters from the kitchen, wearing a tea cosy. + + MRS. POTTS + You don't want to go out there! + 52. + + + At the top of the stairs, Cogsworth sounds a whistle. In quick + cuts, WINDOWS drop and SHUTTERS close. + + Belle hits the bottom of the grand staircase and runs towards + the door -- only to watch it bolt itself locked. + + MRS. POTTS (CONT'D) + Stop her! + + Froufrou runs in front of Belle to block her exit, and growls. + + COGSWORTH + Who's a good dog? + + Then suddenly, his growls turn to playful yaps, as he stands + on his hind legs and pants playfully. + + COGSWORTH (CONT'D) + What? No, it's not playtime! Bad + dog! Bad dog! + + MRS. POTTS + What part of `stop her' don't you + understand, dog?! + + Froufrou spins and scrambles outside, scooting through the + low postern door within the great front door. In his + excitement, he's provided Belle with an escape! + + Belle snatches her cloak from a bewildered Chapeau, and + shimmies out through this same `doggie door.' + + LUMIÈRE + Please, don't go! It's dangerous! + + Mrs. Potts rushes forward but it's too late. A look of dread + settles on her face... + + MRS. POTTS + Oh my... + +67 OMITTED 67 + +68 OMITTED 68 + +69 EXT. ENCHANTED WOODS - NIGHT 69 + + HOWL. Philippe's hooves hit the snowy landscape. Belle races + through the woods. She looks back to see if the beast followed + her. She only sees a glimpse of the castle. She thinks she has + escaped. Surely, she has escaped. + + WOLVES HOWL NEARBY. + + ANGLE ON PHILIPPE'S MUDDY HOOFPRINT -- a WOLF'S PAW smashes down + over the print -- the wolf howls -- + 53. + + +ANGLE ON BELLE -- out of the corner of her eye, she sees SHAPES +OF A DOZEN WHITE WOLVES flitting through the trees, closing in +on her. + +Belle forges on -- the wolves are not bothering to hide anymore, +they've emerged from the trees to take down their prey -- +closing in fast -- + +-- Belle pushes through the undergrowth to find she has reached +a FROZEN POND. Philippe doesn't hesitate. He gallops onto the +ice, and across the pond. The sound of ice CRACKING under his +hooves is deep and low. And increasing. + +Philippe's hooves slide on the ice. The wolves close in. + +Philippe makes it across the pond onto land. But before +Belle can feel any relief -- + +A WOLF'S JAWS snap at Philippe's thigh. Then another. The +horse bucks wildly -- causing Belle to makes a controlled +leap onto a snow bank. She seizes a thick branch and wields +it as a club -- as the wolves surround her, jaws slavering -- + +Belle swings her club as one wolf lunges at her, its bared +teeth like razors. She beats it away. She turns to confront +another -- it bites the branch clean out of her hands. + +Belle turns, looks up -- on a rock promontory, the scarred +ALPHA WOLF is about to take a diving leap onto her. It +jumps, and she flinches -- but just as the wolf is about to +makes its horrible landing -- + +THE BEAST APPEARS -- + +-- and catches it in mid-air! With supernatural force, the +beast hurls the wolf across the frozen pond, howling! + +All the wolves dive on the beast at once, tearing shreds from +his cloak. He strikes at them -- wolves scurry, yelping -- + +The oversize ALPHA WOLF climbs onto the beast's back, goes +for his neck. The beast slams together the wolves on his +arms, dropping them -- then reaches back and seizes the +Alpha. WOLF and BEAST snarl inches from each other -- the +beast squeezes -- + +Then hurls the Alpha into a stone ledge -- CRACK -- knocking him +out. The remaining pack retreats in panic, their yelps echoing +through the trees. + +TIGHT ON BELLE -- watching as the beast whimpers in pain. His +shoulders slump. He collapses in the snow. This is her chance. +Belle could run. She looks past Philippe, to the woods -- to +freedom. But then turns back, and slowly approaches the wounded + +beast. + +Belle covers the beast with her blanket. He stirs. One eye +opens. + 54. + + + BELLE + You have to help me... you have to + stand... + + CUT TO: + + The beast is slumped across Philippe's saddle. As Belle takes + the reins and begins the long walk back to the castle, we RISE + into the sky, where we can see the border that separates the + enchanted woods from the outside world, and... + +70 EXT. WOODS - NIGHT 70 + + WOLVES HOWL. Gaston's carriage moves through the scary woods, + LeFou squeezed in back behind Gaston and Maurice. + + MAURICE + No! I'm sure this is the way! Do you + hear those wolves? That means we're + getting very close to the castle. + + GASTON + Look, enough is enough. We have to turn + back. + + MAURICE + Stop! That's it! + + Maurice points up ahead to the WITHERED TREE that looks like an + ELDERLY PERSON'S CANE -- THE TREE IS STANDING AGAIN, the tunnel + of trees now hidden behind it. Maurice hops down from the + wagon. + + MAURICE (CONT'D) + That's the tree. I'm sure of it. Of + course, it was downed by lightning at + the time, but now it's been restored + to an upright position, through some + sort of... magic. Or other. + + LEFOU + (sotto to Gaston) + You really want to marry into this + family? + + MAURICE + So that means the castle is definitely + that way! + + An angry Gaston steps out and approaches Maurice. + + GASTON + I'm done playing this game of yours. + Where is Belle? + + MAURICE + The beast took her! + 55. + + + GASTON + There are no such things as beasts, or + talking teacups, or... magic! But there + are wolves, frostbite, and starvation. + + LEFOU + Deep breaths, Gaston. Deep breaths. + + GASTON + So why don't we just turn around go back + to Villeneuve? I'm sure Belle is at + home, cooking up a lovely dinner... + + MAURICE + If you think I've made all this up, + then why did you offer to help? + + GASTON + Because I want to marry your daughter! + Now let's go home. + + MAURICE + Belle is not at home! She's with the -- + + GASTON + IF YOU SAY BEAST ONE MORE TIME, I WILL + FEED YOU TO THE WOLVES! + +Gaston holds his fist to strike Maurice across the face. +LeFou runs over to intervene. + + LEFOU + GASTON! STOP! Breathe. Think happy + thoughts. Go back to the war. Blood, + explosions, countless widows... + + GASTON + Widows... + + LEFOU + Yes, yes, that's it, that's it... + +LeFou's voice snaps Gaston out of his rage. He puts on that +Gaston smile like a Halloween mask. + + GASTON + Please, forgive me, old bean. That's no + way to talk to my future father-in-law, + now is it? + + MAURICE + Future father-in-law...? You will never + marry my daughter. + +A beat. Without a word, Gaston hits Maurice, knocking him out. + + LEFOU + I saw that coming... + 56. + + +70A EXT. REMOTE FOREST ROAD - NIGHT (LATER) 70A + + Maurice is now tied to a tree. Gaston secures the knot and + walks to the carriage. Darkness has come over Gaston. + + GASTON + If Maurice won't give me his blessing, + then he is in my way. Once the wolves + are finished with him, Belle will have + no one to take care of her but me. + + LEFOU + For the sake of exhausting all of our + options, do we maybe want to consider a + less gruesome alternative? + + Gaston climbs into the carriage. + + GASTON + Are you coming? + + LeFou looks back to Maurice, an apology in his eyes. He + climbs into the carriage. + + Gaston and LeFou ride off, leaving Maurice to die. + +71 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 71 + + The beast lies in his old human bed. Belle dabs a large gash + on the beast's arm. The beast bares his fangs and lets out a + roar. + + THE BEAST + ROOOOAARRRR! Ow! That hurts! + + BELLE + If you held still, it wouldn't hurt as + much. + + THE BEAST + If you hadn't run away, none of this + would have happened. + + BELLE + Well if you hadn't frightened me, I + wouldn't have run away. + + The household staff anxiously watches the battle of words. + + THE BEAST + Well you shouldn't have been in the + west wing. + + BELLE + Well you should learn to control your + temper. + 57. + + + The beast is momentarily silenced. Belle looks down at the + wound she has been dabbing. It's worse than she thought. + + BELLE (CONT'D) + Try to get some rest. + + The beast's breath slows to a low rumble as his eyes slip + shut. + + MRS. POTTS + Thank you, Miss. + + LUMIÈRE + We are eternally grateful. + + BELLE + Why do you care so much about him? + + MRS. POTTS + We've looked after him all his life. + + BELLE + But he has cursed you somehow. + (off their silence) + Why? You did nothing. + + MRS. POTTS + You're quite right there, dear. You + see, when the master lost his mother, + and his cruel father took that sweet + innocent lad and twisted him up to be + just like him... we did nothing. + + Belle notes their shame just as we HEAR the first notes of a + beautiful melody coming from the ballroom downstairs. This is + the beast's lullaby -- "DAYS IN THE SUN." + + LUMIÈRE + Let him sleep. + + As the staff and Belle exit, the beast stirs. We move from + his face, shivering in a fever dream, to discover -- + +71A INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 71A + + The YOUNG PRINCE gazes down sadly. + + YOUNG PRINCE + Days in the sun + When my life has barely begun + + We move around to reveal that he is looking at the pale body + of THE QUEEN on her deathbed. + + YOUNG PRINCE (CONT'D) + Not until my own life is done + Will I ever leave you + 58. + + + Behind the prince, a figure approaches: his FATHER. Cruelty + written on his face. Placing his large hand on the boy's + shoulder, he pulls him out of the room. + +72 INT. CASTLE - BALLROOM/FOYER - NIGHT 72 + + In the gloomy ballroom, Cadenza plays the beautiful melody. + + CADENZA + Will I tremble again + To my dear one's gorgeous refrain? + + The melody drifts through the ballroom until we find Lumière and + + Plumette, dancing: + + LUMIÈRE & PLUMETTE + Will you now forever remain + Out of reach of my arms? + +72AA INT. CASTLE - KITCHEN - NIGHT 72AA + + Drifting to Mrs. Potts and Chip, as she tucks him into bed in + the cupboard: + + MRS. POTTS + Oh those days in the sun + What I'd give to relive just one + Undo what's done + And bring back the light + + The melody wafts up to: + +72A INT. BELLE'S BEDROOM - CASTLE - NIGHT 72A + + Madame de Garderobe joins in: + + GARDEROBE + O I could sing + Of the pain these dark days bring + The spell we're under + Still it's the wonder of us + I sing of tonight + + Belle turns to the window, sings: + + BELLE + How in the midst of all this sorrow + Can so much hope and love endure? + I was innocent and certain + Now I'm wiser but unsure + 59. + + + BELLE (CONT'D) GARDEROBE + I can't go back into my Days in the past + childhood Ah those precious days + One that my father made couldn't last + secure Oh - hold me closer + I can feel the change in me + + I'm stronger now but still + not free + + From the window, we PAN across to the castle, to the horizon - + - where the sun is rising. + +72B OMITTED 72B + +72C OMITTED 72C + +73 INT. BEAST'S LAIR - WEST WING - CASTLE - MORNING 73 + + The beast's eyes are closed as he feels his mother's hand on + his head one more time. The whole staff looks on: + + ALL + Days in the sun + Will return - we must believe + As lovers do + That days in the sun + Will come shining through + + The beast opens his eyes weakly, takes in the low light of + sunrise. As his vision adjusts, the silhouetted figure by + his bedside is revealed. Not his mother, but Belle. A smile + forms on his lips, and he closes his eyes again. + + In the glass jar, a petal drops as if floating on the melody. + Belle crosses to it. + + BELLE + What happens when the last petal falls? + + LUMIÈRE + The master remains a beast forever. And + the rest of us become... + + MRS. POTTS + Antiques. + + LUMIÈRE + Knickknacks. + + PLUMETTE + Lightly used houseware. + + COGSWORTH + Rubbish. We become rubbish. + + BELLE + I want to help you. There must be some + way to lift the curse. + 60. + + + The staff exchange looks. + + COGSWORTH + Well, there is one -- + + Lumière candle-smacks him, leaving a waxy smear on his face. + + MRS. POTTS + It's not for you to worry about, lamb. + We've made our bed and we must lie in + it. + + The BEAST opens his eyes, he's been listening. The years of + shame and anguish haunt his face as he begins to remember what + it is to be human. + +74 EXT. REMOTE FOREST ROAD - MORNING 74 + + Maurice sleeps. Suddenly, we hear the branches crack around + him. The sound gets closer, and just when we think that wolves + have found Maurice, we see -- + + A HOODED FIGURE emerges from the woods. The figure looks at + Maurice, his breathing making fog in the cold. Alarmed, the + figure rushes up and pulls down the hood to reveal -- + + AGATHE. The beggar woman. + +75 EXT. AGATHE'S SHELTER - WOODS - DAY 75 + + Agathe, her arm around Maurice, guides him into a shelter in a + small clearing. Gently, she lays him down and removes her + cloak, spreading it over him for warmth. + + She pulls a bundle off her back and rifles through it, removes + herbs, a mortar and pestle, and expertly whips up a concoction + that she brings to Maurice's lips. + + AGATHE + Drink. + + He blinks, reviving, as he drinks it down. + + MAURICE + Thank you... Agathe. + +76 INT. BEAST'S LAIR - WEST WING - CASTLE - DAY 76 + + The beast lies in bed, still bandaged. + + BELLE (O.S.) + Love can transpose to form and + dignity. Love looks not with the eyes + but with the mind. And therefore -- + + He opens his eyes to see that Belle isn't reading, she's + reciting from memory. He joins in -- + 61. + + + THE BEAST + And therefore is winged Cupid painted + blind. + + Belle looks up, surprised. + + BELLE + So you know Shakespeare? + + THE BEAST + I had an expensive education. + + BELLE + Actually, "Romeo and Juliet" is my + favorite play. + + THE BEAST + Why is that not a surprise? + + BELLE + Sorry? + + THE BEAST + All that heartache and pining and -- + (a beastly shudder) + There are so many better things to + read. + + BELLE + Like what? + + The beast smiles. + +77 INT. LIBRARY - CASTLE - DAY 77 + + The beast has lead Belle into the biggest grandest private + library in all of France. The chamber is vast and lined floor + to ceiling with books. + + THE BEAST + Should be something here you can start + with... + + He turns to see Belle, speechless. + + BELLE + It's wonderful. + + THE BEAST + Oh. Yes, I suppose it is... Well, if + you like it so much, then it's yours. + + The beast starts to leave. He is stopped by -- + + BELLE + Have you really read every one of these + books? + 62. + + + THE BEAST + Not all of them. Some are in Greek. + + BELLE + Was that a joke? Are you making jokes + now? + + THE BEAST + Maybe. + + Belle shakes her head but is also charmed. The beast turns + and strides out. + +78 INT. DINING ROOM - CASTLE - NIGHT 78 + + The beast eats at the table, reading a book which sits on a + stand. He looks up to see Belle sit at the other end with three + + books. She picks up her spoon and starts to eat. The beast + plants his face in the bowl. Looks up a second later having + inhaled the soup, half of which is dripping from his fur. Belle + + attempts a smile. "SOMETHING THERE" begins. + +78A EXT. CASTLE GROUNDS - WOODED GLEN - DAY 78A + + Belle and the beast cross a stone footbridge. She reads + aloud to the patient, who moves tentatively, favoring a + wounded leg. + + BELLE + The air is blue and keen and cold + And in a frozen sheath enrolled + + The beast stops. Belle, savoring the words, keeps walking. + + BELLE (CONT'D) + Each branch, each twig, each blade of + grass + Seems clad miraculously with glass + + Belle notices that she's walking alone. She turns back, sees + the beast staring out soulfully: + + BEAST + I feel as if I'm seeing it for the + first time. + + As she follows his gaze, we reveal a splendidly desolate + landscape. The very thing Belle has just described, now + spread out before her. + + BEAST (CONT'D) + Is there more? + + Belle smiles, pleased that for a moment at least he's become + a fan of poetry. She reads: + 63. + + + BELLE + But in that solemn silence + Is heard the whisper + Of every sleeping thing: + "Look, look at me + Come wake me up + For still here I be." + + Belle meets the beast's eyes. Both suddenly aware of hidden + meanings in the poet's words. + +79 EXT. CASTLE GROUNDS - DAY 79 + + In the fresh snow, Belle brushes Philippe's coat. The beast + looks at Belle -- she nods -- and he pets the horse. Philippe + reacts skittishly, causing the beast to withdraw. Belle takes + his hand and places it on Philippe. Then, as she turns away -- + + BELLE + There's something sweet and almost + kind + But he was mean and he was coarse and + unrefined + + She looks back -- sees the beast petting Philippe. + + BELLE (CONT'D) + And now he's dear and so unsure + I wonder why I didn't see it there + before + + Suddenly, a snowball hits the beast. He turns to see Belle + smiling. + + The beast builds a huge snowball, and hurls it at Belle. It + knocks her clean off her feet and into the snow. Off the + beast, grinning in delight -- + +80 OMITTED 80 + +81 INT. DINING ROOM - CASTLE - NIGHT 81 + Belle reads at her end of the long dining table. She looks up + and sees the beast looking at her. "May I?" She nods, goes + back to her book. As he walks the length of the table: + THE BEAST + She glanced this way + I thought I saw + And when we touched + She didn't shudder at my paw + No, it can't be + I'll just ignore + But then she's never looked at me that + way before + + The beast sits. He grabs his bowl and slurps down the soup, + then catches himself as he sees Belle watching him. + 64. + + + After a moment, she picks up her bowl and drinks the soup the + same way. The beast smiles. They loudly slurp and laugh + together. + +82 INT. BALLROOM - CASTLE / EXT. CASTLE GROUNDS - DAY 82 + + Plumette and several Ettes remove dust bags from the + chandeliers, as Belle stands on a balcony, sleeves rolled up. + She scrubs a dirty window, causing a beam of sunlight to + strike Cadenza. Meanwhile Chapeau mops the floor, cleaning + off years of grime, revealing the shiny marble underneath. + + BELLE + New and a bit alarming + Who'd have ever thought that this + could be? + + Through the cleaned windows she sees the beast outside, + walking Philippe -- and talking to him. + + BELLE (CONT'D) + True that he's no Prince Charming + But there's something in him that I + simply didn't see! + +83 INT. LIBRARY - CASTLE - DAY 83 + + Belle stands on a ladder, pulling down book after book, and + handing them to the beast. The staff watches from the corner. + + PLUMETTE + Well, who'd have thought? + + MRS. POTTS + Well, bless my soul! + + COGSWORTH + Well, who'd have known? + + LUMIÈRE + Well, who indeed? + + The towering stack in the beast's arms teeters until the LIBRARY + TABLE scoots up behind him, allowing him to set the stack down. + The beast nods gratefully, and the wizened GLOBE on the tabletop + nods back. As the staff moves away: + + LUMIÈRE (CONT'D) + And who'd have guessed + They'd come together on their own? + + MRS. POTTS + It's so peculiar, wait and see. + + ALL + We'll wait and see! + A few days more + (MORE) + 65. + + ALL (CONT'D) + There may be something there that wasn't + there before. + + COGSWORTH + You know, perhaps there's something + there that wasn't there before. + + CHIP + What, mama? + + MRS. POTTS + There may be something there that wasn't + there before. + + CHIP + What is it, what's there? + + MRS. POTTS + I'll tell you when you're older. + + Chip waits a long beat. + + CHIP + Okay, I'm older! + + Mrs. Potts laughs. + + MRS. POTTS + Oh Chip, you are a one! + +84 EXT. CASTLE GROUNDS - COLONNADE - DAY 84 + + Sitting in the beautiful rose garden, the beast looks up from + his book as Belle approaches. + + BELLE + What are you reading? + + THE BEAST + Nothing. + + He hides the book but Belle catches the title. + + BELLE + Guinevere and Lancelot. + + THE BEAST + Well actually, King Arthur and the + Round Table. Knights, and men, and + swords and things... + + BELLE + But still... it's a romance. + + The beast nods, a bit shyly. + + THE BEAST + All right. I felt like a change. + 66. + + + BELLE + I never thanked you for saving my life. + + THE BEAST + Well I never thanked you... for not + leaving me to be eaten by wolves. + + Belle laughs. A quiet charged moment, which ends with the + SHOUTS and LAUGHTER of the servants in the castle. Belle and + the beast can't help but smile. + + BELLE + They know how to have a good time. + + THE BEAST + Yes. But when I enter the room, + laughter dies. + + BELLE + Me, too. The villagers say that I'm a + "funny girl," but I don't think they + mean it as a compliment. + + THE BEAST + I'm sorry. Your village sounds + terrible. + + BELLE + Almost as lonely as your castle. + + He turns to her with a melancholy smile. Then, an idea. + + THE BEAST + What do you say we run away? + + Belle is surprised by the suggestion. + +85 INT. LIBRARY - CASTLE - NIGHT 85 + + The beast unlocks a desk cabinet. In it, resting on velvet, + its gold-leaf cover faintly glimmering with magic, is a + LEATHER BOUND BOOK covered in a thick layer of dust. + + THE BEAST + Another little "gift" from the + Enchantress... + + The beast cracks open the book to reveal AN ANTIQUE WORLD + ATLAS. No countries. Just land and sea. + + THE BEAST (CONT'D) + A book that truly allows you to + escape. + + Belle moves closer to find the pen and ink drawing is alive. + Waves lap the beaches. Green trees sway in invisible wind. + 67. + + + BELLE + How amazing. + + THE BEAST + It was her cruelest trick of all. The + outside world has no place for a + creature like me. But it can for you. + + The beast offers his hand and Belle takes it. He gently + moves her hand to the book. + + THE BEAST (CONT'D) + Think of the place you've most wanted + to see. First, see it in your mind's + eye. Now feel it in your heart. + + Belle nods -- this isn't a difficult decision. The moment + her hand hits the page, we ENTER it, SPINNING through + celestial flares -- which blur and recombine -- as the lights + of Paris. We descend over the city and into... + +86 INT. ARTIST'S GARRET - MONTMARTRE - NIGHT 86 + + ... the top floor of a windmill in Montmartre. + + THE BEAST + Where did you take us? + + BELLE + Paris. + + The beast looks out of a window and sees glittering lights. + + THE BEAST + Oh, I love Paris. What would you like + to see first? Notre Dame? The Champs- + Elysées? No? Too touristy? + + He turns to find Belle silent. Her eyes brimming with tears. + + BELLE + It's so much smaller than I imagined. + + The beast watches Belle walk through her childhood home... + the artist's garret that Maurice recreated in his signature + music box. Abandoned years ago, the room is crumbling. + Belle finds the remains of her father's easel. A tarnished + wall mirror. Her own broken crib. + + BELLE (CONT'D) + This is the Paris of my childhood + These were the borders of my life + In this crumbling dusty attic + Where an artist loved his wife + I thought that I would find an answer + Here where his heart has always lived + (MORE) + 68. + + BELLE (CONT'D) + Now I see it's empty and abandoned + Easy to remember + Harder to move on + Knowing that the Paris of my childhood + Is gone + +Belle notices something tucked into a corner of the crib. +She pries it loose. It is a BABY'S RATTLE carved into the +shape of a rose. The beast focuses on it. + + THE BEAST + What happened to your mother? + + BELLE + That's the only story Papa could never + bring himself to tell. And I knew + better than to ask... + +As she speaks, the beast notices something on a chair. The +dark, pointed mask of a plague doctor. He looks up. + + THE BEAST + Plague. + +The revelation lands on Belle's face. She looks around. + +IN QUICK TIGHT SHOTS --- + +Belle glimpses what must have happened. A DOCTOR stands in +the doorway, his face covered by the mask. + + DOCTOR + You must leave. Now. + +A bag is hastily packed, Belle's YOUNGER FATHER (barely seen) +taking only what is necessary. He stops to gaze at Belle's +MOTHER, who lies on her deathbed, surrounded by medicines. + + BELLE'S MOTHER + Quickly... before it takes her too... + +She closes her eyes, turns away. + +Maurice picks up the baby... who drops her beloved rose- +shaped rattle. Belle's mother touches it to her lips as +husband and child disappear. + +BACK TO THE PRESENT + +Belle stares at the rattle. + + THE BEAST + I am sorry I ever called your father a + thief. + +Belle lifts her head, her wet eyes look at him. + 69. + + + BELLE + Let's go home. + + She means the castle. The beast nods, takes her hand. + +87 EXT. COUNTRY INN - EVENING 87 + + Wind and rain dance in front of the inn. MUSIC and DRUNKEN + LAUGHTER inside. + + LEFOU + Wow, this is some storm. At least + we're not tied to a tree in the middle + of nowhere, right? You know it's not + too late, we could just go get him... + + Gaston doesn't react. + + LEFOU (CONT'D) + It's just, every time I close my eyes, + I picture Maurice stranded out there. + And then when I open them, he's -- + +88 INT. COUNTRY INN - EVENING 88 + + They enter and see MAURICE surrounded by Pere Robert and Jean + the potter. + + LEFOU + (excitedly) + Maurice! + + LeFou realizes he shouldn't be happy and tamps down his + smile. Maurice and Gaston lock eyes. Gaston quickly + assesses the situation. + + TAVERN KEEPER + Gaston, did you try to kill Maurice? + + Just when we think Gaston might run or fight or deny, he smiles + warmly. + + GASTON + Oh, Maurice! Thank heavens. I've spent + the last five days trying to find you. + + Suddenly, the villagers shift their gaze to Maurice. + + MAURICE + No! You tried to kill me! You left + me for the wolves! + + GASTON + Maurice, it's one thing to rave about + your delusions. It's another to accuse + me of attempted murder. + 70. + + +Gaston's argument lands. The gentle Maurice feels the room +slipping away from him. + + JEAN + Maurice, do you have any proof of what + you're saying? + + MAURICE + Ask Agathe! She rescued me! + +Before Agathe can speak -- + + GASTON + Agathe? You'd hang your accusation on + the testimony of a filthy hag? + (to Agathe) + No offense, Agathe. + +Agathe raises an eyebrow - but says nothing. + + MAURICE + Monsieur LeFou! He was there. He saw + it all. + + LEFOU + Me? + + GASTON + You're right. Don't take my word for + it. + +He puts his arm around LeFou and pulls him close. + + GASTON (CONT'D) + LeFou, my dearest companion, did I, + your oldest friend and most loyal + compatriot, try to kill the father of + the only woman I've ever loved? + +All eyes turn to LeFou, who is clearly torn. + + LEFOU + It's a complicated question on a + number of accounts, but... no. No, he + did not. + +The crowd reacts. Maurice is crestfallen. Gaston has won. +Maurice lunges at Gaston -- who catches his flying fist, easily +subduing him. + + GASTON + Maurice, it pains me to say this, but + you've become a danger to yourself and + others. No wonder Belle ran away. You + need help, sir. A place to heal your + troubled mind. + 71. + + + Gaston signals to Tom, Dick, and Stanley -- and Maurice turns to + see them block the exit. Gaston places his large hand on + Maurice's shoulder -- and squeezes. Maurice winces. + + GASTON (CONT'D) + Everything's going to be fine. + +89 INT. BEAST'S LAIR - WEST WING - CASTLE - EVENING 89 + + The beast sits in a tub -- far too small for him. There's + shadow-play on the curtain. + + BEAST + I saw her in the ballroom, and I said, + well, you're making this so beautiful, + we should have a dance tonight. I never + thought she'd actually say yes! What + was I thinking?! + + LUMIÈRE + No, Master, it's perfect! The rose has + only four petals left. Which means + tonight... you must tell her how you + feel. + + The beast stands, appearing above the curtain, sopping wet. + + THE BEAST + I feel like a fool. She will never love + me. + + LUMIÈRE + Do not be discouraged. + + The beast shakes his coat dry like a dog. The spray + extinguishes Lumière's candles. + + LUMIÈRE (CONT'D) + She is the one. + + THE BEAST + I wish you'd stop saying that! + + CUT TO: + + The beast plops into his a seat in front of the mirror. + + THE BEAST (CONT'D) + There is no one. + + LUMIÈRE + You care for her, don't you? Well + then, woo her with beautiful music and + romantic candlelight... + + PLUMETTE + Yes, and when the moment's just + right... + 72. + + + THE BEAST + But how will I know? + + COGSWORTH + You will feel slightly nauseous. + + LUMIÈRE + Don't worry, master, you'll do fine. + + MRS. POTTS + Just stop being a coward and tell + Belle how you feel. And if you don't, + I promise you'll be drinking cold tea + for the rest of your life. + + LUMIÈRE + In the dark. + + PLUMETTE + Covered in dust. + + LUMIÈRE + Dark and very very dusty. + + Off the beast, taking this in -- + + CUT TO: + +89A A brief MONTAGE, as the castle staff give the beast a very + 89A + bad makeover. + + LUMIÈRE (CONT'D) + Start with the hair! Women love nice + hair. + + MRS. POTTS + I'll take the fingers and toes! + + COGSWORTH + Chapeau, brush those teeth! + + Chapeau wields scissors and a brush as Mrs. Potts pours hot + water into Chip. The beast is pushed and pulled, primped and + snipped. His fingers are dipped into Chip, his nails buffed + by Mrs. Potts' steam, as Lumière climbs onto his horns. + + LUMIÈRE + Dip dip, snip snip... + + Plumette powders the beast's face -- + + PLUMETTE + Eyes closed, poof poof! + + LUMIÈRE + And the pièce de résistance... + 73. + + + Chapeau places one of the Prince's old wigs on the beast. + Plumette pecks his cheek with a beauty mark. The beast spins in + + his chair to see himself in the mirror, and -- he's totally + ridiculous. The staff, dejected, takes in its handiwork. + + LUMIÈRE (CONT'D) + OK, I can fix this! + +90 INT. BELLE'S BEDROOM - CASTLE - EVENING 90 + + Garderobe finishes dressing Belle. + + GARDEROBE + Beautiful. But something is missing. + + Garderobe looks up. There's dust around the gilding that glows + in the moonlight. A moment of inspiration. + + GARDEROBE (CONT'D) + Ahh, yes. The finishing touch. + + Garderobe sweeps her arm, and the gold dust magically whooshes + down, settling on Belle's gown, and completing it. + +91 INT. GRAND STAIRCASE - CASTLE - NIGHT 91 + + Belle is breathtaking as she is revealed on the upper + landing. + + Mustering his courage, the beast descends from the west wing. + She gazes over at the beast, who looks resplendent. She sees + him in a new light. + + "BEAUTY AND THE BEAST" begins. From the bottom of the + staircase, Mrs. Potts watches with Chip -- + + MRS. POTTS + Tale as old as time + True as it can be + Barely even friends + Then somebody bends unexpectedly + + The beast and Belle meet on the center landing and descend the + staircase. Arm in arm, they enter -- + +92 INT. BALLROOM - CASTLE - NIGHT 92 + + -- the absolutely resplendent ballroom. It has been cleaned and + + scrubbed to its former glory. The great windows offer a + magnificent view of the starry night. + + MRS. POTTS + Just a little change + Small to say the least + Both a little scared + Neither one prepared + Beauty and the Beast + 74. + + + As the music rises, Belle bows. The beast bows in return. She + offers him her hands -- and nervously, he takes them. They + begin to dance, gliding across the ballroom -- + + CAMERA sweeps up to see CARVED INSTRUMENTAL FIGURES -- + VIOLIN, VIOLAS, HARP -- which have come to life and are + playing accompaniment with CADENZA -- sparkling with polish. + + MRS. POTTS (CONT'D) + Ever just the same + Ever a surprise + Ever as before + Ever just as sure + As the sun will rise + Tale as old as time + Tune as old as song + Bittersweet and strange + Finding you can change + Learning you were wrong + + ANGLE ON BEAUTY AND THE BEAST -- in this moment, nothing in the + world exists except each other. Despite his bulk, the beast is + careful, gentle, graceful. The lights in the ballroom grow dim + as he lifts her, spinning. Belle is swept away. + + ANGLE ON THE HOUSEHOLD STAFF -- watching in mounting hope and + excitement. On top of Cadenza, Lumière puts an arm around + Cogsworth, pulling him closer. + + MRS. POTTS (CONT'D) + Certain as the sun + Rising in the East + Tale as old as time + Song as old as rhyme + Beauty and the Beast + + The lights come back up as the terrace doors open, allowing + Belle and the beast to step outdoors. + + MRS. POTTS (CONT'D) + Tale as old as time + Song as old as rhyme + Beauty and the Beast + + Chip nuzzles his mother, as Belle and the beast move out to: + +93 EXT. TERRACE - CASTLE - NIGHT 93 + + Belle and the beast stand together under the stars. + + THE BEAST + I haven't danced in years. I'd almost + forgotten the feeling. + + Mustering his courage -- + 75. + + + THE BEAST (CONT'D) + It's foolish, I suppose, for a + creature like me to hope that one day + he might earn your affection. + + BELLE + I don't know... + + THE BEAST + Really? So you think you could be + happy here? + + BELLE + Could anyone be happy if they're not + free? + + She gazes wistfully toward the forest. + + BELLE (CONT'D) + My father taught me to dance. I used + to step on his toes a lot. + + THE BEAST + You must miss him. + + BELLE + Very much. + + THE BEAST + (thinks, decides) + Would you like to see him? + +94 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 94 + + Belle stares into the beast's hand mirror. + + BELLE + I'd like to see my father. + + A glow of magic. When it clears Belle sees Maurice -- being + manhandled in the village square! He looks terrified. + + BELLE (CONT'D) + Papa! What are they doing to him?! + + The beast reacts to her suffering. A moment of choice. + + THE BEAST + (pained) + You must go to him. + + BELLE + What did you say? + + THE BEAST + You must go to him. No time to waste. + 76. + + + Belle looks at the beast as she has never done before -- with + gratitude and appreciation. She moves to return the mirror. + + THE BEAST (CONT'D) + No. Keep it with you. And you'll + always have a way to look back on me. + + BELLE + Thank you. + + She rushes out. + +94A INT. FOYER - CASTLE - NIGHT 94A + + Belle runs down the grand staircase towards the door. She + stops, seeing Chapeau. He bows to her, silently, sadly. + Choking back tears, she is gone. + + Chapeau looks up to the landing, and sees Mrs. Potts standing + there, watching. Heartbroken. + +94B INT. BEAST'S LAIR - WEST WING - CASTLE 94B + + The beast unclasps his beautiful coat and lets it fall to the + ground. Cogsworth enters, eager for news. + + COGSWORTH + Well, master, I may have had my doubts, + but everything is moving like clockwork. + True love really does win the day! + + THE BEAST + I let her go. + + COGSWORTH + You... WHAT!? + + Lumière and Plumette enter behind Cogsworth, followed by Mrs. + Potts. + + LUMIÈRE + Master... how could you do that? + + THE BEAST + I had to. + + COGSWORTH + But why? + + The beast doesn't answer. + + MRS. POTTS + Because he loves her. + + LUMIÈRE + Then why are we not human? + 77. + + + COGSWORTH + (angry) + Because she doesn't love him! And now, + it's too late. + + PLUMETTE + But she might still come back -- + + THE BEAST + No. I've set her free. I'm sorry I + couldn't do the same for all of you. + + He turns away, unable to face them. + + THE BEAST (CONT'D) + Now go. Our time is almost past. + + The staff retreats. As "EVERMORE" begins, the beast pulls on + a dark cape. + + THE BEAST (CONT'D) + I was the one who had it all + I was the master of my fate + I never needed anybody in my life + I learned the truth too late + +95 INT./EXT. TURRETS - CASTLE - NIGHT 95 + + He steps onto the balcony of his lair. From his POV, we see + Belle mounting Philippe on the castle grounds below. + + THE BEAST + I'll never shake away the pain + I close my eyes but she's still there + I let her steal into my melancholy + heart + It's more than I can bear + + Belle sets off and the beast begins to climb the castle + turrets. + + THE BEAST (CONT'D) + Now I know she'll never leave me + Even as she runs away + She will still torment me, calm me, + hurt me, move me come what may + + The beast climbs higher and higher, to keep Belle in sight as + she gets further and further away. + + THE BEAST (CONT'D) + Wasting in my lonely tower + Waiting by an open door + I'll fool myself she'll walk right in + And be with me for evermore + + The beast climbs, Belle riding, until he reaches the highest + turret of the castle. + 78. + + + THE BEAST (CONT'D) + I rage against the trials of love + I curse the fading of the light + Though she's already flown so far + beyond my reach + She's never out of sight + Now I know she'll never leave me + Even as she fades from view + She will still torment me, be part of + everything I do + Wasting in my lonely tower + Waiting by an open door + I'll fool myself she'll walk right in + And as the long long nights begin + I'll think of all that might have been + Waiting here for evermore + + The beast stands at the edge of the turret as Belle finally + disappears through the castle gates. + +96 EXT. VILLAGE OF VILLENEUVE - SQUARE - NIGHT 96 + + A horse-drawn asylum wagon thunders into the square where + Maurice is surrounded by taunting villagers. The eerie + driver, MONSIEUR D'ARQUE, steps out as Tom, Dick and Stanley + throw Maurice into his cage on wheels. Villagers approach + the wagon like 18th century rubberneckers. + + Gaston leans into the wagon. The gathering crowd is just loud + enough to mask a private plea to Maurice... + + GASTON + Have you ever seen the inside of a mad + house, Maurice? You wouldn't last a + week. Just give me your daughter's + hand, and I'll set you free. + + MAURICE + Never. + + Gaston clenches his jaw and locks the door with a CLANK. + + GASTON + Take him away! + + The wagon begins to move. The rubberneckers watch the wagon + until they are silenced by a loud... + + BELLE (O.S.) + STOP! + + Belle's voice cuts through the crowd. They turn and gape at -- + + BELLE, DAZZLING, IN HER EVENING GOWN. + + The crowd parts before her as she dismounts Philippe and + moves to the wagon. They whisper as she passes -- + 79. + + + VILLAGERS + "Belle..." "Where did she come from?" + "Is that Belle..." "Look at that + dress..." + +Gaston stares, slack-jawed, unable to believe his eyes. We +linger on the jealous village lasses, the puzzled Jean, the +confused LeFou, the foul-tempered Clothilde, the bewildered +Pere Robert, and in the shadows... Agathe. + +Belle fearlessly strides right in front of the wagon. The +horses jump up, startled. Belle runs to the locked door. + + MAURICE + Belle? I thought I'd lost you! + +Belle sees her father injured on the floor of the wagon. + + BELLE + Open this door! He's hurt! + +Monsieur d'Arque climbs down to calm her. + + MONSIEUR D'ARQUE + I'm afraid we can't do that, miss. But + we'll take very good care of him. + + BELLE + My father's not crazy! Gaston... + Tell him! + + GASTON + Belle, you know how loyal I am to your + family, but your father has been making + some unbelievable claims. + + JEAN + It's true, Belle. He's been raving + about a beast in a castle. + + BELLE + I have just come from the castle and + there is a beast! + + GASTON + We all admire your devotion to your + father, but you'd say anything to free + him. Your word is hardly proof. + +Belle pulls out the magic mirror from her sash. + + BELLE + You want proof? SHOW ME THE BEAST! + +In the mirror, the beast sits slumped against a turret wall. +The villagers gasp. Gaston's face registers shock. + 80. + + + BELLE (CONT'D) + There is your proof! + + GASTON + This is sorcery! + +Gaston snatches the mirror from Belle and holds it up to the +villagers. + + GASTON (CONT'D) + Look at this beast. Look at his fangs, + his claws. + +The villagers recoil in fright. + + BELLE + No, don't be afraid. He is gentle and + kind. + + GASTON + The monster has put her under a spell! + If I didn't know better, I'd say she + even cared for him. + + BELLE + He's not a monster, Gaston. You are. + (appeals to everyone) + The beast would never hurt anyone. + + GASTON + I have heard of the effects of dark + magic, but never seen it with my own + eyes before! This is a threat to our + very existence! + +Raucous cries of "Gaston Gaston Gaston!" rise. Gaston holds +the mirror up. + + GASTON (CONT'D) + (to the thugs) + We can't have her running off to warn + the beast. Lock her up too. + +Tom, Dick and Stanley strong-arm Belle into the wagon with +her father. + + BELLE + This isn't over Gaston, you'll see! + + LEFOU + Gaston, with all due respect -- + + GASTON + DO YOU WANT TO BE NEXT? Fetch my + horse. + 81. + + +Gaston hops onto the back of the wagon and addresses the +crowd. The "MOB SONG" begins as we move through the +frightened villagers -- + + GASTON (CONT'D) + That creature will curse us all if we + don't stop him! Well, I say we KILL + THE BEAST! + + TOM + We're not safe until he's dead + + DICK + He'll come stalking us at night + + JEAN + Set to sacrifice our children + To his monstrous appetite! + + CLOTHILDE + He'll wreak havoc on our village + If we let him wander free! + + GASTON + So it's time to take some action, boys + It's time to follow me! + +Gaston grabs a TORCH from a villager and tosses it into a barrel +of pitch. Flames rise to the sky. + + GASTON (CONT'D) + Through the mist, through the wood + Through the darkness and the shadows + It's a nightmare but it's one exciting + ride + +Gaston lights Clothilde's torch, then clasps the shoulder of +Monsieur d'Arque, who watches helplessly as his asylum wagon +horses are commandeered by the mob. + + GASTON (CONT'D) + Say a prayer, then we're there + At the drawbridge of a castle + And there's something truly terrible + inside + It's a beast, he's got fangs razor + sharp ones + Massive paws, killer claws for the + feast + Hear him roar, see him foam + But we're not coming home + `Til he's dead, good and dead... + KILL THE BEAST! + +Some villagers seize shovels, pitchforks, axes. Some light +torches in the pitch. Others wrench a boar's head PIKE STAFF +from outside the country inn. Pere Robert tries to calm the +frenzy but the force of the mob pushes him back. + 82. + + + MOB + Light your torch, mount your horse! + + GASTON + Screw your courage to the sticking place + + MOB + We're counting on Gaston to lead the + way + + +97 EXT. WOODS - NIGHT 97 + + Gaston and LeFou crash into the woods at a full gallop. + + GASTON + Call it war + Call it threat + You can bet they all will follow + For in times like this they'll do just + as I say + + LeFou's doubts are growing: + + LEFOU + There's a beast + Running wild there's no question + But I fear + The wrong monster's released + + MOB + Sally forth, tally ho + Grab your sword, grab your bow + Praise the Lord and here we go! + + Gaston holds up the mirror. + + GASTON + Show me the castle! + + IN THE MIRROR -- Gaston sees the hidden path to the castle. + +100 INT. FOYER - CASTLE - NIGHT 100 + + Plumette's head rests on Lumière's shoulder. Mrs. Potts nuzzles + Chip. + + LUMIÈRE + At least he has finally learned to love. + + COGSWORTH + A lot of good that does us if she + doesn't love him in return. + + MRS. POTTS + No. This is the first time I've had any + real hope she would. + 83. + + + ANGLE ON CHIP -- he hears a distant sound -- the rumble of + MARCHING BOOTS -- puzzled, he hops to the window embrasure -- + + CHIP + Did you hear that, mama? Is it her!? + Is she coming back?! + + The staff and Froufrou jump up, excited, and move to the window. + They see torches in the distance. + + LUMIÈRE + Could it be? + + They look through the glass, distorted with frost, as the mob + moves through the garden. Lumière warms the windowpane with his + flame to see more clearly. + + LUMIÈRE (CONT'D) + Sacrebleu! Invaders. + + MRS. POTTS + Ruffians! + + COGSWORTH + Well, there you go. So much for true + love. Man the barricades, and hold + fast! + + They hop down from the embrasure. + +102 INT. FOYER - CASTLE - NIGHT 102 + + Lumière, Cogsworth, Mrs. Potts, Chip, Plumette and Chapeau stand + at the front door, forming a sad barricade. + + CASTLE STAFF + Hearts ablaze, banners high + We go marching into battle -- + Unafraid although the danger just + increased + + CADENZA + Move aside! + + Cadenza crab-walks in from the ballroom, standing vertically and + propping himself against the door. The others gather around + him. + +103 EXT. TERRACE - CASTLE - NIGHT 103 + + The mob hauls their boar's head battering ram up to the door. + + MOB + Raise the flag, sing the song + Here we come, we're fifty strong + And fifty Frenchmen can't be wrong + Let's kill the beast! + 84. + + +103A INT. FOYER - CASTLE - NIGHT 103A + + CRASH! The battering ram breaks through the postern door, + which falls out of the door frame. + + COGSWORTH + We need help! + + He lopes towards the staircase. + +105 INT. ASYLUM WAGON - VILLAGE OF VILLENEUVE - NIGHT 105 + + Belle gazes out the prison bars, sees d'Arque pacing by the + fountain. She whispers to Maurice -- + + BELLE + I have to warn the beast -- + + MAURICE + Warn him? How did you get away from + him? + + BELLE + He let me go, papa. He sent me back + to you. + + MAURICE + I don't understand. + + She holds up the rose-shaped rattle. Maurice recognizes it + immediately. + + BELLE + He took me there. I know what + happened to maman. + + Maurice takes the rattle. Stunned. + + MAURICE + Then you know I had to leave her + there. I had to protect you. I've + always tried to protect you... too + much, perhaps... + + He stops, eyes filled with tears. + + BELLE + I understand. + + She takes his hand and kisses it. + + BELLE (CONT'D) + Will you help me now? + + MAURICE + It's dangerous. + 85. + + + BELLE + Yes. Yes it is. + + Maurice sees the courage and determination in her eyes. And + his own eyes light up with an idea. + + MAURICE + Of course I could try to pick the + lock. After all, it's only gears and + springs. But I would need something + long and sharp -- + + He stops as Belle, a step ahead, removes and hands him one of + her long hairpins. + + MAURICE (CONT'D) + Like that. Perfect. + + Maurice gets to work. + +104 EXT. HIGHEST TURRET - CASTLE - NIGHT 104 + + Cogsworth hops up the spiral staircase and out onto the + turret. He spots the beast, perched among the gargoyles. + + COGSWORTH + Pardon me, master. I'm sorry to + disturb you, but -- + + THE BEAST + She's not coming back. + + COGSWORTH + No... the castle is under attack! + + THE BEAST + It doesn't matter now. Just let them + come. + +106 EXT. TERRACE - CASTLE - NIGHT 106 + + The battering ram smashes against the door. + + MOB + Kill the beast! Kill the beast! + +107 INT. FOYER - CASTLE - NIGHT 107 + + The door is giving way, the mob is too strong. + + MRS. POTTS + This isn't working! + + LUMIÈRE + I know what to do. + 86. + + +108 EXT. TERRACE - CASTLE - NIGHT 108 + + The battering ram smashes again. + + MOB + Kill the beast! Kill the beast! + +109 INT. FOYER - CASTLE - NIGHT 109 + + The castle staff has now vanished, their barricade dismantled. + A series of bolts on the door slide open one by one, top to + bottom. The door unlocking itself... + +110 EXT. TERRACE - CASTLE - NIGHT 110 + + The battering ram smashes the door one last time -- + + MOB + Kill the beast! Kill the beast! + + The door swings open easily and the mob tumbles inside, to find: + +111 INT. FOYER - CASTLE - NIGHT 111 + + It's EMPTY. Met by eerie silence, Gaston and the mob cautiously + enter. The door barely hangs on its hinges. + + Villagers hold up torches. The flickering light reveals + FURNITURE. Chairs. A coat rack. A feather duster. A + candelabra. A tea pot and teacup. A harpsichord. + + LEFOU + Are you not the least bit concerned that + this castle might be haunted? + + GASTON + Don't lose your nerve, LeFou. + + Gaston looks into the mirror. ANGLE ON LeFou -- he notices + Mrs. Potts. Brings his torch close to study her. + + ANGLE ON THE MOB -- among them, Jean the potter stares at the + eerie castle foyer -- + + JEAN + This place seems familiar... like I've + been here before... + + Gaston approaches the west wing stairs. LeFou brings his face + down to the tea pot and teacup. + + LEFOU + You must be the talking teacup. And + you must be his grandmother. + + Mrs. Potts' EYES open. Furious. + 87. + + + MRS. POTTS + Grand-mother? ATTACK! + + LeFou jumps back. ALL HELL BREAKS LOOSE as the furniture comes + alive. Chairs kick the shins of several villagers. Plumette + feathers villagers' faces furiously, causing them to have + sneezing fits. As other villagers funnel in, the "Lend-a-Hand" + lights outside the door bonk several of them on the head. + They're alive after all. + + Chapeau spins Gaston around and is about to land a blow when + GASTON GRABS LEFOU and puts him in the line of fire. LeFou + becomes a human punching bag as Cadenza approaches and rears + up on his hind legs. His shadow falls across Gaston, who + dives out of the way -- leaving LeFou exposed. + + LEFOU + Gaston! + + Cadenza comes crashing down on LeFou, squashing him flat. + Gaston looks down at his friend. + + LEFOU (CONT'D) + (weak, muffled) + Gaston... help... + + Gaston looks from LeFou to the enchanted mirror, then to the + grand staircase. + + GASTON + Sorry, old friend. It's hero time. + + Gaston rushes up the staircase. Lefou passes out. + +112 INT. VILLAGE OF VILLENEUVE - NIGHT 112 + + Monsieur d'Arque paces in the square, when he notices the + door to the asylum wagon is ajar. He runs to the wagon and + flings open the doors, only to find it empty. D'Arque slams + the doors shut -- and there's Maurice, smiling beside him. + + MAURICE + Hello. Oh, I believe this is yours. + + Maurice casually hands the wagon's padlock to Monsieur + d'Arque -- just as Belle rides past on Philippe! As she + charges out of the village gates, she tosses her ball gown to + the ground. + + Maurice waves to her proudly, then turns back to d'Arque. + + MAURICE (CONT'D) + She's very headstrong. Do you have + children? + + Off d'Arque's confusion -- + +113 OMITTED 113 + 88. + + +117 INT. FOYER - CASTLE - NIGHT 117 + + LeFou, bruised but alive, opens his eyes, sits up -- when + Plumette furiously begins feathering his face. + + PLUMETTE + (laughs) + No one to protect you now, eh?! + + LeFou swats -- and Plumette flies away, laughing. + +119 INT. TURRET STAIRCASE - CASTLE - NIGHT 119 + + Gaston finds himself at the landing of two staircases. + Unsure which one leads to the beast, he holds up the mirror, + which illuminates the right way. Gaston bounds up them. + +120 INT. FOYER - CASTLE - NIGHT 120 + + Chip rapidly fires saucers at attackers, counting them off as + he dispatches them with glee. + + CHIP + One! Two! Three! Four! Five! + + Above, Cogsworth looks down from the balcony, a tinhorn + general surveying the battlefield. + + COGSWORTH + Good show, Chip my boy! + + Just then, a platoon of books arrives on the large table from + the library, battle-ready. + + COGSWORTH (CONT'D) + Excellent! The infantry's arrived. + Now go and teach them a lesson! + + The books rocket down into the fray, thwacking villager after + villager. + + COGSWORTH (CONT'D) + Yes, those are called books, you third- + rate musketeers! + + This draws the attention of Tom, Dick and Stanley. Cogsworth + shudders -- + + COGSWORTH (CONT'D) + Oh, I'm off! + + -- and jumps down from the balustrade, as they bound up the + stairs. They face off against Cogsworth, and he backs up + quickly. + + COGSWORTH (CONT'D) + Ah, terribly sorry, pardon me, I'm + just a clock! + 89. + + + Suddenly, Garderobe leaps out, blocking the brutes' path, and + unfurls her fabric, wrapping them up. + + GARDEROBE + Yes, that's it... put it on... pretty + little boys! + + Tom and Dick look at each other and shriek, horrified at their + girly make-overs. Stanley, however, doesn't seem to mind his + new look. Garderobe cackles. + + GARDEROBE (CONT'D) +121 Go! Be free! Be free! Be FREE! 121 + +122 EXT. WOODS - NIGHT 122 + + Belle on Philippe. She whips past the withered tree and down + the path toward the castle grounds. + +124 OMITTED 124 + +124A OMITTED 124A + +124B OMITTED 124B + +126 INT. FOYER - BALCONY - CASTLE - NIGHT 126 + + From the balcony, Mrs. Potts leaps onto a chandelier -- + + MRS. POTTS + How do you take your tea?! Piping + hot?! Or boiling?! + + -- and douses villagers below with boiling water. She looks + down -- seeing Jean the potter -- and gasps. + + MRS. POTTS (CONT'D) + Mister Potts?! + + Suddenly, Mrs. Potts slips and drops down towards the floor. + Jean the potter looks on in confusion. Chip looks on in + terror. + + CHIP + Mama! + + But just as she's about to shatter, she is caught by a pair + of human hands. Mrs. Potts gazes up at -- LEFOU, who seems + as surprised as she does. + + MRS. POTTS + Oh! Thank you. + + Suddenly, two villagers charge at LeFou from either side. + LeFou ducks, the villagers wallop one another, Mrs. Potts + spits hot water in their faces, and LeFou punches one out to + finish the job. + 90. + + + MRS. POTTS (CONT'D) + Nicely handled! + + LEFOU + Well I used to be on Gaston's side, + but we're in a bad place right now. + + MRS. POTTS + You're too good for him anyway... + +LeFou nods, emotional. + + MRS. POTTS (CONT'D) + Shall we get back to it, then?! + +Below, Cadenza bucks and rages against villagers, besting +them repeatedly as he plays elaborate trills. + + CADENZA + Such sweet music! Ha ha, I'll play + you like a concerto! + +Clothilde watches this, and seethes. + + CLOTHILDE + (points to Cadenza) + Silence that harpsichord! + +Clothilde's cry rallies a group of villagers, who raise their +axes to turn maestro Cadenza into firewood. + + GARDEROBE + Maestro! + +Cadenza looks up to see her. + + CADENZA + Darling! At last! + + GARDEROBE + (shock becomes rage) + I'm coming, my love! That's it! The + fat lady is singing! + +Garderobe belts out a deafening high note and throws her +massive girth off the balcony, sending Clothilde and the +villagers below scattering. She lands with a graceful THUD. + + CADENZA + Bravissima! + +Before the villagers can retaliate, Cadenza's "teeth" shoot +out of his mouth like machine gun rounds. BAM BAM BAM! + +Lumière runs around with gunpowder trail, creating a line of +firecracker explosions that send villagers scattering. + 91. + + + LUMIÈRE + Watch your toes! + + In the chaos, we find Agathe, moving quietly through the + villagers and up the stairs. What is she up to? + + As villagers pour out the doors, Lumière and Cogsworth meet + at the base of the stairs. + + LUMIÈRE (CONT'D) + Bon voyage! Safe trip home! + + COGSWORTH + And stay out! + +127 EXT. CASTLE GROUNDS - NIGHT 127 + + Belle rides Philippe towards the castle. She kicks his + flanks and they double their speed. + +129 EXT. HIGHEST TURRET - CASTLE - NIGHT 129 + + Gaston steps slowly up onto the beast's turret. The beast + senses his presence, turns. They lock eyes. Gaston cocks + his pistol. + + GASTON + Hello, beast. I am Gaston. Belle sent + me. + +130 INT. TURRET STAIRCASE - CASTLE - NIGHT 130 + + Belle races up the stairs to the turret. + +131 EXT. HIGHEST TURRET - CASTLE - NIGHT 131 + + With no hope left, the beast turns away from Gaston, whose + finger tightens on the trigger. + + GASTON + Were you in love with her? Did you + honestly think she'd want you? + + He fires. The beast drops over the edge. + + On the turret below, his claws make contact with the slanted + rooftop and break his fall. He hugs the rooftop, heaving. + + Gaston looks down over the edge of the turret. He pulls his + crossbow and reaches back over his shoulder to draw an arrow + from his quiver -- but there's nothing there. + + Gaston spins to see Belle, and his arrows gripped in her + hands. + + GASTON (CONT'D) + Belle? + 92. + + + BELLE + Where is he?! + + With that, Belle snaps Gaston's arrows over her knee, and + tosses them away. Gaston grabs her arm. + + GASTON + When we return to the village, you will + marry me, and the beast's head will hang + on our wall! + + BELLE + NEVER. + + She pulls away -- and uses this pivot to grab the barrel of + Gaston's pistol. They struggle. + + With Gaston on the back foot for a split second, Belle yanks the + + pistol hard. Gaston, not letting go, swings with it, and + seeking balance on a loose stone, he drops off the side of the + turret! + + Gaston's reflexes are quick. He lets go of the pistol, grabbing + + a gargoyle and swinging himself down through a window of the + turret. He lands on the spiral staircase. + + Gaston's pistol, in the meantime, clatters down, coming to rest + on the landing of a stone footbridge below. + +132 EXT. CASTLE - VARIOUS TURRETS - NIGHT 132 + + Wounded, the beast climbs around the lower turret. All around + him, turrets quaver and crack. The castle is imploding. + + GASTON (O.S.) + I'm coming for you, beast! + + Gaston continues down until he reaches the bottom of the + spiral staircase. He drops to a window box below, and jumps + sideways onto another. + + The beast makes a second leap, onto another parapet. Tiles + slide away beneath him as he scrambles to hang on. + + Belle reaches the landing at the bottom of the spiral staircase, + and leaps down onto another adjacent landing. She looks out, + trying to see the beast through the turrets. + + The beast swings around a third parapet and leaps onto another. + He's now as far as he can get from Gaston. + + Finally, Belle reaches a point where she can see the beast on + the faraway turret. She screams out as his grip slips. + + BELLE + NO! + + The beast's head turns. + 93. + + + THE BEAST + Belle? + +And he spots her. + + THE BEAST (CONT'D) + (roars) + BELLE! You came back! + + BELLE + I tried to stop them! + + THE BEAST + Stay there! I'm coming! + +Gaston drops onto the walkway lined with gargoyles, landing +directly between the beast and Belle. He sneers -- the upper +hand is still his. His eyes search for a weapon... he grabs +a stone spire, and breaks it off. + +With superhuman agility, the beast makes a giant leap from the +far parapet back toward the central turrets. Back toward Belle. + +Belle descends the stairs, finally reaching the beast's lair. + +The beast lands on the gargoyle walk and Gaston jumps out, +bringing his club cracking down on the beast's back. The +beast roars in pain. But he pushes past Gaston. + +With Gaston landing blow after blow on the beast's back, the +beast staggers down a set of stairs onto the landing of a stone +footbridge (where Gaston's pistol came to rest earlier). + + BELLE + Stop! Gaston, no! + +Belle watches the beast lumbering across the footbridge -- which +crumbles under each mighty footfall. + +The beast reaches the cupola on the far side, directly +parallel to the lair. One giant leap stands between him and +Belle... + +Gaston lifts the club to deliver the death blow -- when the +beast snatches it. He yanks the club away and hurls it +against a far wall. + +With a snarl, the beast's paw is around Gaston's throat. He +lifts Gaston and swings him out over the edge of the landing. + + GASTON + (snivelling) + No. Don't let me go. Please. Don't + hurt me, beast. I'll do anything. + +TIGHT ON THE BEAST -- his features twisted with rage and hate -- +but he controls himself -- and his anger fades. + 94. + + + THE BEAST + I AM NOT A BEAST. + + He sets Gaston down. + + THE BEAST (CONT'D) + Go. Get out. + + Gaston scrambles to his feet, and the beast lunges, chasing + him away down the outer staircase of the cupola. + +133 EXT. BALCONY - CASTLE - NIGHT 133 + + Belle gazes proudly into the beast's eyes, across the final + chasm that separates them. + +134 EXT. CASTLE - CUPOLA - NIGHT 134 + + The beast has just enough distance for a head start to leap + across to the lair balcony. + + BELLE + No! It's too far! + + But the beast has already gotten down on all fours. His hind + claws dig into the stone. And then he's off, gaining speed as + he runs on all legs. Belle gasps -- and the beast leaps. + + He's airborne, flying over the chasm -- and he just makes it to + the balcony -- landing on all fours! He rises, and smiles. + + BOOM! The beast roars in agony. Past him, across the chasm, + Belle spots Gaston on the crumbling walkway, pistol back in + hand. He grins as he reloads for the kill shot -- and as Belle + watches, helpless, he takes aim again -- and fires. + + The beast drops -- just as the walkway beneath Gaston + collapses. In an instant, there's nothing beneath his feet, + and he disappears, screaming, in a cascade of stones. + + Belle cradles the beast's head. Anguished. He lies there, + breathing heavily. Softly, the beast rests his paw on Belle's + hand. Fading, his eyes look at her with perfect love. + + THE BEAST + You came back. + + BELLE + Of course I came back. I'll never + leave you again. + + THE BEAST + I'm afraid it's my turn to leave. + + BELLE + We're together now. It's going to be + fine. You'll see. + 95. + + + THE BEAST + At least I got to see you one last time. + + The paw drops as the beast dies in her arms. + + BELLE + No... please, no... + +135 EXT. TERRACE - CASTLE - NIGHT 135 + + As villagers stagger away in defeat, Lumière turns to Plumette, + takes her in his arms, about to give her a V-Day kiss. + + LUMIÈRE + We did it, Plumette. Victory is ours. + + Plumette is silent in Lumière's embrace. + + LUMIÈRE (CONT'D) + Plumette...? Oh! My dear Plumette... + + Cogsworth helps Lumière lower Plumette to the ground. Opposite + them, Garderobe stands beside Cadenza, reunited at last. + + GARDEROBE + Oh, maestro! You were so brave! + Goodbye, my love... + + Her arms retract -- as the footlights inside her dim and die. + + CADENZA + Darling! No, don't leave me! + + Cadenza sobs. We move along the few keys he has left until they + freeze into silence. We TILT UP to the music stand. No hint of + a face. Froufrou emerges from the foyer, pawing at his master + and mistress, then goes still. Nothing more than a piano stool + now. + + Mrs. Potts frantically approaches Cogsworth and Lumière. + + MRS. POTTS + CHIP! CHIP! Have you seen Chip!? He + ran off! Oh, where is my little boy -- + + Lumière and Cogsworth watch in horror as Mrs. Potts' face + disappears into the painted ornamentation of the tea pot. + + CHIP + Mama! + + Lumière turns to Cogsworth, panicked that Chip might see + what's happened. + + COGSWORTH + Oh no. + 96. + + + Just as he leaps up, his features fade away and gravity takes + over. The saucer plummets, shattering. But Chapeau catches + Chip in mid-air -- and lovingly places him, inanimate, onto + the trolley cart beside Mrs. Potts. + + Chapeau straightens himself nobly, and becomes a coat rack. + All around Cogsworth and Lumière, the staff goes still. + + COGSWORTH (CONT'D) + Lumière... I... TICK... can't... + CHIME... speak... + + LUMIÈRE + It's all right, Cogsworth. + + COGSWORTH + I... can't... TICK... Lumière, my + friend... TOCK... it was an honor to + serve with you. + + The only sound Cogsworth makes is `tick tock, tick tock.' + Lumière is alone. Surrounded by objects. + + LUMIÈRE + The honor was mine. + + Lumière does a final twirl and stiffens. He is a candlestick. + +136 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 136 + + ANGLE ON THE BELL JAR. The final rose petal drops -- just as + a HOODED FIGURE appears. We move up to reveal: AGATHE. + + BELLE + (to the beast) + Please, don't leave me. Come back. + + TIGHT ON BELLE -- her lips touch the beast's forehead in a + kiss. + + BELLE (CONT'D) + I love you. + + Hearing these words, Agathe smiles benevolently and places + her hand on the bell jar -- which explodes and releases a + wave of rose petals, whirling into the air. + + A golden light begins to emanate from Agathe. It encircles + the beast and he too begins to rise. Belle gets to her feet, + watching as the beast is lifted and enveloped by the swirling + aurora, and then buffeted gently back down to reveal -- + + THE PRINCE + + He lands on his feet and looks down at his hands, his arms, + his chest. He turns -- and sees Belle. + 97. + + + PRINCE + Belle... + + Slowly he steps toward her, and she to him. + + In silent disbelief, Belle runs her fingers through his hair. + She looks into the Prince's blue eyes. It is him. Tears of + grief turn to tears of joy as they lean in for their first + kiss. + +137 EXT. CASTLE - DAWN 137 + + Magic explodes outwards. And with it, the dawn breaks. The + castle transforms like someone is giving it a wash of gold. The + magic spreads across the balcony as the sun rises on the + terrace, traveling down the castle facade -- creepy stone + gargoyles turn into noble statuary -- + +138 EXT. TERRACE - CASTLE - DAWN 138 + + As the light passes over, an upside-down FROUFROU transforms + back into a tiny BICHON FRISE basking in the sun. He leaps up + and chases his tail (still a tassle), then trots over to CHAPEAU + + and relieves himself on his leg -- which changes into a human + foot. + + Chapeau transforms back into a VALET and shoos the dog away + with his walking stick. As the dog weaves through his legs, + the valet loses his balance and bumps into the trolley cart + holding Mrs. Potts and Chip. It starts to roll toward the + stairs. + + The valet backs into Garderobe, who waddles in and out of + sunlight, changing from wardrobe to human to wardrobe again. + Cadenza's face comes alive as he sees the wardrobe falling + onto him. As it crashes, the wardrobe's doors fly open, + sending out a flurry of garments. We follow them back to the + ground, where the human DIVA now lies on top of the human + MAESTRO. + + MAESTRO + Oh, Madame. + + DIVA + Oh, Maestro. + + The maestro smiles his now-toothless grin. She tearfully + embraces him -- as their dog joins in. + + The trolley rolls past, taking us to Cogsworth, whose back is + bathed in sunlight. We move around to reveal the pudgy + MAJORDOMO, human except for his moustache, which still + resembles the hands of a clock. He peers through his + monocle, sees -- + + The French FOOTMAN (formerly Lumière) come into view. + 98. + + + COGSWORTH + Lumière! + + LUMIÈRE + Cogsworth, we beat the clock! + + COGSWORTH + Mon ami. + + They greet each other as a feather floats by, brushing the + footman's nose. They look over to see -- + + A pile of feathers... from which the footman pulls the + sexiest French MAID in history, her feathers blossoming into + a dress around her. + + LUMIÈRE + Plumette... mon amour... + + And then, the greatest kiss ever. Their passion ignites a + tiny flame on the footman's head, which the maid pats out. + They turn as they hear -- + + The trolley SQUEAKING as it nears the steps, about to crash + down. Mrs. Potts and Chip rattle on a tray, which suddenly + jerks to a stop on the precipice. The valet has hooked the + cart with his walking stick, but... + + Mrs. Potts and Chip slide down the incline... shoot off the + tray... and start to TRANSFORM IN MID-AIR! They sled to the + bottom of the steps and skid to a halt, fully human again. + CHIP hugs his MOTHER... he finally got her to skate! + + MRS. POTTS + Oh, Chip! What did I tell you? Look + at you -- you're a little boy again! + Oh you smell so good! + + From the castle grounds, astonished villagers approach, + blinking, as the veil is lifted from their memory. + + JEAN + Darling!? + + MRS. POTTS + Mr. Potts! + + JEAN + Beatrice! Chip! I remember! I do! + + They embrace -- a family reunited. + +139 OMITTED 139 + 99. + + +140 EXT. TERRACE - CASTLE - DAWN 140 + + A wonderful emotion-filled reunion. STABLE BOYS, KITCHEN + MAIDS, ARTISANS, GROUNDSKEEPERS, GUARDS, and SEAMSTRESSES are + reunited in human form. + + Among the happy villagers, we find Cogsworth. + + CLOTHILDE (O.S.) + Henry? + + He spins to see Clothilde - his wife. Gulp. + + COGSWORTH + Oh. DEAR! + + She hugs him. + + CLOTHILDE + I've been so lonely. + + He shuts his eyes tight and whispers to himself: + + COGSWORTH + Turn back into a clock... turn back + into a clock... + + Lumière and Plumette embrace, then... + + PLUMETTE + Lumière, look! + + LUMIÈRE + Oh, my Prince! + + BELLE AND THE PRINCE emerge. He rushes to Lumiere. + + THE PRINCE + Hello, old friend. + + Lumiere is taken aback by the warm embrace of his master. + + LUMIÈRE + It's so good to see you! + + Belle and the Prince are surrounded by the staff. Plumette + curtsies to Belle -- + + PLUMETTE + You saved our lives, mademoiselle. + + -- As Chip runs up and hugs her tight. + + CHIP + Belle, it's me! It's Chip! + + "BEAUTY AND THE BEAST" starts to play. + 100. + + +141 OMITTED 141 + +142 INT. BALLROOM - CASTLE - DAY 142 + + The entire village celebrates as Cadenza -- smiling with + dentures -- plays the harpsichord with his beautiful wife + Garderobe singing. + + GARDEROBE + Tale as old as time + Tune as old as song + Bittersweet and strange + Finding you can change + Learning you were wrong + + We glide past various familiar faces: LeFou; Lumière waltzing + with Plumette; Cogsworth with Clothilde; Chip and his father, + Jean the Potter... and finally Mrs. Potts. She beams as she + watches Belle dance with the Prince, then crosses to + acknowledge Maurice, who sits at an easel, sketching the + celebration. + + MRS. POTTS + Winter turns to spring + Famine turns to feast + Nature points the way + Nothing left to say + Beauty and the Beast + + Belle runs her hand down the Prince's smooth cheek. + + BELLE + How would you feel about growing a + beard? + + He growls playfully. As they laugh, we PULL OUT to reveal + the ballroom in all its restored splendor. + + ALL (V.O.) + Certain as the sun + Rising in the East + Tale as old as time + Song as old as rhyme + Beauty and the Beast + + CUT TO: + + BLACK. + +143 OMITTED. 143 diff --git a/scripts/Guardians_of_the_Galaxy_Vol_2.txt b/scripts/Guardians_of_the_Galaxy_Vol_2.txt new file mode 100644 index 0000000..7292f63 --- /dev/null +++ b/scripts/Guardians_of_the_Galaxy_Vol_2.txt @@ -0,0 +1,7718 @@ + GUARDIANS OF THE GALAXY VOL. 2 + + + + Written by + + James Gunn + + + + + + + BLACK: + + O.S. "BRANDY" by LOOKING GLASS PLAYS. + + EXT. FORD COBRA MUSTANG - DAY + + SUPER: MISSOURI + EARTH + 1980 + + OVERHEAD SHOT: A `79 Cobra winds alongside the Missouri + River, past swaying loosestrife, vibrant sugar maples, and + oily self-pump gas stations. A hazy sun glints off the hood + of the Cobra which, like its descendant the Milano, is orange + and teal. + + We MOVE DOWN AND IN on a fresh-faced girl of 18 in the + passenger seat: MEREDITH QUILL. As "Brandy" blasts from the + car stereo, she pushes her fine, feathered hair from her + mouth, and sings along, out-of-tune - + + MEREDITH + Do do do do do do do do do do do! + + The driver, a MYSTERIOUS MAN in his 30's, dressed in sleek, + mod attire, LAUGHS. + + Meredith LAUGHS too. She SINGS and dances with abandon in + her seat. She's a lively goofball, and it's apparent where + Peter Quill received much of his personality. + + EXT. DAIRY QUEEN/WOODS - MOMENTS LATER + + The Cobra pulls beside this Dairy Queen in a desolate area. + + EXT. WOODS BEHIND DAIRY QUEEN - MOMENTS LATER + + The Mysterious Man helps Meredith down the steep hillside + into the woods. "Brandy" continues to play on the car stereo + in the lot behind them. Meredith GIGGLES. + + MYSTERIOUS MAN + This way, my river lily. + + MEREDITH + Where are you taking me? + + The Mysterious Man shows her a STRANGE SPROUT nestled amongst + the trees. + + A few inches tall and decidedly alien in nature, its delicate + limbs twist and turn in a complex pattern. + 2 + + + MEREDITH (CONT'D) + Oh. It's beautiful. + + The Mysterious Man looks proudly at Meredith. With a + perpetually excited glint in his eye, and the air of a self- + empowerment guru, he is an intoxicating presence. + + MYSTERIOUS MAN + I was afraid it wouldn't take to + the soil, but it rooted quickly. + + He nods toward the sky between the branches above. + + MYSTERIOUS MAN (CONT'D) + Soon it will be everywhere - all + across the universe, fulfilling + life's one true purpose. + + MEREDITH + Which is what? + + MYSTERIOUS MAN + Expansion. + + The Mysterious Man takes her in his arms. He gazes into her + eyes. She grows almost teary. + + MEREDITH + I'm not sure what you're talking + about. But I like the way you say + it. + + MYSTERIOUS MAN + My heart is yours, Meredith Quill. + + MEREDITH + I can't believe I fell in love with + a spaceman. + + And they KISS, with passion, and love. "DO DO DO DO DO DO DO + DO DO DO DO!" sings Looking Glass as SOURCE BECOMES SCORE and + we TILT DOWN to the plant. It TWITCHES AND GROWS AND TWISTS. + + We PUSH IN ON IT, where we see the plant is made, not only of + cellulose and leaves, but of a BRIGHT COSMIC LIGHT. And we + KEEPING PUSHING IN, INTO THE PLANT ITSELF, more FLESH-LIKE + than you'd imagine, where COLORFUL BACTERIA OVERCOMES US as + "BRANDY" DISTORTS AND TRANSFORMS into something epic. + + O.S. A CRACK OF INTERDIMENSIONAL THUNDER + + SUPER: 34 Years Later + 3 + + + EXT. THE SOVEREIGN - OUTER SPACE + + An artificial, golden planet, made of interlocking orbs, + revolves around a blue sun. + + We PUSH IN on THUNDEROUS INTERDIMENSIONAL CRACKS on one small + patch of planet. + + SUPER: THE SOVEREIGN + M49 5IOL339P21+H9LNI31 + + I/E. POWER STATION - DAY + + A DIMENSIONAL CRACK SNAPS in the sky overhead. PETER QUILL + looks from it to an old MATTEL ELECTRONICS FOOTBALL GAME + converted into a tracker. A RED DOT APPROACHES. + + QUILL + Showtime, a-holes! It'll be here + any minute! + + GAMORA (O.S.) + Which will be its loss. + + Quill turns toward GAMORA, loading a rifle. DRAX, ROCKET, + and BABY GROOT also ready themselves for battle in this + grand, open-air power station. Dozens of BATTERIES are + couched in conductor towers encircling them. Quill, Gamora, + and Rocket wear flying rigs. + + QUILL + Is that a rifle? + + GAMORA + You don't know what a rifle is? + + QUILL + I thought your thing was a sword. + + GAMORA + We've been hired to stop an + interdimensional beast from feeding + on those batteries' energy, and I'm + going to stop it with a sword? + + QUILL + (mumbling to himself) + Don't look at me like I'm stupid. + You're the one being all + inconsistent. + + A LOUDER, LARGER CRACK: something seems to be fighting its + way through the sky. + 4 + + + GAMORA + Drax, why aren't you wearing one of + Rocket's aero-rigs? + + DRAX + It hurts. + + GAMORA + Hurts? + + DRAX + (MUTTERING) + I have sensitive nipples. + + Rocket, who is working on a pair of speakers wired to Quill's + Walkman, LAUGHS HARD at this. Drax points at him. + + DRAX (CONT'D) + What about him?! What's he doing?! + + ROCKET + If I finish this, we can listen to + tunes while we work. + + DRAX + How is that a priority? + + ROCKET + Blame Quill! He's the one who loves + music so much! + + QUILL + I agree with Drax. It's hardly + important right now. + + ROCKET + Oh, sure, okayyyy, Quill. + + Rocket WINKS at him. + + QUILL + No, I really agree with him. + + ROCKET + Sure, I know. + + Rocket WINKS some more. + + DRAX + I can clearly see you winking. + + ROCKET + Damn. I'm using my left eye? + 5 + + + Rocket hears a small GROWL. + + He looks down and sees Baby Groot - newly unpotted, only nine + inches tall or so - angrily THROWING ASIDE some foraging + Orloni. Then he looks up at Rocket, explaining: + + GROOT + I am Groot. + + ROCKET + They were not looking at you funny. + + AN EVEN LARGER CRACK! + + Rocket swirls as a GIGANTIC BEAST - a hundred-foot-long + Lovecraftian monstrosity - BREAKS THROUGH THE + INTERDIMENSIONAL RIFT. THE ABILISK is the color of a pinkie + mouse with kaleidoscopic and deadly SPLATTER MATTER pulsing + from its maw. + + ROCKET (CONT'D) + Well. That's intense. + + Rocket, Quill, and Gamora JET-PACK OUT OF THE WAY, while they + BLAST at the creature. Drax HOLLERS, CHARGING it with his + twin blades. Quill TURNS ON his mask. + + But we FOCUS on baby Groot, who trots up to the stereo + speakers and Walkman. + + He fiddles with two wires. They SPARK, the stereo POWERS UP, + and "MR. BLUE SKY" by ELECTRIC LIGHT ORCHESTRA PLAYS as - + + THE CREDITS START + + Baby Groot DANCES IN-FOCUS in the foreground as the Guardians + get PUMMELED by the beast OUT-OF-FOCUS in the background. + + Baby Groot's dancing is arrhythmic and many of his "dance + moves" are nonsensical mixtures of trembling, swaying, and + making weird faces. + + But it is joyous. + + As Groot struts, Quill comes ROLLING behind him. As he + stands, he sees Groot dancing and looks at him, worried. + + QUILL + Groot, look - ! + + A TENTACLE FLIES IN FROM OFF-SCREEN, KNOCKING Quill OUT-OF- + FRAME as Groot dances on, blissfully unaware. + 6 + + + Groot, smiling, dances onward, as DRAX, in the clutches of a + giant tentacle, is SLAMMED NUMEROUS TIMES BESIDE HIM. + + Groot arrives at GAMORA, who is blasting at the OFF-SCREEN + BEAST. + + GAMORA + Get out of the way, Groot! You're + going to get hurt! + + Groot stops dancing. He WAVES at her. + + GAMORA (CONT'D) + Hi. + + She AERO-JETS back into the fray. + + As Groot DANCES, Drax FALLS directly behind him. + + Groot FREEZES. + + Drax stares at him a moment, suspicious. Groot stays frozen. + + Drax LEAVES, and Groot COMMENCES THE DANCE where he left off. + + Groot sees an INSECT FLYING BY. + + Suddenly dancing is forgotten and GETTING THIS BUG is all- + important. He CHASES it. + + He HOPS up and grabs it from the air... + + And starts EATING it. + + Rocket spots this and FLIES DOWN beside him, worried. He + PRIES OPEN GROOT'S MOUTH with his fingers, frantically trying + to get it out. + + ROCKET + Spit it out! Spit it out! + + Groot COUGHS IT OUT. The bug FLIES crookedly away, one wing + mulched. + + Rocket JETS OFF back toward the battle, muttering: + + ROCKET (CONT'D) + Disgusting. + + Groot sees something else and becomes furious. We follow his + line of sight to a GRAZING ORLONI. + 7 + + + Groot SCREAMS A WAR CRY and ATTACKS IT. He GROWS HIS + BRANCHES AROUND IT, and the terrified Orloni DARTS AWAY, + DRAGGING GROOT WITH IT. + + Groot's anger becomes panic as he is DRAGGED AROUND BY THE + ORLONI and can't let go. + + The Orloni DARTS around the power station and underneath the + RAGING BATTLE, a CRYING Groot bouncing along behind it. + + Finally, he LETS GO and goes TUMBLING, ROLLING directly INTO + THE CAMERA. + + And then stands up and, as if none of it happened at all, + starts DANCING AGAIN. + + We PAN and see the speakers and Walkman beside him, and we + realize Baby Groot has traveled around the entire Power + Station and has arrived back where he started - + + When Drax is FLUNG by the beast into the stereo system, + SMASHING it. + + Groot stops dancing. Angry that Drax has ruined his fun, he + picks up a piece of the stereo and beats him with it. + + CREDITS END. + + Drax stands and glares at the ferocious beast as Rocket, + Quill, and Gamora BLAST at it without effect. + + DRAX + The beast's hide is too thick to be + pierced from the outside. I must + cut through it from the inside. + + GAMORA + Huh? + + Drax HOLLERS, CHARGING the creature. + + GAMORA (CONT'D) + Drax, no! That doesn't make - + + The creature OPENS ITS ENORMOUS MOUTH, SCREECHING, and Drax + LEAPS INSIDE IT, instantly swallowed up. + + QUILL + What is he doing?! + + GAMORA + He said the skin is too thick to be + pierced from the outside, so he -- + 8 + + + QUILL + That doesn't make sense! + + GAMORA + I tried to tell -- ! + + QUILL + Its skin is the same thickness from + the inside as from the out! + + GAMORA + I REALIZE THAT. + + INT. BEAST'S STOMACH - DOESN'T MATTER + + Drax HOLLERS as he SLASHES AWAY inside the goo of the beast's + stomach. To no avail. + + I/E. POWER STATION - DAY + + Quill reloads his pistol, thinking. + + QUILL + Gamora, there's a cut on its neck - + Rocket, get it to look up. + + Quill and Rocket JET UP HIGH up over the creature as they + BLAST REPEATEDLY at it. + + QUILL (CONT'D) + Hey, you giant Sea Monkey, up here! + + Gamora's rifle is jammed. She tosses it down. PULLS HER + SWORD. SNAPS IT OPEN. + + The beast SCREECHES at Quill and Rocket FLYING overhead. The + colorful SPLATTER MATTER FLIES FROM ITS MOUTH, BATTERING + ROCKET, BURNING his clothes. + + But its neck is exposed, where the skin is thinner, and there + is a small wound. + + Gamora DASHES, LEAPING HIGH into the air, and she PLUNGES her + sword directly into the wound. + + She holds tight to the hilt as she FALLS, SLICING AN INCISION + down the length of the creature's neck. + + The beast WOBBLES, TOPPLES, and DIES. As it COLLAPSES, Drax + SPILLS OUT of the wound. He raises his arms in victory. + + DRAX + Ha ha! I have single-handedly + vanquished the beast! + 9 + + + Quill SCOFFS. Rocket SNORTS. Gamora stares at him, dead-eyed. + Baby Groot throws a rock at him. + + DRAX (CONT'D) + What? + + I/E. POWER STATION - MOMENTS LATER + + The Guardians de-rig by the Anulax batteries. + + DRAX + What are they called again? + + QUILL + Anulax batteries. + + DRAX + Harbulary batteries. + + QUILL + That's nothing like what I just + said. But they're worth thousands + of units a piece. Which is why the + Sovereign hired us to protect them. + + Rocket pulls out one of the ANULAX BATTERIES, checking it + out. + + Gamora, Drax, and Quill walk on. Rocket stays back a moment. + Quill nods down the walkway, where GOLDEN SOVEREIGN CITIZENS + stand at the edge of the station, gawking. + + QUILL (CONT'D) + Just be careful what you say around + these folks. They're easily + offended and the cost of + transgression is death. + + DRAX + Sounds judgmental for a bunch of + golden morons. + + QUILL + That's the kind of thing you might + want to keep to yourself. + + GAMORA + I'll hold my tongue, as long as + they deliver what was promised. + + EXT. LAIR OF THE HIGH PRIESTESS - MORNING + + An enormous golden palace in the shape of a globe, dappled by + morning sunlight. + 10 + + + AYESHA (O.S.) + We thank you, Guardians, for + putting your life on the line. We + could not risk the lives of our own + Sovereign citizens. + + + INT. LAIR OF THE HIGH PRIESTESS - DAY + + HIGH PRIESTESS AYESHA is stunningly beautiful with golden + skin. Her CHAMBERMAIDS and other DENIZENS flutter throughout + her luxurious lair, all of whom are equally perfect. + + AYESHA + Every citizen is born exactly as + designed by the community, + impeccable, both physically and + mentally. We control the DNA of our + progeny, germinating them in + birthing pods. + + QUILL + I guess I prefer making people the + old-fashioned way. + + AYESHA + Well... perhaps someday you could + give me a history lesson in the + archaic ways of our ancestors... + for academic purposes. + + QUILL + Yeah, I mean, if it's for research + that could be pretty -- + + Quill sees Gamora staring at him. + + QUILL (CONT'D) + Pretty repulsive. I'm not into that + kind of casual - + + GAMORA + Oh, please. + (TO AYESHA) + Your people promised something in + trade for our services. Bring it + and we shall gladly be on our way. + + Ayesha nods. + + Two SOLDIERS emerge with A WOMAN in a hood and cloak, her + wrists bound by SHACKLES. They SHOVE HER TO HER KNEES and + yank back her hood, REVEALING -- + 11 + + + NEBULA. Her clothes are tattered. Her hand is now just a low- + tech metal claw. + + She glares at Gamora. Gamora glares at her. Quill looks from + one to the other, feeling the tension. + + QUILL + (QUIETLY) + Family reunion. Yaaaay. + + AYESHA + I understand she is your sister? + + Gamora roughly picks Nebula up, starts to go. + + GAMORA + She's worth no more to me than the + bounty due for her on Xandar. + + AYESHA + Our soldiers apprehended her + attempting to steal the batteries. + Do with her as you please. + + QUILL + Thank you, High Priestess Ayesha. + + Quill starts to go. + + AYESHA + What is your heritage, Mr. Quill? + + Quill turns back towards her, uncomfortable with the + question. + + QUILL + My mother is from earth. + + AYESHA + And your father? + + QUILL + He's... not from Missouri, that's + all I know. + + Ayesha stares at him as if she's eaten something foul. + + AYESHA + I see it within you, an unorthodox + genealogy. A hybrid that seems + particularly... reckless. + + Quill tries not to let this affect him, but it does. Rocket + grins a huge, fake grin at Ayesha. + 12 + + + ROCKET + You know, they told me you people + were conceited douchebags. But that + isn't true at all. + + Rocket turns to Quill and WINKS. The Guardians shift + uncomfortably. + + ROCKET (CONT'D) + Oh, shit, I'm using my wrong eye + again, aren't I? + (TO AYESHA) + I'm sorry. That was meant to be + behind your back. + + Drax YANKS Rocket away. + + Gamora and Quill head out of the lair. Drax and Rocket are a + few paces behind. + + DRAX + Count yourself blessed they didn't + kill you. + + ROCKET + You're telling me. You wanna buy + some batteries? + + Rocket grins and shows Drax something hidden in his bag - TWO + ANULAX BATTERIES. + + "LAKE SHORE DRIVE" by ALIOTTA, HAYNES, AND JEREMIAH PLAYS. + + Drax LAUGHS. Rocket SHUSHES him so Quill and Gamora don't + hear. + + EXT. SOVEREIGN SPACE DOCK/THE MILANO - MOMENTS LATER + + The Milano RISES into the blue sunset over the Sovereign + Space Dock filled with golden, capsule-shaped ships. + + Rocket works the controls as they rise up. He speaks into the + COMM: + + ROCKET + Let's get baldy back to Xandar and + retrieve that bounty! + + INT. MILANO LOWER FLIGHT DECK - OUTER SPACE + + Groot lies on the rear window peering out the back as they + pass overhead. + 13 + + + On the CASSETTE PLAYER AWESOME MIX VOL. 2 is playing; we PAN + away from it, MOVING IN on Quill, looking perturbed as he + takes off his jacket. + + Gamora is nearby, putting shackles on Nebula. + + GAMORA + You all right? + + QUILL + That stuff about my father. Who + does she think she is? + + GAMORA + I know you're sensitive about that. + + QUILL + I'm not sensitive about it. I just + don't know who he is. + + Gamora nods. + + QUILL (CONT'D) + Sorry if it looked like I was + flirting with her. I wasn't. + + GAMORA + I don't care if you were. + + Gamora pushes Nebula to the rear of the craft. + + QUILL + I think you do care. That's why I'm + apologizing. + + Quill watches her go, somewhat longingly. + + DRAX + Gamora is not the one for you, + Quill. + + Quill is startled to see Drax directly beside him. + + DRAX (CONT'D) + There are two types of beings in + the universe. Those who dance, and + those who do not. + + QUILL + Uh huh. + + DRAX + I first met my beloved at a war + rally. + (MORE) + 14 + + DRAX (CONT'D) + Everyone in the village flailed + about, dancing. Except one woman. + My Ovette. I knew immediately she + was the one. + + Quill nods, trying to be polite. + + DRAX (CONT'D) + The most melodic song in the world + could be playing, and she wouldn't + even tap her foot. She wouldn't + move a muscle. One might assume she + was dead. + + QUILL + Well, that is pretty hot, but-- + + DRAX + It would make my nether regions + ENGORGE - + + QUILL + All right, okay, fascinating, don't + need to hear it. I get your point, + I'm a dancer and Gamora is not. + + Drax smiles kindly, clutches Quill's shoulder. + + DRAX + You just need to find a woman who + is pathetic, like you. + + At the rear of the ship, Gamora roughly restrains Nebula. + Nebula notices a bowl of fruit. + + NEBULA + I am hungry. Hand me some of that + yaro root. + + GAMORA + No. It's not ripe yet. And I hate + you. + + NEBULA + You hate me?! You left me there + while you stole that stone for + yourself. Yet here you stand, a + hero, a Garden of the Galaxy! + + GAMORA + A what? + + Nebula stares at her, confused. + 15 + + + GAMORA (CONT'D) + `Guardians of the Galaxy.' + + NEBULA + Oh. + + GAMORA + Why would we be `the Gardens of the + Galaxy'? + + NEBULA + I don't know. I thought it was + stupid. + + GAMORA + Yeah, it would be. + + NEBULA + It's still wordy. + + GAMORA + I wasn't the one who thought of it. + + NEBULA + Your name doesn't matter. I'll be + free of these shackles soon enough, + and I'll kill you, I swear. + + GAMORA + No. You'll live out your days in a + prison on Xandar, wishing you + could. + + WARNING LIGHTS FLASH. + + I/E. MILANO FLIGHT DECK - MOMENTS LATER + + Gamora MOVES UP from the stairs. Rocket and Quill are in the + pilot seats. Drax is moving up from the back. + + QUILL + We got an armed Sovereign fleet, + approaching from the rear. + + Gamora takes the center seat, sees a REARVIEW SCAN: + + Golden, capsule-shaped, Sovereign OMNICRAFT, with a video + screen on front and a blaster on each side - getting closer. + + GAMORA + Why would they do that?! + 16 + + + DRAX + Probably because Rocket stole some + of their batteries. + + Quill and Gamora look at Rocket, astounded. Rocket gawks at + Drax, betrayed. + + ROCKET + Dude. + + DRAX + Oh, right. He didn't steal one of + those. I don't know why they're + after us. What a mystery this is. + + THE SOVEREIGN FIRE UPON THE MILANO. + + Quill does his best to evade their blasts. + + QUILL + What were you thinking?! + + ROCKET + Dude, it was really easy to steal. + + GAMORA + That's your defense? + + ROCKET + Come on. You saw how that high- + priestess talked down to us! I'm + teaching her a lesson! + + QUILL + Oh! I didn't realize your + motivation was altruism. A shame + the Sovereign have mistaken your + intentions and are trying to kill + us. + + ROCKET + Exactly. + + QUILL + I WAS BEING SARCASTIC! + + ROCKET + Oh no! You tricked me! You're + supposed to use a sarcastic voice! + Now I look foolish! + + Drax points at Rocket and LAUGHS at him. + 17 + + + QUILL + SHUT UP, DRAX! You knew! You should + have told us! + + Drax is aghast. He looks at Rocket. + + DRAX + Did you tell him it was easy to + steal? + + ROCKET + Are you kidding me? + + DRAX + What? + + ROCKET + You never listen to anything! + + GAMORA + None of you listens! Can we please + just put the bickering on hold + until after we survive the massive + space battle?! + + Rocket glances at Quill, nodding back at Gamora. + + ROCKET + Whoa. Somebody woke up on the wrong + side of the bed this morning. + + QUILL + Do not try to bro down with me + right now, dude. I will fricking + punch you in your fricking face. + + ROCKET + Real nice! Resorting to violence. + + QUILL + More incoming! + + MORE SHIP FLY AT THEM from the front. + + ROCKET + GOOD! I WANT TO KILL SOME GUYS! + + They twist and turn between the oncoming ships as ROCKET + FIRES AT THEM, SCREAMING. They EXPLODE. + + On the front of the Sovereign ships is the VIDEO IMAGE OF A + PILOT. + 18 + + + SOVEREIGN PILOT (ON SHIP) + Bloody hell! + + INT. SOVEREIGN PILOT BAY - DAY + + The same SOVEREIGN PILOT sits in a REMOTE POD. On a SCREEN in + front of her we see ROCKET FIRING. + + The SHIP IS HIT and the SCREEN GOES STATIC. + + The Pilot SHOUTS in anger, like a kid who lost at a video + game. + + High Priestess Ayesha surveys from a walkway above; ROWS OF + PODS containing PILOTS, all flying their Omnicraft remotely. + + I/E. MILANO FLIGHT DECK + + GAMORA + You're not killing anyone. Those + ships are all remotely piloted. + + INT. SOVEREIGN PILOT BAY - DAY + + A SOVEREIGN ADMIRAL is beside Ayesha. + + AYESHA + What is the delay, Admiral? + + ADMIRAL + High Priestess, if we destroy their + craft, we risk destroying the + batteries. They're extraordinarily + combustible and could, in turn, + destroy the entire fleet. + + AYESHA + We have thousands of batteries and + thousands of ships. Our concern is + their slight against our people. We + hired them and they steal from us? + It is heresy of the highest order. + + The Admiral speaks into his comm. + + ADMIRAL + All command modules - + + A FRIGHTENED SOVEREIGN PILOT, on the outskirts of the battle, + hears the Admiral in his headset. + + ADMIRAL (O.S.) (CONT'D) + Fire with the intent to kill. + 19 + + + A MEAN SOVEREIGN PILOT, FIRING at the Milano, smirks. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + THE MILANO'S WING IS STRUCK. The EMERGENCY SYSTEMS FLASH ON. + + QUILL + What's the closest habitable + planet? + + Gamora dances her fingers over the UNIVERSAL NEURAL + TELEPORTATION NETWORK, clicking through "jump points" until + she finds one. + + GAMORA + It's called Berhert. + + QUILL + How many jumps? + + GAMORA + Only one. But the access point is + 47 clicks away. And it's through + that Quantum Asteroid Field over + there. + + Quill spots, to his side, a HUGE FIELD OF SMALL, GLOWING + ASTEROIDS, SWIRLING IN RANDOM PATTERNS, DISAPPEARING OUT OF + SPACE and EMERGING AGAIN a few feet or a few yards away. + + Quill ZOOMS SIDEWAYS toward the field. + + DRAX + Quill, to make it through that, + you'd have to be the greatest pilot + in the universe. + + Quill smirks. + + QUILL + Lucky for us - + + ROCKET + I am. + + Rocket FLIPS the pilot controls between them so that he's the + one piloting the ship. Quill gapes at him. + + The Milano DIVES into the QUANTUM ASTEROID FIELD, SWOOPING in + and around the SWIRLING ATOMIZED STONES, barely missing them. + + The Sovereign ships FOLLOW. They are not pilots on par with + Rocket, so most of the ships are immediately PELTED WITH + STONES AND DESTROYED. + 20 + + + INT. SOVEREIGN PILOT BAY - DAY + + One after another the SOVEREIGN PILOTS screens go blank, and + they FALL BACK, angry and upset. + + PUSH IN on Ayesha, barely containing her fury. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + Quill FLIPS the controls back, so he's piloting again. + + ROCKET + What are you doing?! + + QUILL + I've been flying this rig since I + was ten years old. + + ROCKET + I was cybernetically engineered to + pilot a spacecraft! + + Rocket FLIPS the controls back to him. + + QUILL + You were cybernetically engineered + to be a douchebag. + + Quill FLIPS the controls back to him. + + GAMORA + Stop it! + + ROCKET + Quill, later on tonight you're + gonna lay down in your bed and + there's gonna be something squishy + in your pillowcase and you're gonna + be, like, `what's this?' and it's + gonna be because I put a turd in + there. + + Rocket FLIPS the switch back. + + QUILL + You put your turd in my bed, I + shave you. + + ROCKET + Oh it won't be my turd, it will be + Drax's. + + Drax LAUGHS cheerfully. Gamora glances at him. He explains: + 21 + + + DRAX + I have famously huge turds. + + GAMORA + We're about to die, and this is + what we're discussing? + + DRAX + They raise havoc with the pipes. + That's why I do all the plumbing. I + take responsibility for my actions. + Unlike some people... + + Drax eyes baby Groot. + + QUILL + Groot, he's right, you have to + start aiming inside the box. + + Groot looks ashamed. Quill FLIPS the controls back. + + GAMORA + Stop it. + + Rocket SWITCHES it back. Quill SWITCHES it back. + + They're nearing the end of the Asteroid Field when both go to + switch it at the same time and -- + + WHAM! A LARGE ASTEROID SMASHES THROUGH the stern of the + Milano. + + I/E. MILANO LIVING AREA - OUTER SPACE + + A CHUNK OF THE REAR OF THE CRAFT DISAPPEARS. + + Nebula IS SUCKED toward the hole - but, fortunately, her arms + are shackled to a post, so she doesn't fly out. + + Her face and body cover with frost. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + Everything FLIES AROUND THE SPACECRAFT, RUSHING THROUGH THE + HOLE. + + Groot GOES FLYING, but Quill CATCHES HIM, and casually TOSSES + him back to Drax -- + + So that he can punch in a code, causing - + 22 + + + I/E. MILANO LIVING AREA - OUTER SPACE + + A PROTECTIVE ENERGY SHIELD SLIDES UP in front of the hole. + Nebula COLLAPSES to the floor. She yells upstairs -- + + NEBULA + Idiots! + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + Everyone catches their breath, relieved. + + ROCKET + Well, that's what you get when + Quill flies. + + Gamora THROWS SOMETHING HARD at the back of Rocket's head. + + ROCKET (CONT'D) + Ow! + + GAMORA + There's still a Sovereign craft + behind us! + + The electronics FLICKER. + + QUILL + Our weapons are down! + + GAMORA + Twenty clicks to the jump. + + The Mean Pilot BLASTS at them from the sole Sovereign Craft, + TAKING OUT another part of a wing. The Milano is TREMBLING. + + Drax starts climbing down into the living area. + + QUILL + Where's he going? + + INT. SOVEREIGN PILOT BAY - DAY + + A group of pilots have gathered around the Mean Pilot, + rooting him on, like kids at a video arcade. + + FRIGHTENED PILOT + Come on, Zylak, you can do this. + + I/E. MILANO LIVING AREA - OUTER SPACE + + Nebula sees the bowl of yaro root has spilled in front of + her. + 23 + + + She reaches for a piece, but it's KICKED OUT OF HER WAY. + + She looks up to see Drax, grabbing a cable on a spool + attached to the wall. + + DRAX + It's not ripe. + + Drax HOOKS the cable to his belt. A folder on the wall reads + SPACESUITS FOR EMERGENCY and, below that, in Rocket's scrawl: + OR FOR FUN. + + Drax pulls a small disk from the folder. He slaps it between + his shoulder blades and a SHIMMERY SHEATH COVERS HIS ENTIRE + BODY - a thin force-field spacesuit. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + Gamora watches THE MAP leading to the jump point. + + GAMORA + Fifteen clicks. + + Another BLAST from the Sovereign craft HITS them. + + INT. SOVEREIGN PILOT BAY - DAY + + The pilots rooting on the Mean Pilot erupt into CHEERS. + + I/E. MILANO LIVING AREA - OUTER SPACE + + Drax grabs a huge rifle. + + He punches buttons on the wall. A SECOND PROTECTIVE SHIELD + OPENS UP between him and Nebula, and THE FIRST PROTECTIVE + SHEATH OPENS, exposing him to space -- + + INT. SOVEREIGN PILOT BAY - DAY + + The Mean Pilot watches in awe as Drax JUMPS OUT the back of + the Milano. + + I/E. MILANO LIVING AREA - OUTER SPACE + + Drax smiles. The cable UNSPOOLS and SNAPS TAUT when it + reaches its end. + + Drax is DRAGGED HAPHAZARDLY by the Milano like a water sled + on a boat. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + ON THE MAP, the jump point gets closer. + 24 + + + GAMORA + Ten clicks. + + I/E. MILANO LIVING AREA - OUTER SPACE + + The Mean Pilot BLASTS WILDLY at Drax, missing him by mere + inches. + + Drax brings the sight to his eye. Aims at the ship. + + DRAX + Die, spaceship. + + And he SHOOTS, BLASTING the Sovereign ship. + + INT. SOVEREIGN PILOT BAY - DAY + + The Mean Pilot SCREAMS as his lights go out. The Frightened + Pilot shakes his head in disgust. + + FRIGHTENED PILOT + You suck, Zylak. + + Zylak is really sad. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + As Quill and Rocket leave the asteroid field, it seems for a + moment they're scot-free... + + GAMORA + Five clicks! + + Then DOZENS OF OMNICRAFT pull around them on both sides. + + QUILL + Son-of-a-! They went around the + field! + + INT. SOVEREIGN PILOT BAY - DAY + + Ayesha smiles. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + It looks like the end of the road for the Guardians when - + + THERE IS A BLINDING BURST OF LIGHT AND ALL OF THE OMNICRAFT + EXPLODE. + + INT. SOVEREIGN PILOT BAY - DAY + + Ayesha watches in shock as the screens in the pods go dead. + 25 + + + ADMIRAL + Someone destroyed all the ships. + + AYESHA + What?! WHO?! + + But the Admiral doesn't know. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + Rocket sees the BRIGHT WHITE LIGHT is emanating from an OVAL- + SHAPED SPACECRAFT. + + ROCKET + What is that?! + + Quill sees the FLICKERING framework of a JUMP POINT. + + QUILL + Doesn't matter! That's the jump + point! GO! GO! + + As they're about to reach the jump point, Rocket sees a MAN + standing casually atop the oval ship, LIGHT BURSTING THROUGH + HIS BODY and into the craft - the source of the explosion. + + ROCKET + It's a guy. + + Quill doesn't see as the Milano DISAPPEARS INTO THE JUMP + POINT. + + I/E. MILANO LIVING AREA/DIRECTLY ABOVE BERHERT - DAY + + The ship POPS IN HERE, TELEPORTING directly above the earth- + like planet. Because the ship is in such bad shape, parts of + it TEAR OFF AND SPIRAL AWAY as it enters this new atmosphere. + + I/E. MILANO FLIGHT DECK - OUTER SPACE + + Gamora sees Drax being dragged in the REARVIEW MONITOR. + + GAMORA + Oh my God. + + I/E. MILANO LIVING AREA/DIRECTLY ABOVE BERHERT - DAY + + Drax WHIPS WILDLY OUT of the back of the ship. The CABLE + SPOOL on the wall is coming off - + + I/E. MILANO FLIGHT DECK/BERHERT FOREST - DAY + + Quill sees a green forest APPROACHING UNBELIEVABLY FAST. + 26 + + + He turns toward Gamora, but she's gone. Instead Baby Groot + is sitting alone, happily munching on candies as if he's + watching a movie. + + QUILL + Groot, put on your seat belt! + + I/E. MILANO LIVING AREA/DIRECTLY ABOVE BERHERT - DAY + + The SPOOL DETACHES and FLIES toward the back, which would + leave Drax in the upper reaches of the planet's atmosphere - + + But Gamora has made it downstairs - she GRABS ONTO THE SPOOL + with one hand while CLUTCHING onto a secure part of the ship + with her other. As it SNAPS TIGHT, it nearly wrenches her + apart. She GROANS. + + QUILL + Prepare for a really bad - + + The Milano HITS THE TREES, BARRELING OVER THEM. They PART + and FLATTEN and SWAT at the windshield. + + Out back, Gamora HOLDS TIGHT despite searing pain, as Drax + BOUNCES VIOLENTLY off the trees. + + DRAX + Ow! Ow! Ow! Ow! + + And, eventually, the Milano comes to an ABRUPT STOP. + + SUPER: BERHERT + M20 22A4834126+306CA12 + + Drax pushes himself up in the dirt. He CHUCKLES. He glances + back at Gamora like the madman he is. + + DRAX (CONT'D) + That was awesome. + + Gamora nods, sure, yeah, okay, whatever, dude. + + I/E. CRASHED MILANO - CLEARING - MOMENTS LATER + + CRANE DOWN OVER THE SMOKING, BATTERED MILANO TO our heroes, + and a still-shackled Nebula. + + GAMORA + Either one of you could have gotten + us through that field, if you had + flown with what's between your ears + instead of what's between your + legs! + 27 + + + QUILL + If what's between my legs had a + hand on it, I guarantee I could + have landed this ship. + + GAMORA + It's not funny, Peter. We almost + died. Because of your arrogance. + + QUILL + (RE: ROCKET) + More like because he stoled Anulax + batteries! + + DRAX + They're called Harbulary batteries. + + QUILL + No, they're not! + + ROCKET + You know why I did it, Star-Munch? + + Quill fumes. + + ROCKET (CONT'D) + Do you? + + QUILL + I'm not going to answer to `Star- + Munch.' + + ROCKET + I DID IT BECAUSE I WANTED TO. + + QUILL + Dick. + + ROCKET + What are we even talking about this + for? We just had a little man save + us by blowing up fifty ships! + + DRAX + How little? + + Rocket shows him with his finger and thumb. + + ROCKET + Like this. + + GAMORA + A little one-inch man saved us? + 28 + + + ROCKET + Well, if he got closer I'm sure + he'd be much larger. + + QUILL + That's how eyes work, you stupid + raccoon. + + ROCKET + Don't call me a raccoon! + + QUILL + Oh, I'm sorry, I meant to say + `trash panda.' + + Rocket pauses, unsure, looks at Drax. + + ROCKET + Is that better? + + DRAX + I don't know. + + QUILL + It's worse. + + ROCKET + YOU SON-OF-A-!! + + Rocket LEAPS, SNAPPING at Quill, when Nebula looks up into + the sky. + + NEBULA + Someone followed you through the + jump point. + + A HUGE SPACESHIP HOVERS overhead. + + The Guardians COCK THEIR WEAPONS as they FALL BACK-TO-BACK in + tight formation. + + NEBULA (CONT'D) + Set me free. You'll need my help. + + GAMORA + I'm not a fool, Nebula. + + NEBULA + You're a fool if you deprive + yourself a hand in combat. + + GAMORA + You'll attack me the moment I let + you go. + 29 + + + NEBULA + (mumbly, unconvincing) + No, I won't. + + QUILL + You'd think an evil supervillain + would learn how to properly lie. + + DRAX + I bet it's the one-inch man!! + + The SHIP LANDS, CRUSHING ALL OF THE TREES AROUND IT. + + A HATCH OPENS, and an adventurous, outer space frontiersman + steps forward. He has grown hardened and haggard over the + years, but he is definitely the MYSTERIOUS MAN from the + beginning of the film. MANTIS, a creepy woman with antennae, + emerges behind him. + + The Man smiles. + + MYSTERIOUS MAN + After all these years, I've found + you. + + QUILL + Who the hell are you? + + MYSTERIOUS MAN + I figured my rugged good looks + would make that obvious. My name's + Ego. And I'm your Dad, Peter. + + EXT. CONTRAXIA - OUTER SPACE + + QUIET. A planet of mostly water and white icy patches of + land, revolving around two overlapping suns. + + SUPER: CONTRAXIA + M15 5127512731+X1955KX + + EXT. THE IRON LOTUS - DAY + + SNOW FALLS GENTLY over this sleepy, pastel-colored town of + wood and stone buildings. + + PUSH IN on the Iron Lotus, a robot brothel and saloon. + ASSORTED RAVAGERS, including KRAGLIN, as well as some ROBOTIC + COURTESANS, are drunk and GIGGLING, trying to catch + snowflakes on their tongues. + 30 + + + INT. IRON LOTUS SUITE - DAY + + YONDU UDONTA is staring out the window as he puts on his + pants. He looks utterly disconnected and alone. + + Behind him are three ROBOT COURTESANS. One pushes a button + on her neck and she POWERS DOWN. + + TULLK (O.S.) + Yondu! Come on down! + + Yondu looks down at the street where an older Ravager, TULLK, + drunkenly dances, waving for him to join. + + INT. IRON LOTUS - MOMENTS LATER + + Yondu exits his suite. Two bodyguards, BRAHL and HALF-NUT, + salute and follow him as he descends the stairwell. + + At the bottom of the stairs a group of RAVAGERS in BLUE + UNIFORMS LAUGH. A gruff, older warrior, STAKAR, and a man + seemingly made of diamonds, MARTINEX are among them. + + Yondu stops when he sees them. He's struck. Stakar LAUGHS as + he tells a story - + + STAKAR + And I was like, Aleta, I love you, + but you're crazy now, you always + BEEN - + + Yondu approaches Stakar with trepidation. + + YONDU + Stakar. + + Stakar is surprised to see him. + + YONDU (CONT'D) + Been some time. I'd - + + STAKAR + Seems like this establishment is + the wrong kind of disreputable. + + The blue-coats turn and walk away. + + YONDU + Stakar... + + Stakar glances at the PROPRIETOR as he passes her. + 31 + + + STAKAR + There are a hundred Ravager + factions, Sneeper. You just lost + the business of ninety-nine by + serving one. + + PROPRIETOR + Please, sir! Sir! + + Yondu stands there for a moment, hurt, as they head out the + door. + + But, little by little, his hurt turns to rage and he FOLLOWS. + + EXT. IRON LOTUS - DAY + + Yondu trots quickly toward Stakar and the others. + + YONDU + You all can go to hell! I don't + care what you think of me! + + Stakar swirls toward him, furious. + + STAKAR + Then why you following us for?! + + YONDU + `Cause you'll listen to what I got + to say! + + STAKAR + I don't got to listen to nothing! + You betrayed the code! Ravagers + don't deal in kids! + + YONDU + I didn't know what was going on - + + STAKAR + You didn't know `cause you didn't + want to know, `cause it made you + rich! + + YONDU + I demand a seat at the table! I + wear the flames same as you! + + STAKAR + You may dress like a Ravager but + you won't hear no Horns of Freedom + when you die, boy, and the Colors + of Ogord will not flash over your + grave! + (MORE) + 32 + + STAKAR (CONT'D) + You think I take some pleasure in + exiling you, you're wrong. You + broke all our hearts. + + Stakar and the others storm away. Martinex stays a moment, + staring at Yondu, and then moves on too. + + Yondu is left alone, shaken as the WHITE SNOW FALLS GENTLY on + his blue face. + + NEARBY, a MONSTROUS RAVAGER leans in toward Kraglin, Tullk, + GEF THE RAVAGER, OBLO, and RETCH. As he eyes Yondu, he + WHISPERS: + + MONSTROUS RAVAGER + First Quill betrays us and Yondu + just lets him go, scot-free. Now + he's getting all riled over + nothing. We followed him `cause he + was the one wasn't afraid to do + what needed to be done. Seems like + he's going soft. + + KRAGLIN + If he's so soft why you whispering + for? + + MONSTROUS RAVAGER + You know I'm right, Kraglin. + + TULLK + You best watch what you say about + the Cap'n, Tay - + + RETCH + Who the hell is that?! + + Tullk stops when he sees High Priestess Ayesha approaching + beside them. The Chambermaids ROLL OUT a LONG BLUE CLOTH so + she doesn't touch unconsecrated ground. + + She STOPS at the carpet's end. Does her best to force a + smile. + + AYESHA + Yondu Udonta, I have a proposition + for you. + + Yondu looks at her. + + EGO (PRE-LAP) + When your mother passed away, I + hired Yondu to pick you up. + 33 + + + EXT. CAMPFIRE/CRASHED MILANO - NIGHT + + Quill sits around a campfire with Ego, Mantis and the others, + eating. Ego indulges heartily. + + EGO (CONT'D) + I would have done so myself, but I + was in the midst of an outlandish + adventure at the time, battling + demonic forces to save this + dimension or some such nonsense - I + can't quite recall, it all bleeds + together after awhile. But instead + of returning you, Yondu kept you. I + have no clue as to why. + + QUILL + Because I was a skinny kid who + could squeeze into places adults + couldn't, making thieving easier. + + EGO + I've been trying to track you down + ever since. + + DRAX + I thought Yondu was your father. + + QUILL + What? + + Drax stares at him. + + QUILL (CONT'D) + We've been together all this time + and you thought Yondu was my + actual, blood relative? + + DRAX + You look exactly alike. + + ROCKET + One's blue. + + QUILL + He wasn't my father. Yondu was the + guy who abducted me. He'd beat the + crap out of me so I'd learn how to + fight and he kept me in terror + threatening to eat me. + + EGO + Eat you?! + 34 + + + QUILL + Yes. + + EGO + That son-of-a-bitch. + + GAMORA + How'd you locate us now? + + EGO + Even where I reside, out past the + edge of what's known, we've heard + tell of the man they call Star- + Lord. + + He stands, handing his dish to Gamora. + + EGO (CONT'D) + Say we head out that way now? Your + associates are welcome, even that + triangle-faced monkey there. + + Rocket, self-conscious, feels his nose. + + EGO (CONT'D) + I promise you, it's like no place + you've ever seen. And there I can + explain your very special heritage, + and finally be the father I've + always wanted to be. + (ALMOST TEARY) + `Scuse me. I gotta take a whizz. + + Ego leaves. Quill looks at Gamora. + + QUILL + Not buying it. + + GAMORA + Peter, we need to take a walk. + + EXT. CAMPFIRE/CRASHED MILANO - NIGHT + + Ego is WHISTLING "BRANDY" and PEEING into the bushes. + + Mantis looks at Drax. She GRINS, or at least her best attempt + at grinning. It's kind of creepy. + + MANTIS + I am Mantis. + + DRAX + What are you doing? + 35 + + + MANTIS + Smiling. I hear it is the thing to + do to make people like you. + + DRAX + Not if you do it like that. + + MANTIS + Oh. I was raised alone on Ego's + planet. I do not understand the + intricacies of social interaction. + + She points at Rocket. + + MANTIS (CONT'D) + Can I pet your puppy? It is + adorable. + + DRAX + (MISCHIEVOUS) + Yes... + + She goes to pet Rocket: startled, he SWIRLS and SNAPS at her. + + MANTIS + AHH! + + She pulls back her hand. Drax LAUGHS, heartily. + + DRAX + That's called a practical joke! + + She GIGGLES. + + MANTIS + I liked it very much! + + They both LAUGH together. Nebula shakes her head with + disbelief. + + EXT. BESIDE CRASHED MILANO - MOMENTS LATER + + Quill and Gamora enter this private spot; the campfire + flickers through the trees beyond them. + + QUILL + Give me a break! After all this + time, and he just expects to be my + Dad all of the sudden! + + GAMORA + I hear you. + 36 + + + QUILL + I mean, this could be a trap - the + Kree purists, the Ravagers, now the + Sovereign - they all want us dead. + + GAMORA + I know, but - + + QUILL + But what? + + GAMORA + What was that story you told me + about Zardu Hasselfrau? + + QUILL + Who? + + GAMORA + The wonderful television-singer + man. He had a magic boat. + + QUILL + David Hasselhoff? + + GAMORA + Right. + + QUILL + He had a talking car, not a magic - + + GAMORA + Why did it talk again? + + QUILL + Just to be a good friend, I guess. + + GAMORA + And as a child you carried his + picture in your pocket, and you + told the other children he was your + father, but he was out of town -- + + QUILL + (EMBARRASSED) + Shooting Knight Rider or touring + with his band in Germany. Why are + you bringing this up now? I was + drunk when I told you that. + + GAMORA + I love that story. + 37 + + + QUILL + I don't. It's just sad! I was so + sad because I'd see the other kids + off playing catch with their dads, + and I wanted that, more than + anything in the world. + + Gamora takes Quill's hands in her own. + + GAMORA + My point is, maybe this man is your + Hasselhoff. I know it's a long + shot. But I lost my father as a + child. I'd give anything... + + Quill nods, grudgingly. + + GAMORA (CONT'D) + If he ends up being evil, we'll + just kill him. + + Quill CHUCKLES. + + GAMORA (CONT'D) + What's funny? + + I/E. CRASHED MILANO - SUNRISE + + Inside the ship, "THE CHAIN" BY FLEETWOOD MAC PLAYS on the + cassette player. Nebula is angry. + + NEBULA + You're leaving me with that fox?! + + Rocket is SOLDERING the ship. + + GAMORA + He's not a fox. + + Gamora glances at Rocket as she grabs her outer-space- + adventurer version of luggage. + + GAMORA (CONT'D) + Shoot her if she does anything + suspicious. Or if you feel like it. + + Rocket GRUNTS. Gamora looks at a sad Baby Groot. + + GAMORA (CONT'D) + It will just be a couple days. + We'll be back before Rocket's + finished fixing the ship. + 38 + + + Gamora steps out. Rocket sees Groot, who is ABOUT TO CRY as + he watches them go. + + Drax and Quill come from the back of the ship. + + DRAX + What about your spool of songs? + + QUILL + I have clones. + + DRAX + What if the Sovereign come? + + QUILL + There's no way for them to know + they're here. + + DRAX + I am uncertain about parting ways. + + QUILL + You're like an old woman. + + DRAX + Because I am wise? + + Quill turns to Rocket as Drax and Gamora head toward the + ship. He starts to say something nice - perhaps something + conciliatory but -- + + ROCKET + Hope daddy isn't as big of a dick + as you, orphan boy. + + Quill just shakes his head and SNICKERS. + + QUILL + So what's your goal here? To get + everyone to hate you? `Cause it's + working. + + Quill turns back around with Gamora and Drax and walks away. + + Rocket looks at the others leaving as THE SONG BECOMES SCORE: + I can still hear you saying you will never break the chain. + Rocket watches them move away. + + IN SLOW-MOTION, Quill, Drax, and Gamora approach the oval + ship. The slit opens. Ego, with Mantis, is waiting inside. + + Ego smiles and CLASPS his hand on Quill as he enters. + 39 + + + INT. EGOS SHIP. SUNRISE + + Quill sits back against the wall, alone, nervous. He looks + across the way at a SLEEP CHAMBER, where Mantis helps Ego lie + down on a slab. + + She places her hand on his forehead with her hand: her + antennae ALIGHT. And he drifts off to sleep. + + Quill takes a small, folded piece of paper out of his pocket. + + It's the PHOTO OF DAVID HASSELHOFF. + + He looks at it, then looks at Ego. Quill's eyes fill with + cautious hope. And the SONG ENDS. + + EXT. BERHERT - MOMENTS LATER + + Ego's ship rises, blocking out the sun. + + EXT. EGO'S SHIP - OUTER SPACE + + The Orb moves through a rainbowish funnel of space and time; + technology beyond what even the Guardians know. + + INT. EGO'S SHIP - OUTER SPACE + + Quill and Drax are drinking tea and LAUGHING with Mantis. + + QUILL + Can I ask you a personal question? + + MANTIS + Oh, no one has ever asked me a + personal question! + + QUILL + The antennae, what are they for? + + MANTIS + Their purpose? + + Gamora ENTERS, pouring herself some tea. + + DRAX + Yes, Quill and I have a bet. + + QUILL + You're not supposed to say that. + 40 + + + DRAX + I say that if you are about to go + through a doorway that is too low, + your antennae will feel this, and + stop you from being decapitated. + + QUILL + Just making clear - if it's + anything else - any other answer - + I win? + + Gamora smiles, warmed by the good-natured, by-now-familiar + bickering between Quill and Drax. + + MANTIS + They are not for feeling doorways. + + DRAX + (BUMMED) + Damn. I just lost my entire life's + savings. + + QUILL + Three pairs of pants. + + MANTIS + I think they have something to do + with my empathic abilities. + + GAMORA + What are - ? + + MANTIS + If I touch someone I can feel their + FEELINGS - + + QUILL + You read minds? + + MANTIS + No. Telepaths know thoughts. + Empaths feel feelings. Emotions. + + She looks at Quill. + + MANTIS (CONT'D) + May I? + + Quill doesn't stop her. Mantis, cautiously, touches him. Her + hand quivers as his emotions shoot through her and her + antennae ALIGHT. She is moved. + + MANTIS (CONT'D) + You feel love. + 41 + + + QUILL + Yeah, I guess, yeah, I have sort of + a general, unselfish love for + everyone. + + MANTIS + No, romantic, sexual love. + + QUILL + No. No, I don't. + + Mantis nods at Gamora. + + MANTIS + For her. + + QUILL + No. + + Gamora is embarrassed. Drax starts LAUGHING UPROARIOUSLY. + + DRAX + She just told everyone your + deepest, darkest secret, Quill! + HAHAHAHAHAHA!!! + + QUILL + What the hell, dude? That's a total + overreaction. + + Drax SLAPS HIS CHEST. + + DRAX + DO ME! DO ME! + + Mantis touches Drax. She grins brightly. + + MANTIS + I have never felt such humor! + + She starts GIGGLING and before long both she and Drax are + LAUGHING HYSTERICALLY. + + QUILL + You got to be kidding me. + + Drax and Mantis both point at Quill, clutching onto each + other and FALLING OVER WITH LAUGHTER. Quill's humiliated. + + QUILL (CONT'D) + That's so incredibly uncool. + + Mantis wipes the tears from her eyes, composing herself. She + goes to touch Gamora, who grabs her wrist though her clothes. + 42 + + + GAMORA + Touch me. And the only thing you're + going to feel is a broken jaw. + + Mantis smiles, nods, backs away. + + MANTIS + I can also alter emotions, to some + extent. + + QUILL + Like what? + + MANTIS + If I touch someone who is sad I can + ease them into contentment, for a + short while. I can make a stubborn + person compliant. But I mostly use + it to help my Master sleep. He lies + awake at night, thinking about his + progeny. + + Quill looks at her, struck by this. + + DRAX + Do one of those on me! + + Mantis touches him. He grins expectantly. + + MANTIS + Sleep. + + Drax COLLAPSES, INSTANTLY ASLEEP. Mantis smiles at the + others, hoping she has pleased. Quill and Gamora look at + Drax, SNORING. They're surprised. + + GAMORA + Is that real? + + QUILL + It's kind of like someone put a + baby's head on a big, muscular + body, isn't it? + + FADE TO BLACK. + + O.S. ALIEN INSECTS CHIRP + + EXT. CRASHED MILANO - NIGHT + + Four moons shine over the forest. The campfire CRACKLES + beside the Milano, and "SOUTHERN NIGHTS" BY GLENN CAMPBELL + emerges from the cassette player within. + 43 + + + The Monstrous Ravager and Kraglin lead a group of Ravagers up + over a ravine. Dozens of M-Ships quietly lower behind them. + Kraglin nods toward the sounds of Glenn Campbell in the + distance. They raise their weapons. + + OVERHEAD SHOT: dozens and dozens of Ravagers come from + different directions, surrounding the Milano. + + One Ravager cluster, lead by Half-Nut, CREEPS close enough to + the Milano that they see the lights within the vehicle and + can hear Rocket inside HUMMING along to the song. + + Half-Nut licks his lips in anticipation, closing in for the + kill, when he steps on a small pedal. It CLICKS. + + A HUNDRED DARTS FLY AT THE GROUP from traps set in trees. + They STICK INTO THE RAVAGERS' BODIES, knocking them instantly + unconscious. As one Ravager FALLS, a GUNSHOT is discharged. + + INT. CRASHED MILANO - NIGHT + + Nebula is awakened by the SHOT. She sees a frightened Groot, + peering through a hole at the bodies falling. + + PULL BACK TO REVEAL, beside him, a futuristic walkie-talkie + with ROCKET'S HUMS emerging. + + EXT. CRASHED MILANO - PERCUSSIVE BOMB TRAP - NIGHT + + Rocket is crouched on a limb in shadows above the Milano, + smiling and HUMMING to "Southern Nights" into his comm. + + He spots A LARGER GROUP OF RAVAGERS APPROACHING THE MILANO + from the other side, led by Retch. + + Rocket LEAPS TOWARD THEM, from one tree limb to another like + a squirrel. + + The GROUP enters a clearing close to the ship. A TALL RAVAGER + looks up and spots Rocket LEAPING OVER THEIR HEADS. + + TALL RAVAGER + There! + + The Ravagers BLAST at Rocket, following him. He HOPS from + tree to tree as BULLETS WHIZZ PAST HIM, leading them right + where he wants them. + + He stops in a tree at the end of the run. He holds a device + with two buttons. He presses one of them. + + A PERCUSSIVE BOMB at the feet of the Ravagers BURSTS, sending + half of them FLYING UP into the air. + 44 + + + As the confused group on the ground watches, Rocket presses + the second button and a second BOMB BURSTS. They FLY UP INTO + THE AIR as well. + + Rocket SNICKERS, as he continues pushes the buttons and the + two groups of Ravagers FLY UP and DOWN until the bombs are + depleted of energy. + + Retch looks up from the ground, to see the little animal + hopping away in the tree limbs overhead. + + EXT. CRASHED MILANO - STICKY DISK TRAP - NIGHT + + An EVEN LARGER GROUP OF RAVAGERS walk beneath the branches, + MOONLIGHT FLICKERING ON THEIR FACES. + + TILT UP TO REVEAL ROCKET'S SILHOUETTE on a gnarled limb. He's + clutching an armful of small discs. He breathes shallowly, + waits. As soon as the last Ravager is passing beneath him, + he LEAPS onto his back. + + Rocket JUMPS FORWARD FROM ONE MAN TO THE NEXT, SLAPPING A + STICKY-DISC to each of their heads - SLAP! SLAP! SLAP! SLAP! + + And then he LEAPS from the Ravager at the front of the line + BACK UP INTO THE TREES. + + The men are confused. They bring their fingers to the sticky + discs on their bodies. + + Rocket smiles in the tree as he flicks a trigger. The STICKY- + DISCS SEND ELECTRICITY COURSING THROUGH ALL OF THE MEN'S + BODIES. + + They CONVULSE for a moment, then COLLAPSE. + + EXT. CRASHED MILANO - CLEARING - NIGHT + + Rocket LEAPS to the ground in a crouch. He sees Brahl + approaching in front of him, and then another RAVAGER + approaching from behind. They train their weapons on him. + + BRAHL + Ain't so tough now without all your + toys, are you? + + Rocket LEAPS up onto Brahl's face. + + He PUNCHES HIM IN THE THORAX so hard he can't breathe. + + The other Ravager SHOOTS at him, but Rocket BACKFLIPS over + the SHOT so Brahl is STRUCK instead. + 45 + + + Rocket LANDS on the back of the shooter's neck and RAPID-FIRE + PUNCHES HIM in the head, until the man CRUMPLES to the + ground, unconscious. + + As Rocket lands, he HEARS WHISTLING and he looks up to see -- + + YONDU'S ARROW FLYING THROUGH THE TREES, DIRECTLY TOWARD HIM. + + ROCKET + Crap. + + Another high-pitched WHISTLE and the arrow STOPS ABRUPTLY, + FLOATING with the tip almost grazing Rocket's forehead. + + Yondu waltzes out of the trees with Tullk, Kraglin, the + Monstrous Ravager, and many more. + + Rocket reluctantly raises his hands in surrender. + + YONDU + Hey there, rat. + + ROCKET + How's it going, you blue idiot? + + YONDU + Eh, not so bad. We got a pretty + good gig. A golden gal with quite a + high opinion of herself offered us + a large sum to deliver you and your + pals to her, so she can kill y'all. + + + INT. CRASHED MILANO - NIGHT + + Nebula looks out the window to see even more Ravagers + surrounding Rocket. She looks at baby Groot. + + NEBULA + Your friend. There's too many of + them. They're going to kill him. + + Groot looks as if he's about to cry. + + NEBULA (CONT'D) + He needs my help. If you care about + him, you need to get me out of + these bonds. + + Groot is unsure. + 46 + + + EXT. CRASHED MILANO - CLEARING - NIGHT + + The Ravagers have entirely encircled Rocket. There's no + chance of escape. Though upset, he mostly holds it in. + + YONDU + Pretty easy to find you, since we + put a tracer on your ship back + during the War over Xandar. + + ROCKET + You give me your word you won't + hurt Groot, and I'll tell you where + the batteries are. + + YONDU + Lucky for you my word don't mean + squat. Otherwise I'd actually hand + you over. + + MONSTROUS RAVAGER + Otherwise you'd what?! + + Yondu scowls at the Monstrous Ravager. + + YONDU + We'll take the batteries. They're + worth a a quarter mil on the open + MARKET - + + MONSTROUS RAVAGER + That priestess offered us a + million! A quarter is only one + third of that! + + YONDU + A quarter ain't one-th - + + OBLO + A quarter is four times a million! + We're in the money! + + GEF THE RAVAGER + No, idiot. A quarter is twenty- + five. + + YONDU + NO - + + GEF THE RAVAGER + We can't even buy a pair of boots + with twenty-five units! + 47 + + + YONDU + The point is, we aren't stupid + enough to help kill the Guardians + of the Galaxy. We'd have the whole + Nova Corps on us. + + KRAGLIN + (REALIZING) + That ain't right. I just gotta say + it this one time, Cap'n. + + Everyone looks at Kraglin. + + KRAGLIN (CONT'D) + No matter how many times Quill + betrays you, you protect him, like + none of the rest of us much matter. + I'm the one what sticks up for you, + me and Tullk. + + MONSTROUS RAVAGER + Damn straight, lad. You're right: + he's going soft. S'pose it's time + for a change in leadership! + + KRAGLIN + UH - + + The Monstrous Ravager points his weapon at Yondu. + + Others follow his lead. + + A handful of others, including Tullk and the Innocent + Ravager, raise their weapons in their Captain's defense, so + that the whole circle are aiming at one another. Kraglin is + confused. + + TULLK + Put you damn guns down! + + Rocket is in the center of the potential crossfire. + + ROCKET + Hold on! There's got to be some + sort of peaceful resolution here! + Or even a violent resolution, where + I'm standing over there. + + Yondu glares at the Monstrous Ravager. His FIN LIGHTS UP and + he starts to WHISTLE when - + + A GUNSHOT RINGS OUT; THE FIN IS BLOWN OFF THE TOP OF YONDU'S + HEAD. The arrow CLATTERS to the ground. + 48 + + + Rocket watches as Yondu, confused, TOTTERS there for a + moment, and then COLLAPSES -- + + REVEALING NEBULA behind him, clutching a smoking pistol. + Rocket looks at her, dead-eyed: really? + + She SHOOTS HIM WITH A BLAST OF ELECTRICITY, knocking him + unconscious. + + The Ravagers gape at Nebula. + + NEBULA + Well, hello, boys. + + She takes a bite from a piece of yaro root she stole from the + Milano. As she chews, she becomes disgusted. + + She spits it out. + + NEBULA (CONT'D) + It's not ripe. + + EXT. RED PLANET - MOMENTS LATER + + Ego's ship ARRIVES at a bold red planet, twisting in front of + an enormous yellow sun, so close it seems like the sun is + about to devour it. "MY SWEET LORD" BY GEORGE HARRISON PLAYS. + + SUPER: EGO'S PLANET + G52 22C848T12F+E16UC22 + + INT. EGO'S SHIP - SLEEP CHAMBER - OUTER SPACE + + Mantis sets her hand on Ego's forehead, waking him. + + EXT. EGO'S PLANET/SPACEPORT - MOMENTS LATER + + Ego's ship lands in a spaceport. It organically JOINS the + spot where it lands - strands of material actually linking up + with the landing pad itself. + + From the front of the craft, a FLOATING TRAM emerges, with + Ego, Mantis, Quill, Gamora, and Drax. + + As the TRAM GLIDES toward its destination, the Guardians are + overwhelmed by transcendentally splendid surroundings. The + plant life is colorful and alien. Tall, twisting obelisks + seem to have no function other than beauty itself. + + EGO + Welcome, friends, to my world. + + QUILL + Wow. You have your own planet? + 49 + + + EGO + But a trifle, no larger than your + earth's moon. + + DRAX + Humility. I like it. I too, am + extraordinarily humble. + + Even Gamora smiles at the wonder of it all. + + Multicolored mercurial clumps FLOAT BY. + + Drax pokes one, and it BURSTS INTO A DOZEN VIBRANT HUES. + + EXT. TRAM/PALACE - MOMENTS LATER + + Ahead of them looms an astounding palace atop a mountain. + + QUILL + It's beautiful. + + The tram STOPS. + + They step off it and toward the palace, Ego stops beside a + large FOUNTAIN. + + EGO + Peter, consider this a token of a + father's pride. + + Ego motions; the WATERS OF THE FOUNTAIN FALL AWAY, REVEALING + a GIANT STATUE OF STAR-LORD: Quill stands heroically, with + foolish-looking Guardians kneeling around him worshipfully. + + EGO (CONT'D) + A memorial to the War Over Xandar, + when you single-handedly saved the + galaxy. + + GAMORA + Single-handedly? + + QUILL + Whoa. It's perfect. + + GAMORA + You've got to be kidding. + + DRAX + Why am I dead? Why did you all kill + me?! + + GAMORA + That's Ronan. That's you. + 50 + + + Drax is sitting on Quill's shoulder, with a raccoon tail. + + DRAX + When was I that tiny? + + Gamora shakes her head in disbelief. They step past the + statue and onto the steps approaching the palace. + + GAMORA + You own a planet and can destroy + two dozen spaceships without a + suit. What are you, exactly? + + EGO + I'm what they call a Celestial, + sweetheart. + + The Guardians STOP behind him, astounded. + + QUILL + A Celestial. Like a... god? + + EGO + Small `g', son. At least on the + days I'm feeling humble as Drax. + + He LAUGHS and walks up the stairs. + + INT. PALACE - MOMENTS LATER + + Ego SAUNTERS with Quill, Gamora, Drax, and Mantis, through + the enormous open doors, toward huge DIORAMAS lining either + side of the palace, like cosmic Stations of the Cross. + + EGO + This form you see before you is + only an extension of who I truly + am. I don't know where I came from, + exactly. + + The DIORAMAS around them begin to ANIMATE: In the first, a + FLICKERING BRAIN COMPOSED OF POLYCHROMATIC LIGHT FLOATS in + space. + + EGO (CONT'D) + The first thing I remember is + flickering, adrift in the cosmos - + utterly and entirely alone. + + The flickering brain pulls cosmic dust and rocks into itself, + ingesting them, GROWING. + 51 + + + EGO (CONT'D) + I fed on the matter around me like + plankton. I grew smarter and + stronger. + + A hard metal shell forms around the brain, with channels + running through for his energy to flow like rivers. + + EGO (CONT'D) + I formed a sheathe to protect + myself from the elements. + + Ego continues developing outward from the shell, growing the + planet, then its beautiful landscapes and structures. + + EGO (CONT'D) + And continued building from there, + layer by layer, the very planet you + walk on now. I built the spires + reaching up to the sky and the + tunnels burrowing into its depths. + + QUILL + Wow. + + EGO + But I was no ant to be fulfilled + solely by labor. I wanted more. I + desired... meaning. + + In the core shell - the Self Chamber - the flickering brain + floats, alone, perhaps sad. + + EGO (CONT'D) + There must be some life out there + in the universe besides just me, I + thought, and I set myself to task + with finding it. + + The brain grows a SKELETAL FRAMEWORK OF LIGHT up from the + self chamber and to the surface of the planet. He pulls + molecules around this shape to create his "human" self. + + EGO (CONT'D) + I created what I imagined + biological life might be like, down + to the most minute detail. + + DRAX + Did you make a penis? + + QUILL + Dude. + 52 + + + DRAX + If he's a planet, how did he make a + baby with your mother? He would + smush her. + + QUILL + I don't need to hear about how my + parents, you know - + + DRAX + Why? My father would tell me the + story of impregnating my mother + every winter solstice. + + QUILL + That's disgusting. + + DRAX + It was beautiful. You earthers have + hang-ups. + + EGO + Yes, Drax, I've got a penis. + + QUILL + Oh my God. + + EGO + It's not half bad. I've also got + pain receptors, a digestive system, + and all the accompanying junk. I + wanted to experience what it truly + meant to be human as I set out + amongst the stars. + + In another DIORAMA, Ego explores various uninhabited and + barren planets. + + EGO (CONT'D) + I visited thousands of planets over + thousands of years, one barren husk + after the next until I found what I + sought... + + Ego stares down at a CUTE ALIEN CHILD. + + EGO (CONT'D) + Life. I was not alone in this + universe after all. + + Ego reminisces: wistful? Sad? It's hard to tell. + + QUILL + When did you meet my mother? + 53 + + + EGO + Not long after. + + Ego turns toward the last set of DIORAMAS. They show Meredith + and Ego kissing and Ego with his hand on Meredith's pregnant + belly. + + EGO (CONT'D) + It was with Meredith that I + experienced love for the first + time. I called her my river lily. + And from that love, Peter, you. + + In the final DIORAMA we PUSH IN on the belly and see, inside + the womb, VERY young Peter Quill, a fetus, himself encased in + light. + + Quill looks up in amazement - this story is the story of + himself. And Ego gazes at Quill with adoration. + + EGO (CONT'D) + I searched for you for so long. + When I heard a man from earth held + an Infinity Stone in his hand + without dying, I knew you must be + the son of the woman I loved. + + Ego puts his hand on Quill. Quill wants to believe, but he + can't quite let it go. + + QUILL + If you loved her why did you leave + her? + + EXT. THE ECLECTOR - OUTER SPACE + + The Ravagers' massive ship FLOATS in space. + + SUPER: RAVAGER TERRITORY + HE2 6SM6R16617+6241023 + + TULLK (O.S.) + You can't do this! + + INT. ECLECTOR CENTRAL AREA - OUTER SPACE + + Ravagers LAUGH as they DRAG Tullk across the floor while he + STRUGGLES to get free. + + TULLK + This is mutiny! Mutiny! + + They shove Tullk into a cylindrical room as a glass door + CLOSES on him. + 54 + + + He continues SCREAMING and SLAMMING ON THE GLASS, but we can + barely hear him. + + Half-Nut smiles and presses a button. The outside of the + compartment OPENS so that Tullk is SUCKED INTO SPACE. + + EXT. THE ECLECTOR - OUTER SPACE + + Tullk FLOATS AWAY, opening his mouth to scream, but he can't. + His FACE AND BODY SWELL QUICKLY and he EXPIRES there. + + As we CURL AROUND his lifeless body, we REVEAL the countless + other CORPSES of Ravagers loyal to Yondu, leading like bread + crumbs toward nothing at all. + + INT. ECLECTOR CENTRAL AREA - OUTER SPACE + + Yondu watches this, helplessly. He's in a chair, his hands + tied behind him. He's a wreck, his headpiece destroyed, wires + hanging from a gap in his head where the fin used to be. He + sees the mutineers grab the innocent Oblo, DRAGGING HIM to + the same fate as Tullk. + + OBLO + Cap'n, help me! Cap'n?! + + Yondu drops his head in shame. + + MONSTROUS RAVAGER + You're the one what kilt those men + by leading `em down the wrong path. + + He PUNCHES Yondu. + + MONSTROUS RAVAGER (CONT'D) + Because you're weak. + + He PUNCHES him again. + + MONSTROUS RAVAGER (CONT'D) + And stupid. + + The Monstrous Ravager turns towards the Ravagers, who listen, + rapt and vengeful. Nebula leans calmly against a wall, + watching. Kraglin watches too, seemingly concerned. + + MONSTROUS RAVAGER (CONT'D) + It's time for the Ravagers to once + again rise to glory with a new + Cap'n... TASERFACE. + + The Ravagers SHOUT IN APPROVAL. Taserface throws his arms up + in glory - when he hears SNICKERING. He stops. + 55 + + + He and the other Ravagers turn and see Rocket, also in a + chair with his arms secured behind him, GIGGLING. + + ROCKET + I'm sorry. Your name is... it's + `Taserface'? + + TASERFACE + That's right. + + ROCKET + Do you... shoot tasers out of your + face? + + TASERFACE + It's metaphorical! + + ROCKET + For what? + + Taserface thinks. Time for a new answer: + + TASERFACE + It's a name what strikes fear in + anyone what hears it! + + ROCKET + (DOUBTFUL) + Really?... Okay, sure. + + Taserface screams at him, SPIT FLYING EVERYWHERE. + + TASERFACE + You shut up! You're next! + + Taserface goes back to Yondu, bringing out his blade. + + TASERFACE (CONT'D) + Udonta, I been waiting to do this + for a long ti - + + Again they hear SNICKERING. Rocket is burying his mouth in + his chest, TRYING TO STOP FROM CRACKING UP. + + TASERFACE (CONT'D) + What?! What?! + + ROCKET + I'm sorry, I'm so sorry. I just + keep imagining you waking up one + morning, looking in the mirror, + and, in all seriousness, saying + `You know what would be a really + kickass name? Taserface!' + 56 + + + Nebula smirks. The Ravagers are TRYING NOT TO LAUGH. Rocket + can't stop LAUGHING. + + ROCKET (CONT'D) + What was your second choice?! + Scrotum Hat?! + + The Ravagers all BUST OUT LAUGHING. + + TASERFACE + New plan. We're killing you first. + + Taserface SHOVES HIM BACK, ready to plunge the knife in him. + Rocket's smile disappears. He stares at Taserface with dead + eyes. + + ROCKET + Well, dying is certainly better + than having to live an entire life + as a moronic shitbag who thinks + `Taserface' is a cool name. + + Taserface goes to stab him, when - + + NEBULA + That's enough killing for today. + + Taserface turns toward her, irritated. + + TASERFACE + Thought you were the biggest sadist + in the galaxy. + + NEBULA + That was when Daddy was paying my + bills. The Priestess wants to kill + the fox herself. And he - + (RE: YONDU) + - has bounties on his head in at + least twelve Kree provinces. + + Taserface glares at her. It's obvious he's considering + attacking her. + + NEBULA (CONT'D) + I assure you, I am not as easy a + mark as an old man without his + magic stick or a talking woodland + beast. + + Taserface decides not to risk it. + 57 + + + NEBULA (CONT'D) + I want ten percent of the take, and + a couple more things. + + INT. ECLECTOR DOCKING BAY HALL - LATER + + Nebula is TRYING OUT A BRAND NEW HAND as Kraglin leads her + through this hall. + + KRAGLIN + We got a whole box of hands if that + one don't work out. + + NEBULA + It's fine. + + KRAGLIN + You think them Kree is gonna + execute the Cap'n? + + NEBULA + The Kree consider themselves + merciful. It will be painless. + + Kraglin comes to an open doorway beside a huge DOCKING BAY, + and an M-SHIP decked out with lots of weapons. + + KRAGLIN + Well, there it is, best ship we + got. The location of Ego's planet's + in the nav. We'll wire you the ten + percent when we's paid. What you + gonna do with your share? + + Nebula stops at the doorway. + + NEBULA + As a child my father would have + Gamora and me battle one another in + `training.' Every time my sister + prevailed my father would replace a + piece of me with machinery, + claiming he wanted me to be her + equal. But she won, again and again + and again. Never once refraining. + Because of them, I am this. So + after I murder my sister, I will + buy a warship with every + conceivable instrument of death. + (MORE) + 58 + + NEBULA (CONT'D) + I will hunt my father like a dog + and I will tear him apart slowly, + piece by piece, until he knows some + semblance of the profound and + unceasing pain I know every single + day. + + Kraglin stares at her, weirded-out. + + KRAGLIN + Yeah... I was talking about, like, + a pretty necklace. Or a nice hat. + Something that'll make the other + girls go `oooooo, that's nice.' + + Nebula gives him a look of pure death. + + KRAGLIN (CONT'D) + Anyway, uh, happy trails. + + INT. PALACE COURTYARD - DAY + + Quill looks up at a GIANT SCULPTURE of his mother. He is + upset. Ego is behind him, watching him, sadly. + + QUILL + My mother told everyone my father + was from the stars. + + Quill turns to look at his father, somewhat accusatory. + + QUILL (CONT'D) + She had brain cancer - so everyone + thought she was delusional. + + Ego looks sad, ashamed. + + EGO + PETER - + + QUILL + Listen. I'd love to believe all of + this, I really would - but you left + the most wonderful woman ever, to + die alone! + + Ego has tears in his eyes. + + EGO + I didn't want to leave your mother, + Peter. But if I don't return + regularly to this planet, and the + light within, this form will wither + and perish -- + 59 + + + QUILL + So why didn't you come back?! Why'd + you send Yondu, a criminal, of all + people, to fetch me?! + + EGO + I loved your mother, Peter! I + couldn't stand to set foot on an + earth where she wasn't living! You + can't imagine what that's like! + + QUILL + I know exactly what that's like! I + had to watch her die! + + Ego stops, seeming to hear his son. He touches him. + + EGO + Over the millions and millions of + years of my existence I have made + many mistakes, Peter. But you're + not one of them. Please give me + the chance to be the father she + would want me to be. + + Quill looks at him, vulnerable. + + EGO (CONT'D) + There are so many things I need to + teach you. This planet, and the + light within... they are a part of + you. + + QUILL + What do you mean? + + Ego takes Quill's hands in his own, gently, putting them in + the correct position. + + EGO + Give me your hands, son. Here. + Hold them like that. + + Quill holds his hands apart. Ego steps back, holding his + hands in the same way. + + EGO (CONT'D) + Now close your eyes and + concentrate. Take your brain to the + center of the planet. + + Quill concentrates. He holds his hand out. A white light + emanates from it. + 60 + + + EGO (CONT'D) + Yes! Yes! + + QUILL + Whoa. + + The light disappears as quickly as it came. + + EGO + Yes, yes - it's okay. Just relax. + Concentrate. You can do it. Bring + it back. + + Quill concentrates and the LIGHT, once again, bursts up from + the palms of his hands. + + EGO (CONT'D) + Yes, yes, now - shape it - + + Ego shows him, pulling in the molecules around him, so that + the light itself forms into the shape of a ball. + + EGO (CONT'D) + Feel the energy. + + Quill tries to pull molecules into the ball. And, little by + little, they come, and the ball glows brighter. + + EGO (CONT'D) + Yes. + + Quill laughs. Ego is JOYOUS. He almost looks as if he's going + to break down in tears. + + EGO (CONT'D) + You're home, Peter. + + Ego cups his hands. + + EGO (CONT'D) + Here. + + Quill, smiling, THROWS him the ball. Ego LAUGHS. He inspects + the cosmic ball of light, and he throws it back to Quill. + + Quill LAUGHS, catching it, and throws it back. Ego moves + back further. + + And Ego and Quill continue tossing the ball back and forth + there, LAUGHING, a friendly father and son game of catch in + the middle of a palace courtyard. + 61 + + + EXT. PALACE - DAY + + Drax and Mantis sit here, soaking in the sun and gazing at + the lush, flowing hills, like something an alien Maxfield + Parrish would paint. + + DRAX + How did you get here? + + MANTIS + Ego found me in my larva state, + orphaned on my homeworld. He raised + me by hand, and kept me as his own. + + DRAX + So you're a pet? + + MANTIS + I suppose. + + DRAX + People usually want cute pets. Why + would Ego want a hideous one? + + MANTIS + I am hideous? + + DRAX + You're horrifying to look at, yes. + + Mantis seems sad about this. Drax notice this, feels bad. + + DRAX (CONT'D) + But it is a good thing. + + MANTIS + Oh? + + DRAX + When you are ugly and someone loves + you, you know they love you for who + you are. Beautiful people never + know who to trust. + + MANTIS + Well, then I am certainly grateful + to be ugly! + (THINKING) + Poor Gamora. She can never trust + anyone. + + Drax nods and stares out at spattered patches of water. + 62 + + + DRAX + Those pools remind me of a time I + took my daughter to visit the + Forgotten Lakes on my homeworld. + She was like you. + + MANTIS + Disgusting? + + DRAX + Innocent. + + Drax stares out at them without expression. + + Slowly, Mantis TOUCHES his shoulder. + + And, as she does, TEARS INSTANTLY FLOW DOWN HER CHEEKS. She + stares with Drax at the hills. They feel the sadness + together: she cries while he's stoic. + + MANTIS + I have never met anyone like you, + or your friends. You are filled + with such... love. It is a thing I + did not know existed, not like + this, and I think... I think it may + be the very finest of all things. + It both hurts and soothes the + heart. + + She looks at Drax. There is something she wants to say, but + she is torn. + + MANTIS (CONT'D) + Drax, there is something I must + TELL - + + GAMORA (O.S.) + What's going on? + + Drax and Mantis turn to see her behind them. She smiles. + + MANTIS + I am learning many things. Like I + am a pet and ugly. + + GAMORA + You're not ugly. + (ADMONISHING) + Drax. + + Drax, confused, points at Mantis, as if her ugliness proves + itself. + 63 + + + GAMORA (CONT'D) + Mantis, can you show us where we'll + be staying? I'm getting eye-strain + in this place. + + Mantis nods, yes. + + EXT. PATH TO SLEEPING QUARTERS - MOMENTS LATER + + Gamora, Drax, and Mantis walk across the sunset. + + GAMORA + Why are there no other beings on + this planet? + + MANTIS + The planet IS Ego. A dog would not + invite a flea to live on his back. + + GAMORA + And you're not a flea? + + MANTIS + I'm a flea with a purpose. I help + him sleep. + + Gamora curls around Mantis, cutting her off. + + GAMORA + What were you about to say to Drax + before I walked out? + + Mantis looks around, worried. + + MANTIS + Nothing. + + Gamora and Drax share a look: why is she so scared? Mantis + moves on. + + MANTIS (CONT'D) + Your quarters are this way. + + INT. ECLECTOR CELL - OUTER SPACE + + Rocket HITS THE GROUND, hard. Yondu LANDS equally hard on + the ground beside him. + + They look up to see Taserface, Gef the Ravager and an OBTUSE + RAVAGER locking the cell door. + 64 + + + TASERFACE + We'll deliver you to the Kree in + the morning. Neither one of you + gonna last much longer after that. + + Rocket crawls toward them as they walk away. + + ROCKET + Okay, Taserface. See you later, + Taserface. Hey, Taserface, tell the + other guys we said hi, Taserface! + + Taserface glances back, perturbed, as he disappears around + the corner. + + INT. ECLECTOR HALLWAY - OUTER SPACE + + Taserface, Gef, and Obtuse come around the hall. + + GEF THE RAVAGER + What about the little plant? Can I + smash it with a rock? + + TASERFACE + No, Gef! It's too adorable to kill. + Bring it to the tailor. + + INT. ECLECTOR CELL - OUTER SPACE + + Yondu and Rocket settle. Yondu looks like a beaten man. + + ROCKET + No offense, but your employees are + a bunch of jerks. + + YONDU + I was a Kree battle-slave for + twenty years when Stakar freed me. + He offered me a place in the + Ravagers. Said all I needed to do + was adhere to the code. But I was + young and greedy and stupid - like + you stealing those batteries. + + ROCKET + That was mostly Drax. + + YONDU + Me and Stakar, and the other + captains - we weren't so different + from you and your friends. The only + family I ever had. But I broke the + code. They exiled me. + 65 + + + YONDU (CONT'D) + These ones here are the ones who + followed - of course they're jerks. + Which is what I deserve. + + ROCKET + Slow down, drama queen. You might + deserve this, but I don't. We gotta + get out of here. + + YONDU + Where's Quill? + + ROCKET + Went off with his old man. + + YONDU + Ego? + + Yondu looks concerned. Rocket stares at him, picking this up. + + ROCKET + Yeah. It's a day for dumbass names. + + Yondu SNICKERS. + + ROCKET (CONT'D) + You smiled and for a second I got a + warm feeling, but then it was + ruined by those disgusting-ass + teeth. Ever heard of floss? + + Yondu's smile disappears. + + YONDU + You're like a professional asshole + or - ? + + ROCKET + Pretty much a pro. Why didn't you + deliver Quill to Ego like you + promised? + + YONDU + He was skinny, could fit into + places we couldn't. Good for + thieving. + + Rocket nods, GRUMBLES. + + YONDU (CONT'D) + I got an idea on how to get outta + here. But we're gonna need your + little friend. + 66 + + + INT. BAR/QUADRANT FLIGHT DECK - OUTER SPACE + + Baby Groot is wearing a tiny Ravager uniform. He reacts to + clothes like a cat, struggling to take them off but unable. + Ravagers are gathered around him, drunk and LAUGHING. They + are CHANTING "MASCOT." + + RETCH + Lil' feller's all worked up! Needs + a drank! + + Retch POURS ALCOHOL on him. The Ravagers LAUGH MORE as others + POUR DRINKS on him as well. Groot SCREAMS at them, furious + but helpless. + + RETCH (CONT'D) + Lookit how cute it is when it's all + riled up! + + HALF-NUT + It's Goddang precious! + + INT. ECLECTOR CELL - LATER + + Groot, in shadows, MOPES down the hallway, looking + traumatized. His clothes are torn and he's soaked in alcohol. + + As he passes the cell, he hears - + + YONDU (O.S.) + Hey, twig. C'mere. + + Groot sees Yondu and Rocket looking at him in the cell. He + steps toward them. + + ROCKET + Oh, man. What'd they do to you? + + YONDU + Hey, you wanna help us get outta + here? + + Groot NODS. Rocket looks unsure. Yondu speaks slowly. + + YONDU (CONT'D) + There's something I need you to + get, and bring back to me. + + Groot NODS. + + YONDU (CONT'D) + In the Cap'n's quarters, there's a + prototype fin, like the thing I + wore on my head. + 67 + + + Groot NODS. + + YONDU (CONT'D) + There's a drawer next to the bunk. + It's inside that. It's red. You + got it? + + Groot NODS EMPHATICALLY and DARTS OFF to get it. Yondu looks + at Rocket, pleased. + + Rocket looks more than a bit uncertain. + + INT. CAPTAIN'S QUARTERS - MOMENTS LATER + + Baby Groot CREEPS into this dark room. DRUNKEN RAVAGERS are + sprawled everywhere. + + He spots a bureau. A drawer is half open. + + His face lights up. + + MOMENTS LATER + + Baby Groot stands outside of the cell, beaming, holding A + PAIR OF SHORTS. + + YONDU + That's my underwears. + + ROCKET + Yeah, I was pretty sure he didn't + know what you were talking about. + You have to explain it more + careful. + + YONDU + All right. It's a prototype fin - + + MOMENTS LATER + + Groot is back in front of the cell, holding a wriggling + ORLONI in his hands. + + ROCKET + That's an orloni. It's a fin, + Groot. + + YONDU + You explain it this time. + + Rocket starts to speak - + 68 + + + MOMENTS LATER + + Groot looks hopeful, holding out a CYBERNETIC EYE. + + YONDU + That's Vorker's eye. He takes it + out when he sleeps. Go look again. + + Groot starts to SLINK OFF - + + ROCKET + But leave the eye here. + + YONDU + Why? + + Rocket CAN HARDLY SPEAK he finds it so funny. + + ROCKET + He's gonna wake up tomorrow and + he's not gonna know where his eye + is! + + MOMENTS LATER + + Groot is DRAGGING a LARGE PIECE OF FURNITURE to the cell. + + ROCKET + That's a desk. We told you it was + this big. + + Rocket shows him how small it is with his hands. + + Groot makes a face like "Oh!" as if NOW he gets it. It's all + coming together. + + MOMENTS LATER + + Groot is holding a SEVERED TOE. + + ROCKET + Tell me you guys have a + refrigerator somewhere with a bunch + of severed human toes. + + Yondu SUBTLY SHAKES HIS HEAD. + + ROCKET (CONT'D) + Okay, then let's just agree to + never discuss this. + + Yondu RIPS the Ravager patch off his jacket. + 69 + + + YONDU + The drawer you want to open. Has + this symbol on it, okay? + + Groot takes it. He looks at Yondu and NODS. + + And then, slowly, HE PLACES IT ON TOP OF HIS HEAD. + + YONDU (CONT'D) + What? No. + + ROCKET + He thinks you want him to wear it + as a hat. + + YONDU + That's not what I said. + + Groot takes it off his head. + + GROOT + I am Groot. + + ROCKET + (TRANSLATING) + He's relieved that you don't want + him to. + + GROOT + I am Groot. + + ROCKET + He hates hats. + + GROOT + I am Groot. + + ROCKET + On anyone, not just himself. + + GROOT + I am Groot. + + ROCKET + One minute you think someone has a + weird-shaped head. The next minute, + it's just because you realize part + of that head is a hat. + (TO GROOT) + That's why you don't like hats? + + Groot nods. + 70 + + + YONDU + This is an important conversation + right now? + + ROCKET + No. Let's try again. + + INT. CAPTAIN'S QUARTERS - MOMENTS LATER + + Taserface is SNORING and SLOBBERING in his bed. We see the + Ravager Patch tossed up onto the bed beside him. Then + Groot's vines GROW up the bed, and he pulls himself up beside + the sleeping giant. + + Groot clasps the Ravager patch in his hand and looks + fearfully around. + + He spots the Ravager symbol on a night stand drawer. + + He stares at the symbol in his hand, then at the drawer, then + at the symbol, and then at the drawer again, and then one + more time for good measure -- he wants to be very, very sure + they're the same. + + He creeps carefully towards the drawer, GROWING his vines out + to grab the handle and PULL IT slowly open... + + He peers inside. + + Beside some writing instruments and a tin of candies, there + lies a RED FIN, taller and more shark-like than Yondu's + current model. Groot smiles hugely, picking up - + + THE TIN OF CANDIES! He's found it! + + KRAGLIN (O.S.) + That ain't it. + + Groot SWIRLS to see KRAGLIN, BACKLIT IN THE DOORWAY, LOOMING + OVER HIM, intimidating as hell. And CUT TO -- + + INT. ECLECTOR CELL - MOMENTS LATER + + The RED FIN PLOPS DOWN at Yondu's feet. + + Yondu and Rocket look up to see Kraglin, holding Groot. He + stares at the ground - + + KRAGLIN + I didn't mean to do a mutiny. + (pause, then, sadly) + They killed all my friends. + 71 + + + YONDU + Go get the third quadrant ready for + release. + + Kraglin SALUTES. + + ROCKET + One more thing. + + Kraglin stares at him. + + ROCKET (CONT'D) + You got any clones of Quill's old + music on the ship? + + INT. ECLECTOR BATHROOM - OUTER SPACE + + Brahl is shaving, when, suddenly, JAY AND THE AMERICAN'S + "COME A LITTLE BIT CLOSER" STARTS PLAYING over the intercom. + + He looks up, confused. + + INT. ECLECTOR HALLWAY/CELL - OUTER SPACE + + TWO RAVAGERS outside the cell hear the MUSIC. They turn, + unlocking the cell door. + + As they enter, THE CAMERA OVERTAKES them, arriving before + they do at -- + + Yondu, sitting calmly; Rocket is finishing ATTACHING THE BIG- + ASS FIN TO HIS HEAD. Its electrical systems POP on. + + PUSH IN ON the two surprised Ravagers trying to UNHOLSTER + THEIR PISTOLS in time. + + Too late. + + Yondu WHISTLES. + + INT. ECLECTOR CLOSET - OUTER SPACE + + The ARROW FLIES OFF a shelf of supplies and SHOOTS TOWARD A + WALL. + + INT. ECLECTOR CELL - OUTER SPACE + + The ARROW PUNCHES THROUGH THE WALL behind the Ravagers. They + swirl to see it -- + + IT SHOOTS THROUGH ONE RAVAGER + + And THEN THE OTHER -- + 72 + + + And then to Yondu; he CATCHES it, and STANDS. + + He SAUNTERS past the two Ravagers as they WOBBLE and FALL. + Rocket and Groot follow. + + On the way out the door, Rocket looks down and sees TWO + PISTOLS beside the dead Ravagers. + + He smiles. + + INT. CAPTAIN'S QUARTERS - OUTER SPACE + + Taserface is awoken by JAY AND THE AMERICANS on the PA. He + glances over to see the open drawer beside him, sans + gargantuan fin. + + He SCRAMBLES for the comm, yelling into it -- + + TASERFACE + He's got it! + + INT. BAR/QUADRANT FLIGHT DECK - OUTER SPACE + + The hoard of Ravagers hear Taserface's voice. + + TASERFACE (O.S.) + HE'S GOT IT! YONDU'S GOT THE DAMN + FIN! + + RETCH + GO! + + SERIES OF SHOTS - INT. ALL OVER THE SHIP - OUTER SPACE + + ALL OF THE RAVAGERS all over the ship, in a panic, LOAD THEIR + WEAPONS and HEAD TOWARD THE CELL. + + INT. ECLECTOR HALLWAY - OUTER SPACE + + Yondu and Rocket and Groot COME AROUND THIS CORNER IN SLOW- + MOTION, the three biggest badasses in the history of cinema. + + A HOARD OF RAVAGERS, led by Brahl, FILE IN at the end of the + hallway. + + But Yondu WHISTLES and the ARROW TWISTS QUICKLY BACK AND + FORTH, SLICING THROUGH EACH OF THEM. + + Yondu SLAMS through a door into - + 73 + + + INT. ECLECTOR DOCKING BAY - OUTER SPACE + + Our heroes step onto a catwalk in this, the biggest space in + the Eclector. There are catwalks throughout and dozens of + docked M-ships. The SCURRILOUS RAVAGER sees them from above -- + + SCURRILOUS RAVAGER + Down there! + + IN AN EXTREME WIDE ANGLE, we see the ARROW FLYING UP AND + DOWN, BACKWARDS AND FORWARDS, CUTTING THROUGH ALL SORTS OF + RAVAGERS, closer and further from CAMERA. + + We TRAVEL BEHIND YONDU AND ROCKET as BODIES FALL AROUND THEM + IN SLOW-MOTION LIKE FIREWORKS. + + Groot looks up and sees RETCH looking down at him. + + RETCH FLEES in terror as Groot GROWS branches to pull himself + up behind him. + + Groot HOWLS FURIOUSLY, TAKING CHASE. + + Retch YOWLS like a child as he frantically runs. + + But Groot GROWS HIS BRANCHES around RETCH's legs, TRIPPING + HIM. + + BAM! He FALLS, face first to the floor. + + And, with a WAR CRY, Baby Groot FLINGS the sadistic Ravager + off the edge towards the abyss below. + + As RETCH FALLS past Yondu and Rocket, Baby Groot DROPS back + down onto Rocket's shoulder, and they push their way through + the doorway - + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + Yondu, Rocket, and Groot move into this area, where they look + up at DOZENS OF SECURITY MONITORS encircling them showing + Ravagers filing toward them from every part of the ship. + + Yondu WHISTLES as he watches the MONITORS - + + ON A MONITOR, the arrow FLIES out the wall. He whistles so + that it strikes TWO RAVAGERS running towards them. + + It ZIPS out of that room and + 74 + + + INT. DARK HALL - OUTER SPACE + + A HOARD of Ravagers come running down a hall. The ARROW ZIPS + overhead, smashing out all the lights so that the hall is + completely dark, except for the DIM RED LIGHT OF THE ARROW. + + And we can just make out the RED LIGHT smashing through the + body of every Ravager there and then on into -- + + INT. SPACEPORT - OUTER SPACE + + A YELLING CROWD OF RAVAGERS come, hungry for war, when the + arrow SHOOTS THROUGH THE CHAINS holding a giant spaceship in + place over their heads. + + It FALLS, instantly CRUSHING them all, and then zips on -- + + INT. BAR - OUTER SPACE + + Gef the Ravager is drunkenly drinking a mug of beer, when the + arrow zips past him and through the mug, SHATTERING it. + + As Gef looks at the shattered mug, confused, the arrow comes + flying back, ripping through Gef himself, FLINGING him off + the bar stool. + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + Rocket also uses the MONITORS to pinpoint where their + attackers are. He methodically SHOOTS THROUGH the walls, + striking the Ravagers as they get closer. + + WIDE OVERHEAD SHOT, the CAMERA REVOLVES as hoards of Ravagers + GET CLOSE to Yondu and Rocket but the arrow and gunshots ZIP + THROUGH THE WALLS taking them all down, one by one, like + Busby Berkely gone mad. + + Then Yondu stops, seeing something on one of the MONITORS. + + Taserface, clutching a big ass gun, is marching down the hall + towards them. + + Yondu WHISTLES, loudly and angrily. + + INTERCUT - INT. ENGINE ROOM/SECURITY DOCK - OUTER SPACE + + Taserface sees THE ARROW COMING AROUND A CORNER TOWARDS HIM. + + Yondu WHISTLES again. + + The ARROW BURSTS INTO FLAMES. + + Taserface DODGES it. + 75 + + + He turns to watch it go, CACKLING pridefully over his + agility. + + But his smile quickly dissipates. + + The arrow PLUNGES into a giant tank - which EXPLODES, + ENGULFING HIM. + + EXT. ECLECTOR - OUTER SPACE + + A huge portion of the giant spacecraft EXPLODES, leading to a + domino effect of one part of the ship BURSTING after another. + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + ROCKET is dumbfounded as he sees on the MONITORS the numerous + EXPLOSIONS throughout the ship. + + ROCKET + You maniac. The whole ship is gonna + blow. + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + A DOOR SWINGS OPEN and TASERFACE FALLS ONTO THE FLOOR, + ENGULFED IN FLAMES, but furious. + + He angrily SLAPS off the flames as he reaches for a + COMMUNICATIONS MODULE. + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + YONDU + Not the whole ship. + + Yondu catches the arrow and walks out. + + INT. BAR/QUADRANT FLIGHT DECK - OUTER SPACE + + Kraglin ENTERS, pulling latches and flipping switches and + twisting dials on elementary flight controls. + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + With pained effort, Taserface PULLS UP A VIDEO SCREEN with a + SOVEREIGN CHAMBERMAID. + + CHAMBERMAID (ON SCREEN) + Who is this? You're not supposed to + be on this line. + + TASERFACE + I'm sending you the coordinates for + Yondu's ship. + 76 + + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + Yondu enters with Rocket and Groot. + + YONDU + Release the quadrant. + + KRAGLIN + AYE CAPN' + + INT. ECLECTOR SECURITY DOCK - OUTER SPACE + + TASERFACE + I only ask one thing. That your + High Priestess tells him the name + of the man what sealed his fate: + Taserface. + + The CHAMBERMAID laughs uncontrollably at his name. + + Taserface looks really sad as he EXPLODES. + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + As Rocket and Groot, frightened, feel the SHIP EXPLODING + around them, Kraglin pulls up one final latch - + + EXT. ECLECTOR - OUTER SPACE + + THE ENTIRE REAR UPPER QUADRANT OF THE ECLECTOR DETACHES FROM + THE REST OF THE SHIP, while the remains CONTINUE EXPLODING. + + I/E. QUADRANT FLIGHT DECK - OUTER SPACE + + Rocket and Groot are amazed as the SHIP thrusts forward, away + from the explosions. + + Kraglin keys into a JUMP POINT ahead. Nearby, Rocket pulls up + the Navigation panel. + + KRAGLIN + Where to, Cap'n? + + Rocket SETS THE DESTINATION: + + ROCKET + Ego. + + YONDU + NO, BOY! + + The Quadrant TREMBLES as they hit THE JUMP POINT. It BLOOPS + out of present space, making the JUMP to - + 77 + + + EXT. DESERT - DAY + + The Quadrant POPS into a blue sky above a DESERT with two + fighting KRONANS. + + INT. QUADRANT FLIGHT DECK - VARIOUS OUTER SPACE LOCATIONS + + Inside the ship, Rocket, Yondu, Kraglin, and baby Groot hold + on for dear life as the ship VIOLENTLY SHAKES and THE + LOCATIONS OUTSIDE OF THE WINDOW RAPIDLY SHIFT. + + Their bodies DISTEND SLIGHTLY. Yondu is furious. + + YONDU + It ain't healthy for a mammalian + body to hop over fifty jumps at a + time. + + ROCKET + I know that. + + YONDU + We're about to do seven-hundred. + + Rocket looks bummed. + + EXT. PINK SKY - AMOEBA BLOBS - OUTER SPACE + + The Quadrant pops out of a jump point into this Pepto Bismol + pink land, SMASHING THROUGH an AMOEBA-LIKE BLOB, and then + through the next jump point. + + INT. QUADRANT FLIGHT DECK - VARIOUS OUTER SPACE LOCATIONS + + Kraglin, Yondu, Rocket, and Baby Groot all SCREAM, their + entire faces and bodies distorting as if in some evil + funhouse mirror. + + EXT. RED PLANET LANDSCAPE - VARIOUS + + The yellow sun CURVES SLOWLY WEST TO EAST over this + magnificent landscape. + + "BRING IT ON HOME TO ME" BY SAM COOKE PLAYS. + + EXT. SLEEPING QUARTERS - VERANDA - DAY + + TILT DOWN to Quill, on this veranda, gazing out at the + beauty. The Walkman is connected to small, jerry-rigged + speakers nearby, PLAYING SAM COOKE. + + QUILL + So I guess this could all be mine + someday. + 78 + + + Gamora isn't paying attention. She's fooling with a + communications device, which has no reception. + + GAMORA + Rocket? Rocket, you there? Dammit. + + Quill comes up behind her, messing with her. + + GAMORA (CONT'D) + What are you doing, Peter? + + QUILL + Dance with me. + + GAMORA + No. I'm not -- + + QUILL + Come on. This is Sam Cooke, one of + the greatest Earth singers of all + time. + + Gamora lets out an exasperated SIGH, but, reluctantly, starts + DANCING with him. She is incredibly light on her feet. + + Quill smiles and Gamora, despite herself, does as well. He + TWIRLS HER AND BRINGS HER BACK IN. This is definitely not the + first time they've done this. + + QUILL (CONT'D) + Drax thinks you're not a dancer. + + GAMORA + If you ever tell anyone about this, + I'll kill you. + + They look at each other. + + QUILL + When are we going to do something + about this... unspoken thing + between us? + + GAMORA + What unspoken thing? + + QUILL + THIS CHEERS-SAM-AND-DIANE-GUY-AND- + GIRL-ON-A-TV-SHOW-WHO-DIG-EACH- + OTHER-BUT-NEVER-SAY-IT-'CAUSE-WHEN- + THEY-DO-THE-RATINGS-WOULD-GO-DOWN + sort of thing? + 79 + + + GAMORA + There is no unspoken thing between + us. + + QUILL + Well, that's a Catch-22. Because if + you said there was, it would be + spoken, and then you'd be a liar. + So by saying there isn't, you're + telling the truth, and admitting + there is. + + GAMORA + That's not -- + + Gamora PULLS AWAY. + + GAMORA (CONT'D) + What we should be discussing right + now is that something about this + place doesn't feel right. + + QUILL + What are you talking about? You + were the one who wanted me to come + here! + + Gamora moves into -- + + INT. SLEEPING QUARTERS - DAY + + GAMORA + That girl, Mantis. She's afraid of + something. + + Quill follows her. He stops, staring at her, hurt and + frustrated. + + QUILL + Why are you trying to take this + from me? + + GAMORA + I'm not -- + + QUILL + He's my father. He's blood - + + GAMORA + You have blood on earth. You never + wanted to return there. + 80 + + + QUILL + Again - you made me come here! + And Earth?! Earth is the place my + mother died in front of me. + + GAMORA + No, it's because that's real, and + this is a fantasy. + + QUILL + This is real. I'm only half human, + remember? + + GAMORA + That's the half I'm worried about. + + QUILL + Oh, I get it. You're jealous + because I'm part god! You like me + being the weak one! + + Gamora adds some pieces to her transmitter. + + GAMORA + Uh. You were insufferable to begin + with. I haven't been able to reach + Rocket. I'm going to see if I can + get a signal outside. + + QUILL + You know, this isn't Cheers after + all. It's whatever the show is + where one person is willing to, you + know, open themselves up to new + possibilities, and the other person + is just kind of a jerk who doesn't + trust anyone! It's a show that + doesn't exist - it would never be + made, it would be so horrible! It + would get zero ratings! + + GAMORA + You're having a conversation with + yourself! I don't know what Cheers + is! + + QUILL + I finally found my family, don't + you understand that!? + + GAMORA + I thought you already had. + 81 + + + QUILL + So this is how it ends, then? Our + whole story. Like this? You and me? + + GAMORA + Get it through your head, Peter. + There is no you and me. There never + was. + + Quill watches her leave. + + EXT. EGO'S FIELDS - SUNSET + + Gamora sits, alone in the fields, pouting, fuming. She + stops, staring angrily inward. + + Two plants, nearby, flitter against one another in the wind, + making a CLICKING sound. She side-eyes them. They don't stop. + + She slices them off with her sword. + + GAMORA + Dammit. + + Gamora hears something. She turns to see, in the distance, an + M-ship flying toward the planet. + + She watches as it gets closer and closer, and realizes it is + FLYING DIRECTLY AT HER. + + Gamora RUNS. + + INT. NEBULA'S SHIP - SUNSET + + Nebula HOLLERS as she BLASTS HER GUNS, DIVING towards Gamora. + + EXT. HILLSIDE - SUNSET + + Gamora FLEES from Nebula's ship like Cary Grant from the crop + duster in North by Northwest as HUGE CHUNKS OF LAND EXPLODE + on either side of her. + + Gamora leaps into a DITCH, LANDING HARD, as the M-Ship SWOOPS + just a couple feet above her. + + GAMORA + You psychopath. + + Gamora sees the M-Ship banking and FLYING BACK at her again. + + She stands and runs along the hillside as GUN BLASTS burst + behind her. But Gamora sees a CAVERN, leading down into the + earth. + 82 + + + She DARTS into it. + + INT. EGO'S CAVERN - FIRST/SECOND LEVELS - SUNSET + + As Gamora RUNS down the cavern, she glances back over her + shoulder where Nebula, insane with rage, continues FLYING + towards her -- + + The M-SHIP ENTERS THE CAVERN, which is too small for it, + CLIPPING ITS WINGS - but it keeps flying. It again BLASTS at + Gamora as she FLEES - + + The BLASTS cause the ground to COLLAPSE around Gamora, and + she FALLS, SMASHING DOWN THROUGH ONE LEVEL, to another level + below, SLAMMING HARD on the ground. + + The underside of the M-ship gets SCRAPED APART as it flies + above her, and pieces of it come RAINING DOWN around her. + + Nebula ZOOMS towards a huge cavern wall. She tries to turn + her ship in time, to no avail. + + She SIDESWIPES it, falling down, CRASHING on the ground, + where she is now on the same level as Gamora. + + Gamora sees something beside her: it's one of the ENORMOUS + BLASTERS from the M-ship, attached to an AMMO RIG. + + INT. NEBULA'S M-SHIP - SUNSET + + Nebula sees Gamora, through the canopy, picking up the + blaster, and clutching it. It is comically enormous. + + Nebula struggles to get free and out of the way, but her legs + have been pinned in the crash - + + INT. EGO'S CAVERN - SECOND/THIRD LEVELS - SUNSET + + Gamora CLAMPS two metal switches together, MACHINE-FIRING THE + GUN, as she walks forward. + + The front of the M-ship is peppered with blasts and then + EXPLODES. + + The explosion causes the thin ground around it to COLLAPSE, + and the entire ship FALLS BACKWARDS to an even LOWER LEVEL - + BURSTING some more as it hits the ground. + + Gamora gazes down at the ship. + + I/E. NEBULA'S SQUASHED M-SHIP - SUNSET + + Nebula is a mess. Her legs are broken, trapped in the ship. + There is a FIRE at her feet. + 83 + + + She struggles, trying to get out, but her machine parts are + SPARKING and she can hardly breathe. It seems as she's going + to die, when -- + + Part of the ship is TORN AWAY. She sees Gamora. + + Gamora GRABS HER, unceremoniously PULLING HER FREE, just as + the M-ship EXPLODES, PITCHING THEM BOTH to the ground. + + They lie next to each other. Nebula COUGHS as her legs are + healing, CRACKING back into place. + + She looks over and eyes Gamora. + + And then she HOLLERS and attacks her. + + GAMORA + Are you kidding me?! + + They FIGHT. + + Nebula snatches Gamora's blade from her, and TUMBLES on top + of her as she gains the upper hand. She holds the blade + above Gamora, ready to plummet it into her. + + She wants to - she really does - but now that the moment is + here... + + She SCREAMS in frustration, and falls back. + + NEBULA + I win. + + Gamora eyes her, a little surprised. + + NEBULA (CONT'D) + I win. I bested you in combat. + + GAMORA + Uh, no, I just spared your life - + + NEBULA + You were stupid enough to let me + live so - + + GAMORA + You just let me live! + + NEBULA + I WIN! + 84 + + + GAMORA NEBULA (CONT'D) + Nebula, I really don't need I don't need you always + this. My day has been bad trying to beat me! + ENOUGH - + + GAMORA + I'm not the one who just flew + across the universe because I + wanted to win! + + NEBULA + Don't tell me what I want! + + GAMORA + I don't have to because you make it + OBVI - + + NEBULA + YOU WERE THE ONE WHO WANTED TO WIN, + I JUST WANTED A SISTER! + + Gamora stops suddenly, struck. Nebula is cracking. + + NEBULA (CONT'D) + You were all I had, but you were + the one who needed to win! Thanos + pulled my eye from my head and my + brain from my skull and my arm from + my body because of you! + + Gamora doesn't know what to say. Nebula is almost instantly + embarrassed. + + They sit there for a moment, saying nothing. + + EXT. SLEEPING QUARTERS - NIGHT + + The Quarters are entombed in stars. The dim sound of "BRANDY" + comes from within. + + INT. SLEEPING QUARTERS - NIGHT + + Quill lies in bed, unable to sleep, listening to the song. + + EGO (O.S.) + You all right, son? + + Quill turns to see Ego in the doorway. + + EGO (CONT'D) + I saw your girl stomp off earlier + in quite a huff. + + Quill sits up, nods. + 85 + + + QUILL + Yeah. + + Ego sits beside him. + + EGO + It's fortuitous you're listening to + this song. + + QUILL + You know - ? + + EGO + `Brandy' by Looking Glass. A + favorite of your mom's. + + QUILL + Yes. + + EGO + One of earth's greatest musical + compositions. Perhaps its very + greatest. + + QUILL + Yeah, it is. + + EGO + You and I, Peter, we're the sailor + in the song. + + Ego speaks along with the lyrics as they play. + + EGO (CONT'D) + He came on a summer's day, bringing + gifts from far away - like the + child I put in your mother, or the + freedom you brought Gamora. + + Quill listens. + + EGO (CONT'D) + Brandy, you're a fine girl, what a + good wife you would be. But my + life, my love, my lady is the sea. + The sea calls the sailor back. He + loves the girl, but that's not his + place. The sea calls upon him as + history calls upon great men, and + sometimes we are deprived the + pleasures of mortals. + 86 + + + QUILL + Well, you might not be mortal, but + ME - + + EGO + Death will remain a stranger to + both of us as long as the light + burns within the planet. + + Ego smiles. + + QUILL + I'm immortal? That's... really? + + EGO + Yes, as long as the light exists. + + QUILL + And I can use the light to make + cool things? Like how you made all + this? + + EGO + It'll take thousands of years of + practice before you get really good + at it . But, yes. + + QUILL + Well, get ready for an eight + hundred foot statue of Pac Man, + then. With Skeletor. And Heather + Locklear. I'm gonna make some weird + shit. + + Ego puts his arm around him, smiles kindly. + + EGO + I can't wait to see your weird + shit. + + QUILL + Wow, that... + + EGO + Came out a little disgusting. + + They CHUCKLE. + + EGO (CONT'D) + It is a tremendous responsibility, + Peter. Only we can remake the + universe. Only we can take the + bridle of the cosmos and lead it + where it needs to go. + 87 + + + QUILL + How? + + Ego holds up his fingers, letting forth a flame of white + cosmic light. Quill holds up his fingers, letting forth a + smaller, less intense flame of white cosmic light. + + REVEAL MANTIS, IN THE HALL, around the corner, looking at Ego + and Quill and the light emanating from their fingers. + + EGO + Come with me. + + Mantis looks like she's having a panic attack. + + INT. DRAX'S SLEEPING QUARTERS - MOMENTS LATER + + CLOSE-UP OF DRAX, sound asleep. + + MANTIS (O.S.) + Drax! Drax! + + He WAKES to see a panicked Mantis sitting on the bed beside + him. + + MANTIS (CONT'D) + Drax, we need to talk - + + DRAX + Ugh. I am sorry, but I like a woman + with some meat on her bones. + + MANTIS + What? + + DRAX + I tried to let you down easily by + telling you I found you disgusting. + + MANTIS + No! That's not what I - + + Drax starts to GAG. + + MANTIS (CONT'D) + What are you doing?! + + DRAX + I'm imagining being with you + physically! + 88 + + + MANTIS + Drax, that's not - I don't like you + like that. I don't even like the + type of thing you are. + + DRAX + (OFFENDED) + Hey! There's no need to get + personal! + + MANTIS + Listen! Ego's gotten exactly what + he wanted. I should have told you + earlier, I am stupid. You are in + danger. + + EXT. NEBULA'S SQUASHED M-SHIP - NIGHT + + Gamora and Nebula still sit here, quietly and awkwardly. + Gamora glances down a twisting tunnel, where phosphorescent + lights shine brightly. + + GAMORA + What's that? + + She moves towards it. Nebula, hesitantly, follows. + + INT. PALACE - NIGHT + + Ego and Quill enter the palace. + + EGO + You need to readjust the way you + process life. Everything around us - + including the girl - is temporary. + We are forever. + + QUILL + Doesn't eternity get boring? + + EGO + Not if you have a purpose, Peter. + Which is why you're here. I told + you how all those years ago I had + an unceasing impulse to find life. + + Ego is standing underneath the diorama of him facing the + little alien girl. + + EGO (CONT'D) + I didn't tell you how when I did + find it, it was all so... + disappointing. + 89 + + + INT. TWISTING CAVERNS - NIGHT + + Gamora and Nebula move further down the cavern, stepping into + light, getting closer. + + EGO + And that is when I came to a + profound realization. + + INT. PALACE - NIGHT + + EGO + My innate desire to seek out other + life was not so that I could walk + among that life. + + Ego looks at his son, moved by the memories. + + EGO (CONT'D) + Peter, I had found meaning. + + Quill is taken aback. But Ego sets his finger lightly on his + forehead, and the white light bursts through his son's body. + + We see THE COSMOS IN QUILL'S EYES. He looks ecstatic, far + beyond where he stands, and seems to finally understand. + + QUILL + I see it. Eternity. + + INT. TWISTING CAVERNS - NIGHT + + Gamora and Nebula stop, in horror. + + GAMORA + Oh my God. + + They are staring at piles and piles of skeletons of various + species, thousands of them, seeming to go on forever. + + NEBULA + We need to get off this planet. + + EXT. GALAXY/UNIVERSE - OUTER SPACE + + We see traces of the UNIVERSAL NEURAL TELEPORTATION NETWORK, + the Quadrant a blinking light POPPING IN and OUT on a trail + across the cosmos - + + And then ZOOM BACK FURTHER TO THE UNIVERSE, the same blinking + light making its way while ROCKET, YONDU, and KRAGLIN SCREAM. + 90 + + + EXT. ASTEROIDS - OUTER SPACE + + WATCHERS swirl to the Quadrant SWISH past them and JUMPS OUT. + + They turn back to STAN LEE, in a spacesuit with a fishbowl + helmet. + + STAN LEE + Anyway, before I was so rudely + interrupted, that time I was a + World War II vet - + + EXT. RED PLANET - OUTER SPACE + + THE QUADRANT POPS INTO SPACE, EGO'S PLANET nearby. + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + Yondu, Kraglin, Rocket and Groot FALL OUT OF THEIR SEATS, + RETCHING, clutching their stomachs. + + YONDU + What the hell you doing, boy?! + + ROCKET + I could tell by how you talked + about him - this Ego is bad news. + We're here to save Quill. + + YONDU + For what? + (DERISIVELY) + For `honor'? For `love'? + + ROCKET + No! I don't care about those + things! I want to save Quill so I + can prove I'm better than him! I + can lord this over him forever! + + Yondu LAUGHS bitterly as he pulls himself up to the controls. + Rocket yanks himself up beside him. + + ROCKET (CONT'D) + What are you laughing at me for?! + + YONDU + You can fool yourself and everyone + else but you can't fool me. I know + who you are. + + ROCKET + You don't know anything about me, + loser. + 91 + + + YONDU + I know everything about you. I know + you play like the meanest and the + hardest `cause you actually the + most scared of all. + + ROCKET + Shut up. + + YONDU + I know you steal batteries you + don't need and you push away anyone + who's willing to put up with you, + `cause just a little bit of love + reminds you how big and empty that + hole inside you actually is! + + ROCKET + I said, shut up. + + YONDU + I know the scientists what made you + never gave a rat's ass about you - + + ROCKET + I'm serious, dude - ! + + YONDU + Just like my own damn parents, who + sold me, their own little baby, + into slavery! I know who you are, + boy, because you're me. + + They stare at each other there, a mirror. + + ROCKET + What kind of pair are we? + + YONDU + The kind that's about to go fight a + planet I reckon. + + ROCKET + All right, okay, that's - Wait. + Fight a what? + + INT. DRAX'S SLEEPING QUARTERS - NIGHT + + Gamora, furious, BURSTS into the room. She sees Mantis + standing with Drax. + + She RUNS to her, GRABBING HER by the neck -- + 92 + + + DRAX + Hey! + + And she SLAMS her against the wall. + + GAMORA + Who are you people?! What is this + place?! + + DRAX + (RE: NEBULA) + What is she doing here? + + NEBULA + Just watching the fireworks. + + DRAX + Gamora, let her go! + + GAMORA + The bodies in the caverns, who are + they?! + + MANTIS + You are scared. + + Gamora, whose skin is touching Mantis, lets go of her neck, + terrified. + + INT. PALACE - NIGHT + + The DIORAMAS all around Quill and Ego TRANSFORM into a map of + the universe. Quill stares in his cosmic reverie at the + PLANETS around him - thousands of them with pieces of EGO'S + LIFEFORM - GLOWING COSMIC PLANTS - buried within them. + + EGO + I call it the Expansion. It is my + purpose. And now it's yours as + well. + + QUILL + It's beautiful. + + Quill stares up at a DIORAMA: Ego grabs handfuls of his own + body, engulfed in light, and plants the wriggling pieces on + various planets. + + EGO + Over thousands of years I implanted + thousands of extensions of myself + on thousands of worlds. + 93 + + + In the DIORAMAS, the COSMIC PLANTS OVERGROW and COVER each of + the planets, like chocolate on a malt ball. + + EGO (CONT'D) + I needed to fulfill life's one true + purpose: to grow and to spread, + covering all that exists, until + everything... is me. + + INT. DRAX'S SLEEPING QUARTERS - NIGHT + + Gamora backs away, recovering. + + GAMORA + What did she do to me?! + + DRAX + She already told me everything. + + INT. PALACE - NIGHT + + EGO + I only had one problem. A single + Celestial doesn't have enough power + for such an enterprise. But two + Celestials - well now, that just + might do. + + INT. DRAX'S SLEEPING QUARTERS - NIGHT + + MANTIS + The bodies are his children. + + Gamora is horrified. + + INT. PALACE - NIGHT + + On the DIORAMAS we see Ego with hundreds of species of female + aliens. + + EGO + Out of all my labors the most + beguiling was attempting to graft + my DNA with that of another + species. I hoped the result of such + a coupling would be enough to power + the expansion. + + INT. ECLECTOR HALLWAY - NIGHT + + Yondu and Rocket walk here. + 94 + + + EGO (O.S.) + I had Yondu deliver some of them to + me. It broke the Ravager code - but + I compensated him generously. And, + to ease his conscience, I told him + I would never hurt them. + + INT. PALACE - NIGHT + + EGO + That was true. They never felt a + thing. But, one after the other, + they failed me. None of them had + the Celestial genes. Until you, + Peter. Out of all my spawn, only + you have carried the connection to + the light. + + Peter smiles, an enchanted idiot, the cosmos in his eyes. + + INT. DRAX'S SLEEPING QUARTERS - NIGHT + + GAMORA + We need to find Peter now and get + off this damn planet. + + MANTIS + Ego will have won him to his side + by now. He has a way of - + + NEBULA + Then we just go. + + GAMORA + No. He's our friend. + + NEBULA + All any of you do is yell at each + other. You're not friends. + + DRAX + You're right. We're family. + We leave no one behind. + (TO NEBULA) + Except maybe you. + + NEBULA + Oh my god. + + INT. PALACE - NIGHT + + EGO + For the first time in my life, I am + truly not alone. + 95 + + + Quill suddenly looks sad. + + EGO (CONT'D) + What is it, son? + + QUILL + My friends. + + EGO + That's the mortal in you, Peter. + + QUILL + Yes. I don't need that. + + EGO + What are we? + + QUILL + Forever. + + EGO + What are they? + + QUILL + Temporary. + + EGO + You think you love them. But love + is merely an evolutionary trick in + the service of reproduction. We are + beyond such things. + + QUILL + Yes. + + EGO + NOW - + + QUILL + But my mother. + + Ego looks at him, questioningly. + + QUILL (CONT'D) + You said you loved my mother. + + EGO + That I did. My river lily, who knew + the words to every song that came + on the radio. I returned to earth + to see her three times. I knew if I + came back a fourth, I'd never + leave. + (MORE) + 96 + + EGO (CONT'D) + The expansion, the reason for my + very existence would be over. So I + did what I had to do. But it broke + my heart to put that tumor in her + head. + + QUILL + Wh- what? + + ZOLLY IN ON QUILL as the cosmos disappear from his eyes. + Tears stream down his face. + + EGO + I know that sounds bad - + + QUILL PULLS OUT HIS PISTOLS AND FIRES; THE BLAST TEARS + THROUGH EGO, DISPERSING the MOLECULES forming his body. + + Quill SHOOTS at him AGAIN and AGAIN and AGAIN. The flesh + disappears from Ego like bites from a cookie, exposing the + angry alien skeletal form beneath. + + But, as the charge on Peter's blasters wears out, Ego just + looks at him, and, although he's filled with holes, he's + merely disappointed. + + EGO (CONT'D) + Who in the hell do you think you + are? + + QUILL + You killed my mother! + + EGO TRANSFORMS into DAVID HASSELHOFF. + + EGO + I tried so hard to find the form + that best suited you, and this is + the thanks I get? + + And then, once again, BECOMES HIS USUAL FORM. + + EGO (CONT'D) + You really need to grow up. + + A SPIKY COSMIC LIGHT-PROPELLED TENDRIL SHOOTS UP from the + floor behind Quill, and JUTS into Quill's body. + + Quill is THRUST INTO THE AIR. He opens his mouth to SCREAM + and WHITE LIGHT EMITS. + 97 + + + EGO (CONT'D) + I wanted to do this together! But I + suppose you'll have to learn by + spending the next thousand years as + a battery, `Star-Lord'. + + INT. DRAX'S SLEEPING QUARTERS - NIGHT + + THROUGH THE WINDOW to the PALACE - PAN TO Gamora watching as + her TRANSMITTER - the one she was trying to contact Rocket on + - BEEPS. She answers. + + GAMORA + Rocket?! + + Gamora follows Drax, Nebula, and a confused Mantis as they + move out. + + INT. LASER DRILL - OUTER SPACE + + Rocket, Yondu, and Groot are CRAWLING into a huge LASER + DRILL. + + ROCKET + Keep that transmitter nearby so I + can find you. We're in an old piece + of construction equipment Yondu + once used to slice open the Bank of + A'askavaria. + + GAMORA (O.S.) + Ego's unhinged - + + ROCKET + I know. Get ready. + + YONDU + Drop it, Kraglin! + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + Kraglin YANKS a lever. + + I/E. LASER DRILL - OUTER SPACE + + An ugly, bulbous and uneven craft PLOPS from the Quadrant, + and heads toward Ego's surface. + + ROCKET + I got a plan. + + YONDU + What is it? + 98 + + + ROCKET + It's pretty simple. + + INT. PALACE - NIGHT + + Ego walks calmly up beside the trapped Quill. He snatches the + Walkman off of him. He stares at it. Quill can barely speak. + + QUILL + NO. + + EGO PRESSES PLAY. A distorted version of "Brandy" plays. He + stares at it - perhaps he's feeling wistful sadness, or + perhaps nothing at all. + + `Brandy, you're a fine girl. What a good wife you would be.' + + EGO + `My life, my love, my lady is the + sea'? Peter, THIS IS THE SEA. + + EGO CRUSHES THE WALKMAN IN HIS GRIP as Quill watches + helplessly. + + The POWER SURGES from Quill through the TENTACLE and + throughout the entire PALACE -- + + EXT. PALACE - NIGHT + + As Gamora, Mantis, Drax, and Nebula run toward the Palace it + BURSTS WITH COSMIC LIGHT, so brightly they have to protect + their eyes. + + INT. PALACE - NIGHT + + EGO basks in the power and we TRAVEL down his legs -- + + INT. RED PLANET/SELF CHAMBER - NIGHT + + We FOLLOW THE ENERGY THROUGH THE SURFACE OF THE PLANET -- + + THROUGH THE TWISTING VEINS OF LIGHT BENEATH -- + + And INTO an ENORMOUS, METAL ORB, the SELF CHAMBER, which + EXPLODES WITH LIGHT. + + Boom. + + EARTH - EXT. WOODS BEHIND DAIRY QUEEN - MOMENTS LATER + + We PUSH INTO the small plant - now a bit larger - that Ego + planted at the very beginning of the film. + + It LIGHTS UP and GROWS, INSTANTLY BURSTING UPWARDS - + 99 + + + EARTH - EXT. DQ - MOMENTS LATER + + The PLANT BURSTS UP BEHIND the Dairy Queen (now a modern DQ), + a huge ORGANIC, BLOB-LIKE MASS OF LIGHT that comes down + instantly on the building, CRUSHING it and everyone inside -- + + AND CONTINUING TO SPILL FORWARD, SPREADING. + + INT. PALACE - NIGHT + + EGO SUMMONS all his energy, when, SUDDENLY, a DOOR beside him + SMASHES APART. + + Drax has kicked through it and Gamora, Nebula and Mantis are + with him. Ego turns to see them, then hears a RUMBLING above + him. + + He turns to look at a window on the palace wall behind him. + + AND THE GIANT LASER DRILL COMES SMASHING THROUGH THE PALACE + WALL. + + YONDU + Hey there, Jackass. + + Ego looks surprised. + + The LASER DRILL lands on Ego, SQUASHING HIM. + + The tendril retracts from Quill as he falls and heaves for + breath. + + EARTH - EXT. STREET - DAY + + The cosmic plant, barreling down the street, suddenly STOPS. + + + + INT. PALACE/LASER DRILL - SUNRISE + + Drax, Gamora, Nebula, and Mantis rush into the crumbling + palace. + + The door on the side of the Laser Drill SLIDES OPEN. Baby + Groot is standing there, smiling, and waving. + + DRAX + Out of the way, dumber, smaller + Groot. + + As Drax crawls in, Groot starts PUNCHING Drax as hard as he + can. Probably because he called him dumb, but who's to say. + + Gamora helps up Quill. + 100 + + + GAMORA + I told you something didn't feel + right. + + QUILL + `I told you so.' That's really what + I need right now. + + GAMORA + I came back, didn't I? + + QUILL + Because there's an unspoken thing. + + GAMORA + There is no unspoken thing. + + INT. LASER DRILL - NIGHT + + Drax, Mantis, Gamora, and Quill step inside the door. + + DRAX + What are you doing? You could have + killed us all crashing in here like + that! + + ROCKET + Uh, `Thank you, Rocket'? + + DRAX + We had it under control. + + MANTIS + We did not. That is only an + extension of his true self. He will + be back soon. + + QUILL + (RE: NEBULA) + What's Smurfette doing here!? + + NEBULA + Back rubs, dishes, killing gods, + whatever I need to do to get a damn + ride home. + + ROCKET + She tried to murder me! + + NEBULA + I saved you, you stupid fox. + + GAMORA + He's not a fox. + 101 + + + GROOT + I am Groot. + + ROCKET + I'm not a raboon either! + + GROOT + I am Groot. + + ROCKET + `Raccoon,' whatever! + + Drax looks out the window. + + INT. PALACE - NIGHT + + TENTACLE-LIKE STRANDS BURST UP through the palace flooring + all around the drill. + + INT. PALACE - NIGHT + + Drax turns to the others. + + DRAX + How do we kill a Celestial? + + QUILL + There's the center to him - his + brain, his soul, whatever it is, in + some sort of shell -- + + MANTIS + It's in the caverns below the + surface. + + Quill climbs up the ladder to see - + + QUILL + YONDU? + + Nebula looks at Gamora. + + NEBULA + If he's got that fin back, I am so + screwed. + + I/E. PALACE - SUNRISE + + Yondu THRUSTS the ship upward for takeoff. But TENTACLES + wrap around the ship -- + + And YANK IT BACK DOWN into the floor, destroying the + foundation of the palce. + 102 + + + THE ENTIRE PALACE SLOPES. + + INT. LASER DRILL - SUNRISE + + Everyone FALLS forward. + + YONDU + Thrusters are out! + + Quill starts rewiring the mechanics. + + QUILL + I guess I should be glad I was a + skinny kid. Otherwise you would + have delivered me to this maniac! + + YONDU + You still reckon that's the reason + I kept you around, you idiot?! + + QUILL + That's what you told me, you old + doofus! + + YONDU + Once I figured out what happened to + them other kids, I wasn't gonna + just hand you over. + + QUILL + You said you were gonna eat me! + + YONDU + That was being funny! + + QUILL + Not to me!! + + ROCKET + You people have issues. + + Quill sees THROUGH THE WINDSHIELD where EGO'S CREEPY SKELETAL + is GROWING IN FRONT OF THEM. + + QUILL + Of course I have issues that's my + fricking father!!... Thrusters are + back up. + + Quill thrusts the ship FORWARD instead of up. + + It CRASHES through Ego and DOWN THE SLOPING FLOOR -- + + And OUT THROUGH the giant pane of glass at the end. + 103 + + + I/E. LASER DRILL/CRACK IN THE PLANET - SUNRISE + + Everyone holds on in what's essentially the worst roller + coaster drop ever. + + YONDU + We should be going up! + + QUILL + We can't. Ego wants to eradicate + the universe as we know it. We have + to kill him. + + They PLUMMET toward a fissure in the earth below. It's too + small for the ship. + + QUILL (CONT'D) + Rocket! + + ROCKET + Got it. + + Rocket BLASTS the lasers perfectly, CHIPPING AWAY PIECES of + rock, forming an opening in the crack. + + They SMASH into the opening, barely fitting, leading down + into the planet. + + Quill flies perfectly, TWISTING through tunnels and around + corners. + + Rocket mans the lasers, BLASTING PIECES OUT OF PLACE just in + time so they can SCRAPE through. + + ROCKET (CONT'D) + So, we're saving the galaxy again? + + QUILL + I guess. + + ROCKET + Awesome. We'll really be able to + jack up our prices if we're two- + time-galaxy savers. + + QUILL + I seriously can't believe that is + where your mind goes. + + ROCKET + It was just a random thought, man! + I thought we were friends! + (MORE) + 104 + + ROCKET (CONT'D) + Of course I care about the planets, + and the buildings, and all of the + animals on the planets. + + QUILL + And the people. + + ROCKET + Meh. + + Mantis GIGGLES. + + MANTIS + The crabby puppy is so cute he + makes me want to die! + + DRAX + Your suicidal thoughts sadden me, + but your wish will likely come + true. + + I/E. QUADRANT FLIGHT DECK - OUTER SPACE + + MEANWHILE, Kraglin is mellowly hanging out, eating some soup + and listening to "WHAM BAM" BY SILVER as he sees something + out in the distance of space. He looks a bit closer. + + SOVEREIGN OMNICRAFT ARE POPPING THROUGH JUMP POINTS ABOVE + EGO'S PLANET. + + EXT. AYESHA'S SPACECRAFT - OUTER SPACE + + AYESHA is remotely piloting one of the ships. She looks + determined and angry on the vid-screen. + + And, one by one, Sovereign OMNICRAFT POP IN all around her, + until there is a large fleet. + + INT. SOVEREIGN PILOT BAY - DAY + + Ayesha, in full pilot gear, yells into her comm. + + AYESHA + Pilots, release envoy units! + + EXT. AYESHA'S SPACECRAFT - OUTER SPACE + + Smaller, more nimble robotic ENVOYS, like big pods with + blasters for arms - detach from the front of every Omnicraft. + + AYESHA + Our sensors detect the batteries + are below the surface of the + planet. + 105 + + + INT. SOVEREIGN PILOT BAY - DAY + + AYESHA + Dive! + + OVERHEAD SHOT: On the screens in all the pods, the envoys + DIVE toward the planet from slightly different directions. + + I/E. QUADRANT FLIGHT DECK - OUTER SPACE + + Kraglin, in shock, watches the massive fleet of envoys diving + downward. He grabs the comm. + + KRAGLIN + Uhh... Cap'n? + + No answer. + + KRAGLIN (CONT'D) + Cap'n? + + INT. LASER DRILL/CRACK IN THE PLANET - SUNRISE + + Yondu doesn't hear the CRACKLING SPEAKER beside him as they + maneuver down through the fissure. Quill eyes him. + + YONDU + So why'd Ego want you here? + + QUILL + He needs my genetic connection to + the light to help destroy the + universe. He tried to teach me how + to control the power. + + YONDU + So could you? + + QUILL + A little. I made a ball. + + YONDU + A ball? + + QUILL + I thought as hard as a could, + that's all I could come up with. + + YONDU + You `thought'? + + Quill nods. + 106 + + + YONDU (CONT'D) + You think when I make this arrow + fly I use my head? + + QUILL + What do you use? + + They look at each other instead of where they're going, and + the CRASH into an overhanging piece of rock. + + The entire side door is RIPPED OFF. + + As the SCREECH through a smaller space and into -- + + INT. PLANET'S HOLLOW/LASER DRILL - DAY + + The Laser Drill DROPS into this enormous open space within + the planet. + + The Guardians gather on the side of the ship open to the + hollow, gazing out at its stunning beauty, lit by Ego's white + glow running throughout it. + + GAMORA + Whoa. + + Mantis turns, looking through the portholes on the other + side. + + MANTIS + There! Thats Ego's core. + + Mantis points at the Self Chamber, down below them. They + twist down towards it. + + GAMORA + That ore's thick. Rocket, we're + gonna need to use the big laser. + + Rocket nods, FLICKS switches. + + All the small lasers on the sides move through grooves to + combine into one huge laser in the center of the ship: the + MEGA-LASER. + + MANTIS + We must hurry. It will not take Ego + long to find us. + + ROCKET + Keep it still! + 107 + + + Quill steadies the craft as best he can beside the Self + Chamber. But it's an unwieldy beast, built for power, not + precision. + + Rocket powers up the mega-laser and holds tight to the + SHUDDERING CONTROLS as it DRILLS, BURNING a HOLE into the + protective sheathe. It melts and drips down. + + QUILL + We drill into the center, we kill + him. + + Quill holds tight to the steering wheel. Yondu notices the + BLINKING LIGHT on the comm. He taps it. + + YONDU + What is it, Kraglin? + + KRAGLIN (O.S.) + Um, remember that Ayesha chick? + + YONDU + Yeah, why? + + Yondu looks out the window where AYESHA'S SQUADRON is + SWOOPING OUT OF the cracks in the ceiling all around them. + + YONDU (CONT'D) + Aw, hell. + + Quill PULLS AWAY from the envoys. + + But the Sovereign envoys start BLASTING AT THE CRAFT all at + once; the LASER LOSES POWER and the VEHICLE TURNS SIDEWAYS - + + Drax, Mantis, and Gamora GO TUMBLING from the hole in the + side. Nebula and Groot grab onto the floor. + + INT. BELOW SELF CHAMBER - DAY + + Gamora, Drax, and Mantis FALL from an incredible height. They + LAND - ONE, TWO, THREE - WITH APLOMB. + + Gamora looks up and sees the Laser Drill CURL behind the Self + Chamber as it tries to avoid the envoys' BLASTERS. + + INT. SELF CHAMBER/LASER DRILL - DAY + + Nebula and Groot settle as the ship rights itself and BLASTS + PIERCE the ship around them. + + Quill peers down at Rocket, who has jumped out of his seat + and is pouring out the contents of his satchel. + 108 + + + QUILL + Why aren't you firing the laser?! + + ROCKET + They blew out the generator! + I think I packed a small detonator. + + NEBULA + A detonator is worthless without + explosives! + + ROCKET + We got these! + + Rocket shows Nebula the Anulax batteries. + + Quill leaves the controls to Yondu as he CLIMBS down beside + Rocket, now messing with wiring on his BOMB. + + QUILL + Is it strong enough to kill Ego? + + ROCKET + If it is, it will cause a chain + reaction throughout his entire + nervous system. + + QUILL + Meaning what? + + ROCKET + The entire planet will explode. + We'll have to get out of here fast. + I rigged a timer. + + Rocket stuffs the bomb back in his satchel. Groot climbs on + his back. + + Rocket and Quill slap on their AERO RIGS. + + QUILL + Go! + + The run and jump out of the laser drill, FLYING ON THEIR AERO + RIGS, avoiding the GUNFIRE. + + The ZOOM towards the blast hole on the side of the self + chamber. + + INT. OPENING OF BLAST HOLE - DAY + + Rocket and Quill land here, messily, TUMBLING. + 109 + + + INT. BELOW SELF CHAMBER - DAY + + Mantis is worried about something else entirely; the entire + chasm begins TREMBLING and the walls start to MUTATE. + + MANTIS + He's coming. + + DRAX + Didn't you say you could make him + sleep? + + MANTIS + When he wants! He's too powerful! I + can't! + + DRAX + You don't have to believe in + yourself because I believe in you. + + They look ahead. They see, on the enormous wall in front of + them, the LIGHT-FORM of a giant EGO SCREAMING ANGRILY. + + His SCREAM becomes a TUNNEL OF ROCKS RUSHING TOWARDS THEM + like a train. + + Mantis sees a nerve bundle on the ground coming from Ego's + Core. Although afraid, she grabs it. + + MANTIS + SLEEP! + + She SCREAMS with effort and some pain as energy travels + through the bundle and into the core, where it darkens. + + The LIGHT LEAVES THE ROCK FORMATION and it SLAMS into the + ground in front of them, SPLASHING DIRT OVER THEM. + + But they are safe, shivering. Drax and Gamora look at each + other. + + DRAX + I never thought she'd be able to do + it. With as skinny and weak as she + appears to be. + + Mantis's arm is TREMBLING. + + MANTIS + I don't know how long I can hold + him! + 110 + + + GAMORA + You need to, girl. If you don't + keep Ego at bay, we all die. + + INT. OPENING OF BLAST HOLE - DAY + + Rocket shines a powerful PEN-LIGHT inside the cavity, + exposing the interior, spattered with Swiss-cheese-like holes + glowing with light. + + ROCKET + The metal is too thick! For the + bomb to work we'd actually need to + place it on Ego's core. And our + fat butts ain't gonna fit through + those tiny holes. + + QUILL + Well... + + Quill slowly eyes Groot, who is playing with a leaf on his + arm and thinking about something else entirely. + + ROCKET + That's a terrible idea. + + QUILL + Which is the only kind of idea we + got left. + + Rocket SIGHS. He puts Groot on his back and MOVES with Groot + deeper into the blast hole, mumbling to himself: + + ROCKET + Unbelievable. `Rocket, do this. + Rocket, do that.' + + Quill turns toward the opening. PUSH UP AND IN ON QUILL. + + QUILL + Uh, what a day. + + He jumps out into the fray. + + INT. PLANET'S HOLLOW - DAY + + Quill FLIES UP as a ship FLIES in toward him BLASTING, and + he's about to fire back. MAN VS. SPACESHIP. This is most + likely the beginning of the biggest, baddest fight scene + ever, but instead we CUT TO - + 111 + + + INT. INSIDE BLAST HOLE - DAY + + Quiet. Blasts in the deep background. Rocket places a tiny + bomb in front of Groot. It is a small, simple device with + two switches and two buttons. He explains, very carefully: + + ROCKET + All right. First you flick this + switch, then this switch. That + activates it. And then you push + this button, which will give you + five minutes to get out of there. + Whatever you do don't push this + button, because that will set off + the bomb immediately, and we'll all + be dead. Now repeat back what I + just said. + + GROOT + I am Groot. + + ROCKET + Uh huh. + + GROOT + I am Groot. + + ROCKET + That's right. + + GROOT + I am Groot. + + ROCKET + No! That's the button that will + kill everyone! Try again. + + Groot thinks. + + GROOT + I am Groot. + + Rocket nods. + + GROOT (CONT'D) + I am Groot. + + Rocket nods. + + GROOT (CONT'D) + I am Groot. + 112 + + + ROCKET + No! That's exactly what you just + said! How is that even possible?! + Which button is the button you're + supposed to push?! Point to it. + + Groot thinks. And he points to the one that will kill + everyone. + + ROCKET (CONT'D) + NO!!! + + QUILL (O.S.) + Hey, you're making him nervous! + + Rocket runs to see, at the end of the hole, a sliver of the + outside as Quill peeks in while SHOOTING at envoys. + + ROCKET + Shut up! And give me some tape! + Does anyone have any tape out + there!? I want to put some tape + over the death button! + + QUILL + I don't have any tape. Let me + check. + + Quill disappears from the hole. As Rocket waits, he hears, + amongst the chaos, faintly - + + QUILL (O.S.) (CONT'D) + Yo, Yondu, do you have any - ow! - + do you have any tape?! + + O.S. GUN BLASTS. + + We hear VOICES GRUMBLING. + + Rocket and Groot look around, waiting. Rocket is impatient. + He coughs. Groot is like a bored kid in a waiting room. He + shifts around and plays with the wires on the bomb. + + Quill reappears outside the hole, SHOOTING an envoy. + + QUILL (CONT'D) + No one has any tape. + + ROCKET + Not a single person has tape? + 113 + + + QUILL + You have priceless batteries and an + atomic bomb in your bag! If anyone + had tape it would be you! + + ROCKET + That's exactly my point! I have to + do everything! + + QUILL + Dude, you're wasting time! + + Rocket turns back to Groot, who has already taken the bomb + and is heading towards the hole. + + He makes a "WHEEEEEE" sound and smiles brightly as he HOPS + into the hole and SLIDES down as if on a water slide. + + Rocket, heavy-lidded, watches him go. + + ROCKET + We're all gonna die. + + INT. PLANET'S HOLLOW/LASER DRILL - DAY + + Yondu and Nebula, in the cockpit, are being overcome as + blasts come through the walls. + + YONDU + We're done for without the + generator. + + Nebula MOANS, frustrated. She flips open a section of the + dashboard, then a part of her arm. + + INT. PLANET'S HOLLOW/LASER DRILL - DAY + + The remaining Sovereign envoys have ENCIRCLED the battered + Laser Drill, BLASTING IT TO BITS. + + Quill FLIES into the Laser Drill, SLAMMING into the wall. + + AYESHA (ON SHIP) + Guardians! Perhaps it will provide + you solace that your deaths are not + without purpose. + + Nebula is feeding the wires from the craft into her + mechanical arm. + + INT. SOVEREIGN PILOT BAY - DAY + + The actual Ayesha, fitted with the pilot gear, looks at the + Laser Drill on the screen. + 114 + + + AYESHA + They will serve as a warning to all + of those tempted with betraying us; + don't screw with the Sovereign. + + INT. PLANET'S HOLLOW/LASER DRILL - DAY + + Yondu works some switches: The LASERS slide back into the + slots all over the ship. + + YONDU + This is gonna hurt. + + NEBULA + Promises, promises. + + Yondu flips ALL the switches; ALL THE POWER RUNS PAINFULLY + OUT OF NEBULA'S BODY INTO THE VEHICLE -- + + AND THE LASERS BEAM OUT OF THE SHIP IN ALL DIRECTIONS AT + ONCE, like a dangerous disco ball, slicing through almost + nearly every single ENVOY. + + INT. BELOW SELF CHAMBER - DAY + + A BEAM ALMOST HITS Drax, but he LEAPS out of the way. Smoke + rises from a hole in the ground between him and Mantis. + + DRAX + Hey! + + INT. PLANET'S HOLLOW/LASER DRILL - DAY + + With flair, Yondu spins the pilot's wheel, so that the whole + rig REVOLVES. + + Ayesha looks on, in horror as the BEAMS SLICE THROUGH the + remaining CRAFT - and one is COMING HER WAY. + + AYESHA (ON SHIP) + NO!! + + AYESHA'S ENVOY IS RIPPED APART. + + INT. SOVEREIGN PILOT BAY - DAY + + Ayesha SITS BACK. She looks around her at the other pods: all + of them are down. + + AYESHA + NO! NOOOOO!! + 115 + + + INT. PLANET'S HOLLOW/LASER DRILL - DAY + + Quill sees FLAMING CHUNKS FLY into the rig... + + And FIRE SPILLING toward the ship's engine, dripping fuel. + + QUILL + We're gonna blow! + + Yondu WHISTLES as the FLAMES HIT THE FUEL - + + INT. BELOW SELF CHAMBER - DAY + + Gamora watches as the ENTIRE LASER DRILL EXPLODES. She is + stricken. + + GAMORA + Peter? + + She sees a tiny body flying from the ship - it's Nebula, who + LANDS across from her on her feet. + + Gamora looks at her, worried. Nebula gives her what might be + a little smile, and looks upward. Gamora follows her line of + sight. + + Quill is FLYING FROM THE EXPLOSION on his aero-rig. Yondu is + holding onto a flying arrow: his one arm up straight, his + heels touching. Quill looks at him and SNICKERS. + + YONDU + What? + + QUILL + You look like Mary Poppins. + + YONDU + Is he cool? + + Quill looks at the man who raised him. He smiles. + + QUILL + Yeah. He's cool. + + Yondu looks out at the Guardians as he comes in for a + landing. + + YONDU + I'm Mary Poppins, y'all! + + Quill and Yondu LAND beside Nebula. Gamora sees Quill and + MARCHES TOWARD HIM. + 116 + + + The CAMERA CIRCLES GAMORA AND QUILL, FIERY SHIP FRAGMENTS + RAINING DOWN AROUND THEM IN SLOW-MOTION, as if this is the + greatest heavy metal video of all time. + + The other Guardians enter, one by one - Nebula, Drax, Yondu, + Rocket FLYING DOWN on his aero-rig, and finally, Mantis, + staring forward with concentration until -- + + A HUGE CHUNK OF SPACESHIP FLIES IN FROM THE SIDE, FLATTENING + MANTIS. The others all look down at her in shock. + + QUILL + Oh. Wow. + + Mantis, UNCONSCIOUS BENEATH a ship fragment, has lost hold of + Ego. + + THE ENTIRE HOLLOW AROUND THEM BEGINS TO RUMBLE. THE GROUND + AND WALLS THEMSELVES SHIFT and WAVER. + + The whole cavity is alive. Drax checks on Mantis. + + DRAX + She's just unconscious. + + INT. SELF CHAMBER TUNNELS - DAY + + Groot RUNS and HOPS through the tunnels. He comes to a + crossroads. + + He sees a COSMIC LIGHT emanating from one tunnel. He dashes + off toward it. + + INT. BELOW SELF CHAMBER - DAY + + QUILL + How long before the bomb goes off? + + ROCKET + In the unlikely event Groot doesn't + kill us all, about six minutes. + + Yondu speaks into the comm on his lapel. + + YONDU + Kraglin. + + INT. QUADRANT FLIGHT DECK - DAY + + Kraglin, NODDING OUT, abruptly wakes. + + YONDU (O.S.) + We need the Quadrant for extraction + in T-minus five minutes. + 117 + + + KRAGLIN + Aye, Cap'n! + + EXT. BELOW SELF CHAMBER - DAY + + Our heroes peer up to see the SURFACE OF THE PLANET UNFOLDING + ABOVE THEM, so that THE BRIGHT SKY SHINES THROUGH. + + QUILL + Someone needs to be up top when + Kraglin arrives. Drax, take Mantis. + + Drax nods. He picks up Mantis. Quill grabs the aero-rig off + himself and SLAPS it on Drax's back, which AUTOMATICALLY + WRAPS around his upper body. + + DRAX + Ahhh! My nipples! + + He FLIES UPWARD. + + The ground around them SPLITS INTO ENORMOUS CRACKS. Gamora + sees a CRACK IN THE EARTH RUSHING TOWARD her and Quill, and + she turns toward him. + + And Gamora's side CRUMBLES AWAY, GAMORA FALLING DOWN with it. + + QUILL + Gamora!! + + HUGE BURSTS OF EARTH SHOOT UP all around Drax, Yondu, Rocket, + and Quill. + + The planet has formed GIANT TENTACLES THAT HURTLE towards our + heroes. + + EXT. LOWER RIFT - DAY + + Gamora is PLUMMETING, seemingly to her death, when she looks + over and sees Nebula FALLING just behind her. + + Nebula grabs Gamora's arm and then grabs onto a passing + cliff. + + They SNAP TO A STOP- OW! - hanging down off the side. + + Nebula tosses Gamora up onto a flat surface. + + As Nebula climbs up after her, Gamora looks at her, wary but + surprised by this beneficence. + + NEBULA + Oh, get over it. + 118 + + + EXT. BELOW SELF CHAMBER - DAY + + Quill BLASTS a tentacle. + + Yondu WHISTLES, the ARROW WEAVING THROUGH TENTACLES around + them. + + Rocket TOSSES a bunch of tiny bombs at some, which they stick + to and EXPLODE. + + But they are by no means winning this fight. + + EXT. PLANET SURFACE - DAY + + The giant Quadrant LOWERS toward the surface. + + EXT. LOWER RIFT - DAY + + Gamora looks at Nebula. + + GAMORA + We have to get up to the extraction + point! + + They look over the edge and see a huge RIFT OF LAND RISING + QUICKLY. They look at each other and JUMP - + + They GRAB ONTO THE EDGE of the rising rift, CLUTCHING TO IT + as it FLIES upward toward the open space above them. + + EXT. PLANET SURFACE - DAY + + Drax FLIES UP onto the surface; he sees the Quadrant waiting + for him there. He DARTS for the ship. + + INT. QUADRANT FLIGHT DECK - DAY + + Kraglin opens the LOADING DOOR + + EXT. PLANET SURFACE - DAY + + But huge swatches of the planet reach up and GRAB onto the + Quadrant, YANKING IT DOWN. + + INT. QUADRANT FLIGHT DECK - DAY + + Kraglin, freaking out, throws the thrusters into high gear. + + I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY + + The thrusters FLARE as the massive ship STRUGGLES to free + itself from Ego's tendrils. + 119 + + + And it does PULL ITSELF UP for a moment, but the tendrils + tighten, SLAMMING it back down. + + The whole Quadrant starts to TIP OVER. Kraglin falls down + against the side of the ship. + + Drax sees the ship FALLING TOWARDS HIM and he RUNS away from + it in fear. + + But he arrives a the edge of a cliff. He crouches as the + ship CONTINUES DOWN toward him, about to SQUASH both he and + MANTIS -- + + But Kraglin heroically CRAWLS his way back up to the controls + as he dangles from them. He pushes on the thrusters, so that + the ship goes back upright. + + Drax turns and again RUNS toward the Quadrant. + + EXT. PLANET'S HOLLOW - DAY + + Gamora and Nebula are still rising on the rift when they SLAM + into a wall near the opening in the surface of the planet. + + EXT. BELOW SELF CHAMBER - DAY + + Quill turns and sees Ego, in his terrifying SKELETAL LIGHT + FORM, STROLLING DOWN TOWARDS HIM as the land around him PARTS + LIKE THE RED SEA. + + As Ego walks, THE DIRT AND MOLECULES AROUND EGO FORM ORGANS + IN HIS BODY, piecing himself back together. + + Quill sees a tentacle SLAM Yondu to the ground and COVER HIS + ENTIRE BODY. + + He turns to see Rocket HOLLERING as he FIRES at tentacles, + but they OVERWHELM him. + + EXT. PLANET SURFACE - DAY + + The earth WRAPS AROUND Drax's legs like quicksand, pulling + him and Mantis down into it. + + EXT. PLANET'S HOLLOW - DAY + + Gamora and Nebula scramble, trying to CLIMB BACK UP, when + TENDRILS WRAP AROUND THEM, stopping them from going further. + + INT. SELF CHAMBER TUNNELS - DAY + + The walls are tightening around Groot. He grows his branches + to try to stop them, but they aren't working. + 120 + + + He begins to CRY, like an actual baby, terrified, on the + brink of suffocating. + + EXT. BELOW SELF CHAMBER - DAY + + Ego approaches his son. He is fully formed, and he is more + truly "himself." Alien. Dark eyes and pale skin. + + EGO + I told you I don't want to do this + alone. + + EXT. BELOW SELF CHAMBER - DAY + + EGO + You cannot deny the purpose the + universe has bestowed upon you! + + And once again, the LIGHT TENDRILS STAB THROUGH QUILL'S BACK, + thrusting him to his knees. + + Smaller light tendrils stab into his face and body. + + And we see the LIGHT being sucked out of Quill and up into + the Self Chamber once more as it BURSTS WITH LIGHT. + + EARTH - EXT. STREET - DAY + + POLICE OFFICERS and bystanders are in the streets, snapping + phone photos, etc, beside the HUGE, STILL SWATCH OF EGO'S + LIFEFORM. + + OFFICER FITZGIBBON + Please, everyone. Step back. I need + you all to clear the - + + WEIRD OLD MAN + What is that? + + The LIFEFORM ALIGHTS WITH ENERGY and MOVES again, SPILLING + INCREDIBLY QUICKLY towards them. + + People abandon their cars in traffic as it RUNS OVER THEM. + + A WOMAN FALLS. People TRAMPLE around her. + + But an old man's hands reach in, helping her up. + + REVEAL GRANDPA QUILL, in his 70's or 80's now. + + GRANDPA QUILL + Come on, ma'am. + + He HELPS the woman into an SUV. + 121 + + + He SLAMS on the gas, SCREECHING AWAY from the enormous tidal + wave of organic light. + + XANDAR - I/E. STARBLASTER/CITY - DAY + + EGO'S LIFEFORM smashes down the PARK WALLS and into the + street. + + EGO + (O.S) + It doesn't need to be like this + PETER + + EXT. BELOW SELF CHAMBER - DAY + + Ego approaches his son. + + EGO + Why are you destroying our chance?! + + AAKON - EXT. AAKON CITY - NIGHT + + AAKONS run from a giant wave behind them. + + EGO + (O.S) + Stop pretending you aren't, what + you are! + + KREE HOMEWORLD - EXT. STEEP HILLSIDE - DAY + + KREE MONKS run from the cosmic flesh as it pours down the + hillside behind them. + + But it's too fast, RUSHING OVER THEM. + + PRIMITIVE PLANET - EXT. WETLANDS - DAY + + THOUSANDS OF ORLONI are darting in fear across this dusty + desert, as it WASHES OVER them. + + EGO + (O.S) + One in billions.. + + ARAGO-7 - EXT. STONY LANDSCAPE - DAY + + THREE HURCTARIANS run, SCREAMING. + + EGO + (O.S) + Trillions, even more! + 122 + + + EASIK - EXT. FOREST - NIGHT + + AN EASIK MOTHER clutches her BABY, covering it with her own + body, as the spreading lifeform LOOMS UP behind her. + + She closes her eyes and waits for the worst. + + EXT. BELOW SELF CHAMBER - DAY + + Quill looks up at Ego, barely able to focus, as the molecules + form skin over the muscle and skeleton and innards beneath. + + EGO + What greater meaning could life + possibly have to offer?! + + Yondu struggles beneath the tentacle beside Quill. + + YONDU + I don't use my head to fly the + arrow, boy! I use my h - + + Quill hears this as the earth COVERS Yondu's face. + + Quill LOOKS INWARD. And suddenly, everything becomes... + + QUIET. + + Tears come to Peter Quill's eyes as he remember those around + him and what they mean to him. And we see his MEMORIES. + + - YOUNG PETER QUILL AND HIS MOTHER CUDDLED AND LISTENING TO + MUSIC ON THE WALKMAN TOGETHER, EACH WITH ONE EAR PIECE. + + - QUILL AND DRAX LAUGHING HYSTERICALLY ON THE MILANO. + + - GAMORA AND PETER LOOKING INTO EACH OTHER'S EYES AND DANCING + ON KNOWHERE. + + - QUILL AND ROCKET FLYING THROUGH THE SKY ON AERO-RIGS FOR + THE FIRST TIME, SMILING AS THE AIR RUSHES THROUGH THEIR HAIR. + BABY GROOT CLUTCHES HAPPILY ONTO QUILL'S BACK. + + - YONDU AND YOUNG QUILL IN THE FOREST. YONDU'S ARM IS ON + PETER'S ARM AS HE TEACHES HIM HOW TO SHOOT. + + + + Quill looks back up at Ego as we HEAR the gentle chords of + FLEETWOOD MAC'S "THE CHAIN" starts echoing throughout the + hollow. + + He clutches his fist and we see the light growing within it. + 123 + + + Bits of earth begin to ROLL UP AND SCRAMBLE AND SWIRL around + Quill's body, his arms, his legs, as if he's pulling them + towards himself with magnets. + + And Ego looks confused, as the GROUND QUAKES AROUND HIM. + + Quill glares at his father, his voice distorting with + Celestial thunder. + + QUILL + You shouldn't have killed my mom + and squished my walkman. + + Ahd a SOLID TORNADO OF EARTH PROPELS QUILL FORWARD. Ego + tries to protect himself as Quill SLAMS into him, FLYING + UPWARDS WITH HIM -- + + Quill raises his fist, NOW A GIANT CLUB. And he SMASHES Ego. + + As Ego loses his concentration -- + + EXT. PLANET'S SURFACE - DAY + + A pair of arms are protruding from the surface of the planet, + still holding Mantis aloft. + + The earth falls away, and Drax, who was entirely covered, + heaves for breath. + + EXT. CRACK IN PLANET - DAY + + The TENDRILS FALL, freeing Gamora and Nebula as they GASP. + + EXT. BELOW SELF CHAMBER - DAY + + Yondu BREAKS THROUGH THE ROCKS around him, drawing in breath. + + The TENTACLES HOLDING ROCKET ALOFT CRUMBLE, and he looks + around, confused. + + EARTH - EXT. ST. CHARLES, MISSOURI - DAY + + The WAVE PUSHES UP against the back of Grandpa Quill's CAMARO + and suddenly STOPS: + + the mountainous plant, a hundred stories high, is up against + the back of the car. + + EASIK - EXT. FOREST - NIGHT + + The Easik Mother clutching her baby looks behind her; the + wave has stopped. + + She clutches her baby to her chest, relieved. + 124 + + + INT. SELF CHAMBER TUNNELS - DAY + + The tunnel around Groot SNAPS BACK to what it was. Once more + he can see the light at the tunnel's end, and one looks like + a GIANT BRAIN composed of prismatic light. + + He RUNS forward. + + INT. INSIDE BLAST HOLE - DAY + + Rocket flies up and yells at Groot. + + ROCKET + Groot! Groot, if you can can hear + me, hurry up - I'm not sure how + long Quill can keep him distracted! + + INT. SELF CHAMBER CORE - DAY + + Groot ARRIVES at the end of the tunnel, and stops there. + + The center of the core holds a huge cosmic placenta, and, + within that, EGO'S TRUE SELF, the COSMIC BRAIN. It ROILS + FURIOUSLY, the reflection of its fight with Quill, thrashing + around within this womb. + + Although afraid, Groot places the bomb on the placenta. + + Groot stares at both buttons, scared - he doesn't know which + one to pick. + + Groot makes a decision on which button to press. He goes to + push the death button. + + Then his finger STOPS just millimeters from the button, + TREMBLING. He thinks... + + And then changes the course of his finger, PUSHING THE + CORRECT BUTTON. + + THE COUNTDOWN CLOCK COMMENCES. + + Baby Groot turns, terrified, and RUNS. + + I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY + + Drax moves with Mantis into the loading bay. He throws her + down and climbs up a ladder. + + THE CAMERA SWINGS TO GAMORA AND NEBULA, climbing up to the + surface in the dirt storm. + 125 + + + INT. PLANETS HOLLOW - DAY + + Ego RISES on his own MOLECULAR TORNADO and STRIKES BACK at + Quill. He YELLS as he SLAMS Quill against the wall, DRAGGING + his face along the wall. + + He TOSSES Quill into a another wall. + + EXT. BELOW SELF CHAMBER/PLANET'S HOLLOW - DAY + + QUILL brings his ARM FILLED WITH LIGHT away from the wall, so + that he causes a WAVE OF LIGHT AND ROCK around the interior + of the hollow, FLYING TO EGO and knocking him aside. + + Yondu protects his face as DIRT SWIRLS in the wake of the + Quill/Ego battle. + + Rocket, carrying Groot, FLIES BACK DOWN beside him. + + ROCKET + Yondu! We're about to blow! + + YONDU + Get to the ship. + + ROCKET + Not without Quill. + + YONDU + You gotta take care of the twig. + + ROCKET + Not without you. + + YONDU + I ain't done nothing right my whole + damn life, rat. You need to give me + this. + + Rocket, hesitantly, nods. He grabs some things from his bag. + He hands them to Yondu. + + ROCKET + A space suit and an aero rig. I + only have one of each. + + Yondu nods. Rocket nods too. + + Rocket starts to go, but STOPS and looks at Yondu. + + He wants to say something, but he doesn't know what. Baby + Groot does. + 126 + + + GROOT + I am Groot. + + YONDU + What's that? + + ROCKET + He says welcome to the frickin' + Guardians of the Galaxy... only he + didn't use `frickin'. + + YONDU + Bye, twig. + + Groot waves. + + And Rocket FLIES UP toward the surface. Rocket mutters to + Groot. + + ROCKET + We're gonna need to have a + discussion about your language. + + EXT. BELOW SELF CHAMBER/PLANET'S HOLLOW - DAY + + Ego SLAMS Quill back against a wall. Ego pulls the huge rocks + away from the wall, FLYING THEM TOWARDS HIM and BATTERING HIM + THERE. + + Ego and Quill FLY TOWARDS each other. + + Ego uses the LIGHT TO BRING ROCKS TO HIS BODY, forming a + giant AVATAR OF HIMSELF. + + Quill brings YELLOW ROCKS to his body, forming a GIANT PAC- + MAN. + + Ego's form flies into Pac-Man's mouth, so hard there's a + SONIC BOOM. + + They fall, TUMBLING, still striking one another on the way + down. + + They LAND HARD. + + INT. SELF CHAMBER CORE - DAY + + The timer counts down. A minute left. + + I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY + + Gamora and Nebula are caring for Mantis as Rocket and Groot + ARRIVE. + 127 + + + GAMORA + Where's Peter? + + Rocket doesn't answer. Or he can't answer. + + GAMORA (CONT'D) + Rocket, where is he?! + + Rocket looks down at a timer in his hand. The time is almost + there. + + GAMORA (CONT'D) + Rocket?! Rocket, look at me! Where + is he?! + + Rocket just shakes his head a little. + + But Groot points sadly outside. + + GAMORA (CONT'D) + I'm not leaving without him. + + Gamora hardens. She stands and SNATCHES A RIFLE off the wall. + She COCKS IT. + + She STARTS OUT the bay door -- + + When AN ELECTRICAL BLAST HITS HER from behind. + + She FALLS OVER, unconscious, REVEALING Rocket with his gun. + + ROCKET + I'm sorry. I can only afford to + lose one friend today. + (INTO COMM) + Kraglin, GO! + + INT. QUADRANT FLIGHT DECK - DAY + + Drax looks uncertain as Kraglin presses thrust. + + DRAX + Wait. Is Quill back? + (INTO COMM) + Rocket, where's Quill?! + + I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY + + Rocket looks sadly out the bay door as it CLOSES; Drax's + voice echoes on his comm. + + DRAX (O.S.) + 251 Where's Quill?! WHERE'S QUILL?! 251 + 128 + + + EXT. BELOW SELF CHAMBER - DAY + + Quill and Ego are exhausted, on their knees and leaning + against one another like boxers after too many rounds. + + INT. SELF CHAMBER CORE - DAY + + The timer reads 00:26 seconds + + EXT. BELOW SELF CHAMBER - DAY + + Ego reaches for the core.. + + EGO + No, we need to stop it! + + Quill throws him to the ground. But Ego comes back up, + grasping his son's jacket, pleading with him now. + + EGO (CONT'D) + Listen to me! You are a god! If you + kill me, you'll just be like + everyone else! + + QUILL + What's so wrong with that? + + Ego looks at his son, scared. + + EGO + NO - + + INT. SELF CHAMBER CORE - DAY + + The countdown reaches zero. The brain EXPLODES. + + I/E. EGO'S NERVOUS SYSTEM - DAY + + The explosion causes the life forces to BURST THROUGH THE + ENTIRE PLANET. + + EXT. BELOW SELF CHAMBER - DAY + + Everything around Quill is EXPLODING. + + He looks down at his hands, where the glow FADES and + DISAPPEARS. + + He gazes up at the mammoth walls around him as they BLOW UP + and COLLAPSE. + + He lowers at head, at peace with the death that's coming, + when, from the side, through the debris -- + 129 + + + YONDU IS FLYING TOWARDS HIM ON AN AERO-RIG. + + Yondu GRABS him, almost a tackle, really, LIFTING HIM up and + FLYING AWAY. + + EXT. PLANET'S HOLLOW - DAY + + As Yondu and Quill FLY UPWARD, the planet EXPLODES behind + them, flames licking their heels, huge stretches of the + planet caving in. + + EXT. SKY - DAY + + Yondu holds a surprised Quill as they SOAR up into the sky, + + YONDU + He may have been your father, boy. + But he wasn't your daddy. + + QUILL + What? + + YONDU + I'm sorry I didn't do it right. I'm + damn lucky you're my boy. + + Quill is touched. + + Yondu SLAPS the SPACESUIT disk onto Quill; THE SHIMMERY + SHEATHE COVERS HIM. + + QUILL + What? + + Yondu breathes out as completely as he can, emptying his + lungs. And they EXIT THE PLANET'S ATMOSPHERE, bursting into - + + EXT. SPACE - OUTER SPACE + + Quill struggles to get free, but Yondu holds him there, + trapping him, but it is also an embrace. The ENTIRE PLANET is + COLLAPSING BEHIND THEM. + + QUILL + Yondu, you can't! What are you + doing? What are you doing?! + + Yondu's jet pack expires its supply of fuel, and they STOP + THERE, in space, FLOATING. + + Yondu's grip weakens. Quill turns to face him. + + QUILL (CONT'D) + Yondu. Yondu, no! + 130 + + + Yondu grabs his son's face with both hands, looking and + touching him with love. + + QUILL (CONT'D) + No. + + And Yondu's FACE EXPANDS and his BODY GOES LIMP as he DIES + there. And he starts to DRIFT AWAY. Quill grabs onto his + shirt. He is CRYING. + + QUILL (CONT'D) + No! + + And, suddenly, behind Quill, Rocket and Drax PROPEL + themselves toward him in aero-rigs, GRABBING him. + + FADE TO BLACK + + INT. ECLECTOR CREMATORY - LATER + + Yondu's body lies on a plank here: Various colored cloths are + laid in strips over his body and face, yaro lilies beneath + him, red-fired pyres and Yondu's toys all around. + + Rocket, Groot, Drax, Gamora, Mantis, and Kraglin surround the + table. Quill is at the head. He has to say a few words. But + it is not easy. + + QUILL + The other day I told Gamora how I + used to pretend my dad was David + Hasselhoff. + + Rocket and Drax exchange a look. + + QUILL (CONT'D) + He's a singer and actor from + earth... a really famous guy. + + Drax nods. + + QUILL (CONT'D) + And, you know, today it struck me. + Yondu didn't have a talking car, + but he did have a flying arrow. + And he didn't have the voice of an + angel, but he did have the whistle + of one. And both David Hasselhoff + and Yondu went on kickass + adventures, and hooked up with hot + women, and fought robots. + (MORE) + 131 + + QUILL (CONT'D) + So, the thing is, David Hasselhoff + kinda did end up being my Dad after + all, only he was Yondu. I had a + pretty cool Dad. + + Quill starts to break down. + + QUILL (CONT'D) + And what I'm trying to say here is, + that thing you're searching for + your whole life, sometimes it's + right there by your side all along + and you don't even know it. + + Gamora sees Nebula, watching from a darkened doorway, before + she turns and walks away. She moves after her. + + Groot looks up at an upset Rocket. + + GROOT + I am Groot? + + ROCKET + Yeah. That's the friend I was + talking about. + + GROOT + I am Groot. + + ROCKET + He did call you `twig.' + + INT. QUADRANT SMALL HALLWAY - MOMENTS LATER + + Gamora catches up to Nebula in the hall. + + GAMORA + Nebula. + + Nebula turns toward her, but she doesn't look her in the eye. + + GAMORA (CONT'D) + I was just a child. Like you. I was + concerned with staying alive until + the next day - every day. And I + never considered what Thanos was + doing to you. I am sorry. + + Nebula nods. + + GAMORA (CONT'D) + I'm trying to make it right, + everything I did. + (MORE) + 132 + + GAMORA (CONT'D) + There are little girls like you + were - little boys - all over the + universe - who are in danger. You + can stay with us, and help them. + + NEBULA + I'll help them by killing Thanos. + + GAMORA + I don't know if that's possible. + + Nebula shrugs: maybe. She turns to leave. But Gamora grabs + her, perhaps too roughly. Nebula turns, ready to snap. + + And Gamora EMBRACES her. Nebula does not know how to react. + + GAMORA (CONT'D) + You'll always be my sister. + + Tears well in Nebula's eyes and, for just a moment, she + embraces her sister back with one hand... + + Before pushing her away and leaving. + + INT. ECLECTOR CREMATORY - MOMENTS LATER + + The Guardians lift Yondu on the plank. A bulbous and rusty + crematory is at the center of the room. It doesn't burn with + fire, but a SWIRLING, VIBRANT COSMIC ENERGY. + + They SLIDE YONDU IN as they watch with sadness and respect as + his body is enveloped by the sparkling colors. Quill closes + the door on the crematory. + + As Quill moves away, Kraglin approaches. + + KRAGLIN + Pete. + + Quill turns toward him. He's holding something. + + KRAGLIN (CONT'D) + Cap'n found this for you in a + junker shop. Said someday you'd + come back to the fold. + + Kraglin puts an MP3 player in his hand. + + KRAGLIN (CONT'D) + It's called a Zune - what everyone + listens to on earth nowadays. It's + got three hundred songs. + + Quill nods, touched. + 133 + + + QUILL + Wait. + + Quill holds out Yondu's arrow. Kraglin's lip trembles. + + QUILL (CONT'D) + Rocket grabbed the pieces and + reassembled them. I think Yondu + would want you to have it. + + KRAGLIN + Thank you... Cap'n. + + EXT. QUADRANT - OUTER SPACE + + Yondu's SPARKLING ASHES ARE BLOWN OUT IN SPURTS FROM THE + CREMATORY INTO SPACE. + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + Rocket, Drax, and Mantis are here, watching Yondu's ashes in + the vacuum of space, SWIRLING almost magically. + + INT. CAPTAIN'S QUARTERS - OUTER SPACE + + Quill sits down on the bed in Yondu's quarters. He scrolls + through selections on the Zune. + + He comes to "FATHER AND SON" by CAT STEVENS. + + He PRESSES PLAY. + + He listens. As he does, Groot crawls up onto the bed, and + then onto his lap. + + Quill offers him one of the ear buds. + + Groot holds it against his ear, amazed by the clarity of + sound. Quill watches him, hearing the beauty of the song more + through Groot's face than the music itself. + + And they sit there together, listening to the music, a new + father and son. + + INT. M-SHIP - OUTER SPACE + + Nebula FLIES AWAY, sad, perhaps regretful, but forcing her + chin up to brace against what's to come. + + INT. QUADRANT SMALL HALLWAY - OUTER SPACE + + Gamora watches, THROUGH A WINDOW, as Nebula leaves. + 134 + + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + Rocket sees something by the ashes. His eyes alight. + + ROCKET + They came. + + INT. CAPTAIN'S QUARTERS - OUTER SPACE + + Groot sees COLORFUL FLASHING LIGHTS out of the window. He + pulls on Quill's shirt to show him. + + They go to get a better view. + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + Drax and Rocket see Yondu's COSMIC ASHES PULSING AND SWIRLING + out in space as, one by one, enormous RAVAGER SHIPS arrive + around them. + + They each FLASH SPECIFIC LIGHT SEQUENCES - and, with all the + ships together - it looks like fireworks. + + DRAX + What is it? + + ROCKET + I sent word to Yondu's old Ravager + buddies and told them what he did. + + Quill comes up behind them with Groot, just as Gamora enters. + Quill smiles. + + QUILL + It's a Ravager funeral. + + INT. HALLWAY - OUTER SPACE + + Kraglin sees it from here. He SCREAMS with joy, and he slams + his fist twice against his chest, a Ravager salute. + + I/E. RAVAGER FLIGHT DECK 1 - OUTER SPACE + + STAKAR and Martinex watch him there, moved. + + MARTINEX + He didn't let us down after all, + Cap'n. + + STAKAR + No, he did not, son. He did not. + 135 + + + I/E. RAVAGER FLIGHT DECK 2 - OUTER SPACE + + CHARLIE-27, an enormous man, is wistful as he salutes. + + CHARLIE-27 + Fare thee well, old friend. + + I/E. RAVAGER FLIGHT DECK 3 - OUTER SPACE + + ALETA is here, tears in her eyes, alcohol in her hand, an ALL- + FEMALE RAVAGER CREW around her. + + ALETA + See you in the stars, Yondu Udonta. + + INT. QUADRANT FLIGHT DECK - OUTER SPACE + + And the Guardians all watch, enchanted by the majesty. + + ROCKET + He didn't chase `em away. + + QUILL + No. + + ROCKET + Even though he yelled at `em. + + Quill shakes his head. + + ROCKET (CONT'D) + And was always mean. + + Quill shakes his head. + + ROCKET (CONT'D) + And he stole batteries he didn't + need. + + Quill is surprised - what? And then he looks at Rocket, a + little animal who doesn't know the rules of how to be any + more than a young boy whose tribe sold him into slavery. + + QUILL + Of course not. + + Baby Groot is on Gamora's shoulder. He reaches for Drax, who + takes him. Baby Groot YAWNS and nuzzles into Drax's + shoulder, falling asleep. Drax lovingly pats his back. + + Gamora looks at Drax and Groot, and Rocket, and Mantis, + taking it all in, this strange family of hers. She turns to + Quill, staring at him with love. + 136 + + + QUILL (CONT'D) + What? + + GAMORA + It's just some unspoken thing. + + Quill wraps his arm around her and she sinks into him. + + Mantis smiles and becomes teary and GASPS, overwhelmed, as + she looks out the window. + + MANTIS + It's beautiful. + + DRAX + It is. And so are you. + (BEAT) + On the inside. + + They turn back to the window and they stand there together, + our Guardians of the Galaxy, watching the Ravager funeral and + the colorful dust of an old friend dance. + + And the shape of the dust seems to form something very close + to an ARROW. + + Rocket sees this and he cries. + + THE END (NOT REALLY) + + + + RUN CREDITS. + + "SURRENDER" BY CHEAP TRICK PLAYS. + + CREDIT BREAK 1 - INT. ECLECTOR HALLWAY - OUTER SPACE + + SURRENDER is PLAYING HERE. Kraglin has had a version of + Yondu's fin implanted in his head. He looks nervously down + at the arrow on the floor. + + He tries to WHISTLE. It just flips around like a dead fish. + + He WHISTLES again, and it FLIES UP, hitting a wall, and falls + back down again. + + He WHISTLES again, and it ZIPS AWAY. We HEAR A SCREAM. + + Kraglin looks around the corner where Drax is sitting, the + ARROW IMPALED in his chest, yelling in agony. + + Kraglin looks around, hoping no one saw him there, and he + tries to slink away. + 137 + + + MORE CREDITS as SURRENDER CHORUS KICKS IN: Mommy's all right, + Daddy's all right, they just seem a little weird. + + END CREDITS - INT. STAKAR'S SHIP - OUTER SPACE + + Stakar looks sad, serious. + + STAKAR + It's a shame it takes a tragedy + like losing Yondu to bring us all + back together. But I think he'd be + proud if he knew we were working as + a team again. + + Over Stakar we see this incredibly motley crew - MARTINEX, + CHARLIE-27, ALETA, who is holding MAINFRAME (a robotic head + in a cage), and the mouthless, wormlike KRUGARR, + + STAKAR (CONT'D) + What say we steal some shit? + + CHARLIE-27 + In. + + MARTINEX + Dope. + + MAINFRAME + I MISSED you guys! + + Krugarr makes a hex symbol and TWO COLORFUL THUMBS-UP BURST + in front of him. + + ALETA + Hell. Yes. + + END CREDITS - INT. BIRTHING PODS CHAMBER - DAY + + Ayesha sits on a bench, brooding, disheveled and still + furious. The Chambermaid cautiously approaches. + + CHAMBERMAID + High Priestess, the Council is + waiting. + + AYESHA + They are perturbed I have wasted + our resources. + + The Chambermaid smiles politely, nods slightly, agreeing in a + circumspect manner. Ayesha stares across the way. + 138 + + + AYESHA (CONT'D) + When they see what I have created + here, their wrath will dissipate, + though it will be some time. + + The Chambermaid looks where Ayesha is looking. + + CHAMBERMAID + That is not just another birthing + pod, ma'am? + + AYESHA + That, my child, is the next step in + our evolution: more powerful, more + beautiful, and more capable of + destroying the Guardians of the + Galaxy. + + A large, human-sized cocoon stands where Ayesha stares. + + AYESHA (CONT'D) + I think I shall call him... `Adam'. + + BOX OVER CREDITS - INT. GROOT'S BEDROOM - OUTER SPACE + + Quill is standing in the bedroom doorway, looking down. + + QUILL + Dude, seriously, you got to clean + up your room. It's a complete mess. + + We REVEAL a gawky ADOLESCENT GROOT, hunched over, playing a + video game, in this very messy room. + + ADOLESCENT GROOT + I am Groot. + + QUILL + I'm not boring, man. You're boring. + Once I got stuck on a planet where + everyone was just lines and dots. I + had to use geometry to get out of + prison. Is that boring? + + Adolescent Groot shakes his head in disdain. + + QUILL (CONT'D) + You know what's boring? Not doing + the dishes. What's boring is me + tripping over your vines + everywhere. + + Adolescent Groot SIGHS. + 139 + + + QUILL (CONT'D) + Drax and I switched pants in the + middle of that party last weekend. + For no reason other than we're + awesome and very much not boring. + + Quill starts to walk away then comes back. + + QUILL (CONT'D) + Once I got a venereal disease that + made me float for three days... + Don't tell Gamora... it's dormant, + but... If that's boring then, I + guess I'm boring. + + He looks at him. + + QUILL (CONT'D) + I'm not boring. + + Groot ROLLS HIS EYES and makes an exasperated sound. + + QUILL (CONT'D) + What's boring is when you roll your + eyes like that at me and make an + exasperated sound like I'm an old, + boring, stupid idiot. + + Quill thinks. + + QUILL (CONT'D) + Now I know how Yondu felt. + + Quill begins to CRY. + + QUILL (CONT'D) + Yondu. + + + + CUT TO BLACK. + + THE END diff --git a/scripts/Star_Wars_Episode_IV.txt b/scripts/Star_Wars_Episode_IV.txt new file mode 100644 index 0000000..2557f34 --- /dev/null +++ b/scripts/Star_Wars_Episode_IV.txt @@ -0,0 +1,8151 @@ + STAR WARS + + Episode IV + + A NEW HOPE + + From the + JOURNAL OF THE WHILLS + + by + George Lucas + + Revised Fourth Draft + January 15, 1976 + + LUCASFILM LTD. + + + + A long time ago, in a galaxy far, far, away... + + A vast sea of stars serves as the backdrop for the main title. + War drums echo through the heavens as a rollup slowly crawls + into infinity. + + It is a period of civil war. Rebel spaceships, + striking from a hidden base, have won their first + victory against the evil Galactic Empire. + + During the battle, Rebel spies managed to steal + secret plans to the Empire's ultimate weapon, the + Death Star, an armored space station with enough + power to destroy an entire planet. + + Pursued by the Empire's sinister agents, Princess + Leia races home aboard her starship, custodian of + the stolen plans that can save her people and + restore freedom to the galaxy... + + The awesome yellow planet of Tatooine emerges from a total + eclipse, her two moons glowing against the darkness. A tiny + silver spacecraft, a Rebel Blockade Runner firing lasers + from the back of the ship, races through space. It is pursed + by a giant Imperial Stardestroyer. Hundreds of deadly + laserbolts streak from the Imperial Stardestroyer, causing + the main solar fin of the Rebel craft to disintegrate. + + INT. REBEL BLOCKADE RUNNER - MAIN PASSAGEWAY + + An explosion rocks the ship as two robots, Artoo-Detoo (R2- + D2) and See-Threepio (C-3PO) struggle to make their way + through the shaking, bouncing passageway. Both robots are + old and battered. Artoo is a short, claw-armed tripod. His + face is a mass of computer lights surrounding a radar eye. + Threepio, on the other hand, is a tall, slender robot of + human proportions. He has a gleaming bronze-like metallic + surface of an Art Deco design. + + Another blast shakes them as they struggle along their way. + + THREEPIO + Did you hear that? They've shut down + the main reactor. We'll be destroyed + for sure. This is madness! + + Rebel troopers rush past the robots and take up positions in + the main passageway. They aim their weapons toward the door. + + THREEPIO + We're doomed! + + The little R2 unit makes a series of electronic sounds that + only another robot could understand. + + THREEPIO + There'll be no escape for the Princess + this time. + + Artoo continues making beeping sounds. Tension mounts as + loud metallic latches clank and the scream of heavy equipment + are heard moving around the outside hull of the ship. + + THREEPIO + What's that? + + EXT. SPACECRAFT IN SPACE + + The Imperial craft has easily overtaken the Rebel Blockade + Runner. The smaller Rebel ship is being drawn into the + underside dock of the giant Imperial starship. + + INT. REBEL BLOCKADE RUNNER + + The nervous Rebel troopers aim their weapons. Suddenly a + tremendous blast opens up a hole in the main passageway and + a score of fearsome armored spacesuited stormtroopers make + their way into the smoke-filled corridor. + + In a few minutes the entire passageway is ablaze with + laserfire. The deadly bolts ricochet in wild random patterns + creating huge explosions. Stormtroopers scatter and duck + behind storage lockers. Laserbolts hit several Rebel soldiers + who scream and stagger through the smoke, holding shattered + arms and faces. + + An explosion hits near the robots. + + THREEPIO + I should have known better than to + trust the logic of a half-sized + thermocapsulary dehousing assister... + + Artoo counters with an angry rebuttal as the battle rages + around the two hapless robots. + + EXT. TATOOINE - DESERT WASTELAND - DAY + + A death-white wasteland stretches from horizon to horizon. + The tremendous heat of two huge twin suns settle on a lone + figure, Luke Skywalker, a farm boy with heroic aspirations + who looks much younger than his eighteen years. His shaggy + hair and baggy tunic give him the air of a simple but lovable + lad with a prize-winning smile. + + A light wind whips at him as he adjusts several valves on a + large battered moisture vaporator which sticks out of the + desert floor much like an oil pipe with valves. He is aided + by a beatup tread-robot with six claw arms. The little robot + appears to be barely functioning and moves with jerky motions. + A bright sparkle in the morning sky catches Luke's eye and + he instinctively grabs a pair of electrobinoculars from his + utility belt. He stands transfixed for a few moments studying + the heavens, then dashed toward his dented, crudely repaired + Landspeeder (an auto-like transport that travels a few feet + above the ground on a magnetic-field). He motions for the + tiny robot to follow him. + + LUKE + Hurry up! Come with me! What are you + waiting for?! Get in gear! + + The robot scoots around in a tight circle, stops short, and + smoke begins to pour out of every joint. Luke throws his + arms up in disgust. Exasperated, the young farm boy jumps + into his Landspeeder leaving the smoldering robot to hum + madly. + + INT. REBEL BLOCKADE RUNNER - MAIN HALLWAY + + The awesome, seven-foot-tall Dark Lord of the Sith makes his + way into the blinding light of the main passageway. This is + Darth Vader, right hand of the Emperor. His face is obscured + by his flowing black robes and grotesque breath mask, which + stands out next to the fascist white armored suits of the + Imperial stormtroopers. Everyone instinctively backs away + from the imposing warrior and a deathly quiet sweeps through + the Rebel troops. Several of the Rebel troops break and run + in a frenzied panic. + + INT. REBEL BLOCKADE RUNNER + + A woman's hand puts a card into an opening in Artoo's dome. + Artoo makes beeping sounds. + + INT. REBEL BLOCKADE RUNNER + + Threepio stands in a hallway, somewhat bewildered. Artoo is + nowhere in sight. The pitiful screams of the doomed Rebel + soldiers can be heard in the distance. + + THREEPIO + Artoo! Artoo-Detoo, where are you? + + A familiar clanking sound attacks Threepio's attention and + he spots little Artoo at the end of the hallway in a smoke- + filled alcove. A beautiful young girl (about sixteen years + old) stands in front of Artoo. Surreal and out of place, + dreamlike and half hidden in the smoke, she finishes adjusting + something on Artoo's computer face, then watches as the little + robot joins his companion. + + THREEPIO + At last! Where have you been? + + Stormtroopers can be heard battling in the distance. + + THREEPIO + They're heading in this direction. + What are we going to do? We'll be + sent to the spice mine of Kessel or + smashed into who knows what! + + Artoo scoots past his bronze friend and races down the + subhallway. Threepio chases after him. + + THREEPIO + Wait a minute, where are you going? + + Artoo responds with electronic beeps. + + INT. REBEL BLOCKADE RUNNER - CORRIDOR + + The evil Darth Vader stands amid the broken and twisted bodies + of his foes. He grabs a wounded Rebel Officer by the neck as + an Imperial Officer rushes up to the Dark Lord. + + IMPERIAL OFFICER + The Death Star plans are not in the + main computer. + + Vader squeezes the neck of the Rebel Officer, who struggles + in vain. + + VADER + Where are those transmissions you + intercepted? + + Vader lifts the Rebel off his feet by his throat. + + VADER + What have you done with those plans? + + REBEL OFFICER + We intercepted no transmissions. + Aaah... This is a consular ship. + Were on a diplomatic mission. + + VADER + If this is a consular ship... were + is the Ambassador? + + The Rebel refuses to speak but eventually cries out as the + Dark Lord begins to squeeze the officer's throat, creating a + gruesome snapping and choking, until the soldier goes limp. + Vader tosses the dead soldier against the wall and turns to + his troops. + + VADER + Commander, tear this ship apart until + you've found those plans and bring + me the Ambassador. I want her alive! + + The stormtroopers scurry into the subhallways. + + INT. REBEL BLOCKADE RUNNER - SUBHALLWAY + + The lovely young girl huddles in a small alcove as the + stormtroopers search through the ship. She is Princess Leia + Organa, a member of the Alderaan Senate. The fear in her + eyes slowly gives way to anger as the muted crushing sounds + of the approaching stormtroopers grow louder. One of the + troopers spots her. + + TROOPER + There she is! Set for stun! + + Leia steps from her hiding place and blasts a trooper with + her laser pistol. She starts to run but is felled by a + paralyzing ray. The troopers inspect her inert body. + + TROOPER + She'll be all right. Inform Lord + Vader we have a prisoner. + + INT. REBEL BLOCKADE RUNNER - SUBHALLWAY + + Artoo stops before the small hatch of an emergency lifepod. + He snaps the seal on the main latch and a red warning light + begins to flash. The stubby astro-robot works his way into + the cramped four-man pod. + + THREEPIO + Hey, you're not permitted in there. + It's restricted. You'll be deactivated + for sure.. + + Artoo beeps something to him. + + THREEPIO + Don't call me a mindless philosopher, + you overweight glob of grease! Now + come out before somebody sees you. + + Artoo whistles something at his reluctant friend regarding + the mission he is about to perform. + + THREEPIO + Secret mission? What plans? What are + you talking about? I'm not getting + in there! + + Artoo isn't happy with Threepio's stubbornness, and he beeps + and twangs angrily. + + A new explosion, this time very close, sends dust and debris + through the narrow subhallway. Flames lick at Threepio and, + after a flurry of electronic swearing from Artoo, the lanky + robot jumps into the lifepod. + + THREEPIO + I'm going to regret this. + + INT. IMPERIAL STARDESTROYER + + On the main viewscreen, the lifepod carrying the two terrified + robots speeds away from the stricken Rebel spacecraft. + + CHIEF PILOT + There goes another one. + + CAPTAIN + Hold your fire. There are no life + forms. It must have been short- + circuited. + + INT. LIFEPOD + + Artoo and Threepio look out at the receding Imperial starship. + Stars circle as the pod rotates through the galaxy. + + THREEPIO + That's funny, the damage doesn't + look as bad from out here. + + Artoo beeps an assuring response. + + THREEPIO + Are you sure this things safe? + + EXT. TATOOINE - ANCHORHEAD SETTLEMENT - POWER STATION - DAY + + Heat waves radiate from the dozen or so bleached white + buildings. Luke pilots his Landspeeder through the dusty + empty street of the tiny settlement. An old woman runs to + get out of the way of the speeding vehicle, shaking her fist + at Luke as he flies past. + + WOMAN + I've told you kids to slow down! + + INT. POWER STATION - DAY + + Luke bursts into the power station, waking The Fixer, a rugged + mechanic and Camie, a sexy, disheveled girl who has been + asleep in his lap. They grumbled as he races through the + office, yelling wildly. + + FIXER + Did I hear a young noise blast through + here? + + CAMIE + It was just wormie on another rampage. + + Luke bounces into a small room behind the office where Deak + and Windy, two tough boys about the same age as Luke, are + playing a computer pool-like game with Biggs, a burly, + handsome boy a few years older than the rest. His flashy + city attire is a sharp contrast to the loose-fitting tunics + of the farm boys. A robot repairs some equipment in the + background. + + LUKE + Shape it up you guys!... Biggs? + + Luke's surprise at the appearance of Biggs gives way to great + joy and emotion. They give each other a great bear hug. + + LUKE + I didn't know you were back! When + did you get in? + + BIGGS + Just now. I wanted to surprise you, + hot shot. I thought you'd be here... + certainly didn't expect you to be + out working. + (he laughs) + + LUKE + The Academy didn't change you + much...but you're back so soon? Hey, + what happened, didn't you get your + commission? + + Biggs has an air of cool that seems slightly phony. + + BIGGS + Of course I got it. Signed aboard + The Rand Ecliptic last week. First + mate Biggs Darklighter at your + service... + (he salutes) + ...I just came to say good-bye to + all you unfortunate landlocked + simpletons. + + Everyone laughs. The dazzling spectacle of his dashing friend + is almost too much for Luke, but suddenly he snaps out of + it. + + LUKE + I almost forgot. There's a battle + going on! Right here in our system. + Come and look! + + DEAK + Not again! Forget it. + + EXT. TATOOINE - ANCHORHEAD - SETTLEMENT - POWER STATION - + DAY + + The group stumbles out into the stifling desert sun. Camie + and The Fixer complain and are forced to shade their eyes. + Luke has his binoculars out scanning the heavens. + + LUKE + There they are! + + Biggs takes the binoculars from Luke as the others strain to + see something with the naked eye. Through the binoculars + Biggs sees two small silver specks. + + BIGGS + That's no battle, hot shot... they're + just sitting there! Probably a + freighter-tanker refueling. + + LUKE + But there was a lot of firing + earlier... + + Camie grabs the binoculars away banging them against the + building in the process. Luke grabs them. + + LUKE + Hey, easy with those... + + CAMIE + Don't worry about it, Wormie. + + The Fixer gives Luke a hard look and the young farm boy shrugs + his shoulders in resignation. + + FIXER + I keep telling you, the Rebellion is + a long way from here. I doubt if the + Empire would even fight to keep this + system. Believe me Luke, this planet + is a big hunk of nothing... + + Luke agrees, although it's obvious he isn't sure why. The + group stumbles back into the power station, grumbling about + Luke's ineptitude. + + INT. REBEL BLOCKADE RUNNER - HALLWAY + + Princess Leia is led down a low-ceilinged hallway by a squad + of armored stormtroopers. Her hands are bound and she is + brutally shoved when she is unable to keep up with the briskly + marching troops. They stop in a smoky hallway as Darth Vader + emerges from the shadows. The sinister Dark Lord stares hard + at the frail young senator, but she doesn't move. + + LEIA + Lord Vader, I should have known. + Only you could be so bold. The + Imperial Senate will not sit for + this, when they hear you've attacked + a diplomatic... + + VADER + Don't play games with me, Your + Highness. You weren't on any mercy + mission this time. You passed directly + through a restricted system. Several + transmissions were beamed to this + ship by Rebel spies. I want to know + what happened to the plans they sent + you. + + LEIA + I don't know what you're talking + about. I'm a member of the Imperial + Senate on a diplomatic mission to + Alderaan... + + VADER + You're a part of the Rebel Alliance... + and a traitor. Take her away! + + Leia is marched away down the hallway and into the smoldering + hole blasted in the side of the ship. An Imperial Commander + turns to Vader. + + COMMANDER + Holding her is dangerous. If word of + this gets out, it could generate + sympathy for the Rebellion in the + senate. + + VADER + I have traced the Rebel spies to + her. Now she is my only link to find + their secret base! + + COMMANDER + She'll die before she tells you + anything. + + VADER + Leave that to me. Send a distress + signal and then inform the senate + that all aboard were killed! + + Another Imperial Officer approaches Vader and the Commander. + They stop and snap to attention. + + SECOND OFFICER + Lord Vader, the battle station plans + are not aboard this ship! And no + transmissions were made. An escape + pod was jettisoned during the + fighting, but no life forms were + aboard. + + Vader turns to the Commander. + + VADER + She must have hidden the plans in + the escape pod. Send a detachment + down to retrieve them. See to it + personally, Commander. There'll be + no one to stop us this time. + + COMMANDER + Yes, sir. + + EXT. SPACE + + The Imperial Stardestroyer comes over the surface of the + planet Tatooine. + + EXT. TATOOINE - DESERT + + Jundland, or "No Man's Land", where the rugged desert mesas + meet the foreboding dune sea. The two helpless astro-droids + kick up clouds of sand as they leave the lifepod and clumsily + work their way across the desert wasteland. The lifepod in + the distance rests half buried in the sand. + + THREEPIO + How did I get into this mess? I really + don't know how. We seem to be made + to suffer. It's our lot in life. + + Artoo answers with beeping sounds. + + THREEPIO + I've got to rest before I fall apart. + My joints are almost frozen. + + Artoo continues to respond with beeping sounds. + + THREEPIO + What a desolate place this is. + + Suddenly Artoo whistles, makes a sharp right turn and starts + off in the direction of the rocky desert mesas. Threepio + stops and yells at him. + + THREEPIO + Where are you going? + + A stream of electronic noises pours forth from the small + robot. + + THREEPIO + Well, I'm not going that way. It's + much too rocky. This way is much + easier. + + Artoo counters with a long whistle. + + THREEPIO + What makes you think there are + settlements over there? + + Artoo continues to make beeping sounds. + + THREEPIO + Don't get technical with me. + + Artoo continues to make beeping sounds. + + THREEPIO + What mission? What are you talking + about? I've had just about enough of + you! Go that way! You'll be + malfunctioning within a day, you + nearsighted scrap pile! + + Threepio gives the little robot a kick and starts off in the + direction of the vast dune sea. + + THREEPIO + And don't let me catch you following + me begging for help, because you + won't get it. + + Artoo's reply is a rather rude sound. He turns and trudges + off in the direction of the towering mesas. + + THREEPIO + No more adventures. I'm not going + that way. + + Artoo beeps to himself as he makes his way toward the distant + mountains. + + EXT. TATOOINE - DUNE SEA + + Threepio, hot and tired, struggles up over the ridge of a + dune; only to find more dunes, which seem to go on for endless + miles. He looks back in the direction of the now distant + rock mesas. + + THREEPIO + That malfunctioning little twerp. + This is all his fault! He tricked me + into going this way, but he'll do no + better. + + In a huff of anger and frustration, Threepio knocks the sand + from his joints. His plight seems hopeless, when a glint of + reflected light in the distance reveals an object moving + towards him. + + THREEPIO + Wait, what's that? A transport! I'm + saved! + + The bronze android waves frantically and yells at the + approaching transport. + + THREEPIO + Over here! Help! Please, help! + + EXT. TATOOINE - ANCHORHEAD SETTLEMENT - POWER STATION - DAY + + Luke and Biggs are walking and drinking a malt brew. Fixer + and the others can be heard working inside. + + LUKE + (Very animated) + ...so I cut off my power, shut down + the afterburners and came in low on + Deak's trail. I was so close I thought + I was going to fry my instruments. + As it was I busted up the Skyhopper + pretty bad. Uncle Owen was pretty + upset. He grounded me for the rest + of the season. You should have been + there... it was fantastic. + + BIGGS + You ought to take it easy Luke. You + may be the hottest bushpilot this + side of Mos Eisley, but those little + Skyhoppers are dangerous. Keep it + up, and one day, whammo, you're going + to be nothing more than a dark spot + on the down side of a canyon wall. + + LUKE + Look who's talking. Now that you've + been around those giant starships + you're beginning to sound like my + uncle. You've gotten soft in the + city... + + BIGGS + I've missed you kid. + + LUKE + Well, things haven't been the same + since you left, Biggs. It's been + so... quiet. + + Biggs looks around then leans close to Luke. + + BIGGS + Luke, I didn't come back just to say + good-bye... I shouldn't tell you + this, but you're the only one I can + trust... and if I don't come back, I + want somebody to know. + + Luke's eyes are wide with Biggs' seriousness and loyalty. + + LUKE + What are you talking about? + + BIGGS + I made some friends at the Academy. + (he whispers) + ...when our frigate goes to one of + the central systems, we're going to + jump ship and join the Alliance... + + Luke, amazed and stunned, is almost speechless. + + LUKE + Join the Rebellion?! Are you kidding! + How? + + BIGGS + Quiet down will ya! You got a mouth + bigger than a meteor crater! + + LUKE + I'm sorry. I'm quiet. + (he whispers) + Listen how quiet I am. You can barely + hear me... + + Biggs shakes his head angrily and then continues. + + BIGGS + My friend has a friend on Bestine + who might help us make contact. + + LUKE + You're crazy! You could wander around + forever trying to find them. + + BIGGS + I know it's a long shot, but if I + don't find them I'll do what I can + on my own... It's what we always + talked about. Luke, I'm not going to + wait for the Empire to draft me into + service. The Rebellion is spreading + and I want to be on the right side -- + the side I believe in. + + LUKE + And I'm stuck here... + + BIGGS + I thought you were going to the + Academy next term. You'll get your + chance to get off this rock. + + LUKE + Not likely! I had to cancel my + application. There has been a lot of + unrest among the Sandpeople since + you left... they've even raided the + outskirts of Anchorhead. + + BIGGS + Your uncle could hold off a whole + colony of Sandpeople with one blaster. + + LUKE + I know, but he's got enough vaporators + going to make the place pay off. He + needs me for just one more season. I + can't leave him now. + + BIGGS + I feel for you, Luke, you're going + to have to learn what seems to be + important or what really is important. + What good is all your uncle's work + if it's taken over by the Empire?... + You know they're starting to + nationalize commerce in the central + systems... it won't be long before + your uncle is merely a tenant, slaving + for the greater glory of the Empire. + + LUKE + It couldn't happen here. You said it + yourself. The Empire won't bother + with this rock. + + BIGGS + Things always change. + + LUKE + I wish I was going... Are you going + to be around long? + + BIGGS + No, I'm leaving in the morning... + + LUKE + Then I guess I won't see you. + + BIGGS + Maybe someday... I'll keep a lookout. + + LUKE + Well, I'll be at the Academy next + season... after that who knows. I + won't be drafted into the Imperial + Starfleet that's for sure... Take + care of yourself, you'll always be + the best friend I've got. + + BIGGS + So long, Luke. + + Biggs turns away from his old friend and heads towards the + power station. + + EXT. TATOOINE - ROCK CANYON - SUNSET + + The gargantuan rock formations are shrouded in a strange + foreboding mist and the onimous sounds of unearthly creatures + fill the air. Artoo moves cautiously through the creepy rock + canyon, inadvertently making a loud clicking noise as he + goes. He hears a distant, hard, metallic sound and stops for + a moment. Convinced he is alone, he continues on his way. + + In the distance, a pebble tumbles down the steep canyon wall + and a small dark figure darts into the shadows. A little + further up the canyon a slight flicker of light reveals a + pair of eyes in the dark recesses only a few feet from the + narrow path. + + The unsuspecting robot waddles along the rugged trail until + suddenly, out of nowhere, a powerful magnetic ray shoots out + of the rocks and engulfs him in an eerie glow. He manages + one short electronic squeak before he topples over onto his + back. His bright computer lights flicker off, then on, then + off again. Out of the rocks scurry three Jawas, no taller + than Artoo. They holster strange and complex weapons as they + cautiously approach the robot. They wear grubby cloaks and + their faces are shrouded so only their glowing eyes can be + seen. They hiss and make odd guttural sounds as they heave + the heavy robot onto their shoulders and carry him off down + the trail. + + EXT. TATOOINE - ROCK CANYON - SANDCRAWLER - SUNSET + + The eight Jawas carry Artoo out of the canyon to a huge tank- + like vehicle the size of a four-story house. They weld a + small disk on the side of Artoo and then put him under a + large tube on the side of the vehicle and the little robot + is sucked into the giant machine. + + The filthy little Jawas scurry like rats up small ladders + and enter the main cabin of the behemoth transport. + + INT. SANDCRAWLER - HOLD AREA + + It is dim inside the hold area of the Sandcrawler. Artoo + switches on a small floodlight on his forehead and stumbles + around the scrap heap. The narrow beam swings across rusty + metal rocket parts and an array of grotesquely twisted and + maimed astro-robots. He lets out a pathetic electronic whimper + and stumbles off toward what appears to be a door at the end + of the chamber. + + INT. SANDCRAWLER - PRISON AREA + + Artoo enters a wide room with a four-foot ceiling. In the + middle of the scrap heap sit a dozen or so robots of various + shapes and sizes. Some are engaged in electronic conversation, + while others simply mill about. A voice of recognition calls + out from the gloom. + + THREEPIO + Artoo-Detoo! It's you! It's you! + + A battered Threepio scrambles up to Artoo and embraces him. + + EXT. TATOOINE - ROCK CANYON - SANDCRAWLER - SUNSET + + The enormous Sandcrawler lumbers off toward the magnificent + twin suns, which are slowly setting over a distant mountain + ridge. + + EXT. TATOOINE - DESERT - DAY + + Four Imperial stormtroopers mill about in front of the half- + buried lifepod that brought Artoo and Threepio to Tatooine. + A trooper yells to an officer some distance away. + + FIRST TROOPER + Someone was in the pod. The tracks + go off in this direction. + + A second trooper picks a small bit of metal out of the sand + and gives it to the first trooper. + + SECOND TROOPER + Look, sir -- droids. + + EXT. TATOOINE - DUNES + + The Sandcrawler moves slowly down a great sand dune. + + INT. SANDCRAWLER + + Threepio and Artoo noisily bounce along inside the cramped + prison chamber. Artoo appears to be shut off. + + THREEPIO + Wake up! Wake up! + + Suddenly the shaking and bouncing of the Sandcrawler stops, + creating quite a commotion among the mechanical men. + Threepio's fist bangs the head of Artoo whose computer lights + pop on as he begins beeping. At the far end of the long + chamber a hatch opens, filling the chamber with blinding + white light. a dozen or so Jawas make their way through the + odd assortment of robots. + + THREEPIO + We're doomed. + + A Jawa starts moving toward them. + + THREEPIO + Do you think they'll melt us down? + + Artoo responds, making beeping sounds. + + THREEPIO + Don't shoot! Don't shoot! Will this + never end? + + EXT. TATOOINE - DESERT - LARS HOMESTEAD - AFTERNOON + + The Jawas mutter gibberish as they busily line up their + battered captives, including Artoo and Threepio, in front of + the enormous Sandcrawler, which is parked beside a small + homestead consisting of three large holes in the ground + surrounded by several tall moisture vaporators and one small + adobe block house. + + The Jawas scurry around fussing over the robots, straightening + them up or brushing some dust from a dented metallic elbow. + The shrouded little creatures smell horribly, attracting + small insects to the dark areas when their mouths and nostrils + should be. + + Out of the shadows of a dingy side-building limps Owen Lars, + a large burly man in his mid-fifties. His reddish eyes are + sunken in a dust-covered face. As the farmer carefully + inspects each robot, he is closely followed by his slump- + shouldered nephew, Luke Skywalker. One of the vile little + Jawas walks ahead of the farmer spouting an animated sales + pitch in a queer, unintelligible language. + + A voice calls out from one of the huge holes that form the + homestead. Luke goes over to the edge and sees his Aunt Beru + standing in the main courtyard. + + BERU + Luke, tell Owen that if he gets a + translator to be sure it speaks Bocce. + + LUKE + It looks like we don't have much of + a choice but I'll remind him. + + Luke returns to his uncle as they look over the equipment + for sale with the Jawa leader. + + OWEN + I have no need for a protocol droid. + + THREEPIO + (quickly) + Sir -- not in an environment such as + this -- that's why I've also been + programmed for over thirty secondary + functions that... + + OWEN + What I really need is a droid that + understands the binary language of + moisture vaporators. + + THREEPIO + Vaporators! Sir -- My first job was + programming binary load lifter... + very similar to your vaporators. You + could say... + + OWEN + Do you speak Bocce? + + THREEPIO + Of course I can, sir. It's like a + second language for me... I'm as + fluent in Bocce... + + OWEN + All right shut up! + (turning to Jawa) + I'll take this one. + + THREEPIO + Shutting up, sir. + + OWEN + Luke, take these two over to the + garage, will you? I want you to have + both of them cleaned up before dinner. + + LUKE + But I was going into Toshi Station + to pick up some power converters... + + OWEN + You can waste time with your friends + when your chores are done. Now come + on, get to it! + + LUKE + All right, come on! And the red one, + come on. Well, come on, Red, let's + go. + + As the Jawas start to lead the three remaining robots back + into the Sandcrawler, Artoo lets out a pathetic little beep + and starts after his old friend Threepio. He is restrained + by a slimy Jawa, who zaps him with a control box. + + Owen is negotiating with the head Jawa. Luke and the two + robots start off for the garage when a plate pops off the + head of the red astro-droid's head plate and it sparks wildly. + + LUKE + Uncle Owen... + + OWEN + Yeah? + + LUKE + This R2 unit has a bad motivator. + Look! + + OWEN + (to the head Jawa) + Hey, what're you trying to push on + us? + + The Jawa goes into a loud spiel. Meanwhile, Artoo has sneaked + out of line and is moving up and down trying to attract + attention. He lets out with a low whistle. Threepio taps + Luke on the shoulder. + + THREEPIO + (pointing to Artoo) + Excuse me, sir, but that R2 unit is + in prime condition. A real bargain. + + LUKE + Uncle Owen... + + OWEN + Yeah? + + LUKE + What about that one? + + OWEN + (to Jawa) + What about that blue one? We'll take + that one. + + With a little reluctance the scruffy dwarf trades the damaged + astro-droid for Artoo. + + LUKE + Yeah, take it away. + + THREEPIO + Uh, I'm quite sure you'll be very + pleased with that one, sir. He really + is in first-class condition. I've + worked with him before. Here he comes. + + Owen pays off the whining Jawa as Luke and the two robots + trudge off toward a grimy homestead entry. + + LUKE + Okay, let's go. + + THREEPIO + (to Artoo) + Now, don't you forget this! Why I + should stick my neck out for you is + quite beyond my capacity! + + INT. LARS HOMESTEAD - GARAGE AREA - LATE AFTERNOON + + The garage is cluttered and worn, but a friendly peaceful + atmosphere permeates the low grey chamber. Threepio lowers + himself into a large tub filled with warm oil. Near the + battered Landspeeder little Artoo rests on a large battery + with a cord to his face. + + THREEPIO + Thank the maker! This oil bath is + going to feel so good. I've got such + a bad case of dust contamination, I + can barely move! + + Artoo beeps a muffled reply. Luke seems to be lost in thought + as he runs his hand over the damaged fin of a small two-man + Skyhopper spaceship resting in a low hangar off the garage. + Finally Luke's frustrations get the better of him and he + slams a wrench across the workbench. + + LUKE + It just isn't fair. Oh, Biggs is + right. I'm never gonna get out of + here! + + THREEPIO + Is there anything I might do to help? + + Luke glances at the battered robot. A bit of his anger drains + and a tiny smile creeps across his face. + + LUKE + Well, not unless you can alter time, + speed up the harvest, or teleport me + off this rock! + + THREEPIO + I don't think so, sir. I'm only a + droid and not very knowledgeable + about such things. Not on this planet, + anyways. As a matter of fact, I'm + not even sure which planet I'm on. + + LUKE + Well, if there's a bright center to + the universe, you're on the planet + that it's farthest from. + + THREEPIO + I see, sir. + + LUKE + Uh, you can call me Luke. + + THREEPIO + I see, sir Luke. + + LUKE + (laughing) + Just Luke. + + THREEPIO + And I am See-Threepio, human-cyborg + relations, and this is my counterpart, + Artoo-Detoo. + + LUKE + Hello. + + Artoo beeps in response. Luke unplugs Artoo and begins to + scrape several connectors on the robot's head with a chrome + pick. Threepio climbs out of the oil tub and begins wiping + oil from his bronze body. + + LUKE + You got a lot of carbon scoring here. + It looks like you boys have seen a + lot of action. + + THREEPIO + With all we've been through, sometimes + I'm amazed we're in as good condition + as we are, what with the Rebellion + and all. + + LUKE + You know of the Rebellion against + the Empire? + + THREEPIO + That's how we came to be in your + service, if you take my meaning, + sir. + + LUKE + Have you been in many battles? + + THREEPIO + Several, I think. Actually, there's + not much to tell. I'm not much more + than an interpreter, and not very + good at telling stories. Well, not + at making them interesting, anyways. + + Luke struggles to remove a small metal fragment from Artoo's + neck joint. He uses a larger pick. + + LUKE + Well, my little friend, you've got + something jammed in here real good. + Were you on a cruiser or... + + The fragment breaks loose with a snap, sending Luke tumbling + head over heels. He sits up and sees a twelve-inch three- + dimensional hologram of Leia Organa, the Rebel senator, being + projected from the face of little Artoo. The image is a + rainbow of colors as it flickers and jiggles in the dimly + lit garage. Luke's mouth hangs open in awe. + + LEIA + Help me, Obi-Wan Kenobi. You're my + only hope. + + LUKE + What's this? + + Artoo looks around and sheepishly beeps an answer for Threepio + to translate. Leia continues to repeat the sentence fragment + over and over. + + THREEPIO + What is what?!? He asked you a + question... + (pointing to Leia) + What is that? + + Artoo whistles his surprise as he pretends to just notice + the hologram. He looks around and sheepishly beeps an answer + for Threepio to translate. Leia continues to repeat the + sentence fragment over and over. + + LEIA + Help me, Obi-Wan Kenobi. You're my + only hope. Help me, Obi-Wan Kenobi. + You're my only hope. + + THREEPIO + Oh, he says it's nothing, sir. Merely + a malfunction. Old data. Pay it no + mind. + + Luke becomes intrigued by the beautiful girl. + + LUKE + Who is she? She's beautiful. + + THREEPIO + I'm afraid I'm not quite sure, sir. + + LEIA + Help me, Obi-Wan Kenobi... + + THREEPIO + I think she was a passenger on our + last voyage. A person of some + importance, sir -- I believe. Our + captain was attached to... + + LUKE + Is there more to this recording? + + Luke reaches out for Artoo but he lets out several frantic + squeaks and a whistle. + + THREEPIO + Behave yourself, Artoo. You're going + to get us in trouble. It's all right, + you can trust him. He's our new + master. + + Artoo whistles and beeps a long message to Threepio. + + THREEPIO + He says he's the property of Obi-Wan + Kenobi, a resident of these parts. + And it's a private message for him. + Quite frankly, sir I don't know what + he's talking about. Our last master + was Captain Antilles, but with what + we've been through, this little R2 + unit has become a bit eccentric. + + LUKE + Obi-Wan Kenobi? I wonder if he means + old Ben Kenobi? + + THREEPIO + I beg your pardon, sir, but do you + know what he's talking about? + + LUKE + Well, I don't know anyone named Obi- + Wan, but old Ben lives out beyond + the dune sea. He's kind of a strange + old hermit. + + Luke's gazes at the beautiful young princess for a few + moments. + + LUKE + I wonder who she is. It sounds like + she's in trouble. I'd better play + back the whole thing. + + Artoo beeps something to Threepio. + + THREEPIO + He says the restraining bolt has + short circuited his recording system. + He suggests that if you remove the + bolt, he might be able to play back + the entire recording. + + Luke looks longingly at the lovely, little princess and hasn't + really heard what Threepio has been saying. + + LUKE + H'm? Oh, yeah, well, I guess you're + too small to run away on me if I + take this off! Okay. + + Luke takes a wedged bar and pops the restraining bolt off + Artoo's side. + + LUKE + There you go. + + The princess immediately disappears... + + LUKE + Well, wait a minute. Where'd she go? + Bring her back! Play back the entire + message. + + Artoo beeps an innocent reply as Threepio sits up in + embarrassment. + + THREEPIO + What message? The one you're carrying + inside your rusty innards! + + A women's voice calls out from another room. + + AUNT BERU + Luke? Luke! Come to dinner! + + Luke stands up and shakes his head at the malfunctioning + robot. + + LUKE + All right, I'll be right there, Aunt + Beru. + + THREEPIO + I'm sorry, sir, but he appears to + have picked up a slight flutter. + + Luke tosses Artoo's restraining bolt on the workbench and + hurries out of the room. + + LUKE + Well, see what you can do with him. + I'll be right back. + + THREEPIO + (to Artoo) + Just you reconsider playing that + message for him. + + Artoo beeps in response. + + THREEPIO + No, I don't think he likes you at + all. + + Artoo beeps. + + THREEPIO + No, I don't like you either. + + INT. LARS HOMESTEAD - DINING AREA + + Luke's Aunt Beru, a warm, motherly woman, fills a pitcher + with blue fluid from a refrigerated container in the well- + used kitchen. She puts the pitcher on a tray with some bowls + of food and starts for the dining area. + + Luke sits with his Uncle Owen before a table covered with + steaming bowls of food as Aunt Beru carries in a bowl of red + grain. + + LUKE + You know, I think that R2 unit we + bought might have been stolen. + + OWEN + What makes you think that? + + LUKE + Well, I stumbled across a recording + while I was cleaning him. He says he + belongs to someone called Obi-Wan + Kenobi. + + Owen is greatly alarmed at the mention of his name, but + manages to control himself. + + LUKE + I thought he might have meant old + Ben. Do you know what he's talking + about? Well, I wonder if he's related + to Ben. + + Owen breaks loose with a fit of uncontrolled anger. + + OWEN + That old man's just a crazy old + wizard. Tomorrow I want you to take + that R2 unit into Anchorhead and + have its memory flushed. That'll be + the end of it. It belongs to us now. + + LUKE + But what if this Obi-Wan comes looking + for him? + + OWEN + He won't, I don't think he exists + any more. He died about the same + time as your father. + + LUKE + He knew my father? + + OWEN + I told you to forget it. Your only + concern is to prepare the new droids + for tomorrow. In the morning I want + them on the south ridge working out + those condensers. + + LUKE + Yes, sir. I think those new droids + are going to work out fine. In fact, + I, uh, was also thinking about our + agreement about my staying on another + season. And if these new droids do + work out, I want to transmit my + application to the Academy this year. + + Owen's face becomes a scowl, although he tries to suppress + it. + + OWEN + You mean the next semester before + harvest? + + LUKE + Sure, there're more than enough + droids. + + OWEN + Harvest is when I need you the most. + Only one more season. This year we'll + make enough on the harvest so I'll + be able to hire some more hands. And + then you can go to the Academy next + year. + + Luke continues to toy with his food, not looking at his uncle. + + OWEN + You must understand I need you here, + Luke. + + LUKE + But it's a whole 'nother year. + + OWEN + Look, it's only one more season. + + Luke pushes his half-eaten plate of food aside and stands. + + LUKE + Yeah, that's what you said last year + when Biggs and Tank left. + + AUNT BERU + Where are you going? + + LUKE + It looks like I'm going nowhere. I + have to finish cleaning those droids. + + Resigned to his fate, Luke paddles out of the room. Owen + mechanically finishes his dinner. + + AUNT BERU + Owen, he can't stay here forever. + Most of his friends have gone. It + means so much to him. + + OWEN + I'll make it up to him next year. I + promise. + + AUNT BERU + Luke's just not a farmer, Owen. He + has too much of his father in him. + + OWEN + That's what I'm afraid of. + + EXT. TATOOINE - LARS HOMESTEAD + + The giant twin suns of Tatooine slowly disappear behind a + distant dune range. Luke stands watching them for a few + moments, then reluctantly enters the doomed entrance to the + homestead. + + INT. LARS HOMESTEAD - GARAGE + + Luke enters the garage to discover the robots nowhere in + sight. He takes a small control box from his utility belt + similar to the one the Jawas were carrying. He activates the + box, which creates a low hum, and Threepio, letting out a + short yell, pops up from behind the Skyhopper spaceship. + + LUKE + What are you doing hiding there? + + Threepio stumbles forward, but Artoo is still nowhere in + sight. + + THREEPIO + It wasn't my fault, sir. Please don't + deactivate me. I told him not to go, + but he's faulty, malfunctioning; + kept babbling on about his mission. + + LUKE + Oh, no! + + Luke races out of the garage followed by Threepio. + + EXT. TATOOINE - LARS HOMESTEAD + + Luke rushes out of the small doomed entry to the homestead + and searches the darkening horizon for the small triped astro- + robot. Threepio struggles out of the homestead and on the + salt flat as Luke scans the landscape with his + electrobinoculars. + + THREEPIO + That R2 unit has always been a + problem. These astro-droids are + getting quite out of hand. Even I + can't understand their logic at times. + + LUKE + How could I be so stupid? He's nowhere + in sight. Blast it! + + THREEPIO + Pardon me, sir, but couldn't we go + after him? + + LUKE + It's too dangerous with all the + Sandpeople around. We'll have to + wait until morning. + + Owen yells up from the homestead plaza. + + OWEN + Luke, I'm shutting the power down + for the night. + + LUKE + All right, I'll be there in a few + minutes. Boy, am I gonna get it. + + He takes one final look across the dim horizon. + + LUKE + You know that little droid is going + to cause me a lot of trouble. + + THREEPIO + Oh, he excels at that, sir. + + INT. LARS HOMESTEAD - PLAZA + + Morning slowly creeps into the sparse but sparkling oasis of + the open courtyard. The idyll is broken be the yelling of + Uncle Owen, his voice echoing throughout the homestead. + + OWEN + Luke? Luke? Luke? Where could he be + loafing now! + + INT. LARS HOMESTEAD - KITCHEN + + The interior of the kitchen is a worm glow as Aunt Beru + prepares the morning breakfast. Owen enters in a huff. + + OWEN + Have you seen Luke this morning? + + AUNT BERU + He said he had some things to do + before he started today, so he left + early. + + OWEN + Uh? Did he take those two new droids + with him? + + AUNT BERU + I think so. + + OWEN + Well, he'd better have those units + in the south range repaired be midday + or there'll be hell to pay! + + EXT. TATOOINE - DESERT WASTELAND - LUKE'S SPEEDER - DAY + + The rock and sand of the desert floor are a blur as Threepio + pilots the sleek Landspeeder gracefully across the vast + wasteland. + + INT./EXT. LUKE'S SPEEDER - DESERT WASTELAND - TRAVELING - + DAY + + Luke leans over the back of the speeder and adjusts something + in the motor compartment. + + LUKE + (yelling) + How's that. + + Threepio signals that is fine and Luke turns back into the + wind-whipped cockpit and pops the canopy shut. + + LUKE + Old Ben Kenobi lives out in this + direction somewhere, but I don't see + how that R2 unit could have come + this far. We must have missed him. + Uncle Owen isn't going to take this + very well. + + THREEPIO + Sir, would it help if you told him + it was my fault. + + LUKE + (brightening) + Sure. He needs you. He'd probably + only deactivate you for a day or + so... + + THREEPIO + Deactivate! Well, on the other hand + if you hadn't removed his restraining + bolt... + + LUKE + Wait, there's something dead ahead + on the scanner. It looks like our + droid... hit the accelerator. + + EXT. TATOOINE - ROCK MESA - DUNE SEA - COASTLINE - DAY + + From high on a rock mesa, the tiny Landspeeder can be seen + gliding across the desert floor. Suddenly in the foreground + two weather-beaten Sandpeople shrouded in their grimy desert + cloaks peer over the edge of the rock mesa. One of the + marginally human creatures raises a long ominous laser rifle + and points it at the speeder but the second creature grabs + the gun before it can be fired. + + The Sandpeople, or Tusken Raiders as they're sometimes called, + speak in a coarse barbaric language as they get into an + animated argument. The second Tusken Raider seems to get in + the final word and the nomads scurry over the rocky terrain. + + EXT. TATOOINE - ROCK MESA - CANYON + + The Tusken Raider approaches two large Banthas standing tied + to a rock. The monstrous, bear-like creatures are as large + as elephants, with huge red eyes, tremendous looped horns, + and long, furry, dinosaur-like tails. The Tusken Raiders + mount saddles strapped to the huge creatures' shaggy backs + and ride off down the rugged bluff. + + EXT. TATOOINE - ROCK CANYON - FLOOR + + The speeder is parked on the floor of a massive canyon. Luke, + with his long laser rifle slung over his shoulder, stands + before little Artoo. + + LUKE + Hey, whoa, just where do you think + you're going? + + The little droid whistles a feeble reply, as Threepio poses + menacingly behind the little runaway. + + THREEPIO + Master Luke here is your rightful + owner. We'll have no more of this + Obi-Wan Kenobi jibberish... and don't + talk to me about your mission, either. + You're fortunate he doesn't blast + you into a million pieces right here. + + LUKE + Well, come on. It's getting late. I + only hope we can get back before + Uncle Owen really blows up. + + THREEPIO + If you don't mind my saying so, sir, + I think you should deactivate the + little fugitive until you've gotten + him back to your workshop. + + LUKE + No, he's not going to try anything. + + Suddenly the little robot jumps to life with a mass of frantic + whistles and screams. + + LUKE + What's wrong with him now? + + THREEPIO + Oh my... sir, he says there are + several creatures approaching from + the southeast. + + Luke swings his rifle into position and looks to the south. + + LUKE + Sandpeople! Or worst! Come on, let's + have a look. Come on. + + EXT. TATOOINE - ROCK CANYON - RIDGE - DAY + + Luke carefully makes his way to the top of a rock ridge and + scans the canyon with his electrobinoculars. He spots the + two riderless Banthas. Threepio struggles up behind the young + adventurer. + + LUKE + There are two Banthas down there but + I don't see any... wait a second, + they're Sandpeople all right. I can + see one of them now. + + Luke watches the distant Tusken Raider through his + electrobinoculars. Suddenly something huge moves in front of + his field of view. Before Luke or Threepio can react, a large, + gruesome Tusken Raider looms over them. Threepio is startled + and backs away, right off the side if the cliff. He can be + heard for several moments as he clangs, bangs and rattles + down the side of the mountain. + + The towering creature brings down his curved, double-pointed + gaderffii -- the dreaded axe blade that has struck terror in + the heart of the local settlers. But Luke manages to block + the blow with his laser rifle, which is smashed to pieces. + The terrified farm boy scrambles backward until he is forced + to the edge of a deep crevice. The sinister Raider stands + over him with his weapon raised and lets out a horrible + shrieking laugh. + + EXT. TATOOINE - ROCK CANYON - FLOOR - DAY + + Artoo forces himself into the shadows of a small alcove in + the rocks as the vicious Sandpeople walk past carrying the + inert Luke Skywalker, who is dropped in a heap before the + speeder. The Sandpeople ransack the speeder, throwing parts + and supplies in all directions. Suddenly they stop. Then + everything is quiet for a few moments. A great howling moan + is heard echoing throughout the canyon which sends the + Sandpeople fleeing in terror. + + Artoo moves even tighter into the shadows as the slight + swishing sound that frightened off the Sandpeople grows even + closer, until a shabby old desert-rat-of-a-man appears and + leans over Luke. His ancient leathery face, cracked and + weathered by exotic climates is set off by dark, penetrating + eyes and a scraggly white beard. Ben Kenobi squints his eyes + as he scrutinizes the unconscious farm boy. Artoo makes a + slight sound and Ben turns and looks right at him. + + BEN + Hello there! Come here my little + friend. Don't be afraid. + + Artoo waddles over to were Luke lies crumpled in a heap and + begins to whistle and beep his concern. Ben puts his hand on + Luke's forehead and he begins to come around. + + BEN + Don't worry, he'll be all right. + + LUKE + What happened? + + BEN + Rest easy, son, you've had a busy + day. You're fortunate you're still + in one piece. + + LUKE + Ben? Ben Kenobi! Boy, am I glad to + see you! + + BEN + The Jundland wastes are not to be + traveled lightly. Tell me young Luke, + what brings you out this far? + + LUKE + Oh, this little droid! I think he's + searching for his former master... + I've never seen such devotion in a + droid before... there seems to be no + stopping him. He claims to be the + property of an Obi-Wan Kenobi. Is he + a relative of yours? Do you know who + he's talking about? + + Ben ponders this for a moment, scratching his scruffy beard. + + BEN + Obi-Wan Kenobi... Obi-Wan? Now thats + a name I haven't heard in a long + time... a long time. + + LUKE + I think my uncle knew him. He said + he was dead. + + BEN + Oh, he's not dead, not... not yet. + + LUKE + You know him! + + BEN + Well of course, of course I know + him. He's me! I haven't gone by the + name Obi-Wan since oh, before you + were born. + + LUKE + Then the droid does belong to you. + + BEN + Don't seem to remember ever owning a + droid. Very interesting... + + He suddenly looks up at the overhanging cliffs. + + BEN + I think we better get indoors. The + Sandpeople are easily startled but + they will soon be back and in greater + numbers. + + Luke sits up and rubs his head. Artoo lets out a pathetic + beep causing Luke to remember something. He looks around. + + LUKE + Threepio! + + EXT. TATOOINE - SAND PIT - ROCK MESA - DAY + + Little Artoo stands at the edge of a large sand pit and begins + to chatter away in electronic whistles and beeps. Luke and + Ben stand over a very dented and tangled Threepio lying half + buried in the sand. One of his arms has broken off. + + Luke tries to revive the inert robot by shaking him and then + flips a hidden switch on his back several times until finally + the mechanical man's systems turn on. + + THREEPIO + Where am I? I must have taken a bad + step... + + LUKE + Can you stand? We've got to get out + of here before the Sandpeople return. + + THREEPIO + I don't think I can make it. You go + on, Master Luke. There's no sense in + you risking yourself on my account. + I'm done for. + + Artoo makes a beeping sound. + + LUKE + No, you're not. What kind of talk is + that? + + Luke and Ben help the battered robot to his feet. Little + Artoo watches from the top of the pit. Ben glances around + suspiciously. Sensing something, he stands up and sniffs the + air. + + BEN + Quickly, son... they're on the move. + + INT. KENOBI'S DWELLING + + The small, spartan hovel is cluttered with desert junk but + still manages to radiate an air of time-worn comfort and + security. Luke is in one corner repairing Threepio's arm, as + old Ben sits thinking. + + LUKE + No, my father didn't fight in the + wars. He was a navigator on a spice + freighter. + + BEN + That's what your uncle told you. He + didn't hold with your father's ideals. + Thought he should have stayed here + and not gotten involved. + + LUKE + You fought in the Clone Wars? + + BEN + Yes, I was once a Jedi Knight the + same as your father. + + LUKE + I wish I'd known him. + + BEN + He was the best star-pilot in the + galaxy, and a cunning warrior. I + understand you've become quite a + good pilot yourself. And he was a + good friend. Which reminds me... + + Ben gets up and goes to a chest where he rummages around. + As Luke finishes repairing Threepio and starts to fit the + restraining bolt back on, Threepio looks at him nervously. + Luke thinks about the bolt for a moment then puts it on the + table. Ben shuffles up and presents Luke with a short handle + with several electronic gadgets attached to it. + + BEN + I have something here for you. Your + father wanted you to have this when + you were old enough, but your uncle + wouldn't allow it. He feared you + might follow old Obi-Wan on some + damned-fool idealistic crusade like + your father did. + + THREEPIO + Sir, if you'll not be needing me, + I'll close down for awhile. + + LUKE + Sure, go ahead. + + Ben hands Luke the saber. + + LUKE + What is it? + + BEN + Your fathers lightsaber. This is the + weapon of a Jedi Knight. Not as clumsy + or as random as a blaster. + + Luke pushes a button on the handle. A long beam shoots out + about four feet and flickers there. The light plays across + the ceiling. + + BEN + An elegant weapon for a more civilized + time. For over a thousand generations + the Jedi Knights were the guardians + of peace and justice in the Old + Republic. Before the dark times, + before the Empire. + + Luke hasn't really been listening. + + LUKE + How did my father die? + + BEN + A young Jedi named Darth Vader, who + was a pupil of mine until he turned + to evil, helped the Empire hunt down + and destroy the Jedi Knights. He + betrayed and murdered your father. + Now the Jedi are all but extinct. + Vader was seduced by the dark side + of the Force. + + LUKE + The Force? + + BEN + Well, the Force is what gives a Jedi + his power. It's an energy field + created by all living things. It + surrounds us and penetrates us. It + binds the galaxy together. + + Artoo makes beeping sounds. + + BEN + Now, let's see if we can't figure + out what you are, my little friend. + And where you come from. + + LUKE + I saw part of the message he was... + + Luke is cut short as the recorded image of the beautiful + young Rebel princess is projected from Artoo's face. + + BEN + I seem to have found it. + + Luke stops his work as the lovely girl's image flickers before + his eyes. + + LEIA + General Kenobi, years ago you served + my father in the Clone Wars. Now he + begs you to help him in his struggle + against the Empire. I regret that I + am unable to present my father's + request to you in person, but my + ship has fallen under attack and I'm + afraid my mission to bring you to + Alderaan has failed. I have placed + information vital to the survival of + the Rebellion into the memory systems + of this R2 unit. My father will know + how to retrieve it. You must see + this droid safely delivered to him + on Alderaan. This is our most + desperate hour. Help me, Obi-Wan + Kenobi, you're my only hope. + + There is a little static and the transmission is cut short. + Old Ben leans back and scratches his head. He silently puffs + on a tarnished chrome water pipe. Luke has stars in his eyes. + + BEN + You must learn the ways of the Force + if you're to come with me to Alderaan. + + LUKE + (laughing) + Alderaan? I'm not going to Alderaan. + I've got to go home. It's late, I'm + in for it as it is. + + BEN + I need your help, Luke. She needs + your help. I'm getting too old for + this sort of thing. + + LUKE + I can't get involved! I've got work + to do! It's not that I like the + Empire. I hate it! But there's nothing + I can do about it right now. It's + such a long way from here. + + BEN + That's your uncle talking. + + LUKE + (sighing) + Oh, God, my uncle. How am I ever + going to explain this? + + BEN + Learn about the Force, Luke. + + LUKE + Look, I can take you as far as + Anchorhead. You can get a transport + there to Mos Eisley or wherever you're + going. + + BEN + You must do what you feel is right, + of course. + + EXT. SPACE. + + An Imperial Stardestroyer heads toward the evil planet-like + battle station: the Death Star! + + INT. DEATH STAR - CONFERENCE ROOM + + Eight Imperial senators and generals sit around a black + conference table. Imperial stormtroopers stand guard around + the room. Commander Tagge, a young, slimy-looking general, + is speaking. + + TAGGE + Until this battle station is fully + operational we are vulnerable. The + Rebel Alliance is too well equipped. + They're more dangerous than you + realize. + + The bitter Admiral Motti twists nervously in his chair. + + MOTTI + Dangerous to your starfleet, + Commander, not to this battle station! + + TAGGE + The Rebellion will continue to gain + a support in the Imperial Senate as + long as.... + + Suddenly all heads turn as Commander Tagge's speech is cut + short and the Grand Moff Tarkin, governor of the Imperial + outland regions, enters. He is followed by his powerful ally, + The Sith Lord, Darth Vader. All of the generals stand and + bow before the thin, evil-looking governor as he takes his + place at the head of the table. The Dark Lord stands behind + him. + + TARKIN + The Imperial Senate will no longer + be of any concern to us. I've just + received word that the Emperor has + dissolved the council permanently. + The last remnants of the Old Republic + have been swept away. + + TAGGE + That's impossible! How will the + Emperor maintain control without the + bureaucracy? + + TARKIN + The regional governors now have direct + control over territories. Fear will + keep the local systems in line. Fear + of this battle station. + + TAGGE + And what of the Rebellion? If the + Rebels have obtained a complete + technical readout of this station, + it is possible, however unlikely, + that they might find a weakness and + exploit it. + + VADER + The plans you refer to will soon be + back in our hands. + + MOTTI + Any attack made by the Rebels against + this station would be a useless + gesture, no matter what technical + data they've obtained. This station + is now the ultimate power in the + universe. I suggest we use it! + + VADER + Don't be too proud of this + technological terror you've + constructed. The ability to destroy + a planet is insignificant next to + the power of the Force. + + MOTTI + Don't try to frighten us with your + sorcerer's ways, Lord Vader. Your + sad devotion to that ancient religion + has not helped you conjure up the + stolen data tapes, or given you + clairvoyance enough to find the + Rebel's hidden fort... + + Suddenly Motti chokes and starts to turn blue under Vader's + spell. + + VADER + I find your lack of faith disturbing. + + TARKIN + Enough of this! Vader, release him! + + VADER + As you wish. + + TARKIN + This bickering is pointless. Lord + Vader will provide us with the + location of the Rebel fortress by + the time this station is operational. + We will then crush the Rebellion + with one swift stroke. + + EXT. TATOOINE - WASTELAND + + The speeder stops before what remains of the huge Jawas + Sandcrawler. Luke and Ben walk among the smoldering rubble + and scattered bodies. + + LUKE + It looks like Sandpeople did this, + all right. Look, here are Gaffi + sticks, Bantha tracks. It's just... + I never heard of them hitting anything + this big before. + + Ben is crouching in the sand studying the tracks. + + BEN + They didn't. But we are meant to + think they did. These tracks are + side by side. Sandpeople always ride + single file to hide there numbers. + + LUKE + These are the same Jawas that sold + us Artoo and Threepio. + + BEN + And these blast points, too accurate + for Sandpeople. Only Imperial + stormtroopers are so precise. + + LUKE + Why would Imperial troops want to + slaughter Jawas? + + Luke looks back at the speeder where Artoo and Threepio are + inspecting the dead Jawas, and put two and two together. + + LUKE + If they traced the robots here, they + may have learned who they sold them + to. And that would lead them home! + + Luke reaches a sudden horrible realization, then races for + the speeder and jumps it. + + BEN + Wait, Luke! It's too dangerous. + + Luke races off leaving Ben and the two robots alone with the + burning Sandcrawler. + + EXT. TATOOINE - WASTELAND + + Luke races across the wasteland in his battered Landspeeder. + + EXT. TATOOINE - LARS HOMESTEAD + + The speeder roars up to the burning homestead. Luke jumps + out and runs to the smoking holes that were once his home. + Debris is scattered everywhere and it looks as if a great + battle has taken place. + + LUKE + Uncle Owen! Aunt Beru! Uncle Owen! + + Luke stumbles around in a daze looking for his aunt and uncle. + Suddenly he comes upon their smoldering remains. He is + stunned, and cannot speak. Hate replaces fear and a new + resolve comes over him. + + EXT. SPACE + + Imperial TIE fighter races toward the Death Star. + + INT. DEATH STAR - DETENTION CORRIDOR + + Two stormtroopers open an electronic cell door and allow + several Imperial guards to enter. Princess Leia's face is + filled with defiance, which slowly gives way to fear as a + giant black torture robot enters, followed by Darth Vader. + + VADER + And, now Your Highness, we will + discuss the location of your hidden + Rebel base. + + The torture robot gives off a steady beeping sound as it + approaches Princess Leia and extends one of its mechanical + arms bearing a large hypodermic needle. The door slides shut + and the long cell block hallway appears peaceful. The muffled + screams of the Rebel princess are barely heard. + + EXT. TATOOINE - WASTELAND + + There is a large bonfire of Jawa bodies blazing in front of + the Sandcrawler as Ben and the robots finish burning the + dead. Luke drives up in the speeder and Ben walks over to + him. + + BEN + There's nothing you could have done, + Luke, had you been there. You'd have + been killed, too, and the droids + would be in the hands of the Empire. + + LUKE + I want to come with you to Alderaan. + There's nothing here for me now. I + want to learn the ways of the Force + and become a Jedi like my father. + + EXT. TATOOINE - WASTELAND + + The Landspeeder with Luke, Artoo, Threepio, and Ben in it + zooms across the desert. The speeder stops on a bluff + overlooking the spaceport at Mos Eisley. It is a haphazard + array of low, grey, concrete structures and semi-domes. A + harsh gale blows across the stark canyon floor. Luke adjusts + his goggles and walks to the edge of the craggy bluff where + Ben is standing. + + BEN + Mos Eisley Spaceport. You will never + find a more wretched hive of scum + and villainy. We must be cautious. + + Ben looks over at Luke, who gives the old Jedi a determined + smile. + + EXT. TATOOINE - MOS EISLEY - STREET + + The speeder is stopped on a crowded street by several combat- + hardend stormtroopers who look over the two robots. A Trooper + questions Luke. + + TROOPER + How long have you had these droids? + + LUKE + About three or four seasons. + + BEN + They're for sale if you want them. + + TROOPER + Let me see your identification. + + Luke becomes very nervous as he fumbles to find his ID while + Ben speaks to the Trooper in a very controlled voice. + + BEN + You don't need to see his + identification. + + TROOPER + We don't need to see his + identification. + + BEN + These are not the droids your looking + for. + + TROOPER + These are not the droids we're looking + for. + + BEN + He can go about his business. + + TROOPER + You can go about your business. + + BEN + (to Luke) + Move along. + + TROOPER + Move along. Move along. + + EXT. TATOOINE - MOS EISLEY - STREET + + The speeder pulls up in front of a rundown blockhouse cantina + on the outskirts of the spaceport. Various strange forms of + transport, including several unusual beasts of burden, are + parked outside the bar. A Jawa runs up and begins to fondle + the speeder. + + THREEPIO + I can't abide these Jawas. Disgusting + creatures. + + As Luke gets out of the speeder he tries to shoo the Jawa + away. + + LUKE + Go on, go on. I can't understand how + we got by those troopers. I thought + we were dead. + + BEN + The Force can have a strong influence + on the weak-minded. You will find it + a powerful ally. + + LUKE + Do you really think we're going to + find a pilot here that'll take us to + Alderaan? + + BEN + Well, most of the best freighter + pilots can be found here. Only watch + your step. This place can be a little + rough. + + LUKE + I'm ready for anything. + + THREEPIO + Come along, Artoo. + + INT. TATOOINE - MOS EISLEY - CANTINA + + The young adventurer and his two mechanical servants follow + Ben Kenobi into the smoke-filled cantina. The murky, moldy + den is filled with a startling array of weird and exotic + alien creatures and monsters at the long metallic bar. At + first the sight is horrifying. One-eyed, thousand-eyed, slimy, + furry, scaly, tentacled, and clawed creatures huddle over + drinks. Ben moves to an empty spot at the bar near a group + of repulsive but human scum. A huge, rough-looking Bartender + stops Luke and the robots. + + BARTENDER + We don't serve their kind here! + + Luke still recovering from the shock of seeing so many + outlandish creatures, doesn't quite catch the bartender's + drift. + + LUKE + What? + + BARTENDER + Your droids. They'll have to wait + outside. We don't want them here. + + Luke looks at old Ben, who is busy talking to one of the + Galactic pirates. He notices several of the gruesome creatures + along the bar are giving him a very unfriendly glare. + + Luke pats Threepio on the shoulder. + + LUKE + Listen, why don't you wait out by + the speeder. We don't want any + trouble. + + THREEPIO + I heartily agree with you sir. + + Threepio and his stubby partner go outside and most of the + creatures at the bar go back to their drinks. + + Ben is standing next to Chewbacca, an eight-foot-tall savage- + looking creature resembling a huge grey bushbaby monkey with + fierce baboon-like fangs. His large blue eyes dominate a fur- + covered face and soften his otherwise awesome appearance. + Over his matted, furry body he wears two chrome bandoliers, + and little else. He is a two-hundred-year-old Wookiee and a + sight to behold. + + Ben speaks to the Wookiee, pointing to Luke several times + during his conversation and the huge creature suddenly lets + out a horrifying laugh. Luke is more than a little bit + disconcerted and pretends not to hear the conversation between + Ben and the giant Wookiee. + + Luke is terrified but tries not to show it. He quietly sips + his drink, looking over the crowd for a more sympathetic ear + or whatever. + + A large, multiple-eyed Creature gives Luke a rough shove. + + CREATURE + Negola dewaghi wooldugger?!? + + The hideous freak is obviously drunk. Luke tries to ignore + the creature and turns back on his drink. A short, grubby + Human and an even smaller rodent-like beast join the + belligerent monstrosity. + + HUMAN + He doesn't like you. + + LUKE + I'm sorry. + + HUMAN + I don't like you either. + + The big creature is getting agitated and yells out some + unintelligible gibberish at the now rather nervous, young + adventurer. + + HUMAN + Don't insult us. You just watch + yourself. We're wanted men. I have + the death sentence in twelve systems. + + LUKE + I'll be careful than. + + HUMAN + You'll be dead. + + The rodent lets out a loud grunt and everything at the bar + moves away. Luke tries to remain cool but it isn't easy. His + three adversaries ready their weapons. Old Ben moves in behind + Luke. + + BEN + This little one isn't worth the + effort. Come let me buy you + something... + + A powerful blow from the unpleasant creature sends the young + would-be Jedi sailing across the room, crashing through tables + and breaking a large jug filled with a foul-looking liquid. + With a blood curdling shriek, the monster draws a wicked + chrome laser pistol from his belt and levels it at old Ben. + The bartender panics. + + BARTENDER + No blasters! No blaster! + + With astounding agility old Ben's laser sword sparks to life + and in a flash an arm lies on the floor. The rodent is cut + in two and the giant multiple-eyed creature lies doubled, + cut from chin to groin. Ben carefully and precisely turns + off his laser sword and replaces it on his utility belt. + Luke, shaking and totally amazed at the old man's abilities, + attempts to stand. The entire fight has lasted only a matter + of seconds. The cantina goes back to normal, although Ben is + given a respectable amount of room at the bar. Luke, rubbing + his bruised head, approaches the old man with new awe. Ben + points the the Wookiee. + + BEN + This is Chewbacca. He's first-mate + on a ship that might suit our needs. + + EXT. TATOOINE - MOS EISLEY - STREET + + Threepio paces in front of the cantina as Artoo carries on + an electronic conversation with another little red astro- + droid. A creature comes out of the cantina and approaches + two stormtroopers in the street. + + THREEPIO + I don't like the look of this. + + INT. TATOOINE - MOS EISLEY - CANTINA + + Strange creatures play exotic big band music on odd-looking + instruments as Luke, still giddy, downs a fresh drink and + follows Ben and Chewbacca to a booth where Han Solo is + sitting. Han is a tough, roguish starpilot about thirty years + old. A mercenary on a starship, he is simple, sentimental, + and cocksure. + + HAN + Han Solo. I'm captain of the + Millennium Falcon. Chewie here tells + me you're looking for passage to the + Alderaan system. + + BEN + Yes, indeed. If it's a fast ship. + + HAN + Fast ship? You've never heard of the + Millennium Falcon? + + BEN + Should I have? + + HAN + It's the ship that made the Kessel + run in less than twelve parsecs! + + Ben reacts to Solo's stupid attempt to impress them with + obvious misinformation. + + HAN + I've outrun Imperial starships, not + the local bulk-cruisers, mind you. + I'm talking about the big Corellian + ships now. She's fast enough for + you, old man. What's the cargo? + + BEN + Only passengers. Myself, the boy, + two droids, and no questions asked. + + HAN + What is it? Some kind of local + trouble? + + BEN + Let's just say we'd like to avoid + any Imperial entanglements. + + HAN + Well, that's the trick, isn't it? + And it's going to cost you something + extra. Ten thousand in advance. + + LUKE + Ten thousand? We could almost buy + our own ship for that! + + HAN + But who's going to fly it, kid! You? + + LUKE + You bet I could. I'm not such a bad + pilot myself! We don't have to sit + here and listen... + + BEN + We haven't that much with us. But we + could pay you two thousand now, plus + fifteen when we reach Alderaan. + + HAN + Seventeen, huh! + + Han ponders this for a few moments. + + HAN + Okay. You guys got yourself a ship. + We'll leave as soon as you're ready. + Docking bay Ninety-four. + + BEN + Ninety-four. + + HAN + Looks like somebody's beginning to + take an interest in your handiwork. + + Ben and Luke turn around to see four Imperial stormtroopers + looking at the dead bodies and asking the bartenders some + questions. The bartender points to the booth. + + TROOPER + All right, we'll check it out. + + The stormtroopers look over at the booth but Luke and Ben + are gone. The bartender shrugs his shoulders in puzzlement. + + HAN + Seventeen thousand! Those guys must + really be desperate. This could really + save my neck. Get back to the ship + and get her ready. + + EXT. TATOOINE - MOS EISLEY - STREET + + BEN + You'll have to sell your speeder. + + LUKE + That's okay. I'm never coming back + to this planet again. + + INT. MOS EISLEY - CANTINA + + As Han is about to leave, Greedo, a slimy green-faced alien + with a short trunk-nose, pokes a gun in his side. The creature + speaks in a foreign tongue translated into English subtitles. + + GREEDO + Going somewhere, Solo? + + HAN + Yes, Greedo. As a matter of fact, I + was just going to see your boss. + Tell Jabba that I've got his money. + + Han sits down and the alien sits across from him holding the + gun on him. + + GREEDO + It's too late. You should have paid + him when you had the chance. Jabba's + put a price on your head, so large + that every bounty hunter in the galaxy + will be looking for you. I'm lucky I + found you first. + + HAN + Yeah, but this time I got the money. + + GREEDO + If you give it to me, I might forget + I found you. + + HAN + I don't have it with me. Tell Jabba... + + GREEDO + Jabba's through with you. He has no + time for smugglers who drop their + shipments at the first sign of an + Imperial cruiser. + + HAN + Even I get boarded sometimes. Do you + think I had a choice? + + Han Solo slowly reaches for his gun under the table. + + GREEDO + You can tell that to Jabba. He may + only take your ship. + + HAN + Over my dead body. + + GREEDO + That's the idea. I've been looking + forward to killing you for a long + time. + + HAN + Yes, I'll bet you have. + + Suddenly the slimy alien disappears in a blinding flash of + light. Han pulls his smoking gun from beneath the table as + the other patron look on in bemused amazement. Han gets up + and starts out of the cantina, flipping the bartender some + coins as he leaves. + + HAN + Sorry about the mess. + + EXT. SPACE + + Several TIE fighters approach the Death Star. + + INT. DEATH STAR - CONTROL ROOM + + VADER + Her resistance to the mind probe is + considerable. It will be some time + before we can extract any information + from her. + + An Imperial Officer interrupts the meeting. + + IMPERIAL OFFICER + The final check-out is complete. All + systems are operational. What course + shall we set? + + TARKIN + Perhaps she would respond to an + alternative form of persuasion. + + VADER + What do you mean? + + TARKIN + I think it is time we demonstrate + the full power of this station. + (to soldier) + Set your course for Princess Leia's + home planet of Alderaan. + + TROOPER + With pleasure. + + EXT. TATOOINE - MOS EISLEY - STREET + + Four heavily-armed stormtroopers move menacingly along a + narrow slum alleyway crowed with darkly clad creatures hawking + exotic goods in the dingy little stalls. Men, monsters, and + robots crouch in the waste-filled doorways, whispering and + hiding from the hot winds. + + THREEPIO + Lock the door, Artoo. + + One of the troopers checks a tightly locked door and moves + on down the alleyway. The door slides open a crack and + Threepio peeks out. Artoo is barely visible in the background. + + TROOPER + All right, check that side of the + street. It's secure. Move on to the + next door. + + The door opens, Threepio moves into the doorway. + + THREEPIO + I would much rather have gone with + Master Luke than stay here with you. + I don't know what all the trouble is + about, but I'm sure it must be your + fault. + + Artoo makes beeping sounds. + + THREEPIO + You watch your language! + + EXT. TATOOINE - MOS EISLEY - STREET - ALLEYWAY - USED + SPEEDER LOT + + Ben and Luke are standing in a sleazy used speeder lot, + talking with a tall, grotesque, insect-like used speeder + dealer. Strange exotic bodies and spindly-legged beasts pass + by as the insect concludes the sale by giving Luke some coins. + + LUKE + He says it's the best he can do. + Since the XP-38 came out, they're + just not in demand. + + BEN + It will be enough. + + Ben and Luke leave the speeder lot and walk down the dusty + alleyway past a small robot herding a bunch of anteater-like + creatures. Luke turns and gives one last forlorn look at his + faithful speeder as he rounds a corner. A darkly clad creature + moves out of the shadows as they pass and watches them as + they disappear down another alley. + + BEN + If the ship's as fast as he's + boasting, we ought to do well. + + INT. DOCKING BAY 94 - DAY + + Jabba the Hut and a half-dozen grisly alien pirates and purple + creatures stand in the middle of the docking bay. Jabba is + the grossest of the slavering hulks and his scarred face is + a grim testimonial to his prowess as a vicious killer. He is + a fat, slug-like creature with eyes on extended feelers and + a huge ugly mouth. + + JABBA + Come on out, Solo! + + A voice from directly behind the pirates startles them and + they turn around to see Han Solo and the giant Wookiee, + Chewbacca, standing behind them with no weapons in sight. + + HAN + I've been waiting for you, Jabba. + + JABBA + I expected you would be. + + HAN + I'm not the type to run. + + JABBA + (fatherly-smooth) + Han, my boy, there are times when + you disappoint me... why haven't you + paid me? And why did you have to fry + poor Greedo like that... after all + we've been through together. + + HAN + You sent Greedo to blast me. + + JABBA + (mock surprise) + Han, why you're the best smuggler in + the business. You're too valuable to + fry. He was only relaying my concern + at your delays. He wasn't going to + blast you. + + HAN + I think he thought he was. Next time + don't send one of those twerps. If + you've got something to say to me, + come see me yourself. + + JABBA + Han, Han! If only you hadn't had to + dump that shipment of spice... you + understand I just can't make an + exception. Where would I be if every + pilot who smuggled for me dumped + their shipment at the first sign of + an Imperial starship? It's not good + business. + + HAN + You know, even I get boarded + sometimes, Jabba. I had no choice, + but I've got a charter now and I can + pay you back, plus a little extra. I + just need some more time. + + JABBA + (to his men) + Put your blasters away. Han, my boy, + I'm only doing this because you're + the best and I need you. So, for an + extra, say twenty percent I'll give + you a little more time... but this + is it. If you disappoint me again, + I'll put a price on your head so + large you won't be able to go near a + civilized system for the rest of + your short life. + + HAN + Jabba, I'll pay you because it's my + pleasure. + + EXT. DOCKING PORT ENTRY - ALLEYWAY + + Chewbacca waits restlessly at the entrance to Docking Bay + 94. Ben, Luke, and the robots make their way up the street. + Chewbacca jabbers excitedly and signals for them to hurry. + The darkly clad creature has followed them from the speeder + lot. He stops in a nearby doorway and speaks into a small + transmitter. + + INT. MOS EISLEY SPACEPORT - DOCKING BAY 94 + + Chewbacca leads the group into a giant dirt pit that is + Docking Bay 94. Resting in the middle of the huge hole is a + large, round, beat-up, pieced-together hunk of junk that + could only loosely be called a starship. + + LUKE + What a piece of junk. + + The tall figure of Han Solo comes down the boarding ramp. + + HAN + She'll make point five beyond the + speed of light. She may not look + like much, but she's got it where it + counts, kid. I've added some special + modifications myself. + + Luke scratches his head. It's obvious he isn't sure about + all this. Chewbacca rushes up the ramp and urges the others + to follow. + + HAN + We're a little rushed, so if you'll + hurry aboard we'll get out of here. + + The group rushes up the gang plank, passing a grinning Han + Solo. + + INT. MILLENNIUM FALCON + + Chewbacca settles into the pilot's chair and starts the mighty + engines of the starship. + + INT. MOS EISLEY SPACEPORT - DOCKING BAY 94 + + Luke, Ben, Threepio, and Artoo move toward the Millennium + Falcon passing Solo. + + THREEPIO + Hello, sir. + + EXT. TATOOINE - MOS EISLEY - STREET + + Eight Imperial stormtroopers rush up to the darkly clad + creature. + + TROOPER + Which way? + + The darkly clad creature points to the door of the docking + bay. + + TROOPER + All right, men. Load your weapons! + + INT. MOS EISLEY SPACEPORT - DOCKING BAY 94] + + The troops hold their guns at the ready and charge down the + docking bay entrance. + + TROOPER + Stop that ship! + + Han Solo looks up and sees the Imperial stormtroopers rushing + into the docking bay. Several of the troopers fire at Han as + he ducks into the spaceship. + + TROOPER + Blast 'em! + + Han draws his laser pistol and pops off a couple of shots + which force the stormtroopers to dive for safety. The + pirateship engines whine as Han hits the release button that + slams the overhead entry shut. + + INT. MILLENNIUM FALCON + + HAN + Chewie, get us out of here! + + The group straps in for take off. + + THREEPIO + Oh, my. I'd forgotten how much I + hate space travel. + + EXT. TATOOINE - MOS EISLEY - STREETS + + The half-dozen stormtroopers at a check point hear the general + alarm and look to the sky as the huge starship rises above + the dingy slum dwellings and quickly disappears into the + morning sky. + + INT. MILLENNIUM FALCON - COCKPIT + + Han climbs into the pilot's chair next to Chewbacca, who + chatters away as he points to something on the radar scope. + + EXT. SPACE - PLANET TATOOINE + + The Corellian pirateship zooms from Tatooine into space. + + INT. MILLENNIUM FALCON - COCKPIT + + Han frantically types information into the ship's computer. + Little Artoo appears momentarily at the cockpit doorway, + makes a few beeping remarks, then scurries away. + + HAN + It looks like an Imperial cruiser. + Our passengers must be hotter than I + thought. Try and hold them off. Angle + the deflector shield while I make + the calculations for the jump to + light speed. + + EXT. SPACE - PLANET TATOOINE + + The Millennium Falcon pirateship races away from the yellow + planet, Tatooine. It is followed by two huge Imperial + stardestroyers. + + INT. MILLENNIUM FALCON - COCKPIT + + Over the shoulders of Chewbacca and Han, we can see the galaxy + spread before them. Luke and Ben make their way into the + cramped cockpit where Han continues his calculation. + + HAN + Stay sharp! There are two more coming + in; they're going to try to cut us + off. + + LUKE + Why don't you outrun them? I thought + you said this thing was fast. + + HAN + Watch your mouth, kid, or you're + going to find yourself floating home. + We'll be safe enough once we make + the jump to hyperspace. Besides, I + know a few maneuvers. We'll lose + them! + + EXT. SPACE - PLANET TATOOINE + + Imperial cruisers fire at the pirateship. + + INT. MILLENNIUM FALCON - COCKPIT + + The ship shudders as an explosion flashes outside the window. + + HAN + Here's where the fun begins! + + BEN + How long before you can make the + jump to light speed? + + HAN + It'll take a few moments to get the + coordinates from the navi-computer. + + The ship begins to rock violently as lasers hit it. + + LUKE + Are you kidding? At the rate they're + gaining... + + HAN + Traveling through hyperspace isn't + like dusting crops, boy! Without + precise calculations we could fly + right through a star or bounce too + close to a supernova and that'd end + your trip real quick, wouldn't it? + + The ship is now constantly battered with laserfire as a red + warning light begins to flash. + + LUKE + What's that flashing? + + HAN + We're losing our deflector shield. + Go strap yourself in, I'm going to + make the jump to light speed. + + The galaxy brightens and they move faster, almost as if + crashing a barrier. Stars become streaks as the pirateship + makes the jump to hyperspace. + + EXT. SPACE + + The Millennium Falcon zooms into infinity in less than a + second. + + EXT. DEATH STAR + + Alderaan looms behind the Death Star battlestation. + + INT. DEATH STAR - CONTROL ROOM + + Admiral Motti enters the quiet control room and bows before + Governor Tarkin, who stands before the huge wall screen + displaying a small green planet. + + MOTTI + We've entered the Alderaan system. + + Vader and two stormtroopers enter with Princess Leia. Her + hands are bound. + + LEIA + Governor Tarkin, I should have + expected to find you holding Vader's + leash. I recognized your foul stench + when I was brought on board. + + TARKIN + Charming to the last. You don't know + how hard I found it signing the order + to terminate your life! + + LEIA + I surprised you had the courage to + take the responsibility yourself! + + TARKIN + Princess Leia, before your execution + I would like you to be my guest at a + ceremony that will make this battle + station operational. No star system + will dare oppose the Emperor now. + + LEIA + The more you tighten your grip, + Tarkin, the more star systems will + slip through your fingers. + + TARKIN + Not after we demonstrate the power + of this station. In a way, you have + determined the choice of the planet + that'll be destroyed first. Since + you are reluctant to provide us with + the location of the Rebel base, I + have chosen to test this station's + destructive power... on your home + planet of Alderaan. + + LEIA + No! Alderaan is peaceful. We have no + weapons. You can't possibly... + + TARKIN + You would prefer another target? A + military target? Then name the system! + + Tarkin waves menacingly toward Leia. + + TARKIN + I grow tired of asking this. So it'll + be the last time. Where is the Rebel + base? + + Leia overhears an intercom voice announcing the approach to + Alderaan. + + LEIA + (softly) + Dantooine. + + Leia lowers her head. + + LEIA + They're on Dantooine. + + TARKIN + There. You see Lord Vader, she can + be reasonable. + (addressing Motti) + Continue with the operation. You may + fire when ready. + + LEIA + What? + + TARKIN + You're far too trusting. Dantooine + is too remote to make an effective + demonstration. But don't worry. We + will deal with your Rebel friends + soon enough. + + LEIA + No! + + INT. DEATH STAR - BLAST CHAMBER + + VADER + Commence primary ignition. + + A button is pressed which switches on a panel of lights. A + hooded Imperial soldier reaches overhead and pulls a lever. + Another lever is pulled. Vader reaches for still another + lever and a bank of lights on a panel and wall light up. A + huge beam of light emanates from within a cone-shaped area + and converges into a single laser beam out toward Alderaan. + The small green planet of Alderaan is blown into space dust. + + INT. MILLENNIUM FALCON - CENTRAL HOLD AREA + + Ben watches Luke practice the lightsaber with a small "seeker" + robot. Ben suddenly turns away and sits down. He falters, + seems almost faint. + + LUKE + Are you all right? What's wrong? + + BEN + I felt a great disturbance in the + Force... as if millions of voices + suddenly cried out in terror and + were suddenly silenced. I fear + something terrible has happened. + + Ben rubs his forehead. He seems to drift into a trance. Then + he fixes his gaze on Luke. + + BEN + You'd better get on with your + exercises. + + Han Solo enters the room. + + HAN + Well, you can forget your troubles + with those Imperial slugs. I told + you I'd outrun 'em. + + Luke is once again practicing with the lightsaber. + + HAN + Don't everyone thank me at once. + + Threepio watches Chewbacca and Artoo who are engrossed in a + game in which three-dimensional holographic figures move + along a chess-type board. + + HAN + Anyway, we should be at Alderaan + about oh-two-hundred hours. + + Chewbacca and the two robots sit around the lighted table + covered with small holographic monsters. Each side of the + table has a small computer monitor embedded in it. Chewbacca + seems very pleased with himself as he rests his lanky fur- + covered arms over his head. + + THREEPIO + Now be careful, Artoo. + + Artoo immediately reaches up and taps the computer with his + stubby claw hand, causing one of the holographic creatures + to walk to the new square. A sudden frown crosses Chewbacca's + face and he begins yelling gibberish at the tiny robot. + Threepio intercedes on behalf of his small companion and + begins to argue with the huge Wookiee. + + THREEPIO + He made a fair move. Screaming about + it won't help you. + + HAN + (interrupting) + Let him have it. It's not wise to + upset a Wookiee. + + THREEPIO + But sir, nobody worries about + upsetting a droid. + + HAN + That's 'cause droids don't pull + people's arms out of their socket + when they lose. Wookiees are known + to do that. + + THREEPIO + I see your point, sir. I suggest a + new strategy, Artoo. Let the Wookiee + win. + + Luke stands in the middle of the small hold area; he seems + frozen in place. A humming lightsaber is held high over his + head. Ben watches him from the corner, studying his movements. + Han watches with a bit of smugness. + + BEN + Remember, a Jedi can feel the Force + flowing through him. + + LUKE + You mean it controls your actions? + + BEN + Partially. But it also obeys your + commands. + + Suspended at eye level, about ten feet in front of Luke, a + "seeker", a chrome baseball-like robot covered with antennae, + hovers slowly in a wide arc. The ball floats to one side of + the youth then the other. Suddenly it makes a lightning-swift + lunge and stops within a few feet of Luke's face. Luke doesn't + move and the ball backs off. It slowly moves behind the boy, + then makes another quick lunge, this time emitting a blood + red laser beam as it attacks. It hits Luke in the leg causing + him to tumble over. Han lets loose with a burst of laughter. + + HAN + Hokey religions and ancient weapons + are no match for a good blaster at + your side, kid. + + LUKE + You don't believe in the Force, do + you? + + HAN + Kid, I've flown from one side of + this galaxy to the other. I've seen + a lot of strange stuff, but I've + never seen anything to make me believe + there's one all-powerful force + controlling everything. There's no + mystical energy field that controls + my destiny. + + Ben smiles quietly. + + HAN + It's all a lot of simple tricks and + nonsense. + + BEN + I suggest you try it again, Luke. + + Ben places a large helmet on Luke's head which covers his + eyes. + + BEN + This time, let go your conscious + self and act on instinct. + + LUKE + (laughing) + With the blast shield down, I can't + even see. How am I supposed to fight? + + BEN + Your eyes can deceive you. Don't + trust them. + + Han skeptically shakes his head as Ben throws the seeker + into the air. The ball shoots straight up in the air, then + drops like a rock. Luke swings the lightsaber around blindly + missing the seeker, which fires off a laserbolt which hits + Luke square on the seat of the pants. He lets out a painful + yell and attempts to hit the seeker. + + BEN + Stretch out with your feelings. + + Luke stands in one place, seemingly frozen. The seeker makes + a dive at Luke and, incredibly, he managed to deflect the + bolt. The ball ceases fire and moves back to its original + position. + + BEN + You see, you can do it. + + HAN + I call it luck. + + BEN + In my experience, there's no such + thing as luck. + + HAN + Look, going good against remotes is + one thing. Going good against the + living? That's something else. + + Solo notices a small light flashing on the far side of the + control panel. + + HAN + Looks like we're coming up on + Alderaan. + + Han and Chewbacca head back to the cockpit. + + LUKE + You know, I did feel something. I + could almost see the remote. + + BEN + That's good. You have taken your + first step into a larger world. + + INT. DEATH STAR - CONFERENCE ROOM + + Imperial Officer Cass stands before Governor Tarkin and the + evil Dark Lord Darth Vader. + + TARKIN + Yes. + + OFFICER CASS + Our scout ships have reached + Dantooine. They found the remains of + a Rebel base, but they estimate that + it has been deserted for some time. + They are now conducting an extensive + search of the surrounding systems. + + TARKIN + She lied! She lied to us! + + VADER + I told you she would never consciously + betray the Rebellion. + + TARKIN + Terminate her... immediately! + + EXT. HYPERSPACE + + The pirateship is just coming out of hyperspace; a strange + surreal light show surrounds the ship. + + INT. MILLENNIUM FALCON - COCKPIT + + HAN + Stand by, Chewie, here we go. Cut in + the sublight engines. + + Han pulls back on a control lever. Outside the cockpit window + stars begin streaking past, seem to decrease in speed, then + stop. Suddenly the starship begins to shudder and violently + shake about. Asteroids begin to race toward them, battering + the sides of the ship. + + HAN + What the...? Aw, we've come out of + hyperspace into a meteor shower. + Some kind of asteroid collision. + It's not on any of the charts. + + The Wookiee flips off several controls and seems very cool + in the emergency. Luke makes his way into the bouncing + cockpit. + + LUKE + What's going on? + + HAN + Our position is correct, except... + no, Alderaan! + + LUKE + What do you mean? Where is it? + + HAN + Thats what I'm trying to tell you, + kid. It ain't there. It's been totally + blown away. + + LUKE + What? How? + + Ben moves into the cockpit behind Luke as the ship begins to + settle down. + + BEN + Destroyed... by the Empire! + + HAN + The entire starfleet couldn't destroy + the whole planet. It'd take a thousand + ships with more fire power than + I've... + + A signal starts flashing on the control panel and a muffled + alarm starts humming. + + HAN + There's another ship coming in. + + LUKE + Maybe they know what happened. + + BEN + It's an Imperial fighter. + + Chewbacca barks his concern. A huge explosion bursts outside + the cockpit window, shaking the ship violently. A tiny, finned + Imperial TIE fighter races past the cockpit window. + + LUKE + It followed us! + + BEN + No. It's a short range fighter. + + HAN + There aren't any bases around here. + Where did it come from? + + EXT. SPACE + + The fighter races past the Corellian pirateship. + + INT. MILLENNIUM FALCON - COCKPIT + + LUKE + It sure is leaving in a big hurry. + If they identify us, we're in big + trouble. + + HAN + Not if I can help it. Chewie...jam + it's transmissions. + + BEN + It'd be as well to let it go. It's + too far out of range. + + HAN + Not for long... + + EXT. SPACE + + The pirateship zooms over the camera and away into the + vastness of space after the Imperial TIE fighter. + + INT. MILLENNIUM FALCON - COCKPIT + + The tension mounts as the pirateship gains on the tiny + fighter. In the distance, one of the stars becomes brighter + until it is obvious that the TIE ship is heading for it. Ben + stands behind Chewbacca. + + BEN + A fighter that size couldn't get + this deep into space on its own. + + LUKE + It must have gotten lost, been part + of a convoy or something. + + HAN + Well, he ain't going to be around + long enough to tell anyone about us. + + EXT. SPACE + + The TIE fighter is losing ground to the larger pirateship as + they race toward camera and disappear over head. + + INT. MILLENNIUM FALCON - COCKPIT + + The distant star can be distinguished as a small moon or + planet. + + LUKE + Look at him. He's headed for that + small moon. + + HAN + I think I can get him before he gets + there... he's almost in range. + + The small moon begins to take on the appearance of a monstrous + spherical battle station. + + BEN + That's no moon! It's a space station. + + HAN + It's too big to be a space station. + + LUKE + I have a very bad feeling about this. + + HAN + Yeah, I think your right. Full + reverse! Chewie, lock in the auxiliary + power. + + The pirateship shudders and the TIE fighter accelerates away + toward the gargantuan battle station. + + LUKE + Why are we still moving towards it? + + HAN + We're caught in a tractor beam! It's + pulling us in! + + LUKE + But there's gotta be something you + can do! + + HAN + There's nothin' I can do about it, + kid. I'm in full power. I'm going to + have to shut down. But they're not + going to get me without a fight! + + Ben Kenobi puts a hand on his shoulder. + + BEN + You can't win. But there are + alternatives to fighting. + + INT. MILLENNIUM FALCON - DEATH STAR + + As the battered pirate starship is towed closer to the awesome + metal moon, the immense size of the massive battle station + becomes staggering. Running along the equator of the gigantic + sphere is a mile-high band of huge docking ports into which + the helpless pirateship is dragged. + + EXT. DEATH STAR - HUGE PORT DOORS + + The helpless Millennium Falcon is pulled past a docking port + control room and huge laser turret cannons. + + VOICE OVER DEATH STAR INTERCOM + + Clear Bay twenty-three-seven. We are opening the magnetic + field. + + INT. DEATH STAR - DOCKING BAY 2037 + + The pirateship is pulled in through port doors of the Death + Star, coming to rest in a huge hangar. Thirty stormtroopers + stand at attention in a central assembly area. + + OFFICER + To you stations! + (to another officer) + Come with me. + + INT. DEATH STAR - HALLWAY + + Stormtroopers run to their posts. + + INT. DEATH STAR - HANGAR 2037 + + A line of stormtroopers march toward the pirateship in + readiness to board it, while other troopers stand with weapons + ready to fire. + + OFFICER + Close all outboard shields! Close + all outboard shields! + + INT. DEATH STAR - CONFERENCE ROOM + + Tarkin pushes a button and responds to the intercom buzz. + + TARKIN + Yes. + + VOICE + (over intercom) + We've captured a freighter entering + the remains of the Alderaan system. + It's markings match those of a ship + that blasted its way out of Mos + Eisley. + + VADER + They must be trying to return the + stolen plans to the princess. She + may yet be of some use to us. + + INT. DEATH STAR - DOCKING BAY 2037 + + Vader and a commander approach the troops as an Officer and + several heavily armed troops exit the spacecraft. + + VOICE + (over intercom) + Unlock one-five-seven and nine. + Release charges. + + OFFICER + (to Vader) + There's no one on board, sir. + According to the log, the crew + abandoned ship right after takeoff. + It must be a decoy, sir. Several of + the escape pods have been jettisoned. + + VADER + Did you find any droids? + + OFFICER + No, sir. If there were any on board, + they must also have jettisoned. + + VADER + Send a scanning crew on board. I + want every part of this ship checked. + + OFFICER + Yes, sir. + + VADER + I sense something... a presence I + haven't felt since... + + Vader turns quickly and exits the hangar. + + OFFICER + Get me a scanning crew in here on + the double. I want every part of + this ship checked! + + INT. MILLENNIUM FALCON - HALLWAY + + A trooper runs through the hallway heading for the exit. In + a few moments all is quiet. The muffled sounds of a distant + officer giving orders finally fade. Two floor panels suddenly + pop up revealing Han Solo and Luke. Ben Kenobi sticks his + head out of a third locker. + + LUKE + Boy, it's lucky you had these + compartments. + + HAN + I use them for smuggling. I never + thought I'd be smuggling myself in + them. This is ridiculous. Even if I + could take off, I'd never get past + the tractor beam. + + BEN + Leave that to me! + + HAN + Damn fool. I knew that you were going + to say that! + + BEN + Who's the more foolish... the fool + or the fool who follows him? + + Han shakes his head, muttering to himself. Chewbacca agrees. + + INT. DEATH STAR - MAIN FORWARD BAY + + The crewmen carry a heavy box on board the ship, past the + two stormtroopers guarding either side of the ramp. + + TROOPER + The ship's all yours. If the scanners + pick up anything, report it + immediately. All right, let's go. + + The crewmen enter the pirateship and a loud crashing sound + is followed by a voice calling to the guard below. + + HAN'S VOICE + Hey down there, could you give us a + hand with this? + + The stormtroopers enter the ship and a quick round of gunfire + is heard. + + INT. DEATH STAR - FORWARD BAY - COMMAND OFFICE + + In a very small command office near the entrance to the + pirateship, a Gantry Officer looks out his window and notices + the guards are missing. He speaks into the comlink. + + GANTRY OFFICER + TX-four-one-two. Why aren't you at + your post? TX-four-one-two, do you + copy? + + A stormtrooper comes down the ramp of the pirateship and + waves to the gantry officer, pointing to his ear indicating + his comlink is not working. The gantry officer shakes his + head in disgust and heads for the door, giving his aide an + annoyed look. + + GANTRY OFFICER + Take over. We've got a bad + transmitter. I'll see what I can do. + + As the officer approaches the door, it slides open revealing + the towering Chewbacca. The gantry officer, in a momentary + state of shock, stumbles backward. With a bone- chilling + howl, the giant Wookiee flattens the officer with one blow. + The aide immediately reaches for his pistol, but is blasted + by Han, dressed as an Imperial stormtrooper. Ben and the + robots enter the room quickly followed by Luke, also dressed + as a stormtrooper. Luke quickly removes his helmet. + + LUKE + You know, between his howling and + your blasting everything in sight, + it's a wonder the whole station + doesn't know we're here. + + HAN + Bring them on! I prefer a straight + fight to all this sneaking around. + + THREEPIO + We found the computer outlet, sir. + + Ben feeds some information into the computer and a map of + the city appears on the monitor. He begins to inspect it + carefully. Threepio and Artoo look over the control panel. + Artoo finds something that makes him whistle wildly. + + BEN + Plug in. He should be able to + interpret the entire Imperial computer + network. + + Artoo punches his claw arm into the computer socket and the + vast Imperial brain network comes to life, feeding information + to the little robot. After a few moments, he beeps something. + + THREEPIO + He says he's found the main computer + to power the tractor beam that's + holding the ship here. He'll try to + make the precise location appear on + the monitor. + + The computer monitor flashes readouts. + + THREEPIO + The tractor beam is coupled to the + main reactor in seven locations. A + power loss at one of the terminals + will allow the ship to leave. + + Ben studies the data on the monitor readout. + + BEN + I don't think you boys can help. I + must go alone. + + HAN + Whatever you say. I've done more + that I bargained for on this trip + already. + + LUKE + I want to go with you. + + BEN + Be patient, Luke. Stay and watch + over the droids. + + LUKE + But he can... + + BEN + They must be delivered safely or + other star systems will suffer the + same fate as Alderaan. Your destiny + lies along a different path than + mine. The Force will be with you... + always! + + Ben adjusts the lightsaber on his belt and silently steps + out of the command office, then disappears down a long grey + hallway. Chewbacca barks a comment and Han shakes his head + in agreement. + + HAN + Boy you said it, Chewie. + + Han looks at Luke. + + HAN + Where did you dig up that old fossil? + + LUKE + Ben is a great man. + + HAN + Yeah, great at getting us into + trouble. + + LUKE + I didn't hear you give any ideas... + + HAN + Well, anything would be better than + just hanging around waiting for him + to pick us up... + + LUKE + Who do you think... + + Suddenly Artoo begins to whistle and beep a blue streak. + Luke goes over to him. + + LUKE + What is it? + + THREEPIO + I'm afraid I'm not quite sure, sir. + He says "I found her", and keeps + repeating, "She's here." + + LUKE + Well, who... who has he found? + + Artoo whistles a frantic reply. + + THREEPIO + Princess Leia. + + LUKE + The princess? She's here? + + HAN + Princess? What's going on? + + THREEPIO + Level five. Detention block A A-twenty- + three. I'm afraid she's scheduled to + be terminated. + + LUKE + Oh, no! We've got to do something. + + HAN + What are you talking about? + + LUKE + The droid belongs to her. She's the + one in the message... We've got to + help her. + + HAN + Now, look, don't get any funny ideas. + The old man wants us to wait right + here. + + LUKE + But he didn't know she was here. + Look, will you just find a way back + into the detention block? + + HAN + I'm not going anywhere. + + LUKE + They're going to execute her. Look, + a few minutes ago you said you didn't + want to just wait here to be captured. + Now all you want to do is stay. + + HAN + Marching into the detention area is + not what I had in mind. + + LUKE + But they're going to kill her! + + HAN + Better her than me... + + LUKE + She's rich. + + Chewbacca growls. + + HAN + Rich? + + LUKE + Yes. Rich, powerful! Listen, if you + were to rescue her, the reward would + be... + + HAN + What? + + LUKE + Well more wealth that you can imagine. + + HAN + I don't know, I can imagine quite a + bit! + + LUKE + You'll get it! + + HAN + I better! + + LUKE + You will... + + HAN + All right, kid. But you'd better be + right about this. + + Han looks at Chewie, who grunts a short grunt. + + LUKE + All right. + + HAN + What's your plan? + + LUKE + Uh... Threepio, hand me those binders + there will you? + + Luke moves toward Chewbacca with electronic cuffs. + + LUKE + Okay. Now, I'm going to put these on + you. + + Chewie lets out a hideous growl. + + LUKE + Okay. Han, you put these on. + + Luke sheepishly hands the binders to Han. + + HAN + Don't worry, Chewie. I think I know + what he has in mind. + + The Wookiee has a worried and frightened look on his face as + Han binds him with the electronic cuffs. + + THREEPIO + Master Luke, sir! Pardon me for + asking... but, ah... what should + Artoo and I do if we're discovered + here? + + LUKE + Lock the door! + + HAN + And hope they don't have blasters. + + THREEPIO + That isn't very reassuring. + + Luke and Han put on their armored stormtrooper helmets and + start off into the giant Imperial Death Star. + + INT. DEATH STAR - DETENTION AREA - ELEVATOR TUBE + + Han and Luke try to look inconspicuous in their armored suits + as they wait for a vacuum elevator to arrive. Troops, + bureaucrats, and robots bustle about, ignoring the trio + completely. Only a few give the giant Wookiee a curious + glance. + + Finally a small elevator arrives and the trio enters. + + LUKE + I can't see a thing in this helmet. + + A bureaucrat races to get aboard also, but is signaled away + by Han. The door to the pod-like vehicle slides closed and + the elevator car takes off through a vacuum tube. + + INT. DEATH STAR - MAIN HALLWAY + + Several Imperial officers walk through the wide main + passageway. They pass several stormtroopers and a robot + similar to Threepio but with an insect face. At the far end + of the hallway, a passing flash of Ben Kenobi appears, then + disappears down a small hallway. His appearance is so fleeting + that it is hard to tell if he is real or just an illusion. + No one in the hallway seems to notice him. + + INT. DEATH STAR - INTERIOR ELEVATOR - DETENTION SECURITY + AREA + + Luke and Han step forward to exit the elevator, but the door + slides open behind them. The giant Wookiee and his two guards + enter the old grey security station. Guards and laser gates + are everywhere. Han whispers to Luke under his breath. + + HAN + This is not going to work. + + LUKE + Why didn't you say so before? + + HAN + I did say so before! + + INT. DETENTION AREA + + Elevator doors open. A tall, grim looking Officer approaches + the trio. + + OFFICER + Where are you taking this... thing? + + Chewie growls a bit at the remark but Han nudges him to shut + up. + + LUKE + Prisoner transfer from Block one-one- + three-eight. + + OFFICER + I wasn't notified. I'll have to clear + it. + + The officer goes back to his console and begins to punch in + the information. There are only three other troopers in the + area. Luke and Han survey the situation, checking all of the + alarms, laser gates, and camera eyes. Han unfastens one of + Chewbacca's electronic cuffs and shrugs to Luke. + + Suddenly Chewbacca throws up his hands and lets out with one + of his ear-piercing howls. He grabs Han's laser rifle. + + HAN + Look out! He's loose! + + LUKE + He's going to pull us all apart. + + HAN + Go get him! + + The startled guards are momentarily dumbfounded. Luke and + Han have already pulled out their laser pistols and are + blasting away at the terrifying Wookiee. Their barrage of + laserfire misses Chewbacca, but hits the camera eyes, laser + gate controls, and the Imperial guards. The officer is the + last of the guards to fall under the laserfire just as he is + about to push the alarm system. Han rushes to the comlink + system, which is screeching questions about what is going + on. He quickly checks the computer readout. + + HAN + We've got to find out which cell + this princess of yours is in. Here + it is... cell twenty-one-eight-seven. + You go get her. I'll hold them here. + + Luke races down one of the cell corridors. Han speaks into + the buzzing comlink. + + HAN + (sounding official) + Everything is under control. Situation + normal. + + INTERCOM VOICE + What happened? + + HAN + (getting nervous) + Uh... had a slight weapons + malfunction. But, uh, everything's + perfectly all right now. We're fine. + We're all fine here, now, thank you. + How are you? + + INTERCOM VOICE + We're sending a squad up. + + HAN + Uh, uh, negative. We had a reactor + leak here now. Give us a few minutes + to lock it down. Large leak... very + dangerous. + + INTERCOM VOICE + Who is this? What's your operating + number? + + Han blasts the comlink and it explodes. + + HAN + Boring conversation anyway. + (yelling down the + hall) + Luke! We're going to have company! + + INT. DEATH STAR - CELL ROW + + Luke stops in front of one of the cells and blasts the door + away with a laser pistol. When the smoke clears, Luke sees + the dazzling young princess-senator. She had been sleeping + and is now looking at him with an uncomprehending look on + her face. Luke is stunned by her incredible beauty and stands + staring at her with his mouth hanging open. + + LEIA + (finally) + Aren't you a little short to be a + stormtrooper? + + Luke takes off his helmet, coming out of it. + + LUKE + What? Oh... the uniform. I'm Luke + Skywalker. I'm here to rescue you. + + LEIA + You're who? + + LUKE + I'm here to rescue you. I've got + your R2 unit. I'm here with Ben + Kenobi. + + LEIA + Ben Kenobi is here! Where is he? + + LUKE + Come on! + + INT. DEATH STAR - CONFERENCE ROOM + + Darth Vader paces the room as Governor Tarkin sits at the + far end of the conference table. + + VADER + He is here... + + TARKIN + Obi-Wan Kenobi! What makes you think + so? + + VADER + A tremor in the Force. The last time + I felt it was in the presence of my + old master. + + TARKIN + Surely he must be dead by now. + + VADER + Don't underestimate the power of the + Force. + + TARKIN + The Jedi are extinct, their fire has + gone out of the universe. You, my + friend, are all that's left of their + religion. + + There is a quiet buzz on the comlink. + + TARKIN + Yes. + + INTERCOM VOICE + Governor Tarkin, we have an emergency + alert in detention block A A-twenty- + three. + + TARKIN + The princess! Put all sections on + alert! + + VADER + Obi-Wan is here. The Force is with + him. + + TARKIN + If you're right, he must not be + allowed to escape. + + VADER + Escape is not his plan. I must face + him alone. + + INT. DEATH STAR - DETENTION AREA - HALLWAY + + An ominous buzzing sound is heard on the other side of the + elevator door. + + HAN + Chewie! + + Chewbacca responds with a growling noise. + + HAN + Get behind me! Get behind me! + + A series of explosions knock a hole in the elevator door + through which several Imperial troops begin to emerge. + + Han and Chewie fire laser pistols at them through the smoke + and flame. They turn and run down the cell hallway, meeting + up with Luke and Leia rushing toward them. + + HAN + Can't get out that way. + + LEIA + Looks like you managed to cut off + our only escape route. + + HAN + (sarcastically) + Maybe you'd like it back in your + cell, Your Highness. + + Luke takes a small comlink transmitter from his belt as they + continue to exchange fire with stormtroopers making their + way down the corridor. + + LUKE + See-Threepio! See-Threepio! + + THREEPIO + (over comlink) + Yes sir? + + LUKE + We've been cut off! Are there any + other ways out of the cell bay?... + What was that? I didn't copy! + + INT. DEATH STAR - MAIN BAY GANTRY - CONTROL TOWER + + Threepio paces the control center as little Artoo beeps and + whistles a blue streak. Threepio yells into the small comlink + transmitter. + + THREEPIO + I said, all systems have been alerted + to your presence, sir. The main + entrance seems to be the only way in + or out; all other information on + your level is restricted. + + Someone begins banging on the door. + + TROOPER VOICE + Open up in there! + + THREEPIO + Oh, no! + + INT. DEATH STAR - DETENTION CORRIDOR + + Luke and Leia crouch together in an alcove for protection as + they continue to exchange fire with troops. Han and Chewbacca + are barely able to keep the stormtroopers at bay at the far + and of the hallway. The laserfire is very intense, and smoke + fills the narrow cell corridor. + + LUKE + There isn't any other way out. + + HAN + I can't hold them off forever! Now + what? + + LEIA + This is some rescue. When you came + in here, didn't you have a plan for + getting out? + + HAN + (pointing to Luke) + He's the brains, sweetheart. + + Luke manages a sheepish grin and shrugs his shoulders. + + LUKE + Well, I didn't... + + The princess grabs Luke's gun and fires at a small grate in + the wall next to Han, almost frying him. + + HAN + What the hell are you doing? + + LEIA + Somebody has to save our skins. Into + the garbage chute, wise guy. + + She jumps through the narrow opening as Han and Chewbacca + look on in amazement. Chewbacca sniffs the garbage chute and + says something. + + HAN + Get in there you big furry oaf! I + don't care what you smell! Get in + there and don't worry about it. + + Han gives him a kick and the Wookiee disappears into the + tiny opening. Luke and Han continue firing as they work their + way toward the opening. + + HAN + Wonderful girl! Either I'm going to + kill her or I'm beginning to like + her. Get in there! + + Luke ducks laserfire as he jumps into the darkness. Han fires + off a couple of quick blasts creating a smokey cover, then + slides into the chute himself and is gone. + + INT. DEATH STAR - GARBAGE ROOM + + Han tumbles into the large room filled with garbage and muck. + Luke is already stumbling around looking for an exit. He + finds a small hatchway and struggles to get it open. It won't + budge. + + HAN + (sarcastically) + Oh! The garbage chute was a really + wonderful idea. What an incredible + smell you've discovered! Let's get + out of here! Get away from there... + + LUKE + No! wait! + + Han draws his laser pistol and fires at the hatch. The + laserbolt ricochets wildly around the small metal room. + Everyone dives for cover in the garbage as the bolt explodes + almost on top of them. Leia climbs out of the garbage with a + rather grim look on her face. + + LUKE + Will you forget it? I already tried + it. It's magnetically sealed! + + LEIA + Put that thing away! You're going to + get us all killed. + + HAN + Absolutely, Your Worship. Look, I + had everything under control until + you led us down here. You know, it's + not going to take them long to figure + out what happened to us. + + LEIA + It could be worse... + + A loud, horrible, inhuman moan works its way up from the + murky depths. Chewbacca lets out a terrified howl and begins + to back away. Han and Luke stand fast with their laser pistols + drawn. The Wookiee is cowering near one of the walls. + + HAN + It's worse. + + LUKE + There's something alive in here! + + HAN + That's your imagination. + + LUKE + Something just moves past my leg! + Look! Did you see that? + + HAN + What? + + LUKE + Help! + + Suddenly Luke is yanked under the garbage. + + HAN + Luke! Luke! Luke! + + Solo tries to get to Luke. Luke surfaces with a gasp of air + and thrashing of limbs. A membrane tentacle is wrapped around + his throat. + + LEIA + Luke! + + Leia extends a long pipe toward him. + + LEIA + Luke, Luke, grab a hold of this. + + LUKE + Blast it, will you! My gun's jammed. + + HAN + Where? + + LUKE + Anywhere! Oh!! + + Solo fires his gun downward. Luke is pulled back into the + muck by the slimy tentacle. + + HAN + Luke! Luke! + + Suddenly the walls of the garbage receptacle shudder and + move in a couple of inches. Then everything is deathly quiet. + Han and Leia give each other a worried look as Chewbacca + howls in the corner. With a rush of bubbles and muck Luke + suddenly bobs to the surface. + + LEIA + Grab him! + + Luke seems to be released by the thing. + + LEIA + What happened? + + LUKE + I don't know, it just let go of me + and disappeared... + + HAN + I've got a very bad feeling about + this. + + Before anyone can say anything the walls begin to rumble and + edge toward the Rebels. + + LUKE + The walls are moving! + + LEIA + Don't just stand there. Try to brace + it with something. + + They place poles and long metal beams between the closing + walls, but they are simply snapped and bent as the giant + trashmasher rumbles on. The situation doesn't look too good. + + LUKE + Wait a minute! + + Luke pulls out his comlink. + + LUKE + Threepio! Come in Threepio! Threepio! + Where could he be? + + INT. DEATH STAR - MAIN GANTRY - COMMAND OFFICE + + A soft buzzer and the muted voice of Luke calling out for + See-Threepio can be heard on Threepio's hand comlink, which + is sitting on the deserted computer console. Artoo and + Threepio are nowhere in sight. Suddenly there is a great + explosion and the door of the control tower flies across the + floor. Four armed stormtroopers enter the chamber. + + FIRST TROOPER + Take over! + (pointing to the dead + officer) + See to him! Look there! + + A trooper pushes a button and the supply cabinet door slides + open. See-Threepio and Artoo-Detoo are inside. Artoo follows + his bronze companion out into the office. + + THREEPIO + They're madmen! They're heading for + the prison level. If you hurry, you + might catch them. + + FIRST OFFICER + (to his troops) + Follow me! You stand guard. + + The troops hustle off down the hallway, leaving a guard to + watch over the command office. + + THREEPIO + (to Artoo) + Come on! + + The guard aims a blaster at them. + + THREEPIO + Oh! All this excitement has overrun + the circuits of my counterpart here. + If you don't mind, I'd like to take + him down to maintenance. + + TROOPER + All right. + + The guard nods and Threepio, with little Artoo in tow, hurries + out the door. + + INT. DEATH STAR - GARBAGE ROOM + + As the walls rumble closed, the room gets smaller and smaller. + Chewie is whining and trying to hold a wall back with his + giant paws. + + Han is leaning back against the other wall. Garbage is + snapping and popping. Luke is trying to reach Threepio. + + LUKE + Threepio! Come in, Threepio! Threepio! + + Han and Leia try to brace the contracting walls with a pole. + Leia begins to sink into the trash. + + HAN + Get to the top! + + LEIA + I can't + + LUKE + Where could he be? Threepio! Threepio, + will you come in? + + INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL + + THREEPIO + They aren't here! Something must + have happened to them. See if they've + been captured. + + Little Artoo carefully plugs his claw arm into a new wall + socket and a complex array of electronic sounds spew from + the tiny robot. + + THREEPIO + Hurry! + + INT. DEATH STAR - GARBAGE ROOM + + The walls are only feet apart. Leia and Han are braced against + the walls. The princess is frightened. They look at each + other. Leia reaches out and takes Han's hand and she holds + it tightly. She's terrified and suddenly groans as she feels + the first crushing pressure against her body. + + HAN + One thing's for sure. We're all going + to be a lot thinner! + (to Leia) + Get on top of it! + + LEIA + I'm trying! + + INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL + + THREEPIO + (to Artoo) + Thank goodness, they haven't found + them! Where could they be? + + Artoo frantically beeps something to See-Threepio. + + THREEPIO + Use the comlink? Oh, my! I forgot I + turned it off! + + INT. DEATH STAR - GARBAGE ROOM + + Meanwhile, Luke is lying on his side, trying to keep his + head above the rising ooze. Luke's comlink begins to buzz + and he rips it off his belt. + + INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL + + Muffled sounds of Luke's voice over the comlink can be heard, + but not distinctly. + + THREEPIO + Are you there, sir? + + INT. DEATH STAR - GARBAGE ROOM + + LUKE + Threepio! + + INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL + + THREEPIO + We've had some problems... + + LUKE + (over comlink) + Will you shut up and listen to me? + Shut down all garbage mashers on the + detention level, will you? Do you + copy? + + INT. DEATH STAR - GARBAGE ROOM + + LUKE + Shut down all the garbage mashers on + the detention level. + + INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL + + LUKE + (over comlink) + Shut down all the garbage mashers on + the detention level. + + THREEPIO + (to Artoo) + No. Shut them all down! Hurry! + + Threepio holds his head in agony as he hears the incredible + screaming and hollering from Luke's comlink. + + THREEPIO + Listen to them! They're dying, Artoo! + Curse my metal body! I wasn't fast + enough. It's all my fault! My poor + master! + + LUKE + (over comlink) + Threepio, we're all right! + + INT. DEATH STAR - GARBAGE ROOM + + The screaming and hollering is the sound of joyous relief. + The walls have stopped moving. Han, Chewie and Leia embrace + in the background. + + LUKE + We're all right. You did great. + + Luke moves to the pressure sensitive hatch, looking for a + number. + + LUKE + Hey... hey, open the pressure + maintenance hatch on unit number... + where are we? + + INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL + + HAN + (over comlink) + Three-two-six-eight-two-seven. + + INT. DEATH STAR - TRACTOR BEAM - POWER GENERATOR TRENCH + + Ben enters a humming service trench that powers the huge + tractor beam. The trench seems to be a hundred miles deep. + The clacking sound of huge switching devices can be heard. + The old Jedi edges his his way along a narrow ledge leading + to a control panel that connects two large cables. He + carefully makes several adjustments in the computer terminal, + and several lights on the board go from red to blue. + + INT. DEATH STAR - UNUSED HALLWAY + + The group exits the garbage room into a dusty, unused hallway. + Han and Luke remove the trooper suits and strap on the blaster + belts. + + HAN + If we can just avoid any more female + advice, we ought to be able to get + out of here. + + Luke smiles and scratches his head as he takes a blaster + from Solo. + + LUKE + Well, let's get moving! + + Chewie begins growling and points to the hatch to the garbage + room, as he runs away and then stops howling. + + HAN + (to Chewie) + Where are you going? + + The Dia Nogu bangs against the hatch and a long, slimy + tentacle works its way out of the doorway searching for a + victim. Han aims his pistol. + + LEIA + No, wait. They'll hear! + + Han fires at the doorway. The noise of the blast echoes + relentlessly throughout the empty passageway. Luke simply + shakes his head in disgust. + + HAN + (to Chewie) + Come here, you big coward! + + Chewie shakes his head "no." + + HAN + Chewie! Come here! + + LEIA + Listen. I don't know who you are, or + where you came from, but from now + on, you do as I tell you. Okay? + + Han is stunned at the command of the petite young girl. + + HAN + Look, Your Worshipfulness, let's get + one thing straight! I take orders + from one person! Me! + + LEIA + It's a wonder you're still alive. + (looking at Chewie) + Will somebody get this big walking + carpet out of my way? + + Han watches her start away. He looks at Luke. + + HAN + No reward is worth this. + + They follow her, moving swiftly down the deserted corridor. + + INT. DEATH STAR - POWER TRENCH + + Suddenly a door behind Ben slides open and a detachment of + stormtroopers marches to the power trench. Ben instantly + slips into the shadows as an Officer moves to within a few + feet of him. + + OFFICER + Secure this area until the alert is + canceled. + + FIRST TROOPER + Give me regular reports. + + All but two of the stormtroopers leave. + + FIRST TROOPER + Do you know what's going on? + + SECOND TROOPER + Maybe it's another drill. + + Ben moves around the tractor beam, watching the stormtroopers + as they turn their backs to him. Ben gestures with his hand + toward them, as the troops think they hear something in the + other hallway. With the help of the Force, Ben deftly slips + past the troopers and into the main hallway. + + SECOND TROOPER + What was that? + + FIRST TROOPER + Oh, it's nothing. Don't worry about + it. + + INT. DEATH STAR - HALLWAY + + Luke, Han, Chewbacca, and Leia run down an empty hallway and + stop before a bay window overlooking the pirateship. Troopers + are milling about the ship. Luke takes out his pocket comlink. + + HAN + (looking at his ship) + There she is. + + LUKE + See-Threepio, do you copy? + + THREEPIO + (voice) + For the moment. Uh, we're in the + main hangar across from the ship. + + LUKE + We're right above you. Stand by. + + Han is watching the dozen or so troops moving in and out of + the pirateship. Leia moves towards Han, touches his arm and + points out the window to the ship. + + LEIA + You came in that thing? You're braver + that I thought. + + HAN + Nice! Come on! + + Han gives her a dirty look, and they start off down the + hallway. They round a corner and run right into twenty + Imperial stormtroopers heading toward them. Both groups are + taken by surprise and stop in their tracks. + + FIRST TROOPER + It's them! Blast them! + + Before even thinking, Han draws his laser pistol and charges + the troops, firing. His blaster knocks one of the + stormtroopers into the air. Chewie follows his captain down + the corridor, stepping over the fallen trooper on the floor. + + HAN + (to Luke and Leia) + Get back to the ship! + + LUKE + Where are you going? Come back! + + Han has already rounded a corner and does not hear. + + LEIA + He certainly has courage. + + LUKE + What good will it do us if he gets + himself killed? Come on! + + Luke is furious but doesn't have time to think about it for + muted alarms begin to go off down on the hangar deck. Luke + and Leia start off toward the starship hangar. + + INT. DEATH STAR - SUBHALLWAY + + Han chases the stormtroopers down a long subhallway. He is + yelling and brandishing his laser pistol. The troops reach a + dead end and are forced to turn and fight. Han stops a few + feet from them and assumes a defensive position. The troops + begin to raise their laser guns. Soon all ten troopers are + moving into an attack position in front of the lone + starpirate. Han's determined look begins to fade as the troops + begin to advance. Solo jumps backward as they fire at him. + + INT. DEATH STAR - SUBHALLWAY + + Chewbacca runs down the subhallway in a last-ditch attempt + to save his bold captain. Suddenly he hears the firing of + laser guns and yelling. Around the corner shoots Han, pirate + extraordinaire, running for his life, followed by a host of + furious stormtroopers. Chewbacca turns and starts running + the other way also. + + INT. DEATH STAR - SUBHALLWAY + + Luke fires his laser pistol wildly as he and Leia rush down + a narrow subhallway, chased by several stormtroopers. They + quickly reach the end of the subhallway and race through an + open hatchway. + + INT. DEATH STAR - CENTRAL CORE SHAFT + + Luke and Leia race through the hatch onto a narrow bridge + that spans a huge, deep shaft that seems to go into infinity. + The bridge has been retracted into the wall of the shaft, + and Luke almost rushes into the abyss. He loses his balance + off the end of the bridge as Leia, behind him, takes hold of + his arm and pulls him back. + + LUKE + (gasping) + I think we took a wrong turn. + + Blasts from the stormtroopers' laser guns explode nearby + reminding them of the oncoming danger. Luke fires back at + the advancing troops. Leia reaches over and hits a switch + that pops the hatch door shut with a resounding boom, leaving + them precariously perched on a short piece of bridge overhang. + Laserfire from the troopers continues to hit the steel door. + + LEIA + There's no lock! + + Luke blasts the controls with his laser pistol. + + LUKE + That oughta hold it for a while. + + LEIA + Quick, we've got to get across. Find + the control that extends the bridge. + + LUKE + Oh, I think I just blasted it. + + Luke looks at the blasted bridge control while the + stormtroopers on the opposite side of the door begin making + ominous drilling and pounding sounds. + + LEIA + They're coming through! + + Luke notices something on his stormtrooper belt, when + laserfire hits the wall behind him. Luke aims his laser pistol + at a stormtrooper perched on a higher bridge overhang across + the abyss from them. They exchange fire. Two more troops + appear on another overhang, also firing. A trooper is hit, + and grabs at his chest. + + Another trooper standing on the bridge overhang is hit by + Luke's laserfire, and plummets down the shaft. Troopers move + back off the bridge; Luke hands the gun to Leia. + + LUKE + Here, hold this. + + Luke pulls a thin nylon cable from his trooper utility belt. + It has a grappler hook on it. A trooper appears on a bridge + overhang and fires at Luke and Leia. As Luke works with the + rope, Leia returns the laser volley. Another trooper appears + and fires at them, as Leia returns his fire as well. + Suddenly, the hatch door begins to open, revealing the feet + of more troops. + + LEIA + Here they come! + + Leia hits one of the stormtroopers on the bridge above, and + he falls into the abyss. Luke tosses the rope across the + gorge and it wraps itself around an outcropping of pipes. He + tugs on the rope to make sure it is secure, then grabs the + princess in his arms. Leia looks at Luke, then kisses him + quickly on the lips. Luke is very surprised. + + LEIA + For luck! + + Luke pushes off and they swing across the treacherous abyss + to the corresponding hatchway on the opposite side. Just as + Luke and Leia reach the far side of the canyon, the + stormtroopers break through the hatch and begin to fire at + the escaping duo. Luke returns the fire before ducking into + the tiny subhallway. + + INT. DEATH STAR - NARROW PASSAGEWAY + + Ben hides in the shadows of the narrow passageway as several + stormtroopers rush past him in the main hallway. He checks + to make sure they're gone, then runs down the hallway in the + opposite direction. Darth Vader appears at the far end of + the hallway and starts after the old Jedi. + + INT. DEATH STAR - MAIN FORWARD BAY + + Threepio looks around at the troops milling about the + pirateship entry ramp. + + THREEPIO + Where could they be? + + Artoo, plugged into the computer socket, turns his dome left + and right, beeping a response. + + INT. DEATH STAR - CORRIDOR - BLAST SHIELDS DOOR + + Han and Chewbacca run down a long corridor with several + troopers hot on their trail. + + TROOPER + Close the blast doors! + + At the end of the hallway, blast doors begin to close in + front of them. The young starpilot and his furry companion + race past the huge doors just as they are closing, and manage + to get off a couple off laserblasts at the pursuing troops + before the doors slam shut. + + TROOPER + Open the blast doors! Open the blast + doors! + + INT. DEATH STAR - HALLWAY LEADING TO MAIN FORWARD BAY + + Ben hurries along one of the tunnels leading to the hangar + where the pirateship waits. Just before he reaches the hangar, + Darth Vader steps into view at the end of the tunnel, not + ten feet away. Vader lights his saber. Ben also ignites his + and steps slowly forward. + + VADER + I've been waiting for you, Obi-Wan. + We meet again, at last. The circle + is now complete. + + Ben Kenobi moves with elegant ease into a classical offensive + position. The fearsome Dark Knight takes a defensive stance. + + VADER + When I left you, I was but the + learner; now I am the master. + + BEN + Only a master of evil, Darth. + + The two Galactic warriors stand perfectly still for a few + moments, sizing each other up and waiting for the right + moment. Ben seems to be under increasing pressure and strain, + as if an invisible weight were being placed upon him. He + shakes his head and, blinking, tries to clear his eyes. + + Ben makes a sudden lunge at the huge warrior but is checked + by a lightning movement of The Sith. A masterful slash stroke + by Vader is blocked by the old Jedi. Another of the Jedi's + blows is blocked, then countered. Ben moves around the Dark + Lord and starts backing into the massive starship hangar. + The two powerful warriors stand motionless for a few moments + with laser swords locked in mid-air, creating a low buzzing + sound. + + VADER + Your powers are weak, old man. + + BEN + You can't win, Darth. If you strike + me down, I shall become more powerful + than you can possibly imagine. + + Their lightsabers continue to meet in combat. + + INT. DEATH STAR - MAIN FORWARD BAY + + Han Solo and Chewbacca, their weapons in hand, lean back + against the wall surveying the forward bay, watching the + Imperial stormtroopers make their rounds of the hangar. + + HAN + Didn't we just leave this party? + + Chewbacca growls a reply, as Luke and the princess join them. + + HAN + What kept you? + + LEIA + We ran into some old friends. + + LUKE + Is the ship all right? + + HAN + Seems okay, if we can get to it. + Just hope the old man got the tractor + beam out of commission. + + INT. DEATH STAR - HALLWAY + + Vader and Ben Kenobi continue their powerful duel. As they + hit their lightsabers together, lightning flashes on impact. + Troopers look on in interest as the old Jedi and Dark Lord + of The Sith fight. Suddenly Luke spots the battle from his + group's vantage point. + + LUKE + Look! + + Luke, Leia, Han, and Chewie look up and see Ben and Vader + emerging from the hallways on the far side of the docking + bay. + + INT. DEATH STAR - DOCKING BAY + + Threepio and Artoo-Detoo are in the center of the Death Star's + Imperial docking bay. + + THREEPIO + Come on, Artoo, we're going! + + Threepio ducks out of sight as the seven stormtroopers who + were guarding the starship rush past them heading towards + Ben and The Sith Knight. He pulls on Artoo. + + INT. DEATH STAR - HALLWAY + + Solo, Chewie, Luke, and Leia tensely watch the duel. The + troops rush toward the battling knights. + + HAN + Now's our chance! Go! + + They start for the Millennium Falcon. Ben sees the troops + charging toward him and realizes that he is trapped. Vader + takes advantage of Ben's momentary distraction and brings + his mighty lightsaber down on the old man. Ben manages to + deflect the blow and swiftly turns around. + + The old Jedi Knight looks over his shoulder at Luke, lifts + his sword from Vader's then watches his opponent with a serene + look on his face. + + Vader brings his sword down, cutting old Ben in half. Ben's + cloak falls to the floor in two parts, but Ben is not in it. + Vader is puzzled at Ben's disappearance and pokes at the + empty cloak. As the guards are distracted, the adventurers + and the robots reach the starship. Luke sees Ben cut in two + and starts for him. Aghast, he yells out. + + LUKE + No! + + The stormtroopers turn toward Luke and begin firing at him. + The robots are already moving up the ramp into the Millennium + Falcon, while Luke, transfixed by anger and awe, returns + their fire. Solo joins in the laserfire. Vader looks up and + advances toward them, as one of his troopers is struck down. + + HAN + (to Luke) + Come on! + + LEIA + Come on! Luke, its too late! + + HAN + Blast the door! Kid! + + Luke fires his pistol at the door control panel, and it + explodes. The door begins to slide shut. Three troopers charge + forward firing laser bolts, as the door slides to a close + behind them, shutting Vader and the other troops out of the + docking bay. A stormtrooper lies dead at the feet of his + onrushing compatriots. Luke starts for the advancing troops, + as Solo and Leia move up the ramp into the pirateship. He + fires, hitting a stormtrooper, who crumbles to the floor. + + BEN'S VOICE + Run, Luke! Run! + + Luke looks around to see where the voice came from. He turns + toward the pirateship, ducking Imperial gunfire from the + troopers and races into the ship. + + INT. MILLENNIUM FALCON - COCKPIT + + Han pulls back on the controls and the ship begins to move. + The dull thud of laser bolts bouncing off the outside of the + ship as Chewie adjusts his controls. + + HAN + I hope the old man got that tractor + beam out if commission, or this is + going to be a real short trip. Okay, + hit it! + + Chewbacca growls in agreement. + + EXT. MILLENNIUM FALCON + + The Millennium Falcon powers away from the Death Star docking + bay, makes a spectacular turn and disappears into the vastness + of space. + + INT. MILLENNIUM FALCON - CENTRAL HOLD AREA + + Luke, saddened by the loss of Obi-Wan Kenobi, stares off + blankly as the robots look on. Leia puts a blanket around + him protectively, and Luke turns and looks up at her. She + sits down beside him. + + INT. MILLENNIUM FALCON - COCKPIT + + Solo spots approaching enemy ships. + + HAN + (to Chewie) + We're coming up on the sentry ships. + Hold 'em off! Angle the deflector + shields while I charge up the main + guns! + + INT. MILLENNIUM FALCON - CENTRAL HOLD AREA + + Luke looks downward sadly, shaking his head back and forth, + as the princess smiles comfortingly at him. + + LUKE + I can't believe he's gone. + + Artoo-Detoo beeps a reply. + + LEIA + There wasn't anything you could have + done. + + Han rushes into the hold area where Luke is sitting with the + princess. + + HAN + (to Luke) + Come on, buddy, we're not out of + this yet! + + INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT + + Solo climbs into his attack position in the topside gunport. + + INT. MILLENNIUM FALCON - HOLD AREA + + Luke gets up and moves out toward the gunports as Leia heads + for the cockpit. + + INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT + + Luke climbs down the ladder into the gunport cockpit, settling + into one of the two main laser cannons mounted in large + rotating turrets on either side of the ship. + + INT. MILLENNIUM FALCON - SOLO'S GUNPORT + + Han adjusts his headset as he sits before the controls of + his laser cannon, then speaks into the attached microphone. + + HAN + (to Luke) + You in, kid? Okay, stay sharp! + + INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT + + Chewbacca and Princess Leia search the heavens for attacking + TIE fighters. The Wookiee pulls back on the speed controls + as the ship bounces slightly. + + INT. MILLENNIUM FALCON - SOLO'S GUNPORT - COCKPIT + + Computer graphic readouts form on Solo's target screen, as + Han reaches for controls. + + INT. MILLENNIUM FALCON - GUNPORT - COCKPIT + + Luke sits in readiness for the attack, his hand on the laser + cannon's control button. + + INT. MILLENNIUM FALCON - COCKPIT. + + Chewbacca spots the enemy ships and barks. + + LEIA + (into intercom) + Here they come! + + INT. MILLENNIUM FALCON - COCKPIT - POV (POINT OF VIEW) - + SPACE + + The Imperial TIE fighters move towards the Millennium Falcon, + one each veering off to the left and right of the pirateship. + + INT. TIE FIGHTER - COCKPIT + + The stars whip past behind the Imperial pilot as he adjusts + his maneuvering joy stick. + + EXT. MILLENNIUM FALCON - IN SPACE + + The TIE fighter races past the Falcon, firing laser beams as + it passes. + + INT. MILLENNIUM FALCON - HOLD AREA + + Threepio is seated in the hold area, next to Artoo-Detoo. + The pirateship bounces and vibrates as the power goes out in + the room and then comes back on. + + INT. MILLENNIUM FALCON - COCKPIT - GUNPORTS + + A TIE fighter maneuvers in front of Han, who follows it and + fires at it with the laser cannon. Luke does likewise, as + the fighter streaks into view. The ship has suffered a minor + hit, and bounces slightly. + + EXT. SPACE + + Two TIE fighters dive down toward the pirateship. + + INT. MILLENNIUM FALCON - GUNPORTS + + Luke fires at an unseen fighter. + + LUKE + They're coming in too fast! + + EXT. SPACE - MILLENNIUM FALCON/TIE FIGHTERS + + Pan with pirateship as two TIE fighters charge through the + background. Laserbolts streak from all the craft. + + INT. MILLENNIUM FALCON - CHEWBACCA + + The ship shudders as a laserbolt hits very close to the + cockpit. The Wookiee chatters something to Leia. + + EXT. TIE FIGHTER - SPACE + + Full shot of a TIE fighter as it moves fast through the frame, + firing on the pirate starship. + + EXT. SPACE - TIE FIGHTERS + + The two TIE fighters fire a barrage of laserbeams at the + pirateship. + + INT. MILLENNIUM FALCON - MAIN PASSAGEWAY + + A laserbolt streaks into the side of the pirateship. The + ship lurches violently, throwing poor Threepio into a cabinet + fill of small computer chips. + + THREEPIO + Oooh! + + INT. MILLENNIUM FALCON - COCKPIT - GUNPORTS + + Leia watches the computer readout as Chewbacca manipulates + the ship's controls. + + LEIA + We've lost lateral controls. + + HAN + Don't worry, she'll hold together. + + An enemy laserbolt hits the pirateship's control panel, + causing it to blow out in a shower of sparks. + + HAN + (to ship) + You hear me, baby? Hold together! + + Artoo-Detoo advances toward the smoking sparking control + panel, dousing the inferno by spraying it with fire retardant + beeping all the while. + + INT. MILLENNIUM FALCON - GUNPORT + + Luke swivels in his gun mount, following the TIE fighter + with his laser cannon. + + INT. MILLENNIUM FALCON - GUNPORT + + Solo aims his laser cannon at the enemy fighter. + + EXT. SPACE + + A TIE fighter streaks in front of the starship. + + INT. MILLENNIUM FALCON - COCKPIT + + Leia watches the TIE fighter ship fly over. + + EXT. SPACE + + A TIE fighter heads right for the pirateship, then zooms + overhead. + + INT. MILLENNIUM FALCON - GUNPORTS + + Luke follows the TIE fighter across his field of view, firing + laserbeams from his cannon. + + EXT. TIE FIGHTER + + A TIE fighter dives past the pirateship. + + INT. MILLENNIUM FALCON - GUNPORTS + + Luke fires at a TIE fighter. At his port, Han follows a + fighter in his sights, releasing a blast of laserfire. He + connects, and the fighter explodes into fiery dust. Han laughs + victoriously. + + EXT. SPACE + + Two TIE fighters move toward and over the Millennium Falcon, + unleashing a barrage of laserbolts at the ship. + + INT. MILLENNIUM FALCON - GUNPORTS + + Another TIE fighter moves in on the pirateship and Luke, + smiling, fires the laser cannon at it, scoring a spectacular + direct hit. + + LUKE + Got him! I got him! + + Han turns and gives Luke a victory wave which Luke gleefully + returns. + + HAN + Great kid! Don't get cocky. + + Han turns back to his laser cannon. + + EXT. SPACE + + Two more TIE fighters cross in front of the pirateship. + + INT. MILLENNIUM FALCON - COCKPIT + + While Chewbacca manipulates the controls, Leia turns, looking + over her shoulder out the ports. + + LEIA + There are still two more of them out + there! + + EXT. SPACE + + A TIE fighter moves up over the pirateship, firing laserblasts + at it. + + INT. MILLENNIUM FALCON - GUNPORTS + + Luke and Han look into their respective projected target + screens. An Imperial fighter crosses Solo's port, and Han + swivels in his chair, following it with blasts from his laser + cannon. Another fighter crosses Luke's port, and he reacts + in a like manner, the glow of his target screen lighting his + face. + + EXT. SPACE + + The TIE fighter zooms toward the pirateship, firing + destructive blasts at it. + + INT. MILLENNIUM FALCON - GUNPORTS + + Luke fires a laserblast at the approaching enemy fighter, + and it bursts into a spectacular explosion. Luke's projected + screen gives a readout of the hit. The pirateship bounces + slightly as it is struck by the enemy fire. + + EXT. SPACE - TIE FIGHTER + + The last of the attacking Imperial TIE fighters looms in, + firing upon the Falcon. + + INT. MILLENNIUM FALCON - GUNPORT + + Solo swivels behind his cannon, his aim describing the arc + of the TIE fighter. The fighter comes closer, firing at the + pirateship, but a well-aimed blast from Solo's laser cannon + hits the attacker, which blows up in a small atomic shower + of burning fragments. + + LUKE + (laughing) + That's it! We did it! + + The princess jumps up and gives Chewie a congratulatory hug. + + LEIA + We did it! + + INT. MILLENNIUM FALCON - PASSAGEWAY + + Threepio lies on the floor of the ship, completely tangled + in the smoking, sparking wires. + + THREEPIO + Help! I think I'm melting! + (to Artoo) + This is all your fault. + + Artoo turns his dome from side to side, beeping in response. + + EXT. SPACE - MILLENNIUM FALCON + + The victorious Millennium Falcon moves off majestically + through space. + + INT. DEATH STAR - CONTROL ROOM + + Darth Vader strides into the control room, where Tarkin is + watching the huge view screen. A sea of stars is before him. + + TARKIN + Are they away? + + VADER + They have just made the jump into + hyperspace. + + TARKIN + You're sure the homing beacon is + secure aboard their ship? I'm taking + an awful risk, Vader. This had better + work. + + INT. MILLENNIUM FALCON - COCKPIT + + Han, removes his gloves and smiling, is at the controls of + the ship. Chewie moves into the aft section to check the + damage. Leia is seated near Han. + + HAN + Not a bad bit of rescuing, huh? You + know, sometimes I even amaze myself. + + LEIA + That doesn't sound too hard. Besides, + they let us go. It's the only + explanation for the ease of our + escape. + + HAN + Easy... you call that easy? + + LEIA + Their tracking us! + + HAN + Not this ship, sister. + + Frustrated, Leia shakes her head. + + LEIA + At least the information in Artoo is + still intact. + + HAN + What's so important? What's he + carrying? + + LEIA + The technical readouts of that battle + station. I only hope that when the + data is analyzed, a weakness can be + found. It's not over yet! + + HAN + It is for me, sister! Look, I ain't + in this for your revolution, and I'm + not in it for you, Princess. I expect + to be well paid. I'm in it for the + money! + + LEIA + You needn't worry about your reward. + If money is all that you love, then + that's what you'll receive! + + She angrily turns, and as she starts out of the cockpit, + passes Luke coming in. + + LEIA + Your friend is quite a mercenary. I + wonder if he really cares about + anything... or anyone. + + LUKE + I care! + + Luke, shaking his head, sits in the copilot seat. He and Han + stare out at the vast blackness of space. + + LUKE + So... what do you think of her, Han? + + HAN + I'm trying not to, kid! + + LUKE + (under his breath) + Good... + + HAN + Still, she's got a lot of spirit. I + don't know, what do you think? Do + you think a princess and a guy like + me... + + LUKE + No! + + Luke says it with finality and looks away. Han smiles at + young Luke's jealousy. + + EXT. SPACE AROUND FOURTH MOON OF YAVIN + + The battered pirateship drifts into orbit around the planet + Yavin and proceeds to one of its tiny green moons. + + EXT. FOURTH MOON OF YAVIN + + The pirateship soars over the dense jungle. + + EXT. MASSASSI OUTPOST + + An alert guard, his laser gun in hand, scans the countryside. + He sets the gun down and looks toward the temple, barely + visible in the foliage. + + EXT. MASSASSI OUTPOST - JUNGLE TEMPLE + + Rotting in a forest of gargantuan trees, an ancient temple + lies shrouded in an eerie mist. The air is heavy with the + fantastic cries of unimaginable creatures. Han, Luke and the + others are greeted by the Rebel troops. + + Luke and the group ride into the massive temple on an armored + military speeder. + + INT. MASSASSI - MAIN HANGAR DECK + + The military speeder stops in a huge spaceship hangar, set + up in the interior of the crumbling temple. Willard, the + commander of the Rebel forces, rushes up to the group and + gives Leia a big hug. Every one is pleased to see her. + + WILLARD + (holding Leia) + You're safe! We had feared the worst. + + Willard composes himself, steps back and bows formally. + + WILLARD + When we heard about Alderaan, we + were afraid that you were... lost + along with your father. + + LEIA + We don't have time for our sorrows, + Commander. The battle station has + surely tracked us here. + (looking pointedly to + Han) + It's the only explanation for the + ease of our escape. You must use the + information in this R2 unit to plan + the attack. It is our only hope. + + EXT. SPACE + + The surface of the Death Star ominously approaches the red + planet Yavin. + + INT. DEATH STAR - CONTROL ROOM + + Grand Moff Tarkin and Lord Vader are interrupted in their + discussion by the buzz of the comlink. Tarkin moves to answer + the call. + + TARKIN + Yes. + + DEATH STAR INTERCOM VOICE + + We are approaching the planet Yavin. The Rebel base is on a + moon on the far side. We are preparing to orbit the planet. + + EXT. YAVIN - JUNGLE + + A lone guard stands in a tower high above the Yavin landscape, + surveying the countryside. A mist hangs over the jungle of + twisted green. + + INT. MASSASSI - WAR ROOM BRIEFING AREA + + Dodonna stands before a large electronic wall display. Leia + and several other senators are to one side of the giant + readout. The low-ceilinged room is filled with starpilots, + navigators, and a sprinkling of R2-type robots. Everyone is + listening intently to what Dodonna is saying. Han and + Chewbacca are standing near the back. + + DODONNA + The battle station is heavily shielded + and carries a firepower greater than + half the star fleet. It's defenses + are designed around a direct large- + scale assault. A small one-man fighter + should be able to penetrate the outer + defense. + + Gold Leader, a rough looking man in his early thirties, stands + and addresses Dodonna. + + GOLD LEADER + Pardon me for asking, sir, but what + good are snub fighters going to be + against that? + + DODONNA + Well, the Empire doesn't consider a + small one-man fighter to be any + threat, or they'd have a tighter + defense. An analysis of the plans + provided by Princess Leia has + demonstrated a weakness in the battle + station. + + Artoo-Detoo stands next to a similar robot, makes beeping + sounds, and turns his head from right to left. + + DODONNA + The approach will not be easy. You + are required to maneuver straight + down this trench and skim the surface + to this point. The target area is + only two meters wide. It's a small + thermal exhaust port, right below + the main port. The shaft leads + directly to the reactor system. A + precise hit will start a chain + reaction which should destroy the + station. + + A murmer of disbelief runs through the room. + + DODONNA + Only a precise hit will set up a + chain reaction. The shaft is ray- + shielded, so you'll have to use proton + torpedoes. + + Luke is sitting next to Wedge Antilles, a hotshot pilot about + sixteen years old. + + WEDGE + That's impossible, even for a + computer. + + LUKE + It's not impossible. I used to bull's- + eye womp rats in my T-sixteen back + home. They're not much bigger than + two meters. + + DODONNA + Man your ships! And may the Force be + with you! + + The group rises and begins to leave. + + EXT. SPACE + + The Death Star begins to move around the planet toward the + tiny green moon. + + INT. DEATH STAR + + Tarkin and Vader watch the computer projected screen with + interest, as a circle of lights intertwines around one another + on the screen showing it's position in relation to Yavin and + the forth moon. + + DEATH STAR INTERCOM VOICE + + Orbiting the planet at maximum velocity. The moon with the + Rebel base will be in range in thirty minutes. + + VADER + This will be a day long remembered. + It has seen the end of Kenobi and it + will soon see the end of the + Rebellion. + + INT. MASSASSI OUTPOST - MAIN HANGAR DECK + + Luke, Threepio and little Artoo enter the huge spaceship + hangar and hurry along a long line of gleaming spacefighters. + Flight crews rush around loading last-minute armaments and + unlocking power couplings. In an area isolated from this + activity Luke finds Han and Chewbacca loading small boxes + onto an armored speeder. + + MAN'S VOICE + (over loudspeaker) + All flight trooper, man your stations. + All flight troops, man your stations. + + Han is deliberately ignoring the activity of the fighter + pilots' preparation. Luke is quite saddened at the sight of + his friend's departure. + + LUKE + So... you got your reward and you're + just leaving then? + + HAN + That's right, yeah! I got some old + debts I've got to pay off with this + stuff. Even if I didn't, you don't + think I'd be fool enough to stick + around here, do you? Why don't you + come with us? You're pretty good in + a fight. I could use you. + + LUKE + (getting angry) + Come on! Why don't you take a look + around? You know what's about to + happen, what they're up against. + They could use a good pilot like + you. You're turning your back on + them. + + HAN + What good's a reward if you ain't + around to use it? Besides, attacking + that battle station ain't my idea of + courage. It's more like suicide. + + LUKE + All right. Well, take care of + yourself, Han. I guess that's what + you're best at, isn't it? + + Luke goes off and Han hesitates, then calls to him. + + HAN + Hey, Luke... may the Force be with + you! + + Luke turns and sees Han wink at him. Luke lifts his hand in + a small wave and then goes off. + + Han turns to Chewie who growls at his captain, + + HAN + What're you lookin' at? I know what + I'm doing. + + INT. MAIN HANGAR DECK - LUKE'S SHIP + + Luke, Leia, and Dodonna meet under a huge space fighter. + + LEIA + What's wrong? + + LUKE + Oh, it's Han! I don't know, I really + thought he'd change his mind. + + LEIA + He's got to follow his own path. No + one can choose it for him. + + LUKE + I only wish Ben were here. + + Leia gives Luke a little kiss, turns, and goes off. As Luke + heads for his ship, another pilot rushes up to him and grabs + his arm. + + BIGGS + Luke! I don't believe it! How'd you + get here... are you going out with + us?! + + LUKE + Biggs! Of course, I'll be up there + with you! Listen, have I got some + stories to tell... + + Red Leader, a rugged handsome man in his forties, comes up + behind Luke and Biggs. He has the confident smile of a born + leader. + + RED LEADER + Are you... Luke Skywalker? Have you + been checked out on the Incom T-sixty- + five? + + BIGGS + Sir, Luke is the best bushpilot in + the outer rim territories. + + Red Leader pats Luke on the back as they stop in front of + his fighter. + + RED LEADER + I met your father once when I was + just a boy, he was a great pilot. + You'll do all right. If you've got + half of your father's skill, you'll + do better than all right. + + LUKE + Thank you, sir. I'll try. + + Red Leader hurries to his own ship. + + BIGGS + I've got to get aboard. Listen, you'll + tell me your stories when we come + back. All right? + + LUKE + I told you I'd make it someday, Biggs. + + BIGGS + (going off) + You did, all right. It's going to be + like old times, Luke. We're a couple + of shooting stars that'll never be + stopped! + + Luke laughs and shakes his head in agreement. He heads for + his ship. + + As Luke begins to climb up the ladder into his sleek, deadly + spaceship, the crew chief, who is working on the craft, points + to little Artoo, who is being hoisted into a socket on the + back of the fighter. + + CHIEF + This R2 unit of your seems a bit + beat up. Do you want a new one? + + LUKE + Not on your life! That little droid + and I have been through a lot + together. + (to Artoo) + You okay, Artoo? + + The crewmen lower Artoo-Detoo into the craft. Now a part of + the exterior shell of the starship, the little droid beeps + that he is fine. + + Luke climbs up into the cockpit of his fighter and puts an + his helmet. Threepio looks on from the floor of the massive + hangar as the crewmen secure his little electronic partner + into Luke's X-wing. It's an emotional-filled moment as Artoo + beeps good-bye. + + CHIEF + Okay, easy she goes! + + THREEPIO + Hang on tight,Artoo, you've got to + come back. + + Artoo beeps in agreement. + + THREEPIO + You wouldn't want my life to get + boring, would you? + + Artoo whistles his reply. + + All final preparations are made for the approaching battle. + The hangar is buzzing with the last minute activity as the + pilots and crewmen alike make their final adjustments. The + hum of activity is occasionally trespassed by the distorted + voice of the loudspeaker issuing commands. Coupling hoses + are disconnected from the ships as they are fueled. Cockpit + shields roll smoothly into place over each pilot. A signalman, + holding red guiding lights, directs the ships. Luke, a trace + of a smile gracing his lips, peers about through his goggles. + + BEN'S VOICE + Luke, the Force will be with you. + + Luke is confused at the voice and taps his headphones. + + EXT. MASSASSI OUTPOST - JUNGLE + + All that can be seen of the fortress is a lone guard standing + on a small pedestal jutting out above the dense jungle. The + muted gruesome crying sounds that naturally permeate this + eerie purgatory are overwhelmed by the thundering din of ion + rockets as four silver starships catapult from the foliage + in a tight formation and disappears into the morning cloud + cover. + + INT. MASSASSI OUTPOST - WAR ROOM + + The princess, Threepio, and a field commander sit quietly + before the giant display showing the planet Yavin and its + four moons. The red dot that represents the Death Star moves + ever closer to the system. A series of green dots appear + around the fourth moon. A din of indistinct chatter fills + the war room. + + MASSASSI INTERCOM VOICE + Stand-by alert. Death Star + approaching. Estimated time to firing + range, fifteen minutes. + + EXT. SPACE + + The Death Star slowly moves behind the massive yellow surface + of Yavin in the foreground, as many X-wing fighters flying + in formation zoom toward us and out of the frame. + + EXT. SPACE - ANOTHER ANGLE + + Light from a distant sun creates an eerie atmospheric glow + around a huge planet, Yavin. Rebel fighters flying in + formation settle ominously in the foreground and very slowly + pull away. + + INT. RED LEADER STARSHIP - COCKPIT + + Red Leader lowers his visor and adjusts his gun sights, + looking to each side at his wing men. + + RED LEADER + All wings report in. + + INT. ANOTHER COCKPIT + + One of the Rebel fighters checks in through his mike. + + RED TEN + Red Ten standing by. + + INT. BIGGS' COCKPIT + + Biggs checks his fighter's controls, alert and ready for + combat. + + RED SEVEN + (over Biggs' headset) + Red Seven standing by. + + BIGGS + Red Three standing by. + + INT. PORKINS' COCKPIT + + PORKINS + Red Six standing by. + + RED NINE + (over headset) + Red Nine standing by. + + INT. WEDGE'S FIGHTER - COCKPIT + + WEDGE + Red Two standing by. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + RED ELEVEN + (over headset) + Red Eleven standing by. + + LUKE + Red Five standing by. + + EXT. LUKE'S X-WING FIGHTER + + Artoo-Detoo, in position outside of the fighter, turns his + head from side to side and makes beeping sounds. + + INT. RED LEADER'S FIGHTER - COCKPIT + + RED LEADER + Lock S-foils in attack position. + + EXT. SPACE + + The group of X-wing fighters move in formation toward the + Death Star, unfolding the wings and locking them in the "X" + position. + + INT. BIGGS' COCKPIT + + READ LEADER + (over headset) + We're passing through their magnetic + field. + + INT. RED LEADER'S COCKPIT + + RED LEADER + Hold tight! + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke adjusts his controls as he concentrates on the + approaching Death Star. The ship begins to be buffeted + slightly. + + RED LEADER + (over headset) + Switch your deflectors on. + + INT. ANOTHER COCKPIT + + RED LEADER + (over headset) + Double front! + + EXT. SPACE + + The fighters, now X-shaped darts, move in formation. The + Death Star now appears to be a small moon growing rapidly in + size as the Rebel fighters approach. Complex patterns on the + metallic surface begin to become visible. A large dish antenna + is built into the surface on one side. + + INT. WEDGE'S COCKPIT + + Wedge is amazed and slightly frightened at the awesome + spectacle. + + WEDGE + Look at the size of that thing! + + RED LEADER + (over headset) + Cut the chatter, Red Two. + + INT. RED LEADER'S COCKPIT + + RED LEADER + Accelerate to attack speed. This is + it, boys! + + EXT. SPACE + + As the fighters move closer to the Death Star, the awesome + size of the gargantuan Imperial fortress is revealed. Half + of the deadly space station is in shadow and this area + sparkles with thousands of small lights running in thin lines + and occasionally grouped in large clusters; somewhat like a + city at night as seen from a weather satellite. + + INT. GOLD LEADER'S COCKPIT + + GOLD LEADER + Red Leader, this is Gold Leader. + + RED LEADER + (over headset) + I copy, Gold Leader. + + GOLD LEADER + We're starting for the target shaft + now. + + INT. RED LEADER'S COCKPIT + + Red Leader looks around at his wingmen; the Death Star looming + in from behind. Two Y-wing fighters bob back and forth in + the background. He moves his computer targeting device into + position. + + RED LEADER + We're in position. I'm going to cut + across the axis and try and draw + their fire. + + EXT. SPACE + + Two squads of Rebel fighters peel off. The X-wings dive + towards the Death Star surface. A thousand lights glow across + the dark grey expanse of the huge station. + + INT. DEATH STAR + + Alarm sirens scream as soldiers scramble to large turbo- + powered laser gun emplacements. Electronic drivers rotate + the huge guns into position as crew adjust their targeting + devices. + + EXT. SPACE AROUND THE DEATH STAR + + Laserbolts streak through the star-filled night. The Rebel X- + wing fighters move in toward the Imperial base, as the Death + Star aims its massive laser guns at the Rebel forces and + fires. + + INT. MASSASSI OUTPOST - WAR ROOM + + Princess Leia listens to the battle over the intercom. + Threepio is at her side. + + WEDGE + (over war room speaker + system) + Heavy fire, boss! Twenty-degrees. + + RED LEADER + (over speaker) + I see it. Stay low. + + EXT. SPACE + + An X-wing zooms across the surface of the Death Star. + + INT. DEATH STAR + + Technical crews scurry here and there loading last-minute + armaments and unlocking power cables. + + INT. WEDGE'S COCKPIT + + Wedge maneuvers his fighter toward the menacing Death Star. + + EXT. SPACE + + X-wings continue in their attack course on the Death Star. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke nosedives radically, starting his attack on the monstrous + fortress. The Death Star surface streaks past the cockpit + window. + + LUKE + This is Red Five; I'm going in! + + EXT. SPACE + + Luke's X-wing races toward the Death Star. Laserbolts streak + from Luke's weapons, creating a huge fireball explosion on + the dim surface. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Terror crosses Luke's face as he realizes he won't be able + to pull out in time to avoid the fireball. + + BIGGS + (over headset) + Luke, pull up! + + EXT. SURFACE OF DEATH STAR + + Luke's ship emerges from the fireball, with the leading edges + of his wings slightly scorched. + + INT. BIGGS' COCKPIT + + BIGGS + Are you all right? + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke adjusts his controls and breathes a sigh of relief. + Flak bursts outside the cockpit window. + + LUKE + I got a little cooked, but I'm okay. + + EXT. SURFACE OF THE DEATH STAR + + Rebel fighters continue to strafe the Death Star's surface + with laserbolts. + + INT. DEATH STAR + + Walls buckle and cave in. Troops and equipment are blown in + all directions. Stormtroopers stagger out of the rubble. + Standing in the middle of the chaos, a vision of calm and + foreboding, is Darth Vader. One of his Astro-Officers rushes + up to him. + + ASTRO-OFFICER + We count thirty Rebel ships, Lord + Vader. But they're so small they're + evading our turbo-lasers! + + VADER + We'll have to destroy them ship to + ship. Get the crews to their fighters. + + INT. DEATH STAR + + Smoke belches from the giant laser guns as they wind up their + turbine generators to create sufficient power. The crew rushes + about preparing for another blast. Even the troopers head + gear is not adequate to protect them from the overwhelming + noise of the monstrous weapon. One troopers bangs his helmet + with his hand in an attempt to stop the ringing. + + INT. READ LEADER'S X-WING FIGHTER - COCKPIT - TRAVELING + + Red Leader flies through a heavy hail of flak. + + RED LEADER + Luke, let me know when you're going + in. + + INT. LUKE'S X-WING - COCKPIT - TRAVELING + + The Red Leader's X-wing flies past Luke as he puts his nose + down and starts his attack dive. + + LUKE + I'm on my way in now... + + RED LEADER + Watch yourself! There's a lot of + fire coming from the right side of + that deflection tower. + + LUKE + I'm on it. + + EXT. SURFACE OF THE DEATH STAR + + Luke flings his X-wing into a twisting dive across the horizon + and down onto the dim grey surface. + + EXT. LUKE'S X-WING TRAVELING + + A shot hurls from Luke's guns. Laserbolts streak toward the + onrushing Death Star surface. Several small radar emplacements + erupt in flame. Laserfire erupts from a protruding tower on + the surface. + + INT. LUKE'S X-WING - COCKPIT - TRAVELING + + The blurry Death Star surface races past the cockpit window + as a big smile sweeps across Luke's face at the success of + his run. Flak thunders on all sides of him. + + EXT. SURFACE OF THE DEATH STAR + + The Death Star superstructure races past Luke as he maneuvers + his craft through a wall of laserfire and peels away from + the surface towards the heavens. + + INT. DEATH STAR + + The thunder and smoke of the big guns reverberate throughout + the massive structure. Many soldiers rush about in the smoke + and chaos, silhouetted by the almost continual flash of + explosions. + + INT. BIGGS' COCKPIT - TRAVELING + + Biggs dives through a forest of radar domes, antennae, and + gun towers as he shoots low across the Death Star surface. A + dense barrage of laserfire streaks by on all sides. + + INT. DEATH STAR + + Imperial star pilots dash in unison to a line of small + auxiliary hatches that lead to Imperial TIE fighters. + + INT. MASSASSI OUTPOST - WAR ROOM + + Princess Leia, surrounded by her generals and aides, paces + nervously before a lighted computer table. On all sides + technicians work in front of many lighted glass walls. Dodonna + watches quietly from one corner. One of the officers working + over a screen speaks into his headset. + + CONTROL OFFICER + Squad leaders, we've picked up a new + group of signals. Enemy fighters + coming your way. + + INT. LUKE'S X-WING - COCKPIT - TRAVELING + + Luke looks around to see if he can spot the approaching + Imperial fighters. + + LUKE + My scope's negative. I don't see + anything. + + INT. RED LEADER'S X-WING - COCKPIT - TRAVELING + + The Death Star's surface sweeps past as Red Leader searches + the sky for the Imperial fighters. Flak pounds at his ship. + + RED LEADER + Keep up your visual scanning. With + all this jamming, they'll be on top + of you before your scope can pick + them up. + + EXT. SURFACE OF THE DEATH STAR + + Silhouetted against the rim lights of the Death Star horizon, + four ferocious Imperial TIE ships dive on the Rebel fighters. + Two of the TIE fighters peel off and drop out of frame. Pan + with the remaining two TIE ships. + + INT. BIGGS' COCKPIT - TRAVELING + + Biggs panics when he discovers a TIE ship on his tail. The + horizon in the background twists around as he peels off, + hoping to lose the Imperial fighter. + + INT. RED LEADER'S COCKPIT + + RED LEADER + Biggs! You've picked one up... watch + it! + + BIGGS + I can't see it! Where is he?! + + EXT. SPACE AROUND THE DEATH STAR + + Biggs zooms off the surface and into space, closely followed + by an Imperial TIE fighter. The TIE ship fires several + laserbolts at Biggs, but misses. + + INT. BIGGS' COCKPIT - TRAVELING + + Biggs see the TIE ship behind him and swings around, trying + to avoid him. + + BIGGS + He's on me tight, I can't shake him... + I can't shake him. + + EXT. SPACE AROUND THE DEATH STAR + + Biggs, flying at high altitude, peels off and dives toward + the Death Star surface, but he is unable to lose the TIE + fighter, who sticks close to his tail. + + INT. X-WING FIGHTER - COCKPIT - TRAVELING + + Luke is flying upside down. He rotates his ship around to + normal attitude as he comes out of his dive. + + LUKE + Hang on, Biggs, I'm coming in. + + EXT. SPACE AROUND THE DEATH STAR + + Biggs and the tailing TIE ship dive for the surface, now + followed by a fast-gaining Luke. After Biggs dives out of + sight, Luke chases the Imperial fighter. + + EXT. SURFACE AROUND THE DEATH STAR + + In the foreground, the Imperial fighter races across the + Death Star's surface, closely followed by Luke in the + background. + + INT. LUKE'S X-WING FIGHTER - COCKPIT - TRAVELING + + There is a shot from Luke's X-wing of the TIE ship exploding + in a mass of flames. + + LUKE + Got him! + + INT. DEATH STAR + + Darth Vader strides purposefully down a Death Star corridor, + flanked by Imperial stormtroopers. + + VADER + Several fighters have broken off + from the main group. Come with me! + + INT. MASSASSI OUTPOST - WAR ROOM + + A concerned Princess Leia, Threepio, Dodonna, and other + officers of the Rebellion stand around the huge round readout + screen, listening to the ship-to-ship communication on the + room's loudspeaker. + + BIGGS + (over speaker) + Pull in! Luke... pull in! + + WEDGE + (over speaker) + Watch your back, Luke! + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + WEDGE + (over headset) + Watch your back! Fighter's above + you, coming in! + + EXT. SPACE + + Luke's ship soars away from the Death Star's surface as he + spots the tailing TIE fighter. + + INT. TIE FIGHTER'S COCKPIT + + The TIE pilot takes aim at Luke's X-wing. + + EXT. SPACE + + The Imperial TIE fighter pilot scores a hit on Luke's ship. + Fire breaks out on the right side of the X-wing. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks out of his cockpit at the flames on his ship. + + LUKE + I'm hit, but not bad. + + EXT. LUKE'S X-WING FIGHTER + + Smoke pours out from behind Artoo-Detoo. + + LUKE'S VOICE + Artoo, see what you can do with it. + Hang on back there. + + Green laserfire moves past the beeping little robot as his + head turns. + + INT. LUKE'S X-WING - COCKPIT + + Luke nervously works his controls. + + RED LEADER + (over headset) + Red Six... + + INT. MASSASSI OUTPOST - WAR ROOM + + In the war room, Leia stands frozen as she listens and worries + about Luke. + + RED LEADER + (over speaker) + Can you see Red Five? + + RED TEN + (over speaker) + There's a heavy fire zone on this + side. Red Five, where are you? + + INT. LUKE'S X-WING - COCKPIT + + Luke spots the TIE fighter behind him and soars away from + the Death Star surface. + + LUKE + I can't shake him! + + EXT. SURFACE OF THE DEATH STAR + + Luke's ship soars closer to the surface of the Death Star, + an Imperial TIE fighter closing in on him in hot pursuit. + + INT. WEDGE'S COCKPIT + + The Death Star whips below Wedge. + + WEDGE + I'm on him, Luke! + + INT. LUKE'S X-WING - COCKPIT + + WEDGE + (over headset) + Hold on! + + EXT. SURFACE OF THE DEATH STAR + + Wedge dives across the horizon toward Luke and the TIE + fighter. + + INT. WEDGE'S COCKPIT + + Wedge moves his X-wing in rapidly. + + INT. LUKE'S X-WING - COCKPIT + + Luke reacts frantically. + + LUKE + Blast it! Wedge where are you? + + INT. TIE FIGHTER - COCKPIT + + The fighter pilot watches Wedge's X-wing approach. Another X- + wing joins him, and both unleash a volley of laserfire on + the Imperial fighter. + + EXT. SPACE + + The TIE fighter explodes, filling the screen with white light. + Luke's ship can be seen far in the distance. + + INT. LUKE'S X-WING - COCKPIT + + Luke looks about in relief. + + LUKE + Thanks, Wedge. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia, Threepio, Dodonna and other Rebel officers are listening + to the Rebel Fighter's radio transmissions over the war room + intercom. + + BIGGS + (over speaker) + Good shooting, Wedge! + + GOLD LEADER + (over speaker) + Red Leader... + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Gold Leader peels off and starts toward the long trenches at + the Death Star surface pole. + + GOLD LEADER + This is Gold Leader. We're starting + out attack run. + + EXT. SPACE AROUND THE DEATH STAR + + Three Y-wing fighters of the Gold group dive out of the stars + toward the Death Star surface. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others are grouped around the screen, as + technicians move about attending to their duties. + + RED LEADER + (over speaker) + I copy, Gold Leader. Move into + position. + + EXT. SPACE AROUND THE DEATH STAR + + Three Imperial TIE ships in precise formation dive toward + the Death Star surface. + + INT. DARTH VADER'S COCKPIT + + Darth Vader calmly adjusts his control stick as the stars + whip past in the window above his head. + + VADER + Stay in attack formation! + + INT. MASSASSI OUTPOST - WAR ROOM + + Technicians are seated at the computer readout table. + + GOLD LEADER + (over speaker) + The exhaust post is... + + INT. GOLD LEADER'S Y-WING - COCKPIT + + GOLD LEADER + ...marked and locked in! + + EXT. SPACE AROUND THE DEATH STAR + + Gold Leader approaches the surface and pulls out to skim the + surface of the huge station. The ship moves into a deep + trench, firing laserbolts. The surface streaks past as + laserfire is returned by the Death Star. + + INT. GOLD FIVE'S Y-WING - COCKPIT - TRAVELING + + Gold Five is a pilot in his early fifties with a very battered + helmet that looks like it's been through many battles. He + looks around to see if enemy ships are near. His fighter is + buffeted by Imperial flak. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Gold Leader races down the enormous trench that leads to the + exhaust port. Laserbolts blast toward him in increasing + numbers, occasionally exploding near the ship causing it to + bounce about. + + GOLD LEADER + Switch power to front deflector + screens. + + EXT. SURFACE OF THE DEATH STAR + + Three Y-wing skim the Death Star surface deep in the trench, + as laserbolts streak past on all sides. + + EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS + + An exterior surface gun blazes away at the oncoming Rebel + fighters. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + GOLD LEADER + How many guns do you think, Gold + Five. + + INT. MASSASSI OUTPOST - WAR ROOM + + GOLD FIVE + (over speaker) + I'd say about twenty guns. Some on + the surface, some on the towers. + + Leia, Threepio, and the technicians view the projected target + screen, as red and blue target lights glow. The red target + near the center blinks on and off. + + MASSASSI INTERCOM VOICE + (over speaker) + Death Star will be in range in five + minutes. + + EXT. SURFACE OF THE DEATH STAR + + The three Y-wing fighters race toward camera and zoom overhead + through a hail of laserfire. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Gold Leader pulls his computer targeting device down in front + of his eye. Laserbolts continue to batter the Rebel craft. + + GOLD LEADER + Switching to targeting computer. + + INT. GOLD TWO'S Y-WING - COCKPIT + + Gold Two, a younger pilot about Luke's age, pulls down his + targeting eye viewer and adjusts it. His ship shudders under + intense laser barrage. + + GOLD TWO + Computer's locked. Getting a signal. + + As the fighters begin to approach the target area, suddenly + all the laserfire stops. An eerie clam clings over the trench + as the surface whips past in a blur. + + GOLD TWO + The guns... they've stopped! + + EXT. GOLD FIVE'S COCKPIT + + Gold Five looks behind him. + + GOLD FIVE + Stabilize your read deflectors. Watch + for enemy fighters. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + GOLD LEADER + They've coming in! Three marks at + two ten. + + EXT. SPACE AROUND THE DEATH STAR + + Three Imperial TIE ships, Darth Vader in the center flanked + by two wingmen, dive in precise formation almost vertically + toward the Death Star surface. + + INT. DARTH VADER'S COCKPIT + + Darth Vader calmly adjusts his control stick as the stars + zoom by. + + VADER + I'll take them myself! Cover me! + + WINGMAN'S VOICE + (over speaker) + Yes, sir. + + EXT. SPACE AROUND THE DEATH STAR + + Three TIE fighters zoom across the surface of the Death Star. + + INT. DARTH VADER'S COCKPIT + + Vader lines up Gold Two in his targeting computer. Vader's + hands grip the control stick as he presses the button. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + The cockpit explodes around Gold Two. His head falls forward. + + EXT. SPACE AROUND THE DEATH STAR + + As Gold Two's ship explodes, debris is flung out into space. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Gold Leader looks over his shoulder at the scene. + + EXT. DEATH STAR TRENCH + + The three TIE fighters race along in the trench in a tight + formation. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Gold Leader panics. + + GOLD LEADER + (into mike) + I can't maneuver! + + INT. GOLD FIVE'S Y-WING - COCKPIT + + Gold Five, the old veteran, trys to calm Gold Leader. + + GOLD FIVE + Stay on target. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + The Death Star races by outside the cockpit window as he + adjusts his targeting device. + + GOLD LEADER + We're too close. + + INT. GOLD FIVE'S Y-WING - COCKPIT + + The older pilot remains calm. + + GOLD FIVE + Stay on target! + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Now he's really panicked. + + GOLD LEADER + Loosen up! + + INT. DARTH VADER'S COCKPIT + + Vader calmly adjusts his targeting computer and pushes the + fire button. + + INT. GOLD LEADER'S Y-WING - COCKPIT + + Gold Leader's ship is hit by Vader's laser. + + EXT. SURFACE OF THE DEATH STAR + + Gold Leader explodes in a ball of flames, throwing debris in + all directions. + + INT. GOLD FIVE'S Y-WING - COCKPIT + + Gold Five moves in on the exhaust port. + + GOLD FIVE + Gold Five to Red Leader... + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks over his shoulder at the action outside of his + cockpit. + + GOLD FIVE + (over headset) + Lost Tiree, lost Dutch. + + INT. RED LEADER'S COCKPIT + + RED LEADER + I copy, Gold Five. + + INT. GOLD FIVE'S Y-WING - COCKPIT + + GOLD FIVE + They came from behind... + + EXT. SURFACE OF THE DEATH STAR + + One of the engines explodes on Gold Five's Y-wing fighter, + blazing out of control. He dives past the horizon toward the + Death Star's surface, passing a TIE fighter during his + descent. Gold Five, a veteran of countless campaigns, spins + toward his death. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks nervously about him at the explosive battle. + + INT. DEATH STAR - CONTROL ROOM + + Grant Moff Tarkin and a Chief Officer stand in the Death + Star's control room. + + OFFICER + We've analyzed their attack, sir, + and there is a danger. Should I have + your ship standing by? + + TARKIN + Evacuate? In out moment of triumph? + I think you overestimate their + chances! + + Tarkin turns to the computer readout screen. Flames move + around the green disk at the center of the screen, as numbers + read across the bottom. + + VOICE + (over speaker) + Rebel base, three minutes and closing. + + INT. READ LEADER'S COCKPIT + + Red Leader looks over at his wingmen. + + RED LEADER + Red Group, this is Red Leader. + + INT. MASSASSI OUTPOST - WAR ROOM + + Dodonna moves to the intercom as he fiddles with the computer + keys. + + RED LEADER + (over speaker) + Rendezvous at mark six point one. + + WEDGE + (over speaker) + This is Red Two. Flying toward you. + + BIGGS + (over speaker) + Red Three, standing by. + + INT. RED LEADER'S COCKPIT + + DODONNA + (over headset) + Red Leader, this is Base One. Keep + half your group out of range for the + next run. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + RED LEADER'S VOICE + (over headset) + Copy, Base One. Luke, take Red Two + and Three. Hold up here and wait for + my signal... to start your run. + + Luke nods his head. + + EXT. SPACE AROUND THE DEATH STAR + + The X-wing fighters of Luke, Biggs, and Wedge fly in formation + high above the Death Star's surface. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke peers out from his cockpit. + + EXT. SURFACE OF THE DEATH STAR + + Two X-wings move across the surface of the Death Star. Red + Leader's X-wing drops down to the surface leading to the + exhaust port. + + INT. RED LEADER'S COCKPIT + + Red Leader looks around to watch for the TIE fighters. He + begins to perspire. + + RED LEADER + This is it! + + EXT. SPACE + + Red Leader roams down the trench of the Death Star as lasers + streak across the black heavens. + + EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS + + A huge remote-control laser cannon fires at the approaching + Rebel fighters. + + EXT. DEATH STAR TRENCH + + The Rebel fighters evade the Imperial laser blasts. + + INT. RED TEN'S COCKPIT + + Red Ten looks around for the Imperial fighters. + + RED TEN + We should be able to see it by now. + + EXT. DEATH STAR TRENCH + + From the cockpits of the Rebel pilots, the surface of the + Death Star streaks by, with Imperial laserfire shooting toward + them. + + INT. RED LEADER'S COCKPIT + + RED LEADER + Keep your eyes open for those + fighters! + + INT. RED TEN'S COCKPIT + + RED TEN + There's too much interference! + + EXT. SPACE - DEATH STAR TRENCH + + Three X-wing fighters move in formation down the Death Star + trench. + + RED TEN'S VOICE + Red Five, can you see them from where + you are? + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks down at the Death Star surface below. + + LUKE + No sign of any... wait! + + INT. RED TEN'S COCKPIT + + Red Ten looks up and sees the Imperial fighters. + + LUKE + (over headset) + Coming in point three five. + + RED TEN + I see them. + + EXT. SURFACE OF THE DEATH STAR + + Three TIE fighters, Vader flanked by two wingmen, dive in a + tight formation. The sun reflects off their dominate solar + fins as they loop toward the Death Star's surface. + + INT. RED LEADER'S COCKPIT + + Red Leader pulls his targeting device in front of his eyes + and makes several adjustments. + + RED LEADER + I'm in range. + + EXT. SURFACE OF THE DEATH STAR + + Red Leader's X-wing moves up the Death Star trench. + + INT. RED LEADER'S COCKPIT + + RED LEADER + Target's coming up! + + Red Leader looks at his computer target readout screen. He + then looks into his targeting device. + + RED LEADER + Just hold them off for a few seconds. + + INT. DARTH VADER'S COCKPIT + + Vader adjusts his control lever and dives on the X-wing + fighters. + + VADER + Close up formation. + + EXT. DEATH STAR TRENCH + + The three TIE fighters move in formation across the Death + Star surface. + + INT. RED LEADER'S COCKPIT + + Red Leader lines up his target on the targeting device cross + hairs. + + EXT. SURFACE OF THE DEATH STAR + + Vader and his wingmen zoom down the trench. + + INT. DARTH VADER'S COCKPIT + + Vader rapidly approaches the two X-wings of Red Ten and Red + Twelve. Vader's laser cannon flashes below the view of the + front porthole. the X-wings show in the center of Vader's + computer screen. + + EXT. SPACE + + Red Twelve's X-wing fighter is hit by Vader's laserfire, and + it explodes into flames against the trench. + + INT. RED TEN'S COCKPIT + + Red Ten works at his controls furiously, trying to avoid + Vader's fighter behind him. + + RED TEN: You'd better let her loose. + + INT. RED LEADER'S COCKPIT + + Red Leader is concentrating on his targeting device. + + RED LEADER + Almost there! + + INT. RED TEN'S COCKPIT. + + Red Ten panics. + + RED TEN + I can't hold them! + + EXT. SURFACE OF THE DEATH STAR + + Vader and his wingmen whip through the trench in pursuit of + the Rebel fighters. + + INT. DARTH VADER'S COCKPIT + + Vader cooly pushes the fire button on his control stick. + + INT. RED TEN'S COCKPIT + + Darth Vader's well-aimed laserfire proves to be unavoidable, + and strikes Red Ten's ship. Red Ten screams in anguish and + pain. + + EXT. SPACE AROUND THE DEATH STAR + + Red Ten's ship explodes and bursts into flames. + + INT. RED LEADER'S COCKPIT + + Grimly, Red Leader takes careful aim and watches his computer + targeting device, which shows the target lined up in the + cross hairs, and fires. + + INT. RED LEADER'S COCKPIT + + RED LEADER + It's away! + + INT. DEATH STAR + + An armed Imperial stormtrooper is knocked to the floor from + the attack explosion. Other troopers scurrying about the + corridors are knocked against the wall and lose their balance. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others stare at the computer screen. + + RED NINE'S VOICE + (over speaker) + It's a hit! + + RED LEADER + (over speaker) + Negative. + + INT. RED LEADER'S COCKPIT + + Red Leader looks back at the receding Death Star. Tiny + explosions are visible in the distance. + + RED LEADER + Negative! It didn't go in. It just + impacted on the surface. + + EXT. SPACE AROUND THE DEATH STAR - TIE FIGHTER + + Darth Vader peels off in pursuit as Red Leader's X-wing passes + the Death Star horizon. + + INT. DARTH VADER'S COCKPIT + + Vader swings his ship around for the next kill. + + INT. RED LEADER'S COCKPIT + + LUKE + (over headset) + Red Leader, we're right above you. + Turn to point... + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke tries to spot Red Leader. He looks down at the Death + Star surface. + + LUKE + ...oh-five; we'll cover for you. + + RED LEADER + (over headset) + Stay there... + + INT. RED LEADER'S COCKPIT + + A wary Red Leader looks about nervously. + + RED LEADER + ...I just lost my starboard engine. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks excitedly toward Red Leader's X-wing. + + RED LEADER + (over headset) + Get set to make your attack run. + + INT. DARTH VADER'S COCKPIT + + Vader's gloved hands make contact with the control sticks, + and he presses their firing buttons. + + INT. RED LEADER'S COCKPIT + + Red Leader fights to gain control of his ship. + + EXT. SPACE AROUND THE DEATH STAR + + Laserbolts are flung from Vader's TIE fighter, connecting + with Red Leader's Rebel X-wing fighter. Red Leader buys it, + creating a tremendous explosion far below. He screams and is + destroyed. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks out the window of his X-wing at the explosion far + below. For the first time, he feels the helplessness of his + situation. + + INT. DEATH STAR + + Grand Moff Tarkin casts a sinister eye at the computer screen. + + DEATH STAR INTERCOM VOICE + Rebel base, one minute and closing. + + INT. MASSASSI OUTPOST - WAR ROOM + + Dodonna and Princess Leia, with Threepio beside them, listen + intently to the talk between the pilots. The room is grim + after Red Leader's death. Princess Leia nervously paces the + room. + + LUKE + (over speaker) + Biggs, Wedge, let's close it up. + We're going in. We're going in full + throttle. + + INT. WEDGE'S COCKPIT + + The horizon twists as Wedge begins to pull out. + + WEDGE + Right with you, boss. + + EXT. SPACE AROUND THE DEATH STAR + + The two X-wings peel off against a background of stars and + dive toward the Death Star. + + INT. BIGGS' COCKPIT + + BIGGS + Luke, at that speed will you be able + to pull out in time? + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + LUKE + It'll be just like Beggar's Canyon + back home. + + EXT. SPACE AROUND THE DEATH STAR + + The three X-wings move in, unleashing a barrage of laserfire. + Laserbolts are returned from the Death Star. + + INT. BIGGS' COCKPIT + + Luke's lifelong friend struggles with his controls. + + BIGGS + We'll stay back far enough to cover + you. + + INT. LUKE'S COCKPIT + + Flak and laserbolts flash outside Luke's cockpit window. + + WEDGE + (over headset) + My scope shows the tower, but I can't + see the exhaust port! Are you sure + the computer can hit it? + + EXT. DEATH STAR - GUN EMPLACEMENTS + + The Death Star laser cannon slowly rotates as it shoots + laserbolts. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks around for the Imperial TIE fighters. He thinks + for a moment and then moves his targeting device into + position. + + LUKE + Watch yourself! Increase speed full + throttle! + + INT. WEDGE'S COCKPIT + + Wedge looks excitedly about for any sign of the TIE fighters. + + WEDGE + What about the tower? + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + LUKE + You worry about those fighters! I'll + worry about the tower! + + EXT. DEATH STAR SURFACE + + Luke's X-wing streaks through the trench, firing lasers. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke breaks into a nervous sweat as the laserfire is returned, + knicking one of his wings close to the engine. + + LUKE + (to Artoo) + Artoo... that, that stabilizer's + broken loose again! See if you can't + lock it down! + + EXT. LUKE'S X-WING FIGHTER + + Artoo works to repair the damages. The canyon wall rushes by + in the background, making his delicate task seem even more + precarious. + + EXT. DEATH STAR + + Two laser cannons are firing on the Rebel fighters. + + INT. WEDGE'S COCKPIT + + Wedge looks up and sees the TIE ships. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke's targeting device marks off the distance to the target. + + EXT. SPACE AROUND THE DEATH STAR + + Vader and his wingmen zoom closer. + + INT. DARTH VADER'S COCKPIT + + Vader adjusts his controls and fires laserbolts at two X- + wings flying down the trench. He scores a direct hit on Wedge. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others are grouped around the computer board. + + WEDGE + (over speaker) + I'm hit! I can't stay with you. + + LUKE + (over speaker) + Get clear, Wedge. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + LUKE + You can't do any more good back there! + + INT. WEDGE'S COCKPIT + + WEDGE + Sorry! + + EXT. SPACE AROUND THE DEATH STAR + + Wedge pulls his crippled X-wing back away from the battle. + + INT. DARTH VADER'S COCKPIT + + Vader watches the escape but issues a command to his wingmen. + + VADER + Let him go! Stay on the leader! + + EXT. SPACE AROUND THE DEATH STAR + + Luke's X-wing speeds down the trench; the three TIE fighters, + still in perfect unbroken formation, tail close behind. + + INT. BIGGS' COCKPIT + + Biggs looks around at the TIE fighters. He is worried. + + BIGGS + Hurry, Luke, they're coming in much + faster this time. I can't hold them! + + EXT. SPACE AROUND THE DEATH STAR + + The three TIE fighters move ever closer, closing in on Luke + and Biggs. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks back anxiously at little Artoo. + + LUKE + Artoo, try and increase the power! + + EXT. LUKE'S X-WING FIGHTER + + Ignoring the bumpy ride, flak, and lasers, a beeping Artoo- + Detoo struggles to increase the power, his dome turning from + side to side. + + EXT. SPACE AROUND THE DEATH STAR + + Stealthily, the TIE formation creeps closer. + + INT. DARTH VADER'S COCKPIT + + Vader adjusts his control stick. + + INT. BIGGS' COCKPIT + + Biggs looks around at the TIE fighters. + + INT. LUKE'S X-WING FIGHTER + + Luke looks into his targeting device. He moves it away for a + moment and ponders its use. He looks back into the computer + targeter. + + BIGGS + (over headset) + Hurry up, Luke! + + EXT. SPACE AROUND THE DEATH STAR + + Vader and his wingmen race through the Death Star trench. + Biggs moves in to cover for Luke, but Vader gains on him. + + INT. BIGGS' COCKPIT + + Biggs sees the TIE fighter aiming at him. + + BIGGS + Wait! + + INT. DARTH VADER'S COCKPIT + + Vader squeezes the fire button on his controls. + + INT. BIGGS' COCKPIT + + Biggs' cockpit explodes around him, lighting him in red. + + EXT. SURFACE OF THE DEATH STAR + + Biggs' ship bursts into a million flaming bits and scatters + across the surface. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others stare at the computer board. + + INT. LUKE'S X-WING COCKPIT + + Luke is stunned by Biggs' death. His eyes are watering, but + his anger is also growing. + + INT. DEATH STAR - CONTROL ROOM + + Grand Moff Tarkin watches the projected target screen with + satisfaction. + + DEATH STAR INTERCOM VOICE + Rebel base, thirty seconds and + closing. + + INT. DARTH VADER'S COCKPIT + + Vader takes aim on Luke and talks to the wingmen. + + VADER + I'm on the leader. + + EXT. SURFACE OF THE DEATH STAR - LUKE'S SHIP + + Luke's ship streaks through the trench of the Death Star. + + INT. MASSASSI OUTPOST - WAR ROOM + + Princess Leia returns her general's worried and doubtful + glances with solid, grim determination. Threepio seems + nervous. + + THREEPIO + Hang on, Artoo! + + INT. LUKE'S X-WING - COCKPIT + + Luke concentrates on his targeting device. + + EXT. SURFACE OF THE DEATH STAR + + Three TIE fighters charge away down the trench toward Luke. + + INT. DARTH VADER'S COCKPIT + + Vader's finger's curls around the control stick. + + INT. LUKE'S X-WING - COCKPIT + + Luke adjusts the lens of his targeting device. + + EXT. SURFACE OF THE DEATH STAR + + Luke's ship charges down the trench. + + INT. LUKE'S X-WING - COCKPIT + + Luke lines up the yellow cross-hair lines of the targeting + device's screen. He looks into the targeting device, then + starts at a voice he hears. + + BEN'S VOICE + Use the Force, Luke. + + EXT. SURFACE OF THE DEATH STAR + + The Death Star trench zooms by. + + INT. LUKE'S X-WING - COCKPIT + + Luke looks up, then starts to look back into the targeting + device. He has second thoughts. + + BEN'S VOICE + Let go, Luke. + + A grim determination sweeps across Luke's face as he closes + his eyes and starts to mumble Ben's training to himself. + + EXT. SURFACE OF THE DEATH STAR + + Luke's fighter streaks through the trench. + + INT. DARTH VADER'S COCKPIT + + VADER + The Force is strong with this one! + + EXT. SURFACE OF THE DEATH STAR + + Vader follows Luke's X-wing down the trench. + + INT. LUKE'S X-WING - COCKPIT + + Luke looks to the targeting device, then away as he hears + Ben's voice. + + BEN'S VOICE + Luke, trust me. + + Luke's hand reaches for the control panel and presses the + button. The targeting device moves away. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others stand watching the projected screen. + + BASE VOICE + (over speaker) + His computer's off. Luke, you switched + off your targeting computer. What's + wrong? + + LUKE + (over speaker) + Nothing. I'm all right. + + EXT. SURFACE OF THE DEATH STAR + + Luke's ship streaks ever close to the exhaust port. + + INT. LUKE'S X-WING - COCKPIT + + Luke looks at the Death Star surface streaking by. + + EXT. LUKE'S X-WING FIGHTER + + Artoo-Detoo turns his head from side to side, beeping in + anticipation. + + EXT. SURFACE OF THE DEATH STAR + + The three TIE fighters, manned by Vader and his two wingmen, + follow Luke's X-wing down the trench. + + INT. DARTH VADER'S COCKPIT + + Vader maneuvers his controls as he looks at his doomed target. + He presses the fire buttons on his control sticks. Laserfire + shoots toward Luke's X-wing fighter. + + EXT. LUKE'S X-WING FIGHTER + + A large burst of Vader's laserfire engulfs Artoo. The arms + go limp on the smoking little droid as he makes a high-pitched + sound. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks frantically back over his shoulder at Artoo. + + EXT. LUKE'S X-WING FIGHTER + + Smoke billows out around little Artoo and sparks begin to + fly. + + LUKE + I've lost Artoo! + + Artoo's beeping sounds die out. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others stare intently at the projected screen, + while Threepio watches the Princess. Lights representing the + Death Star and targets glow brightly. + + MASSASSI INTERCOM VOICE + The Death Star has cleared the planet. + The Death Star has cleared the planet. + + INT. DEATH STAR - CONTROL ROOM + + Tarkin glares at the projected target screen. + + DEATH STAR INTERCOM VOICE + Rebel base, in range. + + TARKIN + You may fire when ready. + + DEATH STAR INTERCOM VOICE + Commence primary ignition. + + An officer reaches up and pushes buttons on the control panel, + as green lighted buttons turn to red. + + EXT. SURFACE OF THE DEATH STAR + + The three TIE fighters zoom down the Death Star trench in + pursuit of Luke, never breaking formation. + + INT. LUKE'S COCKPIT + + Luke looks anxiously at the exhaust port. + + INT. DARTH VADER'S COCKPIT + + Vader adjusts his control sticks, checking his projected + targeting screen. + + EXT. SURFACE OF THE DEATH STAR + + Luke's ship barrels down the trench. + + INT. DARTH VADER'S COCKPIT + + Vader's targeting computer swings around into position. Vader + takes careful aim on Luke's X-wing fighter. + + VADER + I have you now. + + He pushes the fire buttons. + + EXT. SURFACE OF THE DEATH STAR + + The three TIE fighters move in on Luke. As Vader's center + fighter unleashes a volley of laserfire, one of the TIE ships + at his side is hit and explodes into flame. The two remaining + ships continue to move in. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks about, wondering whose laserfire destroyed Vader's + wingman. + + INT. DARTH VADER'S COCKPIT + + Vader is taken by surprise, and looks out from his cockpit. + + VADER + What? + + INT. DARTH VADER'S WINGMAN - COCKPIT + + Vader's wingman searches around him trying to locate the + unknown attacker. + + INT. MILLENNIUM FALCON - COCKPIT + + Han and Chewbacca grin from ear to ear. + + HAN + (yelling) + Yahoo! + + EXT. SPACE AROUND THE DEATH STAR + + The Millennium Falcon heads right at the two TIE fighters. + It's a collision course. + + INT. WINGMAN'S COCKPIT + + The wingman spots the pirateship coming at him and warns the + Dark Lord. + + WINGMAN + Look out! + + EXT. DEATH STAR TRENCH + + Vader's wingman panics at the sight of the oncoming pirate + starship and veers radically to one side, colliding with + Vader's TIE fighter in the process. Vader's wingman crashes + into the side wall of the trench and explodes. Vader's damaged + ship spins out of the trench with a damaged wing. + + EXT. SPACE AROUND THE DEATH STAR + + Vader's ship spins out of control with a bent solar fin, + heading for deep space. + + INT. DARTH VADER'S COCKPIT + + Vader turns round and round in circles as his ship spins + into space. + + EXT. SURFACE OF THE DEATH STAR + + Solo's ship moves in toward the Death Star trench. + + INT. MILLENNIUM FALCON - COCKPIT + + Solo, smiling, speaks to Luke over his headset mike. + + HAN + (into mike) + You're all clear, kid. + + INT. MASSASSI OUTPOST - WAR ROOM + + Leia and the others listen to Solo's transmission. + + HAN + (over speaker) + Now let's blow this thing and go + home! + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke looks up and smiles. He concentrates on the exhaust + port, then fires his laser torpedoes. + + EXT. SURFACE OF THE DEATH STAR + + Luke's torpedoes shoot toward the port and seems to simply + disappear into the surface and not explode. But the shots do + find their mark and have gone into the exhaust port and are + heading for the main reactor. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke throws his head back in relief. + + INT. DEATH STAR + + An Imperial soldier runs to the control panel board and pulls + the attack lever as the board behind him lights up. + + INTERCOM VOICE + Stand by to fire at Rebel base. + + EXT. SPACE AROUND THE DEATH STAR + + Two X-wings, a Y-wing, and the pirateship race toward Yavin + in the distance. + + INT. DEATH STAR + + Several Imperial soldiers, flanking a pensive Grand Moff + Tarkin, busily push control levers and buttons. + + INTERCOM VOICE + Standing by. + + The rumble of a distant explosion begins. + + EXT. SPACE AROUND THE DEATH STAR + + The Rebel ships race out of sight, leaving the moon-like + Death Star alone against a blanket of stars. Several small + flashes appear on the surface. The Death Star bursts into a + supernova, creating a spectacular heavenly display. + + INT. MILLENNIUM FALCON - COCKPIT + + HAN + Great shot, kid. That was one in a + million. + + INT. LUKE'S X-WING FIGHTER - COCKPIT + + Luke is at ease, and his eyes are closed. + + BEN'S VOICE + Remember, the Force will be with + you... always. + + The ship rocks back and forth. + + EXT. DARTH VADER'S TIE FIGHTER + + Vader's ship spins off into space. + + EXT. SPACE + + The Rebel ships race toward the fourth moon of Yavin. + + INT. MASSASSI OUTPOST - MAIN HANGAR + + Luke climbs out of his starship fighter and is cheered by a + throng of ground crew and pilots. Luke climbs down the ladder + as they all welcome him with laughter, cheers, and shouting. + Princess Leia rushes toward him. + + LEIA + Luke! Luke! Luke! + + She throws her arms around Luke and hugs him as they dance + around in a circle. Solo runs in toward Luke and they embrace + one another, slapping each other on the back. + + HAN + (laughing) + Hey! Hey! + + LUKE + (laughing) + I knew you'd come back! I just knew + it! + + HAN + Well, I wasn't gonna let you get all + the credit and take all the reward. + + Luke and Han look at one another, as Solo playfully shoves + at Luke's face. Leia moves in between them. + + LEIA + (laughing) + Hey, I knew there was more to you + than money. + + Luke looks toward the ship. + + LUKE + Oh, no! + + The fried little Artoo-Detoo is lifted off the back of the + fighter and carried off under the worried eyes of Threepio. + + THREEPIO + Oh, my! Artoo! Can you hear me? Say + something! + (to mechanic) + You can repair him, can't you? + + TECHNICIAN + We'll get to work on him right away. + + THREEPIO + You must repair him! Sir, if any of + my circuits or gears will help, I'll + gladly donate them. + + LUKE + He'll be all right. + + INT. MASSASSI OUTPOST - MAIN THRONE ROOM + + Luke, Han, and Chewbacca enter the huge ruins of the main + temple. Hundreds of troops are lined up in neat rows. Banners + are flying and at the far end stands a vision in white, the + beautiful young Senator Leia. Luke and the others solemnly + march up the long aisle and kneel before Senator Leia. From + one side of the temple marches a shined-up and fully repaired + Artoo-Detoo. He waddles up to the group and stands next to + an equally pristine Threepio, who is rather awestruck by the + whole event. Chewbacca is confused. Dodonna and several other + dignitaries sit on the left of the Princess Leia. Leia is + dressed in a long white dress and is staggeringly beautiful. + She rises and places a gold medallion around Han's neck. He + winks at her. She then repeats the ceremony with Luke, who + is moved by the event. They turn and face the assembled + troops, who all bow before them. Chewbacca growls and Artoo + beeps with happiness. + + FADE OUT: + + END CREDITS OVER STARS + + THE END diff --git a/scripts/Terminator.txt b/scripts/Terminator.txt new file mode 100644 index 0000000..e593ef4 --- /dev/null +++ b/scripts/Terminator.txt @@ -0,0 +1,7262 @@ + " T E R M I N A T O R " + + by + + James Cameron + + + + Registered WGAw + + Fourth Draft + April 20, 1983 + + + +-------------------------------------------------------------------- + + + TERMINATOR + + + +A1 TITLE SEQUENCE - SLITSCAN EFFECT A1 + +1 EXT. SCHOOLYARD - NIGHT 1 + + Silence. Gradually the sound of distant traffic becomes + audible. A LOW ANGLE bounded on one side by a chain-link + fence and on the other by the one-story public school build- + ings. Spray-can hieroglyphics and distant streetlight sha- + dows. This is a Los Angeles public school in a blue collar + neighborhood. + + ANGLE BETWEEN SCHOOL BUILDINGS, where a trash dumpster looms + in a LOW ANGLE, part of the clutter behind the gymnasium. + A CAT enters FRAME. CAMERA DOLLIES FORWARD, prowling with + him through the landscape of trash receptacles and shadows. + + CLOSE ON CAT, which freezes, alert, sensing something just + beyond human perception. + + A sourceless wind rises, and with it a keening WHINE. + Papers blow across the pavement. + The cat YOWLS and hides under the dumpster. + Windows rattle in their frames. + The WHINE intensifies, accompanied now by a wash of frigid + PURPLE LIGHT. A CONCUSSION like a thunderclap right over- + head blows in all the windows facing the yard. + + C.U. - CAT, its eyes are wide as the glare dies. + + +1A/FX ANGLE - DUMPSTER 1A/FX + + ELECTRICAL DISCHARGES arc from the dumpster to a water + faucet and climb a drain pipe like a Jacob's Ladder. + + CUT TO: + + +2 EXT. SCHOOLYARD - NIGHT 2 + + SLOW PAN as the sound of stray electrical CRACKLING subsides. + FRAME comes to rest on the figure of a NAKED MAN kneeling, + faced away, in the previously empty yard. + He stands, slowly. + The man is in his late thirties, tall and powerfully built, + moving with graceful precision. + + C.U. - MAN, his facial features reiterate the power of his + body and are dominated by the eyes, which are intense, blue + and depthless. His hair is military short. + + This man is the TERMINATOR. + + He glances down, taking calm inventory of himself, and + notices that a fine white ash covers his skin. He brushes + at it unconcernedly as he walks toward the fence, scanning + his surroundings. + + CUT TO: + + +2A/FX CRANE SHOT - SCHOOLYARD/CITY - NIGHT 2A/FX + + CAMERA MOVES UP as Terminator approaches the schoolyard fence + beyond which is an embankment rolling down in darkness to the + cityscape below. The school is perched at the edge of a pro- + montory offering a respectable view of the urban sprawl teem- + ing and glistening under a sullen sky. The night clouds are + shot through with occasional flashes of LIGHTNING, presaging + a thunderstorm. + + Terminator stands, hands on hips in prefect symmetry, gazing + down at the city as the CAMERA REACHES FULL HEIGHT. + + CUT TO: + + +3 EXT. PLAYGROUND - NIGHT 3 + + A beer bottle SMASHES on the ground. PULL BACK to include + its ex-owner and his two compatriots, YOUTH GANG MEMBERS, + lounging on the jungle gym of a deserted playground. They + sport nondescript PUNK REGALIA...torn T-shirts, fatigue + pants, combat boots or high-top sneakers, leather jackets. + + The leader notices something and sits up. + + LEADER + (pointing) + Hey, hey...what's wrong with + this picture? + + ANGLE - REVERSE, seen past the lounging toughs, Terminator + walks naked into a pool of streetlight, striding purpose- + fully toward them. + + ANGLE - OVER TERMINATOR'S SHOULDER, as he approaches them. + They slide from their perches and drop easily to the ground + liquid shadows. + + LEADER + Nice night for a walk, eh? + + Terminator stops right in front of them. + + TERMINATOR + (without inflec- + tion) + Nice night for a walk. + + They surround him, all swagger and malign good humor. + + SECOND PUNK + Washday tomorrow, huh? Nothing + clean, right? + + Terminator eyes them without expression, unhurried. + Reptilian. + + TERMINATOR + Nothing clean. Right. + + LEADER + This guy's a couple bricks + short. + + Terminator turn to the second punk, ignoring the + others. + + TERMINATOR + Your clothes. Give them to me. + + The punks exchange glances, dismayed. + + TERMINATOR + (coldly) + Now. + + SECOND PUNK + (bracing) + Fuck you, asshole. + + + Without warning Terminator hammer-punches him in the temple + with blinding speed. The blow flings him with a CLANG into + the jungle gym. He drops to the ground in a still heap, + eyes open, twitching. + + The leader whips out his SWITCHBLADE and slashes in one + motion. Terminator ducks back and catches the knife- + wielder's wrist in an inhuman grip. Then he punches the + leader with piledriver force just below the breastbone. + + ANGLE - PAVEMENT, as the knife clatters down. The punk's + combat boots are on tiptoe, barely touching the ground. + + ANGLE - TWO SHOT, Terminator and the leader are close + together as if dancing, but motionless. Their bodies are in + total shadow. The punk's eyes are wide, his veins distended + with an agonizing pressure. Terminator jerks his fist back + with a WET SOUND and the other drops OUT OF FRAME. + + The last tough is stumbling away, gaping with terror. He + backs into a chainlink fence, turns to run along it, finds + he is in a corner. + + Terminator takes a step toward him, his gaze ominous. + + The punk begins shakily stripping off his clothes. + Thunder peals overhead. + + CUT TO: + +4 EXT. STREET/NEARBY - NIGHT 4 + + A light RAIN begins to fall. + Terminator emerges onto the street from the playground, + pausing in the pool of light under a streetlight to hike + the collar of the punk's jacket. + The rain streams down over his face, running into + and over his eyes. They do not blink. + + CUT TO: + +5 EXT. DOWNTOWN STREET/ALLEY - NIGHT 5 + + Another part of the city. Seedy apartments and storefronts. + The streets glisten, hissing with sporadic late night traffic. + SLOW PAN AND DOLLY into the mouth of a narrow alley lined + with trash containers and fire escapes. From a recessed + doorway, two filthy legs sprawl out onto the wet pavement. + An angry, inarticulate DRUNKARD'S MONOLOGUE rises occasionally + above the rain sounds. + + ANGLE - DOORWAY, The derelict rouses from his bitter stupor + as a brilliant purple glare lights up the wet brickwork + around him. A shockwave hurls trash into the air. + Painted over windows shatter. + Rat scurry, blinded. + + A FIGURE drops INTO FRAME as if out of the sky and smacks + the pavement with a muddy splash. + + C.U. - DERELICT, as he blinks at the fading glare, amazed. + + A NAKED MAN, compact and muscular, rises in a defensive + crouch. KYLE REESE is 22, but his face has been aged by + ordeal, the mouth hard, eyes grim. A crinkled burn scar + traverses one side of his face from chin to forehead. Other + scars, from burns and bullets, mar his hard-muscled body. + + The rain washes a fine coating of white ash from his skin + as electrical ARCS lace back and forth between the fire + escapes behind him, HISSING and SPUTTERING. The sound + fades, then stops altogether, to be replaced by a rising + scream of animal agony. + + Reese lurches to his feet and sprints across the alley. + + CUT TO: + +5A/FX OMITTED 5A/FX + +6 OMITTED 6 + + +7 EXT. FIRE ESCAPE - NIGHT 7 + + CAMERA MOVES WITH REESE as he leaps to the fire escape and + clambers up to the first landing to crouch beside another + NAKED MAN who appears to be entangled in the ironwork. The + man is contorted with pain as his screams die to a shivering + gasp. CLOSER ANGLE reveals that he has been skewered through + the abdomen by the horizontal iron slats and through the + shoulder by a railing. He has materialized in the same + space occupied by the fire escape structure. The figure + slumps, motionless. + + Reese quickly checks for signs of life. The man is dead. + + Reese descend to the alley floor and crosses to the drunk + huddled in the doorway. + + A pair of flamboyantly dressed women, obviously working + girls, passes by the alley mouth. They do a double take + when they see Reese, but walk on without breaking stride, + completely jaded. He's certainly not a potential customer. + + Reese crouches down as if to speak to the drunk. + + DERELICT + Say, buddy...did you see a + real bright light? + + CUT TO: + +8 EXT. ALLEY/SAME - NIGHT 8 + + A brilliant white glare stabs into the alley mouth as an + LAPD cruiser glides slowly by on the street. The search- + light illuminates the figure of Reese, crouching over the + sprawled drunk, just pulling on the other's trousers. + + The cruiser chirps to a stop. The doors fly open and two + cops leap out. + + FIRST COP + Hold it, right there! + + Reese hitches his pants and bolt like a shot. The cops + draw their guns and race into the alley after him. + + HANDHELD CAMERA or PANAGLIDE, rushing with Reese along the + narrow alley. He vaults a pile of tumbled trashcans. + Whips around a corner. Leaps the hood of a parked car in + the cross alley. + + PANAGLIDE PRECEDING COPS, as they snake through the night + maze. + + CUT TO: + +9 EXT. CROSS ALLEY - NIGHT 9 + + PANAGLIDE WITH REESE as he hits a chain link gate at a + dead run and scrambles over it. + +10 EXT. ALLEY JUNCTION - NIGHT 10 + + WHIP PAN ON COPS, skidding to a stop at the corner in time + to see Reese vault the fence. They separate. + + DOLLY WITH SECOND COP, as he runs to the gate. + + CUT TO: + +11 EXT. ALLEY/NEARBY - NIGHT 11 + + LOW PANAGLIDE WITH REESE, running full tilt, displaying + incredible agility. + + REESE'S POV, the alley walls blur by. The view of a hot- + wired rat in an urban maze. + + C.U. - REESE, CAMERA hugging him as he sprints and turns, + alternately front-lit, side-lit and silhouetted as the + electric glare of the city wheels about him. + + ANGLE - ALLEY MOUTH, Reese flashes though intermittent + cross-lighting in the B.G. + + Another unit arrives out front and Reese melts back into + the alley, only to see a cop round the corner behind him. + Sandwiched. Reese crashes into a steel door, rending the + lock, and vanishes into the darkness within. + + The newly arrived cops are a K-9 unit. They open the back + door of the squad car to release a large black Doberman. + + CUT TO: + + +12 INT. DEPARTMENT STORE - NIGHT 12 + + Reese finds himself among the display racks of a discount + department store. A searchlight stabs in the front + window as he dashes into the maze of aisles. + + Three cops enter behind him through the shattered door. + + FAST PANAGLIDE WITH REESE, as he crab-runs low among the + moving shadows where flashlights quarter the darkness. He + bolts the open space behind a display window. Sees the + outside searchlight sweep toward him. Freezes. + + ANGLE - REESE, his feral face frozen among the smooth- + featured, smiling mannequins. As the light passes, Reese + silently moves on. + + ANGLE - COP, passing the end of a long aisle B.G. while in + the F.G. a hand ENTERS FRAME, removing a knit shirt from a + hanger. Reese slips the shirt on quietly and does a fast + crab-walk across the aisles to melt into the other racks + and shadows, CAMERA MOVING LOW with him. + + CUT TO: + + +13 INT. DEPARTMENT STORE/AISLE - NIGHT 13 + + With a shocking GROWL the police dog hurtles out of the + shadows, LEAPING RIGHT AT CAMERA. + + ANGLE - REESE AND DOG, a dark blur with teeth, extremely + Doberman, flies toward Reese. He spins. Catches it by + the throat in mid-air. Arcs it to the floor with unflinching + precision. + + C.U. - DOBERMAN, suddenly on its back and held by the throat, + THE DOG YELPS and stares at Reese, who leans very close. + Inches from its eyes he fixes it with a gaze of uncompromis- + ing dominance. Some ancient communication seems to pass + between the two. + + Reese releases the animal and turns his back on it, selecting + a long overcoat from a rack. The dog backs away from him, + stiff-legged and confused. + + CUT TO: + + +14 INT. DEPARTMENT STORE - NIGHT 14 + + TRACKING WITH REESE as he rounds a corner on the run, still + shrugging into his long coat. + Running smack at him is another cop, gun aimed. + + Without slowing, Reese leaps toward him, twisting in mid-air + like a cat. The cop FIRES. Misses. Goes down under Reese's + tackle and they slide together on the polished floor. + + Before they even come to rest Reese snatches the cop's gun, + aiming it at the other's face two-handed. + + REESE + What day is it? The date... + + COP + Thursday...uh...May twelfth. + + REESE + (viciously) + What year? + + A SHOT whines off the metal side of an escalator behind + Reese's head. He vaults the escalator rail, leaving the + amazed cop lying on the floor. + + Reese bounds up the frozen steps, pocketing the .38 Police + Special in his coat. + + Cops dash through the maze of aisles, converging at the + escalators. + + CUT TO: + +15 INT. DEPARTMENT STORE/SECOND FLOOR - NIGHT 15 + + WHIP PANNING WITH REESE, as he hurtles between displays. + He stops for a moment beside a rack of shoes. Slaps one of + a pair of tennis shoes sole-to-sole against his bare foot. + Too small. Another. Holding the shoes he runs on. + + CUT TO: + +16 EXT. SECOND FLOOR FIRE ESCAPE LANDING - NIGHT 16 + + A door opens quietly and Reese slips out. + + CAMERA TRACKS WITH HIM as he moves like a panther along the + narrow catwalk. TILT DOWN to include the first LAPD cruiser + parked at the mouth of the alley. + + CUT TO: + +17 EXT. ALLEY/STREET - NIGHT 17 + + Reese drops cat-like beside the unattended police car. + Cautiously, he opens the door of the cruiser, removes the + RIOT GUN, an Ithaca pump model, from the dash rack and slips + it under his coat. Cradled in a vertical position, the + shortened weapon is virtually invisible. + + He walks out onto the street and away, unhurriedly, an + innocuous pedestrian soon lost in the rain. + + CUT TO: + + +18 EXT. STREET/NEARBY - NIGHT 18 + + Reese enters a telephone booth. Harsh light rakes across + his face, outlining the long scar. He opens the directory, + leafs through it. + + ANGLE - MACRO ON PAGE, Reese's finger slides down a column. + Stops beside the following listings in the big metropolitan + white pages: + CONNOR, SARAH + CONNOR, SARAH ANN + CONNOR, SARAH J. + + DISSOLVE TO: + + +19 EXT. CITY STREET - MORNING 19 + + The night's rain has given way to a typical L.A. morning + of diffuse sunlight. + + MOVING WITH A GIRL on a MOPED as she zips through traffic. + SARAH CONNER is 19, small and delicate-featured. Pretty in + a flawed, accessible way. She doesn't stop the party when + she walks in, but you'd like to get to know her. Her vulner- + able quality masks a strength even she doesn't know exists. + + Sarah maneuvers nimbly, apparently in a hurry. + + CUT TO: + + +20 EXT. BIG BOB'S RESTRAUNT - DAY 20 + + Sarah buzzes into the parking lot of Big Bob's Family + Restaurant and chains the moped to the icon of Big Bob + himself. The fiberglass cherub holds up his mammoth + hamburger in perpetual homage to whatever deity watches + out for fat kids. + Sarah removes a stack of college textbooks from the luggage + carrier and tuns to go into the restaurant. + + SARAH + (to Big Bob) + Watch this for me, big buns. + + CUT TO: + +21 INT. BIG BOB'S/DINING AREA 21 + + HIGH WIDE SHOT prominently featuring a VIDEO SURVEILLANCE + CAMERA F.G. as Sarah enters below. She passes under another + video eye as she crosses the main floor of the wholesomely + appointed eatery. Sarah goes through the swinging STAFF + doors under a third camera. + + CUT TO: + + +22 INT. MANAGER'S OFFICE 22 + + The office is closet-like, lit by the glow of several + security monitors. CHUCK BREEN, day manager, pimply and + officious,watches Sarah in an overhead view of the service + corridor. He punches a switch and reaches for a microphone + on a studio gooseneck. + + CUT TO: + +23 INT. SERVICE CORRIDOR 23 + + Sarah glances up as Breen's voice rasps from a ceiling speaker. + + BREEN (V.O.) + Sarah? + + She answers the empty hallway. + + SARAH + Yes, Chuck? + + BREEN + Come to the office, please. + + She turns back toward the office door at the end of the + corridor. + + CUT TO: + + +24 MANAGER'S OFFICE 24 + + Sarah opens the door to Breen's closet control center. + + SARAH + Mission control to Chuck, + come in... + + BREEN + (without looking + up) + You're late. + + Sarah is undaunted. + + SARAH + Aren't I worth waiting for? + + BREEN + Not really. Do you think you + can get here on time if I put + you on the floor as a waitress? + + SARAH + (grinning) + I don't know. I kinda had + my heart set on being a + cashier the rest of my life. + + BREEN + The pay's the same but you'll + make more in tips. + + SARAH + Thanks, Chuck. I need the + + money. Can I still work the + hours around my classes? + + Breen turns to punch up a display on the restaurant's + small accounting computer. Sarah looks over his shoulder + as he modifies the week's schedule. + + BREEN + Mmm. Same schedule's okay. + + SARAH + Alright! + + BREEN + (gravely) + Can you handle it? + + SARAH + It's not brain surgery, + Chuck. + + Breen hands her an apron ceremoniously. + + BREEN + Here you go. You're a + Bob's Girl now. Nancy + will check you out. + + SARAH + I won't let the fat kid down. + + CUT TO: + +25 OMITTED 25 + + +26 INT. LOCKER ROOM - DAY 26 + + ANGLE - TIGHT ON LOCKER DOOR as it slams shut, revealing + Sarah transformed into a "Bob's Girl". + Her hair is in a bun. + White blouse. Short flared skirt and apron with a bow. + She resembles a suburbanized peasant maid looking for a + goat to milk. + + Sarah confronts her reflection in the mirror, pondering + its absurdity. + She pinches her sheeks. + Smiles vacuously. + + SARAH + Hi, I'm Sarah and I'll be + you waitress. + (pause) + I'm so wholesome, I could + puke. + + CUT TO: + + +27 EXT. PARKING LOT - DAY 27 + + TIGHT ON CAR SIDE WINDOW, as a figure approaches, reflected + in the glass. A fist punches through the window, shattering + it. The thief unlocks the door and gets behind the wheel. + It's Terminator. + + CUT TO: + + +28 INT. YELLOW MAVERICK - DAY 28 + + With a blow from the heel of his hand Terminator smashes loose + the ignition assembly and strips the wires with a brutal + twist of his fingers. Touching the proper wires he starts + the car. + + CUT TO: + + +28A EXT. PAWN SHOP - DAY 28A + + Terminator walks past the long display window of an + enormous pawnshop emporium. Signs declare, among other + things, GUNS and AMMO is red block letters. + Terminator passes the appliance section, and the pictures + on a row of TV sets distort and break-up sequentially as + he walks by, returning to normal behind him. + + He enters the store. + + CUT TO: + + +29 INT. PAWN SHOP - DAY 29 + + TIGHT ON GLASS COUNTERTOP as an AR-180 ASSAULT RIFLE WITH + SCOPE is laid beside a number of other guns: a COLT K- + MODEL .45 ACP, a SMITH AND WESSON .38 FOUR-INCH, a BERETTA + .225 ACP. + + TERMINATOR (V.O.) + ...the Remington 1100 Autoloader... + + WIDE as the CLERK, who looks like a sick lizard, pallid + and paunchy, takes the rifle from a wall rack. He lays it + beside the arsenal of perfectly legal anti-human artillery + already on the glass counter. + Terminator scans expressionlessly for additional selec- + tions. + + CLERK + Anything else? + + TERMINATOR + A phased plasma pulse-laser in + the forty watt range... + + CLERK + (annoyed) + Just what you see, pal. + + He indicates the display case and wall racks with a + minimal gesture. + + TERMINATOR + The Uzi 9 millimeter. + + CLERK + (setting it out) + You know your weapons, buddy. + + Terminator examines each in turn, working the actions with + curt, precise movements. + + CLERK + (continuing) + Any one of them's ideal for + home defense. Which'll it be? + + TERMINATOR + All. + + The clerk digs deep and finds a scrap of a smile. + + CLERK + Maybe I'll close early. + Cash or charge? + + Instead of replying, Terminator takes a box of shotgun shells + from a stack on the display case. + + CLERK + Sorry, I can't sell the ammo + with the guns. You'll have + to---Hey! + + Terminator has calmly begun feeding the shells into the + shotgun. + + CLERK + (continuing) + You can't to that... + + TERMINATOR + (evenly) + Wrong. + + He raises the barrel and pulls the trigger. The gun THUNDERS. + + CUT TO: + + +30 EXT. GAS STATION/PHONE BOOTH - DAY 30 + + The yellow Maverick pulls to a stop beside a single phone + booth. + + MOVING WITH TERMINATOR, as he gets out, walks to the booth + and rapidly pulls its occupant out by his greasy T-shirt, + flinging him backward into the parking lot. The guy is + bear-like, slab-handed, but Terminator doesn't even glance + back as he steps in to take the man's place. + + MAN + (outraged) + Hey, man... + + CUT TO: + +31 PHONE BOOTH + + A woman's voice, a faint reedy monologue, issues from the + dangling receiver. + Terminator leafs rapidly through the directory. + + ANGLE - C.U. PAGES FLIPPING + + ANGLE - MACRO SHOT, as Terminator's finger comes to rest + beside a now-familiar listing: + CONNOR, SARAH + + CUT TO: + + +32 INT. BIG BOB'S/DINING AREA + + Sarah is bustling about, trying to service the start of + the dinner rush. In waitress parlance, she's 'in it'. + She runs the gauntlet between tables, precariously balancing + two full dinner plates on one arm and hand-carrying a + third. A customer tugs on her apron for attention and she + barely averts contributing the chili size to his wardrobe. + + CUSTOMER + Honey, can I get that coffee + now? + + SARAH + Yes sir, just a second. + + She reaches her table after near collisions with a Mexican + busboy and two teenage girls doing cheerleading routines + in lock-step. + + SARAH + Who gets the Burly Burger? + + CUSTOMER TWO + I ordered Barbecue Beef. + + CUSTOMER THREE + Does mine come with fires? + + CUSTOMER FOUR + He's got the Barbecue Beef, + I've got a Chili-Beef Deluxe. + + SARAH + Okay, who gets the Burly Beef? + + CUSTOMER AT NEXT TABLE + Miss, we're ready to order. + + + In the process of setting down all the plates Sarah knocks + over someone's water glass. + + SARAH + (mopping fran- + tically) + Oh, sorry. That's not real + leather, is it? + + As she cleans up the spill, a kid at the next booth reaches + over and dumps a scoop of ice cream into the top pouch of + Sarah's apron + + She stares down at the mess melting over her hard-earned + and sags with defeat. NANCY, a plump, gum-chewing waitress, + stops beside her to whisper. + + NANCY + Look at it this way: in a + hundred years, who's gonna + care? + + CUT TO: + +33 EXT. SUBURBAN STREET - DAY + + ANGLE on a standard-issue L.A. suburban street with kids + racing Big Wheels B.G. + + LOW ANGLE with the FRAME comprising a single house, toy- + littered lawn and mailbox. EXTREME F.G., by the curb, is + a CHILD'S PLASTIC TRUCK. + + There is the sound of a CAR ENGINE approaching, and the + front of the yellow Maverick appears, stopping at the curb. + Its front tire CRUSHES the toy. + + PANAGLIDE ON TERMINATOR, preceding him as he steps out of the + car, pauses by the mailbox to check the name, and strides + toward the house. + + A YOUNG BOY, playing in the driveway, watches him pass. The + boy's DOG, a small Terrier, growls low and mean, crouching + back from Terminator. + + He rings the doorbell and waits, motionless. + The door opens a few inches, held by a security chain, + revealing a frail MIDDLE-AGED WOMAN in apron and rubber + cleaning gloves. + + TERMINATOR + Sarah Connor? + + WOMAN + No, she's upstairs. Who + shall I say is-- + + Terminator breaks the chain and pushes past her as if she + didn't exist. + + CUT TO: + + +33A INT. HOUSE/FOYER 33A + + PANAGLIDE ON TERMINATOR, preceding his as he crosses the + foyer and mounts the stairs. The woman starts after him. + + WOMAN + What do you think you're-- + My God! + + She gasps and stops in her tracks as Terminator smoothly + pulls the .45 from under his jacket and snaps the cocking + slide. + + WOMAN + (screeching) + Oh my God...Sarah! + + CUT TO: + +33B INT. BEDROOM 33B + + Installed on her bed for an afternoon of 'soaps' is the + WRONG SARAH CONNOR. ELECTRODE PADS exercise her doughy + thighs as the 35 year old divorcee watches "GENERAL HOSPITAL". + She calls out distractedly: + + WRONG SARAH CONNOR + What is it, Mom? + + She jumps as the door BANGS open. And stares in dumb + amazement as the good-looking, intense-eyed man in the + strange clothes raises a pistol. + + And aims it at her face. + + It all seems less real than "GENERAL HOSPITAL" in that + half-second before he FIRES. + + CUT TO: + +33C INT. FOYER 33C + + The mother is fumbling with a telephone when she hears + the SHOT. The silence stretches for several BEATS. Then + FIVE MORE SHOTS are heard. + The woman screams and drops the phone as she stares upward. + + ANGLE ON CEILING above her. With each successive shot a + chuck of plaster explodes off the ceiling. + + CUT TO: + +33D INT. BEDROOM 33D + + LOW ANGLE ON TERMINATOR, standing with the .45 aimed + down at the dead woman, just OUT OF FRAME on the floor. + He unhurriedly removes the spent clip, reloads the weapon + and replaces it under his jacket. + + Crouching down, he turns the woman's body over, confirming + that she is dead. + + CUT TO: + +33E INT. FOYER 33E + + The mother is frantically dialing the phone. She mis- + dials, starts over. Then stops as she hears the bedroom + door open. + + Terminator stands at the head of the stairs. + His hand is bloody where he grasped the dead woman's + shoulder. + + He starts down the stairs. + The mother stands paralyzed, unable to breathe. + He reaches the main floor and walks toward her. + She edges into a corner, eyes wide. + He reaches out. + + And wipes his hands clean on her apron. + + Terminator walks out, without expression, leaving the + woman to sag to the floor in a faint. + + CUT TO: + + +34 INT./EXT. SERVICE TUNNEL - DAY 34 + + TIGHT ON KYLE REESE'S HANDS as they make the last few + strokes with a hacksaw to sever the wooden stock from + the riot gun. It clatters to the ground, leaving a short + stump, like a pistol grip. + + CUT WIDER as Reese hefts the weapon. He is crouched in + an underground service tunnel below a busy street. Shadows + of people walking across a grating in the sidewalk above + him flicker past. They can't see him in the darkness below + their feet as he checks the gun's action carefully. He + slips it under his overcoat where it hangs from a jerry- + rigged sling. + + CUT TO: + + +35 EXT. STREET - DAY 35 + + Reese emerges from a stairwell behind a service station, + his overcoat done up to the top button. + He walks through the sparse morning crowd on the cluttered, + overbuilt commercial street. + He is out of sync. + A stranger in a strange land. + He holds himself tightly reined, cautious and feral as he + moves among the unconcerned pedestrians. + His eyes flick rapidly about. + He is seeing this Babylon for the first time. + + Reese stops at a hole-in-the-wall take-out stand. He + watches people walk away with food. Moves closer. + Scrutinizes the next man as he orders. + + TAKE-OUT CUSTOMER + Gimme a falafel with yogurt + dressing and, uh, Baco-bits. + + The counterman hands him his food and change wordlessly + as Reese steps up. + + REESE + Gimme a falafel with, uh, + yogurt and Baco-bits. + + The counterman barely looks up as he passes the mess + through the window. + + COUNTERMAN + That'll be one-sixty. + + He glances up and Reese is gone. He leans half out the + window. + + COUNTERMAN + (continuing) + Hey! Son-of-a-bitch. + + CUT TO: + +35 EXT. ALLEY - DAY 35 + + Reese crouches in an alley, out of sight of passersby, + wolfing his food. The sauce runs down his sleeve but he + doesn't notice. + + CUT TO: + + +35A INT. BIG BOB'S/DINING AREA - DAY 35A + + An old man with a shrunken, ungenerous face scowls at + the menu as Sarah wipes the tabletop in front of him. + + SARAH + I haven't seen you in here + lately, Mr. Miller. + + MR. MILLER + What's it to ya? + + SARAH + You must have a girlfriend. + + MR. MILLER + That's none of your business. + + SARAH + Aha! Is she young? + + Mr. Miller lowers his menu and glares at her. + + MR. MILLER + Compared to me she is. How + + come you're not at the cash + anymore? They catch ya steal- + ing? + + SARAH + (smiling) + What's it to ya? + + When she leaves, the old man is grinning, behind the menu, + where no one can see him. + + CUT TO: + +36 INT. BIG BOB'S/SERVICE CORRIDOR 36 + + Sarah rounds the corner, walking fast as she undoes her + apron. She calls out to the walls without looking up. + + SARAH + I'm on break, Chuck. Carla's + got my station. + + As she approaches the locker room where the girls take + their coffee breaks, the door bursts open and Nancy + beckons to Sarah. + + NANCY + (excitedly) + Hurry up. It's about you... + I mean sort of...Come on! + + CUT TO: + + +37 INT. BIG BOB'S/BREAK ROOM 37 + + Nancy guides Sarah to the small black and white portable + TV in the corner. Two other girls, smoking cigarettes + with their shoes off and nyloned feet on the table, are + already watching. One glances at Sarah. + + WAITRESS + Hey, Sarah. This is weird. + + They huddle around the set, intent on a newscast in progress. + + TV ANCHORWOMAN + ...and a police spokesman at + the scene refused to speculate + on a motive for the execution- + style slaying of the Encino + housewife. He did however say + that an accurate description of + the suspect has been compiled + from several witnesses. Once + again, Sarah Connor, thirty-five, + mother of two, brutally shot to + death in her home this afternoon. + + As the news grinds on, Sarah gazes unseeingly at the screen. + Nancy claps her on the shoulder, laughing. + + NANCY + You're dead, honey. + + CUT TO: + + +38 EXT. HEALTH CLUB - DUSK 38 + + Sunlight is dying when Sarah swings her moped to the curb + in front of the 'GOOD LIFE SPA', a large, crowded health + club. + + CUT TO: + + +39 INT. HEALTH CLUB/AEROBICS STUDIO 39 + + MUSIC BOOMS and masses of leotarded cellulite sway in close + F.G. as CAMERA DOLLIES along a row of panting, stretching + women. In deep B.G. Sarah slips in through the door and + waits against the wall while the human dynamo, GINGER VENTURA, + leads the class energetically. Ginger, Sarah's roommate, + is a party-stopper. Red-haired, athletic, sensuous. She's + pretty enough when still, but stunning in motion. And she's + in motion. + + Ginger yells commands and cheerfully dives into contortions + to the BEAT of a MOTOWN FAVORITE. + MARCO, a handsome, well-defined guy wearing a tight STAFF + T-shirt, strolls up for a drink at the water fountain next + to Sarah. + + MARCO + Hi. I've seen you around. + You're cute. Cute I remember. + + SARAH + I'm Sarah. Ginger's roommate. + + MARCO + Yeah, right. I'm Marco. + + The dance tape ends. + + GINGER + ...and three aaand four! And + that's it ladies! Now, didn't + that feel good? + + The group collapses ensemble. A chorus of groans. + + GINGER + Let's think positive or next + time I'll play the FM version. + + Ginger walks over to Sarah as the class disperses. Marco + is leaning on the wall next to Sarah, who is enjoying the + attention. + + SARAH + ...yeah, really? Say some- + thing in Italian. + + Before Marco can reply, Ginger pulls the front of his gym + shorts out and peers down. She shakes her head. + + GINGER + You're wasting your time, kiddo. + Let's go. + + She grabs Sarah by the arm and pulls her out the door. + Sarah catches a glimpse of Marco's expression over her + shoulder as the door closes. + + CUT TO: + +40 INT. HEALTH CLUB/STAIRS AND CORRIDOR 40 + + PANAGLIDE WITH THE TWO GIRLS, as they descend to the first + floor and enter a hallway + Sarah is gasping with laughter. + + SARAH + (weakly) + I don't believe you did that. + + Ginger is adjusting her ever-present WALKMAN-TYPE CASSETTE + PLAYER at her hip. She slips on the earphones as they walk + along. + Sarah feigns outrage. + + SARAH + (continuing) + I had him hooked. He was + just about to ask me out. + I could tell. + + GINGER + That guy's a jerk. I did + you a favor. + + SARAH + I'll do the same for you + sometime. + + Sarah laughs and claps her friend on the back. They turn + in at a door marked WEIGHT ROOM. + + CUT TO: + +41 INT. WEIGHT ROOM 41 + + SEVERAL ANGLES, on glistening arms, legs, torsos merging + into bio-mechanical kinetic sculptures with the chrome-steel + levers and tubes. The CRASH and SQUEAL of metal against + metal. + + In F.G., two Conan-esque arms thrust upward, glistening. + Ginger's boyfriend, MATT McCALLISTER, the assistant manager + of the club, strains out his last reps, bench-pressing + enormous weight on the Nautilus machine. + Despite his imposing appearance, Matt is one of the warmest + people you'd ever want to meet. + His face is contorted, muscles knotted for the last push. + He heaves it up with a guttural cry. + Lowering his weights with a CLANG, Matt lies panting, arms + dangling at his side, eyes closed. + A pair of female legs appear. + + GINGER (V.O.) + What's this? Sleep therapy? + + Matt opens his eyes. + + GINGER + (continuing) + You think somebody's gonna + do this for you? Look at + those shriveled bi's. And + you haven't worked lat's or + ab's since Wednesday. + + MATT + (smiling) + Hello, sweetheart. Had a + rough day? + + GINGER + (softening) + Come here, wimp. + + She leans down as he sits up and they meet in a kiss that's + bad for the other guys' discipline. + + Sarah waits until they break the clinch to speak. + + SARAH + Hi, Matt. + + Matt look backwards over the bench, and replies, upside-down. + + MATT + (grinning broadly) + Heeey! It's my favorite + Sarah. Hi, babe. + + Ginger pulls the pin on Mat's weights and re-inserts it + beneath the entire stack, the maximum weight. + + GINGER + Alright, warm-ups are over. + Back to work, Bunky. + + Ginger readadjusts her headphones as the two girls walk away. + + MATT + 'Bye beautiful. You too, + Ginger. + + Two weightlifters nearby look at each other, than at Matt. + + WEIGHTLIFTER + Bunky? + + CUT TO: + +42 EXT. HEALTH CLUB/STREETS - DUSK 42 + + Sarah lurches away from the curb on her moped, almost + spilling Ginger who is attempting to ride double. They + swing out onto a main thoroughfare and careen through + the bumper-to-bumper traffic. + Sarah maneuvers deftly though overloaded and unstable. + Ginger doesn't know whether to laugh of scream at the + near-misses. + She does both. + + CUT TO: + + +43 OMITTED 43 + + +44 EXT. STREET/CONSTRUCTION SIGHT - DUSK + + On a side street the girls pass an excavation site between + high-rises. They pass OUT OF FRAME as CAMERA HOLDS on the + construction area and Ginger's shrieks fade. + + In the F.G., under an overpass, Reese sits is a car watching + the powerful machines moving earth. + He's in a late-model non-descript GREY SEDAN, one of a row + of cars gathering dirt beside the construction site. + Crab-armed back-hoes and massive caterpillars ROAR through + a curtain of dust, under intense floodlights. A power-shovel + moves its great arm, lighting its own way with an arc-light. + + CUT TO: + + +45 INT. GREY SEDAN 45 + + Reese sits motionless in the dark. Waiting. The clock in + the dash ticks quietly. + He flips on the radio. A fatuous POP ROCK STATION. + Reese fishes a magazine off the dirty floor. His over- + coat is off, draped over the shotgun on the seat beside + him. + His bare arms are sinewy and scarred. + + Reese flips the page of COSMOPOLITAN. + He look at the glossy photos, the glossy women. + Fantasy women. Svelte and seamless. + The ads fascinate him too: Caribbean vacations and blended + whiskeys. + His head sags against the door. + He gazes dully at the tracks of a passing CATERPILLAR as they + chew through the dirt. + The ROAD and CLATTER of treads intensifies as his eyes close. + + CUT TO: + + +46 EXT. MELTED RUINS - NIGHT 46 + + TIGHT ON A GLEAMING STEEL TREAD as it grinds through debris. + The debris is ferroconcrete, girders, and jackstraw heaps of + HUMAN BONES, burned black. + + There is the sound of EXPLOSIONS, distant, and an intermittent + electronic WHINE. Incredibly bright searchlights play over + the ground. PANNING with the moving treads through twisted + wreckage, F.G. + The screen WHITES OUT with a BLAST, very close. As the + debris clatters down, a helmetted head snaps up into FRAME, + EXTREME F.G. + + The visor of the HIGH-TECH HELMET is shattered, presumably + by the explosion. The wearer rips it off, revealing a + younger Reese, minus his burn scar. + His face is bathed in sweat, lit by the glow from a CRT + SCOPE-SIGHT on a strange-looking rifle. + The sound of SCREAMS and HOARSE SHOUTS not far off, and a + continuous low murmuring of RADIO CHATTER, grid coordinates, + casualties, unit placements, medic requests. + + Reese looks over his shoulder at his teammate, a GIRL + of about sixteen, gaunt, dirty, heavily armed like himself. + DOLLYING as they start to belly crawl through the bones + and wreckage. + Reese looks up. + Through spires of a collapsed building a terrifying + SPHINX-LIKE SHAPE moves against the sky...obscured by dust + and blinding sweeps of its searchlights. + Though we see little, this is an H-K,Hunter-Killer + mobile ground-unit. + + Reese crawls, pacing the H-K, under and through, on elbows + and knees, past mounds of charred skulls. They + pass the BODY OF A CHILD, a boy of about 10, center- + punched with a smoking hole. The boy clutches a rifle. + More bodies. Some in rags, some in uniforms like theirs. + WOMEN. OLD MEN. CHILDREN. They're all dirty and gaunt, + scabrous. And still bleeding. Reese scrabbles past a + dark rat-hole and there are human rats in it. Some of them + are sobbing, or screaming. + + Another EXPLOSION. + The GLARE lights the huddled few. + Human vermin with mud-caked weapons that haven't been + invented yet. Soldiers in a nightmare war. + + Reese and his teammate stop behind a blasted wall, having + outflanked the massive H-K. Its flashing blue lights flick + across the walls, its searchlights sear through the + debris. + + WIDER, showing the H-K more clearly...a blast-scarred + CHROME LEVIATHON, with hydraulic arms folded mantis-like + against its 'torso', and huge underslung GUN TURRETS. + + Reese leaps up and straight-arms a satchel-charge into its + path. One tread rolls over the explosive. + Guns and searchlights swivel. The head turns ponderously. + Reese's partner rises, poised to throw hers. + A POWER-BOLT catches her at the top of her arc, BLOWING + HER INTO RED MIST. + + Reese is knocked down by the concussion. Gets up, running, + as the charges blow. + The H-K's tread carriers are RIPPED APART. + It lurches to a stop, burning. + + The following SEQUENCE is extremely FORESHORTENED. + CUT FAST. IMPRESSIONS ONLY. + Running. + Explosions light the ruins like flashbulbs. + ENERGY WEAPONS criss-cross the night like tracers. + LOW ANGLE, up past the burning H-K as its flying counter- + part, an AERIAL H-K, arcs into view with a TURBOJET WHINE. + + Reese hauls two survivors of his unit into a PERSONNEL + CARRIER, a CHEVY CAMARO with steel plate welded over it and + the roof cut away to access the 50 CALIBER MACHINE GUN. + It's stripped and rusted and bullet-riddled, glassless. + The TIRES are OFF-ROAD and very gnarly. + + They're driving through the ruins, up and over and through. + Reese drives like a demon. Under other circumstances it + would be considered insane. Here it is merely very good. + + The machine gun CHATTERS. + A BLACK SHAPE descends, a demon with searchlights. + A BOLT OF LIGHT. + + Reese's car flips like a kicked beer can, rolling and + crumpling. He's pinned in the wreck, bloody, screaming + despite his training. The only other survivor, an + emaciated BOY of twelve, is pulling for all he's worth + to drag Reese out before it burns. + + CUT TO: + + +47 EXT. STREET/GREY SEDAN - NIGHT 47 + + CLOSE ON A BOY, about twelve, clean and healthy, wearing + a blue plastic DODGERS HELMET. He reaches through the + window of the sedan. + + BOY + Hey, mister...? + + CUT TO: + + +48 INT. GREY SEDAN 48 + + Reese's eyes open in a split-second, and suddenly there + is a SHOTGUN MUZZLE AIMED RIGHT AT US. + Reese quivers with a curious spasm, similar to the tremors + of his arrival, and blinks at the boy. + + The boy is white-faced, staring down the bore. He backs + away. We see that he is straddling a bicycle. + + CUT TO: + + +49 EXT. GREY SEDAN - NIGHT 49 + + The boy's SISTER, slightly younger and also on a bicycle, + can't see the shotgun from where she's waiting. + + SISTER + (taunting) + See, I told you he wasn't + dead. You owe me Baskin + Robbins. + + The boy rides past her list a shot. + + BOY + (urgently) + Come on. Just come on. + + CUT TO: + + +50 INT. GREY SEDAN 50 + + Reese relaxes slowly, the voltage draining out of him. + + INSERT - MACRO, Reese's finger on the trigger is white + with pressure. He slips the safety to the OFF position. + The gun can now be fired. + + He sets it on the seat and reaches for the dangling ignition + wires, starting the car. + + CUT TO: + + +51 EXT. STREET/OVERPASS - NIGHT 51 + + Lit by streetlights, the car moves away with it lights + off and vanishes in the shadows. + + CUT TO: + + +52 OMITTED 52 + +53 INT. SARAH'S APARTMENT/BATHROOM/LIVING ROOM - NIGHT 53 + + Sarah and Ginger are crammed into the tiny bathroom, + becoming inextricably tangled in each other's cords as + they blow-dry, curl hair, and apply make-up. Ginger + has her headphones inverted under her chin but in place, + and is bouncing to music as she dries her hair. She is + wearing a short terry-cloth bathrobe that reveals the + greater part of her legs. Sarah is in a skirt and bra. + + The phone rings and Sarah goes out into the living room + to get it. + + SARAH + (answering the + phone) + Hello? + + VOICE (V.O.) + (on phone, deep + and breathy) + First I'm going to rip the + buttons off your blouse, one + by one...then run my tongue + along your neck, down to your + bare, gleaming breasts... + + Sarah cups her hand over the mouthpiece and calls out + matter-of-factly: + + SARAH + Ginger! It's Matt. + + She resumes listening. + + MATT (V.O.) + ...and then slowly pull your + jeans off inch by inch and + lick your belly in circles, + further and further down... + then I'll pull off your panties + with my teeth... + + Sarah is repressing laughter. + + SARAH + (crossly) + Who is this? + + Silence. Then Matt realizes to his horror who he's been + talking to. + + MATT (V.O.) + Oh my God! Sarah! Oh, shit. + Jesus, I'm sorry. I thought + you were...Can I talk to Ginger? + + SARAH + Sure, Bunky. + + As Ginger approaches, Sarah hands her the receiver and + goes into the bedroom. + + GINGER + Hello? + + MATT (V.O.) + First I'm gonna rip the buttons + off your blouse... + + CUT TO: + + +54 BEDROOM + + Sarah picks up four blouses on hanger lying on the bed + and goes back into the hallway. + + CUT TO: + + +55 INT. LIVING ROOM + + Ginger is still listening to Matt, nodding, as Sarah enters + and starts holding the blouses against herself one by one + for Ginger's inspection. + + SARAH + What do you think? + + GINGER + (covering mouth- + piece) + Great. + + Sarah hold up another one. + + SARAH + How about this? + + GINGER + Great. + + SARAH + You're a big help. + + GINGER + (advisory tone) + Alright, the beige one. + + SARAH + I hate the beige one. + + GINGER + (same advisory + tone) + Don't wear the beige one. + + Sarah gathers up the blouses and walks out. + + SARAH (V.O.) + This guy's probably a schmuck + and I don't care what I wear. + + A couple of BEATS, and she's back in the doorway with + a concerned expression. + + SARAH + (continuing) + You think the beige? + + CUT TO: + + +56 EXT. VENICE STREET - NIGHT + + An unmarked car with a clamp-on light and siren blaring + screeches to the curb behind two marked black-and-whites + in front of a funky Venice apartment building. A small + crowd is gathered around the front steps. LIEUTENANT + ED VUKOVICH, Homicide Division, gets out of the car and + strides through the crowd. He's fiftyish, short, but + square and solid, a human bulldog gone a little to paunch. + He chews Juicy Fruit gum like a maniac: a chain-chewer. + He's homely as an old boot. And he's not a smart cop, he's + a wise one; rarer still. The onlookers, gathered patiently + for their ten second glimpse of something under a sheet, + separate for him to pass. + + CUT TO: + + +57 INT. VENICE APARTMENT BUILDING/STAIRWELL/APARTMENT + + CAMERA PANAGLIDES AHEAD OF VUKOVICH, as he climbs the switch- + back staircase two steps at a time. He passes TWO UNIFORMED + COPS at the doorway of a second-floor apartment, and enters + to find a quiet flurry of activity. Several DETECTIVES and + a PHOTOGRAPHER prowl around, taking evidence, taking pictures. + + In the center of the living room floor is the body of a + young woman, crumpled face down in a small lake of blood. + Two bags of groceries lie split open on the floor in front + of her. + + Vukovich glances up as he is joined by DETECTIVE SGT. + TRAXLER. Traxler is black, lean and very jaded. + + VUKOVICH + Give me the short version. + + TRAXLER + Six shots at less than ten + feet. Weapon was a large + caliber-- + + Vukovich is looking at the body. + + VUKOVICH + No shit. + + Traxler turns to a passing DETECTIVE. + + TRAXLER + Come on. man. Don't track + it all over. It's un- + professional. + + He turn back to Vukovich, gesturing at the body. + + TRAXLER + (continuing) + Okay, let's see...Got a pos- + itive on her. She's Sarah + Connor, works as a legal-- + + + VUKOVICH + (interrupting) + That can't be right. That's + the name of the one Valley + Division mopped up this after- + noon. + + Traxler slips something off his clipboard and hands + it to the Lieutenant. + + TRAXLER + Here's her driver's license. + + VUKOVICH + (pondering) + You gotta be kidding me. The + new guys'll be short-stroking + it over this one. A one-day + pattern killer. + + TRAXLER + I hate the weird ones. + + CUT TO: + + +58 INT. SARAH'S APARTMENT/BATHROOM 58 + + Sarah poses with Ginger in front of the mirror. They are + dressed, made-up, hair-styled and READY. + + GINGER + (studying their + reflection) + Better than mortal man deserves. + + Sarah grins and goes into the other room. + + CUT TO: + + +59 INT. LIVING ROOM + + Sarah walks around the room, searching for something. + + SARAH + (calling) + Ginger, have you seen Pugsley? + + Ginger enters, stopping beside their phone answering machine. + + GINGER + Not lately. Did you check + messages? + + SARAH + (still looking) + I thought you did. + + She checks under the couch, then behind the drapes. She + bends down. + + SARAH + (from beside cur- + tains) + Come here young man. Mind + your mother. + + C.U. - PUGSLEY, as the GREEN IGUANA cocks its head, blinking + vapidly. + + RESUME WIDE, Sarah lifts the three foot long lizard from his + perch on the windowsill. She gives the complacent reptile + a kiss on its blunt snout. + + GINGER + (groaning) + Totally nauseating. + + Sarah drapes the lizard across her shoulders where it sits + contentedly as she looks for her purse. Ginger has been + rewinding the message tape. She punches PLAY and a MALE + VOICE is heard. + + VOICE + (recorded) + + Hi, Sarah...Stan Morsky. + Uh, something's come up and + it looks like I won't be able + to make it tonight. I'm really + sorry. Call you in a day or so. + Sorry. 'Bye. + + Sarah stands still, crestfallen. + + GINGER + That bum. So what if he has + a Porsche, he can't treat you + like that...it's Friday night + for crissakes. + + SARAH + (slumping) + + I'll live. + + GINGER + I'll break his kneecaps. + + Sarah resignedly slips Pugsley off her shoulders. + + SARAH + You still love me, don't + you, Pugsley? + + She places Pugsley in a large terrarium with a 'BEWARE OF + DOG' sign taped on the side. + + SARAH + (continuing) + I'm going to a movie, kiddo. + See ya'. You and Matt have + a good time. + + GINGER + (as Sarah exits) + We will, kiddo. + + CUT TO: + + +60 INT. PARKING GARAGE - NIGHT + + Sarah is a small figure in the shadowed echoing garage of + her building. + + CONVERGING DOLLY, PACING HER, as she passes the stalls with + their inky shadows. + The light near her moped is out. + She fumbles in the dark to unlock the chain. + She looks up. + Did she hear something...masked by the rattle of the chain? + + POV - SARAH, there is no movement for the length of the + garage. + + ON SARAH - C.U., inexplicably nervous. + She stows the chain and starts the bike. It whines + reassuringly. + Sarah jumps on and whirs out of the garage. + + CUT TO: + + +61 INT. CAR/NEARBY - NIGHT 61 + + Sarah is visible through the windshield as she pulls onto + the street. + + PAN WITH HER to reveal Kyle Reese, hunched down in shadow, + watching. He puts the car in gear and pulls out to follow + her receding tail-light. + Streetlights flash across his face, in stark-lines profile. + Mouth cruel where the scar tugs at it. + + CUT TO: + +62 INT. DIVISION HEADQUARTERS - NIGHT 62 + + DOLLYING WITH VUKOVICH and TRAXLER, as they pass through a + group of REPORTERS. Mostly newspaper stringers but there + is also one bored local TV MINICAM CREW. + + REPORTER + ...Lieutenant, are you aware + that these two killings occurred + in the same order as their listings + in the phone book? + + VUKOVICH + No comment. + + He and Traxler enter their office and shut the door. + + CUT TO: + + +63 VUKOVICH'S OFFICE 63 + + Vukovich drops his gun in the wastebasket, picks up a cup + of coffee from his desk and uses it to wash down a handful + of aspirins. Traxler grimaces. + + TRAXLER + That stuff's two hours cold. + + VUKOVICH + (nodding ab- + sently) + I know. + + TRAXLER + (eyeing him) + I put a cigarette out in it. + + Vukovich, lost in thought, turns on him suddenly. + + VUKOVICH + Did you reach the next girl + yet? + + TRAXLER + No. Keep getting an answer- + ing machine. + + VUKOVICH + Send a unit. + + TRAXLER + I already did. No answer at + the door and the apartment + manager's out. I'm keeping + them there. + + VUKOVICH + Call her. + + TRAXLER + I just called. + + VUKOVICH + Call her again. + + Traxler picks up the phone and begins to dial her number + as Vukovich sets down his coffee cup, unwraps a stick of + gum and pops it in his mouth. + + VUKOVICH + (continuing) + Got a cigarette? + + CUT TO: + + +64 INT. SARAH'S APARTMENT - NIGHT 64 + + CLOSE ON PHONE, connected to the answering machine. The + outgoing message trigger after the second ring. + + GINGER'S VOICE + (machine V.O.) + Hi there. + (long pause) + Ha ha ha, fooled you. You're + talking to a machine, but don't + by shy, it's okay. Machines need + love too, so talk to it and Ginger, + that's me, or Sarah will get back + to you. Wait for the beep. + + As the message plays, CAMERA DOLLIES OFF the phone machine + and down the corridor of the dark apartment. As the bedroom + door draws near, Ginger's recorded voice fades and is super- + ceded by CRIES and MOANS. + + CUT TO: + + +65 INT. BEDROOM 65 + + FULL SHOT, framed against the streetlit curtains, Ginger and + Matt from a beautiful tableau of lovemaking in silhouette. + Their perfect bodies glisten with backlight as they strain + in passion. + + CLOSER - TIGHT TWO, revealing that Ginger is wearing her + earphones. Matt, without breaking rhythm, reaches out to + the night table and thumbs the volume higher. + + Ginger cries out louder, apparently enjoying his sure touch + on her volume control. + + CUT TO: + + +66 INT. DIVISION HEADQUARTERS - NIGHT 66 + + Traxler hangs up the phone. + + TRAXLER + Same shit. + + VUKOVICH + I can hear it now, it's gonna + be the goddamned 'Phone Book + Killer'. + + TRAXLER + I hate the press cases. + Especially the weird press + cases. Where you going? + + + VUKOVICH + (heading for + the door) + To make a statement. I'm gonna + give them the name. Maybe the + jackals can help us out for + once. + + He looks at his watch, then straightens his tie. + + VUKOVICH + (continuing) + If they can get this on the + tube by eleven, she may just + call us. + (pause) + How do I look? + + TRAXLER + Like shit, boss. + + Vukovich goes out and the Minicam light hits him as the + door closes. + + CUT TO: + +67 INT. PIZZA PARLOR - NIGHT 67 + + TIGHT ON A TV SCREEN, a news cast in progress. + + ANCHORMAN (V.O.) + ...police had no further comment + on the apparent similarity between + the shooting death of an Encino + woman earlier today... + + CUT WIDE to show Sarah watching the TV which is suspended + over the bar. The place is a crowded, post-movie hangout, + raucous with laughter and videogames. The newscast + continues, ignored by all except Sarah. + + ANCHORMAN (V.O.) + (continuing) + ...and this almost identical + killing two hours ago of a + Venice resident with virtually + the same name. Sarah Ann Connor, + a 24 year old legal secretary, was + pronounced dead at the scene in + her beachfront apartment... + + A customer gestures for the bartender's attention. + + CUSTOMER + Hey, can we change this and + catch the ball scores. + + BARTENDER + (reaching for the + knob) + Sure. + + Sarah leaps half over the bar, startling everyone. + + SARAH + (shouting) + Leave it where it is! + + ANCHORMAN (V.O.) + ...no other connections between + the two victims has been estab- + lished. + (pause) + On a lighter note, these was + cause for celebration at the + L.A. Zoo today, as... + + Sarah leaves her half-finished pizza and beer, getting up + in a daze. Followed by puzzles glances, she makes her way + through the crowd. + + CUT TO: + +68 INT. PIZZA PARLOR HALLWAY 68 + + In the crowded hallway by the restrooms, Sarah goes to the + single payphone and seizes the directory. She flips rapidly + through it, then stops, looking down. + She sees that her name is next on the list. + The book slips out of her fingers. + Sarah turns and scans the crowd. + She's getting looks, covert and otherwise, like any unaccom- + panied girl on a Friday night. But is that all they mean? + + Sarah back into the women's restroom. + + CUT TO: + +69 INT. RESTROOM 69 + + Sarah stumbles numbly to the sink. + She splashes her face with cold water. In the mirror + her terrified reflection looks back. Why me? + She hears a loud clatter and spins around. + It's just a drunken woman fumbling with a toilet stall door. + Sarah edges back out into the corridor. + + CUT TO: + +70 INT. HALLWAY 70 + + Sarah walks stiffly to the pay phone. + It's OUT OF ORDER. + + CUT TO: + +71 EXT. STREET/SIDEWALK - NIGHT 71 + + Sarah exits the pizza place into the sparse crowd on the + sidewalk. As she passes a figure leaning against the wall + just outside, the man turns his head to watch her. + It is Reese, his gaze impassive. + Streetlight catches the burn scar on his cheek. + He is motionless, sinister in his long coat. + Sarah shudders. + She walks on. + + POV - SARAH, ON CROWD, moving toward and through approaching + groups of pedestrians. They seem to be glancing at her. + Was it always like that and she just never noticed? + + C.U. - SARAH as she look over her shoulder. + + POV - SARAH, ON PIZZA PARLOR DOORWAY. Reese is gone. + She resists the urge to run. + On the opposite side of the street an LAPD cruiser glides + slowly by. Sarah is about to call out but a bus blocks + her view and when it had passed, the car is turning away + down a side street. + + She passes a large window with STOKER'S written on it, and + ducks quickly through the door. + + CUT TO: + + +72 INT. STOKER'S - NIGHT 72 + + ANGLE THROUGH WINDOW, SARAH F.G., as Reese approaches. + Her knuckles clench white as he reaches the entrance and + walks by, unhurriedly, without a glance inside. + She turns and scan the gloomy interior, which reveals itself + to be less than savory. Pool tables and upper-middle lowlife + in submarine depths of smoky haze. + + Sarah draws stares, menacing in their own right, as she + weaves between the pool tables to the back of the bar. + her hands are trembling as she drops a dime in the pay + phone and dials. + + VOICE (V.O./RECORDED) + You have reached the Los Angeles + Police Department Emergency Number. + All lines are busy. If you need + a police car sent out to you, please + stay on the line... + + Sarah holds the receiver pressed to her ear, glancing + around, fear feeding on frustration. + + CUT TO: + + +73 EXT. SARAH'S APARTMENT BUILDING - NIGHT 73 + + An LAPD black-and-white sits at the curb in front of Sarah's + building with two cops inside, drinking coffee. Through + the open window we hear the dispatcher's voice on the + radio. + + DISPATCHER (V.O.) + ...two eleven in progress at + Seven-Eleven market, Third and + Tamarac. One suspect believed + to be armed... + + The car pulls out with lights and siren on. + A moment later, Terminator rounds the corner of the building + and climbs the stairs to the entryway. + He surveys the bank of call buttons, then turns to consider + the barred security gate. + + CUT TO: + + +74 INT. SARAH'S APARTMENT - NIGHT 74 + + PANAGLIDE WITH GINGER as she ties her terry-cloth robe and, + leaving Matt in a dead sleep, pads through the dark apartment. + Down the hall, past the phone with Traxler's message. + Through the dark living room. + She has her Walkman in the pocket of her robe and bops to + herself in the silent gloom as she enters the kitchen. + + When she opens the refrigerator to remove snack fixings, the + light briefly illuminates the kitchen and in that moment, + SOMETHING MOVES in the F.G. + + TIGHT ON GINGER, MOVING WITH HER as she backs toward the + counter with her arms full of snack stuff. + + A SUDDEN CRASH. A flurry of motion behind her. + She spins, dropping half her load. + Ginger fumbles for the lightswitch. + + Revealing Pugsley, sitting there blinking innocently among + overturned spice bottles on the counter-top. + + GINGER + Shoo. Go on. I'll make a + belt out of you. + + Pugsley disappears into a large fern by the window and Ginger + sets about her task, slathering crunchy peanut butter on + stalks of celery. + + CUT TO: + + +75 INT. BEDROOM 75 + + MEDIUM ON MATT, as rustling curtains play patterns of street- + light over his sleeping face. + The sound of a faint breeze. + In the B.G. is the balcony, empty. The sliding door is open. + + TIGHT ON MATT, as his eyes open at the sound of a quiet, + repeated CLICKING. + + UP ANGLE - PAST MATT, as the five-inch blade of an industrial + razor-knife reaches full extension in Terminator's hand, + right above him. + It slashes viciously downward. + Matt rolls and the pillow is SLIT OPEN where his throat had + been. + + MATT + Whoah! + + Terminator catches him by the hair and slashed down again. + Matt grabs the wrist in both hands. + The enormous muscles of his arms, which seem capable of bench + pressing a Chrysler, strain and knot against the pressure of + the killer's single arm... + And still the blade moves closer to his throat. + + With a final heave Matt deflects the down-pressure sideways + and the blade snaps with a CLINK against the headboard. + + HANDHELD WITH MATT as he rolls off the bed, spins and slams + his fists together into Terminator's temple. He picks up a + brass deco lamp and brings it down with piledriver force. + + Unperturbed, Terminator knocks the lamp away and hurls Matt + over the bed. + + CUT TO: + + +76 EXT. BALCONY - NIGHT 76 + + Matt crashes through the glass doors and slams against the + balcony railing. + + CUT TO: + + +77 INT. KITCHEN 77 + + Oblivious to the noise, Ginger croons in rock-and-roll + ecstasy, singing to a celery stalk as if it were a micro- + phone. + + CUT TO: + + +78 EXT./INT. BALCONY AND BEDROOM - NIGHT 78 + + Matt heaves himself up, powerful body gleaming with sweat + and hurls himself upon the intruder. + The titans CRASH INTO A DRESSER, reducing it to kindling. + Then into the closet door, EXPLODING THE FULL-LENGTH MIRROR. + + Terminator places one hand on either side of Matt's barrel + chest. SINKS HIS FINGERS INTO THE FLESH. An inhuman grip. + Matt is raised off the floor, contorted with agony, above + the other's head. + + CUT TO: + + +79 INT. HALLWAY 79 + + DOLLY PRECEDING GINGER as she returns from the kitchen with + a plate full of celery stalks and a glass of milk. CAMERA + passes the closed bedroom door and STOPS, as Ginger pauses + to set the plate on top of the glass, freeing one hand to + open the door. + + AN EXPLOSION OF SPLINTERS in close F.G. as a shape smashes + through the door right in front of her...Matt's body + propelled halfway through the door by enormous force. + Ginger shrieks and leaps back, flinging milk and all into + the air. + + The door begins to open the pressure of Matt's body + creates resistance. + Ginger SCREAMS and back away. + + The door is wrenched open and Terminator steps through with + the massive .45 drawn. + + HANDHELD WITH GINGER, the walls blur by as she runs. + + TIGHT ON TERMINATOR as the pistol RISES INTO FRAME, aligning + with his eyes. BOOM! + + LOW FAST DOLLY WITH GINGER as the bullet punches into her + shoulder, pitching her on her face outside the bathroom door. + + LOW WIDE ANGLE as she crawls forward, gasping, drowning. + The implacable figure looms behind her. + Her expression is agony and reeling, nauseating terror. + And incomprehension: Why am I suddenly dying? + Her eyes roll, showing the whites, like a horse tethered in + a burning stable. + + CUT TO: + +80 INT. BATHROOM 80 + + Ginger scrabbles pathetically for a grip on the tile floor + as she pulls herself into the bathroom. + She clutches the rim of the toilet. + + LOW ANGLE PAST HER, ON TERMINATOR, as he stands behind her. + PAN UP, off her. He takes aim. + And empties the clip. + He calmly reloads. + + CUT TO: + + +81 INT. HALLWAY/BEDROOM 81 + + CLOSE ON PHONE MACHINE, as the telephone rings loudly in the + ensuing silence. + Terminator spins, drawing an instantaneous bead on the source + of the sound, but doesn't fire. + + GINGER'S VOICE + (recorded) + Hi there. + (pause) + Ha ha ha, fooled you. You're + talking to a machine... + + C.U. - TERMINATOR, motionless, listening. + + GINGER'S VOICE + (recorded, continuing) + ...but don't be shy, it's okay. + Machines need love too... + + Terminator turns abruptly back to Ginger's body. He turns + it over, assuring himself that she is dead. + + GINGER'S VOICE + (continuing, recorded) + ...so talk to it and Ginger, that's + me, or Sarah will get back to you. + Wait for the beep. + + There is a loud tone and the incoming call is heard. + + SARAH'S VOICE + (on machine) + Ginger, this is Sarah... + + Terminator's head snaps back and he freezes, listening. + He rises slowly as Sarah's voice continues. + + TIGHT ON HIS UNBLINKING EYES. + + SARAH'S VOICE + (on machine, contin- + uing) + ...I'm in this sleazy bar called + Stoker's on Pico but I'm too + scared to leave. I'm really + scared, kiddo... + + CUT TO: + + +82 INT. STOKER'S BAR - NIGHT 82 + + Sarah cups the telephone's mouthpiece with her hand and + glances around frequently. + + SARAH + (continuing, into + phone) + ...I think somebody's after me + and I sure hope you play this + soon 'cause I need you and Matt + to come pick me up. The police + keep transferring me around, but + I'm going to try them again. + + CUT TO: + + +83 INT. SARAH'S APARTMENT/BEDROOM - NIGHT 83 + + SARAH + (continuing, B.G.) + The number here is 468-9175. + Call me, kiddo. I need you. + It's Stoker's on Pico. Bye. + + Terminator is rapidly and methodically rifling the contents + of Sarah's small desk. SIREN'S WAIL, approaching. + He picks up a small card. + + E.C.U. - CARD. It is Sarah's college I.D. card, complete with + color photo of her. + + MACRO ON PICTURE. + + E.C.U. - TERMINATOR'S EYES as he tosses the card down, + after a fraction of a second's scan. Picks up something else. + + TIGHT ON SARAH'S ADDRESS BOOK, Terminator pockets this and + slips out the balcony door. Climbing over the railing, he + is gone. + + CUT TO: + + +84 INT. STOKER'S BAR - NIGHT 84 + + Sarah is huddled, back to the wall, beside the phone. + + SARAH + (on phone, upset) + ...look, Lieutenant...uh, + Vukovich, don't put me on + hold and don't transfer me + to another department... + + CUT TO: + + +85 INT. VUKOVICH'S OFFICE - NIGHT 85 + + VUKOVICH + (on phone) + I won't. Now just relax. + Where are you? + (pause) + Yeah, I know it...on Pico. + Are you alright? + + CUT TO: + + +86 INT. STOKER'S BAT - NIGHT 86 + + SARAH + (on phone) + Yes, but I don't want to + leave. I think this guy's + following me. + + CUT TO: + + +87 INT. VUKOVICH'S OFFICE - NIGHT 87 + + VUKOVICH + (on phone) + Alright, Ms. Connor. Listen + carefully. You're in a public + place, you'll be safe 'til we + get there. Stay visible. + Don't go outside or in the + restroom. I'll be there in + a few minutes. + + He hangs up and grabs his coat, motioning to Traxler. + + VUKOVICH + Let's roll. + + CUT TO: + + +88 INT. STOKER'S BAR - NIGHT 88 + + Sarah takes a seat at a booth near the bar, and picks up + a dog-eared menu, but can't concentrate on it. She looks + at her watch and glances around. + + CUT TO: + + +89 EXT. STREET - NIGHT 89 + + The yellow Maverick hurtles along an empty street. + + CLOSER ANGLE as streetlight glare slashes across Terminator's + face in flaring pulses. + + CUT TO: + + +90 INT. PLAIN CAR - NIGHT 90 + + Vukovich draws his Colt Python .357 Magnum and check the + load. Traxler is driving. + + VUKOVICH + Let's see how this guy likes + playing hard-ball. + + CUT TO: + + +91 INT. STOKER'S BAR - NIGHT 91 + + The waitress set a cup of coffee in front of Sarah. + + WAITRESS + Anything else? + + Sarah shakes her head "No" and contemplates her trembling + hands. She half-turns, catching a glimpse of herself in + the mirror behind the bar. + + TIGHT ON SARAH, reflected in the mirror. In the F.G. a + man at the bar looks up from his beer, straight into her eyes. + It is Reese. + He gazes at her coolly for a moment, then glances away. + + C.U. - SARAH, feeling trapped, frantic. + + ANGLE ON FRONT DOOR as it opens and a figure stands silhou- + etted briefly against a streetlight. + + Reese turns, his eyes flickering to the mirror, the figure. + + C.U. - REESE as he mechanically raises his beer. His knuckles + are white. He slowly undoes the top button of his overcoat. + There is a glint of metal in the shadows within. + Reese turns slowly on his barstool as the figure brushes past + him, out-of-focus F.G. + Sarah looks up. + + E.C.U. - REESE'S HAND sliding slowly along polished steel, + a caress. His finger slips through the triggerguard of the + riot gun. + + MEDIUM ON SARAH, as the man stops in front of her in close F.G. + He sits slowly in the booth opposite her. The angle is OVER + HIS SHOULDER. + + SARAH + (uncertainly) + Lieutenant Vukovich? + + REVERSE ANGLE - It is not Lt. Vukovich. + Terminator sits motionless for a BEAT. + Blue eyes so pure and deep. The eyes of a saint, perhaps. + + The .45 is out and cocked and AIMED DIRECTLY AT CAMERA, almost + in one motion. + The bore seems enormous. + + BACK ON SARAH, over the gun barrel, her eyes go wide. We hold + a BEAT, like a frozen slice of nightmare. + + MEDIUM ON REESE as he whips the riot-gun to a hip-firing posi- + tion, his overcoat falling back with a snap. HE FIRES. + + ON TERMINATOR, as the shotgun blast hits his arm and he FIRES, + simultaneously. Sarah screams as the .45 round blows stuffing + out of the booth seat inches from her face. Her hair is + singed by burning gunpowder. An involuntary cry is punched + out of her by the double concussions. + + Reese is stroking up another shell as Terminator half-rises + from booth. + + OVER REESE'S SHOULDER, as he fires, cocks the slide, fires + again, advancing on Sarah's booth. + Terminator is blown backward over the center divider, + crashing through the glasses and pitchers of beer on the + table opposite, and onto the floor. + + Sarah is screaming, scrunched down in the booth. + + Terminator is lying on his back at the feet of a table- + full of drunk patrons. + He has two rifled 12 gauge slugs in his chest and one + in the arm. + + The bar customers are frozen in the weird tableau, cowering, + gaping. + Sarah stops screaming. + Reese stand motionless, gun aimed. + In the sudden silence, the sound of him cocking the shotgun + is abnormally loud. + + ON TERMINATOR, very still. + Then he smoothly rolls to a crouch and slips the UZI machine + pistol from beneath his overcoat, where it has been hang- + ing on a shoulder strap. + He doesn't seem too impaired as he swings around to fire. + + Reese rolls like a cat and comes up firing. + A burst from the UZI rakes the bar where he stood. + An orgy of shattering glass. + Total pandemonium. + + SEVERAL ANGLES as patrons of the bar run, scream or dive + for cover, depending upon their level of intelligence. + + Reese slides through the glass to Sarah's booth and seizes + her wrists. + + ON TERMINATOR, kneeling amid the chaos, raising the UZI + one-handed. + + Reese tugs viciously on Sarah's arm and she sprawls across + the booth seat a moment before the divider and seat cushion + erupt with hits from the UZI. + + ANGLE ON A RUNNING PATRON as a burst of 9mm fire catches + him in the chest. He pitches into Sarah's booth, pinning + her. + + Reese fires, ducks, fires again. + Tables crash over. + A window is blown out. + A table candle rolls into a pool of high-proof alcohol + behind the bar. + It ignites with a WHOOSH. + + Reese feed two shells into the riot-gun. + + TIGHT ON TERMINATOR, an island of slow, precise movement + amid the confusion. He drops a spent clip. Reaches for + another with his bloody hand. + + MOVING WITH REESE as he vaults the row of booths and starts + firing. At point blank range he unloads the shotgun into + Terminator's belly. + + CUT TO: + + +92 INT./EXT. STOKER'S/STREET - NIGHT 92 + + Terminator crashes backwards through two tables and a plate + glass window into the street. + + CUT TO: + + +93 INT. STOKER'S BAR - NIGHT 93 + + The roaring fire behind the bar is spreading very quickly. + The air is thick with smoke. + Reese tosses the UZI, for which he has no ammo, into the + fire. He hauls the dead man off Sarah and reaches for her. + + TIGHT ON SARAH, shrinking away from Reese, hysterical. + When he grabs her wrist she struggles, eyes wide. + + C.U. - REESE, very intense. + + REESE + Come with me if you want + to live. + + She looks where he is pointing. + + CUT TO: + + +94 EXT. STOKER'S BAR/STREET - NIGHT 94 + + Terminator is rising unsteadily to his feet. Shattered + glass rains from him, except where it sticks to his blood- + drenched shirt and coat. + + C.U. - TERMINATOR, as he slowly look up, his blue eyes + riveting STRAIGHT INTO THE CAMERA. + + CUT TO: + + +95 INT. STOKER'S BAR - NIGHT 95 + + C.U. - SARAH, feeling a lightning blot of terror greater + than she could ever imagine as the cold gaze fixes on her. + + SARAH + (awed whisper) + Oh my God... + + CUT TO: + + +96 INT./EXT. STOKER'S BAR - NIGHT 96 + + PANAGLIDE PRECEDING TERMINATOR as he clambers back through + the window and starts through the burning bar. + + CUT TO: + + +97 INT. STOKER'S BAR - NIGHT 97 + + PANAGLIDE MOVING IN ON REESE AND SARAH as he runs, drag- + ging her with him, toward the back. + + REVERSE ON TERMINATOR, DOLLYING as he crashed through the + wreckage in the swirling smoke, hurling burning tables out + of his way. + + CUT TO: + + +98 INT. KITCHEN/HALLWAY/EXIT CORRIDOR 98 + + PANAGLIDE FOLLOWING REESE AND SARAH, running headlong + through the cluttered kitchen, then down a narrow back + hallway. Sarah stumbles and Reese brutally pulls her to + her feet without slowing. + + He hits a closed door, which crashes open. + Hauls Sarah through, into another corridor. + Slams and blot-latches it. + An instant later an impact from the far side tears the + latch-screws half out of the wall. + They run on. + + CUT TO: + + +99 INT. HALLWAY - NIGHT 99 + + Terminator takes a step back from the closed door and + slams into it again. It starts to give way. + behind him the flames engulf a CAN OF CLEANING SOLVENT. + + CUT TO: + + +100 INT./EXT. EXIT CORRIDOR/ALLEY - NIGHT 100 + + Reese and Sarah pelt down the narrow corridor, fling open + the outside door and spin out into the alley. + + TIGHT ON DOOR at far end. It splinters open and Terminator + sprints down the corridor. + + CUT TO: + + +101 INT. HALLWAY - NIGHT 101 + + The cleaning solvent EXPLODES. + + CUT TO: + + +102 INT. EXIT CORRIDOR - NIGHT 102 + + DOLLYING AHEAD OF TERMINATOR, very fast, as he runs full- + throttle. Behind him a fireball of superheated gas hurtles + down the narrow hallway. He clears the outer door an + instant before the tongue of flame roars out into the alley. + + CUT TO: + + +103 EXT. STREET IN FRONT OF STOKER'S - NIGHT 103 + + Vukovich's plain car arrives, slewing to a stop in the + glass-littered street in front of the blazing building. + He leaps out, Traxler right in behind him. + + VUKOVICH + (shouting) + What the fuck is going on? + + TWO LAPD UNITS arrive behind them. He motions to the + nearest one. + + VUKOVICH + (continuing) + Cover the alley in back. + + He heads for the inferno at a run. + + CUT TO: + + +104 EXT. ALLEY BEHIND STOKER'S - NIGHT 104 + + DOLLYING WITH REESE AND SARAH as they run through the + dark alley. Sarah stumbles over trashcans. + Reese pulls her along mercilessly. + + WHIP-PANNING as they clear a corner. + The B.G. is a blur. + The night-maze is a blur in all of these shots. + No static angles. + Relentless forward motion. + + CUT TO: + + +105/FX EXT. ALLEY - NIGHT 105/FX + + Behind them Terminator is moving with inhuman speed, + bounding like a panther, leaping trash cans and other + obstacles. + + TRACKING C.U. - TERMINATOR, catching the faintest glimpse + of a red glow in the pupils of his eyes as he passes through + total shadow. + + CUT TO: + + +106/FX EXT. ALLEY/POV - TERMINATOR (HANDHELD) - NIGHT 106/FX + + We know this is Terminator's POV because Sarah and Reese + are just ahead of us. But the image is bizarre, alien. + Bright and hyper-real. There is a hint of digitization, + and the fleeing figures ahead are more luminous than the + background, suggesting infra-red. + The margins of the FRAME are crammed with columns of CRT- + type characters: columns of numbers and acronyms. The + data changes more rapidly than any human eye could follow. + There is no doubt that we are seeing as a machine would see. + The sound effects are bright and clear, as if they are + digitized and enhanced as well. + + CUT TO: + + +107 EXT. ADJOINING ALLEY - NIGHT 107 + + Reese and Sarah turn a corner by caroming off the wall + without slowing and pelt down a narrower alley. This + one is lined with a row of parked cars and connects to + the street. There is little room to run. + Reese is reloading on the run, dropping shells. + + Behind them Terminator enters the alley, gaining. + + LOW ANGLE, FAST PANAGLIDE ahead of the fleeing pair. + As they breast the last car Reese shoves Sarah hard, + pitching her on her face to the pavement. + He flings open the car door...a shield. + Drops to the ground. + Fires into the gas tank of a car further back in the row + just before Terminator reaches it. + + The car EXPLODES, filling the alley with fire. An inferno + funneled between the enclosing walls. + + ANGLE ON REESE AND SARAH behind the car door as flames + roar over the hood. + + ON TERMINATOR, as he slides to a stop, cut off by the + wall of flame. + + Reese doesn't waste any time stuffing Sarah into the car. + Climbing in after and over her he twists two wires together + and we recognize it as his stolen GREY SEDAN. + The engine catches. + + A SILHOUETTE rockets out of the flames. + Terminator, leaping from the roof of the blazing car ahead, + impacts on the hood of Reese's car. His hair and coat are + burning. + + CUT TO: + + +108 INT./EXT. GREY SEDAN/ALLEY - NIGHT 108 + + Reese jams reverse and nail the throttle. + The car backs down the alley. + Terminator draws back his fist. + Punches into the windshield. + Inside, Sarah is sprayed with glass as the killer's fist + shoots through. + The lacerated fingers grope for her. + + WIDE as the car shoots backwards out of the alley onto the + street, narrowly missing an arriving LAPD CRUISER. + + Sarah plasters herself tightly into the seat as the + fingers grasp her blouse and pull. + Reese cranks the wheel hard. + + CUT TO: + + +109 EXT. STREET - NIGHT 109 + + The sedan skids, slewing sideways into a parked car. + + Terminator rolls down off onto the pavement. + Reese's car shoots forward. + + PANNING WITH SEDAN as it roars past Vukovich, the gathering + minions of the burning building, an arriving fire + truck...shoots through a red light and continues to accel- + erate. + + Terminator gets to a kneeling position, then slowly stands. + He pats out his smoldering clothing as he watches his quarry + escape. + + CUT TO: + + +110 EXT. STREET - NIGHT 110 + + ON VUKOVICH as he runs to his car, exhorting the nearby + LAPD guys to give pursuit, while Traxler grabs the radio. + + VUKOVICH + (shouting) + Go! Go! He's got her. + + TRAXLER + (overlapping) + Suspect westbound on + Olympic. Grey sedan. Has + hostage, repeat... + + CUT TO: + + +111 EXT. STREET - NIGHT 111 + + LOW WIDE ANGLE on the empty street, which is narrow and + tightly lines with parked cars. + The ROAR of an engine builds. + The sedan, like a night-demon, hurtles out of the shadows + with its lights off, doing ninety plus. + + CUT TO: + + +112 INT. GREY SEDAN - NIGHT 112 + + Sarah is in a daze. + Paralyzed. Face bloodless. + She is shivering silently, uncontrollably. + Her eyes are wide, and it seems likely that she doesn't + quite comprehend the roaring blur outside her window. + + REESE + (calmly) + Hold on. + + CUT TO: + + +113 EXT. CITY STREETS - NIGHT 113 + + WIDE ANGLE, CLOSE TO SEDAN, and following it as it hurtles + around a corner in an expertly controlled slide. + Then a high speed sprint down the cross-street. + Reese squirrels the vehicle between a slow-moving car + ahead and oncoming traffic. + A dive into another dark side street. + + CUT TO: + + +114 INT. GRAY SEDAN - NIGHT 114 + + Reese drives with total, nerveless absorption. His eyes + flick to the mirror, to the road, over his shoulder, back + ...and the world spins outside. + With occasional glances to Sarah, he speaks to her in a + clipped, military voice. + + REESE + Are you injured? Are you + shot? + + No response. + He reaches over and runs his hands over her arms, legs, + chest. Sarah flinches. + She feels the BLIND PANIC BOILING UP WITHIN HER. + She pushes his hand away and opens the door. + Reese slams her back in the seat and slaps her. Hard. + + REESE + (continuing) + Do exactly what I say. + Exactly. Don't move un- + less I say. Don't make a + sound unless I say. Do + you understand? + + As he speaks he is locking the door and fastening Sarah's + seatbelt over her, cinching it very tightly, like you would + for a child. She doesn't answer. + + REESE + (continuing/ + shouting) + Do you understand? + + SARAH + (a whisper) + Yes. Don't hurt me. + + REESE + I'm here to help you. Reese, + Sergeant/Tech-Com, DN38416... + + Sarah stares numbly at his outstretched hand. With zero + strength she automatically returns his handshake. + + REESE + (continuing) + Assigned to protect you. + You've been targetted for + termination. + + CUT TO: + + +115 EXT. SIDE STREET/ALLEY - NIGHT 115 + + The walls of a narrow alley, inky black, frame a police + cruiser parked on the street beyond. Firelight from the + back of Stoker's lights the street garishly. + A young cop stands beside the car talking via radio with + the mike cord pulled through the side window. He speaks + with a distinctive twang--a displaced southerner. + + COP + ...I don't know, it looks + like it might spread to this + furniture warehouse across + the alley, the paint on the + wall's starting to blister + up... + + The sweeping headlights of a turning car momentarily illuminate + the face of Terminator, motionless in the dark right in + front of us. + Eyes open. Listening. + + COP + (continuing) + Better get another truck + round to this side. + + Terminator's silhouette emerges from the blackness and + strides purposefully toward the cop, CAMERA following. + + The officer whirls and reaches for his gun but Terminator + flings him brutally into the side of the car, steps over + him and opens the door. + Before getting in he notes the unit number on the roof: 143. + Then he slides behind the wheel, slips the squad car into + gear, and pulls out. + + CAMERA PRECEDING CAR, HIDE WIDE ANGLE, as it accelerates + rapidly, until the lines across the street are flashing + under it in a staccato rhythm. + + CUT TO: + + +116 INT. GREY SEDAN - NIGHT 116 + + Sarah is slumped way down in the seat, turned away from the + window, trying not to see the landscape reeling outside. + + SARAH + (hoarse whisper) + This is a mistake. I haven't + done anything. + + REESE + No. But you will. It's + very important that you + live. + + Sarah closes her eyes, as if to shut it all out. + + SARAH + I can't believe this is happen- + ing. How could than man get up + after you... + + Reese's tone is equal parts hatred and respect as he replies. + + + REESE + Not a man. A Terminator. + Cyber Dynamics Model 101. + + CUT TO: + + +117 INT. SQUAD CAR - NIGHT 117 + + Terminator drives expressionlessly, monitoring the babble + from Central Dispatch. He hears his number. + + DISPATCHER (V.O.) + (filtered) + ...Suspect vehicle sighted on + Motor at Pico, southbound. + Units Two-Zero-Six and Five- + Seven, attempt intercept. + Unit One-Four-Three, come in. + + Terminator picks up the mike. He speaks in a + simulation of the young cop's southern twang. + + TERMINATOR + This is One-Four-Three. West- + bound on Olympic, approaching + Overland. + + CUT TO: + + +118 EXT. SANTA MONICA FREEWAY - NIGHT 118 + + The grey sedan moves through traffic like a hell-bent + wraith. Reese has the hammer down. He handles the + car with nerves of steel. + + CUT TO: + + +119 EXT. POLICE HELICOPTER - NIGHT 119 + + Below, Reese's sedan snakes along at 110 plus. The + chopper, F.G., drops toward it. + + PILOT (V.O.) + (filtered) + Air-unit Two. We're on him. + Westbound Santa Monica at 405. + + CUT TO: + + +120 INT. GREY SEDAN - NIGHT 120 + + SARAH + A machine? You mean, like + a robot? + + REESE + Not a robot. Cyborg. + Cybernetic Organism. + + They have to yell over the roar of air through the broken + windshield. + + SARAH + But...he was bleeding. + + At that moment a blinding light sears down on them from + above. Reese looks over his left shoulder and sees a + CHP cruiser coming alongside. + + REESE + Just a second. Keep your + head down. + + CUT TO: + + +121 EXT. FREEWAY - NIGHT 121 + + The helicopter is right above the, its spotlight burning + on Reese. The cruiser flanks them, closing. Reese peels + off to the right, inches in front of a tractor-trailer rig, + brakes hard and slides into a four-wheel drift through a + curving off-ramp. + The helicopter banks, following. + The cruiser swaps ends trying to maneuver and slams broad- + side into the guardrail. Out of action. + + CUT TO: + + +122 EXT. OFF RAMP/INTERSECTION - NIGHT 122 + + The sedan roars across the street without slowing + and vanishes down a tree-lined side street. + + CUT TO: + + +123 EXT. POLICE HELICOPTER - NIGHT 123 + + DOWN ANGLE - AERIAL past the chopper, F.G., as its searchlight + sweeps over the close-knit treetops. + + CUT TO: + + +124 EXT. SIDE STREET/INTERSECTION - NIGHT 124 + + The sedan skids around a corner, F.G., as the searchlight + filters in shafts through the trees further down the street, + sweeping futility back and forth. + + CUT TO: + + +125 EXT. POLICE HELICOPTER - NIGHT 125 + + It hovers indecisively, then banks off. + + PILOT (V.O.) + (filtered) + Lost him. + + CUT TO: + + +126 INT. GREY SEDAN - NIGHT 126 + + Reese is ultra-alert, craning to look up, back, forward. + + REESE + Good cover. + (pause) + Alright. Listen. + The Terminator's an infil- + tration unit. Part man, part + machine. Underneath, it's a + hyperalloy combat chassis, + mircoprocessor-controlled, + fully armored. Very tough... + + He pauses as they slide around another corner. + + CUT TO: + + +127 EXT. STREET - NIGHT 127 + + Reese's sedan glides out onto a main drag, very subdued. + He turns the lights on and blends with traffic. + The helicopter crosses laterally in the distance. + + CUT TO: + + +128 INT. GREY SEDAN - NIGHT 128 + + REESE + (continuing) + But outside, it's living + human tissue. Flesh, skin, + hair...blood. Grown for the + cyborgs. + + SARAH + Look, Reese, I know you want + to help, but... + + REESE + (cutting her off) + Pay attention. The 600 + series had rubber skin. + We spotted them easy. But + these are new. They look + human. Sweat, bad breath, + everything. Very hard to + spot. I had to wait 'til + he moved on you before I + could zero him. + + SARAH + Hey, I'm not stupid, y'know. + They can't build anything like + that yet. + + REESE + No. Not yet. Not for about + forty years. + + Reese is driving sedately for a low profile, but his eyes + rove constantly, searching for a place to ditch the car. + Sarah's eyes are alert as well, and her tone becomes a bit + too cool. + + SARAH + So, it's from the future, is + that right? + + REESE + One possible future. Four your + point of view. I don't know the + tech stuff. + + SARAH + And you're from the future too? + + REESE + Right. + + They come to a red light and Reese stops. + + SARAH + (patronizingly) + Right... + + Like a shot she unlatches the seatbelt, pulls the door lock + and has the door half open before Reese can react. He catches + her arm and hauls her struggling back into the car. + + Sarah sinks her teeth into his hand with all her strength. + His grip doesn't slacken. + Slowly, without releasing her, he reaches across with his + other hand and shuts the door. His face shows no reaction. + + Sarah draws back and stares at the blood running down his + arm from the bite, that at his grim, scarred face. The + light turns green and Reese drives on. + Sarah tastes blood and wipes her mouth. + + REESE + (coldly) + Cyborgs don't feel pain. I + do. Don't...do that...again. + + He wipes his hand on his pants. + + SARAH + (weakly, plead- + ing) + Just let me go. + + REESE + (slow, but intense) + Listen. Understand. That + Terminator is out there. It + can't be reasoned with, it can't + be bargained with...it doesn't + feel pity of remorse or fear... + and it absolutely will not stop. + Ever. Until you are dead. + + Sarah slump in utter resignation. + + SARAH + (quietly) + Can you stop it? + + Reese doesn't look at her. + + REESE + Maybe. With these weapons... + I don't know. + + CUT TO: + + +129 EXT. PARKING LOT - NIGHT 129 + + Reese's car turns into the parking lot of a large hospital, + acres of pavement dotted with sporadic parked cars. + + CUT TO: + + +130 EXT./INT. TERMINATOR'S CRUISER - NIGHT 130 + + ANGLE THROUGH WINDSHIELD, ON TERMINATOR, as he searches. + Streetlights flare across rhythmically. + + CUT TO: + + +131 EXT. POLICE HELICOPTER - NIGHT 131 + + It moves between two buildings, searchlight sweeping back + and forth. DOWN ANGLE, past the chopper, as the circle of + light moves across a row of parked cars. + It passes a grey sedan with a shattered windshield. + Flicks back. Holds. + + TIGHTER ON CAR, GROUND LEVEL, in the glare and propwash. + It looks empty. + + CUT TO: + + +132 EXT. PARKING LOT/NEARBY - NIGHT 132 + + LOW ANGLE DOLLY, MOVING WITH REESE AND SARAH as they crawl + behind a row of parked cars. + + He has firm hold of her arm but she seems to be cooperating. + In the B.G., the chopper hovers, on the far side of the lot. + Reese approaches the door of a late model brown Buick which + has been left with its window partway down. + He unlocks it and they slip inside. + + CUT TO: + + +133 EXT./INT. TERMINATOR'S CRUISER - NIGHT 133 + + TIGHT ON TERMINATOR, through the windshield of the black- + and-white. + + DISPATCHER (V.O.) + (filtered) + Suspect vehicle located at + parking lot, Cedar and Glen- + haven... + + FULL SHOT as Terminator's cruiser slews in a radical turn + and roars off in the opposite direction. + + CUT TO: + + +134 INT./EXT. BROWN BUICK/PARKING LOT - NIGHT 134 + + Reese uses the butt of the shotgun to smash loose the + ignition assembly. He begins working on the wires. A + police cruiser appears, moving slowly between the rows of + cars. + + Reese grabs Sarah and pulls her down to huddle below dash + level. A moment later a spotlight flashes across the seats + above them. They hear the helicopter circling closer. + + SARAH + Reese...why me? Why does + it want me? + + They are lying very close, a forced intimacy. Reese's voice + is an urgent whisper, almost in her ear. A cruiser passes + so close they can hear its radio clearly. + + REESE + There's so much... + + SARAH + Tell me. Just start at the + beginning. + + Reese musters his thoughts. And starts. + + REESE + There was a war. A few years + from now. Nuclear war. The + whole thing. All this-- + + His gesture includes the car, the city, the world. + + REESE + (continuing) + --everythingis gone. Just + gone. There were survivors. + Here. There. Nobody knew who + started it. + (pause) + It was the machines. + + SARAH + I don't understand... + + REESE + Defense network computer. New. + Powerful. Hooked into everything. + Trusted to run it all. They say it + got smart...a new order of intelli- + gence. Then it saw all people as + a threat, not just the ones on the + other side. Decided out fate in a + microsecond...extermination. + + Reese pauses, and when he continues it's less like a military + briefing, quieter. + + REESE + (continuing) + Didn't see the war. I was born + after, in the ruins. Grew up + there. Starving. Hiding from + the H-K's. + + SARAH + The what? + + REESE + Hunter Killers. Patrol machines. + Build in automated factories. + Most of us were rounded up, put in + camps...for orderly disposal. + + He pushes up the sleeve of his jacket and shows + her a ten digit number etches on the skin of his forearm. + Beneath the numbers is a pattern of lines like the auto- + matic-pricing marks on product packages. + + REESE + (continuing) + Burned in by laser scan. + (pause) + Some of us were kept alive... + to work. Loading bodies. The + disposal units ran night and day. + We were that close to going out + forever... + + The helicopter moves overhead. Its searchlight illum- + inates the car interior, moves on. Before the rotor + sound fads, Reese starts the car. + + CUT TO: + + +135 EXT. PARKING LOT - NIGHT 135 + + Several black-and-whites are moving among the parked + cars, slowly. + + ANGLE ON TERMINATOR'S CRUISER rolling along just above + idle. He peers into the row of cars, listening and + seeing on level we can't. + + CUT TO: + + +136 INT. BROWN BUICK - NIGHT 136 + + Reese is holding onto Sarah's shoulder tightly. + + REESE + (continuing) + ...but there was one man...who + taught us to fight. To storm + the wire of the camps. To + smash those metal mother- + fuckers into junk. He turned + it around...he brought us back + from the brink. + (pause) + His name is Connor. John Connor... + your son, Sarah. Your unborn son. + + Sarah stared at him. + + CUT TO: + + +137 EXT. PARKING LOT - NIGHT 137 + + The brown Buick is F.G. as the nose of Terminator's cruiser + appears behind it, moving slowly. + + C.U. - TERMINATOR, scanning. + + LOW ANGLE, past the back of the Buick, as Terminator + cruises by. The tailpipe, F.G., puffs quietly. + Terminator's head snaps around. + His eyes lock on Reese's car. + He reaches for his shotgun. + + CUT TO: + + +138 INT. BUICK - NIGHT 138 + + Reese's head jerks up, looking in the mirror. + + CUT TO: + + +139 EXT. PARKING LOT - NIGHT 139 + + Reese's car launches forward from its space, tires + spinning as Terminator fires from the window of the + cruiser. + + CUT TO: + + +140 INT. BUICK - NIGHT 140 + + The rear window explodes and Reese ducks, then cranks + the wheel. + + CUT TO: + + +141 EXT. PARKING LOT - NIGHT 141 + + Reese and Terminator race along opposite sides of a + row of cars, approaching the exit. + The cruiser pulls ahead and closes diagonally as they + clear the last car. + Reese sees the other's shotgun leveled. + He ducks, steering blind, keeps it floored. + The windshield and side window EXPLODES INWARD. + + The Buick slams into the black-and-white, spinning it into + a parked truck. TIRES SCREAM as the two cars slew around + heading for the exit. + + SEVERAL ANGLES, as the police react. + + The chopper banks tight and dives across the tops of + the parked cars. Cruisers race to converge. + + CUT TO: + + +143 EXT. STREET - NIGHT 143 + + LOW WIDE ANGLE, PRECEDING REESE'S BUICK as it hits the + street, accelerating. Terminator's cruiser slides out + behind it, fishtails, races forward. + Engines roar as the cars go flat out. Buildings lining + the street become a blur. + The chopper arcs in behind them. + Legitimate police, lights blazing, enter the pursuit + one by one. + + LOW ANGLE, MOVING WITH TERMINATOR'S CAR as Reese dodges + across all lanes ahead of it. + Terminator gaining. + They run an intersection at a hundred plus. + + CUT TO: + + +144 INT. BUICK - NIGHT 144 + + Reese is feeding his last two shells into the riot gun. + + REESE + (yelling) + Steer! + + Holding the gun is both hands he leans out the window, + still keeping the throttle mashed down. + Sarah grabs the wheel, fighting to control the car. + + CUT TO: + + +145 EXT. STREET/BUICK - NIGHT 145 + + MOVING WITH THE BUICK, looking back, as Reese aims the + shotgun, buffeted by the windstream. + Terminator's car, B.G., overtakes rapidly. + + SARAH + (shouting) + Reese! + + CUT TO: + + +146 INT. BUICK - NIGHT 146 + + OVER SARAH'S SHOULDER as they approach an intersection... + red light their way and an ALPHA BETA TRUCK entering cross + wise. + + CUT TO: + + +147 EXT. STREET/CARS - NIGHT 147 + + Past Terminator, F.G., his shotgun aimed as he comes along + side...at Reese. + They are staring down each other's barrels. + + CUT TO: + + +148 INT. BUICK - NIGHT 148 + + Sarah grabs the shift lever. + + DETAIL - SHIFTER, as she slams it into reverse. + + CUT TO: + + +149 EXT. STREET/CARS - NIGHT 149 + + MOVING WITH BOTH CARS as the Buick skids with rear tires + locked. Reese and Terminator FIRE simultaneously. + + TIGHT ON REESE as the doorpost next to his shoulder is + torn out by the other's blast. + + ON TERMINATOR, leaning to see around his shattered wind- + shield. Too late. + He hurtles into the intersection, past the skidding Buick. + Clips the back of the semi. + Spins radically. + Vaults the curb in a screeching front-end roll. + + WHIP-PANNING WITH THE CRUISER as it crashes upside-down + through the counter area of an A & W. + + LOW ANGLE as Reese and Sarah slide to a stop in a cloud + of tire smoke. + Transmission fluid pours out of the car like blood. + An instant later they are surrounded by an assortment of + LAPD, SHERIFF'S DEPT., and CHP CARS. + The helicopter hovers overhead. + + MEDIUM ON SARAH AND REESE, he raises his hands, through + the side window, in plain sight. A phalanx of cops, guns + drawn, approaches the car warily. + + Sarah looks at Reese. Then at the cops. She opens the door + and runs, staggering, toward them. Vukovich steps forward + and pulls her away to safety. + + C.U. - REESE watching her go as a cop eases his door open. + + CUT TO: + + +150 EXT. A & W - NIGHT 150 + + Two cops approach the overturned squad car jammed into the + wreckage of the small building. + They shine their flashlights inside. + It is empty. + + The cyborg has VANISHED. + + A sign which reads 'DRIVE IN' detaches from an awning and + crashed down across the crushed auto. + + CUT TO: + + +151 INT. VUKOVICH'S OFFICE - NIGHT 151 + + Sarah, huddles in a blanket, is siting on a bench opposite + Vukovich's desk. Motionless. Her eyes are fixed on the + middle distance. She's been crying. Now she's emptied out. + + The door opens. + At the sound of the latch Sarah jerks as if struck, and cringes + involuntarily. Vukovich enters with Traxler and DR. PETER + SILBERMAN, a criminal psychologist. Silberman is smooth + of skin and manner, young, ambitious and...fat. He is + enthusiastic about the workings of the human psyche, as + emotionally involved as someone pulling the wings off a fly. + + Vukovich sits beside Sarah and hands her a cup of coffee. + He puts a paternal arm around her shoulders. + + VUKOVICH + Here, drink some of this... + + SARAH + (voice flat, + desperate) + Lieutenant, are you sure it's + them? Maybe I should see the + ...bodies. + + VUKOVICH + They've already been identi- + fied. There's no doubt. + + Sarah begins to cry again, slowly and very quickly. + + SARAH + (to herself) + Of, God...Ginger...kiddo, + I'm so sorry. + + Vukovich takes the coffee cup from her as her arms sag and + it starts to spill. + + VUKOVICH + (gently) + Sarah. + (pause) + Sarah, this is Dr. Silber- + man. I'd like you to tell + him everything Reese said + to you. Do you feel up to it? + + SARAH + (almost in- + audible) + I guess so. + (to Silberman) + You're a doctor? + + SILBERMAN + A criminal psychologist. + + SARAH + Is Reese crazy? + + SILBERMAN + That's what we're going to + find out. + + CUT TO: + + +152 INT. HOTEL ROOM - NIGHT 152 + + The room costs five dollars a night and that's steep, but + the FIRE ESCAPE outside the window adds an element of + strategic value. + A silhouette slips in through the window and click on the + single BARE LIGHT BULB. + It's Terminator, and he's a mess. + A bloody scarecrow with bullet wounds in stomach, chest, + shoulder and right wrist. + + MEDIUM ON TERMINATOR as he sits at a ratty folding table + under the light. + His eyebrows are singed off. + Hair a charred stubble. + Left eyes glistening with imbedded glass shards. + + Before him on the table is an array of SMALL TOOLS. + He removes the charred remains of his jacket and props. + one elbow on the table. + + ANGLE PAST HIS NON-FUNCTIONAL RIGHT ARM, F.G., as he exam- + ines it. He picks up an X-ACTO KNIFE and cuts deeply into + the skin of his forearm. + His expression is one of mild concentration. + + E.C.U. - FOREARM, as he pulls back a large flap of skin to + reveal a complex trunk of SHEATHED CABLES AND HYDRAULICS. + They slide as he moves his fingers. + + RESUME MEDIUM, as Terminator uses a rag to wipe away the + blood. With small screwdrivers he begins to patiently dis- + assemble the damaged mechanism around the 12-guage hit. + + CUT TO: + + +153 INT. DIVISION HQ/INTERROGATION ROOM - NIGHT 153 + + The room is small, furnished with only a table and two chairs. + Reese, his arms handcuffed behind him, sits opposite Dr. + Silberman. Behind Silberman is a large mirror. A DETECTIVE + leans against the wall. + + SILBERMAN + So. You're a soldier. + Fighting for whom? + + REESE + With the One Thirty Second + under Perry, from '21 to '27-- + + SILBERMAN + (interrupting) + The year 2027? + + CUT TO: + + +154 INT. OBSERVATION ROOM 154 + + Vukovich and Traxler are seated in the dark room, watching + Reese, B.G., through the two-way mirror. Just behind the + glass is a VIDEO CAMERA ON A TRIPOD, aimed at Reese, and + a CART holding a SMALL MONITOR and VIDEOCASSETTE RECORDER. + + REESE + (through speaker) + That's right. + + TRAXLER + (quietly, to + Vukovich) + This is fucking great. + + CUT TO: + + +155 INT. INTERROGATION ROOM 155 + + REESE + Then I was assigned Recon/ + Security, last two years, + under John Connor. + + SILBERMAN + And who was the enemy? + + REESE + SKYNET. A computer defense system + built for SAC-NORAD by Cyber + Dynamics. A modified Series + 4800. + + SILBERMAN + (gravely) + I see. And this...computer, + thinks it can win by killing + the mother of its enemy, kill- + ing him, in effect, before he + is even conceived? A sort of + retroactive abortion? + + REESE + Yes. + + CUT TO: + + + +156 INT. OBSERVATION ROOM 156 + + Traxler snorts and grins. + + TRAXLER + (to Vukovich) + That Silberman just crack me up. + (pause) + He had this guy in here last week + who set his Afghan on fire. + Screwed it first, then set it on-- + + VUKOVICH + (leaning forward) + Shut up. + + CUT TO: + + +157 INT. INTERROGATION ROOM + + REESE + ...it had no choice. + The defensive grid was + smashed. We'd taken the + mainframes... + We'd won. Taking out + Connor then would make no + difference. Skynet had to + wipe out his entire exist- + ence. We captured the lab + complex. Found the...what- + ever it was called...the + time-displacement equipment. + The Terminator had already + gone through. They sent two + of us to intercept, then + zeroed the whole place. + Sumner didn't make it. + + SILBERMAN + Then how are you supposed to + get back? + + REESE + Can't. Nobody goes home. + Nobody else comes through. + It's just him and me. + + CUT TO: + + +158 INT. HOTEL ROOM - NIGHT + + E.C.U. - TERMINATOR, in profile, showing his lacerated eye. + He is close to a mirror, practically touching it, staring + intently. + + MACRO - X-ACTO KNIFE lying on the dresser. Terminator's + fingers lift it. CAMERA TILTS TO FOLLOW as it rises to + his face, holds TIGHT ON left eye. + With a smooth motion the knife point enters the eyeball + and cuts away the ruins sclera and cornea, as well as part + of the damaged eyelids. + + He wipes with a rag to clear the electronic eye's vision. + Revealing the faintly glowing lens mechanism, suspended in + a chrome socket by tiny servos. + The eye whirs quietly as it tracks. + + SEQUENCE OF SHOTS, showing various repairs. + Terminator's right hand, its wrist SUTURED crudely, holds + a needle and sewing thread and starts to work on abdominal + wound out of frame below. + He slips a glove over the damaged hand. + A motoring cap over the blistered scalp. + + A fresh shirt to hide his body wounds. + This is followed by a new overcoat. + + C.U. - TERMINATOR, contemplating his reflection in the + mirror. With the hat pulled down, the collar pulled up, + and favoring his right profile he looks unhurt...though + a bit gaunt and pale. + + A turn of his head brings the balefully glowing left eye + in its metal socket into view. + He slips on a pair of tight, wrap-around sunglasses. + + FULL SHOT as he goes to the bed and flips up the stained + mattress. He picks up the Remington 12 gauge, the AR-180 + and the .38 off the springs and leaves by the fire escape. + + CUT TO: + + +159 INT. VUKOVICH'S OFFICE - NIGHT 159 + + TIGHT ON VIDEO MONITOR showing Reese in the Interrogation + Room. + + REESE + (recorded) + ...It's just him and me. + + CUT WIDE revealing Sarah, Silberman, Vukovich and Traxler + watching a monitor sitting amid incredible paperwork clutter + on a desk top. + + SILBERMAN + (recorded) + Why didn't you bring any + weapons? Something more + advanced. Don't you have + ray guns? + + Traxler, standing in the back, grins and nudges Silberman, + who nods appreciatively. + + TIGHT ON REESE'S RECORDED IMAGE - He glares at Silberman. + + ON SARAH, as Silberman's voice is heard. + + SILBERMAN + (recorded) + Show me a piece of future + technology. + + REESE + (recorded/con- + trolling his + hostility) + You go naked. Something about + the field generated by a living + organism. Nothing dead will go. + + SILBERMAN + (recorded) + Why? + + REESE + (recorded) + I didn't build the fucking + thing. + + SILBERMAN + (recorded) + Okay. Okay. But this... + (consults his + notes) + cyborg...if it's metal... + + REESE + (recorded) + Surrounded by living tissue. + + SILBERMAN + (recorded) + Of course. + + The real Silberman put the tape on "PAUSE". + + SILBERMAN + (excited) + This is great stuff. I could + make a career out of this guy. + You see how clever this part + is...how it doesn't require a + shred of proof. Most paranoid + delusions are intricate...but + this is brilliant. + + He starts the tape again. + + SILBERMAN + (recorded) + Why were the other two women + killed? + + REESE + (recorded) + Most official records were + lost in the war. The computer + knew almost nothing about + Connor's mother. Her name. + Where she lived, just the city. + No scanner pictures. The + Terminator was just being + systematic. + + C.U. - REESE, ON SCREEN, as he goes on. + + REESE + (recorded, con- + tinuing) + You've heard enough. Decide. + Are you going to release me? + + SILBERMAN + (recorded) + I'm afraid that's not up + to me. + + REESE + (recorded/voice + rising) + Then why am I talking to you? + Get out. + + ON SARAH, DOLLYING SLOWLY IN TO C.U. as we hear Reese + begin to shout. + + SILBERMAN + (recorded) + I can help you... + + REESE + Who is in authority here? + + C.U. REESE, ON SCREEN, as he looks straight at the camera. + + REESE + (recorded) + You still don't get it. + He'll find her. That's + what he does. All he does... + + MEDIUM ON VUKOVICH, gesturing to Silberman, who is near the + machine, to kill it. + + REESE + (recorded, con- + tinuing) + You can't stop him. He'll + wade through you... + + C.U. - REESE, ON SCREEN, rising partway out of his chair, + yelling. + + REESE + (recorded, continuing) + ...reach down her throat, and + pull her fucking heart out... + + The screen goes black. + Vukovich has cut off the tape. + + SILBERMAN + (glancing around) + Sorry. + + C.U. - SARAH staring at the empty screen. + + SARAH + (turning) + So Reese is crazy. + + SILBERMAN + In technical terminology, + he's a loon. + + SARAH + But... + + Vukovich hands her something that looks like umpire's + padding. + + VUKOVICH + Sarah, this is body armor. + Out TAC guys wear it. It'll + stop a 12 gauge round. This + other individual must've had + one under his coat. + + Sarah want to believe him. God help her if he's wrong. + + SARAH + But what about him punching + through the windshield? + + TRAXLER + (shrugs) + Probably on PCP, broke every + bone in his hand and won't feel + it for hours. There was this + guy once that... + + Vukovich cuts him off with a gesture and sits beside Sarah + on the bench. + + VUKOVICH + Why don't you just stretch out + here and get some sleep. It'll + take your mom a good hour to get + here from Redlands. + + SARAH + I can't sleep. + + VUKOVICH + Go ahead. You're safe. There're + thirty cops in this building. + + SARAH + Okay. + + She lays her head on a wadded up blanket as everyone + leaves the office. + + CUT TO: + + +159A INT. CORRIDOR + + Vukovich pauses outside the door, lost in thought. Traxler + studies him for a second. + + TRAXLER + What? + (pause) + Ed, come on...the guy's a + wacko. + + Vukovich glances up. + + VUKOVICH + (quietly) + He'd better be. + + CUT TO: + + +160 INT. POLICE DEPARTMENT FOYER - NIGHT 160 + + Silberman can be seen through a glass partition next to + the bullet-proof glass booth enclosing the NIGHT DESK + SERGEANT'S counter. The Sergeant hits a button and there + is a loud BULL-CLACK. The electric bolt on the security + door opens and Silberman steps out. + + As he exits the station, he passes Terminator just coming in + the front door. He glances at the pale apparition in cap + and dark wrap-arounds, but goes on. + Terminator approaches the Desk Sergeant who barely glances + up when he speaks. + + TERMINATOR + I'm a friend of Sarah Connor. + I was told she is here. Can + I see her, please? + + SERGEANT + You can't see here. She's + making a statement. + + TERMINATOR + Where is she? + + SERGEANT + (laconically) + Look. It's gonna be a while. + You wanna wait. There's a + bench. + + Terminator steps back, scanning the booth, the electric + door, the rooms beyond. + + TERMINATOR + I'll come back. + + He turns and walks out through the front doors. + + ANGLE PAST DESK SERGEANT, F.G. - ON FRONT DOORS, the officer + is absorbed in paperwork, not watching as a pair of lights + get BRIGHTER outside the doors. RAPIDLY. He glances up + at the last second as the glare falls fully on him. CRASH! + Several cops and late night loiterers scatter as a car + smashes into the foyer. It blasts through the sergeant's + booth, crushing him in the wreckage. + + CUT TO: + + +161 INT. DIVISION HQ/VUKOVICH'S OFFICE 161 + + Sarah, lying on the couch, jerks awake as the crash + REVERBERATES through the building. She sits up, bleary- + eyes. + + CUT TO: + + +162 INT. DIVISION HQ/CORRIDOR 162 + + Through the hole in the splintered wall we see Terminator + leap out of the car. + He vaults the hood and smashes through the debris of the + wall. + Leaps to the corridor floor in a shower of plaster fragments. + He brandishes the AR-180 like a pistol in one hand, the + .38 in the other. + The shotgun dangles at his side on a shoulder sling. + + LOW ANGLE DOLLY, preceding him as he starts down the + corridor. + + ANGLE ON LOUNGE DOORWAY as TWO COPS run into the hall, + one carrying a cup of coffee. + Terminator fires a burst from the assault rifle. + + ANGLE ON COPS - They are flung backward in a spray of + coffee and plaster. + + CUT TO: + + +163 INT. DIVISION HQ/VUKOVICH'S OFFICE + + Sarah is alert now with growing alarm. The sound of + GUNFIRE is faint...but unmistakable. Her expression + shows the dawning certainty of what is happening. + + CUT TO: + + +164 INT. DIVISION HQ/CORRIDOR 164 + + Terminator steps over the bodies of the two cops without + breaking stride. + + OVER HIS SHOULDER, MOVING WITH HIM as he walks down the + hall. Comes to a door. Tries it. Locked. + Kicks it in. + A DESK COP, drawing his gun, sprints for cover. + + ANGLE ON TERMINATOR raising the AR-180. + + CUT TO: + + +165/FX INT. DIVISION HQ/OFFICE - TERMINATOR'S POV 165/FX + + In computer-enhanced vision we see the cop dash around a + corner in SLOW MOTION. As he disappears behind the wall + an ANIMATED OUTLINE OF HIM is still visible...a PROBABILISTIC + EXTRAPOLATION OF HIS MOTION. There is a target cross- + hair following the figure. + + CUT TO: + + +166 INT. DIVISION HQ/OFFICE - BEHIND WALL 166 + + The wall erupts with a volley of shots beside the running + cop and he is flung OUT OF FRAME. + + CUT TO: + + +167 INT. VUKOVICH'S OFFICE 167 + + Shots are echoing in the hallway as Vukovich whips open + the door, startling the hell out of Sarah. + + VUKOVICH + Stay here. + + He turns the locking knob and slams the door. + Leaving her alone. + She flinches as more SHOTS SOUND. CLOSER. + + CUT TO: + + +167A INT. CORRIDOR 167A + + Terminator rips the cover off the station's main electrical + panel. He pulls loose the hose-like 440 volt + incoming line and feeds it directly into the lighting + circuit. + + All down the corridor the overhead fluorescent units + explode, showering sparks and glass. + + The building is plunged into darkness. + + Arcs SPUTTER and FLARE, lighting the corridors strobo- + scopically. + + CUT TO: + + +167B INT. VUKOVICH'S OFFICE 167B + + Sarah's terror skyrockets when the ceiling lamp explodes + and the office goes black. + + CUT TO: + + +168 INT. CORRIDOR 168 + + Through the smoke and emergency spotlights Terminator moves + forward, inexorably. + A door behind him opens. A COP fires, hitting him in + the shoulder. Terminator fires straight-arm with the .38 + without slowing, killing the cop, then fires down the + corridor with the assault rifle. + + CUT TO: + + +169 INT. INTERROGATION ROOM 169 + + Traxler leaves the other detective to guard Reese, who is + still handcuffed to the chair. + + TRAXLER + (exciting) + Watch him. + + The door closes. + + An instant later a chair smashes over the detective's + back, just as he is turning toward his prisoner. + Reese is on him, scrabbling for the keys. + + CUT TO: + + +170 INT. CROSS CORRIDOR 170 + + Traxler is running down the hall through smoke and the + wild strobing of electrical fires as Vukovich steps + out of an armory room. He tosses Traxler an M-16 and + they run on. + + CUT TO: + + +171 INT. MAIN CORRIDOR 171 + + Terminator stops before another door. He BLASTS the lock + with the riot-gun. Flings open the door, scanning. + Moves on. + He is hit twice, chest and leg. + Firelight flickers from an office doorway as he passes. + + CUT TO: + + +172 INT. VUKOVICH'S OFFICE 172 + + Sarah scrabbles for a place to hide in the darkened room + but it's so tiny. Behind the desk. She crouches unable to + believe she has awakened into the same nightmare. + + CUT TO: + + +173 INT. OFFICE NEARBY 173 + + ANGLE ON DOOR as it splinters open and Terminator stands, + guns raised. A COP fires from behind a desk. + Terminator sprays the room. + Starts to reload. + + CUT TO: + + +174 INT. CORRIDOR + + Vukovich edges open a door and fires half a clip into + Terminator's back. His eyes bulge as the intruder turns, + slamming a clip into his rifle and calmly fires two rounds. + Traxler drags Vukovich's body back inside the room. + + TRAXLER + Ed! Ed...? + + CUT TO: + + +175 INT. CORRIDOR 175 + + TIGHT ON TERMINATOR, moving forward, intent + + CUT TO: + + +176 INT. VUKOVICH'S OFFICE 176 + + MEDIUM ON SARAH, her teeth are chattering with fear as + SHOTS echo nearby. There is the RHYTHMIC THUNDER of the + shotgun, rattling AUTOMATIC FIRE, SCREAMING, and the sound + of RUNNING FEET. Getting closer. + + SLOW DOLLY IN ON SARAH begins, ending in TIGHT C.U. as the + sounds get louder. More SHOTS. + Smoke begins to seep under the door. + + DETAIL - DOORKNOB rattling as it is tried from outside. + + E.C.U. - SARAH stifling a cry. She flinches as if slapped + as SHOTS sound. + + DETAIL - DOOR KNOB, a series of SHOTS shatter the lock. + + FULL ON DOORWAY - The door bangs open and a figure stands + silhouetted in the smoky hallway, holding a pistol. + + E.C.U. - SARAH, as she closes her eyes. Holds her breath. + + REESE (V.O.) + Sarah? + + FULL SHOT - She scrambles out from beneath the desk and runs + to him in the thickening smoke. + + CUT TO: + + +177 CONNECTING OFFICES 177 + + PANAGLIDE FOLLOWING REESE AND SARAH as they cross the + corridor and move through a series of offices, doubling back + toward the main entrance. + + CUT TO: + + +178 INT. OFFICE 178 + + Sarah and Reese move rapidly through the smoke. + Gunfire sounds nearby. They pass bodies. + + VUKOVICH (V.O.) + (weakly) + Reese! + + They find the Lieutenant propped in a corner, dying. + Reese bends toward him. + Vukovich holds out his custom Colt Python .357. + + VUKOVICH + (continuing) + You just keep her alive. Do + what you have to. + + Reese snatches the gun and the keys and runs on. + + C.U. - VUKOVICH watching them go. + + CUT TO: + + +179 INT./EXT. OFFICES/SIDE ENTRANCE - NIGHT 179 + + FAST PANAGLIDE PRECEDING TERMINATOR as he runs through + the smoky rooms. A fire is burning, lighting everything + a flickering orange. + He emerges onto a landing through a side entrance. PAN + to follow his line of sight as he snaps the AR-180 to + his shoulder. B.G. a BLUE VOLKSWAGEN RABBIT is roaring + away across the parking lot. + + TIGHT ON TERMINATOR aiming carefully. He pulls the trigger. + It clicks...empty. Slowly he lowers the scope-sight from + his eye and watches them go. + + Terminator limps down the steps from the landing and walks + away as the fire spreads behind the windows of Division + Headquarters. + + CUT TO: + + +180 INT. RABBIT - NIGHT 180 + + DETAIL - GAS GAUGE, it reads EMPTY. + + CUT TO: + + +181 EXT. HIGHWAY - NIGHT 181 + + The Rabbit is stopped on the shoulder of a two lane + secondary road winding through the hills north of L.A. + Reese is fishing objects out of the car's trunk and + handing them to Sarah, who holds a flashlight. + He hands her a blanket, some road flares, and a first + aid kit. Then he slams the trunk. Reaching through the + side window, he turns the wheel and pushes the car off + the shoulder, over the embankment. + + DOWN ANGLE INTO RAVINE, past Sarah and Reese, as the car + trundles down crashing through the underbrush to dis- + appear among the trees. + + Reese looks out across the valley and the lights of L.A. + A helicopter circles in the distance, searchlight on. + + REESE + Let's get off the road. + + CUT TO: + + +182 INT./EXT. DRAINAGE CULVERT - NIGHT 182 + + ANGLE LOOKING OUT from the mouth of an enclosed concrete + storm drain that passes under the road. Reese, followed + by Sarah, trudges down the slope and ducks inside. + The floor is wet but he doesn't seem to mind. + They both hunker down with their backs to the concrete, + facing each other. + They look beaten, grimy, exhausted. + She huddles under the blanket, waif-like. + + REESE + You cold? + + SARAH + Freezing. + + REESE + Come here. + + She sits beside him and they wrap their arms around each + other with the blanket covering both of them. + + SARAH + Reese...you got a first name? + + REESE + Kyle. + + SARAH + Kyle, what's it like when you + go through time? + + REESE + White light. Pain. Like + being ripped inside out... + slowly. Like being born, + maybe. + + Sarah scowls and draws her hand out from under his jacket. + + SARAH + You're wet. Oh my god. + + In the beam of the flashlight her hand is glistening + with blood. + + REESE + I caught one, back there. + + SARAH + (incredulous) + Caught one? You mean you + got shot? + + Reese shrugs. + + REESE + It's not bad. + + Sarah sits up and turns toward him. + + SARAH + We gotta get you to a doctor. + + REESE + It's okay. Forget it. + + SARAH + Forget it? Are you crazy? + Let me see it. + + Sarah opens his jacket and the flashlight beam shows his + shirt bloodsoaked at the shoulder. + + SARAH + (continuing) + Jeez. You idiot. Take + this off. + + She cradles the flashlight between her knees and opens + the first aid kit as he removes his jacket. + + REESE + (looking at the + wound) + See. Missed everything. + Passed through the meat. + + Sarah starts swabbing the flesh wound. + + SARAH + This is gonna make me puke. + Talk about something. + + REESE + What? + + SARAH + Just talk. Tell me about + my son. Is he tall? + + She places a gauze pad in place and starts to wrap it. + + REESE + About my height. He + has your-- + (winces) + ...damn...he has your + eyes. + + Sarah glances at his face for a second and then goes back + to work. + + SARAH + What's he like? + + REESE + (thoughtful) + You trust him. He's got that + strength. You'd die in a + second for John. + + SARAH + Well, at least I know what + to name him. I don't suppose + you'd know who the father is? + So I don't tell him to get + lost when I meet him. + + REESE + John never said much about + him. He dies. Even before + the war... + + SARAH + (interrupting) + Stop! I don't want to know. + Hold still. So...it was John + that ordered you here? + + REESE + I volunteered. + + SARAH + You volunteered? + + REESE + It was an honor. A chance + to meet the legend. Sarah + Connor. Who taught her son + to fight...organize, prepare. + From when he was a kid. When + you were in hiding, before + the war. + + She stops taping. She seems lost, her bravado dissipated. + + SARAH + You talk about things I haven't + done yet in the past tense. It's + making me crazy. I can't think. + (pause) + Are you sure you've got the + right person? + + Reese appraises her coldly. + + REESE + I'm sure. + + SARAH + Come on, me? The mother + of the future? Am I tough? + Organized? I can't even balance + my checkbook. I cry when I see + a cat that's been run over... + and I don't even like cats. + + She pulls the bandage tight with a knot. + + REESE + Ow! No, it's okay. It's + better tight. + + SARAH + And anyway, what do I know + about guerrilla warfare? + + REESE + You'll learn. + + SARAH + (angry) + Look, Reese, I didn't ask for + this honor and I don't want it. + Any of it. + + REESE + John gave me a message for + you. Made me memorize it. + 'Sarah"...this is the message... + 'Sarah, thank you. For your + courage through the dark years. + I can't help you with what you + must soon face, except to tell + you that the future is not set... + there is no such thing as Fate, + but what we make for ourselves + by our own will. You must be + stronger than you imagine you + can be. You must survive, or I + will never exist.' That's all. + + Sarah stares at him as the enormity of it all becomes real + to her. Reese moves his arm, testing the bandage. + + REESE + (continuing) + Good field-dressing. + + SARAH + (brightening) + You like it? It's my first. + + He rebuttons his shirt and they return to the warmth- + conserving embrace. Sarah gazes out the entrance, into + the night. + + REESE + Sleep. It'll be light soon. + + SARAH + (closing her + eyes) + Okay. Talk some more. + + REESE + About what? + + SARAH + (murmuring) + About where you're from. + + Kyle watches the helicopter circling far in the distance. + + REESE + Alright. + (pause) + You stay down by day, but at + night you can move around. + The H-K's use infra-red so you + still have to watch out. + But they're not too bright. + John taught us ways to dust them + them. That's when the infiltra- + tors started to appear. The + Terminators were the newest, + the worst... + + During his monologue we have PANNED into the darkness outside + and to the helicopter, which flies OUT OF FRAME, leaving + black. A ROTOR ROAR fades up. + + CUT IN BLACK TO: + + +183/FX EXT. CITY RUINS, 2029 - NIGHT 183/FX + + Black sky. Stars. + With a roar an AERIAL PATROL CRAFT enters close overhead. + It has flashing red and blue lights and powerful search- + lights which stab down. + + TILT DOWN + + to a vista of moonlit devastation. + White ash blows in drifts among fire-gutted ruins. + Blackened bones lie everywhere in heaps. + Searchlights sweep the night. + Another aerial unit hovers several blocks away, firing + tracers into the ruins. + + CUT TO: + + +184/FX EXT. RUINS/STREET - NIGHT 184/FX + + LOW ANGLE + + as a gleaming chrome H-K grinds through the debris of the + shattered street on its tank-like tracks, crushing burnt + skulls. + Its head turns slowly, playing high-intensity lights over the + buildings. + Its hydraulic arms are folded, mantis-like, against its + 'torso'. After it passes a number of human figures dart + from shadow to shadow, B.G. + + CUT TO: + + +185 INT. TUNNELS - NIGHT 185 + + Reese is among a SQUAD OF MEN in black fatigues, carrying + equipment and energy rifles, who enter a debris-littered + tunnel. + + PANAGLIDE WITH THEM as they trot through a labyrinth of + tunnels, pass several guard-posts. Reese has a GERMAN + SHEPHERD on a short leash. + + CUT TO: + + +186 INT. PARKING STRUCTURE - NIGHT 186 + + The platoon enters a cavernous chamber, an old parking + structure, in which a large group is gathering. + As the entrance, ARMED SENTRIES with dogs are passing in + new arrivals: men wearing mismatched uniforms or rags and + carrying all types of weapons from lasers to shotguns. + Weapons are left at the sentry post. + + FOLLOWING REESE as he patrols the perimeter. + He walks along a row of CARS, models from the eighties and + nineties, now stripped, rusty and modified to carry weapons. + There are conventional military vehicles as well. + He passes several family groups. + Gaunt kids are huddles around an old TV SET. + Its glow bathes them. + + REVERSE ANGLE reveals that the set has been gutted and a + small cookfire crackles inside the shell. + Nearby a kid has a LARGE RAT cornered and is whacking it + with a stick. + + Reese pauses at the end of the row of vehicles and unsnaps + a pocket in his tunic, removing a small paper rectangle, + a worn photograph. + + C.U. - REESE, gazing down. His head snaps around at the + sudden sound of BARKING. + + ANGLE ON SENTRY POST as the dogs go crazy. + + SENTRY + (shouting) + Terminator! + + An innocuous, RAG-DRESSED MAN flips back his poncho to + reveal a powerful PLASMA-RIFLE. He opens FIRE, running + forward. ENERGY BOLTS rip into the crowd. + + MOVING WITH REESE, running toward the Terminator. + + RAPID CUTS: + + POWERBOLTS EXPLODE among the fleeing people. + Beams sear the darkness. + A running CHILD is BURST by a plasma hit. + + ANGLE ON REESE running. He levels his energy-rifle and + starts firing. A powerbolt grazes his cheek, EXPLODING + a support column behind him. Part of the ROOF COLLAPSES + as Reese tumbles. + + Everything is lit as if by lightning. + + C.U. - REESE, semi-conscious. Burned. Bleeding. + Impressions implode on him: running feet, flashes, energy + beams raking the ground leaving molten worm-tracks, scream- + ing, a burning dog howling. + + DETAIL - The picture Reese has been looking at has fallen, + forgotten. It catches fire and starts to curl. Before + the image vanishes we see that it is a picture of Sarah. + + Reese looks up. + A figure looms above, a silhouette in the smoky, hellish + glare. THE TERMINATOR. Its eyes glow red. + + A brilliant EXPLOSION WHITES OUT THE SCREEN. + + CUT TO: + + +187 INT. CULVERT - DAWN 187 + + C.U. - SARAH, brightly lit by daylight. Asleep. She grimaces + and groans. + In the distance a dog is barking. + + Reese, still holding her, lightly lifts her hair from her + face. An uncharacteristically tender gesture. He gently + caresses her cheek with the backs of his fingers. When + she awakens suddenly he snaps his hand away. + + Sarah looks around, momentarily disoriented. Looks up at + Reese. + + SARAH + I was dreaming about dogs. + + Reese extricates himself from her and steps out of the + culvert. + + REESE + We used them to spot Terminators. + + Sarah groans as she straightens her legs. + + SARAH + Your world...it's pretty + terrifying. + + CUT TO: + + +189 EXT. HIGHWAY - DAWN 189 + + Sarah catches up to him just as he is about to try and + stop an approaching car. She pulls his gun hand down with + both of hers. + + SARAH + Put that away. I'll get one. + + She hold out her thumb to passing traffic. + Reese watches this incomprehensible ceremony skeptically. + + SARAH + (continuing) + This works...really. + + CUT TO: + + +189A EXT. HIGHWAY/PICKUP - DAY 189A + + Reese and Sarah are crammed into the cab of a beat-to-hell + PICKUP TRUCK with the DRIVER, obviously a surfer. Laid- + back, long-haired and well-tanned. + Reese glowers and watches the scenery through slitted eyes. + + DRIVER + ...and when it breaks right + off the point they get some + pretty rad tubes up there. + Not awesome, but I mean, worth + the drive, if you're hardcore + like me. + + REESE + (to Sarah) + Rad tubes? + + SARAH + (to Reese) + He's a surfer. + + DRIVER + You from back East of + something? + + SARAH + No, he's from the future. + + DRIVER + Whoah. I hear that. + (pause) + Listen, I had a rough + night. I gotta stop and + bag some Z's. + + They pull off the highway toward a gas station/rest area. + + CUT TO: + + +190 EXT. SERVICE STATION - DAY 190 + + The gas station is like an oasis of clutter in a rolling + stretch of meadows and woods. It consists of a bunker- + like building with restrooms and a flanking PICNIC AREA, + beyond which are WOODS. + People sit under the trees, enjoying the beautiful day + while children tear around after the forced inactivity of + a long trip. + + The three of them get out on unsteady legs. + + DRIVER + You can still ride if + you wanna hang out for a + couple hours. + + SARAH + Thanks. + + REESE + Bag some Z's? + + SARAH + Let's get cleaned up, Kyle. + + She heads for the WOMEN'S RESTROOM and Kyle follows her + inside. + + REESE + (pushing him out) + Yours is over there. + + Instead of following her directions to the Men's Room, + Kyle wanders toward the drinking fountain. A bunch of + kids are running around and throwing water at each other + with paper cups. + + Reese shambles through them like a zombie. + He stands among the children, an alien in this land without + fear. He watches people at picnic tables laughing and + listening to portable music. Kids squeal. Dogs bark. + + LITTLE GIRL (V.O.) + Can you get my balloon? + + DOWN ANGLE on an achingly beautiful LITTLE GIRL of about + four. She points above his head. + + Reese looks up to see a helium-filled mylar balloon stuck in + the foliage of a tree just above him. He pulls it down by + the string and holds it, turning it over dully. + + He crouches down to her eye-level. She smiles. + + REESE + Aren't you afraid to be out in + the open like this? + + LITTLE GIRL + Huh? + + Reese whirls reflexively at a SCREAM behind him. The + mylar balloon bursts in his tense hands. A teenage girl + is being doused with water by the boys with plastic jugs. + + The little girl looks at the broken balloon, then glares + at Reese. She punches him soundly on the shoulder and + storms off. + + At this moment she is bowled over by an IRISH SETTER that + licks her face while she shrieks with laughter. + Reese seems about to smile but doesn't quite know how to + go about it. + + CUT TO: + + +191 EXT. SERVICE STATION/PAY PHONE - DAY 191 + + Sarah is talking on an open pay phone. + + SARAH + ...I know, Mom. This is the + soonest I could...I know. + Mom...Mom, I can't talk long. + No, I'm okay. + (pause) + I was on TV? Really? + (pause) + Oh no, I hate that picture... + why didn't you give them my + graduation picture? + (pause) + I'm okay, really. Listen, I + want you to pack some stuff + and go up to the cabin for a + few days. Just don't...no, + don't ask any questions. + Just do it. I gotta get + going...gotta go. Bye, bye. + + Sarah has been idly leafing through the DIRECTORY. On + a whim she looks up something. + She freezes for a moment when she finds the listing. + Then with a triumphant expression she rips the page out + of the book. + CUT TO: + + +192 EXT. SERVICE STATION/PICNIC TABLE - DAY 192 + + Sarah is sitting at a table under a tree, lettering + something with a lipstick on a cardboard box-flap. + + E.C.U. - SIGN, as the last letters are finished. + It reads: + SILICON VALLEY + + FULL ON SARAH as she retracts the lipstick and leans + across to hand it to a girl at the next table. + + SARAH + Thanks a lot. + + REESE (V.O.) + What's that? + + Sarah looks up, startled to see him standing beside her. + + SARAH + That's where we're going. + + REESE + Why? + + Sarah point to the directory page lying on the table. + + MACRO - PAGE + + Sarah's finger points to a listing which reads: + + CYBER DYNAMICS CORPORATION + 18144 El Camino Real, S'Vale + + ANGLE ON SARAH AND REESE + + She looks smug. + + SARAH + Look. I found it. Isn't + that it? Cyber Dynamics + Corporation? + + REESE + What about it? + + SARAH + Didn't you say that they're + going to develop this + revolutionary new thing... + + REESE + Molecular-memory. + + SARAH + Whatever...they become the + hotshot computer guys so they + get the job to build El Computer + Grande...Skynet...for the + government. Right? + + REESE + (uneasy) + That's the way it was told + to me. + + Sarah's fear has been replaced by excitement. + + SARAH + Well, we're gonna uninvent the + bastard. Eighty-six it. We'll + blow up the place...burn it + down. Something. + + REESE + (very cold) + Tactically dangerous. We + lay low. + + SARAH + Reese. Think it through. + We can prevent the war. + Nobody else is gonna do it. + If we go to anybody official + we wind up back in jail and + then that walking cuisinart + has got us again. We have to + so it ourselves. + + REESE + That's not my mission. + + SARAH + (upset, mocking + his manner) + Listen. Understand. I'm + not a military objective, + Reese. I'm a person... + You don't own me. + + Reese takes her arm and pulls her to her feet. + + REESE + Let's go. Time to move out. + + SARAH + Fuck you! Let go of me! + + She jerks her arm free. He reaches for her again but + she outdistances him, running. + + REESE + (warning tone) + Sarah! + + She dashes down a footpath among the trees, clutching her + sign. Reese follows her into the woods. + + CUT TO: + + +193 EXT. WOODS/CLEARING - DAY 193 + + Only a few yards from the picnic area, the woods take over + completely. + + PANNING WITH SARAH + + as she runs down the path. + Reese tackles her from behind and they fall together in + the long spring grass. + She struggles violently to get away. + + SARAH + Let...go...bastard... + + She gets one arm free and whacks him hard in the face. + Reese reacts instinctively, leaping back in a defensive + crouch. Sarah freezes when she sees the .357 in his + hand. + + SARAH + (continuing, + scared, but + angry) + Oh, that's real smart. + Go on, shoot me. That's + brilliant. + + Reese is trembling as he lowers the gun. + Sarah too is shaking with emotion. Tears roll down her + cheeks and her voice cracks. + + SARAH + (continuing) + Jesus Christ, Reese. Can't + you see I'm scared? + + He straightens up and his arms go limp at his sides. + He turns away. + + SARAH + (continuing) + I can't spend my life waiting + for that thing to catch up + with me...always looking over + my shoulder, wondering if I + left some tiny clue behind... + + Reese doesn't respond. + The gun slips from his fingers. + His will seems to drain from him and he sags to his knees. + The moment stretches. + There is only the sunlight moving in shafts through the + leaves, the sound of a small stream nearby, birds chirping. + + SARAH + Reese? + + She crawls over to him. + + C.U. - REESE + + in profile, with Sarah in B.G. + His eyes are closed. + A tear meanders down his cheek. + + SARAH + (continuing, + quietly) + Kyle? + + REESE + (a whisper) + I'm wrong here. I wasn't + meant to see this... + + He gestures at their surroundings. + + REESE + (continuing) + It's...like some dream. + This...this... + + He touches the grass, the trunk of a tree. + + REESE + (continuing) + ...and you...all so...beauti- + ful. It hurts, Sarah. More + than death. + + He looks are her beseechingly. + + REESE + (continuing) + Don't you understand...it's + all gone! + + Sarah puts her arm around him. + She sniffs and wipes at her nose with the back of her hand. + + SARAH + We can change it, Kyle. We + have to try. + + She takes his shoulder in her hands. + + SARAH + (continuing) + There's no fate but what we + make for ourselves. Right? + Come on. Let's go, kiddo. + Whaddya say? + + He picks up her sign and they look at each other for a + second, then get up. + + CUT TO: + + +194 INT. TERMINATOR'S HOTEL ROOM - DAY 194 + + Terminator sits in his room with the blinds drawn tight. + Murky. Claustrophobic. With knife-slits of hot sunlight. + + MEDIUM ON TERMINATOR + + sitting on the edge of the bed. + His appearance isn't improving. + + A patch of SCALP is blown away, revealing CHROME underneath. + A flap of skin dangles from his cheek, which exposes some + of the DRIVE CABLES which move the lips. + He is scanning Sarah's address book, turning a page every + two seconds. + + C.U. - TERMINATOR + + his eyes tracking rapidly. His skin is waxy, WHITE, BRUISED, + GANGRENOUS in places. He ignores the FEW FLIES crawling + on his face. + + CUT TO: + + +194A/FX POV - TERMINATOR 194A/FX + + Showing Sarah's book. + In microseconds the handwritten entries are translated + into CRT-type characters and displayed to one side of the + screen. This updates instantly as the page is turned. + + CUT TO: + + +195 INT. HOTEL CORRIDOR - DAY 195 + + A MIDDLE-AGED MAN with a torn T-shirt covering his paunch + knocks on the door. He is wheeling a trash cart. + + MAN + Hey, buddy, you got a + dead cat in there of what? + + CUT TO: + + +196 INT. TERMINATOR'S HOTEL ROOM - DAY 196 + + TIGHT ON TERMINATOR + + as he looks up. + + CUT TO: + + +197/FX POV - TERMINATOR 197/FX + + The digitized image PANS to the door and a LOGIC-FLOW + DIAGRAM appears overlaid in color-coded words. It con- + cluded with a list of potential appropriate responses: + + YES/NO + OR WHAT + GO AWAY + PLEASE COME BACK LATER + FUCK YOU + FUCK YOU, ASSHOLE + + The last begins to FLASH, and enlarges to fill the screen. + + CUT TO: + + +198 RESUME ANGLE + + TERMINATOR + Fuck you, asshole. + + He returns to his scan. + + CUT TO: + + +199 INT. CORRIDOR - DAY 199 + + The man shrugs and walks down the hall. + + CUT TO: + + +200 EXT. MOTEL - DAY + + The two fugitives walk toward an economy motel of the + two-story park-by-the-door variety. + Sarah turns to wave as a TRACTOR-TRAILER pulls away noisily, + heading back to the Interstate. The driver answers her wave + out the side window. Reese stops for a moment outside the + motel office to pet a GERMAN SHEPHERD sitting on the porch. + The dog wags its tail and licks his hand. + + Reese opens the door and they go in. + + CUT TO: + + +201 INT. MOTEL OFFICE - DAY 201 + + Reese pulls a crumpled wad of bills from his jeans and shows + it to Sarah. + + REESE + Is this enough? + + SARAH + Yes. And I don't want to + know where you got it. + + She turns to the desk clerk, a female version of the pawn- + shop lizard. + + SARAH + (to clerk) + We need a room...with a + kitchen. + + CUT TO: + + +202 INT. MOTEL ROOM - DUSK + + Kyle and Sarah enter the spartan room. + + SARAH + I'm dying for a shower. You + could use one too. And we'd + better check that bandage. + + REESE + Later. I'm going out for + materiel. Keep this. + + He hands her the .38 he took off the detective. + + She takes it without thinking as he leaves then realizes + that she has A LOADED GUN IN HER HAND, without the slightest + idea of how to use it. She lays it gently on the dresser. + As an afterthought, she turns it with one finger so that it + is pointing the other way. + + Sarah moves the curtain slightly and looks outside. + + CUT TO: + + +203 EXT. MOTEL - DUSK 203 + + Reese walks away toward a commercial area visible down the + road. + + CUT TO: + + +204 INT. MOTEL ROOM - NIGHT 204 + + Sarah is on the phone, her hair still wet from a shower. + She sits on the bed with a towel wrapped around her. + + SARAH + ...No, Mom, I can't tell you + where I am. I was told not + to say. + + SARAH'S MOM (V.O.) + (filtered) + But honey, I need to know where + I can reach you or I'll be + worried sick. It turns out I + can't stay up here...the + electricity's off...and I don't + know just where I'll be. + + Sarah hesitates, then: + + SARAH + Okay, here's the number. Are + you ready? + + SARAH'S MOM (V.O.) + (filtered) + Go ahead. + + CUT TO: + + +205 INT. MOUNTAIN CABIN - NIGHT 205 + + SLOW PAN around the room as the conversation between Sarah + and her Mom continues, completely VOICE OVER. + + SARAH (V.O.) + (filtered) + It's 408-972-1439. Room 14. + + SARAH'S MOM (V.O.) + (filtered) + I got it. + + The PAN continues, revealing an overturned chair. + + SARAH (V.O.) + (filtered) + Okay, I've gotta go. I'm + sorry I can't tell you very + much now, Mom. I love you. + + The PAN comes to a table. Smashed plates. Spilled coffee. + A spatter of blood. A phone. It follows the phone cord + onto Terminator in CLOSE-UP as he continues in a perfect + simulation of her mother's voice... + + TERMINATOR (MOTHER'S VOICE) + I love you too, sweetheart. + + CUT TO: + + +206 INT. MOTEL ROOM - NIGHT 206 + + Sarah hangs up the phone, vaguely disturbed. + + CUT TO: + + +207 INT. MOUNTAIN CABIN - NIGHT 207 + + Terminator rapidly dials the number Sarah gave. + + TERMINATOR (HIS VOICE) + Hello. + (pause) + Tell me your address there. + + CUT TO: + + +208 INT. MOTEL ROOM - NIGHT 208 + + TIGHT ON SEVERAL GROCERY BAGS + + covering the counter beside the hot-plate in the tiny + apartment. + + Reese's hands split one open and its contents spill out. + + FULL SHOT + + Sarah looks through Reese's haul. + + SARAH + Let's see. Corn syrup. + Ammonia. Moth balls... + Mmm. What's for dinner? + + REESE + (preoccupied) + Plastique. + + There are also boxes of shotgun shells, road flares, tape, + scissors, pans, a strainer and many other odd utensils, + substances, chemicals. + + SARAH + What's that? + + REESE + Nitroglycerin, basically. + Bit more stable. I learned + howto make it when I was a + kid. + + Sarah looks a bit stricken as she contemplates the evening + ahead. + + CUT TO: + + +209 EXT. HIGHWAY/CHEVY CAMARO - NIGHT 209 + + The dashlight illuminated Terminator from beneath as he drives + through the night. He looks like Death. His left eye + glows a faint red in the darkness. + + CUT TO: + + +210 INT. MOTEL ROOM - NIGHT 210 + + A heartwarming domestic scene. + Sarah and Kyle have pulled the dresser out to use as a + worktable. Pans, packages and bottles clutter the kitchen, + B.G. On the table between them are eight ten-inch lengths + of PLUMBER'S PIPE, threaded each end. Kyle is showing + Sarah how to tamp the HIGH-EXPLOSIVE PUTTY into the pipe + bombs and seal them shut. + + REESE + Make sure there's none on the + threads, like this. Now screw + the end-cap on...very gently. + + + SARAH + You must have had a fun child- + hood. + + REESE + That's good. Now, seven more + like that while I make fuses. + + SARAH + I was thinking, there's so + much I've got to show you + when we get through this. + It's mind boggling, the pos- + sibilities...Disneyland, the + beach, movies...matinees with + popcorn and foot-long hot dogs... + + REESE + Hot dogs? + + SARAH + I want to buy you a hot dog so + bad,Kyle...all the things you've + never seen and done. You're here, + but wherever you go, and whatever + you touch, you bring the war with + you. + + REESE + My whole life has been combat. + + SARAH + I want it to be over for you. + + REESE + Not possible. + + SARAH + I want it to be over for me too. + I feel like I slipped over some + invisible line, that I'm in your + world now. Everything's the same, + but I see it differently. + It's like, there's you and me, + and him...but nobody else can + understand or help or even touch + us. + + Reese looks up and finally catches her gaze. He reaches + out for her hand and it seems he may be taking it to + comfort her. + But he turns her wrist to read her watch. + + REESE + We'll head out at 0200. + That gives you four hours + to sleep if you want. I'll + finish. + + CUT TO: + + +211 INT. MOTEL ROOM - NIGHT 211 + + ANGLE ON TABLE - The bombs are neatly ranked, finished. + A nylon satchel lies nearby. The mess is cleaned up. + + WIDE SHOT reveals Reese sitting in silent vigil at the + window. The room is dark, lit only by a streetlight + outside. + Sarah is asleep on the bed. + + Reese sits cross-legged, shirtless, his body held rigid. + The image of discipline. The .357 is held loosely in one + hand on his lap. There is a fresh bandage on his shoulder. + + Sarah wakes up and goes to him in the darkness. He looks + at her for a moment as she sits beside him, then back outside. + + SARAH + He'll find us, won't he? + + REESE + Probably. Sarah, if I get + zeroed... + + SARAH + Don't say that. + + REESE + If I do, you have to get away, + disappear without a trace. + Different country, different + name, everything. In case they + send another one. + + SARAH + It'll never be over, will it? + Look at me, I'm shaking. + Some legend, huh? You must + be pretty disappointed. + + REESE + No. I'm not. + + Several beats before Sarah speaks again. Her eyes seem + luminous in the dark. + + SARAH + (softly) + Kyle, the women in your + time...what were they like? + + REESE + Good fighters. + + SARAH + That's not what I meant. + Was there someone special? + + REESE + Someone? + + SARAH + A girl. You know. + + REESE + (mechanically) + No. + (pause) + Never. + + He looks away, outside the window + + SARAH + (softly) + I'm sorry. + + Sarah studies him for a moment. + She's sitting slightly behind him and she puts her hands + on his shoulders and back, tracing the lines of his scars + with her fingertips. + + SARAH + So much pain. + + REESE + Pain can be controlled. + You disconnect it. + + SARAH + And so you feel nothing. + + REESE + It's better that way. + + SARAH + (with great + sympathy) + Oh, Kyle. + + Reese takes a long, slow breath before he answers, and when + he does his voice has a new quality, an unfamiliar tenderness. + + REESE + John Connor gave me a picture + of you once. I never knew + why. It was very old. Torn. + Faded. You were young, like + you are now. You weren't + smiling...just a little sad... + I always wondered what you + were thinking at that second. + + He closes his eyes, reaches toward her. His fingertips + trace the contour of her nose, chin, cheeks. + + REESE + (continuing) + I memorized every line, every + curve... + + He opens his eyes, looking right at hers. + + REESE + (continuing) + Sarah, I came across time + for you. I love you. + I always have. + + Sarah is quietly overwhelmed. + Reese looks away. + + REESE + (continuing) + I'm sorry. I shouldn't + have said... + + SARAH + Kyle... + + + She leans forward and kisses him. + His face is frozen. A mask. + She continues, tenderly. + He begins to respond. + The dam breaks and he holds her in a tight, trembling + embrace, clinging to her like life itself. + + Kyle picks her up and carries her to the bed. + She kisses his neck and chest, tracing his scars with + her lips. + + He unbuttons her blouse very slowly. + Sarah guides his powerful hands over her. + + A SEQUENCE OF CUTS. DETAILS. IMPRESSIONS. + + Sarah, a very close angle, as she grimaces in divine agony. + Reese, his face rapt. + His hand, clutching the pillow as if to kill it. + It is explosive, torrential. A confluence of fate and will. + + CUT TO: + + +212 INT. MOTEL ROOM/LATER - NIGHT 212 + + TIGHT ON SARAH AND REESE in each other's arms. Lying + across his chest, she surveys his face as his eyes close + drowsily. + + SARAH + I bet you're ticklish. + + REESE + (uncompre- + hending) + Ticklish? + + Sarah's hand moves OUT OF FRAME. After a moment Reese + looks down, puzzled. + + REESE + What are you doing? + + SARAH + (continuing + doggedly) + You'll beg for mercy in + a second. + + Reese seems unperturbed. Finally he begins to squirm. + + REESE + I don't think I like this. + + SARAH + You're not supposed to. + + Now Reese is becoming desperate. A grimace spreads across + his face. It becomes a grin. Then he's laughing, trying + to escape but she won't let him, and they collapse, laughing + together. + Sarah gazes at his grin, a glimpse of the Reese that might + have been, in another life. + + A moment later the grin vanishes at the sound of dogs barking + outside. + Reese is off the bed in an instant, crouched tense, eyes + alert. Feral as ever. + + REESE + (whispering) + Listen to the dogs. + + CUT TO: + + +213 EXT. MOTEL OFFICE - NIGHT 213 + + The German Shepherd, barking furiously, LUNGES TOWARD + CAMERA repeatedly, at the end of a chain. + + A dark figure moves by in the F.G., out of the dog's reach. + + CUT TO: + + +214/FX INT./EXT. MOTEL/TERMINATOR'S POV - NIGHT 214/FX + + The digitized view is image-intensified, bright and stark + as a lunar landscape. PAN OFF the lunging dog to the row + of rooms facing the parking lot. + + HANDHELD as we approach the doors. + It is WIDE ANGLE and the barrel of the AR-180 is visible at + the bottom of FRAME. + The nearest vehicle parked in front is a LARGE PICKUP TRUCK + WITH TWO DIRT BIKES lashed in the bed, seen prominently as + we pass. + + The POV approaches a door. Number 14. + + The door is KICKED OPEN. + Moving inside. + The assault rifle sprays the room, exploding the indistinct + forms on the bed. Staccato glare. Approaching the bed. + Nothing there put the shredded remain of sheets and pillows. + + The POV shifts to the BACK DOOR, which is ajar, and moves + toward it. Through the door. Revealing an EMPTY YARD. + + CUT TO: + + +215 INT. PICKUP TRUCK/PARKING LOT - NIGHT 215 + + Reese is under the dash, playing with the wires. + Sarah lies on the seat, clutching the nylon satchel, which + bulges with the explosive charges. She has dressed hastily + and is barefoot. + + REESE + Light it now. + + Sarah has been holding a BIC LIGHTER near the tip of a fuse. + She thumbs the flame on. The fuse catches as Reese twists + the wires and the engine starts to turn over. + + CUT TO: + + +216 INT./EXT. MOTEL ROOM - NIGHT 216 + + Terminator spins at the sound of the truck engine catching. + + FAST PANAGLIDE WITH HIM as he runs the + length of the suite, stops outside the front door. + Whips the AR to his shoulder. + + The truck is BACKING WILDLY across the lot B.G. + Terminator turns, looking into CAMERA as a SIZZLING SOUND + becomes audible. + + DETAIL - PIPE CHARGE, lying just inside the door, in the + shadows. The fuse is burning. + + WIDE SHOT - On doorway, from the parking lot, as Terminator + takes two leaping strides forward and the CHARGE EXPLODES. + The front of the building is BLOWN TO KINDLING. + Terminator is flung forward by the blast. + + CUT TO: + + +217 EXT. STREET/PICKUP TRUCK - NIGHT 217 + + PANNING RAPIDLY as the truck shoots out of the parking lot + and tears down the street. + + CUT TO: + + +218 EXT. MOTEL - NIGHT 218 + + Terminator lies face down, motionless, F.G., as the debris + from the blast settles. A YOUNG GUY ON A HONDA 750 crosses + the parking lot and stops near him, running forward. + Terminator starts to get up, moving slowly. + + RIDER + (crouching be- + side him) + Don't try to move, buddy. + + MOVING WITH TERMINATOR as he shoves the cyclist aside and + approaches the BIKE, which is STILL RUNNING. + + CUT TO: + + +219/FX PARKING LOT/TERMINATOR'S POV - NIGHT 219/FX + + Digitized POV, approaching the cycle. The image reduces + to GRAPHIC OUTLINES, with separate systems COLOR-CODED. + It breaks down suddenly into individual SIDE, TOP and PLAN + VIEWS. All in less than four seconds. + + CUT TO: + + +220 INT./EXT. FREEWAY/PICKUP TRUCK - NIGHT 220 + + Reese slides the truck into an ON-RAMP and guns in onto the + freeway, burying the throttle. Traffic is light...a few + 18-wheelers. The truck tops out at 110 and he holds it. + They flicker rapidly through pools of light and shadow. + + ANGLE OVER REESE'S SHOULDER as they hurtle forward. An + interchange flashes by in an instant. + + PACING WITH THE TRUCK, looking back as a single headlight + arcs radically across all lanes behind them and grows + BRIGHTER, CLOSING. + + CUT TO: + + +221 EXT. FREEWAY - NIGHT 221 + + LOW WIDE ANGLE preceding Terminator on the bike. He is + tucked, getting as much speed as possible out of the 750. + As he GAINS ON THE CAMERA, FILLING FRAME, he unslings the + assault rifle. Raises it against the windstream in a one- + handed pistol grip. + + CUT TO: + + +222 INT. PICKUP TRUCK - NIGHT 222 + + Reese motions Sarah to keep her head down. He pulls the + Colt Python from his coat pocket. Steering with his elbows, + he checks the load. Snaps the cylinder shut. Glances in + the rear mirror. Turns the wheel. + + CUT TO: + + +223 EXT. FREEWAY - NIGHT 223 + + WIDE ANGLE, following close to Terminator, as he closes on + the pickup, B.G. The truck swerves suddenly, diving around + a TRACTOR-TRAILER. Terminator leans hard to follow. + + LOW WIDE ANGLE preceding the pickup and Terminator as they + swerve as high speed. Reese uses the slow semis as static + obstacles. He misses them by inches, TIRES SQUEALING. + + ANGLE OVER SARAH'S SHOULDER, through the front window as + the back of a SEMI-TRAILER hurtles toward them, straight ahead. + + HIGH ANGLE, following both vehicles as Reese feints RIGHT + and then skids LEFT. He slides toward the trailer in a + FOUR-WHEEL DRIFT as Terminator commits to the right. + + M.C.U. - TERMINATOR, over the barrel of the AR, as he FIRES. + + SIDE ANGLE - PASSING TRUCK-TRAILER, bullets strafe across + it as the pickup vanishes behind. Terminator skids the + bike, barely missing an abutment, and is forced onto an + OFF-RAMP. + + LOW SIDE ANGLE preceding Terminator as he roars down the + off-ramp without slowing. Runs the red light at the bottom + as a hundred miles an hour. Climbs the ON-RAMP. + + CUT TO: + + +224 INT. PICKUP TRUCK - NIGHT 224 + + Sarah is buffeted as Reese fights to control the skidding + truck. The angle is past Reese, F.G., on Sarah. + Terminator appears B.G., converging rapidly as the on-ramp + joins the freeway. + + REESE + Switch places with me. + + She slides over him while he keeps the hammer down. + + CUT TO: + + +225 EXT. FREEWAY - NIGHT 225 + + Reese is out the window to the waist, aiming double- + handed. He FIRES. ONCE. TWICE. AGAIN. + + They enter an interchange. Ahead lies a LONG, SWEEPING + CURVE, two lanes wide and elevated. + + Terminator rocks back from a round between the eyes that + bares metal, the FIRES. + + Bullets rake the pickup. + The windows are blown out. + The side mirror explodes. + Reese is hit. Drops the .357. + Sarah screams and weaves, barely in control. + + CUT TO: + + +226 INT. PICKUP TRUCK - NIGHT 226 + + Sarah reaches across and pulls Reese's limp body back + inside. He slumps on the seat, moaning. Stunned. + + SARAH + Kyle...oh God... + + He has a bullet in the chest. Another has broken his arm. + Sarah feels all hope recede. + + CUT TO: + + +227 EXT. FREEWAY - NIGHT 227 + + Terminator crosses behind the truck, coming up on Sarah's side. + He FIRES. + Sarah shrieks as the doorpost next to her head CLANGS WITH + HITS. + + The short burst EMPTIES THE GUN. + It CLATTERS TO THE PAVEMENT a moment later, discarded. + Terminator draws the .38. Takes aim. + + Sarah SCREAMS. HITS THE BREAKS HARD. CRANKS THE WHEEL. + GLASS behind her EXPLODES with gunfire. + + SWERVING VICIOUSLY the truck SLAMS THE BIKE, sending it + FLYING INTO A GUARDRAIL. Terminator goes over the handle + bars at a hundred miles per hour. + + CUT TO: + + +228 INT. PICKUP TRUCK - NIGHT 228 + + Sarah fights the wheel, losing control of the slewing pickup. + + CUT TO: + + +229 EXT. FREEWAY OVERPASS - NIGHT 229 + + Terminator hits the pavement, tumbling, rolling, sliding + with a CHATTERING SCREECH and spraying sheets of SPARKS + as flesh strips away and steel screams on concrete. + The pickup SWAPS ENDS violently, smashing into the guardrail. + + Terminator hits the guardrail, bounces up, tumbles along the + top and then pitches OUT INTO SPACE. + + CUT TO: + + +230 EXT. INTERSECTING FREEWAY - NIGHT 230 + + Terminator smashes to the pavement in the middle lane and + lies there, face-down. Still. + + CUT TO: + + +231 INT./EXT. PICKUP/OVERPASS - NIGHT 231 + + Sarah is slammed hard as the truck grinds to a stop against + the guardrail. She checks Kyle. He is barely conscious. + Sarah heaves open the door. Runs to the guardrail. Looks down. + + CUT TO: + + +232 EXT. LOWER FREEWAY - NIGHT 232 + + After a long moment Terminator slowly rolls over and sits up. + + LOW ANGLE as he rises into FRAME, a mass of blood. Clothing + and skin in tatters. + + HEADLIGHTS FLARE behind him and an AIRHORN BLARES. + + FULL SHOT as a DOUBLE-TRAILER KENWORTH GASOLINE TANKER smashes + him down and under with a METALLIC CRASH. + + ANGLE UNDER TANKER as Terminator rolls, clattering, and the + mass blurs above him. He RICOCHETS between the pavement and + the speeding undercarriage until a stray bounce flings him + up into the rear suspension. + + CUT TO: + + +233 EXT. FREEWAY OVERPASS - NIGHT 233 + + UP ANGLE ON SARAH + + at the railing, looking down. She raises one fist into + the air triumphantly. + + SARAH + Alriiight! + + CUT TO: + + +234 INT. TANKER CAB - NIGHT 234 + + The stunned DRIVER hits the brakes. His PARTNER grabs + his arm. + + PARTNER + Don't stop. + + They lock eyes for a moment. + DRIVER. + I have to, man. + + CUT TO: + + +235 EXT. FREEWAY/TANKER 235 + + ANGLE UNDER THE REAR TRAILER + + Terminator clings with inhuman strength to the rear suspen- + sion. The pavement blurs by beneath him. The air brakes + howl. + + CUT TO: + + +236 EXT. FREEWAY OVERPASS - NIGHT 236 + + Sarah watches the truck roll on without leaving a body + in its wake. + She feels a premonitory dread. + + CUT TO: + + + +237 EXT. FREEWAY/TANKER - NIGHT 237 + + Beneath the braking semi, Terminator CRAWLS UPSIDE DOWN, + hand over hand like a HUMAN FLY, toward CAMERA. The + left eye GLOWS LIKE A COAL in the dark. As the pavement + stops beneath him he drops off and rolls out from under + the truck. + + CUT TO: + + +238 INT. TANKER CAB - NIGHT 238 + + The driver looks around in astonishment as his door is + ripped open. + Terminator appears. A grisly apparition. + FLINGS THE DRIVER OUT and takes his place behind the wheel. + Ignoring the terrified partner, he examines the controls. + + CUT TO: + + +238/FX POV - TERMINATOR 238/FX + + In digitized cyborg-vision we see an ABSTRACT OF THE + INSTRUMENTS. The shift lever is extended graphically + down into a three-dimensional SCHEMATIC OF THE TRANS- + MISSION. Analytical DATA PRINTS OUT RAPID-FIRE. + + CUT TO: + + +239 EXT. FREEWAY OVERPASS - NIGHT 239 + + From the railing Sarah sees the tanker below as + + a body falls beside it, rolling. + The truck swings in a slow arc. + TEARS THROUGH THE DIVIDING FENCE. + Heads back toward her on the wrong side of the freeway. + + She stares in numb horror. + The nightmare refuses to end. + She runs to the crippled pickup and sees a front tire flat, + shredded by a crumpled fender. + + She searches the cab frantically for the KEYS TO THE + MOTORCYCLES. Finds them above the sun visor. + + Sarah leaps into the bed of the pickup and attacks the + motorcycle strap-downs frantically. + Panting with terror she rolls the bike off the truck. + It crashes on its side and she falls on it painfully. + + Straining until she CRIES OUT INVOLUNTARILY, she lifts + it upright. + KICKS the engine over. + + LOW ANGLE + + as the tanker crashes back through the divider and starts + UP THE OVERPASS. Sarah is trapped in that concrete corridor. + She kicks for her life. + The bike catches for a moment. Dies. + + The truck BELLOWS, down-shifting on the curving grade. + Sarah kicks again and again, crying out with each stroke. + Again and again, furiously. + The engine CATCHES. + + SARAH + (rapidly) + Come on, come on, come on + ...run, you... + + The bike runs with a healthy roar. + + LOW ANGLE + + up the face of the tractor-trailer, the retaining wall blur- + ring by. Terminator's red eye can be seen through the wind- + shield. + + Sarah drags Reese, stumbling,to the bike, props him on the + seat behind her. He clutches the satchel weakly. + + SARAH + Hold on real tight, okay? + + She guns the engine and roars off. + + LOW ANGLE + + as the tanker demolishes the pickup a moment later, TOSSING + IT OVER THE SIDE LIKE A BEER CAN. + + CUT TO: + + +240 EXT. FREEWAY - NIGHT 240 + + Sarah hits level freeway with a quarter-mile lead on the + tanker, distant B.G., but the little bike is overloaded + and she can't coax it above seventy-five. + + ANGLE ON TANKER roaring forward, shifting up through + the gears. + + CLOSE ON SARAH AND KYLE, his head lolling on her shoulder. + He starts to fall sideways. + + SARAH + (shouting) + Hold on, goddamnit! + + He rouses slightly, gripping her tighter. + + HIGH ANGLE - MOVING WITH BOTH VEHICLES as Sarah starts to + ZIGZAG desperately across all four lanes. The truck stays + with her, closing, its trailer WHIPLASHING VIOLENTLY. + + CUT TO: + + +241 EXT./INT. TUNNEL - NIGHT 241 + + The truck is right behind them as then enter a TUNNEL. + A half-mile of exitless concrete and strobing fluorescent + lights. + + M.C.U. - SARAH AND KYLE (PROCESS SHOT) - He blinks and looks + back at a SOLID WALL OF METAL AND LIGHTS looming behind them. + Sarah hunches down. They hit eighty. + + FULL SHOT - The leviathan dwarfs them, its big tires ROARING + like the hubs of Hell. + + CUT TO: + + +242 EXT. FREEWAY - NIGHT 242 + + The tanker is twenty feet behind them as they clear the + tunnel. Sarah dodges to one side and LOCKS THE BRAKES. + The bike slides, fish-tailing. + The truck roars past, hitting the air-brakes. + The trailers force her closer and closer to the guardrail + as Terminator tries to sandwich her. + The bike slides to a stop. + The rearmost set of trailer wheels slams into the guardrail + right in front of Sarah. + + Sarah emerges from a cloud of tire smoke, cutting across + all four lances behind the stopped semi. + + CUT TO: + + +243 EXT. FREEWAY EMBANKMENT - NIGHT 243 + + Sarah tries to ride down the steep embankment but loses + control, spilling the bike. She and Kyle tumble down + the slope. + + MOVING WITH HER as she scrambles, half-dragging Kyle, through + a row of trees at a chainlink retaining fence. She crawls + under the fence, tugs Kyle and the satchel through after. + + Sarah looks up at the source of a SUDDEN THUNDEROUS ROAR. + + CUT TO: + + +243/FX ANGLE ON TANKER 243/FX + + It appears above them, grinding over the embankment. It + rolls down the steep slope TOWARD CAMERA, FLATTENING TREES. + + CUT TO: + + +244 EXT. INDUSTRIAL SITE - NIGHT 244 + + Sarah and Kyle scramble up and run across the STORAGE LOT + of a MODERN FACTORY COMPLEX of LOW BUILDINGS. Kyle struggles + to keep up, holding the satchel. + + LIKE A JUGGERNAUT the truck follows, smashing through parked + cars and FLATTENING A PRE-FAB STORAGE BUILDING. + + They enter an alley-like space between two buildings. + Kyle is fumbling to open the satchel. + + ANGLE BACK as the tanker enters the alley. It TEARS THE + CORNER OFF ONE BUILDING as it turns in. Terminator looks + down from his mountain of steel. + + CUT TO: + + +245 INT. TANKER CAB - NIGHT 245 + + OVER TERMINATOR'S SHOULDER, looking down at a tiny figure + below, running in the headlights' glare. It is Sarah, alone. + + CUT TO: + + +246 EXT. ALLEY - NIGHT 246 + + Reese crouches in a TRASH-DUMPSTER which is sandwiched + between the wall and the tanker. There are only inches + of clearance as the trailers pass by. + + He lights a PIPE CHARGE, jumps up and wedges it under the + tank-cylinder of the second trailer. + He ducks as it rolls on. + + Sarah is stumbling in the glare of the truck's lights. + + E.C.U. - PIPE BOMB, the fuse burning. + + M.C.U. - TERMINATOR, through the windshield, his eye glowing. + + C.U. - REESE huddles in the dumpster. + + CUT TO: + + +247/FX LOW WIDE ANGLE ON SARAH AND TRAILER (PROCESS SHOT) 247/FX + + The REAR TRAILER EXPLODES. An unbelievable FIREBALL ERUPTS + SKYWARD, silhouetting Sarah's running figure F.G. + The dumpster is enveloped by fire and hurled, rolling, down + the alley. + + Sarah makes it around a corner as the FORWARD TRAILER + EXPLODES and an OCEAN OF FLAME rolls forward, blasting by her. + + The dumpster topples and Kyle rolls out, surrounded by fire. + + +248/FX SEQUENCE - TERMINATOR 248/FX + + In the center of the inferno Terminator struggles violently. + His FLESH FIRES AND SIZZLES. He tears loose from the + TWISTED WRECKAGE and collapses to the ground. Sinks into + a CHARRED MASS. STOPS MOVING. + + C.U. - TERMINATOR, mouth open, skull-like, motionless + in the flames. + + CUT TO: + + +249 EXT. ALLEY - NIGHT 249 + + Sarah crawls away from the intense heat and lies watching + the motionless figure in the blaze. + + CUT TO: + + +250 EXT. ALLEY/FAR END - NIGHT 250 + + Sarah rounds the corner, staggering, searching. + She sees Kyle crumpled face-down near the dumpster, sheltered + from the heat by its mass. + + She drags his away. Rolls him over. + + C.U. - REESE, his head lolls. He opens his eyes + + REESE + (weakly) + Sarah. + + SARAH + We did it, Kyle. We got it. + + She hugs him. + + CUT TO: + + +250/FX FULL SHOT (PROCESS) 250/FX + + They hold the embrace, silhouetted by the diminishing flames. + It would be a wonderful final image. + Except...TERMINATOR STAGGERS OUT OF THE BLAZE BEHIND THEM. + + M.C.U. - TERMINATOR, the last flakes of flesh are falling + from him like burning leaves. His gleaming structure is + revealed in all its intricacy. No longer a 'He', but an 'It'. + It looks like Death rendered in steel. + A CHROME SKELETON with HYDRAULIC MUSCLES and TENDONS OF + FLEXIBLE CABLE. In the sockets of the metal skull, the + eyeball swivels with a WHIR of tiny servos, both glowing + red now. + + It turns slowly and fixes its gaze directly INTO CAMERA. + + CUT TO: + + +251 EXT. ALLEY - NIGHT 251 + + C.U. - SARAH - She chokes on a scream, crams knuckles in + her mouth. + + FULL SHOT (FX), as the machine takes a step toward them, + dragging one MALFUNCTIONING LEG. + + PANAGLIDE WITH KYLE AND SARAH as they stagger to their feet + and run to the nearest building. They come to a glass door. + Kyle kicks it in. Unlatches it. They enter dark OFFICES + to the sound of ALARMS and DISTANT SIRENS. + + CUT TO: + + +252 INT. CORRIDORS - NIGHT 252 + + Sarah and Kyle run down a corridor. + Through a door, which they close and lock. + They move off down a cross-corridor. + The Terminator BLASTS THE DOOR OFF ITS HINGES, F.G., and + staggers through. It starts after their receding figures + as they round the corner at the end of the hall. + + CUT TO: + + +253 INT. OPEN OFFICES - NIGHT 253 + + Wracked, exhausted, they stumble through a maze of PARTI- + TIONED OFFICE CUBICLES. + + CUT TO: + + +254 INT. CORRIDOR - NIGHT 254 + + The Terminator catches sight of them through a floor-to- + ceiling window. It makes an unhesitating right turn through + the glass. + + CUT TO: + + +255 INT. OPEN OFFICES - NIGHT 255 + + Sarah and Kyle look back at the sound of SHATTERING GLASS. + + PANAGLIDE PRECEDING THE TERMINATOR as it crashes forward, + line-of-sight, through the maze. It splinters partitions. + Flings desks out of the way. + + FOLLOWING SARAH AND KYLE as they reach a heavy FIREDOOR and + go through. + + CUT TO: + + +256 INT. MANUFACTURING AREA - NIGHT 256 + + Kyle slides the bolts on the metal firedoor. Behind them + are acres of machinery in darkness. Silence. + CRASH! The Terminator hits the door from the far side. + Hinges SQUEAL. + + Kyle goes to a LARGE BREAKER PANEL and opens it. Starts + throwing switches. Behind them, machines START UP ONE BY ONE. + + SARAH + (panting) + What are you doing? + + REESE + (weakly) + Cover...our footsteps... + + He sags, sliding down the wall. She pulls him up. + Half-carries him into the maze of machines. + The dark gallery is filled with WHIRRING, CLANKING SHAPES, + SHATTERING CONVEYER BELTS and improbable mechanisms lashing + mindlessly. + + Reese slips to the floor and Sarah is no longer able to + support him. + + REESE + (faintly) + Leave me here. + + Sarah crouches beside him. + Grabs his shirt front. + Yells over the machines. + + SARAH + I'm not leaving you anywhere + you jerk. Haven't you figured + it out? Kyle, John is our + son. + + Reese's eyes refocus. + + SARAH + (continuing) + There isn't going to be + anybody else...I don't want + anybody else. Listen to + me! + + She pauses, then resumes in a commanding, military shout. + + SARAH + (continuing) + Move! Reese! Let's go. + Move you ass! + + She drags him to his feet and he staggers on. + + Hinges SHATTER and the firedoor is hurled inward. + The Terminator scans the darkness. + + ANGLE - PANNING WITH SARAH AND KYLE as they move through + the machines. + + The cyborg steps forward, scanning methodically. + + Sarah and Kyle move in a crouch through the treacherous + tangle of pipes and machinery. Kyle picks up a length of + pipe to use as a weapon. As they climb out onto a cat- + walk between the two huge mechanisms, Sarah clambers over + an innocuous CONTROL PANEL. + Her knee inadvertently hits a RED PUSH BUTTON. + With a ROAR the stamping-plate of a HYDRAULIC PRESS slams + down an inch from her hand. + Startled, she tumbles to the catwalk. + + The Terminator's eyes swivel as he hears the single non- + rhythmic sound. + + Kyle and Sarah run to the end of the catwalk, but find the + door there locked. + + SARAH + Come on! + + They double back to escape the cul-de-sac. The Terminator + steps in front of them, cutting them off. + + REESE + (shouting) + Run! + + He pushes Sarah roughly and she stumbles away. + Kyle raises the pipe with his good arm as the Terminator + advances. + + REESE + (over his + shoulder) + Run, damn it! + + She hesitates, backing away. + The cyborg swings at Reese + STEEL CLANGS ON STEEL. + Kyle strikes and parries but is sledgehammered back. + + ANGLE ON CATWALK as Kyle lands in a heap, smashed against + a stanchion of the railing which prevented him falling to + the factory floor twenty feet below. + + Sarah turns and runs. + + LOW ANGLE PAST REESE, F.G., as the cyborg approaches him. + + E.C.U. - A FUSE BURNING. + + C.U. - KYLE'S FACE streaked with blood, pressed to the + floor as a metal foot CLANGS DOWN, F.G. His eyes snap open. + + Sarah falls, gets up, runs on. + The Terminator draws back for a death blow. + And Kyle rolls with the last of his strength, raising + the pipe bomb he has been cradling. He jams it between two + hydraulic cylinders just beneath the cyborg's armored rib- + cage. Then rolls off the catwalk. Terminator has an instant + to react, reaching for the bomb, before it EXPLODES. + + Sarah is pitched forward by the blast and slides on the + floor. + Slams up against one wall. + A withering spray of shrapnel strafes the walls around her. + Pieces of scrap metal clatter throughout the factory, rain- + ing down. + + C.U. - SARAH, very still. She winces and opens her eyes. + Slowly looks up. + + POV - SARAH, as the smoke clears. The Terminator is GONE. + Unrecognizable clumps of BURNING DEBRIS lie scattered about. + Looking down through the grating floor she sees Kyle's + body. + LOW ANGLE ON KYLE F.G., Sarah on catwalk above. Kyle's eyes + are half-open. Still. His face peaceful. + ANGLE ON ONE OF THE FIRES climbing some plastic tubing and + triggering a SPRINKLER HEAD. It begins to rain. + C.U. - SARAH sitting up as the water runs over her. + She looks down. Protruding from her right thigh is a TWISTED + PIECE OF METAL. Shrapnel. Part of the cyborg. She pulls + it out, grimacing. Her leg is broken. + + It is a long time before she can gather the will to move. + + SARAH'S POV - She sees a WALL PHONE several yards away, + beyond the debris from the explosion. + She starts to crawl toward it. + She passes A LARGE CLUMP OF DEBRIS, F.G. + + ANGLE ON DEBRIS (FX) as it rolls over suddenly! + Now recognizable as the TERMINATOR'S HEAD AND ARMS, with + half of the scattered torso trailing wires and twisted + metal. + + IT LUNGES FOR HER! + + Sarah wants to scream this time, from the depths of her + soul, but there is no scream, only a dry shivering sob. + + The Terminator drags itself SCRAPING over the floor, steel + fingers clutching. + + Sarah is shaking and whimpering as she scrabbles away, + crawling in agony. + + ANGLE ON CONVEYOR BELT as Sarah flops from the catwalk + onto the MOVING STRIP. She is carried into the intricate + lattice of equipment. Sarah rolls off weakly before going + under a set of sorting rollers. + + ANGLE THROUGH MACHINERY - ON THE TERMINATOR (FX) as it crawls + after her, dragging its body. It tracks her unerringly, + EYES GLOWING. + + Sarah moves deeper into the DARK, CLASHING JUNGLE of machinery. + Around her is a rain-drenched tangle of CABLES, PIPES and + unforgiving mechanisms of steel. + + The Terminator clambers through after her. + + C.U. - SARAH - Water pours into her eyes as she catches + sight of something. A familiar CONTROL BOX. + She drags herself toward it. + + C.U. - THE TERMINATOR (FX) - It spots her wedged in a tiny + crawl space. No way out. + + It crawls the last few feet,EYES RED IN THE DARK. + Hypnotized, Sarah watches the Terminator REACHING TOWARD HER. + She is jammed in a corner. + Sarah's hand claws around to the front of the control panel, + seeking the RED BUTTON. + + E.C.U. - HER WET FINGERTIPS FEEL THE BUTTON. + + ANGLE ON THE TERMINATOR (FX), his steel hand reaching out. + + E.C.U. - SARAH, her face inexplicably calm, eyes steady in + that infinite instant. She clenches her teeth to keep + from screaming as she WAITS. + + The Terminator's hand reaches for her throat to crush + the life out of her and end its long mission. + + SARAH + (voice icy) + You're...terminated...fucker! + + E.C.U. - BUTTON, as her bloody finger stabs it down. + + FULL SHOT, showing how the cyborg has been led into the + MAW OF THE HYDRAULIC PRESS. + THE STAMPING PLATE THUNDERS DOWN! + Tons of mechanical pressure flatten the Terminator's head + and body like tin-foil. The PRESS SCREAMS, jamming solid. + Lightning snaps out in one brief blaze, leaping to surround- + ing machinery, arcing to Sarah's wristwatch. All the + Terminator's energy is released in one second. + + ANGLE on the narrow gap between the upper and lower plates: + a pinpoint of red light DWINDLES AND GOES OUT. + TIGHT ON SARAH, shivering uncontrollably. The steel fingers + are frozen an inch from her throat. She can only stare as + water runs over her. + + CUT TO: + + +257 INT. FACTORY - DAWN 257 + + CLOSE ON the side rail of an ambulance gurney SNAPPING UP + into position. Sarah's eyes are closed and she is moved + OUT OF FRAME. + + WIDE SHOT, showing the gurney being rolled by TWO ATTENDANTS + past the site of the last explosion. + SEVERAL POLICE OFFICERS are picking through the debris. + + PANNING WITH THE GURNEY as it is wheeled out, holding on + TWO FACTORY EMPLOYEES, F.G. + One, the PLANT MANAGER, bends to examine a piece of the + cyborg lying at the base of the hydraulic press. + A COP, B.G., notices this. + + COP + Look, I told you not to + touch anything until we're + done. You got that? + + MANAGER + Sure thing, officer. + + He stands and palms a small object to HIS ASSISTANT. They + step around the corner. + + ASSISTANT + What is it? + + MANAGER + Microcomputer chassis. But + I've never seen stuff like + this anywhere. + + ASSISTANT + Weird. Jap stuff, maybe? + + MANAGER + Keep it out of sight and + get it down to R and D + Monday, first thing. + + ASSISTANT + Good idea. + + CUT TO: + + +258 EXT. BUILDING - DAWN 258 + + Sarah is being lifted into the ambulance. She looks + up as the doors are latched shut. + + TILT UP to follow her gaze. + The sign above the entrance of the building reads: + + CYBER DYNAMICS CORPORATION + + SLOW DISSOLVE TO: + + +259 INT./EXT. LANDROVER - LATE AFTERNOON 259 + + MACRO ON CASSETTE RECORDER, the center capstans of a + tape turning. + + SARAH (V.O.) + ...and the hardest thing is + deciding what I should tell + you and what not to. Well, + anyway, I've got a while yet + before you're old enough to + understand the tapes. They're + more for me at this point... + to help get it all straight. + + COVER SHOT reveals Sarah as the wheel of a dusty landrover + parked at the pump island of a tiny gas station. All of + its signs are in hand-lettered Spanish. Beyond lies an + expanse of scrub desert. The sky scowls with an impending + storm. + + Sarah speaks quietly into a hand microphone as a dark- + complected attendant laconically fills her tank. She + cradles the cassette recorder in her lap, in the lee of + her SWOLLEN BELLY. + She looks to be about SIX MONTHS ALONG. + Under her down vest she wears a leather shoulder holster + and the butt of a .357 REVOLVER presses against her + breast. She tugs the vest closed as the attendant glances + her way. A German Shepherd sits in the back among taped + boxes and suitcases. + + SARAH + (continuing) + Should I tell you about your + father? That's a tough one. + Will it change your decision + to send him here...knowing? + But if you don't send Kyle, + you could never be. God, + you can go crazy thinking + about all this...I suppose + I'll tell you...I owe him that. + And maybe it'll be enough if + you know that in the few hours + we had together we loved a + lifetime's worth... + + CLICK. WHIR. Sarah jumps at a sound nearby, breaking + her reverie. A small MEXICAN BOY has snapped her picture + with a beat-up Polaroid camera. He holds it out to her, + speaking rapid Spanish. + + ATTENDANT + He says you are very beautiful, + Senora, and he is ashamed to ask + five American dollars for this + picture, but if he does not, + his father will beat him. + + SARAH + That's a pretty good hustle, + kid. Four. Quatro. + + The boy takes her four dollars and she watches the + snapshot develop. It is a good photograph of her, + the wind lightly ruffling her hair, expression thought- + ful, slightly sad. + + We recognize it as the one Reese carried in 2029. + She slips it into her short pocket. + + ATTENDANT + Mil trescientos...fifteen dollars + American. + + As she pays him, distant thunder rolls. + The boy yells something in Spanish as he runs off. + + SARAH + What did he say? + + ATTENDANT + (accented) + There is a storm coming in. + + Sarah gazes at the thunderheads building up out over the + desert. Heat lightning pulses in their depths. + + SARAH + (quietly) + I know. + + CAMERA CRANES UP as she pulls away, driving across the + flat desert on a ribbon of highway. A brilliant flash + crescendos from horizon to horizon out at the rim of the + world. diff --git a/scripts/The_Hurt_Locker.txt b/scripts/The_Hurt_Locker.txt new file mode 100644 index 0000000..0195f03 --- /dev/null +++ b/scripts/The_Hurt_Locker.txt @@ -0,0 +1,7172 @@ + THE HURT LOCKER + + + + + Written by + + Mark Boal + + + + + Story by + + Mark Boal & Kathryn Bigelow + + + + + First Draft REVISIONS + + "The rush of battle is a potent and often lethal addiction, for + war is a drug." + + Chris Hedges, WAR IS A FORCE THAT GIVES US MEANING + + + + + "The worst imaginable news: war thrives because enough men still + love it." + TIME + BLACK SCREEN + + Over the BUZZING sound of an electric engine we-- + + CUT TO: + + + EXT STREET/DAWN + + A grainy, low-resolution view, seen from sixteen inches above + street level. And we're moving fast -- nauseatingly fast. + + From this angle close to the ground we FLY down a road strewn + with war garbage: munitions, trash, rubber, animal shit -- + all of which, from this odd, jarring perspective, looks + gigantic, monstrous. + + We zoom towards a crumpled COKE CAN, the white `C' growing + enormous on the screen, filling the screen like a skyscraper. + + We SMASH into the can and barrel ahead. + + A RAG flutters, blocks the view, then tumbles away, as we -- + + -- zoom downhill, see nothing but gray sand, then zoom back + up hill and off, catching air, a flash of the horizon line, + BRIGHT SUN, and land hard on a packed road. + + We close in on one particular pile of trash, which is topped + with a white plastic garbage bag, and stop. Puffs of dust + and fluttering plastic. + + We glide across the fluttering plastic. Flies buzzing. + Advancing slowly, inch by inch, to the edge for our first + glimpse inside the bag: + + A RUSTY ARTILLERY SHELL. + + CUT TO: + + + EXT MIDDLE EASTERN STREET/DAWN + + A military ROBOT (about 3 feet long and 2 feet high, aka `the + bot') that rolls on tank-like treads and has a mechanical + hand and an array of CAMERAS is moving around the bag. + + TITLE OVER: + + BAGHDAD, IRAQ - JANUARY, 2005 + + This is all taking place on a dusty stretch of road in a + quiet section of Baghdad, barren except for a few shops, some + cement houses and a couple of parked cars. + 2 + + + + THE U.S. MILITARY HAS CONTROL OF THE CITY, BUT INSURGENT + GROUPS ARE MOUNTING FRESH ATTACKS IN AN ATTEMPT TO DISRUPT + THE UPCOMING ELECTIONS ON 31 JANUARY 2005. + + THEY'VE ADOPTED A DEADLY NEW TACTIC, USING I.E.D.s - + IMPROVISED EXPLOSIVE DEVICES - TO AMBUSH AMERICAN TROOPS. THE + BODY COUNT IS RISING. + + IN RESPONSE, THE ARMY HAS DEPLOYED THE LAST OF ITS ELITE BOMB + SQUAD UNITS, HOPING THAT THESE THREE MAN TEAMS CAN DISARM THE + BOMBS BEFORE THEY EXPLODE, AND STEM THE TIDE OF DESTRUCTION. + + SOUND of far off GUNSHOTS and CALL to prayer. + + SEVERAL U.S. INFANTRY SOLDIERS are moving PEDESTRIANS away + from the bag. Another group of SOLDIERS is clearing out all + the shops: bakery, sandwich shop, and a butcher shop. + + Next to a parked Humvee, THREE EOD (Explosive Ordinance + Disposal, aka Bomb Squad) SOLDIERS are crouched over a laptop + computer, looking at the screen and the same image of the + metal artillery shell inside the fluttering plastic. + + SERGEANT MATT THOMPSON wipes at the sweat on his forehead. + This is summer in the desert and the median temperature on + this bright clear morning is 110 degrees. + + THOMPSON + It's to the left. + + Thompson tears open a mushy Snicker's. He is fleshy around + the arms and middle, but there's real muscle underneath the + flab and truth be told, after so many years in EOD, he's lost + the need to have a show-off build. + + SANBORN + Going left. + + SERGEANT J. T. SANBORN works the joystick on the laptop. He + is a strapping Iowa farm boy, with a thick back from bailing + hay. In contrast to his bulky frame, his face is soft, open, + kind. He has a relaxed demeanor. Which might lead you to + think nothing ever bothers Sanborn. But if you thought that, + you'd be mistaken. Before joining EOD, Sanborn was in + Military Intelligence. He quit. Military Intel was too easy. + + THOMPSON + Up a little. + + + LAPTOP SCREEN + + Rusty artillery shell now almost full frame. + 3 + + + + + SANBORN + + SANBORN + There? + + THOMPSON + Closer. I want to see the ojive. + + Zoom on the nose cone of the shell. + + The third soldier leans in for a better look. + + SPECIALIST OWEN ELDRIDGE is a tall, lanky young man, the + youngest of the group. He's a fighter like the others but + also a reader, and something of a thinker. Eldridge crouches + behind the other two soldiers, sipping a bottle of water, + eyes never leaving the screen. + + THOMPSON + Push it in. + + SANBORN + I can't get it inside. + + THOMPSON + Pretend it's your dick. + + SANBORN + (SMILES) + I'm pretending it's your dick. + + Eldridge laughs. He clearly likes the two men he's with. + + THOMPSON + Let me try. + + SANBORN + Give me a second. + + THOMPSON + Give me a crack at it. + + SANBORN + Shit. Okay. + + They change places. Thompson now on the controls. + + THOMPSON + Hello mamma. See that? + + SANBORN + Looks like a one-five-five. + 4 + + + + Eldridge gets up and goes to the Humvee, fishes around + inside. + + THOMPSON + Yeah. That can do some damage. + + SANBORN + We're going to need a charge. + + Eldridge is already on it, approaching with the four blocks + of C4. He's done this enough to know what they need. + + ELDRIDGE + Figured four blocks. Hey with these + four blocks and the ninety pounds, + are we going to be far enough away? + + Now we see the tiny toy robot in the far distance -- far, far + away. + + Behind the Humvee and on either side of the road INFANTRY + SOLDIERS are still clearing civilian onlookers from nearby + stores. + + Thompson stands and takes a good look at his surroundings. + + THOMPSON + The blast is going to roll out + there (pointing) the shell will + probably kick out there (pointing), + and most of the shrapnel is going + to rain up in an umbrella pattern. + Some smaller pieces and shell + fragments will come out this way -- + but we'll be okay if we are behind + the truck. + + The idea that he would be standing in the open amuses + Eldridge. + + ELDRIDGE + You know I'll be behind the truck. + + THOMPSON + Nothing wrong with that, Owen. + Let's get the area cleared-- + (looks around at the crowd + OF ONLOOKERS) + --as best we can, then load up the + bot. + 5 + + + + Eldridge double times it over to a nearby soldier. Together + they herd away various bystanders. + + CUT TO: + + + DOWNRANGE + + The bot dutifully makes its return voyage to the plastic bag, + this time towing a cart which is loaded with C4 and a + blasting cap, and a coil of unspooling detonation wire. + + The robot hits a bump causing the blasting cap to tumble to + the ground, where it begins to roll -- + + + UPRANGE + + Everyone cringes. The cap doesn't explode. Close call. + + SANBORN + Damn. + + + DOWNRANGE + + The blasting cap has rolled into a gully, out of reach of the + robot hand. + + + UPRANGE + + Sanborn wiggles the stick. It's not happening. + + SANBORN + Matt, the bot's not going to do it. + + THOMPSON + Keep trying. + + DOWNRANGE + + The robot hand tries again. No dice. + + UPRANGE + + THOMPSON + Okay, you're right. I have to go + down there - don't you think? + + Sanborn nods. + 6 + + + + THOMPSON + I don't want to wait around here in + this neighborhood anyway. + + SANBORN + (WRYLY) + What, you don't like it here? + + THOMPSON + Let's just get me dressed. + + CUT TO: + + + HUMVEE + + Sanborn unpacks "THE SUIT." A bizarre contraption that looks + like an astronaut suit and helmet crossed with the Michelin + Man. Because of its weight and complexity it takes two men to + put it on - or one Sanborn. + + Sanborn kneels down and guides Thompson's feet into the + suit's black boots, then lashes up a series of Velcro straps + to secure the armor, like a squire working on a knight. + + A strap near the crotch prompts Thompson to wisecrack: + + THOMPSON + Watch it. + + SANBORN + (SMILING) + I thought you already had your + children, Sergeant. + + THOMPSON + Need to keep my options open. + + Thompson twists to get his chest protector on. Eyes tight, + brow furrowed, squints into the far distance. That's going + to be a mean motherfucker. + + THOMPSON + Okay. I'm going to make my + approach. This area looks okay. No + power-lines. Clean line of sight. + If it looks alright when I get down + there, I'm going to plug it in and + we'll just blow it. Boom -- no more + bomb -- give these people something + to think about. + (MORE) + 7 + + THOMPSON (CONT'D) + I want them to know if they're + going to leave a bomb on the side + of the road for us, we're going to + blow up their little road. Leave + them a crater and an ear ache. + + Sanborn and Thompson put in their earplugs. + + SANBORN + Ready? + + Thompson nods. + + THOMPSON + I'm craving a hamburger, is that + strange? + + Next, Sanborn takes a metal helmet with a thick glass front + and seals Thompson's face in. Sanborn attaches the breathing + hose. Taps his boss on the shoulder. + + SANBORN + Not for you. (sealing him in) + Happy trails. + + THOMPSON + (HEADSET) + This is Blaster One. + + SANBORN + (INTO WALKIE) + Copy, that. Blaster One. You're + good to go. + + Thompson turns to face the white bag and begins his walk + toward it. + + + EXT. ROAD DAY + + Thompson's stride is slowed by the eighty-pound suit...He + CLUNKS down the road. Dust clouding from his boots... + + He moves past the same mounds of charred and rotting stuff, + inner tubes, soda bottles, crumpled cans, steaming animal + waste, and bits of fluttering plastic that the bot passed... + + The question is not - do you see a white garbage bag? It's + which of these bags is the BOMB? + + Sweat slides down into his eyes. + 8 + + + + THOMPSON + (HEADSET) + 200 meters. It's boiling in here. + + + UPRANGE + + SANBORN + (INTO WALKIE) + Copy that. 200 meters. + + The RASP of Thompson's BREATHING loud on Sanborn's walkie- + talkie... + + + DOWNRANGE + + Thompson walks on. + + A knot of flies floats in the air in front of his helmet. He + lifts an arm and they disappear. + + The desert sun glints off a nearby car and momentarily + bleaches his mask bright white. + + A YOUNG GIRL with an INFANT BABY in her arms appears in a far + off doorway, then withdraws out of sight. + + He looks down, CAREFULLY watches his footfalls. Garbage + piled on top of garbage. + + + UPRANGE + + Eldridge and Sanborn are at the ready, scanning the area and + watching Thompson. + + THOMPSON (0.S) + (OVER WALKIE) + One hundred. + + SANBORN + (INTO WALKIE) + Copy, that. 100 meters out. + + + DOWNRANGE + + Thompson: careful footfalls on sand. + + Breathing. Heat. Sun. Sweat. Flies. + + Suddenly a DOG out of nowhere charges, BARKING ferociously. + 9 + + + + Thompson is momentarily startled. Then resumes his walking. + The dog runs off. + + Thompson blinks more sweat out of his eyes. + + THOMPSON + (HEADSET) + Twenty five. + + + UPRANGE WITH SANBORN + + Sanborn lifts the walkie. Sweat in his eyes. Wipes it away. + + SANBORN + Copy twenty five. You're in the + kill zone. + + THOMPSON + (HEADSET) + Thanks for reminding me. + + Eldridge nods. Everything progressing nice and easy. + + + DOWNRANGE WITH THOMPSON + + Thompson is standing over the blasting cap. + + THOMPSON + (HEADSET) + Alright. I'm here. I'm gonna put it + in. + + SANBORN + (OVER WALKIE) + Copy that. + + Thompson picks the blasting cap off the ground and looks up -- + + As distant THUMP of approaching chopper wash quickly becomes + super loud in his ears. + + SANBORN + (OVER WALKIE) + Hold on. Bird coming in. + + THOMPSON + (HEADSET) + I hear it. + + Thompson pulls the cap back out. He looks up to see the giant + black shape passing over him. + 10 + + + + [Note: we see now what Thompson is worried about: as it chops + the air, a helicopter rotor produces static electricity. We + see this electricity as a faint, nearly transparent rippling + wave.] + + THOMPSON + (HEADSET) + Guy is trying to kill me. + + The helicopter turns, and swings back around. + + THOMPSON + (HEADSET) + If he brings that electricity back + here, I'm going to put a bullet in + his tail. + + The helicopter banks in the other direction, away from + Thompson. + + + UPRANGE + + A collective sigh of relief. + + SANBORN + Jesus. (into walkie) I think he + figured out we were EOD. You're + good, Blaster One. + + + DOWNRANGE + + Thompson inserts the cap back into the C4. + + THOMPSON + (HEADSET) + We're armed and ready to blow, + Blaster Mike. + + SANBORN + (OVER WALKIE) + Copy that. You coming back? + + THOMPSON + (HEADSET) + Copy that, I'm on my way. + + Thompson gets up. Looks around at the expanse of empty, still + road under heavy guard. + + The war has stopped for him -- and he knows it. + 11 + + + + Thompson begins to walk back uprange, looking carefully at + the ground around him. + + + UPRANGE + + Sanborn and Eldridge lower their rifles. + + + DOWNRANGE + + Thompson carefully nudges a Coke can out of the way of his + boots. + + + UPRANGE + + Eldridge turns away from Thompson and opens the HUMVEE trunk + to stow the bot. + + Sanborn swats a fly and takes a sip of water. + + Eldridge loads the bot. Out of the corner of his eye he sees + some movement in the butcher shop. + + ELDRIDGE + Hey Sanborn -- + + SANBORN + (TURNING) + Yeah? + + ELDRIDGE + Butcher shop - dude has a phone. + + SANBORN + He shouldn't be -- + + Eldridge is already moving towards the store. + + Sanborn raises his gun and puts it on the store. The back of + Eldridge moving in and out of his scope. He can't get a + shot. + + ELDRIDGE + (shouting, waving his gun) + Hey - put that down-- + + The BUTCHER in a white apron nods and puts up his hand as if + to say, `give me a minute.' + 12 + + + + + THOMPSON + + --walking towards the Humvee away from the bomb. Lumbering + steps. + + THOMPSON + (HEADSET) + 50 meters. Why is Eldridge running? + + + ELDRIDGE + + --RUNNING HARD-- + + ELDRIDGE + Hey - put the phone down! + + + SANBORN + + --bolting sideways trying to get Eldridge out of his line of + SIGHT-- + + SANBORN ELDRIDGE + (shouting to Eldridge) PUT THE PHONE DOWN! + Burn him! + + + ELDRIDGE + + --legs pumping, his thumb flicks the rifle safety-- + + The butcher smiles. Gives Eldridge the thumbs up sign. His + other thumb is jamming a button on the phone. + + Now Eldridge is panicked, shouting: + + ELDRIDGE + DROP THE PHONE!!! + + + THOMPSON + + --starts to run. Fear in his eyes. + + + BUTCHER + + --smiles back at Eldridge-- + + MACRO: thumb on send button of the cell phone. + 13 + + + + + THOMPSON + + --running full out now-- + + BOOM --- + + - Fireball blasts out from the bomb + + -- flattening Thompson + + -- Blood splatters the inside of his helmet. + + -- thick cloud of particulate matter roils out in slow motion + + -- hitting Eldridge and Sanborn -- turning them black. + + With the roiling cloud we begin to float up and out over the + entire city of Baghdad: + + --we see intersections jammed with traffic; American Humvees + and tanks idle next to red-and-white taxis, beat-up Opals, + the military and civilian mixed up in one snarling line, all + competing for space, advantage... + + --we continue to rise until we take in the entire massive + metropolis. Mosques and office towers ascend from a maze of + dusty streets teeming with life despite two decades of war... + + The roiling black cloud thins in a light breeze and we hard + CUT TO: + + BLACK + + CUT TO: + + + INT CAMP VICTORY TRAILER DAY + + A shaft of afternoon sun creeps past a plywood-covered + window, faintly lighting the interior of a narrow, low- + ceilinged room. + + In the dimness we see contours: desk, chair, a large locker, + and the silhouette of a MAN moving a cot away from the + window. On the cot is a small duffle bag. + + We hear a knock from the outside. + + The man moving the cot stops. + + JAMES + Yeah. + 14 + + + + SANBORN O.S. + Sergeant James? + + JAMES + It's open. + + The door opens and in the light we see Sanborn. + + SANBORN + Sergeant James. (extending his + hand) J.T. Sanborn. Welcome to + Bravo Company and welcome to Camp + Victory. + + JAMES + Victory? I thought this was called + Camp Liberty. + + SANBORN + (SHRUGS) + They changed it last week. Victory + sounds better. + + JAMES + It's Will. Good to meet you J.T. + + SERGEANT WILLIAM JAMES extends a hand. A former DELTA + soldier is in his late twenties, good-looking, appealing + face, solid build, one of the lucky ones. And yet, look + closer. In the right light, there's an unusual depth to his + expression, to his eyes and all-American face, as if he's + guarding an inner chaos that could rush out at any time. + + Right now, however, James is doing his best to act like a + regular nice guy. + + Sanborn looks around the empty room. One duffle. + + SANBORN + So, is that all you brought from + Kabul? + + James motions to the locker. + + JAMES + Yeah. Here, give me a hand with + this. + + Sanborn helps James move the locker against the wall. + + JAMES + By the window. + 15 + + + + They push the locker over the window, blocking the light. + It's very dark in the room now. + + JAMES + A mortar once hit near my trailer -- + boom -- a two inch piece of frag + cut through the aluminum and flew + this far (gesturing with his hands) + over my head, past my balls and + landed in my computer hard-drive. + Where's the damn light? + + Sanborn finds the switch in the corner. Then he comes back + and taps the metal locker, testing its strength. + + SANBORN + This should stop any lateral + pieces. + + JAMES + Yeah, I'm good unless it comes + through the roof (smiles) in which + case I'm gonna need a closed + casket. + + Sanborn doesn't like the joke, tries to change gears. + + SANBORN + The accent -- you from Georgia? + + JAMES + Tennessee. Trailer park off I-5. + + SANBORN + Oh, right. I'm from Vermont. You + know, "live free or die." Trees. + Snow. Maple syrup. Pot. + + James gives him a polite smile. + + Sanborn soldiers on: + + SANBORN + Well, if you need anything to get + squared away, just let me know. + Either myself or Owen -- Eldridge -- + be happy to steer you in the right + direction for supplies, whatever. + + JAMES + Okay. (pause) Thanks. + 16 + + + + SANBORN + Anyway, the mess tent can be hard + to find the first time ... so ... + if you want ... we're going over + there now to grab chow ... come + along. + + JAMES + Thanks. But no. + + SANBORN + You want me to bring you back a + burger or something? + + JAMES + (shaking his head) + Nah. I'm good. + + James unzips his duffle and gets up to put his clothes on an + overhead shelf. Sanborn watches him, then starts for the + door. James turns to face Sanborn. + + JAMES + I'm sorry about Thompson, I heard + he was a good tech. + + SANBORN + Yeah, he was. And he was a good + team leader too. + + JAMES + I know I can't fill his shoes, but + I'm here to try-- + + SANBORN + Appreciate it. + + JAMES + --but you know, if it's your time + it's your time. No man can change + that. + + SANBORN + (PUZZLED) + Yeah, I guess that's true. + (RECOVERING) + So, we roll at oh-six-hundred. + + James smiles slightly as he contemplates the next day's + mission. + + JAMES + Looking forward to it. + 17 + + + + + EXT TRAILER MOMENTS LATER + + Sanborn comes out and sees Eldridge, who has been waiting by + the door. + + They walk towards the mess tent. Sanborn is absorbed in + thought. Eldridge doesn't want to interrupt. + + After a moment. + + ELDRIDGE + So? + + SANBORN + A good `ole boy. You know, loves + the Army, blood runs green. Country + boy. Seems solid. + + ELDRIDGE + I always liked southerners, for + some reason. + + SANBORN + Then he's just your type. + + ELDRIDGE + Why is it always the gay jokes with + you. It's not even funny. + + SANBORN + (growing serious, he + imitates James' accent) + It's your time it's your time. + + ELDRIDGE + (CONCERNED) + He said that? + + Sanborn nods. + + CUT TO: + + + EXT CAMP VICTORY ELDRIDGE'S TRAILER EARLY MORNING + + The sand has completed its daily march across Eldridge's + steps. His boots sweep a bit away as he steps outside in full + battle gear, and kisses a photo of the Virgin Mary and slips + it inside his helmet. He steps out into the bright morning + sun. + 18 + + + + + EXT CAMP VICTORY HUMVEE PARKING LOT + + Sanborn is gearing up, strapping on a shitload of weapons and + ammunition. Ready for anything. + + Eldridge comes up. + + ELDRIDGE + Where's the FNG? + + [Note: FNG. Fucking New Guy.] + + + EXT JAMES' TRAILER + + Eldridge, surprised to see James is not outside ready to go, + knocks on his door. + + Beat. + + JAMES (O.S.) + Yeah? + + ELDRIDGE + It's oh-six-hundred. + + The door opens a crack, revealing James dressed in his + skivvies and wrapped in a blanket, blinking awake. + + JAMES + Gimme a minute. + + Before Eldridge can express the shock that's written all over + his face, James has closed the door. + + CUT TO: + + + EXT CAMP VICTORY + + An American Humvee drives past a long line of parked tanks + arranged in a neat rows, and gathering dust on all horizontal + surfaces. + + + INT HUMVEE + + Sanborn is behind the wheel, simultaneously driving and + loading his rifle. James sits next to him in the passenger + seat, loading his rifle and looking out the window. Eldridge + is in the back seat. + 19 + + + + ELDRIDGE + (looking out window) + Those Abrams have been parked ever + since I got here nine months ago, + and I ain't seen them move once. + They should put those on eBay. + Hey, J.T., how much you think one + of those would cost? + + SANBORN + Ten million? + + ELDRIDGE + Well I guess it makes sense. + Anybody comes alongside the Humvee, + we're dead. Anybody looks at you + funny, you're dead. Pretty much, + the bottom line, is if you're in + Iraq you're dead. How's a tank + going to stop that? + + SANBORN + Gimme a break, Owen. + + ELDRIDGE + (SMILING) + Sorry. Just trying to scare the + new guy. + + + EXT CAMP VICTORY/BAGHDAD OUTSKIRTS MORNING + + The Humvee moves out of the base and into the outskirts of + the city. Heat and sand and little else. + + + INT HUMVEE + + JAMES + We had a few bombs up in Kabul too. + + ELDRIDGE + Sure, I bet you did. But you're + going to be real busy here, boss. + + James smiles, settles back in the seat. + + + EXT HUMVEE + + The Humvee is now approaching a cluster of cars. + 20 + + + + + INT HUMVEE + + SANBORN + Hey Owen -- watch the fucking road. + + Eldridge moves up to the gunner's seat on top of the Humvee. + + + EXT HUMVEE + + Eldridge has a collection of rocks he keeps in the gunner's + nest and now he throws one at the car in front of him. The + passenger turns around. + + ELDRIDGE + Imshee -- Imshee ! + + CUT TO: + + + EXT BAGHDAD STREET EARLY MORNING + + The Humvee grinds to a stop on the outskirts of town. It's a + place teeming with trash, with dwellings that look as beaten + down as the people. The ghetto of the ghetto. + + James is first out, Sanborn comes up behind him. + + Eldridge climbs out of the turret. + + They are now out in the open -- standing on Iraqi sand -- + where anything can happen. + + SANBORN + (TO ELDRIDGE) + Clear here. + + Eldridge nods and begins turning suspicious bits of plastic + over with the tip of his boots. + + ELDRIDGE + Clear here. + + JAMES + (looking around at the + EMPTY STREET) + Where are the guys who called this + in? + + James walks on. Sanborn and Eldridge exchange a glance `what + the hell,' and follow him. + 21 + + + + SANBORN + (INTO WALKIE) + Victory Main, Victory Main, this is + Blaster Mike. Interogative, Do you + have an updated poz for the link- + up? Has their position changed? + + After a moment a scratchy voice over his walkie. + + DISPATCH O.S. + (OVER WALKIE) + Blaster Mike, this is Victory Main. + Negative. Figures to follow. Three- + four-five-three is your grid. You + should have a visual on them right + now. They're waving an American + FLAG + + Sanborn keys his GPSw unit. + + SANBORN + (INTO WALKIE) + Negative, Main. No one in sight. + + DISPATCH O.S. + (OVER WALKIE) + Blaster Mike. You should have a + visual, waving a flag. + + SANBORN + (INTO WALKIE) + (looking at empty space) Well, + that's were I am and I don't see + any guys in fatigues, and I sure as + hell don't see any American flag, + Over. + + James, Sanborn and Eldridge continue their slow walk down the + street. An empty Humvee comes into view. + + ELDRIDGE + They abandoned their vehicle? + + James walks forward. Unconcerned. Takes out a cigarette and + lights it. Sanborn's walkie comes to life. + + DISPATCH O.S. + (OVER WALKIE) + Roger, Blaster. I copied you the + first time. + + James approaches the empty Humvee. + 22 + + + + Stops. Turns to see a tiny American flag being waved in the + window of a nearby building. James jogs over to the building, + opens the door. + + JAMES + Hello boys -- + + Looking into a room full of SOLDIERS who are trying not to + look afraid. + + SANBORN + (INTO WALKIE) + Yeah, thanks. Roger that. + + JAMES + (TO SOLDIERS) + Don't tell me the bomb is in there + with you. + + A SERGEANT, slightly embarrassed, climbs out into the open + and tries to act nonchalant. + + He points down the block, which is a sea of trash and white + plastic bags. + + SERGEANT + (pointing far down the + ROAD) + Down on that block, one of our + informants says there is an IED in + a white plastic bag. + + James has heard enough and even though the Sergeant may have + more to say -- + + JAMES + I'll get it. + (turning to Sanborn) + Break out the suit. + (turning back to the + SERGEANT) ) + Keep your guys back. + + Sanborn is already unloading the robot. + + SANBORN + What about the bot? + + JAMES + Don't need it. + 23 + + + + SANBORN + (SURPRISED) + What? Aren't we going to send the + bot down to take a look? + + JAMES + Nah, I'm going to take care of it. + + Sanborn shoots Eldridge a look. Is he an FNG or what? + + CUT TO: + + + JAMES + + Sanborn and Eldridge kneeling before James, buckling on the + suit. + + SANBORN + I was thinking if we sent the bot + down first -- + + James ignores him. + + As soon as he's enclosed in the suit, James moves quickly + toward the rubble pile. + + + UPRANGE + + ELDRIDGE + He's a rowdy boy. + + SANBORN + He's reckless. + + ELDRIDGE + Somebody should tell the U.N. to + send the rice in clear plastic bags + so there's no place to hide the + IEDs. The insurgent would be like, + `Allah has forsaken me all the bags + are clear'. + + [Note: IED Improvised Explosive Device. A homemade bomb. The + number one weapon of the Iraqi insurgency.] + + SANBORN + (SMILING) + I've seen so much garbage I'm + starting to like the smell. + + JAMES + 24 + + + + As he advances downrange, he passes a line of bushes and + tosses an incendiary grenade at it, setting the foliage + ablaze. + + UPRANGE + + Sanborn looks on in confusion. + + SANBORN + (INTO WALKIE) + Blaster One, what are you doing? + + No answer. + + SANBORN + (INTO WALKIE) + Blaster One, this is Blaster Mike, + what's with the fire on the side of + the road, over? + + No answer. Sanborn and Eldridge struggle to get a visual. + They dash to a better vantage point. + + SANBORN + (INTO WALKIE) + Hey James, can you hear me? What's + with the fire on the side of the + road, over? + + JAMES + + FINALLY: + + JAMES + (OVER HEADSET) + Creating a diversion. + + Sanborn can barely see James through the flames and smoke. + + UPRANGE + + He climbs up on top of the Humvee to get a better look but + gets only a partial view. + + SANBORN + (INTO WALKIE) + From what? Is there a threat? + + Eldridge scans the area with his rifle, tense, trying to + figure out how to behave. + 25 + + + + SANBORN + (TO ELDRIDGE) + Get up on that wall. + + Eldridge hustles over to the wall, but can't manage to pull + himself up with all his gear on, so dashes down to a mound of + dirt, which gives him a leg up. + + SANBORN + (INTO WALKIE) + James, I can't see you, over. + + The last thing he expects is James' laconic reply: + + JAMES O.S. + (OVER WALKIE) + Copy that. + + Sanborn shoots Eldridge a look - what the fuck. + + SANBORN + (TO ELDRIDGE) + Tell me what you see, Specialist. + + Eldridge, on the wall, feels awfully vulnerable and in the + open. The wall is quite narrow. His feet are precariously + balanced. His view of James is not much better + + ELDRIDGE + I see his back. He's walking + downrange. Oh, I lost him. + + SANBORN + Eldridge, move down that wall and + maintain a visual. Move. Move. + + Eldridge teetering down the wall. + + ELDRIDGE + Roger, roger. I'm on him. He's + still walking. + + SOUND of BREATHING in Sanborn's walkie. + + SANBORN + (INTO WALKIE) + James, the smoke is killing my + visibility. Where are you in + relation to the IED? Are you 100 + meters, yet? + 26 + + + + + JAMES + + JAMES + (HEADSET) + Hell, I don't know. I'll let you + know when I'm standing over it. + + We see the world from James' point of view now, the city of + Baghdad has taken on an intense and dreamy hue, as if we're + in some sort of fugue state: + + --He looks down the strange, threatening Iraqi street. + + He walks on. The suit is heavy, little puffs of sand with + each footfall. The sun beats down. + + James nears an intersection guarded on either side by a + Humvee and several SOLDIERS, when... + + + INTERSECTION + + Suddenly a red-and-white TAXI swerves past the SOLDIERS on + the left side of the intersection. The soldiers take cover + and shout contradictory commands - Get Down Motherfucker! + Don't Move! Back up! Out of the vehicle! + + The TAXI BRAKES in front of James. + + + UPRANGE + + Sanborn and Eldridge can hear the shouting but the lingering + smoke still obscures their sight. + + SANBORN + (INTO WALKIE) + JAMES -- + + ELDRIDGE + (shouting to Sanborn) + Car! Car! A car stopped in front of + him. + + + JAMES + + James' HEADSET WALKIE barks to life: + + SANBORN O.S. + (HEADSET) + Come back. + 27 + + + + James pulls a pistol from his holster, and -- + + JAMES + (HEADSET) + I got it. + + -- shoots two rounds into the dirt, near the car's front + tire. + + DRIVER'S FACE + + Impossible to read. Is he a taxi driver annoyed by the + roadblock, or an insurgent fighter getting ready to blow a + suicide bomb? + + + ONE OF THE ARMY SOLDIERS + + With field glasses on the intersection he speaks into the + walkie. + + SOLDIER + (OVER WALKIE) + EOD has a nine on this Haji in the + car. I'm going to get two guys + over there to back him up. + + + SANBORN + + Still can't see clearly. Processing this information. Turns + to Eldridge. + + Eldridge using his rifle scope as well - shakes his head. No + visual. + + SANBORN + (into walkie to soldier) + Negative, negative. You're too + close to the IED-- + (HESITATING) + Stand down. EOD has the situation + under control. + + Sweat on his forehead. + + JAMES + + Now aiming at the windshield. But the driver is impassive. + 28 + + + + + UPRANGE + + Eldridge looks through his rifle scope. + + ELDRIDGE + (shouting to Sanborn) + We're in a kill zone! + + + INTERSECTION + + James fires, shattering the windshield. But the car doesn't + budge. + + James is pissed. He lunges through the windshield and jams + his gun into the driver's forehead. + + SOLDIER + + SOLDIER + (INTO WALKIE) + Three or four rounds fired. The + nine is now pressing into the + Haji's forehead. + + INTERSECTION + + The gun digs into the driver's forehead. Beat. The driver + shifts into reverse. + + He rolls back to the soldiers, who then rush the car, yank + the driver out, and deliver a savage beating as James looks + on. + + + JAMES + + JAMES + (chuckling into his + HEADSET) + If he wasn't an insurgent he sure + as hell is now. + + And he resumes his walk towards the white garbage bag and the + rubble pile, noting possible threats -- a MAN in a window + down the road. + + UPRANGE + + SANBORN + (coolly, into walkie) + Copy that. + (MORE) + 29 + + SANBORN (CONT'D) + But I have no idea what you're + talking about, Blaster One, since I + can't see you. Over. + + JAMES O.S. + (HEADSET) + I'll tell you later. James out. + + + PILE OF RUBBLE + + One of a million in this city. James draws near. Two wires + protrude from the mess. + + Moving quickly, he deftly removes rubble and trash to expose + the wires and the artillery shells they are attached to -- + sees out of his peripheral vision the MAN in the window -- + reaches for his pistol -- but the man disappears from view -- + he then goes back to work, with swift sure hands. He loves + this, loves being close to oblivion. + + The wires are exposed. He cuts one. Then flips the artillery + rounds over and cuts the other wire. + + JAMES + (HEADSET) + We're done. + + He stands and uses his big boot to clear more rubble. A + banana peel is pushed away, revealing: + + Another wire snaking out of the ground. + + JAMES + (HEADSET) + Secondary! + + James spins to look uprange. Sees Sanborn motioning for the + men to get down. + + UPRANGE + + SANBORN + (TO ELDRIDGE) + Off the wall, Owen! + (TO SOLDIERS) + Get behind something. Find cover. + + Soldiers scrambling to find concrete to hide behind. + + JAMES + 30 + + + + James YANKS the wire out of the dirt but it turns out to be + buried like a root, and the more he rips the more the wire is + revealed. He rips and rips, going back ten feet. + + ---The wire is stuck in the ground, and it will not come out + anymore. James digs with a knife -- FURIOUSLY moving earth -- + until he reaches a third artillery shell, which he pulls out + of the ground. + + --CU knife blade inside the shell -- + + --CU James' helmet - glass clouding over from condensation -- + losing visibility. + + --ECU blasting cap -- + + --ECU knife tip separates the wire... + + CUT TO: + + + UPRANGE MOMENTS LATER + + James strides uprange. Eldridge isn't sure what to make of + James. Sanborn is, but not ready to show it. + + JAMES + (gulping air as the helmet + IS REMOVED) + Did you see that guy? + (smiles, recovers his + MACHO) + Man, I need a beer. + + Sanborn begins the bomb suit removal ritual - unstrapping + Velcro. + + SANBORN + We can arrange that. + + He yanks at the strap - a little roughly. + + SANBORN + What do you like? + + JAMES + Colt. + + SANBORN + Nice southern brand. + + Yanks at another strap. + 31 + + + + James looks down, the tone of Sanborn's voice and the force + of the strap gets his attention. + + Eldridge picks up the pieces of the suit and places them into + the Humvee. Listening to this exchange. + + ELDRIDGE + I'd take a beer. + + JAMES + (SMILING) + Hey, that wasn't too bad, for our + first time working together. + + SANBORN + I think working together is I talk + to you. And you talk to me. + + JAMES + Are we going on a date, J.T.? + + Sanborn stands, removing the last piece of the suit. + + SANBORN + No, we're going on a mission. And + it's my job to keep you safe, so we + can keep going on missions. + + JAMES + Hey, this is combat. + + With that James walks to the Humvee and gets inside. + + Sanborn closes the trunk, hard, startling Eldridge. Eldridge + comes close, speaking out of James' earshot. + + ELDRIDGE + It's just thirty nine days. + + SANBORN + Thirty eight. Assuming we survive + today. + + ELDRIDGE + Tick-tock. Tick-tock. + + + INT HUMVEE + + James is in the passenger seat, waiting impatiently. Sanborn + and Eldridge get in. + 32 + + + + JAMES + I don't mean to mix it up. But the + situation dictated it. + + SANBORN + (COOLLY) + Roger that. + + JAMES + I'm serious. We're gonna work + together. You'll get used to my ops + tempo. + + SANBORN + Your ops tempo? + + JAMES + I don't always stop to chat, and I + like to go fast. You know, so the + insurgents don't have time to plan. + I don't want them make any cell + phone calls. + + Off Sanborn's face. + + + INT. CAMP VICTORY MESS TENT DAY + + Eldridge and Sanborn chowing down - two guys among a sea of + SOLDIERS. Behind them in the mess tent hang the signs of + various fast-food restaurants that cater to the troops: PIZZA + HUT, SUBWAY, BURGER KING. + + SANBORN + Ketchup? + + Eldridge passes his ketchup over to Sanborn. + + ELDRIDGE + This is not Pizza Hut. + (removing a slice of + PEPPERONI) + And this is not pepperoni. It's + round and meaty, but it ain't + pepperoni. + + SANBORN + Goat meat, probably. + + ELDRIDGE + Goat meat pepperoni? I'd be glad if + this was goat meat pepperoni. + (MORE) + 33 + + ELDRIDGE (CONT'D) + I'd eat a truckload of goat meat + pepperoni. No, this is something + else. (slapping the fake pepperoni + on the table) This is unholy. + + SANBORN + Pray for something better -- and + while you're at it, pray for a new + team leader. + + ELDRIDGE + You sure you want to be the guy in + the bomb suit? + + They see James at a food station. + + SANBORN + Be better than him. + + James approaches the table. + + ELDRIDGE + Hey, James. + + James sits down to an awkward silence. Eldridge stops eating. + Considers him. + + ELDRIDGE + (TO JAMES) + That was some crazy shit you pulled + out there. + + JAMES + Yeah? + + ELDRIDGE + Hell yeah. You're either really + lucky or really good. Right up on + the car like that. Gun to the head. + Crazy. You know it might backfire + on you someday. You know that. You + might actually die. And then what? + + James is puzzled. + + JAMES + I don't know, what? + + ELDRIDGE + You don't meet your maker. You just + get vaporized into little bits of + DNA. + 34 + + + + Sanborn watches Eldridge closely. Is he referring to + Thompson? + + SANBORN + (trying to be helpful) + He asks everyone what they think + about death. Ever since Thompson + was KIA. + + James nods, turns to Eldridge: + + JAMES + I don't think about it. Waste of + time. + + James goes back to eating. Eldridge keeps looking at him, + then lets it go. + + + EXT. CAMP VICTORY MESS TENT DAY + + Midday in Iraq. The heat is oppressive, biblical. + + James, Sanborn and Eldridge emerge into the blazing sun and + the tumult of the base. Trucks barrel by. And troops -- + everywhere, troops. + + James stops in front of young Iraqi KID selling pirated DVDs, + while Sanborn and Eldridge continue on to the head shed. The + kid, whose name is PELE, has DVDs fanned on a table. + + PELE + One for five, two for nine. + + JAMES + (HAVING FUN) + Three for twelve? + + PELE + Three for thirteen. And for you, no + tax. + + JAMES + (laughing, fishes out a five) Keep + the change. + + + EXT HEAD SHED PORCH + + Sanborn is smoking a cigarette and watching James buy DVDs, + weighing him, when the team's FIRST SERGEANT, stocky with a + paternal way about him, holds out a white envelope to + Sanborn. + 35 + + + + FIRST SERGEANT + The tags finally came. Figured + you'd want to be the one to take + them over.(handing Sanborn the + ENVELOPE) + + SANBORN + Thanks, I will handle it. + + The Sergeant nods. Sanborn stuffs the envelope in his back + pocket. And the Sergeant heads inside, walking past -- + + + INT HEAD SHED SIDE OFFICE + + A small office space with the door opened a crack. Behind the + door, Eldridge is sitting on a swivel chair, looking at a + computer screen, playing a computer game. Next to him in + another swivel chair is LT. COL. JOHN CAMBRIDGE, a MILITARY + PSYCHIATRIST, who is looking at Eldridge and the screen. + + ELDRIDGE + (singing the jingle) + "Be all that you can be," right? + But what if all I can be is dead on + the side of an Iraqi road? + + LT. COL CAMBRIDGE + I'd like to see you move past this + feeling that you're going to die, + Owen. + + ELDRIDGE + (looking at the screen) + Why? I think it's logical. This is + a war, right Doc? People die all + the time. Why not me? + + LT. COL CAMBRIDGE + That's true. But what concerns me + is how much you think about it. You + have to change the record in your + head, think about other things. + + ELDRIDGE + What do you think about? + + LT. COL CAMBRIDGE + I don't dwell on death.(looking at + his watch) I don't obsess. You + understand what I'm getting at? + + Eldridge looks up at last. + 36 + + + + + EXT CAMP VICTORY JAMES' TRAILER NIGHT + + James stands before the open door of his trailer with the + satellite phone in hand. Overhead a canopy of stars blinks. + + Through the earpiece of the phone the faint but unmistakable + BEEP of an answering machine. + + JAMES + (INTO PHONE) + Hey, guess you're out...wherever + you are you're probably wearing + those tight jeans, damn those look + good... Anyway, Baghdad's alright, + guys are a little uptight down + here, but then they just lost a + brother so I understand... + uh...(looking up at the + stars)...really beautiful night, + wish you could see these + stars...miss you...bye... + + He disconnects. Sits in the darkness. Distant WASH of + engine noise. + + + INT CAMP VICTORY SHOWER STALLS NEXT MORNING + + Sanborn is shaving in a mirror, otherwise dressed for combat + and ready to go, when James shuffles in wearing a T-shirt and + boxer shorts, looking like he just woke up. + + Sanborn can't believe James is this relaxed. + + SANBORN + Hey. + + JAMES + Hey. + + James starts to brush his teeth. + + SANBORN + I gotta talk to you about something + before we roll out. + + James keeps brushing. + + JAMES + Shoot. + 37 + + + + SANBORN + Yesterday -- that was not cool. + + JAMES + I know. We'll get it. + + More tooth brushing. Face cleaning. + + James notices a tatoo on Sanborn's forearm. + + SANBORN + I was in Military Intel for seven + years. Before EOD. We ran combat + missions in every shit hole on the + PLANET + (beat, smile on his face) + So I'm pretty sure I can figure out + a dumb trailer park redneck like + you. + + JAMES + (spitting out water, + SMILES BACK) + Looks like you're on the right + track. + + + INT HUMVEE SOMEWHERE IN BAGHDAD MORNING + + Sanborn drives. James in the passenger seat. Eldridge is in + the gunner's turret. They ride in silence, each man alone + with his thoughts. + + + TITLE OVER: + + DAYS LEFT IN BRAVO COMPANY'S ROTATION: 37 + + + EXT ROAD BEHIND BRITISH EMBASSY DAY + + A faded blue Opal sits by a high wall laced with concertina + wire. It's at the end of a narrow cul de sac which backs onto + the embassy. + + The narrow cul de sac dog-legs into another street. At the + entrance to the cul de sac, there is a phalanx of SOLDIERS + and our EOD techs. + + Sanborn and Eldridge are unloading the robot from the Humvee. + + Other soldiers are evacuating OFFICE WORKERS from the + embassy. + 38 + + + + James seems frustrated with the situation - frowning into the + face of the SERGEANT in charge. + + SERGEANT + An office worker called it in. The + car doesn't belong to anyone who + works at the building. It's been + parked there for an hour. No + license plate and the suspension is + sagging, so there's something heavy + in the trunk -- three or four + hundred pounds. Could be a bomb. + + JAMES + Did you evacuate? + + SERGEANT + We're trying. But the English + Ambassador said we're supposed to + guarantee his safety. + + Sanborn approaches, lap top in hand. + + SANBORN + Bot is ready. + + + EXT ROAD BEHIND EMBASSY + + A WOMAN in a Bhurka on a motorcycle rides past the Soldiers + and towards the Opal -- + + SOLDIER 1 + (raising his rifle) + Shit -- What do you want me to do? + + SOLDIER 2 + Shoot her. + + SOLDIER 1 + We can't shoot her for riding a + bike... + + -- CU the motorcyclist's hands, holding a MOLOTOV COCKTAIL. + It's hidden from view of the soldiers. + + -- She rolls the cocktail under the car and darts down an + ALLEY + + The car BURSTS into flames, and the scene breaks into -- + + PANDEMONIUM -- + 39 + + + + -- Eldridge frantically straps James into the suit, as the + car burns. + + -- James takes off his sunglasses, cleans them, calmly. + + -- Sanborn runs to the truck and returns with a fire + extinguisher, which he hands to James. + + JAMES + Eldridge - I want you in that + window - keep the alley clear. + Sanborn, cover it from the street. + + Sanborn looks at the alley: not a happy place. Eldridge takes + off towards the Embassy entrance. + + + INT. AMBASSADOR'S OFFICE + + AMBASSADOR SIR AUCKLAND GEDDES, the epitome of the old style + of British foreign service: elegant, self assured, a + gentleman adventurer in Seville Row, hoping to improve the + world, certain he'll profit in the attempt. + + He's holding court with a group of EXECUTIVES. The executives + are seated around a conference table under the Ambassador's + sway. There's a model of a British Petroleum gas + station/convenience store, in English and Arabic, in the + center of the table. + + AMBASSADOR GEDDES + ...So in sixteen months time I + believe five million gallons per + day is in fact rather conservative. + + SOUNDS out the window. An Executive turns his head nervously. + + EXECUTIVE + But security is still the big + variable? + + The Ambassador brushes his hand in dismissal. + + AMBASSADOR GEDDES + Only on the margins. + (SMILING) + Everyday, the risks diminish and + the rewards multiply-- + + Eldridge enters. + 40 + + + + AMBASSADOR GEDDES + Ah, and here is EOD. You see + gentlemen, everything is fine. The + site is secure. The bomb -- if + there even is one -- will easily be + dispensed by the crack American + team. + + ELDRIDGE + Excuse me. + + Eldridge rushes over to the window to see the street. + + ELDRIDGE + (INTO WALKIE) + Blaster Mike, I'm at the window. + + + SANBORN + + He's stationed himself near the mouth of the alley. Wisps of + smoke and flames in the air. + + SANBORN + (INTO WALKIE) + Copy that. How's the fire look from + up there. + + + AMBASSADOR'S OFFICE + + ELDRIDGE + (INTO WALKIE) + Flames a meter high, over. + + + JAMES + + Close to the burning car. SMOKE rising from the hood and the + under carriage awash in FLAMES, like a sleeping dragon. + + James sprays the fire-extinguisher and the fire subsides. He + inspects the interior - looks normal enough - and tries to + open the trunk with a pair of pliers, but the handle doesn't + give and snaps off under his effort. He kicks the trunk but + it remains shut. He turns and lumbers up range, jaw set. + + + SANBORN + + Watching James walk back uprange. + 41 + + + + SANBORN + (INTO WALKIE) + Blaster One, what is going on? + + JAMES O.S. + (HEADSET) + Stay put, I'll be right back. + + Standing alone in the kill zone at the mouth of the alley. + + ELDRIDGE + (OVER WALKIE) + What's happening? + + SANBORN + (INTO WALKIE) + Good question. But I'm not liking + it. + + + HUMVEE + + James is buried inside the Humvee, searching. He tosses what + he doesn't need, and a succession of items comes flying out -- + food, clothing, a tarp. Now James walks back towards the Blue + Opal without saying a word. In his hand is a crowbar. + + + BLUE OPAL + + James winds up and swings hard at the door. Wham! Nope. Wham! + Wham! Wham! + + He drops the crowbar and tries the trunk. Presto, it opens, + revealing: a trunk overflowing with EXPLOSIVES -- ten times + what we've seen before. James is taken aback. + + JAMES + (HEADSET) + We're all in the kill zone on this + one. + + + SANBORN + + Sanborn stares at James and the car. Great. + 42 + + + + + JAMES + + Now inside the car, slipping on the slimy seats, he cuts the + seat cushions with his knife, and rips out the foam + upholstery, and finds more bad news buried underneath: SIX + ARTILLERY SHELLS and a WIRE that leads to the floorboard and + goes under the carpeting. + + James DIVES to the wire and cuts it, then rips open the + carpet to reveal more wire -- and follows the wire through + the car, ripping apart the car PIECE by PIECE, cutting wire + as he goes. + + + AMBASSADOR'S OFFICE + + An executive gets up to look out the window. + + ELDRIDGE + (TO EXECUTIVE) + Sir, I'm going to need you to stay + away from the window. + + AMBASSADOR GEDDES + Yes, please, sit down. It's safe. + + EXECUTIVE + Why is he here, if it's safe? + + AMBASSADOR GEDDES + He is just an observer. + + EXECUTIVE + (TO ELDRIDGE) + Is that true, we're safe here? + + ELDRIDGE + (DISTRACTED) + In my opinion, no. + + Executives take this as a cue to leave. Getting up, shuffling + out of the room. The Ambassador is furious at Eldridge, + advancing on him. + + AMBASSADOR GEDDES + This is idiotic. Why not tow the + vehicle away from the building? + + ELDRIDGE + I believe the lane is too narrow + for a Humvee, Sir. + 43 + + + + AMBASSADOR GEDDES + Donkeys. Use donkeys. + + ELDRIDGE + I don't believe we have any of + those on hand, Sir. + + AMBASSADOR GEDDES + Jesus, Lord. You Americans really + are incompetent. No donkeys on + hand? What do you think I'm + talking about, a full squadron of + farm animals? + + Eldridge trying to stay on task. + + ELDRIDGE + SIR-- + + AMBASSADOR GEDDES + (cutting him off) + Go downstairs, grab a farmer or one + of those street vendors and procure + - meaning purchase, buy - several + donkeys. Then tow this car bomb + away from my office. + + ELDRIDGE + (STEELING HIMSELF) + Sir, I'm going to need you to step + away from the window. + + Geddes looks out the window at the burning car. + + + SANBORN + + His walkie barks to life. + + JAMES O.S. + (over Sanborn's walkie) + Lot of pink Det cord here. + + SANBORN + (INTO TALKIE) + Where's the switch? + + + JAMES + + JAMES + (HEADSET) + Not in the back seat. + 44 + + + + James is now in the front seat, tearing up the upholstery. + + JAMES CONT'D + (HEADSET) + Not in the front seat. Doors. Dash. + + A WISP of smoke curls out of the heating vents. James doesn't + notice. + + SANBORN O.S. + (WALKIE-TALKIE) + If you haven't found it yet, it's + probably under the car. + + JAMES + (HEADSET) + None of the cord goes under. It's + up here -- somewhere. + + SANBORN O.S. + (WALKIE-TALKIE) + Try the weather-stripping. + + James rips off a chunk of weather stripping. Just bare metal. + + + SANBORN + + SANBORN + (INTO WALKIE) + It's been thirty seconds. You need + to bail. + + JAMES O.S. + (WALKIE-TALKIE) + I can find it. + + + JAMES + + He crawls to the back seat, slipping on the foam and slime. + More smoke escapes from the vents. + + SANBORN O.S. + (WALKIE-TALKIE) + James, seriously, you need to bail. + + JAMES + (HEADSET) + Roger that. Be right out. + + James retraces what's left of the wire, yet again, ignoring + Sanborn. He sits back in the seat, strangely relaxed. + 45 + + + + + EXT. ALLEY + + A shadow comes into Sanborn's sight. It's an IRAQI on a + bicycle, riding straight towards him. + + ELDRIDGE O.S. + (WALKIE-TALKIE) + Incoming. + + Sanborn raises his rifle. The man peddles on, waving his + hand. + + BICYCLIST + (IN ARABIC) + Where is the entrance to this + building? + + SANBORN + Imshee! Imshee! + + The bicyclist looks at the car. + + + ELDRIDGE + + Trains his scope on the head of the bicyclist. + + ELDRIDGE + (INTO WALKIE) + I'm going to burn him on three. + One. + + Geddes just looks at the big man at the window. + + AMBASSADOR GEDDES + Oh, that's rich. Give him a count. + + Through Eldridge's scope the bicyclist grows. He flicks off + his safety. + + ELDRIDGE + (INTO WALKIE) + Blaster Mike, do you copy? + (TO HIMSELF) ) + Please don't make me kill you. + + AMBASSADOR GEDDES + Been in combat very long? + 46 + + + + + SANBORN + + SANBORN + (into walkie to Eldridge) + Copy that. + (TO JAMES) + James, you need to get out. There's + another potential bomber here. + + + BACK TO JAMES + + JAMES + (TO SANBORN) + So shoot him. + + + BACK TO SANBORN + + BICYCLIST + (IN ARABIC) + I need to make a delivery down + there. Please let me through. + + + AMBASSADOR'S OFFICE + + ELDRIDGE O.S. + (INTO WALKIE) + Two!! + + + SANBORN + + SANBORN + (INTO WALKIE) + Negative, Negative. Hold your fire. + (shouting at bicyclist) + Get the fuck out of here! + + The bicyclist does an about face, but not before casting a + last suspicious glance back at the car bomb. + + Sanborn refocuses on the Opal; he's losing his cool. + + SANBORN + (INTO WALKIE) + Blaster One, do you copy, over? + 47 + + + + + JAMES + + Still sitting in the back seat. Now he sees the smoking vent. + + JAMES + (HEADSET) + Gimmie a minute. + + + ELDRIDGE + + Eyes never leaving the street below, flicks the safety of his + rifle back on. + + Geddes notices the sweat on Eldridge's face, and feels a + sudden surge of sympathy for the younger man. + + AMBASSADOR GEDDES + Well done. That took great self + control. + + ELDRIDGE + Thank you, sir. Again, I apologize + for the intrusion into -- + + AMBASSADOR GEDDES + Yes, but I doubt the insurgents + will appreciate your restraint. + (in a kindly, paternal tone) + If I may give you a piece of free + advice, next time, pull the + trigger. + + ELDRIDGE + Well, actually, the uh--rules -- + + AMBASSADOR GEDDES + That's the only way out, I'm + afraid. When you're in a losing + battle, you have to draw blood. No + insurgency in modern history has + ever been truly defeated, so all + you can do is manage your exit. + Clear a wide swath of bodies so you + have room to withdraw. + + Suddenly the office door opens and a YOUNG AIDE appears. + + AIDE + The building is empty, Sir, except + for you. + 48 + + + + Geddes nods, grabs his coat and moves to Eldridge for one + last jab. + + AMBASSADOR GEDDES + I'm sorry to say it, but that's + just how it's done. You need to + show some vigor. In Kenya, we + executed the insurgents in their + beds, until they gave us room. + Falklands, the same. That's just + how it's done. + + Eldridge looks up, he's had enough. Swings around. + + ELDRIDGE + Is that how you did it in Northern + Ireland? With murder? + + AMBASSADOR GEDDES + (SMILING) + There you are. Now you're showing + some vigor. + + And leaves. + + ELDRIDGE + (INTO WALKIE) + J.T, the building is clear now. We + can pull out. + + + SANBORN + + SANBORN + (INTO WALKIE) + Roger that. (to James) Will, we can + pull out. The building is + evacuated. + (NO ANSWER) + James? + + Still no answer. + + SANBORN + (INTO WALKIE) + Blaster One, we are cleared to + leave this fucking site. Walk away. + Do you copy, over? + 49 + + + + + JAMES + + JAMES + (HEADSET) + Stay where you are, Sanborn. I'm + not done. + + And with that, James turns off his walkie. CLICK. + + + ELDRIDGE + + ELDRIDGE + (INTO WALKIE) + J.T., are we moving? + + + SANBORN + + SANBORN + (INTO WALKIE) + Negative. Negative. + + ELDRIDGE O.S. + (OVER TALKIE) + I didn't copy that. Did you say + negative? + + SANBORN + (INTO WALKIE) + Roger. We are staying until James + is finished. + (NERVOUSLY) + James, what's the situation? + (NO ANSWER) + Goddamn, Will, I need a report. + + + JAMES + + James' POV. He sees in the corner of the back seat, having + just wiped away a puddle of fire retardant, a little black + box, with a wire leading out of it. He grabs the box. + + JAMES + Got it. + + + BLUE OPAL + + The black box goes flying out of the car. + 50 + + + + + EXT MOUTH OF CUL DE SAC + + Sanborn is furious, stalking ahead of James as they return + uprange. + + Sanborn passes Eldridge, who has come down from the + ambassador's office. + + SANBORN + Take the suit. + + + HUMVEE + + James' face looks flushed, red, sweat dripping. Eldridge + begins ripping apart the Velcro from James' legs. + + + MOMENTS LATER + + James sits in the car, smoking. + + Sanborn leans into the window. + + SANBORN + Hey, James. + + JAMES + Yeah? + + Sanborn JABS him in the jaw, knocking the cigarette out. + + SANBORN + Don't you turn off your walkie + again. + + Sanborn stalks off and James explodes out of the car. + + He crouches down -- searching the floor of the Humvee. Sees + his cigarette, damaged and dirty on the mucky floor, but + still burning. He extracts it and carefully cleans it off, + then jumps on the hood of the Humvee and goes back to his + smoke. He's calm as can be. The Marlboro man. + + As he puffs away, watching Sanborn converse with a group of + SOLDIERS, a JEEP drives up. + + COLONEL REED jumps out wearing a uniform covered in army + bling - medals he won a long time ago, before he traveled up + the food chain. An AIDE trots along beside him. + 51 + + + + COLONEL REED + Hi boys. + + James turns around. + + JAMES + (UNCHARACTERISTICALLY + AWED) + Hello, sir. + + COLONEL REED + (points to James) + That you in the bomb suit? + + JAMES + Yes, sir, it was. + + COLONEL REED + (reading his name tag) + You were the guy in the flaming + car, Sergeant James? + + James is concerned. + + JAMES + Yes, sir. + + COLONEL REED + Well hot damn, that was some hot + shit. You're a wild man, you know + that? + + The Colonel spins his head around to Eldridge. + + COLONEL REED + He's a wild man, you know that? + (back to James) + Let me shake your hand. + + Extending his meaty paw. + + JAMES + Thank you, sir. + + Slapping him on the back. + + COLONEL REED + How many bombs have you disarmed, + Sergeant? + + James seems slightly self-conscious. Eldridge listens in. + 52 + + + + JAMES + Hell, I'm not sure. A lot. + + COLONEL REED + Sergeant, I asked you a question. + + JAMES + One seven three. Counting today, + Sir. + + COLONEL REED + Holy shit. One hundred and seventy + fucking three bombs. God damn. That + must be a record. So tell me, + what's the best way to go about + disarming one of these things? + + James doesn't answer as he looks at the black box. Finally: + + JAMES + The way you don't die. + + COLONEL REED + (LAUGHING) + Good one, spoken like a wild man. + (LOOKING AROUND) + I'd like a picture with this man - + anybody here have a camera? + + A nearby soldier holds a digital camera up to his eye. + Colonel Reed smiles big, arm draped around James's shoulders. + SNAP. + + JAMES + Thanks, sir, thank you very much. + Sir, couldn't do it without my team + (looking around for Sanborn) Hey, + Sanborn! Get over here! + + Sanborn trots over, glowering. + + JAMES + (to Col. Reed) + This here is Sergeant Sanborn, the + key to the whole team. + (rubbing it in) + And Specialist Eldridge. + + Colonel Reed extends his hand. Sanborn is shocked. + + COLONEL REED + You guys should all get Bronze + stars and I'm gonna recommend it. + 53 + + + + JAMES ELDRIDGE + Thank you, Sir. Thank you, Sir. + + SANBORN + Thanks, Sir. + + COLONEL REED + Good luck, boys. Keep on keeping + on. + + + FEW FEET AWAY + + Out of earshot Colonel Reed addresses his aide. + + COLONEL REED + You wouldn't catch me walking down + on no fuckin' bomb. Hell no, + you're not gonna get me in that + monkey suit. + + + HUMVEE + + James sits in the front with his IPOD earphones on. Lost to + the world. + + Eldridge starts to climb into the turret. Before he does he + speaks softly to Sanborn. + + ELDRIDGE + Bronze star? + + SANBORN + I don't care, (not caring that + James may overhear) the guy is not + safe. You can have mine and I'll + pin it on your coffin. + + ELDRIDGE + So you do think I'm going to die. + + SANBORN + Fuck, Owen. I don't know. Probably + not. + + CUT TO: + 54 + + + + + EXT CAMP VICTORY WEAPONS DISCHARGE STATION AFTERNOON + + James, Sanborn and Eldridge are discharging their weapons, + dry firing them into steel drums. Clicking of ammunition. + Long shadows. + + + EXT CAMP VICTORY FIRST SERGEANT'S TRAILER AFTERNOON + + James steps out, grabs a smoke, as a soccer ball rolls beside + him. It's Pele's. Inviting James to play. + + PELE + (SHOUTING) + Ball! Ball! + + James picks it up, and carries it over to a pile of sandbags + and sits down. Pele runs up. + + PELE + Give it. + + JAMES + Give me my five bucks and I'll give + you your ball. + + PELE + Five dollars - for what? + + JAMES + Those DVDs were crap. They were so + fuzzy I couldn't see a thing. + + PELE + No, impossible. + + JAMES + I'm telling you, they were fuzzy. + + PELE + That's Hollywood, my man. Special + effects. + + The boy's chutzpa amuses James. He's starting to like this + kid. + + JAMES + What's your name anyway? + + PELE + Pele. + 55 + + + + JAMES + Oh yeah - like the soccer player? + + PELE + Yes, the great Pele + + James gets up. Motions for the kid to give him space. + + JAMES + Ready? One, two -- + + He smashes the ball in Pele's direction -- it flies up. Pele + blocks it easily, kicking high in the air. + + JAMES + -- three. Shit. + + Pele comes back over to James, who has sat back down. He + notices the bomb patch on James' uniform. + + PELE + (pointing to the patch) + So you are EOD -- boomala boomala. + It's fun, no? + + JAMES + I like to disarm them. Tell you + what, kid, I'll buy another DVD + from you but if this one is fuzzy + you better watch out. Cause I'm + coming for you. + + + INT CAMP VICTORY MESS TENT DAY + + Sanborn and Eldridge eat together. In the corner of the room, + James is eating alone in a sea of soldiers. + + + INT CAMP VICTORY HEAD SHED + + Eldridge and the psychiatrist are back in session. + + ELDRIDGE + (LEANING FORWARD) + What if I should be pulling the + trigger more often? Killing people? + Bomb makers. + + LT. COL. CAMBBRIDGE + That's not your mission. Your + mission is to protect life. Render + safe. + 56 + + + + ELDRIDGE + But what if I need to change the + mission - to survive? That + bicyclist I told you about? I'm + ninety percent sure he was an + insurgent. I could have shot him. + Not my mission. But it would have + been legal. + + LT. COL. CAMBBRIDGE + You don't have to turn into an + animal just to protect yourself. + + ELDRIDGE + You don't? + + LT. COL. CAMBBRIDGE + No. + + ELDRIDGE + And you know this from your + extensive work in the field. + + LT. COL. CAMBBRIDGE + I've done my field duty. + + ELDRIDGE + Where was that? Yale? + + LT. COL CAMBRIDGE + Look, Specialist, if you want to + stop talking to me, you can. These + sessions are voluntary. You chose + to be here, talking to me, just + like you chose the Army, just like + you chose EOD. You're in an elite + volunteer unit. Not many guys have + the IQ or the nerves to do it. Be + proud of it. + + Eldridge considers this. The psychiatrist taps his pencil. + Waiting. + + ELDRIDGE + Keep the soldier in the fight and + the fight in the soldier, right + Doc? + + Eldridge puts out his hand, and they shake. + 57 + + + + ELDRIDGE + Seriously, I appreciate what you're + saying. But you need to get out + from behind this desk more. + + + INT CAMP VICTORY LAUNDRY ROOM NIGHT + + James is watching his clothes dry as they tumble around the + machine. + + Sanborn comes in with a pile of laundry. Sees James. + + SANBORN + Hey. + + JAMES + Hey. + + Sanborn stuffs his laundry into a machine. James is still + watching the drier, starts to speak. + + JAMES + (QUIETLY) + If you ever get in my shoes and put + on the bomb suit you'll see your + whole mind changes when you're in + front of a bomb. You lose 20 IQ + points just from the weight of the + suit. Your brain gets so much + adrenaline that you hallucinate. + Turn off the walkie? + + Sanborn stares straight ahead. + + JAMES + You'll be lucky if all you do is + turn off the walkie. + + Off the spinning dryer, we -- + + CUT TO: + + + EXT BAGHDAD SOMEWHERE IN THE CITY MID AFTERNOON + + Heat playing tricks with light on the ribbon of road - + imaginary water pooling on the surface. + + Again, the auditory landscape of Baghdad: distant CALL to + prayer and the incessant RAT-TAT-TAT of gunfire. + 58 + + + + + TITLE OVER: + + DAYS LEFT IN BRAVO COMPANY'S ROTATION: 23 + + James is walking uprange with a large artillery shell. It + looks very heavy and he's sweating profusely. + + He brings the bomb to the Humvee where Sanborn and Eldridge + are waiting. They're also suffering in the heat. They take + the shell from him, and stow it in the truck. + + JAMES + How are we on water? I'm dying. + + ELDRIDGE + J.T.'s got some. + + JAMES + (TO SANBORN) + Water? + + SANBORN + No. I'm all out. + + James just looks at him. + + CUT TO: + + + EXT BAGHDAD PURGATORY DAY + + We're at the south end of an EXPLOSIVES DISPOSAL RANGE, + nicknamed, `Purgatory' -- an empty expanse of dirt pockmarked + with craters and bordered on one side by a small number of + dwellings. + + BOOM!!! A huge bomb explodes, sending dust and debris into + the air in a mini mushroom cloud...We move across the field + with the cloud, and settle where our EOD team is positioned + by their Humvee. + + Sanborn has a remote detonator in his hand and is about to + blow it. + + SANBORN + Fire in the hole. Fire in the hole + + James interrupts -- + + JAMES + Hold on a second. I think I forgot + my gloves back there. + 59 + + + + James jumps into the Humvee and drives down range, reversing + the course we just took. It's a long way to the explosives, + at least half a mile, and Sanborn and Eldridge watch him + recede in the distance. + + James is a tiny figure, ambling around the explosives pile. + There's nobody else around. + + Sanborn looks down at the detonator in his hand. Eldridge + notices the look. + + ELDRIDGE + Those detonators break all the + time. Accidental misfire. + + SANBORN + With that shot laid out like that, + it could be a UXO that just cooks + off. + + ELDRIDGE + Boom. + + SANBORN + Boom. + + ELDRIDGE + A shot that size would obliterate + everything in its path. + + SANBORN + His helmet, you'd have that. + + ELDRIDGE + Oh yeah, there'd be half a helmet + somewhere. + + SANBORN + And little bits of hair stuck to + it. + + ELDRIDGE + Little bits of hair. + + SANBORN + We'd have to recommend a major + change in techniques and protocols + so that kind of accident never + happens again. You'd write the + first draft of the report. + + ELDRIDGE + Are you serious? + 60 + + + + SANBORN + I'm not going to write it. + + ELDRIDGE + No, are you serious about killing + him? + + -- Sanborn looks up at Eldridge. Smiles. + + James starts driving back uprange. + + CUT TO: + + + EXT FIELD OUTSKIRTS OF BAGHDAD LATE AFTERNOON + + Another dusty nowhere. The EOD team is stopped in the middle + of a road that cuts through a swath of desert. + + At the roadside are several SOLDIERS and their vehicles. The + soldiers look sunburned, tired. + + Sanborn and Eldridge are near the soldiers, looking down the + road where -- + + + TITLE OVER: + + DAYS LEFT IN BRAVO COMPANY'S ROTATION: 17 + + + CRATER + + James is inside a CRATER in the middle of the road, working + on an EIGHT-FOOT MISSILE. He attaches A ROCKET WRENCH, a + metal band with two explosive tubes, to the nose of the + missile -- and flips a switch. + + The two tubes ignite like a firecracker, shooting small + flames. Then the flames grow and band spins and FLIES off, + ZIPPING into the air above James' head like a metal frisbee, + landing fifty feet away. + + James peers into the nose cone. A hollow void. + + SANBORN + (OVER WALKIE) + James? Do you copy? James? + + He climbs to the top of the crater. + 61 + + + + JAMES + (INTO HEADSET) + It's empty. + + + EXT/INT CRATER MOMENTS LATER + + The soldiers are gathered around the pit to see EOD work. + It's not everyday you get to see an eight foot missile towed + out of a hole. + + James is down in the pit. Sanborn hands him a chain. Working + together, they wrap it around the missile. When they're done, + Sanborn signals Eldridge, who is behind the wheel of the + Humvee, ready to tow the missile out of the crater. + + SANBORN + (TO ELDRIDGE) + Rock it out, slowly. + + The chain creaks, then stops. The tires spin uselessly. + + SANBORN (CONT'D) + Try gunning it. + + The tires only spin faster. + + Sanborn moves to get a closer look. His knees come very near + to the creaking chain. + + JAMES + (seeing this from the pit) + Sanborn, watch that chain. + + SANBORN + It's alright. + + When... + + KA-BOOOOM -- the sky flashes orange overhead --James flat on + his back, dazed. A shard of metal ZOOMS into the pit, missing + him by inches -- as the soldiers dive into the pit for cover, + shouting "RPG, RPG!" + + + HUMVEE + + Eldridge, who is in the driver's seat, starts shooting his M4 + rifle. + + ELDRIDGE + (SHOUTING) + What am I shooting at? + 62 + + + + Sanborn jumping into the Humvee. + + SANBORN + (SHOUTING BACK) + I don't fucking know! -- but James + is down!!! + + He fires in the same direction as Eldridge. The Humvee gets + peppered with bullets. The armor holds. But it doesn't look + like it's going to last for much longer. + + Sanborn grabs Eldridge. And they dive back into the pit, + joining James and THREE SOLDIERS: a SERGEANT one PRIVATE and + a CORPORAL who is a SNIPER. + + James is sitting up, taking off his bomb suit. He appears to + be unharmed. + + + ROAD + + One of the soldiers is in the turret of a Humvee, firing the + big .50 machine gun in all directions. + + + CRATER + + SERGEANT + (TO SNIPER) + Get up there with your Barret and + help him out. + + [Note: Barret is the large .50 SNIPER RIFLE carried by one of + the soldiers, a specialty gun with an extremely long range.] + + The SNIPER hoists the heavy gun to the edge of the crater and + looks down the scope. + + As he does, Sanborn, Eldridge, and James, and the other + soldiers pop up and lay down covering fire. Then they quickly + pop back down. + + + ROAD + + The soldier in the Humvee is still churning his machine gun, + shooting in all directions, expending hundreds of bullets a + minute. + 63 + + + + + CRATER + + SNIPER + (TO SERGEANT) + I don't see nothing out there. + Chris is shooting wild. + + SERGEANT + (INTO WALKIE) + Hey Chris - can you hear me? Chill + out on the fifty man. + + + ROAD + + The soldier in the Humvee fires a few more seconds. Picks up + his walkie. + + SOLDIER + (INTO WALKIE) + Copy that. + + -- As a bullet hits him in the neck, killing him instantly. + + + CRATER + + SNIPER + Holy shit. He killed Chris. + + Everyone in the pit pops up and fires in every direction, a + knee-jerk response. + + A soldier picks up his walkie and keys it. We can't hear him + talking over the retorts of the soldiers firing rifles. + + The men are pinned down, paralyzed by fear. Sniper fire from + one of the buildings rakes the top of the crater. + + -- Bullets kick up sand on the far side of the crater, + opposite the men. + + -- Eldridge looks like he's having a heart attack. This is + how it ends, he thinks. + + --James seems preternaturally calm. + + After a while -- + + JAMES + We should save our ammo at least + until we can see these bastards. + 64 + + + + The Sergeant takes off his pack, and pulls out a pair of + binoculars. Inching up to the edge of the crater, where he + joins the SNIPER + + SERGEANT + (TO SNIPER) + Do you see anything. + + SNIPER + It's got to be coming from those + buildings. Somebody moved on the + roof of the tall one there. + + We see the buildings in the distance. They look too far away + to be threatening. + + SERGEANT + Hit him if you see him again. + + As suddenly -- + + The SNIPER is hit in the breastbone. + + SERGEANT + Oh fuck. Oh fuck. Jesus. + + In the pit: total meltdown. This is it. The day you die. + Everyone starts talking at once. + + SOLDIER SANBORN + Man we got to get out of I'll get on the Barret. + here. + + ELDRIDGE SERGEANT + Don't do that J.T. Shit. Okay. We need help. + (INTO WALKIE) ) + This is Alpha Nine. We're in + deep shit. Over. + + DISPATCH (O.S.) JAMES + Roger that, Alpha Nine. Go (to Sergeant) + ahead. Let me see those binocs. + + The Sergeant hands the binocs to James. + + SERGEANT + (INTO WALKIE) + We are taking incoming fire. I have + two KIA. The grid -- + + James gives Sanborn a look. He leans in to say something to + Sanborn, which we can't hear. + 65 + + + + Over the Sergeant's walkie: + + DISPATCH (O.S.) + I know where you are Alpha. Go + ahead. + + Sanborn crawls into the SNIPER's position, moving the dead + body out of the way. James follows next to him to observe + with the binocs + + SERGEANT + (INTO WALKIE) + Copy that. Okay. Can you get us + some help. + (to James and Sanborn) + Don't do that fellas. + + Sanborn is already shooting. The SNIPER RIFLE puts down + bullets slowly. It has a clip of six rounds. One by one + Sanborn expends them. + + JAMES + Eldridge, I need ammo. + + Eldridge pulls two clips of ammunition off the bloody chest + of the dead sniper. + + JAMES + (looking through the + BINOCS) + You're shooting high. + + Eldridge hands the ammo to Sanborn, who jams the clip in the + rifle, and then adjusts the sight. He pulls the trigger. The + gun jams. + + JAMES + (TO SANBORN) + Clear it, clear it. (the clip is + removed, passed to James) Eldridge + clean the bullets. The blood is + making them jam. + + Eldridge is handed the bloody clips. He pops the bullets out, + one by one, and tries to clean them. But the blood is sticky. + A bullet slips out of his hand, rolls down the crater. The + soldier helps him by picking up the bullet and cleaning it. + + James looks back to see Eldridge's progress. + + JAMES + Spit on `em Eldridge. Spit. Rub. + Spit rub. + 66 + + + + Eldridge is trying. He's really trying. + + JAMES + Come on, Eldridge. I need ammo. + + James sees that Eldridge is not getting it and he draws close + to him. + + JAMES + You're doing good, man. (putting + his hand on Eldridge's shoulder). + You're okay. + + Eldridge nods. His mind is there but his hands are disobeying + him. James attempts to clear his head. + + JAMES + I will keep you safe, Owen, that's + my job. + + ELDRIDGE + Roger. + + The soldier hands the ammo to James. + + JAMES + (to both of them) + Alright. Scan your sectors. + + Then Eldridge positions himself so he's looking in the + opposite direction that James and Sanborn are looking. + + Sanborn fires two more rounds. + + JAMES + (CALMLY) + Still high, adjust your windage. + Elevation. + + SANBORN + Got it. + + + SNIPER RIFLE POV + + The roof of the tall building in the distance bobs in and out + of view. At this great range, the scope dances. + 67 + + + + + CRATER + + JAMES + He's on the left by the smoke + stack. Guy in white. + + Sanborn fires once. He turns his head away from the gun and + makes an audible exhale to release tension -- the sniper + breath control technique. + + JAMES + Good. There's another one just + behind him. Up a meter. + + Sanborn fires once. Audible exhale. + + JAMES + Good. + + James scans the area. Silence. + + + CRATER AN HOUR LATER + + The sun lower in the sky. Around the pit, the fallen soldier + has been pushed to one side, and the living are hanging on to + their sanity. + + Eldridge and the remaining soldier have exhausted their water + supply. + + Sanborn and James are in EXACTLY the same position as when we + left them. Focused. Sanborn's finger on the trigger. Sanborn + breathes out, the sniper breathing. He's been doing this for + an hour, time and the desert heat have taken their toll. + + Sanborn blinks sweat away. + + + SANBORN POV + + The scope BLURS. He regains focus. + + + JAMES + + Noticing Sanborn's fatigue. + + JAMES + Eldridge, grab me the juice out of + an MRE. + 68 + + + + Eldridge digs around the DEAD SOLDIER'S backpack and + retrieves a packet of juice, which he passes to James. + + James inserts the straw into the juice pack. + + He hesitates, not sure if Sanborn will accept the gesture + after all the hostility that's passed between them. But he + brings the straw to Sanborn's lips. + + At first, Sanborn keeps his attention on the rifle scope. But + then he opens his parched mouth, and sips. + + --Suddenly, there's movement, a flutter of fabric, in the + distance off Eldridge's shoulder. He stiffens. + + ELDRIDGE + Uh, Will. + + JAMES + Yeah. + + ELDRIDGE + At my one o'clock. Two hundred + meters. Something moved behind a + parked car. Either a tan dog or a + man in a light-colored shirt. + + JAMES + Deal with it. + + ELDRIDGE + Uh--Ok. + + Eldridge looks down his scope, unsure. James keeps his focus + forward on the building. + + ELDRIDGE + I don't think it's a dog. Should I + fire? + + JAMES + It's your call. + + Eldridge shifts his weight onto his rifle. + + There's a flutter of movement in the distance. + + Eldridge pulls the trigger. Spraying the car in the distance. + Empties his entire magazine. + + From behind the car, something falls to the ground, and the + tiniest sliver of a rifle clatters after it. + 69 + + + + The soldier in the pit comes over to Eldridge to see what + he's done. + + SOLDIER + Good hit, man. + + James and Sanborn don't turn around. + + Eldridge slumps, spent. + + + CRATER TWO HOURS LATER + + Sun casting long shadows. + + James and Sanborn in the same focused position. Eldridge + still watches the rear. + + The soldier in the pit reaches his breaking point. + + SOLDIER + I'm going to go for the Humvee. + What do you say? + + SERGEANT + I don't know. + + SOLDIER + We've been here two hours and they + ain't seen nothing. I'm going to go + for it. + + And with that he dashes up and out of the crater. + + Sanborn keeps his eye on the scope. + + ROAD + + The soldier runs to the Humvee, gets in, and turns the + vehicle around, driving it back to the pit. + + He dives out of the vehicle and back to the pit. + + SOLDIER + (EXCITED) + Those fuckers are dead. + + SERGEANT + What if they hit us with an RPG + when we get out? What if they were + just waiting for us to get in the + Humvee. + 70 + + + + SOLDIER + It's safe. I'm telling you + (TO SANBORN) + You got those fuckers. + + The soldier jumps out of the pit. Stands in the middle of the + road. A sitting duck. + + SOLDIER + (to men in the pit) + See? You got them. + (turning to building, + SHOUTING) + We got you mother fuckers. You're + fucking dead Hajis. Haha. + + The soldier pulls down his pants and moons the building. + + SOLDIER + Kiss this mother fucker!!! + + James lowers his binocs. Sanborn lowers his rifle. + + They exchange a mirthful look. + + CUT TO: + + + INT CAMP VICTORY JAMES' TRAILER NIGHT + + James and Sanborn face each other; both men are red-faced, + drunk, swaying. + + JAMES + Ready? + + Sanborn nods. Wham! Sanborn reels back from the punch. James + is standing over him. Glowering. He looks good. The rage is + like a vitamin. + + JAMES + Now we're even. + + Sanborn stumbles back, recovers. Around them in James' room + are the remains of an Irish wake: two bottles of Scotch, + already empty. A third half gone. Cigarettes burned down in + an ashtray. + + SANBORN + Be right back. I gotta piss. + + As Sanborn stumbles out, James turns to Eldridge + 71 + + + + JAMES + One more, boy. + + ELDRIDGE + (imitating a young + RECRUIT) + Yes, Sir, Sergeant James Sir. + You're not very good drunk are you + SIR!! You're a good fighter, Sir. + Natural born warrior, Sir. + + JAMES + (SEMI-SERIOUSLY) + You acquitted yourself well on the + field of battle today. + + ELDRIDGE + Really? I got scared. + + JAMES + Everyone is a coward at some point + in their lives. + + Sanborn comes in. He sees a box under James' bed. Sanborn + picks up the box under James' bed and plops it on the table, + intentionally breaking up the love-fest between James and + Eldridge. + + SANBORN + Hey Owen, look! Will has + possessions! I didn't know you + owned anything, Will. + + Sanborn pulls a picture frame out of the box. It's a picture + of a baby boy. Eldridge leans in. + + JAMES + That's my son. A real tough little + bastard. Like me. + + SANBORN + So you're married? + + James is uncomfortable with the subject. Intimacy isn't easy + for him. He rolls his eyes, nods. + + JAMES + Well, she was my girlfriend, we had + a baby, then she became my wife, + then we got divorced. (pause) I + thought we got divorced. (pause) + But she's still in the house, and + she says we're still together. + (MORE) + 72 + + JAMES (CONT'D) + So, I don't know. What does that + make her? + + SANBORN + Dumb, to be with you? + + JAMES + She ain't dumb. She's loyal. + + SANBORN + My problem is the one girl who I + like keeps talking about kids. + Kids. Kids. + + JAMES + (TO SANBORN) + Give her your sperm, stud. + + SANBORN + Nah. I'm not ready. + (looking around the box, + finds a circuit board.) ) + And what's this? + + Sanborn sees there are many such parts in the box. + + JAMES + Bomb parts. + + SANBORN + No shit. Why do you have them? + + James reaches into the box. Pulls out a circuit. Looks at it + admiringly. + + JAMES + This is from the Blue Opal. (to + himself) It's wild, isn't it, to + hold something in your hands that + could have killed you. (he tosses + the board to Sanborn) + + Eldridge leans over, pulls another board out of the box. He's + fascinated by James' obsession. + + ELDRIDGE + What's this one from? + + JAMES + (warming to the attention) + That was one of our early roadside + bombs we disarmed, the one with -- + 73 + + + + SANBORN + (looking at the board) + --it's a piece of junk from Radio + Shack. + + James shrugs. He reaches over to get the circuit board from + Sanborn, who clearly doesn't share his fascination. + + ELDRIDGE + IT'S INTERESTING + + JAMES + I agree. + + In the distance, sound of BOMBS going off. The men pause to + listen. + + SANBORN + (TO ELDRIDGE) + The only reason he likes you is + because you act like his bitch, and + you look up to him, and he likes to + be the top dog. + + JAMES + I agree with that too. + + ELDRIDGE + Oh no, (picking up James' pistol) + The humiliation is too great to + bear. (he pulls the trigger while + slipping out the clip). Good-bye + world. + + The gun clicks harmlessly. Eldridge laughs. + + A gust of wind rattles the front door. + + SANBORN + That punch was harder than I hit + you. I'm owed a good one. + + JAMES + Alright. + + ELDRIDGE + Hold on, we need some rules. No + face shots. + + James lifts off his shirt, getting into fighting mode. + Eldridge picks up a marker and begins to draw a bulls-eye on + James' stomach, stopping when he sees a cluster of scars. + 74 + + + + JAMES + Beauty mark, my mother dropped me + at birth. + + ELDRIDGE + Looks like frag scars. + + Sanborn slugs James. James doubles over, loses his balance + and falls back. James gets up, laughing so hard it hurts. + Tears of laughter falling down his face. + + JAMES + Ahhhh! Excellent. Now your turn. + + Sanborn braces for the blow. James gets ready to strike, then + fakes a swing -- his fist stops just shy of Sanborn's cheek. + + Sanborn's eyes go wide as -- James nails him with his other + hand, right in the gut -- Sanborn doubles over. + + JAMES + (LAUGHING) + Looks like it hurt. + + Moving forward aggressively, suddenly James looks like he + could kill. A complete change in his demeanor, as wind rocks + the trailer, causing the light bulb to rattle and cast a + STRANGE SHADOW + + -- then James rushes Sanborn, tackling him -- they crash into + the corner of the room -- in a flash James is on top of + Sanborn, pinning him -- Sanborn moves to punch James but + James pins his hands -- James taps Sanborn lightly on the + cheek, caressing his cheek. + + JAMES + There there. It'll be okay. + + SANBORN + Get off of me you freak. + + Sanborn tries to buck James off. Forcefully raising his hips. + + JAMES + Oh yeah, ride me, ride me. + + Sanborn reaches for his boot knife. He flicks it open, brings + the blade to James' throat. Their eyes lock. James dismounts, + laughing. Stumbles back to the table. + 75 + + + + JAMES + You're alright, Sanborn. Let's have + another. + + CUT TO: + + + EXT CAMP VICTORY LATER + + The wind is blowing harder, kicking up sand. Overhead, a full + moon is blazing. + + James looks up at the moon. It's dazzling. James and Eldridge + support Sanborn as they weave towards Eldridge's trailer. + + JAMES + I got him. + + Eldridge passes Sanborn off to James, and heads up the stairs + to his trailer. + + ELDRIDGE + Later. + + Sanborn sags. James pulls him back. They walk a little + farther to Sanborn's trailer -- + + JAMES + Okay. Here we go big boy. + + And half carries Sanborn up the steps. + + + INT. SANBORN'S TRAILER + + James eases Sanborn onto a cot, and as he falls onto the cot, + the WHITE ENVELOPE falls out of his pocket. + + SANBORN + Do you think I have what it takes + to get in the bomb suit? + + James didn't expect this. + + JAMES + Sure. + + James picks up the white envelope and puts it on Sanborn's + night table. + + He looks back. Sanborn is already asleep. + 76 + + + + + EXT CAMP VICTORY AFTER MIDNIGHT + + The whole camp is asleep but James is standing outside, + holding a satellite phone. He's swaying. Drunk. + + CONNIE O.S. + (SLEEPILY) + James, my God, what time is it? Are + you alright. + + Pause. + + CONNIE O.S. + James? + + JAMES + (SLIGHTLY SLURRED) + I'm doing fine, babe. How are you? + + CONNIE O.S. + Well, you woke me up. But - ah - we + - we're fine. (getting more lively) + Will junior said "bobba" He means + bottle, but he's talking, Will. + + James looks around the camp. All he sees is its immensity, + the tremendous scope of the operation. This is military + might, raw power. As good as it gets. + + JAMES + Great. I'll call you tomorrow when + you're awake. + + CONNIE O.S. + Will, I can't wait until you come + home. + + Silence. + + CONNIE (CONT'D) + Will? + + JAMES + (trying his best to mean + IT) + Yeah, me too. + + CONNIE O.S. + Will you call me again soon? + + JAMES + Sure. Bye honey. + 77 + + + + CONNIE O.S. + Bye honey. + + James hits the END button on the phone and walks up the steps + to his trailer -- + + + INT JAMES TRAILER LATER THAT NIGHT + + He stumbles inside, drops the satellite phone down on his + desk, next to his bomb suit helmet, and sinks into bed. He + lies there, clothed and awake, and stares at the helmet, + looking at his reflection in the polished glass. + + Then James reaches over to the helmet and lifts it up, hefts + it. + + He puts the helmet on his head. + + Alone in his bed, wearing his helmet. + + Smiling behind the glass, for he now he can sense the bomb, + and feel his nearness to death. + + We hear the RASP of his breathing. + + CUT TO: + + + INT SANBORN'S TRAILER MORNING + + Sanborn blinks awake to a painfully bright sun. He shifts his + attention to the white envelope on the table. + + + INT CAMP VICTORY WAREHOUSE DAY + + A SOLDIER wearing glasses is talking to Sanborn. + + SOLDIER + What can I do for you? + + SANBORN + I have something? + + SOLDIER + Remains? + + SANBORN + No. + + SOLDIER + Personal effects? + 78 + + + + SANBORN + Yeah. + + Sanborn reaches into his back pocket, withdraws the white + envelope. He opens it. Inside are Thompson's DOG TAGS. He + crumples the envelope, lets it fall to the floor. And grips + the tags tightly. + + SOLDIER + What's the name? + + SANBORN + Thompson, Matt. Sergeant EOD. Baker + Company. + + SOLDIER + (looking at a form) + Okay let me see. He's at three- + three-eight. (looking) third aisle + down the hall. + + Sanborn turns to look, and now we see where he's standing: in + the MORTUARY AFFAIRS UNIT, in a large room filled with white + boxes. It looks like an art installation, each white box + spaced evenly in a cavernous space. + + SOLDIER + I'll walk you over there. + + They walk down the aisles, passing rows and rows of white + boxes, and finally stop. + + The soldier opens one. + + Inside are a pair of boots. A stack of clothes. Books. + Photographs. The remains of a life. + + SOLDIER + Here you go. Did you know him? + + Sanborn places the tags on the uniform in the box. + + SANBORN + Yeah, I did. He was my team leader. + + SOLDIER + Oh, I'm sorry brother. + + They walk up the aisles, again passing the rows of white + boxes. + + At the entrance, Sanborn turns. The soldier offers his hand. + They shake warmly. + 79 + + + + SANBORN + Thank you. Thank you. + + The soldier, a little perplexed at Sanborn's gratitude, + doesn't know what to say. + + Sanborn leaves, notices the empty ENVELOPE on the floor. + Litter. He picks it up and stuffs it back into his pocket. + + + INT MESS TENT DAY + + James and Eldridge eat in hung-over silence. + + Tired. + + After a while... + + ELDRIDGE + Tough night. + + JAMES + Hell, yeah. + + Eldridge nods. + + Wind picks up. The whole tent shakes. + + JAMES + Aren't you supposed to be at your + shrink? + + ELDRIDGE + I fired him. I said, Doc, shooting + a man had a salubrious effect on + me. + + JAMES + What the hell does that mean? + + ELDRIDGE + Healthy. + + JAMES + You're healthy? Well, why not. + + They go back to eating. + + Sanborn joins James and Eldridge. + + SANBORN + What's up team? + 80 + + + + They nod silently as he sits. Sluggishly he throws his hand + down on the table. + + SANBORN + Can I get a Huu-haa? + + Eldridge slaps a tired hand on top of Sanborn's. James + follows suit. They wearily lift their arms in mock + enthusiasm. + + All at once: "Huu-haa." + + Sanborn wolfs down some food. + + JAMES + I'm going back to sleep now. + + ELDRIDGE + Let's roll. + + They get up to bus their trays. And nearing the dirty-tray + bin, the flaps of the tent billow more and more vigorously. + Outside, a storm is brewing. + + Each man unfurls the checkered scarf around their neck and + wraps their face for the wind. + + + EXT CAMP VICTORY DAY + + Wind rakes sand and dust over the tent city, giving it an + otherworldly aspect. Throngs of men and vehicles fight the + swirl. It impedes their every move. + + The three men continue onwards, as the intensity of the storm + grows. + + + EXT HEAD SHED DAY + + The storm is HOWLING now. Visibility is reduced to a few + feet. Red sand blows mercilessly. It's Mars. + + + TITLE OVER: + + DAYS LEFT IN BRAVO COMPANY'S ROTATION: 16 + + As they approach the head shed, a Humvee comes blasting out + of the storm from the other direction. It skids to a halt in + front of them. + + Three wounded EOD TECHS and an EOD TEAM LEADER tumble out. + 81 + + + + They look awful. One step shy of death. One man's face is + smeared brown. Blood oozes from a deep gash in his cheek. + Another tech is covered in black soot. Their hands still + clutch their weapons -- the battle still wages in their + minds. + + TEAM LEADER + (shouting to James) + It was a car bomb. Fucking nasty + one -- they had a decoy detonator + set up so that when I disarmed it + nothing happened -- then, I'm + walking back uprange to get some + more tools and boooom!!! If I + hadn't been wearing the suit, I'd + be dead right now. + + ELDRIDGE + Get a Medic to look at your cheek. + + The wounded TEAM LEADER touches his face and blood smears on + his hand...he looks down...surreal to see your own blood. + The First Sergeant trots over. + + TEAM LEADER + (amazed at the sight of + HIS BLOOD) ) + It's no big deal. + (now turning his attention + back to James) ) + Be careful. They're starting to + hide the detonator really well. + + The FIRST SERGEANT turns his attention to James: + + FIRST SERGEANT + Sorry to ruin your day off, but + your team is up. + + James blinks back sand and dust blowing into his eyes. + + So much for the nap. + + + INT HUMVEE CAMP VICTORY PARKING LOT + + Lt. COL. CAMBRIDGE knocks on the window. Startling the men. + His face appears in the sand storm. + + LT. COL. CAMBRIDGE + (SHOUTING) + Are you guys about to go out? + 82 + + + + JAMES + Yeah. + + LT. COL. CAMBRIDGE + Mind if I ride along? I'm sick to + death of sitting behind a desk all + the time. + + James shoots Eldridge a look. Eldridge shrugs. + + JAMES + Anytime, Sir. It's a privilege. + + The LT. COL. CAMBRIDGE gets in. As they drive out. + + JAMES + Don't mean to insult your + intelligence, Sir. But if the shit + hits the fan, please don't fire out + of these windows. They're bullet + proof and the round will just + bounce around the cabin. + + + EXT. ABU GRAIB CENTER BOMBED OUT BUILDING DAY + + A partially destroyed building fills the screen. A mess of + bricks and rebar. Wind swirls sand up into the air. + + Nearby, an OLD IRAQI MAN with a DONKEY drawn cart is + unloading new bricks to repair the building. + + Farther up the road, a good distance from the building, are + two parked Humvees. Nearby, James and his team are talking to + a small cluster of SOLDIERS. + + SOLDIER 1 + (pointing back at the + BUILDING) + Right up those stairs. + + JAMES + You been inside already? + + SOLDIER 1 + In there? Fuck no. We've had + reports of all kinds of shit coming + out of that house -- and-- + + James takes his eyes off the building and turns to the + Soldier. + 83 + + + + JAMES + AND WHAT-- + + SOLDIER 1 + --bodies. + + James turns to Cambridge. + + JAMES + Why don't you wait here? We'll + bring out anything of interest. + + + INT BOMBED OUT BUILDING LATE MORNING + + James, Sanborn and Eldridge enter a landing. The floor is + very wet. They cross it, and come to a room that has been + severely damaged by a bomb, with rubble everywhere and + exposed electrical wires dangling from the ceiling, and + busted pipes gushing water. + + A tea pot sits on a STOVE, steaming hot, and a plate on the + table has bread on it. + + James bends the gushing pipe, stemming the flow of water to a + trickle. Now the spitting wire hanging above the water pipe + looks less ominous. But not by much. + + + CORRIDOR + + They continue down a narrow corridor, light diminishing. They + switch on the lights on their M4s. The corridor ends at a + door. + + SANBORN + This would be a great place to put + a pressure activator. + + JAMES + Yeah, with like twenty pounds of + high explosives on it so you get + anyone in the room when you open + the door. + + ELDRIDGE + Rope trick? + + Eldridge uncoils rope from his pack and hands it to James, + who makes a lasso and tosses it over the doorknob. + 84 + + + + + EXT BOMBED OUT BUILDING + + James yanks the rope -- we follow the rope inside through the + kitchen to the doorknob, watching it turn. No bomb. + + They head back in. + + + INT DOOR/STAIRS BOMBED OUT BUILDING + + Ascending a staircase. James unstraps a flash grenade from + his vest and heaves it onto the floor above. They stick + their fingers in their ears... + + Blinding FLASH and DEAFENING sound. Then silence. No + movement. + + JAMES + Guess no one's home. + + SOLDIER O.S. + (WALKIE-TALKIE) + Blaster One, what was that? + + JAMES + (INTO WALKIE) + Sorry, one of ours, just a flash + grenade. + + They come to a landing that opens up to the second floor. + + + SECOND FLOOR + + A large cavernous space filled with what looks like Santa's + bomb making factory: A pile of motherboards. Batteries. Boom + boxes. Electronics in various states of disassembly. In + another corner, stacks of artillery shells. Blocks of C4 + plastic explosives. + + In the back half of the room, there is a work table, and on + the table is a DEAD BODY of a young man, wearing pants but no + shirt. A JACKET draped is over its torso and face. Even for + these hardened EOD experts, the sight is unnerving, and the + copper smell of spilt blood and death is staggering, + sickening. + + James, Sanborn and Eldridge approach the body cautiously. + + James pulls a retractable aluminum pole from his pack and + telescopes it to its maximum length, about 10 feet, and uses + the pole to lift the jacket. Gently. The FACE appears. + 85 + + + All that we can determine about this face is that it is + young. The distinguishing lines of the nose and cheeks are so + covered by bruises and blood and further obscured by the + shadows and dappled light, that it could be the face of + almost any young man. + + The violence done to the face exerts an odd pull on James. + + JAMES + The kid at camp. + + SANBORN + What? + + JAMES + He sells DVDs. + + SANBORN + No, that's not him. + + JAMES + You see him every day. He sells + DVDs by the mess tent. His name is + Pele. + + SANBORN + Different kid. + + ELDRIDGE + This is sick. + + The dead young man's chest has been cut open. An artillery + shell is shoved inside the cavity where the heart used to + beat. Wires protrude from the shell. It's meant to be a booby + trap, to be placed on a street and elicit as much damage as + possible. + + SANBORN + You seen a body bomb before? + + James shakes his head no. + + Sanborn moves closer to the body and inspects the wiring in + the chest. + + JAMES + Don't touch it. Let's blow it. + + + JAMES + + Positioning three blocks of C4 on the body, then plugs + blasting caps into the explosives. James nods to Sanborn and + Eldridge, and they leave him alone with the body. + 86 + + + + James walks backwards out of the room, unspooling a roll of + detonation cord as he goes. But before he gets to the door... + + SOLDIER O.S. + (OVER WALKIE) + Blaster, we've got a hold. I'm not + getting airspace clearance. + + JAMES + (INTO WALKIE) + Copy that, How long? + + SOLDIER (O.S.) + (WALKIE-TALKIE) + Roger. Could be anything. At least + 15 minutes is what they're saying. + + JAMES + (INTO WALKIE) + Can you -- you need to explain to + them that we don't have 15 minutes. + + SOLDIER (O.S.) + (WALKIE-TALKIE) + Roger. I'll see if we can push this + ahead. + + James squats down, rests his rifle, looks at the floor. + + Moments pass and he feels a set of eyes on him. + + He swivels his head to the left and makes eye contact with + the dead kid on the table. The face doesn't have any of the + markers of death; it looks alive. + + James turns away, then is compelled to make eye contact + again. He looks at his watch. The seconds tick by all too + slowly. He grabs his walkie-talkie. + + JAMES + (INTO WALKIE) + Fifteen is not going to work. I + need to do this now. + + SOLDIER (O.S.) + (WALKIE-TALKIE) + Roger, I understand. If it was me, + I would go for it, but I don't + think command is going to budge + under the circumstances. + 87 + + + + JAMES + (INTO WALKIE) + Tell command I'm in a fucking war + zone. And I'm going to blow now. + + James gets up, clips his rifle, and takes the last few steps + out of the room. + + SOLDIER (O.S.) + (WALKIE-TALKIE) + Blaster One, I don't know who you + know, but you got your permission. + Ready to det any time you say so. + + At the door he stops to look at the dead boy on the table. He + looks and looks. Finally: + + JAMES + (INTO WALKIE) + Cancel that det. + + CUT TO: + + + JAMES + + Reaching over the body of the boy. He pulls the artillery + shell out of the boy's abdomen with his bare hands. He wipes + his hands on his pants. + + JAMES + (INTO WALKIE) + This is Blaster One, I'm coming + down. + + + INT BOMBED OUT BUILDING + + James carries the body down the staircase. The head and feet + bump the sides of the staircase as he descends. + + + EXT BOMBED OUT BUILDING MOMENTS LATER + + The BODY lies on the street, James standing over it. A blue + and white pickup TRUCK emblazoned with the logo of the Iraqi + National Police pulls up to their position. + + A pair of POLICEMEN get out and after a few words with James, + they load the body. + 88 + + + + + HUMVEE + + Sanborn and Eldridge sit across from each other, watching + James. + + ELDRIDGE + ...So you really don't think it was + the DVD kid? + + SANBORN + No, I don't. + + ELDRIDGE + You're positive? + + SANBORN + Yeah. Could it be? One in a million + chance. + + ELDRIDGE + I don't know. Will seemed positive. + But that was weird. + + SANBORN + Very weird. + + They look out the window and notice Lt. Colonel Cambridge + down the street surrounded by a crowd of IRAQI MEN. + + + CAMBRIDGE + + Cambridge is trying to talk to several of them at once. + + CAMBRIDGE + This is not a safe area for you. + Imshee! + + They don't leave. Cambridge lifts his rifle, not quite + shouldering it. Then one MAN, mid thirties, in a suit, steps + forward. + + IRAQI MAN + (FLAWLESS ENGLISH) + Why do you talk to us like + children. We are not children. + + CAMBRIDGE + Gimme a break, will you? + + IRAQI MAN + Why should I? + 89 + + + + Cambridge, suddenly not so sure of himself, looks back to the + Humvee and sees -- + + + JAMES + + Watching the police truck drive away. He then moves for the + Humvee, motioning for Cambridge to load up. + + + INT HUMVEE + + Eldridge guzzles some water. Wipes sweat from his brow. + + ELDRIDGE + But then Will's pretty weird. He + keeps bomb parts under his bed. + + Passing the water to Sanborn. + + SANBORN + I bet you he doesn't put this one + under his bed. + + Sanborn laughs. + + James cracks the door, jumps inside. + + He sees Cambridge walk past the brick pile that the OLD IRAQI + MAN had created. The man is no longer there. Something + crosses his mind when-- + + --The brick pile explodes in a A SICKENING BLAST, + obliterating Cambridge and flipping the Humvee + + --James, Sanborn and Eldridge SPIN upside down as the Humvee + is buffeted by the blast - landing upside down. + + --Suddenly CAMBRIDGE'S helmeted HEAD crashes into the + windshield. + + --Billowing smoke, dirt and debris smears the windshield + blotting out the sun. + + --Inside, a flurry of HANDS yank on the heavy armored Humvee + door. It doesn't budge. + + + EXT HUMVEE + + A SOLDIER runs to the rescue. He reaches for the Humvee door, + the metal sears his hand, and he pulls back in pain. + 90 + + + + The soldier uses his rifle butt to jam the door open - but + that doesn't work, because the butt doesn't catch the handle. + From inside, the POUNDING and YELLS grow louder. + + The soldier drops the rifle and grabs the searing metal with + his hand, burning his flesh as he pries the handle. + + The Humvee door finally gives. Three men tumble out onto + blackened sand. + + CUT TO: + + + INT BOMBED OUT BUILDING LATER + + James is standing in the doorway into the building, dividing + his attention between the outside and the interior -- where + Sanborn and Eldridge are slumped against a wall. + + Sanborn stares at a blank wall. Eldridge is running his hand + over a cigarette lighter -- seeing how much of the flame he + can bear. He looks as if he's hoping the physical pain will + help put the psychic pain in perspective. + + James, standing in the light of the doorway, is smoldering + with rage and ungovernable purpose. He's smoking. + + We stay here for a moment to watch as each man makes his own + deal with himself. + + Through the open doorway a Humvee comes into view. + + James stomps out his cigarette. + + JAMES + Our ride is here. + + Beat. + + Sanborn and Eldridge remain in a trance. + + JAMES + We're movin'. + + He walks out into the glare. Sanborn and Eldridge rise to + follow him. + + + EXT CAMP VICTORY DUSK + + Funnel of wind erases a tank tread in the sand. + 91 + + + + More sand drifts and piles like snow up against a small + mountain of sand bags. + + Sand disappears the windshield of a parked Abrams as day + moves into night. + + + EXT CAMP VICTORY MESS TENT MORNING + + Dust. Wind. + + James is stalking towards an OLDER IRAQI MAN who is selling + DVDs at Pele's usual table. + + JAMES + Hey - you haven't seen that kid + around here by any chance - who + sells movies? + + The man shakes his head. + + DVD MAN + Sorry. No English. + + JAMES + No English? Don't lie to me. + Where's that kid? + + DVD MAN + Sorry, my man. Movie? Five dollars. + + James shakes his head and walks away, heading towards a clump + of SOLDIERS standing in the shade of a tree. + + JAMES + Are you guys responsible for this + area? + + GUARD + What's up? + + JAMES + That motherfucker over there + (pointing to the Man) could be an + insurgent, watching the camp and + giving intel to his buddies so they + know where to launch their mortars. + + GUARD + I think he's just a guy selling + DVDs. + 92 + + + + JAMES + He's a security risk. You should + get rid of him. + + GUARD + The merchants are cleared. I + couldn't do anything to him without + the say-so from my CO. + + James realizes that he has no hope of prevailing. Agitated, + he turns away, and we stay with him as he trudges down one of + Victory's dusty roads. + + + EXT. CAMP VICTORY MESS TENT DUSK + + It's the end of the day and the DVD seller packs up his wares + to go. + + James, in sunglasses, sweatshirt covering his army fatigues, + follows him to his car. James draws near, and points his + pistol at the guy's crotch. + + JAMES + Does this change anything? + + The DVD man looks stunned. + + + INT DVD MAN'S CAR CAMP VICTORY GATE DUSK + + James leans across the DVD man and flashes his ID to one of + two GUARDs. + + JAMES + OGA. + + The guard looks to his buddy who mouths "CIA" + + GUARD + Are you cleared to leave the camp + through this gate, Sir? + + James nods. + + GUARD + I'm going to need to see your ID + again. + + JAMES + Don't fuck with me man, I'm having + a bad day already. + 93 + + + + The guard stares at James. James stares at the guard. The + guard shrugs, waves James through. + + + EXT BAGHDAD STREET NIGHT + + The truck goes down a series of streets. It comes into a poor + neighborhood and stops at a house. + + DVD MAN + Pele. + + JAMES + Wait here. + + James gets out. + + + EXT BAGHDAD STREET HOUSE + + The dwelling is set back behind a low wall. Hard to see much + of it in the dim light. + + James takes a step forward, toward the wall. + + SUDDENLY-- + + the DVD truck peels out. + + James looks at its retreating tail lights. A moment of + indecision as he considers his situation: alone in Baghdad. + + Then he vaults the low wall, landing in + + + EXT BAGHDAD COURTYARD + + A modest courtyard. Light comes from one window in the house, + the rest is dark. Crickets. + + James walks around to the back of the house. There's a door. + He tries the knob. It opens. + + + INT IRAQI HOUSE HALLWAY + + In a dark hallway. Murmuring of a television. James moves + towards the noise. + 94 + + + + + INT IRAQI HOUSE ANTECHAMBER + + James comes to an antechamber. Behind it is a very low stone + archway. He goes through the archway, where - + + + INT IRAQI HOUSE LIVING ROOM + + A MAN -- call him Kalim -- older, fifties, dressed in + traditional garb, sits at a table drinking tea, watching an + Egyptian game show on television. + + James walks in, gun drawn. + + The man is spooked. He spills his tea, looks wildly for an + exit. + + James puts his fingers to his lips. + + JAMES + Do you speak English? + + KALIM + English, French, Arabic. + + JAMES + (QUIETLY) + I want the people responsible for + Pele. + + KALIM + For whom? + + JAMES + Pele. The body bomb. + + KALIM + Pele? I don't know. But please sit + down. I am professor Kalim, this is + my home. You are a guest. Sit. + + JAMES + Take me to the people responsible. + + KALIM + Of course, whatever you seek, I + will help you find. Please, please + sit, down. You are CIA, no? I am + very pleased to have CIA in my + home. + + James raises his gun to aim at the man's face. + 95 + + + + JAMES + Maybe you don't understand? + + The man is suddenly very afraid. + + KALIM + Please, be careful. Be slow. A gun + can go off. + + As the back door opens + + -- James spins to see + + -- a WOMAN, older, matronly. She sees James, his gun. And she + starts shouting at James in Arabic, then English, "Get out, + get out." + + James swings his gun to her. + + SUDDENLY-- + + -- behind the woman comes Pele. He runs to his father's side. + + -- James turns to the boy, to say something -- + + -- his mother is rushing James now, swinging a candlestick + + -- he spins to the door, trying to get out of there -- + + -- SMASHING his head on the stone archway on his way out. + + + EXT. IRAQI HOUSE + + -- the street. + + James is shaken. He looks around, down the street. It's + murky. Dangerous. Even the shadows have shadows. + + He runs...and runs...and we stay on his eyes. Blood runs from + the wound on his head. + + SOUND of far off EXPLOSION. The sky turns orange briefly, + then fades into blackness. + + + EXT CAMP VICTORY GATE NIGHT + + A blast of bright white light floods James. He's stunned - + and raises his ID in his open palm over his head. A scrap of + blood stained fabric is wrapped around his head wound. + 96 + + + + Multiple rifles suddenly trained on his upturned face. VOICES + SLAP CONCRETE: + + GUARDS + On your knees, on your knees!! + + A big offish GUARD walks up and slams a rifle butt into the + side of James' head. + + He falls to the ground. + + GUARD + What're you doing? + + JAMES + (GASPING) + Ficke, ficke. + + The guard sees the military ID splayed on the ground. + + GUARD + Yeah? + + James nods. + + JAMES + Whorehouse two clicks from here. + + GUARD + If I let you in, will you tell me + where it is exactly? + + CUT TO: + + + EXT CAMP VICTORY NIGHT + + James walking along a dark camp road. He walks up to the head + shed porch, and goes inside. His walkie, sitting on a desk, + comes to life. + + SANBORN + (OVER WALKIE) + I repeat, do you copy? Do you copy? + + JAMES + (INTO WALKIE) + Yeah, I'm right here. What's up? + + SANBORN + (OVER WALKIE) + Oh nothing. + (MORE) + 97 + + SANBORN (CONT'D) + (sarcastically) Just wondering if + you might want to join us in the + Humvee for a little outing the Army + wants us to go on. + + JAMES + (INTO WALKIE) + Copy that. What's you're twenty. + + SANBORN + (OVER WALKIE) + We're at the south gate, James. + We've been waiting for you for half + an hour. Where have you been? Over. + + + INT HUMVEE MINUTES LATER + + James jumps in. Sanborn and Eldridge shoot him impatient + looks. + + Sanborn hits the gas. + + SANBORN + A tanker blew up near the Green + Zone about an hour ago. We're doing + a post-blast on it. To figure out + how the suicide bomber pulled it + off. So where did you say you were + again? + + JAMES + I didn't. Sergeant. Let's go. + + ELDRIDGE + What happened to your head. + + JAMES + Watch the road, Owen. + + Sanborn looks at him, shakes his head. James stares out the + window. + + CUT TO: + + + EXT BAGHDAD STREET LATE NIGHT + + A pair of Humvee headlights, glowing orange in smoke filled + air, come rapidly toward us. They stop, the Humvee groans on + idle. + + James' team gets out. + 98 + + + + They walk down the street, guns low, combat flashlights on. + + JAMES + Sanborn, get the big spotlights. + + Sanborn doubles back to the truck, roots around in the back, + comes running back with two giant flash-lights. James hits + the switch. Sanborn hits the switch. + + A pool of intensely bright light opens in front of them, + revealing a rubble strewn street. Concrete. Bits of glass. + Metal. Everything that goes into a city -- pulverized. + + We hear CRUNCHING sounds as the men walk down the street and + their feet fall on the blast remnants. The crunching gets + louder as they walk towards a GLOWING RED INFERNO at the end + of the block. + + A Soldier's head, then his shoulders visible in the distance. + + SANBORN + Friendlies, coming `in. + + SOLDIER + You guys the Medics? + + JAMES + No, we're EOD. + + They walk past, deeper into the gloom. + + Two soldiers run past them, carrying a stretcher. + + SANBORN + Hey. + + They stop to see what he's looking at. Twisted metal. + + SANBORN + That's an engine block. A big one, + too. From a truck probably. + + JAMES + Oil tanker? + + SANBORN + It's what I'm thinking. + + The men keep walking, and now the SOUNDS from the Inferno are + louder. + + Another man rushes towards them, his face shrouded in + blackness. + 99 + + + + Sanborn points his rifle at the man's head. Hits him with the + Hi-Beam of his light. The man is wearing a black wool ski + mask. + + SANBORN + Stop! Wagef! Wagef! + + SKI MASKED MAN + No. I am working here. + + Sanborn looks at him. Doesn't reply. + + James puts his gun up on the guy. Now Eldridge does too. This + guy is about to be toast. + + When... + + A face appears next to him. + + FACE + He's with me. + + Guns cover the face... + + Then they see that above the face is a helmet... + + And on the top of the helmet is a COLONEL'S INSIGNIA. + + COLONEL REED + Okay fellas? + + JAMES + Sorry, Sir. I didn't recognize you. + + Guns are lowered, fast. + + Now that the Colonel is fully visible in the light we can see + that he's shaken by the scene of destruction around him. + + COLONEL REED + We haven't found a body so it could + be a suicide bomber or some clever + bastard that caused all this -- and + slipped away to sip tea with his + mommie -- we just don't know. + + As the Colonel struggles to define the horror he's just seen, + James jumps in to save him: + + JAMES + We'll take a close look, Sir. + 100 + + + + COLONEL REED + This kind of situation we may never + know what happened. This is a mass + casualty situation - terrible + destruction. + + JAMES + Roger that, Sir. We'll do our best. + + A stretcher comes by. + + COLONEL REED + They're cowards, you know. I wish + they would stand up and fight us, + man to man, instead of playing hide + and seek with me. + + JAMES + Roger, Sir. We better get moving. + + COLONEL REED + Right, go ahead Sergeant. + + The Colonel nods and moves off. His translator stands for a + moment. Takes off his ski mask to reveal an intelligent face + with deep set eyes and a dirty smear of five o'clock shadow. + + SKI MASKED MAN + I'm Ahmed. My name is Ahmed. Thank + you for not shooting me. + + The men move on... + + Advancing toward the plume of smoke and embers rising into + the sky...smell of burning rubber and charred metal... + + ...until they see it -- + + --the twisted steel carcasses of two small vehicles and a + TANKER. + + The image is biblical - the wounded and dead piled together + in one Hieronymus Bosch maze of tangled limbs, body parts... + + Palm trees burning at the top...like Olympic torches. + + SOLDIERS secure the area. GRIEVING FAMILIES swarm around the + dead and dying -- + + James, Sanborn and Eldridge approach. Wind fans nearby + flames into a fountain of embers that float up into the black + desert night. + 101 + + + + James moves through charred metal, stumbling over something + sharp. + + -- then something hits his leg... What? Flashlight, gun -- + DOWN! -- it's a CHICKEN, charred -- feathers burned off but + still walking around - disoriented, dying... + + James stumbles sideways to avoid the charred hens... + + SOUNDS distant and near of wailing, MEDICS racing onto the + SCENE -- + + A WOMAN wearing Bhurka appears out of the distant flames and + haze -- looking disoriented, in apparent state of shock -- + + + SANBORN + + A BODY lies trapped beneath a pile of rubble. Sanborn reaches + down to remove one of the chunks of stone. It slides away, + but another falls in its place. + + + ELDRIDGE + + Shines his light on a concrete wall, stained with what looks + like threads of black lace. He draws closer. What is it? + Sanborn leans in. + + SANBORN + It's hair. + + + JAMES + + Approaches the woman in the Bhurka -- + + JAMES + Hey! Hey -- you alright? -- Keef + Halek? + + She turns to face him...madness in her eyes. + + James' flashlight illuminates a massive crater, black...and + empty. + + Eldridge swirls around. + + ELDRIDGE + (CALLING) + James?! + 102 + + + + JAMES + Hey, I'm right here. + + James is shining his light into a orange tree. There's a + PERFECTLY formed ORANGE, unharmed, nestled among the burnt + leaves. + + JAMES + This is where the blast stopped. + (beat) Look over there. + + James is pointing to a building in the distance. It's past a + row of houses and a field. + + Sanborn comes into view. James nods to him and points again. + + JAMES + Perfect vantage point for a remote + det -- and I bet he's out there + right now watching us make fools of + ourselves. We could get him. + + ELDRIDGE + You want to go out there? + + James keeps looking into the distance. + + JAMES + Yeah, let's go hunting. + + ELDRIDGE + I could stand to get in some + trouble. + + Sanborn stares at James and the bandage on his head. + + SANBORN + No. + + JAMES + No? + + SANBORN + Man, this is bullshit. You got -- + what?-- three infantry platoons + here. That's their job. + + JAMES + (FIERCELY) + You don't say No to me, Sergeant. I + say No to you -- and I'm not going + to let this bomber slink off while + the grunts get their act together. + (MORE) + 103 + + JAMES (CONT'D) + (on the move) + Let's go. Now. + + James glowers at Sanborn and Eldridge and stomps off, down + the alley toward an empty field. + + Eldridge shoots Sanborn a sympathetic glance, and follows + James. Sanborn watches them recede into the darkness. + + Sanborn runs after them. + + + FIELD + + They move three abreast across a dark field, guns raised + commando-style. Poised to strike. + + They walk in silence, alert to every decibel. + + Gravel underfoot. Enveloping night. + + They come to a high wall, behind which the ground raises to a + gentle hill that looks out onto the tanker. + + + WALL + + Sanborn gives James a leg up over the wall. James helps + Sanborn over. + + They lean over to pull Eldridge up but with the forty pounds + of gear he's got on he's too heavy. + + JAMES + You got to work on your pull ups. + + James and Sanborn drop over the other side, and we follow + them as they crouch low and approach a building construction + site. + + + WALL + + Eldridge pushes his back against the wall and scans the area. + It dawns on him that he's alone. + + + CONSTRUCTION SITE + + Sanborn and James come to the edge of the site and find what + may or may not be the remains of the trigger man's camp. + There's a florescent lantern still glowing and cigarette + butts in a pile. + 104 + + + + JAMES + That little bastard. Let's torch + this spot so he can't use it again. + + James pats his pockets down, looking for something. + + JAMES + Do you have an incendiary? + + SANBORN + No. + + Three quick SHOTS ring out -- they sound very close. + + Sanborn and James instinctively fall to one knee. They scan + the area -- nothing. + + As one man, they rise and start running back to the wall. + + JAMES + Eldridge!!! + + There's no answer. + + + WALL + + SANBORN + He's gone. + + They both drop to the ground on the other side. + + They scan the ground with their flashlights. + + The BODY of an Iraqi insurgent is lying close to where + Eldridge had been standing. He's pulped from bullet wounds, + and gasping for breath. + + JAMES + This guy comes out of the dark - + Eldridge shoots. + + He scavenges the ground looking for brass casings. + + Nothing. + + SANBORN + Three shots, close range. He takes + a step forward to see what he's + hit. + 105 + + + + JAMES + Another guy comes from behind him -- + gets the drop on him. You're a + hostage. + + They look up and down the wall. + + SANBORN + That way is towards the tanker, + troops. + + + DARK STREET + + They run about fifty yards when Sanborn TRIPS, stumbles, + James catches him as he falls, and they keep going. + + In the distance, they see Eldridge's back and the backs of + two other MEN, just as they are turning a corner. + + They SPRINT to the corner, and pause to catch their breath as + James hands Sanborn his flashlight. + + JAMES + Hit `em with both lights on three. + + SANBORN + Fuck. Okay. + + JAMES + One. Two. + + Sanborn shoulders his rifle and readies both spotlights. + + JAMES + Three. + + They spin around the corner - flash of light revealing + NOTHING but an empty street. + + They sprint to the next block, where Eldridge is being walked + quickly at gun point. + + The men's rifles are at his head. + + JAMES + Again. One two three. Do it. Do it. + + Sanborn shines the lights on the backs of both men. + + James fires. Three shots at the guy on the left of Eldridge. + Three shots at the guy on the right. + 106 + + + + Sanborn kills the flashlights. + + James goes running towards the group, Sanborn running next to + him. Both have their guns up but lights off. + + They get to the group and all three men are on the ground. + Both Iraqis are dead -- shot clean in the back. + + Eldridge is bleeding profusely from his leg, but he's alive. + + James and Sanborn pick Eldridge up and drudge back with him. + + ELDRIDGE + Am I dead? + + JAMES + No. You're fine. + + ELDRIDGE + Am I dead? Am I dead? Am I dead? + + Off James' face -- + + + INT CAMP VICTORY SHOWER STALLS LATER THAT NIGHT + + James walks in. The room is empty. Florescent lights hum. + James is still wearing his fatigues. His whole midsection is + red with Eldridge's blood. + + James heads to the shower and steps inside, fully clothed. He + turns on the water. + + Aims the shower head to his stomach. Sinks down so it can hit + the bloody stains. + + As the uniform grows wet, then gets soaked, the pinkish water + swirls down the drain -- + + + EXT CAMP VICTORY FIRST SERGEANT'S TRAILER + + James and Sanborn emerge into the wind. + + SANBORN + So how you doing with this? + + JAMES + Fine. I'm fine. + + SANBORN + Fine? You know I lied to our + sergeant. + (MORE) + 107 + + SANBORN (CONT'D) + So Eldridge wouldn't have to go + around saying he was shot by his + own team leader. + + JAMES + Yeah. Thanks. I'm just tired. + + SANBORN + You want some sleeping pills? + + JAMES + Nah, I'm good. + + + EXT CAMP VICTORY HEAD SHED MORNING + + James walks purposely out of the head shed toward a waiting + Humvee. He passes Pele who looks up and shouts: + + PELE + Hey, Boomala, Boomala! + + James keeps walking. Eyes straight ahead. + + PELE + HEY-- + + Running up to James, holding DVD's, walks next to him. + + PELE + (SMILING) + Look at these, best quality. No + special effects! + + James just keeps walking. He gets in the car, Sanborn in the + driver's seat. + + Pele watches him go. Hurt. + + + EXT CAMP VICTORY TARMAC MORNING + + Eldridge is on a stretcher, being loaded into a military + transport helicopter. Sanborn and James are there to say good- + bye. + + As Eldridge is being loaded in, James touches his shoulder. + + JAMES + You'll probably be walking in a few + months. + 108 + + + + ELDRIDGE + My tibia is shattered in nine + places I don't think I'm going to + be walking soon. The doc said six + months if I'm lucky. + + JAMES + Wow. Six ain't bad. + + ELDRIDGE + Not bad? It fucking sucks man. + + Eldridge is jostled as he gets put down. And he cries out in + pain. + + ELDRIDGE + (ANGRILY) + You see that motherfucker. That's + what happens when you shoot + somebody. + + JAMES + I'm sorry. + + ELDRIDGE + You're sorry? Fuck you, Will. + (meaning it) Really fuck you. + Thanks for saving my life and all + but we didn't have to go hunting + for the trigger man. You invented + it, to get your adrenaline fix. You + war mongering fuck. + + James is stunned. + + SANBORN + (grabbing Eldridge's hand) + Take care of yourself, Owen. + + A TRANSPORT SOLDIER looks at Sanborn and gives a hand signal + to wrap it up. Time to go. The door is closed on Eldridge. + + James and Sanborn watch as the helicopter takes off. The + rotor wash chops the air. + + + JAMES + + Wind and sand buffet his face. He turns to say something to + Sanborn. + 109 + + + + But he's already walking away. + + CUT TO: + + + EXT BAGHDAD STREET LATE AFTERNOON + + A new sand storm has begun. + + And so it's in a cloud of dusty orange air that we find + James, encased in his bomb suit, taking the first steps of + his trek towards... + + + DOWNRANGE + + A WASHING MACHINE. Sitting in the middle of the street. + + + TITLE OVER: + + DAYS LEFT IN BRAVO COMPANY'S ROTATION: 5 + + + UPRANGE + + Sanborn casts a nervous look around the poverty-stricken + neighborhood. It has taken on a forboding vibe in the + unrelenting storm. + + + DOWNRANGE + + James approaches the washing machine. + + JAMES + (headset, impish grin) + I hear ticking. + + He uses a long pole to open the door of the washing machine. + It's empty inside. + + Getting closer, he sees the washing machine timer is at 30 + minutes. James rests his head on the timer, listening. + + He turns his attention to the back of the washing machine, + unscrewing the rear plate. + + Inside, just a tangle of wires. He traces the wires with his + hand. Shrugs. + + Then he turns back to the front of the machine. He twists the + timer with his hand, slowly, all the way back to zero. + 110 + + + + It DINGS -- harmlessly. + + JAMES + (HEADSET) + Hey, Sanborn. + + SANBORN + (OVER WALKIE) + Copy. What's up? + + JAMES + (OVER WALKIE) + Send your skivvies down here on the + bot, I'll run a quick bleach cycle. + Somebody threw out a perfectly good + washing machine. + + UPRANGE + + SANBORN + (RELIEVED) + Copy that. + + --When, suddenly, the SOUND of SOLDIERS SHOUTING in the + distance catches Sanborn's ear. + + SANBORN + (INTO WALKIE) + Hustle back, something's going on. + + + MOMENTS LATER + + James comes back sweating profusely from his run. Sanborn + helps take his helmet off. + + As two SOLDIERS come running over. More SHOUTING in the + distance, louder now. "Hands on your head." "Don't move + asshole." "Stop. Stop." + + In addition, the sound of SHOUTING IN ARABIC. A loud jumble. + + Over that, SOLDIERS YELLING: "Get back." "Form a perimeter." + + A NERVOUS SOLDIER trots up to James and Sanborn. + + JAMES + What's going on? + + NERVOUS SOLDIER + We've got a situation with a + suicide bomber. + 111 + + + + JAMES + We'll follow you. + + They follow the soldier down the road. The soldier is + sweating, terrified. + + + EXT BAGHDAD ROAD + + The road has been cordoned off by SOLDIERS on all sides. + + In the middle of the road an IRAQI MAN IN A NEW BLACK SUIT is + standing with his hands above his head. He's distraught. + Hair mussed. + + A SERGEANT seems to have taken command of the situation, and + now he alone is shouting to the man. "Stay still. Don't Move. + If you keep walking we will shoot you." + + A TRANSLATOR in a black ski mask is helping him get the + message across. + + The translator edges forward to talk to the BLACK SUIT man. + + SERGEANT + Keep that translator back. + + One of the soldiers grabs the translator. + + TRANSLATOR + (to the soldier) + But the bomb was forced on him. + Against his will. He is not a bad + man! + + James and Sanborn and the NERVOUS SOLDIER come onto the + scene. + + The Sergeant turns to James and explains. + + SERGEANT + He came walking up to our + checkpoint, said he had a bomb + strapped to him. He was sorry. He + didn't want it to blow up. He + begged us to take it off him. + + TRANSLATOR + (TO JAMES) + Help this man. He's not a bad man. + 112 + + + + SANBORN + Not a bad man? You've got to be + kidding me. + (TO JAMES) + This is a trap. He wants to draw + people close to him. + + JAMES + (TO TRANSLATOR) + Tell him to open his jacket. I need + to see the bomb. + + The translator SHOUTS in Arabic and the MAN unbuttons his + jacket, revealing several sticks of dynamite strapped to his + chest. + + JAMES + (to the soldier) + With that much bang, I'd need a + hundred meter perimeter. + (TO TRANSLATOR) + Tell him to get on his knees. + + The translator SHOUTS. BLACK SUIT complies. + + SERGEANT + Can we just shoot him? + + As James considers that option when -- + + TRANSLATOR + NO. He's not a bad man. He has a + family. The bomb was forced on him. + He is asking for help. Only help. + + JAMES + (TO TRANSLATOR) + I want you one hundred meters away, + like everybody else. + + TRANSLATOR + But how will I hear? + + JAMES + You don't need to. I'm going down + there. + + Meanwhile, the BLACK SUIT man is SHOUTING something in + Arabic. + + JAMES + (TO TRANSLATOR) + What the fuck is he shouting now? + 113 + + + + TRANSLATOR + He's asking you to hurry. He thinks + the bomb has a timer on it. + + James turns to Sanborn + + JAMES + Where's that helmet? + + Sanborn pulls James aside. + + SANBORN + We've had our differences. + Eldridge? That's water under the + bridge. It happened. But this -- + this is suicide. + + James smiles at Sanborn. He just doesn't get it. + + JAMES + That's why it's called a suicide + bomb. + + SANBORN + It's suicide for you, Will. + + JAMES + Nah. That guy wants to catch an + American? I'll give him an + American. + + Sanborn reluctantly hands him his helmet, and seals him in. + + James grabs a nearby soldier's walkie then starts the walk + downrange. + + Soldiers moving back to their perimeter. + + PEDESTRIANS gathering for a look. Soldiers scattering them + quickly. + + + BLACK SUIT + + Smiles thinly as James nears. + + James nods at him. The man nods, frightened. + + BLACK SUIT + Inshalla. Inshalla. + + JAMES + Uh-huh. + 114 + + + + James kneels down to get a closer look at the bomb strapped + to the man's belly. + + He takes out his 9mm and puts it on the guy's forehead. Cocks + the trigger. + + JAMES + If I shoot you now, I can disarm + this bomb much more easily. Do you + understand? + + BLACK SUIT stares at him blankly. + + JAMES + (HEADSET) + Sanborn, give your walkie to the + translator. + + TRANSLATOR + (OVER WALKIE) + Yes? + + JAMES + (HEADSET) + What the hell is this guy saying? + + BLACK SUIT jabbers on in Arabic. + + + UPRANGE + + The translator keys his walkie. + + TRANSLATOR + (INTO WALKIE) + He says, I don't wish to die. I + have a family. Please take this off + me. + + + JAMES + + Holds his walkie up for the man to hear the translator. + + JAMES + (HEADSET) + Hands have to stay behind his head + or I will be very happy to shoot + him. + + Translator conveys this to BLACK SUIT in Arabic. + 115 + + + + BLACK SUIT starts yelling in Arabic. Forehead wet with + sweat. + + TRANSLATOR + (OVER WALKIE) + He says, please hurry he has a + family. + + JAMES + (TO TRANSLATOR) + That's not what I asked you. Now + I'm going to shoot if he doesn't + understand that he can't move his + hands. + + James holds the walkie up to the man's ear. Translator has + another exchange. + + BLACK SUIT + Yes. Yes. Yes! + + Now James sinks to his knees and examines the bomb, all the + while keeping his pistol on the man's head. + + There is a FOREST OF WIRES. He pushes them aside, revealing a + cheap Casio digital WATCH, which is counting down from five + minutes. + + JAMES + (HEADSET) + Sanborn, I need to get this rig + off. There's too many wires here to + figure it out. + + SANBORN + (OVER HEADSET) + Copy that, what do you need? + + James feels around the bomb. It's strapped to the BLACK SUIT + man with heavy gauge metal. + + The man is shivering with fear. + + JAMES + (HEADSET) + Bolt cutters. + + SANBORN + (OVER WALKIE) + Copy that. I'll get `em. + 116 + + + + JAMES + (HEADSET) + You've got two minutes to get them + and get down here. + + + UPRANGE + + Sanborn is already running towards the truck when he hears + James. + + SANBORN + (INTO WALKIE) + Fuck. Copy that. + + + DOWNRANGE + + James presses his pistol harder into the man's forehead. + + JAMES + (TO MAN) + Don't move. + + + UPRANGE + + Sanborn runs to the truck. He roots around looking for the + bolt cutter. At last he finds it, and comes charging out with + it. + + + DOWNRANGE + + The Casio watch is at 4:30. + + + SANBORN + + Running hard with the bolt cutters. + + --Past a crew of soldiers. + + --Down the road, sprinting now. Rifle flapping. + + + DOWNRANGE + + Sanborn skids to a halt, hands James the cutters. + + James hands his gun to Sanborn, who holds it on the man's + forehead. + 117 + + + + James sets to work, applying the cutters to the thick metal + holding the bomb to his chest. + + The man is crying now. + + Sanborn sees the Casio. It reads 4:00 + + SANBORN + Holy shit. You weren't kidding. + + JAMES + Nope. + + James works the cutter blade. + + CU: Bolt Cutter. It SCRAPS futilely against the metal. + + JAMES + (SOTTO) + What is this made out of? + + BLACK SUIT + Please. Please. + + SANBORN + Case hardened steel. + + James doubles his effort. + + CU: Bolt Cutter. The blade bites the steel, but it doesn't + give. + + James squeezes with all his might. + + JAMES + Motherfucker. What's our time? + + Sanborn looks at the Casio. + + SANBORN + Three minutes. + + JAMES + Shit. Ok. Let me think. + + He puts the bolt cutter down on the ground. + + JAMES + We'd need an arc welder to get this + off properly. + 118 + + + + SANBORN + I don't think we have one of those + in the truck. + + CU: Casio Watch 2:30. + + JAMES + Let's try the back of it. + + Sanborn nods. Keeps the gun on the man's head. His hand is + starting to shake. + + James goes behind the man, and rips open the back of his + shirt, revealing the back of the bomb. Here too it is a + welded band, but the metal looks thinner. Weaker. + + James works it with the cutter. + + CU: Casio Watch 1:30. + + SANBORN + We have to bail. + + JAMES + Go. I got the suit. + + Sanborn looks at the guy. + + SANBORN + What do you want me to do with the + pistol? + + JAMES + Take it with you, that's a good + pistol. + + SANBORN + When do you leave? + + JAMES + In forty five seconds. + + Sanborn turns, and begins running uprange. + + SANBORN + (shouting to soldiers) + Get back! Get back! + + The soldiers turn and run. + + James tries and tries to clip the metal. It's a no go. He + comes around to face the man. + 119 + + + + JAMES + I'm sorry. + + BLACK SUIT + Please, please. + + JAMES + The metal is too thick. + + BLACK SUIT + Help me. Help me! + + James drops the bolt cutter, kneels down in front of the man, + and shakes his head. That's it. + + The man understands James' gesture. He reaches forward, + grabbing James' suit. + + BLACK SUIT + No! No! + + James clubs his hand away. + + JAMES + Sorry. + + CU: Casio Watch: 45 seconds. + + James gets up and starts running-- lumbers, really, in the + suit -- as fast as he can towards a retreating Sanborn. + + Sanborn hears James' boots thumping towards him and cranes + his neck to see + + --James running, arms akimbo + + --The Black Suit man stands up + + BOOM!! + + -- He explodes and the blast spits out fire and dust. + + --James is nailed with shrapnel and debris, knocked over. + + --Sanborn is blown to the ground. + + + JAMES POV + + --through the helmet a hailstorm of particulate matter flying + at 22,000 feet per second straight at us -- + 120 + + + + --chunks of molten metal hitting his stomach, stopped by the + SUIT + + --bits of shrapnel and body parts thump into him + + --dust and blood splatters the outside of his helmet + + + JAMES + + --CU his face: White. No movement. Total silence. + + --blood seeps from his nose + + --then, as if overcoming great resistance, his heart turns + over -- Daaaa--duuuunk + + --sharp, loud inhale of breath. Like birth. The heart kicks + in again. Da-dunk. Da-dunk. + + James struggles to stand. + + He looks uprange. + + Sanborn is staggering towards the soldiers. + + CUT TO: + + + EXT HUMVEE DUSK + + The Humvee snakes along the desert floor. + + Traffic thickening. + + Shadows against a dimming sky. + + + INT HUMVEE + + Sanborn is in the passenger seat, shivering, and covered in + grime and dust. James, in the driver's seat. + + James looks over at Sanborn. + + JAMES + You alright? + + SANBORN + No. I hate this place + + Sanborn stares out the window at the unforgiving landscape. + 121 + + + + James passes Sanborn some Gatorade. + + JAMES + Have a hit. + + Sanborn drinks, grateful, and puts the Gatorade down. Then he + looks at James. + + SANBORN + I'm not ready to die, man. + + JAMES + Bro, you're not going to die out + here. + + Sanborn shakes his head. Unconsciously, his fingers touch his + neck, finding the exposed area above the collar of his body + armor. + + SANBORN + Another inch or two difference. + Shrapnel goes zing (still touching + his neck). Severs my throat. I + bleed out in the sand. + (BEAT) + Fuck. If I die now, nobody will + even really care. My folks, sure. + But that don't count. Who else? + (BEAT) + I don't even have a son. + + JAMES + You got time. + + SANBORN + No... I'm done. I want a son, Will. + I want a son. + + They drive on in silence. Then Sanborn looks at James, as if + seeing him for the first time. + + SANBORN + Why do you do it? Take the risks? + + JAMES + Hell, I don't know. + + SANBORN + But you know what I'm talking + about, right? Every time we go out, + you throw the dice. Live or die, + you just throw `em down. You + recognize that, right? + 122 + + + + Beat. + + JAMES + Yeah. (softly) I do. But I don't + know why. Do you know why I am the + way I am? + + SANBORN + No, Will, I don't. + + Silence. Then after a while: + + JAMES + This traffic is pissing me off. + + SANBORN + Where are we, anyway? + + JAMES + I know where I am but I'm lost. + + They drive on. Dust off the desert floor blows into the + WINDSHIELD -- + + TIME CUT TO: + + + INT KNOXVILLE, TENNESSEE SUPERMARKET DAY + + A big one. Vast, hyper-hygenic, the aisles stretching on, + loaded with glistening produce. Muzac. A cathedral to + consumerism. + + We find James walking through the supermarket, looking like a + new man. His hair has grown, softening his features. He's + scrubbed clean, dust free, and dressed in Bermuda shorts and + a clashing Polo shirt. The All American Dad. A suburban + softie. Pushing a shopping cart. + + Welcome home, son, for you are no longer in Baghdad. You're + in the "big PX" -- America. + + A beautiful young WOMAN approaches him from the other end of + the aisle. She too, is pushing a shopping cart, and in it is + a small BOY. She smiles at James, and says: + + YOUNG WOMAN + Honey, you grab the barbecue sauce + and I'll meet you in aisle four. + + And CONNIE JAMES smiles again, and pats her husband on the + shoulder. + 123 + + + + Now James knows he's really home. + + + JAMES + + Pushes the cart over to the sauce section. Down the squeaky- + clean aisle. + + His progress is impeded by an OBESE WOMAN who is mulling over + cat litter. Her overflowing cart blocks the aisle. + + James stops. Hands tight on the shopping cart. He looks at + her hard. She ignores him. Where's the 9mm when you need it? + + James clears his throat. She sees him. Moves her cart. + + He continues on, walking through the cavernous space. + + At last, he's at the sauce section. He is rattled by the + abundance after the bleakness of Iraq, and the array of + choices is dizzying. + + --He reaches for a bottle, then pulls back, unsure. + + --Giving up, he picks a bottle at random and tosses it into + the cart. + + + INT KNOXVILLE JAMES HOUSE KITCHEN MORNING SOME DAYS LATER + + James is washing the vegetables they've just bought at the + grocery store. Mushrooms bob in a pool of water at the bottom + of the sink. James tries to clean them individually, but + can't. They crumble in his hands. + + CONNIE + Let's put the chicken on first and + the vegetables on last, so they + don't burn? + + James struggles with the mushrooms. Makes no reply. + + CONNIE CONT'D + Will? + + JAMES + Yeah, okay. (beat) You know, + they're really short on bomb techs + over there. + + Connie knows where this is going, but she fights the + inevitable. + 124 + + + + CONNIE + Well, good thing the army is + hiring, and they've got so many + great guys over there. + + JAMES + Uh-huh. + + James wipes his hands on the dish towel and walks out. + Looking at his retreating back, she accidentally knocks a + glass off the counter, and it shatters. + + + EXT JAMES HOUSE LATER THAT DAY + + A few NEIGHBORS have gathered for a barbecue in James' + backyard. It's a simple, low-key affair. James is tending + meat on a grill. + + + INT JAMES HOUSE CONTINUOUS + + The doorbell rings. Connie rushes to open it. It's Sanborn. + She hugs him. + + CONNIE + Thanks for coming. Maybe he'll + listen to you. + + SANBORN + I know how to talk to him. + + + EXT JAMES HOUSE A LITTLE LATER + + Behind the barbecue, Sanborn finds a moment to confront James + privately. + + SANBORN + What the fuck is the matter with + you? You got a family, kid, nice + looking burgers. + + James studies the grilling meat. + + JAMES + I know, it's crazy. So how's life + at home treating you? + + Sanborn holds up his hand. He's wearing a wedding ring. + 125 + + + + SANBORN + I made the plunge. (big smile) But + I thought we were talking about + you. + + JAMES + We just did, buddy. + + + INT JAMES' SON'S BEDROOM LATER THAT NIGHT + + The boy is in a cradle, face up and wide awake. James comes + in to tuck him in. + + James pulls a book of fairy tales off the shelf, flips + through it. Can't read that fluff. + + He pulls up a chair. Begins to play with a Jack-In-the-Box. + He winds it up. + + He opens it for his son. The Jack POPs out. + + His son squeals with delight, then his eyes go wide with + fear. He's not sure what to make of the bobbing clown. + + JAMES + (trying to settle him + DOWN) + Well, let's see. I bet you don't + know the story of these magic + boxes. + + James looks at the box. He stuffs the Jack back in and closes + it. + + The boy looks up at him with a son's pure admiration. Rapt. + + JAMES + Once upon a time, in a distant + kingdom, there were many magic + BOXES + + He stops to think. + + JAMES + Every person had a magic box. But + you couldn't tell they were magic + boxes on the outside. Like this + one. + + He brings the box close to the child's eyes. The boy is + dazzled by the colors. He reaches out to touch it. + 126 + + + + JAMES + It just looks like a plain old box. + Then a new king came along and told + all the people, you have to give me + all your magic boxes. But the + people, instead of giving away + their boxes decided to hide them. + And they put their boxes in secret + places all over the kingdom. They + put them in the roads. They put + them in cars. They put them in + buildings. And the King said, (does + a King's gravelly baritone) "Well, + how am I going to get my magic + boxes now?" And one of the King's + men said, "We have a special Knight + with special armor, and he can find + the boxes. And only he. + + He tries to collect his thoughts. + + JAMES + And this Knight gathered up all the + boxes, far and wide. And sometimes - + - when he wasn't sure if it was a + magic box -- he opened them. + + James slowly opens the box, holding the clown in with his + hand so it doesn't pop. Releasing it slowly. + + The boy giggles and reaches up. + + JAMES + And the King said to the Knight, + you have done a wonderful job. I + will grant you one wish. What do + you wish? + + James thinks, struggles to find an ending. + + JAMES + But the Knight didn't know what to + say. + + James realizes he can't finish the story. + + JAMES + You see, the thing is, son. One day + you'll understand that when you + start out like you are now, you + love everything. You love your + Mommy and your Daddy. You love your + bobba. You love your blanket. + (MORE) + 127 + + JAMES (CONT'D) + You even love your little crib, and + these dumb toys. But as you get + older some of the things you love + don't seem special anymore. That + bobba is one day just going to look + like an ordinary plastic bottle to + you. And the older you get, the + more this happens and the fewer + things you love. And by the time + you get to be my age, sometimes you + only love one -- or two -- things. + + James pauses. + + JAMES + With me, I think's it's one. + + + EXT KNOXVILLE BUS STOP DAWN + + James waits for the bus. Wearing his camo. He's alone. His + hair is shaved again. + + The far off city BUS grinds its gears. James turns toward + the sound when a Chevy PICKUP pulls ahead of the bus, and + zooms to a stop in front of him. + + + INT PICKUP + + Sanborn opens the passenger window. + + + EXT BUS STOP + + JAMES + You lost again, Sergeant? + + SANBORN + Get in, before I change my mind. + + They drive away. + + + INT PICKUP + + SANBORN + (SMILING) + Couldn't risk letting you on a + public bus. Probably shoot the damn + driver if it wasn't moving fast + enough. + 128 + + + + + INT AIRPLANE + + A stewardess passing out glasses of water and packages of + peanuts approaches James' aisle. + + STEWARDESS + Here you are, Sir (noticing James' + uniform) Thank you for your + service. + + JAMES + Your welcome, m'am. + + The stewardess smiles lovingly, and waits for an opening to + continue the conversation. When none comes, she moves on. + + James turns to the window. In his hand he holds a photo of + his son. + + Tears well up. + + The plane's ENGINE WHINE swells and merges with-- + + CUT TO: + + + EXT BAGHDAD DAY + + --SONIC OVERLOAD: + + Angry drivers SHOUT in Arabic - car HORNS blare - loudspeaker + CALL to prayer - Humvee RUMBLE - incoming CHOPPER WASH - RAT- + TAT-TAT of distant gunfire -- + + As James' feet hit the tarmac. + + A SOLDIER is waiting for him, with a smile on his face. + + SOLDIER + Welcome to Delta-Company. + + A Middle-Eastern sun bathes James' upturned face lengthening + into a smile. + + His pace slows...the tarmac transitions to dirt as little + puffs of dust lift off his continuous passage. He is now in + the bomb suit and we are -- + + + EXT. BAGHDAD OUTSKIRTS DAY + + -- in the desert. + 129 + + + + The small CLUSTER of SOLDIERS at the side of the road parts + to make way for James. + + Hands pat his back as he begins the long walk down the street + -- toward the bomb. + + All SOUND telescopes down to just James' BREATHING... + + --the view through James' eyes: the outside world of soldiers + and Baghdad seems to pulsate with excitement -- + + -- James' face. As the SOUNDS of his breathing grow louder + + -- The noon day sun beats brilliantly onto a car's + windshield, the glass shimmering. + + + TITLE OVER: + + DAYS LEFT IN DELTA COMPANY'S ROTATION: 365 + + -- James moves into the path of that reflected sunlight. + + -- And vanishes into the glare. + + + END diff --git a/scripts/Thor_Ragnarock.txt b/scripts/Thor_Ragnarock.txt new file mode 100644 index 0000000..860966f --- /dev/null +++ b/scripts/Thor_Ragnarock.txt @@ -0,0 +1,7157 @@ + THOR: RAGNAROK + + + + + Written by + + Eric Pearson and Craig Kyle & Christopher L. Yost + + + + + + + + 1 OMITTED 1 + +A2 OMITTED A2 + +A3 THE MARVEL LOGO. SMOLDERING, BEGINNING TO TURN ORANGE IN THE A3 + HEAT AS WE TILT UP TO SEE- + + -FIRE. NOTHING BUT FIRE. + +2 INT. TIGHT SPACE - INDETERMINATE TIME 2 + + Dark and cramped. The soft red light of fire seeps through + iron slats. Inside this cage is a man, bound by chains. + + It's THOR. His beard is long and his clothes are worn. That + rough, grizzled look of a man who's spent years on the road. + + He awakens with a JOLT. Looks around. + + THOR + Now I know what you're thinking. + Oh no! Thor's in a cage. How did + this happen? + (then:) + Well, sometimes you have to get + captured just to get a straight + answer out of somebody. It's a long + story but basically I'm a bit of a + hero. See, I spent some time on + earth, fought some robots, saved + the planet a couple of times. Then + I went searching through the cosmos + for some magic, colorful Infinity + Stone things... didn't find any. + That's when I came across a path of + death and destruction which led me + all the way here into this cage... + where I met you. + + Reveal that he's talking to a weird alien skeleton in chains. + + THOR (CONT'D) + How much longer do you think we'll + be here? + + NOISE. Sounds of metal gears TURNING. + + Suddenly the bottom DROPS OUT! Thor PLUMMETS until - SHLINK! + Chains CINCH and abruptly halt his descent. Thor dangles six + feet off the ground. Pull back to reveal we are in- + BLUE DRAFT 05/20/16 2. + + +3 INT. SURTUR'S LAIR - CONTINUOUS 3 + + A cavernous space. The walls, floors, and ceilings are + molten rock, which has creepy glimmers of fire within it. + Stationed in the center is a volcanic rock throne, and + sitting in that throne is a charred demonic skeleton. + + SURTUR (O.S.) + Thor, Son of Odin. + + Thor's chain turns to reveal- + + -SURTUR on his throne. Eighteen-feet-tall, flesh made of + fire, and demonic spiked horns on his skull. + + THOR + Surtur. Son of a bitch...you're + still alive! I thought my father + killed you, like, half a million + years ago. + + SURTUR + I cannot die. Not until I fulfill + my destiny and lay waste to your + home. + + THOR + You know, it's funny you should + mention that because I've been + having these terrible dreams of + late. Asgard up in flames, falling + to ruins, and you Surtur are at the + center of all of them. + + SURTUR + Then you have seen Ragnarok, the + fall of Asgard. The great prophecy-- + + THOR (O.S.) + Hang on. Hang on. + + Reveal that Thor's chain is turning VERY SLOWLY. + + THOR (CONT'D) + I'll be back around shortly. I + really feel like we were connecting + there. + + After a beat, Thor rotates around to face Surtur. + + THOR (CONT'D) + Okay, so, Ragnarok. Tell me about + that. Walk me through it. + BLUE DRAFT 05/20/16 3. + + + SURTUR + My time has come. When my crown is + reunited with the Eternal Flame, I + shall be restored to my full might. + I will tower over the mountains and + bury my sword deep in Asgard's-- + + THOR + Oh, hang on. Give it a second. + +Once again, Thor is turning VERY SLOWLY. + + THOR (CONT'D) + I swear I'm not even moving, it's + just doing this on its own. I'm + really sorry. + (then:) + Okay, let me get this straight. + You're going to put your crown into + the Eternal Flame, and then you'll + suddenly grow as big as a house-- + + SURTUR + A mountain! + + THOR + The Eternal Flame that Odin keeps + locked away on Asgard? + +Surtur grins, evil. + + SURTUR + Odin is not on Asgard. And your + absence has left the throne + defenseless. + +That elicits a concerned look from Thor. + + THOR + Okay, so where is it? This crown? + + SURTUR + This is my Crown, the source of my + power. + +Surtur points at the V-shaped horns on his head.. + + THOR + Oh, that's a crown? I thought it + was a big eyebrow. + + SURTUR + It's a crown. + BLUE DRAFT 05/20/16 4. + + + THOR + Anyway, it sounds like all I have + to do to stop Ragnarok is rip that + thing off your head. + +Surtur stands up and approaches Thor, DRAGGING his sword. + + SURTUR + But Ragnarok has already begun. You + cannot stop it. I am Asgard's + doom, and so are you. All will + suffer, all will burn. + +Surtur steps forward and GRABS the chain above Thor's feet, +holding it so he and Thor are face to face. + + THOR + That's intense. To be honest, + seeing you grow really big and set + fire to a planet would be quite the + spectacle. But it looks like I'm + going to have to go with option B + where I bust out of these chains, + knock that tiara off your head, and + stash it away in Asgard's vault. + + SURTUR + You cannot stop Ragnarok. Why fight + it? + +Behind his back, Thor opens his hand. Sending out the SOS. + + THOR + Because that's what heroes do. + +Nothing happens. Thor appears annoyed at himself. + + THOR (CONT'D) + Wait, sorry. I didn't time that + right. + (pause) + And, now! + +BOOM! Thor's hammer Mjolnir CRASHES through the wall! + +Thor BREAKS FREE from his chains, GRABS Mjolnir, spins, and +flies a distance away. He FLINGS Mjolnir back at Surtur, +smashing the giant in the face. Mjolnir returns. + + SURTUR + You have made a grave mistake, + Odinson. + BLUE DRAFT 05/20/16 5. + + + THE WALLS COME ALIVE! A seemingly infinite swarm of FIRE + DEMONS rally to Surtur's aid. + + THOR + I make grave mistakes all the time. + Everything seems to work out. + + In the shadows, a massive FIRE DRAGON ROARS. + + The fire demons SURGE FORWARD. Thor backs up, HAMMERING + AWAY. He then leaps back, SPRINGBOARDS off the wall, and- + + -LANDS HARD, SLAMMING Mjolnir down. The resulting shockwave + KNOCKS BACK THE LEGION OF FIRE DEMONS. + + The Fire Dragon STRAINS against a chain leash. + + Thor is now facing off with Surtur. Surtur thrusts his hands + at Thor, generating a humongous PROJECTILE WALL OF FIRE! + + Thor SPINS Mjolnir so fast that it creates a kind of SHIELD. + + The God of Thunder and the Fire Giant engage in ferocious + hand-to-hand combat. Each landing power shots, sending + sparks of both fire and electricity into the air. + + Thor SLIPS behind Surtur and TAKES OUT his knees. Thor then + LAUNCHES HIGH into the air and summons a HUGE LIGHTNING BOLT. + Descending hard, he uses all his power to- + + -LOP SURTUR'S HEAD OFF OF HIS BODY! Surtur's body DEFLATES + and COLLAPSES into a heap of charred bones. + + Thor straps the crowned skull to his back. He turns to find- + + -the army of Fire Demons regrouping as reinforcements flood + in, filling the space to capacity. Recognizing the threat, + Thor thrusts Mjolnir above his head. + + THOR (CONT'D) + Heimdall. I know it's been a while, + but I could use a fast exit! + + Nothing. Thor just stands there as the Fire Demons advance. + + THOR (CONT'D) + ...Heimdall? + + +4 INT. THE OBSERVATORY - SAME 4 + + Heimdall is nowhere to be found. Instead, we meet SKURGE. + He's bald, strong, mean looking, a little eager to be liked. + BLUE DRAFT 05/20/16 6. + + + At the moment, Skurge is entertaining two ASGARDIAN WOMEN. + + SKURGE + Heimdall was an idiot. This job + should have made him rich. Now, + the job ain't easy, but it does + have its benefits. The Bi-Frost + gives me access to everything the + Nine Realms have to offer. I mean + it's all mine for the taking. + (beat) + Behold...my stuff. + + Skurge has drawn their attention to a pile of weapons and + treasures he has stashed off to the side. + + He hefts up two M-16 assault rifles, trying to play it cool. + + SKURGE (CONT'D) + I'm particularly fond of these. I + pulled `em out of a place on + Midgard called Texas. I even named + them. Des and Troy. You see, when + you put them together...they + destroy. + + +5 INT. SURTUR'S LAIR - CONTINUOUS 5 + + Having expected to have been Bi-Frosted out of there, Thor is + OVERRUN BY THE GIANT WAVE OF FIRE DEMONS! + + The Fire Dragon BREAKS FREE of its chain. + + Realizing he's in trouble, Thor TAKES OFF, rocketing up to- + + +6 EXT. MUSPELHEIM - CONTINUOUS 6 + + Thor CRASHES out of the ground and LANDS on a craggy surface. + Disoriented and singed from the fire demon onslaught. + + Thor's cloak is on fire, and he frantically PATS OUT the + flames. He picks up Mjolnir, holds it up once more. Nothing. + + THOR + Heimdall, come on. + + THE GROUND SHAKES! Like an earthquake. Thor backs up as the + ground begins to give way all around him. And then- + + -THE FEARSOME FIRE DRAGON BURSTS OUT OF THE GROUND! The + dragon opens its tremendous jaws for an ear-splitting roar... + BLUE DRAFT 05/20/16 7. + + + ...but Thor STUFFS Mjolnir into its mouth and lets go. + + THUD! The hammer DROPS, pinning the beast down by its bottom + jaw. It THRASHES and GROWLS, trying to break free. + + THOR (CONT'D) + Stay. + (looks up to the sky:) + I'm running short on-- + + Thor notices that all around him the ground is CRUMBLING like + a field of sinkholes giving way to more snarling Fire Demons! + + THOR (CONT'D) + -options. + + Thor calls for Mjolnir and TAKES OFF. The dragon SCREECHES! + +7 OMITTED 7 + +8 OMITTED 8 + +9 INT. THE OBSERVATORY - SAME 9 + + Skurge continues showing off for the ladies. + + THOR (O.S.) + Heimdall? + + Behind Skurge the Bi-Frost starts MOVING. One of the women + notices the Bi-Frost glowing. + + ASGARDIAN WOMAN + Skurge, is that important? + + Skurge turns and notices the Bi-Frost activity. + + SKURGE + You girls are in for a treat. + + Angle on Heimdall's sword, which has been sloppily cast aside + in another pile of "stuff." Skurge hastily runs and grabs it. + + +10 EXT. MUSPELHEIM - CONTINUOUS 10 + + Thor is FLYING at top speed, but that dragon is right on his + heels! The fire demons LAUNCH flaming projectiles from below! + + Thor looks back, genuinely nervous. The dragon is OPENING + its jaws to swallow Thor whole when- + + -Suddenly Bi-Frost OPENS! The portal surrounds Thor and + engulfs the dragon's head! In an instant, they're gone. + BLUE DRAFT 05/20/16 8. + + + MAIN TITLE + + +11 INT. THE OBSERVATORY - MOMENTS LATER 11 + + Skurge has plunged Heimdall's sword into Bi-Frost. + + BOOM! Thor EXPLODES out of the portal along with the severed + head of the dragon! SPLAT! Blood and guts RAIN DOWN on + Skurge and the two women, DRENCHING them with purple gore. + + The dragon's head SLIDES slowly across the floor, coming to + rest right in front of the women who are frozen in shock. + + The women SHRIEK and rush out of the Observatory. Thor + meanwhile is clean and staggering back to his feet. He looks + up to Skurge, who is wiping dragon guts off of himself. + + SKURGE + Girls! + (beat) + Well well, look who decided to pop + in. Thanks for scaring away my + company and drenching my workplace + in brains. + + THOR + Who are you? + + SKURGE + Don't you remember? I'm Skurge. + (Thor doesn't) + We fought together on Vanaheim. + + THOR + Right. Where's Heimdall? + + SKURGE + That traitor. No one knows, he's a + fugitive of the throne. + + THOR + Traitor? + + SKURGE + Yeah, you see, Odin charged + Heimdall with negligence of duty, + but he disappeared before the + trial. Hard to catch a guy who can + see everything in the Universe. + + Thor starts to say something, but then gives up. Instead he + starts towards the exit... but Skurge stands in his way. + BLUE DRAFT 05/20/16 9. + + + THOR + Sure. + + SKURGE + Hold on. I'm supposed to announce + your arrival. + + Thor SPINS UP Mjolnir and takes off in a blur. Skurge starts + the loooong run down the Rainbow Bridge. + +12 OMITTED 12 + +A13 EXT. THEATER ENTRANCE - DAY A13 + + THOR arrives with Surtur's skull. + + There's a small crowd making its way through a threshold over + which stands a monumental statue of Loki, arms out-stretched + in the `savior' pose. + + Confused, Thor turns to a theater patron. + + THOR + What the hell is that? + + +13 EXT. ASGARD - ROYAL TERRACE - PATIO - MOMENTS LATER 13 + + LOKI falls into frame, GASPING FOR BREATH... although it's + not Loki. This is ACTOR LOKI and we're watching a STAGE PLAY. + + In the background, a single musician plays the haunting score + from THOR: THE DARK WORLD on a pan flute. + + Suddenly, ACTOR THOR leans into shot, holding Actor Loki. + + ACTOR LOKI + Oh, brother. This is it. I take + my leave. + + ACTOR THOR + You fool, you didn't listen! + + ACTOR LOKI + I'm sorry. + + ACTOR THOR + Lady Sif! Get help! + + "Sif" awkwardly runs off. The "Warriors Three" watch sadly. A + small choir JOINS IN as the music builds to a CRESCENDO. + + ACTOR SIF + Somebody help! + BLUE DRAFT 05/20/16 10. + + +In the middle of the audience we reveal ODIN, sitting upon a +chaise lounge, sipping wine and thoroughly enjoying the show. +Unseen, Thor arrives behind the audience and watches. + + ACTOR LOKI + Sorry for all I've done. + + ACTOR THOR + It's all right. Hold on. + + ACTOR LOKI + I'm sorry I tried to rule Earth. + + ACTOR THOR + They'd be lucky to have you. + + ACTOR LOKI + I'm sorry about that thing with the + Tesseract. I just couldn't help + myself. + + ACTOR THOR + I know. + + ACTOR LOKI + I'm a trickster. + + ACTOR THOR + So mischievous. + + ACTOR LOKI + Sorry about that time I turned you + into a frog. + + ACTOR THOR + It was a wonderful joke. + + ODIN + (to no-one in particular) + Twas indeed hilarious. + + ACTOR THOR + You are the savior of Asgard. + + ACTOR LOKI + Tell my story. + + ACTOR THOR + I will. + + ACTOR LOKI + Build a statue for me. + BLUE DRAFT 05/20/16 11. + + + ACTOR THOR + We will build a big statue for you. + + ACTOR LOKI + With my helmet on, with the big + bendy horns. + + ACTOR THOR + I will tell Father what you did + here today. + +Odin mouths Actor Loki's final line along with him. + + ACTOR LOKI + I didn't do it for him. + +Actor Loki then "dies". + + ACTOR THOR + Noooooo!!! + +The brothers freeze in a TABLEAU as ACTOR ODIN steps forward. + + ACTOR ODIN + And so Loki died of his wounds, + giving his life for ours. He + fought back those disgusting dark + elves. He brought peace to the + realm. + +He takes a 4-YEAR-OLD BOY, PAINTED BLUE, into his arms. + + ACTOR ODIN (CONT'D) + Loki, my boy...`Twas many moons ago + I found you on a frost-bitten + battlefield. + +Thor watches, incredulous. He then notices that a woman next +to him is openly SOBBING at the play. + + ACTOR ODIN (CONT'D) + On that day, I did not yet see in + you Asgard's savior. No. You were + merely a little blue baby icicle... + that melted this old fool's heart. + +The crowd erupts in rapturous applause. The players bow. Odin +stands up, leading the crowd in this STANDING OVATION. + + ODIN + Bravo! Bravo! Well done. Bravo. + + THOR + Father. + BLUE DRAFT 05/20/16 12. + + +Odin sees Thor taking a knee. Curses under his breath: + + ODIN + Oh, shit. + (then, announcing) + My son! Thor has returned! + Greetings my boy. + +Odin goes through a weird internal transformation. His +fluidity is replaced by a rigid and regal posture. He bats +away his maiden and turns to Thor, who stands up. + + THOR + It's an interesting play. What's + it called? + + ODIN + The Tragedy of Loki of Asgard. The + people wanted to commemorate him. + + THOR + Indeed they should. + (provoking) + I like that statue. A lot better + looking than he was when he was + alive, though. A little less + weasely. Less greasy maybe. + +Odin sours, masking his agitation. Thor holds up the skull. + + THOR (CONT'D) + You know what this is? + + ODIN (ADR) + The skull of Surtur? That's a + formidable weapon. + +Thor approaches an E-Guard and hands it over. + + THOR + Do me a favor. Lock this in a + vault so it doesn't turn into a + giant monster and destroy the whole + planet. + + ODIN + So it's back to Midgard for you, is + it? + +Thor starts YO-YOing Mjolnir, turns back to Odin. + + THOR + Nope. I've been having this + reocurring dream lately. + (MORE) + BLUE DRAFT 05/20/16 13. + + THOR (CONT'D) + Every night I see Asgard fall into + ruins... + + ODIN + That's just a silly dream... Signs + of an overactive imagination. + + THOR + Possibly... but then I decide to go + out there and investigate. And + what do I find, but the Nine Realms + completely in chaos. Enemies of + Asgard assembling, plotting our + demise, all while you, Odin, the + protector of those Nine Realms, are + sitting here in your bathrobe, + eating grapes. + + ODIN + Well, it is best to respect our + neighbors' freedom. + + THOR + Of course, the freedom to be + massacred. + + ODIN + Yes, besides, I have been rather + busy myself. + + THOR + Watching theatre. + + ODIN + Board meetings, and security + council meetings... + + THOR + You really going to make me do it? + + ODIN + Do what? + +Thor SPINS Mjolnir and then HURLS it off into the distance, +GRABS Odin by the back of the neck. + +Odin's royal attendants GASP in shock. The Einherjar +bodyguards rush Thor, but he KICKS them away. + + THOR + You know that nothing will stop + Mjolnir as it returns to my hand. + +Mjolnir stops mid-air and starts ROCKETING BACK. + BLUE DRAFT 05/20/16 14. + + + THOR (CONT'D) + Not even your face. + + ODIN + You've gone quite mad. You'll be + executed for this! + +Mjolnir approaches at a terrifying speed as Odin struggles. + + THOR + Then I'll see you on the other + side...brother. + +The jig is up. A shimmering illusion dissipates, revealing: + + LOKI + Alright, I yield! + +Thor DROPS Loki to the ground and catches Mjolnir. Loki +looks to Thor, hands up defensively. Skurge arrives on the +scene, a little late to warn Loki. + + SKURGE + Behold! Thor..Odinson. + + LOKI + You had one job! Just the one. + + THOR + Where's Odin? + + LOKI + You just couldn't stay away, could + you? Everything was fine without + you. Asgard was prospering + (gestures to the crowd) + You've ruined everything. Ask + them. + +Those who aren't freaked out are becoming gradually angrier. + +Thor advances on Loki, who backs up onto the chaise lounge. + + THOR + Where's father? Did you kill him? + + LOKI + You had what you wanted, you had + the independence you asked for! + +Thor PRESSES Mjolnir onto Loki's chest. + BLUE DRAFT 05/20/16 15. + + + LOKI (CONT'D) + Ow-ow-ow! Alright! I know exactly + where he is. + +14 OMITTED 14 + +15 OMITTED 15 + +16 OMITTED 16 + +17 EXT. SHADY ACRES NURSING HOME - MANHATTAN - DAY 17 + + A NURSING HOME sign on a brick wall. Suddenly the wall + crumbles out of shot, revealing a demolition site. + + Reveal Thor and Loki wearing street clothes. Thor carries an + umbrella, Loki is dressed in a weird avant-garde suit. + + LOKI + I swear, I left him right here. + + THOR + Right here on the sidewalk? Or + right there, where the building + that's being demolished? Great + planning. + + LOKI + How was I supposed to know? Can't + see into the future. I'm not a + witch. + + THOR + Then why do you dress like one? + + LOKI + Hey. + + THOR + I can't believe you're alive. I saw + you die. I mourned you, I cried for + you. + + LOKI + I'm honored. + + COLLEGE GIRL 2 + Ask him. + + COLLEGE GIRL 1 + Hi. Would you mind taking a picture + with us? + BLUE DRAFT 05/20/16 16. + + + THOR + Sure. + (to Loki:) + Start figuring out where he is. + + COLLEGE GIRL 1 + Oh, my god. + + COLLEGE GIRL 2 + Sorry to hear that Jane dumped you. + + THOR + She didn't dump me, you know. I + dumped her. It was a mutual + dumping. + + Thor notices something going on around Loki. + + THOR (CONT'D) + What's this, what are you doing!? + + Loki looks down to see that the sidewalk has started to GLOW + BENEATH HIM! A circle of ancient symbols. + + LOKI + This... isn't me. + + WHOOMPF! Loki DROPS out of sight, vanishing through solid + concrete! Thor sees a CARD on the sidewalk where Loki was. + + Thor pokes the business card. + + THOR + Loki? + + He picks up the card. It reads: + + 177A Bleecker Street + + Thor picks up the card and - WHOOSH! + + +18 EXT. SANCTUM SANTORUM - DAY 18 + + Thor approaches 177A Bleecker Street. + + He knocks ONCE, TWICE, and then WHOOSH! + + +19 INT. SANCTUM SANCTORUM UPSTAIRS PARLOR - CONTINUOUS 19 + + Thor is suddenly inside Doctor Strange's lair! + BLUE DRAFT 05/20/16 17. + + + STRANGE (O.S.) + Thor Odinson. + +From a dark corner we glimpse a shape - DOCTOR STRANGE. +Levitating, he drifts towards Thor. + + STRANGE (CONT'D) + God of Thunder. + +Thor holds up the ratty umbrella, ready to defend himself. + + STRANGE (CONT'D) + You can put down the umbrella. + +Thor gives Strange a sideways look but then sets his umbrella +down. When he looks back up, the environment is furnished. + + THOR + So earth has wizards now? + + STRANGE + The preferred term is "Master of + the Mystic Arts." + + THOR + Alright wizard, who are you? Why + should I care? + + STRANGE + My name is Doctor Stephen Strange + and I have some questions for you. + Take a seat. + +Thor and Strange are now sitting in high-backed chairs. + + STRANGE (CONT'D) + Tea? + +Thor now has a cup of tea in his hand. + + THOR + I don't drink tea. + + STRANGE + What do you drink? + + THOR + Not tea. + +Thor now has a stein of beer in his hand. He drinks it +throughout the scene, but it always stays full. + BLUE DRAFT 05/20/16 18. + + + STRANGE +So I keep a watch list of +individuals and beings from other +realms that may be a threat to this +world. Your adopted brother Loki +is one of these beings. + + THOR +He's a worthy inclusion. + + STRANGE +Then why bring him here? + + THOR +We're looking for my father. + + STRANGE +So. If you were to tell you where +Odin was, all parties concerned +would promptly return to Asgard? + + THOR +Promptly. + + DR. STRANGE +Great. Then I'll help you. + + THOR +If you knew where he was, why +didn't you call me? + + DR. STRANGE +I have to tell you, he was adamant +that he not be disturbed. Your +father said he had chosen to remain +in exile. + (beat) +And you don't have a phone. + + THOR +No, I don't have a phone, but you +could have sent an electronic +letter. It's called an email. + + STRANGE +Yeah, do you have a computer? + + THOR +No. What for? + (beat) +Anyway, my father is no longer in +exile. So if you could tell me +where he is, I can take him home. + BLUE DRAFT 05/20/16 19. + + + DR. STRANGE + Gladly. He's in Norway. + + Strange stands up and suddenly they are standing by a book- + case. Strange takes down an ancient book, flips through it. + + STRANGE + I'm just seeing whether this + incantation requires any Asgardian + modifications. + + Thor reaches out to the bookcase to steady himself. + + STRANGE (CONT'D) + Nope. + + Suddenly they are both across the room at Strange's work + station. Because Thor was touching the bookcase, he has + magically brought it across the room as well. + + STRANGE (CONT'D) + Oh, we don't need that. + + Suddenly Thor is back across the room. Books fall off the + shelf and Thor's beer spills. + + He is queasy and unsteady from the teleporting. + + THOR + Will you stop doing that? + + STRANGE + I need just one strand of your + hair. + + THOR + Let me explain something, my hair + is not to be meddled wi-! + + Strange is behind Thor, he plucks a strand of hair. + + Strange extends the hair, infuses it with magic, does a few + gestures that create a BRIGHT LIGHT and suddenly- + + +A20 INT. SANCTUM SANCTORUM - FRONT STAIRCASE - CONTINUOUS A20 + + Bottom of the stairs. Strange is standing. Thor is rolling + down the stairs. A magic portal leading into a peaceful + meadow has opened beside Strange. + + THOR + We could have just walked. + BLUE DRAFT 05/20/16 20. + + + DR. STRANGE + (re: the portal) + He's waiting for you. + + THOR + All right. + + STRANGE + Don't forget your umbrella. + + THOR + Yes. + +Thor extends his arm and holds out his hand. Crashing noises +are heard. Lots of crashing noises. + + THOR (CONT'D) + Sorry + +Finally the umbrella flies into his hand. + + THOR (CONT'D) + I suppose I'll need my brother + back. + + DR. STRANGE + Yeah, right. + +Suddenly we hear SCREAMING. + +From above, LOKI drops out of a portal. He LANDS HARD on the +floor and then STAGGERS to his feet. On edge, confused. + + LOKI + ...I have been falling...for thirty + minutes! + + DR. STRANGE + (to Thor:) + You can handle him from here. + + THOR + Yeah of course. + (they shake hands) + Thank you very much for your help. + + STRANGE + Good luck. + + LOKI + Handle me? Who are you? + + THOR + Loki. + BLUE DRAFT 05/20/16 21. + + + Loki DRAWS a dagger, ready to attack Strange. + + LOKI + ..you think you're some kind of + sorcerer? Don't think for one + minute, you second-rate... + + DR. STRANGE + Bye-bye. + + Strange GESTURES with both hands and- + + -WHOOSH! PULLS the magic portal over them. + + Just like that, Thor and Loki are gone. + +20 OMITTED 20 + +21 EXT. CLIFFS - DAY 21 + + Beautiful, undisturbed nature. We hear the ocean nearby. + + LOKI lands on the ground, portal closes behind them. + + THOR + Father? + + A lone figure stands at the other side of the meadow at the + cliff's edge, waves CRASHING below. + + It is ODIN. He's dressed plainly in humble human clothes. + The boys approach him quickly. + + ODIN + Look at this place. It's beautiful. + + THOR + Father, it's us. + + ODIN + My sons. I've been waiting for + you. + + Loki is surprised to hear Odin call him his son. + + THOR + I know. We've come to take you + home. + + ODIN + Home, yes. Your mother, she calls + me. Do you hear it? + + Thor fires a look at Loki, who holds up his hands in defense. + BLUE DRAFT 05/20/16 22. + + + THOR + Loki, lift your magic. + +Odin turns to Loki, who stiffens. But Odin smiles. + + ODIN + Took me quite a while to break free + from your spell. Frigga would have + been proud. + +Loki is moved by this gesture. He looks over to see Thor +staring at him, anger building. + +Odin puts a hand on Thor's shoulder, calming him. + + ODIN (CONT'D) + Come and sit with me. I don't have + much time. + +Odin sits, out of breath, weak. His sons sit beside him. + + THOR + I know that we failed you, but we + can make this right. + + ODIN + I failed you. + (beat) + It is upon us...Ragnarok. + + THOR + No, I've stopped Ragnarok. I put + an end to Surtur. + + ODIN + No. It has already begun. She's + coming. My life was all that held + her back, but my time has come. I + cannot keep her away any longer. + + THOR + Father, who are you talking about? + + ODIN + The Goddess of Death. Hela. My + first born. + (faces Thor) + Your sister. + +That hits Thor hard. Loki can't believe what he's hearing. + + THOR + ...what? + BLUE DRAFT 05/20/16 23. + + + ODIN + Her violent appetites grew beyond + my control. I couldn't stop her, + so I imprisoned her. Locked her + away. She draws her strength from + Asgard...and once she gets there, + her powers will be limitless. + + THOR + Whatever she is, we can stop her. + We can face her together. + + ODIN + (takes Thor's hand) + No we won't. I'm on a different + path now. This you must face + alone. + +Odin looks into Thor's eyes, struggling to breathe. + + ODIN (CONT'D) + I love you my sons. + +For the briefest of instances, father and sons share a quiet +moment together. Tears well in Thor's eyes. + + ODIN (CONT'D) + Look at that. + +Ethereal sun-rays stream down upon the ocean. + + ODIN (CONT'D) + Remember this place. Home. + +A warm glow washes over Thor's face and he turns to see that- + +-ODIN IS DISSIPATING INTO STARDUST. THE ALLFATHER HAS DIED. + +A moment as the brothers separately mourn for Odin. + +The sky above DARKENS and THE WIND PICKS UP. + +Thor stands and turns toward Loki, his eyes burning with +rage. Loki takes a step back. + + LOKI + Brother. + +Thor faces Loki. Electricity CRACKLES at Thor's hands. + + THOR + This was your doing. + +CRACK! Behind them a black portal SPLITS OPEN! + BLUE DRAFT 05/20/16 24. + + +Thor SLAMS DOWN his umbrella, transforming into his Asgardian +armor (with Mjolnir). Loki changes into his armor as well. + +A piercing scream cuts the air as a figure is hurtled out of +the portal, crashing out of this dimensional rift is HELA. + +Hela takes a second to consider her surroundings. Then: + + HELA + So he's gone? + (beat) + That's a shame. I would've liked + to have seen that. + +A tense moment as they stare each other down. + + THOR + You must be Hela. I'm Thor, son of + Odin. + + HELA + Really, you don't look like him. + + LOKI + Perhaps we can reach an + arrangement. + + HELA + You sound like him. + +Loki shifts nervously. Thor's grip tightens on Mjolnir. + + HELA (CONT'D) + Kneel. + + LOKI + Beg your pardon? + +Hela MANIFESTS a pitch black blade. + + HELA + Kneel...before your Queen. + + THOR + I don't think so. + +Thor winds up and HURLS Mjolnir at Hela... + +- THUD - the mighty hammer comes to a cold stop, against +Hela's hand. + +Thor is shocked. He stretches out his hands, trying to call +Mjolnir back to him. + BLUE DRAFT 05/20/16 25. + + + The hammer trembles in Hela's hand, like a mini game of tug-o- + war. But ultimately Hela keeps possession. + + THOR (CONT'D) + It's not possible. + + HELA + Darling, you have no idea what's + possible. + + HELA SHATTERS THOR'S HAMMER. + + The blast of Mjolnir's destruction sends a wave of energy + through Thor and Loki who brace themselves against the + impact. + + Thor is stupefied. In shock. He looks up to see Hela is + running her hands back over her head to create the terrifying + battle headdress. + + Loki's reaction is more panic. He stands and calls up: + + LOKI + Bring us back! + + THOR + No!! + + Hela CHARGES Thor and Loki as- + + -WHOOSH! The Bi-Frost envelopes all of them. + + +22 INT. BI-FROST - CONTINUOUS 22 + + Thor and Loki ZOOM UPWARDS, held inside this celestial beam + warping them towards Asgard. Loki and Thor look down to + see... Hela is in the Bi-Frost, behind them and CATCHING UP. + + Loki turns and throws TWO DAGGERS at her. They find their + mark, stalling her for a second. But she PLOWS RIGHT THROUGH + Loki, KNOCKING HIM OUT OF THE BI-FROST. Gone in an instant. + + THOR + Loki! + + Hela projects a jet black grappling hook and GRABS HOLD of + Thor. Drawing him to her, preparing to finish him off. Thor + pulls up his legs, and KICKS Hela with both feet. This + effectively dislodges him from her grasp but also... + + ...KNOCKS THOR OUT OF THE BI-FROST! Now both he and Loki are + gone. If they aren't dead, then God knows where they went. + BLUE DRAFT 05/20/16 26. + + +23 INT. THE OBSERVATORY - CONTINUOUS 23 + + VOLSTAGG has a grip on Heimdall's sword, manning Bi-Frost's + controls. Behind him FANDRAL is overseeing Skurge, who is + mopping up the dragon guts. + + BOOM! Hela emerges with thunderous impact. Fandral and + Volstagg draw their weapons, preparing to engage. + + VOLSTAGG + Who are you!? What have you done + with Thor? + + Hela fires TWO BLACK DAGGERS, each one dropping its target to + the ground. Hela then walks forward and- + + HELA + I'm Hela. + + -BRUTALLY KILLS FANDRAL AND VOLSTAGG! + + Hela sees Skurge. Approaches calmly, a vision of death. + + With Hela only a few feet from him, Skurge cowers. Pause. + + SKURGE + I'm just a janitor. + + Skurge ever-so-slightly peers up at her. + + HELA + You look like a smart boy with good + survival instincts. How would you + like a job? + + Hela looks out upon Asgard as Skurge rises behind her. + + +24 EXT. ASGARD - THE MOUNTAINS - SAME 24 + + A mysterious HOODED FIGURE watches Hela's arrival at the + Observatory and begins a steady descent towards the city. + + +25 EXT. SAKAAR - THE WASTELAND SHORE - DAY 25 + + SUPER WIDE: A sky full of WORMHOLES. Thor, only a spec at + this distance, SHOOTS out of one of these wormholes. He HITS + the surface, causing a CLOUD of dust. + + Find Thor on his back surrounded by strange colorful space + wreckage. Looking up, Thor sees a large metal object falling + from a different wormhole! He rolls out of the way. THUD! + BLUE DRAFT 05/20/16 27. + + +Thor runs up a dune to get away from the shower of debris. + +Thor reaches the top of the dune and finds himself looking +down on A BEACH in a strange WASTELAND. Camera scans a filthy +dune littered with SPACE JUNK. + +Out across the OCEAN he notices A NIGHTMARE WORMHOLE - a +giant open cylinder of whirling smoke and lightning storms. + +A loud noise draws Thor's attention to a HUGE RECTANGULAR +"SCRAPPER" SHIP hauling a crashed SPACE VESSEL out of the +water. Beneath the ship are various SCRAPPERS, masked +humanoids. The ship is BLASTING WEIRD ALIEN MUSIC. + +A Scrapper notices Thor, then signals to his crew. + + LEAD SCRAPPER + Are you a fighter or are you food? + + THOR + I'm just passing through. + + LEAD SCRAPPER + It is food. On your knees. + +Thor reaches out to summon Mjolnir. A reflex. Nothing. + +The LEAD SCRAPPER levels a MAGNO-RIFLE at Thor and WHAP! A +solid metal projectile KNOCKS Thor flat on his back. More +Scrappers attack, throwing nets and firing more projectiles. +Thor tries to swat them away but they keep coming. The rest +of the scrappers move in with iron bats and clubs. + +WHOOSH! A second ship arrives, landing nearby. It's cool, +sleek, and dangerous, deserving of its name: WARSONG. It is +also BLASTING DIFFERENT WEIRD ALIEN MUSIC. + +The FRONT of Warsong FLIPS OPEN and a GANGPLANK extends down +to the ground. The scrappers stop and stare as we TRACK IN to +a HERO REVEAL of SCRAPPER #142 (S142 for short) - a beautiful +and ruthless asskicker. + +S142 lifts a half-empty bottle to her lips and CHUGS it. She +finishes the bottle and smashes it on the side of her ship. + + SCRAPPER #142 + He's MINE. + +She walks down the gangplank... before veering off course and +FALLING straight off into a pile of TRASH. She's PLASTERED. + +The Scrappers shrug and start hauling Thor away. + BLUE DRAFT 05/20/16 28. + + + SCRAPPER #142 (CONT'D) + Wait! + +S142 staggers to her feet, takes a deep breath. She holds on +to a piece of junk as support - some dead beast. Thor +continues to struggle with his captors, tangled in nets. + + SCRAPPER #142 (CONT'D) + Wait! He's mine. So if you want + him, you go through me. + +The Scrappers start brandishing their weapons. + + SCRAPPER + But we've already got him. + +S142 CLANGS her metal gauntlets together which activate. + + SCRAPPER #142 + Alright then I guess I go through + you. + + LEAD SCRAPPER + More food. + +She holds out her fists as if she's operating machinery... + +...Warsong WHIRS to life. S142 clenches her fists and we hear +a horrible SCREECHING NOISE as Warsong OPENS FIRE. + +She sweeps her arms out in an arc, the spray of gunfire +lasting THREE SECONDS. She bangs her fists again, sending the +ship into IDLE MODE. The Scrappers are now little more than +tiny pieces of litter covering the beach. + +Thor is fixated on this beautiful murderer approaching. One +final HUGE Scrapper comes at her with a bat. S142 casually +GRABS this Scrapper and HURLS him up into the air behind her. + + THOR + Thank you. + +From her belt S142 FLICKS a small glowing disc which LODGES +into Thor's NECK. Far in the background, the Scrapper she +threw finally HITS the ground with a loud THUD. + +She holds up a fob device and presses the button - the disc +blinks and Thor is filled with the pain of a thousand +screaming squirrels. He hits the ground, stunned. + +S142 DRAGS Thor towards her ship. + BLUE DRAFT 05/20/16 29. + + +30 INT. WARSONG SHIP - DAY 30 + + Thor's face SMUSHED up against glass. His eyes are open. + + Thor's POV - THE CAPITAL - an eclectic city composed of + salvaged items from all over the universe. + + Thor is lying in a sort of small GLASS HOLDING CELL beneath + Warsong's COCKPIT. He looks up to see S142 piloting the ship. + + Thor's eyes lock in on her belt, specifically the fob device + she used to activate the Obedience Disk/debilitate him. + + SCRAPPER #142 + This is Scrapper 142. I need + clearance and an audience with the + boss. I've got something special. + + THOR + Hey! Where are you taking me? + + S142 ignores him, takes a swig from the bottle, and then + nonchalantly UNCLIPS the fob from her belt. + + THOR (CONT'D) + Answer me! Hey! I am Thor, son of + Odin. I need to get back to + Asgard. + + SCRAPPER #142 + Many apologies, your majesty. + + S142 ZAPS him and guides her ship towards a COLOSSAL TOWER. + + +26 EXT. OUTSKIRTS OF ASGARD - DAY 26 + + CLOSE ON: Hela, headdress retracted, hair down, her beautiful + face fully visible. We do not see who she is talking to. + + HELA + It's come to my attention that you + don't know who I am. + + REVEAL THE ARMIES OF ASGARD FACING DOWN HELA. + + Standing in front is HOGUN, sword and shield out. + + HELA (CONT'D) + I am Hela, Odin's first born, + Commander of the legions of Asgard, + the rightful heir to the throne, + and the Goddess of Death. + (pause for effect) + (MORE) + BLUE DRAFT 05/20/16 30. + + HELA (CONT'D) + My father is dead. As are the + princes. You're welcome. + (then:) + We were once the seat of absolute + power in the Cosmos. Our supremacy + was unchallenged, yet Odin stopped + at Nine Realms. Our destiny is to + rule over all others. And I am + here to restore that power. Kneel + before me...and rise into the ranks + of my great conquest. + + THE E-GUARDS GET INTO ATTACK FORMATION. + + HOGUN + Whoever you are... whatever you've + done, surrender now! Or we will + show you know mercy. + + HELA + Whoever I am? Did you listen to a + word I said? + + HOGUN + This is your last warning! + + HELA + I thought you'd be happy to see me. + + Hela forms her headdress. + + HELA (CONT'D) + Fine. + + The Asgardian archers LOOSE DOZENS OF ARROWS, but- + + -Hela advances confidently, DESTROYS the SHIPS and SOARS INTO + THE EINHERJAR! In a symphony of spectacular terror, Hela + proceeds to DECIMATE the entire regiment. A tornado of + carnage, a legendary massacre. + + +27 EXT. BELOW THE RAINBOW BRIDGE - SAME 27 + + While Hela slaughters up above, we tilt up from a boat, + moored at the base of the Observatory, to see the mysterious + figure from earlier is now SCALING the rocks towards the top. + + +28 INT. THE OBSERVATORY - CONTINUOUS 28 + + Now silhouetted in the entrance way, the figure scans the + Observatory. His gaze falls on- + BLUE DRAFT 05/20/16 31. + + + -Bi-Frost's controls. Specifically Heimdall's sword. + + +29 EXT. OUTSKIRTS OF ASGARD - CONTINUOUS 29 + + It's eerily quiet. CLOSE on Hela scanning the battlefield. + 100+ slain Einherjar at her feet. + + ANGLE on Skurge as he steps forward - awe, admiration, fear. + + HELA + Oh, I've missed this. Still, it's + a shame. Good soldiers dying for + nothing...all because they couldn't + see the future. Sad. + (then she sees:) + Oh! Look, still alive. + + Reveal Hogun, severely injured but staggering to his feet, + resilient. + + HELA (CONT'D) + Change of heart? + + Hogun draws a dagger as a last ditch attack. + + HOGUN + Go back to whatever cave you crept + out of you evil demoness! + + Hela IMPALES Hogun on a spike. She turns to Skurge. + + HELA + Let's go see my palace. + + Skurge stares at Hogun before following Hela towards the + palace. + +31 OMITTED 31 + + +A32 INT. DARK TUNNEL - DAY A32 + + THOR, strapped to the chair, suddenly finds himself slowly + moving forward. After a beat- + + -the walls LIGHT UP and a SOOTHING VOICE speaks to him. + + SOOTHING VOICE (V.O.) + Fear not, for you are found. You + are home, and there is no going + back. No one leaves this place. + + Thor STRUGGLES against his restraints. + BLUE DRAFT 05/20/16 32. + + + SOOTHING VOICE (V.O.) + But what is this place? The answer + in Sakaar. + +The tunnel walls show images of Sakaar's place in the Cosmos. + + SOOTHING VOICE (V.O.) + Surrounded by cosmic gateways, + Sakaar lives on the edge of the + known and unknown. + +Images of the wormholes that cover Sakaar's atmosphere. + + SOOTHING VOICE (V.O.) + It is the collection point for all + lost and unloved things. Like you. + But here on Sakaar, you are + significant. You are valuable. + Here, you are loved. + + THOR + What...the hell? + + SOOTHING VOICE (V.O.) + And no one loves you more than the + Grandmaster. + +Images of the Grandmaster, in silhouette, arriving on Sakaar. + + SOOTHING VOICE (V.O.) + He is the original. The first + lost, and the first found. The + creator of Sakaar and the father of + the Contest of Champions. + +Images of the arena where aliens battle to the death. + + SOOTHING VOICE (V.O.) + Where once you were nothing, now + you are something. You are the + property of the Grandmaster. + (then:) + Congratulations! You will meet the + Grandmaster in five seconds. + +Images around the tunnel begin speeding up. Chaos, violence, +and confusion mixed in with Grandmaster's face. + +Thor, already bewildered, looks on the verge of panic. + + SOOTHING VOICE (V.O.) + Prepare yourself. Prepare + yourself. You are now meeting the + Grandmaster. + BLUE DRAFT 05/20/16 33. + + + Thor SCREAMS! + + +32 INT. GRANDMASTER'S CHAMBERS - CONTINUOUS 32 + + Suddenly Thor is somewhere else, surrounded weirdos and + insanely dressed palace guards. + + His scream dies down self-consciously. + + A musical beat PLAYS in the background. + + THE GRANDMASTER, a tall mysterious man in golden robes. He is + looking right at us. He doesn't know what to make of us. He's + curious, thrilled, revolted, and titillated. + + Pulling back we see TOPAZ, his trusty guard, at his side. Two + GOLDEN LADIES loiter off to the side. Other strange guests + can be seen in the background. Grandmaster just stares. + + S142 stands beside Grandmaster. Finally: + + GRANDMASTER + He's wonderful. + (then:) + It is a he? + + Reveal S142 standing beside Thor. + + SCRAPPER #142 + It's a he. + + GRANDMASTER + Yeah. I love when you come to visit + 142, you bring me the best stuff. + (to Topaz:) + Whenever we get to talking, Topaz, + about Scrapper 142...what do I + always say? "She is the..." and it + starts with a B. + + TOPAZ + Trash. + + GRANDMASTER + No, not trash. Were you waiting + just to call her that? It doesn't + start with a "B." + + TOPAZ + Booze hag. + BLUE DRAFT 05/20/16 34. + + + GRANDMASTER + I'm so sorry. No, "best." I was + thinking about "best." + (to S142:) + Because I always say you're the + best. She brought me my precious + beloved Champion, you know. + + TOPAZ + You say that every time she's here. + + GRANDMASTER + What have you brought today? Tell + me. + + SCRAPPER #142 + A contender. + + THOR + A what? + + GRANDMASTER + I need to go closer. I want a + closer look at this. Can you take + us closer? Thank you. + +Grandmaster advances on Thor. Examining him closely and +strangely. Then: + + GRANDMASTER (CONT'D) + Pay this lady. + + THOR + Just wait a damn minute. I'm not + for sale. + +Using all his might, Thor breaks out of his shackles, but- + +-S142 ZAPS him again. Paralyzed by superheated veins. + + GRANDMASTER + Man. He is a fighter. + + SCRAPPER #142 + I'd take 10 million. + + TOPAZ + Tell her she's dreaming. + + GRANDMASTER + For heaven's sake, transfer the + units. + BLUE DRAFT 05/20/16 35. + + +Topaz transfers S142 the units. Without sympathy or ceremony, +S142 exits. + + THOR + You'll pay for this! + + SCRAPPER #142 + No, I got paid for this. + +Thor claws at the obedience disk, trying to RIP IT OUT. + +He gets some separation from his skin, but the disk is +causing him even more pain. Thor eventually has to let go. +Grandmaster holds up HIS OWN fob device and uses it like a +wand to guide Thor's HOVER CHAIR, which follows Grandmaster +around as he speaks. + + GRANDMASTER + Here's what I wanna know. Who are + you? + + THOR + I am the God of THUNDER!!! + +Thor THRUSTS his arms into the air but only a tiny bit of +static electricity POPS within Thor's hands. + + GRANDMASTER + Wow. I didn't hear any thunder, + but out of your fingers, was that + like...sparkles? + + TOPAZ + We located your cousin. + + GRANDMASTER + Oh good! + (to Thor:) + Yeah, come on. I think you're gonna + like this. + +Grandmaster moves Thor's chair to another section where- + +-COUSIN CARLO is waiting. He's strapped to a chair like +Thor, and he is terrified. + + GRANDMASTER (CONT'D) + There he is. Hey, cuz. We almost + couldn't find you. What, have you + been hiding? + +Cousin Carlo looks at Thor, cowering in fear. + BLUE DRAFT 05/20/16 36. + + + THOR + Hi. + +Carlo only further weeps. + + GRANDMASTER + So... + + COUSIN CARLO + Please. I'm sorry. + + GRANDMASTER + Carlo... I pardon you. + + COUSIN CARLO + Thank you. Thank you. + + GRANDMASTER + You're officially pardoned...from + life. + +Grandmaster casually takes Topaz's Sakaarian Guard staff and +JABS it into his cousin's mid-section- + +-CAUSING ALL OF HIS FLESH TO MELT OFF HIS SKELETON! + +Carlo SHRIEKS IN PAIN before his vocal cords melt. Thor +looks on, in shock. + + THOR + Oh, my god! + +Liquid Carlo spreads towards Grandmaster. + + GRANDMASTER + I'm stepping in it. I'm stepping + in it. Look out! + + THOR + (repulsed) + Oh, the smell. + + GRANDMASTER + What does it smell like? + + TOPAZ + Burnt toast. + + GRANDMASTER + What happened to my manners? I + haven't properly introduced myself. + Come on. Follow me. + +Grandmaster gives Topaz back her staff. + BLUE DRAFT 05/20/16 37. + + +Grandmaster and Thor arrive at a space where A GROUP OF +MUSICIANS PLAY STRANGE INSTRUMENTS (the source of the music +thus far). Grandmaster joins them, still speaking to Thor. + +Grandmaster begins PLAYING a strange piano-like contraption, +riffing a melody over the existing music. + + GRANDMASTER (CONT'D) + My name is Grandmaster. I preside + over a little harlequinade called + the Contest of Champions. People + come from far and wide to + unwillingly participate in it. And + you, my friend, might just be part + of the new cast. What do you say + to that? + + THOR + We're not friends, and I don't give + a shit about your games! I'm going + back to Asgard! + + GRANDMASTER + (amused) + Ass-gard? + (then:) + One, two, three, four. + +Grandmaster really gets into his PLAYING. Grandmaster's +guards and VIP guests start MOVING TO THE MUSIC. + +Thor takes a moment to look around at this bizarre spectacle +unfolding around him. In doing so, he zeroes in on one +particular group of VIPS, specifically... + +...LOKI! He's lounging and dressed in Sakaarian garb. + + LOKI + There was a wormhole in space and + time beneath me. At that moment, I + let go. + + THOR + Loki!? Loki! Over here! + +Loki notices Thor. Blanches a little. Sidles closer so as +to speak to Thor without looking like he's speaking to Thor. + + LOKI + Excuse me one second. + + THOR + Loki! + BLUE DRAFT 05/20/16 38. + + +Loki hustles over to Thor, SHUSHING him. + + LOKI + What? You're alive? + + THOR + Yes, of course I'm alive. + + LOKI + What are you doing here? + + THOR + What do you mean, what am I doing? + I'm stuck in this stupid chair. + Where's your chair? + + LOKI + I didn't get a chair. + + THOR + Get me out of this one. + + LOKI + I can't. + + THOR + What? + + LOKI + I've made friends with this man. + He's called the Grandmaster. + + THOR + Oh, he's crazy! + + LOKI + I've gained his favor.. The Bi- + Frost brought me out here weeks + ago. + + THOR + Weeks ago? I just got here. + +Suddenly Grandmaster is right next to them. + + GRANDMASTER + What are you whispering about? + +Both Thor and Loki react, startled. + + GRANDMASTER (CONT'D) + Time works real different around + these parts. + (MORE) + BLUE DRAFT 05/20/16 39. + + GRANDMASTER (CONT'D) + On any other world, I'd be like, + millions of years old. But here on + Sakaar... + +Grandmaster beholds himself. Then turns to Loki. A truly +uncomfortable silence. + + GRANDMASTER (CONT'D) + In any case, you know this... You + call yourself Lord of Thunder? + + THOR + God of Thunder. Tell him. + + LOKI + I've never met this man in my life. + + THOR + He's my brother. + + LOKI + Adopted. + + GRANDMASTER + Is he any kind of a fighter? + +Loki shrugs, gives the universal gesture for "so-so." + + THOR + You take this thing out of my neck + and I'll show you. + + GRANDMASTER + Now listen to that. He's + threatening me. Hey, Sparkles, + here's the deal. If you wanna get + back to Ass-place, Assberg... + + THOR + Asgard. + + GRANDMASTER + Any contender who defeats my + champion, their freedom they shall + win. + + THOR + Fine. Then point me in the + direction of whoever's ass I have + to kick. + + GRANDMASTER + That's what I call, contender! + Direction would be this way, Lord. + BLUE DRAFT 05/20/16 40. + + + THOR + Loki! + + Guards arrive. They haul Thor up and escort him out. + +33 OMITTED 33 + +34 INT. THE ARENA - GLADIATOR CELLS - NIGHT 34 + + Thor is shoved into a spacious cell where other alien + prisoners are lurking in the back. + + The thick cell door SLAMS SHUT behind Thor. Thor gets up and + immediately begins THROWING his shoulder into the door. The + door doesn't budge, not even a little. + + Behind him, KORG, a hulking Kronan rock alien, speaks up. + + KORG + Hey! Take it easy man! + (Thor looks back) + Over here. The pile of rocks + waving at you. Yeah I'm actually a + thing, I'm a being. Allow me to + introduce myself, my name is Korg. + I'm kind of like the leader in + here. I'm made of rocks, as you + can see, but don't let that + intimidate you. You don't need to + be afraid unless you're made of + scissors. + (GIGGLES to himself) + Just a little rock-paper-scissor + joke for you. This is my very good + friend over here, Miek. He's an + insect and has knives for hands. + + MIEK, a slug alien inside a robot exoskeleton, says hello by + doing some karate moves. + + THOR + You're a Kronan, aren't you? + + KORG + That I am. + + THOR + How'd you end up in here? + + KORG + Well, I tried to start a revolution + but didn't print enough pamphlets, + so hardly anyone turned up. + (MORE) + BLUE DRAFT 05/20/16 41. + + KORG (CONT'D) + Except for my mom and her + boyfriiend, who I hate. As + punishment, I was forced to be in + here and become a gladiator. Bit + of a promotional disaster. + (secretive) + But I'm actually organizing another + revolution. I don't know if you'd + be interested in something like + that. Do you reckon you'd be + interested? + +Thor tries to run ahead down the circle and loops back around +behind Korg. + + THOR + How did you... + + KORG + Yeah, no. This whole thing is a + circle. But not a real circle, + more like a freaky circle. + + THOR + This doesn't make any sense. + + KORG + No, nothing makes sense here. The + only thing that does make sense, is + that nothing makes sense. + + THOR + Has anyone here fought the + Grandmaster's Champion? + + KORG + Doug has. Doug! + (realizes) + Oh, right, Doug's dead. That's + right. Everyone who fights the + Grandmaster's champion perishes. + + THOR + What about you? You're made of + rocks. + + KORG + Perishable rocks. + (a pebble FALLS OFF) + There you go. Another one gone. + Yeah, no, I just do the smaller + fights, warm up the crowd and + whatnot. Wait. You're not gonna + face him, are you? + BLUE DRAFT 05/20/16 42. + + + THOR + Yes I am. Fight him, win, and get + the hell out of this place. + + KORG + That's exactly what Doug used to + say. See you later, new Doug. + + Korg walks away and approaches Miek. + + +A35 EXT. ASGARD - STREETS - SUNSET A35 + + The streets of Asgard are cold and silent, save for the + occasional distant sounds and screams of a city under siege. + +35 OMITTED 35 + +A36 INT. THRONE ROOM - CONTINUOUS A36 + + Moving down the throne room corridor we see- + + -SEVERAL DEAD EINHERJAR GUARDS. + + One guy is still alive, desperately trying to crawl away. + + SHLNK! A black blade finishes him off. + + Reveal HELA and SKURGE looking down at the carnage. + + Hela directs her attention to FRESCOS ON THE CEILING. Like + the Sistine Chapel, except these depict Asgard's shining + influence on the Nine Realms. Bountiful harvests, shepherds + with full flocks, common folk throwing parades for Asgard's + army, etc. + + HELA + Does no one remember me? + (awaiting an answer) + Has no one been taught our history? + Look at these lies. Goblets and + garden parties? Peace treaties? + + Hela leads them towards the throne. + + HELA (CONT'D) + Odin... proud to have it... ashamed + of how he got it. + + Hela FIRES SPIKES into the ceiling, RIPPING DOWN plaster. + + Beneath the surface are older Frescos. These ones are far + more dark and sinister. + BLUE DRAFT 05/20/16 43. + + + Soldiers in battle. Blood. A giant war wolf. Young Odin + and young Hela. Slaves building the palace. + + Skurge is at least somewhat disturbed by this. + + HELA (CONT'D) + We were unstoppable. I was his + weapon in the conquest that built + Asgard's empire. One by one, the + realms became ours. + + Hela turns from the murals to address Skurge. + + HELA (CONT'D) + But then, simply because my + ambition outgrew his...he banished + me, caged me, locked me away like + an animal. Before that, Asgard's + warriors were honored, their bodies + buried as heroes beneath this very + place. + + Hela beckons Skurge to follow her. + + +B36 INT. ODIN'S VAULT - CONTINUOUS B36 + + Hela enters the vault and descends the stairs towards the + magical items. + + SKURGE + Odin's treasures. + + SKURGE follows her. Hela walks towards the Infinity Gauntlet. + + HELA + Fake. + + Hela KNOCKS the gauntlet off its pedestal. + + HELA (CONT'D) + Most of the stuff in here is fake. + + Next: The Casket of Ancient Winter. + + HELA (CONT'D) + Or weak. + + Next: Surtur's skull. + + HELA (CONT'D) + Smaller than I thought it would be. + + Next: The Tesseract. She hesitates: + BLUE DRAFT 05/20/16 44. + + + HELA (CONT'D) + That's not bad? + (notices:) + But this... The Eternal Flame. + + THE ETERNAL FLAME flickers in its chalice. + + Hela DIGS HER HAND INTO THE ETERNAL FLAME. She pulls her + hand out now cupping GREEN FIRE, like a torch. + + Hela approaches a large circular RUNE ETCHING on the floor. + + Hela manifests a huge CLAW HAMMER. She SMASHES THROUGH THE + RUNES ON THE FLOOR, creating a gaping chasm. + + She looks at Skurge. + + HELA (CONT'D) + Want to see what true power looks + like? + + Hela looks down into the darkness below. + + With her hand aflame, Hela JUMPS down into the chasm! + + +C36 INT. HIDDEN ASGARDIAN CATACOMBS - DAY C36 + + Hela LANDS like a bad ass. + + Dust settles. The light of Hela's hand torch reveals a stone + crypt. An ornate burial place for the heroes of Old Asgard. + + We can see countless rotted skeletons in badass ancient + Asgardian armor. Hela's regiment. + + Among them, A MASSIVE WOLF'S SKELETON. TERRIFYING AND + MONSTROUS, COLOSSAL CHAINS AROUND THE BONES OF ITS PAWS. + FENRIS. + + Hela approaches Fenris' skeleton. + + HELA + Fenris. My darling, what have they + done to you? + + She lifts her flaming hand above her head. She slams her hand + into the ground. + + HELA (CONT'D) + With the Eternal Flame, you are + reborn! + + The fire spreads out, covering Fenris and Hela's old army. + BLUE DRAFT 05/20/16 45. + + + As the fire covers the skeletons, they SHUDDER TO LIFE. + + HELA (CONT'D) + I've missed you. I've missed you + all. + + HELA'S BUTCHERS, rise up before their commander. + + ABOVE: Skurge looks down, worried. + + BELOW: A sinister light returns to Fenris's eyes as he + stands proudly before his master, allowing her to pet the fur + of his terrifying face. + + +C36A INT. THE ARENA - GLADIATOR CELLS - NIGHT C36A + + Thor sits against the wall. Quietly praying. + + THOR + Odin, I bid you take your place in + the halls of Valhalla... + (then:) + Where the brave shall live forever. + Nor shall we mourn but rejoice- + + THOR (CONT'D) LOKI (O.S.) + -for those that have died the -for those that have died the + glorious death. glorious death. + + Reveal Loki standing across the cell. Thor gives him a hard + look. + + LOKI (CONT'D) + It hurts, doesn't it? Being lied + to. Being told you're one thing and + then learning it's all a fiction. + + Thor picks up some stones that have fallen from Korg's leg + and casually starts throwing them through Loki's illusion. + + LOKI (CONT'D) + You didn't think I'd really come + and see you, did you? This place + is disgusting. + + Thor throws another stone through Loki. + + LOKI (CONT'D) + Does this mean you don't want my + help? + + Thor throws another stone through Loki. + BLUE DRAFT 05/20/16 46. + + + LOKI (CONT'D) + Look, I couldn't jeopardize my + position with Grandmaster, it took + me time to win his trust. He's a + lunatic, but he can be amenable. + +Thor throws another stone through Loki. Disinterested. + + LOKI (CONT'D) + What I'm telling you is, you could + join me at the Grandmaster's side. + Perhaps, in time, an accident + befalls the Grandmaster, and + then... + +Loki gestures: "we take over." + +Thor throws another stone through Loki. Bored. + + LOKI (CONT'D) + You're not seriously thinking of + going back, are you? Our sister + destroyed your hammer like a piece + of glass. She's stronger than both + of us. She's stronger than you. + You don't stand a chance. Do you + understand what I'm saying to you? + +Thor just scowls. + + LOKI (CONT'D) + Fine. I guess I'll just have to go + it alone. Like I've always done. + (Thor smirks) + Would you say something? + +Now out of stones, Thor looks around the floor for more. + + LOKI (CONT'D) + Say something! + +Thor finally looks right at Loki, speaks fast and curt: + + THOR + What would you like me to say? You + faked your own death, you stole the + throne, stripped Odin of his power, + stranded him on Earth... + (on Loki:) + -to die, releasing the Goddess of + Death. + (back to Thor:) + (MORE) + BLUE DRAFT 05/20/16 47. + + THOR (CONT'D) + Have I said enough, or do you do + you want me to go further back than + the past two days? + + Loki's eyes burn. Thor stares coldly at him. Loki tries to + compose himself. + + LOKI + You know, I haven't seen this + Beloved Champion he talks of, but + I've heard he's astonishingly + savage. I've placed a large wager + against you tomorrow. Don't let me + down. + + Loki SHIMMERS, and his illusion vanishes. Korg runs in to + try to kick him. + + KORG + Piss off, ghost! + (then:) + He's freaking gone. + + +40 INT. THE ARENA - RECEIVING AREA 40 + + Thor, Korg, and a gaggle of other prisoners/fighters have + been led from their cells to a PRE-FIGHT HOLDING AREA. + + Korg and Thor are by the weapons rack. + + KORG + Yuck! There's Still someone's hair + and blood all over this. Guys, can + you clean up the weapons once you + finish your fight? Disgusting + slobs. + (then:) + Thor...wanna use a big wooden fork? + + THOR + No. + + KORG + Yeah, not really useful unless + you're fighting off three vampires + that were huddled together. + + THOR + I really wish I had my hammer. + + KORG + Hammer? + BLUE DRAFT 05/20/16 48. + + + THOR + Quite unique. It was made from + this special metal from the heart + of a dying star. And when I spun + it really, really fast it gave me + the ability to fly. + + KORG + You rode a hammer? + + THOR + No, I didn't ride the hammer. + + KORG + The hammer rode you on your back? + + THOR + No. I used to spin it really fast, + and it would pull me off the... + + KORG + Oh my God. The hammer pulled you + off? + + THOR + The ground. It would pull me off + the ground, up into the air, and I + would fly. Every time I threw it, + it would always come back to me. + + KORG + Sounds like you had a pretty + special and intimate relationship + wiht this hammer and that losing it + was almost comparable to losing a + loved one. + + THOR + That's a nice way of putting it. + +Thor spots S142 dealing at the bar. He's once again eyeing +the fob device clipped to her belt. Scowls. + + SCRAPPER #142 + I said they're mine. + + THOR + See her, the one that put me in + here. + + KORG + Yeah, Scrapper 142. She's strong. + And she drinks a lot. + (MORE) + BLUE DRAFT 05/20/16 49. + + KORG (CONT'D) + Gotta watch out for those + Asgardians, man. They are hard to + perish. + + THOR + Asgardian? + +Thor breaks away from the line and runs to S142. + + THOR (CONT'D) + Hey! Hey! + +S142 holds up the fob. + + THOR (CONT'D) + Do not zap me with that thing. I + just wanna talk. Asgard is in + danger. + +Thor then notices a series of PATTERNED SCARS, or BRANDS, on +her forearms. It's a moment of recognition and disbelief. + + THOR (CONT'D) + My God, you're a Valkyrie. I used + to wanna be a Valkyrie when I was + younger...until I found out that + you were all women. There's + nothing wrong with women, of + course. I love women. Sometimes a + little too much. Not in a creepy + way, just more of a respectful + appreciation. I think it's great + that there is an elite force of + women warriors. It's about time. + + SCRAPPER #142 + Are you done? + + WARDEN (O.S.) + Lord of Thunder, you're up. + + THOR + Please, help me. I need your help. + + SCRAPPER #142 + Bye. + + THOR + Fine, then you must be a traitor or + a coward because the Valkyrie are + sworn to protect the throne. + +S142 finally turns her attention to Thor, intense. + BLUE DRAFT 05/20/16 50. + + + SCRAPPER #142 + Listen closely, your majesty. This + is Sakaar, not Asgard. And I'm a + scrapper, not a Valkyrie. + + Guards swarm Thor, dragging him back + + WARDEN (O.S.) + Bring him in for processing! + + VALKYRIE + And no one escapes this place. So + you're gonna die anyway. + + Despite her denial, Thor has clearly hit a nerve. And from + now on we will refer to Scrapper #142 as VALKYRIE. + + Valkyrie takes her booze and walks away. Thor is dragged + away, passing Korg and the other prisoners. + + +40A INT. PROCESSING ROOM - DAY 40A + + Thor is strapped to a chair. Reveal a weird alien BARBER + (Stan Lee cameo) holding up some rusty shears. + + STAN LEE + Now, don't you move. My hands + ain't as steady as they used to be. + + THOR + By Odin's beard, you shall not cut + my hair... lest you feel the wrath + of the might Thor. + + Barber activates a menacing CUTTING TOOL. Thor freaks out. + + THOR (CONT'D) + Please. Please, kind sir, do not + cut my hair! No! + + +40B INT. THE ARENA - NIGHT 40B + + Hundreds of thousands of spectators packed into the stadium + seats. Dozens of starships are parked above the arena. + + Find THE GRANDMASTER'S LUXURY SUITE, a VIP box attached to + the fighting area. The Golden Ladies are in attendance. + + Loki lounges in the suite, taking wagers on the fight card. + + Grandmaster walks out into the center of the arena. Suddenly- + BLUE DRAFT 05/20/16 51. + + +-THE GRANDMASTER GROWS TO 60-FEET TALL! This enlarged +projection of Grandmaster addresses the audience. + + GRANDMASTER + Wow! Look at all of you. What a + show, WHAT-A-NIGHT! Who's having + fun? Please, I'm your host. Big + round of applause for all of our + undercard competitors... who died + so gruesomely. Good sports. What a + show! What a night! This is what + you've come for and so have I. + (applause) + And now, without further ado... + it's main event time!! + (INSANE APPLAUSE) + Making his first appearance, though + he looks quite promising, got a + couple of tricks up his sleeve. + I'll say no more, see what you + think. Ladies and gentlemen... + (LAUGHTER from the crowd) + I give to you...Lord of Thunder! + +Enter Thor. Gladiator Thor. Shaved head, trimmed beard, +minimalist armor, covered in weapons. Two swords on his +back, giant mace in one hand, spiked shield in the other. + + GRANDMASTER (CONT'D) + Watch out for his fingers. They + make sparks. + +Thor looks up at the throngs of SCREAMING FANS. And then... + +...puts on his helmet. A badass gladiator variation of his +classic winged helm. Thor is ready to rumble. + +ABOVE: Find Valkyrie in her Warsong ship, parked amongst the +other tailgaters. She POPS open a bottle of booze. Drinks. + + GRANDMASTER (CONT'D) + Okay, this is it. Let's get ready + to welcome this guy. Here he comes. + He is a creature. What can we say + about him? Well, he's unique. + There's none like him. I feel a + special connection with him. + +Suddenly the floor beneath Thor's feet LOWERS. A slow, +tension-building GRIND as he sees- + +-A DOOR across the arena. Bigger and bigger. + BLUE DRAFT 05/20/16 52. + + +The entire crowd is on its feet. Palpable anticipation. The +spotlights change to bright stadium lights. + + GRANDMASTER (CONT'D) + He's undefeated. HE'S THE + REIGNING...HE'S THE DEFENDING... + Ladies and gentlemen... I give + you... + +KA-BOOM! EXPLODING through a door is the Champion... + +...THE INCREDIBLE HULK! He wears an armored shoulder guard +and a Spartan helmet. He carries a warhammer in one hand and +a battleaxe in the other. Hulk POUNDS his chest and ROARS, +further energizing an already frenzied crowd. + +Meanwhile, the sight of Hulk makes Thor's arms drop to his +sides along with his jaw dropping to the ground. And then- + +-Thor LAUGHS his ass off. Like, "that's my buddy over there!" + + THOR + Yes! + +IN THE VIP BOX: Loki goes ghost white. Traumatic memories of +being Hulk-smashed flood his brain. Gone is all his joy. + + LOKI + I have to get off this planet. + +Loki tries to exit, but the Grandmaster stops him. + + GRANDMASTER + Hey, hey, hey! Where are you going? + +Grandmaster plops Loki down in the front row, right against +the glass. Loki casually tries to hide his face in his hand. + +IN THE ARENA: + + THOR + Hey! We know each other. He's a + friend from work. + (to Hulk:) + Where have you been? Everybody + thought you were dead. So much has + happened since I last saw you. I + lost my hammer. Like, yesterday, + so that's still pretty fresh. + (then:) + Loki! Loki's alive. Can you + believe it? He's up there. + (waves to Loki:) + Loki! Look who it is! + BLUE DRAFT 05/20/16 53. + + +Loki is petrified. + + THOR (CONT'D) + Banner, I never thought I would say + this, but I'm happy to see you. + +IN THE ARENA: Hulk is still eyeballing Thor while the +capacity crowd CHANTS insanely for "HULK! HULK! HULK!" + + THOR (CONT'D) + Banner. Hey, Banner! + +Hulk's face grimaces and contorts, suppressing puny Banner. + + HULK + NO BANNER! ONLY HULK! + +Hulk CHARGES at Thor. Insanely fast. + + THOR + What are you doing? It's me. + +Thor DODGES the first few attacks, but then Hulk SHATTERS his +shield and sends Thor FLYING. + +Thor draws a sword and STABS it into the ground to slow his +momentum. Draws the other sword and faces off against Hulk. + + THOR (CONT'D) + Banner, we're friends. This is + crazy. I don't want to hurt you! + +They engage again. Hulk KICKS Thor, sending him SLAMMING +into the wall. + + GRANDMASTER + Here we go. + +Thor jumps down just in time to avoid Hulk's warhammer, which +HITS so hard that it remains lodged in the wall. + +With Hulk charging again, Thor RIPS the warhammer out of the +wall and WALLOPS Hulk with it. + +Hulk goes CRASHING alongside the arena. He ends up sprawled +out in a pile of rubble, slightly dazed. + + GRANDMASTER (CONT'D) + What? + +ABOVE: Val is watching through a set of high-tech +binoculars. She reacts to Thor, reluctantly impressed. + BLUE DRAFT 05/20/16 54. + + +Thor advances on Hulk with all the swagger. He takes off his +helmet and CALLS OUT to Hulk, provoking him. + + THOR + Hey, big guy. The sun's getting + real low. + +Hulk takes off his helmet. Scowling. Teeth GRINDING. + + THOR (CONT'D) + That's it. The sun's going down. + I won't hurt you anymore. No one + will. + +WHOOSH! Thor is suddenly dragged out of frame. Hulk has +Thor by the leg and is WHIPPING him against the arena floor. +Over and over and over again. + +IN THE VIP BOX: Loki's whole mood shifts. The joy returns to +his face, like "everything will be alright!" Loki LAUGHS. + + LOKI + Yes! That's how it feels! + (to Grandmaster:) + I'm just a huge fan of the sport. + +Thor is SMASHED into the floor face first. + +Hulk ROARS and RUSHES Thor with his axe. + + THOR + All right. Screw it. + +CLANG! The giant weapons CLASH! Now Thor and Hulk are +fighting warhammer versus battleaxe... + +...and Thor is winning! He's getting the better of these +exchanges, using Hulk's aggression against him. Thor +continually KNOCKS and/or TRIPS Hulk off his feet while +evading all of Hulk's best attacks. + + THOR (CONT'D) + I know you're in there, Banner. + I'll get you out! + +One particular vicious blow DISARMS Hulk, and Thor BREAKS +Hulk's axe with the warhammer. Thor then BASHES Hulk in the +chest, KNOCKING him to the ground. + + THOR (CONT'D) + What's the matter with you? You're + embarrassing me! I told them we + were friends! + BLUE DRAFT 05/20/16 55. + + +GROWLING, Hulk stands up and HITS Thor with a straight jab +that sends Thor TUMBLING across the arena. Hulk immediately +LEAPS after him and LANDS ON Thor! + +Hulk is now on top of Thor as they slide across the arena, +just PUMMELING him with punches. Left-right-left-right. +Thor's head snaps back and forth. + +In the carnage, Thor sees VISIONS OF ODIN. Then- + +-his eyes GLOW WHITE WITH ELECTRICITY. Like an instinctual +defense mechanism, Thor suddenly KNOCKS HULK BACK WITH A +BURST OF LIGHTNING! + +Seething with electricity, Thor springs to his feet and then +BLASTS HULK WITH A MASSIVE LIGHTNING PUNCH! Hulk is LAUNCHED +BACKWARDS and Thor hits the ground HARD. + + CROWD + Thunder! Thunder! Thunder! + + KORG + Thunder! Thunder! Thunder! + +The crowd gets hushed. They've never seen this before. + +IN THE VIP BOX: Grandmaster is pissed. Loki is amazed. + +Hulk and Thor stagger to their feet. Thor looks at himself, +a little surprised. There are still small charges of +lightning CRACKLING through his veins. + +Meanwhile, Hulk RUMBLES towards Thor and they're at it again, +close-quarters boxing. Thor is winning the exchanges, +landing BRUTAL PUNCHES to Hulk's body. And then suddenly- + +-BZZZ! The Grandmaster ZAPS him with the Obedience Disk fob! +Thor drops, totally caught off guard! + +Hulk plants his feet and JUMPS! He ZOOMS UP, rocketing out +of the arena, up-up-up into the sky! At the apex of his jump +Hulk clenches his fist and begins a missile-like descent. + +Val sees this from her ship and decides to take off, like +"This fight is over, time to beat traffic." + + KORG (CONT'D) + Another day, another Doug. + +Down below, Thor groggily turns over. He does so just in +time to see Hulk coming at him like an atom bomb! + +No time to avoid it. KA-BOOM!!! Right before impact Thor's +eyes go lightning white. Hulk HITS Thor like a meteor. + BLUE DRAFT 05/20/16 56. + + + The impact knocks Thor unconscious and we CUT TO BLACK. + Linger on darkness for a few beats...and then: + + +36 INT. THRONE ROOM - SUNSET 36 + + Hela sits on the throne trying to get comfortable, headdress + & cowl off. Skurge stands at the foot of the throne. + + HELA + What is that noise? + + SKURGE + The common folk aren't exactly + falling in line. There's a + resistance trying to knock down the + front gates. + + Hela sends her BUTCHER TROOPS to deal with it. + + HELA + Tell me about yourself, Skurge. + + SKURGE + Well, me dad was a stonemason, me + mum was- + + HELA + (interrupts) + I'll just stop you there. What I + meant was what is your ambition? + + SKURGE + I just want a chance to prove + myself. + + HELA + Recognition. + (then:) + When I was young every great King + had an executioner. Not just to + execute people, but also to execute + their vision. But mainly to + execute people. Still a great + honor. + (beat) + I was Odin's executioner. + + Hela holds out her hand and uses her powers to FORM A DOUBLE- + SIDED OBSIDIAN AXE, which she offers to Skurge. + + HELA (CONT'D) + And you will be my executioner. + Let's begin our conquest. + BLUE DRAFT 05/20/16 57. + + +37 OMITTED 37 + + +41 OMITTED 41 + + +42 OMITTED 42 + + +44 EXT. RAINBOW BRIDGE - DAY 44 + + Hela and Skurge arrive at the Observatory, army in tow. + + HELA + Skurge, where's the sword? + + Reveal that the Bi-Frost sword is missing. + + HELA (CONT'D) + That sword is the key to opening + the Bi-Frost. + + Hela thinks, seething. + + HELA (CONT'D) + These people you mentioned, the + ones who aren't falling into line. + Round them up. + + +45 OMITTED 45 + +AA46 OMITTED AA46 + +AB46 OMITTED AB46 + +46 EXT. ASGARD - MOUNTAIN CREEK - DAY 46 + + +A46 OMITTED A46 + + SPLASH! Boots running across the shallow water. We meet a + family of refugees from the city. FATHER, MOTHER, SON (14), + and young daughter (8). They're RUNNING FOR THEIR LIVES. + + Hot on their heels are a pair of Hela's sinister Butchers, + hunting like a pack of wolves. + + After scrambling through a grove of trees the family make + their way through a narrow pass. The Butchers are hot on + their heels, their growls getting louder behind them when - + BAM! The son runs right into a tall, immovable object... + BLUE DRAFT 05/20/16 58. + + + HEIMDALL! No regal armor, no golden helm. This Heimdall has a + thick beard and is wrapped in a cloak. The rest of the family + arrive, desperation. + + HEIMDALL + Excuse me. + + In one swift motion Heimdall draws the BI-FROST SWORD, steps + forward and SLASHES through the Butchers, ending them. + + He then turns to the family, gestures for them to follow him. + + HEIMDALL (CONT'D) + Sorry about that. These bloody + things are everywhere. Come on. + +47 OMITTED 47 + +48 EXT. ASGARD - MOUNTAIN RAVINE - DAY 48 + + Heimdall approaches the steep face of the mountain. Carved + into the rock is YGGDRASIL, the world tree. Heimdall kneels, + whispers a few words under his breath, and... A HUGE SECTION + OF THE MOUNTAIN FACE VANISHES IN A SHIMMERING ILLUSION! + + +49 INT. STRONGHOLD - DAY 49 + + It's busy with activity - hundreds of Asgardians who fled the + city after Hela's invasion are living here. Men, women, and + children. Strong and weak, young and old. + + Heimdall turns to the family, even manages a smile. + + HEIMDALL + You'll be safe here. + + They enter the stronghold. As the doors SHUT we go to- + +50 OMITTED 50 + + +A51 OMITTED A51 + + +51 INT. HULK'S WARRIOR SUITE - DAY 51 + + Thor's eyes POP OPEN. He's lying in a heap on the ground, + still dirty, bruised, and beat up. + + Thor is being tended to by TWO SAKAARIAN GLADIATOR NURSES who + are swabbing his wounds. This freaks him out, which results + in startled thrashing. That freaks out the two Gladiator + nurses, which results in them RUNNING AWAY. + BLUE DRAFT 05/20/16 59. + + +Thor starts to get up, but then winces. He moves slowly. + +He's in a GIANT ROOM with stark graphic patterns on the +walls. With a few achy grimaces, Thor stands up and wanders +around. There's furniture, large cushions, and a sleeping +area enclosed by the SKULL of a giant beast. + +NOISE behind him. Thor follows the noise to find- + +Hulk having eased himself into a large steaming JACUZZI. Thor +looks at him quizzically. Hulk isn't angry. He's RELAXED, +but he's not turning into Banner. + + THOR + Are we cool? + +Hulk grunts. I guess so. + + THOR (CONT'D) + It's Hulk in a hot tub. + (then:) + How long have you been like that? + + HULK + Like what? + + THOR + Like this. Big, green, ...stupid. + + HULK + Hulk always Hulk. + +Thor takes this in, and then walks over to a window that +looks out across the city. Does some spatial math, realizes: +Thor looks back out the window. + +He sees a ramshackle SPACESHIP taking off and ROCKETING +skyward. Higher and higher, it's going for a wormhole when- + +-BOOM! One of Grandmaster's Palace Patrol ships, more modern +and heavy duty, BLOWS it out of the sky. + +On Thor, wheels turning. He turns to Hulk. + + THOR + How'd you get here? + + HULK + Winning. + + THOR + You mean cheating? + (re: Obedience Disk) + (MORE) + BLUE DRAFT 05/20/16 60. + + THOR (CONT'D) + Were they wearing one of these when + you won? How'd you arrive here? + + HULK + Quinjet. + +Hulk mimes a plane landing in the water. + + THOR + Yes. Where is the Quinjet now? + +Hulk stands up, and exits the hot tub, naked. + + THOR (CONT'D) + That's naked. He's very naked. + It's in my brain now. + +Hulk points out the window. + + HULK + Quinjet. + +Thor sees the Quinjet in a massive alien junkyard. + + THOR + Yes! I'm getting us out of here. + This is a terrible, awful place. + You're gonna love Asgard. It's + big. It's golden. Shiny. + +Hulk sits on his bed, eating a pumpkin. + + HULK + Hulk stay. + + THOR + No, no, no. My people need me to + get back to Asgard. We must + prevent Ragnarok. + + HULK + Rag-na-ruh? + + THOR + The prophesied death of my home + world, the end of days, it's the + end of- + (Hulk's blank stare) + If you help me get back to Asgard, + I can help you get back to Earth. + + HULK + Earth hate Hulk. + BLUE DRAFT 05/20/16 61. + + + THOR + Earth loves Hulk. They love you. + You're of the Avengers. One of the + team, one of our friends. This is + what friends do. They support each + other. + + HULK + You're Banner's friend. + + THOR + I'm not Banner's friend. I prefer + you. + + HULK + Banner's friend. + + THOR + I don't even like Banner. + (bad impersonation) + "I'm into numbers and science and + stuff." + + HULK + Thor go. Hulk Stay. + + THOR + Fine. Stay here. Stupid place. + It's hideous, by the way. The red, + the white. Just pick a color. + +Thor heads for the exit, a wide open door. + + HULK + Smash you. + + THOR + You didn't smash anything. I won + that fight + + HULK + I smashed you. + + THOR + Yeah, sure, sure. + + HULK + Baby Arms. + + THOR + What? + + HULK + Baby. + BLUE DRAFT 05/20/16 62. + + + THOR + Moron! You big child. + + Thor heads to the open entrance. Hulk smiles, anticipating. + + HULK + Thor go! + + THOR + I am going. + + ZAP! Thor's jolted back by the obedience disk. There are + perimeter sensors in the doorway. + + Hulk CHUCKLES at Thor as he hits the floor. Points. + + HULK + Thor go again! + (then:) + Thor home. + + TIME CUT: + + Thor slumps against the wall, head sagging. + + Hulk grabs his giant battleaxe. He's armored up. + + HULK (CONT'D) + Hulk trains. + + THOR + That's great. Have fun. + + Hulk exits. Thor watches him go. Then, at the end of the + hallway Hulk meets up with Valkyrie! They begin play- + fighting, a clearly friendly rapport. + + Thor can't believe it. He runs to the entrance, but by the + time he reaches the perimeter sensors they are gone. + + Thor sighs. Walks over to the window. Looks up through a + wormhole, stars twinkling on the other end of it. + + THOR (CONT'D) +A57 Heimdall, I know you can see me. A57 + + Thor continues his plea at the window. + + THOR (CONT'D) + I need you to help me. Help me + see. + + Pause. Then Thor's eyes go golden like Heimdall's! The + stars in the wormhole begin to WARP OVER THOR AND- + BLUE DRAFT 05/20/16 63. + + +AA57 INT. STREETS OF ASGARD - SAME AA57 + + Thor suddenly finds himself in Asgard. Disoriented at first, + Thor turns to see Heimdall hiding in the shadows. + + Heimdall harshly SHUSHES Thor and gestures for him to get up + against the wall. Thor complies. Sees the refugees. + + After a beat a roving patrol of Hela's Butchers creep by + through the street. They don't spot our heroes. Pause. + + Heimdall turns to Thor, speaks only in hushed whispers. + + HEIMDALL + I see you. But you are far away. + + THOR + What's going on here? + + HEIMDALL + Come see for yourself. + + Without warning, Heimdall leads the family out of the alley + and DASHES down the street. Thor follows... + + ...but then stops. Looks around to see THE OCCUPIED CITY OF + ASGARD, emitting a smoky aura of chaos. A chilling sight. + + Down the street, Heimdall gestures for the family to slow + down. He sees something. Ushers them into an alcove. + + Thor joins them just in time to avoid being seen by another + roving patrol of Hela's Butchers. Heimdall again motions for + Thor to "shh" until the threat has passed. Then: + + HEIMDALL (CONT'D) + I'm providing refuge in a + stronghold build by our ancestors. + But if the garrison falls our only + escape will is Bi-Frost. + + THOR + You're talking about evacuating + Asgard? + + HEIMDALL + We won't last long if we stay. + + Thor LOOKS OUT on a ravaged Asgard, heartsick. + + Hold on the devastated Realm as: + BLUE DRAFT 05/20/16 64. + + + HEIMDALL (O.S.) (CONT'D) + She draws her power from Asgard and + grows stronger everyday. + +Back to Thor and Heimdall. + + HEIMDALL (CONT'D) + Come on. + +As Heimdall quickly leads refugees down a safe pathway: + + HEIMDALL (V.O.) (CONT'D) + Hela is ravenous. If I let her + leave, she'll consume the Nine + Realms and all the cosmos. + +Turns back to Thor, approaches him. + + HEIMDALL (CONT'D) + We need you. + + THOR + I'm working on it, but I don't even + really know where the hell I am. + +Two packs of Butchers arrive simultaneously. Spot Heimdall. + + HEIMDALL + You're on a planet surrounded by + doorways. Go through one. + + THOR + Which one? + +Heimdall RIPS into the attacking Butchers, CUTTING them down. + + HEIMDALL + The big one! + +WHOOSH! SUDDENLY THOR'S GONE! BLACK. + +After slashing through the Butchers, Heimdall moves towards +the house where he hid the family... and then abruptly stops. + +Heimdall turns slightly. He sees something. + +BINOCULARS POV: Heimdall looking right at us, the Bi-Frost +sword visible in his hand. + +Reveal Skurge on a palace tower balcony, surveilling the city +with Asgardian E-noculars. Skurge lowers the E-noculars. + +There is conflict on his face. He knows that he should report +this to Hela immediately...yet he doesn't spring into action. + BLUE DRAFT 05/20/16 65. + + +57 INT. HULK'S WARRIOR SUITE - NIGHT 57 + + Thor absentmindedly fidgets with his Obedience Disk. + + THUD! THUD! THUD! ...resonates around the room. Hulk steps + up to Thor, looking inquisitively down at him. + + HULK + Thor sad. + + THOR + Shut up. + + Hulk HITS Thor, bullying him into opening up. + + HULK + THOR SAD!!! + + Thor hops up, YELLS in Hulk's face. Paces around. + + THOR + I'm not sad, you idiot. I'm pissed + off! Angry. I lost my father. I + lost my hammer. + + THUD! THUD! He turns to see Hulk punching his pillow. + + Hulk stops. Stares. + + HULK + Whining and crying. Cry like baby. + + THOR + You're not even listening. + + Thor KICKS a random helmet. + + HULK + Don't kick stuff. + + THOR + You're being a really bad friend. + + HULK + You bad friend! + + THOR + You know what we call you? + + HULK + No. + + THOR + We call you the stupid Avenger. + BLUE DRAFT 05/20/16 66. + + + HULK + You're tiny Avenger! + +Hulk throws a shield that nearly decapitates Thor. + + THOR + What, are you crazy? + + HULK + Yes. + + THOR + You know what? Earth does hate you. + +Hulk gets sad. Wanders over to his bed to mope. + +Thor realizes he went to far. Joins Hulk on the bed. + + HULK + No. + + THOR + I'm sorry I said those things. + You're not the stupid Avenger. + Nobody calls you the stupid + Avenger. + + HULK + It's okay. + + THOR + You just can't go around throwing + shields at people. Could have + killed me. + + HULK + I know. I'm sorry. I just get so + angry all the time. Hulk always, + always angry. + + THOR + I know. We're the same, you and I. + We're just a couple of hot-headed + fools. + + HULK + Yeah, same. Hulk like fire, Thor + like water. + + THOR + We're kind of both like fire. + BLUE DRAFT 05/20/16 67. + + + HULK + But Hulk like real fire. Hulk like + raging fire. Thor like smoldering + fire. + + THOR + Hulk, I need you to do something + for me. + +TIME CUT: Morning. + +BA-BOOM! BA-BOOM! BA-BOOM! + +We follow Two Palace Guards as they enter Hulk's Suite. + +Hulk is throwing a LARGE BALL against the far wall. It's so +hard it makes dents in the wall. Hulk stops and turns. + +Reveal that the guards are escorting Valkyrie. They leave... +Valkyrie and Hulk face off. + + HULK + Angry girl! + +Val bounds forward and gives The Incredible Hulk a big hug. +Hulk laughs and then begins playfully roughhousing with Val. + + VALKYRIE + What's going on? What do you...? + +Hulk steps away, allowing Valkyrie to see Thor. Her smile +disappears. She stares at Hulk, so annoyed. Hulk mopes a +little. Like, "I done bad." Turns back to Thor: + + VALKYRIE (CONT'D) + You're so thick-headed that you + can't tell when someone's hiding + all the way across the universe and + wants to be left alone? + + THOR + We need to talk. + + VALKYRIE + No, you want to talk to me. + +Valkyrie turns to leave. + + THOR + (to Hulk:) + I need her to stay. + +Valkyrie is at the exit when the UPPER JAWBONE of Hulk's +massive skull bed CRASHES into frame, BLOCKING the doorway. + BLUE DRAFT 05/20/16 68. + + +Val shoots an annoyed sneer at Hulk. Hulk SNORTS back. + + HULK + Stay! Please? + +Valkyrie looks him up and down. Obedience Disks to the max. + +Hulk begins BOUNCING his ball against the wall again. + +Valkyrie walks over to Hulk's bar, picks up an UNOPENED +BOTTLE of liquor. Hulk snorts, disapprovingly. Val puts it +down and finds something cheaper, she pops the cork. + + VALKYRIE + All right. Here's the deal. I'll + listen to you till this is empty. + +She TIPS BACK the bottle and starts CHUGGING. + + THOR + Asgard is in danger and people are + dying. We need to get back there. I + need your help...wow. + + VALKYRIE + Finished. Bye. + +She has indeed finished. She goes to leave. + + THOR + Odin is dead. + +Valkyrie stops short (the BALL BANGING noise continues). Her +silence speaks volumes. Thor has a realization. + + THOR (CONT'D) + Hela, the Goddess of Death has + invaded Asgard. + + VALKYRIE + If Hela's back then Asgard is + already lost. + + THOR + I'm going to stop her. + + VALKYRIE + Alone? + + THOR + Nope. I'm putting together a team. + It's me, you, and the big guy. + BLUE DRAFT 05/20/16 69. + + + HULK + No team. Only Hulk. + + THOR + It's me and you. + + VALKYRIE + I think it's only you. + + THOR + Wait. Just listen. The Valkyrie + are legend, elite warriors of + Asgard. You are sworn to defend + the throne. + + VALKYRIE + I'm not getting dragged into + another one of Odin's family + squabbles. + + THOR + What's that supposed to mean? + + VALKYRIE + Your sister. Her power comes from + Asgard, same as yours. + +Hulk's ball rolls into frame. An off screen GRUNT. Val +picks it up and tosses it back to Hulk. + + VALKYRIE (CONT'D) + When it grew beyond Odin's control, + she massacred everyone in the + palace and tried to seize the + throne. When she tried to escape + her banishment, he sent the + Valkyrie in to fight her back. I + only survived because... + (trails off, brooding) + Look, I already faced her once back + when I believed in the throne, and + it cost me everything. THAT'S + what's wrong with Asgard. The + throne, the secrets, the whole + golden sham. + +Pause. Thor moves towards Valkyrie, goes to put a comforting +hand on her shoulder. + + THOR + I agree. + +Val SNATCHES his hand. They are close, face to face. + BLUE DRAFT 05/20/16 70. + + + VALKYRIE + Don't get familiar. + + THOR + I agree. That's why I turned down + the throne. But this isn't about + the crown. This is about the + people. They're dying and they're + you're people, too. + +Val SHOVES him away. Thor stumbles back. + + VALKYRIE + Forget it. I have. + + THOR + (nods, understanding) + Okay. + + VALKYRIE + Okay. + + THOR + Good. Great. + + VALKYRIE + Great. + + THOR + Thank you. + + VALKYRIE + For what? + + THOR + For this. + +Reveal that Thor has lifted the fob device off Val's belt! + + THOR (CONT'D) + Didn't see that did you? + +Thor presses the button and ALL THE OBEDIENCE DISKS EMBEDDED +IN HIS NECK AND BELT POWER DOWN! Confident smirk. + + THOR (CONT'D) + There... that's better. You know, + go ahead. Stay here and get drunk + and enslave people for that + lunatic. Keep drinking. Keep + hiding. + (beat) + But me... + BLUE DRAFT 05/20/16 71. + + + Thor gestures for Hulk to toss him the ball. Hulk does. + + THOR (CONT'D) + I choose to run toward my problems + and not away from them. Because + that's what... + + Thor HURLS IT at the MAIN WINDOW - It bounces off, hitting + Thor in the face. He stands, facing Valkyrie. + + THOR (CONT'D) + Because that's what heroes do. + + Thor then SMASHES THROUGH THE WINDOW! Hulk STANDS... + + HULK + Friend Stay! + + +60 EXT. GRANDMASTER'S PALACE - DAY 60 + + Thor is sliding down the SIDE of the GRANDMASTER'S TOWER. + + He LAUNCHES HIMSELF OFF THE BUILDING and hurtles downward, + LANDING casually on the street below. Finally free. + + +61 EXT. THE STREETS OF SAKAAR - CONTINUOUS 61 + + Thor is HAULING ASS. + + Never slowing down, Thor keeps the top of the arena in sight. + + A few blocks back: Hulk is in pursuit. He's BUMPING people, + SWATTING vehicles out of the way, just being a menace. + + On Sakaar, the citizens APPLAUD for him! Even when Hulk + DEMOLISHES a man's food cart, the man CHEERS Hulk on! + + +62 EXT. MASSIVE ALIEN JUNKYARD - CONTINUOUS 62 + + Thor SPRINTS in. Looks around. Man, this place is big. + + He RUNS down aisles of crushed and stripped spacecrafts, a + giant smelter, and then into what looks like a used car lot. + + And then he sees it. The Quinjet! + + +63 INT. QUINJET - CONTINUOUS 63 + + Thor enters and rushes to the controls. + BLUE DRAFT 05/20/16 72. + + + THOR + All right. Come on. + +He is pressing buttons and flipping switches. After a beat- + +-the flight deck POWERS UP! Thor places his hand on a pad +which SCANS his handprint. Lights up green. + + QUINJET (V.O.) + Voice verification required. + + THOR + Thor. + + QUINJET (V.O.) + Access denied. + + THOR + Thor, son of Odin. + + QUINJET (V.O.) + Access denied. + + THOR + God of Thunder. + + QUINJET (V.O.) + Access denied. + + THOR + Strongest Avenger. + + QUINJET (V.O.) + Access denied. + + THOR + Strongest Avenger! + + QUINJET (V.O.) + Access denied. + + THOR + Damn you, Stark. + (rolls his eyes) + Point Break. + + QUINJET (V.O.) + Welcome, Point Break. + +CAH-RUNCH! Hulk BARGES IN through the Quinjet door! + +The Hulk approaches, scowling. Any metal that stands in his +way PEELS BACK. Frantic, Thor turns to the Quinjet's console. + BLUE DRAFT 05/20/16 73. + + + HULK + Friend stay! + + THOR + No, no, no! + +As Hulk enters, he DESTROYS the hull of the Quinjet. + + HULK + Stay! + + THOR + Stop! Stop breaking everything! + + HULK + Don't go! + +Thor triggers a message on the flight console. + + NATASHA (V.O.) + Nice work, big guy. We don't know + where Ultron's headed, but you're + going very high, very fast. + +Hulk stops short. His whole demeanor changes. + +Thor steps out of the way so that Hulk can see a recorded +message from NATASHA ROMANOFF on the console. + + NATASHA (V.O.) + ...So, I need you to turn this bird + around, okay? We can't track you in + stealth mode... + +Hulk is now right up against the console screen. + + NATASHA (V.O.) + ...So I need you to help me out. + Okay? I need you to... + + HULK + No! No, Banner! + +Hulk CONVULSES. Drops to his hands and knees. His whole +body warping. Hulk ROARS and GRABS at his face, SHAKING his +head, trying to fight this back. But he can't help it... + +...HE'S TRANSFORMING BACK INTO BRUCE BANNER! The transition +is rough and chaotic, it's as if Banner is fighting to get +out of the Hulk. Throughout the process, Hulk SMASHES back +and forth, further WRECKING the Quinjet. + +And then, calm. + BLUE DRAFT 05/20/16 74. + + +Thor rushes to Banner's side to help ease the transition. + + THOR + Banner. Hey, hey, hey. You all + right, Banner? Sun's going down. + Sun's going down. That's it, + breathe. I won't hurt you. Sun's + going down. + + BANNER + ...Thor? + + THOR + Yeah. + +Banner is groggy, disoriented. Thoughts, memories, and +observations begin to flood his brain randomly. + + BANNER + What happened to your hair? + + THOR + Some creepy old man cut it off. + + BANNER + It looks good. + + THOR + Thanks. + + BANNER + Where are we? How's Nat? + + THOR + Nat is good, I'm sure. + + BANNER + And what about Sokovia? + + THOR + Sokovia? + + BANNER + The city, Sokovia. Did we save it? + + THOR + Banner, listen. + + BANNER + What? + + THOR + Sokovia. Ultron. That was two + years ago. + BLUE DRAFT 05/20/16 75. + + + BANNER + What are you saying? I've been Hulk + for two years? + + THOR + I'm afraid so. + +Banner's eyes BULGE. Trying to process this information. + + BANNER + What the hell happened? + +Banner rushes to his feet. Thor follows. + + THOR + Banner, there's something you + should know... + +Banner goes to the flight console. + + QUINJET (V.O.) + Voice Activation required. + + BANNER + Banner. + + QUINJET (V.O.) + Welccome, Strongest Avenger. + + THOR + (puzzled) + What? + + BANNER + Ship's log... + +THE SHIP'S LOG POPS UP ON SCREEN. + +FROM BEHIND THE DISPLAY (within the monitor looking out) we +see fragmented images of the Hulk's trip through deep space. + +We see the angry green giant thrash around in zero gravity. + +We see Hulk closer to the camera now, looking stressed and +car sick. + +THROW FOCUS to see Banner's face watching the video, Hulk's +freaked out face is super-imposed over Banner's freaked out +face. + + BANNER (CONT'D) + Thor, where are we? + BLUE DRAFT 05/20/16 76. + + + THOR + Yeah, about that. + +Banner hears: + + GRANDMASTER (O.S.) + It's bad news, bad news today. + +Banner rushes over to the windshield. Through it he sees- + +-Grandmaster, his hologram projection towering over the city. + + GRANDMASTER (CONT'D) + Sakaar, hear ye. Attention please. + I have some bad news. My beloved, + exalted Champion has turned up + missing. Take to the streets. + Celebrate my champion. + + BANNER + Who's that? + + THOR + He kind of runs the place. You + actually lived in his house. + +Back to Banner. A distant, confused stare. + + BANNER + I did? + + THOR + Yeah. Quite a lot's happened. You + and I had a fight recently. + + BANNER + Did I win? + + THOR + No, I won. Easily. + + BANNER + Doesn't sound right. + + THOR + Well, it's true. + + GRANDMASTER + It seems that that criminally + seductive Lord of Thunder has + stolen him away. + BLUE DRAFT 05/20/16 77. + + + THOR + Seductive GOD of Thunder. We need + to move. + + BANNER + Oh, no. This is bad. This is + really, really bad. Thor, I think + I'm freaking out. + + THOR + No, no, no. Don't freak out. + You're okay. Put these on. + + Thor tosses Banner some clothes. Banner looks at them. + + BANNER + These are Tony's clothes. + + THOR + I know, come on. + + BANNER + Is he here? + + THOR + No, he's not here. But listen. + Just stay calm, okay? The sun's + going down. The sun's getting + really low. Sun's going down. + + +67 INT. GRANDMASTER'S CHAMBERS - DAY 67 + + Loki and Valkyrie are brought before Grandmaster, who has at + least tripled the amount of bodyguards around him. + + GRANDMASTER + I'm upset! I'm very upset. You + know what I like about being upset? + Blame. Right now, that's the + mindset that I'm in. And you know + who I'm blaming? + + LOKI + Grandmaster, I- + + GRANDMASTER + Hey! Don't interrupt me! + + Topaz hands the melt stick to the grandmaster. + + TOPAZ + Here you go. + BLUE DRAFT 05/20/16 78. + + + GRANDMASTER + Why are you handing me the melt + stick? He was interrupting. That's + not a capital violation. + (refocuses) + My precious champion has come up + missing and its all because of that + Lord of Thunder. It's all because + of him. + (to Loki) + YOUR brother. Whatever the story + is. Adopted, or complicated. I'm + sure there's a big history. + (to Valkyrie) + And YOUR contender. + + LOKI + My dear friend, if you were to give + me twelve hours I could bring them + both back to you. + + VALKYRIE + I can do it in two. + + LOKI + I could do it in one. + + GRANDMASTER + You know what? I woke up this + morning thinking about a public + execution. But for now, I'll + settle for this sweet little "who's + gonna get him first?" So you're on + the clock. + + +64 INT. GRANDMASTER'S PALACE - DAY 64 + + Valkyrie exits in a hurry. Loki follows her. + + LOKI + What have you done!? + + Val reverses position, putting Loki up against the wall. + + VALKYRIE + I don't answer to you, lackey. + + LOKI + It's Loki. And you will answer to + the Grandmaster. + BLUE DRAFT 05/20/16 79. + + + Loki moves to reverse position again, but Val BREAKS AWAY, + drawing her TWO BLADES. In response, Loki UNSHEATHES two + long Sakaarian daggers. They eye each other, and then- + + -FIGHT! A fast-paced and deadly battle of knives. After a + few exchanges, Val connects a BIG SHOT that SLAMS Loki into + the wall. He scowls. + + LOKI (CONT'D) + Why would you help my brother + escape with that green fool? + + VALKYRIE + I don't help anyone. + + Loki trails off. He sees her wrist markings. A realization. + + LOKI + You're a Valkyrie. I thought the + Valkyrie all died gruesome deaths? + + Now Val ATTACKS Loki! She gets him up against the wall, her + blade against his throat. She looks ready to kill him. + + VALKYRIE + Choose your next words wisely. + + LOKI + Terribly sorry. Must be a very + painful memory... + + Quick as a rattlesnake, Loki GRABS Val's head and CASTS an + illusion. Val's eyes CLOUD OVER with darkness as we go to: + + +65 EXT. HELA'S DIMENSION - FLASHBACK 65 + + A barren black void of death. + + The VALKYRIE, in old school Asgardian armor, charge through + the DIMENSIONAL RIFT, an open portal to Asgard and the Nine + Realms. Val witnesses these events as moments frozen in time. + + - Reveal Hela in all her glory, black lightning everywhere. + + - Dozens of Valkyrie falling through the dark space. + + - The Valkyrie's winged horses lay dead on the battlefield. + + - Through the open portal we can see the throne of Asgard. + + - Hela advancing on the final few Valkyrie - one is Val, + frozen in fear, shell-shocked. + BLUE DRAFT 05/20/16 80. + + + - Hela FIRING black weapons at Val... + + - One of Val's sisters DIVING IN at the last second, SHOVING + VAL back through the PORTAL and taking the fatal hit! + + - Val lands hard in the Throne room. + + - Val scrambling to her feet and trying to re-enter the rift + but it's too late. It closes, the last image she sees is Hela + dealing the final killer blow to her doomed Valkyrie sisters. + + +66 EXT. GRANDMASTER'S PALACE - CONTINUOUS 66 + + We find Val on her knees in front of Loki, trembling from + this visceral memory that she's tried so hard to suppress. + + She turns on Loki, raging, and knocks him out. + + +69 EXT. SAKAAR - STOOP - DAY 69 + + BANNER sits, groaning, head in his hands. THOR is beside + him, rubbing his back and on the lookout for threats. + + THOR + The sun's going down. It's getting + really low. The sun's going down. + It's getting real low. + + BANNER + Would you stop saying that!? + + THOR + I just need you to stay calm. + + BANNER + Calm!? I'm on an alien planet! + + THOR + It's just a planet. You've been on + a planet before. + + BANNER + Yeah! One! + + THOR + Now you've been on two. That's a + good thing. It's a new experience. + + BANNER + My neurons, they're firing faster + than my brain can handle the + information. + (MORE) + BLUE DRAFT 05/20/16 81. + + BANNER (CONT'D) +The whole thing is totally +different this time. + (beat) +In the past, I always felt like +Hulk and I each had a hand on the +wheel, but this time it's like he +had the keys and I was locked in +the trunk. + + THOR +Alright, well, you're back now, +that's all that matters. + + BANNER +No, it's not what matters. What +I'm trying to tell you, is that if +I turn into the Hulk again, Banner +may never come back. And we're +stranded on a planet that is +designed to stress me out. + + THOR +We're not stranded, I'm gonna +figure out a way to get us home. + + BANNER +Thank you. + + THOR +Not your home, though. Asgard. + + BANNER +What? + + THOR +Listen, my people are in great +danger. You and I, we have to +fight this really powerful being +who also happens to be my sister. + + BANNER +Okay, that is so wrong on so +many... I don't wanna fight your +sister. That's a family issue. + + THOR +No, she's an evil being. + + BANNER +I don't care what she is. I'm not +fighting any more beings. I'm sick +of it. I just told you. + (MORE) + BLUE DRAFT 05/20/16 82. + + BANNER (CONT'D) + If I turn into the Hulk, I am never + gonna come back again. And you + don't care. + + THOR + No, no. I'm putting together the + team. The Hulk is the fire. + + BANNER + Wait, you're just using me to get + to the Hulk. + + THOR + What? No! + + BANNER + It's gross. You don't care about + me. You're not my friend. + + THOR + No! I don't even like the Hulk. + He's all like... "smash, smash, + smash." I prefer you. + + BANNER + Thanks. + + THOR + But if I'm being honest, when it + comes to fighting evil beings, he + is very powerful and useful. + + BANNER + Yeah, Banner's powerful and useful, + too. + + THOR + Is he though? + + BANNER + How many PhDs does Hulk have? + Zero. How many PhDs does Banner + have? Seven. + + THOR + Fine, you don't have to fight + anyone. But we're in danger here, + so we have to move. + +Thor grabs a towel from the ground next to him. He puts the +towel over his head. + + BANNER + What are you doing with that? + BLUE DRAFT 05/20/16 83. + + + THOR + I need a disguise. I'm a fugitive. + + BANNER + I need a disguise. + + THOR + You are the disguise. + +Banner finds a pair of Stark's sunglasses in his jacket. + + BANNER + I'll be Tony Stark. + + THOR + What? + + BANNER + Yeah. Tony and the gypsy. + + THOR + No, no you're not Tony. You're + Bruce Banner. + + BANNER + Then why did you dress me up like + Tony? + + THOR + Because you were naked. + + BANNER + Okay, I'll give you that. + +They stand up. Banner adjusts his crotch. + + THOR + What are you doing? Stop doing + that! + + BANNER + Tony wears his pants super tight! + + THOR + Why are you being so weird? + + BANNER + I don't know. Maybe the fact that I + was trapped for two years inside of + a monster made me a little weird. + +Banner flashes green. Thor calms him down. + BLUE DRAFT 05/20/16 84. + + + THOR + Hey. It's okay. You're good. + Calm down. Come on. Listen, we're + gonna go to Asgard and you're not + gonna have to think about the Hulk + ever again. All right? + + BANNER + All right. + + WHAP! Banner gets nailed in the face with green paint. + + Caught off guard, Thor and Banner are swept off into- + + +69A EXT. PARADE OF VICTORS - CONTINUOUS 69A + + It's a massive street festival where revelers dance and cheer + while throwing powdered paint at each other... in celebration + of Hulk! Green EVERYWHERE! + + Inside the parade it is total chaos. Thor searches for Banner + as he's PELTED with green powder. Pandemonium. In the crowd + Thor sees a pack of SCRAPPERS on the hunt for the reward. + + Thor spots Banner. He surges forward, GRABS Banner, and + pulls him into another alley, but sees- + + -Valkyrie is approaching from down the alley! + + THOR + This is bad. Banner! Banner! + + Thor pulls Banner back into the crowd. Thor briefly turns to + see that he is no longer holding Banner's - it's the arm of a + SMALL ALIEN who squeals in fright. + + Thor sees Banner across the crowd. + + Thor MUSCLES his way through the madness, knocking rowdy fans + aside. He reaches Banner and holds him protectively, + awkwardly trying to rub his shoulders. + + One of the aliens Thor knocked aside turns out to be a + MASSIVE SCRAPPER. He rears up, turning on Thor and Banner. + + WHAM! From out of nowhere, Valkyrie CLOCKS this Scrapper + with a brass knuckle right cross. The Scrapper DROPS. + + Thor looks at Val while clutching Banner like a child. + + THOR (CONT'D) + Hi. + BLUE DRAFT 05/20/16 85. + + + VALKYRIE + Hi. + + THOR + I was gonna do that. + + VALKYRIE + Yeah, well, I did it first. + + THOR + That's good. What are you doing + here? + + VALKYRIE + What are you doing here? I thought + you were leaving. + + THOR + I got sidetracked. + + VALKYRIE + What's with the... + + THOR + It's my disguise. + + VALKYRIE + But I can see your face. + + THOR + (covers his face) + Not when I do this, you can't. + (then:) + Your hair looks nice. I like what + you did with it. Change it? Washed + it maybe? + + Valkyrie just rolls her eyes, takes Thor by the arm. + + BANNER + (to Thor:) + What are those things on her eyes? + Are those the people that she's + killed? She's so beautiful and + strong... + + +69B EXT. SAKAARIAN STREET - MOMENTS LATER 69B + + Valkyrie escorts Thor and Banner through the street. + + VALKYRIE + Who is this guy? + BLUE DRAFT 05/20/16 86. + + + THOR + He's a friend. + + BANNER + Who? Me? I'm Bruce. + + As Val leads them into Sakaarian apartment building. + + VALKYRIE + I feel like I know you. + + BANNER + I feel like I know you too. + + +A72 OMITTED A72 + +72 OMITTED 72 + +A73 INT. SAKAARIAN BUILDING - HALLWAY - CONTINUOUS A73 + + Continue down the hallway. + + VALKYRIE + Look, I've spent years in a haze + trying to forget my past. Sakaaar + seemed like the best place to drink + and forget and to die one day. + + THOR + I was thinking that you drink too + much, and that probably was going + to kill you. + + VALKYRIE + I don't plan to stop drinking, but + I don't want to forget. I can't + turn away anymore. So, if I'm + donna to die, well... it may as + well be driving my sword through + the heart of that murderous hag. + + THOR + Good. + + They arrive at a door. Before they enter: + + VALKYRIE + Yeah. So I'm saying that I wanna + be on the team. Has it got a name? + + THOR + Yeah, it's called the Revengers. + BLUE DRAFT 05/20/16 87. + + + VALKYRIE + Revengers? + + THOR + Because I'm getting revenge. + You're getting revenge. + (to Banner:) + Do you want revenge? + + BANNER + I'm undecided. + + THOR + Okay. + + VALKYRIE + Also, I've got a peace offering. + + +73 INT. VALKYRIE'S APARTMENT - DAY 73 + + Valkyrie opens the front door, revealing- + + -Loki! He is as restrained as anyone could be, sitting in + the middle of the apartment with a dozen chains around him. + + LOKIE + Surprise. + + Thor TOSSES a bottle. It BOUNCES off of Loki's head. + + LOKI + OW! + + THOR + Just had to be sure. + + LOKI + Hello, Bruce. + + BANNER + So, last time I saw you, you were + trying to kill everybody. Where + are you at these days? + + LOKI + It varies from moment to moment. + + Val's apartment is a shithole. Bottles everywhere, blood- + spattered clothes in the corner, a knife in the wall, etc. + + Banner gives Thor a look like "she might be crazy." Thor + responds with a "No, she's cool" gesture. + BLUE DRAFT 05/20/16 88. + + +Val lays something on the bed. Unwraps it to reveal AN OLD +ASGARDIAN SWORD. Thor's eyes go wide as she sharpens it. + + THOR + Is that... a Dragonfang? + + VALKYRIE + It is. + + THOR + My God. This is the famed sword of + the Valkyrie. + + VALKYRIE + Sakaar and Asgard are about as far + apart as any two known systems. + Our best bet is a wormhole just + outside the city limits. + +A nice clean wormhole outside the city. + + VALKYRIE (CONT'D) + Refuel on Xandar and be back in + Asgard in around 18 months. + + THOR + Nope. We're going through that one. + +Thor points at the nightmare tornado wormhole over the ocean. + + VALKYRIE + The Devil's Anus? + + BANNER + Wait, whose anus are we going + through? + + THOR + For the record, I didn't know it + was called that when I picked it. + + BANNER + That looks like a collapsing + neutron star inside of an Einstein- + Rosen Bridge. + + VALKYRIE + We need another ship. That would + tear mine to pieces. + + THOR + She's right. We need one that can + withstand the geodetic strain from + the singularity. + BLUE DRAFT 05/20/16 89. + + +Banner gives Thor a quizzical look. + + BANNER + And has an offline power steering + system that could also function + without the on-board computer. + + VALKYRIE + And we need one with cup holders, + because we're gonna die. So, + drinks! + + BANNER + Do I know you? I feel like I know + you. + + VALKYRIE + I feel like I know you, too. It's + weird. + + THOR + (to Banner:) + What do you say, doctor? Uncharted + metagalactic travel through a + volatile cosmic gateway. Talk about + an adventure. + +Thor and Banner high five as Val stares at them blankly. + + BANNER THOR (CONT'D) +We need a ship. Need a ship. + + VALKYRIE + There are one or two ships, + absolute top-of-the-line models-- + + LOKI + I don't mean to impose, but the + Grandmaster has a great many ships. + I may eve have stolen the access + codes to his security system. + +All eyes turn to Loki. Valkyrie throws her bottle at him. It +smashes above his head. + + VALKYRIE + And suddenly you're overcome with + an urge to do the right thing. + + LOKI + Heavens, no. I've run out of favor + with the Grandmaster. + (MORE) + BLUE DRAFT 05/20/16 90. + + LOKI (CONT'D) + And in exchange for codes and + access to a ship I'm asking for + safe passage...through the anus. + + THOR + You're telling us you can get us + access into the garage without + setting off any alarms? + + LOKI + Yes, brother. I can. + + BANNER + Okay, can I just... A quick FYI, I + was just talking to him just a + couple minutes ago and he was + totally ready to kill any of us. + + VALKYRIE + He did try to kill me. + + THOR + Yes, me too. On many, many + occasions. There was one time when + we were children, he transformed + himself into a snake, and he knows + that I love snakes. So, I went to + pick up the snake to admire it and + he transformed back into himself + and he was like, "Yeah, it's me!" + And he stabbed me. We were eight + at the time. + +Loki suppresses a smile. + + VALKYRIE + If we're boosting a ship, we're + gonna need to draw some guards away + from the palace. + + LOKI + Why not set the beast loose? + + THOR + Shut up. + + VALKYRIE + You guys have a beast? + + THOR + No, there's no beast. He's just + being stupid. We're going to start + a revolution. + BLUE DRAFT 05/20/16 91. + + + BANNER + Revolution? + + THOR + I'll explain later. + + VALKYRIE + Who's this guy again? + + THOR + I'll explain later. + + +74 OMITTED 74 + + +75 INT. THE ARENA - GLADIATOR CELLS - MOMENTS LATER 75 + + Korg sits with his cell mates. He's talking to Miek. + + KORG + Is that some sort of protoplasm, + all the stuff that's coming out of + you? Or are they eggs? Looks like + eggs. + + Suddenly his Obedience Disk POWERS DOWN. No longer glowing. + + As Korg stands up, Valkyrie appears at the door to his cell. + + VALKYRIE + I'm looking for Korg. + + KORG + Who's asking? I know you're + asking. Is anyone else asking, or + is it just you? + + Valkyrie tosses him a high-tech rifle. + + VALKYRIE + The Lord of Thunder sends his best. + + KORG + My revolution has begun... + + +76 INT. GRANDMASTER'S CHAMBERS - DAY 76 + + Grandmaster speaks with Topaz who now wears battle armor. + + GRANDMASTER + Revolution? How did this happen? + BLUE DRAFT 05/20/16 92. + + + TOPAZ + Don't know. But the Arena's + mainframe for the Obedience Disks + have been deactivated and the + slaves have armed themselves. + + GRANDMASTER + Oh! I don't like that word! + + TOPAZ + Mainframe? + + GRANDMASTER + No. Why would I not like + "mainframe?" No, the "S" word. + + TOPAZ + Sorry, the "prisoners with jobs" + have armed themselves. + + GRANDMASTER + Okay, that's better. + + CHA-CHNK! SOUNDS OF MACHINERY as the whole space starts + moving. A different angle reveals that we are in- + + +A77 EXT. THE STATESMAN - CONTINUOUS A77 + + Grandmaster's chambers are actually the oversized cockpit of + a A HUGE RIOT CONTROL SHIP (The Statesman) that can dock + itself indefinitely within the palace! + + The Statesman has DISLODGED from the palace and is now + flanked by six smaller Sakaarian peace-keeping ships, all + headed towards the city where RIOTING can be heard. + + +77 INT. GRANDMASTER'S PALACE - GROUND LEVEL - CONTINUOUS 77 + + Thor waits as Loki enters codes to a door's security panel. + + THOR + Hey, so listen, we should talk. + + LOKI + I disagree. Open communication was + never our family's forte. + + THOR + You have no idea. I've had quite + the revelation since we spoke last. + + The door opens, revealing a bunch of guards. + BLUE DRAFT 05/20/16 93. + + + Thor and Loki heft up two Sakaarian guns. + + THOR (CONT'D) + Hello! + + LOKI + Hi! + + Thor and Loki BLAST all the guards, moving to another door. + + LOKI (CONT'D) + Odin brought us together, it's + almost poetic that his death should + split us apart. We might as well + be strangers now. "Two sons of the + crown" set adrift. + + A guard tries to ambush Loki through the door. Thor TAKES + OUT the guard. + + THOR + Thought you didn't want to talk + about it? + + +79 INT. GRANDMASTER'S PALACE - ELEVATOR - CONTINUOUS 79 + + Thor and Loki are going up. + + LOKI + Here's the thing. I'm probably + better off staying here on Sakaar. + + THOR + That's exactly what I was thinking. + + LOKI + ...Did you just agree with me? + + THOR + This place is perfect for you. It's + savage, chaotic, lawless. Brother, + you're going to do GREAT here. + + LOKI + Do you truly think so little of me? + + Thor pauses, considers his brother. Then: + + THOR + Loki, I thought the world of you. + I thought we were gonna fight side + by side forever. But, at the end of + the day, you're you, I'm me... + (MORE) + BLUE DRAFT 05/20/16 94. + + THOR (CONT'D) + I don't know, maybe there's still + good in you, but let's be honest, + our paths diverged a long time ago. + +Loki is wounded by Thor's willingness to discard him. Masks +his feelings with: + + LOKI + It's probably for the best that we + never see one another again. + +Beat. Thor pats Loki affectionately on the shoulder. + +Hold on Loki. Did Thor just get through to him? + + THOR + That's what you always wanted. + +Beat. Then: + + THOR (CONT'D) + Hey, let's do "Get Help." + + LOKI + What? + + THOR + "Get Help." + + LOKI + No. + + THOR + Come on, you love it. + + LOKI + I hate it. + + THOR + It's great. IT works every time. + + LOKI + It's humiliating. + + THOR + Do you have a better plan? + + LOKI + No. + + THOR + We're doing it. + BLUE DRAFT 05/20/16 95. + + + LOKI + We are not doing "Get Help." + + +80 OMITTED 80 + + +82 INT. GRANDMASTER'S PRIVATE GARAGE - CONTINUOUS 82 + + Multi-tiered platforms with dozens of cool spaceships. + + The elevator doors open. Thor supports Loki's weight with + Loki faking a fatal injury. + + THOR + Get help! Please! My brother, he's + dying. + + A small group of Sakaarian guards turn toward Thor and Loki. + One guard aims his gun at them. + + THOR (CONT'D) + Get help! Help him! + + Thor picked up Loki and flings him at the guards, knocking + them down like bowling pins. Loki stands up and Thor steps + to Loki's side. + + THOR (CONT'D) + Classic. + + LOKI + I still hate it. It's humiliating. + + THOR + Not for me, it's not. + + THOR (CONT'D) + Which one's the ship she told us to + get? + + LOKI + (points) + The Commodore. + + The COMMODORE starship. Brand new, solidly built, sleek. + + As they walk towards it a DUPLICATE LOKI FORMS and LAGS + BEHIND. The Loki walking with Thor is an illusion. + + LOKI (CONT'D) + Though I feel it won't make much of + a difference... + BLUE DRAFT 05/20/16 96. + + + We follow the real Loki as he slinks away towards the + security system panel. He activates the panel and brings up a + screen that will set off all the alarms palace-wide! + + THOR (O.S.) + Oh, Loki. + + Loki turns to see Thor looking not at all surprised. + + LOKI + I know I've betrayed you many times + before, but this time it's truly + nothing personal. The reward for + your capture will set me up nicely. + + He triggers the alarm. + + +82B INT. GRANDMASTER'S PRIVATE GARAGE - CONTINUOUS 82B + + THOR + Never one for sentiment, were you? + + LOKI + Easier to let it burn. + + But then Loki sees Thor holding up a fob device. Loki + realizes that Thor affixed an Obedience Disk on him in that + heart-to-heart moment. + + THOR + I agree. + + BZZZT! Thor ZAPS Loki and HOLDS DOWN the button. Loki HITS + the ground, WRITHING in pain. Thor approaches. Pause. + + THOR (CONT'D) + Oh brother, you're becoming + predictable. I trust you, you + betray me. Round and round in + circles we go. + + Thor continues to "think about it" for a beat while Loki + convulses in agony on the floor. Finally, Thor kneels down: + + THOR (CONT'D) + See, Loki, life is about, it's + about growth. It's about change. + But you seem to just wanna stay the + same. I guess what I'm trying to + say is that you'll always be the + God of Mischief, but you could be + more. I'll just put this over here + for you. + BLUE DRAFT 05/20/16 97. + + + Thor places the fob on top of the security panel, so close + but so far from Loki's paralyzed reach. + + THOR (CONT'D) + Anyway, I got places to be so good + luck. + + +82C INT. COMMODORE SHIP - MOMENTS LATER 82C + + Thor is seen in the cockpit. + + THOR + All right, I can figure this out. + It's just another spaceship. + + +83 EXT. GRANDMASTER'S PALACE - MOMENTS LATER 83 + + The massive garage doors OPEN. This sets off BLARING ALARMS + to alert the palace of this unauthorized departure. + + The Commodore ship LIFTS OFF from the garage. In the cockpit + Thor pushes forward on the throttle. The ship ZOOMS ahead. + + GRANDMASTER + Loyal Sakaarians, Lord of Thunder + has stolen my ship and my favorite + champion. Sakaarians, take to the + skies. Bring him down. Do not let + him leave this planet. + + BELOW: Pilots hastily RUSH to their Palace Patrol ships so + as to pursue the Commodore. + + The first two ships out of the garage SWOOP AROUND behind + Thor. The Patrol ships are LOCKING weapons on Thor when- + + -BOOM-BOOM! They are both blown out of the sky by- + + +84 INT. WARSONG SHIP - SAME 84 + + Val is all focus, flying and FIRING. Banner sits shotgun. + + BANNER + Good shot! + + +85 EXT. SAKAAR - DAY 85 + + Thor's ship and Val's ship now ZIP through the city in + tandem. On the horizon we can see- + BLUE DRAFT 05/20/16 98. + + + -the Statesman, the enlarged Grandmaster, and his Riot + Control team raining down hell on the revolting prisoners. + + +86 INT. COMMODORE SHIP - CONTINUOUS 86 + + Thor in the pilot's seat. Val comes in over the radio. + + VALKYRIE (V.O.) + Open the doors. + + Thor looks over the console. FLIPS a switch. + + +87 INT. WARSONG SHIP - CONTINUOUS 87 + + Valkyrie STEERS down, dropping altitude. Her whole ship + spins upside down, yet her cockpit is still right-side up. + + VALKYRIE + I hope that you're tougher than you + look. + + BANNER + Why? + + Val MAXES OUT the throttle. The ship ACCELERATES. When + she's under Thor's ship, Val presses- + + -THE EJECT BUTTON! Banner is LAUNCHED OUT OF THE SHIP! + + +88 INT. COMMODORE SHIP - CONTINUOUS 88 + + Thor at the controls. We hear an incoming scream of + increasing volume. "aaaaaaaaaAAAAAAAAAHHHHHH!!!!!" + + THUNK! Banner is SHOT UP into the ship. ROUGH LANDING. + + Banner casually lifts his arm up and gives a THUMBS UP. + + CLUNK! CLUNK! CLUNK! CLUNK! The ship is being fired upon by + another pursuit vehicle. Banner joins Thor. + + BANNER + Shouldn't we be shooting back or + something? + + THOR + Yes, we should. + (into the radio:) + Where are the guns on this ship? + BLUE DRAFT 05/20/16 99. + + + VALKYRIE (V.O.) + There aren't any. It's a leisure + vessel. + + THOR / BANNER + WHAT?! + + VALKYRIE + Grandmaster uses it for his good + times, orgies and stuff. + + Thor and Banner look around. The CEILING has MIRRORS ON IT + and the floor is covered in a Sakaarian PERSIAN RUG. + + BANNER + Did she just say the Grandmaster + uses it for orgies? + + THOR + Yeah. Don't touch anything. + + CLUNK! CLUNK! CLUNK! More fire from behind. + + +A89 INT. WARSONG SHIP - THE SAME A89 + + Val's ship is hit. She rotates the cockpit to face BACKWARDS + and opens fire, taking out the attacking chase-ship. + + But now in Val's cockpit... Sparks. Smoke. Alarms. + + In the distance Val clocks the Grandmaster's Riot Ship + raining terror down on the masses. A look of determination as + she pops the HATCH above - her ship is now a convertible. + + +89 EXT. SAKAAR - CONTINUOUS 89 + + Meanwhile, Warsong ZOOMS out from under Thor's ship, still + ACCELERATING. Val has turned her ship into a missile, and + its trajectory is the Grandmaster's Riot Control Ship! + + Grandmaster is still taunting his former captives below when- + + -KA-BOOM! Warsong SLAMS into the Statesman, specifically the + Grandmaster's projection! Enlarged Grandmaster stumbles, + struggling to maintain his balance. + + Warsong EXPLODES while the Statesman is knocked off kilter + and goes down for a hard landing in the market! + BLUE DRAFT 05/20/16 100. + + +90 INT. COMMODORE SHIP - CONTINUOUS 90 + + Thor and Banner witness the fiery explosion of Val's kamikaze + flight path! + + THOR + No! + + Thor experiences a brief instant of heartbreak/devastation... + + ...but then notices a spec coming out of the explosion. + + THWACK! Val hits the ship's windshield and grabs hold! + Residual smoke wafting off of her. + + +91 OMITTED 91 + +92 EXT. SAKAAR - THE WASTELANDS - CONTINUOUS 92 + + Thor pilots the ship out of the city into the Wastelands as + six Sakaarian fighter ships race after them in formation. + + The following dogfight will proceed across the Wastelands and + then out over the Sakaarian Ocean. + + +93 INT. COMMODORE SHIP - CONTINUOUS 93 + + Val is still on the windshield. GUNFIRE! One of the + pursuing ships WINGS the Commodore, causing it to LURCH. + + THOR + Get inside! + + VALKYRIE + In a minute! + + Val pulls herself up and then RUNS DOWN THE ROOF OF THE SHIP! + + Thor and Banner follow the THUMPING of her footsteps. + + +94 EXT. COMMODORE SHIP - CONTINUOUS 94 + + In full sprint, Val LEAPS OFF and- + + -LANDS HARD on the lead Sakaarian ship! Val begins TEARING + into the enemy ship with her bare hands! + + +95 INT. COMMODORE SHIP - CONTINUOUS 95 + + Thor and Banner exchange a look. Pause. + BLUE DRAFT 05/20/16 101. + + + THOR + I should probably go and help. + + Thor abruptly exits, leaving Banner at the ship's controls. + + THOR (CONT'D) + Here, take the wheel. + + BANNER + No. I don't know how to fly one of + these. + + THOR + You're a scientist. Use one of + your PhDs. + + BANNER + None of them are for flying alien + spaceships! + + +96 EXT. THE SAKAARIAN OCEAN - CONTINUOUS 96 + + Thor LEAPS into the middle of this high-speed dogfight! + + These two superhuman Asgardians begin jumping between their + pursuer's ships, taking out guns, engines, and pilots with + their bare hands. It's spectacular and epic. + + Thor RIPS out an engine block and uses it to crush a pilot. + + Val DRAGS her blades down the entire underbelly of a ship + before BACKFLIPPING to another. + + Back and forth they go, even passing each other mid-flight a + few times. One by one the Sakaarian ships GO DOWN. + + +A97 INT. COMMODORE SHIP - SAME A97 + + Banner is frantically STEERING the ship, doing his best to + dodge all the incoming fire. He peels away and is followed + by Topaz, who is in her own chase-ship. + + Banner notices a button with a little explosion icon. + + BANNER + Okay, come on. There's gotta be a + gun on this thing. That looks like + a gun. + + Banner PRESSES the button. + BLUE DRAFT 05/20/16 102. + + + The ship's lighting changes, like a disco effect. Weird dance + music BLASTS over the PA, followed by Grandmaster's voice. + + GRANDMASTER (V.O.) + It's MY BIRTHDAY! It's MY BIRTHDAY! + It's MY BIRTHDAY. + + Banner is so confused. Then we hear FIREWORKS. + + +B97 EXT. THE SAKAARIAN OCEAN - CONTINUOUS B97 + + MASSIVE PLUMES of powder paint SHOOT OUT of the ship followed + by a huge colorful fireworks display. And then a + rainforest's worth of confetti is dumped from the hull! + + Topaz is suddenly in the middle of a party smoke screen! She + tries to fly her way through all the fireworks and streamers, + but ultimately she hits a HARD CRASH LANDING in the ocean. + + BANNER + Yeah! + + Meanwhile, Thor and Val land together on the one remaining + Sakaarian ship. Val leaks a smile to Thor. + + Thor YANKS OFF the cockpit cover, Val TOSSES the pilot, and + together they PUSH FORWARD on the throttle. + + The ship SPEEDS FORWARD. Just then Banner pulls the Commodore + back on the scene, hovering above them. + + They LEAP UP towards the Commodore's open doors as the ship + CRASHES and EXPLODES behind them! + + +97B INT. COMMODORE SHIP - CONTINUOUS 97B + + Thor and Valkyrie join Banner in the cockpit. + + VALKYRIE + Guys, we're coming up on the + Devil's Anus! + + +97F INT. GRANDMASTER'S GARAGE - DAY 97F + + KORG and MIEK enter, leading a group of gladiator rebels. + + Korg sees and then points to the SUPERCRUISER. + + KORG + There she is. Our ticket out of + here. Hey, what's this? + BLUE DRAFT 05/20/16 103. + + + The OBEDIENCE DISK FOB on the ground. He picks it up. + + Korg then notices LOKI, TWITCHING and CONVULSING on the + ground. He's barely made any progress towards the fob. + + Loki locks eyes with Korg, a desperate and furious plea. + + Korg looks at Loki, then at the fob, then back to Loki. + + Loki gives Korg a maniacal, pleading look. + + Korg gets it. He deactivates the obedience disk. + + Loki stands, dusts himself off. + + LOKI + Thank you. + + KORG + Hey man, we're about to jump on + that ginormous spaceship. You + wanna come? + + LOKI + You do seem like you're in + desperate need of leadership. + + KORG + Why thank you. + + +A98 OMITTED A98 + +B98 OMITTED B98 + + +98 EXT. THE DEVIL'S ANUS WORMHOLE - CONTINUOUS 98 + + VALKYRIE + Here we go! + + The Commodore ship is swallowed up by the towering nightmare + that is the Devil's Anus wormhole. + + The ship's onboard computer SHORTS OUT. Darkness in the + cabin. All around them the hull CREAKS. Under strain. + + The commodore heads toward the end of the wormhole. Debris + flies past the camera. + + Thor, Val, and Banner all look like they are in extreme pain, + as there's great concern the ship could be torn apart. + BLUE DRAFT 05/20/16 104. + + +98A EXT. ASGARD - PLAZA - DAY 98A + + SKURGE ADDRESSES A CROWD OF ASGARDIANS. HELA BEHIND HIM + leaning against FENRIS, her GIANT WOLF. + + SKURGE + Asgardians, some misguided soul has + stolen the Bifrost sword. Tell us + where it is, or there will be + consequences. Bad ones. + + We are now in the smoking ruins of Asgard. 100+ Asgardians + have been forced to line in a large piazza, all exhausted, + all scared. Patrolling the perimeter are Hela's Butchers. + + SKURGE (CONT'D) + Well? + + Hela points to an Asgardian woman off camera. + + HELA + You. + + Hela's butchers approach the crowd and find the Asgardian + woman. Skurge closes his eyes and looks downward. + + ASGARDIAN CITIZENS + No! Stop! + + Hela's butchers pull the Asgardian woman to the steps. They + shove her and she falls tot he floor. The woman is on her + hands and knees as Skurge turns to her. She trembles as + Skurge holds his battle axe with both hands. + + HELA + Well? Executioner? + + ASGARDIAN MAN + Wait! I know where the sword is. + + +99 EXT. THE DEVIL'S ANUS WORMHOLE - DAY 99 + + The Commodore nears the end of the wormhole and is- + + -SPIT OUT into the calmness of outer space. + +100 OMITTED 100 + BLUE DRAFT 05/20/16 105. + + +101 INT. COMMODORE SHIP - CONTINUOUS 101 + + Banner, Thor, and Valkyrie are all unconscious. Banner wakes + up and looks outside, the stars reflected in the windshield. + Thor and Valkyrie wake up. Outside they see- + + -THE REALM OF ASGARD, a flat city in the middle of an island + floating in space. + + VALKYRIE + (mixed emotions) + I never thought I'd be back here. + + The ship descends into the clouds above Asgard. + + BANNER + I thought it'd be nicer. I mean, + not that it's not nice. It's just, + it's on fire. + + THE SHIP CLEARS THE CLOUDS TO REVEAL- + + -ASGARD IN RUINS. A DEVASTATED GHOST TOWN. FIRES, WRECKED + BUILDINGS, DEAD SOLDIERS. IT LOOKS LIKE ALL HOPE IS LOST. + + VALKYRIE + Here, up here in the mountains. + + A projected map on the console shows the mountain where the + stronghold is located. There is a red dot in the mountain, + indicating where the Asgardian citizens are. + + VALKYRIE (CONT'D) + Heat signatures. People clustered + together. Hela's coming for them. + + THOR + Okay, drop me off at the palace and + I'll draw her away. + + VALKYRIE + And get yourself killed? + + THOR + The people trapped down there are + all that matters. While I'm + dealing with Hela, I need you two + to help get everyone off Asgard. + + BANNER + How the hell are we supposed to do + that? + BLUE DRAFT 05/20/16 106. + + + THOR + I have a man on the ground. + + +101A INT. ASGARD/STRONGHOLD - DAY 101A + + Heimdall looks to the Asgardian Citizens. + + HEIMDALL + Asgard. She's here. + + +109 EXT. PALACE - PLAZA - DAY 109 + + Valkyrie is helping Thor load a MASSIVE ASGARDIAN BLASTER + into the side of the Commodore. + + THOR + Now the ship has guns. + + VALKYRIE + I'll take it from here. + + Thor produces a bundle of FABRIC WITH GOLD AND WHITE PLATING. + + THOR + I found this in the armory. + + Val immediately recognizes its significance. She doesn't + want to be affected by this gesture, but can't help it. + + They share a look as the Commodore lifts off into the air. + Before she's out of earshot, Val calls down: + + VALKYRIE + "Your majesty." Don't die. You + know what I mean. + + The Commodore flies away, leaving Thor on the balcony. + + +109A INT. THRONE ROOM - CONTINUOUS 109A + + Thor's footsteps ECHO through the empty space. He sees the + items from the vault scattered beside the throne. + + Thor sees a chunk of plaster from the dismantled fresco. He + picks it up and sees that this piece of fresco bears a + portion of his own face. Thor then looks up, off camera. + + His eyes go wide. He looks up at the ceiling where his + painting used to be and finds the original which depicts Odin + and Hela conquering the nine realms, with Hela's butchers all + around them. Hela holds Mjolnir. + BLUE DRAFT 05/20/16 107. + + +106 OMITTED 106 + + +107 EXT. ASGARD - MOUNTAIN RAVINE - DAY 107 + + Hela, cowl & headdress on, stands with Skurge outside of the + mountain stronghold where Heimdall is hiding the refugees. + Hela raises her arms and FIRES LONG THIN BLACK LANCES, which + BURROW into crevices on the mountainside. From here, we TILT + UP, looking straight at the sky. + + With the lances in place, Hela bears down. Summoning all her + focus and energy, she begins to VIBRATE this manifestation of + her powers, PUNCTURING crevices and splitting rock apart. + + The whole mountain begins to RUMBLE. + +108 OMITTED 108 + + +110 EXT. ASGARD - MOUNTAIN STRONGHOLD - SAME 110 + + CRACK! Hela RIPS OPEN THE SIDE OF THE MOUNTAIN! + + There is an avalanche of rock and debris. The mountain + around the doors completely destroyed, the doors fall across + the ravine, creating a bridge for Hela and Skurge. Hela + waits patiently for the dust to settle and sees- + + -an empty stronghold. No sign of Heimdall or the refugees. + + +111 EXT. SECRET MOUNTAIN PATH - SAME 111 + + Heimdall leads the migration of refugees out the other side + of the mountain onto a secluded mountain path. + + HEIMDALL + We must keep moving! Go to the + Bifrost! + + +112 INT. COMMODORE - DUSK 112 + + Banner flies the Commodore out across the city. + + Val puts on her gloves, cuff on her forearm, boots, and + breastplate. She grabs her dragonfang sword and puts it at + her side. Val mans the Blaster, and we see that she's changed + into the CLASSIC WHITE & GOLD VALKYRIE ARMOR (Thor's gift). + Bad ass. + BLUE DRAFT 05/20/16 108. + + +113 EXT. MOUNTAIN STRONGHOLD - DUSK 113 + + Hela is about to throttle Skurge when- + + -A LOUD GONG SOUND. It's coming from far away, but the deep + note resonates across the land. GONG-GONG-GONG-GONG! + + Hela looks to the Palace, her eyes narrowing with rage. + + +114 INT. THRONE ROOM - CONTINUOUS 114 + + Find Thor on the throne holding GUNGNIR - THE KING'S SPEAR, + Odin's signature spear. SLAMMING the butt of it on the + ground. GONG...GONG... + + Hela steps into the throne room. Headdress & cowl off. + + Thor stops the GONGING when he sees Hela. + + THOR + Sister. + + Smiling, Hela gradually crosses the huge space towards Thor. + + HELA + You're still alive. + + THOR + I love what you've done with the + place. Redecorating, I see. + + HELA + It seems our father's solution to + every problem was to cover it up. + + THOR + Or to cast it out. + (then:) + He told you you were worthy. He + said the same thing to me. + + Angle on Hela in the frescos, fighting with Mjolnir. + + HELA + You see, you never knew him, not at + his best. + (nostalgic sigh) + Odin and I drowned entire + civilizations in blood and tears. + Where do you think all this gold + came from? And then one day he + decided to become a benevolent + king. + (MORE) + BLUE DRAFT 05/20/16 109. + + HELA (CONT'D) + To foster peace, to protect life. + (with teeth) + To have you. + + THOR + I understand why you're angry. And + you are my sister, and technically + have a claim to the throne. And + believe me, I would love for + someone else to rule. But it can't + be you. You're just...the worst. + + Hela puts on her headdress. + + HELA + Okay, get up. You're in my seat. + + THOR + (standing up) + You know, Father once told me that + a wise king never seeks out war. + + HELA + But must always be ready for it. + + They CHARGE each other. + + +115 EXT. RAINBOW BRIDGE - SAME 115 + + Heimdall leads the refugees out onto the bridge. + + But then he stops. Sensing something. + + At the far end of the bridge is FENRIS! The massive war wolf + is guarding the observatory! + + HEIMDALL + Go back! + + The refugees turn to retreat. Fenris CHARGES! + + GUNFIRE FROM ABOVE! + + The Commodore swoops onto the scene, Valkyrie manning the + blaster and FIRING on Fenris, who stops his charge. + + As the refugees retreat, they come to a stop because... + + ...SKURGE IS LEADING AN ARMY OF BUTCHERS BEHIND THEM! + + Heimdall and the refugees are now trapped on the bridge + between Fenris and Skurge! + BLUE DRAFT 05/20/16 110. + + +116 INT. THRONE ROOM - CONTINUOUS 116 + + Hela and Thor fight, Hela wielding twin black blades. + + They CLASH and Thor BLOCKS an attack with Gungnir. They are + face to face, Hela glaring at Thor. + + HELA + To be honest, I expected more. + + Hela DISARMS him, sending Gungnir CLATTERING across the room. + Hela strikes out sending Thor FLYING hard into a wall. + + +117 EXT. RAINBOW BRIDGE - SAME 117 + + Hela's butchers stand behind Skurge. + + SKURGE + Heimdall! The sword! + + The Butcher army CHARGES + + Val and Banner hold the remaining Butchers off with GUNFIRE. + + Heimdall is looking toward the palace, concern for Thor. But + his attention soon goes back to protecting the mass of + humanity behind him. He looks out to the Observatory + + HEIMDALL + We must cross now! To Bi-Frost! + + Heimdall leads the refugees out onto the bridge. + + +118 INT. THRONE ROOM - CONTINUOUS 118 + + Hela PINS thor against the wall. + + HELA + Here's the difference between us. + I'm Odin's firstborn, the rightful + heir, the savior of Asgard. + (beat) + And you're nothing. + + Hela PROJECTS a large spiked lance, Thor barely rolls out of + the way before it PUNCTURES the wall. + + Thor HEADBUTTS Hela. It does nothing. Hela responds with her + own HEADBUTT. It does a lot. + BLUE DRAFT 05/20/16 111. + + + HELA (CONT'D) + So simple. Even a blind man could + see it. + + Hela RAKES a black-clawed hand across Thor's face. In doing + so, she RIPS OUT ONE OF HIS EYES! + + HELA (CONT'D) + Now you remind me of Dad. + + +119 EXT. RAINBOW BRIDGE - SAME 119 + + Asgardians CLASH with Hela's Butchers. + + Valkyrie keeps raining down fire on Fenris, but it is doing + no real damage. Just pissing the wolf off. + + Fenris shakes off the bullets and resumes CHARGING. + + Heimdall sees Fenris charging and steps out in front of the + refugees with his sword, preparing for the worst. + + +120 INT. COMMODORE SHIP - SAME 120 + + Valkyrie gives up shooting. + + VALKYRIE + This stupid dog won't die! + + Banner looks down at the carnage below. Makes a decision. + + He gets up and heads for the bay doors. + + BANNER + Everything's going to be okay. I + got this. You want to know who I + am? + + VALKYRIE + What the hell are you talking + about? + + BANNER + You'll see. + + Banner LEAPS out of the ship! + BLUE DRAFT 05/20/16 112. + + +121 EXT. RAINBOW BRIDGE - CONTINUOUS 121 + + Banner soars through the air. It's an awe-inspiring image as + we follow Banner's trajectory downwards. His face is + determined, arms churning, ready to Hulk out... + + ...except it doesn't happen. Worry washes over his face. + + SPLAT! Banner FACEPLANTS on the bridge, seeming to break + every bone in his body. He looks dead. + + Pause. Fenris SNIFFS him curiously. We notice one vein on + Banner's neck PUMPING GREEN. Then- + + -Banner suddenly EXPLODES UP as THE INCREDIBLE HULK, UPPER- + CUTTING Fenris in the jaw! Hulk is now in a wrestling match + with a beast four times his size - the two of them go + TUMBLING into the water below. + + +122 EXT. PALACE BALCONY - SAME 122 + + Hela has Thor by the throat. She lifts him up to look over + the balcony's ledge. + + HELA + You see? No one's going anywhere. + (then:) + I'll get that sword even if I have + to kill every single one of them to + do it. + + Thor looks down. Distraught. Heartsick. + + +123 EXT. RAINBOW BRIDGE - CONTINUOUS 123 + + Val pilots the Commodore towards the battle on the city side + of the bridge. Skurge's battlion of Butchers surge forward- + + -BOOM! Val LANDS the Commodore on top of them, SKIDDING + across the bridge, CRUSHING the front line of the Butchers, + and KNOCKING Skurge aside. The impact triggers the party + function, setting off PARTY MUSIC and a FIREWORKS DISPLAY. + + Val emerges from the ship in full battle mode. Behind her, + the Commodore FIREWORKS provide a spectacular HERO BACKDROP. + She draws DRAGONFANG and smiles as Butchers begin swarming + towards her. She is where she needs to be. + + Meanwhile, the Asgardians huddle together, packed so tight + that some begin to fall off the side of the bridge, loved + ones grabbing them and pulling them back up. There's no hope. + BLUE DRAFT 05/20/16 113. + + +Heimdall FIGHTS off Butchers, but gets KNOCKED DOWN. Just as +it looks like he's about to take a killing blow- + +-BAM! The Butcher is BLASTED. + +Korg steps into frame, holding the blaster! + + KORG + Hey man. I'm Korg. This is Miek. + +Miek steps into frame, waving. + + KORG (CONT'D) + We're going to jump on that + spaceship and get out of here. + Want to come? + +Heimdall is beyond confused, but then... a LOUD NOISE. Hela +looks down to see- + +-EMERGING FROM THE THICK LOW-HANGING FOG IS LOKI! Resplendent +in horns, arms spread wide, seeming to float towards the +bridge like a mythical angel of mercy. + + LOKI + Your savior is here! + +The fog dissipates around him, revealing that Loki's standing +on THE GRANDMASTER'S SUPERCRUISER! For reasons that will +become clear, we will henceforth call this ship THE ARK. + +And Loki is not alone. He's brought along all the prisoners +from the Contest of Champions. Armed with gladiator weapons. +The Ark slows to a stop at the middle of bridge. + +ABOVE: Even with Hela's hand on his throat, Thor can't help +but smile at the sight of Loki. Hela however sneers. + + HELA + That little shit. + +BELOW: Loki and the Sakaarian gladiators JUMP OFF the Ark and +onto the bridge, joining the fight against Hela's forces. + + LOKI + Did you miss me? Everybody on that + ship, now. + +The Asgardian refugees begin POURING onto the ark. The only +way onto the Ark is a narrow plankway, so there is an +immediate bottleneck effect - thousands of frightened people +all pushing for a chance at salvation. It's mayhem. + +Loki walks through the crowd to Heimdall. + BLUE DRAFT 05/20/16 114. + + + HEIMDALL + Welcome home. I saw you coming. + + LOKI + Of course you did. + + Loki joins Heimdall and the gladiators in fending off Hela's + encroaching minions. + + +124 OMITTED 124 + + +125 OMITTED 125 + + +126 EXT. PALACE BALCONY - SAME 126 + + Hela is perturbed, but not enraged. She turns her gaze back + to Thor for a final farewell. + + HELA + A valiant effort, but you never + stood a chance. + + Thor looks up from his friends protecting his people as they + frenziedly board to Ark to- + + -the twilight stars coming out over Asgard. There's a + glimmering of stardust in the sky. + + HELA (CONT'D) + You see? I'm not a queen, or a + monster. + + FLASH: PUSH IN ON ODIN AT THE CLIFFS. + + HELA (CONT'D) + I'm the Goddess of Death. + + FLASH: PUSH IN ON ODIN AT THE CLIFFS. + + HELA (CONT'D) + What were you the God of again? + + As Hela digs two blades into his chest, Thor SCREAMS... + + And everything goes SILENT. SKY. We PAN DOWN to- + BLUE DRAFT 05/20/16 115. + + +126A EXT. CLIFFS - DAY 126A + + - where we find Thor (dressed and injured as he was on the + balcony), back in the sweeping fields where we met Hela for + the first time. + + ODIN (O.S.) + Even when you had two eyes you were + only seeing half the picture. + + Thor turns to see his father, sitting where we last saw him. + Thor falls to his knees. + + THOR + She's too strong. Without my + hammer I cannot-- + + ODIN + Are you Thor, God of Hammers? + + Thor looks up, meeting his gaze. + + ODIN (CONT'D) + That hammer helped you control your + power, focus it. But it was never + the source of your strength. + + Odin stands, as does Thor. + + THOR + It's too late. She's already taken + Asgard. + + ODIN + Asgard is not a place. Never has + been. + (gestures around him) + This could be Asgard. It is + wherever our people stand. And + right now those people need you. + + Odin turns to go. + + THOR + I'm not as strong as you. + + ODIN + No. You're stronger. + + As Odin turns to leave, a SHADOW in the shape of HELA'S + HEADDRESS falls across him. He looks up and we are... + BLUE DRAFT 05/20/16 116. + + +126B EXT. PALACE BALCONY - CONTINUOUS 126B + + Thor looks up to the sky. + + She digs the blades deeper into Thor's chest. He groans in + pain. Everything DARKENS as BLACK CLOUDS gather overhead. + + HELA + Tell me brother, what were you the + God of again...? + + CLOSE ON Thor's clenched fist, small arcs of electricity + forming. + + -THE LOUDEST CRACK OF THUNDER YOU'VE EVER HEARD! In an + instant, Thor and Hela are ENGULFED in a bolt of lightning!! + + KA-BOOM! Hela is BLASTED OUT of the lightning and sent + CRASHING into the streets of Asgard. Her costume is + tattered, the black extensions of her power hanging off her + body in some places. She appears to be unconscious! + + All around Asgard, EVERYONE looks up at this massive strike. + + +127 EXT. RAINBOW BRIDGE (OBSERVATORY SIDE) - CONTINUOUS 127 + + BOOM! Thor LANDS HARD on his feet. Muscles swollen, veins + pulsing with electricity. A living storm. + + Thor DIVES INTO THE FRAY. He moves like a bolt of lightning, + SURGING through the army of Butchers in quick SLASHING JOLTS. + + +128 EXT. RAINBOW BRIDGE (CITY SIDE) - SAME 128 + + Valkyrie CHARGES into the ocean of Butchers. Wielding + Dragonfang, backlit by the POPS of fireworks. + + +129 EXT. RAINBOW BRIDGE (HERO SHOT) - CONTINUOUS 129 + + Moving across the entire epic battle. + + On the city side, Valkyrie CUTS A SWATHE through the + relentless onslaught of Butchers. Heavy damage. + + At the middle of the bridge, Heimdall helps load the fleeing + Asgardians onto the Ark. + + Within the melee are Loki, Korg and the Sakaarians. Loki + SLASHES through Butchers wielding his two long daggers. + BLUE DRAFT 05/20/16 117. + + + In the water below, Hulk and Fenris WRESTLE in an colossal + clash of FISTS, CLAWS, and TEETH. + + Beyond that, Thor is wielding electrified weapons and + BLASTING entire packs of Butchers off the bridge! + + Lost in the chaos is Skurge, who sees the tides turning. He + throws down his axe and blends into the crowd. + +130 OMITTED 130 + +131 OMITTED 131 + +132 EXT. ASGARD - WATER BELOW - CONTINUOUS 132 + + Fenris has Hulk in his mouth, underwater. Trying to drown + the green goliath! + + Fenris' teeth PUNCTURE Hulk's skin. He BELLOWS, THRASHING. + + Hulk winds up and SLAMS Fenris in the snout! + + Fenris snaps back, revealing that- + + -THEY'VE REACHED THE REALM'S EDGE! + + Fenris is knocked off, plummeting off of Asgard into space. + + Hulk grabs hold of the slippery rocks, desperately trying to + climb back as water pours down on him. + + +A133 OMITTED A133 + + +133 EXT. THE ARK - SAME 133 + + Asgardians continue RUSHING onto the ship. + + In the crowd we find Skurge! He's thrown a cloak over + himself and is sneaking in amongst the refugees. + +134 OMITTED 134 + +135 OMITTED 135 + + +136 OMITTED 136 + + +137 OMITTED 137 + +138 OMITTED 138 + BLUE DRAFT 05/20/16 118. + + +139 OMITTED 139 + +A140 EXT. RAINBOW BRIDGE - CONTINUOUS A140 + + Our heroes have drastically thinned down the herd of + Butchers. + + It's pandemonium. The Ark's engines are deafening, but you + can still hear the sound of terrified people SCREAMING. + + Thor helps Loki to his feet. + + THOR + You're late. + + LOKI + You're missing an eye. + + Valkyrie finishes off a handful of enemies, but then notices + something. She WHISTLES to get the others' attention. + + VALKYRIE + This isn't over. + + All around the bridge, our heroes look to see- + + -Hela arriving at the far side of bridge. She is seething + with power, a vision of death. + + Having just come out of this huge battle, they are all weary + and nursing injuries. Loki and Val are hurting worse than + Thor. + + Hela walks towards them. Menacing and deliberate. + + Thor, Loki, and Val step forward to protect the Asgardians. + They huddle together. + + THOR + I think we should disband the + Revengers. + + LOKI + Hit her with a lightning blast. + + THOR + I just hit her with the biggest + lightning blast in the history of + lightning. It did nothing. + + VALKYRIE + We need to hold her off until + everybody's on board. + BLUE DRAFT 05/20/16 119. + + +Thor looks at the people boarding behind him. + + THOR + It won't end there. The longer + Hela's on Asgard the more powerful + she grows. She'll hunt us down. + We need to stop her here and now. + + VALKYRIE + What's our move? + + LOKI + I'm not doing "Get help." + +Thor sees Hela approaching. He sees the palace behind her. He +comes to a realization. + + THOR + Asgard's not a place, it's a + people. + (then) + This was never about stopping + Ragnarok...it was about causing + Ragnarok. + (to Loki:) + Go to the vault. Surtur's crown. + It's the only way. + + LOKI + (impressed) + Bold move, brother. Even for me. + +Loki runs off, leaving Thor and Val to deal with Hela. + + THOR + Shall we? + + VALKYRIE + After you. + +Thor ATTACKS. They CLASH, kicking off this monumental +confrontation. Hela manifests pitch black weapons to attack +Thor, but Thor is conjuring powerful bolts of electricity +with the same speed and ferocity. + +Just as Thor is surging with newfound lightning powers, +Hela's powers seem to be enhanced as well. + +The battle is relentless and fast-paced. Thor is holding his +own against Hela. Maybe they can win this thing. + +After several fearsome exchanges, Hela PUNCTURES his shoulder +and then DARTS past him with startling speed. + BLUE DRAFT 05/20/16 120. + + + Undeterred, Thor RUSHES Hela again. Valkyrie joins in, + forcing Hela to fight them both. + + +BB140 EXT. THE ARK - SAME BB140 + + While the Asgardians still scramble to get on board above- + + -find the Commodore ship, swooping down below the bridge. + + +BC140 INT. COMMODORE SHIP - CONTINUOUS BC140 + + Find Loki in the pilot's seat. + + LOKI + This is madness. + + The ship ACCELERATES towards the palace of Asgard. + + +BD140 EXT. RAINBOW BRIDGE - CONTINUOUS BD140 + + Thor continues FIGHTING Hela while Valkyrie BLOCKS Hela's + attempts to spear the Asgardians from afar. + + Hela isn't landing any fatal blows, but she's carving Thor up + and making steady progress towards the Ark. + + However, the Asgardian refugees finally make it aboard. An + injured Heimdall, Korg, and Miek are the last to get on. + + Thor and Heimdall make eye contact. Thor calls out: + + THOR + GO! GO NOW! + + As the Ark's engines begin to POWER UP- + + -Hela HARPOONS Thor. He goes down, grimacing in pain. + + Hela begins to CONJURE AN ENORMOUS MANIFESTATION OF HER + POWERS, A GIANT BLACK SPIKE FROM THE BEDROCK OF ASGARD THAT + STABS THE ARK AND PREVENTS IT FROM LEAVING! + + Butchers begin to scramble up onto the Ark! + +B140 OMITTED B140 + +BE140 EXT. ARK - CONTINUOUS BE140 + + The refugees REACT IN TERROR as the Butchers begin CLIMBING + from the bridge to the Ark. In the frightened crowd we find- + BLUE DRAFT 05/20/16 121. + + + -Skurge, still cloaked. He sees innocent Asgardians huddled + together, trying to protect their families. He's having a + crisis of conscience. An epiphany. + + +C140 OMITTED C140 + +D140 OMITTED D140 + + +E140 INT. ODIN'S VAULT - SAME E140 + + LOKI rushes in and picks up Surtur's skull. + + As he walks towards the Eternal Flame, The Tesseract draws + his attention. Tempting him. + + +F140 EXT. THE ARK - CONTINUOUS F140 + + The first wave of Butchers arrives on board, heading straight + for a cowering family. Just as they're about to be killed-- + + POW! POW! POW! The Butchers fall dead. + + Everyone turns to see SKURGE, now uncloaked, wielding his two + M-16s from Texas. + + SKURGE + For Asgard. + + Skurge runs forward, LEAPS off the Ark, and LANDS on the + bridge right where all the Butchers are coming to life. + BLASTING AWAY the Butchers before they can get aboard. + + Behind Skurge, the Ark begins to LIFT OFF. + + Skurge keeps FIRING and then- + + SKURGE (CONT'D) + HELA! + + Hela turns to see Skurge blasting his way through her + Butchers, trying to make his way to her. + + Disappointed, Hela FIRES a blade through Skurge's heart. + + Skurge has been killed... + + ...but the Ark now ASCENDS unfettered. + BLUE DRAFT 05/20/16 122. + + +140 INT. ODIN'S VAULT - SAME 140 + + LOKI places Surtur's skull in the Eternal Flame. + + LOKI + With the Eternal Flame, you are + reborn. + + As the fire CRACKLES, Surtur's skull begins to GROW. + + +141 EXT. RAINBOW BRIDGE - CONTINUOUS 141 + + Hela has Val in her clutches, but her focus is on the + aftermath of Skurge's last stand and the Ark's subsequent + escape. She's furious, about to unleash hell when- + + THOR (O.S.) + HELA! Enough! + + Hela turns to see Thor, having yanked out the harpoon... + + ...and it looks like he's laying down his sword! + + THOR (CONT'D) + You want Asgard? It's yours. + + HELA + Whatever game you're playing, it + won't work. You can't defeat me. + + THOR + No, but he can. + + KA-BOOM! EXPLODING through the roof of the palace is SURTUR! + + This is a different Surtur than the opening. He is slowly + but steadily GROWING in size, and he carries with him a + massive flaming sword, which GROWS as well. + + Surtur's arrival literally SHAKES the bedrock of Asgard, + causing FISSURES to spiderweb all around him, and DISLODGING + some of the foundation on the bridge and around the palace. + + Hela's eyes go wide. She wasn't expecting this. + + HELA + No...NO! + + +A142 OMITTED A142 + BLUE DRAFT 05/20/16 123. + + +B142 EXT. RAINBOW BRIDGE - CONTINUOUS B142 + + In the background the Ark continues its ascent, now high up + above the city. + + Hela's attention is on Surtur as the palace COLLAPSES around + him. So she is unprepared for- + + -SHLNK! Mustering up all her remaining strength, Val DRIVES + Dragonfang through Hela's chest, effectively PINNING her to + the bridge. + + Refocused on Val, Hela goes to deliver a death blow when- + + -Thor BOLTS forward! He PULLS Val from Hela's clutches. + + Thor turns and FIRES LIGHTNING INTO DRAGONFANG, which + DISLODGES the section of the bridge that Hela is pinned to! + + The ground beneath Hela BREAKS FREE and she goes FALLING down + into the expanding fissure in Asgard's bedrock. + + Badly injured, Thor and Valkyrie look up to see- + + -Surtur INCREASING in size, now towering over the palace. + + SURTUR + Tremble before me Asgard, for I am + your reckoning! + + Surtur swings his sword, destroying an entire city block. + + THOR and VALKYRIE look up. + + VALKYRIE + The people are safe. That's all + that matters. + + THOR + We're fulfilling the prophecy. + + VALKYRIE + I hate this prophecy. + + THOR + So do I, but we have no choice. + + In the background, Hulk hops up onto the bridge. Looks + around, zeroing in on Surtur. + + SURTUR + Surtur destroys Asgard, he destroys + Hela so that our people can live. + BLUE DRAFT 05/20/16 124. + + + Hulk CHARGES behind them, still unseen by Thor and Val. + + THOR + We need to let him finish... + (finally sees Hulk) + No! + + HULK LEAPS UP AND LANDS ONTO SURTUR'S FACE and begins + POUNDING the fire giant with furious punches! + + THOR (CONT'D) + Hulk no! Stop it you moron!! + + It's not doing much damage, but the shock of it plus Hulk's + impact makes Surtur take a destructive step back. + + Hulk is trying to rip out one of Surtur's horns when Surtur + reaches up and GRABS HIM with a giant fiery hand. + + Surtur HURLS Hulk away from him. Sends him CRASHING DOWN. + + Hulk stumbles to his feet, dazed and SMOKING. After gathering + his bearings, Hulk gets REALLY ANGRY and heads back towards + Surtur for round two, but- + + THOR (CONT'D) + Hulk, just for once in your life, + don't smash! + + HULK + But...big Monster. + + VALKYRIE + Hulk! Let's go. + + Hulk stops. Looking between Surtur and Thor & Val. This is + a real Sophie's Choice for Hulk. On the one hand, he really + wants to kill that thing. On the other hand... + + HULK + Friends. + + Hulk PICKS UP Thor and Valkyrie. He then squats down, and- + + -LEAPS WITH ALL HIS MIGHT! The trio SHOOTS UP into the night + sky like a rocket blasting off. Their trajectory is heading + right at the Ark as it reaches the lower orbit of Asgard. + + +142 EXT. ARK - PLATFORM - CONTINUOUS 142 + + Hulk lands gently, as though he were stepping out of bed. He + casually DROPS Thor and Val, both exhausted. + BLUE DRAFT 05/20/16 125. + + +143 EXT. ASGARD - SAME 143 + + A bird's eye view shows TOTAL CARNAGE AND MADNESS on Asgard. + + Surtur has grown to EXTINCTION LEVEL SCALE. SLASHING AWAY at + the landscape below, when suddenly- + + -A MASSIVE BLACK SPIKE EXPLODES FROM THE WATER AND SLAMS INTO + SURTUR'S CHEST! + + From beneath the water, Hela EXPLODES back onto the scene, + riding a huge spiked manifestation of her powers. + + She's going for Surtur. ATTACKING with all her might. + + Surtur winds up, holding his sword above his head. + + SURTUR + I am Asgard's doom!! + + True to his word, Surtur fulfills his destiny and- + + -DRIVES HIS SWORD THROUGH HELA AND INTO THE HEART OF ASGARD! + + +144 INT. THE ARK - MAIN CABIN - SAME 144 + + Everyone watches as Surtur drives his sword through Asgard. + + KORG + The damage is not too bad. As long + as the foundations are strong, we + can rebuild this place. It will + become a haven for all people and + aliens of the universe... + + When the fiery sword touches the crystalline base of Asgard + there is a VIOLENT DETONATION OF ENERGY! + + A CATACLYSMIC EARTHQUAKE! The entire realm is SPLIT IN TWO! + + In an instant, Thor's home is BLOWN TO PIECES. + + Asgard is gone. + + KORG (CONT'D) + Nope, those foundations are gone. + Sorry. + + Stay on Thor as he processes the decisions he's made. + + THOR + What have I done? + BLUE DRAFT 05/20/16 126. + + + Heimdall joins him. + + HEIMDALL + You saved us from extinction. + Asgard is not a place, it's a + people. + + +145 EXT. SPACE - INDETERMINATE TIME 145 + + The Ark cruises among the chaos that once was Asgard. + + +146 INT. THE ARK - CAPTAIN'S QUARTERS 146 + + Thor looks at his reflection in a mirror. His wounds are + bandaged, including his now missing eye. His armor is clean. + + Thor takes a beat, as though trying to get used to the sight + of the man looking back at him. + + LOKI (O.S.) + It suits you. + + Thor turns to reveal Loki standing by the door. A smile. + + THOR + Perhaps you're not so bad after + all, brother. + + LOKI + Maybe not. + + THOR + Thank you, Loki. + + Thor picks up a soap dish. + + THOR (CONT'D) + And if you were here, I might even + give you a hug. + + Thor THROWS the dish at Loki. Loki catches it. + + LOKI + Do we have to hug now? + + Thor smiles. + + +147 OMITTED 147 + +148 OMITTED 148 + BLUE DRAFT 05/20/16 127. + + +A149 EXT. THE ARK - SPACE A149 + + The giant cruiseliner is gliding through space, the twinkling + of stars all around it. + + +149 INT. THE ARK - MAIN DECK 149 + + Thor steps out onto the main deck to see an assembly of both + Asgardian and Sakaarian refugees awaiting their King. + + Thor looks over his people and begins to walk through the + crowd. His subjects part, allowing him through. + + It is the antithesis of the opening coronation from the first + THOR movie. The people aren't cheering and lauding him, but + rather they are smiling. Humbly bowing. Grateful. + + And Thor isn't acting arrogant. Not trying to show off any + swagger. He is stately. A contemplative and dignified king. + + At the end of the procession, Hulk, Loki, Valkyrie, and + Heimdall stand next to the CAPTAIN'S CHAIR. + + VALKYRIE + Your throne. + + Pause. Reluctant acceptance. Thor sits down. + + Flanking him on opposite sides are Valkyrie and Heimdall. + Behind/towering above them is the Hulk. Loki joins them. + + HEIMDALL + So, King of Asgard. + + Thor turns around to see THOUSANDS OF PEOPLE staring back, + silently awaiting word from their new King. Now feeling the + true weight of the crown, Thor takes a moment... and then: + + HEIMDALL (CONT'D) + Where to? + + THOR + I'm not sure. Any suggestions? + Miek, what's your home planet? + + Angle on Korg, who is holding Miek (sans robot exoskeleton). + + KORG + Oh, Miek's dead. I accidentally + stepped on him on the bridge, I've + just felt so guilty I've been + carrying him around all day... + BLUE DRAFT 05/20/16 128. + + + Miek WRIGGLES to life. Korg lights up. + + KORG (CONT'D) + Miek, you're alive! He's alive + everyone! What was your question? + + Thor looks forward, taking charge of this one. + + THOR + Earth it is. + + CUT TO BLACK. + + THE END. + + +TAG INT. THE ARK - DAY TAG + + THOR and LOKI look out the window. + + LOKI + Do you really think it's a good + idea to go back to Earth? + + THOR + Sure! They love me there. + + LOKI + Let me rephrase: Do you really + think it's a good idea to bring me + back to Earth? + + Thor smiles, getting it. Pats Loki on the shoulder. + + THOR + Probably not. But don't worry, + brother...I've got a feeling that + everything's going to work out. + + Then through the window, they see- + + -THE MASSIVE FORM OF SANCTUARY-2, THANOS' WARSHIP + approaching. + + +TAG1 EXT. THE ARK - SAME TAG1 + + A wider view allows us to see all of Sanctuary-2, dwarfing + the Ark in size. + + END. diff --git a/scripts/Transformers.txt b/scripts/Transformers.txt new file mode 100644 index 0000000..8f69076 --- /dev/null +++ b/scripts/Transformers.txt @@ -0,0 +1,6392 @@ + FADE IN: + +EXT. SPACE + +A small planet glows in the light of its sun. Suddenly, we +hear a loud rumble, and see a thick, electronic mist behind +the planet... Then, the electronic mist begins to engulf the +planet, and we hear the horrible sounds of destruction. +Almost like somebody, or something, is eating it. + + PUSH DOWN TO: + +EXT. THE NEAR SIDE OF THE PLANET'S SURFACE + +Strange robotic creatures scramble around the planet in a +wild panic. It looks like Pompeii must have looked as +Vesuvius erupted. + +ANGLE ON ONE OF THE CREATURES - TRACKING + +The creature is KRANIX. We will meet him later on in a very +different context, but for now, he is running from the ever- +growing mist that threatens to engulf him. + +ANOTHER ANGLE - THE PANIC + +As Kranix runs, another creature, ARBLUS, calls to him. + + ARBLUS + Transform and flee, Kranix! You must + warn all you meet of the horror of + Unicron! Suddenly, the pitiful creature + is surrounded by the strange energy cloud + and it looks like his body has + simultaneously caught fire and been + doused with acid. + + KRANIX + Arblus! No! + +ANGLE ON KRANIX + +The mist threatens to engulf him too. He transforms into a +small rocket ship and... + +TRACK WITH KRANIX AS... + +He takes off. As we rise higher and higher in the atmosphere, +we see the horror wrought by the hideous and still mysterious +Unicron. The planet cracks like an egg and rivers of lava +leak out. The energy cloud surrounds it and... Dissolves +everything... ... And when the smoke clears, we get our +first look at Unicron. It is horrifying. A massive, metal orb +with a gaping maw and a field of electricity. + + (CONTINUED) + + 2. +CONTINUED: + +PAN FORWARD to SHOW that this hideous planet is on a direct +collision course with... + +MOONS ORBITING CYBERTRON IN DEEP SPACE + +There are TWO MECHANISTIC MOONS orbiting the huge planet +Cybertron. But we are most concerned with a small, greenish +metal one. + + NARRATOR + It is the year 2005. The treacherous + Decepticons have conquered the Autobots' + home planet of Cybertron. But from + secret staging grounds on two of + Cybertron's moons the valiant Autobots + prepare to retake their homeland. + +CLOSER ON GREEN MOON + +At first, we see nothing unusual or suspicious. Then, +pulling closer, we see that the top of the moon is covered +with moon camouflage "netting" and underneath it is a huge +cache of futuristic weapons. This is the Autobot staging +ground for an assault on Cybertron. DOLLY THROUGH THE COMPLEX +until we arrive at a Command Center where several Autobots +peer into monitors, running constant surveillance on +Cybertron. + +ANGLE ON IRONHIDE + +He peers into a monitor. As he speaks, we see the monitor +PAN to an area where a huge Decepticon Symbol is emblazoned +on Cybertron. + + IRONHIDE + Every time I look into this thing, my + circuits sizzle. I'm tired of this + waiting game, Prime. When are we gonna + start bustin' Deceptichops? + +ANGLE ON OPTIMUS PRIME + +He stands over a holographic map which shows various invasion +plans for Cybertron. + + OPTIMUS PRIME + We still don't have enough Energon cubes + to power a full scale assault, Ironhide. + + IRONHIDE + Then let me make another run to Autobot + City on Earth. I'll bring you back more + cubes than you'll know what to do with. + + 3. + + + +ANGLE ON PRIME + +He solemnly hands down an order + + PRIME + Alright, ready the shuttle for launch. + +ANGLE ON IRONHIDE + +He raises a fist in a warwhoop! + + IRONHIDE + YAHOO! + (looking into monitor) + Your days are numbered now Decepticreeps. + +A SMALL MOON "MOUNTAIN" + +Ironhide transforms and Races toward a mountain, which stands +about a half mile from the secret Autobot facility. + + OPTIMUS PRIME (V.O.) + Jazz, report security status. + +COMMAND CENTER - ANGLE ON THE CONSOLES + + JAZZ + No sign of Decepticons in this sector, + Prime. + + PRIME + What about Moon Base 2? + + JAZZ + Jazz to Moon Base 2. + +PAN UP and through the sky to - + + ANOTHER MOON + This is the second moon. It is much + closer to Cybertron than the first one. + This is where Bumblebee and Spike are + stationed. + + JAZZ (V.O.) + Jazz to Moon Base 2. + +ANGLE ON BUMBLEBEE AND SPIKE + +They stand together a communication console. Spike is now +35 years old. Bumblebee looks as he has always looked, save +for a couple of funny bumper stickers on his tail: I (heart) +Cybertron. I (club) Decepticons. + + (CONTINUED) + + 4. +CONTINUED: + + + BUMBLEBEE + Bumblebee and Spike here. + + JAZZ (V.O.) + We're about to send up the bird. Any + Decepticon shenanigans in your sector? + + BUMBLEBEE + All clear, Jazz. + (pause) + + SPIKE + Hey, Ironhide, tell my son, Daniel, I + miss him, and tell him I'll be coming + home as soon as we've kicked Megatron's + tail across the galaxy. + + CUT TO: + +INT. THE SHUTTLE + +Ironhide and Prowl sit at the controls, running a series of +pre-launch tests. + + IRONHIDE + Will do, Spike. + +ANGLE ON PRIME, CLIFFJUMPER, AND THE OTHERS + +Standing at the Command Center, watching: + + PRIME + Commence countdown, Cliffjumper. + + CLIFFJUMPER + Five...Four...Three...Two... + +THE LUNAR "MOUNTAIN" + +Suddenly, smoke starts pouring out of the mountain. + + CLIFFJUMPER + One.... + +Then, the "mountain" which must be made of paper mache or +something blows away revealing -- The shuttle! + + CLIFFJUMPER (V.O.) (CONT'D) + Liftoff. + +Suddenly, the shuttle rips out of the ground in a ball of +fire. + + + (CONTINUED) + + 5. +CONTINUED: + +As it takes off, we realize this isn't any dinky shuttle, but +a massive ship, capable of carrying all the energon needed +to fight a war and an army to boot. The screen is bathed in +smoke and fire which slowly clears. + +ANGLE ON PRIME + +As he watches the shuttle shoot into the distance. + + PRIME + Now, all we need is a little Energon and + a lot of luck. + +ANGLE BEHIND PRIME + +We see a bank of computers. Suddenly, a small tape deck pops +open... a cassette pops out and transforms into... +...Laserbeak who flies away unseen. + + DISSOLVE TO: + +EXT. SPACE - LATER + +The shuttle hurtles though a massive asteroid field. + + PROWL (V.O.) + Slow down, Ironhide. We want to get to + Autobot city in one piece. + + CUT TO: + +INT. THE SHUTTLE + +Ironhide is at the controls. + + IRONHIDE + If I can dodge Dececpticon rays, I can + sure as shootin' dodge a couple of + asteroids. + +Suddenly, there is a terrible BANG! on the side of the ship, +and the two Autobots are thrown from their seats. + + PROWL + You were saying? + + IRONHIDE (IRKED) + That wasn't an asteroid. There is a blast + of light and they turn to see... + + 6. + + + +ANGLE ON THE SHIP + +The most powerful laser light anybody has ever seen cuts a +gaping hole in the side of the ship... Then, when the light +clears, a panel of the ship falls in and we see - + +MEGATRON! + +In all his glory. + + MEGATRON + Die Autobots! + +Then, he transforms to Gun Mode, spins into STARSCREAM'S arms +and Starscream fires. + + BRAWN + is cut in half by Megatron's blast. + + ON PROWL + as SCAVENGER MELTS HIM DOWN. + + THE INSECTICONS + ...eat away at the hole in the shuttle to + make way for... ...an ARMY of other + Decepticons including Laserbeak who + enter, firing. + +IRONHIDE AND RATCHET + +While FIRING back are FUSED TOGETHER... ... then blasted +apart and fall in smoking, glowing fragments. + +ON STARSCREAM AND MEGATRON + +As they enter the now empty ship, a number of Decepticons +flood past them, taking positions and searching for other +living Autobots. + + MEGATRON + This was almost too easy, Starscream. + + STARSCREAM + Much easier, oh mighty Megatron, than + attacking the real threat: the Autobots + moon base. + + MEGATRON + You're an idiot, Starscream. Were we + simply to wipe out that minuscule base, + they could build another one. + (MORE) + + + (CONTINUED) + + 7. +CONTINUED: + MEGATRON (CONT'D) + But when we slip by their security + systems in their own ship and destroy + Autobot city, the Autobots will be + vanquished forever! + + IRONHIDE + Fat chance, Megatron! + +Ironhide pulls himself up and grabs onto Megatron who flings +him against the wall. + + MEGATRON + Such heroic nonsense! + + DISSOLVE TO: + +EXT. EARTH - CLOSE SHOT- MINIATURE RADAR SCREEN + +A child's hands hold a scanner device which tracks a +TRAVELING BLIP across a star map towards a pulsing dot which +represents the Earth. + + DANIEL (V.O.) + The Shuttle just zipped past checkpoint + zeta. + + ON DANIEL + Daniel, a classic twelve year old + American boy watches the portable viewer + which is like an over-sized Boy Scout + compass. WIDEN SHOT to show he is at an + old fashioned "fishin' hole" on Earth - + surrounded by weeping willows, assorted + trees and shrubs, and that his fishing + pole is stuck in the dirt, the line + floating lazily out on the water. + + DANIEL + Let's watch Ironhide land it, Hot Rod! As + Daniel runs to small skateboard-like + device, hits a button, and watches, it + transforms into a hoverboard and rides + it, like a surfer up a steep, grassy + hillside we change angle to feature... + + HOT ROD + an "adolescent" Autobot. He is in robot + mode, sitting with his fishing rod held + between two fingers, looking bored with + it all. + + HOT ROD (CONT'D) + Talk about dull......! + + + (CONTINUED) + + 8. +CONTINUED: + + +Then, he tosses the rod into the water. + +ON DANIEL RIDING HIS HOVERBOARD UP THE HILL + + DANIEL + (calling excitedly) + Hurry or we'll miss it! + + HOT ROD + lopes up hill after Daniel. + + HOT ROD (CONT'D) + If you're gonna ride, Dan-O ...ride in + style! Hot Rod catches up with Daniel, + scoops him off his hoverboard, TRANSFORMS + to automotive mode and RIDES OVER CREST + OF HILL with Daniel in the front seat. + +ANOTHER ANGLE - ON AUTOBOT CITY + +FOLLOW Hot Rod up and over a roadway leading around the +perimeter of Autobot City which becomes visible the instant +Hot Rod clears the rim of a hill. As they travel, we SHOULD +also be getting a sense of what Autobot City is all about. +(DESIGN NOTE: Autobot City looks like a federal energy +project gone mad. Here, the Autobots are trying to exploit +every known means of getting energy. The mountain is covered +with solar panels, windmills spin in the valley, oil derricks +pump, and not far away a hydroelectric dam catches millions +of volts. Near all of these various things are energon +compressors, which turn the raw energy into energon cubes. IN +THE BACKGROUND of these scenes, we should see various panel +truck-type Autobots cruise up in auto mode to stacks of this +energon, convert to humanoid mode, load up their vans, then +convert to Auto mode again and drive the Energon into Autobot +City. In short, it should be clear that the purpose of +Autobot City is to harvest energy. All the while, Hot Rod and +Daniel are riding recklessly out from the Autobot City and up +into neighboring hills for an overview of the - + +CIRCULAR LANDING AREA + +which resides within the "bowl" created by the City structure +and natural surroundings. + + DANIEL + Hey! Let me out. + + HOT ROD + Why settle for a peek when you can see + everything from Lookout Mountain? + + + + (CONTINUED) + + 9. +CONTINUED: + + + DANIEL + But we're not supposed to go beyond City + limits! + + HOT ROD + Chromo-Chicken! + +ON KUP AND OTHER AUTOBOTS + +KUP - a grizzled, "old Soldier" of an Autobot - is directing +the positioning of a large metal road barricade. Hot Rod +barrels through a sign which reads: "STOP -THIS AREA OFF +LIMITS", almost knocking Kup over in dust and wind + + KUP + disgustedly watches Hot Rod drive up the + mountain. + + KUP (CONT'D) + (to sound like swearing) + Cam bustin', turbo revvin' young punk. + + CUT TO: + +MOUNTAIN ABOVE AUTOBOT CITY- LOOKOUT POINT + +Hot Rod arrives at a viewing platform carved in mountainside +and TRANSFORMS back to humanoid mode. Daniel rushes to a set +of PUBLIC VIEWING BINOCULARS and peers into them. + + HOT ROD + This is it! Now take a squint through + those babies. + + DANIEL + Hot Rod, look! There's a hole in the + shuttle! + + HOT ROD + What!? + +DANIEL'S P.O.V - BINOCULAR MATTE - THE SHUTTLE + +The hole Megatron blasted in order to get into the shuttle +mars the otherwise perfect exterior of the ship. + +ANGLE ON DANIEL AND HOT ROD + +Hot Rod looks up and a pair of futuristic binoculars pop out +of his eyes. + + 10. + + + +HOT ROD'S POV - THE SHUTTLE + +Hot Rod's vision, now, infinitely better than human vision, +spots something truly disturbing -- -- Starscream, and +several Constructicons inside the ship! + + HOT ROD (O.S.) + Decepticons! + +ANGLE ON HOT ROD + +Drawing his gun, he starts FIRING on the shuttle. + + HOT ROD + This is for Ironhide. As so's this! + +ANGLE ON THE SHUTTLE + +Rays streak through the hole searing... + + STARSCREAM + He ducks away from the door. + + STARSCREAM (CONT'D) + I'm hit! + +ANGLE ON MEGATRON + +Standing behind a pair of Decepticons who pilot the shuttle, +he turns to see... + + THE CONSTRUCTICONS + Firing out of the hole. + + MEGATRON + He's furious. + + MEGATRON (CONT'D) + You imbecile, our cover is blown! + + STARSCREAM + It was your stupid strategy! + + CUT TO: + +ANGLE ON KUP, CONSTRUCTION CREW + +Kup and the Autobot Construction Crew watch Hot Rod shooting +at the shuttle. + + KUP + What's that darn fool doing? Hound looks + up and points. + + (CONTINUED) + + 11. +CONTINUED: + + + HOUND + Decepticons! + +ANGLE ON THE SHUTTLE + +Suddenly it cracks open, and Decepticons shoot out of the +wreckage like toys from a pinata. + +CLOSE - MEGATRON + +In mid-air + + MEGATRON + (shouting to forces) + Attack! + (he looks down and fires) + +HOT ROD AND DANIEL + +Hot Rod pulls Daniel back as Megatron's BLAST SHEARS OFF the +VIEWING PLATFORM which crumbles and falls down the steep +mountain! + + HOT ROD + Hang on! + +Putting Daniel under one arm, he pivots and kicks up at... +...Hook and Scavenger who are descending on him in humanoid +mode... ...causing them both to crash against the +mountainside which starts a... ...landslide which Hot Rod +"rides" down the slope, pursued by... ... Decepticon FIRE. + + HOT ROD + (SHOUTING) + WHoooooooaaah + +ANGLE ON BOTTOM OF MOUNTAIN SLOPE - BLITZWING + +Blitzwing flies down in jet mode, transforms to robot mode, +looks up at the "slide riding" Hot Rod and Daniel, transforms +to tank mode and takes aim. + + BLITZWING + (amused) + Come on down, Autobrat! + +ON HOT ROD AND DANIEL + +as Hot Rod tumbles, he covers Daniel with his arms and tries +unsuccessfully to slow his fall. + + HOT ROD + Yiiiiiiiiii! + + (CONTINUED) + + 12. +CONTINUED: + + + ON BLITZWING + about to fire, when... + +...Kup's arm descends into SHOT, spinning Blitzwing's turret +around. Blitzwing's blast, scorches... + + SHRAPNEL + who is flying nearby. + + BLITZWING + transforms to robot mode and turns as... + Kup comes flying, feet first, into + Blitzwing knocking him off the mountain + ledge. + +FOLLOW Kup as he lands in front of Hot Rod, who is just +coming to a stop at the bottom with Daniel. + + HOT ROD + Not bad for an old timer! + + KUP + (gruffly) + Old timer?! That's something you'll + never be if you don't get back to the + city. You know what we used to do with + cocky, insubordinate upstarts? + + HOT ROD + (interrupting) + Save it. + + STARSCREAM + transforming into jet mode, fires on them + with laser bursts which... + +... chew up the ground beside them. + +HOT ROD AND KUP + +with Daniel race toward Autobot City, transforming into +vehicle mode as shots gouge the terrain around them. + + CUT TO: + +PERCEPTOR IN MICROSCOPE MODE ON "BATTLEMENT" OF AUTOBOT CITY + +he watches... + +PERCEPTOR'S POV - THE DECEPTICON ATTACK + +Megatron, Insecticons, Constructicons, and other Decepticon +forces attack the city from the sky and ground. + + (CONTINUED) + + 13. +CONTINUED: + + + PERCEPTOR + transforms to humanoid and runs + toward...... ... Three new Autobots, + ARCEE, a lovely female Autobot of about + Hot Rod's age, SPRINGER, a very muscular + and bantering "Indiana Jones" type + Autobot and ULTRA MAGNUS, the large and + soldierly City Commander. + + PERCEPTOR + Ultra Magnus.....a cursory evaluation of + Decepticon capability indicates a + distinct tactical deficit! + + ULTRA MAGNUS + In other words, Perceptor... + + SPRINGER + (translating) + We're outnumbered! + +He turns and FIRES from his hip. + +DIRGE IN JET MODE + +Zooms in to strafe as... + +SPRINGER'S BLAST... + +...Explodes on his wing tip. + +SPRINGER, ULTRA MAGNUS AND OTHERS + +as Decepticon BOMBS AND LASER FIRE pour in on the City. + + ULTRA MAGNUS + Springer, Arcee, transform Autobot City! + +HIGH ANGLE - LOOKING DOWN ON COURTYARD - TRACKING SPRINGER +AND ARCEE + + STARSCREAM (V.O.) + Pathetic fools! + + STARSCREAM + TRANSFORMS and hovers in robot mode, + firing all around them as they... + +..dive for the switch and pull it down. + + + + + (CONTINUED) + + 14. +CONTINUED: + + + STARSCREAM + There's no escape...Uuuuh! Just then, the + floor of the courtyard STARTS + TRANSFORMING - - the center line of the + floor snaps shut like the halves of a + gigantic steel shelled clam, trapping + Starscream's foot. + + STARSCREAM + Agggggggh! My foot! + +ANGLE ON SPRINGER AND ARCEE + +as they make it through an archway which TRANSFORMS INTO A +STEEL SHIELD as they run through + +ON STARSCREAM - HIS FOOT STILL CAUGHT IN "CLAM" OF COURTYARD + +He struggles to get free before he is crunched by the still +transforming city. In the nick of time, he shoots a "shoe +horn" like projection from his wrist and pulls his boot +free, then... ...dodges away. ... The "clam" shape RETRACTS +COMPLETELY and more armored shielding SLIDES INTO PLACE TO +COVER where the Courtyard was. He winces in mid-air and flies +away as the city continues to transform to a fortress below. + + CUT TO: + +ANOTHER ANGLE - THE TRANSFORMING CITY + +The towers and buildings of the city, picot and retract.. ... +withdrawing like periscopes, turning and vanishing into +steel shield coverings. + + ON MEGATRON + as he FLIES OVER SCENE, BLASTING this way + and that, shouting + + MEGATRON + Breach their defenses! + + ON INSECTICONS + who are trailing Megatron, attack the + fast CLOSING CITY, trying to GNAW AND + DEVOUR their way through the PORTS and + BRIDGES leading inside. + + KICKBACK + (Chewing on jamb of doorway + near bridge) + Delicious, eh Shrapnel? + + + + (CONTINUED) + + 15. +CONTINUED: + + + SHRAPNEL + (CHEWING on draw-bridge to + City) + A little heavy on the electrons. + Electrons. + + ZOOM UP TO: + +KUP, HOT ROD AND DANIEL + +as Kup and Hot Rod are racing down mountain toward the +transforming city's drawbridge. + + KUP (V.O.) + The Insecticons are in our way. + + HOT ROD (V.O.) + Wrong! They're our way in! Yaaaaaaay- + hah! + + ANOTHER ANGLE + Hot Rod speeds up, passes Kup and... ... + rides up and over Kickback's back, using + it like a stunt driver's ramp to... + +... hurtle across the open space between Kickback and the +doorway into the city. + + ON SHRAPNEL + As Shrapnel looks up and reacts... ...Kup + hurtles up and over Kickback's back just + as Kickback is starting to rise to see + what knocked him face down onto the + bridge in the first place. ... Kup goes + SAILING OT OVER OPEN SPACE between + Kickback's back and the doorway into the + city- -clobbering Shrapnel, who is in the + way and landing on the city doorstep, + driving in as... + + THE DOORWAY + transforms, shutting down with metal + shields with a "clank" sound as Kickback + and Shrapnel both leap at is to... ... + bite Kup and Hot Rod and instead BREAK + THEIR TEETH on steel door, falling face + down with a grunt as LAST BITS OF CITY + +TRANSFORM. + + CUT TO: + + 16. + + + +INT. CITY SIDE OF DRAWBRIDGE + +as Kup and Hot Rod roll in and TRANSFORM where Ultra Magnus +is waiting for them with Perceptor. Other Autobots are +moving into battle stations in the b.g. and ALARMS SOUND. +Daniel looks on in awe. + + ULTRA MAGNUS + (sternly) + You can explain your security violation + later, Hot Rod! Now, man your battle + station. + + HOT ROD + I don't have to explain my so called + violation to you or anyone... + + KUP + (tugs him along roughly) + He said "later!" + +Kup moves OFF with Hot Rod and Daniel. + + CUT TO: + +BLASTER ON FORTIFIED " CROWS NEST" LOOKOUT TOWER + +The "Crows Nest" has windows all around and Blaster's seat +rotates so he can watch action and broadcast battle reports +like a Top 40 Deejay. Perceptor climbs up ladder into "Crows +Nest" from lower level. As Blaster speaks, we see Decepticons +FIRING at the windows of the Crows Nest but the bursts +explode harmlessly against the glass + + BLASTER + Lookout and shout! Yow! Explosions rock + the Crows Nest. Blaster swivels around + and tilts to see... + +BLASTER'S POV - INSECTICONS + +Chewing on armor plating at the lower edge of the fortified, +transformed city. + + BLASTER + activates turret type LASER CANNON + + BLASTER + Gonna lay some slugs on those overweight + bugs! + (FIRES Laser Cannon) + + + + (CONTINUED) + + 17. +CONTINUED: + + + CANNON SWIVELS + LASER BLAST cooks out and we FOLLOW IT + OFF SCREEN to... + + THE INSECTICONS + as a Laser BLAST hurls Bombshell up and + out of sight and causes Shrapnel and + Kickback to get sucked into the vacuum. + + BLASTER + Perceptor joins him. + + BLASTER + (joyful at his direct hit) + I'm talkin' hits here, Autobuddies! Hits + with a capital "aitch" like in Hard, + Heavy and... + (sees Perceptor) + Hey, Perceptor, what's shakin' other than + this fortress? + +BLASTS of enemy fire continue to rock the crows nest as +Perceptor answers + + PERCEPTOR + Blaster, Ultra Magnus sends orders to + contact Optimus Prime for reinforcements. + + BLASTER + Alright! Cover your receptors, + Perceptor! Blaster transforms to ghetto + blaster mode and broadcasts VISIBLE + waves... + + THE WAVES + rise and expand into space + + BLASTER + Optimus Prime... Do you read me? The + Decepticons are blitzing Autobot City. + We're really takin' a pounding. Don't + know how much longer we can hold out. + +ON WAVES SPREADING THROUGH SPACE + + CUT TO: + +MEGATRON LEADING ASSAULT ON TRANSFORMED AUTOBOT CITY + +He is FIRING at ARMORED DOOR, trying to melt through when he +reacts to SOUND of Blaster's broadcast for help, stops, and +looks up at CROWS NEST. + + + (CONTINUED) + + 18. +CONTINUED: + + + MEGATRON + Soundwave! Jam that transmission. + + ON SOUNDWAVE + SOUNDWAVE moves forward and starts + heaving CASSETTES upwards toward + Blaster's Crows Nest position. + + SOUNDWAVE + Rumble! Frenzy! Ravage! Ratbat! Eject! + Operation: interference. + + ON CASSETTES + as they transform and attack the crows + nest. + + ON RUMBLE + as he starts PILE DRIVER MOTION on Crows + Nest windows + + RUMBLE + First we crack the shell. Then we crack + the nuts inside. + +INSIDE CROWS NEST + +as Blaster and Perceptor see Rumble and others and react. +Blaster stops broadcasting. + + BLASTER + We got Cassette Critters knockin' on the + window! + + ON RUMBLE + as he CRACKS THROUGH GLASS and he and + others swarm in and attack Perceptor who + tries to beat them away + + PERCEPTOR + Run, Blaster! Save yourself! + + BLASTER + No way. Two can play! + + ON BLASTER + as he spews out CASSETTES which TRANSFORM + into CUBBIE, a lion, STRIPES, a tiger, + STINGER, a scorpion and BOLTS, a small, + tough robot. + + BLASTER + Sic 'em! + + + (CONTINUED) + + 19. +CONTINUED: + + + ON RUMBLE + as Cubbie takes him down by the foot, + turning him over and over + + ON STRIPES + as he SNAPS at Ratbat who screams and + darts, trying to escape as we move to + +STINGER AND BOLTS + +as Bolts swats Frenzy into Stinger who JABS Stinger into +Frenzy making him yowl and run. + +PERCEPTOR AND BLASTER + +As they fight Decepticons. + + PERCEPTOR + You think you got through to Prime? + + BLASTER + Let's hope so! Cause if I didn't we're + gonna look like burnt out toaster ovens! + + CUT TO: + +LONG SHOT -AUTOBOT CITY BESIEGED + +The city shows gaps, dents, smoking holes and Decepticons +continue to pump fire into it and get back sporadic return +fire from inside as... ... Megatron moves INTO SHOT and fills +THE SCREEN + + MEGATRON + Constructicons merge for the kill! + +IN "PILLBOX" LIKE GUN EMPLACEMENT IN CITY'S ARMORED WALL + +Where Springer and Arcee clear the twisted remains of Autobot +defenders away from a CATAPULT LIKE TORPEDO LAUNCHER. + +POV - THROUGH LAUNCHER PORT + +we see the mountain where the Decepticons are getting ready +for the final charge. + + SPRINGER + Great! Megatron's making his big push and + we can't even push... + (struggling to turn Catapult + around to re-aim it) + ...back! + + + (CONTINUED) + + 20. +CONTINUED: + + +Arcee starts to push beside him. + +THE HUGE CATAPULT + +moves slowly as we CHANGE ANGLE and Kup, Hot Rod and Daniel +ENTER SHOT. + + KUP + Keep at it, Springer, lad! Help's at + hand! + (to Hot Rod) + Together now! + +Hot Rod joins the others in pushing the huge Catapult into +firing position. + + DANIEL + also leans against it, his small legs + churning. + + THE CATAPULT + starts moving easily now. + +ON ARCEE BESIDE HOT ROD + +Pushing on the busted catapult. + + ARCEE + (pushing, manages to speak to + Hot Rod. She likes him but + doesn't want to go too far) + I was afraid you'd be trapped outside the + city walls. + + HOT ROD + (likes her, too, but tries to + be cool and collected) + Hey, I wasn't worried for a micro-second, + Arcee! + + ARCEE + (enjoying letting him have it) + Then you probably didn't understand the + situation. Before Hot Rod can react, Kup + steps back from repositioned Catapult + + KUP + That did it! + +DANIEL AT LAUNCHER PORT (Opening in "pillbox" through which +the Catapult will fire) + + + + (CONTINUED) + + 21. +CONTINUED: + + + DANIEL + Kup, Hot Rod! Look! + (he points) + +THEIR P.O.V. - THE CONSTRUCTICONS + +as they start linking themselves together into enormous + +DEVASTATOR. + + KUP (V.O.) + Devastator! + + ON DEVASTATOR + as he rises up and starts FIRING, + HAMMERING, TEARING AWAY at metal shields + which create armored walls of the + transformed City. + +WIDEN SHOT TO INCLUDE MEGATRON, STARSCREAM, DIRGE, ET, AL. + +as they line up behind Devastator, FIRING INTO THE CITY, +ready to follow Devastator inside when he has torn the "roof" +off. + +ON SPRINGER, ARCEE, HOT ROD, KUP AT CATAPULT + +as Springer LOADS TORPEDOES ONTO CATAPULT LIKE SLING + + SPRINGER + I got better things to do today than die. + (he FIRES Catapult) + +ANGLE ON CATAPULT + +as it HURLS FLAMING TORPEDO BOMBS one after the other out the +launch port and we FOLLOW THEM TO MEGATRON AND OTHER +DECEPTICONS waiting for Devastator to open the way as a +succession of torpedo-bombs explode, knocking them aside, +some of the Torpedo-Bombs strike... + + DEVASTATOR + and explode harmlessly as Devastator + continues to grunt and tear off armored + layers of the city. He grabs Hot Rod and + Kup and starts to crush them. + + ARCEE + Hot Rod! + + CUT TO: + + 22. + + + +EXT. THE EDGE OF THE EARTH'S ATMOSPHERE + +as Optimus Prime's Space Shuttle hurtles in. + +INSIDE THE SPACE SHUTTLE - OPTIMUS PRIME WITH DINOBOTS + + OPTIMUS PRIME + Dinobots. Destroy Devastator! + + GRIMLOCK + Uhhhh! Me Grimlock love challenge! + Dinobots, transform! + + DINOBOTS + transform into humanoid mode, and, with + Grimlock at the front... ...fly out of + the shuttle in wedge formation, blasting + in unison. + + FOLLOW DINOBOTS + In as they transform again and, in dino + mode, swoop over to Devastator... + + DEVASTATOR + Roars towards the Dinobots. + + THEIR BATTLE + shakes the Earth... + +...buckling City walls, menacing the Autobots inside. Hot +Rod and Kup are released during the struggle. + +ANGLE ON THE DINOBOTS + +As they try to destroy Devastator... ... Their strength is +more than matched and soon they are overwhelmed by him. + + CUT TO: + +EXT. THE BATTLEFIELD - MOMENTS LATER + +Prime stands outside the dented shuttle with Sunstreaker and +Hound. As he talks he shoots at a swarm of Decepticons who +battle their way towards him. + + PRIME + Megatron must be stopped. + (pause) + + 23. + + + +PRIME'S POV - MEGATRON + +The Decepticon leader stands a hundred yards away, vanishing +and reappearing with the shifting waves of Generic +Decepticons that charge back and forth. + + PRIME (V.O.) + No matter the cost. + +PRIME'S CHARGE: A SERIES OF SHOTS + +PRIME'S CHARGE - HEROIC BATTLE THEME SONG + +Optimus Prime leader and hero of the Autobots charges into +certain doom. As he battles his way through the Decepticons, +we HEAR an inspiring anthem of courage, strength and triumph, +like "Eye of the Tiger". This theme will reprise during the +film when the Autobots are battling at impossible odds. He +charges headlong into the Decepticon forces which separate +him from Megatron. Decepticons fire on him, but he takes +the shots, and... Spinning and whirling like the Sundance +Kid, he takes a lot out. Then, Decepticons attempt to block +his charge and Prime... ... Like a powerback, transforms to +Truck Mode and barrels into them, sending Decepticons flying +around like shards of glass hit by a .45. ... finally, he +is engulfed by an incoming swarm, and it looks like his +attack is foiled. + + MEGATRON + as he commands his troops. + + MEGATRON + Their defenses are broken. Let the + slaughter begin. + +Then he turns and sees... + + MEGATRON + Prime!? + + PRIME + smashing through a wall of lesser + Decepticons. + + PRIME + One shall stand, one shall fall. + +CLOSE ON MEGATRON + +his eyes blazing with hatred. + + MEGATRON + Why throw away your life so recklessly? + + 24. + + + +ON OPTIMUS PRIME + +Dirge takes a sneaky leap at him... Optimus stiffarms him +with a shuddering clank... ...then turns him upside down with +one hand and... ...drives him headfirst into the rocky +ground, letting him crumple and fall. + + OPTIMUS PRIME + That's a question you should ask + yourself. + + MEGATRON + hurls himself at Optimus Prime... .... + both tumble into the walls of the City... + ...denting the walls and causing the + electronic panels inside to short + circuit, surrounding them with a fiery + nimbus of crackling electrical energy. + +Ultra Magnus in car carrier mode barrels out of city carrying +several Autobots. He and the others transform into robot +mode and fire lasers at the Decepticons. + +INTERCUT TO HOT ROD, KUP, DANIEL, ARCEE, BLASTER, PERCEPTOR, + +fighting their way to the battle of the titans. + + HOT ROD + We've got to save Prime! Punching... + + KUP + That's his fight, lad! Stay away. + Shooting.. + +...And charging. + +ANGLE ON OPTIMUS AND MEGATRON + +Megatron attempts to kick Prime in the throat... ...Prime +catches his foot, twists it... ... and hurls Megatron +backwards into a metal pile. + + MEGATRON + grabs a jagged, spearlike piece of steel + and hurls it at + + PRIME + The steel "spear" pierces his side and + sticks in him as... ... he charges + Megatron, ...dodging shots from + Megatron's gun to... ...deliver a huge + UPPERCUT which... ...lifts Megatron into + the air so high that... ... + (MORE) + (CONTINUED) + + 25. +CONTINUED: + PRIME (CONT'D) + his head butts sharply against + overhanging concrete balcony, mashing him + down... + + MEGATRON + lands and stealthily slips a laser dagger + from his boot, turning and slashing at... + + PRIME + as he comes for him, tearing... ...a gash + across Prime's midsection, which spews + smoke and sparks and... + +... dropping Prime to one knee. + + MEGATRON + (gloating) + Farewell, Prime! + +As Megatron hurls the laser dagger as we CHANGE ANGLE to - + + OPTIMUS PRIME + as he lifts chunks of broken concrete and + catches the laser dagger on it, tossing + it aside as he lunges at- + + MEGATRON + who claws his fingers and digs them into + Prime's eyes + + MEGATRON + I'll rip out your optics! Optimus grabs + Megatron's clawed hand in one of his + hands, twists it in see-sawing test of + strength which... Optimus wins in a judo + toss which sends Megatron - - skidding + face first through steel rubble, in a + shower of sparks until he crashes into + the side of the city. + +ANGLE ON HOT ROD + +He dispatches a Decepticon and turns to Prime. + + HOT ROD + That's showing him, Optimus! + + KUP + knocks two Decepticons on their tails and + turns. + + KUP + Finish him off, Prime! Do it now! + + + (CONTINUED) + + 26. +CONTINUED: + + + ON MEGATRON + as he spots a gun on the ground ahead of + him + + MEGATRON + No more, Optimus Prime! Grant me mercy, + I beg of you! + +ANOTHER ANGLE FEATURING OPTIMUS PRIME AND HOT ROD + +as Optimus Prime warily moves out to look down at the +cowering Megatron, keeping him in his gun sights. + + OPTIMUS PRIME + You who are without mercy now plead for + it. I thought you were made of sterner + stuff, Megatron! + +ON HOT ROD + +as he sees Megatron go for the gun and leaps out to grapple +with him + + PRIME + Out of the way, Hot Rod. + +MEGATRON AND HOT ROD + +as Hot Rod grabs for the Blaster - - Megatron quickly gets +Hot Rod in a headlock and using Hot Rod as a shield, gets the +gun and... + +BLASTS PRIME IN THE WOUND HE'D MADE WITH HIS LASER DAGGER + +ON OPTIMUS PRIME + +his midsection now glowing and smoking, a huge hole where the +Blaster has struck. + + ON MEGATRON + firing blaster again and again + + MEGATRON + Fall! Fall! + +Megatron tosses Hot Rod aside like a rag doll and stands +above the dying Prime. + + MEGATRON + I would have waited an eternity for this. + Crawl, slave! On your knees! + + 27. + + + +ON OPTIMUS PRIME + +as he gathers his remaining strength and smashes Megatron +with both fists clasped together. + + OPTIMUS PRIME + (gasping painfully) + Never! + +He bashes in Megatron's torso casing, fracturing the sides +which split, spilling wires, fuses, lights, circuitry. +Megatron falls! Prime falls to his knees, tries to rise, +collapses to his side and falls slowly back. HOT ROD runs +over to him. + + HOT ROD + Optimus! Forgive me! + +ANOTHER ANGLE- MEGATRON + +Starscream and other Decepticons stand over the smoking body. + + STARSCREAM + (sarcastic, filled with false + sympathy) + How do you feel, Mighty Megatron? + (he kicks Megatron) + + MEGATRON + (weakly clutching at + Starscream's hand, gasping) + Enshrine me! + + STARSCREAM + (drops Megatron's hand coldly, + calls to other Decepticons) + Take this scrap to Cybertron! + Astrotrain, transform and get us out of + here! + +ANOTHER ANGLE- ASTROTRAIN + +as he MOVES ONTO SCENE in Humanoid mode, showing battle burns +and scars. Then, he converts to train mode, and rolls through +a crowd of generic Decepticons, crushing many under his +wheels, as he makes his way towards Starscream. + +ANGLE ON THE EXODUS + +Ramjet, Thrust, Dirge, the Constructicons, Soundwave and his +cassettes, et.al. run towards Astrotrain. + + 28. + + + +ANGLE ON KUP AND ARCEE + +They fight for a moment, then they notice their attackers are +beating feet... + + ARCEE + The Decepticons are retreating. + + KUP + Prime did it. He turned the tide! He + shoots (O.S.) into... + +A CROWD OF DECEPTICONS + +Who fight each other for a place on the shuttle. + +ANGLE ON STARSCREAM + +dragging Megatron by one leg, callously disregarding the way +Megatron's head and upper body BUMP AND GET KNOCKED from +dragging. + + THE AUTOBOTS + fire after them, closing ranks on the + shuttle, and pouring shots into the + melee. + +ANGLE ON ASTROTRAIN + +Decepticons make way for Starscream as he tosses the nearly +lifeless Megatron into the shuttle and gets in. Then, +standing at the door, he kicks other Decepticons away. + + STARSCREAM + Astrotrain, take off. + +ANGLE ON ASTROTRAIN + +The shuttle takes off, leaving a number of generic +Decepticons behind, who immediately raise their hands upon +realizing that they are surrounded by Autobots. + + DISSOLVE TO: + + OPTIMUS PRIME + as he lies on an improvised bier-like + platform, a profusion of electricity + discharging tubes and "plasma" bottle + devices hooked up to his arms and into + his gaping middle wound. + + + + + (CONTINUED) + + 29. +CONTINUED: + + + SCANNERS + emit bleeps and show oscilloscopic + patterns but sounds and wave patterns are + steadily growing weaker and weaker. + + PERCEPTOR + is bent over Prime, in microscope mode, + examining him... He then transforms and + straightens up, his voice strained and + cracking with emotion. + + PERCEPTOR + I fear the wounds are... + (he can't finish what he's + going to say) + INTERCUT TO HOT ROD, KUP, ARCEE, DANIEL + AND OTHER AUTOBOTS as they react. + + OPTIMUS PRIME + (using remaining strength to + makes himself heard) + Autobots...do not grieve... Soon, I shall + be one with the matrix. + + HOT ROD + (a flash of hope) + Prime! + (looks off at Prime) + +HIS P.O.V. - OPTIMUS PRIME + +His head is turned so all assembled can see. His eyes flicker +weakly, his voice RUMBLES with overtone of vast weariness and +resignation + + OPTIMUS PRIME + (reaches up with right hand + with great effort) + Ultra Magnus! It is to you, old friend, + I shall pass the matrix as it was passed + to me .... + +ANOTHER ANGLE FEATURING ULTRA MAGNUS + +as he steps forward unwillingly, mixed grief and surprise on +his face + + MAGNUS + Prime, I'm just a soldier. I'm not + worthy. + + + + + (CONTINUED) + + 30. +CONTINUED: + + + OPTIMUS PRIME + (gasping) + Nor was I, but one day, an Autobot shall + rise from our ranks and use the powers of + the Matrix to light our darkest hour. + +TIGHT SHOT - ULTRA MAGNUS AND OPTIMUS PRIME + +Optimus Prime is tilted into half sitting position by other +Autobots manipulating the platform as Ultra Magnus grasps his +hand with great emotion + + OPTIMUS PRIME + (voice failing, pressing on + with it) + Until that day... + +Until all are one... Continue the struggle... (sags, gasps, +hanging on) Transfer the Matrix of Leadership. + +TIGHTEN SHOT ON ULTRA MAGNUS AND OPTIMUS PRIME + +A distraught Ultra Magnus nods, reaches out with free hand +and points his forefinger at Optimus Prime's chest. Then, +pressing a button on Prime's chest, a small, secret doorway +opens, and we see something extremely bright glowing in +there. Ultra Magnus, nearly blinded by the intense light, +reaches in, and lifts out -- + +THE AUTOBOT LEADERSHIP MATRIX, + +-- and holds it for a moment in his hand. + +ANGLE ON ALL + +The bright light, which emanates from the perfect crystal, +seems to blind everybody and washes all color out of the +shot. Then, slowly, Ultra Magnus moves it into his own chest, +closes the door, and the light is gone, save for a momentary, +and extremely powerful glow from his eyes. + +ON KUP, HOT ROD, ARCEE AND PERCEPTOR + +They are all full of great sorrow. + +ON PRIME - HE DIES + +All of his lights go out, including his eyes. + + DISSOLVE TO: + + 31. + + + +UNICRON + +Rotating satellite dishes on the surface spark with +electricity. Dissolve inside Unicron to reveal scenes of +Prime's death and the passing of the Matrix to Ultra Magnus +playing on various monitors. Some of the scenes are in slow +motion, others are sped up. The effect should be eerie. + + CUT TO: + +EXT. ASTROTRAIN + +As it whizzes through the Solar System. + + ASTROTRAIN + Jettison some weight, or I'll never make + it to Cybertron. + +INT. ASTROTRAIN + +The ship is packed with living, dead and wounded Decepticons. +Starscream addresses them like an Athenian Orator. + + STARSCREAM + Fellow Decepticons, Astrotrain has + requested that we lighten our burden! + +ANGLE ON BONECRUSHER + + BONECRUSHER + In that case, I say it's survival of the + fittest. + + STARSCREAM + So I hear a second on that? + +ASSORTED SHOTS + + HEALTHY DECEPTICONS + Aye! + + STARSCREAM + And against? + +NOT HEALTHY DECEPTICONS (WEAKLY) + +NAY! + + STARSCREAM + The ayes' have it! + +A robotic hand flips a switch, and chaos ensues. Strong +Decepticons start heave-hoing the weaker ones out into space. + + 32. + + + +DECEPTICONS + + (AD LIB) + Beat it! Spare me! + +ANGLE ON STARSCREAM AND MEGATRON + +Starscream picks him up and holds him up by the door. + + STARSCREAM + (sarcastic) + Oh, how it grieves me to do this. + + MEGATRON + Wait, I still function! + +Starscream kicks him out. + + STARSCREAM + Wanna bet? + +MEGATRON IN SPACE - TRACKING + +He shakes his fist. + +INT. THE SHIP + +The last of the weak Decepticons is tossed, and the others +dust off their hands. + + STARSCREAM + Well, as Megatron has, how shall we say - + departed. I nominate myself as the new + leader. + +ON THE CONSTRUCTICONS + + SCRAPPER + The Constructicons form Devastator, the + most powerful robot. We should rule. + + SOUNDWAVE + Constructicons inferior. Soundwave + superior. + + BONECRUSHER + Who are you calling inferior. + + HOOK + Nobody would follow an uncharismatic bore + like you. + + + + (CONTINUED) + + 33. +CONTINUED: + + +The five cassettes: BUZZSAW, FRENZY, RUMBLE, RAVAGE AND +LASERBEAK pop from his chest transform, and prepare to +attack. + + RUMBLE + Hey, nobody calls Soundwave uncrazmatic. + + FRENZY + Yeah! Let's kick tailgate. + + THE CONSTRUCTICONS + try to form Devastator, but... + + HOOK + Constructicons, unite! + +RUMBLE AND FRENZY + +quake the ship so hard with their pile-driver arms that, with +the help of Laserbeak, Buzzsaw and Ravage, they keep knocking +the Constructicons off. + + RUMBLE/FRENZY + No way! + +Over the battle. + + BLITZWING + I am a triple changer. I am worth any + two of you. I should run things. + +DIRGE + + DIRGE + Death comes to anyone who crosses me. He + attacks Blitzwing. + +EXT. ASTROTRAIN - SAME TIME + +He is flying a very wobbly course past Pluto... + + ASTROTRAIN + Stop squabbling or we're gonna crash. + + DISSOLVE TO: + +EXT. SPACE - LATER + +Megatron and the other dented, dinged and dead Decepticon +bodies float through space. we follow the wailing Megatron +and the others down to: + + 34. + + + +THE SURFACE OF UNICRON + +littering the otherwise beautiful technological expanse. + + UNICRON + Welcome, Megatron. + + MEGATRON + (looking around) + Who said that? + + UNICRON + I am Unicron. + + MEGATRON + Show yourself! + + UNICRON + I have summoned you here for a purpose. + + MEGATRON + Nobody summons Megatron! + + UNICRON + Then it pleases me to be the first. + + MEGATRON + State your business. + + UNICRON + Bring me the Autobot Matrix. It is the + one thing - the only thing that can stand + in my way. + + MEGATRON + You have nothing to fear. I have already + crushed Optimus Prime with my bare hands. + + UNICRON + You exaggerate. + + MEGATRON + The point is, he is dead! And the Matrix + died with him. + + UNICRON + No. It has been passed to their new + leader. Get it for me. + + MEGATRON + Why should I? What's in it for me? + + + + (CONTINUED) + + 35. +CONTINUED: + + + UNICRON + Your bargaining posture is highly + dubious, but very well, I will provide + you with a new body, and new troops to + command. + + MEGATRON + And... + + UNICRON + And nothing. + +You belong to me now. + + MEGATRON + I belong to nobody. + + UNICRON + Perhaps I misjudged you. Proceed on your + way to oblivion. The Mist appears and + starts to dissolve Megatron. + + MEGATRON + (pleading) + No, no. I accept your terms. I accept! + + UNICRON + Excellent! Behold - Galvatron! X-ray + images: wiring, circuitry, etc. flash on + and off as a new and larger being starts + to form, changing from dented Megatron to + a huge, new creation: Galvatron. + +THE TRANSFORMATION - CREATION + +ends in a blinding flash and Galvatron - who still resembles +Megatron - laughs and flexes his muscles and stretches. His +voice is deeper, different from Megatron's + + GALVATRON + Long live Galvatron! + + UNICRON + And these shall be your minions... + +ANGLE ON OTHER DECEPTICONS + +Their bodies are turned from battered Decepticons to... + + + + + (CONTINUED) + + 36. +CONTINUED: + + + SCOURGE + SCOURGE (Sweep character) is bearded, + fanged and ferocious looking and as soon + as he has been CREATED, he roars and + stretches and an ARRAY OF SIMILAR + CREATURES - smaller and all wearing dark + and matching uniforms - are INSTANTLY + CREATED FROM OTHERS behind him + + UNICRON + Scourge, the tracker....and his + huntsmen...the Sweeps.... + +ON CYCLONUS (NEW DECEPTICON WITH PLANE TRANSFORM ABILITY) + +CYCLONUS is CREATED and then his "armada" of similar, but +smaller and similarly colored and clad creatures are formed. + + UNICRON + Cyclonus, the warrior...and his + armada..... + +ANGLE FEATURING GALVATRON + + GALVATRON + To Cybertron! + +He roars with a mad power-rush, gets into Cyclonus (who will +be his personal ship) and leading the armada, takes off for +the distant stars. + + UNICRON + (loudly proclaiming over the + scene) + Bring me the Autobot matrix! DURING + UNICRON'S COMMAND we CHANGE ANGLE TO SHOW + +LONG SHOT OF UNICRON + +as Galvatron and his newly created force FLY UP AND AWAY with +great speed. + + GALVATRON + I will rip open Autobot after Autobot + until it is yours, Unicron. + + CUT TO: + +THE DECEPTICON HALL OF HEROES - STARSCREAM + +This is the closest thing the Decepticons have to a throne +room. It is a massive, circular room with tombs of old +leaders, and a raised area where Starscream stands. + + 37. + + + +STARSCREAM AND OTHERS + +The Decepticon plane looks slightly ridiculous with cloak on +his shoulders and Thrust and Ramjet at his side, weapons held +high, but ready for action should anybody question +Starscream's rule. In front of him stands Astrotrain holding +a huge Metallic CROWN over his head. + + OTHER DECEPTICONS + in neat ranks but their grim expressions + show their displeasure. + + STARSCREAM + (preening) + Get on with the ceremony! Dirge and + others react to EERIE SOUNDS and look up + and off. Starscream looks where others + are looking and reacts. + +HIS P.O.V. - GALVATRON AND HIS FORCES + +as they descend in Hall of Heroes and Galvatron moves out to +confront Starscream + +ON STARSCREAM AND GALVATRON + + STARSCREAM + Who disrupts my coronation? + + GALVATRON + Coronation? This is bad comedy! + + STARSCREAM + Megatron, is that you? + + GALVATRON + Here's a clue! + +HIS P.O.V -GALVATRON + +as Galvatron transforms into cannon, FIRING A HUGE BURST ON +STARSCREAM as BLAST hits him. For a moment, he retains his +shape then piece by piece, he falls apart. Only a pair of +boots remain on the floor. + + GALVATRON + He transforms back to robot mode and + confronts other Decepticons boastfully. + + GALVATRON + Will anyone else attempt to fill his + shoes? + + 38. + + + +ON DECEPTICONS - THRUST, DIRGE, ASTROTRAIN, BONECRUSHER, ET. +AL. + +PAN for their reactions as they ponder for a brief beat and +then exchange looks/ + +DECEPTICONS + +(AD LIB) + +LONG LIVE... + +(they look at each other) What did he say his name was. He +didn't. + + GALVATRON + Galvatron. + +DECEPTICONS + +LONG LIVE GALVATRON! + + CUT TO: + + UNICRON + Bit by bit, we see new sections of the + planet being generated. Then, the + sinister mist we saw at the beginning of + the film starts pouring out. + +He's about to do the big munch on.. + +THE FIRST MOON OF CYBERTRON - + +PUSH IN TO - JAZZ AND CLIFFJUMPER + +Standing outside the "netted" complex, looking off at... + + UNICRON + A strange, LOUD HUM fills the air and the + ground heaves and SHAKES beneath their + feet + + JAZZ + Where'd that come from?! + + CLIFFJUMPER + Who cares? I'm more worried about where + it's going! + + + + + (CONTINUED) + + 39. +CONTINUED: + + + JAZZ + (on communicator device) + Talk to me, Earth! We got a situation + out here! + + CUT TO: + +AUTOBOT CITY- EARTH -LONG SHOT + +Autobot City is almost rebuilt, and we see Kup and Hot Rod +working with other Autobots to move large panels into +position. In the background, two huge SPACE SHUTTLES are +almost completed and Ultra Magnus is directing the work. +During this ESTABLISHING SERIES OF SHOTS, we HEAR JAZZ'S +VOICE OVER + + JAZZ (V.O.-FILTER) + Roger me. Wilco me. Anything? Hello. + Hello Earth. + + CUT TO: + +OUTSIDE OF LARGE SPACE SHUTTLE UNDER CONSTRUCTION + +Springer and Arcee fit a hull section in place with Daniel +motioning to them, directing the action. + + BLASTER + He reacts to muffled transmission from + Jazz. + + BLASTER + I'm pickin' up a faint signal! BLASTER + TRANSFORMS to blaster mode and Jazz's + VOICE is broadcast loud and clear causing + Springer, Arcee, and Daniel to react + + JAZZ (V.O.-ON FILTER) + This is Jazz. I gi-normous weird lookin' + planet just showed up in the suburbs of + Cybertron.... + + CLIFFJUMPER + And it's attack... + +STATIC obscures the message + + ULTRA MAGNUS + Jazz! Cliffjumper! + + CUT TO: + + 40. + + + +THE FIRST MOON + +is covered by Unicron's energy field, and slowly seems to +dissolve. + +ANOTHER ANGLE FEATURING UNICRON + +a great maw works more intensely crushing bits of the planet. + + CUT TO: + +JAZZ AND CLIFFJUMPER ON THAT MOON + +as quakes, tremors and cyclonic winds toss and tear at all +structures on the moon and the energy field closes in on Jazz +and Cliffjumper - who, using handholds every step of the way - +et into + +AN ESCAPE POD VEHICLE + +as Unicron looms larger, larger, the energy field seems to +dissolve the landscape. + + JAZZ + Got ...to....blast free....if we can..... + They get in and start retro blasters, the + flame of blasters whirling in wild winds + as moon is engulfed. + + CUT TO: + + CLIFFJUMPER (V.O.) + Ignition and.... + +SOUNDS of torrential winds, quakes, etc as moon is quickly +becoming Unicron's lunch. + + JAZZ (V.O.) + Hit it! + +ON ESCAPE POD + +as it BLASTS OFF and away from Unicron with an EXPLOSION. For +a moment, it looks like they are going to get clean away, +but... + + ANOTHER ANGLE + Suddenly it is pulled deep into Unicron. + + 41. + + + +ANOTHER ANGLE - THE MOON + +as Moon shatters like a hollow egg and is sucked completely +into Unicron's maw which closes around it with a snap. + + CUT TO: + +GALVATRON IN DECEPTICON HALL OF HEROES + +Silence. No more winds. No more movement. + + GALVATRON + How dare Unicron?! + (defiant) + Cybertron and all it's moons are mine! + +ANOTHER ANGLE ON GALVATRON + +His body starts to twist making him writhe in pain powerless +to resist + + SCOURGE + But remember, WE belong to HIM! + + GALVATRON + (gasping for breath, writhing, + nods) + I....will obey, Unicron! Decepticons, to + Earth! The torture stops and Galvatron + clutches his throat and tries to regain + his composure as we... + + CUT TO: + +EXT. AUTOBOT CITY -- ULTRA MAGNUS + +He has a portable communication device. Spike and Bumble can +be seen on it. Springer, Kup, the Dinobots, Blurr, and Hot +Rod look on amid general gathering of Autobots. Arcee holds +Daniel up on her shoulder so he can see. Blaster is in b.g. + + SPIKE + It's like a terrible nightmare, Ultra + Magnus. + + BUMBLEBEE + This thing - this juggernaut just ripped + the first moon to shreds. + + SPIKE + And it's heading this way. + + + + (CONTINUED) + + 42. +CONTINUED: + + + BUMBLEBEE + We'll try 'n slow it down... + + SPIKE + But you'd better get here fast because... + Suddenly, static obscures the + transmission. + + DANIEL + Dad! + + ULTRA MAGNUS + Autobots, prepare to board the shuttles. + This new menace is more dangerous than + all the Decepticons put together. + Somehow we must destroy it before it + devours Cybertron. + + DANIEL + But what about my dad? He's on the moon + between that monster and Cybertron. + + ULTRA MAGNUS + Daniel, I'll do everything I can for + Spike. + + HOT ROD + And what are we going to do when we get + there? If that thing crunches moons, + it'll make short work of us. + + ULTRA MAGNUS + Maybe the Matrix can stop it. + + HOT ROD + You're right! It can. + + KUP + What do you know about it lad? + + HOT ROD + It's just a feeling. + +Hot Rod looks up and sees something. + + KUP + Look! + +THE AUTOBOTS TURN TO SEE + + 43. + + + +POV - ANGLE ON ATTACKING DECEPTICONS + +Decepticon ships seem to dive from nowhere to attack the +Autobots. + + ULTRA MAGNUS + To the shuttles!!! + +ANGLE ON DECEPTICON JETS + +Galvatron is in the lead. + + GALVATRON + There is no escape. I, Galvatron will + crush you just as the magnificent + Megatron crushed Prime! + + ULTRA MAGNUS + And you'll die trying just like Megatron! + Ultra Magnus fires Laser and hits + Galvatron. + + GALVATRON + aaaaaaaah! Autobot cur!! + + CYCLONUS + You want me to gut Ultra Magnus for you? + + GALVATRON + There are plenty of Autobots for you. + Ultra Magnus is mine! + +THE BATTLE - QUICK CUT + +Decepticons dive on fleeing Autobots. + +ANGLE - ARCEE AND DANIEL + +As Daniel looks up and Arcee moves over to him protectively. +Hot Rod looks at Arcee in the same way she is looking at +Daniel. + + ARCEE + Stay close to me, Daniel... + + HOT ROD + (to Arcee) + And you better stay close to me... Arcee + pulls Hot Rod toward her before he gets + hit by laser + + + + + (CONTINUED) + + 44. +CONTINUED: + + + ARCEE + No, you'd better stay close to me. Blurr + is trying to get Grimlock into Shuttle + with the rest of the Dinobots as + Decepticon FIRE COMES IN ALL AROUND. + Grimlock is like a "spooked horse" + refusing to be shut in the barn. + + BLURR + (pleading with him, shoving + him, talking very, very + rapidly) + Nice Dino, good, Dino, sweet Dino! Won't + you step into the nice spaceship for + Blurr? Please, pretty please. + + GRIMLOCK + (sticking head out past + struggling Blurr) + Me, Grimlock, not "nice Dino!" Me bash + brains! + +HIS P.O.V. - SEVERAL DECEPTICON JETS COMING AT HIM + + GRIMLOCK + He gives FIRE BREATHING BLAST AT JETS as + they go by STRAFING THE + +SHUTTLE , SHOTS RICOCHETING AROUND GRIMLOCK AND BLURR + +THE DECEPTICON JETS + +as Grimlock's BLAST SETS THEM ALL ON FIRE and they spin into +one another as we CHANGE ANGLE TO + + ULTRA MAGNUS + as Kup, Hot Rod and Arcee MOVE INTO SCENE + BEHIND HIM + + ULTRA MAGNUS + Kup, Hot Rod. Get the Dinobots out of + here! + +KUP AND HOT ROD + +as they run into Dinobot Shuttle, retracting their entry ramp +in + + 45. + + + +HAIL OF FIRE FROM SCOURGE AND HIS SWEEPS. + + ON SCOURGE + as he TRANSFORMS to Humanoid mode and + shouts orders, FIRING AT Blurr who BLURRS + PAST and then at Arcee who also SHIPS BY + + SCOURGE + No survivors! + +IN DINOBOT SHUTTLE + +as Hot Rod squeezes past Sludge Swoop, and Slag to join Kup +who is already at control deck where Grimlock sticks his head +down to look out the window. Kup shoves him aside. + + KUP + This reminds me of the battle on Alpha 9, + when the Petro-Rabbits were...(annoyed) + Grimlock, get your noodle out of my face! + (starts throwing switches) + + GRIMLOCK + Me, Grimlock, love Kup's war stories! + + KUP + You're living one now! + (to Hot Rod) + Engage the boosters for Cybertron's sake! + Hot Rod nods and quickly passes his hand + over bank of SWITCHES all of which GLOW + AND PULSE with the action. + + ANOTHER ANGLE + as DECEPTICON FIREBALL COMES UP and + SPLATTERS AGAINST WINDOW, sending tongues + of fire running across the glass behind + Hot Rod's head + + HOT ROD + You got 'em! + + BACK TO KUP AND GRIMLOCK + +Grimlock still trying to stick his face in the control panel +as Kup works furiously and more DECEPTICON FIRE HITS THE SHIP + + GRIMLOCK + (to Kup) + Tell Grimlock about Petro-Rabbits again. + + + + + (CONTINUED) + + 46. +CONTINUED: + + + KUP + (muttering, using joystick) + I'll give you Petro-Rabbits. Contact! + The Shuttle lurches and shakes + +ANGLE ON SHUTTLE WITH DINOBOTS + +It takes off amidst a hail of Decepticon fire. + + HOT ROD (V.O.) + Yaaaaaaaaho! We're airborne! + + GRIMLOCK (V.O.) + Groooooowwwwwrrrr! + +ON CYCLONUS AND HIS "WING" OF PLANES + +as they bank down toward RISING SHUTTLE FAR BELOW. + + CYCLONUS + Vaporize them! + +Jets streak down toward upward rising Shuttle as we + + CUT TO: + +ANOTHER PART OF SHUTTLE LAUNCH AREA + +Springer springs onto scene with Daniel, Ultra Magnus and +Perceptor are guarding the entry ramp, firing at Decepticons. + + SPRINGER + (to Daniel) + Looks like we're shipmates, squirt! + + DANIEL + All right! + + SPRINGER + But if you get space sick, you're gonna + walk home. + +ANOTHER ANGLE FEATURING ULTRA MAGNUS AND PERCEPTOR + + ULTRA MAGNUS + Hurry! + +Blurr blurs up ramp. Arcee reaches the ramp as the shuttle +takes off horizontally. + +ON BOARD THE SHUTTLE- ANGLE ON SPRINGER + +as he reaches down for Arcee. + + (CONTINUED) + + 47. +CONTINUED: + + + SPRINGER + Jump. + + ON ARCEE + still going up the ramp while the + shuttle slowly leaves the ground. + +Just as the wind and gravity are about to knock her off, she +jumps up and... + +INSIDE THE SHUTTLE + +Springer grabs her hand and pulls her in, narrowly avoiding a +barrage Daniel is watching, terrified. + + DANIEL + That was close! + +Concussion of Decepticon hit rocks the shuttle + + SPRINGER + Believe it or not, this is the fun part. + +IN "COCKPIT" OF ULTRA MAGNUS' SHUTTLE + +Ultra Magnus is at control deck with Perceptor as they "taxi" +for launch and we see oncoming Decepticon jets firing at them + + ULTRA MAGNUS + No time to preheat....Can this ship take + it? + + PERCEPTOR + With an accelerated ignition procedure + the ceramic housings might create a + magnetic flux. + + ULTRA MAGNUS + (baffled) + What? + + SPRINGER + (ENTERING SHOT, reaches in and + pushes joystick forward) + He says "go for it!" + +Powerful rockets ignite, and the shuttle SHAKES with the +sound. + +ANGLE ON RUNWAY + +The Shuttle's rockets surge, melting the pursuing Sweeps as +the Shuttle hits the sky and soars upwards. + + 48. + + + +ON DINOBOT SHUTTLE + +Cyclonus' Jets fire on it, as we CHANGE ANGLE ON ULTRA +MAGNUS' SHUTTLE It roars up behind Cyclonus' jets and +overtakes and smashes through them, scattering them as it +pulls up alongside the Dinobot shuttle + +INT. DINOBOT SHUTTLE- KUP AND HOT ROD IN "COCKPIT" + +Grimlock is peering out of the side ports. + + HOT ROD + gives the thumbs up gesture. + + ANOTHER ANGLE + INCLUDING Ultra Magnus' shuttle through + side port as Springer gives thumbs up + signal in return and Daniel waves + + ON SPRINGER + as he turns and reacts, looking straight + up and ahead + + SPRINGER + It ought to be smooth sailin' from here + on in. + +ON ASTROTRAIN AND DECEPTICON JETS + + ASTROTRAIN + Fuse them! + +Astrotrain starts diving into upcoming Shuttles BLASTING +AWAY. + +INT. DINOBOT SHUTTLE - "COCKPIT" + +as Kup struggles to hold controls, his shuttle also ROCKING +from direct hits + + KUP + (using intercom) + Ultra Magnus...what next? + +INT. ULTRA MAGNUS' SHUTTLE - "COCKPIT" + +shuttle ROCKS WITH DIRECT HITS as Ultra Magnus struggles with +controls + + ULTRA MAGNUS + Remember what we did off Beta Four! + + + + (CONTINUED) + + 49. +CONTINUED: + + + KUP + I remember it well. + +ON THE SHUTTLES + +They fire (O.S.) at... + +A LARGE ASTEROID + +With incredible precision, the rays strike the asteroid, +splitting it in two parts. + +ANGLE ON ONE OF THE ASTEROID HALVES + +It shoots through space and strikes another asteroid, which, +breaks into several pieces, many of them angling back +towards... + + GALVATRON'S SHIPS + which swerve to avoid them as.... + +THE OTHER ASTEROID PART + +Hits another moon or asteroid or general rock in space, +doing the same thing... WIDEN SHOT to show that the pieces +are shooting around like pool balls after an incredibly +violent break... ... zinging into each other... .... +Narrowly missing Galvatron's ship... ... Filling space with +incredible amounts of Dust, lava from inside the moons, +multi-colored gasses, explosions and generally making a mess +of space. (Note: think of this scene as the "Asteroids" +video game.) + +ANGLE ON THE AUTOBOT SHUTTLES + +As all of this is going on, they jam into hyperspace... ... +Corkscrewing and arcing off into the galaxy, leaving only +blurred images of themselves as... + + GALVATRON'S SHIP + emerges from the chaos. + +ON CYCLONUS + + CYCLONUS + The explosions jammed my sensors. + (pause) + I have lost track of the Autobots! + + 50. + + + +ON GALVATRON + + GALVATRON + Damn it!! They did the same thing to me + off Beta four! + + DISSOLVE TO: + +DEEP AND SERENE SPACE - ULTRA MAGNUS' SHUTTLE AND DINOBOT + + SHUTTLE + Possible song - optimistic adventure with + the suggestion that all dreams might not + happen. + +as both shuttles soar majestically through the vast depth of +infinite space. + + ULTRA MAGNUS (V.O.) + Congratulations Autobots, we've lost 'em + at least for a while. So rest up. We'll + refuel on the Junk Planet and work out + our battle plan there. + +INT. DINOBOT SHUTTLE - KUP + +Kup sits spinning yarns, leaning back in chair as Grimlock, +Sludge, Slag and Swoop lie, lounge, sit with chin on hands, +all listening like little kids to a bedtime story - in rapt +attention + + KUP + Yep, I remember the dust was so thick off + Beta 4 had to use windshield wipers on + your optic sensors.... + + GRIMLOCK + (impatiently) + Me, Grimlock, know all about wipers! Want + to hear good part of story! + + SWOOP + (beating wings rapidly, + excitedly) + Good part, Kup! Tell Swoop good part! + + SLUDGE + SLAG + (excitedly) + (beating tail on Unh unh unh.... + floor) Good part...tell + +...tell... + + (CONTINUED) + + 51. +CONTINUED: + + + KUP + Okay, Okay. The dust was really thick + and then this gigantic Ick Yak... + +ON HOT ROD + +He is practicing sparring with a SPINNING AUTO-COMBATANT - a +very high tech quintain with many arms, legs, and weapons +that test the user's skills, and reflexes. Hot Rod wears +sparring gauntlet, and holds a small LASER DAGGER and special +shield. As he lowers shield and reacts to Dinobot reactions +to Kup's story. + + HOT ROD + Don't you think we have better things to + do now than tell stories Kup? + + KUP + Like what? + + HOT ROD + Like maybe figure out how we're gonna + stay alive. + + DINOBOTS + (ALL SHUSH HIM) + As he is speaking, Auto-Combatant "sees" + its opening and gives Hot Rod a swift + kick in the rear, sending him flying + (o.s.) + +THE AUTO COMBATANT + +Then hammers its fists on top of his head... + +ON HOT ROD + +Irked. + + HOT ROD + (continuing) + Time out, for Cybertron's sake! + +ON AUTO-COMBATANT'S FACE + +as it sticks out a metal tongue and gives him a LOUD +RASPBERRY + + BACK TO SCENE + +as Hot Rod rises and draws his fist back to clobber the Auto- +Combatant + + + (CONTINUED) + + 52. +CONTINUED: + + + AUTO COMBATANT + (mechanically, quickly) + Time out, time out, time out! Suddenly, + the shuttle rocks from impact and SPARKS + and flames shoot out of large hole in + wall + +ON ULTRA MAGNUS AT CONSOLE INTERCOM + + ULTRA MAGNUS + Kup! Raise your force fields at once! + They're armed with..... + +ON GALVATRON ON "BRIDGE" OF FLAT TOP + +as he presses firing button ... + + ULTRA MAGNUS (V.O.) + Moleculon Missiles! + +ANGLE ON GALVATRON'S CARRIER + +Particularly deadly looking missiles shoot out. + +ANGLE ON THE DINOBOT SHUTTLE + +It zooms towards a whopper of a planet, surrounded by several +small moons. We will later learn that this planet is +Quintesson, but for now, it's mysterious. The moleculon +missiles streak after it like sidewinders. + +INT. THE DINOBOT SHUTTLE + +Kup and Hot Rod pilot the thing for all it's worth. + + HOT ROD + They're closing on us! + + KUP + Yep, like the shrikebats of Dromedon! + + HOT ROD + Yeah, how'd you beat them? + + KUP + I'm trying to remember...there were an + awful lot of casualties that day... + +ANGLE ON THE SHUTTLE AND MISSILES + +The missiles streak toward them. + + + + (CONTINUED) + + 53. +CONTINUED: + + + KUP (O.S.) + Oh yeah, we inversed polarities. + + HOT ROD (O.S.) + That'll tear the ship apart! + + KUP (O.S.) + You got a better idea?!! With that, the + ship seems to stop, on a dime, in mid + air! The missiles zoom past it. + +INT. THE SHIP (KUP AND HOT ROD) + +Hot Rod watches wide-eyed, as Kup watches ahead warily, hands +on the controls. + + HOT ROD + Okay, so you were right. + + KUP + Don't run your programs until they're + debugged. + +ANGLE OUT THE VIEWSCREEN + +Suddenly, the moleculon missiles, reverse course and start +coming back. + + HOT ROD + They're coming back. + + KUP + Let's just hope we've screwed up their + trajectories. + +ANGLE ON THE MISSILES + +The missiles sidewind towards them, then their paths cross +and + +BOOOM! + +Everything flashes white. + +ANGLE ON THE DINOBOT SHUTTLE + + HOT ROD + Whew!!! + +INT. THE DINOBOT SHUTTLE + +Kup and Hot Rod look forward, their eyes, blinking, as if +strained. + + (CONTINUED) + + 54. +CONTINUED: + + + KUP + Yep, I thought we'd had it that time for + sure. + +EXT. ANGLE ON THE SHIP + +It sits next to a gigantic alien-made moon. Suddenly, a +hatch opens and a massive grabber that looks like a lobster +claw shoots out at it. + +ANGLE ON HOT ROD + +He sees the claw coming out of the viewscreen. + + HOT ROD + Dive! + +ANGLE THROUGH THE VIEWSCREEN + +The claw snaps on the front of the ship, smashing the window +and... + + ANOTHER ANGLE + crushing the area between Hot Rod and + Kup. + +SPACE - ANGLE ON THE SHIP + +As it explodes, flinging the Autobots inside down toward the +Quintesson's planet. + + CUT TO: + +GALVATRON PURSUING ULTRA MAGNUS' SHUTTLE + + CUT TO: + +INT. ULTRA MAGNUS' SHUTTLE - ULTRA MAGNUS, SPRINGER + +as they man control panel in cockpit. In the background, +Blurr and Arcee work to patch other holes in hull and Daniel +helps them. Perceptor slowly plots coordinates on light-up +table, oblivious to SHAKES AND ROCKINGS of their ship. + + SPRINGER + Kup and Hot Rod just bought it! + + ULTRA MAGNUS + I can't deal with that now. + + + + + (CONTINUED) + + 55. +CONTINUED: + + + SPRINGER + Face it, Magnus, the Decepticons 're + gonna dog us until they see us dead! + Ultra Magnus nods solemnly + + ULTRA MAGNUS + (cryptic) + Then that's exactly what they're gonna + see. + + CUT TO: + +THE DECEPTICON FLAT TOP AND CYCLONUS' ARMADA + + ON GALVATRON + as he works controls which eject more + Moleculon Missiles. + +HIS P.O.V. - ULTRA MAGNUS' SHUTTLE + +electrical outline envelopes it and there is a... ... +blinding flash after which... .. remnants of the hull and +superstructure explode toward camera and past camera +accompanied by explosive sound and then, silence! ... Where +the shuttle had been there is now...nothing! Just loose +asteroids and clouds of space dust + + CYCLONUS + The Autobots have been terminated! + + GALVATRON + Excellent. And soon we shall say the + same of that infernal Unicron. Suddenly, + Galvatron's body begins to twist, and he + writhes in pain. + + GALVATRON (CONT) + Aaaah! Take me to Unicron...Aaaah! + +LONG SHOT ON THE HUGE FLAT TOP + +as it veers off and away from the space cloud, followed by +Cyclonus' Armada. Hold for a beat, and then CLOSE IN on the +dust cloud as... ... part of Ultra Magnus' shuttle flies into +the clear. + +ANGLE ON THE COCKPIT + +Arcee, Perceptor, Springer, Blurr are crowded together in +cramped remnant of cockpit as Daniel and Ultra Magnus sit at +the control deck + + + + (CONTINUED) + + 56. +CONTINUED: + + + ARCEE + Did we have to detonate three- quarters + of the ship?! + + SPRINGER + Seeing how they would have detonated four + quarters, I think it was a good choice. + SUDDEN SHUDDER AND THE SHIP DROPS + SHARPLY, all holding on to each other and + to any protruding handhold + + ULTRA MAGNUS + Perceptor....can you still locate the + Junk Planet? + + PERCEPTOR + Gamma waves in this sector of space + create marginal navigation probabilities, + however..... + (looks at Ultra Magnus) + + ULTRA MAGNUS + Holds his head in his hands as Springer + grimaces + +RESUME ON PERCEPTOR + +realizes he's overdoing it again, clears his throat + + PERCEPTOR + Ahem.....yes I think I can. + +LONG SHOT- SHUTTLE CHANGING COURSE TOWARD LARGE DISTANT +PLANET + +which we see as dim shadow on the edge of space + + CUT TO: + +A small, falling object appears high above Quintesson and +hurtles down, down, over and over until it is in view and we +see it is... + + HOT ROD + still cartwheeling down toward the planet + below, trying to change the angle of his + fall + +HOT ROD - TRACKING + +He plummets down through layers of atmosphere and continues +to fall past shiny rock pinnacles of unusual construction as +we + + 57. + + + +CHANGE ANGLES TO + +AERIAL VIEW OVER A VAST SEA OF LIQUID ENERGY + +as Hot Rod falls into the sea, we CUT TO THE SILVERY ENERGY +SEA Hot Rod sinks to the bottom where he collides with... ... +a metallic reef, bounces, manages to right himself, shaking +his head as he regains equilibrium, and... Then he transforms +into auto mode modified for undersea action and starts riding +off as he calls through intercom. + + HOT ROD + (bubbling, filtered voice) + Kup....Grimlock? Slag!....Anybody? WE + FOLLOW him through undersea world as he + rounds a "corner" of the Reef Wall and + reacts + +HIS P.O.V. - A HUGE, MECHANICAL 0 SQUID CREATURE + +The ROBOTOID SQUID is tearing Kup to pieces and tossing the +pieces across the ocean floor with its silvery metal +tentacles + +ON HOT ROD + + HOT ROD + Kup! + +He transforms and blasts... + + THE SQUID + angrily streaks toward Hot Rod. + + HOT ROD + Fires at the Squid, but not stopping him. + + ANOTHER ANGLE + Hot Rod's shot plinks off a couple of + tentacles, but the squid keeps coming... + +... Wraps his tentacles around Hot Rod and starts crushing... +... Hot Rod looks like he's about to be crushed, but he... +... Shoots ... Its hideous Optical Sensor. + + THE SQUID + releases a laser print ink stream which + boils out in the water in a series of + dots and "x" shapes and retreats. + + HOT ROD + Don't worry, I'm not coming after you. + + + (CONTINUED) + + 58. +CONTINUED: + + + HOT ROD + lowers his head and blows blast of air + through head-piece. The air blast clears + the water, revealing Kup's head and torso + half buried in the "sand" + +ON HOT ROD AND KUP'S HEAD + +as hot Rod kneels + + HOT ROD + Kup! Say something! + +CLOSE ON KUP'S HEAD + +as he turns head around to look up at Hot Rod and spits out a +mouthful of sand + + KUP + (bubbling as he speaks) + Fix me! + + HOT ROD + Sure, Kup....right away! Hot Rod rapidly + PULLS KUP'S SCATTERED BODY PARTS + TOGETHER. + + CUT TO: + +KUP AND HOT ROD ON THE RED DESERT SHORE OF THE ENERGY SEA + +Kup stands impatiently while Hot Rod reassembles them. + + HOT ROD + Well...what do you think? Kup feels his + elbow joint, twists his neck side to side + and gets creaks and squeaks and moves + legs in odd, creaky way as he is trying + himself out. + + KUP + (a beat, then grimaces) + There's a piece missing. + + HOT ROD + No way.... + (sifts through pile of SCRAP + METAL PARTS lying at Kup's + feet) + See, this wasn't yours...it's some kind + of prehistoric ion cruncher....and this + doohickey looks like a funky energon + funnel... and this... + + (CONTINUED) + + 59. +CONTINUED: + + + KUP + (moving up and back, bending + arms and hands, CREAKING, + CLUNKING, SQUEAKING) + Well, I still think I'm short a part! + (sees Hot Rod hang his head) + But all things considered, you did an + amazing job, lad! Amazing! + + HOT ROD + (brightening) + Really? + + KUP + (rotates arm rapidly) + Yeah, you even got rid of a nasty burr on + my rotator! Now, let's find the Dinos + and get off this twisted planet! + + ON KUP + as he transforms it's evident that a + fender is misplaced and a wheel mounted + improperly so it wobbles and he rides + unevenly with much chugging and oil + spewing + + KUP (V.O.) + (in vehicular mode) + Of all the circuit glitched diode blowin' + dim-wittery... I told you a part was + missin'. + +we watch Hot Rod and Kup move off into the distance as we: + + DISSOLVE TO: + +ANOTHER PART OF QUINTESSON + +Kup and Hot Rod walk along a swampy, marshy area. Suddenly, +there are several loud gurgles, and we can see the shapes of +something terrible emerging through the muck. Hot Rod spins +to fire, but Kup bats down his arm. + +PAN TO SHOW + +EIGHT SHARKTICONS (in humanoid mode) surrounding them. The +Sharkticons are smaller than the Autobots, but they look ugly +and vicious. + + KUP + Don't act hostile. I'll use the + universal greeting. + + + (CONTINUED) + + 60. +CONTINUED: + + + HOT ROD + Universal Greeting. + + KUP + Watch. I'll have them eating out of my + hand. + + HOT ROD + Or our faces. + +Kup holds out his hands to show that he has no weapon. Then, +he addresses them... + + KUP + Bah-weep-Graaaaagnah wheep ni ni bong... + + HOT ROD + (mocking, mimicking) + Bah-weep-Graaaaagnah wheep ni ni bong... + The Sharkticons look interested. + +SHARKTICONS + +(GROWL VERSION OF THE SAME + +THING) + + KUP + See, the Universal Greeting works every + time. + (pause) + Now, without making any sudden moves, + give them an Energon goody. Kup reaches + into his belt, presses a button and pulls + out an Energon cube. Hot Rod, somewhat + suspicious of the whole process does the + came. + +They hold out the cubes and two of the Sharkticons take the +Energon cubes, like dogs getting a treat. Then, the other six +show up looking for cubes. + + HOT ROD + This is getting expensive. + + KUP + Don't worry, they'll reciprocate. They + each hand out three Energon goodies to + the remaining six Sharkticons... The + Sharkticons eat them happily. Then, they + back off, eyeing the two Autobots with + menace. + + + (CONTINUED) + + 61. +CONTINUED: + + + HOT ROD + I thought they were supposed to + reciprocate. + + KUP + (not sure of himself) + Customs vary from place to place. + Suddenly, the Sharkticons transform to + their vicious mode and lunge at them. + +The two robots, taken by surprise, fall backwards. PAN FROM +the fallen robots to an area behind a tree. For just a +moment, we see a small yellow Autobot in robot mode. There, +then, as quickly as we realize what it is, it transforms into +automode and vanishes in a flash. It was Wheelie. + +THE SHARKTICON CAMP ON QUINTESSON - KUP, HOT ROD AND +SHARKTICONS + +Sharkticons march Kup and Hot Rod into a HOLDING PEN within a +walled compound. As we FOLLOW THEM INTO PEN we PULL BACK and +PAN to establish that entry procession is being watched by... + + THE QUINTESSONS + slender, spindly framed robotic creatures + with oversized five sided heads, each + side bearing a different mechanistic face + with a different expression on each - + smiling, angry, grimacing, suspicious and + the fifth face is not yet to be seen. As + Hot Rod and Kup are led to certain death + in the Quintesson dungeons, harsh, + dissonant, metallic and terrifying music + plays, underscoring the brutal evil they + face, + + KUP (V.O.) + Reminds me of the Niter Slave Mines on + Golgonath Seven.... + + HOT ROD + Every place reminds you of some place + else..... + + KUP (V.O.) + Experience, lad. You should learn to + appreciate it. + + HOT ROD + A lot of good it's done us so far! + + 62. + + + +ON HOT ROD AND KUP + +as Hot Rod looks around and reacts sharply + +HIS P.O.V.- THE QUINTESSONS + +as we feature the Leader Quintesson who is taller and wears a +different color robe from others. He is watching arrival of +Kup and Hot Rod and his faces rotate so it goes from smiling +face to suspicious face to angry face to furious grimace. + +RESUME ON HOT ROD AND KUP + +as Sharkticons shove and prod them, JOLTING them into the +holding pen and locking the gate. Then, they install +RESTRAINING BOLTS. + + HOT ROD + I can't transform! + + KUP + They're restraining bolts, lad. + + HOT ROD + (looking around) + We got to get a new travel agent.... + What is this place? + +PAN FROM HIS P.O.V. - A SHADOWED, ALCOVE LIKE HUT + +as a figure moves forward slightly and speaks in a harsh, +bass'o voice. It is GRANIX. We saw him in the first scene, +escaping from his planet when Unicron ate it. {Note: The +script says *G*ranix here. Not my mistake.} + + KRANIX + The world of the savage Sharkticons and + their cruel masters the Quintessons. + They hunt down those who try to escape + the wrath of Unicron, and put them on + trial. + + KUP + But what if they're innocent? + + KRANIX + Guilty or innocent, the sentence is + always the same - death! + + HOT ROD + Unicron?! Who's Unicron? + + + + (CONTINUED) + + 63. +CONTINUED: + + + KRANIX + A planet six times the size of this one + that absorbs everything in its path. + + KUP + So that's the monster's name. + + HOT ROD + I wonder if there's any connection + between it and Galvatron. + +Suddenly, a Quintesson Guard roars in... + + QUINTESSON GUARD (V.O.) + That one! + +All turn and look off, reacting as two Guards thunder in, +grab Granix and pull him back out of the door. {NOTE: Another +instance of the spelling of Granix} + +ANOTHER ANGLE - INCLUDING THE LEAD QUINTESSON + +as he points at Kup and Hot Rod + + QUINTESSON GUARD + Soon, you too shall receive your + sentence. + +THEIR POV - OUT THE WINDOW THE ARENA + +Kranix stands on what almost looks like a wide diving board +over a watery (or oily) pit teeming with Sharkticons. + + LEAD QUINTESSON + Jury, have you reached a verdict? + + JUROR #1 + We have your honor. + + LEAD QUINTESSON + (to jury of Quintessons) + Guilty.....Or innocent. I repeat. + + KRANIX + Spare me this mockery of justice. + + LEAD QUINTESSON + I repeat, guilty...or innocent. + + JURORS + Guilty!! + + + + (CONTINUED) + + 64. +CONTINUED: + + +Jury's faces rotate to fifth expression - a DEATH'S HEAD ON +GRANIX {NOTE: Yet another, final, reference to Kranix as +Granix} Suddenly, the Robot is dumped into a pit of teeming +Sharkticons and there is a mad frenzy. In moments, he is no +more. + +ANGLE ON KUP + +He watches grimly through the bars. + + KUP + Not the end I'd wish for, lad. + + DISSOLVE TO: + +THE EDGE OF A HUGE, SHADOWY PLANET IN SPACE + +as Ultra Magnus' Shuttle is BUFFETED BY WINDS AND STORMS as +it enters the atmosphere of JUNKION. + +INT. THE SHUTTLE + +as it SHAKES AND RATTLES VIOLENTLY + + DANIEL + Where are we, Springer? + + SPRINGER + The place where everything ends up after + you throw it out. + +TIGHT ON BLURR + +as he holds up hands and CROSSES fingers. + +RESUME ON SPRINGER + +Tenses and crouches protectively around Arcee and Daniel as +we see mountains of junk whizz past the window. + + ULTRA MAGNUS + Brace for impact! + +ON SHUTTLE - TRACKING + +It plummets through the mountains and canyons of junk, +narrowly avoiding crashing, but frequently hitting junk +pinnacles or sides of junk walls, and causing avalanches of +junk. By the time the ship lands, it is nearly +indistinguishable from the junk. + + 65. + + + +INT. THE SHUTTLE + +Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr, +Perceptor upside down and hanging from torn end of stairway, +Arcee crouched over Daniel and Springer with half his body +sticking through the hull + + SPRINGER + (pulling himself free of hull + wall) + Remind me to give the Auto Pilot a + raise... Daniel creeps out from under + Arcee and shakes bits of broken metal and + dust off his shoulders + + DANIEL + Wow! That was better'n the Roller + Coaster at Future World! + + PERCEPTOR + (working scanner, computer + device, thoughtfully) + The composition of this planet seems to + be a chaotic amalgam of discarded ferrous + and non-ferrous articulations. + + ULTRA MAGNUS + (baffled) + How's that? + + SPRINGER + (opening hull door with a + RIPPING OF METAL) + He says the planet's made of junk. + +SPRINGER AND PERCEPTOR AT OPEN DOOR + +as they look out on landscape of "living" junk + + SPRINGER + Yep, this dump is a dump...... + + ULTRA MAGNUS + as he straps on TOOL BELT + + ULTRA MAGNUS + We might be able to salvage this thing. + (checks LASER DRILL, turns it + on, off) + Ultra Magnus starts for door followed by + Blurr who takes up a saw and tool belt + and Perceptor who rolls up Shuttle Plans + as Daniel moves out to join them + + (CONTINUED) + + 66. +CONTINUED: + + + DANIEL + Can I help, too? + + SPRINGER + It's rough out there, kid. Stay inside + and play with crayons or something. + + ARCEE + as she steps forward with a smile, a + strange GRID LIKE "SUIT" in her hand + + ARCEE + I think Daniel can make himself useful + with....this! It used to be Spike's. + (holds Grid-like metal frame + "suit") + + DANIEL + Wow! Dad's exo-suit. He told me about + it but I never saw it. + + ARCEE + Here, try it on. + +She starts helping him into the exo-suit. + + ON DANIEL + as he gets inside the "suit" which fits + over his body like a grid-work metal + "cage." + +Daniel clips "cage" of Exo-Suit shut and stands up inside the +gridwork which makes him taller and broader. He moves +awkwardly, barely able to advance a step + + SPRINGER + Just think about what you want to do + before you do it! + + DANIEL + brows knitted, thinking. + + SPRINGER + Don't fight it Dan-O. + +He suddenly starts moving rapidly backwards, then sideways, +then forward, then he starts dancing rapidly, then bounces +off walls... ..spinning upside down, then flips over several +times and lands in a splatter, legs spread, arms this way and +that - amused, startled and unhurt. + + + + + (CONTINUED) + + 67. +CONTINUED: (2) + + + DANIEL + (continuing) + It's kind of tricky.... + +He suddenly flips around twice in mid-air then regains his +feet and leans way over against Arcee for support. She laughs +and pats his shoulder + + ARCEE + For the first time out, you were great! + +ON SPRINGER AT DOOR + +as he sends down RAMP and motions to the others curtly + + SPRINGER + Show time's over! We've got work to do! + (he starts out) + +EXT. THE SHUTTLE + +as Springer, Arcee, Daniel et.al. come down the ramp and look +around at the lush "vegetation" of growing junk clumps all +around them and a long vista of junk mountains and spires of +weathered junk-rock. + + DANIEL (V.O.) + (whistles) + This must be the junk capital of the + universe! + +LONG SHOT- DANIEL AND THE OTHERS + +as they start DIGGING for parts to repair the ship, sinister +Junkions begin to emerge from the junk to watch them. Their +leader, WRECK-GAR, speaks to his fellow Junkions. + + WRECK-GAR + (in guttural, rusty, metallic + rumble) + Stop thief! No welcome-wagon, "hello + stranger!" that good coffee flavor + + OTHER JUNKIONS + Yeah, or your money back! Wreck-Gar shows + large JUNK GUN with all sorts of razor + sharp fins and rusty little rocket + missiles mounted around the howitzer like + barrel + + + + + (CONTINUED) + + 68. +CONTINUED: + + + WRECK-GAR + Operators are standing by! They laugh in + guttural, clanking sounds and look out at + Springer and the others who keep working + as we + + CUT TO: + +EXT. THE GATE TO THE QUINTESSON PALACE + +At first, we see only the face of a sinister Quintesson +gatekeeper, backed up by heavily armed Sharkticons. + + QUINTESSON + Greetings, noble strangers. + +ANGLE ON THE DINOBOTS + +They stand at the gate, looking more like kids showing up at +your door wondering if you can come out and play, than like +serious robots on a serious mission. + + GRIMLOCK + Yes, me, Grimlock, noble! Me, Grimlock + search for friends. + +ANGLE ON QUINTESSON AND GRIMLOCK + +The Quintesson, showing his friendly face, smiles. + + QUINTESSON + And who might they be? + + GRIMLOCK + Autobots. Hot Rod and Kup. + + QUINTESSON + (feigning recognition) + Oh yes. A young one and an old one. + + GRIMLOCK + Yes. You know friends. Where are they? + + QUINTESSON + They went down that path. He points to... + + A PATH + It probably isn't lined with primroses, + but it should be. + + GRIMLOCK + GRIMLOCK You good friend to Grimlock. I + reward you, sometime. + + (CONTINUED) + + 69. +CONTINUED: + + +With that, the four Dinobots head towards the "primrose +path." + +ANGLE ON THE QUINTESSON + +His head rotates and he smiles a sinister, evil smile. + +EXT. UNICRON + +Galvatron stands upon the demonic planet, in an extremely +contorted position. + + GALVATRON + Why do you torture me?! + +VARIOUS ANGLES ON UNICRON + +We have no idea where this godly voice is coming from, but +this place sure is spooky. + + UNICRON + You have failed. + + GALVATRON + No, Unicron. Ultra Magnus is dead. + + UNICRON + Then where is the matrix? + + GALVATRON + Destroyed, with him. + + UNICRON + The matrix can not be destroyed. + (pause) + And Ultra Magnus lives on the planet of + Junk. Stalk him. Cut him open! And + bring the matrix to me. + + DISSOLVE TO: + +EXT. THE PRIMROSE PATH + +They step along the primrose path, not noticing as sinister +things start to happen all around them. + +ANGLE ON A METAL EATING PLANT + +This thing looks like a metal version of a "venus fly trap," +and it has a malevolent red eye which lights up. Swoop walks +past it in humanoid mode. + + 70. + + + +SNAP! + +It misses him by an inch. + + GRIMLOCK + Me Grimlock, positive Hot Rod and Kup + close! Get thump, thump, thump... + (taps his head hard) + +ANGLE ON THE GROUND - IN FRONT OF SLAG + +Suddenly, a section of stones drop away in front of Slag +revealing a spiked pit... + + SLAG + Me, Slag say you are full of beryllium + balony. He is just about to fall in + when... + +ANGLE ON GRIMLOCK AND SLAG + +Grimlock, in dino mode, slaps him with his tail, knocking him +away an instant before he steps into the hole... + + GRIMLOCK + Me, Grimlock, say you full of cesium + salami! Slag gets up... + + SLAG + Beryllium balony! + + GRIMLOCK + Argh! + +ANGLE ON GRIMLOCK + +He is about to pounce on Slag when a massive tree, which is +actually more like a sword, suddenly is spring and arcs +toward him. The machete like blade strikes the ground, +between Grimlock and Slag narrowly missing them. He turns +and sees the thing stocking in the ground. + + GRIMLOCK + Me, Grimlock think trees here are cheap + model. + + SLAG + Like your head! (laughs at own joke) + Grimlock jumps on Slag and wrestles him + to the ground. Suddenly, a SQUEAKY, ODDLY + CHILDISH VOICE speaks from o.s. + + + + (CONTINUED) + + 71. +CONTINUED: + + + SQUEAKY VOICE (WHEELIE) + Friends find. Look behind. + + GRIMLOCK + (furious) + Who say that? + +HIS P.O.V. - WHEELIE + +WHEELIE is the Wolf Boy of Quintesson - an Autobot who's been +evading the Sharkticons since his parents' ship crashed, +killing everybody else in his party. He wears a necklace of +Sharkticon teeth, packs a three bladed laser knife and a +special SLING which hurls FIRE STONES. He fears nothing, +especially the Dinobots, and he cockily struts into the +clear... ... walks right up Sludge's tail onto Sludge's back +and then shinnies up his neck and jumps onto... ... Slag's +head where he stands eye to eye with Grimlock + + WHEELIE + Friends find. Look behind. Many Face + lie. You fool! You buy! + +GRIMLOCK AND WHEELIE + + GRIMLOCK + (eyes blaze, furious) + Me, Grimlock, "fool?" + + WHEELIE + (smiling breezily) + Picture you got. Now fool you not! + (he laughs in a wild, metallic + cackle) + Grimlock raises a claw to swipe Wheelie + off Slag's head + + GRIMLOCK + Me, Grimlock, no like you! + + ON WHEELIE + as he scowls and quickly loads FIRESTONE + IN SLING and slings it onto Grimlock's + nose where it EXPLODES making Grimlock + yowl and pull back, feeling his reddened + nose and speaking through his nose + angrily + + GRIMLOCK + (continuing) + Doooooooow! Why boy hit by dose? + + + + (CONTINUED) + + 72. +CONTINUED: + + + WHEELIE + (folds arms across his chest) + Wheelie say, find friends today! + (nods defiantly) + Grimlock and Slag react as we + + CUT TO: + +THE QUINTESSON "COURTROOM" + +Kup and Hot Rod stand on the platform over the Sharkticon +pit. They are "bound" by restraining bolts. + +ANGLE ON THE QUINTESSON JUDGE + + QUINTESSON JUDGE + Before we deliver your verdict, would you + like to beg for your lives? + +ANGLE ON KUP AND HOT ROD + +Kup turns to Hot Rod. + + KUP + Remember when you put me together today? + + HOT ROD + (sarcastic) + Sure, that's all I got to think about. + + KUP + I know what part you forgot. + + QUINTESSON JUDGE (V.O.) + Silence or I'll hold you in contempt of + this court. + + HOT ROD + I have nothing but contempt for this + court. + +ANGLE ON THE QUINTESSON JUDGES + +Suddenly, their heads swivel around to deaths heads. + +ON KUP AND HOT ROD + +The platform drops away and they tumble... + +KUP AND HOT ROD - TRACKING + +Suddenly, Kup in double-jointed fashion slips out of the +restraining bolt... + + (CONTINUED) + + 73. +CONTINUED: + + + KUP + That doohickey you lost was part of my + shoulder socket. Watch this, lad... + without it, I'm double jointed as + Houdini. + +Then, he transforms to humanoid mode and shoots off Hot Rod's +bolt. + + HOT ROD + Wish you'd figured that out a little + sooner. + + KUP + Better late than never! + +ANGLE ON THE SHARKTICON PIT + +In full humanoid mode, they land, their weapons drawn. + +ANGLE ON ALL + +Kup and Hot Rod fire, driving some Sharkticons back. + + HOT ROD + They've got more Sharkticons than we have + photon charges! + +Kup transforms to Auto mode. + + KUP + Let's hold a demolition derby! Then, he + roars into a bunch of them, slamming a + massive stack into the wall. + +ANGLE ON HOT ROD + +He transforms, too and does the same thing. + +ANGLE ON THE SHARKTICON PIT + +As fast as the Autobots can run the miserable things over, +new swarms of them come out. + +ANGLE ON KUP AND HOT ROD + +They clear out a circle in the center of the pit and +transform to humanoid mode. + + HOT ROD + Didn't even bend a fender. + + + + (CONTINUED) + + 74. +CONTINUED: + + + KUP + Yeah, but look. There are a lot more of + those cam dinging, grill-crackin' things. + +WHAT HE SEES + +is a wave of larger, more powerful Sharkticons. + + HOT ROD + We can't hold out forever, but we can + give them one whopper of a repair bill. + +ANGLE ON THE SHARKTICONS + +They charge Kup and Hot Rod Kup and Hot Rod fire into them, +destroying several, but are.... ... Soon overrun. The +Sharkticons crawl all over them, munching on their metal. + +SUDDENLY -- + + DINOBOTS (O.S.) + (WAR WHOOP) + +ANGLE ON THE DINOBOTS + +They fly down and land on the pile, transforming into Dinobot +mode. + +ASSORTED SHOTS OF DINOBOT CARNAGE + +SLUDGE in brontosaurus mode, swats several around with his +tail, while stomping them with his feet. + + GRIMLOCK + Lowers his teeth to devour a much smaller + Sharkticon, the Sharkticon bares his + teeth, realizes that he's a second + stringer, and scampers away. + + GRIMLOCK + Me Grimlock want to munch metal! Slag + barrels into Sharkticons, making a quick + shishkebob out of them, while... + +Swoop picks two up with his claws, flies in the air and drops +them on other Sharkticons. + + THE SHARKTICONS + suddenly back off and begin transforming + (bowing) to the dinobots. + + 75. + + + +ANGLE ON ALL + +Kup and Hot Rod dig themselves out of a pile of Sharkticon +parts. + + HOT ROD + I never thought I'd be so happy to see + those big bozos. + +ANGLE ON GRIMLOCK + +He turns to Hot Rod. + + GRIMLOCK + Me Grimlock no bozo. Me king! + +ANGLE ON QUINTESSON JUDGES + +They look down, their angry faces showing. + + QUINTESSON JUDGE + Sharkticons! Execute them. + +ANGLE ON GRIMLOCK + +He points to the Quintessons... + + GRIMLOCK + Me Grimlock say execute them. + + THE SHARKTICONS + for a brief instant, don't seem to know + what to do. Then, they charge the + Quintessons. + + THE CHASE + The Quintessons start to flee, but it's + clear that the Sharkticons, who climb + over the stacked bodies of other + Sharkticons, are going to catch them. + + KUP + I think the problems on this planet will + be solved very shortly. + +ON HOT ROD + + HOT ROD + But what about our problems. We need a + ship. + + WHEELIE + WHEELIE You get a ship if I get a trip. + + 76. + + + +ANGLE ON HOT ROD + +He turns to the little, feral, robot. + + HOT ROD + Who are you. + +SLAG AND WHEELIE + +The dinobot lifts up Wheelie. + + SLAG + Him Wheelie, him friend. + + HOT ROD + HOT ROD He'll be mine too, if he can find + a Quintesson ship. + +ANGLE ON WHEELIE + +He points into the distance... + +WHAT WE SEE + +is the strangest looking corkscrew ship we've every seen +sticking out of the ground. + + HOT ROD + That's a ship? + +EXT. THE SECOND MOON OF CYBERTRON + +PAN ACROSS an enormous stockpile of weaponry as we hear the +terrible roar we have come to associate with Unicron. + + SPIKE + If this doesn't do it, nothing will. + +ANGLE ON SPIKE + +He sets a timer to 20 seconds. The L.E.D. clicks down. + + BUMBLEBEE + now with a new bumpersticker which is a + Unicron with a red circle and slash + through it, looks very fidgety. + + BUMBLEBEE + Let's get out of here. + + 77. + + + +BUMBLEBEE AND SPIKE + +They run over to a small space ship as... ... The timer +counts down. + + THE SPACESHIP + takes off. + +ANGLE ON THE SECOND MOON + +Now, for the first time, we see what is really going on. +Unicron looms behind it, about to do the big munch. + +ANGLE ON BUMBLEBEE AND SPIKE + +They roar away. + + ON UNICRON + His mist surrounds the planet... + +ON BUMBLEBEE AND SPIKE + +They stop their ship in space. + + BUMBLEBEE + Five, four, three, two, one... + +ON THE SECOND MOON AND UNICRON + +BLAMMMOLA! + +An incredible display of fireworks goes off, seemingly +blowing Unicron to smithereens. + +ON BUMBLEBEE AND SPIKE + +They slap palms. Then, they look up, horrified. + + BUMBLEBEE + It isn't even dented. + + SPIKE + Let's get out of here! + + ON UNICRON + The great Maw opens and we hear a grand + cosmic roar! Suddenly, the smoke and + space junk from the explosion are sucked + into his mouth. + +ON BUMBLEBEE AND SPIKE + +They try to fly away. + + (CONTINUED) + + 78. +CONTINUED: + + + SPIKE + We're being sucked into it! + +ANGLE ON THEIR SHIP AND UNICRON + +Despite the fact that their thrusters are on full power, they +are still sucked into... + +UNICRON... + +Whose great mouth shuts when he's got the human and the +Autobot. + + CUT TO: + +DEEP SPACE - THE PLANET JUNKION + +ANGLE ON ULTRA MAGNUS' SHUTTLE + +as Arcee and Springer work on the ship, while Perceptor +watches. + + PERCEPTOR + Be sure the fittings are securely welded! + +ANGLE ON BLURR + +as he uses FLAME JETS FROM FINGER TIPS TO WELD joints where +new "canopy" is fitted + + BLURR + (very fast, as usual) + Absolutely, positively, definitely... + +WIDE SHOT TO INCLUDE DANIEL + +as he helps Blurr install a junk part. + + DANIEL + This exo-suit is fantastic! + (to Blurr) + Want me to do that? + + BLURR + Weld? You? Really? Well, why not? Give it + a try, but think it through first! Daniel + knits his brow, extends FINGER OF EXO- + GLOVE which is part of exo-suit. + +CLOSE ON EXO GLOVE AND DANIEL'S HAND + +as hand quivers and his finger shoots out a tiny flame which +sputters, sparks and then goes out like a wet match + + 79. + + + +RESUME ON BLURR AND DANIEL + + BLURR + Practice, practice, practice! + +WRECK-GAR AND JUNKIONS IN HIDING + +Wreck-Gar starts to motion them to the attack, and the +Junkions ready their weapons. + + WRECK-GAR + Forward, avanti, apfel and like, go for + gusto.... + (stops as OMINOUS ROAR comes + from overhead and he looks up) + +HIS P.O.V. - GALVATRON AND HUGE DECEPTICON FORCE + + WRECK-GAR (V.O.) + Hang on, this be industrial strength We + watch... + + ULTRA MAGNUS + as he, too, hears and then looks up and + sees the Decepticon force + + ULTRA MAGNUS + Decepticons! + (to Springer) + We've got to draw them off and then + double back to the ship! + +ANGLE ON CYCLONUS + +with Galvatron piloting, races up and launches a particularly +nasty looking missile which streaks INTO SHOT and... + +ANGLE ON ULTRA MAGNUS' SHIP + +... BLAMMOLA!!!!!!!!!!!!! + +Turns it into junk. Springer FIRES UP at INCOMING JETS, +calling to the others + + SPRINGER + Cancel that last order. + +ON ARCEE, DANIEL, BLURR + +as Arcee transforms and moves off in one direction. Daniel +looks at Blurr who is starting to transform + + + + (CONTINUED) + + 80. +CONTINUED: + + + DANIEL + What do I do? + + BLURR + Transform! You can do... + (TRANSFORMATION complete, he + blurs off and, in V.O. adds) + ...it! + +Blurr GOES OFF outblurring past HAIL OF LASER FIRE from +Ramjet scorching by overhead + + ON DANIEL + as he reacts, looks around, thinks, brows + knitting, looking off, reacting + + DANIEL + Transform.... + +HIS P.O.V.- SCAVENGER + +Coming at him from one side, Shrapnel coming from the other +side + + ON SCAVENGER + as he starts reaching for Daniel + + SCAVENGER + Human germ! + + ON DANIEL + as his Exo-Suit SUDDENLY TRANSFORMS INTO + auto mode and takes off and drives + through... + +...SCAVENGER AND SHRAPNEL, knocking them over. + + DANIEL (V.O.) + Wooooh!! + + GALVATRON + flies up to a ridge in advance of his + forces, motioning to them to split off + and follow... + +EXT. JUNKION - THE CHASE + +BIRD'S EYE VIEW - THE AUTOBOTS + +They dash through the maze-like walls of junk, pursued by +Sweeps, who strike them from above... + + + + (CONTINUED) + + 81. +CONTINUED: + + + SWEEP + He lets out a rayblast... + +ANGLE ON PERCEPTOR - TRACKING + +... Hitting Perceptor and spinning him around... ... Until he +stumbles to the ground. + +ANGLE ON PERCEPTOR AND ULTRA MAGNUS + +... Perceptor lies on the ground, stunned. ... Ultra Magnus +stops next to him... + + ULTRA MAGNUS + Perceptor! + +... Suddenly, shots tear into the junk all around them as... + +ANGLE ON A SWEEP + +ROARS towards them... + +ANGLE ON PERCEPTOR + +He suddenly transforms to cannon mode and fires! ... Blowing +the sweep to protons. + + ON PERCEPTOR + He transforms to humanoid mode. + + PERCEPTOR + It appears that my lacerations were + primarily superficial. + + ULTRA MAGNUS + Then move it... + +ANGLE ON PERCEPTOR + +He takes off. + + ULTRA MAGNUS + Stays behind, taking a few shots at... + + SWEEPS + which streak over in deadly formations. + + ULTRA MAGNUS + He stands and shoots. + + SPRINGER (O.S.) + Ultra Magnus! + + + (CONTINUED) + + 82. +CONTINUED: + + +Ultra Magnus turns to see... + +THE OTHER AUTOBOTS + +several yards down the junk-lined corridor. + + PERCEPTOR (O.S.) + Your estimated survival time is 10 + seconds. + +ANGLE ON ULTRA MAGNUS + +He shoots at the junk walls. + + ULTRA MAGNUS + Then use that time to escape! The Matrix + was designed for an emergency like this. + I'll try to unleash its power. + + SPRINGER + But what if it doesn't work. + + ULTRA MAGNUS + Until all are one! + +THE OTHER AUTOBOTS AND JUNK WALLS + +Ultra Magnus' ray hits the walls and they tumble down, +separating him from the other Autobots. + +ANGLE ON ULTRA MAGNUS + +His back to a wall of fallen junk, he pulls out the matrix. + +ANGLE ON GALVATRON IN CYCLONUS + +Galvatron pops out of Cyclonus and both transform, to land in +front of Ultra Magnus. + +ANGLE ON ULTRA MAGNUS + +Struggling to open the leadership matrix. He puts his hand +inside of it and gets a powerful shock! He pulls his hand out +quickly. + + ULTRA MAGNUS + Damn it! Open it! + +ANGLE ON GALVATRON + +He laughs. + + 83. + + + +ON ULTRA MAGNUS + +He still struggles. + + ULTRA MAGNUS + (baffled) + Prime, you said the Matrix would light + our darkest hour. + +ANGLE ON GALVATRON + +Four sweeps fly TOWARD CAMERA in formation. Galvatron pops +out a communication device from his helmet. + + GALVATRON + Sweeps, quarter him! + +ANGLE ON THE SWEEPS - TRACKING + +Four rope-like rays shoot out of them and... + +ON ULTRA MAGNUS + +wrap around his arms and legs. + +ANGLE ON ULTRA MAGNUS AND THE SWEEPS + +His arms and legs caught by the four ropes, he knows he's +just about had it. He struggles for one last moment, then... + +ANGLE ON THE SWEEPS AND ULTRA MAGNUS + +Pulling their rays taut, the Sweeps fly in four separate +directions, effectively drawing and quartering the Autobot +leader... + +ON ULTRA MAGNUS + +As all of his limbs are separated from his body and scattered +in the distance, he SCREAMS IN HORROR. + + ULTRA MAGNUS + (SCREAMS IN HORROR) + +ANGLE ON THE MATRIX + +It tumbles from Ultra Magnus' hands to... ... Galvatron's +hands! + +ANGLE ON GALVATRON + +He holds the Autobot Matrix. + + + (CONTINUED) + + 84. +CONTINUED: + + + GALVATRON + Unicron, my "master," with this I shall + make you my slave! + +Galvatron gets into Cyclonus and flies off + + DISSOLVE TO: + + DANIEL + as he moves out and looks down at Ultra + Magnus' remains + + DANIEL + (tearful) + Ultra Magnus! + +ANOTHER ANGLE - BLURR, SPRINGER, ARCEE AND PERCEPTOR + +as they move up beside Daniel. + + BLURR + Without the Matrix there is no hope. No + hope at all! + +WRECK-GAR AND AN ARMY OF JUNKIONS + +as they are moving in battle array towards the Shuttle. +Junkions are an interesting species. They ride themselves. +That is, the Junkions ride transforms of themselves, so that +if their vehicle breaks down, the driver will become the +vehicle, and the vehicle will transform to become the driver. +They are gibbering, singing almost a wild kind of junk-rock, +war-cry song which, like their language, is constructed of +bits and pieces of the museum junk of our culture - a +humorous aggressive song which makes a surreal kind of sense. +"Slice 'em dice 'em... And that's all folks or your money +back..." + + ON WRECK-GAR + as he roars into the lead and shows his + teeth + + WRECK-GAR + Don't look behind door number two, Monty. + It's time to play End-of-the-line-my + valentine! Geroni-roni-doo-ron-ron-i-mo! + (he charges) + +ON SPRINGER AND OUR FRIENDS + +as they react + + + + (CONTINUED) + + 85. +CONTINUED: + + + SPRINGER + Get gone! + +Springer leads the way and Blurr, Arcee, Daniel and Perceptor +follow and we MOVE TO A ROAD WARRIOR STYLE CHASE as Springer +and Arcee ride on either side of Daniel and Perceptor with +Blurr bringing up the rear- - zig zagging back and forth to +keep the Junkions from getting at Daniel. + + A JUNKION + roars alongside Springer on his + motorcycle and throws out laser barbed + grappling hook, trying to hook Springer. + Springer ducks first pass of hook. + + ON JUNKION + as he hurls GRAPPLING HOOK AGAIN + + ON SPRINGER + as he catches HOOK BY THE CHAIN AND YANKS + IT + + THE JUNKION + goes flying off his motorcycle.,, He + transforms into a motorcycle as The + motorcycle transforms into a rider and + hops on the new motorcycle and then... + +...turns around to come back. + + ON SPRINGER + He looks over, astonished. + + SPRINGER + It's not hard to knock 'em down. It's + getting them to stay down that's the + trick. + + ON ARCEE + as she fires at a Junkion who is trying + to swerve her off the road knocking him + off the motorcycle... The Junkion looks + down at his missing arm, digs around in + the junk for a minute, comes up with + another, and then transforms to a + motorcycle. + + ANOTHER ANGLE + as Junkion rides over to her, starts + belting her with junk sword + + ARCEE + They're indestructible! + + (CONTINUED) + + 86. +CONTINUED: (2) + + + ON DANIEL + as he skids, stopping his Exo-Suit as he + reacts to what's ahead + + DANIEL + They're everywhere! + +HIS P.O.V. - PILES OF JUNK + +as Junkions arise out of every junk pile in sight and, +gibbering, singing their junk-rock battle song, start moving +in + + ON SPRINGER + as he stops and Arcee, Daniel, Perceptor + and Blurr stop around him. They close + ranks and look out at the Junkions grimly + + PERCEPTOR + Perhaps they're not as vicious as they + look. + + ON WRECK-GAR + as he gnashes his teeth and grins and + then BLINKS HIS EYES which roll to show + eyes like ping pong balls. Wreck-Gar + makes blipping noises as he does this + + ON SPRINGER + reacting to Wreck-Gar's noises and + eyeball display + + SPRINGER + (to Perceptor) + Positive thinking gets on my nerves. + Suddenly, all react to sound and wind of + passing space cruiser their P.O.V- HOT + ROD, KUP AND DINOBOTS IN CRUISER as it + shoots past and banks, coming back for a + closer look + + SPRINGER (V.O.) + It can't be....it's.....Hot Rod! He's + alive! + + DANIEL + as he looks up at passing Cruiser and + waves + + DANIEL + And Kup and the Dinobots! We're saved! + + + + (CONTINUED) + + 87. +CONTINUED: + + + PERCEPTOR + I wouldn't count on that! + (indicating Junkions) + +HIS P.O.V. - EVEN MORE JUNKIONS ARISING OUT OF THE JUNK HILLS + +as Junkions newly risen from Junk look up and point at +Cruiser and make hostile signs toward it, shaking weapons, +etc. + +INT. THE CRUISER - MOVING SHOT - VIEW THROUGH CANOPY + +Hot Rod and Kup look down on the army of Junkions below +surrounding their friends as they SWOOP BY + + KUP + Not since the Crocodillos of Strontero + have I seen such a sight.... + +ANOTHER ANGLE GRIMLOCK + +as he sticks his face up next to Hot Rod. Wheelie, riding on +Grimlock's head, slips down to stand on console next to Hot +Rod + + GRIMLOCK + Maybe they make me king, too! + + KUP + Don't hold your breath, your majesty. + + WRECK-GAR + as he watches Cruiser descend and start + gliding in for a landing + + WRECK-GAR + Steady as she goes, mob! Snoopy visitors + get mud in the eye bye and bye, and film + at five! + (gives thumbs up sign, RIDES + OFF) + + JUNKIONS + Everything must go by midnight! With a + SINGING ROAR of musical, tribal + excitement, the Junkions sweep Springer + and our friends along with them, + following course of landing Cruiser to + +CRUISER LANDING SITE + +Cruiser sets down and Junkions line up with weapons aimed at +rampway as they watch door + + (CONTINUED) + + 88. +CONTINUED: + + + ON DOORWAY + as Hot Rod steps out with big smile and + hand full of energon sticks followed by a + very wary Kup, and the Dinobots with + Wheelie riding Sludge's neck. + +INTERCUT TO SPRINGER, DANIEL, ARCEE ET. AL FOR REACTIONS + +ON WRECK-GAR AND OTHER JUNKIONS + +as they react to hot Rod's smile, Wreck-Gar trying to mimic +that smile to his followers who laugh + +ON HOT ROD + +as he steps up beside Kup and gently pushes Kup's rifle aside + + HOT ROD + (aside to Kup, still holding + smile) + Guns aren't exactly friendly. + + KUP + (through his teeth to Hot Rod) + Neither are they in case you haven't + noticed. + + HOT ROD + (sotto) + What was the Universal greeting again? + + WRECK-GAR + growls and slips a SNIPPER, BLOW TORCH + CUTTING TOOL out of a holster and starts + toward Hot Rod with it + + HOT ROD + HOT ROD + (big smile) + Bah weep graaaagnah wheep ni ni bong? + +WRECK-GAR AND OTHER JUNKIONS + +They look at one another, blink, then beam with smiles + + WRECK-GAR + Bah weep graaaagnah wheep ni ni bong? + + HOT ROD + (nodding, smiling) + Bah weep graaaagnah wheep ni ni bong? + (MORE) + + + (CONTINUED) + + 89. +CONTINUED: + HOT ROD (CONT'D) + (presses energon sticks + forward) + As Hot Rod says this... + +...Wreck-Gar takes the energon sticks and holds them over his +head and... ...all the Junkions smile and cheer and start +chanting the universal greeting phrase, laughing, clapping +their hands and dancing around, taking Arcee's hand and... +... taking Springer and Perceptor and Daniel out into center +of a square dance type gathering, moving back and forth with +them dancing happily, singing the universal greeting in a +melodic, rhythmic way + + EVERYBODY + Bah weep graaaagnah wheep ni ni bong Bah + weep graaaagnah wheep ni ni bong! Bah + weep graaaagnah wheep ni ni bong.... + + WRECK-GAR + hugs Hot Rod, and Perceptor who winces + and tries to enjoy it, and then hugs + Daniel, Wheelie, Arcee, laughing and + dancing as SINGING goes. + + ON GRIMLOCK + as he reacts to Wreck-Gar kissing his leg + + GRIMLOCK + Yuck! Me Grimlock, not a kisser! Me, + Grimlock, a king! + + WHEELIE + claps his hands and gleefully makes + noises as he hops about, dancing with + Junkions until we CUT TO + + WRECK-GAR + as he stands on top of platform and RINGS + JUNK BELLS AND SIRENS getting silence and + smiling as he waves hands all around + + WRECK-GAR + Have a nice day and please, close cover + before striking, friends! Amigos, buddies + and side kicks, Breep drit, aw rootie! So + say the Junkions! + (holds hands over his head) + +ANGLE ON HOT ROD + +He looks at them, strangely. + + HOT ROD + Where did you learn to talk like that? + + 90. + + + +ANGLE ON WRECK-GAR + +He reaches into his body, and about where a heart or some +other organ would be, he pulls out a Watchman. + + THE WATCHMAN + On it is a crazy Eddy-type commercial. + + WRECK-GAR + We talk T.V. You talk some T.V.? + + KUP + looks around nervously. + + KUP + I talk some TV. And now, Hot Rod for the + news. Don't touch that dial. Void where + prohibited. JUNKIONS cheer wildly while + the Dinobots react with uncertainty + +RESUME ON WRECK-GAR + +as he points off and shouts happily. + + WRECK-GAR + By George kimosabes your smashed up, + blotto friend, soon like brand new with + ninety day warranty all iciban parts and + labor is! + +HIS P.O.V. - JUNKIONS WITH ULTRA MAGNUS + +The Junkions move Ultra Magnus' mangled body through an +amazing assembly line, quickly piecing together his body +parts, using junk when they can't find a part. Then, they +lube him, dust him, spray him and polish him. Then, Wreck-Gar +hits a switch, and Ultra Magnus' eye lights go on. + + WRECK-GAR + Happy motoring! Cock-a-doodle-do! + +ON ULTRA MAGNUS + +as he steps away from Junkion line of reconstruction and into +group consisting of Hot Rod, Kup and Springer. + + SPRINGER AND OTHERS + (Ad lib jubilation) + Ultra Magnus! + + ULTRA MAGNUS + You're all alive... + + + (CONTINUED) + + 91. +CONTINUED: + + + HOT ROD + The matrix! + +All turn to Ultra Magnus. + + ULTRA MAGNUS + It's gone... + + KUP + And with it, all hope. + + HOT ROD + No... + (inspired) + The matrix will not fail us. + + ARCEE + Didn't you hear Ultra Magnus. We don't + have it anymore. Galvatron does. + + HOT ROD + Then we've got to trust in ourselves, and + no matter what they odds, destroy + Unicron. + + ON WRECK-GAR + His eyes light up. + + WRECK-GAR + Yeah! Destroy Unicron... Kill the grand + poobah.... Flush cosmic troubles down the + drain. + +ANGLE ON JUNKIONS + + JUNKIONS + (almost chanting) + Destroy Unicron... Kill the grand + poobah... Flush cosmic troubles down the + drain. + +ANGLE ON SPRINGER + +The Quintesson ship in the BACKGROUND. + + SPRINGER + Listen, I don't want to rain on anybody's + parade, but how are we going to move the + army to Unicron. We don't have enough + room on that ship. + + + + + (CONTINUED) + + 92. +CONTINUED: + + + WRECK-GAR + No fuss, no muss. + (to others) + Hurry, hurry. Sale must end! Rush right + on down to bridge and test drive latest + with no obligation. + +Suddenly, several Junkions scramble to concealed doorways in +the Junk. + + ULTRA MAGNUS + You have ships here? + + WRECK-GAR + New, improved Junkion planet, is sleek + sexy import with turbo handling. + + SPRINGER + What's he talking about? + +ANGLE ON QUINTESSON + +Suddenly, boosters fire from the back side of the junk, and +somewhere under all of the junk, we realize is a real space +ship. Maybe the junk is the space ship. It takes off, bits +and pieces of junk flying off as it moves. + + SPRINGER + This is what I call traveling in style. + + DISSOLVE TO: + +LONG SHOT- UNICRON + +as Galvatron stands on the surface of Unicron, holding the +Matrix. + + GALVATRON (V.O.) + Listen to me, or suffer the consequences. + + UNICRON + Aren't we getting pompous? + + GALVATRON + I now possess that which you most fear. + Unicron LAUGHS and the force of it rocks + the surface of the planet, knocking + Galvatron to his knees. + + GALVATRON + You will do my bidding, or... Unicron + roars with laughter. + + + (CONTINUED) + + 93. +CONTINUED: + + + GALVATRON + ...taste my wrath. + +He leans down and starts trying to open the matrix. + +ANOTHER ANGLE - FAVORING GALVATRON + +IN THE BACKGROUND, we see Cybertron getting closer. Galvatron +struggles with the Matrix, but gets a big shock. + + UNICRON + You underestimate me Galvatron. + +ANOTHER ANGLE - GALVATRON ON UNICRON + +He desperately struggles to open the matrix. The planet +suddenly starts shaking. Galvatron is bathed in a reddish +light, and looks up in horror! + +ANGLE ON UNICRON + +A hideous transformation is beginning. The surface of the +planet in front of Galvatron opens up, and we see that the +hideous light comes from eyes set on a hideous head! + +GALVATRON AND UNICRON + +Galvatron is maybe the size of a single tooth on the horrible +head before him. + + UNICRON + For a time, I considered sparing your + measly little planet, but now you shall + witness its dismemberment! + +ANGLE ON GALVATRON + +Suddenly, the ground he stands on drops away, and he falls +through space... ... Landing on a protruding plate which +sticks out of Unicron's chest. + +GALVATRON - CLOSE + +He looks around himself in horror and lets out a loud scream +as he realizes the unimaginable horror that surrounds him. + +ANGLE ON UNICRON - LONG SHOT + +The massive planet transforms, arms and legs fold out of the +enormous body, hands unfold from the arms, jets from it's +back propel it towards... ... Cybertron, which, now looks +lonely and vulnerable in space. + + 94. + + + +ANGLE ON GALVATRON + +He stands on a ledge on Unicron and desperately tries to open +the matrix, but no cigar. + + GALVATRON + No!!! + +ANGLE ON CYBERTRON + +Unicron enters shot and grasps at Cybertron with a hideous +claw... + +ANGLE ON A TOWER ON CYBERTRON + +Shockwave talks into a communications device, as alarms sound +and troopers run everywhere. + + SHOCKWAVE + Decepticons...we're under + attack...Scramble - Then his voice is cut + off as... + +SHOCKWAVE'S POV - OUT HIS WINDOW + +Unicron's hand reaches towards the window, squeezes, and the +walls crash in. + +SPACE - UNICRON AND CYBERTRON + +Unicron tears off the tower and crushes it as... + +A FLEET OF DECEPTICON SHIPS + +streak out of Cybertron and begin firing on the enormous +planet. Here, we see the true scale of Unicron. The fighters +are the size of bees as they attack. + +ANGLE ON UNICRON + +He looks down on the swarm of fighters and... ...Breathes +fire down on them. The fighters POP and burn like popcorn in +a blowtorch. In moments they disappear like sparks from a +fire. + +ANGLE ON CYBERTRON + +Decepticon troopers man a massive gun emplacement as... ... +Unicron's huge hand reaches down... ... scraping buildings +and... ... tearing out gun emplacements. + + 95. + + + +ANOTHER ANGLE- UNICRON'S FACE + +as he puts his face down so his mouth will receive all the +rockets, laser blasts, etc. + +THE DECEPTICON DEFENDERS + +are silhouetted like ants in the foreground as Unicron OPENS +HIS MOUTH and swallows the fire barrage + + GALVATRON + GALVATRON Stop feeding him, you fools! + +ANGLE ON UNICRON AND CYBERTRON + +As yet more Decepticon fighters rip out of the planet, it +looks like Unicron is going to have a field day tearing it +apart. + + CUT TO: + +EXT. SPACE - SAME TIME + +The massive Junkion ship and the corkscrew cruiser piloted by +Hot Rod and Kup race through the dark void. + + HOT ROD + I don't believe it. + +INT. THE QUINTESSON SHIP - SAME TIME + +Hot Rod, Kup, Springer, Arcee and Daniel as they also look +through canopy, astonished + + DANIEL + Wow! + +THEIR P.O.V. - UNICRON Destroying CYBERTRON + + HOT ROD (V.O.) + Doesn't it remind you of something, Kup? + +RESUME ON KUP, DANIEL AND HOT ROD + +as they MOVE CLOSER STILL. Kup is glassy eyed. + + KUP + (entranced) + Nope, never seen anything like it. + + + + + (CONTINUED) + + 96. +CONTINUED: + + + HOT ROD + I knew there had to be a first time.... + (using intercom) + Battle stations! + +LONG SHOT- HOT ROD'S CRUISER AND THE JUNKION SPACE SHIP + +as hatches open and the Dinobots start FLYING OUT. + +INT. - CRUISER + +Hot Rod shoves joystick forward and Cruiser DRIVES TOWARD +UNICRON whom we see turn to take a swat at it through glass +canopy + +ON JUNKION SPACE SHIP + +as it pulls up beside Hot Rod's Cruiser so they are both in a +line.....The Dinobots behind both ships ...all diving toward +Unicron's nose + +INT. JUNKION SHIP - WRECK-GAR AT CONTROLS + +As Wreck-Gar also has joystick shoved down and watches +Unicron's face loom closer, closer, closer + +LONG SHOT- CRUISER, JUNKION SHIP AND DINOBOTS IN FORMATION + +as Unicron smiles and cups both hands together, preparing to +catch the lot of them as soon as they get within reach + + UNICRON'S CHEST + Galvatron, the matrix hanging around his + neck. Transforms to Cannon and fires up + at... ... A bright panel on Unicron's + chest... + +BLAAAM! + +He hits the panel and lights and sparks fly out, causing the +gigantic robot to flicker momentarily. + +ANGLE ON UNICRON + +The monster lets out a ROAR! Then, reaches down, picks up +Galvatron and drops him into his mouth like a raisin. + +ANGLE ON GALVATRON + +He drops into the deep pit of Unicron's mouth, narrowly +avoiding both a torrent of fire, and his sharp, crushing +teeth. + + 97. + + + +EXT. THE SPACE BATTLE - SAME TIME + +As they Junkion cruiser comes close, Unicron lets out a burst +of fire... ... Flames lick the ship, but when the fire +subsides, nothing has happened. + + WRECK-GAR (V.O.) + Patented enamel resists fire, rain and + corrosion. Five year warranty, + satisfaction guaranteed. + + OTHER JUNKIONS + Or your money back! + +The ship fires back, dumping rays into... ... Unicron's face, +but not really doing any damage. + +UNICRON AND JUNKION CRUISER + +Unicron grabs the Junkion cruiser with both of it's hands +and... + + CLOSER + ... tears it in half. + + WRECK-GAR (V.O.) + Unshakable, unbreakable, unbeatable. And + for a limited time we include... + +INT. CRUSHED JUNKION SHIP + +As Ultra Magnus, Perceptor and the others watch in +amazement... + + WRECK-GAR (CONT'D) + Free bonus surprise! + + JUNKIONS + Free bonus surprise! + +THE JUNKIONS RUN AROUND + +welding things... ...screwing things together... ... and +kicking control panels to make them work... + +EXT. SPACE + +Both halves of the Junkion ship act as independent space +ships. + + PERCEPTOR (V.O.) + Most unscientific, but... effective. + + 98. + + + +EXT THE SPACE BATTLE + +As the Quintesson ship shoots toward Unicron's face. + + THE CRUISER + Is suddenly struck by a ray from + Unicron's eye, and half of it is knocked + off. + +INT THE CRUISER + +Lights go off, and the Autobots are thrown around like toys. + +ANGLE THROUGH THE VIEWSCREEN + +They are heading right to Unicron's eye. + +ANGLE ON UNICRON AND THE CRUISER + +Unicron swipes at the cruiser, but misses. The Cruiser +crashes right through Unicron's eye like a corkscrew! + + UNICRON (V.O.) + Graaaaaaaaaaa! + +INT. UNICRON'S HEAD - SAME TIME + +The cruiser rips through the eye socket and smashes through +several electrical membranes that are, in fact, Unicron's +brain. + +ANGLE ON THE SHIP + +As the ship tumbles through, it dumps off the various +Autobots like rubbish and disintegrates. + +ANGLE ON HOT ROD + +He tumbles out of the rubbish and down a deep pit (which we +can assume is a robotic sinus or something) + +EXT. THE BRAIN AREA + +Kup, Springer, Daniel and Arcee are scattered about the floor +in the giant, flickering chamber. + + DANIEL + Where's Hot Rod? + + SPRINGER + Sees something in the distance. + + + + (CONTINUED) + + 99. +CONTINUED: + + + SPRINGER + I don't know, but I hope they didn't get + him. + +WHAT HE SEES + +Are dozens of hovering Robots that look like floating bear +traps, snapping their jaws as they drift slowly towards the +Autobots. + +ANGLE ON THE AUTOBOTS + + KUP + Debugoids! + + ARCEE + Quick! This way. + +They run into a long, cave-like chamber which looks like the +central nervous system or something. + + CUT TO: + +INT. ANOTHER CHAMBER - LATER + +Hot Rod drops through the darkness and lands in a pile of +miscellaneous junk. + +ON HOT ROD + +He slowly gets up and looks around the chamber. + +WHAT HE SEES + +Pan as Hot Rod looks over various different bits of junk, +until he sees the glowing shape of the Autobot Matrix +apparently suspended in mid air. + + HOT ROD + The Autobot Matrix! + +Then, suddenly two red, burning eyes light up above the +matrix, and we see the hideous form of Galvatron. + + GALVATRON + It will do you no good, Autobot. It + cannot be opened. + +ON HOT ROD + +He stands up and walks towards Galvatron. + + + + (CONTINUED) + + 100. +CONTINUED: + + + HOT ROD + Not by a Decepticon. + +ANGLE ON HOT ROD AND GALVATRON + +Hot Rod steps towards Galvatron. + + GALVATRON + It is strange that we should find + ourselves as allies... + + ON GALVATRON + Suddenly, his body is violently twisted, + and his arms are almost broken off. + + GALVATRON + Uhhhh... + + UNICRON + Destroy him, or feel yourself torn from + limb to limb. + + GALVATRON + Of course, my master! + +ANGLE ON GALVATRON AND HOT ROD + +Galvatron takes a shot at Hot Rod. ... Hot Rod dives away, as +electricity seems to flash everywhere. + + ON GALVATRON + He peers into the gloom. + +GALVATRON'S POV - PANNING THE ROOM + +Hot Rod is nowhere to be seen amidst all of the junk. + + ON GALVATRON + Weapon drawn. + + GALVATRON + Puny Autobot, you lack even Prime's + courage. There is no response. + + CUT TO: + +EXT. SPACE - THE BATTLE + + ASSORTED SHOTS + Unicron now stands atop Cybertron, + fighting the various ships that swarm + around him like bees. ... Rays streak + from his one good eye. ... + (MORE) + (CONTINUED) + + 101. +CONTINUED: + ASSORTED SHOTS (CONT'D) + His hands smash fighters... ... Fire + shoots from his mouth. + + THE DINOBOTS + Now reaching Unicron's butt, start + kicking. + + GRIMLOCK + Me Grimlock kick Butt. + +ANGLE ON UNICRON + +Suddenly; he looks down, sending down a searing blast of +fire. + +ANGLE ON THE DINOBOTS + +They transform to robot mode and fly away. + + GRIMLOCK + Me, Grimlock, need new strategy. + + CUT TO: + +INT. THE CORRIDOR IN UNICRON -- SAME TIME + +Kup, Arcee, Springer and Daniel dash down the corridor. +Suddenly, Daniel's foot is caught in a maze of wiring. + +ANGLE ON THE OTHERS + +Not noticing, they keep running. + +ANGLE ON DANIEL + +He tries to pull his foot out. No luck. Then, he looks up. + +WHAT HE SEES + +The Robotic Antibodies are drawing very close to him. + + DANIEL + He looks o.s. towards the others. + + DANIEL + Help... + +ANGLE ON KUP AND ARCEE + +They turn around and see Daniel about to be munched by the +antibodies. + + ARCEE + Daniel! + + 102. + + + +ANGLE ON SPRINGER, KUP AND ARCEE + +They dash down the corridor firing on... + +THE ROBOTIC ANTIBODIES + +Their shots hit some, knocking them to scrap, but there are +so many of them, that they can't hold back the tide as it... + +ANGLE UNDER THE ANTIBODIES + +Daniel, unscathed by the things, which hover over his head, +munching their way towards the Autobots, gets his foot free. + + DANIEL + I'm okay. They don't even see me. + +ANGLE ON THE AUTOBOTS + +It looks like Custer's last stand as they are surrounded by +the vicious antibodies. + + KUP + They must not programmed to catch flesh + creatures. + + SPRINGER + Us, on the other hand... + + ARCEE + Daniel... Try to find help! Arcee + fires... + +HER SHOT - TRACKING + +Misses the Antibodies, but strikes a large tube. + +ANGLE ON THE TUBE + +When it is hit, it pours a torrent of liquid which... ... +Goes over the swarm of Antibodies, but hits Daniel... ... +Carrying him away in a flood of glowing liquid. + +ON DANIEL - TRACKING + +He shouts as he finds himself in a river of flowing goo. + + CUT TO: + + 103. + + + +INT. UNICRON - A FLOWING TUNNEL + +Daniel rips through what seem to be endless caves on the +torrent of liquid, until he is dumped down a high waterfall +into... .... A glowing lake. ... He stays under for a +moment, and then bobs up to see... + + UNICRON'S STOMACH + This is the central processing area for + Unicron's "food" and "energy." A long + conveyer belt drops junk into a clear, + bubbling vat, where it is separated into + raw material and energy. The energy, + which comes out in raw form, goes into a + machine and is crunched into energon + cubes, while the solid material, is + separated into it's component metals and + plastics, formed into ingots and sent + elsewhere in an assembly line fashion. + + DANIEL + watches this with awe until he sees... + +ANGLE ON THE ASSEMBLY LINE + +... Several Decepticon troopers hanging from cables like +shirts at a dry cleaners are dropped into the bubbling vat, +and in moments converted to nothing... ... Then, Cliffjumper +and Jazz roll out of the line... + + ON DANIEL + He dashes to the shores of the glowing + lake... + + DANIEL + Cliffjumper! Jazz! + +And then Spike comes rolling down, followed by Bumblebee! + + DANIEL + Bumblebee! Dad! + +ON CLIFFJUMPER, JAZZ, AND SPIKE + +They look down, but can't move because they are held by +massive pincers. + + SPIKE + Shut off the control, Daniel. Daniel + looks around. + +Then, he sees. + + + (CONTINUED) + + 104. +CONTINUED: + + + A CONTROL + .. which controls the whole thing. + + ON DANIEL + He runs up a catwalk towards it.... + +ANGLE ON DANIEL + +He reaches the flickering panel. + + DANIEL + What do I do? It doesn't have any + buttons or anything. + +ANGLE ON SPIKE - TRACKING + +He looks down. + + SPIKE + Shoot it, Son. + + DANIEL + But I don't have a gun. + + SPIKE + Use your exo-suit. + +ANGLE ON DANIEL + +He looks down at his hand and concentrates as hard as he can. +Then, a spark comes out. It grows longer. + +ANGLE ON THE MACHINE + +Spike and the Autobots are about to go in. + + CLIFFJUMPER + Hurry! + + DANIEL + Starts frying the command console! + +ANGLE ON THE LINE + +It keeps moving. Then, Cliffjumper is dropped in! + +ANGLE ON DANIEL + +He looks back, and to his horror sees Jazz, Bumblebee and his +father about to be dropped in. He keeps firing. The panel +starts exploding! + + + + (CONTINUED) + + 105. +CONTINUED: + + + DANIEL + I can't stop it! + +ANGLE ON THE ASSEMBLY LINE + +Jazz drops in, then Bumblebee, then Spike. + + DANIEL + turns around and sees this. + + DANIEL + Dad! + +There is no answer. Play the moment. Then... + + SPIKE + Son. + +ANGLE ON THE VAT + +It is empty. The Autobots and Spike sit at the bottom, +smoking but alright. + + SPIKE + You did it! + + CUT TO: + +INT. THE DARK CAVERN WITH GALVATRON AND HOT ROD + +Galvatron, the Matrix at his neck, stalks around the room. +Looking everywhere for Hot Rod. + + GALVATRON + Come out, Autobot. We all must die + sometime. + +Suddenly, shockingly, Hot Rod jumps out of the floor and +grabs Galvatron, sinking his fist into the Decepticon's face. + + GALVATRON + stumbles backward. + +ANGLE ON GALVATRON AND HOT ROD + +Galvatron jumps at Hot Rod... ... Hot Rod transforms to a +car and races away... + +ANGLE ON GALVATRON + +He transforms to cannon mode and fires... ... Hot Rod +transforms to humanoid mode and the shot goes through his +legs. ... Then, he fires back at Galvatron... ... + + (CONTINUED) + + 106. +CONTINUED: + +Hitting him as he transforms back to humanoid mode and +angering him. .Raises his gun, then lowers it. + + GALVATRON + No, I will crush you with bare hands. Hot + Rod transforms back to car and tries to + race away... ... Galvatron jumps after + him and catches him... ... Hot Rod, + nearly pinned by Galvatron transforms to + humanoid mode. + +... Galvatron wrestles him to his back.. ... The Adolescent +Robot tries to fight back, but the other is stronger. ... +Galvatron puts his hands around Hot Rod's neck and starts +squeezing. ... We hear the crunching of metal. + + GALVATRON + First Prime, then Ultra Magnus and now + you. It is a pity Autobots die so easily + or I might have a sense of satisfaction + now. Hot Rod desperately gasps and pulls + at Galvatron's hands... + +EXT. SPACE - THE BATTLE + +Unicron shoots down more Decepticons with his remaining eye, +while he crushes the Junkion ship. + +INT. THE JUNKION SHIP + +The walls crush in. The Junkions and the Autobots are being +smashed together. + + WRECK-GAR + Ashes to ashes. Junk to junk. + +INT. THE DARK CAVERN + +Galvatron still strangles Hot Rod. + + HOT ROD + Gasps. + + GALVATRON + Die! + + ANOTHER ANGLE + On Hot Rod, his hands, nearly dead, + spring to life for a moment and grasp the + Matrix which hangs from Galvatron's + chest. + + 107. + + + +ANGLE ON THE MATRIX + +Suddenly, it lights up. + + ANOTHER ANGLE + A miraculous transformation takes place. + ... Hot Rod begins to grow at an + alarming rate. ... Age shows on his + face. ... He is stronger and wiser. + + OPTIMUS PRIME + Arise, Rodimus Prime. + + HOT ROD + Optimus! + +ANGLE ON GALVATRON + +He fires at Hot Rod as... + + GALVATRON + Nooooooo! + +... Hot Rod gets up. ... The shot doesn't even dent him. + + HOT ROD + This is the end of the road, Galvatron. + With that, he picks up the Decepticon and + throws him through... + +EXT. UNICRON - SAME TIME + +... Unicron's side... + + CUT TO: + +INT. THE DARK CAVERN + +Hot Rod, bathed in the glow of the matrix. Sticks his hand +in the way we saw Galvatron and Ultra Magnus try earlier. +There is no shock. Then, like pulling the pin on a hand +grenade, he unleashes the spiritual equivalent of a bomb! + +ASSORTED SHOTS - INVASION OF THE MATRIX + +The matrix rips through Unicron's body, blowing up wires +causing floods and generally causing havoc. + +EXT. SPACE - THE BATTLE + +Unicron suddenly lets out a scream and lets go of the Junkion +ship, sending it hurtling. + + 108. + + + +INT. THE JUNKION SHIP + +It tumbles through space. + +AUTOBOTS AND JUNKIONS + +(THEY SCREAM WITH EXHILARATION) + +ANGLE ON UNICRON + +Suddenly, he starts tearing into his body. + +EXT. SPACE + +Unicron writhes in space, tearing himself apart, ripping off +a leg, and sending out sparks like a roman candle. + + CUT TO: + +INT. THE CORRIDOR WHERE KUP ET.AL ARE TRAPPED + +They are overrun by the antibodies. One takes a whopper bite +out of Springer's chest. + + SPRINGER + I'm almost out of energy. Suddenly, he + looks up and sees one of the creatures + explode above + +HIM. + +Then another explodes, then another. + +SPRINGER'S POV - A WALL OF ANTIBODIES + +Suddenly, every antibody in the wall begins exploding, and +through the carnage, we see Bumblebee, Spike, Daniel, +Cliffjumper and Jazz. + +ANGLE ON THE BATTLE + +The last of the antibodies is blown away, and Kup, Arcee and +Springer sit up amidst a pile of antibody bodies. + + SPRINGER + That's what I call the nick of time. + +ANGLE ON ALL + +Suddenly, an entire wall vanishes as Unicron's hand tears at +things. + + + + (CONTINUED) + + 109. +CONTINUED: + + + JAZZ + Let's burn rubber! + +ANGLE ON THE TUNNEL + +They transform. The humans jump in. + +THE CHASE - TRACKING + +They race up the tunnel, one step ahead of Unicron's hand +which shoots after them, pulling apart what we know must be +pieces of his brain... Then, they reach what seems like a +dead end. In fact, it is the back side of Unicron's good +eye. The hand comes in after them! + +ANGLE DOWN THE CORRIDOR + +An unbelievably fast and powerful robot races towards the +Autobots. When it gets there, we realize that it is Rodimus +Prime. + + KUP + I knew you had potential, lad! + +ANGLE ON RODIMUS PRIME + + RODIMUS PRIME + Autobots, transform and roll out. Rodimus + Prime transforms into truck mode as the + other Autobots also transform. Daniel + and Spike jump into him. Then, in a + continuous line, he shoots off, the other + Autobots racing behind him. + + SMASH CUT: + +EXT. UNICRON + +Rodimus Prime shoots out the second eye... Followed by the +others. + +ANGLE ON UNICRON + +An arm and a leg dangle uselessly as the Autobot essence +spreads throughout the body, blowing circuits. Suddenly, +Unicron lets out a loud agonized ROAR. SPARKS seem to shoot +out of every part of his body. Then, he spins in space like +some kind of a fireworks display, shooting off sparks. And +then... + + 110. + + + +BANG! + +We get the big visual explosion. + + DISSOLVE TO: + +EXT. SPACE - MUCH LATER + +Unicron's head orbits Cybertron. PAN to Cybertron where and +PUSH IN on Rodimus Prime, Arcee, Kup, Springer, Ultra Magnus, +Wreck-Gar, Daniel, Perceptor, Blaster and Spike watch +construction being done on Cybertron below. + + RODIMUS PRIME + Let this mark the end of the Cybertronian + wars as we move forward to a new age of + peace and happiness.... + + ALL + Until all are one! + +THE END