SYNOPSIS: An evil mastermind conspires with drug consortium to gain control of the world through bio-engineered designer drugs developed through research obtained from the Human Genome Project. JAKE ANSLEY, US Government's top scientist, must track down the source of the genetically engineered biological substance threatening mankind with the help of a beautiful Doctor of biochemistry and physics, CHRISTEN YATES. An unwitting group of teen age college students become embroiled in the dilemma as evil stalks the world in the form of the MASTERMIND. Assisted by a rag-tag group of competent but eccentric friends and co-workers, and a high tech robotic computer device, MARTIN (Miniatureized Automated Robotic Technology Interface Nodule) with almost human qualities. Jake assembles a team to confront the M in a final battle to save the world from biological annihilation. Anticipated viewer rating "R"
Jack Rooney
Overdose Copyright 1987, 2000 Jack E. Rooney. All Rights Reserved
OVERDOSE
EXT SOUTH AMERICAN MARKETPLACE -- YEAR 2034 – DAY 1
South America, Rio de Janeiro, late evening, LS.Cut to LS trade market area. People milling around shops, trading, buying, selling, bartering.(stock footage).
Cut to
INT OLD MUSTY CURIO SHOPPE -- SAME TIME FRAME. 2
SHOPKEEPER enters from behind bead curtain carrying small wooden chest. He places the chest on the counter and opens the lid to reveal a small glass Vial inside. He carefully removes the Vial from the chest and hands it to MAN ("M") standing at counter. M examines Vial, places it in his briefcase and hands the Shopkeeper stack of money. He closes the briefcase and exits shop.
Dissolve to
EXT RIO INTERNATIONAL AIRPORT -- NIGHT 1 3
M walks through airport terminal to customs inspection station. He places the briefcase on the moving conveyor belt of the X-ray viewer and steps through the metal detector as a CUSTOMS INSPECTOR watches the viewing screen. Cut to ECU of X-ray viewer screen, Customs Inspector's POV, as the briefcase passes through on the conveyor. Cut to CU end of conveyor as M reaches down and picks up the briefcase. Cam follows as he boards the airplane.
Dissolve
EXT U.S. INTERNATIONAL AIRPORT -- HOURS LATER -- 4
NIGHT 1
Stationary Cam Pans International Airport. Cut to LS jumbo jet landing on runway, taxing to terminal, and docking.
INT U.S. INTERNATIONAL AIRPORT TERMINAL -- 5
SAME TIME FRAME.
Cut to WS passengers disembarking from jumbo jet. Cut to ECU of man, "M", dressed in white suit, shot from waste down, carrying briefcase. Cam follows CU as M walks through airport terminal, exits terminal
EXT INTERNATIONAL AIRPORT -- SAME TIME FRAME 6
M walks through automatic sliding terminal exit doors to waiting white limousine. Driver comes to attention and opens limo door. M slips inside.
INT LIMO -- SAME TIME FRAME 7
Cut to MS, M's POV of two (2) large male ESCORTS inside the limo; his presence makes them nervous, and one of the men adjusts his tie and glances at the other man as if seeking reassurance, uncertain of what to do or say or, if to say anything at all, for fear of provoking disfavor of the one now in his presence.
Cut to ECU as M places the briefcase on the seat.
EXT AIRPORT TERMINAL -- SAME TIME FRAME 8
Cut to WS as limo drives away.
INT INTERNATIONAL AIRPORT -- SAME TIME FRAME 9
Woman, KRISTEN, exits plane carrying pieces of Luggage.
Cut to Low angle MS of JAKE exiting at another station, carrying small carry-on bags. Jake moves through frame. MARTIN (miniturized Automated Robitic Transform Interface Module), Martin for short, floats into frame behind Jake and glides through frame LtoR.
Cut to CU Cam dollies as Kristen walks briskly through the terminal.
Jake and Martin follow at a reduced, casual pace. They walk through the terminal to the luggage carousel and stand waiting patiently for the baggage to be removed from the plane. Jake and Kristen exchange glances, but do not speak. They collect their luggage, exits the terminal, and enters waiting taxicabs, taking separate cabs.
Dissolve
EXT MODERN HIGH RISE OFFICE BUILDING -- NIGHT 1 10
Long Shot modern high rise office complex. White limo pulls up at the front entrance of the building. Cut to MS as M, and Escorts exit limo and walk into front entrance of high rise; cut to CU, cam pans, held on M's briefcase. Pull back, reverse zoom, cam tilts up to top story of high rise.
INT MODERN HIGH RISE OFFICE BUILDING -- 11
SAME TIME FRAME.
Cut to MS as elevator door opens and M and ESCORT exit elevator and walk down long hallway. Cut to CU as they approach office door and enter.
INT MODERN OFFICE -- SAME TIME FRAME
Cut to WS of office. The room contains a collection of 12 MEN in the lavishly furnished penthouse office. Each person is dressed uniquely, some wildly, representing a diversity of cultural backgrounds, races, and stations from throughout the world. They are the UNDERWORLD LEADERS of the underground drug market cartel. In the far corner of the room, reposed comfortably on a plush couch, a WOMAN reclines smoking a cigarette while a collection of men congregate around trying to engage her in idle talk.
Serious and rough looking, their eyes turn toward the door as M enters the room followed by his Escorts. A few of the men come to their feet as M crosses the office and sits down in a large leather overstuffed chair behind a massive oak desk. He places the briefcase on the carpet beside his chair. The room is silent.
M
Well, Gentlemen... What a rare
treat it is to see you all
assembled in one place.
Cut to reaction shots of the men; they are nervous, uncertain, apprehensive.
Have you placed everything in
order?"
The men in the room all begin to mumble in the affirmative, somewhat pleased with themselves.
M
Very well, then. Shall we get
down to some of the specifics...
They begin to move in around the large desk.
fade to grey.
INT DRUG LAB – NIGHT 12
Fade up or dissolve up from gray to SC Panning L/R Illegal drug manufacturing lab. Hold on View of CHEMIST in white smock wearing rubber surgical gloves, mask, and surgical hat as he mixes chemicals; Chemist's ASSISTANT (dressed the same) measures white powder substance out carefully onto scale, pours it into plastic bags, and stacks the bags in briefcases. Assistant turns around and hands briefcases to THUG waiting by door to lab who stacks the briefcases on a transport dolly. THUG exits lab pushing dolly.
INT HALLWAY -- SAME TIME FRAME 13
Cam dollies MCU on Thug, waist down, focus on transport dolly and briefcases, as he pushes the dolly down a long hallway to a door at the end. A GUARD/Escort at the door opens it, and the Thug enters.
INT OFFICE -- SAME TIME FRAME 14
Cam moves in through door, Thug's POV, of plushy furnished office to reveal large desk. M sits with back to door in large leather swivel chair looking out a large plate glass window onto the city skyline.
Thug takes single briefcase from dolly, walks across office and lays briefcase on desk. M swivels around in leather chair, opens briefcase, removes bag, opens it, examines drug, returns bag to briefcase. M nods approvingly and pushes briefcase across desk.
The men in the room step foreword and take a briefcase from the dolly and file out of the office.
Cut to ECU as Woman steps over to the desk, takes a bag from the open briefcase, turns it over examining it, and smiles at M seductively.
WOMAN
I know it must be difficult for
a man with such responsibility
to enjoy any kind
of...(searching)... personal
life....You've been working so
hard.
The Woman slides around the desk and sits on the edge close to M.
WOMAN
(cooing)
I could help make things much,
much easier.
M
(M remains stoic, undaunted by her seductive advances).
You could have me if you want.
(M raises an eyebrow.)
But my dear.... I already have
you.
M looks into her eyes with an imposing gaze that sends chills down the Woman's spine. She stands, for a moment transfixed on M's cold stare.
Cut to M as he reaches down and picks up the briefcase at the side of his chair. Cut to MS as he places it on the desk, opens it, and removes the Vial. CU as he holds the Vial lovingly, turning it in his hand, admiring it.
WS as he rises from the chair and moves over to a painting hanging works the combination to the safe, places the Vial inside, closes the safe door and returns to the desk. Hold on painting. Cut to MCU of M as he sets into frame, swivels around in the chair and looks out over the Night City. Cut to OTS Night City through plate glass window. Cut to LS cam pans skyline Night City.
EXT DOWNTOWN HIGH RISE HOTEL -- NIGHT -- 15
SAME TIME FRAM
Cut to WLS of downtown high rise hotel as a Taxi pulls up at hotel entrance. Kristen steps from taxi, pays driver, collects baggage, ATTENDANTS collect baggage and follow her into the hotel.
INT DOWNTOWN HIGH RISE HOTEL -- SAME TIME FRAME 16
Kristen walks through plush lobby of hotel to counter and checks in at the front desk with NIGHT CLERK.
EXT DOWNTOWN HIGH RISE HOTEL -- SAME TIME FRAME 17
Jake pays taxi driver, collects bags, enters hotel
INT HOTEL LOBBY -- SAME TIME FRAME 18
Cam tilts to follow glass front elevator descending from top story of hotel. Elevator door slides open and Kristen steps inside. Cam pans through glass elevator, Kristen's POV, of Jake checking in at the counter.
INT HOTEL LOBBY -- SAME TIME FRAME 19
Martin walks through glass doors of hotel with baggage.
INT HOTEL ROOM -- SAME TIME FRAME 20
Kristen enters room. Jake and Martin enter a room at the opposite end of the hall. Martin places the luggage on the floor.
JAKE
(to Martin)
Rest
Martin glides to rest at a table by the balcony. Jake opens a suitcase and removes an electronic probe. He opens Martin's Access Panel, a small metallic door on the front of the device, and inserts the probe.
JAKE
I noticed you were a little
unsteady coming up the stairs.
Must have been the plane ride.
There,...that should do it.
Rise.
The Martin rises from the table. Focus on Jake as he showers.
INT HOTEL HALLWAY -- SAME TIME FRAME 21
Cut to Martin in the hotel hallway. He moves down the hall toward Kristen's room, stops in front of the door and turns the handle.
Cut to
INT KRISTEN'S ROOM -- SAME TIME FRAME 22
Kristen is in the shower. She steps from the shower, pats herself dry, wraps the towel around her and turns and looks at herself in the mirror and starts primping. She turns from the mirror and walks straight into Martin, hovering over her shoulder. She is startled at first, and then snaps angrily at Martin:
KRISTEN
What are you doing in here?
MARTIN
I came to see if I could be of service.
Cut
INT JAKE's ROOM -- SAME TIME FRAME 23
Jake steps from the shower, slips into comfortable clothes, Exits room,
INT HOTEL HALLWAY -- SAME TIME FRAME 24
Jake walks down hall. He approaches door and knocks. Door opens to reveal Kristen and Martin in the room. Jake enters.
Fade
INT ILLEGAL DRUG LAB -- SAME TIME FRAME 25
Fade up to Micro Focus shot (MFS) of blue flame of laboratory Bunsen burner beneath churning hot chemical beacon. Hand wearing rubber surgical glove moves into frame and turns off gas nozzle, Split-lens and pan up (or cam pans up and rack focus) to Chemist taking off white smock and exchanging it for top coat hanging on coat rack by lab door. Cut to MCU of:
CHEMIST
(To Assistant)
Clean the place up and put everything away. Then you can go, I'll see you next time, I guess. Thanks for the help.
Cut to Cu of Assistant wearing surgical mask, he lowers the mask to reveal the face of a young 17 year old male, ROD.
ASSISTANT
(nervously, quickly)
Yah.... Yah, sure, next time.
Chemist opens door and Exits Lab.
Cut to WS of Assistant as he looks around as if not knowing where to begin. He takes a deep breath of resolve and starts collecting items from the chemical mixing table.
INT OFFICE -- SAME TIME FRAME. 26
Chemist enters M's office.
M
Very good work Doctor. The
quality is excellent. It appears
you have the formula mastered.
Bravo.
CHEMIST
Don't patronize me.... Look, I
have to go. My wife will be
wondering...
M
Sit down... Have a drink...we
have a lot to talk about.
CHEMIST
I didn't plan to stay this late
tonight. The new assistant is
slow. He's cleaning up the lab.
Have your guy lock it up when he
leaves.
M
(hands Chemist stack of money)
You've made out quite well for
yourself; the formula is quite
popular with our customers. Can
you increase the output
tomorrow?
CHEMIST
Hey, Listen, let's not get too
carried away with this thing.
If I didn't need the money do
you think I would be doing this?
Why, If anyone ever found out,
my career would be over. And I
don't particularly relish the
idea of a prison cell. This was
suppose to be a short term
relationship, remember?...
Quick bucks and get out,
remember?... As soon as my
bills are paid, its over for me.
M
You surprise me, doctor. (M
pauses and leans back in the
chair. He swivels around and
looks out over the Night City.)
Let us be pragmatic, If we don't
supply it, someone else will,
It's a matter of supply and
demand. And wouldn't you rather
make the money than some
low-life pusher mixing it up in
his bathtub. I mean, think of
it as a public service; at least
our mixture is clean, is it not?
CHEMIST
But its still illegal. And the
police will catch on eventually.
M
Don't worry. I have everything
under control. Tomorrow I will
need ten times as much as you
normally produce. Of course, it
means more money for you.
The Chemist is silent for a moment; he is disgusted with himself and with his association with M. Silence fills the room. M swivels back around in his leather chair and smugly looks on at the Chemist and patiently awaits a reply. The Chemist thinks about it for a moment and gazes at M. He slowly begins to acknowledge with an affirmative nod.
M
Very Good, Doctor. Very good.
I knew you were a man of reason.
The Chemist turns and starts to exit the office.
M
Tomorrow.
The Chemist leaves in silence.
Fade to black
INT LAB -- SAME TIME FRAME. 27
Dissolve up to:
Clean lab. Assistant looks around cautiously, reaches under the table and pulls out a plastic bag filled with the white powder. He stuffs the bag in his coat pocket, shuts off the lights, and closes door behind him as he exits.
EXT COUNTRY HOME -- MORNING -- DAY 2 28
Cut to LS, establish quiet country home.
INT COUNTRY HOME -- SAME TIME FRAME. 29
Cut to WS kitchen area. MAN (JIM DAVIS) is cooking eggs in an iron skillet. He is a silver haired, handsome man in his late fifties, early sixties, extremely well built for his age. Enter grandson, JOHNNY DAVIS, 20 year old, nice looking athletic college student.
JIM
Better get a move on. You'll
be late. Here...(places plate
in front of grandson)...eat.
JOHNNY
Thanks gramps
JIM
Have to keep your strength up
if you want to win that
basketball championship.
JOHNNY
We're gonna clobber everyone
this year.
Johnny gathers up his books and rushes out the door to catch his morning class.
Jim walks into bedroom. Opens drawer, removes Revolver, walks from room to front door of house, exits door.
EXT COUNTRY HOME -- SAME TIME FRAME 30
Jim enters car, pulls from drive way onto Quiet Street, and drives away.
EXT DOWNTOWN AREA --DAY 2 31
Cut to LS Busy Downtown area. Intercut various shots morning downtown activity: traffic lights changing,, cars moving, walk/don't walk signal changing, people crossing intersections.
Cut to
EXT FEDERAL BUILDING -- SAME TIME FRAME 32
Wide establishing shot of Federal Building. Jim's car pulls to the side of the curb in front of Federal Building
INT FEDERAL BUILDING -- SAME TIME FRAME 33
Cut to wide shot activity first floor Federal Building. Intercut various CUs of people milling about first floor. Jim walks down along hallway to a door and enters DIRECTOR'S office.
Cut to DIRECTOR looking up from desk as Jim Enters Room. Smiles. Closes door.
EXT CITY HIGH SCHOOL -- SAME TIME FRAME 34
Establishing Shot State University: Kids unloading from busses, walking into the front entrance of the school
INT CITY HIGH SCHOOL -- SAME TIME FRAME. 35
Students shuffle back and forth between lockers preparing for morning classes.
Cut to ECU interior of student locker. Hand reaches into frame and removes books and loose-leaf notebook. Cam pans ECU to reveal JOHNNY at the locker. Cut to MS of Johnny standing at locker removing books.
INT STATE UNIVERSITY HALLWAY --SAME TIME FRAME 36
Cut to MS of two young women, SARAH and APRIL, walking down hallway with an armload of books. Cut to Johnny, Sarah's POV, standing in the hallway reviewing his notes for the next class. She walks over. He looks up:
JOHNNY
Hi Sarah.
SARAH
(cooing)
Hi Johnny.
JOHNNY & SARAH
dialogue dialogue (improv). The two walk
down the hall together. Johnny
spots ROD standing outside a
classroom.)
JOHNNY
(to Rod)
Hey, Rod. Congrads. Heard you
got a job.
ROD
Oh, yah...Lucky I guess.
JOHNNY
Hey, Give yourself some credit,
man.
ROD
(somewhat unconcerned)
Yah....
JOHNNY
Where were you last night? You
missed practice....coach is
gonna be pretty mad.
ROD
(defensively, slightly
irritated)
I don’t think he cares. I can't
play anymore. Grades. School
policy. No more scholarship,
either. I have to pay for it
now.... So I got a job... I'm
makin'money, now.
JOHNNY
` (hesitantly, sensing
Rod's irritation)
Sorry, man. Hey, you can bring
your grades back up. We'll help
you study. Sarah’s pretty
smart...she makes straight A's.
She could tutor yea. Right Sarah?
SARAH
Sure. I'd be glad to help.
Just let me see your class
schedule and I'll....
ROD
Naw, It don't mater no more.
I don't care. I got me a new
job and a new car and to hell
with basketball. I'm working for
a business executive in a big
office building. Got my own
office, too. Well... it isn't
exactly an office, but I'm in
charge of the whole thing...
JOHNNY
Doin' what?
ROD
(looking at Johnny with a
nervous glance) Stuff!
JOHNNY
Yah,...What kind of stuff.
ROD
Important stuff. Hey look man
I gotta make my class.
Rod dashes down the hallway.
JOHNNY
(Calling out to Rod) We're
goin' out with some of the gang
tonight. Want to come along.
ROD
(turning but still moving away
quickly) Got 'o work
tonight..Thanks a lot, though.
Catch ya later.
Rod disappears into a classroom.
SARAH
He's upset. I can tell.
JOHNNY
Looks that way.
Fade out
INT DIRECTOR'S OFFICE -- SAME TIME FRAME. 37
Fade in to WS of Director’s office; the DIRECTOR is in conference with JIM, who is siting casually in a chair listening. The DIRECTOR is standing at a large glass window looking out at the city:
DIRECTOR
...and so at this point we have
no idea where this stuff is
coming from. We've been working
on it for over a year now. But
these guys are smart, and it's
going to be tough.
Cut to CU of DIRECTOR as he steps from the window and over to his desk. He removes a plastic evidence bag from the desk drawer.
DIRECTOR
This is the stuff we've been
finding on the streets. It's all
over the city. (hands plastic
evidence bag to Jim.) We had the
lab check it out; its a
synthetic. Short acting.
Creates an intense euphoric
high, like cocaine. We've
confiscated some of this stuff
before, its identical to what
we've seen in the past, never
more than a 1% variation in the
strength of the mixture. The guy
that mixes this stuff up is a
real pro; has to have a lot of
complicated laboratory
equipment... he knows how to use
it, too. When a small-time
pusher mixes stuff like this up
in his basement, there is a lot
of difference between one batch
and the next. Even under
controlled conditions, there
would be some differences
between drugs made at different
labs. Not this stuff; its
always the same, never changes
-- and that's our lead....our
only lead at this point. At
first we thought we could pin it
down through the process of
elimination: by keeping track of
those places where the drug was
confiscated, and then by
narrowing it down to an area
where the concentration is most
prevalent, we thought we could
zone in on the lab.. We started
keeping close track on it about
a year ago... when we first
noticed the drug surfacing in
the city.... What we found is
quite surprising:
The Director walks over to a map on the wall of the city. The map is covered with small colored pins at various points.
DIRECTOR
As you can see, the distribution is very even throughout the city, probably on purpose, to prevent us from narrowing down the lab.
JIM
They've gone to a lot of trouble to keep you out of their hair.
The Director moves over to a second map. It is stuck with colored pins in most of the major cities throughout the United States and Canada.
JIM
When we contact some of the other large cities around the country, we found the drug there also. Appearing in much the same manner. The lab could be anywhere in the U.S., or anywhere in the world for that matter.
The Director walks over to his desk and sits down.
JIM
So we're back to zero.
DIRECTOR Not quite. About a month ago we were contacted by central intelligence. They believe the lab is here.
JIM
So we're back to finding a
needle in a haystack. This is a
big city.
DIRECTOR
No. WE' are not back to
finding anything. It's in their
hands now. They've sent a team
of experts.
JIM
So what do I have to do with
all of this if their taking
over? Or did I miss something.
DIRECTOR
Look, Jim. When you retired
the department lost the best
Vice Cop it ever had in this
district; you know it better
than any one. The team needs
someone familiar with the people
and the area.
JIM
A tour guide. The team needs a
tour guide. How wonderful. I
could be fishing in Florida, or
working in my garden right now,
you know!... Just what I wanted
to do this summer -- lead a
bunch of grey-suits in wing tips
around on an Easter egg hunt. NO
THANKS.
DIRECTOR
I was hoping your attitude
about this would be different,
Jim. You'll receive full pay
and full benefits.
JIM
ponders the proposal,
skeptically.
DIRECTOR
Now don't sit there and tell me
this retirement thing is all its
cracked up to be. I could go to
the retirement board and ask for
a temporary
reinstatement...you're in good
health...you would have to....
JIM
OK, OK. -- Determined, aren't
ya.
DIRECTOR
Very.
JIM
One thing I don’t understand,
though.
Cut to inquiring look from Director
JIM
If this operation is so big,
and they've gone to all this
trouble to set up such an
elaborate distribution network,
why only one lab? With all the
money these guys make, why don't
they have several labs.
DIRECTOR
Maybe they figure the fewer
people involved in making the
stuff the less likely it will be
for someone to blow their cover
if their caught.
JIM
These "experts"? When do I
meet 'em?
DIRECTOR
They're here now. Came in last
night. C'mon... I'll introduce
you.
Jim and the Director begin to rise.
Cut.
INT HALLWAY -- FEDERAL BUILDING 38
Cut to Hallway in Federal Building. Jim and the Director Turn into an office. The Director opens the door and they step inside.
INT ROOM -- SAME TIME FRAME 39
The room is dark. The director presses a button on the wall and a partition slides away revealing a two-way mirror. Cut to int. next room, Jim and Director's POV, looking through two-way mirror.
Kristen, Jake, and Martin are siting at a table leafing through a stack of reports piled high in the center of the table
DIRECTOR
That's them.
JIM
Your Kidding...
DIRECTOR
Don't let their appearance throw
you. Their quite capable. Top
brass seems to think so, anyway,
and THEY selected them for the
job. They've worked together on
other assignments; this is not
their first party.
JIM
Who's the Woman?.
DIRECTOR
An Agent from the L.A. Bureau,
Kristen Young. Ph.D. in Chemistry
and Molecular Biology. Been with
the bureau just over three
years. Can spot a designer drug
a mile away and tell ya
everything you need to know
about it.
JIM
The other one?
DIRECTOR
Jake
Ansley; he's the team leader;
last worked on assignment in
South America on the "Kingpin
Operation"
JIM
That operation failed!
DIRECTOR
Top brass screwed it up; he
tried to warn 'em before the
purge came; they didn't listen,
and he turned out to be right;
he's the only one who made it
out alive. He led in another
team shortly afterwards. Shut
down the operation in 5 days.
They listen to him now.
JIM
What’s that…thing?
Director
Not much information on
it, I'm afraid. Jake never says
much, kind of quiet, must know
his business, though, when it comes to computers and such, I mean. It’s some sort of robotic computer device. Developed it himself, they say. This
Ansley is pretty picky
about who he works with, so I know she is OK when the heat’s on.
Jim stands silently for a moment looking through the glass, reflecting on the director's biographies of the agents on the other side of the mirror. He turns and looks at the Director: MC two shot
JIM
Well...(pausing,
thinking)...Let's go shake
hands.
Cam holds on two shot as Jim and Director walk out of frame. Rack focus through glass to subjects in next room.
INT CONFERENCE ROOM -- SAME TIME FRAME 40
Cut to MCU of Jake engrossed in the stack of reports piled in front of him. Cut to MCU of Martin reposed comfortably on the couch looking at a report. Cut to Kristen reading report; she lays down the stack of papers and leans back in the chair:
KRISTEN
When are we suppose to meet
this guy, anyway.
MARTIN
He has already met us...
KRISTEN
What?
Jake pays no attention and reads
through the stack of reports.
MARTIN
(in a matter-of-fact way) He
was just observing us from
behind that two-way mirror.
Kristen is slightly taken aback
by Martin's observation and
looks over at the mirror. She
glances back over at Martin.
KRISTEN
(whispering)
Is he still there?
MARTIN
THEY will be here in about 5
seconds, 4...3...2...1...
Cut to ECU of door handle as it turns and Jim and The Director step into the room.
They rise as Jim and the Director enter DIRECTOR and JIM
DIRECTOR
Sorry to keep you waiting. I
would like all of you to meet
Jim Davis. He will be assisting
you in this operation. If you
need anything, ask Jim. He
knows this area like the back
of his hand. Jim, I'd like you
to meet Kristen Young and Jake Ansley.
(They all shake hands).
Now that we've dispensed with the introductions, I'll leave you to discuss things.
Director leaves the room.
Jim walks around and sits down at table.
Cut.
INT UNIVERSITY CAFETERIA -- SAME TIME FRAME 41
Cut to State University cafeteria, lunch time, Students are shuffling in and out of the cafeteria with lunch trays; eating, laughing. Cut to Lunch Line. Johnny and Sarah are standing in line at the front of the serving table. They take up a tray and silverware, place the trays on the railing in front of the serving station, and move foreword with the flow of students. Johnny is unusually quiet, locked in thought.
Sarah notices something is on his mind:
SARAH
Something bothering you, Johnny?
Johnny glances quickly at Sarah:
JOHNNY
OH?...Well...No, not
really,...I...(searching) I was
just thinkin'...
SARAH
About what?
JOHNNY
Oh, nothin' really.... It's...
(searching)...it's just that
Rod....
SARAH
...that he's off the team?
JOHNNY
Yah, I guess so....He said he
Didn’t care. It isn't like
him,....He loves ball more than
almost anything....
SARAH
Well, People change. I use to
like Barbie dolls...I hardly
think about 'em anymore....I
think about other things. (She
says, looking amorously at
Johnny and cuddling close.)
Johnny smiles and his face turns slightly red; he moves foreword quickly in the lunch line. Sarah follows closely. Johnny moves out into the open cafeteria area. Sarah follows at his side.
JOHNNY
There is no comparison between
Basketball and Barbie Dolls.
Sarah stops and looks at Johnny in disbelief:
SARAH
Sure there is!
Johnny sits down at a lunch room table and looks up at Sarah skeptically. Sarah places her tray on the table:
SARAH
Well, if he did get a good
job, he wouldn't have time for
basketball, too.
(Johnny thinks quietly for a moment.)
JOHNNY begins eating his lunch as Rod is coming through the lunch line.
ROD walks past Johnny's table, as if not noticing Johnny. He moves to a corner and sits with a group of other students, the school ROUGH-NECKS.
Cut to Johnny looking at Rod as he walks by without speaking.
JOHNNY
(to Sarah)
See what I mean. He acted like
we weren't even here and he went
over and sat with
those...those...whatever they
are.
SARAH
(consolingly)
He has a right to sit with
whomever he pleases. Maybe he
didn't see us.
JOHNNY
(raising his voice)
Didn't see us?... He walked
right past us!
Johnny looks over at the table. Cut to CU as Rod passes the bag of white powder under the table to one of the other boys in exchange for a roll of money.
JOHNNY
(to Sarah)
Hey...Did you see that? He
gave that guy something under
the table.
SARAH
I wasn't looking... and you
shouldn't be either... it's none
of our business. You have
another class in 10 minutes and
you haven't even touched your
lunch...
Johnny looks at Sarah and then down at his lunch tray. He shrugs it off and starts eating his lunch.
Dissolve out
INT FEDERAL BUILDING -- SAME TIME FRAME 42
Dissolve in
JIM
...so now all we have to do is
find it...if we hit the street
hard and bust everyone who even
looks like a user, one of 'em
will talk.
JAKE
We have to maintain a low
profile. At least until we find
out who runs the operation. If
we bust it up too soon, the main
people may not be around.
They'll just set up in another
city and start new. Six months
from now we'll be doing this all
over again in some other city.
It has to be clean and complete.
(All agree)
JIM
Well, look, this is all we can
accomplish here for now. Anyone
hungry?
JAKE
(in agony)
Food!
JIM
Right.... I was going to
suggest we go out to my place.
I have a big house in the
country about 20 minutes from
here. I have plenty of room Nice
and quiet and secluded. Sure
would beat the hotel, and we can
continue to work. How 'bout it?
I make a mean salad...?
JAKE
Well, sure. I guess it will be
OK. We'll follow you in one of
the Bureau cars KRISTEN I hate
to be a party poop but I already
have a luncheon engagement with
a friend. Write down directions
and I'll come out later.
JAKE
You have a Friend?
Kristen sneers at Jake for his
snide comment.
KRISTEN
(rubbing it in)
And he's very dashing.
They rise from the table and
start to leave.
JAKE
(whispering, teasing Kristen as
they step into the hall.)
Dashing, Ah?
KRISTEN
(Mocking)
YOU couldn't begin to
understand.
Exit all.
Dissolve
EXT STATE UNIVERSITY -- NOON -- SAME DAY 43
Cut to MS as Kristin steps from a Taxi. Cut to WS, Kristen's POV, of University Campus. Students milling back and forth between campus, crossing the quad.
Cut to
EXT SCIENCE BUILDING -- SAME TIME FRAME 44
Kristen enters through the large glass doors of the science building.
Cut to
INT SCIENCE BUILDING -- SAME TIME FRAME 45
Kristen walks down the main corridor of the Science Building and stops at an office door which reads "J.D. Howitz, Ph.D." She enters the office.
INT HOWITZ' OFFICE -- SAME TIME FRAME 46
Professor Howitz is standing with his back toward the door flipping through an open book, lost in thought, oblivious to Kristen's presence in the room. He is in his late 60's, with gray hair and is wearing a sweater which looks two sizes to large.
KRISTIN
(softly)
professor Howitz.
The professor turns around and looks down across his bifocals with an annoyed look at the interruption. His stern gaze turns to a soft smile as he sees Kristen standing in the doorway.
PROFESSOR
Kristen? Kristen Young.
Yes... it is you. (pleased to
see her) Please,...please close
the door and come in. I've been
expecting you. How nice it is to
see you again. I was so
surprised when you called (He
walks over and takes her hand
and leads her to a chair at the
desk.)
KRISTIN
Good to see you too, professor.
PROFESSOR (Beaming) You look so
wonderful. How have you been?
KRISTIN
Good. You look very well....
Still the best looking man on
campus, I see.
PROFESSOR
(Slightly embarased)
You flatter an old man. But
it's nice coming from you.
Let's see... (thinking)...it's
been two, no three years since
you finished your graduate
studies. Tell me about your
life. Have you married?
Children?
KRISTIN
Not yet, professor. Too busy
with my job right now....
There's plenty of time for all
that later.
PROFESSOR
Your Job, yes. Tell me about
your job. The Government, yes?
KRISTIN
Yes. But why don't I tell you
about it over lunch. Is the
cafeteria food still awful.
The professor laughs and shakes
his head. They rise and start
out of the office
PROFESSOR
Sometimes it looks like
something that came out of my
laboratory. They have very
good salad, though. It's
difficult to concoct a bad salad
mixture.
Fade to grey:
EXT MODERN HIGH RISE OFFICE COMPLEX -- 47
SAME TIME FRAME
Fade up from gray to Truck unloading druns of chemicals outside building. WORKER offloads chemical drums onto flat dolly and wheels it into the building.
Cut
INT TOP FLOOR HIGH RISE OFFICE COMPLEX -- 48
SAME TIME FRAME
Thug signs invoice for chemicals and wheels the cart into lab.
Cut to
INT PLUSH PENTHOUSE OFFICE -- SAME TIME FRAME 49
The curtains are drawn. The room is dark. M is at the far end of the room in a large ornate chair. Woman sits on a stack of pillows eating from a carefully prepared tray of food and drinking wine from a silver goblet.
WOMAN
Things are going quite well for
you now. But shouldn't you
think about being more careful.
I mean, this whole operation is
rather out in the open.
M
Do you presume to give advice
to ME!
WOMAN
I didn't mean to...
M
Besides, After tonight it will
be too late. The police will be
powerless against me.
WOMAN
(skeptically)
And how do you intend to manage
that?
(M Laughs)
M
You shall see. (chuckling) You
shall see.... Tonight! (he rises
from chair, takes a few steps,
spins around, and looks at the
Woman)... Tonight the world as
you know it shall end. (waves
arm in the air) And my reign
will begin. The world of men
has doomed itself.... They have
made it so simple,...
(Chuckling insanely)...so
perfectly simple... and now I
have in my hands (looks at his
own hands) the power to seize
control. And those who are with
me shall rule at my side
(looking at the woman).
Cut to reaction shot Woman listening intently.
M
And those who are against
me.... (clenching his fist)
(M laughs maniacally.)
Cam pulls back reverse dolly as his laughter fills the room. Dissolve out from M, dissolve in to Vial inside safe giving off an erie green glow. SOL M's laughter continues.
Fade focus.
INT JIM DAVIS' HOUSE -- SAME TIME FRAME 50
Jim, Martin and Jake are just sitting down at the living room table for lunch. Jim Comes from the kitchen carrying a large bowl of tossed salad and a breadboard with a loaf of bread. He places the salad in the center of the table and returns to the kitchen.
JAKE
Looks great, Jim.
Jim returns from the kitchen carrying plates and silverware.
JIM
I have the art of salad making
down to an exact science. I
hope you like the dressing; I
make it myself. All of the
veggies are from the garden out
back.
He loads one of the plates up with salad and places it in front Jake. He fills his own plate and sits down at the table. Martin Looks down at the plate, then back up at Jake. Jake starts eating and smiles and looks over at Jim, who has started eating the salad.
Martin hovers quietly at the table.
Jim notices Martin.
JIM
Doesn’t have a taste for salad?
MARTIN
I'm sure your salad
is quite wonderful.
Jim sits back down and looks over at Jake. Jake is grinning, somewhat amused. Jim is perplexed.
JAKE
Don't take offense. He would
love it if he could taste it.
(to Martin) The salad IS
wonderful, Martin.
MARTIN
I knew it would be.
Cut to reaction shot of Jim glancing quickly back and forth between Jake and Martin. He is very confused.
JIM
Mind if I ask what that thing is…
JAKE
He's Minaturized Automated Robotic Technology Interface Module, Martin for short, Sometimes I call him Marty, he likes that
JIM
A what?
JAKE
A machine that interfaces with a human to extend human capability. I can’t read the liscense plate off a car four blocks away, but Marty can. It has other, well…features too that,… well, make me more efficient at my job. Believe it or not, it evolved out of cell phone technology. It’s storage capacity, it’s brain if you will, is composed of cristilien based gell-pack material that is pretty unique. Its power source is atomic.
JIM
Where did you get it?
Jake
I built it.
JIM
Well I'll be...so this guy is a
robot...well I'll be...
JAKE
Well, No, not exactly a robot. A robot is a
machine that works according to
a pre-programmed set of
instructions given to it by a
human; it can not operate
outside of those instructions.
An Marty is also a machine,
but it works according to an
advanced symbolic propositional
calculus program which allows it
to adjust itself indefinitely
according to the requirements of
its environment.
JIM
You mean it can think?
JAKE
Only living beings can think.
But it can reason, and probably
better than either you or I,
since reason is emergent from
logic, and a computer is nothing
more than an advanced logic
calculator, its reasoning
faculties are superior to any
human. It can also learn. It has
a large memory bank, and by
recalling its past experiences
and comparing them with its
present situation, it makes its
own decisions. It also has
better vision and hearing than a
human, but it can't taste your
salad, Jim. Sorry. I haven't
figured that one out yet. But
this won't go to waste. (Jake
reaches across the table and
takes Martin's plate.)
Jim looks on at Martin in awe and wonder.
JAKE
(Jake digs into the second
plate of salad.)
Great salad, Jim...
Jim is not listening.
JIM
(looks at Jake)
Uh, oh, sure glad you like
it... (looks back at Martin) Huh. Well I'll be....
Cut to
INT UNIVERSITY CAFETERIA -- SAME TIME FRAME 51
Kristen and the professor have finished lunch and are talking:
KRISTIN
...so what I really need,
professor, is access to the
university computer and lab
facilities while I'm here. The
state lab is sophisticated
enough, they just don't have the
computer equipment you have...I
promise I won't interfere with
any of the student's
projects...and I'll only work at
night.
PROFESSOR
Well, under normal
circumstances it would be out of
the question, but you are
alumni and you've worked with
it before, so I don't see why
not.
KRISTIN
You're a dear, professor.
(She
leans over and hugs him around
the neck.)
The professor rises from his
seat, slightly embarrassed at
Kristen's public display of
affection.
PROFESSOR
Well, I must be off to my next
class. Just make yourself at
home. You know where to find
everything. You may use my
office if you like. The lab is
still in the same place.
KRISTIN
Thanks, Professor. Maybe I'll
see you after class.
Dissolve
INT UNIVERSITY LABORATORY – AFTERNOON 52
Kristen takes a packet of white powder and poors some of the chemical into a test tube and places it in a centrifuge and turns it on. She walks over to a computer terminal and sets down at the work station:
KRISTIN
(to herself)
Now, if they haven't changed
all the access codes.
She begins typing on the keyboard and the computer responds with a prompt. "ENTER CODE". She types in a few numbers and letters and the computer Prompts "PRIORITY LEVEL?" She types 10 and ENTER.
COMPUTER
Good afternoon, Kristen.
KRISTEN
Bingo!
COMPUTER
Define Bingo, please?
KRISTIN
Oh. (Surprised) I was just
surprised that my access code was
still valid. Ignore Bingo.
COMPUTER
It has been some time since
you've accessed the data base,
Kristen. 3 year, two months 14
days 6 hours and 27 minutes to
be precise. Your thesis
information is in inactive
storage. Would you like me to
retrieve it?
KRISTIN
No thank you. I'm running
some tests on the substance in
the centrifuge. Confirm.
The centrifuge spins
COMPUTER
Presence of substance in
centrifuge confirmed.
KRISTIN
Good. I am going to perform a
series of standard test on the
substance. I want you to
categorize and store the data in
a priority 10 file code name
D10001
COMPUTER
Priority 10 file code name
D10001 open. Please continue.
Montague of cuts of Kristen performing sophisticated chemical tests on the substance. The computer stores the data.
Dissolve
EXT HIGH SCHOOL -- END OF SCHOOL DAY. 53
Johnny and Sarah exit the front of the high school:
SARAH
See you after practice.
Johnny
Sure, I'll stop by on my way home.
Johnny notices Rod standing in the school parking lot talking to the boys he had been setting with in the cafeteria earlier in the day, Dave and Bill.. The boys are standing by a BLACK VAN. Rod gets in his car and drives away. The other boys pile into the van and leave the school.
JOHNNY
Look, I'm gonna be late...
gotta go. See ya later
Sarah
Bye...
Johnny walks toward the gymnasium
Cut
CUT TO INT UNIVERSITY LAB -- SAME TIME FRAME. 54
Kristen is wrapping up her tests on the drug.
KRISTIN
(to computer) Confirm all test data, please.
COMPUTER
Test data confirmed. Please continue.
KRISTIN
That's it for now. No further instructions.
INT ILLEGAL DRUG LAB -- SAME TIME FRAME. 55
Chemist is setting up lab in preparation to begin making the next batch of drugs.
Rod enters lab, puts on white smock and suits up for the work.
Chemist changes int. lab cloths. Rod moves over to chemical storage area and starts measuring out quantities of chemicals into containers with plastic scoop. He walks to the work table with the chemical and places them on the table. Chemist starts measuring chemicals out onto scale.
Dissolve
INT HIGH SCHOOL BASKETBALL COURT -- 56
LATER THAT EVENING.
Johnny rushes the basket, shoots for the hoop, fouls out on another player and misses the basket. Coach blows whistle.
COACH
Okay, that's it, hit the
showers. Davis!. (waves Johnny
to the sideline)
Johnny walks over resolutely. Coach puts his arm around Johnny's shoulder and walks him to the side line. They sit down on the bleachers.
COACH
Hey. What's with you? You
don't usually foul up like that.
You did it six times tonight.
What's the problem, get into it
with the girlfriend? C'mon,
what's on your mind.
JOHNNY
Sorry, Coach. I just been
thinkin' 'bout Rod. It's not
the same without him on the
court. I mean, I know he needs
the money for college and all
that, but I don't understand,
couldn't that place where he
works give him time off to play
ball. When I saw him today, he
didn't seem to want to talk
about it. He acted strange.
And then in the cafeteria ....
(he stops)
COACH
What about the cafeteria?
JOHNNY
Aw, nuthin'.... He was just
with these guys I never seen him
with before. Dave Lacy and Bill
Kelly, you know. He never hung
around with those guys
before...their bad news...
COACH
(The Coach thinks deeply for a
moment.) Well, people change.
Rod had to make his own
decision about whether to stick
with the team or not. This job,
college, the money for tuition,
it must all be more important to
him now than basketball. I know
you two are good friends. But
Rod has his own life, and you
have yours. I wouldn't worry
about it too much if I were you.
Why don't you try to talk to
him. See how he feels. Maybe
then you'll feel better about
the whole thing?
Johnny thinks hard about what
the coach has said.
JOHNNY
You're right, Coach. I'll go
over and talk to him.
COACH
There ya go. Now hit the
showers!
Johnny rises and jogs off into the locker room.
EXT JIM'S COUNTRY HOME – NIGHT 57
Cut to WS Country Home as Kristen's bureau car pulls into the drive.
Cut to
INT JIM'S HOUSE --SAME TIME 58
Cut to ECU of Martin looking up quickly as if listening. Jake and Jim are looking over reports in the living room at the coffee Table
MARTIN
A car is coming.
EXT HOUSE 59
She gets out of the car,
INT HOUSE 60
MARTIN
It's Kristen
EXT HOUSE 61
She walks to the door and rings the bell.
INT HOUSE. 62
Jim is already at the door and opens it immediately.
JIM
Kristen, please come in.
Jake rises from the couch as Kristen enters.
Cut to
INT ILLEGAL DRUG LAB -- SAME TIME FRAME 63
The Chemist and Rod are busy mixing up the formula for the drug.
Thug stands at door. M enters the room. He walks around the mixing table and observes the Chemist's work.
M
Very good, Doctor. Were you
able to increase the standard
formula.
CHEMIST
Certainly.
M
(holding up Vial)
I would like for you to
add...this.
M holds out the Vial to the
Chemist. The chemist looks at it
Skeptically
CHEMIST
I can't do that. You can't add
that to this. It will alter the
chemical structure of the
formula. It... It won't work.
You can't just dump anything in
there...(curious) What is it?
M
Let's just say it will improve
the quality of the formula
immensely.
He hands Chemist the Vial. Chemist takes it reluctantly, examines it carefully, hesitates, pauses looks at M. Cut to M's stern gaze.
M
Trust me, Doctor. I am, after
all, quite knowledgeable in this
area
Cut to Chemist's eyes. He looks at the Vial, Cam tilts down to Vial as the Chemist pours the green liquid in the Vial into the large beacon containing the formula. FX cam follows green substance through glass tubes as it mixes with the drug and the formula begins glowing with an errie green hue. As the drug reacts with the chemicals, it changes back to an opaque white.
Dissolve
EXT ROD'S HOUSE SAME TIME FRAME 64
Johnny stops by Rod's house.. Rod's. MOTHER tells Johnny Rod is not Home. (No sound, histrionics only.)
INT JIM's HOUSE -- A SHORT TIME LATER 65
Johnny goes home Jake, Kristen, Jim and Martin are in the living room looking over a map of the city.
Johnny Enters. Jim stands up.
JIM
(proudly) Folks I would like
you to meet my grandson, Johnny
Davis, Johnny, this is Ms
Young and Mr. Ansley.
Their friends of mine... going
to be staying with us for a
while.
JOHNNY
Nice to meet you,... Gramps can
I go with Sarah downtown meet
some of the gang.
JIM
Sure, no school tomorrow. As
long as you eat something before
you go. There’s plenty of salad
in the ice box.
(Johnny rolls his eyes at the
prospect of salad, not overjoyed
with the idea, and Exits.)
JIM
Well Look, I've got to go out
for a while. I want to check in
with a few contacts on the
street. I should be back in a
few hours. Make yourself at
home. Fridge is full. Your
rooms are upstairs on the right.
JAKE
Thanks Jim.
Jim exits
EXT RUN DOWN BUSINESS STRIP – NIGHT 66
Long shot Boulevard, night. Cut to Car mount cam moves along run down business strip. Neon sighs light business windows. Wineos crouched against buildings on sidewalk. Pimps and prostitutes stand in closed shop portals.
Black Van pulls up to curb and stops. School Rough Neck, Dave Lacy, punk-type, street-wise, exits van on passenger side and walks to a dark shop portal of a closed pawn shop.
Cut to MS as Pusher steps from the darkness of the portal into streetlight. Pusher and Dave step into the egress of the pawn shop. Cut to MCU as he hands Pusher Plastic bag filled with drug.
Pusher examines the bag, opens it, sticks his finger in and touches the white powder to his tong. He smiles approvingly and hands Dave wad of money. Dave turns and walks back to the van.
Cut to MS through the Windshield as he slides into the passenger side seat and grins at the driver, Bill Kelly, an unkempt, unintelligent looking druggie with a moronic grin and stoned-out expressionless face.
Cut to LS as van pulls away from curb.
EXT DOWNTOWN TEEN HANGOUT –NIGHT 67
Cut to Long Shot (LS) downtown teen hang out area. Teenagers out on a Friday night having a good time; Cut to various shots of Teenagers gathered around in groups on sidewalks, siting on hoods of parked cars, calling to each other as friends drive by.
Cut to
INT JOHNNY'S CAR -- SAME TIME FRAME. 68
Johnny and Sarah are out cruising the boulevard. Friends wave.
Cut to MS, Johnny's POV, of THREE TEENAGE BOYS in Old Chevy. The boy in the passenger seat is hanging out the window, heckling a group of THREE TEENAGE GIRLS on sidewalk.
INT BLACK VAN -- SAME TIME FRAME 69
Cut to Car mount Cam, Moving Van's POV, as the occupants of the van survey the scene.
EXT DOWNTOWN TEEN HANG OUT -- SAME TIME FRAME 70
Cut to wide angle shot, Johnny's POV, as Black van pulls slowly around corner and stops at the curb. Cut to MS through the windshield of Old Chevy as passenger Teen looks over at Black Van and motions to the driver to pull over. Chevy pulls to curb and stops. Teen exits Chevy and cautiously walks to van, looking over shoulder and around nervously. He hesitates at the back of the van. Johnny watches. Rough neck sees teen standing at the back of the van through the rear view side mirror and pokes his head out the window
ROUGH NECK
(to teen)
The party 's inside. (laughs)
Teen moves around to the side of the van, open the van and steps up inside.
INT BLACK VAN -- SAME TIME FRAME 71
Cut to ECU interior van side door as door closes on lense of cam:
Cut to black.
EXT STATE ROAD HIGHWAY -- NIGHT -- SAME TIME FRAME 72
Fade up from black
Stationary cam pans fast moving Old Chevy along State road.
Cut
to:
INT OLD CHEVY -- SAME TIME FRAME 73
Teenagers in car (front seat: boy driver, girl, boy passenger; back seat: boy, girl, girl.) are obviously high on drugs: laughing, listening to ear-shattering music on the radio, joking, having a wonderful time.
Cut to CU TEEN PASSENGER as he throws his head back in the seat, closes his eyes, and pounds his hands on his knees in time with the beat of the music.
Cut to CU BOY DRIVER, Very High on drugs and alcohol.
Cut to WS of Teens in back Seat, Very High
EXT TRUCK STOP Same time frame 74
Cut to LS of TRUCKSTOP.
INT TRUCK STOP SAME TIME FRAME 75
Cut to WS of truck stop interior. Cut to ECU of TRUCKER as he gulps down last bit of coffee in his cup. Cut to MS as waitress offers to fill the cup again.
TRUCKER
No thanks, Josie. Have to make
Cincinnati by midnight. See ya on
the way back through
WAITRESS
Have a safe trip, Frank.
Trucker tosses dollar on counter and walks to exit.
EXT TRUCK STOP -- SAME TIME FRAME 76
Cut to MWS of Trucker as he walks from the diner exit to his waiting tractor-trailer rig. He takes out his handkerchief and polishes one of the headlights lovingly, admiring his rig.
INT OLD CHEVY -- SAME TIME FRAME 77
Cut to ECU Passenger TEEN Front Seat
PASSENGER TEEN
(To no one In Particular)
This is Great.
He opens his eyes and hangs his head out the window as the wind hits him in the face
It's Great !
He Leans Back in and looks at the driver with dazed expression
and says,
Faster, Man. Go Faster.
He sticks his head back out the window.
The Driver looks at his friend hanging out the window and is amused. He steps in the gas and the car speeds foreword.
INT TRACTOR TRAILER RIG -- SAME TIME FRAME 78
The Trucker steps up into the rig and take s his place behind the wheel. He turns on the radio and adjusts the volume as Country Western music pours into the cab. Cut to ECU of gearshift lever as the driver puts the rig in gear.
Cut to CU TRUCKER enjoying the music as the big rig starts to move foreword.
INT OLD CHEVY -- SAME TIME FRAME 79
The Passengers in the back seat roll down the windows and poke their heads out.
BOY PASSENGER
This is great. (he
yells out the window at the
darkness). Great!
The Kids in the back seat are laughing and hanging out the windows. In unison, they yell out the windows at the dark countryside speeding by.
TEENS IN BACK
It's Great
The driver presses on the gas harder and the car speeds forward.
Cut to Speedometer Needle pointing 95 MPH . Cut to night road, Driver's POV, blurred and out of focus. Cut to CU Driver trying to focus his eyes on the road. The car swerves back and forth into the wrong lane.
EXT STATE ROAD -- SAME TIME FRAME 80
Cut to LS Semi Tractor as it stops at an intersection leading out onto the state road. Cut to ECU TRUCKER carefully looking both ways.
Cut to MS of Old Chevy speeding along the Highway.
Cut to LS as Semi Tractor pulls out onto the road.
Cut to Hood Mount cam, EWS through the windshield of TEENS in car looking up in horror at the TRACTOR crossing the highway in front of them.
INT OLD CHEVY -- SAME TIME FRAME 81
TEENS POV of TRACTOR crossing in front of the car.
INT TRACTOR -- SAME TIME FRAME 82
Cut to over the shoulder of TRUCKER as he sees the Car speeding towards his rig. He tries in vein to steer the large truck out of the way at the last moment.
EXT STATE ROAD -- NIGHT-- SAME TIME FRAME 83
(Stock Footage) Cut to MWS as the car slams into the trailer and the roof of the car is torn off as the car passes beneath the trailer.
Fade to BLACK.
EXT STATE ROAD; POLICE ACCIDENT SCENE -- NIGHT -- 84
SAME TIME FRAME.
Fade up from black to
ECU flashing light. Cut to extreme wide angle shot (EWS) of police cars, ambulance, wreckers. Police accident scene. Cut to CU of bodies being placed into ambulance. Cut to MS as police search through wreckage. Cut to ECU as officer discovers foil packet of drug; he examines it and places it into a plastic evidence bag.
Jim comes onto the scene, examines evidence, takes the bag with him to the car.
Cut to EWS as ambulance drives away.
Fade to white on bright flashing ambulance lights.
EXT JIM 'S HOUSE -- SAME TIME FRAME 85
Focus in to
Night Moon in night sky. Cut to Jake as he stands in the garden with Martin. Jake Moves over to the Bureau car and opens the trunk. He removes a large metal case, closes the trunk, places the case on the back of the car.
JAKE
Marty.
MARTIN
Yes, Jake.
Jake removes a large, small but imposing looking weapon from the case and holds it out so Martin can see it clearly.
JAKE
Do you recognize this device?
Martin scans the weapon with a mechanical eye.
MARTIN
Yes, Jake. Its the Laser Cannon you've been working on
JAKE
Confirm all data.
MARTIN
Experimental MA227 Photon
particle accelerator. Weight
.2 lbs, poly-alloy composite. Fires 250mm Photon
beam. Accuracy Range: 225+
miles; Power source; Two 0.25mm
U238 Atomic pellets suspended in
aqueous silicon; Input voltage
to crystal accelerator 240 Volts
continuous. , Output:
Accelerated Photon beam at
186,384.2 miles per second at
140,000 'F. Firing capacity;
1.25 years continuous; effect;
reduction of organic or
inorganic matter to carbon base.
Operation of weapon poses
radiation hazard to human life
forms.
JAKE
Very good. Now I'm going to
show you how to use it. The
radiation can't affect you. To
engage the weapon for firing,
pull back the charging hammer
and press foreword. This opens
the lead shielding separating
the two Uranium pellets which
power the weapon. Wait until
the green light comes on, aim
the weapon, and pull the
trigger. The weapon will
continue firing until you
release the trigger. Do you
understand?
MARTIN
Yes, Jake. I Understand
JAKE
Very Good.
Jake attaches the weapon to the underside of Martine, it looks like the gun on a helicopter gun-ship, only small.
Now engage the
weapon and Fire at this rock
when I throw it in the air.
Martin poises in a steady hover and waits for Jake to throw the rock.. The green light on the side of the weapon lights and Jake tosses a large rock from the driveway high into the air. Martin fires the weapon from the hip, hitting the rock dead on, and a cloud of smoke appears where the rock once occupied space.
JAKE
Very Good. Should anything
happen during this operation to
endangers any member of the
team, your to use this. But
only in extreme emergency
situations. Confirm.
MARTIN
Weapon to be used only in
situation involving threat to
life of team member. Verify .
JAKE
That’s right.
Jake places the weapon in the trunk of the Bureau vehicle. And walks toward the house.
Cut to
INT JIM'S CAR -- SAME TIME FRAME 86
Jim searches the streets. Montage of shots of Jim talking to pushers, pimps, prostitutes, wieos, derelicts, tavern patrons, bartender:
INT DARK, SMOKE FILLED BAR -- SAME TIME FRAME 87
BARTENDER
....I told you I don't know
nuthin' 'bout no drugs...I'm
clean...plan to stay that way
too....
JIM
Listen Freddie, I know you know
everything that happens in this
city...Just give me a
name...Just a name...
BARTENDER
Don't know no name.
JIM
Let's see, your parole should be
coming up for review real
soon....You know those boys
downtown might just be askin' me
if you've been a good boy...and,
well, you know...I sure would
like to tell em what a fine,
upstandin' citizen you turned
out to be, you know, cooperative
and all...
BARTENDER
(in a low voice)
Hey look man don't lay that rap
on me....you tryin' to get me
snuffed or somethin'...Keep
quiet in here (looking around at
the patrons. He writes something
on a bar napkin and hands it to
Jim)... That's it man, that's
all I know and don't ask me no
more..., now why don't you go
hang out someplace
else...Pleeeease.
JIM.
Thanks Freddie.
Jim Exits Bar.
EXT GARDEN AREA, JIM'S HOUSE -- MOMENTS LATER. 88
Jake is walking in the garden. Martin is hovering close to the house. Jake is looking up at the night sky, at the stars and the moon. Kristen appears in the garden and approaches Jake.
KRISTEN
Thought I'd come out for some
fresh air...looks like you had
the same idea...Nice night,
isn't it.
JAKE
Very.
(they stand silently, looking at
each other for a moment. Kristen
looks away, up at the night sky)
KRISTIN
Isn't the moon beautiful
tonight, and the stars. The sky
is so clear.
JAKE
I was noticing that myself, it
reminds me of South America.
(Kristen glances at Jake as if
he struck a familiar cord)
You know, I never had the chance
to tell you how much I
appreciated your help down
there. I don't think I could
have pulled that operation off
without you.
(Kristen looks away as if
searching for something to say)
I mean, you took off so
suddenly...didn't even have a
chance to say goodbye. I
wondered for a long time what
happened to you.
KRISTIN
They put me on another
assignment.
JAKE
You could have told me you
were leaving.
KRISTIN
I didn't know you were
concerned.
JAKE
(stepping close to her)
Did I do something to make you
think otherwise.
KRISTIN
What happened between us...
it...(searching for words) it
just happened.... It's all so
...complicated... if they don't
send you off to some other part
of the world...they'll send me
away...it's just like that,
Jake...our lives are...
JAKE
(he takes her and turns her
around and looks into her eyes.
For an instant their eyes meet.
She turns away, unable to look
at him)
Right now I'm listening to
that analytical, rational
Ph.D...but you can't hide behind
your degrees or your job or your
lifestyle. Right now is what is
real, and I do care...(he takes
her in his arms and kisses her
gently; she hesitates, and gives
in to his embrace.) .
{Author's Note: This is the romantic scene between Jake and Kristen. We figure out that they are old lovers, but are separated because each has their own career goals, making a relationship impossible. They are in love, but afraid to expose their emotions. They resolve to seize the moment and make love in the garden. Hopefully, the actors will be able to carry what my inadequate prose cannot convey, with the beauty of the garden, the night sky, the stars and the moon providing the backdrop for this tender scene. It must be tastefully done, and intensely passionate, yet remaining within the boundaries and decorum of a R rated film.}
Fade Out
INT PENTHOUSE OFFICE -- SAME TIME FRAME 89
The underworld drug dealers are gathered together in M's Penthouse office. The Chemist is in the room. They are all drinking Champaign.
M raises a glass and addresses the group.
M
We should toast to the success
of our alliance. I have a
special treat for you
tonight.... The quality of the
mixture has been greatly
improved. I want you to see to
it that all of your clients have
a chance to sample this new
mixture, Here is to our future
together: (Toasts)
Everyone in the room drinks,
except the Chemist, who does not
look pleased. He wants to
leave.
M
But dear Doctor, you look so
bored, why don't you enjoy the
festivities.
CHEMIST
Just pay me so I can get out of
here.
M
But of course, Doctor.
M walks over to the desk, opens a drawer, and pulls out a stack of money. He hands the money to the Chemist.
CHEMIST
(Nervously)
Thanks.
The chemist stuffs the money in his coat pocket and starts to leave.
M
(Calling to the chemist as he
reaches the door) I shall
contact you when I need you
again.
The Chemist glances back at M disgusted and Exits.
If I need you again... (M starts
laughing.)
Cut.
INT ILLEGAL DRUG LAB -- SAME TIME FRAME 90
Rod is finishing cleaning the lab. He reaches under the table, pulls out a stashed bag of the white powder, stuffs it in his pocket, and exits the office.
INT JIMS HOUSE -- LATER THAT NIGHT 91
Jim comes in the front door. Martin is hovering at the Large picture window overlooking the garden; Jim walks up and stands beside the window and looks out at the night sky.
MARTIN
Did you have a productive
evening, Jim.
JIM
Yah, real productive, I just
spent 3 1/2 hours driving around
the city patronizing every low
life night spot in the city.
And to top it off, I saw six
kids killed in a car accident.
MARTIN
It is unfortunate.
JIM
Unfortunate?
MARTIN
Life is very important. To see
it come to an end at such a
young age is, at the very least,
unfortunate. Their death is unfortunate.
JIM
Do you always have to be so
damn serious.
MARTIN
Serious?
JIM
Yah.
MARTIN
Life is serious.
JIM
Yah, ...Yah, I guess it is.
Sometimes I just don’t understand it.
MARTIN
Perhaps it was not meant to be understood.
Dissolve
INT JIM'S HOUSE, NEXT MORNING -- DAY 3. 92
Martin hovers at a large picture window looking out at the early morning sky. Clock on the wall reads 5:30 AM. Martin's POV of the morning sun just beginning to rise over the horizon. Dissolve to Clock showing 6:45. Cut to Martin hovering in same position. Cut to sun, Martin's POV, slightly higher on the horizon, Dissolve to clock on wall showing 8:00, cut to Martin hovering at window in same position, cut to sun in morning sky, Martin moves away from window and starts up stairs to Jake's room.
(NOTE: (this scene was written 3 years before "Terminator" was shot)
MARTIN
It's 8:00 AM , Jake. You wanted me to awaken you at this time.
Jake rolls over in bed and stretches. Jake rises, dresses and moves downstairs to the kitchen. He finds
Kristen and Jim at the table drinking coffee
INT KITCHEN SAME TIME FRAME 93
Jim and Kristen are at the table talking about Martin.
JIM …and then he said…but how can a machine…I know, I know, his value system (jim is perplexed) |
KRISTEN Comprehend death. It’s the same as Jake’s it’s in his program (Kristen smiles) it’s unreal, I know… |
or
JIM and KRISTEN
(Overlapping
Lines)
JIM: /1)...And then he
said /2) But how can a machine
/3) comprehend death. It's
unreal.
KRISTEN: /1) I know I
know, his value system /2) is
the same as Jake's./3) it's in
his program. (Kristen smiles at
Jim; Jim is perplexed.)
Enter Jake.
JIM
(looking up) Morning, Jake.
Coffee 's hot.
JAKE
Sounds great.
Jake pours himself a cup of coffee and walks over to the table.
KRISTEN
Jake, last night Jim was at an
accident scene. Six teenagers
were killed. The police found
this in the car.(hands Jake
packet of drug)....I won't know
until I run some tests, but it
looks like the same thing.
JIM Kids. College students.
They went to State; that's
where my grandson goes. They
slammed into the side of a
tractor trailer, crashed. It was
a mess.
JAKE
Kids, huh...too
bad...,(thinking) if it is the
same drug, and the autopsy shows
they used it before the crash,
we can add manslaughter to the
list. Did you find out anything
last night.
JIM
I hit the street pretty hard.
Either no one knows anything. or
they're just not talking.
Talked to a parolee tends bar
over on the east side.... got
this out of 'em (hands Jake
note).
JAKE
(puzzled) What's this?
JIM
I know...I said the same thing.
I think it's the initial of the
man at the top. It could be no
one knows his real name and he
goes by this initial to keep
his identity a secret JAKE It
can also work against him. I
mean, how many guys do you know
named M. Lots of Jims, and
Martins and Jakes, but not too
many Ms running around.
Johnny enters the Kitchen
JOHNNY
Morning.
ALL
Morning, Johnny.
JIM
Would you like some breakfast,
son.
JOHNNY
No thanks. Sarah will be here
any minute, we're goin' out to
the beach. The water is a great
place to try out the new
<a href="http://moller.com">Airfoil</a>.
Johnny exits to the garage to ready the Airfoil for the trip to the beach.
Cut to
EXT GARRAGE, SAME TIME FRAME 94
Johnny notices Martin hovering stoically in the garden. He opens the garage door and steps inside the garage.
INT GARAGE -- SAME TIME FRAME 95
Johnny approaches what looks like an inflatable life raft with an engine mounted in the center and a large propeller type blade mounted below the craft; it is an Airfoil. He attempts to pull it from the garage. It is too heavy for him to move by himself. Enter Martin:
Martin turns and looks a Johnny struggling with the airfoil. He walks toward the garage and approaches Johnny.
MARTIN
How can I help you.
JOHNNY
I have to move this out of the
garage so I can get it started.
We're goin’ to the beach today
to test it out.
Martin moves to the center of the garage by the Airfoil. He studies it closely, extends a grapple, grasps the Airfoil and pulls it from the garage.
JOHNNY
Hey!...Let me give you a hand.
Martin obviously doesn't
need help, but Johnny makes an
appearance effort to push the
Airfoil from the garage.
JOHNNY
Wow!...You're pretty
strong....You lift weights or
something.
MARTIN
I can lift 2,795 pounds.
JOHNNY
(Laughs) Sure...Well...thanks
for the help Got to get this
thing fired up. I been workin'
on it all winter...It's part of
my science project...Got a few
problems with it, though...can't
get it to generate enough power
to fly more than 6 inches off
the ground....It really flies
over water, though...you should
see it....I tried a bigger
engine;...it just weighs it down
and didn’t help much. I've got
to figure out a way to get this
light engine to deliver more
power to the blades.
Martin surveys the craft
with a mechanical eye.
MARTIN
I Have analyzed the
configuration of the motor and
blade propulsion unit in
relation to the structural
configuration of the craft. A
22 degree deflection of the
anterior edge of the rotor
blades would compensate for the
mass drag of the craft without
over working the engine.
JOHNNY
Huh?...You running some kind o'
Engineering program or somethin'?
MARTIN
I have considerable first hand
experience with mechanical
devices.
JOHNNY
Well...Okay, let's take a
look.
INT JIM's HOUSE, KITCHEN AREA -- SAME TIME FRAME 96
KRISTEN
(to Jake)
I'm going to take this over to
the University lab and run some
tests. Would you like to come
along, You can meet my friend,
Dr Howitz.
JAKE
Sure.
Cut to
EXT GARAGE -- SAME TIME FRAME 97
Johnny and Martin are working on the Airfoil.
Martin
…and if the blades are modified 10 degrese inward the lift ratio will be increased proportional the the thrust…
JOHNNY
(to Martin)
How come you always are so
serious.
MARTIN
Serious?
JOHNNY
Yah,...I mean...don't you ever tell jokes or stuff like that?
MARTIN
Jokes?
JOHNNY
Yah, everything you say sounds like it’s out of an encyclopedia.
MARTIN
Your grandfather asked me the
same question, did he program
you to be not serious?
JOHNNY
What?
MARTIN
Is it important that one
should be programmed to be not serious?
JOHNNY
...Ah, I
guess it's important. See what I mean?
Johnny is amused.
Cut to
Jim walks to the garage looking serious. Wondering how to word himself to Johnny about the deaths of his classmates. He sees Johnny tinkering with the airfoil:
JIM
Well, what are you up to.
JOHNNY
Martin is showing me how to
modify the blades on the airfoil
for better lift.
Sarah pulls into the driveway in
a sharp looking 4-wheel drive
vehicle. She exits the vehicle
and walks up the driveway. She
is dressed for the beach.
SARAH
Hi, Johnny. 'bout ready to
go.?
JOHNNY
Sure. Just adding a few
finishing touches.
Martin starts the engine.
MARTIN
(to Johnny) Try it now.
Johnny jumps behind the controls.
Cut to
EXT JIM's HOUSE, FRONT DOOR, SAME TIME FRAME 98
Jake and Kristen step from the door and look at the Airfoil in the driveway hovering about 15 feet in the air. Johnny is ecstatic.
Jim, Sarah, and Martin stand in the drive watching Johnny pilot the craft as he brings it down for a smooth touchdown on the surface of the driveway. Johnny jumps out.
JOHNNY
Wow!...Did you see that...it's
better than I ever thought it
could be...Thanks Martin.
MARTIN
Glad to be of assistance.
JIM
Now listen, you be careful with
that thing.... and you can only
operate it at the beach...not in
the city or on the public
streets...do you understand?
JOHNNY
Yessir
Jake and Kristen enter frame.
JAKE
That's quite a machine, Johnny.
Build it yourself?
JOHNNY
Sure did. Martin Helped me fix
the propellers. It flies great
now.
JAKE
(to Jim)
We're going over to the
university lab. Kristen wants to
get started with her tests.
We'll be back in a few hours.
C'mon, Marty. Like to come
along, Jim?
JIM
No thanks, later, maybe. I'm
gonna hit the street hard
again...see if I can turn up
something concrete this time.
Kristen approaches Sarah.
KRISTEN
Hello, Sarah. I didn't know
you and Johnny are friends.
SARAH
I say. Small world. Johnny and
I go to the University, and
well, you know, (innocently)
he's kinda cute. But what are
you doing here?
KRISTEN
I'm a friend of Johnny's
grandfather.
SARAH
Going to the beach with us? Bet
you look smashing in a bikini...
KRISTEN
(Smiling) No thanks, not today.
I have work to do at the lab.
I'm going over there now with my
friend, Mr Ansley.
Kristen steps over to where Jim
and Jake stand talking.
Jake this is Sarah. The young
lady I told you about whose been
helping me in the lab at school.
Sarah, this is Jake Ansley.
JAKE
Nice to meet you, Sarah
Kristen writes a number on a
piece of paper and hands it to
Jim
KRISTEN
This is a number where you can
reach us. Johnny, Sarah, have a
nice time at the beach.
JIM
Okay. Ill see ya later, then.
They Exit.
Martin, Jake, and Kristen get in the car and drive off.
JIM
Son, did you know Tommy Adams
and Jimmy Baker?
JOHNNY
Sure, they go to my school,
why?
JIM
They were killed last night in
an auto accident out on highway
40.
Johnny and Sarah look sad and
shocked.
JOHNNY
I saw them last night,
downtown. Sarah and I were down
there hangin' out with some of
the gang. They were with a
couple girls from school.
JIM
The girls are dead, too,
Johnny. The police think the
boys were drinking and might
have been on drugs....Tell me
something, son.... now I know
you're not involved, but have
you ever seen any drugs around
your school?
JOHNNY
Like, what kind of drugs. I'm
not into that stuff.
JIM
I know, son, but have you ever
seen anything like cocaine, or
crack...It's kind of a white
powder. They usually wrap it in
foil or a plastic bag.
Johnny thinks about Rod handing the boys the plastic bag under the table in the cafeteria Cut to flashback) He remembers seeing Tommy get into the black van.
JOHNNY
Uh…I...I don't think so, gramps.
But I'll let you know If I see
anything like that.
JIM
Thanks son, You two have a good
time at the beach
Dissolve to
INT UNIVERSITY LAB – MORNING 99
Kristen, Jake, and Martin enter lab. Kristen runs the drug through tests. Martin is fascinated with the computer; the Computer is fascinated with Martin; he holds out his hand close to the computer screen and sparks of electricity dance from the tips of his fingers. Jake observes.
JAKE
Like the computer, Marty?
MARTIN
Like?... It has a very large
memory bank and an interesting
array of operating programs.
KRISTEN
(to Computer)
Compare file D10001 and D10002.
COMPUTER
Chemical Compounds Identical.
KRISTEN
There's your manslaughter
charge, Jake.
JAKE
Looks like it. Now if we can
only find this guy.
Dissolve
INT M's PENTHOUSE OFFICE -- SAME TIME FRAME 100
M In a few hours I will have complete control.
The Woman looks up. She is stoned out of her mind. The Escorts are feeling dizzy. The drug is beginning to take effect.
M observes their behavior and smiles.
M
It won't be long now.
EXT BEACH -- SAME TIME FRAME 101
Cut to LS beach. People swimming. A group of young people have set up a net and are playing Volley Ball.
Cut to Johnny and Sarah in the airfoil out over the water. He runs the Airfoil up onto the sandy beach and brings it to rest. They jump put of the airfoil and run to the beach blanket. Johnny flops down in an inner tube and Sarah opens a picnic basket. They take up a place on the sand a and look around, checking it out, waving to some of their friends. It is a warm, sunny afternoon. Sarah and Johnny have joined in the Volley Ball game. Cut back and forth, focusing on Sarah and Johnny as they play.
End of Game. They are hot and run toward the water and dive in. Sarah and Johnny romp playfully in the water. She Dunks him. They wrestle. She Struggles. He holds her. She melts in his arms as he pulls her close. They kiss each other tenderly.
Cut to Rod's car pulling up into a parking space at the beach parking lot.
Johnny gets out of the water and walks over to Rod's car.
Sarah walks over to a blanket and sits with a group of other girls.
Cut to two-shot of Johnny and Rod at the parking lot. Johnny steps
into frame and leans in the car window as he talks to
Rod.
JOHNNY
Hey, man, I've been lookin' all
over for you. Where ya been?
ROD
Workin'
JOHNNY
Oh, yah. Puttin' in a lot o'
hours, huh.
ROD
Yah.
JOHNNY
(changes to a somber tone)
There was a car accident last
night. Tommy and Jimmy were
killed. The Mallory sisters,
and Sally Day. They were with
'em. They were killed too.
ROD
(shocked and concerned)
No.
JOHNNY
Yaah, Gramps told me this
morning. Said the police think
they might have been on some
kind o' drug. Thought you might
know something about it...
Rod gets out of the car, very
defensive and aggressive
ROD
So what's it got to do with
me?
JOHNNY
Oh, I don't know. But when I
was in the cafeteria yesterday,
I saw you give something in a
plastic bag to Dave Lacy. And I
saw Tommy get in Dave's Van last
night before the accident.
ROD
Hey, man, like you must be
seein' things. I didn't give no
drugs to Lacy.
JOHNNY
I didn't say it was drugs...You
did.
ROD
Why don't you mind your own
business. (gets back in his car,
angry.)
JOHNNY
Hey, man...If your mixed up in
something...
The car speeds away. Johnny shakes his head and walks back to the beach and joins Sarah and friends on the blanket.
CITY -- SAME TIME FRAME 102
Cut to scenes of violence as the mutants terrorize the city.
INT ROD'S CAR -- SAME TIME FRAME. 103
Rod is starting to feel dizzy; the drug is beginning to show it's insidious side effects; he drives downtown and finds Lacy and Kelly. He confronts them about Tommy. They argue. Rod Leaves mad, confused, uncertain. He drives around town.
(SOL) RADIO NEWSCAST.
NEWSPERSON
Police have been unable to
explain the numerous outbreaks
of violence in t he city. There
are reports of strange looking
people associated with the
incidents. These people
apparently have an unusual
color to their skin. They are
incredibly strong and extremely
aggressive. Attempts by police
to stop them have been
unsuccessful. We go now to a live
broadcast from downtown with our
on the spot reporter, Bret
Williams, Bret, what is the
situation down there?
EXT RESTAURANT DOWNTOWN -- SAME TIME FRAME 104
Police cars scatter the street outside the restaurant. ATTENDANTS are placing a WOUNDED POLICE OFFICER in the back of an ambulance.
REPORTER
Well, Nancy. I'm not really
sure. I'm geting different
stories from everyone. I have
with me Sargent Mike O'mally who
confronted one of the persons in
a local restaurant. Officer
O'Mally, can you tell us what
happened here.
OFFICER
(very upset, talking fast)
We were called to the scene of
an apparent disturbance inside
the restaurant. [FLASHBACK WILL
SHOW THIS SCENE AS THE OFFICER
NARRATES] The individual was
tearing the place apart. My
partner ordered him to stop. He
came at us and I fired. I fired
directly into this guy at close
range. He just kept coming.
He knocked me to the ground and
then grabbed my partner and
almost literally tore him in
half...I've never seen anything
like it. Then he crashed
through the front glass of the
restaurant and disappeared.
Dissolve out and back in to ECU of Officer's face
REPORTER
What did the man look like,
Sargent?
OFFICER
It was the weirdest thing I
ever saw. his face was kind
of...(searching for
words)...kind of pasty looking,
funny colored, and his eyes, his
eyes were...(unsure what to say.
Looks over at
ambulance)....Look, I have to
leave now. Their taken' my
partner.
Cut to
INT ROD'S CAR -- SAME TIME FRAME 105
(SFX radio newscast.)
REPORTER
Thank you, Sargent. Well,
Nancy...
Rod notices his skin has a slight pale cast. He looks in the rearview mirror and sees dark circles forming under his eyes. He is frightened and decides to go back to the Beach and talk to Johnny.
EXT BEACH - LATE EVENING 106
Johnny and Sarah have gone off alone and have built a small campfire at a remote section of the beach. SFX soft music. IMPROV tender love scene between Johnny and Sarah.
SOL RADIO NEWSCAST.
NEWSPERSON
We will have more information
on this and other stories
throuout the hour. So stay
tuned to WXLS, your favorite
radio station for your
favorite music. [SFX]
SARAH
That's Wierd.
JOHNNY
Yah...Hey, we better go. It's
gettin' late. (he kisses her)
SARAH
(playfully pushing him away)
If you insist.
Johnny and Sarah begin
collecting their beach items.
Rod pulls up in the parking lot
and gets out of the car. He
approaches Johnny and Sarah.
ROD
Hey, man, I need to talk to
ya.
JOHNNY
Thought you were mad?
ROD
Look man, I'm sorry about how I
acted. I didn't know...
Johnny... I swear I didn't
know... it wasn't suppose to
happen like that...I swear. He
promised not to spread it around
the school... I didn't think it
would hurt anything... I never
meant to hurt anyone. (rambling).
JOHNNY
Wait, slow down. You're not
making sense. Hey are you OK?
You don't look so good.
ROD
The drug, Johnny. Its the drug
that's makin' people like
that...crazy and all...I know
where it's comin' from....
Here,... this is some of it.
(hands bag of drug to Johnny)
JOHNNY
(to Sarah)
Go call an ambulance...There's
something wrong with him...he's
sick....
Sarah stands paralyzed at the sight of Rod going to peices. His skin is turning pale. Dark circles form under his eyes. Deep lines crease his forehead.
His face looks distorted. His speech is becoming slurred and broken.
JOHNNY
(to Sarah urgently)
HURRY!
Sarah runs off to a nearby pay telephone and calls for an ambulance.
Cut to
EXT DOWNTOWN -- SAME TIME FRAME 107
Drug starts having its effect on the users. Pandemonium ensues in the streets.
INT JIM'S CAR -- SAME TIME FRAME 108
Jim is out combing the city in the squad car, observing the kayos taking place all around. An ambulance and police run is announced over the Car
Radio SFX.
DISPATCHER
Units 1 and 8 respond Eagle
Creek Beach. Disturbance.
Dispatch ambulance to scene.
Over.
JIM
(to himself)
Eagle Creek Beach? Johnny!
Jim turns the car around on the freeway and heads toward Eagle Creek.
EXT BEACH -- MOMENTS LATER. 109
JIM pulls the car into the parking lot and sees Johnny standing at Rod's car. He pulls up and Gets out.
JOHNNY
Gramps!
JIM
What's wrong, son...What's the
matter with Rod?
JOHNNY
He's Sick, Gramps. We called
an ambulance. He took some of
this. I think it's that stuff
you were askin' me about this
morning. I don't know where he
got it.
The Ambulance pulls into the parking lot. Jim waves it over. The drivers get out and one of them takes a hold of Rod. Rod throws the attendant aside like a rag doll. He is becoming violent. Both attendants and Jim subdue Rod and tie his hands. They remove a stretcher and strap him to it and place him inside the ambulance.
JIM
(to ambulance attendant)
Take him to University
Hospital.
The ambulance speeds away.
Cut to BLACK VAN hidden inconspicuously behind shrubbery ar the far end of the parking lot.
INT BLACK VAN -- SAME TIME FRAME 110
LACY and KELLY watch from the van as Rod is taken away by the ambulance.
EXT UNIVERSITY HOSPITAL -- A SHORT TIME LATER 111
Establish LWS University Hospital.
INT UNIVERSITY HOSPITAL -- SAME TIME FRAME 112
Sarah and Johnny wait anxiously in the hospital waiting room.
Cut to interior hospital room. Rod is strapped down on a table. He is struggling with the bonds.
Enter Kristen and Jake.
KRISTEN
Take a blood sample. Then move
him to the room off the Research
Lab.
The nurse complies. Rod starts to struggle. Jim hands bag of drug to Jake.
JIM
I think this is it. He gave
it to my grandson. It may be
the same stuff we're looking
for, but in all my years I've
never seen a drug affect anyone
like that before. I mean, I've
seen junkie's withdraws and
everything, but nothin' like
this. What the hell could be
doing that to him.
Jake steps over to Rod and
speaks to him in a quiet, calm
voice. Rod calms down slightly.
JAKE
Rod...Rod do you understand
me...
Rod looks at Jake; his eyes are
wild and frightened.
JAKE
Tell me where you got this,
Rod. Where did you get the
drug? Who gave you the drug..?