Kuberwastaken/TREAT-Script-Databse · Datasets at Hugging Face

Sr.No int64 1 60	Movie stringlengths 1 36	Writers stringlengths 9 75	Genre stringlengths 6 54	Date stringlengths 6 14 ⌀	Sript stringlengths 25.4k 32.8k
1	9	Pamela Pettler,Shane Acker	Animation,Adventure,Drama,Fantasy,Sci-Fi	September_2009	,SEQ.,05,-,PROLOGUE ,,,,, ,,,,,,The,Focus,Features,logo,appears,on,screen,and,we,slide,INTO ,,,,,the,"O",in,Focus. ,,,,, ,,,,,Stock,dissolves,from,35mm,to,16mm.,,,,BLACK,&,WHITE.,,GRAINY, ,,,,,like,OLD,DOCUMENTARY,FOOTAGE. ,,,,, ,,,,,,,,,,,,,,,,,SCIENTIST'S,VOICE ,,,,,,,,,,,,Experiment,208,day,20... ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,DAY ,,,,,We,see,an,early,incarnation,of,a,MACHINE,(this,will,be,the ,,,,,inner,brain,of,the,FABRICATION,MACHINE).,We,see,the ,,,,,scientist,in,a,white,coat. ,,,,, ,,,,,,We,pull,back,to,see,the,Scientist,is,playing,a,complicated ,,,,,MULTI-LEVEL,3-D,chess,game,on,a,MULTI-LEVEL,GAME,BOARD,with ,,,,,the,MACHINE.,The,Scientist,makes,an,elaborate,multi-level ,,,,,move.,The,Machine,reaches,an,arm,out,into,the,chess,game,but ,,,,,then,malfunctions,and,strews,the,game,everywhere. ,,,,, ,,,,,We,pull,back,further,to,see,the,back,and,legs,of,the ,,,,,DICTATOR,with,black-uniformed,soldiers,flanking,him.,The ,,,,,regime's,emblem,can,be,seen,on,the,uniforms. ,,,,, ,,,,,,,,,,,,,,,,,DICTATOR ,,,,,,,,,,Useless. ,,,,, ,,,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,Please.,,Give,it,a,chance. ,,,,, ,,,,,We're,on,the,machine,which,is,clicking,and,jerking,as,it ,,,,,malfunctions. ,,,,, ,,,,,,,,,,,,,,,,,DICTATOR,(V.O.) ,,,,,One,more.,,,That's,all. ,,,,,We,turns,to,leave.,We,hear,the,clicking,of,boots,as,the ,,,,,soldiers,accompany,him,out. ,,,,, ,,,,,We,see,the,scientist's,dejected,face,as,he,comes,towards,the ,,,,,camera,to,turn,it,off. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,BLACK ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. ,,,,, ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,NIGHT ,,,,, ,,,,,The,grainy,footage,rolls,again;,we,see,the,scientist,moving ,,,,,away,from,the,camera,(having,just,turned,it,on). ,,,,, ,,,,,The,lab,is,shadowy,late,at,night.,We,see,his,worktable,for ,,,,,the,first,time,covered,with,discarded,sketches,a,furiously ,,,,,filled-in,journal,and,pieces,of,failed,machinery,(the,floor ,,,,,is,also,similarly,littered).,The,TALISMAN,sits,on,the ,,,,,worktable.,Nearby,is,a,small,old-fashioned,tiny,little,box. ,,,,, ,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,(tired,but,dictating,to ,,,,,,,,,,,,,keep,the,documentary ,,,,,,,,,,,,,record,complete) ,,,,,,,,,,My,last,possible,solution.... ,,,,,,,,,,,,(muttering,to,himself) ,,,,,,,,,,It,must,work... ,,,,, ,,,,,He,gently,brushes,his,fingers,over,the,little,box,as,though ,,,,,for,good,luck.,He,picks,the,TALISMAN,up,off,the,table.,He ,,,,,moves,over,to,insert,the,talisman,into,the,port,of,the ,,,,,machine. ,,,,, ,,,,,His,back,to,us,he,faces,the,machine.,We,see,him,putting ,,,,,something,over,his,face,(but,only,from,behind). ,,,,, ,,,,,There,is,a,sudden,FLASH,OF,GREEN,LIGHT,and,the,machine,JOLTS, ,,,,,and,then,suddenly,starts,up...lighting,up,electricity ,,,,,crackling,parts,moving,in,smooth,coordination,etc. ,,,,, ,,,,,The,scientist,waits,watching.,The,machine,continues,to,run. ,,,,,Its,arms,move,smoothly,almost,curiously. ,,,,, ,,,,,The,scientist,puts,the,device,covering,his,face,down,and,gets ,,,,,up,and,comes,towards,camera. ,,,,, ,,,,,We,see,the,camera's,POV,as,the,scientist,comes,towards,us: ,,,,,CLOSE,on,the,scientist's,face,which,is,exhausted,cheeks ,,,,,sunken,eyes,wide,pupils,dilated. ,,,,, ,,,,,Pull,back,to,show,the,machine,purring,suddenly,full,of,a,new ,,,,,sort,of,energy.,Something,new,has,happened. ,,,,, ,,,,,The,scientist,switches,off,the,camera,and: ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,, ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,A,DAY,LATER ,,,,, ,,,,,The,machine,zips,through,the,complex,3-D,chess,game,at ,,,,,lightning,speed,checkmating,the,scientist,in,seconds,as,the ,,,,,Dictator,watches. ,,,,,The,scientist,laughs,fondly,and,pats,the,machine. ,,,,, ,,,,,,,,,,,,,,,,,DICTATOR ,,,,,,,,,,,Perfect. ,,,,, ,,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,,(PROUDLY) ,,,,,,,,,,,You,see,it,evolves. ,,,,, ,,,,,The,scientist,proudly,gives,the,machine,to,the,dictator.,A ,,,,,flash,goes,off:,someone,is,taking,a,picture,O.S. ,,,,, ,,,,,The,dictator,exits;,we,hear,the,click,of,boots,and,see,as ,,,,,much,as,possible,of,the,soldiers,flanking,him. ,,,,, ,,,,,OUT,OF,SIGHT,OF,THE,SCIENTIST, ,,,,, ,,,,,CLOSE,on,the,machine:,the,dictator,is,gripping,it,with,a ,,,,,nasty,firmness.,The,machine,seems,to,try,to,squirm,away. ,,,,,The,director's,BLACK-GLOVED,HAND,grasps,it,harder. ,,,,, ,,,,,,he,machine,responding,to,the,brutality,lashes,an,arm,out ,,,,,and,grabs,the,nearest,soldier,(seen,from,the,back,we,see ,,,,,only,the,uniform,and,helmeted,head),by,the,back,of,his,arm, ,,,,,BREAKING,his,ARM.,The,soldier,falls,(if,possible). ,,,,, ,,,,,,he,dictator,CONTINUES,ON,WITHOUT,BREAKING,STRIDE. ,,,,, ,,,,,,,,,,,,,,,,DICTATOR ,,,,,,,,,,,,,,CHILLINGLY) ,,,,,,,,,,,Yes.,Perfect. ,,,,, ,,,,,And,we: ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,,SEQ.,010,-,Title,Sequence ,,,,, ,,,,, ,,,,,IN,BLACK: ,,,,, ,,,,,TITLE,CARD,#1 ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,, ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,,,(robotic,sounding) ,,,,,,,,,,Alert.,We,are,in,a,state,of ,,,,,,,,,,emergency... ,,,,, ,,,,,Sounds,of,WAR:,EXPLOSIONS,MACHINE,GUNS,SCREAMS... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,FADE,UP,INTO: ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,WORKSHOP,-,DAY ,,,,, ,,,,,A,tiny,cluttered,attic,filled,with,bits,and,pieces,of,found ,,,,,material--burlap,door,hinges,an,old,shoe,old,eyeglasses, ,,,,,rusty,scissors,pen,nibs,gas,masks,etc.,,We,see,the,tiny ,,,,,little,box,sitting,on,the,cluttered,makeshift,worktable. ,,,,, ,,,,,TITLE,CARD,#2 ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,...the,Machines,have,become ,,,,,,,,,,uncontrollable...,they,are,shooting ,,,,,,,,,,at,will...,ALERT:,stay,in,your ,,,,,,,,,,homes. ,,,,, ,,,,,Grainy,footage,as,we,see,the,scientist,looking,around ,,,,,desperately--he's,obviously,in,hiding. ,,,,, ,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,(HEARTBROKEN) ,,,,,,,,,,My,invention...,my,beauty...,beauty ,,,,,,,,,,was,taken... ,,,,, ,,,,,He,is,feverishly,cobbling,together,a,SMALL,BURLAP,DOLL. ,,,,, ,,,,,He,labels,the,burlap,doll,on,its,back:,"1.",He,makes,frantic ,,,,,notes,in,a,journal.,He,brushes,his,fingers,over,the,little ,,,,,box,for,good,luck,then,moves,towards,a,strange,contraption ,,,,,on,the,table. ,,,,, ,,,,,,LASHES,and,EXPLOSIONS,shake,the,workshop,horribly. ,,,,, ,,,,,,ITLE,CARD,#3 ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,Reports,are,coming,in...,they've ,,,,,,,,,,breached,the,Northern,walls,of,the ,,,,,,,,,,city... ,,,,, ,,,,,The,radio,voice,is,DROWNED,OUT,BY,EXPLOSIONS.,D ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,ISSOLVE,TO: ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,, ,,,,, ,,,,, ,,,,,TITLE,CARD,#4 ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,ANOTHER,DAY ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,An,announcement,from,our ,,,,,,,,,,Chancellor! ,,,,, ,,,,,,,,,,,,,,,DICTATOR'S,VOICE ,,,,,,,,,,,,(on,the,radio) ,,,,,,,,,,Comrades,I,have,lost,control.,The ,,,,,,,,,,Machine,is,now,our,enemy.,We,need ,,,,,,,,,,to,join,forces,to,fight,against,it. ,,,,, ,,,,,We,hear,EXPLOSIONS,and,SCREAMS,outside. ,,,,, ,,,,,We,see,the,scientist,cobbling,together,another,SMALL,BURLAP ,,,,,DOLL,a,little,more,evolved. ,,,,, ,,,,,He,labels,it,"5,",then,makes,notes,in,a,journal. ,,,,, ,,,,,TITLE,CARD,#5 ,,,,, ,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,,his,voice,a,mere,whisper ,,,,,,,,,,,,,NOW) ,,,,,,,,,,Five,so,far....I,can't,get,them ,,,,,,,,,,right... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,ISSOLVE,TO: ,,,,, ,,,,, ,,,,,TITLE,CARD,#6 ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,ANOTHER,DAY ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,,,(through,static) ,,,,,,,,,,Gas,masks,are,being,distributed... ,,,,,,,,,,ALERT:,beware.... ,,,,, ,,,,,We,see,the,scientist,desperately,grabbing,bits,and,scraps,for ,,,,,one,last,doll.,He,is,like,a,skeleton,almost,no,energy,left. ,,,,, ,,,,,,,,,,,,,,,,ADIO,(V.O.),(cont'd) ,,,,,,,,,,...deadly,gas.... ,,,,, ,,,,,,he,radio,voice,dies,out.,,We,hear,nothing,but,STATIC. ,,,,, ,,,,,,ITLE,CARD,#7 ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,C ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,( ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,, ,,,,, ,,,,,The,scientist,totters,over,makes,a,note,in,his,journal.,He ,,,,,clutches,the,little,box,and,suspends,this,last,doll,with,a ,,,,,rope,in,a,strange,contraption. ,,,,, ,,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,,,a,feeble,whisper) ,,,,,,,,,,,My,last,one...,this,one,finally, ,,,,,,,,,,,must,work...,it,must.... ,,,,, ,,,,,TITLE,CARD,#8 ,,,,, ,,,,,The,SOUND,of,the,scientist,collapsing,to,the,floor. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,,........................................................... ,,,,, ,,,,,SEQ.,020,-,Attic ,,,,, ,,,,, ,,,,,SEQ.,020,-,INT.,WORKSHOP,-,DAY ,,,,, ,,,,,The,thin,strand,of,rope,stretches...,stretches...,and ,,,,, ,,,,,,RAAAACK. ,,,,, ,,,,,The,rope,SNAPS,and-- ,,,,, ,,,,,--a,SMALL,BURLAP,FIGURE,falls,onto,the,table. ,,,,, ,,,,,As,he,falls,he,is,yanked,free,from,a,large,circular ,,,,,Machine. ,,,,, ,,,,,,e,had,been,attached,with,the,fraying,rope,and,a,long,cable, ,,,,,attached,to,him,by,the,TALISMAN.,The,cable,still,dangles ,,,,,from,the,Machine,but,the,force,of,his,fall,pulls,the ,,,,,Talisman,off. ,,,,, ,,,,,The,little,burlap,figure,pulls,himself,to,his,feet,shaking ,,,,,his,head.,Falling,free,from,the,connecting,cable,has,finally ,,,,,awakened,him. ,,,,, ,,,,,,e,is,made,up,of,odd,patchwork,items:,burlap,a,thick,zipper, ,,,,,big,round,gas-mask,eyes,(which,we,recognize,as,what,we,saw ,,,,,before,in,the,title,sequence). ,,,,, ,,,,,We,pull,around,to,see,the,number,"9",painted,on,his,back. ,,,,, ,,,,,We,pull,back,further,to,see... ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,,T ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,R ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,S ,,,,, ,,,,, ,,,,, ,,,,, ,,,,," ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,, ,,,,, ,,,,, ,,,,,SEQ.,020,-,INT.,RUINED,WORKSHOP,-,EERIE,INDETERMINATE ,,,,,DAYLIGHT ,,,,,. ,,,,,,..he,is,on,the,tabletop,in,the,RUINS,OF,A,SMALL,ROOM. ,,,,, ,,,,,Splintered,BITS,OF,WALL,jut,up,to,the,open,sky.,Rotted ,,,,,FLOORBOARDS,are,BENT,and,WARPED.,The,room,is,full,of,years ,,,,,of,DUST,and,ROT.,Dust,hangs,in,the,feeble,rays,of,dirty ,,,,,sunlight. ,,,,, ,,,,,The,table,and,floor,are,covered,with,the,same,kinds,of,scraps ,,,,,and,raw,materials,from,which,"9",is,made:,burlap,hinges, ,,,,,bits,of,Machinery. ,,,,, ,,,,,,9",blinks,and,turns,around,his,head,darting,this,way,and ,,,,,that,trying,to,make,sense,of,his,surroundings. ,,,,, ,,,,,He,walks,over,to,the,edge,of,the,tabletop.,He,peers,over,and ,,,,,sees... ,,,,, ,,,,,...the,SCIENTIST,LYING,DEAD,ON,THE,FLOOR. ,,,,, ,,,,,,lumped,on,the,floor,we,clearly,see:,the,scientist's ,,,,,skeletal,hand,is,clutching,a,tiny,box. ,,,,, ,,,,,He,hears,a,clattering,sound,and,turns,to,see ,,,,,A ,,,,,,,loose,window,shutter.,He,goes,over,to,the,window. ,,,,, ,,,,,,e,pushes,opens,the,window,to,see-- ,,,,, ,,,,, ,,,,,SEQ.,020,-,EXT.,STREET,-,INDETERMINATE,DAYLIGHT ,,,,, ,,,,,...AN,APOCALYPTIC,WASTELAND. ,,,,, ,,,,,,usting,machine,carcasses,bombed-out,ruins,and,emptiness ,,,,,stretch,as,far,as,he,can,see. ,,,,, ,,,,,Terrible,life-ending,destruction. ,,,,, ,,,,,,here,is,no,other,living,being,anywhere. ,,,,, ,,,,,9,stares,in,disbelief,and,horror,and,fear.,He,can't,make,any ,,,,,sense,of,it...,or,the,room...,or,the,endless,miles,of ,,,,,lifeless,wasteland,stretching,out,in,front,of,him. ,,,,, ,,,,,,e,seems,to,be,completely,alone. ,,,,, ,,,,,,sees,a,glint,of,something,a,possible,sign,of,life.,,He ,,,,,moves,to,go,outside. ,,,,, ,,,,,C ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,M ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. ,,,,, ,,,,, ,,,,,He,stops,and,is,strangely,drawn,to,the,TALISMAN.,He,turns ,,,,,and,takes,it,stowing,it,inside,his,zippered,chest,before,he ,,,,,heads,out. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,........................................................... ,,,,, ,,,,,SEQ.,029,-,9,Meets,2 ,,,,, ,,,,, ,,,,,SEQ.,029,-,EXT.,WASTELAND,-,DAY ,,,,, ,,,,,9,moves,warily,in,the,dusty,grim,light,along,the,deserted ,,,,,RUINS,of,the,outside,streets.,It,is,the,remains,of,war. ,,,,, ,,,,,Pulverized,HULKS,of,BUILDINGS,torn-open,suitcases,scattered ,,,,,clothes,rusting,cars,and,the,grim,debris,of,human ,,,,,civilization,surround,him. ,,,,, ,,,,,He,sees,a,dead,body,slouched,next,to,a,suitcase,in,the,front ,,,,,seat,of,a,car. ,,,,, ,,,,,Banners,hang,on,the,buildings,with,a,three,prong,symbol,on ,,,,,them. ,,,,, ,,,,,,achines,lie,deserted,on,the,sides,of,roads. ,,,,, ,,,,,Distracted,by,the,spectacle,9,stumbles,and,lands,on,a,ragged ,,,,,old,flyer:,REVOLT!,,He,looks,back,at,the,War,Machines,and ,,,,,Dictator,flags.,,He,sees,a,vandalized,poster,of,what,appears ,,,,,to,be,a,dictator/leader. ,,,,, ,,,,,9,looks,around,him,trying,to,piece,together,what,happened. ,,,,,Suddenly,there,is,a,clanking,sound,in,front,of,him. ,,,,, ,,,,,9,sees,a,light,flicker,on,in,the,shattered,hulk,of,a,war ,,,,,Machine. ,,,,, ,,,,,,LOSE,on,9,as,the,light,crosses,his,face. ,,,,, ,,,,,Scared,he,ducks,behind,a,huge,piece,of,debris.,,9,grabs,a ,,,,,piece,of,metal,lying,in,front,of,him. ,,,,, ,,,,,The,shadow,moves,closer,9,shakes,nervously.,The,figure ,,,,,emerges,with,spear,in,hand,and,9,swings,the,weapon,at,him ,,,,,with,all,his,might. ,,,,, ,,,,,9,hits,him,square,in,the,chest.,It,is,another,ragdoll:,2.,2 ,,,,,is,propelled,backwards,and,falls,to,the,ground,on,the,debris ,,,,,behind,him.,9,quickly,tries,to,hide. ,,,,, ,,,,,,,,,,,,,,,2 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,A ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. ,,,,, ,,,,, ,,,,,But,2,is,looking,at,9,with,surprise.,,He,struggles,to,get,up, ,,,,,,,,,,,,,,,,2 ,,,,,speaking,with,urgency,to,9. ,,,,, ,,,,, ,,,,,,,,,,,,(firmly,kindly,almost ,,,,,,,,,,,,,eagerly;,like,trying,to ,,,,,,,,,,,,,soothe,a,wild,animal) ,,,,,,,,,,Wait...,I,am,a,friend. ,,,,, ,,,,,,LT: ,,,,, ,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,(GENTLY) ,,,,,,,,,,Friend...,I,am,a,friend. ,,,,, ,,,,,9,now,sees,he,has,hit,a,ragdoll,similar,to,himself.,He ,,,,,hesitates,not,sure,what,to,make,of,this.,2,extends,his ,,,,,hand,calmly,eagerly.,9,hesitates,again,then,still,timid, ,,,,,but,showing,a,little,bravery,drops,his,weapon,and,goes,to ,,,,,help,2,up. ,,,,, ,,,,,We,see,that,2,is,much,older,much,more,decrepit,much,more ,,,,,primitively,constructed:,he,is,made,from,patchwork,bits,of ,,,,,OLD,LEATHER,SHOES.,A,SHOELACE,stitches,up,his,front,and,is ,,,,,tied,in,a,bow,at,his,neck.,Bits,of,leather,FRAY,off,him. ,,,,,His,feet,are,primitive,small,HINGES.,Half,of,a,pair,of ,,,,,eyeglasses,like,an,enormous,MONOCLE,is,attached,to,2's,hat. ,,,,, ,,,,,9,helps,straighten,2's,monocle.,2,smiles,at,him.,We,see ,,,,,that,2,is,like,a,wise,mentor,a,kindly,professor,with,a ,,,,,contagious,eagerness,and,imaginativeness. ,,,,, ,,,,,2,peers,eagerly,at,9.,,He,circles,9,and,spots,the,number,on ,,,,,his,back. ,,,,, ,,,,,,,,,,,,,,,,(CONT'D) ,,,,,,,,,,,,(eagerly,excited,like,an ,,,,,,,,,,,,,intrigued,scholar) ,,,,,,,,,,Yes...,yes...,I,always,thought ,,,,,,,,,,there'd,be,one,more. ,,,,, ,,,,,He,nods,and,smiles.,He,extends,his,hand,to,shake,9's,hand. ,,,,,While,doing,this,he,takes,9's,hand,and,studies,it,nodding ,,,,,with,eager,excitement.,We,see,that,9's,hand,is,more ,,,,,sophisticated,than,2's. ,,,,, ,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,The,details...,how,exciting. ,,,,,,,,,,,,(FASCINATED) ,,,,,,,,,,Carved,wood...,steel,bolts... ,,,,,,,,,,molded,copper... ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,2 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. ,,,,, ,,,,, ,,,,,2,turns,slightly,and,9,sees,his,number,and,tries,to,say,it. ,,,,,But,no,sound,comes,out,of,his,mouth. ,,,,, ,,,,,,looks,at,him,nodding,again,the,kind,mentor.,He's ,,,,,interested,observing,without,judging;,curious,kindly,and ,,,,,ready,to,help. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,You,can't,speak. ,,,,, ,,,,,With,a,friendly,disarming,smile,he,taps,9's,zipper.,9 ,,,,,unzips,himself,and,2,peers,in.,2,looks,up,happy,that,he,can ,,,,,help. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,Yes,yes... ,,,,, ,,,,,2,looks,around,nervously,and,hurries,over,to,his,roller-skate ,,,,,cart,covered,with,detritus,-,odds,and,ends,a,broken,china ,,,,,doll. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,...come,with,me. ,,,,, ,,,,,,,follows,looking,around,curiously. ,,,,, ,,,,,2,finds,the,china,doll. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,Here! ,,,,, ,,,,,As,2,rummages,through,the,chest,of,the,china,doll,9,picks,up ,,,,,a,bullet,casing,from,2's,cart,and,starts,tapping,it.,2,turns ,,,,,with,the,doll's,voice,box,in,his,hand. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,,(sees,9,with,the,bullet; ,,,,,,,,,,,,,,whispers,sharply) ,,,,,,,,,,,No!,Stop! ,,,,, ,,,,,2,eases,the,bullet,away,from,9,then,smiles,gently,at,9, ,,,,,EXPLAINING: ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,,( ,,,,,,,,,,,,,,QUIETLY) ,,,,,,,,,,,Some,things,in,this,world,are ,,,,,,,,,,,better,left,where,they,lie. ,,,,, ,,,,,,e,puts,the,bullet,to,one,side,and,kneels,prying,into,9's ,,,,,chest.,2,begins,to,connect,the,doll's,voice,box. ,,,,, ,,,,,A ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,, ,,,,, ,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,But,if,you,know,where,to,look, ,,,,,,,,,,these,ruins,are,full,of,riches. ,,,,, ,,,,,2,concentrates,a,look,of,pleasure,on,his,face,as,he,twists,a ,,,,,few,more,wires.,Static,and,unclear,sound,come,out,at,first, ,,,,,but,as,2,tunes,the,voice,further... ,,,,, ,,,,,,,,,,,,,,,9 ,,,,,,,,,,,,(as,his,voice,is,"tuned ,,,,,,,,,,,,,in"..,starting,with,pure ,,,,,,,,,,,,,static,then,slowly ,,,,,,,,,,,,,moving,into,a,voice) ,,,,,,,,,,Chhhhhhh.....chhhhehhhh... ,,,,, ,,,,,,,,,,,,,,,2 ,,,,,,,,,,Wait.. ,,,,,,,,,,,,(tunes,him,in) ,,,,,,,,,,...almost,there... ,,,,, ,,,,,9,gets,a,little,panicky,look,on,his,face,at,the,strange ,,,,,sounds,coming,out,of,him.,2,puts,a,calm,hand,on,his ,,,,,shoulder.,9,calms,down,and,tries,again. ,,,,, ,,,,,,,,,,,,,,,,9 ,,,,,,,,,,Friend?,,Friend? ,,,,, ,,,,,,,,,,,,,,,2 ,,,,,,,,,,,,(BEAMING) ,,,,,,,,,,Friend. ,,,,, ,,,,,,,,,,,,,,,9 ,,,,,,,,,,,,(more,and,more,normal ,,,,,,,,,,,,,SOUNDING) ,,,,,,,,,,Are,we,alone? ,,,,, ,,,,,,,,,,,,,,,2 ,,,,,,,,,,,,(REASSURING) ,,,,,,,,,,No.,There,are,others. ,,,,, ,,,,,,and,2,stare,at,each,other.,9,looks,at,2,in,wonderment, ,,,,,then,reaches,out,and,touches,2's,chest,where,he,hit,it. ,,,,, ,,,,,2,beams,at,9,happy,9,can,speak,happy,he,was,able,to,help, ,,,,,and,happy,that,9,with,his,first,words,is,concerned,about ,,,,,others. ,,,,, ,,,,,,glow,beams,from,within,9's,chest.,,2,stares.,,9,removes,the ,,,,,TALISMAN,from,his,chest. ,,,,, ,,,,,2,has,a,big,reaction--he,draws,his,breath,in,and,looks,at,it ,,,,,in,ASTONISHMENT. ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,,2 ,,,,, ,,,,, ,,,,,I ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,. ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,T ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,( ,,,,, ,,,,,,,,,,,,,,,,,2 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,, ,,,,, ,,,,,He,takes,it,and,looks,at,it.,,,He,gives,9,a,look,of,surprise. ,,,,, ,,,,,,,,,,,,,,,,,(CONT'D) ,,,,,,,,,,,But,how,strange.... ,,,,,,,,,,,,,,muttering,to,himself,as ,,,,,,,,,,,,,,he,turns,the,Talisman,in ,,,,,,,,,,,,,,his,hands) ,,,,,,,,,,,Yes,he,was,always,drawing,this... ,,,,,,,,,,,exactly,like,this...,how,strange... ,,,,, ,,,,,,hey,both,stare,at,the,TALISMAN. ,,,,, ,,,,,Suddenly,a,is,heard,OFFSCREEN.,2,looks,up,IN ,,,,,HORROR.,He,grabs,his,spear.,He,pushes,9,away,almost ,,,,,fiercely. ,,,,, ,,,,,ALT: ,,,,, ,,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,,,(firmly,to,9) ,,,,,,,,,,,GO! ,,,,, ,,,,, ,,,,,,.......................................................... ,,,,, ,,,,,SEQ.,030,-,Cat,Beast,Attacks ,,,,, ,,,,, ,,,,,SEQ.,030,-,EXT.,WASTELAND,-,DAY ,,,,, ,,,,,2,points,forcefully,to,an,old,rusted,can. ,,,,, ,,,,,2,runs,into,the,can. ,,,,,,,stands,ready,to,attack. ,,,,, ,,,,,9,watches,2,wondering,what,is,coming.,Then,from,behind,him, ,,,,,a,large,claw,of,a,mechanical,figure,settles,softly,next,to ,,,,,9's,can.,He,tries,to,call,out,to,2... ,,,,, ,,,,,And,from,behind,2,enters-- ,,,,, ,,,,,A,HIDEOUS,CAT,BEAST. ,,,,, ,,,,,,t,is,a,nail,and,razor-studded,predatory,Machine,with,a,cat ,,,,,skull-shaped,head,its,body,laced,with,bones,nails,and ,,,,,razors.,9,now,understands,2,was,trying,to,protect,him. ,,,,, ,,,,,,GASPS,as,he,turns,and,sees,it.,The,Cat,Beast,lets,out,a ,,,,,roar,and,claws,at,2,KNOCKING,him,over,and,losing,his,spear. ,,,,, ,,,,,,,looks,on,with,horror. ,,,,, ,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,T ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,, ,,,,, ,,,,,2,attempts,to,reach,for,his,spear,but,the,Beast,holds,him ,,,,,down,with,its,razor-sharp,feet. ,,,,, ,,,,,The,Beast,is,attracted,to,the,Talisman.,It,picks,it,up,with ,,,,,one,of,its,jagged,claws,and,looks,at,it,quizzically. ,,,,, ,,,,,,cringes.,,His,movement,makes,his,hiding,place,teeter, ,,,,,creaking. ,,,,, ,,,,,,he,Cat,Beast,WHIRLS,at,the,sound.,Picking,up,2's,struggling ,,,,,body,the,Cat,Beast,stalks,towards,the,noise,right,up,to,9's ,,,,,hiding,place,sniffing,through,its,hollow,nostrils.,9 ,,,,,cringes,in,terror.,The,Cat,Beast,probes,with,one,of,his ,,,,,claws,INTO,the,tin,can.,9,recoils.,The,claws,do,not,find ,,,,,him,and,retreat.,9,is,relieved. ,,,,, ,,,,,A,beat,then: ,,,,, ,,,,,9,feels,himself,violently,LIFTED,UP,and,SMASHED. ,,,,, ,,,,,We,see,the,Cat,Beast,has,picked,up,the,entire,tin,can,and,is ,,,,,smashing,it,to,get,at,what's,inside,it.,,Failing,it,hurls ,,,,,the,tin,can,aside. ,,,,, ,,,,,9,is,almost,knocked,out.,Trying,to,stay,conscious,he ,,,,,struggles,towards,the,entrance,of,the,can. ,,,,, ,,,,,,is,POV:,through,his,haze,and,through,the,broken,edges,of,the ,,,,,opening,to,the,can,he,sees,the,Cat,Beast,GRAB,the,Talisman ,,,,,and,the,struggling,2,in,his,sharp-toothed,mouth,and ,,,,,disappearing,into,the,smoky,mist. ,,,,, ,,,,,9,can,just,make,out,in,the,distance,the,silhouettes,of ,,,,, ,,,,,THREE,TALL,SHAPES. ,,,,, ,,,,, ,,,,,,,,,,,,,,(MUTTERING) ,,,,,,,,,,,,The,others... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,............................................................. ,,,,, ,,,,, ,,,,,POV,SPYGLASS,-,ELSEWHERE,IN,THE,WASTELAND,-,LATER ,,,,, ,,,,,POV,SPYGLASS:,the,spyglass,searches,through,the,city,and ,,,,,comes,across,a,lone,staggering,figure,(9). ,,,,, ,,,,,,,,,,W ,,,,, ,,,,,,,,,,,,,,( ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,5 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,, ,,,,, ,,,,,Pull,back,to,show,the,back,of,5's,head,as,he,peers,through ,,,,,the,spyglass,then,pulls,away,so,we,can,see,into,the,spyglass ,,,,,again.,,We,zoom,in,through,the,spyglass,to,a ,,,,, ,,,,,CLOSE,SHOT,on,9-- ,,,,, ,,,,, ,,,,,EXT.,WASTELAND,-,CLOSE,ON,9,-,CONTINUOUS ,,,,, ,,,,,9,staggers,weary,and,collapses. ,,,,, ,,,,,In,the,foreground,the,feet,of,another,ragdoll,(5),step,into ,,,,,the,shot. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,,........................................................... ,,,,, ,,,,,Seq.,040,-,Meeting,5 ,,,,, ,,,,, ,,,,,SEQ.,040,-,INT.,5'S,WORKSHOP,-,DAY ,,,,, ,,,,,5,is,finishing,sewing,9,up. ,,,,, ,,,,, ,,,,,,,,,,It's,all,right.,You're,safe,now. ,,,,, ,,,,,,,,,,,,,,,9 ,,,,,,,,,,Where,am,I? ,,,,, ,,,,,,,,,,,,,,,,,5 ,,,,,,,,,,With,us. ,,,,, ,,,,, ,,,,,,,,,,,,(MUTTERING) ,,,,,,,,,,Yes...,he,told,me,there,were ,,,,,,,,,,others... ,,,,, ,,,,,,,,,,,,,,,,,5 ,,,,,,,,,,,,,,(suddenly,urgently) ,,,,,,,,,,Who? ,,,,, ,,,,, ,,,,,,,,,,,,(still,dazed,trying,to ,,,,,,,,,,,,,REMEMBER) ,,,,,,,,,,He,was,older...,Out,there... ,,,,, ,,,,,,,,,,,,,,,5 ,,,,,,,,,,2.,Out,in,the,emptiness? ,,,,,,,,,,,,,HORRIFIED) ,,,,,,,,,,Alone?,Was,he,all,right? ,,,,,,,,,,,hen,is,he,coming,back? ,,,,, ,,,,,,,,,,,I ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,1,,,,,,W ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,1 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,5 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,1 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,( ,,,,,,,,,,,T ,,,,, ,,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. ,,,,, ,,,,, ,,,,,9,looks,at,him,the,whole,memory,suddenly,coming,back,to,him ,,,,,as,though,fresh. ,,,,, ,,,,, ,,,,,,,,,,,,HE--THE-- ,,,,,,,,,,,,,,can't,think,of,the,right ,,,,,,,,,,,,,,WORD) ,,,,,,,,,,,T ,,,,,,,,,,,,hing!,It,took,him. ,,,,, ,,,,,5,reacts,with,horror. ,,,,, ,,,,,,,,,,,,,,,,,,5 ,,,,,,,,,,,No...,,No!,,,,It,can't,be! ,,,,, ,,,,,He,turns,away,grief-stricken. ,,,,, ,,,,,,,,,,,,,,,,,(O.S.) ,,,,,,,,,,,Keeping,secrets,from,me,I,see. ,,,,, ,,,,,Another,RAGDOLL,pushes,into,the,workroom.,This,is,a,bigger ,,,,,ragdoll,the,most,primitive,one,we,have,seen.,He,has ,,,,,primitive,wooden,hinges,for,feet.,He,is,very,frayed,and ,,,,,patched,together.,The,number,1,is,painted,on,his,back. ,,,,, ,,,,,,,and,9,whirl,around.,,,,5,CRINGES. ,,,,, ,,,,,,,,,,,,,,,,5 ,,,,,,,,,,,I...,I,was,coming,to,tell,you... ,,,,, ,,,,,1,carries,himself,with,authority.,He,wears,a,red,cloak,and ,,,,,a,strange,mother,of,pearl,and,wire,hat,bound,together,as,an ,,,,,almost,papal-like,headpiece,and,carries,a,staff,made,from,an ,,,,,old,gear,with,a,bell,attached. ,,,,, ,,,,,,pulls,at,9,with,his,staff,displaying,the,number,on,his ,,,,,back. ,,,,, ,,,,,,,,,,,,,,,,1 ,,,,,,,,,,,,hat's,this? ,,,,, ,,,,,,turns,and,glares,at,5,like,a,general,glaring,at,a,new ,,,,,privat
2	A Scanner Darkly	Charlie Kaufman	Animation,Crime,Drama	July_2006	SHOT,OF,NOTEBOOK,PAGE,DAPPLED,WITH,SUNLIGHT ,,POV,of,someone,skimming,a,hand-written,entry.,The ,,corresponding,voice-over,is,offhand,dispassionate.,In,the ,,background,children,can,be,heard,laughing,and,playing. ,,,,,,,,,,,,BOB,ARCTOR,(V.O.) ,,,,,Lately,Jerry,Fabin,stands,all,day ,,,,,shaking,bugs,from,his,hair.,The ,,,,,doctor,says,there,are,no,bugs,in,his ,,,,,hair. ,,The,sound,of,fingers,scratching,scalp,begins,and,grows,louder ,,through,the,following,montage. ,,EXT.,COCA-COLA,BOTTLING,PLANT,-,PRE-DAWN ,,SUBTITLE:,ORANGE,COUNTY,CALIFORNIA,IN,THE,YEAR,1994 ,,A,massive,unlit,Coca-Cola,sign,is,eerily,silhouetted ,,against,the,early,morning,sky.,Antiquated,delivery,trucks ,,set,out,from,loading,docks,as,red,futuristic,cargo,planes, ,,emblazoned,with,the,Coca-Cola,logo,take,off,from,the,roof. ,,EXT.,FREEWAY,-,PRE-DAWN ,,Birds-eye,view,of,Coca-Cola,trucks,spreading,out,through,the ,,city.,Coke,planes,shoot,by,close,to,the,camera. ,,EXT.,7-11,-,DAWN ,,A,Coke,truck,pulls,into,the,parking,lot. ,,EXT.,SUPERMARKET,-,DAWN ,,A,Coke,plane,lands,gracefully,on,the,roof,of,the,supermarket. ,,EXT.,MCDONALD'S,-,DAWN ,,Uniformed,delivery,men,enter,hauling,cases,of,Coke,syrup. EXT.,RESIDENTIAL,STREET,-,DAWN A,Coca-Cola,truck,rumbles,slowly,past,a,row,of,low-income, plastic,pre-fab,houses.,We,hold,on,one,house,whose,front lawn,is,strewn,with,furniture,and,cleaning,products. INT.,JERRY,FABIN'S,LIVING,ROOM,-,DAWN The,windows,are,spray-painted,over,with,silver,paint.,A single,pole,lamp,with,bare,harsh,spot-lights,illuminates the,room,which,is,emptied,of,furniture,covered,in,a,sickly green,shag,carpet,and,littered,with,fast-food,wrappers.,In ,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. CONTINUED: the,center,of,the,room,stands,Jerry,Fabin,thirty,with,wild- eyes,and,a,long,tangled,mass,of,hair.,He,is,naked,draped over,a,metal,garbage,can,and,vigorously,scratching,his head.,This,process,continues,for,an,uncomfortably,long time.,A,Golden,Retriever,sleeps,in,the,corner. INT.,JERRY,FABIN'S,BATHROOM,-,LATER Jerry,Fabin,stands,under,a,hot,shower.,Steam,fills,the stall.,He,scrubs,his,hair,violently,with,tensed,fingers. INT.,JERRY,FABIN'S,LIVING,ROOM,-,LATER We,hear,the,shower.,Steam,pours,out,the,open,bathroom,door. EXT.,JERRY,FABIN'S,HOUSE,-,MID-DAY The,sun,is,high;,the,day,is,bright,and,hazy.,,A,few,hippies stroll,by,or,sit,on,front,steps,discreetly,smoking,joints. We,hear,the,distant,sound,of,Jerry's,shower. INT.,JERRY,FABIN'S,BATHROOM,-,LATER Jerry,is,still,in,the,shower,scrubbing,away.,He,finally turns,it,off,and,steps,out,a,drowned,rat.,He,dries himself,wipes,the,mirror,and,squints,nervously,at,his reflection.,Tiny,bugs,hop,around,on,his,head.,He,screams. INT.,JERRY,FABIN'S,LIVING,ROOM,-,LATER Jerry,lies,on,the,cruddy,shag,carpet,open,volumes,of,the Encyclopedia,Brittanica,spread,around,him.,He,scratches himself,as,he,studies,one,of,the,volumes.,Insects,hop,up,and down,all,over,his,body,and,on,the,rug.,When,he,exhales,a cloud,of,bugs,pours,from,his,mouth;,he,shoos,them,away. EXT.,JERRY,FABIN'S,HOUSE,-,DAY Jerry,heads,up,the,walkway,carrying,a,shopping,bag.,Several cans,of,Raid,and,other,bug,sprays,poke,out,of,the,bag.,Bugs hop,around,on,Jerry.,He,puts,the,bag,down,on,the,stoop,to scratch,himself.,He,notices,tiny,bugs,chewing,the,shrubs. INT.,NURSERY,-,DAY Jerry,consults,with,a,man,behind,the,cash,register. ,,,,,,,,,,,,NURSERY,CLERK ,,,,,Eating,the,bushes?,,Could,be,aphids. ,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. CONTINUED: ,,,,,,,,,,,,JERRY,FABIN ,,,,,Aphids!,Of,course.,Y'know,I,started ,,,,,with,"A",in,my,cyclopedia,yet,somehow ,,,,,I,must've,skipped,right,over,aphids. ,,,,,It,does,start,with,"A",right? ,,,,,Aphids? ,,,,,,,,,,,,NURSERY,CLERK ,,,,,Yes.,,Yes,it,does,sir. ,,,,,,,,,,,,JERRY,FABIN ,,,,,Boy,those,fuckers,can,really,bite. ,,,,,,,,,,,,NURSERY,CLERK ,,,,,Aphids,don't,bite,people. Fabin,just,stares,at,the,clerk. INT.,JERRY,FABIN'S,LIVING,ROOM,-,DAY Scrawled,charts,depicting,the,aphid,life-cycle,now,adorn,the walls.,As,Jerry,sprays,a,can,of,"Aphid-Off",around,the room,he,notices,his,sleeping,dog,is,covered,with,the,bugs. INT.,JERRY,FABIN'S,BATHROOM,-,DAY Jerry,stands,in,the,shower,with,his,dog.,Jerry,is,lathered head-to-toe,and,in,the,process,of,lathering,the,dog. ,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: INT.,BATHROOM,-,LATER Jerry,and,the,long-suffering,dog,are,still,in,the,shower. Charles,Freck,early,thirties,and,stoned,enters. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Hey,Jerry,I,was,in,the,neighborhood ,,,,,looking,to,score,and,I,thought,-- ,,,,,What,the,fuck,are,you,doing,in,the ,,,,,shower,with,the,goddamn,dog? ,,,,,,,,,,,,JERRY,FABIN ,,,,,I,got,to,get,the,aphids. Jerry,turns,off,the,shower,steps,out,with,the,dog,and begins,drying,him.,Freck,watches,silently,transfixed,as Jerry,proceeds,to,rub,oil,then,talc,into,the,dog's,coat. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,I,don't,see,any,aphids.,What's,an ,,,,,aphid? ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. CONTINUED: ,,,,,,,,,,,,JERRY,FABIN ,,,,,,,,(busy) ,,,,,It,eventually,kills,you.,,,,That's,what ,,,,,an,aphid,is. Freck,nods,sympathetically. ,,,,,,,,,,,,JERRY,FABIN ,,,,,They're,in,my,hair,and,my,skin,and,my ,,,,,lungs.,The,goddamn,pain,is,unbearable. ,,,,,I'm,gonna,have,to,go,to,the,hospital. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,,(beat,squints) ,,,,,How,come,I,can't,see,them,though? Jerry,stops,talcing,the,dog,looks,up,at,Freck. INT.,JERRY,FABIN'S,LIVING,ROOM,-,A,BIT,LATER Jerry,and,Freck,are,on,all,fours,on,the,carpet.,Bugs,hop all,around.,The,powdered-white,dog,sleeps,in,the,corner. ,,,,,,,,,,,,JERRY,FABIN ,,,,,I'll,find,an,especially,big,one,cause ,,,,,they're,hard,for,many,people,to,see. Jerry,grabs,a,bug,from,the,carpet,throws,it,in,a,jar,and clamps,the,lid,down,fast.,He,shows,it,triumphantly,to,Freck. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,Wow!,,That,is,a,big,one! ,,,,,,,,,,,,JERRY,FABIN ,,,,,Help,me,find,more,for,the,doctor,to ,,,,,see. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: INT.,JERRY,FABIN'S,LIVING,ROOM,-,LATER The,two,men,are,still,on,their,hands,and,knees,collecting bugs.,Three,jars,are,already,full,of,hopping,insects. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,What,do,we,get,for,these?,I,mean, ,,,,,,,does,the,doctor,pay,a,bounty,or ,,,,,,,something?,A,prize?,Any,bread? ,,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. CONTINUED: ,,,,,,,,,,,,JERRY,FABIN ,,,,,I,get,to,help,perfect,a,cure,for,them. They,continue,to,collect,bugs,in,silence.,Jerry,starts scratching,himself,again,trying,not,to,be,too,obvious. ,,,,,,,,,,,,JERRY,FABIN ,,,,,Hey,man,you,continue,while,I,take,a ,,,,,leak,and,like,that. Jerry,heads,to,the,bathroom.,The,dog,who,has,been,sleeping near,the,bathroom,door,skulks,to,the,other,side,of,the,room. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Jerry,these,bugs,sort,of,scare,me.,,I ,,,,,don't,like,it,here,by,myself. Jerry,stops,holds,the,door,jam,for,support.,,He,is,in,pain. ,,,,,,,,,,,,JERRY,FABIN ,,,,,You're,a,chickenshit,bastard,Freck. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Couldn't,you,-- ,,,,,,,,,,,,JERRY,FABIN ,,,,,I,got,to,take,a,leak,and,like,that! Jerry,enters,the,bathroom,slams,the,door,shut,and,locks,it. INT.,BATHROOM,-,CONTINUOUS Jerry,turns,on,the,shower,climbs,in,and,begins,to,soap himself,vigorously.,Freck,is,barely,audible,throughout. ,,,,,,,,,,,,CHARLES,FRECK,(O.S.) ,,,,,I'm,afraid,out,here,man. ,,,,,,,,,,,,JERRY,FABIN ,,,,,Then,go,fuck,yourself,man! ,,,,,,,,,,,,CHARLES,FRECK,(O.S.) ,,,,,Do,these,fuckers,bite? ,,,,,,,,,,,,JERRY,FABIN ,,,,,Yeah,they,bite!,They're,aphids! ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Can,I,wash,them,off,and,wait,for,you? Jerry,ignores,Freck.,He,scrubs,himself,intently, ritualistically,totally,absorbed,in,his,task. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. INT.,LION'S,CLUB,HALL,-,DAY We,hear,pronounced,rhythmic,breathing,as,we,scan,the,hall, which,is,filled,with,middle-aged,businessmen,wearing,an array,of,brightly,colored,suits.,They,are,well-fed,and,dull- looking.,At,the,podium,is,another,bussinessman,this,one,fat in,a,pink,suit,and,yellow,tie.,He,addresses,the,assemblage. ,,,,,,,,,,,,FAT,BUSINESSMAN ,,,,,Gentlemen,we,have,a,wonderful ,,,,,opportunity,this,afternoon.,The ,,,,,county,of,Orange,has,provided,us,with ,,,,,the,chance,to,hear,from,--,and,put ,,,,,questions,to,--,an,undercover ,,,,,narcotics,agent,from,the,Sheriff's ,,,,,Office. The,fat,businessman,gestures,with,a,sweep,of,his,arm,toward the,camera. The,heavy,breathing,stops,as,we,angle,on,what,the,fat businessman,is,gesturing,toward:,a,generic,blur,of,a,human being,sitting,on,stage.,The,blur,is,clearly,human,but,it's impossible,to,settle,on,its,facial,features.,It's,as,if,the features,keep,changing. ,,,,,,,,,,,,FAT,BUSINESSMAN,(CONT'D) ,,,,,Now,you,will,notice,that,you,can ,,,,,barely,see,this,individual,becuase,he ,,,,,is,wearing,what,is,called,a,"scramble ,,,,,suit",which,he,wears,during,most,of ,,,,,his,daily,activities,of,law ,,,,,enforcement.,Due,to,potential ,,,,,corruption,within,the,Sheriff's ,,,,,Department,even,this,gallant ,,,,,officer's,co-workers,and,superiors ,,,,,must,not,know,his,"street",identity. Heavy,breathing.,Again,we're,inside,the,suit.,Now,we,see, in,shadowy,profile,the,face,of,the,man,in,the,suit.,This,is Bob,Arctor,early,thirties,homely,and,looking,like,a druggie.,He,scans,the,audience,disdainfully. ,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(under,breath) ,,,,,Nitwits.,Pathetic,soulless,morons. We,cut,to,the,outside,of,the,suit,--,still,expressionless. ,,,,,,,,,,,,FAT,BUSINESSMAN ,,,,,This,man,--,whom,we,will,call,Fred, ,,,,,because,that,is,the,code,name,under ,,,,,which,he,reports,the,information,he ,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. CONTINUED: ,,,,,,,,,,,,FAT,BUSINESSMAN,(cont'd) ,,,,,gathers,--,cannot,be,identified,by ,,,,,voice,or,by,appearance.,He,looks, ,,,,,does,he,not,like,a,vague,blur.,This ,,,,,is,because,his,scramble,suit,projects ,,,,,thousands,of,different,human,faces ,,,,,onto,your,retinas,thus,turning,Fred ,,,,,into,a,veritable,Everyman.,All,things ,,,,,to,all,people,translates,into,nothing ,,,,,to,anyone,does,it,not? The,fat,businessman,smiles,a,big,toothy,smile.,,The,audience of,straights,smiles,back,almost,in,unison. ,,,,,,,,,,,,FAT,BUSINESSMAN,(CONT'D) ,,,,,So,let's,hear,it,for,our,vague,blur! The,audience,erupts,into,enthusiastic,applause.,Fred,rises and,replaces,the,fat,businessman,behind,the,podium.,When,he speaks,it,is,an,emotionless,computer,voice. ,,,,,,,,,,,,FRED ,,,,,If,you,saw,me,on,the,street,you'd ,,,,,say,"There,goes,a,weirdo,freak ,,,,,doper.",And,you'd,feel,aversion,and ,,,,,walk,away. The,audience,is,silent,blank,their,blankness,a,reflection of,the,blankness,of,Fred's,scramble,suit. ,,,,,,,,,,,,FRED,(CONT'D) ,,,,,I,don't,look,like,you.,I,can't,afford ,,,,,to.,My,life,depends,on,it. Dramatic,pause. ,,,,,,,,,,,,FRED,(CONT'D) ,,,,,I,am,not,going,to,tell,you,first,what ,,,,,I'm,attempting,to,do,as,an,undercover ,,,,,officer.,I'm,going,to,tell,you... ,,,,,,,,(beat) ,,,,,...,what,I,am,afraid,of. Now,the,audience,is,hooked,their,eyes,wide. We,move,inside,the,suit,and,watch,Bob,Arctor,watching,the audience,timing,the,pause,for,best,effect.,We,hear,the breathing,again,and,when,Arctor,speaks,it,is,in,his,normal voice,bored,delivering,a,memorized,speech. ,,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,What,I,fear,is,that,our,children, ,,,,,,,your,children,and,my,children... ,,,,,,,,,(pause) ,,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. CONTINUED: ,,,,,,,,,,,,BOB,ARCTOR,(cont'd) ,,,,,...,I,have,two.,Little,ones. QUICK,SHOT,OF,FAMILY,PHOTO,OF,ARCTOR,HIS,WIFE,AND,TWO LITTLE,GIRLS The,Arctor,in,the,photo,is,different,conservative,in,a colorful,suit,like,the,audience,members.,His,wife,and,kids are,smiling,and,suburban-looking.,Their,features,indistinct, generic,impossible,to,recall. ,,,,,,,,,,,,BOB,ARCTOR,(V.O.),(CONT'D) ,,,,,But,not,too,little,to,be,addicted... INT.,LION'S,CLUB,HALL,-,CONTINUOUS Arctor,is,speaking,from,inside,the,suit. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,...,calculatedly,addicted,for,profit, ,,,,,by,those,who,would,destroy,this ,,,,,society.,We,do,not,yet,know,who,these ,,,,,animals,are,who,pray,on,our,young,but ,,,,,one,day,we,will. ,,,,,,,,,,,,VOICE,FROM,CROWD ,,,,,Sock,it,to,'em! The,audience,concurs.,,Bob,Arctor,sighs,disdainfully. Outside,the,suit,the,sigh,is,heard,as,a,computer-like exhalation,uninterpretable,lost,on,the,audience. ,,,,,,,,,,,,FRED ,,,,,We,believe,there,is,one,source,for ,,,,,Substance,D,and,a,diversified ,,,,,distribution,system,making,it ,,,,,accessible,in,all,major,drug,using ,,,,,areas.,It,my,job,as,an,undercover ,,,,,officer,to,attain,the,confidence,of,low ,,,,,level,dealers,and,work,my,way,up ,,,,,through,the,network,to,arrive,at,the ,,,,,drug's,source.,Now,the,profits,for... Fred,becomes,silent,stands,there.,,The,audience,waits. Inside,the,suit,Arctor,sweats,can't,remember,his,line.,He looks,panicked,out,at,the,sea,of,eyes,and,finally,wings,it. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Well,it,isn't,the,profits,anyhow. ,,,,,It's,something,else...,what,you,see,... ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. CONTINUED: Arctor,scans,the,hard,audience.,He,tries,a,new,tack. ,,,,,,,,,,,,BOB,ARCTOR,(CONT'D) ,,,,,If,you,were,a,diabetic,and,you,didn't ,,,,,have,the,money,for,insulin,would,you ,,,,,steal,to,get,the,money?,Or,just,die? A,tinny,voice,speaks,to,Arctor,through,his,headphone. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,I,think,you'd,better,go,back,to,the ,,,,,prepared,text,Fred. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(quietly,into,throat,mike) ,,,,,I,forgot,it. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,Riiight.,I'll,read,it,to,you.,Repeat ,,,,,it,after,me,but,try,to,make,it,sound ,,,,,casual.,"Each,day,the,profits,flow. ,,,,,Where,they,go,we,will,soon,determine." ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(quietly) ,,,,,I,got,a,block,against,this,stuff. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,"Then,retribution,will,swiftly,follow. ,,,,,And,at,that,moment,for,the,life,of ,,,,,me,I,would,not,be,in,their,shoes." ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(quietly) ,,,,,You,know,why,I've,got,a,block,against ,,,,,this,stuff?,Because,this,bullshit,is ,,,,,what,gets,people,on,dope. The,audience,watches,the,vague,blur,mumbling,in,a,computer voice.,They,look,uneasy.,Fred,is,silent,for,a,moment,then starts,to,talk,again,in,his,drone. ,,,,,,,,,,,,FRED ,,,,,"D",is,for,Substance,D.,Which,is,for ,,,,,Dumbness,Despair,and,Desertion,the ,,,,,desertion,of,your,friends,from,you, ,,,,,you,from,them,everyone,from,everyone, ,,,,,isolation,and,loneliness,and,hating ,,,,,and,suspecting,each,other.,D,is ,,,,,finally,death.,Slow,Death,we... ,,,,,,,,(beat) ,,,,,...,we,the,dopers,call,it... ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. CONTINUED: Inside,the,suit,Bob,Arctor,talks. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(raspy,sad) ,,,,,...,Slow,Death.,From,the,head,on,down. ,,,,,,,,(beat) ,,,,,Well,that's,it. Arctor,goes,back,to,his,seat.,,The,audience,is,angry. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,See,me,in,my,office,when,you,get,back. The,fat,businessman,is,at,the,podium,diffusing,the,situation. ,,,,,,,,,,,,FAT,BUSINESSMAN ,,,,,I,forgot,to,tell,you,that,Fred,asked ,,,,,me,in,advance,to,make,this,lecture ,,,,,primarily,a,Q,and,A,forum,with,only,a ,,,,,short,introductory,statement.,So,any ,,,,,questions? Arctor,stands. ,,,,,,,,,,,,FAT,BUSINESSMAN,(CONT'D) ,,,,,Oh,wait,it,appears,Fred,has ,,,,,something,else,to,say.,Good,then. ,,,,,,,,(to,Arctor) ,,,,,Please. Arctor,approaches,the,podium,upset. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Just,this.,Don't,kick,their,asses ,,,,,after,they're,on,it.,Half,of,them, ,,,,,especially,the,girls,didn't,know,they ,,,,,were,getting,on,anything,at,all.,See, ,,,,,the,pushers,dissolve,some,reds,in,a ,,,,,glass,of,wine,they,give,the,booze,to ,,,,,an,underage,little,chick,she,passes ,,,,,out,then,they,inject,her,with,a,mex ,,,,,hit,--,half,heroin,half,Substance,D. ,,,,,,,,(beat) ,,,,,Thank,you. ,,,,,,,,,,,,SECOND,VOICE,FROM,CROWD ,,,,,How,do,we,stop,them,sir? We're,outside,the,suit,now,looking,at,Fred,the,vague,blur behind,the,podium.,He,talks,in,a,neutral,computer,voice. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. CONTINUED: ,,,,,,,,,,,,FRED ,,,,,Kill,the,pushers. EXT.,PAYPHONE,-,DAY Charles,Freck,is,on,the,phone,speaking,in,hushed,tones. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Can,you,lay,about,ten,Deaths,on,me? ,,,,,,,,,,,,TELEPHONE,VOICE ,,,,,Christ,I'm,looking,to,score,myself. ,,,,,,,,,,,CHARLES,FRECK ,,,,,Christ. ,,,,,,,,(beat) ,,,,,Christ.,Christ,Christ,Christ. INT.,CHARLES,FRECK'S,CAR,-,DAY Freck,drives,slowly,along,a,strip-malled,Anaheim,street.,He passes,a,Thrifty,pharmacy,and,notices,the,window,display: bottles,of,slow,death,slow,death,mixed,with,speed,and,junk and,psychedelics.,Dayglow,signs,in,the,window:,"Your Credit,is,Good,Here",and,"Death,to,the,Masses",He,looks again.,The,window,displays,combs,and,shampoo.,Freck,checks his,rearview,mirror,sees,a,police,car,following,him. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Fucking,goddamn,fuzzmobile.,What,was ,,,,,I,doing?,Was,I,weaving?,I,don't,even ,,,,,know. Freck,drives,very,deliberately,his,hands,gripped,white- knuckled,on,the,steering,wheel,in,an,attempt,to,keep,the,car completely,straight.,He,tries,his,best,to,plaster,a,non- stoned,regular,guy,look,on,his,face.,But,he's,sweating. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,What,I'll,do,is,pull,over,when,I,see,a ,,,,,parking,space.,That's,it:,pull,over ,,,,,like,I,was,gonna,pull,over,anyway. ,,,,,Like,it's,totally,normal,to,pull,over. ,,,,,Like,I'm,going,to,a,store.,That's ,,,,,perfect.,Real,people,do,that,all,the ,,,,,time. Freck,sees,an,angle,space,pulls,over,suddenly.,The,cop,car glides,past,apparently,having,had,no,interest,in,Freck. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. CONTINUED: ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Fuck.,Fucking,fuzz.,Now,I'll,never ,,,,,,be,able,to,pull,back,into,traffic. Freck,sighs,resigns,himself,to,waiting,in,his,parking,spot and,checking,out,the,young,mini-skirted,women,walking,by. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,,,(keeping,score) ,,,,,,Fox...,fox...,not,a,fox...,fo...hey,I ,,,,,,know,that,fox! Freck,opens,his,car,door,and,jumps,out. EXT.,,ANAHEIM,STREET,-,CONTINUOUS Freck,hurries,after,a,pretty,young,woman,nineteen,with black,hair.,This,is,Donna,Hawthorne. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,,Hey! Donna,realizes,that,Freck,is,following,her,and,picks,up,her pace.,The,sidewalk,is,crowded,with,people.,Donna,weaves through,graceful,and,fast.,Freck,struggles,to,catch,up. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Hey! The,light,is,against,her,at,the,corner,and,while,the,other pedestrians,wait,for,the,WALK,sign,Donna,juts,out,into traffic,causing,a,Coke,truck,to,swerve,and,honk.,She,gives it,the,finger.,Freck,waits,with,the,others,till,the,light changes.,Then,he,runs,catches,up,with,Donna,and,walks backwards,ahead,of,her,sweating,and,panting. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Donna! She,ignores,him,keeps,walking. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Aren't,you,Bob,Arctor's,old,lady? ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,No. ,,,,,,,,(pulls,out,a,little,pocket ,,,,,,,,,knife,points,it,at,Freck) ,,,,,,Get,lost. He,widens,the,distance,between,them,to,avoid,getting,stuck. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. CONTINUED: ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Sure,you,are.,I,met,you,at,his,place. Donna,turns,and,walks,directly,toward,Freck,her,little,knife pointing,at,his,stomach.,He,jumps,out,of,the,way. ,,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,Jeez.,,I,just... Donna,keeps,walking.,Freck,shrugs,and,slouches,dejectedly away.,He,turns,and,gives,one,last,glance,over,his,shoulder. Donna,has,stopped,amid,the,bustling,foot,traffic.,She,is squinting,at,him.,Freck,cautiously,approaches,her. ,,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,,One,night,me,and,Bob,and,another,chick ,,,,,,,had,some,old,Simon,and,Garfunkel ,,,,,,,tapes.,You,were,filling,caps,with ,,,,,,,high-grade,Death,then,you,laid,one,on ,,,,,,,each,of,us. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,I,thought,you,were,going,to,knock,me ,,,,,,,down,and,bang,me. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,No.,I,just,wondered,if,you,like, ,,,,,,,wanted,a,ride,or...,Bang,you,on,the ,,,,,,,sidewalk?,In,broad,daylight? ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,I,thought,you,might,pull,me,into,a ,,,,,,,doorway,or,something. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,I,know,you.,Besides,Arctor,would ,,,,,snuff,me,if,I,did,that. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,Well,I,didn't,recognize,you.,,I'm ,,,,,sort,of,nearsighted. Donna,moves,a,few,steps,closer,to,Freck,and,squints,at,him. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,You,want,a,ride,where,you're,going? ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,You'll,bang,me,in,the,car. ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. CONTINUED: ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Nah.,Besides,I,can't,get,it,up,these ,,,,,days.,Must,be,something,they're ,,,,,adulterating,all,the,stuff,with. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,That's,a,neat-o,line,but,I've,heard ,,,,,,,it,before.,Everybody,bangs,me.,At ,,,,,,,least,they,try,to.,That's,what,it's ,,,,,,,like,to,be,a,chick. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,That,really,sucks. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I'm,suing,one,guy,right,now,for ,,,,,molestation,and,assault.,We're,asking ,,,,,punitive,damages,in,excess,of,forty ,,,,,thousand. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,How,far,he,get? ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,A,hand,around,my,boob. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,That's,not,worth,forty,thousand. INT.,CHARLES,FRECK'S,CAR,-,DAY Freck,drives,Donna,home. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Listen,you,got,anything,to,sell?,,I'm ,,,,,really,hurting. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I,can,get,it. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Tabs,though.,I,don't,shoot,up. ,,,,,Needles,are,a,bummer,to,me. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,Sixty,dollars,a,hundred. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,Jeez,man,that's,a,burn. ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. CONTINUED: ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,They're,super,good.,Take,my,word. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,All,right.,,,A,hundred,then. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,Cool.,,,How,do,I,get,in,touch? ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Charles,B.,Freck,-- Donna,pulls,a,little,pad,and,a,pencil,from,her,purse,and writes,down,Freck's,name. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,V.,Freck? ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,Charles,Freck. She,corrects,the,name.,Freck,notices,that,her,writing,is,a slow,and,childish,scrawl.,It,makes,him,sad.,Then,he,steals a,glance,at,her,breasts,as,she,writes. ,,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,658-4412. She,writes,down,the,phone,number. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I,think,I,remember,you,now. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Hey,you,want,to,go,with,me,to,see ,,,,,Jerry,Fabin?,I'm,hauling,some,of,his ,,,,,stuff,over,to,the,Number,Three,Federal ,,,,,Clinic,where,they,took,him,last,night. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I,better,not.,Jerry,thinks,I ,,,,,contaminated,him,originally,with,those ,,,,,bugs. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,They're,aphids. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,Yeah,well,then,he,didn't,know,what ,,,,,they,were. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. EXT.,ANAHEIM,STREET,-,DAY Bob,Arctor,now,out,of,his,scramble,suit,and,looking,like,a druggie,wanders,depressed,and,aimless,along,a,crowded street.,He,passes,a,McDonald's,a,7-11,a,mirrored,office building,pulls,a,pill,box,from,his,pocket,and surreptitiously,swallows,two,capsules.,He,studies,his reflection,in,the,office,building.,Behind,him,on,the,street are,the,disapproving,reflections,of,passing,straights.,He blends,back,into,the,flow,of,foot,traffic.,A,grungy,hippy smiles,at,him.,Arctor,nods,passes,another,McDonald's.,He passes,a,third,McDonald's,almost,immediately. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Fucking,McDonaldburger's,is,taking ,,,,,over. EXT.,PHONE,BOOTH,-,LATER Arctor,dials,the,phone,and,takes,a,bite,from,a,partially unwrapped,McDonald's,hamburger.,He,chews,as,the,phone,rings. ,,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Hello? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Donna.,,How,you,doin'?,It's,Bob. ,,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,,,(pause) ,,,,,Oh.,,Hi. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,How's,your,head,today,man? ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Eh.,I,was,bumtripped,this,a.m.,by,my ,,,,,boss.,This,gray,hair,bilked,us,out,of ,,,,,ten,bucks.,So,my,boss,says,it's ,,,,,coming,out,of,my,paycheck! ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Hey,can,I,get,anything,from,you? ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,,(resistant) ,,,,,I,don't,know. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Ten.,,Just,ten. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. CONTINUED: ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Yeah,okay.,I'll,come,over,tonight. ,,,,,Hey,I,have,this,book,I,want,to,show ,,,,,you.,About,wolves. ,,,,,,,,,,,,,BOB,ARCTOR ,,,,,Oh,wow. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,You,know,what,the,male,wolf,does,when ,,,,,he,defeats,a,foe?,He,doesn't,snuff ,,,,,him.,He,pees,on,him!,Then,he,splits. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,I,peed,on,some,people,today. ,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,No,kidding?,,How,come? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Metaphorically,peed,I,mean. ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Not,the,usual,way? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,What,I,mean,is,I,told,this,group,of... Arctor,realizes,he's,saying,too,much.,He,tries,to,cover. He,glances,at,a,Foster's,Freeze,across,the,street,with,some Hell's,Angels,in,the,parking,lot. ,,,,,,,,,,,,,BOB,ARCTOR,(CONT'D) ,,,,,,,...,biker-types,at,the,Foster's ,,,,,,,Freeze.,I,was,cruising,around,and ,,,,,,,they,said,something,raunchy,so,I ,,,,,,,turned,and,said,something,like,-- Arctor,has,no,idea,what,to,say.,,Suddenly,he's,exhausted. ,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,You,can,tell,me,even,if,it's,super ,,,,,,,gross.,You,have,to,be,super,gross,with ,,,,,,,biker-types. ,,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,I,told,'em,I'd,rather,ride,a,pig,than ,,,,,,,a,hog. ,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,,,(beat) ,,,,,,,I,don't,get,it. ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,18. CONTINUED: ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Well,a,pig,is,a,chick,that,-- ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Oh.,Okay,well,I,get,it.,Barf.,Oh, ,,,,,I,forgot,to,tell,you,your,roommates, ,,,,,Ernie,What's-His-Name,and,Barris,came ,,,,,into,the,shop,today,looking,for,you. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,They,didn't,try,me,at,my,job,did,they? ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,I,dunno.,They,said,they,wanted,to,use ,,,,,your,cephalochromoscope,and,it,didn't ,,,,,work.,So,Barris,took,it,apart,-- ,,,,,,,,,,,,BOB,ARCTOR ,,,,,The,hell,you,say,-- ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,And,apparently,it's,been,sabotaged. ,,,,,The,wires,cut,and,sort,of,weird,stuff ,,,,,like,that.,Barris,said,he'd,-- ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Fuck,Barris!,That,cephscope,cost,me ,,,,,nine,hundred,dollars.,I,need,to,get ,,,,,home,right,now.,But,I,gotta...,Oh, ,,,,,fuck,man.,Fuck,fuck,fuck,Barris! ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,You,gotta,what? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,I,gotta,run,an,errand,and,like,that. INT.,BOB,ARCTOR'S,CAR,-,DAY Arctor,parks,across,from,the,New-Path,Drug,Rehab,Facility,a converted,wood,frame,house.,He,checks,the,police,photo,of Erroll,Weeks,a.k.a,Spade,Weeks,shoves,it,into,his,glove compartment,and,heads,business-like,toward,the,building. SHOT,OF,NOTEBOOK,PAGE,DAPPLED,WITH,SUNLIGHT Children,play,in,the,background.,Someone,skims,the,entry,as the,offhand,voice-over,reads,along. ,,,,,,,,,,,,BOB,ARCTOR,,(V.O.) ,,,,,The,S.O.,believes,Spade,,Weeks,has,lost ,,,,,himself,inside,New-Path,,by,posing,as,a ,,,,,junky.,New-Path,strips,,junkies,of,all ,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,19. CONTINUED: ,,,,,,,,,,,,BOB,ARCTOR,(cont'd) ,,,,,i.d.,and,gives,them,new,names,as,part ,,,,,of,personality,rebuilding,process. ,,,,,It'
3	Aladdin	Roger Allers,Ron Clements	Animation,Family,Musical,Fantasy,Comedy	December_1992	PEDDLER:,,Oh,I,come,from,a,land ,,From,a,faraway,place ,,Where,the,caravan,camels,roam ,,Where,they,cut,off,your,ear,/Where,it's,flat,and,immense ,,If,they,don't,like,your,face,/And,the,heat,is,intense ,,It's,barbaric,but,hey--it's,home! ,,When,the,wind's,at,your,back ,,And,the,sun's,from,the,west ,,And,the,sand,in,the,glass,is,right ,,Come,on,down, ,,Stop,on,by ,,Hop,a,carpet,and,fly ,,To,another,Arabian,night! ,,Arabian,nights ,,Like,Arabian,days ,,More,often,than,not ,,Are,hotter,than,hot ,,In,a,lot,of,good,ways ,,Arabian,nights ,,'Neath,Arabian,moons ,,A,fool,off,his,guard ,,Could,fall,and,fall,hard ,,Out,there,on,the,dunes. ,,Ah,Salaam,and,good,evening,to,you,worthy,friend. ,,Please,please,come,closer--(Camera,zooms,in,hitting ,,peddler,in,face),Too,close,a,little,too,close.,(Camera ,,zooms,back,out,to,CU)There.Welcome,to,Agrabah.,City,of ,,mystery,of,enchantment,and,the,finest,merchandise,this ,,side,of,the,river,Jordan,on,sale,today,come,on,down! ,,Heh,heh.,Look,at,this!,Yes!,Combination,hookah,and ,,coffee,maker--also,makes,Julienne,fries.,Will,not,break ,,(taps,it,on,table),will,not--(it,falls,apart)--it ,,broke.,Ooohhh!,Look,at,this!,Pulls,out,Tupperware),I ,,have,never,seen,one,of,these,intact,before.,This,is,the ,,famous,Dead,Sea,Tupperware.,Listen.,(Pries,it,open, ,,makes,raspberry,sound.),Ah,still,good.,(Camera,begins ,,to,pan,to,right.,PEDDLER,hurries,to,catch,it.),Wait, ,,don't,go!,(Stop,pan.)I,can,see,that,you're,only ,,interested,in,the,exceptionally,rare.,I,think,then,you ,,would,be,most,rewarded,to,consider...this.,(PEDDLER ,,pulls,the,MAGIC,LAMP,out,from,his,sleeve.),Do,not,be ,,fooled,by,its,commonplace,appearance.,Like,so,many ,,things,it,is,not,what,is,outside,but,what,is,inside ,,that,counts.,(Another,pan,this,one,slower,to,left. ,,Again,PEDDLER,rushes,to,catch,up.),This,is,no,ordinary ,,lamp!,It,once,changed,the,course,of,a,young,man's,life. ,,A,young,man,who,liked,this,lamp,was,more,than,what,he ,,seemed.,A,diamond,in,the,rough.,Perhaps,you,would,like ,,to,hear,the,tale?,(PEDDLER,pours,shiny,sand,from,the ,,lamp,into,his,hand.),It,begins,on,a,dark,night,(PEDDLER ,,throws,sand,into,the,sky,where,it,forms,a,starry ,,nightscape.),,where,a,dark,man,waits,with,a,dark ,,purpose. (Camera,tilts,down,to,find,JAFAR,sitting,on,his,horse,and,IAGO ,,on,his,shoulder.,GAZEEM,comes,riding,up,to,the,pair.) JAFAR:,You...are,late. GAZEEM:A,thousand,apologies,O,patient,one. JAFAR:,You,have,it,then? GAZEEM:I,had,to,slit,a,few,throats,to,get,it.,(Pulls,out ,,,,half,of,the,medallion.,JAFAR,reaches,out,for,it, ,,,,but,GAZEEM,yanks,it,back.),Ah,ah,ahhh!,The,treasure! ,,,,(IAGO,squawks,as,he,flies,by,and,grabs,the,medallion.),Ouch! JAFAR:,Trust,me,my,pungent,friend.,You'll,get,what's ,,,,coming,to,you. IAGO:,,What's,coming,to,you!,Awk! (JAFAR,pulls,out,the,second,half,of,the,medallion.,He,connects ,,them,and,the,insect,medallion,begins,to,glow.,Finally,it ,,flies,out,of,JAFAR's,hand,scaring,the,horses,and,is,off ,,towards,the,dunes.) JAFAR:,Quickly,follow,the,trail! (All,ride,off,following,the,glowing,speck,of,light,until ,,it,reaches,a,large,dune.,It,separates,into,two,and,the ,,halves,plunge,into,the,dune.,All,that,remains,are,two,glowing ,,points,of,light,on,the,dune.,But,then,the,dune,begins,to,rise ,,,up,transforming,into,a,giant,lion's,head,with,the,glowing ,,points,serving,as,the,eyes.) JAFAR:,At,last,after,all,my,years,of,searching,,the,cave ,,,,of,wonders! IAGO:,,,,Awk!,Cave,of,wonders! GAZEEM:,By,Allah! JAFAR:,Now,remember!,Bring,me,the,lamp.,The,rest,of,the ,,,,treasure,is,yours,but,the,lamp,is,mine! (GAZEEM,starts,to,approach,the,lion's,mouth,which,forms,the ,,entrance,to,the,cave.,He,chuckles,as,he,goes.) IAGO:,,Awk,the,lamp!,Awk,,the,lamp!,(Now,that,IAGO,and ,,JAFAR,are,alone,IAGO,opens,up,in,normal,English.) ,,Jeez,where'd,ya,dig,this,bozo,up? (JAFAR,puts,his,finger,to,his,lips,and,shushes,him.,GAZEEM,reaches ,,the,cave,but,is,blown,away,by,the,roar,of,the,cave's,speaking.) CAVE:,,,,Who,disturbs,my,slumber? GAZEEM:,It,is,I,Gazeem,a,humble,thief. CAVE:,,,,Know,this.,Only,one,may,enter,here.,One,whose ,,,,worth,lies,far,within.,A,diamond,in,the,rough. (GAZEEM,turns,to,JAFAR,with,a,questioning,look.) JAFAR:,What,are,you,waiting,for?,Go,on! (GAZEEM,hesitates,then,moves,one,foot,inside,the,cave.,With ,,great,apprehension,he,plants,his,foot,down.,Nothing,happens. ,,,Relieved,he,begins,his,trek,again.,Then,another,roar,comes. ,,,He,turns,back,but,the,lion's,mouth,slams,shut,and,the,dune ,,collapses,back,to,normal.,All,that,are,left,are,JAFAR,IAGO, ,,,and,the,two,separated,halves,of,the,medallion.) CAVE:,,,,Seek,thee,out,the,diamond,in,the,rough. (IAGO,unburied,himself,from,the,sand,coughing,as,he,does,so.) IAGO:,,,,I,can't,believe,it.,I,just,don't,believe,it.,We're ,,,,never,gonna,get,a,hold,of,that,stupid,lamp!,Just ,,,,forget,it.,Look,at,this.,Look,at,this.,I'm,so ,,,,ticked,off,that,I'm,molting!,(He,flies,up,to ,,,,JAFAR's,shoulder.) JAFAR:,Patience,Iago.,Patience.,Gazeem,was,obviously ,,,,less,than,worthy. IAGO:,,,,(Extremely,sarcastically),Oh,there's,a,big ,,,,surprise.,That's,an,incred--I,think,I'm,gonna,have ,,,,a,heart,attack,and,die,from,not,surprise!,What're ,,,,we,gonna,do?,We,got,a,big,problem,here,a,big,prob- ,,,,(JAFAR,pinches,his,beak,shut.) JAFAR:,Yes,we,do.,Only,one,may,enter.,I,must,find,this ,,,,one,this...diamond,in,the,rough. (Cut,to,a,rooftop,where,ALADDIN,rushes,up,to,the,edge,carrying ,,a,loaf,of,bread.,He,almost,drops,it,over,the,edge.) GUARD:,Stop,thief!,I'll,have,your,hands,for,a,trophy, ,,,,street,rat! ALADDIN:,,(Looks,back,then,down,then,at,the,bread.),All ,,,,this,for,a,loaf,of,bread? (He,jumps,off,landing,on,two,ropes,strung,between,buildings,with ,,drying,clothes,on,them.,He,skies,down,them,collecting,bits ,,and,pieces,of,clothing,on,him,as,he,goes.,Finally,he's ,,nearing,the,end,of,the,rope,at,a,window,when,a,woman,reaches ,,,out,and,slams,the,shutters,closed.,ALADDIN,slams,into,the ,,shutters,and,falls,to,the,street,his,fall,being,broken,by ,,numerous,awnings,and,the,pile,of,clothes,around,him.,He,pulls ,,,off,the,top,layer,of,clothes,and,is,about,to,enjoy,his,bread ,,when...) GUARD,1:,,There,he,is! GUARD,2:,,You,won't,get,away,so,easy! ALADDIN:,,You,think,that,was,easy? (He,looks,at,three,women,laughing,at,him.) GUARD,1:,,You,two,over,that,way,and,you,with,me.,We'll ,,,,find,him. (ALADDIN,pulls,a,sheet,over,him,and,wraps,himself,as,a,disguise. ,,He,rushes,over,to,the,women.) ALADDIN:,,Morning,ladies. WOMAN,1:,,Getting,into,trouble,a,little,early,today,aren't ,,,,we,Aladdin? ALADDIN:,,Trouble?,No,way.,You're,only,in,trouble,if,you ,,,,get,caught-- (A,hand,grabs,ALADDIN's,shoulder,and,yanks,him,back.,It's,the ,,first,GUARD.,ALADDIN's,disguise,falls,off.) ALADDIN:,,I'm,in,trouble! GUARD:,...and,this,time--(A,screeching,sound,from,ABU, ,,,,then,the,guard's,turban,is,pulled,down,over,his ,,,,eyes.,ABU,dances,on,the,GUARD's,head,laughing.) ALADDIN:,,Perfect,timing,Abu! ABU:,,,,Hello! ALADDIN:,,Come,on,let's,get,outta,here! ,,,,Gotta,keep...one,jump,ahead,of,the,breadline ,,,,One,swing,ahead,of,the,sword ,,,,I,steal,only,what,I,can't,afford ,,,,That's,everything! (ALADDIN,battles,a,GUARD,wielding,a,sword.,He,dodges,a,couple,of ,,swings,then,pulls,down,the,GUARD's,pants.,ABU,raspberries,the ,,GUARD,then,dodges,an,attack.,The,GUARD,swings,at,ALADDIN, ,,but,destroys,a,barrel,of,fish.,As,ALADDIN,runs,off,the,GUARD ,,,pulls,a,fish,over,his,lower,body,as,a,pair,of,pants.) ,,,,One,jump,ahead,of,the,lawmen ,,,,That's,all,and,that's,no,joke ,,,,These,guys,don't,appreciate,I'm,broke! (ALADDIN,and,ABU,scamper,up,a,pile,of,barrels,then,kick,one,down ,,on,top,of,another,GUARD.) GUARDS:,(one,at,a,time),Riffraff!,Street,rat! ,,,,Scoundrel!,Take,that! ALADDIN:,,Just,a,little,snack,guys! (ALADDIN,scampers,to,the,top,of,a,platform.,The,GUARDS,shake,the ,,platform,back,and,fro,trying,to,knock,him,off.) GUARDS:,Rip,him,open,take,it,back,guys! ALADDIN:,,I,can,take,a,hint,gotta,face,the,facts ,,,,You're,my,only,friend,Abu! WOMEN:,Who?!? (ALADDIN,jumps,off,the,platform,to,certain,death,only,to,grab,ABU's ,,hands,like,an,acrobat.,The,pair,swing,into,a,harem.) ,,,,Oh,it's,sad,Aladdin's,hit,the,bottom ,,,,He's,become,a,one-man,rise,in,crime (ABU,finds,a,plate,full,of,fruit,and,stuffs,his,mouth,full,like,a ,,chipmunk.) WOMAN:,I'd,blame,parents,except,he,hasn't,got,'em! ALADDIN:,,Gotta,eat,to,live,gotta,steal,to,eat ,,,,Tell,you,all,about,it,when,I,got,the,time! (ALADDIN,and,ABU,exit.,Cut,to,MUSCLEMAN,flexing,to,a,crowd.,The ,,GUARDS,rush,past.,Cut,to,ALADDIN,and,ABU,behind,the,MUSCLEMAN, ,,,matching,his,moves,until,they,make,a,mistake,and,are,discovered.) ,,,,One,jump,ahead,of,the,slowpokes ,,,,One,skip,ahead,of,my,doom ,,,,Next,time,gonna,use,a,nom,de,plume. ,,,,One,jump,ahead,of,the,hitmen ,,,,One,hit,ahead,of,the,flock ,,,,I,think,I'll,take,a,stroll,around,the,block. (A,chase,sequence,in,which,ALADDIN,and,ABU,pursued,by,the,GUARDS, ,,race,through,a,flock,of,sheep,hurdle,a,MAN,sleeping,on,a,bed,of ,,nails,{of,course,one,extremely,large,GUARD,lands,on,him}.,ABU ,,,disguises,himself,with,jewels,until,a,SHOPKEEPER,discovers,him. CROWD:,Stop,thief!,Vandal! ,,,,Outrage!,Scandal! ALADDIN:,,Let's,not,be,too,hasty (ALADDIN,is,surrounded,by,GUARDS,in,front,of,a,door.,The,door,opens ,,and,a,large,ugly,LADY,comes,out.) LADY:,,Still,I,think,he's,rather,tasty (ALADDIN,tumbles,away,then,puts,his,arm,around,a,GUARD,acting ,,like,they're,all,chums.) ALADDIN:,,Gotta,eat,to,live,gotta,steal,to,eat ,,,,Otherwise,we'd,get,along! GUARDS:,WRONG! (They,all,jump,into,a,pile,and,fight.,When,they,stop,ALADDIN,and ,,ABU,are,gone.,They,are,sneaking,away,in,barrels.,They,run ,,across,a,flaming,pit,followed,by,GUARDS,who,hop,up,and,down, ,,screaming,in,pain,as,they,cross,the,rocks.,ALADDIN,and,ABU ,,pass,a,SWORD,SWALLOWER,then,ABU,goes,back,pulls,the,sword ,,out,of,the,SWALLOWER's,mouth.,ABU,advances,on,the,guards, ,,who,retreat,in,fear.) GUARD,1:,,He's,got,a,sword! GUARD,2:,,You,idiot--we've,ALL,got,swords!! (ABU,sets,the,sword,down,gently,then,runs.,ALADDIN,and,ABU,are ,,once,again,surrounded,with,GUARDS,coming,from,left,and,right. ,,,He,jumps,up,and,climbs,a,robe,trick,being,done,on,the,street, ,,,as,the,GUARDS,all,crash,into,each,other.) ALADDIN:,,One,jump,ahead,of,the,hoofbeats! CROWD:,Vandal! ALADDIN:,,One,hop,ahead,of,the,hump! CROWD:,Street,rat! ALADDIN:,,One,trick,ahead,of,disaster CROWD:,Scoundrel! ALADDIN:,,They're,quick--but,I'm,much,faster CROWD:,Take,that! (The,GUARDS,chase,ALADDIN,up,a,staircase,into,a,room.,He,grabs,a ,,,carpet,and,jumps,out,the,window) ALADDIN:,,Here,goes,better,throw,my,hand,in ,,,,Wish,me,happy,landin' ,,,,All,I,gotta,do,is,jump! (The,GUARDS,follow,him,out,the,window,but,they,go,straight,down,to ,,,the,street,and,land,in,a,pile,with,the,sign,"Crazy,Hakim's ,,Discount,Fertilizer.",ALADDIN,uses,the,carpet,as,a,parachute ,,to,land,safely,and,out,of,danger.,ALADDIN,and,ABU,high-five,each ,,other.) ALADDIN:,,And,now,esteemed,effendi,we,feast!,All,right! (ALADDIN,breaks,the,bread,in,two,and,gives,half,to,ABU,who,begins ,,to,eat.,But,ALADDIN,looks,over,and,sees,two,young,children ,,rummaging,through,the,garbage,for,food.,The,GIRL,sees,him,then ,,drops,her,find,and,tries,to,hide.,ALADDIN,looks,at,them,then ,,the,bread,then,at,ABU.) ABU:,,,,Uh-oh! (ABU,takes,a,big,bite,of,his,food,but,ALADDIN,gets,up,and,walks ,,over,to,the,children.,The,GIRL,pulls,her,brother,back.) ALADDIN:,,Here,go,on--take,it. (The,children,giggle,with,delight.,ABU,tries,to,swallow,his,bite, ,,then,looks,guilty.,He,walks,over,to,the,children,and,offers,his ,,,bread,to,them.,In,delight,they,pet,him,on,the,head.) ABU:,,,,Ah,don't.,Huh? (ABU,sees,ALADDIN,walking,into,the,daylight,where,there,is,a,parade ,,going,on.ALADDIN,peers,over,the,shoulders,of,people.,He,sees ,,PRINCE,ACHMED,riding,on,a,horse.) BYSTANDER,1:,,On,his,way,to,the,palace,I,suppose. BYSTANDER,2:,,Another,suitor,for,the,princess. (ALADDIN,is,startled,as,the,two,children,come,running,out,from,the ,,alley.,The,BOY,runs,out,in,front,of,the,PRINCE's,horse, ,,startling,it.) PRINCE:,Out,of,my,way,you,filthy,brat! (The,PRINCE,brings,up,his,whip,to,attack,the,children,but,ALADDIN ,,jumps,in,front,of,them,and,catches,the,whip.) ALADDIN:,,Hey,if,I,were,as,rich,as,you,I,could,afford,some,manners PRINCE:,Oh--I,teach,you,some,manners! (The,PRINCE,kicks,ALADDIN,into,a,mud,puddle.,The,crowd,laugh,at,him.) ALADDIN:,,Look,at,that,Abu.,It's,not,every,day,you,see,a ,,,,horse,with,two,rear,ends! (The,PRINCE,stops,and,turns,back,to,ALADDIN.) PRINCE:,You,are,a,worthless,street,rat.,You,were,born,a ,,,,street,rat,you'll,die,a,street,rat,and,only ,,,,your,fleas,will,mourn,you. (ALADDIN,rushes,the,PRINCE,but,the,doors,to,the,castle,slam,shut ,,in,his,face.) ALADDIN:,,I'm,not,worthless.,And,I,don't,have,fleas.,Come ,,,,on,Abu.,Let's,go,home. (ALADDIN,makes,the,climb,to,his,home,with,the,view,then,tucks,in ,,ABU,for,the,night.) ALADDIN:,,Riffraff,street,rat. ,,,,I,don't,buy,that. ,,,,If,only,they'd,look,closer ,,,,Would,they,see,a,poor,boy?,No,siree. ,,,,They'd,find,out,there's,so,much,more,to,me. (He,pulls,back,a,curtain,to,reveal,the,beautiful,palace.) ,,,,Someday,Abu,things,are,gonna,change.,We'll,be ,,,,rich,live,in,a,palace,and,never,have,any,problems ,,,,at,all. (Dissolve,to,same,shot,during,day.,Cut,to,int.,of,SULTAN's,chamber. ,,,The,door,bursts,open,and,PRINCE,ACHMED,storms,in,missing,the ,,rear,end,of,his,pants.) PRINCE:,I've,never,been,so,insulted! SULTAN:,Oh,Prince,Achmed.,You're,not,leaving,so,soon,are ,,,,you? PRINCE:,Good,luck,marrying,her,off! SULTAN:,Oh,Jasmine!,Jasmine!,Jasmine!,(The,SULTAN,goes ,,,,off,into,the,garden,looking,for,his,daughter.,He ,,,,finds,her,but,is,interrupted,by,RAJAH,JASMINE's ,,,,pet,tiger,who,blocks,him,off.,RAJAH,has,a,piece ,,,,of,the,PRINCE's,undershorts,in,his,mouth.The,SULTAN ,,,,grabs,the,cloth,and,yanks,it,out,of,RAJAH's,mouth.) ,,,,Confound,it,Rajah!,So,this,is,why,Prince,Achmed ,,,,stormed,out! JASMINE:,,Oh,father.,Rajah,was,just,playing,with,him, ,,,,weren't,you,Rajah.,(RAJAH,comes,over,and,allows ,,,,JASMINE,to,pet,and,hug,him.),You,were,just,playing ,,,,with,that,overdressed,self-absorbed,Prince,Achmed, ,,,,weren't,you?,(She,cuddles,with,RAJAH,enjoying,the ,,,,moment,until,she,looks,up,at,her,angry,father.,) ,,,,Ahem. SULTAN:,Dearest,you've,got,to,stop,rejecting,every,suitor ,,,,that,comes,to,call.,The,law,says,you... BOTH:,,,,...must,be,married,to,a,prince. (They,walk,over,to,a,dove,cage.) SULTAN:,By,your,next,birthday. JASMINE:,,The,law,is,wrong. SULTAN:,You've,only,got,three,more,days! JASMINE:,,Father,,I,hate,being,forced,into,this.,(She,takes ,,,,a,dove,out,of,the,cage,and,pets,it.),If,I,do,marry, ,,,,I,want,it,to,be,for,love. SULTAN:,Jasmine,it's,not,only,this,law.,(She,hands,him ,,,,the,dove,and,he,puts,it,back,in,the,cage.),I'm,not ,,,,going,to,be,around,forever,and,I,just,want,to,make ,,,,sure,you're,taken,care,of,provided,for. JASMINE:,,Try,to,understand.,I've,never,done,a,thing,on,my ,,,,own.,(She,swirls,her,finger,in,the,water,of,the ,,,,pond,petting,the,fish.)I've,never,had,any,real ,,,,friends.,(RAJAH,looks,up,at,her,and,growls.) ,,,,Except,you,Rajah.,(Satisfied,he,goes,back,to ,,,,sleep.),I've,never,even,been,outside,the,palace ,,,,walls. SULTAN:,But,Jasmine,you're,a,princess. JASMINE:,,Then,maybe,I,don't,want,to,be,a,princess.,(She ,,,,splashes,the,water.) SULTAN:,Oooohhh!,Allah,forbid,you,should,have,any ,,,,daughters! (RAJAH,looks,up,and,thinks,for,a,second.,JASMINE,goes,to,the,dove ,,cage,and,yanks,open,the,door.,The,birds,fly,off,into,freedom. ,,,She,watches,them,go.,Cut,to,int.,of,SULTAN's,chambers.) SULTAN:,I,don't,know,where,she,gets,it,from.,Her,mother ,,,,wasn't,nearly,so,picky.,(A,shadow,falls,over,him. ,,,,He,looks,up,startled,and,sees,JAFAR.),Ooh,oh. ,,,,Ah,Jafar--my,most,trusted,advisor.,I,am,in ,,,,desperate,need,of,your,wisdom. JAFAR:,My,life,is,but,to,serve,you,my,lord.,(He,bows.) SULTAN:,It's,this,suitor,business.,Jasmine,refuses,to ,,,,choose,a,husband.,I'm,at,my,wit's-end. IAGO:,,(In,the,parrot,voice),Awk!,Wit's-end. SULTAN:,Oh,ha,ha.,Have,a,cracker,pretty,polly!,(He ,,,,pulls,a,cracker,out,from,his,pocket.,IAGO,looks ,,,,terrified.,Then,the,SULTAN,stuffs,it,in,IAGO's ,,,,mouth.,IAGO,grimaces,as,he,tries,to,eat,it.,JAFAR ,,,,and,the,SULTAN,both,laugh.) JAFAR:,Your,majesty,certainly,has,a,way,with,dumb,animals. ,,,,(IAGO,glares,at,him.),Now,then,perhaps,I,can ,,,,divine,a,solution,to,this,thorny,problem. SULTAN:,If,anyone,can,help,it's,you. JAFAR:,Ah,but,it,would,require,the,use,of,the,mystic,blue ,,,,diamond. SULTAN:,Uh,my,ring?,But,it's,been,in,the,family,for ,,,,years. JAFAR:,It,is,necessary,to,find,the,princess,a,suitor. ,,,,(JAFAR,says,the,word,'princess',with,the,accent,on ,,,,the,second,syllable,"cess.",He,turns,his,staff ,,,,with,a,cobra,head,towards,the,SULTAN.,The,eyes,of ,,,,the,staff,begin,to,glow.,The,room,darkens,JAFAR's ,,,,voice,slows,down,and,deepens.,The,SULTAN's,eyes ,,,,get,a,hypnotized,look.),Don't,worry.,Everything ,,,,will,be,fine. SULTAN:,Everything...will,be...fine. JAFAR:,The,diamond. SULTAN:,Here,Jafar.,Whatever,you,need,will,be,fine. (The,SULTAN,removes,his,ring,and,hands,it,to,JAFAR.,The,room,returns ,,to,normal,as,JAFAR,pulls,back,the,staff.) JAFAR:,You,are,most,gracious,my,liege.,Now,run,along,and ,,,,play,with,your,little,toys. SULTAN:,(Still,hypnotized),Yes...that'll,be...pretty,good. (JAFAR,and,IAGO,exit.,We,follow,them.,When,they're,out,of,the,room, ,,the,parrot,spits,out,the,cracker.) IAGO:,,,,I,can't,take,it,anymore!,If,I,gotta,choke,down,on ,,,,one,more,of,those,moldy,disgusting,crackers...bam! ,,,,Whack! (JAFAR,pulls,a,rope,which,reveals,a,hidden,entrance,to,his,chambers.) JAFAR:,Calm,yourself,Iago. IAGO:,,,,Then,I'd,grab,him,around,the,head.,Whack!,Whack! JAFAR:,(Speaking,over,IAGO.),Soon,I,will,be,sultan,not ,,,,that,addlepated,twit. IAGO:,,,,And,then,I,stuff,the,crackers,down,his,throat!,Ha ,,,,ha! (The,pair,pass,through,a,door,and,slam,it,shut.,Diss.,to,ext.,gardens ,,at,night.,A,shadowy,figure,walks,through.,We,see,it,is,JASMINE ,,in,disguise.,She,reaches,the,palace,wall,then,begins,to,climb,it. ,,,She,is,tugged,from,behind,by,RAJAH.) JASMINE:,,Oh,I'm,sorry,Rajah.,But,I,can't,stay,here,and ,,,,have,my,life,lived,for,me.,I'll,miss,you.(She ,,,,begins,to,climb,again,and,is,helped,up,by,RAJAH, ,,,,who,begins,to,whine,and,whimper.),Good,bye! (She,disappears,over,the,wall.,Cut,to,daytime,on,the,street,ALADDIN ,,and,ABU,are,up,to,their,capers,again.,They,are,on,top,of,the ,,awning,of,a,fruit,stand.) ALADDIN:,,,,Okay,Abu.,Go! (ABU,dips,over,the,edge,and,looks,at,the,PROPRIETOR.) PROPRIETOR:,(To,passing,crowd),Try,this,your,taste,buds ,,,,,,will,dance,and,sing.,(ABU,grabs,a,melon,and ,,,,,,hangs,there,distracting,his,attention.),Hey, ,,,,,,get,your,paws,off,that. ABU:,,,,,,Blah,blah,blah! PROPRIETOR:,Why,you!,Get,away,from,here,you,filthy,ape! (He,grabs,the,melon,away,from,ABU.,But,in,the,foreground,ALADDIN ,,dips,down,and,snatches,another,melon,from,the,stand.) ABU:,,,,,,Bye,bye! (He,zings,back,up.,The,PROPRIETOR,takes,the,melon,to,the,front, ,,where,he,places,it,on,top,of,a,stack.,He,looks,confused,like ,,he,has,just,done,this.) ALADDIN:,,Nice,goin',Abu.,Breakfast,is,served. (ALADDIN,and,ABU,on,the,roof,break,open,the,melon,and,eat.,We,see,J ,,ASMINE,walking,through,the,street.) SHOPKEEPER,1:,,Pretty,lady,buy,a,pot.,No,finer,pot,in,brass ,,,,,,or,silver. SHOPKEEPER,2:,,Sugar,dates,sugar,dates,and,figs!,Sugar ,,,,,,dates,and,pistachios! SHOPKEEPER,3:,,Would,the,lady,like,a,necklace.,A,pretty ,,,,,,necklace,for,a,pretty,lady. (She,is,charmed,by,the,action,but,is,startled,by,a,fish,thrust ,,into,her,face.) SHOPKEEPER,4:,,Fresh,fish!,We,catch,'em,you,buy,'em! JASMINE:,,I,don't,think,so.,(She,backs,away,but,bumps,into ,,,,a,fire,eater,who,is,startled,into,swallowing,his ,,,,fire.),Oh,excuse,me.,(He,gulps,then,belches ,,,,fire,from,his,mouth.,JASMINE,is,disgusted.,He,is ,,,,pleased,and,taps,his,stomach.,ALADDIN,sees,her, ,,,,and,a,strange,look,comes,over,his,face.),I'm ,,,,really,very,sorry. ALADDIN:,,(He's,obviously,deeply,in,love,with,her.),Wow! (She,pulls,the,hood,of,her,cloak,over,her,head.,ABU,sees,him,and ,,jumps,up,on,his,shoulder,waving,his,hand,in,front,of,ALADDIN's ,,face.) ABU:,,,,Uh,oh.,Hello?,Hello? (JASMINE,stops,at,the,fruit,stand,and,sees,a,young,homeless,child ,,reaching,for,a,piece,of,fruit.,She,picks,one,up,and,gives,it,to ,,him.) JASMINE:,,,,Oh,you,must,be,hungry.,Here,you,go.,(The ,,,,,,boy,runs,off.) PROPRIETOR:,You'd,better,be,able,to,pay,for,that. JASMINE:,,,,(Mystified),Pay? PROPRIETOR:,No,one,steals,from,my,cart! JASMINE:,,,,Oh,I'm,sorry,sir.,I,don't,have,any,money. PROPRIETOR:,Thief! JASMINE:,,,,Please,if,you,let,me,go,to,the,palace,I,can ,,,,,,get,some,from,the,Sultan. PROPRIETOR:,Do,you,know,what,the,penalty,is,for,stealing? (He,takes,her,hand,and,pins,it,down,on,the,table,intending,to ,,chop,it,off.) JASMINE:,,,,No,no,please! (The,sword,drops,but,his,hand,is,stopped,by,ALADDIN's.) ALADDIN:,,,,Thank,you,kind,sir.,I'm,so,glad,you've,found ,,,,,,her.,I've,been,looking,all,over,for,you. JASMINE:,,,,(whispering),What,are,you,doing? ALADDIN:,,,,(whispering,back),Just,play,along. PROPRIETOR:,You,know,this,girl? JASMINE:,,,,Sadly,yes.,She,is,my,sister.,She's,a,little ,,,,,,crazy.,(He,circles,his,finger,around,his,ear. ,,,,,,She,is,shocked.,The,PROPRIETOR,grabs,him,by ,,,,,,the,vest.) PROPRIETOR:,She,said,she,knows,the,Sultan! ALADDIN:,,,,She,thinks,the,monkey,is,the,Sultan. (ABU,is,picking,a,pocket.,He,hears,this,then,straightens,up. ,,JASMINE,playing,along,kneels,and,bows,to,ABU.) JASMINE:,,,,Oh,wise,Sultan.,How,may,I,serve,you? ABU:,,,,,,Well,blah,blah,blah,blah. ALADDIN:,,,,Tragic,isn't,it?,(He,leans,forward,picking ,,,,,,up,another,apple,from,the,cart,with,his ,,,,,,foot.),But,no,harm,done.,(Walks,over,to ,,,,,,Jasmine.),Now,come,along,sis.,Time,to,see,the ,,,,,,doctor. JASMINE:,,,,(To,a,camel,standing,nearby),Oh,hello,doctor. ,,,,,,How,are,you? ALADDIN:,,,,No,no,no.,Not,that,one.,(To,ABU,whose ,,,,,,pockets,are,bulging.),Come,on,Sultan. (ABU,bows,to,the,crowd,and,everything,he's,stolen,from,the,cart,falls ,,out.) PROPRIETOR:,Huh?,What,is,it?,(ABU,picks,up,what,he,can ,,,,,,carry,and,the,trio,run,off.),Come,back,here, ,,,,,,you,little,thieves! (Cut,to,int.,of,JAFAR's,lab.,IAGO,is,running,on,a,gear,in,a,bizarre ,,contraption.,At,the,top,of,the,contraption,is,a,storm,brewing.) IAGO:,,,,(huffing,and,puffing),With,all,due,respect,your ,,,,rottenness,couldn't,we,just,wait,for,a,real,storm? JAFAR:,Save,your,breath,Iago.,Faster!,(He,places,the ,,,,SULTAN's,ring,in,the,contraption.) IAGO:,,,,Yes,o,mighty,evil,one. (IAGO,runs,faster.,A,lightning,bolt,streaks,through,the,ring,passing ,,into,an,hourglass,below.,The,sands,begin,to,swirl.) JAFAR:,Ah,sands,of,time--reveal,to,me,the,one,who,can ,,,,enter,the,cave.,(The,sand,in,top,forms,the,Cave,of ,,,,Wonders.,It,falls,through,into,a,storm,but,it ,,,,shows,ALADDIN,climbing,up,a,ladder,followed,by ,,,,JASMINE,who,is,covered,in,her,cloak.),Yes,yes! ,,,,There,he,is.,My,diamond,in,the,rough! IAGO:,,,,That's,him?!?!,,That's,the,clown,we've,been ,,,,waitin',for?,(IAGO,loses,his,footing,and,is,sucked ,,,,into,the,gears.) JAFAR:,Let's,have,the,guards,extend,him,an,invitation,to ,,,,the,palace,shall,we? (IAGO,goes,flying,past,and,slams,into,the,wall,upside,down.) IAGO:,,Swell. (JAFAR,laughs,hideously,and,the,camera,zooms,in,on,the,sandstorm,with ,,ALADDIN,in,it.,Finally,we,dissolve,into,the,real,ALADDIN,climbing ,,to,the,top,of,the,ladder,followed,by,JASMINE.) ALADDIN:,,Almost,there. (JASMINE,climbs,over,the,top,but,trips,and,falls,into,ALADDIN's,arms. ,,She,stands,up.) JASMINE:,,I,want,to,thank,you,for,stopping,that,man. ALADDIN:,,Uh,forget,it.,(He,grabs,a,pole.),So,uh,this,is ,,,,your,first,time,in,the,marketplace,huh? (ALADDIN,pole,vaults,to,the,next,building,leaving,JASMINE,behind.) JASMINE:,,Is,it,that,obvious? ALADDIN:,,Well,you,do,kinda,stand,out.,(He,stares,at,her, ,,,,still,in,love.,She,returns,the,look.,But,he ,,,,realizes,what,he,is,doing,and,returns,to,normal.) ,,,,I,mean,uh,you,don't,seem,to,know,how,dangerous ,,,,Agrabah,can,be.,(He,lays,a,plank,between,the ,,,,buildings,for,her,to,walk,over,but,as,he,is,leaned ,,,,down,she,vaults,over,his,head.,He,looks,back,in ,,,,surprise.,She,tosses,the,pole,to,him.,Both ,,,,ALADDIN's,and,ABU's,eyes,bulge.) JASMINE:,,I'm,a,fast,learner. ALADDIN:,,Right.,C'mon,this,way.,(They,go,inside,the,roof ,,,,of,a,building,dodging,planks,and,beams,as,they ,,,,go.),Whoa.,Watch,your,head,there.,Be,careful. JASMINE:,,Is,this,where,you,live? ALADDIN:,,Yep.,Just,me,and,Abu.,Come,and,go,as,we,please. JASMINE:,,Fabulous. ALADDIN:,,Well,it's,not,much,(he,pulls,back,the,curtain,and ,,,,exposes,the,palace),but,it's,got,a,great,view. ,,,,Palace,looks,pretty,amazing,huh? JASMINE:,,Oh,it's,wonderful. ALADDIN:,,I,wonder,what,it,would,be,like,to,live,there,to ,,,,have,servants,and,valets... JASMINE:,,Oh,sure.,,People,who,tell,you,where,to,go,and,how ,,,,to,dress. ALADDIN:,,It's,better,than,here.,Always,scraping,for,food ,,,,and,ducking,the,guards. JASMINE:,,You're,not,free,to,make,your,own,choices. ALADDIN:,,Sometimes,you,feel,so-- JASMINE:,,You're,just-- BOTH:,,,,(in,unison),--trapped. (They,look,at,each,other,realizing,that,they're,perfect,for,one ,,another.,But,ALADDIN,then,realizes,where,he,is,and,breaks,the ,,look.,He,takesthe,apple,out,of,ABU's,hand,and,rolls,it,down,his ,,arm,into,the,hand,of,JASMINE.) ALADDIN:,,So,where're,you,from? JASMINE:,,What,does,it,matter?,I,ran,away,and,I,am,not ,,,,going,back. ALADDIN:,,Really?,(He,takes,a,bite,from,the,apple,in,his ,,,,hand,then,hands,it,to,ABU,who,has,a,disgusted ,,,,look,on,his,face.) ABU:,,,,Why,you! (ALADDIN,walks,over,and,sits,next,to,JASMINE.) JASMINE:,,My,father's,forcing,me,to,get,married. ALADDIN:,,That's--that's,awful.,(ABU,appears,from,behind,the ,,,,princess,and,tries,to,steal,the,apple.),Abu! (ABU,races,up,to,a,higher,point,chattering,and,cursing,as,he,goes.) JASMINE:,,What? ALADDIN:,,Abu,says,that--uh--that's,not,fair. ABU:,,,,What? JASMINE:,,Oh,did,he? ALADDIN:,,Yeah,of,course. JASMINE:,,And,does,Abu,have,anything,else,to,say? ALADDIN:,,Well,uh,he,wishes,there,was,something,he,could,do ,,,,to,help. ABU:,,,,Oh,boy! JASMINE:,,Hmm,tell,him,that's,very,sweet. (ALADDIN,and,JASMINE,have,been,getting,closer,and,closer,until ,,ALADDIN,leans,in,to,kiss,her.,He,is,interrupted,however, ,,by,the,GUARDS,who,have,found,them.) GUARD:,Here,you,are! ALADDIN,and,JASMINE:,,They've,found,me!,(To,each,other),They're ,,,,,,,,after,you? JASMINE:,,My,father,must,have,sent,them-- ALADDIN:,,Do,you,trust,me? JASMINE:,,What? ALADDIN:,,Do,you,trust,me?,(He,extends,his,hand) JASMINE:,,Yes.,(She,takes,it.) ALADDIN:,,Then,jump! (They,both,jump,off,the,roof,fall,and,land,in,a,pile,of,salt.,They ,,try,to,get,away,but,the,exit,is,blocked,by,a,GUARD.) GUARD:,We,just,keep,running,into,each,other,don't,we, ,,,,street,rat? (Again,the,GUARD's,turban,is,pulled,down,by,ABU,but,more,guards,are ,,here,and,block,the,exit.,The,first,GUARD,pulls,ABU,off,his,head,and ,,,throws,him,in,a,vase.,Three,other,GUARDS,grab,ALADDIN.) GUARD:,It's,the,dungeon,for,you,boy. ALADDIN:,,Hey,get,off,of,me! JASMINE:,,Let,go,of,him. GUARD:,(Not,realizing,she,is,the,princess),Look,what,we ,,,,have,here,men--a,street,mouse.,(He,throws,her ,,,,down.) JASMINE:,,(standing,up,and,pulling,off,the,hood,of,her,cloak) ,,,,Unhand,him,by,order,of,the,princess. (The,GUARDS,suddenly,stop,and,bow,forcing,ALADDIN,to,bow,as,well.) GUARD:,Princess,Jasmine. ALADDIN:,,The,princess? ABU:,,,,(peeking,out,from,the,vase),The,princess? GUARD:,What,are,you,doing,outside,the,palace?,And,with ,,,,this,street,rat? JASMINE:,,That's,not,your,concern.,Do,as,I,command.,Release ,,,,him! GUARD:,Well,I,would,princess,but,my,orders,come,from ,,,,Jafar.,You'll,have,to,take,it,up,with,him. (The,GUARDS,drag,ALADDIN,out,bowing,as,they,go.) JASMINE:,,(getting,a,very,pissed-off,look),Believe,me,I ,,,,will. (Cut,to,int.,of,palace,JAFAR,emerging,from,his,secret,chambers.,He ,,slides,the,door,shut,carefully,but,the,princess,comes,storming ,,in,before,he,is,finished.,He,slams,it,shut,pinning,IAGO,inside ,,the,door,frame.) JASMINE:,,Jafar? JAFAR:,Oh,uh,princess. IAGO:,,,,Awk!,Jafar,I'm,stuck! JAFAR:,How,may,I,be,of,service,to,you?,(He,spreads,out,his ,,,,cape,hiding,the,door.) JASMINE:,,The,guards,just,took,a,boy,from,the,market,on,your ,,,,orders. JAFAR:,Your,father's,charged,me,with,keeping,peace,in ,,,,Agrabah.,The,boy,was,a,criminal. JASMINE:,,What,was,the,crime? IAGO:,,,,I,can't,breathe,Jafar! JAFAR:,Why,kidnapping,the,princess,of,course. IAGO:,,,,If,you,could,just--(JAFAR,kicks,him,back,inside,the ,,,,door,and,it,slams,shut)--wow,that,hurt! JASMINE:,,He,didn't,kidnap,me!,I,ran,away! JAFAR:,(Walking,away,as,if,shocked),Oh,dear!,Oh,why ,,,,frightfully,upsetting.,Had,I,but,known. JASMINE:,,What,do,you,mean? JAFAR:,Sadly,the,boy's,sentence,has,already,been,carried ,,,,out. JASMINE:,,What,sentence? JAFAR:,(with,a,sinister,tone),Death.,(JASMINE,gasps.) ,,,,By,beheading. JASMINE:,,No!,(She,collapses,to,the,floor.) JAFAR:,I,am,exceedingly,sorry,princess. JASMINE:,,How,could,you?,(She,runs,from,the,room,crying.) (IAGO,finally,makes,it,out,through,the,door.,He,flies,up,and,lands,on ,,JAFAR's,shoulder,coughing.) IAGO:,,,,So,how,did,it,go? JAFAR:,I,think,she,took,it,rather,well.,(They,both,get,a ,,,,sinister,smile,on,their,faces.) (Diss.,to,JASMINE,at,night,crying,at,the,edge,of,the,fountain.,RAJAH ,,comes,over,to,comfort,her.,She,pets,him.) JASMINE:,,It's,all,my,fault,Rajah.,I,didn't,even,know,his ,,,,name. (Cut,to,int.,of,dungeon.,Rats,scurry,by,and,we,descend,until,we,see ,,ALADDIN,chained,to,the,wall.) ALADDIN:,,(to,himself),She,was,the,princess.,I,don't,believe ,,,,it.,I,must,have,sounded,so,stupid,to,her. ABU:,,,,(from,a,distance),Yoo-hoo!,Aladdin?,Hello! (ABU,appears,at,the,window,at,the,top,of,the,dungeon.) ALADDIN:,,Abu!,Down,here!,Hey,c'mon--help,me,outta,these. (ABU,stops,then,begins,chattering,wildly,dropping,to,the,ground.,He ,,,wraps,a,cloth,around,his,head,and,makes,his,eyes,big,in,an ,,,imitation,of,the,princess.) ALADDIN:,,Hey,she,was,in,trouble.,Ah,she,was,worth,it. (ABU,jumps,up,on,ALADDIN's,shoulders,and,pulls,a,small,set,of,tools ,,out,of,his,pocket,then,frees,ALADDIN.) ABU:,,,,Yeah,yeah,yeah. ALADDIN:,,Don't,worry,Abu.,I'll,never,see,her,again.,I'm,a ,,,,street,rat,remember,and,there's,a,law.,She's ,,,,gotta,marry,a,prince,she,deserves,it. (ABU,finally,frees,AL
4	Anastasia	Susan Gauthier,Bruce Graham	Family,Animation,Musical	December_1997	FADE,IN: on,a,well-worn,PHOTOGRAPH,ALBUM.,An,ELDERLY,WOMAN'S HAND,touched,the,album,caressing,it,lovingly,for,a moment,as,WE,HEAR,her,voice. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,Once,we,lived,in,an,enchanted ,,,,,world.,.,., She,opend,the,ALBUM,to,reveal,a,BLACK,AND,WHITE PHOTOGRAPH,of,the,PALACE,AT,ST.,PETERSBERG,on,a brilliant,summer,day. ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,A,world,of,Tsars,and,Princesses ,,,,,and,elegant,palaces.,.,., CAMERA,MOVES,CLOSER,TO,the,picture.,.,., ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,and,grand,parties.,.,., The,PHOTO,dissolves,into,REALITY,in,brilliant,color,as the,day,turns,into,night,and,the,summer,cools,into winter.,We,see,the,palace,at,night,blanketed,in,a beautiful,almost,glowing,snow,as,hourse,drawn,carriages pull,up,to,the,front,door. ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,A,beautiful,magical,time.,.,., MOVE,INTO,THE,PALACE ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,That,would,soon,be,gone ,,,,,forever.,.,., INT.,PALACE,AT,ST.,PETERSBERG,-,NIGHT Elegant,ROYALISTS,mingle,around,the,MAIN,HALL,as,an ORCHESTRA,plays. All,eyes,turn,to,the,GLASS,DOORS,OF,TWO,ELEVADORS,which descend,grandly,on,either,side,of,a,beautiful,staircase. Through,the,glass,doors,we,see,TATIANA,the,Dowager Empress,60,imperious,and,bedecked,with,jewels,she,is seemingly,unapproachable.,TSAR,NICHOLAS,and,his,SON,are with,her.,In,the,other,elevador,ALEXANDRA,and,her daughters,-,well,,all,her,daughters,except.,.,., ANASTASIA,eight,years,old,and,apparently,late,for,the party,rushes,down,the,upstairs,hallway,followed,by,a SERVENT,(SONYA),16,,who,is,trying,to,catch,up,with Anastasia,to,tie,a,large,ribbon,in,her,long,dark,hair. ,,,,,,,,,,,,SONYA ,,,,,,,,,(whispering) ,,,,,Princess,Anastasia,-,you're ,,,,,late,and,it's,all,my,fault! ,,,,,,,,,,,,ANASTASIA ,,,,,Don't,worry,Sonya,no,one'll ,,,,,notice.,.,., Just,then,Sonya,lassoes,the,ribbon,around,her,hair, stopping,Anastasia,with,a, ,,,,,,,,,,,,ANASTASIA ,,,,,,,,,(loudly) ,,,,,.,.,.,owwwwwwwww! All,eyes,turn,to,Anastasia,who,once,she,realizes,that she's,the,center,of,attention,flashes,a,mischievous smile,and,descends,the,staircase,in,grand,style.,As,the ribbon,falls,out,of,her,hair,and,down,her,back, Anastasia,kicks,it,to,Sonya,without,breaking,stride. Tatiana,sees,her,and,can't,help,but,smile. The,music,suddenly,becomes,a,FLOURISH,OF,TRUMPETS. SERVENTS,open,the,elevador,doors,as,the,ROYAL,FAMILY steps,out,and,begins,a,proccession,through,their subjects.,Tatiana,holds,out,her,arm,to,Anastasia,as,she makes,it,to,Tatiana's,side,just,in,time.,Anastasia,has a,beautiful,but,slightly,impish,face,dominated,by large,blue,mischievous,eyes.,She,an,abundance,of, energy,and,confidence,for,a,girl,her,age. "THE,RULARS,OF,RUSSIA",(OPENING,NUMBER) ,,The,elegant,guests,sing,their,admiration,as,the beautiful,and,happy,Romanov,family,makes,it's,entrance into,the,ball,they're,"the,pride,of,all,Russia". Vladimir,invites,Sophie,to,dance,and,the,entire glittering,assembly,assembly,swings,into,a,GLORIOUS,SWEEPING, WALTZ.,Singing,their,certainty,that,the,Romanovs,will rule,forever. During,the,above,the,ball,is,in,full,swing.,Beautiful COUPLES,swirls,across,the,dance,floor,including Anastasia,dancing,gracefully,with,her,father. Under,a,long,buffet,table,we,see,DMITRI,11,darkly handsome,dressed,in,ragged,servant,clothes,with,a shock,of,dark,hair,which,continuoually,falls,accross,his eyes,as,watches,the,guest,enviously.,Anastasia,still waltzing,with,her,father,sees,him.,SERVENTS,cross,the room,carrying,a,trays,of,BEAUTIFUL,TROPICAL,FRUIT.,The guests,"Ew",and,"ah",at,the,sumptuous,fruit.,Anastasia sees,Dmitri,eyeing,it,hungrily,and,without,missing,a dance,step,she,grabs,an,orange,off,thr,tray,and,tosses it,to,Dmitri.,He,catches,it,and,smiles,broadly,at,her. Suddenly,A,HAND,grabs,Dmitri,and,pulls,him,out,from under,the,table.,It's,IVAR,the,HEAD,SERVENT,who,pulls Dmitri,into,an,open,wall,panel. ,,,,,,,,,,,,IVAR ,,,,,,,,,(angrily) ,,,,,You're,a,servent!,Never,forget ,,,,,your,place! ,,,,,,,,,,,,DMITIRI ,,,,,,,,,(defiant) ,,,,,Someday,my,place,will,be,out ,,,,,there! ,,,,,,,,,,,,IVAR ,,,,,Never!,You're,a,peasant, ,,,,,Dmitri!,Back,in,the,kitchen RULARS,OF,RUSSIA,(CONT.) ,,UNDERSCORE,CONTINUES,as,Dmitri,is,dragged,from,his hiding,place,under,the,table,and,back,to,the,kitchen. It's,like,the,Moscow,circus,back,there,COMIC,MUSICAL CONFUSION.,The,servants,sing,about,their,demanding employers,and,mockingly,imitate,their,behavior:,they imply,that,they,have,their,own,"party",,that,change,is coming. ,,While,back,in,the,ballroom,the,Royalists,are oblivious,to,the,servants,discontent,and,sing,their satisfaction,with,their,own,lives. ,,DRAMATIC,UNDERSCORE,CONTINUES,though,the,following scenes. ON,TATIANA in,a,large,throne-like,chair.,Tatiana,is,very,serious and,very,regal.,She,slides,over,to,make,room,for Anastasia,who,sits,next,to,her. ,,,,,,,,,,,,TATIANA ,,,,,Why,were,you,so,late,tonight, ,,,,,,,,,,,,ANASTASIA ,,,,,I,was,showing,Sonya ,,,,,something,.,.,. ,,,,,,,,,,,,TATIANA ,,,,,What,were,you,showing,her? ,,,,,,,,,,,,ANASTASIA ,,,,,,,,,(sheepishly) ,,,,,How,to,read. ,,,,,,,,,,,,TATIANA ,,,,,I,thought,you,were,told,not,to ,,,,,tutor,your,servants,anymore. ,,,,,,,,,,,,ANASTASIA ,,,,,I,know,but,I,had,to,because,.,.,. Anastasia,looks,up,at,Tatiana,and,sees,her,smile,with pride.,Anastasia,knows,she,doesn't,have,to,explain. ,,,,,,,,,,,,ANASTASIA ,,,,,,,,,(cuddling) ,,,,,Oh,Grandmama,why,do,you,have ,,,,,to,go,back,to,Paris? ,,,,,,,,,,,,TATIANA ,,,,,It's,where,I've,made,my,home ,,,,,but,I,do,have,something,for ,,,,,you,.,.,. Tatiana,reaches,from,behind,the,chair,and,brings,out,a beautiful,MUSIC,BOX.,Tatiana,takes,the,key,a,small silver,and,enamel,flower,on,a,silver,neck,chain,and winds,it,up.,MUSIC,BEGINS,she,hands,Anastasia,the,key. CLOSE,UP the,key,bearing,the,inscription,"Together,in,Paris". ,,,,,,,,,,,,ANASTASIA ,,,,,"Together,in,Paris"!,Oh,when ,,,,,can,we,be,"together,in,Paris?! ,,,,,,,,,,,,TATIANA ,,,,,When,you're,older,.,.,. Anastasia,makes,a,disgruntled,face.,Tatiana,laughs. ,,,,,,,,,,,,TATIANA ,,,,,Until,then,whenever,you,hear ,,,,,this,song,think,of,me,and,know ,,,,,that,I'm,waiting,for,you. Tatiana,puts,the,key,around,Anastasia's,neck,and,they embrace.,Then,suddenly,.,.,. ON,THE,GRAND,CHANDELIER the,lights,begin,to,fade,in,and,out. GROUP,SHOT as,PEOPLE,in,the,ballroom,look,around,bewildered.,Then, a,WHIRLWIND,kicks,up,sending,everyone,off,the,dance floor,as,the,whirlwind,becomes,a,TORNADO. Suddenly,an,ALBINO,BAT,(BARTOK),with,huge,eyes,springs out,of,the,funnel,screeching,and,swooping,over,the crowd,causing,everyone,to,duck,and,cover,their,heads,in fear. The,tornada,reaches,it's,peak,and,EXPLODES,in,smoke,- leaving,RASPUTIN,standing,alone,in,the,middle,of,the floor.,He,is,of,indeterminate,age,towering,over,other men,in,the,room,his,most,striking,feature,are,his,eyes -,which,at,this,moment,are,burning,a,fiery,red.,He,is dressed,in,a,flowing,black,monk's,robe,with,a,satin,rope tied,around,his,waist.,Connected,to,the,rope,is,a glowing,RELIQUARY,a,mystical,lantern. VARIOUS,SHOTS of,Nicholas,Alexandra,Sophie,and,Vladimir,Dmitri peeking,out,ofthe,wallpanel,Tatiana,and,Anastasia, all,of,whom,are,frightened. NICHOLAS as,he,gathers,his,son,and,wife,to,his,side ,,,,,,,,,,,,NICHOLAS ,,,,,Rasputin!,You're,alive,.,.,. ,,,,,,,,,,,,RASPUTIN ,,,,,,,,,(advancing) ,,,,,Despite,being,shot,poisoned ,,,,,and,thrown,into,an,icy,river,.,.,. ,,,,,YES! ,,,,,,,,,,,,NICHOLAS ,,,,,,,,,(honestly) ,,,,,I,had,nothing,to,do,with,it! ,,,,,,,,,,,,RASPUTIN ,,,,,You,gave,the,orders! ,,,,,,,,,,,,NICHOLAS ,,,,,I,did,no,such,thing! ,,,,,,,,,,,,RASPUTIN ,,,,,After,all,I've,done,for,your ,,,,,family,-,YOU,TRIED,TO,KILL ,,,,,MEEEEEE,!,!,! Rasputin,swings,the,reliquary,wrapping,himself,in,smoke which,seems,to,grow,larger.,Eerie,moaning,noises,come from,the,reliquary.,PEOPLE,back,awayin,terror. ,,,,,,,,,,,,RASPUTIN,(CONT.) ,,,,,The,Romanov,dynasty,ends,here! ,,,,,You,your,wife,and,children ,,,,,will,all,die,within,the ,,,,,fortnight! ,,,,,,,,,,,,ANASTASIA ,,,,,NO! Anastasia,leaves,Tatiana,and,rushes,to,stand,in,front,of her,father.,Still,holding,her,Music,Box,Anastasia's shaking,hands,are,the,only,thing,that,gives,away,her, fear.,Rasputin,spins,toward,the,voice. ,,,,,,,,,,,,ANASTASIA ,,,,,We're,not,afraid,of,you! ,,,,,,,,,,,,RASPUTIN ,,,,,,,,,(furious) ,,,,,You,.,.,.,my,little,babushka,.,.,. ,,,,,you'll,be,so,much,fun,to,kill, ,,,,,that,I'll,save,you,for,last! Twirling,the,reliquary,again,the,MOANS,grow,louder,as Bartok,circles,around,his,head.,The,smoke,that,emerges seems,to,have,almosy,a,human,shape,to,it. ,,,,,,,,,,,,RASPUTIN ,,,,,THIS,IS,THE,END,OF,THE,ROMANOV ,,,,,LINE,-,FOREVER,!!!! The,tornada,of,smoke,begins,again,whipping,into,a frenzy,and,then,EXPLODING. The,smoke,clears,and,Rasputin,is,gone.,As,the,lights return,to,normal,the,Romanov,family,all,stand,together, and,try,to,look,regal,and,in,control,once,again. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,Some,say,Rasputin,ad,harnessed ,,,,,all,the,dark,powers,of,evil,and, ,,,,,that,it,was,his,curse,which, ,,,,,brought,about,the,end,.,.,. ,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: the,ROMANOV,FAMILY,fades,into,a,PORTRAIT,OF,THE,FAMILY. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,I,will,never,know,for,sure. ,,,,,All,I,do,know,is,that,the ,,,,,beauty,of,our,world,was,soon ,,,,,Gone,.,.,.,Forever,.,.,. a,lick,of,BRIGHT,ORANGE,FLAME,creeps,into,view. "RULERS,OF,RUSSIA",(VOCAL,REPRISE) ,,HUGE,OMINOUS,VOCALS,reprise,the,onceglorious,watlz of,the,Romanovs,heralding,the,end,of,their,world,and underscoring,the,coming,revolution. PULL,BACK to,see,the,PORTRAIT,a,huge,FRIEZE,which,covers,an entire,entire,wall,singeing,as,the,FLAME,creeps,up,the,nearby drapery,tinting,the,room,in,a,red,glow. A,SCREAMING,MOB,some,in,uniform,some,not,has,crashed into,the,palace,and,is,heading,up,the,stairs.,A,few,in the,mob,fire,off,orange,RIFLE,SHOTS. INT.,ANASTASIA'S,BEDROOM,-,NIGHT Anastasia,BOLTS,UP,hearing,the,shots.,Her,music,box,is next,to,her,on,her,nightstand. INT.,HALLWAY,-,NIGHT Mass,confusion,as,the,MOB,is,met,by,a,few,SERVANTS,who try,to,stop,them,from,advancing.,More,shots. ON,THE,ROMANOV'S still,in,nightclothes,are,being,rushed,down,the hallway.,Tatiana,is,next,to,Anastasia,as,Anastasia stopsdead,in,her,tracks. ,,,,,,,,,,,,ANASTASIA ,,,,,My,music,mox! Anastasia,turns,around,and,runs,back,down,the,hall. Tatiana,tries,to,stop,her. ,,,,,,,,,,,,TATIANA ,,,,,Anastasia,no! It's,too,late,Anastasia,fights,her,way,back,into,her room,with,Tatiana,following,her. FROM,THE,OTHER,END,OF,THE,HALLWAY we,see,Dmitri,watching,amidst,all,the,confusion. INT.,ANASTASIA'S,BEDROOM,-,NIGHT Anastasia,grabs,her,music,box,as,Tatiana,rushes,in. ,,,,,,,,,,,,TATIANA ,,,,,Hurry,child! LOUD,RIFLE,SHOTS,are,heard,as,Dmitri,bursts,into,the room,closing,the,door,behind,him. ,,,,,,,,,,,,DMITRI ,,,,,No,-,this,way! Dmitri,runs,to,a,wall,panel,and,thows,his,weight against,it.,It,opens,revealing,a,passage,way. ,,,,,,,,,,,,DMITRI,(CONT.) ,,,,,Go!,Run!!,Out,the,servant's ,,,,,quarters! Tatiana,enormously,grateful,looks,at,Dmitri,as,he flips,his,hair,out,of,his,face,unconsciously. ,,,,,,,,,,,,DMITRI ,,,,,Go! Tatiana,goes,in,as,Dmitri,shoves,Anastasia,toward,the passageway,knocking,the,music,box,out,of,her,hand.,She reaches,for,it,but,hearing,the,mob,voices,growing closer,he,pushes,her,through,the,panel,without,it. ,,,,,,,,,,,,DMITRI,(CONT.) ,,,,,Go! Tatiana,quickly,follows,Anastasia,into,the,passageway and,Dmitri,closes,the,panel,JUST,AS,the,mob,bursts,in. ,,,,,,,,,,,,DMITRI,(CONT.) ,,,,,,,,,(lying,to,the,mob) ,,,,,No,one's,here!,Let's,try,the ,,,,,next,room! The,MOB,accepts,the,word,of,a,peasant,boy,and,rushes out.,Dmitri,picks,up,the,music,box,and,looks,sadly toward,the,panel. EXT.,TRAIN,STATION,-,NIGHT Which,is,under,siege,by,ROYALISTS,trying,to,board,the overcrowded,train,and,the,REVOLUTIONARIES,who,are,trying to,stop,them. A,TOURING,CAR,pulls,up,RIGHT,ON,THE,TRACKS,behind,the caboose,as,the,train,starts,to,pull,away. Tatiana,and,Anastasia,climb,out,of,the,car,and,race,for the,train,fighting,their,way,through,the,frenzied,and frightened,crowd.,WE,HEAR,shouts,of,"The,Empress,-,let her,through!",which,helps,clear,the,way. Anastasia,reaches,the,train,first,then,turns,to,see Tatiana.,trying,to,catch,up. ,,,,,,,,,,,,ANASTASIA ,,,,,Hurry,Grandmama! ,,,,,,,,,,,,TATIANA ,,,,,Get,on!,Anastasia,get,on! Anastasia,refuses,to,board,the,train. UP,AHEAD A,MOB,OF,REVOLUTIONARIES,block,the,tracks,with,a,TRUCK ON,ANASTASIA who,pushes,Tatiana,up,the,stairs,of,the,caboose.,This puts,Anastasia,a,few,steps,behind,as,the,train,speeds up.,Tatiana,is,gripped,by,other,passengers,as,she reaches,out,to,Anastasia. ,,,,,,,,,,,,TATIANA ,,,,,Grab,my,hand! Anastasia,reaches,up,and,takes,Tatiana's,hand. ,,,,,,,,,,,,ANASTASIA ,,,,,Don't,let,go! CLOSE,ON the,TWO,HANDS.,then,suddenly.,her,small,hand,is,pulled from,Tatiana's,grasp,and,falls,out,of,the,frame. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,ANASTASIA! ON,ANASTASIA who,has,stumbled,hitting,the,ground,hard. ON,TATIANA horrified,screaming: ,,,,,,,,,,,,TATIANA ,,,,,ANASTASIA! Tatiana,rushes,to,jump,off,the,train,after,her,but,is caught,and,held,back,by,the,ROYALIST,PASSANGERS,as,the train,CRASHES,through,the,truck,and,picks,up,speed. TATIANA's,POV: Anastasia,rising,from,the,ground,her,hand,outstretched. But,she,is,suddenly,swallowed,up,by,the,mob. ,,,,,,,,,,,,,,,,,,,,,,,SUPERIMPOSE: A,BLACK,AND,WHITE,PHOTOGRAPH of,Anastasia,in,a,happier,time,smiling. UNDERSCORE:,"THE,MUSIC,BOX,THEME" ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,I,never,saw,her,again.,.,., The,PHOTO,ALBUM,slowly,closes.,.,. END,OPENING,NUMBER ,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: EXT.,ORPHANAGE,-,DAY A,gray,and,ugly,post-revolution,building,with,a,sign above,the,door,that,identifies,it:,"Young,Comrades Without,Parents". INT.,ORPHANAGE,-,DAY CHILDREN,of,all,ages,clean,the,cold,gray,dormitory. Their,clothes,are,ragged,and,they,look,underfed. CLOSE,ON ANYA,18,pretty,despite,the,boy's,hand-me-down,clothes she,is,forced,to,wear,is,busy,scrubbing,the,floor. Unlike,the,others,she,is,determined,not,to,let,her surroundings,get,to,her.,She,hums,a,tune. The,door,suddenly,SLAMS,open,and,GREGOR,8,and,clearly terrified,comes,running,in,followed,by,COMRADE PHLEGMENKOF,-,a,huge,woman,carrying,a,switch. ,,,,,,,,,,,,GREGOR ,,,,,Anya!,Anya! All,of,the,OTHER,KIDS,turn,away,not,wanting,to,get involved.,Anya,focuses,on,Gregor,who,is,shivering,with fright,and,on,the,verge,of,tears,as,Phlegmenkof approaches,swinging,the,switch,menacingly. ,,,,,,,,,,,,PHLEGMENKOF ,,,,,You,can't,get,away,from,me ,,,,,now,.,.,. Phlegmenkof,advances,on,Gregor.,Anya,takes,the,scrub brush,and,SHOVES,it,across,the,floor,right,under Phlegmenkof's,unsuspecting,foot.,Phlegmenkof's,feet,fly out,from,under,her,and,she,SMASHES,to,the,floor.,Gregor hops,over,her,huge,body,and,runs,to,Anya,for,safety. Some,of,the,OTHER,KIDS,glance,over.,A,CHUBBY,GIRL,and,a very,pretty,LITTLE,GIRL,look,at,Anya,with,greeat admiration,.,.,.,someof,the,OTHERS,think,she's,crazy. Phlegmenkof,rises,covered,with,soap,bubbles,,and,spins on,Anya,-,who,gives,her,a,very,innocent,smile. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,You!,You,did,this! Some,of,the,OTHER,CHILDREN,laugh,as,soap,bubbles,fly,off the,enraged,woman.,She,spins,on,them,her,back,to,Anya. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,Brats!,There'll,be,no,supper ,,,,,for,any,of,you!,Back,to,work! Anya,behind,Phlegmenkof,mimics,her,outraged,face,and angry,gestures,perfectly,-,as,the,CHILDREN,laugh,harder. Phlegmenkof,spins,and,almost,catches,Anya.,She,advances on,Anya,as,Gregor,hides,behind,her,legs. ,,,,,,,,,,,,ANYA ,,,,,Don't,touch,him., ,,,,,,,,,,,,PHLEGMENKOF ,,,,,,,,,(to,Anya) ,,,,,You,ragged,skinny,little ,,,,,nothing!,I,have,had,just,about ,,,,,enough,of,you,.,.,. Phlegmenkof,raises,her,hand,to,slap,Anya,who,hold,her ground.,Suddenly,Phlegmenkof,SNIFFS,the,air. ON,THE,KIDS as,the,horrible,smell,reaches,them,too.,They,all,make faces,and,hold,their,noses. ON,PHLEGMENKOF who,first,sniffs,under,her,raised,arm,then,realized,the cause,of,the,stench,.,.,. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,Comrade,Serebreakov! She,tries,to,straighten,herself,out,nervously,-,this must,be,someone,very,important. COMRADE,SEREBREAKOV,stands,in,the,doorway,lecherously eyeing,the,girls.,He,is,a,huge,fleshly,man,with,facial,features,which,are,reminiscent,of,a,fish. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,,,,,(flirting) ,,,,,Comrade,Serebreakov!,What,a ,,,,,lovely,surprise!,What,brings ,,,,,you,here? ,,,,,,,,,,,,SEREBREAKOV, ,,,,,I,need.,.,.,a,worker. His,eye,catches,Anya.,He,looks,her,up,and,down,his beady,eyes,showing,a,touch,of,lust,for,her. ,,,,,,,,,,,,SEREBREAKOV,(CONT.) ,,,,,I,will,take,her. He,leans,close,close,to,Anya. ,,,,,,,,,,,,SEREBREAKOV,(CONT.) ,,,,,Tomorrow,you,begin,your,life's ,,,,,work,in,my,hearing,factory. ,,,,,You'll,start,by,cutting,off,the ,,,,,tails,-,but,if,I'm,pleased,with ,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,SEREBREAKOV,(CONT.) ,,,,,you,-,you,just,may,move,up,to ,,,,,cutting,off,the,heads.,How ,,,,,does,that,sound? ,,,,,,,,,,,,ANYA ,,,,,About,as,bad,as,you,smell! Phlegmenkof,moves,between,them,pulling,Serebreakov away. ,,,,,,,,,,,,PHLEGMENKOF, ,,,,,No,no,Comrade,-,you,don't ,,,,,want,her,.,.,. ,,,,,,,,,,,,SEREBREAKOV ,,,,,I,want,her. ,,,,,,,,,,,,PHLEGMENKOF ,,,,,That's,horrible,skinny,thing?! ,,,,,She's,crazy,-,she,has,no,memory ,,,,,of,anything,before,she,came ,,,,,here!,She,didn't,even,know,her ,,,,,name!,That,one,is,a,rotten ,,,,,troublemaker,willful.,.,. ,,,,,,,,,,,,SEREBREAKOV ,,,,,I'll,break,her,will.,.,. ,,,,,,,,,(to,Anya) ,,,,,I,shall,come,for,you,tomorrow ,,,,,at,dawn. ,,,,,,,,,(he,touches,her,face,as ,,,,,,,,,,she,pulls,away) ,,,,,You,will,enjoy,serving,under ,,,,,me. Smiling,in,anticipation,he,exit. ,,,,,,,,,,,,PHLEGMENKOF ,,,,,I,couldn't,break,you,-,but,he ,,,,,can! And,she,turns,to,leave,in,a,huff.,Anya,does,one,more imitation,of,her,making,the,CHILDREN,laugh.,But,as Anya,turns,away,from,her,audience,we,see,her,facade fade,and,realize,her,terror,of,the,future. INT.,ORPHANAGE,-,NIGHT The,CHILDREN,huddle,in,their,cots,under,tattered,thin blankets.,Anya,is,fully,dressed,illuminated,by,the light,of,a,FULL,MOON,she,ties,a,dull,gray,sheets,together and,anchors,the,"rope",to,an,ice,cold,radiator,and throws,the,other,end,out,of,the,window.,She,is,about,to climb,out,when,she,looks,at,the,sleeping,children,and smiles,sadly.,She,walks,over,to,Gregor's,bed,and,puts one,hand,lovingly,on,his,head,and,then,reaches,over,and takes,the,hand,of,a,sleeping,LITTLE,GIRL,who,opens,her eyes,and,smiles. ,,,,,,,,,,,,GREGOR ,,,,,,,,,(loudly) ,,,,,Anya? The,other,childern,wake,up,as,Anya,gently,"shushes",him. ,,,,,,,,,,,,GREGOR,(CONT.) ,,,,,,,,,(quietly) ,,,,,Are,you,running,away? ,,,,,,,,,,,,ANYA ,,,,,No.,I'm,running,to. ,,,,,,,,,,,,LITTLE,GIRL ,,,,,Running,to?,Running,to,what? ,,,,,,,,,,,,ANYA ,,,,,To,find,my,home. A,CHUBBY,TWELVE,YEAR,OLD,GIRL,looks,at,Anya. ,,,,,,,,,,,,CHUBBY,GIRL ,,,,,But,you,are,home. ,,,,,,,,,,,,ANYA ,,,,,No.,This,isn't,a,home,-,it's, ,,,,,just,a,building.,Home,is,where ,,,,,you,belong,and,none,of,us ,,,,,belong,here. ,,,,,,,,,,,,GREGOR ,,,,,Where,is,your,home,Anya? ,,,,,,,,,,,,ANYA ,,,,,I'm,not,sure,but,look.,.,. Anya,shows,Gregor,the,key,around,her,neck. CLOSE,UP,on,the,inscription:,"Together,in,Paris" ,,,,,,,,,,,,ANYA ,,,,,It,says,"Together,in,Paris".,I ,,,,,was,wearing,this,when,I,came ,,,,,here,ten,years,ago,-,it's,the ,,,,,only,way,that,I,know,.,.,. ,,,,,,,,,,,,ANYA,(CONT.) ,,,,,,,,,(beat) ,,,,,.,.,.,that,I,must,have,been ,,,,,someone,someone,loved. ,,,,,,,,,,,,CHUBBY,GIRL ,,,,,Is,your,home,in,Paris? ,,,,,,,,,,,,ANYA ,,,,,It,might,be.,I,have,to,go,and ,,,,,find,out. Anya,smiles,lovingly,at,the,children. "A,SOMEPLACE,AND,A,SOMEONE" ,,(Anya's,"I,want",song).,Anya,SINGS,SOFTLY,to,the children,about,how,all,she,has,is,the,key,around,her neck,to,the,"someone,and,thesomeplace",she,was,"lost from,long,ago".,She,tells,the,children,that,she,must,go find,them,again. UNDERSCORE,continues. ,,,,,,,,,,,,ANYA ,,,,,I,have,to,go,now,before,it ,,,,,gets,light. ,,,,,,,,,,,,GREGOR ,,,,,,,,,(worried) ,,,,,But,what,if,we,can't,ever,find ,,,,,where,we,came,from?! ,,,,,,,,,,,,ANYA ,,,,,Then,you'll,have,to,make,your ,,,,,own,home.,Lots,of,people,do. Anya,embraces,the,children,and,walks,to,the,window. ,,,,,,,,,,,,GREGOR ,,,,,,,,,(nervous,sad) ,,,,,Anya!,What,if,we,can't,find ,,,,,anyone,who,loves,us?! ,,,,,,,,,,,,ANYA ,,,,,Then,come,find,me. Gregor,is,relieved,and,cuddles,into,his,bed,as,Anya smiles,lovingly,and,crawls,out,the,window. EXT.,ORPHANAGE,-,NIGHT Anya,begins,to,climb,down,the,street,testing,the,knots. The,knotshold,tight,but,the,old,sheet,RIPS,in,half, sending,her,PLUMMETING,into,a,snow,drift.,From,the depths,of,the,snow,we,HEAR,her,voice. ,,,,,,,,,,,,ANYA,(O.C.) ,,,,,I,hope,there's,no,snow,in ,,,,,Paris.,.,. EXT.,HILLSIDE,-,DAWN A,glorious,bright,(and,cold),dawn,creeps,over,the horizon.,Anya,stands,at,edge,of,the,hill,looking down,on,the,city,of,ST.PETERSBURG.,The,old,gray orphanage,looms,behind,her.,Anya,"borrows",an,old, beat-up,bicycle,from,the,orphanage,and,rides,down,the hill. Music,picks,up,in,energy,and,excitement,as,Anya,zooms,on her,way,bumping,and,bouncing,downhill,as,the,sunrises and,St.,Petersburg,looms,nearer. "A,SOMEONE,AND,A,SOMEPLACE",(CONT.) ,,Music,becomes,UPTEMPO,HOPEFUL,ACTIVE,ACTIVE.,Anya,SINGS,- -,full,of,hope,energy,and,excitement,as,she,peddls,her rickety,bike,toward,the,city.,"Her,heart,is,on,its,way" and,nothing,is,going,to,stop,her. Anya,passes,though,the,countryside,toward,the,city.,A peasant,family,waves,to,her,as,she,goes,by.,A,Gypsy Troupe,performs,tricks,by,the,side,of,the,road.,A,very fancy,car,zooms,by. "A,SOMEONE,AND,A,SOMEPLACE",(CONT.) ,,Anya,SINGS,imagining,who,she,might,be,--,anyone,from a,peasant,to,a,princess!,But,it,doesn't,matter,as,long as,she,finds,her,real,family. People,stare,at,her,as,she,rides,into,the,edge,of,the city.,She,is,captivated,by,all,the,activity:,cars, busses,stores,long,lines,of,people,etc. "A,SOMEONE,AND,A,SOMEPLACE",(CONT.) ,,Anya,SINGS,--,in,this,sea,faces,there,must,be someone,who,has,a,clue,to,her,identity.,She'll,stop,at nothing,to,find,the,someone,who,once,loved,her.,SOARING MUSICAL,AND,VOCAL,CONCLUSION. END,MUSICAL,NUMBER Anya,does,not,see,a,cute,little,PUPPY,(MEETOO),with,a HUGE,BONE,in,his,mouth,being,chased,along,the,sidewalk by,a,pack,of,much,larger,vicious,DOGS,until,he,bolts across,Anya's,path,forcing,her,to,skid,to,a,stop.,She watched,him,as,he,scoots,into,an,alley,followed,by,the angry,pack. On,reflex,Anya,drops,the,bike,and,reuns,into,the,alley after,him. EXT.,ALLEY,-,DAY Meetoo,is,trapped.,The,PACK,surrounds,him,ready,to pounce,when,Anya,LEAPS,into,the,middle,of,the,circle. The,PACK,is,startled,but,begins,to,advance,on,both,Anya and,Meetoo. Anya,doesn't,know,what,to,do.,She,crouches,and,then.,.,., growls,back,at,them,making,her,eyes,look,as,ferocious as,possible.,The,PACK,exchange,a,confused,look;,there's a,girl,growling,at,them.,Meetoo,stands,suddenly,brave, behind,her,and,growls,along,with,her. Suddenly,Anya,pounced,toward,the,pack,growling,louder. The,pack,has,definately,had,enough,-,some,start,to,back out,quizzically,others,turn,and,run,like,hell. Anya,turns,to,Meetoo,who,looks,up,at,her,gratefully, wagging,his,tail.,Anya,picks,up,the,bone,and,puts,it back,in,his,mouth. ,,,,,,,,,,,,ANYA ,,,,,I,think,you,should,be,more ,,,,,careful,about,who,you,invite,to ,,,,,dinner! Meetoo,nods,and,lets,out,a,little,"bark",that,sounds,as if,he,were,saying,"retu".,Anya,pats,him,and,heads,back to,her,bike. EXT.,ST.,PETERSBURG,STREET,-,DAY Anya,rides,down,the,street.,She,doesn't,see,Meetoo, running,like,a,little,maniac,behind,her. Anya,approaches,a,STERN,LOOKING,BUILDING,with,a,sign over,the,door:,"The,People's,Bureau,of,Bureaucracy". She,leaps,off,her,bike,and,heads,up,the,stais.,Meetoo, breathing,heavily,from,his,run,follows,and,almost reaches,her,when,the,heavy,door,slams,in,his,face.,He slumps,against,it,panting,his,little,paw-to,chest. INT.,BUREAU,OF,BUREAUCRACY,-,DAY Anya,enters,and,STOPS,when,she,sees.,.,.,LINES,and,LINES of,people,which,seem,to,go,on,forever.,She,walks,down the,side,of,one,line,trying,to,figure,out,which,one,to stand,in. ,,,,,,,,,,,,ANYA ,,,,,Could,someone,tell,me.,.,. ,,,,,,,,,,,,PEASANT,1 ,,,,,End,of,the,line! ,,,,,,,,,,,,ANYA ,,,,,Which,line? ,,,,,,,,,,,,PEASANT,2 ,,,,,Any,line. ,,,,,,,,,,,,PEASANT,3 ,,,,,All,lines,are,good,lines. ,,,,,,,,,,,,PEASANT,1,2,&,3 ,,,,,,,,,(in,unison) ,,,,,In,our,beloved,Soviet,Union! They,turn,toward,an,armed,Soviet,Guard,and,smile sweetly,hoping,he,heard,their,flattery.,He,did. ,,,,,,,,,,,,GUARD ,,,,,Very,good.,.,., He,jots,something,down,in,his,notebook. ON,ANYA as,she,gets,closer,to,the,window.,She,turns,to,the person,behind,her. ,,,,,,,,,,,,ANYA ,,,,,Is,this,the,right,line,to,get ,,,,,papers,to,travel? ,,,,,,,,,,,,PEASANT,4 ,,,,,Travel?,Travel,to,where? ,,,,,,,,,,,,ANYA ,,,,,To,Paris.,I,have,to,get,to ,,,,,Paris PEASANT,5,in,front,of,her,turns,around. ,,,,,,,,,,,,PEASANT,5 ,,,,,Paris?!,What,do,they,have,in ,,,,,Paris,that,they,don't,have ,,,,,here? ,,,,,,,,,,,,PEASANT,6 ,,,,,Shorter,lines?! Peasant,6,is,immediately,carted,off,by,TWO,ARMED,GUARDS for,his,blasphamy,against,the,state. ,,,,,,,,,,,,PEASANT,7 ,,,,,,,,,(quietly) ,,,,,Nobody,leaves,Soviet,Russia. The,OTHER,PEASANTS,join,in,with,variations,of,"Nobody leaves,Russia",as,Anya,reaches,the,window,and,speaks,to the,clerk. ,,,,,,,,,,,,ANYA ,,,,,Is,this,where,I,get,traveling ,,,,,papers? ,,,,,,,,,,,,CLERK ,,,,,It,would,be,if,we,let,you ,,,,,travel,which,we,don't,so,it ,,,,,isn't. ,,,,,,,,,(loudly,for,all,to ,,,,,,,,,,hear) ,,,,,Russia,is,the,people's, ,,,,,paradise! And,to,further,make,his,point,he,slams,shut,his,window, which,immediately,opens,a,crack,as,he,whispers,to,Anya. ,,,,,,,,,,,,CLERK,(CONT.) ,,,,,See,Dmitri.,He,can,help. He,shuts,the,window,only,to,open,it,again,immediately. ,,,,,,,,,,,,CLERK,(CONT.) ,,,,,But,you,didn't,hear,it,from,me. He,shuts,the,window. ,,,,,,,,,,,,ANYA ,,,,,,,,,(doesn't,get,it) ,,,,,I,didn't He,opens,it,again. ,,,,,,,,,,,,CLERK ,,,,,No. The,clerk,sticks,out,a,sign:,"Samovar,Break,-,back,in ten,minutes",and,slams,the,window,shut. EXT.,BUREAU,OF,BUREAUCRACY Anya,steps,out,of,the,building,still,not,seeing,Meetoo and,looks,around,at,the,hoards,of,people,waiting,in lines,for,everything:,bread,gas,clothes,etc. ,,,,,,,,,,,,ANYA ,,,,,,,,,(to,herself) ,,,,,Dmitri?,There,must,be,a ,,,,,million,Dmitris.,.,., FOLLOW,ANYA as,she,wades,into,the,crowded,street.,Meetoo,getting tangled,in,the,legs,of,waiting,Soviets. Anya,stops,suddenly.,She,sniffs,the,air.,Her,eyes widen,as,she,recognizes,the,stench,that,is,floating through,the,air.,She,spins,around,and,sees,Serebreakov DIRECTLY,ACROSS,THE,STREET. Serebreakov,is,on,a,mission,to,find,Anya.,He,turns,in her,direction,just,as,a,bus,passes.,Anya,is,gone. We,now,see,Anya,clinging,to,the,side,of,the,bus,as,it drives,down,the,street.,Meetoo,looks,his,face,dropping -,he,knows,he'll,never,catch,up,to,her,now.,Then,he sees,the,bus,hit,a,huge,pothole,and,Anya,is,knocked,off into,the,mud.,Happily,Meetoo,trots,off,in,her direction. Anya,approaches,TWO,PEASANTS,who,are,waiting,in,line,in front,of,a,cafe. ,,,,,,,,,,,,PEASANT,9 ,,,,,,,,,(to,Peasant,10) ,,,,,Which,line,is,this? ,,,,,,,,,,,,PEASANT,10 ,,,,,The,line,to,get,into,the,line. ,,,,,,,,,,,,ANYA ,,,,,Excuse,me,do,you,know ,,,,,Dmitri.,.,., ,,,,,,,,,,,,PEASANT,9 ,,,,,I,know,nothing! ,,,,,,,,,,,,PEASANT,10 ,,,,,Nothing! ,,,,,,,,,,,,PEASANTS,9,&,10 ,,,,,,,,,(whispering ,,,,,,,,,,simultaneously) ,,,,,Try,the,tavern/,library. They,begin,to,bicker,back,and,forth,in,forced,whispers as,to,wether,Dmitri,is,at,the,tavern,or,the,library. Exasperated,Anya,walks,away.,They,call,after,her. ,,,,,,,,,,,,PEASANTS9&,10 ,,,,,But,we,didn't,tell,you! Anya,rolls,her,eyes,in,frustration.,She,doesn't,see Meetoo,at,her,feet. ,,,,,,,,,,,,ANYA ,,,,,,,,,(To,herself) ,,,,,I,wish,they'd,all,stop,telling ,,,,,me,they,didn't,tell,me! Meetoo,gives,a,"retu",of,agreement.,Anya,looks,down,and sees,him. ,,,,,,,,,,,,ANYA,(CONT.) ,,,,,What,are,you,doing.,.,. Just,then,she,catches,another,whiff,of,something,foul in,the,air.,Anya,duck,quickly,into,a,doorway,and,loses Meetoo.,Anya,peeks,out.,A,GARBAGE,WAGON,full,of,dead fish,and,rotten,food,passes,Anya.,She,sighs,with,relief, it,wasn't,Serebreakov,-,it,just,smelled,like,him. Anya,steps,out,of,the,doorway,and,approaches,a,STREET ARTIST,sketching,a,LARGE,PEASANT,WOMAN,as,her,TINY HUSBAND,looks,over,his,shoulder. ,,,,,,,,,,,,TINY,HUSBAND ,,,,,,,,,(To,Artist) ,,,,,Could,you,get,rid,of,her ,,,,,moustache? ,,,,,,,,,,,,ANYA ,,,,,Excuse,me,-,I'm,looking,for,a ,,,,,man,named,Dmitri.,.,. The,Artist,quickly,scribbles,and,address,on,his,pad,and hands,it,to,her,without,turning,around. ,,,,,,,,,,,,ARTIST ,,,,,But,I,didn't,write,it. Anya,looks,down,at,the,note CLOSE,ON,NOTE "St.,Petersburg,Art,Theatre,-,99,Pushkin,Street" ,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO A,SIGN "Pushkin,Street" CAMERA,PANS,TO: EXT.,ST.,PETERSBURG,ART,THEATRE,-,DAY Where,WE,HEAR,a,cacophony,of,FEMALE,VOICES,as,the,camera moves,inside. INT.,ST.,PETERSBURG,ART,THEATRE The,waiting,room,is,filled,with,YOUNG,WOMEN,of,various shapes,and,sizes,holding,reading,aloud,from,a,piece,of paper.,WE,HEAR,many,variations,of,"Oh,Grandmama!,It's me,Anastasia.,I've,waited,so,long,to,see,you". INT.,STAGE An,ACTRESS,stands,in,front,of,what,looks,to,be,an,OLD WOMAN,in,a,shawl,who's,back,is,to,the,"audience". ,,,,,,,,,,,,ACTRESS,1 ,,,,,,,,,(over,the,top) ,,,,,Oh,Grandmama!,It's,me, ,,,,,Anastasia!,I've,waited,so ,,,,,long,to,see,you! The,Actress,then,LUMBERS,over,to,the,OLD,WOMAN,with,a g
5	Antz	Todd Alcott,Chris Weitz,Paul Weitz	Adventure,Animation,Comedy,Fantasy	null	Z,(O.S.) ,,,,,,,,,,,(over,a,dark,screen) ,,,,,,,,All,my,life,I've,lived,and,worked,in ,,,,,,,,the,big,city... ,,,We,see: ,,,EXT.,AN,ANT,MOUND,-,DAY ,,,The,camera,swoops,towards,the,entrance,then,dives,inside, ,,,past,a,couple,of,tough-looking,soldier,ants,who,stand,at,the ,,,gates,of,the,ant,colony,like,insect,bouncers...into,an,access ,,,tunnel,that,snakes,this,way,and,that,past,a,row,of,ants ,,,plodding,along... ,,,...and,into,the,MAIN,CHAMBER,of,the,colony,a,huge,teeming ,,,vista,that,seems,to,stretch,away,forever,filled,with,ants ,,,rushing,here,and,there,on,their,business.,We,see,--,a ,,,"traffic,cop",directing,foot,traffic,waving,his,arms,like ,,,crazy,so,both,sides,move,at,once,--,a,column,of,soldier,ants ,,,marching,along,in,formation,--,a,chain,of,ants,letting,down ,,,a,matchbox,elevator,filled,with,workers. ,,,,,,,,,,,,,Z,(V.O.) ,,,,,,,,...which,is,kind,of,a,problem,since ,,,,,,,,I've,always,felt,uncomfortably,in ,,,,,,,,crowds. ,,,INT.,MOTIVATIONAL,COUNSELLOR'S,OFFICE,-,DAY ,,,We,join,Z,a,worker,ant,with,issues.,He's,lying,on,a,couch, ,,,recounting,his,woes. ,,,,,,,,,,,,,Z ,,,,,,,,I,feel...isolated.,Different.,I've ,,,,,,,,got,abandonment,issues.,My,father ,,,,,,,,flew,away,when,I,was,just,a,larva. ,,,,,,,,My,mother,didn't,have,much,time,for ,,,,,,,,me...when,you,have,five,million ,,,,,,,,siblings,it's,difficult,to,get ,,,,,,,,attention. ,,,,,,,,,,,(pause) ,,,,,,,,I,feel,physically,inadequate,--,I've ,,,,,,,,never,been,able,to,lift,more,than,ten ,,,,,,,,times,my,own,weight.,Sometimes,I ,,,,,,,,think,I'm,just,not,cut,out,to,be,a ,,,,,,,,worker.,But,I,don't,have,any,other ,,,,,,,,options.,I,was,assigned,to,trade ,,,,,,,,school,when,I,was,just,a,grub.,The ,,,,,,,,whole,system,just...makes,me ,,,,,,,,feel...insignificant. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,,,,(enthusiastic) ,,,,,,,,Terrific!,You,should,feel ,,,,,,,,insignificant! ,,,For,the,first,time,we,see,the,ant,MOTIVATIONAL,COUNSELLOR. ,,,He's,a,mixture,of,Tony,Robbins,and,Ron,Popiel,(the ,,,hyperactive,late-night,TV,huckster,and,founder,of,"Ronco"). ,,,,,,,,,,,,,Z ,,,,,,,,...I,should? ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,,,,(hopping,around ,,,,,,,,,,,,enthusiastically) ,,,,,,,,YES!!!,You,know,people,ask,me, ,,,,,,,,"Doctor,why,are,you,always,happy?" ,,,,,,,,And,I,tell,them,it's,mind,over ,,,,,,,,matter.,I,don't,mind,that,I,don't ,,,,,,,,matter!,Do,you,get,it?,Do,you,get ,,,,,,,,it? ,,,Z,gives,a,fake,smile. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,,,,(incredibly,"up") ,,,,,,,,Z,we're,part,of,the,fastest,growing ,,,,,,,,species,in,the,whole,world! ,,,The,counsellor,rolls,down,a,chart,from,the,wall.,An,arrow ,,,shows,ant,population,going,up,up,up. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Ask,me,why,we're,so,successful. ,,,,,,,,,,,,,Z ,,,,,,,,Why,are,we,so,successful? ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,I'm,glad,you,asked,me,that,question! ,,,The,motivational,counsellor,opens,some,blinds...and,we,see,a ,,,vista,of,the,ant-filled,chamber,below. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,What,do,you,see,out,there? ,,,,,,,,,,,,,Z ,,,,,,,,...Ants... ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Right!,Ants!,Millions,of,creatures, ,,,,,,,,each,with,his,assigned,task,all ,,,,,,,,pulling,together! ,,,Down,below,we,see,a,group,of,ants,carrying,a,boulder,up,an ,,,incline.,One,worker,ants,slips,and,the,boulder,rolls,down, ,,,crushing,his,leg.,The,other,ants,rush,over,--,it,looks,like ,,,they're,going,to,help,their,fallen,comrade,but,instead,they ,,,climb,right,over,him,and,pick,up,the,boulder,continuing ,,,with,their,task. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,You,see?,Being,an,ant,is,being,able ,,,,,,,,to,say,"Hey,--,I'm,meaningless, ,,,,,,,,you're,meaningless." ,,,,,,,,,,,,,Z ,,,,,,,,But,--,but,I've,always,felt,life,was ,,,,,,,,about,finding,meaning...and,then ,,,,,,,,sharing,it,with,someone,special, ,,,,,,,,someone,you,love. ,,,The,motivational,counsellor,puts,his,arm,on,Z's,shoulder...he ,,,seems,to,understand... ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Z...you,need,help. ,,,,,,,,,,,(looking,at,a,clock) ,,,,,,,,Whoops!,We're,gonna,have,to,stop ,,,,,,,,there.,Your,minute,is,up! ,,,The,counsellor,ushers,Z,out,of,his,seat,and,towards,the,door. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Now,back,to,work!,We've,made,real ,,,,,,,,progress!,Remember,--,let's,be ,,,,,,,,best,superorganism,we,can,be! ,,,INT.,EARLY,MEGA-TUNNEL,-,DAY ,,,A,gigantic,tunnel,with,the,size,and,scale,of,the,"Chunnel". ,,,A,banner,strung,overhead,reads:,"The,Mega-Tunnel,--,Tunneling ,,,Our,Way,to,a,Bright,Future!",Along,the,walls,hang,50's,work- ,,,incentive,style,posters,with,messages,like,"You,asked,for ,,,it,you,got,it,--,more,work!",and,"TWO,MEALS,A,WEEK,IS ,,,ENOUGH!!!",Line,after,line,of,ants,is,working,on,the,tunnel, ,,,digging,passing,clumps,of,dirt,from,ant,to,ant,everyone ,,,synchronized. ,,,CLOSE,on,a,clump,of,DIRT,being,passed,from,hand,to,hand. ,,,PULL,OUT,TO,REVEAL ,,,AZTECA,a,feisty,cynical,female,worker,ant,who,stands ,,,there,waiting,to,pass,the,dirt,on.,Z,is,daydreaming,behind ,,,her,with,clumps,of,dirt,starting,to,pile,up,in,front,of,him. ,,,,,,,,,,,,,AZTECA ,,,,,,,,Hello?!,Earth,to,Z!,You,better,snap ,,,,,,,,out,of,it,or,there's,gonna,be,a,lot ,,,,,,,,of,pissed,off,ants! ,,,Z,looks,back,and,sees,the,ants,behind,staring,at,him,angrily. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(snapping,out,of,it) ,,,,,,,,Sorry,Azteca.,Here,you,go,fellas! ,,,,,,,,Fresh,dirt!,Alley,oop! ,,,,,,,,,,,(looking,at,the,dirt) ,,,,,,,,Shouldn't,we,be,wearing,gloves?,I ,,,,,,,,mean,this,dirt,is,very...dirty. ,,,,,,,,Doesn't,anyone,think,of,hygiene? ,,,,,,,,,,,(Z's,stomach,growls) ,,,,,,,,Boy,am,I,hungry.,I'm,so,hungry,I'm ,,,,,,,,seeing,double.,It,looks,like,there's ,,,,,,,,two,million,ants,in,here.,When's ,,,,,,,,lunch?,Tomorrow,or,the,day,after? ,,,,,,,,,,,,,AZTECA ,,,,,,,,,,,(sweetly) ,,,,,,,,Z,old,pal... ,,,,,,,,,,,(shouts) ,,,,,,,,SHUT,UP!!!,It's,bad,enough,there's ,,,,,,,,a,food,shortage,without,you ,,,,,,,,complaining,about,it,every,day. ,,,,,,,,,,,,,Z ,,,,,,,,The,squeaky,wheel,gets,the,oil. ,,,,,,,,,,,,,AZTECA ,,,,,,,,No,Z.,The,squeaky,wheel,gets,thrown ,,,,,,,,away,alright?,You're,a,good,ant,Z, ,,,,,,,,even,though,you,are,a,pain,in,my,rear- ,,,,,,,,segment.,I,don't,wanna,see ,,,,,,,,anything,happen,to,you.,So,quit ,,,,,,,,mouthing,off,before,you,get,in ,,,,,,,,trouble. ,,,A,WHISTLE,BLOWS. ,,,,,,,,,,,,,Z ,,,,,,,,Thank,goodness.,Breaktime. ,,,All,the,ants,put,down,their,tools.,A,beat.,Then,the,WHISTLE ,,,BLOWS,AGAIN.,All,the,ants,pick,up,their,tools,again. ,,,,,,,,,,,,,AZTECA ,,,,,,,,,,,(resigned) ,,,,,,,,Break's,over. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(getting,back,to,work) ,,,,,,,,This,colony,needs,another,tunnel,like ,,,,,,,,a,hole,in,the,ground.,Why,are,we ,,,,,,,,even,digging,this,thing? ,,,,,,,,,,,,,AZTECA ,,,,,,,,Who,cares,Z.,All,I,know,is,we ,,,,,,,,gotta,dig.,We're,not,the,ones,in ,,,,,,,,charge. ,,,INT.,TOWN,CENTER,-,DAY ,,,The,huge,spacious,main,chamber,of,the,colony.,Looming,over ,,,the,scene,is,the,royal,palace,which,seems,to,be ,,,inaccessible,perched,on,top,of,a,hill-like,pedestal. ,,,Around,the,base,of,the,pedestal,a,crew,of,workers,loiters, ,,,seemingly,aimlessly...can,these,be,the,only,unemployed,ants ,,,in,the,place? ,,,,,,,,,,,,,GENERAL,FORMICA ,,,,,,,,STAIRS! ,,,The,workers,look,up,and,GROAN.,Then,they,start,forming,a ,,,stairway,with,their,own,bodies,linking,arms,stepping,on ,,,each,other's,shoulders.,It's,extremely,unpleasant,work.,One ,,,ant,is,a,little,tardy,and,just,manages,to,get,in,place ,,,before... ,,,GENERAL,FORMICA,the,Pattonesque,military,leader,of,the ,,,colony,STEPS,ON,HIS,HEAD,using,it,as,the,first,step,as,he ,,,ascends,to,the,palace,his,aide-de-camp,Carpenter,in,tow.,As ,,,Formica,mounts,the,"stairs",we,can,hear,the,workers,going, ,,,"OUCH!,OOF!,YIKES!",etc. ,,,,,,,,,,,,,GENERAL,FORMICA ,,,,,,,,Cut,the,chit-chat,down,there! ,,,,,,,,,,,(turning,to,Carpenter) ,,,,,,,,We've,spoiled,these,workers, ,,,,,,,,Carpenter.,They've,never,had,it,so ,,,,,,,,good,and,listen,to,them,--,always ,,,,,,,,grumbling,and,complaining... ,,,Formica,steps,on,the,foot,of,one,of,the,"stairway",ants,who ,,,muffles,a,yelp. ,,,,,,,,,,,,,CARPENTER ,,,,,,,,...Yes,sir. ,,,,,,,,,,,,,GENERAL,FORMICA ,,,,,,,,What,have,they,got,to,complain,about? ,,,,,,,,Three,square,meals,a,day... ,,,,,,,,,,,,,CARPENTER ,,,,,,,,Actually,sir,we've,cut,them,down,to ,,,,,,,,three,roughly,rectangular,meals,a ,,,,,,,,week. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Don't,give,me,statistics,Carpenter. ,,,,,,,,I,know,what,I'm,talking,about.,DOORS! ,,,Formica,and,Carpenter,have,reached,the,top,of,the,staircase. ,,,There,the,two,guard,ants,on,either,side,of,the,massive ,,,throne,room,doors,pull,them,open,--,and,one,door,hinge ,,,SQUEAKS. ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(to,guard,ant,while ,,,,,,,,,,,,passing) ,,,,,,,,Oil,that,soldier. ,,,INT.,THRONE,ROOM,-,DAY ,,,The,QUEEN,is,on,her,throne,her,huge,abdomen,sprawled,behind ,,,her. ,,,,,,,,,,,,,QUEEN ,,,,,,,,Ah!,General,Formica. ,,,Formica,salutes,and,marches,to,her,Carpenter,behind,him. ,,,Note:,Throughout,this,scene,the,Queen,is,giving,birth ,,,repeatedly.,Each,birth,is,accompanied,by,a,herald,playing,a ,,,short,"Happy,Birthday",fanfare,on,his,trumpet.,Mid-wife,ants ,,,bring,each,baby,to,the,Queen,for,inspection,who,COOS,a,few ,,,words.,The,midwives,put,the,babies,on,a,moving,bassinet- ,,,line,powered,by,ants,on,a,treadmill. ,,,,,,,,,,,,,QUEEN ,,,,,,,,General,the,severe,food,shortage ,,,,,,,,that,faces,the,colony...pains,me. ,,,,,,,,The,thought,of,any,of,my,children ,,,,,,,,going,hungry... ,,,,,,,,,,,(she,shudders;,then, ,,,,,,,,,,,,to,baby) ,,,,,,,,Who's,the,cutest,widdle,worker?,You ,,,,,,,,are!,Yes,you!,Don't,forget,to ,,,,,,,,brush,your,teeth! ,,,,,,,,,,,(to,mid-wife) ,,,,,,,,Ship,'er,out. ,,,,,,,,,,,(back,to,Formica) ,,,,,,,,What,steps,are,you,taking,to,remedy ,,,,,,,,the,situation? ,,,,,,,,,,,,,FORMICA ,,,,,,,,We,are,launching,a,major,offensive,to ,,,,,,,,expand,our,foraging,territory... ,,,,,,,,,,,,,QUEEN ,,,,,,,,Yes,what,else? ,,,,,,,,,,,,,FORMICA ,,,,,,,,Please,don't,worry,your,majesty. ,,,,,,,,Leave,the,worrying,to,me.,As,you ,,,,,,,,know,I'm,not,an,ant,of,half- ,,,,,,,,measures.,I,don't,pussyfoot,around. ,,,,,,,,This,crisis,is,my,number,one ,,,,,,,,priority,and,I,promise,you,it's ,,,,,,,,being,dealt,with,swiftly,and ,,,,,,,,decisively. ,,,The,Queen's,attention,is,interrupted,by,another,baby,being ,,,put,in,her,arms. ,,,,,,,,,,,,,QUEEN ,,,,,,,,,,,(to,baby) ,,,,,,,,No,snacking,between,meals!,Off,you ,,,,,,,,go! ,,,,,,,,,,,(to,Formica) ,,,,,,,,Now,--,what,were,we,saying? ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(Oliver,North-style) ,,,,,,,,I,do,not,recollect,your,majesty. ,,,,,,,,Will,that,be,all? ,,,,,,,,,,,,,QUEEN ,,,,,,,,Yes,General,Formica.,Carry,on,my ,,,,,,,,good,man!,I,don't,know,what,we,would ,,,,,,,,do,without,you. ,,,Formica,clicks,his,heels,and,bows,his,head.,Carpenter,bows ,,,low.,Formica,smartly,about,faces,-- ,,,,,,,,,,,,,BALA,(O.S.) ,,,,,,,,General,Formica! ,,,PRINCESS,BALA,hurries,through,a,second,doorway,carrying,a ,,,swatch,book.,Something,about,her,sets,her,apart,from,the ,,,HANDMAIDEN,ANTS,with,her.,Her,tiara,probably. ,,,Formica,tilts,his,head,quizzically,to,Carpenter,behind,him. ,,,,,,,,,,,,,CARPENTER ,,,,,,,,,,,(sotto) ,,,,,,,,Princess,Bala,sir.,Your,fiancee. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Princess!,You,look,--,outstanding. ,,,,,,,,Is,there,anything,I,can,do,for,you? ,,,,,,,,,,,,,BALA ,,,,,,,,Well,--,I,thought,--,since,we're ,,,,,,,,getting,married...it,might,be,nice,if ,,,,,,,,we...got,to,know,one,another. ,,,Formica,looks,confused. ,,,,,,,,,,,,,QUEEN ,,,,,,,,Bala,has,always,been,a,hopeless ,,,,,,,,romantic,General. ,,,,,,,,,,,,,BALA ,,,,,,,,It's,just,that,--,well,I'm,honored ,,,,,,,,that,you,selected,me,and,everything, ,,,,,,,,I,just,thought,the,marriage,might,go ,,,,,,,,a,little,more,smoothly,if,--,we,had ,,,,,,,,a,conversation? ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(uncomfortable) ,,,,,,,,Conversation...yes...well... ,,,,,,,,,,,(to,Carpenter) ,,,,,,,,Wasn't,she,briefed? ,,,,,,,,,,,,,QUEEN ,,,,,,,,,,,(holding,up,a,baby) ,,,,,,,,Look,General!,A,darling,baby ,,,,,,,,soldier! ,,,,,,,,,,,(emotionally,to,baby) ,,,,,,,,Don't,try,to,be,a,hero!,Just,make ,,,,,,,,sure,you,come,back,in,one,piece! ,,,,,,,,,,,(handing,it,off) ,,,,,,,,Next! ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(using,the ,,,,,,,,,,,,interruption) ,,,,,,,,I'll,take,your,suggestion,under ,,,,,,,,advisement,Princess.,In,the ,,,,,,,,meanwhile,-- ,,,Formica,turns,to,go. ,,,,,,,,,,,,,BALA ,,,,,,,,General,--,we,have,to,talk,sometime! ,,,,,,,,,,,,,FORMICA ,,,,,,,,Very,well.,Carpenter,is,there,a ,,,,,,,,convenient,time,to,talk,vis-a-vis: ,,,,,,,,relationship? ,,,,,,,,,,,,,CARPENTER ,,,,,,,,Actually,sir,we're,ahead,of ,,,,,,,,schedule.,We,have,thirty-six,seconds ,,,,,,,,available,right,now. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Outstanding.,Princess...? ,,,Bala's,a,little,fazed...but,grabs,her,chance. ,,,,,,,,,,,,,BALA ,,,,,,,,So,um...how,was,your,day?,What,did ,,,,,,,,you,do? ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(scouring,his,mind) ,,,,,,,,Well... ,,,,,,,,,,,(that's,it!) ,,,,,,,,I,declared,war! ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(sadly) ,,,,,,,,Oh...and,I,was,afraid,we,had,nothing ,,,,,,,,in,common... ,,,,,,,,,,,,,CARPENTER ,,,,,,,,,,,(under,his,breath) ,,,,,,,,Fourteen-fifty,hours,sir. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Duty,calls! ,,,He,strides,across,the,floor.,Bala,watches,him,go,her ,,,antennae,drooping,unhappily. ,,,,,,,,,,,,,FORMICA ,,,,,,,,No,squeak.,Outstanding! ,,,We,see,through,the,now-open,doors,into,the,throne-room,as ,,,Formica,and,Carpenter,double-time,out,of,the,frame. ,,,The,Queen,sees,that,Bala,is,unhappy. ,,,,,,,,,,,,,QUEEN ,,,,,,,,,,,(sympathetically) ,,,,,,,,I,felt,the,same,way,before,I,got ,,,,,,,,married.,Confused.,Scared. ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(hopefully) ,,,,,,,,You,did? ,,,,,,,,,,,,,QUEEN ,,,,,,,,Yes,--,but,I,did,my,duty,and,sorted ,,,,,,,,out,all,those,messy,feelings.,The ,,,,,,,,wonderful,thing,about,ant,life,is ,,,,,,,,that,everything,is,arranged.,Even ,,,,,,,,marriage.,You're,lucky,--,General ,,,,,,,,Formica,is,a,paragon,of,anthood. ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(unconvinced) ,,,,,,,,Yes...he's,wonderful... ,,,The,doors,swing,shut,on,them,--,revealing,the,two,guard,ants ,,,who,were,CRUSHED,in,the,wake,of,Formica's,exit. ,,,INT.,BALA'S,QUARTERS,-,DAY ,,,Bala,enters,followed,by,her,handmaidens,who,are,in,a,state ,,,of,giggling,infatuation,over,Formica.,Bala,is,scowling,as ,,,she,leafs,through,a,wedding,catalogue. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,,,,(swooning,over ,,,,,,,,,,,,General,Formica) ,,,,,,,,The,General's,body,segments,are ,,,,,,,,so...symmetrical. ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,,,,(giggling) ,,,,,,,,I'd,let,him,order,me,into,battle ,,,,,,,,anyday. ,,,Bala,hurls,the,swatch,book,against,the,wall. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,Princess?,What's,wrong? ,,,,,,,,,,,,,BALA ,,,,,,,,Wrong?,How,could,anything,be,wrong? ,,,,,,,,I'm,going,to,marry,General,Formica ,,,,,,,,and,be,a,queen,and,have,millions,of ,,,,,,,,babies,just,like,my,mom. ,,,,,,,,,,,(concerned) ,,,,,,,,Do,I,look,fat,to,you? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,,,,(knowingly,to ,,,,,,,,,,,,Handmaiden,#2) ,,,,,,,,Pre-wedding,jitters. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,You,just,need,to,blow,off,some,steam. ,,,,,,,,Let's,go,to,the,bar,at,the,Royal,Club! ,,,,,,,,,,,,,BALA ,,,,,,,,The,Club's,so,stuffy.,I,want,to,try ,,,,,,,,someplace,different. ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,There,isn't,anyplace,else,-- ,,,,,,,,,,,(making,a,joke) ,,,,,,,,Except,the,worker,bar. ,,,,,,,,,,,,,BALA ,,,,,,,,The,worker,bar!,Yes!,That's,where ,,,,,,,,I,want,to,go! ,,,The,handmaidens,look,shocked. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,But,--,we,can't,--,there'll,be ,,,,,,,,workers,there. ,,,INT.,ANT,BAR,-,NIGHT ,,,A,long,bar,filled,with,ants.,The,bar,itself,seems,to,stretch ,,,for,miles,and,there,are,hundreds,of,ants,trying,to,get,a ,,,drink...unfortunately,there's,only,one,bartender.,Z,is,at ,,,the,bar,with,WEAVER,a,burly,ant,soldier. ,,,,,,,,,,,,,Z ,,,,,,,,We,declared,war,again? ,,,,,,,,,,,(off,Weaver's,nod) ,,,,,,,,Are,you,scared? ,,,,,,,,,,,,,WEAVER ,,,,,,,,,,,(shrugs) ,,,,,,,,I'll,be,back. ,,,The,BARTENDER,a,grizzled,veteran,slaps,down,what,looks,like ,,,a,couple,of,large,green,beer,mugs.,Actually,they're,aphids, ,,,little,green,critters,he,fills,up,from,a,number,of,kegs ,,,hanging,from,the,ceiling.,The,kegs,are,specialized,ants,with ,,,hugely,distended,stomachs,which,spray,liquid,into,the,aphids. ,,,,,,,,,,,,,APHIDS ,,,,,,,,,,,(as,they're,slapped ,,,,,,,,,,,,on,bar) ,,,,,,,,Ouch!,Ouch! ,,,,,,,,,,,,,BARTENDER ,,,,,,,,Two,aphid,beers. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(as,Bartender,leaves) ,,,,,,,,Did,you,see,that?,How,he,gave,you ,,,,,,,,the,beers,not,me?,I'm,telling,you, ,,,,,,,,he's,got,something,against,workers. ,,,,,,,,,,,,,WEAVER ,,,,,,,,I,don't,know,what,you're,talking ,,,,,,,,about,Z. ,,,,,,,,,,,,,Z ,,,,,,,,Come,on,--,everybody,dumps,on,us ,,,,,,,,workers.,You,soldiers,get,all,the ,,,,,,,,glory.,Plus,you,get,to,go,out,into ,,,,,,,,the,world,meet,interesting,insects, ,,,,,,,,and,kill,them. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Yeah,but,you,get,to,spend,all,day ,,,,,,,,with,those,fabulous,worker,babes. ,,,We,can,see,that,Weaver,is,eyeing,a,nearby,table,of,"Worker ,,,Babes",including,Z's,friend,Azteca. ,,,,,,,,,,,,,Z ,,,,,,,,Weaver,they're,career,girls. ,,,,,,,,They're,obsessed,with,digging. ,,,,,,,,,,,(sighs) ,,,,,,,,No,I'll,probably,never,meet,the,girl ,,,,,,,,for,me. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Who,said,there,was,a,girl,for,you? ,,,,,,,,I,was,talking,about,a,girl,for,me. ,,,,,,,,,,,(quaffing,his,aphid ,,,,,,,,,,,,beer) ,,,,,,,,Don't,you,want,your,aphid,beer? ,,,,,,,,,,,,,Z ,,,,,,,,I,can't,help,it.,I,have,a,thing ,,,,,,,,about,drinking,from,the,anus,of ,,,,,,,,another,creature.,Call,me,crazy. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Z,we've,known,each,other,a,long ,,,,,,,,time,right? ,,,,,,,,,,,,,Z ,,,,,,,,Of,course.,You,were,born,two,seconds ,,,,,,,,after,me. ,,,,,,,,,,,,,WEAVER ,,,,,,,,And,all,the,time,I've,known,you, ,,,,,,,,you've,been,grumping,and,groaning. ,,,,,,,,You,should,quit,making,waves.,Go ,,,,,,,,with,the,flow. ,,,,,,,,,,,,,Z ,,,,,,,,Weaver,I'm,an,insect,not,a,liquid. ,,,Down,the,bar,there's,a,commotion.,A,grizzled,old,SCOUT,ant ,,,has,had,too,much,to,drink. ,,,,,,,,,,,,,DRUNK,SCOUT ,,,,,,,,Have,you,been,to,Insectopia?,Have ,,,,,,,,you?,No,ya,goddam,larvas!,But,I ,,,,,,,,have... ,,,,,,,,,,,(becoming,emotional) ,,,,,,,,...Mosquitos,n',caterpillars,n' ,,,,,,,,beetles,--,all,livin',in,peace, ,,,,,,,,stuffin,their,guts,with,food...No ,,,,,,,,rules,no,regulations...you,can,be ,,,,,,,,your,own,ant,there... ,,,,,,,,,,,(howling,drunkenly) ,,,,,,,,It's,Insectopia!,Insectopia! ,,,,,,,,,,,,,Z ,,,,,,,,Hey,Weaver,listen! ,,,,,,,,,,,,,DRUNK,SCOUT ,,,,,,,,I,was,cut,off,from,my,unit,--,found ,,,,,,,,it,by,mistake,-- ,,,,,,,,,,,(slurring) ,,,,,,,,It,changed,my,life! ,,,,,,,,,,,(spraying,another ,,,,,,,,,,,,soldier,with,saliva) ,,,,,,,,You,see,--,ya,follow,the,great,yellow ,,,,,,,,egg,and,you,come,to,the,land,of,red ,,,,,,,,and,white,-- ,,,,,,,,,,,,,SOLDIERS ,,,,,,,,You've,had,enough,for,one,night! ,,,,,,,,Come,on,Gramps,before,you,get,in ,,,,,,,,trouble. ,,,The,soldiers,pull,him,from,the,bar,carrying,him,out. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(excited) ,,,,,,,,Hey,did,you,hear,what,he,said?! ,,,,,,,,,,,,,WEAVER ,,,,,,,,Poor,guy's,had,one,too,many,scouting ,,,,,,,,missions. ,,,MUSIC,STARTS,UP. ,,,INT.,ANT,BAR,ENTRANCE,-,NIGHT ,,,Princess,Bala,is,peering,in,at,the,entrance,to,the,ant,bar, ,,,accompanied,by,her,worried-looking,handmaidens. ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,We,shouldn't,be,doing,this,--,it ,,,,,,,,isn't,proper! ,,,,,,,,,,,,,BALA ,,,,,,,,I'm,the,Princess,aren't,I? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,Of,course,-- ,,,,,,,,,,,,,BALA ,,,,,,,,And,do,Princesses,do,improper,things? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,Of,course,not,-- ,,,,,,,,,,,,,BALA ,,,,,,,,Then,if,I,go,to,the,worker,bar,it ,,,,,,,,isn't,improper.,Anyway,don't,worry. ,,,,,,,,No,one,will,recognize,us,in,our ,,,,,,,,disguises. ,,,She,adjusts,her,"disguise",a,hardhat,tied,down,Jackie,O.- ,,,style,with,an,ant's,version,of,a,Chanel,scarf. ,,,,,,,,,,,,,BALA ,,,,,,,,I'm,just,a,common,worker,cooling,off ,,,,,,,,after,a,rough,day! ,,,Music,starts.,An,ant,BARKER,takes,the,mic,at,one,end,of,the ,,,dance,floor. ,,,,,,,,,,,,,BARKER ,,,,,,,,,,,(on,loudspeaker) ,,,,,,,,Okay,folks.,It's,six-fifteen,and ,,,,,,,,that,means,it's,time,to,dance. ,,,Every,ant,gets,up,to,dance.,Weaver,turns,to,Z. ,,,,,,,,,,,,,WEAVER ,,,,,,,,,,,(draining,his,beer) ,,,,,,,,Time,to,cut,a,rug,Z! ,,,,,,,,,,,,,Z ,,,,,,,,I'm,not,in,the,mood. ,,,,,,,,,,,(disgusted) ,,,,,,,,Even,when,they're,off,work,they ,,,,,,,,follow,orders. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Well,you,just,sit,here,and,be,a ,,,,,,,,party-pooper. ,,,Weaver,joins,the,rest,of,the,ants,who,are,lining,up,for,the ,,,dance.,The,Barker,calls,out,the,steps,in,a,bored,monotone,-- ,,,all,the,ants,already,know,the,steps.,Everyone,dances,in ,,,perfect,synch. ,,,,,,,,,,,,,BARKER ,,,,,,,,,,,(southern,twang) ,,,,,,,,And,a,left-right-quarterstep-back ,,,,,,,,step-halfstep,--,a,left-right- ,,,,,,,,quarterstep-backstep-halfstep,-- ,,,,,,,,a,left-right-quarterstep-backstep ,,,,,,,,halfstep,-- ,,,AT,THE,ENTRANCE,Bala,smiles,mischievously,at,her,handmaidens. ,,,,,,,,,,,,,BALA ,,,,,,,,I'm,going,to,ask,one,of,these ,,,,,,,,mindless,primitive,worker-types,to ,,,,,,,,dance,with,me! ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,But,General,Formica,would,be,furious! ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(enjoying,the,idea) ,,,,,,,,I,know. ,,,The,handmaidens,are,appalled.,Bala,whirls,away,from,them, ,,,sets,her,sights,and,searches,the,crowd,--,zeroing,in,on,-- ,,,Z,who's,watching,the,other,ants,dance. ,,,,,,,,,,,,,Z ,,,,,,,,What,a,bunch,of,losers.,Mindless ,,,,,,,,zombies,capitulating,to,an,oppressive ,,,,,,,,system,-- ,,,,,,,,,,,,,BALA ,,,,,,,,Wanna,dance? ,,,Bala's,standing,right,there.,Z,is,instantly,smitten. ,,,,,,,,,,,,,Z ,,,,,,,,Me?!,Yes!!!,I,mean,-- ,,,,,,,,,,,(regaining,suavosity) ,,,,,,,,Just,let,me,finish,my,beer. ,,,Not,breaking,eye,contact,with,Bala,Z,smiles,suavely. ,,,Reaches,suavely,for,a,beer.,Suavely,grabs,the,candle,in,a ,,,glass,jar,off,the,bar.,Suavely,singes,his,face. ,,,He,plays,it,off,with,a,rakish,little,laugh.,A,bit ,,,apprehensive,Bala,heads,onto,the,floor.,Z,follows,her. ,,,,,,,,,,,,,Z ,,,,,,,,So,uh,--,how,come,I,haven't,seen,you ,,,,,,,,around,here,before? ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(covering,up) ,,,,,,,,I,work,in,the,palace,I,don't,get,out ,,,,,,,,much. ,,,,,,,,,,,,,Z ,,,,,,,,The,palace,hunh?,I,bet,those,royals ,,,,,,,,really,live,it,up.,Of,course,they're ,,,,,,,,all,a,little,you,know,from ,,,,,,,,inbreeding,-- ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(shocked) ,,,,,,,,What? ,,,Z,and,Bala,step,onto,the,dance,floor,with,the,rest,of,the ,,,ants,but,Z,can't,do,any,of,the,steps. ,,,,,,,,,,,,,Z ,,,,,,,,Now,let's,see,I,--,it's,been,a ,,,,,,,,while,since,I,--,I,think,you,-- ,,,Bala,watches,Z,trying,to,follow,along.,It's,the,blind ,,,leading,the,blind,as,Z,tries,in,vain,to,follow,the,barker's ,,,rapid,instructions. ,,,,,,,,,,,,,Z ,,,,,,,,Here,I'll,lead. ,,,Z,starts,doing,his,own,individual,dance.,With,a,suave ,,,expression,on,his,face,he,leads,Bala,in,a,helter-skelter ,,,mixture-of,Tango,Charleston,and,hand-jive. ,,,,,,,,,,,,,BALA ,,,,,,,,Are,you,sure,this,is,a,real,dance? ,,,,,,,,,,,,,Z ,,,,,,,,Well,actually,uh,--,I'm,sort,of ,,,,,,,,making,it,up,-- ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(surprised) ,,,,,,,,Really? ,,,,,,,,,,,,,Z ,,,,,,,,Why,should,everyone,dance,the,same ,,,,,,,,way?,It's,as,exciting,as,watching ,,,,,,,,fungus,grow. ,,,,,,,,,,,,,BALA ,,,,,,,,You're,right! ,,,,,,,,,,,,,Z ,,,,,,,,,,,(surprised) ,,,,,,,,You,--,you,think,I'm,right? ,,,,,,,,,,,,,BALA ,,,,,,,,Why,can't,I,just,do,whatever,I,want ,,,,,,,,to,do?,Why,can't,I,just,go,wild?! ,,,,,,,,Yahoo! ,,,Bala,starts,to,get,into,it,making,up,her,own,steps,in,reply ,,,to,Z's,loosening,up,having,fun.,For,a,moment,the,two,of ,,,them,are,actually,sexy,together.,Then,they,get,a,little,too ,,,wild,--,and,the,other,ants,who,are,still,doing,their ,,,intricate,dance,start,to,collide,with,Bala,and,Z.,Z,almost ,,,knocks,over,a,big,soldier,ant.,We,can,only,see,the,ant's ,,,back,at,the,moment. ,,,,,,,,,,,,,SOLDIER ,,,,,,,,Hey!,Watch,your,step,worker. ,,,Z,has,turned,around,to,see,the,soldier,ant,MAJOR,MANDIBLE, ,,,glaring,at,him.,Mandible,is,about,twice,Z's,size.,He's,got ,,,one,eye,missing,and,half,of,his,left,antenna,his,been,chewed ,,,off. ,,,,,,,,,,,,,BALA ,,,,,,,,You,watch,yours,soldier,or,my ,,,,,,,,worker,friend,will,beat,you,up! ,,,,,,,,,,,,,Z ,,,,,,,,,,,(terrified) ,,,,,,,,Oh,that's,okay,I'll,let,him,off ,,,,,,,,this,time. ,,,,,,,,,,,(whispering,to,Bala) ,,,,,,,,Are,you,crazy?,This,guy's,built,like ,,,,,,,,a,pebble! ,,,,,,,,,,,(ineptly,trying,to ,,,,,,,,,,,,placate,the,soldier) ,,,,,,,,You,know,they,do,great,prosthetic ,,,,,,,,antennas,nowadays,-- ,,,,,,,,,,,,,BALA ,,,,,,,,Aren't,you,gonna,stand,up,for ,,,,,,,,yourself? ,,,Z's,caught,between,a,rock,and,a,hard,place.,He,doesn't,want ,,,to,get,beaten,up,but,on,the,other,hand,he,doesn't,want,to ,,,lose,face,in,front,of,Bala.,More,soldiers,have,gathered ,,,around,looking,hostile. ,,,,,,,,,,,,,SOLDIER ,,,,,,,,How,come,you,don't,dance,like,the ,,,,,,,,rest,of,us? ,,,Z,glances,over,at,Bala.,Then,shaking,with,nervousness,he ,,,says,defiantly... ,,,,,,,,,,,,,Z ,,,,,,,,Because,--,because,I'm,an,individual! ,,,,,,,,,,,,,SOLDIER,#2 ,,,,,,,,An,individual?,Never,heard,of,it. ,,,,,,,,,,,,,MANDIBLE ,,,,,,,,You,look,like,a,worker,to,me. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Hey,lay,off,my,little,buddy! ,,,Z,meanwhile,looks,far,away,ecstatic,as,if,he's,just ,,,realized,something,very,important.,Unfortunately,just,at ,,,this,moment,A,soldier,pushes,Weaver...Weaver,pushes,him ,,,back...somebody,makes,a,dive,for,Z,--,and,before,you,know,it, ,,,there's,a,regular,bar,brawl,going,on,with,Weaver,in,the ,,,middle,of,it,cracking,heads,together,punching,ants,in,the ,,,face,having,a,great,time.,Just,then,the,Princess' ,,,handmaidens,hurries,over. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,Princess,Bala!,Princess,Bala! ,,,Z,who's,scrabbling,around,on,the,floor,overhears. ,,,,,,,,,,,,,Z ,,,,,,,,Princess?,You're,a,Princess? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,The,police,are,coming! ,,,,,,,,,,,,,BALA ,,,,,,,,Uh,oh. ,,,,,,,,,,,(to,Z) ,,,,,,,,Goodbye!,Gotta,run! ,,,,,,,,,,,,,Z ,,,,,,,,Wait!,When,can,I,see,you,again? ,,,,,,,,,,,,,BALA ,,,,,,,,Let,me,think.,Hmmnn... ,,,,,,,,,,,(thinks) ,,,,,,,,Never.,Bye! ,,,Bala,rushes,off,with,her,handmaiden,just,before,a,squad,of ,,,whistle-blowing,POLICE,wade,into,the,crowd. ,,,,,,,,,,,,,Z ,,,,,,,,Wait!,Princess!,Wait! ,,,But,she's,already,gone,leaving,Z,holding,her,scarf. ,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,INT.,DORMITORY,-,THE,NEXT,DAY ,,,Z,is,talking,to,Weaver,who's,getting,ready,to,go,off,to,war. ,,,Nearby,columns,of,ant,soldiers,march,by. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Get,real,Z!,She,just,dropped,the ,,,,,,,,scarf,by,accident! ,,,,
6	Beavis and Butt-head Do America	Mike Judge,Joe Stillman	Animation,Comedy	null	"BEAVIS,AND,BUTT-HEAD,DO,AMERICA" by Mike,Judge,and,Joe,Stillman The,movie,begins,with,scenes,of,people,screaming,in,horror, and,running,down,the,streets,of,a,big,city.,The,ground,shakes,from, what,seems,like,giant,footsteps.,There,are,pieces,of,building, debris,falling,everywhere,people,getting,crushed,power,lines, coming,down,etc.,-,complete,pandemonium.,It,all,looks,very,much, like,a,Japanese,animated,King-Kong,or,Godzilla,movie.,We,hear,the, footsteps,getting,closer,and,the,ground,shaking,becomes,more, intense,-,more,debris,falling.,Then,we,see,a,HUGE,BLACK,TENNIS, SHOE,come,into,frame,and,smash,a,National,Guard,truck.,As,we,pan, up,we,see,the,white,socks,then,the,red,shorts,the,AC/DC,T- shirt,then,we,hear,the,familiar,"Huh,huh,huh.",-,only,it's,a, huge,sound...this,is,a,THREE-HUNDRED,FOOT,TALL,BUTT-HEAD.,"Butt- Kong",continues,his,path,of,destruction,-,stomping,on,cars,and, buildings,and,saying,"This,is,cool.,Huh,huh,huh." Airplanes,and,tanks,start,firing,at,Butt-Head,(Butt-Kong)., He,looks,irritated,and,says,"Cut,it,out,butt-munch!",Butt-Head, swats,at,the,planes,sending,them,crashing,to,the,ground,and, stomps,on,the,tanks.,Then,something,catches,his,eye.,Butt-Head, reaches,into,a,skyscraper,and,picks,up,a,nice,looking,woman,-,a, lot,like,the,one,from,the,King,Kong,movie.,He,looks,down,at,her,in, his,hand,and,goes,wide-eyed,"Whoa!,Huh,huh,huh.",The,woman, screams,in,terror,as,Butt-Head,looks,down,at,her,and,tries,a,few, lame,pick,up,lines.,"Uuuuh...Hey,baby.,I'm,like,pretty,tall.,Huh, huh,huh.",He,swats,down,a,helicopter,that,is,circling,his,head, "Dammit,I'm,trying,to,score!",The,helicopter,goes,down,in,flames., We,CUT,TO,some,guys,sitting,on,a,tank,firing,at,him.,They,notice, giant,footsteps,coming,from,the,other,direction,and,turn,the,tank, around.,Through,their,binoculars,we,see,a,THREE-HUNDRED,FOOT, BEAVIS,coming,from,the,horizon.,The,giant,Beavis,is,even,more, destructive,than,Butt-Kong,(maybe,he,could,be,breathing,fire)., Beavis,starts,trying,to,pick,up,on,Butt-Head's,woman.,Butt-Head, puts,the,woman,down,and,he,and,Beavis,begin,to,go,at,it,leveling, the,city,with,one,of,their,stupid,juvenile,smack-fights. We,CROSS-DISSOLVE,from,three-hundred,foot,Beavis,shaking, Butt-Kong,to,Butt-Head,asleep,on,the,couch,with,Beavis,shaking, him. INT.,B&B'S,HOME,-,DAY BEAVIS,(O.C.) Butt-Head!,Butt-Head!,Hey,Butt-Head! Butt-Head,is,dead,asleep,on,the,couch.,Beavis,shakes,him. BEAVIS Butt-Head,wake,up,wake,up! Butt-Head,comes,around. BUTT-HEAD Dammit,Beavis,I,was,about,to,score. Huh,huh. BEAVIS Yeah,but,check,it,out.,It's,gone! BUTT-HEAD What's,gone? BEAVIS The,TV. Beavis,is,making,STRANGE,NOISES,in,a,state,of,shock. Butt-Head,rubs,his,eyes,and,looks,at,the,empty,space,where,the,TV, was. BUTT-HEAD Uuuuuuh,huh,huh.,Uuh,... Out,the,window,we,see,two,YOUNG,MEN,carrying,B&B's,TV,into,their, van. Still,on,the,couch,Butt-Head,looks,over,at,the,broken,window.,We, see,a,CROWBAR,lying,on,the,floor,and,the,front,door,left,open. Butt-Head,looks,at,the,BROKEN,WINDOW,at,the,CROWBAR,the,OPEN, DOOR,then,back,at,the,EMPTY,SPACE,where,the,TV,was.,He,does,this, a,couple,of,times,-,piecing,it,all,together. BUTT-HEAD,(CONT.) Whoa!,I,think,I,just,figured,something out,Beavis. BEAVIS What? BUTT-HEAD This,sucks. BEAVIS Yeah,heh,heh. Beavis,is,still,in,shock.,They,both,stare,at,the,empty,space,where, the,TV,was,for,a,beat,not,quite,sure,what,to,do. Beavis,is,SHAKING,AND,MAKING,WEIRD,NOISES.,He,presses,buttons,on, the,remote,a,few,times,as,if,it,might,help,somehow. BUTT-HEAD This,sucks,more,than,anything,that has,ever,sucked,before.,We,must,find this,butt-hole,that,took,the,TV. EXT.,CITY,STREET,-,NIGHT Bad,neighborhood.,70's,music,blares. A,fast,driving,car,drives,right,at,us,and,stops.,Punks,run,in, fear.,Beavis,hops,out,of,the,driver's,seat,wearing,bell-bottoms, chain,jewelry,and,a,70's,afro.,Into,a,dramatic,CLOSE-UP,he,takes, off,his,glasses. FREEZE,ON,BEAVIS ANNOUNCER Beavis! FRAME,UNFREEZES.,Beavis,whips,out,a,huge,gun. BEAVIS Freeze,butt-wipe! An,attacker,comes,from,one,side.,Beavis,uses,Judo.,Another,tosses, a,knife.,Beavis,ducks,then,shoots,with,two,hands,police,style. INT.,BEDROOM,-,NIGHT Swinger's,pad.,Totally,70's.,A,group,of,bikini'd,girls,on,a, waterbed.,Butt-Head,approaches,them.,He,wears,a,leisure,suit, collar,way,open.,He,plops,down,in,the,bed. FREEZE,ON,BUTT-HEAD ANNOUNCER Butt-Head! FRAME,UNFREEZES.,The,girls,wrap,their,arms,around,him. BUTT-HEAD Huh,huh,huh.,Come,to,Butt-Head,baby. ANNOUNCER Star,in... MAIN,TITLE,-,FULL,FRAME EXT.,CITY,STREETS,-,DAY/NIGHT ACTION,MONTAGE,BEGINS.,Styled,like,a,70's,cop,show,opening. OPENING,CREDITS,to,the,movie,appear,just,as,cop,show,credits, would. Beavis,does,a,Starsky,and,Hutch-style,roll,with,a,gun. Butt-Head,slaps,a,pimp. Beavis,drives,chasing,a,car. Butt-Head,is,slapped,by,a,girl. BUTT-HEAD Huh,huh,huh.,That,was,cool. Beavis,and,Butt-Head,are,in,a,warehouse,shoot-out. A,black,police,chief,rises,from,a,desk,to,yell,at,B&B. B&B,dive,for,cover,just,before,a,building,explodes. In,CLOSE-UP,Beavis,smiles,for,an,ID,shot. Butt-Head,does,the,same. Beavis,in,a,rooftop,fight,kicks,his,opponent,over,the,edge. A,beautiful,woman,back,to,us,takes,off,her,dress,for,Butt-Head., FINAL,OPENING,CREDIT,APPEARS.,Butt-Head,and,the,woman,fall,into, bed.,Suddenly... INT.,SCHOOL,HALLWAY/DOOR,TO,A.V.,ROOM,-,DAY From,inside,SOUND,of,equipment,crashing. B&B,come,out,wheeling,a,TV,on,one,of,those,carts.,There,are,cables, attached,to,it,still,leading,back,into,the,A.V.,room.,As,they,push, the,cart,we,hear,more,equipment,falling. BUTT-HEAD Dammit,it's,stuck. They,give,it,one,big,push,and,it,finally,breaks,free.,We,see,that, the,cables,are,tangled,with,cables,from,other,TVs,and,VCRs,which, all,come,crashing,to,the,ground. BUTT-HEAD,(CONT.) Huh,huh,huh.,That,was,cool. BEAVIS Yeah,heh,heh.,Let's,just,wheel,this thing,back,to,the,house. INT.,SCHOOL/ANOTHER,HALLWAY,-,DAY MR.,VAN,DRIESSEN,stops,B&B. VAN,DRIESSEN Ah,excuse,me,boys.,What's,going,on here? BUTT-HEAD Uh,someone,stole,our,TV. BEAVIS Yeah.,We're,just,gonna,use,this,one. Get,outta,the,way.,Heh,heh. VAN,DRIESSEN I'm,afraid,that,TV,belongs,to,the,school. Mmmkay?,You,know,this,could,be,a,positive experience,for,you,guys.,There's,a wonderful,world,out,there,when,we,discover we,don't,need,TV,to,entertain,us. BUTT-HEAD Huh,huh,huh.,He,said,"anus." BEAVIS (to,himself) Entert-ain...us...an-us...Oh,yeah!,Heh, heh.,Anus.,Heh,heh. VAN,DRIESSEN (frustrated) Have,you,guys,heard,a,word,I've,said? BUTT-HEAD Yeah,"anus.",Huh,huh,huh,huh. VAN,DRIESSEN Look,guys,just,take,the,TV,back,to,the A.V.,room,right,now.,And,try,to,be,a,little more,open-minded.,Mmkay? Van,Driessen,leaves.,B&B,continue,to,wheel,the,cart,home. BUTT-HEAD What,a,dork.,Huh,huh. BEAVIS Yeah,heh,heh.,He's,a,anus.,Heh,heh. EXT.,SCHOOL/STAIRWAY,-,DAY B&B,arrive,with,the,cart,at,the,top,of,a,stairway.,They,lamely, attempt,to,let,it,slowly,down,the,steps.,The,cart,is,too,top-heavy, and,goes,tumbling,to,the,bottom,of,the,stairs,shattering,the,TV. BUTT-HEAD Huh,huh,huh.,That,was,cool. BEAVIS No,it,wasn't! BUTT-HEAD Uh,...Oh,yeah. B&B,stand,at,the,top,of,the,stairs,looking,down,at,the,wrreckage., PRINCIPAL,McVICKER,shows,up,by,the,TV. McVICKER Why....,You...,You,bastards...,Ge... get,out!,You're,suspended.,One,more screw,up...,and,you're,expelled. B&B,walk,off,laughing. EXT.,THE,ANDERSON'S,DRIVEWAY,-,DUSK B&B,walk,up.,There's,a,camper,in,the,driveway. BUTT-HEAD Whoa,check,it,out,Beavis.,I,didn't know,Anderson,had,a,Camper. BEAVIS Yeah,heh,heh.,Maybe,it,has,a,TV. Heh,heh.,TV. B&B,walk,up,to,the,camper,and,start,to,open,the,door,just,as,MARCY, ANDERSON,opens,it.,(As,usual,she,doesn't,recognize,them.) MARCY Oh,hello.,Are,you,guys,here,to,look at,the,refrigerator? BUTT-HEAD Uh,no. BEAVIS We're,here,to,look,at,the,TV.,Heh,heh. MARCY Oh,I,didn't,realize,it,was,broken. Come,on,in. BUTT-HEAD Cool.,Huh,huh,huh. B&B,walk,into,the,camper.,Marcy,stays,outside. EXT.,ANDERSON'S,CAMPER,-,SAME,TIME Tom,is,adjusting,the,trailer-hitch.,Marcy,watches. TOM Well,that,oughtta,hold,her.,Ya,know, the,most,important,thing,you,can,have on,a,camper,is,a,good,propane,regulator, and,this,here's,the,best,one,they,make. MARCY I,sure,hope,we,can,get,the,'fridge,fixed before,we,leave. TOM Now,Marcy,we've,been,savin',for,this,trip our,whole,lives,and,we're,gonna,go,come Hell,or,high,water... Through,the,camper,walls,we,hear,the,faint,sound,of,B&B, AIR/MOUTH-GUITARING,"IRON,MAN." TOM,(CONT.) What,the,hell,is,that,noise? INT.,ANDERSON'S,CAMPER,-,DUSK B&B,watch,a,"Cops"-type,show.,Beavis,gets,up,goes,to,the, refrigerator,and,grabs,a,soda.,The,refrigerator,is,under,the, counter,on,which,the,TV,is,sitting. Beavis,takes,a,sip,and,then,does,a,SPIT,TAKE,SPRAYING,SODA,ALL, OVER,THE,TOP,OF,THE,TV. BEAVIS AAAAAAGH!!!,This,crap,is,warm! ANGLE,ON,TV:,The,soda,Beavis,spit,out,drips,into,the,inside,of,the, TV.,We,see,smoke,and,hear,SIZZLING,AND,SHORT,CIRCUIT,SFX.,The,TV, goes,dead. BUTT-HEAD Beavis,you,butt-hole!,You,broke,it. EXT.,ANDERSON'S,CAMPER,-,DUSK B&B,come,out.,Tom,notices,them. TOM Hey,what's,goin',on,here? MARCY They're,here,to,fix,the,TV,Tom. TOM The,TV,ain't,broken. BUTT-HEAD Yeah,it,is.,Huh,huh,huh. Tom,adjusts,his,glasses,as,he,looks,at,B&B. TOM'S,BLURRY,P.O.V.:,We,see,B&B,out,of,focus. TOM Hey,wait,a,minute.,You,two,look,kinda familiar.,Ain't,you,them,kids,that've been,whackin',off,in,my,tool,shed? BEAVIS,&,BUTT-HEAD Huh,huh,huh,huh,huh. ANGLE,ON,BEAVIS:,looking,particularly,guilty,eyes,shifting,back, and,forth. B&B,walk,off,leaving,Tom,wondering. EXT.,STREET,IN,A,SEEDY,PART,OF,TOWN,-,JUST,BEFORE,DAWN B&B,are,having,TV,withdrawal.,Butt-Head,is,bug-eyed.,Beavis,has, the,shakes,bad,arms,folded,like,Dustin,Hoffman,in,"Midnight, Cowboy." BEAVIS Nnnnooo.,Oooooh,nooooo. BUTT-HEAD What's,your,problem,Beavis? BEAVIS I,need,TV,now!,Now!,NNNNDAMMIT!!! Butt-Head,stops,short.,He,looks,up.,His,face,is,bathed,in,a, golden,throbbing,light. BUTT-HEAD'S,P.O.V.:,We,see,a,flashing,neon,sign,that,says,"TV"., Pull,back,to,show,B&B,are,standing,outside,the,Elite,Motel,Lodge, featuring,"Color,TV",and,"Air-Cooled,Rooms",with,"Special,Nap, Rates." B&B,stare,up,as,if,at,a,god. BEAVIS (crazed) Heh,heh.,TV.,Heh,Teee,Veee. EXT.,MOTEL,COURT,-,CONTINUOUS Butt-Head,tries,the,first,door.,It's,locked.,He,tries,the,second, door.,It's,locked.,He,tries,the,third,door.,It,opens. B&B's,eyes,bulge.,Inside,PRINCIPAL,McVICKER,is,lying,across,the, legs,of,an,obvious,prostitute,his,pants,pulled,down.,She,SPANKS, him. McVICKER Please,mmm...,may,I,have,another?! B&B,LAUGH.,McVicker,hears,and,looks,up. McVICKER,(CONT.) Beavis,and,Butt-Head!,Y...y...you bastards. BEAVIS Can,we,watch,your,TV? McVICKER Y...,Y...,You're,expelled!,Get,out! Butt-Head,closes,the,door,laughing,and,starts,to,walk,towards, the,next,door.,The,muffled,sound,of,a,SPANK,can,be,heard,followed, by,McVicker,asking,for,another. BUTT-HEAD Huh,huh,huh.,That,was,cool. BEAVIS Dammit!,I,need,a,TV,now!,We're,missing everything! INT.,MOTEL,ROOM,-,CONTINUOUS The,only,light,in,the,room,is,a,flickering,TV.,Sitting,on,the,bed, talking,on,the,phone,is,MUDDY.,He's,a,tough,mean,looking,red-neck, -,a,Jack,Ruby,type. On,the,nightstand,next,to,him,is,a,three-quarter,drunk,bottle,of, bourbon,and,a,manila,envelope.,On,his,lap,is,a,big,gun. MUDDY ...Are,you,sure,these,guys,can,pull,this off?,It's,gotta,look,like,an,accident... We,hear,a,knock,on,the,door,and,muffled,B&B,laughs. MUDDY,(CONT.) Hold,on,a,minute.,That,must,be,them,now. I'll,call,you,back.,(Hangs,up,phone)... Come,in! B&B,walk,in.,Muddy,turns,on,the,light. BEAVIS (sounding,suddenly,sedated) Aaaah.,TeeeVeeeee,heh,heh. MUDDY Yer,late. BUTT-HEAD Why?,Did,we,miss,American,Gladiators? MUDDY'S,P.O.V.:,B&B,are,a,drunken,blur. MUDDY Well,Earl,said,you,guys,were,young,but jeez...,Oh,well,as,long,as,you,can,get the,job,done.,So,what,are,your,names? BUTT-HEAD Uh,Butt-Head. BEAVIS Beavis. MUDDY That's,alright.,I'd,rather,not,know,your real,names,anyways.,I'm,Muddy.,Look,I'm gonna,get,right,to,the,point.,I'll,pay,you ten,grand,plus,expenses,all,payable,after you,do,her... BUTT-HEAD (full,of,innuendo) Do,her?,Huh,huh. MUDDY That's,right.,I'm,offering,you,ten,grand plus,expenses,to,do,my,wife.,We,gotta,deal? Butt-Head,stares,in,shock. BEAVIS Actually,we,just,wanna,watch,TV... BUTT-HEAD Shut,up,Beavis!,Uh,yeah.,We'll,do,your wife. BEAVIS (trembling) Nnnnaah...We,need,to,watch,TV,DAMMIT!!! Butt-Head,SMACKS,Beavis,and,pulls,him,aside. BUTT-HEAD Beavis,you,butt-munch,this,guy,wants,us to,score,with,his,wife.,And,he's,gonna,pay us.,We,can,buy,a,new,TV. BEAVIS Oh,heh,heh,really?,Cool.,Heh,heh. BUTT-HEAD (to,Muddy) Uh,huh,huh...,We'll,do,it,sir. MUDDY Okay,then,let's,get,down,to,business. ANGLE,ON,THE,BED.,Muddy,slaps,down,a,picture,of,DALLAS,his,wife., Leather,clad,biker,beautiful. MUDDY,(CONT.) Here,she,is.,Her,name's,Dallas.,She,ain't as,sweet,as,she,looks.,She,stole,everything from,me.,Ya,gotta,watch,out,'cause,she'll do,you,twice,as,fast,as,you'd,do,her. BUTT-HEAD Whoa,huh,huh.,Cool. Muddy,plunks,down,PLANE,TICKETS. MUDDY She's,holed,up,in,a,hotel,room,in,Las Veags.,Your,flight,leaves,in,a,couple,of hours.,Now,c'mon,I'll,drive,you,to,the airport. BUTT-HEAD Holed,up.,Huh,huh,huh.,Holed. BEAVIS Can,we,watch,some,TV,first? Muddy,picks,up,the,gun,and,SHOOTS,the,TV. MUDDY No. EXT.,CITY,STREETS,-,MORNING Muddy,driving,his,loud,four-by-four,like,a,maniac,drunk,with, bloodshot,eyes.,B&B,are,in,the,back,seat.,He,eyes,them,through,the, rearview.,Meanwhile,a,cat,bounces,off,the,windshield,with,a, SHRIEK. MUDDY One,more,thing.,Mah,wife's,got,this leather,satchel.,It's,black,about,this big.,I,need,ya,to,bring,it,back.,It's real,important.,Sentimental,value...,Any questions,so,far? BUTT-HEAD Uh,yeah.,Does,she,have,big,hooters? MUDDY She,sure,does. BUTT-HEAD This,is,gonna,be,cool!,Huh,huh,huh. BEAVIS Yeah,heh,heh.,Boooooiiiing!!! MUDDY Just,make,sure,it,looks,like,an, accident... BEAVIS (spastic) Yeah,heh,heh.,I,think,I,just,had,an accident.,Heh,heh,hmm,heh,hmm,heh. MUDDY Huh,huh.,You,guys,are,funny.,Let's,have a,drink,on,it. Muddy,swigs,the,last,swallow,from,his,bottle,of,bourbon. EXT.,AIRPORT,-,EARLY,MORNING In,an,overhead,view,the,four-by-four,screeches,up,to,the,gate, fishtails,to,a,stop,throwing,B&B,onto,the,sidewalk,and,peels, away. BUTT-HEAD We're,gonna,get,paid,to,score. BEAVIS Yeah,heh,heh,and,then,we're,gonna get,a,big-screen,TV!,Heh,heh. BUTT-HEAD Beavis,this,is,the,greatest,day,of our,lives.,Huh,huh,huh. INT.,AIRPLANE,-,DAY B&B,enter,the,plane.,They,sit,down,in,the,first,two,seats,on,the, right,-,in,First,Class.,A,flight,attendant,DOLORIS,approaches, them. DOLORIS Hi.,Can,I,help,you,find,your,seats? BUTT-HEAD Uuh,nah.,These,seats,are,OK. DOLORIS I,think,your,tickets,have,you,seated in,row,fourteen,coach.,So,why,don't you,just,go,ahead,and,move,back,OK? BUTT-HEAD That's,OK.,Someone,else,can,have,those. BEAVIS Yeah,it's,not,that,important,to,me, really.,Those,seats,are,too,small,anyways. Doloris,yanks,them,out,of,their,seats,and,leads,them,down,the, aisle. ANGLE,DOWN,AISLE,in,coach.,Doloris,stops,by,a,row,where,an,elderly, woman,MARTHA,sits,by,the,window.,Next,to,her:,Two,empty,seats. DOLORIS Here,you,are. She,gestures,to,the,seats,and,leaves.,Beavis,climbs,in,the,middle, Butt-Head,in,the,aisle,-,still,watching,Doloris. BUTT-HEAD Hey,Beavis.,When,she,was,leading,us,down here,huh,huh,she,touched,my,butt.,Huh huh,huh. Martha,her,senses,a,bit,dimmed,from,age,turns,to,B&B. MARTHA Hello,there.,Are,you,two,heading,for,Las Vegas? BEAVIS Yeah,we're,gonna,score. MARTHA I,hope,to,score,big,there,myself.,I'm mostly,going,to,be,doing,the,slots. BEAVIS Yeah,I'm,hoping,to,do,some,sluts,too., Heh,heh.,Do,they,have,lots,of,sluts,in Las,Vegas? MARTHA Oh,there,are,so,many,slots,you,won't know,where,to,begin. BEAVIS Whoa!,heh,heh.,Hey,Butt-Head,this,chick is,pretty,cool.,She,says,there's,gonna,be tons,of,sluts,in,Las,Vegas!,Heh,heh,heh. BUTT-HEAD Cool.,Huh,huh,huh. MARTHA It's,so,nice,to,meet,young,men,who,are,so well,mannered. BEAVIS Yeah,heh,heh.,I'm,gonna,have,money,and,a big-screen,TV,and,sluts,everywhere! MARTHA Oh,that's,nice. CAPTAIN'S,VOICE,(V.O.) (through,P.A.) Good,morning.,This,is,your,captain speaking.,Welcome,aboard,flight,151 non-stop,to,Las,Vegas.,We,ask,that,you turn,your,attention,to,the,front,of,the cabin,for,pre-flight,safety,instructions. B&B,see,Doloris,stepping,nearby,to,demonstrate,the,seat,belt. ATTENDANT'S,VOICE To,fasten,your,seat,belt,insert,the,free end,into,the,coupling. BUTT-HEAD Insert.,Huh,huh,huh. Doloris,demonstrates.,B&B,are,dumbfounded.,It's,too,complicated. BUTT-HEAD,(CONT.) Uh... They,struggle,to,make,their,seat,belts,fit,getting,each,other's, parts. TAMMY,(O.C.) Hi,I'm,Tammy?,Can,I,help,you,with,that? Butt-Head,looks,up. From,his,P.O.V.,we,see,a,beautiful,woman,TAMMY,smiling,her, hands,reaching,down.,FALLING,IN,LOVE/HARP,MUSIC,STING,plays. CLOSE,on,Butt-Head's,lap,as,two,female,hands,reach,down,and,pull, one,strap,from,between,Butt-Head's,legs. Butt-Head,looks,down,at,his,lap,as,Tammy,leans,over,him.,A,loud, CLICKING,can,be,heard.,Butt-Head,stares,blankly. TAMMY,(CONT.) There,you,go.,You're,all,set. BUTT-HEAD (stunned) I,love,you. Suddenly,Martha,buckles,Beavis',belt.,Tammy,goes. BEAVIS Wait,I,wanted,her,to,do,it. BUTT-HEAD Huh,huh.,Soon,she,will,be,mine. CAPTAIN'S,VOICE Flight,attendants,please,prepare,for take-off. The,engines,start,to,hum.,The,plane,is,rolling. Butt-Head,struggles,to,get,his,seat,belt,off.,He,does,everything, but,pull,the,handle.,Beavis,goes,white,with,fear. The,plane,starts,to,shake.,The,engines,rumble.,Beavis,starts,to, freak. BEAVIS Hey,wait,a,minute.,What's,going,on?! Butt-Head,bangs,away,at,his,seat,belt.,Beavis,looks,out,the,window, and,realizes,they're,in,the,air. BEAVIS,(CONT.) (screams) Aaaagh!,We're,gonna,die!!!!! ANGLE,ON,COUPLE,IN,FRONT,OF,B&B: MAN D'ya,hear,that?,Something,must,be,wrong! WOMAN Oh,my,God!!!!!!! ANGLE,ON,CABIN,people,start,screaming.,The,plane,quakes,lifting, up. ON,BUTT-HEAD,furiously,pulling: BUTT-HEAD Dammit!,Huh,huh.,That,chick,wants,me. BEAVIS Aggghg!,We're,gonna,die!,We're,all gonna,die! The,plane,arcs,upward.,Butt-Head,finally,gets,the,belt,off,as,the, plane,is,in,full,thrust.,He,rises,and,goes,tumbling,backward,down, the,aisle. ON,PEOPLE,seeing,Butt-Head,flying,screaming,in,panic. In,free,fall: Butt-Head,grabs,the,door,to,the,hangable,luggage.,It,all,comes, tearing,out. Butt-Head,flies,up,hitting,several,overhead,luggage,racks,which, open,and,spill,their,contents. Butt-Head,lands,in,the,galley,causing,food,to,go,flying,and, coffee,to,pour,freely. ON,THE,CABIN,as,the,plane,starts,to,level,out.,People,stop,their, screaming. ON,BUTT-HEAD,underneath,the,rubble,poking,his,head,out.,He's, directly,across,from,the,flight,attendant,station,where,Tammy,is, strapped,in. BUTT-HEAD Uh,huh,huh...,could,you,like,do,that thing,with,my,belt,again? INT.,PLANE,-,LATER All's,in,order.,Flight,attendants,roll,the,beverage,cart,up,the, aisle.,People,read,relaxed. ON,BEAVIS,AND,MARTHA.,Martha,is,showing,pictures,of,her, grandchildren.,Beavis,is,showing,the,picture,of,Dallas,that,Muddy, gave,him. BEAVIS I'm,probably,going,to,make,out,with,her first,before,we,you,know,get,down... MARTHA You'll,have,to,speak,up,son.,I,have,this ringing,in,my,ears.,My,doctor,says,it could,be,related,to,my,heart palpitations.,I've,had,two,operations,on my,heart. BEAVIS Really?,I,poop,too,much. MARTHA Oh,maybe,you're,lactose,intolerant. BEAVIS Uh...,No,(louder),I,poop,too,much.,Then I,get,tired. MARTHA Well,if,you,find,yourself,getting,tired, take,a,couple,of,these. She,hands,him,a,box,of,NoDrowz. MARTHA,(CONT.) They,perk,me,right,up. BEAVIS Heh,heh,thanks. He,pours,the,contents,into,his,hand,and,chews,them,like,candy., Then,his,eyes,open,wide. BEAVIS,(CONT.) (strange) Uh,tastes,like,crap.,Heh,heh.,Mmmmm. Beavis,starts,wolfing,them,down. INT.,PLANE,-,A,BIT,LATER Tammy,passes,out,meals,from,a,rolling,cart.,She,works,with, Doloris.,Butt-head,stands,behind,Tammy,attempting,to,hit,on,her. BUTT-HEAD (to,Tammy) So,uh,huh,huh,are,you,going,to,Las Vegas?,Huh,huh,huh. Tammy,ignores,him,and,moves,on,leaving,Butt-Head,there. ANGLE,ON,BUTT-HEAD,looking,down,at,something. PAN,DOWN,to,reveal,he's,looking,at,a,BEER,on,a,fat,guy's,tray.,The, guy's,asleep. Butt-head,picks,up,the,beer. ANGLE,ON,BEAVIS,nearby.,The,NoDrowz,is,starting,to,take,effect., Beavis,starts,shaking,babbling,staring,cross-eyed,at,his,fist, etc.,(pre-Cornholio,stuff) Tammy,reaches,her,next,passenger. TAMMY Hi,we're,serving,dinner.,Our,selections tonight,are,chicken,piccata,or,seafood gumbo... BEAVIS,(O.S.) Piccata?,Piccata!,Picattatta,tatta! Tammy,moves,forward,leaving,Butt-Head,standing,there.,In,the, background,we,see,Beavis,starting,to,quake,on,the,verge,of, Cornholio,mode. PASSENGER Does,the,gumbo,have,corn,in,it? ANGLE,ON,BEAVIS:,Turned,facing,the,cabin,T-shirt,pulled,over,his, head,in,full,Cornholio,mode. BEAVIS I,am,Cornholio!,I,need,picatta,for my,bunghole! TAMMY You'll,have,to,wait,your,turn,sir. BEAVIS Are,you,threatening,me?,My,bunghole will,not,wait! Beavis,starts,to,wander,down,the,aisle. ANGLE,ON,CURTAIN,TO,FIRST,CLASS,CABIN.,Beavis,enters.,From,the, other,side,SOUND,of,screams.,We,hear,several,CALL,BUTTONS,being, pressed. ON,BUTT-HEAD.,He,approaches,Tammy,from,behind.,She,ignores,him. BUTT-HEAD Uh,I,got,a,beer.,Want,some?,Huh,huh. ANGLE,INSIDE,THE,COCKPIT. The,PILOTS,are,relaxed,and,settled,in,when,the,door,to,the,cockpit, slams,open.,Beavis,is,in,the,doorway,SCREAMING. BEAVIS Bargarajjjaaaahhh!!!,I,am,Cornholio!! The,pilots,SCREAM.,The,copilot,jumps,up,so,fast,he,causes,coffee, to,spill,everywhere,including,on,the,captain's,lap.,The,captain, then,jumps,up,hitting,the,controls,and,SENDING,THE,PLANE,INTO,A, NOSE-DIVE. ON,BUTT-HEAD In,the,back,of,the,plane,standing,next,to,Tammy.,He,starts,to,take, a,sip,of,beer.,The,nose-dive,of,the,plane,causes,Butt-Head,to,go, FLYING,TOWARDS,THE,FRONT,OF,THE,PLANE. BUTT-HEAD AAAAAHHH!!!,Huh,huh.,AAAAHHH!!! Butt-Head,bounces,all,overthe,plane,and,then,gets,tangled,up,in, the,curtain,that,separates,first,class,and,coach.,It,tears,off, and,he,continues,to,fly,forward. COCKPIT The,captain,is,desperately,trying,to,regain,control,of,the,plane. Butt-Head,slams,into,the,cockpit,landing,on,the,control,panel, facing,the,captain. CAPTAIN Get,the,hell,out,of,the,cockpit! BUTT-HEAD Huh,huh,you,said... CAPTAIN NOW!!! The,captain,throws,Butt-Head,back,behind,him,and,pulls,the,plane, out,of,the,dive. EXT.,LAS,VEGAS,AIRPORT,-,EARLY,EVENING The,plane,lands. INT.,COCKPIT,DOOR,-,EARLY,EVENING The,flight,attendants,shaken,smile,at,a,line,of,people, deplaning.,The,people,are,white,with,fear,some,covered,with, flecks,of,spilled,food,and,other,matter. ATTENDANTS Bye-bye.,Bye-bye.,Bye-bye. They,grow,silent,and,still,as,B&B,pass,by.,Beavis,takes,the,T- shirt,off,his,head,coming,down,from,Cornholio. BUTT-HEAD Huh,huh,huh.,That,was,cool. INT.,TERMINAL/ARRIVAL,GATE,-,DAY Arriving,passengers,are,greeted.,A,family,is,reunited.,Two, businessmen,walk,up,to,limo,drivers,holding,cards,with,their, names.,A,reunited,couple,hugs. B&B,look,around,in,confusion. BUTT-HEAD Uh,huh,huh,this,is,Las,Vegas? BEAVIS Yeah,heh,heh.,I,thought,there'd,be casinos,and,lights,and,stuff. People,greet,and,walk,away.,The,place,starts,to,clear,out. One,limo,driver,is,left,standing.,He,wears,sunglasses,and,holds,a, sign,that,reads:,Beavis,and,Butt-Head. B&B,look,around.,Except,for,the,driver,they're,alone. BEAVIS,(CONT.) Hey,Butt-Head,why's,that,guy,holding a,sign? BUTT-HEAD Uh...,maybe,he's,blind...,Huh,huh,check this,out. B&B,go,up,to,him.,Butt-Head,turns,around,drops,his,pants,and, hangs,a,"B.A.",at,the,guy. B&B Huh,huh,huh,huh,huh,huh,huh. DRIVER Ah,excuse,me.,You,wouldn't,know,where I,can,find,these,guys,would,ya? He,indicates,the,sign.,Butt-Head,turns,around,and,pulls,up,his, pants.,They,look,and,try,to,read: BUTT-HEAD (reads) Uh,B...A...U...,No,uh,V... BEAVIS (reads) Uh...,Buuuuut.,Boot.,Someone,named,boot. BUTT-HEAD (realizes) Huh,huh.,This,says,Beavis. BEAVIS And,Boot-Head. BUTT-HEAD That's,Butt-Head.,Don't,you,get,it, Beavis.,These,dudes,have,the,same,name,as us. BEAVIS Yeah,we,should,party. The,limo,driver,rolls,his,eyes,and,walks,away. DRIVER This,way,sirs. B&B,follow,the,driver,away.,Beavis,looks,around. BEAVIS So,where's,those,guys? EXT.,MUDDY'S,MOTEL,ROOM,-,DAY HARLAN,and,ROSS,the,two,dumb-looking,rough-necks,that,stole,B&B's, TV,are,standing,outside,Muddy's,motel,room.,Harlan,knocks,on,the, door. ROSS Where,the,hell,is,he? HARLAN You,sure,this,is,the,right,place? Harlan,looks,through,the,window,and,sees,the,shattered,TV.,No, one's,there. Muddy's,four-by-four,SQUEALS,into,the,lot,and,skids,to,a,stop,next, to,Harlan,and,Ross',van.,Muddy,gets,out,looking,really,drunk,now. HARLAN,(CONT.) You,Muddy? MUDDY (slurring) You,the,cops? ROSS Uh,no.,Earl,sent,us.,You,know,to,take care,of,your,wife... Muddy,grabs,Ross,by,the,collar. MUDDY What,the,hell?!...,What,about,those,other... ROSS Huh? Muddy,tosses,Ross,to,the,sidewalk,and,starts,back,to,they,four-by- four. MUDDY Dammit!!!,She,did,it,to,me,again!!! HARLAN Hey,I,noticed,your,TV,was,broken.,You wanna,buy,a,new,one? Muddy,gets,in,the,four-by-four,and,starts,it. MUDDY I'm,gonna,go,to,Vegas,and,kill,all three,a',them! Harlan,and,Ross,seem,momentarily,confused. Muddy,revs,the,engine,peels,out,backwards,HITTING,THE,FRONT,OF, THE,VAN.,This,causes,B&B's,TV,and,some,other,loot,to,spill,out,the, back,onto,the,sidewalk. Ross,starts,to,pick,it,up. HARLAN Just,leave,it.,Worthless,piece,o',crap. ROSS Yeah,really.,We,gotta,start,stealin' from,rich,people. EXT.,LAS,VEGAS,-,DAY MONTAGE,SONG,BEGINS. Note:,I,would,like,this,to,be,a,well-known,band,(Red,Hot, Chili,Peppers),doing,their,best,imitation,of,a,modern,Las, Vegas,lounge,act.,I,think,a,song,like,"What,Am,I,Gonna,Do, With,You",by,Barry,White,or,something,obnoxious,like, "Bicostal",by,Peter,Allan,would,be,cool.,Or,maybe,Sinatra's, "You,Make,Me,Feel,So,Young",would,be,best. The,car,passes,by,major,hotels,and,tourist,sights,finally,pulling, up,to,a,big,luxurious,hotel,and,casino. INT.,HOTEL/CASINO,-,DAY Establishing,shots.,Excitement.,Gambling,tables,going,on,forever. ON,THE,LOUNGE,BAND,playing,the,song,we've,been,hearing.,They, should,vaguely,resemble,the,actual,band,doing,the,song. PAN,DOWN,rows,of,slot,machines. PAN,ACROSS,DEALERS,handling,cards,and,chips. DOLLY,RIGHT,UP,TO,B&B,staring,in,utter,awe. REVERSE,ANGLE,REVEALS:,They're,staring,at,a,huge,Roman,statue,of,a, bare-chested,woman. Their,faces,are,blank.,They're,seeing,God.,Finally: BUTT-HEAD Beavis.,This,is,what,it's,all,about. BEAVIS (speechless) Heh,heh.,Yeah. EXT.,VEGAS,-,DUSK Lights,are,popping,on. Billboards,and,signs,are,lighting,up. The,whole,strip,is,coming,alive.,Pure,excitement. INT.,HOTEL/CASINO,-,DUSK ON,B&B,still,staring,at,the,statue. B&B (in,awe) Huh,huh,huh,huh,huh. A,security,guard,comes,and,drags,B&B,away. ON,THE,LOUNGE,BAND,continuing,the,song,we've,been,hearing. INT.,B&B'S,HOTEL,ROOM,-,NIGHT The,door,is,opened,by,a,bellboy. BELLBOY I'm,so,sorry,about,that,little misunderstanding.,We,didn't,know,you were,registered,guests.,Here's,some playing,chips,compliments,of... Beavis,rushes,in,and,grabs,the,remote,which,is,attached,to,the, night,table.,He,tries,to,pull,it,up,and,can't. BEAVIS This,remote's,too,heavy! BELLBOY Sir,it's,attached,to,the... BUTT-HEAD Here,dumbass!,Let,me,try! They,both,struggle,to,pull,it,up.,Finally,they,fall,over, backwards. Annoyed,the,bellboy,leaves. INT.,ELEVATOR,BANK/9TH,FLOOR,-,NIGHT The,elevator,arrives.,B&B,get,on.,There's,several,sophisticated, people.,From,inside,a,computerized,FEMALE,ELEVATOR,VOICE: ELEVATOR,VOICE Ninth,floor,going,down. B&B Huh,huh,huh,huh,huh,huh. BUTT-HEAD Going,down.,Huh,huh,huh. The,sophisticated,people,look,repulsed.,The,doors,close. INT.,HOTEL/CASINO,-,NIGHT MUSIC,DIPS,DOWN,FOR,DIALOGUE.,B&B,step,off,the,elevator,and,walk, among,the,gambling,tables. Beavis,pulls,one,of,the,playing,chips,out,of,his,pocket,and,bites, into,it. BEAVIS Ow!,These,chips,suck. BUTT-HEAD What,a,rip-off.,Come,on.,We,gotta,find that,chick. Beavis,tosses,the,chip,on,a,roulette,table. ANGLE,ON,THE,WHEEL.,The,ball,lands,on,13. At,the,table,the,DEALER... DEALER 13.,We,have,a,winner.,(to,Beavis),Sir, your,chips? BEAVIS I,don't,want,'em!,Keep,'em. DEALER Let,it,ride! BUTT-HEAD (to,dealer) Uh...,could,you,help,us,find,a,chick? DEALER (uneasy) Sir,the,casino,does,not,partake,in,that kind,of,activity. The,wheel,stops. DEALER,(CONT.) (amazed) 13!,Winner! People,oooh,and,aaah.,More,gather,to,watch. Through,the,gathering,throng,comes,CHERYL,a,hooker. CHERYL Excuse,me,boys.,Did,I,hear,you,say, you're,looking,for,a,date? B&B,freeze,shocked. CHERYL,(CONT.) I'm,Cheryl,and,I,can,show,you,a,real fine,time. B&B,don't,move.,The,dealer,rolls,again. CHERYL,(CONT.) A,time,you'll,remember,for,the,rest,of your,lives,if,you,know,what,I,mean. DEALER (to,Beavis) Sir,do,you,want,your,chips? BEAVIS No,Dammit!,I,don't,want,any,chips! DEALER Let,it,ride. Cheryl,puts,her,hands,on,their,thighs. CHERYL What,say,we,three,go,up,to,your,room, take,off,our,clothes,and,just,see,what comes,up. B&B's,eyes,open,wide. BUTT-HEAD Huh,huh,huh,huh,huh,huh. BEAVIS Uh.
7	Boxtrolls The	Irena Brignull,Adam Pava	Animation,Adventure,Comedy	September_2014	EXT. CHEESEBRIDGE ALLEY - NIGHT Lightning strikes, illuminating a vine covered wall as the camera moves across a dark alley filled with CARDBOARD BOXES and CRATES. They boxes have stylized LABELS; the box in front is labeled FOCUS FEATURES. SFX: FOOTSTEPS running on cobblestones and LABORED BREATHING. HERBERT (O.S.) No. Not my boy! Lightning strikes again, highlighting the boxes and rubbish in the alley. Something is coming. Whatever it is, its breath is hurried and animalistic. SFX: A BABY CRIES out. Stumpy CLAWED FEET wrapped in rag run past a boxed labeled LAIKA. The camera follows the shadowed figure as it runs along cobblestones to the end of the lane. The creature pauses under an arched entryway and turns, revealing GLOWING EYES, a large mouth full of wonky teeth, and a BABY SHAPED BUNDLE in its arms. LIGHTING CRASHES as the BABY wriggles and cries. CUT TO: EXT. CHEESE GUILD - ENTRANCE HALL - NIGHT - CONTINUOUS CLOSE ON: A FIST pounds a door. SNATCHER (WHEEZING) Wake his lordship. SFX: A SERIES OF LOCKS being unlatched on the door. A BUTLER opens the double doors, frowns. He starts to close the doors but Snatcher pushes against the effort. SNATCHER (CONT'D) The unspeakable has happened. (GASP) We must speak of it immediately! A voice calls out from behind them. 2. LORD PORTLEY-RIND (O.S.) (TIRED) What is it, Snatcher? The butler moves aside, revealing a regal man with a white hat at the top of an ornate marble staircase. INT. CHEESE GUILD - ENTRANCE HALL - NIGHT - CONTINUOUS LORD PORTLEY-RIND looks on from the mezzanine. The man in the red hat casts a long shadow across the gleaming checkered floors of the Cheese Guild. SNATCHER (GESTURING THEATRICALLY) Boxtroll monsters have stolen a child. CLOSE ON: Lord Portley-Rind, perfectly groomed and perfectly horrified. LORD PORTLEY-RIND (AGHAST) No. CLOSE ON: ARCHIBALD SNATCHER in the door, backlit by streetlights, sheets of rain falling behind him. He's a big man, but out of shape (all belly and no butt), with long shreds of greasy hair sprouting from beneath his crooked hat. SNATCHER (NODS) They're no doubt picking their teeth with his adorable baby bones by now! LORD PORTLEY-RIND A horrible tragedy. (beat, flippant) Let's deal with it in the morning! Portley-Rind turns to go. SNATCHER (O.S.) STOP! The Butler closes the door, but Snatcher shoves his foot in the way. SNATCHER (CONT'D) (STRUGGLING) Oh, oof! That's not the worst of it! Next they'll come after... 3. The Butler shoves at the door, slapping and shoving Snatcher's face until the door slams shut. Snatcher opens the mail slot and yells through it. SNATCHER (CONT'D) ...OUR CHEESES! LORD PORTLEY-RIND (GASP) My Gouda!? SNATCHER (LOW) They'll stop at nothing. Portley-Rind suddenly flings open the doors, stares wide eyed at Snatcher. He is crouched on the ground near the mail slot. LORD PORTLEY-RIND You're the town exterminator. I'll pay whatever it takes. Snatcher stands slowly. SNATCHER Oh, I don't want money. He steps into the house and into the light, REVEALING his greedy face for the first time. He smiles an oily smile. SNATCHER (CONT'D) I want one of those. Snatcher points to the WHITE HAT on Portley-Rind's head. Lord Portley-Rind grabs his hat protectively. LORD PORTLEY-RIND A White Hat? You?! Absurd! Snatcher turns to leave, moving towards the damp Market Square. SNATCHER Alright then. But prepare to say bye bye to your Brie. Cheerio to your Cheddar. Goodbye to your... Portley-Rind's resolve disappears. He raises his hand as if to stop Snatcher from leaving. 4. LORD PORTLEY-RIND (DESPERATE) Very well. Every boxtroll gone. With proof! Snatcher stops halfway down the stairs in the pouring rain, his back still turned to Portley-Rind. SNATCHER (LOW PURR) For a white hat? CLOSE ON: Snatcher's grinning face as he turns back toward Portley-Rind. SNATCHER (CONT'D) I will destroy every last boxtroll in this town! LIGHTNING CRASHES as Snatcher laughs maniacally. SMASH CUT TO: TITLES: "THE BOXTROLLS" (0100 MON) MONSTERS EXT. CHEESEBRIDGE - WORLD VIEW - SUNSET WIDE VIEW OF CHEESEBRIDGE, a steep hill-town that looms over the countryside. A jumble of roofs, a tangle of twisting alleys, and perched at the summit, the imposing Cheese Guild Hall. The last rays of the setting sun disappear. EXT. CHEESEBRIDGE STREETS --a deep voice echoes out of a scratchy MEGAPHONE. SNATCHER (O.S.) Hear ye! Hear ye! Good citizens of Cheesebridge, the curfew is in force. Don't dawdle or the beasts will tear you limb from limb! CLOSE ON: A FABRIC BANNER reading "BOXTROLL EXTERMINATORS". The banner hangs on a strange rattletrap TRUCK that winds its way up the city streets. Sinister looking men in BLOOD RED TOP HATS hang onto the running boards. The most sinister of them all, Snatcher, rides on the roof. 5. SNATCHER (O.S.) (CONT'D) They will add your flesh to their rivers of blood and mountains of bones. As the truck passes, PEDESTRIANS gasp and hurry into their houses, heeding the amplified warning. A CHEESEMONGER at The Cheesery pulls his FOLDING SIGN from the sidewalk and hurries inside. A COUPLE stops mid-conversation and heads indoors. A MAN CARRYING A CRATE brings his load into his shop, abandoning the crate sitting at the curb. Two FEMALE TOWNSFOLK head off down the street. CLOSE ON: Archibald Snatcher as the truck rounds a corner. He holds a MEGAPHONE TUBE to his mouth and orates as he zeros in on a BOY playing ball in the street. SNATCHER (CONT'D) Child! Do you want to end up like the Trubshaw Baby? The boy watches the truck as it passes, curiosity changing to horror. SNATCHER (CONT'D) Dragged underground and feasted upon one year ago this very night?! The terrified boy shakes his head and GASPS as he is yanked inside by his MOTHER. His BALL bounces out of his hands and rolls across the cobbles. SNATCHER (CONT'D) Lock your windows! Bolt your doors! Hide anything that is not bolted down. One man grabs his DOOR KNOCKER and bolts inside. Another man grabs his MAILBOX. Another a BARBER POLE. With a terrified look the last man peers out of the peep hole in his door, then slams it shut. SNATCHER (O.S.) (CONT'D) Hide your cheese. Hide your tender and delicious babies! 6. EXT CHEESEBRIDGE STREETS - CONTINUOUS - NIGHT The wind blows trash down the empty streets. Snatcher's vehicle, rattling from its boiler, prowls past with Snatcher still calling out his warning until the sound fades in the distance. SNATCHER (O.S.) Beware the bloodthirsty monsters! They'll fry your eyes, gnaw on your knees, gobble your gizzards... Beware! BEWARE! After Snatcher's truck has passed the CAMERA lands on: A MANHOLE. Carved in the heavy iron cover is a warning: "HERE BE MONSTERS". A LONG BEAT OF SILENCE. The manhole cover slowly twists and lifts, a pudgy blue hand emerges. Two pairs of yellow, glowing eyes peer out. The creatures talk in expressive but unintelligible GURGLES. Down the street, two more manhole covers lift. In pairs and in gangs, these BOXTROLLS -- so called for the cardboard boxes they wear -- emerge from the sewers and scurry through the streets of the besieged town. Their long, forboding SHADOWS creep across walls plastered with posters that read: "CHEESEBRIDGE: A GOUDA PLACE TO LIVE", "REDHATS - BOXTROLL EXTERMINATORS". We watch them scurry through streets and alleyways, gurgling quiet directions to each other. They move swiftly and travel in packs. We see a lone boxtroll jump and pull himself in to his box as a DOG BARKS. He pops back out of his box and moves along quickly. CLOSE ON: what appears to be a LARGE BOXTROLL MONSTER peering around the corner of a moonlight street. Its glowing eyes turn toward the camera as it sways slowly. Five more pairs of eyes light up within the large, boxy shadow and SIX BOXTROLLS separate from the mass, popping off to run their errands while the coast is clear. BIRDS EYE VIEW: Groups of two and three boxtrolls snake their way down streets, skirting carefully around areas lit by street lamps. In a small lane, groups of boxtrolls stop to collect mechanical stuff. They work together, using their boxes as tools and props. SIX BOXTROLLS stack up in the background to steal a SHOP SIGN, while THREE BOXTROLLS cooperatively steal the WHEEL from a WOODEN CART. 7. One boxtroll uses his box to prop up a corner while the other two release the wheel from the axle. A LONE BOXTROLL crosses the frame to see what treasures he may find in a trash bin; as he knocks it over with a CLANG, TWO BOXTROLLS scurry past and stack together, stealing the HOUSE NUMBER from the front of a brownstone. CLOSE ON: the boxtrolls' booty - the shiny brass number `2', the shop sign for `TIMELESS TIMEPIECES', the wheel that rolls along between two boxtrolls. Six other boxtrolls on the hunt stack together against a fence. We watch as one boxtroll makes it over the top, cooperatively pulling the others into the alley behind him. (0200 BXT) BOXTROLL EXTERMINATORS EXT. CHASE ALLEY - NIGHT CLOSE ON: The inside of a trash can as the lid is removed. Two BOXTROLL HANDS wriggle into view over the rubbish, fill of NEWSPAPER CLIPPINGS, an APPLE CORE, a BANANA PEEL, and a FISH CARCASS. The boxtroll gurgles "EWW" and "BLECH" sounds as he moves these unwanted items aside. He gurgles with joy when a bit of brass is revealed. FISH, a nervous 4-foot tall, wonky-toothed, pointy-eared, gangly-limbed boxtroll, pulls an old broken ALARM CLOCK from the trash barrel. He is in a large alley, filled with old boxes, crates, broken items and tarps strewn about. Fish stares curiously at the object, turning it over in his hands and holding it to his ear, listening. He shakes the clock and hears loose gears RATTLE. FISH Hmm... Fish opens the clock face and gurgles, intently toying with the mechanical interior. After a moment, the clock begins to TICK with activity. Fish gurgles excitedly and closes the clock face, holding it to his ear to listen to the rhythmic ticking. FISH (CONT'D) (GURGLES) Oh yeah... Fish's eyes go wide as the clock's alarm RINGS, attracting the attention of an uglier, 2-foot-2 boxtroll. SHOE Huh? 8. As Fish stands proudly admiring the sound of his ringing alarm clock, SHOE bounces around his feet. SHOE (CONT'D) (GURGLES) Gimme that! Shoe, short and feisty, grabs the alarm clock from Fish and scampers away with it. Fish watches as Shoe climbs a stack of crates and hisses back at him, sniffing at his new prize. Fish scowls at Shoe and returns to the rubbish pile, shaking his head and muttering. Behind him a half-dozen boxtrolls methodically pick through an assortment of trash barrels and old boxes. It's like a troop of monkeys at the dump. They find mechanical stuff, inspect it, and then either drop it into their box to keep or toss it back into the trash. A filthy TEDDY BEAR WITH A MUSICAL KEY is discarded by another boxtroll, landing with a THUNK and A FEW TINNY MUSICAL NOTES. Fish turns excitedly. FISH (CURIOUS) Ohhhh... He picks up the teddy bear and cranks a key in its back as Shoe toys with the stolen alarm clock. The teddy bear plays MUSIC. Fish gurgles along to the tune and bobs his head, enjoying the moment. Again, Shoe notices Fish has found something interesting. He shoves the alarm clock into his box, stealthily sneaks up on Fish and makes a grab for the teddy bear! Fish refuses to let go and they squabble over it. Suddenly all the boxtrolls snap to attention, their ears alert-- EXT. CHASE ALLEY The creepy RATTLING SOUNDS of the Redhats' truck returns. All the boxtrolls hide in their boxes. The "camouflage" works. Their boxes fit in perfectly with the trash barrels and packing crates. The rattling comes closer... closer... then STOPS. BAM! HEADLIGHTS light up the alley. Three men dismount from the truck and cast long shadows across the alley and all of the boxes: the giant MR. TROUT, the beanpole thin MR. PICKLES, and the short, pit bull MR. GRISTLE. 9. The boxtrolls don't run -- they just KEEP HIDING IN THEIR BOXES. SNATCHER (O.S.) GENTLEMEN! Snatcher spreads his arms theatrically and wades into the garbage-strewn alley. SNATCHER (CONT'D) Look at all these boxes left lying about. How curious, how peculiar. I do believe... evil is afoot. Gristle chuckles and breaks into a psychotic grin. MR. GRISTLE (COLD BLOODED) HAHAHA. FOOT. MR. PICKLES Huh. Fish peeks out of his box momentarily, then retreats when he sees the Redhats advancing into the alley. Mr. Trout and Mr. Pickles absentmindedly check boxes for boxtrolls, but Mr. Gristle methodically stomps and smashes every box he can. When he finds a box with a boxtroll, he uses a CRICKET BAT to WHACK it back to the others to load onto the truck. MR. PICKLES (CONT'D) You ever seen someone's foot be evil, Mr. Trout? MR. TROUT I believe the boss meant evil is nearby, Mr. Pickles. MR. PICKLES My foot had a pretty nasty bunion once. I wouldn't say the foot itself was evil. MR. TROUT No, it's just a fancy-man's word for vicinity. MR. PICKLES Wrinkly ol' bunion looked like my grandmum. Had to saw her off. The bunion, not my grandmum. 10. Mr. Gristle spots a shivering box and positions himself over it, cricket bat in hand. MR. GRISTLE Ah, yes. FOOT! WHACK! Gristle kicks the box, and it flies toward Mr. Pickles and Mr. Trout. MR. TROUT There's one! Mr. Pickles scoops it up in a dog catcher's net. MR. PICKLES Come on, ya squirmy monster. Your days of evil-doin' are over. Mr. Gristle finds another shivering box. He swings his bat. MR. GRISTLE BOOM! WHACK! A box slides over to Trout. A dizzy boxtroll pops out for a moment, groaning. Trout taps its head and the boxtroll retreats. MR. TROUT You really think these boxtrolls understand the duality of good and evil? MR. PICKLES They must, right? Why else would they hide from us. We are the good guys. Mr. Pickles strolls off with both boxtroll and net. MR. GRISTLE (O.S.) (hitting more boxes) Nice! NICE! WHACK! Another box slides over to Trout. Trout scoops up the box before the creature can get away. The boxtroll's legs dangle below as it is carried away. MR. TROUT Yeah... I suppose we are. CLOSE ON: Fish and Shoe, in the shadows at the edge of the alley, gurgle to each other while the Red Hats are distracted. Their heads stay hidden in their boxes as they waddle slowly out of the alley. 11. Mr. Gristle is too preoccupied with smashing other boxes to notice them. He grunts and laughs with the effort. Snatcher spots Fish and Shoe as they exit the alley and points at them. SNATCHER MR. GRISTLE! MR. GRISTLE Hmm? SNATCHER ACQUIRE THEM! Brandishing his cricket bat, Gristle springs after Fish and Shoe. MR. GRISTLE Acquire! ACQUIRE! HAHAHA! The boxtrolls pop out of their boxes and RUN! EXT. CHEESEBRIDGE STREET Gristle closes in on them as they sprint down an alley. The boxtrolls join hands and vault over a fence like a Slinky toy. Gristle smashes THROUGH the fence-- MR. GRISTLE COME BACK AND LET ME HIT YOU! --but the boxtrolls have disappeared. Gristle stalks down the street and disappears around a corner. After Gristle disappears, two boxes that are holding up a broken street cart suddenly move. It's Fish and Shoe hiding in plain sight. Once they are sure they are not being followed they open a drainage pipe and slip underground into the sewers-- (0300 UDW) UNDERWORLD Eggs INT. BOXTROLL CAVERN - ENTRANCE CHUTES -- where they leap into cardboard-lined BOXTROLL CHUTES. They drop through the chutes, sliding on the cardboard, until they join up with other boxtrolls returning from a night of gathering. 12. They descend deeper underground until they are collected together in a funnel-shaped cave and one by one drop onto an-- INT. BOXTROLL CAVERN -- elaborate conveyor belt system for a roller coaster ride into a HUGE DARK SPACE with blinking lights and a cacophony of MECHANICAL NOISE. Fish, Shoe and boxtrolls of all shapes and sizes shoot off the end of the conveyor belt and tumble across the floor. ON FISH AND SHOE where the alarm clock lands on the floor as they tumble to a halt. Shoe grabs the clock possessively, hisses at Fish, and runs away laughing. He has his treasure. Fish shrugs it off and rights himself, raising a hand to his mouth. FISH (GURGLED QUESTION) "Eggs?" REVEAL THE CAVERN, the hub of the boxtroll world. It's full of workshops, interconnected machines and a constellation of lights that make it look like a subterranean Coney Island amusement park. Fish stands in front of a large STALAGMITE, around which the mechanical underground city is built. FISH (CONT'D) (GURGLED QUESTION) "Eggs?" WHEELS - a boxtroll riding a unicycle - zooms quickly past, humming. FISH (CONT'D) (TO WHEELS) "You see Eggs?" Wheels shrugs his shoulders and rides away as OIL CAN - the smallest boxtroll - tumbles from the conveyor belt and rights himself with a squeak. Oil Can pulls, well, an OIL CAN from inside of his box and scurries off. Fish makes his way to the base of a waterwheel made from scraps of metal. High overhead, the boxtroll KNICKERS - a picture of underpants adorning the front of it's box - struggles with an armful of light bulbs while swinging from a rope. Two small boxtrolls hold the rope steady below. 13. SPARKY, a boxtroll wearing welding goggles, and a small boxtroll named BUCKET work side by side on an electrical generator, fitting dinner forks into a toaster as makeshift fuses. FISH (CONT'D) (GURGLED QUESTION) "Eggs?" Sparky and Bucket look up from their work and give Fish directions to find Eggs. SPARKY AND BUCKET (gurgled in unison) "Over there!" In the background, Oil Can climbs down a pipe to grease up the generator and then scrambles back up the pipe. Fish heads off as Sparky and Bucket turn on the toaster and get ZAPPED! They jerk and squirm as electricity courses through their boxes and they collapse on the ground. The strands of light bulbs flicker and light up. Sparky and Bucket smile and beat their boxes in delight - they fixed the generator. The two boxtrolls holding the rope let go and beat their boxes. Knickers falls to the ground. KNICKERS AHHH!!!! INT. BOXTROLL CAVERN - GARDEN - CONTINUOUS Fish arrives at a SUBTERRANEAN GARDEN where boxtrolls sit among huge cabbages eating ladybugs and slugs. Fish stops in front of FRAGILE, a giant, slow moving, dim-witted boxtroll. Fragile slowly mists a seedling plant. FISH
8	Cars 2	Ben Queen	Animation,Action,Adventure	June_2011	A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visibl
9	Coco	Lee Unkrich,Jason Katz,Matthew Aldrich,Adrian Molina	Animation,Adventure,Comedy	November_2017	EXT. MARIGOLD PATH - DUSK A path of marigold petals leads up to an altar lovingly arranged in a humble cemetery. An old woman lights a candle as the smoke of burning copal wood dances lyrically upward... CARD: DISNEY PRESENTS CARD: A PIXAR ANIMATION STUDIOS FILM The smoke lifts up toward lines of papel picado ?- cut paper banners -- that sway gently in the breeze. PAPEL PICADO CARD: "COCO" MIGUEL (V.O.) Sometimes I think I'm cursed... 'cause of something that happened before I was even born. A story begins to play out on the papel picado. MIGUEL (V.O.) See, a long time ago there was this family. The images on the papel picado come to life to illustrate a father, a mother, and a little girl. The family is happy. MIGUEL (V.O.) The pap?, he was a musician. The pap? plays guitar while the mother dances with her daughter. MIGUEL (V.O.) He and his family would sing, and dance, and count their blessings... (beat) But he also had a dream... to play for the world. (beat) And one day he left with his guitar... and never returned. The man walks down a road, guitar slung on his back. In another vignette his daughter stands in the doorway, watching her pap? leave. Two feet step up next to her. It is her mam?, hardened. She shuts the door. 2. MIGUEL (V.O.) And the mam?...? She didn't have time to cry over that walkaway musician! (beat) After banishing all music from her life... The woman gets rid of all of her husband's instruments and records. MIGUEL (V.O.) She found a way to provide for her daughter... (beat) She rolled up her sleeves and she learned to make shoes. (beat) She could have made candy! Amongst the papel picado, a stick swings at a strung up pi?ata which bursts with candy... MIGUEL (V.O.) Or fireworks! Fireworks go off in the background... MIGUEL (V.O.) Or sparkly underwear for wrestlers! Sparkly underwear and a luchador mask hang on a line amongst other linens... MIGUEL (V.O.) But no... she chose shoes... On the papel picado, the little girl becomes a young woman. MIGUEL (V.O.) Then she taught her daughter to make shoes. And later, she taught her son-in-law. She introduces a suitor to the family business. MIGUEL (V.O.) Then her grandkids got roped in. As her family grew, so did the business. In the next vignette, a bunch of goofy grandchildren join in the shoemaking. The shoe shop is full of family! 3. MIGUEL (V.O.) Music had torn her family apart, but shoes held them all together. (beat) You see, that woman was my great- great grandmother, Mam? Imelda. TILT DOWN from the papel picado to the OFRENDA ROOM - DAY where a photo sits at the top of a beautiful altar. The photo features MAM? IMELDA -- serious, formidable. She holds a baby on her lap. Her husband stands beside her, but his face has been torn away. MIGUEL (V.O.) She died WAY before I was born. But my family still tells her story every year on D?a de los Muertos -- the Day of the Dead... (beat) And her little girl? Fade from the face of the little girl to present day MAM? COCO (97), a living raisin, convalescing in a wicker wheelchair. MIGUEL (V.O.) She's my great grandmother, Mam? Coco. A boy (12) walks into frame and kisses her on the cheek. This is our narrator, MIGUEL. MIGUEL Hol?, Mam? Coco. MAM? COCO How are you, Julio? MIGUEL (V.O.) Actually, my name is Miguel. Mam? Coco has trouble remembering things... But it's good to talk to her anyway. So I tell her pretty much everything. QUICK CUTS of Miguel with Mam? Coco: 4. EXT. COURTYARD MIGUEL I used to run like this... Miguel pumps his arms with his hands in fists. Then he switches to flat palms. MIGUEL But now I run like this which is way faster! CUT TO: INT. MAM? COCO'S ROOM Miguel, in a luchador mask, climbs onto the bed, arms raised. MIGUEL And the winner is... Luchadora Coco! Miguel leaps off the bed onto a pile of pillows that bursts, sending feathers onto Mam? Coco who wears a mask of her own. CUT TO: EXT. DINING AREA Miguel leans toward Mam? Coco at the dinner table. MIGUEL I have a dimple on this side, but not on this side. Dimple. No dimple. Dimple. No dimple-- ABUELITA Miguel! Eat your food. Miguel's ABUELITA (70s) runs the table like a ship captain. She gives Mam? Coco a kiss on the head. MIGUEL (V.O.) My Abuelita? She's Mam? Coco's daughter. Abuelita piles extra tamales on Miguel's plate. ABUELITA Aw, you're a twig, mijo. Have some more. 5. MIGUEL No, gracias. ABUELITA I asked if you would like more tamales. MIGUEL S-s?? ABUELITA That's what I THOUGHT you said. MIGUEL (V.O.) Abuelita runs our house just like Mam? Imelda did. CUT TO: INT. OFRENDA ROOM - DAY Abuelita adjusts the photo of her beloved Mam? Imelda. Then she perks her ear at a hooting sound. INT. KITCHEN - MOMENTS LATER Miguel idly blows into a glass soda bottle. Abuelita takes the bottle away. ABUELITA No music! INT. MAM? COCO'S ROOM - DAY Miguel listens as a truck drives by the window, blaring radio tunes. Abuelita angrily slams the window shut. ABUELITA No music!! EXT. STREET - EVENING A trio of gentlemen serenade each other as they stroll by the family compound. MUSICIANS (singing) AUNQUE LA VIDA-- 6. Abuelita bursts out of the gate and chases them away. ABUELITA NO MUSIC!!! Terrified, the musicians stumble as they run away. MIGUEL (V.O) I think we're the only family in M?xico who hates music... INT. RIVERA WORKSHOP - DAY We see the Rivera family tinkering in the shoe shop, no music to be heard. Miguel jogs past them. MIGUEL (V.O.) And my family's fine with that... He grabs his shine box, and heads out of the shoe shop. MIGUEL (V.O.) But me? MAM? Be back by lunch, mijo! MIGUEL Love you, Mam?! Once outside, Miguel makes his way through the small town of SANTA CECILIA - MORNING MIGUEL (V.O.) I am NOT like the rest of my family... He passes a woman sweeping a stoop. WOMAN Hola, Miguel! MIGUEL Hola! He passes a band of musicians playing a tune. Miguel joins with some air guitar and the further down the street he goes, the more instruments and sounds layer in. The bells of the church chime in harmony, a radio blares a cumbia rhythm. 7. Running past a food stand, Miguel grabs a roll of pan dulce and tosses the vendor a coin. MIGUEL Muchas gracias! STREET VENDOR De nada, Miguel! As Miguel passes all these scenes, the music synthesizes and he can't help but tap out rhythms along a table of alebrijes. The fantastical wooden animal sculptures each play a different tone like a marimba. Miguel finishes with a SMACK on a trash can, out of which a pops up a scrappy hairless Xolo dog. The dog, DANTE, barks and jumps up to lick Miguel, who laughs. MIGUEL Hey, hey! Dante! Miguel holds the pan dulce over Dante's head. MIGUEL Sit. Down. Roll over. Shake. Fist bump. Dante obeys to the best of his ability. MIGUEL Good boy, Dante! Miguel tosses the pan dulce to his furless friend who topples back into the trash can. CUT TO: MARIACHI PLAZA - MOMENTS LATER Miguel rounds the corner toward the town square. Vendors sell sugar skulls and marigolds, and musicians fill the square with music. MIGUEL (V.O) I know I'm not supposed to love music -- but it's not my fault! (beat) It's his: Ernesto de la Cruz... Miguel approaches a statue of a handsome mariachi at the heart of the plaza. 8. MIGUEL (V.O) ...The greatest musician of all time. A tour group and their TOUR GUIDE are gathered around the base of the statue. TOUR GUIDE And right here, in this very plaza, the young Ernesto de la Cruz took his first steps toward becoming the most beloved singer in Mexican history! CUT TO: CLIPS of de la Cruz in his hay day: playing as a young man in the plaza, serenading bystanders in a train car... MIGUEL (V.O.) He started out a total nobody from Santa Cecilia, like me. But when he played music, he made people fall in love with him. MORE CLIPS from de la Cruz's films. He leaps from a tree branch onto a galloping horse. He plays his signature skull guitar with flourish and flair. MIGUEL (V.O.) He starred in movies. He had the coolest guitar... He could fly! A CLIP features de la Cruz dressed as a hovering priest, held up by strings, in front of a cycling sky flat. MIGUEL (V.O.) And he wrote the best songs! But my all-time favorite? It's-- A CLIP of de la Cruz performing in a fancy nightclub. DE LA CRUZ (singing) REMEMBER ME THOUGH I HAVE TO SAY GOODBYE REMEMBER ME DON'T LET IT MAKE YOU CRY FOR EVEN IF I'M FAR AWAY I HOLD YOU IN MY HEART I SING A SECRET SONG TO YOU EACH NIGHT WE ARE APART REMEMBER ME (MORE) 9. DE LA CRUZ (CONT'D) THOUGH I HAVE TO TRAVEL FAR REMEMBER ME EACH TIME YOU HEAR A SAD GUITAR KNOW THAT I'M WITH YOU THE ONLY WAY THAT I CAN BE... MIGUEL (V.O.) He lived the kind of life you dream about... Until 1942... As the audience swoons over de la Cruz, an absent-minded stagehand leans on a lever. Ropes and pulleys go flying. DE LA CRUZ UNTIL YOU'RE IN MY ARMS AGAIN REMEMBER ME! De la Cruz is subsequently crushed by a giant bell. MIGUEL (V.O.) When he was crushed by a giant bell. CUT TO: MARIACHI PLAZA - DAY Miguel gazes up at the statue of de la Cruz in awe. MIGUEL (V.O) I wanna be just like him. CUT TO: EXT. CEMETERY - MOMENTS LATER Miguel weaves up to de la Cruz's mausoleum and peeks in the window. He catches a glimpse of de la Cruz's signature skull guitar. MIGUEL (V.O.) Sometimes, I look at de la Cruz and I get this feeling... like we're connected somehow. Like, if HE could play music, maybe someday I could too... 10. EXT. MARIACHI PLAZA - DAY MIGUEL (CONT'D) ...If it wasn't for my family. PLAZA MARIACHI (playful) Ay, ay, ay, muchacho. MIGUEL Huh? PLAZA MARIACHI I asked for a shoe shine, not your life story. Miguel comes out of his reverie and looks up at the PLAZA MARIACHI whose shoes he is shining. MIGUEL Oh, yeah, sorry. He goes back to scrubbing the man's shoe. As Miguel shines, the mariachi plucks his guitar idly. MIGUEL I just can't really talk about any of this at home so... PLAZA MARIACHI Look, if I were you I'd march right up to my family and say, "Hey! I'm a musician. Deal with it!" MIGUEL I could never say that... PLAZA MARIACHI You ARE a musician, no? MIGUEL I don't know. I mean... I only really play for myself-- PLAZA MARIACHI Did de la Cruz become the world's best musician by hiding his sweet, sweet skills? No! He walked out onto that plaza and he played out loud! 11. The mariachi gets an idea. He points to the gazebo where organizers are setting up for a show. They unfurl a canvas poster which reads "TALENT SHOW." PLAZA MARIACHI (CONT'D) Ah, mira, mira! They're setting up for tonight. The music competition for D?a de Muertos. You wanna be like your hero? You should sign up! MIGUEL Uh-uh, my family would freak! PLAZA MARIACHI Look, if you're too scared, then, well... have fun making shoes. Miguel considers this. PLAZA MARIACHI (CONT'D) C'mon. What did de la Cruz always say? MIGUEL ...Seize your moment? The mariachi appraises Miguel, then offers his guitar. PLAZA MARIACHI Show me what you got, muchacho. I'll be your first audience. Miguel's brows rise, surprised. He reaches to take the instrument, regarding it as if holding a holy relic. Miguel spreads his fingers across the strings anticipating his chord and... ABUELITA (O.S.) MIGUEL! Startled, Miguel impulsively throws the guitar back onto the mariachi's lap. He turns to see Abuelita marching toward him. Miguel's T?O BERTO (40s) and PRIMA ROSA (16), follow with supplies from the market. MIGUEL Abuelita! ABUELITA What are you doing here? 12. MIGUEL Um...uh... Miguel quickly packs away his shine rag and polishes. Abuelita barrels up to the mariachi. She hits his hat with her shoe and waves him away. ABUELITA You leave my grandson alone! PLAZA MARIACHI Do?a, please -- I was just getting a shine! ABUELITA I know your tricks, mariachi! (to Miguel) What did he say to you? MIGUEL He was just showing me his guitar... Gasps from the family. T?O BERTO Shame on you! Abuelita lords over the mariachi, shoe aimed directly between his eyes. ABUELITA My grandson is a sweet little angelito querido cielito -- he wants no part of your music, mariachi! You keep away from him! The mariachi scrambles away, snatching his hat off the ground before he goes. Abuelita hugs Miguel protectively to her bosom. ABUELITA Ay, pobrecito! Est?s bien, mijo? She peppers him with kisses then releases him from the embrace. He gasps for air. ABUELITA (distressed) You know better than to be here in this place! You will come home. Now. 13. Abuelita turns toward home. Miguel sighs and gathers his shine box. Then, seeing a flyer for the plaza "TALENT SHOW", he can't help but pocket it. He follows Abuelita. EXT. STREET - MOMENTS LATER Miguel catches up to his family. T?O BERTO How many times have we told you -- that plaza is crawling with mariachis! MIGUEL Yes, T?o Berto. Dante ambles up to Miguel, sniffing and whining for a treat. MIGUEL No, no, no! Abuelita shoos him away. ABUELITA Go away, you! Go! Dante darts off, scared. MIGUEL It's just Dante... Abuelita throws her shoe at the dog. ABUELITA Never name a street dog. They'll follow you forever. (beat) Now, go get my shoe. CUT TO: INT. RIVERA WORKSHOP The Rivera workshop is abuzz with family making shoes. WHOMP! Miguel is plopped onto a stool, ready for a lecture. ABUELITA I found your son in Mariachi Plaza! PAP? (disappointed) Miguel... 14. MAM? You know how Abuelita feels about the plaza. MIGUEL I was just shining shoes! T?O BERTO A musician's shoes! Gasps from the family. PRIMO ABEL (19) is so shocked he loses his grip on the shoe he is polishing, which zips away from the polisher and lodges itself in the roof. MIGUEL But the plaza's where all the foot traffic is. PAP? If Abuelita says no more plaza, then no more plaza. MIGUEL (blurting) But what about tonight? PAP? FRANCO What's tonight? MIGUEL Well they're having this talent show- Abuelita perks her ear, suspicious. Miguel squirms, deciding whether to go on. MIGUEL And I thought I might... Mam? looks at Miguel, curious. MAM? ...Sign up? MIGUEL Well, maybe? PRIMA ROSA (laughing) You have to have talent to be in a talent show. 15. PRIMO ABEL What are YOU going to do, shine shoes? The shoe from the ceiling falls back down on Abel's head. ABUELITA It's D?a de los Muertos -- no one's going anywhere. Tonight is about family. She deposits a pile of marigolds in Miguel's arms. ABUELITA Ofrenda room. V?monos. CUT TO: INT. OFRENDA ROOM - MOMENTS LATER Miguel follows his Abuelita to the family ofrenda, holding the pile of flowers as she arranges them on the altar. ABUELITA Don't give me that look. D?a de los Muertos is the one night of the year our ancestors can come visit us. (beat) We've put their photos on the ofrenda so their spirits can cross over. That is very important! If we don't put them up, they can't come! (beat) We made all this food -- set out the things they loved in life, mijo. All this work to bring the family together. I don't want you sneaking off to who-knows-where. She looks up to find Miguel sneaking away. ABUELITA (CONT'D) Where are you going? MIGUEL I thought we were done... 16. ABUELITA Ay, Dios m?o... Being part of this family means being HERE for this family... I don't want to see you end up like-- Abuelita looks up to the photo of the faceless musician. MIGUEL Like Mam? Coco's pap?? ABUELITA Never mention that man! He's better off forgotten. MIGUEL But you're the one who-- ABUELITA Ta, ta, ta-tch! MIGUEL I was just-- ABUELITA Tch-tch! MIGUEL But-- ABUELITA Tch! MIGUEL I-- ABUELITA Tch-tch! MAM? COCO Pap?? They look to find Mam? Coco agitated. MAM? COCO (CONT'D) Pap? is home...? ABUELITA Mam?, c?lmese, c?lmese. MAM? COCO Pap? is coming home? 17. ABUELITA No Mam?. It's okay, I'm here. Mam? Coco looks up at Abuelita. MAM? COCO Who are you? Sadness rises in Abuelita; she swallows it down. ABUELITA Rest, Mam?. Abuelita returns to the ofrenda. ABUELITA (CONT'D) I'm hard on you because I care, Miguel. (beat) Miguel... Miguel? She looks around the room. Miguel is nowhere to be found. Abuelita steps up to the ofrenda. ABUELITA (CONT'D) (sigh) What are we going to do with that boy...? She looks to the photo of Mam? Imelda. Abuelita's eyes brighten with an idea. ABUELITA (CONT'D) You're right. That's just what he needs! CUT TO: EXT. SIDE STREET T?o Berto unloads rolls of leather from a truckbed. Nearby, Dante sleeps under the shade of a tree. He startles awake by a faint TWANGING. The dog scrambles up to the roof. He reaches a shoe sign advertising the Rivera Family business and lifts it up. INT. ROOFTOP HIDEOUT Dante pokes his head in. Miguel turns and gasps. 18. MIGUEL Oh, it's you. Get in here, c'mon, Dante. Hurry up. Dante wriggles into the hideout. Miguel is huddled over something. The dog peeks around his shoulder. MIGUEL (CONT'D) You're gonna get me in trouble, boy. Someone could hear me! Miguel reveals a makeshift guitar, cobbled together from a beat up old soundboard and random other items. He takes a china marker and sketches a nose on what appears to be his own version of a skull guitar head. MIGUEL (CONT'D) I wish someone wanted to hear me... Miguel tunes the guitar. MIGUEL (CONT'D) Other than you... Dante gives Miguel a big sloppy lick. Miguel gives a grossed- out chuckle. He lifts his guitar and strums. MIGUEL (CONT'D) Perfecto! He crawls to the far side of the attic where he's built his own ofrenda to Ernesto de la Cruz. Posters, candles, and songbooks are arranged with care. Miguel lights the candles with reverence, illuminating an album cover of de la Cruz holding his skull guitar. Miguel compares the head of his guitar to the album cover. Then he imitates de la Cruz's pose and smile. He switches on a beat up old TV and pushes a tape into the VCR, "Best of de la Cruz" scrawled on the spine. A montage of the greatest moments from de la Cruz's films plays out. A clip from "A QUIEN YO AMO:" DE LA CRUZ (FILM CLIP) I have to sing. I have to play. The music, it's -- it's not just in me. It is me. 19. Miguel strums his guitar as de la Cruz imparts his wisdom. More clips run in the background as Miguel plays: DE LA CRUZ (FILM CLIP) When life gets me down, I play my guitar. In a clip from "A QUIEN YO AMO:" DE LA CRUZ (FILM CLIP) The rest of the world may follow the rules, but I must follow my heart! De la Cruz kisses a woman passionately. Miguel cringes. Another clip from "A QUIEN YO AMO:" DE LA CRUZ (FILM CLIP) You know that feeling? Like there's a song in the air and it's playing just for you... As Miguel watches de la Cruz play guitar in the video, he repeats the melody on his own guitar. DE LA CRUZ (FILM CLIP) (singing) A FEELING SO CLOSE YOU COULD REACH OUT AND TOUCH IT I NEVER KNEW I COULD WANT SOMETHING SO MUCH BUT IT'S TRUE... As a good-natured priest in "NUESTRA IGLESIA:" DE LA CRUZ (FILM CLIP) You must have faith, sister. NUN (FILM CLIP) Oh but Padre, he will never listen. DE LA CRUZ (FILM CLIP) He will listen... to MUSIC! (singing) ONLY A SONG ONLY A SONG HAS THE POWER TO CHANGE A HEART... Miguel loses himself in the music. 20. DE LA CRUZ (FILM CLIP) Never underestimate the power of music... Miguel's tune intertwines with the m
10	Coraline	Henry Selick,Neil Gaiman	Animation,Adventure,Family,Fantasy	February_2009	HEAD CREDIT SEQUENCE MYSTERIOUS SEWING ROOM - NIGHT, A HAUNTING LULLABY plays against a black, star-pricked sky when something appears in the distance. A BUTTON-EYED DOLL floats towards CAMERA, through the open window of a small sewing room where it lands in a pair of WAITING HANDS, hands that are made of SEWING NEEDLES. The doll - which resembles a YOUNG BLACK GIRL in old- fashioned clothes, hair fixed with ribbons and braids - is placed on a sewing table. An elaborate sewing kit is opened, and, in flickering green light, the NEEDLE-HANDS go to work. The doll's old clothes are cut away; button- eyes torn off; hair pulled out. The doll's stuffing is removed and then the empty cloth body is pulled inside out, turning from NUT BROWN to PALE PINK. Sawdust is poured in the NEW DOLL's mouth; facial features added; blue yarn hair punched in; and then a fresh pair of shiny black button eyes is selected from a button drawer. The transformed doll, in a LITTLE YELLOW RAINCOAT, its new button eyes affixed, is released out the window and BACK INTO THE NIGHT. LAST HEAD CREDIT APPEARS, THEN FADES. EXT PINK PALACE, ASHLAND OREGON - DAY WIDE ANGLE on a rambling old Queen Anne-style house with tacked-on outside stairs. It's late winter, the sky a damp, grey sponge. A SIGN in the foreground reads "Pink Palace, Apartment for Rent". MR. BOBINSKY - a seven-foot-tall blue-skinned man - performs calisthenics on the rooftop, counting in Russian. MR. BOBINSKY Dras, dva, tri, chetyri. Dras, dva, tri, chetyri. Dras, dva, tri ... A BEEPING SOUND begins and he pauses. A tired MOVING VAN backs into frame and up the muddy driveway. A VW BEETLE - suitcases roped to its top - recklessly passes the truck and disappears around the side of the house. Bobinsky shakes his fist angrily after the car and shouts: MR. BOBINSKY (CONT'D) Mer-sa-vich! He marches away indignantly. One of the MOVERS, unseen in the truck, speaks to his companion. MOVER 2 (O.C.) We're here. Time to muscle up. ANGLE ON moving truck's REAR DOORS as they're wrenched open by two men - MOVER 1, tall and bear-shaped, and MOVER 2, built like a brick top - to reveal a lot of BOXES and BEAT-UP FURNITURE. They haul out the LOADING RAMP towards CAMERA. NEW ANGLE, EXTERIOR STAIRS to BASEMENT FLAT. APRIL SPINK, a rotund little old English lady with bad legs, surveys the MOVERS as they pass by her chair-lift with boxes and furniture. The old gal can't wait to tell her flat mate below about the young, strapping men. MOVER 2 (CONT'D) (EFFORTS) Got it? Almost there, just a few more. Come on, now, LIFT. ANGLE ON FRONT PORCH. The job finished, Mover 2 heads down the front steps while Mover 1 waits for a signature from the unseen-but-for-his-hands new tenant. Papers signed, a tip of a single, grubby dollar bill is placed in the outstretched hand of the disappointed mover, and the door is shut. EXT HOUSE, REAR VIEW - SAME ANGLE from BACK YARD. Hiding behind shrubs, WE SHARE the POV of a MYSTERIOUS SPY. With a CLICK, a close-up lens is rotated into place to better see the movers quietly pack into the truck and drive away. A MANGY BLACK CAT walks right in front of the lens and looks at us with concern. OFF-SCREEN, a door bangs open. WE FOLLOW the cat as it races up a tree and out a branch towards the BACK PORCH to investigate. CORALINE JONES, 11, steps onto the porch in a YELLOW RAINCOAT with a shoulder bag. WE - SPY'S POV - CLICK to a CLOSE-UP to find this new tenant has BLUE HAIR and a skeptical face. NEW ANGLE, non-spy reverse, on Coraline as she glances furtively over her shoulder, then hops down the steps and moves diagonally away from the house. NEW Angle, SPY POV. We watch Coraline head towards the WOODY SHRUB we've hidden ourselves in. We DUCK DOWN. ANGLE on Coraline, non-spy, shrub by garden gate. She reaches into the shrub and breaks off a FORKED BRANCH. She removes the stick's red leaves, aims it like a DOWSING ROD and heads into the garden. CAM PUSH IN to shrub as the SPY RISES UP, wearing a three- eyed SKELETON MASK on his head and SKELETON GLOVES on his hands. The black cat hops into frame, glances at the spy and follows the girl. MONTAGE VARIOUS EXT - SAME AFISH POND IN GARDEN - SAME Coraline explores the drained, crumbling pond. She finds an old TURTLE SHELL in the muck and holds it up. After rapping on it to make sure it's empty, she puts the shell into her shoulder bag. ANGLE ON CAROLINE, SPY POV. WE PUSH ASIDE dead vines from the railing of the GARDEN BRIDGE for a better look. Coraline aims her forked stick once more then follows it up from the pond and out the BACK GATE. A gust of WIND blows DEAD LEAVES into a swirling eddy WE TRACK high up into the air. DISSOLVE TO: ROCKY PATH HIGH ABOVE HOUSE - LITTLE LATER SPY POV on sky, now dark with GATHERING STORM. Hidden behind a NATURAL WALL OF STONES, WE TILT DOWN to view Coraline crossing frame on a STEEP HILLSIDE path. She steps on an old RAILROAD TIE, and her foot SINKS into the rotted wood, stopping her. WE LEAN OUT for a better view, and DISLODGE some stones that roll down past her. WE DUCK as she jerks her head our way. NEW ANGLE, non-spy. Unnerved, Coraline calls out. CORALINE Hello?... Who's there? She throws a rock over the wall of stones, HITS THE UNSEEN SPY, causing a CRY OF PAIN. ANIMAL? HUMAN? Freaked out, she GASPS, runs up the trail. NEW ANGLE, SPY POV. We rise up to watch and the black cat hops onto the stone wall. EXT. OVERGROWN ORCHARD - CONT. Coraline races down past an OLD TRACTOR and into an ORCHARD. WIND begins to blow. NEW ANGLE as we move beside Coraline through the old apple trees, where she nearly trips on the tongue of a harvest cart. DOWN ANGLE ON on Coraline as she BACKS INTO a circle of TOADSTOOLS in front of a STUMP. BREATHING HARD, she looks out for her pursuer. NEW ANGLE. The black cat shoots past Coraline in the tall grass. She can't see him but she knows something is there. Already behind her now, the cat LEAPS onto the stump with a loud, warning MEROWWW! STARTLED, Coraline YELLS and whips around. She's both angry and relieved when she sees it's just some cat. CORALINE You scared me to death, you mangy thing! Cat GLARES at her with BLUE OPAL EYES, makes a low growl as she stands. She exhales. CORALINE (CONT'D) I'm just looking for an old well. Know it? Cat BLINKS EYES slowly. CORALINE(CONT'D) Not talking, huh? The wind picks up. She grasps the forks of her stick, closes her eyes, and, tracing a figure eight above her, SAYS: CORALINE (CONT'D) Magic dowser, magic dowser: show... me... the well! ANGLE ON CORALINE FROM HIGH BLUFF. The SPY moves into frame, astride some kind of MOTOR-BIKE. He presses a button on the handlebars and BLASTS a loud AIR HORN. STARTLED, Coraline SPINS around. UP ANGLE ON SPY. As LIGHTNING FLASHES and THUNDER ROLLS, Coraline sees him for the first time. With his turret- lensed SKULL MASK and SKELETON GLOVES and black FIREMAN'S COAT flapping in the wind, he looks like a PSYCHO KILLER! CORALINE (CONT'D) (freaked out) AHHHHH! He REVS his motor, pops a wheelie, then SWOOPS DOWN the bluff towards her. She HOLLERS IN FEAR, then tries to WHACK HIM with her forked stick. CORALINE (CONT'D) GET AWAY FROM ME-- He SNATCHES it from her as he passes, KNOCKING HER to the ground. He SIDE-SKIDS his bike, hops off and JUMPS UP onto the stump. Looking TEN FEET TALL from the ground, THUNDER AND LIGHTNING at a peak, the Spy turns his THREE- EYED TURRET LENS and studies her like a predatory alien. And then, the thunder and lightning just FADE OUT and this psycho-killer, three-eyed spy pulls off his mask and Coraline GASPS -- he's just a short kid in a costume. Shoulders hunched, neck bent, the Spy - real name WYBIE LOVAT - aged 12 - examines Coraline's forked stick, aims it around. WYBIE (OBLIVIOUS) Hoo! Let me guess, you're from Texas or Utah; someplace dried out and barren, right? I heard about water-witching before but it doesn't make sense; I mean, it's just an ordinary branch. Coraline, SNATCHES it from his GLOVED HANDS. CORALINE (ENRAGED) IT'S A DOWSING ROD! Coraline smacks Wybie. WYBIE Ow! CORALINE And I DON'T LIKE BEING STALKED, not by PSYCHO-NERDS OR THEIR CATS! He crouches, nervous, to scratch the cat behind his ears. WYBIE He's not really my cat; he's kinda feral ? you know, wild? Of course, I do feed him every night and sometimes he'll come in my window `n bring me little dead things. The cat PURRS like a diesel. CORALINE (TOUGH) Look, I'm from Pontiac. WYBIE Huh? CORALINE MICHIGAN? And if I'm a "water witch", THEN-- (points stick, stomps foot) --where's the secret WELL? WYBIE You stomp too hard and you'll fall in it! Coraline reacts, hops out of the springy circle. The boy scrapes at the ground, revealing a CIRCULAR COVERING made of WOODEN PLANKS. He wedges a fallen branch under one side, and, using a rock for the fulcrum, pries up the covering. WYBIE (CONT'D) See? Supposed to be so deep if you fell to the bottom and looked up, you'd see a sky full of stars in the middle of the day. CORALINE (SOFTENS) Huh. Her frown RELAXES and the black cat tilts his head, noticing her change in tone. He steps off the branch, and the well cover thumps in place. WYBIE Surprised she let you move in... Jerks his head toward the pink house in distance. WYBIE (CONT'D) ... my Gramma. She owns the "Pink Palace" (indicates house in distance) Won't rent to people with kids. CORALINE What do you mean? WYBIE (suddenly worried) Uh... I'm not supposed to talk about it. Changing the subject, he lifts a gloved hand to shake. WYBIE (CONT'D) I'm Wybie, Wybie Lovat. CORALINE (SKEPTICAL) Wybie? WYBIE Short for Wyborne. Not my idea, of course. What'd you get saddled with? CORALINE I wasn't saddled with anything. It's Coraline. WYBIE Caroline what? CORALINE Coraline. Coraline Jones. WYBIE (confused, not hearing it) Hmmm... It's not real scientific, but I heard an ordinary name, like Caroline -- Her face goes as DARK as the rain clouds above. WYBIE (CONT'D) -- can lead people to have ordinary expectations about a person-- WYBIE'S GRANDMOTHER (O.C.) (calling from afar) Wyborne! CORALINE I think I heard someone calling you, Wyborne. WYBIE What? I didn't hear anything-- CORALINE Oh, I definitely heard someone, Why-were- you-born. A distant dinner bell clangs. WYBIE'S GRANDMOTHER (O.C.) Wyborne! WYBIE (under his breath, nervous) Grandma! He holds up his hands in surrender, nodding with eyes closed, forcing some laughs. WYBIE (CONT'D) Heh. Well, great to meet a Michigan water witch. He picks up his bike, wheels it around, then holds up his gloved hands. WYBIE (CONT'D) But I'd wear gloves next time. CORALINE (SKEPTICAL) Why? He points to her dowsing rod, nods. WYBIE (CONT'D) `Cause that dowsing rod of yours? Uh, it's poison oak. CORALINE Ehh!! Coraline drops the stick as he zooms away and wipes her hands on her clothes. The cat merows at her, shaking his head with a pitying look, then trots away after Wybie. She STICKS OUT HER TONGUE at him. She looks down at the COVERING to the well. Coraline finds a PEBBLE and drops it through A SMALL KNOT-HOLE. Ear at the knot-hole, she counts until there's a watery "plop" far below. FAT RAINDROPS start to fall around her. ROTATE DISSOLVE TO: INT. KITCHEN - NEXT MORNING It's POURING out. Coraline looks out a window at the DEAD- LOOKING GARDEN, and places PACKETS OF SEEDS - pumpkins, squash, snap dragons, bleeding hearts - on the sill. She's developed a REDDISH RASH - poison oak - on one hand. The main floor kitchen, like most things in the Pink Palace, is barely maintained, and looks worn and faded. Coraline's MOTHER, MEL JONES, 40, bangs away at her laptop on the table, MOVING BOXES stacked nearby. She's plain-looking and tired and wears a NECK-BRACE. CORALINE I almost fell down a well yesterday, Mom. MEL (not listening) Uh huh. CORALINE I would have died. MEL (continues typing) That's nice. Coraline scratches the rash on her hand, changes subject. CORALINE Hmmm. So can I go out? I think it's perfect weather for gardening. MEL No, Coraline. Rain makes mud. Mud makes a mess. Coraline turns to her. CORALINE But Mom, I want stuff growing when my friends come to visit. Isn't that why we moved here? MEL Something like that. But then we had the accident. CORALINE Wasn't my fault you hit that truck. MEL I never said it was. CORALINE (MUTTERS) I can't believe it -- you and Dad get paid to write about plants and you hate dirt. Mel stops typing, loses her patience. MEL Coraline, I don't have time for you right now. And you still have unpacking to do. Lots of unpacking. CORALINE That sounds exciting. Mel remembers something. Mel (CONT'D) Oh - some kid left this on the front porch. Coraline walks over and is handed a NEWSPAPER-WRAPPED PACKAGE. Attached note reads: WYBIE (V.O.) Hey Jonesy, look what I found in Gramma's trunk. Look familiar? Wybie. She rips open the package and finds the BUTTON-EYED, BLUE- HAIRED, YELLOW RAINCOAT-WEARING DOLL from the head credits - it's a litte Coraline! CORALINE (to herself) Huh... a little me? That's weird. She crumples the note, both annoyed and charmed. MEL What's his name, anyway? CORALINE Wybie. And I'm way too old for dolls. But Coraline takes it with her and leaves the room. INT. STUDY - SAME CHARLIE Jones, 40, goose-necked and gangly with thinning dark hair, HUNT-AND-PECKS at his ancient computer, surrounded by boxes of GARDENING MAGAZINES and empty coffee cups. Coraline, with doll, opens the SQUEAKY DOOR. He doesn't turn. CORALINE Hey Dad, how's the writing going?... Dad? He ignores her reflection in his computer screen as he types away, green letters on black. She CLEARS HER THROAT. CHARLIE Hello, Coraline... (notices doll's reflection) And... Coraline doll?... CORALINE D'you know where the garden tools are? He hears rain outside. CHARLIE It's pouring out there, isn't it. CORALINE Humph, it's just raining. CHARLIE What'd the boss say? CORALINE (MOCKING) "Don't even think about going out, Coraline Jones." CHARLIE Then you won't need the tools. Coraline GROANS, stamps her feet. Charlie just taps harder on the keys. Pouting, she makes the door squeak, opening and shutting it till he can't take any more. He spins around. CHARLIE (CONT'D) Uhhh, you know, this house is a hundred and fifty years old. CORALINE So? CHARLIE So explore it! He grabs a pen and pad, holds it out. CHARLIE (CONT'D) Go out and ... count all the doors and windows and write that down. List everything blue! (BEGGING) Just let me work. She rolls her eyes, takes paper and pen and leaves. MONTAGE, VARIOUS - SAME HALLWAY NEAR STAIRS Coraline, with doll, jumps on BUMP in carpet that moves with each jump. LAUNDRY ROOM/WINTER GARDEN She wipes off the misted glass so she and the doll can see out, then writes in her pad: 7 leaky windows. A drop of water lands on the pad, smearing the ink. She adds really between 7 and leaky windows. HALLWAY NEAR STAIRS Coraline thumps the carpet bump again and pounds up the stairs. PARENT'S ROOM/BATHROOM A FRAMED PHOTO sits in the foreground on a beside table. It shows a younger, happier Coraline with her parents by the BEAR FOUNTAIN at the Detroit Zoo. RACK FOCUS to bedroom door as it swings into the room, with Coraline hanging on it. She drops to the ground and, doll and pad in hand, decides to check out the bathroom. When she pulls aside the mildewed shower curtain she finds a hundred skittering SILVERFISH BUGS. CORALINE Ewww! Disgusted, she jumps into the tub and smashes as many as she can. She turns on the faucet to wash her hands, only to get soaked with rusty water from the shower head. CORALINE (CONT'D) Ahh!! She shakes out her hair. HALLWAY NEAR STAIRS Coraline pounds down the stairs, spots the carpet bump again in the hallway and jumps on it. A closet door opens, a light on inside, and she goes to investigate. WATER HEATER CLOSET ANGLE OVER water heater on Coraline. She jots down one rusty water heater in her pad. As she leaves, she flicks off the light switch, not noticing a note taped beside it that says: Do not turn off! INT. STUDY - SAME Lights flicker and then Charlie's computer dies. He hollers. CHARLIE No, no, no, no, no; GAAAA--! INT. HALLWAY - SAME CHARLIE (O.S.) --AAAAAAA! Coraline reacts with guilty alarm, runs back to the closet and -- INT. CLOSET - SAME -- spots the Do not turn off note. She flips the light switch back on and gets out of there. INT. LIVING ROOM - SAME The room is faded and cold with bare windows looking out on rain and gray. The floor is strewn with moving boxes, a few pieces of furniture, Charlie's old Nordic Track. A few garden tools lean against one wall; a cardboard mattress box leans against a corner wall. Coraline enters, counting windows and doors to note in her pad. She sets the doll on a low table beside an open moving box and smiles. The box is filled with her mom's collection of SNOWGLOBES. She takes out her favorite - the BEAR FOUNTAIN AT THE DETROIT ZOO - and shakes it. She studies the globe and sighs with homesickness. She sets it carefully on the FIREPLACE MANTEL, then unwraps the rest of the snowglobes and places them beside it. Over the mantel hangs a PAINTING of a CRYING BOY IN BLUE - a scoop of ice cream melting on his shirt, his hand holding an EMPTY CONE. Coraline takes up pad and pen and adds to her list, muttering aloud. CORALINE One boring blue boy in a painfully boring painting ... four incredibly boring windows ... and no... more... doors... She turns to grab the doll off the table by the snow globe box. It's gone. CORALINE (CONT'D) All right, little me, where are you hiding? Scanning the room, she spots the doll LOOKING OUT FROM BEHIND THE MATTRESS BOX leaned against the corner wall. Perplexed, she walks over and kneels down to grab the doll when she notices SOMETHING ON THE WALL behind the box. She shoves the box aside, and discovers the outline of a SMALL DOOR that's been wallpapered over. CORALINE (CONT'D) Huh? Intensely curious, she calls to the kitchen. CORALINE (CONT'D) Hey Mom... INT. KITCHEN - CONTINUOUS Mom, typing away, ignores her. CORALINE (O.S.) Where does this door go? MEL I'm really, really busy! INT LIVING ROOM - CONTINUOUS Coraline tries to open it but there's no handle. CORALINE I think it's locked. MEL (O.S.) INT. KITCHEN - CONTINUOUS CORALINE (O.S.) Pleeeeeeeeease! Mel gets up, really annoyed. Big sigh. MEL Uhhh... INT. LIVING ROOM - SAME She walks over to Coraline, looks at the outline of the door in the ratty old wallpaper. MEL Will you stop pestering me if I do this for you? Coraline nods her head quickly, PANTING like a dog. MEL (CONT'D) Fine. She heads back to the kitchen. INT KITCHEN - CONTINUOUS Mel pulls open a drawer, pushes a bunch of loose brass and nickel keys aside to find a small, sharp black key. Holds it up. INT LIVING ROOM - CONTINUOUS Mel cuts the wallpaper around the door and sticks the key in the lock. Coraline looks on, giddy with anticipation, the doll at her side. Mel turns the key, unlocks the door, and pulls it open to reveal ... an UNBROKEN BRICK WALL. Coraline is totally disappointed. CORALINE Bricks? I don't get it. Coraline scratches her wrist rash with annoyance. MEL They must have closed this off when they divided up the house. Mel gets up to leave. CORALINE You're kidding? And why is the door so small? Mel leaving room, turns back, and loses it. MEL We made a deal. ZIP IT! She exits. Coraline makes annoyed sound. CORALINE You didn't lock it. MEL (O.S.) AaaaaH!!! Coraline pushes the little door shut, her head lowered. EXT. HOUSE - NIGHT WIDE ANGLE ON HOUSE. Pouring rain. We hear Charlie singing a song about Coraline, badly.
11	Croods The	Kirk DeMicco,Chris Sanders	Animation,Adventure,Comedy	December_2012	SEQ. 75 - PROLOGUE FADE IN: A cave painting of the Dreamworks logo. Push past the moon to the sun. Bright. Beautiful. The sun DISSOLVES TO: Cave paintings of a family of cavemen -- we will come to know them as The Croods. EEP (V.O.) With every sun comes a new day. A new beginning. A hope that things will be better today than they were yesterday. The Croods scurry out of their cave like mice looking for food. Scared. Fast. The Croods are chased by beasts across the desert. They escape from creatures up trees. They hide behind rocks. EEP (V.O.) But not for me. My name's Eep. This, is my family, the Croods. If you weren't clued in already by the animal skins and sloping foreheads - we're cavemen. Most days we spend in our cave, in the dark. Night after night, day after day. Yep. Home sweet home. When we did go out, we struggled to find food in a harsh and hostile world. And I struggled to survive my family. The Croods are chased by beasts across the desert. They escape from creatures up trees. They hide behind rocks. EEP (V.O.) We were the last ones around. There used to be neighbors. The Gorts, smashed by a mammoth. The Horks, swallowed by a sand snake. The Erfs, mosquito bite. Throgs, common cold. And, the Croods. That's us. The Croods made it... Grug protects his family from a GIANT BEAR OWL. EEP (V.O.) Because of my Dad. He was strong... and he followed the rules. A shadow falls across their feet and Grug ushers his family home. 2. EEP (V.O.) ... the ones painted on the cave walls. Anything new is bad, curiosity is bad, going out at night is bad. Basically, anything fun is bad. Welcome to my world. They all run back into the cave where Grug slams the rock door closed. SLOWLY LIGHT ON CAVE PAINTINGS COMES UP AGAIN. But this time the light casts an ominous tone. EEP (V.O.) But this is a story about how all that changed in an instant. RAPID SHOTS OF THE GREAT SPLIT CUTTING THROUGH THE LAND. HEADED TOWARDS CROOD VALLEY. SHOTS OF CATACLYSM. CUT FASTER AND FASTER UNTIL... EEP (V.O.) Because what we didn't know, was that our world was about to come to an end. And there were no rules on our cave walls to prepare us for that. CAVEMAN HANDS PRESS against the rock wall. They PUSH. A BLINDING LIGHT FLOODS the screen. CUT TO: SEQ. 100 - MEET THE CROODS A HUGE CAVEMAN, GRUG, RUSHES forward, screaming, growling, and throwing handfuls of dirt in a THREAT DISPLAY. He BLINKS in the bright morning light. He LIFTS and HURLS a large boulder. GRUG Raaaaar grooooOOOOoooowwwll ERF ERF Glaaaaaabbbbllllllllthhhh! As suddenly as he began, Grug stops. Panting, he waits for the echoes of his outburst to fade. Grug TURNS to the cave entrance, he prepares to BELLOW a signal, but before any sound escapes his lips-- A CAVE GIRL, EEP, bursts from the cave. 3. GRUG (CONT'D) You're supposed to wait for my signal Eep. Eep? Eep scares a pack of nearby Liyotes away. They pounce on Grug briefly before scampering off. Eep spreads out on an overhanging rock. She BASKS IN THE SUN. EEP We've been in that cave forever. GRUG Three days is not forever. EEP It is with this family. GRUG Eep would you come down here? You're being so dramatic. A LITTLE GIRL, SANDY, charges out next. Her display is more terrier-like. GRUG (CONT'D) No, no, no Sandy, come back here. Remember the signal. Good girls wait for the signal. A CAVE WOMAN, UGGA, scrambles out next. She is mostly focused on catching Sandy, giving only cursory effort to her display. GRUG (CONT'D) Ugga. UGGA As soon as I get Sandy, I'll go back in, and you can give the signal. GRUG No, I mean, you're already out now. THUNK (O.S.) I am waiting for the signal, dad. We HEAR the voice of Grug's nine-year-old son from inside the cave. THUNK is eager to please his dad and emulates his every move. GRUG Never mind, Thunk. Just, come out. 4. THUNK (not so fast) Uhh, but if you don't give the signal, how do I know you're my dad? GRUG The signal isn't so you know it's me, it's so you know I wasn't eaten by an animal. Beat. THUNK Then why is the signal an animal noise? I mean, doesn't that just confuse things? Grug sighs. THUNK (CONT'D) I don't know... I'm still waiting for the signal. GRUG Sigh. Hoo hooooo! Hoo hooooo! Thunk comes out growling, and barrels into Grug. Thunk picks up a boulder and throws it. It ricochets off the cliff wall and careens into Grug. Grug gets plowed over by the boulder. UGGA Mom, we're ready to leave. (BEAT) Mom! Grug sits up and smiles. GRAN Still alive! Grug's face drops. GRUG It's still early. GRAN And you're still fat. GRUG Breakfast formation! The Croods form up in a flying wedge, with Grug in the lead. 5. GRUG (CONT'D) I want to see some real caveman action out there. We do this fast. We do this loud, we do this as a family and never not be afraid. Go! THUNK YAY, BREAKFAST!!!! COMPRESSED TIME - The Croods RUN out of Crood canyon, across the wide expanses of desert. CUT TO: SEQ. 150 - SMASH & GRAB EXT. MOUTH OF CROOD CANYON - MORNING Grug and the Croods come to a stop at the HUNTING GROUNDS. They are spent from a fifteen-mile run. THUNK (HUFFING) Yeah... breakfast... We see a nest with a huge unguarded blue egg. The Croods take shelter behind a rock. Grug PEERS over the top. GRUG Who's up? Eep's hand SHOOTS up. Thunk is less than enthusiastic. GRUG (CONT'D) We'll flip for it. Grug LIFTS Gran on his hand, and FLIPS her up in the air. GRUG (CONT'D) Call her in the air. EEP Heads. Gran FACE-PLANTS, her head buried in the sand. Only her tail is showing. GRUG Tails. Thunk's in. GRUG (CONT'D) Positions. 6. The family fades back and splits up. They get into fighting/running position. GRUG (CONT'D) Ok. Thunk. Go. Come on Thunk. Thunk BREAKS COVER. He dashes into the open, SNATCHES the egg. GRUG (CONT'D) Hah! Way to go. Take it to the cave! Thunk PASSES Grug and makes a bee-line for Crood Canyon. A Gerf bird smashes Thunk and steals the egg back. GRUG (CONT'D) Oooh! GRUG (CONT'D) Release the baby. Eep and Sandy MOVE IN on the bird. Sandy NIPS at its heels while UGGA CLIMBS up onto its head. She PULLS the egg from its beak. Down range, TRIP GERBILS SURFACE. They STRETCH their shared tail across the Ramu's path like an arresting cable on a carrier. Ugga RISES to THROW the egg to Grug - the gerbils WRAP their tail around the Ramu like a bola. The Ramu GOES DOWN hard. Ugga and the egg ROLL forward. The Trip Gerbils SNATCH up the egg and make off with it. UGGA Get um Mom! Do it for the Croods! Gran's cane HOOKS the gerbils in the middle of their tail and WHIPS them up and over her shoulder. ON GRAN DRIBBLING the egg down-range with her cane like a hockey player. LIYOTES POP UP from behind hoodoos. They SWARM in behind her. The Liyotes TRIP Gran. They steal the egg, and HIT THE GAS. They are INCREDIBLY FAST. GRAN Old lady down! Eep, avenge me. 7. ON EEP Crouched in the shade of a scrubby bush, like a runner on the blocks - she has the Liyotes in her sights. Eep LAUNCHES. Eep runs after the Liyote with the egg, cutting him off in his tracks he slams into a cactus launching the egg into the air. Eep leaps into the air taking back the egg. EEP Thanks! A bunch of Jackrobats see Eep and swarm around her. She loses her footing and throws the egg to Grug. GRUG Eep! EEP Heads Up! Grug catches the egg and runs by the entrance of a small cave. Thunk following close behind accidentally trips over the tail of a sleeping Bear Owl knocking Grug to the ground and fumbling the egg once again. Thunk catches the egg just as the Girelephant bears down on him from behind and lifts him onto one of its tusks. The family members meet up as they begin their long run back to the cave. An entire swarm of animals chase the Croods as they head back to their cave. The Bear Owl is awakened and goes after everyone on the chase. Grug protecting his family from the BearOwl tosses each family member onto the Girelephant's back. Grug dodges the BearOwl's attack and uses him as a launching pad to get himself safely on the Girelephant. Thunk is happy to see Dad is safe. THUNK Oh hey Dad, can we eat now? GRUG Just wait till we get home. Eep put on the brakes. The entrance to Crood canyon appears on the horizon. 8. Eep hangs off the edge of one of its tusks as Grug takes over the other. Together they dig their heels into the ground, slowing down the Girelephant. The Bearowl continues the chase. The Croods maneuver the Girelephant to fend off the Bearowl. GRUG (CONT'D) Eep! The Girelephant moving way too fast readies for the crash. The Girelephant crashes into the entrance of the canyon, sending the Croods flying in. They all tumble. Grug makes an extraordinary football catch. He holds tight to the meal as he slams into a rock. Grug holds up the egg. GRUG (CONT'D) Who's hungry? THUNK Alright! Good one, dad! GRUG Here you go, Thunk. Drink up. Grug tosses the egg to Thunk, Thunk fumbles it and it cracks open. THUNK Sorry, dad. UGGA Looks like fast food tonight! The family passes the leaky egg around quickly, each Crood gets a taste. Thunk is the last Crood to get a mouthful, he hands it over to Grug-- the egg is empty. GRUG That's alright. I ate last week. A SHADOW TOUCHES Grug's feet. He looks up - the sun is setting behind the canyon wall. He HOLDS UP his hand to gauge how much daylight is left. GRAN Two knuckle warning. UGGA Come on Croods. Go, go, go. CUT TO: 9. SEQ. 200 - WELCOME TO CROOD CAVE INT. CROOD CAVE - EVENING GRUG Come on, come on. Darkness brings death! We know this. The Croods RUN INSIDE THE CAVE. Ugga picks up a heavy stick off the floor. UGGA The moon is full. Bath night. (grumbling, Gran tries to run AWAY) You too, Mom. GRAN Run for your life. Ugga pulls Gran back. GRAN (CONT'D) I don't want to lose my protective layer. UGGA Mom, you've got ants. (hanging Sandy up) Whack! Like she's cleaning a rug, Ugga SMACKS Sandy hard with the stick. Dust and bugs fly off of her. UGGA (CONT'D) See? Sandy doesn't fuss. Ugga CLAPS her hands together and Sandy knows to let go. She hits the floor and SCAMPERS away. GRAN (UPSET) Aaaaaaaaaah. Grug enters and looks around the cave. GRUG Is she still out there? UGGA You know she hates the cave, Grug. ON EEP clinging to the side of the sheer rock face above Crood cave. She RAISES HER HAND to `catch' a few more moments of sun. 10. EEP Please come back tomorrow. ON GRUG getting his `bath.' GRUG How can she not like the cave? It's so cozy. UGGA It is a little, dark, Grug. GRUG It's not that dark. Grug is finished with his bath. GRUG (CONT'D) (LOSING PATIENCE) Eep! Eep? Eep begins to climb down the wall outside when she hears a sound in the distance. Curious, she begins to climb even higher. Grug leaves the cave, searching for her. GRUG (CONT'D) Come on, I gotta close the cave... ON GRUG exiting the cave... Grug sees that Eep is at the very top. GRUG (CONT'D) Eep! Eep continues to climb. EEP Okay, okay! GRUG Come on. Behind Grug, the Bear Owl appears up the canyon. It SPOTS Grug and the open cave and RACES to attack. Grug sees the BearOwl in full attack mode. GRUG (CONT'D) EEP! COME DOWN!! Grug throws a rock which momentarily stuns the creature, allowing Eep to JUMP DOWN and DART into the cave. Grug barely gets the cave closed in time. 11. GRUG (CONT'D) SIGH CUT TO: SEQ. 210 - BEDTIME STORY The Bear Owl PUSHES his paw through the narrow opening, and FEELS around for the Croods. The Croods are like mice in this world. GRUG That was too close! EEP I was watching. I was fine. GRUG What were you doing up there, Eep? EEP I don't know. GRUG What were you looking for? EEP Nothing. GRUG Well then why did you go up there? EEP (ANNOYED) I don't know. GRUG Why don't you know? Stop looking for things. Fear keeps us alive Eep. Never not be afraid. Eep climbs up on a ledge and curls up in the corner where a tiny spot of light seeps in. EEP (TO HERSELF) What's the point of all this? GRUG Hmmm? What was that? 12. EEP (a little louder) I mean, why are we here? What are we doing this for? CROODS GROAN GRUG No one said survival was fun. EEP Nothing is fun. GRUG Hmm? Would you come down here. Eep? No answer. Grug CLIMBS up. Ugga PULLS Grug back down. UGGA Grug. Off. GRUG Yes. Grug climbs back up. UGGA Off! GRUG I just don't see why she needs her own ledge. That's all. That's what this is about. UGGA She's working through some things and needs her own space. GRUG What things? How long is this going to take? Really? I mean she already doesn't listen to me. A pebble hits Grug in the head. It came from Eep's ledge. GRUG (CONT'D) Hey! UGGA See? She's listening. 13. GRUG If she wants to survive, she has to follow our rules. UGGA How about a story? Eep loves those. Grug brightens. GRUG (BRIGHTENING) That's a good idea ... How about a story, huh? THUNK Oh yeah, tell us a story. The Croods minus Eep gather in a semi-circle on the ground. Grug retrieves Sandy and her Krispy Bear from the bone-crib. GRUG Ok. Can I borrow that? Thank you. Eep! Your old favorite? EEP I haven't played with that thing in years. GRUG Tonight we'll hear the story of Krispy Bear. Grug sits and waits a beat for Eep to join, but she stays put. As Grug talks, he gestures at a rough sketch on the wall of the cave. GRUG (CONT'D) A long time ago, this little bear was alive. She was alive because she listened to her father and lived her life in routine and darkness and terror. So she was happy. But Krispy had one, terrible problem. She was filled with... curiosity. UGGA Grug! Ugga covers Sandy's ears. 14. GRUG Yes. And one day, while she was in a tree, the curious little bear wanted to climb to the top. THUNK Wha? GRUG And no sooner than she climbed to the top, she saw something new and died. Grug SWATS the painting. THUNK Just like that? GRUG Yes! Her last moments of terror still frozen on her face. Grug holds out Krispy Bear. The family is terrified. GRAN Oh, same ending as everyday. THUNK (FREAKED OUT) I get it, dad. I get it. I will never do anything new or different. GRUG Good man, Thunk. Pan across the walls to reveal they are covered with stories all seemingly with the same ending. UGGA Alright, everyone sharpen your teeth and let's pile up. All their worst fears confirmed, the Croods snuggle into one big heap, warm and comfy. Grug casts a glance to Eep's ledge. She doesn't budge. FADE TO BLACK: SEQ. 500 - FOLLOW THE LIGHT 15. INT. CROOD CAVE - NIGHT The Croods sleep peacefully in their pile. Except Eep, who tosses restlessly on her LEDGE. Outside, we hear the ROARS and HOWLS of prehistoric creatures fighting. But then, SILENCE. And then cutting through the primordial night is a MUSICAL SOUND. Unsettling. Unearthly. Eep creeps around her sleeping family and cautiously approaches the "door" to peer outside, when suddenly-- WHOOSH! A bright light blazes through the gaps around the boulder door, bathing Eep in an OTHER-WORLDLY GLOW. She chases the flash of light around the cave trying to catch it in her hands. Eep presses her face against the cold boulder, trying to get a look at what is outside, but she can't get more than a blurred glimpse of the canyon beyond - and the disappearing light. Desperate to see more, Eep braces her back against the cave and PUSHES the plug rock with her legs. Slowly, she shifts the rock, careful not to wake her father. It takes all of her strength, but she manages to move it just enough for her to BARELY SQUEEZE out. EXT. CROOD CANYON - CONTINUOUS Eep stands outside at night for the first time ever. Her heart races. The hot night wind blows against her face and through her hair. The forbidden sensation is exhilarating. The canyon beyond is quickly swallowing the light - it will be gone in another few seconds. With one of her hands pressed tightly to the cave `door', she steels herself. Eep LETS GO and DASHES after the light, SCRAMBLING through the SANDSTONE NARROWS, bounding from side to side. As she disappears into the darkness of the canyon, we... CUT TO: EXT. CANYON The light ahead is growing brighter. Eep is closing on it. In her excitement, she missteps and SNAPS a stick underfoot. 16. It was barely audible. Eep instinctively FREEZES. A huge SHADOW of a TUSKED CREATURE is cast on the wall above her. Eep throws a rock at the shadow. She POWERS STRAIGHT UP the stone wall with unexpected speed. The Creature RUNS. Eep tops the wall and... CUT TO: SEQ. 550 - CLOSE ENCOUNTERS EXT. ROCK ARCH - NIGHT Eep steps into a small clearing. Stuck in the ground, is a TORCH. As far as Eep knows, this is the thing she was following. Eep crouches down and cautiously approaches. REVERSE ANGLE - Eep can feel the heat from the fire on the palms of her hands and her face. TENSE. EXCITING. But camouflaged against the rock wall behind her, something MOVES. A WARTHOG CREATURE stands upright and creeps up behind her. Eep reaches out to TOUCH the flame. The torch blows away from her. The wind has changed direction. The breeze at her back, Eep smells the Creature behind her. On her face, awe turns to determination as she wheels and grabs the creature. She THROWS and FLIPS it over her shoulder. It hits the torch, knocking it to the ground. Eep jumps back, GRABBING a good-sized rock - she's poised to bash the Creature's brains in. CREATURE Nuh! Nuh! The Creature defensively raises its arms, hands in front of its face. GUY No! Hands? Eep GASPS, shocked to see HUMAN HANDS attached to this monstrosity. The Creature slowly puts his hands to
12	Despicable Me 2	Cinco Paul,Ken Daurio	Animation,Adventure,Comedy	July_2013	EXT: ARCTIC CIRCLE - DAY Snow and ice as far as the eye can see. What looks like a windowless MILITARY BASE surrounded by barbed wire fences sits in the middle of the wasteland. TITLE CARD: TOP SECRET RESEARCH LABORATORY. ARCTIC CIRCLE. At the GUARD GATE, two RUSSIAN GUARDS play poker using an overturned barrel as a table. Russian Guard 1 shows a five of diamonds... and four Aces. The other Guard folds. Russian Guard 1 LAUGHS and drags in the pile of coins. While he SPEAKS IN RUSSIAN and does a celebratory dance, the coins fly up into the air. Russian Guard 1 stops dancing and sees that the coins are gone. He accuses the other Guard of stealing them. Russian Guard 2 swears he didn't take them. Russian Guard 1 grabs a shovel and wields it menacingly, until it flies up into the air. They both look up to see where it's gone. Then the metal barrel they were using as a table flies up, knocking them over. Russian Guard 2 looks up to see a GIGANTIC MAGNET SHIP LOWERING DOWN FROM ABOVE AND HOVERING OVER THE LABORATORY. A watchtower guard shouts. A door below opens as a bunch of Guards run out and point their guns at the magnet ship. Then...WOOSH! All of their guns are pulled up towards the ship, including the guards themselves, who are strapped to their guns. A SNOWMOBILE lifts off the ground and flies up to the magnet. Other vehicles and small buildings begin to pull away from the ground. Then-- THE ENTIRE LAB STARTS TO GET PULLED UP OUT OF THE GROUND. CLANK! The lab makes contact with the ship. It flies up and down, shaking the scientists and guards off. They fall to the ground. The magnet ship flies away with their lab, vehicles, and weapons. The remaining guards and scientists are strewn across the snow with the remnants of the damaged base. We see a porta- potty door open. A Confused Guard is sitting on the can reading a newspaper, having missed the entire incident. He closes the door. MATCH CUT TO: DESPICABLE ME 2 CINCO & KEN DRAFT 2. INT: AVL HEADQUARTERS - NIGHT SECURITY FOOTAGE of the research station named PX LABS being carried away by the magnet ship plays on the screens at AVL Headquarters. We see the back of several heads watching the footage. There's a heavy sigh. SILAS Three weeks and we're still no closer to cracking this? No response. SILAS (CONT'D) Right... bring him in. LUCY (O.S.) Yes, sir. EXT: SUBURBAN STREET - DAY Gru steps toward camera, holding some sort of menacing gun, which he loads and cocks. He pulls the trigger, which shoots out an inflatable unicorn balloon. Smiling, he ties it to the windowsill next to some others. EXT: GRU'S BACKYARD - DAY A banner reads: "Happy Birthday Agnes!" and a massive backyard party is in full swing. The yard is decorated with pink balloons and streamers, and a BOUNCY HOUSE shaped like a castle. AGNES and several other LITTLE GIRLS slide down a slide. They are all dressed as princesses, but Agnes is dressed as a princess riding a unicorn. AGNES This is the best party EVER!!! Edith, dressed as a ninja, emerges from beneath a table and climbs across the monkey bars as a series of jousts, blades, and boxing gloves come up from the ground underneath her. She jumps down, narrowly avoiding a bear trap. EDITH Haha! Yeah! DESPICABLE ME 2 CINCO & KEN DRAFT 3. Two LITTLE GIRLS fish in a small kiddie pool. One of the girls pulls up a toy duck and then razzes the other girl, but then a LIVE PIRANHA jumps out and eats the toy duck. A BOY and a GIRL sword fight. The Boy does a bunch of fancy moves. The Girl waits for him to finish and then pounds him on the head with a club. Two kids in the background are on a see-saw made of bombs. Agnes runs into the middle of the yard and points offscreen. AGNES Oh no! A dragon is approaching! All of the kids turn and see KYLE dressed as a dragon. He GRUMBLES and then they SCREAM and huddle around Agnes. Then Margo enters wearing a SUIT OF ARMOR and wielding a SWORD. MARGO Fear not, for here come the gallant knights to save us! She gestures to a group of minions wearing tiny suits of armor and wielding various MEDIEVAL WEAPONS. The Kids CHEER as the minions charge toward Kyle. One accidentally hits another with his sword. A fight ensues in which they use the medieval weapons on each other. One minion pounds another with a MACE. One Minion wanders off from the fight with his helmet on backwards, wildly swinging his mace. Across the yard, Gru is busy grilling burgers and talking on the phone. Not happy. GRU No, no, no! What do you mean she's not coming?! I have a backyard full of these little girls who are counting on a visit from a fairy princess! The mace-swinging Minion walks by and accidently, repeatedly hits Gru with the mace in the shin. GRU (CONT'D) Ah! Hurts! Ah! Stop it! Gru kicks the minion's helmet and chases him off with a spatula, sending him towards the party swinging his mace. Gru SIGHS and returns to the call. DESPICABLE ME 2 CINCO & KEN DRAFT 4. GRU (CONT'D) Listen! I don't want a refund! I want a fairy princess... please! Please, I am begging you. (Resigned) You know what? I hope that you can sleep at night, you crusher of little girls' dreams!!! Gru hits the phone with his spatula and hangs up. Turns and sees Agnes standing there. AGNES Ooh ooh! When's the Fairy Princess coming? Gru stares down at Agnes' big excited eyes. He opens his mouth to tell her the truth, but can't do it. GRU Any minute now! Agnes squeals with excitement and runs off. AGNES Yayyy! Gru looks worried--what do I do now? He signals two minions. GRU Stall them. EXT: BACKYARD - LATER A hand-painted piece of cardboard reading "THE MAGIC SHOW" is placed on an easel. Agnes and all of the little kids sit in a semicircle on the grass. Two minions dressed as magicians are doing a magic act with Edith as their assistant. One minion blows up a balloon and puts it in Edith's mouth. Then the other whips out a CHAINSAW and fires it up, heading toward her. Margo sees this and quickly intervenes. MARGO Whoa! Whoa! Okay, okay, alright. That's enough of the magic show! The minions don't hide their disappointment. MINIONS Awwww. DESPICABLE ME 2 CINCO & KEN DRAFT 5. Margo suddenly looks around as if she just heard something. MARGO Wait, did you hear that? It sounded like the twinkling sounds of magical fairy dust. AGNES (gasps) It's the fairy princess! She's coming! Margo gasps and points up to the sky. MARGO Look! Edith spits out her magic balloon in horror and we follow it up to reveal-- Gru. Dressed in a PUFFY PINK DRESS, fairy wings, glittery eyelashes and tiara and magical wand. Up on top of Gru's house, the minions struggle to lower him down on a rope. Edith's balloon floats by and distracts them. They let go of the rope and Gru swings wildly, smashing into the wall of the house and crashing to the ground. GRU Aaaaaahh! He stands up and tries to cover. Agnes SIGHS HAPPILY, in awe of the fairy princess. GRU (CONT'D) (in falsetto) It is I, Gru...zinkerbell! The most magical fairy princess of all! And I am here to wish Princess Agnes a very happy birthday! Gru sprinkles the girls with glitter and they continue to stare, frozen. Then a LITTLE GIRL raises her hand and speaks with a lisp. LITTLE GIRL How come you're tho fat? Gru grits his teeth, then forces a smile and speaks with a high-pitched, dreamy voice. DESPICABLE ME 2 CINCO & KEN DRAFT 6. GRU Because my house is made of candy and sometimes I eat instead of facing my problems. The girl starts to ask another question. LITTLE GIRL How come you have- Gru cuts her off with a puff of fairy dust to the face. She COUGHS. GRU Okay! Time for cake! As the kids run to the table, Agnes approaches Gru. AGNES Thank you, Gru-zinkerbell. You're the best fairy princess ever! Gru smiles. GRU (in falsetto) You are welcome, little girl. She runs off, but quickly returns. AGNES (whispers in his ear) I know it's really you, Gru. I'm just pretending for the other kids. She runs off again to join her friends. Gru watches her go. Couldn't be happier. Then he is approached by JILLIAN, a heavily-Botoxed mom. JILLIAN Hey there, Gru, Mr. Life of the Party! GRU (forcing a smile) Hello, Jillian. JILLIAN Sooooo, I'm gonna go out on a limb here, but my friend Natalie is recently single, and... DESPICABLE ME 2 CINCO & KEN DRAFT 7. In the background, a homely NATALIE leans against a buffet table and seductively raises her eyebrows at Gru. The table collapses to the ground beneath her. GRU (realizes what's going on) No, no, no, get off of the limb right now. No limb. JILLIAN Oh, come on...she's a riot. She sings karaoke, she has a lot of free time, looks aren't that important to her... In the background, Natalie inadvertently walks in front of a bottle pitch game, is struck by a ball, and falls to the ground. GRU No, Jill's, that is not happening. Seriously. I'm fine. JILLIAN (calling after Gru) Okay, fine. Forget Natalie. How about my cousin Linda? Gru walks off, passing by Edith and Margo. GRU No. JILLIAN Oh, oh! I know someone whose husband just died! SPLASH! Suddenly Jillian is sprayed in the face with water. Reveal Gru holding a HOSE with a SPRAY NOZZLE. GRU I'm sorry. I did not see you there. SPLASH! He sprays her again. She falls down. GRU (CONT'D) Or there. He drops the hose and walks away, CHUCKLING softly. DESPICABLE ME 2 CINCO & KEN DRAFT 8. EXT: GRU'S HOUSE - DUSK Gru takes Kyle out to the front yard. CAMERA POV A camera with nightvision is watching them. The screen analyzes Kyle and a readout comes out as "SPECIES: UNKNOWN." Kyle sniffs Gru's flowers. GRU Kyle... Kyle! Then it analyzes Gru and the readout says "TARGET ACQUIRED." GRU (CONT'D) Ky--Kyle! No, do not do your business on the petunias! Kyle lifts up his leg next to Gru's flowers. He picks Kyle up and places him next to his neighbor's bush. GRU (CONT'D) There you go. Those are Fred's. Go crazy. Kyle does and the bush immediately withers and dies. Gru CHUCKLES. GRU (CONT'D) Good boy. VOICE (O.S.) Mr. Gru? Gru turns and sees Lucy Wilde standing there. GRU Wha? I didn't... What... Yes? LUCY (holds up her badge) Hi! Agent Lucy Wilde of the AVL. (realizes her badge is upside down) Oh. Whoops. (clears her throat, all business) Sorry, you're gonna have to come with me. GRU Oh, sorry, I--Freeze Ray! DESPICABLE ME 2 CINCO & KEN DRAFT 9. Gru whips out his FREEZE RAY and fires it. A WALL OF ICE heads for Lucy. But before it gets to her, Lucy pulls out a retractable gun from her purse, which acts as a FLAMETHROWER. Melting the ice. LUCY You know you really should announce your weapons after you fire them, Mr. Gru. For example-- She pulls out a LIPSTICK. Fires it at Gru. The tip flies through the air and connects with his chest, latching on. ZZZZZAPPP! It tases him, which sends his body flailing in different funny poses before passing out. LUCY (CONT'D) Lipstick Taser! Oh, it works so good. EXT: STREET - LATER Lucy tries to drag Gru to her car, but he's too heavy. LUCY Man. Ugh. Large...person. She gets an idea. Lucy gets into her car. In the background, we see Gru begin to come to, but he is struck by Lucy's car as she pulls back and is knocked out again. LUCY (CONT'D) Oh...sorry! Closer now, Lucy gets out and stuffs his body into the trunk. Just then Tom and Stuart come out of Gru's garage and see their boss being loaded in. Lucy struggles to close the trunk. LUCY (CONT'D) Get...in...there...you...big...man! SLAM! Lucy finally slams the trunk then quickly gets into the vehicle. Tom and Stuart exchange horrified looks. TOM AND STUART Boss! DESPICABLE ME 2 CINCO & KEN DRAFT 10. They take off running after the car as it pulls away, running as fast as their tiny legs will carry them. They get right behind it and Tom LEAPS up onto the trunk. He reaches his hand out to Stuart, who is falling behind. TOM Koom ey lah! STUART Koom ey lah! Koom ey lah! Stuart leaps for the bumper and Tom catches him by his overall straps. Tom holds on tight as Stuart dangles from the back of the car, his overall straps stretching way out. STUART (CONT'D) Aaaaaaiiieeeaaaiiieeeaaaah! As Lucy turns a corner, he slams into some garbage cans and ends up skiing behind the car in a cardboard box. Now in the box, Stuart continues to ride behind the car, and even starts to get the hang of that, too. He waves at Tom, and Tom waves back. STUART (CONT'D) Woooo! TOM Ooooh! All is good until they go past a clothesline and a sheet gets stuck on Stuart. The sheet forms a parasail which lifts Stuart up into the air. He strikes a Superman flying pose. Then a flock of GEESE fly toward him and one actually slams into his face. STUART Quack quack! It SQUAWKS at him as it flies off. Lucy spots the commotion in her side view mirror and slams on the brakes. SCREECH! Both minions fly forward-- INT: LUCY'S CAR - SAME Lucy sees this, drives forward, and opens the convertible top, causing the Minions to land right in the passenger's seat. They strike threatening karate poses. DESPICABLE ME 2 CINCO & KEN DRAFT 11. TOM AND STUART Hi-YAH!! Lucy tases them and they pass out. She floors it. EXT: STREET - SAME Lucy's car continues driving until it reaches a crowded PIER. And doesn't stop. It drives right off the end of the pier. A confused fisherman leaps for his life. CONFUSED FISHERMAN What the-- Oh! SPLASH! INT: OCEAN - SAME Lucy's car now transforms into an UNDERWATER VEHICLE. As the minions come to, one of them tries playing with the radio until Lucy slaps his hand away. They speed through the sea and an octopus slams into her windshield. She turns on the wipers, which hits the octopus in the face until he's had enough and swims off in a cloud of ink. She HONKS her HORN as she passes through a school of fish. MINIONS Whoa... As the fish pass the Minions look ahead to see a shark heading for them with his mouth open. They SCREAM. Lucy quickly steers the car out of harm's way. They pass by several more sharks until they arrive at a GIANT SUBMARINE with the letters "AVL" on the side. A HATCH opens and Lucy's car goes inside. The hatch closes behind her. INT: AVL SUB - SAME The water drains out from the holding dock. A buffer and hair dryer come out to dry off the car. A squeegee wipes off the windshield. Then the platform the car is on lowers down. DESPICABLE ME 2 CINCO & KEN DRAFT 12. INT: AVL ROOM - DAY Lucy's car lowers into the center of the room as a large circular table assembles around it, effectively locking them in. Lucy and the Minions get out of the car. She pushes a button on her remote and Gru, with a starfish attached to his head, is ejected from the trunk. GRU (groggily) Ugh...ooh...what...where...ah...oh, foot's asleep...ah...pins and needles... SILAS (O.S.) Good afternoon, Mr. Gru. GRU Ehhh... SILAS I apologize for our methods in getting you here. LUCY I don't. I'd do it again in a heartbeat. I am not gonna lie--I enjoyed that. Every second of it. Gave me a bit of a buzz, actually. SILAS That's enough, Agent Wilde. LUCY Sorry, sir. GRU Okay, this is bogus! Gru peels the starfish off his head and drops it onto Tom's. Stuart LAUGHS at him. GRU (CONT'D) I don't know who you people think you are, but-- A WAITER comes over with tea for Silas. SILAS We are the Anti-Villain League. DESPICABLE ME 2 CINCO & KEN DRAFT 13. As Silas summons a map that shows all of the AVL offices around the world, Lucy's car drops out of the way. Stuart is trapped on the lowering platform and he scrambles to get back onto stable ground. Silas continues. SILAS (CONT'D) An ultra-secret organization dedicated to fighting crime on a global scale. Rob a bank? We're not interested. Kill someone? Not our deal. But you want to melt the polar ice caps? Or vaporize Mt. Fuji? Or even steal the moon? Then we notice. GRU First of all, you've got no proof that I did that. Second, after I did do that, I put it back! SILAS We're well aware of that, Mr. Gru. That's why we've brought you here. (beat) I am the League's director, Silas Ramsbottom. Upon hearing the name, Tom and Stuart start giggling. TOM Bottom. TOM AND STUART Heeheheeeeheeehee. Silas bristles at this, and glances over at Lucy. SILAS Hilarious. Agent Wilde... LUCY Oh, me now...? She continues the de-briefing, turning to the screens, which show an image of the Magnet Ship stealing the lab. LUCY (CONT'D) Um, recently an entire top secret lab disappeared from the Arctic Circle. Yeah, the entire lab. Just whoosh. Voom! Gone. Where did it go? DESPICABLE ME 2 CINCO & KEN DRAFT 14. GRU I don't care. The screen shows FOOTAGE of a TINY LITTLE BUNNY in a scientific lab. Furry and adorable. LUCY The lab was devoted to experiments involving PX-41, a transmutation serum. What is PX-41, you ask? Mmmm, it's pretty bad... Look. A LABCOAT TECHNICIAN approaches the bunny with a SYRINGE containing the purple liquid. Injects some in its butt. TOM AND STUART Aaah! Instantly the bunny transforms into a HIDEOUS PURPLE MONSTER BUNNY. Gru and the Minions smile, impressed. Then it goes crazy and attacks the scientist. Gru covers his eyes and the Minions pass out. GRU Oh! The bunny attacks the technician, then the camera...and the film is over. GRU (CONT'D) Hmm, you usually don't see that in bunnies. SILAS As you can see, in the wrong hands, the PX-41 serum could be the most devastating weapon on earth. (struggles to get through the opening in the table) Fortunately it has a very distinct chemical footprint, and using the latest chemtracking technology, we found traces of it in the Paradise Mall. On the screens we see images depicting a highly technical diagram of the shopping mall. GRU Ha! A mall? DESPICABLE ME 2 CINCO & KEN DRAFT 15. SILAS Precisely. And we believe that one of these shop owners is a master criminal. Silas scrolls through pictures of the mall's shop owners. SILAS (CONT'D) And that's where you come in. As an ex-villain, you know how a villain thinks, how a villain acts. LUCY The plan is to set you up undercover at a shop in the mall, where hopefully you'll be able to-- GRU Okay, I see where this is going, with all the Mission Impossible stuff, but no. No! I am a father now. And a legitimate businessman. I am developing a line of delicious jams and jellies. Silas shoots him a look. He CHUCKLES. SILAS Jams and...jellies? GRU Oh, attitude! That's right! So thanks, but no thanks. (beat) And here's a tip--instead of tasing people and kidnapping them, maybe you should just give them a call! Good day, Mr. Sheepsbutt! SILAS Ramsbottom. GRU (chuckles) Oh, yeah, like that's any better! Gru turns and heads for the door, followed by Tom and Stuart, who continue to GIGGLE about Ramsbottom's name. EXT: OCEAN - NIGHT Gru exits the AVL headquarters, which he now sees is on a SUBMARINE. DESPICABLE ME 2 CINCO & KEN DRAFT 16. Lucy leans out the door and taps him on the shoulder. LUCY Look, I probably shouldn't be saying this, but your work as a villain was kind of amazing, so if you ever want to get back to doing something awesome--give us a call. She hands Gru her BUSINESS CARD. Gru takes it and stares at it. EXT: OCEAN - LATER Gru rows back to shore as Tom yells to him like a coxswain. Gru GRUNTS with each stroke. TOM ("Stroke!") Mack-oh! Mack-oh! Mack-oh! INT: GRU'S HOUSE - NIGHT Gru carries a sleeping Agnes upstairs. INT: GIRLS' BEDROOM - CONTINUOUS Gru enters to find Margo and Edith not in bed. Margo is texting someone. GRU (whispers) Hey, I told you guys to get to bed. MARGO Oh, sorry. EDITH So when ya goin' on your date? GRU What? EDITH Remember? Miss Jillian said she was arranging a date for you. GRU Yeah, well, she is a nutjob. And I'm not going on any date. DESPICABLE ME 2 CINCO & KEN DRAFT 17. EDITH Why not? Are you scared? Gru stares back at Edith. Gets a far-away look in his eyes. EXT: PLAYGROUND - FLASHBACK - DAY We flash back to LITTLE GRU on the school playground. He stares, lovesick, at a CUTE LITTLE BLONDE GIRL, named LISA. LISA (to her friends) Hey, did you guys see the moon landing on TV? GIRLS Yeah, I can't believe it. It's so cool... LISA Yeah, and you know what-- Gru approaches her. LITTLE GRU Excuse me, Lisa? But she doesn't notice him. He tries again. LISA (to her friends) I was talking to Billy the other day. GIRLS No way. LISA He is so cute. Gru clears his throat. LISA (CONT'D) And I think he likes me. GRU Hey Lisa, I was wondering if you-- Gru reaches out and taps her shoulder with his pointer finger. Then one of the other little girls points to Gru's finger on Lisa's shoulder. DESPICABLE ME 2 CINCO & KEN DRAFT 18. GIRL Ewww! Gru touched Lisa! Gru touched Lisa! The other girls turn and squeal, horrified. GIRLS Eeeeewww! A little buck-toothed red-haired girl shouts out to the entire playground. RED HAIRED GIRL Lisa's got Grooties! The playground erupts with SCREAMS and everyone turns and runs away. Little Gru is left alone. Crushed. INT: GIRLS' BEDROOM - NIGHT Gru comes out of the flashback. GRU Scared? Of what? Women?! No, that's bonkers! I just-- I have no interest in going on a date, that's all. Case closed. I'm not scared-- of women... or dates... let's go to bed. Gru gives each girl a goodnight kiss. GRU (CONT'D) Goodnight, Edith. Then he goes over to Margo, who's already in bed. GRU (CONT'D) Goodnight, Margo. She continues texting as he gives her a kiss. GRU (CONT'D) Whoa, whoa, whoa, whoa! Well, hold the horses. Who are you texting? MARGO No one. Just my friend Avery. DESPICABLE ME 2 CINCO & KEN DRAFT 19. GRU Avery... Avery? Is that a girl's name or a boy's name? MARGO Does it matter? GRU No, no, it doesn't matter... Unless it's a boy! AGNES I know what makes you a boy. Gru turns to Agnes, concerned. GRU Uh...oooh...you...do? AGNES Your bald head. Gru nods, relieved. GRU Oh, yes... AGNES It's really smooth. Sometimes I stare at it and imagine a little chick popping out. Peep peep peep. Gru sighs and gives her a kiss. GRU Goodnight, Agnes. Never get older. Gru turns out the light and leaves the room. INT: LAB - DAY Gru rides the elevator tube down to his lab, passing minions in various stages of jelly making. A sign reading, JELLY TESTING AREA" has been hastily pasted over a nuclear warning sign. A SUPERVISOR MINION checks his clipboard as the MINION next to him steals a banana from his pocket. He turns, but the Minion who stole the banana has hidden it in his mouth. We see the ends of the banana pushing out his cheeks. SUPERVISOR MINION Hey, oh! Me banana! DESPICABLE ME 2 CINCO & KEN DRAFT 20. The Minion with the banana in his mouth shrugs. A single apple is passed down a line of Minions in the least efficient way possible. A few Minions mash fruits in large vats ala "I Love Lucy." One wears a bunch of fruit on his head like Carmen Miranda and sings the CHIQUITA BANANA song. His supervisor comes over and tells him to get back to work. The Minion tries to get out of the vat of fruit, but slips and falls down into a large test-tube filled with mashed fruit. Then all of the mashed fruit is flushed down a large hole where it is injected into jelly jars passing by on a conveyor belt. The trapped Minion is injected into one of the jars. Gru enters the lab and greets the minions. GRU Hey, Tim, nice haircut! He points at Tim. GRU (CONT'D) Donnie, hang in there, baby! It's almost Friday. Gru high-fives Donnie as he approaches Dr. Nefario. GRU (CONT'D) So, how's today's batch, Dr. Nefario? DR. NEFARIO I developed a new formula which allowed me to get every known kind of berry into one flavor of jelly. Gru sticks his finger in and tastes the purple goo in the jar. Makes a disgusted face, then attempts a smile. GRU (faking it) That tastes good... (gags) Love the flavor of that... DR. NEFARIO It's horrible, isn't it? DESPICABLE ME 2 CINCO & KEN DRAFT 21. GRU No! No! Oh, we're making great progress! (to the Minions) Here, try some of this. He hands a jar to a minion, who tries it. He GAGS! Another minion tastes some and scrapes it off his tongue. They smash the jar and all the minions run away, disgusted. GRU (CONT'D) Whoa... okay, just because everybody hates it doesn't mean it's not good. Dr. Nefario hangs his head. DR. NEFARIO Listen, Gru. There's something I've been meaning to talk to you about for some time now. GRU What? What's wrong? DR. NEFARIO (clears his throat) I miss being evil. Sinister plots, large-scale crimes...It's what I live for! I mean, don't you think there's more to our future than jelly? GRU Well, I'm also considering a line of jams... DR. NEFARIO Um...the thing is, Gru... (deep breath) I've had an offer of employment elsewhere. GRU Dr. Nefario! Come on, you're kidding, right? DR. NEFARIO It's a great opportunity for me, bigger lab, more evil, full dental... Dr. Nefario presses a button and his stuff folds itself up into a traveling suitcase. DESPICABLE ME 2 CINCO & KEN DRAFT 22. Dr. Nefario hangs his head. Gru stares back at his old friend. GRU Very well. Let us give you the proper send-off. (calls off screen) Minions! INT: GRU'S LAB - LATER Seven minions are lined up with seven fart guns. Dr. Nefario sits in his scooter. GRU The highest honor awarded. To Dr. Nefario for your years of service. The twenty-one fart gun salute! FART! FART! FART! Dr. Nefario COUGHS. His eyes are watering (and not only
13	Fantastic Mr Fox	Roald Dahl,Wes Anderson,Noah Baumbach	Animation,Adventure,Comedy,Family	March_2007	EXT. WOODS. DAY An apple tree stands alone at the top of a hill. A handsome fox dressed in an Edwardian-style navy velvet suit leans against it with his arms folded and his legs crossed, chewing on a reed of wild grass. He holds an apple core in his paw. He spits out a seed. He looks off across a meadow that descends into the valley below. A female fox strides briskly up the hill. Her coat is a paler, especially beautiful shade of fox-red, and she wears men's trousers and a dark tunic. Fox says as she approaches: FOX What'd the doctor say? MRS. FOX Nothing. Supposedly, it's just a twenty- four hour bug. He gave me some pills. FOX (REASSURINGLY) I told you. You probably just ate some bad gristle. Fox brushes the fur on Mrs. Fox's ears with his paws. They walk together along the crest of the hill to a fork in the path. Fox points: FOX Should we take the short cut or the scenic route? MRS. FOX Let's take the short cut. FOX But the scenic route is so much prettier. MRS. FOX (SHRUGS) OK, let's take the scenic route. FOX Great. It's actually slightly quicker, anyway. Fox throws his apple core away over his shoulder and dances a quick circle around Mrs. Fox, wrapping his arm around her waist extravagantly and making her laugh as they start off down the scenic route. 2. EXT. FARM. DAY A rustic cottage surrounded by a small barn, a tin silo, and a rickity windmill. There is a sheep in a little pasture. A sign on a rail says Berkus Squab. Fox and Mrs. Fox watch from the bushes outside a fence. MRS. FOX What is a squab? FOX You know what a squab is. It's like a pigeon, I suppose. Anyway, it's a type of bird we can eat. Fox motions toward the edge of the property. FOX Should we go through the hole under the horse fence or climb the rail over the bridle path? MRS. FOX Well, I guess the horse fence would be a little safer. FOX But the bridle path puts us out right next to the squab shack. Mrs. Fox hesitates. She fiddles with her paws. She nods nervously. She shakes slightly. Fox looks at her funny. FOX What's wrong? I've never seen you like this. You're acting all skittish. Don't worry. I've been stealing birds for a living since before I could trot. MRS. FOX (SHRUGS) OK, let's take the -- FOX No, we'll do the horse fence. You gave me the scenic route already. Fox flashes a smile. He says suddenly: FOX By the way, you look unbelievably beautiful tonight. You're practically glowing. Maybe it's the lighting. 3. Mrs. Fox is, in fact, glowing, albeit ever so slightly. She stares at Fox enigmatically. Fox touches his paw to her cheek. (NOTE: an alternate version of Mrs. Fox will be used for this shot which can be literally lit from within.) With the speed, grace, and precision of athletes, Fox and Mrs. Fox: dart through a hole under a painted fence; race along a thin trail next to a garage; crawl beneath a window where a blonde woman serves an early dinner, dealing hamburgers like playing cards to three little, blond children; creep past a doghouse where a golden retriever sleeps with an airline sleeping mask over his eyes; and shimmy over a doorway outside a workshop where a blond, bearded farmer hacks into a stump with a hatchet, completely pulverizing it into sawdust. They arrive in front of a wooden shed. Fox whistles sharply with a half-chirp and performs a rapid reverse-flip with a flourish. Fox lifts a loose board. He looks to Mrs. Fox and puts his finger to his lips for her to be quiet. She shrugs impatiently. They duck inside. They come back out. Each holds a dead, bloody pigeon in his/her teeth. They start to run away. Fox looks up above them. He stops. He frowns. He takes the pigeon out of his mouth and says curiously, pointing toward the sky: FOX What's that? I think that's a fox-trap! Look at this. MRS. FOX Get away from there. FOX Is it spring-loaded? Yeah... (pointing to different spots) I guess if you come from over there, and you're standing at the door to the squab shack, this little gadget probably triggers the -- (gesturing to Mrs. Fox) Move out of the way, darling. That's right where it's going to land. Mrs. Fox runs back to Fox and tugs at his arm. MRS. FOX Come on! Stop it! Let's go! 4. Fox pulls on a little, hanging wire. A chain unrolls rapidly from a pulley, and a steel cage falls slap down on top of them. A small tag on the base of it says Badoit et Fils. Fox and Mrs. Fox stand motionless, side by side, in disbelief. FOX No, it just falls straight down right here, doesn't it? I guess it's not spring- loaded. Sounds come from around the farm: the dog barks, doors open, voices yell, lights come on. Mrs. Fox turns to Fox and says QUIETLY: MRS. FOX I'm pregnant. Fox stares at Mrs. Fox. He is confused but moved. FOX Wow. We're going to have a cub. Honey, that's great news! MRS. FOX If we're still alive tomorrow morning, I want you to find another line of work. Pause. Fox nods. CUT TO: A wide shot of the entire valley. There are thick woods, green and yellow fields, two ponds, a small village, and a river running through the middle. TITLE: 2 YEARS LATER ( 12 Fox-Years) EXT. HOLE. DAY The entrance to a tunnel under a dirt mound covered with holly bushes. INT. HOLE. DAY A small, comfortable kitchen off a living room with two bedrooms behind it. Fox sits at the kitchen table reading a newspaper called the Gazette. His fur has gone grey at the temples, and he now wears a dark, double-breasted, pin- striped suit with a conservative necktie. Mrs. Fox stands at the counter-top stirring something in a bowl with a whisk. 5. She is dressed in a paint-splattered, cream-colored, Victorian-style dress. INSERT: A column in the newspaper with Fox's picture at the top of it. The caption reads: Fox about Town with Fantastic Mr. Fox. FOX Does anybody actually read my column? Do your friends ever talk about it? MRS. FOX (STILL STIRRING) Of course. In fact, Rabbit's ex- girlfriend just said to me last week, "I should read Foxy's column," but they don't get the Gazette. (yelling into the next room) Ash! Let's get cracking! FOX Why would they? It's a rag-sheet. (SIGHS) I want to say I hate my job, but that would make it seem more important to me than I want people to think it is. Mrs. Fox puts down her bowl and starts slicing a loaf of bread. A small, narrow fox cub comes out of one of the bedrooms wearing white pants and no shirt. His hair is smashed all onto one side sticking up wrong. He is Ash. ASH I'm sick. MRS. FOX You're not sick. ASH I have a temperature. Mrs. Fox goes quickly over to Ash and puts her paw to his forehead. MRS. FOX You don't have a temperature. Ash turns away and says as he goes back into his bedroom: ASH I don't want to go. 6. MRS. FOX Hurry up. You're going to be late. Mrs. Fox goes back into the kitchen and starts making toast and coffee. Fox whispers to her: FOX I love the way you handled that. Mrs. Fox looks at Fox sideways. She says loudly to Ash: MRS. FOX Your cousin Kristofferson's coming first thing tomorrow morning. I want you to be extra nice to him, because he's going through a very hard time right now, OK? Ash comes back out of his bedroom. He now wears a white cardigan and white socks with his white pants tucked into them. He says aggressively: ASH Where's he going to sleep? MRS. FOX We're going to make a bed for him in your room tonight. ASH I can't spare the space. Put him in Dad's study. Fox says without looking up from his newspaper: FOX Dad's study is occupied by Dad. Ash goes back into his bedroom. Fox lowers his newspaper. He looks around the room. He says to Mrs. Fox: FOX I don't want to live in a hole anymore. It makes me feel poor. Mrs. Fox stops buttering the toast. She looks to Fox and says SOFTLY: MRS. FOX We are poor -- but we're happy. Fox twists his paw in the air, indicating: 7. FOX Comme-ci, comme-ga. Anyway, the views are better above ground. Mrs. Fox nods. She brings Fox a plate of toast and a cup of coffee. Fox takes her paw and says: FOX I'm seven non-fox-years old now. My father died at seven and a half. I don't want to live in a hole anymore, and I'm going to do something about it. Fox kisses Mrs. Fox's paw. He suddenly eats three slices of toast in a second and a half, savagely but neatly. He stands and picks up his cup of coffee. FOX Well, I'm off. Fox throws back the last of his coffee, kisses Mrs. Fox on the back of her neck, grabs his briefcase, tucks his newspaper under his arm, and walks to the door. He shouts CHEERILY: FOX Have a good day, my darlings! Ash comes out the bedroom again. He has now added a white cape to his ensemble and is in the middle of brushing his teeth. There is toothpaste all over his mouth. He waves briefly to Fox and goes back into his bedroom. Fox looks puzzled. FOX What's he wearing? Mrs. Fox shrugs. She smiles sadly and waves to Fox. Fox waves back. He starts to go out but pauses to look down at a folded up section of his newspaper. INSERT: A clipping from the real estate section. There is a photograph of a wide, sprawling beech tree at the top of a hill. A caption below it reads: Tree Living, Great Views, Classic Beech INT. TREE. DAY A door opens into a wide, low space with peeling paint. There is an old chair against the wall, a bare light bulb hanging 8. from the ceiling, and a layer of dust over everything. A skinny weasel in a khaki outfit immediately starts in as Fox comes into the living room: WEASEL Obviously, it's first growth, indigenous. Original dirt floor, good bark, skipping stone hearth -- Weasel is interrupted by a loud banging clank. He and Fox peer into the next room. A heavy-set opossum with a cowlick tinkers with some pipes under the kitchen sink. He is Kylie. Weasel snaps at him: WEASEL What'd I tell you? I'm showing the property. You're not supposed to be here. KYLIE (checking his watch) Oh, cuss. What time is it? I'm sorry. Weasel sighs. He waves his arm in Kylie's direction and says distractedly, slightly annoyed: WEASEL This is Kylie. He's the super. (aside to Fix) He's a little -- Weasel makes a fluttering gesture with his paw. Fox nods. He points at a bucket on the floor next to Kylie among bolts, tools, and washers. FOX What's in the bucket, Mr. Kylie? KYLIE (HESITATES) Just minnows. You want one? FOX Certainly. Thank you. Kylie reaches into his bucket and hands Fox a live, wriggling minnow. Fox swallows it whole. Fox stares out the window at three sprawling poultry compounds in the distance. Black smoke pours out of a farmhouse chimney on each property. A sign on a water tower in the first compound reads Boggis Farms and has a picture of a chicken on it. A sign on a silo in the second compound reads Bunce Industries and has a picture of a goose on it. A sign on a windmill in the third compound reads Bean, inc. 9. (since 1976) and has a picture of a turkey with an apple on it. Weasel says pointedly from across the room: WEASEL May I ask what you do for a living, Mr. Fox? Fox's eyes narrow as he looks out, entranced, with his mouth slightly open. He says almost inaudibly: FOX I used to steal birds, but now I'm a newspaper man. WEASEL (PLEASED) Oh, sure. I've seen your by-line. Fox snaps out of his reverie and says suddenly: FOX Good afternoon, gentlemen. Fox shakes hands abruptly with Weasel and starts across the room. Weasel is about to ask something when Fox stops in the doorway, looks back, and says: FOX Oh, and Kylie -- thank you for the minnow. It was superb. Kylie smiles. Fox exits. EXT. RIVER. DAY A beaver dam across a bend in a fast stream. A still pond sits above it. There is an entrance tunnel tucked beneath a rock. INT. BEAVER DAM. DAY A large room of twig, stick, and mud construction. A card on the door reads Badger, Beaver, and Stoat, L.L.P, Attorneys at Law. An anxious badger sits at his desk reviewing some documents. Fox paces the floor with his hands clasped behind his back. BADGER Don't buy this tree, Foxy. You're borrowing at nine and a half, which stinks like cuss, plus moving into the most dangerous neighborhood in the (MORE) 10. BADGER (CONT'D) country for someone of your type of species. FOX You're exaggerating, Badger. BADGER (YELLING) Bull-cuss! I'm sugar-coating it, man! This is Boggis, Bunce, and Bean! Three of the meanest, nastiest, ugliest farmers in the history of this valley! An uneasy otter secretary peers in at them from the outer office. Fox looks intrigued. FOX Really? Tell me about them. Silence. Badger sighs. He loosens his tie and settles in. BADGER All right... CUT TO: A fat man with a huge moustache. He wears a tweed suit which stretches at the buttons so much that they look like they are about to snap off. He holds a carbine rifle. He stands in front of his farm, which contains row upon row of chicken houses. He has an ugly face. He is Boggis. BADGER (V.0.) Walter Boggis is a chicken farmer. Probably the most successful in the world. INT. BOGGIS' KITCHEN. DAY Boggis sits at a chopping block tearing into a boiled chicken with a fork and a meat cleaver. BADGER (V.0.) He's unbelievably fat -- which maybe is genetic -- but he also eats three boiled chickens smothered with dumplings every day for breakfast, lunch, supper, and dessert. That's twelve in total, per diem. INSERT: 11. Boggis' ear. Furry black and white hairs grow out of it. A fly buzzes around, lands on it, and crawls inside. Boggis sticks his pinky in after it and scratches. BADGER (V.0.) He never takes a bath, as a result of which his ear holes are clogged with all kinds of muck and wax and bits of chewing gum and dead flies and so on. CUT TO: A short, overweight man with one slightly wandering eye. He wears overalls and a cap. He holds a twelve-gauge shotgun. He stands in front of his farm, which consists of several long buildings in rows like a factory. He has a nasty face. He is Bunce. BADGER (V.0.) Nathan Bunce is a duck and goosefarmer. He owns about 2 million ducksand 500,000 geese. You might say he's kind ofa pot- bellied dwarf of some kind. EXT. SWIMMING POOL. DAY Bunce stands up to his nose in water. The depth reads 4FT. BADGER (V.0.) He's so short his chin would probably be under water in the shallow end of any swimming pool on the planet. INT. BUNCE'S KITCHEN. DAY Bunce sits on two stacked telephone books on a chair. He guts a dead goose, cutting out its liver and mashing it with a fork. A plate of doughnuts cools on the table. BADGER (V.0.) He eats only doughnuts with smashed-up goose livers injected into them. CUT TO: A tall, skinny man in a long trench-coat. He holds a Luger pistol. He stands in front of his farm, which is an apple orchard that stretches over thousands of acres. He has a mean face. He is Bean. BADGER (V.0.) Franklin Bean is a turkey and apple farmer. He keeps his birds in an orchard (MORE) 12. BADGER (V.0.) (cont'd) where they run around squawking and gobbling, surrounded by apples. Bean aims his Luger and shoots a humming bird. Crazy turkeys run about among the trees. INT. BEAN'S SHED. DAY Bean works at a moonshine-type cider still, boiling chemicals and sipping from a bottle. BADGER (V.0.) He's probably anorexic, because he never eats anything. He's on a liquid diet of strong, alcoholic cider, which he makes from his apples. He's as skinny as a pencil, as smart as a whip -- and easily the biggest cusshole I've ever met in my life. CUT TO: Fox and Badger in Badger's office. BADGER In summation, I think you just got to not do it, man. That's all. FOX I understand what you're saying, and your comments are valuable, but I'm going to ignore your advice. Badger leaps out of his chair and slams the office door. He points his finger at Fox and screams: BADGER The cuss you are! FOX (IN DISBELIEF) The cuss am I? Fox jumps up and points back at Badger, screaming: FOX Don't cussing point at me! BADGER (SCREAMING) Are you cussing with me? 13. FOX (SCREAMING) Do I look like I'm cussing with you? Fox and Badger begin to snarl and snap savagely, knocking into the furniture as they circle around the room pointing in each other's faces. Suddenly, they calm down all at once, sighing deeply. Pause. FOX One last thing: something's probably about to happen to me at work which I can't put my finger on but have a funny feeling about. How can I protect myself legally? BADGER (PAUSE) Are you about to get fired? FOX (SHRUGS) Slash quit. CUT TO: A door with a frosted glass window. Letters painted on it read Gazette, Editor-in-Chief, Phillip Squirrel. Fox's silhouette stands across from that of a small squirrel sitting at a desk. The squirrel's silhouette says in a GRAVELLY VOICE: SQUIRREL You're fired. FOX Slash I quit. Here's my letter of resignation. Fox's silhouette throws an envelope onto the squirrel's desk. MONTAGE: Two muskrats in orange moving company uniforms unloads boxes and furniture from a wagon and carries them into the tree. Fox holds open the front door and barks orders at them. Two muskrats in white painter's uniforms paints the walls of the living room and the trim around the windows with rollers and brushes. Fox stands on the drop-cloth and barks orders at them. 14. Two muskrats in blue electrician's uniforms work in the kitchen. Mrs. Fox watches over their shoulders and barks orders at them. Fox holds up a pair of flowered curtains in front of a window. He looks to Mrs. Fox. She stares at the curtains thoughtfully. She raises an eyebrow. Fox and Mrs. Fox sit in the windowsill looking out at the sunset. Ash stands in-between them. The flowered curtains wave in the breeze. Fox puffs on a pipe. Ash blows a soap bubble. Mrs. Fox puts out her paw and a butterfly lands on it. She smiles at Fox. He puts his arm around her. He raises a pair of binoculars to his eyes. INSERT: A binocular shot of an industrial shack with Boggis Chicken House #1 stencilled on the front of it. Fox lowers the binoculars. His eyes sparkle. EXT. TREE. DAY Ash stands poised on a high branch over an inflatable swimming pool printed with a red-tartan plaid pattern. He wears over-sized swim trunks with a pattern of acorns printed on them. Fox sits in the grass eating an apple below with Mrs. Fox. She is painting at an easel. Ash yells: ASH Watch this, Dad! Fox looks up. Ash leaps into the air and does a spectacularly awkward back-flip during which he appears to have four arms and three legs randomly attached to his body, flailing wildly. He hits the water by the side of his head and smacks into the surface back-first with a pained yelp. Fox grimaces. He claps mildly. (NOTE: an alternate version of Ash with four arms and three legs randomly attached to his body will be used for this stunt.) FOX Good jump, Ash! Remember to keep your tail tucked! Fox looks at Mrs. Fox's canvas. It is a picture of the pond and landscape in severe weather with black clouds and lightning bolts. It is signed Felicity Fox. Fox raises an eyebrow. 15. FOX Still painting thunderstorms, I see. Fox sees a small, Samsonite suitcase on the ground next to a pair of yellow sneakers. He frowns. FOX Whose suitcase is that? A boy's voice shouts from the high tree branch: KRISTOFFERSON Hello, everyone! Good afternoon! Fox, Mrs. Fox, and Ash look up, surprised. A second Fox cub stands poised on the edge of the limb. He is taller, leaner, sleeker, and it is immediately apparent even by his posture infinitely more graceful than Ash. He is Kristofferson. He wears a professional Speedo with a patch on it that says Swim Team. Fox brightens. FOX Kristofferson! Welcome to our little tree! I see you brought your swimming trunks! Kristofferson steps off the branch and performs a reserved but perfect jack-knife. He enters the water splashlessly. Fox leaps to his feet, applauding with his paws above his head, whistling and hollering: FOX Look at that! This kid's a natural! I'm speechless, Kristofferson! Kristofferson smiles modestly and shrugs. Ash stares at him stonily. Fox turns to Mrs. Fox. FOX Plus, he knows karate. INT. LIVING ROOM. EVENING Fox sits in his armchair reading the Gazette. Ash sits on a braided rug on the floor beside him reading a comic book called The Adventures of White Cape. On the cover, there is a picture of a ferret leaping off a motorcycle. Mrs. Fox is in the kitchen in the background flattening a hunk of dough with a rolling pin. Kristofferson is in the next room practicing tae-kwon-do. He wears khaki shorts, yellow sneakers, and a blue, short-sleeved, button-down shirt. 16. ASH Do you think I'm an athlete? FOX (without looking up) What are you talking about? ASH Well, you know, I think I'm an athlete, and sometimes I feel like you guys don't see me that way. FOX What's the sub-text here? Ash thinks for a minute. He looks at Kristofferson in the next room. Kristofferson is now sitting Indian-style on the floor meditating. His paws are turned upward with his thumbs touching his index fingers forming a ring. Ash says loudly to Mrs. Fox in the kitchen: ASH How long is Kristofferson supposed to stay with us? MRS. FOX Until your uncle gets better. ASH Right, but roughly how long do we plan to give him on that? Double-pneumonia isn't even really that big of a deal, is it? In the background, Kristofferson stands up again and starts practicing violent karate kicks. Mrs. Fox leans into the doorway and whispers forcefully: MRS. FOX As a matter of fact, it is. He's lucky to be alive. Now -- ASH Right, but -- Kristofferson yells suddenly as he does a spinning double- kick with a chop: KRISTOFFERSON Ki-ya! Everyone looks startled. Kristofferson resumes his tae-kwon- do practice with an angry, wounded look on his face. Mrs. Fox SAYS COLDLY: 17. MRS. FOX Lower your voice, Ash. EXT. TREE. NIGHT Fox and Kylie sit in a porch swing on one of the middle branches of Fox's tree. They drink cups of coffee. Crickets chirp. FOX Kids are crazy, aren't they? You got to try it, though. Raising a family. KYLIE Yeah. Sometimes I feel like maybe I MIGHT -- FOX What do you think of this tree, by the way? It's great, huh? KYLIE (HESITATES) Yeah. No, I was just saying how some- TIMES -- FOX I have one last part of what I was about to say. KYLIE OK. Go ahead. FOX I'm going broke. You want to help me steal some chickens? CUT TO: Fox's study, the next morning. A map of the valley with notes and arrows written all over it is spread across a desk. The door is closed with a towel jammed under it. A cricket match plays loudl
14	Finding Nemo	Andrew Stanton	Adventure,Animation,Comedy,Family	May_2003	MARLIN Wow. CORAL Mmm. MARLIN Wow. CORAL Mmm-hmm. MARLIN Wow. CORAL Yes, Marlin. No, I see it. It's beautiful. MARLIN So, Coral, when you said you wanted an ocean view, you didn't think that we we're gonna get the whole ocean, did you? Huh? [sighs] Oh yeah. A fish can breath out here. Did your man deliver or did he deliver? 1 CORAL My man delivered. MARLIN And it wasn't so easy. CORAL Because a lot of other clownfish had their eyes on this place. MARLIN You better believe they did--every single one of them. CORAL Mm-hmm. You did good. And the neighborhood is awesome. MARLIN So, you do like it, don't you? CORAL No, no. I do, I do. I really do like it. But Marlin, I know that the drop off is desirable with the great schools and the amazing view and all, but do we really need so much space? MARLIN Coral, honey, these are our kids we're talking about. They deserve the best. Look, look, look. They'll wake up, poke their little heads out and they'll see a whale! See, right by their bedroom window. CORAL Shhh, you're gonna wake the kids. MARLIN Oh, right. Right. CORAL Aww, look. They're dreaming. We still have to name them. MARLIN You wanna name all of 'em, right now? All right, we'll name this half Marlin Jr. and then this half Coral Jr. Okay, we're done. CORAL I like Nemo. MARLIN Nemo? Well, we'll name one Nemo but I'd like most of them to be Marlin Jr. CORAL Just think that in a couple of days, we're gonna be parents! MARLIN Yeah. What if they don't like me? CORAL Marlin. MARLIN No, really. CORAL There's over 400 eggs. Odds are, one of them is bound to like you. CORAL What? MARLIN You remember how we met? CORAL Well, I try not to. MARLIN Well, I remember. 'Excuse me, miss, can you check and see if there's a hook in my lip?' CORAL Marlin! MARLIN 2 'Well, you gotta look a little closer because it's wiggling'. CORAL Get away! MARLIN Here he is. Cutie's here! Where did everybody go? MARLIN [gasps] Coral, get inside the house, Coral. No, Coral, don't. They'll be fine. Just get inside, you, right now. MARLIN No! MARLIN Coral! Coral? MARLIN Coral? Oh! MARLIN Ohh. There, there, there. It's okay, daddy's here. Daddy's got you. I promise, I will never let anything happen to you...Nemo. ====================================================================================== NEMO First day of school! First day of school! Wake up, wake up! C'mon, first day of school! MARLIN I don't wanna go to school. Five more minutes. NEMO Not you, dad. Me! MARLIN Okay...huh? NEMO Get up, get up! It's time for school! It's time for school! It's time for school! It's time for school! Oh boy! Oh boy! MARLIN All right, I'm up. NEMO Oh boy--whoa! MARLIN Nemo! NEMO First day of school! MARLIN [gasps] Nemo, don't move! Don't move! You'll never get out of there yourself. I'll do it. All right, where's the break? You feel a break? NEMO No. MARLIN Sometimes you can't tell 'cause fluid is rushing to the area. Now, any rushing fluids? NEMO No. MARLIN Are you woozy? NEMO No. MARLIN How many stripes do I have? 3 NEMO I'm fine. MARLIN Answer the stripe question! NEMO Three. MARLIN No! See, something's wrong with you. I have one, two, three--that's all I have? Oh, you're okay. How's the lucky fin? NEMO Lucky. MARLIN Let's see. MARLIN Are you sure you wanna go to school this year? 'Cause there's no problem if you don't. You can wait 5 or 6 years. NEMO Come on, dad. It's time for school. MARLIN Ah-ah-ah! Forgot to brush. NEMO Ohh... MARLIN Do you want this anemone to sting you? NEMO Yes. MARLIN Brush. NEMO Okay, I'm done. MARLIN You missed a spot. NEMO Where? MARLIN There. Ha ha! Right there. And here and here and here! ====================================================================================== MARLIN All right, we're excited. First day of school, here we go. We're ready to learn to get some knowledge. Now, what's the one thing we have to remember about the ocean? NEMO It's not safe. MARLIN That's my boy. So, first we check to see that the coast is clear. We go out and back in. And then we go out, and back in. And then one more time--out and back in. And sometimes, if you wanna do it four times-- NEMO Dad.. MARLIN All right. Come on, boy. NEMO Dad, maybe while I'm at school, I'll see a shark! MARLIN 4 I highly doubt that. NEMO Have you ever met a shark? MARLIN No, and I don't plan to. NEMO How old are sea turtles? MARLIN Sea turtles? I don't know. NEMO Sandy Plankton from next door, he said that sea turtles, said that they live to be about a hundred years old! MARLIN Well, you know what, if I ever meet a sea turtle, I'll ask him. After I'm done talking to the shark, okay? Whoa, whoa, whoa! Hold on, hold on, wait to cross. Hold my fin, hold my fin. NEMO Dad, you're not gonna freak out like you did at the petting zoo, are you? MARLIN Hey, that snail was about to charge. Hmm, I wonder where we're supposed to go. FISH KIDS Bye, mom! FISH MOM I'll pick you up after school. CRAB KID Come on, you guys. Stop it! Give it back! MARLIN Come on, we'll try over there. MARLIN Excuse me, is this where we meet his teacher? BOB Well, look who's out of the anemone. MARLIN Yes. Shocking, I know. BOB Marty, right? MARLIN Marlin. BOB Bob. TED Ted. BILL Bill. Hey, you're a clownfish. You're funny, right? Hey, tell us a joke. BOB/TED Yeah, yeah. Come on, give us a funny one. MARLIN Well, actually, that's a common misconception. Clownfish are no funnier than any other fish. BILL Aw, come on, clownie. TED Yeah, do something funny. 5 BOB Yeah! MARLIN All right, I know one joke. Um, there's a mollusk, see? And he walks up to a sea, well he doesn't walk up, he swims up. Well, actually the mollusk isn't moving. He's in one place and then the sea cucumber, well they--I mixed up. There was a mollusk and a sea cucumber. None of them were walking, so forget that I-- BOB Sheldon! Get out of Mr. Johansenn's yard, now! KIDS Whoa! MR. JOHANSSEN All right, you kids! Ooh! Uuh, where'd you go? Where'd you go? Where, where'd you go? NEMO Dad, dad...can I go play too? Can I? MARLIN I would feel better if you go play over on the sponge beds. MARLIN That's where I would play PEARL What's wrong with his fin? TAD He looks funny! SHELDON Ow! Hey, what'd I do? What'd I do? BOB Be nice. It's his first time at school. MARLIN He was born with it, kids. We call it his lucky fin. NEMO Dad. PEARL See this tentacle? It's actually shorter than all my other tentacles but you can't really tell.Especially when I twirl them like this. SHELDON I'm H2O-intolerant. [sneezes] TAD I'm obnoxious. MR. RAY [singing] Oooh, let's name the zones, the zones, the zones. Let's name the zones of the open sea. KIDS Mr. Ray! SHELDON Come on, Nemo. MARLIN Whoa, you better stay with me. MR. RAY [singing]..mesopolagic, bathyal, abyssalpelagic. All the rest are too deep for you and me to see. MR. RAY Huh, I wonder where my class has gone? KIDS 6 We're under here! MR. RAY Oh, there you are. Climb aboard, explorers. [singing] Oh, knowledge exploring is oh so lyrical, when you think thoughts that are empirical. NEMO Dad, you can go now. MR. RAY Well, hello. Who is this? NEMO I'm Nemo. MR. RAY Well, Nemo, all new explorers must answer a science question. NEMO Okay. MR. RAY You live in what kind of home? NEMO An anemo-none. A nemenem-menome-nememen-nenemone-- MR. RAY Okay, okay, don't hurt yourself. Welcome aboard, explorers! MARLIN Just so you know, he's got a little fin. I find if he's having trouble swimming, let him take a break. Ten, fifteen minutes. NEMO Dad, it's time for you to go now. MR. RAY Don't worry. We're gonna stay together as a group. Okay, class, optical orbits up front. And remember, we keep our supraesophogeal ganglion to ourselves...that means you, Jimmy. JIMMY Aw, man! MR. RAY [singing] MARLIN Bye, Nemo! NEMO Bye, dad! MARLIN Bye, son! Be safe. BOB Hey, you're doing pretty well for a first timer. MARLIN Well, you can't hold onto them forever, can you? BILL Yeah, I had a tough time when my oldest went out at the drop off. MARLIN They just gotta grow up--the drop off?! They're going to the drop off?! Wh-what are you, insane?! Why don't we fry 'em up now and serve them with chips!? BOB Hey, Marty. Calm down. MARLIN Don't tell me to be calm, pony boy! BOB 'Pony boy'? 7 BILL You know for a clownfish, he really isn't that funny. TED Pity. ====================================================================================== MR. RAY [singing] Oh, let's name the species, the species, the species. Let's name the species that live in thesea. NEMO Whoa. MR. RAY [singing] There's porifera, coelenterata, hydrozoa, scyphozoa, anthozoa, ctenophora, bryozoas, three! Gastropoda, arthropoda, echinoderma, and some fish like you and me. Come on, sing with me. Oh...! MR. RAY Just the girls this time. [singing] Oh, seaweed is cool. Seaweed is fun. It makes it's food with the rays of the sun... MR. RAY Okay, the drop off. All right, kids, feel free to explore but stay close. [gasps] Stromalitic cyanobacteria! Gather. An entire ecosystem contained in one infinitesimal speck. There are as many protein pairs contained in this... TAD Come on, let's go. MR. RAY Come on, sing with me! [singing] There's porifera, coelentera, hydrozoa, scyphozoa, anthozoa, ctenophora, bryozoas, three! NEMO Hey guys, wait up! Whoa. TAD Cool. TAD Saved your life! PEARL Aw, you guys made me ink. NEMO What's that? TAD I know what that is. Oh, oh! Sandy Plankton saw one. He called, he said it was called a...a butt. NEMO Whoa. PEARL Wow. That's a pretty big butt. SHELDON Oh, look at me. I'm gonna go touch the butt. [sneezes] Whoa! SHELDON Oh yeah? Let's see you get closer. PEARL Okay. Beat that. TAD Come on, Nemo. How far can you go? NEMO Uh, my dad says it's not safe. 8 MARLIN Nemo, no! NEMO Dad? MARLIN You were about to swim into open water! NEMO No, I wasn't go out--but dad! MARLIN It was a good thing I was here. If I hadn't showed up, I don't know-- PEARL Sir, he wasn't gonna go. TAD Yeah, he was too afraid. NEMO No, I wasn't. MARLIN This does not concern you, kids. And you're lucky I don't tell your parents you were out there. You know you can't swim well. NEMO I can swim fine, dad, okay? MARLIN No, it's not okay. You shouldn't be anywhere near here. Okay, I was right. You'll start school in a year or two. NEMO No, dad! Just because you're scared of the ocean-- MARLIN Clearly, you're not ready. And you're not coming back until you are. You think you can do these things but you just can't, Nemo! NEMO I hate you. MR. RAY There's--nothing to see. Gather, uh, over there. Excuse me, is there anything I can do? I am a scientist, sir. Is there any problem? MARLIN I'm sorry. I didn't mean to interrupt things. He isn't a good swimmer and it's a little too soon for him to be out here unsupervised. MR. RAY Well, I can assure you, he's quite safe with me. MARLINLook, I'm sure he is. But you have a large class and he can get lost from sight if you're not looking. I'm not saying you're not looking-- FISH KID Oh my gosh! Nemo's swimming out to sea! MARLIN Nemo! What do you think you're doing? You're gonna get stuck out there and I'll have to get you before another fish does! Get back here! I said get back here, now! Stop! You take one move, mister. Don't youdare! If you put one fin on that boat..are you listening to me? Don't touch the bo--Nemo! TAD [whispering] He touched the butt. MARLIN You paddle your little tail back here, Nemo. That's right. You are in big trouble, young man. Do you hear me? Big...big-- 9 NEMO Aaaah! Daddy! Help me! MARLIN I'm coming, Nemo! KIDS Aaaah! MR. RAY Get under me, kids! NEMO Ah! Oh no! Dad! Daddy! MARLIN Oh! Nemo! Unh! Nemo! Nemo, no! Nemo! Nemo! Nemo! No! No! Aah! Nemo! Nemo! DIVER Whoa! Hold on. MARLIN Oh no. No, no. It's gone, it's gone. No, no, it can't be gone. No, no! Nemo! Nemo! Nemo! No! Nemo! Nemo! No! No, please, no! No, no! MARLIN Has anybody seen a boat!? Please! A white boat! They took my son! My son! Help me, please! DORY Look out! MARLIN Waaaah! MARLIN Ooh, ooh... DORY Ohh. Oh, oh. Sorry! I didn't see you. Sir, are you okay? MARLIN He's gone, he's gone.. DORY There, there. It's all right. MARLIN He's gone. DORY It'll be okay. MARLIN No, no. They took him away. I have to find the boat. DORY Hey, I've seen a boat. MARLIN You have? DORY It passed by not too long ago. MARLIN A white one? DORY Hi. I'm Dory. MARLIN Where!? Which way!? DORY Oh, oh, oh! It-it went, um, this way! And it went this way! Follow me! MARLIN 10 Thank you! Thank you, thank you so much! DORY No problem. MARLIN Hey! Wait! DORY Will you quit it? MARLIN What? DORY I'm trying to swim here. What, ocean ain't big enough for you? MARLIN Huh? DORY You got a problem, buddy? Huh? Huh? Do 'ya? Do 'ya? Do 'ya? You want a piece of me? Yeah, oooh, I'm scared now. Whaat!? MARLIN Wait a minute.. DORY Stop following me, okay!? MARLIN What? You're showing me which way the boat went! DORY A boat? Hey, I've seen a boat. It passed by not too long ago. It went this way, it went this way. Follow me! MARLIN Wait a minute, wait a minute! What is going on? You already told me which way the boat was going! DORY I did? Oh dear... MARLIN If this is some kind of practical joke, it's not funny! And I know funny..I'm a clownfish! DORY No, it's not. I know it's not. I'm so sorry. See, I suffer from short-term memory loss. MARLIN Short-term memory loss..I don't believe this! DORY No, it's true. I forget things almost instantly. It runs in my family..or at least I think it does. Hmmm..where are they? Can I help you? MARLIN Something's wrong with you, really. You're wasting my time. I have to find my son. [gasps] BRUCE Hello. DORY Well, hi! BRUCE Name's Bruce. It's all right, I understand. Why trust a shark, right? So, what's a couple of bites like you doing out so late, eh? MARLIN Nothing. We're not doing anything. We're not even out. BRUCE Great! Then how'd you morsels like to come to a little get-together I'm havin'? DORY 11 You mean like a party? BRUCE Yeah, yeah, that's right--a party! What do you say? DORY Ooh, I love parties! Parties are fun! MARLIN Parties are fun, and it's tempting but-- BRUCE Oh, come on, I insist. MARLIN O-okay..that's all that matters. DORY Hey, look--balloons! It is a party! BRUCE Ha ha ha! Mind your distance, though. Those balloons can be a bit dodgy. You wouldn't want one of them to pop. BRUCE Anchor! Chum! ANCHOR There you are, Bruce, finally! BRUCE We got company. ANCHOR It's about time, mate. CHUM We've already gone through all the snacks and I'm still starvin'! ANCHOR We almost had a feeding frenzy. CHUM Come on, let's get this over with. ====================================================================================== BRUCE Right, then. The meeting has officially come to order. Let us all say the pledge.. BRUCE/ANCHOR/CHUM 'I am a nice shark, not a mindless eating machine. If I am to change this image, I must first change myself. Fish are friends, not food'. ANCHOR Except stinkin' dolphins. CHUM Dolphins! Yeah, they think they're sooo cute! 'Hey, look at me. I'm a flippin' little dolphin! Let me flip for 'ya! Ain't I a somethin'!' BRUCE Right, then. Today's meeting is step 5, 'BRING A FISH FRIEND'. Now do you all have your friends? ANCHOR Got mine. DORY Hey there! BRUCE How 'bout you, Chum? CHUM Oh, um, I seem to have misplaced my uh, friend. 12 BRUCE That's all right, Chum. I had a feeling this would be a difficult step, you can help yourself to one of my friends. CHUM Oh, thanks, mate. A little chum for Chum, eh? BRUCE I'll start the testimonies. Hello, my name is Bruce. ANCHOR/CHUM Hello, Bruce. BRUCE It has been three weeks since my last fish, on my honor, or may I be chopped up and made into soup. CHUM You're an inspiration to all of us. ANCHOR Amen. BRUCE Right, then. Who's next? DORY Ooh! Pick me! Pick me! BRUCE Yes, the little Sheila down the front. DORY Woo-hoo! BRUCE Come on up here. DORY Hi. I'm Dory. BRUCE/ANCHOR/CHUM Hello, Dory. DORY And, uh, well, I don't think I've ever eaten a fish. CHUM Hey, that's incredible. BRUCE Good on 'ya, mate! DORY Whew! I'm glad I got that off my chest. BRUCE All right, anyone else? Hello, how 'bout you, mate? What's your problem? MARLIN Me? I don't have a problem. BRUCE Oh. Okay.. BRUCE/ANCHOR/CHUM Denial. BRUCE Just start with your name. MARLIN Okay. Uh, hello. My name is Marlin. I'm a clownfish-- CHUM A clownfish? Really?! 13 BRUCE Go on, tell us a joke! CHUM Ooh! I love jokes! MARLIN Actually I do know one that's pretty good. There was this mollusk and he walks up to a sea cucumber. Normally, they don't talk, sea cucumbers, but in a joke, everyone talks. So the sea mollusk says to the cucumber... NEMO Daddy! MARLIN Nemo! CHUM Nemo! Ha ha ha! Nemo! I don't get it. BRUCE For a clownfish, he's not that funny. MARLIN No, no, no, no. He's my son. He was taken by these divers. DORY Oh my, you poor fish. CHUM Humans. Think they own everything. ANCHOR Probably American. BRUCE Now there is a father looking for his little boy. MARLIN Ugh! What do these markings mean? BRUCE I never knew my father! [sobs] CHUM Aw, come here. ANCHOR Group hug. CHUM We're all mates here, mate. MARLIN I can't read human. DORY Well then we gotta find a fish who can read this. Hey, look. Sharks! MARLIN No, no, no, Dory! DORY Guys, guys! MARLIN No, Dory! DORY That's mine! Give it to me! Gimme! Oww! MARLIN Oh, I'm sorry. Are you okay? DORY Ow, ow, ow. 14 MARLIN I'm so sorry. DORY You really clocked me there. Am I bleeding? MARLIN Ohh... DORY Ow, ow, ow. BRUCE Dory, are you oka--oohh. Oohh, that's good. ANCHOR/CHUM Intervention! BRUCE Just a bite! ANCHOR Hold it together, mate! CHUM Remember, Bruce, fish are friends, not food! BRUCE FOOD! MARLIN Dory, look out! BRUCE I'm havin' fish tonight! CHUM Remember the steps, mate! BRUCE Just one bite! BRUCE G'day! MARLIN/DORY Aaaaaaaah! BRUCE Arrrr! MARLIN There's no way out! There's got to be a way to escape! DORY Who is it? MARLIN Dory, help me find a way out! DORY Sorry, you'll have to come back later. We're trying to escape. MARLIN There's gotta be a way out! DORY Look, here's something! 'ESSS-CA-PE'! I wonder what that means. It's funny, it's spelled just like the word 'escape'. MARLIN Let's go! BRUCE Here's Brucey! MARLIN 15 Wait a minute..you can read?! DORY I can read? That's right, I can read! MARLIN Well, then here. Read this now! ANCHOR He really doesn't mean it, y'know! He never even knew his father! CHUM Don't fall off the wagon! MARLIN Oh no, it's blocked! ANCHOR No, Bruce. Focus! CHUM Sorry about--this, mate! ANCHOR He's really--a nice guy! MARLIN I need to get that mask! DORY You want that mask? Okay. MARLIN No, no, no, no, no, no! MARLIN Quick grab the mask! ANCHOR Oh no. Bruce? BRUCE What? [gasps] Swim away! Swim away! DORY Aw, is the party over? PELICAN Nice. ====================================================================================== NEMO Dad? Daddy? DENTIST Barbara? BARBARA Uh-huh? DENTIST Prep for his anterior crown, would you, please? And I'm going to need a few cotton rolls. BARBARA Okay. DENTIST Hello, little fella! NEMO Aah! DENTIST Heh heh heh! Beauty, isn't he? I found that guy struggling for life out on the reef and I saved him. So, has that novocaine kicked in yet? 16 PATIENT I think so. We're ready to roll. BUBBLES Bubbles! [muttering] My bubbles. PEACH He likes bubbles. NEMO Aah! Ohh! No! Uhh! JACQUES Bonjour. NEMO Aah! BLOAT Heh heh! Slow down, little fella. There's nothing to worry about. DEB Oh, he's scared to death. NEMO I wanna go home. Do you know where my dad is? PEACH Honey, your dad's probably back at the pet store. NEMO Pet store? BLOAT Yeah, you know, like I'm from Bob's Fish Mart. GURGLE Pet Palace. BUBBLES Fish-O-Rama. DEB Mail order. PEACH Ebay. GURGLE So which one is it? NEMO I'm from the ocean. GURGLE Ah, the ocean. The ocean! Aaah! He hasn't been decontaminated yet! Jacques! JACQUES Oui. GURGLE Clean him! JACQUES Oui. GURGLE Ocean! JACQUES Ooh, la mer. Bon. Voila. He is clean. BUBBLES Wow. The big blue. What's it like? NEMO Big...and blue? 17 BUBBLES I knew it. DEB Kid, if there's anything you need, just ask your auntie Deb, that's me. Or if I'm not around, you can always talk to my sister Flo. Hi,how are you? Don't listen to anything my sister says, she's nuts! Ha ha ha ha! PEACH [muffled] We got a live one! BLOAT Can't hear you, Peach. PEACH I said we got a live one. GURGLE Yes! BLOAT Oh boy, oh boy, oh boy, oh boy! DEB What do we got? PEACH Root canal, and by the looks of those x-rays it's not gonna be pretty. PATIENT Owwwwwwwww! BLOAT Rubber dam and clamp installed? PEACH Yep. GURGLE What did he use to open? PEACH Gator-Glidden drill. He seems to be favoring that one lately. DEB I can't see, Flo. PATIENT You're getting a little too--aaaaah!!! PEACH Now he's doing the Schilder technique. BLOAT Oooh, he's using a Hedstrom file. GURGLE That's not a Hedstrom file. That's a K-Flex. BLOAT It's got a teardrop cross-section. Clearly a Hedstrom. GURGLE No, no. K-Flex. BLOAT Hedstrom! GURGLE K-Flex! BLOAT Hedstro--! [inflates] There I go. A little help over here. DEB I'll go deflate him. 18 DENTIST All right, go ahead and rinse. GURGLE Ugh! The human mouth is a disgusting place. PEACH Hey, Nigel. NIGEL What did I miss? Am I late? PEACH Root canal and it's a doozy. NIGEL Root canal, eh? What did he use to open? PEACH Gator-Glidden drill. NIGEL He seems to be favoring that one. Hope he doesn't get surplus sealer at the portal terminus... hello. NEMO [gasps] NIGEL Who's this? DEB New guy. Ha ha ha! GURGLE The dentist took him off the reef. NIGEL An outie. From my neck of the woods, eh? Sorry if I ever took a snap at you. Fish gotta swim, birds gotta eat. [gasps] DENTIST Hey! No, no, no, no! They're not your fish. They're my fish. Come on, go! Go on, shoo! Oh, the picture broke. This here's Darla. She's my niece. She's going to be eight next week. Hey, little fella. Say hello to your new mummy. She'll be here Friday to pick you up. You're her present. Shh, shh, shh! It's our little secret. Well, Mr. Tucker, while that sets up I'm going to see a man about a wallaby. BLOAT Oh, Darla. NEMO What? What's wrong with her? GURGLE She wouldn't stop shaking the bag. BUBBLES Poor Chuckles. DEB He was her present last year. BLOAT Hitched a ride on the porcelain express. PEACH She's a fish killer. NEMO I can't go with that girl! I have to get back to my dad! Aaah! Daddy! Help me! GURGLE Oh, he's stuck! GILL 19 Nobody touch him! Nobody touch him. NEMO Can you help me? GILL No. You got yourself in there, you can get yourself out. PEACH Gill.. GILL I just wanna see him do it, okay? Calm down. Alternate wiggling your fins and your tail. NEMO I can't. I have a bad fin. GILL Never stopped me. GILL Just think about what you need to do. BLOAT Come on. GILL Perfect. BUBBLES Yay! GURGLE You did it! DEB Good squirming! Ha ha ha! PEACH Wow. From the ocean. Just like you, Gill. GILL Yeah. PEACH I've seen that look before. What are you thinking about? GILL I'm thinking, tonight, we give the kid a proper reception. BLOAT So kid, you got a name or what? NEMO Nemo. I'm Nemo. ====================================================================================== MARLIN Nemo. Nemo. [mutters] DORY Are you gonna eat that? Careful with that hammer... MARLIN Huh? No, no! What does it say? Dory! DORY Sea monkey has my money... MARLIN Wake up! Get up! Come on! Come on! DORY Yes, I'm a natural blue... MARLIN 20 Get up! DORY Look out! Sharks eat fish! Aaaaaah! MARLIN/DORY AAAAAAAAAAHHH!!! DORY Wow. Dusty. MARLIN [gasps] The mask! Where's the mask? No! No, not the mask! Get it! Get the mask! Get the mask! Get it! DORY [singing] Hoo doot doo doot doot doo doot. Whoo-hoo! La la la la la la. Just keeps going on, doesn't it? Echo! Echo! Hey, what are you doing? MARLIN It's gone. I've lost the mask. DORY Did you drop it? MARLIN You dropped it! That was my only chance of finding my son, now it's gone. DORY Hey, Mr. Grumpy Gills. When life gets you down, you know what you gotta do? MARLIN I don't wanna know what you gotta do when life gets you down. DORY [singing] Just keep swimming. Just keep swimming, swimming, swimming. What do we do? We swim, swim. MARLIN Dory, no singing. DORY [singing] Ho ho ho ho ho ho! I love to swim! When you want to swim.. MARLIN See, I'm going to get stuck now with that song now it's in my head! DORY Sorry. MARLIN Dory, do you see anything? DORY Aaah! Something's got me! MARLIN That was me. I'm sorry. DORY [gasps] Who was that? MARLIN Who could it be? It's me! DORY Are..are you my conscience? MARLIN Yeah, yeah. I'm your conscience. We haven't spoken for a while. How are you? DORY Hmm, can't complain. MARLIN Yeah? Good. Now, Dory. I want you to tell me..do you see anything? 21 DORY I see..I see a light. MARLIN A light. DORY Yeah. Over there. Hey, conscience. Am I dead? MARLIN No, I see it too. What is it? DORY It's so pretty. MARLIN I'm feeling...happy. Which is a big deal for me. DORY I want to touch it. Oh! MARLIN Hey, come back. Come on back here. DORY [singing] I'm gonna get you. I'm gonna get you. I'm gonna swim with you. MARLIN I'm gonna get you. I'm gonna be your best friend...good feeling's gone. MARLIN I can't see! I don't know where I'm going! DORY Haah! MARLIN The mask! DORY What mask? DORY Okay, I can't see a thing. MARLIN Oh, gee! DORY Hey, look! A mask! MARLIN Read it! DORY I'm sorry, but if you could just bring it a little closer, I kind of need the light. That's great, keep it right there. MARLIN Just read it! DORY Okay, okay. Mr. Bossy. Uh, 'P'. Okay, 'P'. 'Shh-eer...Sher--P. Sher--P. Shirley? P.--'. Oh! The first line's 'P. Sherman'! MARLIN P. Sherman doesn't make any sense! DORY Okay, second line. '42'. MARLIN Don't eat me! Don't eat me! Aaaah! DORY Light, please. 'Walla--Walla--Walla-beee'... 22 MARLIN Waah! Waaah! Waaaah! DORY The second line's '42 Wallaby Way'! MARLIN That's great! Speed read! Take a guess! No pressure! No problem! There's a lot of pressure! Pressure! Take a guess now with pressure! DORY 'Sydney'. It's 'Sydney'! MARLIN Duck! DORY Aaah! MARLIN I'm dead, I'm dead, I'm dead, I'm dead, I'm dead, I died, I'm dead. MARLIN Whoo-hoo! [singing] We did it, we did it! Oh yeah, yeah, yeah! No eating here tonight, whoo! BOTH [singing] Eating here tonight! MARLIN Dory. DORY [singing] No, no, no eating here tonight. You on a diet-- MARLIN Dory! What did the mask say? DORY 'P. Sherman, 42 Wallaby Way, Sydney'. [gasps] I remember what it said! I usually forget things, but I remembered it this time! MARLIN Whoa, whoa, wait! Where is that? DORY I don't know. But who cares? I remembered! MARLIN/DORY Aaah! DORY P. Sherman, 42 Wallaby Way, Sydney. I remembered it again! ====================================================================================== JACQUES Psst. Nemo. NEMO Mmmm... JACQUES Nemo. NEMO Huh? JACQUES Suivez-moi. Follow me. BLOAT/BUBBLES/GURGLE [chanting] Ha! Ho! Hwa! Hwee! Ha! Ho! Ho! Ho! Ha! Ho! Hwa! Hwee! Ha! Ho! Ho! Ho! Ha! Ho! Hwa! Hwee! Ha! Ho! Ho! Ho! Hahoo! Wahoo! Yahoo! Ho! Ha! Ho! Wahee! Ha! Ho! Ho! Ho! Hoo! GILL State your name. 23 NEMO Nemo. GILL Brother Bloat, proceed. BLOAT Nemo! Newcomer of orange and white, you have been called forth to the summit of Mount Wannahockaloogie to join with us in the fraternal bonds of tankhood. NEMO Huh? PEACH We want you in our club, kid. NEMO Really? BLOAT If you are able to swim through..THE RING OF FIRE! [whispers to Jacques] Turn on the Ring of Fire! The Ring of Fire, you said you could do it--THE RING OF FIRE! BUBBLES Bubbles! Bubbles! Let me--oww! BLOAT/BUBBLES/GURGLE [chanting] PEACH Isn't there another way? He's just a boy! JACQUES [wailing] GILL From this moment on, you will now be known as Sharkbait. BLOAT/BUBBLES/GURGLE Sharkbait! Ooh ha ha! GILL Welcome, brother Sharkbait! BLOAT/BUBBLES/GURGLE Sharkbait! Ooh ha ha! GILL Enough with the Sharkbait. GURGLE Sharkbait! Ooh..ba-ba-doo. GILL Okay, Sharkbait's one of us now, agreed? BLOAT/BUBBLES/GURGLE Agreed! GILL We can't send him off to his death. Darla's coming in 5 days, so what are we gonna do? I'll tell you what we're gonna do: we're gonna get him outta here. We're gonna help him escape. NEMO Escape? Really? GILL We're all gonna escape! GURGLE Gill, please, not another one of your escape plans. DEB Sorry, but they, they just, they never work. 24 BLOAT Yeah. Why should this be any different? GILL 'Cause we've got him. NEMO Me? GILL You see that filter? NEMO Yeah? GILL You're the only one who can get in and out of that thing. What we need you to do is take a pebble inside and jam the gears. You do that and this tank's gonna get filthier and filthier by the minute. Pretty soon, the dentist'll have to clean the tank himself. And when he does, he'll take us out of the tank, put us in the individual baggies, then we roll ourselves down the counter, out of the window, off the awning, into the bushes, across the street and into the harbor! It's foolproof! Who's with me? BLOAT Aye! JACQUES Aye! DEB Aye! BUBBLES Aye! GURGLE I think your nuts. GILL/NEMO [sighs] GURGLE No offense, kid, but, um..you're not the best swimmer. GILL He's fine, he can do this. So Sharkbait, what do you think? NEMO Let's do it. ====================================================================================== DORY I'm going to P. Sherman, 42 Wallaby Way, Sydney. Where are you going? I'm going to P. Sherman, 42 Wallaby Way, Sydney. If you're askin' where I'm goin'. I'll tell you that's where I'm going. It's P. Sherman, 42 Wallaby Way, Sydney. Where? I'm sorry, I didn't hear you. P. Sherman, 42 Wallaby Way... MARLIN Excuse me. Ex-excuse me, um, hi. Do you know how to get to--hello? W-w-w-wait! Can you tell me--hey! Hold it! Wait a minute! I'm trying to talk to you. Okay, fellas, come back here. Please, one quick question. I need to aaaaand they're gone again. [sighs] DORY P. Sherman 42 Wallaby Way, Sydney. Why do I have to tell you over and over again? I'll tell you again. I don't get tired of it-- MARLIN Okay, all right. DORY Huh? MARLIN Here's the thing. DORY 25 Uh-huh. MARLIN Y'know, I just, I-I think it's best if I just, if I just, carry on from here by..by myself. DORY Okay. MARLIN Y'know, alone. DORY Uh-huh. MARLIN Without, without..well, I mean, not without you. I mean, it's just that I don't want you... with me. DORY Huh? MARLIN I don't wanna hurt your feelings.. DORY You want me to leave? MARLIN Well, I mean not..yes, yeah. It's just that you know I-I just can't afford anymore delays and you're one of those fish that cause delays. And sometimes it's a good thing. There's a whole group of fish. They're..'delay fish'. DORY You mean..[whimper]you mean you don't..like me? [sobs] MARLIN No, of course I like you. It's because I like you I don't wanna be with you. It's a complicated emotion. Oh, don't cry. I like you. MOONFISH LEADER Hey, you! Lady, is this guy botherin' you? DORY Um, I don't remember. Were you? MARLIN No, no, no, no, no. We're just, we're..hey, do you guys know how I can get to-- MOONFI
15	Frozen (Disney)	Jennifer Lee	Animation,Adventure,Comedy	September_2013	OPEN ON: ICE. We're underwater looking up at it. A saw cuts through, heading right for us. EXT. SNOW-CAPPED MOUNTAINS -- DUSK ICE HARVESTERS, dressed in traditional Sami clothing, score a frozen lake. They SING. "The Frozen Heart (Ice Worker's Song)" ICE HARVESTERS BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. The men drag giant ice blocks through channels of water. ICE HARVESTERS (CONT'D) CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go! A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN, share a carrot as they try to keep up with the men. ICE HARVESTERS (CONT'D) Hup! Ho! Watch your step! Let it go! Young Kristoff struggles to get a block of ice out of the water. He fails, ends up soaked. Sven licks his wet cheek. ICE HARVESTERS (CONT'D) BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED. A sharp ice floe overtakes the workers, threateningly. They fight it back. ICE HARVESTERS (CONT'D) STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN! Massive fjord horses drag heavy ice plows. 2 FROZEN - J. Lee ICE HARVESTERS (CONT'D) BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING The sun sets. Lanterns are lit. ICE HARVESTERS (CONT'D) THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR. In the dark, Kristoff and Sven finally manage to get a single block of ice out of the water. ICE HARVESTERS (CONT'D) STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART. The workers pile onto the giant horse-drawn ice sled as it pulls away. Left behind, Kristoff and Sven push their ice block onto a dinky little sled then head off. We sweep up from them to the Northern Lights filling the sky...then move across the mountains...beneath the snowline...and descend upon... EXT. THE KINGDOM OF ARENDELLE -- NIGHT A humble castle, built of wood, nestled in a deep fjord. INT. CASTLE, NURSERY -- NIGHT ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops up beside her. YOUNG ANNA Elsa. Psst. Elsa! Psst. Elsa doesn't stir. Anna sits on Elsa and bounces. YOUNG ANNA (CONT'D) Wake up. Wake up. Wake up. YOUNG ELSA (grumbling) Anna, go back to sleep. Anna rolls onto her back and spreads all her weight on Elsa. 3 FROZEN - J. Lee YOUNG ANNA (drama queen-ish) I just can't. The sky's awake, so I'm awake, so we have to play. YOUNG ELSA ...Go play by yourself. Elsa shoves Anna off the bed. Anna lands butt to floor, sighs, defeated. But then she gets an idea. She hops back on the bed and lifts one of Elsa's eyelids. YOUNG ANNA (mischievously) Do you want to build a snowman? Elsa's eyes both pop open. She smiles. INT. CASTLE STAIRCASE -- NIGHT Anna, now wearing snow boots, pulls Elsa by the hand. YOUNG ANNA Come on, come on, come on, come on. Elsa tries to shush her, but Anna's too excited. INT. BALLROOM -- NIGHT The girls sneak into the ballroom. Elsa shuts the door. YOUNG ANNA Do the magic! Do the magic! Elsa laughs and waves her hands together. Snowflakes suddenly burst forth and dance between her palms, forming a snowball. Elsa throws the snowball high into the air. Snow bursts out and flurries around the room. Anna dances about, catching flakes in her palms and mouth. YOUNG ANNA (CONT'D) This is amazing! YOUNG ELSA Watch this! Elsa stomps her little slippered foot and a layer of ice suddenly coats the floor, forming a giant ice rink. Anna slides off, laughing. 4 FROZEN - J. Lee PLAY MONTAGE: -Anna and Elsa roll giant snowballs and build a snowman together. Elsa moves his stick arms around. YOUNG ELSA (CONT'D) (goofy voice) Hi, I'm Olaf and I like warm hugs. Anna jumps up and hugs him. YOUNG ANNA I love you, Olaf. -Anna and Olaf appear to be dancing. REVEAL: Elsa is actually propelling them across the ice floor with her magic. -The girls slide down snowbanks together! -Anna fearlessly jumps off a snow peak into mid air. YOUNG ANNA (CONT'D) Catch me! Elsa makes another peak to catch Anna. YOUNG ELSA Gotcha! Anna keeps jumping. Elsa keeps casting magic. YOUNG ANNA (jumping faster) Again! Again! YOUNG ELSA (struggling to keep up) Slow down! Elsa suddenly slips. Her magic accidentally STRIKES Anna in the head. Anna tumbles down a snowbank and lands, unconscious. YOUNG ELSA (CONT'D) ANNA! Elsa runs to Anna and takes her in her arms. A streak of Anna's hair, where struck, turns white. YOUNG ELSA (CONT'D) MAMA! PAPA! The room around them fills with frightening ice spikes. 5 FROZEN - J. Lee The parents burst through the frozen door. GASP at the sight of the room. KING Elsa, what have you done? This is getting out of hand! QUEEN (seeing Anna) Anna! The King and Queen rush to Anna and take her in their arms. ELSA It was an accident. I'm sorry, Anna. QUEEN (about Anna) She's ice cold. KING ...I know where we have to go. SLAM CUT TO: INT. DARK ROOM -- NIGHT The King sifts through a shelf to find an ancient book inscribed with Old Norse runes. He opens the book, scrambles to a page with an ancient map. EXT. ARENDELLE -- NIGHT Carrying the girls, the King and Queen ride their horses out of the kingdom. Snow streams from Elsa's hands, leaving a trail of ice behind them. EXT. FJORD MOUNTAIN FOREST -- NIGHT A sleepy Kristoff and Sven travel alone through the dark woods. All of a sudden, the King and Queen race by with the girls, leaving the wake of ice. KRISTOFF Ice? SLAM CUT TO: 6 FROZEN - J. Lee EXT. BLACK MOUNTAINS -- NIGHT Kristoff rides Sven as they follow the trail of ice. YOUNG KRISTOFF Faster, Sven! EXT. THE VALLEY OF THE LIVING ROCK -- NIGHT Kristoff hops off Sven at the edge of a deep valley. They hide behind a rock and peek out. Down below, the King holds a frightened Elsa. The Queen holds the still unconscious Anna. KING Please, help. My daughter! Suddenly, a bunch of rocks tumble down the valley toward them. It looks as though they'll be crushed! But, luckily, the rocks stop at their feet. The rocks then unfold, revealing bright faces. YOUNG KRISTOFF Trolls...? The rock in front of Kristoff "wakes up." Meet BULDA. BULDA Shush. I'm trying to listen. She grabs Kristoff and Sven by hand and hoof and hugs them close. Sven licks her face and she eyes them both. BULDA (CONT'D) Cuties. I'm gonna keep you. Back below, the crowd parts for a troll as old as the Earth. They call him GRAND PABBIE. He approaches arthritically, but determined. He nods respectfully to the king. GRAND PABBIE Your Majesty. (referring to Elsa) Born with the powers or cursed? KING Born. And they're getting stronger. Grand Pabbie motions for the Queen to bring Anna to him. She does. He examines her. 7 FROZEN - J. Lee GRAND PABBIE (about Anna) You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded. KING Do what you must. GRAND PABBIE I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun. Grand Pabbie pulls out a glowing blue energy from Anna's head. We see her memories floating right above her. Grand Pabbie changes all of her magical memories to ordinary memories -- snowy play indoors with the girls in their nightgowns changes to outdoors on the winter fjords with the girls in winter gear. He puts the ordinary memories back in her head. GRAND PABBIE (CONT'D) She will be okay. YOUNG ELSA But she won't remember I have powers? KING It's for the best. PABBIE Listen to me, Elsa, your power will only grow. As he speaks, he conducts the Northern Lights to show a silhouette of an adult Elsa creating magical snowflakes. PABBIE (CONT'D) There is beauty in your magic.... But also great danger. The snowflakes turn to sharp spikes. PABBIE (O.S.) (CONT'D) You must learn to control it. In the Northern Lights display, the sharp spikes cause human figures to panic and attack Elsa. PABBIE (CONT'D) Fear will be your enemy. 8 FROZEN - J. Lee Elsa gasps and buries her face in the King's chest. The King wraps his arms around Elsa, protectively. KING No. We'll protect her. She can learn to control it. I'm sure. Over the King's words we... DISSOLVE TO: -The Arendelle castle gates shutting. KING (O.S.) (CONT'D) Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna. -The castle shutters close. -Anna sits on her bed as Elsa's furniture disappears. -Anna rushes to the hall to see Elsa shut the door to her new room. Anna watches, confused and sad. DISSOLVE TO: INT. CASTLE WINDOW -- DAY We look out on a gentle snowfall. Little Anna skips up to the window. She lights up at the sight of the snow and rushes down the hall. INT. HALLWAY, ELSA'S DOOR -- DAY Anna knocks on Elsa's door and SINGS. "Do You Want to Build a Snowman?" YOUNG ANNA DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY. Anna peeks under the door. YOUNG ANNA (CONT'D) I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. 9 FROZEN - J. Lee -INT. ANNA'S ROOM -- Anna plays with two dolls, gives up, sad. YOUNG ANNA (CONT'D) WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY. -ELSA'S DOOR. Anna peeks through the key hole. YOUNG ANNA (CONT'D) DO YOU WANT TO BUILD A SNOWMAN? -Anna calls through the keyhole. YOUNG ANNA (CONT'D) IT DOESN'T HAVE TO BE A SNOWMAN. YOUNG ELSA (O.S.) Go away, Anna. YOUNG ANNA (hearbroken) ...OKAY BYE. -BEHIND THE DOOR -- DAY. Elsa sits at the window looking out, longingly. Suddenly, her icy hands freeze the windowsill. -LATER. The King slips leather gloves onto Elsa's hands. KING The gloves will help. He pats her gloved hand. KING (CONT'D) See? You're good.... (starting their mantra) Conceal it. YOUNG ELSA Don't feel it. YOUNG ELSA & KING Don't let it show. -INT. HALLWAY, ELSA'S DOOR -- DAY. Anna, now 9, knocks on Elsa's door. ANNA (9) DO YOU WANT TO BUILD A SNOWMAN? -INT. HALLWAY -- DAY. Alone, Anna rides a bicycle built for two in the hall by standing on the back seat. 10 FROZEN - J. Lee ANNA (9) (CONT'D) OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE... -INT. PORTRAIT ROOM -- DAY. Anna runs around the portrait room, gaining momentum to flip over the arm of the couch. ANNA (9) (CONT'D) I'VE STARTED TALKING TO THE PICTURES ON THE WALLS. Anna lands PLOP on the cushions, then looks up at the painting above her of the courageous Joan of Arc. ANNA (9) (CONT'D) Hang in there, Joan. -INT. EMPTY LIBRARY -- DAY. Looks like no one's around. ANNA (9) (CONT'D) IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS. But then we find Anna, laying at the base of the grandfather clock, playing with her braids, bored out of her mind. ANNA (9) (CONT'D) JUST WATCHING THE HOURS TICK BY. Anna's eyes follow the grandfather clock's pendulum. ANNA (9) (CONT'D) TICK TOCK. TICK TOCK. TICK TOCK. -INT. ELSA'S ROOM -- NIGHT. Elsa (now 12) paces as she panics. The entire wall is frozen behind her. ELSA (12) I'm scared. It's getting stronger. KING Getting upset only makes it worse. The King goes to hug her. ELSA (12) No. Don't touch me. I don't want to hurt you. He and the Queen look at each other with alarmed sadness. -INT. LIBRARY -- DAY. Anna, now a teenager, slides past Elsa's room without stopping. 11 FROZEN - J. Lee -INT. KING AND QUEEN'S QUARTERS -- DAY. Anna runs into the room and throws herself into her parents' arms. TEEN ANNA See you in two weeks. -INT. ELSA'S ROOM -- DAY. Elsa curtsies in front of her parents, formally, not touching them. TEEN ELSA Do you have to go? KING You'll be fine, Elsa. -EXT. DOCKS -- DAY. The King and Queen leave on a ship. -EXT. ROUGH SEAS -- NIGHT. Lightning flashes. The sea rages in a storm. The King and Queen's ship is lost in the waves. -INT. CASTLE -- DAY. A portrait of the King and Queen is covered in mourning cloth. -EXT. CEMETERY -- DAY. Anna looks small, standing before her people, beside burial stones. -INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning clothes, approaches and knocks. ANNA (singing) Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN. Anna slides down the door and sits with her head against it. ANNA (CONT'D) WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN? We move through the door... -INT. ELSA'S ROOM -- DAY. Elsa is sitting in the exact same pose as Anna. Her bedroom is frozen with ice. Snowflakes hang in the air, suspended by grief. FADE OUT. 12 FROZEN - J. Lee EXT. THE KINGDOM OF ARENDELLE -- MORNING A new dawn rises over the fjords. Ships pull up to the docks. Guests pile out. DOCK MASTER Welcome to Arendelle! A BOY tries to get away as his MOTHER tries to stuff him in his bunad jacket. BOY Why do I have to wear this? MOTHER Because the Queen has come of age. It's Coronation Day! BOY That's not my fault. They pass the May Pole being raised and a Sami ice harvester chatting with his reindeer. We recognize them as Kristoff and Sven, all grown up. Sven hops around excitedly like a dog and nuzzles Kristoff's chest. KRISTOFF What do you want, Sven? Kristoff leans in and speaks for Sven, as if he can. KRISTOFF (AS SVEN) (CONT'D) Give me a snack. KRISTOFF (CONT'D) What's the magic word? KRISTOFF (AS SVEN) (CONT'D) Please! Kristoff pulls a carrot out of his shirt pocket and hands it to Sven. Sven tries to bite the whole thing. KRISTOFF (CONT'D) Hey, hey, hey! Share! Sven takes a smaller bite. Kristoff then has a bite himself, not seeming to care that it's covered in reindeer slobber. We move on to PERSI and AGGIE, a super-excited couple who rush towards the castle. 13 FROZEN - J. Lee PERSI I can't believe they're finally opening up the gates! AGGIE And for a whole day! Faster, Persi! They pass a tiny but menacing DUKE, who wears taps on his shoes to "enhance" his presence. Two THUG guards follow close behind him. DUKE Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches. (catching himself) ...Did I just say that out loud? We leave him and head down the bridge towards the castle gates, passing an Irishman and a Spanish Dignitary. IRISHMAN Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely. SPANISH DIGNITARY I bet they are beautiful. We move past them, to a particular castle window. CUT TO: INT. CASTLE, ANNA'S BEDROOM -- DAY Anna, 18, snores. Drools. KNOCK. KNOCK. KAI (O.S.) Princess Anna...? Anna sits up. She's got major bedhead. She coughs. Snorts. Pulls a hair from her mouth. ANNA ...Huh? Yeah? KAI (O.S.) Sorry to wake you, ma'am but-- ANNA No, you didn't. I've been up for hours. 14 FROZEN - J. Lee She falls back asleep while sitting. She snores. Her head drops, startling her awake. ANNA (CONT'D) Who is it? KAI (O.S.) It's still me, ma'am. Time to get ready. ANNA Ready for what? KAI (O.S.) Your sister's coronation, ma'am. ANNA My sister's cor-neration... One eye opens enough to catch sight of her coronation dress. She bolts, wide awake in excitement. ANNA (CONT'D) Coronation Day! Ha ha! SLAM CUT TO: EXT. CASTLE HALL -- DAY Anna bursts out of her room, wearing her coronation dress. She finishes pinning ribbons in her hair. Seeing the hustle and bustle of preparations, she can't help but SING. "For the First Time in Forever" ANNA THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...? -Anna slides along the floor of the ballroom in her socks. ANNA (CONT'D) FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES! -She shakes hands with a suit of armor. Breaks it. Hides the evidence. 15 FROZEN - J. Lee ANNA (CONT'D) THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE! -Anna comes to a window and jumps out onto a window washer's pulley. She raises herself up to see the ships arriving. ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT. -Anna walks through the garden and follows a family of geese. ANNA (CONT'D) DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE? -Anna twists herself in a velvet drape like it's a gown. She acts like she looks gorgeous, but she looks ridiculous. ANNA (CONT'D) TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE. -She notices the bust of a man across the room. ANNA (CONT'D) (google-eyed) I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE! -She grabs the bust of the man and swings it around. ANNA (CONT'D) BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR. The bust goes flying and lands on the top of the cake. -Anna bursts into the portrait room, bounces on the furniture, and interacts with the paintings. 16 FROZEN - J. Lee ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE! -INT. LIBRARY. ELSA, now a very poised 21, watches out the window as the coronation guests arrive. ELSA DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. Elsa moves to a painting of her father's coronation. She takes off her gloves and mimics the painting by holding a candlestick and ornament in place of an orb and scepter. ELSA (CONT'D) CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW. The candlestick and ornament ice over. Elsa gasps, slams them back down onto the table. She tries to reassure herself. ELSA (CONT'D) BUT IT'S ONLY FOR TODAY. We cut between Anna's excitement and Elsa's nerves. ANNA IT'S ONLY FOR TODAY! ELSA IT'S AGONY TO WAIT. ANNA IT'S AGONY TO WAIT!!! ELSA TELL THE GUARDS TO OPEN UP THE GATE. ANNA THE GATE!!! -Finally, the gates are open! Anna moves through the crowd, admiring the people around her. 17 FROZEN - J. Lee ANNA (CONT'D) ELSA FOR THE FIRST TIME IN DON'T LET THEM IN FOREVER. DON'T LET THEM SEE ANNA ELSA I'M GETTING WHAT I'M DREAMING BE THE GOOD GIRL OF YOU ALWAYS HAVE TO BE ANNA ELSA A CHANCE TO LEAVE MY SISTER'S CONCEAL. WORLD CONCEAL. DON'T FEEL. A CHANCE TO FIND TRUE LOVE DON'T LET THEM KNOW. -Anna hurries over the bridge and into the village square. ANNA (CONT'D) I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! `CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!! -Anna SLAMS right into the breast of a HORSE! She falls back and lands in a small wooden boat. It tips off of the dock. She's heading overboard. But just then, the horse slams his hoof into the boat and steadies it. ANNA (CONT'D) (frustrated) Hey! HANS I'm so sorry. Are you hurt? The rider, HANS, sure is handsome and regal. ANNA (gentler) Hey. I-ya, no. No. I'm okay. HANS Are you sure? ANNA Yeah, I just wasn't looking where I was going. But I'm okay. He hops down from his horse and steps into the boat. ANNA (CONT'D) I'm great, actually. 18 FROZEN - J. Lee HANS Oh, thank goodness. He offers her a hand and their eyes meet. Chemistry. He helps her to her feet. HANS (CONT'D) (bowing) Prince Hans of the Southern Isles. ANNA (curtseying) Princess Anna of Arendelle. HANS Princess...? My Lady. He drops to his knees, head bowed. The horse bows too, curling his hoof up and out of the boat. The boat tips. Hans tumbles on top of Anna. Awkward. ANNA Hi...again. The horse slams his foot back into the boat to stabilize it. Anna and Hans tumble the other way. Anna lands on top of him. HANS Oh boy. ANNA Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous. (did she just say that?) Wait, what? Hans quickly gets to his feet and helps Anna up again. HANS I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after. ANNA No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! `Cuz, you know... (patting the horse) Hello. (MORE) 19 FROZEN - J. Lee ANNA (CONT'D) (to Hans) But, lucky you, it's-it's just me. HANS Just you? Hans smiles, amused. She smiles back. The bells RING. She doesn't notice at first; she's too busy drinking in Hans's handsomeness. ANNA
16	Happy Feet	George Miller,John Collee	Animation,Comedy,Family	November_2006	SPACE Distant STARS, with vast tracts of darkness stretching between them. Move in on OUR SUN, dwarfed in the immense cosmic ocean. MUMBLE (VO) You ever feel small? Moving in on.... PLANET EARTH The spinning blue marble. FADE IN: A strange cacophony of MUSIC, growing louder as the familiar CONTINENTS revolve below us and we spiral down onto ANTARCTICA THE ICE SHELF Vast, pristine, stupendous. Washed with dawn light. A few small BLACK-SUITED FIGURES are moving towards us. MUMBLE (VO) Like you're no-one, cos the world is full of us, and everyone's the same Wait a minute. These aren't humans... they are PENGUINS! MUMBLE (CONT'D) How do you stand out from the crowd? How do you find someone special? A GREAT COMMUNITY EMPEROR PENGUINS all over the place, Its chaos - Grand central station - with everyone SINGING to each other. MUMBLE (VO) I know. I know. "You sing your heart out." That's how mum found dad in the first place Follow a female penguin as she waddles through the massive crowd past an assortment of crooning males (CONTINUED) 2. CONTINUED: KEEN MALE (trying to connect) "Babe...I got you Babe..." She ignores him NEXT MALE (giving it his all) "When a man loves a woman..." She keeps moving, until she sees the male of her dreams: WISHFUL "Love me tender love me true, all my dreams fulfil. He stands a bit apart from the rest. And what a voice. What a hip movement. She sings along. NORMA J. AND WISHFUL ...for my darling I love you and I always will. MUMBLE (VO) With them it was love at first song. Close up on the two penguins as their necks intertwine. MUMBLE (VO) (CONT'D) But with me everything was a different, right from the moment I was born THE ICE SHELF With infinite care, THE EGG is passed from Norma J's feet onto WISHFUL's. MUMBLE First rule of survival: get yourself laid before winter. WISHFUL covers the egg, glancing up at the darkening sky MUMBLE (CONT'D) Apparently I only just made it. Women are leaving and heading off over the ice. The community resounds with sad songs of parting. (CONTINUED) 3. CONTINUED: MUMBLE (CONT'D) Afterwards Mum went off to the sea to keep warm. Dad stayed home like dad's do, incubating. Norma J is having difficulty tearing herself away. Finally she pads off after the others. WISHFUL Safe home baby.... As he watches her dwindle into the distance, where huge STORM CLOUDS are building. WISHFUL (CONT'D) I'll miss you. THE DARKNESS Wind comes shreiking across the ice shelf to where THOUSANDS OF MALES are huddled, ice crusting on their feathers. MUMBLE (VO) Tell me what it is about the cold and the dark. Soon as the sun goes away, everyone gets religious The huddled penguins are engaged in ritual chanting LEAD VOICE When all others leave... CHORUS We Remain. LEAD VOICE When the Sun vanishes... CHORUS We Remain. INSIDE THE HUDDLE The adult males are packed shoulder to shoulder, looking downwards at the eggs balanced on their feet. CU on the Lead male, a CARUSO (CONTINUED) 4. CONTINUED: CARUSO Deny the pangs of hunger. Seal the gaps. Share the warmth.... MUMBLE (VO) Caruso's the leader because he's so incredibly old. Some say more than 40, but you know how penguins exaggerate. OUTSIDE WINDWARD PENGUINS peel off and walk around to the leeward side. WISHFUL is among them CARUSO ....Each one taking his turn to defy the wind. WIDE SHOT The MASSED VOICES rise above the gale, the frosty plumes of their breath forming a shared `thought bubble'...a benevolent ?BERPENGUIN. CARUSO. ...As we invoke the Great One, Penguin of Penguins WISHFUL (pushing back inside) OK. Invoke. But keep moving MUMBLE (VO) My dad was never that devout. Often his mind was on other stuff. As the chanting builds, a little thought-bubble appears next to the communal imagination: An image of Norma J NORMA J. (Sings) "I wanna be loved by you, alone and nobody else by you boo boo pee doo" WISHFUL raises his head, breaking the seal. A little puff of steam escapes WISHFUL Amen to that honey (CONTINUED) 5. CONTINUED: VARIOUS PENGUINS Whoa-whoa-whoa-whoa, pal! Ya lettin' out the heat! Penguins around him start jostling to close the gap PENGUINS ...Quit shovin'! ...Hey watch where you're putting your feet CARUSO Brothers, BROTHERS! The Devotions! An egg rolls out of the HUDDLE and onto the ICE. WISHFUL Oh no! I dropped it! Where's my egg! WISHFUL barges out of the huddle, retrieves the egg and waddles back into the warmth again. WISHFUL (CONT'D) S'okay. S'okay. No harm done. MUMBLE (VO) I guess he was wrong about a lot of things. Pulling back, till the powerful rhythmic chanting is drowned out by the HOWLING GALE. WISHFUL But I did learnt this from him: the power of positive thinking We are moving in again, towards the huddle, the voices of the Great Male Gathering begin to cut through the wind blasts. Louder and louder, until... ELDER By the power of our Devotions... ALL PENGUINS We turn the world once more. ELDER By our devotion to the Wisdoms (CONTINUED) 6. CONTINUED: (2) ALL PENGUINS We bring back the sun. The CHANTING crescendos, awe-inspiring, as it rises above the sound of the gale, and, as if in response THE EARTH TURNS! The CURTAIN OF DARKNESS which overshadows Antarctica begins to LIFT from the curvature of the southern hemisphere. The vast ice-continent is BRILLIANTLY ILLUMINATED once more. ON THE ICE SHELF The ICE itself is moaning and groaning, like a living thing. A SINGLE CRACK appears and widens, then forks and forks again. The whole expanse of fast-ice is DISINTEGRATING, starting at the sea-ice and progressing towards the ice-cliffs. Somewhere an ICEBERG breaks free from the face of a glacier and smashes down into the frozen sea below. At the same time... THE EMPEROR COMMUNITY An EGG cracks open, then another, then all in a rush, like POPCORN. Fathers are calling out to each other as their fluffy CHICKS emerge to greet the daylight. EXCITED FATHERS ...It's a boy! ...It's a girl! ...What a peach! ...What a bruiser! Amongst the excited crowd of males and hatchlings we find WISHFUL staring down at his egg still balanced on his feet. FRIENDLY PENGUIN Late opener, huh? You thinks its alive? WISHFUL I'll say. Listen... (CONTINUED) 7. CONTINUED: He taps the egg with his beak. Bending close they hear a TAPPING SOUND in REPLY. FRIENDLY PENGUIN Well, how about that? WISHFUL taps again. The tapping comes back louder. A TINY FOOT pops out of the egg. Then ANOTHER. The Egg flips and lurches off in a giddy DANCE. WISHFUL Whoa li'l buddy, slow down! THE FRIENDLY PENGUIN'S chick giggles at the DANCING EGG, which finally trips and cracks, depositing baby MUMBLE. MUMBLE (hopping from one foot to the other) Ow! Freezy, Fuh-Fuh-Freeezy! All Freezy! OTHER PENGUINS ...Jees! ...You ever see a chick move like that before? ...is he damaged? ...is he deranged? They gather round staring down at this strange little jigging ball of fluff WISHFUL What? Come on. He'll grow out of it. Shovelling MUMBLE off the ice and into his BROOD POUCH. WISHFUL (CONT'D) Come here, li'l Mumble. Let's get you warm and toasty. Mumble SNUGGLES contentedly between his father's legs, surveying his new world. The friend's chick, ELLA is staring at him fascinated ELLA Get him to do it again Daddy FRIENDLY PENGUIN Shh. Quiet (CONTINUED) 8. CONTINUED: (2) She disappears under his brood pouch MUMBLE (looks up) So What happens now, Dad? WISHFUL We Wait THE ICE A LONG LINE of male penguins, thousands of them, all with their chicks, stand staring expectantly across the ice shelf. At the front, we find WISHFUL and MUMBLE, who is jiggling with anticipation, hopping from one foot to the other. MUMBLE Is she coming soon? WISHFUL Any day now. MUMBLE Tell me again what she's like WISHFUL (sings) a wiggle when she walks, a giggle when she talks, makes my world go round.... MUMBLE does a little SOFT SHOE SHUFFLE. WISHFUL (CONT'D) (sharply) Hey. Thought I told you not to do that MUMBLE Sorry. When I get happy my feet get happy too. WISHFUL Well tell em don't. MUMBLE But Why Dad? (CONTINUED) 9. CONTINUED: Caruso waddles past: A stern glance down at little Mumble as he carries on along the line WISHFUL `Cos it ain't penguin. LATER MIST rises off the ice shelf. The males are still waiting with their chicks. Over this: The sound of Chicks crying. MUMBLE between his father's feet, follows his father's concentrated gaze. MUMBLE Gee I'm hungry WISHFUL Everyone's hungry son. The mommas are bringing fish soon. Long pause MUMBLE What's fish look like. WISHFUL You'll see it when she brings one STILL LATER The baby penguins are HOWLING now. Anxious fathers lean forward, peering into the distance. Out of the thickening mist, a cluster of little BLACK DOTS materialises. PENGUIN LOOKOUTS ...Wives-ho! Wives-ho! ...Hubba-hubba! Wives-ho! ...Better late than never. The distant females look exhausted as they totter unsteadily across the ice towards their partners. The MALES break ranks and rush towards the distressed females. MALE PENGUINS ...Barbra-Ann! ...Peggy Sue! (MORE) (CONTINUED) 10. CONTINUED: MALE PENGUINS (CONT'D) ...Hey Paula! ...Roxanne!! A tumult of re-unions as partners find each other. But no luck for WISHFUL. WISHFUL NORMA J.?! Weaving anxiously through the throng, overhearing: MALE#1 You're not as fat as I thought you'd be. FEMALE#1 It was pretty slim pickings. Something's happened I tell you FEMALE#2 Even the squid were hard to get We had to swim forever FEMALE#3 Everyone split up. A lot of the gals never made it back. MALE #2 ...Delilah? MALE #3 ...Gloria?! Gloria??! WISHFUL, is running frantically through the crowd, singing all the time in the hope of being recogniosed WISHFUL Since my baby left me. I found a new place to dwell. Down the bottom of lonely street at heartbreak hotel MUMBLE hippity-hops after his father, trying to keep up... WISHFUL (CONT'D) Woah I'm so lonely baby. I'm so lonely baby. I'm so lonely I could... Moving beyond the crowd, WISHFUL sees a last few stragglers. Amongst them... (CONTINUED) 11. CONTINUED: (2) NORMA J. WISHFUL? WISHFUL (overcome) O Honey. O Baby. You made it! She staggers into his waiting flippers. WISHFUL (CONT'D) You hurt? NORMA J. (breathless) Just tired and hungry is all. It was dreadful out there.... Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY- HOPPING towards them. NORMA J But who's this. WISHFUL I called him Mumble. Mumbles feet start to tap involuntarily, Then he catches his dad's warning look. MUMBLE Did she get one. Did she bring one back. NORMA J Just a little krill that's all MUMBLE Can I see it? WISHFUL Later, bud. Give your ma time to regurgitate NORMA J Aw. But isn't he just a darling? MUMBLE (yells ecstatically) I got one! I got a mum everyone. I got a MUM!! 12. THE GREAT COMMUTE The ICE-SHELF is as busy as a freeway at peak hour with males and females are hurrying BACK AND FORTH from the sea. MUMBLE (VO) After that, with food being so scarce everyone was busy busy busy. Mom and dad were working so hard I didn't see much of them. Besides I had school to go to. THE CRECHE An efficient, caring TEACHER is giving a lesson to a class of about thirty young chicks grouped in front of her. TEACHER Settle class. Settle. We will begin with the most important lesson you will ever learn. Now does anyone know what that is? MANY flippers go up. TEACHER (CONT'D) Michael? MICK Don't eat yellow snow? TEACHER True but, that's not it. Mumble? MUMBLE Swimming? Catching Food? TEACHER Anyone else? Mumble looks astonished. What's more important than that ELLA It's our Heartsong, Miss. TEACHER Your Heartsong. Yes. The melody you hear inside, the thing that makes you different from every other penguin. So. Let's all be very still now and listen. And when you hear your song, let it come out. Who's first. (CONTINUED) 13. CONTINUED: A few flippers go up MICK Me! Me! I've got one! (sings) "I can't get no...satisfaction.... I can't get no...girly action..." TEACHER Well Michael, if you think that's really you. What have you got for us, Ella? ELLA (sings) Voulez-vous coucher avec moi...ce soir? MUMBLE (laughs) That doesn't make any sense. TEACHER Well Mumble...perhaps you can do better MUMBLE Mine is more sort of a... He hesitates, as if listening to something in his head.Then, he sings UTTERLY TUNELESS, like a drum solo. MUMBLE (CONT'D) Bim bam-a-loolah a bim bam bom TEACHER You heard that in there? Mumble is still going. TITTERS and SNIGGERS from the class. MUMBLE You like it? TEACHER Dear, that's not even a tune. MUMBLE It's not? TEACHER No, a tune is like... (she sings a scale) La la la la la la la la. (CONTINUED) 14. CONTINUED: (2) MUMBLE Oh, La la la la la A croaky monotone. The class LAUGHS OPENLY. TEACHER (getting worried) Listen carefully, Mumble. La la la la la la la la!! MUMBLE La la la la la la la la!! TEACHER (emphatically) La La La La La La La La! MUMBLE But that's what I'm doing, The class fall about in HYSTERICS. MUMBLE (VO) (CONT'D) Whats funny? (genuinely perplexed) What's funny? LATER MUMBLE's PARENTS are talking to the TEACHER. TEACHER (sotto) It's bizarre. I don't understand it. Did anything happen - you know...- during early development? NORMA J. No. All fine. Normal incubation, wasn't it honey? Wishful shuffles guiltily. WISHFUL Well Yeah, it was a kinda...a tough winter I guess, and he did hatch a little late, but... (at a loss.) Is there really nothing we can do? (CONTINUED) 15. CONTINUED: TEACHER Of course there is. Thats why we have Mrs Astrakhan. MRS ASTRAKHAN'S Some distance from the creche, MUMBLE stands with MRS ASTRAKHAN, a Russian-accented remedial teacher. MRS ASTRKHAN CAN'T SINK? Rubbeesh. Every little pengvin has a sonk. Vhen I have feenished, your singink vill be givink everyone the goosepeempel. CU on MUMBLE looking up. MRS ASTRAKHAN So. Closink the eyes. Liftink chin. Deep breathe here in the downbelow. Now...most important part, find a feelink. Happy feelink, sad feelink, maybe lonely feelink. MUMBLE closes his eyes. MRS ASTRAKHAN (CONT'D) So?...So?... MUMBLE I'm thinking. MRS ASTRAKHAN Don't think EET!! Feel eet! Through the whole body, from the beak right down to tippy-toes. Her voice is seductive, hypnotic. MRS ASTRAKHAN (CONT'D) And then slowly, very slowly... She hears a strange TAPPING sound and looks down. MRS ASTRAKHAN (CONT'D) Vhat? Vhat is this? MUMBLE What? (CONTINUED) 16. CONTINUED: MRS ASTRAKHAN The feet. The jiggy-jog. Don't do eet. Do not move muscle. Rigid like plank, like board. NO MOVINK!!! Now...calm. Remember the feelink. MUMBLE Feelink...ok. MRS ASTRAKHAN And be spontanuous. Once again his feet start twitching uncontrollably. MRS ASTRAKHAN (CONT'D) No! Stop! No jiggy-jog! MUMBLE I'm being spontanuous. MRS ASTRAKHAN Not with the feet, with the sonk! You vant to meet beautiful girl? You vant to make the Egg? MUMBLE Oh yes. MRS ASTRAKHAN Well singk! "Ba Ba Bleckship, tvinklestar...La la la la la la, la". MUMBLE (totally unmusical) "Twinkle, twinkle, little star. How I..." MRS ASTRAKHAN Hokay. Enough. Stop. Hokay! Ve go back to the top. Forget the body, look inside the soul. No notes, no sonk, only feelink. Happy feelink. Sad feelink. Enormous feelink, so enormous it fills the whole body. It must escape or you explode! Now, open your leetle beak... Mumble opens his beak, inspired. MRS ASTRAKHAN (CONT'D) Yes, yes, lift up the head! That's it! (CONTINUED) 17. CONTINUED: (2) Mumble inhales, his eyes are shining, his body is shaking. MRS ASTRAKHAN (CONT'D) You take a big breath, good and...now! Now! He's off again, DANCING LIKE A FOOL...wild, exuberant, totally uninhibited and unselfconscious. After some time, he remembers himself, stops and turns to the Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. MRS ASTRAKHAN (CONT'D) Disaster! Catastroff! I never fail! Never! THE ICE SHELF Follow Mumble as he wanders alone, back towards his class. He stops some distance away, listening to the other kids who are now performing with increasing virtuosity. Ella is among them, her clear high voice borne to him on the wind. Mumble sighs and his little shoulders sink, no way he'll ever be able to sing like that. MUMBLE Its tough when you realise you'll never fit in. Plus I was beginning to moult A piece of downy fluff is peeling off one wing MUMBLE (CONT'D) I couldn't face the class in this mood So I just kept going. Music over: Walk on By as he wanders through the vast colony head down against the wind, little feet padding over the ice, Gradually the colony begins to thin. MUMBLE (CONT'D) Looking for what? I don't know? A different type of penguin? The noise of the colony has faded behind him. He stops and looks up. (CONTINUED) 18. CONTINUED: MUMBLE (CONT'D) And that's exactly what I found. THE EDGE Before him, a wasteland of discoloured ice covered with broken eggs and bits of feather. There are very few penguins here and the ones he can see are all, frankly, weird. A Penguin walks in an endless figure of eight muttering to himself. Another has his flippers wrapped tightly around himself like a straightjacket. A troubled Penguin sings angrily..."There's no business like show business. CU on Mumble. As he looks back to the sanctuary of the colony and then back out over the wasteland MUMBLE Not the nicest place in the world but at least you could do what you liked here. Fade in Music: (I'm Free by the Who) and Mumble is off, skittering over the rubbish strewn ice, little feet dancing to his hearts content until.... a shadow passes over him and Whump! a huge SKUA BIRD, twice Mumbles size, with a cruel flesh-eating beak, lands on the ice right on front of him. SKUA Hey, whacha doin' dere flipperbird? MUMBLE Me? Oh, nothing. What are you doing? THREE MORE SKUAS descend. MUMBLE is surrounded. SKUA#1 Oh we just dropped in for a spota lunch. Hey hey hey... MUMBLE (hopefully) Lunch?...There's food? Here? (CONTINUED) 19. CONTINUED: SKUA#1 (to others) Leg or wing? Their dark eyes fix on Mumble. He is starting to feel uneasy and backs away. MUMBLE But ...but. I'm a penguin. SKUA#1 Exackly! De flipperbirds - dat's you - eat de fish. De flyinbirds - dat's me - eat de flipperbird an' de fish. Right now D'ain't no fish -- so...you do the math. The FIRST SKUA moves in on MUMBLE. FIRST SKUA And dis time I'm getting the juicy bits. MUMBLE I don't have juicy bits! Look... all bone and feather! Feel for yourself. They fall over each other, fighting to take up Mumble's invitation. SKUAS ...Hey, break me off a piec'a dat! ...'Smyturn ta pullimapart ya skanky shit- squirter. ...You! Lastime ya pullimapart ya took all the choice stuff! MUMBLE Wait! WAIT! The Skuas stop momentarily. MUMBLE (CONT'D) Every seen anything like this? He does a wild little TAPDANCE hoping to distract them. FIRST SKUA (unimpressed) Nope. (CONTINUED) 20. CONTINUED: (2) He knocks Mumble down and places his HUGE CLAW on his chest. FIRST SKUA (CONT'D) Ok boys, for once we gonna do dis civilised. Now... The FIRST SKUA opens his beak to strike. Mumble has noticed a YELLOW PLASTIC BAND around the Skua's leg. MUMBLE Hey! What's that on your leg? The FIRST SKUA halts his attack. FIRST SKUA Interesting you should ask? OTHER SKUAS No! No! Don't startim on that! He turns and whacks the other SKUAS over the head with his wing. FIRST SKUA Shaddap! The flipperbird aksed me a question. (fixing Mumble with a crazy bloodshot eye.) I got two words for ya: "Alien Abduction". OTHER SKUAS (groaning) ... Now of all times ... Always before we eat FIRST SKUA Quiet ya ignorant morons! (to Mumble) ...a lotta folks don't believe this but ...dere's somet'in out dere. Creatures. Not like us. Bigger...Fiercer...smarter, too. MUMBLE takes a few steps back, looking for an escape.The FIRST SKUA towering over him... FIRST SKUA (CONT'D) Aks me how I know. (CONTINUED) 21. CONTINUED: (3) MUMBLE How...? FIRST SKUA `Cos I bin capturebyem that's how! I seen `em! Mumble keeps backing off, feigning interest... MUMBLE Unbelievable. FIRST SKUA Whaddayamean unbelievable?! It's true! I'm sittin' on a rock, mindin' my own business when suddenly... dere onta me. Dese bein's...like big ugly penguins, fat flabby faces with frontways eyes, no feathers, no beaks...an' dese, dese appendages! Dey probe me, dey tiemeup and strapmedown...dey take dis pointy t'ing and stick it inta me! Den...blackout! MUMBLE You don't say FIRST SKUA Gets worse! I woke up and there's dis thing on me! (the leg band) Go home and every flyinbird starts dissin' me: `Hey Yellaleg'`What's happenin' Whats that on your leg, Yellaleg?' It was humiliatin'!! MUMBLE At least those aliens didn't eat you. FIRST SKUA True. I guess my cries for mercy appealed to their better nature. MUMBLE So - You think I could appeal to your better nature? FIRST SKUA Nice try kid. But No... (CONTINUED) 22. CONTINUED: (4) He opens his beak wide as MUMBLE stumbles backwards and falls into a narrow CREVICE in the ice. FIRST SKUA (CONT'D) Hey! Whatcha think ya doin' down dere flipperbird? Get back up here dis minute! The other Skuas move in to help. MUMBLE cowers in the CRACK as they spear at him with their beaks. SKUAS ...Come on, out witcha! ...Ya sneaky-ass flipperbird! They can't get hold of him. Frustrated, they turn on the FIRST SKUA, squabbling and whacking each other with their wings. SKUAS (CONT'D) ...Great, Yellaleg. ...What did we tell ya ...ya leddim geddaway, dincha with ya screwy alientalk. FIRST SKUA Hey, Don't peck me or I'll peck you and when I peck you know you've been pecked...(fade) MUMBLE watches from the safety of the crack as they fight and argue viciously among themselves MUMBLE (VO) Compared
17	Heavy Metal	Dan Goldberg,Len Blum	Action,Adventure,Animation,Fantasy,Horror,Sci-Fi	July_1980	FADE UP ON A WHEATFIELD A beautiful field of wheat glistens in the morning sun. As the camera skims overtop, titles start to roll. Ahead of us an odd-looking service van comes into view, sputtering along a dirt road. Getting closer, we can see the driver, a thin, bookish man with a neat mustache. This is AUSTIN GRIMALDI. The truck pulls up to a strange Victorian house in the middle of the wheatfield. The house has several futuristic radar devices on the roof that rotate constantly. AUSTIN gets out, opens the van's rear doors, and pulls out two large metal boxes. CUT TO THE ATTIC WINDOW The curtains part ever so slightly, and a pair of eyes peer down. CUT BACK TO THE VAN AUSTIN shuts the van's rear doors, and carries the two metal boxes into the house. The titles stop rolling as we; CUT TO INSIDE THE HOUSE AUSTIN is reading a schematic diagram as he sits in front of the exposed chassis of a complicated futuristic electronic contraption, twice his size. There are strange tools all over the floor. Putting down the diagram, he opens one of the metal cases and takes out a sophisticated-looking glass sphere with electronic receptacles mounted in the sides. He places this sphere in a space in the middle of the contraption, clamps it down, and plugs some wires into the globe's receptacles. Then he opens the second box. Inside is a glowing green ball. Using a pair of special tongs, AUSTIN carefully lifts the ball out, and inserts it into an opening at the base of the machine, in the back. As soon as the ball is inside, the machine hums to life. The glass sphere sparkles, and a holographic picture of a green planet in space appears inside it. AUSTIN (looking at the holograph) Hmmmm .... He takes a strange tool, and moves out of frame to make an adjustment underneath the machine. Suddenly a wire comes loose from the sphere and begins to spark. AUSTIN (seeing sparks) Uh - oh .... As the camera pulls closer to the holograph screen, the green planet begins to silently shake. CUT TO SPACE With an explosion that rocks the universe, a huge chunk rips out of the green planet and shoots off into space, leaving thousands of glowing particles in its wake. CUT BACK TO AUSTIN Not noticing the silent image on the holograph, he quickly repairs the sparkling connection and returns to his other adjustments. CUT TO A FOREST From the forest floor we see the green planetoid fly overhead, dropping balls. We watch as it moves away and disappears beyond a far-off mountain range. The forest rumbles as the planetoid crashes in the distance. The camera then pans over to a forest patch, where a beautiful girl approaches, picking mushrooms. CUT TO A GREEN BALL NEAR HER FEET An ominous note is struck as the girl notices the glowing ball, and is drawn to it. Picking the sphere up, she looks at it. Something inside her warns her of its danger, but, unable to resist, she puts it in her basket and continues on. DISSOLVE TO THE GATES OF KRAAN Night falls over this futuristic chromoid city as the beautiful girl passes through the glass gates and heads home. CUT TO THE GIRL'S BEDROOM The girl yawns and gets into bed as the camera pans over to her basket in the corner. Through its side, the green ball begins to glow brightly. Getting closer, we see a slimy silk-like webbing ooze out of the ball and move towards the sleeping girl, pulling the green ball behind it. The ball starts to glow and pulse as the webbing begins to surround the girl, like a cocoon. Slowly the camera pans up the wall, and moves out through the window, and beyond the city gates, rising higher and higher. CUT TO THE OUTLANDS Flying quickly overtop futuristic villages, the camera heads further and further out into the less civilized sectors, where the rusting pipelines and crumbling utility stations of a past civilization have been overgrown by scrub-bush and weeds. The camera zooms across this strange landscape toward the distant mountains where the huge planetoid fell. Finally, from high above the foothills, we begin to come down. In the hills below us, hundreds of blue humanoid barbarians are moving along, mesmerized, toward a pulsing green glow high in the mountaintops. Suddenly the mountains begin to rumble. CUT TO THE LINE OF BARBARIANS At the front of the line, the largest barbarian - obviously their leader - stops and points. CUT TO THE MOUNTAINS A strange, green, foamy liquid comes pouring down the mountains toward the barbarians. CUT TO THE LINE OF BARBARIANS The barbarians stand frozen as the foam washes over them and keeps on going. One by one, their eyes turn green and they start to change, becoming hairier, uglier, and stronger. As their transformations are complete, the barbarians gather behind their leader into an ever-growing mob of murderous looking sub-humans. DISSOLVE TO THE GATES OF KRAAN A frightened Kraanian councillor spurs his horse forward through the beautiful glass gates, as in the distance we hear the sound of ten thousand approaching footsteps. The camera pans to a hillside overlooking Kraan. In the glow of sunset, the outline of the BARBARIAN LEADER, riding a black war-horse, appears at the hillside and stops. Then with a thundering of footsteps, the outline of five thousand barbarians comes into view behind him, filling the horizon. CUT TO THE BARBARIAN LEADER He is now wearing a strange medallion around his neck as, wild- eyed, he screams to signal the attack. The bloodthirsty horde charges down the hill behind him. The camera moves with the barbarians as they crash through the gates of the city, destroying everything in their path. Smoke and flames are everywhere. Ahead of us, terrified Kraanians run from the onslaught. As we track up over the burning rooftops, we see the BARBARIAN LEADER riding his war-horse in the streets below. Shouting a command, he waves his men on as they move toward an impressive doomed building in the middle of the city. CUT TO THE COUNCIL CHAMBERS At the far end of this huge glass hall, the Kraanian Council sits around a marble table. From outside, we hear the battle raging. Pulling closer we can hear the worried voices of the Council members. COUNCILMAN #3 They're killing everyone. We must escape! COUNCILMAN #2 The city is burning! COUNCILMAN #4 (throwing a parchment before the Elder) Even the mountains glow green and an evil slime oozes down! COUNCILMAN #1 Elder, we must arm ourselves! We must fight! ELDER Silence! Everyone gets quiet. Looking at the parchment thrown before him, the ancient, withered ELDER rises to his feet. ELDER We are not a race of warriors. We are statesmen, and scientists. From our very beginning it was ordained that the warrior-race of Taarak the Defender would aid us in times of need. This was the Pact! COUNCILMAN #1 Taarak the Defender? His race is dead! They cannot defend anyone! COUNCILMAN #2 Some say that the race is not dead - that one still lives. COUNCILMAN #1 One? What good is one? ELDER One of Taarak's blood can do much. Outside, the sounds of battle grow louder. A boy appears at the doorway. BOY Elder! They are at the walls! COUNCILMAN #3 Well who is this last Defender? How can he be summoned? ELDER It is Taarna, of the blood of Taarak the Defender - the last of the race. And must be summoned as my forefathers summoned Taarak himself - from within! COUNCILMAN #2 But will this Defender answer? ELDER A Taarakian has no choice. They must answer. It is in their blood. The clattering of armour becomes audible. BOY They are in the halls! They are coming!! ELDER (calmly to the boy) Bar the door. (to the Councilmen) We will summon the Defender together. The Councilmen nod. ELDER (shutting eyes) Taarna ... Taarna ... As the Councilmen take up the chant; CUT TO THE DOOR As the boy begins to bar the door, it bursts open, flinging him aside. Standing in the doorway, surrounded by his men, is the BARBARIAN LEADER. With a laugh, he raises a Medieval-looking multiple cross-bow and fires a burst of arrows into the boy's chest, as the crazed troops rush in around him. The chanting continues as we; CUT TO THE OUTLANDS We look down over this uncivilized wilderness with only decaying pipelines and the occasional jagged rock structure breaking the barren uniformity of the land. As the Council's distant chanting fades out, all is quiet. Suddenly from behind us, we hear the sound of flapping wings and a huge rush of air. Just above our heads, TAARNA THE DEFENDER comes flying in, sitting proudly in the saddle of a giant crimson bird. CUT TO TAARNA'S FACE She is beautiful, with dark eyes and wild red hair blowing behind her in the wind. Below her, on the ground, she sees a humanoid running in terror, chased by an ugly, four-legged mutant creature. Spurring her bird forward, TAARNA sweeps down over the ugly beast and lassoes it. She then hoists the creature up into the air and, tossing her end of the rope over a tall jagged rock, she leaves the snarling beast hanging helplessly. Flying down to the grateful humanoid, she dismounts. As she approaches we see that he has a barbarian medallion on a chain around his neck. HUMANOID I owe you my life. Let me repay you ... He takes off his medallion and places it around her neck. Suddenly he twists the chain tight in his hand, pulling her towards him. His eyes change to a bright green as he forces her to the ground and starts ripping at her clothes. As he molests her, TAARNA is distracted. She hears something - voices inside her, chanting her name. Quickly she grabs the chain and rips it apart. Then she powerfully smashes both her hands together around her attacker's ears. As he holds his ringing ears, she gets up, lifts him above her head, and hurls him mercilessly to the ground. Still hearing the chanting, she jumps on her bird, pulls out a second rope, and lassoes the barbarian's feet. She then lifts him up and leaves him hanging from the tall, jagged rock, next to the growling creature. As TAARNA flies off, the hanging beast eyes the barbarian hungrily. CUT TO AUSTIN GRIMALDI He is still sitting on the floor, working on his machine. As the camera pulls closer, we see that AUSTIN is reaching deep inside the machineworks, trying to solder a small orange diode in place with an odd-style soldering iron. The connection breaks, and the diode and some hot solder fall deeper into the machine and start smoking and sputtering. As the smoke grows thicker, the machine starts to buzz loudly. AUSTIN Dammit! AUSTIN pulls his face out of the smoking chassis, grabs a pair of needlenose pliers, and reaches back to retrieve the part. The camera follows AUSTIN'S arm into the chassis, where smoke surrounds it and clouds over everything. The buzzing sound grows, and changes into the sound of powerful, throbbing engines. Slowly the smoke begins to clear as we hear a voice crackling over a radiophone. BOMBARDIER (V.O.) Where the hell are we? Suddenly the smoke dissipates and a formation of B-17 bombers come tearing out into the moonlit night. CUT TO THE GROUND BELOW The sound of jungle night creatures fills the air. We see palm trees silhouetted against the moon bright sky. The scene is almost serene. The camera pans and suddenly the nose of a large parked bomber fills the screen, and as the camera continues panning, we pass a large red rising sun on the bomber's fuselage. The pan stops at the tail of the aircraft, and we see a Japanese soldier - a guard. There is a moment of tranquillity, as jungle sounds fill the air. The soldier almost dozes ... suddenly the cacophony of sound stops, and for a brief moment there is complete silence ... then with an agonizing wail an air raid siren shatters the silence and the guard looks skyward, startled. Instantly all hell breaks loose as we hear pounding feet. Silhouetted figures rush by. CUT TO A GUN EMPLACEMENT Japanese soldiers crank the barrel of an anti-aircraft gun skyward. We begin to hear the sound of approaching engines. CUT TO CLOSEUP OF A SHELL It is thrust into a breech. CUT TO THE B-17 FORMATION As the bombers press on, the camera moves in to the lead aircraft. In the moonlight we see her name, "Pacific Pearl". CUT TO INT. - THE "PACIFIC PEARL" NAVIGATOR We're there Stepek, right on target ... Rabual dead ahead! Suddenly a cacophony of explosions split the air as anti-aircraft shells explode ahead of the aircraft, lighting the inside with electric blue flashes. BOMBARDIER Gee! Thanks for telling me, Holden. I thought it was Cleveland. CUT TO THE GROUND Ackack guns blast shells skyward. The gun blasts light up the palm tree background, causing momentary silhouettes. CUT TO THE BOMBARDIER BOMBARDIER For Christ sake, hold her steady! CUT TO THE BELLYGUNNER He can be seen from outside the plane as the shell flashes light up his turret. BELLYGUNNER Quit yer bitching Stepek, just drop 'em and let's get outta here! CUT BACK TO THE BOMBARDIER BOMBARDIER Keep your shirts on guys, tonight I'm gonna hit something. (he settles over the bomb sight) Left two degrees ... steady ... steady ... CUT TO THE BELLYGUNNER The flak is severe, with electric blue flashes lighting up the fuselage interior. BELLYGUNNER Hey kid, how ya doing back there? CUT TO THE TAILGUNNER Tailgunner momentarily lit with a shell burst, he's scared shitless. He looks nervously back behind the aircraft at the flak puffs behind the tail. TAILGUNNER Gulp, ah ... I'm ah ... okay ... I think. PILOT (V.O.) Button it up, we're almost there. CUT TO THE BOMBARDIER He is crouched over his bomb-sights, concentrating. NAVIGATOR (V.O.) C'mon Stepek, there's the whole island of Rabaul down there, you can't miss! BOMBARDIER Screw you ... CUT TO THE PILOT'S COMPARTMENT Suddenly a shell explodes almost on the windshield and the pilot rears back with the blast. The right windshield is shattered. PILOT We took a hit ... The co-pilot sags forward, held back only by his shoulder straps. His eyes stare. Blood runs from under his helmet. We know he is dead. PILOT Shit. Elkhorn just bought it. BELLYGUNNER (V.O.) We took one back here too. C'mon Stepek, blast 'em! CUT TO THE BOMBARDIER BOMBARDIER (hand on the release button) Steady ... steady ... bombs away! Let's get the hell outta here! CUT TO THE GROUND We hear the shriek of descending bombs. The explosions walk across the airfield, and in the light of the explosions we see devastation. The last bomb hits a fuel dump, causing an enormous ball of fire. BOMBARDIER (V.O.) Yahoo! Bullseye! CUT BACK TO THE PACIFIC PEARL PILOT (exhilarated) Nice shooting Stepek, how are the rest of you guys? FLIGHT ENGINEER (V.O.) Flight Engineer okay. RADIO OPERATOR (V.O.) Radio okay. NAVIGATOR (V.O.) Navigator check. BELLYGUNNER (V.O.) Belly okay. TAILGUNNER (V.O.) Ah ... tail okay ... There is abrupt silence. PILOT Bellson ... Lewis? Still silence, no reply from either name. PILOT Kid, check the waist positions, see if they're okay. CUT TO THE TAILGUNNER TAILGUNNER Yeah ... will do, skipper. TAILGUNNER crosses himself, then exits back into the body of the machine. CUT TO THE PILOT PILOT (wearily) Let's go home. We hear jumbled comments from all positions. Everyone is happy. CREW (V.O.) Cheers and whoops. The mood of high spirits is stopped abruptly as the tailgunner reports back. TAILGUNNER (V.O.) Skipper, Bellson and Lewis are both dead. This is the first time the kid's voice is not scared, just puzzled. PILOT Dammit! BOMBARDIER (V.O.) Well kid, now you got a real bombing mission under your belt. CUT TO THE BOMBARDIER He removes his oxygen mask and takes a long swig from a bottle. CUT TO EXT. - THE "PACIFIC PEARL" She rejoins the rest of the group. The formation is not quite as tight as before. As the formation flies along, puffs of cloud pass by, occasionally obscuring a machine. CUT TO LOW VIEW OF THE "PACIFIC PEARL" Under the "Pacific Pearl's" belly, we see the bellygunner suspended in his small glass pod. A red glow brightens up as he drags on a cigar. The rest of the formation are visible stretched to the side and behind as puffs of cloud waft past. We begin to feel as if the weather might be changing. CUT TO THE NOSE OF THE "PACIFIC PEARL" The BOMBARDIER is relaxing inside as he swigs from the bottle and sings raucously. From the front we look in on the pilot with the dead co-pilot sagging in his seat next to him. BELLYGUNNER (V.O.) Sorry about Elkhorn, skip. What happened? PILOT I dunno. The shell exploded and he collapsed. I think he took it in the head. BELLYGUNNER (V.O.) Are ya sure he's dead, Skipper? PILOT He's dead. BOMBARDIER (sings drunkenly) Oh I put my finger in a woodpecker's hole and the woodpecker said God bless my soul; take it out, take it out, take it out, remove it ... TAILGUNNER (bolder) Hey Stepek, just shut up, okay? BOMBARDIER Up yours kid, wassa matter, you don't like my voice? While all this banter has been going on the cloud has been thickening. Suddenly a serious voice cuts in on the small talk. It's the NAVIGATOR. NAVIGATOR (V.O.) Something's wrong! CUT TO THE NAVIGATOR He is frantically tapping the compass. PILOT (V.O.) You got a problem, Holden? BOMBARDIER (V.O.) Naw, the kid's the one with the problem. He don't like my voice! PILOT (V.O.) Button it up Stepek. What's the problem, Holden? NAVIGATOR I must have a malfunction, my compass says we're heading north! CUT TO PILOT He looks at his compass. PILOT Mine says east. NAVIGATOR (V.O.) Hey, can you guys see the rest of the squadron? BELLYGUNNER (V.O.) Negative, there's too much cloud. A sudden flash of lightning illuminates the whole inside of the plane. CUT TO THE COCKPIT The dead co-pilot's pale face is momentarily electric blue, lit by the lightning flash. We pan past him to the compass in the instrument panel. It is spinning madly. PILOT What the hell ... He reaches forward to tap the compass. PILOT Hey Holden, now my compass has gone crazy. It's spinning like a son of a bitch! NAVIGATOR (V.O.) Mine too, we must have hit a magnetic field or something !! CUT TO OUTSIDE THE PLANE We see a dull glow coming from all crew positions from the on-board lights. Suddenly a curtain of rain lashes the machine. PILOT (V.O.) Christ, now they're all doing it!! CUT TO THE INSTRUMENT PANEL All the dials are going haywire. Above the instrument panel we see the windshield is spattered with rain. BOMBARDIER (V.O.) You guys quit talking business? I'm trying to sing here! Oh I put my finger in a woodpecker's ... PILOT (irritably) Can it Stepek, we got real problems. Just then through the rain, a strange green glow is seen in the distance. It begins to curve toward the aircraft. CUT TO OUTSIDE THE PLANE - NEAR BELLY TURRET The turret swings as the gunner spots the glow. BELLYGUNNER Jesus! Look at that!! From under the starboard wing, we see the object approaching. PILOT (V.O.) Look at what ... look at what!!? BELLYGUNNER It's out there, just look at it ... PILOT (V.O.) For Christ sake, give us a position! BELLYGUNNER It's about four o'clock, just below ... Holy Shit, it's coming right at us! The glow suddenly zooms at the plane with great speed and hits the starboard inner engine. CUT TO PILOT'S POV He has to push the dead co-pilot back to peer out the broken starboard window ... the number three prop is bent and windmilling wildly. It has a strange green luminescence about it ... the whole machine shakes. PILOT Damn. The PILOT tries to fly the plane and do the co-pilot's job of feathering the bad engine. Suddenly it's too late as the prop wobbles loose and cartwheels over the wing. CUT TO OUTSIDE THE PLANE The prop flies back and slices a great gash in the aircraft's skin, near the TAILGUNNER'S position. CUT TO THE PILOT PILOT We lost the goddamned prop ... Did it do any damage? Kid, check the tail. Silence. PILOT Come in kid ... kid are you okay? Silence. PILOT Travis; go check the back. BELLYGUNNER (V.O.) Will do, skipper. CUT TO INSIDE HATCH TRAVIS' turret opens and TRAVIS pulls himself up into the fuselage. CUT TO THE PILOT The gauges are now settled except for the oil pressure to No. 2 engine. The pressure drops. The engine heat gauge climbs rapidly. A red warning light begins to flash. PILOT (to himself) Goddamn it, now what? He glances out of his window just in time to see a strange, claw-like feeler coming out of the engine casing. It detaches one of the cooling gills, then another, and another. They blow away in the slipstream. PILOT Gremlins! (rubbing his eyes) Jesus, I must be getting tired. CUT TO THE BELLYGUNNER He looks in to the kid's reargun compartment. All that is left of him is a tattered skeleton. TRAVIS turns, horror frozen on his face. Quick as a flash, from seemingly nowhere, something flies at him and grabs his throat. The mask on his face falls off, and we get a split second look of abject horror as he falls out of frame. PILOT (V.O.) Travis, what's goin' on back there? CUT TO TRAVIS His eyes are open but he is obviously dead. Through his helmet headphone, we hear his name. CUT TO THE PILOT PILOT Holden, how far to base? NAVIGATOR (V.O.) Skip, with everything screwed up here, I'd, I'd guess about two hundred miles. All the time the engine pops and bangs wildly. PILOT For Christ's sake, find us a place I can put her down! CUT TO THE NAVIGATOR NAVIGATOR It's all ocean down there, skip! CUT TO THE PILOT PILOT Mack, can you get us a radio fix? CUT TO THE RADIO OPERATOR RADIO OPERATOR Negative skip, too much interference. CUT TO THE PILOT He is fighting the controls. PILOT Shit! I've gotta put her down! CUT TO THE BOMBARDIER BOMBARDIER Hey Holden ... ya old stuff shirt ... ya wanna snort? PILOT (V.O.) For God sakes Stepek, shut up! STEPEK takes another swig from his bottle. He is lying on his back partly propped up by the curving nose of the aircraft. He is about to make another smart ass reply, when he hears a strange scratching and chirping noise above his head. He looks up in time to see sharp teeth and claws start to appear through the lining above his head. He blinks in disbelief and throws his bottle away as if the image came from the whiskey. BOMBARDIER Oh my God, there's ... there's ... ahh ... keep away ... keep away ... (struggles) ... hey no ... hey somebody ... (screams) NAVIGATOR (V.O.) Stepek, you stupid sonovabitch, will you lay off the booze, you've got the D.T.'s ... STEPEK is wide-eyed and scared silly as the sound now begins under his feet and pincers begin to snip through the floor. He suddenly realizes that the whole floor is giving way beneath him, and he grabs for a handful of cables as the floor collapses. CUT TO OUTSIDE THE AIRCRAFT The lower half of STEPEK is hanging in the slipstream, kicking madly. We see that his legs are covered in wriggling creatures. CUT BACK TO STEPEK He is losing his grip with one hand, but still desperately clinging on to a bunch of cables with the other. Suddenly an ugly pincer cuts the cables and STEPEK is gone ... out into the night. CUT TO THE PLANE Suddenly the No. 2 engine begins to backfire, blasting back large gobs of orange flame. The oil, heat and manifold gauges are off the dial and red lights frantically flash. Desperately the PILOT looks out of the window. Pieces begin flying off the engine. The cowling disintegrates revealing the bare engine beneath. Small figures are frantically busy ripping the engine to pieces.
18	How to Train Your Dragon	Dean DeBlois,Chris Sanders	Animation,Adventure,Comedy	March_2010	FADE IN: EXT. NORTH SEA/VILLAGE - NIGHT We skim above a dark, wild ocean. The camera turns toward a lone island, Berk. It is a gigantic shard of rock jutting straight out of the water. HICCUP (V.O.) This, is Berk. It's twelve days North of hopeless, and a few degrees South of freezing to death. It's located solidly on the meridian of misery. The camera drifts over rolling hills to reveal a small village nestled on an outcropping of sea mounts. HICCUP (V.O.) (CONT'D) My village. In a word, sturdy. And it's been here for seven generations, but every single building is new. The camera drifts closer, circling. HICCUP (V.O.) (CONT'D) We have fishing, hunting, and a charming view of the sunsets. The only problems are the pests. You see, most places have mice or mosquitos. We have... Sheep graze peacefully on a hillside. Suddenly one is snatched. CUT TO: INT. STOICK'S HOUSE - CONTINUOUS A door is pulled open... as a DRAGON swoops directly toward it, BLASTING FIRE. The door is SLAMMED. The fire shoots through the slats of wood, illuminating HICCUP, a gangly teenage Viking. HICCUP ...dragons. EXT. STOICK'S HOUSE He reopens the sizzling door, as leaps off of the front porch. He weaves through the erupting mayhem as Vikings pour out of the buildings, ready for a fight. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 2. More dragons swarm in, setting rooftops alight and hauling off sheep. HICCUP (V.O.) Most people would leave. Not us. We're Vikings. We have stubbornness issues. Vikings sound the alarm. Viking men and women pour out into the streets, axes in hand. ON HICCUP darting through alleys, staying under eaves, making his way through the battle. HICCUP (V.O.) (CONT'D) My name's Hiccup. Great name, I know. But it's not the worst. Parents believe a hideous name will frighten off gnomes and trolls. Like our charming Viking demeanor wouldn't do that. Dragons sweep back and forth, dodging axes and blasting the Vikings who throw them. A burly warrior gets tossed in an explosion, knocking Hiccup to the ground. VIKING (FIERCE) Arggghhhhh! (cheery, insane) Mornin'! Hiccup gets to his feet and continues to rush past gigantic men and women. HICCUP (V.O.) Meet the neighbors. Hoark the Haggard... HOARK What are you doing out!? HICCUP ... Burnthair the Broad... BURNTHAIR Get inside! HICCUP ... Phlegma the Fierce... PHLEGMA THE FIERCE Get back inside! "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 3. HICCUP . Ack. He passes a silent ox of a viking, picking his ear. HICCUP (CONT'D) Yep, just Ack. Enter STOICK, the biggest Viking of all. He yanks Hiccup from the path of a strafing dragon and holds aloft to the crowd. STOICK Hiccup!? (accusingly; to the crowd) What is he doing out again?! (TO HICCUP) What are you doing out?! Get inside! The flames light up his scowling face and matted red beard. He sets Hiccup down and turns to the sky, searching. HICCUP (V.O.) (IN AWE) That's Stoick the Vast. Chief of the tribe. They say that when he was a baby he popped a dragon's head clean off of its shoulders. Do I believe it? Stoick grabs a wooden cart and hurls it, knocking the strafing dragon out of the sky. HICCUP (V.O.) (CONT'D) Yes I do. An EXPLOSION forces Vikings to DUCK. Stoick stands firm, brushing flaming debris off of his shoulder. STOICK (barking; to his men) What have we got? VIKING #1 Gronkles. Nadders. Zipplebacks. Oh, and Hoark saw a Monstrous Nightmare. STOICK Any Night Furies? VIKING #1 None so far. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 4. STOICK (RELIEVED) Good. VIKING Hoist the torches! Massive flaming braziers are raised on poles, lighting up the night sky... and revealing swirling dragons of all types. Below, Hiccup crosses an open plaza and ducks into an open building with a tall chimney. INT. BLACKSMITH STALL - CONTINUOUS He crosses behind a counter, where a peg-legged, one-armed hulk of a Blacksmith reshapes blades with a hammer and tongs appendage. GOBBER Ah! Nice of you to join the party. I thought you'd been carried off. Hiccup dons a leather apron and starts to put away Gobber's scattered appendages. HICCUP Who me? Nah, come on! I'm way too muscular for their taste. They wouldn't know what to do with all this. Hiccup strikes a bodybuilder pose. GOBBER They need toothpicks, don't they? Hiccup gets to work, transferring bent and chipped weapons to the forge as Vikings crowd the counter for replacements. HICCUP (V.O.) The meathead with attitude and interchangeable hands is Gobber. I've been his apprentice ever since I was little. Well...littler. EXT. VILLAGE - CONTINUOUS ON STOICK STOICK We move to the lower defenses. We'll counter-attack with the catapults. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 5. Armed men rush past, flanking others who carry sheep to safety. Stoick follows up the rear as, overhead, a dragon strafes the rooftops with Napalm-like fire. HICCUP (V.O.) See? Old village. Lots and lots of new houses. VIKING FIRE! In response, the fire brigade charges through the plaza -- four TEENS, tugging a large wooden cask on wheels. From it, they fill buckets of water to douse the flames. One among them is a cute, energetic Viking girl. Hiccup leans out of the stall to watch her. HICCUP (V.O.) Oh and that's Fishlegs, Snotlout. The twins Ruffnut and Tuffnut. And... (DREAMY) Astrid. A SLOW-MOTION explosion erupts behind her, framing her in a sexy ball of fire. The others join her, looking awesome and heroic. HICCUP (V.O.) (CONT'D) Their job is so much cooler. Hiccup tries to join them as they pass, but he's hooked by Gobber and hoisted back inside. HICCUP (CONT'D) (PLEADING) Ah, come on. Let me out, please. I need to make my mark. GOBBER Oh, you've made plenty of marks. All in the wrong places. HICCUP Please, two minutes. I'll kill a dragon. My life will get infinitely better. I might even get a date. GOBBER You can't lift a hammer. You can't swing an axe... Gobber grabs a bola (iron balls connected by rope). "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 6. GOBBER (CONT'D) ... you can't even throw one of these. A Viking runs by and nabs it out of Gobber's hand, hurling it at a dive-bombing Gronkle. The bola binds its legs, sending it into a heavy crash. HICCUP (ready with the answer) Okay fine, but... He rushes to the back corner of the stall and presents a bizarre, wheel barrow-like contraption. HICCUP (CONT'D) ... this will throw it for me. Hiccup OPENS the hinged lid of the device. An arm springs up, equipped with twin bows. They prematurely launch a bola, narrowly missing Gobber... and taking out a Viking at the counter. VIKING Arggh! GOBBER See, now this right here is what I'm talking about. HICCUP Mild calibration issue. GOBBER Hiccup. If you ever want to get out there to fight dragons, you need to stop all... Gobber gestures in Hiccup's general direction. GOBBER (CONT'D) ... this. HICCUP (ASTONISHED) But... you just pointed to all of me. GOBBER Yes! That's it! Stop being all of you. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 7. HICCUP (THREATENING) Ohhhh... GOBBER (MIMICKING) Ohhhhh, yes. HICCUP You, sir, are playing a dangerous game. Keeping this much, raw...Vikingness contained. (BEAT) There will be consequences! Gobber tosses him a sword. GOBBER I'll take my chances. Sword. Sharpen. Now. Hiccup takes it begrudgingly and lobs it onto the grinding wheel. He stews... fantasizing... HICCUP (V.O.) One day I'll get out there. Because killing a dragon is everything around here. EXT. VILLAGE - LOWER PLAINS - CONTINUOUS Nadders land, gathering like seagulls around a seemingly vacant house. HICCUP (V.O.) A Nadder head is sure to get me at least noticed. The Nadders clamber onto the building, tearing the roof and walls apart. Sheep pour out and SCATTER. Elsewhere, hippo-like Gronckles pick drying racks clean of fish and fly off like loaded pelicans. HICCUP (V.O.) (CONT'D) Gronckles are tough. Taking down one of those would definitely get me a girlfriend. A stealthy, snake-like dragon head peeks over a rooftop, breathing gas into a chimney. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 8. HICCUP (V.O.) (CONT'D) A Zippelback? Exotic, exciting. Two heads, twice the status. A second head pokes through the door and lights it. KABLAM! The two heads fly through the explosion, their necks zipping together to reveal a single body. It flies past Stoick as he climbs to the top of a CATAPULT TOWER. CATAPULT OPERATOR They found the sheep! STOICK (FRUSTRATED) Concentrate fire over the lower bank! CATAPULT OPERATOR Fire! Boulders are catapulted at the corralling Nadders... Just as a huge red dragon whips past, spraying the base of the catapult with sticky fire. HICCUP (V.O.) And then there's the Monstrous Nightmare. Only the best Vikings go after those. They have this nasty habit of setting themselves on fire. It emerges from the flames, climbing the catapult with a leering, toothy grin. STOICK Reload! I'll take care of this. Stoick takes on the Nightmare, face to hammer. Suddenly, a LOUD BALLISTIC MOANING streaks overhead. The catapult crew ducks. INT. BLACKSMITH STALL - CONTINUOUS ON HICCUP, looking up from his work, reacting to the same sound. HICCUP (V.O.) But the ultimate prize is the dragon no one has ever seen. We call it the-- "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 9. VIKING Night Fury! Get down! Vikings everywhere take shelter. The moaning sound BUILDS. EXT. VILLAGE - CATAPULT - CONTINUOUS The Monstrous Nightmare suddenly stops fighting and takes flight. Stoick looks skyward. STOICK JUMP! KABOOM! The Catapult EXPLODES as though hit by an artillery shell... sending Stoick and the crew leaping for their lives. HICCUP (V.O.) This thing never steals food, never shows itself, and... The sound recedes, leaving the crippled catapult in flames. HICCUP (V.O.) (CONT'D) ...never misses. (BEAT) No one has ever killed a Night Fury. That's why I'm going to be the first. IN THE STALL Gobber trades his hammer for an axe. GOBBER Man the fort, Hiccup, they need me out there! Gobber pauses. Turns with a threatening glare. GOBBER (CONT'D) Stay. Put. There. You know what I mean. Gobber charges into the fray, HOLLERING. ON HICCUP, a smirk crosses his face. EXT. VILLAGE - MOMENTS LATER WHAM! Hiccup pushes his wheeled contraption through a wall of clustered Vikings. He weaves through the ongoing mayhem, as fast as his legs can carry him. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 10. VIKING #6 (O.S.) Hiccup, where are you going! VIKING #7 Come back here! HICCUP I know. Be right back! ON THE PLAIN BELOW The Nadders have cornered the house-full of sheep. They close in, ready to spring upon them. Stoick suddenly appears, HURLING FISHING NETS over them. The surprised Nadders are caught. Stoick and his men rush in. A Nadder blasts a hole through its net. Stoick leaps onto it, clamping his thick arms around its head, forcing its jaws shut. STOICK Mind yourselves! The devils still have some juice in them. ON THE PLAIN ABOVE Hiccup reaches a cliff overlooking the smoking CATAPULT and drops the handles to the ground. He cranks several levers, unfolding and then cocking the bowed arms of his contraption. He drops a bola onto a chamber and then pivots the weapon on a gimbal head toward the dark sky. He listens, with his eye pressed to the scope, hand poised on the trigger. He hears the NIGHT FURY approaching... and turns his aim to the defense tower. It closes in for the final strike, completely camouflaged in the night. HICCUP (TO HIMSELF) Come on. Give me something to shoot at, give me something to shoot at. KABLAM! The tower topples. The blast of fire illuminates the dragon for a split second. Hiccup pulls the trigger. KERTHUNK! The flexed arms SNAP forward, springing the weapon off the ground. The bola disappears into the sky, followed by a WHACK and a SCREECH. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 11. HICCUP (CONT'D) (surprised, then elated) Oh I hit it! Yes, I hit it! Did anybody see that? Hiccup's victory is short-lived. A Monstrous Nightmare appears, slithering up over the lip of the cliff. HICCUP (CONT'D) Except for you. ON STOICK, holding down the netted Nadders. He hears a familiar HOLLER and looks up to see... HICCUP running through the PLAZA, SCREAMING, with the NIGHTMARE fast on his heels. Alarmed, Stoick abandons the Nadders and runs off. STOICK (to his men, re: the NADDERS) DO NOT let them escape! IN THE PLAZA Vikings scatter as Hiccup dodges a near fatal blast. The Nightmare's sticky, Napalm-like fire splashes up onto buildings, setting them alight. Hiccup ducks behind the last standing brazier -- the only shelter available. The Nightmare blasts it, spraying fire all around him. Hiccup peers around the smoldering post. No sign of the Nightmare. He turns back to find it leering at him, blocking his escape. It takes a deep breath. Hiccup is finished. Suddenly, Stoick LEAPS between them, tackling the Nightmare to the ground. They tumble and wrestle, resuming their earlier fight. The Nightmare tries to toast him, but only coughs up smoke. STOICK (CONT'D) You're all out. He smashes the Nightmare repeatedly in the face, driving it away. It takes to the air and disappears. Winded, Stoick turns to Hiccup. HICCUP (V.O.) Oh, and there's one more thing you need to know... "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 12. The burnt brazier pole collapses, sending the massive iron basket crashing. It bounces down the hill, destroying as it goes and scattering the Vikings who were holding down the netted Nadders. The freed dragons escape... with several sheep in tow. HICCUP (CONT'D) Sorry, dad. EXT. VILLAGE - UPPER PLAZA - CONTINUOUS The escaped Nadders fly past with sheep in their clutches. The raid is over. The dragons have clearly won. The murmuring crowd eyes Stoick, awaiting his response. HICCUP (SHEEPISH) Okay, but I hit a Night Fury. Stoick grabs Hiccup by the back scruff of his collar and hauls him away, fuming with embarrassment. HICCUP (CONT'D) It's not like the last few times, Dad. I mean I really actually hit it. You guys were busy and I had a very clear shot. It went down, just off Raven Point. Let's get a search party out there, before it-- STOICK --STOP! Just....stop. He releases Hiccup. Everyone goes silent, staring expectantly. STOICK (CONT'D) Every time you step outside, disaster follows. Can you not see that I have bigger problems? Winter's almost here and I have an entire village to feed! Hiccup looks around. All eyes are upon him. HICCUP Between you and me, the village could do with a little less feeding, don't ya think? A few rotund Vikings stir self-consciously. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 13. STOICK This isn't a joke, Hiccup! (EXASPERATED) Why can't you follow the simplest orders? HICCUP I can't stop myself. I see a dragon and I have to just... kill it, you know? It's who I am, Dad. STOICK You are many things, Hiccup. But a dragon killer is not one of them. Sting. Hiccup looks around to see many nods of agreement. STOICK (CONT'D) Get back to the house. (TO GOBBER) Make sure he gets there. I have his mess to clean up. Stoick lumbers off in the opposite direction. Gobber leads Hiccup through the walk of shame. They pass the teen fire brigade as they snicker. TUFFNUT Quite the performance. SNOTLOUT I've never seen anyone mess up that badly. That helped! HICCUP Thank you, thank you. I was trying, so... Hiccup avoids Astrid's glare and heads up toward a large house, standing prominently on the hill above the others. HICCUP (CONT'D) I really did hit one. GOBBER Sure, Hiccup. HICCUP He never listens. GOBBER Well, it runs in the family. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 14. HICCUP And when he does, it's always with this... disappointed scowl. Like someone skimped on the meat in his sandwich. (MIMICKING STOICK) Excuse me, barmaid. I'm afraid you brought me the wrong offspring. I ordered an extra large boy with beefy arms. Extra guts and glory on the side. This here. This is a talking fish bone. GOBBER You're thinking about this all wrong. It's not so much what you look like. It's what's inside that he can't stand. Beat. HICCUP Thank you, for summing that up. They reach the doorway. GOBBER Look, the point is, stop trying so hard to be something you're not. Hiccup SIGHS heavily. HICCUP I just want to be one of you guys. Gobber eyes him sympathetically. Hiccup turns and goes through the front door. And straight out the back door. He hurries off into the woods, determined. INT. GREAT HALL - DAY A noisy din of PROTESTING VOICES leads to... STOICK, glowering in the firelight. Surrounded by his men. STOICK Either we finish them or they'll finish us! It's the only way we'll be rid of them! If we find the nest and destroy it, the dragons will leave. They'll find another home. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 15. He sinks his blade into a... LARGE NAUTICAL MAP, spread out on the table... the blade pierces the middle of an uncharted corner, swirling with painted sea monsters and dragons. STOICK (CONT'D) (DECIDEDLY) One more search. Before the ice sets in. VIKING Those ships never come back. STOICK (MATTER-OF-FACT) We're Vikings. It's an occupational hazard. Now who's with me? Stoick throws up his fist. No one follows. The crowds shifts in restless silence. Head scratches. Eyes averted. VIKING (FEEBLE) Today's not good for me. VIKING (CONT'D) (EQUALLY FEEBLE) I've gotta do my axe returns. STOICK Alright. Those who stay will look after Hiccup. Hands jut into the air, volunteers galore. Enthusiastic murmurs of prep and packing fill the room. PHLEGMA THE FIERCE To the ships! SPITELOUT I'm with you Stoick! STOICK (DRY) That's more like it. The Vikings rush for the door, leaving Gobber and Stoick alone. Gobber gulps back the contents of his tankard attachment and scrapes back the bench. GOBBER I'll pack my undies. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 16. STOICK No, I need you to stay and train some new recruits. GOBBER Oh, perfect. And while I'm busy, Hiccup can cover the stall. Molten steel, razor sharp blades, lots of time to himself...what could possibly go wrong? Stoick sinks onto the bench beside Gobber, his brow burdened. STOICK What am I going to do with him Gobber? GOBBER Put him in training with the others. STOICK No, I'm serious. GOBBER So am I. Stoick turns to him, glaring. STOICK He'd be killed before you let the first dragon out of its cage. GOBBER Oh, you don't know that. STOICK I do know that, actually. GOBBER No, you don't. STOICK No, actually I do. GOBBER No you don't! STOICK Listen! You know what he's like. From the time he could crawl he's been...different. He doesn't listen. (MORE) "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 17. STOICK (CONT'D) Has the attention span of a sparrow. I take him fishing and he goes hunting for... for trolls. GOBBER (DEFENSIVE) Trolls exist! They steal your socks. (DARKLY) But only the left ones. What's with that? STOICK When I was a boy... GOBBER (GRUMBLING) Oh here we go. STOICK My father told me to bang my head against a rock and I did it. I thought it was crazy, but I didn't question him. And you know what happened? GOBBER You got a headache. STOICK That rock split in two. It taught me what a Viking could do, Gobber. He could crush mountains, level forests, tame seas! Even as a boy, I knew what I was, what I had to become. (BEAT) Hiccup is not that boy. GOBBER You can't stop him, Stoick. You can only prepare him. (BEAT) Look, I know it seems hopeless. But the truth is you won't always be around to protect him. He's going to get out there again. He's probably out there now. ON STOICK, as Gobber's words hit their mark. EXT. WOODS - DAY ON AN OPEN NOTEBOOK "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 18. A drawn map of the island, covered in X's. Hiccup looks up from it and peeks over a gorge, expectantly. Sees nothing. He adds another 'X' to the page, then scratches his pencil over the whole map in frustration. He snaps the book closed and pockets it. HICCUP Uggh, the gods hate me. Some people lose their knife or their mug. No, not me. I manage to lose an entire dragon. Hiccup WHACKS a low-hanging branch. It SNAPS back at him, hitting him in the face. He looks up to see a snapped tree trunk. His eyes follow it to a long trench of up-turned earth. He follows it to a downed, black dragon, its body and tail tangled in a bola. It appears dead. Hiccup approaches, beaming. HICCUP (CONT'D) (IN SHOCK) Oh wow. I did it. I did it. This fixes everything. (ELATED) Yes! He strikes a victory pose, planting his foot on the fallen Night Fury. HICCUP (CONT'D) I have brought down this mighty beast! It suddenly shifts. HICCUP (CONT'D) Whoa! Hiccup springs back, terrified. He turns his blade on it. Rattled, Hiccup creeps along the length of the weak, wounded dragon, dagger poised to strike. As he reaches the head, Hiccup finds the Night Fury staring coldly at him. Hiccup tries to look away, but he's drawn back to its unnerving, unflinching stare. With the dragon safety tangled in the ropes, Hiccup jabs with his dagger, puffing himself up with false bravado. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 19. HICCUP (CONT'D) I'm going to kill you, Dragon. I'm gonna cut out your heart and take it to my father. I'm a Viking. (BEAT) I am a VIKING!
19	How to Train Your Dragon 2	Dean DeBlois,Cressida Cowell	Animation,Action,Adventure	May_2014	EXT. OPEN SEA - DAY Hiccup and Toothless BLUR PAST, leaving a wake that leads... EXT. BERK - DAY (Sequence 0200 - New Berk) To the island village of Berk, festively adorned with flags and banners. Major new additions alter its familiar skyline. HICCUP (V.O.) This... is Berk. The best kept secret this side of, well, anywhere. Granted, it may not look like much, but this wet heap of rock packs more than a few surprises. ON A CLUSTER OF SHEEP, hiding nervously between buildings as shadows of passing dragons race by. The group moves as one, receding into a shadowy alley, pushing one sheep out into the light. It's suddenly snatched and carried into the air! HICCUP (V.O.) Life here is amazing, just not for the faint of heart. See, where most folks enjoy hobbies like whittling or needlepoint, we Berkians prefer a little something we like to call-- WHOOSH, WHOOSH, WHOOSH! A wash of VIBRANT COLORS blurs by. DRAGONS BARREL PAST at a dizzying speed. Their RIDERS SWIPE, KICK, and ROLL into one another while they WEAVE neck in neck between the houses, docks, and revamped structures of Berk. HICCUP (V.O.) DRAGON RACING! It's like an aerial version of the Monte Carlo race. Spectators ROAR from wooden bleachers, fastened to cliff faces and perched over the sea. FISHLEGS, now 20 and even larger, rides his gronkle, MEATLUG, who carries the sheep in her claws, until... SNOTLOUT, also 20, but every bit as juvenile, and his Monstrous Nightmare, HOOKFANG, steal the sheep from them. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 2. SNOTLOUT Oh, I'm sorry, Fishlegs! Did you want that? FISHLEGS Snotlout! That's mine! Snotlout FALLS BACK toward RUFFNUT and TUFFNUT, who lag on their two-headed Zippleback, BARF & BELCH. SNOTLOUT Here ya go, babe. With a chivalrous grin, Snotlout tosses the sheep to Ruffnut. She SNATCHES it with a sneer and a GRUMBLE. SNOTLOUT (CONT'D) Did I tell you that you look amazing today? `Cause you do. RUFFNUT Come on, Barf. It's starting to stink around here. Barf starts to peel off, spewing gas. Tuffnut mocks Snotlout with a mugging grin. TUFFNUT Nope. Still hates you. Let's blow this place, Belch! Belch ignites the gas, sparking a flashy explosion, and leaving Snotlout behind in the smoke. As they rush past the main bleachers, Ruffnut DROPS her sheep into one of five baskets suspended over a chasm at the lap crossing. Each backboard bears an image of its corresponding dragon. The Barf/Belch basket filled to the brim with sheep. Presiding over the game, STOICK turns to the frenzied crowd. STOICK That's nine for the Twins, Astrid lags with three, Fishlegs and Snotlout trail with NONE! Stoick eyes an empty basket at the far end, its backboard painted with an image of Toothless. STOICK (CONT'D) And Hiccup is... nowhere to be found. Hmmm. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 3. GOBBER Scared him off with the big talk, didn't ya, Stoick? WHACK! Snotlout, still smoldering from the blast, gets CLIPPED from behind. ASTRID, rolls in, astride STORMFLY -- spirited and competitive as ever, and beautiful despite herself. ASTRID What are you doing, Snotlout?! They're going to win now! SNOTLOUT She's my princess! Whatever she wants, she gets. ASTRID Ruffnut?! Didn't she try to bury you alive?! SNOTLOUT Only for a few hours! BACK TO THE RACERS, as they peel away, pouring on the speed. HICCUP (V.O.) Dragons used to be a bit of a problem here. But that was five years ago. Now they've all moved in. And, really, why wouldn't they? The racers chase each other through a sprawling hangar and into a vast cave, teeming with colorfully painted dragon stables. They exit through the far side and circle back through the village, blasting past many of its dragon- friendly additions. HICCUP (V.O.) We have custom stables... all-you- can-eat feeding stations... a full service dragon wash... In the village, a baby Gronkle sneezes, accidentally setting one of the Viking houses aflame. HICCUP (V.O.) Even top-of-the-line fire prevention, if I do say so myself. Astrid rolls her eyes, peels away from the other dragon racers, and yanks open a spout on the overhead network of aqueducts, dousing the flames with a surge of water. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 4. BACK TO STOICK, amused as he watches the racers round the island, searching for sheep. He turns to Gobber and nods. STOICK It's time, Gobber. GOBBER Righty-ho! (aloud, to the crowd) Last lap! A HORN sounds. The racers all turn to each other, excited. ASTRID The black sheep! Come on, Stormfly! We can still win this thing! RUFFNUT Come on, Barf! TUFFNUT Let's go! FISHLEGS Go, Meatlug! GOBBER loads the BLACK SHEEP onto a catapult. GOBBER This is your big moment. Have a nice flight! He pulls the trigger, LAUNCHING the black sheep into the air. Astrid spots it and steers Stormfly into a steep climb toward it. ASTRID Up, up, up! In a flash, Fishlegs and Meatlug blur past, NABBING the sheep. ASTRID (CONT'D) No! FISHLEGS Good job, Meatlug! Fishlegs tosses his captured prize to Ruffnut. FISHLEGS (CONT'D) Here you go, darling. Mine's worth ten! HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 5. RUFFNUT Yeah! The Black Sheep! Snotlout sighs, frustrated. ASTRID You guys are fighting for Ruffnut?! RUFFNUT I'm totally winning! Fishlegs hovers up nest to Ruffnut with a starry-eyed smile. FISHLEGS We're winning together! She RAMS BARF into Meatlug, sending Fishlegs into an uncontrolled SPIN. He SLAMS into Snotlout, sending their dragons TUMBLING head over tail. The crowd goes wild. RUFFNUT No one can stop me now! TUFFNUT Except for me. We're attached, genius! He GRABS at the sheep. Ruffnut fights back, inciting a tug-of- war. TUFFNUT (CONT'D) Quit trying to steal all my glory! And while they're distracted, Astrid steers Stormfly toward them, CLOSING IN. STOICK Get `em, Astrid! TUFFNUT RUFFNUT It's MY glory! No sheep, no You're always ruining glory! EVERYTHING! Astrid leaps off of Stormfly, runs up Belch's spindly neck, and PLUCKS the black sheep from the Twins' hands. ASTRID Gotcha! She tumbles through the air onto Stormfly, sticking a perfect landing, black sheep in hand. RUFFNUT Astrid! HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 6. BACK TO STOICK, beside himself. The crowd ROARS. STOICK Well played! Hahaha! (gloating, to the crowd) That's my future daughter-in-law! BACK TO ASTRID ON STORMFLY eyeing the fast-approaching FINISH LINE, unaware as... FISHLEGS suddenly RAMS Meatlug into Stormfly, sending Astrid off-course. She recovers and sees Snotlout flying headlong toward her, war hammer cocked, aiming at Astrid. SNOTLOUT Uh, excuse me. ASTRID Stormfly! Snotlout HURLS his hammer. Astrid ducks and rolls Stormfly out of the way. The hammer catches Fishlegs in the face with a CLANG. The crowd collectively winces. Astrid and Stormfly recover from their roll, loop over the water, and they BLAST past the finish line, DUNKING the black sheep into their basket! STOICK That's thirteen! Astrid takes the game! The crowd COMES UNHINGED. Astrid flies over the crowd, basking in her victory. HICCUP (V.O.) Yep. Berk is pretty much perfect. All of my hard work has paid off. And it's a good thing, too, because with Vikings on the backs of dragons, the world just got a whole lot bigger. EXT. OPEN SKY/ISLAND COASTLINE - DAY (Scene 0300 - AWOL Part One) A boundless sky. Vast. Clear. Crisp. And from it, a BLACK SPECK rockets across the horizon. The image of unbridled freedom. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 7. Tucked into his riding position, HICCUP appears to be part of TOOTHLESS. They dip, roll and dive, over a sea teeming with Thunderdrums, pulling off daring maneuvers with honed refinement, making them seem effortless. HICCUP Yeah! They jackknife, heading skyward, rolling and tumbling through the ethereal cloud-scapes and joining high-flying Timberjacks as they soar in formation. Hiccup is bound head-to-toe in a snug, aerodynamic flight suit -- an asymmetrical, functional design of leather and articulated plates. It has an air of Viking bike leather. HICCUP (CONT'D) What do you think, bud? Wanna give this another shot? Toothless grumbles in protest. HICCUP (CONT'D) Toothless! It'll be fine. With a click of a lever, he LOCKS the pedals in the flared tail position. Hiccup then unhooks himself from the saddle. HICCUP (CONT'D) Ready? Toothless SNORTS unenthusiastically. Suddenly, Hiccup SLIDES OFF of Toothless, peeling away from him like a skydiver from a plane, YELLING as he plummets. Toothless dives after him. They spiral through the air, face- to-face. Toothless is having fun, despite himself. Hiccup slips his forearms through a pair of tucked leather flaps... and YANKS, unfurling SHEETS OF LEATHER as he extends his arms. They catch the wind, SNAPPING OPEN like WINGS... and sending him GLIDING -- out of control, at first, then stabilizing. The turbulence buffets his flight suit heavily. But he's flying! Toothless unfolds his wings, too, catching up with Hiccup. The freedom is palpable. Hiccup and Toothless are, for the moment, the same. Feeling the same rush of adrenaline. Independently together. They PLUNGE past cloud formations, splitting apart then crossing paths again. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 8. Impressive as it is, Hiccup is gliding at a steep angle. Toothless launches fireballs ahead of Hiccup, boosting him higher with the expanding heat bursts. HICCUP (CONT'D) This is amazing! A cloud layer washes past, exposing a towering ROCK FORMATION, dead ahead. HICCUP (CONT'D) No longer amazing! Toothless! Hiccup tries to steer himself away, to no avail. Toothless POURS ON THE SPEED, trying to catch Hiccup as he HURTLES toward collision. His locked tail makes maneuvering difficult. He's UNABLE TO PULL UP at a steep enough angle. HICCUP (CONT'D) Oh, no! At the last second, Toothless BLASTS the jagged rocks just ahead of Hiccup, then WRAPS Hiccup in his wings as they fly through it. The obliterated peak rains down around them. Toothless emerges through the cloud of debris and HURTLES into the trees of a neighboring peak. They tumble down the uneven terrain, coming to rest on a small plateau. Hiccup emerges from the cocoon of Toothless' wings. He switches his prosthetic riding foot to his walking foot and stows his leather wings. HICCUP (CONT'D) That really came out of nowhere. The blown up sea stack collapses. HICCUP (CONT'D) We gotta work on your solo gliding there, bud. That locked-up tail makes for some pretty sloppy rescue maneuvers, eh? Hiccup reels in his dorsal fin and removes his helmet, revealing a 20 year old Hiccup framed by wild hair, complete with a Viking braid. He walks to the edge of the cliff, taking in the NEW LAND stretching off into the horizon, its tall cliffs and sea- stacks adorned with swaying gold birch trees basking in the dappled afternoon sunlight. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 9. HICCUP (CONT'D) Looks like we found another one, bud. Toothless FUSSES and SNORTS, not amused, shaking off dust and pebbles like a wet dog. Hiccup flinches as a pebble WHACKS him on the back of the head. He looks back to Toothless, who averts his eyes. HICCUP (CONT'D) Oh, what? Do you want an apology? Is that why you're pouting, big baby boo? Well... try this on! Hiccup TACKLES Toothless and tries to put him in a headlock. HICCUP (CONT'D) Ya feeling it yet? Huh? Picking up on all my heartfelt remorse? Toothless simply stands on his hind legs, lifting Hiccup off of his flailing feet and dangling him over the cliff's edge. HICCUP (CONT'D) Oh, come on. You wouldn't hurt a ONE-LEGGED-- Hiccup looks down, seeing the precipitous drop below. HICCUP (CONT'D) You're right! You're right! You win! You win! WHAM! Toothless flips him over, pinning him to the ground. Hiccup squirms, throwing mock punches. Toothless playfully retaliates with feline taps to Hiccup's head. HICCUP (CONT'D) He's down! And it's ugly! Dragons and Vikings, enemies again, locked in combat to the bitter -- URFFF! Toothless rests his head on Hiccup -- SQUEEZING THE AIR out of him. Toothless then suddenly starts grooming Hiccup, lapping at his face and covering him in slobber. HICCUP (CONT'D) Gaaaaagh! Hiccup fights to get free, finally springing to his feet and shaking off the viscous saliva. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 10. HICCUP (CONT'D) You KNOW that doesn't wash out. Toothless LAUGHS, pleased with himself. Shifting his attention back to the new land stretched out before them, Hiccup reaches beneath his chest plate and produces a leather-bound book. He unfurls it to reveal an EXPLORERS MAP, modified with added strips in every direction to accommodate their ever-expanding world. Drawings indicate new lands, new tribes, and many new dragons. Hiccup peels a fresh strip of paper from a hidden fold in his flight suit and holds it out for Toothless to lick. Hiccup affixes the moistened strip to the map's outer edge, then whittles a pencil and consults a compass affixed to his forearm. HICCUP (CONT'D) So what should we name it? Toothless GURGLES as he gnaws under his wing, preoccupied. HICCUP (CONT'D) "Itchy Armpit" it is. Hiccup carefully draws the new island's outline. HICCUP (CONT'D) Whaddya reckon, bud? Think we might find a few Timberjacks in those woods? The odd Whispering Death or two in the rocks? Who knows... maybe we'll finally track down another Night Fury. (BEAT) Wouldn't that be something? (BURDENED) So, whaddya say? Just keep going? Toothless' ear plates suddenly SHOOT UP. He ROARS, and his call is answered by a familiar SCREECH. Hiccup turns to see... EXT. SEA STACK/ISLAND COASTLINE - DAY (Scene 0325 - AWOL Part Two) ASTRID rising into view, astride Stormfly. Stormfly grabs talon-fulls of rock to slow her landing. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 11. HICCUP `Afternoon m'lady. Where have you been? Astrid dismounts and throws back her fur hood as Toothless rushes up to greet them. ASTRID Winning races. What else? The real question is... where have YOU been? HICCUP Avoiding my dad. ASTRID Oh, no. What happened now? Astrid sits beside Hiccup, inspecting his latest addition to the map. Behind them, Toothless greets Stormfly, inciting a play fight. HICCUP Oh, you're gonna love this. I wake up. The sun's shining. Terrible Terrors are singing on the rooftop. I saunter down to breakfast, thinking all is right with the world, and I get... He gets to his feet and puffs out his chest. HICCUP (CONT'D) (APING STOICK) ... Son, we need to talk. Astrid smiles and adopts Hiccup's sloppy slouch. ASTRID (APING HICCUP) Not now, Dad. I've got a whole day of goofing off to get started. Hiccup breaks character, grimacing at her impression of him. HICCUP Okay, first of all, I don't sound like that. What is this character? And second... what is that thing you're doing with my shoulders? Astrid laughs, jostling her shoulders in an awkward way. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 12. HICCUP (CONT'D) A truly flattering impersonation. Anyway, he goes... (resuming Stoick's brogue) You're the pride of Berk, son, and I couldn't be prouder... ASTRID (continuing her impression OF HICCUP) Aw, thanks, Dad. I'm pretty impressed with myself, too. HICCUP WHEN have I ever done that with my hands? ASTRID You just did. She laughs, playfully. HICCUP Okay... just... (holding her arms, mock- STERN) Hold still. It's very serious. She giggles, trying to hold a straight face. HICCUP (CONT'D) (resuming Stoick's brogue) You're all grown up, and since no chief could ask for a better successor, I've decided-- Astrid straightens, her face brightening. ASTRID --TO MAKE YOU CHIEF! Oh, my gods! She jumps to her feet, beaming... ASTRID (CONT'D) Hiccup, that's amazing! And socks Hiccup in congratulations, deliberately hitting the dorsal fin release button and triggering it to pop up. She laughs as Hiccup reels it back in, self-consciously. HICCUP You're gonna wear out the spring coil. The calibration is very sensitive! HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 13. They're suddenly BOWLED OVER by Toothless and Stormfly. HICCUP (CONT'D) Yeah, so... this is what I'm dealing with. Astrid helps him up and dusts him off. ASTRID (EXCITED) What did you tell him? HICCUP I didn't. By the time he turned around, I was gone. Astrid picks up the map, folding it as she paces around him, processing it all. ASTRID Well, it's a lot of responsibility. The map will have to wait for sure, and I'll need to fly Toothless, since you'll be too busy... She pauses, wincing in sympathy. She turns to Hiccup. He nods knowingly, taking the map from her. HICCUP It's not me, Astrid. All those speeches, and planning, and running the village... that's his thing. ASTRID I think you're missing the point. I mean, chief. What an honor. I'd be pretty excited. Hiccup shakes his head. HICCUP I'm not like you. You know exactly who you are. You always have. But... He shuffles to the cliff's edge, gazing out at the new land. HICCUP (CONT'D) I'm still looking. I know that I'm not my father... and I never met my mother... so, what does that make me? HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 14. He sits at the edge, looking burdened, restless. Astrid approaches and settles beside him, joining him in looking out at the distant horizon. She weaves another braid into his hair as she speaks. ASTRID What you're searching for... isn't out there, Hiccup. She places a hand on his chest. ASTRID (CONT'D) It's in here. (BEAT) Maybe you just don't see it yet. She kisses his cheek, but gets a mouthful of Toothless' slobber. She grimaces, wiping it off. Distracted, Hiccup eyes the horizon keenly. HICCUP Maybe. But, y'know... there is something out there. ASTRID (EXASPERATED) Hiccup... He turns her face to the horizon. A distant smoke plume rises from a misty valley. EXT. LAPLAND WOODS/TRAPPER'S FORT - MOMENTS LATER (Scene 0400 - Shot Down!) Hiccup and Toothless fly over the fjord, winding deep through undulating crimson and gold forests. Astrid and Stormfly catch up as the autumn colors suddenly give way to charred timbers. They fly deeper, through ash and wafting smoke. Ahead, in a sheltered harbor, an explosion of ice stands as an eerie marker of what used to be a TRAPPER'S FORT. HICCUP Stay close. They fly through the suspended remains of the buildings, splintered, and frozen in mid-destruction. HICCUP (CONT'D) What happened here? HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 15. It's at once harrowing and puzzling. Toothless spots an enormous DRAGON FOOTPRINT in the muddy shoreline below, leaving him uneasy. HICCUP (CONT'D) Easy, bud. As they crest the ice formations, Astrid spots a CREW OF MEN at the stern of a moored ship below. ASTRID Hiccup! ERET (O.S.) Fire! The men fire a stern-mounted cannon. The projectile unfurls into a NET. Hiccup and Toothless dart out of its way. HICCUP Astrid! Look out! It HITS Stormfly, TANGLING her wings and causing her to spin uncontrolled. Astrid struggles to free her as they HURTLE toward a collision. ASTRID HICCUP! Astrid falls off of Stormfly, but Toothless SNATCHES her at the last second. Stormfly hits the ground, tangled in the net. Trappers rush out of hiding, piling onto her with ropes and weapons. She whips her tail, sending spikes flying. ERET Watch the tail! A large, raven-haired trapper lunges over the spray of spikes and lands upon Stormfly's head, twisting it and taking her down like a rodeo cowboy. ERET (CONT'D) Tie those legs up! Eret deftly ties her gnashing jaws shut, wrangling her into submission -- clearly a pro among pros. He looks up, revealing a handsome face and gleaming, intelligent eyes that search the sky as Toothless' tell-tale BANSHEE scream rings out. ERET (CONT'D) Is that what I think it is? HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 16. Toothless suddenly streaks across the sky, banking and landing with a FEROCIOUS ROAR. HICCUP STOP! ASTRID STORMFLY! (to the trappers) What are you doing? Astrid and Hiccup leap off of Toothless, rushing toward Stormfly. Eret's men immediately draw weapons. Hiccup extends and ignites his DRAGON BLADE -- a telescoping fiery sword -- impressive enough to wow Eret's men. ERET Back again? Eret steps forward, focused only on Toothless. ERET (CONT'D) Soil my britches... that is a Night Fury. Thought they were all gone for good. (to his fellow trappers) Looks like our luck's had a turn for the better, lads! Don't think Drago has one of those in
20	Incredibles The	Brad Bird	Animation,Family,Adventure,Action,Comedy,Sci-Fi	November_2004	MR. INCREDIBLE Is this on? INTERVIEWER That's fine. MR. INCREDIBLE I can break through walls, I just can't... INTERVIEWER That's fine. MR. INCREDIBLE I can't get this on. INTERVIEWER So, Mr. Incredible...do you have a secret identity? MR. INCREDIBLE Every superhero has a secret identity. I don't know a single one who doesn't. Who wants the pressure of being super all the time? ELASTIGIRL Of course I have a secret identity. Can you see me in this at the supermarket? Come on. Who'd want to go shopping as Elastigirl, y'know what I mean? FROZONE Superladies, they're always trying to tell you their secret identity. Think it'll strengthen the relationship or something like that. I said, ''Girl, I don't want to know about your mild-mannered alter ego.'' or anything like that. I mean, you tell me you're a super-mega-ultra-lightning-babe, that's all right with me. I'm good. I'm good. MR. INCREDIBLE No matter how many times you save the world, it always manages to get back in jeopardy again. Sometimes I just want it to stay saved, you know? For a little bit. I feel like the maid. ''I just cleaned up this mess. Can we keep it clean for ten minutes?'' INTERVIEWER I could get to that point. MR. INCREDIBLE ''Please?'' INTERVIEWER Wait, no, don't get up. We're not finished. MR. INCREDIBLE Sometimes l think I'd just like the simple life, you know? Relax a little and raise a family. ELASTIGIRL Settle down? Are you kidding? I'm at the top of my game! I'm right up there with the big dogs! Girls, come on. Leave the saving of the world to the men? I don't think so. I don't think so. __________________________________________SCENE 2__________________________________________ POLICE RADIO We interrupt for an important bulletin. A deadly high-speed pursuit between police and armed gunmen is underway, traveling northbound on San Pablo Ave. BOB (MR. INCREDIBLE) Yeah, I've got time. OLD LADY Mr. lncredible. Um, Mr. Incredible... BOB (MR. INCREDIBLE) What is it, ma'am? OLD LADY My cat, Squeaker, won't come down. [cat meows] BOB (MR. INCREDIBLE) Certainly, ma'am but I suggest you stand clear. There could be trouble. OLD LADY No, no. He's quite tame. BOB (MR. INCREDIBLE) Let go now! [cat yowls] POLICE OFFICER 1 Thank you, Mr. lncredible. You've done it again. POLICE OFFICER 2 Yeah, you're the best. BOB (MR. INCREDIBLE) No, I'm just here to help. POLICE RADIO Attention all units. We have a tour bus robbery... BOB (MR. INCREDIBLE) Tour bus robbery. I've still got time. Officers. Ma'am. Squeaker. BUDDY (INCREDIBOY) Cool! Ready for take-off! BOB (MR. INCREDIBLE) What the...? Who are you supposed to be? BUDDY (INCREDIBOY) Well, I'm lncrediBoy. BOB (MR. INCREDIBLE) What? No. You're that kid from the fan club. [stammering] Brophy. Brody. Buddy! Buddy! BUDDY (INCREDIBOY) My name is lncrediBoy. BOB (MR. INCREDIBLE) Look, I've been nice, I've stood for photos, signed every scrap of paper you pushed at me but this is... BUDDY (INCREDIBOY) No, you don't have to worry about training me. I know all your moves, your crime fighting style, favorite catch phrases, everything! I'm your number one fan! BUDDY (INCREDIBOY) Hey! Hey, wait! __________________________________________SCENE 3__________________________________________ BOB (MR. INCREDIBLE) You know...you can tell a lot about a woman by the contents of her purse, but maybe that's not what you had in mind. THIEF Hey, look-- BOB (MR. INCREDIBLE) Elastigirl. HELEN (ELASTIGIRL) Mr. lncredible. BOB (MR. INCREDIBLE) No, it's all right. I've got him. HELEN (ELASTIGIRL) Sure, you've got him. I just took him out for you. BOB (MR. INCREDIBLE) Sure, you took him out. His attention was on me. HELEN (ELASTIGIRL) A fact I exploited to do my job. BOB (MR. INCREDIBLE) My job, you mean. HELEN (ELASTIGIRL) A simple thank you will suffice. BOB (MR. INCREDIBLE) Thanks, but I don't need any help. HELEN (ELASTIGIRL) Whatever happened to ''ladies first''? BOB (MR. INCREDIBLE) Well, whatever happened to equal treatment? THIEF Hey, look, the lady got me first. HELEN (ELASTIGIRL) Well, we could share, you know. BOB (MR. INCREDIBLE) I work alone. HELEN (ELASTIGIRL) Well, I think you need to be more...flexible. BOB (MR. INCREDIBLE) Are you doing anything later? HELEN (ELASTIGIRL) I have a previous engagement. BOB (MR. INCREDIBLE) [whistles] BOB (MR. INCREDIBLE) Now, you just stay here. They usually pick up the garbage in an hour. LUCIUS (FROZONE) Hey, lncredible! BOB (MR. INCREDIBLE) Hey, Frozone! LUCIUS (FROZONE) Shouldn't you be getting ready? BOB (MR. INCREDIBLE) I still got time. [crowd screaming] WOMAN He's gonna jump! SANSWEET I think you broke something. BOB (MR. INCREDIBLE) With counseling, I think you'll come to forgive me. BOB (MR. INCREDIBLE) Wait a minute. BOB (MR. INCREDIBLE) [coughing] Bomb Voyage. VOYAGE [French] Mr. Incredible! BUDDY (INCREDIBOY) And lncrediBoy! VOYAGE lncrediBoy? BUDDY (INCREDIBOY) Hey, hey! Aren't you curious about how I get around so fast? See? I have these rocket boots-- BOB (MR. INCREDIBLE) Go home, Buddy. BUDDY (INCREDIBOY) What? BOB (MR. INCREDIBLE) Now. VOYAGE [French] Little oaf. BUDDY (INCREDIBOY) Can we talk? You always say be true to yourself, but you never say which part of yourself to be true to. Well, I've finally figured out who I am. I am your ward... lncrediBoy! BOB (MR. INCREDIBLE) And now, you have officially carried it too far, Buddy. BUDDY (INCREDIBOY) This is because I don't have powers, isn't it? Well not every superhero has powers, you know. You can be super without them. I invented these. I can fly. Can you fly? BOB (MR. INCREDIBLE) Fly home, Buddy. I work alone. VOYAGE [French] And your outfit is totally ridiculous! BUDDY (INCREDIBOY) Just give me one chance! I'll show you. I'll go get the police. BOB (MR. INCREDIBLE) Buddy, don't! BUDDY (INCREDIBOY) It'll only take a second, really. BOB (MR. INCREDIBLE) No, stop! There's a bomb! BUDDY (INCREDIBOY) Let go! You're wrecking my flight pattern! I can do this if you let go! BOB (MR. INCREDIBLE) Will you just...? I'm trying to help! Stop! BUDDY (INCREDIBOY) Let go of my cape! __________________________________________SCENE 4__________________________________________ BOB (MR. INCREDIBLE) Take this one home. And make sure his mom knows what he's been doing. BUDDY (INCREDIBOY) I can help you. You're making a mista---hey! BOB (MR. INCREDIBLE) The injured jumper. You sent paramedics? POLICE OFFICER They've already picked him up. BOB (MR. INCREDIBLE) The blast in that building was caused by Bomb Voyage who I caught in the act robbing the vault. Now, we might be able to nab him if we set up a perimeter. POLICE OFFICER You mean he got away? BOB (MR. INCREDIBLE) Well, yeah. Skippy here made sure of that. BUDDY (INCREDIBOY) lncrediBoy! BOB (MR. INCREDIBLE) You're not affiliated with me! Holy smokes, I'm late. Listen, I've gotta be somewhere. POLICE OFFICER What about Bomb Voyage? BOB (MR. INCREDIBLE) Any other night, I'd go after him myself, but I really gotta go. But don't worry. We'll get him! Eventually! __________________________________________SCENE 5__________________________________________ BOB (MR. INCREDIBLE) Is the night still young? LUCIUS (FROZONE) You're very late. BOB (MR. INCREDIBLE) How do I look? Good? LUCIUS (FROZONE) Oh, the mask! You still got the mask. [cracks neck] BOB (MR. INCREDIBLE) Showtime. PRIEST Robert Parr, will you have this woman to be your lawful wedded wife? HELEN (ELASTIGIRL) You're late. When you asked me if I was doing anything later, I didn't realize you'd actually forgotten. I thought it was playful banter. BOB (MR. INCREDIBLE) It was playful banter. HELEN (ELASTIGIRL) Cutting it kinda close, don't you think? BOB (MR. INCREDIBLE) You need to be more... flexible. HELEN (ELASTIGIRL) I love you, but if we're gonna make this work, you've gotta be more than Mr. lncredible. You know that. Don't you? PRIEST ...so long as you both shall live? BOB (MR. INCREDIBLE) I do. PRIEST I pronounce this couple husband and wife. [people cheering and whistling] HELEN (ELASTIGIRL) As long as we both shall live. No matter what happens. BOB (MR. INCREDIBLE) Hey, come on. We're superheroes. What could happen? ANNOUNCER In a stunning turn of events, a superhero is being sued for saving someone who, apparently, didn't want to be saved. The plaintiff, Oliver Sansweet, who was foiled in his attempted suicide by Mr. Incredible, has filed suit against the famed superhero in Superior Court. SANSWEET'S LAWYER Mr. Sansweet didn't ask to be saved. Mr. Sansweet didn't want to be saved. And the injury received from Mr. Incredible ''actions'', so quote, causes him daily pain. BOB (MR. INCREDIBLE) Hey, I saved your life! SANSWEET You didn't save my life! You ruined my death, that's what you did! BOB (MR. INCREDIBLE) Listen-- MR. INCREDIBLE'S LAWYER My client has no further comment at this time. ANNOUNCER Five days later, another suit was filed by victims of the el train accident. Incredible's court losses cost the government millions. And opened the flood gates for dozens of superhero lawsuits the world over. WOMAN It is time for their secret identity to become their only identity. Time for them to join us, or go away. ANNOUNCER Under tremendous public pressure, and the crushing financial burden of an ever mounting series of lawsuits, the government quietly initiated the superhero relocation program. The supers will be granted amnesty from responsibility for past actions, in exchange for the promise to never again resume hero work. Where are they now? They are living among us. Average citizens, average heroes. Quietly and anonymously continuing to make the world a better place. __________________________________________SCENE 6__________________________________________ style='font-size:10.0pt;font-family:Tahoma'>(15 YEARS LATER) MRS. HOGENSON Denied? You're denying my claim? I don't understand. I have full coverage. BOB I'm sorry, Mrs. Hogenson, but our liability is spelled out in paragraph 17. It states clearly... MRS. HOGENSON I can't pay for this. BOB [phone rings] Excuse me. [answers phone] Claims, Bob Parr. HELEN I'm calling to celebrate a momentous occasion. We're now officially moved in. BOB Yeah, well, that's great, honey. In the last three years don't count because... HELEN Because I finally unpacked the last box. Now, it's official. Ha, ha, ha. Why do we have so much junk? BOB Listen, honey, I've got a client. HELEN Say no more. Go save the world one policy at a time, honey. Oh! I gotta go pick up the kids from school. See you tonight. BOB Bye, honey. Excuse me. Where were we? MRS. HOGENSON [sobbing] I'm on a fixed income, and if you can't help me, I don't know what I'll do. [blows nose loudly] [sobbing] BOB All right, listen closely. I'd like to help you, but I can't. I'd like to tell you to take a copy of your policy to Norma Wilcox on...[whispering] Norma Wilcox. W-l-L-C-O-X. On the third floor. But I can't. I also do not advise you to fill out and file a WS2475 form with our legal department on the second floor. I wouldn't expect someone to get back to you quickly to resolve the matter. I'd like to help, but there's nothing I can do. MRS. HOGENSON Oh, thank you, young man. BOB Shhh! [shouting] I'm sorry, ma'am! I know you're upset! [whispering] Pretend to be upset. MRS. HOGENSON [sobbing] MR. HUPH Parr! You authorized payment on the Walker policy?! BOB Someone broke into their house, Mr. Huph. Their policy clearly covers-- MR. HUPH I don't wanna know about their coverage, Bob! Don't tell me about their coverage. Tell me how you're keeping Insuricare in the black. Tell me how that's possible, with you writing checks to every Harry Hardluck and Sally Sobstory that gives you a phone call. [PA Announcement] Morning break is over. Morning break is over. __________________________________________SCENE 7__________________________________________ PRINCIPAL I appreciate you coming down here, Mrs. Parr. HELEN What's this about? Has Dash done something wrong? BERNIE He's a disruptive influence and he openly mocks me in front of the class. DASH He says. BERNIE Look, I know it's you! He puts thumbtacks on my stool. HELEN You saw him do this? BERNIE Well...not really. No. Actually, not. HELEN Oh, then how do you know it was him? BERNIE I hid a camera. Yeah, and this time, I've got him. See? You see? You don't see it? He moves! Right there! Wait, wait! Right there! Right as I'm sitting down! I don't know how he does it, but there's no tack before he moves and after he moves, there's a tack. Coincidence? I think not! PRINCIPAL Bernie... BERNIE Don't ''Bernie'' me. [screaming] This little rat is guilty! PRINCIPAL You and your son can go now, Mrs. Parr. I'm sorry for the trouble. BERNIE You're letting him go again? He's guilty! You can see it on his smug little face. Guilty, I say, guilty! HELEN Dash, this is the third time this year you've been sent to the office. We need to find a better outlet. A more...constructive outlet. DASH Maybe I could, if you'd let me go out for sports. HELEN Honey, you know why we can't do that. DASH I promise I'll slow up. I'll only be the best by a tiny bit. HELEN Dashiell Robert Parr, you are an incredibly competitive boy. And a bit of a showoff. The last thing you need is temptation. DASH You always say, ''Do your best.'' But you don't really mean it. Why can't I do the best that I can do? HELEN Right now, honey, the world just wants us to fit in, and to fit in, we just gotta be like everybody else. DASH Dad always said our powers were nothing to be ashamed of. Our powers made us special. HELEN Everyone's special, Dash. DASH Which is another way of saying no one is. BOY Hey, Rydinger. Where you headed? GIRL Hi, Tony. TONY Hey. BOY Hey, Tony, can I carry your books? TONY That's kind of funny. BOY 1 Hey, Tony, do you play football? BOY 2 Tony, I thought we were gonna go swimming. VIOLET He looked at me. [car horn honking] DASH Come on, Violet! BOB [muttering] Darn kids. Sitting on the driveway... BOB Oh, great. [unintelligible muttering] __________________________________________SCENE 8__________________________________________ DASH Mom. You're making weird faces again. HELEN No, I'm not. BOB You make weird faces, honey. HELEN Do you have to read at the table? BOB Uh-huh. Yeah. HELEN Smaller bites, Dash. Yikes! Bob, could you help the carnivore cut his meat? DASH Ow. HELEN Dash, you have something you wanna tell your father about school? DASH [nervously] Well, we dissected a frog. HELEN Dash got sent to the office again. BOB [distracted] Good. Good. HELEN No, Bob, that's bad. BOB What? HELEN Dash got sent to the office again. BOB What?! What for? DASH Nothing. HELEN He put a tack on the teacher's chair...during class. DASH Nobody saw me. You could barely see it on the tape. BOB They caught you on tape and you still got away with it? Whoa! You must have been booking. How fast did you think were you going? HELEN Bob! We are not encouraging this. BOB I'm not encouraging, I'm just asking how fast... HELEN Honey! BOB Great. First the car, now I gotta pay to fix the table... HELEN The car? What happened to the car? BOB Here. I'm getting a new plate. HELEN So, how about you, Vi? How was school? VIOLET Nothing to report. HELEN You've hardly touched your food. VIOLET I'm not hungry for meatloaf. HELEN Well, it is leftover night. We have steak, pasta. What are you hungry for? DASH Tony Rydinger. VIOLET Shut up! DASH Well, you are. VIOLET I said, shut up, you little insect! DASH Well, she is. HELEN Do not shout at the table. Honey! BOB Kids! Listen to your mother. DASH She'd eat if we were having Tony loaf. VIOLET That's it! HELEN Stop it! DASH You're gonna be toast! HELEN Stop running in the house. Sit down! DASH Ow! Hey, no force fields! VIOLET You started it. HELEN You sit down! You sit down! Violet! BOB ''Simon J. Paladino, longtime advocate of superhero rights, is missing''? Gazerbeam. HELEN Bob! It's time to engage. Do something! Don't just stand there! I need you to intervene! BOB You want me to intervene? Okay. I'm intervening. I'm intervening! HELEN Violet, let go of your brother! JACK-JACK Hello? BOB Get the door. DASH Hey, Lucius! LUCIUS Hey, Speedo. Hey, Helen. Vi, Jack-Jack. BOB He-hey! Ice of you to drop by. LUCIUS Ha! Never heard that one before. DASH [gargling] Lucius! LUCIUS Whoa! LUCIUS Ha, ha. DASH Oh! I like it when it shatters. BOB I'll be back later. HELEN Hey, where are you two going? BOB It's Wednesday. HELEN Oh. Bowling night. Say hello to Honey for me, Lucius. LUCIUS Will do. Good night, Helen. Good night, kids. HELEN Don't think you've avoided talking about your trip to the principal's office, young man. Your father and I are still gonna discuss it. DASH I'm not the only kid who's been sent to the office, you know. HELEN Other kids don't have superpowers. Now, it's perfectly normal... VIOLET Normal? What do you know about normal? What does anyone in this family know about normal? HELEN Now, wait a minute, young lady. VIOLET We act normal, mom. I wanna be normal! The only normal one is Jack-Jack, and he's not even toilet trained. [Jack-Jack laughing] DASH Lucky. I meant about being normal. __________________________________________SCENE 9__________________________________________ LUCIUS So now I'm in deep trouble. I mean, one more jolt of this death ray and I'm an epitaph. Somehow I managed to find cover and what does Baron Von Ruthless do? BOB He starts monologuing. LUCIUS He starts monologuing! He starts like this prepared speech about how feeble I am compared to him. How inevitable my defeat is, how the world will soon be his! Yada, yada, yada. BOB Yammering. LUCIUS Yammering! I mean, the guy has me on a platter, and he won't shut up. POLICE RADIO Municiberg, we have a 23-56... BOB 23-56, what is that? Robbery? LUCIUS This is just sad. BOB Yeah, robbery. Want to catch a robber? LUCIUS No. Tell you the truth, I'd rather go bowling. Look, what if we actually did what our wives think we're doing? Just to shake things up. WOMAN He's not alone. The fat guy's still with him. They're just talking. LUCIUS What are we doing here, Bob? BOB Protecting people. LUCIUS Nobody asked us. BOB You need an invitation? LUCIUS I'd like one, yes. We keep sneaking out to do this, and...you remember Gazerbeam? BOB Yeah. There was something about him in the paper. LUCIUS He had trouble adjusting to civilian life, too. BOB When's the last time you saw him? LUCIUS I don't see anyone from the old days, Bob. Just you. And we're pushing our luck as it is. BOB Oh, come on. LUCIUS It was fun the first time, but if we keep doing this, we're gonna get-- POLICE RADIO We have a report on a fire... BOB A fire. We're close! [yelling] Yeah, baby! LUCIUS We're gonna get caught. BOB Woohoo! Haha! Fire! Yeah! LUCIUS Is that everybody? BOB Yeah, that's everyone. LUCIUS It better be. BOB Can't you put this out? LUCIUS I can't lay down a layer thick enough! It's evaporating too fast! BOB Well, what's that mean? LUCIUS It means it's hot! And I'm dehydrated, Bob! BOB You're out of ice? You can't run out of ice! I thought you can use water in the air! LUCIUS There is no water in this air! What's your excuse, run out of muscle? BOB I just can't go smashing into walls! The building's getting weaker by the second! It's gonna come down on top of us! LUCIUS I wanted to go bowling! BOB All right! Stay right on my tail! This is gonna get hot! BOB Yeah. BOB [realizes they're in a jewelry store...] Uh-oh. BOB [...and unknowingly trips the alarm] Oh, good. [alarm sounds] LUCIUS Oh, now...that ain't right! LUCIUS/BOB - We look like bad guys! Incompetent bad guys! - You can get water out of the air! POLICE OFFICER Freeze! POLICE OFFICER Freeze! LUCIUS I'm thirsty. POLICE OFFICER I said freeze! LUCIUS I'm just getting a drink. POLICE OFFICER Alright. You've had your drink. Now I want you to... LUCIUS I know. I know. Freeze. [police radio chatter] POLICE RADIO Shots fired! OFFICERS Police officers! LUCIUS That was way too close. We are not doing that again. MAN [over radio] Verify you want to switch targets? Over. WOMAN Trust me. This is the one he's been looking for. __________________________________________SCENE 10__________________________________________ HELEN I thought you'd be back by 11 . BOB I said I'd be back later. HELEN I assumed you'd be back later. lf you came back at all...you'd be ''back later''. BOB Well, I'm back, okay? HELEN Is this rubble? BOB [with mouth full] It was just a little workout. Just to stay loose. HELEN You know how I feel about that, Bob. Darn you! We can't blow cover again! BOB The building was coming down anyway. HELEN What?! You knocked down a building?! BOB It was on fire. Structurally unsound. It was coming down anyway. HELEN Tell me you haven't been listening to the police scanner again? BOB Look, I performed a public service. You act like that's a bad thing. HELEN It is a bad thing, Bob! Uprooting our family again, so you can relive the glory days is a very bad thing. BOB Reliving the glory days is better than acting like they didn't happen! HELEN Yes! They happened! But this, our family, is what's happening now, Bob. And you are missing this! I can't believe you don't want to go to your own son's graduation. BOB It's not a graduation. He's moving from the fourth grade to the fifth grade. HELEN It's a ceremony! BOB It's psychotic! They keep creating new ways to celebrate mediocrity but if someone is genuinely exceptional... HELEN This is not about you, Bob. This is about Dash. BOB You want to do something for Dash? Then let him actually compete. Let him go out for sports! HELEN I will not be made the enemy here! You know why we can't do that. BOB Because he'd be great! HELEN This is not about you! BOB All right, Dash. I know you're listening. Come on out. HELEN Vi? You, too, young lady. BOB Come on. Come on out. It's okay, kids. We're just having a discussion. VIOLET Pretty loud discussion. BOB Yeah. But that's okay. Because what's important is that Mommy and I are always a team. We're always united against, uh, the forces of, uh... HELEN Pigheadedness? BOB I was gonna say evil or something. HELEN We're sorry we woke you. Everything's okay. Go back to bed. It's late. DASH Good night, Mom. Night, Dad. VIOLET Good night. HELEN In fact, we should all be in bed. [crickets chirping, dog barks] __________________________________________SCENE 11__________________________________________ WOMAN [on phone] Request claim on claim numbers 158183... MR. HUPH [over the intercom] Haven't you got him yet?! Where is he?! HUPH'S SECRETARY [over the intercom] Mr. Huph would like to talk to you in his office. BOB Now? HUPH'S SECRETARY [over the intercom] Now. MR. HUPH Sit down, Bob. MR. HUPH I'm not happy, Bob. Not happy. Ask me why. BOB Okay. Why? MR. HUPH Why what? Be specific, Bob. BOB Why are you unhappy? MR. HUPH Your customers make me unhappy. BOB What, you've gotten complaints? MR. HUPH Complaints I can handle. What I can't handle is your customers' inexplicable knowledge of lnsuricare's inner workings! They're experts. Experts, Bob! Exploiting every loophole, dodging every obstacle! They're penetrating the bureaucracy! BOB Did I do something illegal? MR. HUPH No. BOB Are you saying we shouldn't help our customers? MR. HUPH The law requires that I answer no. BOB We're supposed to help people. MR. HUPH We're supposed to help our people! Starting with our stockholders, Bob. Who's helping them out, huh? You know, Bob, a company... BOB Is like an enormous clock. MR. HUPH ...is like an enormous clo--yes. Precisely. It only works if all the little cogs mesh together. Now, a clock needs to be cleaned, well-lubricated and wound tight. The best clocks have jewel movements, cogs that fit, that cooperate by design. [chuckling] I'm being metaphorical, Bob. You know what I mean by cooperative cogs? Bob? Bob? Look at me when I'm talking to you, Parr! BOB That man out there, he needs help. MR. HUPH Do not change the subject, Bob. We're discussing your attitude! BOB He is getting mugged! MR. HUPH Well, let's hope we don't cover him. BOB I'll be right back. MR. HUPH Stop right now or you're fired! Close the door. Get over here, now. MR. HUPH I'm not happy, Bob. Not happy. BOB He got away. MR. HUPH Good thing, too. You were this close to losing your jo-- BOB Uh-oh. __________________________________________SCENE 12__________________________________________ BOB How is he? RICK He'll live. BOB I'm fired, aren't I? RICK Oh, you think? BOB What can I say, Rick? RICK Nothing you haven't said before. BOB Someone was in trouble. RICK Someone's always in trouble. BOB I had to do something. RICK Yeah. Every time you say those words, it means a month and a half of trouble for me, Bob. It means hundreds of thousands of taxpayer's dollars. BOB I know. RICK We gotta pay to keep the company quiet. We gotta pay damages, erase memories, relocate your family. Every time it gets harder. Money, money, money, money. We can't keep doing this, Bob! We appreciate what you did in the old days, but those days are over. From now on, you're on your own. RICK Listen, Bob. Maybe I could relocate you, you know, for old times' sake. BOB No, I can't do that to my family. Everyone just got settled. I'll make it work. Thanks. RICK Take care of yourself. BOB Well, what are you waiting for? KID I don't know. Something amazing, I guess. BOB [sighs] Me too, kid. __________________________________________SCENE 13__________________________________________ BOB Huh? ''Hold still''? COMPUTER Match: Mr. Incredible. Room is secure. Commence message. MIRAGE Hello, Mr. Incredible. Yes, we know who you are. Rest assured, your secret is safe with us. My name is Mirage. We have something in common. According to the government, neither of us exist. Please pay attention, as this message is classified and will not be repeated. I represent a top secret division of the government, designing and testing experimental technology, and we have need of your unique abilities. Something has happened at our testing facility. HELEN Honey! BOB Huh? What? HELEN Dinner's ready. BOB Okay. MIRAGE ...it is contained within an isolated area, it threatens to cause incalculable damage to itself and to our facilities, jeopardizing hundreds of millions of dollars worth of equipment... HELEN Is someone in there? BOB It's the TV, trying to watch. MIRAGE Because of its highly sensitive nature... HELEN Well, stop trying. It's time for dinner. BOB One minute! MIRAGE If you accept, your payment will be triple your current annual salary. Call the number on the card. Voice-matching will be used to ensure security. The supers aren't gone, Mr. Incredible. You're still here. You can still do great things. Or...you can listen to police scanners. Your choice. You have 24 hours to respond. Think about it. [beeping] COMPUTER This message will self-destruct. BOB Uh-oh. __________________________________________SCENE 14__________________________________________ HELEN You are one distracted guy. BOB Hmm? Am I? I don't mean to be. HELEN I know you miss being a hero and your job is frustrating. I just want you to know how much it means to me that you stay at it anyway. BOB Honey? About the job? HELEN What? BOB Something's happened. HELEN What? BOB The, uh... HELEN What? BOB The company is sending me to, uh, a conference. HELEN A conference? BOB [stammering] Out of town. And I'm just gonna be gone for a few days. HELEN They've never sent you to a conference before. This is good, isn't it? BOB [hesitating] Yes. HELEN You see? They're finally recognizing your talents. You're moving up. BOB Yes. HELEN Honey! This is wonderful! BOB Yes, it is. [phone ringing] MIRAGE [over phone] Hello? BOB (MR. INCREDIBLE) This is Mr. lncredible. I'm in. __________________________________________SCENE 15__________________________________________ MIRAGE The Omnidroid 9000 is a top secret prototype battle robot. lts artificial intelligence enables it to solve any problem it's confronted with. And, unfortunately... BOB (MR. INCREDIBLE) Let me guess. It got smart enough to wonder why it had to take orders. MIRAGE We lost control. And now it's loose in the jungle, threatening our facility. We've had to evacuate all personnel from the island for their own safety. BOB (MR. INCREDIBLE) How am I going in? MIRAGE The Omnidroid's defenses necessitate an air drop from 5000 feet. lts cloaking devices make it difficult to track. Although we're pretty sure it's on the southern half of the island. One more thing. Obviously it represents a significant investment. BOB (MR. INCREDIBLE) You want me to shut it down without completely destroying it. MIRAGE You are Mr. lncredible. MIRAGE I've got to warn you, it's a learning robot. Every moment you spend fighting it only increases its knowledge of how to beat you. BOB (MR. INCREDIBLE) Shut it down. Do it quickly. Don't destroy it. MIRAGE And don't die. BOB (MR. INCREDIBLE) Great. Thanks. BOB (MR. INCREDIBLE) Showtime. style='font-size:10.0pt;font-family:Tahoma'><Not much going on here. This is the Mr. Incredible versus the Omnidroid prototype fight. Use your imagination in filling in the blanks.> BOB (MR. INCREDIBLE) Huh? BOB (MR. INCREDIBLE) Hmm. BOB (MR. INCREDIBLE) Uh-oh. [laughing, loud crack] BOB (MR. INCREDIBLE) Oh, my back! [loud crack] BOB (MR. INCREDIBLE) Oh! MAN Surprising. We must bring him back. Sound the all clear, and invite him to dinner. __________________________________________SCENE 16__________________________________________ MAN Most important, keep things light. Praise him. Make him feel like we appreciate his abilities. BOB (MR. INCREDIBLE) Am I overdressed? MIRAGE Actually, you look rather dashing. BOB (MR. INCREDIBLE) I take it our host is... MIRAGE Oh, I'm sorry. He won't be dining with us. He hopes you'll understand. BOB (MR. INCREDIBLE) Of course. I do usually make it a point to know who I'm working for. MIRAGE He prefers a certain amount of anonymity. Surely, you of all people understand that. BOB (MR. INCREDIBLE) I was just wondering, of all the places to settle down, why live... MIRAGE With a volcano? He's attracted to power. So am I. It's a weakness we share. BOB (MR. INCREDIBLE) Seems a bit unstable. MIRAGE I prefer to think of it as misunderstood. BOB (MR. INCREDIBLE) [chuckling] Aren't we all? MIRAGE Volcanic soil is among the most fertile on Earth. Everything at the table was grown right here. How does it compare? BOB (MR. INCREDIBLE) Everything's delicious. __________________________________________SCENE 17__________________________________________ BOB Jeez. HELEN Hurry, honey. Or you'll be late for work. HELEN Have a great day, honey. BOB Thanks. HELEN Help customers, climb ladders... BOB Bring bacon? HELEN All that jazz. GUARD You have an appointment? BOB I'm an old friend. I just wanted to... GUARD All visi
21	Kung Fu Panda	Jonathan Aibel,Glenn Berger	Animation,Action,Comedy,Family	June_2008	EXT. VALLEY -- DAY A MYSTERIOUS WARRIOR treks across the rugged landscape. NARRATOR (V.O.) Legend tells of a legendary warrior whose Kung Fu skills were the stuff of legend. The warrior, his identity hidden beneath his flowing robe and wide-brimmed hat, gnaws on a staff of bamboo. NARRATOR (V.O.) (CONT'D) He traveled the land in search of worthy foes. CUT TO: INT. BAR The warrior sits at a table drinking tea and gnawing on his bamboo. The door BLASTS open. The MANCHU GANG rushes in and surrounds him. GANG BOSS (to warrior) I see you like to CHEW! (beat) Maybe you should chew on my FIST!! The Boss punches the table. NARRATOR (V.O.) The warrior said nothing for his mouth was full. Then, he swallowed. He swallows. NARRATOR (V.O.) (CONT'D) And then, he spoke. WARRIOR (dubbed hero voice) Enough talk. Let's FIGHT! SHASHABOOEY! WHAM! The warrior delivers a punch and the whole gang goes flying. NARRATOR (V.O.) He was so deadly in fact that his enemies would go blind from overexposure to pure awesomeness. 2. The gang members blindly flail about. NINJA CAT MY EYES! GATOR HE'S TOO AWESOME! ONLOOKERS swoon. SMITTEN BUNNY And ATTRACTIVE! GRATEFUL BUNNY How can we repay you?? WARRIOR There is no charge for awesomeness, or attractiveness. ONE HUNDRED ASSASSINS appear and surround the warrior. CUT TO: EXT. BAR - CONTINUOUS The entire bar swells, packed to the rafters with ninjas. WARRIOR KABLOOEY! CUT TO: EXT. BAR - CONTINUOUS The roof EXPLODES and a cloud of ninjas erupts into the sky. Like a tornado, the warrior spins and knocks them all down. NARRATOR (V.O.) It mattered not how many foes he faced. They were no match for his bodacity. The warrior beats up a thousand ninjas, delivering his final blow while doing a split between two trees. The warrior stands amongst a field of vanquished foes as god- rays shine down upon him. NARRATOR (V.O.) (CONT'D) Never before had a panda been so feared... and so loved. (MORE) 3. NARRATOR (V.O.) (CONT'D) Even the most heroic heroes in all of China, the Furious Five, bowed in respect to this great master. MONKEY We should hang out. WARRIOR Agreed. As the Five salute the warrior, he turns to see more bandits approaching. The Five strike an attack pose. The warrior brandishes a shiny green sword and leaps off the mountain into the sea of bandits. NARRATOR (V.O.) But hanging out would have to wait. `Cause when you're facing the ten thousand demons of Demon Mountain, there's only one thing that matters. And that's-- In mid air, the Five talk to the warrior in a strange voice. MONKEY Po! Get up! TIGRESS You'll be late for work! PO Whu? INT. PO'S ROOM - DAY Po lands hard on the floor. He tries to clear his head and wake up. PO'S DAD (O.S.) Po! Get up! We see his room is filled with various kung fu posters (including a poster featuring all of the Five) and souvenirs, and a wooden version of the Sword of Heroes (the green sword). Po SIGHS. He attempts to kick himself to his feet but alas, his belly is too worthy a foe. PO'S DAD (O.S.) (CONT'D) Po! What are you doing up there? 4. PO Uh, nothing! Po hops to his feet, imitating his Kung Fu action figures. PO (CONT'D) Monkey! Mantis! Crane! Viper! Tigress! Rowrrrr... OUTSIDE on the balcony of the neighboring house, a pig watering flowers stares at Po. Po tries to play it cool and then quickly ducks out of sight. PO'S DAD (O.S.) Po! Let's go! You're late for work! PO Coming! He takes a ninja star from his floor and chucks it at the wall. It bounces off. He throws the star again, but it bounces off again. He picks it up and heads downstairs. He trips and falls the rest of the way. INT. KITCHEN - DAY Po falls flat on his face on the kitchen floor. A panda- shaped shadow looms over Po. PO Sorry, Dad. PO'S DAD Sorry doesn't make the noodles. Reveal that the shadow is actually caused by a basket being carried by a small DUCK. This is PO'S DAD. Po gets to work, which is not easy since the kitchen's not really made for a panda his size. PO'S DAD (CONT'D) What were you doing up there? All that noise. PO Oh, nothing. Just had a crazy dream. He gets back to work. 5. PO'S DAD About what? PO Huh? PO'S DAD The dream. What were you dreaming about? PO What was I... eh, I was dreaming about uh... heh... Push in on Po -- is he going to admit his dream? He hides his throwing star behind his back. PO (CONT'D) Noodles. THOK. Dad stops chopping vegetables. PO'S DAD Noodles. You were really dreaming about noodles? PO Uh, yeah. What else would I be dreaming about? Po hands a noodle bowl to a customer, then realizes his throwing star is sitting in it. PO (CONT'D) (to customer) Careful, that soup is... sharp! PO'S DAD Oh, happy day! My son, finally having the noodle dream! He throws his arms around Po. PO'S DAD (CONT'D) You don't know how long I have been waiting for this moment. When Dad pulls out of the hug, Po is now wearing a noodle apron. PO'S DAD (CONT'D) This is a sign, Po! 6. Po looks at the apron nervously -- what has he gotten himself into? PO Uh...a sign of what? PO'S DAD You are almost ready to be entrusted with the secret ingredient of my "Secret Ingredient Soup." And then you will fulfill your destiny and take over the restaurant, just as I took it over from my father, who took it over from his father, who won it from a friend in a game of mahjong. PO Dad Dad Dad, it was just a dream. PO'S DAD No, it was the dream. We are noodle folk. Broth runs through our veins. PO But Dad, didn't you ever, I dunno, want to do something else? Something besides noodles? PO'S DAD Actually... Po looks surprised. PO'S DAD (CONT'D) When I was young and crazy... Dad gets a wistful look in his eyes. PO'S DAD (CONT'D) I thought about running away and learning how to make tofu. PO So why didn't you?! PO'S DAD Oh, because it was a stupid dream. Can you imagine, me making tofu? (laughs at the thought) No. We all have our place in this world. Mine is here. And yours is-- 7. PO I know. Is here. PO'S DAD No, it's at tables two, five, seven, and twelve. He loads Po's arms with bowls of soup. PO'S DAD (CONT'D) Service with a smile! A GONG sounds in the distance. Po looks out the window at the distant JADE PALACE. EXT. JADE PALACE - DAY SLAM ZOOM in towards Palace. End next to palace on an old red panda (SHIFU) playing a FLUTE. He is surrounded by the bushes and trees that nestle between the Palace buildings. Wider: We dolly around from behind the bushes. Stealthy dark shapes move in the foreground. Back on Shifu, still playing. He seems oblivious. Five figures explode from the undergrowth simultaneously, diving on Shifu. Shifu moves like lightning - the flute now wielded like a staff - he deflects, blocks, dodges, parries - the attackers go flying - They roll and pick themselves up, turning to face Shifu, who is now standing - poised - ready for their next move. SHIFU Well done, students... if you were trying to disappoint me. He uses his flute to correct the Five's technique. SHIFU (CONT'D) Tigress, you need more ferocity. Monkey, greater speed. Each of the Five bows respectfully as their name is mentioned. 8. SHIFU (CONT'D) Crane - height. Viper - subtlety. Mantis-- Shifu suddenly points the flute at a scared PALACE GOOSE. ZENG Master Shifu! SHIFU (impatiently) What?! ZENG (startled) Aah! It's Master Oogway. He wants to see you. Shifu looks up, concerned. INT. HALLWAY Shifu strides purposefully down the hallway, which is lined with palace geese. INT. SCROLL ROOM - DAY Candles, incense, and smoke fill the room. The door bursts open, the candles flicker. Shifu enters. SHIFU Master Oogway? You summoned me. He bows. Then looks up without unbowing. SHIFU (CONT'D) Is something wrong? Reveal Master Oogway... a wise, old tortoise. OOGWAY Why must something be wrong for me to want to see my old friend? SHIFU So... nothing's wrong? OOGWAY Well, I didn't say that. Shifu looks up, concerned. Oogway opens his mouth... and blows out a candle. And another candle. And another. 9. Finally, Shifu uses his Kung Fu to blow them all out. Oogway smiles knowingly. SHIFU You were saying? OOGWAY I have had a vision... Tai Lung will return. Shifu looks stricken. FLASHBACK - INT. SCROLL ROOM Quick, impressionistic images of Shifu battling a large, shadowy figure (Tai Lung). PRESENT - INT. SCROLL ROOM Shifu is rattled. He looks at the claw marks that still scar the wall and quickly looks away. But he regains his composure. SHIFU That is impossible. He is in prison. OOGWAY Nothing is impossible. Shifu makes a split decision. SHIFU Zeng! He comes flying in. Shifu gets in his face. SHIFU (CONT'D) Fly to Chogun Prison and tell them to double the guards, double their weapons. Double everything! Tai Lung does not leave that prison! ZENG Yes, Master Shifu. The goose flies off, but... SMACK! He hits a column. Then he is off. Back on Oogway, as he walks toward camera, away from Shifu. 10. OOGWAY One often meets his destiny on the road he takes to avoid it. SHIFU We have to do something. We can't just let him march on the valley, and take his revenge! He'll, he'll-- Oogway looks into the water of the moon pool. OOGWAY Your mind is like this water, my friend. When it is agitated, it becomes difficult to see. But if you allow it to settle, the answer becomes clear. Shifu and Oogway stare into the pool. Oogway settles the water, revealing the reflection of an intricately carved dragon clutching a SCROLL in its mouth. SHIFU The Dragon Scroll... OOGWAY It is time. SHIFU But who? Who is worthy to be trusted with the secret to limitless power? To become...the Dragon Warrior?! Dramatic music as we push in on Oogway's face. Then... OOGWAY I don't know. INT. NOODLE SHOP - DAY Po is serving customers, but has trouble squeezing between tables. PO Oop...sorry. ANGRY PATRON Hey! Watch it, Po! PO Sorry. Suck it up. 11. He sucks his belly in, but this causes his butt to interfere with a bunny family's meal. DISGUSTED PATRON Ugh! PO Oop! Sorry! A thousand pardons. A couple palace geese put up a poster on the wall and a palace pig hits a tiny gong. This gets Po's attention. He rushes up to the poster. PO (CONT'D) What?! Master Oogway's choosing the Dragon Warrior! Today! Customers jump up excitedly. PO (CONT'D) Everyone! Everyone! Go! Get to the Jade Palace! Po urges the villagers out the restaurant. PO (CONT'D) One of the Five is gonna get the Dragon Scroll! Customers rush to finish their food. PO (CONT'D) We've been waiting a thousand years for this! Just take the bowl! Other customers are finishing their soup. One old lady customer slowly counts out coins and puts them on the table. PO (CONT'D) This is the greatest day in Kung Fu history! Don't worry about it, just go! He starts to run. PO'S DAD Po! Where are you going? Po stops dead in his tracks, busted. PO To the...Jade Palace? 12. PO'S DAD But you're forgetting your noodle cart! The whole valley will be there, and you'll sell noodles to all of them. PO Selling noodles? But Dad, you know, I was kinda thinking maybe I... PO'S DAD Yeah? PO I was kinda thinking maybe I... PO'S DAD Uh huh? Po wants to say something to his dad, but he loses his nerve. PO ...Could also sell the bean buns. They are about to go bad. PO'S DAD That's my boy! I told you that dream was a sign! PO Yeah, ha ha, glad I had it. EXT. VALLEY SQUARE - DAY Throngs of Villagers are streaming into the arena. A couple BUNNY KIDS run by. BUNNY FAN #1 Yippee! BUNNY FAN #2 I'm a Kung Fu warrior! BUNNY FAN #1 Me too! Where's Po? PAN DOWN a long, long, long, long flight of stairs. Po stands at the bottom with his noodle cart, looking up at the daunting task before him. Po struggles to pull his noodle cart up the stairs. 13. The sun beats down on Po, but he presses forward. Climbing. Climbing. DISSOLVE TO: EXT. VALLEY SQUARE - LATER Po is still struggling up the stairs. PO Come on! Come on, ya-- Almost there... He stops, flopping onto his back to catch his breath. WIDEN TO REVEAL he's only made it up seven steps. PO (CONT'D) What? No! Oh No! Two Pigs pass by. KG SHAW Sorry, Po. JR SHAW We'll bring you back a souvenir. Po watches as they run up the stairs. His eyes narrow. This is his heroic moment. PO No. I'll bring me back a souvenir. Po tosses off his hat and apron and begins his ascent up the stairs. EXT. JADE PALACE - ARENA PLATFORM Oogway reaches the bottom of the palace stairs and a Palace Pig bangs a gong. SHIFU It is an historic day, isn't it, Master Oogway? OOGWAY Yes, and one I feared I would not live to see. Are your students ready? 14. SHIFU Yes, Master Oogway. OOGWAY Now know this, old friend. Whomever I choose will not only bring peace to the Valley, but also to you. As Shifu contemplates what this could mean, Oogway starts walking off. Shifu quickly joins Oogway as they head towards the roaring crowd below. The pig bangs the gong. ANNOUNCER Let the tournament begin! EXT. VALLEY SQUARE - DAY Throngs of Villagers are streaming into the arena. EXT. TOP OF STAIRS - DAY Po gasps for air as he hoists himself over the last step, laughing victoriously. PO (out of breath) Yeah! The doors to the palace arena begin to close. PO (CONT'D) Oh no! No no no! Wait! I'm coming! Po runs to the entrance and proceeds to bang on the door. PO (CONT'D) Hey! Open the door! DRUMS inside drown out Po's pounding. He yells. PO (CONT'D) Let me in! Inside, spectators' screams drown out Po's yelling. Po panics for a beat and then finds a window. He jumps and weakly struggles to pull himself up. Po struggles to peek through the window. 15. INT. PALACE ARENA - CONTINUOUS SHIFU Citizens of the Valley of Peace! It is my great honor to present to you... Tigress! Viper! Crane! Monkey! Mantis! The Furious Five! The Five jump into the middle of the ring. PO The Furious Five! Po manages a brief glimpse of the Five before a gust of wind knocks Po to the ground and shuts the window. SHIFU Warriors prepare! Po runs over to a crack in the wall. PO Peeky-hole! SHIFU Ready for battle! Inside the arena, Po catches a glimpse of Crane as he spreads his wings. PO Yeah! Woo! The Thousand Tongues of Fire! One of the spectators walks in front of Po, cutting off his view. PIG FAN Whoa! Look at that. PO Hey, get out of the way! Po backs up to get a better look at Crane in the sky and accidentally falls down the stairs. Po climbs back up and drops his head -- he missed it. MONTAGE: Po tries karate chopping the door open...to no avail. He slumps to the ground. 16. PO (CONT'D) Ow... Po attempts a pole vault, but falls on his back. The pole whips around and hits him into the arena wall. Po rigs a catapult, only to get clobbered by it. The crowd CHEERS. Po sits atop the stairs. Alone. SHIFU And finally...Master Tigress! Po snaps to attention. Po pulls on a rope tied to a tree. SHIFU (O.S.) (CONT'D) And believe me citizens, you have not seen anything yet! PO I KNOW!! SHIFU (O.S.) Master Tigress! Face Iron Ox and his Blades of Death! Tigress sets up to deliver her move. Po launches himself up above the fence, gets a peek at Tigress, then falls out of view just as she does her move. Po lands outside the arena in a fireworks tent. INT. TOURNAMENT RING - DAY Oogway senses something. He raises his hand and the crowd hushes. OOGWAY I sense the Dragon Warrior is among us. Shifu motions for the Five to gather in the center of the ring. SHIFU Citizens of the Valley of Peace! Master Oogway will now choose... the Dragon Warrior! 17. EXT. TOURNAMENT RING - DAY Po comes to. PO Huh? Oh no! Wait! He sees the fireworks and has an idea. PO (CONT'D) Yeah! INT. TOURNAMENT RING - DAY Oogway closes his eyes and raises his hand as ceremonial DRUMS start to play. EXT. TOURNAMENT RING - DAY Po struggles with something, his back turned to us. Reveal he has tied a load of fireworks to a chair. He hops on and lights the fuse. PO'S DAD (O.S.) Po?! Po's Dad rushes over and tries to blow out the fuse. PO'S DAD (CONT'D) What are you doing? PO What does it look like I'm doing? Stop! Stop! I'm going to see the Dragon Warrior! PO'S DAD But I don't understand. You finally had the noodle dream. Po looks uneasy. PO I lied. I don't dream about noodles, Dad! He looks at the fuse... almost all gone... Po holds onto the chair for dear life, closes his eyes, and braces himself for liftoff. PO (CONT'D) I love kung fuuuuuuuuuuuuuuuuu-
22	LEGO Movie The	Chris Miller,Phil Lord	Animation,Action,Adventure	February_2014	FADE IN: On the awesome WB LOGO made of LEGO bricks. We PUSH through it and find ourselves in a STARFIELD. A COMET streaks towards us. We FOLLOW as it blasts past. The ground plane rushes up to camera. BLACK. EXT. LANDSCAPES - DAY HELICOPTER SHOTS over various landscapes. NARRATOR No one knows where it came from. There had been others. Mysterious relics of another world. But only one with the power to stop the world. SHKBOOM!!! The comet makes impact! A LEGO explosion! We peer into the smoking crater. Fire amid blackness. NARRATOR Many vied for its dark magic. A few brave souls endeavoured to hide it from those who would use it for ill. Until finally, thankfully it was lost to history. Suddenly, we are blinded by a powerful TUNNEL OF LIGHT. It's an animated LEGO version of the light tunnel in 2001, which was directed by Stanley Kubrick, who knows a thing or two about making movies, so don't step. We push forwards, headed into a new world. NARRATOR Ours is a story of a world that knows not where it comes from. That cannot imagine what it is capable of. Perhaps you can relate. I know I can. MAIN TITLE: "LEGO: THE PIECE OF RESISTANCE" EXT. AWESOME TEMPLE - DUSK The most killer looking ancient vine-encrusted jungle temple of all time. The whole thing is made of LEGO. CHYRON: "Ten billion years later" 2. REVEAL LEGO INDIANA JONES and two GUIDES. Indy puts up a hand for them to stop. He removes a RUBY RED PIECE from his bag and connects it to the temple. The piece GLOWS. A dark passageway opens, and Indy lights a torch. The flames are made of ANIMATED LEGO BRICKS. The guides are too scared to continue. Indy's not. INT. AWESOME TEMPLE - DUSK A beautiful room made entirely of GOLDEN BRICKS. In the center is a GOLDEN SARCOPHAGUS guarded by statues of gods from every ancient civilization imaginable. Indy carefully lifts a tablet from a statue of Zeus and places it into the sarcophagus like an ATM card. He pushes a bunch of cuneiform buttons - a PIN NUMBER. The sarcophagus opens. A white-hot glow on Indy's face. BLAM!!! The entire room shakes. The statues are blown apart! The smoke clears. Enter THE BLACK FALCON, the most evil person in the universe. He's flanked by ROBOT guards. INDY The Black Falcon. I should've known. BLACK FALCON Hey Indy. Uch. Who built this place? Must have been a bunch of lazy hippies, sitting around a table agreeing with each other. INDY It was built by the ancients. With more wisdom and artistry than you can ever know. The Black Falcon basks in the glow of the sarcophagus. BLACK FALCON The Kragle... INDY That belongs to the Maker. It must be protected! 3. BLACK FALCON What a lame boyscout thing to say! You're standing before the most powerful object in the world and you don't want to use it? You're a real nerd, Indiana Jones. The BF motions and his guards carry the sarcophagus away. INDY The MasterBuilders will learn of this. BLACK FALCON And what do you know of them? INDY Only that they will be your undoing. BLACK FALCON Adieu, Dr. Jones. That's French for ciao. He exits. As the sarcophagus crosses the threshold of the temple, walls shake. The temple is CRUMBLING. Left for dead, Indy uses the falling pieces to build himself a sweet rocket ship and blasts out of the temple. Narrowly avoiding a big rolling LEGO ball, probably. EXT. FIELD - DAY A farmhouse in the hills. Indy rolls up and pulls the teat of a goat, which opens a SECRET DOOR. INT. MASTERBUILDERS SECRET HIDEOUT - DAY Art studio meets SuperFriends headquarters. Badasses are MEDITATING, including GEMINI, a mysterious cloaked figure, and KRAV M'GA, the boss. Indy bursts in. PUSH IN dramatically: INDY The Black Falcon has the Kragle. PUSH IN dramatically: KRAV M'GA Gemini. Find the Chosen One. 4. PUSH IN dramatically: GEMINI Okay. BOOM. Something big just landed outside. Indy looks at his foot. Attached is a blinking red brick. Oh no. INDY They followed me... KRAV M'GA (TO GEMINI) GO! NOW! CRASH! It's a full scale assault by hundreds of ROBOTS. The MasterBuilders fight valiantly but are overwhelmed. Gemini runs from the fight, then stumbles, overcome with emotion as we hear the battle being lost. Amid the screams, Krav M'Ga's final words echo through Gemini's head... KRAV M'GA (V.O.) Find the Chosen One... INT. CRAPPY APARTMENT - DAY DORIS Emmet! DORIS, a dowdy mom, calls through her son's door. DORIS Did you clean your room?! The cleaning woman is coming today! EMMET (O.S.) Then why do I need to clean? DORIS Because I want her to know what a nice rule-following son I have! Doris walks into his meticulously clean room to find Emmet, 22, a total square, in his underpants. EMMET Mom! DORIS Aw, it is clean. 5. EMMET It's always clean! DORIS (CHOKING UP) Just like I taught you. EMMET What's the point of having my own apartment across the hall from your apartment if you're going to check up on me like I still live at home? Emmet "pulls" on a pair of mini-fig legs. Replaces his torso with a shirt. Takes off his hair and puts on a construction hat. Ready for work. Doris is so proud. DORIS I just love you and want my son to be safe and happy. Can't you work from home? Like a sociopath or children's book author? EMMET Mom. I've spent my whole life here. I need to go out there and follow my dream of fitting in and being like everybody else. DORIS My boy. All grown up. Maybe soon you'll meet a girl and be married! EMMET Mom, please! DORIS I'm just saying, it's been how many years since Lucy? EMMET (changing the subject) Mom... I had the dream again. FLASH TO: INT. ART CLASS - DAY EMMET'S RECURRING DREAM: A middle school classroom. Everyone wears blue. Young Emmet wears red. The ART TEACHER walks around, commenting. 6. EMMET (V.O.) It was the same as it always is. Seared in my memory... Everyone dutifully draws the same drawing of a hand, but Emmet draws two hands close together so they look like eyes. He draws a mouth and pupils. The teacher stops. BAD ART TEACHER Emmet. This wasn't the assignment. You've got to learn to follow the rules. She holds up Emmet's drawing for all to see. BAD ART TEACHER Everyone, the assignment is to draw your hand, not a silly face. SLOW MOTION: All the kids in the class GASP. INT. CAFETERIA - MOMENTS LATER Emmet sits alone, crying. The other kids sit at other tables and whisper... KIDS That's the guys who drew a face. / What a weirdo. / He doesn't know how to follow instructions. / He's not invited to my birthday. Emmet ERASES his drawing, a pariah. A little GIRL looks at him from afar with sympathy. BACK TO SCENE DORIS I hated that day. The kids were so mean, the school tried to expel you... I promised myself I'd never let anything like that happen to you again. And it hasn't. So you need to let your memory of that day go. It never happened. EMMET I just want to be normal, Mom. DORIS Listen. You're my son. And you're the most normal, regular, average person I know. 7. EMMET You mean it? DORIS Yeah. EMMET Are you crying? DORIS No. Yes. Emmet... She wants to tell him something, but thinks better of it. DORIS Don't forget dinner. EMMET Promise. DORIS Be safe. EMMET Of course. DORIS Don't make waves. EMMET I never do. DORIS And follow the instructions. EMMET Always. DORIS If they weren't so firm and flush with your head, I would pinch your cheeks right now. EMMET Love you, Mom. DORIS Love you. He EXITS, leaving her alone in the room. She SIGHS. 8. EXT. LEGOPOLIS - DAY Emmet drives into the most elaborate LEGO city set ever. Everywhere are dozens of STREET SIGNS offering detailed instructions for what you should and shouldn't do. Everyone drives the same speed in the same direction, listening to the same station, moving to the same beat. MUSIC: An insanely catchy pop song. RADIO DJ It's another beautiful day in Legopolis and on Empura Radio. Reminding you don't forget to re- elect President Iamnotarobot for President of the City on Tuesday. Now, for the 258th consecutive week at #1, here's the No News Gnus with their hit "Everything is Awesome." EMMET Yeah. I love this song! And so does everyone else! In what feels like a musical number, Emmet drives past vignettes of citizens happily going about their day and loving this song! BILLBOARDS everywhere advertise EMPURA, a company which apparently owns everything. EXT. ALTERNATIVE AVENUE - DAY Everyone walks in the same direction and goes in to various identical-seeming coffee shops. SECURITY CAMERA FOOTAGE: A camera scans for something, or someone, but can't tell Emmet from the rest of the crowd. INT. KREATIVE KOFFEE - DAY A Starbucks by a different name. Mixed with a Hot Dog on a Stick. Emmet arrives at the counter. EMMET Hello. BARRISTA What'll it be? EMMET I'm Emmet. 9. BARRISTA Larry? EMMET Well, Larry, I'll have one coffee please. BARRISTA Cappuccino, macchiato, espresso, americano. EMMET What are those? Sounds a little foofy. BARRISTA They're all coffee. EMMET Oh. Well, whatever isn't too wild. I don't know, what do you think? (LAUGHS NERVOUSLY) BARRISTA A decaf. EMMET Okay, yeah. Cool. BARRISTA Venti, Grande, or Super Grande? EMMET Oh, goodness. So much selection. So hard to decide! You pick. BARRISTA That's a personal decision that only you can make. EMMET Uh. Gosh, which is the most popular? BARRISTA Super Grande. It's Italian for medium. EMMET Medium. That's what I'm havin'! That is my style. BARRISTA Fantastic. 10. EMMET You creative types! So delightfully sardonic! BARRISTA I push one of two buttons on a machine. I would hardly call that creative. I would call that following instructions. EMMET But it says Kreative right on your shirt! With an extra "kreative" spelling aberration! I totally don't get it! EXT. ALTERNATIVE AVENUE - DAY As Emmet exits the shop and passes an EMPURA billboard asking him to reelect President Iamnotarobot. A television in a shop window shows highlights of a debate between Iamnotarobot and Stooge Strawman. Emmet finishes the drive to work. Everyone pulls into their parking spaces at the same time, like clockwork. Emmet walks out and looks at his new work place. His breath is taken away as he gazes on a beautiful... EXT. INSTRUCTION SITE - DAY A fantastical construction site. Super-awesome cranes. Emmet walks and talks to his new boss. FOREMAN Alright, kid. Here's the rules. EMMET Ooh, great. FOREMAN Stay on your feet-- EMMET Mmm hmm. FOREMAN Stick to the instructions-- EMMET Uh huh. 11. FOREMAN And don't get creative! Emmet GUFFAWS like that's the craziest idea ever. EMMET Oh, Steve, don't worry. I'm not some kind of foofy weirdo, Steve! The laugh together for a LONG TIME. Then, FOREMAN It's Sean. EXT. INSTRUCTION SITE - MOMENTS LATER They walk past BIG STACKS OF PIECES moved by MACHINES. FOREMAN The pieces get sent down from corporate bundled together with the instructions. Take the one with your section on it and follow it to the letter. Keep track of all the pieces. If you lose one of the special ones it'll seriously drive you crazy. EXT. INSTRUCTION SITE - MOMENTS LATER They casually step across girders high above the city. FOREMAN Today you'll be putting together an artists' loft. EMMET Is it for an artist? FOREMAN Oh, no. It's for an accountant. EMMET Oh, great. FOREMAN Pretty soon, the whole city will look like this. All part of some big master plan from Central. EMMET Wow... 12. They arrive at the COOLEST CONSTRUCTION MACHINE EVER. Emmet opens up his actual size LEGO instructions. EMMET What if I mess up or lose my place or something? FOREMAN Just do what everyone else does. Keep your head down, follow instructions, and you could get promoted. Central's got some big project coming up overseas. EMMET Overseas? I don't know. I'm not big on travel. FOREMAN Whatever, kid. EMMET One more question. Emmet puts a hand on his shoulder. EMMET Thank you. For making my dreams come true. FOREMAN Is that a question? EXT. INSTRUCTION SITE - LATER Emmet puts his hands on the controls, savoring this moment, and finally puts his first brick in, according to the plan. It's an awesome feeling. Another. Another. He gets in the zone of building. This feels right. EXT. INSTRUCTION SITE - DAY Lunchtime. Emmet looks at a heart-shaped COOKIE his mom baked for him. "I love you" in frosting. He flips it over. "Be Safe!" He looks over to the other INSTRUCTION WORKERS, eating lunch. EMMET So. Silence. 13. EMMET How about that local sports team? What do you think of how they played the other day? LUNCH CONSUMER Ugh, they were awful. EMMET Right? They should make a personnel change of some kind. LUNCH CONSUMER THAT COACH-- EMMET Yes, the coach! LUNCH CONSUMER He's the only good thing about that team. EMMET They should so keep him! LUNCH CONSUMER We're all going to watch the game after work. Eat a little grub. Want to join? EMMET Really?! (CATCHES HIMSELF) Actually, I'm supposed to have dinner with my-- What the heck? I'm in. LUNCH CONSUMER Alright then. EMMET Cool. Definitely cool. (THEN) Hey did you hear that song on the way in to work this morning? LUNCH CONSUMER Everything is Awesome? I love that song. ANOTHER LUNCHER Me too! 14. EMMET I think I know why I like that song so much. LUNCH CONSUMER Why's that? EMMET Because everything is awesome. LUNCH CONSUMERS Oh yeah. / Good point. / I never thought of it like that. Emmet smiles his butt off. EXT. INSTRUCTION SITE - LATER Emmet is back to building. He takes a look at the city from the highest height. It's beautiful. He's downright INSPIRED looking at it. He sees the LEGO brick clouds in the sky slowly form the shape of a FACE. We ZOOM IN to Emmet's MIND. We see LEGO SYNAPSES firing. A CONNECTION between two halves of the brain. An IDEA. We pull back to REVEAL that Emmet has accidentally built, instead of a window, a SMILING FACE, reminiscent of the one he drew in class all that time ago. FOREMAN Kid! What the heck is that?! EMMET Oh, uh. I don't know. What? FOREMAN That's not the instructions. EMMET I don't know what happened. I was just looking out at the clouds, and-- It was an accident. The Foreman picks up the phone. FOREMAN (INTO PHONE) We got a loose brick! Code Danger! EMMET Code Danger? What's so dangerous? 15. Just then, A CRANE OPERATOR notices the happy face. His distraction causes the crane to go in the wrong direction and SMASH a wall. The falling bricks cause an elaborate chain reaction that tips the structure over. EMMET Oh. Chaos! Instruction workers run away for their lives! INT. POLICE CAR - DAY DISPATCHER (OVER RADIO) Loose brick! POLICEMAN Loose brick! POLICEMAN'S PARTNER Loose brick! The cops throw their lunch out the window, shattering it. They pop the sirens and take off! EXT. CITY STREET - CONTINUOUS The cops hit the gas! We PULL WIDER revealing dozens of other POLICE CARS doing the same. Sirens blaring. EXT. INSTRUCTION SITE - SAME TIME The condo tips over an adjacent condo (with someone living in it, of course) which hits another and another, the buildings going down like elaborate dominoes. Thirty COP CARS, an AMBULANCE and FIRE TRUCK screech in. Cops run full tilt to keep the buildings from falling. POLICE CHIEF Stop that building! The cops jump out and stare up at the last domino, which falls on them. SMASH! The remaining cops look at Emmet. INT. POLICE CAR - MOMENTS LATER Emmet is in the back of the car. 16. EMMET --unbelievably sorry. I am honestly the last person who would do something like thi-- INT. POLICE STATION - MOMENTS LATER Emmet is being booked. EMMET --eriously, a model citizen. I got straight As. I vote! Even in the off-year elections, for school board and stuff-- INT. INTERROGATION ROOM - DAY Emmet sits chained to a desk in the shadow of two DETECTIVES. They look slicker than the others. EMMET --swear, I'm not special at all. Just ask my mom! I'm a totally average normal person! BAD COP Oh yeah? What size coffee do you drink? EMMET Super grande. BAD COP Dammit! I can't break him. EMMET You don't need to break me! I'm just a regular old totally UNSPECIAL LAW-ABIDING-- SFX: SLAM! INT. LEGOPOLIS CORRECTIONAL FACILITY - NIGHT Emmet is in jail. He has a huge scary convict roommate. EMMET I'm Emmet. What's your name? CONVICT (< NOTHING >) 17. BLACK. INT. EMMET'S APARTMENT - SAME TIME Doris sits at an empty dinner table set for two. She picks at her food and sighs. Her only company is the TV. TV ANCHOR ...we're still following the story of the construction worker who got a little creative on his first day on the job. The subject was described as looking and acting exactly like everybody else... Police have take
23	Little Mermaid The	Roger Allers,Hans Christian Andersen,Howard Ashman,Ron Clements,John Musker	Family,Animation,Comedy,Musical,Romance,Fantasy	December_1989	(An ocean. Birds are flying and porpoises are swimming happily. From the fog a ship appears crashing through the waves) Sailors: I'll tell you a tale of the bottomless blue And it's hey to the starboard, heave ho Look out, lad, a mermaid be waitin' for you In mysterious fathoms below. Eric: Isn't this great? The salty sea air, the wind blowing in your face . . . a perfect day to be at sea! Grimsby: (Leaning over side.) Oh yes . . . delightful . . . . Sailor 1: A fine strong wind and a following sea. King Triton must be in a friendly-type mood. Eric: King Triton? Sailor 2: Why, ruler of the merpeople, lad. Thought every good sailor knew about him. Grimsby: Merpeople! Eric, pay no attention to this nautical nonsense. Sailor 2: But it ain't nonsense, it's the truth! I'm tellin' you, down in the depths o' the ocean they live. (He gestures wildly, Fish in his hand flops away and lands back in the ocean, relieved.) Sailors: Heave. ho. Heave, ho. In mysterious fathoms below. (Fish sighs and swims away.) (Titles. Various fish swimming. Merpeople converge on a great undersea palace, filling concert hall inside. Fanfare ensues.) Seahorse: Ahem . . . His royal highness, King Triton! (Triton enters dramatically to wild cheering.) And presenting the distinguished court composer, Horatio Thelonious Ignatius Crustaceous Sebastian! (Sebastion enters to mild applause.) Triton: I'm really looking forward to this performance, Sebastian. Sebastian: Oh, Your Majesty, this will be the finest concert I have ever con- ducted. Your daughters - they will be spectacular! Triton: Yes, and especially my little Ariel. Sebastian: Yes, yes, she has the most beautiful voice. . . . [sotto] If only she'd show up for rehearsals once in a while. . . . (He proceeds to podium and begins to direct orchestra.) Triton's daughters: Ah, we are the daughters of Triton. Great father who loves us and named us well: Aquata, Andrina, Arista, Atina, Adella, Allana. And then there is the youngest in her musical debut, Our seventh little sister, we're presenting her to you, To sing a song Sebastian wrote, her voice is like a bell, She's our sister, Ar-i . . . (Shell opens to reveal that Ariel is absent.) Triton: (Very angry.) Ariel!! (Cut to Ariel looking at sunken ship.) Flounder: (From distance.) Ariel, wait for me . . . Ariel: Flounder, hurry up! Flounder: (Catching up.) You know I can't swim that fast. Ariel: There it is. Isn't it fantastic? Flounder: Yeah . . . sure . . . it - it's great. Now let's get outta here. Ariel: You're not getting cold fins now, are you? Flounder: Who, me? No way. It's just, it, err . . . it looks - damp in there. Yeah. And I think I may be coming down with something. Yeah, I got this cough. (Flounder coughs unconvincingly) Ariel: All right. I'm going inside. You can just stay here and - watch for sharks. (She goes inside.) Flounder: O.K. Yeah - you go. I'll stay and - what? Sharks! Ariel! (He tries to fit through porthole.) Ariel . . . I can't . . . I mean- Ariel help! Ariel: (Laughs.) Oh, Flounder. Flounder: (Wispering.)Ariel, do you really think there might be sharks around here? (Shark passes outside.) Ariel: Flounder, don't be such a guppy. Flounder: I'm not a guppy. (Gets pulled through porthole.)This is great - I mean, I really love this. Excitement, adventure, danger lurking around every corn- YAAAAHHHHHHHH!! Ariel!! (He sees a skull, crashes into pillar causing cave in, and swims frantically away, knocking over Ariel.) Ariel: Oh, are you okay? Flounder: Yeah sure, no problem, I'm okay . . . Ariel: Shhh . . . (Seeing a fork.) Oh my gosh! Oh my gosh! Have you ever seen anything so wonderful in your entire life? Flounder: Wow, cool! But, err, what is it? Ariel: I don't know. But I bet Scuttle will. (Puts fork in bag. Skark swims by outside.) Flounder: What was that? Did you hear something? Ariel: (Distracted by pipe.) Hmm, I wonder what this one is? Flounder: Ariel . . Ariel: Flounder, will you relax. Nothing is going to happen. Flounder: (Seeing Shark looming behind him.) AAHHHH!! Run!! Run!! We're gonna die!! (Shark chases them all around. Ariel's bag is hung up. She goes back for it. Shark almost gets them. They head for porthole.) Oh No!! (They crash through and go round and round. Flounder gets knocked silly but Ariel saves him and traps Shark) You big bully. THBBBTTTT . . . (Shark snaps at him and he swims away.) Ariel: (Laughing.) Flounder, you really are a guppy. Flounder: I am not. (On surface. Scuttle on his island humming and looking through his telescope.) Ariel: Scuttle! Scuttle: (Looking through the telescope the wrong way, shouting.) Whoa! Mermaid off the port bow! Ariel, how you doin' kid? (Lowers telescope to reveal Ariel at wing's length.) Whoa, what a swim! Ariel: Scuttle - look what we found. Flounder: Yeah - we were in this sunken ship - it was really creepy. Scuttle: Human stuff, huh? Hey, lemme see. (Picks up fork.) Look at this. Wow - this is special - this is very, very unusual. Ariel: What? What is it? Scuttle: It's a dinglehopper! Humans use these little babies . . . to straighten their hair out. See - just a little twirl here an' a yank there and - voiolay! You got an aesthetically pleasing configuration of hair that humans go nuts over! Ariel: A dinglehopper! Flounder: What about that one? Scuttle: (Holding pipe) Ah - this I haven't seen in years. This is wonderful! A banded, bulbous - snarfblat. Ariel and Flounder: Oohhh. Scuttle: Now, the snarfblat dates back to prehistorical times, when humans used to sit around, and stare at each other all day. Got very boring. So, they invented the snarfblat to make fine music. Allow me. (Scuttle blows into the pipe; seaweed pops out the other end.) Ariel: Music? Oh, the concert! Oh my gosh, my father's gonna kill me! Flounder: The concert was today? Scuttle: (Still contemplating pipe.) Maybe you could make a little planter out of it or somethin'. Ariel: Uh, I'm sorry, I've gotta go. Thank you Scuttle. (Waves.) Scuttle: Anytime sweetie, anytime. (Cut to Flotsam and Jetsam, then Ursula in background watching magic projection of Ariel swimming.) Ursula: Yeeeeeees, hurry home, princess. We wouldn't want to miss old daddy's celebration, now, would we? Huh! Celebration indeed. Bah! In MY day, we had fantastical feasts when I lived in the palace. And now, look at me - wasted away to practically nothing - banished and exiled and practically starving, while he and his flimsy fish-folk celebrate. Well, I'll give 'em something to celebrate soon enough. Flotsam! Jetsam! I want you to keep an extra close watch on this pretty little daughter of his. She may be the key to Triton's undoing. . . . (Fade to the palace throne room where Ariel is being admonished.) Triton: I just don't know what we're going to do with you, young lady. Ariel: Daddy, I'm sorry, I just forgot, I - Triton: As a result of your careless behaviour - Sebastian: Careless and reckless behaviour! Triton: - the entire celebration was, er - Sebastian: Well, it was ruined! That's all. Completely destroyed! This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughing stock of the entire kingdom! Flounder: But it wasn't her fault! Ah - well - first, ahh, this shark chased us - yeah - yeah! And we tried to - but we couldn't - and - grrrrrrrrr - and - and we - whoooaaaaaa - oh, and then we were safe. But then this seagull came, and it was this is this, and that is that, and - Triton: Seagull? What? Oh - you went up to the surface again, didn't you? DIDN'T YOU? Ariel: Nothing - happened. . . . Triton: Oh, Ariel, How many times must we go through this? You could've been seen by one of those barbarians - by - by one of those humans! Ariel: Daddy, they're not barbarians! Triton: They're dangerous. Do you think I want to see my youngest daughter snared by some fish-eater's hook? Ariel: I'm sixteen years old - I'm not a child anymore - Triton: Don't you take that tone of voice with me young lady. As long as you live under my ocean, you'll obey my rules! Ariel: But if you would just listen - Triton: Not another word - and I am never, NEVER to hear of you going to the surface again. Is that clear? (Ariel leaves, crying.) Sebastian: Hm! Teenagers. . . . They think they know everything. You give them an inch, they swim all over you. Triton: Do you, er, think I - I was too hard on her? Sebastian: Definitely not. Why, if Ariel was my daughter, I'd show her who was boss. None of this "flitting to the surface" and other such nonsense. No, sir - I'd keep her under tight control. Triton: You're absolutely right, Sebastian. Sebastian: Of course. Triton: Ariel needs constant supervision. Sebastian: Constant. Triton: Someone to watch over her - to keep her out of trouble. Sebastian: All the time - Triton: And YOU are just the crab to do it. (Cut to Sebastion walking down corridor.) Sebastian: How do I get myself into these situations? I should be writing symphonies - not tagging along after some headstrong teenager. (Sees Ariel and Flounder sneaking off and follows.) Hmm? What is that girl up to? (He barely makes it into cave and sees Ariel's collection.) Huh? Flounder: Ariel, are you okay? Ariel: If only I could make him understand. I just don't see things the way he does. I don't see how a world that makes such wonderful things - could be bad. Look at this stuff Isn't it neat? Wouldn't you think my collection's complete? Wouldn't you think I'm the girl The girl who has ev'rything? Look at this trove Treasures untold How many wonders can one cavern hold? Lookin' around here you'd think Sure, she's got everything I've got gadgets and gizmos aplenty I've got whozits and whatzits galore (You want thingamabobs? I got twenty) But who cares? No big deal I want more I wanna be where the people are I wanna see Wanna see 'em dancin' Walkin' around on those (Whad'ya call 'em?) oh - feet Flippin' your fins you don't get too far Legs are required for jumpin', dancin' Strollin' along down a (What's that word again?) street Up where they walk Up where they run Up where they stay all day in the sun Wanderin' free Wish I could be Part of that world What would I give If I could live Outta these waters? What would I pay To spend a day Warm on the sand? Betcha on land They understand Bet they don't reprimand their daughters Bright young women Sick o' swimmin' Ready to stand And ready to know what the people know Ask 'em my questions And get some answers What's a fire and why does it (What's the word?) burn? When's it my turn? Wouldn't I love Love to explore that shore above? Out of the sea Wish I could be Part of that world (Sebastion has been struggling around and now comes crashing down making a lot of noise.) Ariel: Sebastion!? Sebastian: Ariel - what, are you mad? How could you - what is all this? Ariel: It, err, it's just my - collection. . . . Sebastian: Oh. I see. Your collection. Hmmm. IF YOUR FATHER KNEW ABOUT THIS PLACE HE'D - Flounder: You're not gonna tell him, are you? Ariel: Oh, please, Sebastian, he would never understand. Sebastian: Ariel. You're under a lot of pressure down here. Come with me, I'll take you home and get you something warm to drink. (A ship passes by overhead.) Ariel: What do you suppose?. . . Sebastion: Ariel? Ariel! (On surface. Fireworks in the sky around ship. Ariel looks on, amazed. Sebastion and Flounder arrive.) Sebastion: Ariel, what - what are you- jumpin' jellyfish! Ariel, Ariel! Please come back! (Ariel swims to ship and watches party until Max finds her.) Eric: (Whistles.) Max, here boy. Hey, come on, mutt, whatcha doing, huh Max? Good boy. (Ariel sees him and is stricken.) Scuttle: Hey there, sweetie! Quite a show, eh? Ariel: Scuttle, be quiet! They'll hear you. Scuttle: Oooh, I gotcha, I gotcha. We're being intrepidatious. WE'RE OUT TO DISCOVER! (Ariel grabs his beak.) Ariel: I've never seen a human this close before. Oh - he's very handsome, isn't he? Scuttle: (Looking at Max) I dunno, he looks kinda hairy and slobbery to me. Ariel: Not that one - the one playing the snarfblat. Grimsby: Silence! Silence! It is now my honour and privilege to present our esteemed Prince Eric with a very special, very expensive, very large birthday present. Eric: Ah, Grimsby - y'old beanpole, you shouldn't have. Grimsby: I know. Happy birthday, Eric! (Large, gaudy statue of Eric is revealed. Max growls.) Eric: Gee, Grim. It's, err, it's, err - it's really somethin'. . . . Grimsby: Yes, I commissioned it myself. Of course, I had hoped it would be a wedding present, but . . . Eric: Come on, Grim, don't start. Look, you're not still sore because I didn't fall for the princess of Glauerhaven, are you? Grimsby: Oh, Eric, it isn't me alone. The entire kingdom wants to see you happily settled down with the right girl. Eric: Well, she's out there somewhere. I just - I just haven't found her yet. Grimsby: Well, perhaps you haven't been looking hard enough. Eric: Believe me, Grim, when I find her I'll know - without a doubt. It'll just - bam! - hit me - like lightning. (Lightning and thunder appear and the sky grows dark.) Sailor: Hurricane a'commin'!! Stand fast! Secure the riggin'! (Storm hits.) Scuttle: Whoa! The wind's all of a sudden on the move here. (He is blown away.) Oh! Ariel . . . (Ship crashes through storm. Lightning starts a fire. A rock looms ahead.) Eric: Look out! . . . (Ship crashes and all are thrown overboard except Max.) Grim, hang on! (Sees Max.) Max! (Goes back to save him.) Jump Max! Come on boy, jump! You can do it Max. (He saves Max but is trapped on board.) Grimsby: ERIC! (Ship explodes. Ariel finds Eric near drowning and pulls him away.) (On beach. Ariel is sitting next to an unconscious Eric.) Ariel: Is he - dead? Scuttle: (Opens Eric's eyelid.) It's hard to say. (Puts his ear against Eric's foot.) Oh, I - I can't make out a heartbeat. Ariel: No, look! He's breathing. He's so, beautiful. What would I give To live where you are? What would I pay To stay here beside you? What would I do to see you Smiling at me? Where would we walk? Where would we run? If we could stay all day in the sun? Just you and me And I could be Part of your world (Sebastion and Flounder have washed up and are watching scene. Max and Grimsby approach. Ariel hurries away.) Grimsby: Eric! Oh, Eric. You really delight in these sadistic strains on my blood pressure, don't you? Eric: A girl - rescued me. . . . She was - singing . . . she had the most - beautiful voice. Grimsby: Ah, Eric, I think you've swallowed a bit too much seawater. Off we go. Come on, Max. Sebastian: We just gotta forget this whole thing ever happened. The sea king will never know. You won't tell him, I won't tell him. I will stay in one piece. Ariel: I don't know when I don't know how But I know something's starting right now Watch and you'll see Some day I'll be Part of your world (Flotsam and Jetsam appear. Fade to Ursula watching from her chamber.) Ursula: Oh, no, no, no, no, no, no. I can't stand it - it's too easy. The child is in love with a human. And not just any human - a prince! Her daddy'll LOVE that. King Triton's headstrong, lovesick girl would make a charming addition to my little garden. (Fade to palace. Then sister's dressing room.) Andrina: Ariel, dear, time to come out. You've been in there all morning. (Ariel emerges, singing to herself.) Atina: What is with her lately? Ariel: Morning, Daddy. (Ariel swims off.) Atina: Oh, she's got it bad. Triton: What? What has she got? Andrina: Isn't it obvious, Daddy? Ariel's in love. Triton: Ariel? In love? (Cut to Sebastion pacing on rock outside.) Sebastian: O.K. So far, so good. I don't think the king knows. But it will not be easy keeping something like this a secret for long. Ariel: (Picking petals off a flower) He loves me . . . hmmm, he loves me not. . . . He loves me! I knew it! Sebastian: Ariel, stop talking crazy. Ariel: I gotta see him again - tonight! Scuttle knows where he lives. Sebastian: Ariel - please. Will you get your head out of the clouds and back in the water where it belongs? Ariel: I'll swim up to his castle. Then Flounder will splash around to get his attention, and then with - Sebastian: Down HERE is your home! Ariel - listen to me. The human world - it's a mess. Life under the sea is better than anything they got up there. The seaweed is always greener In somebody else's lake You dream about going up there But that is a big mistake Just look at the world around you Right here on the ocean floor Such wonderful things surround you What more is you lookin' for? Under the sea Under the sea Darling it's better Down where it's wetter Take it from me Up on the shore they work all day Out in the sun they slave away While we devotin' Full time to floatin' Under the sea Down here all the fish is happy As off through the waves they roll The fish on the land ain't happy They sad 'cause they in their bowl But fish in the bowl is lucky They in for a worser fate One day when the boss get hungry Guess who's gon' be on the plate Under the sea Under the sea Nobody beat us Fry us and eat us In fricassee We what the land folks loves to cook Under the sea we off the hook We got no troubles Life is the bubbles Under the sea Under the sea Since life is sweet here We got the beat here Naturally Even the sturgeon an' the ray They get the urge 'n' start to play We got the spirit You got to hear it Under the sea The newt play the flute The carp play the harp The plaice play the bass And they soundin' sharp The bass play the brass The chub play the tub The fluke is the duke of soul (Yeah) The ray he can play The lings on the strings The trout rockin' out The blackfish she sings The smelt and the sprat They know where it's at An' oh that blowfish blow Under the sea Under the sea When the sardine Begin the beguine It's music to me What do they got? A lot of sand We got a hot crustacean band Each little clam here know how to jam here Under the sea Each little slug here Cuttin' a rug here Under the sea Each little snail here Know how to wail here That's why it's hotter Under the water Ya we in luck here Down in the muck here Under the sea (They discover that Ariel has left with Flounder.) Ariel? Ariel? Oh . . . somebody's got to nail that girl's fins to the floor. Seahorse: Sebastian! Sebastian, I've been looking all over for you. I've got an urgent message from the sea king. Sebastian: The sea king? Seahorse: He wants to see you right away - something about Ariel. Sebastian: He knows! (In palace throne room. Triton looking at flower.) Triton: Let's see, now. . . . Oh, who could the lucky merman be? (Notices Sebastion.) Come in, Sebastion. Sebastian: (Sotto) I mustn't overreact. I must remain calm. (Five octaves higher than normal) Yes - (loco) yes, Your Majesty. Triton: Now, Sebastian, I'm concerned about Ariel. Have you noticed she's been acting peculiar lately? Sebastian: Peculiar? Triton: You know, moaning about, daydreaming, singing to herself. . . . You haven't noticed, hmm? Sebastian: Oh - well, I - Triton: Sebastian. . . . Sebastian: Hmmm? Triton: I know you've been keeping something from me. . . . Sebastian: Keeping . . . something? Triton: About Ariel? Sebastian: Ariel . . . ? Triton: In love? Sebastian: I tried to stop her, sir. She wouldn't listen. I told her to stay away from humans - they are bad, they are trouble, they - Triton: Humans? WHAT ABOUT HUMANS? Sebastian: Humans? Ho ho ho ho. . . . Who said anything about humans? (Fade to Ariel and Flounder entering cave.) Ariel: Flounder, why can't you just tell me what this is all about? Flounder: You'll see. It's a suprise. Ariel: (Sees statue of Eric.) Oh, Flounder- Flounder you're the best! it looks just like him. It even has his eyes. "Why, Eric, run away with you? This is all so - so sudden. . . . (Turns around and sees Triton.) Daddy! . . . Triton: I consider myself a reasonable merman. I set certain rules, and I expect those rules to be obeyed. Ariel: But Daddy!- Triton: Is it true you rescued a human from drowing? Ariel: Daddy, I had to- Triton: Contact between the human world and the mer-world is strictly for- bidden. Ariel, you know that! Everyone knows that! Ariel: He would have died- Triton: One less human to worry about! Ariel: You don't even know him. Triton: Know him? I don't have to know him. They're all the same. Spineless, savage, harpooning, fish-eaters, incapable of any feeling- Ariel: Daddy, I love him! Triton: No . . . Have you lost your senses completely? He's a human, you're a mermaid! Ariel: I don't care. Triton: So help me Ariel, I am going to get through to you. And if this is the only way, so be it. (Begins to blast the artifacts with his trident.) Ariel: Daddy!. . . No . . . No, please- Daddy, stop!. . . Daddy, Nooo!!. . . (He blasts statue. Ariel begins crying and he leaves, ashamed.) Sebastion: Ariel, I . . . Ariel: (Still crying.) Just go away. (He leaves and Flotsan and Jetsam appear.) Flotsam: Poor child. Jetsam: Poor, sweet child. Flotsam: She has a very serious problem Jetsam: If only there were something we could do. Flotsam: But there is something. Ariel: Who - who are you? Jetsam: Don't be scared. Flotsam: We represent someone who can help you. Jetsam: Someone who could make all your dreams come true. Flotsam and Jetsam: Just imagine - Jetsam: You and your prince - Flotsam and Jetsam: Together, forever. . . . Ariel: I don't understand. Jetsam: Ursula has great powers Ariel: The sea witch? Why, that's - I couldn't possibly - no! Get out of here! Leave me alone! Flotsam: Suit yourself. Jetsam: It was only a suggestion. [Jetsam flicks the statue's broken face towards Ariel.] Ariel: [Looking at the face] Wait. Flotsam and Jetsam: Yeeeeeeeeeess? (Cut to outside of cave with Flounder and Sebastion.) Flounder: (snif) Poor Ariel. Sebastion: I didn't mean to tell, it was an accident. (Ariel passes by.) Ariel - where are you going? Ariel, what are you doing here with this riff-raff? riel: I'm going to see Ursula. Sebastian: Ariel, no! No, she's a demon, she's a monster! Ariel: Why don't you go tell my father? You're good at that. Sebastion: But . . . But, I . . . (To Flounder.) Come on. (They travel towards Ursula's cavern.) Flotsam and Jetsam: This way. (Ariel enters and is hung up in the garden of souls.) Ursula: Come in. Come in, my child. We mustn't lurk in doorways - it's rude. One MIGHT question your upbringing. . . . Now, then. You're here because you have a thing for this human. This, er, prince fellow. Not that I blame you - he is quite a catch, isn't he? Well, angel fish, the solution to your problem is simple. The only way to get what you want - is to become a human yourself. Ariel: Can you DO that? Ursula: My dear, sweet child. That's what I do - it's what I live for. To help unfortunate merfolk - like yourself. Poor souls with no one else to turn to. I admit that in the past I've been a nasty They weren't kidding when they called me, well, a witch But you'll find that nowadays I've mended all my ways Repented, seen the light and made a switch True? Yes And I fortunately know a little magic It's a talent that I always have possessed And here lately, please don't laugh I use it on behalf Of the miserable, lonely and depressed (Pathetic) Poor unfortunate souls In pain In need This one longing to be thinner That one wants to get the girl And do I help them? Yes, indeed Those poor unfortunate souls So sad So true They come flocking to my cauldron Crying, "Spells, Ursula please!" And I help them? Yes, I do Now it's happened once or twice Someone couldn't pay the price And I'm afraid I had to rake 'em 'cross the coals Yes, I've had the odd complaint But on the whole I've been a saint To those poor unfortunate souls Now, here's the deal. I will make you a potion that will turn you into a human for three days. Got that? Three days. Now listen, this is import- ant. Before the sun sets on the third day, you've got to get dear ol' princey to fall in love with you. That is, he's got to kiss you. Not just any kiss - the kiss of true love. If he does kiss you before the sun sets on the third day, you'll remain human, permanently, but - if he doesn't, you turn back into a mermaid, and - you belong to me. Sebastion: No Ariel! (He is silenced by Flotsam and Jetsam.) Ursula: Have we got a deal? Ariel: If I become human, I'll never be with my father or sisters again. Ursula: That's right. . . . But - you'll have your man. Life's full of tough choices, innit? Oh - and there is one more thing. We haven't discussed the subject of payment. You can't get something for nothing, you know. Ariel: But I don't have any - Ursula: I'm not asking much. Just a token, really, a trifle. You'll never even miss it. What I want from you is . . . your voice. Ariel: My voice? Ursula: You've got it, sweetcakes. No more talking, singing, zip. Ariel: But without my voice, how can I - Ursula: You'll have your looks! Your pretty face! And don't underestimate the importance of body language! Ha! The men up there don't like a lot of blabber They think a girl who gossips is a bore Yes, on land it's much preferred For ladies not to say a word And after all, dear, what is idle prattle for? Come on, they're not all that impressed with conversation True gentlemen avoid it when they can But they dote and swoon and fawn On a lady who's withdrawn It's she who holds her tongue who gets her man Come on, you poor unfortunate soul Go ahead! Make your choice! I'm a very busy woman And I haven't got all day It won't cost much Just your voice! You poor unfortunate soul It's sad But true If you want to cross a bridge, my sweet You've got to pay the toll Take a gulp and take a breath And go ahead and sign the scroll! Flotsam, Jetsam, now I've got her, boys The boss is on a roll This poor unfortunate soul. (Ariel signs contract.) Paluga, sarruga, come winds of the Caspian Sea. Now rings us glossitis and max laryngitis, La voce to me! Now . . . sing! Ariel: (Sings.) Ursula: Keep singing! (Giant magical hands rip out Ariel's voice and give it to Ursula. She laughs as Ariel is changed into a human and rushed to the surf- ace by Flounder and Sebastion.) (Fade to beach. Eric and Max are walking near castle.) Eric: (Playing flute.) That voice. I can't get it out of my head. I've looked everywhere, Max - where could she be? (On other side of rocks Ariel is washed up. Sebastion and Flounder are exausted. Ariel sees her legs and is amazed.) Scuttle: Well, look at what the catfish dragged in! Look at ya! Look at ya! There's something different. Don't tell me - I got it. It's your hairdo, right? You've been using the dinglehopper, right? No? No huh, well let me see. New . . . seashells? No new seashells. I gotta admit I can't put my foot on it right now, but if I just stand here long enough I know that I'll - Sebastian: SHE'S GOT LEGS, YOU IDIOT! She traded her voice to the sea witch and got legs. Jeez, man . . . Scuttle: I knew that. Flounder: Ariel's been turned into a human. She's gotta make the prince fall in love with her, and he's gotta ki- he's gotta kiss her. (Ariel tries to get up.) Sebastion: And she's only got three days. Just look at her. On legs. On human legs! My nerves are shot. This is a catastrophe! What would her father say? I'll tell you what her father'd say, he'd say he's gonna kill himself a crab, that's what her father'd say! I'm gonna march meself straight home right now and tell him just like I shoulda done de minute- (Ariel grabs him.) . . . and don't you shake your head at me, young lady. Maybe there's still time. If we could get that witch to give you back your voice, you could go home with all the normal fish, and just be . . . just be . . . just be miserable for the rest of your life. All right, all right. I'll try to help you find that prince. Boy. What a soft-shell I'm turning out to be. Scuttle: Now, Ariel, I'm tellin' ya, if you wanna be a human the first thing you gotta do is dress like one. Now lemme see. (Cut to Eric and Max. Max smells Ariel and gets excited.) Eric: Max? Huh . . . what, Max! Scuttle: (Whistles.) Ya look great kid. Ya look - sensational. (They hear Max. He arrives and chases Ariel up on a rock.) Eric: Max . . . Max - Quiet Max! What's gotten into you fella? (Sees Ariel.) Oh . . . Oh, I see. Are you O.K., miss? I'm sorry if this knucklehead scared you. He's harmless, really - . . . you . . . seem very familiar . . . to me. Have we met? We have met? I knew it! You're the one - the one I've been looking for! What's your name? (Ariel mouths "Ariel" but no words come out.) What's wrong? What is it? You can't speak? (Ariel shakes her head.) Oh. Then you couldn't be who I thought. (Ariel and Max look frustrated. She tries pantomime.) What is it? You're hurt? No, No . . . You need help. (She falls into him.) Whoa, whoa, careful - careful - easy. Gee, you must have really been through something. Don't worry, I'll help you. Come on . . . Come on, you'll be okay. (Fade to Ariel in bath playing with bubbles.) Carlotta: Washed up from a shipwreck. Oh, the poor thing. We'll have you feeling better in no time. [Picks up Ariel's "dress"] I'll just - I'll just get this washed for you. (Cut to Sebastion in dress getting washed.) Woman 1: Well you must have at least heard about this girl. Woman 2: Well, Gretchen says . . . (Sebastion is dunked.) . . . since when has Gretchen got anything right. I mean really, this girl shows up in rags and doesn't speak- Sebastion: Madame, please ! . . . Woman 2: . . . not my idea of a princess. If Eric's looking for a girl, I know a couple of highly available ones right here . . . (Sebastion dives into kitchen and sees various fish cooking. He faints.) (Cut to castle dining room.) Grimsby: Oh, Eric, be reasonable. Nice young ladies just don't - swim around rescuing people in the middle of the ocean and then - flutter off into oblivion, like some - Eric: I'm tellin' you, Grim, she was REAL! I'm gonna find that girl - and I'm gonna marry her. Carlotta: Ha Ha. Come on honey. Don't be shy. (Ariel enteres in a beautiful dress.) Grimsby: Oh, Eric, isn't she a vision? Eric: You look - wonderful. Grimsby: Come come come, you must be famished. Let me help you my dear. There we go - ah - quite comfy? Uh. It's - It's not ofen that we have such a lovely dinner guest, eh Eric? (Ariel starts combing hair with a fork. They look dumbfounded and she is embarrased. She sees pipe and brightens.) Uh, do you like it? It is rather - fine . . . (She blows its contents into his face. Eric laughs.) Carlotta: Oh, my! Eric: Ahem, so sorry Grim. Carlotta: Why, Eric, that's the first time I've seen you smile in weeks. Grimsby: (Wiping his face.) Oh, very amusing. Carlotta, my dear, what's for dinner? Carlotta: Oooh, you're gonna love it. Chef's been fixing his specialty, stuffed crab. (Cut to Sebastion watching Louis cook. He is humming to himself.) Louis: Les poissons Les poissons How I love les poissons Love to chop And to serve little fish First I cut off their heads Then I pull out the bones Ah mais oui Ca c'est toujours delish Les poissons Les poissons Hee hee hee Hah hah hah With the cleaver I hack them in two I pull out what's inside And I serve it up fried God, I love little fishes Don't you? Here's something for tempting the palate Prepared in the classic technique Fi
24	Mary Poppins	Bill Walsh,Don DaGradi	Family,Comedy,Musical,Fantasy,Drama,Animation	December_1964	Bert: All right, ladies and gents, Comical poems suitable for the occasion, extemporized and thought up before your very eyes. All right, here we go. Room here for everyone gather around The constable's "responstable." Now, how does that sound? Hello, Miss Lark I got one for you. Miss Lark likes to walk in the park with Andrew. Hello, Andrew. Ah, Mrs. Cory a story for you. Your daughters were shorter than you, but they grew. Dear Miss Persimmon-- Miss Persimmon: Yes? Bert: Wind's in the east, mist comin' in. Like something is brewin' about to begin Can't put me finger on what lies in store But I feel what's to happen, all happened before. I'm sorry. Where was I? Thank you, one and all, for your kind support. Ah, Miss Lark, thank you. Crikey. Bless you, guv. Generosity itself, that's what you are. No charge. Oh, it's you! Hello. Number 17 Cherry Tree Lane, you say? All right. Come along with me. This here's Cherry Tree Lane. Nice little spot, you might say. Number 17's just down a bit. Now, this imposing edifice what first greets the eye, is the home of Admiral Boom, late of His Majesty's Navy. Likes his house shipshape, he does, shipshape and Bristol fashion at all times. Admiral Boom: Time gun ready? Mr Binnacle: Ready and charged, sir. Admiral Boom: Three minutes and six seconds. Mr Binnacle: Aye, aye, sir. Bert: What he's famous for is punctuality. The whole world takes its time from Greenwich. But Greenwich, they say, takes its time from Admiral Boom. What cheer, admiral? Admiral Boom: Good afternoon to you, young man. Where are you bound? Bert: Number 17. Got some parties here in tow what wants to see it. Admiral Boom: Enter that in the log. Mr Binnacle: Aye, aye, sir. Admiral Boom: A word of advice, young man: storm signals are up at number 17. Bit of heavy weather brewing there. Bert: Thank you, sir. Keep an eye skinned. Here we are. Number 17 Cherry Tree Lane. Residence of George Banks, Esquire. Hello, hello, hello. The admiral's right. Heavy weather brewin' at number 17, and no mistake. Mrs. Brill: Leave her alone! Ellen: Shut up! Mrs. Brill: I'll show you. Don't you be trying to stop the wretched creature! Let her go, that's what I say, and good riddance! I never liked her from the moment she set foot in the door. Ellen: But who gets stuck with the children with no nanny in the house? Me, that's who! Mrs. Brill: Her and her high and mighty ways! And that face of her that would stop a coal barge, it would. Katie Nanna: Indeed, Mrs. Brill! I wouldn't stay in this house another minute, not if you heap me with all the jewels in Christendom. Ellen: No, no, Katie Nanna, don't go! Katie Nanna: Stand away from that door, my girl! Ellen: But what am I gonna tell the master about the children? Katie Nanna: It's no concern of mine. Those little beasts have run away from me for the last time. Ellen: They must be somewhere. Did you look around the zoo in the park? You know how Jane and Michael is. Coo! You don't think the lion could've got at them, do ya? You know how fond they was of hangin' around the cage. Katie Nanna: I said my say, and that's all I'll say. I've done with this house forever. Mrs. Brill: Well, hip, hip, hooray! And don't stumble on the way out, dearie. Ellen: Now, now, Katie Nanna! Mrs. Banks! She's home! Mrs. Banks: Our daughter's daughters will adore us And we'll sing in grateful chorus "Well done, Sister Suffragette" Good evening, Katie Nanna, Ellen. We had the most glorious meeting! Mrs. Whitbourne-Allen chained herself to the wheel of the prime minister's carriage. You should've been there. Katie Nanna: Mrs. Banks, I would like a word with you. Mrs. Banks: And Mrs. Ainslie, she was carried off to prison, singing and scattering pamphlets all the way! Katie Nanna: I'm glad you're home, madam. I've always given the best that's in me. Mrs. Banks: On, thank you, Katie Nanna. I always knew you were one of us. We're clearly soldiers in petticoats And dauntless crusaders for women's votes Though we adore men individually We agree that as a group they're rather stupid Katie nanna: Mrs. Banks. Mrs. Banks: Cast off the shackles of yesterday Shoulder to shoulder into the fray Our daughter's daughters will adore us And they'll sing in grateful chorus "Well done, Sister Suffragette" Katie Nanna: Being that as it may, I do not wish to offend, but I-- Mrs. Banks: From Kensington to Billingsgate One hears the restless cries From every corner of the land: womankind arise Political equality and equal rights with men Take heart for Mrs. Pankhurst has been clapped in irons again No more the meek and mild subservients we We're fighting for our rights, militantly - never you fear Katie Nanna: If I may have a word, Mrs. Banks. Mrs. Banks: So cast off the shackles of yesterday Katie Nanna: Mrs. Banks! Mrs. Banks: And shoulder to shoulder into the fray Our daughter's daughters will adore us And they'll sing in grateful chorus - "well done" Katie Nanna: Mrs. Banks. Mrs. Banks: "Well done" Katie Nanna: Mrs. Banks. Mrs. Banks: "Well done, Sister Suf--" Katie Nanna: Mrs. Banks! Mrs. Banks: What is it, Katie Nanna? Katie Nanna: Mrs. Banks, I have something to say to you. Mrs. Banks: Where are the children? Katie Nanna: The children, madam, to be precise, are not here. They've disappeared again. Mrs. Banks: Katie Nanna, this is really too careless of you. Doesn't it make the third time this week? Katie Nanna: The fourth, madam. And I for one have had my fill of it. I'm not one to speak ill of the children, but-- Mrs. Banks: Oh, please, when do you expect them home? Katie Nanna: I really couldn't say. And now if you'd be good enough to compute my wages, I'll-- Mrs. Banks: Oh, gracious, Katie Nanna! You're not leaving? What will Mr. Banks say? He's going to be cross enough as it is to come home and find the children missing. Ellen, put these things away. You know how the cause infuriates Mr. Banks. Ellen: Yes, ma'am. Mrs. Banks: Katie Nanna, I beseech you. Please reconsider. Think of the children. Think of Mr. Banks. He was just beginning to get used to you. Admiral Boom: Posts, everyone! Four, three, two, one. Fire! Mrs. Banks: Katie Nanna, I do beseech you-- Katie Nanna: My wages, if you please. Mr. Banks: Bit early tonight, aren't you, admiral? Admiral Boom: Nonsense. Bang on the dot, as usual. How are things in the world of finance? Mr. Banks: Never better. Money's sound. Credit rates are moving up, up, up. And the British pound is the admiration of the world. Admiral Boom: Good man. Mr. Banks: How do things look from where you stand? Admiral Boom: Bit chancy, I'd say. The wind's coming up and the glass is falling. - don't like the look of it. Mr. Banks: Good, good, good. Admiral Boom: Banks, shouldn't wonder if you weren't steering into a nasty piece of weather. Banks! Do you hear me? Mr. Banks: Hello, Katie Nanna. That must be heavy. Allow me. Katie Nanna: Hmph! Mr. Banks: What a very pretty hat. I feel a surge of deep satisfaction Much as a king astride his noble steed - thank you. When I return from daily strife, to hearth and wife How pleasant is the life I lead Mrs. Banks: Dear, it's about the children. Mr. Banks: Yes, yes, yes. I run my home precisely on schedule At 6:01 I march through my door My slippers, sherry and pipe are due at 6:02 Consistent is the life I lead Mrs. Banks: George, they're missing. Mr. Banks: Splendid. Splendid. It's grand to be an Englishman in 1910 King Edward's on the throne it's the age of men I'm the lord of my castle the sovereign, the liege I treat my subjects, servants children, wife with a firm but gentle hand, noblesse oblige It's 6:03 and the heirs to my dominion Are scrubbed and tubbed and adequately fed And so I'll pat them on the head and send them off to bed Ah, lordly is the life I lead Winifred, where are the children? Mrs. Banks: They're not here, dear. Mr. Banks: What? Well, of course they're here! Where else would they be? Mrs. Banks: I don't know, George Mr. Banks: You don't know? Mrs. Banks: Well, they're missing. Katie Nanna has looked everywhere. Mr. Banks: Very well. I'll deal with this at once. Give me the police station, quickly, please. Mrs. Banks: I don't think we need bother the police, dear. The facts of the matter-- Mr. Banks: Kindly do not attempt to cloud the issue with facts. One fact, and one fact alone is crystal clear! Katie Nanna's faltered at her post. She's let the family down. And I shall bring her to boo-- oh. She's left us, hasn't she? Mrs. Banks: Yes, dear, only just. Mr. Banks: What, uh-- yes. George Banks here. Yes. 17 Cherry Tree Lane. It's a matter of some urgency. I should like you to send a policeman around immediately. Mrs. Banks: The policeman's here, George! Mr. Banks: What? Oh, how very prompt. What wonderful service. Thank you so much. Good night. Come in, constable. Come in. Constable: Thank you, sir. While going about my duties on the other side of the park, I noted some valuables that had gone astray. I believe they're yours, sir. Mr. Banks: Valuables? Constable: Come along, now. Come along. Mrs. Banks: Jane! Michael! Mr. Banks: Winifred, please don't be emotional. Constable: Oh, I wouldn't be too hard on 'em, sir. They've had a long, weary walk today. Mr. Banks: Children, come here at once. Well? Jane: I'm sorry we lost Katie Nanna, Father. You see, it was windy. And the kite was too strong for us. Constable: In a manner of speaking, sir, it was the kite that ran away, not the children. Mr. Banks: Thank you, Constable. I think I can manage this. Jane: Actually it wasn't a very good kite. We made it ourselves. Perhaps if you helped us to make one-- Constable: Ah, that's the ticket, sir. Kites are skittish things. Why, only last week with me own youngsters-- Mr. Banks: I'm very grateful to you, Constable, for returning the children. And I'm sure that if you go to the kitchen, Cook'll find you a plate of something. Constable: Thank you, sir. I shall now return to my duties. Jane: Thank you, Constable. Constable: Good night, miss. Good night, ma'am. Good night, sir. Cook'll find me something. I never-- Mrs. Banks: I'm awfully sorry about this, George. I'll expect you'll want to discuss it. Mr. Banks: I would indeed! Ellen, take Jane and Michael upstairs straightaway. Ellen: Yes, sir. I knew it. When all's said and done, who bears the brunt of everything around here? Me, that's who! They don't want an honest, hard-workin' girl around here. They need a ruddy zookeeper. Mrs. Banks: I'm sorry, dear, but when I chose Katie Nanna, I thought she would be firm with the children. She looked so solemn and cross. Mr. Banks: Winifred, never confuse efficiency with a liver complaint. Mrs. Banks: I'll try to do better next time. Mr. Banks: Next time? My dear, you've engaged six nannies in the last four months! And they've all been unqualified disasters. Mrs. Banks: I quite agree. Mr. Banks: Choosing a nanny for the children is an important and delicate task. It requires insight, balanced judgment, and an ability to read character. Under the circumstances, I think it might be apropos to take it upon myself to, uh, select the next person. Mrs. Banks: Oh, would you, George? Mr. Banks: Obviously the way to find a proper nanny, is to go about it in a proper fashion. I shall put an advertisement in The Times. Take this down please. Mrs. Banks: Yes, of course, dear. Mr. Banks: Wanted. Uh, no. Uh, required. Nanny: firm, respectable, no nonsense. A British nanny must be a general The future empire lies within her hands And so the person that we need To mold the breed Is a nanny who can give commands You getting this, Winifred? Mrs. Banks: Oh, yes, dear. Every word. A British bank is run with precision A British home requires nothing less Tradition, discipline and rules must be the tools Without them, disorder, catastrophe, anarchy In short you have a ghastly mess Mrs. Banks: Splendid, George! Inspirational. The Times will be so pleased. Jane: Father? Mr. Banks: Yes? Jane: We've discussed everything, and we're very sorry about what we did today. Mr. Banks: I should certainly think so. Jane: It was wrong to run away from Katie Nanna. Mr. Banks: It was indeed. Jane: And we do so want to get on with the new nanny. Mr. Banks: Very sensible. I shall be glad to have your help in the matter. Jane: We thought you would. That's why we wrote this advertisement. Mr. Banks: Advertisement for what? Jane: For the new nanny. Mr. Banks: You wrote an advert-- Mrs. Banks: George, I think we should listen. Jane: You said you wanted our help. Mr. Banks: But, I-- oh, very well. Jane: "Wanted: a nanny for two adorable children." Mr. Banks: "Adorable." well, that's debatable, I must say. Jane: If you want this choice position Have a cheery disposition Mr. Banks: Jane, I don't-- Jane: Rosy cheeks, no warts Michael: That's the part I put in. Jane: Play games, all sorts You must be kind you must be witty Very sweet and fairly pretty Mr. Banks: Well, of all the ridic- Mrs. Banks: George, please! Jane: Take us on outings give us treats Sing songs bring sweets Never be cross or cruel never give us castor oil or gruel Love us as a son and daughter And never smell of barley water Michael: I put that in, too. Jane: If you won't scold and dominate us We will never you give you cause to hate us We won't hide your spectacles so you can't see Put toads in your bed or pepper in your tea Hurry, nanny Many thanks Sincerely Jane & Michael: Jane and Michael Banks Mr. Banks: Thank you. Most interesting. And now I think we've had quite enough of this nonsense. Please return to the nursery. Mrs. Banks: They were only trying to help. They're just children. Mr. Banks: I'm well aware they're just children, Winifred. I only congratulate myself that I decided to step in and take a hand. "Play games, sing songs, give treats." Ridiculous. There's no question in my mind whatsoever. Now is the time for action. Give me The Times, please. No, I do not know the number. Mrs. Banks: Oh, George, you're always so forceful. Mrs. Banks: The Times? George Banks here. 17 Cherry Tree Lane. I wish to place an advertisement in your column. Admiral Boom: Time gun ready? Mr. Binnacle: Ready and charged, sir. Admiral Boom: I'll take the report, Mr. Binnacle. Mr. Binnacle: The wind has changed, Sir. Seems to be comin' in from a new quarter. Admiral Boom: So it is. Mr. Binnacle: Sir? Admiral Boom: What is it? Mr. Binnacle: Bit of somethin' or other taking place off the port bow. Admiral Boom: Ghastly looking crew, I must say! Ellen: Coo! There's a fair queue of nannies outside, sir. Shall I show 'em in? Mr. Banks: Ellen, I said 8:00, and 8:00 it shall jolly well be. You see? Twelve seconds to go. Ten, nine, eight--- Mrs. Banks: Posts! Seven, six, five, four, three, two, one! Mr. Banks: Ellen, it is now 8:00. Ellen: Yes, sir. Mr. Banks: But I have told you time and time again, Ellen, I dislike being hurried into things. Jane: I don't understand. They're not what we advertised for at all. Michael, look! Michael: Perhaps it's a witch. Jane: Of course not. Witches have brooms. It's her. It's the person. She's answered our advertisement. Michael: Rosy cheeks and everything. Mr. Banks: Ellen, you may now show them in, one at a time. Ellen: Yes, sir. You may come in one at a time. Mary Poppins: Thank you. Ellen: Oh. Mary Poppins: You are the father of Jane and Michael Banks, are you not? I said, you are the father of Jane and Michael Banks. Mr. Banks: Well, well ye-- yes, of course, I mean. Uh-- you brought your references, I presume. May I see them? Mary Poppins: Oh, I make it a point never to give references. A very old-fashioned idea to my mind. Mr. Banks: Is that so? We'll have to see about that then, won't we? Mary Poppins: Now then, the qualifications. "Item one: a cheery disposition." I am never cross. "Item two: rosy cheeks." Obviously. "Item three: play games, all sorts." Well, I'm sure the children will find my games extremely diverting. Mr. Banks: May I? Eh, this paper? Where did you get it from? I thought I tore it up. Mary Poppins: Excuse me. "Item four: you must be kind." I am kind, but extremely firm. Have you lost something? Mr. Banks: Ah! Yeah. That paper, you see. I thought that I-- Mary Poppins: You are George Banks, are you not? Mr. Banks: What? Mary Poppins: And you did advertise for a nanny, did you not? Mr. Banks: George Banks. Mary Poppins: Very well then. Mr. Banks: I tore it up, turned it over. Tore it up again and threw it in there. Yes. Mary Poppins: I beg your pardon. Are you ill? Mr. Banks: I hope not. Mary Poppins: Now, about my wages. The reference here is very obscure. Mr. Banks: Very obscure. Mary Poppins: We must be very clear on that point, mustn't we? Mr. Banks: Yes, we must indeed. Mary Poppins: I shall require every second Tuesday off. Mr. Banks: Every Tuesday. Mary Poppins: On second thoughts, I believe a trial period would be wise. Hmm. I'll give you one week. I'll know by then. I'll see the children now. Thank you. Close your mouth please, Michael. We are not a codfish. Well, don't stand there staring. Best foot forward. Spit spot! Mrs. Banks: George? Aah! George, what on earth are you doing? I thought you were interviewing nannies. Mr. Banks: I was! I was! Mrs. Banks: You mean you've selected one already? Mr. Banks: Yes, it's done. It's, it's all done. Mrs. Banks: Well, where is she? Mr. Banks: What? Well, eh, she's in the nursery of course, I mean. I put her to work straightaway, I mean. Mrs. Banks: How clever of you! I would have muddled the whole thing. Tell me, is she everything that we'd hoped she be? Mr. Banks: Well, I - it all happened rather quickly. I mean, I-- I, uh-- Mrs. Banks: Will she be firm? Will she give commands? Will she mold our young breed? Mr. Banks: You know, Winifred, I think she will. I think she will. Mrs. Banks: In that case, perhaps you'd better tell Ellen to dismiss the others. Mr. Banks: The others? Oh, yes. Ellen? Ellen: Y-yes, sir? Mr. Banks: Tell the other applicants they may go. The position has been filled. Ellen: The others, sir? Mr. Banks: Yes, the others. How many n-nannies does she think we need in this house? Ellen: The position has been filled. Jane: I'm afraid the nursery isn't very tidy. Mary Poppins: It is rather like a bear pit, isn't it? Michael: That's a funny sort of bag. Mary Poppins: Carpet. Michael: You mean to carry carpets in? Mary Poppins: No. Made of. Jane: This is your room, and there's a lovely view of the park. Mary Poppins: Hmm. Well, it's not exactly Buckingham Palace. Still, it's clean. Yes, I think it will be quite suitable. Just needs a touch here and there. Well, first things first. I always say, the place to hang a hat is on a hat stand. Ah! This will never do! I much prefer seeing all of my face at the same time. Michael: There-- but there was nothing in it. Mary Poppins: Never judge things by their appearance. Even carpetbags. I'm sure I never do. A thing of beauty is a joy forever. Mmm, a little more light, perhaps. Michael: We better keep an eye on this one. She's tricky. Jane: She's wonderful. Mary Poppins: Much better! Now, let me see. That's funny. I always carry it with me. It must be here somewhere. Michael: What? Mary Poppins: My tape measure. Michael: What do you want it for? Mary Poppins: I want to see how you two measure up. Well, that's the funniest thing I ever saw. I know it's down here somewhere. Ah, ha-ha, ha-ha! Here it is. Good. Come along, then. Quickly. Head up, Michael. Don't slouch. Just as I thought. Extremely stubborn and suspicious. Michael: I am not! Mary Poppins: See for yourself. Michael: "Extremely stubborn and sus--" Mary Poppins: Suspicious. Now you, Jane. Mmm. "Rather inclined to giggle. Doesn't put things away." Michael: How 'bout you? Mary Poppins: Very well. Hold this for me. As I expected. "Mary Poppins. Practically perfect in every way." Jane: Mary Poppins! Is that your name? It's lovely. Mary Poppins: Thank you. I've always liked it. Now, shall we get on with it? Jane: Get on with what? Mary Poppins: In your advertisement, did you not specifically request to play games? Jane: Oh, yes! Mary Poppins: Very well, then. Our first game is called "well begun is half done." Michael: I don't like the sound of that. Mary Poppins: Otherwise entitled, "let's tidy up the nursery." Michael: I told you she was tricky. Mary Poppins: Shall we begin? Jane: It is a game, isn't it, Mary Poppins? Mary Poppins: Well, it depends on your point of view. You see, In every job that must be done, There is an element of fun. You find the fun, and snap! The job's a game. And every task you undertake Becomes a piece of cake A lark, a spree it's very clear to see That a spoonful of sugar helps the medicine go down The medicine go down Medicine go down Just a spoonful of sugar helps the medicine go down In a most delightful way A robin feathering his nest Has very little time to rest While gathering his bits of twine and twig Though quite intent in his pursuit, He has a merry tune to toot He knows a song will move the job along For a spoonful of sugar helps the medicine go down The medicine go down Medicine go down Just a spoonful of sugar helps the medicine go down In a most delightful way The honeybees that fetch the nectar from the flowers to the comb Never tire of ever buzzing to and fro Because they take a little nip from every flower that they sip And hence Reflection: And hence Mary Poppins: They find Reflection: They find Mary Poppins & Reflection: Their task is not a grind Mary Poppins: Cheeky. Don't be all day about it, please. Michael: Let me out! Let me out! Let me out! Mary Poppins: Well, that was very-- Thank you now-- when you've quite finished! Thank you. That will be quite sufficient. Hats and coats, please. It's time for our outing in the park. Michael: I don't want an outing. I want to tidy up the nursery again. Mary Poppins: Enough is as good as a feast. Come along, please. Let me look at you. Well, you're not as well turned out as I'd like. Still, there's time. There's time. Spit spot! And off we go. Jane & Michael: For a spoonful of sugar helps the medicine go down The medicine go down Medicine go down Just a spoonful of sugar helps the medicine Go down in the most delightful way Bert: Chim chiminy, chim chiminy chim chim cheroo I does what I likes and I likes what I do Hello, art lovers. Today I'm a screever and as you can see A screever's an artist of highest degree And it's all me own work From me own memory Well, not Royal Academy, I suppose. Still they're better than a finger in your eye, ain't they? Chim chiminy, chim chiminy chim chim cheroo I draws what I likes and I likes what I drew No remuneration do I ask of you But me cap would be glad of a copper or two Me cap would be glad of a copper or two Wait! Don't move. Don't move a muscle. Stay right where you are. I'd know that silhouette anywhere! Mary Poppins! Mary Poppins: It's nice to see you again, Bert. I expect you know Jane and Michael. Bert: Well, I've seen 'em here and about. Chasin' a kite last time, weren't it? Jane: Mary Poppins is taking us to the park. Bert: To the park? Not if I know Mary Poppins. Other nannies take children to the park. When you're with Mary Poppins, suddenly you're in places you've never dreamed of. And quick as you can say "Bob's your uncle," the most unusual things begin to happen. Mary Poppins: I'm sure I haven't the faintest idea what you're talking about. Bert: Well mind, it's not my place to say, but what she's probably got in mind, is a jolly holiday somewheres or other. Something along these lines, I shouldn't be surprised. "Punting on the Thames." That's always good if you like an outing. Here we go. The circus. How about a lovely circus? Lions and tigers. World-famous artistes performing death-defyin' feats, of dexterity and skill before your very eyes. Ta-da! Ta-da! Jane: Oh, that's lovely. If you please, I'd much rather go there. Bert: Beautiful, ain't it? A typical English countryside, as done by a true and lovin' hand. Though you can't see it, there's a little country fair down that road and uh, over the hill. Michael: I don't see any road. Bert: What? No road? Just wants a bit of somethin' here, and a bit of somethin' there. There. A country road suitable for travel and high adventure. Jane: Please may we go, Mary Poppins? Please? Such a lovely place. Don't you think it's lovely, Mary Poppins? Bert: Now's the time, Mary Poppins. No one's lookin'. Jane & Michael: Please, Mary Poppins. Please! Please, Mary Poppins. Please! Mary Poppins: I have no intention of making a spectacle of myself, thank you. Bert: All right, I'll do it myself. Mary Poppins: Do what? Bert: Bit of magic. Michael: A bit of magic? Bert: It's easy. Let's see. You think. You wink. You do a double blink. You close your eyes and jump. Jane: Is something 'sposed to happen? Mary Poppins: Bert, what utter nonsense! Ohh! Why do you always complicate things that are really quite simple? Give my your hand, please, Michael. Don't slouch. One, two. Bert: Mary Poppins, you look beautiful. Mary Poppins: Do you really think so? Bert: Cross my heart you do. Like the day I met ya. Mary Poppins: You look fine, too, Bert. Michael: I thought you said there was a fair. Bert: So I did. Down the road behind the hill, remember? Jane: Come on! I hear the merry-go-round. Bert: Tell 'em Bert sent ya. Mary Poppins: Don't fall and smudge the drawing. Bert: Ain't it a glorious day Right as a mornin' in May I feel like I could fly Mary Poppins: Now, Bert. None of your larking about. Bert: Have you ever seen The grass so green Or a bluer sky Oh, it's a jolly holiday with Mary Mary makes your heart so light Mary Poppins: You haven't changed a bit, have you? Bert: When the day is gray and ordinary Mary makes the sun shine bright Mary Poppins: Oh, honestly! Bert: Oh, happiness is bloomin' all around her The daffodils are smilin' at the dove When Mary holds your hand you feel so grand Your heart starts beatin' like a big brass band Mary Poppins: You are lightheaded. Bert: It's a jolly holiday with Mary No wonder that it's Mary that we love Animals: Oh, it's a jolly holiday with Mary Mary makes your heart so light When the day is gray and ordinary Mary makes the sun shine bright Oh, happiness is bloomin' all around her The daffodils are smiling at the dove oink, oink. When Mary holds your hand You feel so grand Your heart starts beatin' like a big brass band It's a jolly holiday with Mary No wonder that it's Mary that we love Mary Poppins: Thank you. Turtles: Our pleasure, Mary Poppins. Mary Poppins: Oh, it's a jolly holiday with you, Bert Gentlemen like you are few Bert: A vanishing breed, that's me. Mary Poppins: Though you're just a diamond in the rough, Bert Underneath your blood is blue Bert: Common knowledge. Mary Poppins: You'd never think of pressing your advantage Forbearance is the hallmark of your creed Bert: True. Mary Poppins: A lady needn't fear When you are near Your sweet gentility is crystal clear Oh, it's a jolly holiday with you, Bert A jolly, jolly holiday with you Bert: Waiter! Waiter! Mary Poppins: Now then, what'd be nice? We'll start with raspberry ice and then some cakes and tea Waiter Order what you will There'll be no bill It's complimentary Mary Poppins: You're very kind. Waiter: Anything for you, Mary Poppins. You're our favorite person. Bert: Right you are. It's true that Mavis and Sybil have ways that are winnin' And Prudence and Gwendolyn set your hearts spinnin' Phoebe's delightful Maude is disarming Waiters: Janice Felicia Lydia Bert: .. charming Cynthia's dashing, Vivian's sweet, Stephanie's smashing Priscilla a treat Waiters: Veronica Millicent Agnes and Jane Bert: convivial company time and again Dorcas and Phyllis and Glynis are sorts I'll agree they're three jolly good sports But cream of the crop Tip of the top Bert & Waiters: Is Mary Poppins And there we stop When Mary holds your hand You feel so grand Your heart starts beatin' like a big brass band It's a jolly holiday with Mary No wonder that it's Mary that we love No wonder that it's Mary that we love No wonder that it's Mary that we love Michael: Ya-hoo! Ya-hoo! Ya-hoo! Ya-hoo! -ya-hoo! Jane: Our own private merry-go-round. Bert Very nice. Very nice, indeed, if you don't wanna go nowhere. Mary Poppins: Who says we're not going anywhere? Oh, guard! Guard: Righto, Mary Poppins. Mary Poppins: Thank you. Guard: They're off! It's Mary Poppins leadin' by two lengths. Jane is second by a length. Michael third. Michael: My horse is the fastest. Bert: Do you hear that, mate? Do you wanna put up with that? That's the ticket! Come on, my lad. Is that the best you can do? Michael: Hurry up, boy. Hurry up! Mary Poppins: Not so fast, please. Michael! Now really, Bert. You're as bad as the children. Bert: Sorry. Whoa, boy! Whoa! Whoa. Easy, boy. Whoa. Whoa. Just a bit of high spirits, Mary Poppins. Mary Poppins: Please control yourself. We are not on a racecourse. Follow me, please. Good morning. Hunter: Oh, yes, quite. Wha-- I say!
25	Megamind	Alan Schoolcraft,Brent Simons	Animation,Action,Comedy,Family,Sci-Fi	November_2010	CREDITS SEQUENCE NEWSPAPER HEADLINE MONTAGE: HEADLINES flash before us, displaying their accompanying photographs. "UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND! PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a confident smile at the lens. This is UBERMAN, champion of METRO CITY. "UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!" PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT ROBOT in the sky above the city buildings. "MASTER MIND ALL WET AFTER UBERMAN FOILS AQUARIUM HEIST!" PHOTO: Uberman stands knee-deep in water. He has his enemy by the collar. The villain blocks his face from the shot with a METALLIC GAUNTLET. The images start to flash by even quicker, each showing the MYSTERIOUS VILLAIN in various stages of humiliation. In each photograph he successfully blocks his face with his armored glove. We ZOOM IN to the last headline. "MASTER MIND BEHIND BARS ONCE AGAIN - THANKS TO UBERMAN!" PHOTO: Uberman stands in a gallant pose with his fists on his hips, obviously trying to accentuate the "U" insignia on his chest. END OF CREDITS SEQUENCE EXT. BUILDING - DAY We DISSOLVE from the photograph to Uberman standing in the exact same position. WE PULL BACK showing him atop a BUILDING overlooking the city below. A perfect view for our guardian hero. He watches the thriving metropolis, bristling with life as people happily go about their day. Yet, we can't help but detect a hint of sadness in Uberman's expression. 2. UBERMAN You look so peaceful from up here. His serenity is suddenly interrupted by a loud BEEPING SOUND coming from his wrist. He looks down at a BRACELET (a manly one) on his right arm. It's a silver band with a FLASHING red letter "U". UBERMAN (CONT'D) Looks like Roxanne's in trouble again. Uberman leaps off the building and into the air. His cape gracefully flows in the breeze behind him as he shoots off into the distance like a speeding bullet. EXT. OBSERVATORY HIDEOUT - ESTABLISHING SHOT Grime and moss decorate the outside of this long abandoned building overlooking the COAST. Once a place of knowledge and wonder - now home to a great evil. INT. OBSERVATORY HIDEOUT - DAY The inside is in complete contrast to the exterior. The huge hall with a GIANT TELESCOPE teems with advanced ELECTRONIC EQUIPMENT. Computers, monitors and machines which do not have an obvious function FLASH and HUM. A STEEL DOOR slides open, revealing the subject of our story MASTER MIND - a villainous sight to behold. His FACE IS INEXPLICABLY LIGHT BLUE, topped by an OVERSIZED, MUSHROOM- SHAPED HEAD with a CIRCULAR PATCH OF WHITE HAIR ON TOP. He's dressed in the kind of costume only a super villain could pull off: a PURPLE JUMPSUIT AND BLACK BOOT ENSEMBLE WITH A GIANT GREEN "M" ON THE CHEST. His right hand, hanging at his side, is a METAL GAUNTLET WITH THREE SHORT SPIKES PROTRUDING BETWEEN HIS KNUCKLES. Master Mind begins to survey the room with his TWO PERMANENTLY ARCHED EYEBROWS. A man dressed as ALBERT EINSTEIN is busy ranting to two other men. One, a hulking brute, is dressed as LEONARDO DA VINCI. The other, a small intellectual-type carrying a clip-board, is dressed as the philosopher PLATO. EINSTEIN I hate the outfits. I mean, I get it: we're all supposed to be "masterminds" - very clever. (MORE) 3. EINSTEIN(cont'd) I just feel stupid. I mean, what the hell did Einstein really do anyway? PLATO Theory of relativity. Einstein starts feverishly scratching his side. EINSTEIN Well, you'd think he'd invent a wool sweater that didn't itch so much. Da Vinci and Plato's eyes suddenly grow with concern as they see Master Mind walk up behind Einstein. Einstein notices his colleague's staring over his right shoulder and turns around. He turns around and Master Mind SEIZES HIM BY HIS THROAT with his metal gauntlet. MASTER MIND The real Einstein once said, "God does not play dice with the world." He was right, because the world is MY dice. Is that understood? DA VINCI & PLATO Sir! Yes, sir! EINSTEIN (gasping for air) Yes, sir. Master Mind undoes his grip on Einstein's throat. MASTER MIND Alright, then - clean slate. Do we have the girl? DA VINCI Yes, sir. She fell into our trap just like you knew she would. MASTER MIND Reporters are a curious lot, and easily manipulated. He quickly checks his physique in a GIANT MIRROR, adjusts his posture and sucks in his gut. 4. MASTER MIND Alright, let's not keep the lady waiting. MOMENTS LATER Da Vinci escorts a BLINDFOLDED and bound woman, ROXANNE RITCHI, to the back of the room where Plato and Einstein are standing guard over a large BLACK SWIVEL-CHAIR facing away from us. She pulls free of Da Vinci's grasp and waits for him to undo the blindfold. Her face uncovered, we finally see Roxanne's striking features - all of which seem overshadowed by piercing eyes that seem more put off by the situation than afraid of it. MASTER MIND (O.S.) Miss Ritchi, we meet again. The chair turns menacingly slow, finally revealing Master Mind. ROXANNE You didn't need to turn around like that. I can recognize the stench of failure. Master Mind unleashes a wicked laugh. MASTER MIND I trust you gentlemen know the very sassy Roxanne Ritchi, highly regarded investigative journalist who some say has a more than friendly relationship with our super powered foe Uberman. And Miss Ritchi, I trust you've already met my new crew: The Mad Geniuses! Roxanne gives Einstein a once over. ROXANNE Looks like a real group of winners. At the risk of sounding cliche', you'll never get away with this. MASTER MIND In a way, I already have. Roxanne unleashes an exhausted SIGH. 5. ROXANNE We go through this every time. You kidnap me to get to Uberman, he immediately finds your hideout, escapes whatever lame trap you've come up with, and takes you and your cronies to jail. I propose we just save everybody some heartache this time by YOU letting me go, and ME forgetting this whole thing ever happened? MASTER MIND What about my revenge? ROXANNE We can say it was wasting everyone's time. MASTER MIND You have a wicked tongue. I hope you rid yourself of that when you're my queen. Roxanne unleashes a snort-filled laugh. ROXANNE I'm sorry. What makes you think I would want to be your queen? MASTER MIND Power corrupts absolutely, Miss Ritchi. And when I have ultimate power over this city, I have absolutely every intention of corrupting you with it. PLATO Sir! Master Mind turns to Plato who's now standing at a computer terminal. MASTER MIND (annoyed) What is it!? EXT. OBSERVATORY HIDEOUT - DAY Uberman flies toward the Observatory like a rocket. 6. INT. OBSERVATORY HIDEOUT - DAY Uberman crashes through the wall to the room we were just in. He looks around, but there's suddenly NOT A SOUL IN SIGHT. CUT TO: EXT. MASTER MIND'S HYDROFOIL - DAY The boat is shooting through the ocean, away from the observatory. INT. HYDROFOIL CONTROL ROOM - DAY Machines, cables and terminals criss-cross the craft's main bridge. Through the enormous surrounding windows we can see the observatory shrinking in the distance. Master Mind watches Uberman on a small TV monitor as the hero intently searches his hideout. UBERMAN (on monitor) Master Mind! INT. OBSERVATORY HIDEOUT - DAY Uberman throws up his arms in frustration when suddenly - MASTER MIND (O.S.) Over here, old friend. He turns to see a FAMILIAR BLUE FACE OF EVIL ON A GIANT SCREEN. UBERMAN What's the matter, miss your old jail cell? Uberman starts walking toward the monitor. MASTER MIND (ON MONITOR) Actually, I wanted to share the experience with my oldest friend. A MECHANIZED CAGE shoots out of the floor, suddenly trapping Metro City's protector. Totally unfazed, our hero stares on. 7. UBERMAN You can't possibly believe this will work. Master Mind pulls out a SMALL BLACK BOX with a SINGLE RED BUTTON on it. MASTER MIND (ON MONITOR) Oh, can't I? I have attained control of the Earth's most abundant energy source. I doubt even you are strong enough to withstand the FULL CONCENTRATED POWER OF THE SUN!!! He presses the button. EXT. OUTER SPACE A sinister-looking SATELLITE orbits Earth's atmosphere. Its bay doors suddenly open, deploying two huge SOLAR PANELS. The panels shift, angling themselves in the direction of the sun. They immediately start GLOWING as they absorb the burning star's power. The front of the satellite begins to make a loud HUMMING SOUND as it prepares to unleash its unholy power. INT. HYDROFOIL CONTROL ROOM - DAY From the giant window we can see the boat is a good mile from the observatory. PLATO We're now at minimum safe distance, master. Master Mind turns from the CAMERA he was broadcasting on and puts down the control box. MASTER MIND Excellent. Stop here, I like this view. PLATO Twenty seconds until impact. Master Mind turns to Roxanne who is being held by Da Vinci and Einstein. She almost appears a little bored. Disappointed by her lack of horror, he walks over to the monitor now showing Uberman trapped in the cage. 8. MASTER MIND Any last words? Uberman looks up at the screen with a cocky smile. UBERMAN (ON MONITOR) Yes: there's no caging the power of justice. PLATO Ten seconds to impact. On the screen we see Uberman take two of the cage's bars in his hands. He yanks...NOTHING. PLATO (CONT'D) Nine... Master Mind stares at the monitor, slightly confused. PLATO (CONT'D) Eight... Uberman yanks on the bars again, this time using his foot as leverage. MASTER MIND (genuinely concerned) What's going on? UBERMAN (straining) Hold...on...a second. Master Mind looks back at Plato and Einstein. They're equally befuddled at the hero's sudden weakness. PLATO Seven... Uberman loses his grip and FALLS BACKWARD ON HIS ASS. UBERMAN SON OF A BITCH!! Master Mind and the minions all cringe in unison. Da Vinci turns to Roxanne not believing his ears. DA VINCI What did he just say? 9. PLATO Six......Five... Master Mind begins to laugh. MASTER MIND What kind of trick is this? Uberman looks up at the camera with a very grave expression. UBERMAN Like you don't know. These bars are made of copper, aren't they? PLATO Four... MASTER MIND Yeah, so? Uberman tries to shield his grief with his hand. UBERMAN You figured out my weakness, damn you. I CAN'T BEND COPPER! PLATO Three... MASTER MIND Your weakness is copper? PLATO Two...one. Everyone turns to the window. EXT. OUTER SPACE The satellite fires a giant BEAM OF LIGHT toward the earth. EXT. OBSERVATORY HIDEOUT - DAY The beam hits the observatory. The building instantly EXPLODES in a white nova blast of fire. INT. HYDROFOIL CONTROL ROOM - DAY The blast is so bright everyone turns away from the window. Then, as suddenly as it began, the awesome light dies out. One by one, the passengers unshield their eyes and look out toward the observatory. 10. All we can see through the haze of destruction is fire and smoke. PLATO I don't think even he could have survived that. Einstein suddenly turns giddy with excitement. EINSTEIN Whoa! Is it me or did you just finally destroy Uberman? MASTER MIND (carefully skeptical) Well...let's not get ahead of ourselves. Da Vinci suddenly sees something outside. DA VINCI Look, there's something in the sky, coming this way. ROXANNE Uberman! Master Mind turns toward the window. An object is in the air, flying directly toward them. As it closes in we can just make out the FAMILIAR OUTLINE OF A CAPPED FIGURE. MASTER MIND I KNEW IT! PREPARE YOURSELVES! HE'S GONNA RAM US!!! Everyone scatters and braces themselves for the impact. Master Mind, seeing all the good places taken, doesn't know what to do with himself. He just covers his giant head with his hands. The figure CRASHES THROUGH THE WINDOW and lands at his feet. He looks down to see a CHARRED BLACK HUMAN SKELETON. Around its neck is the unmistakable black cape of Uberman. MASTER MIND (CONT'D) (horrified) HOLY SHIT! 11. Roxanne breaks out of Da Vinci's hold and runs over to the body. ROXANNE Uberman? She stares down at the still smoking corpse, the tattered black cape with the yellow "U" on it. Roxanne turns to Master Mind, who's still visibly dumbfounded at the grotesque sight before him. ROXANNE (CONT'D) You killed him! Roxanne's eyes roll back. Da Vinci catches her from behind as she FAINTS. Einstein turns to Master Mind, looking at him as if he's just walked on water. EINSTEIN You did it! Now that he's committed the impossible - our villain is at a complete loss. MASTER MIND ...so I did. EINSTEIN I mean, I know you always wanted to. I mean, all the schemes all the plots - I never thought you'd actually be capable of it. Giddy as a school girl, Einstein turns to his fellow henchmen. EINSTEIN This is history. Every villain and lackey in the history of villains and lackeys dream of this moment, but when does it actually EVER happen? A sudden realization comes over his face. EINSTEIN Good lord...You do all realize what we get to do now, don't you? 12. His question is met with acquisitive looks from Master Mind and the others. EINSTEIN We get to go on a crime wave. CRIME WAVE MONTAGE - SET TO "Fun Fun Fun" by The Beach Boys. SPINNING HEADLINE: "UBERMAN'S DEATH IGNITES CITY WIDE CRIME WAVE!" ARMORED TRUCK It's driving along when the men inside suddenly notice something - THEY'RE FLYING HIGH ABOVE THE CITY STREETS. We PULL BACK to see the truck being carried by a giant claw at the bottom of a BRAIN COPTER. Inside the cockpit Master Mind and his henchmen laugh maniacally. SPINNING HEADLINE: "CHAMPION-LESS CITY AT THE MERCY OF HOOLIGANS." METRO CITY BANK Da Vinci and Einstein run out the front of the bank holding BAGS OF MONEY. Two beat officers see them and take chase after them around the corner and into an alley. After a moment the police reemerge from the alley screaming and running for their lives as a GIANT ROBOT CHASES after them. The robot stops, then suddenly it's head opens up like convertible car top with Master Mind and Plato at the driver's wheel. They smile and shake hands at a bad deed well done. SPINNING HEADLINE: "MASTER MIND BLACKMAILS METRO!!!" A VICIOUS TORNADO It's heading for downtown Metro as Master Mind and the lackeys coolly look on. Three large DUMP TRUCKS pull up, filled to the brim with bricks of CASH. 13. The DRIVERS jump out as the lackeys take the driver seats in the three trucks. Master Mind is about to climb into the passenger seat of one when a drivers taps him on the shoulder and motions toward the tornado. MASTER MIND (absentmindedly) Oh, right. Master Mind pulls a television REMOTE from his pocket and aims it at approaching windstorm of death. He presses the button marked "Tornado Off." The tornado shrinks and disappears just before it hits the city. As they drive through the city streets, Master stares out the window with a hint of something in his eyes. Is it melancholy? END OF MONTAGE EXT. KINGPIN BOWLING - DAY It's Metro City's premier bowling alley. On top of the neon lit building is a GIANT 30 FOOT TALL CEMENT BOWLING BALL. INT. KINGPIN BOWLING - DAY HAL STEWART (early 30's) takes careful aim with his BOWLING BALL. HAL It's a sport of honor, focus and grace. Honor the ball, focus on the pins, release the ball not hard and fast, but as if you were releasing a baby dove. He takes a step, pulls back his arm, and releases the ball, following it with his eyes. It's a horrible shot - INSTANT GUTTER BALL. An aged barmaid type with a cigarette hanging from her mouth looks over at him. HAL Okay, do something like that - but center it more. 14. She picks up her custom made FOGHAT BALL and takes aim. ATTRACTIVE BLOND Tell me how my form looks, honey. Hal focuses on the misshapen bumps of her enormous Johnson administration era derriere. HAL Oh, it's lookin' good. It's lookin' REAL good. It doesn't get anymore clear. This man is a pig. VINNIE (O.S.) Hal, I want to see you in my office! Hal turns to see VINNIE, owner of the bowling alley, calling him. VINNIE Now! INT. KINGPIN BOWLING - VINNIE'S OFFICE - MOMENTS LATER Hal sits down, facing Vinnie who's sitting at his desk. VINNIE You're fired. Leave your shirt and locker key. This bit of news hits Hal like a freight train. HAL Fired? Are you going to tell me why? VINNIE Showing up to work late. Showing up to work late drunk. Sexually harassing customers. Stealing from the register. HAL Vinnie, I don't know where you're getting these accusations - Vinnie takes out a video tape from his desk drawer and puts in a VCR. 15. HAL Oh, which one do you supposedly have here? VINNIE This is all of them at once. TELEVISION A WOMAN walks up to a BOWLING EMPLOYEE and hands him a pair of shoes. As the employee turns to the wall of shoes, a very drunk and disheveled Hal comes running in and pushes him aside. HAL I've got this one, Benny. So, Cinderella. Can I help you find your glass slipper? WOMAN Yeah, I'm looking for a seven. He folds his arms on the counter and leans into her with a cat-like grin on his face. HAL (with a leer) Seven - Well, maybe I could interest you in something in an EIGHT. Namely, me. Disgusted, she walks off screen. HAL Lesbo. Suddenly realizing the register's open, he quickly grabs a stack of cash and shoves it in his pocket. BACK TO OFFICE Vinnie turns off the television and waits for Hal to respond. HAL From the angle of the camera, I can see where you might have gotten the wrong idea. Listen, Vinnie, I don't think you've thought this through. If you fire me, who's gonna be captain of the alley's bowling team? 16. VINNIE Um, I don't know. Maybe somebody who can actually bowl. You guys have never won a game. I hired you because you said you were on the pro circuit. HAL No, I said I WILL BE on the pro circuit. VINNIE Please, a loser like you will never amount to anything. This harsh remark seems to leave Hal genuinely stunned. HAL Wow...If that's how you feel...I guess we should then talk about what kind of severance I'm gonna get. EXT. KINGPIN BOWLING - DAY TWO BRUISERS open the door and throw Hal out onto the street. He quickly picks himself up and turns back toward the building. HAL Hey...what about my ball? A bowling ball sails past him, just missing his head. HAL Thank-you! EXT. CHANNEL 7 NEWS BUILDING - DAY The massive building with a giant 7 on the roof stands in the heart of Metro City. INT. CHANNEL 7 NEWS BUILDING - OFFICE - DAY The cubicles and offices are alive with the hustle and bustle of a busy news day. Phones are RINGING, REPORTERS are TALKING, and Editors are SHOUTING. The elevator doors open and out steps Roxanne Ritchi. 17. Everything stops as the entire office suddenly falls SILENT. Somewhat taken aback by the reaction, Roxanne scans the room to see every eye on her. ROXANNE It's...um...It's good to be back. Thanks for everyone's cards and concerns. I really appreciated it - now I'm ready to climb back on the horse. No one is budging - their looks of pity are really starting to make her uncomfortable. The back office door suddenly opens and out comes FRANK BONIN, the gruff, middle-aged Producer of Channel 7 News. Noticing the silence, he looks up and sees the sad expressions on everybody's face. FRANK Someone die or something? He suddenly notices Roxanne - both feet are placed firmly in his mouth. FRANK (cursing himself) Oh, Jesus. ROXANNE It's okay. Frank quickly walks up to Roxanne and takes her gently by the arm. FRANK Come on into my office, sweetie. INT. CHANNEL 7 NEWS BUILDING - FRANK'S OFFICE - CONTINUOUS He sits her down on his leather couch, then quickly turns toward his door. FRANK Can we get this woman some water for God's sake? (to Rebecca) I gave you two months off. What're you doing back? People are gonna think I'm a slave driver. 18. ROXANNE Aren't you? FRANK Yeah, but I don't want people to think it. ROXANNE Frank, listen. I want to go back to work. I NEED to go back to work. FRANK ...You're hysterical, aren't you? Frank sits down on the couch and blankets Roxanne with A WARM EMBRACE. ROXANNE What're you doing? FRANK Keeping you warm before you go into shock. (toward the open door) DO I HAVE SLICE OPEN A CAMEL HUMP TO GET A GLASS OF WATER AROUND HERE? A SECRETARY quickly enters with a bottled water. She sets it on the table in front of them and leaves. Roxanne pulls herself out of Frank's grasp and stands up to face him. ROXANNE It was a traumatic experience. Yes, everyone knows Uberman and me were...close. But what I really need - what would really make me better is getting back to work. There's a sudden awkward silence from Frank. FRANK Well, that's going to be... ROXANNE I thought you'd be happy to have me back. 19. FRANK Oh, we are. Honey, nothing makes us happier than to have our girl back, but..
26	Monkeybone	Sam Hamm,Kaja Blackley,Vanessa Chong	Animation,Fantasy,Comedy	February_1999	FADE IN: MAIN CREDITS ROLL over BLACK SCREEN, with PORTENTOUS SPOOKY MUSIC underneath. Just as the music reaches its crescendo, we hear a simian SCREECH. A BUCK-TOOTHED CARTOON MONKEY swings past on a vine. TITLE WIPES IN with him: MONKEYBONE(tm) in "FREUD CHICKEN!" TIGHT CLOSEUP - STANLEY (ANIMATED) A POCKETWATCH swings back and forth in F.G. Gaping at it is a goofy, bespectacled CARTOON CHARACTER, sucking his thumb as his EYES move back and forth. After a moment, the LEFT EYE freezes in place - but the right eye keeps going back and forth with the watch. SHRINK'S VOICE (o.s.) Back, Stanley...you're going back...back to when it all began. Are you going back yet? Come on, get back, ve haven't got all day. Now BOTH EYES are locked in place. The patient is hypnotized. INT. SCHOOLROOM - DAY (ANIMATED) A squat, lumpy TEACHER, MISS HUDLAPP, is straining to erase the Gettysburg Address, which is written along the very top of the blackboard. There's an obtrusive, rhythmic BANGING noice in B.G. STANLEY (V.O.) It was third grade. The teacher was Miss Hudlapp. She was kinda squat and lumpy - she smelled funny - but she was kind. MISS HUDLAPP CLASS! (turning around suddenly) How many times have I told you? In this class we do not pound tenpenny nails into Stanley's head! REVERSE ANGLE - ON STANLEY Hapless ten-year-old STANLEY, still goofy and bespectacled, in his front-row desk. NAILS stick out of his head. The FOUR MEAN KIDS poised around him lower their hammers and return to their seats, grumbling. A dreamy SMILE crosses STANLEY's face as he gazes at MISS HUDLAPP. STANLEY (V.O.) You know how some teachers have those, kind of, flaps on their arms - those big sacks of limp flab that like, dangle? As MISS HUDLAPP pulls her sweater off, TWO MASSIVE ARM-FLAPS - fifty gallons of flab apiece - SPILL OUT and SMACK INTO THE FLOOR. MISS HUDDLAPP claps two erasers together, kicking up a cloud of dust. Young STANLEY watches, transfixed by her massive ARM FLAPS. We TRACK IN on the gigantic ARM FLAPS as they swing hypnotically back and forth, with a loud SLAP each time they collide. STANLEY (V.O.) It sounds weird...but for some reason, as I watched those big old flaps of hers, I began to feel...well...oddly... Now we TRACK IN on the mesmerized STANLEY. A SONG comes up underneath: Donna Summer, "I FEEL LOVE." STANLEY (V.O.) ...aroused. (beat) And then the horror began. DOINK! STANLEY looks down at his LAP in horror. The boys and girls around him are pointing and tittering. Grimacing in embarrassment, he discreetly places a heavy TEXTBOOK onto his lap, suppressing the bulge in his pants. But SPROING!! - the BOOK goes flying across the room. The BULGE is fighting back! The kids DUCK AND COVER beneath their desks as STANLEY slams a STACK of textbooks onto his lap. It's no use - the WHOLE STACK goes flying, and BOOKS come raining down on the entire class! Now MISS HUDLAPP is staring directly at him... MISS HUDLAPP Young man. What's that in your lap? She marches toward him. STANLEY pulls his BACKPACK over his lap. STANLEY (V.O.) It was useless. Like putting a baseball cap on the Washington Monument. And then...all at once ...there he was. The BACKPACK bucks and wriggles, as if something inside is trying to GET OUT. And then - with a flourish of rousing disco strings - IT DOES! STANLEY (V.O.) Monkeybone!! The libidinous cartoon monkey BURSTS OUT of the backpack, POINTS at MISS HUDLAPP - and announces, in his Barry White baritone: MONKEYBONE Oooo-oo-ooh, baby. I love your way. KC and the SUNSHINE BAND comes up underneath as MONKEYBONE DANCES to the front of the class. He grabs MISS HUDLAPP by the hands and begins dancing The Bump with her ARM FLAPS. Butt left, WHAP. Butt right, WHAP. The KIDS are bug-eyed - agog. With each WHAP their little heads turn back and forth as if they're watching a nude tennis match. INT. SCREENING ROOM - ON AUDIENCE (LIVE-ACTION) A roomful of LIVE HUMANS watching the cartoon, heads turning in sync with the kids onscreen. TV-INDUSTRY HIPSTERS, AD EXECS, MANUFACTURER'S REPS...they're all guests at this sneak preview of the Monkeybone show, and they're LAUGHING UPROARIOUSLY. In the midst of the crowd is a handsome young couple: JULIE McELROY and STU MILEY. JULIE's a research scientist, brainy, professional, abnormally well-adjusted - and pretty enough that she'd be intimidating if it weren't for a prominent goofy streak. STU is the one guy in the auditorium who isn't laughing at the cartoon on the screen. In fact, he's solemn as a judge - peering nervously around to see how the rest of the audience is responding. Why? Because he's the cartoonist who created the characters on screen. In his looks (gangly, disheveled) and manner (sardonic, self- deprecating), he's the obvious model for the character of STANLEY. INT. CLASSROOM (ANIMATED) As the monkey dance continues, we ZOOM IN on the mortified face of LITTLE STANLEY. His eyes begin doing the familiar HYPNO-SWIRL... INT. SHRINK'S OFFICE (ANIMATED) A CUCKOO pops out of a wall clock. ADULT STANLEY'S THUMB pops out of his mouth. He awakens from his trance in a cold sweat. STANLEY How about it, Doc? Can you help me? SHRINK Not overnight. These imaginary monkey cases take time. I vould estimate...roughly... On the desk is a CATALOGUE, open to a two-page spread depicting a 40- foot CABIN CRUISER. "NEW FOR SUMMER! ONLY $229,999.95!" With his free hand, the SHRINK is working a CALCULATOR... SHRINK Twelve years and three months ought to do it. The SHRINK hustles STANLEY to the door and shakes his hand. STANLEY One question, doc - what did you mean when you said "imaginary"? SHRINK All in good time, my boy. All in good time. The SHRINK shoves STANLEY out and slams the door behind him. Two beats. Then he doubles over, WEEPING with LAUGHTER. SHRINK Vot a crackpot! Monkey on ze back - HAH!! ROLL OUT ZE WACKY WAGON!! Now he notices a BACKPACK, which STANLEY has left on the couch. It TWITCHES slightly - of its own free will. VOICE IN BACKPACK Imaginary, huh? You quack. EXT. SHRINK'S BUILDING (ANIMATED) A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES HIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the way down to the street. SPLAT! A gob of gore hits STANLEY in the face as he exits the building. He kneels on the sidewalk - finding a PIPE and a GOATEE. STANLEY Aw, Monkeybone! At this rate I'll never find a good shrink. MONKEYBONE Those guys are a waste of money! I'll show you how to stop sucking your thumb... MONKEYBONE sticks his thumb in his butt as he and STANLEY toddle off into the sunset. INT. SCREENING ROOM - THAT MOMENT STANDING O from the crowd as the cartoon ends and the lights come up. HERB, an all-purpose sidekick type, appears at the podium: HERB Thank you...that's our pilot...the good news is, Comedy Channel has just picked us up with an order for six new episodes! HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in the room who's still in his seat. HERB Now, let's give it up for the guy who started it all. Creator of America's most disturbed comic strip...the man behind the monkey...Mister Stu Miley! A SPOTLIGHT hits him, and he STANDS to tumultuous applause. He looks genuinely stunned. He can't believe it's happening. JULIE surreptitiously PINCHES him on the bottom, giving him a start. She WINKS at him. He shoots her a small private smile - then turns to WAVE at the adoring crowd. INT. LOBBY - HALF-HOUR LATER - NIGHT STU working his way through a crowd of well-wishers and FANS. STU I don't actually draw all the animation, no. We have sweatshop workers who couldn't get jobs at Nike doing that. A beautiful, heavily-pierced FEMALE FAN hands STU a marker. BEAUTIFUL FAN Mr. Miley, would you draw Monkeybone on my belly? As a guide? STU Guide...? BEAUTIFUL FAN For my tattoo artist? She exposes her taut midriff. STU thinks for a moment, then goes to work. When he's done, Monkeybone appears to be climbing out of the girl's pants and WAVING to her. Nearby FANS APPLAUD. BEAUTIFUL FAN Wait! You have to draw the rest of him - She begins unbuckling her belt so STU will have enough room to draw Monkeybone's bottom half. STU demurs... STU I - I have to, uh, check in with my doctor. DO- OCCCC!! He wanders across the room, finds JULIE deep in conversation with a bunch of other GUESTS, and pulls her aside. STU Hey, Doc. Come here. There's something really cool I want to show you. He grabs her by the sleeve, pulls her across the floor to - INT. ALCOVE - OFF LOBBY - CONTINUOUS There's nothing "cool" about it - it's a stairway landing, with metal fire doors that open onto the parking lot outside. STU See these doors? The cool thing is, you go out ...they close...you can't get back in! He opens one door and holds it for JULIE. JULIE You want to leave? But Stu - you're a big hit! Everyone loves you! STU They don't love me. They love Monkeybone. JULIE It was you who got the standing O. It was you drawing on the belly over there... STU That was especially Monkeybone. Come on, Doc, I don't want to be stuck here with this bunch of media creeps. I just want to be us. Home. Alone! (conspiratorially) I have something I have to give you. JULIE Can't you give it to me later? STU Yeah, I could, but the thing is, if later got here sooner, it would be...better. He gives up trying to explain...pulls her close and kisses her. For a moment they completely forget about the party in the next room. Then HERB appears behind them, trying to catch STU's eye as he waits for the clinch to break up. Finally he pries them apart: HERB Sorry, Julie - won't be a minute. Now Stu - I know you don't like the idea, but you really ought to talk to these guys - STU Julie and I - we were just gonna go... But before STU knows what's hit him, HERB is leading him back to - INT. LOBBY - THAT MOMENT - CONTINUOUS HERB Go? There's a potload of money here, pal. You got three major toy companies...you got the guys from Burger God over here... STU Burger God. The ones that found the pig hair in the french fries? HERB Never proven. They're ready to pop for a pre- emptive endorsement. Kids love Burger God - The MERCHANDISERS shoot STU an expectant wave. STU waves back and turns in the opposite direction. HERB grabs him by the sleeve. STU Herb, it's too much. It's all out of hand. HERB Do you know what kind of opportunity you have here? You gotta strike. I'm talking mansions. Lamborghinis. Champagne for mouthwash when you brush your teeth! STU I don't want to be rich. It's just a trap! HERB Being rich is not a trap. That is a dirty lie perpetuated by rich people to keep the failures from killing them. STU Herb. I have to go. HERB Why? STU I got the ring. (beat) Tonight's the night, Herb. Tonight's the night. He nods toward JULIE, who's at the open bar grabbing two glasses of punch. HERB realizes a proposal is in the works. HERB Oh my God...you're proposing? STU My life was totally crappy, Herb, and she... fixed it. She made me happy. Which I'd never been. She loves me the way I am - right now. (beat) I don't want everything to change. I don't want her saying yes to some big success. I just want her saying yes to me. HERB ...In some weird way I respect that. JULIE's over by the punchbowl. She sees the two boys staring at her conspiratorially - MAKES A FACE at them as she waves back. HERB Okay then. If I get you out of here - you pop the question - tonight. Or else. Get me? STU nods gravely. EXT. PARKING LOT - NIGHT STU, JULIE, and HERB in the parking lot. A small safari of FLUNKIES is loading enormous boxes full of MONKEYBONE JUNK into STU's beat-up car - stuffed dolls, action figures, board games, lunchboxes, beach towels, team jackets and more! STU groans at the sight of it... HERB They're just prototypes...take 'em home and look at 'em before you say no... (scanning the streets) If you could just hold on a minute or two, we're expecting a couple more trucks. STU GLOWERS at HERB as he opens the car door for JULIE. HERB Okay, okay! You're a beautiful couple. Go. INT. CAR - NIGHT - MOVING STU backs out of his space. The small parking lot is full of DELIVERY TRUCKS from would-be merchandisers - all too large for the spaces they're parked in. STU has to keep backing up because the exit lanes are blocked. It's like negotiating a labyrinth. STU Look at this! He won't let us leave! JULIE Who? STU The monkey!! He's everywhere! He'll take over both our lives if we let him. JULIE Stu - stop it. That monkey is good luck. You thought him up, and everybody loves him, and he's probably going to make you rich. So relax! Enjoy it! STU I'm trying. It's weird, that's all. I never had any good luck, until I met you...what if it's all just another bad dream? JULIE What's the "bad" part? STU I might wake up. JULIE (laughing; taking his hand) If you do, I'll be right there beside you. So face it. You're just going to have to be happy! STU I am happy. It just so happens this is the happiest night of my life. He says it so solemnly that she cracks up. After a moment he joins in. EXT. PARKING LOT - THAT MOMENT - NIGHT A PLASTIC BANNER stretches between two poles on either side of the entry to the lot. It shows MONKEYBONE in a typical languorous pose: It's His World. We Just Live in It! MONKEYBONE Sunday Nights This Fall TWO GUYS on EXTENSION LADDERS are taking the sign down as STU'S CAR idles at the exit below. There's a strong wind tonight, and one guy LOSES HOLD of his end of the banner just as he gets it detached... INT. CAR - THAT MOMENT - NIGHT As STU pulls into the intersection he sees a DELIVERY TRUCK approaching in the opposite lane, with a cardboard likeness of MONKEYBONE mounted atop the cab. He chuckles... STU That damn monkey is everywh-- Suddenly his view of the street DISAPPEARS. The MONKEYBONE BANNER has fallen DIRECTLY ACROSS HIS WINDSHIELD, like a huge SHROUD. All he can see is a great, grinning MONKEY FACE!! JULIE SCREAMS. STU SCREAMS. Unable to see, he slams on the brakes and JERKS THE WHEEL RIGHT. Off screen: HORNS BLARING. TIRES SQUEALING. The horrible crunch of METAL ON METAL. But Stu's car comes to a halt untouched. After a moment he opens his eyes...and JULIE opens hers... STU Did we just - hit something? JULIE I don't think so. STU Are you okay?? She thinks it over, nods. STU takes a moment to catch his breath, then opens the door gingerly. A HORN BLARES as a car speeds past in the opposite lane, nearly taking STU's door off. He jumps back inside, waits, opens the door again... EXT. INTERSECTION - THAT MOMENT His eyes widen in horror as he steps out to survey the scene. The asphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games, lunchboxes. SKID MARKS show where the TRUCK which was carrying all this SWERVED... ...and slammed into the rear of a BUICK REGAL, pinning it up against a TELEPHONE POLE. STU races up to the Buick. Its front end is mashed up like an accordion, but the occupants - a couple of TEENAGERS dressed for the prom - seem to be okay. STU Hey! Are you guys all right in there? TEENAGE GIRL We're fine. STU That stupid monkey banner! It fell on my windshield - it practically killed us all! (to JULIE) God, Julie, if anything had happened to you - JULIE I'm fine, baby. We're all okay. We were lucky. STU I'd better go report this... He spots a PHONE BOOTH and starts across the street. On the way there he plucks a STUFFED MONKEYBONE DOLL off the pavement and CHOKES IT with both hands. JULIE stays behind with the prom kids. The TEENAGE BOY in his tux is glassy-eyed, miserable beyond description. JULIE Dad's car? The BOY begins to SOB softly. JULIE nods in sympathy. Then: EVERYONE WINCES. The air is full of a horrible CREAKING noise, like nails on a blackboard... TEENAGE GIRL What was that? Did you hear that? The horrible CREAKING NOISE continues. JULIE turns. Behind her, the TELEPHONE POLE that the car slammed into is beginning to TEETER. Then it TOPPLES. Directly toward... JULIE STU!! ON STU - IN PHONE BOOTH He sees JULIE running toward him and holds up a single finger. STU Operator? I want to report an accident. Finally he glances up - just in time to see the TELEPHONE POLE coming down toward the phone booth like a gigantic sledgehammer. His eyes widen. The STUFFED MONKEYBONE slips from his grasp... CLOSEUP - MONKEYBONE A HORRIBLE CRASH. SCREAMS. CAMERA ZEROES IN on the MONKEYBONE DOLL which STU was holding, surrounded by broken glass, its face twisted into an insane, almost macabre grin. The screen fades to PITCH BLACK for a few seconds...until we hear a DISTANT SIREN, and an IMAGE comes swimming into focus... STU'S POV: ON JULIE He's in the back of an ambulance, with PARAMEDICS all around him, working feverishly. JULIE hovers above him, holding his hand. JULIE Stu? I'm here, baby. It's me. It's Julie. I love you. You're gonna be okay, baby, I promise - All at once he seems to be RECEDING from JULIE and the others - as if SINKING THROUGH the bottom of the stretcher, and BEYOND - through the floor of the ambulance! JULIE's voice grows weaker, more distant: JULIE (V.O.) I'm here, baby. I won't leave you... And then all trace of the ambulance is gone, and he's floating down through some strange LIMBO, surrounded by the silhouettes of billowing SHROUDS, with the sound of BIRDS CALLING all around him... An AWFUL MECHANICAL RATCHETING NOISE fills the soundtrack. STU's eyes close - and when they reopen, he finds himself in: EXT. TROLLEY - MOVING A tiny ROLLER-COASTER CAR descends from dense clouds down the length of an impossibly long and rickety METAL TRACK. The track leads through a vast black VOID... ...to a tiny ISLAND floating in the darkness...an island that looks not unlike a disembodied FIST. And, as the car draws closer, the fist begins to OPEN - tulip-like - turning into a HAND, with a full-sized TOWN nestled in its palm! In the town, CARNIVAL LIGHTS begin to glitter. MUSIC begins to tinkle... EXT. PLATFORM - NIGHT The car - a one-passenger job with a CARTOON ANIMAL FACE on its prow - stops with a lurch. STU steps out onto a fog-shrouded TRAIN STATION PLATFORM. Before he knows it, the little car DEPARTS behind him. He's stranded - alone. STU Hello? Anybody? - Am I dead? (beat) PLEASE. I'D LIKE TO KNOW IF I'M DEAD. Off in the fog is a big wheeled CART with the sign: "PSYCHOLOGICAL BAGGAGE CLAIM." There STU finds two SUITCASES and a BACKPACK. He examines the TAGS. They all belong to him! He sits on the edge of the cart, opens a SUITCASE, and pulls out... - A bagged copy of Marvel Comics' Conan the Barbarian #1; - An 8mm reel of highlights from Ray Harryhausen's Jason and the Argonauts, with swordfighting skeletons on the box cover; - A SPIRAL NOTEBOOK, its cover labelled "STU M. - GEOGRAPHY," its inside pages covered with drawings of dinosaurs and airplanes; - Transparent plastic models of "THE VISIBLE MAN" and his mate, "THE VISIBLE WOMAN," with a couple of spare organs that young STU never quite found a place for; - A vinyl LP of "BREAD'S GREATEST HITS," which STU quickly slips back into the suitcase lest anyone see it. As he gathers his bags, he hears odd SQUEAKS and CHITTERING... RACCOON (o.s.) Carry your bags, mister? A STRANGE FURRY CREATURE pops out from beneath the platform and yanks on STU's pants leg. It looks like a raccoon, but it's FLAT - an animated pelt. Before STU has time to let out a yell, a FLAT SNAKESKIN comes slithering out from beneath the baggage cart... SNAKE Cigars, mister? Genuine Coobans! STU looks down and sees a SQUASHED RABBIT humping his leg. RABBIT Wanna meet my sister? These bordertown types are known as ROADKILL, and they're sporting the tire tracks to prove it. STU SCREAMS, shakes them off, and RUNS. EXT. DARK TOWN GATES - NIGHT A long stone STAIRWAY leads to decorative wrought-iron GATES. SHADOWY CARVED SPHINXES sit on either side. As STU races up the steps, a sputtering NEON SIGN comes to life overhead: D RK TOWN A FANFARE BLOWS as the creaky gates begin to part. A SPOTLIGHT hits the SPHINXES - and they COME TO LIFE! They rise up on their hind legs, put on boater hats. One of them blows a note on a kazoo... SINGING SPHINXES Weeee...welcome you to Dark Town And while you're in your coma This odd amusement park-town Will be your Home Sweet Homa - STU bolts THROUGH THE GATES, with the ROADKILL TRIO right on his heels. The indignant SPHINXES exchange a look of outrage. EXT. DARK TOWN - MIDWAY - NIGHT It's a carny town, a tourist trap, seedy and nightmarish. Despite the festive trappings, there's something off about it - an air of neglect and decrepitude - as if they'd tried to turn Alcatraz into Disneyland, and given up halfway through. STU looks back and sees the ROADKILL gaining on him. He spots a small group of OTHER HUMANS... STU Help me. Please. There's animals. They - The humans just YAWN. They're COMA VICTIMS, just like STU. He ditches one of his SUITCASES as the ROADKILL come after him. VOICE Pony ride, Mister? He turns and spots a helpful-looking fellow in a COWBOY OUTFIT. The COWBOY is in fact a CENTAUR - rider and mount rolled into one! The characters who run this place - the BARKERS, TICKET-TAKERS, and RIDE OPERATORS - are all weird HYBRIDS, part human, part ANIMAL. They could be the ancient Gods of some primitive culture - reduced to working as street entertainers in this ramshackle resort town. STU pinballs down the street, bouncing from one shock to another: - JOE CAMEL, doing community service as a STREET SWEEPER - JOE CAMEL Hey, Mister. Mister! Got a smoke? - a YETI selling SNO-CONES from a cart outside the MORPHEUM THEATRE. The marquee reads: LIVE! NIGHTMARES! LIVE! First-Run - Continuous Performances - Popular Prices Rated NR-H - Not Recommended for Humans - A CYCLOPS working as a barker at the Penny Arcade; - A VIDEO RENTAL OUTLET - "BAD DREAMS VIDEO," offering your favorite nightmares, cult and classic, three nights for $2.95. A THREE-HEADED DEVIL emerges from the shop carrying a sackful of videos - and recognizes STU, much to his horror. HEAD #1 Hey, aren't you Stu Miley? HEAD #2 We're big fans. HEAD #3 Could we have your autograph? Reduced to babbling hysteria, STU ducks into the nearest building. Above the door, an ANIMATED NEON SIGN shows a happy boozer lifting his martini glass, then falling over flat on his back, at which point his eyes are replaced by the traditional cartoon X's. This is the COMA BAR. INT. COMA BAR - A MOMENT LATER - NIGHT STU bursts in, flattens himself against the wall as the ROADKILL skitter past outside. He's given them the slip. He looks around. The bar's a weird melange of styles. COMA VICTIMS ride around in wheelchairs refurbished as BUMPER CARS, drinking cocktails from IV bottler. A four-armed ELEPHANT GOD is at the Mighty Wurlitzer while a MERMAID VOCALIST in a half-shell belts out the wistful lyrics of Johnny Mercer's "DREAM." And over at the BAR... BULL (o.s.) New in town, huh? What're you drinking? Out of breath, STU edges toward the bar as the BARTENDER, BULL, turns away to grab a fresh glass. STU Chasing me - animals - horrible - BULL Animals? What kind of animals? STU GAGS. BULL is a full-fledged MINOTAUR, body of a man, head of a BULL. His features are CUBIST - weirdly squashed over to one side. BULL Yeah, I know - Picasso. Guernica, right? That's what everybody says - although personally, I don't see the resemblance. What are you drinking? STU Uhh - martini? BULL Olive or eyeball? STU Olive. - Where exactly am I? BULL Dark Town. Land of nightmares. I'm Bull. STU Stu Miley. BULL Yeah, I've seen a few of your dreams. You're quite a celebrity down here. STU gives him a cockeyed look. BULL points to a MONITOR mounted over the bar, on which a panicked man in pajamas is trying to run barefoot through a great sticky SEA OF MOLASSES. BULL I told you, it's the land of nightmares. Same on every channel...all the stuff people dream, after they have the extra anchovies. He changes channels with a remote. Now we see a guy falling through midair, arms and legs flailing, falling, falling, falling... STU Jeez, it all looks like bad late-night cable. BULL Sad commentary, huh? Now a small muffled VOICE speaks from the area of STU'S BACKPACK: DISEMBODIED VOICE (o.s.) "Bull," huh? That's cute. What's your last name - "Shit"?? BULL (turning angrily to STU) I beg your pardon? STU I didn't say anything. VOICE (o.s.) Nice face. Lemme guess. You were in a bullfight ...with a Mack Truck!! STU claps both hands over his mouth to prove he's not the one talking. BULL glowers at him, snorting STEAM out of both nostrils. STU I was, uh, just getting ready to leave... BULL Yo, Jumbo. We got us some kind of ventriloquist here. The ELEPHANT GOD from the Wurlitzer organ comes lumbering over. VOICE (o.s.) Well, hello, sailor. Get a lot of dates with that ding-dong on your face?? BULL and JUMBO rear back to PUNCH STU'S LIGHTS OUT. He's saying his prayers when his BACKPACK begins to BULGE and QUIVER - and a SMALL FURRY BEAST pops out, CACKLING HIS HEAD OFF!! MONKEYBONE Just kiddin', folks! Drinks for everybody - (pointing at STU) On him!! HIYA, BOSS!! BULL and JUMBO back off, STUNNED. The monkey grabs STU'S FACE and plants a big wet SMOOCH right on his NOSE. STU SCREAMS. CUT TO: INT. HOSPITAL ROOM - THAT MOMENT - NIGHT TIGHT ON an EEG monitor. There's a sudden BLIP on the readout. NURSE Just a spike, ma'am. It happens. It's perfectly natural with coma patients. JULIE I'm a doctor too. I know this man's brain - JULIE strokes STU's limp hand. He's COMATOSE, cocooned in a tangle of wires and tubes. His head and shoulders are heavily bandaged. He's hooked up to as much machinery as you can cram into one room. DOCTOR Go home, Doctor. Rest. Come back when you can do us some good. INT. HOSPITAL - WAITING ROOM - NIGHT Dead on her feet, JULIE stumbles toward the exit. As she's leaving she passes the WAITING ROOM - WOMAN'S VOICE Julie? She turns and sees an older colleague from work - ALICE - waiting in the doorway. Hovering right behind ALICE is HERB. And behind him - It appears that almost everyone in the waiting room is a friend of JULIE and STU's. Disheveled and groggy, they rouse themselves and make their way over to JULIE's side. She's overcome with emotion. INT. STU & JULIE'S HOUSE - ENTRY - NIGHT The sound of the key in the lock is met by INSANE BARKING. JULIE and ALICE enter and are met by BUSTER, the pet basset - jumping and yipping like crazy after 24 hours without food or human company. ALICE Now don't pick a fight. I'm staying over. JULIE Oh, poo
27	Mulan	Robert D. San Souci	Family,Animation,Comedy,Musical,Adventure	December_1998	[Chinese guard is seen walking on The Great Wall. Shan-Yu's falcon swoops down and hits the guard on the head knocking his helmet off. The falcon lands on top of a flag pole in front of a full moon and lets out a large cry. One grappling hook comes over The Great Wall. The guard walks over to the edge and sees many grappling hooks coming towards him] Guard [yelling]: We're under attack! Light the signal! [Guard runs to the tower and up the ladder as Hun Bald Man #1 and Hun Long Hair Man appear trying to stop him. Hun Bald Man #1 breaks the ladder with his sword just as Guard reaches the top. The guard picks up the torch to light the fire and sees Shan-Yu jump over the edge of the tower and looks at him across from the caldron. The guard throws the torch into the caldron lighting a large fire. Shan-Yu watches as each tower lights their caldrons one by one] Guard [sternly]: Now all of China knows you're here. Shan-Yu [taking the flag and holding it over the fire]: Perfect. [Cut to the palace. The large doors to the central chamber open as General Li walks in flanked on his left and right by soldiers and approaches the Emperor. He bows, then looks up] General Li: Your Majesty, the Huns have crossed our Northern border. Chi Fu: Impossible! No one can get through The Great Wall. [The Emperor motions for Chi Fu's silence] General Li: Shun-Yu is leading them. We'll set up defenses around your palace immediately. Emperor [forcefully]: No! Send your troops to protect my people. Chi Fu, Chi Fu: Yes, your highness. Emperor: Deliver conscription notices throughout all the provinces. Call up reserves and as many new recruits as possible. General Li: Forgive me your Majesty, but I believe my troops can stop him. Emperor: I wont take any chances, General. A single grain of rice can tip the scale. One man may be the difference between victory and defeat. [Cut to Mulan using her chopsticks to single out a grain of rice on top of the mound of rice] Mulan: Quiet and demure...graceful...polite...[picking up some rice with her chopsticks and eating a mouthful] delicate...refined...poised... [She sets down her chopsticks and writes down a final word on her right arm] punctual. [A cock crows] Aiya. [Calling out] Little brother. Little brother. Lit- ahhh, there you are. Who's the smartest doggie in the world? Come on smart boy, can you help me with my chores today? [Mulan ties a sack of grain around Little Brother's waist. She ties a stick onto Little brother so that end of it is in front of Little Brother's face. She ties the bone on the end of the stick just out of reach. Little Brother begins to run after the bone which he cannot reach. Mulan opens the door for Little Brother and he runs into the door frame, then out the open door. Little brother runs by the chickens and Khan - the family horse] [Cut to Mulan's Father, Fa Zhou, kneeling and praying before the Fa family's ancestors] Fa Zhou: Honorable ancestors, please help Mulan impress the matchmaker today. Little Brother [running into the temple and around Fa Zhou scattering grain around the floor]: Bark, bark, bark, bark, bark. [The chickens follow Little Brother into the temple and begin to feed on the grain] Fa Zhou: Please, PLEASE, help her. [Mulan steps up to the temple seeing Little Brother on his hind legs trying to get the bone. Mulan bends the stick down so that Little brother can reach the bone. Little brother gnaws on the bone happily. Mulan continues toward the temple] Mulan [calling out]: Father I brought your--whoop! [Fa Zhou bumps into Mulan. The cup falls to the ground and Fa Zhou catches the teapot with the handle of his cane] Fa Zhou: Mulan-- Mulan: I brought a spare. [Mulan pulls out a cup from underneath the back of her dress and begins to pour the tea] Fa Zhou: Mulan-- Mulan [hurried]: Remember, the doctor said three cups of tea in the morning-- Fa Zhou: Mulan-- Mulan: And three at night. Fa Zhou: Mulan, you should already be in town. We're counting on you to up-- Mulan: --uphold the family honor. Don't worry father. I wont let you down. [Mulan covers over the writing on her arm with here sleeve] Wish me luck. [Mulan hurries down the stairs] Fa Zhou [calling out]: Hurry! [to himself] I'm going to...pray some more. [Fa Zhou turns and walks back into the temple] [Cut to the town with Fa Li looking worried] Bath Lady [poking out of her building]: Fa Li, is your daughter here yet? The matchmaker is not a patient woman. [She goes back into the building] Fa Li: Of all days to be late. I should have prayed to the ancestors for luck. Grandma Fa [walking in with a Cri-Kee in a cage]: How lucky can they be, they're dead. Besides, I've got all the luck we'll need. [Speaking to Cri-Kee] This is your chance to prove yourself. [Cri-Kee chirps approvingly. Grandma Fa covers her eyes steps into a busy street] Fa Li [excitedly]: Grandma No! [The traffic barely misses Grandma Fa as she crosses the busy street. But two horse and carriage collide causing a big accident. She arrives at the other side of the street, uncovers here eyes and looks at Cri-Kee] Grandma Fa: Yep, this cricket's a lucky one. [Cri-Kee falls over out of fright] Fa Li [sighing in relief]: Hai. [Mulan arrives on Khan jumping over the recent accident in the street and jumps off with hay stuck in her hair] Mulan: I'm here. [Seeing a stern look from her mother] What? But Mama I had to-- Fa Li: None of your 'xcuses. Now let's get you cleaned up. [They walk together into the preparation area] [Song: Honor to us all] Bath Lady: [all the while Bath Lady undresses Mulan and pushes her into the Bath] This is what you give me to work with? Well, honey, I've seen worse. We're gonna turn this sow's ear Into a silk purse. [Bath Lady moves the silk partition aside showing Mulan in the bath] Mulan [spoken]: It's freezing. Fa Li [spoken]: It would have been warm if you were here on time. Bath Lady [washing Mulan's hair]: We'll have you Washed and dried Primped and polished till you glow with pride Trust my recipe for instant bride You'll bring honor to us all Fa Li [grabbing a sponge and Mulan's right arm to start cleaning her. She notices the writing] [spoken]: Mulan, what's this? Mulan [Drawing her arm back and batting her eyelashes] [spoken]: Ahh, notes, in case I forget something? Grandma Fa [spoken]: Here, hold this [hands the cricket to Fa Li]. We'll need more luck than I thought. [Mulan looks on with an air of disappointment] [Cut to the hair dressers] Hair Dresser 1 [Brushing and combing Mulan's hair much to Mulan's chagrin]: Wait and see When we're through Hair Dresser 2: Boys will gladly go to war for you Hair Dresser 1: With good fortune Hair Dresser 2 [Finalizing the hairdo to look exactly like hers]: And a great hairdo Both: You'll bring honor to us all Fa Li and others: [Mulan following her Mother passes a xiangqi game and pauses to make an impressive move. Mulan has a smug look on her face when Fa Li comes back and drags Mulan away] A girl can bring her family Great honor in one way By striking a good match And this could be the day Dresser 1 [Dresser 1, Dresser 2, and Fa Li dress Mulan]: Men want girls with good taste Dresser 2: Calm Fa Li: Obedient Dresser 1: Who work fast-paced Fa Li: With good breeding Dresser 2 [Pulling the dress tight around her waist]: And a tiny waist Mulan [expressing her waist being squeezed tight] [spoken]: huh. All Three: You'll bring honor to us all Chorus: [Mulan follows Fa Li and sees boy stealing a doll from a girl. Mulan grabs the doll from the boy and returns it to its owner] We all must serve our Emperor Who guards us from the Huns A man by bearing arms A girl by bearing sons Make-up Lady/Fa Li: [Putting on Mulan's face, powder, lipstick and eye liner] [in a 3 person round] When we're through you can't fail Like a lotus blossom soft and pale How could any fellow say "No sale" You'll bring honor to us all [Make-Up Lady holds a mirror so Mulan can see her reflection. Not looking pleased, Mulan takes her single, short bang and brings it down in front of her forehead and smiles] Fa Li [spoken. Fa Li places a hair comb in Mulan's hair]: There, you're ready. Grandma Fa [spoken]: Not yet! An apple for serenity [putting an apple in Mulan's mouth]...A pendant for balance [places a yin-yang pendant under her sash] [sings] Beads of jade for beauty [putting beads around Mulan's neck] You must proudly show it [Grandma Fa raises her chin high with her hand] Now add a cricket just for luck [putting the cage with Cri-Kee under Mulan's sash in the back. Cri-Kee doesn't look pleased] And even you can't blow it Mulan: [Walking to catch up with the other maidens] Ancestors Hear my plea Help me not to make a fool of me And to not uproot my fam'ly tree Keep my father standing tall Maidens and Mulan: [Mulan taking the parasol from Fal Li and running to fall in line with the other 4 maidens] Scarier than the undertaker We are meeting our matchmaker All Townspeople: Destiny Guard our girls And our future as it fast unfurls Please look kindly on these cultured pearls Each a perfect porcelain doll Maiden #1: Please bring honor to us Maiden #2: Please bring honor to us Maiden #3: Please bring honor to us Maiden #4: Please bring honor to us Mulan and Maidens: Please bring honor to us all! [All Girls and Mulan arrive before the Matchmaker crouched down behind their parasols. End of song] Matchmaker [looking at her clipboard]: Fa Mulan Mulan [Jumping up and raising her hand]: Present. Matchmaker: Speaking without permission. Mulan: Oops. Grandma Fa [to Fa Li]: Who spit in her bean curd? [Mulan walks into the Matchmaker's building with the Matchmaker following behind and closing the door] Matchmaker [looking over Mulan]: Huh, Hmm, too skinny. [Cri-Kee escapes from his cage. Mulan struggles to catch him] Hmph, not good for bearing sons. [Mulan puts Cri-Kee in her mouth when Matchmaker turns around to face her] Recite the final admonition. Mulan [nodding and smiling]: Mmm-Hmm. [Takes out fan and covers her mouth as she spits out Cri-Kee] Ptu Matchmaker: Well... Mulan [with dignity]: Fulfill your duties calmly and re...f--[looking at her arm with smeared writing] spectfully. Reflect before you snack [surprised, Mulan looks at her arm again] act. [now rapidly] This shall bring you honor and glory. [Fanning herself rapidly and sighing in relief] Huh. Matchmaker [snatches the fan and looks at it on both sides looking for notes not finding any. Mulan smiles big when Matchmaker looks at her. Matchmaker grabs Mulan's right arm pulling her along while smearing the writing and leaving some ink on her hand] Hmmm, this way. Now, pour the tea [Pushing a teapot towards Mulan]. To please your future in-laws you must demonstrate a sense of dignity [Matchmaker smears ink around her mouth. Mulan staring at Matchmaker pours some tea onto the table then notices her mistake and pours the tea into the cup] and refinement. You must also be poised. [Mulan notices Cri-kee in the tea-cup as Matchmaker takes the cup] Mulan [quiet and timid]: Um, pardon me. Matchmaker: And silent! [Matchmaker sniffs the tea] Mulan [reaching and grabbing the teacup]: Could I just take that back...one moment. [They struggle for the teacup and it turns over on Matchmaker and Cri-kee jumps down matchmaker's dress] Matchmaker: Why you clumsy--[Matchmaker feels Cri-Kee in her dress and dances around] Wooo, woooo, wooooooo, [Matchmaker knocks over her pot of coals, and sits down on the coals. Matchmaker jumps around screaming] Ahhhhhhhhhhh [Mulan grabs her fan and briskly fans the charred area on Matchmaker's behind causing it to flame up. Mulan looks surprised about her mistake] [Cut to outside Matchmakers building showing Grandma Fa with much noise coming from Matchmaker's building] Grandma Fa [to Fa Li]: I think it's going well, don't you? Matchmaker [running out of the building screaming]: Put it out! Put it out! Put it out! [Mulan takes the teapot, throws the tea on Matchmaker and puts out the fire. She bows, hands the teapot back to Matchmaker and covers her face as she walks toward Fa Li and Grandma Fa] [with anger] You are a disgrace! [Matchmaker throws the teapot down smashing it to pieces] You may look like a bride, but you will never bring your family honor! [The townsfolk who have gathered whisper and walk away] [Cut to Mulan walking through the gate with her home leading khan. She looks sorrowful. Fa Zhou sees his daughter and smiles. Mulan sees her father's smile. She covers her face with Khan's head and leads him to the water trough] [Song: Reflection] Mulan: Look at me [looking at her reflection in the water trough] I will never pass for a perfect bride [taking off her earrings and beads of jade] Or a perfect daughter [Mulan watches Fa Li relating what happened at the Matchmaker's to Fa Zhou] Can it be I'm not meant to play this part? [Mulan releases Cri-Kee back to the wild] Now I see That if I were to truly To be myself [Mulan hops along the bridge railing] I would break my family's heart Who is that girl I see [Mulan looks into the pond and sees her own reflection] Staring straight Back at me? [Mulan puts her hand on the Great Stone Dragon and looks toward the temple] Why is my reflection someone I don't know? [Cri-Kee rowing across the pond on a lily pad] Somehow I cannot hide [Mulan walking into the family temple] Who I am [Cri-Kee watches Mulan in the temple seeing multiple reflections of herself in the ancestors' stones] Though I've tried [Mulan bows to the ancestors] When will my reflection show Who I am inside? [Mulan finishes wiping off her make-up seeing her reflection in the stones] When will my reflection show Who I am inside? [Mulan gets up and heads out the temple] [End of song. Mulan sits on a bench under the blossom tree. Fa Zhou approaches her, clearing his throat. Mulan sees him approaching and turns her head away. Fa Zhou sits down beside Mulan] Fa Zhou: My, my, what beautiful blossoms we have this year [looking up into the blossom tree]. But look, this one's late. But, I'll bet that when it blooms, it will be the most beautiful of all. [Mulan and Fa Zhou share smiles. Drums start pounding announcing the arrival of Chi Fu and two guards on horseback] Mulan: What is it? [Fa Zhou gets up and walks to the entrance of their house with Mulan following] Fa Li: Mulan, stay inside. [Grandma Fa clears her throat catching Mulan's attention and motions inside. Mulan spies the railing near the wall and climbs up to watch over the roof] Chi Fu: Citizens I bring you a proclamation from the Imperial City: the Huns have invaded China! Townspeople [expressing surprise]: No! Chi Fu: By order of the Emperor, one man from every family must serve in the Imperial Army. The Xiao family [a family member steps up, bows to the guard and takes the conscription notice from the guard]. The Yi family. Yi's Son [holding his old father back]: I will serve the Emperor in my father's place. Chi Fu: The Fa Family. Mulan: No. [Fa Zhou gives his cane to Fa Li and walks toward Chi Fu. Fa Zhou bows before the horsemen] Fa Zhou [standing proud]: I am ready to serve the Emperor. [Fa Zhou reaches for the conscription notice] Mulan [running outside to keep her father from taking the conscription notice]: Father, you can't go. Fa Zhou [turning to see his daughter]: Mulan! Mulan: Please sir, my father has already fought bravely-- Chi Fu: Silence! You would do well to teach your daughter to hold her tongue in a man's presence. Fa Zhou [looking away from Mulan]: Mulan, you dishonor me. [Grandma Fa guides Mulan back away] Chi Fu [handing Fa Zhou the conscription notice]: Report tomorrow at the Wu Shu camp. Fa Zhou: Yes, sir. [Fa Zhou walks back into the homestead refusing to take his cane from Fa Li] Chi Fu [fading out as we follow Fa Zhou]: The Chu family. The Wen family. The Chang family. The... [Cut to Fa Zhou in his armory at night. Fa Zhou takes out his sword and practices his stances. Whan he balances on his right leg, his leg injury acts up and he falls. Unbeknownst to her father, Mulan watches in horror. She breathes heavily] [Cut to dinner. The Fa Zhou, Grandma Fa, Fa Li, and Mulan eat in silence. Thunder can be heard and lightning can be seen through the opaque window. Mulan pours the tea for her family. She slams her teacup down on the table and stands up] Mulan: You shouldn't have to go. Fa Li: Mulan! Mulan: There are plenty of young men to fight for China. Fa Zhou: It is an honor to protect my country and my family. Mulan [angrily]: So you'll die for honor! Fa Zhou [standing up and angered]: I will DIE doing what's right. Mulan [starts to speak but is cut off]: But if you-- Fa Zhou: I know my place, it is time you learned yours. [Mulan looking like she's about to cry, turn away from Fa Zhou and runs outside into the rain storm and cries] [Cut to Mulan sitting at the base of the Great Stone Dragon in the rain. Mulan looks down to see her reflection in the puddle caused by the rain. She watches her parents in the bedroom. Fa Li turns away from Fa Zhou and walks out of site. Fa Zhou blows out the light. Mulan gets up and walks to the Fa Family Temple. Mulan's image reflects off the stone tablets as she lights incense and places it in the hanging encense holder. She bows and prays to her ancestors. Getting up, Mulan hurries down the steps. Cri-Kee sees her and hops down from above and follows her. Mulan goes to her parent's bedroom and takes the conscription notice replacing it with the hair comb her mother gave to her. She pauses to give her parents a loving, sorrowful look and hurries out. Cut to Mulan in the armory. She opens the cabinet with the armor. Using her father's sword, she cuts her hair short and ties it up above her head. She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to life and falls to the ground flat on his back all being obscured by smoke] Mushu [rising from the smoke arms stretched out]: I live! So tell me what mortal needs my protection Great Ancestor. You just say the word and I'm there. First Ancestor [agitated]: Mushu! Mushu: Hey, let me say something. Anybody who is foolish enough to threaten our family, vengeance will be MINE. Hrrrrr. First Ancestor [sternly to silence Mushu]: Mushu! These are the family guardians [motioning towards the stone statues on pedestals near the ceiling]. They... Mushu [dejectedly]: Protect the family. First Ancestor [pointing to the empty pedestal]: And you, oh demoted one. Mushu: I...ring the gong. First Ancestor: That's right, now, wake up the ancestors. Mushu: One family reunion coming right up. [ringing the gong] Okay people, people look alive, lets go! C'mon get up. Let's move it, rise and shine. You're way past the beauty sleep thing now trust me! Ancestor 1: I knew it, I knew it. That Mulan was a trouble maker from the start. Ancestor 3: Don't look at me, she gets it from your side of the family. Ancestor 2: She's just trying to help her father. Ancestor 4 [appearing out of thin air]: But, if she is discovered, Fa Zhou will be forever shamed. Dishonor will come to the family. Traditional values will disintegrate. Ancestor 5: Not to mention they'll lose the farm. Ancestor 1: My children never caused such trouble. They all became acupuncturists. Ancestor 3: Well, We can't all be acupuncturists. Ancestor 6: No, your great granddaughter had to be cross-dresser! [All ancestors argue at once, except First Ancestor] Ancestor 7: Let a guardian bring her back. Ancestor 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. [An ancestor throws Mushu's gong and hits Mushu in the face] Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm doomed! And all 'cause miss man decides to take her little drag show on the road. [Cri-Kee enters stage right] Cri-Kee: Chirp, Chirp. Mushu: Go get her? What's the matter with you? After this great stone Humpty Dumpty mess, I'd have to bring her home with a medal to get back in the temple. Wait a minute, that's it! I make Mulan a war hero, then they'll be begging me to come back to work. That's the master plan. Oh, you've gone and done it now. [Mushu runs off stage right] Cri-Kee [hopping along side of Mushu]: Chirp. Chirp Chirp Chirp. Mushu [pushing Cri-Kee away]: Hey, what makes you think you're coming? Cri-Kee: Chirp, Chirp. Mushu: You're lucky? Ho, ho, heh. Do I look like a sucker to you? Cri-Kee: Chirp. Chirp. Mushu: Whach' you mean loser? How 'bout I pop one of your antenna's off and throw it across the yard. Then who's a loser, me or you? [Interlude] [Cut to Shan-Yu leading his army at a charge on horseback through a forest. He stops and motions stage right. Hun Archer, Hun Strong Guy, Hun Long-Hair Guy dismount and walk into the forest. They throw down two Imperial scouts before the rest of the army] Hun Long-Hair Guy: Imperial scouts. [Shan Yu dismounts and walks towards the scouts] Scout #1: Shan-Yu. [He crouches down in front of them] Shan-Yu [adjusting Scout #1's collar]: Nice work, gentlemen. You found the Hun army. [motioning to the soldiers on horseback. The Hun army laughs] Scout #2: The Emperor will stop you. Shan-Yu [grabs Scout #2 by the shirt collar and lifts him up to his face]: Stop me? He invited me. By building his wall, he challenged my strength. Well I'm here to play his game [Shan-Yu throws Scout #2 to the ground and points his sword at Scout #1 as he gets up and runs] [calling out to the scouts] Go! Tell your emperor to send his strongest armies. [Quietly] I'm ready. [The Imperial Scouts run off towards the palace] Shan-Yu [scratching his chin]: How many men does it take to deliver a message. Archer Guy [drawing back his bow]: One. [End Interlude] [Cut to Mulan on a hill outside of the camp. Khan is sitting watching] Mulan: Okay, okay, how 'bout this? Ahem, [in her manly voice] excuse me, where do I sign in? Hah, I see you have a sword. I have one too. They're very manly and tough [Mulan bites her lip as she mishandles pulling the sword out of the scabbard and it falls to the ground. Khan rolls on his back in laughter. Mulan throws her shoe and hits Khan in the head with it quieting Khan]. I'm working on it. Who am I fooling? It's going to take a miracle to get me into the army. [Mushu appears as a giant shadow being cast on a rock with flames on either side. Mushu's real appearance remains out of sight] Mushu [in a Southern Baptist Preacher's voice]: Did I hear someone ask for a miracle!? Let me hear you say aye! Mulan [Running and hiding behind a rock]: Ahhhhhh. Mushu: That's close enough. Mulan [from behind a rock]: Ghost. Mushu: Get ready Mulan your serpentine salvation is at hand. For I have been sent by your ancestors-- [notices Cri-Kee making a hand shadow of a dragon on the rock and stamps him down with his foot] to guide you through your masquerade. [bending down to Cri-Kee] C'mon, you're gonna stay you're gonna work. [returning to Mulan] Heed my word, 'cause if the army finds out that you are a girl, the penalty is death. [big flames shoot up from the rocks] Mulan: Who are you? Mushu: Who am I? Who am I? I am the guardian of lost souls. [Mulan smiles big in anticipation of seeing her guardian] I am the powerful, the pleasurable, the indestructible [coming out from the rocks to show his real size] Mushu! Oh hah, hah, pretty hot, huh? [Khan stomps on Mushu. Mulan pushes Khan back] Mulan: Ah, my ancestors sent a little lizard to help me? Mushu: Hey, dragon, dragon, not lizard. I don't do that tongue thing [flips out his tongue to show Mulan what he means]. Mulan: You're uh... Mushu: Intimidating? Awe inspiring? Mulan [making a hand gesture to denote his smallness of size]: Tiny. Mushu [with a look of disappointment]: Of course. I'm travel size for your convenience. If I was my real size, your cow here [patting Khan on the nose] would die of fright. [Khan tries to bite Mushu] [pointing to the ground speaking to Khan] Down Bessy. My powers are beyond your mortal imagination. For instance, [leaning in and looking at Mulan's chest] my eyes can see straight through your armor. [Mulan cover her bust with her left arm and slaps Mushu with the right] Ow. [angrily] All right, that's it! Dishonor! Dishonor on your whole family. [aside to Cri-Kee] Make a note of this [Cri-Kee grabs a leaf and a pen and starts writing]. [Loudly with gusto] Dishonor on you. Dishonor on your cow. Dis- Mulan [pleadingly while covering Mushu's mouth]: Stop! I'm sorry, I'm sorry [kneeling down in front of Mushu]. I'm just nervous. I've never done this before. Mushu: Then you're gonna have to trust me. And don't you slap me no more, we clear on that? [Mulan nods emphatically]. All right. Okey dokey, let's get this show on the road. Cri-Kee, get the bags [Mushu starts walking to the camp]. [to Khan] Let's move it heifer. [Cut to Mulan at the camp's entrance] Mushu [hiding in Mulan's armor poking his head out from her back]: Okay this is it, time to show 'em your man walk. Shoulders back, chest high, feet apart, head up [Mushu pulls Mulan's head back] ...and strut 2, 3, break it down, 2, 3 and work it, [Mulan walks into the camp drawing the attention the men who see her. Mulan walks into a tent and sees a man picking his nose and another man picking out dirt from between his toes with chopsticks] Beautiful isn't it? Mulan [making a face of disgust and continuing to walk]: They're disgusting. Mushu: No, they're men. And you're going to have to act just like them, so pay attention. [Mulan stops and watches Yao, Ling, Chien-Po and Tattoo Soldier] Tattoo Soldier [showing the dragon tattoo on his chest and belly]: Look, this tattoo will protect me from harm. [Yao thinks for a moment, then punches Tattoo Soldier in the stomach causing Ling to laugh. Mulan watches in utter amazement. Yao kisses his hand] Ling [laughing]: I hope you can get your money back. Mulan: I don't think I can do this. Mushu: It's all attitude. Be tough like this guy here [looking at Yao]. [Mulan looks at Yao as he hocks up a loogie and spits] Yao [noticing Mulan watching him]: What are you looking at? Mushu: Punch him, it's how men say 'hello.' [Mulan looks at her fist, then punches Yao from behind on the shoulder. The force causes Yao to run into Chien-Po] Chien-Po: Oh Yao, you made a friend. Mushu: Good, Now slap him on the behind, they like that. [Mulan slaps Yao on the behind] Yao: Wu hoo hooooo. [grabbing Mulan buy the collar] I'm going to hit you so hard it'll make your ancestors dizzy. Chien-Po [Holding and picking up Yao]: Yao, relax and chant with me. Yaaaaaaa Moouuuu Ahhhhhh Doooou Fuuuu Daaaaa. Yao: Ya Mi Ah To Fu Da. Chien-Po: Feel better? Yao [relaxed]: Yeah. [Chien-Po places Yao back on the ground] [to Mulan while walking away] Aaaaa, you ain't worth my time chicken boy. Mushu [loudly]: Chicken boy!? Say that to my face ya limp noodle! [Yao grabs Mulan by the collar cocking back his arm to punch. Mulan ducks as Yao hits Ling standing behind her] Yao: Oh, sorry Ling. Hey! [Yao grabs Mulan's foot as she starts to crawl away. Ling kicks Yao on the butt causing him to land on Chien-Po's stomach. Ling Jump attacks Mulan, but she ducks and he lands on Yao on top of Chien-Po] Ling: You're dead. [They fight on top of Chien-Po. Mulan runs away. Ling notices Mulan and then points toward her] Oh, there he goes. [Mulan runs into a tent and stops. Yao, Ling, and Chien-Po (in that order) run through the tent. Yao stops short as he is about to run into a soldier in a line for food. He looks behind him with concerned eyes as Ling stops in time. Chien-Po bumps into Ling causing the entire line of soldiers to fall forward and knock over the pot of congee and the cook behind it. The men look to the back of the line and spy Mulan
28	Nightmare Before Christmas The	Tim Burton,Michael McDowell	Animation,Comedy,Fantasy,Horror,Musical	August_1991	NARRATOR 'Twas a long time ago, longer now than it seems, in a place that perhaps you've seen in your dreams. For the story that you are about to be told, took place in the holiday worlds of old. Now, you've probably wondered where holidays come from. If you haven't, I'd say it's time you begun. This Is Halloween SHADOW Boys and girls of every age Wouldn't you like to see something strange? SIAMESE SHADOW Come with us and you will see This, our town of Halloween PUMPKIN PATCH CHORUS This is Halloween, this is Halloween Pumpkins scream in the dead of night GHOSTS This is Halloween, everybody make a scene Trick or treat till the neighbors gonna die of fright It's our town, everybody scream In this town of Halloween CREATURE UNDER BED I am the one hiding under your bed Teeth ground sharp and eyes glowing red MAN UNDER THE STAIRS I am the one hiding under your stairs Fingers like snakes and spiders in my hair CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! VAMPIRES In this town we call home Everyone hail to the pumpkin song MAYOR In this town, don't we love it now? Everybody's waiting for the next surprise CORPSE CHORUS Round that corner, man hiding in the trash can Something's waiting now to pounce, and how you'll scream HARLEQUIN DEMON, WEREWOLF, AND MELTING MAN Scream! This is Halloween Red 'n' black, slimy green WEREWOLF Aren't you scared? WITCHES Well, that's just fine Say it once, say it twice Take the chance and roll the dice Ride with the moon in the dead of night HANGING TREE Everybody scream, everybody scream HANGED MEN In our town of Halloween CLOWN I am the clown with the tear-away face Here in a flash and gone without a trace SECOND GHOUL I am the "who" when you call, "Who's there?" I am the wind blowing through your hair OOGIE BOOGIE SHADOW I am the shadow on the moon at night Filling your dreams to the brim with fright CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! Halloween! Halloween! CHILD CORPSE TRIO Tender lumplings everywhere Life's no fun without a good scare PARENT CORPSES That's our job, but we're not mean In our town of Halloween CORPSE CHORUS In this town MAYOR Don't we love it now? MAYOR WITH CORPSE CHORUS Everyone's waiting for the next surprise CORPSE CHORUS Skeleton Jack might catch you in the back And scream like a banshee Make you jump out of your skin This is Halloween, everybody scream Won't ya please make way for a very special guy Our man Jack is king of the pumpkin patch Everyone hail to the Pumpkin King now EVERYONE This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! CORPSE CHILD TRIO In this town we call home Everyone hail to the pumpkin song EVERYONE La la-la la, Halloween! Halloween! (etc.) EVERYONE [applause] WITCHES Cackling CLOWN It's over! BEHEMOTH We did it! [tummy bump] WEREWOLF Wasn't it terrifying? HYDE & CYCLOPS What a night! MAYOR Great Halloween everybody. JACK I believe it was our most horrible yet! Thank you everyone. MAYOR No, thanks to you, Jack. Without your brilliant leadership - JACK Not at all Mayor. VAMPIRE (fat) You're such a scream, Jack WITCH You're a witch's fondest dream! WITCH (little) You made walls fall, Jack WITCH Walls fall? You made the very mountains crack, Jack DR. FINKELSTEIN The deadly nightshade you slipped me wore off, Sally. SALLY Let go! DR. FINKELSTEIN You're not ready for so much excitement! SALLY Yes I am! DR. FINKELSTEIN You're coming with me! SALLY No I'm not! [Sally pulls out the thread that's holding her arm on] DR. FINKELSTEIN Come back here you foolish oaf! Ow! CREATURE FROM BLACK LAGOON Ooo Jack, you make wounds ooze and flesh crawl. JACK Thank you, thank you, thank you -- very much MAYOR Hold it! We haven't given out the prizes yet! Our first award goes to the vampires for most blood drained in a single evening. [applause] MAYOR A frightening and honorable mention goes to the fabulous Dark Lagoon leeches SAX PLAYER Nice work, Bone Daddy. JACK Yeah, I guess so. Just like last year and the year before that and the year before that. [entering graveyard] Jack's Lament Performed by Danny Elfman There are few who'd deny, at what I do I am the best For my talents are renowned far and wide When it comes to surprises in the moonlit night I excel without ever even trying With the slightest little effort of my ghostlike charms I have seen grown men give out a shriek With the wave of my hand, and a well-placed moan I have swept the very bravest off their feet Yet year after year, it's the same routine And I grow so weary of the sound of screams And I, Jack, the Pumpkin King Have grown so tired of the same old thing Oh, somewhere deep inside of these bones An emptiness began to grow There's something out there, far from my home A longing that I've never known I'm the master of fright, and a demon of light And I'll scare you right out of your pants To a guy in Kentucky, I'm Mister Unlucky And I'm known throughout England and France And since I am dead, I can take off my head To recite Shakespearean quotations No animal nor man can scream like I can With the fury of my recitations But who here would ever understand That the Pumpkin King with the skeleton grin Would tire of his crown, if they only understood He'd give it all up if he only could Oh, there's an empty place in my bones That calls out for something unknown The fame and praise come year after year Does nothing for these empty tears [leaving graveyard and entering forest] SALLY Jack, I know how you feel. [Sally gathers herbs] [back at Dr. Finkelstein's castle] DR. FINKELSTEIN Sally, you've come back. SALLY I had to. DR. FINKELSTEIN For this? [showing her arm] SALLY Yes. DR. FINKELSTEIN Shall we then. That's twice this month you've slipped deadly nightshade into my tea and run off -- SALLY Three times! DR. FINKELSTEIN You're mine you know! I made you with my own hands. SALLY You can make other creations. I'm restless, I can't help it. DR. FINKELSTEIN It's a phase my dear, it'll pass. We need to be patient that's all. SALLY But, I don't want to be patient. [forest] ZERO bark JACK No Zero, not now. I'm not in the mood. ZERO bark JACK All right. [giving Zero a rib from himself] Here ya go boy. [Zero gets rib and shows off his nose] [Back to Halloweentown] MAYOR Morning gents [to the band] [humming This Is Halloween, walks up to Jack's front door and rings bell] MAYOR Jack, you home? [getting worried, switches face and knocks with desperation then switch back to happy face] MAYOR Jack? I've got the plans for next Halloween. I need to go over them with you so we can get started. MAYOR (with worried face) Jack, please, I'm only an elected an official here, I can't make decisions by myself. Jack, answer me!! [falls down steps] ACCORDION PLAYER He's not home. MAYOR Where is he? SAX PLAYER He hasn't been home all night. MAYOR ooooo [back to forest] JACK (yawning) Where are we? It's someplace new. ZERO bark bark JACK What is this? [Jack sees Valentine's tree, shamrock tree, Easter egg tree, turkey tree] JACK [gasps] [sees Xmas tree] [turns knob and gets sucked in] ZERO bark bark JACK Whoa!!!! What's This? Performed by Danny Elfman What's this? What's this? There's color everywhere What's this? There's white things in the air What's this? I can't believe my eyes I must be dreaming Wake up, Jack, this isn't fair What's this? What's this? What's this? There's something very wrong What's this? There's people singing songs What's this? The streets are lined with Little creatures laughing Everybody seems so happy Have I possibly gone daffy? What is this? What's this? There's children throwing snowballs instead of throwing heads They're busy building toys And absolutely no one's dead There's frost on every window Oh, I can't believe my eyes And in my bones I feel the warmth That's coming from inside Oh, look What's this? They're hanging mistletoe, they kiss Why that looks so unique, inspired They're gathering around to hear a story Roasting chestnuts on a fire What's this? What's this? In here they've got a little tree, how queer And who would ever think And why? They're covering it with tiny little things They've got electric lights on strings And there's a smile on everyone So, now, correct me if I'm wrong This looks like fun This looks like fun Oh, could it be I got my wish? What's this? Oh my, what now? The children are asleep But look, there's nothing underneath No ghouls, no witches here to scream and scare them Or ensnare them, only little cozy things Secure inside their dreamland What's this? The monsters are all missing And the nightmares can't be found And in their place there seems to be Good feeling all around Instead of screams, I swear I can hear music in the air The smell of cakes and pies Are absolutely everywhere The sights, the sounds They're everywhere and all around I've never felt so good before This empty place inside of me is filling up I simply cannot get enough I want it, oh, I want it Oh, I want it for my own I've got to know I've got to know What is this place that I have found? What is this? Christmas Town, hmm... SANDY CLAWS Ho Ho Ho Ho ho ho ho ho JACK hmm.. [Halloweentown] CLOWN This has never happened before. Witch It's suspicious. Witch (little) It's peculiar. VAMPIRES It's scary. MAYOR Stand aside. WEREWOLF grrrr MAYOR Coming through. We've got find Jack. There's only 365 days left till next Halloween. WEREWOLF 364! MAYOR Is there anywhere we've forgotten to check? Clown I looked in every mausoleum. WITCHES We opened the sarcophagi. Hyde I tromped through the pumpkin patch. VAMPIRE I peeked behind the Cyclops's eye. I did! But he wasn't there. MAYOR It's time to sound the alarms. [DR. FINKELSTEIN's castle] SALLY Frog's breath will overpower any odor. Bitter. [coughing] Worm's wart. Where's that worm's wart? DR. FINKELSTEIN Sally, that soup ready yet? SALLY Coming....lunch DR. FINKELSTEIN Ah, what's that? Worm's wart, mmm, and...frog's breath. SALLY What's wrong? I-I thought you liked frog's breath. DR. FINKELSTEIN Nothing's more suspicious than frog's breath. Until you taste it I won't swallow a spoonful. SALLY I'm not hungry... [knocking spoon] Oops! DR. FINKELSTEIN You want me to starve. An old man like me who hardly has strength as it is. Me, to whom you owe your very life. SALLY Oh don't be silly. [eats soup with trick spoon] Mmmm, see. Scrumptious. [Dr. Finkelstein eats soup] [Halloween] MAYOR Did anyone think to dredge the lake? VAMPIRE Ah, this morning! ZERO barks Witch Hear that? Witch (little) What? Witch Shh! ZERO barks VAMPIRE Zero! [fanfare as Jack and Zero arrive] Kid Jack's back! MAYOR Where have you been? JACK Call a town meeting and I'll tell everyone all about it. MAYOR When? JACK Immediately! MAYOR [in his mayor truck] Town meeting, town meeting, town meeting tonight, town meeting tonight [at meeting] Clown [giggles as he hits Sally] JACK Listen everyone. I want to tell you about Christmastown. Town Meeting Song Performed by Danny Elfman and Cast JACK There are objects so peculiar They were not to be believed All around, things to tantalize my brain It's a world unlike anything I've ever seen And as hard as I try I can't seem to describe Like a most improbable dream But you must believe when I tell you this It's as real as my skull and it does exist Here, let me show you This is a thing called a present The whole thing starts with a box DEVIL A box? is it steel? WEREWOLF Are there locks? HARLEOUIN DEMON Is it filled with a pox? DEVIL, WEREWOLF, HARLEQUIN DEMON A pox How delightful, a pox JACK If you please Just a box with bright-colored paper And the whole thing's topped with a bow WITCHES A bow? But why? How ugly What's in it? What's in it? JACK That's the point of the thing, not to know CLOWN It's a bat Will it bend? CREATURE UNDER THE STAIRS It's a rat Will it break? UNDERSEA GAL Perhaps it s the head that I found in the lake JACK Listen now, you don't understand That's not the point of Christmas land Now, pay attention We pick up an oversized sock And hang it like this on the wall MR. HYDE Oh, yes! Does it still have a foot? MEDIUM MR. HYDE Let me see, let me look SMALL MR. HYDE Is it rotted and covered with gook? JACK Um, let me explain There's no foot inside, but there's candy Or sometimes it's filled with small toys MUMMY AND WINGED DEMON Small toys WINGED DEMON Do they bite? MUMMY Do they snap? WINGED DEMON Or explode in a sack? CORPSE KID Or perhaps they just spring out And scare girls and boys MAYOR What a splendid idea This Christmas sounds fun I fully endorse it Let's try it at once JACK Everyone, please now, not so fast There's something here that you don't quite grasp Well, I may as well give them what they want And the best, I must confess, I have saved for the last For the ruler of this Christmas land Is a fearsome king with a deep mighty voice Least that's what I've come to understand And I've also heard it told That he's something to behold Like a lobster, huge and red When he sets out to slay with his rain gear on Carting bulging sacks with his big great arms That is, so I've heard it said And on a dark, cold night Under full moonlight He flies into a fog Like a vulture in the sky And they call him Sandy Claws Well, at least they're excited But they don't understand That special kind of feeling in Christmas land Oh, well... [Jack's house] JACK There's got to be a logical way to explain this Xmas thing. [Dr. Finkelstein's castle] DR. FINKELSTEIN You've poisoned me for the last time you wretched girl. [locks Sally away] [dingdong] DR. FINKELSTEIN Oh my head...the door is open. JACK Hel-lo DR. FINKELSTEIN Jack Skellington, up here my boy. JACK Dr. I need to borrow some equipment. DR. FINKELSTEIN Is that so, whatever for? JACK I'm conducting a series of experiments. DR. FINKELSTEIN How perfectly marvelous. Curiosity killed the cat, you know. JACK I know. DR. FINKELSTEIN Come on into the lab and we'll get you all fixed up. SALLY Hmm. Experiments? [Jack's house] JACK Zero, I'm home. [Jack examines & experiments with Xmas stuff] JACK Interesting reaction....but what does it mean? [Sally's room] [after Sally jumps to give Jack his basket...] DR. FINKELSTEIN You can come out now if you promise to behave. Sally. Sally. Oooh! Gone again! [Jack's house] [Sally gives Jack his basket and sneaks off and picks a flower which catches on fire] Jack's Obsession Performed by Danny Elfman and Cast CITIZENS OF HALLOWEEN Something's up with Jack Something's up with Jack Don't know if we're ever going to get him back He's all alone up there Locked away inside Never says a word Hope he hasn't died Something's up with Jack Something's up with Jack JACK Christmas time is buzzing in my skull Will it let me be? I cannot tell There's so many things I cannot grasp When I think I've got it, and then at last Through my bony fingers it does slip Like a snowflake in a fiery grip Something here I'm not quite getting Though I try, I keep forgetting Like a memory long since past Here in an instant, gone in a flash What does it mean? What does it mean? In these little bric-a-brac A secret's waiting to be cracked These dolls and toys confuse me so Confound it all, I love it though Simple objects, nothing more But something's hidden through a door Though I do not have the key Something's there I cannot see What does it mean? What does it mean? What does it mean? Hmm... I've read these Christmas books so many times I know the stories and I know the rhymes I know the Christmas carols all by heart My skull's so full, it's tearing me apart As often as I've read them, something's wrong So hard to put my bony finger on Or perhaps it's really not as deep As I've been led to think Am I trying much too hard? Of course! I've been too close to see The answer's right in front of me Right in front of me It's simple really, very clear Like music drifting in the air Invisible, but everywhere Just because I cannot see it Doesn't mean I can't believe it You know, I think this Christmas thing It's not as tricky as it seems And why should they have all the fun? It should belong to anyone Not anyone, in fact, but me Why, I could make a Christmas tree And there's no reason I can find I couldn't handle Christmas time I bet I could improve it too And that's exactly what I'll do Hee,hee,hee JACK Eureka!! This year, Christmas will be ours! MAYOR Patience, everyone. Jack has a special Job for each of us. Dr. Finkelstein, your Xmas assignment is ready. Dr. Finkelstein to the front of the line. VAMPIRE What kind of a noise is that for a baby to make? JACK Perhaps it can be improved? VAMPIRES No problem! JACK I knew it! Dr. thank you for coming. We need some of these. [showing picture of Santa and sleigh] DR. FINKELSTEIN Hmm.. their construction should be exceedingly simple. I think. MAYOR How horrible our Xmas will be. JACK No--how jolly. MAYOR [switches face] Oh, how jolly our Xmas will be. [gets pelted] What are you doing here? LOCK Jack sent for us. SHOCK Specifically. BARREL By name. LOCK Lock SHOCK Shock BARREL Barrel MAYOR Jack, Jack it's Oogie's boys! JACK Ah, Halloween's finest trick or treaters. The job I have for you is top secret. It requires craft, cunning, mischief. SHOCK And we thought you didn't like us, Jack. [giggles] JACK Absolutely no one is to know about it. Not a soul. Now-- [whispers to LS&B] And one more thing -- leave that no account Ooogie Boogie out of this! BARREL Whatever you say, Jack. SHOCK Of course Jack. LOCK Wouldn't dream of it Jack. [all said with their fingers crossed] Kidnap the Sandy Claws Performed by Paul Reubens, Catherine O'Hara, and Danny Elfman LOCK, SHOCK, AND BARREL Kidnap Mr. Sandy Claws LOCK I wanna do it BARREL Let's draw straws SHOCK Jack said we should work together Three of a kind LOCK, SHOCK, AND BARREL Birds of a feather Now and forever Wheeee La, la, la, la, la Kidnap the Sandy Claws, lock him up real tight Throw away the key and then Turn off all the lights SHOCK First, we're going to set some bait Inside a nasty trap and wait When he comes a-sniffing we will Snap the trap and close the gate LOCK Wait! I've got a better plan To catch this big red lobster man Let's pop him in a boiling pot And when he's done we'll butter him up LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws Throw him in a box Bury him for ninety years Then see if he talks SHOCK Then Mr. Oogie Boogie Man Can take the whole thing over then He'll be so pleased, I do declare That he will cook him rare LOCK,SHOCK, AND BARREL Wheeee LOCK I say that we take a cannon Aim it at his door And then knock three times And when he answers Sandy Claws will be no more SHOCK You're so stupid, think now lf we blow him up to smithereens We may lose some pieces And then Jack will beat us black and green LOCK,SHOCK, AND BARREL Kidnap the Sandy Claws Tie him in a bag Throw him in the ocean Then, see if he is sad LOCK AND SHOCK Because Mr. Oogie Boogie is the meanest guy around If I were on his Boogie list, I'd get out of town BARREL He'll be so pleased by our success That he'll reward us too, I'll bet LOCK, SHOCK, AND BARREL Perhaps he'll make his special brew Of snake and spider stew Ummm! We're his little henchmen and We take our job with pride We do our best to please him And stay on his good side SHOCK I wish my cohorts weren't so dumb BARREL I'm not the dumb one LOCK You're no fun SHOCK Shut up LOCK Make me SHOCK I've got something, listen now This one is real good, you'll see We'll send a present to his door Upon there'll be a note to read Now, in the box we'll wait and hide Until his curiosity entices him to look inside BARREL And then we'll have him One, two, three LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws, beat him with a stick Lock him up for ninety years, see what makes him tick Kidnap the Sandy Claws, chop him into bits Mr. Oogie Boogie is sure to get his kicks Kidnap the Sandy Claws, see what we will see Lock him in a cage and then, throw away the key OOGIE BOOGIE Sandy Claws..hahaha [city hall] JACK It goes something like this. [Jingle bells] How about it? Think you can manage? PERSON INSIDE BASS a one, and a two, and a three, and a. . . [Jingle in a flat key by the band] MAYOR Next! JACK Fantastic! Now why don't you all practice on that and we'll be in great shape. Sally, I need your help more than anyone's. SALLY You certainly do, Jack. I had the most terrible vision. JACK That's splendid. SALLY No, it was about your Xmas. There was smoke and fire. JACK That not my Xmas. My Xmas is filled with laughter and joy and this--my Sandy Claws outfit. I want you to make it. SALLY Jack, please, listen to me--it's going to be a disaster. JACK How could it be--just follow the pattern. This part is red, the trim is white. SALLY It's a mistake, Jack. JACK Now don't be modest, who else is clever enough to make my Sandy claws outfit. MAYOR Next! JACK I have every confidence in you. SALLY But it seems wrong to me, very wrong. [to Behemoth] JACK This device is called a nutcracker. LOCK, SHOCK & BARREL Jack, Jack we caught him we caught him. JACK Perfect! Open it up. Quickly! [opens to reveal the Easter bunny] JACK That's not Sandy Claws! SHOCK It isn't? BARREL Who is it? BEHEMOTH Bunny! JACK Not Sandy Claws...take him back! LOCK We followed your instructions-- BARREL we went through the door-- JACK Which door? There's more than one. Sandy Claws is behind the door shaped like this. [shows Xmas cookie in shape of tree] SHOCK I told you! [LS&B start fighting] JACK Arr!! [making scary face at LS&B] JACK I'm very sorry for the inconvenience, sir. Take him home first and apologize again. Be careful with Sandy Claws when you fetch him. Treat him nicely. LOCK, SHOCK & BARREL Got it. We'll get it right next time. [Dr. Finkelstein's castle] DR. FINKELSTEIN You will be a decided improvement over that treacherous Sally. IGOR Master, the plans. DR. FINKELSTEIN Excellent, Igor. [throws him a dog bone] Making Christmas Performed by Danny Elfman and the Citizens of Halloween CLOWN This time, this time GROUP Making Christmas ACCORDION PLAYER Making Christmas MAYOR Making Christmas, making Christmas Is so fine GROUP It's ours this time And won't the children be surprised It's ours this time CHILD CORPSE Making Christmas MUMMY Making Christmas MUMMY AND CORPSE CHILD Making Christmas WITCHES Time to give them something fun WITCHES AND CREATURE LADY They'll talk about for years to come GROUP Let's have a cheer from everyone It's time to party DUCK TOY Making Christmas, making Christmas VAMPIRES Snakes and mice get wrapped up so nice With spider legs and pretty bows VAMPIRES AND WINGED DEMON It's ours this time CORPSE FATHER All together, that and this CORPSE FATHER, WOLF MAN With all our tricks we're CORPSE FATHER, WOLF MAN, DEVIL Making Christmastime WOLF MAN Here comes Jack JACK I don't believe what's happening to me My hopes, my dreams, my fantasies Hee, hee, hee, hee HARLEQUIN Won't they be impressed, I am a genius See how I transformed this old rat Into a most delightful hat JACK Hmm, my compliments from me to you On this your most intriguing hat Consider though this substitute A bat in place of this old rat Huh! No, no, no, now that's all wrong This thing will never make a present It's been dead now for much too long Try something fresher, something pleasant Try again, don't give up THREE MR. HYDES All together, that and this With all our tricks we're making Christmastime (Instrumental) GROUP This time, this time JACK It's ours! GROUP Making Christmas, making Christmas La, la, la It's almost here GROUP AND WOLF MAN And we can't wait GROUP AND HARLEOUIN So ring the bells and celebrate GROUP 'Cause when the full moon starts to climb We'll all sing out JACK It's Christmastime Hee, hee, hee [Christmastown] SANDY CLAWS Kathleen, Bobby, Susie, yes, Susie's been nice. Nice, nice, naughty, nice, nice, nice. There are hardly any naughty children this year. [door chime: jingle all the way] SANDY CLAWS Now who could that be? LOCK, SHOCK & BARREL Trick or treat! SANDY CLAWS Huh? [back to Halloweentown] [to Jack in Sandy garb] SALLY You don't look like yourself Jack, not at all. JACK Isn't that wonderful. It couldn't be more wonderful! SALLY But you're the Pumpkin King. JACK Not anymore. And I feel so much better now. SALLY Jack, I know you think something's missing. But -- [pricks Jack's finger with needle] JACK SALLY Sorry JACK You're right, something is missing but what? I've got the beard, the coat, the boots -- LOCK, SHOCK & BARREL Jack, Jack this time we bagged him! LOCK This time we really did! BARREL He sure is big Jack! SHOCK And heavy! SANDY CLAWS Let me out! JACK Sandy Claws in person. What a pleasure to meet you. Why you have hands! You don't have claws at all. SANDY CLAWS Where am I? JACK Surprised aren't you? I knew you would be. You don't need to have another worry about Xmas this year. SANDY CLAWS What? JACK Consider this a vacation Sandy, a reward. It's your turn to take it easy. SANDY CLAWS But there must be some mistake! JACK See that he's comfortable. Just a second fellows. Of course, that's what I'm missing. SANDY CLAWS But -- JACK Thanks! [took Sandy's hat] SANDY CLAWS You just can't... Hold on where are we going now? JACK ho ho ho SALLY This is worse than I thought, much worse. I know... SANDY CLAWS Me? On vacation on Xmas eve? BARREL Where are we taking him? SALLY Where? LOCK To Oogie boogie, of course. There isn't anywhere in the whole world more comfortable than that and Jack said to make him comfortable. Didn't he? SHOCK & BARREL Yes he did. SANDY CLAWS Haven't you heard of peace on earth and good will toward men? LOCK, SHOCK & BARREL No! [Dr. Finkelstein's castle] [getting fog juice] SALLY This'll stop Jack. [working on new creation to replace Sally] DR. FINKELSTEIN What a joy to think of all we'll have in common. We'll have conversations worth having. [Oogie's] LOCK, SHOCK & BARREL [laughing] SANDY CLAWS Don't do this. Naughty children never get any presents. SHOCK I think he might be too big. LOCK No he's not. If he can go down a chimney, he can fit down here! [in Oogie's lair] Oogie Boogie's Song Performed by Ken Page with Ed lvory OOGIE BOOGIE Well, well, well, what have we here? Sandy Claws, huh? Oh, I'm really scared So you're the one everybody's talkin' about, ha, ha You're jokin', you're jokin' I can't believe my eyes You're jokin' me, you gotta be This can't be the right guy He's ancient, he's ugly I don't know which is worse I might just split a seam now If I don't die laughing first Mr. Oogie Boogie says There's trouble close at hand You'd better pay attention now 'Cause I'm the Boogie Man And if you aren't shakin' There's something very wrong 'Cause this may be the last time You hear the boogie song, ohhh THREE SKELETONS Ohhh OOGIE BOOGIE Ohhh TWO SKELETONS IN VICE Ohhh OOGIE BOOGIE Ohhh THREE BATS Ohhh, he's the Oogie Boogie Man SANTA Release me now Or you must face the dire consequences The children are expecting me So please, come to your senses OOGIE BOOGIE You're jokin', you're jokin' I can't believe my ears Would someone shut this fella up I'm drownin' in my tears It's funny, I'm laughing You really are too much And now, with your permission I'm going to do my stuff SANTA What are you going to do? OOGIE BOOGIE I'm gonna do the best I can Oh, the sound of rollin' dice To me is music in the air 'Cause I'm a gamblin' Boogie Man Although I don't play fair It's much more fun, I must confess With lives on the line Not mine, of course, but yours, old boy Now that'd be just fine SANTA Release me fast or you will have to Answer for this heinous act OOGIE BOOGIE Oh, brother, you're something You put me in a spin You aren't comprehending The position that you're in It's hopeless, you're finished You haven't got a prayer 'Cause I'm Mr. Oogie Boogie And you ain't going nowhere [LS&B laughing] [back to Halloweentown] [Sally pouring fog juice into fountain] [Jack appears from coffin and there's applause] MAYOR Think of us as you soar triumphantly through the sky outshining every star. Your silhouette a dark blot on the moon, you who are our pride, you who are our glory, you who have frightened billions into an early grave. [the fog starts to get worse] MAYOR You who have eh, devastated the souls of the living... JACK Oh no! We can't take off in this! The reindeer can't see an inch in front of their noses. SALLY Whew! VAMPIRE This fog's as thick as, as... CYCLOPS Jelly brains VAMPIRE Thicker! JACK There go all of my hope, my precious plans, my glorious dreams. Kid [crying] There goes Xmas. ZERO barks JACK No Zero, down boy. My what a brilliant nose you have. The better to light my way! To the head of the team, Zero! We're off! SALLY Wait Jack, no! [Jack is off!] [cheers] JACK ho ho ha ha ha SALLY Good bye Jack, my dearest Jack. Oh how I hope my premonition is wrong. Sally's Song Performed by Catherine O'Hara I sense there's something in the wind That feels like tragedy's at hand And though I'd like to stand by him Can't shake this feeling that I have The worst is just around the bend And does he notice my feelings for him? And will he see how much he means to me? I think it's not to be What will become of my dear friend? Where will his actions lead us then? Although I'd like to join the crowd In their enthusiastic cloud Try as I may, it doesn't last And will we ever end up together? No, I think not, it's never to become For I am not the one [Jack playing Sandy] JACK ho ho ho ho ho ho he he he [lands loudly & wakes up little kid] A little kid Santa! [sees Jack] [gasps] Santa? JACK Merry Xmas! And what is your name? Kid uh uh JACK That's all right. I have a special present for you anyway. There you go sonny. Hohohohehehe [goes back up chimney] Mother And what did Santa bring you honey? [pulls out shrunken head] [mother and father scream] JACK Merry Xmas! Cop [ON PHONE] Hello, police. [frantic peanuts-type talk] Attacked by Xmas toys? That's strange. That's the second toy complaint we've had. JACK hohohohehehe [killer wreath, snake, vampire toy, killer duck] [screams] [Jack puts toys down chimneys] [screams] [Jack in the box chases fat kid] JACK You're welcome one and all! Cop [on phone] Where'd you spot him? ---Fast as we can, ma'am ---Police ---I know, I know a skeleton ---Keep calm ---Turn off all the lights ---Make sure the doors are Locked ---Hello, police Newscaster Reports are pouring in from all over the globe that an impostor is shamelessly impersonating Santa Claus, mocking and mangling this joyous holiday. Halloween residents [cheers] Newscaster Police assure us that this moment, military units are mobilizing to stop the perpetrator of this heinous crime. SALLY [over the Newscaster] Jack, someone has to help Jack. Where'd they take that Sandy Claws? Newscaster --Come back and save Xmas JACK Look Zero, search lights! [firing at Jack] JACK They're celebrating! They're thanking us for doing such a good job. [almost hits Zero] JACK Whoa, careful down there, you almost hit us. ZERO bark JACK It's ok, Zero. Head higher! [Oogie lair] OOGIE BOOGIE Are you a gamblin man, Sandy? Let's play. [sees sally's leg] OOGIE BOOGIE Mmmm.. my, my....what have we here? [Sally's hands start to rescue Sandy] SALLY [whispering] I'll get you out of here. OOGIE BOOGIE Ah, lovely. Tickle, tickle, tickle. Tickle, tickle, tickle. [Sally's hands untie Sandy] [Oogie realizes that there's no body to the leg] OOGIE BOOGIE What?!? You trying to make a dupe out of me? [Oogie sucks Sandy and Sally back in] [back to Jack] JACK Who's next on my list. Ah, little Harry and Jordan. Won't they be surprised. [sleigh gets hit] JACK They're trying to hit us! ZERO! ZERO Bark [sleigh gets hit] [as Jack's falling] JACK Merry Xmas to all and to all a good night... [Halloween] WEREWOLF howl! MAYOR (with white face) I knew this Xmas thing was a bad idea. I felt it in my gut. Terrible news folks. The worst tragedy of our times. Jack has been blown to smithereens. Terrible, terrible news. [back to "no
29	Nightmare Before Christmas The	Caroline Thompson	Animation,Comedy,Fantasy,Horror,Musical	August_1991	NARRATOR 'Twas a long time ago, longer now than it seems, in a place that perhaps you've seen in your dreams. For the story that you are about to be told, took place in the holiday worlds of old. Now, you've probably wondered where holidays come from. If you haven't, I'd say it's time you begun. This Is Halloween SHADOW Boys and girls of every age Wouldn't you like to see something strange? SIAMESE SHADOW Come with us and you will see This, our town of Halloween PUMPKIN PATCH CHORUS This is Halloween, this is Halloween Pumpkins scream in the dead of night GHOSTS This is Halloween, everybody make a scene Trick or treat till the neighbors gonna die of fright It's our town, everybody scream In this town of Halloween CREATURE UNDER BED I am the one hiding under your bed Teeth ground sharp and eyes glowing red MAN UNDER THE STAIRS I am the one hiding under your stairs Fingers like snakes and spiders in my hair CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! VAMPIRES In this town we call home Everyone hail to the pumpkin song MAYOR In this town, don't we love it now? Everybody's waiting for the next surprise CORPSE CHORUS Round that corner, man hiding in the trash can Something's waiting now to pounce, and how you'll scream HARLEQUIN DEMON, WEREWOLF, AND MELTING MAN Scream! This is Halloween Red 'n' black, slimy green WEREWOLF Aren't you scared? WITCHES Well, that's just fine Say it once, say it twice Take the chance and roll the dice Ride with the moon in the dead of night HANGING TREE Everybody scream, everybody scream HANGED MEN In our town of Halloween CLOWN I am the clown with the tear-away face Here in a flash and gone without a trace SECOND GHOUL I am the "who" when you call, "Who's there?" I am the wind blowing through your hair OOGIE BOOGIE SHADOW I am the shadow on the moon at night Filling your dreams to the brim with fright CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! Halloween! Halloween! CHILD CORPSE TRIO Tender lumplings everywhere Life's no fun without a good scare PARENT CORPSES That's our job, but we're not mean In our town of Halloween CORPSE CHORUS In this town MAYOR Don't we love it now? MAYOR WITH CORPSE CHORUS Everyone's waiting for the next surprise CORPSE CHORUS Skeleton Jack might catch you in the back And scream like a banshee Make you jump out of your skin This is Halloween, everybody scream Won't ya please make way for a very special guy Our man Jack is king of the pumpkin patch Everyone hail to the Pumpkin King now EVERYONE This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! CORPSE CHILD TRIO In this town we call home Everyone hail to the pumpkin song EVERYONE La la-la la, Halloween! Halloween! (etc.) EVERYONE [applause] WITCHES Cackling CLOWN It's over! BEHEMOTH We did it! [tummy bump] WEREWOLF Wasn't it terrifying? HYDE & CYCLOPS What a night! MAYOR Great Halloween everybody. JACK I believe it was our most horrible yet! Thank you everyone. MAYOR No, thanks to you, Jack. Without your brilliant leadership - JACK Not at all Mayor. VAMPIRE (fat) You're such a scream, Jack WITCH You're a witch's fondest dream! WITCH (little) You made walls fall, Jack WITCH Walls fall? You made the very mountains crack, Jack DR. FINKELSTEIN The deadly nightshade you slipped me wore off, Sally. SALLY Let go! DR. FINKELSTEIN You're not ready for so much excitement! SALLY Yes I am! DR. FINKELSTEIN You're coming with me! SALLY No I'm not! [Sally pulls out the thread that's holding her arm on] DR. FINKELSTEIN Come back here you foolish oaf! Ow! CREATURE FROM BLACK LAGOON Ooo Jack, you make wounds ooze and flesh crawl. JACK Thank you, thank you, thank you -- very much MAYOR Hold it! We haven't given out the prizes yet! Our first award goes to the vampires for most blood drained in a single evening. [applause] MAYOR A frightening and honorable mention goes to the fabulous Dark Lagoon leeches SAX PLAYER Nice work, Bone Daddy. JACK Yeah, I guess so. Just like last year and the year before that and the year before that. [entering graveyard] Jack's Lament Performed by Danny Elfman There are few who'd deny, at what I do I am the best For my talents are renowned far and wide When it comes to surprises in the moonlit night I excel without ever even trying With the slightest little effort of my ghostlike charms I have seen grown men give out a shriek With the wave of my hand, and a well-placed moan I have swept the very bravest off their feet Yet year after year, it's the same routine And I grow so weary of the sound of screams And I, Jack, the Pumpkin King Have grown so tired of the same old thing Oh, somewhere deep inside of these bones An emptiness began to grow There's something out there, far from my home A longing that I've never known I'm the master of fright, and a demon of light And I'll scare you right out of your pants To a guy in Kentucky, I'm Mister Unlucky And I'm known throughout England and France And since I am dead, I can take off my head To recite Shakespearean quotations No animal nor man can scream like I can With the fury of my recitations But who here would ever understand That the Pumpkin King with the skeleton grin Would tire of his crown, if they only understood He'd give it all up if he only could Oh, there's an empty place in my bones That calls out for something unknown The fame and praise come year after year Does nothing for these empty tears [leaving graveyard and entering forest] SALLY Jack, I know how you feel. [Sally gathers herbs] [back at Dr. Finkelstein's castle] DR. FINKELSTEIN Sally, you've come back. SALLY I had to. DR. FINKELSTEIN For this? [showing her arm] SALLY Yes. DR. FINKELSTEIN Shall we then. That's twice this month you've slipped deadly nightshade into my tea and run off -- SALLY Three times! DR. FINKELSTEIN You're mine you know! I made you with my own hands. SALLY You can make other creations. I'm restless, I can't help it. DR. FINKELSTEIN It's a phase my dear, it'll pass. We need to be patient that's all. SALLY But, I don't want to be patient. [forest] ZERO bark JACK No Zero, not now. I'm not in the mood. ZERO bark JACK All right. [giving Zero a rib from himself] Here ya go boy. [Zero gets rib and shows off his nose] [Back to Halloweentown] MAYOR Morning gents [to the band] [humming This Is Halloween, walks up to Jack's front door and rings bell] MAYOR Jack, you home? [getting worried, switches face and knocks with desperation then switch back to happy face] MAYOR Jack? I've got the plans for next Halloween. I need to go over them with you so we can get started. MAYOR (with worried face) Jack, please, I'm only an elected an official here, I can't make decisions by myself. Jack, answer me!! [falls down steps] ACCORDION PLAYER He's not home. MAYOR Where is he? SAX PLAYER He hasn't been home all night. MAYOR ooooo [back to forest] JACK (yawning) Where are we? It's someplace new. ZERO bark bark JACK What is this? [Jack sees Valentine's tree, shamrock tree, Easter egg tree, turkey tree] JACK [gasps] [sees Xmas tree] [turns knob and gets sucked in] ZERO bark bark JACK Whoa!!!! What's This? Performed by Danny Elfman What's this? What's this? There's color everywhere What's this? There's white things in the air What's this? I can't believe my eyes I must be dreaming Wake up, Jack, this isn't fair What's this? What's this? What's this? There's something very wrong What's this? There's people singing songs What's this? The streets are lined with Little creatures laughing Everybody seems so happy Have I possibly gone daffy? What is this? What's this? There's children throwing snowballs instead of throwing heads They're busy building toys And absolutely no one's dead There's frost on every window Oh, I can't believe my eyes And in my bones I feel the warmth That's coming from inside Oh, look What's this? They're hanging mistletoe, they kiss Why that looks so unique, inspired They're gathering around to hear a story Roasting chestnuts on a fire What's this? What's this? In here they've got a little tree, how queer And who would ever think And why? They're covering it with tiny little things They've got electric lights on strings And there's a smile on everyone So, now, correct me if I'm wrong This looks like fun This looks like fun Oh, could it be I got my wish? What's this? Oh my, what now? The children are asleep But look, there's nothing underneath No ghouls, no witches here to scream and scare them Or ensnare them, only little cozy things Secure inside their dreamland What's this? The monsters are all missing And the nightmares can't be found And in their place there seems to be Good feeling all around Instead of screams, I swear I can hear music in the air The smell of cakes and pies Are absolutely everywhere The sights, the sounds They're everywhere and all around I've never felt so good before This empty place inside of me is filling up I simply cannot get enough I want it, oh, I want it Oh, I want it for my own I've got to know I've got to know What is this place that I have found? What is this? Christmas Town, hmm... SANDY CLAWS Ho Ho Ho Ho ho ho ho ho JACK hmm.. [Halloweentown] CLOWN This has never happened before. Witch It's suspicious. Witch (little) It's peculiar. VAMPIRES It's scary. MAYOR Stand aside. WEREWOLF grrrr MAYOR Coming through. We've got find Jack. There's only 365 days left till next Halloween. WEREWOLF 364! MAYOR Is there anywhere we've forgotten to check? Clown I looked in every mausoleum. WITCHES We opened the sarcophagi. Hyde I tromped through the pumpkin patch. VAMPIRE I peeked behind the Cyclops's eye. I did! But he wasn't there. MAYOR It's time to sound the alarms. [DR. FINKELSTEIN's castle] SALLY Frog's breath will overpower any odor. Bitter. [coughing] Worm's wart. Where's that worm's wart? DR. FINKELSTEIN Sally, that soup ready yet? SALLY Coming....lunch DR. FINKELSTEIN Ah, what's that? Worm's wart, mmm, and...frog's breath. SALLY What's wrong? I-I thought you liked frog's breath. DR. FINKELSTEIN Nothing's more suspicious than frog's breath. Until you taste it I won't swallow a spoonful. SALLY I'm not hungry... [knocking spoon] Oops! DR. FINKELSTEIN You want me to starve. An old man like me who hardly has strength as it is. Me, to whom you owe your very life. SALLY Oh don't be silly. [eats soup with trick spoon] Mmmm, see. Scrumptious. [Dr. Finkelstein eats soup] [Halloween] MAYOR Did anyone think to dredge the lake? VAMPIRE Ah, this morning! ZERO barks Witch Hear that? Witch (little) What? Witch Shh! ZERO barks VAMPIRE Zero! [fanfare as Jack and Zero arrive] Kid Jack's back! MAYOR Where have you been? JACK Call a town meeting and I'll tell everyone all about it. MAYOR When? JACK Immediately! MAYOR [in his mayor truck] Town meeting, town meeting, town meeting tonight, town meeting tonight [at meeting] Clown [giggles as he hits Sally] JACK Listen everyone. I want to tell you about Christmastown. Town Meeting Song Performed by Danny Elfman and Cast JACK There are objects so peculiar They were not to be believed All around, things to tantalize my brain It's a world unlike anything I've ever seen And as hard as I try I can't seem to describe Like a most improbable dream But you must believe when I tell you this It's as real as my skull and it does exist Here, let me show you This is a thing called a present The whole thing starts with a box DEVIL A box? is it steel? WEREWOLF Are there locks? HARLEOUIN DEMON Is it filled with a pox? DEVIL, WEREWOLF, HARLEQUIN DEMON A pox How delightful, a pox JACK If you please Just a box with bright-colored paper And the whole thing's topped with a bow WITCHES A bow? But why? How ugly What's in it? What's in it? JACK That's the point of the thing, not to know CLOWN It's a bat Will it bend? CREATURE UNDER THE STAIRS It's a rat Will it break? UNDERSEA GAL Perhaps it s the head that I found in the lake JACK Listen now, you don't understand That's not the point of Christmas land Now, pay attention We pick up an oversized sock And hang it like this on the wall MR. HYDE Oh, yes! Does it still have a foot? MEDIUM MR. HYDE Let me see, let me look SMALL MR. HYDE Is it rotted and covered with gook? JACK Um, let me explain There's no foot inside, but there's candy Or sometimes it's filled with small toys MUMMY AND WINGED DEMON Small toys WINGED DEMON Do they bite? MUMMY Do they snap? WINGED DEMON Or explode in a sack? CORPSE KID Or perhaps they just spring out And scare girls and boys MAYOR What a splendid idea This Christmas sounds fun I fully endorse it Let's try it at once JACK Everyone, please now, not so fast There's something here that you don't quite grasp Well, I may as well give them what they want And the best, I must confess, I have saved for the last For the ruler of this Christmas land Is a fearsome king with a deep mighty voice Least that's what I've come to understand And I've also heard it told That he's something to behold Like a lobster, huge and red When he sets out to slay with his rain gear on Carting bulging sacks with his big great arms That is, so I've heard it said And on a dark, cold night Under full moonlight He flies into a fog Like a vulture in the sky And they call him Sandy Claws Well, at least they're excited But they don't understand That special kind of feeling in Christmas land Oh, well... [Jack's house] JACK There's got to be a logical way to explain this Xmas thing. [Dr. Finkelstein's castle] DR. FINKELSTEIN You've poisoned me for the last time you wretched girl. [locks Sally away] [dingdong] DR. FINKELSTEIN Oh my head...the door is open. JACK Hel-lo DR. FINKELSTEIN Jack Skellington, up here my boy. JACK Dr. I need to borrow some equipment. DR. FINKELSTEIN Is that so, whatever for? JACK I'm conducting a series of experiments. DR. FINKELSTEIN How perfectly marvelous. Curiosity killed the cat, you know. JACK I know. DR. FINKELSTEIN Come on into the lab and we'll get you all fixed up. SALLY Hmm. Experiments? [Jack's house] JACK Zero, I'm home. [Jack examines & experiments with Xmas stuff] JACK Interesting reaction....but what does it mean? [Sally's room] [after Sally jumps to give Jack his basket...] DR. FINKELSTEIN You can come out now if you promise to behave. Sally. Sally. Oooh! Gone again! [Jack's house] [Sally gives Jack his basket and sneaks off and picks a flower which catches on fire] Jack's Obsession Performed by Danny Elfman and Cast CITIZENS OF HALLOWEEN Something's up with Jack Something's up with Jack Don't know if we're ever going to get him back He's all alone up there Locked away inside Never says a word Hope he hasn't died Something's up with Jack Something's up with Jack JACK Christmas time is buzzing in my skull Will it let me be? I cannot tell There's so many things I cannot grasp When I think I've got it, and then at last Through my bony fingers it does slip Like a snowflake in a fiery grip Something here I'm not quite getting Though I try, I keep forgetting Like a memory long since past Here in an instant, gone in a flash What does it mean? What does it mean? In these little bric-a-brac A secret's waiting to be cracked These dolls and toys confuse me so Confound it all, I love it though Simple objects, nothing more But something's hidden through a door Though I do not have the key Something's there I cannot see What does it mean? What does it mean? What does it mean? Hmm... I've read these Christmas books so many times I know the stories and I know the rhymes I know the Christmas carols all by heart My skull's so full, it's tearing me apart As often as I've read them, something's wrong So hard to put my bony finger on Or perhaps it's really not as deep As I've been led to think Am I trying much too hard? Of course! I've been too close to see The answer's right in front of me Right in front of me It's simple really, very clear Like music drifting in the air Invisible, but everywhere Just because I cannot see it Doesn't mean I can't believe it You know, I think this Christmas thing It's not as tricky as it seems And why should they have all the fun? It should belong to anyone Not anyone, in fact, but me Why, I could make a Christmas tree And there's no reason I can find I couldn't handle Christmas time I bet I could improve it too And that's exactly what I'll do Hee,hee,hee JACK Eureka!! This year, Christmas will be ours! MAYOR Patience, everyone. Jack has a special Job for each of us. Dr. Finkelstein, your Xmas assignment is ready. Dr. Finkelstein to the front of the line. VAMPIRE What kind of a noise is that for a baby to make? JACK Perhaps it can be improved? VAMPIRES No problem! JACK I knew it! Dr. thank you for coming. We need some of these. [showing picture of Santa and sleigh] DR. FINKELSTEIN Hmm.. their construction should be exceedingly simple. I think. MAYOR How horrible our Xmas will be. JACK No--how jolly. MAYOR [switches face] Oh, how jolly our Xmas will be. [gets pelted] What are you doing here? LOCK Jack sent for us. SHOCK Specifically. BARREL By name. LOCK Lock SHOCK Shock BARREL Barrel MAYOR Jack, Jack it's Oogie's boys! JACK Ah, Halloween's finest trick or treaters. The job I have for you is top secret. It requires craft, cunning, mischief. SHOCK And we thought you didn't like us, Jack. [giggles] JACK Absolutely no one is to know about it. Not a soul. Now-- [whispers to LS&B] And one more thing -- leave that no account Ooogie Boogie out of this! BARREL Whatever you say, Jack. SHOCK Of course Jack. LOCK Wouldn't dream of it Jack. [all said with their fingers crossed] Kidnap the Sandy Claws Performed by Paul Reubens, Catherine O'Hara, and Danny Elfman LOCK, SHOCK, AND BARREL Kidnap Mr. Sandy Claws LOCK I wanna do it BARREL Let's draw straws SHOCK Jack said we should work together Three of a kind LOCK, SHOCK, AND BARREL Birds of a feather Now and forever Wheeee La, la, la, la, la Kidnap the Sandy Claws, lock him up real tight Throw away the key and then Turn off all the lights SHOCK First, we're going to set some bait Inside a nasty trap and wait When he comes a-sniffing we will Snap the trap and close the gate LOCK Wait! I've got a better plan To catch this big red lobster man Let's pop him in a boiling pot And when he's done we'll butter him up LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws Throw him in a box Bury him for ninety years Then see if he talks SHOCK Then Mr. Oogie Boogie Man Can take the whole thing over then He'll be so pleased, I do declare That he will cook him rare LOCK,SHOCK, AND BARREL Wheeee LOCK I say that we take a cannon Aim it at his door And then knock three times And when he answers Sandy Claws will be no more SHOCK You're so stupid, think now lf we blow him up to smithereens We may lose some pieces And then Jack will beat us black and green LOCK,SHOCK, AND BARREL Kidnap the Sandy Claws Tie him in a bag Throw him in the ocean Then, see if he is sad LOCK AND SHOCK Because Mr. Oogie Boogie is the meanest guy around If I were on his Boogie list, I'd get out of town BARREL He'll be so pleased by our success That he'll reward us too, I'll bet LOCK, SHOCK, AND BARREL Perhaps he'll make his special brew Of snake and spider stew Ummm! We're his little henchmen and We take our job with pride We do our best to please him And stay on his good side SHOCK I wish my cohorts weren't so dumb BARREL I'm not the dumb one LOCK You're no fun SHOCK Shut up LOCK Make me SHOCK I've got something, listen now This one is real good, you'll see We'll send a present to his door Upon there'll be a note to read Now, in the box we'll wait and hide Until his curiosity entices him to look inside BARREL And then we'll have him One, two, three LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws, beat him with a stick Lock him up for ninety years, see what makes him tick Kidnap the Sandy Claws, chop him into bits Mr. Oogie Boogie is sure to get his kicks Kidnap the Sandy Claws, see what we will see Lock him in a cage and then, throw away the key OOGIE BOOGIE Sandy Claws..hahaha [city hall] JACK It goes something like this. [Jingle bells] How about it? Think you can manage? PERSON INSIDE BASS a one, and a two, and a three, and a. . . [Jingle in a flat key by the band] MAYOR Next! JACK Fantastic! Now why don't you all practice on that and we'll be in great shape. Sally, I need your help more than anyone's. SALLY You certainly do, Jack. I had the most terrible vision. JACK That's splendid. SALLY No, it was about your Xmas. There was smoke and fire. JACK That not my Xmas. My Xmas is filled with laughter and joy and this--my Sandy Claws outfit. I want you to make it. SALLY Jack, please, listen to me--it's going to be a disaster. JACK How could it be--just follow the pattern. This part is red, the trim is white. SALLY It's a mistake, Jack. JACK Now don't be modest, who else is clever enough to make my Sandy claws outfit. MAYOR Next! JACK I have every confidence in you. SALLY But it seems wrong to me, very wrong. [to Behemoth] JACK This device is called a nutcracker. LOCK, SHOCK & BARREL Jack, Jack we caught him we caught him. JACK Perfect! Open it up. Quickly! [opens to reveal the Easter bunny] JACK That's not Sandy Claws! SHOCK It isn't? BARREL Who is it? BEHEMOTH Bunny! JACK Not Sandy Claws...take him back! LOCK We followed your instructions-- BARREL we went through the door-- JACK Which door? There's more than one. Sandy Claws is behind the door shaped like this. [shows Xmas cookie in shape of tree] SHOCK I told you! [LS&B start fighting] JACK Arr!! [making scary face at LS&B] JACK I'm very sorry for the inconvenience, sir. Take him home first and apologize again. Be careful with Sandy Claws when you fetch him. Treat him nicely. LOCK, SHOCK & BARREL Got it. We'll get it right next time. [Dr. Finkelstein's castle] DR. FINKELSTEIN You will be a decided improvement over that treacherous Sally. IGOR Master, the plans. DR. FINKELSTEIN Excellent, Igor. [throws him a dog bone] Making Christmas Performed by Danny Elfman and the Citizens of Halloween CLOWN This time, this time GROUP Making Christmas ACCORDION PLAYER Making Christmas MAYOR Making Christmas, making Christmas Is so fine GROUP It's ours this time And won't the children be surprised It's ours this time CHILD CORPSE Making Christmas MUMMY Making Christmas MUMMY AND CORPSE CHILD Making Christmas WITCHES Time to give them something fun WITCHES AND CREATURE LADY They'll talk about for years to come GROUP Let's have a cheer from everyone It's time to party DUCK TOY Making Christmas, making Christmas VAMPIRES Snakes and mice get wrapped up so nice With spider legs and pretty bows VAMPIRES AND WINGED DEMON It's ours this time CORPSE FATHER All together, that and this CORPSE FATHER, WOLF MAN With all our tricks we're CORPSE FATHER, WOLF MAN, DEVIL Making Christmastime WOLF MAN Here comes Jack JACK I don't believe what's happening to me My hopes, my dreams, my fantasies Hee, hee, hee, hee HARLEQUIN Won't they be impressed, I am a genius See how I transformed this old rat Into a most delightful hat JACK Hmm, my compliments from me to you On this your most intriguing hat Consider though this substitute A bat in place of this old rat Huh! No, no, no, now that's all wrong This thing will never make a present It's been dead now for much too long Try something fresher, something pleasant Try again, don't give up THREE MR. HYDES All together, that and this With all our tricks we're making Christmastime (Instrumental) GROUP This time, this time JACK It's ours! GROUP Making Christmas, making Christmas La, la, la It's almost here GROUP AND WOLF MAN And we can't wait GROUP AND HARLEOUIN So ring the bells and celebrate GROUP 'Cause when the full moon starts to climb We'll all sing out JACK It's Christmastime Hee, hee, hee [Christmastown] SANDY CLAWS Kathleen, Bobby, Susie, yes, Susie's been nice. Nice, nice, naughty, nice, nice, nice. There are hardly any naughty children this year. [door chime: jingle all the way] SANDY CLAWS Now who could that be? LOCK, SHOCK & BARREL Trick or treat! SANDY CLAWS Huh? [back to Halloweentown] [to Jack in Sandy garb] SALLY You don't look like yourself Jack, not at all. JACK Isn't that wonderful. It couldn't be more wonderful! SALLY But you're the Pumpkin King. JACK Not anymore. And I feel so much better now. SALLY Jack, I know you think something's missing. But -- [pricks Jack's finger with needle] JACK SALLY Sorry JACK You're right, something is missing but what? I've got the beard, the coat, the boots -- LOCK, SHOCK & BARREL Jack, Jack this time we bagged him! LOCK This time we really did! BARREL He sure is big Jack! SHOCK And heavy! SANDY CLAWS Let me out! JACK Sandy Claws in person. What a pleasure to meet you. Why you have hands! You don't have claws at all. SANDY CLAWS Where am I? JACK Surprised aren't you? I knew you would be. You don't need to have another worry about Xmas this year. SANDY CLAWS What? JACK Consider this a vacation Sandy, a reward. It's your turn to take it easy. SANDY CLAWS But there must be some mistake! JACK See that he's comfortable. Just a second fellows. Of course, that's what I'm missing. SANDY CLAWS But -- JACK Thanks! [took Sandy's hat] SANDY CLAWS You just can't... Hold on where are we going now? JACK ho ho ho SALLY This is worse than I thought, much worse. I know... SANDY CLAWS Me? On vacation on Xmas eve? BARREL Where are we taking him? SALLY Where? LOCK To Oogie boogie, of course. There isn't anywhere in the whole world more comfortable than that and Jack said to make him comfortable. Didn't he? SHOCK & BARREL Yes he did. SANDY CLAWS Haven't you heard of peace on earth and good will toward men? LOCK, SHOCK & BARREL No! [Dr. Finkelstein's castle] [getting fog juice] SALLY This'll stop Jack. [working on new creation to replace Sally] DR. FINKELSTEIN What a joy to think of all we'll have in common. We'll have conversations worth having. [Oogie's] LOCK, SHOCK & BARREL [laughing] SANDY CLAWS Don't do this. Naughty children never get any presents. SHOCK I think he might be too big. LOCK No he's not. If he can go down a chimney, he can fit down here! [in Oogie's lair] Oogie Boogie's Song Performed by Ken Page with Ed lvory OOGIE BOOGIE Well, well, well, what have we here? Sandy Claws, huh? Oh, I'm really scared So you're the one everybody's talkin' about, ha, ha You're jokin', you're jokin' I can't believe my eyes You're jokin' me, you gotta be This can't be the right guy He's ancient, he's ugly I don't know which is worse I might just split a seam now If I don't die laughing first Mr. Oogie Boogie says There's trouble close at hand You'd better pay attention now 'Cause I'm the Boogie Man And if you aren't shakin' There's something very wrong 'Cause this may be the last time You hear the boogie song, ohhh THREE SKELETONS Ohhh OOGIE BOOGIE Ohhh TWO SKELETONS IN VICE Ohhh OOGIE BOOGIE Ohhh THREE BATS Ohhh, he's the Oogie Boogie Man SANTA Release me now Or you must face the dire consequences The children are expecting me So please, come to your senses OOGIE BOOGIE You're jokin', you're jokin' I can't believe my ears Would someone shut this fella up I'm drownin' in my tears It's funny, I'm laughing You really are too much And now, with your permission I'm going to do my stuff SANTA What are you going to do? OOGIE BOOGIE I'm gonna do the best I can Oh, the sound of rollin' dice To me is music in the air 'Cause I'm a gamblin' Boogie Man Although I don't play fair It's much more fun, I must confess With lives on the line Not mine, of course, but yours, old boy Now that'd be just fine SANTA Release me fast or you will have to Answer for this heinous act OOGIE BOOGIE Oh, brother, you're something You put me in a spin You aren't comprehending The position that you're in It's hopeless, you're finished You haven't got a prayer 'Cause I'm Mr. Oogie Boogie And you ain't going nowhere [LS&B laughing] [back to Halloweentown] [Sally pouring fog juice into fountain] [Jack appears from coffin and there's applause] MAYOR Think of us as you soar triumphantly through the sky outshining every star. Your silhouette a dark blot on the moon, you who are our pride, you who are our glory, you who have frightened billions into an early grave. [the fog starts to get worse] MAYOR You who have eh, devastated the souls of the living... JACK Oh no! We can't take off in this! The reindeer can't see an inch in front of their noses. SALLY Whew! VAMPIRE This fog's as thick as, as... CYCLOPS Jelly brains VAMPIRE Thicker! JACK There go all of my hope, my precious plans, my glorious dreams. Kid [crying] There goes Xmas. ZERO barks JACK No Zero, down boy. My what a brilliant nose you have. The better to light my way! To the head of the team, Zero! We're off! SALLY Wait Jack, no! [Jack is off!] [cheers] JACK ho ho ha ha ha SALLY Good bye Jack, my dearest Jack. Oh how I hope my premonition is wrong. Sally's Song Performed by Catherine O'Hara I sense there's something in the wind That feels like tragedy's at hand And though I'd like to stand by him Can't shake this feeling that I have The worst is just around the bend And does he notice my feelings for him? And will he see how much he means to me? I think it's not to be What will become of my dear friend? Where will his actions lead us then? Although I'd like to join the crowd In their enthusiastic cloud Try as I may, it doesn't last And will we ever end up together? No, I think not, it's never to become For I am not the one [Jack playing Sandy] JACK ho ho ho ho ho ho he he he [lands loudly & wakes up little kid] A little kid Santa! [sees Jack] [gasps] Santa? JACK Merry Xmas! And what is your name? Kid uh uh JACK That's all right. I have a special present for you anyway. There you go sonny. Hohohohehehe [goes back up chimney] Mother And what did Santa bring you honey? [pulls out shrunken head] [mother and father scream] JACK Merry Xmas! Cop [ON PHONE] Hello, police. [frantic peanuts-type talk] Attacked by Xmas toys? That's strange. That's the second toy complaint we've had. JACK hohohohehehe [killer wreath, snake, vampire toy, killer duck] [screams] [Jack puts toys down chimneys] [screams] [Jack in the box chases fat kid] JACK You're welcome one and all! Cop [on phone] Where'd you spot him? ---Fast as we can, ma'am ---Police ---I know, I know a skeleton ---Keep calm ---Turn off all the lights ---Make sure the doors are Locked ---Hello, police Newscaster Reports are pouring in from all over the globe that an impostor is shamelessly impersonating Santa Claus, mocking and mangling this joyous holiday. Halloween residents [cheers] Newscaster Police assure us that this moment, military units are mobilizing to stop the perpetrator of this heinous crime. SALLY [over the Newscaster] Jack, someone has to help Jack. Where'd they take that Sandy Claws? Newscaster --Come back and save Xmas JACK Look Zero, search lights! [firing at Jack] JACK They're celebrating! They're thanking us for doing such a good job. [almost hits Zero] JACK Whoa, careful down there, you almost hit us. ZERO bark JACK It's ok, Zero. Head higher! [Oogie lair] OOGIE BOOGIE Are you a gamblin man, Sandy? Let's play. [sees sally's leg] OOGIE BOOGIE Mmmm.. my, my....what have we here? [Sally's hands start to rescue Sandy] SALLY [whispering] I'll get you out of here. OOGIE BOOGIE Ah, lovely. Tickle, tickle, tickle. Tickle, tickle, tickle. [Sally's hands untie Sandy] [Oogie realizes that there's no body to the leg] OOGIE BOOGIE What?!? You trying to make a dupe out of me? [Oogie sucks Sandy and Sally back in] [back to Jack] JACK Who's next on my list. Ah, little Harry and Jordan. Won't they be surprised. [sleigh gets hit] JACK They're trying to hit us! ZERO! ZERO Bark [sleigh gets hit] [as Jack's falling] JACK Merry Xmas to all and to all a good night... [Halloween] WEREWOLF howl! MAYOR (with white face) I knew this Xmas thing was a bad idea. I felt it in my gut. Terrible news folks. The worst tragedy of our times. Jack has been blown to smithereens. Terrible, terrible news. [back to "no
30	ParaNorman	Chris Butler	Animation,Adventure,Comedy	August_2012	1 INT. RESEARCH LABORATORY - NIGHT 1 An attractive FEMALE SCIENTIST in a gore-spattered lab coat moves fearfully along a wall, passing benches strewn with broken lab equipment. Her ample bosom heaves as she PANTS nervously, mascara-rimmed eyes darting to and fro. Glass SMASHES on the floor nearby and MELODRAMATIC MUSIC swells. The woman backs into a shadow, not noticing a pair of dead eyes catching the moonlight behind her. The music climbs to a frenzy as something GROANS horribly into the woman's ear. She spins around on her stiletto heels as a rotted face looms out of the darkness, drooling through broken teeth, and lunges at her neck. ZOMBIE Brains! CLOSE ON the woman as she raises her hands and SCREAMS. CUT TO: 2 2 INT. BABCOCK'S HOUSE, LIVING ROOM - NIGHT Eleven year-old NORMAN BABCOCK sits on the floor watching TV. He has large piercing eyes and a messy shock of hair. The movie scene we just witnessed continues off- screen with the sound of bloodcurdling SCREAMS. Behind him sitting upon a sofa is GRANDMA BABCOCK, a plump old lady squinting through thick glasses. GRANDMA BABCOCK What's happening now? NORMAN The zombie is eating her head, Grandma. GRANDMA BABCOCK That's not very nice. What's he doing that for? NORMAN Because he's a zombie. That's what they do. GRANDMA BABCOCK Well he's going to ruin his dinner. I'm sure if they just bothered to sit down and talk it through it'd be a different story. Norman CHUCKLES, as if the idea is absurd, then winces as he hears his father shout from the kitchen. ParaNorman 2. 2 CONTINUED: 2 PERRY BABCOCK (O.S.) Norman! Didn't I tell you to take out the garbage? NORMAN Coming, Dad! GRANDMA BABCOCK Tell him to turn up the thermostat too, will ya? My feet are like ice. Norman nods to her and shuffles over to the kitchen door. 3 3 INT. BABCOCK'S HOUSE, KITCHEN - CONTINUOUS Norman's mother, SANDRA BABCOCK, is emptying the dishwasher. She is in her late thirties, and wears `mom' clothes that do no favors for her figure. His father, PERRY BABCOCK, is older, with a neatly-trimmed beard trying hard to delineate chin from neck. He stands on a chair, decked out in tool belt and safety goggles, even though he's only changing a light bulb in a ceiling fixture. Sandra smiles at her son as he makes his way silently to an overstuffed trash can as tall as he is. SANDRA BABCOCK Hi. Whatcha watching in there? NORMAN Sex and violence. SANDRA BABCOCK Oh. That's nice. Perry glares over as Norman wrestles with the garbage. PERRY BABCOCK Can't you be like other kids your age and pitch a tent in the yard, or have a healthy interest in carpentry? SANDRA BABCOCK Perry... NORMAN I thought you said kids my age were too busy shoplifting and joyriding? SANDRA BABCOCK Norman! He hefts the bag onto the floor and ties it in a knot. ParaNorman 3. 3 CONTINUED: 3 Breezing into the kitchen through the back door while CHATTING inanely on her cell phone, Norman's older sister COURTNEY is fifteen years-old and is the bleached-blonde cheerleader archetype of every schoolboy's sordid dreams. COURTNEY Oh yeah, he's r-i-double p-e-d. Like, a seven pack at least. (TO NORMAN) Ew! Watch it! She pushes her brother out of the way as he drags the garbage outside. SANDRA BABCOCK Courtney, be nice. COURTNEY Yeah, she totally doesn't deserve him. I mean, she's nice and I really like her, but she's a complete loser. Yeah, I know. Courtney slumps into a chair at the table, twisting a strand of gum out of her mouth with a finger. Norman returns inside and shuts the door, pausing a moment as if thinking something over. NORMAN Dad? Grandma says, "Can you turn up the heating?" Her feet are cold. The bubble Courtney is blowing POPS against her face, Perry rolls his eyes and GROANS, and Sandra pales. SANDRA BABCOCK Now, Perry... PERRY BABCOCK How many times do we have to go through this, Son? Your grandmother is dead! NORMAN I know! PERRY BABCOCK Then why do you keep on talking to her? NORMAN Because she talks back! COURTNEY O-M-G, you are such a liar! ParaNorman 4. 3 CONTINUED: (2) 3 NORMAN I'm not making this up! I swear! She talks to me all the time! COURTNEY Oh yeah? Prove it! Norman levels her a look that says "you asked for this". NORMAN She said it's not very ladylike to hide photos of the High School quarterback with his shirt off in your underwear drawer. Sandra and Perry raise their eyebrows. COURTNEY I knew it! You've been sneaking around in my personal stuff! NORMAN No I haven't! Grandma told me! COURTNEY You are the worst! Courtney, brimming with outrage, storms out of the kitchen, her ponytail wagging furiously behind her. Sandra kneels down beside Norman with a wearily sympathetic smile. SANDRA BABCOCK Norman, I know you and Grandma were very close, but we all have to move on. Grandma's in a better place now. NORMAN No she's not, she's in the living room. Perry throws his arms in the air, swaying on the chair. PERRY BABCOCK Your grandmother was old and sick, and she died. That's all there is to it! SANDRA BABCOCK Perry, this is just part of the mourning process. ParaNorman 5. 3 CONTINUED: (3) 3 PERRY BABCOCK Stop indulging him! I'm nothing if I'm not liberal, but that limp- wristed, hippie garbage needs to be nipped in the bud! Norman SIGHS and steps between his parents as they argue. He mutely heads out of the room. 4 4 EXT. BABCOCK'S HOUSE, FRONT YARD - CONTINUOUS The argument in the kitchen continues, slightly muted. PERRY BABCOCK (O.S.) This behavior might be okay with your side of the family, but I'm not putting up with it anymore! Not me! SANDRA BABCOCK (O.S.) Oh, not this again! PAN UP to find a light go on in Norman's bedroom window. 5 5 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - NIGHT Norman sits on his bed, using a couple of zombie action figures to act out his parents' ongoing "discussion" which carries upstairs. Norman gets up off the bed and approaches the door. PERRY BABCOCK This isn't the West Coast, Sandra; people talk! They do! SANDRA BABCOCK (O.S.) He's just sensitive, Perry. PERRY BABCOCK (O.S.) Oh please, "sensitive" is writing poetry and being lousy at team sports... not this! I won't have him turn out like that uncle of yours! If that crazy old tramp has been around here putting ideas in Norman's head... SANDRA BABCOCK (O.S.) Perry, no one's had anything to do with Uncle Prenderghast in years! I bet he doesn't even know what Norman looks like! Norman quietly closes the door, and the room goes black. ParaNorman 6. 6 INT. MR PRENDERGHAST'S HOUSE, STUDY - NIGHT 6 CLOSE ON a faded photograph of Norman, held in the grimy hand of MR PRENDERGHAST. He stands over a dusty desk scattered with pictures of Norman, Sandra and older family members. He is in a dark study; a wall-to-wall trove of curious miscellanea and dumpster-dived junk. MR PRENDERGHAST Not much time, not much time... He pulls an old leather-bound book out from the mess, and traces a finger over a woodcut illustration on its cover; an ethereal woman lying beneath a cluster of stars. Wincing with pain, the man drops the book and clutches at his chest, COUGHING and GASPING horribly. CAMERA PANS to a wall covered in countless photographs, newspaper clippings and scrawled occult markings. It is a shrine of sorts; a madman's recondite genealogy project, and at its center is a photograph of Norman, posing with his family on vacation. ZOOM IN to the photograph, hurtling past the Babcocks and through dense trees further and further into a dark forest. TITLE: PARANORMAN 7 7 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - MORNING Norman opens bleary eyes, turns off his zombie hand alarm clock, and slides out of bed. 8 INT. BABCOCK'S HOUSE, LIVING ROOM - MORNING 8 Dressed for school, Norman pauses at the front door and turns to look at the sofa in the living room. He waves happily, and Grandma smiles back. Courtney passes him as she comes down the stairs in the opposite direction. She also stops to look at the sofa, but to her eyes it is empty. She sneers contemptuously. 9 9 EXT. SUBURBAN STREET - MORNING Norman ambles past houses and lawns spotted with small- town America detritus; cheap plastic lawn furniture, peeling-paint fences and cookie-cutter topiary. Here the quaint colonial buildings are mostly in disrepair, their picket fences rotten or daubed in graffiti. ParaNorman 7. 9 CONTINUED: 9 Norman is watched dubiously by the occasional passer-by as he shouts amiable greetings to people who simply aren't there. NORMAN Good morning! Hey Bruce! How's it goin'? Not much. I'm kind of late for school. I need to go. Hi, nice to see you guys. Good morning. Sorry I gotta run. Excuse me. Pardon me. See ya. At one street corner, Norman bends over a gutter. He is watched curiously by a man retrieving his morning paper across the other side of the street. MAN'S POV - Norman crouches over the flattened remains of raccoon road kill. NORMAN (CONT'D) Hey there little buddy! C'mere! He realizes he is being stared at and slowly turns to face the onlooker, then hurries away. Though no one else sees them, to Norman's eyes, a whole host of ghosts are meandering through the streets. NORMAN (CONT'D) Yeah, good to see you! How you doin'? Hi Mrs Hardman. You look nice today. I like what you've done with your hair. HAIRDRYER GHOST Does anyone smell burning? HIPPY GHOST Hey, peace, man. NORMAN Totally. CIVIL WAR GHOST As you were, soldier. NORMAN Sir, yes sir! GREASER GHOST Yo Norman, you playin' hookie? NORMAN No no, I'm just late for school. Sorry, I gotta go. (to Mobster Ghost) How you doin'? ParaNorman 8. 9 CONTINUED: (2) 9 MOBSTER GHOST Hey, how you doin'? A little further along Norman nods pleasantly to the ghost of a parachutist impaled in the branches of a roadside tree. NORMAN Hi! How's it hanging? PARACHUTIST GHOST Ho ho! Haven't heard that one before. Well, it's a nice day. 11 11 EXT. MAIN STREET - MORNING Its industrial days now rusted behind it, Blithe Hollow has become a run-down tourist town, celebrating its heritage with lame fetes and crass knick-knacks. A massive billboard beside the main square reads "BLITHE HOLLOW - A GREAT PLACE TO HANG!" illustrated by a group of waving Puritans beside an equally cheerful witch hanging from a gallows. Across the street a huge banner suggests this year is particularly important for the town; "BLITHE HOLLOW - 300 BEWITCHIN' YEARS!" The town center is lacking in charm; its historical buildings subsumed into a vulgar modern thoroughfare with gaudy witch-themed shop fronts and cracked sidewalks. Everywhere Norman walks, the witch theme is prevalent. Cars have bumper stickers that extol such witticisms as "MY OTHER CAR IS A BROOM". There's a dingy bar, the BAR GENTO, and a greeting card store called BEST WITCHES. Norman hurries past SHERIFF HOOPER, a heavyset black woman, and DEPUTY DWAYNE, lanky and awkward and looking like he'd rather be elsewhere. SHERIFF HOOPER Watch and learn. "Parking violation" is my middle name. DEPUTY DWAYNE Really? I thought it was Rhona. They glance up disdainfully as Norman passes by. Clearly in this town Norman has something of a bad reputation. 12 EXT. SCHOOL ENTRANCE - MORNING 12 Norman walks up a tree lined path that leads to a squat school building. Out front, the name "BLITHE HOLLOW MIDDLE SCHOOL" is carved into an ugly hunk of granite. ParaNorman 9. 12 CONTINUED: 12 SCHOOL KIDS line the path in front of Norman; a gauntlet of jeering, merciless, pre-pubescent horror. Norman takes a deep breath as he begins his daily walk of ridicule. Most of the kids give him a wide berth, but others sneer and WHISPER as he passes. A bell RINGS the start of the school day, and everyone makes a bee-line for the building. Someone barges Norman with their shoulder, knocking his backpack to the ground. Other kids SNICKER as they step over him. As the last of them head through the lobby doors, Norman is left alone on the path. Norman bends down to retrieve his spilled possessions, and a dark shape beyond the gate catches his eye. NORMAN'S POV - Mr Prenderghast, barely visible as he stands within the shadow of a tree, stares back at him. Norman frowns and squints his eyes, but now sees only trees and shadows, so he continues up the steps. 13 13 INT. SCHOOL HALLWAY, LOCKERS - MORNING An expanse of unevenly lacquered floor, scuffed by scores of dragged heels. Rows of dented lockers line the walls. Norman stands before his locker, across which someone has daubed the word "FREAK" in marker. Clearly something of a daily ritual, he reaches inside, takes out a bottle of surface cleaner and a rag and proceeds to wipe it off. Across the hallway, another kid is removing graffiti from his locker. NEIL is overweight with frizzy red hair, and is busily rubbing a handkerchief over the word "FATTY". He watches Norman with interest. A voice behind his shoulder gives Norman a start. ALVIN Hey, ghost jerk! You know what? Norman turns to find textbook bully ALVIN, the only 6th grader in his class who shaves, looming over him. He is flanked by a couple of leering sycophants, one of whom wears a T-shirt emblazoned with "TEAM ALVIN". Norman SIGHS. NORMAN What do you want, Alvin? ALVIN Why don't you see some more ghosts, goober? ParaNorman 10. 13 CONTINUED: 13 The kids LAUGH uproariously, encouraging Alvin to show off some more. ALVIN (CONT'D) Hey! Hey! Norman! Alvin points to a fly that has landed on the locker beside him. He swats it flat with his hand. ALVIN (CONT'D) Talk to that. The kids around Alvin burst into LAUGHTER. ALVIN (CONT'D) That is so Alvin! The bullies strut away, content in the psychological damage they've managed to inflict. PUG Loser! ALVIN That was good, right guys? Norman mutters as they leave, but not loud enough so as anyone might hear. NORMAN Flies don't talk. Across the hall, Neil continues to watch with sympathy, but he is already being hurried along by his friend SALMA, a nerdy Indian kid with braces. SALMA Neil, come on. Let's go. 14 14 INT. SCHOOL GYMNASIUM - DAY Amidst stacked bleachers, foam mats and stray dodge balls, a crudely constructed stage fills one end of the gymnasium. Mediocre art class scenery represents a colonial town, complete with plywood hills, chapel and crescent moon dangling perilously from a basketball hoop. In a director's chair far too small for the job is MRS HENSCHER, an imposing woman with spectacles and beret who looks like she smells of too-much perfume. At the front of the stage wearing a pilgrim hat and carrying a large scroll, is NORMAN. He is surrounded by kids whose attempts at home made period costume leave a lot to be desired. ParaNorman 11. 14 CONTINUED: 14 MRS HENSCHER You stink of illiteracy! (A BEAT) Pilgrims? The Mayflower? Don't any of you know anything about the history of this town? Mrs Henscher tries her best to remain unfazed. MRS HENSCHER (CONT'D) Puritans were strict and devout settlers, who came here to build a home, a place without sin. What is it now Salma? Salma is holding her hand up. She looks like the Wicked Witch of the West. Even beneath green makeup and plastic warty nose, it is clear she is not best pleased. SALMA Why is the witch always a hideous old crone with a pointy hat and a broomstick? I don't believe it's historically accurate, Mrs Henscher! Mrs Henscher's knuckles clench white around her script. She attempts an understanding smile, in the same way a shark might. MRS HENSCHER It's not supposed to be. It's supposed to sell postcards and key chains. (CLAPS HANDS) So let's try it again. Top of page six, Norman. Norman skips ahead on his scroll. NORMAN The founding fathers of Blithe Hollow discovered an evil witch amongst them... MRS HENSCHER No no, Norman, with gusto! Like this! Waving her arms theatrically, she bellows Norman's lines, milking every syllable for effect. MRS HENSCHER (CONT'D) They put her on trial and hanged her! (MORE) ParaNorman 12. 14 CONTINUED: (2) 14 MRS HENSCHER (CONT'D) But the vengeful witch cursed her accusers, seven of them in all, to die a horrible and gruesome death, and rise from their graves as the living dead; their souls doomed to an eternity of damnation! (A BEAT) Now I want you to try that again, but with conviction! My reputation is at stake here, and I won't have this turn out like that wretched Kabuki debacle of oh-nine! As she launches into her lecture, Norman notices a change in the room. The lights dim, the wind outside picks up, and indistinct shapes flicker at the corners of his eyes. Norman glances around at the other kids on the stage, to see if they are seeing what he is seeing. For a split second the children are replaced with faded figures in real Puritan dress. Seven solemn figures. As he turns around nervously, Norman sees the suggestion of another place fizzing in and out of the shadows... MRS HENSCHER (CONT'D) Norman! Are you listening to me, boy? Norman is brought back to the real world with a start, and nods timidly from behind his scroll. NORMAN Sorry, Mrs Henscher. MRS HENSCHER So am I. Now, unless there's any other issues, let us resume... They put her on trial and hanged her! Neil turns excitedly to Norman. NEIL Ooh! This is my moment! He shuffles toward Salma and swings his branch around, not realizing Alvin has slung the hangman's noose around Norman's neck. Norman is yanked off balance and staggers into Neil who keels over, rigid branch arms unable to stop his fall. He lands on top of Salma, her kicking legs sticking out from under him as though Dorothy's house had just landed on stage. The kids break into uncontrollable LAUGHTER. ParaNorman 13. 14 CONTINUED: (3) 14 ALVIN Boom, baby! NEIL Sorry! Mrs Henscher flings her script into the air, her face beet red. MRS HENSCHER Oh, you useless bunch of... The school bell RINGS drowning out her howling voice. 15 15 INT. SCHOOL HALLWAY, LOCKERS - LATER As kids hotfoot it out of the building as quickly as possible, Norman stands pitiably in front of his locker. Fresh graffiti reads "SEE YOU TOMORROW, FREAK". Norman heads for the door, and pretends not to hear when Neil shouts out behind him. NEIL Norman, wait up! 16 16 EXT. MAIN STREET - LATER Norman keeps going, but Neil quickly catches up, beaming intently at the side of his head. NORMAN I keep telling you, Neil. I like to be alone. NEIL So do I. Let's do it together! You shouldn't let them get you down. They always do stuff like that to me. NORMAN Why? NEIL Because I'm fat. And my allergies make my eyes leak. And I sweat when I walk too fast. And I have a lunchbox with a kitten on it. And I have Irritable Bowel Syndrome. I guess there's a whole bunch of stuff. NORMAN Doesn't it bother you? ParaNorman 14. 16 CONTINUED: 16 NEIL Nah. You can't stop bullying, it's part of human nature. If you were bigger and more stupid, you'd probably be a bully too. It's called "survival of the thickest". 17 17 EXT. URBAN STREET - DAY Norman and Neil walk away from the school along a tree lined street at the end of which stands a huge commemorative statue. It is a grotesque effigy of the evil witch from the local legend. MR PRENDERGHAST (O.S.) Psssst! The boys stop. It seems to be coming from the witch. NEIL That statue just "pissst" at us! Wild-eyed Mr Prenderghast suddenly leaps in front of them, startling them as he staggers closer. MR PRENDERGHAST You know who I am? NEIL The weird stinky old bum who lives up the hill? MR PRENDERGHAST (points to Norman) I was asking him. NORMAN Yes. I know. I was told not to talk to you. Sorry. Mr Prenderghast steps in front of Neil, leaning closer to Norman and whispering conspiratorially. MR PRENDERGHAST And you know why you're not supposed to talk to me? Norman tries to back away. MR PRENDERGHAST (CONT'D) I can see ghosts too! And I know that's not all you've been seeing lately, is it? Bad omens? Things you can't quite explain? Strange faces peering through the veil? Norman's eyes widen further. ParaNorman 15. 17 CONTINUED: 17 MR PRENDERGHAST (CONT'D) And I'll bet no one told you about the witch's curse, did they? NORMAN Actually, we're learning about it in school..? NEIL (BEAMING PROUDLY) I'm a tree! Mr Prenderghast impatiently turns his back on Neil and leans close to Norman. MR PRENDERGHAST There's something you really need to know! This is the most important thing you will ever hear! The fate of everyone depends on it! Now listen close... The witch's curse is real, and you're the one who has to stop it! Mr Prenderghast grabs Norman's arm and leans closer. MR PRENDERGHAST (CONT'D) You've gotta use your gift of talking to the dead! He breaks into a HACKING COUGH, face turning beet red and bloodshot eyes bulging. MR PRENDERGHAST (CONT'D) Because if you don't the witch's ghost... (COUGHING) And this is the most important thing of all... You have to go up to the old graveyard and... NEIL (O.S.) Leave him alone! An apple bounces off Mr Prenderghast's head. He turns to find Neil standing behind them on the path, lunchbox open in his hand providing leftover low-carb ammunition. NEIL (CONT'D) Don't make me throw this hummus! It's spicy! Mr Prenderghast thinks better of it and turns to flee the scene. He HISSES out of the side of his mouth at Norman. ParaNorman 16. 17 CONTINUED: (2) 17 MR PRENDERGHAST This ain't done with! You'll see it soon enough! Watch for the sign! As he hobbles away, Neil peers down the street after the old man. NEIL Jeez, what a dirty old creep! NORMAN He's my uncle. NEIL So is it true? NORMAN What? Norman just stares at him. NEIL Can you see ghosts? Like, everywhere? All the time? NORMAN Uh, yeah? NEIL Awesome! Do you think you can see my dog Bub? He was run over by an animal rescue van. Tragic and ironic. We buried him in the yard. Could you see him? Norman frowns disbelievingly, completely taken aback. NORMAN Maybe. NEIL Sweet! Come on! 20 20 EXT. NEIL'S DRIVEWAY Neil forcibly drags Norman up the front driveway of a pastel-painted house. A pair of legs spotted in oil stick out from beneath a pimped-up camper van. Neil's brother MITCH calls out from under the van. MITCH Neil? That you? ParaNorman 17. 20 CONTINUED: 20 NEIL Hey Mitch! We're gonna go play with the dead dog in the garden and we're not even gonna have to dig him up first! Mitch sits up. He's a strapping six-foot jock with tattooed biceps. The kind of guy who wears year-round
31	Pokemon: Mewtwo Returns	Masamitsu Hidaka	Animation,Adventure,Family,Fantasy	January_2000	(Opens when the camera is underwater.) Voice Who am I? I've been dreaming about this world which doesn't exist in my memory. (Mew swims by) Who are you? Wait! Am I apart of you...? Or not...? (Camera goes into a darker place with orange bubbles then it shows someone's eye open. Human figures are seen outside where he is.) Where is this? Who am I? Who brought me here? (We now see who the voice belongs to, it's Mewtwo.) Mewtwo Who am I and why am I here? I just appeared here. I haven't even been born to this world yet. Who am I? (Mewtwo opens his eyes completely and shatters the glass and all the wires fall of him!) Scientist It has awakened! Mewtwo Did he do this? Scientist Wonderful! Mewtwo has been completed. Mewtwo Mewtwo? Scientist That's you. We created you from a Mew the rarest pok?mon in the world! Yes, that's the pok?mon which is said to be the most rare of all pok?mon. Mew. Mewtwo Mew? Is that my parent? My father? My mother? Scientist You can say that, but not really. You've been made stronger based on a Mew. Mewtwo Who is this? If neither my father nor mother. Then was it god? Did God create me? Scientist In the world the only ones that can create new life is man and god. Mewtwo Who did this? Humans made me? Scientist This is truly a victory for science. Another scientist With this we've proven our theory correct. We can continue the study. Third scientist This place will become the new Mecca. Scientist (all shaking hands) I'm going to contact the other offices. Mewtwo Who am I? Where is this place? What was I born for? (Mewtwo floats up and starts destroying the whole lab. Then tons of little metal hand like things come down to stop him but he just blows them up. Soon the whole lab is in flames.) Scientist To make the strongest pok?mon ever.. that was our dream... (The whole lab blows up. Giovanni, the leader of Team Rocket comes down in a chopper and confronts Mewtwo.) Mewtwo Is this my power? I'm the strongest pok?mon in the world. Mew. Am I stronger then you? Giovanni You surly are the strongest pok?mon in the world. But there is another that would be the strongest. Mewtwo The humans? Giovanni (nods) If you and a human were to cooperate then the world would be ours. Mewtwo The world would be ours? Giovanni If your power is set free the world would be ruined. You must control your power. Mewtwo Control? Giovanni Are you okay with destroying the world as it is with that power? Mewtwo What should I do? (Giovanni smiles. Mewtwo is at TRHQ getting loads of armor put on.) Mewtwo Control myself with the armor that protects me? What are you going to make me do? Giovanni It's simple. All you have to do are the things everyone else has been doing... Mewtwo and that is? Giovanni Fighting, destruction, and plunder. The stronger will win. -------------------------------------------------------- Mewtwo is sent into an arena to fight pok?mon first an Onix which Mewtwo throws into a wall with his mind. Then it shows Mewtwo out in a field with a lot of wild Tauros. He raises them up with his mind control and TR throws pok?balls out and catches them all. Then it shows Mewtwo in the gym again fighting Alakazam, Mewtwo does just what he did to Onix. Then came Electron and he used an electric attack and Mewtwo reflected it back at him. Next came Gary's Arcanine and Nidoking... he took care of them easily. Next scene, back in Giovanni's lab. -------------------------------------------------------- Mewtwo What am I fighting for? What am I living for? Giovanni You are a pok?mon. Pok?mon made by humans, what else are you worth? Mewtwo My worth? Who am I? What do I live for? (Mewtwo starts breaking free of the wires) Giovanni What are you doing? Mewtwo I was made by humans. But I, who was created by humans, am not even a pok?mon. (Mewtwo blows up the place and flies off while all his armor slowly falls of into the sea. He lands on a rock.) Who am I? Where is this place? Who asked to make me? Who wished to make me? I hate everything that made me! So this is neither an attack not a declaration of war but revenge on you who made me! ---------------------------------------------------- Introduction ---------------------------------------------------- (Brock is cooking lunch for everyone.) Narrator Ash and the others are on a journey training to be pok?mon masters. It's a beautiful day so they take a break in a field. Ash Is it ready yet? Misty Ash you can help too. Ash I can't I can't even move one millimeter because I'm so starved. Brock Stew well and raise slowly. You mustn't be in a rush with both soup or pok?mon. (Pikachu and Togepy spot someone coming) Pirate Hey you! The boy over there! Are you Ash from Pallet Town? Ash That's right. Pirate Can I have a Pok?mon battle with you? Ash (runs over to him) Okay! I must have a solid fight! Misty I thought you couldn't move one millimeter? Ash Just one or two pok?mon fights before breakfast. Brock This is lunch, so that would be before lunch. Pikachu pika..chu... (Has the Japanese Pok?mon intro music through this battle the whole time. Ash pulls out a pok?ball and throws out Bulbasaur. Then the pirate throws out Donfan. Bulbasaur charges and Donfan rolls into a ball and hits Bulbasaur, then turns around and hits him again! Then he tries it again but Bulbasaur uses Solar Beam and Donfan faints. The Pirate then sends out Machamp. Ash sends out Squirtle. Machamp kicks Squirtle down and then goes to kick him again but Squirtle dodges it and bubbles him till Machamp faints. The pirate gets mad and throws 3 pok?balls down. one is a Venomoth another is a Golem and the other is a Pinsir. Pikachu jumps off ashes shoulder and does Thundershock and all 3 faint.) Pirate Oh My God! (this was possibly the funniest part of the entire movie :) Ash I did it! Misty It was just because your opponent was weak. Brock He didn't even raise them well (flash to Team Rocket who is on a cliff watching our heroes.) James Pikachu gets stronger and stronger. Jessie Beautiful Meowth We couldn't beat him even once. But the word surrender isn't in our dictionary. Jessie I will get that Pikachu. James But look at that. (looks at them all eating) Meowth I'm so hungry. Jessie I got a frying pan... Meowth What good is such a thing without meat and vegetables? It's just an iron board. --------------------------------------------- A Fearow with a camera flies over head then it shows inside some place where you can see Ash and Pikachu on the screens. --------------------------------------------- Lady Are you sending them an invitation? Mewtwo Certainly. (Dragonite flies out of the control center with a purse. It flies over the sees and then over Team Rocket and they fall then it flies over Ash and everyone's head knocking them all over then she lands.) Ash What are you? (Dragonite hands Ash an invitation) This? For me? (He hits a button and a hologram of the lady is displayed) Lady Please forgive me for the abrupt letter. Brock What a beautiful lady... Lady Since you are a promising pok?mon trainer of the future, we'd like to invite you to a party of my master who is the strongest pok?mon trainer in the world. The place is the New Island, Pok?mon Castle. Please check the reply card for whether your coming or not. Please accept the invitation for the strongest trainer in the world. Brock Beautiful Lady... Misty What do we do? Brock Lets go for it. We should go for it. Ash I don't feel uncomfortable with being told I'm a promising future trainer. Misty Well then check yes on the card. (They check yes, and hand the invitation back to Dragonite. Dragonite takes the card and flies off but Jessie, James and Meowth take out a net in an attempt to steal this rare pok?mon. Ash's invitation falls out of Dragonites purse.) Jessie Don't say Goodbye without saying hello. Meowth a post card? --------------------------------------------- Scene change. We see Mewtwo waving his hand back and forth moving the clouds, causing a big storm to start. We then see mew sleeping in a bubble underwater as the bubble floats to the top and pops, Mew wakes up and flies off. Ash and everyone run out of the storm and into a ocean side house that has all the other trainers who were invited. --------------------------------------------- A Trainer Calm down Kingler! Cut it out! (Our heroes run inside wet.) Ash It was a beautiful day! Brock The weather along this beach can change easily. (we notice a big crowd of trainers by the door and Officer Jenny standing with a woman talking to them all) Crowd Huh? The ferry has been canceled? Sweet We can't go to the New Island?! Crowd Oh No! We were invited to go! Officer Jenny Be quiet everyone. Here is the Pier Master. Boijer I'm Boijer. If you want to know about the sea ask the seagulls on the pier. No need to bother. Just look at the flaw of the clouds. I've never seen such a hurricane in all my years. Officer Jenny Is it that terrible? Boijer I grew up on a port and I've never experienced such a storm. Besides the storm is above New Island offshore of this pier. I can't let you be placed in danger. That's my wish as the one who guards this pier. Officer Jenny As you heard the ferry has been cancelled. Umio Its okay with my pok?mon. My pok?mon are stronger in water. I can cross the sea. Boijer Wait. I'm the one who knows the sea and I say no! Officer Jenny She's right! Besides if the pok?mon were to get hurt now they wouldn't be able to get treatment at a Pok?mon Center. Ash What do you mean? Officer Jenny Nurse Joy at the Pok?mon Center is missing. Pok?mon can't receive treatment without Nurse Joy. The poster over there is the missing person report (Brock looks at it) Brock Beautiful... Who? I've seen her somewhere before... (Some of the trainers go outside in the storm wanting to cross the ocean. Soroa gets onto his Pidgeot and flies off. Umio gets on his Gyarados and swims across.) Officer Jenny Stop! Stop or I'll arrest you! (Sweet gets on her Dewgong and starts swimming away.) Boijer There's no use trying to stop them. After all they're pok?mon trainers. If they were children who would stop after being told to, they wouldn't have gathered here. Let's just pray for there safety. (Ash, Brock, Misty and Pikachu run outside and see everyone leaving.) Ash Across the sea lives the strongest trainer in the world. I can't cop out now. Misty But we can't cross this sea using our pok?mon. Ash Right. (A Small wooden ship pulls up with 2 people in it. Guess who?) Jessie Want a ride? Not saying that it's free but depending on the situation. I might allow you onboard. (They get on and start going and Meowth is dressed like a girl in front of the boat, then a huge wave and Team Rocket's costumes fall off. then the waves start getting really rough.) Ash You guys! You guys again?! Brock You guys appear at the very worst times! Ash What do you want? Jessie If we're asked what we want... James The answer to that is.. Meowth There's no time for saying that! (A huge wave flips the boat. Misty shoots out Staryu and swims to the surface.) Brock Ash! Misty! (Misty comes up and he grabs onto Staryu.) Misty Where is Ash and Pikachu?! (A big wave comes again, and they go back under and see As h swimming up with Squirtle.) Ash Hold on tight everyone! (Squirtle and Staryu keep swimming under the waves until they see light. Then it shows Mew flying above the clouds. Ash and everyone get to the castle and climb out of the water, and the mysterious lady is standing there. Lady Welcome to the New Island. Please show me your invitation. Ash How's this? (He shows her). B rock That was you just as I thought! Lady Yes? Brock That picture of Nurse Joy I saw in the missing person report at the pier was you. Misty That reminds me, she looks like her. Lady I don't know what your talking about. I've been serving this castle ever since I was born. Come this way. The other guests are already waiting. --------------------------------------------- They go inside and Team Rocket floats up from the water on top of Weezing. Then it shows Mew playing with the windmill on top of the castle. MEANWHILE Ash and everyone are inside the castle. --------------------------------------------- Lady Those are the trainers who have already arrived. Ash Only 3? Lady The trainers who couldn't cross that storm aren't worth inviting. Brock So then you tested us? Lady Please take out the pok?mon from the pok?balls and be seated. You are the chosen trainers. James (outside and the front door shuts) Well then, let's sneak into this castle... Jessie The only way is to use the exit. Meowth Where's the exit? Jessie Over there... Meowth The s..s..sewer!? I'm not a brown rat! Jessie Don't complain! (All of a sudden Mew comes down from behind TR and looks at them. Jessie turns her head but Mew disappeared.) James What's wrong Jessie? Jessie Nothing lets go. --------------------------------------------- Meanwhile... --------------------------------------------- Sorao You came too? Ash You? Sorao I flew here. My Pidgeot can cross such a hurricane in one flight. Everyone greet them! (all his pok?mon say their names Then they see a Gyarados.) Umio That's my Gyarados. I rode him across the sea. Those kind of waves are nothing for it. Ash Gyarados is a brutal pok?mon isn't it? Umio Yeah, but if you can handle it, no one is more reliable. Sweet My pok?mon are just the same over there. (points to her Blastoise, Wigglytuff, and more. Then all the lights turn off, there is a bright beam of light coming down the center of a huge spiral staircase.) Lady That you for waiting everyone. The strongest pok?mon trainer is coming. (All of a sudden Mewtwo starts floating down and all the pok?mon get worried.) Lady Yes, this is the strongest pok?mon trainer and strongest pok?mon. Mr. Mewtwo. (The lights come back on and everyone can see him clearly.) Ash Mewtwo? Umio A Pok?mon is a pok?mon trainer? It can't be. (It becomes apparent that MewTwo is telepathically controlling Joy...) Mewtwo I've decided my own rules. Misty That voice! Brock Telepathy! (Mewtwo raises Umio up in the air and throws him into a pool (using his mind) Umio Darn it! Go Gyarados! (Gyarados attacks with Hyper Beam, it goes to Mewtwo and Mewtwo stops it and turns it around and it hits Gyarados causing it to faint.) Mewtwo That was easy. (looks at Joy) I no longer have any need for you anymore. (Joy faints into Brock's arms) Brock Nurse Joy. Nurse Joy Where is this place? Why am I here? Mewtwo To make you take care of me, I took you from the Pok?mon Center. A doctor who is familiar with pok?mon is convenient. You were quite useful. You don't remember anything though. Brock What did you say? Mewtwo Humans can be manipulated in any way with my power. Misty With what power? Pikachu PIKA! (Meanwhile TR are in the castle and they find a strange room and they enter it.) Meowth What is this place? (They look and see a Charizard, Venusaur and a Blastoise in Big Glass Test Tubes sleeping.) Meowth Cute! James Is it really? Jessie These aren't like any treasures I've seen. (Jessie walks away and sits on some button and a computer turns on with a very fuzzy screen.) Computer ...our study... to continue in our research ... we would have to collect samples from our test subjects... (All of a sudden something grabs Meowth and throws him in a machine) Meowth HELP! HELP! Jessie Meowth! (Both Jessie and James start pull to get Meowth out and they do get him out but not before the machine got 3 hairs from off of his tail.) Meowth OUCH! My hair! (on the computer screen a figure of a Meowth shows up and the computer starts saying some weird stuff then in an empty test tube next to Team Rocket, a Meowth falls down from a pipe into it) All of TR MEOWTH?! Meowth I am Meowth. James Then this is.... Meowth's copy? (Mew appears behind Team Rocket again.) Computer But the copy we created is more than we've imaged. The pok?mon which we found.... in the depths... it's name is Mew... We succeeded in finding fossilized eye lashes of a mew. From the gathered components we created Mewtwo with this machine. The goal was to make the strongest pok?mon with our own hands. That was our dream. But soon Mewtwo displayed unmeasurable violence. Its all over. The research office will be destroyed. The only way left to abandon this place and escape. (the computer shuts off) Jessie This is the research office? James I think so. Meowth Yeah James But there's nothing wrong with it. Jessie Or maybe something created it again. James But who? Mewtwo I thought of working with humans once. But I was disappointed. Humans are the worst creatures inferior to pok?mon. If creatures that are weak and cruel like humans control this world, this planet will come to ruin. Brock Are you saying like your gonna rule it? Mewtwo (shakes his head) Pok?mon are no good either because this planet is ruled by humans our pok?mon... pok?mon who lived for humans. Pikachu Pika..pika pika! Mewtwo What did you say? You're not being controlled? You're with the humans because you want to be? To be with them by itself is wrong. (Mewtwo lifts Pikachu up with his mind and throws him but Ash jumps back and catches him!) Pikachu pika! Ash Pikachu! Mewtwo Weak pok?mon rely on humans. Misty Ash! Are you ok? Ash Yeah. How dare you attack Pikachu?! Soroa We can get him no matter what kind of pok?mon he is, as long as he's a pok?mon, GO RYHORN! (Ryhorn charges at Mewtwo and is 1 inch from him and Mewtwo stops him and raises him into the air, and shoots Ryhorn across the room!) Soroa Ryhorn! Mewtwo It's no use. I was born as the strongest of any pok?mon in the world. Ash You don't know that before we try. Mewtwo You wan to try? Ash We can ask for nothing better. -------------------------------------------------------- Mewtwo eyes start glowing then it shows in the lab with Team Rocket in it Charizard, Venusaur, and Blastoise come out of there test tubes and walk out the door. then Mew flies out with them. -------------------------------------------------------- James Was that a..? Jessie Mew? Mewtwo Any human who are aiming to be pok?mon trainers go first. Charizard, Blastoise, Venusaur. (The 3 copies raise up from the ground.)These are the evolved forms of the copies I've made. Sweet Copies? Soroa They are...? (Everything starts shaking and a huge door opens and inside is a pok?mon battle field.) Brock A battle field? Is he going to have a pok?mon battle? Soroa I've got Venusaur for that copy one! Sweet I've got Blastoise for that copy one! Ash I've got Charizard too. Charizard I chose you! (Charizard comes out and gives Mewtwo and evil look then shoots fire out at him but Mewtwo makes a force field around him so it doesn't even touch him.) Charizard, that's a surprise attack. (Mewtwo shoots up water and the fire goes out.) Mewtwo What a bad tempered Charizard. So who's first? (Soroa's Venusaur walks out.) Soroa I was careless before, but it won't go that way this time. (The copied Venusaur walks out.) Soroa Venusaur! Razorleaf! Mewtwo Vine Whip. (Copied Venusaur's vines chop up the razor leafs then his vines wrap around Venusaur and tosses him across the room!) Soroa Venusaur! Sweet I'm next! Go Blastoise! (Mewtwo points for copied Blastoise to go.) Sweet Blastoise, Hydro Pump! (Copied Blastoise spins right threw the water and hits Blastoise causes him to go crashing hard into the wall.) Sweet Blastoise! Misty Be careful Ash! His skills are strong! Ash I know. (Mewtwo signals Copied Charizard to go.) Ash Charizard! Lets fight with speed not power! Okay go! (Both Charizard fly up. Ashes Charizard keeps using Flame- thrower but copied Charizard dodges them all and keeps hitting Charizard in the stomach.) Misty Where are the speed attacks? Brock The enemy is to fast! (Copied Charizard grabs Charizard and starts flying down to the ground!) Ash Charizard! Mewtwo Dive Bomb Slam! Charizard hits into the ground then gets up.. roars loudly.. then faints. Ash (Runs out to Charizard) Hold on Charizard! Are you okay? Mewtwo Both speed and power are lacking. (Mewtwo then throws his hands up and 3 black pok?balls appear he shoots them all out and captures Sweet's Blastoise another gets Soroa's Venusaur and the other captures ashes Charizard! A small gold statue lifts up and the 3 balls shoot down into the hole.) Ash STOP! Misty Are you taking the other's pok?mon?! Mewtwo Taking them? No. I'm going to make stronger copies than the pok?mon you are so proud of. (Mewtwo raises his arms again and hundreds of Black pok?balls appear!) It's suitable enough for me. Brock Copies? Ash Stop! That's a violation of the rules! Mewtwo Don't tell me what to do. (Mewtwo looks at Ash and throws him into Brock) I've decided my own rules. (Mewtwo drops his arms and all the black pok?balls start flying everywhere) Brock They're Coming! Ash Run everyone! -------------------------------------------------------- The pok?balls are everywhere catching the trainers pok?mon, the Gyarados was caught then the Golduck, then Seaking, then Scyther, then Hitmonlee, then Sandslash the trainers are trying to protect there pok?mon but there is nothing they can do! then Dewgong was caught, then Rapidash, then Vileplume. Then Bulbasaur and Squirtle are fighting them off, then Wigglytuff was caught, then Pidgeot and when they get caught the pok?balls fly back into the whole under the statue lifted up in the air. -------------------------------------------------------- Ash I've got it! Take your own pok?mon back to your own pok?balls! Return Squirtle and Bulbasaur! (they both go back into their pok?balls) Mewtwo It's no use. (2 black pok?balls go to Ash, open, and capture the pok?balls Bulbasaur and Squirtle are in!) Nothing is impossible with the black pok?balls I have made. (Misty puts Togepy in her bag and shuts it tight while Brock holds Vulpix close.) Nurse Joy This place is no good. Let's run outside! (Nurse Joy, Psyduck, Misty and Brock start running but then a black ball catches Psyduck) Misty My Psyduck! (A black ball catches Vulpix.) Brock Vulpix! (Pikachu is being hunted down by tons of black pok?balls! Then Pikachu falls and is about to be caught! But Ash jumps in front of him and the pok?balls hit him.) Ash Run Pikachu! (Pikachu is running and starts climbing the spiral stairs with ash running after him. Pikachu keeps using Thundershock to blow up all the pok?balls around him but more keep coming! Ash starts running up the stairs a little behind Pikachu) Don't give up Pikachu! (Pikachu gets tired and he accidentally falls of the stairs! Ash jumps after him and is about to grab him but then a black pok?balls snatches Pikachu! But Ash catches the pok?ball and then falls into some water but when he does the pok?balls slips out of his hands and goes into the hole. Since it was the last pok?mon the statue starts to drop but Ash just barely makes it and jumps down into the hole after the Pikachu in the ball! Team Rocket is still in the Lab, which is where all the copies are going. They are amazed at all the copies dropping into all the test tubes everywhere but then Ash falls down chasing after Pikachu!) Jessie Brat? Ash I'm sorry, I don't have time to deal with you today! (Ash jumps and grabs Pikachu's pok?ball but right when he does about 25 little metal mini hand like things come down trying to keep Pikachu, Ash is fighting off the mini hands.) Let it go! Darn it! Let him go! Let go of my Pikachu! Let go! (All the hands break and the whole copy machine starts blowing up and Pikachu comes out of his ball.) Pikachu! Pikachu Pika! But then all the Copy pok?mon start coming out of there tubes because the whole copy machine is all blown up. All the copies start walking out of the room. Jessie Oh no! There coming out! Meowth My copy to! Ash Those are all copies? Jessie Where are they all going? All of a sudden there's an explosion and all the black pok?balls come out and all the original pok?mon come out! James The real ones have come out to! 2 of the black balls open and 2 normal pok?balls come out, then those open and Squirtle and Bulbasaur come out! Ash and Pikachu runs over and starts laughing and hugging each other then ash stops and looks up and looks angry! Meanwhile up stairs... Mewtwo Humans, I won't take your lives too. Leave here. The doors open to the exit. Mewtwo That is if you an make it out in that storm. Then there is an explosion and all the copied pok?mon come walking out. Mewtwo What happened here? From the smoke, Ash and all the original pok?mon come walking out. Ash I can not forgive...! I will not forgive you! Misty/Brock Ash! Misty (sees Psyduck) Psyduck! Brock (sees Vulpix) Vulpix! Mewtwo Did you set them free? Ash I will protect my pok?mon, my friends. (Ash charges at Mewtwo and goes to punch him but Mewtwo throws him down to the ground. Ash gets up and tries again and Mewtwo lifts him up.) Misty Ash! Brock Stop! (Mewtwo throws Ash into a huge statue but just as he's about to hit it -which we know would really hurt a pink bubble stops him and Ash bounces a few times on that.) Mewtwo What? (Mew flies up to Ash and stares at him, Ash then looks at Mew and Mew pops the bubble and Ash falls -only like a foot then Mew starts giggling.) You're... (Mew makes another bubble and starts jumping up and own on it giggling and having a good time, then Mewtwo makes a black electric ball and shoots it up and it pops mew bubble. Mew turns around and looks at Mewtwo confused. Mewtwo makes another and blows up when it hits Mew. Mewtwo makes 3 more and throws them all up at Mew, Mew dodges them all and starts giggling again.) Brock That's... Misty Pok?mon? Mew flies down and looks at Mewtwo Mewtwo Mew. The pok?mon that's supposed to be the rarest pok?mon in the world. Brock Mew? (Mew looks around at everyone... I love this guy!) Mewtwo I was made from you. But I am the stronger one...I am the true one. (Mew is still looking around acting like its paying no attention to Mewtwo.) Brock Mew and Mewtwo. Sweet Mewtwo was made from Mew. Mewtwo (starts glowing) I am the only one who will survive. (Mewtwo starts chasing mew everywhere shooting tons of those black electric balls at him. But Mew keeps running away dodging everything.) Mewtwo Who don't you want to fight? The reason why you avoid fighting is because your afraid of me? (Mewtwo makes another black electric ball and shoots it at Mew and knocks Mew right in the face and mew goes flying in the distance. Everyone is then shocked, but then the same type of ball only blue comes back and hits Mewtwo and he goes into a wall. Mew flies back down. and Mewtwo floats up from the fire and rubble. TR Enters the room.) Mewtwo Your attacks are ineffective against me. Now is the time to decide which one of us is the true one, you the copy... which is the stronger? We were made stronger than the real ones. Mew mew, mew..mew mew mew...mew, mew..mew mew mew Meowth I see. Jessie What is it saying? Meowth The real one is real. If they fight only using bodies without skills. The true ones will not be beaten by their copies Mewtwo The real one is real?.... Fine! (Mewtwo shoots another black electric ball at Mew but Mew dodges it and just barely misses Ash! Ash then starts climbing down the statue.) Lets decide which is the real one without skills. You're the stronger ones, GO! (All the copies start attacking their originals. The copies are winning. Mewtwo makes a visible blue force field around himself. Mew does the same except its pink and they fly up high in the air and keep ramming into each other. Then Pikachu is looking around at the big copy war then he sees his copy standing there ready to fight him! Pikachu can't believe it.) Nurse Joy What is this fighting? Both the real ones and copies are alive now. Sweet Everyone is a living thing Brock Though they were created, there are living beings that live in this world. Misty The real ones and the copies... But both of them are the same living things. There's no such thing as a win and losing. James If we were asked that, I wouldn't know what to say Jessie I feel so sorry James They're bullying themselves. Jessie Its like seeing what we used to be. James Its like seeing what we are now. Both Feels Bad! (Meowth's copy walks up to Meowth.) Meowth Its you! (they take out there claws and are ready fight) This is gonna hurt. But every pok?mon is fighting each other, you're unfair. Copy Meowth Meow meow... Meowth What? I'm more unfair? It's because I'm not fighting with you? Your nails would hurt more wouldn't they? Copy Meowth meow meow meow Meowth You said tonight's moon would be round? You're right, it must be a full moon. Copy Meowth meow meow Meowth Talking about the moon at a time like this is tasteful. Its philosophical. (Meanwhile Mew and Mewtwo are still bouncing around fighting. And Ash finally makes it back to the ground.) Ash (looks at everyone fighting and getting so tired) That's Enough! Stop! Brock Ash! Ash I've got to stop them. Brock No. The battle will continue unless Mew and Mewtwo stop fighting. Nurse Joy Animals don't hand over there territory to the same type of animal. Misty oh no. Nurse Joy They will fight until they drive their opponents away. That is the way of living beings. Brock That may be for living beings but Mewtwo was made by humans. Misty But now he's a living being. Ash Now they are all living beings. Mew and Mewtwo, Pikachu and that other Pikachu. (Mew and Mewtwo's fight finally goes on ground and they both take off there force field. Mew and Mewtwo both shoots a beam out at each other and starts to run between them not seeing the 2 beams coming!) Stop! Brock Ash! (Both beams hit Ash and he falls to the ground and turns to stone.) Mewtwo It can't be. A human tried to stop our fight. (Pikachu runs out to Ash and starts shaking Ash. Then he thunder shocks him many times and Ash still doesn't move. Pikachu begins to cry. Then all the other pok?mon look at Pikachu - including the copies and they start crying. All there tears float over and land on ash then last, Pikachu's tears fall onto Ash and Ash regains his hold on life, and turns back to flesh from rock) Ash Pikachu! Pikachu Pika pi!! Mewtwo Actually, both you and I are pok?mon that already exist. Mew mew. Mewtwo It might be better if no one knows about us, or any of this... Mew mew... (Mew and Mewtwo start flying away and then all the copies pok?mon lift up into the air and fly with them!) Ash Why are you going everyone? Mewtwo (flying away with all the copies) We were born and alive. We will continue to live somewhere in this world. (All of a sudden the whole castle fills up with bright light and everyone disappears......... Now we are back where all the trainers what to go on the ferry.) Officer Jenny The ferry has been canceled! There's a hurricane coming! Nurse Joy (walks through the crowd) Don't worry everyone. I'm going to open the Pok?mon Center as a shelter. Follow me those who need it. Brock Nurse Joy, the officer, and Ms. Boijer. Even more beautiful than usual when they are wet by the rain. Ash But why are we here? Misty I don't know. We're here because we're here. Ash It doesn't matter. Well... Huh? (Everyone runs outside) It can't be... Officer Jenny The hurricane... it's as if it never existed. Boijer I can run the ferry for again tomorrow. Ash (looks up and sees a mew in the sky) Look. Misty What? I can't see anything. Brock Besides the clouds. Ash On the day I left to become a pok?mon trainer, I saw a phantom pok?mon... and now.. I've seen it again. Brock Phantom Pok?mon. Ash Yes, someday I will (Meanwhile, TR is still on the New Island except now the castle is gone.) Jessie Well if its this empty... James Clean and clear... Meowth And different than it usually is. Jessie/James/Meowth FEELS GOOOOOOOOOOOOOOOOD!!!!!
32	Rescuers Down Under The	Margery Sharp,Jim Cox,Karey Kirkpatrick	Animation,Family,Adventure	November_1990	(opening: The camera slowly zooms through a variety of insects and rocks. We follow a small yellow bug climb up a blade of grass. As it spreads its wings to fly, we are whisked along the Australian outback and prairie by Ayers rock and eventually slow down as we approach Cody's house.) (scene: inside Cody's room. The camera pans around to show Cody sleeping in his hammock. The sound of Faloo's call is heard. Cody hears it, jumps out of bed, and runs to the window. He puts on his shirt and grabs his knife.) (scene: Cody sneaks past his mother who is in the kitchen listening to the radio.) Announcer: ... thundershowers are expected in the Crocodile Falls area and some of the surrounding gullies so take out your... (scene: Outside Cody's house. Cody leaves the house, and closes the door behind him, but not quietly.) Mom: (from inside upon hearing the door) Cody! Cody: (whincing) Yeah mom? Mom: What about your breakfast? Cody: I've got some sandwiches in my pack. Mom: Well be home for supper. Cody: (hopping the gate) No worries mom. (scene: Cody runs toward the forest; Faloo's call is heard in the background. He runs past some rock formations and enters the woods. Birds follow him; and squak at him.) Cody: (to the birds) I know, I'm coming. (Cody jumps over a hollow log) Hustle up Nelson, Faloo's sounding the call! (Cody slides through a log, picks up a stick, and beats on the roof of the wombats home.) C'mon little wombats, hurry! (Cody continues to run through the forest with all of the animals following him.) (Cody arrives at the tree where Faloo has been sounding the call.) (to Faloo) Who's caught this time? Faloo: You don't know her, Cody, her name is Marahute, the great golden eagle. Cody: Where is she? Faloo: She's caught, high on a cliff in a poacher's trap. You're the only one who can reach her. Cody: I'll get her loose. Faloo: Right-oh, hop on, no time to lose. (Cody hops onto Faloo and they travel through the forest and along a stream/river; more scenes of animals and the forest.) (They arrive at the cliff.) (pointing up towards the cliff) She's up on top of that ridge. Be careful lit'l friend. (scene: various "time lapse" views of Cody climbing up the cliff.) (Cody reaches the top and sees the eagle.) Cody: Marahute! (Cody looks at the eagle; he approaches her slowly; she hears him and wakes up; Marahute screeches and struggles to get free.) (reassuring) Calm down, calm down. I'm not gonna hurt you. (Cody strokes Marahute on the head) That's a girl. Stay still... it's o.k. (Cody gets out his knife; Marahute sees the glint of the knife and begins to struggle and scream) No wait! I'm here to help you... easy!... easy! (Cody cuts two ropes. Cody cuts the last rope to free Marahute.) You're free!! (As Marahute spreads her wings to fly, she knocks Cody off the cliff.) Aaaiigh! (Cody falls; Marahute dives down to catch him; she catches him just before he hits the ground; they begin to fly around; the animals see Cody on Marahute and stand in awe; Marahute files over several rock formations; the fly up above the clouds; Cody looks at his reflection in Marahute's eye.) Higher! (They fly even higher above the clouds; Marahute throws Cody and catches him; Cody is now held in Marahute's talons.) Woah! (Cody mocks an eagle screech; he laughs as Marahute tickles him; they cruise above the clouds which eventually open up to show the ground; Marahute nose dives towards the ground and a stream; she holds Cody just high enough above the water so that he is water skiing; they approach a flock of birds; Marahute lets Cody go and he skims through the birds, scattering them; Marahute grabs Cody just before he falls in and then put Cody right in front of her, on her beak (pushing him from behind); they go over the egde of a waterfall; Marahute catches Cody again; this time he rides by standing on her back; they arrive at Marahute's nest) Wow! (Cody and Marahute look at each other; Cody falls over as he attempts to look at Marahute upside down. Marahute moves some grass and feathers to show Cody her eggs) You're a mom! (Cody puts his ear to the eggs) They're very warm. Are they gonna hatch soon? (Marahute ruffles her neck feathers in an affectionate manner; she sits on the eggs and then looks out "over her domain".) Where's the daddy eagle? (Marahute drops her head) Oh... my dad's gone too. (Cody give Marahute an affectionate stroke; as they fix the covering on the eggs, the wind picks up and blows a feather in Cody's face; he looks at it, plays with it, and puts it back. Marahute picks it up and gives it to Cody and he gives her a hug.) (Marahute and Cody are now on the ground; Marahute takes off and Cody runs around making flying noises) (scene: just inside the forest. A wanted poster of McLeach is posted on a tree; A mouse is tied up with a bell attached to it that rings as it struggles; Cody hears the bell and goes over to the mouse.) Cody: Heh heh... hey little fella, what happened to you? Baitmouse: (panicking) Oh no! No, no, no, no!! Get away, get away! It's a trap, it's a trap. Be careful, NO! Cody: (as the mouse is speaking) Don't worry, I'll get you loose. Woah! (Cody falls into the trap. He looks up to see a blinking light and the alarm.) (scene: McLeach's truck; the radar has a blip on the screen.) McLeach: (laughs) Got one!! (scene: back in the hole/trap where Cody has fallen.) Baitmouse: (from the top of the hole) Are you alright? Cody: (rubbing his head) Yeah, I think so. Baitmouse: Okey-dokey. (he runs off) Cody: Wait! Hey! Come back! (Cody tries to climb out; he gets halfway up, grabs a tree root; it breaks and he falls; the baitmouse begins to lower a vine down to help Cody) Baitmouse: Here you go, grab on. Cody: That's great, just a little more, a little further... there! I got it. (a rumble is heard and the ground begins to shake.) Baitmouse: Uh-oh. (view of McLeach's vehicle trampling through the forest disturbing everything) Baitmouse: Yipe! (The vine is severed as McLeach's truck comes to a screeching halt; Cody falls; the truck opens; Joanna leans over pit and growls; Cody yells) McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today? A dingo, a fat ol' razorback, or a nice big.... (he sees Cody) boy?!? (McLeach thinks for a second, gives a dirty look to Joanna and kicks her.) Joanna, you been diggin' holes out here again?? (mumbling to himself) Dumb lizard always tryin' to bury squirrels out here. Cody: Unh-unh. It's a trap, and poachin's against the law. McLeach: Trap?! Where'd you get an idea like that?? Boy I think you've been down in that hole for too long. (he holds his gun out so that Cody can grab it) Well c'mon, grab ahold. We'll get you out of this little ol' lizard hole and you can just run along home. (Joanna has spotted the baitmouse on Cody's backpack. She hisses and makes a face.) Cody: This IS a poacher's trap and YOU'RE a poacher. (The mouse ducks back into the backpack; Joanna jumps on Cody, knocking McLeach into the hole; his gun goes off; Joanna begins to attach Cody's backpack.) (to Joanna) Let go!! Hey get off of me!! McLeach: I'm gonna kill her. (climbing out of the hole) I'm gonna kill that dumb, slimey, egg-sucking salamander. Cody: Cut it out! Get off of me! (Joanna continues to attack the backpack; McLeach picks up his gun; he points it at Joanna; looking through gun scope McLeach aims at Joanna, she tries to get out of his view; as she does this, McLeach spots the feather in Cody's pack; he picks up Cody by his backpack.) McLeach: Hmmm.... good girl Joanna. (Joanna looks up and grins happily.) (to Cody) Say where'd you get this pretty feather boy? Cody: (humbly) It was a present. McLeach: (coddling) Oh, that's real nice. Who gave it to ya? Cody: (stumbling) It's a s... secret. McLeach: That's no secret boy, you see, (menacing) I already got the father. (makes a cutting sound and draws a feather across his neck like he was slashing a throat). He, he he. You just tell me where momma and those little eggs are. (Cody breaks free from McLeach by slipping out of his backpack.) Cody: NO!! McLeach: Joanna, sick 'em! (Cody runs through forest with Joanna close behind; he enters an open area where we see a waterfall and water; Cody stops right at the edge of the small cliff that drops into the water (Crocodile Falls); Joanna follows close behind; Cody reaches into his pocket and pulls out his knife; he drops it; McLeach steps on his hand.) McLeach: You're comin' with me boy. Cody: My mom'll call the rangers! McLeach: (sarcastically) Oh no.... not the rangers, what'll I do?? What'll I do??! Don't let your mom call the rangers!! Please don't!! (Joanna laughs) (McLeach laughs) (McLeach throws Cody's backpack into the river) My poor baby boy got eaten by the crocodiles, boo-hoo-hoo! Let's go boy! Cody: (from inside McLeach's cage) Help! Help! (The baitmouse sees Cody in the cage; he runs to the local RAS telegraph office; it begins to rain and wind is blowing; he bursts through the door as the telegraph mouse is eating.) Baitmouse: (very fast and excited) Help, help, help!! Someone help! McLeach took the boy. He took the little boy. Send for help!! (The telegraph mouse begins typing the message in morse code; camera pans up to roof, where other mice aim the antenna; message is seen being relayed to the Marshall Islands) (In a wrecked plane on the Marshall Islands, a mouse listens to the morse code message; he recognizes the distress call, activates the controls on the plane, and relays message to Hawaii.) (Message is seen being relayed to Hawaii. Screens fill with RAS RAS RAS. Mice are watching through binoculars in the back. The send a signal to other mice. They dial the phone to distract guard. Phone rings. Guard leaves. Mice take over, type (jump) on keyboard and read message. "RAS... RAS... ATTENTION BOY KIDNAPPED IN AUSTRALIA IMMEDIATE ACTION REQUIRED" They type "Relay to New York".) (Message then journeys across the ocean to Los Angeles, then to Denver, St. Louis, Chicago, Washington D. C. and then New York.) (scene: It is winter in New York; through the clouds, the camera descends upon the UN building; a mouse is listening to the transmission at the RAS headquarters in New York) Mouse: Code red, code red!! Attention all Rescue Aid Society delegates, all delegates please report immediately to the main assembly hall. This is an emergency meeting. I repeat, this is a code red emergency meeting!! (the delegates have been assembling as the announcement was being made) (scene: inside the RAS meeting hall) Chairmouse: Order! Order! Yes, yes I know it's late but I'm... oh really! Sir Charles. Hello, hello Frank, how are you, nice to see you! And Esmerelda, there you are! Ha ha.. all right, quiet now please, everyone pay attention. There has been a kidnapping in Australia. (delegates gasp) A young boy needs our help. This is a mission requiring our very finest, and I know we are all thinking of the same two mice. (everyone looks to the seats of Hungary and USA, which are empty) (delegates gasp again.) What's this?!? Gone? We must find Bernard and Miss Bianca at once! (scene: a posh restaurant) (as a waiter walks by a pillar/column in the restaurant, a pea drops on the floor; a cricket comes out of the column and picks it up.) Cricket: Oh.... pea soup. (With an elaborate contraption, he launches the pea up the column where it drops into a thimble-pot of the cook) Cricket cook: Pea soup! (A waiter cricket comes along and picks up the soup; the scene changes to the chandelier over the restaurant and we see a mini-restaurant above the real one.) Bianca: To my dear Bernard, and our wonderful partnership. Bernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful. Bianca: You've been very quiet this evening, is there something on your mind? Bernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches into his pocket.) Bianca: Yes darling? Bernard: I... Miss Bianca would you.... would you... (the ring falls through a hole in Bernard's pocket onto the floor) would you excuse me for a minute? (Bernard chases the ring across the floor; he crawls around, sees it, and just as he goes to grab it, a waiter kicks it under another table; Francois arrives at their table.) Francois: (French accent) Pardonnez moi, mademoiselle Bianca, I have important news. (He hands her a piece of paper.) Bianca: Yes Francois? What is it? Francois: You and Bernard have been asked to accept a dangerous mission to Australia. Bianca: (reading message) Oh the poor boy. This is dreadful. Now where is Bernard I must tell him at once! Francois: Allow me madame, I will tell him immediately. (Bernard is seen under a table retrieving ring; the ring finds its way onto the foot of a rather large woman mouse who is having dinner with a rather nerdy looking man mouse; as Bernard removes the ring from her foot, she think the man mouse is playing footsie with her and smacks the man mouse.) Bernard: (practicing) Miss Bianca, will you marry me? Miss Bianca, will you please marry me? Francois: (as Bernard practices) Quickly monsieur Bernard! I must speak with you.... Bernard: Not now Francois, I'm busy! Francois: No, no, no, no, monsieur you don't...... (As Francois attempts to follow Bernard he collides with another cricket watier and falls on his back; various crickets run to help him.) (Bernard returns to the table) Bianca: Bernard, did you talk to Francois? Bernard: Ah yes, but uh.. there's... there's something I want ...... Bianca: I know exactly what you're going to say. Francois told me all about it. Bernard: He did? How, how... how did he ... Bianca: Oh it doesn't matter, I think it's a marvelous idea. Bernard: (shocked) You do? I mean, you... you really want to? Bianca: I don't think it's a matter of wanting, it's a matter of duty. Bernard: D-duty? I... I never thought of it, well, umm... all righ.... all right. How does... how does next ah-April sound to you? Bianca: Heavens no! We must act immediately, tonight! (she leaves the restaurant with Bernard close behind) Bernard: Tonight? But, but, ah.. wait! Uh, Bianca, this is so sudden, I mean, don't you at least need a gown or something? Bianca: No, just a pair of khaki shorts and some hiking boots! Bernard: Hiking boots? (scene: in the RAS meeting hall) Chairmouse: Ah, there you are, come along, come along. Bianca: Delegates, we have an important announcement. Bernard and I have decided, (pause) to accept the mission to Australia. Bernard: (surprised) Australia? Chairmouse: Oh good show! Now, you must fly out immediately! It's a little nippy outside, but we won't let that stop us, will we? What? (laughs) (scene: on top of a building, snow and wind blowing all around) Bernard: (yelling) Miss Bianca, I'm not sure it's such a good idea to... to fly this soon after eating! Bianca: Darling you'll be just fine! Bernard: But aren't, aren't you supposed to wait 45 minutes? Bianca: (annoyed) Oh, just knock on the door and see if Orville is there!! Bernard: (knocks slightly) (quickly) Well, nobody's home, let's go. (Bernard gets buried with snow) Bianca: Bernard!! (scodling) This is no time to play in the snow. Bernard: I wasn't playing in the snow. It... it was an avalanche. Bianca: Oh look Bernard! (reading the sign) Under new management, see Wilbur. C'mon darling, let's get a move out! (scene: inside Wilbur's hangar; Wilbur is seen singing and dancing along with some music) Bianca: Yoo-hoo! Mr. Wilbur! Hello? Bernard: Look out!! Excuse me! Bianca: Bernard DO something! He can't hear us! (Bernard "struggles" to get to the boom box and Wilbur continues to dance.) Wilbur: (singing) The girls all look (music stops) when I go by..... Hey, who killed the music?!? Bernard: That's better. Bianca: Excuse us for interrupting, we're from the Rescue Aid Society. I am Miss Bianca... Wilbur: (interrupting) Miss Bianca!?! Bianca: and this is my.... Wilbur: (still interrupting) THE Miss Bianca? I don't believe it. My brother Orville told me ALL about you, oh boy, I... this is an honor to have.... may I just say enceinte senorita to you? May I? (kisses her hand) Bernard: Ahem. (deliberately) We need to charter a flight. Wilbur: Well, you've come to the right place, buddy boy, welcome to (pause) "Albatross Air" - a fair fare from here to there. (laughs) Get it? A fair fare? It's a... a play on... nevermind, I've got tons of exotic destinations, far away places, custom designed for (in a seductive voice) "romantic weekend getaways". (laughs) As well as the finest in-flight accomodations. Speaking of which, what can I get ya? (fumbles, searches through his cooler) How about a nice mango-Maui cooler? Very, very nice, very tasty.... Bianca: No thank you... Wilbur: Or a ah..... (fumbles about) Coconut guava nectar? It's carbonated. Very nice. I got little umbrellas for each one of them and a little coconut thing.... Bianca: No, it's urgent that we leave immediately! Wilbur: (disappointed) Nothing? Nothing at all? Bernard: (dismayed) Wilbur. Wilbur: How about a cream soda? Bernard: Now look, we need a flight to Australia. Wilbur: Australia? The Land Down Under? That's a fabulous idea! So when can I pencil you in? Ah... after spring thaw? You know, mid-June would be very nice. Bianca: Oh know, we must leave TONIGHT. Wilbur: (spits out his drink) TONIGHT? (coughs and laughs) C'mon you're kiddin' me right? (laughs) Have you looked outside? (he opens the window) It's suicide out there! Oh-ho, oh no. OH NO....I'm afraid your jolly little holiday will have to wait. (laughs) What a bunch of jokers. Bianca: But you don't understand, a boy needs our help, he's in trouble. Wilbur: A boy? You mean, a little kid kinda boy? Bianca: He was kidnapped. Wilbur: Kidnapped? (remorseful) Aw... that... that's awful. Lockin' up a little kid. A kid should be free. Free to run wild through the house on Saturday mornings, (gathering strength) free to have cookies and milk, and get those little white moustaches, you know, with the..... (determined) NOBODY'S gonna take a kid's freedom away while I'm around, nobody, do you hear me?!? Bianca: Does that mean you'll take us? Wilbur: (with conviction) Storm or no storm, Albatross Airlines, at your service!! (Wilbur salutes) (scene changes to Bernard and Bianca on Wilbur's back) Passengers are requested to please fasten their seat belts and secure all carry-ons. We'll be departing following our standard pre-flight maintenance. Thank you. (Wilbur begins to exercise) Yeah, loosen up, get the blood flowin' up to the head, annnnnd, couple of these....oh! (tries to do a push-up) O.k. one's enough, here we go. Oh! Ah yeah!! That feels better. Oh baby. Tie your kangaroos down sports fans, here, we, COME! (opens hangar doors, gets blown back by wind) Yeah, let's go for it!! Woah! Hey! Woah! Hey, I didn't adjust for the winds. All right we're gonna make it!! I just gotta duck down a little lower, that's all. Go under the wind, go under it! Here we go (screams)!! Ow this is cold! Slippery! Ice! Ice! We got ice! We got ice! Oh hang on now!! Here we go! Here we go! Here we go!!! HERE WE GO!! COWABUNGA!!!!!!! (Wilbur dives for the street; "flies" just in time to miss the ground.) Bianca: Captain, is this a non-stop flight to Australia?? Wilbur: Well, ah...not exactly no, I could definitely say no. We're gonna have to make connections with a bigger bird. (aside) Non-stop? What do I look like, Charles Lindburgh?? (scene: McLeach driving his vehicle with Cody in the cage in the Australian outback.) Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't do this!! Help! Help! Help! McLeach: (on speaker) Breaker, breaker, little mate. I forgot to tell ya around here, you need to be QUIET!! (Cody trips) Or the rangers might hear ya. Now sit down and relax, enjoy the view. (laughs) Nothin' but abandoned opal mines as far as the eye can see. And dead ahead, is home sweet home. (begins singing) (from a distance) Home, home on the range. Where the critters are tied up in chains. I cut through their sides, and I rip off their hides. And the next day I do it again. Everybody! Home, home on the range..... (scene: long shot of Cody's house) Mom: Cody! Cody! Cody! (scene: cargo hold of airplane; Wilbur, Bernard, and Miss Bianca are sleeping on an airplane tire.) Announcer: (heard from inside of plane) Ladies and gentlemen, Flight 12 is now approaching Sydney airport, make sure you pick up your parcels and packages and enjoy your stay in Australia. (Miss Bianca wakes up, gives Bernard a kiss to wake him up.) Bernard: (just waking up) (yawns) Are we there yet? Bianca: Yes. You know, perhaps we should wake up Wilbur. Bernard: Oh, oh... alright, I'll get him up. (leaning over) Ahhh... Wilbur? (Wilbur is snoring) Wilbur? Wilbur?? Wilbur: (half awake) Um, yeah, just five more minutes ma. (Wilbur rolls over, trapping Bernard and Bianca) Bianca and Bernard: (screams) Wilbur!! Wilbur: (groggy) That's all I need, five more minutes. Bianca: (pleading) Wilbur?? Are you awake?? Bernard: Get, get up we're there!! Wilbur: O.k. I'm up, I'm up. (he rolls back over) Bernard: Watch out you got.... Wilbur: (groans) Oh! I must'a been sleepin' on a bolt. Ooo. (plane body opens) Oh boy. Throw another shrimp on the barbie girls, cause HERE I COME!! Bernard: Here we go again!! Wilbur: CANNONBALL!!!!! Bianca: Weeee!! (Wilbur "cannonballs" out of the airplane; he runs into a flock of seagulls on his way down and passes the Sydney Opera House.) Wilbur: Gang way! Comin' through, mice on board!! Clear the way! Move over madam, there you go! Comin' through sir, thank you. (laughs) Next stop, Mugwomp Flats. Did we lose anyone back there? (laughs). Bernard: Miss Bianca, from.. from now on, can't... can't we just take the train? (scene: Mugwomp flats "control tower". Jake and Sparky are playing checkers.) Jake: Well Sparky, you've had this comin' for a long time. And now, you're gonna get it. Ha! (Jake jumps one of Sparky's pieces; Sparky spits and then jumps a bunch of Jake's pieces.) Jake: Hmmm... wise fly. (Sparky laughs) Wilbur: (over radio) Mugwomp tower, Mugwomp tower, this is Albatross One Three requesting permission to land. Over? Jake: Albatross? (Jake flips over the checkerboard to a chart that has various bird sizes) Let's see... finch, wren, scrub bird, lockeet, freckled duck, culah, kukaberra, parrot, cockatoo, alba... alba...?!?! It's a jumbo!! (into radio) Negative one three, you'll have to turn back, our runway isn't long enough for a bird your size. Wilbur: Not long enough?!? Look pal, I can land this thing on a dime! Bernard: (heard over radio) Uh... Wilbur, if, if the runway isn't long enough... Wilbur: Listen you can't let these radar jockeys push you around. Just leave it to me alright? Jake: (into radio) I say again mate, our runway is too short. Wilbur: And I say again, MATE, I'm comin' in!! Jake: Crazy Yank. Quick Sparky, we gotta find a way to extend the runway. (Jake and Sparky begin to make the runway longer; Jake kicks a cinder block raising part of the roof.) Wilbur: Here we go! Bernard: We..., we'll never make it!! Wilbur: (as he bounces along roof) Hot! Oooh! Ow! Passengers please remain seated until the aircraft comes to a full and complete stop. Thank you. (Jake and Sparky continue to extend the runway; Wilbur lands on an umbrella and spins around.) Jake: Quick Sparky, we need to make a drag line! (an elaborate clothesline/hangar/brassiere drag line is constructed; Wilbur is catapulted into the drag line; when he stops, he is "wearing" the bra.) Wilbur: (cocky) Don't try and tell ME the runway's too short. Ha! (to Jake) Hold this for me will ya pal? (Wilbur "hands" him the bra which launches Jake backwards.) Jake: Bloke oughtta have his wings clipped. Wilbur: You captain thanks you for flying Albatross Airlines..... Jake: (aside to Sparky) Crazy Yanks. They think they can do any fool thing, without regard for..... (he sees Bianca; becomes starry-eyed; Sparky wonders what happened; looks at Jake; Sparky buzzes in dismay) (being suave) Welcome to Australia ma'am. My name's Jake and if there's any way I can make your stay more pleasant, don't hesitate to ask. Bianca: Oh, how kind. Jake: Allow me to get that bag for ya. Bernard: (struggling) I've a.... I've got a lot of... luggage here... Wilbur: Here let me give you a hand with those bags pal, all part of the friendly service here at Albatross Air (Wilbur picks up two of the bags; a crunch is heard) Ow! Oh! Big time hurt! Ah back!! Oh it's out! Bianca: Wilbur, are you alright? Jake: Don't worry ma'am, I'll handle this. Sparky, you watch the tower, we gotta get this bird to the hospital. Wilbur: Oh.... can't go down, can't go up. Oh ! Take the bags, take the bags! (scene: an old military hospital vehicle. Wilbur is being lowered inside by a series of ropes, gears and nursemice.) Nursemice: Heave! Ho! Heave! Ho! Wilbur: Hey, whaddya doin'? Hey, what... what's going on? Wait! Hey wait a minute... just stop everything. Bianca: Wilbur, don't worry. We'll come back the moment we find the boy. Wilbur: (begging) Wait! Hey! Wait a minute! Don't leave me here, please! I'm feeling much better now. I'm even ready to hit the beaches (laughs). I'm even ready to mambo. (Wiggles in the restraints). Bianca: Doctor, will he be alright? Doctor: (consoling) Now, now, my dear. Keep a stiff upper lip. They all come in with a whimper, and leave with a grin. Off with you now. Leave everything to me. Shoo, shoo, off you go. (they leave) Hop to it ladies, we've got a bent bird on our hands. Move, move, move, bustle, bustle, bustle. That's it, ah-ha. Wilbur: Will it, will it hurt doc? Doctor: Dear boy, you won't feel a thing. (to the nurse mice) Launch the back brace! (the "back brace" (a cane) is "launched" to immobilize Wilbur's back.) Wilbur: Hey! Hey wait! Wait! Woah!! I've been skewered. Doctor: (cross) I've already missed tea, Mr. Albatross, now don't force me to take drastic measures. You MUST relax. Wilbur: Relax?!? I have never been more relaxed in my life!! (begins to get hyper) If I were any more relaxed, I'd be dead!!! Doctor: (smug) I'm not convinced. (to the nurse mice) Sixty milligrams! Nursemice: Sixty milligrams. (the nursemice fill hypodermic needle with liquid and put it into the chamber of a shotgun.) Wilbur: Hey... wha.... are... are you guys crazy? You can't do that to me! I'm an American citizen buddy!!! Doctor: Better double it! Wilbur: DOUBLE?!? Nursemice: Double, coming up! (they load up another needle in the other chamber.) Wilbur: Nooo!! Doctor: Prepare the albatross for medication. Wilbur: Oh, I'm dreamin'... I'm dreamin'!! Come on Wilbur, wake up boy, wake up!! Doctor: (giving directions to aim the gun.) Three degrees right. Wilbur: Come on!! Nursemice: Three degrees right. Wilbur: Come on, it's a joke, it's a joke! Doctor: Down two degrees. Wilbur: Oh no, don't go down two degrees! Nursemice: Down two degrees. Doctor: Ready! Wilbur: No I'm not ready!! No, please!! Doctor: Aim!! Wilbur: (crying) please don't do this to me...... Doctor: FIRE!! (the scene changes to outside and we hear the gun fire.) Wilbur: Ow, ow, oh. ooo...... (scene: Mugwomp Flats; Bernard and Bianca are looking at a map) Bernard: Now we just.... gotta figure out how to get there. Jake: So, ah... you and your umm... husband here on a little outback excursion? Bianca: Oh no, no, we're not married. Bernard: In fact we're, we're here on a, a top ah.. secret mission. Very... very.. hush, hush. Jake: Oh! Gotta rescue that kid McLeach nabbed eh? Bianca: Why that's right! How did you know? Jake: (he bumps Bernard out of the way) (whispering to Bianca) You'll find it's tough to keep secrets in the outback miss. (outloud) So ah.... which way ya takin'? (looking at Bernard's map.) Suicide trail through Nightmare Canyon, or the shortcut at Satan's ridge? Bernard: Su... Suicide trail? Jake: Good choice. (dramatically) More snakes, less quicksand. Then once you cross Bloodworm Creek, you're scot free, this is until ummm... Dead Dingo Pass. Bernard: (puzzled) Wait, wait, wait a minute, I don't.... I don't see any, any of that, that stuff on the map. Jake: A map's no good in the outback! (folding up the map) What you really need is someone, (schmoozing to Bianca) someone who KNOWS the territory. Bianca: Oh Mister Jake, will you guide us? Jake: At your service! (he bows and shoves the map behind him into Bernard's gut.) Here better take my arm miss it's gonna be a treacherous hike. (beginning to tell a story) I remember the time Miss B. it was just me and four hundred of these big giant..... Bernard: Doesn't even know how to fold a map.... (scene: the rangers are at Crocodile Falls searching the water; then we see Bernard, Miss Bianca and Jake on a wombat in a tree getting ready to jump.) Jake: This is how we get around in the outback Miss B. (shouting) The only way to travel, eh Berno? Bernard: Ah yeah, yeah, it's just a little, a little ah.. bumpy back here. (Bernard is bobbing along on the tail; the wombat climbs to the top of the tree and jumps.) Jake: Cinch up your seatbelts mates, we're comin' in for a landing. (the wombat lands on a small bush; Jake and Miss Bianca get off the wombat; however the bush isn't exactly stable yet...) Bernard: Hold it, not, not yet!! (Bernard gets launched into a patch of
33	Rise of the Guardians	David Lindsay-Abaire	Animation,Adventure,Family	September_2012	SEQ. 125 - ALONE IN THE WORLD DARKNESS JACK (V.O.) Darkness. That's the first thing I remember. It was dark, and it was cold. And I was scared. The silhouette of a body appears as it drifts into a ray of light, refracted through water, which turns into... A MOON - SEEN IN REFLECTION ON A SHEET OF ICE The moonlight intensifies almost magically, and the ice above begins to spider-web and crack. EXT. FROZEN POND - NIGHT Snow-covered trees in every direction. The ice in the pond continues to crack, until finally a hole splinters open. A young man floats out of the water, bathed in the intense moonlight. This is JACK FROST - thin, pale, barefoot, his tousled hair frosted white. JACK (V.O.) But then...then I saw the moon. It was so big and it was so bright, and it seemed to chase the darkness away. And when it did...I wasn't scared anymore. Jack floats back down onto the ice as the hole closes up underneath him. JACK (V.O.) Why I was there, and what I was meant to do - that I've never known. And a part of me wonders if I ever will. Jack looks around, confused, then turns toward the moonlight as it dims a bit. Jack carefully treads across the ice until he hits something with his feet. He looks down, and at his feet is a wooden staff. Curious, he picks it up. Almost immediately the staff begins to glow a cold blue in his hands. Odd. Guardians Screening Script 9/6/12 Avid 2. Jack almost drops it as the base of the staff comes in contact with the ground. Frost shoots out and spreads across the ice. Jack is visibly confused. He touches a few trees with his staff sending frost up their trunks. Then he swings the staff again, more confident, as he begins to run across the frozen pond. Another swing, and a gust of wind swirls him high up into the air. Jack floats for a moment only to fall back down to earth and into the trees. Jack grabs hold of a tree branch and pulls himself up to see a small town off in the distance. EXT. BURGESS SETTLEMENT - TOWN CENTER - CONTINUOUS A collection of simple timber houses with thatched roofs. Jack comes in for a landing, and it's a rocky one. He stands up, still elated, and brushes himself off. As Jack makes his way into town, settlers are warming their hands by campfire. Jack doesn't recognize anyone. JACK (to the townsfolk) Hello. Hello. Good evening, ma'am. (BEAT) Ma'am? The settlers walk past Jack, not noticing him. Jack crouches down as a YOUNG BOY runs toward him. JACK Oh, ah, excuse me, can you tell me where I am? The boy runs right through Jack, as if he were a ghost. Jack staggers back in shock. He's speechless, as if the wind had been knocked out him. His emotions causing it to snow. JACK Hello! Hello! Townsfolk continue to pass through Jack, unaware of his presence. Shaken, Jack turns and retreats into the forest. JACK (V.O.) My name is Jack Frost -- how do I know that? The moon told me so. But that was all he ever told me. And that was a long, long time ago. Guardians Screening Script 9/6/12 Avid 3. We pan up as the moon shines down over the snow covered trees. CUT TO: SEQ. 175 - INTRO TO NORTH EXT. NORTH POLE - DUSK FIERY GYPSY VIOLIN MUSIC as we move through clouds to reveal a MASSIVE ICE CANYON, and just around a bend, the incredible hidden fortress of NORTH, aka SANTA CLAUS. INT. NORTH'S WORKSHOP - DUSK We glimpse a familiar-looking RED JACKET and CAP with white trim on a coat hanger just as a pair of tongs SLAM a block of ice onto a stone work table-- IN QUICK CUTS: A CHAINSAW shears the block in half, spraying ice. North lifts up the chainsaw revealing a massive tatoo on his arm, the word NAUGHTY clearly visible. Three ELVES huddle in a doorway around a plate of cookies, each licking their own tasty morsel. NORTH (O.S.) Still waiting for cookies! As North crosses the background, the elves lower the cookies from their mouths, their faces frozen in fear. The elves duck out of the way as North launches himself across the floor on his rolling chair -- CLOSE as his huge HAND gropes furiously among his WORK TOOLS, finally grabbing a miniature HAMMER. As North's humming along with his music, delicately CHISELING into the ice, we see a second arm sleeve tatoo, the word NICE clearly visible-- His INTENSE BLUE EYE magnified in a JEWELER'S EYEPIECE -- a delicate SCULPTING TOOL cuts fine details into the ice-- His hands place the finished piece on a curving ICE TRACK: An ice LOCOMOTIVE. It belches ice vapor and chugs down the track, picking up speed-- NORTH Yes! North's hand grabs a cookie from a plate held up by the two Elves. Guardians Screening Script 9/6/12 Avid 4. One of the elves gives his cohort a look and points to the plate as it chews with a mouth full of food, to which it then unfurls its tongue and lets the half eaten morsels spill out onto the plate. NORTH Ah, finally! He takes a bite and leans toward the ice track. He chuckles as the train hits a loop, and launches off a ramp into midair -- then WINGS unfold -- JET ENGINES sprout and ignite and the train lifts off the track-- Suddenly, the DOOR is thrown open by one of North's concerned YETIS, sending the flying ice locomotive skidding across the floor in pieces. YETI Arghbal... NORTH Ach! The yeti cries out covering his mouth in shame. North cries out, devastated. The yeti, equally emotional, lets out another whimper. North looks down at the broken toy and takes a moment to collect himself. NORTH How many times have I told you to knock? YETI Warga blarghgha! NORTH What...? The Globe? North leaps up -- draws a HUGE SCIMITAR from its sheath and HEADS OUT-- INT. NORTH'S GLOBE ROOM - CONTINUOUS A sea of tiny BELLS on the heads of panicking elves part as North's huge boots stomp through. NORTH Shoo with your pointy heads. Why are you always under boot? He pushes his way past a couple of his YETI WORKERS -- they're looking up in fear at - Guardians Screening Script 9/6/12 Avid 5. THE GLOBE OF BELIEF Covered with LIGHTS blanketing the continents. But North notices that all at once, HUNDREDS OF LIGHTS suddenly go out. NORTH What is this? Now MORE LIGHTS, in GREATER NUMBERS, as if something is snuffing them out by the thousands. North's concern grows. NORTH (TO YETI) Have you checked the axis? Is rotation balanced? YETI (SHRUGS SHOULDERS) Wardle bawddrel. Before the Yeti can finish, a WIND whips up from out of nowhere -- North stares in outrage as a blanket of SWIRLING BLACK SAND, crawls over the lights, and shrouds the ENTIRE GLOBE in inky DARKNESS-- The elves scurry in a panic, then all at once the BLACK SAND WHOOSHES UP off the Globe -- rushes up through the ceiling as the remaining sand bursts into a puff of smoke and dissipates into the air -- As the wind dies, the scattered pieces of debris settle to the ground, and the globes lights come back on, North whirls to see a HUGE SHADOW flash across the floors and curving walls of his fortress. It quickly disappears, leaving nothing but the distant ECHO of...LAUGHTER? North is frozen, looking up into the darkness, gravely: NORTH Can it be? (then calls off) Dingle! A group of elves step forward gleefully pointing to themselves, as if they're all "Dingle". The excitement quickly turns to confusion. NORTH Make preparations! We are going to have company. North reaches out for a large EMERGENCY LEVER, TWISTS and PRESSES IT-- Guardians Screening Script 9/6/12 Avid 6. The Globe pulses with ENERGY, which lights up and ZOOMS UP the AXIS SHAFT toward the roof-- EXT. NORTH POLE - CONTINUOUS From the tallest spire of North's fortress, NORTHERN LIGHT ENERGY radiates outward: for the first time in decades, the GUARDIANS' CALL GOES OUT! CUT TO: SEQ. 225 - GUARDIANS GATHER INT. CHILD'S BEDROOM - NIGHT A little fairy, carrying a coin, flies above the head of a sleeping child. She quickly ducks under the pillow and comes out the other side with a tooth in hand. EXT. TOOTH'S PALACE - DAY Hundreds of fairies fly toward a hollowed out mountain, this is Tooth's palace and it's a majestic site. INT. TOOTH'S PALACE Dozens of tiny FAIRIES flit about. Teeth are filed away in tiny wooden drawers. Coins are handed out. TOOTH (O.S.) Chicago, Sector 6 -- 37 molars, 22 bicuspids, 18 central incisors. Moscow, Sector 9 -- 22 incisors, 18 premolars: Uh oh, heavy rain advisory! (BEAT) Des Moines, we've got a cuspid at 23 Maple. Head out! A hive of activity, and at the center a winged figure barks out orders like a harried air-traffic controller. This is TOOTH. A Mini Tooth Fairy flies up to Tooth as thousands of tiny MINI TOOTH FAIRIES continue their work behind them. TOOTH (O.S.) Wait! And suddenly everything stops. Tooth whips around, and we finally see her beautiful FACE. Guardians Screening Script 9/6/12 Avid 7. She's holding up a little tooth, and gazing at it with dreamy adoration. The surrounding fairies tweet with excitement. TOOTH (CONT'D) It's her first tooth. Have you ever seen a more adorable lateral incisor in all of your life?! (GASPS) Look how she flossed! The fairies' tweets turn to concern, turning Tooth's attention to North's AURORA SIGNAL stretching across the sky. She gasps, and flies off like a rocket toward the source of the signal, accompanied by a few of her ranking fairies. NORTH (V.O.) My fellow Guardians - It is our job to watch over the children of the world, and keep them safe - to bring wonder, hope and dreams. And so, I've called us all here for one reason, and one reason only - the children are in danger. Much of this we hear over the following... EXT./INT. CHILD'S BEDROOM We pull out from the face of a sleeping child to reveal a stream of sand swirling overhead. It's a dream and it's taken the shape of a child playing soccer. We FOLLOW the Dreamsand stream out his window and up into the sky where we see DOZENS of strands of sand descending to earth. Keep following up, through majestic CLOUDS... ...to reveal a small, GLOWING GOLDEN CLOUD of Dreamsand shimmering among the clouds, trailing the golden threads. The strands are being controlled by a small portly figure, THE SANDMAN. Suddenly, North's emergency signal zips by. The Sandman turns to look and his eyes narrow, visibly concerned. Sandy closes his eyes and in an instant the Dreamsand cloud suddenly SWIRLS around him, changing form into a small BIPLANE, with Sandy in the cockpit. He BARREL ROLLS the plane into a dizzying dive through the spectacular cloudscape and flies off into the distance. Guardians Screening Script 9/6/12 Avid 8. NORTH (V.O.) An enemy we have kept at bay for centuries has finally decided to strike back. We alone can stop him. Much of this we hear over the following... INT. EGG TUNNEL A few EASTER EGGS pop up out of the ground; their little legs carry them out of the way of a fast approaching object. Speeding along through a subterranean tunnel, we can barely keep up with a DIMLY-LIT FIGURE as it races at blinding speed, leaping and zigzagging through a series of TUNNELS -- EXT. A SNOWY EXPANSE IN THE NORTH POLE A hole opens in the snow, and a pair of rabbit ears pops out. A huge rabbit climbs out and brushes off the snow, annoyed. The six foot tall figure is BUNNYMUND. BUNNYMUND Ah, it's freezing. He shivers with cold, then goes slogging through the snow. BUNNYMUND (CONT'D) I can't feel my feet! I can't feel my feet! In the distance is North's ornately decorated and dimly lit palace built into the side of a mountain of ice. CUT TO: SEQ. 250 - THE CEREMONY INT. GLOBE ROOM - NIGHT Sandy's biplane circles the massive chamber, leaving trails of Dreamsand. NORTH (O.S.) Cookies? Eggnog, anyone? BUNNYMUND (O.S.) Oh, this better be good, North. Guardians Screening Script 9/6/12 Avid 9. TOOTH (O.S.) (to her fairies) Montreal, sector six: ten premolars, eight incisors and twelve canines. Steer clear of the wild goose migration. NORTH Sandy, thank you for coming. Sandy descends from the plane and floats to the ground. He joins North, Bunny and Tooth as they walk through the Globe Room. Sand glyphs appear above Sandy's head communicating that he is busy and has a lot of work to do. NORTH (TO SANDY) I know, I know, but I obviously wouldn't have called you all here unless it was serious. North, Bunny, Tooth and Sandy reach the center of the room. Tooth does her best to shush her mini-fairies. NORTH (CONT'D) The Boogie Man was here - at the Pole. North points to the globe. The other Guardians turn to look. TOOTH (SHOCKED) Pitch? Pitch Black? Here?! NORTH Yes! There was black sand covering the globe. BUNNYMUND (CONFUSED) What, what...what do you mean black sand? NORTH And then a shadow! BUNNYMUND Hold on, hold on, I thought you said you saw Pitch. NORTH Well, ah, not exactly... Guardians Screening Script 9/6/12 Avid 10. BUNNYMUND Not exactly? Can you believe this guy? Bunny turns to Sandy, who shrugs while forming a Dreamsand question mark above his head. BUNNYMUND Yeah, you said it, Sandy. Bunny goes back to painting one of his Easter eggs. NORTH Look, he is up to something very bad. I feel it, in my belly. BUNNYMUND (his eyes narrow) Hang on, hang on, you mean to say, you summoned me here THREE DAYS BEFORE EASTER - because of your belly? Mate, if I did this to you three days before Christmas-- TOOTH (to her fairies) Argentina. Priority alert! A batch of bicuspids in Buenos Aires. NORTH Please. Bunny. Easter is not Christmas. BUNNYMUND Here we go... North grabs Bunny's painted egg, casually juggling it in his hand as he walks off. Meanwhile Sandy, who is being served eggnog by a yeti, suddenly notices something high above. BUNNYMUND (O.S.) (LAUGHS) North, I, I don't have time for this. I've still got two million eggs to finish up. The moon rises into view, high up in the ceiling; its rays of light begin to shine brightly through as they cascade down the walls of the globe room. NORTH (O.S.) No matter how much you paint, is still egg! Guardians Screening Script 9/6/12 Avid 11. Sandy points to the moon unsuccessfully to get the others' attention. BUNNYMUND Look, mate, I'm dealing with perishables. Right. You've got all year to prepare. TOOTH (to her fairies) Pittsburg, boy eight, two molars. Saltwater taffy. Sandy puts his fingers in his mouth to whistle, a silent musical note forming above his head. NORTH (TO BUNNY) Why are rabbits always so nervous. BUNNYMUND And why are you always such a blowhard! TOOTH (O.S.) (to her fairies) Ontario, sector nine: five canines, two molars, and fourteen incisors. Is that all in one house? Sandy waves a sand flag above his head, pointing and jumping up and down as the moonlight continues to fill the room. NORTH (turning his attention) Tooth! Can't you see we're trying to argue. TOOTH Sorry, not all of us get to work one night a year. Am I right, Sandy? Sandy tries to signal with a golden arrow, pointing toward the ceiling, but to no avail as the others continue their bickering. Sandy thinks Tooth has noticed for a split second, but then - TOOTH (to her fairies) San Diego, sector two! Five incisors, a bicuspid and a really loose molar on stand-by. Guardians Screening Script 9/6/12 Avid 12. BUNNYMUND (MOCKING) Come on, mate, Pitch went out with the dark ages. We made sure of that - remember? NORTH (O.S.) I know it was him. We have serious situation! BUNNYMUND (O.S.) Well, I've got a serious situation with some eggs. TOOTH (O.S.) Hey, I hate to interrupt the, "We work so hard once a year club" but could we concentrate on the matter-- Sandy can't take it anymore, grabs an elf by his hat, and vigorously shakes it's bell. The other Guardians are finally silenced and all turn to look at Sandy, who points up, a sand crescent moon forming above his head. The dizzy elf staggers away. Finally the others turn to see the shaft of moonlight as it concentrates on the circle between them. NORTH Aah! Man in Moon! Sandy, why didn't you say something? Sandy gives him a deadpan stare, Dreamsand smoke shoots out his ears. NORTH (to Man in Moon) It's been a long time old friend! What is big news? Everyone looks to the center of the intense spot of moonlight, the light ebbs away, leaving a dark spot -- -- which resolves into the shadowed silhouette of PITCH. The Guardians look on, stunned. BUNNYMUND It is Pitch. North pats his belly and gives Bunny a look. NORTH (back up to the moon) Manny...what must we do? Guardians Screening Script 9/6/12 Avid 13. In answer, the shadow of Pitch disappears and the circle of moonlight intensifies and SHRINKS, concentrating further illuminating an ORNATE SYMBOL on the floor, at the center of their circle. The symbol rises out of the ground revealing a large gem at the head of a pillar. TOOTH Ah, guys, you know what this means? The moons light suddenly refracts through the gem casting light all over the chamber. NORTH (AWED) He's choosing a new Guardian. BUNNYMUND What?! Why? NORTH Must be big deal! Manny thinks we need help! BUNNYMUND (ANNOYED) Since when do we need help?! TOOTH I wonder who it's gonna be? A Dreamsand Four-Leaf clover forms above Sandy's head. TOOTH (CONT'D) Maybe the Leprechaun? BUNNYMUND Please not the groundhog, please not the groundhog. Then A BRIGHT FLASH, a rush of WIND - and a FIGURE resolves over the central pillar: slight, hooded, bearing a familiar hooked STAFF. NORTH Jack Frost. The Mini-Teeth all sigh and swoon as the Guardians stand there, stunned. BUNNYMUND Ah, I take it back! The Groundhog's fine! Guardians Screening Script 9/6/12 Avid 14. TOOTH (caught admiring Jack) Well, ah, as long he helps to ah...to protect the children, right? BUNNYMUND Jack Frost!? He doesn't care about children! All he does is freeze water pipes and mess with my egg hunts. Right? He's an irresponsible, selfish... NORTH Guardian. This stops Bunnymund in his tracks. BUNNYMUND Jack Frost is many things, but he is not a Guardian. As we turn toward the face of the hooded figure. DISSOLVE TO: SEQ. 600 - SNOWBALL FIGHT EXT. ST. PETERSBURG - NIGHT A hooded figure with a familiar looking staff rests atop a Post Office box on the opposite end of the street. The man touches the staff to the ground, sending a streak of frost across the street. A RUSSIAN BOY approaches a water fountain, turns the handle and moves in for a sip. But as he does, the water freezes magically, and the boy's tongue is stuck to the frozen water. His friends can't help but laugh. RUSSIAN BOY (tongue stuck to frozen ICE) Aahhhhh...! A mail man walks across the street and a PATCH OF ICE magically appears under his feet. He scrambles, and BOOM! - lands on his butt. Just behind the man, we see the TRAIL OF FROST climb up the side of a building. We stay on the frost as it moves up along a rain pipe, and through the windows we see... Guardians Screening Script 9/6/12 Avid 15. A boy try to feed his gold fish, but a layer of ice suddenly forms along the water surface and prevents the fish from reaching its food. We move along the side of the building... A writer in his study sits next to stacks of papers. The window suddenly swings open and a gust of wind sends the pages flying out the window. We move along the building, across clothes lines and power lines as they freeze. We continue to move up, and finally discover the culprit. Jack Frost makes his way atop a cathedral spire and takes in the view; the full moon bathes the city in moonlight. JACK (AMUSED) Ah, now that, that was fun. (BEAT) Hey wind... Jack chuckles as he calls the wind. The trees begin to sway and leaves fly into the air. Jack grabs hold of the spire, smiling as the wind blows past. JACK Take me home! Jack lets go and t
34	Shrek	William Steig,Ted Elliott	Animation, Adventure,Comedy,Family,Fantasy,Romance	May_2001	SHREK Once upon a time there was a lovely princess. But she had an enchantment upon her of a fearful sort which could only be broken by love's first kiss. She was locked away in a castle guarded by a terrible fire-breathing dragon. Many brave knights had attempted to free her from this dreadful prison, but non prevailed. She waited in the dragon's keep in the highest room of the tallest tower for her true love and true love's first kiss. (laughs) Like that's ever gonna happen. What a load of - (toilet flush) Allstar - by Smashmouth begins to play. Shrek goes about his day. While in a nearby town, the villagers get together to go after the ogre. NIGHT - NEAR SHREK'S HOME MAN1 Think it's in there? MAN2 All right. Let's get it! MAN1 Whoa. Hold on. Do you know what that thing can do to you? MAN3 Yeah, it'll grind your bones for it's bread. Shrek sneaks up behind them and laughs. SHREK Yes, well, actually, that would be a giant. Now, ogres, oh they're much worse. They'll make a suit from your freshly peeled skin. MEN No! SHREK They'll shave your liver. Squeeze the jelly from your eyes! Actually, it's quite good on toast. MAN1 Back! Back, beast! Back! I warn ya! (waves the torch at Shrek.) Shrek calmly licks his fingers and extinguishes the torch. The men shrink back away from him. Shrek roars very loudly and long and his breath extinguishes all the remaining torches until the men are in the dark. SHREK This is the part where you run away. (The men scramble to get away. He laughs.) And stay out! (looks down and picks up a piece of paper. Reads.) "Wanted. Fairy tale creatures."(He sighs and throws the paper over his shoulder.) THE NEXT DAY There is a line of fairy tale creatures. The head of the guard sits at a table paying people for bringing the fairy tale creatures to him. There are cages all around. Some of the people in line are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto who's carrying Pinocchio, and a farmer who is carrying the three little pigs. GUARD All right. This one's full. Take it away! Move it along. Come on! Get up! HEAD GUARD Next! GUARD (taking the witch's broom) Give me that! Your flying days are over. (breaks the broom in half) HEAD GUARD That's 20 pieces of silver for the witch. Next! GUARD Get up! Come on! HEAD GUARD Twenty pieces. LITTLE BEAR (crying) This cage is too small. DONKEY Please, don't turn me in. I'll never be stubborn again. I can change. Please! Give me another chance! OLD WOMAN Oh, shut up. (jerks his rope) DONKEY Oh! HEAD GUARD Next! What have you got? GIPETTO This little wooden puppet. PINOCCHIO I'm not a puppet. I'm a real boy. (his nose grows) HEAD GUARD Five shillings for the possessed toy. Take it away. PINOCCHIO Father, please! Don't let them do this! Help me! Gipetto takes the money and walks off. The old woman steps up to the table. HEAD GUARD Next! What have you got? OLD WOMAN Well, I've got a talking donkey. HEAD GUARD Right. Well, that's good for ten shillings, if you can prove it. OLD WOMAN Oh, go ahead, little fella. Donkey just looks up at her. HEAD GUARD Well? OLD WOMAN Oh, oh, he's just...he's just a little nervous. He's really quite a chatterbox. Talk, you boneheaded dolt... HEAD GUARD That's it. I've heard enough. Guards! OLD WOMAN No, no, he talks! He does. (pretends to be Donkey) I can talk. I love to talk. I'm the talkingest damn thing you ever saw. HEAD GUARD Get her out of my sight. OLD WOMAN No, no! I swear! Oh! He can talk! The guards grab the old woman and she struggles with them. One of her legs flies out and kicks Tinkerbell out of Peter Pan's hands, and her cage drops on Donkey's head. He gets sprinkled with fairy dust and he's able to fly. DONKEY Hey! I can fly! PETER PAN He can fly! 3 LITTLE PIGS He can fly! HEAD GUARD He can talk! DONKEY Ha, ha! That's right, fool! Now I'm a flying, talking donkey. You might have seen a housefly, maybe even a superfly but I bet you ain't never seen a donkey fly. Ha, ha! (the pixie dust begins to wear off) Uh-oh. (he begins to sink to the ground.) He hits the ground with a thud. HEAD GUARD Seize him! (Donkey takes of running.) After him! GUARDS He's getting away! Get him! This way! Turn! Donkey keeps running and he eventually runs into Shrek. Literally. Shrek turns around to see who bumped into him. Donkey looks scared for a moment then he spots the guards coming up the path. He quickly hides behind Shrek. HEAD GUARD You there. Ogre! SHREK Aye? HEAD GUARD By the order of Lord Farquaad I am authorized to place you both under arrest and transport you to a designated resettlement facility. SHREK Oh, really? You and what army? He looks behind the guard and the guard turns to look as well and we see that the other men have run off. The guard tucks tail and runs off. Shrek laughs and goes back about his business and begins walking back to his cottage. DONKEY Can I say something to you? Listen, you was really, really, really somethin' back here. Incredible! SHREK Are you talkin' to...(he turns around and Donkey is gone) me? (he turns back around and Donkey is right in front of him.) Whoa! DONKEY Yes. I was talkin' to you. Can I tell you that you that you was great back here? Those guards! They thought they was all of that. Then you showed up, and bam! They was trippin' over themselves like babes in the woods. That really made me feel good to see that. SHREK Oh, that's great. Really. DONKEY Man, it's good to be free. SHREK Now, why don't you go celebrate your freedom with your own friends? Hmm? DONKEY But, uh, I don't have any friends. And I'm not goin' out there by myself. Hey, wait a minute! I got a great idea! I'll stick with you. You're mean, green, fightin' machine. Together we'll scare the spit out of anybody that crosses us. Shrek turns and regards Donkey for a moment before roaring very loudly. DONKEY Oh, wow! That was really scary. If you don't mind me sayin', if that don't work, your breath certainly will get the job done, 'cause you definitely need some Tic Tacs or something, 'cause you breath stinks! You almost burned the hair outta my nose, just like the time...(Shrek covers his mouth but Donkey continues to talk, so Shrek removes his hand.) ...then I ate some rotten berries. I had strong gases leaking out of my butt that day. SHREK Why are you following me? DONKEY I'll tell you why. (singing) 'Cause I'm all alone, There's no one here beside me, My problems have all gone, There's no one to deride me, But you gotta have faith... SHREK Stop singing! It's no wonder you don't have any friends. DONKEY Wow. Only a true friend would be that cruelly honest. SHREK Listen, little donkey. Take a look at me. What am I? DONKEY (looks all the way up at Shrek) Uh ...really tall? SHREK No! I'm an ogre! You know. "Grab your torch and pitchforks." Doesn't that bother you? DONKEY Nope. SHREK Really? DONKEY Really, really. SHREK Oh. DONKEY Man, I like you. What's you name? SHREK Uh, Shrek. DONKEY Shrek? Well, you know what I like about you, Shrek? You got that kind of I-don't-care-what-nobody-thinks-of-me thing. I like that. I respect that, Shrek. You all right. (They come over a hill and you can see Shrek's cottage.) Whoa! Look at that. Who'd want to live in place like that? SHREK That would be my home. DONKEY Oh! And it is lovely! Just beautiful. You know you are quite a decorator. It's amazing what you've done with such a modest budget. I like that boulder. That is a nice boulder. I guess you don't entertain much, do you? SHREK I like my privacy. DONKEY You know, I do too. That's another thing we have in common. Like I hate it when you got somebody in your face. You've trying to give them a hint, and they won't leave. There's that awkward silence. (awkward silence) Can I stay with you? SHREK Uh, what? DONKEY Can I stay with you, please? SHREK (sarcastically) Of course! DONKEY Really? SHREK No. DONKEY Please! I don't wanna go back there! You don't know what it's like to be considered a freak. (pause while he looks at Shrek) Well, maybe you do. But that's why we gotta stick together. You gotta let me stay! Please! Please! SHREK Okay! Okay! But one night only. DONKEY Ah! Thank you! (he runs inside the cottage) SHREK What are you...? (Donkey hops up onto a chair.) No! No! DONKEY This is gonna be fun! We can stay up late, swappin' manly stories, and in the mornin' I'm makin' waffles. SHREK Oh! DONKEY Where do, uh, I sleep? SHREK (irritated) Outside! DONKEY Oh, well, I guess that's cool. I mean, I don't know you, and you don't know me, so I guess outside is best, you know. Here I go. Good night. (Shrek slams the door.) (sigh) I mean, I do like the outdoors. I'm a donkey. I was born outside. I'll just be sitting by myself outside, I guess, you know. By myself, outside. I'm all alone...there's no one here beside me... SHREK'S COTTAGE - NIGHT Shrek is getting ready for dinner. He sits himself down and lights a candle made out of earwax. He begins to eat when he hears a noise. He stands up with a huff. SHREK (to Donkey) I thought I told you to stay outside. DONKEY (from the window) I am outside. There is another noise and Shrek turns to find the person that made the noise. He sees several shadows moving. He finally turns and spots 3 blind mice on his table. BLIND MOUSE1 Well, gents, it's a far cry from the farm, but what choice do we have? BLIND MOUSE2 It's not home, but it'll do just fine. GORDO (bouncing on a slug) What a lovely bed. SHREK Got ya. (Grabs a mouse, but it escapes and lands on his shoulder.) GORDO I found some cheese. (bites Shrek's ear) SHREK Ow! GORDO Blah! Awful stuff. BLIND MOUSE1 Is that you, Gordo? GORDO How did you know? SHREK Enough! (he grabs the 3 mice) What are you doing in my house? (He gets bumped from behind and he drops the mice.) Hey! (he turns and sees the Seven Dwarves with Snow White on the table.) Oh, no, no, no. Dead broad off the table. DWARF Where are we supposed to put her? The bed's taken. SHREK Huh? Shrek marches over to the bedroom and throws back the curtain. The Big Bad Wolf is sitting in the bed. The wolf just looks at him. BIG BAD WOLF What? TIME LAPSE Shrek now has the Big Bad Wolf by the collar and is dragging him to the front door. SHREK I live in a swamp. I put up signs. I'm a terrifying ogre! What do I have to do get a little privacy? (He opens the front door to throw the Wolf out and he sees that all the collected Fairy Tale Creatures are on his land.) Oh, no. No! No! The 3 bears sit around the fire, the pied piper is playing his pipe and the rats are all running to him, some elves are directing flight traffic so that the fairies and witches can land...etc. SHREK What are you doing in my swamp? (this echoes and everyone falls silent.) Gasps are heard all around. The 3 good fairies hide inside a tent. SHREK All right, get out of here. All of you, move it! Come on! Let's go! Hapaya! Hapaya! Hey! Quickly. Come on! (more dwarves run inside the house) No, no! No, no. Not there. Not there. (they shut the door on him) Oh! (turns to look at Donkey) DONKEY Hey, don't look at me. I didn't invite them. PINOCCHIO Oh, gosh, no one invited us. SHREK What? PINOCCHIO We were forced to come here. SHREK (flabbergasted) By who? LITTLE PIG Lord Farquaad. He huffed and he puffed and he...signed an eviction notice. SHREK (heavy sigh) All right. Who knows where this Farquaad guy is? Everyone looks around at each other but no one answers. DONKEY Oh, I do. I know where he is. SHREK Does anyone else know where to find him? Anyone at all? DONKEY Me! Me! SHREK Anyone? DONKEY Oh! Oh, pick me! Oh, I know! I know! Me, me! SHREK (sigh) Okay, fine. Attention, all fairy tale things. Do not get comfortable. Your welcome is officially worn out. In fact, I'm gonna see this guy Farquaad right now and get you all off my land and back where you came from! (Pause. Then the crowd goes wild.) Oh! (to Donkey) You! You're comin' with me. DONKEY All right, that's what I like to hear, man. Shrek and Donkey, two stalwart friends, off on a whirlwind big-city adventure. I love it! DONKEY (singing) On the road again. Sing it with me, Shrek. I can't wait to get on the road again. SHREK What did I say about singing? DONKEY Can I whistle? SHREK No. DONKEY Can I hum it? SHREK All right, hum it. Donkey begins to hum 'On the Road Again'. DULOC - KITCHEN A masked man is torturing the Gingerbread Man. He's continually dunking him in a glass of milk. Lord Farquaad walks in. FARQUAAD That's enough. He's ready to talk. The Gingerbread Man is pulled out of the milk and slammed down onto a cookie sheet. Farquaad laughs as he walks over to the table. However when he reaches the table we see that it goes up to his eyes. He clears his throat and the table is lowered. FARQUAAD (he picks up the Gingerbread Man's legs and plays with them) Run, run, run, as fast as you can. You can't catch me. I'm the gingerbread man. GINGERBREAD MAN You are a monster. FARQUAAD I'm not the monster here. You are. You and the rest of that fairy tale trash, poisoning my perfect world. Now, tell me! Where are the others? GINGERBREAD MAN Eat me! (He spits milk into Farquaad's eye.) FARQUAAD I've tried to be fair to you creatures. Now my patience has reached its end! Tell me or I'll...(he makes as if to pull off the Gingerbread Man's buttons) GINGERBREAD MAN No, no, not the buttons. Not my gumdrop buttons. FARQUAAD All right then. Who's hiding them? GINGERBREAD MAN Okay, I'll tell you. Do you know the muffin man? FARQUAAD The muffin man? GINGERBREAD MAN The muffin man. FARQUAAD Yes, I know the muffin man, who lives on Drury Lane? GINGERBREAD MAN Well, she's married to the muffin man. FARQUAAD The muffin man? GINGERBREAD MAN The muffin man! FARQUAAD She's married to the muffin man. The door opens and the Head Guard walks in. HEAD GUARD My lord! We found it. FARQUAAD Then what are you waiting for? Bring it in. More guards enter carrying something that is covered by a sheet. They hang up whatever it is and remove the sheet. It is the Magic Mirror. GINGERBREAD MAN (in awe) Ohhhh... FARQUAAD Magic mirror... GINGERBREAD MAN Don't tell him anything! (Farquaad picks him up and dumps him into a trash can with a lid.) No! FARQUAAD Evening. Mirror, mirror on the wall. Is this not the most perfect kingdom of them all? MIRROR Well, technically you're not a king. FARQUAAD Uh, Thelonius. (Thelonius holds up a hand mirror and smashes it with his fist.) You were saying? MIRROR What I mean is you're not a king yet. But you can become one. All you have to do is marry a princess. FARQUAAD Go on. MIRROR (chuckles nervously) So, just sit back and relax, my lord, because it's time for you to meet today's eligible bachelorettes. And here they are! Bachelorette number one is a mentally abused shut-in from a kingdom far, far away. She likes sushi and hot tubbing anytime. Her hobbies include cooking and cleaning for her two evil sisters. Please welcome Cinderella. (shows picture of Cinderella) Bachelorette number two is a cape-wearing girl from the land of fancy. Although she lives with seven other men, she's not easy. Just kiss her dead, frozen lips and find out what a live wire she is. Come on. Give it up for Snow White! (shows picture of Snow White) And last, but certainly not last, bachelorette number three is a fiery redhead from a dragon-guarded castle surrounded by hot boiling lava! But don't let that cool you off. She's a loaded pistol who likes pina colads and getting caught in the rain. Yours for the rescuing, Princess Fiona! (Shows picture of Princess Fiona) So will it be bachelorette number one, bachelorette number two or bachelorette number three? GUARDS Two! Two! Three! Three! Two! Two! Three! FARQUAAD Three? One? Three? THELONIUS Three! (holds up 2 fingers) Pick number three, my lord! FARQUAAD Okay, okay, uh, number three! MIRRO
35	Shrek the Third	Peter Seaman,Jeffrey Price,Chris Miller,Aron Warner	Animation,Adventure,Comedy	May_2007	INT. MEDIEVAL TIMES THEATER - NIGHT A familiar beam of light shines down. The beam of light descends onto a stage. Lightning flashes to reveal Prince Charming riding his valiant steed Chauncey across the open plains. The wind blows back his golden mane. PRINCE CHARMING Onward Chauncey, to the highest room of the tallest tower! Where my princess awaits rescue from her handsome Prince Charming. Lightning cracks. Thunder booms. Charming straddles a wooden hobby horse and gallops in place. A stage hand uses a bellow to blow air into Prince Charming's face. Another stage hand turns a crank that creates the moving background. In the orchestra, a man uses coconuts to create the sound effects of a galloping horse. Two more stage hands back stage create the cheap sound effects of thunder and lightning. A crudely constructed castle tower sits in front of a cheaply painted backdrop. The Fairytale Creatures are sitting at a table in the audience. GINGERBREAD MAN This is worse than Love Letters! I hate dinner theatre. PINOCCHIO Me too. Pinocchio's nose grows as he is caught in the lie. Prince Charming rides to the base of the tower. PRINCE CHARMING Whoa there, Chauncey! He dismounts and sets his hobby horse on the ground. He strikes a dramatic pose. A Princess leans from a tower window. ACTRESS Hark! The brave Prince Charming approach-ith. Prince Charming puffs his chest out. Shrek the Third - Final Screening Script 2. PRINCE CHARMING Fear not fair maiden! I shall slay the monster that guards you and take my place as rightful King. An old couple at a table look confused. OLD LADY (to old man) What did she say? Prince Charming glares as the bored audience largely ignores him. A man in a bad ogre costume comes onto the stage. OGRE Grrrrrrr! The crowd erupts into applause. The Fairytale Creatures cheer. FAIRYTALE CREATURES (CHEERING) Woooo hoooo!!! GINGERBREAD MAN Yea! Shrek! At first, Prince Charming is put off by the cheers for the Shrek-like beast. He pulls his sword and confronts the monster. PRINCE CHARMING Prepare foul beast to enter into a world of pain with which you are not familiar! He is cut off as a waiter enters with a birthday cake. WAITER (SINGING) Happy Birthday to thee. PRINCE CHARMING Do you mind? Prince Charming hops out of the way when a chair lands on stage. It slides past him and bumps into the tower facade. GINGERBREAD MAN Do you mind? Bo-ring! Shrek the Third - Final Screening Script 3. The audience laughs. Prince Charming glares at them and then tries to recover. He points his sword at the monster again. The tower facade starts to topple. PRINCE CHARMING (CLEARS THROAT) Prepare foul beast- Prince Charming looks over his shoulder and sees the facade falling. He cringes. The scenery slams against the stage, but Prince Charming is unharmed, perfectly framed in the princesses' window. The crowd laughs at the embarrassed Prince Charming. He shakes his mangled sword at the audience. PRINCE CHARMING (shaking his sword again) Someday you'll be sorry. HECKLER (O.S.) We already are! They laugh again. Prince Charming throws down his sword, picks up his hobby horse and exits. OGRE Grrrrrrr! The song and the laughter follow Prince Charming backstage. INT. BACKSTAGE DRESSING ROOM - MOMENTS LATER Prince Charming walks through a tunnel backstage that leads to a door. The door has a star with his name written on it. He opens it. EXT. MEDIEVAL TIMES RESTAURANT - CONTINUOUS Prince Charming sits at his broken vanity and sobs. His make- shift dressing room is in an alley way next to the theater. Horses whinny as a carriage passes by. The castle of Far Far Away can be seen on the hill in the background. Prince Charming breaks down and cries. He looks up and sees a picture of the Fairy Godmother taped to the vanity. "Don't stop believing! Mommy's Little Angel" is written on the picture. Shrek the Third - Final Screening Script 4. PRINCE CHARMING (HEAVY SOBS) Oh mommy. He weeps again and then looks back at the picture. A determined change grows across his face. PRINCE CHARMING Oh, you're right. I can't let this happen. I can't. Prince Charming looks at the castle on the hill. His expression hardens. He stands and faces the castle. He holds his chin up high. PRINCE CHARMING I am the rightful King of Far Far Away and I promise you this mother. I will restore dignity to my throne! A big gust of wind blows a newspaper page across his face. He peels it off and looks at the headline. His eyes tense and narrow. PRINCE CHARMING (CONT'D) And this time, no one will stand in my way! In the newspaper is a picture of Shrek and Fiona waving to a crowd. Prince Charming crumples up the newspaper in his fists. EXT. CASTLE - MORNING The camera booms down from the Far Far Away sign. The sun rises and the birds sing. INT. SHREK AND FIONA'S BEDROOM - CONTINUOUS The sun shines through the bedroom window as the camera pans over to Shrek and Fiona waking up. SHREK Good morning. FIONA Good morning. (DREAMY) Oh... morning breath... Shrek the Third - Final Screening Script 5. Shrek breathes in and smiles. SHREK (DREAMY) I know. Isn't it wonderful? The bedroom doors fly open and Donkey and the Dronkeys rush in. The Dronkeys head right for Shrek and Fiona. Shrek cowers beneath the bedclothes. DONKEY (SINGING) "Good morning! Good morning!" Shrek sinks further into the blankets as the Dronkeys exuberantly lick him. Fiona is amused. Donkey starts to sing "Good Morning" from Singin' in the Rain as he enters the room. DONKEY (SINGING) "The sun is shining through! Good morning! Good morning. (coming closer and closer TO SHREK) "To you!" (TO SHREK) "And you!" (TO DRONKEY) And you! The Dronkeys fly out of the room, knocking down everything in their path. DONKEY Oh, they grow up so fast. Shrek, greatly annoyed, lifts his hand and snuffs out a little fire on the bed left behind by the Dronkeys. SHREK Not fast enough. Puss leaps onto the bed. PUSS Okay. You have a very full day filling in for the King and Queen. There are several functions that require your attendance, sir. Shrek the Third - Final Screening Script 6. SHREK Great! Let's get started. Shrek immediately pulls the covers up over his head and starts to snore. DONKEY C'mon, lazy bones, time to get movin'! Donkey yanks the sheets off of Fiona and Shrek. He is surprised to see Shrek's bare legs. DONKEY Aaahhh! You know you really need to get yourself a pair of jammies. Shrek sighs. CUT TO: INT. KNIGHTING CEREMONY - DAY The camera pans down from a stained glass window. The song "Royal Pain" by the Eels plays in the background as the title: "Shrek The Third" is superimposed. A large crowd has gathered to watch the knighting. Shrek walks down the aisle of the church. Shrek walks up to the knight who seems a bit nervous. Shrek takes a sword from Puss, but he doesn't have any idea what he is supposed to do with it. Shrek looks at Puss, who indicates how to knight a person with his own sword. Shrek starts to knight the knight. SHREK I knight thee... Shrek accidentally stabs the knight. SHREK He-he. Ooh. The crowd, Fiona, Puss and Donkey look on, shocked. CUT TO: Shrek the Third - Final Screening Script 7. EXT. BOAT DOCKS - DAY Shrek and Fiona officiate at a boat christening for the Royal Navy. Shrek is holding a bottle of champagne. He leans on the boat, accidentally pushing it down the ramp. Shrek throws the bottle at the boat and it punches an enormous hole in the side of the hull. The boat quickly sinks. Shrek turns to find the patrons of Far Far Away shaking their heads as they leave. CUT TO: INT. DRESSING ROOM - DAY Raul, the make-up specialist, tightens some aprons around Shrek and Fiona. Donkey, Puss and Raul stand in front of them. DONKEY Well, since you're filling in for one, you might as well look like a real King. Can somebody come in here and work on Shrek please? Raul stares at Shrek. Shrek raises his eyebrow. RAUL (AHEM) I will see what I can do. He unrolls a satchel full of different gardening tools. Suddenly Shrek's arms and legs are strapped into a chair. A man stands with his back to the camera and pulls on a rip cord as if he's holding a chain saw. VROOM! VROOM! He turns around to reveal a circular sander and starts to grind away at Shrek's gruesome toenails. Shrek cringes. We see a close-up of Shrek's eye. A mascara brush comes into frame and pulls at Shrek's eyelash. Fiona gets her nose hairs plucked. FIONA Ow! Shrek the Third - Final Screening Script 8. Lipstick is applied to some lips. The camera pulls back to reveal that the lips are Shrek's. A hand tries to tighten a zipper on Shrek's back. It keeps snagging on the skin until they finally rip it past and tighten up the zipper all the way. A small sock is placed onto Shrek's foot. With a shoe horn, Shrek's foot is shoved into a small shoe. POP! A collar is placed around Fiona's neck and her corset is tightened. A drill comes into frame and tightens the rivet on Shrek's belt. A mole is placed on his cheek. INT. BACKSTAGE - LATER REVEAL: Shrek and Fiona standing awkwardly in outrageous Renaissance outfits. Donkey gasps. DONKEY Oh! Puss rolls his eyes. PUSS Yeah, wow. Fiona is uncomfortable. FIONA Uh, is this really necessary? RAUL (TO SHREK) Ho, ho. Quite necessary, Fiona. SHREK I'm Shrek, you twit. RAUL Whatever. PUSS Okay peoples! This isn't a rehearsal. Let's see some hustle. DONKEY Smiles everyone, smiles! Shrek the Third - Final Screening Script 9. Off-screen, the Master of Ceremonies announces the couples arriving at the party. Fiona turns to Shrek and sees he is not in a good mood. SHREK I don't know how much longer I can keep this up Fiona. FIONA I'm sorry Shrek, but can you please just try to grin and bear it? It's just until Dad gets better. Shrek lets out another frustrated sigh. FIONA Shrek? SHREK Yeah. FIONA You look handsome. SHREK Ah. Come here, you. She gives him a supportive smile. He relaxes and smiles back. Fiona puckers up her lips and Shrek leans in for a kiss, but their bulky outfits prevent it. Shrek and Fiona let out a huge breath of air. SHREK Oh, my butt is itching up a storm and I can't reach it in this monkey suit! Shrek tries to scratch his butt but to no avail. SHREK Oh. (WHISTLE) Hey you. Come here! A man holding a ruby scepter walks over to Shrek. SHREK What's your name? Shrek the Third - Final Screening Script 10. FIDDLESWORTH Eh, Fiddlesworth, sir. SHREK Hoo hoo hooo. Perfect. INT. BALLROOM - CONTINUOUS The announcer introduces Shrek and Fiona. MASTER OF CEREMONIES Ladies and gentlemen, Princess Fiona and Sir Shrek! The audience claps. The curtain starts to open. Fiddlesworth is scratching away at Shrek's butt. SHREK You've done it. Oh, a little over to the left, yeah. That's great. FIONA Uh Shrek? Fiddlesworth struggles to reach Shrek's itch. The crowd looks on in horror. Fiona tries to get his attention. SHREK Ahh! All right, you got it...Oh yeah, you're on it. Oh that's it! Oh that's good! FIONA Shrek... SHREK Oh yeah! Scratch that thing! You got it. You're on it. That's great! FIONA SHREK! Shrek and Fiddlesworth finally see the crowd. They both freeze. Shrek laughs nervously. Suddenly Shrek's belt buckle snaps off and hits Donkey in the eye. He stumbles through the crowd screaming. DONKEY Ow!! My eye! My eye! Shrek the Third - Final Screening Script 11. As he is stumbling, he grabs hold of a lady in the crowd. WOMAN What are you doing? The woman pushes Donkey away. He falls, knocking over a guard holding an axe on his way down. The guard drops the axe. It flies past Puss, who is in the arms of a lady. The axe knocks over a vase. The vase flies up on stage and Fiona maneuvers to catch it. In flight, water spills out of the vase which causes Fiona to fall over. Shrek's tuxedo bib slaps him in the face. The clasp holding Shrek's pants up breaks off. Shrek stands on stage with his pants around his ankles. He shuffles towards Fiona. SHREK Fiona! He trips over his pants and hits a loose wooden plank on the stage. The plank flings up and sends Fiddlesworth flying through the air where his jacket slips over a banner pole, trapping him. FIDDLESWORTH Uhhh... (WIMPER) Shrek has reached Fiona who is still lying on the floor. SHREK Are you okay? FIONA Yeah. I'm fine. Fiona's eyes suddenly widen. Fiddlesworth's jacket rips and he falls onto a waiter carrying flaming skewers. FIDDLESWORTH Ahhhh! The skewers fly through the air. Donkey stands up in frame with one eye half shut. The flaming skewers shoot by him and land in the curtains, setting them on fire. He blows one of the skewers out and takes a bite. DONKEY Oh! Shrimp! My favorite. Shrek the Third - Final Screening Script 12. The fire causes a Far Far Away shield to detach from a wooden ceiling beam and fall onto the stage, breaking it in half. The whole stage collapses in the middle. The buffet tables slide toward Shrek and Fiona at the other end and collide. CRASH! BANG! CUT TO BLACK: INT. SHREK AND FIONA'S BEDROOM - NIGHT The door to Fiona's room flies open. SHREK That's it! We're leaving! Shrek storms in pulling bits of buffet food off his face. FIONA Honey, please calm down... Shrek grabs the wig off of his head and throws it aside. SHREK Calm down? Who do you think we're kidding? I am an ogre! I'm not cut out for this, Fiona and I never will be. Shrek wipes off his makeup with his shirt sleeve and flings his shirt to the floor. He falls onto the bed next to Donkey. DONKEY I think that went pretty well. Shrek startles. SHREK Donkey! Shrek picks him up and throws him out the door. DONKEY Aww, come on now Shrek! Shrek slams the door shut. Shrek turns back towards the bed and sees Puss reclining on his pillow. Shrek the Third - Final Screening Script 13. PUSS Some people just don't understand boundaries. Shrek picks Puss up by the scruff of his neck and tosses him outside the window. He shuts it. Puss sits sadly on the ledge, giving Shrek his sad-eyes routine. Shrek draws the blinds. Shrek stomps over and falls back onto the bed. Fiona tries to calm him down. FIONA Just think... a couple more days, and we'll be back home in our vermin-filled shack, strewn with fungus, filled with the rotting stench of mud and neglect. This thought calms him. Shrek takes in a long, deep breath and exhales. He smiles. SHREK Oh, you had me at "vermin-filled." FIONA And, uh... maybe even the pitter- patter of little feet on the floor...? SHREK (LAUGHS) That's right. The swamp rats will be spawning. FIONA Uh, no... you know, what I was thinking of is a little bit bigger than a swamp rat. SHREK Donkey? FIONA No, Shrek. Um... what if - THEORETICALLY - SHREK Yeah? FIONA They were little ogre feet? Shrek the Third - Final Screening Script 14. SHREK Oh. (NERVOUS LAUGH) Shocked, Shrek falls off the bed. He slowly emerges from behind the bed. SHREK Honey? Let's try and be rational about this. Have you seen a baby lately? They just eat and poop and they cry and then they cry when they poop and they poop when they cry...Now, imagine an ogre baby. They extra cry and they extra poop. FIONA Shrek. She grabs his hands and looks deeply into his eyes. FIONA Don't you ever think about having a family? Shrek takes her hand. SHREK Right now, you're my family. There is a knock on the bedroom door. The door bursts open, revealing a Royal Page. Shrek springs up. SHREK Well, somebody better be dying. CUT TO: INT. KING'S ROOM - MOMENTS LATER The camera pushes through a corridor that leads to the King's bedroom. The King is lying on his lily pad, coughing. KING HAROLD I'm dying. The King inhales and launches into a violent coughing fit. Shrek looks a bit guilty about his last admission. The Queen comes to the King's aid and he settles down. Shrek the Third - Final Screening Script 15. QUEEN Harold. KING HAROLD Don't forget to pay the gardener, Lillian. The Queen is used to these kind of non-sequiturs. QUEEN Of course darling. The King suppresses a few coughs. He turns to his daughter. KING HAROLD Fiona... FIONA Yes Daddy? KING HAROLD I know I've made many mistakes with you. FIONA It's okay. KING HAROLD But your love for Shrek has taught me so much. Fiona smiles. The King addresses Shrek. KING HAROLD My dear boy, I am proud to call you my son. SHREK And I'm proud to call you my Frog... King Dad in-law. Shrek smiles. KING HAROLD Now, there is a matter of business to attend tooo... The King starts wheezing and coughing. Eventually he stops. They think he's dead. Puss solemnly removes his hat. PUSS The Frog King is dead. Shrek the Third - Final Screening Script 16. Fiona starts crying. The King suddenly wakes up, coughing. DONKEY (TO PUSS) Put your hat back on, fool. KING HAROLD Shrek, please come hither. Fiona gives Shrek a look. Shrek walks over to the King. SHREK Yeah, Dad? KING HAROLD This Kingdom needs a new king. You and Fiona are next in line for the throne. SHREK Ooo. Next in line. Now you see Dad, that's why people love you. Even on your deathbed you're still making jokes. The King stares at Shrek, stone-faced. Shrek leans in closer. SHREK Oh, come on Dad...an Ogre as King? I don't think that's such a good idea. There's got to be somebody else. Anybody?
36	South Park	Trey Parker,Matt Stone,Pam Brady	Animation,Comedy,Musical	January_1999	FADE IN: Very happy, Disneyesque MUSIC swirls in. PAN DOWN from a pretty blue sky, to a small quaint town nestled in the hills. A wooden sign tells us this is South Park. EXT. SOUTH PARK AVENUE - DAY Birds fly into the air, TOWNSPEOPLE smile to each other as they walk by. It is a scene reminiscent of, if not directly ripped off from, the opening number of 'Beauty and the Beast'. A little eight year old boy walks happily down the street. He is STAN MARSH, a noble looking boy with piercing blue eyes and a strong chin. As he walks, he sings a happy song. STAN I'm going to the movies To see the brighter side of life! I'm going to the movie Everything's gonna be alright! Forget all my troubles Put my own life on hold Let a studio tell me how I should view the world Where everything works out I love it that way I'm going to the movies The movies today! Stan merrily walks up to a crappy looking house. INT. BEDROOM - MORNING We are in a young boy's bedroom, just as his alarm clock goes off. BRRRRRTTT!!! RADIO ANNOUNCER Good morning South Park! It's five-thirty a.m. on Sunday!! Time to feed the horses and water the cows!! From the back, we see the blond haired kid sit up from his bed. He stretches, and then walks over to his closet. We still only see the boy from the back as he reaches in his closet and pulls out an orange coat. The kid puts his coat on, then turns to camera and pulls the hood shut, so that we never get a good look at his face. MOTHER (O.S.) KENNY! YOU'RE GONNA BE LATE FOR CHURCH!!! This boy's name is KENNY, and under his orange coat, we have no idea what he looks like, except for his European nose and hazel eyes. KENNY Mph rmph rm! INT. KENNY'S HOUSE - KITCHEN Kenny walks through his small, dirty house and into the kitchen, where his MOTHER, FATHER and OLDER BROTHER are sitting at the humble table. KENNY'S MOTHER Sit down, you can share some of your brother's waffle. The doorbell rings. Kenny walks over to the door. EXT. KENNY'S HOUSE - DAY Kenny opens the door to find Stan. STAN Kenny! The Terrance and Phillip movie is out! You wanna come?! Stan shows Kenny a newspaper clipping. It's an ad for the new Terrance and Phillip movie 'Asses of fire'. Kenny's eyes light up. KENNY Mph rmph rm, rmph! Kenny walks away with Stan. His mother comes out after him. KENNY'S MOTHER Kenny! Where're you going? KENNY Mph mprh mprh rm! KENNY'S MOTHER What do you mean you don't want to go to church? KENNY Mrmph, rmph rmph rm rmph. Kenny and Stan walk down the street. KENNY'S MOTHER Well fine, go ahead and miss church!! And then when you die and go to hell you can ANSWER TO SATAN!! Dramatic MUSIC STING. Kenny stops, thinks for a minute... And then walks off with Stan anyway. EXT. SOUTH PARK AVENUE - DAY Stan and Kenny now both happily march down the street to the happy beat. TOM, a plastic surgeon, peeps his head out the door of his Rhinoplasty office. TOM Say, where are you boys going? STAN We're going to the movies! To see the brighter side of life! Where everyone is beautiful And have their hair combed just right! KENNY Mph rmph rm rmph rm! Mph rm rmph rm! Mprh rm rmph rm rm Rmph rm rmph rm rmph! TOM Have fun you rascals! EXT. KYLE'S HOUSE - DAY Kenny and Stan knock at the door. A handsome eight year old Semite, KYLE, answers the door. KYLE Hey, dudes... Aren't you supposed to go to church, Kenny? STAN Kyle, check it out. Kenny holds up the newspaper clipping. KYLE OH MY GOD, DUDE!!! Kyle slips on his coat and heads out the door. But just then, Kyle's little brother, IKE, a two year old adopted Canadian boy bounces up next to him. KYLE No, Ike! You can't come with me! Kyle's MOTHER, a big fat bitch, comes to the door and yells. KYLE'S MOTHER Kyle, you take your little brother out to play with you! KYLE Aw, ma!! KYLE'S MOTHER Do as I say, Kyle! Kyle's mother closes the door. KYLE Damn it!! EXT. SOUTH PARK AVENUE - DAY Now the three boys, and little Ike, merrily strut down the street and sing in unison. BOYS We're going to the movies To see the better side of life Where something interesting happens Every day and night! KYLE In movies we can pretend That love is real and good always wins- STAN We can even make believe marriages last! A HOMELESS guy is lying in the alley. HOMELESS GUY Spare a dollar? Spare a dollar? Stan walks by and throws a dollar at him. The homeless guy suddenly jumps up. HOMELESS GUY I'm going to the movies! To see the brighter side of life! I'm going to the movies Everything's gonna be alright! Forget my troubles Put my own life on hold Let a studio tell me how to view the world! KYLE Let's go get fat ass! EXT. ANOTHER HOUSE - DAY This house looks just like all the others. INT. THAT SAME HOUSE CLOSE UP on a bag that reads 'CHEESY POOFS'. A hand reaches into the bag, pulls out a wad of orange crunchies and raises them -- BOOM UP to reveal the fat face of eight year old ERIC CARTMAN who chows down on the chips. Now we see that fat little Eric is sitting on his couch, eating Cheesy Poofs and watching television. The doorbell rings. Cartman doesn't move a muscle. CARTMAN MOM! SOMEBODY'S AT THE DOOR! CARTMAN'S MOTHER enters. She is extremely June Cleaveresque (except that she's a hermaphrodite crack whore). She returns with Stan, Kyle and Kenny. CARTMAN'S MOTHER Look, Eric it's your little friends. CARTMAN What the hell are you guys doing here? IKE Baba turtre bad! Kyle holds up the newspaper ad. CARTMAN Ooh! EXT. SOUTH PARK AVENUE Now all four boys are merrily walking down the street and singing. BOYS We're going to the movies To see the better side of life! CARTMAN Maybe there'll be pirates! Or a whole city burnin'! Maybe we'll see a monster Or, better yet, Uma Thurman! BOYS We're going to the movies! Everything's gonna be okay! The boys skip out of frame. EXT. MOVIE THEATRE - DAY The movie theatre is nestled neatly between two other South Park buildings. The boys walk up to the geeky, teenage TICKET GUY. BOYS Going to the movies! The movies today!!!!! STAN Can I get five tickets to Terrance and Phillip Asses of Fire, please? TICKET GUY No. Suddenly, all the happy music that has permeated the film comes to an ABRUPT HALT. The boys look confused. KYLE What'dya mean, no? TICKET GUY Terrance and Phillip Asses of Fire is rated 'R'. You kids can't get in. The boys look shocked. They just stand there, in silence. CARTMAN The hell we can't! My money is just as good as any white person's! TICKET GUY You have to be accompanied by a parent or guardian. KYLE But why? TICKET GUY Because this movie has naughty language, and it might make you kids start using bad words. CARTMAN Listen you son of a bitch, if you don't let us in to see this movie I'm gonna kick you square in the nuts. TICKET GUY Sorry, Charlie. KYLE Damn it! TICKET GUY Next, please? A few TEENAGERS walk up to get their tickets. The boys step aside. STAN This is terrible! This can't be happening!! KYLE We HAVE to see this movie, dude! CARTMAN Aw, screw it. It probably isn't all that good anyway. KYLE Cartman! What the hell are you talking about?! You LOVE Terrance and Philiip! CARTMAN Yeah, but the animation's all crappy - it probably can't sustain itself over ninety minutes. IKE Poo baba! STAN Wait! I've got an idea! EXT. MOVIE THEATRE - A LITTLE LATER The old Homeless guy from the intro song walks up to the Ticket Guy with the boys. HOMELESS GUY Uh, hi. I want five tickets to Terrance and Phillip Asses of Fire. TICKET GUY You realize this movie is rated R? It may not be appropriate for your little ones. HOMELESS GUY Oh. (Turning to boys) Hey, he says this movie isn't appropriate for you. STAN (Whispering) Look, homeless guy, if you don't want to buy us tickets, and NOT get your ten bucks and NOT go buy yourself a bottle of Vodka and not forget about how miserable your life is and not stop the voices in your head then go right ahead. HOMELESS GUY Five tickets please. The Ticket guy suspiciously hands them over. INT. MOVIE THEATER - DAY The boys are all sitting in the front row. Cartman has a huge tub of popcorn, all kinds of candy, and a large drink. IKE Purpre mama! KYLE Be quiet, Ike! The movie's starting! ANGLE - MOVIE SCREEN A TITLE reads 'Terrance and Phillip - Asses of Fire' BOYS HOORAY!!! On the screen, we come across PHILLIP, a very handsome Canadian star with a great body. PHILLIP Say Terrance, what did the Spanish Priest say to the Uranian gynecologist? PAN OVER to TERRANCE, who is also Canadian, and equally handsome in a more rugged way. TERRANCE I don't know, Phillip, what? Phillip rips a big fart. Terrance and Phillip laugh merrily. ANGLE - BOYS Laughing their asses off. KYLE That was sweet! STAN Where do they come up with this stuff?! CARTMAN How come Terrance and Phillip are so weird looking? KYLE Cuz, dummy they're Canadian, just like Ike! CARTMAN Oh. IKE Poo bada! ANGLE - SCREEN TERRANCE You're such a pigfucker, Phillip! PHILLIP What?! Why would you call me a pigfucker?! TERRANCE Well, let's see... First of all, you fuck pigs. PHILLIP Oh yeah! Terrance and Phillip laugh merrily. ANGLE - BOYS KYLE Woa, dude! Did they say what I think they said? ANGLE - SCREEN Terrance pulls out a white envelope. TERRANCE Well, fuck my ass and call me a bitch, I just got a letter! PHILLIP A letter from who, you shit sucking cock master? TRACK IN on the boys' wide eyed faces as the dialogue from the film enters their innocent ears. TERRANCE It's from your mother. PHILLIP My mother sent YOU a letter? What's it say? TERRANCE It says 'Dear Terrance, please don't ever tell my son that I licked your hairy balls.' Terrance and Phillip laugh merrily. PHILLIP Oh, you fucking ball whore! The boys don't laugh, they just smile widely, they seem busy taking it all in. CARTMAN Wow... Ball whore... TERRANCE Listen, you donkey raping shit eater- KYLE (To himself) Donkey raping shit eater. IKE Doky maping she deeder!!! TERRANCE You'd fuck your uncle! PHILLIP YOU'D fuck your uncle! TERRANCE (Singing) Shut your fucking face, Unclefucka!! You're an asslicking, Ball sucking Unclefucka!! You're an Unclefucka, yes it's true Nobody fucks Uncles quite like you- PHILLIP SHUT YOUR FUCKING FACE!! UNCLEFUCKA!!! YOU'RE the one that fucked your Uncle, UNCLEFUCKA!!! You don't eat, or sleep or mow the lawn You just fuck your Uncle all day long! TERRANCE & PHILLIP Shut your fucking face, Unclefucka! You butt licking bastard Unclefucka! TERRANCE You're an Unclefucka I must say! PHILLIP You fucked YOUR Uncle yesterday! TERRANCE & PHILLIP Unclefucka! That's YOUUUUUUU!!!!! The song ends and the boys erupt into applause. EXT. MOVIE THEATRE - DAY The boys walk out of the theatre with glazed eyes and wide smiles. KYLE Dude, that movie was fucking sweet! CARTMAN You bet your fucking ass it was! STAN Fuck, dude, I wanna be just like Terrance and Phillip! TICKET GUY Hey wait a minute... Where's your guardian? STAN Huh? TICKET GUY I knew it! You PAID a homeless guy to get you in, didn't you! The boys think a second. CARTMAN Suck my balls. KYLE Yeah, (Singing) Shut your fucking face, Unclefucka!! The boys walk away, merrily. The ticket guy is in shock. TICKET GUY Oh oh, I'm in trouble. BOYS (Singing, fading off) You're an asslicking, ball sucking Unclefucka!! EXT. STARK'S POND - DAY All the children of South Park are gathered at the pond for ice skating. The scene is reminiscent of the skating scene from the Charlie Brown Christmas special. Delicate snowflakes fall, children laugh and skate, and joyous music plays. The boys walk up to the pond. CLYDE Hey, where have you guys been all day? STAN Oh, nowhere... We just went out to go see the TERRANCE AND PHILLIP MOVIE! All the kids gasp! Dramatic MUSIC STING. BEBE You saw it?! CLYDE How'd you get in?! Suddenly, all the kids are gathered around the boys. They're like celebrities. CARTMAN Hey! Stop crowding us you shitfaced cockmasters! All the kids stop, wide eyed. As if they've just hear the voice of God. KIDS Wowwww... STAN Yeah, you're all a bunch of ass ramming unclefuckers. KIDS Ooooohhh!!! CLYDE (To another kid) We HAVE to see this movie, dude. The other kids nod. CARTMAN Hey Stan, tell 'em about when Terrance called Phillip a testicle shitting rectal wart! Stan? Stan? But Stan is elsewhere, because out on the ice, skating gracefully, is little eight year old WENDY TESTABURGER. The heavens part, a CHOIR OF ANGELS sing, as Wendy skates around and around, performing a series of impossible Triple Lutzes, Sowcows and what-have-you-not's. All the animals of the forest -- deer, birds, bunnies -- all stop to admire her. Stan's smile grows wider and wider. Kyle turns to see what he's looking at. STAN Thank my lucky stars Here before me now Is everything I'd ever hoped for Knew it in a word Saw it in a glance The only thing I think I'd die for... KYLE Aw, God Damn it, he's singing that fucking song again. ANGLE - WENDY Spinning and soaring in slo-mo. Effortlessly covering every inch of the pond with her ballet maneuvers. Stan is slack-jawed. STAN I can't stop now My heart's awake I pray her arms my arms to take So this is why I'm ali- Wendy finishes her routine with a triumphant Hamill-camel landing right in front of Stan and spraying ice in his face and abruptly ending his song. WENDY Hi, Stan! Stan vomits profusely all over himself. WENDY Ew! Gross! Just then, another kid skates up, spraying more ice in Stan's face. His name is GREGORY, and he is a very handsome eight year old boy, with golden hair and an open-buttoned shirt. He speaks with a rich English accent. GREGORY Come, Wendy, let us try to jump the hilly brush. Stan looks at Gregory. STAN Who are you, kid? GREGORY My name is Gregory. I have been Wendy's counter-cousin for some time. WENDY Want to skate with us? GREGORY We've been skating all morning. And laughing and talking of memories past. Gregory skates away. Stan looks stunned. Finally, he tries to get Wendy's attention. STAN We saw the Terrance and Phillip movie! WENDY That's nice, Stan. Wendy skates after Gregory. Stan looks completely rejected. KYLE Woa, dude, who's your girlfriend's new guy? STAN She's not my girlfriend, dude! Meanwhile, the schoolkids are all still gathered around Cartman. CARTMAN Yes, I saw the Terrance and Phillip movie. Who wants to touch me? I said, "Who wants to touch me?!" A small boy steps forward and tentatively touches Cartman's arm. SMALL BOY Oooooh... EXT. SOUTH PARK - TOWN - MORNING Establishing shot of the little town of South Park which consists of four buildings. The sun rises in the background. It's a brand new day. EXT. SOUTH PARK ELEMENTARY - DAY The elementary school is nestled peacefully between two mountain peaks. INT. SOUTH PARK ELEMENTARY - DAY The kids of South Park are all in their seats, singing. KIDS Shut your fucking face, Unclefucka!! You're a shitsucking, cocksucking Unclefucka!! The door opens, and suddenly the kids quiet down. CLOSE-UP on a hand puppet with a large red hat. It seems to be speaking. MR. HAT Okay, children, let's take our seats. As the voice continues, we PULL BACK to reveal that the puppet is on the right hand of MR. GARRISON, a forty-six year old teacher who is in denial about his homosexuality. MR. GARRISON (AS MR. HAT) We have a lot to learn and precious little time. Garrison looks over the class and notices that every single one of them is wearing a Terrance and Phillip T-shirt, except, of course, for Wendy. MR. GARRISON Why is everyone wearing T-shirts of Sigfried and Roy? KYLE It's not Sigried and Roy, Mr. Garrison, it's Terrance and Phillip. KIDS TERRANCE AND PHILLIP!! Stan looks over at Wendy. She just rolls her eyes. Stan sulks. MR. GARRISON Well, anyway... Today children, our friend Mr. Hat is going to tell us all about the environment. MR. GARRISON (AS MR. HAT) That's right, Mr. Garrison. The environment is what surrounds us. It is what we live and breathe. CARTMAN I hate the environment. KYLE Dude, how can you hate the environment? CARTMAN 'Cuz, dude, it's all sticky and airy and fragile and stuff. I fucking hate it. The kids all GASP! MR. GARRISON Eric! Did you just say the "F" word? CARTMAN Fragile? KYLE No, he's talking about fuck, dude. You can't say fuck in front of Mr. Garrison. MR. GARRISON Kyle! CARTMAN Why the fuck not? MR. GARRISON Eric! STAN Dude, you just said fuck again. MR. GARRISON Stanly! KENNY Mph. MR. GARRISON Kenny! CARTMAN That's bullshit! If Terrance and Phillip can say something, I should be able to say it too! BEBE Wow, Cartman's cool! CLYDE He's like Terrance and Phillip! Cartman gloats proudly. CARTMAN Fuckin' a right. MR. GARRISON How would you like to go to the principal's office? CARTMAN How would you like to gargle rat jiz? Mr. Garrison is in shock. MR. GARRISON WHAT DID YOU SAY?!?! CARTMAN I said - Cartman takes out a megaphone, hits the switch and puts it to his mouth. It feeds back horribly. CARTMAN (Through megaphone) HOW WOULD YOU LIKE TO GARGLE RAT JIZ?! Garrison is floored. KYLE Oh, dude we are fucked now. INT. PRINCIPAL'S OFFICE - DAY The boys are seated in front of the Principal's desk. STAN Now remember, don't tell anybody we saw the Terrance and Phillip movie! KYLE Yeah, let's swear we won't tell! Just then, the Principal walks in. She is PRINCIPAL VICTORIA, a frizzy haired woman of about forty. PRINCIPAL VICTORIA I am VERY disappointed in you boys! You should be ASHAMED of yourselves! I've already called in your parents, but first I want you to THINK about what you've done. CARTMAN Principal Victoria, can I ask a question? PRINCPAL VICTORIA What? CARTMAN What's the big fucking deal? STAN Yeah. PRINCIPAL VICTORIA AGH!! I want to know where you heard these horrific obscenities! The boys look at each other. STAN Nowhere. KYLE I'VE heard them from Mr. Garrison a few times before... STAN Yeah! PRINCIPAL VICTORIA Boys, I seriously doubt that Mr. Garrison ever said- (Reading) 'Eat penguin shit you cum sucking ass spelunker' in school! The boys all laugh. But then the door opens and in walks Stan's mother, Kyle's mother, Cartman's mother and Kenny's mother. STAN Oh, oh... PRINCIPAL VICTORIA Thank you all for coming on such short notice. As you can see, your boys are all being disciplined. STAN'S MOTHER This just isn't like you, Stanley! Stan looks down at the floor. KYLE'S MOTHER What did my son say, Principal Victoria? Did he say the S word? PRINCIPAL VICTORIA No, it was worse than that... KYLE'S MOTHER (Gasping) The F word?! PRINCIPAL VICTORIA No, worse. Here's a short list of the things they've been saying. The mothers look over the sheet of paper. Immediately, their eyes bulge. STAN'S MOTHER Oh dear God... KYLE'S MOTHER What is 'fisting'? CARTMAN'S MOTHER That's when the fist is inserted into the anus or vagina for sexual pleasure. The two moms stare at Ms. Cartman. CARTMAN'S MOTHER What?
37	TMNT	Kevin Munroe	Animation,Action,Adventure,Comedy,Drama,Fantasy	August_2005	FADE IN: EXT. STAR-FILLED SKY - NIGHT 1 Studio logo transitions into a CONSTELLATION in space. Cam pulls BACK, as more stars enter frame, forming a starfield. SPLINTER (V.O.) A sensei once counseled a grief- stricken boy, as his older brother 3 prepared to leave for battle. N STARS - Begin to see a DOZEN or so stars, almost forming a zig-zagged line. Cam continues to adjust. SPLINTER (V.O.) . He said, "Child, why do you cry? You are both part of a family. And a family is a bond that cannot be broken by war. By strife. By force or neglect. N STARS - Cam slows its truck-out to a gradual stop as we see the pattern beginning to form. As if following the stars' pattern, the CAM LOWERS as we find ourselves going into- S 2 2 EXT. SOUTH AMERICAN JUNGLE - CONTINUOUS PLINTER (V.O.) And more importantly, you are brothers. And brothers you shall remain, despite time... argument... O LOWER - framing the tops of JUNGLE, moonlit and surrounded by mist. A mountain range peaks over the horizon. SPLINTER ..and even... distance. SUPER TITLE: SOME STINKING JUNGLE IN SOUTH AMERICA CAM RESTS atop an old CHURCH ROOF. The peaceful scene is suddenly stopped by a MACHINE GUN BURST! CAM CRANES over the O roof revealing - 3 EXT. JUNGLE VILLAGE - CONTINUOUS A relatively modern village... for a remote jungle. Dawn is JUST barely beginning to break. The morning mist persists as we see FOUR FEDERALES with machine guns surrounding a group of VILLAGERS. O N GROUND - A WOMAN VILLAGER is thrown down. Her SON, 8, runs 1 to her side. She's mad. Her son cries. 2. WOMAN VILLAGER You monsters! UP ANGLE - As we see the THREE FEDERALES, greasy men, holding AK-47's, and looking down with hardened indifference. OS, we hear an EVIL CHUCKLE. The men part as we see- - COL. PANTERA. A bottom-heavy disgusting pig of a man walks up between them. Pantera leans down, face to face with her. PANTERA We appreciate the generous donation for the continued protection of your village. ANGLE ON - Their jeep, overflowing with the Village's precious crops. WIDER - A tiny group (10) of other villagers stand at a safe distance. The Woman's HUSBAND runs forward. He immediately LUNGES at Pantera, just as- -SHIKA-SHIKA - Pantera is flanked by 3 MACHINE GUNS pointed at the Husband's chest. Pantera slothfully grins. He leans forward and yanks an HEIRLOOM NECKLACE from her neck. PANTERA After all, the jungle can be a very dangerous place. BAH-HAHAHAHA. They jump into the Jeep and tear into the jungle LAUGHING. EXT. JUNGLE ROAD - MOMENTS LATER 4 4 The jeep clamors down the bumpy makeshift path. Pantera sits in the passenger seat as the others are crammed in around the food. The Jungle looms ominous around them. H IGH ANGLE - As we watch the jeep from the jungle ceiling high above... as if from someone's POV. ON DRIVER - He suddenly reacts to a fallen tree on the road ahead. Slams on the brakes. Pantera is thrown around. PANTERA Idiota! Watch where you're going! DRIVER SOLIDER There's a log on the road, senor. (quietly to himself) ...that wasn't there an hour ago. PANTERA Well, what are you waiting for?! REMOVE IT! (to soldiers behind) Cortez! Andelay! B J 3. CORTEZ leaps out. Grabs the winch from the front of the jeep and pulls it to the log, roughly 15 feet away. EEP POV - Pantera and Driver barely notice the out-of-focus bg Cortez get suddenly YANKED out of scene! CORTEZ (O.S.) ...yirk! ON DRIVER - His eyes go wide. Trying to see in the dark. DRIVER SOLIDER (softly, nervous) D-d-dios mio. ON LOG - Cortez is gone. Pantera wakes up. PANTERA What?! WHAT IS IT?! OS - Hear the sound of a CHAIN clinking. Then WHOOSHING as the chain winch suddenly FLIES IN, and CRACKS the BURLY SOLDIER across the jaw! It wraps itself around his neck. Before he can react... - YOINK! He gets pulled over the hood of the jeep, landing on the ground HARD. URLY SOLDIER OOF! Burly gets pulled backward... away from the Jeep and into... the darkness. He SCREAMS the entire way, clawing the ground. ON JEEP - Driver is freaking out now. Last Soldier is in the back. Pantera stands up in the jeep. "Last" jumps out and readies his machine gun. PANTERA (to Jungle) WHO ARE YOU?! SHOW YOURSELF!! DRIVER SOLIDER (WHISPER) ...The Ghost of the Jungle. PANTERA What?! DRIVER SOLDIER ( shaking/nervous) The jungle god that punishes those who prey upon the weak. (looks scared to Pantera) He's coming... for us. O P I 4. OS NOISE - Suddenly hear the whooshing of 4 quick punches, kicks, a short machine gun burst and a WHUMP. Pantera and Driver look to the ground. ON GROUND - Last Soldier lays beaten on the jungle floor. DRIVER SOLIDER I'm sorry, senor. Driver bounds out of the Jeep and runs SCREAMING into the jungle. CAM PULLS BACK with him as Pantera shrinks in bg. PANTERA COWARD!! GET BACK HERE!! Something suddenly skitters behind Pantera! He turns to look. Nothing. He reaches down and pulls up... a MACHETE. PANTERA SHOW YOURSELF! DO YOU REALIZE WHO YOU'RE DEALING WITH?! ON PANTERA - He circles backs against the Jungle wall, trying to find him. Tense. Suddenly- -a PAIR OF WHITE EYES open in the blackness behind him! n a quick series of shots we see Pantera getting the raw end of a flurry of fist and foot attacks. His attacker is moving way too fast for the camera to keep up. Pantera falls back, panting heavily. Panicked. He tears off into the dense Jungle! ON PANTERA RUNNING THROUGH JUNGLE - Thick foliage. Panicked. EXT. JUNGLE CLEARING - CONTINUOUS 5 5 An oasis of calm, violated by this sweating, machete- clutching brute. He stumbles, then stands in the middle. ANTERA I am not afraid of a myth! (eyes darting) A I'M NOT AFRAID OF A GHOST! TTACKER (O.S.) Actually... it's "Turtle", pal. Pantera swings around. Eyes wide. N ATTACKER - We pan up the thick green legs. Muscular and strong. Further up. Arms to match. Rough skin. It wears a shorn HOODED PONCHO. Inside are two white eyes and gritted smiling teeth. The poncho falls to the ground. 5. ON ATTACKER - It's LEONARDO! Beaten blue bandana blowing in the breeze. Total hero shot. He pulls out a SINGLE KATANA SWORD, poised for battle. Pantera's backed into a corner. PANTERA Let's see if a ghost can die, then. Pantera SCREAMS and runs to Leo and starts swinging! At the CLASH of sword and machete, we- SMASH CUT TO: 6 6 EXT. JUNGLE VILLAGE - MOMENTS LATER The Boy is still at the Village Clearing. Suddenly - - the sound of the JEEP begins to rumble in the distance! The villagers panic and scatter. VROOM! The Jeep flies out of the jungle and bounce-slows into the FG! Only there is no one driving it... and it still has the stolen food in it. And the stolen medallion dangles from the rear view mirror. WOMAN VILLAGER It's a miracle! The village rejoices. The Boy steps aside for a beat, looks back at the Jungle. Something catches his eye. ...a small crouched figure on a tree branch. Barely silhouetted. His white eyes lit in the darkness. One of them WINKS as the boy smiles. B OY VILLAGER (beaming... softly) The Ghost of the Jungle. INT. UNDERGROUND CAVERN - LATER 7 7 Leo leaps into frame. He takes out his katanas and lays them carefully on the ground. He KNEELS, head bowed, eyes closed. LEONARDO My training is now complete. The camera lifts away from Leo... and then PLUNGES into the nearby CAVERN. MUSIC begins to swell. Cam travels a few feet until it DIPS TO BLACK, and comes up beginning our- OPENING CREDIT SEQUENCE E T 6. 8 8 INT. MISCELLANEOUS SEWER, OIL AND IRRIGATION PIPES The music is in full tilt as the camera travels through seemingly miles of underground pipes of all types and design. he camera comes to the end of line. It rises up through 9 STEAM... then through a metal grate, as we find ourselves in- EXT. NEW YORK CITY STREET - NIGHT 9 A mouse-level shot of the spectacular city that never sleeps. It's oddly hypnotic. Still. Until... - BAM! A pair of sneakers land barely in front of the camera, tearing off into the distance. NYPD #1 (O.S.) FREEEZE! STOP OR WE'LL SHOOT! Shoes belong to a panicked MUGGER, early 20's, as THREE NYPD OFFICERS clamor after him. The Mugger is a jackrabbit - hopping newspaper machines, rolling under passing trucks and doing anything he can to avoid arrest. ventually the NYPD peter out. The mugger looks back. Smiles. MUGGER Heh, heh... suckers. ON MUGGER - His eyes suddenly go wide as - VROOOOOM! - we see a jet-black tweaked out motorcycle fly over the cops' heads, aiming directly for Mugger! MUGGER Whaaa!!! The Mugger runs, but can't escape. The Driver is dressed in all-black motorcycle leathers and black-visored helmet. Scary and faceless. He quickly gains on the Mugger and GRABS him by the collar in mid-stride! MUGGER You crazy?! Put me down, man! But Driver doesn't. Instead, he holds him lower without stopping the bike... and proceeds to plow Mugger's head into every trash can and garbage bin along 9th Avenue! MUGGER OW! HEY! WHAT'RE YOU-OW!! OOF! Just as it looks like he'll hit a telephone pole... Driver veers left! He drags the Mugger into... O A 7. 10 10 EXT. DEAD END ALLEYWAY - CONTINUOUS Driver tosses him onto the ground at full speed. Mugger SLIDES down the alley and collides with a pile of garbage like he's a human bowling ball. ON HEAD OF ALLEY - The Driver guns the bike and kicks up a ton of dust and racket, peeling donuts at mouth of the alley. And then he stops. Dust slowly settles and smoke dissipates. MUGGER Wh-wh-what kinda freak are you?! The Driver gets off the bike. Silence. Backlit by headlight. He walks directly to the Mugger with purpose. Mugger starts to really freak out. Driver picks him up by the collar and SLAMS him to the back WOODEN FENCE WALL. MUGGER P-p-please. Don't kill me, man. Driver just cocks his head. Mugger can see his own terrified reflection his Driver's black visor. Driver reaches behind his back and pulls out a COMBAT KNIFE! He reels back and... MUGGER Wh-wha-wha-WHAT ARE YOU DOI- AAAGH! W HAM! - Driver nails the dagger through the Mugger's JACKET, PINNING HIM TO THE WALL. Driver turns around to gather the purse's belongings at the mouth of the alley. fter he stops cringing, the Mugger wriggles the blade out of the wall. Driver doesn't notice as - THWIP-IP-IP! - he hurls the knife at the Driver! THUNK! It sticks in the DRIVER'S BACK! N MUGGER - His grinning eyes suddenly GO WIDE as Driver slowly turns around, UNHURT! The Mugger is trapped as Driver moves toward him... and a BOLO CHAIN drops to his side. ON WALL SHADOW - as we see a flurry of punches, kicks and throws as Driver lays a beating on the criminal who needs to be taught a lesson. An OS Police Siren chirps. MOUTH OF ALLEY - The police suddenly show up, cherries flashing. They run to FG, mouths drop. NYPD #1 ...whoa. NYPD #2 The Nightwatcher. 8. ON MUGGER - Hung upside down by a chain. Purse hangs from his neck. He'll live, but never commit another crime again... 11 11 EXT. NEW YORK CITY STREET - CONTINUOUS CLOSE ON A NEWSSTAND - Headlines read "WOMAN MYSTERIOUSLY RESCUED FROM BURNING BUILDING". "POLICE SEEK MAN KNOWN AS `THE NIGHTWATCHER' FOR QUESTIONING". "WHO IS THE NIGHTWATCHER?" WIDER - A quieter area of the city. Broken by the squealing of the bike as Driver (Nightwatcher) roars in to a stop. Nightwatcher drives underneath a TRAIN BRIDGE. He takes off his helmet. Red cloth spills out. He turns around as we see- - RAPHAEL, THE RED-MASKED NINJA TURTLE! He reaches back and pulls out the KNIFE from his SHELL. Looks at it, shaking his head and grinning. He sheathes it. R APHAEL Heh, heh. Nice try, chump. QUICK SHOTS - Ignites and revs engine. Straps helmet back on. Headlight comes to life. Lets the clutch out. VROOOOM! - CAM STARTS TIGHT ON bike as Raphael tears away. MICHAELANGELO (O.S.) Dude... I'm scared! CUT TO: CLOSE ON - A PAIR OF TURTLE EYES... MICHAELANGELO'S! They're wide with FEAR. Nervously darting around, unable to keep up with the surrounding danger. MICHAELANGELO Dude! They're all around me! What do I do? WHAT DO I DO?! Mikey's eyes continue to panic. DONATELLO's voice comes in over a RADIO. Calming. DONATELLO (O.S.) Just relax, Mikey. Remember your training. You'll be fine. MICHAELANGELO But I need back up this time, man! BACK UP! DONATELLO (O.S.) (SIGHS) ...you're such a prima donna. 9. CAM PULLS BACK TO REVEAL WE'RE IN- 12 12 INT. UPTOWN APARTMENT - AFTERNOON The cam pulls out of a LARGE MASCOT HEAD - looks like a big goofy Turtle head with googly eyes and dumb smile. WIDER we see a fake ZIPPER spirit-glued onto Mikey's plastron. In his hands, he holds two nerf-styled NUNCHUCKS. MICHAELANGELO (from inside mascot head) Okay - waita-WHOA-WHOA-WHOA-WHOA!! Suddenly TEN KIDS WITH BIRTHDAY HATS AND FOAM NUNCHUCKS run in SCREAMING and start beating on Mikey... a little too hard. SCREAMING KIDS Get him! Yeah! You suck! Hey! Awright! Take that, Turtle-dork! MICHAELANGELO OH-WHOA! OW! YEOW-OW-OW! WATCH IT!! HEY! NOT BELOW THE-OOOFF!! OW!! End WIDER with the kids all walking away from Mikey, now on the floor doubled over from the "playing". A beat, then- -one more kid runs back and kicks Mikey. LITTLE GIRL KEEEEYA! (turns and walks back) This was the best birthday ever, Mommy! Mikey GROANS as we- DISSOLVE TO: 13 13 EXT. UPTOWN APARTMENT - SUNSET/LATER Beautiful downtown autumnal street. Parked in front, we see the "COWABUNGA CARL" PARTY VAN loudly decorated in kid- friendly colors with an embarrassing and low-tech looking TURTLE HEAD ON TOP. PUSH IN on upstairs apartment window. S OCCER MOM (O.S.) Thanks so much. You're worth every penny. I have to tell all my friends about you. You'll love their kids too. 10. 14 14 INT. UPTOWN APARTMENT - CONTINUOUS Mascot Mikey is standing at the door, holding a fistful of cash, still in full costume. MICHAELANGELO I can only hope they're as lovely as the rugrats you got here. ON KIDS - They look tough, brandishing their nerf weapons - a toddler street gang. One of the kids does a finger-point-then- throat-slit gesture. The mom looks and beams. The kids quickly smile to cover. MICHAELANGELO (through gritted teeth) Such... angels. Mikey looks to the side, and sees the still piled-high stack of PIZZA BOXES through the fake head POV. SOCCER MOM Okay! Everyone say good-bye to Cowabunga Carl! BYE! MICHAELANGELO (put-on voice) Hyuk! Cowabunga dudes! Bye! KIDS BYE!!!!!! ON DOOR - As the door closes and Mom turns back, a green hand reaches in quickly a grabs a box of pizza. The door closes. MICHAELANGELO (O.S.) Heheh... score. CUT TO: EXT. UPTOWN APARTMENT - MOMENTS LATER 15 15 Mikey opens the van's rear doors. He PULLS OFF the fake zipper on his chest and then pulls off his fake turtle head. His trademark orange bandana spills out. He turns, breathing in the fresh surface air. A quiet beat until - A POLICE SIREN approaches, faint, in the distance. Mikey jumps in the van, slams the door shut as the car whizzes by. WIDER - the van takes off down the street. 11. DONATELLO (O.S.) Hey, hey, hey... don't forget the face thing. 16 16 EXT. NEW YORK CITY STREETS - LATER CLOSE ON - a regular motorist sitting in his car at a traffic light. Don monitors from a small dashboard cam. Man looks OS Left. Reacts. OFF HIS LOOK - We see Mikey beside him in the van. He's behind the wheel - face FROZEN in a goofy SMILE like a ventriloquist to "hide" his identity. Don follows on a small surveillance cam under the rearview mirror. MICHAELANGELO Yes... sir. DONATELLO (O.S.) That's a good boy. MICHAELANGELO All's I'm saying Donnie is that no one would notice if YOU did one of these gigs every now and again. DONATELLO (O.S.) But you add such... panache to the character. Mikey, emotional, pops into "fully animated" facial mode. He rubs his sore neck. MICHAELANGELO Well, if panache is French for "punching bag", I'd have to agree with ya. INT. TURTLES LAIR - MONITOR ROOM - CONTINUOUS 17 17 A darkened room lit only by the lights of dozens of tv's, monitors and TV tubes. Cables run everywhere. In front of them is DONATELLO - our resident tech-head turtle. DONATELLO Close enough. I - uh-oh- ON MONITOR - Don watches Mikey through a TRAFFIC CAM in front of the van. Don is jacked into every major security and surveillance camera in the city. EXT. NEW YORK CITY STREETS - CONTINUOUS 18 18 DONATELLO (O.S.) -you got a peeping tom. M 12. ON CAR - The Man is still looking - only now really freaked out - at the fully animated Mikey head. MICHAELANGELO Aw nuts. Mikey suddenly grips his face back into a tight SMILE, frozen. He looks over and waves at the man who confusingly waves back. MICHAELANGELO (ventriloquist style) Just get me outta here, dude. ON DON - He hits some switches. Monitors change. DONATELLO Traffic's clear eastbound for two blocks. Then hook up with route J. BACK WITH MIKEY - He's still waving with a frozen smile. ICHAELANGELO (ventriloquist style) Righteous. Mikey immediately "unfreezes" and sticks his tongue out and antics at the Man! Before the man can react, Mikey TEARS OUT and zips across traffic down a deserted side-street. ...as we notice the annoying ice cream style music tinkering M along with his gaining speed. ICHAELANGELO (O.S.) You HAD to install the music too... DONATELLO (O.S.) All part of the cover, my friend. CUT TO: EXT. HIDDEN ALLEYWAY - EVENING 19 19 The van parks in a long-forgotten alleyway. A dummy gate closes behind it, obscuring it from view. UNDER THE VAN - We see it's parked over a manhole cover. It slowly slides shut. INT. SEWERS - CONTINUOUS 20 20 The dripping concrete and metal maze explodes with the cacophony of Mikey riding his skateboard, backpack in tow. MICHAELANGELO YEEEEEHAAAAAAWWWW!! 13. But this isn't just any half-pipe - it tests all of Mikey's skills in ninjitsu, extreme sports and cross-training. He jumps on and off the board to occasionally tackle obstacles with all four limbs. A fun rock n' roll sequence. Feels like Mikey is miles away from the surface world when he arrives at a seemingly DEAD END. He smiles as he reveals a BRICK DUMMY WALL that brings him to... INT. TURTLES LAIR - CONTINUOUS 21 21 Mikey lands in the "foyer" of sorts. Atop entrance stairs. He kicks the double doors open. MICHAELANGELO Honeeeeey! I'm hooome! As Mikey slides down the banister, the cam dollies around I behind him revealing the LAIR. Breathtaking to fresh eyes. t has a wonderful lived-in feel - they're not squatters... they've made this their HOME. Furniture is jury-rigged and the place is custom lit to provide the right kind of
38	Toy Story	Joss Whedon,Andrew Stanton,Joel Cohen,Alec Sokolow	Animation,Comedy,Family,Fantasy	November_1995	FADE IN: INT. ANDY'S BEDROOM A row of moving boxes lie on the floor of the room. They are drawn up in crayon to look like a miniature Western town. The bedroom is lined with cloud wallpaper giving the impression of sky. One of the boxes has a children's illustrated "WANTED" poster of a Mr. Potato Head taped to it. A MR. POTATO HEAD DOLL is set in front of the poster. The VOICE OVER of ANDY, a 6-year-old boy, can be heard acting out all the voices of the scene. ANDY (AS POTATO HEAD) Alright everyone, this is a stick- up! Don't anybody move! Now empty that safe! A GROUP OF TOYS have been crowded together in front of the "BANK" box. Andy's hand lowers a CERAMIC PIGGY BANK in front of Mr. Potato Head and shakes out a pile of coins to the floor. Mr. Potato Head kisses the coins. ANDY (AS POTATO HEAD) Ooh! Money. Money. Money. (kissing noises) A porcelain figurine of the shepherdess, BO PEEP, is brought into the scene. ANDY (AS BO PEEP) Stop it! Stop it, you mean old potato! ANDY (AS POTATO HEAD) Quiet Bo Peep, or your sheep get run over! The companion porcelain sheep are placed in the center of a Hot Wheels track loop. ANDY (AS SHEEP) Heeeeelp! BAAAAA! Heeeelp us! ANDY (AS BO PEEP) Oh, no! Not my sheep! Somebody do something! WOODY, a pull-string doll cowboy, enters into the scene opposite the inanimate spud. Andy's hand pulls on the ring in the center of Woody's back. WOODY (VOICE BOX) Reach for the sky. ANDY (AS POTATO HEAD) Oh, no! Sheriff Woody!! ANDY (AS WOODY) I'm here to stop you, One-Eyed Bart. Andy's hand pulls out one of Mr. Potato Head's eyes. ANDY (AS POTATO HEAD) Doooooh! How'd you know it was me! ANDY (AS WOODY) Are you gonna come quietly? ANDY (AS POTATO HEAD) You can't touch me Sheriff! I brought my attack dog with a built- in force field! Andy places a TOY DOG, with a SLINKY for a mid-section, in front of Mr. Potato Head and stretches him out. ANDY (AS WOODY) Well I brought my DINOSAUR, who eats force field dogs!! Andy reveals a PLASTIC TYRANNOSAURUS REX, who stomps on the Slinky Dog. ANDY (AS DINOSAUR) AAAAR! ROAR-ROAR-ROAR! ANDY (AS SLINKY DOG) YIPE! YIPE-YIPE-YIPE! ANDY (AS WOODY) You're goin' to jail, Bart. Andy picks up Mr. Potato Head and places him in a baby crib in the room. A cardboard sign is taped to the bars with the word "JAIL" written in crayon. ANDY (AS WOODY) Say good-bye to the wife and tatertots. Andy's 1-year-old sister, MOLLY, crawls over and picks up Mr. Potato Head. She sucks on him for a beat then proceeds to pound the toy repeatedly against the rail of her crib, forcing some of his parts loose. Andy, wearing a cowboy hat himself, picks up Woody off the floor. ANDY (pulling Woody's string) You saved the day again, Woody. WOODY (VOICE BOX) You're my favorite deputy. BEGIN TITLES SONG "YOU'VE GOT A FRIEND IN ME" plays while Andy does various activities with Woody: -- Andy turns the Western town boxes around to reveal cows drawn on the other side. He grabs a jump rope and pretends Woody is lassoing the cattle. ANDY C'mon, let's wrangle up the cattle. -- Andy then rides Woody around on an RC (remote control) car, and herds the remaining "cow" boxes under Molly's crib. INT. STAIRWELL -- Andy places Woody on the top of the stairwell banister allowing the doll to slide downstairs. Andy races ahead and catches him at the bottom. INT. DOWNSTAIRS LIVING ROOM -- Andy & Woody fall into the La-Z-Boy chair and spin around and around. Next, Andy uses the La-Z-Boy foot rest as a catapult. Andy flings Woody across the room to the sofa. ANDY (raising his arms) Score! SONG ENDS Woody lies limp on the sofa while Andy is heard talking to his mother. ANDY (O.S.) Wow! Cool! MRS. DAVIS (O.S.) Whadda ya think? ANDY (O.S.) Oh, this looks GREAT, Mom! ANGLE: THE ADJOINING DINING ROOM MRS. DAVIS, Andy's thirty eight-year-old mom, has just finished decorating the area with streamers and balloons. A banner is draped across the archway. It reads: "Happy Birthday Andy." Woody's frozen face stares in the direction of the birthday decorations. ANDY Can we leave this up 'til we move? MRS. DAVIS Well, sure, we can leave it up. ANDY Yeah! MRS. DAVIS Now go get Molly. Your friends are going to be here any minute. ANDY Okay. Andy picks up Woody from the couch and runs upstairs. ANDY It's party time, Woody! INT. ANDY'S BEDROOM - CONTINUOUS Andy and Woody enter the room. Molly is still banging Potato Head against her crib railing. Andy tips Woody's hat at her. ANDY Howdy, Little Lady! He deposits Woody on the bed and pulls his string one last time. WOODY (VOICE BOX) Somebody's poisoned the waterhole. ANDY (picking up Molly) C'mon, Molly. Oh, you're getting heavy! (to Woody) See ya later, Woody. Andy exits. END TITLES Woody's eyes come to life. The cowboy doll sits up, his expression changing from a smile to worry. WOODY (to himself) Pull my string! The birthday party's today?! Woody thinks. WOODY (to the room) Okay, everybody. Coast is clear. The bedroom comes alive. TOYS emerge from the toy box, the closet, the shelves, etc... in a flurry of activity. POTATO HEAD, his body parts strewn across the floor, sits himself upright and begins to re-assemble himself. MR. POTATO HEAD Ages three and up. It's on my box. Ages three and up! I'm not supposed to be babysitting Princess Drool. HAMM, the piggy bank, flips one last penny into his coin slot. Potato Head walks up to him. All his facial pieces are in the wrong slots. MR. POTATO HEAD Hey, Hamm! Look! I'm Picasso! HAMM I don't get it. Hamm walks away. MR. POTATO HEAD You uncultured swine! (to someone O.S.) What are you looking at, ya hockey puck?! Potato Head walks past, revealing a hockey puck figurine. Woody sits on the edge of the bed observing all the activity. He turns to a plastic green army man, SARGENT, standing on the night stand. WOODY Uh, hey Sarge, have you seen Slinky? SARGENT (saluting) Sir! No Sir! WOODY Okay, thank you. At ease. Woody hops off the bed. WOODY Hey, Slinky? SLINKY (O.S.) Right here, Woody! A toy Slinky dog, SLINKY, appears from under the bed pushing out a checker board set. He begins to place the checkers on the board. SLINKY I'm red this time. WOODY No, Slink -- SLINKY Oh...well alright, you can be red if you want. WOODY Not now, Slink. I've got some bad news. SLINKY Bad news?! WOODY Sh-h-h-h-h!! Woody covers up Slinky's mouth, aware that the other toys in the room are watching. He leans in close to Slinky. WOODY (whispering) Just gather everyone up for a staff meeting and be happy!! SLINKY Got it. Slinky shuffles off. WOODY Be HAPPY! Slinky perks up his gait and LAUGHS HARD. Woody proceeds in the other direction. He passes a toy ROBOT and SNAKE partially hidden under the bedspread. WOODY (to the room) Staff meeting, everybody. (aside) Snake, Robot -- podium duty. Robot and Snake come out from under the bed and reluctantly follow Woody. Woody walks past an Etch-A-Sketch, ETCH, going the other direction. WOODY Hey Etch! Draw! Both Etch and Woody whip around like gunfighters. Before Woody can fully extend his arm out, the Etch-A-Sketch etches a gun on its screen. WOODY (pretending to be shot) Oh!! You got me again, Etch! You've been working on that draw. Fastest knobs in the west. Slinky passes a group of toys on the floor. SLINKY Got a staff meeting, you guys, come on, let's go! Robot and Snake begin constructing a podium made out of Legos and a Tinker Toy tub while Woody searches the floor. WOODY Now where is that -- ? Aw, hey, who moved my doodle pad way over here? Woody spots the doodle pad on the floor by the desk and walks over to it. As he reaches down to pick it up... REX, the plastic dinosaur, jumps out to scare Woody. REX ROOAAAARR!!! WOODY (unaffected) Oh, how ya doin', Rex? Rex suddenly turns timid. REX Were you scared? Tell me honestly. WOODY I was close to being scared that time. Woody heads back to the podium. Rex follows. REX I'm going for fearsome here, but I just don't feel it. I think I'm just coming off as annoying. A crook suddenly grabs Woody's neck and jerks him towards BO PEEP, the porcelain figurine. WOODY (choking) Aach! -- Oh, hi, Bo. BO PEEP I wanted to thank you, Woody, for saving my flock. WOODY (blushing) Oh, hey - it was nothing. BO PEEP Whadda ya say I get someone else to watch the sheep tonight? WOODY (very flustered) Heh, heh...oh yeah, uh, I... Bo saunters back towards her lamp stand, passing a stack of ABC blocks. BO PEEP Remember, I'm just a couple of blocks away. Woody is left lovestruck. All the rest of the toys in the room are filing past Slinky. SLINKY Come on, come on! Smaller toys up front. Woody remains lovestruck in the middle of the room. SLINKY Hey, Woody! C'mon! Woody snaps out of his trance and rushes over to the podium. The toys crowd together as Woody steps up to the podium. MIKE, a toy tape recorder, waddles up next to Woody and indicates his microphone. MIKE Ahem! WOODY (grabbing microphone) Oh, thanks, Mike. (to the crowd) Okay -- SFX: FEEDBACK WOODY (to Mike) Oh, whoa, step back -- Mike waddles back a step to stop the feedback. WOODY Hello? Check? Better? Great. Everybody hear me? Up on the shelf, can you hear me? Great! Okay, first item today...oh, yeah. Has everyone picked a moving buddy? The toys all MOAN. HAMM Moving buddy?! You can't be serious! REX Well I didn't know we were supposed to have one already. MR. POTATO HEAD (waving his arm out its socket) Do we have to hold hands? The toys LAUGH and SNICKER. WOODY Oh, yeah, you guys think this is a big joke. We've only got one week left before the move. I don't want any toys left behind. A moving buddy -- if you don't have one, get one! (checking the pad) Alright, next...uh...oh, yes. Tuesday night's "Plastic Corrosion Awareness" meeting was, I think, a big success and we want to thank Mr. Spell for putting that on for us. Thank you, Mr. Spell. The words "You're welcome" scroll across Mr. Spell's display screen as he speaks. MR. SPELL You're welcome. WOODY Ok, uh...oh yes. One minor note here... (under his breath) Andy's birthday party's been moved to today. (full voice) Next we have -- The toys all PANIC. REX What?! Whadda ya mean, the party's today?! His birthday's not 'til next week!! HAMM What's going on down there? Is Mom losing her marbles?! WOODY Well, obviously she wanted to have the party before the move. I'm not worried. You shouldn't be worried. MR. POTATO HEAD Of course Woody ain't worried! He's been Andy's favorite since kindergarten! SLINKY Hey, hey! Come on, Potato Head! If Woody says it's all right, then, well, darnit, it's good enough for me. Woody has never steered us wrong before. While Slinky speaks, Potato Head takes off his mouth and mimes kissing his own butt. WOODY C'mon, guys! Every Christmas and birthday we go through this. REX But what if Andy gets another dinosaur? A mean one? I just don't think I can take that kind of rejection. WOODY Hey, listen, no one's getting replaced. This is Andy we're talking about. Woody steps down from the podium and walks towards the crowd. WOODY (continued) It doesn't matter how much we're played with. What matters is that we're here for Andy when he needs us. That's what we're made for. Right? Everyone is now looking down, sheepish. HAMM Pardon me. I hate to break up the staff meeting, but THEY'RE HERE! Birthday guests at three o'clock! WOODY Stay calm, everyone!! Too late. The toys PANIC and stampede over Woody towards the bedroom window, leaving him alone on the floor. WOODY Uh, meeting adjourned. The toys all crowd around the bedroom window, trying to get a peek outside. HAMM Oh, boy. Will ya take a look at all those presents?! MR. POTATO HEAD I can't see a thing! Unable to see over the crowd, Potato Head pulls his eyes out of his head and holds them up over the other toys. ANGLE: TOY'S POV OF ANDY'S FRONT YARD CHILDREN file towards the front door carrying presents. HAMM Yessir, we're next month's garage sale fodder for sure. REX (panicked) Any dinosaur-shaped ones? HAMM Ah, for crying out loud, they're all in boxes, you idiot! The presents keep coming. REX They're getting bigger. SLINKY Wait! There's a nice little one over there! At first, the kid's present appears to be a little box, but then the kid turns -- the present is four feet long. The toys SCREAM. MR. SPELL Spell the word "trashcan." REX We're doomed! Down on the floor, Woody smacks his hand to his forehead in surrender. WOODY Alright! Alright! The toys turn inside and look down at Woody. WOODY (continued) If I send out the troops, will you all calm down? REX Yes! Yes! We promise! WOODY Okay, save your batteries! HAMM Eh, very good, Woody. That's using the old noodle. Woody jumps up onto Andy's bed and turns to the Sargent on the nightstand. WOODY Sargent. Establish a recon post downstairs. Code red. You know what to do. SARGENT Yes SIR! The green army man hops down to the floor where a "BUCKET O' SOLDIERS" sits. SARGENT Alright men, you heard him. Code Red! Repeat: We are at Code Red! Recon plan Charlie. Execute! Let's move move move!! THE GREEN ARMY MEN file out of the bucket and march in formation across the bedroom floor. INT. UPSTAIRS HALLWAY Andy's door creaks open and a lone army man ventures forth to make sure the coast is clear. Satisfied, he motions for the others to proceed. Squads of soldiers march into the hall carrying a baby monitor and a jump rope. The army men each leapfrog behind the stairway banisters and hold their positions while the Sargent surveys the scene below through his binoculars. ANGLE: SARGENT'S BINOCULAR VIEW OF DOWNSTAIRS Directly below, Mrs. Davis passes through the hallway rounding up Andy and all his birthday guests. MRS. DAVIS Okay, c'mon kids! Everyone in the living room. It's almost time for the presents. Once Mrs. Davis and the children are out of sight, the Sargent motions to his men with a silent hand signal. TWO PARATROOPERS jump out through the railing, parachuting down to the floor below. INT. DOWNSTAIRS HALLWAY - CONTINUOUS The paratroopers sweep the area with their plastic rifles, then give the "all clear" sign. The jump rope is lowered, and more soldiers rappel down. INT. ANDY'S BEDROOM The toys race towards the nightstand where Woody has placed the receiving half of the baby monitor. WOODY And this -- (turning on the baby monitor) -- is how we find out what is in those presents. INT. DOWNSTAIRS HALLWAY The green army men march in formation across the floor when suddenly... SFX: FOOTSTEPS Can be heard approaching from behind the connecting kitchen door. Immediately the Sargent signals for his men to freeze in their various classic action poses. MRS. DAVIS (O.S.) Okay, who's hungry? Here come the chips. I've got Cool Ranch and Barbeque -- The door opens and Mrs. Davis' foot comes down hard on top of a soldier. MRS. DAVIS Owww! What in the world -- ? Oh, I thought I told him to pick these up. With a sweep of her foot, she brushes the army men out of her path and continues on to the living room. INT. ANDY'S BEDROOM REX Shouldn't they be there by now? What's taking them so long?! WOODY Hey, these guys are professionals. They're the best. C'mon, they're not lying down on the job. INT. DOWNSTAIRS HALLWAY As soon as Mom is gone, the Sargent motions for his men to proceed toward a nearby houseplant that looks into the living room. The Sargent then notices an injured soldier struggling to drag himself forward -- a casualty of Mrs. Davis' foot. The Sargent helps the injured soldier to his feet. WOUNDED SOLDIER (moans) Go on without me. Just go! SLINKY A good soldier never leaves a man behind. The Sargent motions to the remaining men above. They lower themselves via jump rope, riding the baby monitor. Once downstairs, they hustle the baby monitor towards the houseplant. Suddenly... A BALL bounces into the hallway, followed by the sound of footsteps and kid clamor. The Sargent, supporting his wounded man, reaches the plant, right on the heels of the squad with the baby monitor. They conceal themselves in the house plant just before the children run by. INT. DOWNSTAIRS - HOUSE PLANT - CONTINUOUS While the baby monitor is set in place, A MEDIC evaluates the wounded soldier and gives the "thumb's up" signal. The Sargent scans the party with his binoculars. ANGLE: BINOCULAR VIEW OF BIRTHDAY PRESENTS The pile of brightly wrapped gifts sits atop the living room coffee table. SARGENT (O.S.) There they are. INT. ANDY'S BEDROOM The toys perk up as STATIC suddenly emits from the baby monitor. SARGENT (O.S.) (over monitor) Come in, Mother Bird, this is Alpha Bravo. WOODY This is it! This is it! Quiet, quiet, quiet! SARGENT (O.S.) (over monitor) Come in, Mother Bird. Alright...Andy's opening the first present now. MR. POTATO HEAD (chanting) Mrs. Potato Head...Mrs. Potato Head...Mrs. Potato Head... (off Rex's look) Hey, I can dream, can't I? SARGENT (O.S.) (over monitor) The bow's coming off...he's ripping the wrapping paper...it's a...it's...it's a lunchbox! We've got a lunchbox, here! WOODY A lunchbox?! MR. POTATO HEAD A lunchbox...?! SLINKY For lunch. Heh heh heh... SARGENT (O.S.) (over monitor) Ok, second present...it appears to be...okay, it's bed sheets. MR. POTATO HEAD Who invited THAT kid?! INT. LIVING ROOM ANGLE: BINOCULAR VIEW OF PRESENTS MATCH DISSOLVE TO: ANGLE: BINOCULAR VIEW OF A SINGULAR PRESENT MRS. DAVIS Oh, only one left. INT. ANDY'S BEDROOM SARGENT (O.S.) (over monitor) Okay, we're on the last present now... WOODY Last present! SARGENT (O.S.) (over monitor) It's a big one...It's a...it's a boardgame! Repeat! Battleship -- Battleship, the boardgame! The toys CHEER WITH RELIEF. HAMM Yeah, alright!! Hamm gives Potato Head a congratulatory pat on the back, sending his facial features flying. MR. POTATO HEAD Hey, watch it! HAMM Sorry there, old Spudhead. INT. DOWNSTAIRS - HOUSE PLANT SARGENT (to army men) Mission accomplished. Well done, men. Pack it up, we're going home. INT. ANDY'S BEDROOM WOODY So did I tell ya? Huh? Nothing to worry about. SLINKY I knew you were right all along, Woody. Never doubted you for a second. INT. DOWNSTAIRS - HOUSE PLANT The platoon is preparing to exit the plant when... MRS. DAVIS (O.S.) Wait a minute. Oooh, what do we have here?! The Sargent lifts his binoculars back to his eyes. ANGLE: BINOCULAR VIEW OF LIVING ROOM Mrs. Davis can be seen opening the closet and pulling out another large present. SARGENT (indicating the baby monitor) Wait -- turn that thing back on! INT. ANDY'S BEDROOM - CONTINUOUS SARGENT (O.S.) (over monitor) Come in, Mother Bird, come in, Mother Bird. All the toys tense up. SARGENT (O.S.) (continued) Mom has pulled a surprise present from the closet. Andy's opening it... INT. DOWNSTAIRS - HOUSE PLANT - CONTINUOUS SARGENT He's really excited about this one. It's a huge package. Oh -- get out -- one of the kids is in the way, I can't see... INT. ANDY'S BEDROOM - CONTINUOUS SARGENT (O.S.) (from monitor) ...it's...it's a -- The sound of children CHEERING emits from the monitor, cutting off the Sargent. REX It's a WHAT?! WHAT IS IT?!!! Rex grabs a leg of the nightstand and shakes it, making the monitor drop to the floor. The impact causes the batteries to roll out. REX Oh, no! MR. POTATO HEAD Oh, ya big lizard! Now we'll never know what it is! HAMM (sarcastic) Way to go, Rex. Everyone rushes to the fallen monitor. Potato Head tries to correctly insert the batteries. WOODY No, no! Turn 'em around, turn 'em around! HAMM Eh, he's puttin' 'em in backwards! WOODY Plus is positive, minus is negative! Oh, let me! Woody jumps down off the bed and shoves both Hamm and Potato Head aside. INT. LIVING ROOM ANDY Let's go to my room, guys! The kids rush past the houseplant. SARGENT (into the monitor) RED ALERT! RED ALERT! ANDY IS COMING UPSTAIRS! INT. ANDY'S BEDROOM - CONTINUOUS Woody puts the last battery back in. WOODY There. SARGENT (O.S.) (over monitor) Juvenile intrusion! Repeat! Resume your positions NOW! WOODY Andy's coming, everybody! Back to your places. Hurry! The toys PANIC and scatter about the room. MR. POTATO HEAD Where's my ear? Who's seen my ear? Did you see my ear? REX Outta my way! Here I come, here I come -- Frantic, Rex slams into a trashcan and falls over. Everyone scurries to their places as the KIDS' FOOTSTEPS grow louder. Woody falls limp in his spot on the bed just as... Andy's bedroom door flies open and a flood of children's feet rush in. FRIEND #1 Hey, look! His lasers light up. ANDY Take that, Zurg! Woody is flung off Andy's pillow and slides, unnoticed, down the gap between the bed and the back wall. FRIEND #2 Quick! Make a space! This is where the spaceship lands. ANDY -- and you press his back and he does a karate-chop action! MRS. DAVIS (O.S.) Come on down, guys. It's time for games! We've got prizes! ANDY Oh, yeah! The kids all run out as fast as they entered, SLAMMING THE DOOR behind them. BEAT The toys slowly come to life and make their way toward the bed. MR. POTATO HEAD What is it? BO PEEP Can you see it? SLINKY What the heck is up there? REX Woody? Who's up there with you? Woody crawls out from under the bed. The toys are shocked to discover him there. SLINKY Woody, what are you doing under the bed? WOODY (composing himself) Uh-h-h-h...nothing! Uh, nothing. I'm sure Andy was just a little excited, that's all. Too much cake and ice cream, I suppose. It's just a mistake. MR. POTATO HEAD Well, that MISTAKE is sitting in your spot, Woody. REX (GASP!) Have you been replaced? WOODY Hey! What did I tell you earlier? No one is getting replaced. The toys give each other a look of doubt. WOODY Now let's all be polite, and give whatever it is up there a nice, big "Andy's Room" welcome. Woody climbs slowly up the side of the bed, peeking over the edge. His eyes widen at the sight of... BUZZ LIGHTYEAR We see Buzz as Woody does - an expensive looking space age action figure, covered with buttons and stickers from head to toe. The imposing "G.I. Joe-sized" doll stands heroically in the center of the bed, his back to Woody. Woody GULPS. Buzz comes alive and looks around. ANGLE: BUZZ'S POV THROUGH HIS HELMET While he scans the bedroom a "DARTH VADER" LIKE BREATHING is heard. Buzz eyes it all suspiciously and pushes a button on his chest. SFX: ELECTRONIC BEEP BUZZ Buzz Lightyear to Star Command. Come in, Star Command. Nothing. He pushes the button again. BUZZ Star Command - come in. Do you read me? (to himself) Why don't they answer?!! Just then, Buzz catches sight of his ripped packaging. The box is designed to look like a spaceship. BUZZ (GASP) My ship!! He runs up to the box and investigates the damage. BUZZ Blast! This'll take weeks to repair! Buzz flips open a plastic compartment on his arm -- his wrist communicator. BUZZ Buzz Lightyear Mission Log. Stardate 4072: My ship has run off course en route to sector 12. I've crash landed on a strange planet. The impact must have awoken me from hyper-sleep.
39	Transformers: The Movie	Ron Friedman	Action,Animation,Family,Sci-Fi	null	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
40	Up	Pete Docter,Bob Peterson,Thomas McCarthy	Animation,,Adventure,Comedy,Drama,Family	May_2009	,1. ,,,,, ,,,,,A,1930's,NEWSREEL. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,"Movietown,News",presents... ,,,,,,,,,,Spotlight,on,Adventure! ,,,,,The,mysterious,SOUTH,AMERICAN,JUNGLE.,A,massive,waterfall ,,,,,cascades,down,a,gigantic,flat-topped,mountain. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,What,you,are,now,witnessing,is ,,,,,,,,,,footage,never,before,seen,by ,,,,,,,,,,civilized,humanity:,a,lost,world,in ,,,,,,,,,,South,America!,Lurking,in,the ,,,,,,,,,,shadow,of,majestic,Paradise,Falls, ,,,,,,,,,,it,sports,plants,and,animals ,,,,,,,,,,undiscovered,by,science.,Who,would ,,,,,,,,,,dare,set,foot,on,this,inhospitable ,,,,,,,,,,summit? ,,,,, ,,,,,A,painted,portrait,of,a,dashing,young,adventurer. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Why,our,subject,today:,Charles ,,,,,,,,,,Muntz! ,,,,,A,massive,DIRIGIBLE,descends,on,an,airfield. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,The,beloved,explorer,lands,his ,,,,,,,,,,dirigible,the,"Spirit,of ,,,,,,,,,,Adventure,",in,New,Hampshire,this ,,,,,,,,,,week,completing,a,year,long ,,,,,,,,,,expedition,to,the,lost,world! ,,,,, ,,,,, ,,,,,INT.,MOVIE,THEATRE,-,CONTINUOUS ,,,,,Of,everyone,watching,in,the,modest,small,town,theater,no ,,,,,one,is,more,enthralled,than,8,year,old,CARL,FREDRICKSEN. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(O.S.) ,,,,,,,,,,This,lighter-than-air,craft,was ,,,,,,,,,,designed,by,Muntz,himself,and,is ,,,,,,,,,,longer,than,22,Prohibition,paddy- ,,,,,,,,,,wagons,placed,end,to,end. ,,,,,Young,Carl,stares,mouth,agape,wearing,leather,flight,helmet ,,,,,and,goggles,--,just,like,his,idol,on,the,silver,screen. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,here,comes,the,adventurer,now! ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. ,,,,, ,,,,, ,,,,,NEWSREEL,FOOTAGE:,the,dashing,Muntz,descends,down,the ,,,,,gangplank,to,the,delight,of,the,crowd.,His,dogs,trail,him. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Never,apart,from,his,faithful,dogs, ,,,,,,,,,,Muntz,conceived,the,craft,for ,,,,,,,,,,canine,comfort!,It's,a,veritable ,,,,,,,,,,floating,palace,in,the,sky... ,,,,, ,,,,,An,opulent,dining,room. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,...complete,with,doggie,bath,and ,,,,,,,,,,mechanical,canine,walker. ,,,,, ,,,,,One,dog,runs,suffers,through,mechanized,bath,time,while,a ,,,,,second,wears,an,electrode,helmet,and,runs,on,a,treadmill. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,Jiminy,Cricket,do,the,locals ,,,,,,,,,,consider,Muntz,the,bee's,knees! ,,,,,,,,,,And,how! ,,,,, ,,,,,Cameras,flash,as,Muntz,stands,heroic,striking,his,signature ,,,,,"thumbs,up",stance. ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,"Adventure,is,out,there!" ,,,,,In,the,theater,Young,Carl,returns,the,thumbs,up. ,,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,But,what,has,Muntz,brought,back ,,,,,,,,,,this,time? ,,,,, ,,,,,Muntz,speaks,to,a,crowded,auditorium,on,stage,beside,a ,,,,,curtained,object. ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,Gentlemen,I,give,you:,the,Monster ,,,,,,,,,,of,Paradise,Falls! ,,,,,He,pulls,away,the,drape,to,reveal,a,GIANT,BIRD,SKELETON. ,,,,, ,,,,,,,,,,,,,,,CROWD ,,,,,,,,,,Ooh! ,,,,,Young,Carl,leans,forward,eyes,bulging. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,golly,what,a,swell,monster ,,,,,,,,,,this,is.,But,what's,this? ,,,,,Skeptical,scientists,analyze,the,bones. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,, ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Scientists,cry,foul!,The,National ,,,,,,,,,,Explorers,Society,accuses,Muntz,of ,,,,,,,,,,fabricating,the,skeleton! ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,No! ,,,,, ,,,,,Muntz's,portrait,is,removed,from,a,wall,of,paintings,of,other ,,,,,famous,explorers. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,The,organization,strips,Muntz,of ,,,,,,,,,,his,membership. ,,,,, ,,,,,Muntz's,"Explorer's,Society",badge,is,ceremoniously,RIPPED ,,,,,from,his,jacket. ,,,,,Carl,GASPS. ,,,,, ,,,,,Muntz,stands,next,to,his,dirigible,at,an,airfield.,,,,He,grimly ,,,,,addresses,the,crowd. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Humiliated,Muntz,vows,a,return,to ,,,,,,,,,,Paradise,Falls,and,promises,to ,,,,,,,,,,capture,the,beast...,alive! ,,,,, ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,I,promise,to,capture,the,beast... ,,,,,,,,,,alive! ,,,,, ,,,,,In,the,theater,young,Carl,smiles. ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,And,I,will,not,come,back,until,I,do! ,,,,,The,crowd,CHEERS. ,,,,, ,,,,,Muntz,gives,his,thumbs,up,from,the,cockpit,as,the,dirigible ,,,,,lifts,off. ,,,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,so,the,,explorer,is,off,to,clear ,,,,,,,,,,his,name.,,,Bon,voyage,Charles ,,,,,,,,,,Muntz,and,,good,luck,capturing,the ,,,,,,,,,,Monster,of,,Paradise,Falls! ,,,,,Carl,looks,like,he,just,witnessed,a,miracle. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,, ,,,,, ,,,,, ,,,,,EXT.,SMALL,TOWN,NEIGHBORHOOD,1930'S,-,DAY,-,CONTINUOUS ,,,,, ,,,,,Young,Carl,"flies",his,blue,balloon,("The,Spirit,of ,,,,,Adventure",hand-written,on,it),as,he,runs,along,the,sidewalk. ,,,,,He,still,wears,helmet,and,goggles. ,,,,,TITLE,CARD:,WALT,DISNEY,PICTURES,PRESENTS ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Here's,Charles,Muntz,piloting,his ,,,,,,,,,,famous,dirigible!! ,,,,, ,,,,,TITLE,CARD:,A,PIXAR,ANIMATION,STUDIOS,FILM ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He,hurdles,Pike's,Peak! ,,,,, ,,,,,Carl,jumps,over,a,small,rock. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He,hurdles,the,Grand,Canyon! ,,,,, ,,,,,Carl,jumps,over,a,crack,in,the,sidewalk. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He,hurdles,Mount,Everest! ,,,,, ,,,,,Carl,jumps,over,a,tree,stump...,and,smacks,into,it,instead. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He...,goes,around,Mount,Everest! ,,,,,,,,,,Is,there,nothing,he,cannot,do? ,,,,, ,,,,,TITLE,CARD:,,UP ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Yes,as,Muntz,himself,says: ,,,,,,,,,,"Adventure,is--" ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,"Adventure,is,out,there!" ,,,,,Carl,stops.,,Who,said,that? ,,,,, ,,,,,The,voice,comes,from,a,dilapidated,HOUSE,windows,boarded,up ,,,,,and,lawn,overgrown,with,weeds. ,,,,,The,weather,vane,atop,the,house,turns,pulled,by,ropes. ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,Look,out!,Mount,Rushmore!,Hard,to ,,,,,,,,,,starboard.,Must,get,the,Spirit,of ,,,,,,,,,,Adventure,over,Mount,Rushmore... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,, ,,,,, ,,,,,Carl,walks,toward,the,voice. ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,Hold,together,old,girl.,How're,my ,,,,,,,,,,dogs,doing?,Ruff,ruff! ,,,,, ,,,,,INT.,DILAPIDATED,HOUSE,HALLWAY,-,CONTINUOUS ,,,,, ,,,,,Carl,squeezes,through,the,broken,door,into,the,foyer.,,He ,,,,,follows,the,voice,toward,the,living,room. ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,All,engines,ahead,full!,Let's,take ,,,,,,,,,,her,up,to,26,000,feet!,Rudders ,,,,,,,,,,eighteen,degrees,towards,the,south. ,,,,, ,,,,,INT.,DILAPIDATED,HOUSE,LIVING,ROOM,-,CONTINUOUS ,,,,, ,,,,,Carl,rounds,the,corner,to,see... ,,,,, ,,,,,ELLIE,an,eight,year,old,girl,her,mussy,red,hair,barely ,,,,,visible,beneath,her,flight,helmet,and,goggles.,Bare,footed, ,,,,,her,overalls,are,patched,and,dirty. ,,,,,The,old,house,has,been,transformed,into,a,make-believe ,,,,,dirigible,cockpit.,Ellie,steers,the,wheel,made,from,a,rusty ,,,,,old,bicycle. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,It's,a,beautiful,day,winds,out,of ,,,,,,,,,,the,east,at,ten,knots. ,,,,,,,,,,Visibility...,unlimited. ,,,,,,,,,,,,(yells,a,command) ,,,,,,,,,,Enter,the,weather,in,the,logbook! ,,,,,The,navigator,(her,hamster),skitters,in,its,cage. ,,,,, ,,,,,Ellie,uses,two,tied-together,Coke,bottles,as,binoculars. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Oh!,There's,something,down,there! ,,,,,,,,,,I,will,bring,it,back,for,science. ,,,,,,,,,,Awwww,it's,a,puppy! ,,,,, ,,,,,Carl,is,distracted,by,the,Muntz,newspaper,clippings,taped,to ,,,,,the,wall. ,,,,, ,,,,,,,,,,,,,,,,YOUNG,ELLIE,(O.S.) ,,,,,,,,,,No,time!,,A,storm!,Lightning!,Hail! ,,,,,Ellie,pops,up,in,front,of,Carl. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,, ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,What,are,you,doing!?! ,,,,, ,,,,,Carl,screams.,He,lets,go,of,his,balloon.,It,floats,through ,,,,,a,broken,part,of,the,ceiling,and,disappears. ,,,,,Ellie,circles,Carl,accusingly. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Don't,you,know,this,is,an,exclusive ,,,,,,,,,,club?,Only,explorers,get,in,here. ,,,,,,,,,,Not,just,any,kid,off,the,street ,,,,,,,,,,with,a,helmet,and,a,pair,of ,,,,,,,,,,goggles.,Do,you,think,you,got,what ,,,,,,,,,,it,takes?,Well,do,you?!? ,,,,, ,,,,,Carl,FUMPHERS. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Alright,you're,in.,Welcome,aboard. ,,,,,She,offers,her,hand.,,Carl,looks,down,embarrassed. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,What's,wrong?,Can't,you,talk? ,,,,,Carl,is,frozen.,,Ellie,softens. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Hey,I,don't,bite. ,,,,,She,takes,off,her,helmet.,,Her,hair,frizzes,out,in,all ,,,,,directions. ,,,,,She,removes,a,homemade,GRAPE,SODA,CAP,pin,from,her,shirt,and ,,,,,pins,it,on,Carl. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,You,and,me,we're,in,a,club,now. ,,,,, ,,,,,Carl,smiles. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,I,saw,where,your,balloon,went. ,,,,,,,,,,Come,on,let's,go,get,it! ,,,,, ,,,,,Carl,watches,her,stride,out,of,the,room.,,She,pops,back,in. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,My,name's,Ellie. ,,,,, ,,,,,She,grabs,his,hand. ,,,,,Carl,blushes,as,she,pulls,him,out,of,the,room. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,, ,,,,, ,,,,, ,,,,,INT.,DILAPIDATED,HOUSE,UPSTAIRS ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,There,it,is. ,,,,, ,,,,,Carl,and,Ellie,look,across,the,attic,at,the,balloon.,Between ,,,,,them,the,floor,has,collapsed,save,one,rickety,beam.,Carl,GULPS. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Well,go,ahead. ,,,,,She,pushes,him,out,onto,the,beam. ,,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Go,on. ,,,,, ,,,,,Carl,steels,his,courage.,He,puts,on,his,goggles,starts ,,,,,forward...,and,FALLS,through,the,floor. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,EXT.,SMALL,TOWN,NEIGHBORHOOD,STREET,-,DAY ,,,,,Ambulance.,,SIREN,blaring. ,,,,, ,,,,, ,,,,,EXT.,CARL'S,HOUSE,-,NIGHT ,,,,,One,lone,light,on,upstairs. ,,,,, ,,,,, ,,,,,INT.,CARL'S,ROOM ,,,,,Carl,in,bed,reading,a,book,by,flashlight,his,arm,in,a,CAST. ,,,,, ,,,,,Into,the,room,floats,Carl's,lost,BLUE,BALLOON. ,,,,,Carl,jumps,and,CALLS,OUT,in,fright. ,,,,, ,,,,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,,,,,,(re:,arm) ,,,,,,,,,,,,Ow! ,,,,, ,,,,,A,head,pops,up,from,outside,the,open,window. ,,,,, ,,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Hey,kid!! ,,,,, ,,,,,Carl,SCREAMS,hitting,himself,in,the,face,with,the,cast. ,,,,, ,,,,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,,,Ow!! ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. ,,,,, ,,,,, ,,,,,Ellie,climbs,in,the,window. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Thought,you,might,need,a,little ,,,,,,,,,,,,cheerin',up.,I,got,somethin',to ,,,,,,,,,,,,show,ya! ,,,,, ,,,,,INT.,CARL'S,ROOM,-,MOMENTS,LATER ,,,,, ,,,,,The,two,hunker,under,a,blanket,tent,with,a,flashlight.,,Ellie ,,,,,whispers,as,if,to,protect,a,National,Secret. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,I,am,about,to,let,you,see,something ,,,,,,,,,,,,I,have,never,shown,to,another,human ,,,,,,,,,,,,being.,Ever.,In,my,life. ,,,,,Carl's,eyes,widen,in,alarm. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,You'll,have,to,swear,you,will,not ,,,,,,,,,,,,tell,anyone. ,,,,,Carl,nods. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Cross,your,heart.,Do,it! ,,,,,Carl,crosses.,,Ellie,unveils... ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,My,Adventure,Book! ,,,,,It's,a,reused,photo,album,with,the,words,"My,Adventure,Book" ,,,,,written,across,it.,She,opens,it,to,a,photo,of,Charles,Muntz. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,You,know,him. ,,,,,Carl,smiles,excitedly. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Charles,Muntz,explorer.,When,I,get ,,,,,,,,,,,,big,I'm,going,where,he's,going: ,,,,,,,,,,,,South,America. ,,,,,She,turns,the,page,to,a,map. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,It's,like,America...,but,south. ,,,,,,,,,,,,Wanna,know,where,I'm,gonna,live? ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. ,,,,, ,,,,, ,,,,,She,turns,to,an,engraving,of,a,large,waterfall.,A,small,hand- ,,,,,drawn,picture,of,Ellie's,clubhouse,is,glued,to,the,top. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,,,(reading,caption) ,,,,,,,,,,,,"Paradise,Falls,a,land,lost,in ,,,,,,,,,,,,time.",I,ripped,this,right,out,of ,,,,,,,,,,,,a,library,book. ,,,,, ,,,,,Carl,GASPS,in,horror. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,I'm,gonna,move,my,clubhouse,there, ,,,,,,,,,,,,and,park,it,right,next,to,the ,,,,,,,,,,,,falls.,Who,knows,what,lives,up ,,,,,,,,,,,,there?,And,once,I,get,there... ,,,,, ,,,,,She,flips,through,her,book,revealing,a,page,marked,"STUFF ,,,,,I'M,GOING,TO,DO.",Past,that,the,pages,are,blank. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Well,I'm,saving,these,pages,for ,,,,,,,,,,,,all,the,adventures,I'm,gonna,have. ,,,,,,,,,,,,Only...,I,just,don't,know,how,I'm ,,,,,,,,,,,,gonna,get,to,Paradise,Falls. ,,,,,Ellie,closes,the,book,disappointed. ,,,,, ,,,,,Carl,has,a,thought.,,He,looks,at,his,toy,dirigible. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,That's,it!,You,can,take,us,there ,,,,,,,,,,,,in,a,blimp!,Swear,you'll,take,us. ,,,,,,,,,,,,Cross,your,heart!,Cross,it!,Cross ,,,,,,,,,,,,your,heart. ,,,,, ,,,,,Carl,does. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Good.,You,promised.,No,backing,out. ,,,,, ,,,,,Carl,shakes,his,head,"no." ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Well,see,you,tomorrow,kid!,,Bye. ,,,,, ,,,,,Ellie,hops,up,and,jumps,out,the,window. ,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,"Adventure,is,out,there!!" ,,,,, ,,,,,She,pops,back,in. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. ,,,,, ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,You,know,you,don't,talk,very,much. ,,,,,,,,,,I,like,you. ,,,,, ,,,,,Carl,looks,out,the,window,after,her,in,amazement.,,He,rests ,,,,,his,head,on,his,balloon. ,,,,, ,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,Wow. ,,,,, ,,,,,The,balloon,pops. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,,INT.,CHURCH,-,DAY ,,,,, ,,,,,FLASH!,A,photo,is,taken,of,the,wedding,couple:,Carl,and ,,,,,Ellie,now,19.,She,jumps,at,him,and,gives,him,a,big,kiss. ,,,,, ,,,,,Ellie's,side,of,the,church,erupts,like,wild,frontiersmen.,,,A ,,,,,gun,shot,is,fired,in,the,air. ,,,,, ,,,,,Carl's,side,rigid,puritans,in,black,clap,politely. ,,,,, ,,,,,EXT.,DILAPIDATED,HOUSE,-,DAY ,,,,, ,,,,,Carl,carries,her,past,a,"SOLD",sign.,,It's,the,same,house ,,,,,where,they,met,as,kids. ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DAY ,,,,,Still,in,their,wedding,clothes:,She,saws,as,he,hammers. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,DAY ,,,,, ,,,,,They,push,two,chairs,into,place,side,by,side,in,the,living,room. ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DAY ,,,,, ,,,,,Ellie,finishes,painting,"Carl,&,Ellie",on,their,MAILBOX. ,,,,,Carl,leans,in,to,admire,her,work,but,leaves,a,messy,paint ,,,,,handprint,on,the,mailbox!,Oh,well;,Ellie,adds,her,handprint ,,,,,as,well.,They,smile. ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DAY ,,,,,Their,house,now,matches,Ellie's,colorful,CLUB,HOUSE,DRAWING ,,,,,from,her,childhood,Adventure,Book. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,, ,,,,, ,,,,, ,,,,,EXT.,RURAL,HILLSIDE,-,DAY ,,,,, ,,,,,They,run,up,a,hillside,together. ,,,,, ,,,,,They,lie,side,by,side,on,a,picnic,blanket.,She,describes,the ,,,,,clouds.,He,watches,as,a,cloud,transforms,into,a,turtle. ,,,,, ,,,,,Carl,closes,his,eyes,and,smiles.,,He's,lucky,to,be,with,her. ,,,,, ,,,,,EXT.,ZOO,-,DAY ,,,,, ,,,,,Ellie,emerges,from,the,South,America,House,dressed,in,her ,,,,,Zookeeper's,uniform. ,,,,, ,,,,,Carl,shows,off,his,new,BALLOON,CART,and,uniform.,Behind,him ,,,,,the,balloons,lift,his,cart,off,the,ground.,Carl,jumps,to ,,,,,catch,it.,She,giggles. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,DAY ,,,,, ,,,,,Carl,and,Ellie,sit,side,by,side,in,their,chairs,reading. ,,,,,Without,looking,up,from,their,books,they,hold,hands. ,,,,, ,,,,,EXT.,RURAL,HILLSIDE,-,DAY ,,,,, ,,,,,Again,at,their,picnic,spot,they,watch,clouds.,Ellie,sees,an ,,,,,elephant,with,wings.,Carl,gives,it,a,try,and,points,out,a ,,,,,BABY.,Ellie,lights,up,excited.,She,sees,ALL,the,clouds,as ,,,,,babies!,Carl,is,stunned...,but,smiles. ,,,,, ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,BABY,ROOM,-,DAY ,,,,, ,,,,,Ellie,finishes,painting,a,wall,mural,of,a,stork,carrying,a ,,,,,bundle,in,its,beak.,Carl,hangs,a,mobile,above,the,crib. ,,,,, ,,,,, ,,,,,INT.,DOCTOR'S,OFFICE,-,AFTERNOON ,,,,,Carl,touches,Ellie's,shoulder,as,the,doctor,explains.,,Ellie ,,,,,drops,her,head,in,her,hands. ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,,Carl,looks,out,the,window.,,Ellie,sits,alone,under,a,tree, ,,,,,the,wind,in,her,hair. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,, ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,YARD,-,AFTERNOON ,,,,, ,,,,,Carl,joins,Ellie.,,He,hands,her,the,Adventure,Book.,She,smiles. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,, ,,,,,Ellie,paints,a,MURAL,of,their,house,atop,Paradise,Falls,over ,,,,,the,mantle.,Carl,organizes,a,compass,map,binoculars,and ,,,,,native,bird,figurine,beneath,the,painting.,It's,their,shrine ,,,,,to,Adventure. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,, ,,,,,Carl,sets,A,JAR,on,a,table,"PARADISE,FALLS",written,on,it. ,,,,,Ellie,drops,in,a,few,coins.,She,looks,at,Carl,and,crosses ,,,,,her,heart.,Carl,crosses,his. ,,,,, ,,,,,A,SERIES,OF,SHOTS ,,,,, ,,,,,The,jar,slowly,fills,as,Carl,and,Ellie,toss,in,spare,change. ,,,,,Their,car,blows,a,tire. ,,,,,The,two,stand,by,the,jar,reluctant.,,Carl,BREAKS,the,jar. ,,,,, ,,,,,New,tire. ,,,,, ,,,,,Carl,in,the,hospital,with,a,broken,leg. ,,,,, ,,,,,Breaking,jar. ,,,,,A,storm,rages.,,A,tree,falls,crushing,the,roof. ,,,,, ,,,,,Breaking,jar. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,FRONT,HALL,-,MORNING ,,,,, ,,,,,Carl,struggles,to,tie,his,tie.,,Ellie,helps.,,They,walk,out ,,,,,the,front,door,arm,in,arm. ,,,,, ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,FRONT,HALL,-,3,YEARS,LATER ,,,,,Ellie,struggles,to,tie,Carl's,tie,as,they,rush,out,the,door. ,,,,, ,,,,,A,SERIES,OF,SHOTS,as,Ellie,straightens,Carl's,ties.,,Stylish ,,,,,1950's,ties.,Wide,60's,ties.,Paisley,70's,ties. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,, ,,,,, ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,FRONT,HALL,-,30,YEARS,LATER ,,,,, ,,,,,Older,Carl,and,Ellie,smile,at,themselves,in,the,hall,mirror. ,,,,, ,,,,,EXT.,ZOO,-,DAY ,,,,, ,,,,,Carl,in,his,60's.,They,still,work,happily,side,by,side,at ,,,,,the,zoo.,Carl's,cart,lifts,off,the,ground.,He,casually ,,,,,leans,an,elbow,on,it. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,NIGHT ,,,,,Carl,and,Ellie,dance,in,the,evening,candlelight.,The ,,,,,PARADISE,FALLS,JAR,sits,off,to,the,side,now,dusty,and ,,,,,forgotten. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,WINDOW,-,AFTERNOON ,,,,,Carl,cleans,the,inside,of,the,window.,,Ellie,cleans,the ,,,,,outside. ,,,,, ,,,,,INT.,CARL'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,, ,,,,,Carl,vacuums,the,Adventure,Shrine,on,the,mantle.,Carl,smiles ,,,,,at,a,photo,of,Ellie,as,a,child,wearing,her,flight,helmet,and ,,,,,goggles.,He,looks,up,at,the,mural,of,their,house,at,Paradise ,,,,,Falls.,His,smile,fades. ,,,,, ,,,,,Behind,him,Ellie,sweeps,the,floor.,,Their,dream,has,gone ,,,,,unfulfilled. ,,,,, ,,,,,Carl,has,an,idea. ,,,,, ,,,,,EXT.,TRAVEL,AGENCY,-,DAY ,,,,, ,,,,,Carl,buys,two,tickets,to,South,America. ,,,,, ,,,,,EXT.,RURAL,HILLSIDE,-,AFTERNOON ,,,,, ,,,,,Carl,hurries,excitedly,up,picnic,hill.,,He,hides,the,airline ,,,,,tickets,in,his,basket. ,,,,,Behind,him,Ellie,falters,and,falls.,,She,tries,to,get,up,but ,,,,,falls,again.,Something,is,wrong. ,,,,, ,,,,,He,runs,to,her. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,, ,,,,, ,,,,, ,,,,,INT.,HOSPITAL,ROOM,-,DAY ,,,,, ,,,,,Ellie,lies,in,a,hospital,bed.,,She,looks,through,her ,,,,,ADVENTURE,BOOK. ,,,,, ,,,,,A,BLUE,BALLOON,floats,in,to,the,room. ,,,,, ,,,,,Carl,stands,at,the,door.,,He,smiles,and,walks,to,her,bedside. ,,,,, ,,,,,Ellie,pushes,her,Adventure,Book,toward,him.,,She,weakly,pats ,,,,,his,cheek,and,adjusts,his,tie. ,,,,, ,,,,,He,kisses,her,on,the,forehead. ,,,,, ,,,,,INT.,CHURCH,-,AFTERNOON ,,,,, ,,,,,Carl,sits,alone,next,to,a,huge,bouquet,of,balloons. ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DUSK ,,,,, ,,,,,Carl,walks,into,the,house,holding,a,single,blue,balloon. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,FADE,TO,BLACK. ,,,,, ,,,,, ,,,,,INT.,CARL'S,BEDROOM,-,MORNING,-,SEVERAL,YEARS,LATER ,,,,,An,ALARM,CLOCK,BUZZES.,,An,aged,hand,shuts,it,off,and,picks ,,,,,up,the,nearby,glasses. ,,,,, ,,,,,CARL,sits,alone,in,his,double,bed.,,He,rubs,his,face.,GRUNTS. ,,,,,He,gets,out,of,bed,STRETCHING,GRUNTING,and,CRACKING,BONES. ,,,,, ,,,,,He,grabs,his,cane,with,four,tennis,balls,stuck,to,the,bottom ,,,,,spokes. ,,,,, ,,,,, ,,,,,INT.,CARL'S,STAIRCASE,-,LATER ,,,,,Now,dressed,Carl,rides,his,ELDERLY,ASSISTANCE,CHAIR,down,the ,,,,,staircase.,This,takes,a,LONG,LONG,time. ,,,,, ,,,,,Three,quarters,of,the,way,down,the,chair,stops.,,He,bangs ,,,,,the,armrest,and,the,chair,restarts. ,,,,, ,,,,,INT.,CARL'S,KITCHEN,-,LATER ,,,,, ,,,,,Carl,eats,breakfast,by,himself. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. ,,,,, ,,,,, ,,,,, ,,,,,INT.,CARL'S,LIVING,ROOM,WINDOW,-,LATER ,,,,, ,,,,,Carl,cleans,the,window,with,a,cloth.,,His,lonely,reflection ,,,,,stares,back,at,him. ,,,,, ,,,,,INT.,CARL'S,LIVING,ROOM,-,LATER ,,,,, ,,,,,Carl,dusts,the,mantle,and,Shrine,to,Adventure. ,,,,, ,,,,, ,,,,,INT.,CARL'S,HOUSE,FRONT,HALL,-,LATER ,,,,,Carl,looks,in,the,hall,mirror.,He,puts,on,his,hat,and ,,,,,considers,his,reflection.,He,straightens,his,GRAPE,SODA,PIN. ,,,,, ,,,,, ,,,,,EXT.,CARL'S,HOUSE,PORCH,-,CONTINUOUS ,,,,,Many,LOCKS,are,heard,unlocking,from,inside. ,,,,,The,door,opens,but,bangs,against,the,safety,chain.,,,Carl ,,,,,GRUMBLES,in,frustration. ,,,,,Carl,opens,the,door,walks,out,onto,his,porch,pulls,the,door ,,,,,shut,and,looks,as,if,he's,about,to,go,somewhere. ,,,,, ,,,,,He,sits,in,his,porch,chair. ,,,,, ,,,,,EXT.,CARL'S,NEIGHBORHOOD,-,CONTINUOUS ,,,,, ,,,,,Carl's,house,is,the,lone,surviving,square,on,the,block,not ,,,,,under,construction.,Machinery,and,workers,circle,busily. ,,,,,High,rise,buildings,are,being,erected,all,around. ,,,,, ,,,,,EXT.,CARL'S,HOUSE,PORCH,-,MORNING ,,,,, ,,,,,Carl,looks,at,the,activity,around,him. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Quite,a,sight,huh,Ellie? ,,,,,,,,,,,,(noticing,mailbox) ,,,,,,,,,,Uhp,mail's,here. ,,,,, ,,,,,Carl,walks,to,the,mailbox.,,He,touches,Ellie's,faded ,,,,,HANDPRINT,and,smiles. ,,,,, ,,,,,He,looks,through,the,mail. ,,,,, ,,,,,He,sees,a,SHADY,OAKS,RETIREMENT,VILLAGE,pamphlet,full,of ,,,,,images,of,happy,old,people.,Carl,scoffs. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. ,,,,, ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Shady,Oaks,Retirement.,,Oh,brother. ,,,,, ,,,,,Carl,notices,DUST,on,his,mailbox. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Hm. ,,,,, ,,,,,He,pulls,up,a,LEAF,BLOWER.,,He,revs,it,and,blasts,off,the,dust. ,,,,, ,,,,,TOM,the,CONSTRUCTION,FOREMAN,notices. ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Hey!,`Morning,Mr.,Fredricksen! ,,,,,,,,,,Need,any,help,there? ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,No.,Yes.,Tell,your,boss,over,there ,,,,,,,,,,that,you,boys,are,ruining,our,house. ,,,,, ,,,,,He,points,across,the,lot,to,a,business,man,in,a,suit,talking ,,,,,on,a,cell,phone,-,the,REAL,ESTATE,DEVELOPER. ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Well,just,to,let,you,know,my,boss ,,,,,,,,,,would,be,happy,to,take,this,old ,,,,,,,,,,place,off,your,hands,and,for ,,,,,,,,,,double,his,last,offer.,Whaddya,say ,,,,,,,,,,to,that? ,,,,,The,leaf,blower,blasts,off,his,hat. ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Uh,I,take,that,as,a,no,then. ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,I,believe,I,made,my,position,to ,,,,,,,,,,your,boss,quite,clear. ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,You,poured,prune,juice,in,his,gas,tank. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Oh,yeah,that,was,good.,Here,let ,,,,,,,,,,me,talk,to,him. ,,,,, ,,,,,Tom,hands,Carl,his,MEGAPHONE. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,,,(in,megaphone) ,,,,,,,,,,You,in,the,suit.,Yes,you.,,,Take,a ,,,,,,,,,,bath,hippy! ,,,,, ,,,,,Tom,grabs,the,megaphone. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. ,,,,, ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,,,(to,Boss,re,Carl) ,,,,,,,,,,I,am,not,with,him! ,,,,,,,,,,,,(to,Carl) ,,,,,,,,,,This,is,serious.,He's,out,to,get ,,,,,,,,,,your,house! ,,,,, ,,,,,Carl,walks,to,his,front,door. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Tell,your,boss,he,can,have,our,house. ,,,,, ,,,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Really? ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,When,I'm,dead! ,,,,,Carl,SLAMS,the,door. ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,I'll,take,that,as,a,maybe! ,,,,, ,,,,,INT.,CARL'S,LIVING,ROOM,-,DAY,-,LATER ,,,,, ,,,,,Carl,sits,in,his,chair,watching,TV. ,,,,, ,,,,,A,KNOCK,at,the,door. ,,,,, ,,,,,EXT.,CARL'S,HOUSE,PORCH,-,DAY ,,,,, ,,,,,The,door,opens. ,,,,,A,Wilderness,Explorer,stands,reading,from,a,Wilderness ,,,,,Explorer,Manual.,He,is,in,uniform,complete,with,sash, ,,,,,neckerchief,hat,and,an,enormous,backpack,stuffed,with,every ,,,,,piece,of,equipment,there,is.,This,is,RUSSELL,age,8. ,,,,,Russell,nose,buried,in,his,MANUAL,reads,to,Carl. ,,,,,,,,,,,,,,,RUSSELL ,,,,,,,,,,"Goo
41	Wall-E	Andrew Stanton,Pete Docter	Animation,Adventure,Comedy,Drama,Family,Romance,Sci-Fi	June_2008	EXT.,SPACE ,,,,, ,,,,,FADE,IN: ,,,,, ,,,,,Stars. ,,,,,The,upbeat,show,tune,Put,On,Your,Sunday,Clothes,plays. ,,,,, ,,,,,"Out,there,there's,a,world,outside,of,Yonkers..." ,,,,, ,,,,,More,stars. ,,,,,Distant,galaxies,constellations,nebulas... ,,,,,A,single,planet. ,,,,,Drab,and,brown. ,,,,,Moving,towards,it. ,,,,,Pushing,through,its,polluted,atmosphere. ,,,,, ,,,,,"...Close,your,eyes,and,see,it,glisten..." ,,,,, ,,,,, ,,,,,EXT.,PLANET'S,SURFACE,-,CONTINUOUS ,,,,, ,,,,,A,range,of,mountains,takes,form,in,the,haze. ,,,,,Moving,closer. ,,,,,The,mountains,are,piles,of,TRASH. ,,,,,The,entire,surface,is,nothing,but,waste. ,,,,, ,,,,,"...We're,gonna,find,adventure,in,the,evening,air..." ,,,,, ,,,,,A,silhouetted,city,in,the,distance. ,,,,,What,looks,like,skyscrapers,turns,into,trash. ,,,,,Thousands,of,neatly,stacked,CUBES,OF,TRASH,stories,high. ,,,,,Rows,and,rows,of,stacked,cubes,like,city,avenues. ,,,,,They,go,on,for,miles. ,,,,, ,,,,, ,,,,,EXT.,AVENUE,OF,TRASH ,,,,, ,,,,,"...Beneath,your,parasol,the,world,is,all,a,smile..." ,,,,, ,,,,,Something,moving,on,the,ground,far,below. ,,,,,A,figure,at,the,foot,of,a,trash,heap. ,,,,,A,SMALL,SERVICE,ROBOT,diligently,cubing,trash. ,,,,,Rusted,ancient. ,,,,,Cute. ,,,,,Every,inch,of,him,engineered,for,trash,compacting. ,,,,, ,,,,,Mini-shovel,hands,collect,junk. ,,,,,Scoop,it,into,his,open,chassis. ,,,,,His,front,plate,closes,slowly,compressing,waste. ,,,,,A,faded,label,on,his,corroded,chest,plate: ,,,,,"Waste,Allocation,Loader,-,Earth,Class",(WALL-E) ,,,,, ,,,,,Wall-E,spits,out,a,cube,of,trash. ,,,,,Stacks,it,with,the,others. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. ,,,,, ,,,,, ,,,,,Something,catches,his,eye. ,,,,,Tugs,on,a,piece,of,metal,stuck,in,the,stack. ,,,,,A,hubcap. ,,,,,The,sun,reflects,off,it. ,,,,,Wall-E,checks,the,sky. ,,,,, ,,,,,ON,TRASH,HEAP,HORIZON ,,,,, ,,,,,The,sun,sets,through,the,smoggy,haze. ,,,,, ,,,,,"...And,we,won't,come,back,until,we've,kissed,a,girl,--" ,,,,, ,,,,,He,places,the,hubcap,in,his,compactor. ,,,,,Presses,a,button,on,his,chest. ,,,,,The,song,stops,playing. ,,,,,The,end,of,a,work,day. ,,,,, ,,,,,Wall-E,attaches,a,lunch,cooler,to,his,back. ,,,,,Whistles,for,his,pet,COCKROACH. ,,,,,The,insect,hops,on,his,shoulder. ,,,,,They,motor,down,from,the,top,of,a,GIANT,TRASH,TOWER. ,,,,, ,,,,, ,,,,,EXT.,AVENUES,OF,TRASH,-,DUSK ,,,,, ,,,,,Wall-E,travels,alone. ,,,,,Traverses,miles,of,desolate,waste. ,,,,,Oblivious,to,roving,storms,of,toxic,weather. ,,,,, ,,,,,Passes,haunting,structures,buried,within,the,trash. ,,,,,Buildings,highways,entire,cities... ,,,,,Everything,branded,with,the,SAME,COMPANY,LOGO. ,,,,,"Buy,N,Large" ,,,,,"BNL",stores,restaurants,banks...transportation! ,,,,,The,corporation,ran,every,aspect,of,life. ,,,,,There's,even,a,BNL,LOGO,on,Wall-E's,chest,plate. ,,,,, ,,,,,CLOSE,ON,NEWSPAPER,Wall-E,drives,over. ,,,,,Headline:,"TOO,MUCH,TRASH!!,Earth,Covered!!" ,,,,,The,deck:,"BNL,CEO,Declares,Global,Emergency!" ,,,,,A,photo,of,the,BNL,CEO,giving,a,weak,smile. ,,,,, ,,,,,Wall-E's,old,treads,are,threadbare. ,,,,,Practically,falling,apart. ,,,,,Cause,a,bumpy,ride,for,his,cockroach. ,,,,,He,passes,the,remains,of,other,RUSTED,WALL-E,UNITS. ,,,,,Fancies,one,with,NEWER,TREADS,than,his,own... ,,,,, ,,,,, ,,,,,EXT.,DESERTED,STREET,-,MOMENTS,LATER ,,,,, ,,,,,Wall-E,now,sports,the,newer,treads. ,,,,,Rolls,past,a,SERIES,OF,HOLOGRAPHIC,BILLBOARDS. ,,,,,The,solar-powered,ads,still,activate,when,he,passes,them. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,BILLBOARD,ANNOUNCER,(V.O.) ,,,,,,,,,,,,,,,,(Ad,#1:,BNL,logo,over,trash) ,,,,,,,,,,,,Too,much,garbage,in,your,face? ,,,,,,,,,,,,,,,,(Ad,#2:,starliner,in,space) ,,,,,,,,,,,,There's,plenty,of,space,out,in,space! ,,,,,,,,,,,,,,,,(Ad,#3:,starliners,take,off ,,,,,,,,,,,,,,,,from,Earth) ,,,,,,,,,,,,BNL,starliners,leaving,each,day. ,,,,,,,,,,,,,,,,(Ad,#4:,WALL-E,units,wave ,,,,,,,,,,,,,,,,goodbye) ,,,,,,,,,,,,We'll,clean,up,the,mess,while,you're ,,,,,,,,,,,,away. ,,,,, ,,,,, ,,,,,EXT.,EDGE,OF,THE,CITY ,,,,, ,,,,,Wall-E,drives,down,a,deserted,overpass. ,,,,,Activates,an,even,LARGER,HOLOGRAPHIC,BILLBOARD. ,,,,, ,,,,,CLOSE,ON,BILLBOARD,AD ,,,,, ,,,,,Shows,off,a,CITY-SIZED,LUXURY,STARLINER. ,,,,,Depicts,passengers,enjoying,all,its,amenities. ,,,,, ,,,,,,,,,,,,,,,,,,,BILLBOARD,ANNOUNCER,(V.O.) ,,,,,,,,,,,,The,jewel,of,the,BNL,fleet:,"The,Axiom". ,,,,,,,,,,,,Spend,your,five,year,cruise,in,style. ,,,,,,,,,,,,Waited,on,24,hours,a,day,by,our,fully ,,,,,,,,,,,,automated,crew,while,your,Captain,and ,,,,,,,,,,,,Autopilot,chart,a,course,for,non-stop ,,,,,,,,,,,,entertainment,fine,dining.,And,with,our ,,,,,,,,,,,,all-access,hover,chairs,even,Grandma,can ,,,,,,,,,,,,join,the,fun!,There's,no,need,to,walk! ,,,,,,,,,,,,"The,Axiom".,Putting,the,"star",in ,,,,,,,,,,,,Executive,Starliner. ,,,,, ,,,,,The,BNL,CEO,appears,at,the,end. ,,,,,Waves,goodbye,as,the,Axiom,takes,off. ,,,,, ,,,,,,,,,,,,,,,,,,,BUY,N,LARGE,CEO ,,,,,,,,,,,,Because,at,BNL,space,is,the,final,"fun"- ,,,,,,,,,,,,tier. ,,,,, ,,,,,The,holographic,billboard,powers,off. ,,,,,Reveals,the,AXIOM'S,DESERTED,LAUNCHPAD,in,the,distance. ,,,,,The,mammoth,structure,sits,across,the,bay. ,,,,,Now,empty,and,dry.,A,polluted,dead,valley. ,,,,, ,,,,,ON,COLLAPSED,BRIDGE,RAMP ,,,,, ,,,,,Near,its,edge,rests,a,WALL-E,UNIT,TRANSPORT,TRUCK. ,,,,,A,giant,child's,Tonka,Truck,left,to,weather,the,elements. ,,,,,A,"Buy,N,Large",logo,on,its,side. ,,,,,Wall-E,approaches,the,rear,of,the,truck. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,, ,,,,, ,,,,,Pulls,on,a,lever. ,,,,,The,back,lowers. ,,,,,Wall-E,motors,up,the,ramp. ,,,,, ,,,,, ,,,,,INT.,TRUCK,-,CONTINUOUS ,,,,, ,,,,,Open,racks,for,storing,WALL-Es,line,both,walls. ,,,,,KNICKKNACKS,OF,FOUND,JUNK,littered,everywhere. ,,,,,The,tired,robot,removes,his,newfound,treads. ,,,,,Ahh...,Home. ,,,,, ,,,,,Wall-E,motors,down,the,center,aisle. ,,,,,Flicks,on,an,ancient,BETAMAX,PLAYER. ,,,,,Jury-rigged,to,an,iPod. ,,,,,Pushes,in,a,cassette,labeled,"Hello,Dolly!" ,,,,,The,image,is,very,poor,quality. ,,,,,Actors,sing,and,dance,to,Put,On,Your,Sunday,Clothes,(POYSC). ,,,,,The,same,song,Wall-E,worked,to. ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,[Hums,POYSC] ,,,,, ,,,,,Wall-E,opens,his,cooler. ,,,,,Newfound,knickknacks. ,,,,,Pulls,out,the,hubcap,from,his,chest. ,,,,,Looks,back,at,the,TV. ,,,,,Mimics,the,dancers,on,the,screen. ,,,,,Pretends,the,hubcap,is,a,hat. ,,,,, ,,,,,Continues,to,unpack: ,,,,,A,spork. ,,,,,A,Rubik's,Cube,(unsolved). ,,,,,A,Zippo,Lighter. ,,,,, ,,,,,He,presses,a,BUTTON,by,the,rack,of,shelves. ,,,,,They,rotate,until,an,empty,space,appears. ,,,,,His,new,items,are,lovingly,added,to,the,shelf. ,,,,,The,Zippo,joins,a,pre-existing,LIGHTER,COLLECTION. ,,,,, ,,,,,A,new,song,It,Only,Takes,A,Moment,plays,on,the,video. ,,,,,Wall-E,is,drawn,to,it. ,,,,,Presses,his,"Record",button. ,,,,, ,,,,,ON,TV,SCREEN ,,,,, ,,,,,Two,lovers,sing,gently,to,one,another. ,,,,,They,kiss...hold,hands... ,,,,, ,,,,,Wall-E,tilts,his,head,as,he,watches. ,,,,,Curious. ,,,,,Holds,his,own,hands. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,EXT.,TRUCK,-,NIGHT ,,,,, ,,,,,Wall-E,motors,outside. ,,,,,Turns,over,his,Igloo,cooler,to,clean,it,out. ,,,,,Pauses,to,take,in,the,night,sky. ,,,,,STARS,struggle,to,be,seen,through,the,polluted,haze. ,,,,,Wall-E,presses,the,"Play",button,on,his,chest. ,,,,,The,newly,sampled,It,Only,Takes,A,Moment,(IOTAM),plays. ,,,,, ,,,,,The,wind,picks,up. ,,,,,A,WARNING,LIGHT,sounds,on,Wall-E's,chest. ,,,,,He,looks,out,into,the,night. ,,,,,A,RAGING,SANDSTORM,approaches,off,the,bay... ,,,,, ,,,,,Unfazed,Wall-E,heads,back,in,the,truck. ,,,,,IOTAM,still,gently,playing. ,,,,, ,,,,,...The,massive,wave,of,sand,roars,closer... ,,,,, ,,,,,Wall-E,raises,the,door. ,,,,,Pauses. ,,,,,WHISTLES,for,his,cockroach,to,come,inside. ,,,,,The,door,shuts,just,as,the,storm,hits. ,,,,,Obliterates,everything,in,view. ,,,,, ,,,,, ,,,,,INT.,TRUCK,-,SAME ,,,,, ,,,,,Wall-E,alone,in,the,center,of,his,shelter. ,,,,,Unwraps,a,BNL,SPONGECAKE,(think,Twinkie). ,,,,,Lays,it,out,for,the,cockroach,to,sleep,in. ,,,,,It,happily,dives,in. ,,,,, ,,,,,Wall-E,collapses,himself,into,a,storable,cube. ,,,,,Backs,into,an,empty,shelf,space. ,,,,,Rocks,it,like,a,cradle... ,,,,,...and,shuts,down,for,the,night. ,,,,,Outside,the,wind,howls,like,the,Hounds,of,Hell. ,,,,, ,,,,, ,,,,,INT.,WALL-E'S,TRUCK,-,NEXT,MORNING ,,,,, ,,,,,Wall-E's,CHARGE,METER,flashes,"WARNING". ,,,,,He,wakes.,Unboxes. ,,,,,Groggy,and,lifeless. ,,,,,Stumbles,outside. ,,,,, ,,,,, ,,,,,EXT.,ROOF,OF,WALL-E'S,TRUCK ,,,,, ,,,,,The,morning,sun. ,,,,,Wall-E,fully,exposed,in,its,light. ,,,,,His,front,panel,splayed,out,like,a,tanning,shield. ,,,,,A,solar,collector. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,, ,,,,, ,,,,, ,,,,,His,CHARGE,METER,chimes,full. ,,,,,Solar,panels,fold,away,into,hiding. ,,,,,Wall-E,now,awake,collects,his,lunch,cooler. ,,,,,Heads,off,to,work. ,,,,,...and,accidentally,runs,over,the,cockroach. ,,,,,Horrified,Wall-E,reverses. ,,,,, ,,,,,Reveals,the,FLATTENED,INSECT,under,his,tread. ,,,,,The,cockroach,simply,pops,back,to,life. ,,,,,No,biggie.,Ready,to,go. ,,,,,Relieved,Wall-E,resumes,their,commute. ,,,,, ,,,,, ,,,,,EXT.,WALL-E'S,WORK,SITE,-,THAT,MORNING ,,,,, ,,,,,A,SERIES,OF,"WALL-E,AT,WORK",MOMENTS: ,,,,, ,,,,,-,CU,of,Wall-E's,hands,digging,into,garbage. ,,,,,,CU,of,trash,being,scooped,into,his,chest,compactor. ,,,,,,A,cube,lands,by,the,cockroach. ,,,,, ,,,,,-,Wall-E,discovers,a,BRA,in,the,garbage. ,,,,,,Unsure,what,it's,for. ,,,,,,Tries,placing,it,over,his,eyes,like,glasses. ,,,,,,Tosses,it,in,his,cooler. ,,,,, ,,,,,-,Wall-E,finds,a,set,of,CAR,KEYS. ,,,,,,Presses,the,remote,lock. ,,,,,,Somewhere,in,the,distance,a,CAR,ALARM,CHIRPS. ,,,,, ,,,,,-,Plays,with,a,paddle,ball. ,,,,,,The,ball,keeps,smacking,him,in,the,face. ,,,,,,He,doesn't,like,it. ,,,,, ,,,,,-,Wall-E,discovers,a,DIAMOND,RING,in,a,JEWEL,CASE. ,,,,,,Throws,out,the,ring.,Keeps,the,case. ,,,,,,The,jewel,case,drops,into,the,cooler,then... ,,,,,,...A,RUBBER,DUCKY... ,,,,,,...A,BOBBLE,HEAD,DOLL... ,,,,,,...An,OLD,BOOT... ,,,,,,...A,TROPHY... ,,,,, ,,,,,-,Wall-E,finds,a,FIRE,EXTINGUISHER. ,,,,,,Activates,it. ,,,,,,FOAM,blasts,in,his,face. ,,,,,,It's,tossed,far,far,away,from,his,cooler. ,,,,, ,,,,,-,Wall-E's,shovel,hand,strikes,something,solid. ,,,,,,Faces,a,REFRIGERATOR,much,larger,than,himself. ,,,,,,Now,what? ,,,,, ,,,,,-,CU,on,fridge,door. ,,,,,,A,WELDING,BEAM,moves,down,its,center. ,,,,,,It,emits,from,between,Wall-E's,SPLIT,BINOCULAR,EYES. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,, ,,,,, ,,,,,,The,door,falls,apart,in,two,pieces.,Reveals... ,,,,, ,,,,,...a,SMALL,PLANT ,,,,, ,,,,,in,its,early,stage,of,growth. ,,,,,Wall-E,is,entranced. ,,,,,Carefully,he,extracts,the,section,of,earth,around,it. ,,,,, ,,,,,CLOSE,ON,IGLOO,COOLER ,,,,, ,,,,,Wall-E,gently,places,the,plant,inside,the,old,boot. ,,,,,Dusts,dirt,off,the,leaves. ,,,,, ,,,,, ,,,,,EXT.,TRUCK,-,DUSK ,,,,, ,,,,,Robot,and,faithful,cockroach,return,home. ,,,,,Wall-E,stops,short,of,the,threshold. ,,,,,Stares,at,the,ground. ,,,,,Continues,staring. ,,,,, ,,,,,A,RED,DOT ,,,,, ,,,,,quivers,on,the,dirt. ,,,,,A,single,laser,point,of,light. ,,,,,Wall-E,moves,to,touch,it... ,,,,, ,,,,,...The,dot,races,along,the,ground. ,,,,, ,,,,,Wall-E,drops,his,Igloo. ,,,,,Chases,after,the,dot. ,,,,, ,,,,, ,,,,,EXT.,EMPTY,BAY ,,,,, ,,,,,The,dot,leads,Wall-E,deep,into,the,polluted,expanse. ,,,,,He,is,so,fixated,on,it,he,doesn't,notice ,,,,, ,,,,,MANY,LASER,POINTS ,,,,, ,,,,,coming,from,every,direction. ,,,,,All,racing,into,the,valley,over,the,contour,of,the,terrain. ,,,,,Triangulating,towards,a,center. ,,,,, ,,,,,Wall-E's,dot,suddenly,stops. ,,,,,Slowly,he,reaches,for,it. ,,,,,Can't,grab,it.,Just,light. ,,,,,ALL,THE,DOTS,converge,in,front,of,him. ,,,,,The,ground,shakes. ,,,,,Wall-E,becomes,confused. ,,,,, ,,,,,Doesn't,see,above,him. ,,,,,The,SUN,growing,brighter,behind,the,cloud,cover. ,,,,,A,noise.,Building. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. ,,,,, ,,,,, ,,,,,Rocket,engines. ,,,,,Wall-E,senses,he,should,look,to,the,sky. ,,,,, ,,,,,Now,THREE,SUNS,are,descending,on,him. ,,,,, ,,,,,Wall-E,runs,for,it. ,,,,,An,enormous,COLUMN,OF,FIRE,blocks,his,path. ,,,,,A,second,column,of,fire. ,,,,,A,third. ,,,,,Trapped. ,,,,, ,,,,,Wall-E,cubes,the,ground,beneath,him. ,,,,,Working,fast. ,,,,,Noise,deafening. ,,,,,Heat,rising. ,,,,,Digs,in,just,as,a,tide,of,flame,carpets,the,ground... ,,,,, ,,,,,...Then,suddenly,quiet. ,,,,,Smoke,clears. ,,,,, ,,,,,CLOSE,ON,THE,SCORCHED,EARTH ,,,,, ,,,,,Wall-E's,head,rises,out,of,the,dirt. ,,,,,Glows,red,hot,from,the,heat. ,,,,,Trembles,with,fright. ,,,,,Everything,in,shadow. ,,,,,Something,very,big,looms,over,him. ,,,,,Wall-E,climbs,out,of,his,hole. ,,,,,Bangs,his,head,on,metal. ,,,,, ,,,,,WIDE,on,a,massive,SPACESHIP. ,,,,,Rests,ominously,in,the,empty,bay. ,,,,, ,,,,,A,PORTAL,on,its,underside,opens. ,,,,,Frightened,Wall-E,tries,to,hide. ,,,,,Nowhere,to,go. ,,,,,He,places,a,SMALL,ROCK,on,his,head.,Boxes,up. ,,,,, ,,,,,A,DEVICE,lowers,to,the,ground,on,a,long,stem. ,,,,,Scans,the,surface. ,,,,, ,,,,,Wall-E,creeps,closer,for,a,better,look. ,,,,,The,device,unfolds. ,,,,,Wall-E,boxes,up,again. ,,,,, ,,,,,A,CAPSULE,descends,from,a,chute,in,the,stem. ,,,,,ROBOT,ARMS,emerge,from,the,device. ,,,,,Place,the,capsule,on,the,ground.,Press,buttons. ,,,,,The,capsule,falls,away,in,sections,to,reveal... ,,,,, ,,,,,...a,PROBE,ROBOT. ,,,,, ,,,,,It,hovers,gracefully,above,the,ground. ,,,,,White.,Egg-shaped. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. ,,,,, ,,,,, ,,,,,Blue-lit,eyes. ,,,,,Female. ,,,,,Eve. ,,,,, ,,,,,Wall-E,is,transfixed. ,,,,,Inches,closer. ,,,,,Watches,Eve,from,behind,the,device. ,,,,,Tilts,his,head. ,,,,,Time,stops. ,,,,,She's,the,most,beautiful,thing,he's,ever,seen. ,,,,, ,,,,,Eve,hovers,over,the,ground. ,,,,,A,BLUE,RAY,emits,from,her,front,panel. ,,,,,Fans,out,180,degrees. ,,,,,Scans,random,objects,and,areas. ,,,,, ,,,,,The,device,rises,back,into,the,ship. ,,,,,Exposes,Wall-E. ,,,,,He,rushes,for,cover,behind,the,nearest,rock. ,,,,,Never,takes,his,eyes,off,Eve. ,,,,,Watches,her,float,away,from,the,ship. ,,,,,...from,the,ship? ,,,,,The,ship! ,,,,, ,,,,,Engines,roar,back,to,life. ,,,,,Wall-E,digging,furiously. ,,,,,The,rocket,takes,off. ,,,,, ,,,,,Smoke,clears. ,,,,,Again,a,red,hot,Wall-E,peeks,out,from,the,ground. ,,,,,Looks,for,Eve. ,,,,,She,is,watching,the,ship,rise,into,the,clouds. ,,,,,Waits,until,it,is,completely,out,of,sight... ,,,,, ,,,,,...then,Eve,rises,high,up,into,the,air. ,,,,, ,,,,,She,flies,around,the,bay. ,,,,,Soars,like,a,graceful,bird. ,,,,,Does,loops,in,the,sky. ,,,,,Zooms,right,past,Wall-E's,rock. ,,,,,He,is,hypnotized. ,,,,, ,,,,,Eve,descends,gently,to,the,ground... ,,,,,Wall-E,sneaks,up,closer. ,,,,,Hides,behind,another,boulder. ,,,,,Slips. ,,,,,Makes,a,NOISE. ,,,,,Instantly,Eve,whips,around. ,,,,,Her,arm,converts,into,a,LASER,CANNON. ,,,,,Blasts,Wall-E's,boulder,to,smithereens. ,,,,, ,,,,,...Smoke,clears...All,quiet. ,,,,, ,,,,,Eve,now,cold,and,dangerous. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. ,,,,, ,,,,, ,,,,,Scans,the,area. ,,,,,No,sign,of,life. ,,,,,All,business,again. ,,,,,Hovers,away,to,probe,more,of,the,planet. ,,,,, ,,,,,ON,OTHER,SIDE,OF,BOULDER,CRATER ,,,,, ,,,,,Wall-E,boxed,up,behind,what,little,remains,of,the,rock. ,,,,,Trembles,uncontrollably. ,,,,, ,,,,, ,,,,,EXT.,AVENUE,OF,TRASH,-,DAY ,,,,, ,,,,,Eve,wanders,through,the,pillars,of,cubed,trash. ,,,,,Scans,random,areas. ,,,,,Wall-E,spies,from,the,shadows. ,,,,,Too,frightened,to,approach. ,,,,,She,moves,on.,He,follows. ,,,,, ,,,,, ,,,,,EXT.,TIRE,DUMP,-,DAY ,,,,, ,,,,,Eve,probes,a,mound,of,tires. ,,,,,Wall-E,hiding,nearby. ,,,,,He,flinches,at,the,sight,of ,,,,, ,,,,,HIS,COCKROACH ,,,,, ,,,,,innocently,approaching,Eve,from,behind. ,,,,,She,spins,around. ,,,,,Blasts,the,insect. ,,,,,Wall-E,is,gut-punched. ,,,,, ,,,,,The,cockroach,climbs,out,of,the,smoking,crater. ,,,,,Unscathed.,Still,curious. ,,,,, ,,,,,Eve,finds,the,insect,intriguing. ,,,,,Lowers,her,arm. ,,,,,The,end,separates,into,individual,hovering,sections... ,,,,, ,,,,,...A,HAND. ,,,,, ,,,,,She,lets,the,insect,crawl,up,her,arm. ,,,,,Wiggles,into,her,workings. ,,,,,It,tickles. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,[Giggles] ,,,,, ,,,,,Wall-E,relaxes. ,,,,,CHUCKLES,privately. ,,,,, ,,,,,Eve,sonically,picks,up,Wall-E's,location. ,,,,,Locks,onto,him. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,, ,,,,, ,,,,,Arm,converts,to,laser,cannon. ,,,,,Fires,rapidly. ,,,,,Quick,glimpses,of,Wall-E,dodging,the,blasts. ,,,,,Trash,piles,are,systematically,obliterated,around,him. ,,,,, ,,,,,Wall-E,now,exposed. ,,,,,Nowhere,to,hide. ,,,,,Boxes,himself,up.,Shakes,uncontrollably. ,,,,,Eve,holds,her,fire. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(electronic,hums) ,,,,,,,,,,,,[Identify,yourself.] ,,,,, ,,,,,She,slowly,approaches,Wall-E's,box. ,,,,,Keeps,her,gun,trained,on,him. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(electronic,hums) ,,,,,,,,,,,,[Repeat.,Identify,yourself.] ,,,,, ,,,,,Wall-E,peeks,out,from,his,box. ,,,,,Doesn't,understand,a,thing,she,says. ,,,,,Doesn't,care. ,,,,,Can't,believe,she's,real. ,,,,,The,cockroach,climbs,down,her,gun,arm. ,,,,,Jumps,onto,his,master. ,,,,, ,,,,,Eve,scans,Wall-E. ,,,,,A,RED,LIGHT,appears,on,her,chest. ,,,,,Buzzes,"negative". ,,,,,He's,not,what,she's,looking,for. ,,,,,She,retracts,her,gun,arm. ,,,,,Hovers,off. ,,,,,Wall-E,watches,her,go.,Lovestruck. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,[Sigh.] ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,, ,,,,,INT.,ABANDONED,BNL,SUPERSTORE,-,NEXT,DAY ,,,,, ,,,,,LOUIS,ARMSTRONG'S,"LA,VIE,EN,ROSE",PLAYS ,,,,, ,,,,,Eve,scans,through,the,market. ,,,,,Wall-E,follows,from,a,safe,distance. ,,,,,A,stray,puppy-dog. ,,,,, ,,,,,Eve,glances,over,at,him. ,,,,,Wall-E,panics. ,,,,,Bumps,into,a,RACK,OF,SHOPPING,CARTS. ,,,,,Creates,an,avalanche. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,, ,,,,, ,,,,,They,chase,him,down,a,flight,of,stairs. ,,,,,Wall-E,reaches,the,exit,doors. ,,,,,Won't,open! ,,,,,Carts,pig,pile,on,top,of,him. ,,,,, ,,,,, ,,,,,EXT.,BNL,REFINERY,-,NIGHT ,,,,, ,,,,,Wall-E,perched,on,the,roof. ,,,,,Patiently,watches,Eve,fly. ,,,,,She,scans,the,ground,below,her,like,a,searchlight. ,,,,, ,,,,,Eve,comes,in,for,a,landing,below. ,,,,,Shuts,down,for,the,night. ,,,,,Wall-E,waits. ,,,,,Quietly,sneaks,down,the,refinery,fire,escape. ,,,,,Accidentally,trips.,Tumbles,to,the,ground. ,,,,,Eve,doesn't,wake. ,,,,,Wall-E,creeps,up,to,her. ,,,,,Opens,his,arms,wide... ,,,,,...and,measures,her. ,,,,,Turns,to,a,pile,of,trash. ,,,,,Splits,open,his,eyes.,Begins,welding,something... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,, ,,,,,EXT.,BNL,REFINERY,-,NEXT,MORNING ,,,,, ,,,,,Eve,powers,up,again. ,,,,,Does,a,double,take. ,,,,,A,TRASH,SCULPTURE,OF,EVE,stands,in,front,of,her. ,,,,,She,hovers,away,unimpressed. ,,,,,Doesn't,notice,Wall-E,hiding,behind,a,PILE,OF,PIPES. ,,,,,Wall-E,kicks,the,pipes,in,frustration. ,,,,,They,roll,on,top,of,him. ,,,,, ,,,,,SONG,ENDS ,,,,, ,,,,,MONTAGE,OF,EVE,SEARCHING ,,,,, ,,,,,-,Scans,a,car,engine. ,,,,,,Negative. ,,,,,,Slams,the,hood,shut. ,,,,, ,,,,,-,Scans,a,Port-A-Potty. ,,,,,,Negative. ,,,,,,Slams,the,door,shut. ,,,,, ,,,,,-,Scans,an,Apollo,capsule. ,,,,,,Negative. ,,,,,,Slams,the,hatch,shut. ,,,,, ,,,,,-,Scans,a,FREIGHTER,HOLD. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,, ,,,,, ,,,,,,Negative. ,,,,,,Slams,the,lid,shut. ,,,,, ,,,,, ,,,,,EXT.,DERELICT,SHIPYARD,-,DUSK ,,,,, ,,,,,Eve,hovers,over,the,freighter. ,,,,,Frustrated. ,,,,,Not,finding,what,she's,looking,for. ,,,,,Wall-E,eavesdrops,from,afar. ,,,,, ,,,,,Eve,flies,past,the,ship's,CRANE,MAGNET. ,,,,,Gets,stuck. ,,,,,Wrestles,to,free,herself. ,,,,,Furious,she,BLOWS,UP,THE,ENTIRE,SHIP. ,,,,,The,reaction,startles,Wall-E. ,,,,, ,,,,,Eve,slumps,down,against,a,dredged,anchor. ,,,,,She,gives,up. ,,,,,Concerned,Wall-E,cautiously,approaches. ,,,,,Sits,at,the,other,end,of,the,anchor. ,,,,,Both,robots,stare,silently,at,the,fiery,wreck. ,,,,,Then... ,,,,,...slowly,very,slowly,Wall-E,inches,towards,her. ,,,,,Musters,the,courage,to,speak,when,-- ,,,,,She,suddenly,turns,to,him: ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(hums) ,,,,,,,,,,,,[So,what's,your,story?] ,,,,, ,,,,,Wall-E,falls,backwards,with,surprise. ,,,,,Me? ,,,,,Eve,scrolls,through,a,variety,of,languages: ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(German) ,,,,,,,,,,,,[Directive?] ,,,,,,,,,,,,,,,,(Japanese) ,,,,,,,,,,,,[Directive?] ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,[Huh?] ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(Swahili) ,,,,,,,,,,,,[Directive?] ,,,,,,,,,,,,,,,,(English) ,,,,,,,,,,,,Directive? ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[Oh,I,understand,that!] ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Directive? ,,,,, ,,,,,Wall-E,eagerly,turns,to,some,nearby,trash. ,,,,,Scoops,it,into,his,compactor. ,,,,,Proudly,spits,out,a,cube. ,,,,,Points,to,Eve. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(struggles,to,speak) ,,,,,,,,,,,,Di...rec...t-- ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Directive? ,,,,, ,,,,,Wall-E,nods. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Classified. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[Oh.,Sorry.] ,,,,, ,,,,,She,scans,his,CHEST,LOGO. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Name? ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(struggles,again) ,,,,,,,,,,,,W-wally?,...Wall-E. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(smooth;,almost,perfect) ,,,,,,,,,,,,Wwww-aaaa-leee... ,,,,, ,,,,,Wall-E,nearly,melts. ,,,,,She,says,his,name,so,beautifully. ,,,,,Moves,closer. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Wall-E. ,,,,,,,,,,,,,,,,,(giggles) ,,,,,,,,,,,,Eve. ,,,,, ,,,,,Wall-E,tries,to,repeat,it: ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eeee...? ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,,(slower) ,,,,,,,,,,,,Eve. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eeeaaah? ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Eeeve.,Eeeve. ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eee--vah! ,,,,, ,,,,,She,giggles,again. ,,,,,Wall-E,likes,making,her,giggle. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eee-vah!,Ee,-- ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Eve. ,,,,, ,,,,,The,wind,kicks,up. ,,,,,The,WARNING,LIGHT,sounds,on,Wall-E's,chest. ,,,,,He,moves,to,grab,her. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,(Gasp!),Eee-vah! ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(hums) ,,,,,,,,,,,,[Hey,watch,it!,Don't,come,any,closer!] ,,,,, ,,,,,She,draws,her,gun,on,him. ,,,,,Doesn't,understand,the,danger. ,,,,,The,sandstorm,rushes,up,behind,her. ,,,,,Too,late. ,,,,,Wall-E,collapses,into,a,box. ,,,,,The,storm,hits,full,force. ,,,,,Eve,is,instantly,lost,disoriented. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Wall-E?,Wall-E? ,,,,, ,,,,,WALL-E'S,HAND,appears,out,of,the,dust. ,,,,,Calmly,takes,Eve's,hand. ,,,,, ,,,,, ,,,,,INT.,TRUCK,-,MOMENTS,LATER ,,,,, ,,,,,The,back,door,lowers. ,,,,,A,rush,of,wind,and,sand. ,,,,,Wall-E,pulls,Eve,inside.,Closes,the,door. ,,,,,She,coughs,up,dust. ,,,,, ,,,,,Wall-E,hits,a,switch... ,,,,,Strings,of,CHRISTMAS,LIGHTS,fill,the,space. ,,,,,His,racks,of,oddities,painted,in,colored,light. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. ,,,,, ,,,,, ,,,,,An,air,of,enchantment. ,,,,,Eve,is,taken,aback. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[Come,on,in.] ,,,,, ,,,,,She,drifts,through,the,sea,of,knickknacks. ,,,,,Becomes,spooked,by,a,SINGING,BILLY,BASS,FISH. ,,,,,Threatens,to,shoot,it,but,Wall-E,calms,her,down. ,,,,,He,is,compelled,to,show,her,everything. ,,,,,Hands,her,an,eggbeater... ,,,,,...bubble,wrap,(so,infectious,to,pop)... ,,,,,...a,lightbulb,(lights,when,she,holds,it)... ,,,,,...the,Rubik's,Cube,(she,solves,it,immediately)... ,,,,,...his,Hello,Dolly,tape. ,,,,,Curious,she,begins,unspooling,the,tape. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(loud,beeps) ,,,,,,,,,,,,[My,tape!!] ,,,,, ,,,,,He,grabs,it,back.,Protective. ,,,,,Inserts,it,carefully,into,the,VCR.,Please,still,work. ,,,,,The,movie,eventually,appears,on,the,TV. ,,,,,Plays,a,clip,of,POYSC. ,,,,,Wall-E,is,relieved. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[What,do,you,think?] ,,,,, ,,,,,Mimics,the,dancing,for,Eve. ,,,,,Encourages,her,to,try. ,,,,,She,clumsily,hops,up,and,down. ,,,,,Makes,dents,in,the,floor.,Rattles,everything. ,,,,,Wall-E,politely,stops,her. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[How,`bout,we,try,a,different,move?] ,,,,, ,,,,,Spins,in,a,circle.,Arms,out. ,,,,,Eve,copies. ,,,,,Spins,faster,and,faster... ,,,,,Too,fast. ,,,,,Accidentally,strikes,Wall-E.,He,flies,into,the,shelves. ,,,,, ,,,,,Eve,helps,him,up,from,the,mess. ,,,,,Wall-E's,LEFT,BINOCULAR,EYE,falls,off. ,,,,,Dangles,from,two,wires. ,,,,,Eve,GASPS,with,concern. ,,,,,Wall-E,placates,her. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[It's,fine.] ,,,,, ,,,,,Feels,his,way,to,the,rack,of,shelves. ,,,,,Rotates,them,until... ,,,,,...SPARE,WALL-E,PARTS,appear. ,,,,,Replaces,his,broken,eye,with,a,new,one. ,,,,,Eve,is,relieved. ,,,,, ,,,,,She,eyes,his,LIGHTER,COLLECTION. ,,,,,Flicks,open,a,Zippo.,Ignites,a,FLAME. ,,,,,Wall-E,freezes. ,,,,,He,had,no,idea,it,could,do,that. ,,,,,Moves,closer,to,inspect,it... ,,,,, ,,,,,ON,WALL-E ,,,,, ,,,,,It's,the,closest,he's,ever,been,to,Eve. ,,,,,She,remains,focused,on,the,lighter. ,,,,,Wall-E,stares,up,at,her. ,,,,,...The,tiny,flame,flickering,between,them... ,,,,,...The,Hello,Dolly,video,plays,IOTAM,in,the,background... ,,,,,Suddenly,he,is,moved,to,express,his,love. ,,,,,Musters,the,courage,to,open,his,fingers... ,,,,,...Timidly,reaches,his,hand,out,to,hers... ,,,,, ,,,,,--,Eve,turns,and,looks,at,him. ,,,,, ,,,,,Wall-E,instantly,chokes. ,,,,,Pulls,his,hand,back. ,,,,,Eve,becomes,intrigued,with,the,TV. ,,,,,Scans,the,image,of,the,lovers,singing,IOTAM... ,,,,,Wall-E,watches,her. ,,,,,His,infatuation,still,palpable. ,,,,,Then,he,remembers... ,,,,, ,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Ee-vah! ,,,,, ,,,,,He,rushes,to,his,shelves. ,,,,,Eve,watches,him,rummage,through,junk. ,,,,,A,drum,falls,down,on,his,head. ,,,,,She,giggles,charme
42	Zootopia	Jared Bush,Phil Johnston	Animation,Adventure,Comedy	March_2016	Story,by ,,,,,,,,,,,,,,,,,,,,,,,,,,,Byron,Howard,Rich,Moore, ,,,,,,,,,,,,,,,,,,,Jared,Bush,Jim,Reardon,Josie,Trinidad, ,,,,,,,,,,,,,,,,,,,,,,,,Phil,Johnston,and,Jennifer,Lee ,,IN,BLACK,-- ,,We,hear,the,feral,primeval,sounds,of,a,jungle,at,night.,A ,,timpani,bangs,an,ominous,beat. ,,FADE,IN,ON: ,,A,JUNGLE,-,NIGHT ,,A,BUNNY,nervously,walks,through,the,dark,foreboding,forest, ,,frightened,by,every,shadow,and,moving,leaf. ,,,,,,,,,,YOUNG,JUDY,(V.O.) ,,,,,Fear.,Treachery.,Bloodlust! ,,,,,Thousands,of,years,ago,these,were ,,,,,the,forces,that,ruled,our,world.,A ,,,,,world,where,prey,were,scared,of ,,,,,predators.,And,predators,had,an ,,,,,uncontrollable,biological,urge,to ,,,,,maim,and,maul,and... ,,The,timpani,crescendos.,A,JAGUAR,leaps,out,of,the,shadows, ,,attacks,the,bunny,who,screams-- ,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,INSIDE,A,BARN,-,A,JUNGLE,(SET),-,NIGHT ,,The,action,continues--,as,imagined,by,an,amateur,stage ,,production. ,,,,,,,,,,YOUNG,JUDY ,,,,,Blood,blood,blood! ,,Reams,of,red,papier,m?ch?,entrails,ooze,from,the,bunny.,And ,,when,those,run,out--,projectile,ketchup. ,,Reveal:,These,are,ANIMAL,KID,ACTORS.,The,bunny,JUDY,HOPPS, ,,10,is,our,hero.,And,this,is,her,play,being,staged.,A,banner ,,reads:,CARROT,DAYS,TALENT,SHOW! ,,,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,And,death. ,,The,CROWD,looks,on,confused.,The,music,goes,discordant,as ,,BOBBY,CATMULL,a,bobcat,bangs,a,drum. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,Back,then,the,world,was,divided,in ,,,,,two.,Vicious,predator,or,Meek,prey. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. TWO,BOXES,drop,down,labeled,VICIOUS,PREDATOR,and,MEEK,PREY. The,PREDATOR,box,lands,on,the,jaguar.,The,MEEK,PREY,box,lands on,Judy.,Her,entrails,get,stuck,outside,the,box.,She,drags them,underneath,with,her. ,,,,,,,,,,YOUNG,JUDY,(O.S.),(CONT'D) ,,,,,But,over,time,we,evolved,and ,,,,,moved,beyond,our,primitive,savage ,,,,,ways. A,YOUNG,SHEEP,wearing,a,white,muumuu,and,a,cardboard,rainbow on,his,head,does,an,improvisational,dance,across,the,stage. Judy,and,the,jaguar,burst,out,of,their,boxes,now,wearing white,muumuus,too. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,Now,predator,and,prey,live,in ,,,,,harmony. Judy,and,the,jaguar,shake,hands,as,the,sheep,throws,glitter. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,And,every,young,mammal,has ,,,,,multitudinous,opportunities. ,,,,,,,,,,ASTRONAUT,SHEEP ,,,,,Yeah,I,don't,have,to,cower,in,a ,,,,,herd,anymore. The,Jaguar,rips,off,his,muumuu.,She's,wearing,a,homemade astronaut,costume. ,,,,,,,,,,ASTRONAUT,SHEEP,(CONT'D) ,,,,,Instead,I,can,be,an,astronaut. Catmull,plays,a,slide,whistle. ,,,,,,,,,,ACTUARY,JAGUAR ,,,,,I,don't,have,to,be,a,lonely,hunter ,,,,,any,more. The,Jaguar,rips,off,his,muumuu.,He's,dressed,in,a,suit. ,,,,,,,,,,ACTUARY ,,,,,Today,I,can,hunt,for,tax ,,,,,exemptions.,I'm,gonna,be,an ,,,,,actuary! ,,,,,,,,,,YOUNG,JUDY ,,,,,And,I,can,make,the,world,a,better ,,,,,place!,I,am,going,to,be... Catmull,plays,a,70s-style,cop,show,theme,on,the,boom,box. Judy,rips,off,her,muumuu,revealing,a,POLICE,OFFICER,UNIFORM. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,A,police,officer! Judy's,parents,BONNIE,&,STU,look,stunned.,A,mean,fox,kid, GIDEON,GREY,snickers.,He's,sitting,next,to,a,WEASEL,KID. ,,,,,,,,,,GIDEON,GREY ,,,,,Bunny,cop.,That,is,the,most ,,,,,stupidest,thing,I,ever,heard. ,,,,,,,,,,YOUNG,JUDY ,,,,,It,may,seem,impossible,to,small ,,,,,minds-- ,,,,,,,(points,at,Gideon) ,,,,,I'm,looking,at,you,Gideon,Grey. Catmull,drops,down,a,backdrop,showing,a,bright,city,skyline. He,hits,play,on,an,uplifting,song. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,But,just,211,miles,away,stands,the ,,,,,great,city,of,Zootopia!,Where,our ,,,,,ancestors,first,joined,together,in ,,,,,peace,and,declared,that,anyone,can ,,,,,be,anything!,Thank,you,and,good ,,,,,night! Judy,gives,a,mighty,thespian,bow,to,the,sound,of,Catmull,on organ.,The,audience,applauds.,Judy's,parents,look,concerned. EXT.,CARROT,DAYS,FESTIVAL,-,LATER,THAT,DAY A,festival,replete,with,food,booths,games,and,rides--,all aggressively,carrot-themed.,Judy,in,her,Cop,Costume,bounces along,with,her,folks.,We,catch,their,conversation,mid-stream. ,,,,,,,,,,STU,HOPPS ,,,,,Judy,you,ever,wonder,how,your,mom ,,,,,and,me,got,to,be,so,darn,happy? ,,,,,,,,,,YOUNG,JUDY ,,,,,Nope. ,,,,,,,,,,STU,HOPPS ,,,,,Well,we,gave,up,on,our,dreams,and ,,,,,we,settled,right,Bon? ,,,,,,,,,,BONNIE,HOPPS ,,,,,Oh,yes,that's,right,Stu.,We ,,,,,settled,hard. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,,,,,,,STU,HOPPS ,,,,,See,that's,the,beauty,of ,,,,,complacency,Jude.,If,you,don't,try ,,,,,anything,new,you'll,never,fail. ,,,,,,,,,,YOUNG,JUDY ,,,,,I,like,trying,actually. ,,,,,,,,,,BONNIE,HOPPS ,,,,,What,your,father,means,hon,is ,,,,,it's,gonna,be,difficult-- ,,,,,impossible,even--,for,you,to,become ,,,,,a,police,officer. ,,,,,,,,,,STU,HOPPS ,,,,,Right.,There's,never,been,a,bunny ,,,,,cop. ,,,,,,,,,,BONNIE,HOPPS ,,,,,No. ,,,,,,,,,,STU,HOPPS ,,,,,Bunnies,don't,do,that. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Never. ,,,,,,,,,,STU,HOPPS ,,,,,Never. ,,,,,,,,,,YOUNG,JUDY ,,,,,Oh.,Then,I,guess,I'll,have,to,be ,,,,,the,first,one.,Because,I,am,gonna ,,,,,make,the,world... ,,,,,,,(parkours,against,a ,,,,,,,,vendor's,stand) ,,,,,A,better,place! ,,,,,,,,,,STU,HOPPS ,,,,,OR...,um,heck,you,wanna,talk ,,,,,about,making,the,world,a,better ,,,,,place-- The,trio,arrives,at,the,Hopps,Family,Farm,carrot,booth,which is,manned,by,too,many,children,to,count. ,,,,,,,,,,STU,HOPPS,(CONT'D) ,,,,,--no,better,way,to,do,it,than ,,,,,becoming,a,carrot,farmer. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Yes!,Your,dad,me,your,275 ,,,,,brothers,and,sisters--,we're ,,,,,changing,the,world. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,,,,,,,STU,HOPPS ,,,,,Yep. ,,,,,,,,,,BONNIE,HOPPS ,,,,,One,carrot,at,a,time... ,,,,,,,,,,STU,HOPPS ,,,,,Amen,to,that.,Carrot,farming,is,a ,,,,,noble,profession. Judy,spots,GIDEON,GREY,stalking,some,SMALL,ANIMALS.,She remains,fixed,on,Gideon,as,Stu,and,Bonnie,yap,on,obliviously. ,,,,,,,,,,BONNIE,HOPPS,(O.S.) ,,,,,Mmm,hmm.,Just,putting,the,seeds,in ,,,,,the,ground. ,,,,,,,,,,STU,HOPPS,(O.S.) ,,,,,Ahh,at,one,with,the,soil. We're,back,on,Bonnie,and,Stu's,conversation,now. ,,,,,,,,,,BONNIE,HOPPS ,,,,,You,get,it.,I,mean,it's,great,to ,,,,,have,dreams. ,,,,,,,,,,STU,HOPPS ,,,,,Yeah,just,as,long,as,you,don't ,,,,,believe,in,em,too,much. ,,,,,,,(finally,noticing,Judy's ,,,,,,,,absence) ,,,,,Where,in,the,heck'd,she,go? ACROSS,THE,FAIR...,From,behind,a,tree,Judy,watches,as,Gideon Grey,intimidates,the,astronaut,sheep,SHARLA. ,,,,,,,,,,GIDEON,GREY ,,,,,Gimme,your,tickets,right,now,or ,,,,,I'm,gonna,kick,your,meek,little ,,,,,sheep,butt. ,,,,,,,,,,SHARLA ,,,,,Ow!,Cut,it,out,Gideon! ,,,,,,,,,,GIDEON,GREY ,,,,,Baa-baa.,What're,ya,gonna,do,cry? Gideon,swipes,Sharla's,fair,tickets. ,,,,,,,,,,YOUNG,JUDY,(O.S.) ,,,,,Hey! Judy,charges,toward,the,danger. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,You,heard,her.,Cut,it,out. Gideon,turns.,There's,Judy,projecting,the,image,of,a,tiny Clint,Eastwood. ,,,,,,,,,,GIDEON,GREY ,,,,,Nice,costume,loser.,What,crazy ,,,,,world,are,you,living,in,where,you ,,,,,think,a,bunny,could,be,a,cop? ,,,,,,,,,,YOUNG,JUDY ,,,,,Kindly,return,my,friends',tickets. Gideon,pats,the,tickets,in,his,pocket. ,,,,,,,,,,GIDEON,GREY ,,,,,Come,and,get,`em....,But,watch,out, ,,,,,`cause,I'm,a,fox--,and,like,you ,,,,,said,in,your,dumb,little,stage ,,,,,play,us,predators,used,to,eat ,,,,,prey.,And,that,killer,instinct's ,,,,,still,in,our,Dunnahh. ,,,,,,,,,,TRAVIS,THE,WOLF,HENCHMAN,KID ,,,,,,,(sotto,to,Gideon) ,,,,,Uh,I'm,pretty,much,sure,it's ,,,,,pronounced,D-N-A. ,,,,,,,,,,GIDEON,GREY ,,,,,Don't,tell,me,what,I,know,Travis. ,,,,,,,,,,YOUNG,JUDY ,,,,,You,don't,scare,me,Gideon. Gideon,shoves,Judy.,Hard.,She,falls.,The,other,prey,animals flee,to,safety,behind,a,nearby,tree,leaving,her,to,face,the thugs,alone. ,,,,,,,,,,GIDEON,GREY ,,,,,You,scared,now? Judy,starts,to,tear,up.,Her,nose,starts,to,twitch. ,,,,,,,,,,TRAVIS,THE,WOLF,HENCHMAN,KID ,,,,,Lookit,her,nose,twitch.,She,is ,,,,,scared! ,,,,,,,,,,GIDEON,GREY ,,,,,Cry,little,baby,bunny.,Cry,cry,-- Suddenly--,BAM!,Judy,kicks,Gideon,in,the,face,with,her,hind legs.,He,stumbles,back,then,checks,his,lip,for,blood. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,,,,,,,GIDEON,GREY,(CONT'D) ,,,,,Oh,you,don't,know,when,to,quit,do ,,,,,ya? He,unsheathes,his,claws,like,a,switchblade,then,slaps,her, drawing,blood,from,her,cheek.,She,cowers,as,do,her,scared friends,behind,the,tree. ,,,,,,,,,,GIDEON,GREY,(CONT'D) ,,,,,I,want,you,to,remember,this,moment-- ,,,,,the,next,time,you,think,you,will ,,,,,ever,be,anything,more,than,just,a ,,,,,stupid,carrot,farming,dumb,bunny. Gideon,and,his,pal,head,off,laughing,and,high-fiving.,The prey,animals,run,back,over,to,Judy,who,wipes,the,blood,from her,cheek.,She,fights,tears,defeated. ,,,,,,,,,,GARETH,THE,DOUBTING,SHEEP,BOY ,,,,,That,looks,bad. ,,,,,,,,,,SHARLA ,,,,,Are,you,okay,Judy? ,,,,,,,,,,YOUNG,JUDY ,,,,,Yeah...,Yeah,I'm,okay. Judy,smiles,and,then,whips,out,the,tickets,as,she,gets,up. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,Here,you,go. ,,,,,,,,,,SHARLA ,,,,,Wow!,You,got,our,tickets! ,,,,,,,,,,GARETH,THE,DOUBTING,SHEEP,BOY ,,,,,You're,awesome,Judy! ,,,,,,,,,,SHARLA ,,,,,Yeah!,That,Gideon,Grey,doesn't,know ,,,,,what,he's,talkin',`bout. ,,,,,,,,,,YOUNG,JUDY ,,,,,Well,he,was,right,about,one ,,,,,thing... Judy,picks,up,the,cop,hat,puts,it,on,her,head. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,I,don't,know,when,to,quit. ,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. EXT.,POLICE,ACADEMY,TRAINING,FACILITY,-,DAY Hopps,and,the,comparatively,huge,CADETS,sit,in,a,circle,as MAJOR,FRIEDKIN,an,intimidating,drill,instructor,lectures. ,,,,,,,,,,MAJOR,FRIEDKIN ,,,,,Listen,up,Cadets!,Zootopia,has,12 ,,,,,unique,ecosystems,within,its,city ,,,,,limits--,Tundra,Town,Sahara ,,,,,Square,Rainforest,District,to ,,,,,name,a,few.,You're,gonna,have,to ,,,,,master,all,of,them,before,you,hit ,,,,,the,streets--,or,guess,what? ,,,,,,,(to,Hopps) ,,,,,You'll,be,dead! IN,SAHARA,SQUARE,SIMULATOR: Hopps,struggles,through,the,sand. ,,,,,,,,,,MAJOR,FRIEDKIN(CONT'D) ,,,,,Scorching,sandstorm.,You're,dead, ,,,,,bunny,bumpkin! ON,THE,VINE-COVERED,MONKEY,BARS: Hopps,swings,across,the,bars,simulating,the,RAINFOREST DISTRICT.,She,falls,off,landing,face,first,in,the,mud. ,,,,,,,,,,MAJOR,FRIEDKIN,(O.S.),(CONT'D) ,,,,,1000,foot,fall.,You're,dead,carrot ,,,,,face! TUNDRA,TOWN,ICE,WALL: Judy,and,the,cadets,sprint,toward,the,wall.,The,CLAWED ANIMALS,dig,into,the,ice,wall.,Hopps,slides,off. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,Frigid,ice,wall.,You're,dead,farm ,,,,,girl! IN,THE,BOXING,RING: Hopps,gets,in,the,ring,with,a,BIG,BISON. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,E-normous,criminal. Hopps,gets,punched,in,the,nose. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,You're,dead! ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. THREE,QUICK,CUTS,OF,FAILURE: ,,,,,,,,,,MAJOR,FRIEDKIN,(O.S.),(CONT'D) ,,,,,Dead!,/,Dead!,/,Dead! IN,THE,TOILET: Hopps,ruses,into,a,stall.,The,toilet,is,considerably,larger than,she,is.,She,shuts,the,door.,We,see,her,climb,up,the toilet.,In,the,next,stall,we,see,the,feet,of,a,Hippo. Then,KERSPLASH!,Hopps,falls,into,the,toilet. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,Filthy,toilet.,You're,dead,fluff ,,,,,butt! HOPPS,ON,HER,OWN-- She,runs,at,sunset--,after,everyone,else,has,called,it,a,day. We,HEAR,the,drill,instructor's,voice,echoing,in,her,mind. ,,,,,,,,,,MAJOR,FRIEDKIN,(V.O.),(CONT'D) ,,,,,Just,quit,and,go,home,fuzzy,bunny! Then,those,of,her,parents... ,,,,,,,,,,STU,HOPPS,(V.O.) ,,,,,There's,never,been,a,bunny,cop. ,,,,,,,,,,,BONNIE,HOPPS,(V.O.) ,,,,,Never. ,,,,,,,,,,,STU,HOPPS,(V.O.) ,,,,,Never. Then,Gideon's... ,,,,,,,,,,GIDEON,GREY,(V.O.) ,,,,,Just,a,stupid,carrot,farming,dumb ,,,,,bunny. OVERNIGHT,IN,THE,BARRACKS: Hopps,stays,up,late,studying,doing,sit,ups. ON,THE,ICE,WALL: Hopps,bounds,up,the,wall,jumps,off,of,the,backs,of,the,big animals,and,makes,it,over,impressing,the,Major,Friedkin. IN,THE,RING: ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. Hopps,dodges,a,few,swings.,The,Bison,misses.,Hopps,bounds over,him,and,uses,his,momentum--,kicking,his,other,hand,into his,face,knocking,him,down. ,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: EXT.,POLICE,ACADEMY,-,DAY It's,graduation,day.,MAYOR,LIONHEART,is,at,the,podium. ,,,,,,,,,,LIONHEART ,,,,,As,Mayor,of,Zootopia,I,am,proud,to ,,,,,announce,that,my,Mammal,Inclusion ,,,,,Initiative,has,produced,its,first ,,,,,police,academy,graduate. Judy,stands,proudly,in,her,cop,uniform. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,Valedictorian,of,her,class,ZPD's ,,,,,very,first,rabbit,officer...,Judy ,,,,,Hopps. Judy,walks,to,the,stage,as,those,in,attendance,cheer--,her FAMILY,chief,among,them.,ASSISTANT,MAYOR,BELLWETHER,applauds. She,smiles,at,Judy,lost,in,the,moment. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,,,(clearing,his,throat) ,,,,,Assistant,Mayor,Bellwether?,Her ,,,,,badge. ,,,,,,,,,,BELLWETHER ,,,,,Oh!,Yes,right. ,,,,,,,,,,,,LIONHEART ,,,,,Thank,you. Bellwether,steps,forward,to,pin,Hopps',ZPD,badge,on,her. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,Judy,it,is,my,great,privilege,to ,,,,,officially,assign,you,to,the,heart ,,,,,of,Zootopia:,Precinct,One,City ,,,,,Center. Judy,can,barely,contain,her,glee.,Her,parents,are,in,shock. ,,,,,,,,,,BELLWETHER ,,,,,Congratulations,Officer,Hopps. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,,,,,,,JUDY ,,,,,I,won't,let,you,down.,This,has,been ,,,,,my,dream,since,I,was,a,kid. ,,,,,,,,,,BELLWETHER ,,,,,Ya,know,it's,a...,It's,a,real ,,,,,proud,day,for,us,little,guys. ,,,,,,,,,,LIONHEART ,,,,,Bellwether,make,room,will,ya?,Come ,,,,,on. Lionheart,shoves,Bellwether,out,of,the,way. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,Okay,Officer,Hopps.,Let's,see ,,,,,those,teeth! A,group,of,PHOTOGRAPHERS,aim,their,cameras.,Lionheart,steps in,front,of,Bellwether,edging,her,out,of,the,photo.,The flashbulbs,pop. EXT.,BUNNYBURROW,TRAIN,STATION,-,DAY Stu,Bonnie,and,several,SIBLINGS,accompany,Judy,to,the,train station. ,,,,,,,,,,BONNIE,HOPPS ,,,,,We're,real,proud,of,you,Judy. ,,,,,,,,,,STU,HOPPS ,,,,,Yeah.,Scared,too. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Yes. ,,,,,,,,,,STU,HOPPS ,,,,,Really,it's,kind,of,a,proud-scared ,,,,,combo.,I,mean,Zootopia.,It's,so ,,,,,far,a,away...,It's,such,a,big,city. ,,,,,,,,,,JUDY ,,,,,Guys--,I've,been,working,for,this ,,,,,my,whole,life. ,,,,,,,,,,BONNIE,HOPPS ,,,,,We,know.,And,we're,just,a,little ,,,,,excited,for,you,but,terrified. ,,,,,,,,,,JUDY ,,,,,The,only,thing,we,have,to,fear,is ,,,,,fear,itself. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,,,,,,,STU,HOPPS ,,,,,And,also,bears.,We,have,bears,to ,,,,,fear,too.,To,say,nothing,of,lions, ,,,,,and,wolves... ,,,,,,,,,,BONNIE,HOPPS ,,,,,Wolves? ,,,,,,,,,,STU,HOPPS ,,,,,...weasels... ,,,,,,,,,,BONNIE,HOPPS ,,,,,You,play,cribbage,with,a,weasel. ,,,,,,,,,,STU,HOPPS ,,,,,And,he,cheats,like,there's,no ,,,,,tomorrow.,You,know,what,pretty ,,,,,much,all,predators--,and,Zootopia's ,,,,,full,of,`em. ,,,,,,,,,,BONNIE,HOPPS ,,,,,,,(scolding) ,,,,,Oh,Stu. ,,,,,,,,,,STU,HOPPS ,,,,,And,foxes,are,the,worst. ,,,,,,,,,,BONNIE,HOPPS ,,,,,,,(retreating) ,,,,,Actually,your,father,does,have,a ,,,,,point,there.,It's,in,their,biology. ,,,,,Remember,what,happened,with,Gideon ,,,,,Grey. ,,,,,,,,,,JUDY ,,,,,When,I,was,9.,Gideon,Grey,was,a ,,,,,jerk,who,happened,to,be,a,fox.,I ,,,,,know,plenty,of,bunnies,who,are ,,,,,jerks. ,,,,,,,,,,STU,HOPPS ,,,,,Sure.,Yeah,we,all,do.,Absolutely. ,,,,,But,just,in,case,we,made,you,a ,,,,,little,care,package,to,take,with ,,,,,you. ,,,,,,,,,,BONNIE,HOPPS ,,,,,And,I,put,some,snacks,in,there. Stu,begins,pulling,a,bunch,of,PINK,FOX,DETERRENTS,from,a,bag. ,,,,,,,,,,STU,HOPPS ,,,,,This,is,fox,deterrent. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Yeah,that's,safe,to,have,there. ,,,,,,,,,,STU,HOPPS ,,,,,This,is,fox,repellent... ,,,,,,,,,,BONNIE,HOPPS ,,,,,Okay,the,deterrent,and,the ,,,,,repellent.,That's,all,she,needs. ,,,,,,,,,,STU,HOPPS ,,,,,Check,this,out! Stu,removes,a,Fox,Taser,fires,it,up.,It,sizzles. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Oh,for,goodness,sake.,She,has,no ,,,,,need,for,a,fox,taser,Stu. ,,,,,,,,,,STU,HOPPS ,,,,,Oh,c'mon.,When,is,there,not,a,need ,,,,,for,a,fox,taser? ,,,,,,,,,,JUDY ,,,,,Okay,look--,I,will,take,this,to ,,,,,make,you,stop,talking. Judy,grabs,the,pink,fox,repellent,from,the,bag,as,the,train pulls,up. ,,,,,,,,,,STU,HOPPS ,,,,,Terrific!,Everyone,wins! ,,,,,,,,,,TRAIN,CONDUCTOR ,,,,,Arriving--,Zootopia,Express! ,,,,,,,,,,JUDY ,,,,,OK.,Gotta,go.,Bye! Judy,heads,for,the,train,head,held,high.,No,turning,back. Stu,and,Bonnie,watch,both,holding,back,tears.,Suddenly,the emotion,catches,up,with,Judy.,She,turns,runs,back,to,her parents,hugs,them,tight. ,,,,,,,,,,JUDY,(CONT'D) ,,,,,I,love,you,guys. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Love,you,too! One,more,squeeze,then,Judy,runs,off,and,jumps,on,the,train. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,,,,,,,STU,HOPPS ,,,,,Oh,cripes,here,come,the ,,,,,waterworks. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Oh,Stu,pull,it,together. ,,,,,,,,,,JUDY ,,,,,Bye,everybody! ,,,,,,,,,,COTTON ,,,,,Bye,Judy!,I,love,you! ,,,,,,,,,,CROWD,OF,BUNNIES ,,,,,Bye! As,the,train,pulls,away,her,family,runs,next,to,it,waving. ,,,,,,,,,,JUDY ,,,,,Bye! Judy,looks,back,as,their,faces,recede,into,the,distance.,The train,blasts,past,Bunnyburrow,passing,its,exponentially increasing,population,sign. Judy,pulls,out,her,iPhone,and,clicks,play...,her,new,life,is about,to,begin,and,we ,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: A,MONTAGE,-- As,Hopps,takes,the,train,it,rounds,a,curve.,She,looks,up. Her,eyes,light,up.,There,in,the,distance,is... EXT.,ZOOTOPIA,CITY,-,ESTABLISHING ...THE,UNBELIEVABLE,ANIMAL,METROPOLIS,of,ZOOTOPIA,which,is comprised,of,amazing,habitat,"boroughs.",The,train,whips,past TUNDRATOWN,SAVANNA,CENTRAL,RAINFOREST,DISTRICT, MEADOWLANDS,SAHARA,SQUARE,etc. INT.,ZOOTOPIA,CENTRAL,STATION,-,A,LITTLE,LATER Hopps,spills,out,of,the,train...,and,we,are,now,in,a,MULTI- SCALE,ENVIRONMENT:,everything,from,mice,to,elephants. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. EXT.,DOWNTOWN,ZOOTOPIA,-,A,LITTLE,LATER Hopps,emerges,into,the,main,Zootopia,central,plaza.,It's,an amazing,magnificent,place. A,JUMBOTRON,featuring,a,gazelle,pop,star,GAZELLE,blares,its message,in,a,loop. ,,,,,,,,,,GAZELLE ,,,,,I,am,Gazelle.,Welcome,to,Zootopia! ,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: INT.,HOPPS'S,APARTMENT,BUILDING,HALLWAY,-,DAY DHARMA,ARMADILLO,Hopps's,older,ARMADILLO,LANDLADY,opens,the door,to,Hopps',new,apartment--,which,we,can't,see,yet. ,,,,,,,,,,DHARMA,ARMADILLO ,,,,,And,welcome,to,the,Grand,Pangolin ,,,,,Arms.,"Luxury,Apartments,with ,,,,,Charm." Hopps,discovers,the,room,is,a,tiny,crappy,studio,apartment. ,,,,,,,,,,DHARMA,ARMADILLO,(CONT'D) ,,,,,Complimentary,de-lousing,once,a ,,,,,month. ,,,,,,,(handing,over,the,keys) ,,,,,Don't,lose,your,key. ,,,,,,,,,,,,HOPPS ,,,,,Thank,you! As,Dharma,leaves,Hopps',volatile,artsy,NEIGHBORS,KUDU,and ORYX,POOTOSSER,pass,by,in,the,hall. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,Oh,hi,I'm,Judy!,Your,new,neighbor! ,,,,,,,,,,KUDU,POOTOSSER ,,,,,Yeah?,Well,we're,loud. ,,,,,,,,,,ORYX,POOTOSSER ,,,,,Don't,expect,us,to,apologize,for ,,,,,it. Before,Hopps,can,respond,they're,gone,leaving,Hopps,alone. She,looks,around...,blank-faced,so,it's,tough,to,read,her emotions. ,,,,,,,,,,HOPPS ,,,,,Greasy,walls...,rickety,bed... ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. ,,,,,,,,,,,KUDU,POOTOSSER,(O.S.) ,,,,,Shut,up! ,,,,,,,,,,ORYX,POOTOSSER,(O.S.) ,,,,,You,shut,up! ,,,,,,,,,,KUDU,POOTOSSER,(O.S.) ,,,,,No!,You,shut,up! ,,,,,,,,,,,HOPPS ,,,,,Crazy,neighbors... ,,,,,,,(big,smile,as,she,flops,on ,,,,,,,,the,bed) ,,,,,I,love,it! As,the,shouting,continues,she,stretches,out,on,her,bed, exhausted,but,overjoyed. WAKE,UP,MONTAGE,-,MORNING Quick,rhythmic,cuts,of: -,Alarm,clock:,Beep.,Beep.,Beep. -,Dressing:,Vest.,Badge.,Belt. On,the,bedside,table,sits,the,PINK,FOX,REPELLENT.,Judy glances,at,it,and,smirks--,taking,it,would,be,silly--,she walks,out,of,frame.,HOLD,on,the,table.,One,second.,Then Judy's,hand,comes,back,into,frame,and,grabs,the,Repellent. INT.,ZOOTOPIA,POLICE,DEPARTMENT,-,MORNING Utter,mayhem.,COPS,parade,PERPS,through,the,lobby--,one,is wearing,cuffs,and,a,plastic,(not,scary),safety,muzzle,he complains,to,the,BEAR,COP,marching,him,by. ,,,,,,,,,,LEOPARD ,,,,,C'mon!,He,bared,his,teeth,first. We,land,at,the,front,desk,and,find,CLAWHAUSER,a,PUDGY CHEETAH,COP,happily,eating,a,bowl,of,Lucky,Chomps,cereal. ,,,,,,,,,,HOPPS,(O.C.) ,,,,,Scuse,me!,Down,here?,Hi. Clawhauser,leans,over,the,desk,to,find,Hopps. ,,,,,,,,,,CLAWHAUSER ,,,,,O-M,goodness!,They,really,did,hire ,,,,,a,bunny.,What?! ,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. ,,,,,,,,,,CLAWHAUSER,(CONT'D) ,,,,,I,gotta,tell,ya,you,are,even,cuter ,,,,,than,I,thought,you'd,be. ,,,,,,,,,,HOPPS ,,,,,,,(a,little,wince) ,,,,,Ooo,uh,you,probably,didn't,know, ,,,,,but,a,bunny,can,call,another,bunny ,,,,,"cute,",but,when,other,animals,do ,,,,,it,it's,a,little... ,,,,,,,,,,CLAWHAUSER ,,,,,,,(gasps,realizing) ,,,,,I,am,so,sorry.,Me,Benjamin ,,,,,Clawhauser,the,guy,everyone,thinks ,,,,,is,just,a,flabby,donut-loving,cop, ,,,,,stereotyping,you...? ,,,,,,,,,,HOPPS ,,,,,It's,okay--,oh,you've,actually ,,,,,you've,actually,got,a--,there's,a-- ,,,,,in,your,neck--,the,fold--,the-- ,,,,,there's-- Clawhauser,removes,a,small,donut,from,under,some,neck,fat. ,,,,,,,,,,CLAWHAUSER ,,,,,Oh,there,you,went,you,little ,,,,,dickens! He,crams,the,donut,into,his,mouth. ,,,,,,,,,,HOPPS ,,,,,,,(awkwardly,laughing) ,,,,,I,should,get,to,roll,call,so... ,,,,,which,way,do,I? ,,,,,,,,,,CLAWHAUSER ,,,,,Oh!,Bullpen's,over,there,to,the ,,,,,left. ,,,,,,,,,,HOPPS ,,,,,Great,thank,you! Clawhauser,watches,admiringly,as,she,heads,to,the,bullpen. ,,,,,,,,,,CLAWHAUSER ,,,,,,,(to,himself,wistful) ,,,,,Aw...,That,poor,little,bunny's ,,,,,gonna,get,eaten,alive. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,18. INT.,ZPD,-,BULLPEN,-,CONTINUOUS Hopps,enters,the,bullpen,by,far,the,smallest,animal,in,the room:,rhinos,buffalo,hippos,elephants,etc.,Hopps,holds her,paw,out,to,a,tough,RHINO,MCHORN. ,,,,,,,,,,HOPPS ,,,,,Hey.,Officer,Hopps.,You,ready,to ,,,,,make,the,world,a,better,place? McHorn,gives,Hopps,a,reluctant,fist,bump,nearly,knocking,her off,the,chair. ,,,,,,,,,,,OFFICER,HIGGINS,(O.S.) ,,,,,TEN,HUT! In,walks,CHIEF,BOGO,a,gruff,CAPE,BUFFALO.,He,takes,the,dais. Everyone,snaps,to,attention,and,starts,stomping,the,floor. ,,,,,,,,,,BOGO ,,,,,All,right,all,right.,Everybody ,,,,,sit. As,Hopps,sits,she,disappears,below,the,DESK,that,is,meant for,a,rhino. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,I've,got,three,items,on,the,docket. ,,,,,First...,we,need,to,acknowledge,the ,,,,,elephant,in,the,room. ,,,,,,,(nods,to,ELEPHANT) ,,,,,Francine,happy,birthday. An,elephant,FRANCINE,blushes,as,other,cops,clap. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,Number,two:,There,are,some,new ,,,,,recruits,with,us,I,should ,,,,,introduce.,But,I'm,not,going,to, ,,,,,because,I,don't,care.,Finally... He,turns,to,a,push,pin-pocked,MAP,that's,covered,in,photos,of MISSING,MAMMALS.,Hopps's,eyes,go,wide. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,...We,have,14,missing,mammal,cases. ,,,,,All,predators,from,a,giant,polar ,,,,,bear,to,a,teensy,little,otter.,And ,,,,,City,Hall,is,right,up,my,tail,to ,,,,,find,them.,This,is,priority,number ,,,,,one.,Assignments! HIGGINS,hands,Bogo,a,stack,of,CASE,FILES.,Bogo,puts,on,his reading,glasses,examining,the,files,as,he,assigns,cases. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,19. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,Officers,Grizzoli,Fangmeyer, ,,,,,Delgato--,your,teams,take,Missing ,,,,,Mammals,from,the,Rainforest ,,,,,District.,Officers,McHorn, ,,,,,Rhinowitz,Wolfard,your,teams,take ,,,,,Sahara,Square.,Officers,Higgins, ,,,,,Snarlov,Trunkaby:,Tundratown.,And ,,,,,finally,our,first,bunny,Officer ,,,,,Hopps. Hopps,sits,up,expectant,but,steely.,Bogo,looks,at,the,final case,file,in,his,hand.,He,takes,a,dramatic,breath,then: ,,,,,,,,,,BOGO,(CONT'D) ,,,,,Parking,Duty.,Dismissed! ,,,,,,,,,,HOPPS ,,,,,Parking,duty? ,,,,,,,(runs,after,Bogo) ,,,,,Uh,Chief?,Chief,Bogo? Bogo,looks,around...,then,down,to,find,Hopps. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,Sir,you,said,there,were,14,missing ,,,,,mammal,cases? ,,,,,,,,,,BOGO ,,,,,So. ,,,,,,,,,,HOPPS ,,,,,So,I,can,handle,one.,You,probably ,,,,,forgot,but,I,was,top,of,my,class ,,,,,at,the,academy. ,,,,,,,,,,BOGO ,,,,,Didn't,forget.,Just,don't,care. ,,,,,,,,,,HOPPS ,,,,,Sir,I'm,not,just,some,"token" ,,,,,bunny. ,,,,,,,,,,BOGO ,,,,,Well,then,writing,a,hundred ,,,,,tickets,a,day,should,be,easy. He,goes,slamming,the,door,behind,him.,Judy,stomps,her,foot. ,,,,,,,,,,HOPPS ,,,,,100,tickets...?,I'm,not,gonna,write ,,,,,100,tickets...,I'm,gonna,write,200 ,,,,,tickets! ,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,20. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,,,(then,to,the,closed,door) ,,,,,Before,noon! INT.,/,EXT.,METER,MAID,CART,-,DAY Hopps,dons,a,vest,buckles,her,seat,belt,floors,the,pedal and...,takes,off,at,2,miles,an,hour.,Which,leads,to,a PARKING,METER,MONTAGE,-- Hopps,zooms,past,a,row,of,cars,marking,their,tires.,Cruising the,streets,her,super-sensitive,ears,hear,a,meter,ding.,She slams,her,brakes--,then,proudly,issues,Ticket,#1. Ding!,Another,meter,goes,off.,Then,another.,And,another. She's,on,a,roll.,She,looks,down,at,her,counter.,It's,at,200. ,,,,,,,,,,HOPPS ,,,,,Boom!,200,tickets,before,noon. A,final,ding...,Reveal:,her,own,traffic,cart,is,at,an,expired meter.,Hopps,rolls,her,eyes,and,writes,herself,a,ticket. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,201. As,Hopps,puts,the,ticket,on,her,windshield,she,hears,a,voice across,the,street: ,,,,,,,,,,TRUCK,DRIVER,(O.S.) ,,,,,Hey,watch,where,you're,going,Fox! Hopps,looks,across,the,street,to,see...,a,RED,FOX.,Hopps looks,at,him,a,little,suspicious. The,Fox,looks,around,then,slinks,into,a,caf?.,Hopps,runs across,the,street,and,peeks,in,the,window.,It's,an,ice,cream parlor,but...,the,FOX,IS,GONE. ,,,,,,,,,,HOPPS ,,,,,,,(sotto) ,,,,,Where'd,he,go... INT.,JUMBEAUX'S,CAFE,-,MOMENTS,LATER Elephants,scoop,ice,cream,with,their,trunks,suck,up,nuts with,their,trunks.,It's,cute,but,also,disgusting.,As,Hopps enters,she,spots,the,fox,NICK,WILDE,at,the,front,of,the line,and,overhears,the,proprietor,JERRY,addressing,him. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,21. ,,,,,,,,,,JERRY,JUMBEAUX,JR. ,,,,,Listen,I,don't,know,what,you're ,,,,,doing,skulking,around,during ,,,,,daylight,hours,but,I,don't,want ,,,,,any,trouble,in,here...,So,hit,the ,,,,,road. Hopps,unsnaps,the,holster,of,her,PINK,FOX,REPELLENT. ,,,,,,,,,,NICK ,,,,,I'm,not,looking,for,any,trouble ,,,,,either,sir.,I,simply,want,to,buy,a ,,,,,Jumbo,Pop,for,my,little,boy. Ready,for,action,slowly,creeping,forward,Hopps's,expression changes,when,she,sees,that,Nick,is,with,his,TODDLER,SON. ,,,,,,,,,,NICK,(CONT'D) ,,,,,,,(to,the,boy) ,,,,,You,want,the,red,or,the,blue,pal? Staring,at,the,cute,little,boy,Hopps,is,embarrassed,by,her impulse.,She,snaps,the,Repellent,holster,and,begins,to,leave. ,,,,,,,,,,HOPPS ,,,,,,,(disgusted,with,herself) ,,,,,I'm,such,a... ,,,,,,,,,,JERRY,JUMBEAUX,JR. ,,,,,Oh,come,on,kid.,Back,up.,Listen, ,,,,,buddy,what?,There,aren't,any,fox ,,,,,ice,cream,joints,in,your,part,of ,,,,,town? Hopps,suddenly,stops.,Her,ears,go,up,and,she,turns,around. ,,,,,,,,,,NICK ,,,,,Uh,no,no,there,are.,There,are. ,,,,,It's,just,my,boy-- ,,,,,,,(tousles,boy's,hair) ,,,,,--this,goofy,little,stinker--,he ,,,,,loves,all,things,elephant.,Wants,to ,,,,,be,one,when,he,grows,up. The,boy,gives,a,TOOT-TOOT,with,his,toy,elephant,trunk. ,,,,,,,,,,NICK,(CONT'D) ,,,,,Isn't,it,adorable?,Who,the,heck,am ,,,,,I,to,crush,his,little,dreams,huh? ,,,,,Right? ,,,,,,,,,,JERRY,JUMBEAUX,JR. ,,,,,Look,you,probably,can't,read,fox ,,,,,but,the,sign,says... ,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,22. ,,,,,,,,,,JERRY,JUMBEAUX,JR.,(CONT'D) ,,,,,,,(slowly,reads,SIGN, ,,,,,,,,belittling) ,,,,,WE,RESERVE,THE,RIGHT,TO,REFUSE ,,,,,SERVICE,TO,ANYONE.,So,beat,it. ,,,,,,,,,,ELEPHANT ,,,,,You're,holding,up
43	15 Minutes	John Hertzfield	Action,Crime,Thriller	null	FADE IN on the words CZECH AIRLINE. We are panning across the words on the side of the plane. INT. AIRPLANE ANGLE DOWN on a tray table. Crumpled Czech bills and coins are on it. Hands are counting the money. The airline hostess announces the arrival at JFK - in CZECH. A hand reaches into a breast pocket - pulling out two passports. One is opened. Belongs to EMIL SLOVAK. The next passport belongs to OLEG RAZGUL. The hand passes the Oleg Razgul passport to the man next to him. We notice several empty airline bottles of vodka and a small disposable camera on Oleg's tray table. The passport is set down. Oleg picks it up. We hear Emil's voice in CZECH. The scene is subtitled in ENGLISH. EMIL (V.O.) Just do what I do. Say the same thing I say. Don't open your mouth. OLEG (V.O.) Okay. INT. PASSPORT CONTROL - KENNEDY AIRPORT - DAY CAMERA DOLLIES down a long line of passengers. They are split into two lines - one for Americans, the other for visitors. CAMERA finally arrives at EMIL SLOVAK. An unshaven Czech in his mid-30's. Tall, scraggly beard. Piercing blue eyes. He's dressed in an outdated suit. His eyes are alert, cunning and smart. OLEG RAZGUL, stands in line behind Emil. Oleg is big. Not tall - but wide. A wrestler's body. Emil looks at Oleg. (The following is in CZECH and subtitled in ENGLISH.) EMIL Don't fool around. OLEG Okay. Oleg holds up his disposable camera - at arms length - to take a picture of himself. EMIL Did you hear what I said? OLEG I want to document my trip to America. IMMIGRATION OFFICER Next. (Emil steps up) Could I see your documents, please? EMIL Yes sir. He hands the passport to the officer who runs it through an image swipe. Emil glances furtively back to Oleg. IMMIGRATION OFFICER What is your intended purpose of your visit to the United States? EMIL Two weeks holiday. IMMIGRATION OFFICER How much money are you carrying with you? EMIL I have five-hundred dollars. IMMIGRATION OFFICER Can you show me? Sir, no cameras in the FIS area! Oleg was about to take a picture of Emil and the Immigration Officer. Oleg puts the camera away. Smiles sheepishly. IMMIGRATION OFFICER (CONT'D) (to Emil) Is he with you? Are you travelling together? EMIL Yes. IMMIGRATION OFFICER Please join us. (to Oleg) Come on forward. EMIL Is there a problem? IMMIGRATION OFFICER No, you're travelling together. I want to talk to you together. Hi, how are you? Can I take a look at your documents? (takes Oleg's passport) Are you related? OLEG Yes...he's my friend. IMMIGRATION OFFICER Okay. You're a Czech national and you're a Russian national. How do you know one another? Oleg starts to speak, but Emil cuts him off. EMIL We are both from Prague. IMMIGRATION OFFICER (to Oleg) How long are you planning to stay? EMIL Two weeks. IMMIGRATION OFFICER I'd like to speak for himself, okay? EMIL He doesn't speak English. OLEG I speak English. IMMIGRATION OFFICER (to Oleg) Then answer my questions. Where were you planning to stay during the two weeks that you're here? OLEG New York. IMMIGRATION OFFICER Yes, we're in New York now. But where are you planning to stay in New York? OLEG A cheap hotel. IMMIGRATION OFFICER What are you coming here to do? OLEG I'm here for movies. IMMIGRATION OFFICER Movies...to be in the movies or to see movies? OLEG Yes. No. Both. When I was a boy, I see movie at school called "It's a Wonderful Life" directed by Frank Capra. Ever since I want to come to America. Land of the free. Home of the brave. A land where anyone can be anything. As long as they are white. IMMIGRATION OFFICER Excuse me? EMIL He made joke, bad joke. First time on airplane... The SUPERVISOR comes over to see what the problem is: IMMIGRATION OFFICER Well, they've got valid visas, but they don't have much money. Uh... and I'm not...uh, I think there's a possibility they may be coming to live and reside. SUPERVISOR Look how long the line is. We gotta move 'em out. I'll take them down to secondary. Emil looks at Oleg, pissed. INT. P.B. HERMAN'S RESTAURANT - DAY The place is empty except for one table at the end of the bar. EDDIE FLEMMING, Manhattan's most famous detective, and his savvy, black partner, LEON JACKSON are having cocktails. Eddie is smoothly handsome, tough, smart and tired. Not only is he the best homicide detective Manhattan has ever seen, he's continually mentioned in New York columns and has been the subject of several magazine articles. There's even been a TV movie about one of his biggest cases. Leon has been with Eddie a long time and was also featured in the TV movie. Sitting with Eddie and Leon is ROBERT HAWKINS, host and star reporter for the tabloid show, "Top Story." Hawkins is also the best in the business and has dealt with them all: Joey Buttafuco and Amy Fisher, Lorena Bobbit and OJ. Wait staff bustles in the b.g. doing the morning set up. Hawkins listens as Eddie, cigar in hand, finishes a "war story" and a vodka tonic at the same time. EDDIE So we're waitin' to hit this warrant - we got Emergency Service with the heavy weapons standin' by - ready to go. I say, lemme get a cigar outta the car. I go to get the cigar and BOOM! All the sudden I turn around and a kid with a shotgun let one go. Right where I was standin'. That coulda been it. I coulda had my head blown off and for what? Some stupid kid got panicky, takes the safety off and it's over. If I hadn't gone back for that cigar - for a bad habit - I would've had my head blown off. HAWKINS Jesus Christ. PAULIE, the owner, walks up. PAULIE Speakin' of bad habits, everybody okay? HAWKINS Another martini. LEON Coffee for me, I gotta slow down. EDDIE Vodka tonic. LEON (rethinks it) Maybe you could just put in a shot of Martell? Paulie takes the drinks off the table and an empty bottle of vodka. LEON (CONT'D) (of Eddie's story) It was freaky, I'll tell you. Stupid kid. EDDIE What's the kid gonna say - sorry? Meanwhile I'm not here anymore. Like last week - we were at the morgue and this guy was all chopped up - spleen here - liver there - his heart in a pan. Six hours ago this guy was walkin' his dog or buyin' a quart of milk. Who knows? But some kid's robbed him for $3 or some shit and shot him and now you can't tell if he's a piece of beef or a human being and I'm thinkin' that's me. Sooner or later. That's me. HAWKINS Sooner or later that's everybody. EDDIE Not chopped up. Not chopped up like that. I mean, what do I got left? Coupla articles. A medal or two. Plaque here and there and in a coupla years no one remembers me anymore. HAWKINS I think you're getting a little moody there, Eddie. EDDIE I'm not moody. Hawkins and Leon share a look. HAWKINS Isn't he a little moody? LEON Of course he's moody. He thinks he's in love. HAWKINS In love? With who? Paulie delivers the drinks and sets some cigars on the table. Takes a seat next to Eddie. Eddie asks Hawkins. EDDIE How old are your kids? HAWKINS My kids? Let's see...Susan's 15. Aundrea's 9. Don't tell me you're thinking about having a kid! How old are you? Never mind. Let me just tell you this: Every stupid cliche you hear about kids - they change your life, they make you a better person, they make you whole... (beat) It's all true! Before I had kids when friends talked about their kids, I wanted to vomit. Now -- I get it. Am I right, Leon? LEON Absomotherfuckin'lutely. You can have all three of my ex-wives. But somebody so much as looks sideways at my four girls -- I'd kill 'em. (takes out his wallet) You haven't seen my youngest have you? As he hands pictures to Hawkins his cell phone rings. LEON (CONT'D) Yeah? HAWKINS Paulie, you've got kids, right? PAULIE My kids don't talk to me anymore but they were great when they were young. LEON (into the phone) Sure it's him? Great! (collapses the phone) Unique's home. They all rise from the table. EDDIE Paulie, I need the cure. PAULIE Step into my office. Leon and Hawkins sit back down as Eddie and Paulie leave. HAWKINS So you got your kids listening to Opera? You still singing in the church on the weekends? INT. SECONDARY IMMIGRATION OFFICE - DAY Now other officers are questioning Emil and Oleg. They've been there a while. The SECONDARY OFFICER is looking Oleg. SECONDARY OFFICER Okay. You work in a vodka factory. I understand that. (to Emil) And what kind of work do you do? EMIL I am butcher. SECONDARY OFFICER You're a butcher? What do you use pig intestines for? EMIL You stuff sausage in it. SECONDARY OFFICER And what do you do with the bones? EMIL Dog food. Emil looks at Oleg. Blaming his stupid responses at Passport Control for their detainment. SECONDARY OFFICER Are you married? EMIL No. Are you proposing? ANGLE UP through a thousand ICE CUBES. A face plunges towards us... INT. MENS ROOM Eddie has his back to us as he dunks his face into a sink full of ice. He dries his face, looks into his bloodshot eyes. Presents a small black ring box to the mirror. EDDIE Will you marry me? Wanna get married? What are you doin' Saturday? Leon enters. Eddie turns. EDDIE (CONT'D) I'm gonna propose. LEON When? EDDIE Tomorrow. At lunch. LEON You ready? Eddie leans back and drops some Visine in his eyes. Turns. EDDIE The thrill of the hunt. I love it. EXT. TIMES SQUARE - DAY Oleg and Emil stare at the bright lights - all the nonstop action. Each stands with an old suitcase. OLEG (in Russian) Look. Times Square. Just like in the movies! EMIL (in Czech) Don't speak Russian! OLEG (in Russian) Why? Why do I always have to speak to you in Czech? EMIL (in Czech) Because I don't like your ugly language. I heard enough of it in school! Now speak Czech or English. And don't fool around anymore. You almost got us thrown out! Emil pulls out an envelope with Milos' address on it. This is who they came to see. Emil hails a CAB. Oleg is staring inside a camera store - at himself on a monitor. A videocamera's pointed out in the street. OLEG Look. New videocameras. Color viewfinder. Image stabilization. Solarization. Night vision. EMIL We have no money. Come on. Oleg stares at the videocamera - dying to have one like this. Emil slides into the cab. CABBIE Where you wanna go, buddy? Emil pulls out the post-marked envelope. Points to the return address on it and passes it through the slot to the Cabbie. EMIL Here. Emil looks out the window - no sign of Oleg. Then, Oleg hurries out the camera store, gripping something inside his coat. He flings both suitcases in the trunk, SLAMS it shut and jumps in the back seat. He opens his jacket - pulling out the VIDEOCAMERA he just stole. EMIL (CONT'D) Go! Oleg smiles sheepishly at Emil. EXT. SPANISH HARLEM - DAY Eddie's car pulls up. Eddie, Leon and Hawkins get out. HAWKINS So what's unique? EDDIE Not what. Who. Eddie passes Hawkins a Polaroid - of a woman on a bed - covered in blood. EDDIE (CONT'D) He's from Antigua. His girlfriend was taking too long to put her make-up on. they were late for a party. Stabbed her with a beer bottle. HAWKINS That's unique. EDDIE Yeah. And he still went to the party. Leon moves to a LOOKOUT - gives him a twenty. LOOKOUT Top floor. Back room. EDDIE Yeah. I make big cases, they make the news and I look good. But the problem with becoming a star is downtown. They shoot at stars. Now be quiet. Shhh. As they reach the doorway - Eddie surprises two crackheads. Waves them off. They hurry away. EDDIE (CONT'D) I hope this prick doesn't run. My knees are killing me. Stay behind me. HAWKINS You're worried for my safety. I'm touched. Eddie flattens against the building - watches Unique descend the fire escape. HAWKINS (CONT'D) Ready? EDDIE Keep them out of my way. HAWKINS Okay. You ready? EDDIE Yeah, yeah. Jesus. Eddie closes in. HAWKINS (into his cell phone) COME ON! COME ON! YOU FUCKING GUYS, LET'S MOVE IT! Unique is climbing down the fire escape - before he gets to the bottom, Leon bursts through a door behind him and kicks the fire escape, sending Unique flying into the alley. Where he lands dropping his gun. Eddie pulls him off the ground as Leon scoops the gun up. EDDIE What's your rush? Going to a party? UNIQUE Why you chasin' me, man? EDDIE I don't know. You always come outta your house that way? UNIQUE It's not my house, man. I don't live here. EDDIE Well, sounds like burglary to me. Leon cuffs Unique who recognizes Eddie. UNIQUE I know you man. An unmarked van comes tearing into the scene. Disgorges a mini-cam team that starts filming but they missed the bust. HAWKINS (to Eddie) Any chance we can do that again? EDDIE Again? I didn't wanna do it the first time. EXT. EAST SIDE - LATE DAY The cab is in front of an old five-story brownstone. Oleg gets the bags out of the trunk as Emil tucks the envelope into his jacket, then steps up to the old building. He looks back at Oleg - who's VIDEOTAPING him. EMIL Turn that off! Get the bags. OLEG Why should I carry your bag? I am not a dog. EMIL For five years I paid for your stupidness - you'll carry my bag for the rest of my life if I say so. (challenging) Unless you refuse, Oleg. Oleg looks at Emil. Even though Oleg is stronger than Emil, he fears him. He picks up both bags. Emil searches the occupant list over the buzzers to the apartment building. EMIL (CONT'D) There. 5RW. Emil pushes ten of the buzzers except 5RW. A BUZZER clicks and Emil pushes it open. INT. MILOS' APARTMENT BUILDING - STAIRWELL - DAY The brownstone has no elevator so Emil and Oleg climb the stairs... Oleg cradling his camera. Emil notices a crack pipe on the floor and picks it up. Smells the bowl. OLEG What? EMIL Smell like chemicals...for smoking drugs. Emil pockets the pipe and climbs to the top floor, moving down the dirty hallway to a corner door. INT. MILOS' APARTMENT BUILDING - HALLWAY - DAY He KNOCKS...FOOTSTEPS approach. The door is opened by MILOS - a 40-year-old Czech, dressed in stained plumbers overalls. He is surprised to see Emil and Oleg in his doorway. Oleg films him... MILOS Emil???! EMIL Surprise! Surprise! Milos shoots a look across the tiny kitchen to TAMINA, his comely wife. INT. MILOS' APARTMENT - CONTINUOUS Emil pushes his way inside. Oleg follows. Milos wears plumbers overalls but Emil notices sports a Rolex. Tamina has on a faded dress but despite their cheaply furnished apartment she wears an expensive brushed gold necklace, bracelet and big pearl earrings. The room is furnished with kitsch from Disney World and Las Vegas. The only anomaly is a HUGE SONY TRINITRON HOME ENTERTAINMENT CENTER. (The following is in Czech and subtitled in English.) EMIL Your sister said she didn't know where you were so you shouldn't write to her with return address if you're hiding. MILOS Did you hurt her? EMIL You know me...I never hurt anybody. Where's the money? OLEG Hello, Tamina. Oleg is looking Tamina over. Milos - though scared - barks at Oleg. MILOS Take your eyes off her, Oleg! (to Emil) Look. It wasn't my fault you two were caught. (of Oleg) It's his fault. Trying to get the bank clerk's phone number?! I wasn't going to wait!!! EMIL Milos. Get my money! Oleg videotapes the scene. CLOSE ON AN AJAR DOOR All we see behind it is a WOMAN'S FACE and her wet hair - she obviously came from the shower and we see the towel wrapped around her. MILOS (nervously) We spent it! EMIL Ha. Ha. MILOS Look at the way we live. I'm a plumber. You think I'd be working if I had money?! Emil, pissed, moves to a wood block and pulls out a KITCHEN KNIFE. He grabs Tamina roughly, putting the blade to her throat. MILOS (CONT'D) Emil. Put down the knife. Milos looks at his wife - who is terrified. MILOS (CONT'D) Emil. I'll help you. Milos closes the gap between him and Emil - trying to calm him by talking softly. MILOS (CONT'D) I can get you a job. EMIL A job? MILOS Yes, the money is good. EMIL As a plumber?! MILOS It's easy to learn. EMIL A job?? As a plumber??? You think I come to America to work! MILOS We started over, you can too. EMIL (furious) You spent all the money while I was in prison? Now you tell me to get a job fixing toilets?!? Emil pulls the knife away from Tamina - then angrily PLUNGES it toward Milos' chest! Oleg videotapes it. Then lowers the camera - shocked that Emil killed Milos. Blood sprays Tamina's face. She tries to run but Oleg grabs her, not noticing her brushed gold bracelet falls to the floor. He covers her mouth as he points the videocamera at Emil who STABS Tamina - absolutely enraged! THE WOMAN BEHIND THE DOOR flees...Emil hears NOISE in the bedroom - a window opening. Emil kicks the bedroom door open. Sees the window leading to the fire escape. He dashes to it. Sees four flights down - the WOMAN, wearing a summer dress. Barefoot. Her hair still wet. She looks up. She is beautiful and terrified. She runs down the alley. EMIL (CONT'D) She saw! Emil hurries toward the bathroom. She just got out of the shower. Her underwear and purse are draped over a chair. Emil grabs the purse. Finds a CZECHOSLOVAKIAN PASSPORT. He opens the cover, stares at her photo and name. EMIL (CONT'D) Daphne Hanlova. There's one stamp in the passport - from the U.S. when she arrived - June 16, 1998. Underneath is written - 6 MONTH STAY. Emil flips through the rest of the passport - all blank pages. EMIL (CONT'D) Six month visa. Still here two years later. They'll deport her if she goes to Police. Emil pockets Daphne's passport and wallet, scoops up her shoes and jacket - enters the kitchen and dumps them on the floor. He tears through the kitchen cabinets, throwing cans and bottles aside. OLEG What are you looking for? Emil finds nail polish remover - looks at the bodies. EMIL I'm going to make a bohemian barbecue. Emil draws the kitchen curtains plunging the room into darkness. EXT. CENTRAL PARK - NIGHT A face comes from the darkness. It's an athletically handsome man, jogging out of a tunnel towards us. He's in a tie and jacket in Central Park at NIGHT. He is JORDAN (JORDY) WARSAW. A sensitive man of rugged honesty. He runs down the hill in a hurry. A MUGGER steps in his path. MUGGER Got any spare change? How 'bout a spare twenty? JORDY Look, I don't have time for you, get out of my way!! MUGGER Alright, how 'bout all your fuckin' money? The Mugger pulls a knife - and in a whirl of movement, Jordy grabs his wrist and disarms him in a deadly, professional manner - hurling him down to the pavement, twisting his arm behind his back. With his other hand, Jordy whips out a BROWNING 9MM from his shoulder holster and places it behind the mugger's head. Jordy displays his shield. JORDY Okay, you're under arrest! Now you happy? MUGGER Fire Department? Firemen don't carry guns. JORDY Oh yeah? Guess again. Jordy handcuffs the Mugger and searches the Mugger's coat pockets - pulling out a handful of driver's licenses and credit cards. JORDY (CONT'D) Nice - how many people you ripped off tonight?! Get up! As Jordy yanks the Mugger to his feet, his BEEPER goes off. JORDY (CONT'D) You couldn't listen to me, could you? Jordy drags the Mugger to a tree. Cuffs him so his face is pressed up against the bark. JORDY (CONT'D) I'll send a cop back for you. MUGGER Hey. C'mon, you can't leave me like this. Some freak'll come by and stab me! Jordy jogs off across the park. MUGGER (CONT'D) Wait! Come back!! EXT. MILOS' APARTMENT - NIGHT FIRE TRUCKS from three battalions. Radios CRACKLE. There's a crowd growing. Jordy pushes his way through. The top floor of the brownstone where Milos and Tamina lived has been reduced to smoking ruins. The trees are covered in debris and soot. Jordy moves to LOUIE - Battalion Chief. LOUIE Lieutenant - take up your line and relieve Ladder Company 60 on the top floor. JORDY Hey, Louie, were you first due? LOUIE Yeah, I radioed you guys right away 'cause you got two roasts on the top floor but you don't hafta investigate cause homicide is up there. JORDY Homicide? Who let them up? I didn't make it a crime scene yet. LOUIE Hey, it's Eddie Flemming. KORFIN (O.S.) Yo, Jordy! BOBBY KORFIN - an overweight arson investigator with a quick with and good sense of humor - comes over, pulling on a turnout coat. KORFIN (CONT'D) Where you been, man? We got a celebrity! JORDY I heard. Who the hell let them up there? KORFIN I don't know, you think Eddie will give me his autograph? JORDY You see anything in the crowd? Anybody suspicious? KORFIN Naw - I'm sure the suspect's not here. JORDY Oh yeah, why? KORFIN 'Cause Eddie woulda locked him up by now! INT. MILOS' APARTMENT - NIGHT The roof is gone. The sky is exposed. It's charred ruins, smoked beams and watery muck. Eddie and Leon are standing by what's left of the mattress, looking at Milos and Tamina's charred bodies. Eddie grips a half-smoked Cuban cigar, listening to Leon. LEON So, it looks to me - from the sixty-nine position - that they were doin' each other but were so whacked out of their heads they set the pipe on the mattress, lit it up, and they got fried. What do you think, Eddie? Jordy enters - with Korfin who's carrying a paint can. EDDIE I don't know. We got the experts here. Show them what you found - I hope you don't mind, we came over to see if we could help. Korfin makes a beeline for Eddie - wanting to meet the celebrity. KORFIN Nah, not at all. Detective Flemming - Bobby Korfin. My Uncle Tony worked with you at 2-1 back when you were a rookie. JORDY Could you put out the cigar? Part of the job is picking up scents. EDDIE Oh, sure. Eddie puts his cigar out. Carefully slides it into a cigar holder and pockets it to finish later. LEON Well, I found - check it out - crack pipe. Looks like they got careless. Leon displays the pipe Emil found on the stairs. Korfin shines the flashlight on Leon to look at the pipe. LEON (CONT'D) Mind not shining that light in my eyes? KORFIN Sorry, bro. JORDY Hey, that's great you guys got it all wrapped up, but you don't mind if we go through the routine? It gives us somethin' to do. EDDIE No, we don't mind. You mind Leon? LEON No. Go ahead. JORDY Thanks. Appreciate it. Jordy throws a look at Korfin. Homicide detectives have no respect for fire marshals' investigative skills. Eddie rummages through the apartment - moving into the kitchen and living room... Leon watches as Korfin sticks a pencil in a charred beam, measuring how deep in it goes. KORFIN Okay, Jordy - it was a fast fire, we got good patterns - about thirty minutes old. Jordy moves to one of the corpses. He pulls on a white rubber glove. Inserts his finger in the corpses mouth. The glove comes out white. JORDY Mouth's clean, too. KORFIN Clean? JORDY Don't blow your nose! Jordy's looking at Leon, who was just about to blow his nose. JORDY (CONT'D) The smoke'll permeate your nostrils - burn 'em out. Let it run. KORFIN But you knew that, right? Leon looks at Jordy, then lowers the handkerchief. Jordy turns back to the corpses on the bed. Eddie - in the other room - has found Tamina's brushed gold bracelet on the floor. JORDY So the way you see it, two crack heads burned themselves up? LEON That's what it looks like to me. JORDY And while they're burning up, they're still goin' down on each other? You got to hand it to them. LEON (realizes he's wrong - blows it off) Yeah, well, some people got their priorities straight. Leon watches Jordy, quietly. With a pair of tweezers, Jordy pulls a small unburned piece of cloth from behind one of the heads. Korfin supplies the paint can. Jordy drops the cloth inside. LEON (CONT'D) What was that? JORDY Evidence. Of a homicide. That got Eddie's attention and he comes back to the bedroom. JORDY (CONT'D) You know what that is, right? EDDIE No, what is it? JORDY Why don't you explain it, Bobby. (to a fireman joking a wall) Hey Camello! You mind punching a hole in the floor? CAMELLO No problem. (to Eddie and Leon) Excuse me, gentlemen. You might wanna back up a little more. Don't wanna get your pants wet. Leon and Eddie move to higher ground - on top of a burnt TV set. Eddie hands the brushed bracelet to Leon. As Camello hacks at the floor with an ax, Jordy continues to examine the bodies and Korfin explains: KORFIN They have not soot in their mouths, which means they weren't breathin' before the fire and that usually means they were deceased - and this piece of cloth that my partner found means they were wrapped up in something, probably doused with a flammable liquid and positioned like this on the bed. To the untrained eye, it looks like an accident. Jordy kicks around the draining floor, reaches down for something. LEON What's he looking for? EDDIE A timer. Jordy finds some wires attached to an outlet, pulls them up - on the other end is a timer. Korfin takes the timer from Jordy and moves to Eddie. KORFIN Here you go. A big double homicide. EXT. MILOS' APARTMENT BUILDING - NIGHT As Jordy and Korfin exit the brownstone, a CAMERA CREW is arriving. Jumps out. Korfin and Jordy cross toward Korfin's car. They open the trunk. Take off their muddy boots throwing them in. KORFIN You see Eddie's face when I gave him the timer? Wish I had a picture of it. JORDY He knew all along. KORFIN What?? JORDY That's why he was so quiet. He was testing us. Eddie and Leon exit - Eddie carrying a baggie with a timer inside. NICOLETTE KARAS, young and attractive, pushes her microphone at Eddie. She's smart, aggressive and respected by her peers. NICOLETTE Detective, does it look like a murder? EDDIE We don't know that yet. It's much too early. There's a lot to be done. NICOLETTE How many victims are up there? EDDIE There are two bodies found at this point. NICOLETTE Can we go up to the crime scene? EDDIE You know you can't do that. C'mon. NICOLETTE Is it drug related? EDDIE We don't know. When I have more I'll let you know. Nicolette signals for her camera man, MIKE, to zoom in on Eddie's hand. She barrels on... NICOLETTE Detective...what's that you're holding in your hand? Evidence? Mike pans up to Eddie's face. Other reporters arrive, hurling questions which Eddie easily answers. Cameras flash as we PAN BACK TO Korfin and Jordy. Jordy is about to get in the car as he notices, back behind some construction - DAPHNE HANDLOVA. She's still wearing the crumpled summer dress. She tentatively steps out to signal Jordy. He only catches a glimpse of her. He starts toward her -- knifes through the crowd - but Daphne is gone. KORFIN What? JORDY There was a woman - I think she wanted to talk to us. She looked scared. Oh shit! Oh no! EXT. CENTRAL PARK - LATER Korfin's car SCREECHES to a stop. Jordy leaps out. Suddenly, Jordy stops...the Mugger handcuffed to the tree is now NAKED! MUGGER You motherfuckin' bastard! She stripped me! It was a bag lady! She touched me all over, it was disgusting. Jordy unlocks the handcuffs. JORDY I'm sorry. I'm really sorry. Korfin delivers a blanket. Jordy covers him. JORDY (CONT'D) You okay? MUGGER A dog pissed on me!! I'm gonna sue you for this! You violated my civil rights! JORDY Your civil rights?! You tried to rob me! I could arrest you right now! You're lucky you're walking away from this. Now get outta here. Jordy gives him a push. The Mugger wraps the blanket around himself cursing - hurrying away. EXT. 8TH AVENUE - NIGHT Exhausted HOOKERS who have worked all night loiter outside a sleazy hotel. CAMERA PANS up to a blinking hotel sign. INT. KING EDWARD HOTEL ROOM - NIGHT The light is blinking an eerie green and yellow light into the room. Emil is at the window pulling the blind down trying to shut out the blinking light. He pulls it down twice and it pops back up both times. The third time he angrily pulls it so hard, it comes off the window completely. He sits down in a chair in frustration - adjusting a pillow behind his back. THE ROSEANNE SHOW is on TV. Roseanne has been talking to a FATHER. ROSEANNE (ON T.V.) So you slept with your son's wife! What's that all about? FATHER (ON T.V.) I take full responsibility for sleepin' with my daughter in law. I had low self esteem, I thought I had to compete with him. Emil reaches for his dictionary. EMIL (mutters) Self-esteem? Self-esteem?? He flips through his dictionary to find the meaning of self esteem. FATHER (ON T.V.) Losin' my job and everything, caused my behavioral disorder. (turns to his son) Forgive me, Kirk. Let me hug you? The audience boos. Roseanne mediates... Oleg - fresh from the shower with wet hair - sits on the bed in his skivvies - staring into the videocamera's LCD screen - rewinding Milos' murder. We see it now for the first time - as he rewinds it. Oleg watches - a bottle of cheap vodka between his legs. Emil, looks up from his dictionary. He's wearing Milos' Rolex. Tamina's jewelry - her brushed gold necklace and pearl earrings - are in front of him with Daphne's wallet. Emil looks up - Oleg is holding his videocamera. EMIL (Czech) Turn that fucking thing off! OLEG (Czech) I'm not filming. I'm watching Milos die. It's just like a move but realer. Emil grabs the videocamera. (Czech) Don't break it! Don't break it! EMIL Speak English! OLEG (English) You said speak Czech! EMIL How you erase this? OLEG I'll do it. Don't hurt my camera! Emil tosses the camera back to Oleg who drops his vodka bottle in order to catch the camera. Oleg, holding the camera like it's gold, goes to the dresser and puts it away. Emil starts to go through Daphne's wallet. EMIL Stupid, Milos. I didn't want to kill him. (noticing) What's this? Emil found the last card in the wallet. It's pink with a picture of a busty globe. Printed in the middle is - WORLDLY ESCORTS - and a number. EMIL (CONT'D) Worldly escorts? Emil picks up his dictionary and begins to flip the pages - finding the meaning of worldly. He gets up and dials the number. A soft, SEXY VOICE answers. Soft music in the background. SEXY VOICE Hi? EMIL Hello? SEXY VOICE Are you looking for companionship? Oleg, who's listening, moves to Emil. OLEG Whore? EMIL I'm homesick. You have Eastern European girl? A Czech girl? SEXY VOICE Matter of fact, I
44	2012	Roland Emmerich,Harald Kloser	Action,Adventure,Drama,Sci-Fi,Thriller	February_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
45	30 Minutes or Less	Michael Diliberti,Matthew Sullivan	Action,Adventure,Comedy	December_2009	The following is very loosely based on some shit that actually happened... OVER BLACK We hear the roar of a V8 engine, piped out through some throaty, fucked up muffler, as EXT. HIGHWAY - DAY An '89 Mustang bursts like a shot over a rise in the highway. It's got a rusted two-tone paint job, Maryland plates, and bald tires that scream as it peels off an exit and into the EXT. SUBURBS - DAY The car fast approaches a stop sign, dangerously blows through the intersection. INT. MUSTANG - DAY - MOVING We don't see the DRIVER, only the redlining RPMs, Vans slip- ons working the pedals, wristwatch being checked. The wheel cranks right as the car turns onto a - One way street. A minivan flies right at us. The Mustang hops up onto the curb to avoid it, clips a trash can and - Garbage explodes like confetti. The wipers engage, brushing the trash aside. The car whips another turn and EXT. SUBURBS - DAY The Mustang fishtails around a corner and skids away. CUT TO: TIRES SCREECH Brake pads smoke. The Mustang stops outside EXT. HOUSE - DAY The Driver jumps out of the car. As he rushes to the front door, we see the urgent package he is delivering. TWO LARGE PIZZAS Before he can ring the bell, the door opens and two smug 15- YEAR-OLDS stare out. 15-YEAR-OLD That's 34 minutes. You're 4 minutes late. Pizza's free. REVEAL our guy staring back at the kids. This is WILL (25), probably good looking in another life. 2. Right now, he is tired and unamused, wearing a red "Giorgio's Trattoria" hat and a sweaty matching t-shirt. WILL Gimme a break. You guys live two towns away. It's pretty much fucking impossible to get here in 30 minutes. OTHER 15-YEAR-OLD Exactly. That's why we ordered from your shitty "trattoria." WILL This is gonna come out of my paycheck. You sure you don't want to take the moral high ground? OTHER 15-YEAR-OLD We'd rather take the pizzas. Will takes a calming breath. Hands over the pizzas. WILL Ok. You guys are pretty smart. You figured out a way to beat the system. (PEEKS INSIDE) Got the house to yourselves? 15-YEAR-OLD That's right. WILL Not bad. Any jailbait in there? Little pizza and a rainbow party? The kids shakes their heads. WILL Seriously? Well, two hustlers like yourselves gotta have the place stocked with beer and whippits and shit, right? Just call the girls up and let them know the party's on. 15-YEAR-OLD Man, we don't have any of that stuff. Will makes a show of mulling this over. WILL I really shouldn't do this...but you seem like a couple of good dudes. I'll tell you what, you give me the money that your mom left you for the pizzas, and I'll grab you some beers. (MORE) 3. WILL (CONT'D) (BEAT) But I get to keep the change as a tip. Deal? The kids look at each other. One hesitantly pulls out some cash. Will snatches it and heads off. WILL I'll see you in like 20 minutes. The kids look uncertain. As if sensing this, Will stops before getting into his ride. WILL You boys like Budweiser, right? 15-YEAR-OLD Uh, yeah, totally. OTHER 15-YEAR-OLD Love that shit! INT. MUSTANG - DAY - MOVING The sun sets. Will cruises back into his own middle-class town in suburban Maryland. A six pack of Budweiser rests in the passenger seat. Will stops at a light. Checks out a PRETTY YOUNG THING in the Jeep beside him. She catches him looking, rolls her eyes. The light turns and the Jeep skids away. Will self consciously removes his "Giorgio's" cap. INT. GIORGIO'S TRATTORIA - NIGHT Will enters and nods at CHRISTOPHER (40s), the manager. His balding head is nearly translucent from absorbing a day's worth of pizza grease. WILL Yo, Chris. Let me cash the fuck out. Will hands over some cash to Christopher. CHRISTOPHER You have a pretty good shift? WILL For sure. I mean, the part where I had to drop off all those pizzas kinda sucked, but the rest was cool. 4. CHRISTOPHER Oh, yeah? 'Cause, I got some kids calling in saying you ripped them off. Promised to buy them beer or something. WILL I actually did buy the beer, but it would have been illegal to give it to them, right? So I'm gonna do the responsible thing and drink it myself. CHRISTOPHER That's real funny. But I'm trying to run a business here. WILL What kind of business promises to deliver anywhere in 30 minutes? It's ridiculous. CHRISTOPHER I don't wanna hear another one of your bullshit excuses. You're fired. WILL Come on. If I didn't need this job, I wouldn't be doing this shitty job. Chris is unmoving. WILL Fuck! Whatever! Will storms off. As he gets to the door - CHRISTOPHER You know, you were an okay driver half the time. And you're not a Puerto Rican. Which means something to me. WILL That's poignant. CHRISTOPHER I guess I could rehire you, on a provisional basis. Of course, this would be at the slightly reduced "new company rate." WILL Are you fucking serious? CHRISTOPHER I don't know. Is there anyone else left in town for you to work for? 5. Will shakes his head. Swallows what's left of his pride. WILL When do I start? EXT. SMALL APARTMENT BUILDING - NIGHT Will sits on the darkened front stoop. He tosses an empty can into the bushes and gets to work on his fourth beer. He looks over at a parked Hyundai Elantra. A YOUNG MAN sits in the passenger seat with a pensive look on his face. He makes a sudden, surprised gasp. The homely YOUNG WOMAN who was just blowing him sits up from his lap and rearranges herself in the driver seat. She leans over for a goodbye kiss. The Young Man obliges with much fanfare. The Young Man gets out and the car pulls away. This is CHET (25), a clean cut guy dressed in the Gap Premium Collection. He heads toward the building, high off his BJ, humming Outkast's "Ms. Jackson." He stops when he notices Will in the shadows. CHET What the hell? Have you just been sitting there? WILL Yep. Caught the whole show. Really classy move at the end. You know, the kiss. Putting your tongue in her mouth right after you fucked it. CHET Hey, a nice girl decides to pleasure me on a weeknight, in her car no less...I'm not gonna make her feel like an untouchable. I'm gonna make her feel like a lady. WILL What manners. May I offer you some alcohol, sir. To wash the taste of yourself out of your mouth. Will offers his beer. Chet takes a slug, gurgles for effect. CHET By the way, she said she had a friend. Maybe we can go on our first double date since you tried to talk Jackie Fortunato and her cousin into having a four-way with us. WILL I misread their body language. It happens. 6. Will picks up some rented movies sitting beside him. WILL Come on. Let's go inside, drink your beer and watch shit get crazy. (FANS MOVIES) Old favorites. You choose. Lethal Weapon, Lethal Weapon 2...was gonna get the third Lethal Weapon, but decided on a porn. So it's really between the first two. CHET I choose sleep. I gotta teach a class at eight. WILL You're a sub. Just call in sick. Like the real teacher did. CHET Come on, man, you know I got promoted to full-time last month. You bought me a laser pointer. Will heaves a sigh. WILL Yeah, I know. I guess I'm just having a hard time accepting you as "the man." You know, flunking kids, giving out spite detentions to girls you wanna fuck, laser pointing at shit. CHET I also get healthcare and my summers off. It's not perfect, but it's a career. Will grudgingly stands up. WILL I guess that's just the difference between you and me. He holds up the Lethal Weapon DVDs. WILL I'm like Riggs. Cruising the streets. No rules, no attachments. Every other day some asshole is trying to take my badge. You're fucking Murtaugh. Always worried about your pension. Well, guess what, it gets old after the first movie. 7. CHET I just got head. I'm totally Riggs. Will shakes his head, turns and walks off. INT. STUDIO APARTMENT - DAY Will wakes up, legs dangling over the edge of a tiny couch. His TV is still on, displaying the menu screen from a porn. Will looks down at his coffee table. Clears some magazines to reveal a file folder. Flips the cover - It's full of college applications, drafts of admissions essays, a junior college transcript. Will thumbs through one of the glossy applications. The kids look young. Very young. Will glances over at a picture on his wall: he and Chet at high school graduation, looking just as young. They have their arms around a pretty girl squeezed between them. Will and the girl look very high and very happy. Will shuts the folder, slides it back under the coffee table debris. He looks over at a clock: it is already 2:00 PM. WILL Fuck. INT. MUSTANG - DAY Will jumps in and starts the engine. As he tucks his "Giorgio's" cap onto his head, he catches his reflection in the rear-view mirror. WILL You asshole. You titanic asshole. Come on down and get your prize. He makes his fingers into a gun, puts it to his head...pulls the trigger and BOOM! WE'RE IN EXT. OPEN FIELD - DAY A watermelon explodes in a shower of red, juicy bits. Loud, dumb laughter echoes. Standing 20 yards away is DWAYNE (32), an intense, meaty guy in a sleeveless Baltimore Ravens t-shirt. On his left bicep is a tattoo of the Tasmanian Devil flipping the bird. DWAYNE Fruit motherfuckin' salad! 8. Crouched beside him is JAY (27), tall and awkward, in a wool surplus cap. He carefully rigs homemade explosives to another watermelon, then looks up at Dwayne. His eyes are magnified into saucers by his thick glasses. There's a peculiar eagerness to please in them. JAY This one's gonna blow even bigger. DWAYNE Boy, if you weren't such a skinny little bitch you coulda been in the military or something. JAY Whatever. I don't need the military. I taught myself how to do this shit. DWAYNE I hear that. I taught myself how to eat pussy. And cut my own hair. Jay jogs the watermelon a safe distance away. He returns and pulls out a detonator. Dwayne snatches it. DWAYNE This one's all me. (makes "radio" sounds) Mr. President, we have enemies at the gate. Give me the order. (more "radio" sounds) Fuck that, sir. I don't negotiate with terrorists! Dwayne presses a button and BOOM! The explosion is so powerful that it sprinkles our guys' smiling faces with fruit juice. INT. KITCHEN, NICE HOUSE - DAY Large and early-90s chic. Dwayne and Jay have the fridge open, fixing themselves a cold cut plate. Dwayne is debating the amount of meat on the plate...adds some more. DWAYNE Wanna make sure I get enough calories. JAY I thought you wanted to get diesel for the summer. Bang that towel girl at the community pool. 9. DWAYNE It's obvious you don't know shit-all about physical fitness. You gotta bulk up first, then you slim down. I'm clearly in the bulk up phase. I told you to watch Pumping Iron like a month ago. If you'd listened to me, maybe you'd know what the fuck I'm talking about. (BEAT) Grab some RC Cola. INT. LIVING ROOM, NICE HOUSE - DAY The shades are drawn. We hear a girl scream bloody murder! The guys are watching FRIDAY THE 13TH PART 3...in 3D. They both wear cheap cardboard glasses. Jay jumps back as Jason wields a 3D ax. JAY Shit, man! It's so real! Dwayne reaches out, "touching" the 3D images. He stands and starts humping the air. DWAYNE Check it out. I ain't afraid of Jason. I'm fucking him. (THRUSTING HARDER) You like that, Jason!? In the mask! Jay cracks up. The lights flick on. GRIZZLED VOICE (O.S.) Who are you two fags fucking? Standing by the switch is Dwayne's dad, JERRY (70s). Most people just call him "THE MAJOR." The faded USMC tattoo on his thick forearm explains why. JAY Afternoon, Major. Dwayne flops back onto the couch. DWAYNE Dad, we're watching a flick. We got 45 minutes and a potential 3D sex scene left. You're sorta coming in at the worst possible moment. 10. MAJOR I bought that TV set so I could watch my programs, not so you and your friend could louse up my couch. DWAYNE You gotta learn how to share the common space. MAJOR The only thing common in this house is you. You remind me of your damn mother. Fat, dumb, and in my way. The Major grabs Dwayne and pulls him up off the couch. He gets right in his face...scary, intense. Dwayne turns to Jay. DWAYNE Let's get outta here. This movie sucks anyway. Jay gets up and files out the door. Dwayne goes to take the cold cut plate. The Major grabs his arm. MAJOR I paid for the damn cold cuts, too. Maybe if you had a job, or a fucking prospect, or a clue how to find any of the above, I'd let you eat 'em. DWAYNE (QUIETLY) You know, you can be a real sonofabitch, dad. MAJOR That's what it takes, boy. In the Corps, men like you wore dresses to keep us entertained. DWAYNE That's pretty fucking disturbing! Dwayne storms off. EXT. NICE HOUSE - DAY Dwayne and Jay head out, passing a brand new pickup truck in the driveway. Dwayne spits on it. DWAYNE Fuck The Major! The guys get in a shitty Ford Aerostar minivan and peel out. 11. INT. DIVE STRIP CLUB - DAY R. Kelly's "Ignition (Remix)" pumps. Large, fake breasts, sparkling with cheap body glitter and pierced at the nipples, shake before us. Their owner, JUICY (27), a petite Latina, phones in a lap dance as Dwayne pours his heart out to her. Somewhere in the background, Jay hangs at the bar, all alone. DWAYNE - and he thinks he knows me. He don't know shit. I got ideas he could never dream of. I got plans bigger than his fucking house. (BEAT) He didn't even raise me. My mother did. That was a good woman. JUICY Oh yeah? What happened to her? Dwayne shifts, uncomfortably, at the sore subject. DWAYNE She passed on. JUICY I hope you're not one of those guys that comes here looking to get mothered. DWAYNE I wouldn't mind nursing on them titties, mamacita. JUICY Sure. Whatever you say. Maybe just keep quiet for a while, forget about your old man and let me do my thing. DWAYNE I wish I could forget about that asshole for good. I'm just waiting around for him to drop dead. Don't wanna mess with my inheritance. This piques Juicy's interest. JUICY What kinda inheritance? 12. DWAYNE When my dad got outta the service, he started buying lotto tickets. He'd play his dog tag numbers. In '91, the fucker won five million bucks. INSERT PHOTO: The Major holding a giant cardboard check. DWAYNE He had some health problems a few years back, and since then he's been burning through the money like an NBA draft pick. Probably only got a million or two left. But it's mine as soon as he kicks. Behind inch-long fake eyelashes, Juicy's shrewd eyes narrow, mind working. She straddles Dwayne, tightly. JUICY You know, with a million bucks, you could have anything. Be like a king. (almost a moan) King Dwayne. DWAYNE That's right. And maybe I'll make you my queen. Let you polish my royal scepter. JUICY Practice makes perfect. Juicy pantomimes a long, slow chicken head. Dwayne is blissed out. She smiles at him, sticky sweet. JUICY Let me ask you a question...do you really hate your daddy? DWAYNE Hate him like the Steelers. JUICY Then maybe I can help you get that money now. Before he spends another penny. Dwayne looks confused. Juicy puts his hands on her breasts, emboldening him. JUICY I know a guy in Baltimore. He could help you out. Probably do it for... (sizing him up) ...100Gs. 13. DWAYNE Do what? Juicy leans in, whispers softly in Dwayne's ear - JUICY Kill your mean old dad. On Dwayne's face as this new possibility pinballs around his mind, setting off a flood of different emotions. JUICY So, what do you think...you ready for your crown? INT. MUSTANG - NIGHT - MOVING Will has one pizza left in the back of his car. He pulls over outside an office building. INT. LAW FIRM, OFFICE BUILDING - NIGHT Rows of cubicles. Speckled with late night STRAGGLERS, bleary eyes, too busy generating detailed lists of places they'd rather be to notice the pizza boy walking along. Will stops before one such work station, looks on for a beat. WILL Rio? KATE (25) turns from the glow of her computer screen. She has short, messy hair and a sarcastic smile. This is the girl from the picture in Will's apartment. KATE That's the plan. Five days, six nights. Culture. Beaches. Acceptable probability of kidnapping. I leave in the morning. Kate looks back at her computer, logged onto an Expedia checkout page for a Rio vacation. She moves the mouse pointer from the "proceed" key...closes the window. KATE This morning I loaded up an African Safari and a cruise to Alaska. WILL Oh, the places you'll go. KATE Fuck Expedia. Travel Advisor. Making it seem so easy. 14. WILL It is. Just do it. Get away for a while. KATE Even if I could afford that...they fired two other paralegals last week. Now's not the time to be putting in for vacation days. WILL Ok. Done. I've got my dose of the actual working world. Can we eat? Will lays a pizza down on her desk. KATE How do you keep sneaking up here past the security guard? WILL He's there like half the time. The other half I smile at him. I'm relatively certain he's a homosexual. KATE Interesting theory... Kate opens the pizza box, grabs a slice. KATE Maybe I should set him up with Tom Small. He came out to me today on Facebook. WILL That kid beat the hell out of me and Chet in grammar school. Wow. KATE Tell me about it. He fingered me at junior prom while they were playing "No Scrubs." WILL (WINCES) Really? What a fucking scrub. Will grabs a slice. They eat quietly for a beat. KATE So, I've got some news... 15. WILL I thought the Tom Small stuff was enough of a headline, but go ahead. KATE I'm getting back together with Mark. Will's delicious pizza suddenly tastes like shit. He does his best to swallow it down. WILL But you...you broke up with him...ended the relationship. Finality was had. KATE Yeah, but we were talking and - WILL Forget it. I don't want to know. KATE You sound like Chet. WILL Woah, don't compare me to your brother. KATE Well, neither one of you seems to care that I don't have a life. Mark's not perfect...but a relationship is better than working late every Friday because I have nowhere else to be. WILL Sure. I get it. Here we are. Friday night. Nowhere to be. Kate shoves Will, good-naturedly. KATE You know what I mean. Will shrugs, quietly devastated. Goes back to his pizza. INT. SPORTS BAR - NIGHT Most of the PATRONS are fixated on an Orioles game blaring from a large flat-screen TV. At a booth in back, Dwayne and Jay are in deep conversation. 16. JAY I don't wanna stick my nose into a family matter...but killing your old man? That's pretty messed up...I mean, unless you think it isn't. DWAYNE What we have here is a classic "lesser of two evils" debate. You got one evil: me shaving a few years off The Major's shitty life. Then you got the other evil: The Major ruining my entire awesome life by blowing through my inheritance. Maybe I'm biased, but mine sure as shit seems like the lesser. JAY I guess I...sorta see where you're coming from. And you have been waiting around forever for that money. Y
46	48 Hrs	Steven E. De Souza,Walter Hill,Roger Spottiswoode,Larry Gross,Jeb Stuart	Action,Comedy,Thriller	null	FADE IN: OPEN COUNTRY - DAY Endless green hills bisected by a ribbon of highway. A road gang clearing brush by the side of the road... Twenty-five men in prison fatigues sweating through their mid-afternoon labor. THREE GUARDS Flank the working prisoners... Mountie hats, shotguns, sidearms, sunglasses; they look like they mean it. HIGHWAY A battered pickup appears...approaches. Suddenly, it coughs, shudders, stalls. A big Blackfoot Indian named BILLY BEAR gets out and starts cursing and kicking the vehicle.Then he begins walking toward the road gang... ROADSIDE BRADY is the Guard near the center of the work gang; he smiles at the oncoming man, pokes a prisoner beside him. BRADY Wonder what reservation they let him off of... The prisoner is GANZ who looks up, grins at Brady... GANZ Yeah, there goes the neighborhood. Brady laughs as Billy Bear closes in on him. BILLY Say, buddy, my engine's overheating and I got 30 miles before the next station... Could I get some water out of your cooler? Ganz leans on his hoe, speaks as Billy passes... GANZ Maybe you shoulda stole a better truck, Tonto. BILLY You got a real big mouth, convict. BRADY It's okay, chief. He's just joking... BILLY How about the water... GANZ Firewater, Tonto? Is that what you... Billy whirls, swings at Ganz. Both men roll to the ground. BRADY Hey! Jesus Christ! THE OTHER GUARDS Seeing the commotion, they run toward it. GANZ AND BILLY As they struggle, Billy slips a pistol into Ganz' hand. BRADY That's a state prisoner, asshole...! Back off... ROADSIDE Brady pulls Billy away from Ganz just 'as one of the other officers arrives... Ganz suddenly whips out a pistol, shoots Brady at point-blank range. Before the other Guards can even react, Billy comes out with his own pistol, caps the Second Guard. THIRD GUARD Still forty yards away... In mid-draw, be howls as a bullet from Ganz breaks the nearby ground. He fires, then turns and runs for the prison bus. GANZ Smiling, fires twice. but the range is too great for pistol work... THE OTHER PRISONERS Watching....Then they all scatter in different directions... GANZ Hefts his weapon... GANZ Come on... He and the big Indian run to the pickup, climb in and roar away. INT. BUS The THIRD GUARD making a call on the police radio... OFFICER APO 657, Unit 25 to APO 478t APO 657t Unit 25 to APO 478. RADIO RESPONSE Go ahead, Unit 25. OFFICER Escape in progress. Two officers shot off rail crossing 31. Prisoners escaping. Two men, one six-four, 200 pounds, dark, an Indian, the other, Albert Ganz, five-ten... FURTHER DOWN THE HIGHWAY Several miles from the escape... A big semi parked by the side of ttie road; back doors to the closed trailer open. A station wagon parked across the road. The pickup appears, approaches the semi, slows down and drives up the ramp into the van. Ganz and Billy jump out, shove the ramp up inside the truck and close the big doors. STATION WAGON Ganz and Billy climb inside ancl roar off, back in the direction of the road gang. BILLY BEAR Takes off his hat, puts on a baseball cap and sunglasses... BILLY Get ready to duck. Ganz dives for the floor. Three police cars go by, sirens blaring, lights flashing. They pass the road gang. Ganz reappear, smiles... GANZ You know something? I'm having a real good time. HIGHWAY The station wagon blasts down the pavement... Becomes a small dot on the landscape. TRANSITION. A DOORWAY - NIGHT the portal slams open revealing a man holding a huge pistol,jack cates, s.F.P.D., a large and powerful man... He stealthily moves up a stairwell. CORRIDOR He stops at the top of the stairs... Listens gun still ready. A continuous sound of running water... Cates moves toward the bathroom. Rips the door open. BATHROOM The shape behind the shower curtain freezes. Cates, gun held level, moves forward... Rips the shower curtain open. Revealing a young and very beautiful woman, ELAINE MARSHALL. CATES Inspector Jack Cates, S.F.P.D.... And you're wanted. Elaine stares at him as Cates turns off the water. ELAINE What am I wanted for? CATES I don't answer questions, I ask 'em... A moment as she continues to stare at his pistol. ELAINE I don't think your gun's loaded... CATES This is a .44 Magnum, the most powerful handgun in the world. You gotta ask yourself just one question. Are you feelin' lucky? ELAINE I still don't think it's loaded. Elaine shakes her head and smiles, folds her arms over her breasts, shivers a little... Cates looks at the cylinder, spins it... CATES Hey, you're right. ELAINE You're hopeless. CATES That's the way I see it, too. Be puts the gun down on the edge of the sink, embraces her. ELAINE I'm all wet. CATES What's wrong with that? They both smile. TRANSITION. BEDROOM Cates in bed with Elaine. She wears his shirt. ELAINE A guy in the bar called me a dumb bitch today. CATES What'd you do? ELAINE Irrigated his face with the shot of J and B I'd just poured him. Then I tried to deck the sucker. CATES I guess he got the message... ELAINE Then I sit back and I think, I mean, who's to say I'm not a dumb bitch. I work in a bar, right? I can't read a list of my academic credentials to every booze-hound that comes in the place... You are what you do... CATES Positive self-image problem all over again ... You are who you decide you are unless you're the type that lets assholes decide for you. ELAINE Aren't you the one that thinks all psychotherapy is bullshit? CATES I do think all psychotherapy is bullshit. But just because I think it's bullshit doesn't mean I don't know something about it. ELAINE If this is your idea of sympathetic interest in my problems, I'll take brutal indifference. CATES Hey, you know what I really think? ELAINE Tell me--I'm dyin' to hear it. CATES I think you're ashamed to tend bar which is sad because you look great in that outfit they make you wear... You pull down four bills a week which is damn good, and you mix the best Pina Coladas I've ever had... I think that if you need bigger and better things ... then go for em. She smiles at him after this. It looks like they'll kiss. Their faces are close. Then she lightly moves back. ELAINE You oversimplify every... He stops her in the middle of the sentence by kissing her, then pulls back... CATES Some things are simple, right? Their faces are very close ... but they don't touch for another second. ELAINE Right... TRANSITION. SAN FRANCISCO - DAWN Titles continue. Tugs churning across the bay... Quiet city streets. Parked cars covered with early morning dew... A newspaper truck slowly grinds by, drops a bundleand moves on. EMBARCADERO - DAWN The station wagon pulls up to a young punk, HENRY WONG, on a motorcycle. Billy Bear smiles and leans out the driver's side window. BILLY You got somethin' for us, Henry? Henry produces some credit cards. Billy passes them to Ganz for inspection. GANZ How hot are they? HENRY Hot? Hey, they're not even room temperature. Ganz snorts derisively. GANZ How ya doin'? HENRY Can't complain. GANZ We got a lot to talk about. HENRY Yeah, old times. GANZ We'll follow you. Take it slow,okay? HENRY Sure, right. Ganz pockets the credit cards as Henry wheels away. INT. STATION WAGON GANZ I want to drive awhile. BILLY I ain't tired yet. INT. STATION WAGON GANZ Maybe after we get done with him I'm gonna buy us some girls. BILLY Whaddya mean, buy? GANZ Pros. Ganz stares at Billy. BILLY Pay money? GANZ Yeah, dummy. Money. BILLY I never paid for it in my life. GANZ It's better when you pay... they let you do anything. BILLY They always let me do anything. I don't want to pay for it. I never paid for it in my life. GANZ Just do what I say, okay? We'll pay for the girls and have a good time... Don't you trust me? Billy smiles. BILLY Sure, I trust ya. They drive off. NORTH BEACH - RESIDENTIAL STREET - DAWN First light breaks over Telegraph Hill. A quiet row of Victorian townhouses now converted into apartments. APARTMENT BEDROOM - EARLY MORNING Cates is sprawled across the double bed; Elaine is on the verge of falling off the edge. Cates' eyes snap open. A second later, his wrist watch alarm goes off. He turns it off, gets out of bed and begins pulling on his pants. Elaine sits up in bed, still wearing Cates' blue shirt... Cates picks up a robe as Elaine gets out of bed on the opposite side, throws the robe to Elaine... She takes off the shirt, swaps it for the robe and throws the shirt to Jack. ELAINE You know, if you let me come over to your place once in a while, you could put on a clean shirt in the morning. CATES What makes you think I have any clean shirts at my place? He buttons his shirt and heads for the kitchen. KITCHEN Cates brushing his teeth at the sink, Elaine making coffee. ELAINE You know, that's my toothbrush, Jack. He keeps brushing. CATES Maybe you ought to buy me one. ELAINE Maybe I would if I knew when you were coming back. He stops brushing, turns and looks at her. CATES I'm here. And I've been coming back for quite awhile... Let's not hassle, okay? And can I have a cup of coffee? Please. She pours some coffee, hands him a cup and saucer... Cates pours some whiskey into it from a flask. ELAINE That's a fairly crummy way to start a morning. CATES Maybe I got a fairly crummy day ahead. ELAINE Maybe that makes a nice excuse. CATES Maybe you don't know what the hell you're talking about. Cates picks his holstered .44 off a chair back and begins strapping it on. ELAINE When you start with that attitude... it's like I don't know who you are. CATES What do you want to know? What difference does it make? I'm the guy in your bed the last three months. I make you feel good. You make me feel good. What the hell else do you want from a guy? ELAINE I wish you'd stop trying to make me mad so I won't care for you... I wish you'd give me a little more of a chance. He turns away, moves into the corridor near the stairwell. CATES I don't have time for this. I gotta go to work. She stands frozen... He turns back and looks at her; it's hard to apologize. CATES (continuing) Look, I'm glad I'm in your life... and hell, with an ass like yours, I figure anything might be possible. She is warmed up by the first part, amused by the second; she approaches... ELAINE You know something, Jack, you really are hopeless. CATES That's the way I see it, too. ELAINE Call me later. CATES You sure you want me to? ELAINE Yeah, for some reason, I'm sure... He moves closer, kisses her.. CATES Thanks for the coffee. ELAINE I think you forgot this. Hands him his wallet and badge... CATES Guess people ought to know who I am... He turns to go down the stairwell... ELAINE Jack, wait. Here... She puts a scarf around his neck. ELAINE (continuing) It's cold as hell out these mornings, and you know what the man said, the coldest winter I ever spent was the summer I spent in San Francisco... They don't kiss. He nods appreciately, the scarf in hand as he turns and goes. STREET - NORTH BEACH - MORNING Cates comes out of Elaine's apartment building, crosses to his whipped and battered 64 Cadillac convertible, notices a parking ticket stuck under the windshield wiper... CATES Son of a bitch. Shoves the ticket in his coat pocket, gets into the Caddie puts the scarf around the rear view mirror, starts the engine and guns away... CITY STREET Cates driving the convertible; he comes down a hill and turns toward the East Bay... TRANSITION. GOLDEN GATE PARK - MORNING Henry Wong, seated on a park bench. Now very dead, a bullet hole in the middle of his forehead. Billy Bear is seated next to him on the bench reading the race form. GANZ Using the telephone at an outdoor booth a few feet beyond the bench. STREET - BROADWAY DISTRICT - DAY LUTHER and ROSALIE, a young couple, turn a corner. A dark parody of all-American young marrieds. They are bickering as usual. ROSALIE I liked that carpet we saw. LUTHER We can't afford it. ROSALIE Don't remind me. LUTHER Whaddya want me to do, go out and steal for the money? I hated the color anyway; the color sucked... Suddenly, Billy and Ganz descend on Luther and Rosalie and pull them into their station wagon.. INT. STATION WAGON Billy has Rosalie by the mouth, gagging her with his big paw... Ganz has his gun at Luther's neck. GANZ Surprise, Luther. LUTHER Whaddya want? I thought you were locked up- GANZ I want the money, asshole, what do you think? The money that Reggie hid... LUTHER I don't know what you're talkin' about. GANZ You want that Indian to snap her neck? He mimes the gesture... snap... GANZ (continuing) Instead of worryin' about Reggie, you better worry about me... LUTHER Don't give me this, we were partners. GANZ Billy, go ahead, break it... LUTHER No! Don't kill her. I can get you the money. GANZ When? LUTHER I can't get it until Monday. Honest. GANZ You chickenshit punk... LUTHER Honest. The place we stashed it opens Monday morning. I can't get it till then. Monday morning, that's when it opens. After that, I'll get the money to you right away... Ganz finally takes the gun from the neck. GANZ I always liked you, Luther. You were always a lotta fun to hang out with... Rosalie is rubbing her neck now that she's been released... Ganz gestures to Billy. GANZ (continuing) We're gonna keep her. Luther desperately doesn't like this. LUTHER Come on, you can trust me. Please. GANZ You try to mess with us or go to the cops, I promise you, I'll put holes in her you wouldn't believe. He smiles at Luther, pinches him on the cheek, shoves him out of the car. LUTHER Stands shivering as it powers away. WALDEN HOTEL - DAY A small hotel on one of the quiet streets behind Union Square. A GREEN COUGAR Pulls up across the street. INT. CAR Tha car arrives in front of the hotel. GANZ Nice place, huh? Rosalie is very nervous. ROSALIE What are you gonna do to me in there? Ganz gives her a casual smile. GANZ Maybe that's where I'm gonna cut your throat. BILLY He's just kiddin', you just keep doin' what I tell ya, you'll be okay. They move out of the car, head for the hotel. LOBBY A FRIZZY YOUNG BLONDE sits behind the desk in a mirrored entrance hall. She reads a lurid paperback. Morning traffic streams by outside as Ganz, Billy and Rosalie enter and approach the desk. GANZ We need some rooms for a couple of nights...Okay? She smiles at Ganz. FRIZZY Sure. We don't get many real customers, ya know? Most people only stay an hour or two... Passes a form across. Ganz signs it, Frizzy glances at his signature then takes a key from the rack behind. GANZ I want her young. And tall. Nice legs. Legs are important. Then, real thin. Yeah. NO jeans-A dress? a nice summer dress. You know I want her fresh... I'll tell you why, because I been hoein' weeds and makin' license plates for a couple of years... Yeah, I know you don't get it... BILLY BEAR Sees a couple approaching, he shoves the dead man down on the bench and spreads the newspaper over his head. The body now looking like a typical park bum who has spent the night. Billy walks over to Ganz. BILLY Hey, what about me? GANZ And I need one more for my pal. Yeah. Make her an Indian. No, not a turban, you know, a squaw. Billy smiles, takes the Polaroid... POLAROID A close shot of the dead man with the bullet hole in his forehead. GANZ Takes the photograph back from Billy and slips it into his jacket pocket... GANZ Walden Hotel. Third near Broadway. Tell them to ask for ... uh... He takes the hot credit cards out of his pocket, the name embossed on the plastic.. GANZ (continuing) G.P. Polson...P.O.L.S.O.N....Just be a couple of hours. Hangs up. The two men head for a green Plymouth... TRANSITION. FRIZZY Number twenty-seven, Mr. Polson. GANZ Put them next door, okay. She gives him a slightly knowing look. FRIZZY Sure, hey, you got the whole floor to yourself... Ganz sends her back a sharp look. GANZ Keep your filthy ideas to yourself, lady. Ganz picks up his suitcase, walks over to the nearest stairwell. Billy and Rosalie follow... TRANSITION. STREET Bars starting to fill up with mid-day customers... A black Chevy cruises past and stops further up the block. Two Plainclothesmen, VANZANT and ALGREN, get out of the car. As they start toward the Walden... THE CADILLAC CONVERTIBLE Pulls up near the two men. Cates climbs out of his car and walks over to them. CATES Hey, fellas, what's happening? Radio said you guys had something on... ALGREN Not much, Jack ... Salesman named Polson had his credit cards lifted... Algren nods over to the parking lot opposite. ALGREN (continuing) One of Polson's cards rented that green coupe. VANZANT Not too much for a big rough tough gunfighter like you to do on this one... Cates smiles at the verbal positioning he's used to with his colleagues. CATES Suspect packed or is this a laugher? ALGREN Five and dime stuff. Polson said a kid with a switchblade mugged him and drove off on a motorcyle. CATES Yeah, well, I guess you two are experts at taking boy scout knives away from teenagers... VANZANT Yeah, we are, that means you can stay outta this one. We don't have any big need for the artillery Vanzant's turn to smile. CATES Hey, I'm just offering to help out... I like to watch real pros work. VANZANT Help, huh? Sometimes your kind of help tends to leave the suspect in bad shape. Algren...mediator... soothes the competitive situation. ALGREN Hey, relax ... Jack, you wanna come inside, fine... You can stake out the lobby... Cates, a bit disgusted at the politics of this moment, nods... CATES
47	A Most Violent Year	J.C. Chandor	Action,Crime,Drama	January_2015	This film is set in New York City, 1981: Murders: 2,228 Forcible Rape: 5,405 Violent Crime: 180,235 Aggravated Assault: 60,329 Property: 1,029,749 Vehicle Theft: 133,041 Robbery: 112,273 Burglary: 360,925 Larceny-Theft: 535,783 Crime Index: 1,209,984 1981 was the most violent year in NYC history as recorded by overall Crime Index in relation to population. 2 JANUARY 31, 1981 Over black we hear the opening of a garage door. The light spills in and we see. EXT. UPPER MIDDLE CLASS RESIDENTIAL HOUSE, QUEENS NYC - SUNRISE Open on ABEL MORALES. It is early morning and still almost dark out. He has a rugged yet prosperously-handsome face and is in his mid-thirties. He is struggling to get started with his morning jog. EXT. SHIP GRAVEYARD, STATEN ISLAND NYC - DAY It is early morning. A large bulk fuel oil transport truck sits idling next to a decrepit old dock. The dock sticks into a backwater section of New York harbor that is filled with the decaying remains of half-sunken abandoned barges and tug boats. JULIAN, the young driver of the truck sits and nervously scans the horizon. Eventually a large fuel barge appears in the distance being pushed by a tug boat. The barge is steered past the skeletons of the other sunken ships and makes its way to the dock in front of the tanker truck. JULIAN gets out of his truck and readies a large connecting hose. He looks around nervously. JULIAN steps across the broken boards of the dock and struggles to get the hose to the barge. He hands it to the BARGE OPERATOR with a nod of the head and no words. They connect the hose and start a large generator as it begins to pump fuel into the truck. They both scan the horizon again as the sun begins to come up. EXT. MORE INDUSTRIAL QUEENS NEIGHBORHOOD- SAME TIME ABEL is still jogging as the light begins to increase. It is freezing out. He is a very serious guy. He is not happy that he is out of shape. Finally he stops and bends over to catch his breath. We have run with him from the nicer part of the neighborhood to a rougher section. As he catches his breath he stands up and looks around. He is unsure of his feelings. 3 INT. ANNA'S DRESSING AREA The camera slowly moves in as ANNA sits in a slip at her make up table putting on her face for the day ahead. She looks into the mirror as if she is putting on a coat of armor. INT. DRIVER'S CAB OF A BULK OIL TRANSPORT TRUCK - DAY STANDARD HEATING OIL, "We set the Standard" is written in logo form on the side of the tank. The truck idles in traffic waiting to pay the toll to cross the Verrazano bridge that spans the mouth of New York harbor. JULIAN, the young driver from the dock, cautiously looks around as the traffic inches along. He finally approaches the toll booth and pays. JULIAN Good morning. JULIAN speaks English with a well-sanded accent. Is it Central American or Mexican? The female collector gives him a smile. He heads through the booth, but there is still traffic on the other side as the lanes merge together. Just as the traffic is about to pick up he looks in his rearview mirror and we see TWO GUYS come walking through the traffic and towards the cab. Before we know it they are climbing up the cab steps. The GUY on the driver's side, LOUIS SERVIDIO, is small and very slight but he moves with great speed and strength. He shatters the glass side window with his elbow. Unlocks the door just as his partner, THUG #2, does the same thing on the passenger side, but he is holding a gun. They are not wearing masks. It's very brazen. Before THUG #2 even asks JULIAN to get out of the cab LOUIS SERVIDIO crushes him in the jaw with three swift punches then pulls him out of the cab and down onto the roadway. LOUIS SERVIDIO pulls the door shut and they drive away with the truck leaving JULIAN sitting in the middle of the road staring, as blood starts to flow from his jaw. INT. PARKING YARD OF STANDARD HEATING OIL- SAME TIME Two almost-matching late model Mercedes pull up to a chain- link gate with a small sign that says "STANDARD HEATING OIL: WE SET THE STANDARD". The DISPATCHER opens the gate. 4 They both pull into reserved parking spaces next to each other. ABEL is dressed in a very tasteful custom made suit. ABEL's wife ANNA was driving the car behind him. She is a beautiful, tall, blonde woman dressed to the nines but with a streak in her eye that this is all business. You would not want to cross this woman. ABEL Ready? ANNA Yes. ABEL You look very nice. ANNA Thank you. ABEL You sure? ANNA Yes. ABEL walks around and opens his trunk. He takes out two large empty briefcases. He carries the briefcases as they both walk over to a large, unmarked, armored van that is idling in the middle of the parking lot. Two ARMED GUARDS get out of the van. One is holding a clipboard. He walks up to ANNA and ABEL. He hands them the clipboard. They look at each other one last time and then both sign the document. The other GUARD opens up the back of the truck. ABEL hands him the briefcases and the guard begins to fill them with cash. Lots of cash. ABEL and ANNA stand at the open back of the van and just watch. Finally he finishes and hands the now- heavy cases to ABEL. ABEL picks up the two cases and walks a bit away from the truck. He turns to ANNA. ANNA (CONT'D) Don't do anything stupid. ABEL We don't have any more money so what else could I do. She gives a small smile. He looks at his watch. They kiss. 5 ABEL turns and begins walking with the cases. He gives a nod to the DISPATCHER, who we now see, is in a small gatehouse, and he begins to open the front gate. EXT. STREET OUTSIDE THE FRONT GATE- SAME TIME ABEL walks out through the gate and down the abandoned industrial street about 25 yards, then looks to his right. He looks down at the cases in his hands, turns, and stands looking into the neighboring site. EXT. MASSIVE OIL TANK FARM: BROOKLYN NY WATERFRONT - DAY ABEL comes walking across the parking lot and sees ANDREW WALSH standing in the middle of the dusty parking lot. ANDREW is their longtime LAWYER/RIGHT-HAND MAN and is in his mid fifties. He is smart but tired. The oversized briefcase in his left hand seems to have permanently tilted his posture that direction. The large oil-holding tanks loom above them. The place is rusting and could use some work. As they wait, the setting has the look and choreography of an illegal transaction about to go down. ANDREW WALSH So how are we this morning? ABEL (gives a smile and nod) ANDREW WALSH Well I woke up feeling very good about this. ABEL Really? They both take a look at their watches. ABEL (CONT'D) You've been telling me not to do this for a year. ANDREW WALSH Well we are going all in... so now I love it. Gives him another slight smile. They stand around in awkward silence. Finally a late-model Ford Ltd. station wagon pulls into the lot. 6 ANDREW WALSH (CONT'D) Here we go. And a group of FIVE HASIDIC JEWS gets out. There are two guys in their twenties, two in their fifties, and one in his mid- to-late seventies. They all shake each other's hands then stand around for a beat. ANDREW WALSH (CONT'D) Should we head inside? INT. SMALL TEMPORARY OFFICE TRAILER - DAY The group is now jammed around a folding table inside the trailer. ABEL and his lawyer sit at one end facing the rest of them. Finally, the senior member of the group, JOSEPH MENDELSOHN, eyes up ABEL and leans forward. His accent is strong yet you can understand every word. JOSEPH So why is it you want this land? ABEL I'm sorry? JOSEPH It has been difficult for you to get me here, no? Over a year? ABEL Almost two. JOSEPH There are many like it around? And thanks to all these tests you paid for, we now know it is as much of a mess below the ground as it is above. My people have looked at your books, I know this is a lot of money for you, so why have you kept on us so... just for this ugly and polluted little piece of the earth. ABEL I have been looking over my fence at this property for a very long time. JOSEPH So it is just proximity? 7 ABEL No... I imagine I want it for the same reason you did. JOSEPH And what's that? ABEL To grow. JOSEPH Well, I am in the garment business so I appreciate that sentiment. But I inherited this land from my uncle. Sadly he had no children of his own. He was the one that let them build these tanks here. So this place can do little for me... in fact thanks to all those tests you've done it may be a liability. As you know I offered to lease the site to you at a fair price, but you were not interested? ABEL No. JOSEPH Why not? ABEL I like to own the things I use. JOSEPH I can see that. Long pause. ABEL So. JOSEPH Yes. This contract here, your lawyers have fully reviewed it? ANDREW WALSH Of course. JOSEPH And you have brought the money? (ABEL nodes yes) So you realize you have only thirty days to close this transaction? (MORE) 8 JOSEPH (CONT'D) No extensions, no... contingencies whatsoever. ABEL I understand. JOSEPH I want you to know this up front. I am a very fair man but I believe in honoring contracts. You will fulfill your end of this contract and the property is yours. If you can't we will keep your money and will sell it to your competitor who has been chasing us almost as badly as you have. I like you, but know that the only reason I am choosing you is because of the favorable terms of this contract. So this is business... and when you sign this.... ABEL I understand. JOSEPH Well then, let's see this money, and then I will sign these papers. ABEL turns to ANDREW and gives a slight nod. ANDREW pulls the black briefcase onto the table and opens it. It has seven hundred thousand dollars in cash in it. He slides it over to their side. The old man signs the contract and they shake hands. EXT. MASSIVE OIL TANK FARM PARKING LOT - DAY ABEL stands next to ANDREW's car. ANDREW WALSH Congratulations. ABEL It's not ours yet. ANDREW WALSH Well, it was a hell of a job just getting them to this point. It's a good day for us. Take a walk around. Enjoy it for a second. ANDREW gets in his car and drives away. ABEL looks around and decides to go for a little walk. 9 He heads out towards the tanks and walks among them. They tower seven stories above him. As he walks, he is cut off like a maze from any other visual input. (Similar to being inside a Richard Serra sculpture) Finally he emerges into some light and as ABEL looks up the camera reveals his view. It's midtown Manhattan in all its glory, just across the East River from the site. He stares at the city and we see the true depths of his ambition lock on his face. He looks to his watch. INT. 1981 MERCEDES 500 SEC ABEL drives away from New York City. We see it behind his head. INT. CAR ON MERRITT PARKWAY The terrain turns to upscale country. EXT. COUNTRY HOUSE - DAY ABEL's car drives into a long driveway through the woods. Then an architect-designed, 80's modern house, still under construction, appears. He pulls up in front. He gets out of the car and stands there looking at the large house. He walks into the house and we see more clearly that it is nearing completion. It is empty. INT. 80'S MODERN HOUSE - DAY ABEL walks over to the massive floor-to-ceiling windows and stands looking over the large pond that sits down the hill from the house. As he stares out his CONTRACTOR comes quietly walking in behind him. CONTRACTOR Hello? ABEL There he is. He walks up behind him and they both look out in silence for a beat. ABEL (CONT'D) You have done a beautiful job here. CONTRACTOR Thank you. 10 ABEL I mean it. You and your men should be very proud. CONTRACTOR We are. ABEL Most people don't have anything beautiful like this to show for their day's work. You are a lucky man. CONTRACTOR I am. ABEL Well I thank you... my family will be very happy here. CONTRACTOR I hope so. ABEL Now I think I owe you some money. CONTRACTOR That may be true. ABEL It is. ABEL reaches into his jacket pocket and takes out a thick envelope of cash. As he does we see a transformation of his personality from pleasant philosopher to a direct voice of unquestioned authority. ABEL (CONT'D) This is the seventeen outstanding. But we are arriving here in four days. It must be done. CONTRACTOR Yes. ABEL Well, I'll let you go. He says this as he leads him to the door. ABEL (CONT'D) And the tile in the master bath... 11 CONTRACTOR It's being replaced, as I mentioned to your wife, that was an error on our part. Congratulations on your home. ABEL Thank you. EXT. TOP OF HILL ON OTHER SIDE OF POND LOOKING BACK AT HIS HOUSE. - DAY ABEL stands, surrounded by massive trees in the thick forest, looking across the ridge back at his house. He is a little out of breath after climbing the hill but he looks strangely comfortable even though he is standing in the woods in a suit, tie, and dress shoes. He takes a nice cigar out of his pocket, lights it and has a real moment of joy. He looks up to the tops of the trees, then back at the new house. He exhales a long deep breath. Then we hear a large truck come rumbling in the driveway. He hears it. His face shows that he knows the sound immediately. EXT. HOUSE DRIVEWAY - DAY ABEL comes out of the woods and sees a smaller heating oil delivery truck (with the same Standard Heating Oil logo) parked in the driveway. His face shows it probably isn't great news. INT. HOSPITAL EMERGENCY ROOM - DAY ABEL comes down a hallway and then turns through a curtain into a treatment area. Sitting on the table is the young driver of the truck, JULIAN. He has a contraption on his head that is holding his jaw shut in place. His eye is black. ABEL goes over and gives him a tight hug. But then he ever so slightly checks himself and places him back down on the table. ABEL looks up and sees ANNA, standing in the corner. She is all business. They stare at each other. ANNA They broke his jaw. ABEL Have they found the truck? 12 ANNA Yes. ABEL Are you alright? JULIAN (NODS YES) ABEL Have the police been here yet? ANNA He was left in the middle of the highway without a truck, they brought him in. ABEL Can you speak? ANNA'S temper is rising. ANNA Not for a couple days... Can I speak with you outside? ANNA heads out into the hallway. ABEL looks around a beat then follows. EXT. HOSPITAL HALLWAY -SAME TIME ANNA is waiting in the hallway. ANNA Did they sign the contract? ABEL Yes. ANNA And took the deposit? ABEL Yes. ANNA So it's a go? ABEL (he gives a nice nod yes) ANNA Congratulations. 13 ABEL To you as well. ANNA We have thirty days? He nods ever so slightly yes, and she gives him a knowing smile back of equal measure. We are beginning to see that they actually work quite well together. ABEL These fucking guys. This poor kid has been working his ass off. ANNA Do you want me to speak to my Brother about this? ABEL No...don't talk to him or your father. ANNA This can't continue. ABEL It won't. ANNA It will if we don't do something. ABEL I'm meeting with the D.A. in the morning. ANNA Oh, fuck the D.A. He's more interested in coming after us than helping us. ABEL looks around in disapproval. She thinks this through and then looks in at JULIAN. ANNA (CONT'D) It's not fair to them. You're at war here. ABEL No we are not. ANNA Really... because they are. 14 ABEL Well I'm not. They look each other over. She then finally leans in and gives him a caring kiss, she walks off. ANNA And you're going out to check on the new house? ABEL Yes. He watches her walk away then looks back into the hospital room. He enters. INT. HOSPITAL EMERGENCY ROOM - DAY ABEL walks into the room and looks at JULIAN. He looks up and ABEL has trouble putting it to words. ABEL I have to get going. JULIAN gives a nod. ABEL (CONT'D) Can we get you anything? Nods no. ABEL (CONT'D) We'll pick you up when they let you out of here. They look at each other. ABEL (CONT'D) These men are cowards. Too weak to make a living... or even fight with their own hands, and too stupid to think up anything else to do. Finally he turns and leaves. EXT. ABANDONED RACETRACK PARKING LOT - QUEENS NY - DAY ABEL drives up to the drop off scene. There is the large bulk transport truck and one lone police car just sitting in the middle of the parking lot. 15 ABEL gets out, walks up, and stops to stare at the truck. A young beat cop is sitting on the hood of his car waiting. ABEL May I take it? BEAT COP Excuse me? ABEL May I take it now? BEAT COP Is it yours? ABEL Yes. BEAT COP Well, I'm sorry about that. Once the owner or an owner's representative files the claim form in Corona she's yours... again. ABEL So you guys have done what you needed to? BEAT COP Yes. ABEL And what was that? BEAT COP I'm sorry? ABEL You just said you've done what you needed to... so what was it that you've done? BEAT COP (looks back dumbfounded) ABEL Did you fingerprint or anything? BEAT COP No need, these guys always wear gloves. ABEL So you've done nothing. 16 BEAT COP I'm not exactly sure, I just got here at four. My shift is actually up. ABEL So who's coming? They stare at each other, then the truck. ABEL then climbs up and we see he knows his way around the truck. He goes up top and opens and looks into a valve, the tank is empty. BEAT COP Sorry. The cop gets in his car and prepares to drive away. BEAT COP (CONT'D) Why did they want it? ABEL They stole the $6,000 of fuel that was in it. The cop leaves. ABEL is left standing on top of the truck in the parking lot alone with his battered truck. He looks down at the open loading valve and begins to come up with an idea. The sun is setting. EXT. STANDARD HEATING TRUCK YARD - DAY A sign on the inside of the gate reads. "It's not safety first... It's safety always". The motor on the gate starts in and it opens. In drives ABEL'S car. INT. ANNA'S OFFICE STANDARD HEATING OIL - DAY ANNA is working away on an adding machine in her office. She is listening to the radio that sits behind her on the desk. We can see that she is in her comfort zone. INT. BROOKLYN ASSISTANT DISTRICT ATTORNEY'S OFFICE - DAY The ASSISTANT D.A. is sitting behind his desk as DEPUTY LANGE stands off to the side. He is only in his early thirties but with confidence and ego to spare. They know each other. A.D.A. LAWRENCE Andrew. 17
48	Above the Law	Steven Pressfield,Ronald Shusett,Andrew Davis,Steven Seagal	Action	April_1987	FADE IN: 1 TITLES SEQUENCE - MONTAGE WITH SCORE PHOTOGRAPHIC STILLS show us NICOLA TOSCANI as a city boy in various growing-up SHOTS, circa 1950's -- with street chums wearing a Wyatt Earp T-shirt, in a communion suit. Then: in his first qi, a youngster studying the martial arts; he grows, we see news clippings of him winning trophies, his name on contest posters, SHOTS of him in action. Then: Japan. Nico now in his teens, studying with real masters, being dumped on his butt, posing smiling beside Japanese martial artists, then himself as an instructor. Now: a few military uniforms enter the picture, we see security clearance documents with Nico's picture and name on them. Then Nico near draft age with an American friend NELSON FOX on some kind of training base. TITLES END. DISSOLVE TO: 2 EXT. JUNGLE - DAY Blowing through the roof of a dense jungle straight AT CAMERA, HELICOPTER ROTORS RISE to a DEAFENING PITCH. SUPER: Viet - Cambodian Border, 1972. Jungle foliage whips in the fierce downdraft as -- 3 "HUEY" GUNSHIP with US Army markings becomes discernible. The chopper lowers toward a crude landing zone hacked out of the wilderness. We GLIMPSE Cambodian troops and several machine gun positions around the LZ. 4 EXT. JUNGLE - TWO ARMED AMERICANS - DAY watch from the edge of the landing zone. We recognize Nico and Fox, now in their twenties, dressed in the nonmilitary jungle attire that usually marks a CIA "spook." 5 HELICOPTER touches down. THREE OLDER AMERICANS -- rough-looking, in their mid-thirties, all carrying some kind of medical bags -- disembark into the HOWLING ROTOR BLAST. They hit the ground nimbly, as if they've done it many times before. 6 LEADER OF THREE wears a khaki cowboy hat and packs a pearl-handled .45. 7 NICO AND FOX don't know whether to react with laughter or uneasiness. 2. FOX You ever see chemical interrogation before? Nico's eyes stay on the approaching "cowboy," KURT ZAGON, for whom he plainly feels an instant animosity. NICO These assholes are agency? 8 NICO'S POV FOLLOWS the medical bag in the cowboy's hand. 9 BACK TO FOX AND NICO FOX We're all C.I.A. But these guys are from a page that ain't on the map. 10 EXT. JUNGLE - LATE AFTERNOON Nico in the point, leading Fox and the three CIT (Chemical Interrogation Team) men down an unmarked, twisting trail. We see from Nico's gait that he is athletic, a born leader and totally at home in the jungle. 11 TRAIL - LATE AFTERNOON snakes along a ridge line, high enough to give us a view and let us know these guys are way out in the boonies. ZAGON How long till we're across the border? NICO We've been over for the past hour. The group continues along the ridge. CUT TO: 12 EXT. JUNGLE - NIGHT The sky glows from nearby bomb attacks. 13 NICO listening hard -- and even sniffing the air -- glances back at Zagon, who stands impatiently, drawing on a cigarette. ZAGON What are you looking at, hotshot? NICO (indicates cigarette glow) Why don't you light a bonfire? 3. Irritably, Zagon ditches his smoke. ZAGON Just drive the taxi, ace. As the party moves out, Fox flashes Nico a look as if to say, "Don't fuck with these guys." 14 EXT. CAMBODIAN BASE CAMP - NIGHT A pocket-fortified position. Armed Cambodian lookouts, several hooches, radio equipment. Nico leads the party in through the perimeter. Zagon eyes the layout like he's seen 100 of them. Fox indicates a hooch. FOX (to Zagon) They're in there. The three CIT men start for the hooch. Nico casts a concerned glance around at the base camp troops, looking sloppy as hell. NICO I don't trust these yo-yo's. 15 FULL SHOT - BASE CAMP We see Nico moving like a shadow from one defensive position to another, checking the perimeter. We can vaguely hear him ROUSTING the Cambodian lookouts, speaking in dialect. 16 DEFENSIVE POSITION - NICO hears a SOUND, looks back toward the hooch. 17 NICO'S POV - HOOCH Two Asian prisoners, stripped to the waist, babbling in- coherently, are dragged out the back by a pair of Cambodian guards and hustled off into the darkness. VOICES can be heard inside the hooch. A single lantern glowing inside gives the hut a creepy, frightening aspect. 18 BACK TO NICO He's extremely uneasy about what's about to happen inside the hooch. 19 INT. HOOCH - CLOSE ON RICKETY CARD TABLE - NIGHT on which are spread a terrifying array of syringes, drug vials and surgical instruments. Zagon's hand picks up a hypodermic, squirt-tests it. 4. 20 TWO ASIAN PRISONERS are on their knees, shirtless, handcuffed with heavy nylon tape to a stake driven into the ground in the center of the hooch. One of the subordinate CIT men moves in, grabs the first prisoner by the shoulders. Zagon injects the first prisoner. Instantly the man begins shivering, convulsing. Zagon watches with professional satisfaction. ZAGON That's the nice thing about modern technology. You don't have to wait for results. He moves close to the first prisoner. ZAGON (to first prisoner) Where is it, Charley? You got six tons of our shit -- The prisoner tries to speak, but he's in such torment all that comes out is a blood-curdling wail -- 21 EXT. BAST CAMP - NICO hears this horrifying cry. He starts swiftly toward the hooch -- 22 INT. HOOCH - INTERPRETER has moved as close to Zagon and the first prisoner as a fight referee to two boxers. The prisoner is convulsing wildly. Zagon grabs him fiercely by the hair. ZAGON Don't you die on me, fucker -- FOX (from the side) What the hell's wrong? ZAGON (throws the prisoner down) This pussy can't hold his liquor. The first prisoner is plainly in a death spasm. 23 NICO enters at this point. He takes in the scene quickly, moves to a spot beside the entrance. Zagon doesn't look at Nico, but it's plain he is aware of Nico's presence. It is as if he wants to prove something to this muscular kid -- and prove it to the others, too. ABOVE THE LAW - Rev. 4/17/87 5. 24 FIRST PRISONER dies in agony on the ground. 25 SECOND PRISONER watches with eyes like flint. He is in his mid-forties, scarred, missing several fingers. Probably a colonel or higher, he looks like he's been fighting these round-eyes since the French in the 50's. He is plainly one tough customer. The second prisoner meets Zagon's eyes, as if daring him to use the drugs on him, too. Zagon eyes the prisoner with barely contained hatred. The prisoner doesn't back down an inch. ZAGON (to second prisoner) So my little doctor bag doesn't * scare you, eh? Well I don't need * it to open your yap. * Zagon reaches to a scabbard on his Western belt, pulls out a fearsome serrated blade -- a cross between a bowie knife and a scalpel. He steps toward the prisoner, displaying the blade in the lantern light. 26 NICO watches impassively. ZAGON (O.S.) (to prisoner) Where's our load, you sack of slime? What did you do with my shit? -- 27 ZAGON punches the prisoner full in the face, holding the knife handle in his fist to double the force of the blow and to terrify him with the proximity of the blade. The prisoner crashes sideways, face bloody -- ZAGON I'm gonna teach you good. I'm gonna teach you never to fuck with my opium -- 28 FOX AND TWO CIT MEN seem to know exactly what this is about. 29 NICO didn't know, but the new kid on the block is catching on fast. Nico has difficulty containing his emotion. Zagon stands over the prisoner, as if daring him to get back up. 6. The prisoner gets back to his knees, bloody eyes meeting Zagon's with defiance -- ZAGON (to prisoner) You're a hard nigger, aren't you, boy? You took it from the Chinks... you took it from the French. You'll be fucked if some Yankee peckerwood's gonna start your gums flapping -- Nico watches Zagon move the knife blade closer to the prisoner. ZAGON -- Well, you're gonna chirp for me, tough guy. You're gonna sing like a choir -- Nico takes a step toward Zagon. NICO What the fuck does this have to do with military intelligence? ZAGON Your orders are 'assist and observe' cherry -- Zagon turns to face Nico -- FOX (to Nico) Back off, partner -- Zagon turns from Nico. He moves close to the second prisoner, close as a lover, displaying the blade in the lamplight. ZAGON (to second prisoner) I'm gonna start carving at your ankles. We'll throw your feet in that box right over there. Then I'm gonna take off your arms -- One of the CIT men yanks the prisoner's leg forward, clamping it to the ground with his hands. The prisoner still hasn't flinched. He seems as locked into this dance of death as Zagon. NICO (can't take much more) Fox -- FOX Shut up, Nico. 7. ZAGON You can disappear as easy as this slope, kid -- Zagon starts for the prisoner. Here comes the blade. Suddenly -- Nico grabs Zagon's shoulder. Zagon spins with terrifying quickness, cocking the blade to slash at Nico. Before Zagon's blow even starts, Nico slams him with a ferocious elbow shot right under the jaw. Zagon literally comes off the ground, Nico's blow is so terrific. Zagon drops in an unconscious heap. In a flash the two other CIT men move to jump Nico. Smash! The second CIT man is swallowing his teeth. Fox leaps in the way of the third, shoves Nico out of the hooch -- 30 EXT. HOOCH - NIGHT Fox wrestles Nico away from the hooch -- FOX Are you crazy?!! (as Nico jerks free) What the fuck's the matter with you?!!! Nico is shaking with rage and fear. He takes several steps away from the hooch, then draws up abruptly. Nico pulls his .45 from his holster, pops the safety, starts back for the hooch -- FOX Nico! NICO I don't cap him now, he's gonna do me later. The last CIT man appears, gun drawn, in the hooch doorway. Fox grabs Nico, hauls him back again -- FOX I'll cover this. Get back to the L.Z. -- (as Nico resists) -- I'll fix it! Get out! Get the fuck outa here! The CIT man calls out to the Cambodian troops, in dialect, pointing at Nico. The soldiers start toward Nico, as if to seize him. Fox, too, starts yelling to the troops in dialect, apparently countermanding the orders of the CIT men. The troops, confused, hold up for a moment. FOX (to Nico) I'll call for a chopper... get outa here! ABOVE THE LAW - Rev. 4/29/87 8. Nico gives a last look, turns and takes off down the jungle trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES. Nico disappears into the darkness. FADE TO BLACK. FADE IN ON: 31 CHURCH STEEPLE - DAY TILT DOWN to reveal St. Elizabeth's, a huge parish church in an Italian/Latino neighborhood in Chicago. The church looks festive, we see a few formally-dressed people hurrying in, then a squad car pulls up. The cops run upstairs as if they're late -- 32 INT. ST. MARY'S - DAY A baptism in progress. Nico -- 15 years older than when we last saw him, is standing beside SARA, his lovely wife * -- watching a 60-ish priest, FATHER GENARRO, finish the final ritual on Nico's infant son Julian. The priest straightens the baby's baptismal garment, tugging the cloth around the little fellow's crotch. Smiles from friends and relatives clustered proudly around. Several cops, some in uniform are amongst them. Nico grabs his son from Genarro with a theatrical protective motion, tugs up the little boy's garment, kisses him smack on the bare butt. Laughter from all as Nico holds the lad high and proud. He puts his arm around Sara. * 33 EXT. NICO'S HOUSE - BACK YARD - DAY Huge trays of Italian delicacies are carried out into the sunlight by several "old country"-type women. Wine is poured from generous carafes. Friends and relatives are everywhere, laughing and enjoying themselves; apparently the party has come here straight from the church. Presents for the new baby are being opened by Nico's wife, Sara, * and Nico's mother, ROSA. SARA * Mama, look at this -- all done by hand. Sara lifts a cute baby outfit. * ROSA Nico had one just like this. Thank you, Cora. Cora, an aunt, proudly smiles. 34 NICO Holding the baby. Realizes that his little son has pooped in his pants. He turns for help to Sara. * ABOVE THE LAW - Rev. 4/29/87 9. NICO I think we got a little problem here. SARA * (winking at the women) I carried him for the last nine months, you take him for the next diaper. Assorted uncles and aunts watch with amusement as Nico tries awkwardly to deal with the problem. NICO (to all) That's what you get for not marrying a Sicilian. Sara lets Nico struggle a moment, then takes over. * SARA * My brave husband. He's not afraid of thieves and muggers, but he's terrified when his son poops in his pants. Toscani relatives look on with approval at the happy couple and their baby. 35 ANOTHER PART OF BACK YARD Three Chicago cops, LUKICH and HENDERSON in plain clothes and LIEUTENANT STROZAH in uniform wolf some Italian goodies while eying the group of celebrating relatives. LUKICH (indicates Nico across the patio) Toscani holds the record... for havin' more relatives under federal indictment than any other cop in Chicago. 36 TWO OF NICO'S UNCLES BRANCA and LUIGI, who look like they have been on the other side of a cop's work, are in turn eying Lukich and Henderson -- plus a cluster of other cops in civvies hovering around the buffet table like vultures. BRANCA Look at these stiff dicks. A free meal and they come out like flies. 37 STREET OUTSIDE NICO'S HOUSE - DAY An unmarked police car pulls up. DOLORES JACKSON ("Jax"), another undercover cop, tall, black, and elegant, enters the driveway leading to Nico's back yard -- ABOVE THE LAW - Rev. 4/29/87 10. 38 BACK YARD Jackson enters. She's impeccably dressed and radiates intelligence. She's greeted warmly by Lukich, Henderson, Strozah, and a couple of other cops. STROZAH I didn't do nothing, Counselor. I'm clean. JACKSON Eight more days, Lieutenant. You better start preparing your defense. HENDERSON Baby, I'm gonna put you on retainer. LUKICH You passed the bar? I make it a point never to pass the bar. Jackson sees Nico and Sara across the yard, waves and * starts toward them -- 39 BACK TO BRANCA AND LUIGI Luigi indicates Jackson as she crosses the patio. LUIGI Now this cop. She can bust me any day. 40 NICK, SARA AND ROSA (NICO'S MOTHER) * Jackson comes up, makes a theatrical appreciation of Nico's stylish attire, kisses Sara and greets Nico's mom warmly. * She starts oohing and ahhing over the baby. 41 VARIOUS SHOTS Young kids playing on the lawn, more guests arriving, Father Genarro dancing with an elderly matron. We see that Nico's friends are an electric mix. Cops, art-y types, people of varied ages and professions. 42 BACK TO JACKSON Holding the baby. JACKSON Look at this little bundle. What a cupcake! NICO You give up being the D.A. and hurry up and find the right fella, Jax. You might have time for one of these yourself. ABOVE THE LAW - Rev. 4/29/87 10A. SARA * Nico, will you let the woman catch her breath? 43 JAPANESE WOMAN (DR. WATANABE) * moves in shyly on the fringe of the cluster. While Jackson and Sara continue their "mom" talk, Nico edges off toward * Watanabe, shaking her hand with real pleasure. * NICO Watanabe! Say hey, Doc. They begin jabbering in Japanese. We will meet Watanabe again later. She's a brainy-looking * woman -- reserved, a bit mysterious -- who talks quietly and * intensely in Japanese with Nico like they're old friends who go back a long way. ABOVE THE LAW - Rev. 4/17/87 11. * 44 EXT. TOSCANI FRONT PORCH - LATER Branca, Luigi and several other Toscani patriarchs smoke cigars and sip beer in a cluster. Nico holds Julian. BRANCA You're a father now. Are you gonna take me up on my offer? NICO I'm happy, Branca. I like what I do. Branca glances seriously to the other uncles, then, with a smile, pats Nico's cheek. BRANCA Look at this face! Six-foot-four, pretty as the statue of David. And he's a cop! Branca laughs. From a distance, Watanabe watches, missing nothing. Across the porch, Lukich and several other cops observe and try to listen. BRANCA This face should be sticking up from a white shirt. It should be a banker, a businessman, someone who earns a decent living for his family! NICO We're happy. LUIGI Nickels and dimes. Your wife's a woman with class. What did she run -- a ballet school...? NICO An art gallery. BRANCA Same thing. She wants a husband who carries a briefcase, not a shoulder holster. Jackson watches Nico trying to keep his good humor. This is serious stuff, despite the light tone. Branca's eyes meet Nico's. ABOVE THE LAW - Rev. 4/29/87 12. BRANCA You wanted to get shot, you got shot. You wanted to get knifed, you got knifed. You've had your fun. Basta! Enough! UNCLE GUISEPPE Let your family help you, Nico. NICO (lightly) Uncle Gio, that kind of help I don't need. I'd rather get shot by someone I don't know. Jackson and Lukich crack up. The others follow. For the moment, the tension is dispelled. 45 INT. NICO'S HOUSE - UPSTAIRS - DAY Nico comes out of the bedroom, adjusting his shoulder holster, tugging his jacket over it. He sees his mother standing near the head of the stairs, just outside another bedroom door. Concern on her face. NICO What are you doing in here, Mama? Go join the party... Nico comes down the hall, tucking in his shirt -- stops to give his mother a squeeze. O.S. from the bedroom: the sound of QUIET SOBBING. Nico glances in. 46 INT. NURSERY - DAY * Sara and another woman sit on the bed, comforting a 60-ish * grandmother Zingaro, who is crying. Nico comes in. He kneels before MRS. ZINGARO, concerned. NICO Mrs. Z. (tries to be light) Is this a way to act on the day of my son's baptism? The poor woman can't meet Nico's eyes. SARA * It's Lucy. She's gone again. Nico glances from Sara to Rosa. * Mrs. Zingaro shakes her head, choked with pain. Nico holds her, looking over her shoulder toward Sara. * NICO It's that kid from the bar on Damen? The one with the drugs? ABOVE THE LAW - Rev. 4/29/87 13. Sara doesn't know. Nico does. He comforts Mrs. Zingaro * another moment, then stands. NICO Listen to me, Mrs. Z. Are you listening? (as the woman nods miserably) I have to go to work now. But I'll come by tonight. You'll be at the bakery? MRS. ZINGARO Si, Nico. NICO We'll talk, okay? We'll find a way to take care of this. Nico kisses Mrs. Z. He takes Sara's hand in goodbye, * starts for the door. 47 EXT. NICO'S HOUSE - DAY Festivities still in progress. Nico passes through, nodding, thanking people for coming, taking farewells. Jackson waits for him, glancing at her watch. 48 INT. UNMARKED CAR - MOVING Nico is driving. Jackson checks in on the radio. JACKSON (into mike) Unit Ten Tango X-ray. We're up and clear. 49 EXT. VARIOUS STREETS - UNMARKED CAR moves into the central city. 50 POV THROUGH CAR WINDOWS - STREETS - MOVING Bad-looking hombres on stoops, street corners. NICO (O.S.) I promised the Lieutenant, I'm gonna take care of you. Broken windows and lost kittens for your last week. WIDEN SHOT to include Nico and Jackson. JACKSON And then you're gonna come visit me in a nice, clean, air conditioned office -- ABOVE THE LAW - Rev. 4/29/87 14. 51 EXT. STREET - BUCKSHOT'S LIQUORS - DAY * The unmarked car pulls up outside a liquor store and bar. 52 INT. UNMARKED CAR as it parks. Jackson gives Nico a look: "What are we stopping at this dive for"? NICO I gotta take a quick leak. Stay put. He gets out of the car, starts for the bar. 53 INT. BUCKSHOT'S LIQUORS - DAY * Dim, smoke-choked, dangerous characters at the bar. Nico enters. ABOVE THE LAW - Rev. 4/17/87 15. His silk shirt and sport coat clash with the druggy, working- class attire of the bar's denizens. Hard faces check him out subtly, ignore him. Nico approaches the bartender, shows a photograph. The bartender (BAD DUDE) shakes his head. BAD DUDE * Why the fuck don't you assholes * leave me alone? * He continues mouthing off to Nico. Nico moves to one stool, * then another; the same exchange is repeated. 54 FAVOR ONE PARTICULARLY TOUGH CUSTOMER * A hulking bruiser with an earring. He watches as -- 55 NICO approaches him. Three ARMY JACKETS look up sullenly. Beefy arms, tattoos, greasy mustaches. NICO Gentlemen. One Jacket treats him like he doesn't exist, and begins to pick his nose. FIRST ARMY JACKET (to others) I thought this was a kosher bar. They didn't allow no pork in here. The two others snicker, then so does the rest of the bar. Nico holds out a photo of a young girl (Lucy). NICO You seen this girl? SECOND ARMY JACKET I seen the top of her head. NICO That's witty. ABOVE THE LAW - Rev. 4/17/87 15A. Nico takes a step away, as if moving on to the next stool. From behind the bar, the bartender swings a * sawed-off baseball bat into view. Other bodies move * ominously toward Nico. Suddenly he spins and, in a move * almost too quick to see, he kicks the entire stool right out of its floor socket. Beer bottles fly, bodies crash. Nico slams the First Jacket in the face so hard it looks like his nose has exploded. Blood sprays onto Nico's silk shirt. He hauls the Second Jacket upright, nails him with a shot that crushes three ribs. A savage elbow blasts the third, head over heels, out over the bar and careening into the sink. In three seconds 600 pounds of fat has been put in cold storage. The rest of the bar is on its feet. Four huge men confront Nico. Now five. Six. Seven. Nico's jacket and shirt are ripped, blood spat- tered; his eyes are like an animal's, daring the men -- NICO Come on. Show me something. No one moves. ABOVE THE LAW - Rev. 4/17/87 16. * NICO I get it. It's a gay bar. Is that it? The men, led by the Bad Dude, are shifting to surround Nico. But no one attacks. Nico has Lucy's photo in his hand. He jams it in one man's face, then another's, slap- ping each one violently, spitting, raging for them to attack. NICO You seen the top of her head, huh? Like I seen your mother's -- (to another guy) Or was it yours? (to a third) Or yours? (slaps him fero- ciously) I couldn't tell, it looked like her ass -- Nico rages like a beast. NICO Come on, motherfuckers. Do it. Do it! One man -- Nico lunges for the Bad Dude, grabs him like he's about to tear his face off -- BAD DUDE Upstairs! (in terror) She's upstairs! 4-D! Nico drags the Dude from behind the bar. Holding him, Nico turns, glowering, to all. NICO You cocksuckers are brave enough with 14-year-old girls. 55A INT. FLOPHOUSE HALLWAY Nico throws Bad Dude down the hallway in front of him. 56 INT. FOURTH-FLOOR APARTMENT - DAY The door bursts in from a jackhammer kick. Nico stands in the hallway. Bad Dude stands next to him; hurt, shaking. NICO (to Bad Dude) Get outta here. We look in the apartment. ABOVE THE LAW - Rev. 4/17/87 16A. REVERSE - NICO'S POV * A young PIMP -- quite handsome in a boyish way -- stares up in panic from a grimy mattress on the floor. Little LUCY is in bra and panties, strung out, 14 and beautiful. Syringes and free-base paraphernalia are on a table. NICO IN DOORWAY * NICO (to Pimp) This ain't your day, kid. Nico comes in, eyes taking in everything. ABOVE THE LAW - Rev. 4/17/87 17. PIMP Wait, man. It ain't like it looks -- Nico grabs the Pimp by the scruff of the neck, lifting him bodily. Lucy starts wailing in horror. Nico smashes the Pimp's face down into a mirror with white powder on the table -- NICO That's two years. He jerks the Pimp back, rips open a drawer. More pills and glacene bags. NICO That's four. (twisting the Pimp's neck toward Lucy) She'll get you eight more. And I'm just warming up -- Lucy is crying hysterically. Nico flings the Pimp, face * bloody, toward the open door. *
49	Abyss, The	James Cameron	Action,Adventure,Sci-Fi,Thriller	August_1988	EXT. OCEAN/UNDERWATER -- DAY 3 Blue, deep and featureless, the twilight of five hundred feet down. PROPELLER SOUND. Materializing out of the blue limbo is the enormous but sleek form of an Ohio-class SSBN ballistic missile submarine. INT. U.S.S. MONTANA -- DAY 4 In the attack center, darkened to womb-red, the crew's faces shine with sweat in the glow of their instruments. The SKIPPER and his EXEC crowd around BARNES, the sonarman. CAPTAIN Sixty knots? No way, Barnes... the reds don't have anything that fast. BARNES Checked it twice, skipper. It's a real unique signature. No cavitation, no reactor noise... doesn't even sound like screws. He puts the signal onto a speaker and everyone in the attack room listens to the intruder's acoustic signature, a strange THRUMMING. The captain studies the electronic position board, a graphic representation of the contours of the steep-walled canyon, a symbol for the Montana, and converging with it, an amorphous trace, representing the bogey. CAPTAIN What the hell is it? EXEC I'll tell you what it's not, it's not one of ours. BARNES Sir! Contact changing heading to two-one-four, diving. Speed eighty knots! Eighty knots! EXEC Eighty knots... BARNES Still diving, depth nine hundred feet. Port clearance to cliff wall, one hundred fifty feet. FRANK (simultaneously) Still diving, depth nine hundred feet. Port clearance to cliff wall, one hundred fifty feet. Tension builds in the attack room as the Montana surges to intercept the intruder. The exec tensely watches the vector-graphic readout for the side- scan sonar array. The sub is running uncomfortably close to the cliff walls. EXEC (low, to Captain) It's getting tight in here. CAPTAIN We can still give him a haircut. Helm, come right to oh six niner, down five degrees. HELMSMAN Coming right to oh six niner, sir. Down five degrees. NAVIGATOR Port side clearance one hundred twenty feet narrowing to seventy-five. Sir, we have a proximity warning light. EXEC That's too damn close! We've gotta back off. BARNES Range to contact, two hundred. Contact junked to bearing two six oh and accelerated to... one hundred thirty knots, sir! EXEC (really freaked now) Nothing goes one thirty! Suddenly the control room lights dim almost to blackness. EXT. U.S.S. MONTANA 5 We see only the effect, not the source, as a large diffuse light passes rapidly under the sub's hull. Moments later a shockwave, like an underwater sonic boom, impacts the sub, slamming it sideways. INT. U.S.S. MONTANA 6 The bride crew are knocked off their feet, as the ship is buffeted. EXEC Turbulence! We're in its wake! SIRENS. Everyone shouting at once. The power flickers low. CAPTAIN Helm, all stop! Full right rudder! HELMSMAN All stop. Full right rudder. Hydraulic failure. Planes are not responding, sir! Power returns in time for the sonarman to get a glimpse at the side-scan display... AS THE SHEER CLIFF WALL LOOM BEFORE THEM. HELMSMAN Hydraulics restored, sir. EXT. U.S.S. MONTANA 7 The cliff wall materializes out of the blue limbo off the port bow with nightmarish slow-motion. The sub slams into it with horrific force, scraping along and bouncing off. One tail stabilizer is sheared off and the big screw prangs the wall with an earsplitting K-K-KWANG! INT. PORT TO TORPEDO ROOM 8 With the outer tube-doors torn off, seawater slams in, busting the inner hatches. Two-foot thick columns of water, like fire-hoses of the gods, blast into the room. Everything vanishes instantly in white spray. INT. CONTROL RM/ATTACK CENTER 9 Everyone is hurled off his feet. The planesman flights to recover control of the yoke. CAPTAIN Collision alarm! Collision alarm! Lighten her up, Charlie! NAVIGATOR The torpedo room is flooded, sir! CAPTAIN Blow all tanks! Blow everything! HELMSMAN Passing twelve hundred feet... EXEC Blowing main tanks! HELMSMAN Twelve hundred fifty feet... EXT. MONTANA 10 The great sub is being hauled down by the mass of its flooded bow section, its flanks rushing past us like a freight train headed for Hell. INT. MONTANA CONTROL ROOM 11 The command crew fights futility for control, everyone shouting and terrified. EXEC Main forward tanks ruptured! HELMSMAN Passing thirteen hundred feet... EXEC Too deep to pump auxiliaries! CAPTAIN All back full! All back full! HELMSMAN Answering all back full. Passing thirteen hundred fifty feet... fourteen hundred... fourteen fifty... The Captain locks eyes with the Exec amid the din... CAPTAIN We're losing her. Launch the buoy! The Exec opens the door to a small box and punches a button. A red light comes on. The Captains takes a deep breath. EXT. MONTANA 12 A tiny transmitter is ejected from the sub's hell and begins its long ascent to the surface. A second later the sub slams down like a piledriver onto a ledge, tearing open its pressure hull. INT. MONTANA 13 VARIOUS QUICK CUTS, just flashes and impressions, as... Seawater blasts down the corridors -- Explodes across the control room, hurling men like dolls -- Floods the cavernous missile bay in seconds -- Bursts through hatches into the reactor room -- Blasts men OUT OF FRAME in a micro-second. EXT. OCEAN/UNDERWATER 14 In the cobalt twilight we see the Montana slide down the sea cliff, its hull SCREECHING like the death agonies of some marine dinosaur. Descending in an avalanche of silt, it finally disappears into the blackness below... a blackness which continues almost straight down, 20,000 feet to the bottom of the Cayman Trough. The abyss. EXT. OCEAN SURFACE -- DAY 15 Above, in the world, the Caribbean rolling gray under a stormy sky. The Montana's emergency buoy pops to the surface, transmitting. CUT TO: EXT. OCEAN/20 MILES AWAY -- DAY 16 LONG LENS SHOT: three massive Navy Sea King helicopters thundering straight at us, FILLING FRAME. REVERSE, as they barrel OVER CAMERA toward a lone civilian ship... an ugly but very sophisticated deep-sea drilling support ship, the BENTHIC EXPLORER. It is a twin-hulled monstrosity with a central opening in its deck, around which crouch enormous cranes, winches and other arcane equipment. The first Sea King settles onto the helipad, disgorging a contingent of Naval officers, technicians, and a squad of armed seamen. A pantomime in the rotorwash, we see the Benthic Petroleum "company man" KIRKHILL greeting COMMODORE DEMARCO, the on-scene commander. INT. BENTHIC EXPLORER/BRIDGE -- DAY 17 The bridge is state-of-the-art, with computers and sophisticated navigation and communications gear, looking like mission control with its bank of video monitors. The Drilling Operations Supervisor, LELAND MCBRIDE, and BENDIX, the crew chief, watch the invaders swarming the deck below. MCBRIDE Does not look good at all. TIGHT ON VIDEO SCREEN (MINUTES LATER) showing divers working in total blackness around some sort of installation on the bottom of the ocean. They move through the harsh floodlights in dreamlike slow motion, looking like space-suited figures with their helmets and umbilical hoses. DEMARCO (V.O.) No light from the surface. How deep are they? MCBRIDE (V.O.) Seventeen hundred feet. WIDER, showing the Navy contingent crowding the control room. DeMarco is hardcore military, brusque and efficient. Kirkhill is a small man with pinched features, wearing a shirt and tie, which on a drill ship means company man and/or dickhead. DEMARCO I need them to go to over two thousand. KIRKHILL They can do it. (to McBride) Get Brigman on the line. CUT TO: EXT. UNDERWATER -- DAY (TOTAL DARKNESS) 18 1700 FEET BELOW. A submersible oil-drilling platform, DEEPCORE II, an island of light in the vast blackness. Its main framework connects two "tri- modules" consisting of three cylinders each. These contain living and work areas in a pressurized environment. An umbilical cable, thick as a man's thigh, runs up from the oil rig into the darkness, to the Benthic Explorer at the surface. In a bubble-like dome port window we see the rig foreman, or "toolpusher," BUD BRIGMAN. He's talking (via headset) with two divers working outside... 'CATFISH' DE VRIES, AND LEW 'BIRD-DOG' FINLER. BUD Hey, you guys are milking that job. CATFISH (Kentucky drawl) That's cause we love freezin' our butts off out here sooo much, boss. OMITTED 19 INT. DRILL ROOM 20 Bud turns from the window and crosses the drill floor. The working heart of the rig. THUNDEROUS MECHANICAL ROAR. The drill crew, in hardhats and mud- plastered overalls, tend the massive spinning turn-table in the center of the chamber. The semi-automated system requires only five men to operate. The others are LUPTON MCWHIRTER, DWIGHT PERRY, JAMMER WILLIS, and TOMMY RAY DIETZ. Bud hears his names called above the din by Jammer, a massive roughneck/diver who stands a good head taller than the rest. JAMMER (yelling) Bud! Hippy's on the bitch-box. It's a call from topside. That new company man. BUD Kirkhill? That guy doesn't know his butt from a rathole. Hey, Perry! One of the roustabouts, a wiry Texan, turns to him. BUD Do me a favor and square away the mud hose and those cable slings. This place is starting to look like my apartment. Perry chuckles and sets to the task cheerfully. Bud EXITS, ducking his head through a low watertight hatch. INT. CORRIDOR/TOOLPUSHER'S OFFICE 21 Bud tromps down the narrow corridor, his work boots gonging on steel. P.A. (HIPPY'S VOICE) BUD, PICK UP THE TOPSIDE LINE URGENT. BUD I'm coming. Keep your pantyhose on. He enters his office, a tiny cubicle with stacks of paperwork, dust- gathering tech manuals and waterstained Penthouse fold-outs. He picks up the phone... punches down a line. BUD Brigman here. Kirkhill? What's going on? (pause) I am calm. I'm a calm person. Is there some reason why I shouldn't be calm? HOLD ON Bud's expression, darkening, as he listens. INT. CORRIDOR/CONTROL MODULE 22 The control module is a long narrow cabin like the inside of a Winnebago, packed with instrumentation. At the end is a small bay with multiple viewports. Outside, at a 'Christmas tree' pipe installation, a lone diver can be seen welding. He is accompanied by a large submersible, FLATBED, and by a Remotely Operated Vehicle, or ROV, call LITTLE GEEK. Little Geek is an underwater robot which operated on the end of a cable-like control TETHER. It has a single video 'eye' in front, by which the operator pilots the little machine. The rig's ROV pilots is ALLEN 'HIPPY' CARNES, who stands by the window twiddling his joysticks and drinking coffee. His pet white rat, BEANY, crawls contentedly around his shoulders. The door BANGS OPEN. Hippy jumps, slops his coffee. Bud strides in. Not calm. BUD Son of a bitch. He kicks a chair out of the way and slams his palm down on a switch marked DIVER RECALL. A SIREN, blasting through the water from a big hydrophone loudspeaker. BUD All divers. Drop what you're doing. Everybody out of the pool. EXT. DEEPCORE/CHRISTMAS TREE A22 Flatbed's pilot, LISA 'ONE NIGHT' STANDING, can be clearly seen behind a bubble canopy. She is a no-nonsense lady who holds her own in the mostly male environment by being one of the best submersible drivers in the business. She controls a hydraulic manipulator arm, assisting the diver, ARLISS 'SONNY' DAWSON, in his work. Little Geek hovers around them like a tiny helicopter. One Night moves the Flatbed arm to Sonny and hands him the pipe. ONE NIGHT Here you go, hon'. SONNY Just in time, sugar. They react to Bud's recall, looking toward him up in the control module. ONE NIGHT Dammit, we just got out here. SONNY There was a time when I would have asked why. One Night makes a grab for his butt with the manipulator claw, which he narrowly avoids. CUT TO: EXT. DEEPCORE/UNDER SUB-BAY 23 Flatbed moves underneath the rig, a few feet above the seafloor, with Sonny riding on its top deck. It passes under a lit opening and rises toward the surface of the water in the chamber above. Little Geek follows like an obedient dog. INT. SUB-BAY/MOONPOOL 24 The opening is called the moonpool, and Deepcore's submersibles are launched through it. From inside the sub-bay it looks just like a swimming pool. Flatbed surfaces, nearly filling it. The chamber also contains CAB ONE, a similar submersible. Jammer, Perry, and some of the other drill-room boys are helping the divers out of the water. The water at this depth is only about six degrees above freezing, and these folks are cold and prune- fingered. Finler pulls off his demand-helmet, revealing a round, boyish face. FINLER What's goin' on? How come we got recalled? SONNY Hell is I know. One Night jumps 'ashore' from Flatbed's broad deck and joins them. Catfish is unzipping his bulky dry-suit. CATFISH Just follow standard procedure, will ya... flog the dog till somebody tells us what's happening. JAMMER Hey, Catfish, I'll sell you my October Penthouse for twenty bucks. ONE NIGHT Save you money, darlin'... the pages are all stuck together by now. Bud enters, approaching the group. JAMMER What's goin' on, Boss? BUD Folks, I've just been told to shut down the hole and prepare to move the rig. SONNY She-hit. BUD We're being asked to cooperate in a matter of national security. Now you know exactly as much as I do. So just get your gear off and get up to control. There's some kind of briefing in ten minutes. CUT TO: INT. DEEPCORE/COMMAND MODULE 25 The whole rig crew is somehow jammed into the room for the video briefing. DeMarco is on the main monitor, with his aides and Kirkhill visible b.g. DEMARCO At 09:22 local time this morning, an American nuclear submarine, the USS Montana, with 156 men aboard, went down 22 miles from here. There has been no contact with the sub since then. The cause of the incident is not known. PAN AROUND the reactions of the various drill crew members... shocked, hushed, curious. DEMARCO Your company has authorized the Navy's use of this facility for a rescue operation. The code name is Operation Salvor. ONE NIGHT You want us to search for the sub? DEMARCO No. We know where it is. But she's in 2000 feet of water and we can't reach her. We need divers to enter the sub and search for survivors, if any. Bud's scowl has been deepening since DeMarco started to talk. BUD Don't you guys have your own stuff for this type of thing? DEMARCO By the time we get our rescue submersible here the storm front will be right on us. But you can get your rig in under the storm and be on- site in fifteen hours. That makes you our best option right now. Hippy, born suspicious and recently graduated to paranoid, leans forward... HIPPY Why should we risk our butts on a job like this? KIRKHILL I have been authorized to offer you all special- duty bonuses equivalent to three times normal dive pay. CATFISH Hell, for triple time I'd crawl through razor blades and shower off with lime juice. FINLER I'm here to tell ya', you could set me on fire and call me names. BUD Look, I don't know what kind of a deal you guys worked out with the company, but my people are not qualified for this... they're oil workers. DEMARCO A four-man SEAL team will transfer down to you to supervise the operation. BUD You can send down whoever you like, but I'm the toolpusher on this rig, and when it comes to the safety of these people, there's me... then there's God. Understand? If things get dicey, I'm pulling the plug. KIRKHILL I think we're all on the same wavelength, Brigman. Now let's get the wellhead uncoupled, shall we? CUT TO: INT. DEEPCORE/COMMAND MODULE AND CORRIDOR 26 Bud stands beside the hatchway as the others file out toward their tasks. They comment gravely as they pass... JAMMER When Lindsey finds out about this, it's not gonna be a pretty sight. ONE NIGHT They're going to have to shoot her with a tranquilizer gun. CUT TO: EXT. OCEAN -- DAY 27 A single Navy Sea King churns through the rain under massive thunderheads. The sea below is whipped by the storm. INT./EXT. SEA KING 28 PANNING ALONG BOOTED FEET, four pairs of black military size twelves line up, onto... a pair of Charles Jourdans fives under shapely ankles. WIDER, revealing the four-man team of Navy SEALs. And a slender woman in her early thirties. She's attractive, if a bit hardened, dressed conservatively in a skirt and jacket. Meet LINDSEY. Project Engineer for Deepcore. She's a pain in the ass, but you'll like her. Eventually. She's holding on grimly, sitting crammed in with the SEALs and a bunch of gear, getting tossed around by the storm. The SEALs are dressed alike in black fatigues. They are muscular, finely-tuned and extremely dangerous special-forces types. The leader of the SEAL team, LIEUTENANT COFFEY, makes his way forward to the cockpit. The pilot is white-knuckling his stick, trying to hold the great beast of a helicopter in position. Through the windshield, the deck of the Benthic Explorer can be seen below, pitching in a violent sea. PILOT No way I'm putting her down. I shouldn't even be flying in this shit. COFFEY (cool) Just hold it over the deck. Coffey goes back to the crew deck, moving easily in the bucking craft. He nods to the others SEALs, MONK, WILHITE, and SCHOENICK. In the open side door, Wilhite clips a 100 foot nylon rope to the airframe and throws out the coil. One by one the shoulder the gear-bags, grab the rope, and step out. Lindsey stands swaying in the chopper door, watching the SEALs fast-roping to the deck. One, two, three. Coffey looks at her. COFFEY You want to be on that ship, there's only one way it's going to happen. He's sure she won't go for it. It's his certainty that gets her. She sets her jaw. Opening her purse she takes out a small plastic bag, puts her shoes and purse in the bag, and grips the bag in her teeth. Then grabs the rope and slides down. EXT. BENTHIC EXPLORER/HELIPAD 29 Swinging wildly in the wind like a human pendulum, Lindsey fast-ropes forty feet to the deck. She steps away an instant before Coffey hits behind her. Lindsey crosses the rainswept deck with athletic strides. Her nylons are ruined. An air-crewman in the chopper lowers two additional equipment cases using the rescue sling. The SEALs catch them as they swing radically across the deck. They Navy chopper banks and seems to scurry away before the mounting storm. CUT TO: EXT. OCEAN BOTTOM 30 BLACKNESS. Then shafts of light become visible, above a ridge of rock. Flatbed appears, trailing two heavy two cables. Behind it, the mass of Deepcore emerges from the darkness, its forward lighting array blazing. Flatbed is towing it like a tug, aided by Deepcore's own mighty stern thrusters. INT. DEEPCORE/CONTROL MODULE 31 Bud, his feet propped up, uses joystick controls to 'fly' Deepcore, maneuvering against currents and around seafloor obstacles. He is guided by the side-scan sonar display, with Hippy assisting in the sonar shack. Through the front viewport, Flatbed can be seen out ahead. McBride appears on the bridge monitor, holding a sheet of weather-fax. MCBRIDE (on screen) Well, it's official, sportsfans. They're calling it Hurricane Frederick, and it's going to be making our lives real interesting in a few hours. INT. EXPLORER BRIDGE -- DAY 32 Bud responds via video. BUD Fred, huh? I don't know. Hurricanes should be named after women. McBride looks up as the bridge door opens. Lindsey enters in a blast of wind, wet as a wharf rat and twice as pissed off. Maybe Bud is right. CUT TO: INT. DEEPCORE/CONTROL MODULE 33 Bud is surprised to see Lindsey's face appear on the monitor screen. LINDSEY I can't believe you let them do this! BUD (unpreturbed, almost cheerful) Hi, Lins. I thought you were in Houston. LINDSEY I was, but I managed to bum a ride on the last flight out here. Only here isn't where I left it, is it, Bud? BUD Wasn't up to me. LINDSEY We were that close to proving a submersible drilling platform could work. We had over seven thousand feet of hole down for Chrissake. I can't believe you let them grab my rig! BUD Your rig? LINDSEY My rig. I designed the damn thing. BUD Yup, a Benthic Petroleum paid for it. So as long as they're hold the pink slip, I go where they tell me. LINDSEY You wimp. I had a lot riding on this. They bought you... more like least rented you cheap-- BUD I'm switching off now. LINDSEY Virgil, you wiener! You never could stand up to fight. You-- Bud hits the switch and the screen goes dead. BUD Bye. Hippy looks over him, trying very hard not to crack up. HIPPY Virgil? BUD God, I hate that bitch. HIPPY Yeah, well you never should have married her then. Bud nods fatalistically. CUT TO: EXT. EXPLORER DECK/LAUNCH WELL 34 Ten foot waves crash through the launch-well, sending up geysers of spray. Next to the launch-well, crewman have attached a lifting cable to CAB THREE, eighteen feet of ugly yellow submersible. It slams violently in its steel cradle as the drill-ship rolls. Coffey and Schoenick hand the gear bags in to Wilhite and Monk though the hatch under the rear of the submersible. Lindsey approaches, wearing a borrowed roustabout's coverall. She looks down at the larger of the two equipment cases brought by the SEALs, lying on the deck. Stenciled on it are the words: F.B.S./DEEP SUIT/MARK IV. Coffey and Schoenick push past her to pick it up. LINDSEY Let's go, gentlemen! We either launch now or we don't launch. Coffey looks up in surprise as she nimbly climbs the side of Cab Three and grabs the lifting shackle, circling her raised hand to signal the crane man. LINDSEY Take her up, Byron! Cab Three, with Lindsey riding its back, is pulled up out its cradle and starts to swing violently as Explorer pitches. The submersible is then swung out to the center of the launch well. It sways and gyrates above the furious water below. Lindsey drops into the upper hatch. INT. EXPLORER BRIDGE/D.O.C. 35 Kirkhill leans suddenly over the console to look out the window. KIRKHILL What the hell is she doing out there? Son of a bitch... (into microphone) Lindsey... get out of Cab Three. Bates is taking her down. INT. CAB THREE 36 Lindsey pulls her headset as she dogs down the inside locking levers of the hatch. LINDSEY Bates is sick. Besides I've got more hours in this thing than he does. (to Coffey) A little change of plan. The little sub is swinging like a pendulum on the cable, and the SEALs, jammed in with their equipment in the tiny space, are getting slammed into the walls. Lindsey is calmly flipping switches as she talks. COFFEY Lady, we better fish or cut bait. LINDSEY Just hold your water, okay? (to Kirkhill) So Kirkhill, we gonna do this or we gonna talk about it? INT. EXPLORER BRIDGE/D.O.C. 37 The plug is pulled on DeMarco's patience. DEMARCO I don't care who drives the damn thing. Just get my team in the water. KIRKHILL Alright, alright. Christ Almighty! He gestured dismissively to McBride. MCBRIDE Cab Three, you are clear to launch. INT./EXT. CAB THREE 38 Lindsey reaches up a grabs a red lever. LINDSEY Roger. (to Coffey) There's only one way it's going to happen... She pulls the lever hard. CLUNK-CLANG! The shackle-release drops the sub. It freefalls ten feet to the water with an enormous splash and keeps right on going after Lindsey floods the trim tanks. Coffey et al have been slammed hard. LINDSEY Touchdown. The crowd goes wild. Explorer... Cab Three. We are styling.
50	Air Force One	Andrew W. Marlowe	Action,Adventure,Drama,Thriller	null	FADE IN: INT. C-130 HERCULES TURBO-PROP - NIGHT Eighteen combat-ready special forces, wearing assault black, jump packs and combat gear, stare down the deep end of a greasy ramp into the night sky. Village lights flicker 19,000 feet below. The STRIKE FORCE LEADER signals to his team. Without a moment's hesitation, they dive into the darkness and plummet toward earth. EXT. MANSION - NIGHT A military GUARD, old Soviet-style uniform, rounds the corner of the large estate toting an AK-47. A red laser dot appears briefly on his forehead and, after a beat, the red dot seems to bleed. The Guard collapses dead. Two other GUARDS are dispatched with single, silenced shots. A Strike Team member at a junction box awaits a signal. Through infra-red binoculars the strike Force Leader watches his assault troops as they take positions. STRIKE FORCE LEADER (into headset/in Russian) GO! On the estate - as the power goes out. The team on the mansion's front porch pops the door and pours in. INT. MANSION - NIGHT FOLLOWING - the FIVE TEAM MEMBERS as they rush a stairway in phalanx formation. They nearly knock over an old lady, who in turn lets out a blood curdling scream. UPSTAIRS CORRIDOR - The team kicks open a door. Rushes into the room. INT. BEDROOM - Assault weapons pointed at the bed. The soldiers yank back bedsheets to reveal IVAN STRAVANAVITCH, a middle-aged man and his half-naked 18-year-old concubine. SOLDIER (in Russian) Get up, now! Up! The soldiers pull Stravanavitch to his feet and haul him out of the room. FOLLOWING - As they push down the hallway. MANSION SECURITY GUARDS rally with haphazard gunfire. Out come the strike force's flash-bang grenades. Exploding everywhere, disorienting Stravanavitch's men. EXT. FIELD - NIGHT Signal flares burn as a helicopter descends on the position. The Strike Team evacuates across the field and forces a struggling Stravanavitch into the low-hovering copter. The commandos swiftly board the craft as a handful of Stravanavitch's guards break into the clearing. They open fire. And the mounted machine guns on the helicopter return. One of the Strike Team members takes a bullet to the neck. He's' pulled by his comrades into the chopper as it lifts into the sky, its guns spitting lead... STRIKE FORCE LEADER (V.0.) Archangel, this is Restitution. Archangel, this is Restitution. The package is wrapped. Over. VOICE (V.0. RADIO) Roger, Restitution. We are standing by for delivery. FADE TO BLACK The SOUNDS of a dinner banquet. Forks clanking against plates and the din of a hundred conversations, broken by... The DING, DING, DING of a SPOON tapping against a wine glass. SUPER TITLE: "MOSCOW - THREE WEEKS LATER FADE IN: INT. BANQUET ROOM - NIGHT Hundreds of men and women in formal evening wear sit at round banquet tables. A HUSH falls over the guests as the DINGING continues. All attention turns to the front table. A rotund, silver haired-man in his late sixties rises and sidles past U.S. and Russian flags up to the podium microphone. He is STOLI PETROV, President of Russia. PETROV (in Russian) Thank you for joining us this evening. Petrov's harsh Russian issues through the room. But over it we hear a young woman's voice translating. TRANSLATOR (V.0.) Tonight we are honored to have with us a man of remarkable courage, who, despite strong international criticism... AT THE FRONT TABLE - A translator's words ring in the earpiece of a handsome man in his mid-forties. Worry lines crease his forehead and the touch of gray at his temples attest to three very difficult years in office. This man is JAMES MARSHALL, and he is the PRESIDENT of the UNITED STATES OF AMERICA. He busily makes last minute changes to his speech. TRANSLATOR (V.0. earpiece) Has chosen to join our fight against tyranny in forging a new world community. Ladies and gentlemen, I give you the President of the United States of America... Mr. President. Thunderous applause as Marshall rises and approaches the podium. At the back of the room, DOHERTY, a senior policy adviser whispers to the President's Chief of Staff ED SHEPHERD... DOHERTY Maybe we should consider running him for re-election instead of the U.S. The applause dies as Marshall begins to speak. MARSHALL (in Russian with subtitles) Good evening and thank you. First I would ask you to join me in a moment of silence for the victims of the Turkmenistan massacres. The room remains silent a few beats. Most guests respectfully bow their heads. Marshall begins again, but this time in English. The young woman translates simultaneously for the Russian audience. MARSHALL As you know, three weeks ago American Special Forces, in cooperation with the Russian Republican Army, secured the arrest of Turkmenistan's self- proclaimed dictator, General Ivan Stravanavitch, whose brutal sadistic reign had given new meaning to the word horror. I am proud to say our operation was a success. Applause from the audience. Marshall turns the page on his speech. MARSHALL And now, yesterday's biggest threat to world peace... today awaits trial for crimes against humanity. During the applause, Marshall pulls a page from the speech, folds it and slides it into his pocket. He removes his glasses and looks out into the crowd. His tone becomes more personal. He's not reciting the speech anymore. MARSHALL What we did here was important. We finally pulled our heads out of the sand, we finally stood up to the brutality and said "We've had enough. Every time we ignore these atrocities-- the rapes, the death squads, the genocides- every time we negotiate with these, these thugs to keep them out of gig country and away from gig families, every time we do thiS.E. we legitimize terror. Terror is not a legitimate system of government. And to those who commit the atrocities I say, we will no longer tolerate, we will no longer negotiate, and we will no longer be afraid. It's your turn to be afraid. Applause rolls through the crowd. EXT. MOSCOW INTERNATIONAL AIRPORT - NIGHT Sprawling terminals spread out to runways like tentacles. ON THE TARMAC - Bathed in floodlights, perched majestically on the runway, dwarfing nearby commuter and military jets, stands... AIR FORCE ONE The President's own Boeing 747-200, dubbed "the flying White House". The distinctive royal blue stripe over a thin gold line tapers to a tail adorned with the American flag and the Presidential Seal Secret Service agents and Marines stand guard at the aircraft's perimeter. A RUSSIAN NEWS VAN emerges from the darkness and pulls to a stop by a Secret Service barricade. SPECIAL AGENT GIBBS greets the Russian news team that emerges. GIBBS Gentlemen, welcome to Air Force One. Please present your equipment to Special Agent Walters for inspection. The news team's segment producer, a crusty old Russian named KORSHUNOV raises his big bushy eyebrows. KORSHUNOV We've already been inspected. GIBBS Sir, this plane carries the President of the United States. Though we wish to extend your press service every courtesy, you will comply with our security measures to the letter. KORSHUNOV Of course. I'm sorry. Korshunov and the FIVE MEMBERS of his news crew present their video cameras, sound equipment and supplies to Special Agent WALTERS for inspection. Secret Service DOGS sniff through the baggage. GIBBS Please place your thumbs on the ID pad. Korshunov puts his thumb on the ID pad of a portable computer. The computer matches up his thumbprint with his dossier and photograph. "CLEARED" flashes on the computer screen. INT. HALLWAY - NIGHT The President, walking with his entourage. SHEPHERD * CBS said they'll give us four minutes. They thought the Russian was a nice touch. MARSHALL I always wondered if my freshman Russian class would come in handy. DOHERTY Sir, you threw out page two. MARSHALL Goddamn right I did. I asked for a tough-as-nails speech and you gave me diplomatic bullshit. What's the point in having a speech if I have to ad-lib? DOHERTY It was a good ad-lib, sir. MARSHALL Thanks. Wrote it last night. The President exits the building and enters his limousine. EXT. TARMAC - AIR FORCE ONE - NIGHT Walters hands the bags back to the Russians. WALTERS Equipment checks out. A striking woman in her early thirties descends Air Force One's stairway. MARIA MITCHELL. GIBBS Gentlemen, this is Maria Mitchell. Press Relations for the Presidential Flight Office. She'll take you from here. KORSHUNOV Ms. Mitchell. So nice to finally meet you in person. MITCHELL The President and I were delighted that we could accommodate you. Now if you're all cleared? (Gibbs nods) You can follow me then. They ascend into the belly of Air Force One. MITCHELL * I'll be giving you a brief tour, then during the flight, two members of your crew will be allowed out of the press area at a time for filming. You will have exactly ten minutes with the President and twenty with the crew... EXT. STREETS OF MOSCOW, PRESIDENT'S MOTORCADE - NIGHT Winding its way down narrow cobblestone streets onto a major thoroughfare. INT. PRESIDENTIAL LIMOUSINE - NIGHT The limousine is packed with advisers, aides, military staff, including LT. COL. PERKINS, the keeper of the NUCLEAR FOOTBALL handcuffed to his wrist. In the b.g. on the limo's television set, the LARRY KING SHOW indulges in its normal banter. Marshall wearily rubs his temples as he stifles a yawn. SHEPHERD You wanna knock of f? MARSHALL No, no. I'm fine. What did the Speaker say? SHEPHERD He and the NRA don't like the wording. DOHERTY Apparently taking uzis away from sixth graders isn't as popular as we thought it'd be. Representative Taylor is working on a compromise. MARSHALL Put together a score sheet. I'll make some calls. SHEPHERD With all due respect, sir, maybe you should give them this one. Your numbers are still pretty low and you called in a lot of chips to nail Stravanavitch. MARSHALL I might still have a few chips left. SHEPHERD * We could always put you in a duck blind with a twelve gauge. The second amendment types'll love that. MARSHALL This is a crime bill, Shep. Killing a couple ducks won't get it through committee. Besides, Shep, I told you... I don't shoot babies and I don't kiss guns. SHEPHERD Other way around, sir. MARSHALL (realizing what he said) Right... Christ I'm tired. Do me a favor and keep me away from the press. Marshall's watch alarm beeps and he automatically reaches into his breast pocket, pulls out a medicine vial and downs two pills with a coffee chaser. On the T.V. LARRY KING (T.V.) ... and your reaction to the President's trip to Moscow. Good or bad? Shepherd turns up the volume. SHEPHERD This is the part I wanted you to see. REP. DANFORTH (T.V.) Criminal. One of our boys died in Marshall's little publicity stunt and for what? So we could claim victory over another country's problems instead of our own? And now he's got the nerve to prance around Moscow gloating, while that poor boy's family is left to bury him. If I were Marshall, I'd be ashamed of myself. LARRY KING There you have it. Harsh words for the President from Michael Danforth, the Speaker of the House. Marshall mutes the television. A quiet moment. SHEPHERD * My opinion. We can't let him get away with that kind of language. Marshall considers. Then decides. MARSHALL It's bait. Don't take it. SHEPHERD Sir, the Speaker of the House attacked this administration on national television. You can't afford to leave that hanging. MARSHALL (ignoring Shepherd) Did we tape the Duke game? AIDE It's waiting on the plane. The ending was pretty... MARSHALL (interrupting) Please don't tell me. Just for once, * let me be surprised. INT. AIR FORCE ONE, CORRIDOR, TRAVELING - NIGHT Maria Mitchell escorts the Russians down the plane's length. As they pass the galley, Maria motions up a set of stairs. MITCHELL Up on the upper deck is the cockpit and the Mission Communication Center. The MCC, as we call it, can place clear and secure phone calls to anywhere on earth. We're linked to a network of military and civilian satellites and ground stations. We could run the country or run a war from there if we had to. KORSHUNOV This is a remarkable aircraft. MITCHELL You don't know the half of it. Did you know this entire plane is shielded from radiation? We could fly through a mushroom cloud completely unharmed if necessary. KORSHUNOV A dubious distinction, no? MITCHELL I guess it depends on your perspective. They walk by several conference rooms, running down the starboard side of the plane. KORSHUNOV And all these rooms here? MITCHELL Conference rooms, though some have other functions. The one up front doubles as an emergency medical center. Past the conference rooms, they walk by a small side room where SECRETARIES work on computers, generating documents. MITCHELL As you can see, back here's more like a regular plane. Security and Secret Service take this cabin. You'll be in the rear with the press pool. The REAR PRESS CABIN, just ahead of the rear galley and bank of bathrooms. A handful of disgruntled reporters feign sleep. MITCHELL Here's a press kit. I'll let you guys get comfortable and once we're airborne I'll be able to schedule the interviews. KORSHUNOV Thank you. Mitchell exits forward. One of the reporters stirs and looks up at the news team. He groans. Space is a premium back here. REPORTER You fellas win some sort of fly-with- POTUS contest? KORSHUNOV Potus? What is Potus? REPORTER P.O.T.U.S. President Of The United States. KORSHUNOV Ah, no. We won nothing. We are ITAR-TASS news service. REPORTER Right. Listen, this here... This is my row. You'll have to sit over there. Korshunov trades looks with his news team. EXT. MOSCOW INTERNATIONAL AIRPORT - NIGHT The President's motorcade pulls up in front of Air Force One. INT. AIR FORCE ONE - NIGHT The President and his entourage ascend from the lower deck platform onto the main deck. COL. DANIEL AXELROD, Air Force One's pilot, snaps off a salute as he passes. COL. AXELROD Welcome aboard, Mr. President. MARSHALL (returns salute) Hey Danny. How's it look tonight? COL. AXELROD Glassy, sir. Care to take the wheel? MARSHALL You keep offering, one of these days I'll take you up on it. (to no one in particular) Rose and Alice back yet? AIDE No, Mr. President. The ballet ran late. Their ETA is seventeen minutes. Marshall nods as he pulls off his bow tie and enters his stateroom. Shepherd follows two steps behind. SHEPHERD Mr. President? Marshall halts Shepherd with a gesture. MARSHALL Thirty seconds. Shepherd nods and waits by the door. Lt. Col. Perkins takes a seat outside the Presidents stateroom and opens the latest Tom Clancy thriller, using the nuclear football as a lap desk. INT. PRESIDENT'S STATEROOM - NIGHT Marshall collapses on the couch, rubs his eyes, then closes them. A moment of peace in a breakneck day. The knock at the door jars him. MARSHALL Yes. Shepherd enters. SHEPHERD Can I at least issue a press release objecting to the Speaker's choice of wording? President Marshall picks up one of the many phones in his office. MARSHALL I said it's not worth the fight. (into phone) Steward, please. SHEPHERD We'll just say it was in bad taste. * MARSHALL Forget it, Shep. The kid gave his life for his country and the Speaker's a bastard for turning him into a sound bite. I'll take the heat. Understood? SHEPHERD You give me ulcers. MARSHALL That's my job. A STEWARD enters the room. STEWARD Mr. President? MARSHALL Hey Mike. Could you get me a Heineken? SHEPHERD No, wait. Get him one of the Russian beers. The steward nods and disappears from the room. SHEPHERD We've got those Russian news guys on board and it'll look good in the papers. Marshall picks up a stack of policy reports. Thumbs through them. MARSHALL C'mon Shep. I've been eating borscht and drinking vodka for days. Isn't that enough? (off paper) New home starts are down. The steward arrives with the Russian beer. Marshall takes a swig. He swallows hard. Piss-water. Marshall crosses to his sink and pours the beer out. He hands the bottle to the steward. MARSHALL Fill this with Heineken. The steward nods... STEWARD Yes, Mr. President. AND SLINKS AWAY WITH THE BOTTLE. MARSHALL CATCHES HIMSELF -- MARSHALL I don't believe this. I'm playing politics with a bottle of beer. A goddamn bottle of beer. I've been in office too long. SHEPHERD Look on the bright side... if the polls don't change, you won't have that problem, sir. Marshall picks up the phone again. MARSHALL Yeah. Put the Duke game on in my room. INT. AFO'S MISSION COMMUNICATION CENTER - NIGHT THREE Air Force SPECIALISTS man the elaborate communication system occupying much of the upper deck. Top-of-the-line computers, communication systems, video decks, and satellite receivers. AIR FORCE SPECIALIST Yes, Mr. President. He slides in a videotape and channels the feed to the * president's stateroom. INT. PRESIDENT'S STATEROOM - NIGHT A monitor comes to life with a basketball game. MARSHALL (to Shepherd) Defense and State Department in the conference room in one hour. I want to review the Iraq situation. SHEPHERD Yes, sir. Shepherd exits as Marshall settles into his leather chair and dives into work. He punches a button on the speakerphone. MARSHALL Get me the Housing Secretary... EXT. AIR FORCE ONE - NIGHT The Marine Guards snap to attention once again as the First Lady's motorcade arrives. ROSE MARSHALL, a self-assured woman with an aristocratic gleam, alights from her limo. She takes a few steps, then turns, tapping her foot impatiently. ROSE C'mon Alice, we're 20 minutes late. Your father's gonna have a fit. ALICE, the President's 13-year-old daughter, straggles out of the car, rolling her eyes. ALICE It's not like he hasn't made us wait a few times. ROSE Well, you aren't the President, dear. ALICE Yeah, no duh. INT. MAIN DECK, AIR FORCE ONE - NIGHT As the First Lady's entourage enters. ROSE Why don't you go say hi? Again, Alice rolls her eyes. ROSE What is wrong with you tonight? Come here. Rose pulls Alice aside. ROSE You don't want to say hi to your father? ALICE I'm sure he's busy. ROSE Don't you even want to ask? Alice toes her foot into the carpet as she releases an exasperated sigh. She is, in this moment, the patron saint
51	Alien	Walter Hill,David Giler	Action,Horror,Sci-Fi,Thriller	June_1978	ALIEN (project formerly titled STARBEAST) Story by Dan O'Bannon & Ronald Shusett Screenplay by Dan O'Bannon 1976 SYNOPSIS En route back to Earth from a far part of the galaxy, the crew of the starship SNARK intercepts a transmission in an alien language, originating from a nearby storm-shrouded planet. Mankind has waited centuries to contact another form of intelligent life in the universe -- they decide to land and investigate. Their search takes them to a wrecked alien spacecraft whose doors gape open -- it is dead and abandoned. Inside they find, among other strange things, the skeleton of one of the unearthly space travellers. Certain clues in the wrecked ship lead them across the hostile surface of the planet to a primitive stone pyramid, the only remnant of a vanished civilization. Beneath this pyramid they find an ancient tomb full of fantastic artifacts. Lying dormant in the tomb are centuries- old spores, which are triggered into life by the men's presence. A parasite emerges and fastens itself to one of the men's faces -- and cannot be removed. An examination by the ship's medical computer reveals that the creature has inserted a tube down his throat, which is depositing something inside him. Then it is discovered that the parasite's blood is a horribly corrosive acid which eats through metal -- they dare not kill it on the ship. Ultimately it is dislodged from its victim and ejected from the ship, and they blast off from the Hell-planet. However, before they can seal themselves into suspended animation for the long voyage home, a horrible little monster emerges from the victim's body -- it has been growing in him, deposited there by the parasite... and now it is loose on the ship. A series of ghastly adventures follow. They trap it in an air shaft and a man has to crawl down the shaft with a flamethrower -- it tears a man's head off and runs away with his body -- a man is crushed in the air lock door and the ship loses most of its air in a terrific windstorm -- another man is burned to death and then eaten by the creature -- and another is woven into a cocoon as part of the alien's bizarre life cycle. Finally there is only one man left alive, alone on the ship with the creature, and only six hours till his air runs out; which leads to a climax of horrifying, explosive jeopardy, the outcome of which determines who will reach Earth alive -- man or alien. CAST OF CHARACTERS CHAZ STANDARD, Captain.................A leader and a politician. Believes that any action is better than no action. MARTIN ROBY, Executive Officer.......Cautious but intelligent -- a survivor. DELL BROUSSARD, Navigator...............Adventurer; brash glory-hound. SANDY MELKONIS, Communications..........Tech Intellectual; a romantic. CLEAVE HUNTER, Mining Engineer.........High-strung; came along to make his fortune. JAY FAUST, Engine Tech.............A worker. Unimaginative. The crew is unisex and all parts are interchangeable for men or women. IMAGE -- starmap.jpg FADE IN: EXTREME CLOSEUPS OF FLICKERING INSTRUMENT PANELS. Readouts and digital displays pulse eerily with the technology of the distant future. Wherever we are, it seems to be chill, dark, and sterile. Electronic machinery chuckles softly to itself. Abruptly we hear a BEEPING SIGNAL, and the machinery begins to awaken. Circuits close, lights blink on. CAMERA ANGLES GRADUALLY WIDEN, revealing more and more of the machinery, banks of panels, fluttering gauges, until we reveal: INTERIOR - HYPERSLEEP VAULT A stainless steel room with no windows, the walls packed with instrumentation. The lights are dim and the air is frigid. Occupying most of the floor space are rows of horizontal FREEZER COMPARTMENTS, looking for all the world like meat lockers. FOOM! FOOM! FOOM! With explosions of escaping gas, the lids on the freezers pop open. Slowly, groggily, six nude men sit up. ROBY Oh... God... am I cold... BROUSSARD Is that you, Roby? ROBY I feel like shit... BROUSSARD Yeah, it's you all right. Now they are yawning, stretching, and shivering. FAUST (groans) Ohh... I must be alive, I feel dead. BROUSSARD You look dead. MELKONIS The vampires rise from their graves. This draws a few woozy chuckles. BROUSSARD (shakes his fist in the air triumphantly) We made it! HUNTER (not fully awake) Is it over? STANDARD It's over, Hunter. HUNTER (yawning) Boy, that's terrific. STANDARD (looking around with a grin) Well, how does it feel to be rich men? FAUST Cold! This draws a LAUGH. STANDARD Okay! Everybody topside! Let's get our pants on and get to our posts! The men begin to swing out of the freezers. MELKONIS Somebody get the cat. Roby picks a limp cat out of a freezer. INTERIOR - CONTROL ROOM This is a fantastic circular room, jammed with instrumentation. There are no windows, but above head level the room is ringed by viewscreens, all blank for the moment. There are seats for four men. Each chair faces a console and is surrounded by a dazzling array of technology. STANDARD, ROBY, BROUSSARD, and MELKONIS are entering and finding their seats. BROUSSARD I'm going to buy a cattle ranch. ROBY (putting down the cat) Cattle ranch! BROUSSARD I'm not kidding. You can get one if you have the credit. Look just like real cows, too. STANDARD All right, tycoons, let's stop spending our credit and start worrying about the job at hand. ROBY Right. Fire up all systems. They begin to throw switches, lighting up their consoles. The control room starts to come to life. All around the room, colored lights flicker and chase each other across glowing screens. The room fills with the hum and chatter of machinery. STANDARD Sandy, you want to give us some vision? MELKONIS Feast your eyes. Melkonis reaches to his console and presses a bank of switches. The strip of viewscreens flickers into life. On each screen, we see BLACKNESS SPECKLED WITH STARS. BROUSSARD (after a pause) Where's Irth? STANDARD Sandy, scan the whole sky. Melkonis hits buttons. On the screens the images all begin to pan. CAMERA MOVES IN ON ONE OF THE SCREENS, with its moving image of a starfield. EXTERIOR - OUTER SPACE CLOSE SHOT OF A PANNING TV CAMERA. This camera is remote controlled, turning silently on its base. CAMERA BEGINS TO PULL BACK, revealing that the TV camera is mounted on the HULL OF SOME KIND OF CRAFT. When the pullback is finished, WE SEE THE FULL LENGTH OF THE STARSHIP "SNARK," hanging in the depths of interstellar space, against a background of glimmering stars. INTERIOR - BRIDGE ROBY Where are we? STANDARD Sandy, contact traffic control. Melkonis switches on his radio unit. MELKONIS This is deep space commercial vessel SNARK, registration number E180246, calling Antarctica air traffic control. Do you read me? Over. There is only the HISS OF STATIC. BROUSSARD (staring at a screen) I don't recognize that constellation. STANDARD Dell, plot our location. Broussard goes into action, punching buttons, lighting up all his instruments. BROUSSARD I got it. Oh boy. STANDARD Where the hell are we? BROUSSARD Just short of Zeta II Reticuli. We haven't even reached the outer rim yet. ROBY What the hell? Standard picks up a microphone. STANDARD This is Chaz speaking. Sorry, but we are not home. Our present location seems to be only halfway to Irth. Remain at your posts and stand by. That is all. ROBY Chaz, I've got something here on my security alert. A high priority from the computer... STANDARD Let's hear it. ROBY (punches buttons) Computer, you have signalled a priority three message. What is the message? COMPUTER (a mechanical voice) I have interrupted the course of the voyage. ROBY What? Why? COMPUTER I am programmed to do so if certain conditions arise. STANDARD Computer, this is Captain Standard. What conditions are you talking about? COMPUTER I have intercepted a transmission of unknown origin. STANDARD A transmission? COMPUTER A voice transmission. MELKONIS Out here? The men exchange glances. COMPUTER I have recorded the transmission. STANDARD Play it for us, please. Over the speakers, we hear a hum, a crackle, static... THEN A STRANGE, UNEARTHLY VOICE FILLS THE ROOM, SPEAKING AN ALIEN LANGUAGE. The bizarre voice speaks a long sentence, then falls silent. The men all stare at each other in amazement. STANDARD Computer, what language was that? COMPUTER Unknown. ROBY Unknown! What do you mean? COMPUTER It is none of the 678 dialects spoken by technological man. There is a pause, then EVERYBODY STARTS TALKING AT THE SAME TIME. STANDARD (silencing them) Just hold it, hold it! (glares around the room) Computer: have you attempted to analyze the transmission? COMPUTER Yes. There are two points of salient interest. Number one: it is highly systematized, indicating intelligent origin. Number two: certain sounds are inconsistent with the human palate. ROBY Oh my God. STANDARD Well, it's finally happened. MELKONIS First contact... STANDARD Sandy, can you home in on that beam? MELKONIS What's the frequency? STANDARD Computer, what's the frequency of the transmission? COMPUTER 65330 dash 99. Melkonis punches buttons. MELKONIS I've got it. It's coming from ascension 6 minutes 32 seconds, declination -39 degrees 2 seconds. STANDARD Dell -- show me that on a screen. BROUSSARD I'll give it to you on number four. Broussard punches buttons. One of the viewscreens flickers, and a small dot of light becomes visible in the corner of the screen. BROUSSARD (CONT'D) That's it. Let me straighten it out. He twists a knob, moving the image on the screen till the dot is in the center. STANDARD Can you get it a little closer? BROUSSARD That's what I'm going to do. He hits a button. The screen flashes and a PLANET APPEARS. BROUSSARD (CONT'D) Planetoid. Diameter, 120 kilometers. MELKONIS It's tiny! STANDARD Any rotation? BROUSSARD Yeah. Two hours. STANDARD Gravity? BROUSSARD Point eight six. We can walk on it. Standard rises. STANDARD Martin, get the others up to the lounge. INTERIOR - MULTI-PURPOSE ROOM The entire crew -- STANDARD, ROBY, BROUSSARD, MELKONIS, HUNTER, and FAUST -- are all seated around a table, with Standard at the head. MELKONIS If it's an S.O.S., we're morally obligated to investigate. BROUSSARD Right. HUNTER I don't know. Seems to me we came on this trip to make some credit, not to go off on some kind of side trip. BROUSSARD (excited) Forget the credit; what we have here is a chance to be the first men to contact a nonhuman intelligence. ROBY If there is some kind of alien intelligence down on that planetoid, it'd be a serious mistake for us to blunder in unequipped. BROUSSARD Hell, we're equipped -- ROBY Hell, no! We don't know what's down there on that piece of rock! It might be dangerous! What we should do is get on the radio to the exploration authorities... and let them deal with it. STANDARD Except it will take 75 years to get a reply back. Don't forget how far we are from the Colonies, Martin. BROUSSARD There are no commercial lanes out here. Face it, we're out of range. MELKONIS Men have waited centuries to contact another form of intelligent life in the universe. This is an opportunity which may never come again. ROBY Look -- STANDARD You're overruled, Martin. Gentlemen -- let's go. INTERIOR - BRIDGE The men are strapping in, but this time it is with grim determination. STANDARD Dell, I want greater magnification. More surface detail. I want to see what this place looks like. BROUSSARD I'll see what I can do. He jabs his controls. The image on the screen ZOOMS DOWN TOWARD THE PLANET; but all detail quickly vanishes into a featureless grey haze. STANDARD It's out of focus. ROBY No -- that's atmosphere. Cloud layer. MELKONIS My God, it's stormy for a piece of rock that size! ROBY Just a second. (punches buttons) Those aren't water vapor clouds; they have no moisture content. STANDARD Put ship in atmospheric mode. EXTERIOR - "SNARK" - OUTER SPACE The great dish antenna on the SNARK folds down against the main body of the ship, and other parts flatten out, until the ship has assumed an aerodynamic form. INTERIOR - BRIDGE STANDARD Dell, set a course and bring us in on that beam. EXTERIOR - SPACE The SNARK's engines cough into life, and send it drifting toward the distant dot that is the planetoid. CAMERA APPROACHES THE PLANETOID, until it looms large on screen. It is turbulent, completely enveloped in dun-colored clouds. The SNARK drops down toward the surface. INTERIOR - BRIDGE STANDARD Activate lifter quads. BROUSSARD Activated. Vertical drop checked. Correcting course. On tangential course now, orbiting. (brief pause as he studies his instruments) Crossing the terminator. Entering night side. EXTERIOR - "SNARK" - IN ORBIT Beneath the orbiting SNARK, night's curtain rolls across the planet. Descending at an angle, the SNARK drops down into the thick atmosphere of the planetoid. INTERIOR - BRIDGE ROBY Atmospheric turbulence. Dust storm. STANDARD Turn on navigation lights. EXTERIOR - "SNARK" Hydroplaning down through the pea-soup atmosphere, a set of brilliant lights switches on, cutting through the dust, but hardly improving visibility. INTERIOR - BRIDGE BROUSSARD Approaching point of origin. Closing at 20 kilometers, 15 and slowing. Ten. Five. Gentlemen, we are directly above the source of the transmission. STANDARD What's the terrain down there? BROUSSARD Well, line of sight is impossible due to dust. Radar gives me noise. Sonar gives me noise. Infrared -- noise. Let's try ultraviolet. There. Flat. It's totally flat. A plain. STANDARD Is it solid? BROUSSARD It's... basalt. Rock. STANDARD Then take her down. BROUSSARD Drop begins... now! Fifteen kilometers and dropping... twelve... ten... eight and slowing. Five. Three. Two. One kilometer and slowing. Lock tractor beams. There is a LOUD ELECTRICAL HUM and the ship shudders. ROBY Locked. BROUSSARD Kill drive engines. The engines fall silent. ROBY Engines off. BROUSSARD Nine hundred meters and dropping. 800. 700. Hang on gentlemen. EXTERIOR - SURFACE OF PLANET - NIGHT The night-shrouded surface is a hell of blowing dust. The SNARK hovers above it on glowing beams of light, dropping down slowly. Landing struts unfold like insect legs. INTERIOR - BRIDGE BROUSSARD And we're... down. EXTERIOR - SURFACE OF PLANET - NIGHT The ship touches down, heavily; it rocks on huge shock absorbers. INTERIOR - BRIDGE The whole ship VIBRATES VIOLENTLY FOR AN INSTANT -- then all the panels in the room flash simultaneously and the LIGHT'S GO OUT. BROUSSARD Jesus Christ! The lights come back on again. STANDARD What the hell happened? ROBY (hits a switch) Engine room, what happened? FAUST (over, filtered) Just a minute, hold it, I'm checking. ROBY Has the hull been breached? BROUSSARD Uh... (scans his gauges) No, I don't see anything. We've still got pressure. There is a BEEP from the communicator. Then: FAUST (over, filtered) Martin, this is Jay. The intakes are clogged with dust. We overheated and burned out a whole cell. STANDARD (strikes his panel) Damn it! How long to fix? ROBY (into microphone) How long to fix? FAUST (over, filtered) Hard to say. ROBY Well, get started. FAUST (over, filtered) Right. Talk to you. STANDARD Let's take a look outside. Turn the screens back on. Melkonis hits buttons. The screens flicker, but remain black. BROUSSARD Can't see a blessed thing. EXTERIOR - SHIP - NIGHT Only a few glittering lights distinguish the ship from the absolute darkness around it. THE WIND MOANS AND SCREAMS. DUST BLOWS IN FRONT OF THE TINY GLIMMERING LIGHTS. INTERIOR - BRIDGE - NIGHT STANDARD Kick on the floods. EXTERIOR - SHIP - NIGHT A ring of FLOODLIGHTS on the ship come to life, pouring blinding light out into the night. They illuminate nothing but a patch of featureless grey ground and clouds of blowing dust. The wind shrieks. INTERIOR - BRIDGE - NIGHT ROBY Not much help. Standard stares at the dark screens. STANDARD Well, we can't go anywhere in this darkness. How long till dawn? MELKONIS (consults his instruments) Well... this rock rotates every two hours. The sun should be coming up in about 20 minutes. BROUSSARD Good! Maybe we'll be able to see something then. ROBY Or something will be able to see us. They all look at him. DISSOLVE TO: EXTERIOR - SHIP - NIGHT (MAIN TITLE SEQUENCE) The floodlights on the SNARK fight a losing battle against the darkness and the storm. MAIN THEME MUSIC BEGINS, EXTREMELY OMINOUS. THE TITLE APPEARS: ALIEN RUN TITLES. Gradually, the screen begins to lighten as the SUN RISES. The silhouette of the SNARK becomes visible, like some strange insect crouching motionless on the barren plain. The floods shut off. Dense clouds of impenetrable dust shriek and moan, obscuring everything and reducing the sunlight to a dull orange. END MAIN TITLES. INTERIOR - BRIDGE - DAY CLOSE ON A SCREEN - it shows nothing but swirling clouds of orange dust. PULL BACK FROM SCREEN. The men (Standard, Roby, Broussard, and Melkonis) are sitting and standing around the room, drinking coffee and staring at the screens, which reveal only the billowing dust. ROBY There could be a whole city out there and we'd never see it. BROUSSARD Not sitting on our butts in here, that's for sure. STANDARD Just settle down. Sandy, you get any response yet? MELKONIS (pulls off his earphones) Sorry. Nothing but that same damn transmission, every 32 seconds. I've tried every frequency on the spectrum. BROUSSARD Are we just going to sit around and wait for an invitation? Roby gives Broussard a black look, then stabs a button on his console and speaks into the mike. ROBY (into mike) Hello, Faust! FAUST (over, filtered) Yeah! ROBY How's it coming on the engines? INTERIOR - ENGINE ROOM Faust is seated at an electronic workbench, brightly lit, speaking into a wall intercom. FAUST I never saw anything as fine as this dust... these cells are all pitted on a microscopic level. I have to polish these things smooth again, so it's going to take a while. Okay? INTERIOR - BRIDGE - DAY ROBY Yeah, okay. (puts down the mike) STANDARD Sandy... how far are we from the source of the transmission? MELKONIS Source of transmission is to the northeast... about 300 meters. ROBY Close... BROUSSARD Close enough to walk to! STANDARD Martin, would you run me an atmospheric? ROBY (punches buttons and consults his panels) 10% argon, 85% nitrogen, 5% neon... and some trace elements. STANDARD Nontoxic... but unbreathable. Pressure? ROBY Ten to the fourth dynes per square centimeter. STANDARD Good! Moisture content? ROBY Zero. Dry as a bone. STANDARD Any microorganisms? ROBY Not a one. It's dead. STANDARD Anything else? ROBY Yeah, rock particles. Dust. STANDARD Well, we won't need pressure suits, but breathing masks are called for. Sandy -- can you rig up some kind of portable unit that we can use to follow that transmission to its source? MELKONIS No problem. BROUSSARD I volunteer for the exploration party. STANDARD I heard you. You want to break out the side arms? INTERIOR - MAIN ARM LOCK - DAY Standard, Broussard and Melkonis enter the lock. They all wear gloves, boots, jackets, and pistols. Broussard touches a button and the inner door slides silently shut, sealing them into the lock. They all pull on rubber full-head oxygen masks. STANDARD (adjusting the radio on his mask) I'm sending. Do you hear me? BROUSSARD Receiving. MELKONIS Receiving. STANDARD All right. Now just remember: keep away from those weapons unless I say otherwise. Martin, do you read me? INTERIOR - BRIDGE - DAY ROBY Read you, Chaz. INTERIOR - MAIN AIR LOCK - DAY STANDARD Open the outer door. Ponderously, the outer lock door slides open. ORANGE SUNLIGHT streams into the lock, and clouds of dust swirl in. We hear the MOANING OF THE WIND OUTSIDE. A mobile stairway slides out of the open hatchway, and clunks as it hits the ground. Standard walks out into the storm, followed by the others. EXTERIOR - PLANETOID - DAY The three men trot down the gangplank to the surface of the planet. Their feet sink into a thick layer of dust and loose rock. The men huddle together, looking around. The wind screams and tugs at their clothes. Nothing can be seen. STANDARD Which way, Sandy? Melkonis is fiddling with a portable direction-finder. MELKONIS (pointing) That way. STANDARD You lead. Melkonis walks into the blinding dust clouds, followed closely by the others. STANDARD Okay, Martin. We're on our way. INTERIOR - BRIDGE - DAY Roby is the sole occupant of the bridge. He is huddled over his console, smoking a cigarette and watching three moving blips on a screen. ROBY Okay, Chaz, I hear you. I've got you on my board. STANDARD (over, filtered) Good. I'm getting you clear too. Let's just keep the line open. EXTERIOR - PLANETOID - DAY The three men plough their way through a
52	Alien 3	Rex Pickett	Action,Drama,Horror,Sci-Fi,Thriller	January_1991	Alien III Screenplay by John Fasano Story by Vincent Ward & John Fasano FIRST DRAFT March 29, 1990 "But how will you die when your time comes, Narcissus, since you have no mother? Without a mother, one cannot love. Without a mother, one cannot die." - Hesse ALIEN III THE SCREEN IS BLACK A pinpoint of light appears. Red. An ember. Unseen BELLOWS blow. GLASS FURNACE The embers glow. Flame. The fire GROWS. A RIVER OF MOLTEN GLASS Heated by the furnace to over 1,300 degrees fahrenheit. White Hot. GLASS FACTORY Flickering flame casts dancing shadows on wooden walls. Coarsely grained wood. Moisture blasted out by years of intense heat. Timbers split. Patched with new wood, it too now old and dry. SMOKE Billows up the walls. Hangs as an angry, black cloud amongst the rafters and beams of the vaulted ceiling. Almost obscures -- A MAN On a narrow LEDGE, twenty feet about the Glassworks' floor. His clothing is Medieval. A rough textured cassock. He is a MONK. LOUVERS are set into the wall. He angles them open. The smoke begins to escape. The Monk turns, raises arms and LEAPS from his lofty perch -- Gently gliding down to the floor with the aid of a FLOWING FOX -- a primitive hand-held pulley that runs down a rope. He lands next to the glass furnace, surrounded by -- MORE MONKS By their dress. With Blowing Iron and Pontil. They blow and shape the molten glass. Crack off the finished pieces. The old way. ONE PARTICULAR MONK Black skinned, early fifties. Stirs his five foot long blowing iron in the molten glass, but he is watching something else. It moves him to song. Lilting tenor lifts high into the air. This is BROTHER KYLE. BROTHER KYLE Well would he guess the ascending of the star, Wherein his patient's fortunes settled were. He knew the course of every malady, Were it of cold or heat or moist or dry. Brother John, would-be Doctour of Physick. We see the object of his song: BROTHER JOHN Not yet forty. Strong features, but fear behind the eyes. The fear that comes from a lack of inner confidence. A good face, nonetheless. He stirs a thick mixture in a mortar. Next to him another MONK sits holding his arm out in front of him, cassock sleeve rolled up, revealing a vicious BURN. BROTHER KYLE Tend you quickly he will, with bottles from a shelf. But heals not, so easily, The ills which plague himself. Brother John stops stirring. BROTHER JOHN (to Kyle) Enough. He scoops the salve out with his fingers and applies it to the Burned Monk's arm. The Burned Monk INHALES sharpley as the cool mixture contacts the injured area. BROTHER JOHN (to the burned Monk) Relax. (to Kyle) Put those lungs of yours to better use. BROTHER KYLE Yes, Doc Tor. Kyle laughs, removes the blowing iron from the molten glass -- a BLOB of white hot glass hanging on the end. He rolls the blob on the Marver, a flat, polished piece of iron, then begins to blow a bottle shaped container. John wraps a fray-edged cloth bandage around the burn. JOHN Keep this from getting wet. Go home at late afternoon mealtime and don't come back to work today -- BURNED MONK But John -- JOHN I'll tell the Abbot. Just rest today. You're lucky you only burned yourself on the side of the furnace. If some of that glass had gotten on your arm -- He points to the top of his forearm. JOHN -- it would've burned clean through to the other side. He mimes a drop down from the bottom of his arm. The Burned Monk shudders at the thought. BELLS toll. JOHN That's late afternoon. Now get on. BURNED MONK Thank you, John. I -- JOHN You're welcome. Go! The Burned Monk trundles off, injured arm against his chest. John gathers his mortar, pestle, and extra bandages into a burlap sack. Kyle comes over. KYLE Good work. JOHN All right, but I'm no Father Anselm. KYLE You're yourself, that's better... Kyle pushes him through the door... INTO THE HALLWAY The Hallway is alive with cassocked monks. Their LOW CHANTING reverberates throughout the building. The wooden floorboards creak beneath their combined weights. This is obviously a MEDIEVAL MONASTERY... KYLE The Abbot will be pleased. JOHN Don't. KYLE Don't what? JOHN Please don't tell him. At least until I know if there's an infection. KYLE You want to be the Abbey's Physician, and you haven't learned the first rule: Don't worry about the patient. John's face drops. KYLE I shouldn't have. Sorry. Look, I know how you must -- JOHN You don't, but thanks anyway. AT THE END OF THE HALLWAY A wide stairwell. A constant stream of monks all moving down the stairs. Coming from floors above. Headed for lunch. Kyle starts down. John starts up -- KYLE Not coming down? JOHN I have someone waiting for me. Kyle disappears into the crowd. John moves up... THE STAIRWAY A river of brown cassocks running downstream. John is the only one moving against the flow. He exits the stairwell -- ONE FLOOR UP A narrow corridor lined with doorways. John moves to one in particular. He doesn't even look as he grabs the door knob. This is his room. He opens the door -- IN BROTHER JOHN'S ROOM An old, worn out DOG lays in wait on an old, worn out cassock which is now serving as its bed. At the sight of John it stands. JOHN Come on, Mattias. The dog, MATTIAS, joins him in the hall. Monk and pet disappear up a flight of stairs. Past another dozen or so Monks who are on their way down. INT. LIBRARY A vast room filled with rows of wooden tables with low benches between aisle after aisle of floor-to-ceiling wooden shelves jammed to capacity with BOOKS of all shapes and sizes. Millions of books, from the looks of it. From each book hangs a long CHAIN, long enough to allow the book to be carried only as far as the nearest table. A CORPULENT MONK - BROTHER PHILIP In his fifties, and the Librarian by his stern affect, his position behind a broad, but also old oak desk, and the large KEY hanging from his belt. He watches the few stragglers return their chain bound volumes to the shelves and head for the door, then rises and joins them... IN THE CORRIDOR JUST OUTSIDE THE LIBRARY John leans against the wall as Philip exits. Mattias is nowhere to be seen. PHILIP Brother John. JOHN Brother Philip. PHILIP Feeding the mind instead of the body again? JOHN My training has taught me to feed what's hungry. Philip pats his broad stomach and heads down the hallway. PHILIP As did mine. As long as you're alone. Enjoy yourself -- and remember, no book leaves the library. JOHN How could I forget? Have a good meal... John watches the corpulent librarian head down the stairs. When he's gone from sight John lifts the bottom of his cassock to reveal Mattias. JOHN Perfect. They move into the library... THE MEDIEVAL SECTION The oldest books. John moves to the stacks. Mattias trots over to a particular bench and sits. This is his regular place. AT THE SHELVES John stands on toe tips to retrieve an ancient Tome. He runs his fingers over the familiar leather binding. A smile plays across his lips. He carries the book, places it on the edge of the table so there is slack in the chain. Sits on the bench next to the dog. Clears his throat, opens the book, begins to read... John (reading) In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks -- VOICE O/S Sometimes, I think you'd like that. John turns to find -- THE ABBOT Leader of the monastery. In his seventies but looks younger. His Cassock is adorned with a large, ornately carved, wooden CHAIN in place of a rope belt. He crosses to the table. John closes the book and stands, head bowed in respect. John Abbot, I -- I didn't think anyone would -- ABBOT Mind? Just Philip, if he knew. I passed him on the way up. He said you'd come in alone. I knew better. He scratches the back of Mattias' neck. ABBOT Hello, Mattias. How are you, boy? The dog snuffles in response. ABBOT You know what Philip says about Mattias' hair and his breathing. You'll have to take him out of here. JOHN He likes when I read to him and -- I can't -- John looks down sheepishly. Though nearly forty, he feels almost adolescent in the presence of the Abbot. The Abbot pulls a large key from his pocket. ABBOT (smiles) Someone must have left this one unlocked. Take the book with you. He hands the key to John, who is shocked -- this is a great honor. JOHN Father, I --? ABBOT Kyle tells me you did a good job at the glassworks today. JOHN I'll reserve judgement until the patient lives. John crosses to the shelf and unlocks his book. He returns the key. ABBOT It will get easier. Father Anselm was... an unexpected loss. You'll do fine. The Abbot walks towards the door... ABBOT Just have it back before the end of lunch. Oh -- And I didn't see you in here. JOHN Thank you. (to Mattias) Let's go upstairs, boy. John takes his book -- Moves to a spiral wooden staircase. Mattias at his heels. Goes UP -- INTO THE BELL TOWER The mechanics of the bell tower -- all ropes and wooden cogs cast scary shadows. A doorway leads to -- THE ROOF OF THE ABBEY Thick with sandy dust. The wood shows through thin patches. We PULL BACK TO REVEAL what we think is the roof of the Abbey is actually -- THE SURFACE OF ARCEON - NIGHT The door has opened onto the SURFACE OF A PLANTOID! The curving horizon broken only by the very top of the Abbey bell tower poking through from the levels below. SMOKE curls from vents set into the surface. Sunken areas of the planet's sirface are SEAS. This is ARCEON. An manmade orbiter. A shell of lightweight foamed steel, five miles in diameter. Constructed by The Company on Special Order with habitable level within finished in whatever material suits its end user. This orbiter, for reasons to be discovered later, has been sheathed in wood. JOHN Walks to the shore of an inland SEA. Sits on a bare patch of wood. Looks up. His eyes grow accustomed to -- THE NIGHT SKY - JOHN POV Freckled with tiny dots of light. Stars. Spread across the inky void. Bathe Arceon's surface with their celestial glow. John smiles at Mattias, breathes deep. The atmosphere up here is thinner, but fresher. He opens the book. Reads aloud -- JOHN In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks, day by day, one by one, until I am the only one left. I stayed as long as I could bear it, then with my dog -- Mattias lifts his ears at this part. His favorite part. JOHN - fled. I have put this to parchment lest this pestilence - this Black Death - stay my hand. (beat) This was finished by another hand... John closes the book. Something catches his eye -- Something among the myriad points of light in the sky. Millions of miles away: ONE OF THE STARS Brighter than the rest. MOVING. Fast enough to leave a faint trail. Across the stars. And down... A comet. John stands. Watches -- THE STAR Growing brighter. Drawing nearer. JOHN Joined by three other MONKS. They are older than he. The Four men watch the sky... THE STAR Brighter still. Closer. MORE MONKS Two dozen. A hundred. They come up through the planet's surface. Out of wooden trap doors. Join the others. Days pass. Now three hundred. Necks bowed back. Mouths agape. A SUBTITLE identifies... RELIGIOUS COLONY ARCEON ----------------------- POPULATION: 350 Exiles CRIME: Political Heresy THE STAR Fills the sky. Burns brighter still as it hits the planetoid's atmosphere. ON THE SURFACE OF ARCEON Hundreds of Monks shield their eyes as the ship -- the star -- ROARS over their heads. Trailing FIRE -- John holds up his hands - to touch a star -- Skin BLISTERS as it passes over him, He turns and watches as it -- Arcs downward -- INTO THE SEA WHOMP- SSSSSSSSSS --!! PLUMES of steam rise into the air. The water boils. Fish bob to the surface. Bloated. Dead. JOHN Is the first to hit the shore. Small leather and wood fishing boats tossed by the wake. His coracle is the first into the water. The others running up behind him. He cannot hear the SHOUTS of warning. ON THE SEA - DAWN The sun cracks over the black water. John's hands move the rough wooden oars. Blistered palm opens. BLOOD flows. He tears off a piece of his cassock -- Rips it with his teeth -- Wraps the bloody hand. Rows. THE STAR Ship. Star Ship. Sulaco escape vehicle #4 rocks on the water. White metal skin blackened by the heat. JOHN Rows right into it. His coracle pitches in the choppy surf. He scrambles onto the ship's cracked tile surface. Teeters -- balances -- moves to the unmistakeable HATCH. Looks around for a knob, a handle -- NEXT TO THE HATCH A small panel door whose black and yellow stripes denote urgency. John hesitantly opens the door, revealing a shiny metal LEVER. He stares at it...a beat. Then quickly pulls it down... WUORRRSH -! Hull door OPENS. The doorway is a black maw. John crosses himself. Begins to lower his foot into the hatch -- KYLE O/S Watch it! He almost falls backwards off the ship. Looks back -- THE OTHER MONKS Are rapidly approaching. Kyle gestulates wildly -- KYLE John! Wait -- ! Don't go in! John turns back to the open hatch. Machine recirculated air flows out. He feels it on the skin of his face. Cool. Cool, and artificial. It calls to him. He steps in. Swallowed by the blackness -- WHOOSH-CLANG -! The door closes behind him. INT. SULACO ESCAPE POD #4 - DAY Dark. Dim red lights. John stands still as his eyes adjust to the darkness. He sees: NEWT'S HYPER SLEEP TUBE A glass and metal COFFIN -- pneumatic piping twines around its base. The glass lid is BROKEN. A Small RED LIGHT pulses at the head of the tube -- a soft VOICE and TONE, like your seat belt warning -- is audible... COMPUTER VOICE (sotto) Seal broken...seal broken... John finds himself moving towards the tube... Looks through the broken lid: IN THE TUBE There is a splattered BLOOD STAIN on the sterile white interior. OLD, turned rust-brown. Whatever happened here happened a while ago. Rust colored drips trail down to -- THE FLOOR Drag marks. His eyes follow the stains to a pile of Bloody clothing against a control panel. A jumpsuit. Torn. Child size. The head of child's DOLL, but no body to be found. JOHN Looks back towards the door. Part of him wants to get the hell out here -- but he fights back his fear. He is a doctor - or trying to be - someone in here may need his help. He presses forward -- Averts his gaze from the clothing, UP to the blinking and glowing instrument panels and their myraid -- LIGHTS Pressure lights. Data lights. Warning lights. Thousands of lights. Like the stars in the sky. It's been decades since he's seen technology like this -- and never this close up. He steps further into the ship, his fear now replaced by fascination, follows the lights.... ON A PALE GREEN SCREEN LED numbers race -- 7,291.01.05...06...07 A legand identifies "Elapsed since separation." He moves on... A VIDEO MONITOR Through scanning bars of snow, an image: A WOMAN with a YOUNG GIRL standing in front of her. The Woman's arms are wrapped around the girl. Protective. Maternal. The Woman speaks. Her message repeats itself. A tape loop, although John has no idea what that is. WOMAN ...taking pod four. The Crew of the SS Sulaco and all Marine commandoes are dead. Ship's sensors have interrupted the hyper sleep cycle. An overlooked alien egg has hatched. Bishop and Hicks have been killed. Xenomorphs have infested the cruiser. Newt and I are taking pod four. The Crew of... The WARNING TONE of the Woman's message rekindles John's fear. He moves more hesitantly around the periphery of the ship, following the trail of blinking instruments -- Drawn to touch a button. Click... SOMETHING TENTACLE-LIKE DROPS DOWN ON HIS SHOULDER! Just an oxygen mask. John feels his rapidly BEATING heart as he pushes aside the plastic, dangling object and continues around the shuttle. His hand brushes over a SENSOR which responds by lighting and -- HSSSSSSSSS -! A BLAST of freon shoots out of an overhead pipe -- John SHOUTS and back up into -- ANOTHER HYPER SLEEP TUBE!!! Next to Newt's now empty tube. Humming gently. Still operational. John approaches it cautiously. He can make out the occupant through the lid... A WOMAN The woman from the screen. This is RIPLEY. In hypersleep. Wearing a white cotton tank top and boxer-type shorts. Christ, she looks beautiful. John looks from Ripley to her image on the monitor, then back. Sinks to his knees, reverent. Fascination has replaced fear again. Moves his face closer to the lid. Closer to hers... DAYLIGHT spills in -- John's head WHIPS towards the source of the light -- THE DOOR Open. Kyle and the other monks. KYLE John - what is it? Is this a Supply ship? JOHN No. No supplies. Kyle, there's someone in here -- The Second Monk looks at Kyle. SECOND MONK This is forbidden. KYLE John. Just get the hell out of there -- JOHN I don't want to stay. I have to get her out before this sinks. You come in, give me a hand -- KYLE Her? Look, this is not the supply ship, so this is technology forbidden to us. Get out of there now! John looks down at Ripely. A KEYPAD is mounted at the head of the tube. A red button: "EMERG-OPEN" That's plain enough. JOHN All right -- He presses it. The Tube opens with a loud BLAST of compressed air. The Monks at the door recoil at the sound. CUT TO: EXT. SPACE SHIP - ON THE SEA - DAY Ripley has been lowered into a large coracle. John holds her in front of him. Unconscious. Her head lolls as the boat rocks on the waves. The monks start to row back to short. FIRST MONK (reverent) A space ship... SECOND MONK (even more reverent) A woman... KYLE You shouldn't have gone in -- JOHN I'm supposed to be a doctor. He pushes Ripley's hair away from her forehead. JOHN She could've been lost. FIRST MONK Been a long time since I saw either. SECOND MONK It isn't sinking. Look at it. What are we supposed to do with it? KYLE What was it like in there --? JOHN Lights. So many lights -- THIRD MONK Tow it in. Bring it in. SECOND MONK It's evil. FIRST MONK It's just technology. SECOND MONK Evil technology. Look at these fish -- THIRD MONK The Abbot will know what we should do with it -- KYLE Just lights? JOHN Machines. Buttons. Metal. SECOND MONK See? Just look at the fish. THIRD MONK The Abbot will know. SECOND MONK They're boiled. These fish are boiled. JOHN Thousands of lights. Like the stars. Like Heaven on Earth. Ripley stirs in John's arms. Groans. Fights to come out of her fugue state... Looks around through half-lidded eyes -- She is surrounded by rowing, cassocked Monks. MONKS? She closes her eyes. Tries to clear the imagine. Opens: They're still there. She looks down at the bloodied hands around her waist -- realizes she's sitting on someone's lap. Looks back over her shoulder -- JOHN He smiles at her. Friendly, not sexual. RIPLEY Shakes her head. Tries to speak -- Her lips form soundless words. She looks over her other shoulder, sees -- THE SHIP - RIPLEY POV Bobbing on the surface. Growing small with each stroke of the oars. RIPLEY Brows knit. Fights the cobwebs in her brain. Tries to focus on the ship -- Remembers. Turns to John, tries to speak -- RIPLEY Wait. New... She loses consciousness. GO TO BLACK... INT. THE ABBEY - RIPLEY'S ROOM - DAY Streaks of light move across the darkness. Form patterns of light and shadow against the wooden walls. There is a sublime stillness, but coming through the walls are the muted, far off SOUNDS of the Abbey -- The SAWING of wood. HAMMERING. WHISPERED prayers. LILTING song. We move down off the wall to a hand-made wooden bed. Ripley in restless sleep. EXT. ARCEON SEA - DUSK The waters grown rough with the approach of night. Wind whips across white wave tops -- SPRAYS the dozen Monks who LASH their boats to Ripley's SHIP with thick hemp ropes -- Start to tow it to shore... INT. RIPLEY'S ROOM - NIGHT Ripley is sleeping -- but struggling against some unseen foe -- She tries to sit up -- can't. Tries to shake off the effects of the suspended animation...looks up through half-lidded eyes: JOHN Sits next to her. Quite asleep. Hands swathed in white bandages. Book resting on his lap. She squints to make the figure standing in the shadows behind him -- it's skin picks up and reflects tiny points of flickering cangle light - seems to ripple as it moves -- THE ALIEN Big, black shiny-smooth head moves into the taper light. It moves towards her, cable-like arms held out at its side -- moving out of sync with its feet -- Ripley tries to move - to cry out -- She can't. She can only move her eyes. She looks over at John, sleeping peacefully. He doesn't notice the Alien -- The Alien moves closer. She can feel his breath -- it evaporates the sweat on her forehead -- a CHILL runs through her but she still can't move -- The Alien stands alongside her bed. Extends a six-fingered hand... Gently rests it on her stomach. Cocks its head -- like it's listening to something. The implication is clear. Ripley finds her voice -- RIPLEY AAAAAAAAAAAARGH! Her eyes open wide -- She sits bolt upright. A hand moves to her forehead. Gently pushes her head back to the pillow. John's. JOHN You're out of it. Out of it... Ripley falls back, eyes glued to where the alien appeared. John sees her focal point, looks back over his shoulder: Nothing. Ripley's eyes roll back into her head. She tries to speak -- It was there. Her hand, at her side, tightens into a fist -- John's hand covers hers. Eases the fingers open again. She feels the coarse bandages against her palm. He starts to read quietly from Saint Augustines' Confessions. She begins to drowse again as his soft voice flows over her like waves lapping against the shore... EXT. SURGACE OF ARCEON - DAY A HOWLING DUST STORM has kicked up. The monks wear small round goggles, have rags tied over their noses, as they work at a huge BLOCK AND TACKLE arrangement -- Hundreds of ropes grow TAUT. Timbers GROAN. They LIFT Ripley's SHIP -- SWING it over to a large portal -- INT. RIPLEY'S ROOM - DAY Ripley lays with eyes closed. Muffled VOICES outside her door: ABBOT How is the woman, John? JOHN I don't think she's here yet. At the sound of John's voice the SLIGHTEST smile plays across Ripley's sleeping lips. JOHN She is close, though. As they continue talking, Ripley wakes. Opens her eyes. Rolls over onto her side -- There is a window right next to the bed. Ripley lifts herself up on one elbow, looks out: HER POV Garden of Earthly delights... Monks laboring under a beautiful, celestial blue sky -- picking apples, fishing on the water on small inland lakes. Working with hammer and saw on small wooden cottages. Lyrical. It makes her feel good. She scans the countryside... Sheep graze around wooden ladders stretching hundreds of feet up to the -- Ripley does a take -- WORKERS ON A SCAFFOLDING With crude brushes at the end of poles -- PAINT the sky blue. The Abbey, the cottages, the fields outside her window are all on one level - INSIDE THE PLANET. The vaulted CEILING, painted to look like the sky with huge glass "windows" to allow the sunlight in, is actually the UNDERSIDE of the planetoid's outer shell. Ripley looks back at the Monks on the ground: Instead of repairing, they are taking the cabins apart, stacking the wood onto push carts -- RIPLEY What the hell --? SUDDENLY -- The Sulaco Escape ship APPEARS in front of her. SWINGS past her window suspended by ropes. Then disappears up, out of sight. Ripley checks her pulse. RIPLEY This must be a dream. A bad one. She rolls back onto the bed. Stares up at the ceiling. ABOVE HER - ON THE ROOF OF THE ABBEY Monks scurry around the Ship as it is lowered into place on a flat area of the roof above the libaray. It seats with a deeply resounding THUD... RIPLEY Hears the SOUND and then another - her door OPENING. She turns to find the Abbot and John standing in the doorway. John waits in the doorway as the Abbot crosses to the chair by the bed and sits. RIPLEY Who are you? ABBOT I am the Abbot. Leader of this Colony. And you? He smiles. Open. Friendly. RIPLEY Ripley. How did I get here? ABBOT Your vehicle crash landed. (indicates John) Brother John found you and brought you here. RIPLEY Where is here? ABBOT This is the Minorite Abbey within the manmade orbiter Arceon. RIPLEY Can I use a radio to -- ABBOT We have no radio here. We are a monastic order that has renounced all modern technology. We live the old way. The pure way. She shakes her head. RIPLEY Uh, I - I still don't feel 100%. Whoever took me out of the stasis tube must not have run the full D-F program... Where's Newt? The Abbot looks at her blankly. RIPLEY There was a little girl with me -- ABBOT You were alone. RIPLEY No. She was with me. I put her in her stasis tube -- We launched when the -- ABBOT You were the only living thing found aboard that vessel. The Abbot watches Ripley as the terrible truth overcomes her -- RIPLEY (slowly) Oh, God. Newt. She stops -- gets that chill up her spine -- She realizes that she MUST have brought the Alien with her. RIPLEY It came with us. The Abbot leans in. ABBOT What came with you? RIPLEY Listen -- there is a danger here. It came with me. How long have I been here? ABBOT Almost two days -- RIPLEY (calculates) Loose for two days. This planet could be overrun within the week. Ripley grabs the Abbot by his cassock -- RIPLEY Look, there's a xenomorph -- (sees his confusion) An Alien creature. A killer. A monster. And now it's here. The Abbot looks at her the way you look at that guy on the corner of Santa Monica and 3rd who's babbling about Judgement Day. The guy with his pants down around his kness. She sees this, releases her hold on him... RIPLEY Calm down, Ripley. Okay, I was with a platoon of Colonial Marines on a mission to planetoid LV426. We left Earth six months ago - maybe a year -- ABBOT (interrupts) Wait a moment -- The Abbot becomes aware of John's presence in the doorway. Turns over his shoulder at him. ABBOT Leave us. John waits there a beat, then backs out and closes the door. ABBOT Continue. RIPLEY We launched in the Cruiser Sulaco from Gateway sub-orbital space station -- ABBOT Not possible. RIPLEY What do you mean? ABBOT When we left Earth seventy years ago, it was on the brink of a New Dark Age. Technology was on the verge of destroying the planet's environment. A computer virus was threatening to wipe away all recorded knowledge. There didn't seem to be any way it could be averted. In the almost forty years since we were towed out here in hypersleep, the news that came with occasional supply ships only got worse. Finally, the ships stopped coming. We had to resign ourselves to the fact that worst had come to pass, and the Earth no longer existed. Now she gives him that look. RIPLEY (slowly) Uh...All right... Forget the Earth - How many people do you have here? Let's worry about them. Warn them -- A new look overtakes the Abbot's face. A look of fear. Now she's getting to him - or is she? He abruptly stands. ABBOT Your mind is troubled. You need to rest some more. RIPLEY I don't need rest - I need to get to your people. You've got to get to them -- tell them about the alien -- He heads for the door -- ABBOT I have had enough for now. RIPLEY Enough? Didn't you hear what I said? It could wipe out the entire population of this planet. It may have started already - Have there been any unusual deaths since I got here? The Abbot stops in the door - ABBOT No. And there won't be. The Abbot SLAMS the door behind him. THE CORRIDOR OUTSIDE RIPLEY'S ROOM - DAY John stands nearby as the Abbot addresses two BURLY MONKS ABBOT Bolt it. The guards move to bolt the door. JOHN What is it -- What's wrong? ABBOT Your patient is in a dangerous mental state. Nobody gets in or out until I say so. JOHN But I. Her meals -- ABBOT Nobody. JOHN Father, I don't understand -- The Abbot turns and disappears down the hall. John looks from the departing Abbot to the two Guard/Monks. THE LIBRARY - NIGHT John has his head buried in his hands. His back rises and falls with the rhythmic breathing of sleep. Mattias curled up on his feet. Asleep as well. WHAM! The Library door FLIES open --! John sits bolt upright -- A HYSTERICAL MONK bursts in. Rushes to John's table. HYSTERICAL MONK Brother John! You're here! The Abbot said you'd -- I need -- you're the medic -- JOHN What?! HYSTERICAL MONK My Sandy -- she's ill -- John tries to rub the fitfull sleep out of his eyes. JOHN Huh? A woman? HYSTERICAL MONK Sandy. My ewe. John returns his head to the table. JOHN One of your sheep? Jesus Christ. Call a vet. HYSTERICAL MONK Father Anselm was the vet. John looks under his arms at Mattias -- The dog just stares at him. JOHN You're no help. Okay, let me get my bag. All creatures great and small... INT. HYSTERICAL MONK'S BARN - NIGHT A small structure housing a handful of sheep and a few chickens in wire cages. The wooden walss are full of gaps where boards have been ripped off. The Hysterical Monk holds a torch to illuminate the scene. One of his sheep is laying on its side... HYSTERICAL MONK I just gave her dinner and she keeled over. JOHN So would I. It's freezing in here. HYSTERICAL MONK Been using the wood from the walls for the fire in my cabin. JOHN Haven't we all... John kneels at the ewe. She's breathing heavy. Rapidly. John puts his left hand down on the hay covered floor while he checks the animal's neck pulse with his right hand. She gives a weak "Baa-ah." JOHN May be pneumonia. Pitch some of that hay around her. Stop this damn cold breeze. The Hysterical Monk props the torch up in an empty bucket and retreives a crude iron pitchfork from the wall. Starts to pile hay around the fallen animal. JOHN First, I'll -- He sits up to reach for his back, then stops when he sees what's on his left hand -- A SLIMY MUCOUS-LIKE SUBSTANCE JOHN Wait a minute... The Hysterical Monk stops on mid-pitch. John rubs the material between his fingers. Brings it close to his nose. Sniffs. HYSTERICAL MONK What is it? JOHN I don't know. It's all over the ground. Some sort of -- BAAA-AAAH!!! The ewe starts to SHAKE - QUIVER -- John tries to hold it down -- The Hysterical Monk, at this juncture, goes completely apeshit. HYSTERICAL MONK What?! WHAT?! JOHN Jesus! Help m -- The ewe is shaking so violently that John is thrown back -- He knocks over the bucket -- the torch falls into the hay -- The light is cut off as the torch almost smothers. Then the hay starts to burn -- Weak fire light revealing: BAAaa-Aha-SCLORTCH-H-!! THE EWE EXPLODES ---! Stomach BURSTS -- SPRAYING the two Monks with entrails and blood -- They start SCREAMING. The flickering FIRE LIGHT grows as... A TERRIBLE ALIEN CHEST-BURSTER BURSTS out of the jerking and twitching carcass. It shows the characteristics of the animal in which it has gestated. Tiny razor sharp teeth and black, glass-like eyes peer from a enlongated head covered with downy, but gore-matted WOOL. A quadroped, its shrunked hind legs struggling to free itself from the cooling morass of intestines. John can only SCREAM as the most horrible nightmare he can imagine tr
53	Avengers: Endgame	Christopher Markus,Stephen McFeely	Action,Adventure,Drama	Apr-19	AVENGERS: ENDGAME Christopher Markus & Stephen McFeely Adapted Screenplay EXT. BARTON HOME - DAY CLOSE ON: A HOUSE-ARREST ANKLE BRACELET. CLINT BARTON (O.S.) Okay, you see where you're going? Let's work on how to get there. Pan up to find...CLINT BARTON, with his daughter, LILA, coaching her as she notches an arrow in her bow. CLINT BARTON (CONT'D) Okay, good...tip down...bow arm out...three fingers- LILA BARTON Why three? CLINT BARTON `Cause two's not enough and four's too much- LAURA BARTON (O.S.) You guys want mustard or mayo, or both? CLINT TURNS. IN THE FIELD BEHIND THEM, his wife, LAURA BARTON sets up a picnic as COOPER and NATHANIEL play soccer. LILA BARTON Who puts mayo on a hot dog? CLINT BARTON We'll both have mustard, hon! (to Lila) Okay. Draw back, deep breath... She lets loose. THUD! HER ARROW HITS NEAR THE BULLS-EYE. CLINT BARTON (CONT'D) Good job, Hawkeye. Go get your arrow. LAURA BARTON (O.S.) Enough murder practice! Soup's on! CLINT BARTON One sec, babe. Be right there! We're gonna kill some hot dogs. We're hungry. But when he turns back...LILA IS GONE. The bow and arrow lie at his feet. He stares. 2 CLINT BARTON (CONT'D) Lila? Babe, did you see Lila- He turns to his wife, BUT SHE'S GONE. So are the boys. The soccer ball rolls to a stop near the picnic blanket. NO ONE CAN BE SEEN FOR A HUNDRED YARDS IN ALL DIRECTIONS. CLINT BARTON (CONT'D) Guys? Guys, come on... Clint walks toward the field, dread growing. CLINT BARTON (CONT'D) Laura? Clint breaks into a panicked run. CLINT BARTON (CONT'D) LAURA! CLINT MELTS DOWN, SPINNING AROUND, FRANTIC... MARVEL FLIP EXT. SPACE - NIGHT BLACKNESS. TITLE: "TWENTY-TWO DAYS LATER." Soon, THE BENATAR tumbles past, adrift... INT. BENATAR, GALLEY - NIGHT TONY STARK and NEBULA play table-top football. She wins. TONY (offering his hand) Good sport. Have fun? Nebula studies his hand, confused. Finally she shakes. NEBULA It was fun. INT. BENATAR, FLIGHT DECK - NIGHT Tony, thin and haggard, kneels in front of HIS BROKEN IRON MAN HELMET. He hits a switch. A light blinks. 3 TONY'S RECORDING: he stares directly into the "camera." TONY This thing on? Hey, Ms. Potts. Pep. If you find this recording, don't post it on social media. It's going to be a real tearjerker. EXT. SPACE - NIGHT THE BENATAR sparks, adrift. TONY (O.S.) I don't know if you're ever going to see these. I don't even know if you're still...God, I hope so. Today's day twenty-one, no...twenty- two. INT. BENATAR, GALLEY - FLASHBACK NEBULA lasers shut Tony's infected wound. TONY (O.S.) You know, if it wasn't for the existential terror of staring into the literal void of space, I'd say I'm feeling a little better today. Infection's run its course, thanks to the Blue Meanie back there. You'd like her. She's very practical. And only a tiny bit sadistic. INT. BENATAR, GALLEY - FLASHBACK TONY AND NEBULA MEND THE EMPTY FUEL CELLS UNDER THE FLOOR. TONY (O.S.) The fuel cells were cracked during battle, but we figured out a way to reverse the ion charge. Bought ourselves about 48 hours of flight time. Problem is that was about...49 hours ago. EXT. SPACE - NIGHT FROM HIGH OVERHEAD, WE WATCH THE BENATAR DRIFT IN SPACE. 4 TONY (O.S.) Which means, we're dead in the water. A thousand light years from the nearest 7-11. INT. BENATAR, GALLEY - FLASHBACK Tony hands Nebula the last of A PURPLE POWDER. She pushes it back to him. TONY (O.S.) Most of the quote-unquote `food' and potable water ran out two weeks ago. INT. BENATAR, FLIGHT DECK - NIGHT Tony stands on the flight deck, one hand resting on the glass, staring into the unknown. TONY Pep, I know I said no more surprises. But, I gotta say, I was really hoping to pull off one last one. But it looks like...well, you know what it looks like. INT. BENATAR, FLIGHT DECK - NIGHT Back to now. Tony records his thoughts into his helmet. TONY Don't feel bad about this. I mean, actually, if you grovel for a couple weeks, and then move on with enormous guilt...I should probably lie down for a minute, rest my eyes. Please know, when I drift off, it will be like every day lately. I'm fine, totally fine. I'm going to dream about you. It's always you. Tony switches the helmet off. TIME CUT: NEBULA finds TONY SPRAWLED ON THE FLOOR. TIME CUT: 5 Nebula helps Tony into Quill's chair. Tony slumps, completely still. Nebula gives him his privacy. Move in on Tony's face as...A LIGHT SLOWLY GROWS BRIGHTER. Soon, the entire flight deck glows as bright as a sun. Nebula appears from the galley, shading her eyes. Tony's eyelids flutter. Finally, he opens them to see... CAPTAIN MARVEL (CAROL DANVERS) hovering in space. INT. AVENGERS COMPOUND, BATHROOM - NIGHT STEVE ROGERS shaves. He studies himself in the mirror, exhausted. He's about to tap his razor in the sink's standing water, when... THE WATER RIPPLES. Steve stares a beat, puzzled. Then the lamp catches his eye...SWAYING GENTLY. Just then, a sound roars overhead. Steve turns... EXT. AVENGERS COMPOUND - NIGHT THE MOON HANGS HUGE OVER THE EARTH. Then the silhouette of THE BENATAR races past, propelled by CAROL DANVERS. Below...STEVE ROGERS, BRUCE BANNER, AND NATASHA ROMANOV watch a flying woman guide the ship to the ground. Behind them, PEPPER POTTS walks up to the group. TIME CUT: Steve races up as NEBULA helps Tony down the ramp. TONY I couldn't stop him. STEVE Neither could we. TONY I lost the kid. STEVE (unable to say it all) We...lost... TONY Is Pepper...? 6 JUST THEN, PEPPER POTTS THROWS HERSELF INTO TONY'S ARMS. PEPPER POTTS Stay here, you stay right here- TONY I'm not going anywhere. NEARBY, NEBULA watches the sad humans. ROCKET SITS BESIDE HER, GRATEFUL. She rests a hand on his furry head. INT. AVENGERS COMPOUND, WORKSHOP - DAY RHODEY, TONY, STEVE, NATASHA, AND CAROL watch... A HOLO-DISPLAY ROTATING THROUGH FACES OF PEOPLE WE'VE LOST: WANDA. VISION. BUCKY. T'CHALLA. MARIA HILL. RHODEY It's been twenty-three days since Thanos came to Earth. TONY, weak, sits in a hi-tech wheelchair, IV dripping into his arm. He stares, taking in the loss: SAM WILSON. SECRETARY ROSS. SHARON CARTER. SCOTT LANG. HOPE VAN DYNE. HANK PYM. NICK FURY. At Fury, Carol bites back emotion. NATASHA World governments are in pieces, as you can imagine. But the parts that still work are trying to take a census. It looks like he did what he said he was going to do. JANE FOSTER. ERIK SELVIG. WONG. DR. STRANGE. THE BARTON FAMILY. QUILL. DRAX. MANTIS. GROOT. PETER PARKER. Finally, Tony looks away. RHODEY turns it off. NATASHA (CONT'D) Thanos wiped out fifty percent of all the living creatures on Earth. CAROL DANVERS Not just Earth. RHODEY You sure about that? 7 CAROL DANVERS You never have to ask me that. TONY Where is he now? STEVE We don't know. He just opened a portal and walked through. Tony looks out to see...THOR on the patio. TONY What's his deal? ROCKET (O.S.) He's pissed. Tony turns to see Rocket for the first time. ROCKET (CONT'D) He thinks he failed. Which, of course, he did. But there's a lot of that going around, ain't there? TONY Until this second, I literally thought you were a Build-a-Bear. STEVE We've been hunting Thanos for three weeks - deep space scans, satellites - we got nothing. Tony, you fought him- TONY Who told you that? I didn't fight him, he wiped my face with a planet while a Bleecker Street magician gave away the store. There was no fight because he's not beatable. STEVE Did he give you anything to go on? Clues, coordinates- Tony stares, lost, barely acknowledging Steve. TONY I saw this coming, few years back. Didn't wanna believe. I thought I was dreaming... 8 STEVE Tony, I need you to focus- TONY And I needed you, as in past tense. That trumps what you need. It's too late, buddy. You know what I need? Tony turns to everyone, slightly unstable. TONY (CONT'D) I need a shave and a burger, not a bowl of soup. (stands) And I believe I remember telling all of you, alive and otherwise, that we needed a suit of armor around the world, whether it impacted our precious freedoms or not- STEVE But that didn't work out, did it? TONY I said we'd lose, you said we'd "do that together, too." Guess what, Cap, we lost, and you weren't there. But that's what we do, right? Our best work after the fact? We're the "Avengers", not the "Pre-vengers-" RHODEY Tony, take it easy... TONY I've got nothing for ya, Cap. No coordinates, no clues, no strategies, no options. Zero, zip, nada. No trust. (rips out RT) Here. You take this. You find him, you put this on, and hide. (drops to his knees) I'm fine! Tony COLLAPSES. Rhodey catches him. 9 INT. AVENGERS COMPOUND, CORRIDOR - DAY CAROL, STEVE, AND NATASHA stare through GLASS DOORS at TONY IN A HOSPITAL BED, PEPPER AND BANNER AT HIS SIDE. RHODEY STEPS OUT OF THE HOSPITAL ROOM. RHODEY Bruce gave him a sedative. Should be out the rest of the day. CAROL DANVERS (heading for the lab) Take care of him. When I come back, I'll bring a bottle of Xorrian elixir. STEVE Where are you going? CAROL DANVERS To kill Thanos. INT. AVENGERS COMPOUND, WORKSHOP - DAY NATASHA catches up to CAROL IN THE WORKSHOP. NATASHA Hey, hey, hang on. We're sort of a team here. Between you and me, morale's a little fragile. CAROL DANVERS Oh, I'm sorry. My fault. Carol sees Steve and Rhodey catch up. She claps her hands. CAROL DANVERS (CONT'D) All right, team! I'm going to go kill Thanos. Message me if you get any intel that can help. Otherwise, I'll report back when he's dead. Great work, everybody. STEVE Look, we realize "up there's" more your territory, but this is our fight, too. RHODEY Do you even know where he is? 10 CAROL DANVERS I know people who might- NEBULA (O.S.) Don't bother. They all turn to see NEBULA in THE LIVING AREA DOORWAY. NEBULA (CONT'D) I can tell you where Thanos is. INT. AVENGERS COMPOUND, LIVING AREA - DAY STEVE, NATASHA, RHODEY, BANNER, ROCKET, THOR, and CAROL gather. NEBULA studies her robotic hand. NEBULA Thanos spent a long time trying to...perfect me. When he worked, he talked. About his Great Plan. Even disassembled, I wanted to please him. I'd ask, where would we go once his plan was complete? His answer was always the same: "To the Garden." RHODEY You're saying Thanos had a retirement plan. STEVE Where's this garden? ROCKET brings up EARTH on A HOLO-MAP. A BRIGHT SURGE OF ENERGY ENVELOPS THE PLANET (EMANATING FROM WAKANDA). ROCKET When Thanos snapped his fingers, Earth become ground zero for a power surge of ridiculously cosmic proportions. No one's seen anything like it. He shifts the map, crossing billions of light years, to...AN IDENTICAL SURGE ENVELOPING A MYSTERIOUS, ORANGE PLANET. ROCKET (CONT'D) Until two days ago. NATASHA You're saying he snapped his fingers again. Where? 11 Rocket zooms the holo-image toward a cluster of stars... NEBULA Planet is unnamed, but inhabitable. Rich atmosphere, good soil- STEVE A garden. BRUCE BANNER Thanos is there. And he just used the stones. Steve eyes everyone. THOR FINALLY LOOKS UP. BRUCE BANNER (CONT'D) (thinking of himself) You know, we'd be going short- handed. RHODEY Because he killed all our friends. ROCKET Are we saying they're dead? We're using that word now? RHODEY He's still got the stones. CAROL DANVERS So, we take them. And we use them to bring everybody back. BRUCE BANNER Just like that? STEVE Yeah. Just like that. No one speaks. Finally... NATASHA If there's even the smallest chance we can undo this, then we owe it to everyone who's not sitting here to try. Everyone looks around the room...AGREED. BRUCE BANNER uh, Scott Lang? We met a few year If we do this...why would it end any differently than it did before? 12 CAROL DANVERS Because before you didn't have me. RHODEY Hey, new girl. All of us in here are about that superhero life. Where've you been all this time? CAROL DANVERS There's a lot of people in the universe. And they didn't all have you. THOR STANDS. He crosses to Carol and holds out his hand. STORMBREAKER WHIPS PAST HER HEAD, RUFFLING HER HAIR. Carol doesn't flinch. Thor smiles. THOR I like this one. Steve stares at the planet a long, deciding moment. Then... STEVE Let's go get that son of a bitch. SLAM TO: TITLE: "AVENGERS: ENDGAME" INT. BENATAR, FLIGHT DECK - DAWN EVERYONE settles into their seats on the Benatar's flight deck. STEVE WATCHES EARTH GROW SMALLER THROUGH THE WINDOW. CAROL DANVERS Trust me. You get used to it. ROCKET looks around from the pilot's chair. ROCKET Okay, who here hasn't been to space? STEVE, NATASHA, and RHODEY half-raise their hands. ROCKET (CONT'D) Oh, you're gonna hate this. NEBULA Approaching jump in three, two... STEVE'S FINGERS TIGHTEN on the arm rest as... 13 EXT. BENATAR - DAWN WHOOSH! THE BENATAR WARPS, LEAPING INTO JUMP SPACE. EXT. SPACE - DAY WHOOSH! THE BENATAR ARRIVES ABOVE AN OMINOUS, ORANGE PLANET. As the ship maintains orbit, CAROL flies toward the planet. CAROL DANVERS I'll head down for recon. If I'm not back in fifteen, you'll know I found him. INT. BENATAR, FLIGHT DECK - SPACE OUR HEROES wait on the flight deck, tense. NATASHA looks at STEVE, who's staring at...A COMPASS: PEGGY CARTER'S YELLOWED PHOTO STILL RESTS INSIDE. NATASHA This is going to work, Steve. STEVE I know it will. (beat) Because I don't know what I'm going to do if it doesn't. JUST THEN, CAROL FLIES UP TO THE OTHER SIDE OF THE GLASS. CAROL DANVERS (OVER COM) No satellites, no ships, no armies. No ground defenses of any kind. It's just him. NEBULA That's enough. The Avengers exchange a look. EXT. TITAN-2 - DAY SMOKE CURLS FROM THE CHIMNEY OF A SOLITARY LODGE. INT. THANOS' LODGE - DAY A POT BOILS OVER A FIRE. Then...THANOS LIMPS TOWARD IT, LEFT SIDE PARALYZED, arm blackened. A shell of his former self. 14 He stirs the pot. Suddenly, AN ARMORED HAND BURSTS FROM THE FIRE, GRABBING THANOS' GAUNTLET... PREVENTING THANOS FROM CLOSING HIS FIST. Thanos jerks back as HULKBUSTER SPRINGS INSIDE. CAROL AND RHODEY BASH THROUGH THE ROOF, PINNING THANOS' ARMS. THOR crashes through the door, followed by the others. HE SWINGS STORMBREAKER...CUTTING OFF THANOS' HAND. The Gauntlet lands at Rocket's feet. He picks it up...and his face goes slack. He turns the glove toward the others. And we now realize...THE INFINITY STONES ARE GONE. STEVE Where are they? Thanos doesn't answer. CAROL PRESSES HIM TO HIS KNEES. CAROL DANVERS Answer the question! THANOS The universe required correction. After that, the stones served no purpose beyond temptation. BRUCE BANNER You murdered trillions. THANOS You should be grateful. NATASHA Where are the stones? THANOS Gone. Reduced to atoms. BRUCE BANNER You used them two days ago! THANOS I used the stones to destroy the stones. It nearly killed me. But the work is done. It always will be. That lands, sickening. ROCKET SEARCHES, FRANTIC, NEAR TEARS. ROCKET No...they can't be gone... 15 RHODEY He's lying. NEBULA My father is many things. A liar is not one of them. THANOS Thank you, daughter. Perhaps I've treated you- SWOOSH. THOR'S AXE SEVERS THANOS' HEAD FROM HIS BODY. IT HITS THE FLOOR, FOLLOWED BY THE THUD OF HIS HUGE FRAME. ROCKET What did you do? Thor just stares, his long journey a failure. THOR I went for the head. As Thor walks away, Steve looks at Thanos' head on the ground. IT'S OVER. THEY LOST. FADE TO BLACK. OVER BLACK: "FIVE YEARS LATER." EXT. PORT OF NEW YORK - DAY A CAR CRUSHER flattens an Audi. THOUSANDS MORE NEVER-DRIVEN CARS LIE STACKED ON THE DOCKS, WAITING THEIR TURN. EXT. NEW YORK - DAY A HUGE TARP flaps over the shuttered LINCOLN CENTER. EXT. SHEA STADIUM - DAY A TEENAGE GIRL rides her skateboard, alone in a weed-filled parking lot. Pull back to see THE EMPTY STADIUM BEHIND HER. INT. BROOKLYN COMMUNITY CENTER - NIGHT A POSTER SHOWS A SINGLE FIGURE STARING AT A GROUP OF SHADOWS. IT READS, "WHERE DO WE GO, NOW THAT THEY'RE GONE?" The bottom reads, "BROOKLYN SUPPORT GROUP, TUESDAYS 8PM." 16 A GRIEVING MAN speaks in A RECOVERY GROUP. GRIEVING MAN So, I went on a date the other day. JIMMY Good job, Bobby. Back in the game. GRIEVING MAN Thank you, Jimmy. (to the group) First in five years. I sat there at dinner thinking, what are we even supposed to talk about? STEVE ROGERS, thinner, older, LISTENS INTENTLY. STEVE What did you talk about? GRIEVING MAN Same old crap. How much things have changed. How much we miss the Mets. My job, his job. Then it got kind of quiet. He cried during the salads. OLDER MAN What about you? GRIEVING MAN I cried just before dessert. But I'm seeing him again tomorrow. So... STEVE That's great. You've already done the hardest part. You took a jump, didn't know where you'd come down. And that's it, those little brave baby steps we've gotta take. To try to make us feel whole again, to find a purpose... (to everyone) I went into the ice right after I met the love of my life. Woke up seventy years later and...had to keep going. The group takes this in. 17 STEVE (CONT'D) The world's been left in our hands. If we don't do something with it...then Thanos might as well have killed all of us. People nod, but Steve seems unconvinced by his own words. EXT. SAN FRANCISCO - DAY THE CAMERA ROTATES down from the sky onto a strangely quiet San Francisco, until it finds...A STORAGE WAREHOUSE. INT. STORAGE WAREHOUSE, UNIT 277 - DAY LUIS' VAN sits in a storage unit, surrounded by boxes: "S. LANG, KITCHEN, S. LANG, CLOTHES." THROUGH THE VAN WINDOWS, we see...HANK PYM'S QUANTUM TUNNEL. A MEANDERING RAT CRAWLS ONTO THE CONTROLS. IT ACCIDENTALLY STEPS ON A TOGGLE SWITCH and...A LIGHT GOES GREEN. FLASH. THE BACK DOORS OF THE VAN BLOW OPEN, revealing...SCOTT LANG, ANT-MAN suit shorting. He retracts his helmet, gasping. INT. STORAGE WAREHOUSE, SECURITY OFFICE - DAY A GUARD reads THE TERMINAL BEACH, by J.G. Ballard. He looks up at a monitor: SCOTT LANG holds up a sign, "HELP." EXT. STORAGE WAREHOUSE - DAY A dented WAGON rolls over a speed-bump. Scott, in his old clothes, slowly wheels his belongings away. The Guard watches him go, puzzled. EXT. SAN FRANCISCO, STREET - DAY Scott walks A STREET OF ABANDONED HOMES. SCOTT LANG Hello? He hears A CLACKING. A KID on a bicycle rides by, playing card wedged between his spokes. Scott waves him down. The kid stops. 18 SCOTT LANG (CONT'D) Hey. Kid. What happened here? The kid says nothing. He just stares at Scott with a haunted look. Then he stands on his pedal and keeps riding. CLACK-CLACK-CLACK-CLACK-CLACK-CLACK-CLACK... EXT. SAN FRANCISCO, GOLDEN GATE PARK - DAY STONE MONUMENTS loom in a park. A small crowd mills. Reveal Scott looking over the monuments, lost. TIME CUT: Scott walks up to the obelisks. At the top, they read: "THE VANISHED." Hundreds of names line the stones. He scans the "L's," finally finding, "SCOTT LANG." SCOTT LANG What? (realizing) Cassie... EXT. MAGGIE LANG'S HOUSE - DAY A winded Scott races up the sidewalk toward his old house. He leaps a bush, banging on the front door. SCOTT LANG Cassie! Cassie! SOON, A TEEN GIRL opens the door, shocked. A very long beat. CASSIE LANG Dad? SCOTT LANG Peanut? Scott wraps his arms around CASSIE LANG (14), now five years older than when he last saw her. She hugs him, CRYING. CASSIE LANG I thought you were gone. SCOTT LANG I'm sorry. I'm back...I'm back...I'm back... 19 EXT. AVENGERS COMPOUND, FRONT GATE - DAWN Avengers Compound stands amidst overgrown grass. Rusty chains lock the gate. Faded signs warn: "RESTRICTED AREA. KEEP OUT." INT. AVENGERS COMPOUND, LIVING AREA - NIGHT NATASHA SITS SURROUNDED BY HOLO-SCREENS FEATURING CAROL DANVERS, RHODEY, ROCKET AND NEBULA, AND OKOYE. ROCKET (HOLO) We boarded that "highly suspect warship" Danvers pinged. NATASHA And? NEBULA (HOLO) It was an infectious garbage scow. ROCKET (HOLO) So thanks for the hot tip- CAROL DANVERS (HOLO) You were closer. ROCKET (HOLO) And now we smell like garbage- NATASHA (to Okoye) You get a reading on those tremors? OKOYE (HOLO) Minor subduction in the African plate. NATASHA Do we have a visual? How are you handling it? OKOYE (HOLO) Nat. It was a mild earthquake. In the ocean. We handle it by not handling it. Natasha looks burdened. Rhodey steps in. 20 RHODEY (HOLO) I can have NASA redirect a satellite, do a sweep just to make sure. NATASHA Thanks. Carol, you're still coming our way next month? CAROL DANVERS (HOLO) Not likely. ROCKET (HOLO) Getting another haircut? CAROL DANVERS (HOLO) Listen, fur-face, I'm covering a lot of territory out here. The things that have been happening on Earth have been happening everywhere else. On thousands of planets. You might not see me for a long time. NATASHA All right. Everybody keep keeping their eyes open. This channel's always active. Anything goes sideways, anyone makes trouble where they shouldn't, it comes through me. They ad lib their goodbyes as they sign off, except Rhodey. NATASHA (CONT'D) What's up? Where are you? RHODEY (HOLO) Mexico. Got some news. NATASHA Okay... RHODEY Federal�s found a room full of bodies outside Juarez. Cartel guys. Guns still in their pants. NATASHA Could be a rival hit- RHODEY But it wasn't. Same MO as Marseille. And Kiev. (MORE) 21 RHODEY (CONT'D) (beat) It's definitely Barton. She nods, grim, reluctantly accepting. RHODEY (CONT'D) What he's done here...what he's been doing...I got to tell you, part of me doesn't want to find him. Natasha just stares a long beat. NATASHA Find out where's he going next. Rhodey nods, signing off. Natasha sits there, THEN CRUMPLES. After a long beat... STEVE (O.S.) I'd offer to cook you dinner but you seem sad enough already. Natasha turns to see STEVE in the doorway. NATASHA Come by to do your laundry? STEVE And see a friend. NATASHA Your friend's fine. STEVE She leave the house today? NATASHA Nothing out there I particularly want to see. STEVE I spotted a pod of whales coming over the bridge. NATASHA (dubious) In the Hudson. STEVE Fewer ships, cleaner water. Just saying, there's still a world out there. 22 NATASHA If you're about to tell me to look on the bright side, I'm about to hit you with a peanut butter sandwich. Steve relents, LETTING DOWN HIS FACADE. STEVE Sorry. Force of habit. NATASHA I don't know how you do it. Steve bites into the uneaten half of her sandwich. STEVE I guess I don't know how not to. NATASHA Me, neither. After a long moment, Steve looks up at her, honest. STEVE I keep telling them, move on. Grow past it. And some of them actually do. But not us. NATASHA If I move on, who does this? STEVE Maybe it doesn't need to be done. Natasha takes that in. Steve is thinking of giving up. She looks around at Avengers Compound. NATASHA I used to have nothing. Then I got this. This job, this family. And I was better because of it. She chokes slightly, collecting herself. NATASHA (CONT'D) And even though they're gone, I'm still trying to be...better. STEVE I think we both need to get a life. NATASHA You first. 23 They stare at each other a long, melancholy moment. THEN, WE HEAR A PING. NATASHA SWIPES TO A CCTV DISPLAY: SCOTT LANG'S FACE FILLS A SCREEN, LUIS' VAN BEHIND HIM. SCOTT LANG (ON SCREEN) Hello? Is anyone home? This is,
54	A Few Good Men Script	Aaron Sorkin	Crime,Drama,Mystery,Thriller	Dec-92	A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) JO Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who?
55	Basic Instinct	Joe Eszterhas	Crime,Mystery,Thriller	null	BASIC INSTINCT the water. CATHERINE I don't really feel like talking anymore. GUS Listen, lady, we can do this downtown if you -- CATHERINE Read me my rights and arrest me and I'll go downtown. She doesn't even look at them. CATHERINE (quietly) Otherwise, get the fuck out of here. Please. A long beat as they look at her. INT. A CORRIDOR - POLICE HEADQUARTERS The door says Dr. Elizabeth Gardner, Counseling. Nick opens the door, peeks in. The receptionist is not there. A clock says 3. INT. THE COUNSELING OFFICE He walks in -- sees the inner door open, walks in. NICK I'm sorry, Beth. I -- I got hung up in Stinson. DR. ELIZABETH GARDNER, the police psychologist, is a very good- looking, dark-haired woman. She is 30. BETH (smiles) How are you, Nick? NICK I'm fine. Come on, Beth! You know I'm fine! How the hell long do I have to keep doing this? BETH As long as Internal Affairs wants you to, I suppose. Sit down, Nick. NICK It's bullshit. You know it is. BETH (smiles) I know it is -- but sit down anyway so we can get it over with, okay? He sits down. BETH So -- how are things? NICK (after a beat) Things are fine. I told you. They're fine. She watches him closely. BETH (after a beat) How is your -- personal life? NICK My sex life is fine. (a beat) My sex life is pretty shitty actually since I stopped seeing you -- maybe I should think about my Electrolux again. That embarrassed her; she looks away from him. NICK (after a beat) Sorry. She shrugs. A beat. BETH How about the booze? NICK It's been three months. BETH (after a long beat) How about the coke? NICK No. BETH No? NICK (hard) No! I'm working my tail off. I'm off the sauce, I'm not even smoking anymore. She smiles. BETH How's not smoking? NICK It's fucked -- now will you please tell I.A. that I'm just you average healthy totally fucked-up cop and let me get out of here? BETH (after a beat; smiles) Yes. NICK Thank you. And he starts heading out. BETH (behind him) I still miss you, Nick. He doesn't even turn, pretends he didn't hear. INT. THE DETECTIVE BUREAU He walks in. Gus Moran gets up from his desk as soon as he sees him. GUS Talcott's in there. They're waiting. They start heading for Lt. Walker's office. GUS How'd it go, son? NICK She misses me. GUS (grins) Hallelujah. INT. LT. WALKER'S OFFICE He and Gus sit there with Lt. Walker, Harrigan, Andrews and Captain Talcott. HARRIGAN Sixteen stab wounds to the chest and neck. No usable prints, no forcible entry, nothing missing. No prints on the ice pick, either -- it's available at any Safeway. The scarf is Hermes, expensive -- they sell about 20,000 a year worldwide. ANDREWS The powder was cocaine, high- quality, high-content. He inhaled it; there were minute quantities on his lips and penis. Mr. Boz leaves five million dollars, no insurance, no direct survivors. He liked his coke, he liked his girls, and he liked rock and roll. NICK He liked the mayor, too, right? Talcott gives him a look. GUS What about his girlfriend? TALCOTT Is she relevant here? I didn't know she was a suspect. LT. WALKER She's a suspect. TALCOTT On what basis? LT. WALKER (looks a notes) Catherine Tramell. Age 30. No priors, no convictions. Double major, magnum cum laude, Berkeley, 1980. Literature and Psychology. Daughter, sole survivor -- Marvin and Elaine Tramell, killed in a boating accident, 1978, Catherine Tramell sole heir. Estimated assets $110 million. It hangs there. NICK Are you kidding me? LT. WALKER (continues) Formerly engaged to Roberto Vasquez, deceased -- ANDREWS Bobby Vasquez? LT. WALKER Bobby Vasquez, former middleweight contender, killed in the ring Atlantic City, 1984. NICK (smiles) I love it. She's got a hundred million bucks. She fucks fighters and rock and roll stars. And she's got a degree in screwing with peoples' heads. LT. WALKER You forgot her degree in literature. She's a writer. She published a novel last year under a pen name. Do you want to know what it's about? They just stare at him. LT. WALKER It's about a retired rock and roll star who is murdered by his girlfriend. It hangs there a long beat. INT. NICK'S APARTMENT - NIGHT His apartment is very bare -- very few things -- with wide open spaces. There is a lot of chrome. He sits on the couch, reading a book. It is a paperback. We see the title -- Love Hurts, by Catherine Adams. He puts the book down a beat, then picks the phone up, dials. NICK Page 67, pop. Do you know how she does the boyfriend? With an icepick, in bed, his hands tied with a white silk scarf. INT. A POLICE DEPARTMENT CONFERENCE ROOM - DAY Nick, Gus, Lt. Walker, Harrigan, Andrews, Captain Talcott -- and Beth Gardner. With them is an older, white-haired man, DR. ANDREW LAMOTT. There are copies of "Love Hurts" around the table. LT. WALKER Dr. Gardner? BETH I've asked Dr. Lamott to consult with us. This isn't really my turf. Dr. Lamott teaches the psycho- pathology of psychopathic behavior at Stanford and is also a member of the Justice Department's Psychological Profile team. Dr. Lamott? DR. LAMOTT There are two possibilities. One. The person who wrote this book is your murderer and acted out the killing described in ritualistic, literal detail. Two. Someone who wants to do the person who wrote this book harm read the book and enacted the killing described to incriminate the writer. NICK (after a long beat) What if the writer did it? What are we dealing with? DR. LAMOTT You're dealing with a devious, diabolical mind. This book must have been written at least six months, maybe years before it was published. That means the writer planned the crime, at least in the subconscious, back then. The fact that the writer carried it out indicates psychopathic obsessive behavior in terms not only of the killing itself but in terms of applied advance defense mechanism. A long beat. GUS Most times I can't tell shit from shinola, Doc. What was all that you just said? Some grins, titters. BETH She anticipates the book to be her best alibi. DR. LAMOTT Correct. BETH She's going to say Do you think I'd be dumb enough to kill anyone in the exact way I've described in my book? I wouldn't do that because I'd know I'd be a suspect. A long beat -- as they think about it. NICK What if it's not the writer? What if it's someone who read the book? DR. LAMOTT You're dealing then with someone so obsessed that he or she is willing to kill an irrelevant and innocent victim to place the blame on the person who wrote this book. We are talking about deep-seated, obsessional hatred; an utter lack of sense of proportion or perspective. GUS We've got a top-of-the-line, once- in-a-lifetime loony-tune either way you cut it -- that's what you're saying, right, Doc? DR. LAMOTT You're dealing with someone very dangerous and very ill. INT. THE PROSECUTOR'S OFFICE - DAY PROSECUTOR JOHN CORRIGAN, a big man in his 50's, with Captain Talcott, Lt. Walker, Nick, and Gus. Corrigan is reading a file. He gets up, yawns, goes to his window, looks out. CORRIGAN Come on, you know there's no case here. There's no physical evidence -- okay, she doesn't have an alibi but there's no motive. Her defense would just beat us to death with the copycat thing. Anybody who read the book could have done it. A long beat; no one says anything. NICK So what do we do -- nothing? LT. WALKER (after a beat) We bring her in for questioning. TALCOTT She's got enough money to burn this whole department down. LT. WALKER She was the last person seen with the guy -- I'll take the responsibility. TALCOTT It's yours. CORRIGAN It won't do any good. She'll come in with Lee Bailey and Mel Belli trailing behind her on a solid gold chain from Tiffanys. TALCOTT Yes she will. NICK (after a beat) No she won't. They look at him. NICK (smiles) I don't think she's going to hide behind anybody. I don't think she's going to hide at all. TALCOTT (after a beat) I think you're as crazy as she probably is, Curran. Nicks says nothing. by JOE ESZTERHAS INT. A BEDROOM - NIGHT It is dark; we don't see clearly. a man and woman make love on a brass bed. There are mirrors on the walls and ceiling. On a side table, atop a small mirror, lines of cocaine. A tape deck PLAYS the Stones "Sympathy for the Devil." Atop him... she straddles his chest... her breasts in his face. He cups her breasts. She leans down, kisses him... JOHNNY BOZ is in his late 40's, slim, good-looking. We don't see the woman's face. She has long blonde hair. The CAMERA STAYS BEHIND and to the side of them. She leans close over his face, her tongue in his mouth... she kisses him... she moves her hands up, holds both of his arms above his head. She moves higher atop him... she reaches to the side of the bed... a white silk scarf is in her hand... her hips above his face now, moving... slightly, oh-so slightly... his face strains towards her. The scarf in her hand... she ties his hands with it... gently... to the brass bed... his eyes are closed... tighter... lowering hips into his face... lower... over his chest... his navel. The SONG plays. He is inside her... his head arches back... his throat white. She arches her back... her hips grind... her breasts are high... Her back arches back... back... her head tilts back... she extends her arms... the right arm comes down suddenly... the steel flashes... his throat is white... He bucks, writhes, bucks, convulses... It flashes up... it flashes down... and up... and down... and up... and... EXT. A BROWNSTONE IN PACIFIC HEIGHTS - MORNING Winter in San Francisco cold, foggy. Cop cars everywhere. The lights play through the thick fog. Two Homicide detectives get out of the car, walk into the house. NICK CURRAN is 42. Trim, good-looking, a nice suit; a face urban, edged, shadowed. GUS MORAN is 64. Crew-cut, silver beard, a suit rumpled and shiny, a hat out of the 50'sa face worn and ruined the face of a backwoods philosopher. INT. THE BROWNSTONE There's money here -- deco, clean, hip -- That looks like a Picasso on the wall. They check it out. GUS Who was this fuckin' guy? NICK Rock and roll, Gus. Johnny Boz. GUS I never heard of him. NICK (grins) Before your time, pop. (a beat) Mid-sixties. Five or six hits. He's got a club down in the Fillmore now. GUS Not now he don't. Past the uniformed guys... nods... waves... past the forensic men... past the coroner's investigators... they get to the bedroom. INT. THE BEDROOM They walk in, stare -- it's messy. It's like a convention in here. LT. PHIL WALKER, in his 50's, silver-haired, the Homicide guys; JIM HARRIGAN, late 40's, puffy, affable; SAM ANDREWS, 30's, black. A CORONER'S MAN is working the bed. LT. WALKER (to Nick and Gus) You guys know Captain Talcott? They nod. GUS What's the Chief's office doin' here. CAPT. TALCOTT Observing. LT. WALKER (to the Coroner's Guy) What do you think, Doc? THE CORONER'S GUY The skin blanches when I press it -- this kind of color is about right for six or eight hours. LT. WALKER Nobody say anything. The maid came in an hour ago and found him. She's not a live-in. GUS Maybe the maid did it. LT. WALKER She's 54 years old and weighs 240 pounds. THE CORONER'S GUY (deadpan) There are no bruises on his body. GUS (grins) It ain't the maid. LT. WALKER He left the club with his girlfriend about midnight. That's the last time anybody saw him. NICK (looks at body) What was it? THE CORONER'S GUY Ice pick. Left on the coffee table in the living room. Thin steel handle. Forensics took it downtown. HARRIGAN There's come all over the sheets -- he got off before he got offed. GUS (deadpan) That rules the maid out for sure. CAPT. TALCOTT This is sensitive. Mr. Boz was a major contributor to the mayor's campaign. He was Chairman of the Board of the Palace of Fine Arts -- GUS (to Nick) I thought you said he was a rock and roll star. LT. WALKER He was a retired rock and roll star. CAPT. TALCOTT A civic-minded, very respectable rock and roll star. GUS What's that over there? We see the white powder laid out in lines on the small mirror on the side table. NICK (deadpan) It looks like some civic-minded, very respectable cocaine to me, Gus. CAPT. TALCOTT (evenly, to Nick) Listen to me, Curran. I'm going to get a lot of heat on this. I don't want any... mistakes. Nick and Talcott look at each other a beat, then -- NICK Who's the girlfriend? Lt. Walker looks at the notepad in his hand. LT. WALKER Catherine Tramell, 162 Divisadero. Nick writes it down. He and Gus turn, leave. Captain Talcott watches them. He looks disturbed. INT. THE LIVING ROOM As they head out -- NICK Talcott doesn't usually show up at the office 'till after his 18 holes. What are they nervous about? GUS They're executives. They're nervous about everything. LT. WALKER Nick! He stops, turns, sees Walker behind them. Walker comes up to them. LT. WALKER (to Nick) Keep your three o'clock. NICK Do you want me to work the case, Phil, or do you want me to -- LT. WALKER I said keep it. EXT. A VICTORIAN ON DIVISADERO - DAY It is more a mansion than a house. They ring the bell. An Hispanic MAID answers. They flash their badges. NICK I'm Detective Curran, this is Detective Moran. We're with the San Francisco Police Department. We'd like to speak to Ms. Catherine Tramell. THE MAID (after a beat, an accent) Just moment. Come in. She leads them into a lavish, beautifully done living room that offers a sweeping view of the Bay. THE MAID Sit, please. Just moment. They look around, impressed. There is a Picasso on the wall here, too. GUS Ain't that cute? They got his and her Pig-assos, son. NICK (smiles) I didn't know you knew who Picasso was, Gus. GUS (grins) I'm a smart sonofabitch. I just hide it. Nick smiles -- and at that moment a beautiful BLONDE walks into the room. She looks like she has been asleep. She is in her early 20's. She wears a very sheer robe. NICK We're sorry to disturb you, we'd like to ask you some -- THE WOMAN Are you vice? GUS (after a beat) Homicide. THE WOMAN What do you want? GUS When was the last time you saw John Boz? THE WOMAN Is he dead? NICK (after a beat) Why do you think he's dead? THE WOMAN You wouldn't be here otherwise, would you? GUS Were you with him last night? THE WOMAN You're looking for Catherine, not me. NICK Who are you? THE WOMAN I'm Roxy. (a beat) I'm her -- friend. She looks at them a beat. ROXY She's out at the beach house at Stinson. Seadrift. 1402. NICK Thanks. They start to head out. ROXY You're wasting your time. Catherine didn't kill him. A beat, they look at her, and go... EXT. SEADRIFT - STINSON BEACH - DAY Foggy. Cold. It is an expensive spit of land on the ocean. Multi-million dollar "beach houses" with gardens and swimming pools. There are two Ferraris in the driveway -- one black, one white. They get out of the car in front of the house. They see a woman in back of the house, sitting on a deck chair, staring at the sea, a blanket around her. As they get to her -- NICK Ms. Tramell? She takes a long look a Nick, then looks away. CATHERINE TRAMELL is 30 years old. She has long blonde hair and a refined, classically beautiful face. She is not knockout gorgeous like Roxy; there is a smoky kind of sensuousness about her. NICK I'm De... CATHERINE (evenly) I know who you are. She doesn't look at them. She looks at the water. CATHERINE How did he die? GUS He was murdered. CATHERINE Really. Maybe that's why you're from Homicide. How? Nick glances at Gus. NICK With an ice pick. She closes her eyes a beat and then, still staring out, we see a thin smile. They see it, too, and glance at each other. NICK How long were you dating him? CATHERINE I wasn't dating him. I was fucking him. They glance at each other again. GUS What are you -- a pro? Catherine looks at him -- that thin smile again. CATHERINE No. I'm an amateur. She looks away. NICK How long were you having sex with him? CATHERINE About a year and a half. NICK Were you with him last night? CATHERINE Yes. NICK Did you leave the club with him? CATHERINE Yes. NICK Did you go home with him? CATHERINE No. We had a drink at the club. We left together. I came here. He went home. NICK Was there anyone with you last night? CATHERINE (looks at Nick) No. I wasn't in the mood to have sex with anyone last night. They look at her a beat. NICK Let me ask you something, Ms. Tramell? Are you sorry he's dead? Catherine looks at him. CATHERINE Yes. I liked fucking him. They stare at her. She looks out at
56	Bourne Identity, The	Tony Gilroy,Robert Ludlum	Action,Thriller,Mystery,Drama,Adventure	Jun-02	"THE BOURNE IDENTITY" by Tony Gilroy Based on the novel by Robert Ludlum PARIS DRAFT 9/20/00 DARKNESS. THE SOUND OF WIND AND SPRAY. MUSIC. TITLES. EXT. OCEAN -- NIGHT The darkness is actually water. A SEARCHLIGHT arcs across heavy ocean swells. Half-a-dozen flashlights -- weaker beams -- racing along what we can see is the deck of an aging FISHING TRAWLER. FISHERMEN struggling with a gaff -- something in the water -- A HUMAN CORPSE. EXT. FISHING BOAT DECK -- NIGHT THE BODY sprawled there. The Sailors all talking at once -- three languages going -- brave chatter to mask the presence of death -- SAILOR #1 -- Jesus, look at him -- SAILOR #2 -- what? -- you never saw a dead man before? -- SAILOR #3 -- look, look he was shot -- (nudging the body --) SAILOR #1 -- don't, don't do that -- SAILOR #2 -- he's dead, you think he cares? -- SAILOR #1 -- so have some respect -- it's a -- (stopping as --) THE BODY MOVES! -- convulsing -- coughing up sea water -- the Sailors -- freaked -- jumping back -- standing there, as -- THE MAN begins to breathe. INT. FISHING BOAT BUNK ROOM -- NIGHT A wreck. Too small for all the people in here right now -- SAILORS sweeping off the table -- rough hands laying THE MAN down -- THE CAPTAIN -- brutal and impatient -- watching from the door as -- GIANCARLO tears through the clutter -- searching for a medical kit buried in the shambles. GIANCARLO is sixty. A bloodshot soul. GIANCARLO -- it's here -- hang on -- it's here somewhere -- give me a minute -- get some blankets -- get some blankets on him -- (finding the kit --) -- here we go -- here it is -- GIANCARLO with an old trunk -- just getting it open, as -- THE CAPTAIN Giancarlo. (Giancarlo turns back --) We pick him up? Okay, we have to pick him up. But that's as far as it goes. GIANCARLO He needs a doctor. CAPTAIN Fuck that. He lives? He dies? I don't care. We've wasted two hours on this shit already. You do what you can, but we're not going back. (pure steel now) You understand me? GIANCARLO Yes, sir. CAPTAIN (to the rest of them) Let's get back to work! GIANCARLO watching them run out. Snagging a quick pull on a pint of rum he's got stashed and -- INT. FISHING BOAT BUNK ROOM -- DAWN -- TIME CUTS Transformed into a makeshift operating room. A light swings overhead. THE MAN layed out across the table. Sounds -- groans -- words -- snatches of them -- all in different languages. GIANCARLO playing doctor in a greasy kitchen apron. Cutting away the clothes. Turning THE MAN on his side. Two bullet wounds in the back. Probing them, judging them. Now -- GIANCARLO with a flashlight in his teeth -- TINK -- TINK -- TINK -- bullet fragments falling into a washed-out olive jar. Now -- something catching GIANCARLO'S EYE -- A SCAR ON THE MAN'S HIP -- another fragment -- exacto knife cutting in -- tweezers extracting A SMALL PLASTIC TUBE, not a bullet at all, and as it comes free -- THE MAN'S HAND SLAMS down onto GIANCARLO'S and we SMASH CUT INTO A -- FIRST PERSON POV -- we are staring up at -- GIANCARLO You're awake. Can you hear me? (we're blinking --) You've been shot. I'm trying to help you. (we're trying to find our voice --) You were in the water. You've been shot. It's okay now. THE MAN Where am I? GIANCARLO (switching to English) You're American. I thought so. From your teeth -- the dental work -- THE MAN Where am I? GIANCARLO You're on a boat. A fishing boat. Italian flag. We're out of Vietri. (he smiles) It's the cold that saved you. The water. The wounds are clean. I'm not a doctor, but the wounds, it looks okay. It's clean. THE MAN How did I get here? GIANCARLO You we're lost at sea. They pulled you out. (we say nothing) Who are you? (still nothing) You were shot -- two bullets -- in the back. You understand me? (we try to nod) Who are you? Long dead pause. THE MAN I don't know. EXT. OCEAN -- DAY The Trawler plows through heavy seas. INT. FISHING BOAT BUNK ROOM -- DAY GIANCARLO is hunched over a desk -- tweezers and flashlight -- busy working at that strange plastic tube that came out of THE MAN's hip. THE MAN is bandaged. He's sitting up, and it must hurt like hell, but physical pain is not the thing troubling him right now. He's staring around the room -- at his body -- at the walls -- haunted -- THE MAN What if it doesn't come back? GIANCARLO (still working that tube) I told you. You need to rest. Silence. THE MAN can't rest. Too busy trying to make sense of all this. THE MAN I can read. I can read that sign on the door. I can count. I can talk... (focusing now --) What are you doing? GIANCARLO rummaging around -- finding a magnifying glass -- THE MAN What is that? INSERT -- MAGNIFIED POV -- a slip of plastic from the tube -- written there -- 000-7-17-12-0-14-26. GEMEINSCHAFT BANK, ZURICH. GIANCARLO It came from your hip. Under the skin. (turning back --) You have a bank in Zurich. (waiting) You remember Zurich? THE MAN No. GIANCARLO staring at him now. Different suddenly. Suspicious. GIANCARLO Look, I'm just on this boat, okay? I'm an engineer. Whatever this is, it's not for me to be involved, okay? THE MAN I don't remember Zurich. GIANCARLO pulls his pint. Takes a hit. GIANCARLO (offering the bottle --) You drink rum? THE MAN I don't know. EXT. FISHING BOAT DECK -- NIGHT THE MAN stands at the rail, staring out to sea. So lost. He turns to head inside -- there, a surfcasting rod propped against a locker. THE MAN picks up the rod -- flips the bail -- traps the line -- now he's casting far out into the darkness. And for the first time, he smiles. INT. FISHING BOAT GALLEY -- NIGHT A ratty old espresso machine. THE MAN standing there, staring at the thing like it's a test. Then his hands begin to move -- trying to pack a grind -- trying to fit it in -- turning on the steam and -- The whole thing explodes. EXT. FISHING BOAT DECK -- DAY THE MAN alone doing chin-ups on the deck rail. He's still bandaged and the wounds must hurt like hell, but he's pushing himself. Using the pain -- bathing in it -- maybe even hoping that it will hold some answer for him. INT. FISHING BOAT GALLEY -- NIGHT A chess board. Wooden pieces jumbled in a box. THE MAN hesitates -- takes a black knight from the box -- lingers for a moment -- and then places it on the board. He's off and running. He knows this. Placing pieces faster and faster -- still setting it up, as we -- INT. FISHING BOAT HEAD -- NIGHT One of the ugliest bathrooms on the planet. THE MAN standing before a pitted, tarnished, cataract of a mirror. Staring at himself. And then he speaks. THE MAN (in perfect French) I don't know who I am. Do you know who I am? Do have any idea who I am? And then he stops. Blinks. Wipes away the perspiration just beading on his forehead. THE MAN (in perfect Dutch) Tell me who I am. If you know who I am, please stop fucking around and tell me. No answer. Just that face. His face. Who am I? And what else is inside there? EXT. FISHING BOAT -- DAY SAILORS hauling in the nets. THE MAN -- still bandaged, but healing -- working beside them. Earning his keep. Getting healthy. EXT. ITALIAN COASTLINE -- DAWN A small, colorful fishing village. The trawler motoring in. INT. THE FISHING BOAT BUNK ROOM -- SAME TIME THE MAN buttoning up borrowed clothes. GIANCARLO pulling some cash from his pocket -- GIANCARLO (offering the money) It's not much, but it should get you to Switzerland. THE MAN I won't forget this. GIANCARLO gives him a look. Shakes his head, and -- INT. POKEY ITALIAN TRAIN STATION -- DAY The ticket window. THE MAN and a TICKET AGENT. TICKET AGENT Una sola via? THE MAN Si. One way. Una sola via. EXT. TGV -- DAY A HELICOPTER SHOT -- a bullet train speeds through snow- capped Alps. We move in on a window -- and staring out is... INT. TGV TRAIN -- DAY ...THE MAN. People all around him -- families -- businessmen -- normal people going about their lives. THE MAN turns back to the window, but he's not watching the scenery -- he's looking at his reflection. So lost. His face suddenly plunged into darkness as the train bombs into a tunnel... EXT. TRAIN -- NIGHT ...and out of the darkness into night and the HELICOPTER SHOT, as the train races toward ZURICH. INT. CIA HEADQUARTERS CONFERENCE ROOM -- DAY A VIDEO MONITOR -- FULL FRAME -- meet WOMBOSI. He's an African ex-dictator, think Idi Amin crossed with Mobutu. He's in some sort of throne room. And he's angry. Bodyguards and a translator hovering nervously around him. What this is, is NEWS FOOTAGE -- an interview conducted by a German TV station. WOMBOSI (he speaks english) ...no, no, no -- the time is not right, my enemies are too strong. I'm telling you to wait for this, you understand? I'm telling you this, and I'm making a warning to all those peoples out there that think that my powers have become so weak that they can play with me as they wish. You will see -- I will tell you when the evidence is clear. Then you will have a story. My old friends will hear about themselves. (stopping, freezing on that image, and --) MARSHALL, a CIA bigwig has the remote control. And the floor. MARSHALL That's Nykwana Wombosi speaking in Paris the day before yesterday. I'm sure most of you have a passing knowledge of Mr. Wombosi. Some of you on the African desks have worked with him over the years. Some of you very closely... TWELVE CIA MANDARINS sitting around the table like kids in detention. We will tour the faces as MARSHALL continues, but the guy we're interested in is named WARD ABBOTT. Picture a sawier, slicker John Poindexter. MARSHALL ...He was an irritation before he took power. He was a problem when he was in power. And he's been a disaster for us in exile. (the tape --) Wombosi likes to send us messages through the European media. This is an interview we pulled down from a local German television station in Dresden. We've been getting these little broadsides every couple of months. He knows this -- he knows that -- he's writing a book about the Agency's history in Africa -- he's going to name names. It's basically a shakedown... ABBOTT'S FACE says this is news to him. HIS HANDS suggest otherwise. MARSHALL This interview -- and I'll make the tape available for anyone who wants it -- he goes on to claim that he has just survived an assassination attempt. He says it's us. He says he's got proof. (beat) The overwhelming negative ramifications of this should be obvious. (hard and dry) The Director wants to know if there is any possible shred of truth in this accusation. Long pause. No hands go up. INT. ZURICH TRAIN STATION -- NIGHT THE MAN wandering through the terminal. Passing A PIZZA PLACE closing up for the night. THE MAN checks his funds. Just enough for one cold slice. EXT. ZURICH STREETS -- NIGHT THE MAN walking aimlessly. EXT. ZURICH PARK -- NIGHT THE MAN trying to get comfortable on a bench. It's chilly but this will have to do until morning. Just settling in, when -- ZURICH COP #1 (O.S.) (authority German) Can't you read the signs? THE MAN turns. TWO ZURICH COPS coming toward him. ZURICH COP #2 On your feet. Let's go. Right now. THE MAN makes his feet. They're on top of him now. ZURICH COP #1 The park is closed. There's no sleeping in the park. ZURICH COP #2 Let's see some identification. THE MAN not sure what to do. Eyes moving. Mouth shut. ZURICH COP #1 Come on. Your papers. Let's go. THE MAN I've lost them. I've... (German now) My papers. They are lost. ZURICH COP #1 (not sympathetic) Okay. Let's go. Put your hands up. ZURICH COP #2 (pulling his nightstick) -- come on -- hands up -- up -- THE MAN raising his hand slowly -- ZURICH COP #1 reaching up to pat him down -- THE MAN -- look, I'm just trying to sleep okay? -- (German again) -- I just need to sleep -- ZURICH COP #2 has heard enough -- giving a sharp poke with the nightstick -- into THE MAN's back -- and that's the last thing he'll remember because -- THE MAN is in motion. A single turn -- spinning -- catching COP #2 completely off guard -- the heel of his hand driving up into the guy's throat and -- COP #1 -- behind him -- trying to reach for his pistol, but THE MAN -- still turning -- all his weight moving in a single fluid attack -- a sweeping kick and -- COP #1 -- he's falling -- catching the bench -- trying to fight back but -- THE MAN -- like a machine -- just unbelievably fast -- three jackhammer punches -- down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and -- COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because -- THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him -- ZURICH COP #2 (gasping, pleading) -- no -- please God no -- please don't -- please no -- my Go -- stopping as -- THE MAN slams the gun against his temple and -- This fight is over. THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before... This is something he definitely knows how to do. And then he stops cold. Throwing down the gun. Running off into the darkness -- INT. TREADSTONE -- DAY A deep, inner office. An ops office. Operations. Unlabeled and anonymous. A backwater project center hidden deep within the Langley facility. Utilitarian. Several rooms linked like a suite. Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege. ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back -- TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot in the corner. CONKLIN (looking up) What? ZORN Abbott wants to talk. CONKLIN Tell him we're busy. ZORN I tried. INT. CIA COMMISSARY -- NIGHT ABBOTT with coffee. CONKLIN not lingering. ABBOTT Storm clouds are gathering, Ted. It looks like rain and I don't have a thing to wear. CONKLIN I don't know what we're talking about. ABBOTT We're talking about Marseille. We're talking about Nykwana Wombosi. And I'm asking you if this abortion in Marseille has anything to do with Treadstone. (silence) Was this Treadstone? CONKLIN You're asking me a direct question? ABBOTT Yes. CONKLIN I thought you were never going to do that. Silence. Pressure drop. ABBOTT They're putting together an agency oversight committee. They're going to look through everyone's budgets. Treadstone is a rather sizable line item in my ledger. (beat) What am I going to do about that? CONKLIN You'd want to make that go away. You'd want to remind them that Treadstone is a training organization. That it's all theoretical. You'd want to sign off on that. ABBOTT And what if I couldn't do that? CONKLIN Then I'd have to explain Treadstone. And you'd have to explain how you let me get this far. (silence) Doesn't sound like much of a Plan-B, does it? (Abbott staring) We'll clean up the field. You clean up your budgets. EXT. ZURICH -- DAY Morning in the financial district. Upscale. Uptight. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- INT. BANK RECEPTION AREA -- DAY Ornate, formidable and tech at the same time. RECEPTIONIST Can I help you? THE MAN standing before her. Looking very out of place. THE MAN I'm here about a numbered account. THE RECEPTIONIST nods. Pulls a pen and bank card. RECEPTIONIST (instant English) If you'll just enter your account number here I'll direct you to the appropriate officer. THE MAN takes the pen, as we -- INT. BANK SECURITY CHECKPOINT -- DAY A BIO-METRIC SCANNER. A piece of ultra-tech amidst the Baroque. TWO SERIOUS BANK GUARDS manning the equipment. THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? BANK GUARD #1 They've been waiting your hand, sir... THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- INT. BANK HALLWAY -- DAY THE MAN being led by A THIRD GUARD to a special elevator. INT. DEEPER INSIDE THE BANK -- DAY Elevator doors open. THE MAN steps out. MR. APFEL -- anal Zurich banker -- waiting there. APFEL Good morning, sir. I assume you're here about your box. THE MAN ...yes... (what now?) The box. APFEL nods. Gestures down the corridor -- INT. BANK SAFETY DEPOSIT VIEWING ROOM -- DAY Sterile and kind of odd. But total privacy. THE MAN sitting there, as A DEPOSIT GUARD places a large SAFETY DEPOSIT BOX before him. THE GUARD leaves the room. Closing the door behind him. THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BOURNE My name is Jason Bourne. (sounds good) Hi, I'm Jason. Jason Bourne. Jason Bourne, nice to meet you. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: NAME: NATIONALITY: PLACE OF ISSUE: SIGNATURE SAMPLE: And a bar code. Two Dutch passports. A French. A South African. A Belgian. And... There's one piece of card stock still with the paper clip in place. And no passport. This card reads: NAME: John Michael Kane NATIONALITY: U.S.A. PLACE OF ISSUE: Paris, France There's a signature sample. And a bar code. But no passport. This one is missing. BOURNE sitting there. Trying to push his confusion away. BOURNE Bourne. My name is Jason Bourne. I live at 121, Rue de la Jardin, Paris. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up.
57	Bourne Supremacy, The	Tony Gilroy,Robert Ludlum,Brian Helgeland	Action,Thriller,Mystery,Drama,Adventure	Jul-04	The Bourne Supremacy a temporary outpost. Four STATION -- MADRID -- SUNSET 115 ser ious peopl e alone i n this room: PAMELA LANDY is 46. A Senior C.I.A. Counterintelligence Officer. Hovering over the communications console. CRONIN -- Pamela's #2 -- early forties, stone-cold facade -- quarterbacking the operation over the radio -- KURT and KIM are the techs here. His and Her headphones. Ruggedized laptops and comm gear spread around them. CRONIN What have you got, Survey One? 72 72 INT. NEARBY BERLIN OFFICE -- NIGHT (CONT) Dark. TEDDY at the window. Another military face. Radio rig. Night Scope. Watching VIC and MIKE pass below him -- TEDDY/RADIO (OVER) "Hub, this is Survey One. Mobile One is in motion. Seller is inside and waiting." 73 EXT. MODERN BERLIN STREET -- NIGHT 73 VIC and MIKE slow as they come to the same STARK, GLASS OFFICE BUILDING. TEDDY/RADIO (OVER) "We are ready to go." 16. 74 EXT. MODERN BERLIN STREET -- NIGHT 74 MIK E and VIC shake han ds; two tired c o-workers parting way s. MIKE w ill keep walking. VIC e ntering the building thr ough the b ig glass doors, smiling as he's approached by AN IGHT SHIFT SECURITY GUARD. And we hear: MIKE still walking, alone now, heading away from THE GLASS OFFICE BUILDING toward A VAN parked up the block. MIKE/RADIO (sleeve mike, earpiece) "This is Escort One. I'm clear." 75 INT. BERLIN HQ/COMMAND POST -- NIGHT 75 THE COMMAND POST. CRONIN works the communications * board... * CRONIN "All teams -- listen up -- we are standing- by for final green." (turning now to--) PAMELA, who has been listening. Just as she's about to give * the final word, KIM raises a finger... * KIM * Langley... * She hands PAMELA a phone that's patched into her board. * PAMELA * (a bit surprised) * Martin? * 76 76 INT. CIA SITUATION ROOM/LANGLEY, VIRGINIA -- DAY THREE MEN -- CIA MANDARINS -- sit around a round table. MARTIN MARSHALL, Deputy Vice-Director, he's in charge. * All is tense. * MARSHALL * I'm here. So is Donnie and Jack Weller. * We understand you're using the full * allocation for this buy? * PAMELA * That's where we came out. * 17. MARSHALL It's a lot of money, Pam. PAMELA We're talking raw, unprocessed KGB files. * It's not something we can go out and * comparison shop. * MARSHALL * Still... * PAMELA * For a thief. A mole. I ve tted the * sou rce, Marty. He's real. If it does * not hing more than narrow th e list of * sus pects, it's a bargain at ten times the * pri ce. * MANDARIN #1 * Pamela, Jack Weller here. It's the * quality that's at issue... * PAMELA * Yes, sir. I 'm in total agr eement. If * they're fake s, they're expe nsive. * (furio us, impatient) * Gentlemen, I 've got the sel ler on site and * in play. Qu ite honestly, t here's not much * more to talk about. * MARSHALL looks to his MANDARIANS. Not convinced, but * doesn't want to lose the opportunity. Time to wash his * hands. * MARSHALL * All right Pam, your game, your call... * 77 * 77 DELETED 78 INT. BERLIN HQ/COMMAND POST -- NIGHT 78 All eyes on PAMELA as she puts down the phone to Langley. Nodding to CRONIN. Yes. CRONIN/RADIO "Final Green. You are go. Repeat, you are go for Final Green." 18. 79 INT. GLASS OFFICE BUILDING LOBBY -- NIGHT 79 VIC has just passed muster with The Security Guard, he's standing alone at AN ELEVATOR BANK. VIC/RADIO (sleeve mike, earpiece) "On my way up." VIC pulling his earpiece. Going dark. Waits for an elevator. * A80 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT A80 Dark. A small room full of wiring and infrastructure, lit by the glare of someone's MAG-LIGHT. GLOVED HANDS quickly pass over racks of gear and wiring and then stopping at -- the main electrical risers. They carefully place an EXPLOSIVE DEVICE -- no bigger than a pack of cigarettes -- onto the main riser... Done with that, here comes A SECOND SMALL EXPLOSIVE DEVICE - - but this one's special, it's being taken from A PLASTIC BAG and mounted down by the floor on a sub-panel -- Done, the hands hold up what looks like a piece of tape. It bears a FINGERPRINT. As the tape is pressed down, transferring it onto the charge -- 80 INT. GLASS OFFICE BUILDING ELEVATOR -- NIGHT 80 VIC alone wit h THE SAM PLES CASE. Pre ssing the button for #9, the top f loor. Th e doors close. The car ris es...2...3 ...4...5. ..6... And the n, it stops. VIC bra cing himse lf, as th e door opens an d -- IVAN -- Russian -- the guy we saw outside with the briefcase -- standing in an empty, darkened hallway. IVAN Show me. VIC Here? IVAN (holding open the door) Now. Show now. 19. VIC flips open the case. CASH. Three million dollars. 81 INT. GLASS OFFICE BUILDING CORRIDOR -- NIGHT 81 A GLASS DOOR. A suite of offices beyond. Clean. Anonymous. One light on deep inside... CASPIEX-PETROLEUM Cherbourg -- Moscow -- Rome -- Tehran 82 INT. CASPIEX OFFICE -- NIGHT 82 Curtains drawn. Lights low. IVAN sitting with THE SAMPLES CASE, counting the cash. VIC poring over -- RUS SIAN DOCUM ENT FILES. Dozens of KGB files. Old and new. * Spr ead sheets , financial data. Incomprehensibly Cyrillic. * Mar ked up. B ut judging by the seals and clearance sign- * off s, all top -secret. * VIC This is everything? IVAN Is there. Is all there. Suddenly -- MUSIC -- a radio -- some tinny pop tune just started playing from somewhere down the hall -- VIC -- what the hell is that? -- alone -- you said alone -- Both of them sure they're being double-crossed -- VIC (CONT'D) (cont'd) (reaching for his ankle) -- who? -- who else is here? -- IVAN -- no! -- not me! -- no other people! -- VIC (coming up with a pistol) -- shut up! -- just shut the -- Freaked by the gun, IVAN to his feet -- VIC pushing him back as he rushes past -- THE SAMPLE CASE spilling cash and -- 20. Wrong. SNA PPH! -- SN APPH! -- SNAPPH! -- SNAP PH! -- SNA PPH! -- f ive fas t, suppres sed small caliber shots -- VIC fal ls first -- IVA N crashing back acr oss a desk as t he bullets tear int o him -- both o f them de ad before they hit the fl oor and - - REVERSE TO FIND The GLOVED HA NDS unscr ewing a SILENCE R, tucking away the wea pon. Alre ady in mo tion before we know what' s happened -- pul ling a cli mbing duf fel out from hi s back pac k -- stu ffing in T HE SAMPLE S CASE and IVAN 'S BRIEFCA SE -- all the files -- all the m oney... Exc ept, wait. .. He's left out ONE ol d KGB FILE COVER -- and now he pulls A PLASTIC BAG from his b ackpack -- GLOVED HAN DS careful ly remove A SINGLE SHEET OF PAPER from insi de the bag. And this pap er looks exactl y like all the stuf f he' s just tuc ked away; another page f ull of Cyr illic blu r. He's putting this sheet of paper inside the file cover. Now he's slipping them both underneath the desk, tossing them there as if they fell in the struggle and -- 83 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT 83 The electrical risers -- as ONE OF THE TWO DETONATION DECIVES BLOWS -- a single, tidy, self-contained explosion and -- 84 EXT./INT. THE GLASS OFFICE BUILDING LOBBY -- NIGHT 84 As the lights flicker and fail and THE NIGHT SHIFT SECURITY GUARD is suddenly cast into darkness and -- 85 85 INT. BERLIN HQ/COMMAND POST -- NIGHT As they were. Waiting. But only a moment before -- TEDDY/RADIO (sudde n, urgent) "Hub? -- we just -- we lost power -- the building ! -- the whole place just went dark! - -" CRONIN looking at Pamela -- the first whiff of dread as -- CRONIN "-- repeat -- who is dark? -- the target building or your location? --" 21. RADIO VOICES piling up -- panicked, confusion cascading as - - 86-87 DELETED 86-87 * A87,B87 DELETED A87,B87 * 88 EXT. BERLIN NOVATEL/PARKING LOT -- NIGHT 88 * Anonymous drone barn. KIRILL stepping out of a car. * He's carrying the duffle. * 89 INT. BERLIN NOVATEL CORRIDOR -- NIGHT 89 * KIRILL. Heading down the hall. * 90 INT. NOVATEL ROOM -- NIGHT 90 * KIRILL enters. It's a small room. GRETKOV is waiting. * He's forty. Professional. Trim and polished. Dominant. * GRETKOV * (Russian) * (You're early) * KIRILL (You're complaining?) GRETKOV * (It's clean?) * KIRILL * (Would I bring it?) * GRETKOV taking over now. Tosses some money on the bed, * checks out the photocopy of the files. * GRETKOV (What are you doing?) KIRILL stripping quickly -- * KIRILL * (I'm taking a shower, it's been a long * day.) * GRETKOV * (Make it fast, my plane is waiting) * 22. GRETKOV dumping three million dollars over the bed as * KIRILL sheds his clothes, and we -- * DISSOLVE TO: A90 EXT. THE BRIDGE -- GOA -- DAY A90 WORKMEN cluster as a cable winches -- The JEEP is raised from the river bottom. As water pours off of it -- BOURNE -- Watching -- From a distance -- Empty -- CUT TO: B90 EXT. BERLIN OFFICE BUILDING -- DAY B90 * Crime scene. POLICE blocking OFFICE WORKERS from getting * in the building. MEDIA vans clogging the street. PAMELA and CRONIN, across the street, watching. The mood is black. Ashes. PAMELA We need to get in there. CRONIN I'm working on it. PAMELA stands there. Silent. Staring at the disaster across the street. 91-92A 91-92A DELETED A93 A93 INT. SHACK -- GOA -- DAY BOURNE is bailing. Exfil procedure, but this is a heartbroken exfil. -- A FOOTLOCKER open. Bourne's main stash. BOURNE going through the footlocker. Setting aside his 'work clothes' -- other things he needs. But he also has to separate. 23. A GROWING PILE of Marie memories: Bank cards. Phony student IDs. Loose passport photos with a mix of looks and hair-dos. Clothes -- vacuum-packed bags -- spare shoes. * B93 EXT. NEAR THE SHACK -- DAY B93 Ag asoline-st oked FIRE burning in a r ock-lined pit. BOURNE fee ding his p apers and all of Marie's belonging s into the fir e. A pass port cove r crinkles back to reveal her photo. Her face begi ns to bur n. Gas-soaked clothes to ssed in. Not hing left except -- The PHOTOGRAPH -- the picture of he and Marie at the beach. The one from his desk. BOURNE hesitates, holds the photo out to the flames. The rules of exfil say drop it -- but he can't -- won't -- He reaches to his bag, sticks the photo on top of his gear. Then, hefting, the bag, BOURNE strides away. * 93 INT. BERLIN HQ COMMAND POST -- DAY 93 A folding table covered with XEROXED BERLIN POLICE * PAPERWORK. PAMELA getting a show-and-tell from CRONIN * and TEDDY. * CRONIN -- so there were two of the se explosive charges plac ed on the power lines. One of * them failed. The fingerpri nt... * (Pamel a's got it) That's from the one that di dn't go off. PAMELA And the Germans can't match it? TEDDY Nobody's got it. We checked every database we could access. Nothing. CRONIN Show her the other thing. TEDDY This is a KG B file that must've fallen somehow and then slipped under, I guess, a desk there, or... (handi ng it to her--) 24. PAMELA Do we know what this says? TEDDY Yup... (a scrap of paper) The main word there, the file heading, translates as: Treadstone. PAMELA What the hell is a "Treadstone?" CRONIN shaking his head. Nobody knows. CUT TO: C93 EXT. INDIA COUNTRYSIDE -- DAY C93 BOURNE bouncing around on an old Punjab BUS. Alone in a crush of humanity. Going only God knows where... CUT TO: 94-96 DELETED 94-96 A97 EXT. CIA HEADQUARTERS -- LANGLEY, VIRGINIA A97 PAMELA'S POV as she drives toward the entrance. C.I.A. HEADQUARTERS VIRGINIA * 97 97 INT. C.I.A. HEADQUARTERS -- DAY A long, bright, sterile hallway. PAMELA and CRONIN walking briskly alongside A UNIFORMED S.P.S. OFFICER. 98 INT. C.I.A. ELEVATOR -- DAY 98 PAMELA and CRONIN watching THE S.P.S. OFFICER unlock the operation panel. Coding in. They begin to descend and -- 25. 99 INT. DIFFERENT C.I.A. CORRIDOR -- DAY 99 Drab and desolate. PAMELA and CRONIN come around a corner, * walking with A NEW ESCORT OFFICER. Passing a sign that * reads: * Operations Library Center. 100-102 DELETED 100-102 103 INT. SECURED READING ROOM #63171 -- DAY 103 * Sea led, tripl e-locked NUMBERED DOOR. It swings open. Lig hts flicke r on. To ns of shit pack ed away in here. She lves bulgi ng. Boxe s. Tapes. Bin ders. Har d drives. PAM ELA steps in. A HU GE FILING CABIN ET labeled -- TREADSTONE PAMELA/PHONE (OVER) Ward? ABBOTT (OS) Yes? PAMELA/PHONE Pamela Landy. 103A-104 DELETED 103A-104 105 INT. ABBOTT'S OFFICE/C.I.A. HEADQUARTERS -- DAY 105 WARD ABBOTT at his desk. The cluttered clubhouse HQ of a man who's spent the last thirty-five years in the spy game. * A PICTURE WINDOW offers a commander's view of the BULLPEN. ABBOTT/PHONE What can I do for you, Pam? PAMELA/PHONE I was hoping you had some time for me. ABBOTT/PHONE Time for what? PAMELA/PHONE I'm free right now actually. 26. ABBOTT/PHONE That sounds ominous. Let me check my schedule. ABBOTT holds the phone. Eyes drifting out the window and -- ABBOTT'S POV THE BULLPEN. CRONIN i s standing with DANIEL ZO RN, one of Abb ott's trus ted #2s. Clearly ZORN i s getting the less pol ite versio n of Pame la's invitation . ZORN ma naging to sho ot a quick , questio ning glance to Abbott as -- 106 INT. C.I.A. INTERVIEW ROOM -- DAY 106 A cold room. Desk. Two chairs. ABBOTT and PAMELA alone. PAMELA Treadstone. ABBOTT Never heard of it. PAMELA That's not gonna fly. ABBOTT With all due respect, Pam, I think you might've wandered a little past your pay- grade. She has a piece of paper. She slides it forward. PAMELA Tha t's a warrant from Director Marshall gra nting me unrestricted access to all per sonnel and materials associated with Tre adstone. ABBOTT rocked and trying to hide it. ABBOTT And what are we looking for? PAMELA I want to know about Treadstone. ABBOTT To know abou t it? (almos t amused) It was a kil l squad. Black on black. * Closed down two years ago. * (MORE) 27. ABBOTT (CONT'D) Nobody wants to know about Treadstone. * Not around h ere. * (the w arrant) You better t ake this back to Marty and make sure he knows what you're doing. PAMELA (trump card) He does. I've been down to the archives. I have the files, Ward. 107 DELETED 107 A107 EXT. BAY OF NAPLES -- LATE AFTERNOON A107 A hard working port. A big MEDITERRANEAN FERRY coming in. NAPLES FERRY -- BOURNE at the rail. Unchanged from India. Staring ahead as Europe looms. B107 EXT. FERRY DOCK -- LATE AFTERNOON B107 BOURNE disembarking to an immigration queue. Looking unremarkable. Just one of many passing through. 108 INT. C.I.A. INTERVIEW ROOM -- DAY 108 As they were. ABBOTT watching PAMELA pull a photo from her file. Sliding it over. CONKLIN'S FACE peering back. PAMELA Let's talk about Conklin. ABBOTT What are you after, Pam? You want to fry me? You want my desk? Is that it? PAMELA I want to know what happened. ABBOTT d? Jason Bourn e happened. What happene (fury focusing) You've got t he files? Then let's cut the * crap. It we nt wrong. Conk lin had these * guys wound s o tight they we re bound to snap. (MORE) 28. ABBOTT (CONT'D) Bou rne was h is number one - - guy went out to work, scr ewed the op and never cam e bac k. Conkl in couldn't fix it, could n't * fin d Bourne, couldn't adjus t. It all went sid eways. F inally there we re no opti ons * lef t. PAMELA So you had Conklin killed. (silence) I mean, if we're cutting the crap... ABBOTT I've given t hirty years and two marri ages to this agen cy. I've shove led shit o n * four contine nts. I'm due t o retire n ext year and bel ieve me, I need my pensio n, but if you t hink I'm gonna sit here a nd let you dang le me with this , you can go to hell. Marsh all too. (flat) It had to be done. PAMELA And Bourne? Where's he now? ABBOTT (shrugs) Dead in a ditch? Drunk in a bar in Mogadishu? Who knows? PAMELA It hink I do . We had a dea l going down in Berlin la st week. Durin g the buy, both our Fie ld Agent and th e seller were killed. We pulled a finger print from a * timing charg e that didn't g o off. (beat) They were ki lled by Jason Bourne. ABBOTT hesitates. Blindsided. What? A courtesy knock at the door. CRONIN (appearing in the doorway) They're ready for us upstairs. 109-114 109-114 DELETED 29. A115 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET A115 Now at the IMMIGRATION OFFICER booth, BOURNE hands over an OLD BLUE PASSPORT. It reads, JASON BOURNE. What's he up to? Is he giving up? IMMIGRATION OFFICER (Where you coming from, Mr. Bourne?) BOURNE (Tangiers) The OFFICER runs the CODE on the passport through the SCANNER. 115 INT. INTERPOL MONITORING Compiled from drafts Dated 7/11/03 9/17/03 10/13/03 By Tony Gilroy Dated 11/14/03 11/19/03 By Brian Helgeland Based on the novel by Robert Ludlum and The 2002 Universal Film "The Bourne Identity" GREEN: 1/ 13/04 YELLOW: 12 /11/03 PINK: 11 /27/03 BLUE: 10 /13/03 WHITE: 9/ 17/03 FOR EDUCATIONAL PURPOSES ONLY 1 EXT. MERCEDES WINDSHIELD -- DUSK 1 It's raining... Light strobes across the wet glass at a rhythmic pace... Suddenly -- through the window a face -- JASON BOURNE -- riding in the backseat -- his gaze fixed. A1 INT. MERCEDES -- NIGHT A1 On his knee -- a syringe and a gun -- The eyes of the driver, JARDA, watching -- BOURNE'S POV -- the passenger -- back of his HEAD -- cell phone rings -- the HEAD turns -- it's CONKLIN -- BOURNE returns his stare... CUT TO -- 2 INT. COTTAGE BEDROOM -- NIGHT 2 BOURNE'S EYES OPEN! -- panicked -- gasping -- trying to stay quiet -- MARIE sleeps. A2 INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT A2 BOURNE moving for the medicine cabinet. Digs through the medicine cabinet. Downs something specific. 3 3 INT./EXT. COTTAGE LIVING ROOM/VERANDA -- NIGHT One minute later. BOURNE moves out onto the veranda. MARIE pads in. Watching him for a moment. Concerned. Clearly it's not the first time this has happened. The y both loo k differe nt than last we saw them; his hair is lon ger. She' s a blond e. Hippie trav elers. Th eir cottage is humble but sweet. The bedroom ope ns to a be ach and a tow n just dow n the hil l. CLUB MUSIC from some all night rav e wafting in from t he far distance . MARIE Where were you, Jason? BOURNE In the car. Conklin up front. 2. MARIE I'll get the book. BOURNE No. There's nothing new. MARIE You're sure? (he nods) We should still -- we should write it down. BOURNE Two years we're scribbling in a notebook -- * MARIE -- it hasn't been two years -- * BOURNE -- it's alwa ys bad and it's never * anything but bits and piece s anyway! * (she's gone quiet) * You ever thi nk that maybe i t's just * making it wo rse? You don't wonder that? * She lays her hands on his shoulders, steadies him. MARIE We write them down because sooner or * later you're going to remember something * good. * BOURNE (softens) I do remember something good. All the time. I remember you. She smiles. Kisses him. Leads him back in. 4 4 INT. COTTAGE BEDROOM -- NIGHT MARIE getting BOURNE into the bed. Turning down the light. Getting him settled. Waiting for that pill to kick in. What would he do without her? BOURNE I'm trying, Marie, Okay? MARIE I worry when you get like this. 3. BOURNE It's just a nightmare. MARIE I don't mean that. I worry when you try to ignore it. He hesitates. But that gets him. He knows she's right. And with that opening, he's letting go. Resistance fol ding. Almost childlike. She's gathering him in. He' s letting her do it... MARIE (CONT'D) Sleep. Sleep now. BOURNE I should be better by now. MARIE You are better. And I think it's not memories at all. It's just a dream you keep having over and over. BOURNE But it ends up the same. MARIE One day it will be different. It just takes time. (beat) We'll make new memories. You and me. Silence. She strokes his face. He gives in to her tenderness. He's fading. Two waifs in the dark. DISSOLVE TO: 5 5 EXT. BEACH -- GOA/BEACHTOWN -- DAY BOU RNE running in the sun. A punishing pace along the san d. Moving strong. Effortless. Deep into it. Focused. The stunning conjunction of sun and scenery are lost on him . 6 EXT. OUTDOOR MARKET -- GOA/BEACHTOWN -- DAY 6 A busy market town. Fishing town. Hippie town. Lots of young Western faces. Rundown and happening at the same time. MARIE shopping. Filling a bag with local produce. 4. 7 EXT. ROAD -- GOA/BEACHTOWN -- DAY 7 BOURNE still running, leaving the beach behind. 8 INT. COTTAGE KITCHEN -- DAY 8 MARIE back from the market, putting the groceries away. Almost done, when she stops for a moment -- A PHOTOGRAPH. There on the windowsill. A snapshot. Jason and Marie on a beach. Her arms around him. As if she were the protector. Big smiles. Young. Alive. In love. MARIE smiles. 9 EXT. MAIN STREET -- GOA/BEACHTOWN -- DAY 9 Funky busy. Colonial facades in vivid, sub-continental technicolor. Loud morning traffic. CAMERA FINDS BOURNE coming out of a store with a big bottle of water. He's just finished his run. Standing there, chugging away, checking the scene, when something catches his eye -- HIS POV THE STREET. A SILVER CAR -- something newish -- pulling down the block -- can't quite see who's driving, but -- BACK TO BOURNE watching this silver car. So serious he's casual. Nobody passing would notice, but we do: He's on alert. MOVING WITH HIM AS BOURNE follows THE SILVER CAR on foot -- natural -- cruising the BUSY SIDEWALK -- blending into the mix -- chugging on that water bottle and -- UP AHEAD THE SILVER CAR making the corner and turning now -- BACK TO BOURNE slowing as he reaches the corner -- 5. HIS POV THE SILVER CA R has par ked. There's a GUY -- well-dressed -- cas ual -- phy sical -- sunglasses -- call him KIRILL -- he's out of the ca r and hea ding across the street toward a bui lding ther e. A TEL EGRAPH OFFICE. BACK TO BOURNE checking his watch. The car. The guy. Perimeter. 10 INT. TELEGRAPH OFFICE/GOA -- DAY 10 * MR. MOHAN at his desk. He's a crisp, proper man of fifty. He's just been handed something -- A PHOTOGRAPH OF MARIE -- an old passport picture. MR. MOHAN And your question, sir? KIRILL across the desk. KIRILL She's my sister. There's been a death in the family. This is the last place we know she called from. 11 INT. COTTAGE -- DAY 11 A NOTE ON THE TABLE: "I'M AT THE BEACH" BOURNE has just come in -- just read the note -- balling it quickly. In fact, everything is quickly now, because -- BOURNE is bailing. Fast. Calm. Methodical. Some exfil procedure that he's honed and choreographed. Packing like a machine -- RAPID TIME CUTS -- BACKPACKS thrown open on the bed. -- HOUSE CASH pulled from a lamp base. -- CREDIT CARDS taped under the counter. 12 EXT. MAIN STREET/BANK GOA/BEACH TOWN -- DAY 12 KIRILL coming out of the bank. Mission accomplished. Heading back to the SILVER CAR. Getting in and -- 6. 13 INT. SILVER CAR -- DAY (CONT) 13 KIRILL starting it up. Glancing around nice and easy. He's cool. Putting the car into gear, he makes a slow pass * through the marketplace. Eyes everywhere. * 14 DELETED 14 * 15 INT. COTTAGE -- DAY 15 BOURNE -- done -- the place is stripped -- pulling on the backpacks -- glancing around -- one last thing -- shit, he almost missed it -- THE PHOTOGRAPH -- the one of he and Marie on the beach -- the one we saw her looking at earlier -- there it is on the windowsill -- jamming it into his pocket and -- A16 EXT. SIDE STREET/PARKING AREA -- GOA/BEACHTOWN -- DAY A16 * KIRILL now parked and out of the car -- on the move -- on * foot -- he begins a sweep of the beach. * 16 EXT. COTTAGE BACK DOOR -- YARD/ALLEY -- DAY (CONT) 16 BOURNE out the back -- jogging -- keeping low -- into the neighborhood -- through the alleys -- nothing random about it, this has all been worked out and -- 17 DELETED 17 * 18 * 18 EXT. BEACH -- GOA/BEACHTOWN -- DAY Crowded with tourists -- sunbathers -- MARIE at her favorite spot. Talking with TWO WOMEN, laughing with them - - happy. 18A EXT. BEACH/PARKING AREA -- GOA -- DAY 18A * A burly JEEP comes roaring up. BOURNE spots the SILVER * CAR, parks at the other end -- takes off towards the beach. * 7. 19 EXT. BEACH -- GOA -- DAY 19 * KIRILL methodically making his way up the beach -- * checking every blue tent -- every towel. * 20 EXT. BEACH -- GOA -- DAY 20 * BOURNE coming up the beach the opposite way -- one eye on * KIRILL, one eye on MARIE. * He arrives just as KIRILL looks up and sees them a * hundred yards away -- a hard stare between them -- BOURNE * bends down -- * BOURNE We gotta go, Marie. We gotta go, now. Fro m the tone of his voice, she knows it's serious. * Mar ie grabs h er bag. A quick goodbye to the friends. * The y hurry of f. BOURNE uses the sunbathers as cover. * KIR ILL retrea ts. * 21 EXT. BEACH/PARKING LOT -- GOA -- DAY 21 * They reach the JEEP -- she knows the drill -- bag tossed in * the back -- even as the Jeep pulls away and -- * 22 INT. JEEP -- DAY (CONT) 22 BOURNE driving. MARIE beside him -- BOURNE We're blown. She hesitates. One minute ago everything was fine. MARIE No... How? BOURNE The Telegraph office. MARIE But we were so careful. BOURNE We pushed it. We got lazy. * 8. 23 EXT. BEACH/PARKING LOT -- GOA/BEACHTOWN -- DAY 23 * KIRILL already back at the SILVER CAR -- following them * out onto the MAIN STREET -- blocked by the local traffic -- * pulling a HUGE AUTOMATIC PISTOL out from his travel bag. 24 EXT. BEACHTOWN ALLEY/OFF MAIN STREET -- DAY 24 THE JEEP pulling down this narrow little passageway and -- BOURNE'S WINDSHIELD POV * MAIN STREET packed with traffic and -- BACK TO BOURNE not liking this. Eyes all over -- trying to decide. MARIE But you're sure? BOURNE He was at the campground yesterday. MARIE So... * BOURNE It's wrong. Guy with a rental car and * hundred dollar sneakers sleeps in a tent? Trying to decide whether to pull out or back up -- MARIE That's crazy. * BOURNE No. Not thi s. This is real. * (sudde nly) * And he's rig ht there... * (throw ing the car into rever se) MARIE Where -- BOURNE Back there -- at the corner -- Hyundai -- * silver -- * 9. 25 INT. HYUNDAI -- DAY (CONT) 25 * KIRILL trapped in some Main Street gridlock. Glancing back for a way out -- freezing suddenly, because there -- HIS POV -- THE JEEP -- THE ALLEY -- right there -- twenty yards back -- a good look at BOURNE and MARIE -- as they disappear and -- 26 EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY (CONT) 26 THE JEEP backing up the way it came -- BLOWING ITS HORN because an OLD VAN pulls in and blocks him from behind -- 27 INT. JEEP -- DAY (CONT) 27 BOURNE leaning on THE HORN -- shit, now they've got to wait! MARIE * ...but you're not -- you're not sure... * BOURNE * We can't wait to be sure. * MARIE * I don't want to move again...I like it * here. * BOURNE * Loo k, we clear out, we get to the shack, * we get safe. We hang there awhile. I'll * com e back. I'll check it out. But right * now we can't -- * MARIE * -- where's left to go? -- * BOURNE * -- there's places -- we can't afford to * be wrong! * 28 INT. HYUNDAI -- DAY (CONT) 28 KIR ILL. Calm. Possessed of a familiar tactical patience. He can't get the Hyundai to the alley from where he is and * it doesn't make sense to go on foot. He checks his rea rview. 10. Fuck it -- there's an opening ahead and he's taking it -- * even though it's away from them -- he'll find another way -- * 29 EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY -- (CONT) 29 BOURNE sees the HYUNDAI move forward into traffic. THE OLD * VAN is still blocking them from behind -- * BOURNE * You drive. * MARIE * What? * BOURNE * (already squeezing over) * Switch! You drive! * MARIE * -- where? -- * BOURNE * -- make the left -- toward the bridge -- * MARIE scrambling over the seat. BOURNE, eyes everywhere, * checks his watch. * THE JEEP squirts back on the main street and -- 30 INT. JEEP -- DAY -- CONT 30 MARIE at the wheel -- adrenaline pumping -- clear running for thirty yards ahead and -- MARIE skidding them into the right turn -- clipping another vehicle -- MIRROR SHATTERING! -- speeding up. BOURNE scanning behind them -- MARIE moving out to pass -- veering back! -- an ONCOMING BUS -- just in time and -- MARIE -- Jesus! -- (glancing over) -- is he back there? -- BOURNE -- not yet -- MARIE -- it's just him? -- 11. BOURNE -- yeah -- one guy -- I don't think he was ready -- MARIE -- hang on -- MARIE bearing down -- pulling out -- gives him a quick smile -- BOURNE knowing he's got a good one here -- * 31 INT. HYUNDAI -- DAY/SUNSET 31 * KIRILL stopping short on a rise. Bit of a view from here. * Gets half out the car to look. * BELOW -- the JEEP headed for A BRIDGE. He's gonna lose * them. KIRILL'S mind racing. Grabs duffle from the back, * abandons car. * 32 INT. JEEP -- BRIDGE -- DAY/SUNSET 32 MARIE driving. BOURNE preps his pistol. Eye out for * KIRILL. * BOURNE * You keep going to the shack. I'll meet * you there in an hour. * MARIE * (concerned) * Where are you going? * BOURNE * I'm going to bail on the other side and * wait. This bridge is the only way he can * follow. * MARIE * What if it's not who you think it is? * BOURNE * If he crosses the bridge, it is. * MARIE * There must be another way! * BOURNE * I warned them, Marie. I told them to * leave us alone. * 12. MARIE * Jason, please don't do this...it won't * ever be over like this. * BOURNE * There's no choice. * HER POV The old CONCRETE BRIDGE ahead. Almost there. 33 EXT. LOW WALL -- DAY/SUNSET 33 KIRILL slams into it. Quick, precise grabs into the bag. Only a moment and he's got a SNIPER RIFLE. A34 INT. JEEP -- BRIDGE -- DAY A34 BOURNE -- pistol in hand -- spare clip in the other -- * checks his watch. * BOURNE * At the end make the left, when I roll out * do not slow down. * MARIE nods, got it. After a beat... * MARIE * I love you, too. * BOURNE * Tell me later. * MARIE looks ahead. B34 B34 EXT. LOW WALL -- DAY KIRILL. Eye to the scope. * SNIPER SCOPE POV There! The JEEP rumbling across the bridge. No clear target, just the back of the full DRIVER'S SIDE HEADREST. KIRILL'S FINGER Squeezing. Firing. 13. 34 EXT. WOODEN BRIDGE -- DAY (CONT) 34 The JEEP jerking. FRONT FENDER tearing into and along the guard rail -- cement shards fill the air -- BOURNE reaching for the wheel -- Too late! As the JEEP finally crashes through the flimsy guardrail -- Plummets -- splashes hard -- begins to sink out of sight. 35 EXT. LOW WALL -- DAY (CONT) 35 KIR ILL lowers the scop e, takes a quick look around. He's bas ically gon e unnotic ed in this little nook with his sil enced rifl e. But p eople are already rushing toward the bri dge. Then ... there ! An OLD WOMAN looking directly at KIRILL from a doorway. Not quite sure what. But an old Indian woman in Goa? So what. KIRILL drills her with a look. As she sinks back inside -- 36 INT. JEEP -- SINKING IN THE RIVER -- DAY/SUNSET 36 Swallowed up. BOURNE and MARIE gone. * 37 EXT. LOW WALL -- SUNSET 37 KIRILL scans the surface of the river under the bridge. Waiting. 38 38 EXT. RIVER BOTTOM -- DAY Mud plumes as the JEEP settles. BOURNE reaches over to * MARIE, tries to urge her out. * 39 EXT. LOW WALL -- DAY 39 KIRILL with a killer's patience, waiting, almost done. SCOPE POV The surface of the water. Unbroken. 14. KIRILL Scans his perimeter. There's the old woman again. But more people with her. People coming out of the woodwork. KIRILL checks the surface one last time. Nothing. He breaks down the rifle in moments -- goes. * 40 EXT. JEEP -- RIVER BOTTOM -- DAY 40 BOURNE -- up into an air pocket held by the jeep's canvas top. A big gulp of air -- And he's back to MARIE. Frantic. Trying to unclip her * seatbelt. Pull her out. But it's all jammed up. * 41 EXT. KIRILL -- BY THE SILVER CAR 41 Bag chucked in the back. All he has left is the scope. * One last look to the unbroken surface. Then it's time to go. KIRILL -- drifting away -- disappears. 42 EXT. JEEP -- RIVER BOTTOM -- DAY 42 The red halo growing bigger. BLOOD. * BOURNE pauses. MARIE'S face is blank. She's dead. * BOURNE finally pulling back. Realizing this is * goodbye... * DISSOLVE TO: 43-68 43-68 DELETED 69 EXT. ZOOGARTEN SQUARE -- NIGHT 69 We pick up a MAN WITH A BRIEFCASE on a telephoto lens. TEDDY/RADIO (V.O.) The seller has arrived. BERLIN 15. As the man comes to a CHINESE RESTAURANT he stops. Squarely. So he can be seen clearly. Then he enters a STARK GLASS OFFICE BUILDING. TEDDY/RADIO (V.O.) (cont'd) (CONT'D) He's inside. 70 EXT. ZOOGARTEN SQUARE -- NIGHT 70 TWO MEN cross the square to the Chinese Restaurant. VIC is forty -- steel-ass intel operator -- he carries A LARGE SAMPLES CASE. Beside him, MIKE, younger, ex-Navy-Seal. 71 INT. BERLIN HQ/COMMAND POST -- NIGHT 71 "Th e Hub". S ecure, an onymous office space somewhere in the cit y. Shades drawn. Lots of gear cabled around. The sta le, improv ised feel of
58	Bourne Ultimatum, The	Tony Gilroy,Scott Z. Burns,George Nolfi	Action,Thriller,Mystery,Adventure	Aug-07	THE BOURNE ULTIMATUM Written by Tony Gilroy, Scott Z. Burns & George Nolfi Based on the novels by Robert Ludlum FINAL SHOOTING SCRIPT June 20, 2007 Notice: This material is the property of Beach City Productions LLC (A wholly owned subsidiary of Universal City Studios, Inc.) and is intended and restricted solely for studio use by studio personnel. Distribution or disclosure of the material to unauthorized persons is prohibited. The sale, copying or reproduction of this material in any form is also prohibited. 1 1 EXT. NIGHT. HOUSING PROJECTS -- MOSCOW 1 SMASH CUT MOTION -- flat out -- it's us -- we're running -- stumbling -- breathing rushed -- blood in the snow... We are JASON BOURNE and we're running down an alley... Supered below: MOSCOW BLUE LIGHTS -- from the distance -- strobing through the night -- rushing toward us -- POLICE CARS -- three of them - - SIRENS HOWLING as they bear down -- closer -- faster -- until they whip past the alley... Up against the wall -- BOURNE is hidden in the shadows. BOURNE is badly wounded -- shot through the shoulder -- bruises and broken bones from the final car chase in SUPREMACY... With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY... 4 INT. NIGHT. PHARMACY -- MOSCOW 4 ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied...It's BOURNE...The ALARM goes off... MACRO ON -- MEDICINE BOTTLE VICODIN, as BOURNE grabs it...Then PENICILLIN... Then SURGICAL SUPPLIES: Scalpel...Forceps...Sutures...Cotton gauze...Betadine... BOURNE finds a large sink...Rests his gun there...Lays out SURGICAL SUPPLIES...Checks out his back in the mirror...Opens the capsules of penicillin and pours the powder directly into the wound...Begins treating himself... 5 EXT. NIGHT. PHARMACY -- MOSCOW 5 A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow... 6 INT. NIGHT. PHARMACY BATHROOM -- MOSCOW 6 BOURNE finishing up -- splashes water on his face -- he seems a man on a mission. He looks up -- 2 A MIRROR. His face... FB1 FLASHBACK -- JUMBLED STREAKY IMAGES: FB1 "415" written on a building. DISEMBODIED VOICE (HIRSCH) Welcome to the program... POV Bourne walks down a corridor (corridor #1). 6AA INT. NIGHT PHARMACY -- MOSCOW 6AA The cops approaching. FB1A FLASHBACK -- JUMBLED STREAKY IMAGES: FB1A Daniels leading Bourne down the corridor. DISEMBODIED VOICE (V.O.) You'll be saving American lives. A black sack is thrown over Bourne's head, then: (STOCK) A torrent of quick shots of Bourne's kills: the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski... And finally. BANG -- Marie hit in the head. The car off the bridge. She sinks away dead... 6A INT. NIGHT PHARMACY -- MOSCOW 6A The POLICE enter the back room, guns drawn. POLICEMAN #1 Put your hands on your head and turn around slowly! BOURNE snaps out of it, doesn't move. POLICEMAN #1 (older) approaches him. When BOURNE doesn't respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN. BOURNE freezes POLICEMAN #2 with his gun and a look. BOURNE (in Russian) Give me your gun and radio. POLICEMAN #2's gun and radio skittle across the floor. 3 BOURNE (in Russian) My argument is not with you. BOURNE smashes the radio and takes the gun. BOURNE exits... BLACK SCREEN A TITLE fades in -- THE BOURNE ULTIMATUM SUPER: Six Weeks Later 6B OMITTED 6B 6C OMITTED 6C 6D OMITTED 6D 6E OMITTED 6E 6F OMITTED 6F 6G OMITTED 6G 6F OMITTED 6F 6G OMITTED 6G 8B EXT. DAY. LANGLEY, VA 8B Establishing shot -- CIA Headquarters 8C INT. CIA -- DAY 8C A workman installs a nameplate that reads: Ezra Kramer, Director, CIA. 8C INT. KRAMER'S OFFICE -- DAY 8C Kramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job. 4 Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott. BOURNE (V.O.) So we got in the way? Is that why Neski died? Is that why you killed Marie? Kramer glances at a photo of Marie in the file. ABBOTT (V.O.) You killed Marie the minute you climbed into her car. The minute you entered her life she was dead! Kramer looks at Abbott's official photo. BOURNE (V.O.) I told you people to leave me alone! I fell off the grid. I was half way around the world. ABBOTT (V.O.) There's no place it won't catch up to you. It's how every story ends. It's what you are, Jason. A killer! You always will be. THUMP! CRONIN We think that's Bourne hitting him on the head and then-- He makes a gun with his hand, i.e. Bourne putting his gun to Abbott's head. ABBOTT (V.O.) Go ahead! Go on! Do it! BOURNE (V.O.) She wouldn't want me to. That's the only reason your alive. The tape clicks off. KRAMER Who's "she?" CRONIN puts a picture of MARIE in front of KRAMER. LANDY His girlfriend, Marie. She was killed in India three weeks ago. Kramer looks down at another image. Abbott dead after his suicide. 5 KRAMER A dirty section chief in league with a corrupt Russian Billionaire commits suicide when confronted by Jason Bourne. You couldn't make this stuff up. (holds up the photo of Abbot dead) You watched this happen? Landy nods. Kramer shakes his head in disgust at the whole situation. KRAMER Bourne's last confirmed location is Moscow, three days ago? LANDY Right. KRAMER So what does he do now? LANDY I think he's looking for something he hasn't found. KRAMER Like what? What's he after? LANDY I'm not sure. Maybe he hasn't gotten his memory back yet. Not all of it. A look from Kramer... KRAMER Pam, what I need to know is, what kind of a threat is he to us? LANDY If he just wanted to hurt us he could have sent this tape to CNN. KRAMER Maybe he still will. Maybe he gave it to you because he wants to throw you in the opposite direction of his real plan. I don't know. I just know my number one rule is "the only way to stay safe is to assume the worst." As far as I'm concerned Bourne is a serious threat until proven otherwise. 6 8D OMITTED 8D 8E OMITTED 8E 8F OMITTED 8F 8G OMITTED 8G 14A OMITTED 14A 14AA EXT. TURIN, ITALY - ESTABLISHING SHOT 14AA SUPER: TURIN, ITALY R15 INT. DAY. ITALIAN CAFE BACKROOM -- TURIN R15 ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he's assembled...WANTED POSTERS of JASON BOURNE. ROSS (with poster) ...This one's three years ago -- had half of Interpol after him -- disappeared...Turned up in Naples -- Berlin -- Moscow -- disappeared again... (Daniels says nothing) The girl he was on he run with -- Marie Kreutz -- she turned up dead halfway around the world, from a sniper's bullet... (beat) What connects the dots? Is it Treadstone? DANIELS Turn off that tape recorder. 15A OMITTED 15A 15B OMITTED 15B 24 INT. DAY. MARTIN'S APARTMENT -- PARIS 24 The charm of old Paris captured in the workings of an elevator operating in a wrought-iron shaft... 7 A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE... A KNOCK on a door beautifully, heavily lacquered with centuries of paint... MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them -- like two lost brothers who recognize each other -- each has been waiting for this moment for a long time. INT. CONTINUOUS. MARTIN'S APARTMENT Martin looks out the window. MARTIN Where is my sister? BOURNE She's dead. She was killed. MARTIN I knew it was going to end this way. It was always going to end this way... BOURNE I didn't believe that. MARTIN Why did she die? BOURNE She was shot. A man came for me. MARTIN And then you killed him. Bourne nods. MARTIN Now what? BOURNE Someone started all this...and I'm going to find them. Bourne looks at him for a beat and leaves. EXT. SUBWAY -- DAY Bourne climbs the stairs. Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside. 8 Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE. BOURNE (in French) Who started Treadstone? The bodyguard comes back, gun out-- ELLATRACHE (in French, to bodyguard) It's OK! (in French, to Bourne) They're still looking for you. You are taking a big risk coming here. Bourne shoves him against the wall, hard. BOURNE (in French) Just tell me what I want to know! ELLATRACHE (in French) I just provided them weapons. I don't know who started-- BOURNE (in French) You know something. Tell me where to start looking. ELLATRACHE (in French) There's a journalist in London. Simon Ross. He seems to know a lot about you. He has a source inside the program. Someone there from the beginning. What should I tell them if they contact me? BOURNE (in English) They give me the name I want, or I burn their entire house down to get it. 16 EXT. DAY. HEATHROW AIRPORT -- LONDON 16 ROSS hurries to catch a TAXI as he talks on his cell phone. 9 ROSS ...This is big -- a skein of lies -- you pull at it and it just keeps coming -- I'll fill you in when I get home. And it's not finished, either. (beat) They're calling it `Blackbriar'. Follow this SEQUENCE as... 17 INT. DAY. CIA SUBSTATION -- LONDON 17 A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS...Sifts through BILLIONS of words...One word EMERGES from the CHATTER... BLACKBRIAR A TECHNICIAN sends the data to NSA back in the States...Where another COMPUTER gathers up the rest of the phone call...As we listen... TECH#3 "Blackbriar" echelon hit. NSA, please confirm receipt. R18 EXT. DAY. CIA HEADQUARTERS -- LANGLEY R18 And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports. TECHNICIAN #1 Sir, we intercepted a call from London, keyword "Blackbriar." SUPERVISOR Okay, send it to CRI right now. 25D EXT. DAY. THE SKYLINE -- NEW YORK CITY 25D NOAH VOSEN, deft and confident, arrives at CRI Headquarters. 25E INT. DAY. CRI OFFICES -- NEW YORK CITY 25E As VOSEN steps out of the elevator and into his office, he is met by his #2, WILLS. WILLS We tracked the phone. Registered to a London reporter named Simon Ross. He works at the Guardian newspaper. 10 They enter a hallway through double doors towards the HUB. VOSEN You tracking him? As they pass through, colleague hands WILLS a file. WILLS Yeah, thanks Mike. We have a survey team covering him at work...and a sneak and peek's on their way to his apartment. VOSEN Well, who talked to him? How did he find out about Blackbriar? WILLS We don't know, we pulled his background and ran a cross check on any known anomalies, but we've come up with nothing. But, I think if we follow Ross, we are going to be able... VOSEN Right. Ross is easy. I want the source. They enter the HUB. 26 EXT. DAY. GARE DU NORD -- PARIS 26 BOURNE buys a newspaper, enters the station and gets on the EUROSTAR. 26A INT. DAY. CRI DATA ROOM (was 25E) 26A VOSEN and WILLIS listen to the phone call. ROSS (VOICEOVER) Have you heard of an Operation Blackbriar? I'm going to try and get my head around this, see you first thing. VOSEN turns. VOSEN Is that all? WILLS Yeah. 11 VOSEN I want rendition protocols and I want the asset put on standby, just in case. 26B INT. DAY -- CRI HUB 26B VOSEN steps out from DATA ROOM...addresses the HUB. VOSEN People, listen up, this is a full priority situation WILLS Jimmy, give me Ross's profile on one. (points at the big screen on the wall) ROSS'S information come up on the center screen. VOSEN Our target is a British national, Simon Ross, a reporter. I want all his phones, his blackberry, his apartment, his car, bank accounts, credit cards, travel patterns...I want to know what he's going to think before he does. Every dirty little secret he has. And most of all, we want the name and real time location of his source. This is NSA priority level 4, any questions? No response from the HUB. VOSEN (CONT'D) All right, let's get to it. 26C EXT. DAY. EUROSTAR -- ENGLAND 26C The EUROSTAR winds it's way to London. 26D INT. DAY. EUROSTAR 26D BOURNE reads The Guardian. He sees an article written by Simon Ross. Title: "RENEGADE ASSASSIN LOSE IN EUROPE". It mentions BOURNE. There is a photo of Marie-- FB2 FLASHBACK FB2 12 Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie's stuff 26D INT. DAY. EUROSTAR 26D BOURNE comes out of the flashback. He is still carrying the pain of her loss Bourne finds Ross's name on the masthead, then goes to the name just below it in the news department. 29 EXT. DAY GUARDIAN NEWSPAPER -- LONDON 29 Ross crosses a busy London street -- heads to Guardian office building. A CRI TEAM watches from a parked car. 35H INT. DAY -- CRI HUB 35H TECH #1 watches the data arrive. TECH#1 Copy that. Mr. Vosen, subject is entering his office. VOSEN watches the feed. VOSEN Where's my picture please? TECH#2 Coming online...Online...Now. A surveillance picture flashes onscreen -- ROSS works in his office. HUB chatter about ROSS phone. TECH#3 Take an hour to get his phone... VOSEN That's too long. Off VOSEN. R34 INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON R34 ROSS reports to his EDITOR. EDITOR So how do we know he's not spinning for someone? ROSS There's more. He was scared. 13 EDITOR Scared of what? ROSS Blackbriar. A REPORTER sticks her head in. REPORTER Sorry, a call for you. ROSS Who is it? REPORTER Won't give hie name. ROSS leaves to pick up the call. 35Y INT. CONTINUOUS. GUARDIAN -- NEWSROOM 35Y ROSS crosses the busy newsroom... REPORTER He's on my line... ROSS picks up the phone. Ross (CONT'D) Simon Ross. 35H INT. DAY. CRI HUB -- NEW YORK CITY 35H VOSEN watches as ROSS takes phone call. VOSEN Why aren't we hearing this? WILLS That's a hard line, Jimmy, why don't we have it? JIMMY We have his line, sir, but he's not on it. WILLS looks confused. 35Y INT. DAY GUARDIAN -- NEWSROOM 35Y ROSS listens. BOURNE (V.O.) Waterloo Station, south entrance, thirty minutes. 14 ROSS Who is this? BOURNE (V.O.) This is Jason Bourne. 35Z INT. DAY -- EUROSTAR TRAVELING 35Z Bourne You want to talk to me. Come alone. BOURNE hangs up. 35Y INT. DAY. GUARDIAN -- NEWSROOM 35Y ROSS looks bewildered -- hangs up the phone -- gathers his stuff -- puts his notebook in his pocket and leaves. SURVEY ONE (V.O.) Are you getting an image? 35H VOSEN 35H Where's he going? WILLS Okay, he is on the move. Target is mobile. The HUB reacts. . WILLS Okay, people, look sharp, give me eyeballs on the street. 36 INT. DAY. BUILDING -- ACROSS FROM GUARDIAN 36 SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move... SURVEY ONE Subject is on the move. Go mobile One and Two. WILLS Where's that audio on the street? I want to know where he's going... 36A EXT. CONTINUOUS. LONDON STREET 36A ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him... 15 35H INT. DAY. NEW YORK HUB 35H VOSEN watches as the feed from the SILVER VAN comes through. MOBILE 2 (over radio) We have the subject confirmed. VOSEN Where is he heading? MOBILE 2 Waterloo Station. 37 EXT. DAY. WATERLOO STATION -- LONDON 37 BOURNE arrives on the EUROSTAR. Enters the station. 38 EXT. CONTINUOUS. STREET 38 As the taxi moves away, the SILVER VAN pulls out behind it. A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat. HUB (V.O.) Stand by at Waterloo... 39 EXT. DAY. WATERLOO STATION -- LONDON 39 BOURNE moving toward the rendezvous... 63 INT/EXT. DAY. BLACK CAB -- YORK ROAD 63 ROSS pays the DRIVER, exits. Checks his watch. Looks around. Isn't sure what his next move is-- 64H INT. DAY. CRI HUB 64H TECHNICIANS searching for ROSS on the busy street. TECHNICIAN #2 Mobile One -- give us eyes on the subject. 16 63 EXT. DAY. YORK ROAD -- LONDON 63 MOBILE ONE-- two people from the van-- take up a position in an open stairwell three floors up. They focus a camera down on Ross. 63A EXT. DAY. ENTRANCE -- WATERLOO STATION 63A BOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay-as-you-go package in a bin. Rounds a corner. Out of sight. 63B OMITTED 63B 64H INT. CONTINUOUS. CRI HUB -- NEW YORK CITY 64H Screens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI. TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station. 63 INT. DAY. WATERLOO -- ENTRANCE 63 ROSS moves to the entrance. Behind him, inside the tube station portico, BOURNE arrives. Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level. Commuters coming up the escalators. BOURNE joins them - moving towards Ross. Closer. Right on him. ROSS oblivious. Looking out onto the street. BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET.. ROSS feels the contact. Checking himself -- he's okay. But now a phone is ringing -- looks around, must be someone else. But the vibration's coming from his jacket pocket. ROSS takes out the phone -- not his -- puzzled. ROSS hits "answer." 17 ROSS Hello? BOURNE (O.S.) Don't ask questions. Just listen... 64H INT. CONTINUOUS. NEW YORK HUB 64H VOSEN watching... VOSEN What's he doing? I thought we blocked his cell? Who the hell is he talking to??? WILLS Jimmy, I need that phone! VOSEN (beat) Activate the asset. WILLS Sir, we haven't yet become operational -- VOSEN I said activate the asset. I want options. Wills keys in a CODE... 64 EXT. DAY. BMW -- LONDON STREET 64 PAZ, 20s, cool and predatory, drives and waits for instructions...His PHONE buzzes...He reads the code...Accelerates toward Waterloo Station... 70 EXT. CONTINUOUS. FOOTBRIDGE 70 BOURNE reaches the top of the stairwell on the other side of the road. His POV to the left -- a LONDON BUS is approaching. To the right -- a young man in a hooded top -- speaking on his cell -- walking toward a BUS STOP... A plan is forming. 71 INT. CONTINUOUS. WHITE VAN 71 SURVEY TWO -- camera zooming in on ROSS. 18 SURVEY TWO What's the ROE on this one? PANNING TO REVEAL 64H INT. CONTINUOUS. NEW YORK HUB 64H VOSEN thinking it over as he watches the image of ROSS. 75 EXT. DAY. YORK ROAD -- TUBE -- BUS STOP 75 ROSS looking around. Then -- BOURNE (O.S.) To your left. Blue hooded top. Walking towards the bus stop ROSS has clocked him. The HOODY walks to the bus stop. One hands-free EARBUD swaying down by his side as he moves to a seat. Sitting down. Checking his watch. ROSS shifting nervously from one foot to another. BOURNE (o.s.) (CONT'D) Go to the bus stop, sit next to him. Head down... The LONDON BUS approaching. ROSS begins to move. 64H INT. DAY. CRI HUB -- NEW YORK 64H Things are beginning to happen. TECHNICIAN #1 Target is on the move. WILLS Okay, who's the guy in the blue hood? Screen POV. ROSS standing next to the HOODY -- head down. Trying to play it cool -- ROSS in clear view of the cameras. "Speaking" with the HOODY. Camera zooming in. VOSEN Okay, there, he's talking to the guy with the hood. Take them down. Just then -- 19 A BUS pulling up to the bus stop, blocking both SURVEYS' views. Rifle mics picking up the bus chatter, instead of ROSS. VOSEN. Annoyed now. VOSEN Watch that bus! The bus! -- don't lose them! Stay triangular and don't get blocked. The crackle of the survey teams as they try and reframe. POV SCREEN -- SURVEY ONE seeing the bus clear. The HOODY has gone. POV ANOTHER SCREEN -- SURVEY TWO -- camera finally catching up, picking out the HOODY on the bus as it begins to pull away. VOSEN? Grab Team B. Grab the hoody and stay with Ross... TECH'S giving orders... 77 EXT. ACROSS FROM YORK ROAD -- DAY 77 SURVEY TWO -- three men racing across the road on foot. Weaving through heavy traffic. 78 EXT. DAY. FOOTBRIDGE AREA 78 BOURNE watching his plan unfold...Only a few seconds to get ROSS out of there... BOURNE Take the footbridge. Go to the West Entrance. I'll meet you at the newsstand. 79 EXT. DAY. YORK ROAD -- CONTINUOUS 79 ROSS re
59	Curious Case of Benjamin Button, The	Eric Roth	Drama,Fantasy,Mystery,Romance	Dec-08	THE CURIOUS CASE OF BENJAMIN BUTTON Written by Eric Roth Based on the short story by F. Scott Fitzgerald 10/30/07 As all things do, it begins in the dark. EYES blink open. Blue eyes. The first thing they see is a WOMAN near 40, standing looking out a window, watching the wind blowing, rattling a window. A WOMAN'S (V.O.) What are you looking at? CAROLINE The wind, Mother... They say a hurricane is on its way... You've been asleep... I was waiting to see you... 1 INT. HOSPITAL ROOM, NEW ORLEANS - MORNING, PRESENT 1 Now we see we're in a hospital room with layers of white enamel paint trying without success to hide the years... An old WOMAN, past 80, withered, still regal with a green turban around her bald head is propped by pillows, her blue eyes looking out at us from her bed... She's connected to an intravenous for sustenance and a morphine drip... Her name, is DAISY FULLER. She speaks with a Southern lilt. DAISY If it wasn't for hurricanes we wouldn't have a hurricane season. CAROLINE I've forgotten what the weather can be like here. I've lived with four seasons so many years now. We see a young Black Woman, a "caregiver," DOROTHY BAKER, in a corner, thumbing a magazine, with one eye at the window... DOROTHY BAKER I saw on the news they're predicting trouble... DAISY 1928 they stacked people like firewood to close a hole in a levee. But Daisy has other things on her mind... murmuring... (CONTINUED) 2. 1 CONTINUED: 1 DAISY (CONT'D) It all runs together... like a fingerpainting... I feel like I'm on a boat, drifting... CAROLINE (tenderly) Can I do anything for you, Mother? Make anything easier? DAISY Hmmm. There is nothing to do, Caroline. This is what it is... I'm finding it harder to keep my eyes open... my mouth all filled with cotton... And agitated, feeling confined, she scratches at her nightgown as if it were sticking to her... she starts to take it off... Dorothy gets up and straightens it for her. DOROTHY BAKER There, there, Miss Daisy... you'll scratch yourself to ribbons... (to Caroline) It's their way of letting go... (the finality) ...prob'ly today. Caroline is well aware of it, but the words, her admonition of death being so close at hand, makes everything even more present... CAROLINE Do you want more medication, Mother? The doctor said you can have all you want. Daisy is quiet, looking into the distance. Caroline, seeking closure, sits on the bed with her and starts to cry. Daisy puts her thin arms around her daughter, comforting her. CAROLINE (CONT'D) A friend told me she never had a chance to say goodbye to her mother. (grateful to have the chance) I wanted to thank you, Mother, for bringing me into this world. For raising me so well. (MORE) (CONTINUED) 3. 1 CONTINUED: (2) 1 CAROLINE (CONT'D) I wanted to tell you how much you've meant to me. I'm going to miss you so much... They hold each other for some time... They separate... And there's an awkwardness they have nothing left to talk about... nothing left to say to each other... a hole in their relationship... Caroline fills it with the eternal question... CAROLINE (CONT'D) Are you afraid? DAISY Curious. What comes next... She winces at some physical pain. DOROTHY BAKER The pain's coming more steadily... Her breathing will falter soon... No need for her to suffer.. She raises the morphine level... Daisy closes her eyes... drifting with the morphine... and a thought, a dream, a sound, crosses her mind... and she says... DAISY They built that train station in 1918. Your father was there the day it opened... He said a tuba band was playing...Oom-pah-pah... 2 EXT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918 2 And we see a TUBA BAND is playing while a ribbon cutting ceremony is taking place across the steps of the new TRAIN STATION... DAISY Oom-pah-pah, oom-pah-pah...The finest clockmaker in all of the South built that clock... 3 INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT, 1917 3 We see an old French Quarter storefront with an endless array of clocks and watches... DAISY'S (V.O.) His name was Mr. Gateau. Mr. Cake. 3A. 4 INT. THE HOSPITAL ROOM, NEW ORLEANS - MORNING, PRESENT 4 The slightest of smiles crosses Daisy's lips... saying to herself again... "Mr. Cake..." 5 INT. CLOCKMAKER'S SHOP, NEW ORLEANS - MORNING, PRESENT 5 We see a diminutive man in a frock coat with small, delicate hands, "Mr. Cake," working in his downstairs workshop. More than a few clocks stroke midnight, a handsome Creole Woman comes into the workshop... (CONTINUED) 4. 5 CONTINUED: 5 DAISY'S (V.O.) He was married to a Creole of Evangeline Parish and they had a son. Taking his arm, she helps him up to show him to his bed. DAISY'S (V.O.) (CONT'D) Did I mention, Mr. Gateau was from birth, absolutely blind. 6 INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT, 1917 6 ...The clockmaker his fine hands blindly working... DAISY'S (V.O.) And when their son came of age, like boys will do, he joined the army. They saw him off at the old train station. 7 EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, 1917 7 An old wooden barn of a building. Their son, hugging his parents, getting on a flatbed train crowded with other soldiers, pulling away... Mr. Gateau, blindly waving his hat goodbye to his son... DAISY'S (V.O.) Oh how he worked, for months he did nothing but work on the clock for the great train station. 8 INT. WORKSHOP BELOW THE CLOCKMAKER'S HOME - NIGHT, 1918 8 The sound of clocks constant ticking. Mr. Gateau at work... DAISY'S (V.O.) One day a letter came... Blanche comes into the workshop... a letter in her hand... She reads to her blind husband... BLANCHE DEVEREUX "I am sorry to inform you that your son was killed fighting for his country, at the battle of the Marne. In the death of Sgt. Martin Gateau I lose one of my most trusted men. (MORE) (CONTINUED) 5. 8 CONTINUED: 8 BLANCHE DEVEREUX (CONT'D) When I informed members of our company he had fallen, on every face could be seen the mark of sorrow... ...we were in hope the Lord would spare him to return home together... Alas this was not to be. I send along his pants, shirt, cavalry pin, kerchief, and haircomb." DAISY (V.O.) Mr. Gateau, done for the night, went up to his bed. Mr. Gateau, blindly feeling his way up the stairs... DAISY'S (V.O.) And their son came home. 9 EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, 1918 9 We see "Mr. Cake" in his familiar hat, his wife holding his arm, standing among the rows of coffins. DAISY'S (V.O.) They buried him where the Gateau family had been buried for a hundred and seven years... 10 EXT. NEW ORLEANS CEMETERY - DAY, 1918 10 An old New Orleans cemetery, vines crawling the sepulchers. DAISY'S (V.O.) Mr. Cake went back to work on his clock... laboring to finish... 11 INT. THE CLOCK WORKSHOP, NEW ORLEANS - LATE NIGHT, 1918 11 Mr. Gateau blindly setting the last spring, closing up the clock back... finished at last. DAISY'S (V.O.) It was a morning to remember... Papa said there were people everywhere... 12 INT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918 12 And we see a large throng gathered to watch the unveiling of the clock. Politicians, citizens, and pickpockets alike... (CONTINUED) 6. 12 CONTINUED: 12 DAISY'S (V.O.) Even Teddy Roosevelt had come. And we see the distinctive figure of Theodore Roosevelt, in overcoat and hat, the war heavy on his shoulders. We watch Mr. Cake, with the aid of an assistant, climbing the scaffolding to his clock covered by a velvet drape... He stands for a moment... and with a simple tug, releases the purple swath... People gasp at the magnificent clock... "Mr. Cake" winds the clock, which chimes a glorious chime... Pushed by an angel, the second-hand begins its eternal journey...going around... Everyone cheers... until they realize the clock is going the wrong way... traveling backwards in time... A man shouts, "It's running backwards!" MONSIEUR GATEAU I made it this way... so that perhaps, the boys who were lost in the war might stand and go home again... 13 EXT. BATTLEFIELD - DAY, 1918 13 And we see just that... bullets leaving mens' wounds sailing back into the rifles from whence they came... limbs, whole again... cannon balls rocketing backwards into the cannons' breech... Fallen come to their feet, to live and breathe again. MONSIEUR GATEAU (V.O.) ... home to farm, to work, have children, to live long, full lives... 14 INT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918 14 Teddy Roosevelt, bereft, removes his hat... MONSIEUR GATEAU Perhaps, my own son might come home again... 15 EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, ANOTHER TIME 15 And we see his own son, Martin, once again full of life hopping backward off the train to land where his journey started... back in the arms of his loving parents... 7. 16 INT. TRAIN STATION, NEW ORLEANS - DAY, 1918 16 MONSIEUR GATEAU I'm sorry if I offended anybody. I hope you enjoy my clock. And his wife holding his arm, he makes his way across the terminal and exits... The crowd is motionless. They look to Teddy Roosevelt for guidance... but he simply puts his hat on, and with his guardians, is gone... DAISY'S (V.O.) Mr Cake was never seen again. Some say he died of a broken heart. Some say he went to sea... 17 EXT. THE MISSISSIPPI RIVER - AT THE END OF A DAY 17 Mr. Gateau, blindly rowing... away... 18 INT. HOSPITAL ROOM, NEW ORLEANS - MORNING, PRESENT 18 DAISY He just rowed...rowed...away... The wind loudly rattles the window...they turn to look... DOROTHY BAKER Do you mind if I make myself a call? I've got somebody watching my little boy. CAROLINE No, please go call... It's quiet, Caroline sitting on the bed with her dying mother... with the wind knocking at the window... After some moments: CAROLINE (CONT'D) I hope I haven't disappointed you, Mother. DAISY Oh honey, you could never disappoint me. CAROLINE I wished I had more to show for myself. I know you would have liked to have had grandchildren. (MORE) (CONTINUED) 8. 18 CONTINUED: 18 CAROLINE (CONT'D) My life hasn't been all that... normal... As if to say the pieces haven't all fit... trying to articulate it... CAROLINE (CONT'D) I'm either a step ahead... or a step behind... DAISY What's normal? A hat full of sand. CAROLINE What? DAISY (going on) I need my brown suitcase... The envelope... CAROLINE An envelope? Caroline doing what she's asked goes over to one of the suitcases by the bed... She opens it... and among the Queenie, Apple... she clothes and the keepsakes, there is indeed an old envelope. CAROLINE (CONT'D) This one? DAISY I tried to read it a hundred different times... but I couldn't bring myself... CAROLINE What do you mean? DAISY Read it to me. Daisy closes her eyes... Caroline takes out a sheath of papers... It's a journal of some kind written in longhand... Pages have come undone... scraps of paper, even some napkins... DAISY (CONT'D) (murmurs) Just the sound of your voice... (CONTINUED) 9. 18 CONTINUED: (2) 18 And for her mother's sake she begins to read it... with no particular interest, like reading to someone a selection from a menu's choices... CAROLINE It's dated "April 4, 1985." It says, "New Orleans." (after a beat) "This is my last will and testament... (which starts to engage her) I don't have much to leave... few possessions, no money really... I will go out of this world the same way I came in, alone and with nothing. (finding herself engaged) All I have is my story... I'm writing it now while I still remember it..." She's interested. She looks over at her mother. But her mother's eyes are closed... CAROLINE (CONT'D) "My name is Benjamin..." And Caroline's voice becomes a young MAN'S voice... A MAN'S (V.O.) "Benjamin Button... and I was born under unusual circumstances." 19 EXT. NEW ORLEANS - NIGHT 1918 19 THERE'S SUDDENLY AN EXPLOSION OF FIREWORKS. BENJAMIN BUTTON'S (V.O.) The war to end all wars had ended. We see the streets of New Orleans are filled with drunken, singing revelers... cars jamming the cobblestones, people kissing, shouting joyful... Another burst of fireworks. BENJAMIN BUTTON'S (V.O.) (CONT'D) I was told it was an especially good night to be born... (CONTINUED) 9A. 19 CONTINUED: 19 And we see in the fireworks' light, a young MAN in his early 30s, THOMAS BUTTON, running up to the gate of a fashionable town home. He nearly collides with a PRIEST who arrives there at the same time. Thomas runs past him, up the steps... 20 INT. BUTTON HOUSE, NEW ORLEANS - NIGHT 1918 20 ...He runs past a solemn Maid and up a long staircase... barging into the MASTER BEDROOM... 10. 21 INT. MASTER BEDROOM, BUTTON HOUSE - NIGHT 1918 21 ... where we see a young Woman is lying on a bloody bed, frantically being administered to by a DOCTOR with the help of the small domestic staff... the PRIEST enters... THOMAS BUTTON (seeing him) Why are you here? THE DOCTOR Thomas, I'm afraid she's not going to survive... And the Priest bends to say last rites over the pretty young woman... and the maids, bringing bedsheets, futilely start to change her bloody linens... THOMAS BUTTON That's enough...! All of you! They move out of the way... and Thomas kneels beside his wife... She's pale white, fear in her soft brown eyes... He takes her hand... THOMAS BUTTON (CONT'D) I came as quickly as I could... I'm sorry I took so long, the streets are filled with people... As if to underscore it, fireworks go off... THOMAS BUTTON (CONT'D) You are going to be alright, my dearest darling... I will not let anything happen to you... HIS YOUNG WIFE Promise me, Thomas... And she is interrupted by the sudden CRY OF A BABY. But Thomas can't take his eyes from his dying wife... HIS YOUNG WIFE (CONT'D) Promise me, he has a place... He doesn't understand... She looks up at him... holds his hand tight... then she slips away... The Doctor listening for her pulse... He covers her... it's quiet... the Priest's murmured incantations... the housemaids crying... (CONTINUED) 11. 21 CONTINUED: 21 BENJAMIN BUTTON'S (V.O.) She gave her life for me... And for that I am forever grateful... Thomas, still holding her hand, is unable to let go... When we hear again the BABY CRYING... The BABY'S CRY is not quite right... It is not an infant's cry for succor, or a natural cry to exercise its new lungs... It's a deep, haunting cry from some primal soul... They all turn, and the room stills... listening as The BABY continues its mournful WAIL. Only Thomas goes to answer... The Baby in a basket, swaddled in a thick blanket, its face covered with cloth... Thomas goes to lift it, to see his son's face... MAID Mr. Button...! He lifts the cloth anyway... He recoils... for he has seen some kind of horror... He makes the smallest of sounds, a whispered "Ohhhh." And then he suddenly snatches up the swaddled baby -- running with it out of the room... downstairs... outside... 22 EXT. NEW ORLEANS - NIGHT, 1918 22 ... Thomas, tears on his face, carrying his CRYING BABY, through the streets... Pushing through crowds... 23 EXT. A BRIDGE, NEW ORLEANS - NIGHT, 1918 23 ... he comes along an old bridge over a waterway... the air heavy with the haze of fireworks... the water dark... brokenhearted, he lifts the baby to throw it into the black water... He is just at the apex of this throw when, despite his sadness, he can't bring himself to do it... Instead, cradles the newborn... THOMAS I'm sorry... I'm so sorry... A LANTERN lights his face... A POLICEMAN down the way... POLICEMAN What are you doing there!? The BABY starts to CRY... POLICEMAN (CONT'D) What do you have there? Thomas takes off... the Policeman after him... Thomas, carrying the CRYING BABY, running... 12. 23A EXT. NEW ORLEANS, GARDEN DISTRICT - NIGHT, 1918 23A Thomas, scuttling with the crying infant through narrow streets past the back porches and the back stairs of the large old moldering antebellum houses... 24 EXT. THE BACK OF AN OLD NEW ORLEANS HOUSE - NIGHT, 1918 24 He comes to an old three-story house with a screened porch, VOICES from inside... PEOPLE TALKING and LAUGHING... The Baby, soothed by the soft yellow light, by the music of the voices, by the house itself -- stops its mournful cry. Thomas stops, catching his breath... He looks in through the back porch... the sounds of VOICES coming... Thomas quietly sets the baby on the back porch steps. He takes out every last dollar he has, tucking the money inside the Baby's blanket... We can just see the figures of two people coming from inside... Thomas knocks on the weathered screen door... And his decision made, he turns, moving away from the house, leaving his child behind. A WOMAN'S (V.O.) I could've sworn I heard somebody knockin'... When a young Black Woman, in a green dress, comes onto the porch... A thin, attractive woman, in her late 20s, with the sultry eyes of a lounge singer -- She's known as QUEENIE. She's followed by a handsome Black man, MR. WEATHERS -- that everyone calls TIZZY. She looks out the door, and not seeing anything... QUEENIE I guess not... She stands for a moment taking in the night air... QUEENIE (CONT'D) The air smells sweet... And she sings to herself... a song from the time... TIZZY You look very handsome tonight, Ms. Queenie, handsome as I ever seen you... The green matches your eyes... QUEENIE (fingering dress) It isn't everyday a war's over, Mr. Weathers... (MORE) (CONTINUED) 13. 24 CONTINUED: 24 QUEENIE (CONT'D) We have to mark it somehow... You ain't no slouch yourself. He smiles, tips his hat... And they stand in the quiet... TIZZY Hambert's back in town... came home legless, but he home... we're gonna throw a party for him... help get himself situated... (beat) I know you was sweet on him one time... QUEENIE Sweeter than I shoulda been... Lost his legs you say? "You never know what's comin' for you." And if right on cue an older white Woman sticks her head out... OLD WOMAN Ms. Simone messed herself... QUEENIE She got to stop doing that, or it's diapers for her... I'll be right there, Mrs. Jameson... The woman disappears inside. Queenie, not anxious to go... QUEENIE (CONT'D) It sure is nice out here, Mr. Weathers... TIZZY Awful nice, Ms. Queenie... Come out back for a moment... take your mind away from things... He pushes open the porch screen door... QUEENIE (smiles) Just a moment's time... He offers her his hand... She takes it... He backs out of the house, holding her hand, and he suddenly steps right on top of the Baby... The baby wails, Tizzy stumbles, nearly falls... (CONTINUED) 14. 24 CONTINUED: (2) 24 TIZZY What in God's name...?!! QUEENIE What is that? A fish crawl out of the river...? She moves to it... pushes aside the blanket, and freezes. QUEENIE (CONT'D) God in heaven! IT IS THE VERY FIRST TIME WE HAVE SEEN THE BABY. What we see is the prominent bald head of any newborn... but it has the face, the wrinkled skin, the faded eyes, of an octogenarian. Indeed, if we didn't know any better, it would seem the newborn was a wrinkled decrepit sad-eyed old man... QUEENIE (CONT'D) My Goodness, the Lord did something here...! TIZZY Look like a milk wagon run over it... three times... and back... And they're both motionless, not quite sure what to do... TIZZY (CONT'D) I didn't see it layin' there... I hope I didn't hurt it none... steppin' on it like that... The BABY won't stop its mournful cry... TIZZY (CONT'D) We best leave it to the police... I'll go -- Queenie hesitates... a longing. QUEENIE It's for sure nobody wanted to keep it... And making up her mind, she suddenly grabs up the crying baby, taking it inside... Tizzy, anxiously whispering something, going in after her... 15. 25 INT. THE NOLAN HOUSE, NEW ORLEANS - NIGHT, 1918 25 A piano's playing a standard, people singing.... There's a myriad of old dark rooms... heavy furniture and carpets... an eclectic mixture of the possessions of those who have lived and died here over many years... and we see a parlor is crowded with Old People, from sixty to ninety-five, in various stages of health... various contraptions to keep them "afloat". An Old Age Home. We see Queenie moving quietly along a hallway, carrying the crying baby so as not to be seen. Tizzy, following her, still anxiously whispering after her... A WOMAN'S (V.O.) Where are you, Queenie...? QUEENIE Hold your water... (and to Tizzy) Go see to them. He does what she asks. She hurries the baby into a small room, literally like a mouse house, under the stairs... 26 INT. QUEENIE'S ROOM, OLD HOUSE, NEW ORLEANS - NIGHT 1918 26 A small room tucked under the staircase... A WOMAN'S (V.O.) Queenie Apple... she went and messed herself all over again... QUEENIE Jane Childress start her a bath... and mind your business, Mrs. Duprey... You'll be messing yourself soon enough too! There's a KNOCK on Queenie's door. A WOMAN'S (V.O.) (whispers) Somebody stole my necklace... QUEENIE I'll be right with you, Mrs. Hollister... She whispers to The Baby, soothing it. And looking for a place to put it, she opens a dresser drawer... (CONTINUED) 16. 26 CONTINUED: 26 QUEENIE (CONT'D) You may be as ugly as an old pot... but you still a child of God... A WOMAN'S (V.O.)
60	Eagle Eye	John Glenn,Travis Wright	Action,Mystery,Thriller	Sep-08	EAGLE EYE sketches on the wall. All of the same dog. The actual DOG, Johann, lies underneath the kitchen table. 9. 3/28/07 CONTINUED: JERRY So I think. No, I'm pretty sure that's the best one so far --- MRS. WIERZBOWSKI Yes. Is good -- rent is better. She puts a bowl of STEW into Jerry's hands. MRS. WIERZBOWSKI (CONT'D) You are hungry, I am guessing. JERRY Oh, no, no. I couldn't -- (looking down at bowl) Unless, you know, you insist. He sits at the table, starts eating. This is their routine. MRS. WIERZBOWSKI So where is girl? I don't see her? JERRY Oh, the redhead? No. She... that's over. She got smart. MRS. WIERZBOWSKI Like the others. JERRY Well, womenareIpretty smart. I've discovered. MRS. WIERZBOWSKI You are like Johann. Jerry stops eating, mouth full. As Johann looks up. JERRY Your -- I'm like your dog? MRS. WIERZBOWSKI Look at him. Is big dog. Labrador. But he believe... he is terrier. So is Labrador... but no labrador. Somehow Jerry can't get his eyes off Johann. Quietly: JERRY why do you think that is? As she pours a drink into a plastic cup -- MRS. WIERZBOWSKI Perhaps many things. When I rescue Johann from pound, they say he was abuse. (MC)RF ) 3/28/07 10. CONTINUED: (2) MRS. WIERZBOWSKI (CONT'D) As puppy. They kick him when baby, make him feel not big. (hands Jerry the cup) You need someone for rescuing you. Jerry looks at her, sad-smiles. Takes a sip and holy shit: JERRY This is -- vodka -- Jesus, its eight- thirty in the morning -- MRS. WIERZBOWSKI -- you cannot eat bigos without vodka. Adjusting to it, Jerry drinks again -- as his CELL PHONE RINGS. He looks at his phone, freezing. Mrs. Wierzbowski notices. MRS. WIERZBOWSKI (CONT'D) Is the girl? Answer. Tell her you'. are Labrador. Then ask if she give you money for rent. But we've PUSHED IN on Jerry, who stares at the name on the phone. Something's affecting him deeply. He says, quietly: JERRY its my mother. MRS. WIERZBOWSKI Is problem? JERRY (even, quieter, gets up) is problem. INT. JERRY'S APARTMENT BUILDING - HALLWAY - MOMENTS LATER Jerry steps outside as the phone keeps RINGING, debating: WHAT TO DO. Finally, he answers, as if ready for punishment: JERRY Hey, mom... Jerry stands there in silhouette. LISTENING. Something is happening... .suddenly he loses his balance -- sinks to the floor, phone to his ear -- staring in pain -- EXT. CHURCH - DAY MOURNERS are gathering in their somber best, shaking hands. Across the street, we find Jerry, getting out of a taxi. Standing in a rumpled suit. Grim; the last thing he wants to do is enter that church. It's almost as if he can't. Finally, from somewhere, strength. He walks forward. 3/28/07 11. INT. CHURCH - CONTINUOUS Jerry heads down the aisle, painfully self-conscious. Most of the MOURNERS are in the pews, turning to look at him as he passes. When suddenly there's a SCREAM OF TERROR -- and Jerry BRACES as if he was expecting it -- looks over at a WOMAN pointing like he was a fucking bodysnatcher and she collapses -- Jerry holds up his hands as everyone turns to look at him-- JERRY -- no! I-- I'm not him! All eyes on him. His voice, sad, heartbroken: JERRY (CONT'D) It's okay! I'm not Paul! Locks eyes with his MOTHER and FATHER up in the front pew. Their eyes red from crying, withered shells. And Jerry gives a lame wave before heading reluctantly up to the COFFIN. Devastated, he leans in -- and we MOVE AROUND to see the body: And it's fucking HIM -- Jerry's very own face, but one that seems to have been RECONSTRUCTED after some kind of accident. Gruesome and handsome all at once. This was PAUL SHAW. Jerry's identical twin. Off the surreal moment... A reverbed TRUMPET PLAYS, the tune familiar. In fact, it's: INT. APARTMENT - DAY THE NATIONAL ANTHEM, booming from a trumpet played by an 8 year- old boy: KYLE HOLLOMAN. A WOMAN blurs into frame: RACHEL HOLLOMAN, searching for car keys. 28, smart, beautiful, but fiercely independent, she's a single mom who's taken life's knocks. Never as cool-headed as she wants to be, she's on a short fuse with everyone but Kyle, whom she adores: RACHEL Okayokay... okay: we came home, put down the leftovers, you turned on the TV, I went over, I said no TV-- She turns to the TV area and walks straight INTO a table. Stuns her, momentarily, but she doesn't break stride -- KYLE -- we're gonna be late, huh? RACHEL -- absolutely not -- I turned it off, came over here, checked messages, put the leftovers in the-- 3/28/07 12. CONTINUED: KYLE RACHEL --knocked over the phone-- --right, knocked over the phone, put it back, put the food in the fridge-- She opens the fridge: HER KEYS sit atop a Tupperware container. Kyle hits a high note and we SLAM TO: INT. RACHEL'S CAR - MORNING The KEY turning in the ignition of a crappy, old Honda. The engine CHOKES, SPUTTERS. Rachel's tense-- RACHEL we need to get a new car -- KYLE I like your car. We're gonna be late. The engine still SPLIT-SPUT-SPUTTERING.::.. a BUS. whizzes by, slows up ahead at a bus stop. Rachel gives up, jumps out: RACHEL No we're not: the bus. KYLE -- are you kidding? EXT. CITY STREET - DAY Rachel and Kyle HAUL ASS toward the bus stop, both struggling with Kyle's carry-on, a.garment bag, her purse, and a trumpet case marked with STICKERS (Green Bay Packers among them)-- RACHEL I put vitamins in your toiletry bag, don't forget to take two in the morning -- KYLE and one at night, I know -- RACHEL And your inhaler, which I may need to use now, is in the outside pocket -- wait! They rush back to a MAILBOX, she pulls bills from her purse: KYLE More bills? RACHEL Yup -- that's what happens when you have a kid on lay-away. They smile at each other. When SUDDENLY a BUS ROARS PAST the WIND GUSTS and the bills go FLYING into traffic: 3/28/07 13 CONTINUED: RACHEL (CONT'D) OH, SHIT! STAY HERE! Rachel waves her arms at oncoming cars, runs INTO TRAFFIC-- KYLE YOU SWORE!! As she chases the bills, SCREECHING and HONKING around her: RACHEL I KNOW, I'M SORRY! (Porsche HONKS as it PASSES) HEY, A LITTLE COMMON COURTESY, ASSHOLE! And she runs back to Kyle, THROWS the bills in the mailbox -- KYLE You swore again. Was that our bus? Rachel looks: PAN to across the street, the bus is now LEAVING THE BUS STOP. PAN back to Rachel: SHIT!! RACHEL: Okay, now were gonna.be late. She puts fingers in her mouth and WHISTLES HARD for a cab -- INT. TRAIN STATION - WISCONSIN - DAY A CLASS OF MUSIC STUDENTS boards and Amtrak train. Rachel and Kyle are RUNNING through the crowd toward them -- RACHEL Scuze us, coming through, sorry -- WAIT!! WAIT!! Finally they arrive. Kyle's teacher, MRS. MILLER, smiles: MRS. MILLER Under the wire -- RACHEL (gulping breaths) Hi -- sorry -- Rachel Holloman, we met-- MRS. MILLER -- of course, Barbara Miller. (looks at watch) You should probably -- And Rachel's stomach drops. Knows they've been racing towards this moment all morning but still not willing to accept it. Turning Kyle to face her -- 3/28/07 14. CONTINUED: RACHEL Okay. Now. I want you to have an awesome time -- KYLE I will, mom -- RACHEL -- you can eat junk food, just remember to brush your teeth; and if you're gonna goof off, just be really smart about it; and try not to stay up past your bedtime, you get really cranky when you do that'-- (turns to Mrs. Miller) He gets very contrarian if he doesn't get at least eight -- MRS. MILLER I'm afraid it's time to board, Mrs. Holloman. Tears springing to Rachel's eyes. She tries to hide them. Bending down to be eye to eye with her son. Sotto -- RACHEL You see all these kids? They're all calling their mothers. You just do it more -- KYLE It's only two days,: mom. Y'know... you could try and some have fun too, wouldn't kill ya.. RACHEL Fun? What's that? (hugging him) I love you so much, baby.You're my everything. Rock the house. KYLE -- love you too -- They separate -- she watches as Kyle boards with Mrs. Miller: RACHEL Call me! MRS. MILLER Your mom gonna be okay? KYLE It's unclear. As they head into the train, Rachel steels herself and GOES. Passing the BAGGAGE AREA... 3/28/07 15. CONTINUED: (2) We HOLD as the PORTER places Kyle's TRUMPET CASE on a conveyor belt. Oddly, it's ELECTRONICALLY REDIRECTED AWAY FROM THE OTHER INSTRUMENTS -- down a separate belt, where it emerges in a pick- up turnstile. Its lifted off the track by... A MIDDLE EASTERN MAN. Nervous. Really nervous. And the strangest thing -- he touches his ear and MURMURS something in Tajiki. To no one. Like a crazy person. What the hell? Walks to the curb where his white van idles. On the side is a decal: "HASSAD DRY CLEANERS." Loads the trumpet inside as we: INT. SHAW HOME - AFTERNOON Solemn quiet. Mourners talking in hushed tones. A buffet. Old people. Children. And over these shots, WHISPERED VOICES: WOMAN #1 (V.O.) you didn't know either? WOMAN #2 (V.0.) No idea. WOMAN #3 (V.0.) I knew he had a brother. But not a twin, that was... WOMAN.#1 (V.0.) I know, I know... Four WOMEN sit together. Heartbroken, unsettled. One glances across into a sitting room, where Jerry sits alone on a sofa. We're CLOSE on Jerry now. Holding a glass, etched with hearts. Looking at it as if it means something. Somehow, his childhood. He looks up at the stairs, as if knowing he needs to go up there. So he does. We MOVE with him: WOMAN #1 (CCNT'D) when was the last time they saw him? WOMAN #2 Margaret said years... INT. SHAW HOUSE - PAUL AND JERRY'S ROOM - DAY TROPHIES. RIBBONS. All of them awarded to PAUL SHAW. TIGHT on Jerry's face as he scans the shelves of evidence. Evidence that he had a brother. A superior brother. Again and again we see: PAUL SHAW. PAUL SHAW. PAUL. PAUL. Then Jerry finds one framed CERTIFICATE. In the back. A Junior High ART PRIZE. Awarded to JERRY SHAW. He smiles at the fucking absurdity of it as a figure appears behind him... 3/28/07 16. CONTINUED: It's WILLIAM. Their father. The worst day of this man's life. Jerry composes himself quickly. They stare for a moment. WILLIAM Six months without a boo or a bah. JERRY Didn't realize it'd been that long. WILLIAM Your mom was worried. So where were you this time? JERRY Nowhere. (then, a touch reticent) Singapore. Alaska for a few weeks. got a job for a while. On a...fishing boat. Met some great p- WILLIAM -- that's nice. Looks like you're really seeing the world. JERRY I'm trying, you know, just to -- But William has just started crying.. Sobs of absolute loss. Jerry stands there, frozen, until William EMBRACES HIM. Jerry hugs him back -- tightly, grateful and starting to feel again. And just then, William says, quietly, through tears: WILLIAM You sound just like him. Jerry's eyes find a point in space. This is love by proxy. And now he hugs, his father in support, not unity. William pulls back. Takes his wallet from his pocket: WILLIAM (CONT'D) I want to give you some, uh... JERRY No. -- Dad, I'm okay. I'm doing really well. I promise. His father holds out some bills. North of two-hundred dollars. It's a stand-off. The question is: does Jerry have enough pride to reject the offer? And the answer is... EXT. CHICAGO STREET - ATM MACHINE - DAY CLOSE ON THE PIN NUMBER AGAIN, getting PUNCHED IN. Then FIND JERRY, exhausted from the funeral, slipping the money his father gave him into a deposit envelope. A glance at the SECURITY CAMERA. Then a BEEP makes him look at the screen. 3/28/07 17 CONTINUED: AND WE PUNCH IN TIGHTER ON JERRY, WHO STARES, STUNNED. The screen reads: "BALANCE: $750,000.00" What the HELL? Glances back to the people behind him, they want him to hurry. He hits "Cancel." But the machine, as if disobeying, spits out five $100 bills-- JERRY -- whoa -- Jerry stabs cancel again. Now TEN MORE $100 bills-come out. He glances at the people in line, nervous-- JERRY (CONT'D) -- two seconds, sorry -- Eyes flick back to the ATM CAMERA. He covers it with his hand, pushes "cancel" again and again. But now.. TEN THOUSAND DOLLARS IN $100 BILLS HAS COME OUT, getting JAMMED' in the slot. People start to PEER OVER as Jerry SCRAMBLES to keep the cash from flying everywhere. And finally. The machine stops. He stuffs all the money in his pocket. Everyone's staring. JERRY (CONT'D) Big date. So... fingers crossed. INT. JERRY'S APARTMENT BUILDING.- HALLWAY - NIGHT Jerry enters, a little dazed -- heads for his apartmen Written by John Glenn & Travis Wright March 28, 2007 FADE IN: EXT. DESERT DUNES - DAWN CLOSE ON A WOODEN STICK-FIGURE TOY, held by a SIX YEAR OLD BOY. Another BOY grabs the toy away and RUNS OFF, laughing -- CHILDREN are playing under a cluster of date palms, part of a small desert commune somewhere in the Middle East. Their MOTHERS, veiled in black, gather and talk. Bearded, turbaned MEN carrying AK-47's argue politics. A domestic, even tranquil scene of life in another part of the world... EXT. DESERT ROAD - CONTINUOUS A CARAVAN of VEHICLES RACE DOWN A HIGHWAY:. SUV's mounted with surface-to-air RPG's form a protective cordon around a BLACK MERCEDES. As the cars ROAR INTO LENS, we go.to: EXT. RIDGE ABOVE ROAD - DAWN POV THOUGH A LONG-RANGE SCOPE: the caravan as seen by a TWO-MAN SPECIAL OPS TEAM perched on a ridge. As the LEADER surveils the cars, his partner finishes assembling a two-foot UAV (Unmanned Aerial Vehicle), rigging it with EXPLOSIVES: SPECIAL FORCES LEADER We have visual onthetarget. Confirm 'go' for UAV launch. INT. PENTAGON - JOINT OPERATIONS CENTER - NIGHT SUPER: "JOINT OPERATIONS CENTER, THE PENTAGON" Sat-feeds monitor the caravan. Military brass observes: SECRETARY OF DEFENSE GEOFF CALLISTER (50's, African American; eyes with soul and a wary intelligence). Beside him: COLONEL THOMPSON (Full-Bird, decorated). COLONEL THOMPSON Alpha One, you're confirmed 'go': active UAV at GPS papa, zulu, three, zero. EXT. RIDGE ABOVE ROAD - DAWN The Ops Team activates a remote transmitter, LAUNCHING the UAV into the sky like a small ROCKET -- amazingly, its silent. INT. PENTAGON - JOINT OPERATIONS CENTER - CONTINUOUS An airborne feed from the UAV shows it descending on the caravan. A PENTAGON TECHIE manipulates a JOY STICK, controlling the drone from 6500 miles away: PENTAGON TECHIE #1 We have system control. 3/28/07 2 CONTINUED: COLONEL THOMPSON Activate laser mic. EXT. SKIES OVER DESERT - CONTINUOUS DRONE POV: tracking the caravan, singling out the MERCEDES. The drone emits a THIN LASER BEAM that hits its rear windshield -- INT. THE PENTAGON - JOINT OPERATIONS CENTER - DAY Over speakers, VOICES speak "Balochi." A TRANSLATOR listens: CALLISTER Is it him? TRANSLATOR Four males, one of them's speaking with a.. I think it's a Rakhshani•dialect, consistent with our intel on Al=Khoei. COLONEL THOMPSON Gimme voiceprint analysis. The screen pops to an AUDIO WAVEFORM of the conversation. VOICEPRINT ANALYSIS finishes, the; screen shows a FILE PHOTO of a BEARDED MAN: "37% PROBABLE MATCH = ID AL-KHOEI." CALLISTER I'm not taking 37% to-the President... John, weigh in here? He looks to a plasma: the PRESIDENT'S CABINET is assembled via teleconference from the White House Situation Room: DIRECTOR OF NATIONAL INTELLIGENCE CIA and NCTC concur this is the target based on reliable Intel from the Brits. WHIP TO another monitor: the caravan starts to VEER off-road. TECHIE Sire they're pulling off the highway. TECHIE #2 We have abort recommendation. The ANALYSIS ARRAY reads: "RECOINDATION: ABORT MISSION." The source of this recommendation, for now, remains a mystery. COLONEL THOMPSON If it's him, this guy comes out of hiding once in a lifetime, we can't let him go. CALLISTER (beat, torn) Alright, stay with him... 3/28/07 3 CONTINUED: THE SATELLITE VIEW shows the caravan approaching the commune. EXT. DESERT COMMUNE - DAY Mothers grab up their children and pull them aside as the vehicles arrive. ARMED MEN emerge... INTERCUTTING - THE PENTAGON OPS ROOM: the computer pinpoints DOTS on the satellite feed that represent WEAPONRY on-site -- TECHIE We've got AK-47's, RPC's, Chaparral guided missiles -- COLONEL THOMPSON Looks like a training camp. THE DESERT: Bodyguards cluster around a TURBANED:MAN as he emerges from the Mercedes. It looks a lot like the man from the file photo, but the beard makes it hard to confirm. MID-AIR WITH THE UAV: It SWOOPS, targeting the man -- SNAP: THE PENTAGON: a BLURRY SNAPSHOT of his FACE appears. A DIGITAL WIRE-FRAME is overlaid on the man's face: "5I$ PROBABLE MATCH - INSUFFICIENT DATA. RECOMMENDATION: ABORT MISSION." TECHIE 51%. 'Abort' rec holds. THE DESERT: Now our guy DISAPPEARS into the crowd as they begin MOVING toward a large WOODEN PLANK on the desert floor. Some of the men take hold of the plank, drag it back to reveal... a PIT. THE PENTAGON: SAME IMAGE in real-time on the feeds: CALLISTER What is that, a weapons cache? ANALYST Sir, the placement of stones around the pit, markers for the Five Pillars of Islam... I think it's a funeral. Everyone trades looks -- this just got even more complicated. THE DESERT: from the back of a TENTED TRUCK, a BODY is lifted, shrouded in white. The men carry it through blowing sand... the procession stopping at the pit. They begin lowering the body... THE PENTAGON: on monitors, a section of the GENEVA CONVENTION SCROLLS: TECHIE Sir, striking a funeral would put us in violation of the Geneva convention. 3/28/07 4. CONTINUED: COLONEL THOMPSON Once this guy's gone, he's gone. The PENTAGON GENERAL COUNCIL pipes in -- PENTAGON GENERAL COUNCIL "Hors de Combat" -- legally we'd be open to international prosecution. But we have no independent intel verifying it's in fact a funeral, and the presence of weapons certainly leaves room for interpretation. TECHIE #2 I have POTUS calling from Air Force One. CALLISTER (a beat, looks around). Everyone agree this is the best course of action? No one dissents. Callister picks up: CALLISTER (CONT'D) Mr. President, we have.a.51% identity match on Majid Al-Khoei. There is some possibility he's at a funeral, but we don't know. Regardless, counsel thinks we can claim 'Overriding Legal Authority.' Also, you should be aware we have an abort recommendation, but your cabinet, the Speaker, the Joint Chiefs urge a 'go.' THE PRESIDENT (V.0.) You left yourself out of the lineup. Callister pauses. AS THE MESSAGE ON THE MONITOR STARTS BLINKING: "ABORT, ABORT, ABORT..." CALLISTER Yessir... we gauge our strategy by two standards: the highest probability of success with the least amount of collateral damage. At 51% probability, we don't have either one. GENERAL THOMPSON And if it is Al-Khoei and he walks, Sir, we're putting our people at risk. There's a long silence as the President considers. 3/28/07 5. CONTINUED: ( 2) THE PRESIDENT (V.0.) I respect your caution, Geoff, but we won't get another chance like this... you have a green light. Callister's obviously opposed, but he bites his tongue: CALLISTER Understood. (hangs up) We're weapons free. And with deadly calm, Techies execute orders into-headsets: TECHIE TECHIE 2 -- Switching to Tac-2, -- MTS active, painting the acquisition's good -- target -- EXT. DESERT - FUNERAL - DAWN The women begin to SING the "Nasheen," a.funeral song praising Allah. The beautiful VOICES grow until all other sound is GONE. DRONE POV: the feed from the CAMERA INSIDE THE NOSE-CONE as it LAUNCHES its missile -- it ZOOMS toward the funeral gathering -- The haunting, beautiful voices WAIL... in the moment before impact, we see: birds flying across the great plain... a herd of running gazelles... the DESERT WIND blankets a layer of sand over the shrouded body in the pit... a CHILD'S HAND grasping his mother's... A WHITE FLASH AS THE MISSILE HITS: HOLD IN WHITE: CREDIT SE UENCE: WORDS CLOSE UP... a digitized electronic scan, as if they're being analyzed by someone: "We the people of the United States... more perfect union..." Highlights of The Constitution, The. Declaration of Independence... We land on: "...whenever any form of government becomes destructive...it is the right of the people to alter it or to abolish it..." CLOSE IN on these last words: "ABOLISH IT." WHITEWASH: INT. BACK ROOM - NIGHT We're looking at a DIGITAL TIMER ticking down crucial seconds -- then a MAN's FACE, intense, focused on something below screen: this is JERRY SHAW, 30, handsome, roguish. Somewhere between an adult and a child -- under his breath: JERRY damnit... 3/28/07 6. CONTINUED: VOICE (O.S.) You gotta make a choice. You gotta move-- JERRY -- I know. VOICE (O.S.) Now. Who are you gonna be? So Jerry makes his move, which we see is SLAMMING down a PLAYING CARD representing a group of DWARVES. He sits across from KWAME, 17. They're playing a geeky role-playing CARD and DICE game, CASH on the table. JERRY KWAME there. Dwarves?: Bullshit -- Bullshit? I just blocked your ass and attacked with (checks card) Ancient Mastery points. --.dwarves don't have that -- -- read the oracle text, my friend. -- shit A thick-mascara/black lipstick BECKY enters, removing her SMOCK: BECKY You know what would be great? If you guys took a longer break. That'd be awesome. JERRY Hey, Becky? When're you going to start wearing makeup? Kwame laughs as Becky tosses her smock at Jerry: BECKY .The collator's broken. JERRY Dude: no its not. BECKY (putting on a jacket) Oh yeah it is, dude! She heads out as Jerry collects the cash. Kwame puts on his own smock as Jerry offers him a quick lesson: JERRY Your first mistake? Underestimating dwarves. Power can come from anywhere -- tomorrow night I'll give you first roll and a bonus pack if y-- 3/28/07 7. CONTINUED: ( 2) KWAME I'm not gonna be here tomorrow, remember? I'm going to Cornell. And Jerry stops. A hit to the solar plexus. Wherever we are, this kid's off to a bright future. But not Jerry. JERRY That -- wow. Good for you. So it's your last night. You're gonna spend it collating. KWAME -- what? But she said the collator's broken. JERRY And that's why we have those rubber thimbles in the drawer --.congratulations on Cornell, though, that's huge! TRACK WITH HIM out to... A COUNTER AREA as, he pins on his NAMETAG: "JERRY." Rows of COPY MACHINES and COMPUTER CUBICLES. He takes his place behind a register. Smiles, getting it up: JERRY (CONT'D) Welcome to Kinko's, how can I help you? The CHUGCLICK-CHUGCLICK-CHUGCLICK sound of the machines gets louder and louder as they BECOME THE SOUND OF: INT. "EL" SUBWAY CAR - MORNING The KRAK-KRAK-KRACKING SUBWAY. We glimpse people looking at their BLACKBERRYS. Talking on CELL PHONES. Listening to IPODS and playing GAME BOYS. The NEWS plays on an LCD mounted on the train wall. A society lost in an "electronic elsewhere." And JERRY, with a SKETCH PAD in his lap. A surprisingly good pencil rendering of the face of a LARGE DOG -- weird, but he's got talent. The TV disturbs his concentration -- news footage of BOMBED-OUT EMBASSIES, emergency vehicles, wounded victims: SHEPARD SMITH a heightened terror alert due to a series of suicide bombings, believed to be in retaliation for a deadly attack outside Abadan that killed forty people. Though the White House has denied involvement, Shia leaders have denounced the U.S. as responsible... AL-JAZEERA FOOTAGE: A SHIA SPOKESMAN is translated into ENGLISH: 3/28/07 8. CONTINUED: SPOKESMAN Your embassies were only the beginning! Our warriors are already within your borders. Until American leadership is removed from power, Allah's revenge is upon you! And during all this, Jerry notices something: people are glancing at each other aranoid. What a fucking world... EXT. ATM MACHINE - MORNING An ATM CARD gets slid into the slot. Jerry looks up. THE ATM CAMERA IS STARING RIGHT AT HIM. Then, a BEEP gets his attention: "INSUFFICIENT FUNDS." He processes this a moment... his exhale doesn't just say, "FUCK," it says "FUCK 1 KNEW IT." INT. JERRY'S APARTMENT BUILDING - LOBBY .-MORNING Saying it's a modest place would be kind. Jerry opens his mailbox. Just BILLS, some of which will:go unpaid this month. A BEAT as he shoves them back in and we HARD CUT TO: INT. JERRY'S APARTMENT BUILDING - HALLWAY - MORNING A DOOR OPENS: MRS. WIERZBOWSKI, Jerry's elderly Polish landlady. Pleased to see him, but painfully annoyed to know what's coming: MRS. WIERZBOWSKI Jerry. JERRY Whatever are you cooking right now? Is the greatest thing I've ever smelled in my life, I swear to God -- MRS. WIERZBOWSKI is schab wieprzowy po polsku -- you have the rent, yes? JERRY (puts cash in her hands) -- here's some of it -- most of it -- but I've got something else for you... something special... Eyebrows bobbing. Mrs. Wierzbowsky knows exactly what it is. Sighs. Knows she can't resist him -- INT. KITCHEN - MRS. WIERZBOWSKI'S APARTMENT - MOMENTS LATER CLOSE ON Jerry pushing a THUMB TAC into the dog sketch we saw him doing on the subway. PULL BACK to reveal about 25 other

1

9

Pamela Pettler,Shane Acker

Animation,Adventure,Drama,Fantasy,Sci-Fi

September_2009

,SEQ.,05,-,PROLOGUE ,,,,, ,,,,,,The,Focus,Features,logo,appears,on,screen,and,we,slide,INTO ,,,,,the,"O",in,Focus. ,,,,, ,,,,,Stock,dissolves,from,35mm,to,16mm.,,,,BLACK,&,WHITE.,,GRAINY, ,,,,,like,OLD,DOCUMENTARY,FOOTAGE. ,,,,, ,,,,,,,,,,,,,,,,,SCIENTIST'S,VOICE ,,,,,,,,,,,,Experiment,208,day,20... ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,DAY ,,,,,We,see,an,early,incarnation,of,a,MACHINE,(this,will,be,the ,,,,,inner,brain,of,the,FABRICATION,MACHINE).,We,see,the ,,,,,scientist,in,a,white,coat. ,,,,, ,,,,,,We,pull,back,to,see,the,Scientist,is,playing,a,complicated ,,,,,MULTI-LEVEL,3-D,chess,game,on,a,MULTI-LEVEL,GAME,BOARD,with ,,,,,the,MACHINE.,The,Scientist,makes,an,elaborate,multi-level ,,,,,move.,The,Machine,reaches,an,arm,out,into,the,chess,game,but ,,,,,then,malfunctions,and,strews,the,game,everywhere. ,,,,, ,,,,,We,pull,back,further,to,see,the,back,and,legs,of,the ,,,,,DICTATOR,with,black-uniformed,soldiers,flanking,him.,The ,,,,,regime's,emblem,can,be,seen,on,the,uniforms. ,,,,, ,,,,,,,,,,,,,,,,,DICTATOR ,,,,,,,,,,Useless. ,,,,, ,,,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,Please.,,Give,it,a,chance. ,,,,, ,,,,,We're,on,the,machine,which,is,clicking,and,jerking,as,it ,,,,,malfunctions. ,,,,, ,,,,,,,,,,,,,,,,,DICTATOR,(V.O.) ,,,,,One,more.,,,That's,all. ,,,,,We,turns,to,leave.,We,hear,the,clicking,of,boots,as,the ,,,,,soldiers,accompany,him,out. ,,,,, ,,,,,We,see,the,scientist's,dejected,face,as,he,comes,towards,the ,,,,,camera,to,turn,it,off. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,BLACK ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. ,,,,, ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,NIGHT ,,,,, ,,,,,The,grainy,footage,rolls,again;,we,see,the,scientist,moving ,,,,,away,from,the,camera,(having,just,turned,it,on). ,,,,, ,,,,,The,lab,is,shadowy,late,at,night.,We,see,his,worktable,for ,,,,,the,first,time,covered,with,discarded,sketches,a,furiously ,,,,,filled-in,journal,and,pieces,of,failed,machinery,(the,floor ,,,,,is,also,similarly,littered).,The,TALISMAN,sits,on,the ,,,,,worktable.,Nearby,is,a,small,old-fashioned,tiny,little,box. ,,,,, ,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,(tired,but,dictating,to ,,,,,,,,,,,,,keep,the,documentary ,,,,,,,,,,,,,record,complete) ,,,,,,,,,,My,last,possible,solution.... ,,,,,,,,,,,,(muttering,to,himself) ,,,,,,,,,,It,must,work... ,,,,, ,,,,,He,gently,brushes,his,fingers,over,the,little,box,as,though ,,,,,for,good,luck.,He,picks,the,TALISMAN,up,off,the,table.,He ,,,,,moves,over,to,insert,the,talisman,into,the,port,of,the ,,,,,machine. ,,,,, ,,,,,His,back,to,us,he,faces,the,machine.,We,see,him,putting ,,,,,something,over,his,face,(but,only,from,behind). ,,,,, ,,,,,There,is,a,sudden,FLASH,OF,GREEN,LIGHT,and,the,machine,JOLTS, ,,,,,and,then,suddenly,starts,up...lighting,up,electricity ,,,,,crackling,parts,moving,in,smooth,coordination,etc. ,,,,, ,,,,,The,scientist,waits,watching.,The,machine,continues,to,run. ,,,,,Its,arms,move,smoothly,almost,curiously. ,,,,, ,,,,,The,scientist,puts,the,device,covering,his,face,down,and,gets ,,,,,up,and,comes,towards,camera. ,,,,, ,,,,,We,see,the,camera's,POV,as,the,scientist,comes,towards,us: ,,,,,CLOSE,on,the,scientist's,face,which,is,exhausted,cheeks ,,,,,sunken,eyes,wide,pupils,dilated. ,,,,, ,,,,,Pull,back,to,show,the,machine,purring,suddenly,full,of,a,new ,,,,,sort,of,energy.,Something,new,has,happened. ,,,,, ,,,,,The,scientist,switches,off,the,camera,and: ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,, ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,A,DAY,LATER ,,,,, ,,,,,The,machine,zips,through,the,complex,3-D,chess,game,at ,,,,,lightning,speed,checkmating,the,scientist,in,seconds,as,the ,,,,,Dictator,watches. ,,,,,The,scientist,laughs,fondly,and,pats,the,machine. ,,,,, ,,,,,,,,,,,,,,,,,DICTATOR ,,,,,,,,,,,Perfect. ,,,,, ,,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,,(PROUDLY) ,,,,,,,,,,,You,see,it,evolves. ,,,,, ,,,,,The,scientist,proudly,gives,the,machine,to,the,dictator.,A ,,,,,flash,goes,off:,someone,is,taking,a,picture,O.S. ,,,,, ,,,,,The,dictator,exits;,we,hear,the,click,of,boots,and,see,as ,,,,,much,as,possible,of,the,soldiers,flanking,him. ,,,,, ,,,,,OUT,OF,SIGHT,OF,THE,SCIENTIST, ,,,,, ,,,,,CLOSE,on,the,machine:,the,dictator,is,gripping,it,with,a ,,,,,nasty,firmness.,The,machine,seems,to,try,to,squirm,away. ,,,,,The,director's,BLACK-GLOVED,HAND,grasps,it,harder. ,,,,, ,,,,,,he,machine,responding,to,the,brutality,lashes,an,arm,out ,,,,,and,grabs,the,nearest,soldier,(seen,from,the,back,we,see ,,,,,only,the,uniform,and,helmeted,head),by,the,back,of,his,arm, ,,,,,BREAKING,his,ARM.,The,soldier,falls,(if,possible). ,,,,, ,,,,,,he,dictator,CONTINUES,ON,WITHOUT,BREAKING,STRIDE. ,,,,, ,,,,,,,,,,,,,,,,DICTATOR ,,,,,,,,,,,,,,CHILLINGLY) ,,,,,,,,,,,Yes.,Perfect. ,,,,, ,,,,,And,we: ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,,SEQ.,010,-,Title,Sequence ,,,,, ,,,,, ,,,,,IN,BLACK: ,,,,, ,,,,,TITLE,CARD,#1 ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,, ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,,,(robotic,sounding) ,,,,,,,,,,Alert.,We,are,in,a,state,of ,,,,,,,,,,emergency... ,,,,, ,,,,,Sounds,of,WAR:,EXPLOSIONS,MACHINE,GUNS,SCREAMS... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,FADE,UP,INTO: ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,WORKSHOP,-,DAY ,,,,, ,,,,,A,tiny,cluttered,attic,filled,with,bits,and,pieces,of,found ,,,,,material--burlap,door,hinges,an,old,shoe,old,eyeglasses, ,,,,,rusty,scissors,pen,nibs,gas,masks,etc.,,We,see,the,tiny ,,,,,little,box,sitting,on,the,cluttered,makeshift,worktable. ,,,,, ,,,,,TITLE,CARD,#2 ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,...the,Machines,have,become ,,,,,,,,,,uncontrollable...,they,are,shooting ,,,,,,,,,,at,will...,ALERT:,stay,in,your ,,,,,,,,,,homes. ,,,,, ,,,,,Grainy,footage,as,we,see,the,scientist,looking,around ,,,,,desperately--he's,obviously,in,hiding. ,,,,, ,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,(HEARTBROKEN) ,,,,,,,,,,My,invention...,my,beauty...,beauty ,,,,,,,,,,was,taken... ,,,,, ,,,,,He,is,feverishly,cobbling,together,a,SMALL,BURLAP,DOLL. ,,,,, ,,,,,He,labels,the,burlap,doll,on,its,back:,"1.",He,makes,frantic ,,,,,notes,in,a,journal.,He,brushes,his,fingers,over,the,little ,,,,,box,for,good,luck,then,moves,towards,a,strange,contraption ,,,,,on,the,table. ,,,,, ,,,,,,LASHES,and,EXPLOSIONS,shake,the,workshop,horribly. ,,,,, ,,,,,,ITLE,CARD,#3 ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,Reports,are,coming,in...,they've ,,,,,,,,,,breached,the,Northern,walls,of,the ,,,,,,,,,,city... ,,,,, ,,,,,The,radio,voice,is,DROWNED,OUT,BY,EXPLOSIONS.,D ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,ISSOLVE,TO: ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,, ,,,,, ,,,,, ,,,,,TITLE,CARD,#4 ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,ANOTHER,DAY ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,An,announcement,from,our ,,,,,,,,,,Chancellor! ,,,,, ,,,,,,,,,,,,,,,DICTATOR'S,VOICE ,,,,,,,,,,,,(on,the,radio) ,,,,,,,,,,Comrades,I,have,lost,control.,The ,,,,,,,,,,Machine,is,now,our,enemy.,We,need ,,,,,,,,,,to,join,forces,to,fight,against,it. ,,,,, ,,,,,We,hear,EXPLOSIONS,and,SCREAMS,outside. ,,,,, ,,,,,We,see,the,scientist,cobbling,together,another,SMALL,BURLAP ,,,,,DOLL,a,little,more,evolved. ,,,,, ,,,,,He,labels,it,"5,",then,makes,notes,in,a,journal. ,,,,, ,,,,,TITLE,CARD,#5 ,,,,, ,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,,his,voice,a,mere,whisper ,,,,,,,,,,,,,NOW) ,,,,,,,,,,Five,so,far....I,can't,get,them ,,,,,,,,,,right... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,ISSOLVE,TO: ,,,,, ,,,,, ,,,,,TITLE,CARD,#6 ,,,,, ,,,,, ,,,,,INT.,SCIENTIST'S,LAB,-,ANOTHER,DAY ,,,,, ,,,,,,,,,,,,,,,RADIO,(V.O.) ,,,,,,,,,,,,(through,static) ,,,,,,,,,,Gas,masks,are,being,distributed... ,,,,,,,,,,ALERT:,beware.... ,,,,, ,,,,,We,see,the,scientist,desperately,grabbing,bits,and,scraps,for ,,,,,one,last,doll.,He,is,like,a,skeleton,almost,no,energy,left. ,,,,, ,,,,,,,,,,,,,,,,ADIO,(V.O.),(cont'd) ,,,,,,,,,,...deadly,gas.... ,,,,, ,,,,,,he,radio,voice,dies,out.,,We,hear,nothing,but,STATIC. ,,,,, ,,,,,,ITLE,CARD,#7 ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,C ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,( ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,, ,,,,, ,,,,,The,scientist,totters,over,makes,a,note,in,his,journal.,He ,,,,,clutches,the,little,box,and,suspends,this,last,doll,with,a ,,,,,rope,in,a,strange,contraption. ,,,,, ,,,,,,,,,,,,,,,,SCIENTIST ,,,,,,,,,,,,,,a,feeble,whisper) ,,,,,,,,,,,My,last,one...,this,one,finally, ,,,,,,,,,,,must,work...,it,must.... ,,,,, ,,,,,TITLE,CARD,#8 ,,,,, ,,,,,The,SOUND,of,the,scientist,collapsing,to,the,floor. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,,........................................................... ,,,,, ,,,,,SEQ.,020,-,Attic ,,,,, ,,,,, ,,,,,SEQ.,020,-,INT.,WORKSHOP,-,DAY ,,,,, ,,,,,The,thin,strand,of,rope,stretches...,stretches...,and ,,,,, ,,,,,,RAAAACK. ,,,,, ,,,,,The,rope,SNAPS,and-- ,,,,, ,,,,,--a,SMALL,BURLAP,FIGURE,falls,onto,the,table. ,,,,, ,,,,,As,he,falls,he,is,yanked,free,from,a,large,circular ,,,,,Machine. ,,,,, ,,,,,,e,had,been,attached,with,the,fraying,rope,and,a,long,cable, ,,,,,attached,to,him,by,the,TALISMAN.,The,cable,still,dangles ,,,,,from,the,Machine,but,the,force,of,his,fall,pulls,the ,,,,,Talisman,off. ,,,,, ,,,,,The,little,burlap,figure,pulls,himself,to,his,feet,shaking ,,,,,his,head.,Falling,free,from,the,connecting,cable,has,finally ,,,,,awakened,him. ,,,,, ,,,,,,e,is,made,up,of,odd,patchwork,items:,burlap,a,thick,zipper, ,,,,,big,round,gas-mask,eyes,(which,we,recognize,as,what,we,saw ,,,,,before,in,the,title,sequence). ,,,,, ,,,,,We,pull,around,to,see,the,number,"9",painted,on,his,back. ,,,,, ,,,,,We,pull,back,further,to,see... ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,,T ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,R ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,S ,,,,, ,,,,, ,,,,, ,,,,, ,,,,," ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,, ,,,,, ,,,,, ,,,,,SEQ.,020,-,INT.,RUINED,WORKSHOP,-,EERIE,INDETERMINATE ,,,,,DAYLIGHT ,,,,,. ,,,,,,..he,is,on,the,tabletop,in,the,RUINS,OF,A,SMALL,ROOM. ,,,,, ,,,,,Splintered,BITS,OF,WALL,jut,up,to,the,open,sky.,Rotted ,,,,,FLOORBOARDS,are,BENT,and,WARPED.,The,room,is,full,of,years ,,,,,of,DUST,and,ROT.,Dust,hangs,in,the,feeble,rays,of,dirty ,,,,,sunlight. ,,,,, ,,,,,The,table,and,floor,are,covered,with,the,same,kinds,of,scraps ,,,,,and,raw,materials,from,which,"9",is,made:,burlap,hinges, ,,,,,bits,of,Machinery. ,,,,, ,,,,,,9",blinks,and,turns,around,his,head,darting,this,way,and ,,,,,that,trying,to,make,sense,of,his,surroundings. ,,,,, ,,,,,He,walks,over,to,the,edge,of,the,tabletop.,He,peers,over,and ,,,,,sees... ,,,,, ,,,,,...the,SCIENTIST,LYING,DEAD,ON,THE,FLOOR. ,,,,, ,,,,,,lumped,on,the,floor,we,clearly,see:,the,scientist's ,,,,,skeletal,hand,is,clutching,a,tiny,box. ,,,,, ,,,,,He,hears,a,clattering,sound,and,turns,to,see ,,,,,A ,,,,,,,loose,window,shutter.,He,goes,over,to,the,window. ,,,,, ,,,,,,e,pushes,opens,the,window,to,see-- ,,,,, ,,,,, ,,,,,SEQ.,020,-,EXT.,STREET,-,INDETERMINATE,DAYLIGHT ,,,,, ,,,,,...AN,APOCALYPTIC,WASTELAND. ,,,,, ,,,,,,usting,machine,carcasses,bombed-out,ruins,and,emptiness ,,,,,stretch,as,far,as,he,can,see. ,,,,, ,,,,,Terrible,life-ending,destruction. ,,,,, ,,,,,,here,is,no,other,living,being,anywhere. ,,,,, ,,,,,9,stares,in,disbelief,and,horror,and,fear.,He,can't,make,any ,,,,,sense,of,it...,or,the,room...,or,the,endless,miles,of ,,,,,lifeless,wasteland,stretching,out,in,front,of,him. ,,,,, ,,,,,,e,seems,to,be,completely,alone. ,,,,, ,,,,,,sees,a,glint,of,something,a,possible,sign,of,life.,,He ,,,,,moves,to,go,outside. ,,,,, ,,,,,C ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,M ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. ,,,,, ,,,,, ,,,,,He,stops,and,is,strangely,drawn,to,the,TALISMAN.,He,turns ,,,,,and,takes,it,stowing,it,inside,his,zippered,chest,before,he ,,,,,heads,out. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,........................................................... ,,,,, ,,,,,SEQ.,029,-,9,Meets,2 ,,,,, ,,,,, ,,,,,SEQ.,029,-,EXT.,WASTELAND,-,DAY ,,,,, ,,,,,9,moves,warily,in,the,dusty,grim,light,along,the,deserted ,,,,,RUINS,of,the,outside,streets.,It,is,the,remains,of,war. ,,,,, ,,,,,Pulverized,HULKS,of,BUILDINGS,torn-open,suitcases,scattered ,,,,,clothes,rusting,cars,and,the,grim,debris,of,human ,,,,,civilization,surround,him. ,,,,, ,,,,,He,sees,a,dead,body,slouched,next,to,a,suitcase,in,the,front ,,,,,seat,of,a,car. ,,,,, ,,,,,Banners,hang,on,the,buildings,with,a,three,prong,symbol,on ,,,,,them. ,,,,, ,,,,,,achines,lie,deserted,on,the,sides,of,roads. ,,,,, ,,,,,Distracted,by,the,spectacle,9,stumbles,and,lands,on,a,ragged ,,,,,old,flyer:,REVOLT!,,He,looks,back,at,the,War,Machines,and ,,,,,Dictator,flags.,,He,sees,a,vandalized,poster,of,what,appears ,,,,,to,be,a,dictator/leader. ,,,,, ,,,,,9,looks,around,him,trying,to,piece,together,what,happened. ,,,,,Suddenly,there,is,a,clanking,sound,in,front,of,him. ,,,,, ,,,,,9,sees,a,light,flicker,on,in,the,shattered,hulk,of,a,war ,,,,,Machine. ,,,,, ,,,,,,LOSE,on,9,as,the,light,crosses,his,face. ,,,,, ,,,,,Scared,he,ducks,behind,a,huge,piece,of,debris.,,9,grabs,a ,,,,,piece,of,metal,lying,in,front,of,him. ,,,,, ,,,,,The,shadow,moves,closer,9,shakes,nervously.,The,figure ,,,,,emerges,with,spear,in,hand,and,9,swings,the,weapon,at,him ,,,,,with,all,his,might. ,,,,, ,,,,,9,hits,him,square,in,the,chest.,It,is,another,ragdoll:,2.,2 ,,,,,is,propelled,backwards,and,falls,to,the,ground,on,the,debris ,,,,,behind,him.,9,quickly,tries,to,hide. ,,,,, ,,,,,,,,,,,,,,,2 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,A ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. ,,,,, ,,,,, ,,,,,But,2,is,looking,at,9,with,surprise.,,He,struggles,to,get,up, ,,,,,,,,,,,,,,,,2 ,,,,,speaking,with,urgency,to,9. ,,,,, ,,,,, ,,,,,,,,,,,,(firmly,kindly,almost ,,,,,,,,,,,,,eagerly;,like,trying,to ,,,,,,,,,,,,,soothe,a,wild,animal) ,,,,,,,,,,Wait...,I,am,a,friend. ,,,,, ,,,,,,LT: ,,,,, ,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,(GENTLY) ,,,,,,,,,,Friend...,I,am,a,friend. ,,,,, ,,,,,9,now,sees,he,has,hit,a,ragdoll,similar,to,himself.,He ,,,,,hesitates,not,sure,what,to,make,of,this.,2,extends,his ,,,,,hand,calmly,eagerly.,9,hesitates,again,then,still,timid, ,,,,,but,showing,a,little,bravery,drops,his,weapon,and,goes,to ,,,,,help,2,up. ,,,,, ,,,,,We,see,that,2,is,much,older,much,more,decrepit,much,more ,,,,,primitively,constructed:,he,is,made,from,patchwork,bits,of ,,,,,OLD,LEATHER,SHOES.,A,SHOELACE,stitches,up,his,front,and,is ,,,,,tied,in,a,bow,at,his,neck.,Bits,of,leather,FRAY,off,him. ,,,,,His,feet,are,primitive,small,HINGES.,Half,of,a,pair,of ,,,,,eyeglasses,like,an,enormous,MONOCLE,is,attached,to,2's,hat. ,,,,, ,,,,,9,helps,straighten,2's,monocle.,2,smiles,at,him.,We,see ,,,,,that,2,is,like,a,wise,mentor,a,kindly,professor,with,a ,,,,,contagious,eagerness,and,imaginativeness. ,,,,, ,,,,,2,peers,eagerly,at,9.,,He,circles,9,and,spots,the,number,on ,,,,,his,back. ,,,,, ,,,,,,,,,,,,,,,,(CONT'D) ,,,,,,,,,,,,(eagerly,excited,like,an ,,,,,,,,,,,,,intrigued,scholar) ,,,,,,,,,,Yes...,yes...,I,always,thought ,,,,,,,,,,there'd,be,one,more. ,,,,, ,,,,,He,nods,and,smiles.,He,extends,his,hand,to,shake,9's,hand. ,,,,,While,doing,this,he,takes,9's,hand,and,studies,it,nodding ,,,,,with,eager,excitement.,We,see,that,9's,hand,is,more ,,,,,sophisticated,than,2's. ,,,,, ,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,The,details...,how,exciting. ,,,,,,,,,,,,(FASCINATED) ,,,,,,,,,,Carved,wood...,steel,bolts... ,,,,,,,,,,molded,copper... ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,2 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. ,,,,, ,,,,, ,,,,,2,turns,slightly,and,9,sees,his,number,and,tries,to,say,it. ,,,,,But,no,sound,comes,out,of,his,mouth. ,,,,, ,,,,,,looks,at,him,nodding,again,the,kind,mentor.,He's ,,,,,interested,observing,without,judging;,curious,kindly,and ,,,,,ready,to,help. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,You,can't,speak. ,,,,, ,,,,,With,a,friendly,disarming,smile,he,taps,9's,zipper.,9 ,,,,,unzips,himself,and,2,peers,in.,2,looks,up,happy,that,he,can ,,,,,help. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,Yes,yes... ,,,,, ,,,,,2,looks,around,nervously,and,hurries,over,to,his,roller-skate ,,,,,cart,covered,with,detritus,-,odds,and,ends,a,broken,china ,,,,,doll. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,...come,with,me. ,,,,, ,,,,,,,follows,looking,around,curiously. ,,,,, ,,,,,2,finds,the,china,doll. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,Here! ,,,,, ,,,,,As,2,rummages,through,the,chest,of,the,china,doll,9,picks,up ,,,,,a,bullet,casing,from,2's,cart,and,starts,tapping,it.,2,turns ,,,,,with,the,doll's,voice,box,in,his,hand. ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,,(sees,9,with,the,bullet; ,,,,,,,,,,,,,,whispers,sharply) ,,,,,,,,,,,No!,Stop! ,,,,, ,,,,,2,eases,the,bullet,away,from,9,then,smiles,gently,at,9, ,,,,,EXPLAINING: ,,,,, ,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,,( ,,,,,,,,,,,,,,QUIETLY) ,,,,,,,,,,,Some,things,in,this,world,are ,,,,,,,,,,,better,left,where,they,lie. ,,,,, ,,,,,,e,puts,the,bullet,to,one,side,and,kneels,prying,into,9's ,,,,,chest.,2,begins,to,connect,the,doll's,voice,box. ,,,,, ,,,,,A ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,, ,,,,, ,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,But,if,you,know,where,to,look, ,,,,,,,,,,these,ruins,are,full,of,riches. ,,,,, ,,,,,2,concentrates,a,look,of,pleasure,on,his,face,as,he,twists,a ,,,,,few,more,wires.,Static,and,unclear,sound,come,out,at,first, ,,,,,but,as,2,tunes,the,voice,further... ,,,,, ,,,,,,,,,,,,,,,9 ,,,,,,,,,,,,(as,his,voice,is,"tuned ,,,,,,,,,,,,,in"..,starting,with,pure ,,,,,,,,,,,,,static,then,slowly ,,,,,,,,,,,,,moving,into,a,voice) ,,,,,,,,,,Chhhhhhh.....chhhhehhhh... ,,,,, ,,,,,,,,,,,,,,,2 ,,,,,,,,,,Wait.. ,,,,,,,,,,,,(tunes,him,in) ,,,,,,,,,,...almost,there... ,,,,, ,,,,,9,gets,a,little,panicky,look,on,his,face,at,the,strange ,,,,,sounds,coming,out,of,him.,2,puts,a,calm,hand,on,his ,,,,,shoulder.,9,calms,down,and,tries,again. ,,,,, ,,,,,,,,,,,,,,,,9 ,,,,,,,,,,Friend?,,Friend? ,,,,, ,,,,,,,,,,,,,,,2 ,,,,,,,,,,,,(BEAMING) ,,,,,,,,,,Friend. ,,,,, ,,,,,,,,,,,,,,,9 ,,,,,,,,,,,,(more,and,more,normal ,,,,,,,,,,,,,SOUNDING) ,,,,,,,,,,Are,we,alone? ,,,,, ,,,,,,,,,,,,,,,2 ,,,,,,,,,,,,(REASSURING) ,,,,,,,,,,No.,There,are,others. ,,,,, ,,,,,,and,2,stare,at,each,other.,9,looks,at,2,in,wonderment, ,,,,,then,reaches,out,and,touches,2's,chest,where,he,hit,it. ,,,,, ,,,,,2,beams,at,9,happy,9,can,speak,happy,he,was,able,to,help, ,,,,,and,happy,that,9,with,his,first,words,is,concerned,about ,,,,,others. ,,,,, ,,,,,,glow,beams,from,within,9's,chest.,,2,stares.,,9,removes,the ,,,,,TALISMAN,from,his,chest. ,,,,, ,,,,,2,has,a,big,reaction--he,draws,his,breath,in,and,looks,at,it ,,,,,in,ASTONISHMENT. ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,,2 ,,,,, ,,,,, ,,,,,I ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,. ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,T ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,( ,,,,, ,,,,,,,,,,,,,,,,,2 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,, ,,,,, ,,,,,He,takes,it,and,looks,at,it.,,,He,gives,9,a,look,of,surprise. ,,,,, ,,,,,,,,,,,,,,,,,(CONT'D) ,,,,,,,,,,,But,how,strange.... ,,,,,,,,,,,,,,muttering,to,himself,as ,,,,,,,,,,,,,,he,turns,the,Talisman,in ,,,,,,,,,,,,,,his,hands) ,,,,,,,,,,,Yes,he,was,always,drawing,this... ,,,,,,,,,,,exactly,like,this...,how,strange... ,,,,, ,,,,,,hey,both,stare,at,the,TALISMAN. ,,,,, ,,,,,Suddenly,a,is,heard,OFFSCREEN.,2,looks,up,IN ,,,,,HORROR.,He,grabs,his,spear.,He,pushes,9,away,almost ,,,,,fiercely. ,,,,, ,,,,,ALT: ,,,,, ,,,,,,,,,,,,,,,,,2,(CONT'D) ,,,,,,,,,,,,,,(firmly,to,9) ,,,,,,,,,,,GO! ,,,,, ,,,,, ,,,,,,.......................................................... ,,,,, ,,,,,SEQ.,030,-,Cat,Beast,Attacks ,,,,, ,,,,, ,,,,,SEQ.,030,-,EXT.,WASTELAND,-,DAY ,,,,, ,,,,,2,points,forcefully,to,an,old,rusted,can. ,,,,, ,,,,,2,runs,into,the,can. ,,,,,,,stands,ready,to,attack. ,,,,, ,,,,,9,watches,2,wondering,what,is,coming.,Then,from,behind,him, ,,,,,a,large,claw,of,a,mechanical,figure,settles,softly,next,to ,,,,,9's,can.,He,tries,to,call,out,to,2... ,,,,, ,,,,,And,from,behind,2,enters-- ,,,,, ,,,,,A,HIDEOUS,CAT,BEAST. ,,,,, ,,,,,,t,is,a,nail,and,razor-studded,predatory,Machine,with,a,cat ,,,,,skull-shaped,head,its,body,laced,with,bones,nails,and ,,,,,razors.,9,now,understands,2,was,trying,to,protect,him. ,,,,, ,,,,,,GASPS,as,he,turns,and,sees,it.,The,Cat,Beast,lets,out,a ,,,,,roar,and,claws,at,2,KNOCKING,him,over,and,losing,his,spear. ,,,,, ,,,,,,,looks,on,with,horror. ,,,,, ,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,H ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,T ,,,,, ,,,,, ,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,, ,,,,, ,,,,,2,attempts,to,reach,for,his,spear,but,the,Beast,holds,him ,,,,,down,with,its,razor-sharp,feet. ,,,,, ,,,,,The,Beast,is,attracted,to,the,Talisman.,It,picks,it,up,with ,,,,,one,of,its,jagged,claws,and,looks,at,it,quizzically. ,,,,, ,,,,,,cringes.,,His,movement,makes,his,hiding,place,teeter, ,,,,,creaking. ,,,,, ,,,,,,he,Cat,Beast,WHIRLS,at,the,sound.,Picking,up,2's,struggling ,,,,,body,the,Cat,Beast,stalks,towards,the,noise,right,up,to,9's ,,,,,hiding,place,sniffing,through,its,hollow,nostrils.,9 ,,,,,cringes,in,terror.,The,Cat,Beast,probes,with,one,of,his ,,,,,claws,INTO,the,tin,can.,9,recoils.,The,claws,do,not,find ,,,,,him,and,retreat.,9,is,relieved. ,,,,, ,,,,,A,beat,then: ,,,,, ,,,,,9,feels,himself,violently,LIFTED,UP,and,SMASHED. ,,,,, ,,,,,We,see,the,Cat,Beast,has,picked,up,the,entire,tin,can,and,is ,,,,,smashing,it,to,get,at,what's,inside,it.,,Failing,it,hurls ,,,,,the,tin,can,aside. ,,,,, ,,,,,9,is,almost,knocked,out.,Trying,to,stay,conscious,he ,,,,,struggles,towards,the,entrance,of,the,can. ,,,,, ,,,,,,is,POV:,through,his,haze,and,through,the,broken,edges,of,the ,,,,,opening,to,the,can,he,sees,the,Cat,Beast,GRAB,the,Talisman ,,,,,and,the,struggling,2,in,his,sharp-toothed,mouth,and ,,,,,disappearing,into,the,smoky,mist. ,,,,, ,,,,,9,can,just,make,out,in,the,distance,the,silhouettes,of ,,,,, ,,,,,THREE,TALL,SHAPES. ,,,,, ,,,,, ,,,,,,,,,,,,,,(MUTTERING) ,,,,,,,,,,,,The,others... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,............................................................. ,,,,, ,,,,, ,,,,,POV,SPYGLASS,-,ELSEWHERE,IN,THE,WASTELAND,-,LATER ,,,,, ,,,,,POV,SPYGLASS:,the,spyglass,searches,through,the,city,and ,,,,,comes,across,a,lone,staggering,figure,(9). ,,,,, ,,,,,,,,,,W ,,,,, ,,,,,,,,,,,,,,( ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,5 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,, ,,,,, ,,,,,Pull,back,to,show,the,back,of,5's,head,as,he,peers,through ,,,,,the,spyglass,then,pulls,away,so,we,can,see,into,the,spyglass ,,,,,again.,,We,zoom,in,through,the,spyglass,to,a ,,,,, ,,,,,CLOSE,SHOT,on,9-- ,,,,, ,,,,, ,,,,,EXT.,WASTELAND,-,CLOSE,ON,9,-,CONTINUOUS ,,,,, ,,,,,9,staggers,weary,and,collapses. ,,,,, ,,,,,In,the,foreground,the,feet,of,another,ragdoll,(5),step,into ,,,,,the,shot. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,,........................................................... ,,,,, ,,,,,Seq.,040,-,Meeting,5 ,,,,, ,,,,, ,,,,,SEQ.,040,-,INT.,5'S,WORKSHOP,-,DAY ,,,,, ,,,,,5,is,finishing,sewing,9,up. ,,,,, ,,,,, ,,,,,,,,,,It's,all,right.,You're,safe,now. ,,,,, ,,,,,,,,,,,,,,,9 ,,,,,,,,,,Where,am,I? ,,,,, ,,,,,,,,,,,,,,,,,5 ,,,,,,,,,,With,us. ,,,,, ,,,,, ,,,,,,,,,,,,(MUTTERING) ,,,,,,,,,,Yes...,he,told,me,there,were ,,,,,,,,,,others... ,,,,, ,,,,,,,,,,,,,,,,,5 ,,,,,,,,,,,,,,(suddenly,urgently) ,,,,,,,,,,Who? ,,,,, ,,,,, ,,,,,,,,,,,,(still,dazed,trying,to ,,,,,,,,,,,,,REMEMBER) ,,,,,,,,,,He,was,older...,Out,there... ,,,,, ,,,,,,,,,,,,,,,5 ,,,,,,,,,,2.,Out,in,the,emptiness? ,,,,,,,,,,,,,HORRIFIED) ,,,,,,,,,,Alone?,Was,he,all,right? ,,,,,,,,,,,hen,is,he,coming,back? ,,,,, ,,,,,,,,,,,I ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,1,,,,,,W ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,1 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,5 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,1 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,( ,,,,,,,,,,,T ,,,,, ,,,,,,,,,,,,,,,,,,9 ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. ,,,,, ,,,,, ,,,,,9,looks,at,him,the,whole,memory,suddenly,coming,back,to,him ,,,,,as,though,fresh. ,,,,, ,,,,, ,,,,,,,,,,,,HE--THE-- ,,,,,,,,,,,,,,can't,think,of,the,right ,,,,,,,,,,,,,,WORD) ,,,,,,,,,,,T ,,,,,,,,,,,,hing!,It,took,him. ,,,,, ,,,,,5,reacts,with,horror. ,,,,, ,,,,,,,,,,,,,,,,,,5 ,,,,,,,,,,,No...,,No!,,,,It,can't,be! ,,,,, ,,,,,He,turns,away,grief-stricken. ,,,,, ,,,,,,,,,,,,,,,,,(O.S.) ,,,,,,,,,,,Keeping,secrets,from,me,I,see. ,,,,, ,,,,,Another,RAGDOLL,pushes,into,the,workroom.,This,is,a,bigger ,,,,,ragdoll,the,most,primitive,one,we,have,seen.,He,has ,,,,,primitive,wooden,hinges,for,feet.,He,is,very,frayed,and ,,,,,patched,together.,The,number,1,is,painted,on,his,back. ,,,,, ,,,,,,,and,9,whirl,around.,,,,5,CRINGES. ,,,,, ,,,,,,,,,,,,,,,,5 ,,,,,,,,,,,I...,I,was,coming,to,tell,you... ,,,,, ,,,,,1,carries,himself,with,authority.,He,wears,a,red,cloak,and ,,,,,a,strange,mother,of,pearl,and,wire,hat,bound,together,as,an ,,,,,almost,papal-like,headpiece,and,carries,a,staff,made,from,an ,,,,,old,gear,with,a,bell,attached. ,,,,, ,,,,,,pulls,at,9,with,his,staff,displaying,the,number,on,his ,,,,,back. ,,,,, ,,,,,,,,,,,,,,,,1 ,,,,,,,,,,,,hat's,this? ,,,,, ,,,,,,turns,and,glares,at,5,like,a,general,glaring,at,a,new ,,,,,privat

2

A Scanner Darkly

Charlie Kaufman

Animation,Crime,Drama

July_2006

SHOT,OF,NOTEBOOK,PAGE,DAPPLED,WITH,SUNLIGHT ,,POV,of,someone,skimming,a,hand-written,entry.,The ,,corresponding,voice-over,is,offhand,dispassionate.,In,the ,,background,children,can,be,heard,laughing,and,playing. ,,,,,,,,,,,,BOB,ARCTOR,(V.O.) ,,,,,Lately,Jerry,Fabin,stands,all,day ,,,,,shaking,bugs,from,his,hair.,The ,,,,,doctor,says,there,are,no,bugs,in,his ,,,,,hair. ,,The,sound,of,fingers,scratching,scalp,begins,and,grows,louder ,,through,the,following,montage. ,,EXT.,COCA-COLA,BOTTLING,PLANT,-,PRE-DAWN ,,SUBTITLE:,ORANGE,COUNTY,CALIFORNIA,IN,THE,YEAR,1994 ,,A,massive,unlit,Coca-Cola,sign,is,eerily,silhouetted ,,against,the,early,morning,sky.,Antiquated,delivery,trucks ,,set,out,from,loading,docks,as,red,futuristic,cargo,planes, ,,emblazoned,with,the,Coca-Cola,logo,take,off,from,the,roof. ,,EXT.,FREEWAY,-,PRE-DAWN ,,Birds-eye,view,of,Coca-Cola,trucks,spreading,out,through,the ,,city.,Coke,planes,shoot,by,close,to,the,camera. ,,EXT.,7-11,-,DAWN ,,A,Coke,truck,pulls,into,the,parking,lot. ,,EXT.,SUPERMARKET,-,DAWN ,,A,Coke,plane,lands,gracefully,on,the,roof,of,the,supermarket. ,,EXT.,MCDONALD'S,-,DAWN ,,Uniformed,delivery,men,enter,hauling,cases,of,Coke,syrup. EXT.,RESIDENTIAL,STREET,-,DAWN A,Coca-Cola,truck,rumbles,slowly,past,a,row,of,low-income, plastic,pre-fab,houses.,We,hold,on,one,house,whose,front lawn,is,strewn,with,furniture,and,cleaning,products. INT.,JERRY,FABIN'S,LIVING,ROOM,-,DAWN The,windows,are,spray-painted,over,with,silver,paint.,A single,pole,lamp,with,bare,harsh,spot-lights,illuminates the,room,which,is,emptied,of,furniture,covered,in,a,sickly green,shag,carpet,and,littered,with,fast-food,wrappers.,In ,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. CONTINUED: the,center,of,the,room,stands,Jerry,Fabin,thirty,with,wild- eyes,and,a,long,tangled,mass,of,hair.,He,is,naked,draped over,a,metal,garbage,can,and,vigorously,scratching,his head.,This,process,continues,for,an,uncomfortably,long time.,A,Golden,Retriever,sleeps,in,the,corner. INT.,JERRY,FABIN'S,BATHROOM,-,LATER Jerry,Fabin,stands,under,a,hot,shower.,Steam,fills,the stall.,He,scrubs,his,hair,violently,with,tensed,fingers. INT.,JERRY,FABIN'S,LIVING,ROOM,-,LATER We,hear,the,shower.,Steam,pours,out,the,open,bathroom,door. EXT.,JERRY,FABIN'S,HOUSE,-,MID-DAY The,sun,is,high;,the,day,is,bright,and,hazy.,,A,few,hippies stroll,by,or,sit,on,front,steps,discreetly,smoking,joints. We,hear,the,distant,sound,of,Jerry's,shower. INT.,JERRY,FABIN'S,BATHROOM,-,LATER Jerry,is,still,in,the,shower,scrubbing,away.,He,finally turns,it,off,and,steps,out,a,drowned,rat.,He,dries himself,wipes,the,mirror,and,squints,nervously,at,his reflection.,Tiny,bugs,hop,around,on,his,head.,He,screams. INT.,JERRY,FABIN'S,LIVING,ROOM,-,LATER Jerry,lies,on,the,cruddy,shag,carpet,open,volumes,of,the Encyclopedia,Brittanica,spread,around,him.,He,scratches himself,as,he,studies,one,of,the,volumes.,Insects,hop,up,and down,all,over,his,body,and,on,the,rug.,When,he,exhales,a cloud,of,bugs,pours,from,his,mouth;,he,shoos,them,away. EXT.,JERRY,FABIN'S,HOUSE,-,DAY Jerry,heads,up,the,walkway,carrying,a,shopping,bag.,Several cans,of,Raid,and,other,bug,sprays,poke,out,of,the,bag.,Bugs hop,around,on,Jerry.,He,puts,the,bag,down,on,the,stoop,to scratch,himself.,He,notices,tiny,bugs,chewing,the,shrubs. INT.,NURSERY,-,DAY Jerry,consults,with,a,man,behind,the,cash,register. ,,,,,,,,,,,,NURSERY,CLERK ,,,,,Eating,the,bushes?,,Could,be,aphids. ,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. CONTINUED: ,,,,,,,,,,,,JERRY,FABIN ,,,,,Aphids!,Of,course.,Y'know,I,started ,,,,,with,"A",in,my,cyclopedia,yet,somehow ,,,,,I,must've,skipped,right,over,aphids. ,,,,,It,does,start,with,"A",right? ,,,,,Aphids? ,,,,,,,,,,,,NURSERY,CLERK ,,,,,Yes.,,Yes,it,does,sir. ,,,,,,,,,,,,JERRY,FABIN ,,,,,Boy,those,fuckers,can,really,bite. ,,,,,,,,,,,,NURSERY,CLERK ,,,,,Aphids,don't,bite,people. Fabin,just,stares,at,the,clerk. INT.,JERRY,FABIN'S,LIVING,ROOM,-,DAY Scrawled,charts,depicting,the,aphid,life-cycle,now,adorn,the walls.,As,Jerry,sprays,a,can,of,"Aphid-Off",around,the room,he,notices,his,sleeping,dog,is,covered,with,the,bugs. INT.,JERRY,FABIN'S,BATHROOM,-,DAY Jerry,stands,in,the,shower,with,his,dog.,Jerry,is,lathered head-to-toe,and,in,the,process,of,lathering,the,dog. ,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: INT.,BATHROOM,-,LATER Jerry,and,the,long-suffering,dog,are,still,in,the,shower. Charles,Freck,early,thirties,and,stoned,enters. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Hey,Jerry,I,was,in,the,neighborhood ,,,,,looking,to,score,and,I,thought,-- ,,,,,What,the,fuck,are,you,doing,in,the ,,,,,shower,with,the,goddamn,dog? ,,,,,,,,,,,,JERRY,FABIN ,,,,,I,got,to,get,the,aphids. Jerry,turns,off,the,shower,steps,out,with,the,dog,and begins,drying,him.,Freck,watches,silently,transfixed,as Jerry,proceeds,to,rub,oil,then,talc,into,the,dog's,coat. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,I,don't,see,any,aphids.,What's,an ,,,,,aphid? ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. CONTINUED: ,,,,,,,,,,,,JERRY,FABIN ,,,,,,,,(busy) ,,,,,It,eventually,kills,you.,,,,That's,what ,,,,,an,aphid,is. Freck,nods,sympathetically. ,,,,,,,,,,,,JERRY,FABIN ,,,,,They're,in,my,hair,and,my,skin,and,my ,,,,,lungs.,The,goddamn,pain,is,unbearable. ,,,,,I'm,gonna,have,to,go,to,the,hospital. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,,(beat,squints) ,,,,,How,come,I,can't,see,them,though? Jerry,stops,talcing,the,dog,looks,up,at,Freck. INT.,JERRY,FABIN'S,LIVING,ROOM,-,A,BIT,LATER Jerry,and,Freck,are,on,all,fours,on,the,carpet.,Bugs,hop all,around.,The,powdered-white,dog,sleeps,in,the,corner. ,,,,,,,,,,,,JERRY,FABIN ,,,,,I'll,find,an,especially,big,one,cause ,,,,,they're,hard,for,many,people,to,see. Jerry,grabs,a,bug,from,the,carpet,throws,it,in,a,jar,and clamps,the,lid,down,fast.,He,shows,it,triumphantly,to,Freck. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,Wow!,,That,is,a,big,one! ,,,,,,,,,,,,JERRY,FABIN ,,,,,Help,me,find,more,for,the,doctor,to ,,,,,see. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: INT.,JERRY,FABIN'S,LIVING,ROOM,-,LATER The,two,men,are,still,on,their,hands,and,knees,collecting bugs.,Three,jars,are,already,full,of,hopping,insects. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,What,do,we,get,for,these?,I,mean, ,,,,,,,does,the,doctor,pay,a,bounty,or ,,,,,,,something?,A,prize?,Any,bread? ,,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. CONTINUED: ,,,,,,,,,,,,JERRY,FABIN ,,,,,I,get,to,help,perfect,a,cure,for,them. They,continue,to,collect,bugs,in,silence.,Jerry,starts scratching,himself,again,trying,not,to,be,too,obvious. ,,,,,,,,,,,,JERRY,FABIN ,,,,,Hey,man,you,continue,while,I,take,a ,,,,,leak,and,like,that. Jerry,heads,to,the,bathroom.,The,dog,who,has,been,sleeping near,the,bathroom,door,skulks,to,the,other,side,of,the,room. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Jerry,these,bugs,sort,of,scare,me.,,I ,,,,,don't,like,it,here,by,myself. Jerry,stops,holds,the,door,jam,for,support.,,He,is,in,pain. ,,,,,,,,,,,,JERRY,FABIN ,,,,,You're,a,chickenshit,bastard,Freck. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Couldn't,you,-- ,,,,,,,,,,,,JERRY,FABIN ,,,,,I,got,to,take,a,leak,and,like,that! Jerry,enters,the,bathroom,slams,the,door,shut,and,locks,it. INT.,BATHROOM,-,CONTINUOUS Jerry,turns,on,the,shower,climbs,in,and,begins,to,soap himself,vigorously.,Freck,is,barely,audible,throughout. ,,,,,,,,,,,,CHARLES,FRECK,(O.S.) ,,,,,I'm,afraid,out,here,man. ,,,,,,,,,,,,JERRY,FABIN ,,,,,Then,go,fuck,yourself,man! ,,,,,,,,,,,,CHARLES,FRECK,(O.S.) ,,,,,Do,these,fuckers,bite? ,,,,,,,,,,,,JERRY,FABIN ,,,,,Yeah,they,bite!,They're,aphids! ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Can,I,wash,them,off,and,wait,for,you? Jerry,ignores,Freck.,He,scrubs,himself,intently, ritualistically,totally,absorbed,in,his,task. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. INT.,LION'S,CLUB,HALL,-,DAY We,hear,pronounced,rhythmic,breathing,as,we,scan,the,hall, which,is,filled,with,middle-aged,businessmen,wearing,an array,of,brightly,colored,suits.,They,are,well-fed,and,dull- looking.,At,the,podium,is,another,bussinessman,this,one,fat in,a,pink,suit,and,yellow,tie.,He,addresses,the,assemblage. ,,,,,,,,,,,,FAT,BUSINESSMAN ,,,,,Gentlemen,we,have,a,wonderful ,,,,,opportunity,this,afternoon.,The ,,,,,county,of,Orange,has,provided,us,with ,,,,,the,chance,to,hear,from,--,and,put ,,,,,questions,to,--,an,undercover ,,,,,narcotics,agent,from,the,Sheriff's ,,,,,Office. The,fat,businessman,gestures,with,a,sweep,of,his,arm,toward the,camera. The,heavy,breathing,stops,as,we,angle,on,what,the,fat businessman,is,gesturing,toward:,a,generic,blur,of,a,human being,sitting,on,stage.,The,blur,is,clearly,human,but,it's impossible,to,settle,on,its,facial,features.,It's,as,if,the features,keep,changing. ,,,,,,,,,,,,FAT,BUSINESSMAN,(CONT'D) ,,,,,Now,you,will,notice,that,you,can ,,,,,barely,see,this,individual,becuase,he ,,,,,is,wearing,what,is,called,a,"scramble ,,,,,suit",which,he,wears,during,most,of ,,,,,his,daily,activities,of,law ,,,,,enforcement.,Due,to,potential ,,,,,corruption,within,the,Sheriff's ,,,,,Department,even,this,gallant ,,,,,officer's,co-workers,and,superiors ,,,,,must,not,know,his,"street",identity. Heavy,breathing.,Again,we're,inside,the,suit.,Now,we,see, in,shadowy,profile,the,face,of,the,man,in,the,suit.,This,is Bob,Arctor,early,thirties,homely,and,looking,like,a druggie.,He,scans,the,audience,disdainfully. ,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(under,breath) ,,,,,Nitwits.,Pathetic,soulless,morons. We,cut,to,the,outside,of,the,suit,--,still,expressionless. ,,,,,,,,,,,,FAT,BUSINESSMAN ,,,,,This,man,--,whom,we,will,call,Fred, ,,,,,because,that,is,the,code,name,under ,,,,,which,he,reports,the,information,he ,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. CONTINUED: ,,,,,,,,,,,,FAT,BUSINESSMAN,(cont'd) ,,,,,gathers,--,cannot,be,identified,by ,,,,,voice,or,by,appearance.,He,looks, ,,,,,does,he,not,like,a,vague,blur.,This ,,,,,is,because,his,scramble,suit,projects ,,,,,thousands,of,different,human,faces ,,,,,onto,your,retinas,thus,turning,Fred ,,,,,into,a,veritable,Everyman.,All,things ,,,,,to,all,people,translates,into,nothing ,,,,,to,anyone,does,it,not? The,fat,businessman,smiles,a,big,toothy,smile.,,The,audience of,straights,smiles,back,almost,in,unison. ,,,,,,,,,,,,FAT,BUSINESSMAN,(CONT'D) ,,,,,So,let's,hear,it,for,our,vague,blur! The,audience,erupts,into,enthusiastic,applause.,Fred,rises and,replaces,the,fat,businessman,behind,the,podium.,When,he speaks,it,is,an,emotionless,computer,voice. ,,,,,,,,,,,,FRED ,,,,,If,you,saw,me,on,the,street,you'd ,,,,,say,"There,goes,a,weirdo,freak ,,,,,doper.",And,you'd,feel,aversion,and ,,,,,walk,away. The,audience,is,silent,blank,their,blankness,a,reflection of,the,blankness,of,Fred's,scramble,suit. ,,,,,,,,,,,,FRED,(CONT'D) ,,,,,I,don't,look,like,you.,I,can't,afford ,,,,,to.,My,life,depends,on,it. Dramatic,pause. ,,,,,,,,,,,,FRED,(CONT'D) ,,,,,I,am,not,going,to,tell,you,first,what ,,,,,I'm,attempting,to,do,as,an,undercover ,,,,,officer.,I'm,going,to,tell,you... ,,,,,,,,(beat) ,,,,,...,what,I,am,afraid,of. Now,the,audience,is,hooked,their,eyes,wide. We,move,inside,the,suit,and,watch,Bob,Arctor,watching,the audience,timing,the,pause,for,best,effect.,We,hear,the breathing,again,and,when,Arctor,speaks,it,is,in,his,normal voice,bored,delivering,a,memorized,speech. ,,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,What,I,fear,is,that,our,children, ,,,,,,,your,children,and,my,children... ,,,,,,,,,(pause) ,,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. CONTINUED: ,,,,,,,,,,,,BOB,ARCTOR,(cont'd) ,,,,,...,I,have,two.,Little,ones. QUICK,SHOT,OF,FAMILY,PHOTO,OF,ARCTOR,HIS,WIFE,AND,TWO LITTLE,GIRLS The,Arctor,in,the,photo,is,different,conservative,in,a colorful,suit,like,the,audience,members.,His,wife,and,kids are,smiling,and,suburban-looking.,Their,features,indistinct, generic,impossible,to,recall. ,,,,,,,,,,,,BOB,ARCTOR,(V.O.),(CONT'D) ,,,,,But,not,too,little,to,be,addicted... INT.,LION'S,CLUB,HALL,-,CONTINUOUS Arctor,is,speaking,from,inside,the,suit. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,...,calculatedly,addicted,for,profit, ,,,,,by,those,who,would,destroy,this ,,,,,society.,We,do,not,yet,know,who,these ,,,,,animals,are,who,pray,on,our,young,but ,,,,,one,day,we,will. ,,,,,,,,,,,,VOICE,FROM,CROWD ,,,,,Sock,it,to,'em! The,audience,concurs.,,Bob,Arctor,sighs,disdainfully. Outside,the,suit,the,sigh,is,heard,as,a,computer-like exhalation,uninterpretable,lost,on,the,audience. ,,,,,,,,,,,,FRED ,,,,,We,believe,there,is,one,source,for ,,,,,Substance,D,and,a,diversified ,,,,,distribution,system,making,it ,,,,,accessible,in,all,major,drug,using ,,,,,areas.,It,my,job,as,an,undercover ,,,,,officer,to,attain,the,confidence,of,low ,,,,,level,dealers,and,work,my,way,up ,,,,,through,the,network,to,arrive,at,the ,,,,,drug's,source.,Now,the,profits,for... Fred,becomes,silent,stands,there.,,The,audience,waits. Inside,the,suit,Arctor,sweats,can't,remember,his,line.,He looks,panicked,out,at,the,sea,of,eyes,and,finally,wings,it. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Well,it,isn't,the,profits,anyhow. ,,,,,It's,something,else...,what,you,see,... ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. CONTINUED: Arctor,scans,the,hard,audience.,He,tries,a,new,tack. ,,,,,,,,,,,,BOB,ARCTOR,(CONT'D) ,,,,,If,you,were,a,diabetic,and,you,didn't ,,,,,have,the,money,for,insulin,would,you ,,,,,steal,to,get,the,money?,Or,just,die? A,tinny,voice,speaks,to,Arctor,through,his,headphone. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,I,think,you'd,better,go,back,to,the ,,,,,prepared,text,Fred. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(quietly,into,throat,mike) ,,,,,I,forgot,it. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,Riiight.,I'll,read,it,to,you.,Repeat ,,,,,it,after,me,but,try,to,make,it,sound ,,,,,casual.,"Each,day,the,profits,flow. ,,,,,Where,they,go,we,will,soon,determine." ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(quietly) ,,,,,I,got,a,block,against,this,stuff. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,"Then,retribution,will,swiftly,follow. ,,,,,And,at,that,moment,for,the,life,of ,,,,,me,I,would,not,be,in,their,shoes." ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(quietly) ,,,,,You,know,why,I've,got,a,block,against ,,,,,this,stuff?,Because,this,bullshit,is ,,,,,what,gets,people,on,dope. The,audience,watches,the,vague,blur,mumbling,in,a,computer voice.,They,look,uneasy.,Fred,is,silent,for,a,moment,then starts,to,talk,again,in,his,drone. ,,,,,,,,,,,,FRED ,,,,,"D",is,for,Substance,D.,Which,is,for ,,,,,Dumbness,Despair,and,Desertion,the ,,,,,desertion,of,your,friends,from,you, ,,,,,you,from,them,everyone,from,everyone, ,,,,,isolation,and,loneliness,and,hating ,,,,,and,suspecting,each,other.,D,is ,,,,,finally,death.,Slow,Death,we... ,,,,,,,,(beat) ,,,,,...,we,the,dopers,call,it... ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. CONTINUED: Inside,the,suit,Bob,Arctor,talks. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,,(raspy,sad) ,,,,,...,Slow,Death.,From,the,head,on,down. ,,,,,,,,(beat) ,,,,,Well,that's,it. Arctor,goes,back,to,his,seat.,,The,audience,is,angry. ,,,,,,,,,,,,HEADPHONE,VOICE ,,,,,See,me,in,my,office,when,you,get,back. The,fat,businessman,is,at,the,podium,diffusing,the,situation. ,,,,,,,,,,,,FAT,BUSINESSMAN ,,,,,I,forgot,to,tell,you,that,Fred,asked ,,,,,me,in,advance,to,make,this,lecture ,,,,,primarily,a,Q,and,A,forum,with,only,a ,,,,,short,introductory,statement.,So,any ,,,,,questions? Arctor,stands. ,,,,,,,,,,,,FAT,BUSINESSMAN,(CONT'D) ,,,,,Oh,wait,it,appears,Fred,has ,,,,,something,else,to,say.,Good,then. ,,,,,,,,(to,Arctor) ,,,,,Please. Arctor,approaches,the,podium,upset. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Just,this.,Don't,kick,their,asses ,,,,,after,they're,on,it.,Half,of,them, ,,,,,especially,the,girls,didn't,know,they ,,,,,were,getting,on,anything,at,all.,See, ,,,,,the,pushers,dissolve,some,reds,in,a ,,,,,glass,of,wine,they,give,the,booze,to ,,,,,an,underage,little,chick,she,passes ,,,,,out,then,they,inject,her,with,a,mex ,,,,,hit,--,half,heroin,half,Substance,D. ,,,,,,,,(beat) ,,,,,Thank,you. ,,,,,,,,,,,,SECOND,VOICE,FROM,CROWD ,,,,,How,do,we,stop,them,sir? We're,outside,the,suit,now,looking,at,Fred,the,vague,blur behind,the,podium.,He,talks,in,a,neutral,computer,voice. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. CONTINUED: ,,,,,,,,,,,,FRED ,,,,,Kill,the,pushers. EXT.,PAYPHONE,-,DAY Charles,Freck,is,on,the,phone,speaking,in,hushed,tones. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Can,you,lay,about,ten,Deaths,on,me? ,,,,,,,,,,,,TELEPHONE,VOICE ,,,,,Christ,I'm,looking,to,score,myself. ,,,,,,,,,,,CHARLES,FRECK ,,,,,Christ. ,,,,,,,,(beat) ,,,,,Christ.,Christ,Christ,Christ. INT.,CHARLES,FRECK'S,CAR,-,DAY Freck,drives,slowly,along,a,strip-malled,Anaheim,street.,He passes,a,Thrifty,pharmacy,and,notices,the,window,display: bottles,of,slow,death,slow,death,mixed,with,speed,and,junk and,psychedelics.,Dayglow,signs,in,the,window:,"Your Credit,is,Good,Here",and,"Death,to,the,Masses",He,looks again.,The,window,displays,combs,and,shampoo.,Freck,checks his,rearview,mirror,sees,a,police,car,following,him. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Fucking,goddamn,fuzzmobile.,What,was ,,,,,I,doing?,Was,I,weaving?,I,don't,even ,,,,,know. Freck,drives,very,deliberately,his,hands,gripped,white- knuckled,on,the,steering,wheel,in,an,attempt,to,keep,the,car completely,straight.,He,tries,his,best,to,plaster,a,non- stoned,regular,guy,look,on,his,face.,But,he's,sweating. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,What,I'll,do,is,pull,over,when,I,see,a ,,,,,parking,space.,That's,it:,pull,over ,,,,,like,I,was,gonna,pull,over,anyway. ,,,,,Like,it's,totally,normal,to,pull,over. ,,,,,Like,I'm,going,to,a,store.,That's ,,,,,perfect.,Real,people,do,that,all,the ,,,,,time. Freck,sees,an,angle,space,pulls,over,suddenly.,The,cop,car glides,past,apparently,having,had,no,interest,in,Freck. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. CONTINUED: ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Fuck.,Fucking,fuzz.,Now,I'll,never ,,,,,,be,able,to,pull,back,into,traffic. Freck,sighs,resigns,himself,to,waiting,in,his,parking,spot and,checking,out,the,young,mini-skirted,women,walking,by. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,,,(keeping,score) ,,,,,,Fox...,fox...,not,a,fox...,fo...hey,I ,,,,,,know,that,fox! Freck,opens,his,car,door,and,jumps,out. EXT.,,ANAHEIM,STREET,-,CONTINUOUS Freck,hurries,after,a,pretty,young,woman,nineteen,with black,hair.,This,is,Donna,Hawthorne. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,,Hey! Donna,realizes,that,Freck,is,following,her,and,picks,up,her pace.,The,sidewalk,is,crowded,with,people.,Donna,weaves through,graceful,and,fast.,Freck,struggles,to,catch,up. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Hey! The,light,is,against,her,at,the,corner,and,while,the,other pedestrians,wait,for,the,WALK,sign,Donna,juts,out,into traffic,causing,a,Coke,truck,to,swerve,and,honk.,She,gives it,the,finger.,Freck,waits,with,the,others,till,the,light changes.,Then,he,runs,catches,up,with,Donna,and,walks backwards,ahead,of,her,sweating,and,panting. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Donna! She,ignores,him,keeps,walking. ,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,Aren't,you,Bob,Arctor's,old,lady? ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,No. ,,,,,,,,(pulls,out,a,little,pocket ,,,,,,,,,knife,points,it,at,Freck) ,,,,,,Get,lost. He,widens,the,distance,between,them,to,avoid,getting,stuck. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. CONTINUED: ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Sure,you,are.,I,met,you,at,his,place. Donna,turns,and,walks,directly,toward,Freck,her,little,knife pointing,at,his,stomach.,He,jumps,out,of,the,way. ,,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,Jeez.,,I,just... Donna,keeps,walking.,Freck,shrugs,and,slouches,dejectedly away.,He,turns,and,gives,one,last,glance,over,his,shoulder. Donna,has,stopped,amid,the,bustling,foot,traffic.,She,is squinting,at,him.,Freck,cautiously,approaches,her. ,,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,,,One,night,me,and,Bob,and,another,chick ,,,,,,,had,some,old,Simon,and,Garfunkel ,,,,,,,tapes.,You,were,filling,caps,with ,,,,,,,high-grade,Death,then,you,laid,one,on ,,,,,,,each,of,us. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,I,thought,you,were,going,to,knock,me ,,,,,,,down,and,bang,me. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,No.,I,just,wondered,if,you,like, ,,,,,,,wanted,a,ride,or...,Bang,you,on,the ,,,,,,,sidewalk?,In,broad,daylight? ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,I,thought,you,might,pull,me,into,a ,,,,,,,doorway,or,something. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,I,know,you.,Besides,Arctor,would ,,,,,snuff,me,if,I,did,that. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,Well,I,didn't,recognize,you.,,I'm ,,,,,sort,of,nearsighted. Donna,moves,a,few,steps,closer,to,Freck,and,squints,at,him. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,You,want,a,ride,where,you're,going? ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,You'll,bang,me,in,the,car. ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. CONTINUED: ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Nah.,Besides,I,can't,get,it,up,these ,,,,,days.,Must,be,something,they're ,,,,,adulterating,all,the,stuff,with. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,That's,a,neat-o,line,but,I've,heard ,,,,,,,it,before.,Everybody,bangs,me.,At ,,,,,,,least,they,try,to.,That's,what,it's ,,,,,,,like,to,be,a,chick. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,That,really,sucks. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I'm,suing,one,guy,right,now,for ,,,,,molestation,and,assault.,We're,asking ,,,,,punitive,damages,in,excess,of,forty ,,,,,thousand. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,How,far,he,get? ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,A,hand,around,my,boob. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,That's,not,worth,forty,thousand. INT.,CHARLES,FRECK'S,CAR,-,DAY Freck,drives,Donna,home. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Listen,you,got,anything,to,sell?,,I'm ,,,,,really,hurting. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I,can,get,it. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Tabs,though.,I,don't,shoot,up. ,,,,,Needles,are,a,bummer,to,me. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,Sixty,dollars,a,hundred. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,Jeez,man,that's,a,burn. ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. CONTINUED: ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,They're,super,good.,Take,my,word. ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,All,right.,,,A,hundred,then. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,Cool.,,,How,do,I,get,in,touch? ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Charles,B.,Freck,-- Donna,pulls,a,little,pad,and,a,pencil,from,her,purse,and writes,down,Freck's,name. ,,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,,,V.,Freck? ,,,,,,,,,,,,,CHARLES,FRECK ,,,,,,,Charles,Freck. She,corrects,the,name.,Freck,notices,that,her,writing,is,a slow,and,childish,scrawl.,It,makes,him,sad.,Then,he,steals a,glance,at,her,breasts,as,she,writes. ,,,,,,,,,,,,,CHARLES,FRECK,(CONT'D) ,,,,,658-4412. She,writes,down,the,phone,number. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I,think,I,remember,you,now. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,Hey,you,want,to,go,with,me,to,see ,,,,,Jerry,Fabin?,I'm,hauling,some,of,his ,,,,,stuff,over,to,the,Number,Three,Federal ,,,,,Clinic,where,they,took,him,last,night. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,I,better,not.,Jerry,thinks,I ,,,,,contaminated,him,originally,with,those ,,,,,bugs. ,,,,,,,,,,,,CHARLES,FRECK ,,,,,They're,aphids. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,Yeah,well,then,he,didn't,know,what ,,,,,they,were. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. EXT.,ANAHEIM,STREET,-,DAY Bob,Arctor,now,out,of,his,scramble,suit,and,looking,like,a druggie,wanders,depressed,and,aimless,along,a,crowded street.,He,passes,a,McDonald's,a,7-11,a,mirrored,office building,pulls,a,pill,box,from,his,pocket,and surreptitiously,swallows,two,capsules.,He,studies,his reflection,in,the,office,building.,Behind,him,on,the,street are,the,disapproving,reflections,of,passing,straights.,He blends,back,into,the,flow,of,foot,traffic.,A,grungy,hippy smiles,at,him.,Arctor,nods,passes,another,McDonald's.,He passes,a,third,McDonald's,almost,immediately. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Fucking,McDonaldburger's,is,taking ,,,,,over. EXT.,PHONE,BOOTH,-,LATER Arctor,dials,the,phone,and,takes,a,bite,from,a,partially unwrapped,McDonald's,hamburger.,He,chews,as,the,phone,rings. ,,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Hello? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Donna.,,How,you,doin'?,It's,Bob. ,,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,,,(pause) ,,,,,Oh.,,Hi. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,How's,your,head,today,man? ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Eh.,I,was,bumtripped,this,a.m.,by,my ,,,,,boss.,This,gray,hair,bilked,us,out,of ,,,,,ten,bucks.,So,my,boss,says,it's ,,,,,coming,out,of,my,paycheck! ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Hey,can,I,get,anything,from,you? ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,,(resistant) ,,,,,I,don't,know. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Ten.,,Just,ten. ,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. CONTINUED: ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Yeah,okay.,I'll,come,over,tonight. ,,,,,Hey,I,have,this,book,I,want,to,show ,,,,,you.,About,wolves. ,,,,,,,,,,,,,BOB,ARCTOR ,,,,,Oh,wow. ,,,,,,,,,,,,DONNA,HAWTHORNE ,,,,,You,know,what,the,male,wolf,does,when ,,,,,he,defeats,a,foe?,He,doesn't,snuff ,,,,,him.,He,pees,on,him!,Then,he,splits. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,I,peed,on,some,people,today. ,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,No,kidding?,,How,come? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Metaphorically,peed,I,mean. ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Not,the,usual,way? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,What,I,mean,is,I,told,this,group,of... Arctor,realizes,he's,saying,too,much.,He,tries,to,cover. He,glances,at,a,Foster's,Freeze,across,the,street,with,some Hell's,Angels,in,the,parking,lot. ,,,,,,,,,,,,,BOB,ARCTOR,(CONT'D) ,,,,,,,...,biker-types,at,the,Foster's ,,,,,,,Freeze.,I,was,cruising,around,and ,,,,,,,they,said,something,raunchy,so,I ,,,,,,,turned,and,said,something,like,-- Arctor,has,no,idea,what,to,say.,,Suddenly,he's,exhausted. ,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,You,can,tell,me,even,if,it's,super ,,,,,,,gross.,You,have,to,be,super,gross,with ,,,,,,,biker-types. ,,,,,,,,,,,,,BOB,ARCTOR ,,,,,,,I,told,'em,I'd,rather,ride,a,pig,than ,,,,,,,a,hog. ,,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,,,,,(beat) ,,,,,,,I,don't,get,it. ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,18. CONTINUED: ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Well,a,pig,is,a,chick,that,-- ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,Oh.,Okay,well,I,get,it.,Barf.,Oh, ,,,,,I,forgot,to,tell,you,your,roommates, ,,,,,Ernie,What's-His-Name,and,Barris,came ,,,,,into,the,shop,today,looking,for,you. ,,,,,,,,,,,,BOB,ARCTOR ,,,,,They,didn't,try,me,at,my,job,did,they? ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,I,dunno.,They,said,they,wanted,to,use ,,,,,your,cephalochromoscope,and,it,didn't ,,,,,work.,So,Barris,took,it,apart,-- ,,,,,,,,,,,,BOB,ARCTOR ,,,,,The,hell,you,say,-- ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,And,apparently,it's,been,sabotaged. ,,,,,The,wires,cut,and,sort,of,weird,stuff ,,,,,like,that.,Barris,said,he'd,-- ,,,,,,,,,,,,BOB,ARCTOR ,,,,,Fuck,Barris!,That,cephscope,cost,me ,,,,,nine,hundred,dollars.,I,need,to,get ,,,,,home,right,now.,But,I,gotta...,Oh, ,,,,,fuck,man.,Fuck,fuck,fuck,Barris! ,,,,,,,,,,,,DONNA,HAWTHORNE,(O.S.) ,,,,,You,gotta,what? ,,,,,,,,,,,,BOB,ARCTOR ,,,,,I,gotta,run,an,errand,and,like,that. INT.,BOB,ARCTOR'S,CAR,-,DAY Arctor,parks,across,from,the,New-Path,Drug,Rehab,Facility,a converted,wood,frame,house.,He,checks,the,police,photo,of Erroll,Weeks,a.k.a,Spade,Weeks,shoves,it,into,his,glove compartment,and,heads,business-like,toward,the,building. SHOT,OF,NOTEBOOK,PAGE,DAPPLED,WITH,SUNLIGHT Children,play,in,the,background.,Someone,skims,the,entry,as the,offhand,voice-over,reads,along. ,,,,,,,,,,,,BOB,ARCTOR,,(V.O.) ,,,,,The,S.O.,believes,Spade,,Weeks,has,lost ,,,,,himself,inside,New-Path,,by,posing,as,a ,,,,,junky.,New-Path,strips,,junkies,of,all ,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,(CONTINUED) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,19. CONTINUED: ,,,,,,,,,,,,BOB,ARCTOR,(cont'd) ,,,,,i.d.,and,gives,them,new,names,as,part ,,,,,of,personality,rebuilding,process. ,,,,,It'

3

Aladdin

Roger Allers,Ron Clements

Animation,Family,Musical,Fantasy,Comedy

December_1992

PEDDLER:,,Oh,I,come,from,a,land ,,From,a,faraway,place ,,Where,the,caravan,camels,roam ,,Where,they,cut,off,your,ear,/Where,it's,flat,and,immense ,,If,they,don't,like,your,face,/And,the,heat,is,intense ,,It's,barbaric,but,hey--it's,home! ,,When,the,wind's,at,your,back ,,And,the,sun's,from,the,west ,,And,the,sand,in,the,glass,is,right ,,Come,on,down, ,,Stop,on,by ,,Hop,a,carpet,and,fly ,,To,another,Arabian,night! ,,Arabian,nights ,,Like,Arabian,days ,,More,often,than,not ,,Are,hotter,than,hot ,,In,a,lot,of,good,ways ,,Arabian,nights ,,'Neath,Arabian,moons ,,A,fool,off,his,guard ,,Could,fall,and,fall,hard ,,Out,there,on,the,dunes. ,,Ah,Salaam,and,good,evening,to,you,worthy,friend. ,,Please,please,come,closer--(Camera,zooms,in,hitting ,,peddler,in,face),Too,close,a,little,too,close.,(Camera ,,zooms,back,out,to,CU)There.Welcome,to,Agrabah.,City,of ,,mystery,of,enchantment,and,the,finest,merchandise,this ,,side,of,the,river,Jordan,on,sale,today,come,on,down! ,,Heh,heh.,Look,at,this!,Yes!,Combination,hookah,and ,,coffee,maker--also,makes,Julienne,fries.,Will,not,break ,,(taps,it,on,table),will,not--(it,falls,apart)--it ,,broke.,Ooohhh!,Look,at,this!,Pulls,out,Tupperware),I ,,have,never,seen,one,of,these,intact,before.,This,is,the ,,famous,Dead,Sea,Tupperware.,Listen.,(Pries,it,open, ,,makes,raspberry,sound.),Ah,still,good.,(Camera,begins ,,to,pan,to,right.,PEDDLER,hurries,to,catch,it.),Wait, ,,don't,go!,(Stop,pan.)I,can,see,that,you're,only ,,interested,in,the,exceptionally,rare.,I,think,then,you ,,would,be,most,rewarded,to,consider...this.,(PEDDLER ,,pulls,the,MAGIC,LAMP,out,from,his,sleeve.),Do,not,be ,,fooled,by,its,commonplace,appearance.,Like,so,many ,,things,it,is,not,what,is,outside,but,what,is,inside ,,that,counts.,(Another,pan,this,one,slower,to,left. ,,Again,PEDDLER,rushes,to,catch,up.),This,is,no,ordinary ,,lamp!,It,once,changed,the,course,of,a,young,man's,life. ,,A,young,man,who,liked,this,lamp,was,more,than,what,he ,,seemed.,A,diamond,in,the,rough.,Perhaps,you,would,like ,,to,hear,the,tale?,(PEDDLER,pours,shiny,sand,from,the ,,lamp,into,his,hand.),It,begins,on,a,dark,night,(PEDDLER ,,throws,sand,into,the,sky,where,it,forms,a,starry ,,nightscape.),,where,a,dark,man,waits,with,a,dark ,,purpose. (Camera,tilts,down,to,find,JAFAR,sitting,on,his,horse,and,IAGO ,,on,his,shoulder.,GAZEEM,comes,riding,up,to,the,pair.) JAFAR:,You...are,late. GAZEEM:A,thousand,apologies,O,patient,one. JAFAR:,You,have,it,then? GAZEEM:I,had,to,slit,a,few,throats,to,get,it.,(Pulls,out ,,,,half,of,the,medallion.,JAFAR,reaches,out,for,it, ,,,,but,GAZEEM,yanks,it,back.),Ah,ah,ahhh!,The,treasure! ,,,,(IAGO,squawks,as,he,flies,by,and,grabs,the,medallion.),Ouch! JAFAR:,Trust,me,my,pungent,friend.,You'll,get,what's ,,,,coming,to,you. IAGO:,,What's,coming,to,you!,Awk! (JAFAR,pulls,out,the,second,half,of,the,medallion.,He,connects ,,them,and,the,insect,medallion,begins,to,glow.,Finally,it ,,flies,out,of,JAFAR's,hand,scaring,the,horses,and,is,off ,,towards,the,dunes.) JAFAR:,Quickly,follow,the,trail! (All,ride,off,following,the,glowing,speck,of,light,until ,,it,reaches,a,large,dune.,It,separates,into,two,and,the ,,halves,plunge,into,the,dune.,All,that,remains,are,two,glowing ,,points,of,light,on,the,dune.,But,then,the,dune,begins,to,rise ,,,up,transforming,into,a,giant,lion's,head,with,the,glowing ,,points,serving,as,the,eyes.) JAFAR:,At,last,after,all,my,years,of,searching,,the,cave ,,,,of,wonders! IAGO:,,,,Awk!,Cave,of,wonders! GAZEEM:,By,Allah! JAFAR:,Now,remember!,Bring,me,the,lamp.,The,rest,of,the ,,,,treasure,is,yours,but,the,lamp,is,mine! (GAZEEM,starts,to,approach,the,lion's,mouth,which,forms,the ,,entrance,to,the,cave.,He,chuckles,as,he,goes.) IAGO:,,Awk,the,lamp!,Awk,,the,lamp!,(Now,that,IAGO,and ,,JAFAR,are,alone,IAGO,opens,up,in,normal,English.) ,,Jeez,where'd,ya,dig,this,bozo,up? (JAFAR,puts,his,finger,to,his,lips,and,shushes,him.,GAZEEM,reaches ,,the,cave,but,is,blown,away,by,the,roar,of,the,cave's,speaking.) CAVE:,,,,Who,disturbs,my,slumber? GAZEEM:,It,is,I,Gazeem,a,humble,thief. CAVE:,,,,Know,this.,Only,one,may,enter,here.,One,whose ,,,,worth,lies,far,within.,A,diamond,in,the,rough. (GAZEEM,turns,to,JAFAR,with,a,questioning,look.) JAFAR:,What,are,you,waiting,for?,Go,on! (GAZEEM,hesitates,then,moves,one,foot,inside,the,cave.,With ,,great,apprehension,he,plants,his,foot,down.,Nothing,happens. ,,,Relieved,he,begins,his,trek,again.,Then,another,roar,comes. ,,,He,turns,back,but,the,lion's,mouth,slams,shut,and,the,dune ,,collapses,back,to,normal.,All,that,are,left,are,JAFAR,IAGO, ,,,and,the,two,separated,halves,of,the,medallion.) CAVE:,,,,Seek,thee,out,the,diamond,in,the,rough. (IAGO,unburied,himself,from,the,sand,coughing,as,he,does,so.) IAGO:,,,,I,can't,believe,it.,I,just,don't,believe,it.,We're ,,,,never,gonna,get,a,hold,of,that,stupid,lamp!,Just ,,,,forget,it.,Look,at,this.,Look,at,this.,I'm,so ,,,,ticked,off,that,I'm,molting!,(He,flies,up,to ,,,,JAFAR's,shoulder.) JAFAR:,Patience,Iago.,Patience.,Gazeem,was,obviously ,,,,less,than,worthy. IAGO:,,,,(Extremely,sarcastically),Oh,there's,a,big ,,,,surprise.,That's,an,incred--I,think,I'm,gonna,have ,,,,a,heart,attack,and,die,from,not,surprise!,What're ,,,,we,gonna,do?,We,got,a,big,problem,here,a,big,prob- ,,,,(JAFAR,pinches,his,beak,shut.) JAFAR:,Yes,we,do.,Only,one,may,enter.,I,must,find,this ,,,,one,this...diamond,in,the,rough. (Cut,to,a,rooftop,where,ALADDIN,rushes,up,to,the,edge,carrying ,,a,loaf,of,bread.,He,almost,drops,it,over,the,edge.) GUARD:,Stop,thief!,I'll,have,your,hands,for,a,trophy, ,,,,street,rat! ALADDIN:,,(Looks,back,then,down,then,at,the,bread.),All ,,,,this,for,a,loaf,of,bread? (He,jumps,off,landing,on,two,ropes,strung,between,buildings,with ,,drying,clothes,on,them.,He,skies,down,them,collecting,bits ,,and,pieces,of,clothing,on,him,as,he,goes.,Finally,he's ,,nearing,the,end,of,the,rope,at,a,window,when,a,woman,reaches ,,,out,and,slams,the,shutters,closed.,ALADDIN,slams,into,the ,,shutters,and,falls,to,the,street,his,fall,being,broken,by ,,numerous,awnings,and,the,pile,of,clothes,around,him.,He,pulls ,,,off,the,top,layer,of,clothes,and,is,about,to,enjoy,his,bread ,,when...) GUARD,1:,,There,he,is! GUARD,2:,,You,won't,get,away,so,easy! ALADDIN:,,You,think,that,was,easy? (He,looks,at,three,women,laughing,at,him.) GUARD,1:,,You,two,over,that,way,and,you,with,me.,We'll ,,,,find,him. (ALADDIN,pulls,a,sheet,over,him,and,wraps,himself,as,a,disguise. ,,He,rushes,over,to,the,women.) ALADDIN:,,Morning,ladies. WOMAN,1:,,Getting,into,trouble,a,little,early,today,aren't ,,,,we,Aladdin? ALADDIN:,,Trouble?,No,way.,You're,only,in,trouble,if,you ,,,,get,caught-- (A,hand,grabs,ALADDIN's,shoulder,and,yanks,him,back.,It's,the ,,first,GUARD.,ALADDIN's,disguise,falls,off.) ALADDIN:,,I'm,in,trouble! GUARD:,...and,this,time--(A,screeching,sound,from,ABU, ,,,,then,the,guard's,turban,is,pulled,down,over,his ,,,,eyes.,ABU,dances,on,the,GUARD's,head,laughing.) ALADDIN:,,Perfect,timing,Abu! ABU:,,,,Hello! ALADDIN:,,Come,on,let's,get,outta,here! ,,,,Gotta,keep...one,jump,ahead,of,the,breadline ,,,,One,swing,ahead,of,the,sword ,,,,I,steal,only,what,I,can't,afford ,,,,That's,everything! (ALADDIN,battles,a,GUARD,wielding,a,sword.,He,dodges,a,couple,of ,,swings,then,pulls,down,the,GUARD's,pants.,ABU,raspberries,the ,,GUARD,then,dodges,an,attack.,The,GUARD,swings,at,ALADDIN, ,,but,destroys,a,barrel,of,fish.,As,ALADDIN,runs,off,the,GUARD ,,,pulls,a,fish,over,his,lower,body,as,a,pair,of,pants.) ,,,,One,jump,ahead,of,the,lawmen ,,,,That's,all,and,that's,no,joke ,,,,These,guys,don't,appreciate,I'm,broke! (ALADDIN,and,ABU,scamper,up,a,pile,of,barrels,then,kick,one,down ,,on,top,of,another,GUARD.) GUARDS:,(one,at,a,time),Riffraff!,Street,rat! ,,,,Scoundrel!,Take,that! ALADDIN:,,Just,a,little,snack,guys! (ALADDIN,scampers,to,the,top,of,a,platform.,The,GUARDS,shake,the ,,platform,back,and,fro,trying,to,knock,him,off.) GUARDS:,Rip,him,open,take,it,back,guys! ALADDIN:,,I,can,take,a,hint,gotta,face,the,facts ,,,,You're,my,only,friend,Abu! WOMEN:,Who?!? (ALADDIN,jumps,off,the,platform,to,certain,death,only,to,grab,ABU's ,,hands,like,an,acrobat.,The,pair,swing,into,a,harem.) ,,,,Oh,it's,sad,Aladdin's,hit,the,bottom ,,,,He's,become,a,one-man,rise,in,crime (ABU,finds,a,plate,full,of,fruit,and,stuffs,his,mouth,full,like,a ,,chipmunk.) WOMAN:,I'd,blame,parents,except,he,hasn't,got,'em! ALADDIN:,,Gotta,eat,to,live,gotta,steal,to,eat ,,,,Tell,you,all,about,it,when,I,got,the,time! (ALADDIN,and,ABU,exit.,Cut,to,MUSCLEMAN,flexing,to,a,crowd.,The ,,GUARDS,rush,past.,Cut,to,ALADDIN,and,ABU,behind,the,MUSCLEMAN, ,,,matching,his,moves,until,they,make,a,mistake,and,are,discovered.) ,,,,One,jump,ahead,of,the,slowpokes ,,,,One,skip,ahead,of,my,doom ,,,,Next,time,gonna,use,a,nom,de,plume. ,,,,One,jump,ahead,of,the,hitmen ,,,,One,hit,ahead,of,the,flock ,,,,I,think,I'll,take,a,stroll,around,the,block. (A,chase,sequence,in,which,ALADDIN,and,ABU,pursued,by,the,GUARDS, ,,race,through,a,flock,of,sheep,hurdle,a,MAN,sleeping,on,a,bed,of ,,nails,{of,course,one,extremely,large,GUARD,lands,on,him}.,ABU ,,,disguises,himself,with,jewels,until,a,SHOPKEEPER,discovers,him. CROWD:,Stop,thief!,Vandal! ,,,,Outrage!,Scandal! ALADDIN:,,Let's,not,be,too,hasty (ALADDIN,is,surrounded,by,GUARDS,in,front,of,a,door.,The,door,opens ,,and,a,large,ugly,LADY,comes,out.) LADY:,,Still,I,think,he's,rather,tasty (ALADDIN,tumbles,away,then,puts,his,arm,around,a,GUARD,acting ,,like,they're,all,chums.) ALADDIN:,,Gotta,eat,to,live,gotta,steal,to,eat ,,,,Otherwise,we'd,get,along! GUARDS:,WRONG! (They,all,jump,into,a,pile,and,fight.,When,they,stop,ALADDIN,and ,,ABU,are,gone.,They,are,sneaking,away,in,barrels.,They,run ,,across,a,flaming,pit,followed,by,GUARDS,who,hop,up,and,down, ,,screaming,in,pain,as,they,cross,the,rocks.,ALADDIN,and,ABU ,,pass,a,SWORD,SWALLOWER,then,ABU,goes,back,pulls,the,sword ,,out,of,the,SWALLOWER's,mouth.,ABU,advances,on,the,guards, ,,who,retreat,in,fear.) GUARD,1:,,He's,got,a,sword! GUARD,2:,,You,idiot--we've,ALL,got,swords!! (ABU,sets,the,sword,down,gently,then,runs.,ALADDIN,and,ABU,are ,,once,again,surrounded,with,GUARDS,coming,from,left,and,right. ,,,He,jumps,up,and,climbs,a,robe,trick,being,done,on,the,street, ,,,as,the,GUARDS,all,crash,into,each,other.) ALADDIN:,,One,jump,ahead,of,the,hoofbeats! CROWD:,Vandal! ALADDIN:,,One,hop,ahead,of,the,hump! CROWD:,Street,rat! ALADDIN:,,One,trick,ahead,of,disaster CROWD:,Scoundrel! ALADDIN:,,They're,quick--but,I'm,much,faster CROWD:,Take,that! (The,GUARDS,chase,ALADDIN,up,a,staircase,into,a,room.,He,grabs,a ,,,carpet,and,jumps,out,the,window) ALADDIN:,,Here,goes,better,throw,my,hand,in ,,,,Wish,me,happy,landin' ,,,,All,I,gotta,do,is,jump! (The,GUARDS,follow,him,out,the,window,but,they,go,straight,down,to ,,,the,street,and,land,in,a,pile,with,the,sign,"Crazy,Hakim's ,,Discount,Fertilizer.",ALADDIN,uses,the,carpet,as,a,parachute ,,to,land,safely,and,out,of,danger.,ALADDIN,and,ABU,high-five,each ,,other.) ALADDIN:,,And,now,esteemed,effendi,we,feast!,All,right! (ALADDIN,breaks,the,bread,in,two,and,gives,half,to,ABU,who,begins ,,to,eat.,But,ALADDIN,looks,over,and,sees,two,young,children ,,rummaging,through,the,garbage,for,food.,The,GIRL,sees,him,then ,,drops,her,find,and,tries,to,hide.,ALADDIN,looks,at,them,then ,,the,bread,then,at,ABU.) ABU:,,,,Uh-oh! (ABU,takes,a,big,bite,of,his,food,but,ALADDIN,gets,up,and,walks ,,over,to,the,children.,The,GIRL,pulls,her,brother,back.) ALADDIN:,,Here,go,on--take,it. (The,children,giggle,with,delight.,ABU,tries,to,swallow,his,bite, ,,then,looks,guilty.,He,walks,over,to,the,children,and,offers,his ,,,bread,to,them.,In,delight,they,pet,him,on,the,head.) ABU:,,,,Ah,don't.,Huh? (ABU,sees,ALADDIN,walking,into,the,daylight,where,there,is,a,parade ,,going,on.ALADDIN,peers,over,the,shoulders,of,people.,He,sees ,,PRINCE,ACHMED,riding,on,a,horse.) BYSTANDER,1:,,On,his,way,to,the,palace,I,suppose. BYSTANDER,2:,,Another,suitor,for,the,princess. (ALADDIN,is,startled,as,the,two,children,come,running,out,from,the ,,alley.,The,BOY,runs,out,in,front,of,the,PRINCE's,horse, ,,startling,it.) PRINCE:,Out,of,my,way,you,filthy,brat! (The,PRINCE,brings,up,his,whip,to,attack,the,children,but,ALADDIN ,,jumps,in,front,of,them,and,catches,the,whip.) ALADDIN:,,Hey,if,I,were,as,rich,as,you,I,could,afford,some,manners PRINCE:,Oh--I,teach,you,some,manners! (The,PRINCE,kicks,ALADDIN,into,a,mud,puddle.,The,crowd,laugh,at,him.) ALADDIN:,,Look,at,that,Abu.,It's,not,every,day,you,see,a ,,,,horse,with,two,rear,ends! (The,PRINCE,stops,and,turns,back,to,ALADDIN.) PRINCE:,You,are,a,worthless,street,rat.,You,were,born,a ,,,,street,rat,you'll,die,a,street,rat,and,only ,,,,your,fleas,will,mourn,you. (ALADDIN,rushes,the,PRINCE,but,the,doors,to,the,castle,slam,shut ,,in,his,face.) ALADDIN:,,I'm,not,worthless.,And,I,don't,have,fleas.,Come ,,,,on,Abu.,Let's,go,home. (ALADDIN,makes,the,climb,to,his,home,with,the,view,then,tucks,in ,,ABU,for,the,night.) ALADDIN:,,Riffraff,street,rat. ,,,,I,don't,buy,that. ,,,,If,only,they'd,look,closer ,,,,Would,they,see,a,poor,boy?,No,siree. ,,,,They'd,find,out,there's,so,much,more,to,me. (He,pulls,back,a,curtain,to,reveal,the,beautiful,palace.) ,,,,Someday,Abu,things,are,gonna,change.,We'll,be ,,,,rich,live,in,a,palace,and,never,have,any,problems ,,,,at,all. (Dissolve,to,same,shot,during,day.,Cut,to,int.,of,SULTAN's,chamber. ,,,The,door,bursts,open,and,PRINCE,ACHMED,storms,in,missing,the ,,rear,end,of,his,pants.) PRINCE:,I've,never,been,so,insulted! SULTAN:,Oh,Prince,Achmed.,You're,not,leaving,so,soon,are ,,,,you? PRINCE:,Good,luck,marrying,her,off! SULTAN:,Oh,Jasmine!,Jasmine!,Jasmine!,(The,SULTAN,goes ,,,,off,into,the,garden,looking,for,his,daughter.,He ,,,,finds,her,but,is,interrupted,by,RAJAH,JASMINE's ,,,,pet,tiger,who,blocks,him,off.,RAJAH,has,a,piece ,,,,of,the,PRINCE's,undershorts,in,his,mouth.The,SULTAN ,,,,grabs,the,cloth,and,yanks,it,out,of,RAJAH's,mouth.) ,,,,Confound,it,Rajah!,So,this,is,why,Prince,Achmed ,,,,stormed,out! JASMINE:,,Oh,father.,Rajah,was,just,playing,with,him, ,,,,weren't,you,Rajah.,(RAJAH,comes,over,and,allows ,,,,JASMINE,to,pet,and,hug,him.),You,were,just,playing ,,,,with,that,overdressed,self-absorbed,Prince,Achmed, ,,,,weren't,you?,(She,cuddles,with,RAJAH,enjoying,the ,,,,moment,until,she,looks,up,at,her,angry,father.,) ,,,,Ahem. SULTAN:,Dearest,you've,got,to,stop,rejecting,every,suitor ,,,,that,comes,to,call.,The,law,says,you... BOTH:,,,,...must,be,married,to,a,prince. (They,walk,over,to,a,dove,cage.) SULTAN:,By,your,next,birthday. JASMINE:,,The,law,is,wrong. SULTAN:,You've,only,got,three,more,days! JASMINE:,,Father,,I,hate,being,forced,into,this.,(She,takes ,,,,a,dove,out,of,the,cage,and,pets,it.),If,I,do,marry, ,,,,I,want,it,to,be,for,love. SULTAN:,Jasmine,it's,not,only,this,law.,(She,hands,him ,,,,the,dove,and,he,puts,it,back,in,the,cage.),I'm,not ,,,,going,to,be,around,forever,and,I,just,want,to,make ,,,,sure,you're,taken,care,of,provided,for. JASMINE:,,Try,to,understand.,I've,never,done,a,thing,on,my ,,,,own.,(She,swirls,her,finger,in,the,water,of,the ,,,,pond,petting,the,fish.)I've,never,had,any,real ,,,,friends.,(RAJAH,looks,up,at,her,and,growls.) ,,,,Except,you,Rajah.,(Satisfied,he,goes,back,to ,,,,sleep.),I've,never,even,been,outside,the,palace ,,,,walls. SULTAN:,But,Jasmine,you're,a,princess. JASMINE:,,Then,maybe,I,don't,want,to,be,a,princess.,(She ,,,,splashes,the,water.) SULTAN:,Oooohhh!,Allah,forbid,you,should,have,any ,,,,daughters! (RAJAH,looks,up,and,thinks,for,a,second.,JASMINE,goes,to,the,dove ,,cage,and,yanks,open,the,door.,The,birds,fly,off,into,freedom. ,,,She,watches,them,go.,Cut,to,int.,of,SULTAN's,chambers.) SULTAN:,I,don't,know,where,she,gets,it,from.,Her,mother ,,,,wasn't,nearly,so,picky.,(A,shadow,falls,over,him. ,,,,He,looks,up,startled,and,sees,JAFAR.),Ooh,oh. ,,,,Ah,Jafar--my,most,trusted,advisor.,I,am,in ,,,,desperate,need,of,your,wisdom. JAFAR:,My,life,is,but,to,serve,you,my,lord.,(He,bows.) SULTAN:,It's,this,suitor,business.,Jasmine,refuses,to ,,,,choose,a,husband.,I'm,at,my,wit's-end. IAGO:,,(In,the,parrot,voice),Awk!,Wit's-end. SULTAN:,Oh,ha,ha.,Have,a,cracker,pretty,polly!,(He ,,,,pulls,a,cracker,out,from,his,pocket.,IAGO,looks ,,,,terrified.,Then,the,SULTAN,stuffs,it,in,IAGO's ,,,,mouth.,IAGO,grimaces,as,he,tries,to,eat,it.,JAFAR ,,,,and,the,SULTAN,both,laugh.) JAFAR:,Your,majesty,certainly,has,a,way,with,dumb,animals. ,,,,(IAGO,glares,at,him.),Now,then,perhaps,I,can ,,,,divine,a,solution,to,this,thorny,problem. SULTAN:,If,anyone,can,help,it's,you. JAFAR:,Ah,but,it,would,require,the,use,of,the,mystic,blue ,,,,diamond. SULTAN:,Uh,my,ring?,But,it's,been,in,the,family,for ,,,,years. JAFAR:,It,is,necessary,to,find,the,princess,a,suitor. ,,,,(JAFAR,says,the,word,'princess',with,the,accent,on ,,,,the,second,syllable,"cess.",He,turns,his,staff ,,,,with,a,cobra,head,towards,the,SULTAN.,The,eyes,of ,,,,the,staff,begin,to,glow.,The,room,darkens,JAFAR's ,,,,voice,slows,down,and,deepens.,The,SULTAN's,eyes ,,,,get,a,hypnotized,look.),Don't,worry.,Everything ,,,,will,be,fine. SULTAN:,Everything...will,be...fine. JAFAR:,The,diamond. SULTAN:,Here,Jafar.,Whatever,you,need,will,be,fine. (The,SULTAN,removes,his,ring,and,hands,it,to,JAFAR.,The,room,returns ,,to,normal,as,JAFAR,pulls,back,the,staff.) JAFAR:,You,are,most,gracious,my,liege.,Now,run,along,and ,,,,play,with,your,little,toys. SULTAN:,(Still,hypnotized),Yes...that'll,be...pretty,good. (JAFAR,and,IAGO,exit.,We,follow,them.,When,they're,out,of,the,room, ,,the,parrot,spits,out,the,cracker.) IAGO:,,,,I,can't,take,it,anymore!,If,I,gotta,choke,down,on ,,,,one,more,of,those,moldy,disgusting,crackers...bam! ,,,,Whack! (JAFAR,pulls,a,rope,which,reveals,a,hidden,entrance,to,his,chambers.) JAFAR:,Calm,yourself,Iago. IAGO:,,,,Then,I'd,grab,him,around,the,head.,Whack!,Whack! JAFAR:,(Speaking,over,IAGO.),Soon,I,will,be,sultan,not ,,,,that,addlepated,twit. IAGO:,,,,And,then,I,stuff,the,crackers,down,his,throat!,Ha ,,,,ha! (The,pair,pass,through,a,door,and,slam,it,shut.,Diss.,to,ext.,gardens ,,at,night.,A,shadowy,figure,walks,through.,We,see,it,is,JASMINE ,,in,disguise.,She,reaches,the,palace,wall,then,begins,to,climb,it. ,,,She,is,tugged,from,behind,by,RAJAH.) JASMINE:,,Oh,I'm,sorry,Rajah.,But,I,can't,stay,here,and ,,,,have,my,life,lived,for,me.,I'll,miss,you.(She ,,,,begins,to,climb,again,and,is,helped,up,by,RAJAH, ,,,,who,begins,to,whine,and,whimper.),Good,bye! (She,disappears,over,the,wall.,Cut,to,daytime,on,the,street,ALADDIN ,,and,ABU,are,up,to,their,capers,again.,They,are,on,top,of,the ,,awning,of,a,fruit,stand.) ALADDIN:,,,,Okay,Abu.,Go! (ABU,dips,over,the,edge,and,looks,at,the,PROPRIETOR.) PROPRIETOR:,(To,passing,crowd),Try,this,your,taste,buds ,,,,,,will,dance,and,sing.,(ABU,grabs,a,melon,and ,,,,,,hangs,there,distracting,his,attention.),Hey, ,,,,,,get,your,paws,off,that. ABU:,,,,,,Blah,blah,blah! PROPRIETOR:,Why,you!,Get,away,from,here,you,filthy,ape! (He,grabs,the,melon,away,from,ABU.,But,in,the,foreground,ALADDIN ,,dips,down,and,snatches,another,melon,from,the,stand.) ABU:,,,,,,Bye,bye! (He,zings,back,up.,The,PROPRIETOR,takes,the,melon,to,the,front, ,,where,he,places,it,on,top,of,a,stack.,He,looks,confused,like ,,he,has,just,done,this.) ALADDIN:,,Nice,goin',Abu.,Breakfast,is,served. (ALADDIN,and,ABU,on,the,roof,break,open,the,melon,and,eat.,We,see,J ,,ASMINE,walking,through,the,street.) SHOPKEEPER,1:,,Pretty,lady,buy,a,pot.,No,finer,pot,in,brass ,,,,,,or,silver. SHOPKEEPER,2:,,Sugar,dates,sugar,dates,and,figs!,Sugar ,,,,,,dates,and,pistachios! SHOPKEEPER,3:,,Would,the,lady,like,a,necklace.,A,pretty ,,,,,,necklace,for,a,pretty,lady. (She,is,charmed,by,the,action,but,is,startled,by,a,fish,thrust ,,into,her,face.) SHOPKEEPER,4:,,Fresh,fish!,We,catch,'em,you,buy,'em! JASMINE:,,I,don't,think,so.,(She,backs,away,but,bumps,into ,,,,a,fire,eater,who,is,startled,into,swallowing,his ,,,,fire.),Oh,excuse,me.,(He,gulps,then,belches ,,,,fire,from,his,mouth.,JASMINE,is,disgusted.,He,is ,,,,pleased,and,taps,his,stomach.,ALADDIN,sees,her, ,,,,and,a,strange,look,comes,over,his,face.),I'm ,,,,really,very,sorry. ALADDIN:,,(He's,obviously,deeply,in,love,with,her.),Wow! (She,pulls,the,hood,of,her,cloak,over,her,head.,ABU,sees,him,and ,,jumps,up,on,his,shoulder,waving,his,hand,in,front,of,ALADDIN's ,,face.) ABU:,,,,Uh,oh.,Hello?,Hello? (JASMINE,stops,at,the,fruit,stand,and,sees,a,young,homeless,child ,,reaching,for,a,piece,of,fruit.,She,picks,one,up,and,gives,it,to ,,him.) JASMINE:,,,,Oh,you,must,be,hungry.,Here,you,go.,(The ,,,,,,boy,runs,off.) PROPRIETOR:,You'd,better,be,able,to,pay,for,that. JASMINE:,,,,(Mystified),Pay? PROPRIETOR:,No,one,steals,from,my,cart! JASMINE:,,,,Oh,I'm,sorry,sir.,I,don't,have,any,money. PROPRIETOR:,Thief! JASMINE:,,,,Please,if,you,let,me,go,to,the,palace,I,can ,,,,,,get,some,from,the,Sultan. PROPRIETOR:,Do,you,know,what,the,penalty,is,for,stealing? (He,takes,her,hand,and,pins,it,down,on,the,table,intending,to ,,chop,it,off.) JASMINE:,,,,No,no,please! (The,sword,drops,but,his,hand,is,stopped,by,ALADDIN's.) ALADDIN:,,,,Thank,you,kind,sir.,I'm,so,glad,you've,found ,,,,,,her.,I've,been,looking,all,over,for,you. JASMINE:,,,,(whispering),What,are,you,doing? ALADDIN:,,,,(whispering,back),Just,play,along. PROPRIETOR:,You,know,this,girl? JASMINE:,,,,Sadly,yes.,She,is,my,sister.,She's,a,little ,,,,,,crazy.,(He,circles,his,finger,around,his,ear. ,,,,,,She,is,shocked.,The,PROPRIETOR,grabs,him,by ,,,,,,the,vest.) PROPRIETOR:,She,said,she,knows,the,Sultan! ALADDIN:,,,,She,thinks,the,monkey,is,the,Sultan. (ABU,is,picking,a,pocket.,He,hears,this,then,straightens,up. ,,JASMINE,playing,along,kneels,and,bows,to,ABU.) JASMINE:,,,,Oh,wise,Sultan.,How,may,I,serve,you? ABU:,,,,,,Well,blah,blah,blah,blah. ALADDIN:,,,,Tragic,isn't,it?,(He,leans,forward,picking ,,,,,,up,another,apple,from,the,cart,with,his ,,,,,,foot.),But,no,harm,done.,(Walks,over,to ,,,,,,Jasmine.),Now,come,along,sis.,Time,to,see,the ,,,,,,doctor. JASMINE:,,,,(To,a,camel,standing,nearby),Oh,hello,doctor. ,,,,,,How,are,you? ALADDIN:,,,,No,no,no.,Not,that,one.,(To,ABU,whose ,,,,,,pockets,are,bulging.),Come,on,Sultan. (ABU,bows,to,the,crowd,and,everything,he's,stolen,from,the,cart,falls ,,out.) PROPRIETOR:,Huh?,What,is,it?,(ABU,picks,up,what,he,can ,,,,,,carry,and,the,trio,run,off.),Come,back,here, ,,,,,,you,little,thieves! (Cut,to,int.,of,JAFAR's,lab.,IAGO,is,running,on,a,gear,in,a,bizarre ,,contraption.,At,the,top,of,the,contraption,is,a,storm,brewing.) IAGO:,,,,(huffing,and,puffing),With,all,due,respect,your ,,,,rottenness,couldn't,we,just,wait,for,a,real,storm? JAFAR:,Save,your,breath,Iago.,Faster!,(He,places,the ,,,,SULTAN's,ring,in,the,contraption.) IAGO:,,,,Yes,o,mighty,evil,one. (IAGO,runs,faster.,A,lightning,bolt,streaks,through,the,ring,passing ,,into,an,hourglass,below.,The,sands,begin,to,swirl.) JAFAR:,Ah,sands,of,time--reveal,to,me,the,one,who,can ,,,,enter,the,cave.,(The,sand,in,top,forms,the,Cave,of ,,,,Wonders.,It,falls,through,into,a,storm,but,it ,,,,shows,ALADDIN,climbing,up,a,ladder,followed,by ,,,,JASMINE,who,is,covered,in,her,cloak.),Yes,yes! ,,,,There,he,is.,My,diamond,in,the,rough! IAGO:,,,,That's,him?!?!,,That's,the,clown,we've,been ,,,,waitin',for?,(IAGO,loses,his,footing,and,is,sucked ,,,,into,the,gears.) JAFAR:,Let's,have,the,guards,extend,him,an,invitation,to ,,,,the,palace,shall,we? (IAGO,goes,flying,past,and,slams,into,the,wall,upside,down.) IAGO:,,Swell. (JAFAR,laughs,hideously,and,the,camera,zooms,in,on,the,sandstorm,with ,,ALADDIN,in,it.,Finally,we,dissolve,into,the,real,ALADDIN,climbing ,,to,the,top,of,the,ladder,followed,by,JASMINE.) ALADDIN:,,Almost,there. (JASMINE,climbs,over,the,top,but,trips,and,falls,into,ALADDIN's,arms. ,,She,stands,up.) JASMINE:,,I,want,to,thank,you,for,stopping,that,man. ALADDIN:,,Uh,forget,it.,(He,grabs,a,pole.),So,uh,this,is ,,,,your,first,time,in,the,marketplace,huh? (ALADDIN,pole,vaults,to,the,next,building,leaving,JASMINE,behind.) JASMINE:,,Is,it,that,obvious? ALADDIN:,,Well,you,do,kinda,stand,out.,(He,stares,at,her, ,,,,still,in,love.,She,returns,the,look.,But,he ,,,,realizes,what,he,is,doing,and,returns,to,normal.) ,,,,I,mean,uh,you,don't,seem,to,know,how,dangerous ,,,,Agrabah,can,be.,(He,lays,a,plank,between,the ,,,,buildings,for,her,to,walk,over,but,as,he,is,leaned ,,,,down,she,vaults,over,his,head.,He,looks,back,in ,,,,surprise.,She,tosses,the,pole,to,him.,Both ,,,,ALADDIN's,and,ABU's,eyes,bulge.) JASMINE:,,I'm,a,fast,learner. ALADDIN:,,Right.,C'mon,this,way.,(They,go,inside,the,roof ,,,,of,a,building,dodging,planks,and,beams,as,they ,,,,go.),Whoa.,Watch,your,head,there.,Be,careful. JASMINE:,,Is,this,where,you,live? ALADDIN:,,Yep.,Just,me,and,Abu.,Come,and,go,as,we,please. JASMINE:,,Fabulous. ALADDIN:,,Well,it's,not,much,(he,pulls,back,the,curtain,and ,,,,exposes,the,palace),but,it's,got,a,great,view. ,,,,Palace,looks,pretty,amazing,huh? JASMINE:,,Oh,it's,wonderful. ALADDIN:,,I,wonder,what,it,would,be,like,to,live,there,to ,,,,have,servants,and,valets... JASMINE:,,Oh,sure.,,People,who,tell,you,where,to,go,and,how ,,,,to,dress. ALADDIN:,,It's,better,than,here.,Always,scraping,for,food ,,,,and,ducking,the,guards. JASMINE:,,You're,not,free,to,make,your,own,choices. ALADDIN:,,Sometimes,you,feel,so-- JASMINE:,,You're,just-- BOTH:,,,,(in,unison),--trapped. (They,look,at,each,other,realizing,that,they're,perfect,for,one ,,another.,But,ALADDIN,then,realizes,where,he,is,and,breaks,the ,,look.,He,takesthe,apple,out,of,ABU's,hand,and,rolls,it,down,his ,,arm,into,the,hand,of,JASMINE.) ALADDIN:,,So,where're,you,from? JASMINE:,,What,does,it,matter?,I,ran,away,and,I,am,not ,,,,going,back. ALADDIN:,,Really?,(He,takes,a,bite,from,the,apple,in,his ,,,,hand,then,hands,it,to,ABU,who,has,a,disgusted ,,,,look,on,his,face.) ABU:,,,,Why,you! (ALADDIN,walks,over,and,sits,next,to,JASMINE.) JASMINE:,,My,father's,forcing,me,to,get,married. ALADDIN:,,That's--that's,awful.,(ABU,appears,from,behind,the ,,,,princess,and,tries,to,steal,the,apple.),Abu! (ABU,races,up,to,a,higher,point,chattering,and,cursing,as,he,goes.) JASMINE:,,What? ALADDIN:,,Abu,says,that--uh--that's,not,fair. ABU:,,,,What? JASMINE:,,Oh,did,he? ALADDIN:,,Yeah,of,course. JASMINE:,,And,does,Abu,have,anything,else,to,say? ALADDIN:,,Well,uh,he,wishes,there,was,something,he,could,do ,,,,to,help. ABU:,,,,Oh,boy! JASMINE:,,Hmm,tell,him,that's,very,sweet. (ALADDIN,and,JASMINE,have,been,getting,closer,and,closer,until ,,ALADDIN,leans,in,to,kiss,her.,He,is,interrupted,however, ,,by,the,GUARDS,who,have,found,them.) GUARD:,Here,you,are! ALADDIN,and,JASMINE:,,They've,found,me!,(To,each,other),They're ,,,,,,,,after,you? JASMINE:,,My,father,must,have,sent,them-- ALADDIN:,,Do,you,trust,me? JASMINE:,,What? ALADDIN:,,Do,you,trust,me?,(He,extends,his,hand) JASMINE:,,Yes.,(She,takes,it.) ALADDIN:,,Then,jump! (They,both,jump,off,the,roof,fall,and,land,in,a,pile,of,salt.,They ,,try,to,get,away,but,the,exit,is,blocked,by,a,GUARD.) GUARD:,We,just,keep,running,into,each,other,don't,we, ,,,,street,rat? (Again,the,GUARD's,turban,is,pulled,down,by,ABU,but,more,guards,are ,,here,and,block,the,exit.,The,first,GUARD,pulls,ABU,off,his,head,and ,,,throws,him,in,a,vase.,Three,other,GUARDS,grab,ALADDIN.) GUARD:,It's,the,dungeon,for,you,boy. ALADDIN:,,Hey,get,off,of,me! JASMINE:,,Let,go,of,him. GUARD:,(Not,realizing,she,is,the,princess),Look,what,we ,,,,have,here,men--a,street,mouse.,(He,throws,her ,,,,down.) JASMINE:,,(standing,up,and,pulling,off,the,hood,of,her,cloak) ,,,,Unhand,him,by,order,of,the,princess. (The,GUARDS,suddenly,stop,and,bow,forcing,ALADDIN,to,bow,as,well.) GUARD:,Princess,Jasmine. ALADDIN:,,The,princess? ABU:,,,,(peeking,out,from,the,vase),The,princess? GUARD:,What,are,you,doing,outside,the,palace?,And,with ,,,,this,street,rat? JASMINE:,,That's,not,your,concern.,Do,as,I,command.,Release ,,,,him! GUARD:,Well,I,would,princess,but,my,orders,come,from ,,,,Jafar.,You'll,have,to,take,it,up,with,him. (The,GUARDS,drag,ALADDIN,out,bowing,as,they,go.) JASMINE:,,(getting,a,very,pissed-off,look),Believe,me,I ,,,,will. (Cut,to,int.,of,palace,JAFAR,emerging,from,his,secret,chambers.,He ,,slides,the,door,shut,carefully,but,the,princess,comes,storming ,,in,before,he,is,finished.,He,slams,it,shut,pinning,IAGO,inside ,,the,door,frame.) JASMINE:,,Jafar? JAFAR:,Oh,uh,princess. IAGO:,,,,Awk!,Jafar,I'm,stuck! JAFAR:,How,may,I,be,of,service,to,you?,(He,spreads,out,his ,,,,cape,hiding,the,door.) JASMINE:,,The,guards,just,took,a,boy,from,the,market,on,your ,,,,orders. JAFAR:,Your,father's,charged,me,with,keeping,peace,in ,,,,Agrabah.,The,boy,was,a,criminal. JASMINE:,,What,was,the,crime? IAGO:,,,,I,can't,breathe,Jafar! JAFAR:,Why,kidnapping,the,princess,of,course. IAGO:,,,,If,you,could,just--(JAFAR,kicks,him,back,inside,the ,,,,door,and,it,slams,shut)--wow,that,hurt! JASMINE:,,He,didn't,kidnap,me!,I,ran,away! JAFAR:,(Walking,away,as,if,shocked),Oh,dear!,Oh,why ,,,,frightfully,upsetting.,Had,I,but,known. JASMINE:,,What,do,you,mean? JAFAR:,Sadly,the,boy's,sentence,has,already,been,carried ,,,,out. JASMINE:,,What,sentence? JAFAR:,(with,a,sinister,tone),Death.,(JASMINE,gasps.) ,,,,By,beheading. JASMINE:,,No!,(She,collapses,to,the,floor.) JAFAR:,I,am,exceedingly,sorry,princess. JASMINE:,,How,could,you?,(She,runs,from,the,room,crying.) (IAGO,finally,makes,it,out,through,the,door.,He,flies,up,and,lands,on ,,JAFAR's,shoulder,coughing.) IAGO:,,,,So,how,did,it,go? JAFAR:,I,think,she,took,it,rather,well.,(They,both,get,a ,,,,sinister,smile,on,their,faces.) (Diss.,to,JASMINE,at,night,crying,at,the,edge,of,the,fountain.,RAJAH ,,comes,over,to,comfort,her.,She,pets,him.) JASMINE:,,It's,all,my,fault,Rajah.,I,didn't,even,know,his ,,,,name. (Cut,to,int.,of,dungeon.,Rats,scurry,by,and,we,descend,until,we,see ,,ALADDIN,chained,to,the,wall.) ALADDIN:,,(to,himself),She,was,the,princess.,I,don't,believe ,,,,it.,I,must,have,sounded,so,stupid,to,her. ABU:,,,,(from,a,distance),Yoo-hoo!,Aladdin?,Hello! (ABU,appears,at,the,window,at,the,top,of,the,dungeon.) ALADDIN:,,Abu!,Down,here!,Hey,c'mon--help,me,outta,these. (ABU,stops,then,begins,chattering,wildly,dropping,to,the,ground.,He ,,,wraps,a,cloth,around,his,head,and,makes,his,eyes,big,in,an ,,,imitation,of,the,princess.) ALADDIN:,,Hey,she,was,in,trouble.,Ah,she,was,worth,it. (ABU,jumps,up,on,ALADDIN's,shoulders,and,pulls,a,small,set,of,tools ,,out,of,his,pocket,then,frees,ALADDIN.) ABU:,,,,Yeah,yeah,yeah. ALADDIN:,,Don't,worry,Abu.,I'll,never,see,her,again.,I'm,a ,,,,street,rat,remember,and,there's,a,law.,She's ,,,,gotta,marry,a,prince,she,deserves,it. (ABU,finally,frees,AL

4

Anastasia

Susan Gauthier,Bruce Graham

Family,Animation,Musical

December_1997

FADE,IN: on,a,well-worn,PHOTOGRAPH,ALBUM.,An,ELDERLY,WOMAN'S HAND,touched,the,album,caressing,it,lovingly,for,a moment,as,WE,HEAR,her,voice. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,Once,we,lived,in,an,enchanted ,,,,,world.,.,., She,opend,the,ALBUM,to,reveal,a,BLACK,AND,WHITE PHOTOGRAPH,of,the,PALACE,AT,ST.,PETERSBERG,on,a brilliant,summer,day. ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,A,world,of,Tsars,and,Princesses ,,,,,and,elegant,palaces.,.,., CAMERA,MOVES,CLOSER,TO,the,picture.,.,., ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,and,grand,parties.,.,., The,PHOTO,dissolves,into,REALITY,in,brilliant,color,as the,day,turns,into,night,and,the,summer,cools,into winter.,We,see,the,palace,at,night,blanketed,in,a beautiful,almost,glowing,snow,as,hourse,drawn,carriages pull,up,to,the,front,door. ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,A,beautiful,magical,time.,.,., MOVE,INTO,THE,PALACE ,,,,,,,,,,,,TATIANA,(CONT) ,,,,,That,would,soon,be,gone ,,,,,forever.,.,., INT.,PALACE,AT,ST.,PETERSBERG,-,NIGHT Elegant,ROYALISTS,mingle,around,the,MAIN,HALL,as,an ORCHESTRA,plays. All,eyes,turn,to,the,GLASS,DOORS,OF,TWO,ELEVADORS,which descend,grandly,on,either,side,of,a,beautiful,staircase. Through,the,glass,doors,we,see,TATIANA,the,Dowager Empress,60,imperious,and,bedecked,with,jewels,she,is seemingly,unapproachable.,TSAR,NICHOLAS,and,his,SON,are with,her.,In,the,other,elevador,ALEXANDRA,and,her daughters,-,well,,all,her,daughters,except.,.,., ANASTASIA,eight,years,old,and,apparently,late,for,the party,rushes,down,the,upstairs,hallway,followed,by,a SERVENT,(SONYA),16,,who,is,trying,to,catch,up,with Anastasia,to,tie,a,large,ribbon,in,her,long,dark,hair. ,,,,,,,,,,,,SONYA ,,,,,,,,,(whispering) ,,,,,Princess,Anastasia,-,you're ,,,,,late,and,it's,all,my,fault! ,,,,,,,,,,,,ANASTASIA ,,,,,Don't,worry,Sonya,no,one'll ,,,,,notice.,.,., Just,then,Sonya,lassoes,the,ribbon,around,her,hair, stopping,Anastasia,with,a, ,,,,,,,,,,,,ANASTASIA ,,,,,,,,,(loudly) ,,,,,.,.,.,owwwwwwwww! All,eyes,turn,to,Anastasia,who,once,she,realizes,that she's,the,center,of,attention,flashes,a,mischievous smile,and,descends,the,staircase,in,grand,style.,As,the ribbon,falls,out,of,her,hair,and,down,her,back, Anastasia,kicks,it,to,Sonya,without,breaking,stride. Tatiana,sees,her,and,can't,help,but,smile. The,music,suddenly,becomes,a,FLOURISH,OF,TRUMPETS. SERVENTS,open,the,elevador,doors,as,the,ROYAL,FAMILY steps,out,and,begins,a,proccession,through,their subjects.,Tatiana,holds,out,her,arm,to,Anastasia,as,she makes,it,to,Tatiana's,side,just,in,time.,Anastasia,has a,beautiful,but,slightly,impish,face,dominated,by large,blue,mischievous,eyes.,She,an,abundance,of, energy,and,confidence,for,a,girl,her,age. "THE,RULARS,OF,RUSSIA",(OPENING,NUMBER) ,,The,elegant,guests,sing,their,admiration,as,the beautiful,and,happy,Romanov,family,makes,it's,entrance into,the,ball,they're,"the,pride,of,all,Russia". Vladimir,invites,Sophie,to,dance,and,the,entire glittering,assembly,assembly,swings,into,a,GLORIOUS,SWEEPING, WALTZ.,Singing,their,certainty,that,the,Romanovs,will rule,forever. During,the,above,the,ball,is,in,full,swing.,Beautiful COUPLES,swirls,across,the,dance,floor,including Anastasia,dancing,gracefully,with,her,father. Under,a,long,buffet,table,we,see,DMITRI,11,darkly handsome,dressed,in,ragged,servant,clothes,with,a shock,of,dark,hair,which,continuoually,falls,accross,his eyes,as,watches,the,guest,enviously.,Anastasia,still waltzing,with,her,father,sees,him.,SERVENTS,cross,the room,carrying,a,trays,of,BEAUTIFUL,TROPICAL,FRUIT.,The guests,"Ew",and,"ah",at,the,sumptuous,fruit.,Anastasia sees,Dmitri,eyeing,it,hungrily,and,without,missing,a dance,step,she,grabs,an,orange,off,thr,tray,and,tosses it,to,Dmitri.,He,catches,it,and,smiles,broadly,at,her. Suddenly,A,HAND,grabs,Dmitri,and,pulls,him,out,from under,the,table.,It's,IVAR,the,HEAD,SERVENT,who,pulls Dmitri,into,an,open,wall,panel. ,,,,,,,,,,,,IVAR ,,,,,,,,,(angrily) ,,,,,You're,a,servent!,Never,forget ,,,,,your,place! ,,,,,,,,,,,,DMITIRI ,,,,,,,,,(defiant) ,,,,,Someday,my,place,will,be,out ,,,,,there! ,,,,,,,,,,,,IVAR ,,,,,Never!,You're,a,peasant, ,,,,,Dmitri!,Back,in,the,kitchen RULARS,OF,RUSSIA,(CONT.) ,,UNDERSCORE,CONTINUES,as,Dmitri,is,dragged,from,his hiding,place,under,the,table,and,back,to,the,kitchen. It's,like,the,Moscow,circus,back,there,COMIC,MUSICAL CONFUSION.,The,servants,sing,about,their,demanding employers,and,mockingly,imitate,their,behavior:,they imply,that,they,have,their,own,"party",,that,change,is coming. ,,While,back,in,the,ballroom,the,Royalists,are oblivious,to,the,servants,discontent,and,sing,their satisfaction,with,their,own,lives. ,,DRAMATIC,UNDERSCORE,CONTINUES,though,the,following scenes. ON,TATIANA in,a,large,throne-like,chair.,Tatiana,is,very,serious and,very,regal.,She,slides,over,to,make,room,for Anastasia,who,sits,next,to,her. ,,,,,,,,,,,,TATIANA ,,,,,Why,were,you,so,late,tonight, ,,,,,,,,,,,,ANASTASIA ,,,,,I,was,showing,Sonya ,,,,,something,.,.,. ,,,,,,,,,,,,TATIANA ,,,,,What,were,you,showing,her? ,,,,,,,,,,,,ANASTASIA ,,,,,,,,,(sheepishly) ,,,,,How,to,read. ,,,,,,,,,,,,TATIANA ,,,,,I,thought,you,were,told,not,to ,,,,,tutor,your,servants,anymore. ,,,,,,,,,,,,ANASTASIA ,,,,,I,know,but,I,had,to,because,.,.,. Anastasia,looks,up,at,Tatiana,and,sees,her,smile,with pride.,Anastasia,knows,she,doesn't,have,to,explain. ,,,,,,,,,,,,ANASTASIA ,,,,,,,,,(cuddling) ,,,,,Oh,Grandmama,why,do,you,have ,,,,,to,go,back,to,Paris? ,,,,,,,,,,,,TATIANA ,,,,,It's,where,I've,made,my,home ,,,,,but,I,do,have,something,for ,,,,,you,.,.,. Tatiana,reaches,from,behind,the,chair,and,brings,out,a beautiful,MUSIC,BOX.,Tatiana,takes,the,key,a,small silver,and,enamel,flower,on,a,silver,neck,chain,and winds,it,up.,MUSIC,BEGINS,she,hands,Anastasia,the,key. CLOSE,UP the,key,bearing,the,inscription,"Together,in,Paris". ,,,,,,,,,,,,ANASTASIA ,,,,,"Together,in,Paris"!,Oh,when ,,,,,can,we,be,"together,in,Paris?! ,,,,,,,,,,,,TATIANA ,,,,,When,you're,older,.,.,. Anastasia,makes,a,disgruntled,face.,Tatiana,laughs. ,,,,,,,,,,,,TATIANA ,,,,,Until,then,whenever,you,hear ,,,,,this,song,think,of,me,and,know ,,,,,that,I'm,waiting,for,you. Tatiana,puts,the,key,around,Anastasia's,neck,and,they embrace.,Then,suddenly,.,.,. ON,THE,GRAND,CHANDELIER the,lights,begin,to,fade,in,and,out. GROUP,SHOT as,PEOPLE,in,the,ballroom,look,around,bewildered.,Then, a,WHIRLWIND,kicks,up,sending,everyone,off,the,dance floor,as,the,whirlwind,becomes,a,TORNADO. Suddenly,an,ALBINO,BAT,(BARTOK),with,huge,eyes,springs out,of,the,funnel,screeching,and,swooping,over,the crowd,causing,everyone,to,duck,and,cover,their,heads,in fear. The,tornada,reaches,it's,peak,and,EXPLODES,in,smoke,- leaving,RASPUTIN,standing,alone,in,the,middle,of,the floor.,He,is,of,indeterminate,age,towering,over,other men,in,the,room,his,most,striking,feature,are,his,eyes -,which,at,this,moment,are,burning,a,fiery,red.,He,is dressed,in,a,flowing,black,monk's,robe,with,a,satin,rope tied,around,his,waist.,Connected,to,the,rope,is,a glowing,RELIQUARY,a,mystical,lantern. VARIOUS,SHOTS of,Nicholas,Alexandra,Sophie,and,Vladimir,Dmitri peeking,out,ofthe,wallpanel,Tatiana,and,Anastasia, all,of,whom,are,frightened. NICHOLAS as,he,gathers,his,son,and,wife,to,his,side ,,,,,,,,,,,,NICHOLAS ,,,,,Rasputin!,You're,alive,.,.,. ,,,,,,,,,,,,RASPUTIN ,,,,,,,,,(advancing) ,,,,,Despite,being,shot,poisoned ,,,,,and,thrown,into,an,icy,river,.,.,. ,,,,,YES! ,,,,,,,,,,,,NICHOLAS ,,,,,,,,,(honestly) ,,,,,I,had,nothing,to,do,with,it! ,,,,,,,,,,,,RASPUTIN ,,,,,You,gave,the,orders! ,,,,,,,,,,,,NICHOLAS ,,,,,I,did,no,such,thing! ,,,,,,,,,,,,RASPUTIN ,,,,,After,all,I've,done,for,your ,,,,,family,-,YOU,TRIED,TO,KILL ,,,,,MEEEEEE,!,!,! Rasputin,swings,the,reliquary,wrapping,himself,in,smoke which,seems,to,grow,larger.,Eerie,moaning,noises,come from,the,reliquary.,PEOPLE,back,awayin,terror. ,,,,,,,,,,,,RASPUTIN,(CONT.) ,,,,,The,Romanov,dynasty,ends,here! ,,,,,You,your,wife,and,children ,,,,,will,all,die,within,the ,,,,,fortnight! ,,,,,,,,,,,,ANASTASIA ,,,,,NO! Anastasia,leaves,Tatiana,and,rushes,to,stand,in,front,of her,father.,Still,holding,her,Music,Box,Anastasia's shaking,hands,are,the,only,thing,that,gives,away,her, fear.,Rasputin,spins,toward,the,voice. ,,,,,,,,,,,,ANASTASIA ,,,,,We're,not,afraid,of,you! ,,,,,,,,,,,,RASPUTIN ,,,,,,,,,(furious) ,,,,,You,.,.,.,my,little,babushka,.,.,. ,,,,,you'll,be,so,much,fun,to,kill, ,,,,,that,I'll,save,you,for,last! Twirling,the,reliquary,again,the,MOANS,grow,louder,as Bartok,circles,around,his,head.,The,smoke,that,emerges seems,to,have,almosy,a,human,shape,to,it. ,,,,,,,,,,,,RASPUTIN ,,,,,THIS,IS,THE,END,OF,THE,ROMANOV ,,,,,LINE,-,FOREVER,!!!! The,tornada,of,smoke,begins,again,whipping,into,a frenzy,and,then,EXPLODING. The,smoke,clears,and,Rasputin,is,gone.,As,the,lights return,to,normal,the,Romanov,family,all,stand,together, and,try,to,look,regal,and,in,control,once,again. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,Some,say,Rasputin,ad,harnessed ,,,,,all,the,dark,powers,of,evil,and, ,,,,,that,it,was,his,curse,which, ,,,,,brought,about,the,end,.,.,. ,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: the,ROMANOV,FAMILY,fades,into,a,PORTRAIT,OF,THE,FAMILY. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,I,will,never,know,for,sure. ,,,,,All,I,do,know,is,that,the ,,,,,beauty,of,our,world,was,soon ,,,,,Gone,.,.,.,Forever,.,.,. a,lick,of,BRIGHT,ORANGE,FLAME,creeps,into,view. "RULERS,OF,RUSSIA",(VOCAL,REPRISE) ,,HUGE,OMINOUS,VOCALS,reprise,the,onceglorious,watlz of,the,Romanovs,heralding,the,end,of,their,world,and underscoring,the,coming,revolution. PULL,BACK to,see,the,PORTRAIT,a,huge,FRIEZE,which,covers,an entire,entire,wall,singeing,as,the,FLAME,creeps,up,the,nearby drapery,tinting,the,room,in,a,red,glow. A,SCREAMING,MOB,some,in,uniform,some,not,has,crashed into,the,palace,and,is,heading,up,the,stairs.,A,few,in the,mob,fire,off,orange,RIFLE,SHOTS. INT.,ANASTASIA'S,BEDROOM,-,NIGHT Anastasia,BOLTS,UP,hearing,the,shots.,Her,music,box,is next,to,her,on,her,nightstand. INT.,HALLWAY,-,NIGHT Mass,confusion,as,the,MOB,is,met,by,a,few,SERVANTS,who try,to,stop,them,from,advancing.,More,shots. ON,THE,ROMANOV'S still,in,nightclothes,are,being,rushed,down,the hallway.,Tatiana,is,next,to,Anastasia,as,Anastasia stopsdead,in,her,tracks. ,,,,,,,,,,,,ANASTASIA ,,,,,My,music,mox! Anastasia,turns,around,and,runs,back,down,the,hall. Tatiana,tries,to,stop,her. ,,,,,,,,,,,,TATIANA ,,,,,Anastasia,no! It's,too,late,Anastasia,fights,her,way,back,into,her room,with,Tatiana,following,her. FROM,THE,OTHER,END,OF,THE,HALLWAY we,see,Dmitri,watching,amidst,all,the,confusion. INT.,ANASTASIA'S,BEDROOM,-,NIGHT Anastasia,grabs,her,music,box,as,Tatiana,rushes,in. ,,,,,,,,,,,,TATIANA ,,,,,Hurry,child! LOUD,RIFLE,SHOTS,are,heard,as,Dmitri,bursts,into,the room,closing,the,door,behind,him. ,,,,,,,,,,,,DMITRI ,,,,,No,-,this,way! Dmitri,runs,to,a,wall,panel,and,thows,his,weight against,it.,It,opens,revealing,a,passage,way. ,,,,,,,,,,,,DMITRI,(CONT.) ,,,,,Go!,Run!!,Out,the,servant's ,,,,,quarters! Tatiana,enormously,grateful,looks,at,Dmitri,as,he flips,his,hair,out,of,his,face,unconsciously. ,,,,,,,,,,,,DMITRI ,,,,,Go! Tatiana,goes,in,as,Dmitri,shoves,Anastasia,toward,the passageway,knocking,the,music,box,out,of,her,hand.,She reaches,for,it,but,hearing,the,mob,voices,growing closer,he,pushes,her,through,the,panel,without,it. ,,,,,,,,,,,,DMITRI,(CONT.) ,,,,,Go! Tatiana,quickly,follows,Anastasia,into,the,passageway and,Dmitri,closes,the,panel,JUST,AS,the,mob,bursts,in. ,,,,,,,,,,,,DMITRI,(CONT.) ,,,,,,,,,(lying,to,the,mob) ,,,,,No,one's,here!,Let's,try,the ,,,,,next,room! The,MOB,accepts,the,word,of,a,peasant,boy,and,rushes out.,Dmitri,picks,up,the,music,box,and,looks,sadly toward,the,panel. EXT.,TRAIN,STATION,-,NIGHT Which,is,under,siege,by,ROYALISTS,trying,to,board,the overcrowded,train,and,the,REVOLUTIONARIES,who,are,trying to,stop,them. A,TOURING,CAR,pulls,up,RIGHT,ON,THE,TRACKS,behind,the caboose,as,the,train,starts,to,pull,away. Tatiana,and,Anastasia,climb,out,of,the,car,and,race,for the,train,fighting,their,way,through,the,frenzied,and frightened,crowd.,WE,HEAR,shouts,of,"The,Empress,-,let her,through!",which,helps,clear,the,way. Anastasia,reaches,the,train,first,then,turns,to,see Tatiana.,trying,to,catch,up. ,,,,,,,,,,,,ANASTASIA ,,,,,Hurry,Grandmama! ,,,,,,,,,,,,TATIANA ,,,,,Get,on!,Anastasia,get,on! Anastasia,refuses,to,board,the,train. UP,AHEAD A,MOB,OF,REVOLUTIONARIES,block,the,tracks,with,a,TRUCK ON,ANASTASIA who,pushes,Tatiana,up,the,stairs,of,the,caboose.,This puts,Anastasia,a,few,steps,behind,as,the,train,speeds up.,Tatiana,is,gripped,by,other,passengers,as,she reaches,out,to,Anastasia. ,,,,,,,,,,,,TATIANA ,,,,,Grab,my,hand! Anastasia,reaches,up,and,takes,Tatiana's,hand. ,,,,,,,,,,,,ANASTASIA ,,,,,Don't,let,go! CLOSE,ON the,TWO,HANDS.,then,suddenly.,her,small,hand,is,pulled from,Tatiana's,grasp,and,falls,out,of,the,frame. ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,ANASTASIA! ON,ANASTASIA who,has,stumbled,hitting,the,ground,hard. ON,TATIANA horrified,screaming: ,,,,,,,,,,,,TATIANA ,,,,,ANASTASIA! Tatiana,rushes,to,jump,off,the,train,after,her,but,is caught,and,held,back,by,the,ROYALIST,PASSANGERS,as,the train,CRASHES,through,the,truck,and,picks,up,speed. TATIANA's,POV: Anastasia,rising,from,the,ground,her,hand,outstretched. But,she,is,suddenly,swallowed,up,by,the,mob. ,,,,,,,,,,,,,,,,,,,,,,,SUPERIMPOSE: A,BLACK,AND,WHITE,PHOTOGRAPH of,Anastasia,in,a,happier,time,smiling. UNDERSCORE:,"THE,MUSIC,BOX,THEME" ,,,,,,,,,,,,TATIANA,(O.C.) ,,,,,I,never,saw,her,again.,.,., The,PHOTO,ALBUM,slowly,closes.,.,. END,OPENING,NUMBER ,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: EXT.,ORPHANAGE,-,DAY A,gray,and,ugly,post-revolution,building,with,a,sign above,the,door,that,identifies,it:,"Young,Comrades Without,Parents". INT.,ORPHANAGE,-,DAY CHILDREN,of,all,ages,clean,the,cold,gray,dormitory. Their,clothes,are,ragged,and,they,look,underfed. CLOSE,ON ANYA,18,pretty,despite,the,boy's,hand-me-down,clothes she,is,forced,to,wear,is,busy,scrubbing,the,floor. Unlike,the,others,she,is,determined,not,to,let,her surroundings,get,to,her.,She,hums,a,tune. The,door,suddenly,SLAMS,open,and,GREGOR,8,and,clearly terrified,comes,running,in,followed,by,COMRADE PHLEGMENKOF,-,a,huge,woman,carrying,a,switch. ,,,,,,,,,,,,GREGOR ,,,,,Anya!,Anya! All,of,the,OTHER,KIDS,turn,away,not,wanting,to,get involved.,Anya,focuses,on,Gregor,who,is,shivering,with fright,and,on,the,verge,of,tears,as,Phlegmenkof approaches,swinging,the,switch,menacingly. ,,,,,,,,,,,,PHLEGMENKOF ,,,,,You,can't,get,away,from,me ,,,,,now,.,.,. Phlegmenkof,advances,on,Gregor.,Anya,takes,the,scrub brush,and,SHOVES,it,across,the,floor,right,under Phlegmenkof's,unsuspecting,foot.,Phlegmenkof's,feet,fly out,from,under,her,and,she,SMASHES,to,the,floor.,Gregor hops,over,her,huge,body,and,runs,to,Anya,for,safety. Some,of,the,OTHER,KIDS,glance,over.,A,CHUBBY,GIRL,and,a very,pretty,LITTLE,GIRL,look,at,Anya,with,greeat admiration,.,.,.,someof,the,OTHERS,think,she's,crazy. Phlegmenkof,rises,covered,with,soap,bubbles,,and,spins on,Anya,-,who,gives,her,a,very,innocent,smile. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,You!,You,did,this! Some,of,the,OTHER,CHILDREN,laugh,as,soap,bubbles,fly,off the,enraged,woman.,She,spins,on,them,her,back,to,Anya. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,Brats!,There'll,be,no,supper ,,,,,for,any,of,you!,Back,to,work! Anya,behind,Phlegmenkof,mimics,her,outraged,face,and angry,gestures,perfectly,-,as,the,CHILDREN,laugh,harder. Phlegmenkof,spins,and,almost,catches,Anya.,She,advances on,Anya,as,Gregor,hides,behind,her,legs. ,,,,,,,,,,,,ANYA ,,,,,Don't,touch,him., ,,,,,,,,,,,,PHLEGMENKOF ,,,,,,,,,(to,Anya) ,,,,,You,ragged,skinny,little ,,,,,nothing!,I,have,had,just,about ,,,,,enough,of,you,.,.,. Phlegmenkof,raises,her,hand,to,slap,Anya,who,hold,her ground.,Suddenly,Phlegmenkof,SNIFFS,the,air. ON,THE,KIDS as,the,horrible,smell,reaches,them,too.,They,all,make faces,and,hold,their,noses. ON,PHLEGMENKOF who,first,sniffs,under,her,raised,arm,then,realized,the cause,of,the,stench,.,.,. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,Comrade,Serebreakov! She,tries,to,straighten,herself,out,nervously,-,this must,be,someone,very,important. COMRADE,SEREBREAKOV,stands,in,the,doorway,lecherously eyeing,the,girls.,He,is,a,huge,fleshly,man,with,facial,features,which,are,reminiscent,of,a,fish. ,,,,,,,,,,,,PHLEGMENKOF,(CONT.) ,,,,,,,,,(flirting) ,,,,,Comrade,Serebreakov!,What,a ,,,,,lovely,surprise!,What,brings ,,,,,you,here? ,,,,,,,,,,,,SEREBREAKOV, ,,,,,I,need.,.,.,a,worker. His,eye,catches,Anya.,He,looks,her,up,and,down,his beady,eyes,showing,a,touch,of,lust,for,her. ,,,,,,,,,,,,SEREBREAKOV,(CONT.) ,,,,,I,will,take,her. He,leans,close,close,to,Anya. ,,,,,,,,,,,,SEREBREAKOV,(CONT.) ,,,,,Tomorrow,you,begin,your,life's ,,,,,work,in,my,hearing,factory. ,,,,,You'll,start,by,cutting,off,the ,,,,,tails,-,but,if,I'm,pleased,with ,,,,,,,,,,,,(MORE) ,,,,,,,,,,,,SEREBREAKOV,(CONT.) ,,,,,you,-,you,just,may,move,up,to ,,,,,cutting,off,the,heads.,How ,,,,,does,that,sound? ,,,,,,,,,,,,ANYA ,,,,,About,as,bad,as,you,smell! Phlegmenkof,moves,between,them,pulling,Serebreakov away. ,,,,,,,,,,,,PHLEGMENKOF, ,,,,,No,no,Comrade,-,you,don't ,,,,,want,her,.,.,. ,,,,,,,,,,,,SEREBREAKOV ,,,,,I,want,her. ,,,,,,,,,,,,PHLEGMENKOF ,,,,,That's,horrible,skinny,thing?! ,,,,,She's,crazy,-,she,has,no,memory ,,,,,of,anything,before,she,came ,,,,,here!,She,didn't,even,know,her ,,,,,name!,That,one,is,a,rotten ,,,,,troublemaker,willful.,.,. ,,,,,,,,,,,,SEREBREAKOV ,,,,,I'll,break,her,will.,.,. ,,,,,,,,,(to,Anya) ,,,,,I,shall,come,for,you,tomorrow ,,,,,at,dawn. ,,,,,,,,,(he,touches,her,face,as ,,,,,,,,,,she,pulls,away) ,,,,,You,will,enjoy,serving,under ,,,,,me. Smiling,in,anticipation,he,exit. ,,,,,,,,,,,,PHLEGMENKOF ,,,,,I,couldn't,break,you,-,but,he ,,,,,can! And,she,turns,to,leave,in,a,huff.,Anya,does,one,more imitation,of,her,making,the,CHILDREN,laugh.,But,as Anya,turns,away,from,her,audience,we,see,her,facade fade,and,realize,her,terror,of,the,future. INT.,ORPHANAGE,-,NIGHT The,CHILDREN,huddle,in,their,cots,under,tattered,thin blankets.,Anya,is,fully,dressed,illuminated,by,the light,of,a,FULL,MOON,she,ties,a,dull,gray,sheets,together and,anchors,the,"rope",to,an,ice,cold,radiator,and throws,the,other,end,out,of,the,window.,She,is,about,to climb,out,when,she,looks,at,the,sleeping,children,and smiles,sadly.,She,walks,over,to,Gregor's,bed,and,puts one,hand,lovingly,on,his,head,and,then,reaches,over,and takes,the,hand,of,a,sleeping,LITTLE,GIRL,who,opens,her eyes,and,smiles. ,,,,,,,,,,,,GREGOR ,,,,,,,,,(loudly) ,,,,,Anya? The,other,childern,wake,up,as,Anya,gently,"shushes",him. ,,,,,,,,,,,,GREGOR,(CONT.) ,,,,,,,,,(quietly) ,,,,,Are,you,running,away? ,,,,,,,,,,,,ANYA ,,,,,No.,I'm,running,to. ,,,,,,,,,,,,LITTLE,GIRL ,,,,,Running,to?,Running,to,what? ,,,,,,,,,,,,ANYA ,,,,,To,find,my,home. A,CHUBBY,TWELVE,YEAR,OLD,GIRL,looks,at,Anya. ,,,,,,,,,,,,CHUBBY,GIRL ,,,,,But,you,are,home. ,,,,,,,,,,,,ANYA ,,,,,No.,This,isn't,a,home,-,it's, ,,,,,just,a,building.,Home,is,where ,,,,,you,belong,and,none,of,us ,,,,,belong,here. ,,,,,,,,,,,,GREGOR ,,,,,Where,is,your,home,Anya? ,,,,,,,,,,,,ANYA ,,,,,I'm,not,sure,but,look.,.,. Anya,shows,Gregor,the,key,around,her,neck. CLOSE,UP,on,the,inscription:,"Together,in,Paris" ,,,,,,,,,,,,ANYA ,,,,,It,says,"Together,in,Paris".,I ,,,,,was,wearing,this,when,I,came ,,,,,here,ten,years,ago,-,it's,the ,,,,,only,way,that,I,know,.,.,. ,,,,,,,,,,,,ANYA,(CONT.) ,,,,,,,,,(beat) ,,,,,.,.,.,that,I,must,have,been ,,,,,someone,someone,loved. ,,,,,,,,,,,,CHUBBY,GIRL ,,,,,Is,your,home,in,Paris? ,,,,,,,,,,,,ANYA ,,,,,It,might,be.,I,have,to,go,and ,,,,,find,out. Anya,smiles,lovingly,at,the,children. "A,SOMEPLACE,AND,A,SOMEONE" ,,(Anya's,"I,want",song).,Anya,SINGS,SOFTLY,to,the children,about,how,all,she,has,is,the,key,around,her neck,to,the,"someone,and,thesomeplace",she,was,"lost from,long,ago".,She,tells,the,children,that,she,must,go find,them,again. UNDERSCORE,continues. ,,,,,,,,,,,,ANYA ,,,,,I,have,to,go,now,before,it ,,,,,gets,light. ,,,,,,,,,,,,GREGOR ,,,,,,,,,(worried) ,,,,,But,what,if,we,can't,ever,find ,,,,,where,we,came,from?! ,,,,,,,,,,,,ANYA ,,,,,Then,you'll,have,to,make,your ,,,,,own,home.,Lots,of,people,do. Anya,embraces,the,children,and,walks,to,the,window. ,,,,,,,,,,,,GREGOR ,,,,,,,,,(nervous,sad) ,,,,,Anya!,What,if,we,can't,find ,,,,,anyone,who,loves,us?! ,,,,,,,,,,,,ANYA ,,,,,Then,come,find,me. Gregor,is,relieved,and,cuddles,into,his,bed,as,Anya smiles,lovingly,and,crawls,out,the,window. EXT.,ORPHANAGE,-,NIGHT Anya,begins,to,climb,down,the,street,testing,the,knots. The,knotshold,tight,but,the,old,sheet,RIPS,in,half, sending,her,PLUMMETING,into,a,snow,drift.,From,the depths,of,the,snow,we,HEAR,her,voice. ,,,,,,,,,,,,ANYA,(O.C.) ,,,,,I,hope,there's,no,snow,in ,,,,,Paris.,.,. EXT.,HILLSIDE,-,DAWN A,glorious,bright,(and,cold),dawn,creeps,over,the horizon.,Anya,stands,at,edge,of,the,hill,looking down,on,the,city,of,ST.PETERSBURG.,The,old,gray orphanage,looms,behind,her.,Anya,"borrows",an,old, beat-up,bicycle,from,the,orphanage,and,rides,down,the hill. Music,picks,up,in,energy,and,excitement,as,Anya,zooms,on her,way,bumping,and,bouncing,downhill,as,the,sunrises and,St.,Petersburg,looms,nearer. "A,SOMEONE,AND,A,SOMEPLACE",(CONT.) ,,Music,becomes,UPTEMPO,HOPEFUL,ACTIVE,ACTIVE.,Anya,SINGS,- -,full,of,hope,energy,and,excitement,as,she,peddls,her rickety,bike,toward,the,city.,"Her,heart,is,on,its,way" and,nothing,is,going,to,stop,her. Anya,passes,though,the,countryside,toward,the,city.,A peasant,family,waves,to,her,as,she,goes,by.,A,Gypsy Troupe,performs,tricks,by,the,side,of,the,road.,A,very fancy,car,zooms,by. "A,SOMEONE,AND,A,SOMEPLACE",(CONT.) ,,Anya,SINGS,imagining,who,she,might,be,--,anyone,from a,peasant,to,a,princess!,But,it,doesn't,matter,as,long as,she,finds,her,real,family. People,stare,at,her,as,she,rides,into,the,edge,of,the city.,She,is,captivated,by,all,the,activity:,cars, busses,stores,long,lines,of,people,etc. "A,SOMEONE,AND,A,SOMEPLACE",(CONT.) ,,Anya,SINGS,--,in,this,sea,faces,there,must,be someone,who,has,a,clue,to,her,identity.,She'll,stop,at nothing,to,find,the,someone,who,once,loved,her.,SOARING MUSICAL,AND,VOCAL,CONCLUSION. END,MUSICAL,NUMBER Anya,does,not,see,a,cute,little,PUPPY,(MEETOO),with,a HUGE,BONE,in,his,mouth,being,chased,along,the,sidewalk by,a,pack,of,much,larger,vicious,DOGS,until,he,bolts across,Anya's,path,forcing,her,to,skid,to,a,stop.,She watched,him,as,he,scoots,into,an,alley,followed,by,the angry,pack. On,reflex,Anya,drops,the,bike,and,reuns,into,the,alley after,him. EXT.,ALLEY,-,DAY Meetoo,is,trapped.,The,PACK,surrounds,him,ready,to pounce,when,Anya,LEAPS,into,the,middle,of,the,circle. The,PACK,is,startled,but,begins,to,advance,on,both,Anya and,Meetoo. Anya,doesn't,know,what,to,do.,She,crouches,and,then.,.,., growls,back,at,them,making,her,eyes,look,as,ferocious as,possible.,The,PACK,exchange,a,confused,look;,there's a,girl,growling,at,them.,Meetoo,stands,suddenly,brave, behind,her,and,growls,along,with,her. Suddenly,Anya,pounced,toward,the,pack,growling,louder. The,pack,has,definately,had,enough,-,some,start,to,back out,quizzically,others,turn,and,run,like,hell. Anya,turns,to,Meetoo,who,looks,up,at,her,gratefully, wagging,his,tail.,Anya,picks,up,the,bone,and,puts,it back,in,his,mouth. ,,,,,,,,,,,,ANYA ,,,,,I,think,you,should,be,more ,,,,,careful,about,who,you,invite,to ,,,,,dinner! Meetoo,nods,and,lets,out,a,little,"bark",that,sounds,as if,he,were,saying,"retu".,Anya,pats,him,and,heads,back to,her,bike. EXT.,ST.,PETERSBURG,STREET,-,DAY Anya,rides,down,the,street.,She,doesn't,see,Meetoo, running,like,a,little,maniac,behind,her. Anya,approaches,a,STERN,LOOKING,BUILDING,with,a,sign over,the,door:,"The,People's,Bureau,of,Bureaucracy". She,leaps,off,her,bike,and,heads,up,the,stais.,Meetoo, breathing,heavily,from,his,run,follows,and,almost reaches,her,when,the,heavy,door,slams,in,his,face.,He slumps,against,it,panting,his,little,paw-to,chest. INT.,BUREAU,OF,BUREAUCRACY,-,DAY Anya,enters,and,STOPS,when,she,sees.,.,.,LINES,and,LINES of,people,which,seem,to,go,on,forever.,She,walks,down the,side,of,one,line,trying,to,figure,out,which,one,to stand,in. ,,,,,,,,,,,,ANYA ,,,,,Could,someone,tell,me.,.,. ,,,,,,,,,,,,PEASANT,1 ,,,,,End,of,the,line! ,,,,,,,,,,,,ANYA ,,,,,Which,line? ,,,,,,,,,,,,PEASANT,2 ,,,,,Any,line. ,,,,,,,,,,,,PEASANT,3 ,,,,,All,lines,are,good,lines. ,,,,,,,,,,,,PEASANT,1,2,&,3 ,,,,,,,,,(in,unison) ,,,,,In,our,beloved,Soviet,Union! They,turn,toward,an,armed,Soviet,Guard,and,smile sweetly,hoping,he,heard,their,flattery.,He,did. ,,,,,,,,,,,,GUARD ,,,,,Very,good.,.,., He,jots,something,down,in,his,notebook. ON,ANYA as,she,gets,closer,to,the,window.,She,turns,to,the person,behind,her. ,,,,,,,,,,,,ANYA ,,,,,Is,this,the,right,line,to,get ,,,,,papers,to,travel? ,,,,,,,,,,,,PEASANT,4 ,,,,,Travel?,Travel,to,where? ,,,,,,,,,,,,ANYA ,,,,,To,Paris.,I,have,to,get,to ,,,,,Paris PEASANT,5,in,front,of,her,turns,around. ,,,,,,,,,,,,PEASANT,5 ,,,,,Paris?!,What,do,they,have,in ,,,,,Paris,that,they,don't,have ,,,,,here? ,,,,,,,,,,,,PEASANT,6 ,,,,,Shorter,lines?! Peasant,6,is,immediately,carted,off,by,TWO,ARMED,GUARDS for,his,blasphamy,against,the,state. ,,,,,,,,,,,,PEASANT,7 ,,,,,,,,,(quietly) ,,,,,Nobody,leaves,Soviet,Russia. The,OTHER,PEASANTS,join,in,with,variations,of,"Nobody leaves,Russia",as,Anya,reaches,the,window,and,speaks,to the,clerk. ,,,,,,,,,,,,ANYA ,,,,,Is,this,where,I,get,traveling ,,,,,papers? ,,,,,,,,,,,,CLERK ,,,,,It,would,be,if,we,let,you ,,,,,travel,which,we,don't,so,it ,,,,,isn't. ,,,,,,,,,(loudly,for,all,to ,,,,,,,,,,hear) ,,,,,Russia,is,the,people's, ,,,,,paradise! And,to,further,make,his,point,he,slams,shut,his,window, which,immediately,opens,a,crack,as,he,whispers,to,Anya. ,,,,,,,,,,,,CLERK,(CONT.) ,,,,,See,Dmitri.,He,can,help. He,shuts,the,window,only,to,open,it,again,immediately. ,,,,,,,,,,,,CLERK,(CONT.) ,,,,,But,you,didn't,hear,it,from,me. He,shuts,the,window. ,,,,,,,,,,,,ANYA ,,,,,,,,,(doesn't,get,it) ,,,,,I,didn't He,opens,it,again. ,,,,,,,,,,,,CLERK ,,,,,No. The,clerk,sticks,out,a,sign:,"Samovar,Break,-,back,in ten,minutes",and,slams,the,window,shut. EXT.,BUREAU,OF,BUREAUCRACY Anya,steps,out,of,the,building,still,not,seeing,Meetoo and,looks,around,at,the,hoards,of,people,waiting,in lines,for,everything:,bread,gas,clothes,etc. ,,,,,,,,,,,,ANYA ,,,,,,,,,(to,herself) ,,,,,Dmitri?,There,must,be,a ,,,,,million,Dmitris.,.,., FOLLOW,ANYA as,she,wades,into,the,crowded,street.,Meetoo,getting tangled,in,the,legs,of,waiting,Soviets. Anya,stops,suddenly.,She,sniffs,the,air.,Her,eyes widen,as,she,recognizes,the,stench,that,is,floating through,the,air.,She,spins,around,and,sees,Serebreakov DIRECTLY,ACROSS,THE,STREET. Serebreakov,is,on,a,mission,to,find,Anya.,He,turns,in her,direction,just,as,a,bus,passes.,Anya,is,gone. We,now,see,Anya,clinging,to,the,side,of,the,bus,as,it drives,down,the,street.,Meetoo,looks,his,face,dropping -,he,knows,he'll,never,catch,up,to,her,now.,Then,he sees,the,bus,hit,a,huge,pothole,and,Anya,is,knocked,off into,the,mud.,Happily,Meetoo,trots,off,in,her direction. Anya,approaches,TWO,PEASANTS,who,are,waiting,in,line,in front,of,a,cafe. ,,,,,,,,,,,,PEASANT,9 ,,,,,,,,,(to,Peasant,10) ,,,,,Which,line,is,this? ,,,,,,,,,,,,PEASANT,10 ,,,,,The,line,to,get,into,the,line. ,,,,,,,,,,,,ANYA ,,,,,Excuse,me,do,you,know ,,,,,Dmitri.,.,., ,,,,,,,,,,,,PEASANT,9 ,,,,,I,know,nothing! ,,,,,,,,,,,,PEASANT,10 ,,,,,Nothing! ,,,,,,,,,,,,PEASANTS,9,&,10 ,,,,,,,,,(whispering ,,,,,,,,,,simultaneously) ,,,,,Try,the,tavern/,library. They,begin,to,bicker,back,and,forth,in,forced,whispers as,to,wether,Dmitri,is,at,the,tavern,or,the,library. Exasperated,Anya,walks,away.,They,call,after,her. ,,,,,,,,,,,,PEASANTS9&,10 ,,,,,But,we,didn't,tell,you! Anya,rolls,her,eyes,in,frustration.,She,doesn't,see Meetoo,at,her,feet. ,,,,,,,,,,,,ANYA ,,,,,,,,,(To,herself) ,,,,,I,wish,they'd,all,stop,telling ,,,,,me,they,didn't,tell,me! Meetoo,gives,a,"retu",of,agreement.,Anya,looks,down,and sees,him. ,,,,,,,,,,,,ANYA,(CONT.) ,,,,,What,are,you,doing.,.,. Just,then,she,catches,another,whiff,of,something,foul in,the,air.,Anya,duck,quickly,into,a,doorway,and,loses Meetoo.,Anya,peeks,out.,A,GARBAGE,WAGON,full,of,dead fish,and,rotten,food,passes,Anya.,She,sighs,with,relief, it,wasn't,Serebreakov,-,it,just,smelled,like,him. Anya,steps,out,of,the,doorway,and,approaches,a,STREET ARTIST,sketching,a,LARGE,PEASANT,WOMAN,as,her,TINY HUSBAND,looks,over,his,shoulder. ,,,,,,,,,,,,TINY,HUSBAND ,,,,,,,,,(To,Artist) ,,,,,Could,you,get,rid,of,her ,,,,,moustache? ,,,,,,,,,,,,ANYA ,,,,,Excuse,me,-,I'm,looking,for,a ,,,,,man,named,Dmitri.,.,. The,Artist,quickly,scribbles,and,address,on,his,pad,and hands,it,to,her,without,turning,around. ,,,,,,,,,,,,ARTIST ,,,,,But,I,didn't,write,it. Anya,looks,down,at,the,note CLOSE,ON,NOTE "St.,Petersburg,Art,Theatre,-,99,Pushkin,Street" ,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO A,SIGN "Pushkin,Street" CAMERA,PANS,TO: EXT.,ST.,PETERSBURG,ART,THEATRE,-,DAY Where,WE,HEAR,a,cacophony,of,FEMALE,VOICES,as,the,camera moves,inside. INT.,ST.,PETERSBURG,ART,THEATRE The,waiting,room,is,filled,with,YOUNG,WOMEN,of,various shapes,and,sizes,holding,reading,aloud,from,a,piece,of paper.,WE,HEAR,many,variations,of,"Oh,Grandmama!,It's me,Anastasia.,I've,waited,so,long,to,see,you". INT.,STAGE An,ACTRESS,stands,in,front,of,what,looks,to,be,an,OLD WOMAN,in,a,shawl,who's,back,is,to,the,"audience". ,,,,,,,,,,,,ACTRESS,1 ,,,,,,,,,(over,the,top) ,,,,,Oh,Grandmama!,It's,me, ,,,,,Anastasia!,I've,waited,so ,,,,,long,to,see,you! The,Actress,then,LUMBERS,over,to,the,OLD,WOMAN,with,a g

5

Antz

Todd Alcott,Chris Weitz,Paul Weitz

Adventure,Animation,Comedy,Fantasy

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Z,(O.S.) ,,,,,,,,,,,(over,a,dark,screen) ,,,,,,,,All,my,life,I've,lived,and,worked,in ,,,,,,,,the,big,city... ,,,We,see: ,,,EXT.,AN,ANT,MOUND,-,DAY ,,,The,camera,swoops,towards,the,entrance,then,dives,inside, ,,,past,a,couple,of,tough-looking,soldier,ants,who,stand,at,the ,,,gates,of,the,ant,colony,like,insect,bouncers...into,an,access ,,,tunnel,that,snakes,this,way,and,that,past,a,row,of,ants ,,,plodding,along... ,,,...and,into,the,MAIN,CHAMBER,of,the,colony,a,huge,teeming ,,,vista,that,seems,to,stretch,away,forever,filled,with,ants ,,,rushing,here,and,there,on,their,business.,We,see,--,a ,,,"traffic,cop",directing,foot,traffic,waving,his,arms,like ,,,crazy,so,both,sides,move,at,once,--,a,column,of,soldier,ants ,,,marching,along,in,formation,--,a,chain,of,ants,letting,down ,,,a,matchbox,elevator,filled,with,workers. ,,,,,,,,,,,,,Z,(V.O.) ,,,,,,,,...which,is,kind,of,a,problem,since ,,,,,,,,I've,always,felt,uncomfortably,in ,,,,,,,,crowds. ,,,INT.,MOTIVATIONAL,COUNSELLOR'S,OFFICE,-,DAY ,,,We,join,Z,a,worker,ant,with,issues.,He's,lying,on,a,couch, ,,,recounting,his,woes. ,,,,,,,,,,,,,Z ,,,,,,,,I,feel...isolated.,Different.,I've ,,,,,,,,got,abandonment,issues.,My,father ,,,,,,,,flew,away,when,I,was,just,a,larva. ,,,,,,,,My,mother,didn't,have,much,time,for ,,,,,,,,me...when,you,have,five,million ,,,,,,,,siblings,it's,difficult,to,get ,,,,,,,,attention. ,,,,,,,,,,,(pause) ,,,,,,,,I,feel,physically,inadequate,--,I've ,,,,,,,,never,been,able,to,lift,more,than,ten ,,,,,,,,times,my,own,weight.,Sometimes,I ,,,,,,,,think,I'm,just,not,cut,out,to,be,a ,,,,,,,,worker.,But,I,don't,have,any,other ,,,,,,,,options.,I,was,assigned,to,trade ,,,,,,,,school,when,I,was,just,a,grub.,The ,,,,,,,,whole,system,just...makes,me ,,,,,,,,feel...insignificant. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,,,,(enthusiastic) ,,,,,,,,Terrific!,You,should,feel ,,,,,,,,insignificant! ,,,For,the,first,time,we,see,the,ant,MOTIVATIONAL,COUNSELLOR. ,,,He's,a,mixture,of,Tony,Robbins,and,Ron,Popiel,(the ,,,hyperactive,late-night,TV,huckster,and,founder,of,"Ronco"). ,,,,,,,,,,,,,Z ,,,,,,,,...I,should? ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,,,,(hopping,around ,,,,,,,,,,,,enthusiastically) ,,,,,,,,YES!!!,You,know,people,ask,me, ,,,,,,,,"Doctor,why,are,you,always,happy?" ,,,,,,,,And,I,tell,them,it's,mind,over ,,,,,,,,matter.,I,don't,mind,that,I,don't ,,,,,,,,matter!,Do,you,get,it?,Do,you,get ,,,,,,,,it? ,,,Z,gives,a,fake,smile. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,,,,(incredibly,"up") ,,,,,,,,Z,we're,part,of,the,fastest,growing ,,,,,,,,species,in,the,whole,world! ,,,The,counsellor,rolls,down,a,chart,from,the,wall.,An,arrow ,,,shows,ant,population,going,up,up,up. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Ask,me,why,we're,so,successful. ,,,,,,,,,,,,,Z ,,,,,,,,Why,are,we,so,successful? ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,I'm,glad,you,asked,me,that,question! ,,,The,motivational,counsellor,opens,some,blinds...and,we,see,a ,,,vista,of,the,ant-filled,chamber,below. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,What,do,you,see,out,there? ,,,,,,,,,,,,,Z ,,,,,,,,...Ants... ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Right!,Ants!,Millions,of,creatures, ,,,,,,,,each,with,his,assigned,task,all ,,,,,,,,pulling,together! ,,,Down,below,we,see,a,group,of,ants,carrying,a,boulder,up,an ,,,incline.,One,worker,ants,slips,and,the,boulder,rolls,down, ,,,crushing,his,leg.,The,other,ants,rush,over,--,it,looks,like ,,,they're,going,to,help,their,fallen,comrade,but,instead,they ,,,climb,right,over,him,and,pick,up,the,boulder,continuing ,,,with,their,task. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,You,see?,Being,an,ant,is,being,able ,,,,,,,,to,say,"Hey,--,I'm,meaningless, ,,,,,,,,you're,meaningless." ,,,,,,,,,,,,,Z ,,,,,,,,But,--,but,I've,always,felt,life,was ,,,,,,,,about,finding,meaning...and,then ,,,,,,,,sharing,it,with,someone,special, ,,,,,,,,someone,you,love. ,,,The,motivational,counsellor,puts,his,arm,on,Z's,shoulder...he ,,,seems,to,understand... ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Z...you,need,help. ,,,,,,,,,,,(looking,at,a,clock) ,,,,,,,,Whoops!,We're,gonna,have,to,stop ,,,,,,,,there.,Your,minute,is,up! ,,,The,counsellor,ushers,Z,out,of,his,seat,and,towards,the,door. ,,,,,,,,,,,,,MOTIVATIONAL,COUNSELLOR ,,,,,,,,Now,back,to,work!,We've,made,real ,,,,,,,,progress!,Remember,--,let's,be ,,,,,,,,best,superorganism,we,can,be! ,,,INT.,EARLY,MEGA-TUNNEL,-,DAY ,,,A,gigantic,tunnel,with,the,size,and,scale,of,the,"Chunnel". ,,,A,banner,strung,overhead,reads:,"The,Mega-Tunnel,--,Tunneling ,,,Our,Way,to,a,Bright,Future!",Along,the,walls,hang,50's,work- ,,,incentive,style,posters,with,messages,like,"You,asked,for ,,,it,you,got,it,--,more,work!",and,"TWO,MEALS,A,WEEK,IS ,,,ENOUGH!!!",Line,after,line,of,ants,is,working,on,the,tunnel, ,,,digging,passing,clumps,of,dirt,from,ant,to,ant,everyone ,,,synchronized. ,,,CLOSE,on,a,clump,of,DIRT,being,passed,from,hand,to,hand. ,,,PULL,OUT,TO,REVEAL ,,,AZTECA,a,feisty,cynical,female,worker,ant,who,stands ,,,there,waiting,to,pass,the,dirt,on.,Z,is,daydreaming,behind ,,,her,with,clumps,of,dirt,starting,to,pile,up,in,front,of,him. ,,,,,,,,,,,,,AZTECA ,,,,,,,,Hello?!,Earth,to,Z!,You,better,snap ,,,,,,,,out,of,it,or,there's,gonna,be,a,lot ,,,,,,,,of,pissed,off,ants! ,,,Z,looks,back,and,sees,the,ants,behind,staring,at,him,angrily. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(snapping,out,of,it) ,,,,,,,,Sorry,Azteca.,Here,you,go,fellas! ,,,,,,,,Fresh,dirt!,Alley,oop! ,,,,,,,,,,,(looking,at,the,dirt) ,,,,,,,,Shouldn't,we,be,wearing,gloves?,I ,,,,,,,,mean,this,dirt,is,very...dirty. ,,,,,,,,Doesn't,anyone,think,of,hygiene? ,,,,,,,,,,,(Z's,stomach,growls) ,,,,,,,,Boy,am,I,hungry.,I'm,so,hungry,I'm ,,,,,,,,seeing,double.,It,looks,like,there's ,,,,,,,,two,million,ants,in,here.,When's ,,,,,,,,lunch?,Tomorrow,or,the,day,after? ,,,,,,,,,,,,,AZTECA ,,,,,,,,,,,(sweetly) ,,,,,,,,Z,old,pal... ,,,,,,,,,,,(shouts) ,,,,,,,,SHUT,UP!!!,It's,bad,enough,there's ,,,,,,,,a,food,shortage,without,you ,,,,,,,,complaining,about,it,every,day. ,,,,,,,,,,,,,Z ,,,,,,,,The,squeaky,wheel,gets,the,oil. ,,,,,,,,,,,,,AZTECA ,,,,,,,,No,Z.,The,squeaky,wheel,gets,thrown ,,,,,,,,away,alright?,You're,a,good,ant,Z, ,,,,,,,,even,though,you,are,a,pain,in,my,rear- ,,,,,,,,segment.,I,don't,wanna,see ,,,,,,,,anything,happen,to,you.,So,quit ,,,,,,,,mouthing,off,before,you,get,in ,,,,,,,,trouble. ,,,A,WHISTLE,BLOWS. ,,,,,,,,,,,,,Z ,,,,,,,,Thank,goodness.,Breaktime. ,,,All,the,ants,put,down,their,tools.,A,beat.,Then,the,WHISTLE ,,,BLOWS,AGAIN.,All,the,ants,pick,up,their,tools,again. ,,,,,,,,,,,,,AZTECA ,,,,,,,,,,,(resigned) ,,,,,,,,Break's,over. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(getting,back,to,work) ,,,,,,,,This,colony,needs,another,tunnel,like ,,,,,,,,a,hole,in,the,ground.,Why,are,we ,,,,,,,,even,digging,this,thing? ,,,,,,,,,,,,,AZTECA ,,,,,,,,Who,cares,Z.,All,I,know,is,we ,,,,,,,,gotta,dig.,We're,not,the,ones,in ,,,,,,,,charge. ,,,INT.,TOWN,CENTER,-,DAY ,,,The,huge,spacious,main,chamber,of,the,colony.,Looming,over ,,,the,scene,is,the,royal,palace,which,seems,to,be ,,,inaccessible,perched,on,top,of,a,hill-like,pedestal. ,,,Around,the,base,of,the,pedestal,a,crew,of,workers,loiters, ,,,seemingly,aimlessly...can,these,be,the,only,unemployed,ants ,,,in,the,place? ,,,,,,,,,,,,,GENERAL,FORMICA ,,,,,,,,STAIRS! ,,,The,workers,look,up,and,GROAN.,Then,they,start,forming,a ,,,stairway,with,their,own,bodies,linking,arms,stepping,on ,,,each,other's,shoulders.,It's,extremely,unpleasant,work.,One ,,,ant,is,a,little,tardy,and,just,manages,to,get,in,place ,,,before... ,,,GENERAL,FORMICA,the,Pattonesque,military,leader,of,the ,,,colony,STEPS,ON,HIS,HEAD,using,it,as,the,first,step,as,he ,,,ascends,to,the,palace,his,aide-de-camp,Carpenter,in,tow.,As ,,,Formica,mounts,the,"stairs",we,can,hear,the,workers,going, ,,,"OUCH!,OOF!,YIKES!",etc. ,,,,,,,,,,,,,GENERAL,FORMICA ,,,,,,,,Cut,the,chit-chat,down,there! ,,,,,,,,,,,(turning,to,Carpenter) ,,,,,,,,We've,spoiled,these,workers, ,,,,,,,,Carpenter.,They've,never,had,it,so ,,,,,,,,good,and,listen,to,them,--,always ,,,,,,,,grumbling,and,complaining... ,,,Formica,steps,on,the,foot,of,one,of,the,"stairway",ants,who ,,,muffles,a,yelp. ,,,,,,,,,,,,,CARPENTER ,,,,,,,,...Yes,sir. ,,,,,,,,,,,,,GENERAL,FORMICA ,,,,,,,,What,have,they,got,to,complain,about? ,,,,,,,,Three,square,meals,a,day... ,,,,,,,,,,,,,CARPENTER ,,,,,,,,Actually,sir,we've,cut,them,down,to ,,,,,,,,three,roughly,rectangular,meals,a ,,,,,,,,week. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Don't,give,me,statistics,Carpenter. ,,,,,,,,I,know,what,I'm,talking,about.,DOORS! ,,,Formica,and,Carpenter,have,reached,the,top,of,the,staircase. ,,,There,the,two,guard,ants,on,either,side,of,the,massive ,,,throne,room,doors,pull,them,open,--,and,one,door,hinge ,,,SQUEAKS. ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(to,guard,ant,while ,,,,,,,,,,,,passing) ,,,,,,,,Oil,that,soldier. ,,,INT.,THRONE,ROOM,-,DAY ,,,The,QUEEN,is,on,her,throne,her,huge,abdomen,sprawled,behind ,,,her. ,,,,,,,,,,,,,QUEEN ,,,,,,,,Ah!,General,Formica. ,,,Formica,salutes,and,marches,to,her,Carpenter,behind,him. ,,,Note:,Throughout,this,scene,the,Queen,is,giving,birth ,,,repeatedly.,Each,birth,is,accompanied,by,a,herald,playing,a ,,,short,"Happy,Birthday",fanfare,on,his,trumpet.,Mid-wife,ants ,,,bring,each,baby,to,the,Queen,for,inspection,who,COOS,a,few ,,,words.,The,midwives,put,the,babies,on,a,moving,bassinet- ,,,line,powered,by,ants,on,a,treadmill. ,,,,,,,,,,,,,QUEEN ,,,,,,,,General,the,severe,food,shortage ,,,,,,,,that,faces,the,colony...pains,me. ,,,,,,,,The,thought,of,any,of,my,children ,,,,,,,,going,hungry... ,,,,,,,,,,,(she,shudders;,then, ,,,,,,,,,,,,to,baby) ,,,,,,,,Who's,the,cutest,widdle,worker?,You ,,,,,,,,are!,Yes,you!,Don't,forget,to ,,,,,,,,brush,your,teeth! ,,,,,,,,,,,(to,mid-wife) ,,,,,,,,Ship,'er,out. ,,,,,,,,,,,(back,to,Formica) ,,,,,,,,What,steps,are,you,taking,to,remedy ,,,,,,,,the,situation? ,,,,,,,,,,,,,FORMICA ,,,,,,,,We,are,launching,a,major,offensive,to ,,,,,,,,expand,our,foraging,territory... ,,,,,,,,,,,,,QUEEN ,,,,,,,,Yes,what,else? ,,,,,,,,,,,,,FORMICA ,,,,,,,,Please,don't,worry,your,majesty. ,,,,,,,,Leave,the,worrying,to,me.,As,you ,,,,,,,,know,I'm,not,an,ant,of,half- ,,,,,,,,measures.,I,don't,pussyfoot,around. ,,,,,,,,This,crisis,is,my,number,one ,,,,,,,,priority,and,I,promise,you,it's ,,,,,,,,being,dealt,with,swiftly,and ,,,,,,,,decisively. ,,,The,Queen's,attention,is,interrupted,by,another,baby,being ,,,put,in,her,arms. ,,,,,,,,,,,,,QUEEN ,,,,,,,,,,,(to,baby) ,,,,,,,,No,snacking,between,meals!,Off,you ,,,,,,,,go! ,,,,,,,,,,,(to,Formica) ,,,,,,,,Now,--,what,were,we,saying? ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(Oliver,North-style) ,,,,,,,,I,do,not,recollect,your,majesty. ,,,,,,,,Will,that,be,all? ,,,,,,,,,,,,,QUEEN ,,,,,,,,Yes,General,Formica.,Carry,on,my ,,,,,,,,good,man!,I,don't,know,what,we,would ,,,,,,,,do,without,you. ,,,Formica,clicks,his,heels,and,bows,his,head.,Carpenter,bows ,,,low.,Formica,smartly,about,faces,-- ,,,,,,,,,,,,,BALA,(O.S.) ,,,,,,,,General,Formica! ,,,PRINCESS,BALA,hurries,through,a,second,doorway,carrying,a ,,,swatch,book.,Something,about,her,sets,her,apart,from,the ,,,HANDMAIDEN,ANTS,with,her.,Her,tiara,probably. ,,,Formica,tilts,his,head,quizzically,to,Carpenter,behind,him. ,,,,,,,,,,,,,CARPENTER ,,,,,,,,,,,(sotto) ,,,,,,,,Princess,Bala,sir.,Your,fiancee. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Princess!,You,look,--,outstanding. ,,,,,,,,Is,there,anything,I,can,do,for,you? ,,,,,,,,,,,,,BALA ,,,,,,,,Well,--,I,thought,--,since,we're ,,,,,,,,getting,married...it,might,be,nice,if ,,,,,,,,we...got,to,know,one,another. ,,,Formica,looks,confused. ,,,,,,,,,,,,,QUEEN ,,,,,,,,Bala,has,always,been,a,hopeless ,,,,,,,,romantic,General. ,,,,,,,,,,,,,BALA ,,,,,,,,It's,just,that,--,well,I'm,honored ,,,,,,,,that,you,selected,me,and,everything, ,,,,,,,,I,just,thought,the,marriage,might,go ,,,,,,,,a,little,more,smoothly,if,--,we,had ,,,,,,,,a,conversation? ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(uncomfortable) ,,,,,,,,Conversation...yes...well... ,,,,,,,,,,,(to,Carpenter) ,,,,,,,,Wasn't,she,briefed? ,,,,,,,,,,,,,QUEEN ,,,,,,,,,,,(holding,up,a,baby) ,,,,,,,,Look,General!,A,darling,baby ,,,,,,,,soldier! ,,,,,,,,,,,(emotionally,to,baby) ,,,,,,,,Don't,try,to,be,a,hero!,Just,make ,,,,,,,,sure,you,come,back,in,one,piece! ,,,,,,,,,,,(handing,it,off) ,,,,,,,,Next! ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(using,the ,,,,,,,,,,,,interruption) ,,,,,,,,I'll,take,your,suggestion,under ,,,,,,,,advisement,Princess.,In,the ,,,,,,,,meanwhile,-- ,,,Formica,turns,to,go. ,,,,,,,,,,,,,BALA ,,,,,,,,General,--,we,have,to,talk,sometime! ,,,,,,,,,,,,,FORMICA ,,,,,,,,Very,well.,Carpenter,is,there,a ,,,,,,,,convenient,time,to,talk,vis-a-vis: ,,,,,,,,relationship? ,,,,,,,,,,,,,CARPENTER ,,,,,,,,Actually,sir,we're,ahead,of ,,,,,,,,schedule.,We,have,thirty-six,seconds ,,,,,,,,available,right,now. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Outstanding.,Princess...? ,,,Bala's,a,little,fazed...but,grabs,her,chance. ,,,,,,,,,,,,,BALA ,,,,,,,,So,um...how,was,your,day?,What,did ,,,,,,,,you,do? ,,,,,,,,,,,,,FORMICA ,,,,,,,,,,,(scouring,his,mind) ,,,,,,,,Well... ,,,,,,,,,,,(that's,it!) ,,,,,,,,I,declared,war! ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(sadly) ,,,,,,,,Oh...and,I,was,afraid,we,had,nothing ,,,,,,,,in,common... ,,,,,,,,,,,,,CARPENTER ,,,,,,,,,,,(under,his,breath) ,,,,,,,,Fourteen-fifty,hours,sir. ,,,,,,,,,,,,,FORMICA ,,,,,,,,Duty,calls! ,,,He,strides,across,the,floor.,Bala,watches,him,go,her ,,,antennae,drooping,unhappily. ,,,,,,,,,,,,,FORMICA ,,,,,,,,No,squeak.,Outstanding! ,,,We,see,through,the,now-open,doors,into,the,throne-room,as ,,,Formica,and,Carpenter,double-time,out,of,the,frame. ,,,The,Queen,sees,that,Bala,is,unhappy. ,,,,,,,,,,,,,QUEEN ,,,,,,,,,,,(sympathetically) ,,,,,,,,I,felt,the,same,way,before,I,got ,,,,,,,,married.,Confused.,Scared. ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(hopefully) ,,,,,,,,You,did? ,,,,,,,,,,,,,QUEEN ,,,,,,,,Yes,--,but,I,did,my,duty,and,sorted ,,,,,,,,out,all,those,messy,feelings.,The ,,,,,,,,wonderful,thing,about,ant,life,is ,,,,,,,,that,everything,is,arranged.,Even ,,,,,,,,marriage.,You're,lucky,--,General ,,,,,,,,Formica,is,a,paragon,of,anthood. ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(unconvinced) ,,,,,,,,Yes...he's,wonderful... ,,,The,doors,swing,shut,on,them,--,revealing,the,two,guard,ants ,,,who,were,CRUSHED,in,the,wake,of,Formica's,exit. ,,,INT.,BALA'S,QUARTERS,-,DAY ,,,Bala,enters,followed,by,her,handmaidens,who,are,in,a,state ,,,of,giggling,infatuation,over,Formica.,Bala,is,scowling,as ,,,she,leafs,through,a,wedding,catalogue. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,,,,(swooning,over ,,,,,,,,,,,,General,Formica) ,,,,,,,,The,General's,body,segments,are ,,,,,,,,so...symmetrical. ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,,,,(giggling) ,,,,,,,,I'd,let,him,order,me,into,battle ,,,,,,,,anyday. ,,,Bala,hurls,the,swatch,book,against,the,wall. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,Princess?,What's,wrong? ,,,,,,,,,,,,,BALA ,,,,,,,,Wrong?,How,could,anything,be,wrong? ,,,,,,,,I'm,going,to,marry,General,Formica ,,,,,,,,and,be,a,queen,and,have,millions,of ,,,,,,,,babies,just,like,my,mom. ,,,,,,,,,,,(concerned) ,,,,,,,,Do,I,look,fat,to,you? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,,,,(knowingly,to ,,,,,,,,,,,,Handmaiden,#2) ,,,,,,,,Pre-wedding,jitters. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,You,just,need,to,blow,off,some,steam. ,,,,,,,,Let's,go,to,the,bar,at,the,Royal,Club! ,,,,,,,,,,,,,BALA ,,,,,,,,The,Club's,so,stuffy.,I,want,to,try ,,,,,,,,someplace,different. ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,There,isn't,anyplace,else,-- ,,,,,,,,,,,(making,a,joke) ,,,,,,,,Except,the,worker,bar. ,,,,,,,,,,,,,BALA ,,,,,,,,The,worker,bar!,Yes!,That's,where ,,,,,,,,I,want,to,go! ,,,The,handmaidens,look,shocked. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,But,--,we,can't,--,there'll,be ,,,,,,,,workers,there. ,,,INT.,ANT,BAR,-,NIGHT ,,,A,long,bar,filled,with,ants.,The,bar,itself,seems,to,stretch ,,,for,miles,and,there,are,hundreds,of,ants,trying,to,get,a ,,,drink...unfortunately,there's,only,one,bartender.,Z,is,at ,,,the,bar,with,WEAVER,a,burly,ant,soldier. ,,,,,,,,,,,,,Z ,,,,,,,,We,declared,war,again? ,,,,,,,,,,,(off,Weaver's,nod) ,,,,,,,,Are,you,scared? ,,,,,,,,,,,,,WEAVER ,,,,,,,,,,,(shrugs) ,,,,,,,,I'll,be,back. ,,,The,BARTENDER,a,grizzled,veteran,slaps,down,what,looks,like ,,,a,couple,of,large,green,beer,mugs.,Actually,they're,aphids, ,,,little,green,critters,he,fills,up,from,a,number,of,kegs ,,,hanging,from,the,ceiling.,The,kegs,are,specialized,ants,with ,,,hugely,distended,stomachs,which,spray,liquid,into,the,aphids. ,,,,,,,,,,,,,APHIDS ,,,,,,,,,,,(as,they're,slapped ,,,,,,,,,,,,on,bar) ,,,,,,,,Ouch!,Ouch! ,,,,,,,,,,,,,BARTENDER ,,,,,,,,Two,aphid,beers. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(as,Bartender,leaves) ,,,,,,,,Did,you,see,that?,How,he,gave,you ,,,,,,,,the,beers,not,me?,I'm,telling,you, ,,,,,,,,he's,got,something,against,workers. ,,,,,,,,,,,,,WEAVER ,,,,,,,,I,don't,know,what,you're,talking ,,,,,,,,about,Z. ,,,,,,,,,,,,,Z ,,,,,,,,Come,on,--,everybody,dumps,on,us ,,,,,,,,workers.,You,soldiers,get,all,the ,,,,,,,,glory.,Plus,you,get,to,go,out,into ,,,,,,,,the,world,meet,interesting,insects, ,,,,,,,,and,kill,them. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Yeah,but,you,get,to,spend,all,day ,,,,,,,,with,those,fabulous,worker,babes. ,,,We,can,see,that,Weaver,is,eyeing,a,nearby,table,of,"Worker ,,,Babes",including,Z's,friend,Azteca. ,,,,,,,,,,,,,Z ,,,,,,,,Weaver,they're,career,girls. ,,,,,,,,They're,obsessed,with,digging. ,,,,,,,,,,,(sighs) ,,,,,,,,No,I'll,probably,never,meet,the,girl ,,,,,,,,for,me. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Who,said,there,was,a,girl,for,you? ,,,,,,,,I,was,talking,about,a,girl,for,me. ,,,,,,,,,,,(quaffing,his,aphid ,,,,,,,,,,,,beer) ,,,,,,,,Don't,you,want,your,aphid,beer? ,,,,,,,,,,,,,Z ,,,,,,,,I,can't,help,it.,I,have,a,thing ,,,,,,,,about,drinking,from,the,anus,of ,,,,,,,,another,creature.,Call,me,crazy. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Z,we've,known,each,other,a,long ,,,,,,,,time,right? ,,,,,,,,,,,,,Z ,,,,,,,,Of,course.,You,were,born,two,seconds ,,,,,,,,after,me. ,,,,,,,,,,,,,WEAVER ,,,,,,,,And,all,the,time,I've,known,you, ,,,,,,,,you've,been,grumping,and,groaning. ,,,,,,,,You,should,quit,making,waves.,Go ,,,,,,,,with,the,flow. ,,,,,,,,,,,,,Z ,,,,,,,,Weaver,I'm,an,insect,not,a,liquid. ,,,Down,the,bar,there's,a,commotion.,A,grizzled,old,SCOUT,ant ,,,has,had,too,much,to,drink. ,,,,,,,,,,,,,DRUNK,SCOUT ,,,,,,,,Have,you,been,to,Insectopia?,Have ,,,,,,,,you?,No,ya,goddam,larvas!,But,I ,,,,,,,,have... ,,,,,,,,,,,(becoming,emotional) ,,,,,,,,...Mosquitos,n',caterpillars,n' ,,,,,,,,beetles,--,all,livin',in,peace, ,,,,,,,,stuffin,their,guts,with,food...No ,,,,,,,,rules,no,regulations...you,can,be ,,,,,,,,your,own,ant,there... ,,,,,,,,,,,(howling,drunkenly) ,,,,,,,,It's,Insectopia!,Insectopia! ,,,,,,,,,,,,,Z ,,,,,,,,Hey,Weaver,listen! ,,,,,,,,,,,,,DRUNK,SCOUT ,,,,,,,,I,was,cut,off,from,my,unit,--,found ,,,,,,,,it,by,mistake,-- ,,,,,,,,,,,(slurring) ,,,,,,,,It,changed,my,life! ,,,,,,,,,,,(spraying,another ,,,,,,,,,,,,soldier,with,saliva) ,,,,,,,,You,see,--,ya,follow,the,great,yellow ,,,,,,,,egg,and,you,come,to,the,land,of,red ,,,,,,,,and,white,-- ,,,,,,,,,,,,,SOLDIERS ,,,,,,,,You've,had,enough,for,one,night! ,,,,,,,,Come,on,Gramps,before,you,get,in ,,,,,,,,trouble. ,,,The,soldiers,pull,him,from,the,bar,carrying,him,out. ,,,,,,,,,,,,,Z ,,,,,,,,,,,(excited) ,,,,,,,,Hey,did,you,hear,what,he,said?! ,,,,,,,,,,,,,WEAVER ,,,,,,,,Poor,guy's,had,one,too,many,scouting ,,,,,,,,missions. ,,,MUSIC,STARTS,UP. ,,,INT.,ANT,BAR,ENTRANCE,-,NIGHT ,,,Princess,Bala,is,peering,in,at,the,entrance,to,the,ant,bar, ,,,accompanied,by,her,worried-looking,handmaidens. ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,We,shouldn't,be,doing,this,--,it ,,,,,,,,isn't,proper! ,,,,,,,,,,,,,BALA ,,,,,,,,I'm,the,Princess,aren't,I? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,Of,course,-- ,,,,,,,,,,,,,BALA ,,,,,,,,And,do,Princesses,do,improper,things? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,Of,course,not,-- ,,,,,,,,,,,,,BALA ,,,,,,,,Then,if,I,go,to,the,worker,bar,it ,,,,,,,,isn't,improper.,Anyway,don't,worry. ,,,,,,,,No,one,will,recognize,us,in,our ,,,,,,,,disguises. ,,,She,adjusts,her,"disguise",a,hardhat,tied,down,Jackie,O.- ,,,style,with,an,ant's,version,of,a,Chanel,scarf. ,,,,,,,,,,,,,BALA ,,,,,,,,I'm,just,a,common,worker,cooling,off ,,,,,,,,after,a,rough,day! ,,,Music,starts.,An,ant,BARKER,takes,the,mic,at,one,end,of,the ,,,dance,floor. ,,,,,,,,,,,,,BARKER ,,,,,,,,,,,(on,loudspeaker) ,,,,,,,,Okay,folks.,It's,six-fifteen,and ,,,,,,,,that,means,it's,time,to,dance. ,,,Every,ant,gets,up,to,dance.,Weaver,turns,to,Z. ,,,,,,,,,,,,,WEAVER ,,,,,,,,,,,(draining,his,beer) ,,,,,,,,Time,to,cut,a,rug,Z! ,,,,,,,,,,,,,Z ,,,,,,,,I'm,not,in,the,mood. ,,,,,,,,,,,(disgusted) ,,,,,,,,Even,when,they're,off,work,they ,,,,,,,,follow,orders. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Well,you,just,sit,here,and,be,a ,,,,,,,,party-pooper. ,,,Weaver,joins,the,rest,of,the,ants,who,are,lining,up,for,the ,,,dance.,The,Barker,calls,out,the,steps,in,a,bored,monotone,-- ,,,all,the,ants,already,know,the,steps.,Everyone,dances,in ,,,perfect,synch. ,,,,,,,,,,,,,BARKER ,,,,,,,,,,,(southern,twang) ,,,,,,,,And,a,left-right-quarterstep-back ,,,,,,,,step-halfstep,--,a,left-right- ,,,,,,,,quarterstep-backstep-halfstep,-- ,,,,,,,,a,left-right-quarterstep-backstep ,,,,,,,,halfstep,-- ,,,AT,THE,ENTRANCE,Bala,smiles,mischievously,at,her,handmaidens. ,,,,,,,,,,,,,BALA ,,,,,,,,I'm,going,to,ask,one,of,these ,,,,,,,,mindless,primitive,worker-types,to ,,,,,,,,dance,with,me! ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,But,General,Formica,would,be,furious! ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(enjoying,the,idea) ,,,,,,,,I,know. ,,,The,handmaidens,are,appalled.,Bala,whirls,away,from,them, ,,,sets,her,sights,and,searches,the,crowd,--,zeroing,in,on,-- ,,,Z,who's,watching,the,other,ants,dance. ,,,,,,,,,,,,,Z ,,,,,,,,What,a,bunch,of,losers.,Mindless ,,,,,,,,zombies,capitulating,to,an,oppressive ,,,,,,,,system,-- ,,,,,,,,,,,,,BALA ,,,,,,,,Wanna,dance? ,,,Bala's,standing,right,there.,Z,is,instantly,smitten. ,,,,,,,,,,,,,Z ,,,,,,,,Me?!,Yes!!!,I,mean,-- ,,,,,,,,,,,(regaining,suavosity) ,,,,,,,,Just,let,me,finish,my,beer. ,,,Not,breaking,eye,contact,with,Bala,Z,smiles,suavely. ,,,Reaches,suavely,for,a,beer.,Suavely,grabs,the,candle,in,a ,,,glass,jar,off,the,bar.,Suavely,singes,his,face. ,,,He,plays,it,off,with,a,rakish,little,laugh.,A,bit ,,,apprehensive,Bala,heads,onto,the,floor.,Z,follows,her. ,,,,,,,,,,,,,Z ,,,,,,,,So,uh,--,how,come,I,haven't,seen,you ,,,,,,,,around,here,before? ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(covering,up) ,,,,,,,,I,work,in,the,palace,I,don't,get,out ,,,,,,,,much. ,,,,,,,,,,,,,Z ,,,,,,,,The,palace,hunh?,I,bet,those,royals ,,,,,,,,really,live,it,up.,Of,course,they're ,,,,,,,,all,a,little,you,know,from ,,,,,,,,inbreeding,-- ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(shocked) ,,,,,,,,What? ,,,Z,and,Bala,step,onto,the,dance,floor,with,the,rest,of,the ,,,ants,but,Z,can't,do,any,of,the,steps. ,,,,,,,,,,,,,Z ,,,,,,,,Now,let's,see,I,--,it's,been,a ,,,,,,,,while,since,I,--,I,think,you,-- ,,,Bala,watches,Z,trying,to,follow,along.,It's,the,blind ,,,leading,the,blind,as,Z,tries,in,vain,to,follow,the,barker's ,,,rapid,instructions. ,,,,,,,,,,,,,Z ,,,,,,,,Here,I'll,lead. ,,,Z,starts,doing,his,own,individual,dance.,With,a,suave ,,,expression,on,his,face,he,leads,Bala,in,a,helter-skelter ,,,mixture-of,Tango,Charleston,and,hand-jive. ,,,,,,,,,,,,,BALA ,,,,,,,,Are,you,sure,this,is,a,real,dance? ,,,,,,,,,,,,,Z ,,,,,,,,Well,actually,uh,--,I'm,sort,of ,,,,,,,,making,it,up,-- ,,,,,,,,,,,,,BALA ,,,,,,,,,,,(surprised) ,,,,,,,,Really? ,,,,,,,,,,,,,Z ,,,,,,,,Why,should,everyone,dance,the,same ,,,,,,,,way?,It's,as,exciting,as,watching ,,,,,,,,fungus,grow. ,,,,,,,,,,,,,BALA ,,,,,,,,You're,right! ,,,,,,,,,,,,,Z ,,,,,,,,,,,(surprised) ,,,,,,,,You,--,you,think,I'm,right? ,,,,,,,,,,,,,BALA ,,,,,,,,Why,can't,I,just,do,whatever,I,want ,,,,,,,,to,do?,Why,can't,I,just,go,wild?! ,,,,,,,,Yahoo! ,,,Bala,starts,to,get,into,it,making,up,her,own,steps,in,reply ,,,to,Z's,loosening,up,having,fun.,For,a,moment,the,two,of ,,,them,are,actually,sexy,together.,Then,they,get,a,little,too ,,,wild,--,and,the,other,ants,who,are,still,doing,their ,,,intricate,dance,start,to,collide,with,Bala,and,Z.,Z,almost ,,,knocks,over,a,big,soldier,ant.,We,can,only,see,the,ant's ,,,back,at,the,moment. ,,,,,,,,,,,,,SOLDIER ,,,,,,,,Hey!,Watch,your,step,worker. ,,,Z,has,turned,around,to,see,the,soldier,ant,MAJOR,MANDIBLE, ,,,glaring,at,him.,Mandible,is,about,twice,Z's,size.,He's,got ,,,one,eye,missing,and,half,of,his,left,antenna,his,been,chewed ,,,off. ,,,,,,,,,,,,,BALA ,,,,,,,,You,watch,yours,soldier,or,my ,,,,,,,,worker,friend,will,beat,you,up! ,,,,,,,,,,,,,Z ,,,,,,,,,,,(terrified) ,,,,,,,,Oh,that's,okay,I'll,let,him,off ,,,,,,,,this,time. ,,,,,,,,,,,(whispering,to,Bala) ,,,,,,,,Are,you,crazy?,This,guy's,built,like ,,,,,,,,a,pebble! ,,,,,,,,,,,(ineptly,trying,to ,,,,,,,,,,,,placate,the,soldier) ,,,,,,,,You,know,they,do,great,prosthetic ,,,,,,,,antennas,nowadays,-- ,,,,,,,,,,,,,BALA ,,,,,,,,Aren't,you,gonna,stand,up,for ,,,,,,,,yourself? ,,,Z's,caught,between,a,rock,and,a,hard,place.,He,doesn't,want ,,,to,get,beaten,up,but,on,the,other,hand,he,doesn't,want,to ,,,lose,face,in,front,of,Bala.,More,soldiers,have,gathered ,,,around,looking,hostile. ,,,,,,,,,,,,,SOLDIER ,,,,,,,,How,come,you,don't,dance,like,the ,,,,,,,,rest,of,us? ,,,Z,glances,over,at,Bala.,Then,shaking,with,nervousness,he ,,,says,defiantly... ,,,,,,,,,,,,,Z ,,,,,,,,Because,--,because,I'm,an,individual! ,,,,,,,,,,,,,SOLDIER,#2 ,,,,,,,,An,individual?,Never,heard,of,it. ,,,,,,,,,,,,,MANDIBLE ,,,,,,,,You,look,like,a,worker,to,me. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Hey,lay,off,my,little,buddy! ,,,Z,meanwhile,looks,far,away,ecstatic,as,if,he's,just ,,,realized,something,very,important.,Unfortunately,just,at ,,,this,moment,A,soldier,pushes,Weaver...Weaver,pushes,him ,,,back...somebody,makes,a,dive,for,Z,--,and,before,you,know,it, ,,,there's,a,regular,bar,brawl,going,on,with,Weaver,in,the ,,,middle,of,it,cracking,heads,together,punching,ants,in,the ,,,face,having,a,great,time.,Just,then,the,Princess' ,,,handmaidens,hurries,over. ,,,,,,,,,,,,,HANDMAIDEN,#1 ,,,,,,,,Princess,Bala!,Princess,Bala! ,,,Z,who's,scrabbling,around,on,the,floor,overhears. ,,,,,,,,,,,,,Z ,,,,,,,,Princess?,You're,a,Princess? ,,,,,,,,,,,,,HANDMAIDEN,#2 ,,,,,,,,The,police,are,coming! ,,,,,,,,,,,,,BALA ,,,,,,,,Uh,oh. ,,,,,,,,,,,(to,Z) ,,,,,,,,Goodbye!,Gotta,run! ,,,,,,,,,,,,,Z ,,,,,,,,Wait!,When,can,I,see,you,again? ,,,,,,,,,,,,,BALA ,,,,,,,,Let,me,think.,Hmmnn... ,,,,,,,,,,,(thinks) ,,,,,,,,Never.,Bye! ,,,Bala,rushes,off,with,her,handmaiden,just,before,a,squad,of ,,,whistle-blowing,POLICE,wade,into,the,crowd. ,,,,,,,,,,,,,Z ,,,,,,,,Wait!,Princess!,Wait! ,,,But,she's,already,gone,leaving,Z,holding,her,scarf. ,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,INT.,DORMITORY,-,THE,NEXT,DAY ,,,Z,is,talking,to,Weaver,who's,getting,ready,to,go,off,to,war. ,,,Nearby,columns,of,ant,soldiers,march,by. ,,,,,,,,,,,,,WEAVER ,,,,,,,,Get,real,Z!,She,just,dropped,the ,,,,,,,,scarf,by,accident! ,,,,

6

Beavis and Butt-head Do America

Mike Judge,Joe Stillman

Animation,Comedy

null

"BEAVIS,AND,BUTT-HEAD,DO,AMERICA" by Mike,Judge,and,Joe,Stillman The,movie,begins,with,scenes,of,people,screaming,in,horror, and,running,down,the,streets,of,a,big,city.,The,ground,shakes,from, what,seems,like,giant,footsteps.,There,are,pieces,of,building, debris,falling,everywhere,people,getting,crushed,power,lines, coming,down,etc.,-,complete,pandemonium.,It,all,looks,very,much, like,a,Japanese,animated,King-Kong,or,Godzilla,movie.,We,hear,the, footsteps,getting,closer,and,the,ground,shaking,becomes,more, intense,-,more,debris,falling.,Then,we,see,a,HUGE,BLACK,TENNIS, SHOE,come,into,frame,and,smash,a,National,Guard,truck.,As,we,pan, up,we,see,the,white,socks,then,the,red,shorts,the,AC/DC,T- shirt,then,we,hear,the,familiar,"Huh,huh,huh.",-,only,it's,a, huge,sound...this,is,a,THREE-HUNDRED,FOOT,TALL,BUTT-HEAD.,"Butt- Kong",continues,his,path,of,destruction,-,stomping,on,cars,and, buildings,and,saying,"This,is,cool.,Huh,huh,huh." Airplanes,and,tanks,start,firing,at,Butt-Head,(Butt-Kong)., He,looks,irritated,and,says,"Cut,it,out,butt-munch!",Butt-Head, swats,at,the,planes,sending,them,crashing,to,the,ground,and, stomps,on,the,tanks.,Then,something,catches,his,eye.,Butt-Head, reaches,into,a,skyscraper,and,picks,up,a,nice,looking,woman,-,a, lot,like,the,one,from,the,King,Kong,movie.,He,looks,down,at,her,in, his,hand,and,goes,wide-eyed,"Whoa!,Huh,huh,huh.",The,woman, screams,in,terror,as,Butt-Head,looks,down,at,her,and,tries,a,few, lame,pick,up,lines.,"Uuuuh...Hey,baby.,I'm,like,pretty,tall.,Huh, huh,huh.",He,swats,down,a,helicopter,that,is,circling,his,head, "Dammit,I'm,trying,to,score!",The,helicopter,goes,down,in,flames., We,CUT,TO,some,guys,sitting,on,a,tank,firing,at,him.,They,notice, giant,footsteps,coming,from,the,other,direction,and,turn,the,tank, around.,Through,their,binoculars,we,see,a,THREE-HUNDRED,FOOT, BEAVIS,coming,from,the,horizon.,The,giant,Beavis,is,even,more, destructive,than,Butt-Kong,(maybe,he,could,be,breathing,fire)., Beavis,starts,trying,to,pick,up,on,Butt-Head's,woman.,Butt-Head, puts,the,woman,down,and,he,and,Beavis,begin,to,go,at,it,leveling, the,city,with,one,of,their,stupid,juvenile,smack-fights. We,CROSS-DISSOLVE,from,three-hundred,foot,Beavis,shaking, Butt-Kong,to,Butt-Head,asleep,on,the,couch,with,Beavis,shaking, him. INT.,B&B'S,HOME,-,DAY BEAVIS,(O.C.) Butt-Head!,Butt-Head!,Hey,Butt-Head! Butt-Head,is,dead,asleep,on,the,couch.,Beavis,shakes,him. BEAVIS Butt-Head,wake,up,wake,up! Butt-Head,comes,around. BUTT-HEAD Dammit,Beavis,I,was,about,to,score. Huh,huh. BEAVIS Yeah,but,check,it,out.,It's,gone! BUTT-HEAD What's,gone? BEAVIS The,TV. Beavis,is,making,STRANGE,NOISES,in,a,state,of,shock. Butt-Head,rubs,his,eyes,and,looks,at,the,empty,space,where,the,TV, was. BUTT-HEAD Uuuuuuh,huh,huh.,Uuh,... Out,the,window,we,see,two,YOUNG,MEN,carrying,B&B's,TV,into,their, van. Still,on,the,couch,Butt-Head,looks,over,at,the,broken,window.,We, see,a,CROWBAR,lying,on,the,floor,and,the,front,door,left,open. Butt-Head,looks,at,the,BROKEN,WINDOW,at,the,CROWBAR,the,OPEN, DOOR,then,back,at,the,EMPTY,SPACE,where,the,TV,was.,He,does,this, a,couple,of,times,-,piecing,it,all,together. BUTT-HEAD,(CONT.) Whoa!,I,think,I,just,figured,something out,Beavis. BEAVIS What? BUTT-HEAD This,sucks. BEAVIS Yeah,heh,heh. Beavis,is,still,in,shock.,They,both,stare,at,the,empty,space,where, the,TV,was,for,a,beat,not,quite,sure,what,to,do. Beavis,is,SHAKING,AND,MAKING,WEIRD,NOISES.,He,presses,buttons,on, the,remote,a,few,times,as,if,it,might,help,somehow. BUTT-HEAD This,sucks,more,than,anything,that has,ever,sucked,before.,We,must,find this,butt-hole,that,took,the,TV. EXT.,CITY,STREET,-,NIGHT Bad,neighborhood.,70's,music,blares. A,fast,driving,car,drives,right,at,us,and,stops.,Punks,run,in, fear.,Beavis,hops,out,of,the,driver's,seat,wearing,bell-bottoms, chain,jewelry,and,a,70's,afro.,Into,a,dramatic,CLOSE-UP,he,takes, off,his,glasses. FREEZE,ON,BEAVIS ANNOUNCER Beavis! FRAME,UNFREEZES.,Beavis,whips,out,a,huge,gun. BEAVIS Freeze,butt-wipe! An,attacker,comes,from,one,side.,Beavis,uses,Judo.,Another,tosses, a,knife.,Beavis,ducks,then,shoots,with,two,hands,police,style. INT.,BEDROOM,-,NIGHT Swinger's,pad.,Totally,70's.,A,group,of,bikini'd,girls,on,a, waterbed.,Butt-Head,approaches,them.,He,wears,a,leisure,suit, collar,way,open.,He,plops,down,in,the,bed. FREEZE,ON,BUTT-HEAD ANNOUNCER Butt-Head! FRAME,UNFREEZES.,The,girls,wrap,their,arms,around,him. BUTT-HEAD Huh,huh,huh.,Come,to,Butt-Head,baby. ANNOUNCER Star,in... MAIN,TITLE,-,FULL,FRAME EXT.,CITY,STREETS,-,DAY/NIGHT ACTION,MONTAGE,BEGINS.,Styled,like,a,70's,cop,show,opening. OPENING,CREDITS,to,the,movie,appear,just,as,cop,show,credits, would. Beavis,does,a,Starsky,and,Hutch-style,roll,with,a,gun. Butt-Head,slaps,a,pimp. Beavis,drives,chasing,a,car. Butt-Head,is,slapped,by,a,girl. BUTT-HEAD Huh,huh,huh.,That,was,cool. Beavis,and,Butt-Head,are,in,a,warehouse,shoot-out. A,black,police,chief,rises,from,a,desk,to,yell,at,B&B. B&B,dive,for,cover,just,before,a,building,explodes. In,CLOSE-UP,Beavis,smiles,for,an,ID,shot. Butt-Head,does,the,same. Beavis,in,a,rooftop,fight,kicks,his,opponent,over,the,edge. A,beautiful,woman,back,to,us,takes,off,her,dress,for,Butt-Head., FINAL,OPENING,CREDIT,APPEARS.,Butt-Head,and,the,woman,fall,into, bed.,Suddenly... INT.,SCHOOL,HALLWAY/DOOR,TO,A.V.,ROOM,-,DAY From,inside,SOUND,of,equipment,crashing. B&B,come,out,wheeling,a,TV,on,one,of,those,carts.,There,are,cables, attached,to,it,still,leading,back,into,the,A.V.,room.,As,they,push, the,cart,we,hear,more,equipment,falling. BUTT-HEAD Dammit,it's,stuck. They,give,it,one,big,push,and,it,finally,breaks,free.,We,see,that, the,cables,are,tangled,with,cables,from,other,TVs,and,VCRs,which, all,come,crashing,to,the,ground. BUTT-HEAD,(CONT.) Huh,huh,huh.,That,was,cool. BEAVIS Yeah,heh,heh.,Let's,just,wheel,this thing,back,to,the,house. INT.,SCHOOL/ANOTHER,HALLWAY,-,DAY MR.,VAN,DRIESSEN,stops,B&B. VAN,DRIESSEN Ah,excuse,me,boys.,What's,going,on here? BUTT-HEAD Uh,someone,stole,our,TV. BEAVIS Yeah.,We're,just,gonna,use,this,one. Get,outta,the,way.,Heh,heh. VAN,DRIESSEN I'm,afraid,that,TV,belongs,to,the,school. Mmmkay?,You,know,this,could,be,a,positive experience,for,you,guys.,There's,a wonderful,world,out,there,when,we,discover we,don't,need,TV,to,entertain,us. BUTT-HEAD Huh,huh,huh.,He,said,"anus." BEAVIS (to,himself) Entert-ain...us...an-us...Oh,yeah!,Heh, heh.,Anus.,Heh,heh. VAN,DRIESSEN (frustrated) Have,you,guys,heard,a,word,I've,said? BUTT-HEAD Yeah,"anus.",Huh,huh,huh,huh. VAN,DRIESSEN Look,guys,just,take,the,TV,back,to,the A.V.,room,right,now.,And,try,to,be,a,little more,open-minded.,Mmkay? Van,Driessen,leaves.,B&B,continue,to,wheel,the,cart,home. BUTT-HEAD What,a,dork.,Huh,huh. BEAVIS Yeah,heh,heh.,He's,a,anus.,Heh,heh. EXT.,SCHOOL/STAIRWAY,-,DAY B&B,arrive,with,the,cart,at,the,top,of,a,stairway.,They,lamely, attempt,to,let,it,slowly,down,the,steps.,The,cart,is,too,top-heavy, and,goes,tumbling,to,the,bottom,of,the,stairs,shattering,the,TV. BUTT-HEAD Huh,huh,huh.,That,was,cool. BEAVIS No,it,wasn't! BUTT-HEAD Uh,...Oh,yeah. B&B,stand,at,the,top,of,the,stairs,looking,down,at,the,wrreckage., PRINCIPAL,McVICKER,shows,up,by,the,TV. McVICKER Why....,You...,You,bastards...,Ge... get,out!,You're,suspended.,One,more screw,up...,and,you're,expelled. B&B,walk,off,laughing. EXT.,THE,ANDERSON'S,DRIVEWAY,-,DUSK B&B,walk,up.,There's,a,camper,in,the,driveway. BUTT-HEAD Whoa,check,it,out,Beavis.,I,didn't know,Anderson,had,a,Camper. BEAVIS Yeah,heh,heh.,Maybe,it,has,a,TV. Heh,heh.,TV. B&B,walk,up,to,the,camper,and,start,to,open,the,door,just,as,MARCY, ANDERSON,opens,it.,(As,usual,she,doesn't,recognize,them.) MARCY Oh,hello.,Are,you,guys,here,to,look at,the,refrigerator? BUTT-HEAD Uh,no. BEAVIS We're,here,to,look,at,the,TV.,Heh,heh. MARCY Oh,I,didn't,realize,it,was,broken. Come,on,in. BUTT-HEAD Cool.,Huh,huh,huh. B&B,walk,into,the,camper.,Marcy,stays,outside. EXT.,ANDERSON'S,CAMPER,-,SAME,TIME Tom,is,adjusting,the,trailer-hitch.,Marcy,watches. TOM Well,that,oughtta,hold,her.,Ya,know, the,most,important,thing,you,can,have on,a,camper,is,a,good,propane,regulator, and,this,here's,the,best,one,they,make. MARCY I,sure,hope,we,can,get,the,'fridge,fixed before,we,leave. TOM Now,Marcy,we've,been,savin',for,this,trip our,whole,lives,and,we're,gonna,go,come Hell,or,high,water... Through,the,camper,walls,we,hear,the,faint,sound,of,B&B, AIR/MOUTH-GUITARING,"IRON,MAN." TOM,(CONT.) What,the,hell,is,that,noise? INT.,ANDERSON'S,CAMPER,-,DUSK B&B,watch,a,"Cops"-type,show.,Beavis,gets,up,goes,to,the, refrigerator,and,grabs,a,soda.,The,refrigerator,is,under,the, counter,on,which,the,TV,is,sitting. Beavis,takes,a,sip,and,then,does,a,SPIT,TAKE,SPRAYING,SODA,ALL, OVER,THE,TOP,OF,THE,TV. BEAVIS AAAAAAGH!!!,This,crap,is,warm! ANGLE,ON,TV:,The,soda,Beavis,spit,out,drips,into,the,inside,of,the, TV.,We,see,smoke,and,hear,SIZZLING,AND,SHORT,CIRCUIT,SFX.,The,TV, goes,dead. BUTT-HEAD Beavis,you,butt-hole!,You,broke,it. EXT.,ANDERSON'S,CAMPER,-,DUSK B&B,come,out.,Tom,notices,them. TOM Hey,what's,goin',on,here? MARCY They're,here,to,fix,the,TV,Tom. TOM The,TV,ain't,broken. BUTT-HEAD Yeah,it,is.,Huh,huh,huh. Tom,adjusts,his,glasses,as,he,looks,at,B&B. TOM'S,BLURRY,P.O.V.:,We,see,B&B,out,of,focus. TOM Hey,wait,a,minute.,You,two,look,kinda familiar.,Ain't,you,them,kids,that've been,whackin',off,in,my,tool,shed? BEAVIS,&,BUTT-HEAD Huh,huh,huh,huh,huh. ANGLE,ON,BEAVIS:,looking,particularly,guilty,eyes,shifting,back, and,forth. B&B,walk,off,leaving,Tom,wondering. EXT.,STREET,IN,A,SEEDY,PART,OF,TOWN,-,JUST,BEFORE,DAWN B&B,are,having,TV,withdrawal.,Butt-Head,is,bug-eyed.,Beavis,has, the,shakes,bad,arms,folded,like,Dustin,Hoffman,in,"Midnight, Cowboy." BEAVIS Nnnnooo.,Oooooh,nooooo. BUTT-HEAD What's,your,problem,Beavis? BEAVIS I,need,TV,now!,Now!,NNNNDAMMIT!!! Butt-Head,stops,short.,He,looks,up.,His,face,is,bathed,in,a, golden,throbbing,light. BUTT-HEAD'S,P.O.V.:,We,see,a,flashing,neon,sign,that,says,"TV"., Pull,back,to,show,B&B,are,standing,outside,the,Elite,Motel,Lodge, featuring,"Color,TV",and,"Air-Cooled,Rooms",with,"Special,Nap, Rates." B&B,stare,up,as,if,at,a,god. BEAVIS (crazed) Heh,heh.,TV.,Heh,Teee,Veee. EXT.,MOTEL,COURT,-,CONTINUOUS Butt-Head,tries,the,first,door.,It's,locked.,He,tries,the,second, door.,It's,locked.,He,tries,the,third,door.,It,opens. B&B's,eyes,bulge.,Inside,PRINCIPAL,McVICKER,is,lying,across,the, legs,of,an,obvious,prostitute,his,pants,pulled,down.,She,SPANKS, him. McVICKER Please,mmm...,may,I,have,another?! B&B,LAUGH.,McVicker,hears,and,looks,up. McVICKER,(CONT.) Beavis,and,Butt-Head!,Y...y...you bastards. BEAVIS Can,we,watch,your,TV? McVICKER Y...,Y...,You're,expelled!,Get,out! Butt-Head,closes,the,door,laughing,and,starts,to,walk,towards, the,next,door.,The,muffled,sound,of,a,SPANK,can,be,heard,followed, by,McVicker,asking,for,another. BUTT-HEAD Huh,huh,huh.,That,was,cool. BEAVIS Dammit!,I,need,a,TV,now!,We're,missing everything! INT.,MOTEL,ROOM,-,CONTINUOUS The,only,light,in,the,room,is,a,flickering,TV.,Sitting,on,the,bed, talking,on,the,phone,is,MUDDY.,He's,a,tough,mean,looking,red-neck, -,a,Jack,Ruby,type. On,the,nightstand,next,to,him,is,a,three-quarter,drunk,bottle,of, bourbon,and,a,manila,envelope.,On,his,lap,is,a,big,gun. MUDDY ...Are,you,sure,these,guys,can,pull,this off?,It's,gotta,look,like,an,accident... We,hear,a,knock,on,the,door,and,muffled,B&B,laughs. MUDDY,(CONT.) Hold,on,a,minute.,That,must,be,them,now. I'll,call,you,back.,(Hangs,up,phone)... Come,in! B&B,walk,in.,Muddy,turns,on,the,light. BEAVIS (sounding,suddenly,sedated) Aaaah.,TeeeVeeeee,heh,heh. MUDDY Yer,late. BUTT-HEAD Why?,Did,we,miss,American,Gladiators? MUDDY'S,P.O.V.:,B&B,are,a,drunken,blur. MUDDY Well,Earl,said,you,guys,were,young,but jeez...,Oh,well,as,long,as,you,can,get the,job,done.,So,what,are,your,names? BUTT-HEAD Uh,Butt-Head. BEAVIS Beavis. MUDDY That's,alright.,I'd,rather,not,know,your real,names,anyways.,I'm,Muddy.,Look,I'm gonna,get,right,to,the,point.,I'll,pay,you ten,grand,plus,expenses,all,payable,after you,do,her... BUTT-HEAD (full,of,innuendo) Do,her?,Huh,huh. MUDDY That's,right.,I'm,offering,you,ten,grand plus,expenses,to,do,my,wife.,We,gotta,deal? Butt-Head,stares,in,shock. BEAVIS Actually,we,just,wanna,watch,TV... BUTT-HEAD Shut,up,Beavis!,Uh,yeah.,We'll,do,your wife. BEAVIS (trembling) Nnnnaah...We,need,to,watch,TV,DAMMIT!!! Butt-Head,SMACKS,Beavis,and,pulls,him,aside. BUTT-HEAD Beavis,you,butt-munch,this,guy,wants,us to,score,with,his,wife.,And,he's,gonna,pay us.,We,can,buy,a,new,TV. BEAVIS Oh,heh,heh,really?,Cool.,Heh,heh. BUTT-HEAD (to,Muddy) Uh,huh,huh...,We'll,do,it,sir. MUDDY Okay,then,let's,get,down,to,business. ANGLE,ON,THE,BED.,Muddy,slaps,down,a,picture,of,DALLAS,his,wife., Leather,clad,biker,beautiful. MUDDY,(CONT.) Here,she,is.,Her,name's,Dallas.,She,ain't as,sweet,as,she,looks.,She,stole,everything from,me.,Ya,gotta,watch,out,'cause,she'll do,you,twice,as,fast,as,you'd,do,her. BUTT-HEAD Whoa,huh,huh.,Cool. Muddy,plunks,down,PLANE,TICKETS. MUDDY She's,holed,up,in,a,hotel,room,in,Las Veags.,Your,flight,leaves,in,a,couple,of hours.,Now,c'mon,I'll,drive,you,to,the airport. BUTT-HEAD Holed,up.,Huh,huh,huh.,Holed. BEAVIS Can,we,watch,some,TV,first? Muddy,picks,up,the,gun,and,SHOOTS,the,TV. MUDDY No. EXT.,CITY,STREETS,-,MORNING Muddy,driving,his,loud,four-by-four,like,a,maniac,drunk,with, bloodshot,eyes.,B&B,are,in,the,back,seat.,He,eyes,them,through,the, rearview.,Meanwhile,a,cat,bounces,off,the,windshield,with,a, SHRIEK. MUDDY One,more,thing.,Mah,wife's,got,this leather,satchel.,It's,black,about,this big.,I,need,ya,to,bring,it,back.,It's real,important.,Sentimental,value...,Any questions,so,far? BUTT-HEAD Uh,yeah.,Does,she,have,big,hooters? MUDDY She,sure,does. BUTT-HEAD This,is,gonna,be,cool!,Huh,huh,huh. BEAVIS Yeah,heh,heh.,Boooooiiiing!!! MUDDY Just,make,sure,it,looks,like,an, accident... BEAVIS (spastic) Yeah,heh,heh.,I,think,I,just,had,an accident.,Heh,heh,hmm,heh,hmm,heh. MUDDY Huh,huh.,You,guys,are,funny.,Let's,have a,drink,on,it. Muddy,swigs,the,last,swallow,from,his,bottle,of,bourbon. EXT.,AIRPORT,-,EARLY,MORNING In,an,overhead,view,the,four-by-four,screeches,up,to,the,gate, fishtails,to,a,stop,throwing,B&B,onto,the,sidewalk,and,peels, away. BUTT-HEAD We're,gonna,get,paid,to,score. BEAVIS Yeah,heh,heh,and,then,we're,gonna get,a,big-screen,TV!,Heh,heh. BUTT-HEAD Beavis,this,is,the,greatest,day,of our,lives.,Huh,huh,huh. INT.,AIRPLANE,-,DAY B&B,enter,the,plane.,They,sit,down,in,the,first,two,seats,on,the, right,-,in,First,Class.,A,flight,attendant,DOLORIS,approaches, them. DOLORIS Hi.,Can,I,help,you,find,your,seats? BUTT-HEAD Uuh,nah.,These,seats,are,OK. DOLORIS I,think,your,tickets,have,you,seated in,row,fourteen,coach.,So,why,don't you,just,go,ahead,and,move,back,OK? BUTT-HEAD That's,OK.,Someone,else,can,have,those. BEAVIS Yeah,it's,not,that,important,to,me, really.,Those,seats,are,too,small,anyways. Doloris,yanks,them,out,of,their,seats,and,leads,them,down,the, aisle. ANGLE,DOWN,AISLE,in,coach.,Doloris,stops,by,a,row,where,an,elderly, woman,MARTHA,sits,by,the,window.,Next,to,her:,Two,empty,seats. DOLORIS Here,you,are. She,gestures,to,the,seats,and,leaves.,Beavis,climbs,in,the,middle, Butt-Head,in,the,aisle,-,still,watching,Doloris. BUTT-HEAD Hey,Beavis.,When,she,was,leading,us,down here,huh,huh,she,touched,my,butt.,Huh huh,huh. Martha,her,senses,a,bit,dimmed,from,age,turns,to,B&B. MARTHA Hello,there.,Are,you,two,heading,for,Las Vegas? BEAVIS Yeah,we're,gonna,score. MARTHA I,hope,to,score,big,there,myself.,I'm mostly,going,to,be,doing,the,slots. BEAVIS Yeah,I'm,hoping,to,do,some,sluts,too., Heh,heh.,Do,they,have,lots,of,sluts,in Las,Vegas? MARTHA Oh,there,are,so,many,slots,you,won't know,where,to,begin. BEAVIS Whoa!,heh,heh.,Hey,Butt-Head,this,chick is,pretty,cool.,She,says,there's,gonna,be tons,of,sluts,in,Las,Vegas!,Heh,heh,heh. BUTT-HEAD Cool.,Huh,huh,huh. MARTHA It's,so,nice,to,meet,young,men,who,are,so well,mannered. BEAVIS Yeah,heh,heh.,I'm,gonna,have,money,and,a big-screen,TV,and,sluts,everywhere! MARTHA Oh,that's,nice. CAPTAIN'S,VOICE,(V.O.) (through,P.A.) Good,morning.,This,is,your,captain speaking.,Welcome,aboard,flight,151 non-stop,to,Las,Vegas.,We,ask,that,you turn,your,attention,to,the,front,of,the cabin,for,pre-flight,safety,instructions. B&B,see,Doloris,stepping,nearby,to,demonstrate,the,seat,belt. ATTENDANT'S,VOICE To,fasten,your,seat,belt,insert,the,free end,into,the,coupling. BUTT-HEAD Insert.,Huh,huh,huh. Doloris,demonstrates.,B&B,are,dumbfounded.,It's,too,complicated. BUTT-HEAD,(CONT.) Uh... They,struggle,to,make,their,seat,belts,fit,getting,each,other's, parts. TAMMY,(O.C.) Hi,I'm,Tammy?,Can,I,help,you,with,that? Butt-Head,looks,up. From,his,P.O.V.,we,see,a,beautiful,woman,TAMMY,smiling,her, hands,reaching,down.,FALLING,IN,LOVE/HARP,MUSIC,STING,plays. CLOSE,on,Butt-Head's,lap,as,two,female,hands,reach,down,and,pull, one,strap,from,between,Butt-Head's,legs. Butt-Head,looks,down,at,his,lap,as,Tammy,leans,over,him.,A,loud, CLICKING,can,be,heard.,Butt-Head,stares,blankly. TAMMY,(CONT.) There,you,go.,You're,all,set. BUTT-HEAD (stunned) I,love,you. Suddenly,Martha,buckles,Beavis',belt.,Tammy,goes. BEAVIS Wait,I,wanted,her,to,do,it. BUTT-HEAD Huh,huh.,Soon,she,will,be,mine. CAPTAIN'S,VOICE Flight,attendants,please,prepare,for take-off. The,engines,start,to,hum.,The,plane,is,rolling. Butt-Head,struggles,to,get,his,seat,belt,off.,He,does,everything, but,pull,the,handle.,Beavis,goes,white,with,fear. The,plane,starts,to,shake.,The,engines,rumble.,Beavis,starts,to, freak. BEAVIS Hey,wait,a,minute.,What's,going,on?! Butt-Head,bangs,away,at,his,seat,belt.,Beavis,looks,out,the,window, and,realizes,they're,in,the,air. BEAVIS,(CONT.) (screams) Aaaagh!,We're,gonna,die!!!!! ANGLE,ON,COUPLE,IN,FRONT,OF,B&B: MAN D'ya,hear,that?,Something,must,be,wrong! WOMAN Oh,my,God!!!!!!! ANGLE,ON,CABIN,people,start,screaming.,The,plane,quakes,lifting, up. ON,BUTT-HEAD,furiously,pulling: BUTT-HEAD Dammit!,Huh,huh.,That,chick,wants,me. BEAVIS Aggghg!,We're,gonna,die!,We're,all gonna,die! The,plane,arcs,upward.,Butt-Head,finally,gets,the,belt,off,as,the, plane,is,in,full,thrust.,He,rises,and,goes,tumbling,backward,down, the,aisle. ON,PEOPLE,seeing,Butt-Head,flying,screaming,in,panic. In,free,fall: Butt-Head,grabs,the,door,to,the,hangable,luggage.,It,all,comes, tearing,out. Butt-Head,flies,up,hitting,several,overhead,luggage,racks,which, open,and,spill,their,contents. Butt-Head,lands,in,the,galley,causing,food,to,go,flying,and, coffee,to,pour,freely. ON,THE,CABIN,as,the,plane,starts,to,level,out.,People,stop,their, screaming. ON,BUTT-HEAD,underneath,the,rubble,poking,his,head,out.,He's, directly,across,from,the,flight,attendant,station,where,Tammy,is, strapped,in. BUTT-HEAD Uh,huh,huh...,could,you,like,do,that thing,with,my,belt,again? INT.,PLANE,-,LATER All's,in,order.,Flight,attendants,roll,the,beverage,cart,up,the, aisle.,People,read,relaxed. ON,BEAVIS,AND,MARTHA.,Martha,is,showing,pictures,of,her, grandchildren.,Beavis,is,showing,the,picture,of,Dallas,that,Muddy, gave,him. BEAVIS I'm,probably,going,to,make,out,with,her first,before,we,you,know,get,down... MARTHA You'll,have,to,speak,up,son.,I,have,this ringing,in,my,ears.,My,doctor,says,it could,be,related,to,my,heart palpitations.,I've,had,two,operations,on my,heart. BEAVIS Really?,I,poop,too,much. MARTHA Oh,maybe,you're,lactose,intolerant. BEAVIS Uh...,No,(louder),I,poop,too,much.,Then I,get,tired. MARTHA Well,if,you,find,yourself,getting,tired, take,a,couple,of,these. She,hands,him,a,box,of,NoDrowz. MARTHA,(CONT.) They,perk,me,right,up. BEAVIS Heh,heh,thanks. He,pours,the,contents,into,his,hand,and,chews,them,like,candy., Then,his,eyes,open,wide. BEAVIS,(CONT.) (strange) Uh,tastes,like,crap.,Heh,heh.,Mmmmm. Beavis,starts,wolfing,them,down. INT.,PLANE,-,A,BIT,LATER Tammy,passes,out,meals,from,a,rolling,cart.,She,works,with, Doloris.,Butt-head,stands,behind,Tammy,attempting,to,hit,on,her. BUTT-HEAD (to,Tammy) So,uh,huh,huh,are,you,going,to,Las Vegas?,Huh,huh,huh. Tammy,ignores,him,and,moves,on,leaving,Butt-Head,there. ANGLE,ON,BUTT-HEAD,looking,down,at,something. PAN,DOWN,to,reveal,he's,looking,at,a,BEER,on,a,fat,guy's,tray.,The, guy's,asleep. Butt-head,picks,up,the,beer. ANGLE,ON,BEAVIS,nearby.,The,NoDrowz,is,starting,to,take,effect., Beavis,starts,shaking,babbling,staring,cross-eyed,at,his,fist, etc.,(pre-Cornholio,stuff) Tammy,reaches,her,next,passenger. TAMMY Hi,we're,serving,dinner.,Our,selections tonight,are,chicken,piccata,or,seafood gumbo... BEAVIS,(O.S.) Piccata?,Piccata!,Picattatta,tatta! Tammy,moves,forward,leaving,Butt-Head,standing,there.,In,the, background,we,see,Beavis,starting,to,quake,on,the,verge,of, Cornholio,mode. PASSENGER Does,the,gumbo,have,corn,in,it? ANGLE,ON,BEAVIS:,Turned,facing,the,cabin,T-shirt,pulled,over,his, head,in,full,Cornholio,mode. BEAVIS I,am,Cornholio!,I,need,picatta,for my,bunghole! TAMMY You'll,have,to,wait,your,turn,sir. BEAVIS Are,you,threatening,me?,My,bunghole will,not,wait! Beavis,starts,to,wander,down,the,aisle. ANGLE,ON,CURTAIN,TO,FIRST,CLASS,CABIN.,Beavis,enters.,From,the, other,side,SOUND,of,screams.,We,hear,several,CALL,BUTTONS,being, pressed. ON,BUTT-HEAD.,He,approaches,Tammy,from,behind.,She,ignores,him. BUTT-HEAD Uh,I,got,a,beer.,Want,some?,Huh,huh. ANGLE,INSIDE,THE,COCKPIT. The,PILOTS,are,relaxed,and,settled,in,when,the,door,to,the,cockpit, slams,open.,Beavis,is,in,the,doorway,SCREAMING. BEAVIS Bargarajjjaaaahhh!!!,I,am,Cornholio!! The,pilots,SCREAM.,The,copilot,jumps,up,so,fast,he,causes,coffee, to,spill,everywhere,including,on,the,captain's,lap.,The,captain, then,jumps,up,hitting,the,controls,and,SENDING,THE,PLANE,INTO,A, NOSE-DIVE. ON,BUTT-HEAD In,the,back,of,the,plane,standing,next,to,Tammy.,He,starts,to,take, a,sip,of,beer.,The,nose-dive,of,the,plane,causes,Butt-Head,to,go, FLYING,TOWARDS,THE,FRONT,OF,THE,PLANE. BUTT-HEAD AAAAAHHH!!!,Huh,huh.,AAAAHHH!!! Butt-Head,bounces,all,overthe,plane,and,then,gets,tangled,up,in, the,curtain,that,separates,first,class,and,coach.,It,tears,off, and,he,continues,to,fly,forward. COCKPIT The,captain,is,desperately,trying,to,regain,control,of,the,plane. Butt-Head,slams,into,the,cockpit,landing,on,the,control,panel, facing,the,captain. CAPTAIN Get,the,hell,out,of,the,cockpit! BUTT-HEAD Huh,huh,you,said... CAPTAIN NOW!!! The,captain,throws,Butt-Head,back,behind,him,and,pulls,the,plane, out,of,the,dive. EXT.,LAS,VEGAS,AIRPORT,-,EARLY,EVENING The,plane,lands. INT.,COCKPIT,DOOR,-,EARLY,EVENING The,flight,attendants,shaken,smile,at,a,line,of,people, deplaning.,The,people,are,white,with,fear,some,covered,with, flecks,of,spilled,food,and,other,matter. ATTENDANTS Bye-bye.,Bye-bye.,Bye-bye. They,grow,silent,and,still,as,B&B,pass,by.,Beavis,takes,the,T- shirt,off,his,head,coming,down,from,Cornholio. BUTT-HEAD Huh,huh,huh.,That,was,cool. INT.,TERMINAL/ARRIVAL,GATE,-,DAY Arriving,passengers,are,greeted.,A,family,is,reunited.,Two, businessmen,walk,up,to,limo,drivers,holding,cards,with,their, names.,A,reunited,couple,hugs. B&B,look,around,in,confusion. BUTT-HEAD Uh,huh,huh,this,is,Las,Vegas? BEAVIS Yeah,heh,heh.,I,thought,there'd,be casinos,and,lights,and,stuff. People,greet,and,walk,away.,The,place,starts,to,clear,out. One,limo,driver,is,left,standing.,He,wears,sunglasses,and,holds,a, sign,that,reads:,Beavis,and,Butt-Head. B&B,look,around.,Except,for,the,driver,they're,alone. BEAVIS,(CONT.) Hey,Butt-Head,why's,that,guy,holding a,sign? BUTT-HEAD Uh...,maybe,he's,blind...,Huh,huh,check this,out. B&B,go,up,to,him.,Butt-Head,turns,around,drops,his,pants,and, hangs,a,"B.A.",at,the,guy. B&B Huh,huh,huh,huh,huh,huh,huh. DRIVER Ah,excuse,me.,You,wouldn't,know,where I,can,find,these,guys,would,ya? He,indicates,the,sign.,Butt-Head,turns,around,and,pulls,up,his, pants.,They,look,and,try,to,read: BUTT-HEAD (reads) Uh,B...A...U...,No,uh,V... BEAVIS (reads) Uh...,Buuuuut.,Boot.,Someone,named,boot. BUTT-HEAD (realizes) Huh,huh.,This,says,Beavis. BEAVIS And,Boot-Head. BUTT-HEAD That's,Butt-Head.,Don't,you,get,it, Beavis.,These,dudes,have,the,same,name,as us. BEAVIS Yeah,we,should,party. The,limo,driver,rolls,his,eyes,and,walks,away. DRIVER This,way,sirs. B&B,follow,the,driver,away.,Beavis,looks,around. BEAVIS So,where's,those,guys? EXT.,MUDDY'S,MOTEL,ROOM,-,DAY HARLAN,and,ROSS,the,two,dumb-looking,rough-necks,that,stole,B&B's, TV,are,standing,outside,Muddy's,motel,room.,Harlan,knocks,on,the, door. ROSS Where,the,hell,is,he? HARLAN You,sure,this,is,the,right,place? Harlan,looks,through,the,window,and,sees,the,shattered,TV.,No, one's,there. Muddy's,four-by-four,SQUEALS,into,the,lot,and,skids,to,a,stop,next, to,Harlan,and,Ross',van.,Muddy,gets,out,looking,really,drunk,now. HARLAN,(CONT.) You,Muddy? MUDDY (slurring) You,the,cops? ROSS Uh,no.,Earl,sent,us.,You,know,to,take care,of,your,wife... Muddy,grabs,Ross,by,the,collar. MUDDY What,the,hell?!...,What,about,those,other... ROSS Huh? Muddy,tosses,Ross,to,the,sidewalk,and,starts,back,to,they,four-by- four. MUDDY Dammit!!!,She,did,it,to,me,again!!! HARLAN Hey,I,noticed,your,TV,was,broken.,You wanna,buy,a,new,one? Muddy,gets,in,the,four-by-four,and,starts,it. MUDDY I'm,gonna,go,to,Vegas,and,kill,all three,a',them! Harlan,and,Ross,seem,momentarily,confused. Muddy,revs,the,engine,peels,out,backwards,HITTING,THE,FRONT,OF, THE,VAN.,This,causes,B&B's,TV,and,some,other,loot,to,spill,out,the, back,onto,the,sidewalk. Ross,starts,to,pick,it,up. HARLAN Just,leave,it.,Worthless,piece,o',crap. ROSS Yeah,really.,We,gotta,start,stealin' from,rich,people. EXT.,LAS,VEGAS,-,DAY MONTAGE,SONG,BEGINS. Note:,I,would,like,this,to,be,a,well-known,band,(Red,Hot, Chili,Peppers),doing,their,best,imitation,of,a,modern,Las, Vegas,lounge,act.,I,think,a,song,like,"What,Am,I,Gonna,Do, With,You",by,Barry,White,or,something,obnoxious,like, "Bicostal",by,Peter,Allan,would,be,cool.,Or,maybe,Sinatra's, "You,Make,Me,Feel,So,Young",would,be,best. The,car,passes,by,major,hotels,and,tourist,sights,finally,pulling, up,to,a,big,luxurious,hotel,and,casino. INT.,HOTEL/CASINO,-,DAY Establishing,shots.,Excitement.,Gambling,tables,going,on,forever. ON,THE,LOUNGE,BAND,playing,the,song,we've,been,hearing.,They, should,vaguely,resemble,the,actual,band,doing,the,song. PAN,DOWN,rows,of,slot,machines. PAN,ACROSS,DEALERS,handling,cards,and,chips. DOLLY,RIGHT,UP,TO,B&B,staring,in,utter,awe. REVERSE,ANGLE,REVEALS:,They're,staring,at,a,huge,Roman,statue,of,a, bare-chested,woman. Their,faces,are,blank.,They're,seeing,God.,Finally: BUTT-HEAD Beavis.,This,is,what,it's,all,about. BEAVIS (speechless) Heh,heh.,Yeah. EXT.,VEGAS,-,DUSK Lights,are,popping,on. Billboards,and,signs,are,lighting,up. The,whole,strip,is,coming,alive.,Pure,excitement. INT.,HOTEL/CASINO,-,DUSK ON,B&B,still,staring,at,the,statue. B&B (in,awe) Huh,huh,huh,huh,huh. A,security,guard,comes,and,drags,B&B,away. ON,THE,LOUNGE,BAND,continuing,the,song,we've,been,hearing. INT.,B&B'S,HOTEL,ROOM,-,NIGHT The,door,is,opened,by,a,bellboy. BELLBOY I'm,so,sorry,about,that,little misunderstanding.,We,didn't,know,you were,registered,guests.,Here's,some playing,chips,compliments,of... Beavis,rushes,in,and,grabs,the,remote,which,is,attached,to,the, night,table.,He,tries,to,pull,it,up,and,can't. BEAVIS This,remote's,too,heavy! BELLBOY Sir,it's,attached,to,the... BUTT-HEAD Here,dumbass!,Let,me,try! They,both,struggle,to,pull,it,up.,Finally,they,fall,over, backwards. Annoyed,the,bellboy,leaves. INT.,ELEVATOR,BANK/9TH,FLOOR,-,NIGHT The,elevator,arrives.,B&B,get,on.,There's,several,sophisticated, people.,From,inside,a,computerized,FEMALE,ELEVATOR,VOICE: ELEVATOR,VOICE Ninth,floor,going,down. B&B Huh,huh,huh,huh,huh,huh. BUTT-HEAD Going,down.,Huh,huh,huh. The,sophisticated,people,look,repulsed.,The,doors,close. INT.,HOTEL/CASINO,-,NIGHT MUSIC,DIPS,DOWN,FOR,DIALOGUE.,B&B,step,off,the,elevator,and,walk, among,the,gambling,tables. Beavis,pulls,one,of,the,playing,chips,out,of,his,pocket,and,bites, into,it. BEAVIS Ow!,These,chips,suck. BUTT-HEAD What,a,rip-off.,Come,on.,We,gotta,find that,chick. Beavis,tosses,the,chip,on,a,roulette,table. ANGLE,ON,THE,WHEEL.,The,ball,lands,on,13. At,the,table,the,DEALER... DEALER 13.,We,have,a,winner.,(to,Beavis),Sir, your,chips? BEAVIS I,don't,want,'em!,Keep,'em. DEALER Let,it,ride! BUTT-HEAD (to,dealer) Uh...,could,you,help,us,find,a,chick? DEALER (uneasy) Sir,the,casino,does,not,partake,in,that kind,of,activity. The,wheel,stops. DEALER,(CONT.) (amazed) 13!,Winner! People,oooh,and,aaah.,More,gather,to,watch. Through,the,gathering,throng,comes,CHERYL,a,hooker. CHERYL Excuse,me,boys.,Did,I,hear,you,say, you're,looking,for,a,date? B&B,freeze,shocked. CHERYL,(CONT.) I'm,Cheryl,and,I,can,show,you,a,real fine,time. B&B,don't,move.,The,dealer,rolls,again. CHERYL,(CONT.) A,time,you'll,remember,for,the,rest,of your,lives,if,you,know,what,I,mean. DEALER (to,Beavis) Sir,do,you,want,your,chips? BEAVIS No,Dammit!,I,don't,want,any,chips! DEALER Let,it,ride. Cheryl,puts,her,hands,on,their,thighs. CHERYL What,say,we,three,go,up,to,your,room, take,off,our,clothes,and,just,see,what comes,up. B&B's,eyes,open,wide. BUTT-HEAD Huh,huh,huh,huh,huh,huh. BEAVIS Uh.

7

Boxtrolls The

Irena Brignull,Adam Pava

Animation,Adventure,Comedy

September_2014

EXT. CHEESEBRIDGE ALLEY - NIGHT Lightning strikes, illuminating a vine covered wall as the camera moves across a dark alley filled with CARDBOARD BOXES and CRATES. They boxes have stylized LABELS; the box in front is labeled FOCUS FEATURES. SFX: FOOTSTEPS running on cobblestones and LABORED BREATHING. HERBERT (O.S.) No. Not my boy! Lightning strikes again, highlighting the boxes and rubbish in the alley. Something is coming. Whatever it is, its breath is hurried and animalistic. SFX: A BABY CRIES out. Stumpy CLAWED FEET wrapped in rag run past a boxed labeled LAIKA. The camera follows the shadowed figure as it runs along cobblestones to the end of the lane. The creature pauses under an arched entryway and turns, revealing GLOWING EYES, a large mouth full of wonky teeth, and a BABY SHAPED BUNDLE in its arms. LIGHTING CRASHES as the BABY wriggles and cries. CUT TO: EXT. CHEESE GUILD - ENTRANCE HALL - NIGHT - CONTINUOUS CLOSE ON: A FIST pounds a door. SNATCHER (WHEEZING) Wake his lordship. SFX: A SERIES OF LOCKS being unlatched on the door. A BUTLER opens the double doors, frowns. He starts to close the doors but Snatcher pushes against the effort. SNATCHER (CONT'D) The unspeakable has happened. (GASP) We must speak of it immediately! A voice calls out from behind them. 2. LORD PORTLEY-RIND (O.S.) (TIRED) What is it, Snatcher? The butler moves aside, revealing a regal man with a white hat at the top of an ornate marble staircase. INT. CHEESE GUILD - ENTRANCE HALL - NIGHT - CONTINUOUS LORD PORTLEY-RIND looks on from the mezzanine. The man in the red hat casts a long shadow across the gleaming checkered floors of the Cheese Guild. SNATCHER (GESTURING THEATRICALLY) Boxtroll monsters have stolen a child. CLOSE ON: Lord Portley-Rind, perfectly groomed and perfectly horrified. LORD PORTLEY-RIND (AGHAST) No. CLOSE ON: ARCHIBALD SNATCHER in the door, backlit by streetlights, sheets of rain falling behind him. He's a big man, but out of shape (all belly and no butt), with long shreds of greasy hair sprouting from beneath his crooked hat. SNATCHER (NODS) They're no doubt picking their teeth with his adorable baby bones by now! LORD PORTLEY-RIND A horrible tragedy. (beat, flippant) Let's deal with it in the morning! Portley-Rind turns to go. SNATCHER (O.S.) STOP! The Butler closes the door, but Snatcher shoves his foot in the way. SNATCHER (CONT'D) (STRUGGLING) Oh, oof! That's not the worst of it! Next they'll come after... 3. The Butler shoves at the door, slapping and shoving Snatcher's face until the door slams shut. Snatcher opens the mail slot and yells through it. SNATCHER (CONT'D) ...OUR CHEESES! LORD PORTLEY-RIND (GASP) My Gouda!? SNATCHER (LOW) They'll stop at nothing. Portley-Rind suddenly flings open the doors, stares wide eyed at Snatcher. He is crouched on the ground near the mail slot. LORD PORTLEY-RIND You're the town exterminator. I'll pay whatever it takes. Snatcher stands slowly. SNATCHER Oh, I don't want money. He steps into the house and into the light, REVEALING his greedy face for the first time. He smiles an oily smile. SNATCHER (CONT'D) I want one of those. Snatcher points to the WHITE HAT on Portley-Rind's head. Lord Portley-Rind grabs his hat protectively. LORD PORTLEY-RIND A White Hat? You?! Absurd! Snatcher turns to leave, moving towards the damp Market Square. SNATCHER Alright then. But prepare to say bye bye to your Brie. Cheerio to your Cheddar. Goodbye to your... Portley-Rind's resolve disappears. He raises his hand as if to stop Snatcher from leaving. 4. LORD PORTLEY-RIND (DESPERATE) Very well. Every boxtroll gone. With proof! Snatcher stops halfway down the stairs in the pouring rain, his back still turned to Portley-Rind. SNATCHER (LOW PURR) For a white hat? CLOSE ON: Snatcher's grinning face as he turns back toward Portley-Rind. SNATCHER (CONT'D) I will destroy every last boxtroll in this town! LIGHTNING CRASHES as Snatcher laughs maniacally. SMASH CUT TO: TITLES: "THE BOXTROLLS" (0100 MON) MONSTERS EXT. CHEESEBRIDGE - WORLD VIEW - SUNSET WIDE VIEW OF CHEESEBRIDGE, a steep hill-town that looms over the countryside. A jumble of roofs, a tangle of twisting alleys, and perched at the summit, the imposing Cheese Guild Hall. The last rays of the setting sun disappear. EXT. CHEESEBRIDGE STREETS --a deep voice echoes out of a scratchy MEGAPHONE. SNATCHER (O.S.) Hear ye! Hear ye! Good citizens of Cheesebridge, the curfew is in force. Don't dawdle or the beasts will tear you limb from limb! CLOSE ON: A FABRIC BANNER reading "BOXTROLL EXTERMINATORS". The banner hangs on a strange rattletrap TRUCK that winds its way up the city streets. Sinister looking men in BLOOD RED TOP HATS hang onto the running boards. The most sinister of them all, Snatcher, rides on the roof. 5. SNATCHER (O.S.) (CONT'D) They will add your flesh to their rivers of blood and mountains of bones. As the truck passes, PEDESTRIANS gasp and hurry into their houses, heeding the amplified warning. A CHEESEMONGER at The Cheesery pulls his FOLDING SIGN from the sidewalk and hurries inside. A COUPLE stops mid-conversation and heads indoors. A MAN CARRYING A CRATE brings his load into his shop, abandoning the crate sitting at the curb. Two FEMALE TOWNSFOLK head off down the street. CLOSE ON: Archibald Snatcher as the truck rounds a corner. He holds a MEGAPHONE TUBE to his mouth and orates as he zeros in on a BOY playing ball in the street. SNATCHER (CONT'D) Child! Do you want to end up like the Trubshaw Baby? The boy watches the truck as it passes, curiosity changing to horror. SNATCHER (CONT'D) Dragged underground and feasted upon one year ago this very night?! The terrified boy shakes his head and GASPS as he is yanked inside by his MOTHER. His BALL bounces out of his hands and rolls across the cobbles. SNATCHER (CONT'D) Lock your windows! Bolt your doors! Hide anything that is not bolted down. One man grabs his DOOR KNOCKER and bolts inside. Another man grabs his MAILBOX. Another a BARBER POLE. With a terrified look the last man peers out of the peep hole in his door, then slams it shut. SNATCHER (O.S.) (CONT'D) Hide your cheese. Hide your tender and delicious babies! 6. EXT CHEESEBRIDGE STREETS - CONTINUOUS - NIGHT The wind blows trash down the empty streets. Snatcher's vehicle, rattling from its boiler, prowls past with Snatcher still calling out his warning until the sound fades in the distance. SNATCHER (O.S.) Beware the bloodthirsty monsters! They'll fry your eyes, gnaw on your knees, gobble your gizzards... Beware! BEWARE! After Snatcher's truck has passed the CAMERA lands on: A MANHOLE. Carved in the heavy iron cover is a warning: "HERE BE MONSTERS". A LONG BEAT OF SILENCE. The manhole cover slowly twists and lifts, a pudgy blue hand emerges. Two pairs of yellow, glowing eyes peer out. The creatures talk in expressive but unintelligible GURGLES. Down the street, two more manhole covers lift. In pairs and in gangs, these BOXTROLLS -- so called for the cardboard boxes they wear -- emerge from the sewers and scurry through the streets of the besieged town. Their long, forboding SHADOWS creep across walls plastered with posters that read: "CHEESEBRIDGE: A GOUDA PLACE TO LIVE", "REDHATS - BOXTROLL EXTERMINATORS". We watch them scurry through streets and alleyways, gurgling quiet directions to each other. They move swiftly and travel in packs. We see a lone boxtroll jump and pull himself in to his box as a DOG BARKS. He pops back out of his box and moves along quickly. CLOSE ON: what appears to be a LARGE BOXTROLL MONSTER peering around the corner of a moonlight street. Its glowing eyes turn toward the camera as it sways slowly. Five more pairs of eyes light up within the large, boxy shadow and SIX BOXTROLLS separate from the mass, popping off to run their errands while the coast is clear. BIRDS EYE VIEW: Groups of two and three boxtrolls snake their way down streets, skirting carefully around areas lit by street lamps. In a small lane, groups of boxtrolls stop to collect mechanical stuff. They work together, using their boxes as tools and props. SIX BOXTROLLS stack up in the background to steal a SHOP SIGN, while THREE BOXTROLLS cooperatively steal the WHEEL from a WOODEN CART. 7. One boxtroll uses his box to prop up a corner while the other two release the wheel from the axle. A LONE BOXTROLL crosses the frame to see what treasures he may find in a trash bin; as he knocks it over with a CLANG, TWO BOXTROLLS scurry past and stack together, stealing the HOUSE NUMBER from the front of a brownstone. CLOSE ON: the boxtrolls' booty - the shiny brass number `2', the shop sign for `TIMELESS TIMEPIECES', the wheel that rolls along between two boxtrolls. Six other boxtrolls on the hunt stack together against a fence. We watch as one boxtroll makes it over the top, cooperatively pulling the others into the alley behind him. (0200 BXT) BOXTROLL EXTERMINATORS EXT. CHASE ALLEY - NIGHT CLOSE ON: The inside of a trash can as the lid is removed. Two BOXTROLL HANDS wriggle into view over the rubbish, fill of NEWSPAPER CLIPPINGS, an APPLE CORE, a BANANA PEEL, and a FISH CARCASS. The boxtroll gurgles "EWW" and "BLECH" sounds as he moves these unwanted items aside. He gurgles with joy when a bit of brass is revealed. FISH, a nervous 4-foot tall, wonky-toothed, pointy-eared, gangly-limbed boxtroll, pulls an old broken ALARM CLOCK from the trash barrel. He is in a large alley, filled with old boxes, crates, broken items and tarps strewn about. Fish stares curiously at the object, turning it over in his hands and holding it to his ear, listening. He shakes the clock and hears loose gears RATTLE. FISH Hmm... Fish opens the clock face and gurgles, intently toying with the mechanical interior. After a moment, the clock begins to TICK with activity. Fish gurgles excitedly and closes the clock face, holding it to his ear to listen to the rhythmic ticking. FISH (CONT'D) (GURGLES) Oh yeah... Fish's eyes go wide as the clock's alarm RINGS, attracting the attention of an uglier, 2-foot-2 boxtroll. SHOE Huh? 8. As Fish stands proudly admiring the sound of his ringing alarm clock, SHOE bounces around his feet. SHOE (CONT'D) (GURGLES) Gimme that! Shoe, short and feisty, grabs the alarm clock from Fish and scampers away with it. Fish watches as Shoe climbs a stack of crates and hisses back at him, sniffing at his new prize. Fish scowls at Shoe and returns to the rubbish pile, shaking his head and muttering. Behind him a half-dozen boxtrolls methodically pick through an assortment of trash barrels and old boxes. It's like a troop of monkeys at the dump. They find mechanical stuff, inspect it, and then either drop it into their box to keep or toss it back into the trash. A filthy TEDDY BEAR WITH A MUSICAL KEY is discarded by another boxtroll, landing with a THUNK and A FEW TINNY MUSICAL NOTES. Fish turns excitedly. FISH (CURIOUS) Ohhhh... He picks up the teddy bear and cranks a key in its back as Shoe toys with the stolen alarm clock. The teddy bear plays MUSIC. Fish gurgles along to the tune and bobs his head, enjoying the moment. Again, Shoe notices Fish has found something interesting. He shoves the alarm clock into his box, stealthily sneaks up on Fish and makes a grab for the teddy bear! Fish refuses to let go and they squabble over it. Suddenly all the boxtrolls snap to attention, their ears alert-- EXT. CHASE ALLEY The creepy RATTLING SOUNDS of the Redhats' truck returns. All the boxtrolls hide in their boxes. The "camouflage" works. Their boxes fit in perfectly with the trash barrels and packing crates. The rattling comes closer... closer... then STOPS. BAM! HEADLIGHTS light up the alley. Three men dismount from the truck and cast long shadows across the alley and all of the boxes: the giant MR. TROUT, the beanpole thin MR. PICKLES, and the short, pit bull MR. GRISTLE. 9. The boxtrolls don't run -- they just KEEP HIDING IN THEIR BOXES. SNATCHER (O.S.) GENTLEMEN! Snatcher spreads his arms theatrically and wades into the garbage-strewn alley. SNATCHER (CONT'D) Look at all these boxes left lying about. How curious, how peculiar. I do believe... evil is afoot. Gristle chuckles and breaks into a psychotic grin. MR. GRISTLE (COLD BLOODED) HAHAHA. FOOT. MR. PICKLES Huh. Fish peeks out of his box momentarily, then retreats when he sees the Redhats advancing into the alley. Mr. Trout and Mr. Pickles absentmindedly check boxes for boxtrolls, but Mr. Gristle methodically stomps and smashes every box he can. When he finds a box with a boxtroll, he uses a CRICKET BAT to WHACK it back to the others to load onto the truck. MR. PICKLES (CONT'D) You ever seen someone's foot be evil, Mr. Trout? MR. TROUT I believe the boss meant evil is nearby, Mr. Pickles. MR. PICKLES My foot had a pretty nasty bunion once. I wouldn't say the foot itself was evil. MR. TROUT No, it's just a fancy-man's word for vicinity. MR. PICKLES Wrinkly ol' bunion looked like my grandmum. Had to saw her off. The bunion, not my grandmum. 10. Mr. Gristle spots a shivering box and positions himself over it, cricket bat in hand. MR. GRISTLE Ah, yes. FOOT! WHACK! Gristle kicks the box, and it flies toward Mr. Pickles and Mr. Trout. MR. TROUT There's one! Mr. Pickles scoops it up in a dog catcher's net. MR. PICKLES Come on, ya squirmy monster. Your days of evil-doin' are over. Mr. Gristle finds another shivering box. He swings his bat. MR. GRISTLE BOOM! WHACK! A box slides over to Trout. A dizzy boxtroll pops out for a moment, groaning. Trout taps its head and the boxtroll retreats. MR. TROUT You really think these boxtrolls understand the duality of good and evil? MR. PICKLES They must, right? Why else would they hide from us. We are the good guys. Mr. Pickles strolls off with both boxtroll and net. MR. GRISTLE (O.S.) (hitting more boxes) Nice! NICE! WHACK! Another box slides over to Trout. Trout scoops up the box before the creature can get away. The boxtroll's legs dangle below as it is carried away. MR. TROUT Yeah... I suppose we are. CLOSE ON: Fish and Shoe, in the shadows at the edge of the alley, gurgle to each other while the Red Hats are distracted. Their heads stay hidden in their boxes as they waddle slowly out of the alley. 11. Mr. Gristle is too preoccupied with smashing other boxes to notice them. He grunts and laughs with the effort. Snatcher spots Fish and Shoe as they exit the alley and points at them. SNATCHER MR. GRISTLE! MR. GRISTLE Hmm? SNATCHER ACQUIRE THEM! Brandishing his cricket bat, Gristle springs after Fish and Shoe. MR. GRISTLE Acquire! ACQUIRE! HAHAHA! The boxtrolls pop out of their boxes and RUN! EXT. CHEESEBRIDGE STREET Gristle closes in on them as they sprint down an alley. The boxtrolls join hands and vault over a fence like a Slinky toy. Gristle smashes THROUGH the fence-- MR. GRISTLE COME BACK AND LET ME HIT YOU! --but the boxtrolls have disappeared. Gristle stalks down the street and disappears around a corner. After Gristle disappears, two boxes that are holding up a broken street cart suddenly move. It's Fish and Shoe hiding in plain sight. Once they are sure they are not being followed they open a drainage pipe and slip underground into the sewers-- (0300 UDW) UNDERWORLD Eggs INT. BOXTROLL CAVERN - ENTRANCE CHUTES -- where they leap into cardboard-lined BOXTROLL CHUTES. They drop through the chutes, sliding on the cardboard, until they join up with other boxtrolls returning from a night of gathering. 12. They descend deeper underground until they are collected together in a funnel-shaped cave and one by one drop onto an-- INT. BOXTROLL CAVERN -- elaborate conveyor belt system for a roller coaster ride into a HUGE DARK SPACE with blinking lights and a cacophony of MECHANICAL NOISE. Fish, Shoe and boxtrolls of all shapes and sizes shoot off the end of the conveyor belt and tumble across the floor. ON FISH AND SHOE where the alarm clock lands on the floor as they tumble to a halt. Shoe grabs the clock possessively, hisses at Fish, and runs away laughing. He has his treasure. Fish shrugs it off and rights himself, raising a hand to his mouth. FISH (GURGLED QUESTION) "Eggs?" REVEAL THE CAVERN, the hub of the boxtroll world. It's full of workshops, interconnected machines and a constellation of lights that make it look like a subterranean Coney Island amusement park. Fish stands in front of a large STALAGMITE, around which the mechanical underground city is built. FISH (CONT'D) (GURGLED QUESTION) "Eggs?" WHEELS - a boxtroll riding a unicycle - zooms quickly past, humming. FISH (CONT'D) (TO WHEELS) "You see Eggs?" Wheels shrugs his shoulders and rides away as OIL CAN - the smallest boxtroll - tumbles from the conveyor belt and rights himself with a squeak. Oil Can pulls, well, an OIL CAN from inside of his box and scurries off. Fish makes his way to the base of a waterwheel made from scraps of metal. High overhead, the boxtroll KNICKERS - a picture of underpants adorning the front of it's box - struggles with an armful of light bulbs while swinging from a rope. Two small boxtrolls hold the rope steady below. 13. SPARKY, a boxtroll wearing welding goggles, and a small boxtroll named BUCKET work side by side on an electrical generator, fitting dinner forks into a toaster as makeshift fuses. FISH (CONT'D) (GURGLED QUESTION) "Eggs?" Sparky and Bucket look up from their work and give Fish directions to find Eggs. SPARKY AND BUCKET (gurgled in unison) "Over there!" In the background, Oil Can climbs down a pipe to grease up the generator and then scrambles back up the pipe. Fish heads off as Sparky and Bucket turn on the toaster and get ZAPPED! They jerk and squirm as electricity courses through their boxes and they collapse on the ground. The strands of light bulbs flicker and light up. Sparky and Bucket smile and beat their boxes in delight - they fixed the generator. The two boxtrolls holding the rope let go and beat their boxes. Knickers falls to the ground. KNICKERS AHHH!!!! INT. BOXTROLL CAVERN - GARDEN - CONTINUOUS Fish arrives at a SUBTERRANEAN GARDEN where boxtrolls sit among huge cabbages eating ladybugs and slugs. Fish stops in front of FRAGILE, a giant, slow moving, dim-witted boxtroll. Fragile slowly mists a seedling plant. FISH

8

Cars 2

Ben Queen

Animation,Action,Adventure

June_2011

A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visibl

9

Coco

Lee Unkrich,Jason Katz,Matthew Aldrich,Adrian Molina

Animation,Adventure,Comedy

November_2017

EXT. MARIGOLD PATH - DUSK A path of marigold petals leads up to an altar lovingly arranged in a humble cemetery. An old woman lights a candle as the smoke of burning copal wood dances lyrically upward... CARD: DISNEY PRESENTS CARD: A PIXAR ANIMATION STUDIOS FILM The smoke lifts up toward lines of papel picado ?- cut paper banners -- that sway gently in the breeze. PAPEL PICADO CARD: "COCO" MIGUEL (V.O.) Sometimes I think I'm cursed... 'cause of something that happened before I was even born. A story begins to play out on the papel picado. MIGUEL (V.O.) See, a long time ago there was this family. The images on the papel picado come to life to illustrate a father, a mother, and a little girl. The family is happy. MIGUEL (V.O.) The pap?, he was a musician. The pap? plays guitar while the mother dances with her daughter. MIGUEL (V.O.) He and his family would sing, and dance, and count their blessings... (beat) But he also had a dream... to play for the world. (beat) And one day he left with his guitar... and never returned. The man walks down a road, guitar slung on his back. In another vignette his daughter stands in the doorway, watching her pap? leave. Two feet step up next to her. It is her mam?, hardened. She shuts the door. 2. MIGUEL (V.O.) And the mam?...? She didn't have time to cry over that walkaway musician! (beat) After banishing all music from her life... The woman gets rid of all of her husband's instruments and records. MIGUEL (V.O.) She found a way to provide for her daughter... (beat) She rolled up her sleeves and she learned to make shoes. (beat) She could have made candy! Amongst the papel picado, a stick swings at a strung up pi?ata which bursts with candy... MIGUEL (V.O.) Or fireworks! Fireworks go off in the background... MIGUEL (V.O.) Or sparkly underwear for wrestlers! Sparkly underwear and a luchador mask hang on a line amongst other linens... MIGUEL (V.O.) But no... she chose shoes... On the papel picado, the little girl becomes a young woman. MIGUEL (V.O.) Then she taught her daughter to make shoes. And later, she taught her son-in-law. She introduces a suitor to the family business. MIGUEL (V.O.) Then her grandkids got roped in. As her family grew, so did the business. In the next vignette, a bunch of goofy grandchildren join in the shoemaking. The shoe shop is full of family! 3. MIGUEL (V.O.) Music had torn her family apart, but shoes held them all together. (beat) You see, that woman was my great- great grandmother, Mam? Imelda. TILT DOWN from the papel picado to the OFRENDA ROOM - DAY where a photo sits at the top of a beautiful altar. The photo features MAM? IMELDA -- serious, formidable. She holds a baby on her lap. Her husband stands beside her, but his face has been torn away. MIGUEL (V.O.) She died WAY before I was born. But my family still tells her story every year on D?a de los Muertos -- the Day of the Dead... (beat) And her little girl? Fade from the face of the little girl to present day MAM? COCO (97), a living raisin, convalescing in a wicker wheelchair. MIGUEL (V.O.) She's my great grandmother, Mam? Coco. A boy (12) walks into frame and kisses her on the cheek. This is our narrator, MIGUEL. MIGUEL Hol?, Mam? Coco. MAM? COCO How are you, Julio? MIGUEL (V.O.) Actually, my name is Miguel. Mam? Coco has trouble remembering things... But it's good to talk to her anyway. So I tell her pretty much everything. QUICK CUTS of Miguel with Mam? Coco: 4. EXT. COURTYARD MIGUEL I used to run like this... Miguel pumps his arms with his hands in fists. Then he switches to flat palms. MIGUEL But now I run like this which is way faster! CUT TO: INT. MAM? COCO'S ROOM Miguel, in a luchador mask, climbs onto the bed, arms raised. MIGUEL And the winner is... Luchadora Coco! Miguel leaps off the bed onto a pile of pillows that bursts, sending feathers onto Mam? Coco who wears a mask of her own. CUT TO: EXT. DINING AREA Miguel leans toward Mam? Coco at the dinner table. MIGUEL I have a dimple on this side, but not on this side. Dimple. No dimple. Dimple. No dimple-- ABUELITA Miguel! Eat your food. Miguel's ABUELITA (70s) runs the table like a ship captain. She gives Mam? Coco a kiss on the head. MIGUEL (V.O.) My Abuelita? She's Mam? Coco's daughter. Abuelita piles extra tamales on Miguel's plate. ABUELITA Aw, you're a twig, mijo. Have some more. 5. MIGUEL No, gracias. ABUELITA I asked if you would like more tamales. MIGUEL S-s?? ABUELITA That's what I THOUGHT you said. MIGUEL (V.O.) Abuelita runs our house just like Mam? Imelda did. CUT TO: INT. OFRENDA ROOM - DAY Abuelita adjusts the photo of her beloved Mam? Imelda. Then she perks her ear at a hooting sound. INT. KITCHEN - MOMENTS LATER Miguel idly blows into a glass soda bottle. Abuelita takes the bottle away. ABUELITA No music! INT. MAM? COCO'S ROOM - DAY Miguel listens as a truck drives by the window, blaring radio tunes. Abuelita angrily slams the window shut. ABUELITA No music!! EXT. STREET - EVENING A trio of gentlemen serenade each other as they stroll by the family compound. MUSICIANS (singing) AUNQUE LA VIDA-- 6. Abuelita bursts out of the gate and chases them away. ABUELITA NO MUSIC!!! Terrified, the musicians stumble as they run away. MIGUEL (V.O) I think we're the only family in M?xico who hates music... INT. RIVERA WORKSHOP - DAY We see the Rivera family tinkering in the shoe shop, no music to be heard. Miguel jogs past them. MIGUEL (V.O.) And my family's fine with that... He grabs his shine box, and heads out of the shoe shop. MIGUEL (V.O.) But me? MAM? Be back by lunch, mijo! MIGUEL Love you, Mam?! Once outside, Miguel makes his way through the small town of SANTA CECILIA - MORNING MIGUEL (V.O.) I am NOT like the rest of my family... He passes a woman sweeping a stoop. WOMAN Hola, Miguel! MIGUEL Hola! He passes a band of musicians playing a tune. Miguel joins with some air guitar and the further down the street he goes, the more instruments and sounds layer in. The bells of the church chime in harmony, a radio blares a cumbia rhythm. 7. Running past a food stand, Miguel grabs a roll of pan dulce and tosses the vendor a coin. MIGUEL Muchas gracias! STREET VENDOR De nada, Miguel! As Miguel passes all these scenes, the music synthesizes and he can't help but tap out rhythms along a table of alebrijes. The fantastical wooden animal sculptures each play a different tone like a marimba. Miguel finishes with a SMACK on a trash can, out of which a pops up a scrappy hairless Xolo dog. The dog, DANTE, barks and jumps up to lick Miguel, who laughs. MIGUEL Hey, hey! Dante! Miguel holds the pan dulce over Dante's head. MIGUEL Sit. Down. Roll over. Shake. Fist bump. Dante obeys to the best of his ability. MIGUEL Good boy, Dante! Miguel tosses the pan dulce to his furless friend who topples back into the trash can. CUT TO: MARIACHI PLAZA - MOMENTS LATER Miguel rounds the corner toward the town square. Vendors sell sugar skulls and marigolds, and musicians fill the square with music. MIGUEL (V.O) I know I'm not supposed to love music -- but it's not my fault! (beat) It's his: Ernesto de la Cruz... Miguel approaches a statue of a handsome mariachi at the heart of the plaza. 8. MIGUEL (V.O) ...The greatest musician of all time. A tour group and their TOUR GUIDE are gathered around the base of the statue. TOUR GUIDE And right here, in this very plaza, the young Ernesto de la Cruz took his first steps toward becoming the most beloved singer in Mexican history! CUT TO: CLIPS of de la Cruz in his hay day: playing as a young man in the plaza, serenading bystanders in a train car... MIGUEL (V.O.) He started out a total nobody from Santa Cecilia, like me. But when he played music, he made people fall in love with him. MORE CLIPS from de la Cruz's films. He leaps from a tree branch onto a galloping horse. He plays his signature skull guitar with flourish and flair. MIGUEL (V.O.) He starred in movies. He had the coolest guitar... He could fly! A CLIP features de la Cruz dressed as a hovering priest, held up by strings, in front of a cycling sky flat. MIGUEL (V.O.) And he wrote the best songs! But my all-time favorite? It's-- A CLIP of de la Cruz performing in a fancy nightclub. DE LA CRUZ (singing) REMEMBER ME THOUGH I HAVE TO SAY GOODBYE REMEMBER ME DON'T LET IT MAKE YOU CRY FOR EVEN IF I'M FAR AWAY I HOLD YOU IN MY HEART I SING A SECRET SONG TO YOU EACH NIGHT WE ARE APART REMEMBER ME (MORE) 9. DE LA CRUZ (CONT'D) THOUGH I HAVE TO TRAVEL FAR REMEMBER ME EACH TIME YOU HEAR A SAD GUITAR KNOW THAT I'M WITH YOU THE ONLY WAY THAT I CAN BE... MIGUEL (V.O.) He lived the kind of life you dream about... Until 1942... As the audience swoons over de la Cruz, an absent-minded stagehand leans on a lever. Ropes and pulleys go flying. DE LA CRUZ UNTIL YOU'RE IN MY ARMS AGAIN REMEMBER ME! De la Cruz is subsequently crushed by a giant bell. MIGUEL (V.O.) When he was crushed by a giant bell. CUT TO: MARIACHI PLAZA - DAY Miguel gazes up at the statue of de la Cruz in awe. MIGUEL (V.O) I wanna be just like him. CUT TO: EXT. CEMETERY - MOMENTS LATER Miguel weaves up to de la Cruz's mausoleum and peeks in the window. He catches a glimpse of de la Cruz's signature skull guitar. MIGUEL (V.O.) Sometimes, I look at de la Cruz and I get this feeling... like we're connected somehow. Like, if HE could play music, maybe someday I could too... 10. EXT. MARIACHI PLAZA - DAY MIGUEL (CONT'D) ...If it wasn't for my family. PLAZA MARIACHI (playful) Ay, ay, ay, muchacho. MIGUEL Huh? PLAZA MARIACHI I asked for a shoe shine, not your life story. Miguel comes out of his reverie and looks up at the PLAZA MARIACHI whose shoes he is shining. MIGUEL Oh, yeah, sorry. He goes back to scrubbing the man's shoe. As Miguel shines, the mariachi plucks his guitar idly. MIGUEL I just can't really talk about any of this at home so... PLAZA MARIACHI Look, if I were you I'd march right up to my family and say, "Hey! I'm a musician. Deal with it!" MIGUEL I could never say that... PLAZA MARIACHI You ARE a musician, no? MIGUEL I don't know. I mean... I only really play for myself-- PLAZA MARIACHI Did de la Cruz become the world's best musician by hiding his sweet, sweet skills? No! He walked out onto that plaza and he played out loud! 11. The mariachi gets an idea. He points to the gazebo where organizers are setting up for a show. They unfurl a canvas poster which reads "TALENT SHOW." PLAZA MARIACHI (CONT'D) Ah, mira, mira! They're setting up for tonight. The music competition for D?a de Muertos. You wanna be like your hero? You should sign up! MIGUEL Uh-uh, my family would freak! PLAZA MARIACHI Look, if you're too scared, then, well... have fun making shoes. Miguel considers this. PLAZA MARIACHI (CONT'D) C'mon. What did de la Cruz always say? MIGUEL ...Seize your moment? The mariachi appraises Miguel, then offers his guitar. PLAZA MARIACHI Show me what you got, muchacho. I'll be your first audience. Miguel's brows rise, surprised. He reaches to take the instrument, regarding it as if holding a holy relic. Miguel spreads his fingers across the strings anticipating his chord and... ABUELITA (O.S.) MIGUEL! Startled, Miguel impulsively throws the guitar back onto the mariachi's lap. He turns to see Abuelita marching toward him. Miguel's T?O BERTO (40s) and PRIMA ROSA (16), follow with supplies from the market. MIGUEL Abuelita! ABUELITA What are you doing here? 12. MIGUEL Um...uh... Miguel quickly packs away his shine rag and polishes. Abuelita barrels up to the mariachi. She hits his hat with her shoe and waves him away. ABUELITA You leave my grandson alone! PLAZA MARIACHI Do?a, please -- I was just getting a shine! ABUELITA I know your tricks, mariachi! (to Miguel) What did he say to you? MIGUEL He was just showing me his guitar... Gasps from the family. T?O BERTO Shame on you! Abuelita lords over the mariachi, shoe aimed directly between his eyes. ABUELITA My grandson is a sweet little angelito querido cielito -- he wants no part of your music, mariachi! You keep away from him! The mariachi scrambles away, snatching his hat off the ground before he goes. Abuelita hugs Miguel protectively to her bosom. ABUELITA Ay, pobrecito! Est?s bien, mijo? She peppers him with kisses then releases him from the embrace. He gasps for air. ABUELITA (distressed) You know better than to be here in this place! You will come home. Now. 13. Abuelita turns toward home. Miguel sighs and gathers his shine box. Then, seeing a flyer for the plaza "TALENT SHOW", he can't help but pocket it. He follows Abuelita. EXT. STREET - MOMENTS LATER Miguel catches up to his family. T?O BERTO How many times have we told you -- that plaza is crawling with mariachis! MIGUEL Yes, T?o Berto. Dante ambles up to Miguel, sniffing and whining for a treat. MIGUEL No, no, no! Abuelita shoos him away. ABUELITA Go away, you! Go! Dante darts off, scared. MIGUEL It's just Dante... Abuelita throws her shoe at the dog. ABUELITA Never name a street dog. They'll follow you forever. (beat) Now, go get my shoe. CUT TO: INT. RIVERA WORKSHOP The Rivera workshop is abuzz with family making shoes. WHOMP! Miguel is plopped onto a stool, ready for a lecture. ABUELITA I found your son in Mariachi Plaza! PAP? (disappointed) Miguel... 14. MAM? You know how Abuelita feels about the plaza. MIGUEL I was just shining shoes! T?O BERTO A musician's shoes! Gasps from the family. PRIMO ABEL (19) is so shocked he loses his grip on the shoe he is polishing, which zips away from the polisher and lodges itself in the roof. MIGUEL But the plaza's where all the foot traffic is. PAP? If Abuelita says no more plaza, then no more plaza. MIGUEL (blurting) But what about tonight? PAP? FRANCO What's tonight? MIGUEL Well they're having this talent show- Abuelita perks her ear, suspicious. Miguel squirms, deciding whether to go on. MIGUEL And I thought I might... Mam? looks at Miguel, curious. MAM? ...Sign up? MIGUEL Well, maybe? PRIMA ROSA (laughing) You have to have talent to be in a talent show. 15. PRIMO ABEL What are YOU going to do, shine shoes? The shoe from the ceiling falls back down on Abel's head. ABUELITA It's D?a de los Muertos -- no one's going anywhere. Tonight is about family. She deposits a pile of marigolds in Miguel's arms. ABUELITA Ofrenda room. V?monos. CUT TO: INT. OFRENDA ROOM - MOMENTS LATER Miguel follows his Abuelita to the family ofrenda, holding the pile of flowers as she arranges them on the altar. ABUELITA Don't give me that look. D?a de los Muertos is the one night of the year our ancestors can come visit us. (beat) We've put their photos on the ofrenda so their spirits can cross over. That is very important! If we don't put them up, they can't come! (beat) We made all this food -- set out the things they loved in life, mijo. All this work to bring the family together. I don't want you sneaking off to who-knows-where. She looks up to find Miguel sneaking away. ABUELITA (CONT'D) Where are you going? MIGUEL I thought we were done... 16. ABUELITA Ay, Dios m?o... Being part of this family means being HERE for this family... I don't want to see you end up like-- Abuelita looks up to the photo of the faceless musician. MIGUEL Like Mam? Coco's pap?? ABUELITA Never mention that man! He's better off forgotten. MIGUEL But you're the one who-- ABUELITA Ta, ta, ta-tch! MIGUEL I was just-- ABUELITA Tch-tch! MIGUEL But-- ABUELITA Tch! MIGUEL I-- ABUELITA Tch-tch! MAM? COCO Pap?? They look to find Mam? Coco agitated. MAM? COCO (CONT'D) Pap? is home...? ABUELITA Mam?, c?lmese, c?lmese. MAM? COCO Pap? is coming home? 17. ABUELITA No Mam?. It's okay, I'm here. Mam? Coco looks up at Abuelita. MAM? COCO Who are you? Sadness rises in Abuelita; she swallows it down. ABUELITA Rest, Mam?. Abuelita returns to the ofrenda. ABUELITA (CONT'D) I'm hard on you because I care, Miguel. (beat) Miguel... Miguel? She looks around the room. Miguel is nowhere to be found. Abuelita steps up to the ofrenda. ABUELITA (CONT'D) (sigh) What are we going to do with that boy...? She looks to the photo of Mam? Imelda. Abuelita's eyes brighten with an idea. ABUELITA (CONT'D) You're right. That's just what he needs! CUT TO: EXT. SIDE STREET T?o Berto unloads rolls of leather from a truckbed. Nearby, Dante sleeps under the shade of a tree. He startles awake by a faint TWANGING. The dog scrambles up to the roof. He reaches a shoe sign advertising the Rivera Family business and lifts it up. INT. ROOFTOP HIDEOUT Dante pokes his head in. Miguel turns and gasps. 18. MIGUEL Oh, it's you. Get in here, c'mon, Dante. Hurry up. Dante wriggles into the hideout. Miguel is huddled over something. The dog peeks around his shoulder. MIGUEL (CONT'D) You're gonna get me in trouble, boy. Someone could hear me! Miguel reveals a makeshift guitar, cobbled together from a beat up old soundboard and random other items. He takes a china marker and sketches a nose on what appears to be his own version of a skull guitar head. MIGUEL (CONT'D) I wish someone wanted to hear me... Miguel tunes the guitar. MIGUEL (CONT'D) Other than you... Dante gives Miguel a big sloppy lick. Miguel gives a grossed- out chuckle. He lifts his guitar and strums. MIGUEL (CONT'D) Perfecto! He crawls to the far side of the attic where he's built his own ofrenda to Ernesto de la Cruz. Posters, candles, and songbooks are arranged with care. Miguel lights the candles with reverence, illuminating an album cover of de la Cruz holding his skull guitar. Miguel compares the head of his guitar to the album cover. Then he imitates de la Cruz's pose and smile. He switches on a beat up old TV and pushes a tape into the VCR, "Best of de la Cruz" scrawled on the spine. A montage of the greatest moments from de la Cruz's films plays out. A clip from "A QUIEN YO AMO:" DE LA CRUZ (FILM CLIP) I have to sing. I have to play. The music, it's -- it's not just in me. It is me. 19. Miguel strums his guitar as de la Cruz imparts his wisdom. More clips run in the background as Miguel plays: DE LA CRUZ (FILM CLIP) When life gets me down, I play my guitar. In a clip from "A QUIEN YO AMO:" DE LA CRUZ (FILM CLIP) The rest of the world may follow the rules, but I must follow my heart! De la Cruz kisses a woman passionately. Miguel cringes. Another clip from "A QUIEN YO AMO:" DE LA CRUZ (FILM CLIP) You know that feeling? Like there's a song in the air and it's playing just for you... As Miguel watches de la Cruz play guitar in the video, he repeats the melody on his own guitar. DE LA CRUZ (FILM CLIP) (singing) A FEELING SO CLOSE YOU COULD REACH OUT AND TOUCH IT I NEVER KNEW I COULD WANT SOMETHING SO MUCH BUT IT'S TRUE... As a good-natured priest in "NUESTRA IGLESIA:" DE LA CRUZ (FILM CLIP) You must have faith, sister. NUN (FILM CLIP) Oh but Padre, he will never listen. DE LA CRUZ (FILM CLIP) He will listen... to MUSIC! (singing) ONLY A SONG ONLY A SONG HAS THE POWER TO CHANGE A HEART... Miguel loses himself in the music. 20. DE LA CRUZ (FILM CLIP) Never underestimate the power of music... Miguel's tune intertwines with the m

10

Coraline

Henry Selick,Neil Gaiman

Animation,Adventure,Family,Fantasy

February_2009

HEAD CREDIT SEQUENCE MYSTERIOUS SEWING ROOM - NIGHT, A HAUNTING LULLABY plays against a black, star-pricked sky when something appears in the distance. A BUTTON-EYED DOLL floats towards CAMERA, through the open window of a small sewing room where it lands in a pair of WAITING HANDS, hands that are made of SEWING NEEDLES. The doll - which resembles a YOUNG BLACK GIRL in old- fashioned clothes, hair fixed with ribbons and braids - is placed on a sewing table. An elaborate sewing kit is opened, and, in flickering green light, the NEEDLE-HANDS go to work. The doll's old clothes are cut away; button- eyes torn off; hair pulled out. The doll's stuffing is removed and then the empty cloth body is pulled inside out, turning from NUT BROWN to PALE PINK. Sawdust is poured in the NEW DOLL's mouth; facial features added; blue yarn hair punched in; and then a fresh pair of shiny black button eyes is selected from a button drawer. The transformed doll, in a LITTLE YELLOW RAINCOAT, its new button eyes affixed, is released out the window and BACK INTO THE NIGHT. LAST HEAD CREDIT APPEARS, THEN FADES. EXT PINK PALACE, ASHLAND OREGON - DAY WIDE ANGLE on a rambling old Queen Anne-style house with tacked-on outside stairs. It's late winter, the sky a damp, grey sponge. A SIGN in the foreground reads "Pink Palace, Apartment for Rent". MR. BOBINSKY - a seven-foot-tall blue-skinned man - performs calisthenics on the rooftop, counting in Russian. MR. BOBINSKY Dras, dva, tri, chetyri. Dras, dva, tri, chetyri. Dras, dva, tri ... A BEEPING SOUND begins and he pauses. A tired MOVING VAN backs into frame and up the muddy driveway. A VW BEETLE - suitcases roped to its top - recklessly passes the truck and disappears around the side of the house. Bobinsky shakes his fist angrily after the car and shouts: MR. BOBINSKY (CONT'D) Mer-sa-vich! He marches away indignantly. One of the MOVERS, unseen in the truck, speaks to his companion. MOVER 2 (O.C.) We're here. Time to muscle up. ANGLE ON moving truck's REAR DOORS as they're wrenched open by two men - MOVER 1, tall and bear-shaped, and MOVER 2, built like a brick top - to reveal a lot of BOXES and BEAT-UP FURNITURE. They haul out the LOADING RAMP towards CAMERA. NEW ANGLE, EXTERIOR STAIRS to BASEMENT FLAT. APRIL SPINK, a rotund little old English lady with bad legs, surveys the MOVERS as they pass by her chair-lift with boxes and furniture. The old gal can't wait to tell her flat mate below about the young, strapping men. MOVER 2 (CONT'D) (EFFORTS) Got it? Almost there, just a few more. Come on, now, LIFT. ANGLE ON FRONT PORCH. The job finished, Mover 2 heads down the front steps while Mover 1 waits for a signature from the unseen-but-for-his-hands new tenant. Papers signed, a tip of a single, grubby dollar bill is placed in the outstretched hand of the disappointed mover, and the door is shut. EXT HOUSE, REAR VIEW - SAME ANGLE from BACK YARD. Hiding behind shrubs, WE SHARE the POV of a MYSTERIOUS SPY. With a CLICK, a close-up lens is rotated into place to better see the movers quietly pack into the truck and drive away. A MANGY BLACK CAT walks right in front of the lens and looks at us with concern. OFF-SCREEN, a door bangs open. WE FOLLOW the cat as it races up a tree and out a branch towards the BACK PORCH to investigate. CORALINE JONES, 11, steps onto the porch in a YELLOW RAINCOAT with a shoulder bag. WE - SPY'S POV - CLICK to a CLOSE-UP to find this new tenant has BLUE HAIR and a skeptical face. NEW ANGLE, non-spy reverse, on Coraline as she glances furtively over her shoulder, then hops down the steps and moves diagonally away from the house. NEW Angle, SPY POV. We watch Coraline head towards the WOODY SHRUB we've hidden ourselves in. We DUCK DOWN. ANGLE on Coraline, non-spy, shrub by garden gate. She reaches into the shrub and breaks off a FORKED BRANCH. She removes the stick's red leaves, aims it like a DOWSING ROD and heads into the garden. CAM PUSH IN to shrub as the SPY RISES UP, wearing a three- eyed SKELETON MASK on his head and SKELETON GLOVES on his hands. The black cat hops into frame, glances at the spy and follows the girl. MONTAGE VARIOUS EXT - SAME AFISH POND IN GARDEN - SAME Coraline explores the drained, crumbling pond. She finds an old TURTLE SHELL in the muck and holds it up. After rapping on it to make sure it's empty, she puts the shell into her shoulder bag. ANGLE ON CAROLINE, SPY POV. WE PUSH ASIDE dead vines from the railing of the GARDEN BRIDGE for a better look. Coraline aims her forked stick once more then follows it up from the pond and out the BACK GATE. A gust of WIND blows DEAD LEAVES into a swirling eddy WE TRACK high up into the air. DISSOLVE TO: ROCKY PATH HIGH ABOVE HOUSE - LITTLE LATER SPY POV on sky, now dark with GATHERING STORM. Hidden behind a NATURAL WALL OF STONES, WE TILT DOWN to view Coraline crossing frame on a STEEP HILLSIDE path. She steps on an old RAILROAD TIE, and her foot SINKS into the rotted wood, stopping her. WE LEAN OUT for a better view, and DISLODGE some stones that roll down past her. WE DUCK as she jerks her head our way. NEW ANGLE, non-spy. Unnerved, Coraline calls out. CORALINE Hello?... Who's there? She throws a rock over the wall of stones, HITS THE UNSEEN SPY, causing a CRY OF PAIN. ANIMAL? HUMAN? Freaked out, she GASPS, runs up the trail. NEW ANGLE, SPY POV. We rise up to watch and the black cat hops onto the stone wall. EXT. OVERGROWN ORCHARD - CONT. Coraline races down past an OLD TRACTOR and into an ORCHARD. WIND begins to blow. NEW ANGLE as we move beside Coraline through the old apple trees, where she nearly trips on the tongue of a harvest cart. DOWN ANGLE ON on Coraline as she BACKS INTO a circle of TOADSTOOLS in front of a STUMP. BREATHING HARD, she looks out for her pursuer. NEW ANGLE. The black cat shoots past Coraline in the tall grass. She can't see him but she knows something is there. Already behind her now, the cat LEAPS onto the stump with a loud, warning MEROWWW! STARTLED, Coraline YELLS and whips around. She's both angry and relieved when she sees it's just some cat. CORALINE You scared me to death, you mangy thing! Cat GLARES at her with BLUE OPAL EYES, makes a low growl as she stands. She exhales. CORALINE (CONT'D) I'm just looking for an old well. Know it? Cat BLINKS EYES slowly. CORALINE(CONT'D) Not talking, huh? The wind picks up. She grasps the forks of her stick, closes her eyes, and, tracing a figure eight above her, SAYS: CORALINE (CONT'D) Magic dowser, magic dowser: show... me... the well! ANGLE ON CORALINE FROM HIGH BLUFF. The SPY moves into frame, astride some kind of MOTOR-BIKE. He presses a button on the handlebars and BLASTS a loud AIR HORN. STARTLED, Coraline SPINS around. UP ANGLE ON SPY. As LIGHTNING FLASHES and THUNDER ROLLS, Coraline sees him for the first time. With his turret- lensed SKULL MASK and SKELETON GLOVES and black FIREMAN'S COAT flapping in the wind, he looks like a PSYCHO KILLER! CORALINE (CONT'D) (freaked out) AHHHHH! He REVS his motor, pops a wheelie, then SWOOPS DOWN the bluff towards her. She HOLLERS IN FEAR, then tries to WHACK HIM with her forked stick. CORALINE (CONT'D) GET AWAY FROM ME-- He SNATCHES it from her as he passes, KNOCKING HER to the ground. He SIDE-SKIDS his bike, hops off and JUMPS UP onto the stump. Looking TEN FEET TALL from the ground, THUNDER AND LIGHTNING at a peak, the Spy turns his THREE- EYED TURRET LENS and studies her like a predatory alien. And then, the thunder and lightning just FADE OUT and this psycho-killer, three-eyed spy pulls off his mask and Coraline GASPS -- he's just a short kid in a costume. Shoulders hunched, neck bent, the Spy - real name WYBIE LOVAT - aged 12 - examines Coraline's forked stick, aims it around. WYBIE (OBLIVIOUS) Hoo! Let me guess, you're from Texas or Utah; someplace dried out and barren, right? I heard about water-witching before but it doesn't make sense; I mean, it's just an ordinary branch. Coraline, SNATCHES it from his GLOVED HANDS. CORALINE (ENRAGED) IT'S A DOWSING ROD! Coraline smacks Wybie. WYBIE Ow! CORALINE And I DON'T LIKE BEING STALKED, not by PSYCHO-NERDS OR THEIR CATS! He crouches, nervous, to scratch the cat behind his ears. WYBIE He's not really my cat; he's kinda feral ? you know, wild? Of course, I do feed him every night and sometimes he'll come in my window `n bring me little dead things. The cat PURRS like a diesel. CORALINE (TOUGH) Look, I'm from Pontiac. WYBIE Huh? CORALINE MICHIGAN? And if I'm a "water witch", THEN-- (points stick, stomps foot) --where's the secret WELL? WYBIE You stomp too hard and you'll fall in it! Coraline reacts, hops out of the springy circle. The boy scrapes at the ground, revealing a CIRCULAR COVERING made of WOODEN PLANKS. He wedges a fallen branch under one side, and, using a rock for the fulcrum, pries up the covering. WYBIE (CONT'D) See? Supposed to be so deep if you fell to the bottom and looked up, you'd see a sky full of stars in the middle of the day. CORALINE (SOFTENS) Huh. Her frown RELAXES and the black cat tilts his head, noticing her change in tone. He steps off the branch, and the well cover thumps in place. WYBIE Surprised she let you move in... Jerks his head toward the pink house in distance. WYBIE (CONT'D) ... my Gramma. She owns the "Pink Palace" (indicates house in distance) Won't rent to people with kids. CORALINE What do you mean? WYBIE (suddenly worried) Uh... I'm not supposed to talk about it. Changing the subject, he lifts a gloved hand to shake. WYBIE (CONT'D) I'm Wybie, Wybie Lovat. CORALINE (SKEPTICAL) Wybie? WYBIE Short for Wyborne. Not my idea, of course. What'd you get saddled with? CORALINE I wasn't saddled with anything. It's Coraline. WYBIE Caroline what? CORALINE Coraline. Coraline Jones. WYBIE (confused, not hearing it) Hmmm... It's not real scientific, but I heard an ordinary name, like Caroline -- Her face goes as DARK as the rain clouds above. WYBIE (CONT'D) -- can lead people to have ordinary expectations about a person-- WYBIE'S GRANDMOTHER (O.C.) (calling from afar) Wyborne! CORALINE I think I heard someone calling you, Wyborne. WYBIE What? I didn't hear anything-- CORALINE Oh, I definitely heard someone, Why-were- you-born. A distant dinner bell clangs. WYBIE'S GRANDMOTHER (O.C.) Wyborne! WYBIE (under his breath, nervous) Grandma! He holds up his hands in surrender, nodding with eyes closed, forcing some laughs. WYBIE (CONT'D) Heh. Well, great to meet a Michigan water witch. He picks up his bike, wheels it around, then holds up his gloved hands. WYBIE (CONT'D) But I'd wear gloves next time. CORALINE (SKEPTICAL) Why? He points to her dowsing rod, nods. WYBIE (CONT'D) `Cause that dowsing rod of yours? Uh, it's poison oak. CORALINE Ehh!! Coraline drops the stick as he zooms away and wipes her hands on her clothes. The cat merows at her, shaking his head with a pitying look, then trots away after Wybie. She STICKS OUT HER TONGUE at him. She looks down at the COVERING to the well. Coraline finds a PEBBLE and drops it through A SMALL KNOT-HOLE. Ear at the knot-hole, she counts until there's a watery "plop" far below. FAT RAINDROPS start to fall around her. ROTATE DISSOLVE TO: INT. KITCHEN - NEXT MORNING It's POURING out. Coraline looks out a window at the DEAD- LOOKING GARDEN, and places PACKETS OF SEEDS - pumpkins, squash, snap dragons, bleeding hearts - on the sill. She's developed a REDDISH RASH - poison oak - on one hand. The main floor kitchen, like most things in the Pink Palace, is barely maintained, and looks worn and faded. Coraline's MOTHER, MEL JONES, 40, bangs away at her laptop on the table, MOVING BOXES stacked nearby. She's plain-looking and tired and wears a NECK-BRACE. CORALINE I almost fell down a well yesterday, Mom. MEL (not listening) Uh huh. CORALINE I would have died. MEL (continues typing) That's nice. Coraline scratches the rash on her hand, changes subject. CORALINE Hmmm. So can I go out? I think it's perfect weather for gardening. MEL No, Coraline. Rain makes mud. Mud makes a mess. Coraline turns to her. CORALINE But Mom, I want stuff growing when my friends come to visit. Isn't that why we moved here? MEL Something like that. But then we had the accident. CORALINE Wasn't my fault you hit that truck. MEL I never said it was. CORALINE (MUTTERS) I can't believe it -- you and Dad get paid to write about plants and you hate dirt. Mel stops typing, loses her patience. MEL Coraline, I don't have time for you right now. And you still have unpacking to do. Lots of unpacking. CORALINE That sounds exciting. Mel remembers something. Mel (CONT'D) Oh - some kid left this on the front porch. Coraline walks over and is handed a NEWSPAPER-WRAPPED PACKAGE. Attached note reads: WYBIE (V.O.) Hey Jonesy, look what I found in Gramma's trunk. Look familiar? Wybie. She rips open the package and finds the BUTTON-EYED, BLUE- HAIRED, YELLOW RAINCOAT-WEARING DOLL from the head credits - it's a litte Coraline! CORALINE (to herself) Huh... a little me? That's weird. She crumples the note, both annoyed and charmed. MEL What's his name, anyway? CORALINE Wybie. And I'm way too old for dolls. But Coraline takes it with her and leaves the room. INT. STUDY - SAME CHARLIE Jones, 40, goose-necked and gangly with thinning dark hair, HUNT-AND-PECKS at his ancient computer, surrounded by boxes of GARDENING MAGAZINES and empty coffee cups. Coraline, with doll, opens the SQUEAKY DOOR. He doesn't turn. CORALINE Hey Dad, how's the writing going?... Dad? He ignores her reflection in his computer screen as he types away, green letters on black. She CLEARS HER THROAT. CHARLIE Hello, Coraline... (notices doll's reflection) And... Coraline doll?... CORALINE D'you know where the garden tools are? He hears rain outside. CHARLIE It's pouring out there, isn't it. CORALINE Humph, it's just raining. CHARLIE What'd the boss say? CORALINE (MOCKING) "Don't even think about going out, Coraline Jones." CHARLIE Then you won't need the tools. Coraline GROANS, stamps her feet. Charlie just taps harder on the keys. Pouting, she makes the door squeak, opening and shutting it till he can't take any more. He spins around. CHARLIE (CONT'D) Uhhh, you know, this house is a hundred and fifty years old. CORALINE So? CHARLIE So explore it! He grabs a pen and pad, holds it out. CHARLIE (CONT'D) Go out and ... count all the doors and windows and write that down. List everything blue! (BEGGING) Just let me work. She rolls her eyes, takes paper and pen and leaves. MONTAGE, VARIOUS - SAME HALLWAY NEAR STAIRS Coraline, with doll, jumps on BUMP in carpet that moves with each jump. LAUNDRY ROOM/WINTER GARDEN She wipes off the misted glass so she and the doll can see out, then writes in her pad: 7 leaky windows. A drop of water lands on the pad, smearing the ink. She adds really between 7 and leaky windows. HALLWAY NEAR STAIRS Coraline thumps the carpet bump again and pounds up the stairs. PARENT'S ROOM/BATHROOM A FRAMED PHOTO sits in the foreground on a beside table. It shows a younger, happier Coraline with her parents by the BEAR FOUNTAIN at the Detroit Zoo. RACK FOCUS to bedroom door as it swings into the room, with Coraline hanging on it. She drops to the ground and, doll and pad in hand, decides to check out the bathroom. When she pulls aside the mildewed shower curtain she finds a hundred skittering SILVERFISH BUGS. CORALINE Ewww! Disgusted, she jumps into the tub and smashes as many as she can. She turns on the faucet to wash her hands, only to get soaked with rusty water from the shower head. CORALINE (CONT'D) Ahh!! She shakes out her hair. HALLWAY NEAR STAIRS Coraline pounds down the stairs, spots the carpet bump again in the hallway and jumps on it. A closet door opens, a light on inside, and she goes to investigate. WATER HEATER CLOSET ANGLE OVER water heater on Coraline. She jots down one rusty water heater in her pad. As she leaves, she flicks off the light switch, not noticing a note taped beside it that says: Do not turn off! INT. STUDY - SAME Lights flicker and then Charlie's computer dies. He hollers. CHARLIE No, no, no, no, no; GAAAA--! INT. HALLWAY - SAME CHARLIE (O.S.) --AAAAAAA! Coraline reacts with guilty alarm, runs back to the closet and -- INT. CLOSET - SAME -- spots the Do not turn off note. She flips the light switch back on and gets out of there. INT. LIVING ROOM - SAME The room is faded and cold with bare windows looking out on rain and gray. The floor is strewn with moving boxes, a few pieces of furniture, Charlie's old Nordic Track. A few garden tools lean against one wall; a cardboard mattress box leans against a corner wall. Coraline enters, counting windows and doors to note in her pad. She sets the doll on a low table beside an open moving box and smiles. The box is filled with her mom's collection of SNOWGLOBES. She takes out her favorite - the BEAR FOUNTAIN AT THE DETROIT ZOO - and shakes it. She studies the globe and sighs with homesickness. She sets it carefully on the FIREPLACE MANTEL, then unwraps the rest of the snowglobes and places them beside it. Over the mantel hangs a PAINTING of a CRYING BOY IN BLUE - a scoop of ice cream melting on his shirt, his hand holding an EMPTY CONE. Coraline takes up pad and pen and adds to her list, muttering aloud. CORALINE One boring blue boy in a painfully boring painting ... four incredibly boring windows ... and no... more... doors... She turns to grab the doll off the table by the snow globe box. It's gone. CORALINE (CONT'D) All right, little me, where are you hiding? Scanning the room, she spots the doll LOOKING OUT FROM BEHIND THE MATTRESS BOX leaned against the corner wall. Perplexed, she walks over and kneels down to grab the doll when she notices SOMETHING ON THE WALL behind the box. She shoves the box aside, and discovers the outline of a SMALL DOOR that's been wallpapered over. CORALINE (CONT'D) Huh? Intensely curious, she calls to the kitchen. CORALINE (CONT'D) Hey Mom... INT. KITCHEN - CONTINUOUS Mom, typing away, ignores her. CORALINE (O.S.) Where does this door go? MEL I'm really, really busy! INT LIVING ROOM - CONTINUOUS Coraline tries to open it but there's no handle. CORALINE I think it's locked. MEL (O.S.) INT. KITCHEN - CONTINUOUS CORALINE (O.S.) Pleeeeeeeeease! Mel gets up, really annoyed. Big sigh. MEL Uhhh... INT. LIVING ROOM - SAME She walks over to Coraline, looks at the outline of the door in the ratty old wallpaper. MEL Will you stop pestering me if I do this for you? Coraline nods her head quickly, PANTING like a dog. MEL (CONT'D) Fine. She heads back to the kitchen. INT KITCHEN - CONTINUOUS Mel pulls open a drawer, pushes a bunch of loose brass and nickel keys aside to find a small, sharp black key. Holds it up. INT LIVING ROOM - CONTINUOUS Mel cuts the wallpaper around the door and sticks the key in the lock. Coraline looks on, giddy with anticipation, the doll at her side. Mel turns the key, unlocks the door, and pulls it open to reveal ... an UNBROKEN BRICK WALL. Coraline is totally disappointed. CORALINE Bricks? I don't get it. Coraline scratches her wrist rash with annoyance. MEL They must have closed this off when they divided up the house. Mel gets up to leave. CORALINE You're kidding? And why is the door so small? Mel leaving room, turns back, and loses it. MEL We made a deal. ZIP IT! She exits. Coraline makes annoyed sound. CORALINE You didn't lock it. MEL (O.S.) AaaaaH!!! Coraline pushes the little door shut, her head lowered. EXT. HOUSE - NIGHT WIDE ANGLE ON HOUSE. Pouring rain. We hear Charlie singing a song about Coraline, badly.

11

Croods The

Kirk DeMicco,Chris Sanders

Animation,Adventure,Comedy

December_2012

SEQ. 75 - PROLOGUE FADE IN: A cave painting of the Dreamworks logo. Push past the moon to the sun. Bright. Beautiful. The sun DISSOLVES TO: Cave paintings of a family of cavemen -- we will come to know them as The Croods. EEP (V.O.) With every sun comes a new day. A new beginning. A hope that things will be better today than they were yesterday. The Croods scurry out of their cave like mice looking for food. Scared. Fast. The Croods are chased by beasts across the desert. They escape from creatures up trees. They hide behind rocks. EEP (V.O.) But not for me. My name's Eep. This, is my family, the Croods. If you weren't clued in already by the animal skins and sloping foreheads - we're cavemen. Most days we spend in our cave, in the dark. Night after night, day after day. Yep. Home sweet home. When we did go out, we struggled to find food in a harsh and hostile world. And I struggled to survive my family. The Croods are chased by beasts across the desert. They escape from creatures up trees. They hide behind rocks. EEP (V.O.) We were the last ones around. There used to be neighbors. The Gorts, smashed by a mammoth. The Horks, swallowed by a sand snake. The Erfs, mosquito bite. Throgs, common cold. And, the Croods. That's us. The Croods made it... Grug protects his family from a GIANT BEAR OWL. EEP (V.O.) Because of my Dad. He was strong... and he followed the rules. A shadow falls across their feet and Grug ushers his family home. 2. EEP (V.O.) ... the ones painted on the cave walls. Anything new is bad, curiosity is bad, going out at night is bad. Basically, anything fun is bad. Welcome to my world. They all run back into the cave where Grug slams the rock door closed. SLOWLY LIGHT ON CAVE PAINTINGS COMES UP AGAIN. But this time the light casts an ominous tone. EEP (V.O.) But this is a story about how all that changed in an instant. RAPID SHOTS OF THE GREAT SPLIT CUTTING THROUGH THE LAND. HEADED TOWARDS CROOD VALLEY. SHOTS OF CATACLYSM. CUT FASTER AND FASTER UNTIL... EEP (V.O.) Because what we didn't know, was that our world was about to come to an end. And there were no rules on our cave walls to prepare us for that. CAVEMAN HANDS PRESS against the rock wall. They PUSH. A BLINDING LIGHT FLOODS the screen. CUT TO: SEQ. 100 - MEET THE CROODS A HUGE CAVEMAN, GRUG, RUSHES forward, screaming, growling, and throwing handfuls of dirt in a THREAT DISPLAY. He BLINKS in the bright morning light. He LIFTS and HURLS a large boulder. GRUG Raaaaar grooooOOOOoooowwwll ERF ERF Glaaaaaabbbbllllllllthhhh! As suddenly as he began, Grug stops. Panting, he waits for the echoes of his outburst to fade. Grug TURNS to the cave entrance, he prepares to BELLOW a signal, but before any sound escapes his lips-- A CAVE GIRL, EEP, bursts from the cave. 3. GRUG (CONT'D) You're supposed to wait for my signal Eep. Eep? Eep scares a pack of nearby Liyotes away. They pounce on Grug briefly before scampering off. Eep spreads out on an overhanging rock. She BASKS IN THE SUN. EEP We've been in that cave forever. GRUG Three days is not forever. EEP It is with this family. GRUG Eep would you come down here? You're being so dramatic. A LITTLE GIRL, SANDY, charges out next. Her display is more terrier-like. GRUG (CONT'D) No, no, no Sandy, come back here. Remember the signal. Good girls wait for the signal. A CAVE WOMAN, UGGA, scrambles out next. She is mostly focused on catching Sandy, giving only cursory effort to her display. GRUG (CONT'D) Ugga. UGGA As soon as I get Sandy, I'll go back in, and you can give the signal. GRUG No, I mean, you're already out now. THUNK (O.S.) I am waiting for the signal, dad. We HEAR the voice of Grug's nine-year-old son from inside the cave. THUNK is eager to please his dad and emulates his every move. GRUG Never mind, Thunk. Just, come out. 4. THUNK (not so fast) Uhh, but if you don't give the signal, how do I know you're my dad? GRUG The signal isn't so you know it's me, it's so you know I wasn't eaten by an animal. Beat. THUNK Then why is the signal an animal noise? I mean, doesn't that just confuse things? Grug sighs. THUNK (CONT'D) I don't know... I'm still waiting for the signal. GRUG Sigh. Hoo hooooo! Hoo hooooo! Thunk comes out growling, and barrels into Grug. Thunk picks up a boulder and throws it. It ricochets off the cliff wall and careens into Grug. Grug gets plowed over by the boulder. UGGA Mom, we're ready to leave. (BEAT) Mom! Grug sits up and smiles. GRAN Still alive! Grug's face drops. GRUG It's still early. GRAN And you're still fat. GRUG Breakfast formation! The Croods form up in a flying wedge, with Grug in the lead. 5. GRUG (CONT'D) I want to see some real caveman action out there. We do this fast. We do this loud, we do this as a family and never not be afraid. Go! THUNK YAY, BREAKFAST!!!! COMPRESSED TIME - The Croods RUN out of Crood canyon, across the wide expanses of desert. CUT TO: SEQ. 150 - SMASH & GRAB EXT. MOUTH OF CROOD CANYON - MORNING Grug and the Croods come to a stop at the HUNTING GROUNDS. They are spent from a fifteen-mile run. THUNK (HUFFING) Yeah... breakfast... We see a nest with a huge unguarded blue egg. The Croods take shelter behind a rock. Grug PEERS over the top. GRUG Who's up? Eep's hand SHOOTS up. Thunk is less than enthusiastic. GRUG (CONT'D) We'll flip for it. Grug LIFTS Gran on his hand, and FLIPS her up in the air. GRUG (CONT'D) Call her in the air. EEP Heads. Gran FACE-PLANTS, her head buried in the sand. Only her tail is showing. GRUG Tails. Thunk's in. GRUG (CONT'D) Positions. 6. The family fades back and splits up. They get into fighting/running position. GRUG (CONT'D) Ok. Thunk. Go. Come on Thunk. Thunk BREAKS COVER. He dashes into the open, SNATCHES the egg. GRUG (CONT'D) Hah! Way to go. Take it to the cave! Thunk PASSES Grug and makes a bee-line for Crood Canyon. A Gerf bird smashes Thunk and steals the egg back. GRUG (CONT'D) Oooh! GRUG (CONT'D) Release the baby. Eep and Sandy MOVE IN on the bird. Sandy NIPS at its heels while UGGA CLIMBS up onto its head. She PULLS the egg from its beak. Down range, TRIP GERBILS SURFACE. They STRETCH their shared tail across the Ramu's path like an arresting cable on a carrier. Ugga RISES to THROW the egg to Grug - the gerbils WRAP their tail around the Ramu like a bola. The Ramu GOES DOWN hard. Ugga and the egg ROLL forward. The Trip Gerbils SNATCH up the egg and make off with it. UGGA Get um Mom! Do it for the Croods! Gran's cane HOOKS the gerbils in the middle of their tail and WHIPS them up and over her shoulder. ON GRAN DRIBBLING the egg down-range with her cane like a hockey player. LIYOTES POP UP from behind hoodoos. They SWARM in behind her. The Liyotes TRIP Gran. They steal the egg, and HIT THE GAS. They are INCREDIBLY FAST. GRAN Old lady down! Eep, avenge me. 7. ON EEP Crouched in the shade of a scrubby bush, like a runner on the blocks - she has the Liyotes in her sights. Eep LAUNCHES. Eep runs after the Liyote with the egg, cutting him off in his tracks he slams into a cactus launching the egg into the air. Eep leaps into the air taking back the egg. EEP Thanks! A bunch of Jackrobats see Eep and swarm around her. She loses her footing and throws the egg to Grug. GRUG Eep! EEP Heads Up! Grug catches the egg and runs by the entrance of a small cave. Thunk following close behind accidentally trips over the tail of a sleeping Bear Owl knocking Grug to the ground and fumbling the egg once again. Thunk catches the egg just as the Girelephant bears down on him from behind and lifts him onto one of its tusks. The family members meet up as they begin their long run back to the cave. An entire swarm of animals chase the Croods as they head back to their cave. The Bear Owl is awakened and goes after everyone on the chase. Grug protecting his family from the BearOwl tosses each family member onto the Girelephant's back. Grug dodges the BearOwl's attack and uses him as a launching pad to get himself safely on the Girelephant. Thunk is happy to see Dad is safe. THUNK Oh hey Dad, can we eat now? GRUG Just wait till we get home. Eep put on the brakes. The entrance to Crood canyon appears on the horizon. 8. Eep hangs off the edge of one of its tusks as Grug takes over the other. Together they dig their heels into the ground, slowing down the Girelephant. The Bearowl continues the chase. The Croods maneuver the Girelephant to fend off the Bearowl. GRUG (CONT'D) Eep! The Girelephant moving way too fast readies for the crash. The Girelephant crashes into the entrance of the canyon, sending the Croods flying in. They all tumble. Grug makes an extraordinary football catch. He holds tight to the meal as he slams into a rock. Grug holds up the egg. GRUG (CONT'D) Who's hungry? THUNK Alright! Good one, dad! GRUG Here you go, Thunk. Drink up. Grug tosses the egg to Thunk, Thunk fumbles it and it cracks open. THUNK Sorry, dad. UGGA Looks like fast food tonight! The family passes the leaky egg around quickly, each Crood gets a taste. Thunk is the last Crood to get a mouthful, he hands it over to Grug-- the egg is empty. GRUG That's alright. I ate last week. A SHADOW TOUCHES Grug's feet. He looks up - the sun is setting behind the canyon wall. He HOLDS UP his hand to gauge how much daylight is left. GRAN Two knuckle warning. UGGA Come on Croods. Go, go, go. CUT TO: 9. SEQ. 200 - WELCOME TO CROOD CAVE INT. CROOD CAVE - EVENING GRUG Come on, come on. Darkness brings death! We know this. The Croods RUN INSIDE THE CAVE. Ugga picks up a heavy stick off the floor. UGGA The moon is full. Bath night. (grumbling, Gran tries to run AWAY) You too, Mom. GRAN Run for your life. Ugga pulls Gran back. GRAN (CONT'D) I don't want to lose my protective layer. UGGA Mom, you've got ants. (hanging Sandy up) Whack! Like she's cleaning a rug, Ugga SMACKS Sandy hard with the stick. Dust and bugs fly off of her. UGGA (CONT'D) See? Sandy doesn't fuss. Ugga CLAPS her hands together and Sandy knows to let go. She hits the floor and SCAMPERS away. GRAN (UPSET) Aaaaaaaaaah. Grug enters and looks around the cave. GRUG Is she still out there? UGGA You know she hates the cave, Grug. ON EEP clinging to the side of the sheer rock face above Crood cave. She RAISES HER HAND to `catch' a few more moments of sun. 10. EEP Please come back tomorrow. ON GRUG getting his `bath.' GRUG How can she not like the cave? It's so cozy. UGGA It is a little, dark, Grug. GRUG It's not that dark. Grug is finished with his bath. GRUG (CONT'D) (LOSING PATIENCE) Eep! Eep? Eep begins to climb down the wall outside when she hears a sound in the distance. Curious, she begins to climb even higher. Grug leaves the cave, searching for her. GRUG (CONT'D) Come on, I gotta close the cave... ON GRUG exiting the cave... Grug sees that Eep is at the very top. GRUG (CONT'D) Eep! Eep continues to climb. EEP Okay, okay! GRUG Come on. Behind Grug, the Bear Owl appears up the canyon. It SPOTS Grug and the open cave and RACES to attack. Grug sees the BearOwl in full attack mode. GRUG (CONT'D) EEP! COME DOWN!! Grug throws a rock which momentarily stuns the creature, allowing Eep to JUMP DOWN and DART into the cave. Grug barely gets the cave closed in time. 11. GRUG (CONT'D) SIGH CUT TO: SEQ. 210 - BEDTIME STORY The Bear Owl PUSHES his paw through the narrow opening, and FEELS around for the Croods. The Croods are like mice in this world. GRUG That was too close! EEP I was watching. I was fine. GRUG What were you doing up there, Eep? EEP I don't know. GRUG What were you looking for? EEP Nothing. GRUG Well then why did you go up there? EEP (ANNOYED) I don't know. GRUG Why don't you know? Stop looking for things. Fear keeps us alive Eep. Never not be afraid. Eep climbs up on a ledge and curls up in the corner where a tiny spot of light seeps in. EEP (TO HERSELF) What's the point of all this? GRUG Hmmm? What was that? 12. EEP (a little louder) I mean, why are we here? What are we doing this for? CROODS GROAN GRUG No one said survival was fun. EEP Nothing is fun. GRUG Hmm? Would you come down here. Eep? No answer. Grug CLIMBS up. Ugga PULLS Grug back down. UGGA Grug. Off. GRUG Yes. Grug climbs back up. UGGA Off! GRUG I just don't see why she needs her own ledge. That's all. That's what this is about. UGGA She's working through some things and needs her own space. GRUG What things? How long is this going to take? Really? I mean she already doesn't listen to me. A pebble hits Grug in the head. It came from Eep's ledge. GRUG (CONT'D) Hey! UGGA See? She's listening. 13. GRUG If she wants to survive, she has to follow our rules. UGGA How about a story? Eep loves those. Grug brightens. GRUG (BRIGHTENING) That's a good idea ... How about a story, huh? THUNK Oh yeah, tell us a story. The Croods minus Eep gather in a semi-circle on the ground. Grug retrieves Sandy and her Krispy Bear from the bone-crib. GRUG Ok. Can I borrow that? Thank you. Eep! Your old favorite? EEP I haven't played with that thing in years. GRUG Tonight we'll hear the story of Krispy Bear. Grug sits and waits a beat for Eep to join, but she stays put. As Grug talks, he gestures at a rough sketch on the wall of the cave. GRUG (CONT'D) A long time ago, this little bear was alive. She was alive because she listened to her father and lived her life in routine and darkness and terror. So she was happy. But Krispy had one, terrible problem. She was filled with... curiosity. UGGA Grug! Ugga covers Sandy's ears. 14. GRUG Yes. And one day, while she was in a tree, the curious little bear wanted to climb to the top. THUNK Wha? GRUG And no sooner than she climbed to the top, she saw something new and died. Grug SWATS the painting. THUNK Just like that? GRUG Yes! Her last moments of terror still frozen on her face. Grug holds out Krispy Bear. The family is terrified. GRAN Oh, same ending as everyday. THUNK (FREAKED OUT) I get it, dad. I get it. I will never do anything new or different. GRUG Good man, Thunk. Pan across the walls to reveal they are covered with stories all seemingly with the same ending. UGGA Alright, everyone sharpen your teeth and let's pile up. All their worst fears confirmed, the Croods snuggle into one big heap, warm and comfy. Grug casts a glance to Eep's ledge. She doesn't budge. FADE TO BLACK: SEQ. 500 - FOLLOW THE LIGHT 15. INT. CROOD CAVE - NIGHT The Croods sleep peacefully in their pile. Except Eep, who tosses restlessly on her LEDGE. Outside, we hear the ROARS and HOWLS of prehistoric creatures fighting. But then, SILENCE. And then cutting through the primordial night is a MUSICAL SOUND. Unsettling. Unearthly. Eep creeps around her sleeping family and cautiously approaches the "door" to peer outside, when suddenly-- WHOOSH! A bright light blazes through the gaps around the boulder door, bathing Eep in an OTHER-WORLDLY GLOW. She chases the flash of light around the cave trying to catch it in her hands. Eep presses her face against the cold boulder, trying to get a look at what is outside, but she can't get more than a blurred glimpse of the canyon beyond - and the disappearing light. Desperate to see more, Eep braces her back against the cave and PUSHES the plug rock with her legs. Slowly, she shifts the rock, careful not to wake her father. It takes all of her strength, but she manages to move it just enough for her to BARELY SQUEEZE out. EXT. CROOD CANYON - CONTINUOUS Eep stands outside at night for the first time ever. Her heart races. The hot night wind blows against her face and through her hair. The forbidden sensation is exhilarating. The canyon beyond is quickly swallowing the light - it will be gone in another few seconds. With one of her hands pressed tightly to the cave `door', she steels herself. Eep LETS GO and DASHES after the light, SCRAMBLING through the SANDSTONE NARROWS, bounding from side to side. As she disappears into the darkness of the canyon, we... CUT TO: EXT. CANYON The light ahead is growing brighter. Eep is closing on it. In her excitement, she missteps and SNAPS a stick underfoot. 16. It was barely audible. Eep instinctively FREEZES. A huge SHADOW of a TUSKED CREATURE is cast on the wall above her. Eep throws a rock at the shadow. She POWERS STRAIGHT UP the stone wall with unexpected speed. The Creature RUNS. Eep tops the wall and... CUT TO: SEQ. 550 - CLOSE ENCOUNTERS EXT. ROCK ARCH - NIGHT Eep steps into a small clearing. Stuck in the ground, is a TORCH. As far as Eep knows, this is the thing she was following. Eep crouches down and cautiously approaches. REVERSE ANGLE - Eep can feel the heat from the fire on the palms of her hands and her face. TENSE. EXCITING. But camouflaged against the rock wall behind her, something MOVES. A WARTHOG CREATURE stands upright and creeps up behind her. Eep reaches out to TOUCH the flame. The torch blows away from her. The wind has changed direction. The breeze at her back, Eep smells the Creature behind her. On her face, awe turns to determination as she wheels and grabs the creature. She THROWS and FLIPS it over her shoulder. It hits the torch, knocking it to the ground. Eep jumps back, GRABBING a good-sized rock - she's poised to bash the Creature's brains in. CREATURE Nuh! Nuh! The Creature defensively raises its arms, hands in front of its face. GUY No! Hands? Eep GASPS, shocked to see HUMAN HANDS attached to this monstrosity. The Creature slowly puts his hands to

12

Despicable Me 2

Cinco Paul,Ken Daurio

Animation,Adventure,Comedy

July_2013

EXT: ARCTIC CIRCLE - DAY Snow and ice as far as the eye can see. What looks like a windowless MILITARY BASE surrounded by barbed wire fences sits in the middle of the wasteland. TITLE CARD: TOP SECRET RESEARCH LABORATORY. ARCTIC CIRCLE. At the GUARD GATE, two RUSSIAN GUARDS play poker using an overturned barrel as a table. Russian Guard 1 shows a five of diamonds... and four Aces. The other Guard folds. Russian Guard 1 LAUGHS and drags in the pile of coins. While he SPEAKS IN RUSSIAN and does a celebratory dance, the coins fly up into the air. Russian Guard 1 stops dancing and sees that the coins are gone. He accuses the other Guard of stealing them. Russian Guard 2 swears he didn't take them. Russian Guard 1 grabs a shovel and wields it menacingly, until it flies up into the air. They both look up to see where it's gone. Then the metal barrel they were using as a table flies up, knocking them over. Russian Guard 2 looks up to see a GIGANTIC MAGNET SHIP LOWERING DOWN FROM ABOVE AND HOVERING OVER THE LABORATORY. A watchtower guard shouts. A door below opens as a bunch of Guards run out and point their guns at the magnet ship. Then...WOOSH! All of their guns are pulled up towards the ship, including the guards themselves, who are strapped to their guns. A SNOWMOBILE lifts off the ground and flies up to the magnet. Other vehicles and small buildings begin to pull away from the ground. Then-- THE ENTIRE LAB STARTS TO GET PULLED UP OUT OF THE GROUND. CLANK! The lab makes contact with the ship. It flies up and down, shaking the scientists and guards off. They fall to the ground. The magnet ship flies away with their lab, vehicles, and weapons. The remaining guards and scientists are strewn across the snow with the remnants of the damaged base. We see a porta- potty door open. A Confused Guard is sitting on the can reading a newspaper, having missed the entire incident. He closes the door. MATCH CUT TO: DESPICABLE ME 2 CINCO & KEN DRAFT 2. INT: AVL HEADQUARTERS - NIGHT SECURITY FOOTAGE of the research station named PX LABS being carried away by the magnet ship plays on the screens at AVL Headquarters. We see the back of several heads watching the footage. There's a heavy sigh. SILAS Three weeks and we're still no closer to cracking this? No response. SILAS (CONT'D) Right... bring him in. LUCY (O.S.) Yes, sir. EXT: SUBURBAN STREET - DAY Gru steps toward camera, holding some sort of menacing gun, which he loads and cocks. He pulls the trigger, which shoots out an inflatable unicorn balloon. Smiling, he ties it to the windowsill next to some others. EXT: GRU'S BACKYARD - DAY A banner reads: "Happy Birthday Agnes!" and a massive backyard party is in full swing. The yard is decorated with pink balloons and streamers, and a BOUNCY HOUSE shaped like a castle. AGNES and several other LITTLE GIRLS slide down a slide. They are all dressed as princesses, but Agnes is dressed as a princess riding a unicorn. AGNES This is the best party EVER!!! Edith, dressed as a ninja, emerges from beneath a table and climbs across the monkey bars as a series of jousts, blades, and boxing gloves come up from the ground underneath her. She jumps down, narrowly avoiding a bear trap. EDITH Haha! Yeah! DESPICABLE ME 2 CINCO & KEN DRAFT 3. Two LITTLE GIRLS fish in a small kiddie pool. One of the girls pulls up a toy duck and then razzes the other girl, but then a LIVE PIRANHA jumps out and eats the toy duck. A BOY and a GIRL sword fight. The Boy does a bunch of fancy moves. The Girl waits for him to finish and then pounds him on the head with a club. Two kids in the background are on a see-saw made of bombs. Agnes runs into the middle of the yard and points offscreen. AGNES Oh no! A dragon is approaching! All of the kids turn and see KYLE dressed as a dragon. He GRUMBLES and then they SCREAM and huddle around Agnes. Then Margo enters wearing a SUIT OF ARMOR and wielding a SWORD. MARGO Fear not, for here come the gallant knights to save us! She gestures to a group of minions wearing tiny suits of armor and wielding various MEDIEVAL WEAPONS. The Kids CHEER as the minions charge toward Kyle. One accidentally hits another with his sword. A fight ensues in which they use the medieval weapons on each other. One minion pounds another with a MACE. One Minion wanders off from the fight with his helmet on backwards, wildly swinging his mace. Across the yard, Gru is busy grilling burgers and talking on the phone. Not happy. GRU No, no, no! What do you mean she's not coming?! I have a backyard full of these little girls who are counting on a visit from a fairy princess! The mace-swinging Minion walks by and accidently, repeatedly hits Gru with the mace in the shin. GRU (CONT'D) Ah! Hurts! Ah! Stop it! Gru kicks the minion's helmet and chases him off with a spatula, sending him towards the party swinging his mace. Gru SIGHS and returns to the call. DESPICABLE ME 2 CINCO & KEN DRAFT 4. GRU (CONT'D) Listen! I don't want a refund! I want a fairy princess... please! Please, I am begging you. (Resigned) You know what? I hope that you can sleep at night, you crusher of little girls' dreams!!! Gru hits the phone with his spatula and hangs up. Turns and sees Agnes standing there. AGNES Ooh ooh! When's the Fairy Princess coming? Gru stares down at Agnes' big excited eyes. He opens his mouth to tell her the truth, but can't do it. GRU Any minute now! Agnes squeals with excitement and runs off. AGNES Yayyy! Gru looks worried--what do I do now? He signals two minions. GRU Stall them. EXT: BACKYARD - LATER A hand-painted piece of cardboard reading "THE MAGIC SHOW" is placed on an easel. Agnes and all of the little kids sit in a semicircle on the grass. Two minions dressed as magicians are doing a magic act with Edith as their assistant. One minion blows up a balloon and puts it in Edith's mouth. Then the other whips out a CHAINSAW and fires it up, heading toward her. Margo sees this and quickly intervenes. MARGO Whoa! Whoa! Okay, okay, alright. That's enough of the magic show! The minions don't hide their disappointment. MINIONS Awwww. DESPICABLE ME 2 CINCO & KEN DRAFT 5. Margo suddenly looks around as if she just heard something. MARGO Wait, did you hear that? It sounded like the twinkling sounds of magical fairy dust. AGNES (gasps) It's the fairy princess! She's coming! Margo gasps and points up to the sky. MARGO Look! Edith spits out her magic balloon in horror and we follow it up to reveal-- Gru. Dressed in a PUFFY PINK DRESS, fairy wings, glittery eyelashes and tiara and magical wand. Up on top of Gru's house, the minions struggle to lower him down on a rope. Edith's balloon floats by and distracts them. They let go of the rope and Gru swings wildly, smashing into the wall of the house and crashing to the ground. GRU Aaaaaahh! He stands up and tries to cover. Agnes SIGHS HAPPILY, in awe of the fairy princess. GRU (CONT'D) (in falsetto) It is I, Gru...zinkerbell! The most magical fairy princess of all! And I am here to wish Princess Agnes a very happy birthday! Gru sprinkles the girls with glitter and they continue to stare, frozen. Then a LITTLE GIRL raises her hand and speaks with a lisp. LITTLE GIRL How come you're tho fat? Gru grits his teeth, then forces a smile and speaks with a high-pitched, dreamy voice. DESPICABLE ME 2 CINCO & KEN DRAFT 6. GRU Because my house is made of candy and sometimes I eat instead of facing my problems. The girl starts to ask another question. LITTLE GIRL How come you have- Gru cuts her off with a puff of fairy dust to the face. She COUGHS. GRU Okay! Time for cake! As the kids run to the table, Agnes approaches Gru. AGNES Thank you, Gru-zinkerbell. You're the best fairy princess ever! Gru smiles. GRU (in falsetto) You are welcome, little girl. She runs off, but quickly returns. AGNES (whispers in his ear) I know it's really you, Gru. I'm just pretending for the other kids. She runs off again to join her friends. Gru watches her go. Couldn't be happier. Then he is approached by JILLIAN, a heavily-Botoxed mom. JILLIAN Hey there, Gru, Mr. Life of the Party! GRU (forcing a smile) Hello, Jillian. JILLIAN Sooooo, I'm gonna go out on a limb here, but my friend Natalie is recently single, and... DESPICABLE ME 2 CINCO & KEN DRAFT 7. In the background, a homely NATALIE leans against a buffet table and seductively raises her eyebrows at Gru. The table collapses to the ground beneath her. GRU (realizes what's going on) No, no, no, get off of the limb right now. No limb. JILLIAN Oh, come on...she's a riot. She sings karaoke, she has a lot of free time, looks aren't that important to her... In the background, Natalie inadvertently walks in front of a bottle pitch game, is struck by a ball, and falls to the ground. GRU No, Jill's, that is not happening. Seriously. I'm fine. JILLIAN (calling after Gru) Okay, fine. Forget Natalie. How about my cousin Linda? Gru walks off, passing by Edith and Margo. GRU No. JILLIAN Oh, oh! I know someone whose husband just died! SPLASH! Suddenly Jillian is sprayed in the face with water. Reveal Gru holding a HOSE with a SPRAY NOZZLE. GRU I'm sorry. I did not see you there. SPLASH! He sprays her again. She falls down. GRU (CONT'D) Or there. He drops the hose and walks away, CHUCKLING softly. DESPICABLE ME 2 CINCO & KEN DRAFT 8. EXT: GRU'S HOUSE - DUSK Gru takes Kyle out to the front yard. CAMERA POV A camera with nightvision is watching them. The screen analyzes Kyle and a readout comes out as "SPECIES: UNKNOWN." Kyle sniffs Gru's flowers. GRU Kyle... Kyle! Then it analyzes Gru and the readout says "TARGET ACQUIRED." GRU (CONT'D) Ky--Kyle! No, do not do your business on the petunias! Kyle lifts up his leg next to Gru's flowers. He picks Kyle up and places him next to his neighbor's bush. GRU (CONT'D) There you go. Those are Fred's. Go crazy. Kyle does and the bush immediately withers and dies. Gru CHUCKLES. GRU (CONT'D) Good boy. VOICE (O.S.) Mr. Gru? Gru turns and sees Lucy Wilde standing there. GRU Wha? I didn't... What... Yes? LUCY (holds up her badge) Hi! Agent Lucy Wilde of the AVL. (realizes her badge is upside down) Oh. Whoops. (clears her throat, all business) Sorry, you're gonna have to come with me. GRU Oh, sorry, I--Freeze Ray! DESPICABLE ME 2 CINCO & KEN DRAFT 9. Gru whips out his FREEZE RAY and fires it. A WALL OF ICE heads for Lucy. But before it gets to her, Lucy pulls out a retractable gun from her purse, which acts as a FLAMETHROWER. Melting the ice. LUCY You know you really should announce your weapons after you fire them, Mr. Gru. For example-- She pulls out a LIPSTICK. Fires it at Gru. The tip flies through the air and connects with his chest, latching on. ZZZZZAPPP! It tases him, which sends his body flailing in different funny poses before passing out. LUCY (CONT'D) Lipstick Taser! Oh, it works so good. EXT: STREET - LATER Lucy tries to drag Gru to her car, but he's too heavy. LUCY Man. Ugh. Large...person. She gets an idea. Lucy gets into her car. In the background, we see Gru begin to come to, but he is struck by Lucy's car as she pulls back and is knocked out again. LUCY (CONT'D) Oh...sorry! Closer now, Lucy gets out and stuffs his body into the trunk. Just then Tom and Stuart come out of Gru's garage and see their boss being loaded in. Lucy struggles to close the trunk. LUCY (CONT'D) Get...in...there...you...big...man! SLAM! Lucy finally slams the trunk then quickly gets into the vehicle. Tom and Stuart exchange horrified looks. TOM AND STUART Boss! DESPICABLE ME 2 CINCO & KEN DRAFT 10. They take off running after the car as it pulls away, running as fast as their tiny legs will carry them. They get right behind it and Tom LEAPS up onto the trunk. He reaches his hand out to Stuart, who is falling behind. TOM Koom ey lah! STUART Koom ey lah! Koom ey lah! Stuart leaps for the bumper and Tom catches him by his overall straps. Tom holds on tight as Stuart dangles from the back of the car, his overall straps stretching way out. STUART (CONT'D) Aaaaaaiiieeeaaaiiieeeaaaah! As Lucy turns a corner, he slams into some garbage cans and ends up skiing behind the car in a cardboard box. Now in the box, Stuart continues to ride behind the car, and even starts to get the hang of that, too. He waves at Tom, and Tom waves back. STUART (CONT'D) Woooo! TOM Ooooh! All is good until they go past a clothesline and a sheet gets stuck on Stuart. The sheet forms a parasail which lifts Stuart up into the air. He strikes a Superman flying pose. Then a flock of GEESE fly toward him and one actually slams into his face. STUART Quack quack! It SQUAWKS at him as it flies off. Lucy spots the commotion in her side view mirror and slams on the brakes. SCREECH! Both minions fly forward-- INT: LUCY'S CAR - SAME Lucy sees this, drives forward, and opens the convertible top, causing the Minions to land right in the passenger's seat. They strike threatening karate poses. DESPICABLE ME 2 CINCO & KEN DRAFT 11. TOM AND STUART Hi-YAH!! Lucy tases them and they pass out. She floors it. EXT: STREET - SAME Lucy's car continues driving until it reaches a crowded PIER. And doesn't stop. It drives right off the end of the pier. A confused fisherman leaps for his life. CONFUSED FISHERMAN What the-- Oh! SPLASH! INT: OCEAN - SAME Lucy's car now transforms into an UNDERWATER VEHICLE. As the minions come to, one of them tries playing with the radio until Lucy slaps his hand away. They speed through the sea and an octopus slams into her windshield. She turns on the wipers, which hits the octopus in the face until he's had enough and swims off in a cloud of ink. She HONKS her HORN as she passes through a school of fish. MINIONS Whoa... As the fish pass the Minions look ahead to see a shark heading for them with his mouth open. They SCREAM. Lucy quickly steers the car out of harm's way. They pass by several more sharks until they arrive at a GIANT SUBMARINE with the letters "AVL" on the side. A HATCH opens and Lucy's car goes inside. The hatch closes behind her. INT: AVL SUB - SAME The water drains out from the holding dock. A buffer and hair dryer come out to dry off the car. A squeegee wipes off the windshield. Then the platform the car is on lowers down. DESPICABLE ME 2 CINCO & KEN DRAFT 12. INT: AVL ROOM - DAY Lucy's car lowers into the center of the room as a large circular table assembles around it, effectively locking them in. Lucy and the Minions get out of the car. She pushes a button on her remote and Gru, with a starfish attached to his head, is ejected from the trunk. GRU (groggily) Ugh...ooh...what...where...ah...oh, foot's asleep...ah...pins and needles... SILAS (O.S.) Good afternoon, Mr. Gru. GRU Ehhh... SILAS I apologize for our methods in getting you here. LUCY I don't. I'd do it again in a heartbeat. I am not gonna lie--I enjoyed that. Every second of it. Gave me a bit of a buzz, actually. SILAS That's enough, Agent Wilde. LUCY Sorry, sir. GRU Okay, this is bogus! Gru peels the starfish off his head and drops it onto Tom's. Stuart LAUGHS at him. GRU (CONT'D) I don't know who you people think you are, but-- A WAITER comes over with tea for Silas. SILAS We are the Anti-Villain League. DESPICABLE ME 2 CINCO & KEN DRAFT 13. As Silas summons a map that shows all of the AVL offices around the world, Lucy's car drops out of the way. Stuart is trapped on the lowering platform and he scrambles to get back onto stable ground. Silas continues. SILAS (CONT'D) An ultra-secret organization dedicated to fighting crime on a global scale. Rob a bank? We're not interested. Kill someone? Not our deal. But you want to melt the polar ice caps? Or vaporize Mt. Fuji? Or even steal the moon? Then we notice. GRU First of all, you've got no proof that I did that. Second, after I did do that, I put it back! SILAS We're well aware of that, Mr. Gru. That's why we've brought you here. (beat) I am the League's director, Silas Ramsbottom. Upon hearing the name, Tom and Stuart start giggling. TOM Bottom. TOM AND STUART Heeheheeeeheeehee. Silas bristles at this, and glances over at Lucy. SILAS Hilarious. Agent Wilde... LUCY Oh, me now...? She continues the de-briefing, turning to the screens, which show an image of the Magnet Ship stealing the lab. LUCY (CONT'D) Um, recently an entire top secret lab disappeared from the Arctic Circle. Yeah, the entire lab. Just whoosh. Voom! Gone. Where did it go? DESPICABLE ME 2 CINCO & KEN DRAFT 14. GRU I don't care. The screen shows FOOTAGE of a TINY LITTLE BUNNY in a scientific lab. Furry and adorable. LUCY The lab was devoted to experiments involving PX-41, a transmutation serum. What is PX-41, you ask? Mmmm, it's pretty bad... Look. A LABCOAT TECHNICIAN approaches the bunny with a SYRINGE containing the purple liquid. Injects some in its butt. TOM AND STUART Aaah! Instantly the bunny transforms into a HIDEOUS PURPLE MONSTER BUNNY. Gru and the Minions smile, impressed. Then it goes crazy and attacks the scientist. Gru covers his eyes and the Minions pass out. GRU Oh! The bunny attacks the technician, then the camera...and the film is over. GRU (CONT'D) Hmm, you usually don't see that in bunnies. SILAS As you can see, in the wrong hands, the PX-41 serum could be the most devastating weapon on earth. (struggles to get through the opening in the table) Fortunately it has a very distinct chemical footprint, and using the latest chemtracking technology, we found traces of it in the Paradise Mall. On the screens we see images depicting a highly technical diagram of the shopping mall. GRU Ha! A mall? DESPICABLE ME 2 CINCO & KEN DRAFT 15. SILAS Precisely. And we believe that one of these shop owners is a master criminal. Silas scrolls through pictures of the mall's shop owners. SILAS (CONT'D) And that's where you come in. As an ex-villain, you know how a villain thinks, how a villain acts. LUCY The plan is to set you up undercover at a shop in the mall, where hopefully you'll be able to-- GRU Okay, I see where this is going, with all the Mission Impossible stuff, but no. No! I am a father now. And a legitimate businessman. I am developing a line of delicious jams and jellies. Silas shoots him a look. He CHUCKLES. SILAS Jams and...jellies? GRU Oh, attitude! That's right! So thanks, but no thanks. (beat) And here's a tip--instead of tasing people and kidnapping them, maybe you should just give them a call! Good day, Mr. Sheepsbutt! SILAS Ramsbottom. GRU (chuckles) Oh, yeah, like that's any better! Gru turns and heads for the door, followed by Tom and Stuart, who continue to GIGGLE about Ramsbottom's name. EXT: OCEAN - NIGHT Gru exits the AVL headquarters, which he now sees is on a SUBMARINE. DESPICABLE ME 2 CINCO & KEN DRAFT 16. Lucy leans out the door and taps him on the shoulder. LUCY Look, I probably shouldn't be saying this, but your work as a villain was kind of amazing, so if you ever want to get back to doing something awesome--give us a call. She hands Gru her BUSINESS CARD. Gru takes it and stares at it. EXT: OCEAN - LATER Gru rows back to shore as Tom yells to him like a coxswain. Gru GRUNTS with each stroke. TOM ("Stroke!") Mack-oh! Mack-oh! Mack-oh! INT: GRU'S HOUSE - NIGHT Gru carries a sleeping Agnes upstairs. INT: GIRLS' BEDROOM - CONTINUOUS Gru enters to find Margo and Edith not in bed. Margo is texting someone. GRU (whispers) Hey, I told you guys to get to bed. MARGO Oh, sorry. EDITH So when ya goin' on your date? GRU What? EDITH Remember? Miss Jillian said she was arranging a date for you. GRU Yeah, well, she is a nutjob. And I'm not going on any date. DESPICABLE ME 2 CINCO & KEN DRAFT 17. EDITH Why not? Are you scared? Gru stares back at Edith. Gets a far-away look in his eyes. EXT: PLAYGROUND - FLASHBACK - DAY We flash back to LITTLE GRU on the school playground. He stares, lovesick, at a CUTE LITTLE BLONDE GIRL, named LISA. LISA (to her friends) Hey, did you guys see the moon landing on TV? GIRLS Yeah, I can't believe it. It's so cool... LISA Yeah, and you know what-- Gru approaches her. LITTLE GRU Excuse me, Lisa? But she doesn't notice him. He tries again. LISA (to her friends) I was talking to Billy the other day. GIRLS No way. LISA He is so cute. Gru clears his throat. LISA (CONT'D) And I think he likes me. GRU Hey Lisa, I was wondering if you-- Gru reaches out and taps her shoulder with his pointer finger. Then one of the other little girls points to Gru's finger on Lisa's shoulder. DESPICABLE ME 2 CINCO & KEN DRAFT 18. GIRL Ewww! Gru touched Lisa! Gru touched Lisa! The other girls turn and squeal, horrified. GIRLS Eeeeewww! A little buck-toothed red-haired girl shouts out to the entire playground. RED HAIRED GIRL Lisa's got Grooties! The playground erupts with SCREAMS and everyone turns and runs away. Little Gru is left alone. Crushed. INT: GIRLS' BEDROOM - NIGHT Gru comes out of the flashback. GRU Scared? Of what? Women?! No, that's bonkers! I just-- I have no interest in going on a date, that's all. Case closed. I'm not scared-- of women... or dates... let's go to bed. Gru gives each girl a goodnight kiss. GRU (CONT'D) Goodnight, Edith. Then he goes over to Margo, who's already in bed. GRU (CONT'D) Goodnight, Margo. She continues texting as he gives her a kiss. GRU (CONT'D) Whoa, whoa, whoa, whoa! Well, hold the horses. Who are you texting? MARGO No one. Just my friend Avery. DESPICABLE ME 2 CINCO & KEN DRAFT 19. GRU Avery... Avery? Is that a girl's name or a boy's name? MARGO Does it matter? GRU No, no, it doesn't matter... Unless it's a boy! AGNES I know what makes you a boy. Gru turns to Agnes, concerned. GRU Uh...oooh...you...do? AGNES Your bald head. Gru nods, relieved. GRU Oh, yes... AGNES It's really smooth. Sometimes I stare at it and imagine a little chick popping out. Peep peep peep. Gru sighs and gives her a kiss. GRU Goodnight, Agnes. Never get older. Gru turns out the light and leaves the room. INT: LAB - DAY Gru rides the elevator tube down to his lab, passing minions in various stages of jelly making. A sign reading, JELLY TESTING AREA" has been hastily pasted over a nuclear warning sign. A SUPERVISOR MINION checks his clipboard as the MINION next to him steals a banana from his pocket. He turns, but the Minion who stole the banana has hidden it in his mouth. We see the ends of the banana pushing out his cheeks. SUPERVISOR MINION Hey, oh! Me banana! DESPICABLE ME 2 CINCO & KEN DRAFT 20. The Minion with the banana in his mouth shrugs. A single apple is passed down a line of Minions in the least efficient way possible. A few Minions mash fruits in large vats ala "I Love Lucy." One wears a bunch of fruit on his head like Carmen Miranda and sings the CHIQUITA BANANA song. His supervisor comes over and tells him to get back to work. The Minion tries to get out of the vat of fruit, but slips and falls down into a large test-tube filled with mashed fruit. Then all of the mashed fruit is flushed down a large hole where it is injected into jelly jars passing by on a conveyor belt. The trapped Minion is injected into one of the jars. Gru enters the lab and greets the minions. GRU Hey, Tim, nice haircut! He points at Tim. GRU (CONT'D) Donnie, hang in there, baby! It's almost Friday. Gru high-fives Donnie as he approaches Dr. Nefario. GRU (CONT'D) So, how's today's batch, Dr. Nefario? DR. NEFARIO I developed a new formula which allowed me to get every known kind of berry into one flavor of jelly. Gru sticks his finger in and tastes the purple goo in the jar. Makes a disgusted face, then attempts a smile. GRU (faking it) That tastes good... (gags) Love the flavor of that... DR. NEFARIO It's horrible, isn't it? DESPICABLE ME 2 CINCO & KEN DRAFT 21. GRU No! No! Oh, we're making great progress! (to the Minions) Here, try some of this. He hands a jar to a minion, who tries it. He GAGS! Another minion tastes some and scrapes it off his tongue. They smash the jar and all the minions run away, disgusted. GRU (CONT'D) Whoa... okay, just because everybody hates it doesn't mean it's not good. Dr. Nefario hangs his head. DR. NEFARIO Listen, Gru. There's something I've been meaning to talk to you about for some time now. GRU What? What's wrong? DR. NEFARIO (clears his throat) I miss being evil. Sinister plots, large-scale crimes...It's what I live for! I mean, don't you think there's more to our future than jelly? GRU Well, I'm also considering a line of jams... DR. NEFARIO Um...the thing is, Gru... (deep breath) I've had an offer of employment elsewhere. GRU Dr. Nefario! Come on, you're kidding, right? DR. NEFARIO It's a great opportunity for me, bigger lab, more evil, full dental... Dr. Nefario presses a button and his stuff folds itself up into a traveling suitcase. DESPICABLE ME 2 CINCO & KEN DRAFT 22. Dr. Nefario hangs his head. Gru stares back at his old friend. GRU Very well. Let us give you the proper send-off. (calls off screen) Minions! INT: GRU'S LAB - LATER Seven minions are lined up with seven fart guns. Dr. Nefario sits in his scooter. GRU The highest honor awarded. To Dr. Nefario for your years of service. The twenty-one fart gun salute! FART! FART! FART! Dr. Nefario COUGHS. His eyes are watering (and not only

13

Fantastic Mr Fox

Roald Dahl,Wes Anderson,Noah Baumbach

Animation,Adventure,Comedy,Family

March_2007

EXT. WOODS. DAY An apple tree stands alone at the top of a hill. A handsome fox dressed in an Edwardian-style navy velvet suit leans against it with his arms folded and his legs crossed, chewing on a reed of wild grass. He holds an apple core in his paw. He spits out a seed. He looks off across a meadow that descends into the valley below. A female fox strides briskly up the hill. Her coat is a paler, especially beautiful shade of fox-red, and she wears men's trousers and a dark tunic. Fox says as she approaches: FOX What'd the doctor say? MRS. FOX Nothing. Supposedly, it's just a twenty- four hour bug. He gave me some pills. FOX (REASSURINGLY) I told you. You probably just ate some bad gristle. Fox brushes the fur on Mrs. Fox's ears with his paws. They walk together along the crest of the hill to a fork in the path. Fox points: FOX Should we take the short cut or the scenic route? MRS. FOX Let's take the short cut. FOX But the scenic route is so much prettier. MRS. FOX (SHRUGS) OK, let's take the scenic route. FOX Great. It's actually slightly quicker, anyway. Fox throws his apple core away over his shoulder and dances a quick circle around Mrs. Fox, wrapping his arm around her waist extravagantly and making her laugh as they start off down the scenic route. 2. EXT. FARM. DAY A rustic cottage surrounded by a small barn, a tin silo, and a rickity windmill. There is a sheep in a little pasture. A sign on a rail says Berkus Squab. Fox and Mrs. Fox watch from the bushes outside a fence. MRS. FOX What is a squab? FOX You know what a squab is. It's like a pigeon, I suppose. Anyway, it's a type of bird we can eat. Fox motions toward the edge of the property. FOX Should we go through the hole under the horse fence or climb the rail over the bridle path? MRS. FOX Well, I guess the horse fence would be a little safer. FOX But the bridle path puts us out right next to the squab shack. Mrs. Fox hesitates. She fiddles with her paws. She nods nervously. She shakes slightly. Fox looks at her funny. FOX What's wrong? I've never seen you like this. You're acting all skittish. Don't worry. I've been stealing birds for a living since before I could trot. MRS. FOX (SHRUGS) OK, let's take the -- FOX No, we'll do the horse fence. You gave me the scenic route already. Fox flashes a smile. He says suddenly: FOX By the way, you look unbelievably beautiful tonight. You're practically glowing. Maybe it's the lighting. 3. Mrs. Fox is, in fact, glowing, albeit ever so slightly. She stares at Fox enigmatically. Fox touches his paw to her cheek. (NOTE: an alternate version of Mrs. Fox will be used for this shot which can be literally lit from within.) With the speed, grace, and precision of athletes, Fox and Mrs. Fox: dart through a hole under a painted fence; race along a thin trail next to a garage; crawl beneath a window where a blonde woman serves an early dinner, dealing hamburgers like playing cards to three little, blond children; creep past a doghouse where a golden retriever sleeps with an airline sleeping mask over his eyes; and shimmy over a doorway outside a workshop where a blond, bearded farmer hacks into a stump with a hatchet, completely pulverizing it into sawdust. They arrive in front of a wooden shed. Fox whistles sharply with a half-chirp and performs a rapid reverse-flip with a flourish. Fox lifts a loose board. He looks to Mrs. Fox and puts his finger to his lips for her to be quiet. She shrugs impatiently. They duck inside. They come back out. Each holds a dead, bloody pigeon in his/her teeth. They start to run away. Fox looks up above them. He stops. He frowns. He takes the pigeon out of his mouth and says curiously, pointing toward the sky: FOX What's that? I think that's a fox-trap! Look at this. MRS. FOX Get away from there. FOX Is it spring-loaded? Yeah... (pointing to different spots) I guess if you come from over there, and you're standing at the door to the squab shack, this little gadget probably triggers the -- (gesturing to Mrs. Fox) Move out of the way, darling. That's right where it's going to land. Mrs. Fox runs back to Fox and tugs at his arm. MRS. FOX Come on! Stop it! Let's go! 4. Fox pulls on a little, hanging wire. A chain unrolls rapidly from a pulley, and a steel cage falls slap down on top of them. A small tag on the base of it says Badoit et Fils. Fox and Mrs. Fox stand motionless, side by side, in disbelief. FOX No, it just falls straight down right here, doesn't it? I guess it's not spring- loaded. Sounds come from around the farm: the dog barks, doors open, voices yell, lights come on. Mrs. Fox turns to Fox and says QUIETLY: MRS. FOX I'm pregnant. Fox stares at Mrs. Fox. He is confused but moved. FOX Wow. We're going to have a cub. Honey, that's great news! MRS. FOX If we're still alive tomorrow morning, I want you to find another line of work. Pause. Fox nods. CUT TO: A wide shot of the entire valley. There are thick woods, green and yellow fields, two ponds, a small village, and a river running through the middle. TITLE: 2 YEARS LATER ( 12 Fox-Years) EXT. HOLE. DAY The entrance to a tunnel under a dirt mound covered with holly bushes. INT. HOLE. DAY A small, comfortable kitchen off a living room with two bedrooms behind it. Fox sits at the kitchen table reading a newspaper called the Gazette. His fur has gone grey at the temples, and he now wears a dark, double-breasted, pin- striped suit with a conservative necktie. Mrs. Fox stands at the counter-top stirring something in a bowl with a whisk. 5. She is dressed in a paint-splattered, cream-colored, Victorian-style dress. INSERT: A column in the newspaper with Fox's picture at the top of it. The caption reads: Fox about Town with Fantastic Mr. Fox. FOX Does anybody actually read my column? Do your friends ever talk about it? MRS. FOX (STILL STIRRING) Of course. In fact, Rabbit's ex- girlfriend just said to me last week, "I should read Foxy's column," but they don't get the Gazette. (yelling into the next room) Ash! Let's get cracking! FOX Why would they? It's a rag-sheet. (SIGHS) I want to say I hate my job, but that would make it seem more important to me than I want people to think it is. Mrs. Fox puts down her bowl and starts slicing a loaf of bread. A small, narrow fox cub comes out of one of the bedrooms wearing white pants and no shirt. His hair is smashed all onto one side sticking up wrong. He is Ash. ASH I'm sick. MRS. FOX You're not sick. ASH I have a temperature. Mrs. Fox goes quickly over to Ash and puts her paw to his forehead. MRS. FOX You don't have a temperature. Ash turns away and says as he goes back into his bedroom: ASH I don't want to go. 6. MRS. FOX Hurry up. You're going to be late. Mrs. Fox goes back into the kitchen and starts making toast and coffee. Fox whispers to her: FOX I love the way you handled that. Mrs. Fox looks at Fox sideways. She says loudly to Ash: MRS. FOX Your cousin Kristofferson's coming first thing tomorrow morning. I want you to be extra nice to him, because he's going through a very hard time right now, OK? Ash comes back out of his bedroom. He now wears a white cardigan and white socks with his white pants tucked into them. He says aggressively: ASH Where's he going to sleep? MRS. FOX We're going to make a bed for him in your room tonight. ASH I can't spare the space. Put him in Dad's study. Fox says without looking up from his newspaper: FOX Dad's study is occupied by Dad. Ash goes back into his bedroom. Fox lowers his newspaper. He looks around the room. He says to Mrs. Fox: FOX I don't want to live in a hole anymore. It makes me feel poor. Mrs. Fox stops buttering the toast. She looks to Fox and says SOFTLY: MRS. FOX We are poor -- but we're happy. Fox twists his paw in the air, indicating: 7. FOX Comme-ci, comme-ga. Anyway, the views are better above ground. Mrs. Fox nods. She brings Fox a plate of toast and a cup of coffee. Fox takes her paw and says: FOX I'm seven non-fox-years old now. My father died at seven and a half. I don't want to live in a hole anymore, and I'm going to do something about it. Fox kisses Mrs. Fox's paw. He suddenly eats three slices of toast in a second and a half, savagely but neatly. He stands and picks up his cup of coffee. FOX Well, I'm off. Fox throws back the last of his coffee, kisses Mrs. Fox on the back of her neck, grabs his briefcase, tucks his newspaper under his arm, and walks to the door. He shouts CHEERILY: FOX Have a good day, my darlings! Ash comes out the bedroom again. He has now added a white cape to his ensemble and is in the middle of brushing his teeth. There is toothpaste all over his mouth. He waves briefly to Fox and goes back into his bedroom. Fox looks puzzled. FOX What's he wearing? Mrs. Fox shrugs. She smiles sadly and waves to Fox. Fox waves back. He starts to go out but pauses to look down at a folded up section of his newspaper. INSERT: A clipping from the real estate section. There is a photograph of a wide, sprawling beech tree at the top of a hill. A caption below it reads: Tree Living, Great Views, Classic Beech INT. TREE. DAY A door opens into a wide, low space with peeling paint. There is an old chair against the wall, a bare light bulb hanging 8. from the ceiling, and a layer of dust over everything. A skinny weasel in a khaki outfit immediately starts in as Fox comes into the living room: WEASEL Obviously, it's first growth, indigenous. Original dirt floor, good bark, skipping stone hearth -- Weasel is interrupted by a loud banging clank. He and Fox peer into the next room. A heavy-set opossum with a cowlick tinkers with some pipes under the kitchen sink. He is Kylie. Weasel snaps at him: WEASEL What'd I tell you? I'm showing the property. You're not supposed to be here. KYLIE (checking his watch) Oh, cuss. What time is it? I'm sorry. Weasel sighs. He waves his arm in Kylie's direction and says distractedly, slightly annoyed: WEASEL This is Kylie. He's the super. (aside to Fix) He's a little -- Weasel makes a fluttering gesture with his paw. Fox nods. He points at a bucket on the floor next to Kylie among bolts, tools, and washers. FOX What's in the bucket, Mr. Kylie? KYLIE (HESITATES) Just minnows. You want one? FOX Certainly. Thank you. Kylie reaches into his bucket and hands Fox a live, wriggling minnow. Fox swallows it whole. Fox stares out the window at three sprawling poultry compounds in the distance. Black smoke pours out of a farmhouse chimney on each property. A sign on a water tower in the first compound reads Boggis Farms and has a picture of a chicken on it. A sign on a silo in the second compound reads Bunce Industries and has a picture of a goose on it. A sign on a windmill in the third compound reads Bean, inc. 9. (since 1976) and has a picture of a turkey with an apple on it. Weasel says pointedly from across the room: WEASEL May I ask what you do for a living, Mr. Fox? Fox's eyes narrow as he looks out, entranced, with his mouth slightly open. He says almost inaudibly: FOX I used to steal birds, but now I'm a newspaper man. WEASEL (PLEASED) Oh, sure. I've seen your by-line. Fox snaps out of his reverie and says suddenly: FOX Good afternoon, gentlemen. Fox shakes hands abruptly with Weasel and starts across the room. Weasel is about to ask something when Fox stops in the doorway, looks back, and says: FOX Oh, and Kylie -- thank you for the minnow. It was superb. Kylie smiles. Fox exits. EXT. RIVER. DAY A beaver dam across a bend in a fast stream. A still pond sits above it. There is an entrance tunnel tucked beneath a rock. INT. BEAVER DAM. DAY A large room of twig, stick, and mud construction. A card on the door reads Badger, Beaver, and Stoat, L.L.P, Attorneys at Law. An anxious badger sits at his desk reviewing some documents. Fox paces the floor with his hands clasped behind his back. BADGER Don't buy this tree, Foxy. You're borrowing at nine and a half, which stinks like cuss, plus moving into the most dangerous neighborhood in the (MORE) 10. BADGER (CONT'D) country for someone of your type of species. FOX You're exaggerating, Badger. BADGER (YELLING) Bull-cuss! I'm sugar-coating it, man! This is Boggis, Bunce, and Bean! Three of the meanest, nastiest, ugliest farmers in the history of this valley! An uneasy otter secretary peers in at them from the outer office. Fox looks intrigued. FOX Really? Tell me about them. Silence. Badger sighs. He loosens his tie and settles in. BADGER All right... CUT TO: A fat man with a huge moustache. He wears a tweed suit which stretches at the buttons so much that they look like they are about to snap off. He holds a carbine rifle. He stands in front of his farm, which contains row upon row of chicken houses. He has an ugly face. He is Boggis. BADGER (V.0.) Walter Boggis is a chicken farmer. Probably the most successful in the world. INT. BOGGIS' KITCHEN. DAY Boggis sits at a chopping block tearing into a boiled chicken with a fork and a meat cleaver. BADGER (V.0.) He's unbelievably fat -- which maybe is genetic -- but he also eats three boiled chickens smothered with dumplings every day for breakfast, lunch, supper, and dessert. That's twelve in total, per diem. INSERT: 11. Boggis' ear. Furry black and white hairs grow out of it. A fly buzzes around, lands on it, and crawls inside. Boggis sticks his pinky in after it and scratches. BADGER (V.0.) He never takes a bath, as a result of which his ear holes are clogged with all kinds of muck and wax and bits of chewing gum and dead flies and so on. CUT TO: A short, overweight man with one slightly wandering eye. He wears overalls and a cap. He holds a twelve-gauge shotgun. He stands in front of his farm, which consists of several long buildings in rows like a factory. He has a nasty face. He is Bunce. BADGER (V.0.) Nathan Bunce is a duck and goosefarmer. He owns about 2 million ducksand 500,000 geese. You might say he's kind ofa pot- bellied dwarf of some kind. EXT. SWIMMING POOL. DAY Bunce stands up to his nose in water. The depth reads 4FT. BADGER (V.0.) He's so short his chin would probably be under water in the shallow end of any swimming pool on the planet. INT. BUNCE'S KITCHEN. DAY Bunce sits on two stacked telephone books on a chair. He guts a dead goose, cutting out its liver and mashing it with a fork. A plate of doughnuts cools on the table. BADGER (V.0.) He eats only doughnuts with smashed-up goose livers injected into them. CUT TO: A tall, skinny man in a long trench-coat. He holds a Luger pistol. He stands in front of his farm, which is an apple orchard that stretches over thousands of acres. He has a mean face. He is Bean. BADGER (V.0.) Franklin Bean is a turkey and apple farmer. He keeps his birds in an orchard (MORE) 12. BADGER (V.0.) (cont'd) where they run around squawking and gobbling, surrounded by apples. Bean aims his Luger and shoots a humming bird. Crazy turkeys run about among the trees. INT. BEAN'S SHED. DAY Bean works at a moonshine-type cider still, boiling chemicals and sipping from a bottle. BADGER (V.0.) He's probably anorexic, because he never eats anything. He's on a liquid diet of strong, alcoholic cider, which he makes from his apples. He's as skinny as a pencil, as smart as a whip -- and easily the biggest cusshole I've ever met in my life. CUT TO: Fox and Badger in Badger's office. BADGER In summation, I think you just got to not do it, man. That's all. FOX I understand what you're saying, and your comments are valuable, but I'm going to ignore your advice. Badger leaps out of his chair and slams the office door. He points his finger at Fox and screams: BADGER The cuss you are! FOX (IN DISBELIEF) The cuss am I? Fox jumps up and points back at Badger, screaming: FOX Don't cussing point at me! BADGER (SCREAMING) Are you cussing with me? 13. FOX (SCREAMING) Do I look like I'm cussing with you? Fox and Badger begin to snarl and snap savagely, knocking into the furniture as they circle around the room pointing in each other's faces. Suddenly, they calm down all at once, sighing deeply. Pause. FOX One last thing: something's probably about to happen to me at work which I can't put my finger on but have a funny feeling about. How can I protect myself legally? BADGER (PAUSE) Are you about to get fired? FOX (SHRUGS) Slash quit. CUT TO: A door with a frosted glass window. Letters painted on it read Gazette, Editor-in-Chief, Phillip Squirrel. Fox's silhouette stands across from that of a small squirrel sitting at a desk. The squirrel's silhouette says in a GRAVELLY VOICE: SQUIRREL You're fired. FOX Slash I quit. Here's my letter of resignation. Fox's silhouette throws an envelope onto the squirrel's desk. MONTAGE: Two muskrats in orange moving company uniforms unloads boxes and furniture from a wagon and carries them into the tree. Fox holds open the front door and barks orders at them. Two muskrats in white painter's uniforms paints the walls of the living room and the trim around the windows with rollers and brushes. Fox stands on the drop-cloth and barks orders at them. 14. Two muskrats in blue electrician's uniforms work in the kitchen. Mrs. Fox watches over their shoulders and barks orders at them. Fox holds up a pair of flowered curtains in front of a window. He looks to Mrs. Fox. She stares at the curtains thoughtfully. She raises an eyebrow. Fox and Mrs. Fox sit in the windowsill looking out at the sunset. Ash stands in-between them. The flowered curtains wave in the breeze. Fox puffs on a pipe. Ash blows a soap bubble. Mrs. Fox puts out her paw and a butterfly lands on it. She smiles at Fox. He puts his arm around her. He raises a pair of binoculars to his eyes. INSERT: A binocular shot of an industrial shack with Boggis Chicken House #1 stencilled on the front of it. Fox lowers the binoculars. His eyes sparkle. EXT. TREE. DAY Ash stands poised on a high branch over an inflatable swimming pool printed with a red-tartan plaid pattern. He wears over-sized swim trunks with a pattern of acorns printed on them. Fox sits in the grass eating an apple below with Mrs. Fox. She is painting at an easel. Ash yells: ASH Watch this, Dad! Fox looks up. Ash leaps into the air and does a spectacularly awkward back-flip during which he appears to have four arms and three legs randomly attached to his body, flailing wildly. He hits the water by the side of his head and smacks into the surface back-first with a pained yelp. Fox grimaces. He claps mildly. (NOTE: an alternate version of Ash with four arms and three legs randomly attached to his body will be used for this stunt.) FOX Good jump, Ash! Remember to keep your tail tucked! Fox looks at Mrs. Fox's canvas. It is a picture of the pond and landscape in severe weather with black clouds and lightning bolts. It is signed Felicity Fox. Fox raises an eyebrow. 15. FOX Still painting thunderstorms, I see. Fox sees a small, Samsonite suitcase on the ground next to a pair of yellow sneakers. He frowns. FOX Whose suitcase is that? A boy's voice shouts from the high tree branch: KRISTOFFERSON Hello, everyone! Good afternoon! Fox, Mrs. Fox, and Ash look up, surprised. A second Fox cub stands poised on the edge of the limb. He is taller, leaner, sleeker, and it is immediately apparent even by his posture infinitely more graceful than Ash. He is Kristofferson. He wears a professional Speedo with a patch on it that says Swim Team. Fox brightens. FOX Kristofferson! Welcome to our little tree! I see you brought your swimming trunks! Kristofferson steps off the branch and performs a reserved but perfect jack-knife. He enters the water splashlessly. Fox leaps to his feet, applauding with his paws above his head, whistling and hollering: FOX Look at that! This kid's a natural! I'm speechless, Kristofferson! Kristofferson smiles modestly and shrugs. Ash stares at him stonily. Fox turns to Mrs. Fox. FOX Plus, he knows karate. INT. LIVING ROOM. EVENING Fox sits in his armchair reading the Gazette. Ash sits on a braided rug on the floor beside him reading a comic book called The Adventures of White Cape. On the cover, there is a picture of a ferret leaping off a motorcycle. Mrs. Fox is in the kitchen in the background flattening a hunk of dough with a rolling pin. Kristofferson is in the next room practicing tae-kwon-do. He wears khaki shorts, yellow sneakers, and a blue, short-sleeved, button-down shirt. 16. ASH Do you think I'm an athlete? FOX (without looking up) What are you talking about? ASH Well, you know, I think I'm an athlete, and sometimes I feel like you guys don't see me that way. FOX What's the sub-text here? Ash thinks for a minute. He looks at Kristofferson in the next room. Kristofferson is now sitting Indian-style on the floor meditating. His paws are turned upward with his thumbs touching his index fingers forming a ring. Ash says loudly to Mrs. Fox in the kitchen: ASH How long is Kristofferson supposed to stay with us? MRS. FOX Until your uncle gets better. ASH Right, but roughly how long do we plan to give him on that? Double-pneumonia isn't even really that big of a deal, is it? In the background, Kristofferson stands up again and starts practicing violent karate kicks. Mrs. Fox leans into the doorway and whispers forcefully: MRS. FOX As a matter of fact, it is. He's lucky to be alive. Now -- ASH Right, but -- Kristofferson yells suddenly as he does a spinning double- kick with a chop: KRISTOFFERSON Ki-ya! Everyone looks startled. Kristofferson resumes his tae-kwon- do practice with an angry, wounded look on his face. Mrs. Fox SAYS COLDLY: 17. MRS. FOX Lower your voice, Ash. EXT. TREE. NIGHT Fox and Kylie sit in a porch swing on one of the middle branches of Fox's tree. They drink cups of coffee. Crickets chirp. FOX Kids are crazy, aren't they? You got to try it, though. Raising a family. KYLIE Yeah. Sometimes I feel like maybe I MIGHT -- FOX What do you think of this tree, by the way? It's great, huh? KYLIE (HESITATES) Yeah. No, I was just saying how some- TIMES -- FOX I have one last part of what I was about to say. KYLIE OK. Go ahead. FOX I'm going broke. You want to help me steal some chickens? CUT TO: Fox's study, the next morning. A map of the valley with notes and arrows written all over it is spread across a desk. The door is closed with a towel jammed under it. A cricket match plays loudl

14

Finding Nemo

Andrew Stanton

Adventure,Animation,Comedy,Family

May_2003

MARLIN Wow. CORAL Mmm. MARLIN Wow. CORAL Mmm-hmm. MARLIN Wow. CORAL Yes, Marlin. No, I see it. It's beautiful. MARLIN So, Coral, when you said you wanted an ocean view, you didn't think that we we're gonna get the whole ocean, did you? Huh? [sighs] Oh yeah. A fish can breath out here. Did your man deliver or did he deliver? 1 CORAL My man delivered. MARLIN And it wasn't so easy. CORAL Because a lot of other clownfish had their eyes on this place. MARLIN You better believe they did--every single one of them. CORAL Mm-hmm. You did good. And the neighborhood is awesome. MARLIN So, you do like it, don't you? CORAL No, no. I do, I do. I really do like it. But Marlin, I know that the drop off is desirable with the great schools and the amazing view and all, but do we really need so much space? MARLIN Coral, honey, these are our kids we're talking about. They deserve the best. Look, look, look. They'll wake up, poke their little heads out and they'll see a whale! See, right by their bedroom window. CORAL Shhh, you're gonna wake the kids. MARLIN Oh, right. Right. CORAL Aww, look. They're dreaming. We still have to name them. MARLIN You wanna name all of 'em, right now? All right, we'll name this half Marlin Jr. and then this half Coral Jr. Okay, we're done. CORAL I like Nemo. MARLIN Nemo? Well, we'll name one Nemo but I'd like most of them to be Marlin Jr. CORAL Just think that in a couple of days, we're gonna be parents! MARLIN Yeah. What if they don't like me? CORAL Marlin. MARLIN No, really. CORAL There's over 400 eggs. Odds are, one of them is bound to like you. CORAL What? MARLIN You remember how we met? CORAL Well, I try not to. MARLIN Well, I remember. 'Excuse me, miss, can you check and see if there's a hook in my lip?' CORAL Marlin! MARLIN 2 'Well, you gotta look a little closer because it's wiggling'. CORAL Get away! MARLIN Here he is. Cutie's here! Where did everybody go? MARLIN [gasps] Coral, get inside the house, Coral. No, Coral, don't. They'll be fine. Just get inside, you, right now. MARLIN No! MARLIN Coral! Coral? MARLIN Coral? Oh! MARLIN Ohh. There, there, there. It's okay, daddy's here. Daddy's got you. I promise, I will never let anything happen to you...Nemo. ====================================================================================== NEMO First day of school! First day of school! Wake up, wake up! C'mon, first day of school! MARLIN I don't wanna go to school. Five more minutes. NEMO Not you, dad. Me! MARLIN Okay...huh? NEMO Get up, get up! It's time for school! It's time for school! It's time for school! It's time for school! Oh boy! Oh boy! MARLIN All right, I'm up. NEMO Oh boy--whoa! MARLIN Nemo! NEMO First day of school! MARLIN [gasps] Nemo, don't move! Don't move! You'll never get out of there yourself. I'll do it. All right, where's the break? You feel a break? NEMO No. MARLIN Sometimes you can't tell 'cause fluid is rushing to the area. Now, any rushing fluids? NEMO No. MARLIN Are you woozy? NEMO No. MARLIN How many stripes do I have? 3 NEMO I'm fine. MARLIN Answer the stripe question! NEMO Three. MARLIN No! See, something's wrong with you. I have one, two, three--that's all I have? Oh, you're okay. How's the lucky fin? NEMO Lucky. MARLIN Let's see. MARLIN Are you sure you wanna go to school this year? 'Cause there's no problem if you don't. You can wait 5 or 6 years. NEMO Come on, dad. It's time for school. MARLIN Ah-ah-ah! Forgot to brush. NEMO Ohh... MARLIN Do you want this anemone to sting you? NEMO Yes. MARLIN Brush. NEMO Okay, I'm done. MARLIN You missed a spot. NEMO Where? MARLIN There. Ha ha! Right there. And here and here and here! ====================================================================================== MARLIN All right, we're excited. First day of school, here we go. We're ready to learn to get some knowledge. Now, what's the one thing we have to remember about the ocean? NEMO It's not safe. MARLIN That's my boy. So, first we check to see that the coast is clear. We go out and back in. And then we go out, and back in. And then one more time--out and back in. And sometimes, if you wanna do it four times-- NEMO Dad.. MARLIN All right. Come on, boy. NEMO Dad, maybe while I'm at school, I'll see a shark! MARLIN 4 I highly doubt that. NEMO Have you ever met a shark? MARLIN No, and I don't plan to. NEMO How old are sea turtles? MARLIN Sea turtles? I don't know. NEMO Sandy Plankton from next door, he said that sea turtles, said that they live to be about a hundred years old! MARLIN Well, you know what, if I ever meet a sea turtle, I'll ask him. After I'm done talking to the shark, okay? Whoa, whoa, whoa! Hold on, hold on, wait to cross. Hold my fin, hold my fin. NEMO Dad, you're not gonna freak out like you did at the petting zoo, are you? MARLIN Hey, that snail was about to charge. Hmm, I wonder where we're supposed to go. FISH KIDS Bye, mom! FISH MOM I'll pick you up after school. CRAB KID Come on, you guys. Stop it! Give it back! MARLIN Come on, we'll try over there. MARLIN Excuse me, is this where we meet his teacher? BOB Well, look who's out of the anemone. MARLIN Yes. Shocking, I know. BOB Marty, right? MARLIN Marlin. BOB Bob. TED Ted. BILL Bill. Hey, you're a clownfish. You're funny, right? Hey, tell us a joke. BOB/TED Yeah, yeah. Come on, give us a funny one. MARLIN Well, actually, that's a common misconception. Clownfish are no funnier than any other fish. BILL Aw, come on, clownie. TED Yeah, do something funny. 5 BOB Yeah! MARLIN All right, I know one joke. Um, there's a mollusk, see? And he walks up to a sea, well he doesn't walk up, he swims up. Well, actually the mollusk isn't moving. He's in one place and then the sea cucumber, well they--I mixed up. There was a mollusk and a sea cucumber. None of them were walking, so forget that I-- BOB Sheldon! Get out of Mr. Johansenn's yard, now! KIDS Whoa! MR. JOHANSSEN All right, you kids! Ooh! Uuh, where'd you go? Where'd you go? Where, where'd you go? NEMO Dad, dad...can I go play too? Can I? MARLIN I would feel better if you go play over on the sponge beds. MARLIN That's where I would play PEARL What's wrong with his fin? TAD He looks funny! SHELDON Ow! Hey, what'd I do? What'd I do? BOB Be nice. It's his first time at school. MARLIN He was born with it, kids. We call it his lucky fin. NEMO Dad. PEARL See this tentacle? It's actually shorter than all my other tentacles but you can't really tell.Especially when I twirl them like this. SHELDON I'm H2O-intolerant. [sneezes] TAD I'm obnoxious. MR. RAY [singing] Oooh, let's name the zones, the zones, the zones. Let's name the zones of the open sea. KIDS Mr. Ray! SHELDON Come on, Nemo. MARLIN Whoa, you better stay with me. MR. RAY [singing]..mesopolagic, bathyal, abyssalpelagic. All the rest are too deep for you and me to see. MR. RAY Huh, I wonder where my class has gone? KIDS 6 We're under here! MR. RAY Oh, there you are. Climb aboard, explorers. [singing] Oh, knowledge exploring is oh so lyrical, when you think thoughts that are empirical. NEMO Dad, you can go now. MR. RAY Well, hello. Who is this? NEMO I'm Nemo. MR. RAY Well, Nemo, all new explorers must answer a science question. NEMO Okay. MR. RAY You live in what kind of home? NEMO An anemo-none. A nemenem-menome-nememen-nenemone-- MR. RAY Okay, okay, don't hurt yourself. Welcome aboard, explorers! MARLIN Just so you know, he's got a little fin. I find if he's having trouble swimming, let him take a break. Ten, fifteen minutes. NEMO Dad, it's time for you to go now. MR. RAY Don't worry. We're gonna stay together as a group. Okay, class, optical orbits up front. And remember, we keep our supraesophogeal ganglion to ourselves...that means you, Jimmy. JIMMY Aw, man! MR. RAY [singing] MARLIN Bye, Nemo! NEMO Bye, dad! MARLIN Bye, son! Be safe. BOB Hey, you're doing pretty well for a first timer. MARLIN Well, you can't hold onto them forever, can you? BILL Yeah, I had a tough time when my oldest went out at the drop off. MARLIN They just gotta grow up--the drop off?! They're going to the drop off?! Wh-what are you, insane?! Why don't we fry 'em up now and serve them with chips!? BOB Hey, Marty. Calm down. MARLIN Don't tell me to be calm, pony boy! BOB 'Pony boy'? 7 BILL You know for a clownfish, he really isn't that funny. TED Pity. ====================================================================================== MR. RAY [singing] Oh, let's name the species, the species, the species. Let's name the species that live in thesea. NEMO Whoa. MR. RAY [singing] There's porifera, coelenterata, hydrozoa, scyphozoa, anthozoa, ctenophora, bryozoas, three! Gastropoda, arthropoda, echinoderma, and some fish like you and me. Come on, sing with me. Oh...! MR. RAY Just the girls this time. [singing] Oh, seaweed is cool. Seaweed is fun. It makes it's food with the rays of the sun... MR. RAY Okay, the drop off. All right, kids, feel free to explore but stay close. [gasps] Stromalitic cyanobacteria! Gather. An entire ecosystem contained in one infinitesimal speck. There are as many protein pairs contained in this... TAD Come on, let's go. MR. RAY Come on, sing with me! [singing] There's porifera, coelentera, hydrozoa, scyphozoa, anthozoa, ctenophora, bryozoas, three! NEMO Hey guys, wait up! Whoa. TAD Cool. TAD Saved your life! PEARL Aw, you guys made me ink. NEMO What's that? TAD I know what that is. Oh, oh! Sandy Plankton saw one. He called, he said it was called a...a butt. NEMO Whoa. PEARL Wow. That's a pretty big butt. SHELDON Oh, look at me. I'm gonna go touch the butt. [sneezes] Whoa! SHELDON Oh yeah? Let's see you get closer. PEARL Okay. Beat that. TAD Come on, Nemo. How far can you go? NEMO Uh, my dad says it's not safe. 8 MARLIN Nemo, no! NEMO Dad? MARLIN You were about to swim into open water! NEMO No, I wasn't go out--but dad! MARLIN It was a good thing I was here. If I hadn't showed up, I don't know-- PEARL Sir, he wasn't gonna go. TAD Yeah, he was too afraid. NEMO No, I wasn't. MARLIN This does not concern you, kids. And you're lucky I don't tell your parents you were out there. You know you can't swim well. NEMO I can swim fine, dad, okay? MARLIN No, it's not okay. You shouldn't be anywhere near here. Okay, I was right. You'll start school in a year or two. NEMO No, dad! Just because you're scared of the ocean-- MARLIN Clearly, you're not ready. And you're not coming back until you are. You think you can do these things but you just can't, Nemo! NEMO I hate you. MR. RAY There's--nothing to see. Gather, uh, over there. Excuse me, is there anything I can do? I am a scientist, sir. Is there any problem? MARLIN I'm sorry. I didn't mean to interrupt things. He isn't a good swimmer and it's a little too soon for him to be out here unsupervised. MR. RAY Well, I can assure you, he's quite safe with me. MARLINLook, I'm sure he is. But you have a large class and he can get lost from sight if you're not looking. I'm not saying you're not looking-- FISH KID Oh my gosh! Nemo's swimming out to sea! MARLIN Nemo! What do you think you're doing? You're gonna get stuck out there and I'll have to get you before another fish does! Get back here! I said get back here, now! Stop! You take one move, mister. Don't youdare! If you put one fin on that boat..are you listening to me? Don't touch the bo--Nemo! TAD [whispering] He touched the butt. MARLIN You paddle your little tail back here, Nemo. That's right. You are in big trouble, young man. Do you hear me? Big...big-- 9 NEMO Aaaah! Daddy! Help me! MARLIN I'm coming, Nemo! KIDS Aaaah! MR. RAY Get under me, kids! NEMO Ah! Oh no! Dad! Daddy! MARLIN Oh! Nemo! Unh! Nemo! Nemo, no! Nemo! Nemo! Nemo! No! No! Aah! Nemo! Nemo! DIVER Whoa! Hold on. MARLIN Oh no. No, no. It's gone, it's gone. No, no, it can't be gone. No, no! Nemo! Nemo! Nemo! No! Nemo! Nemo! No! No, please, no! No, no! MARLIN Has anybody seen a boat!? Please! A white boat! They took my son! My son! Help me, please! DORY Look out! MARLIN Waaaah! MARLIN Ooh, ooh... DORY Ohh. Oh, oh. Sorry! I didn't see you. Sir, are you okay? MARLIN He's gone, he's gone.. DORY There, there. It's all right. MARLIN He's gone. DORY It'll be okay. MARLIN No, no. They took him away. I have to find the boat. DORY Hey, I've seen a boat. MARLIN You have? DORY It passed by not too long ago. MARLIN A white one? DORY Hi. I'm Dory. MARLIN Where!? Which way!? DORY Oh, oh, oh! It-it went, um, this way! And it went this way! Follow me! MARLIN 10 Thank you! Thank you, thank you so much! DORY No problem. MARLIN Hey! Wait! DORY Will you quit it? MARLIN What? DORY I'm trying to swim here. What, ocean ain't big enough for you? MARLIN Huh? DORY You got a problem, buddy? Huh? Huh? Do 'ya? Do 'ya? Do 'ya? You want a piece of me? Yeah, oooh, I'm scared now. Whaat!? MARLIN Wait a minute.. DORY Stop following me, okay!? MARLIN What? You're showing me which way the boat went! DORY A boat? Hey, I've seen a boat. It passed by not too long ago. It went this way, it went this way. Follow me! MARLIN Wait a minute, wait a minute! What is going on? You already told me which way the boat was going! DORY I did? Oh dear... MARLIN If this is some kind of practical joke, it's not funny! And I know funny..I'm a clownfish! DORY No, it's not. I know it's not. I'm so sorry. See, I suffer from short-term memory loss. MARLIN Short-term memory loss..I don't believe this! DORY No, it's true. I forget things almost instantly. It runs in my family..or at least I think it does. Hmmm..where are they? Can I help you? MARLIN Something's wrong with you, really. You're wasting my time. I have to find my son. [gasps] BRUCE Hello. DORY Well, hi! BRUCE Name's Bruce. It's all right, I understand. Why trust a shark, right? So, what's a couple of bites like you doing out so late, eh? MARLIN Nothing. We're not doing anything. We're not even out. BRUCE Great! Then how'd you morsels like to come to a little get-together I'm havin'? DORY 11 You mean like a party? BRUCE Yeah, yeah, that's right--a party! What do you say? DORY Ooh, I love parties! Parties are fun! MARLIN Parties are fun, and it's tempting but-- BRUCE Oh, come on, I insist. MARLIN O-okay..that's all that matters. DORY Hey, look--balloons! It is a party! BRUCE Ha ha ha! Mind your distance, though. Those balloons can be a bit dodgy. You wouldn't want one of them to pop. BRUCE Anchor! Chum! ANCHOR There you are, Bruce, finally! BRUCE We got company. ANCHOR It's about time, mate. CHUM We've already gone through all the snacks and I'm still starvin'! ANCHOR We almost had a feeding frenzy. CHUM Come on, let's get this over with. ====================================================================================== BRUCE Right, then. The meeting has officially come to order. Let us all say the pledge.. BRUCE/ANCHOR/CHUM 'I am a nice shark, not a mindless eating machine. If I am to change this image, I must first change myself. Fish are friends, not food'. ANCHOR Except stinkin' dolphins. CHUM Dolphins! Yeah, they think they're sooo cute! 'Hey, look at me. I'm a flippin' little dolphin! Let me flip for 'ya! Ain't I a somethin'!' BRUCE Right, then. Today's meeting is step 5, 'BRING A FISH FRIEND'. Now do you all have your friends? ANCHOR Got mine. DORY Hey there! BRUCE How 'bout you, Chum? CHUM Oh, um, I seem to have misplaced my uh, friend. 12 BRUCE That's all right, Chum. I had a feeling this would be a difficult step, you can help yourself to one of my friends. CHUM Oh, thanks, mate. A little chum for Chum, eh? BRUCE I'll start the testimonies. Hello, my name is Bruce. ANCHOR/CHUM Hello, Bruce. BRUCE It has been three weeks since my last fish, on my honor, or may I be chopped up and made into soup. CHUM You're an inspiration to all of us. ANCHOR Amen. BRUCE Right, then. Who's next? DORY Ooh! Pick me! Pick me! BRUCE Yes, the little Sheila down the front. DORY Woo-hoo! BRUCE Come on up here. DORY Hi. I'm Dory. BRUCE/ANCHOR/CHUM Hello, Dory. DORY And, uh, well, I don't think I've ever eaten a fish. CHUM Hey, that's incredible. BRUCE Good on 'ya, mate! DORY Whew! I'm glad I got that off my chest. BRUCE All right, anyone else? Hello, how 'bout you, mate? What's your problem? MARLIN Me? I don't have a problem. BRUCE Oh. Okay.. BRUCE/ANCHOR/CHUM Denial. BRUCE Just start with your name. MARLIN Okay. Uh, hello. My name is Marlin. I'm a clownfish-- CHUM A clownfish? Really?! 13 BRUCE Go on, tell us a joke! CHUM Ooh! I love jokes! MARLIN Actually I do know one that's pretty good. There was this mollusk and he walks up to a sea cucumber. Normally, they don't talk, sea cucumbers, but in a joke, everyone talks. So the sea mollusk says to the cucumber... NEMO Daddy! MARLIN Nemo! CHUM Nemo! Ha ha ha! Nemo! I don't get it. BRUCE For a clownfish, he's not that funny. MARLIN No, no, no, no. He's my son. He was taken by these divers. DORY Oh my, you poor fish. CHUM Humans. Think they own everything. ANCHOR Probably American. BRUCE Now there is a father looking for his little boy. MARLIN Ugh! What do these markings mean? BRUCE I never knew my father! [sobs] CHUM Aw, come here. ANCHOR Group hug. CHUM We're all mates here, mate. MARLIN I can't read human. DORY Well then we gotta find a fish who can read this. Hey, look. Sharks! MARLIN No, no, no, Dory! DORY Guys, guys! MARLIN No, Dory! DORY That's mine! Give it to me! Gimme! Oww! MARLIN Oh, I'm sorry. Are you okay? DORY Ow, ow, ow. 14 MARLIN I'm so sorry. DORY You really clocked me there. Am I bleeding? MARLIN Ohh... DORY Ow, ow, ow. BRUCE Dory, are you oka--oohh. Oohh, that's good. ANCHOR/CHUM Intervention! BRUCE Just a bite! ANCHOR Hold it together, mate! CHUM Remember, Bruce, fish are friends, not food! BRUCE FOOD! MARLIN Dory, look out! BRUCE I'm havin' fish tonight! CHUM Remember the steps, mate! BRUCE Just one bite! BRUCE G'day! MARLIN/DORY Aaaaaaaah! BRUCE Arrrr! MARLIN There's no way out! There's got to be a way to escape! DORY Who is it? MARLIN Dory, help me find a way out! DORY Sorry, you'll have to come back later. We're trying to escape. MARLIN There's gotta be a way out! DORY Look, here's something! 'ESSS-CA-PE'! I wonder what that means. It's funny, it's spelled just like the word 'escape'. MARLIN Let's go! BRUCE Here's Brucey! MARLIN 15 Wait a minute..you can read?! DORY I can read? That's right, I can read! MARLIN Well, then here. Read this now! ANCHOR He really doesn't mean it, y'know! He never even knew his father! CHUM Don't fall off the wagon! MARLIN Oh no, it's blocked! ANCHOR No, Bruce. Focus! CHUM Sorry about--this, mate! ANCHOR He's really--a nice guy! MARLIN I need to get that mask! DORY You want that mask? Okay. MARLIN No, no, no, no, no, no! MARLIN Quick grab the mask! ANCHOR Oh no. Bruce? BRUCE What? [gasps] Swim away! Swim away! DORY Aw, is the party over? PELICAN Nice. ====================================================================================== NEMO Dad? Daddy? DENTIST Barbara? BARBARA Uh-huh? DENTIST Prep for his anterior crown, would you, please? And I'm going to need a few cotton rolls. BARBARA Okay. DENTIST Hello, little fella! NEMO Aah! DENTIST Heh heh heh! Beauty, isn't he? I found that guy struggling for life out on the reef and I saved him. So, has that novocaine kicked in yet? 16 PATIENT I think so. We're ready to roll. BUBBLES Bubbles! [muttering] My bubbles. PEACH He likes bubbles. NEMO Aah! Ohh! No! Uhh! JACQUES Bonjour. NEMO Aah! BLOAT Heh heh! Slow down, little fella. There's nothing to worry about. DEB Oh, he's scared to death. NEMO I wanna go home. Do you know where my dad is? PEACH Honey, your dad's probably back at the pet store. NEMO Pet store? BLOAT Yeah, you know, like I'm from Bob's Fish Mart. GURGLE Pet Palace. BUBBLES Fish-O-Rama. DEB Mail order. PEACH Ebay. GURGLE So which one is it? NEMO I'm from the ocean. GURGLE Ah, the ocean. The ocean! Aaah! He hasn't been decontaminated yet! Jacques! JACQUES Oui. GURGLE Clean him! JACQUES Oui. GURGLE Ocean! JACQUES Ooh, la mer. Bon. Voila. He is clean. BUBBLES Wow. The big blue. What's it like? NEMO Big...and blue? 17 BUBBLES I knew it. DEB Kid, if there's anything you need, just ask your auntie Deb, that's me. Or if I'm not around, you can always talk to my sister Flo. Hi,how are you? Don't listen to anything my sister says, she's nuts! Ha ha ha ha! PEACH [muffled] We got a live one! BLOAT Can't hear you, Peach. PEACH I said we got a live one. GURGLE Yes! BLOAT Oh boy, oh boy, oh boy, oh boy! DEB What do we got? PEACH Root canal, and by the looks of those x-rays it's not gonna be pretty. PATIENT Owwwwwwwww! BLOAT Rubber dam and clamp installed? PEACH Yep. GURGLE What did he use to open? PEACH Gator-Glidden drill. He seems to be favoring that one lately. DEB I can't see, Flo. PATIENT You're getting a little too--aaaaah!!! PEACH Now he's doing the Schilder technique. BLOAT Oooh, he's using a Hedstrom file. GURGLE That's not a Hedstrom file. That's a K-Flex. BLOAT It's got a teardrop cross-section. Clearly a Hedstrom. GURGLE No, no. K-Flex. BLOAT Hedstrom! GURGLE K-Flex! BLOAT Hedstro--! [inflates] There I go. A little help over here. DEB I'll go deflate him. 18 DENTIST All right, go ahead and rinse. GURGLE Ugh! The human mouth is a disgusting place. PEACH Hey, Nigel. NIGEL What did I miss? Am I late? PEACH Root canal and it's a doozy. NIGEL Root canal, eh? What did he use to open? PEACH Gator-Glidden drill. NIGEL He seems to be favoring that one. Hope he doesn't get surplus sealer at the portal terminus... hello. NEMO [gasps] NIGEL Who's this? DEB New guy. Ha ha ha! GURGLE The dentist took him off the reef. NIGEL An outie. From my neck of the woods, eh? Sorry if I ever took a snap at you. Fish gotta swim, birds gotta eat. [gasps] DENTIST Hey! No, no, no, no! They're not your fish. They're my fish. Come on, go! Go on, shoo! Oh, the picture broke. This here's Darla. She's my niece. She's going to be eight next week. Hey, little fella. Say hello to your new mummy. She'll be here Friday to pick you up. You're her present. Shh, shh, shh! It's our little secret. Well, Mr. Tucker, while that sets up I'm going to see a man about a wallaby. BLOAT Oh, Darla. NEMO What? What's wrong with her? GURGLE She wouldn't stop shaking the bag. BUBBLES Poor Chuckles. DEB He was her present last year. BLOAT Hitched a ride on the porcelain express. PEACH She's a fish killer. NEMO I can't go with that girl! I have to get back to my dad! Aaah! Daddy! Help me! GURGLE Oh, he's stuck! GILL 19 Nobody touch him! Nobody touch him. NEMO Can you help me? GILL No. You got yourself in there, you can get yourself out. PEACH Gill.. GILL I just wanna see him do it, okay? Calm down. Alternate wiggling your fins and your tail. NEMO I can't. I have a bad fin. GILL Never stopped me. GILL Just think about what you need to do. BLOAT Come on. GILL Perfect. BUBBLES Yay! GURGLE You did it! DEB Good squirming! Ha ha ha! PEACH Wow. From the ocean. Just like you, Gill. GILL Yeah. PEACH I've seen that look before. What are you thinking about? GILL I'm thinking, tonight, we give the kid a proper reception. BLOAT So kid, you got a name or what? NEMO Nemo. I'm Nemo. ====================================================================================== MARLIN Nemo. Nemo. [mutters] DORY Are you gonna eat that? Careful with that hammer... MARLIN Huh? No, no! What does it say? Dory! DORY Sea monkey has my money... MARLIN Wake up! Get up! Come on! Come on! DORY Yes, I'm a natural blue... MARLIN 20 Get up! DORY Look out! Sharks eat fish! Aaaaaah! MARLIN/DORY AAAAAAAAAAHHH!!! DORY Wow. Dusty. MARLIN [gasps] The mask! Where's the mask? No! No, not the mask! Get it! Get the mask! Get the mask! Get it! DORY [singing] Hoo doot doo doot doot doo doot. Whoo-hoo! La la la la la la. Just keeps going on, doesn't it? Echo! Echo! Hey, what are you doing? MARLIN It's gone. I've lost the mask. DORY Did you drop it? MARLIN You dropped it! That was my only chance of finding my son, now it's gone. DORY Hey, Mr. Grumpy Gills. When life gets you down, you know what you gotta do? MARLIN I don't wanna know what you gotta do when life gets you down. DORY [singing] Just keep swimming. Just keep swimming, swimming, swimming. What do we do? We swim, swim. MARLIN Dory, no singing. DORY [singing] Ho ho ho ho ho ho! I love to swim! When you want to swim.. MARLIN See, I'm going to get stuck now with that song now it's in my head! DORY Sorry. MARLIN Dory, do you see anything? DORY Aaah! Something's got me! MARLIN That was me. I'm sorry. DORY [gasps] Who was that? MARLIN Who could it be? It's me! DORY Are..are you my conscience? MARLIN Yeah, yeah. I'm your conscience. We haven't spoken for a while. How are you? DORY Hmm, can't complain. MARLIN Yeah? Good. Now, Dory. I want you to tell me..do you see anything? 21 DORY I see..I see a light. MARLIN A light. DORY Yeah. Over there. Hey, conscience. Am I dead? MARLIN No, I see it too. What is it? DORY It's so pretty. MARLIN I'm feeling...happy. Which is a big deal for me. DORY I want to touch it. Oh! MARLIN Hey, come back. Come on back here. DORY [singing] I'm gonna get you. I'm gonna get you. I'm gonna swim with you. MARLIN I'm gonna get you. I'm gonna be your best friend...good feeling's gone. MARLIN I can't see! I don't know where I'm going! DORY Haah! MARLIN The mask! DORY What mask? DORY Okay, I can't see a thing. MARLIN Oh, gee! DORY Hey, look! A mask! MARLIN Read it! DORY I'm sorry, but if you could just bring it a little closer, I kind of need the light. That's great, keep it right there. MARLIN Just read it! DORY Okay, okay. Mr. Bossy. Uh, 'P'. Okay, 'P'. 'Shh-eer...Sher--P. Sher--P. Shirley? P.--'. Oh! The first line's 'P. Sherman'! MARLIN P. Sherman doesn't make any sense! DORY Okay, second line. '42'. MARLIN Don't eat me! Don't eat me! Aaaah! DORY Light, please. 'Walla--Walla--Walla-beee'... 22 MARLIN Waah! Waaah! Waaaah! DORY The second line's '42 Wallaby Way'! MARLIN That's great! Speed read! Take a guess! No pressure! No problem! There's a lot of pressure! Pressure! Take a guess now with pressure! DORY 'Sydney'. It's 'Sydney'! MARLIN Duck! DORY Aaah! MARLIN I'm dead, I'm dead, I'm dead, I'm dead, I'm dead, I died, I'm dead. MARLIN Whoo-hoo! [singing] We did it, we did it! Oh yeah, yeah, yeah! No eating here tonight, whoo! BOTH [singing] Eating here tonight! MARLIN Dory. DORY [singing] No, no, no eating here tonight. You on a diet-- MARLIN Dory! What did the mask say? DORY 'P. Sherman, 42 Wallaby Way, Sydney'. [gasps] I remember what it said! I usually forget things, but I remembered it this time! MARLIN Whoa, whoa, wait! Where is that? DORY I don't know. But who cares? I remembered! MARLIN/DORY Aaah! DORY P. Sherman, 42 Wallaby Way, Sydney. I remembered it again! ====================================================================================== JACQUES Psst. Nemo. NEMO Mmmm... JACQUES Nemo. NEMO Huh? JACQUES Suivez-moi. Follow me. BLOAT/BUBBLES/GURGLE [chanting] Ha! Ho! Hwa! Hwee! Ha! Ho! Ho! Ho! Ha! Ho! Hwa! Hwee! Ha! Ho! Ho! Ho! Ha! Ho! Hwa! Hwee! Ha! Ho! Ho! Ho! Hahoo! Wahoo! Yahoo! Ho! Ha! Ho! Wahee! Ha! Ho! Ho! Ho! Hoo! GILL State your name. 23 NEMO Nemo. GILL Brother Bloat, proceed. BLOAT Nemo! Newcomer of orange and white, you have been called forth to the summit of Mount Wannahockaloogie to join with us in the fraternal bonds of tankhood. NEMO Huh? PEACH We want you in our club, kid. NEMO Really? BLOAT If you are able to swim through..THE RING OF FIRE! [whispers to Jacques] Turn on the Ring of Fire! The Ring of Fire, you said you could do it--THE RING OF FIRE! BUBBLES Bubbles! Bubbles! Let me--oww! BLOAT/BUBBLES/GURGLE [chanting] PEACH Isn't there another way? He's just a boy! JACQUES [wailing] GILL From this moment on, you will now be known as Sharkbait. BLOAT/BUBBLES/GURGLE Sharkbait! Ooh ha ha! GILL Welcome, brother Sharkbait! BLOAT/BUBBLES/GURGLE Sharkbait! Ooh ha ha! GILL Enough with the Sharkbait. GURGLE Sharkbait! Ooh..ba-ba-doo. GILL Okay, Sharkbait's one of us now, agreed? BLOAT/BUBBLES/GURGLE Agreed! GILL We can't send him off to his death. Darla's coming in 5 days, so what are we gonna do? I'll tell you what we're gonna do: we're gonna get him outta here. We're gonna help him escape. NEMO Escape? Really? GILL We're all gonna escape! GURGLE Gill, please, not another one of your escape plans. DEB Sorry, but they, they just, they never work. 24 BLOAT Yeah. Why should this be any different? GILL 'Cause we've got him. NEMO Me? GILL You see that filter? NEMO Yeah? GILL You're the only one who can get in and out of that thing. What we need you to do is take a pebble inside and jam the gears. You do that and this tank's gonna get filthier and filthier by the minute. Pretty soon, the dentist'll have to clean the tank himself. And when he does, he'll take us out of the tank, put us in the individual baggies, then we roll ourselves down the counter, out of the window, off the awning, into the bushes, across the street and into the harbor! It's foolproof! Who's with me? BLOAT Aye! JACQUES Aye! DEB Aye! BUBBLES Aye! GURGLE I think your nuts. GILL/NEMO [sighs] GURGLE No offense, kid, but, um..you're not the best swimmer. GILL He's fine, he can do this. So Sharkbait, what do you think? NEMO Let's do it. ====================================================================================== DORY I'm going to P. Sherman, 42 Wallaby Way, Sydney. Where are you going? I'm going to P. Sherman, 42 Wallaby Way, Sydney. If you're askin' where I'm goin'. I'll tell you that's where I'm going. It's P. Sherman, 42 Wallaby Way, Sydney. Where? I'm sorry, I didn't hear you. P. Sherman, 42 Wallaby Way... MARLIN Excuse me. Ex-excuse me, um, hi. Do you know how to get to--hello? W-w-w-wait! Can you tell me--hey! Hold it! Wait a minute! I'm trying to talk to you. Okay, fellas, come back here. Please, one quick question. I need to aaaaand they're gone again. [sighs] DORY P. Sherman 42 Wallaby Way, Sydney. Why do I have to tell you over and over again? I'll tell you again. I don't get tired of it-- MARLIN Okay, all right. DORY Huh? MARLIN Here's the thing. DORY 25 Uh-huh. MARLIN Y'know, I just, I-I think it's best if I just, if I just, carry on from here by..by myself. DORY Okay. MARLIN Y'know, alone. DORY Uh-huh. MARLIN Without, without..well, I mean, not without you. I mean, it's just that I don't want you... with me. DORY Huh? MARLIN I don't wanna hurt your feelings.. DORY You want me to leave? MARLIN Well, I mean not..yes, yeah. It's just that you know I-I just can't afford anymore delays and you're one of those fish that cause delays. And sometimes it's a good thing. There's a whole group of fish. They're..'delay fish'. DORY You mean..[whimper]you mean you don't..like me? [sobs] MARLIN No, of course I like you. It's because I like you I don't wanna be with you. It's a complicated emotion. Oh, don't cry. I like you. MOONFISH LEADER Hey, you! Lady, is this guy botherin' you? DORY Um, I don't remember. Were you? MARLIN No, no, no, no, no. We're just, we're..hey, do you guys know how I can get to-- MOONFI

15

Frozen (Disney)

Jennifer Lee

Animation,Adventure,Comedy

September_2013

OPEN ON: ICE. We're underwater looking up at it. A saw cuts through, heading right for us. EXT. SNOW-CAPPED MOUNTAINS -- DUSK ICE HARVESTERS, dressed in traditional Sami clothing, score a frozen lake. They SING. "The Frozen Heart (Ice Worker's Song)" ICE HARVESTERS BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. The men drag giant ice blocks through channels of water. ICE HARVESTERS (CONT'D) CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go! A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN, share a carrot as they try to keep up with the men. ICE HARVESTERS (CONT'D) Hup! Ho! Watch your step! Let it go! Young Kristoff struggles to get a block of ice out of the water. He fails, ends up soaked. Sven licks his wet cheek. ICE HARVESTERS (CONT'D) BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED. A sharp ice floe overtakes the workers, threateningly. They fight it back. ICE HARVESTERS (CONT'D) STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN! Massive fjord horses drag heavy ice plows. 2 FROZEN - J. Lee ICE HARVESTERS (CONT'D) BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING The sun sets. Lanterns are lit. ICE HARVESTERS (CONT'D) THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR. In the dark, Kristoff and Sven finally manage to get a single block of ice out of the water. ICE HARVESTERS (CONT'D) STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART. The workers pile onto the giant horse-drawn ice sled as it pulls away. Left behind, Kristoff and Sven push their ice block onto a dinky little sled then head off. We sweep up from them to the Northern Lights filling the sky...then move across the mountains...beneath the snowline...and descend upon... EXT. THE KINGDOM OF ARENDELLE -- NIGHT A humble castle, built of wood, nestled in a deep fjord. INT. CASTLE, NURSERY -- NIGHT ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops up beside her. YOUNG ANNA Elsa. Psst. Elsa! Psst. Elsa doesn't stir. Anna sits on Elsa and bounces. YOUNG ANNA (CONT'D) Wake up. Wake up. Wake up. YOUNG ELSA (grumbling) Anna, go back to sleep. Anna rolls onto her back and spreads all her weight on Elsa. 3 FROZEN - J. Lee YOUNG ANNA (drama queen-ish) I just can't. The sky's awake, so I'm awake, so we have to play. YOUNG ELSA ...Go play by yourself. Elsa shoves Anna off the bed. Anna lands butt to floor, sighs, defeated. But then she gets an idea. She hops back on the bed and lifts one of Elsa's eyelids. YOUNG ANNA (mischievously) Do you want to build a snowman? Elsa's eyes both pop open. She smiles. INT. CASTLE STAIRCASE -- NIGHT Anna, now wearing snow boots, pulls Elsa by the hand. YOUNG ANNA Come on, come on, come on, come on. Elsa tries to shush her, but Anna's too excited. INT. BALLROOM -- NIGHT The girls sneak into the ballroom. Elsa shuts the door. YOUNG ANNA Do the magic! Do the magic! Elsa laughs and waves her hands together. Snowflakes suddenly burst forth and dance between her palms, forming a snowball. Elsa throws the snowball high into the air. Snow bursts out and flurries around the room. Anna dances about, catching flakes in her palms and mouth. YOUNG ANNA (CONT'D) This is amazing! YOUNG ELSA Watch this! Elsa stomps her little slippered foot and a layer of ice suddenly coats the floor, forming a giant ice rink. Anna slides off, laughing. 4 FROZEN - J. Lee PLAY MONTAGE: -Anna and Elsa roll giant snowballs and build a snowman together. Elsa moves his stick arms around. YOUNG ELSA (CONT'D) (goofy voice) Hi, I'm Olaf and I like warm hugs. Anna jumps up and hugs him. YOUNG ANNA I love you, Olaf. -Anna and Olaf appear to be dancing. REVEAL: Elsa is actually propelling them across the ice floor with her magic. -The girls slide down snowbanks together! -Anna fearlessly jumps off a snow peak into mid air. YOUNG ANNA (CONT'D) Catch me! Elsa makes another peak to catch Anna. YOUNG ELSA Gotcha! Anna keeps jumping. Elsa keeps casting magic. YOUNG ANNA (jumping faster) Again! Again! YOUNG ELSA (struggling to keep up) Slow down! Elsa suddenly slips. Her magic accidentally STRIKES Anna in the head. Anna tumbles down a snowbank and lands, unconscious. YOUNG ELSA (CONT'D) ANNA! Elsa runs to Anna and takes her in her arms. A streak of Anna's hair, where struck, turns white. YOUNG ELSA (CONT'D) MAMA! PAPA! The room around them fills with frightening ice spikes. 5 FROZEN - J. Lee The parents burst through the frozen door. GASP at the sight of the room. KING Elsa, what have you done? This is getting out of hand! QUEEN (seeing Anna) Anna! The King and Queen rush to Anna and take her in their arms. ELSA It was an accident. I'm sorry, Anna. QUEEN (about Anna) She's ice cold. KING ...I know where we have to go. SLAM CUT TO: INT. DARK ROOM -- NIGHT The King sifts through a shelf to find an ancient book inscribed with Old Norse runes. He opens the book, scrambles to a page with an ancient map. EXT. ARENDELLE -- NIGHT Carrying the girls, the King and Queen ride their horses out of the kingdom. Snow streams from Elsa's hands, leaving a trail of ice behind them. EXT. FJORD MOUNTAIN FOREST -- NIGHT A sleepy Kristoff and Sven travel alone through the dark woods. All of a sudden, the King and Queen race by with the girls, leaving the wake of ice. KRISTOFF Ice? SLAM CUT TO: 6 FROZEN - J. Lee EXT. BLACK MOUNTAINS -- NIGHT Kristoff rides Sven as they follow the trail of ice. YOUNG KRISTOFF Faster, Sven! EXT. THE VALLEY OF THE LIVING ROCK -- NIGHT Kristoff hops off Sven at the edge of a deep valley. They hide behind a rock and peek out. Down below, the King holds a frightened Elsa. The Queen holds the still unconscious Anna. KING Please, help. My daughter! Suddenly, a bunch of rocks tumble down the valley toward them. It looks as though they'll be crushed! But, luckily, the rocks stop at their feet. The rocks then unfold, revealing bright faces. YOUNG KRISTOFF Trolls...? The rock in front of Kristoff "wakes up." Meet BULDA. BULDA Shush. I'm trying to listen. She grabs Kristoff and Sven by hand and hoof and hugs them close. Sven licks her face and she eyes them both. BULDA (CONT'D) Cuties. I'm gonna keep you. Back below, the crowd parts for a troll as old as the Earth. They call him GRAND PABBIE. He approaches arthritically, but determined. He nods respectfully to the king. GRAND PABBIE Your Majesty. (referring to Elsa) Born with the powers or cursed? KING Born. And they're getting stronger. Grand Pabbie motions for the Queen to bring Anna to him. She does. He examines her. 7 FROZEN - J. Lee GRAND PABBIE (about Anna) You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded. KING Do what you must. GRAND PABBIE I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun. Grand Pabbie pulls out a glowing blue energy from Anna's head. We see her memories floating right above her. Grand Pabbie changes all of her magical memories to ordinary memories -- snowy play indoors with the girls in their nightgowns changes to outdoors on the winter fjords with the girls in winter gear. He puts the ordinary memories back in her head. GRAND PABBIE (CONT'D) She will be okay. YOUNG ELSA But she won't remember I have powers? KING It's for the best. PABBIE Listen to me, Elsa, your power will only grow. As he speaks, he conducts the Northern Lights to show a silhouette of an adult Elsa creating magical snowflakes. PABBIE (CONT'D) There is beauty in your magic.... But also great danger. The snowflakes turn to sharp spikes. PABBIE (O.S.) (CONT'D) You must learn to control it. In the Northern Lights display, the sharp spikes cause human figures to panic and attack Elsa. PABBIE (CONT'D) Fear will be your enemy. 8 FROZEN - J. Lee Elsa gasps and buries her face in the King's chest. The King wraps his arms around Elsa, protectively. KING No. We'll protect her. She can learn to control it. I'm sure. Over the King's words we... DISSOLVE TO: -The Arendelle castle gates shutting. KING (O.S.) (CONT'D) Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna. -The castle shutters close. -Anna sits on her bed as Elsa's furniture disappears. -Anna rushes to the hall to see Elsa shut the door to her new room. Anna watches, confused and sad. DISSOLVE TO: INT. CASTLE WINDOW -- DAY We look out on a gentle snowfall. Little Anna skips up to the window. She lights up at the sight of the snow and rushes down the hall. INT. HALLWAY, ELSA'S DOOR -- DAY Anna knocks on Elsa's door and SINGS. "Do You Want to Build a Snowman?" YOUNG ANNA DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY. Anna peeks under the door. YOUNG ANNA (CONT'D) I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. 9 FROZEN - J. Lee -INT. ANNA'S ROOM -- Anna plays with two dolls, gives up, sad. YOUNG ANNA (CONT'D) WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY. -ELSA'S DOOR. Anna peeks through the key hole. YOUNG ANNA (CONT'D) DO YOU WANT TO BUILD A SNOWMAN? -Anna calls through the keyhole. YOUNG ANNA (CONT'D) IT DOESN'T HAVE TO BE A SNOWMAN. YOUNG ELSA (O.S.) Go away, Anna. YOUNG ANNA (hearbroken) ...OKAY BYE. -BEHIND THE DOOR -- DAY. Elsa sits at the window looking out, longingly. Suddenly, her icy hands freeze the windowsill. -LATER. The King slips leather gloves onto Elsa's hands. KING The gloves will help. He pats her gloved hand. KING (CONT'D) See? You're good.... (starting their mantra) Conceal it. YOUNG ELSA Don't feel it. YOUNG ELSA & KING Don't let it show. -INT. HALLWAY, ELSA'S DOOR -- DAY. Anna, now 9, knocks on Elsa's door. ANNA (9) DO YOU WANT TO BUILD A SNOWMAN? -INT. HALLWAY -- DAY. Alone, Anna rides a bicycle built for two in the hall by standing on the back seat. 10 FROZEN - J. Lee ANNA (9) (CONT'D) OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE... -INT. PORTRAIT ROOM -- DAY. Anna runs around the portrait room, gaining momentum to flip over the arm of the couch. ANNA (9) (CONT'D) I'VE STARTED TALKING TO THE PICTURES ON THE WALLS. Anna lands PLOP on the cushions, then looks up at the painting above her of the courageous Joan of Arc. ANNA (9) (CONT'D) Hang in there, Joan. -INT. EMPTY LIBRARY -- DAY. Looks like no one's around. ANNA (9) (CONT'D) IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS. But then we find Anna, laying at the base of the grandfather clock, playing with her braids, bored out of her mind. ANNA (9) (CONT'D) JUST WATCHING THE HOURS TICK BY. Anna's eyes follow the grandfather clock's pendulum. ANNA (9) (CONT'D) TICK TOCK. TICK TOCK. TICK TOCK. -INT. ELSA'S ROOM -- NIGHT. Elsa (now 12) paces as she panics. The entire wall is frozen behind her. ELSA (12) I'm scared. It's getting stronger. KING Getting upset only makes it worse. The King goes to hug her. ELSA (12) No. Don't touch me. I don't want to hurt you. He and the Queen look at each other with alarmed sadness. -INT. LIBRARY -- DAY. Anna, now a teenager, slides past Elsa's room without stopping. 11 FROZEN - J. Lee -INT. KING AND QUEEN'S QUARTERS -- DAY. Anna runs into the room and throws herself into her parents' arms. TEEN ANNA See you in two weeks. -INT. ELSA'S ROOM -- DAY. Elsa curtsies in front of her parents, formally, not touching them. TEEN ELSA Do you have to go? KING You'll be fine, Elsa. -EXT. DOCKS -- DAY. The King and Queen leave on a ship. -EXT. ROUGH SEAS -- NIGHT. Lightning flashes. The sea rages in a storm. The King and Queen's ship is lost in the waves. -INT. CASTLE -- DAY. A portrait of the King and Queen is covered in mourning cloth. -EXT. CEMETERY -- DAY. Anna looks small, standing before her people, beside burial stones. -INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning clothes, approaches and knocks. ANNA (singing) Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN. Anna slides down the door and sits with her head against it. ANNA (CONT'D) WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN? We move through the door... -INT. ELSA'S ROOM -- DAY. Elsa is sitting in the exact same pose as Anna. Her bedroom is frozen with ice. Snowflakes hang in the air, suspended by grief. FADE OUT. 12 FROZEN - J. Lee EXT. THE KINGDOM OF ARENDELLE -- MORNING A new dawn rises over the fjords. Ships pull up to the docks. Guests pile out. DOCK MASTER Welcome to Arendelle! A BOY tries to get away as his MOTHER tries to stuff him in his bunad jacket. BOY Why do I have to wear this? MOTHER Because the Queen has come of age. It's Coronation Day! BOY That's not my fault. They pass the May Pole being raised and a Sami ice harvester chatting with his reindeer. We recognize them as Kristoff and Sven, all grown up. Sven hops around excitedly like a dog and nuzzles Kristoff's chest. KRISTOFF What do you want, Sven? Kristoff leans in and speaks for Sven, as if he can. KRISTOFF (AS SVEN) (CONT'D) Give me a snack. KRISTOFF (CONT'D) What's the magic word? KRISTOFF (AS SVEN) (CONT'D) Please! Kristoff pulls a carrot out of his shirt pocket and hands it to Sven. Sven tries to bite the whole thing. KRISTOFF (CONT'D) Hey, hey, hey! Share! Sven takes a smaller bite. Kristoff then has a bite himself, not seeming to care that it's covered in reindeer slobber. We move on to PERSI and AGGIE, a super-excited couple who rush towards the castle. 13 FROZEN - J. Lee PERSI I can't believe they're finally opening up the gates! AGGIE And for a whole day! Faster, Persi! They pass a tiny but menacing DUKE, who wears taps on his shoes to "enhance" his presence. Two THUG guards follow close behind him. DUKE Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches. (catching himself) ...Did I just say that out loud? We leave him and head down the bridge towards the castle gates, passing an Irishman and a Spanish Dignitary. IRISHMAN Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely. SPANISH DIGNITARY I bet they are beautiful. We move past them, to a particular castle window. CUT TO: INT. CASTLE, ANNA'S BEDROOM -- DAY Anna, 18, snores. Drools. KNOCK. KNOCK. KAI (O.S.) Princess Anna...? Anna sits up. She's got major bedhead. She coughs. Snorts. Pulls a hair from her mouth. ANNA ...Huh? Yeah? KAI (O.S.) Sorry to wake you, ma'am but-- ANNA No, you didn't. I've been up for hours. 14 FROZEN - J. Lee She falls back asleep while sitting. She snores. Her head drops, startling her awake. ANNA (CONT'D) Who is it? KAI (O.S.) It's still me, ma'am. Time to get ready. ANNA Ready for what? KAI (O.S.) Your sister's coronation, ma'am. ANNA My sister's cor-neration... One eye opens enough to catch sight of her coronation dress. She bolts, wide awake in excitement. ANNA (CONT'D) Coronation Day! Ha ha! SLAM CUT TO: EXT. CASTLE HALL -- DAY Anna bursts out of her room, wearing her coronation dress. She finishes pinning ribbons in her hair. Seeing the hustle and bustle of preparations, she can't help but SING. "For the First Time in Forever" ANNA THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...? -Anna slides along the floor of the ballroom in her socks. ANNA (CONT'D) FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES! -She shakes hands with a suit of armor. Breaks it. Hides the evidence. 15 FROZEN - J. Lee ANNA (CONT'D) THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE! -Anna comes to a window and jumps out onto a window washer's pulley. She raises herself up to see the ships arriving. ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT. -Anna walks through the garden and follows a family of geese. ANNA (CONT'D) DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE? -Anna twists herself in a velvet drape like it's a gown. She acts like she looks gorgeous, but she looks ridiculous. ANNA (CONT'D) TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE. -She notices the bust of a man across the room. ANNA (CONT'D) (google-eyed) I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE! -She grabs the bust of the man and swings it around. ANNA (CONT'D) BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR. The bust goes flying and lands on the top of the cake. -Anna bursts into the portrait room, bounces on the furniture, and interacts with the paintings. 16 FROZEN - J. Lee ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE! -INT. LIBRARY. ELSA, now a very poised 21, watches out the window as the coronation guests arrive. ELSA DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. Elsa moves to a painting of her father's coronation. She takes off her gloves and mimics the painting by holding a candlestick and ornament in place of an orb and scepter. ELSA (CONT'D) CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW. The candlestick and ornament ice over. Elsa gasps, slams them back down onto the table. She tries to reassure herself. ELSA (CONT'D) BUT IT'S ONLY FOR TODAY. We cut between Anna's excitement and Elsa's nerves. ANNA IT'S ONLY FOR TODAY! ELSA IT'S AGONY TO WAIT. ANNA IT'S AGONY TO WAIT!!! ELSA TELL THE GUARDS TO OPEN UP THE GATE. ANNA THE GATE!!! -Finally, the gates are open! Anna moves through the crowd, admiring the people around her. 17 FROZEN - J. Lee ANNA (CONT'D) ELSA FOR THE FIRST TIME IN DON'T LET THEM IN FOREVER. DON'T LET THEM SEE ANNA ELSA I'M GETTING WHAT I'M DREAMING BE THE GOOD GIRL OF YOU ALWAYS HAVE TO BE ANNA ELSA A CHANCE TO LEAVE MY SISTER'S CONCEAL. WORLD CONCEAL. DON'T FEEL. A CHANCE TO FIND TRUE LOVE DON'T LET THEM KNOW. -Anna hurries over the bridge and into the village square. ANNA (CONT'D) I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! `CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!! -Anna SLAMS right into the breast of a HORSE! She falls back and lands in a small wooden boat. It tips off of the dock. She's heading overboard. But just then, the horse slams his hoof into the boat and steadies it. ANNA (CONT'D) (frustrated) Hey! HANS I'm so sorry. Are you hurt? The rider, HANS, sure is handsome and regal. ANNA (gentler) Hey. I-ya, no. No. I'm okay. HANS Are you sure? ANNA Yeah, I just wasn't looking where I was going. But I'm okay. He hops down from his horse and steps into the boat. ANNA (CONT'D) I'm great, actually. 18 FROZEN - J. Lee HANS Oh, thank goodness. He offers her a hand and their eyes meet. Chemistry. He helps her to her feet. HANS (CONT'D) (bowing) Prince Hans of the Southern Isles. ANNA (curtseying) Princess Anna of Arendelle. HANS Princess...? My Lady. He drops to his knees, head bowed. The horse bows too, curling his hoof up and out of the boat. The boat tips. Hans tumbles on top of Anna. Awkward. ANNA Hi...again. The horse slams his foot back into the boat to stabilize it. Anna and Hans tumble the other way. Anna lands on top of him. HANS Oh boy. ANNA Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous. (did she just say that?) Wait, what? Hans quickly gets to his feet and helps Anna up again. HANS I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after. ANNA No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! `Cuz, you know... (patting the horse) Hello. (MORE) 19 FROZEN - J. Lee ANNA (CONT'D) (to Hans) But, lucky you, it's-it's just me. HANS Just you? Hans smiles, amused. She smiles back. The bells RING. She doesn't notice at first; she's too busy drinking in Hans's handsomeness. ANNA

16

Happy Feet

George Miller,John Collee

Animation,Comedy,Family

November_2006

SPACE Distant STARS, with vast tracts of darkness stretching between them. Move in on OUR SUN, dwarfed in the immense cosmic ocean. MUMBLE (VO) You ever feel small? Moving in on.... PLANET EARTH The spinning blue marble. FADE IN: A strange cacophony of MUSIC, growing louder as the familiar CONTINENTS revolve below us and we spiral down onto ANTARCTICA THE ICE SHELF Vast, pristine, stupendous. Washed with dawn light. A few small BLACK-SUITED FIGURES are moving towards us. MUMBLE (VO) Like you're no-one, cos the world is full of us, and everyone's the same Wait a minute. These aren't humans... they are PENGUINS! MUMBLE (CONT'D) How do you stand out from the crowd? How do you find someone special? A GREAT COMMUNITY EMPEROR PENGUINS all over the place, Its chaos - Grand central station - with everyone SINGING to each other. MUMBLE (VO) I know. I know. "You sing your heart out." That's how mum found dad in the first place Follow a female penguin as she waddles through the massive crowd past an assortment of crooning males (CONTINUED) 2. CONTINUED: KEEN MALE (trying to connect) "Babe...I got you Babe..." She ignores him NEXT MALE (giving it his all) "When a man loves a woman..." She keeps moving, until she sees the male of her dreams: WISHFUL "Love me tender love me true, all my dreams fulfil. He stands a bit apart from the rest. And what a voice. What a hip movement. She sings along. NORMA J. AND WISHFUL ...for my darling I love you and I always will. MUMBLE (VO) With them it was love at first song. Close up on the two penguins as their necks intertwine. MUMBLE (VO) (CONT'D) But with me everything was a different, right from the moment I was born THE ICE SHELF With infinite care, THE EGG is passed from Norma J's feet onto WISHFUL's. MUMBLE First rule of survival: get yourself laid before winter. WISHFUL covers the egg, glancing up at the darkening sky MUMBLE (CONT'D) Apparently I only just made it. Women are leaving and heading off over the ice. The community resounds with sad songs of parting. (CONTINUED) 3. CONTINUED: MUMBLE (CONT'D) Afterwards Mum went off to the sea to keep warm. Dad stayed home like dad's do, incubating. Norma J is having difficulty tearing herself away. Finally she pads off after the others. WISHFUL Safe home baby.... As he watches her dwindle into the distance, where huge STORM CLOUDS are building. WISHFUL (CONT'D) I'll miss you. THE DARKNESS Wind comes shreiking across the ice shelf to where THOUSANDS OF MALES are huddled, ice crusting on their feathers. MUMBLE (VO) Tell me what it is about the cold and the dark. Soon as the sun goes away, everyone gets religious The huddled penguins are engaged in ritual chanting LEAD VOICE When all others leave... CHORUS We Remain. LEAD VOICE When the Sun vanishes... CHORUS We Remain. INSIDE THE HUDDLE The adult males are packed shoulder to shoulder, looking downwards at the eggs balanced on their feet. CU on the Lead male, a CARUSO (CONTINUED) 4. CONTINUED: CARUSO Deny the pangs of hunger. Seal the gaps. Share the warmth.... MUMBLE (VO) Caruso's the leader because he's so incredibly old. Some say more than 40, but you know how penguins exaggerate. OUTSIDE WINDWARD PENGUINS peel off and walk around to the leeward side. WISHFUL is among them CARUSO ....Each one taking his turn to defy the wind. WIDE SHOT The MASSED VOICES rise above the gale, the frosty plumes of their breath forming a shared `thought bubble'...a benevolent ?BERPENGUIN. CARUSO. ...As we invoke the Great One, Penguin of Penguins WISHFUL (pushing back inside) OK. Invoke. But keep moving MUMBLE (VO) My dad was never that devout. Often his mind was on other stuff. As the chanting builds, a little thought-bubble appears next to the communal imagination: An image of Norma J NORMA J. (Sings) "I wanna be loved by you, alone and nobody else by you boo boo pee doo" WISHFUL raises his head, breaking the seal. A little puff of steam escapes WISHFUL Amen to that honey (CONTINUED) 5. CONTINUED: VARIOUS PENGUINS Whoa-whoa-whoa-whoa, pal! Ya lettin' out the heat! Penguins around him start jostling to close the gap PENGUINS ...Quit shovin'! ...Hey watch where you're putting your feet CARUSO Brothers, BROTHERS! The Devotions! An egg rolls out of the HUDDLE and onto the ICE. WISHFUL Oh no! I dropped it! Where's my egg! WISHFUL barges out of the huddle, retrieves the egg and waddles back into the warmth again. WISHFUL (CONT'D) S'okay. S'okay. No harm done. MUMBLE (VO) I guess he was wrong about a lot of things. Pulling back, till the powerful rhythmic chanting is drowned out by the HOWLING GALE. WISHFUL But I did learnt this from him: the power of positive thinking We are moving in again, towards the huddle, the voices of the Great Male Gathering begin to cut through the wind blasts. Louder and louder, until... ELDER By the power of our Devotions... ALL PENGUINS We turn the world once more. ELDER By our devotion to the Wisdoms (CONTINUED) 6. CONTINUED: (2) ALL PENGUINS We bring back the sun. The CHANTING crescendos, awe-inspiring, as it rises above the sound of the gale, and, as if in response THE EARTH TURNS! The CURTAIN OF DARKNESS which overshadows Antarctica begins to LIFT from the curvature of the southern hemisphere. The vast ice-continent is BRILLIANTLY ILLUMINATED once more. ON THE ICE SHELF The ICE itself is moaning and groaning, like a living thing. A SINGLE CRACK appears and widens, then forks and forks again. The whole expanse of fast-ice is DISINTEGRATING, starting at the sea-ice and progressing towards the ice-cliffs. Somewhere an ICEBERG breaks free from the face of a glacier and smashes down into the frozen sea below. At the same time... THE EMPEROR COMMUNITY An EGG cracks open, then another, then all in a rush, like POPCORN. Fathers are calling out to each other as their fluffy CHICKS emerge to greet the daylight. EXCITED FATHERS ...It's a boy! ...It's a girl! ...What a peach! ...What a bruiser! Amongst the excited crowd of males and hatchlings we find WISHFUL staring down at his egg still balanced on his feet. FRIENDLY PENGUIN Late opener, huh? You thinks its alive? WISHFUL I'll say. Listen... (CONTINUED) 7. CONTINUED: He taps the egg with his beak. Bending close they hear a TAPPING SOUND in REPLY. FRIENDLY PENGUIN Well, how about that? WISHFUL taps again. The tapping comes back louder. A TINY FOOT pops out of the egg. Then ANOTHER. The Egg flips and lurches off in a giddy DANCE. WISHFUL Whoa li'l buddy, slow down! THE FRIENDLY PENGUIN'S chick giggles at the DANCING EGG, which finally trips and cracks, depositing baby MUMBLE. MUMBLE (hopping from one foot to the other) Ow! Freezy, Fuh-Fuh-Freeezy! All Freezy! OTHER PENGUINS ...Jees! ...You ever see a chick move like that before? ...is he damaged? ...is he deranged? They gather round staring down at this strange little jigging ball of fluff WISHFUL What? Come on. He'll grow out of it. Shovelling MUMBLE off the ice and into his BROOD POUCH. WISHFUL (CONT'D) Come here, li'l Mumble. Let's get you warm and toasty. Mumble SNUGGLES contentedly between his father's legs, surveying his new world. The friend's chick, ELLA is staring at him fascinated ELLA Get him to do it again Daddy FRIENDLY PENGUIN Shh. Quiet (CONTINUED) 8. CONTINUED: (2) She disappears under his brood pouch MUMBLE (looks up) So What happens now, Dad? WISHFUL We Wait THE ICE A LONG LINE of male penguins, thousands of them, all with their chicks, stand staring expectantly across the ice shelf. At the front, we find WISHFUL and MUMBLE, who is jiggling with anticipation, hopping from one foot to the other. MUMBLE Is she coming soon? WISHFUL Any day now. MUMBLE Tell me again what she's like WISHFUL (sings) a wiggle when she walks, a giggle when she talks, makes my world go round.... MUMBLE does a little SOFT SHOE SHUFFLE. WISHFUL (CONT'D) (sharply) Hey. Thought I told you not to do that MUMBLE Sorry. When I get happy my feet get happy too. WISHFUL Well tell em don't. MUMBLE But Why Dad? (CONTINUED) 9. CONTINUED: Caruso waddles past: A stern glance down at little Mumble as he carries on along the line WISHFUL `Cos it ain't penguin. LATER MIST rises off the ice shelf. The males are still waiting with their chicks. Over this: The sound of Chicks crying. MUMBLE between his father's feet, follows his father's concentrated gaze. MUMBLE Gee I'm hungry WISHFUL Everyone's hungry son. The mommas are bringing fish soon. Long pause MUMBLE What's fish look like. WISHFUL You'll see it when she brings one STILL LATER The baby penguins are HOWLING now. Anxious fathers lean forward, peering into the distance. Out of the thickening mist, a cluster of little BLACK DOTS materialises. PENGUIN LOOKOUTS ...Wives-ho! Wives-ho! ...Hubba-hubba! Wives-ho! ...Better late than never. The distant females look exhausted as they totter unsteadily across the ice towards their partners. The MALES break ranks and rush towards the distressed females. MALE PENGUINS ...Barbra-Ann! ...Peggy Sue! (MORE) (CONTINUED) 10. CONTINUED: MALE PENGUINS (CONT'D) ...Hey Paula! ...Roxanne!! A tumult of re-unions as partners find each other. But no luck for WISHFUL. WISHFUL NORMA J.?! Weaving anxiously through the throng, overhearing: MALE#1 You're not as fat as I thought you'd be. FEMALE#1 It was pretty slim pickings. Something's happened I tell you FEMALE#2 Even the squid were hard to get We had to swim forever FEMALE#3 Everyone split up. A lot of the gals never made it back. MALE #2 ...Delilah? MALE #3 ...Gloria?! Gloria??! WISHFUL, is running frantically through the crowd, singing all the time in the hope of being recogniosed WISHFUL Since my baby left me. I found a new place to dwell. Down the bottom of lonely street at heartbreak hotel MUMBLE hippity-hops after his father, trying to keep up... WISHFUL (CONT'D) Woah I'm so lonely baby. I'm so lonely baby. I'm so lonely I could... Moving beyond the crowd, WISHFUL sees a last few stragglers. Amongst them... (CONTINUED) 11. CONTINUED: (2) NORMA J. WISHFUL? WISHFUL (overcome) O Honey. O Baby. You made it! She staggers into his waiting flippers. WISHFUL (CONT'D) You hurt? NORMA J. (breathless) Just tired and hungry is all. It was dreadful out there.... Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY- HOPPING towards them. NORMA J But who's this. WISHFUL I called him Mumble. Mumbles feet start to tap involuntarily, Then he catches his dad's warning look. MUMBLE Did she get one. Did she bring one back. NORMA J Just a little krill that's all MUMBLE Can I see it? WISHFUL Later, bud. Give your ma time to regurgitate NORMA J Aw. But isn't he just a darling? MUMBLE (yells ecstatically) I got one! I got a mum everyone. I got a MUM!! 12. THE GREAT COMMUTE The ICE-SHELF is as busy as a freeway at peak hour with males and females are hurrying BACK AND FORTH from the sea. MUMBLE (VO) After that, with food being so scarce everyone was busy busy busy. Mom and dad were working so hard I didn't see much of them. Besides I had school to go to. THE CRECHE An efficient, caring TEACHER is giving a lesson to a class of about thirty young chicks grouped in front of her. TEACHER Settle class. Settle. We will begin with the most important lesson you will ever learn. Now does anyone know what that is? MANY flippers go up. TEACHER (CONT'D) Michael? MICK Don't eat yellow snow? TEACHER True but, that's not it. Mumble? MUMBLE Swimming? Catching Food? TEACHER Anyone else? Mumble looks astonished. What's more important than that ELLA It's our Heartsong, Miss. TEACHER Your Heartsong. Yes. The melody you hear inside, the thing that makes you different from every other penguin. So. Let's all be very still now and listen. And when you hear your song, let it come out. Who's first. (CONTINUED) 13. CONTINUED: A few flippers go up MICK Me! Me! I've got one! (sings) "I can't get no...satisfaction.... I can't get no...girly action..." TEACHER Well Michael, if you think that's really you. What have you got for us, Ella? ELLA (sings) Voulez-vous coucher avec moi...ce soir? MUMBLE (laughs) That doesn't make any sense. TEACHER Well Mumble...perhaps you can do better MUMBLE Mine is more sort of a... He hesitates, as if listening to something in his head.Then, he sings UTTERLY TUNELESS, like a drum solo. MUMBLE (CONT'D) Bim bam-a-loolah a bim bam bom TEACHER You heard that in there? Mumble is still going. TITTERS and SNIGGERS from the class. MUMBLE You like it? TEACHER Dear, that's not even a tune. MUMBLE It's not? TEACHER No, a tune is like... (she sings a scale) La la la la la la la la. (CONTINUED) 14. CONTINUED: (2) MUMBLE Oh, La la la la la A croaky monotone. The class LAUGHS OPENLY. TEACHER (getting worried) Listen carefully, Mumble. La la la la la la la la!! MUMBLE La la la la la la la la!! TEACHER (emphatically) La La La La La La La La! MUMBLE But that's what I'm doing, The class fall about in HYSTERICS. MUMBLE (VO) (CONT'D) Whats funny? (genuinely perplexed) What's funny? LATER MUMBLE's PARENTS are talking to the TEACHER. TEACHER (sotto) It's bizarre. I don't understand it. Did anything happen - you know...- during early development? NORMA J. No. All fine. Normal incubation, wasn't it honey? Wishful shuffles guiltily. WISHFUL Well Yeah, it was a kinda...a tough winter I guess, and he did hatch a little late, but... (at a loss.) Is there really nothing we can do? (CONTINUED) 15. CONTINUED: TEACHER Of course there is. Thats why we have Mrs Astrakhan. MRS ASTRAKHAN'S Some distance from the creche, MUMBLE stands with MRS ASTRAKHAN, a Russian-accented remedial teacher. MRS ASTRKHAN CAN'T SINK? Rubbeesh. Every little pengvin has a sonk. Vhen I have feenished, your singink vill be givink everyone the goosepeempel. CU on MUMBLE looking up. MRS ASTRAKHAN So. Closink the eyes. Liftink chin. Deep breathe here in the downbelow. Now...most important part, find a feelink. Happy feelink, sad feelink, maybe lonely feelink. MUMBLE closes his eyes. MRS ASTRAKHAN (CONT'D) So?...So?... MUMBLE I'm thinking. MRS ASTRAKHAN Don't think EET!! Feel eet! Through the whole body, from the beak right down to tippy-toes. Her voice is seductive, hypnotic. MRS ASTRAKHAN (CONT'D) And then slowly, very slowly... She hears a strange TAPPING sound and looks down. MRS ASTRAKHAN (CONT'D) Vhat? Vhat is this? MUMBLE What? (CONTINUED) 16. CONTINUED: MRS ASTRAKHAN The feet. The jiggy-jog. Don't do eet. Do not move muscle. Rigid like plank, like board. NO MOVINK!!! Now...calm. Remember the feelink. MUMBLE Feelink...ok. MRS ASTRAKHAN And be spontanuous. Once again his feet start twitching uncontrollably. MRS ASTRAKHAN (CONT'D) No! Stop! No jiggy-jog! MUMBLE I'm being spontanuous. MRS ASTRAKHAN Not with the feet, with the sonk! You vant to meet beautiful girl? You vant to make the Egg? MUMBLE Oh yes. MRS ASTRAKHAN Well singk! "Ba Ba Bleckship, tvinklestar...La la la la la la, la". MUMBLE (totally unmusical) "Twinkle, twinkle, little star. How I..." MRS ASTRAKHAN Hokay. Enough. Stop. Hokay! Ve go back to the top. Forget the body, look inside the soul. No notes, no sonk, only feelink. Happy feelink. Sad feelink. Enormous feelink, so enormous it fills the whole body. It must escape or you explode! Now, open your leetle beak... Mumble opens his beak, inspired. MRS ASTRAKHAN (CONT'D) Yes, yes, lift up the head! That's it! (CONTINUED) 17. CONTINUED: (2) Mumble inhales, his eyes are shining, his body is shaking. MRS ASTRAKHAN (CONT'D) You take a big breath, good and...now! Now! He's off again, DANCING LIKE A FOOL...wild, exuberant, totally uninhibited and unselfconscious. After some time, he remembers himself, stops and turns to the Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. MRS ASTRAKHAN (CONT'D) Disaster! Catastroff! I never fail! Never! THE ICE SHELF Follow Mumble as he wanders alone, back towards his class. He stops some distance away, listening to the other kids who are now performing with increasing virtuosity. Ella is among them, her clear high voice borne to him on the wind. Mumble sighs and his little shoulders sink, no way he'll ever be able to sing like that. MUMBLE Its tough when you realise you'll never fit in. Plus I was beginning to moult A piece of downy fluff is peeling off one wing MUMBLE (CONT'D) I couldn't face the class in this mood So I just kept going. Music over: Walk on By as he wanders through the vast colony head down against the wind, little feet padding over the ice, Gradually the colony begins to thin. MUMBLE (CONT'D) Looking for what? I don't know? A different type of penguin? The noise of the colony has faded behind him. He stops and looks up. (CONTINUED) 18. CONTINUED: MUMBLE (CONT'D) And that's exactly what I found. THE EDGE Before him, a wasteland of discoloured ice covered with broken eggs and bits of feather. There are very few penguins here and the ones he can see are all, frankly, weird. A Penguin walks in an endless figure of eight muttering to himself. Another has his flippers wrapped tightly around himself like a straightjacket. A troubled Penguin sings angrily..."There's no business like show business. CU on Mumble. As he looks back to the sanctuary of the colony and then back out over the wasteland MUMBLE Not the nicest place in the world but at least you could do what you liked here. Fade in Music: (I'm Free by the Who) and Mumble is off, skittering over the rubbish strewn ice, little feet dancing to his hearts content until.... a shadow passes over him and Whump! a huge SKUA BIRD, twice Mumbles size, with a cruel flesh-eating beak, lands on the ice right on front of him. SKUA Hey, whacha doin' dere flipperbird? MUMBLE Me? Oh, nothing. What are you doing? THREE MORE SKUAS descend. MUMBLE is surrounded. SKUA#1 Oh we just dropped in for a spota lunch. Hey hey hey... MUMBLE (hopefully) Lunch?...There's food? Here? (CONTINUED) 19. CONTINUED: SKUA#1 (to others) Leg or wing? Their dark eyes fix on Mumble. He is starting to feel uneasy and backs away. MUMBLE But ...but. I'm a penguin. SKUA#1 Exackly! De flipperbirds - dat's you - eat de fish. De flyinbirds - dat's me - eat de flipperbird an' de fish. Right now D'ain't no fish -- so...you do the math. The FIRST SKUA moves in on MUMBLE. FIRST SKUA And dis time I'm getting the juicy bits. MUMBLE I don't have juicy bits! Look... all bone and feather! Feel for yourself. They fall over each other, fighting to take up Mumble's invitation. SKUAS ...Hey, break me off a piec'a dat! ...'Smyturn ta pullimapart ya skanky shit- squirter. ...You! Lastime ya pullimapart ya took all the choice stuff! MUMBLE Wait! WAIT! The Skuas stop momentarily. MUMBLE (CONT'D) Every seen anything like this? He does a wild little TAPDANCE hoping to distract them. FIRST SKUA (unimpressed) Nope. (CONTINUED) 20. CONTINUED: (2) He knocks Mumble down and places his HUGE CLAW on his chest. FIRST SKUA (CONT'D) Ok boys, for once we gonna do dis civilised. Now... The FIRST SKUA opens his beak to strike. Mumble has noticed a YELLOW PLASTIC BAND around the Skua's leg. MUMBLE Hey! What's that on your leg? The FIRST SKUA halts his attack. FIRST SKUA Interesting you should ask? OTHER SKUAS No! No! Don't startim on that! He turns and whacks the other SKUAS over the head with his wing. FIRST SKUA Shaddap! The flipperbird aksed me a question. (fixing Mumble with a crazy bloodshot eye.) I got two words for ya: "Alien Abduction". OTHER SKUAS (groaning) ... Now of all times ... Always before we eat FIRST SKUA Quiet ya ignorant morons! (to Mumble) ...a lotta folks don't believe this but ...dere's somet'in out dere. Creatures. Not like us. Bigger...Fiercer...smarter, too. MUMBLE takes a few steps back, looking for an escape.The FIRST SKUA towering over him... FIRST SKUA (CONT'D) Aks me how I know. (CONTINUED) 21. CONTINUED: (3) MUMBLE How...? FIRST SKUA `Cos I bin capturebyem that's how! I seen `em! Mumble keeps backing off, feigning interest... MUMBLE Unbelievable. FIRST SKUA Whaddayamean unbelievable?! It's true! I'm sittin' on a rock, mindin' my own business when suddenly... dere onta me. Dese bein's...like big ugly penguins, fat flabby faces with frontways eyes, no feathers, no beaks...an' dese, dese appendages! Dey probe me, dey tiemeup and strapmedown...dey take dis pointy t'ing and stick it inta me! Den...blackout! MUMBLE You don't say FIRST SKUA Gets worse! I woke up and there's dis thing on me! (the leg band) Go home and every flyinbird starts dissin' me: `Hey Yellaleg'`What's happenin' Whats that on your leg, Yellaleg?' It was humiliatin'!! MUMBLE At least those aliens didn't eat you. FIRST SKUA True. I guess my cries for mercy appealed to their better nature. MUMBLE So - You think I could appeal to your better nature? FIRST SKUA Nice try kid. But No... (CONTINUED) 22. CONTINUED: (4) He opens his beak wide as MUMBLE stumbles backwards and falls into a narrow CREVICE in the ice. FIRST SKUA (CONT'D) Hey! Whatcha think ya doin' down dere flipperbird? Get back up here dis minute! The other Skuas move in to help. MUMBLE cowers in the CRACK as they spear at him with their beaks. SKUAS ...Come on, out witcha! ...Ya sneaky-ass flipperbird! They can't get hold of him. Frustrated, they turn on the FIRST SKUA, squabbling and whacking each other with their wings. SKUAS (CONT'D) ...Great, Yellaleg. ...What did we tell ya ...ya leddim geddaway, dincha with ya screwy alientalk. FIRST SKUA Hey, Don't peck me or I'll peck you and when I peck you know you've been pecked...(fade) MUMBLE watches from the safety of the crack as they fight and argue viciously among themselves MUMBLE (VO) Compared

17

Heavy Metal

Dan Goldberg,Len Blum

Action,Adventure,Animation,Fantasy,Horror,Sci-Fi

July_1980

FADE UP ON A WHEATFIELD A beautiful field of wheat glistens in the morning sun. As the camera skims overtop, titles start to roll. Ahead of us an odd-looking service van comes into view, sputtering along a dirt road. Getting closer, we can see the driver, a thin, bookish man with a neat mustache. This is AUSTIN GRIMALDI. The truck pulls up to a strange Victorian house in the middle of the wheatfield. The house has several futuristic radar devices on the roof that rotate constantly. AUSTIN gets out, opens the van's rear doors, and pulls out two large metal boxes. CUT TO THE ATTIC WINDOW The curtains part ever so slightly, and a pair of eyes peer down. CUT BACK TO THE VAN AUSTIN shuts the van's rear doors, and carries the two metal boxes into the house. The titles stop rolling as we; CUT TO INSIDE THE HOUSE AUSTIN is reading a schematic diagram as he sits in front of the exposed chassis of a complicated futuristic electronic contraption, twice his size. There are strange tools all over the floor. Putting down the diagram, he opens one of the metal cases and takes out a sophisticated-looking glass sphere with electronic receptacles mounted in the sides. He places this sphere in a space in the middle of the contraption, clamps it down, and plugs some wires into the globe's receptacles. Then he opens the second box. Inside is a glowing green ball. Using a pair of special tongs, AUSTIN carefully lifts the ball out, and inserts it into an opening at the base of the machine, in the back. As soon as the ball is inside, the machine hums to life. The glass sphere sparkles, and a holographic picture of a green planet in space appears inside it. AUSTIN (looking at the holograph) Hmmmm .... He takes a strange tool, and moves out of frame to make an adjustment underneath the machine. Suddenly a wire comes loose from the sphere and begins to spark. AUSTIN (seeing sparks) Uh - oh .... As the camera pulls closer to the holograph screen, the green planet begins to silently shake. CUT TO SPACE With an explosion that rocks the universe, a huge chunk rips out of the green planet and shoots off into space, leaving thousands of glowing particles in its wake. CUT BACK TO AUSTIN Not noticing the silent image on the holograph, he quickly repairs the sparkling connection and returns to his other adjustments. CUT TO A FOREST From the forest floor we see the green planetoid fly overhead, dropping balls. We watch as it moves away and disappears beyond a far-off mountain range. The forest rumbles as the planetoid crashes in the distance. The camera then pans over to a forest patch, where a beautiful girl approaches, picking mushrooms. CUT TO A GREEN BALL NEAR HER FEET An ominous note is struck as the girl notices the glowing ball, and is drawn to it. Picking the sphere up, she looks at it. Something inside her warns her of its danger, but, unable to resist, she puts it in her basket and continues on. DISSOLVE TO THE GATES OF KRAAN Night falls over this futuristic chromoid city as the beautiful girl passes through the glass gates and heads home. CUT TO THE GIRL'S BEDROOM The girl yawns and gets into bed as the camera pans over to her basket in the corner. Through its side, the green ball begins to glow brightly. Getting closer, we see a slimy silk-like webbing ooze out of the ball and move towards the sleeping girl, pulling the green ball behind it. The ball starts to glow and pulse as the webbing begins to surround the girl, like a cocoon. Slowly the camera pans up the wall, and moves out through the window, and beyond the city gates, rising higher and higher. CUT TO THE OUTLANDS Flying quickly overtop futuristic villages, the camera heads further and further out into the less civilized sectors, where the rusting pipelines and crumbling utility stations of a past civilization have been overgrown by scrub-bush and weeds. The camera zooms across this strange landscape toward the distant mountains where the huge planetoid fell. Finally, from high above the foothills, we begin to come down. In the hills below us, hundreds of blue humanoid barbarians are moving along, mesmerized, toward a pulsing green glow high in the mountaintops. Suddenly the mountains begin to rumble. CUT TO THE LINE OF BARBARIANS At the front of the line, the largest barbarian - obviously their leader - stops and points. CUT TO THE MOUNTAINS A strange, green, foamy liquid comes pouring down the mountains toward the barbarians. CUT TO THE LINE OF BARBARIANS The barbarians stand frozen as the foam washes over them and keeps on going. One by one, their eyes turn green and they start to change, becoming hairier, uglier, and stronger. As their transformations are complete, the barbarians gather behind their leader into an ever-growing mob of murderous looking sub-humans. DISSOLVE TO THE GATES OF KRAAN A frightened Kraanian councillor spurs his horse forward through the beautiful glass gates, as in the distance we hear the sound of ten thousand approaching footsteps. The camera pans to a hillside overlooking Kraan. In the glow of sunset, the outline of the BARBARIAN LEADER, riding a black war-horse, appears at the hillside and stops. Then with a thundering of footsteps, the outline of five thousand barbarians comes into view behind him, filling the horizon. CUT TO THE BARBARIAN LEADER He is now wearing a strange medallion around his neck as, wild- eyed, he screams to signal the attack. The bloodthirsty horde charges down the hill behind him. The camera moves with the barbarians as they crash through the gates of the city, destroying everything in their path. Smoke and flames are everywhere. Ahead of us, terrified Kraanians run from the onslaught. As we track up over the burning rooftops, we see the BARBARIAN LEADER riding his war-horse in the streets below. Shouting a command, he waves his men on as they move toward an impressive doomed building in the middle of the city. CUT TO THE COUNCIL CHAMBERS At the far end of this huge glass hall, the Kraanian Council sits around a marble table. From outside, we hear the battle raging. Pulling closer we can hear the worried voices of the Council members. COUNCILMAN #3 They're killing everyone. We must escape! COUNCILMAN #2 The city is burning! COUNCILMAN #4 (throwing a parchment before the Elder) Even the mountains glow green and an evil slime oozes down! COUNCILMAN #1 Elder, we must arm ourselves! We must fight! ELDER Silence! Everyone gets quiet. Looking at the parchment thrown before him, the ancient, withered ELDER rises to his feet. ELDER We are not a race of warriors. We are statesmen, and scientists. From our very beginning it was ordained that the warrior-race of Taarak the Defender would aid us in times of need. This was the Pact! COUNCILMAN #1 Taarak the Defender? His race is dead! They cannot defend anyone! COUNCILMAN #2 Some say that the race is not dead - that one still lives. COUNCILMAN #1 One? What good is one? ELDER One of Taarak's blood can do much. Outside, the sounds of battle grow louder. A boy appears at the doorway. BOY Elder! They are at the walls! COUNCILMAN #3 Well who is this last Defender? How can he be summoned? ELDER It is Taarna, of the blood of Taarak the Defender - the last of the race. And must be summoned as my forefathers summoned Taarak himself - from within! COUNCILMAN #2 But will this Defender answer? ELDER A Taarakian has no choice. They must answer. It is in their blood. The clattering of armour becomes audible. BOY They are in the halls! They are coming!! ELDER (calmly to the boy) Bar the door. (to the Councilmen) We will summon the Defender together. The Councilmen nod. ELDER (shutting eyes) Taarna ... Taarna ... As the Councilmen take up the chant; CUT TO THE DOOR As the boy begins to bar the door, it bursts open, flinging him aside. Standing in the doorway, surrounded by his men, is the BARBARIAN LEADER. With a laugh, he raises a Medieval-looking multiple cross-bow and fires a burst of arrows into the boy's chest, as the crazed troops rush in around him. The chanting continues as we; CUT TO THE OUTLANDS We look down over this uncivilized wilderness with only decaying pipelines and the occasional jagged rock structure breaking the barren uniformity of the land. As the Council's distant chanting fades out, all is quiet. Suddenly from behind us, we hear the sound of flapping wings and a huge rush of air. Just above our heads, TAARNA THE DEFENDER comes flying in, sitting proudly in the saddle of a giant crimson bird. CUT TO TAARNA'S FACE She is beautiful, with dark eyes and wild red hair blowing behind her in the wind. Below her, on the ground, she sees a humanoid running in terror, chased by an ugly, four-legged mutant creature. Spurring her bird forward, TAARNA sweeps down over the ugly beast and lassoes it. She then hoists the creature up into the air and, tossing her end of the rope over a tall jagged rock, she leaves the snarling beast hanging helplessly. Flying down to the grateful humanoid, she dismounts. As she approaches we see that he has a barbarian medallion on a chain around his neck. HUMANOID I owe you my life. Let me repay you ... He takes off his medallion and places it around her neck. Suddenly he twists the chain tight in his hand, pulling her towards him. His eyes change to a bright green as he forces her to the ground and starts ripping at her clothes. As he molests her, TAARNA is distracted. She hears something - voices inside her, chanting her name. Quickly she grabs the chain and rips it apart. Then she powerfully smashes both her hands together around her attacker's ears. As he holds his ringing ears, she gets up, lifts him above her head, and hurls him mercilessly to the ground. Still hearing the chanting, she jumps on her bird, pulls out a second rope, and lassoes the barbarian's feet. She then lifts him up and leaves him hanging from the tall, jagged rock, next to the growling creature. As TAARNA flies off, the hanging beast eyes the barbarian hungrily. CUT TO AUSTIN GRIMALDI He is still sitting on the floor, working on his machine. As the camera pulls closer, we see that AUSTIN is reaching deep inside the machineworks, trying to solder a small orange diode in place with an odd-style soldering iron. The connection breaks, and the diode and some hot solder fall deeper into the machine and start smoking and sputtering. As the smoke grows thicker, the machine starts to buzz loudly. AUSTIN Dammit! AUSTIN pulls his face out of the smoking chassis, grabs a pair of needlenose pliers, and reaches back to retrieve the part. The camera follows AUSTIN'S arm into the chassis, where smoke surrounds it and clouds over everything. The buzzing sound grows, and changes into the sound of powerful, throbbing engines. Slowly the smoke begins to clear as we hear a voice crackling over a radiophone. BOMBARDIER (V.O.) Where the hell are we? Suddenly the smoke dissipates and a formation of B-17 bombers come tearing out into the moonlit night. CUT TO THE GROUND BELOW The sound of jungle night creatures fills the air. We see palm trees silhouetted against the moon bright sky. The scene is almost serene. The camera pans and suddenly the nose of a large parked bomber fills the screen, and as the camera continues panning, we pass a large red rising sun on the bomber's fuselage. The pan stops at the tail of the aircraft, and we see a Japanese soldier - a guard. There is a moment of tranquillity, as jungle sounds fill the air. The soldier almost dozes ... suddenly the cacophony of sound stops, and for a brief moment there is complete silence ... then with an agonizing wail an air raid siren shatters the silence and the guard looks skyward, startled. Instantly all hell breaks loose as we hear pounding feet. Silhouetted figures rush by. CUT TO A GUN EMPLACEMENT Japanese soldiers crank the barrel of an anti-aircraft gun skyward. We begin to hear the sound of approaching engines. CUT TO CLOSEUP OF A SHELL It is thrust into a breech. CUT TO THE B-17 FORMATION As the bombers press on, the camera moves in to the lead aircraft. In the moonlight we see her name, "Pacific Pearl". CUT TO INT. - THE "PACIFIC PEARL" NAVIGATOR We're there Stepek, right on target ... Rabual dead ahead! Suddenly a cacophony of explosions split the air as anti-aircraft shells explode ahead of the aircraft, lighting the inside with electric blue flashes. BOMBARDIER Gee! Thanks for telling me, Holden. I thought it was Cleveland. CUT TO THE GROUND Ackack guns blast shells skyward. The gun blasts light up the palm tree background, causing momentary silhouettes. CUT TO THE BOMBARDIER BOMBARDIER For Christ sake, hold her steady! CUT TO THE BELLYGUNNER He can be seen from outside the plane as the shell flashes light up his turret. BELLYGUNNER Quit yer bitching Stepek, just drop 'em and let's get outta here! CUT BACK TO THE BOMBARDIER BOMBARDIER Keep your shirts on guys, tonight I'm gonna hit something. (he settles over the bomb sight) Left two degrees ... steady ... steady ... CUT TO THE BELLYGUNNER The flak is severe, with electric blue flashes lighting up the fuselage interior. BELLYGUNNER Hey kid, how ya doing back there? CUT TO THE TAILGUNNER Tailgunner momentarily lit with a shell burst, he's scared shitless. He looks nervously back behind the aircraft at the flak puffs behind the tail. TAILGUNNER Gulp, ah ... I'm ah ... okay ... I think. PILOT (V.O.) Button it up, we're almost there. CUT TO THE BOMBARDIER He is crouched over his bomb-sights, concentrating. NAVIGATOR (V.O.) C'mon Stepek, there's the whole island of Rabaul down there, you can't miss! BOMBARDIER Screw you ... CUT TO THE PILOT'S COMPARTMENT Suddenly a shell explodes almost on the windshield and the pilot rears back with the blast. The right windshield is shattered. PILOT We took a hit ... The co-pilot sags forward, held back only by his shoulder straps. His eyes stare. Blood runs from under his helmet. We know he is dead. PILOT Shit. Elkhorn just bought it. BELLYGUNNER (V.O.) We took one back here too. C'mon Stepek, blast 'em! CUT TO THE BOMBARDIER BOMBARDIER (hand on the release button) Steady ... steady ... bombs away! Let's get the hell outta here! CUT TO THE GROUND We hear the shriek of descending bombs. The explosions walk across the airfield, and in the light of the explosions we see devastation. The last bomb hits a fuel dump, causing an enormous ball of fire. BOMBARDIER (V.O.) Yahoo! Bullseye! CUT BACK TO THE PACIFIC PEARL PILOT (exhilarated) Nice shooting Stepek, how are the rest of you guys? FLIGHT ENGINEER (V.O.) Flight Engineer okay. RADIO OPERATOR (V.O.) Radio okay. NAVIGATOR (V.O.) Navigator check. BELLYGUNNER (V.O.) Belly okay. TAILGUNNER (V.O.) Ah ... tail okay ... There is abrupt silence. PILOT Bellson ... Lewis? Still silence, no reply from either name. PILOT Kid, check the waist positions, see if they're okay. CUT TO THE TAILGUNNER TAILGUNNER Yeah ... will do, skipper. TAILGUNNER crosses himself, then exits back into the body of the machine. CUT TO THE PILOT PILOT (wearily) Let's go home. We hear jumbled comments from all positions. Everyone is happy. CREW (V.O.) Cheers and whoops. The mood of high spirits is stopped abruptly as the tailgunner reports back. TAILGUNNER (V.O.) Skipper, Bellson and Lewis are both dead. This is the first time the kid's voice is not scared, just puzzled. PILOT Dammit! BOMBARDIER (V.O.) Well kid, now you got a real bombing mission under your belt. CUT TO THE BOMBARDIER He removes his oxygen mask and takes a long swig from a bottle. CUT TO EXT. - THE "PACIFIC PEARL" She rejoins the rest of the group. The formation is not quite as tight as before. As the formation flies along, puffs of cloud pass by, occasionally obscuring a machine. CUT TO LOW VIEW OF THE "PACIFIC PEARL" Under the "Pacific Pearl's" belly, we see the bellygunner suspended in his small glass pod. A red glow brightens up as he drags on a cigar. The rest of the formation are visible stretched to the side and behind as puffs of cloud waft past. We begin to feel as if the weather might be changing. CUT TO THE NOSE OF THE "PACIFIC PEARL" The BOMBARDIER is relaxing inside as he swigs from the bottle and sings raucously. From the front we look in on the pilot with the dead co-pilot sagging in his seat next to him. BELLYGUNNER (V.O.) Sorry about Elkhorn, skip. What happened? PILOT I dunno. The shell exploded and he collapsed. I think he took it in the head. BELLYGUNNER (V.O.) Are ya sure he's dead, Skipper? PILOT He's dead. BOMBARDIER (sings drunkenly) Oh I put my finger in a woodpecker's hole and the woodpecker said God bless my soul; take it out, take it out, take it out, remove it ... TAILGUNNER (bolder) Hey Stepek, just shut up, okay? BOMBARDIER Up yours kid, wassa matter, you don't like my voice? While all this banter has been going on the cloud has been thickening. Suddenly a serious voice cuts in on the small talk. It's the NAVIGATOR. NAVIGATOR (V.O.) Something's wrong! CUT TO THE NAVIGATOR He is frantically tapping the compass. PILOT (V.O.) You got a problem, Holden? BOMBARDIER (V.O.) Naw, the kid's the one with the problem. He don't like my voice! PILOT (V.O.) Button it up Stepek. What's the problem, Holden? NAVIGATOR I must have a malfunction, my compass says we're heading north! CUT TO PILOT He looks at his compass. PILOT Mine says east. NAVIGATOR (V.O.) Hey, can you guys see the rest of the squadron? BELLYGUNNER (V.O.) Negative, there's too much cloud. A sudden flash of lightning illuminates the whole inside of the plane. CUT TO THE COCKPIT The dead co-pilot's pale face is momentarily electric blue, lit by the lightning flash. We pan past him to the compass in the instrument panel. It is spinning madly. PILOT What the hell ... He reaches forward to tap the compass. PILOT Hey Holden, now my compass has gone crazy. It's spinning like a son of a bitch! NAVIGATOR (V.O.) Mine too, we must have hit a magnetic field or something !! CUT TO OUTSIDE THE PLANE We see a dull glow coming from all crew positions from the on-board lights. Suddenly a curtain of rain lashes the machine. PILOT (V.O.) Christ, now they're all doing it!! CUT TO THE INSTRUMENT PANEL All the dials are going haywire. Above the instrument panel we see the windshield is spattered with rain. BOMBARDIER (V.O.) You guys quit talking business? I'm trying to sing here! Oh I put my finger in a woodpecker's ... PILOT (irritably) Can it Stepek, we got real problems. Just then through the rain, a strange green glow is seen in the distance. It begins to curve toward the aircraft. CUT TO OUTSIDE THE PLANE - NEAR BELLY TURRET The turret swings as the gunner spots the glow. BELLYGUNNER Jesus! Look at that!! From under the starboard wing, we see the object approaching. PILOT (V.O.) Look at what ... look at what!!? BELLYGUNNER It's out there, just look at it ... PILOT (V.O.) For Christ sake, give us a position! BELLYGUNNER It's about four o'clock, just below ... Holy Shit, it's coming right at us! The glow suddenly zooms at the plane with great speed and hits the starboard inner engine. CUT TO PILOT'S POV He has to push the dead co-pilot back to peer out the broken starboard window ... the number three prop is bent and windmilling wildly. It has a strange green luminescence about it ... the whole machine shakes. PILOT Damn. The PILOT tries to fly the plane and do the co-pilot's job of feathering the bad engine. Suddenly it's too late as the prop wobbles loose and cartwheels over the wing. CUT TO OUTSIDE THE PLANE The prop flies back and slices a great gash in the aircraft's skin, near the TAILGUNNER'S position. CUT TO THE PILOT PILOT We lost the goddamned prop ... Did it do any damage? Kid, check the tail. Silence. PILOT Come in kid ... kid are you okay? Silence. PILOT Travis; go check the back. BELLYGUNNER (V.O.) Will do, skipper. CUT TO INSIDE HATCH TRAVIS' turret opens and TRAVIS pulls himself up into the fuselage. CUT TO THE PILOT The gauges are now settled except for the oil pressure to No. 2 engine. The pressure drops. The engine heat gauge climbs rapidly. A red warning light begins to flash. PILOT (to himself) Goddamn it, now what? He glances out of his window just in time to see a strange, claw-like feeler coming out of the engine casing. It detaches one of the cooling gills, then another, and another. They blow away in the slipstream. PILOT Gremlins! (rubbing his eyes) Jesus, I must be getting tired. CUT TO THE BELLYGUNNER He looks in to the kid's reargun compartment. All that is left of him is a tattered skeleton. TRAVIS turns, horror frozen on his face. Quick as a flash, from seemingly nowhere, something flies at him and grabs his throat. The mask on his face falls off, and we get a split second look of abject horror as he falls out of frame. PILOT (V.O.) Travis, what's goin' on back there? CUT TO TRAVIS His eyes are open but he is obviously dead. Through his helmet headphone, we hear his name. CUT TO THE PILOT PILOT Holden, how far to base? NAVIGATOR (V.O.) Skip, with everything screwed up here, I'd, I'd guess about two hundred miles. All the time the engine pops and bangs wildly. PILOT For Christ's sake, find us a place I can put her down! CUT TO THE NAVIGATOR NAVIGATOR It's all ocean down there, skip! CUT TO THE PILOT PILOT Mack, can you get us a radio fix? CUT TO THE RADIO OPERATOR RADIO OPERATOR Negative skip, too much interference. CUT TO THE PILOT He is fighting the controls. PILOT Shit! I've gotta put her down! CUT TO THE BOMBARDIER BOMBARDIER Hey Holden ... ya old stuff shirt ... ya wanna snort? PILOT (V.O.) For God sakes Stepek, shut up! STEPEK takes another swig from his bottle. He is lying on his back partly propped up by the curving nose of the aircraft. He is about to make another smart ass reply, when he hears a strange scratching and chirping noise above his head. He looks up in time to see sharp teeth and claws start to appear through the lining above his head. He blinks in disbelief and throws his bottle away as if the image came from the whiskey. BOMBARDIER Oh my God, there's ... there's ... ahh ... keep away ... keep away ... (struggles) ... hey no ... hey somebody ... (screams) NAVIGATOR (V.O.) Stepek, you stupid sonovabitch, will you lay off the booze, you've got the D.T.'s ... STEPEK is wide-eyed and scared silly as the sound now begins under his feet and pincers begin to snip through the floor. He suddenly realizes that the whole floor is giving way beneath him, and he grabs for a handful of cables as the floor collapses. CUT TO OUTSIDE THE AIRCRAFT The lower half of STEPEK is hanging in the slipstream, kicking madly. We see that his legs are covered in wriggling creatures. CUT BACK TO STEPEK He is losing his grip with one hand, but still desperately clinging on to a bunch of cables with the other. Suddenly an ugly pincer cuts the cables and STEPEK is gone ... out into the night. CUT TO THE PLANE Suddenly the No. 2 engine begins to backfire, blasting back large gobs of orange flame. The oil, heat and manifold gauges are off the dial and red lights frantically flash. Desperately the PILOT looks out of the window. Pieces begin flying off the engine. The cowling disintegrates revealing the bare engine beneath. Small figures are frantically busy ripping the engine to pieces.

18

How to Train Your Dragon

Dean DeBlois,Chris Sanders

Animation,Adventure,Comedy

March_2010

FADE IN: EXT. NORTH SEA/VILLAGE - NIGHT We skim above a dark, wild ocean. The camera turns toward a lone island, Berk. It is a gigantic shard of rock jutting straight out of the water. HICCUP (V.O.) This, is Berk. It's twelve days North of hopeless, and a few degrees South of freezing to death. It's located solidly on the meridian of misery. The camera drifts over rolling hills to reveal a small village nestled on an outcropping of sea mounts. HICCUP (V.O.) (CONT'D) My village. In a word, sturdy. And it's been here for seven generations, but every single building is new. The camera drifts closer, circling. HICCUP (V.O.) (CONT'D) We have fishing, hunting, and a charming view of the sunsets. The only problems are the pests. You see, most places have mice or mosquitos. We have... Sheep graze peacefully on a hillside. Suddenly one is snatched. CUT TO: INT. STOICK'S HOUSE - CONTINUOUS A door is pulled open... as a DRAGON swoops directly toward it, BLASTING FIRE. The door is SLAMMED. The fire shoots through the slats of wood, illuminating HICCUP, a gangly teenage Viking. HICCUP ...dragons. EXT. STOICK'S HOUSE He reopens the sizzling door, as leaps off of the front porch. He weaves through the erupting mayhem as Vikings pour out of the buildings, ready for a fight. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 2. More dragons swarm in, setting rooftops alight and hauling off sheep. HICCUP (V.O.) Most people would leave. Not us. We're Vikings. We have stubbornness issues. Vikings sound the alarm. Viking men and women pour out into the streets, axes in hand. ON HICCUP darting through alleys, staying under eaves, making his way through the battle. HICCUP (V.O.) (CONT'D) My name's Hiccup. Great name, I know. But it's not the worst. Parents believe a hideous name will frighten off gnomes and trolls. Like our charming Viking demeanor wouldn't do that. Dragons sweep back and forth, dodging axes and blasting the Vikings who throw them. A burly warrior gets tossed in an explosion, knocking Hiccup to the ground. VIKING (FIERCE) Arggghhhhh! (cheery, insane) Mornin'! Hiccup gets to his feet and continues to rush past gigantic men and women. HICCUP (V.O.) Meet the neighbors. Hoark the Haggard... HOARK What are you doing out!? HICCUP ... Burnthair the Broad... BURNTHAIR Get inside! HICCUP ... Phlegma the Fierce... PHLEGMA THE FIERCE Get back inside! "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 3. HICCUP . Ack. He passes a silent ox of a viking, picking his ear. HICCUP (CONT'D) Yep, just Ack. Enter STOICK, the biggest Viking of all. He yanks Hiccup from the path of a strafing dragon and holds aloft to the crowd. STOICK Hiccup!? (accusingly; to the crowd) What is he doing out again?! (TO HICCUP) What are you doing out?! Get inside! The flames light up his scowling face and matted red beard. He sets Hiccup down and turns to the sky, searching. HICCUP (V.O.) (IN AWE) That's Stoick the Vast. Chief of the tribe. They say that when he was a baby he popped a dragon's head clean off of its shoulders. Do I believe it? Stoick grabs a wooden cart and hurls it, knocking the strafing dragon out of the sky. HICCUP (V.O.) (CONT'D) Yes I do. An EXPLOSION forces Vikings to DUCK. Stoick stands firm, brushing flaming debris off of his shoulder. STOICK (barking; to his men) What have we got? VIKING #1 Gronkles. Nadders. Zipplebacks. Oh, and Hoark saw a Monstrous Nightmare. STOICK Any Night Furies? VIKING #1 None so far. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 4. STOICK (RELIEVED) Good. VIKING Hoist the torches! Massive flaming braziers are raised on poles, lighting up the night sky... and revealing swirling dragons of all types. Below, Hiccup crosses an open plaza and ducks into an open building with a tall chimney. INT. BLACKSMITH STALL - CONTINUOUS He crosses behind a counter, where a peg-legged, one-armed hulk of a Blacksmith reshapes blades with a hammer and tongs appendage. GOBBER Ah! Nice of you to join the party. I thought you'd been carried off. Hiccup dons a leather apron and starts to put away Gobber's scattered appendages. HICCUP Who me? Nah, come on! I'm way too muscular for their taste. They wouldn't know what to do with all this. Hiccup strikes a bodybuilder pose. GOBBER They need toothpicks, don't they? Hiccup gets to work, transferring bent and chipped weapons to the forge as Vikings crowd the counter for replacements. HICCUP (V.O.) The meathead with attitude and interchangeable hands is Gobber. I've been his apprentice ever since I was little. Well...littler. EXT. VILLAGE - CONTINUOUS ON STOICK STOICK We move to the lower defenses. We'll counter-attack with the catapults. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 5. Armed men rush past, flanking others who carry sheep to safety. Stoick follows up the rear as, overhead, a dragon strafes the rooftops with Napalm-like fire. HICCUP (V.O.) See? Old village. Lots and lots of new houses. VIKING FIRE! In response, the fire brigade charges through the plaza -- four TEENS, tugging a large wooden cask on wheels. From it, they fill buckets of water to douse the flames. One among them is a cute, energetic Viking girl. Hiccup leans out of the stall to watch her. HICCUP (V.O.) Oh and that's Fishlegs, Snotlout. The twins Ruffnut and Tuffnut. And... (DREAMY) Astrid. A SLOW-MOTION explosion erupts behind her, framing her in a sexy ball of fire. The others join her, looking awesome and heroic. HICCUP (V.O.) (CONT'D) Their job is so much cooler. Hiccup tries to join them as they pass, but he's hooked by Gobber and hoisted back inside. HICCUP (CONT'D) (PLEADING) Ah, come on. Let me out, please. I need to make my mark. GOBBER Oh, you've made plenty of marks. All in the wrong places. HICCUP Please, two minutes. I'll kill a dragon. My life will get infinitely better. I might even get a date. GOBBER You can't lift a hammer. You can't swing an axe... Gobber grabs a bola (iron balls connected by rope). "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 6. GOBBER (CONT'D) ... you can't even throw one of these. A Viking runs by and nabs it out of Gobber's hand, hurling it at a dive-bombing Gronkle. The bola binds its legs, sending it into a heavy crash. HICCUP (ready with the answer) Okay fine, but... He rushes to the back corner of the stall and presents a bizarre, wheel barrow-like contraption. HICCUP (CONT'D) ... this will throw it for me. Hiccup OPENS the hinged lid of the device. An arm springs up, equipped with twin bows. They prematurely launch a bola, narrowly missing Gobber... and taking out a Viking at the counter. VIKING Arggh! GOBBER See, now this right here is what I'm talking about. HICCUP Mild calibration issue. GOBBER Hiccup. If you ever want to get out there to fight dragons, you need to stop all... Gobber gestures in Hiccup's general direction. GOBBER (CONT'D) ... this. HICCUP (ASTONISHED) But... you just pointed to all of me. GOBBER Yes! That's it! Stop being all of you. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 7. HICCUP (THREATENING) Ohhhh... GOBBER (MIMICKING) Ohhhhh, yes. HICCUP You, sir, are playing a dangerous game. Keeping this much, raw...Vikingness contained. (BEAT) There will be consequences! Gobber tosses him a sword. GOBBER I'll take my chances. Sword. Sharpen. Now. Hiccup takes it begrudgingly and lobs it onto the grinding wheel. He stews... fantasizing... HICCUP (V.O.) One day I'll get out there. Because killing a dragon is everything around here. EXT. VILLAGE - LOWER PLAINS - CONTINUOUS Nadders land, gathering like seagulls around a seemingly vacant house. HICCUP (V.O.) A Nadder head is sure to get me at least noticed. The Nadders clamber onto the building, tearing the roof and walls apart. Sheep pour out and SCATTER. Elsewhere, hippo-like Gronckles pick drying racks clean of fish and fly off like loaded pelicans. HICCUP (V.O.) (CONT'D) Gronckles are tough. Taking down one of those would definitely get me a girlfriend. A stealthy, snake-like dragon head peeks over a rooftop, breathing gas into a chimney. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 8. HICCUP (V.O.) (CONT'D) A Zippelback? Exotic, exciting. Two heads, twice the status. A second head pokes through the door and lights it. KABLAM! The two heads fly through the explosion, their necks zipping together to reveal a single body. It flies past Stoick as he climbs to the top of a CATAPULT TOWER. CATAPULT OPERATOR They found the sheep! STOICK (FRUSTRATED) Concentrate fire over the lower bank! CATAPULT OPERATOR Fire! Boulders are catapulted at the corralling Nadders... Just as a huge red dragon whips past, spraying the base of the catapult with sticky fire. HICCUP (V.O.) And then there's the Monstrous Nightmare. Only the best Vikings go after those. They have this nasty habit of setting themselves on fire. It emerges from the flames, climbing the catapult with a leering, toothy grin. STOICK Reload! I'll take care of this. Stoick takes on the Nightmare, face to hammer. Suddenly, a LOUD BALLISTIC MOANING streaks overhead. The catapult crew ducks. INT. BLACKSMITH STALL - CONTINUOUS ON HICCUP, looking up from his work, reacting to the same sound. HICCUP (V.O.) But the ultimate prize is the dragon no one has ever seen. We call it the-- "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 9. VIKING Night Fury! Get down! Vikings everywhere take shelter. The moaning sound BUILDS. EXT. VILLAGE - CATAPULT - CONTINUOUS The Monstrous Nightmare suddenly stops fighting and takes flight. Stoick looks skyward. STOICK JUMP! KABOOM! The Catapult EXPLODES as though hit by an artillery shell... sending Stoick and the crew leaping for their lives. HICCUP (V.O.) This thing never steals food, never shows itself, and... The sound recedes, leaving the crippled catapult in flames. HICCUP (V.O.) (CONT'D) ...never misses. (BEAT) No one has ever killed a Night Fury. That's why I'm going to be the first. IN THE STALL Gobber trades his hammer for an axe. GOBBER Man the fort, Hiccup, they need me out there! Gobber pauses. Turns with a threatening glare. GOBBER (CONT'D) Stay. Put. There. You know what I mean. Gobber charges into the fray, HOLLERING. ON HICCUP, a smirk crosses his face. EXT. VILLAGE - MOMENTS LATER WHAM! Hiccup pushes his wheeled contraption through a wall of clustered Vikings. He weaves through the ongoing mayhem, as fast as his legs can carry him. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 10. VIKING #6 (O.S.) Hiccup, where are you going! VIKING #7 Come back here! HICCUP I know. Be right back! ON THE PLAIN BELOW The Nadders have cornered the house-full of sheep. They close in, ready to spring upon them. Stoick suddenly appears, HURLING FISHING NETS over them. The surprised Nadders are caught. Stoick and his men rush in. A Nadder blasts a hole through its net. Stoick leaps onto it, clamping his thick arms around its head, forcing its jaws shut. STOICK Mind yourselves! The devils still have some juice in them. ON THE PLAIN ABOVE Hiccup reaches a cliff overlooking the smoking CATAPULT and drops the handles to the ground. He cranks several levers, unfolding and then cocking the bowed arms of his contraption. He drops a bola onto a chamber and then pivots the weapon on a gimbal head toward the dark sky. He listens, with his eye pressed to the scope, hand poised on the trigger. He hears the NIGHT FURY approaching... and turns his aim to the defense tower. It closes in for the final strike, completely camouflaged in the night. HICCUP (TO HIMSELF) Come on. Give me something to shoot at, give me something to shoot at. KABLAM! The tower topples. The blast of fire illuminates the dragon for a split second. Hiccup pulls the trigger. KERTHUNK! The flexed arms SNAP forward, springing the weapon off the ground. The bola disappears into the sky, followed by a WHACK and a SCREECH. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 11. HICCUP (CONT'D) (surprised, then elated) Oh I hit it! Yes, I hit it! Did anybody see that? Hiccup's victory is short-lived. A Monstrous Nightmare appears, slithering up over the lip of the cliff. HICCUP (CONT'D) Except for you. ON STOICK, holding down the netted Nadders. He hears a familiar HOLLER and looks up to see... HICCUP running through the PLAZA, SCREAMING, with the NIGHTMARE fast on his heels. Alarmed, Stoick abandons the Nadders and runs off. STOICK (to his men, re: the NADDERS) DO NOT let them escape! IN THE PLAZA Vikings scatter as Hiccup dodges a near fatal blast. The Nightmare's sticky, Napalm-like fire splashes up onto buildings, setting them alight. Hiccup ducks behind the last standing brazier -- the only shelter available. The Nightmare blasts it, spraying fire all around him. Hiccup peers around the smoldering post. No sign of the Nightmare. He turns back to find it leering at him, blocking his escape. It takes a deep breath. Hiccup is finished. Suddenly, Stoick LEAPS between them, tackling the Nightmare to the ground. They tumble and wrestle, resuming their earlier fight. The Nightmare tries to toast him, but only coughs up smoke. STOICK (CONT'D) You're all out. He smashes the Nightmare repeatedly in the face, driving it away. It takes to the air and disappears. Winded, Stoick turns to Hiccup. HICCUP (V.O.) Oh, and there's one more thing you need to know... "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 12. The burnt brazier pole collapses, sending the massive iron basket crashing. It bounces down the hill, destroying as it goes and scattering the Vikings who were holding down the netted Nadders. The freed dragons escape... with several sheep in tow. HICCUP (CONT'D) Sorry, dad. EXT. VILLAGE - UPPER PLAZA - CONTINUOUS The escaped Nadders fly past with sheep in their clutches. The raid is over. The dragons have clearly won. The murmuring crowd eyes Stoick, awaiting his response. HICCUP (SHEEPISH) Okay, but I hit a Night Fury. Stoick grabs Hiccup by the back scruff of his collar and hauls him away, fuming with embarrassment. HICCUP (CONT'D) It's not like the last few times, Dad. I mean I really actually hit it. You guys were busy and I had a very clear shot. It went down, just off Raven Point. Let's get a search party out there, before it-- STOICK --STOP! Just....stop. He releases Hiccup. Everyone goes silent, staring expectantly. STOICK (CONT'D) Every time you step outside, disaster follows. Can you not see that I have bigger problems? Winter's almost here and I have an entire village to feed! Hiccup looks around. All eyes are upon him. HICCUP Between you and me, the village could do with a little less feeding, don't ya think? A few rotund Vikings stir self-consciously. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 13. STOICK This isn't a joke, Hiccup! (EXASPERATED) Why can't you follow the simplest orders? HICCUP I can't stop myself. I see a dragon and I have to just... kill it, you know? It's who I am, Dad. STOICK You are many things, Hiccup. But a dragon killer is not one of them. Sting. Hiccup looks around to see many nods of agreement. STOICK (CONT'D) Get back to the house. (TO GOBBER) Make sure he gets there. I have his mess to clean up. Stoick lumbers off in the opposite direction. Gobber leads Hiccup through the walk of shame. They pass the teen fire brigade as they snicker. TUFFNUT Quite the performance. SNOTLOUT I've never seen anyone mess up that badly. That helped! HICCUP Thank you, thank you. I was trying, so... Hiccup avoids Astrid's glare and heads up toward a large house, standing prominently on the hill above the others. HICCUP (CONT'D) I really did hit one. GOBBER Sure, Hiccup. HICCUP He never listens. GOBBER Well, it runs in the family. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 14. HICCUP And when he does, it's always with this... disappointed scowl. Like someone skimped on the meat in his sandwich. (MIMICKING STOICK) Excuse me, barmaid. I'm afraid you brought me the wrong offspring. I ordered an extra large boy with beefy arms. Extra guts and glory on the side. This here. This is a talking fish bone. GOBBER You're thinking about this all wrong. It's not so much what you look like. It's what's inside that he can't stand. Beat. HICCUP Thank you, for summing that up. They reach the doorway. GOBBER Look, the point is, stop trying so hard to be something you're not. Hiccup SIGHS heavily. HICCUP I just want to be one of you guys. Gobber eyes him sympathetically. Hiccup turns and goes through the front door. And straight out the back door. He hurries off into the woods, determined. INT. GREAT HALL - DAY A noisy din of PROTESTING VOICES leads to... STOICK, glowering in the firelight. Surrounded by his men. STOICK Either we finish them or they'll finish us! It's the only way we'll be rid of them! If we find the nest and destroy it, the dragons will leave. They'll find another home. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 15. He sinks his blade into a... LARGE NAUTICAL MAP, spread out on the table... the blade pierces the middle of an uncharted corner, swirling with painted sea monsters and dragons. STOICK (CONT'D) (DECIDEDLY) One more search. Before the ice sets in. VIKING Those ships never come back. STOICK (MATTER-OF-FACT) We're Vikings. It's an occupational hazard. Now who's with me? Stoick throws up his fist. No one follows. The crowds shifts in restless silence. Head scratches. Eyes averted. VIKING (FEEBLE) Today's not good for me. VIKING (CONT'D) (EQUALLY FEEBLE) I've gotta do my axe returns. STOICK Alright. Those who stay will look after Hiccup. Hands jut into the air, volunteers galore. Enthusiastic murmurs of prep and packing fill the room. PHLEGMA THE FIERCE To the ships! SPITELOUT I'm with you Stoick! STOICK (DRY) That's more like it. The Vikings rush for the door, leaving Gobber and Stoick alone. Gobber gulps back the contents of his tankard attachment and scrapes back the bench. GOBBER I'll pack my undies. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 16. STOICK No, I need you to stay and train some new recruits. GOBBER Oh, perfect. And while I'm busy, Hiccup can cover the stall. Molten steel, razor sharp blades, lots of time to himself...what could possibly go wrong? Stoick sinks onto the bench beside Gobber, his brow burdened. STOICK What am I going to do with him Gobber? GOBBER Put him in training with the others. STOICK No, I'm serious. GOBBER So am I. Stoick turns to him, glaring. STOICK He'd be killed before you let the first dragon out of its cage. GOBBER Oh, you don't know that. STOICK I do know that, actually. GOBBER No, you don't. STOICK No, actually I do. GOBBER No you don't! STOICK Listen! You know what he's like. From the time he could crawl he's been...different. He doesn't listen. (MORE) "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 17. STOICK (CONT'D) Has the attention span of a sparrow. I take him fishing and he goes hunting for... for trolls. GOBBER (DEFENSIVE) Trolls exist! They steal your socks. (DARKLY) But only the left ones. What's with that? STOICK When I was a boy... GOBBER (GRUMBLING) Oh here we go. STOICK My father told me to bang my head against a rock and I did it. I thought it was crazy, but I didn't question him. And you know what happened? GOBBER You got a headache. STOICK That rock split in two. It taught me what a Viking could do, Gobber. He could crush mountains, level forests, tame seas! Even as a boy, I knew what I was, what I had to become. (BEAT) Hiccup is not that boy. GOBBER You can't stop him, Stoick. You can only prepare him. (BEAT) Look, I know it seems hopeless. But the truth is you won't always be around to protect him. He's going to get out there again. He's probably out there now. ON STOICK, as Gobber's words hit their mark. EXT. WOODS - DAY ON AN OPEN NOTEBOOK "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 18. A drawn map of the island, covered in X's. Hiccup looks up from it and peeks over a gorge, expectantly. Sees nothing. He adds another 'X' to the page, then scratches his pencil over the whole map in frustration. He snaps the book closed and pockets it. HICCUP Uggh, the gods hate me. Some people lose their knife or their mug. No, not me. I manage to lose an entire dragon. Hiccup WHACKS a low-hanging branch. It SNAPS back at him, hitting him in the face. He looks up to see a snapped tree trunk. His eyes follow it to a long trench of up-turned earth. He follows it to a downed, black dragon, its body and tail tangled in a bola. It appears dead. Hiccup approaches, beaming. HICCUP (CONT'D) (IN SHOCK) Oh wow. I did it. I did it. This fixes everything. (ELATED) Yes! He strikes a victory pose, planting his foot on the fallen Night Fury. HICCUP (CONT'D) I have brought down this mighty beast! It suddenly shifts. HICCUP (CONT'D) Whoa! Hiccup springs back, terrified. He turns his blade on it. Rattled, Hiccup creeps along the length of the weak, wounded dragon, dagger poised to strike. As he reaches the head, Hiccup finds the Night Fury staring coldly at him. Hiccup tries to look away, but he's drawn back to its unnerving, unflinching stare. With the dragon safety tangled in the ropes, Hiccup jabs with his dagger, puffing himself up with false bravado. "Dragon" DeBlois/Sanders Final Draft (Rev.19) 02-13-2010 19. HICCUP (CONT'D) I'm going to kill you, Dragon. I'm gonna cut out your heart and take it to my father. I'm a Viking. (BEAT) I am a VIKING!

19

How to Train Your Dragon 2

Dean DeBlois,Cressida Cowell

Animation,Action,Adventure

May_2014

EXT. OPEN SEA - DAY Hiccup and Toothless BLUR PAST, leaving a wake that leads... EXT. BERK - DAY (Sequence 0200 - New Berk) To the island village of Berk, festively adorned with flags and banners. Major new additions alter its familiar skyline. HICCUP (V.O.) This... is Berk. The best kept secret this side of, well, anywhere. Granted, it may not look like much, but this wet heap of rock packs more than a few surprises. ON A CLUSTER OF SHEEP, hiding nervously between buildings as shadows of passing dragons race by. The group moves as one, receding into a shadowy alley, pushing one sheep out into the light. It's suddenly snatched and carried into the air! HICCUP (V.O.) Life here is amazing, just not for the faint of heart. See, where most folks enjoy hobbies like whittling or needlepoint, we Berkians prefer a little something we like to call-- WHOOSH, WHOOSH, WHOOSH! A wash of VIBRANT COLORS blurs by. DRAGONS BARREL PAST at a dizzying speed. Their RIDERS SWIPE, KICK, and ROLL into one another while they WEAVE neck in neck between the houses, docks, and revamped structures of Berk. HICCUP (V.O.) DRAGON RACING! It's like an aerial version of the Monte Carlo race. Spectators ROAR from wooden bleachers, fastened to cliff faces and perched over the sea. FISHLEGS, now 20 and even larger, rides his gronkle, MEATLUG, who carries the sheep in her claws, until... SNOTLOUT, also 20, but every bit as juvenile, and his Monstrous Nightmare, HOOKFANG, steal the sheep from them. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 2. SNOTLOUT Oh, I'm sorry, Fishlegs! Did you want that? FISHLEGS Snotlout! That's mine! Snotlout FALLS BACK toward RUFFNUT and TUFFNUT, who lag on their two-headed Zippleback, BARF & BELCH. SNOTLOUT Here ya go, babe. With a chivalrous grin, Snotlout tosses the sheep to Ruffnut. She SNATCHES it with a sneer and a GRUMBLE. SNOTLOUT (CONT'D) Did I tell you that you look amazing today? `Cause you do. RUFFNUT Come on, Barf. It's starting to stink around here. Barf starts to peel off, spewing gas. Tuffnut mocks Snotlout with a mugging grin. TUFFNUT Nope. Still hates you. Let's blow this place, Belch! Belch ignites the gas, sparking a flashy explosion, and leaving Snotlout behind in the smoke. As they rush past the main bleachers, Ruffnut DROPS her sheep into one of five baskets suspended over a chasm at the lap crossing. Each backboard bears an image of its corresponding dragon. The Barf/Belch basket filled to the brim with sheep. Presiding over the game, STOICK turns to the frenzied crowd. STOICK That's nine for the Twins, Astrid lags with three, Fishlegs and Snotlout trail with NONE! Stoick eyes an empty basket at the far end, its backboard painted with an image of Toothless. STOICK (CONT'D) And Hiccup is... nowhere to be found. Hmmm. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 3. GOBBER Scared him off with the big talk, didn't ya, Stoick? WHACK! Snotlout, still smoldering from the blast, gets CLIPPED from behind. ASTRID, rolls in, astride STORMFLY -- spirited and competitive as ever, and beautiful despite herself. ASTRID What are you doing, Snotlout?! They're going to win now! SNOTLOUT She's my princess! Whatever she wants, she gets. ASTRID Ruffnut?! Didn't she try to bury you alive?! SNOTLOUT Only for a few hours! BACK TO THE RACERS, as they peel away, pouring on the speed. HICCUP (V.O.) Dragons used to be a bit of a problem here. But that was five years ago. Now they've all moved in. And, really, why wouldn't they? The racers chase each other through a sprawling hangar and into a vast cave, teeming with colorfully painted dragon stables. They exit through the far side and circle back through the village, blasting past many of its dragon- friendly additions. HICCUP (V.O.) We have custom stables... all-you- can-eat feeding stations... a full service dragon wash... In the village, a baby Gronkle sneezes, accidentally setting one of the Viking houses aflame. HICCUP (V.O.) Even top-of-the-line fire prevention, if I do say so myself. Astrid rolls her eyes, peels away from the other dragon racers, and yanks open a spout on the overhead network of aqueducts, dousing the flames with a surge of water. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 4. BACK TO STOICK, amused as he watches the racers round the island, searching for sheep. He turns to Gobber and nods. STOICK It's time, Gobber. GOBBER Righty-ho! (aloud, to the crowd) Last lap! A HORN sounds. The racers all turn to each other, excited. ASTRID The black sheep! Come on, Stormfly! We can still win this thing! RUFFNUT Come on, Barf! TUFFNUT Let's go! FISHLEGS Go, Meatlug! GOBBER loads the BLACK SHEEP onto a catapult. GOBBER This is your big moment. Have a nice flight! He pulls the trigger, LAUNCHING the black sheep into the air. Astrid spots it and steers Stormfly into a steep climb toward it. ASTRID Up, up, up! In a flash, Fishlegs and Meatlug blur past, NABBING the sheep. ASTRID (CONT'D) No! FISHLEGS Good job, Meatlug! Fishlegs tosses his captured prize to Ruffnut. FISHLEGS (CONT'D) Here you go, darling. Mine's worth ten! HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 5. RUFFNUT Yeah! The Black Sheep! Snotlout sighs, frustrated. ASTRID You guys are fighting for Ruffnut?! RUFFNUT I'm totally winning! Fishlegs hovers up nest to Ruffnut with a starry-eyed smile. FISHLEGS We're winning together! She RAMS BARF into Meatlug, sending Fishlegs into an uncontrolled SPIN. He SLAMS into Snotlout, sending their dragons TUMBLING head over tail. The crowd goes wild. RUFFNUT No one can stop me now! TUFFNUT Except for me. We're attached, genius! He GRABS at the sheep. Ruffnut fights back, inciting a tug-of- war. TUFFNUT (CONT'D) Quit trying to steal all my glory! And while they're distracted, Astrid steers Stormfly toward them, CLOSING IN. STOICK Get `em, Astrid! TUFFNUT RUFFNUT It's MY glory! No sheep, no You're always ruining glory! EVERYTHING! Astrid leaps off of Stormfly, runs up Belch's spindly neck, and PLUCKS the black sheep from the Twins' hands. ASTRID Gotcha! She tumbles through the air onto Stormfly, sticking a perfect landing, black sheep in hand. RUFFNUT Astrid! HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 6. BACK TO STOICK, beside himself. The crowd ROARS. STOICK Well played! Hahaha! (gloating, to the crowd) That's my future daughter-in-law! BACK TO ASTRID ON STORMFLY eyeing the fast-approaching FINISH LINE, unaware as... FISHLEGS suddenly RAMS Meatlug into Stormfly, sending Astrid off-course. She recovers and sees Snotlout flying headlong toward her, war hammer cocked, aiming at Astrid. SNOTLOUT Uh, excuse me. ASTRID Stormfly! Snotlout HURLS his hammer. Astrid ducks and rolls Stormfly out of the way. The hammer catches Fishlegs in the face with a CLANG. The crowd collectively winces. Astrid and Stormfly recover from their roll, loop over the water, and they BLAST past the finish line, DUNKING the black sheep into their basket! STOICK That's thirteen! Astrid takes the game! The crowd COMES UNHINGED. Astrid flies over the crowd, basking in her victory. HICCUP (V.O.) Yep. Berk is pretty much perfect. All of my hard work has paid off. And it's a good thing, too, because with Vikings on the backs of dragons, the world just got a whole lot bigger. EXT. OPEN SKY/ISLAND COASTLINE - DAY (Scene 0300 - AWOL Part One) A boundless sky. Vast. Clear. Crisp. And from it, a BLACK SPECK rockets across the horizon. The image of unbridled freedom. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 7. Tucked into his riding position, HICCUP appears to be part of TOOTHLESS. They dip, roll and dive, over a sea teeming with Thunderdrums, pulling off daring maneuvers with honed refinement, making them seem effortless. HICCUP Yeah! They jackknife, heading skyward, rolling and tumbling through the ethereal cloud-scapes and joining high-flying Timberjacks as they soar in formation. Hiccup is bound head-to-toe in a snug, aerodynamic flight suit -- an asymmetrical, functional design of leather and articulated plates. It has an air of Viking bike leather. HICCUP (CONT'D) What do you think, bud? Wanna give this another shot? Toothless grumbles in protest. HICCUP (CONT'D) Toothless! It'll be fine. With a click of a lever, he LOCKS the pedals in the flared tail position. Hiccup then unhooks himself from the saddle. HICCUP (CONT'D) Ready? Toothless SNORTS unenthusiastically. Suddenly, Hiccup SLIDES OFF of Toothless, peeling away from him like a skydiver from a plane, YELLING as he plummets. Toothless dives after him. They spiral through the air, face- to-face. Toothless is having fun, despite himself. Hiccup slips his forearms through a pair of tucked leather flaps... and YANKS, unfurling SHEETS OF LEATHER as he extends his arms. They catch the wind, SNAPPING OPEN like WINGS... and sending him GLIDING -- out of control, at first, then stabilizing. The turbulence buffets his flight suit heavily. But he's flying! Toothless unfolds his wings, too, catching up with Hiccup. The freedom is palpable. Hiccup and Toothless are, for the moment, the same. Feeling the same rush of adrenaline. Independently together. They PLUNGE past cloud formations, splitting apart then crossing paths again. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 8. Impressive as it is, Hiccup is gliding at a steep angle. Toothless launches fireballs ahead of Hiccup, boosting him higher with the expanding heat bursts. HICCUP (CONT'D) This is amazing! A cloud layer washes past, exposing a towering ROCK FORMATION, dead ahead. HICCUP (CONT'D) No longer amazing! Toothless! Hiccup tries to steer himself away, to no avail. Toothless POURS ON THE SPEED, trying to catch Hiccup as he HURTLES toward collision. His locked tail makes maneuvering difficult. He's UNABLE TO PULL UP at a steep enough angle. HICCUP (CONT'D) Oh, no! At the last second, Toothless BLASTS the jagged rocks just ahead of Hiccup, then WRAPS Hiccup in his wings as they fly through it. The obliterated peak rains down around them. Toothless emerges through the cloud of debris and HURTLES into the trees of a neighboring peak. They tumble down the uneven terrain, coming to rest on a small plateau. Hiccup emerges from the cocoon of Toothless' wings. He switches his prosthetic riding foot to his walking foot and stows his leather wings. HICCUP (CONT'D) That really came out of nowhere. The blown up sea stack collapses. HICCUP (CONT'D) We gotta work on your solo gliding there, bud. That locked-up tail makes for some pretty sloppy rescue maneuvers, eh? Hiccup reels in his dorsal fin and removes his helmet, revealing a 20 year old Hiccup framed by wild hair, complete with a Viking braid. He walks to the edge of the cliff, taking in the NEW LAND stretching off into the horizon, its tall cliffs and sea- stacks adorned with swaying gold birch trees basking in the dappled afternoon sunlight. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 9. HICCUP (CONT'D) Looks like we found another one, bud. Toothless FUSSES and SNORTS, not amused, shaking off dust and pebbles like a wet dog. Hiccup flinches as a pebble WHACKS him on the back of the head. He looks back to Toothless, who averts his eyes. HICCUP (CONT'D) Oh, what? Do you want an apology? Is that why you're pouting, big baby boo? Well... try this on! Hiccup TACKLES Toothless and tries to put him in a headlock. HICCUP (CONT'D) Ya feeling it yet? Huh? Picking up on all my heartfelt remorse? Toothless simply stands on his hind legs, lifting Hiccup off of his flailing feet and dangling him over the cliff's edge. HICCUP (CONT'D) Oh, come on. You wouldn't hurt a ONE-LEGGED-- Hiccup looks down, seeing the precipitous drop below. HICCUP (CONT'D) You're right! You're right! You win! You win! WHAM! Toothless flips him over, pinning him to the ground. Hiccup squirms, throwing mock punches. Toothless playfully retaliates with feline taps to Hiccup's head. HICCUP (CONT'D) He's down! And it's ugly! Dragons and Vikings, enemies again, locked in combat to the bitter -- URFFF! Toothless rests his head on Hiccup -- SQUEEZING THE AIR out of him. Toothless then suddenly starts grooming Hiccup, lapping at his face and covering him in slobber. HICCUP (CONT'D) Gaaaaagh! Hiccup fights to get free, finally springing to his feet and shaking off the viscous saliva. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 10. HICCUP (CONT'D) You KNOW that doesn't wash out. Toothless LAUGHS, pleased with himself. Shifting his attention back to the new land stretched out before them, Hiccup reaches beneath his chest plate and produces a leather-bound book. He unfurls it to reveal an EXPLORERS MAP, modified with added strips in every direction to accommodate their ever-expanding world. Drawings indicate new lands, new tribes, and many new dragons. Hiccup peels a fresh strip of paper from a hidden fold in his flight suit and holds it out for Toothless to lick. Hiccup affixes the moistened strip to the map's outer edge, then whittles a pencil and consults a compass affixed to his forearm. HICCUP (CONT'D) So what should we name it? Toothless GURGLES as he gnaws under his wing, preoccupied. HICCUP (CONT'D) "Itchy Armpit" it is. Hiccup carefully draws the new island's outline. HICCUP (CONT'D) Whaddya reckon, bud? Think we might find a few Timberjacks in those woods? The odd Whispering Death or two in the rocks? Who knows... maybe we'll finally track down another Night Fury. (BEAT) Wouldn't that be something? (BURDENED) So, whaddya say? Just keep going? Toothless' ear plates suddenly SHOOT UP. He ROARS, and his call is answered by a familiar SCREECH. Hiccup turns to see... EXT. SEA STACK/ISLAND COASTLINE - DAY (Scene 0325 - AWOL Part Two) ASTRID rising into view, astride Stormfly. Stormfly grabs talon-fulls of rock to slow her landing. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 11. HICCUP `Afternoon m'lady. Where have you been? Astrid dismounts and throws back her fur hood as Toothless rushes up to greet them. ASTRID Winning races. What else? The real question is... where have YOU been? HICCUP Avoiding my dad. ASTRID Oh, no. What happened now? Astrid sits beside Hiccup, inspecting his latest addition to the map. Behind them, Toothless greets Stormfly, inciting a play fight. HICCUP Oh, you're gonna love this. I wake up. The sun's shining. Terrible Terrors are singing on the rooftop. I saunter down to breakfast, thinking all is right with the world, and I get... He gets to his feet and puffs out his chest. HICCUP (CONT'D) (APING STOICK) ... Son, we need to talk. Astrid smiles and adopts Hiccup's sloppy slouch. ASTRID (APING HICCUP) Not now, Dad. I've got a whole day of goofing off to get started. Hiccup breaks character, grimacing at her impression of him. HICCUP Okay, first of all, I don't sound like that. What is this character? And second... what is that thing you're doing with my shoulders? Astrid laughs, jostling her shoulders in an awkward way. HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 12. HICCUP (CONT'D) A truly flattering impersonation. Anyway, he goes... (resuming Stoick's brogue) You're the pride of Berk, son, and I couldn't be prouder... ASTRID (continuing her impression OF HICCUP) Aw, thanks, Dad. I'm pretty impressed with myself, too. HICCUP WHEN have I ever done that with my hands? ASTRID You just did. She laughs, playfully. HICCUP Okay... just... (holding her arms, mock- STERN) Hold still. It's very serious. She giggles, trying to hold a straight face. HICCUP (CONT'D) (resuming Stoick's brogue) You're all grown up, and since no chief could ask for a better successor, I've decided-- Astrid straightens, her face brightening. ASTRID --TO MAKE YOU CHIEF! Oh, my gods! She jumps to her feet, beaming... ASTRID (CONT'D) Hiccup, that's amazing! And socks Hiccup in congratulations, deliberately hitting the dorsal fin release button and triggering it to pop up. She laughs as Hiccup reels it back in, self-consciously. HICCUP You're gonna wear out the spring coil. The calibration is very sensitive! HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 13. They're suddenly BOWLED OVER by Toothless and Stormfly. HICCUP (CONT'D) Yeah, so... this is what I'm dealing with. Astrid helps him up and dusts him off. ASTRID (EXCITED) What did you tell him? HICCUP I didn't. By the time he turned around, I was gone. Astrid picks up the map, folding it as she paces around him, processing it all. ASTRID Well, it's a lot of responsibility. The map will have to wait for sure, and I'll need to fly Toothless, since you'll be too busy... She pauses, wincing in sympathy. She turns to Hiccup. He nods knowingly, taking the map from her. HICCUP It's not me, Astrid. All those speeches, and planning, and running the village... that's his thing. ASTRID I think you're missing the point. I mean, chief. What an honor. I'd be pretty excited. Hiccup shakes his head. HICCUP I'm not like you. You know exactly who you are. You always have. But... He shuffles to the cliff's edge, gazing out at the new land. HICCUP (CONT'D) I'm still looking. I know that I'm not my father... and I never met my mother... so, what does that make me? HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 14. He sits at the edge, looking burdened, restless. Astrid approaches and settles beside him, joining him in looking out at the distant horizon. She weaves another braid into his hair as she speaks. ASTRID What you're searching for... isn't out there, Hiccup. She places a hand on his chest. ASTRID (CONT'D) It's in here. (BEAT) Maybe you just don't see it yet. She kisses his cheek, but gets a mouthful of Toothless' slobber. She grimaces, wiping it off. Distracted, Hiccup eyes the horizon keenly. HICCUP Maybe. But, y'know... there is something out there. ASTRID (EXASPERATED) Hiccup... He turns her face to the horizon. A distant smoke plume rises from a misty valley. EXT. LAPLAND WOODS/TRAPPER'S FORT - MOMENTS LATER (Scene 0400 - Shot Down!) Hiccup and Toothless fly over the fjord, winding deep through undulating crimson and gold forests. Astrid and Stormfly catch up as the autumn colors suddenly give way to charred timbers. They fly deeper, through ash and wafting smoke. Ahead, in a sheltered harbor, an explosion of ice stands as an eerie marker of what used to be a TRAPPER'S FORT. HICCUP Stay close. They fly through the suspended remains of the buildings, splintered, and frozen in mid-destruction. HICCUP (CONT'D) What happened here? HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 15. It's at once harrowing and puzzling. Toothless spots an enormous DRAGON FOOTPRINT in the muddy shoreline below, leaving him uneasy. HICCUP (CONT'D) Easy, bud. As they crest the ice formations, Astrid spots a CREW OF MEN at the stern of a moored ship below. ASTRID Hiccup! ERET (O.S.) Fire! The men fire a stern-mounted cannon. The projectile unfurls into a NET. Hiccup and Toothless dart out of its way. HICCUP Astrid! Look out! It HITS Stormfly, TANGLING her wings and causing her to spin uncontrolled. Astrid struggles to free her as they HURTLE toward a collision. ASTRID HICCUP! Astrid falls off of Stormfly, but Toothless SNATCHES her at the last second. Stormfly hits the ground, tangled in the net. Trappers rush out of hiding, piling onto her with ropes and weapons. She whips her tail, sending spikes flying. ERET Watch the tail! A large, raven-haired trapper lunges over the spray of spikes and lands upon Stormfly's head, twisting it and taking her down like a rodeo cowboy. ERET (CONT'D) Tie those legs up! Eret deftly ties her gnashing jaws shut, wrangling her into submission -- clearly a pro among pros. He looks up, revealing a handsome face and gleaming, intelligent eyes that search the sky as Toothless' tell-tale BANSHEE scream rings out. ERET (CONT'D) Is that what I think it is? HTTYD 2 (D. DeBlois) - FINAL DRAFT - 05/05/14 16. Toothless suddenly streaks across the sky, banking and landing with a FEROCIOUS ROAR. HICCUP STOP! ASTRID STORMFLY! (to the trappers) What are you doing? Astrid and Hiccup leap off of Toothless, rushing toward Stormfly. Eret's men immediately draw weapons. Hiccup extends and ignites his DRAGON BLADE -- a telescoping fiery sword -- impressive enough to wow Eret's men. ERET Back again? Eret steps forward, focused only on Toothless. ERET (CONT'D) Soil my britches... that is a Night Fury. Thought they were all gone for good. (to his fellow trappers) Looks like our luck's had a turn for the better, lads! Don't think Drago has one of those in

20

Incredibles The

Brad Bird

Animation,Family,Adventure,Action,Comedy,Sci-Fi

November_2004

MR. INCREDIBLE Is this on? INTERVIEWER That's fine. MR. INCREDIBLE I can break through walls, I just can't... INTERVIEWER That's fine. MR. INCREDIBLE I can't get this on. INTERVIEWER So, Mr. Incredible...do you have a secret identity? MR. INCREDIBLE Every superhero has a secret identity. I don't know a single one who doesn't. Who wants the pressure of being super all the time? ELASTIGIRL Of course I have a secret identity. Can you see me in this at the supermarket? Come on. Who'd want to go shopping as Elastigirl, y'know what I mean? FROZONE Superladies, they're always trying to tell you their secret identity. Think it'll strengthen the relationship or something like that. I said, ''Girl, I don't want to know about your mild-mannered alter ego.'' or anything like that. I mean, you tell me you're a super-mega-ultra-lightning-babe, that's all right with me. I'm good. I'm good. MR. INCREDIBLE No matter how many times you save the world, it always manages to get back in jeopardy again. Sometimes I just want it to stay saved, you know? For a little bit. I feel like the maid. ''I just cleaned up this mess. Can we keep it clean for ten minutes?'' INTERVIEWER I could get to that point. MR. INCREDIBLE ''Please?'' INTERVIEWER Wait, no, don't get up. We're not finished. MR. INCREDIBLE Sometimes l think I'd just like the simple life, you know? Relax a little and raise a family. ELASTIGIRL Settle down? Are you kidding? I'm at the top of my game! I'm right up there with the big dogs! Girls, come on. Leave the saving of the world to the men? I don't think so. I don't think so. __________________________________________SCENE 2__________________________________________ POLICE RADIO We interrupt for an important bulletin. A deadly high-speed pursuit between police and armed gunmen is underway, traveling northbound on San Pablo Ave. BOB (MR. INCREDIBLE) Yeah, I've got time. OLD LADY Mr. lncredible. Um, Mr. Incredible... BOB (MR. INCREDIBLE) What is it, ma'am? OLD LADY My cat, Squeaker, won't come down. [cat meows] BOB (MR. INCREDIBLE) Certainly, ma'am but I suggest you stand clear. There could be trouble. OLD LADY No, no. He's quite tame. BOB (MR. INCREDIBLE) Let go now! [cat yowls] POLICE OFFICER 1 Thank you, Mr. lncredible. You've done it again. POLICE OFFICER 2 Yeah, you're the best. BOB (MR. INCREDIBLE) No, I'm just here to help. POLICE RADIO Attention all units. We have a tour bus robbery... BOB (MR. INCREDIBLE) Tour bus robbery. I've still got time. Officers. Ma'am. Squeaker. BUDDY (INCREDIBOY) Cool! Ready for take-off! BOB (MR. INCREDIBLE) What the...? Who are you supposed to be? BUDDY (INCREDIBOY) Well, I'm lncrediBoy. BOB (MR. INCREDIBLE) What? No. You're that kid from the fan club. [stammering] Brophy. Brody. Buddy! Buddy! BUDDY (INCREDIBOY) My name is lncrediBoy. BOB (MR. INCREDIBLE) Look, I've been nice, I've stood for photos, signed every scrap of paper you pushed at me but this is... BUDDY (INCREDIBOY) No, you don't have to worry about training me. I know all your moves, your crime fighting style, favorite catch phrases, everything! I'm your number one fan! BUDDY (INCREDIBOY) Hey! Hey, wait! __________________________________________SCENE 3__________________________________________ BOB (MR. INCREDIBLE) You know...you can tell a lot about a woman by the contents of her purse, but maybe that's not what you had in mind. THIEF Hey, look-- BOB (MR. INCREDIBLE) Elastigirl. HELEN (ELASTIGIRL) Mr. lncredible. BOB (MR. INCREDIBLE) No, it's all right. I've got him. HELEN (ELASTIGIRL) Sure, you've got him. I just took him out for you. BOB (MR. INCREDIBLE) Sure, you took him out. His attention was on me. HELEN (ELASTIGIRL) A fact I exploited to do my job. BOB (MR. INCREDIBLE) My job, you mean. HELEN (ELASTIGIRL) A simple thank you will suffice. BOB (MR. INCREDIBLE) Thanks, but I don't need any help. HELEN (ELASTIGIRL) Whatever happened to ''ladies first''? BOB (MR. INCREDIBLE) Well, whatever happened to equal treatment? THIEF Hey, look, the lady got me first. HELEN (ELASTIGIRL) Well, we could share, you know. BOB (MR. INCREDIBLE) I work alone. HELEN (ELASTIGIRL) Well, I think you need to be more...flexible. BOB (MR. INCREDIBLE) Are you doing anything later? HELEN (ELASTIGIRL) I have a previous engagement. BOB (MR. INCREDIBLE) [whistles] BOB (MR. INCREDIBLE) Now, you just stay here. They usually pick up the garbage in an hour. LUCIUS (FROZONE) Hey, lncredible! BOB (MR. INCREDIBLE) Hey, Frozone! LUCIUS (FROZONE) Shouldn't you be getting ready? BOB (MR. INCREDIBLE) I still got time. [crowd screaming] WOMAN He's gonna jump! SANSWEET I think you broke something. BOB (MR. INCREDIBLE) With counseling, I think you'll come to forgive me. BOB (MR. INCREDIBLE) Wait a minute. BOB (MR. INCREDIBLE) [coughing] Bomb Voyage. VOYAGE [French] Mr. Incredible! BUDDY (INCREDIBOY) And lncrediBoy! VOYAGE lncrediBoy? BUDDY (INCREDIBOY) Hey, hey! Aren't you curious about how I get around so fast? See? I have these rocket boots-- BOB (MR. INCREDIBLE) Go home, Buddy. BUDDY (INCREDIBOY) What? BOB (MR. INCREDIBLE) Now. VOYAGE [French] Little oaf. BUDDY (INCREDIBOY) Can we talk? You always say be true to yourself, but you never say which part of yourself to be true to. Well, I've finally figured out who I am. I am your ward... lncrediBoy! BOB (MR. INCREDIBLE) And now, you have officially carried it too far, Buddy. BUDDY (INCREDIBOY) This is because I don't have powers, isn't it? Well not every superhero has powers, you know. You can be super without them. I invented these. I can fly. Can you fly? BOB (MR. INCREDIBLE) Fly home, Buddy. I work alone. VOYAGE [French] And your outfit is totally ridiculous! BUDDY (INCREDIBOY) Just give me one chance! I'll show you. I'll go get the police. BOB (MR. INCREDIBLE) Buddy, don't! BUDDY (INCREDIBOY) It'll only take a second, really. BOB (MR. INCREDIBLE) No, stop! There's a bomb! BUDDY (INCREDIBOY) Let go! You're wrecking my flight pattern! I can do this if you let go! BOB (MR. INCREDIBLE) Will you just...? I'm trying to help! Stop! BUDDY (INCREDIBOY) Let go of my cape! __________________________________________SCENE 4__________________________________________ BOB (MR. INCREDIBLE) Take this one home. And make sure his mom knows what he's been doing. BUDDY (INCREDIBOY) I can help you. You're making a mista---hey! BOB (MR. INCREDIBLE) The injured jumper. You sent paramedics? POLICE OFFICER They've already picked him up. BOB (MR. INCREDIBLE) The blast in that building was caused by Bomb Voyage who I caught in the act robbing the vault. Now, we might be able to nab him if we set up a perimeter. POLICE OFFICER You mean he got away? BOB (MR. INCREDIBLE) Well, yeah. Skippy here made sure of that. BUDDY (INCREDIBOY) lncrediBoy! BOB (MR. INCREDIBLE) You're not affiliated with me! Holy smokes, I'm late. Listen, I've gotta be somewhere. POLICE OFFICER What about Bomb Voyage? BOB (MR. INCREDIBLE) Any other night, I'd go after him myself, but I really gotta go. But don't worry. We'll get him! Eventually! __________________________________________SCENE 5__________________________________________ BOB (MR. INCREDIBLE) Is the night still young? LUCIUS (FROZONE) You're very late. BOB (MR. INCREDIBLE) How do I look? Good? LUCIUS (FROZONE) Oh, the mask! You still got the mask. [cracks neck] BOB (MR. INCREDIBLE) Showtime. PRIEST Robert Parr, will you have this woman to be your lawful wedded wife? HELEN (ELASTIGIRL) You're late. When you asked me if I was doing anything later, I didn't realize you'd actually forgotten. I thought it was playful banter. BOB (MR. INCREDIBLE) It was playful banter. HELEN (ELASTIGIRL) Cutting it kinda close, don't you think? BOB (MR. INCREDIBLE) You need to be more... flexible. HELEN (ELASTIGIRL) I love you, but if we're gonna make this work, you've gotta be more than Mr. lncredible. You know that. Don't you? PRIEST ...so long as you both shall live? BOB (MR. INCREDIBLE) I do. PRIEST I pronounce this couple husband and wife. [people cheering and whistling] HELEN (ELASTIGIRL) As long as we both shall live. No matter what happens. BOB (MR. INCREDIBLE) Hey, come on. We're superheroes. What could happen? ANNOUNCER In a stunning turn of events, a superhero is being sued for saving someone who, apparently, didn't want to be saved. The plaintiff, Oliver Sansweet, who was foiled in his attempted suicide by Mr. Incredible, has filed suit against the famed superhero in Superior Court. SANSWEET'S LAWYER Mr. Sansweet didn't ask to be saved. Mr. Sansweet didn't want to be saved. And the injury received from Mr. Incredible ''actions'', so quote, causes him daily pain. BOB (MR. INCREDIBLE) Hey, I saved your life! SANSWEET You didn't save my life! You ruined my death, that's what you did! BOB (MR. INCREDIBLE) Listen-- MR. INCREDIBLE'S LAWYER My client has no further comment at this time. ANNOUNCER Five days later, another suit was filed by victims of the el train accident. Incredible's court losses cost the government millions. And opened the flood gates for dozens of superhero lawsuits the world over. WOMAN It is time for their secret identity to become their only identity. Time for them to join us, or go away. ANNOUNCER Under tremendous public pressure, and the crushing financial burden of an ever mounting series of lawsuits, the government quietly initiated the superhero relocation program. The supers will be granted amnesty from responsibility for past actions, in exchange for the promise to never again resume hero work. Where are they now? They are living among us. Average citizens, average heroes. Quietly and anonymously continuing to make the world a better place. __________________________________________SCENE 6__________________________________________ style='font-size:10.0pt;font-family:Tahoma'>(15 YEARS LATER) MRS. HOGENSON Denied? You're denying my claim? I don't understand. I have full coverage. BOB I'm sorry, Mrs. Hogenson, but our liability is spelled out in paragraph 17. It states clearly... MRS. HOGENSON I can't pay for this. BOB [phone rings] Excuse me. [answers phone] Claims, Bob Parr. HELEN I'm calling to celebrate a momentous occasion. We're now officially moved in. BOB Yeah, well, that's great, honey. In the last three years don't count because... HELEN Because I finally unpacked the last box. Now, it's official. Ha, ha, ha. Why do we have so much junk? BOB Listen, honey, I've got a client. HELEN Say no more. Go save the world one policy at a time, honey. Oh! I gotta go pick up the kids from school. See you tonight. BOB Bye, honey. Excuse me. Where were we? MRS. HOGENSON [sobbing] I'm on a fixed income, and if you can't help me, I don't know what I'll do. [blows nose loudly] [sobbing] BOB All right, listen closely. I'd like to help you, but I can't. I'd like to tell you to take a copy of your policy to Norma Wilcox on...[whispering] Norma Wilcox. W-l-L-C-O-X. On the third floor. But I can't. I also do not advise you to fill out and file a WS2475 form with our legal department on the second floor. I wouldn't expect someone to get back to you quickly to resolve the matter. I'd like to help, but there's nothing I can do. MRS. HOGENSON Oh, thank you, young man. BOB Shhh! [shouting] I'm sorry, ma'am! I know you're upset! [whispering] Pretend to be upset. MRS. HOGENSON [sobbing] MR. HUPH Parr! You authorized payment on the Walker policy?! BOB Someone broke into their house, Mr. Huph. Their policy clearly covers-- MR. HUPH I don't wanna know about their coverage, Bob! Don't tell me about their coverage. Tell me how you're keeping Insuricare in the black. Tell me how that's possible, with you writing checks to every Harry Hardluck and Sally Sobstory that gives you a phone call. [PA Announcement] Morning break is over. Morning break is over. __________________________________________SCENE 7__________________________________________ PRINCIPAL I appreciate you coming down here, Mrs. Parr. HELEN What's this about? Has Dash done something wrong? BERNIE He's a disruptive influence and he openly mocks me in front of the class. DASH He says. BERNIE Look, I know it's you! He puts thumbtacks on my stool. HELEN You saw him do this? BERNIE Well...not really. No. Actually, not. HELEN Oh, then how do you know it was him? BERNIE I hid a camera. Yeah, and this time, I've got him. See? You see? You don't see it? He moves! Right there! Wait, wait! Right there! Right as I'm sitting down! I don't know how he does it, but there's no tack before he moves and after he moves, there's a tack. Coincidence? I think not! PRINCIPAL Bernie... BERNIE Don't ''Bernie'' me. [screaming] This little rat is guilty! PRINCIPAL You and your son can go now, Mrs. Parr. I'm sorry for the trouble. BERNIE You're letting him go again? He's guilty! You can see it on his smug little face. Guilty, I say, guilty! HELEN Dash, this is the third time this year you've been sent to the office. We need to find a better outlet. A more...constructive outlet. DASH Maybe I could, if you'd let me go out for sports. HELEN Honey, you know why we can't do that. DASH I promise I'll slow up. I'll only be the best by a tiny bit. HELEN Dashiell Robert Parr, you are an incredibly competitive boy. And a bit of a showoff. The last thing you need is temptation. DASH You always say, ''Do your best.'' But you don't really mean it. Why can't I do the best that I can do? HELEN Right now, honey, the world just wants us to fit in, and to fit in, we just gotta be like everybody else. DASH Dad always said our powers were nothing to be ashamed of. Our powers made us special. HELEN Everyone's special, Dash. DASH Which is another way of saying no one is. BOY Hey, Rydinger. Where you headed? GIRL Hi, Tony. TONY Hey. BOY Hey, Tony, can I carry your books? TONY That's kind of funny. BOY 1 Hey, Tony, do you play football? BOY 2 Tony, I thought we were gonna go swimming. VIOLET He looked at me. [car horn honking] DASH Come on, Violet! BOB [muttering] Darn kids. Sitting on the driveway... BOB Oh, great. [unintelligible muttering] __________________________________________SCENE 8__________________________________________ DASH Mom. You're making weird faces again. HELEN No, I'm not. BOB You make weird faces, honey. HELEN Do you have to read at the table? BOB Uh-huh. Yeah. HELEN Smaller bites, Dash. Yikes! Bob, could you help the carnivore cut his meat? DASH Ow. HELEN Dash, you have something you wanna tell your father about school? DASH [nervously] Well, we dissected a frog. HELEN Dash got sent to the office again. BOB [distracted] Good. Good. HELEN No, Bob, that's bad. BOB What? HELEN Dash got sent to the office again. BOB What?! What for? DASH Nothing. HELEN He put a tack on the teacher's chair...during class. DASH Nobody saw me. You could barely see it on the tape. BOB They caught you on tape and you still got away with it? Whoa! You must have been booking. How fast did you think were you going? HELEN Bob! We are not encouraging this. BOB I'm not encouraging, I'm just asking how fast... HELEN Honey! BOB Great. First the car, now I gotta pay to fix the table... HELEN The car? What happened to the car? BOB Here. I'm getting a new plate. HELEN So, how about you, Vi? How was school? VIOLET Nothing to report. HELEN You've hardly touched your food. VIOLET I'm not hungry for meatloaf. HELEN Well, it is leftover night. We have steak, pasta. What are you hungry for? DASH Tony Rydinger. VIOLET Shut up! DASH Well, you are. VIOLET I said, shut up, you little insect! DASH Well, she is. HELEN Do not shout at the table. Honey! BOB Kids! Listen to your mother. DASH She'd eat if we were having Tony loaf. VIOLET That's it! HELEN Stop it! DASH You're gonna be toast! HELEN Stop running in the house. Sit down! DASH Ow! Hey, no force fields! VIOLET You started it. HELEN You sit down! You sit down! Violet! BOB ''Simon J. Paladino, longtime advocate of superhero rights, is missing''? Gazerbeam. HELEN Bob! It's time to engage. Do something! Don't just stand there! I need you to intervene! BOB You want me to intervene? Okay. I'm intervening. I'm intervening! HELEN Violet, let go of your brother! JACK-JACK Hello? BOB Get the door. DASH Hey, Lucius! LUCIUS Hey, Speedo. Hey, Helen. Vi, Jack-Jack. BOB He-hey! Ice of you to drop by. LUCIUS Ha! Never heard that one before. DASH [gargling] Lucius! LUCIUS Whoa! LUCIUS Ha, ha. DASH Oh! I like it when it shatters. BOB I'll be back later. HELEN Hey, where are you two going? BOB It's Wednesday. HELEN Oh. Bowling night. Say hello to Honey for me, Lucius. LUCIUS Will do. Good night, Helen. Good night, kids. HELEN Don't think you've avoided talking about your trip to the principal's office, young man. Your father and I are still gonna discuss it. DASH I'm not the only kid who's been sent to the office, you know. HELEN Other kids don't have superpowers. Now, it's perfectly normal... VIOLET Normal? What do you know about normal? What does anyone in this family know about normal? HELEN Now, wait a minute, young lady. VIOLET We act normal, mom. I wanna be normal! The only normal one is Jack-Jack, and he's not even toilet trained. [Jack-Jack laughing] DASH Lucky. I meant about being normal. __________________________________________SCENE 9__________________________________________ LUCIUS So now I'm in deep trouble. I mean, one more jolt of this death ray and I'm an epitaph. Somehow I managed to find cover and what does Baron Von Ruthless do? BOB He starts monologuing. LUCIUS He starts monologuing! He starts like this prepared speech about how feeble I am compared to him. How inevitable my defeat is, how the world will soon be his! Yada, yada, yada. BOB Yammering. LUCIUS Yammering! I mean, the guy has me on a platter, and he won't shut up. POLICE RADIO Municiberg, we have a 23-56... BOB 23-56, what is that? Robbery? LUCIUS This is just sad. BOB Yeah, robbery. Want to catch a robber? LUCIUS No. Tell you the truth, I'd rather go bowling. Look, what if we actually did what our wives think we're doing? Just to shake things up. WOMAN He's not alone. The fat guy's still with him. They're just talking. LUCIUS What are we doing here, Bob? BOB Protecting people. LUCIUS Nobody asked us. BOB You need an invitation? LUCIUS I'd like one, yes. We keep sneaking out to do this, and...you remember Gazerbeam? BOB Yeah. There was something about him in the paper. LUCIUS He had trouble adjusting to civilian life, too. BOB When's the last time you saw him? LUCIUS I don't see anyone from the old days, Bob. Just you. And we're pushing our luck as it is. BOB Oh, come on. LUCIUS It was fun the first time, but if we keep doing this, we're gonna get-- POLICE RADIO We have a report on a fire... BOB A fire. We're close! [yelling] Yeah, baby! LUCIUS We're gonna get caught. BOB Woohoo! Haha! Fire! Yeah! LUCIUS Is that everybody? BOB Yeah, that's everyone. LUCIUS It better be. BOB Can't you put this out? LUCIUS I can't lay down a layer thick enough! It's evaporating too fast! BOB Well, what's that mean? LUCIUS It means it's hot! And I'm dehydrated, Bob! BOB You're out of ice? You can't run out of ice! I thought you can use water in the air! LUCIUS There is no water in this air! What's your excuse, run out of muscle? BOB I just can't go smashing into walls! The building's getting weaker by the second! It's gonna come down on top of us! LUCIUS I wanted to go bowling! BOB All right! Stay right on my tail! This is gonna get hot! BOB Yeah. BOB [realizes they're in a jewelry store...] Uh-oh. BOB [...and unknowingly trips the alarm] Oh, good. [alarm sounds] LUCIUS Oh, now...that ain't right! LUCIUS/BOB - We look like bad guys! Incompetent bad guys! - You can get water out of the air! POLICE OFFICER Freeze! POLICE OFFICER Freeze! LUCIUS I'm thirsty. POLICE OFFICER I said freeze! LUCIUS I'm just getting a drink. POLICE OFFICER Alright. You've had your drink. Now I want you to... LUCIUS I know. I know. Freeze. [police radio chatter] POLICE RADIO Shots fired! OFFICERS Police officers! LUCIUS That was way too close. We are not doing that again. MAN [over radio] Verify you want to switch targets? Over. WOMAN Trust me. This is the one he's been looking for. __________________________________________SCENE 10__________________________________________ HELEN I thought you'd be back by 11 . BOB I said I'd be back later. HELEN I assumed you'd be back later. lf you came back at all...you'd be ''back later''. BOB Well, I'm back, okay? HELEN Is this rubble? BOB [with mouth full] It was just a little workout. Just to stay loose. HELEN You know how I feel about that, Bob. Darn you! We can't blow cover again! BOB The building was coming down anyway. HELEN What?! You knocked down a building?! BOB It was on fire. Structurally unsound. It was coming down anyway. HELEN Tell me you haven't been listening to the police scanner again? BOB Look, I performed a public service. You act like that's a bad thing. HELEN It is a bad thing, Bob! Uprooting our family again, so you can relive the glory days is a very bad thing. BOB Reliving the glory days is better than acting like they didn't happen! HELEN Yes! They happened! But this, our family, is what's happening now, Bob. And you are missing this! I can't believe you don't want to go to your own son's graduation. BOB It's not a graduation. He's moving from the fourth grade to the fifth grade. HELEN It's a ceremony! BOB It's psychotic! They keep creating new ways to celebrate mediocrity but if someone is genuinely exceptional... HELEN This is not about you, Bob. This is about Dash. BOB You want to do something for Dash? Then let him actually compete. Let him go out for sports! HELEN I will not be made the enemy here! You know why we can't do that. BOB Because he'd be great! HELEN This is not about you! BOB All right, Dash. I know you're listening. Come on out. HELEN Vi? You, too, young lady. BOB Come on. Come on out. It's okay, kids. We're just having a discussion. VIOLET Pretty loud discussion. BOB Yeah. But that's okay. Because what's important is that Mommy and I are always a team. We're always united against, uh, the forces of, uh... HELEN Pigheadedness? BOB I was gonna say evil or something. HELEN We're sorry we woke you. Everything's okay. Go back to bed. It's late. DASH Good night, Mom. Night, Dad. VIOLET Good night. HELEN In fact, we should all be in bed. [crickets chirping, dog barks] __________________________________________SCENE 11__________________________________________ WOMAN [on phone] Request claim on claim numbers 158183... MR. HUPH [over the intercom] Haven't you got him yet?! Where is he?! HUPH'S SECRETARY [over the intercom] Mr. Huph would like to talk to you in his office. BOB Now? HUPH'S SECRETARY [over the intercom] Now. MR. HUPH Sit down, Bob. MR. HUPH I'm not happy, Bob. Not happy. Ask me why. BOB Okay. Why? MR. HUPH Why what? Be specific, Bob. BOB Why are you unhappy? MR. HUPH Your customers make me unhappy. BOB What, you've gotten complaints? MR. HUPH Complaints I can handle. What I can't handle is your customers' inexplicable knowledge of lnsuricare's inner workings! They're experts. Experts, Bob! Exploiting every loophole, dodging every obstacle! They're penetrating the bureaucracy! BOB Did I do something illegal? MR. HUPH No. BOB Are you saying we shouldn't help our customers? MR. HUPH The law requires that I answer no. BOB We're supposed to help people. MR. HUPH We're supposed to help our people! Starting with our stockholders, Bob. Who's helping them out, huh? You know, Bob, a company... BOB Is like an enormous clock. MR. HUPH ...is like an enormous clo--yes. Precisely. It only works if all the little cogs mesh together. Now, a clock needs to be cleaned, well-lubricated and wound tight. The best clocks have jewel movements, cogs that fit, that cooperate by design. [chuckling] I'm being metaphorical, Bob. You know what I mean by cooperative cogs? Bob? Bob? Look at me when I'm talking to you, Parr! BOB That man out there, he needs help. MR. HUPH Do not change the subject, Bob. We're discussing your attitude! BOB He is getting mugged! MR. HUPH Well, let's hope we don't cover him. BOB I'll be right back. MR. HUPH Stop right now or you're fired! Close the door. Get over here, now. MR. HUPH I'm not happy, Bob. Not happy. BOB He got away. MR. HUPH Good thing, too. You were this close to losing your jo-- BOB Uh-oh. __________________________________________SCENE 12__________________________________________ BOB How is he? RICK He'll live. BOB I'm fired, aren't I? RICK Oh, you think? BOB What can I say, Rick? RICK Nothing you haven't said before. BOB Someone was in trouble. RICK Someone's always in trouble. BOB I had to do something. RICK Yeah. Every time you say those words, it means a month and a half of trouble for me, Bob. It means hundreds of thousands of taxpayer's dollars. BOB I know. RICK We gotta pay to keep the company quiet. We gotta pay damages, erase memories, relocate your family. Every time it gets harder. Money, money, money, money. We can't keep doing this, Bob! We appreciate what you did in the old days, but those days are over. From now on, you're on your own. RICK Listen, Bob. Maybe I could relocate you, you know, for old times' sake. BOB No, I can't do that to my family. Everyone just got settled. I'll make it work. Thanks. RICK Take care of yourself. BOB Well, what are you waiting for? KID I don't know. Something amazing, I guess. BOB [sighs] Me too, kid. __________________________________________SCENE 13__________________________________________ BOB Huh? ''Hold still''? COMPUTER Match: Mr. Incredible. Room is secure. Commence message. MIRAGE Hello, Mr. Incredible. Yes, we know who you are. Rest assured, your secret is safe with us. My name is Mirage. We have something in common. According to the government, neither of us exist. Please pay attention, as this message is classified and will not be repeated. I represent a top secret division of the government, designing and testing experimental technology, and we have need of your unique abilities. Something has happened at our testing facility. HELEN Honey! BOB Huh? What? HELEN Dinner's ready. BOB Okay. MIRAGE ...it is contained within an isolated area, it threatens to cause incalculable damage to itself and to our facilities, jeopardizing hundreds of millions of dollars worth of equipment... HELEN Is someone in there? BOB It's the TV, trying to watch. MIRAGE Because of its highly sensitive nature... HELEN Well, stop trying. It's time for dinner. BOB One minute! MIRAGE If you accept, your payment will be triple your current annual salary. Call the number on the card. Voice-matching will be used to ensure security. The supers aren't gone, Mr. Incredible. You're still here. You can still do great things. Or...you can listen to police scanners. Your choice. You have 24 hours to respond. Think about it. [beeping] COMPUTER This message will self-destruct. BOB Uh-oh. __________________________________________SCENE 14__________________________________________ HELEN You are one distracted guy. BOB Hmm? Am I? I don't mean to be. HELEN I know you miss being a hero and your job is frustrating. I just want you to know how much it means to me that you stay at it anyway. BOB Honey? About the job? HELEN What? BOB Something's happened. HELEN What? BOB The, uh... HELEN What? BOB The company is sending me to, uh, a conference. HELEN A conference? BOB [stammering] Out of town. And I'm just gonna be gone for a few days. HELEN They've never sent you to a conference before. This is good, isn't it? BOB [hesitating] Yes. HELEN You see? They're finally recognizing your talents. You're moving up. BOB Yes. HELEN Honey! This is wonderful! BOB Yes, it is. [phone ringing] MIRAGE [over phone] Hello? BOB (MR. INCREDIBLE) This is Mr. lncredible. I'm in. __________________________________________SCENE 15__________________________________________ MIRAGE The Omnidroid 9000 is a top secret prototype battle robot. lts artificial intelligence enables it to solve any problem it's confronted with. And, unfortunately... BOB (MR. INCREDIBLE) Let me guess. It got smart enough to wonder why it had to take orders. MIRAGE We lost control. And now it's loose in the jungle, threatening our facility. We've had to evacuate all personnel from the island for their own safety. BOB (MR. INCREDIBLE) How am I going in? MIRAGE The Omnidroid's defenses necessitate an air drop from 5000 feet. lts cloaking devices make it difficult to track. Although we're pretty sure it's on the southern half of the island. One more thing. Obviously it represents a significant investment. BOB (MR. INCREDIBLE) You want me to shut it down without completely destroying it. MIRAGE You are Mr. lncredible. MIRAGE I've got to warn you, it's a learning robot. Every moment you spend fighting it only increases its knowledge of how to beat you. BOB (MR. INCREDIBLE) Shut it down. Do it quickly. Don't destroy it. MIRAGE And don't die. BOB (MR. INCREDIBLE) Great. Thanks. BOB (MR. INCREDIBLE) Showtime. style='font-size:10.0pt;font-family:Tahoma'><Not much going on here. This is the Mr. Incredible versus the Omnidroid prototype fight. Use your imagination in filling in the blanks.> BOB (MR. INCREDIBLE) Huh? BOB (MR. INCREDIBLE) Hmm. BOB (MR. INCREDIBLE) Uh-oh. [laughing, loud crack] BOB (MR. INCREDIBLE) Oh, my back! [loud crack] BOB (MR. INCREDIBLE) Oh! MAN Surprising. We must bring him back. Sound the all clear, and invite him to dinner. __________________________________________SCENE 16__________________________________________ MAN Most important, keep things light. Praise him. Make him feel like we appreciate his abilities. BOB (MR. INCREDIBLE) Am I overdressed? MIRAGE Actually, you look rather dashing. BOB (MR. INCREDIBLE) I take it our host is... MIRAGE Oh, I'm sorry. He won't be dining with us. He hopes you'll understand. BOB (MR. INCREDIBLE) Of course. I do usually make it a point to know who I'm working for. MIRAGE He prefers a certain amount of anonymity. Surely, you of all people understand that. BOB (MR. INCREDIBLE) I was just wondering, of all the places to settle down, why live... MIRAGE With a volcano? He's attracted to power. So am I. It's a weakness we share. BOB (MR. INCREDIBLE) Seems a bit unstable. MIRAGE I prefer to think of it as misunderstood. BOB (MR. INCREDIBLE) [chuckling] Aren't we all? MIRAGE Volcanic soil is among the most fertile on Earth. Everything at the table was grown right here. How does it compare? BOB (MR. INCREDIBLE) Everything's delicious. __________________________________________SCENE 17__________________________________________ BOB Jeez. HELEN Hurry, honey. Or you'll be late for work. HELEN Have a great day, honey. BOB Thanks. HELEN Help customers, climb ladders... BOB Bring bacon? HELEN All that jazz. GUARD You have an appointment? BOB I'm an old friend. I just wanted to... GUARD All visi

21

Kung Fu Panda

Jonathan Aibel,Glenn Berger

Animation,Action,Comedy,Family

June_2008

EXT. VALLEY -- DAY A MYSTERIOUS WARRIOR treks across the rugged landscape. NARRATOR (V.O.) Legend tells of a legendary warrior whose Kung Fu skills were the stuff of legend. The warrior, his identity hidden beneath his flowing robe and wide-brimmed hat, gnaws on a staff of bamboo. NARRATOR (V.O.) (CONT'D) He traveled the land in search of worthy foes. CUT TO: INT. BAR The warrior sits at a table drinking tea and gnawing on his bamboo. The door BLASTS open. The MANCHU GANG rushes in and surrounds him. GANG BOSS (to warrior) I see you like to CHEW! (beat) Maybe you should chew on my FIST!! The Boss punches the table. NARRATOR (V.O.) The warrior said nothing for his mouth was full. Then, he swallowed. He swallows. NARRATOR (V.O.) (CONT'D) And then, he spoke. WARRIOR (dubbed hero voice) Enough talk. Let's FIGHT! SHASHABOOEY! WHAM! The warrior delivers a punch and the whole gang goes flying. NARRATOR (V.O.) He was so deadly in fact that his enemies would go blind from overexposure to pure awesomeness. 2. The gang members blindly flail about. NINJA CAT MY EYES! GATOR HE'S TOO AWESOME! ONLOOKERS swoon. SMITTEN BUNNY And ATTRACTIVE! GRATEFUL BUNNY How can we repay you?? WARRIOR There is no charge for awesomeness, or attractiveness. ONE HUNDRED ASSASSINS appear and surround the warrior. CUT TO: EXT. BAR - CONTINUOUS The entire bar swells, packed to the rafters with ninjas. WARRIOR KABLOOEY! CUT TO: EXT. BAR - CONTINUOUS The roof EXPLODES and a cloud of ninjas erupts into the sky. Like a tornado, the warrior spins and knocks them all down. NARRATOR (V.O.) It mattered not how many foes he faced. They were no match for his bodacity. The warrior beats up a thousand ninjas, delivering his final blow while doing a split between two trees. The warrior stands amongst a field of vanquished foes as god- rays shine down upon him. NARRATOR (V.O.) (CONT'D) Never before had a panda been so feared... and so loved. (MORE) 3. NARRATOR (V.O.) (CONT'D) Even the most heroic heroes in all of China, the Furious Five, bowed in respect to this great master. MONKEY We should hang out. WARRIOR Agreed. As the Five salute the warrior, he turns to see more bandits approaching. The Five strike an attack pose. The warrior brandishes a shiny green sword and leaps off the mountain into the sea of bandits. NARRATOR (V.O.) But hanging out would have to wait. `Cause when you're facing the ten thousand demons of Demon Mountain, there's only one thing that matters. And that's-- In mid air, the Five talk to the warrior in a strange voice. MONKEY Po! Get up! TIGRESS You'll be late for work! PO Whu? INT. PO'S ROOM - DAY Po lands hard on the floor. He tries to clear his head and wake up. PO'S DAD (O.S.) Po! Get up! We see his room is filled with various kung fu posters (including a poster featuring all of the Five) and souvenirs, and a wooden version of the Sword of Heroes (the green sword). Po SIGHS. He attempts to kick himself to his feet but alas, his belly is too worthy a foe. PO'S DAD (O.S.) (CONT'D) Po! What are you doing up there? 4. PO Uh, nothing! Po hops to his feet, imitating his Kung Fu action figures. PO (CONT'D) Monkey! Mantis! Crane! Viper! Tigress! Rowrrrr... OUTSIDE on the balcony of the neighboring house, a pig watering flowers stares at Po. Po tries to play it cool and then quickly ducks out of sight. PO'S DAD (O.S.) Po! Let's go! You're late for work! PO Coming! He takes a ninja star from his floor and chucks it at the wall. It bounces off. He throws the star again, but it bounces off again. He picks it up and heads downstairs. He trips and falls the rest of the way. INT. KITCHEN - DAY Po falls flat on his face on the kitchen floor. A panda- shaped shadow looms over Po. PO Sorry, Dad. PO'S DAD Sorry doesn't make the noodles. Reveal that the shadow is actually caused by a basket being carried by a small DUCK. This is PO'S DAD. Po gets to work, which is not easy since the kitchen's not really made for a panda his size. PO'S DAD (CONT'D) What were you doing up there? All that noise. PO Oh, nothing. Just had a crazy dream. He gets back to work. 5. PO'S DAD About what? PO Huh? PO'S DAD The dream. What were you dreaming about? PO What was I... eh, I was dreaming about uh... heh... Push in on Po -- is he going to admit his dream? He hides his throwing star behind his back. PO (CONT'D) Noodles. THOK. Dad stops chopping vegetables. PO'S DAD Noodles. You were really dreaming about noodles? PO Uh, yeah. What else would I be dreaming about? Po hands a noodle bowl to a customer, then realizes his throwing star is sitting in it. PO (CONT'D) (to customer) Careful, that soup is... sharp! PO'S DAD Oh, happy day! My son, finally having the noodle dream! He throws his arms around Po. PO'S DAD (CONT'D) You don't know how long I have been waiting for this moment. When Dad pulls out of the hug, Po is now wearing a noodle apron. PO'S DAD (CONT'D) This is a sign, Po! 6. Po looks at the apron nervously -- what has he gotten himself into? PO Uh...a sign of what? PO'S DAD You are almost ready to be entrusted with the secret ingredient of my "Secret Ingredient Soup." And then you will fulfill your destiny and take over the restaurant, just as I took it over from my father, who took it over from his father, who won it from a friend in a game of mahjong. PO Dad Dad Dad, it was just a dream. PO'S DAD No, it was the dream. We are noodle folk. Broth runs through our veins. PO But Dad, didn't you ever, I dunno, want to do something else? Something besides noodles? PO'S DAD Actually... Po looks surprised. PO'S DAD (CONT'D) When I was young and crazy... Dad gets a wistful look in his eyes. PO'S DAD (CONT'D) I thought about running away and learning how to make tofu. PO So why didn't you?! PO'S DAD Oh, because it was a stupid dream. Can you imagine, me making tofu? (laughs at the thought) No. We all have our place in this world. Mine is here. And yours is-- 7. PO I know. Is here. PO'S DAD No, it's at tables two, five, seven, and twelve. He loads Po's arms with bowls of soup. PO'S DAD (CONT'D) Service with a smile! A GONG sounds in the distance. Po looks out the window at the distant JADE PALACE. EXT. JADE PALACE - DAY SLAM ZOOM in towards Palace. End next to palace on an old red panda (SHIFU) playing a FLUTE. He is surrounded by the bushes and trees that nestle between the Palace buildings. Wider: We dolly around from behind the bushes. Stealthy dark shapes move in the foreground. Back on Shifu, still playing. He seems oblivious. Five figures explode from the undergrowth simultaneously, diving on Shifu. Shifu moves like lightning - the flute now wielded like a staff - he deflects, blocks, dodges, parries - the attackers go flying - They roll and pick themselves up, turning to face Shifu, who is now standing - poised - ready for their next move. SHIFU Well done, students... if you were trying to disappoint me. He uses his flute to correct the Five's technique. SHIFU (CONT'D) Tigress, you need more ferocity. Monkey, greater speed. Each of the Five bows respectfully as their name is mentioned. 8. SHIFU (CONT'D) Crane - height. Viper - subtlety. Mantis-- Shifu suddenly points the flute at a scared PALACE GOOSE. ZENG Master Shifu! SHIFU (impatiently) What?! ZENG (startled) Aah! It's Master Oogway. He wants to see you. Shifu looks up, concerned. INT. HALLWAY Shifu strides purposefully down the hallway, which is lined with palace geese. INT. SCROLL ROOM - DAY Candles, incense, and smoke fill the room. The door bursts open, the candles flicker. Shifu enters. SHIFU Master Oogway? You summoned me. He bows. Then looks up without unbowing. SHIFU (CONT'D) Is something wrong? Reveal Master Oogway... a wise, old tortoise. OOGWAY Why must something be wrong for me to want to see my old friend? SHIFU So... nothing's wrong? OOGWAY Well, I didn't say that. Shifu looks up, concerned. Oogway opens his mouth... and blows out a candle. And another candle. And another. 9. Finally, Shifu uses his Kung Fu to blow them all out. Oogway smiles knowingly. SHIFU You were saying? OOGWAY I have had a vision... Tai Lung will return. Shifu looks stricken. FLASHBACK - INT. SCROLL ROOM Quick, impressionistic images of Shifu battling a large, shadowy figure (Tai Lung). PRESENT - INT. SCROLL ROOM Shifu is rattled. He looks at the claw marks that still scar the wall and quickly looks away. But he regains his composure. SHIFU That is impossible. He is in prison. OOGWAY Nothing is impossible. Shifu makes a split decision. SHIFU Zeng! He comes flying in. Shifu gets in his face. SHIFU (CONT'D) Fly to Chogun Prison and tell them to double the guards, double their weapons. Double everything! Tai Lung does not leave that prison! ZENG Yes, Master Shifu. The goose flies off, but... SMACK! He hits a column. Then he is off. Back on Oogway, as he walks toward camera, away from Shifu. 10. OOGWAY One often meets his destiny on the road he takes to avoid it. SHIFU We have to do something. We can't just let him march on the valley, and take his revenge! He'll, he'll-- Oogway looks into the water of the moon pool. OOGWAY Your mind is like this water, my friend. When it is agitated, it becomes difficult to see. But if you allow it to settle, the answer becomes clear. Shifu and Oogway stare into the pool. Oogway settles the water, revealing the reflection of an intricately carved dragon clutching a SCROLL in its mouth. SHIFU The Dragon Scroll... OOGWAY It is time. SHIFU But who? Who is worthy to be trusted with the secret to limitless power? To become...the Dragon Warrior?! Dramatic music as we push in on Oogway's face. Then... OOGWAY I don't know. INT. NOODLE SHOP - DAY Po is serving customers, but has trouble squeezing between tables. PO Oop...sorry. ANGRY PATRON Hey! Watch it, Po! PO Sorry. Suck it up. 11. He sucks his belly in, but this causes his butt to interfere with a bunny family's meal. DISGUSTED PATRON Ugh! PO Oop! Sorry! A thousand pardons. A couple palace geese put up a poster on the wall and a palace pig hits a tiny gong. This gets Po's attention. He rushes up to the poster. PO (CONT'D) What?! Master Oogway's choosing the Dragon Warrior! Today! Customers jump up excitedly. PO (CONT'D) Everyone! Everyone! Go! Get to the Jade Palace! Po urges the villagers out the restaurant. PO (CONT'D) One of the Five is gonna get the Dragon Scroll! Customers rush to finish their food. PO (CONT'D) We've been waiting a thousand years for this! Just take the bowl! Other customers are finishing their soup. One old lady customer slowly counts out coins and puts them on the table. PO (CONT'D) This is the greatest day in Kung Fu history! Don't worry about it, just go! He starts to run. PO'S DAD Po! Where are you going? Po stops dead in his tracks, busted. PO To the...Jade Palace? 12. PO'S DAD But you're forgetting your noodle cart! The whole valley will be there, and you'll sell noodles to all of them. PO Selling noodles? But Dad, you know, I was kinda thinking maybe I... PO'S DAD Yeah? PO I was kinda thinking maybe I... PO'S DAD Uh huh? Po wants to say something to his dad, but he loses his nerve. PO ...Could also sell the bean buns. They are about to go bad. PO'S DAD That's my boy! I told you that dream was a sign! PO Yeah, ha ha, glad I had it. EXT. VALLEY SQUARE - DAY Throngs of Villagers are streaming into the arena. A couple BUNNY KIDS run by. BUNNY FAN #1 Yippee! BUNNY FAN #2 I'm a Kung Fu warrior! BUNNY FAN #1 Me too! Where's Po? PAN DOWN a long, long, long, long flight of stairs. Po stands at the bottom with his noodle cart, looking up at the daunting task before him. Po struggles to pull his noodle cart up the stairs. 13. The sun beats down on Po, but he presses forward. Climbing. Climbing. DISSOLVE TO: EXT. VALLEY SQUARE - LATER Po is still struggling up the stairs. PO Come on! Come on, ya-- Almost there... He stops, flopping onto his back to catch his breath. WIDEN TO REVEAL he's only made it up seven steps. PO (CONT'D) What? No! Oh No! Two Pigs pass by. KG SHAW Sorry, Po. JR SHAW We'll bring you back a souvenir. Po watches as they run up the stairs. His eyes narrow. This is his heroic moment. PO No. I'll bring me back a souvenir. Po tosses off his hat and apron and begins his ascent up the stairs. EXT. JADE PALACE - ARENA PLATFORM Oogway reaches the bottom of the palace stairs and a Palace Pig bangs a gong. SHIFU It is an historic day, isn't it, Master Oogway? OOGWAY Yes, and one I feared I would not live to see. Are your students ready? 14. SHIFU Yes, Master Oogway. OOGWAY Now know this, old friend. Whomever I choose will not only bring peace to the Valley, but also to you. As Shifu contemplates what this could mean, Oogway starts walking off. Shifu quickly joins Oogway as they head towards the roaring crowd below. The pig bangs the gong. ANNOUNCER Let the tournament begin! EXT. VALLEY SQUARE - DAY Throngs of Villagers are streaming into the arena. EXT. TOP OF STAIRS - DAY Po gasps for air as he hoists himself over the last step, laughing victoriously. PO (out of breath) Yeah! The doors to the palace arena begin to close. PO (CONT'D) Oh no! No no no! Wait! I'm coming! Po runs to the entrance and proceeds to bang on the door. PO (CONT'D) Hey! Open the door! DRUMS inside drown out Po's pounding. He yells. PO (CONT'D) Let me in! Inside, spectators' screams drown out Po's yelling. Po panics for a beat and then finds a window. He jumps and weakly struggles to pull himself up. Po struggles to peek through the window. 15. INT. PALACE ARENA - CONTINUOUS SHIFU Citizens of the Valley of Peace! It is my great honor to present to you... Tigress! Viper! Crane! Monkey! Mantis! The Furious Five! The Five jump into the middle of the ring. PO The Furious Five! Po manages a brief glimpse of the Five before a gust of wind knocks Po to the ground and shuts the window. SHIFU Warriors prepare! Po runs over to a crack in the wall. PO Peeky-hole! SHIFU Ready for battle! Inside the arena, Po catches a glimpse of Crane as he spreads his wings. PO Yeah! Woo! The Thousand Tongues of Fire! One of the spectators walks in front of Po, cutting off his view. PIG FAN Whoa! Look at that. PO Hey, get out of the way! Po backs up to get a better look at Crane in the sky and accidentally falls down the stairs. Po climbs back up and drops his head -- he missed it. MONTAGE: Po tries karate chopping the door open...to no avail. He slumps to the ground. 16. PO (CONT'D) Ow... Po attempts a pole vault, but falls on his back. The pole whips around and hits him into the arena wall. Po rigs a catapult, only to get clobbered by it. The crowd CHEERS. Po sits atop the stairs. Alone. SHIFU And finally...Master Tigress! Po snaps to attention. Po pulls on a rope tied to a tree. SHIFU (O.S.) (CONT'D) And believe me citizens, you have not seen anything yet! PO I KNOW!! SHIFU (O.S.) Master Tigress! Face Iron Ox and his Blades of Death! Tigress sets up to deliver her move. Po launches himself up above the fence, gets a peek at Tigress, then falls out of view just as she does her move. Po lands outside the arena in a fireworks tent. INT. TOURNAMENT RING - DAY Oogway senses something. He raises his hand and the crowd hushes. OOGWAY I sense the Dragon Warrior is among us. Shifu motions for the Five to gather in the center of the ring. SHIFU Citizens of the Valley of Peace! Master Oogway will now choose... the Dragon Warrior! 17. EXT. TOURNAMENT RING - DAY Po comes to. PO Huh? Oh no! Wait! He sees the fireworks and has an idea. PO (CONT'D) Yeah! INT. TOURNAMENT RING - DAY Oogway closes his eyes and raises his hand as ceremonial DRUMS start to play. EXT. TOURNAMENT RING - DAY Po struggles with something, his back turned to us. Reveal he has tied a load of fireworks to a chair. He hops on and lights the fuse. PO'S DAD (O.S.) Po?! Po's Dad rushes over and tries to blow out the fuse. PO'S DAD (CONT'D) What are you doing? PO What does it look like I'm doing? Stop! Stop! I'm going to see the Dragon Warrior! PO'S DAD But I don't understand. You finally had the noodle dream. Po looks uneasy. PO I lied. I don't dream about noodles, Dad! He looks at the fuse... almost all gone... Po holds onto the chair for dear life, closes his eyes, and braces himself for liftoff. PO (CONT'D) I love kung fuuuuuuuuuuuuuuuuu-

22

LEGO Movie The

Chris Miller,Phil Lord

Animation,Action,Adventure

February_2014

FADE IN: On the awesome WB LOGO made of LEGO bricks. We PUSH through it and find ourselves in a STARFIELD. A COMET streaks towards us. We FOLLOW as it blasts past. The ground plane rushes up to camera. BLACK. EXT. LANDSCAPES - DAY HELICOPTER SHOTS over various landscapes. NARRATOR No one knows where it came from. There had been others. Mysterious relics of another world. But only one with the power to stop the world. SHKBOOM!!! The comet makes impact! A LEGO explosion! We peer into the smoking crater. Fire amid blackness. NARRATOR Many vied for its dark magic. A few brave souls endeavoured to hide it from those who would use it for ill. Until finally, thankfully it was lost to history. Suddenly, we are blinded by a powerful TUNNEL OF LIGHT. It's an animated LEGO version of the light tunnel in 2001, which was directed by Stanley Kubrick, who knows a thing or two about making movies, so don't step. We push forwards, headed into a new world. NARRATOR Ours is a story of a world that knows not where it comes from. That cannot imagine what it is capable of. Perhaps you can relate. I know I can. MAIN TITLE: "LEGO: THE PIECE OF RESISTANCE" EXT. AWESOME TEMPLE - DUSK The most killer looking ancient vine-encrusted jungle temple of all time. The whole thing is made of LEGO. CHYRON: "Ten billion years later" 2. REVEAL LEGO INDIANA JONES and two GUIDES. Indy puts up a hand for them to stop. He removes a RUBY RED PIECE from his bag and connects it to the temple. The piece GLOWS. A dark passageway opens, and Indy lights a torch. The flames are made of ANIMATED LEGO BRICKS. The guides are too scared to continue. Indy's not. INT. AWESOME TEMPLE - DUSK A beautiful room made entirely of GOLDEN BRICKS. In the center is a GOLDEN SARCOPHAGUS guarded by statues of gods from every ancient civilization imaginable. Indy carefully lifts a tablet from a statue of Zeus and places it into the sarcophagus like an ATM card. He pushes a bunch of cuneiform buttons - a PIN NUMBER. The sarcophagus opens. A white-hot glow on Indy's face. BLAM!!! The entire room shakes. The statues are blown apart! The smoke clears. Enter THE BLACK FALCON, the most evil person in the universe. He's flanked by ROBOT guards. INDY The Black Falcon. I should've known. BLACK FALCON Hey Indy. Uch. Who built this place? Must have been a bunch of lazy hippies, sitting around a table agreeing with each other. INDY It was built by the ancients. With more wisdom and artistry than you can ever know. The Black Falcon basks in the glow of the sarcophagus. BLACK FALCON The Kragle... INDY That belongs to the Maker. It must be protected! 3. BLACK FALCON What a lame boyscout thing to say! You're standing before the most powerful object in the world and you don't want to use it? You're a real nerd, Indiana Jones. The BF motions and his guards carry the sarcophagus away. INDY The MasterBuilders will learn of this. BLACK FALCON And what do you know of them? INDY Only that they will be your undoing. BLACK FALCON Adieu, Dr. Jones. That's French for ciao. He exits. As the sarcophagus crosses the threshold of the temple, walls shake. The temple is CRUMBLING. Left for dead, Indy uses the falling pieces to build himself a sweet rocket ship and blasts out of the temple. Narrowly avoiding a big rolling LEGO ball, probably. EXT. FIELD - DAY A farmhouse in the hills. Indy rolls up and pulls the teat of a goat, which opens a SECRET DOOR. INT. MASTERBUILDERS SECRET HIDEOUT - DAY Art studio meets SuperFriends headquarters. Badasses are MEDITATING, including GEMINI, a mysterious cloaked figure, and KRAV M'GA, the boss. Indy bursts in. PUSH IN dramatically: INDY The Black Falcon has the Kragle. PUSH IN dramatically: KRAV M'GA Gemini. Find the Chosen One. 4. PUSH IN dramatically: GEMINI Okay. BOOM. Something big just landed outside. Indy looks at his foot. Attached is a blinking red brick. Oh no. INDY They followed me... KRAV M'GA (TO GEMINI) GO! NOW! CRASH! It's a full scale assault by hundreds of ROBOTS. The MasterBuilders fight valiantly but are overwhelmed. Gemini runs from the fight, then stumbles, overcome with emotion as we hear the battle being lost. Amid the screams, Krav M'Ga's final words echo through Gemini's head... KRAV M'GA (V.O.) Find the Chosen One... INT. CRAPPY APARTMENT - DAY DORIS Emmet! DORIS, a dowdy mom, calls through her son's door. DORIS Did you clean your room?! The cleaning woman is coming today! EMMET (O.S.) Then why do I need to clean? DORIS Because I want her to know what a nice rule-following son I have! Doris walks into his meticulously clean room to find Emmet, 22, a total square, in his underpants. EMMET Mom! DORIS Aw, it is clean. 5. EMMET It's always clean! DORIS (CHOKING UP) Just like I taught you. EMMET What's the point of having my own apartment across the hall from your apartment if you're going to check up on me like I still live at home? Emmet "pulls" on a pair of mini-fig legs. Replaces his torso with a shirt. Takes off his hair and puts on a construction hat. Ready for work. Doris is so proud. DORIS I just love you and want my son to be safe and happy. Can't you work from home? Like a sociopath or children's book author? EMMET Mom. I've spent my whole life here. I need to go out there and follow my dream of fitting in and being like everybody else. DORIS My boy. All grown up. Maybe soon you'll meet a girl and be married! EMMET Mom, please! DORIS I'm just saying, it's been how many years since Lucy? EMMET (changing the subject) Mom... I had the dream again. FLASH TO: INT. ART CLASS - DAY EMMET'S RECURRING DREAM: A middle school classroom. Everyone wears blue. Young Emmet wears red. The ART TEACHER walks around, commenting. 6. EMMET (V.O.) It was the same as it always is. Seared in my memory... Everyone dutifully draws the same drawing of a hand, but Emmet draws two hands close together so they look like eyes. He draws a mouth and pupils. The teacher stops. BAD ART TEACHER Emmet. This wasn't the assignment. You've got to learn to follow the rules. She holds up Emmet's drawing for all to see. BAD ART TEACHER Everyone, the assignment is to draw your hand, not a silly face. SLOW MOTION: All the kids in the class GASP. INT. CAFETERIA - MOMENTS LATER Emmet sits alone, crying. The other kids sit at other tables and whisper... KIDS That's the guys who drew a face. / What a weirdo. / He doesn't know how to follow instructions. / He's not invited to my birthday. Emmet ERASES his drawing, a pariah. A little GIRL looks at him from afar with sympathy. BACK TO SCENE DORIS I hated that day. The kids were so mean, the school tried to expel you... I promised myself I'd never let anything like that happen to you again. And it hasn't. So you need to let your memory of that day go. It never happened. EMMET I just want to be normal, Mom. DORIS Listen. You're my son. And you're the most normal, regular, average person I know. 7. EMMET You mean it? DORIS Yeah. EMMET Are you crying? DORIS No. Yes. Emmet... She wants to tell him something, but thinks better of it. DORIS Don't forget dinner. EMMET Promise. DORIS Be safe. EMMET Of course. DORIS Don't make waves. EMMET I never do. DORIS And follow the instructions. EMMET Always. DORIS If they weren't so firm and flush with your head, I would pinch your cheeks right now. EMMET Love you, Mom. DORIS Love you. He EXITS, leaving her alone in the room. She SIGHS. 8. EXT. LEGOPOLIS - DAY Emmet drives into the most elaborate LEGO city set ever. Everywhere are dozens of STREET SIGNS offering detailed instructions for what you should and shouldn't do. Everyone drives the same speed in the same direction, listening to the same station, moving to the same beat. MUSIC: An insanely catchy pop song. RADIO DJ It's another beautiful day in Legopolis and on Empura Radio. Reminding you don't forget to re- elect President Iamnotarobot for President of the City on Tuesday. Now, for the 258th consecutive week at #1, here's the No News Gnus with their hit "Everything is Awesome." EMMET Yeah. I love this song! And so does everyone else! In what feels like a musical number, Emmet drives past vignettes of citizens happily going about their day and loving this song! BILLBOARDS everywhere advertise EMPURA, a company which apparently owns everything. EXT. ALTERNATIVE AVENUE - DAY Everyone walks in the same direction and goes in to various identical-seeming coffee shops. SECURITY CAMERA FOOTAGE: A camera scans for something, or someone, but can't tell Emmet from the rest of the crowd. INT. KREATIVE KOFFEE - DAY A Starbucks by a different name. Mixed with a Hot Dog on a Stick. Emmet arrives at the counter. EMMET Hello. BARRISTA What'll it be? EMMET I'm Emmet. 9. BARRISTA Larry? EMMET Well, Larry, I'll have one coffee please. BARRISTA Cappuccino, macchiato, espresso, americano. EMMET What are those? Sounds a little foofy. BARRISTA They're all coffee. EMMET Oh. Well, whatever isn't too wild. I don't know, what do you think? (LAUGHS NERVOUSLY) BARRISTA A decaf. EMMET Okay, yeah. Cool. BARRISTA Venti, Grande, or Super Grande? EMMET Oh, goodness. So much selection. So hard to decide! You pick. BARRISTA That's a personal decision that only you can make. EMMET Uh. Gosh, which is the most popular? BARRISTA Super Grande. It's Italian for medium. EMMET Medium. That's what I'm havin'! That is my style. BARRISTA Fantastic. 10. EMMET You creative types! So delightfully sardonic! BARRISTA I push one of two buttons on a machine. I would hardly call that creative. I would call that following instructions. EMMET But it says Kreative right on your shirt! With an extra "kreative" spelling aberration! I totally don't get it! EXT. ALTERNATIVE AVENUE - DAY As Emmet exits the shop and passes an EMPURA billboard asking him to reelect President Iamnotarobot. A television in a shop window shows highlights of a debate between Iamnotarobot and Stooge Strawman. Emmet finishes the drive to work. Everyone pulls into their parking spaces at the same time, like clockwork. Emmet walks out and looks at his new work place. His breath is taken away as he gazes on a beautiful... EXT. INSTRUCTION SITE - DAY A fantastical construction site. Super-awesome cranes. Emmet walks and talks to his new boss. FOREMAN Alright, kid. Here's the rules. EMMET Ooh, great. FOREMAN Stay on your feet-- EMMET Mmm hmm. FOREMAN Stick to the instructions-- EMMET Uh huh. 11. FOREMAN And don't get creative! Emmet GUFFAWS like that's the craziest idea ever. EMMET Oh, Steve, don't worry. I'm not some kind of foofy weirdo, Steve! The laugh together for a LONG TIME. Then, FOREMAN It's Sean. EXT. INSTRUCTION SITE - MOMENTS LATER They walk past BIG STACKS OF PIECES moved by MACHINES. FOREMAN The pieces get sent down from corporate bundled together with the instructions. Take the one with your section on it and follow it to the letter. Keep track of all the pieces. If you lose one of the special ones it'll seriously drive you crazy. EXT. INSTRUCTION SITE - MOMENTS LATER They casually step across girders high above the city. FOREMAN Today you'll be putting together an artists' loft. EMMET Is it for an artist? FOREMAN Oh, no. It's for an accountant. EMMET Oh, great. FOREMAN Pretty soon, the whole city will look like this. All part of some big master plan from Central. EMMET Wow... 12. They arrive at the COOLEST CONSTRUCTION MACHINE EVER. Emmet opens up his actual size LEGO instructions. EMMET What if I mess up or lose my place or something? FOREMAN Just do what everyone else does. Keep your head down, follow instructions, and you could get promoted. Central's got some big project coming up overseas. EMMET Overseas? I don't know. I'm not big on travel. FOREMAN Whatever, kid. EMMET One more question. Emmet puts a hand on his shoulder. EMMET Thank you. For making my dreams come true. FOREMAN Is that a question? EXT. INSTRUCTION SITE - LATER Emmet puts his hands on the controls, savoring this moment, and finally puts his first brick in, according to the plan. It's an awesome feeling. Another. Another. He gets in the zone of building. This feels right. EXT. INSTRUCTION SITE - DAY Lunchtime. Emmet looks at a heart-shaped COOKIE his mom baked for him. "I love you" in frosting. He flips it over. "Be Safe!" He looks over to the other INSTRUCTION WORKERS, eating lunch. EMMET So. Silence. 13. EMMET How about that local sports team? What do you think of how they played the other day? LUNCH CONSUMER Ugh, they were awful. EMMET Right? They should make a personnel change of some kind. LUNCH CONSUMER THAT COACH-- EMMET Yes, the coach! LUNCH CONSUMER He's the only good thing about that team. EMMET They should so keep him! LUNCH CONSUMER We're all going to watch the game after work. Eat a little grub. Want to join? EMMET Really?! (CATCHES HIMSELF) Actually, I'm supposed to have dinner with my-- What the heck? I'm in. LUNCH CONSUMER Alright then. EMMET Cool. Definitely cool. (THEN) Hey did you hear that song on the way in to work this morning? LUNCH CONSUMER Everything is Awesome? I love that song. ANOTHER LUNCHER Me too! 14. EMMET I think I know why I like that song so much. LUNCH CONSUMER Why's that? EMMET Because everything is awesome. LUNCH CONSUMERS Oh yeah. / Good point. / I never thought of it like that. Emmet smiles his butt off. EXT. INSTRUCTION SITE - LATER Emmet is back to building. He takes a look at the city from the highest height. It's beautiful. He's downright INSPIRED looking at it. He sees the LEGO brick clouds in the sky slowly form the shape of a FACE. We ZOOM IN to Emmet's MIND. We see LEGO SYNAPSES firing. A CONNECTION between two halves of the brain. An IDEA. We pull back to REVEAL that Emmet has accidentally built, instead of a window, a SMILING FACE, reminiscent of the one he drew in class all that time ago. FOREMAN Kid! What the heck is that?! EMMET Oh, uh. I don't know. What? FOREMAN That's not the instructions. EMMET I don't know what happened. I was just looking out at the clouds, and-- It was an accident. The Foreman picks up the phone. FOREMAN (INTO PHONE) We got a loose brick! Code Danger! EMMET Code Danger? What's so dangerous? 15. Just then, A CRANE OPERATOR notices the happy face. His distraction causes the crane to go in the wrong direction and SMASH a wall. The falling bricks cause an elaborate chain reaction that tips the structure over. EMMET Oh. Chaos! Instruction workers run away for their lives! INT. POLICE CAR - DAY DISPATCHER (OVER RADIO) Loose brick! POLICEMAN Loose brick! POLICEMAN'S PARTNER Loose brick! The cops throw their lunch out the window, shattering it. They pop the sirens and take off! EXT. CITY STREET - CONTINUOUS The cops hit the gas! We PULL WIDER revealing dozens of other POLICE CARS doing the same. Sirens blaring. EXT. INSTRUCTION SITE - SAME TIME The condo tips over an adjacent condo (with someone living in it, of course) which hits another and another, the buildings going down like elaborate dominoes. Thirty COP CARS, an AMBULANCE and FIRE TRUCK screech in. Cops run full tilt to keep the buildings from falling. POLICE CHIEF Stop that building! The cops jump out and stare up at the last domino, which falls on them. SMASH! The remaining cops look at Emmet. INT. POLICE CAR - MOMENTS LATER Emmet is in the back of the car. 16. EMMET --unbelievably sorry. I am honestly the last person who would do something like thi-- INT. POLICE STATION - MOMENTS LATER Emmet is being booked. EMMET --eriously, a model citizen. I got straight As. I vote! Even in the off-year elections, for school board and stuff-- INT. INTERROGATION ROOM - DAY Emmet sits chained to a desk in the shadow of two DETECTIVES. They look slicker than the others. EMMET --swear, I'm not special at all. Just ask my mom! I'm a totally average normal person! BAD COP Oh yeah? What size coffee do you drink? EMMET Super grande. BAD COP Dammit! I can't break him. EMMET You don't need to break me! I'm just a regular old totally UNSPECIAL LAW-ABIDING-- SFX: SLAM! INT. LEGOPOLIS CORRECTIONAL FACILITY - NIGHT Emmet is in jail. He has a huge scary convict roommate. EMMET I'm Emmet. What's your name? CONVICT (< NOTHING >) 17. BLACK. INT. EMMET'S APARTMENT - SAME TIME Doris sits at an empty dinner table set for two. She picks at her food and sighs. Her only company is the TV. TV ANCHOR ...we're still following the story of the construction worker who got a little creative on his first day on the job. The subject was described as looking and acting exactly like everybody else... Police have take

23

Little Mermaid The

Roger Allers,Hans Christian Andersen,Howard Ashman,Ron Clements,John Musker

Family,Animation,Comedy,Musical,Romance,Fantasy

December_1989

(An ocean. Birds are flying and porpoises are swimming happily. From the fog a ship appears crashing through the waves) Sailors: I'll tell you a tale of the bottomless blue And it's hey to the starboard, heave ho Look out, lad, a mermaid be waitin' for you In mysterious fathoms below. Eric: Isn't this great? The salty sea air, the wind blowing in your face . . . a perfect day to be at sea! Grimsby: (Leaning over side.) Oh yes . . . delightful . . . . Sailor 1: A fine strong wind and a following sea. King Triton must be in a friendly-type mood. Eric: King Triton? Sailor 2: Why, ruler of the merpeople, lad. Thought every good sailor knew about him. Grimsby: Merpeople! Eric, pay no attention to this nautical nonsense. Sailor 2: But it ain't nonsense, it's the truth! I'm tellin' you, down in the depths o' the ocean they live. (He gestures wildly, Fish in his hand flops away and lands back in the ocean, relieved.) Sailors: Heave. ho. Heave, ho. In mysterious fathoms below. (Fish sighs and swims away.) (Titles. Various fish swimming. Merpeople converge on a great undersea palace, filling concert hall inside. Fanfare ensues.) Seahorse: Ahem . . . His royal highness, King Triton! (Triton enters dramatically to wild cheering.) And presenting the distinguished court composer, Horatio Thelonious Ignatius Crustaceous Sebastian! (Sebastion enters to mild applause.) Triton: I'm really looking forward to this performance, Sebastian. Sebastian: Oh, Your Majesty, this will be the finest concert I have ever con- ducted. Your daughters - they will be spectacular! Triton: Yes, and especially my little Ariel. Sebastian: Yes, yes, she has the most beautiful voice. . . . [sotto] If only she'd show up for rehearsals once in a while. . . . (He proceeds to podium and begins to direct orchestra.) Triton's daughters: Ah, we are the daughters of Triton. Great father who loves us and named us well: Aquata, Andrina, Arista, Atina, Adella, Allana. And then there is the youngest in her musical debut, Our seventh little sister, we're presenting her to you, To sing a song Sebastian wrote, her voice is like a bell, She's our sister, Ar-i . . . (Shell opens to reveal that Ariel is absent.) Triton: (Very angry.) Ariel!! (Cut to Ariel looking at sunken ship.) Flounder: (From distance.) Ariel, wait for me . . . Ariel: Flounder, hurry up! Flounder: (Catching up.) You know I can't swim that fast. Ariel: There it is. Isn't it fantastic? Flounder: Yeah . . . sure . . . it - it's great. Now let's get outta here. Ariel: You're not getting cold fins now, are you? Flounder: Who, me? No way. It's just, it, err . . . it looks - damp in there. Yeah. And I think I may be coming down with something. Yeah, I got this cough. (Flounder coughs unconvincingly) Ariel: All right. I'm going inside. You can just stay here and - watch for sharks. (She goes inside.) Flounder: O.K. Yeah - you go. I'll stay and - what? Sharks! Ariel! (He tries to fit through porthole.) Ariel . . . I can't . . . I mean- Ariel help! Ariel: (Laughs.) Oh, Flounder. Flounder: (Wispering.)Ariel, do you really think there might be sharks around here? (Shark passes outside.) Ariel: Flounder, don't be such a guppy. Flounder: I'm not a guppy. (Gets pulled through porthole.)This is great - I mean, I really love this. Excitement, adventure, danger lurking around every corn- YAAAAHHHHHHHH!! Ariel!! (He sees a skull, crashes into pillar causing cave in, and swims frantically away, knocking over Ariel.) Ariel: Oh, are you okay? Flounder: Yeah sure, no problem, I'm okay . . . Ariel: Shhh . . . (Seeing a fork.) Oh my gosh! Oh my gosh! Have you ever seen anything so wonderful in your entire life? Flounder: Wow, cool! But, err, what is it? Ariel: I don't know. But I bet Scuttle will. (Puts fork in bag. Skark swims by outside.) Flounder: What was that? Did you hear something? Ariel: (Distracted by pipe.) Hmm, I wonder what this one is? Flounder: Ariel . . Ariel: Flounder, will you relax. Nothing is going to happen. Flounder: (Seeing Shark looming behind him.) AAHHHH!! Run!! Run!! We're gonna die!! (Shark chases them all around. Ariel's bag is hung up. She goes back for it. Shark almost gets them. They head for porthole.) Oh No!! (They crash through and go round and round. Flounder gets knocked silly but Ariel saves him and traps Shark) You big bully. THBBBTTTT . . . (Shark snaps at him and he swims away.) Ariel: (Laughing.) Flounder, you really are a guppy. Flounder: I am not. (On surface. Scuttle on his island humming and looking through his telescope.) Ariel: Scuttle! Scuttle: (Looking through the telescope the wrong way, shouting.) Whoa! Mermaid off the port bow! Ariel, how you doin' kid? (Lowers telescope to reveal Ariel at wing's length.) Whoa, what a swim! Ariel: Scuttle - look what we found. Flounder: Yeah - we were in this sunken ship - it was really creepy. Scuttle: Human stuff, huh? Hey, lemme see. (Picks up fork.) Look at this. Wow - this is special - this is very, very unusual. Ariel: What? What is it? Scuttle: It's a dinglehopper! Humans use these little babies . . . to straighten their hair out. See - just a little twirl here an' a yank there and - voiolay! You got an aesthetically pleasing configuration of hair that humans go nuts over! Ariel: A dinglehopper! Flounder: What about that one? Scuttle: (Holding pipe) Ah - this I haven't seen in years. This is wonderful! A banded, bulbous - snarfblat. Ariel and Flounder: Oohhh. Scuttle: Now, the snarfblat dates back to prehistorical times, when humans used to sit around, and stare at each other all day. Got very boring. So, they invented the snarfblat to make fine music. Allow me. (Scuttle blows into the pipe; seaweed pops out the other end.) Ariel: Music? Oh, the concert! Oh my gosh, my father's gonna kill me! Flounder: The concert was today? Scuttle: (Still contemplating pipe.) Maybe you could make a little planter out of it or somethin'. Ariel: Uh, I'm sorry, I've gotta go. Thank you Scuttle. (Waves.) Scuttle: Anytime sweetie, anytime. (Cut to Flotsam and Jetsam, then Ursula in background watching magic projection of Ariel swimming.) Ursula: Yeeeeeees, hurry home, princess. We wouldn't want to miss old daddy's celebration, now, would we? Huh! Celebration indeed. Bah! In MY day, we had fantastical feasts when I lived in the palace. And now, look at me - wasted away to practically nothing - banished and exiled and practically starving, while he and his flimsy fish-folk celebrate. Well, I'll give 'em something to celebrate soon enough. Flotsam! Jetsam! I want you to keep an extra close watch on this pretty little daughter of his. She may be the key to Triton's undoing. . . . (Fade to the palace throne room where Ariel is being admonished.) Triton: I just don't know what we're going to do with you, young lady. Ariel: Daddy, I'm sorry, I just forgot, I - Triton: As a result of your careless behaviour - Sebastian: Careless and reckless behaviour! Triton: - the entire celebration was, er - Sebastian: Well, it was ruined! That's all. Completely destroyed! This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughing stock of the entire kingdom! Flounder: But it wasn't her fault! Ah - well - first, ahh, this shark chased us - yeah - yeah! And we tried to - but we couldn't - and - grrrrrrrrr - and - and we - whoooaaaaaa - oh, and then we were safe. But then this seagull came, and it was this is this, and that is that, and - Triton: Seagull? What? Oh - you went up to the surface again, didn't you? DIDN'T YOU? Ariel: Nothing - happened. . . . Triton: Oh, Ariel, How many times must we go through this? You could've been seen by one of those barbarians - by - by one of those humans! Ariel: Daddy, they're not barbarians! Triton: They're dangerous. Do you think I want to see my youngest daughter snared by some fish-eater's hook? Ariel: I'm sixteen years old - I'm not a child anymore - Triton: Don't you take that tone of voice with me young lady. As long as you live under my ocean, you'll obey my rules! Ariel: But if you would just listen - Triton: Not another word - and I am never, NEVER to hear of you going to the surface again. Is that clear? (Ariel leaves, crying.) Sebastian: Hm! Teenagers. . . . They think they know everything. You give them an inch, they swim all over you. Triton: Do you, er, think I - I was too hard on her? Sebastian: Definitely not. Why, if Ariel was my daughter, I'd show her who was boss. None of this "flitting to the surface" and other such nonsense. No, sir - I'd keep her under tight control. Triton: You're absolutely right, Sebastian. Sebastian: Of course. Triton: Ariel needs constant supervision. Sebastian: Constant. Triton: Someone to watch over her - to keep her out of trouble. Sebastian: All the time - Triton: And YOU are just the crab to do it. (Cut to Sebastion walking down corridor.) Sebastian: How do I get myself into these situations? I should be writing symphonies - not tagging along after some headstrong teenager. (Sees Ariel and Flounder sneaking off and follows.) Hmm? What is that girl up to? (He barely makes it into cave and sees Ariel's collection.) Huh? Flounder: Ariel, are you okay? Ariel: If only I could make him understand. I just don't see things the way he does. I don't see how a world that makes such wonderful things - could be bad. Look at this stuff Isn't it neat? Wouldn't you think my collection's complete? Wouldn't you think I'm the girl The girl who has ev'rything? Look at this trove Treasures untold How many wonders can one cavern hold? Lookin' around here you'd think Sure, she's got everything I've got gadgets and gizmos aplenty I've got whozits and whatzits galore (You want thingamabobs? I got twenty) But who cares? No big deal I want more I wanna be where the people are I wanna see Wanna see 'em dancin' Walkin' around on those (Whad'ya call 'em?) oh - feet Flippin' your fins you don't get too far Legs are required for jumpin', dancin' Strollin' along down a (What's that word again?) street Up where they walk Up where they run Up where they stay all day in the sun Wanderin' free Wish I could be Part of that world What would I give If I could live Outta these waters? What would I pay To spend a day Warm on the sand? Betcha on land They understand Bet they don't reprimand their daughters Bright young women Sick o' swimmin' Ready to stand And ready to know what the people know Ask 'em my questions And get some answers What's a fire and why does it (What's the word?) burn? When's it my turn? Wouldn't I love Love to explore that shore above? Out of the sea Wish I could be Part of that world (Sebastion has been struggling around and now comes crashing down making a lot of noise.) Ariel: Sebastion!? Sebastian: Ariel - what, are you mad? How could you - what is all this? Ariel: It, err, it's just my - collection. . . . Sebastian: Oh. I see. Your collection. Hmmm. IF YOUR FATHER KNEW ABOUT THIS PLACE HE'D - Flounder: You're not gonna tell him, are you? Ariel: Oh, please, Sebastian, he would never understand. Sebastian: Ariel. You're under a lot of pressure down here. Come with me, I'll take you home and get you something warm to drink. (A ship passes by overhead.) Ariel: What do you suppose?. . . Sebastion: Ariel? Ariel! (On surface. Fireworks in the sky around ship. Ariel looks on, amazed. Sebastion and Flounder arrive.) Sebastion: Ariel, what - what are you- jumpin' jellyfish! Ariel, Ariel! Please come back! (Ariel swims to ship and watches party until Max finds her.) Eric: (Whistles.) Max, here boy. Hey, come on, mutt, whatcha doing, huh Max? Good boy. (Ariel sees him and is stricken.) Scuttle: Hey there, sweetie! Quite a show, eh? Ariel: Scuttle, be quiet! They'll hear you. Scuttle: Oooh, I gotcha, I gotcha. We're being intrepidatious. WE'RE OUT TO DISCOVER! (Ariel grabs his beak.) Ariel: I've never seen a human this close before. Oh - he's very handsome, isn't he? Scuttle: (Looking at Max) I dunno, he looks kinda hairy and slobbery to me. Ariel: Not that one - the one playing the snarfblat. Grimsby: Silence! Silence! It is now my honour and privilege to present our esteemed Prince Eric with a very special, very expensive, very large birthday present. Eric: Ah, Grimsby - y'old beanpole, you shouldn't have. Grimsby: I know. Happy birthday, Eric! (Large, gaudy statue of Eric is revealed. Max growls.) Eric: Gee, Grim. It's, err, it's, err - it's really somethin'. . . . Grimsby: Yes, I commissioned it myself. Of course, I had hoped it would be a wedding present, but . . . Eric: Come on, Grim, don't start. Look, you're not still sore because I didn't fall for the princess of Glauerhaven, are you? Grimsby: Oh, Eric, it isn't me alone. The entire kingdom wants to see you happily settled down with the right girl. Eric: Well, she's out there somewhere. I just - I just haven't found her yet. Grimsby: Well, perhaps you haven't been looking hard enough. Eric: Believe me, Grim, when I find her I'll know - without a doubt. It'll just - bam! - hit me - like lightning. (Lightning and thunder appear and the sky grows dark.) Sailor: Hurricane a'commin'!! Stand fast! Secure the riggin'! (Storm hits.) Scuttle: Whoa! The wind's all of a sudden on the move here. (He is blown away.) Oh! Ariel . . . (Ship crashes through storm. Lightning starts a fire. A rock looms ahead.) Eric: Look out! . . . (Ship crashes and all are thrown overboard except Max.) Grim, hang on! (Sees Max.) Max! (Goes back to save him.) Jump Max! Come on boy, jump! You can do it Max. (He saves Max but is trapped on board.) Grimsby: ERIC! (Ship explodes. Ariel finds Eric near drowning and pulls him away.) (On beach. Ariel is sitting next to an unconscious Eric.) Ariel: Is he - dead? Scuttle: (Opens Eric's eyelid.) It's hard to say. (Puts his ear against Eric's foot.) Oh, I - I can't make out a heartbeat. Ariel: No, look! He's breathing. He's so, beautiful. What would I give To live where you are? What would I pay To stay here beside you? What would I do to see you Smiling at me? Where would we walk? Where would we run? If we could stay all day in the sun? Just you and me And I could be Part of your world (Sebastion and Flounder have washed up and are watching scene. Max and Grimsby approach. Ariel hurries away.) Grimsby: Eric! Oh, Eric. You really delight in these sadistic strains on my blood pressure, don't you? Eric: A girl - rescued me. . . . She was - singing . . . she had the most - beautiful voice. Grimsby: Ah, Eric, I think you've swallowed a bit too much seawater. Off we go. Come on, Max. Sebastian: We just gotta forget this whole thing ever happened. The sea king will never know. You won't tell him, I won't tell him. I will stay in one piece. Ariel: I don't know when I don't know how But I know something's starting right now Watch and you'll see Some day I'll be Part of your world (Flotsam and Jetsam appear. Fade to Ursula watching from her chamber.) Ursula: Oh, no, no, no, no, no, no. I can't stand it - it's too easy. The child is in love with a human. And not just any human - a prince! Her daddy'll LOVE that. King Triton's headstrong, lovesick girl would make a charming addition to my little garden. (Fade to palace. Then sister's dressing room.) Andrina: Ariel, dear, time to come out. You've been in there all morning. (Ariel emerges, singing to herself.) Atina: What is with her lately? Ariel: Morning, Daddy. (Ariel swims off.) Atina: Oh, she's got it bad. Triton: What? What has she got? Andrina: Isn't it obvious, Daddy? Ariel's in love. Triton: Ariel? In love? (Cut to Sebastion pacing on rock outside.) Sebastian: O.K. So far, so good. I don't think the king knows. But it will not be easy keeping something like this a secret for long. Ariel: (Picking petals off a flower) He loves me . . . hmmm, he loves me not. . . . He loves me! I knew it! Sebastian: Ariel, stop talking crazy. Ariel: I gotta see him again - tonight! Scuttle knows where he lives. Sebastian: Ariel - please. Will you get your head out of the clouds and back in the water where it belongs? Ariel: I'll swim up to his castle. Then Flounder will splash around to get his attention, and then with - Sebastian: Down HERE is your home! Ariel - listen to me. The human world - it's a mess. Life under the sea is better than anything they got up there. The seaweed is always greener In somebody else's lake You dream about going up there But that is a big mistake Just look at the world around you Right here on the ocean floor Such wonderful things surround you What more is you lookin' for? Under the sea Under the sea Darling it's better Down where it's wetter Take it from me Up on the shore they work all day Out in the sun they slave away While we devotin' Full time to floatin' Under the sea Down here all the fish is happy As off through the waves they roll The fish on the land ain't happy They sad 'cause they in their bowl But fish in the bowl is lucky They in for a worser fate One day when the boss get hungry Guess who's gon' be on the plate Under the sea Under the sea Nobody beat us Fry us and eat us In fricassee We what the land folks loves to cook Under the sea we off the hook We got no troubles Life is the bubbles Under the sea Under the sea Since life is sweet here We got the beat here Naturally Even the sturgeon an' the ray They get the urge 'n' start to play We got the spirit You got to hear it Under the sea The newt play the flute The carp play the harp The plaice play the bass And they soundin' sharp The bass play the brass The chub play the tub The fluke is the duke of soul (Yeah) The ray he can play The lings on the strings The trout rockin' out The blackfish she sings The smelt and the sprat They know where it's at An' oh that blowfish blow Under the sea Under the sea When the sardine Begin the beguine It's music to me What do they got? A lot of sand We got a hot crustacean band Each little clam here know how to jam here Under the sea Each little slug here Cuttin' a rug here Under the sea Each little snail here Know how to wail here That's why it's hotter Under the water Ya we in luck here Down in the muck here Under the sea (They discover that Ariel has left with Flounder.) Ariel? Ariel? Oh . . . somebody's got to nail that girl's fins to the floor. Seahorse: Sebastian! Sebastian, I've been looking all over for you. I've got an urgent message from the sea king. Sebastian: The sea king? Seahorse: He wants to see you right away - something about Ariel. Sebastian: He knows! (In palace throne room. Triton looking at flower.) Triton: Let's see, now. . . . Oh, who could the lucky merman be? (Notices Sebastion.) Come in, Sebastion. Sebastian: (Sotto) I mustn't overreact. I must remain calm. (Five octaves higher than normal) Yes - (loco) yes, Your Majesty. Triton: Now, Sebastian, I'm concerned about Ariel. Have you noticed she's been acting peculiar lately? Sebastian: Peculiar? Triton: You know, moaning about, daydreaming, singing to herself. . . . You haven't noticed, hmm? Sebastian: Oh - well, I - Triton: Sebastian. . . . Sebastian: Hmmm? Triton: I know you've been keeping something from me. . . . Sebastian: Keeping . . . something? Triton: About Ariel? Sebastian: Ariel . . . ? Triton: In love? Sebastian: I tried to stop her, sir. She wouldn't listen. I told her to stay away from humans - they are bad, they are trouble, they - Triton: Humans? WHAT ABOUT HUMANS? Sebastian: Humans? Ho ho ho ho. . . . Who said anything about humans? (Fade to Ariel and Flounder entering cave.) Ariel: Flounder, why can't you just tell me what this is all about? Flounder: You'll see. It's a suprise. Ariel: (Sees statue of Eric.) Oh, Flounder- Flounder you're the best! it looks just like him. It even has his eyes. "Why, Eric, run away with you? This is all so - so sudden. . . . (Turns around and sees Triton.) Daddy! . . . Triton: I consider myself a reasonable merman. I set certain rules, and I expect those rules to be obeyed. Ariel: But Daddy!- Triton: Is it true you rescued a human from drowing? Ariel: Daddy, I had to- Triton: Contact between the human world and the mer-world is strictly for- bidden. Ariel, you know that! Everyone knows that! Ariel: He would have died- Triton: One less human to worry about! Ariel: You don't even know him. Triton: Know him? I don't have to know him. They're all the same. Spineless, savage, harpooning, fish-eaters, incapable of any feeling- Ariel: Daddy, I love him! Triton: No . . . Have you lost your senses completely? He's a human, you're a mermaid! Ariel: I don't care. Triton: So help me Ariel, I am going to get through to you. And if this is the only way, so be it. (Begins to blast the artifacts with his trident.) Ariel: Daddy!. . . No . . . No, please- Daddy, stop!. . . Daddy, Nooo!!. . . (He blasts statue. Ariel begins crying and he leaves, ashamed.) Sebastion: Ariel, I . . . Ariel: (Still crying.) Just go away. (He leaves and Flotsan and Jetsam appear.) Flotsam: Poor child. Jetsam: Poor, sweet child. Flotsam: She has a very serious problem Jetsam: If only there were something we could do. Flotsam: But there is something. Ariel: Who - who are you? Jetsam: Don't be scared. Flotsam: We represent someone who can help you. Jetsam: Someone who could make all your dreams come true. Flotsam and Jetsam: Just imagine - Jetsam: You and your prince - Flotsam and Jetsam: Together, forever. . . . Ariel: I don't understand. Jetsam: Ursula has great powers Ariel: The sea witch? Why, that's - I couldn't possibly - no! Get out of here! Leave me alone! Flotsam: Suit yourself. Jetsam: It was only a suggestion. [Jetsam flicks the statue's broken face towards Ariel.] Ariel: [Looking at the face] Wait. Flotsam and Jetsam: Yeeeeeeeeeess? (Cut to outside of cave with Flounder and Sebastion.) Flounder: (snif) Poor Ariel. Sebastion: I didn't mean to tell, it was an accident. (Ariel passes by.) Ariel - where are you going? Ariel, what are you doing here with this riff-raff? riel: I'm going to see Ursula. Sebastian: Ariel, no! No, she's a demon, she's a monster! Ariel: Why don't you go tell my father? You're good at that. Sebastion: But . . . But, I . . . (To Flounder.) Come on. (They travel towards Ursula's cavern.) Flotsam and Jetsam: This way. (Ariel enters and is hung up in the garden of souls.) Ursula: Come in. Come in, my child. We mustn't lurk in doorways - it's rude. One MIGHT question your upbringing. . . . Now, then. You're here because you have a thing for this human. This, er, prince fellow. Not that I blame you - he is quite a catch, isn't he? Well, angel fish, the solution to your problem is simple. The only way to get what you want - is to become a human yourself. Ariel: Can you DO that? Ursula: My dear, sweet child. That's what I do - it's what I live for. To help unfortunate merfolk - like yourself. Poor souls with no one else to turn to. I admit that in the past I've been a nasty They weren't kidding when they called me, well, a witch But you'll find that nowadays I've mended all my ways Repented, seen the light and made a switch True? Yes And I fortunately know a little magic It's a talent that I always have possessed And here lately, please don't laugh I use it on behalf Of the miserable, lonely and depressed (Pathetic) Poor unfortunate souls In pain In need This one longing to be thinner That one wants to get the girl And do I help them? Yes, indeed Those poor unfortunate souls So sad So true They come flocking to my cauldron Crying, "Spells, Ursula please!" And I help them? Yes, I do Now it's happened once or twice Someone couldn't pay the price And I'm afraid I had to rake 'em 'cross the coals Yes, I've had the odd complaint But on the whole I've been a saint To those poor unfortunate souls Now, here's the deal. I will make you a potion that will turn you into a human for three days. Got that? Three days. Now listen, this is import- ant. Before the sun sets on the third day, you've got to get dear ol' princey to fall in love with you. That is, he's got to kiss you. Not just any kiss - the kiss of true love. If he does kiss you before the sun sets on the third day, you'll remain human, permanently, but - if he doesn't, you turn back into a mermaid, and - you belong to me. Sebastion: No Ariel! (He is silenced by Flotsam and Jetsam.) Ursula: Have we got a deal? Ariel: If I become human, I'll never be with my father or sisters again. Ursula: That's right. . . . But - you'll have your man. Life's full of tough choices, innit? Oh - and there is one more thing. We haven't discussed the subject of payment. You can't get something for nothing, you know. Ariel: But I don't have any - Ursula: I'm not asking much. Just a token, really, a trifle. You'll never even miss it. What I want from you is . . . your voice. Ariel: My voice? Ursula: You've got it, sweetcakes. No more talking, singing, zip. Ariel: But without my voice, how can I - Ursula: You'll have your looks! Your pretty face! And don't underestimate the importance of body language! Ha! The men up there don't like a lot of blabber They think a girl who gossips is a bore Yes, on land it's much preferred For ladies not to say a word And after all, dear, what is idle prattle for? Come on, they're not all that impressed with conversation True gentlemen avoid it when they can But they dote and swoon and fawn On a lady who's withdrawn It's she who holds her tongue who gets her man Come on, you poor unfortunate soul Go ahead! Make your choice! I'm a very busy woman And I haven't got all day It won't cost much Just your voice! You poor unfortunate soul It's sad But true If you want to cross a bridge, my sweet You've got to pay the toll Take a gulp and take a breath And go ahead and sign the scroll! Flotsam, Jetsam, now I've got her, boys The boss is on a roll This poor unfortunate soul. (Ariel signs contract.) Paluga, sarruga, come winds of the Caspian Sea. Now rings us glossitis and max laryngitis, La voce to me! Now . . . sing! Ariel: (Sings.) Ursula: Keep singing! (Giant magical hands rip out Ariel's voice and give it to Ursula. She laughs as Ariel is changed into a human and rushed to the surf- ace by Flounder and Sebastion.) (Fade to beach. Eric and Max are walking near castle.) Eric: (Playing flute.) That voice. I can't get it out of my head. I've looked everywhere, Max - where could she be? (On other side of rocks Ariel is washed up. Sebastion and Flounder are exausted. Ariel sees her legs and is amazed.) Scuttle: Well, look at what the catfish dragged in! Look at ya! Look at ya! There's something different. Don't tell me - I got it. It's your hairdo, right? You've been using the dinglehopper, right? No? No huh, well let me see. New . . . seashells? No new seashells. I gotta admit I can't put my foot on it right now, but if I just stand here long enough I know that I'll - Sebastian: SHE'S GOT LEGS, YOU IDIOT! She traded her voice to the sea witch and got legs. Jeez, man . . . Scuttle: I knew that. Flounder: Ariel's been turned into a human. She's gotta make the prince fall in love with her, and he's gotta ki- he's gotta kiss her. (Ariel tries to get up.) Sebastion: And she's only got three days. Just look at her. On legs. On human legs! My nerves are shot. This is a catastrophe! What would her father say? I'll tell you what her father'd say, he'd say he's gonna kill himself a crab, that's what her father'd say! I'm gonna march meself straight home right now and tell him just like I shoulda done de minute- (Ariel grabs him.) . . . and don't you shake your head at me, young lady. Maybe there's still time. If we could get that witch to give you back your voice, you could go home with all the normal fish, and just be . . . just be . . . just be miserable for the rest of your life. All right, all right. I'll try to help you find that prince. Boy. What a soft-shell I'm turning out to be. Scuttle: Now, Ariel, I'm tellin' ya, if you wanna be a human the first thing you gotta do is dress like one. Now lemme see. (Cut to Eric and Max. Max smells Ariel and gets excited.) Eric: Max? Huh . . . what, Max! Scuttle: (Whistles.) Ya look great kid. Ya look - sensational. (They hear Max. He arrives and chases Ariel up on a rock.) Eric: Max . . . Max - Quiet Max! What's gotten into you fella? (Sees Ariel.) Oh . . . Oh, I see. Are you O.K., miss? I'm sorry if this knucklehead scared you. He's harmless, really - . . . you . . . seem very familiar . . . to me. Have we met? We have met? I knew it! You're the one - the one I've been looking for! What's your name? (Ariel mouths "Ariel" but no words come out.) What's wrong? What is it? You can't speak? (Ariel shakes her head.) Oh. Then you couldn't be who I thought. (Ariel and Max look frustrated. She tries pantomime.) What is it? You're hurt? No, No . . . You need help. (She falls into him.) Whoa, whoa, careful - careful - easy. Gee, you must have really been through something. Don't worry, I'll help you. Come on . . . Come on, you'll be okay. (Fade to Ariel in bath playing with bubbles.) Carlotta: Washed up from a shipwreck. Oh, the poor thing. We'll have you feeling better in no time. [Picks up Ariel's "dress"] I'll just - I'll just get this washed for you. (Cut to Sebastion in dress getting washed.) Woman 1: Well you must have at least heard about this girl. Woman 2: Well, Gretchen says . . . (Sebastion is dunked.) . . . since when has Gretchen got anything right. I mean really, this girl shows up in rags and doesn't speak- Sebastion: Madame, please ! . . . Woman 2: . . . not my idea of a princess. If Eric's looking for a girl, I know a couple of highly available ones right here . . . (Sebastion dives into kitchen and sees various fish cooking. He faints.) (Cut to castle dining room.) Grimsby: Oh, Eric, be reasonable. Nice young ladies just don't - swim around rescuing people in the middle of the ocean and then - flutter off into oblivion, like some - Eric: I'm tellin' you, Grim, she was REAL! I'm gonna find that girl - and I'm gonna marry her. Carlotta: Ha Ha. Come on honey. Don't be shy. (Ariel enteres in a beautiful dress.) Grimsby: Oh, Eric, isn't she a vision? Eric: You look - wonderful. Grimsby: Come come come, you must be famished. Let me help you my dear. There we go - ah - quite comfy? Uh. It's - It's not ofen that we have such a lovely dinner guest, eh Eric? (Ariel starts combing hair with a fork. They look dumbfounded and she is embarrased. She sees pipe and brightens.) Uh, do you like it? It is rather - fine . . . (She blows its contents into his face. Eric laughs.) Carlotta: Oh, my! Eric: Ahem, so sorry Grim. Carlotta: Why, Eric, that's the first time I've seen you smile in weeks. Grimsby: (Wiping his face.) Oh, very amusing. Carlotta, my dear, what's for dinner? Carlotta: Oooh, you're gonna love it. Chef's been fixing his specialty, stuffed crab. (Cut to Sebastion watching Louis cook. He is humming to himself.) Louis: Les poissons Les poissons How I love les poissons Love to chop And to serve little fish First I cut off their heads Then I pull out the bones Ah mais oui Ca c'est toujours delish Les poissons Les poissons Hee hee hee Hah hah hah With the cleaver I hack them in two I pull out what's inside And I serve it up fried God, I love little fishes Don't you? Here's something for tempting the palate Prepared in the classic technique Fi

24

Mary Poppins

Bill Walsh,Don DaGradi

Family,Comedy,Musical,Fantasy,Drama,Animation

December_1964

Bert: All right, ladies and gents, Comical poems suitable for the occasion, extemporized and thought up before your very eyes. All right, here we go. Room here for everyone gather around The constable's "responstable." Now, how does that sound? Hello, Miss Lark I got one for you. Miss Lark likes to walk in the park with Andrew. Hello, Andrew. Ah, Mrs. Cory a story for you. Your daughters were shorter than you, but they grew. Dear Miss Persimmon-- Miss Persimmon: Yes? Bert: Wind's in the east, mist comin' in. Like something is brewin' about to begin Can't put me finger on what lies in store But I feel what's to happen, all happened before. I'm sorry. Where was I? Thank you, one and all, for your kind support. Ah, Miss Lark, thank you. Crikey. Bless you, guv. Generosity itself, that's what you are. No charge. Oh, it's you! Hello. Number 17 Cherry Tree Lane, you say? All right. Come along with me. This here's Cherry Tree Lane. Nice little spot, you might say. Number 17's just down a bit. Now, this imposing edifice what first greets the eye, is the home of Admiral Boom, late of His Majesty's Navy. Likes his house shipshape, he does, shipshape and Bristol fashion at all times. Admiral Boom: Time gun ready? Mr Binnacle: Ready and charged, sir. Admiral Boom: Three minutes and six seconds. Mr Binnacle: Aye, aye, sir. Bert: What he's famous for is punctuality. The whole world takes its time from Greenwich. But Greenwich, they say, takes its time from Admiral Boom. What cheer, admiral? Admiral Boom: Good afternoon to you, young man. Where are you bound? Bert: Number 17. Got some parties here in tow what wants to see it. Admiral Boom: Enter that in the log. Mr Binnacle: Aye, aye, sir. Admiral Boom: A word of advice, young man: storm signals are up at number 17. Bit of heavy weather brewing there. Bert: Thank you, sir. Keep an eye skinned. Here we are. Number 17 Cherry Tree Lane. Residence of George Banks, Esquire. Hello, hello, hello. The admiral's right. Heavy weather brewin' at number 17, and no mistake. Mrs. Brill: Leave her alone! Ellen: Shut up! Mrs. Brill: I'll show you. Don't you be trying to stop the wretched creature! Let her go, that's what I say, and good riddance! I never liked her from the moment she set foot in the door. Ellen: But who gets stuck with the children with no nanny in the house? Me, that's who! Mrs. Brill: Her and her high and mighty ways! And that face of her that would stop a coal barge, it would. Katie Nanna: Indeed, Mrs. Brill! I wouldn't stay in this house another minute, not if you heap me with all the jewels in Christendom. Ellen: No, no, Katie Nanna, don't go! Katie Nanna: Stand away from that door, my girl! Ellen: But what am I gonna tell the master about the children? Katie Nanna: It's no concern of mine. Those little beasts have run away from me for the last time. Ellen: They must be somewhere. Did you look around the zoo in the park? You know how Jane and Michael is. Coo! You don't think the lion could've got at them, do ya? You know how fond they was of hangin' around the cage. Katie Nanna: I said my say, and that's all I'll say. I've done with this house forever. Mrs. Brill: Well, hip, hip, hooray! And don't stumble on the way out, dearie. Ellen: Now, now, Katie Nanna! Mrs. Banks! She's home! Mrs. Banks: Our daughter's daughters will adore us And we'll sing in grateful chorus "Well done, Sister Suffragette" Good evening, Katie Nanna, Ellen. We had the most glorious meeting! Mrs. Whitbourne-Allen chained herself to the wheel of the prime minister's carriage. You should've been there. Katie Nanna: Mrs. Banks, I would like a word with you. Mrs. Banks: And Mrs. Ainslie, she was carried off to prison, singing and scattering pamphlets all the way! Katie Nanna: I'm glad you're home, madam. I've always given the best that's in me. Mrs. Banks: On, thank you, Katie Nanna. I always knew you were one of us. We're clearly soldiers in petticoats And dauntless crusaders for women's votes Though we adore men individually We agree that as a group they're rather stupid Katie nanna: Mrs. Banks. Mrs. Banks: Cast off the shackles of yesterday Shoulder to shoulder into the fray Our daughter's daughters will adore us And they'll sing in grateful chorus "Well done, Sister Suffragette" Katie Nanna: Being that as it may, I do not wish to offend, but I-- Mrs. Banks: From Kensington to Billingsgate One hears the restless cries From every corner of the land: womankind arise Political equality and equal rights with men Take heart for Mrs. Pankhurst has been clapped in irons again No more the meek and mild subservients we We're fighting for our rights, militantly - never you fear Katie Nanna: If I may have a word, Mrs. Banks. Mrs. Banks: So cast off the shackles of yesterday Katie Nanna: Mrs. Banks! Mrs. Banks: And shoulder to shoulder into the fray Our daughter's daughters will adore us And they'll sing in grateful chorus - "well done" Katie Nanna: Mrs. Banks. Mrs. Banks: "Well done" Katie Nanna: Mrs. Banks. Mrs. Banks: "Well done, Sister Suf--" Katie Nanna: Mrs. Banks! Mrs. Banks: What is it, Katie Nanna? Katie Nanna: Mrs. Banks, I have something to say to you. Mrs. Banks: Where are the children? Katie Nanna: The children, madam, to be precise, are not here. They've disappeared again. Mrs. Banks: Katie Nanna, this is really too careless of you. Doesn't it make the third time this week? Katie Nanna: The fourth, madam. And I for one have had my fill of it. I'm not one to speak ill of the children, but-- Mrs. Banks: Oh, please, when do you expect them home? Katie Nanna: I really couldn't say. And now if you'd be good enough to compute my wages, I'll-- Mrs. Banks: Oh, gracious, Katie Nanna! You're not leaving? What will Mr. Banks say? He's going to be cross enough as it is to come home and find the children missing. Ellen, put these things away. You know how the cause infuriates Mr. Banks. Ellen: Yes, ma'am. Mrs. Banks: Katie Nanna, I beseech you. Please reconsider. Think of the children. Think of Mr. Banks. He was just beginning to get used to you. Admiral Boom: Posts, everyone! Four, three, two, one. Fire! Mrs. Banks: Katie Nanna, I do beseech you-- Katie Nanna: My wages, if you please. Mr. Banks: Bit early tonight, aren't you, admiral? Admiral Boom: Nonsense. Bang on the dot, as usual. How are things in the world of finance? Mr. Banks: Never better. Money's sound. Credit rates are moving up, up, up. And the British pound is the admiration of the world. Admiral Boom: Good man. Mr. Banks: How do things look from where you stand? Admiral Boom: Bit chancy, I'd say. The wind's coming up and the glass is falling. - don't like the look of it. Mr. Banks: Good, good, good. Admiral Boom: Banks, shouldn't wonder if you weren't steering into a nasty piece of weather. Banks! Do you hear me? Mr. Banks: Hello, Katie Nanna. That must be heavy. Allow me. Katie Nanna: Hmph! Mr. Banks: What a very pretty hat. I feel a surge of deep satisfaction Much as a king astride his noble steed - thank you. When I return from daily strife, to hearth and wife How pleasant is the life I lead Mrs. Banks: Dear, it's about the children. Mr. Banks: Yes, yes, yes. I run my home precisely on schedule At 6:01 I march through my door My slippers, sherry and pipe are due at 6:02 Consistent is the life I lead Mrs. Banks: George, they're missing. Mr. Banks: Splendid. Splendid. It's grand to be an Englishman in 1910 King Edward's on the throne it's the age of men I'm the lord of my castle the sovereign, the liege I treat my subjects, servants children, wife with a firm but gentle hand, noblesse oblige It's 6:03 and the heirs to my dominion Are scrubbed and tubbed and adequately fed And so I'll pat them on the head and send them off to bed Ah, lordly is the life I lead Winifred, where are the children? Mrs. Banks: They're not here, dear. Mr. Banks: What? Well, of course they're here! Where else would they be? Mrs. Banks: I don't know, George Mr. Banks: You don't know? Mrs. Banks: Well, they're missing. Katie Nanna has looked everywhere. Mr. Banks: Very well. I'll deal with this at once. Give me the police station, quickly, please. Mrs. Banks: I don't think we need bother the police, dear. The facts of the matter-- Mr. Banks: Kindly do not attempt to cloud the issue with facts. One fact, and one fact alone is crystal clear! Katie Nanna's faltered at her post. She's let the family down. And I shall bring her to boo-- oh. She's left us, hasn't she? Mrs. Banks: Yes, dear, only just. Mr. Banks: What, uh-- yes. George Banks here. Yes. 17 Cherry Tree Lane. It's a matter of some urgency. I should like you to send a policeman around immediately. Mrs. Banks: The policeman's here, George! Mr. Banks: What? Oh, how very prompt. What wonderful service. Thank you so much. Good night. Come in, constable. Come in. Constable: Thank you, sir. While going about my duties on the other side of the park, I noted some valuables that had gone astray. I believe they're yours, sir. Mr. Banks: Valuables? Constable: Come along, now. Come along. Mrs. Banks: Jane! Michael! Mr. Banks: Winifred, please don't be emotional. Constable: Oh, I wouldn't be too hard on 'em, sir. They've had a long, weary walk today. Mr. Banks: Children, come here at once. Well? Jane: I'm sorry we lost Katie Nanna, Father. You see, it was windy. And the kite was too strong for us. Constable: In a manner of speaking, sir, it was the kite that ran away, not the children. Mr. Banks: Thank you, Constable. I think I can manage this. Jane: Actually it wasn't a very good kite. We made it ourselves. Perhaps if you helped us to make one-- Constable: Ah, that's the ticket, sir. Kites are skittish things. Why, only last week with me own youngsters-- Mr. Banks: I'm very grateful to you, Constable, for returning the children. And I'm sure that if you go to the kitchen, Cook'll find you a plate of something. Constable: Thank you, sir. I shall now return to my duties. Jane: Thank you, Constable. Constable: Good night, miss. Good night, ma'am. Good night, sir. Cook'll find me something. I never-- Mrs. Banks: I'm awfully sorry about this, George. I'll expect you'll want to discuss it. Mr. Banks: I would indeed! Ellen, take Jane and Michael upstairs straightaway. Ellen: Yes, sir. I knew it. When all's said and done, who bears the brunt of everything around here? Me, that's who! They don't want an honest, hard-workin' girl around here. They need a ruddy zookeeper. Mrs. Banks: I'm sorry, dear, but when I chose Katie Nanna, I thought she would be firm with the children. She looked so solemn and cross. Mr. Banks: Winifred, never confuse efficiency with a liver complaint. Mrs. Banks: I'll try to do better next time. Mr. Banks: Next time? My dear, you've engaged six nannies in the last four months! And they've all been unqualified disasters. Mrs. Banks: I quite agree. Mr. Banks: Choosing a nanny for the children is an important and delicate task. It requires insight, balanced judgment, and an ability to read character. Under the circumstances, I think it might be apropos to take it upon myself to, uh, select the next person. Mrs. Banks: Oh, would you, George? Mr. Banks: Obviously the way to find a proper nanny, is to go about it in a proper fashion. I shall put an advertisement in The Times. Take this down please. Mrs. Banks: Yes, of course, dear. Mr. Banks: Wanted. Uh, no. Uh, required. Nanny: firm, respectable, no nonsense. A British nanny must be a general The future empire lies within her hands And so the person that we need To mold the breed Is a nanny who can give commands You getting this, Winifred? Mrs. Banks: Oh, yes, dear. Every word. A British bank is run with precision A British home requires nothing less Tradition, discipline and rules must be the tools Without them, disorder, catastrophe, anarchy In short you have a ghastly mess Mrs. Banks: Splendid, George! Inspirational. The Times will be so pleased. Jane: Father? Mr. Banks: Yes? Jane: We've discussed everything, and we're very sorry about what we did today. Mr. Banks: I should certainly think so. Jane: It was wrong to run away from Katie Nanna. Mr. Banks: It was indeed. Jane: And we do so want to get on with the new nanny. Mr. Banks: Very sensible. I shall be glad to have your help in the matter. Jane: We thought you would. That's why we wrote this advertisement. Mr. Banks: Advertisement for what? Jane: For the new nanny. Mr. Banks: You wrote an advert-- Mrs. Banks: George, I think we should listen. Jane: You said you wanted our help. Mr. Banks: But, I-- oh, very well. Jane: "Wanted: a nanny for two adorable children." Mr. Banks: "Adorable." well, that's debatable, I must say. Jane: If you want this choice position Have a cheery disposition Mr. Banks: Jane, I don't-- Jane: Rosy cheeks, no warts Michael: That's the part I put in. Jane: Play games, all sorts You must be kind you must be witty Very sweet and fairly pretty Mr. Banks: Well, of all the ridic- Mrs. Banks: George, please! Jane: Take us on outings give us treats Sing songs bring sweets Never be cross or cruel never give us castor oil or gruel Love us as a son and daughter And never smell of barley water Michael: I put that in, too. Jane: If you won't scold and dominate us We will never you give you cause to hate us We won't hide your spectacles so you can't see Put toads in your bed or pepper in your tea Hurry, nanny Many thanks Sincerely Jane & Michael: Jane and Michael Banks Mr. Banks: Thank you. Most interesting. And now I think we've had quite enough of this nonsense. Please return to the nursery. Mrs. Banks: They were only trying to help. They're just children. Mr. Banks: I'm well aware they're just children, Winifred. I only congratulate myself that I decided to step in and take a hand. "Play games, sing songs, give treats." Ridiculous. There's no question in my mind whatsoever. Now is the time for action. Give me The Times, please. No, I do not know the number. Mrs. Banks: Oh, George, you're always so forceful. Mrs. Banks: The Times? George Banks here. 17 Cherry Tree Lane. I wish to place an advertisement in your column. Admiral Boom: Time gun ready? Mr. Binnacle: Ready and charged, sir. Admiral Boom: I'll take the report, Mr. Binnacle. Mr. Binnacle: The wind has changed, Sir. Seems to be comin' in from a new quarter. Admiral Boom: So it is. Mr. Binnacle: Sir? Admiral Boom: What is it? Mr. Binnacle: Bit of somethin' or other taking place off the port bow. Admiral Boom: Ghastly looking crew, I must say! Ellen: Coo! There's a fair queue of nannies outside, sir. Shall I show 'em in? Mr. Banks: Ellen, I said 8:00, and 8:00 it shall jolly well be. You see? Twelve seconds to go. Ten, nine, eight--- Mrs. Banks: Posts! Seven, six, five, four, three, two, one! Mr. Banks: Ellen, it is now 8:00. Ellen: Yes, sir. Mr. Banks: But I have told you time and time again, Ellen, I dislike being hurried into things. Jane: I don't understand. They're not what we advertised for at all. Michael, look! Michael: Perhaps it's a witch. Jane: Of course not. Witches have brooms. It's her. It's the person. She's answered our advertisement. Michael: Rosy cheeks and everything. Mr. Banks: Ellen, you may now show them in, one at a time. Ellen: Yes, sir. You may come in one at a time. Mary Poppins: Thank you. Ellen: Oh. Mary Poppins: You are the father of Jane and Michael Banks, are you not? I said, you are the father of Jane and Michael Banks. Mr. Banks: Well, well ye-- yes, of course, I mean. Uh-- you brought your references, I presume. May I see them? Mary Poppins: Oh, I make it a point never to give references. A very old-fashioned idea to my mind. Mr. Banks: Is that so? We'll have to see about that then, won't we? Mary Poppins: Now then, the qualifications. "Item one: a cheery disposition." I am never cross. "Item two: rosy cheeks." Obviously. "Item three: play games, all sorts." Well, I'm sure the children will find my games extremely diverting. Mr. Banks: May I? Eh, this paper? Where did you get it from? I thought I tore it up. Mary Poppins: Excuse me. "Item four: you must be kind." I am kind, but extremely firm. Have you lost something? Mr. Banks: Ah! Yeah. That paper, you see. I thought that I-- Mary Poppins: You are George Banks, are you not? Mr. Banks: What? Mary Poppins: And you did advertise for a nanny, did you not? Mr. Banks: George Banks. Mary Poppins: Very well then. Mr. Banks: I tore it up, turned it over. Tore it up again and threw it in there. Yes. Mary Poppins: I beg your pardon. Are you ill? Mr. Banks: I hope not. Mary Poppins: Now, about my wages. The reference here is very obscure. Mr. Banks: Very obscure. Mary Poppins: We must be very clear on that point, mustn't we? Mr. Banks: Yes, we must indeed. Mary Poppins: I shall require every second Tuesday off. Mr. Banks: Every Tuesday. Mary Poppins: On second thoughts, I believe a trial period would be wise. Hmm. I'll give you one week. I'll know by then. I'll see the children now. Thank you. Close your mouth please, Michael. We are not a codfish. Well, don't stand there staring. Best foot forward. Spit spot! Mrs. Banks: George? Aah! George, what on earth are you doing? I thought you were interviewing nannies. Mr. Banks: I was! I was! Mrs. Banks: You mean you've selected one already? Mr. Banks: Yes, it's done. It's, it's all done. Mrs. Banks: Well, where is she? Mr. Banks: What? Well, eh, she's in the nursery of course, I mean. I put her to work straightaway, I mean. Mrs. Banks: How clever of you! I would have muddled the whole thing. Tell me, is she everything that we'd hoped she be? Mr. Banks: Well, I - it all happened rather quickly. I mean, I-- I, uh-- Mrs. Banks: Will she be firm? Will she give commands? Will she mold our young breed? Mr. Banks: You know, Winifred, I think she will. I think she will. Mrs. Banks: In that case, perhaps you'd better tell Ellen to dismiss the others. Mr. Banks: The others? Oh, yes. Ellen? Ellen: Y-yes, sir? Mr. Banks: Tell the other applicants they may go. The position has been filled. Ellen: The others, sir? Mr. Banks: Yes, the others. How many n-nannies does she think we need in this house? Ellen: The position has been filled. Jane: I'm afraid the nursery isn't very tidy. Mary Poppins: It is rather like a bear pit, isn't it? Michael: That's a funny sort of bag. Mary Poppins: Carpet. Michael: You mean to carry carpets in? Mary Poppins: No. Made of. Jane: This is your room, and there's a lovely view of the park. Mary Poppins: Hmm. Well, it's not exactly Buckingham Palace. Still, it's clean. Yes, I think it will be quite suitable. Just needs a touch here and there. Well, first things first. I always say, the place to hang a hat is on a hat stand. Ah! This will never do! I much prefer seeing all of my face at the same time. Michael: There-- but there was nothing in it. Mary Poppins: Never judge things by their appearance. Even carpetbags. I'm sure I never do. A thing of beauty is a joy forever. Mmm, a little more light, perhaps. Michael: We better keep an eye on this one. She's tricky. Jane: She's wonderful. Mary Poppins: Much better! Now, let me see. That's funny. I always carry it with me. It must be here somewhere. Michael: What? Mary Poppins: My tape measure. Michael: What do you want it for? Mary Poppins: I want to see how you two measure up. Well, that's the funniest thing I ever saw. I know it's down here somewhere. Ah, ha-ha, ha-ha! Here it is. Good. Come along, then. Quickly. Head up, Michael. Don't slouch. Just as I thought. Extremely stubborn and suspicious. Michael: I am not! Mary Poppins: See for yourself. Michael: "Extremely stubborn and sus--" Mary Poppins: Suspicious. Now you, Jane. Mmm. "Rather inclined to giggle. Doesn't put things away." Michael: How 'bout you? Mary Poppins: Very well. Hold this for me. As I expected. "Mary Poppins. Practically perfect in every way." Jane: Mary Poppins! Is that your name? It's lovely. Mary Poppins: Thank you. I've always liked it. Now, shall we get on with it? Jane: Get on with what? Mary Poppins: In your advertisement, did you not specifically request to play games? Jane: Oh, yes! Mary Poppins: Very well, then. Our first game is called "well begun is half done." Michael: I don't like the sound of that. Mary Poppins: Otherwise entitled, "let's tidy up the nursery." Michael: I told you she was tricky. Mary Poppins: Shall we begin? Jane: It is a game, isn't it, Mary Poppins? Mary Poppins: Well, it depends on your point of view. You see, In every job that must be done, There is an element of fun. You find the fun, and snap! The job's a game. And every task you undertake Becomes a piece of cake A lark, a spree it's very clear to see That a spoonful of sugar helps the medicine go down The medicine go down Medicine go down Just a spoonful of sugar helps the medicine go down In a most delightful way A robin feathering his nest Has very little time to rest While gathering his bits of twine and twig Though quite intent in his pursuit, He has a merry tune to toot He knows a song will move the job along For a spoonful of sugar helps the medicine go down The medicine go down Medicine go down Just a spoonful of sugar helps the medicine go down In a most delightful way The honeybees that fetch the nectar from the flowers to the comb Never tire of ever buzzing to and fro Because they take a little nip from every flower that they sip And hence Reflection: And hence Mary Poppins: They find Reflection: They find Mary Poppins & Reflection: Their task is not a grind Mary Poppins: Cheeky. Don't be all day about it, please. Michael: Let me out! Let me out! Let me out! Mary Poppins: Well, that was very-- Thank you now-- when you've quite finished! Thank you. That will be quite sufficient. Hats and coats, please. It's time for our outing in the park. Michael: I don't want an outing. I want to tidy up the nursery again. Mary Poppins: Enough is as good as a feast. Come along, please. Let me look at you. Well, you're not as well turned out as I'd like. Still, there's time. There's time. Spit spot! And off we go. Jane & Michael: For a spoonful of sugar helps the medicine go down The medicine go down Medicine go down Just a spoonful of sugar helps the medicine Go down in the most delightful way Bert: Chim chiminy, chim chiminy chim chim cheroo I does what I likes and I likes what I do Hello, art lovers. Today I'm a screever and as you can see A screever's an artist of highest degree And it's all me own work From me own memory Well, not Royal Academy, I suppose. Still they're better than a finger in your eye, ain't they? Chim chiminy, chim chiminy chim chim cheroo I draws what I likes and I likes what I drew No remuneration do I ask of you But me cap would be glad of a copper or two Me cap would be glad of a copper or two Wait! Don't move. Don't move a muscle. Stay right where you are. I'd know that silhouette anywhere! Mary Poppins! Mary Poppins: It's nice to see you again, Bert. I expect you know Jane and Michael. Bert: Well, I've seen 'em here and about. Chasin' a kite last time, weren't it? Jane: Mary Poppins is taking us to the park. Bert: To the park? Not if I know Mary Poppins. Other nannies take children to the park. When you're with Mary Poppins, suddenly you're in places you've never dreamed of. And quick as you can say "Bob's your uncle," the most unusual things begin to happen. Mary Poppins: I'm sure I haven't the faintest idea what you're talking about. Bert: Well mind, it's not my place to say, but what she's probably got in mind, is a jolly holiday somewheres or other. Something along these lines, I shouldn't be surprised. "Punting on the Thames." That's always good if you like an outing. Here we go. The circus. How about a lovely circus? Lions and tigers. World-famous artistes performing death-defyin' feats, of dexterity and skill before your very eyes. Ta-da! Ta-da! Jane: Oh, that's lovely. If you please, I'd much rather go there. Bert: Beautiful, ain't it? A typical English countryside, as done by a true and lovin' hand. Though you can't see it, there's a little country fair down that road and uh, over the hill. Michael: I don't see any road. Bert: What? No road? Just wants a bit of somethin' here, and a bit of somethin' there. There. A country road suitable for travel and high adventure. Jane: Please may we go, Mary Poppins? Please? Such a lovely place. Don't you think it's lovely, Mary Poppins? Bert: Now's the time, Mary Poppins. No one's lookin'. Jane & Michael: Please, Mary Poppins. Please! Please, Mary Poppins. Please! Mary Poppins: I have no intention of making a spectacle of myself, thank you. Bert: All right, I'll do it myself. Mary Poppins: Do what? Bert: Bit of magic. Michael: A bit of magic? Bert: It's easy. Let's see. You think. You wink. You do a double blink. You close your eyes and jump. Jane: Is something 'sposed to happen? Mary Poppins: Bert, what utter nonsense! Ohh! Why do you always complicate things that are really quite simple? Give my your hand, please, Michael. Don't slouch. One, two. Bert: Mary Poppins, you look beautiful. Mary Poppins: Do you really think so? Bert: Cross my heart you do. Like the day I met ya. Mary Poppins: You look fine, too, Bert. Michael: I thought you said there was a fair. Bert: So I did. Down the road behind the hill, remember? Jane: Come on! I hear the merry-go-round. Bert: Tell 'em Bert sent ya. Mary Poppins: Don't fall and smudge the drawing. Bert: Ain't it a glorious day Right as a mornin' in May I feel like I could fly Mary Poppins: Now, Bert. None of your larking about. Bert: Have you ever seen The grass so green Or a bluer sky Oh, it's a jolly holiday with Mary Mary makes your heart so light Mary Poppins: You haven't changed a bit, have you? Bert: When the day is gray and ordinary Mary makes the sun shine bright Mary Poppins: Oh, honestly! Bert: Oh, happiness is bloomin' all around her The daffodils are smilin' at the dove When Mary holds your hand you feel so grand Your heart starts beatin' like a big brass band Mary Poppins: You are lightheaded. Bert: It's a jolly holiday with Mary No wonder that it's Mary that we love Animals: Oh, it's a jolly holiday with Mary Mary makes your heart so light When the day is gray and ordinary Mary makes the sun shine bright Oh, happiness is bloomin' all around her The daffodils are smiling at the dove oink, oink. When Mary holds your hand You feel so grand Your heart starts beatin' like a big brass band It's a jolly holiday with Mary No wonder that it's Mary that we love Mary Poppins: Thank you. Turtles: Our pleasure, Mary Poppins. Mary Poppins: Oh, it's a jolly holiday with you, Bert Gentlemen like you are few Bert: A vanishing breed, that's me. Mary Poppins: Though you're just a diamond in the rough, Bert Underneath your blood is blue Bert: Common knowledge. Mary Poppins: You'd never think of pressing your advantage Forbearance is the hallmark of your creed Bert: True. Mary Poppins: A lady needn't fear When you are near Your sweet gentility is crystal clear Oh, it's a jolly holiday with you, Bert A jolly, jolly holiday with you Bert: Waiter! Waiter! Mary Poppins: Now then, what'd be nice? We'll start with raspberry ice and then some cakes and tea Waiter Order what you will There'll be no bill It's complimentary Mary Poppins: You're very kind. Waiter: Anything for you, Mary Poppins. You're our favorite person. Bert: Right you are. It's true that Mavis and Sybil have ways that are winnin' And Prudence and Gwendolyn set your hearts spinnin' Phoebe's delightful Maude is disarming Waiters: Janice Felicia Lydia Bert: .. charming Cynthia's dashing, Vivian's sweet, Stephanie's smashing Priscilla a treat Waiters: Veronica Millicent Agnes and Jane Bert: convivial company time and again Dorcas and Phyllis and Glynis are sorts I'll agree they're three jolly good sports But cream of the crop Tip of the top Bert & Waiters: Is Mary Poppins And there we stop When Mary holds your hand You feel so grand Your heart starts beatin' like a big brass band It's a jolly holiday with Mary No wonder that it's Mary that we love No wonder that it's Mary that we love No wonder that it's Mary that we love Michael: Ya-hoo! Ya-hoo! Ya-hoo! Ya-hoo! -ya-hoo! Jane: Our own private merry-go-round. Bert Very nice. Very nice, indeed, if you don't wanna go nowhere. Mary Poppins: Who says we're not going anywhere? Oh, guard! Guard: Righto, Mary Poppins. Mary Poppins: Thank you. Guard: They're off! It's Mary Poppins leadin' by two lengths. Jane is second by a length. Michael third. Michael: My horse is the fastest. Bert: Do you hear that, mate? Do you wanna put up with that? That's the ticket! Come on, my lad. Is that the best you can do? Michael: Hurry up, boy. Hurry up! Mary Poppins: Not so fast, please. Michael! Now really, Bert. You're as bad as the children. Bert: Sorry. Whoa, boy! Whoa! Whoa. Easy, boy. Whoa. Whoa. Just a bit of high spirits, Mary Poppins. Mary Poppins: Please control yourself. We are not on a racecourse. Follow me, please. Good morning. Hunter: Oh, yes, quite. Wha-- I say!

25

Megamind

Alan Schoolcraft,Brent Simons

Animation,Action,Comedy,Family,Sci-Fi

November_2010

CREDITS SEQUENCE NEWSPAPER HEADLINE MONTAGE: HEADLINES flash before us, displaying their accompanying photographs. "UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND! PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a confident smile at the lens. This is UBERMAN, champion of METRO CITY. "UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!" PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT ROBOT in the sky above the city buildings. "MASTER MIND ALL WET AFTER UBERMAN FOILS AQUARIUM HEIST!" PHOTO: Uberman stands knee-deep in water. He has his enemy by the collar. The villain blocks his face from the shot with a METALLIC GAUNTLET. The images start to flash by even quicker, each showing the MYSTERIOUS VILLAIN in various stages of humiliation. In each photograph he successfully blocks his face with his armored glove. We ZOOM IN to the last headline. "MASTER MIND BEHIND BARS ONCE AGAIN - THANKS TO UBERMAN!" PHOTO: Uberman stands in a gallant pose with his fists on his hips, obviously trying to accentuate the "U" insignia on his chest. END OF CREDITS SEQUENCE EXT. BUILDING - DAY We DISSOLVE from the photograph to Uberman standing in the exact same position. WE PULL BACK showing him atop a BUILDING overlooking the city below. A perfect view for our guardian hero. He watches the thriving metropolis, bristling with life as people happily go about their day. Yet, we can't help but detect a hint of sadness in Uberman's expression. 2. UBERMAN You look so peaceful from up here. His serenity is suddenly interrupted by a loud BEEPING SOUND coming from his wrist. He looks down at a BRACELET (a manly one) on his right arm. It's a silver band with a FLASHING red letter "U". UBERMAN (CONT'D) Looks like Roxanne's in trouble again. Uberman leaps off the building and into the air. His cape gracefully flows in the breeze behind him as he shoots off into the distance like a speeding bullet. EXT. OBSERVATORY HIDEOUT - ESTABLISHING SHOT Grime and moss decorate the outside of this long abandoned building overlooking the COAST. Once a place of knowledge and wonder - now home to a great evil. INT. OBSERVATORY HIDEOUT - DAY The inside is in complete contrast to the exterior. The huge hall with a GIANT TELESCOPE teems with advanced ELECTRONIC EQUIPMENT. Computers, monitors and machines which do not have an obvious function FLASH and HUM. A STEEL DOOR slides open, revealing the subject of our story MASTER MIND - a villainous sight to behold. His FACE IS INEXPLICABLY LIGHT BLUE, topped by an OVERSIZED, MUSHROOM- SHAPED HEAD with a CIRCULAR PATCH OF WHITE HAIR ON TOP. He's dressed in the kind of costume only a super villain could pull off: a PURPLE JUMPSUIT AND BLACK BOOT ENSEMBLE WITH A GIANT GREEN "M" ON THE CHEST. His right hand, hanging at his side, is a METAL GAUNTLET WITH THREE SHORT SPIKES PROTRUDING BETWEEN HIS KNUCKLES. Master Mind begins to survey the room with his TWO PERMANENTLY ARCHED EYEBROWS. A man dressed as ALBERT EINSTEIN is busy ranting to two other men. One, a hulking brute, is dressed as LEONARDO DA VINCI. The other, a small intellectual-type carrying a clip-board, is dressed as the philosopher PLATO. EINSTEIN I hate the outfits. I mean, I get it: we're all supposed to be "masterminds" - very clever. (MORE) 3. EINSTEIN(cont'd) I just feel stupid. I mean, what the hell did Einstein really do anyway? PLATO Theory of relativity. Einstein starts feverishly scratching his side. EINSTEIN Well, you'd think he'd invent a wool sweater that didn't itch so much. Da Vinci and Plato's eyes suddenly grow with concern as they see Master Mind walk up behind Einstein. Einstein notices his colleague's staring over his right shoulder and turns around. He turns around and Master Mind SEIZES HIM BY HIS THROAT with his metal gauntlet. MASTER MIND The real Einstein once said, "God does not play dice with the world." He was right, because the world is MY dice. Is that understood? DA VINCI & PLATO Sir! Yes, sir! EINSTEIN (gasping for air) Yes, sir. Master Mind undoes his grip on Einstein's throat. MASTER MIND Alright, then - clean slate. Do we have the girl? DA VINCI Yes, sir. She fell into our trap just like you knew she would. MASTER MIND Reporters are a curious lot, and easily manipulated. He quickly checks his physique in a GIANT MIRROR, adjusts his posture and sucks in his gut. 4. MASTER MIND Alright, let's not keep the lady waiting. MOMENTS LATER Da Vinci escorts a BLINDFOLDED and bound woman, ROXANNE RITCHI, to the back of the room where Plato and Einstein are standing guard over a large BLACK SWIVEL-CHAIR facing away from us. She pulls free of Da Vinci's grasp and waits for him to undo the blindfold. Her face uncovered, we finally see Roxanne's striking features - all of which seem overshadowed by piercing eyes that seem more put off by the situation than afraid of it. MASTER MIND (O.S.) Miss Ritchi, we meet again. The chair turns menacingly slow, finally revealing Master Mind. ROXANNE You didn't need to turn around like that. I can recognize the stench of failure. Master Mind unleashes a wicked laugh. MASTER MIND I trust you gentlemen know the very sassy Roxanne Ritchi, highly regarded investigative journalist who some say has a more than friendly relationship with our super powered foe Uberman. And Miss Ritchi, I trust you've already met my new crew: The Mad Geniuses! Roxanne gives Einstein a once over. ROXANNE Looks like a real group of winners. At the risk of sounding cliche', you'll never get away with this. MASTER MIND In a way, I already have. Roxanne unleashes an exhausted SIGH. 5. ROXANNE We go through this every time. You kidnap me to get to Uberman, he immediately finds your hideout, escapes whatever lame trap you've come up with, and takes you and your cronies to jail. I propose we just save everybody some heartache this time by YOU letting me go, and ME forgetting this whole thing ever happened? MASTER MIND What about my revenge? ROXANNE We can say it was wasting everyone's time. MASTER MIND You have a wicked tongue. I hope you rid yourself of that when you're my queen. Roxanne unleashes a snort-filled laugh. ROXANNE I'm sorry. What makes you think I would want to be your queen? MASTER MIND Power corrupts absolutely, Miss Ritchi. And when I have ultimate power over this city, I have absolutely every intention of corrupting you with it. PLATO Sir! Master Mind turns to Plato who's now standing at a computer terminal. MASTER MIND (annoyed) What is it!? EXT. OBSERVATORY HIDEOUT - DAY Uberman flies toward the Observatory like a rocket. 6. INT. OBSERVATORY HIDEOUT - DAY Uberman crashes through the wall to the room we were just in. He looks around, but there's suddenly NOT A SOUL IN SIGHT. CUT TO: EXT. MASTER MIND'S HYDROFOIL - DAY The boat is shooting through the ocean, away from the observatory. INT. HYDROFOIL CONTROL ROOM - DAY Machines, cables and terminals criss-cross the craft's main bridge. Through the enormous surrounding windows we can see the observatory shrinking in the distance. Master Mind watches Uberman on a small TV monitor as the hero intently searches his hideout. UBERMAN (on monitor) Master Mind! INT. OBSERVATORY HIDEOUT - DAY Uberman throws up his arms in frustration when suddenly - MASTER MIND (O.S.) Over here, old friend. He turns to see a FAMILIAR BLUE FACE OF EVIL ON A GIANT SCREEN. UBERMAN What's the matter, miss your old jail cell? Uberman starts walking toward the monitor. MASTER MIND (ON MONITOR) Actually, I wanted to share the experience with my oldest friend. A MECHANIZED CAGE shoots out of the floor, suddenly trapping Metro City's protector. Totally unfazed, our hero stares on. 7. UBERMAN You can't possibly believe this will work. Master Mind pulls out a SMALL BLACK BOX with a SINGLE RED BUTTON on it. MASTER MIND (ON MONITOR) Oh, can't I? I have attained control of the Earth's most abundant energy source. I doubt even you are strong enough to withstand the FULL CONCENTRATED POWER OF THE SUN!!! He presses the button. EXT. OUTER SPACE A sinister-looking SATELLITE orbits Earth's atmosphere. Its bay doors suddenly open, deploying two huge SOLAR PANELS. The panels shift, angling themselves in the direction of the sun. They immediately start GLOWING as they absorb the burning star's power. The front of the satellite begins to make a loud HUMMING SOUND as it prepares to unleash its unholy power. INT. HYDROFOIL CONTROL ROOM - DAY From the giant window we can see the boat is a good mile from the observatory. PLATO We're now at minimum safe distance, master. Master Mind turns from the CAMERA he was broadcasting on and puts down the control box. MASTER MIND Excellent. Stop here, I like this view. PLATO Twenty seconds until impact. Master Mind turns to Roxanne who is being held by Da Vinci and Einstein. She almost appears a little bored. Disappointed by her lack of horror, he walks over to the monitor now showing Uberman trapped in the cage. 8. MASTER MIND Any last words? Uberman looks up at the screen with a cocky smile. UBERMAN (ON MONITOR) Yes: there's no caging the power of justice. PLATO Ten seconds to impact. On the screen we see Uberman take two of the cage's bars in his hands. He yanks...NOTHING. PLATO (CONT'D) Nine... Master Mind stares at the monitor, slightly confused. PLATO (CONT'D) Eight... Uberman yanks on the bars again, this time using his foot as leverage. MASTER MIND (genuinely concerned) What's going on? UBERMAN (straining) Hold...on...a second. Master Mind looks back at Plato and Einstein. They're equally befuddled at the hero's sudden weakness. PLATO Seven... Uberman loses his grip and FALLS BACKWARD ON HIS ASS. UBERMAN SON OF A BITCH!! Master Mind and the minions all cringe in unison. Da Vinci turns to Roxanne not believing his ears. DA VINCI What did he just say? 9. PLATO Six......Five... Master Mind begins to laugh. MASTER MIND What kind of trick is this? Uberman looks up at the camera with a very grave expression. UBERMAN Like you don't know. These bars are made of copper, aren't they? PLATO Four... MASTER MIND Yeah, so? Uberman tries to shield his grief with his hand. UBERMAN You figured out my weakness, damn you. I CAN'T BEND COPPER! PLATO Three... MASTER MIND Your weakness is copper? PLATO Two...one. Everyone turns to the window. EXT. OUTER SPACE The satellite fires a giant BEAM OF LIGHT toward the earth. EXT. OBSERVATORY HIDEOUT - DAY The beam hits the observatory. The building instantly EXPLODES in a white nova blast of fire. INT. HYDROFOIL CONTROL ROOM - DAY The blast is so bright everyone turns away from the window. Then, as suddenly as it began, the awesome light dies out. One by one, the passengers unshield their eyes and look out toward the observatory. 10. All we can see through the haze of destruction is fire and smoke. PLATO I don't think even he could have survived that. Einstein suddenly turns giddy with excitement. EINSTEIN Whoa! Is it me or did you just finally destroy Uberman? MASTER MIND (carefully skeptical) Well...let's not get ahead of ourselves. Da Vinci suddenly sees something outside. DA VINCI Look, there's something in the sky, coming this way. ROXANNE Uberman! Master Mind turns toward the window. An object is in the air, flying directly toward them. As it closes in we can just make out the FAMILIAR OUTLINE OF A CAPPED FIGURE. MASTER MIND I KNEW IT! PREPARE YOURSELVES! HE'S GONNA RAM US!!! Everyone scatters and braces themselves for the impact. Master Mind, seeing all the good places taken, doesn't know what to do with himself. He just covers his giant head with his hands. The figure CRASHES THROUGH THE WINDOW and lands at his feet. He looks down to see a CHARRED BLACK HUMAN SKELETON. Around its neck is the unmistakable black cape of Uberman. MASTER MIND (CONT'D) (horrified) HOLY SHIT! 11. Roxanne breaks out of Da Vinci's hold and runs over to the body. ROXANNE Uberman? She stares down at the still smoking corpse, the tattered black cape with the yellow "U" on it. Roxanne turns to Master Mind, who's still visibly dumbfounded at the grotesque sight before him. ROXANNE (CONT'D) You killed him! Roxanne's eyes roll back. Da Vinci catches her from behind as she FAINTS. Einstein turns to Master Mind, looking at him as if he's just walked on water. EINSTEIN You did it! Now that he's committed the impossible - our villain is at a complete loss. MASTER MIND ...so I did. EINSTEIN I mean, I know you always wanted to. I mean, all the schemes all the plots - I never thought you'd actually be capable of it. Giddy as a school girl, Einstein turns to his fellow henchmen. EINSTEIN This is history. Every villain and lackey in the history of villains and lackeys dream of this moment, but when does it actually EVER happen? A sudden realization comes over his face. EINSTEIN Good lord...You do all realize what we get to do now, don't you? 12. His question is met with acquisitive looks from Master Mind and the others. EINSTEIN We get to go on a crime wave. CRIME WAVE MONTAGE - SET TO "Fun Fun Fun" by The Beach Boys. SPINNING HEADLINE: "UBERMAN'S DEATH IGNITES CITY WIDE CRIME WAVE!" ARMORED TRUCK It's driving along when the men inside suddenly notice something - THEY'RE FLYING HIGH ABOVE THE CITY STREETS. We PULL BACK to see the truck being carried by a giant claw at the bottom of a BRAIN COPTER. Inside the cockpit Master Mind and his henchmen laugh maniacally. SPINNING HEADLINE: "CHAMPION-LESS CITY AT THE MERCY OF HOOLIGANS." METRO CITY BANK Da Vinci and Einstein run out the front of the bank holding BAGS OF MONEY. Two beat officers see them and take chase after them around the corner and into an alley. After a moment the police reemerge from the alley screaming and running for their lives as a GIANT ROBOT CHASES after them. The robot stops, then suddenly it's head opens up like convertible car top with Master Mind and Plato at the driver's wheel. They smile and shake hands at a bad deed well done. SPINNING HEADLINE: "MASTER MIND BLACKMAILS METRO!!!" A VICIOUS TORNADO It's heading for downtown Metro as Master Mind and the lackeys coolly look on. Three large DUMP TRUCKS pull up, filled to the brim with bricks of CASH. 13. The DRIVERS jump out as the lackeys take the driver seats in the three trucks. Master Mind is about to climb into the passenger seat of one when a drivers taps him on the shoulder and motions toward the tornado. MASTER MIND (absentmindedly) Oh, right. Master Mind pulls a television REMOTE from his pocket and aims it at approaching windstorm of death. He presses the button marked "Tornado Off." The tornado shrinks and disappears just before it hits the city. As they drive through the city streets, Master stares out the window with a hint of something in his eyes. Is it melancholy? END OF MONTAGE EXT. KINGPIN BOWLING - DAY It's Metro City's premier bowling alley. On top of the neon lit building is a GIANT 30 FOOT TALL CEMENT BOWLING BALL. INT. KINGPIN BOWLING - DAY HAL STEWART (early 30's) takes careful aim with his BOWLING BALL. HAL It's a sport of honor, focus and grace. Honor the ball, focus on the pins, release the ball not hard and fast, but as if you were releasing a baby dove. He takes a step, pulls back his arm, and releases the ball, following it with his eyes. It's a horrible shot - INSTANT GUTTER BALL. An aged barmaid type with a cigarette hanging from her mouth looks over at him. HAL Okay, do something like that - but center it more. 14. She picks up her custom made FOGHAT BALL and takes aim. ATTRACTIVE BLOND Tell me how my form looks, honey. Hal focuses on the misshapen bumps of her enormous Johnson administration era derriere. HAL Oh, it's lookin' good. It's lookin' REAL good. It doesn't get anymore clear. This man is a pig. VINNIE (O.S.) Hal, I want to see you in my office! Hal turns to see VINNIE, owner of the bowling alley, calling him. VINNIE Now! INT. KINGPIN BOWLING - VINNIE'S OFFICE - MOMENTS LATER Hal sits down, facing Vinnie who's sitting at his desk. VINNIE You're fired. Leave your shirt and locker key. This bit of news hits Hal like a freight train. HAL Fired? Are you going to tell me why? VINNIE Showing up to work late. Showing up to work late drunk. Sexually harassing customers. Stealing from the register. HAL Vinnie, I don't know where you're getting these accusations - Vinnie takes out a video tape from his desk drawer and puts in a VCR. 15. HAL Oh, which one do you supposedly have here? VINNIE This is all of them at once. TELEVISION A WOMAN walks up to a BOWLING EMPLOYEE and hands him a pair of shoes. As the employee turns to the wall of shoes, a very drunk and disheveled Hal comes running in and pushes him aside. HAL I've got this one, Benny. So, Cinderella. Can I help you find your glass slipper? WOMAN Yeah, I'm looking for a seven. He folds his arms on the counter and leans into her with a cat-like grin on his face. HAL (with a leer) Seven - Well, maybe I could interest you in something in an EIGHT. Namely, me. Disgusted, she walks off screen. HAL Lesbo. Suddenly realizing the register's open, he quickly grabs a stack of cash and shoves it in his pocket. BACK TO OFFICE Vinnie turns off the television and waits for Hal to respond. HAL From the angle of the camera, I can see where you might have gotten the wrong idea. Listen, Vinnie, I don't think you've thought this through. If you fire me, who's gonna be captain of the alley's bowling team? 16. VINNIE Um, I don't know. Maybe somebody who can actually bowl. You guys have never won a game. I hired you because you said you were on the pro circuit. HAL No, I said I WILL BE on the pro circuit. VINNIE Please, a loser like you will never amount to anything. This harsh remark seems to leave Hal genuinely stunned. HAL Wow...If that's how you feel...I guess we should then talk about what kind of severance I'm gonna get. EXT. KINGPIN BOWLING - DAY TWO BRUISERS open the door and throw Hal out onto the street. He quickly picks himself up and turns back toward the building. HAL Hey...what about my ball? A bowling ball sails past him, just missing his head. HAL Thank-you! EXT. CHANNEL 7 NEWS BUILDING - DAY The massive building with a giant 7 on the roof stands in the heart of Metro City. INT. CHANNEL 7 NEWS BUILDING - OFFICE - DAY The cubicles and offices are alive with the hustle and bustle of a busy news day. Phones are RINGING, REPORTERS are TALKING, and Editors are SHOUTING. The elevator doors open and out steps Roxanne Ritchi. 17. Everything stops as the entire office suddenly falls SILENT. Somewhat taken aback by the reaction, Roxanne scans the room to see every eye on her. ROXANNE It's...um...It's good to be back. Thanks for everyone's cards and concerns. I really appreciated it - now I'm ready to climb back on the horse. No one is budging - their looks of pity are really starting to make her uncomfortable. The back office door suddenly opens and out comes FRANK BONIN, the gruff, middle-aged Producer of Channel 7 News. Noticing the silence, he looks up and sees the sad expressions on everybody's face. FRANK Someone die or something? He suddenly notices Roxanne - both feet are placed firmly in his mouth. FRANK (cursing himself) Oh, Jesus. ROXANNE It's okay. Frank quickly walks up to Roxanne and takes her gently by the arm. FRANK Come on into my office, sweetie. INT. CHANNEL 7 NEWS BUILDING - FRANK'S OFFICE - CONTINUOUS He sits her down on his leather couch, then quickly turns toward his door. FRANK Can we get this woman some water for God's sake? (to Rebecca) I gave you two months off. What're you doing back? People are gonna think I'm a slave driver. 18. ROXANNE Aren't you? FRANK Yeah, but I don't want people to think it. ROXANNE Frank, listen. I want to go back to work. I NEED to go back to work. FRANK ...You're hysterical, aren't you? Frank sits down on the couch and blankets Roxanne with A WARM EMBRACE. ROXANNE What're you doing? FRANK Keeping you warm before you go into shock. (toward the open door) DO I HAVE SLICE OPEN A CAMEL HUMP TO GET A GLASS OF WATER AROUND HERE? A SECRETARY quickly enters with a bottled water. She sets it on the table in front of them and leaves. Roxanne pulls herself out of Frank's grasp and stands up to face him. ROXANNE It was a traumatic experience. Yes, everyone knows Uberman and me were...close. But what I really need - what would really make me better is getting back to work. There's a sudden awkward silence from Frank. FRANK Well, that's going to be... ROXANNE I thought you'd be happy to have me back. 19. FRANK Oh, we are. Honey, nothing makes us happier than to have our girl back, but..

26

Monkeybone

Sam Hamm,Kaja Blackley,Vanessa Chong

Animation,Fantasy,Comedy

February_1999

FADE IN: MAIN CREDITS ROLL over BLACK SCREEN, with PORTENTOUS SPOOKY MUSIC underneath. Just as the music reaches its crescendo, we hear a simian SCREECH. A BUCK-TOOTHED CARTOON MONKEY swings past on a vine. TITLE WIPES IN with him: MONKEYBONE(tm) in "FREUD CHICKEN!" TIGHT CLOSEUP - STANLEY (ANIMATED) A POCKETWATCH swings back and forth in F.G. Gaping at it is a goofy, bespectacled CARTOON CHARACTER, sucking his thumb as his EYES move back and forth. After a moment, the LEFT EYE freezes in place - but the right eye keeps going back and forth with the watch. SHRINK'S VOICE (o.s.) Back, Stanley...you're going back...back to when it all began. Are you going back yet? Come on, get back, ve haven't got all day. Now BOTH EYES are locked in place. The patient is hypnotized. INT. SCHOOLROOM - DAY (ANIMATED) A squat, lumpy TEACHER, MISS HUDLAPP, is straining to erase the Gettysburg Address, which is written along the very top of the blackboard. There's an obtrusive, rhythmic BANGING noice in B.G. STANLEY (V.O.) It was third grade. The teacher was Miss Hudlapp. She was kinda squat and lumpy - she smelled funny - but she was kind. MISS HUDLAPP CLASS! (turning around suddenly) How many times have I told you? In this class we do not pound tenpenny nails into Stanley's head! REVERSE ANGLE - ON STANLEY Hapless ten-year-old STANLEY, still goofy and bespectacled, in his front-row desk. NAILS stick out of his head. The FOUR MEAN KIDS poised around him lower their hammers and return to their seats, grumbling. A dreamy SMILE crosses STANLEY's face as he gazes at MISS HUDLAPP. STANLEY (V.O.) You know how some teachers have those, kind of, flaps on their arms - those big sacks of limp flab that like, dangle? As MISS HUDLAPP pulls her sweater off, TWO MASSIVE ARM-FLAPS - fifty gallons of flab apiece - SPILL OUT and SMACK INTO THE FLOOR. MISS HUDDLAPP claps two erasers together, kicking up a cloud of dust. Young STANLEY watches, transfixed by her massive ARM FLAPS. We TRACK IN on the gigantic ARM FLAPS as they swing hypnotically back and forth, with a loud SLAP each time they collide. STANLEY (V.O.) It sounds weird...but for some reason, as I watched those big old flaps of hers, I began to feel...well...oddly... Now we TRACK IN on the mesmerized STANLEY. A SONG comes up underneath: Donna Summer, "I FEEL LOVE." STANLEY (V.O.) ...aroused. (beat) And then the horror began. DOINK! STANLEY looks down at his LAP in horror. The boys and girls around him are pointing and tittering. Grimacing in embarrassment, he discreetly places a heavy TEXTBOOK onto his lap, suppressing the bulge in his pants. But SPROING!! - the BOOK goes flying across the room. The BULGE is fighting back! The kids DUCK AND COVER beneath their desks as STANLEY slams a STACK of textbooks onto his lap. It's no use - the WHOLE STACK goes flying, and BOOKS come raining down on the entire class! Now MISS HUDLAPP is staring directly at him... MISS HUDLAPP Young man. What's that in your lap? She marches toward him. STANLEY pulls his BACKPACK over his lap. STANLEY (V.O.) It was useless. Like putting a baseball cap on the Washington Monument. And then...all at once ...there he was. The BACKPACK bucks and wriggles, as if something inside is trying to GET OUT. And then - with a flourish of rousing disco strings - IT DOES! STANLEY (V.O.) Monkeybone!! The libidinous cartoon monkey BURSTS OUT of the backpack, POINTS at MISS HUDLAPP - and announces, in his Barry White baritone: MONKEYBONE Oooo-oo-ooh, baby. I love your way. KC and the SUNSHINE BAND comes up underneath as MONKEYBONE DANCES to the front of the class. He grabs MISS HUDLAPP by the hands and begins dancing The Bump with her ARM FLAPS. Butt left, WHAP. Butt right, WHAP. The KIDS are bug-eyed - agog. With each WHAP their little heads turn back and forth as if they're watching a nude tennis match. INT. SCREENING ROOM - ON AUDIENCE (LIVE-ACTION) A roomful of LIVE HUMANS watching the cartoon, heads turning in sync with the kids onscreen. TV-INDUSTRY HIPSTERS, AD EXECS, MANUFACTURER'S REPS...they're all guests at this sneak preview of the Monkeybone show, and they're LAUGHING UPROARIOUSLY. In the midst of the crowd is a handsome young couple: JULIE McELROY and STU MILEY. JULIE's a research scientist, brainy, professional, abnormally well-adjusted - and pretty enough that she'd be intimidating if it weren't for a prominent goofy streak. STU is the one guy in the auditorium who isn't laughing at the cartoon on the screen. In fact, he's solemn as a judge - peering nervously around to see how the rest of the audience is responding. Why? Because he's the cartoonist who created the characters on screen. In his looks (gangly, disheveled) and manner (sardonic, self- deprecating), he's the obvious model for the character of STANLEY. INT. CLASSROOM (ANIMATED) As the monkey dance continues, we ZOOM IN on the mortified face of LITTLE STANLEY. His eyes begin doing the familiar HYPNO-SWIRL... INT. SHRINK'S OFFICE (ANIMATED) A CUCKOO pops out of a wall clock. ADULT STANLEY'S THUMB pops out of his mouth. He awakens from his trance in a cold sweat. STANLEY How about it, Doc? Can you help me? SHRINK Not overnight. These imaginary monkey cases take time. I vould estimate...roughly... On the desk is a CATALOGUE, open to a two-page spread depicting a 40- foot CABIN CRUISER. "NEW FOR SUMMER! ONLY $229,999.95!" With his free hand, the SHRINK is working a CALCULATOR... SHRINK Twelve years and three months ought to do it. The SHRINK hustles STANLEY to the door and shakes his hand. STANLEY One question, doc - what did you mean when you said "imaginary"? SHRINK All in good time, my boy. All in good time. The SHRINK shoves STANLEY out and slams the door behind him. Two beats. Then he doubles over, WEEPING with LAUGHTER. SHRINK Vot a crackpot! Monkey on ze back - HAH!! ROLL OUT ZE WACKY WAGON!! Now he notices a BACKPACK, which STANLEY has left on the couch. It TWITCHES slightly - of its own free will. VOICE IN BACKPACK Imaginary, huh? You quack. EXT. SHRINK'S BUILDING (ANIMATED) A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES HIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the way down to the street. SPLAT! A gob of gore hits STANLEY in the face as he exits the building. He kneels on the sidewalk - finding a PIPE and a GOATEE. STANLEY Aw, Monkeybone! At this rate I'll never find a good shrink. MONKEYBONE Those guys are a waste of money! I'll show you how to stop sucking your thumb... MONKEYBONE sticks his thumb in his butt as he and STANLEY toddle off into the sunset. INT. SCREENING ROOM - THAT MOMENT STANDING O from the crowd as the cartoon ends and the lights come up. HERB, an all-purpose sidekick type, appears at the podium: HERB Thank you...that's our pilot...the good news is, Comedy Channel has just picked us up with an order for six new episodes! HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in the room who's still in his seat. HERB Now, let's give it up for the guy who started it all. Creator of America's most disturbed comic strip...the man behind the monkey...Mister Stu Miley! A SPOTLIGHT hits him, and he STANDS to tumultuous applause. He looks genuinely stunned. He can't believe it's happening. JULIE surreptitiously PINCHES him on the bottom, giving him a start. She WINKS at him. He shoots her a small private smile - then turns to WAVE at the adoring crowd. INT. LOBBY - HALF-HOUR LATER - NIGHT STU working his way through a crowd of well-wishers and FANS. STU I don't actually draw all the animation, no. We have sweatshop workers who couldn't get jobs at Nike doing that. A beautiful, heavily-pierced FEMALE FAN hands STU a marker. BEAUTIFUL FAN Mr. Miley, would you draw Monkeybone on my belly? As a guide? STU Guide...? BEAUTIFUL FAN For my tattoo artist? She exposes her taut midriff. STU thinks for a moment, then goes to work. When he's done, Monkeybone appears to be climbing out of the girl's pants and WAVING to her. Nearby FANS APPLAUD. BEAUTIFUL FAN Wait! You have to draw the rest of him - She begins unbuckling her belt so STU will have enough room to draw Monkeybone's bottom half. STU demurs... STU I - I have to, uh, check in with my doctor. DO- OCCCC!! He wanders across the room, finds JULIE deep in conversation with a bunch of other GUESTS, and pulls her aside. STU Hey, Doc. Come here. There's something really cool I want to show you. He grabs her by the sleeve, pulls her across the floor to - INT. ALCOVE - OFF LOBBY - CONTINUOUS There's nothing "cool" about it - it's a stairway landing, with metal fire doors that open onto the parking lot outside. STU See these doors? The cool thing is, you go out ...they close...you can't get back in! He opens one door and holds it for JULIE. JULIE You want to leave? But Stu - you're a big hit! Everyone loves you! STU They don't love me. They love Monkeybone. JULIE It was you who got the standing O. It was you drawing on the belly over there... STU That was especially Monkeybone. Come on, Doc, I don't want to be stuck here with this bunch of media creeps. I just want to be us. Home. Alone! (conspiratorially) I have something I have to give you. JULIE Can't you give it to me later? STU Yeah, I could, but the thing is, if later got here sooner, it would be...better. He gives up trying to explain...pulls her close and kisses her. For a moment they completely forget about the party in the next room. Then HERB appears behind them, trying to catch STU's eye as he waits for the clinch to break up. Finally he pries them apart: HERB Sorry, Julie - won't be a minute. Now Stu - I know you don't like the idea, but you really ought to talk to these guys - STU Julie and I - we were just gonna go... But before STU knows what's hit him, HERB is leading him back to - INT. LOBBY - THAT MOMENT - CONTINUOUS HERB Go? There's a potload of money here, pal. You got three major toy companies...you got the guys from Burger God over here... STU Burger God. The ones that found the pig hair in the french fries? HERB Never proven. They're ready to pop for a pre- emptive endorsement. Kids love Burger God - The MERCHANDISERS shoot STU an expectant wave. STU waves back and turns in the opposite direction. HERB grabs him by the sleeve. STU Herb, it's too much. It's all out of hand. HERB Do you know what kind of opportunity you have here? You gotta strike. I'm talking mansions. Lamborghinis. Champagne for mouthwash when you brush your teeth! STU I don't want to be rich. It's just a trap! HERB Being rich is not a trap. That is a dirty lie perpetuated by rich people to keep the failures from killing them. STU Herb. I have to go. HERB Why? STU I got the ring. (beat) Tonight's the night, Herb. Tonight's the night. He nods toward JULIE, who's at the open bar grabbing two glasses of punch. HERB realizes a proposal is in the works. HERB Oh my God...you're proposing? STU My life was totally crappy, Herb, and she... fixed it. She made me happy. Which I'd never been. She loves me the way I am - right now. (beat) I don't want everything to change. I don't want her saying yes to some big success. I just want her saying yes to me. HERB ...In some weird way I respect that. JULIE's over by the punchbowl. She sees the two boys staring at her conspiratorially - MAKES A FACE at them as she waves back. HERB Okay then. If I get you out of here - you pop the question - tonight. Or else. Get me? STU nods gravely. EXT. PARKING LOT - NIGHT STU, JULIE, and HERB in the parking lot. A small safari of FLUNKIES is loading enormous boxes full of MONKEYBONE JUNK into STU's beat-up car - stuffed dolls, action figures, board games, lunchboxes, beach towels, team jackets and more! STU groans at the sight of it... HERB They're just prototypes...take 'em home and look at 'em before you say no... (scanning the streets) If you could just hold on a minute or two, we're expecting a couple more trucks. STU GLOWERS at HERB as he opens the car door for JULIE. HERB Okay, okay! You're a beautiful couple. Go. INT. CAR - NIGHT - MOVING STU backs out of his space. The small parking lot is full of DELIVERY TRUCKS from would-be merchandisers - all too large for the spaces they're parked in. STU has to keep backing up because the exit lanes are blocked. It's like negotiating a labyrinth. STU Look at this! He won't let us leave! JULIE Who? STU The monkey!! He's everywhere! He'll take over both our lives if we let him. JULIE Stu - stop it. That monkey is good luck. You thought him up, and everybody loves him, and he's probably going to make you rich. So relax! Enjoy it! STU I'm trying. It's weird, that's all. I never had any good luck, until I met you...what if it's all just another bad dream? JULIE What's the "bad" part? STU I might wake up. JULIE (laughing; taking his hand) If you do, I'll be right there beside you. So face it. You're just going to have to be happy! STU I am happy. It just so happens this is the happiest night of my life. He says it so solemnly that she cracks up. After a moment he joins in. EXT. PARKING LOT - THAT MOMENT - NIGHT A PLASTIC BANNER stretches between two poles on either side of the entry to the lot. It shows MONKEYBONE in a typical languorous pose: It's His World. We Just Live in It! MONKEYBONE Sunday Nights This Fall TWO GUYS on EXTENSION LADDERS are taking the sign down as STU'S CAR idles at the exit below. There's a strong wind tonight, and one guy LOSES HOLD of his end of the banner just as he gets it detached... INT. CAR - THAT MOMENT - NIGHT As STU pulls into the intersection he sees a DELIVERY TRUCK approaching in the opposite lane, with a cardboard likeness of MONKEYBONE mounted atop the cab. He chuckles... STU That damn monkey is everywh-- Suddenly his view of the street DISAPPEARS. The MONKEYBONE BANNER has fallen DIRECTLY ACROSS HIS WINDSHIELD, like a huge SHROUD. All he can see is a great, grinning MONKEY FACE!! JULIE SCREAMS. STU SCREAMS. Unable to see, he slams on the brakes and JERKS THE WHEEL RIGHT. Off screen: HORNS BLARING. TIRES SQUEALING. The horrible crunch of METAL ON METAL. But Stu's car comes to a halt untouched. After a moment he opens his eyes...and JULIE opens hers... STU Did we just - hit something? JULIE I don't think so. STU Are you okay?? She thinks it over, nods. STU takes a moment to catch his breath, then opens the door gingerly. A HORN BLARES as a car speeds past in the opposite lane, nearly taking STU's door off. He jumps back inside, waits, opens the door again... EXT. INTERSECTION - THAT MOMENT His eyes widen in horror as he steps out to survey the scene. The asphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games, lunchboxes. SKID MARKS show where the TRUCK which was carrying all this SWERVED... ...and slammed into the rear of a BUICK REGAL, pinning it up against a TELEPHONE POLE. STU races up to the Buick. Its front end is mashed up like an accordion, but the occupants - a couple of TEENAGERS dressed for the prom - seem to be okay. STU Hey! Are you guys all right in there? TEENAGE GIRL We're fine. STU That stupid monkey banner! It fell on my windshield - it practically killed us all! (to JULIE) God, Julie, if anything had happened to you - JULIE I'm fine, baby. We're all okay. We were lucky. STU I'd better go report this... He spots a PHONE BOOTH and starts across the street. On the way there he plucks a STUFFED MONKEYBONE DOLL off the pavement and CHOKES IT with both hands. JULIE stays behind with the prom kids. The TEENAGE BOY in his tux is glassy-eyed, miserable beyond description. JULIE Dad's car? The BOY begins to SOB softly. JULIE nods in sympathy. Then: EVERYONE WINCES. The air is full of a horrible CREAKING noise, like nails on a blackboard... TEENAGE GIRL What was that? Did you hear that? The horrible CREAKING NOISE continues. JULIE turns. Behind her, the TELEPHONE POLE that the car slammed into is beginning to TEETER. Then it TOPPLES. Directly toward... JULIE STU!! ON STU - IN PHONE BOOTH He sees JULIE running toward him and holds up a single finger. STU Operator? I want to report an accident. Finally he glances up - just in time to see the TELEPHONE POLE coming down toward the phone booth like a gigantic sledgehammer. His eyes widen. The STUFFED MONKEYBONE slips from his grasp... CLOSEUP - MONKEYBONE A HORRIBLE CRASH. SCREAMS. CAMERA ZEROES IN on the MONKEYBONE DOLL which STU was holding, surrounded by broken glass, its face twisted into an insane, almost macabre grin. The screen fades to PITCH BLACK for a few seconds...until we hear a DISTANT SIREN, and an IMAGE comes swimming into focus... STU'S POV: ON JULIE He's in the back of an ambulance, with PARAMEDICS all around him, working feverishly. JULIE hovers above him, holding his hand. JULIE Stu? I'm here, baby. It's me. It's Julie. I love you. You're gonna be okay, baby, I promise - All at once he seems to be RECEDING from JULIE and the others - as if SINKING THROUGH the bottom of the stretcher, and BEYOND - through the floor of the ambulance! JULIE's voice grows weaker, more distant: JULIE (V.O.) I'm here, baby. I won't leave you... And then all trace of the ambulance is gone, and he's floating down through some strange LIMBO, surrounded by the silhouettes of billowing SHROUDS, with the sound of BIRDS CALLING all around him... An AWFUL MECHANICAL RATCHETING NOISE fills the soundtrack. STU's eyes close - and when they reopen, he finds himself in: EXT. TROLLEY - MOVING A tiny ROLLER-COASTER CAR descends from dense clouds down the length of an impossibly long and rickety METAL TRACK. The track leads through a vast black VOID... ...to a tiny ISLAND floating in the darkness...an island that looks not unlike a disembodied FIST. And, as the car draws closer, the fist begins to OPEN - tulip-like - turning into a HAND, with a full-sized TOWN nestled in its palm! In the town, CARNIVAL LIGHTS begin to glitter. MUSIC begins to tinkle... EXT. PLATFORM - NIGHT The car - a one-passenger job with a CARTOON ANIMAL FACE on its prow - stops with a lurch. STU steps out onto a fog-shrouded TRAIN STATION PLATFORM. Before he knows it, the little car DEPARTS behind him. He's stranded - alone. STU Hello? Anybody? - Am I dead? (beat) PLEASE. I'D LIKE TO KNOW IF I'M DEAD. Off in the fog is a big wheeled CART with the sign: "PSYCHOLOGICAL BAGGAGE CLAIM." There STU finds two SUITCASES and a BACKPACK. He examines the TAGS. They all belong to him! He sits on the edge of the cart, opens a SUITCASE, and pulls out... - A bagged copy of Marvel Comics' Conan the Barbarian #1; - An 8mm reel of highlights from Ray Harryhausen's Jason and the Argonauts, with swordfighting skeletons on the box cover; - A SPIRAL NOTEBOOK, its cover labelled "STU M. - GEOGRAPHY," its inside pages covered with drawings of dinosaurs and airplanes; - Transparent plastic models of "THE VISIBLE MAN" and his mate, "THE VISIBLE WOMAN," with a couple of spare organs that young STU never quite found a place for; - A vinyl LP of "BREAD'S GREATEST HITS," which STU quickly slips back into the suitcase lest anyone see it. As he gathers his bags, he hears odd SQUEAKS and CHITTERING... RACCOON (o.s.) Carry your bags, mister? A STRANGE FURRY CREATURE pops out from beneath the platform and yanks on STU's pants leg. It looks like a raccoon, but it's FLAT - an animated pelt. Before STU has time to let out a yell, a FLAT SNAKESKIN comes slithering out from beneath the baggage cart... SNAKE Cigars, mister? Genuine Coobans! STU looks down and sees a SQUASHED RABBIT humping his leg. RABBIT Wanna meet my sister? These bordertown types are known as ROADKILL, and they're sporting the tire tracks to prove it. STU SCREAMS, shakes them off, and RUNS. EXT. DARK TOWN GATES - NIGHT A long stone STAIRWAY leads to decorative wrought-iron GATES. SHADOWY CARVED SPHINXES sit on either side. As STU races up the steps, a sputtering NEON SIGN comes to life overhead: D RK TOWN A FANFARE BLOWS as the creaky gates begin to part. A SPOTLIGHT hits the SPHINXES - and they COME TO LIFE! They rise up on their hind legs, put on boater hats. One of them blows a note on a kazoo... SINGING SPHINXES Weeee...welcome you to Dark Town And while you're in your coma This odd amusement park-town Will be your Home Sweet Homa - STU bolts THROUGH THE GATES, with the ROADKILL TRIO right on his heels. The indignant SPHINXES exchange a look of outrage. EXT. DARK TOWN - MIDWAY - NIGHT It's a carny town, a tourist trap, seedy and nightmarish. Despite the festive trappings, there's something off about it - an air of neglect and decrepitude - as if they'd tried to turn Alcatraz into Disneyland, and given up halfway through. STU looks back and sees the ROADKILL gaining on him. He spots a small group of OTHER HUMANS... STU Help me. Please. There's animals. They - The humans just YAWN. They're COMA VICTIMS, just like STU. He ditches one of his SUITCASES as the ROADKILL come after him. VOICE Pony ride, Mister? He turns and spots a helpful-looking fellow in a COWBOY OUTFIT. The COWBOY is in fact a CENTAUR - rider and mount rolled into one! The characters who run this place - the BARKERS, TICKET-TAKERS, and RIDE OPERATORS - are all weird HYBRIDS, part human, part ANIMAL. They could be the ancient Gods of some primitive culture - reduced to working as street entertainers in this ramshackle resort town. STU pinballs down the street, bouncing from one shock to another: - JOE CAMEL, doing community service as a STREET SWEEPER - JOE CAMEL Hey, Mister. Mister! Got a smoke? - a YETI selling SNO-CONES from a cart outside the MORPHEUM THEATRE. The marquee reads: LIVE! NIGHTMARES! LIVE! First-Run - Continuous Performances - Popular Prices Rated NR-H - Not Recommended for Humans - A CYCLOPS working as a barker at the Penny Arcade; - A VIDEO RENTAL OUTLET - "BAD DREAMS VIDEO," offering your favorite nightmares, cult and classic, three nights for $2.95. A THREE-HEADED DEVIL emerges from the shop carrying a sackful of videos - and recognizes STU, much to his horror. HEAD #1 Hey, aren't you Stu Miley? HEAD #2 We're big fans. HEAD #3 Could we have your autograph? Reduced to babbling hysteria, STU ducks into the nearest building. Above the door, an ANIMATED NEON SIGN shows a happy boozer lifting his martini glass, then falling over flat on his back, at which point his eyes are replaced by the traditional cartoon X's. This is the COMA BAR. INT. COMA BAR - A MOMENT LATER - NIGHT STU bursts in, flattens himself against the wall as the ROADKILL skitter past outside. He's given them the slip. He looks around. The bar's a weird melange of styles. COMA VICTIMS ride around in wheelchairs refurbished as BUMPER CARS, drinking cocktails from IV bottler. A four-armed ELEPHANT GOD is at the Mighty Wurlitzer while a MERMAID VOCALIST in a half-shell belts out the wistful lyrics of Johnny Mercer's "DREAM." And over at the BAR... BULL (o.s.) New in town, huh? What're you drinking? Out of breath, STU edges toward the bar as the BARTENDER, BULL, turns away to grab a fresh glass. STU Chasing me - animals - horrible - BULL Animals? What kind of animals? STU GAGS. BULL is a full-fledged MINOTAUR, body of a man, head of a BULL. His features are CUBIST - weirdly squashed over to one side. BULL Yeah, I know - Picasso. Guernica, right? That's what everybody says - although personally, I don't see the resemblance. What are you drinking? STU Uhh - martini? BULL Olive or eyeball? STU Olive. - Where exactly am I? BULL Dark Town. Land of nightmares. I'm Bull. STU Stu Miley. BULL Yeah, I've seen a few of your dreams. You're quite a celebrity down here. STU gives him a cockeyed look. BULL points to a MONITOR mounted over the bar, on which a panicked man in pajamas is trying to run barefoot through a great sticky SEA OF MOLASSES. BULL I told you, it's the land of nightmares. Same on every channel...all the stuff people dream, after they have the extra anchovies. He changes channels with a remote. Now we see a guy falling through midair, arms and legs flailing, falling, falling, falling... STU Jeez, it all looks like bad late-night cable. BULL Sad commentary, huh? Now a small muffled VOICE speaks from the area of STU'S BACKPACK: DISEMBODIED VOICE (o.s.) "Bull," huh? That's cute. What's your last name - "Shit"?? BULL (turning angrily to STU) I beg your pardon? STU I didn't say anything. VOICE (o.s.) Nice face. Lemme guess. You were in a bullfight ...with a Mack Truck!! STU claps both hands over his mouth to prove he's not the one talking. BULL glowers at him, snorting STEAM out of both nostrils. STU I was, uh, just getting ready to leave... BULL Yo, Jumbo. We got us some kind of ventriloquist here. The ELEPHANT GOD from the Wurlitzer organ comes lumbering over. VOICE (o.s.) Well, hello, sailor. Get a lot of dates with that ding-dong on your face?? BULL and JUMBO rear back to PUNCH STU'S LIGHTS OUT. He's saying his prayers when his BACKPACK begins to BULGE and QUIVER - and a SMALL FURRY BEAST pops out, CACKLING HIS HEAD OFF!! MONKEYBONE Just kiddin', folks! Drinks for everybody - (pointing at STU) On him!! HIYA, BOSS!! BULL and JUMBO back off, STUNNED. The monkey grabs STU'S FACE and plants a big wet SMOOCH right on his NOSE. STU SCREAMS. CUT TO: INT. HOSPITAL ROOM - THAT MOMENT - NIGHT TIGHT ON an EEG monitor. There's a sudden BLIP on the readout. NURSE Just a spike, ma'am. It happens. It's perfectly natural with coma patients. JULIE I'm a doctor too. I know this man's brain - JULIE strokes STU's limp hand. He's COMATOSE, cocooned in a tangle of wires and tubes. His head and shoulders are heavily bandaged. He's hooked up to as much machinery as you can cram into one room. DOCTOR Go home, Doctor. Rest. Come back when you can do us some good. INT. HOSPITAL - WAITING ROOM - NIGHT Dead on her feet, JULIE stumbles toward the exit. As she's leaving she passes the WAITING ROOM - WOMAN'S VOICE Julie? She turns and sees an older colleague from work - ALICE - waiting in the doorway. Hovering right behind ALICE is HERB. And behind him - It appears that almost everyone in the waiting room is a friend of JULIE and STU's. Disheveled and groggy, they rouse themselves and make their way over to JULIE's side. She's overcome with emotion. INT. STU & JULIE'S HOUSE - ENTRY - NIGHT The sound of the key in the lock is met by INSANE BARKING. JULIE and ALICE enter and are met by BUSTER, the pet basset - jumping and yipping like crazy after 24 hours without food or human company. ALICE Now don't pick a fight. I'm staying over. JULIE Oh, poo

27

Mulan

Robert D. San Souci

Family,Animation,Comedy,Musical,Adventure

December_1998

[Chinese guard is seen walking on The Great Wall. Shan-Yu's falcon swoops down and hits the guard on the head knocking his helmet off. The falcon lands on top of a flag pole in front of a full moon and lets out a large cry. One grappling hook comes over The Great Wall. The guard walks over to the edge and sees many grappling hooks coming towards him] Guard [yelling]: We're under attack! Light the signal! [Guard runs to the tower and up the ladder as Hun Bald Man #1 and Hun Long Hair Man appear trying to stop him. Hun Bald Man #1 breaks the ladder with his sword just as Guard reaches the top. The guard picks up the torch to light the fire and sees Shan-Yu jump over the edge of the tower and looks at him across from the caldron. The guard throws the torch into the caldron lighting a large fire. Shan-Yu watches as each tower lights their caldrons one by one] Guard [sternly]: Now all of China knows you're here. Shan-Yu [taking the flag and holding it over the fire]: Perfect. [Cut to the palace. The large doors to the central chamber open as General Li walks in flanked on his left and right by soldiers and approaches the Emperor. He bows, then looks up] General Li: Your Majesty, the Huns have crossed our Northern border. Chi Fu: Impossible! No one can get through The Great Wall. [The Emperor motions for Chi Fu's silence] General Li: Shun-Yu is leading them. We'll set up defenses around your palace immediately. Emperor [forcefully]: No! Send your troops to protect my people. Chi Fu, Chi Fu: Yes, your highness. Emperor: Deliver conscription notices throughout all the provinces. Call up reserves and as many new recruits as possible. General Li: Forgive me your Majesty, but I believe my troops can stop him. Emperor: I wont take any chances, General. A single grain of rice can tip the scale. One man may be the difference between victory and defeat. [Cut to Mulan using her chopsticks to single out a grain of rice on top of the mound of rice] Mulan: Quiet and demure...graceful...polite...[picking up some rice with her chopsticks and eating a mouthful] delicate...refined...poised... [She sets down her chopsticks and writes down a final word on her right arm] punctual. [A cock crows] Aiya. [Calling out] Little brother. Little brother. Lit- ahhh, there you are. Who's the smartest doggie in the world? Come on smart boy, can you help me with my chores today? [Mulan ties a sack of grain around Little Brother's waist. She ties a stick onto Little brother so that end of it is in front of Little Brother's face. She ties the bone on the end of the stick just out of reach. Little Brother begins to run after the bone which he cannot reach. Mulan opens the door for Little Brother and he runs into the door frame, then out the open door. Little brother runs by the chickens and Khan - the family horse] [Cut to Mulan's Father, Fa Zhou, kneeling and praying before the Fa family's ancestors] Fa Zhou: Honorable ancestors, please help Mulan impress the matchmaker today. Little Brother [running into the temple and around Fa Zhou scattering grain around the floor]: Bark, bark, bark, bark, bark. [The chickens follow Little Brother into the temple and begin to feed on the grain] Fa Zhou: Please, PLEASE, help her. [Mulan steps up to the temple seeing Little Brother on his hind legs trying to get the bone. Mulan bends the stick down so that Little brother can reach the bone. Little brother gnaws on the bone happily. Mulan continues toward the temple] Mulan [calling out]: Father I brought your--whoop! [Fa Zhou bumps into Mulan. The cup falls to the ground and Fa Zhou catches the teapot with the handle of his cane] Fa Zhou: Mulan-- Mulan: I brought a spare. [Mulan pulls out a cup from underneath the back of her dress and begins to pour the tea] Fa Zhou: Mulan-- Mulan [hurried]: Remember, the doctor said three cups of tea in the morning-- Fa Zhou: Mulan-- Mulan: And three at night. Fa Zhou: Mulan, you should already be in town. We're counting on you to up-- Mulan: --uphold the family honor. Don't worry father. I wont let you down. [Mulan covers over the writing on her arm with here sleeve] Wish me luck. [Mulan hurries down the stairs] Fa Zhou [calling out]: Hurry! [to himself] I'm going to...pray some more. [Fa Zhou turns and walks back into the temple] [Cut to the town with Fa Li looking worried] Bath Lady [poking out of her building]: Fa Li, is your daughter here yet? The matchmaker is not a patient woman. [She goes back into the building] Fa Li: Of all days to be late. I should have prayed to the ancestors for luck. Grandma Fa [walking in with a Cri-Kee in a cage]: How lucky can they be, they're dead. Besides, I've got all the luck we'll need. [Speaking to Cri-Kee] This is your chance to prove yourself. [Cri-Kee chirps approvingly. Grandma Fa covers her eyes steps into a busy street] Fa Li [excitedly]: Grandma No! [The traffic barely misses Grandma Fa as she crosses the busy street. But two horse and carriage collide causing a big accident. She arrives at the other side of the street, uncovers here eyes and looks at Cri-Kee] Grandma Fa: Yep, this cricket's a lucky one. [Cri-Kee falls over out of fright] Fa Li [sighing in relief]: Hai. [Mulan arrives on Khan jumping over the recent accident in the street and jumps off with hay stuck in her hair] Mulan: I'm here. [Seeing a stern look from her mother] What? But Mama I had to-- Fa Li: None of your 'xcuses. Now let's get you cleaned up. [They walk together into the preparation area] [Song: Honor to us all] Bath Lady: [all the while Bath Lady undresses Mulan and pushes her into the Bath] This is what you give me to work with? Well, honey, I've seen worse. We're gonna turn this sow's ear Into a silk purse. [Bath Lady moves the silk partition aside showing Mulan in the bath] Mulan [spoken]: It's freezing. Fa Li [spoken]: It would have been warm if you were here on time. Bath Lady [washing Mulan's hair]: We'll have you Washed and dried Primped and polished till you glow with pride Trust my recipe for instant bride You'll bring honor to us all Fa Li [grabbing a sponge and Mulan's right arm to start cleaning her. She notices the writing] [spoken]: Mulan, what's this? Mulan [Drawing her arm back and batting her eyelashes] [spoken]: Ahh, notes, in case I forget something? Grandma Fa [spoken]: Here, hold this [hands the cricket to Fa Li]. We'll need more luck than I thought. [Mulan looks on with an air of disappointment] [Cut to the hair dressers] Hair Dresser 1 [Brushing and combing Mulan's hair much to Mulan's chagrin]: Wait and see When we're through Hair Dresser 2: Boys will gladly go to war for you Hair Dresser 1: With good fortune Hair Dresser 2 [Finalizing the hairdo to look exactly like hers]: And a great hairdo Both: You'll bring honor to us all Fa Li and others: [Mulan following her Mother passes a xiangqi game and pauses to make an impressive move. Mulan has a smug look on her face when Fa Li comes back and drags Mulan away] A girl can bring her family Great honor in one way By striking a good match And this could be the day Dresser 1 [Dresser 1, Dresser 2, and Fa Li dress Mulan]: Men want girls with good taste Dresser 2: Calm Fa Li: Obedient Dresser 1: Who work fast-paced Fa Li: With good breeding Dresser 2 [Pulling the dress tight around her waist]: And a tiny waist Mulan [expressing her waist being squeezed tight] [spoken]: huh. All Three: You'll bring honor to us all Chorus: [Mulan follows Fa Li and sees boy stealing a doll from a girl. Mulan grabs the doll from the boy and returns it to its owner] We all must serve our Emperor Who guards us from the Huns A man by bearing arms A girl by bearing sons Make-up Lady/Fa Li: [Putting on Mulan's face, powder, lipstick and eye liner] [in a 3 person round] When we're through you can't fail Like a lotus blossom soft and pale How could any fellow say "No sale" You'll bring honor to us all [Make-Up Lady holds a mirror so Mulan can see her reflection. Not looking pleased, Mulan takes her single, short bang and brings it down in front of her forehead and smiles] Fa Li [spoken. Fa Li places a hair comb in Mulan's hair]: There, you're ready. Grandma Fa [spoken]: Not yet! An apple for serenity [putting an apple in Mulan's mouth]...A pendant for balance [places a yin-yang pendant under her sash] [sings] Beads of jade for beauty [putting beads around Mulan's neck] You must proudly show it [Grandma Fa raises her chin high with her hand] Now add a cricket just for luck [putting the cage with Cri-Kee under Mulan's sash in the back. Cri-Kee doesn't look pleased] And even you can't blow it Mulan: [Walking to catch up with the other maidens] Ancestors Hear my plea Help me not to make a fool of me And to not uproot my fam'ly tree Keep my father standing tall Maidens and Mulan: [Mulan taking the parasol from Fal Li and running to fall in line with the other 4 maidens] Scarier than the undertaker We are meeting our matchmaker All Townspeople: Destiny Guard our girls And our future as it fast unfurls Please look kindly on these cultured pearls Each a perfect porcelain doll Maiden #1: Please bring honor to us Maiden #2: Please bring honor to us Maiden #3: Please bring honor to us Maiden #4: Please bring honor to us Mulan and Maidens: Please bring honor to us all! [All Girls and Mulan arrive before the Matchmaker crouched down behind their parasols. End of song] Matchmaker [looking at her clipboard]: Fa Mulan Mulan [Jumping up and raising her hand]: Present. Matchmaker: Speaking without permission. Mulan: Oops. Grandma Fa [to Fa Li]: Who spit in her bean curd? [Mulan walks into the Matchmaker's building with the Matchmaker following behind and closing the door] Matchmaker [looking over Mulan]: Huh, Hmm, too skinny. [Cri-Kee escapes from his cage. Mulan struggles to catch him] Hmph, not good for bearing sons. [Mulan puts Cri-Kee in her mouth when Matchmaker turns around to face her] Recite the final admonition. Mulan [nodding and smiling]: Mmm-Hmm. [Takes out fan and covers her mouth as she spits out Cri-Kee] Ptu Matchmaker: Well... Mulan [with dignity]: Fulfill your duties calmly and re...f--[looking at her arm with smeared writing] spectfully. Reflect before you snack [surprised, Mulan looks at her arm again] act. [now rapidly] This shall bring you honor and glory. [Fanning herself rapidly and sighing in relief] Huh. Matchmaker [snatches the fan and looks at it on both sides looking for notes not finding any. Mulan smiles big when Matchmaker looks at her. Matchmaker grabs Mulan's right arm pulling her along while smearing the writing and leaving some ink on her hand] Hmmm, this way. Now, pour the tea [Pushing a teapot towards Mulan]. To please your future in-laws you must demonstrate a sense of dignity [Matchmaker smears ink around her mouth. Mulan staring at Matchmaker pours some tea onto the table then notices her mistake and pours the tea into the cup] and refinement. You must also be poised. [Mulan notices Cri-kee in the tea-cup as Matchmaker takes the cup] Mulan [quiet and timid]: Um, pardon me. Matchmaker: And silent! [Matchmaker sniffs the tea] Mulan [reaching and grabbing the teacup]: Could I just take that back...one moment. [They struggle for the teacup and it turns over on Matchmaker and Cri-kee jumps down matchmaker's dress] Matchmaker: Why you clumsy--[Matchmaker feels Cri-Kee in her dress and dances around] Wooo, woooo, wooooooo, [Matchmaker knocks over her pot of coals, and sits down on the coals. Matchmaker jumps around screaming] Ahhhhhhhhhhh [Mulan grabs her fan and briskly fans the charred area on Matchmaker's behind causing it to flame up. Mulan looks surprised about her mistake] [Cut to outside Matchmakers building showing Grandma Fa with much noise coming from Matchmaker's building] Grandma Fa [to Fa Li]: I think it's going well, don't you? Matchmaker [running out of the building screaming]: Put it out! Put it out! Put it out! [Mulan takes the teapot, throws the tea on Matchmaker and puts out the fire. She bows, hands the teapot back to Matchmaker and covers her face as she walks toward Fa Li and Grandma Fa] [with anger] You are a disgrace! [Matchmaker throws the teapot down smashing it to pieces] You may look like a bride, but you will never bring your family honor! [The townsfolk who have gathered whisper and walk away] [Cut to Mulan walking through the gate with her home leading khan. She looks sorrowful. Fa Zhou sees his daughter and smiles. Mulan sees her father's smile. She covers her face with Khan's head and leads him to the water trough] [Song: Reflection] Mulan: Look at me [looking at her reflection in the water trough] I will never pass for a perfect bride [taking off her earrings and beads of jade] Or a perfect daughter [Mulan watches Fa Li relating what happened at the Matchmaker's to Fa Zhou] Can it be I'm not meant to play this part? [Mulan releases Cri-Kee back to the wild] Now I see That if I were to truly To be myself [Mulan hops along the bridge railing] I would break my family's heart Who is that girl I see [Mulan looks into the pond and sees her own reflection] Staring straight Back at me? [Mulan puts her hand on the Great Stone Dragon and looks toward the temple] Why is my reflection someone I don't know? [Cri-Kee rowing across the pond on a lily pad] Somehow I cannot hide [Mulan walking into the family temple] Who I am [Cri-Kee watches Mulan in the temple seeing multiple reflections of herself in the ancestors' stones] Though I've tried [Mulan bows to the ancestors] When will my reflection show Who I am inside? [Mulan finishes wiping off her make-up seeing her reflection in the stones] When will my reflection show Who I am inside? [Mulan gets up and heads out the temple] [End of song. Mulan sits on a bench under the blossom tree. Fa Zhou approaches her, clearing his throat. Mulan sees him approaching and turns her head away. Fa Zhou sits down beside Mulan] Fa Zhou: My, my, what beautiful blossoms we have this year [looking up into the blossom tree]. But look, this one's late. But, I'll bet that when it blooms, it will be the most beautiful of all. [Mulan and Fa Zhou share smiles. Drums start pounding announcing the arrival of Chi Fu and two guards on horseback] Mulan: What is it? [Fa Zhou gets up and walks to the entrance of their house with Mulan following] Fa Li: Mulan, stay inside. [Grandma Fa clears her throat catching Mulan's attention and motions inside. Mulan spies the railing near the wall and climbs up to watch over the roof] Chi Fu: Citizens I bring you a proclamation from the Imperial City: the Huns have invaded China! Townspeople [expressing surprise]: No! Chi Fu: By order of the Emperor, one man from every family must serve in the Imperial Army. The Xiao family [a family member steps up, bows to the guard and takes the conscription notice from the guard]. The Yi family. Yi's Son [holding his old father back]: I will serve the Emperor in my father's place. Chi Fu: The Fa Family. Mulan: No. [Fa Zhou gives his cane to Fa Li and walks toward Chi Fu. Fa Zhou bows before the horsemen] Fa Zhou [standing proud]: I am ready to serve the Emperor. [Fa Zhou reaches for the conscription notice] Mulan [running outside to keep her father from taking the conscription notice]: Father, you can't go. Fa Zhou [turning to see his daughter]: Mulan! Mulan: Please sir, my father has already fought bravely-- Chi Fu: Silence! You would do well to teach your daughter to hold her tongue in a man's presence. Fa Zhou [looking away from Mulan]: Mulan, you dishonor me. [Grandma Fa guides Mulan back away] Chi Fu [handing Fa Zhou the conscription notice]: Report tomorrow at the Wu Shu camp. Fa Zhou: Yes, sir. [Fa Zhou walks back into the homestead refusing to take his cane from Fa Li] Chi Fu [fading out as we follow Fa Zhou]: The Chu family. The Wen family. The Chang family. The... [Cut to Fa Zhou in his armory at night. Fa Zhou takes out his sword and practices his stances. Whan he balances on his right leg, his leg injury acts up and he falls. Unbeknownst to her father, Mulan watches in horror. She breathes heavily] [Cut to dinner. The Fa Zhou, Grandma Fa, Fa Li, and Mulan eat in silence. Thunder can be heard and lightning can be seen through the opaque window. Mulan pours the tea for her family. She slams her teacup down on the table and stands up] Mulan: You shouldn't have to go. Fa Li: Mulan! Mulan: There are plenty of young men to fight for China. Fa Zhou: It is an honor to protect my country and my family. Mulan [angrily]: So you'll die for honor! Fa Zhou [standing up and angered]: I will DIE doing what's right. Mulan [starts to speak but is cut off]: But if you-- Fa Zhou: I know my place, it is time you learned yours. [Mulan looking like she's about to cry, turn away from Fa Zhou and runs outside into the rain storm and cries] [Cut to Mulan sitting at the base of the Great Stone Dragon in the rain. Mulan looks down to see her reflection in the puddle caused by the rain. She watches her parents in the bedroom. Fa Li turns away from Fa Zhou and walks out of site. Fa Zhou blows out the light. Mulan gets up and walks to the Fa Family Temple. Mulan's image reflects off the stone tablets as she lights incense and places it in the hanging encense holder. She bows and prays to her ancestors. Getting up, Mulan hurries down the steps. Cri-Kee sees her and hops down from above and follows her. Mulan goes to her parent's bedroom and takes the conscription notice replacing it with the hair comb her mother gave to her. She pauses to give her parents a loving, sorrowful look and hurries out. Cut to Mulan in the armory. She opens the cabinet with the armor. Using her father's sword, she cuts her hair short and ties it up above her head. She finishes putting on the armor and ties it in the front. She takes the sword and places it in the scabbard to her left. Cut to Mulan in the stable doorway. Khan rears back in fright at the sight of Mulan. Mulan goes forward and comforts Khan letting him know her identity. Mulan walks Khan out of the stable, Cri-Kee watches from the ground as she passes by. Mulan takes one sorrowful glance back at her parents bedroom and rides Khan through the gate and off to camp.] [Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut to Grandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fa walking into Fa Li and Fa Zhou's bedroom, both are in bed] Grandma Fa: Mulan is gone. Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night stand and notices the hair comb in place of his conscription notice. He checks the cabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No. Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. She could be killed! Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li] Grandma Fa: Ancestors, hear our prayer: Watch over Mulan. [Cut to the Fa Family Temple. A wind blows out the incense at the base of the center stone. The center stone begins to glow as First Ancestor comes to life] First Ancestor [motioning to a bronze dragon]: Mushu, awaken! [Mushu comes to life and falls to the ground flat on his back all being obscured by smoke] Mushu [rising from the smoke arms stretched out]: I live! So tell me what mortal needs my protection Great Ancestor. You just say the word and I'm there. First Ancestor [agitated]: Mushu! Mushu: Hey, let me say something. Anybody who is foolish enough to threaten our family, vengeance will be MINE. Hrrrrr. First Ancestor [sternly to silence Mushu]: Mushu! These are the family guardians [motioning towards the stone statues on pedestals near the ceiling]. They... Mushu [dejectedly]: Protect the family. First Ancestor [pointing to the empty pedestal]: And you, oh demoted one. Mushu: I...ring the gong. First Ancestor: That's right, now, wake up the ancestors. Mushu: One family reunion coming right up. [ringing the gong] Okay people, people look alive, lets go! C'mon get up. Let's move it, rise and shine. You're way past the beauty sleep thing now trust me! Ancestor 1: I knew it, I knew it. That Mulan was a trouble maker from the start. Ancestor 3: Don't look at me, she gets it from your side of the family. Ancestor 2: She's just trying to help her father. Ancestor 4 [appearing out of thin air]: But, if she is discovered, Fa Zhou will be forever shamed. Dishonor will come to the family. Traditional values will disintegrate. Ancestor 5: Not to mention they'll lose the farm. Ancestor 1: My children never caused such trouble. They all became acupuncturists. Ancestor 3: Well, We can't all be acupuncturists. Ancestor 6: No, your great granddaughter had to be cross-dresser! [All ancestors argue at once, except First Ancestor] Ancestor 7: Let a guardian bring her back. Ancestor 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awaken the most cunning. Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest. Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest. First Ancestor: Silence! We must send the most powerful of all [Motioning to the Great Stone Dragon as it is seen through the window] Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay, okay, I get the drift, I'll go. [All Ancestors give a quick look of surprise and laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm pretty hot huh. Don't make me have to singe nobody to prove no point. First Ancestor [grabbing Mushu and pulling away from the post]: You had your chance to protect the Fa family. Ancestor 6: Your mis-guidance led Fa Deng to disaster. Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot. Mushu: And your point is? First Ancestor: The point is we will be sending a real dragon to retrieve Mulan. Mushu: What? But I'm a real dragon. First Ancestor [grabbing Mushu and pulling him away from the guardian post as Mushu fights to hold on]: You are not worthy of this spot. Now, awaken the Great Stone Dragon. [First Ancestor throws Mushu out of the temple] Mushu [looking back into the temple]: So you'll get back to me on the job thing. [An ancestor throws Mushu's gong and hits Mushu in the face] Mushu [walking with a slouch and banging the gong on the ground]: Just one chance is that too much to ask? I mean, it's not like it'll kill ya. Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wake up! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks over to the side of the statue] C'mon boy, go get her, go on, [throws the gong stick off the screen and whistles] Come on. [Angrily while climbing up the Great Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the ear with the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hard against the ear causing it to break off]. Uh oh. [The Great Stone Dragon crumbles to the ground, head intact minus the ear]. [knocks on the dragon's head] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me! First Ancestor [calling out through the temple window]: Great Stone Dragon, have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestor can only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And I am the Great Stone Dragon, good morning [Mushu waves]. I will go forth and fetch Mulan. Did, did I mention that I was the Great Stone Dragon? First Ancestor: Go, The fate of the Fa Family rests in your claws. Mushu: Don't even worry about it, I will not lose face. [Mushu falls down the hill under the weight of the Great Stone Dragon's head and lands on the dragon's pedestal with the head falling on top of him] Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm doomed! And all 'cause miss man decides to take her little drag show on the road. [Cri-Kee enters stage right] Cri-Kee: Chirp, Chirp. Mushu: Go get her? What's the matter with you? After this great stone Humpty Dumpty mess, I'd have to bring her home with a medal to get back in the temple. Wait a minute, that's it! I make Mulan a war hero, then they'll be begging me to come back to work. That's the master plan. Oh, you've gone and done it now. [Mushu runs off stage right] Cri-Kee [hopping along side of Mushu]: Chirp. Chirp Chirp Chirp. Mushu [pushing Cri-Kee away]: Hey, what makes you think you're coming? Cri-Kee: Chirp, Chirp. Mushu: You're lucky? Ho, ho, heh. Do I look like a sucker to you? Cri-Kee: Chirp. Chirp. Mushu: Whach' you mean loser? How 'bout I pop one of your antenna's off and throw it across the yard. Then who's a loser, me or you? [Interlude] [Cut to Shan-Yu leading his army at a charge on horseback through a forest. He stops and motions stage right. Hun Archer, Hun Strong Guy, Hun Long-Hair Guy dismount and walk into the forest. They throw down two Imperial scouts before the rest of the army] Hun Long-Hair Guy: Imperial scouts. [Shan Yu dismounts and walks towards the scouts] Scout #1: Shan-Yu. [He crouches down in front of them] Shan-Yu [adjusting Scout #1's collar]: Nice work, gentlemen. You found the Hun army. [motioning to the soldiers on horseback. The Hun army laughs] Scout #2: The Emperor will stop you. Shan-Yu [grabs Scout #2 by the shirt collar and lifts him up to his face]: Stop me? He invited me. By building his wall, he challenged my strength. Well I'm here to play his game [Shan-Yu throws Scout #2 to the ground and points his sword at Scout #1 as he gets up and runs] [calling out to the scouts] Go! Tell your emperor to send his strongest armies. [Quietly] I'm ready. [The Imperial Scouts run off towards the palace] Shan-Yu [scratching his chin]: How many men does it take to deliver a message. Archer Guy [drawing back his bow]: One. [End Interlude] [Cut to Mulan on a hill outside of the camp. Khan is sitting watching] Mulan: Okay, okay, how 'bout this? Ahem, [in her manly voice] excuse me, where do I sign in? Hah, I see you have a sword. I have one too. They're very manly and tough [Mulan bites her lip as she mishandles pulling the sword out of the scabbard and it falls to the ground. Khan rolls on his back in laughter. Mulan throws her shoe and hits Khan in the head with it quieting Khan]. I'm working on it. Who am I fooling? It's going to take a miracle to get me into the army. [Mushu appears as a giant shadow being cast on a rock with flames on either side. Mushu's real appearance remains out of sight] Mushu [in a Southern Baptist Preacher's voice]: Did I hear someone ask for a miracle!? Let me hear you say aye! Mulan [Running and hiding behind a rock]: Ahhhhhh. Mushu: That's close enough. Mulan [from behind a rock]: Ghost. Mushu: Get ready Mulan your serpentine salvation is at hand. For I have been sent by your ancestors-- [notices Cri-Kee making a hand shadow of a dragon on the rock and stamps him down with his foot] to guide you through your masquerade. [bending down to Cri-Kee] C'mon, you're gonna stay you're gonna work. [returning to Mulan] Heed my word, 'cause if the army finds out that you are a girl, the penalty is death. [big flames shoot up from the rocks] Mulan: Who are you? Mushu: Who am I? Who am I? I am the guardian of lost souls. [Mulan smiles big in anticipation of seeing her guardian] I am the powerful, the pleasurable, the indestructible [coming out from the rocks to show his real size] Mushu! Oh hah, hah, pretty hot, huh? [Khan stomps on Mushu. Mulan pushes Khan back] Mulan: Ah, my ancestors sent a little lizard to help me? Mushu: Hey, dragon, dragon, not lizard. I don't do that tongue thing [flips out his tongue to show Mulan what he means]. Mulan: You're uh... Mushu: Intimidating? Awe inspiring? Mulan [making a hand gesture to denote his smallness of size]: Tiny. Mushu [with a look of disappointment]: Of course. I'm travel size for your convenience. If I was my real size, your cow here [patting Khan on the nose] would die of fright. [Khan tries to bite Mushu] [pointing to the ground speaking to Khan] Down Bessy. My powers are beyond your mortal imagination. For instance, [leaning in and looking at Mulan's chest] my eyes can see straight through your armor. [Mulan cover her bust with her left arm and slaps Mushu with the right] Ow. [angrily] All right, that's it! Dishonor! Dishonor on your whole family. [aside to Cri-Kee] Make a note of this [Cri-Kee grabs a leaf and a pen and starts writing]. [Loudly with gusto] Dishonor on you. Dishonor on your cow. Dis- Mulan [pleadingly while covering Mushu's mouth]: Stop! I'm sorry, I'm sorry [kneeling down in front of Mushu]. I'm just nervous. I've never done this before. Mushu: Then you're gonna have to trust me. And don't you slap me no more, we clear on that? [Mulan nods emphatically]. All right. Okey dokey, let's get this show on the road. Cri-Kee, get the bags [Mushu starts walking to the camp]. [to Khan] Let's move it heifer. [Cut to Mulan at the camp's entrance] Mushu [hiding in Mulan's armor poking his head out from her back]: Okay this is it, time to show 'em your man walk. Shoulders back, chest high, feet apart, head up [Mushu pulls Mulan's head back] ...and strut 2, 3, break it down, 2, 3 and work it, [Mulan walks into the camp drawing the attention the men who see her. Mulan walks into a tent and sees a man picking his nose and another man picking out dirt from between his toes with chopsticks] Beautiful isn't it? Mulan [making a face of disgust and continuing to walk]: They're disgusting. Mushu: No, they're men. And you're going to have to act just like them, so pay attention. [Mulan stops and watches Yao, Ling, Chien-Po and Tattoo Soldier] Tattoo Soldier [showing the dragon tattoo on his chest and belly]: Look, this tattoo will protect me from harm. [Yao thinks for a moment, then punches Tattoo Soldier in the stomach causing Ling to laugh. Mulan watches in utter amazement. Yao kisses his hand] Ling [laughing]: I hope you can get your money back. Mulan: I don't think I can do this. Mushu: It's all attitude. Be tough like this guy here [looking at Yao]. [Mulan looks at Yao as he hocks up a loogie and spits] Yao [noticing Mulan watching him]: What are you looking at? Mushu: Punch him, it's how men say 'hello.' [Mulan looks at her fist, then punches Yao from behind on the shoulder. The force causes Yao to run into Chien-Po] Chien-Po: Oh Yao, you made a friend. Mushu: Good, Now slap him on the behind, they like that. [Mulan slaps Yao on the behind] Yao: Wu hoo hooooo. [grabbing Mulan buy the collar] I'm going to hit you so hard it'll make your ancestors dizzy. Chien-Po [Holding and picking up Yao]: Yao, relax and chant with me. Yaaaaaaa Moouuuu Ahhhhhh Doooou Fuuuu Daaaaa. Yao: Ya Mi Ah To Fu Da. Chien-Po: Feel better? Yao [relaxed]: Yeah. [Chien-Po places Yao back on the ground] [to Mulan while walking away] Aaaaa, you ain't worth my time chicken boy. Mushu [loudly]: Chicken boy!? Say that to my face ya limp noodle! [Yao grabs Mulan by the collar cocking back his arm to punch. Mulan ducks as Yao hits Ling standing behind her] Yao: Oh, sorry Ling. Hey! [Yao grabs Mulan's foot as she starts to crawl away. Ling kicks Yao on the butt causing him to land on Chien-Po's stomach. Ling Jump attacks Mulan, but she ducks and he lands on Yao on top of Chien-Po] Ling: You're dead. [They fight on top of Chien-Po. Mulan runs away. Ling notices Mulan and then points toward her] Oh, there he goes. [Mulan runs into a tent and stops. Yao, Ling, and Chien-Po (in that order) run through the tent. Yao stops short as he is about to run into a soldier in a line for food. He looks behind him with concerned eyes as Ling stops in time. Chien-Po bumps into Ling causing the entire line of soldiers to fall forward and knock over the pot of congee and the cook behind it. The men look to the back of the line and spy Mulan

28

Nightmare Before Christmas The

Tim Burton,Michael McDowell

Animation,Comedy,Fantasy,Horror,Musical

August_1991

NARRATOR 'Twas a long time ago, longer now than it seems, in a place that perhaps you've seen in your dreams. For the story that you are about to be told, took place in the holiday worlds of old. Now, you've probably wondered where holidays come from. If you haven't, I'd say it's time you begun. This Is Halloween SHADOW Boys and girls of every age Wouldn't you like to see something strange? SIAMESE SHADOW Come with us and you will see This, our town of Halloween PUMPKIN PATCH CHORUS This is Halloween, this is Halloween Pumpkins scream in the dead of night GHOSTS This is Halloween, everybody make a scene Trick or treat till the neighbors gonna die of fright It's our town, everybody scream In this town of Halloween CREATURE UNDER BED I am the one hiding under your bed Teeth ground sharp and eyes glowing red MAN UNDER THE STAIRS I am the one hiding under your stairs Fingers like snakes and spiders in my hair CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! VAMPIRES In this town we call home Everyone hail to the pumpkin song MAYOR In this town, don't we love it now? Everybody's waiting for the next surprise CORPSE CHORUS Round that corner, man hiding in the trash can Something's waiting now to pounce, and how you'll scream HARLEQUIN DEMON, WEREWOLF, AND MELTING MAN Scream! This is Halloween Red 'n' black, slimy green WEREWOLF Aren't you scared? WITCHES Well, that's just fine Say it once, say it twice Take the chance and roll the dice Ride with the moon in the dead of night HANGING TREE Everybody scream, everybody scream HANGED MEN In our town of Halloween CLOWN I am the clown with the tear-away face Here in a flash and gone without a trace SECOND GHOUL I am the "who" when you call, "Who's there?" I am the wind blowing through your hair OOGIE BOOGIE SHADOW I am the shadow on the moon at night Filling your dreams to the brim with fright CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! Halloween! Halloween! CHILD CORPSE TRIO Tender lumplings everywhere Life's no fun without a good scare PARENT CORPSES That's our job, but we're not mean In our town of Halloween CORPSE CHORUS In this town MAYOR Don't we love it now? MAYOR WITH CORPSE CHORUS Everyone's waiting for the next surprise CORPSE CHORUS Skeleton Jack might catch you in the back And scream like a banshee Make you jump out of your skin This is Halloween, everybody scream Won't ya please make way for a very special guy Our man Jack is king of the pumpkin patch Everyone hail to the Pumpkin King now EVERYONE This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! CORPSE CHILD TRIO In this town we call home Everyone hail to the pumpkin song EVERYONE La la-la la, Halloween! Halloween! (etc.) EVERYONE [applause] WITCHES Cackling CLOWN It's over! BEHEMOTH We did it! [tummy bump] WEREWOLF Wasn't it terrifying? HYDE & CYCLOPS What a night! MAYOR Great Halloween everybody. JACK I believe it was our most horrible yet! Thank you everyone. MAYOR No, thanks to you, Jack. Without your brilliant leadership - JACK Not at all Mayor. VAMPIRE (fat) You're such a scream, Jack WITCH You're a witch's fondest dream! WITCH (little) You made walls fall, Jack WITCH Walls fall? You made the very mountains crack, Jack DR. FINKELSTEIN The deadly nightshade you slipped me wore off, Sally. SALLY Let go! DR. FINKELSTEIN You're not ready for so much excitement! SALLY Yes I am! DR. FINKELSTEIN You're coming with me! SALLY No I'm not! [Sally pulls out the thread that's holding her arm on] DR. FINKELSTEIN Come back here you foolish oaf! Ow! CREATURE FROM BLACK LAGOON Ooo Jack, you make wounds ooze and flesh crawl. JACK Thank you, thank you, thank you -- very much MAYOR Hold it! We haven't given out the prizes yet! Our first award goes to the vampires for most blood drained in a single evening. [applause] MAYOR A frightening and honorable mention goes to the fabulous Dark Lagoon leeches SAX PLAYER Nice work, Bone Daddy. JACK Yeah, I guess so. Just like last year and the year before that and the year before that. [entering graveyard] Jack's Lament Performed by Danny Elfman There are few who'd deny, at what I do I am the best For my talents are renowned far and wide When it comes to surprises in the moonlit night I excel without ever even trying With the slightest little effort of my ghostlike charms I have seen grown men give out a shriek With the wave of my hand, and a well-placed moan I have swept the very bravest off their feet Yet year after year, it's the same routine And I grow so weary of the sound of screams And I, Jack, the Pumpkin King Have grown so tired of the same old thing Oh, somewhere deep inside of these bones An emptiness began to grow There's something out there, far from my home A longing that I've never known I'm the master of fright, and a demon of light And I'll scare you right out of your pants To a guy in Kentucky, I'm Mister Unlucky And I'm known throughout England and France And since I am dead, I can take off my head To recite Shakespearean quotations No animal nor man can scream like I can With the fury of my recitations But who here would ever understand That the Pumpkin King with the skeleton grin Would tire of his crown, if they only understood He'd give it all up if he only could Oh, there's an empty place in my bones That calls out for something unknown The fame and praise come year after year Does nothing for these empty tears [leaving graveyard and entering forest] SALLY Jack, I know how you feel. [Sally gathers herbs] [back at Dr. Finkelstein's castle] DR. FINKELSTEIN Sally, you've come back. SALLY I had to. DR. FINKELSTEIN For this? [showing her arm] SALLY Yes. DR. FINKELSTEIN Shall we then. That's twice this month you've slipped deadly nightshade into my tea and run off -- SALLY Three times! DR. FINKELSTEIN You're mine you know! I made you with my own hands. SALLY You can make other creations. I'm restless, I can't help it. DR. FINKELSTEIN It's a phase my dear, it'll pass. We need to be patient that's all. SALLY But, I don't want to be patient. [forest] ZERO bark JACK No Zero, not now. I'm not in the mood. ZERO bark JACK All right. [giving Zero a rib from himself] Here ya go boy. [Zero gets rib and shows off his nose] [Back to Halloweentown] MAYOR Morning gents [to the band] [humming This Is Halloween, walks up to Jack's front door and rings bell] MAYOR Jack, you home? [getting worried, switches face and knocks with desperation then switch back to happy face] MAYOR Jack? I've got the plans for next Halloween. I need to go over them with you so we can get started. MAYOR (with worried face) Jack, please, I'm only an elected an official here, I can't make decisions by myself. Jack, answer me!! [falls down steps] ACCORDION PLAYER He's not home. MAYOR Where is he? SAX PLAYER He hasn't been home all night. MAYOR ooooo [back to forest] JACK (yawning) Where are we? It's someplace new. ZERO bark bark JACK What is this? [Jack sees Valentine's tree, shamrock tree, Easter egg tree, turkey tree] JACK [gasps] [sees Xmas tree] [turns knob and gets sucked in] ZERO bark bark JACK Whoa!!!! What's This? Performed by Danny Elfman What's this? What's this? There's color everywhere What's this? There's white things in the air What's this? I can't believe my eyes I must be dreaming Wake up, Jack, this isn't fair What's this? What's this? What's this? There's something very wrong What's this? There's people singing songs What's this? The streets are lined with Little creatures laughing Everybody seems so happy Have I possibly gone daffy? What is this? What's this? There's children throwing snowballs instead of throwing heads They're busy building toys And absolutely no one's dead There's frost on every window Oh, I can't believe my eyes And in my bones I feel the warmth That's coming from inside Oh, look What's this? They're hanging mistletoe, they kiss Why that looks so unique, inspired They're gathering around to hear a story Roasting chestnuts on a fire What's this? What's this? In here they've got a little tree, how queer And who would ever think And why? They're covering it with tiny little things They've got electric lights on strings And there's a smile on everyone So, now, correct me if I'm wrong This looks like fun This looks like fun Oh, could it be I got my wish? What's this? Oh my, what now? The children are asleep But look, there's nothing underneath No ghouls, no witches here to scream and scare them Or ensnare them, only little cozy things Secure inside their dreamland What's this? The monsters are all missing And the nightmares can't be found And in their place there seems to be Good feeling all around Instead of screams, I swear I can hear music in the air The smell of cakes and pies Are absolutely everywhere The sights, the sounds They're everywhere and all around I've never felt so good before This empty place inside of me is filling up I simply cannot get enough I want it, oh, I want it Oh, I want it for my own I've got to know I've got to know What is this place that I have found? What is this? Christmas Town, hmm... SANDY CLAWS Ho Ho Ho Ho ho ho ho ho JACK hmm.. [Halloweentown] CLOWN This has never happened before. Witch It's suspicious. Witch (little) It's peculiar. VAMPIRES It's scary. MAYOR Stand aside. WEREWOLF grrrr MAYOR Coming through. We've got find Jack. There's only 365 days left till next Halloween. WEREWOLF 364! MAYOR Is there anywhere we've forgotten to check? Clown I looked in every mausoleum. WITCHES We opened the sarcophagi. Hyde I tromped through the pumpkin patch. VAMPIRE I peeked behind the Cyclops's eye. I did! But he wasn't there. MAYOR It's time to sound the alarms. [DR. FINKELSTEIN's castle] SALLY Frog's breath will overpower any odor. Bitter. [coughing] Worm's wart. Where's that worm's wart? DR. FINKELSTEIN Sally, that soup ready yet? SALLY Coming....lunch DR. FINKELSTEIN Ah, what's that? Worm's wart, mmm, and...frog's breath. SALLY What's wrong? I-I thought you liked frog's breath. DR. FINKELSTEIN Nothing's more suspicious than frog's breath. Until you taste it I won't swallow a spoonful. SALLY I'm not hungry... [knocking spoon] Oops! DR. FINKELSTEIN You want me to starve. An old man like me who hardly has strength as it is. Me, to whom you owe your very life. SALLY Oh don't be silly. [eats soup with trick spoon] Mmmm, see. Scrumptious. [Dr. Finkelstein eats soup] [Halloween] MAYOR Did anyone think to dredge the lake? VAMPIRE Ah, this morning! ZERO barks Witch Hear that? Witch (little) What? Witch Shh! ZERO barks VAMPIRE Zero! [fanfare as Jack and Zero arrive] Kid Jack's back! MAYOR Where have you been? JACK Call a town meeting and I'll tell everyone all about it. MAYOR When? JACK Immediately! MAYOR [in his mayor truck] Town meeting, town meeting, town meeting tonight, town meeting tonight [at meeting] Clown [giggles as he hits Sally] JACK Listen everyone. I want to tell you about Christmastown. Town Meeting Song Performed by Danny Elfman and Cast JACK There are objects so peculiar They were not to be believed All around, things to tantalize my brain It's a world unlike anything I've ever seen And as hard as I try I can't seem to describe Like a most improbable dream But you must believe when I tell you this It's as real as my skull and it does exist Here, let me show you This is a thing called a present The whole thing starts with a box DEVIL A box? is it steel? WEREWOLF Are there locks? HARLEOUIN DEMON Is it filled with a pox? DEVIL, WEREWOLF, HARLEQUIN DEMON A pox How delightful, a pox JACK If you please Just a box with bright-colored paper And the whole thing's topped with a bow WITCHES A bow? But why? How ugly What's in it? What's in it? JACK That's the point of the thing, not to know CLOWN It's a bat Will it bend? CREATURE UNDER THE STAIRS It's a rat Will it break? UNDERSEA GAL Perhaps it s the head that I found in the lake JACK Listen now, you don't understand That's not the point of Christmas land Now, pay attention We pick up an oversized sock And hang it like this on the wall MR. HYDE Oh, yes! Does it still have a foot? MEDIUM MR. HYDE Let me see, let me look SMALL MR. HYDE Is it rotted and covered with gook? JACK Um, let me explain There's no foot inside, but there's candy Or sometimes it's filled with small toys MUMMY AND WINGED DEMON Small toys WINGED DEMON Do they bite? MUMMY Do they snap? WINGED DEMON Or explode in a sack? CORPSE KID Or perhaps they just spring out And scare girls and boys MAYOR What a splendid idea This Christmas sounds fun I fully endorse it Let's try it at once JACK Everyone, please now, not so fast There's something here that you don't quite grasp Well, I may as well give them what they want And the best, I must confess, I have saved for the last For the ruler of this Christmas land Is a fearsome king with a deep mighty voice Least that's what I've come to understand And I've also heard it told That he's something to behold Like a lobster, huge and red When he sets out to slay with his rain gear on Carting bulging sacks with his big great arms That is, so I've heard it said And on a dark, cold night Under full moonlight He flies into a fog Like a vulture in the sky And they call him Sandy Claws Well, at least they're excited But they don't understand That special kind of feeling in Christmas land Oh, well... [Jack's house] JACK There's got to be a logical way to explain this Xmas thing. [Dr. Finkelstein's castle] DR. FINKELSTEIN You've poisoned me for the last time you wretched girl. [locks Sally away] [dingdong] DR. FINKELSTEIN Oh my head...the door is open. JACK Hel-lo DR. FINKELSTEIN Jack Skellington, up here my boy. JACK Dr. I need to borrow some equipment. DR. FINKELSTEIN Is that so, whatever for? JACK I'm conducting a series of experiments. DR. FINKELSTEIN How perfectly marvelous. Curiosity killed the cat, you know. JACK I know. DR. FINKELSTEIN Come on into the lab and we'll get you all fixed up. SALLY Hmm. Experiments? [Jack's house] JACK Zero, I'm home. [Jack examines & experiments with Xmas stuff] JACK Interesting reaction....but what does it mean? [Sally's room] [after Sally jumps to give Jack his basket...] DR. FINKELSTEIN You can come out now if you promise to behave. Sally. Sally. Oooh! Gone again! [Jack's house] [Sally gives Jack his basket and sneaks off and picks a flower which catches on fire] Jack's Obsession Performed by Danny Elfman and Cast CITIZENS OF HALLOWEEN Something's up with Jack Something's up with Jack Don't know if we're ever going to get him back He's all alone up there Locked away inside Never says a word Hope he hasn't died Something's up with Jack Something's up with Jack JACK Christmas time is buzzing in my skull Will it let me be? I cannot tell There's so many things I cannot grasp When I think I've got it, and then at last Through my bony fingers it does slip Like a snowflake in a fiery grip Something here I'm not quite getting Though I try, I keep forgetting Like a memory long since past Here in an instant, gone in a flash What does it mean? What does it mean? In these little bric-a-brac A secret's waiting to be cracked These dolls and toys confuse me so Confound it all, I love it though Simple objects, nothing more But something's hidden through a door Though I do not have the key Something's there I cannot see What does it mean? What does it mean? What does it mean? Hmm... I've read these Christmas books so many times I know the stories and I know the rhymes I know the Christmas carols all by heart My skull's so full, it's tearing me apart As often as I've read them, something's wrong So hard to put my bony finger on Or perhaps it's really not as deep As I've been led to think Am I trying much too hard? Of course! I've been too close to see The answer's right in front of me Right in front of me It's simple really, very clear Like music drifting in the air Invisible, but everywhere Just because I cannot see it Doesn't mean I can't believe it You know, I think this Christmas thing It's not as tricky as it seems And why should they have all the fun? It should belong to anyone Not anyone, in fact, but me Why, I could make a Christmas tree And there's no reason I can find I couldn't handle Christmas time I bet I could improve it too And that's exactly what I'll do Hee,hee,hee JACK Eureka!! This year, Christmas will be ours! MAYOR Patience, everyone. Jack has a special Job for each of us. Dr. Finkelstein, your Xmas assignment is ready. Dr. Finkelstein to the front of the line. VAMPIRE What kind of a noise is that for a baby to make? JACK Perhaps it can be improved? VAMPIRES No problem! JACK I knew it! Dr. thank you for coming. We need some of these. [showing picture of Santa and sleigh] DR. FINKELSTEIN Hmm.. their construction should be exceedingly simple. I think. MAYOR How horrible our Xmas will be. JACK No--how jolly. MAYOR [switches face] Oh, how jolly our Xmas will be. [gets pelted] What are you doing here? LOCK Jack sent for us. SHOCK Specifically. BARREL By name. LOCK Lock SHOCK Shock BARREL Barrel MAYOR Jack, Jack it's Oogie's boys! JACK Ah, Halloween's finest trick or treaters. The job I have for you is top secret. It requires craft, cunning, mischief. SHOCK And we thought you didn't like us, Jack. [giggles] JACK Absolutely no one is to know about it. Not a soul. Now-- [whispers to LS&B] And one more thing -- leave that no account Ooogie Boogie out of this! BARREL Whatever you say, Jack. SHOCK Of course Jack. LOCK Wouldn't dream of it Jack. [all said with their fingers crossed] Kidnap the Sandy Claws Performed by Paul Reubens, Catherine O'Hara, and Danny Elfman LOCK, SHOCK, AND BARREL Kidnap Mr. Sandy Claws LOCK I wanna do it BARREL Let's draw straws SHOCK Jack said we should work together Three of a kind LOCK, SHOCK, AND BARREL Birds of a feather Now and forever Wheeee La, la, la, la, la Kidnap the Sandy Claws, lock him up real tight Throw away the key and then Turn off all the lights SHOCK First, we're going to set some bait Inside a nasty trap and wait When he comes a-sniffing we will Snap the trap and close the gate LOCK Wait! I've got a better plan To catch this big red lobster man Let's pop him in a boiling pot And when he's done we'll butter him up LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws Throw him in a box Bury him for ninety years Then see if he talks SHOCK Then Mr. Oogie Boogie Man Can take the whole thing over then He'll be so pleased, I do declare That he will cook him rare LOCK,SHOCK, AND BARREL Wheeee LOCK I say that we take a cannon Aim it at his door And then knock three times And when he answers Sandy Claws will be no more SHOCK You're so stupid, think now lf we blow him up to smithereens We may lose some pieces And then Jack will beat us black and green LOCK,SHOCK, AND BARREL Kidnap the Sandy Claws Tie him in a bag Throw him in the ocean Then, see if he is sad LOCK AND SHOCK Because Mr. Oogie Boogie is the meanest guy around If I were on his Boogie list, I'd get out of town BARREL He'll be so pleased by our success That he'll reward us too, I'll bet LOCK, SHOCK, AND BARREL Perhaps he'll make his special brew Of snake and spider stew Ummm! We're his little henchmen and We take our job with pride We do our best to please him And stay on his good side SHOCK I wish my cohorts weren't so dumb BARREL I'm not the dumb one LOCK You're no fun SHOCK Shut up LOCK Make me SHOCK I've got something, listen now This one is real good, you'll see We'll send a present to his door Upon there'll be a note to read Now, in the box we'll wait and hide Until his curiosity entices him to look inside BARREL And then we'll have him One, two, three LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws, beat him with a stick Lock him up for ninety years, see what makes him tick Kidnap the Sandy Claws, chop him into bits Mr. Oogie Boogie is sure to get his kicks Kidnap the Sandy Claws, see what we will see Lock him in a cage and then, throw away the key OOGIE BOOGIE Sandy Claws..hahaha [city hall] JACK It goes something like this. [Jingle bells] How about it? Think you can manage? PERSON INSIDE BASS a one, and a two, and a three, and a. . . [Jingle in a flat key by the band] MAYOR Next! JACK Fantastic! Now why don't you all practice on that and we'll be in great shape. Sally, I need your help more than anyone's. SALLY You certainly do, Jack. I had the most terrible vision. JACK That's splendid. SALLY No, it was about your Xmas. There was smoke and fire. JACK That not my Xmas. My Xmas is filled with laughter and joy and this--my Sandy Claws outfit. I want you to make it. SALLY Jack, please, listen to me--it's going to be a disaster. JACK How could it be--just follow the pattern. This part is red, the trim is white. SALLY It's a mistake, Jack. JACK Now don't be modest, who else is clever enough to make my Sandy claws outfit. MAYOR Next! JACK I have every confidence in you. SALLY But it seems wrong to me, very wrong. [to Behemoth] JACK This device is called a nutcracker. LOCK, SHOCK & BARREL Jack, Jack we caught him we caught him. JACK Perfect! Open it up. Quickly! [opens to reveal the Easter bunny] JACK That's not Sandy Claws! SHOCK It isn't? BARREL Who is it? BEHEMOTH Bunny! JACK Not Sandy Claws...take him back! LOCK We followed your instructions-- BARREL we went through the door-- JACK Which door? There's more than one. Sandy Claws is behind the door shaped like this. [shows Xmas cookie in shape of tree] SHOCK I told you! [LS&B start fighting] JACK Arr!! [making scary face at LS&B] JACK I'm very sorry for the inconvenience, sir. Take him home first and apologize again. Be careful with Sandy Claws when you fetch him. Treat him nicely. LOCK, SHOCK & BARREL Got it. We'll get it right next time. [Dr. Finkelstein's castle] DR. FINKELSTEIN You will be a decided improvement over that treacherous Sally. IGOR Master, the plans. DR. FINKELSTEIN Excellent, Igor. [throws him a dog bone] Making Christmas Performed by Danny Elfman and the Citizens of Halloween CLOWN This time, this time GROUP Making Christmas ACCORDION PLAYER Making Christmas MAYOR Making Christmas, making Christmas Is so fine GROUP It's ours this time And won't the children be surprised It's ours this time CHILD CORPSE Making Christmas MUMMY Making Christmas MUMMY AND CORPSE CHILD Making Christmas WITCHES Time to give them something fun WITCHES AND CREATURE LADY They'll talk about for years to come GROUP Let's have a cheer from everyone It's time to party DUCK TOY Making Christmas, making Christmas VAMPIRES Snakes and mice get wrapped up so nice With spider legs and pretty bows VAMPIRES AND WINGED DEMON It's ours this time CORPSE FATHER All together, that and this CORPSE FATHER, WOLF MAN With all our tricks we're CORPSE FATHER, WOLF MAN, DEVIL Making Christmastime WOLF MAN Here comes Jack JACK I don't believe what's happening to me My hopes, my dreams, my fantasies Hee, hee, hee, hee HARLEQUIN Won't they be impressed, I am a genius See how I transformed this old rat Into a most delightful hat JACK Hmm, my compliments from me to you On this your most intriguing hat Consider though this substitute A bat in place of this old rat Huh! No, no, no, now that's all wrong This thing will never make a present It's been dead now for much too long Try something fresher, something pleasant Try again, don't give up THREE MR. HYDES All together, that and this With all our tricks we're making Christmastime (Instrumental) GROUP This time, this time JACK It's ours! GROUP Making Christmas, making Christmas La, la, la It's almost here GROUP AND WOLF MAN And we can't wait GROUP AND HARLEOUIN So ring the bells and celebrate GROUP 'Cause when the full moon starts to climb We'll all sing out JACK It's Christmastime Hee, hee, hee [Christmastown] SANDY CLAWS Kathleen, Bobby, Susie, yes, Susie's been nice. Nice, nice, naughty, nice, nice, nice. There are hardly any naughty children this year. [door chime: jingle all the way] SANDY CLAWS Now who could that be? LOCK, SHOCK & BARREL Trick or treat! SANDY CLAWS Huh? [back to Halloweentown] [to Jack in Sandy garb] SALLY You don't look like yourself Jack, not at all. JACK Isn't that wonderful. It couldn't be more wonderful! SALLY But you're the Pumpkin King. JACK Not anymore. And I feel so much better now. SALLY Jack, I know you think something's missing. But -- [pricks Jack's finger with needle] JACK SALLY Sorry JACK You're right, something is missing but what? I've got the beard, the coat, the boots -- LOCK, SHOCK & BARREL Jack, Jack this time we bagged him! LOCK This time we really did! BARREL He sure is big Jack! SHOCK And heavy! SANDY CLAWS Let me out! JACK Sandy Claws in person. What a pleasure to meet you. Why you have hands! You don't have claws at all. SANDY CLAWS Where am I? JACK Surprised aren't you? I knew you would be. You don't need to have another worry about Xmas this year. SANDY CLAWS What? JACK Consider this a vacation Sandy, a reward. It's your turn to take it easy. SANDY CLAWS But there must be some mistake! JACK See that he's comfortable. Just a second fellows. Of course, that's what I'm missing. SANDY CLAWS But -- JACK Thanks! [took Sandy's hat] SANDY CLAWS You just can't... Hold on where are we going now? JACK ho ho ho SALLY This is worse than I thought, much worse. I know... SANDY CLAWS Me? On vacation on Xmas eve? BARREL Where are we taking him? SALLY Where? LOCK To Oogie boogie, of course. There isn't anywhere in the whole world more comfortable than that and Jack said to make him comfortable. Didn't he? SHOCK & BARREL Yes he did. SANDY CLAWS Haven't you heard of peace on earth and good will toward men? LOCK, SHOCK & BARREL No! [Dr. Finkelstein's castle] [getting fog juice] SALLY This'll stop Jack. [working on new creation to replace Sally] DR. FINKELSTEIN What a joy to think of all we'll have in common. We'll have conversations worth having. [Oogie's] LOCK, SHOCK & BARREL [laughing] SANDY CLAWS Don't do this. Naughty children never get any presents. SHOCK I think he might be too big. LOCK No he's not. If he can go down a chimney, he can fit down here! [in Oogie's lair] Oogie Boogie's Song Performed by Ken Page with Ed lvory OOGIE BOOGIE Well, well, well, what have we here? Sandy Claws, huh? Oh, I'm really scared So you're the one everybody's talkin' about, ha, ha You're jokin', you're jokin' I can't believe my eyes You're jokin' me, you gotta be This can't be the right guy He's ancient, he's ugly I don't know which is worse I might just split a seam now If I don't die laughing first Mr. Oogie Boogie says There's trouble close at hand You'd better pay attention now 'Cause I'm the Boogie Man And if you aren't shakin' There's something very wrong 'Cause this may be the last time You hear the boogie song, ohhh THREE SKELETONS Ohhh OOGIE BOOGIE Ohhh TWO SKELETONS IN VICE Ohhh OOGIE BOOGIE Ohhh THREE BATS Ohhh, he's the Oogie Boogie Man SANTA Release me now Or you must face the dire consequences The children are expecting me So please, come to your senses OOGIE BOOGIE You're jokin', you're jokin' I can't believe my ears Would someone shut this fella up I'm drownin' in my tears It's funny, I'm laughing You really are too much And now, with your permission I'm going to do my stuff SANTA What are you going to do? OOGIE BOOGIE I'm gonna do the best I can Oh, the sound of rollin' dice To me is music in the air 'Cause I'm a gamblin' Boogie Man Although I don't play fair It's much more fun, I must confess With lives on the line Not mine, of course, but yours, old boy Now that'd be just fine SANTA Release me fast or you will have to Answer for this heinous act OOGIE BOOGIE Oh, brother, you're something You put me in a spin You aren't comprehending The position that you're in It's hopeless, you're finished You haven't got a prayer 'Cause I'm Mr. Oogie Boogie And you ain't going nowhere [LS&B laughing] [back to Halloweentown] [Sally pouring fog juice into fountain] [Jack appears from coffin and there's applause] MAYOR Think of us as you soar triumphantly through the sky outshining every star. Your silhouette a dark blot on the moon, you who are our pride, you who are our glory, you who have frightened billions into an early grave. [the fog starts to get worse] MAYOR You who have eh, devastated the souls of the living... JACK Oh no! We can't take off in this! The reindeer can't see an inch in front of their noses. SALLY Whew! VAMPIRE This fog's as thick as, as... CYCLOPS Jelly brains VAMPIRE Thicker! JACK There go all of my hope, my precious plans, my glorious dreams. Kid [crying] There goes Xmas. ZERO barks JACK No Zero, down boy. My what a brilliant nose you have. The better to light my way! To the head of the team, Zero! We're off! SALLY Wait Jack, no! [Jack is off!] [cheers] JACK ho ho ha ha ha SALLY Good bye Jack, my dearest Jack. Oh how I hope my premonition is wrong. Sally's Song Performed by Catherine O'Hara I sense there's something in the wind That feels like tragedy's at hand And though I'd like to stand by him Can't shake this feeling that I have The worst is just around the bend And does he notice my feelings for him? And will he see how much he means to me? I think it's not to be What will become of my dear friend? Where will his actions lead us then? Although I'd like to join the crowd In their enthusiastic cloud Try as I may, it doesn't last And will we ever end up together? No, I think not, it's never to become For I am not the one [Jack playing Sandy] JACK ho ho ho ho ho ho he he he [lands loudly & wakes up little kid] A little kid Santa! [sees Jack] [gasps] Santa? JACK Merry Xmas! And what is your name? Kid uh uh JACK That's all right. I have a special present for you anyway. There you go sonny. Hohohohehehe [goes back up chimney] Mother And what did Santa bring you honey? [pulls out shrunken head] [mother and father scream] JACK Merry Xmas! Cop [ON PHONE] Hello, police. [frantic peanuts-type talk] Attacked by Xmas toys? That's strange. That's the second toy complaint we've had. JACK hohohohehehe [killer wreath, snake, vampire toy, killer duck] [screams] [Jack puts toys down chimneys] [screams] [Jack in the box chases fat kid] JACK You're welcome one and all! Cop [on phone] Where'd you spot him? ---Fast as we can, ma'am ---Police ---I know, I know a skeleton ---Keep calm ---Turn off all the lights ---Make sure the doors are Locked ---Hello, police Newscaster Reports are pouring in from all over the globe that an impostor is shamelessly impersonating Santa Claus, mocking and mangling this joyous holiday. Halloween residents [cheers] Newscaster Police assure us that this moment, military units are mobilizing to stop the perpetrator of this heinous crime. SALLY [over the Newscaster] Jack, someone has to help Jack. Where'd they take that Sandy Claws? Newscaster --Come back and save Xmas JACK Look Zero, search lights! [firing at Jack] JACK They're celebrating! They're thanking us for doing such a good job. [almost hits Zero] JACK Whoa, careful down there, you almost hit us. ZERO bark JACK It's ok, Zero. Head higher! [Oogie lair] OOGIE BOOGIE Are you a gamblin man, Sandy? Let's play. [sees sally's leg] OOGIE BOOGIE Mmmm.. my, my....what have we here? [Sally's hands start to rescue Sandy] SALLY [whispering] I'll get you out of here. OOGIE BOOGIE Ah, lovely. Tickle, tickle, tickle. Tickle, tickle, tickle. [Sally's hands untie Sandy] [Oogie realizes that there's no body to the leg] OOGIE BOOGIE What?!? You trying to make a dupe out of me? [Oogie sucks Sandy and Sally back in] [back to Jack] JACK Who's next on my list. Ah, little Harry and Jordan. Won't they be surprised. [sleigh gets hit] JACK They're trying to hit us! ZERO! ZERO Bark [sleigh gets hit] [as Jack's falling] JACK Merry Xmas to all and to all a good night... [Halloween] WEREWOLF howl! MAYOR (with white face) I knew this Xmas thing was a bad idea. I felt it in my gut. Terrible news folks. The worst tragedy of our times. Jack has been blown to smithereens. Terrible, terrible news. [back to "no

29

Nightmare Before Christmas The

Caroline Thompson

Animation,Comedy,Fantasy,Horror,Musical

August_1991

NARRATOR 'Twas a long time ago, longer now than it seems, in a place that perhaps you've seen in your dreams. For the story that you are about to be told, took place in the holiday worlds of old. Now, you've probably wondered where holidays come from. If you haven't, I'd say it's time you begun. This Is Halloween SHADOW Boys and girls of every age Wouldn't you like to see something strange? SIAMESE SHADOW Come with us and you will see This, our town of Halloween PUMPKIN PATCH CHORUS This is Halloween, this is Halloween Pumpkins scream in the dead of night GHOSTS This is Halloween, everybody make a scene Trick or treat till the neighbors gonna die of fright It's our town, everybody scream In this town of Halloween CREATURE UNDER BED I am the one hiding under your bed Teeth ground sharp and eyes glowing red MAN UNDER THE STAIRS I am the one hiding under your stairs Fingers like snakes and spiders in my hair CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! VAMPIRES In this town we call home Everyone hail to the pumpkin song MAYOR In this town, don't we love it now? Everybody's waiting for the next surprise CORPSE CHORUS Round that corner, man hiding in the trash can Something's waiting now to pounce, and how you'll scream HARLEQUIN DEMON, WEREWOLF, AND MELTING MAN Scream! This is Halloween Red 'n' black, slimy green WEREWOLF Aren't you scared? WITCHES Well, that's just fine Say it once, say it twice Take the chance and roll the dice Ride with the moon in the dead of night HANGING TREE Everybody scream, everybody scream HANGED MEN In our town of Halloween CLOWN I am the clown with the tear-away face Here in a flash and gone without a trace SECOND GHOUL I am the "who" when you call, "Who's there?" I am the wind blowing through your hair OOGIE BOOGIE SHADOW I am the shadow on the moon at night Filling your dreams to the brim with fright CORPSE CHORUS This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! Halloween! Halloween! CHILD CORPSE TRIO Tender lumplings everywhere Life's no fun without a good scare PARENT CORPSES That's our job, but we're not mean In our town of Halloween CORPSE CHORUS In this town MAYOR Don't we love it now? MAYOR WITH CORPSE CHORUS Everyone's waiting for the next surprise CORPSE CHORUS Skeleton Jack might catch you in the back And scream like a banshee Make you jump out of your skin This is Halloween, everybody scream Won't ya please make way for a very special guy Our man Jack is king of the pumpkin patch Everyone hail to the Pumpkin King now EVERYONE This is Halloween, this is Halloween Halloween! Halloween! Halloween! Halloween! CORPSE CHILD TRIO In this town we call home Everyone hail to the pumpkin song EVERYONE La la-la la, Halloween! Halloween! (etc.) EVERYONE [applause] WITCHES Cackling CLOWN It's over! BEHEMOTH We did it! [tummy bump] WEREWOLF Wasn't it terrifying? HYDE & CYCLOPS What a night! MAYOR Great Halloween everybody. JACK I believe it was our most horrible yet! Thank you everyone. MAYOR No, thanks to you, Jack. Without your brilliant leadership - JACK Not at all Mayor. VAMPIRE (fat) You're such a scream, Jack WITCH You're a witch's fondest dream! WITCH (little) You made walls fall, Jack WITCH Walls fall? You made the very mountains crack, Jack DR. FINKELSTEIN The deadly nightshade you slipped me wore off, Sally. SALLY Let go! DR. FINKELSTEIN You're not ready for so much excitement! SALLY Yes I am! DR. FINKELSTEIN You're coming with me! SALLY No I'm not! [Sally pulls out the thread that's holding her arm on] DR. FINKELSTEIN Come back here you foolish oaf! Ow! CREATURE FROM BLACK LAGOON Ooo Jack, you make wounds ooze and flesh crawl. JACK Thank you, thank you, thank you -- very much MAYOR Hold it! We haven't given out the prizes yet! Our first award goes to the vampires for most blood drained in a single evening. [applause] MAYOR A frightening and honorable mention goes to the fabulous Dark Lagoon leeches SAX PLAYER Nice work, Bone Daddy. JACK Yeah, I guess so. Just like last year and the year before that and the year before that. [entering graveyard] Jack's Lament Performed by Danny Elfman There are few who'd deny, at what I do I am the best For my talents are renowned far and wide When it comes to surprises in the moonlit night I excel without ever even trying With the slightest little effort of my ghostlike charms I have seen grown men give out a shriek With the wave of my hand, and a well-placed moan I have swept the very bravest off their feet Yet year after year, it's the same routine And I grow so weary of the sound of screams And I, Jack, the Pumpkin King Have grown so tired of the same old thing Oh, somewhere deep inside of these bones An emptiness began to grow There's something out there, far from my home A longing that I've never known I'm the master of fright, and a demon of light And I'll scare you right out of your pants To a guy in Kentucky, I'm Mister Unlucky And I'm known throughout England and France And since I am dead, I can take off my head To recite Shakespearean quotations No animal nor man can scream like I can With the fury of my recitations But who here would ever understand That the Pumpkin King with the skeleton grin Would tire of his crown, if they only understood He'd give it all up if he only could Oh, there's an empty place in my bones That calls out for something unknown The fame and praise come year after year Does nothing for these empty tears [leaving graveyard and entering forest] SALLY Jack, I know how you feel. [Sally gathers herbs] [back at Dr. Finkelstein's castle] DR. FINKELSTEIN Sally, you've come back. SALLY I had to. DR. FINKELSTEIN For this? [showing her arm] SALLY Yes. DR. FINKELSTEIN Shall we then. That's twice this month you've slipped deadly nightshade into my tea and run off -- SALLY Three times! DR. FINKELSTEIN You're mine you know! I made you with my own hands. SALLY You can make other creations. I'm restless, I can't help it. DR. FINKELSTEIN It's a phase my dear, it'll pass. We need to be patient that's all. SALLY But, I don't want to be patient. [forest] ZERO bark JACK No Zero, not now. I'm not in the mood. ZERO bark JACK All right. [giving Zero a rib from himself] Here ya go boy. [Zero gets rib and shows off his nose] [Back to Halloweentown] MAYOR Morning gents [to the band] [humming This Is Halloween, walks up to Jack's front door and rings bell] MAYOR Jack, you home? [getting worried, switches face and knocks with desperation then switch back to happy face] MAYOR Jack? I've got the plans for next Halloween. I need to go over them with you so we can get started. MAYOR (with worried face) Jack, please, I'm only an elected an official here, I can't make decisions by myself. Jack, answer me!! [falls down steps] ACCORDION PLAYER He's not home. MAYOR Where is he? SAX PLAYER He hasn't been home all night. MAYOR ooooo [back to forest] JACK (yawning) Where are we? It's someplace new. ZERO bark bark JACK What is this? [Jack sees Valentine's tree, shamrock tree, Easter egg tree, turkey tree] JACK [gasps] [sees Xmas tree] [turns knob and gets sucked in] ZERO bark bark JACK Whoa!!!! What's This? Performed by Danny Elfman What's this? What's this? There's color everywhere What's this? There's white things in the air What's this? I can't believe my eyes I must be dreaming Wake up, Jack, this isn't fair What's this? What's this? What's this? There's something very wrong What's this? There's people singing songs What's this? The streets are lined with Little creatures laughing Everybody seems so happy Have I possibly gone daffy? What is this? What's this? There's children throwing snowballs instead of throwing heads They're busy building toys And absolutely no one's dead There's frost on every window Oh, I can't believe my eyes And in my bones I feel the warmth That's coming from inside Oh, look What's this? They're hanging mistletoe, they kiss Why that looks so unique, inspired They're gathering around to hear a story Roasting chestnuts on a fire What's this? What's this? In here they've got a little tree, how queer And who would ever think And why? They're covering it with tiny little things They've got electric lights on strings And there's a smile on everyone So, now, correct me if I'm wrong This looks like fun This looks like fun Oh, could it be I got my wish? What's this? Oh my, what now? The children are asleep But look, there's nothing underneath No ghouls, no witches here to scream and scare them Or ensnare them, only little cozy things Secure inside their dreamland What's this? The monsters are all missing And the nightmares can't be found And in their place there seems to be Good feeling all around Instead of screams, I swear I can hear music in the air The smell of cakes and pies Are absolutely everywhere The sights, the sounds They're everywhere and all around I've never felt so good before This empty place inside of me is filling up I simply cannot get enough I want it, oh, I want it Oh, I want it for my own I've got to know I've got to know What is this place that I have found? What is this? Christmas Town, hmm... SANDY CLAWS Ho Ho Ho Ho ho ho ho ho JACK hmm.. [Halloweentown] CLOWN This has never happened before. Witch It's suspicious. Witch (little) It's peculiar. VAMPIRES It's scary. MAYOR Stand aside. WEREWOLF grrrr MAYOR Coming through. We've got find Jack. There's only 365 days left till next Halloween. WEREWOLF 364! MAYOR Is there anywhere we've forgotten to check? Clown I looked in every mausoleum. WITCHES We opened the sarcophagi. Hyde I tromped through the pumpkin patch. VAMPIRE I peeked behind the Cyclops's eye. I did! But he wasn't there. MAYOR It's time to sound the alarms. [DR. FINKELSTEIN's castle] SALLY Frog's breath will overpower any odor. Bitter. [coughing] Worm's wart. Where's that worm's wart? DR. FINKELSTEIN Sally, that soup ready yet? SALLY Coming....lunch DR. FINKELSTEIN Ah, what's that? Worm's wart, mmm, and...frog's breath. SALLY What's wrong? I-I thought you liked frog's breath. DR. FINKELSTEIN Nothing's more suspicious than frog's breath. Until you taste it I won't swallow a spoonful. SALLY I'm not hungry... [knocking spoon] Oops! DR. FINKELSTEIN You want me to starve. An old man like me who hardly has strength as it is. Me, to whom you owe your very life. SALLY Oh don't be silly. [eats soup with trick spoon] Mmmm, see. Scrumptious. [Dr. Finkelstein eats soup] [Halloween] MAYOR Did anyone think to dredge the lake? VAMPIRE Ah, this morning! ZERO barks Witch Hear that? Witch (little) What? Witch Shh! ZERO barks VAMPIRE Zero! [fanfare as Jack and Zero arrive] Kid Jack's back! MAYOR Where have you been? JACK Call a town meeting and I'll tell everyone all about it. MAYOR When? JACK Immediately! MAYOR [in his mayor truck] Town meeting, town meeting, town meeting tonight, town meeting tonight [at meeting] Clown [giggles as he hits Sally] JACK Listen everyone. I want to tell you about Christmastown. Town Meeting Song Performed by Danny Elfman and Cast JACK There are objects so peculiar They were not to be believed All around, things to tantalize my brain It's a world unlike anything I've ever seen And as hard as I try I can't seem to describe Like a most improbable dream But you must believe when I tell you this It's as real as my skull and it does exist Here, let me show you This is a thing called a present The whole thing starts with a box DEVIL A box? is it steel? WEREWOLF Are there locks? HARLEOUIN DEMON Is it filled with a pox? DEVIL, WEREWOLF, HARLEQUIN DEMON A pox How delightful, a pox JACK If you please Just a box with bright-colored paper And the whole thing's topped with a bow WITCHES A bow? But why? How ugly What's in it? What's in it? JACK That's the point of the thing, not to know CLOWN It's a bat Will it bend? CREATURE UNDER THE STAIRS It's a rat Will it break? UNDERSEA GAL Perhaps it s the head that I found in the lake JACK Listen now, you don't understand That's not the point of Christmas land Now, pay attention We pick up an oversized sock And hang it like this on the wall MR. HYDE Oh, yes! Does it still have a foot? MEDIUM MR. HYDE Let me see, let me look SMALL MR. HYDE Is it rotted and covered with gook? JACK Um, let me explain There's no foot inside, but there's candy Or sometimes it's filled with small toys MUMMY AND WINGED DEMON Small toys WINGED DEMON Do they bite? MUMMY Do they snap? WINGED DEMON Or explode in a sack? CORPSE KID Or perhaps they just spring out And scare girls and boys MAYOR What a splendid idea This Christmas sounds fun I fully endorse it Let's try it at once JACK Everyone, please now, not so fast There's something here that you don't quite grasp Well, I may as well give them what they want And the best, I must confess, I have saved for the last For the ruler of this Christmas land Is a fearsome king with a deep mighty voice Least that's what I've come to understand And I've also heard it told That he's something to behold Like a lobster, huge and red When he sets out to slay with his rain gear on Carting bulging sacks with his big great arms That is, so I've heard it said And on a dark, cold night Under full moonlight He flies into a fog Like a vulture in the sky And they call him Sandy Claws Well, at least they're excited But they don't understand That special kind of feeling in Christmas land Oh, well... [Jack's house] JACK There's got to be a logical way to explain this Xmas thing. [Dr. Finkelstein's castle] DR. FINKELSTEIN You've poisoned me for the last time you wretched girl. [locks Sally away] [dingdong] DR. FINKELSTEIN Oh my head...the door is open. JACK Hel-lo DR. FINKELSTEIN Jack Skellington, up here my boy. JACK Dr. I need to borrow some equipment. DR. FINKELSTEIN Is that so, whatever for? JACK I'm conducting a series of experiments. DR. FINKELSTEIN How perfectly marvelous. Curiosity killed the cat, you know. JACK I know. DR. FINKELSTEIN Come on into the lab and we'll get you all fixed up. SALLY Hmm. Experiments? [Jack's house] JACK Zero, I'm home. [Jack examines & experiments with Xmas stuff] JACK Interesting reaction....but what does it mean? [Sally's room] [after Sally jumps to give Jack his basket...] DR. FINKELSTEIN You can come out now if you promise to behave. Sally. Sally. Oooh! Gone again! [Jack's house] [Sally gives Jack his basket and sneaks off and picks a flower which catches on fire] Jack's Obsession Performed by Danny Elfman and Cast CITIZENS OF HALLOWEEN Something's up with Jack Something's up with Jack Don't know if we're ever going to get him back He's all alone up there Locked away inside Never says a word Hope he hasn't died Something's up with Jack Something's up with Jack JACK Christmas time is buzzing in my skull Will it let me be? I cannot tell There's so many things I cannot grasp When I think I've got it, and then at last Through my bony fingers it does slip Like a snowflake in a fiery grip Something here I'm not quite getting Though I try, I keep forgetting Like a memory long since past Here in an instant, gone in a flash What does it mean? What does it mean? In these little bric-a-brac A secret's waiting to be cracked These dolls and toys confuse me so Confound it all, I love it though Simple objects, nothing more But something's hidden through a door Though I do not have the key Something's there I cannot see What does it mean? What does it mean? What does it mean? Hmm... I've read these Christmas books so many times I know the stories and I know the rhymes I know the Christmas carols all by heart My skull's so full, it's tearing me apart As often as I've read them, something's wrong So hard to put my bony finger on Or perhaps it's really not as deep As I've been led to think Am I trying much too hard? Of course! I've been too close to see The answer's right in front of me Right in front of me It's simple really, very clear Like music drifting in the air Invisible, but everywhere Just because I cannot see it Doesn't mean I can't believe it You know, I think this Christmas thing It's not as tricky as it seems And why should they have all the fun? It should belong to anyone Not anyone, in fact, but me Why, I could make a Christmas tree And there's no reason I can find I couldn't handle Christmas time I bet I could improve it too And that's exactly what I'll do Hee,hee,hee JACK Eureka!! This year, Christmas will be ours! MAYOR Patience, everyone. Jack has a special Job for each of us. Dr. Finkelstein, your Xmas assignment is ready. Dr. Finkelstein to the front of the line. VAMPIRE What kind of a noise is that for a baby to make? JACK Perhaps it can be improved? VAMPIRES No problem! JACK I knew it! Dr. thank you for coming. We need some of these. [showing picture of Santa and sleigh] DR. FINKELSTEIN Hmm.. their construction should be exceedingly simple. I think. MAYOR How horrible our Xmas will be. JACK No--how jolly. MAYOR [switches face] Oh, how jolly our Xmas will be. [gets pelted] What are you doing here? LOCK Jack sent for us. SHOCK Specifically. BARREL By name. LOCK Lock SHOCK Shock BARREL Barrel MAYOR Jack, Jack it's Oogie's boys! JACK Ah, Halloween's finest trick or treaters. The job I have for you is top secret. It requires craft, cunning, mischief. SHOCK And we thought you didn't like us, Jack. [giggles] JACK Absolutely no one is to know about it. Not a soul. Now-- [whispers to LS&B] And one more thing -- leave that no account Ooogie Boogie out of this! BARREL Whatever you say, Jack. SHOCK Of course Jack. LOCK Wouldn't dream of it Jack. [all said with their fingers crossed] Kidnap the Sandy Claws Performed by Paul Reubens, Catherine O'Hara, and Danny Elfman LOCK, SHOCK, AND BARREL Kidnap Mr. Sandy Claws LOCK I wanna do it BARREL Let's draw straws SHOCK Jack said we should work together Three of a kind LOCK, SHOCK, AND BARREL Birds of a feather Now and forever Wheeee La, la, la, la, la Kidnap the Sandy Claws, lock him up real tight Throw away the key and then Turn off all the lights SHOCK First, we're going to set some bait Inside a nasty trap and wait When he comes a-sniffing we will Snap the trap and close the gate LOCK Wait! I've got a better plan To catch this big red lobster man Let's pop him in a boiling pot And when he's done we'll butter him up LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws Throw him in a box Bury him for ninety years Then see if he talks SHOCK Then Mr. Oogie Boogie Man Can take the whole thing over then He'll be so pleased, I do declare That he will cook him rare LOCK,SHOCK, AND BARREL Wheeee LOCK I say that we take a cannon Aim it at his door And then knock three times And when he answers Sandy Claws will be no more SHOCK You're so stupid, think now lf we blow him up to smithereens We may lose some pieces And then Jack will beat us black and green LOCK,SHOCK, AND BARREL Kidnap the Sandy Claws Tie him in a bag Throw him in the ocean Then, see if he is sad LOCK AND SHOCK Because Mr. Oogie Boogie is the meanest guy around If I were on his Boogie list, I'd get out of town BARREL He'll be so pleased by our success That he'll reward us too, I'll bet LOCK, SHOCK, AND BARREL Perhaps he'll make his special brew Of snake and spider stew Ummm! We're his little henchmen and We take our job with pride We do our best to please him And stay on his good side SHOCK I wish my cohorts weren't so dumb BARREL I'm not the dumb one LOCK You're no fun SHOCK Shut up LOCK Make me SHOCK I've got something, listen now This one is real good, you'll see We'll send a present to his door Upon there'll be a note to read Now, in the box we'll wait and hide Until his curiosity entices him to look inside BARREL And then we'll have him One, two, three LOCK, SHOCK, AND BARREL Kidnap the Sandy Claws, beat him with a stick Lock him up for ninety years, see what makes him tick Kidnap the Sandy Claws, chop him into bits Mr. Oogie Boogie is sure to get his kicks Kidnap the Sandy Claws, see what we will see Lock him in a cage and then, throw away the key OOGIE BOOGIE Sandy Claws..hahaha [city hall] JACK It goes something like this. [Jingle bells] How about it? Think you can manage? PERSON INSIDE BASS a one, and a two, and a three, and a. . . [Jingle in a flat key by the band] MAYOR Next! JACK Fantastic! Now why don't you all practice on that and we'll be in great shape. Sally, I need your help more than anyone's. SALLY You certainly do, Jack. I had the most terrible vision. JACK That's splendid. SALLY No, it was about your Xmas. There was smoke and fire. JACK That not my Xmas. My Xmas is filled with laughter and joy and this--my Sandy Claws outfit. I want you to make it. SALLY Jack, please, listen to me--it's going to be a disaster. JACK How could it be--just follow the pattern. This part is red, the trim is white. SALLY It's a mistake, Jack. JACK Now don't be modest, who else is clever enough to make my Sandy claws outfit. MAYOR Next! JACK I have every confidence in you. SALLY But it seems wrong to me, very wrong. [to Behemoth] JACK This device is called a nutcracker. LOCK, SHOCK & BARREL Jack, Jack we caught him we caught him. JACK Perfect! Open it up. Quickly! [opens to reveal the Easter bunny] JACK That's not Sandy Claws! SHOCK It isn't? BARREL Who is it? BEHEMOTH Bunny! JACK Not Sandy Claws...take him back! LOCK We followed your instructions-- BARREL we went through the door-- JACK Which door? There's more than one. Sandy Claws is behind the door shaped like this. [shows Xmas cookie in shape of tree] SHOCK I told you! [LS&B start fighting] JACK Arr!! [making scary face at LS&B] JACK I'm very sorry for the inconvenience, sir. Take him home first and apologize again. Be careful with Sandy Claws when you fetch him. Treat him nicely. LOCK, SHOCK & BARREL Got it. We'll get it right next time. [Dr. Finkelstein's castle] DR. FINKELSTEIN You will be a decided improvement over that treacherous Sally. IGOR Master, the plans. DR. FINKELSTEIN Excellent, Igor. [throws him a dog bone] Making Christmas Performed by Danny Elfman and the Citizens of Halloween CLOWN This time, this time GROUP Making Christmas ACCORDION PLAYER Making Christmas MAYOR Making Christmas, making Christmas Is so fine GROUP It's ours this time And won't the children be surprised It's ours this time CHILD CORPSE Making Christmas MUMMY Making Christmas MUMMY AND CORPSE CHILD Making Christmas WITCHES Time to give them something fun WITCHES AND CREATURE LADY They'll talk about for years to come GROUP Let's have a cheer from everyone It's time to party DUCK TOY Making Christmas, making Christmas VAMPIRES Snakes and mice get wrapped up so nice With spider legs and pretty bows VAMPIRES AND WINGED DEMON It's ours this time CORPSE FATHER All together, that and this CORPSE FATHER, WOLF MAN With all our tricks we're CORPSE FATHER, WOLF MAN, DEVIL Making Christmastime WOLF MAN Here comes Jack JACK I don't believe what's happening to me My hopes, my dreams, my fantasies Hee, hee, hee, hee HARLEQUIN Won't they be impressed, I am a genius See how I transformed this old rat Into a most delightful hat JACK Hmm, my compliments from me to you On this your most intriguing hat Consider though this substitute A bat in place of this old rat Huh! No, no, no, now that's all wrong This thing will never make a present It's been dead now for much too long Try something fresher, something pleasant Try again, don't give up THREE MR. HYDES All together, that and this With all our tricks we're making Christmastime (Instrumental) GROUP This time, this time JACK It's ours! GROUP Making Christmas, making Christmas La, la, la It's almost here GROUP AND WOLF MAN And we can't wait GROUP AND HARLEOUIN So ring the bells and celebrate GROUP 'Cause when the full moon starts to climb We'll all sing out JACK It's Christmastime Hee, hee, hee [Christmastown] SANDY CLAWS Kathleen, Bobby, Susie, yes, Susie's been nice. Nice, nice, naughty, nice, nice, nice. There are hardly any naughty children this year. [door chime: jingle all the way] SANDY CLAWS Now who could that be? LOCK, SHOCK & BARREL Trick or treat! SANDY CLAWS Huh? [back to Halloweentown] [to Jack in Sandy garb] SALLY You don't look like yourself Jack, not at all. JACK Isn't that wonderful. It couldn't be more wonderful! SALLY But you're the Pumpkin King. JACK Not anymore. And I feel so much better now. SALLY Jack, I know you think something's missing. But -- [pricks Jack's finger with needle] JACK SALLY Sorry JACK You're right, something is missing but what? I've got the beard, the coat, the boots -- LOCK, SHOCK & BARREL Jack, Jack this time we bagged him! LOCK This time we really did! BARREL He sure is big Jack! SHOCK And heavy! SANDY CLAWS Let me out! JACK Sandy Claws in person. What a pleasure to meet you. Why you have hands! You don't have claws at all. SANDY CLAWS Where am I? JACK Surprised aren't you? I knew you would be. You don't need to have another worry about Xmas this year. SANDY CLAWS What? JACK Consider this a vacation Sandy, a reward. It's your turn to take it easy. SANDY CLAWS But there must be some mistake! JACK See that he's comfortable. Just a second fellows. Of course, that's what I'm missing. SANDY CLAWS But -- JACK Thanks! [took Sandy's hat] SANDY CLAWS You just can't... Hold on where are we going now? JACK ho ho ho SALLY This is worse than I thought, much worse. I know... SANDY CLAWS Me? On vacation on Xmas eve? BARREL Where are we taking him? SALLY Where? LOCK To Oogie boogie, of course. There isn't anywhere in the whole world more comfortable than that and Jack said to make him comfortable. Didn't he? SHOCK & BARREL Yes he did. SANDY CLAWS Haven't you heard of peace on earth and good will toward men? LOCK, SHOCK & BARREL No! [Dr. Finkelstein's castle] [getting fog juice] SALLY This'll stop Jack. [working on new creation to replace Sally] DR. FINKELSTEIN What a joy to think of all we'll have in common. We'll have conversations worth having. [Oogie's] LOCK, SHOCK & BARREL [laughing] SANDY CLAWS Don't do this. Naughty children never get any presents. SHOCK I think he might be too big. LOCK No he's not. If he can go down a chimney, he can fit down here! [in Oogie's lair] Oogie Boogie's Song Performed by Ken Page with Ed lvory OOGIE BOOGIE Well, well, well, what have we here? Sandy Claws, huh? Oh, I'm really scared So you're the one everybody's talkin' about, ha, ha You're jokin', you're jokin' I can't believe my eyes You're jokin' me, you gotta be This can't be the right guy He's ancient, he's ugly I don't know which is worse I might just split a seam now If I don't die laughing first Mr. Oogie Boogie says There's trouble close at hand You'd better pay attention now 'Cause I'm the Boogie Man And if you aren't shakin' There's something very wrong 'Cause this may be the last time You hear the boogie song, ohhh THREE SKELETONS Ohhh OOGIE BOOGIE Ohhh TWO SKELETONS IN VICE Ohhh OOGIE BOOGIE Ohhh THREE BATS Ohhh, he's the Oogie Boogie Man SANTA Release me now Or you must face the dire consequences The children are expecting me So please, come to your senses OOGIE BOOGIE You're jokin', you're jokin' I can't believe my ears Would someone shut this fella up I'm drownin' in my tears It's funny, I'm laughing You really are too much And now, with your permission I'm going to do my stuff SANTA What are you going to do? OOGIE BOOGIE I'm gonna do the best I can Oh, the sound of rollin' dice To me is music in the air 'Cause I'm a gamblin' Boogie Man Although I don't play fair It's much more fun, I must confess With lives on the line Not mine, of course, but yours, old boy Now that'd be just fine SANTA Release me fast or you will have to Answer for this heinous act OOGIE BOOGIE Oh, brother, you're something You put me in a spin You aren't comprehending The position that you're in It's hopeless, you're finished You haven't got a prayer 'Cause I'm Mr. Oogie Boogie And you ain't going nowhere [LS&B laughing] [back to Halloweentown] [Sally pouring fog juice into fountain] [Jack appears from coffin and there's applause] MAYOR Think of us as you soar triumphantly through the sky outshining every star. Your silhouette a dark blot on the moon, you who are our pride, you who are our glory, you who have frightened billions into an early grave. [the fog starts to get worse] MAYOR You who have eh, devastated the souls of the living... JACK Oh no! We can't take off in this! The reindeer can't see an inch in front of their noses. SALLY Whew! VAMPIRE This fog's as thick as, as... CYCLOPS Jelly brains VAMPIRE Thicker! JACK There go all of my hope, my precious plans, my glorious dreams. Kid [crying] There goes Xmas. ZERO barks JACK No Zero, down boy. My what a brilliant nose you have. The better to light my way! To the head of the team, Zero! We're off! SALLY Wait Jack, no! [Jack is off!] [cheers] JACK ho ho ha ha ha SALLY Good bye Jack, my dearest Jack. Oh how I hope my premonition is wrong. Sally's Song Performed by Catherine O'Hara I sense there's something in the wind That feels like tragedy's at hand And though I'd like to stand by him Can't shake this feeling that I have The worst is just around the bend And does he notice my feelings for him? And will he see how much he means to me? I think it's not to be What will become of my dear friend? Where will his actions lead us then? Although I'd like to join the crowd In their enthusiastic cloud Try as I may, it doesn't last And will we ever end up together? No, I think not, it's never to become For I am not the one [Jack playing Sandy] JACK ho ho ho ho ho ho he he he [lands loudly & wakes up little kid] A little kid Santa! [sees Jack] [gasps] Santa? JACK Merry Xmas! And what is your name? Kid uh uh JACK That's all right. I have a special present for you anyway. There you go sonny. Hohohohehehe [goes back up chimney] Mother And what did Santa bring you honey? [pulls out shrunken head] [mother and father scream] JACK Merry Xmas! Cop [ON PHONE] Hello, police. [frantic peanuts-type talk] Attacked by Xmas toys? That's strange. That's the second toy complaint we've had. JACK hohohohehehe [killer wreath, snake, vampire toy, killer duck] [screams] [Jack puts toys down chimneys] [screams] [Jack in the box chases fat kid] JACK You're welcome one and all! Cop [on phone] Where'd you spot him? ---Fast as we can, ma'am ---Police ---I know, I know a skeleton ---Keep calm ---Turn off all the lights ---Make sure the doors are Locked ---Hello, police Newscaster Reports are pouring in from all over the globe that an impostor is shamelessly impersonating Santa Claus, mocking and mangling this joyous holiday. Halloween residents [cheers] Newscaster Police assure us that this moment, military units are mobilizing to stop the perpetrator of this heinous crime. SALLY [over the Newscaster] Jack, someone has to help Jack. Where'd they take that Sandy Claws? Newscaster --Come back and save Xmas JACK Look Zero, search lights! [firing at Jack] JACK They're celebrating! They're thanking us for doing such a good job. [almost hits Zero] JACK Whoa, careful down there, you almost hit us. ZERO bark JACK It's ok, Zero. Head higher! [Oogie lair] OOGIE BOOGIE Are you a gamblin man, Sandy? Let's play. [sees sally's leg] OOGIE BOOGIE Mmmm.. my, my....what have we here? [Sally's hands start to rescue Sandy] SALLY [whispering] I'll get you out of here. OOGIE BOOGIE Ah, lovely. Tickle, tickle, tickle. Tickle, tickle, tickle. [Sally's hands untie Sandy] [Oogie realizes that there's no body to the leg] OOGIE BOOGIE What?!? You trying to make a dupe out of me? [Oogie sucks Sandy and Sally back in] [back to Jack] JACK Who's next on my list. Ah, little Harry and Jordan. Won't they be surprised. [sleigh gets hit] JACK They're trying to hit us! ZERO! ZERO Bark [sleigh gets hit] [as Jack's falling] JACK Merry Xmas to all and to all a good night... [Halloween] WEREWOLF howl! MAYOR (with white face) I knew this Xmas thing was a bad idea. I felt it in my gut. Terrible news folks. The worst tragedy of our times. Jack has been blown to smithereens. Terrible, terrible news. [back to "no

30

ParaNorman

Chris Butler

Animation,Adventure,Comedy

August_2012

1 INT. RESEARCH LABORATORY - NIGHT 1 An attractive FEMALE SCIENTIST in a gore-spattered lab coat moves fearfully along a wall, passing benches strewn with broken lab equipment. Her ample bosom heaves as she PANTS nervously, mascara-rimmed eyes darting to and fro. Glass SMASHES on the floor nearby and MELODRAMATIC MUSIC swells. The woman backs into a shadow, not noticing a pair of dead eyes catching the moonlight behind her. The music climbs to a frenzy as something GROANS horribly into the woman's ear. She spins around on her stiletto heels as a rotted face looms out of the darkness, drooling through broken teeth, and lunges at her neck. ZOMBIE Brains! CLOSE ON the woman as she raises her hands and SCREAMS. CUT TO: 2 2 INT. BABCOCK'S HOUSE, LIVING ROOM - NIGHT Eleven year-old NORMAN BABCOCK sits on the floor watching TV. He has large piercing eyes and a messy shock of hair. The movie scene we just witnessed continues off- screen with the sound of bloodcurdling SCREAMS. Behind him sitting upon a sofa is GRANDMA BABCOCK, a plump old lady squinting through thick glasses. GRANDMA BABCOCK What's happening now? NORMAN The zombie is eating her head, Grandma. GRANDMA BABCOCK That's not very nice. What's he doing that for? NORMAN Because he's a zombie. That's what they do. GRANDMA BABCOCK Well he's going to ruin his dinner. I'm sure if they just bothered to sit down and talk it through it'd be a different story. Norman CHUCKLES, as if the idea is absurd, then winces as he hears his father shout from the kitchen. ParaNorman 2. 2 CONTINUED: 2 PERRY BABCOCK (O.S.) Norman! Didn't I tell you to take out the garbage? NORMAN Coming, Dad! GRANDMA BABCOCK Tell him to turn up the thermostat too, will ya? My feet are like ice. Norman nods to her and shuffles over to the kitchen door. 3 3 INT. BABCOCK'S HOUSE, KITCHEN - CONTINUOUS Norman's mother, SANDRA BABCOCK, is emptying the dishwasher. She is in her late thirties, and wears `mom' clothes that do no favors for her figure. His father, PERRY BABCOCK, is older, with a neatly-trimmed beard trying hard to delineate chin from neck. He stands on a chair, decked out in tool belt and safety goggles, even though he's only changing a light bulb in a ceiling fixture. Sandra smiles at her son as he makes his way silently to an overstuffed trash can as tall as he is. SANDRA BABCOCK Hi. Whatcha watching in there? NORMAN Sex and violence. SANDRA BABCOCK Oh. That's nice. Perry glares over as Norman wrestles with the garbage. PERRY BABCOCK Can't you be like other kids your age and pitch a tent in the yard, or have a healthy interest in carpentry? SANDRA BABCOCK Perry... NORMAN I thought you said kids my age were too busy shoplifting and joyriding? SANDRA BABCOCK Norman! He hefts the bag onto the floor and ties it in a knot. ParaNorman 3. 3 CONTINUED: 3 Breezing into the kitchen through the back door while CHATTING inanely on her cell phone, Norman's older sister COURTNEY is fifteen years-old and is the bleached-blonde cheerleader archetype of every schoolboy's sordid dreams. COURTNEY Oh yeah, he's r-i-double p-e-d. Like, a seven pack at least. (TO NORMAN) Ew! Watch it! She pushes her brother out of the way as he drags the garbage outside. SANDRA BABCOCK Courtney, be nice. COURTNEY Yeah, she totally doesn't deserve him. I mean, she's nice and I really like her, but she's a complete loser. Yeah, I know. Courtney slumps into a chair at the table, twisting a strand of gum out of her mouth with a finger. Norman returns inside and shuts the door, pausing a moment as if thinking something over. NORMAN Dad? Grandma says, "Can you turn up the heating?" Her feet are cold. The bubble Courtney is blowing POPS against her face, Perry rolls his eyes and GROANS, and Sandra pales. SANDRA BABCOCK Now, Perry... PERRY BABCOCK How many times do we have to go through this, Son? Your grandmother is dead! NORMAN I know! PERRY BABCOCK Then why do you keep on talking to her? NORMAN Because she talks back! COURTNEY O-M-G, you are such a liar! ParaNorman 4. 3 CONTINUED: (2) 3 NORMAN I'm not making this up! I swear! She talks to me all the time! COURTNEY Oh yeah? Prove it! Norman levels her a look that says "you asked for this". NORMAN She said it's not very ladylike to hide photos of the High School quarterback with his shirt off in your underwear drawer. Sandra and Perry raise their eyebrows. COURTNEY I knew it! You've been sneaking around in my personal stuff! NORMAN No I haven't! Grandma told me! COURTNEY You are the worst! Courtney, brimming with outrage, storms out of the kitchen, her ponytail wagging furiously behind her. Sandra kneels down beside Norman with a wearily sympathetic smile. SANDRA BABCOCK Norman, I know you and Grandma were very close, but we all have to move on. Grandma's in a better place now. NORMAN No she's not, she's in the living room. Perry throws his arms in the air, swaying on the chair. PERRY BABCOCK Your grandmother was old and sick, and she died. That's all there is to it! SANDRA BABCOCK Perry, this is just part of the mourning process. ParaNorman 5. 3 CONTINUED: (3) 3 PERRY BABCOCK Stop indulging him! I'm nothing if I'm not liberal, but that limp- wristed, hippie garbage needs to be nipped in the bud! Norman SIGHS and steps between his parents as they argue. He mutely heads out of the room. 4 4 EXT. BABCOCK'S HOUSE, FRONT YARD - CONTINUOUS The argument in the kitchen continues, slightly muted. PERRY BABCOCK (O.S.) This behavior might be okay with your side of the family, but I'm not putting up with it anymore! Not me! SANDRA BABCOCK (O.S.) Oh, not this again! PAN UP to find a light go on in Norman's bedroom window. 5 5 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - NIGHT Norman sits on his bed, using a couple of zombie action figures to act out his parents' ongoing "discussion" which carries upstairs. Norman gets up off the bed and approaches the door. PERRY BABCOCK This isn't the West Coast, Sandra; people talk! They do! SANDRA BABCOCK (O.S.) He's just sensitive, Perry. PERRY BABCOCK (O.S.) Oh please, "sensitive" is writing poetry and being lousy at team sports... not this! I won't have him turn out like that uncle of yours! If that crazy old tramp has been around here putting ideas in Norman's head... SANDRA BABCOCK (O.S.) Perry, no one's had anything to do with Uncle Prenderghast in years! I bet he doesn't even know what Norman looks like! Norman quietly closes the door, and the room goes black. ParaNorman 6. 6 INT. MR PRENDERGHAST'S HOUSE, STUDY - NIGHT 6 CLOSE ON a faded photograph of Norman, held in the grimy hand of MR PRENDERGHAST. He stands over a dusty desk scattered with pictures of Norman, Sandra and older family members. He is in a dark study; a wall-to-wall trove of curious miscellanea and dumpster-dived junk. MR PRENDERGHAST Not much time, not much time... He pulls an old leather-bound book out from the mess, and traces a finger over a woodcut illustration on its cover; an ethereal woman lying beneath a cluster of stars. Wincing with pain, the man drops the book and clutches at his chest, COUGHING and GASPING horribly. CAMERA PANS to a wall covered in countless photographs, newspaper clippings and scrawled occult markings. It is a shrine of sorts; a madman's recondite genealogy project, and at its center is a photograph of Norman, posing with his family on vacation. ZOOM IN to the photograph, hurtling past the Babcocks and through dense trees further and further into a dark forest. TITLE: PARANORMAN 7 7 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - MORNING Norman opens bleary eyes, turns off his zombie hand alarm clock, and slides out of bed. 8 INT. BABCOCK'S HOUSE, LIVING ROOM - MORNING 8 Dressed for school, Norman pauses at the front door and turns to look at the sofa in the living room. He waves happily, and Grandma smiles back. Courtney passes him as she comes down the stairs in the opposite direction. She also stops to look at the sofa, but to her eyes it is empty. She sneers contemptuously. 9 9 EXT. SUBURBAN STREET - MORNING Norman ambles past houses and lawns spotted with small- town America detritus; cheap plastic lawn furniture, peeling-paint fences and cookie-cutter topiary. Here the quaint colonial buildings are mostly in disrepair, their picket fences rotten or daubed in graffiti. ParaNorman 7. 9 CONTINUED: 9 Norman is watched dubiously by the occasional passer-by as he shouts amiable greetings to people who simply aren't there. NORMAN Good morning! Hey Bruce! How's it goin'? Not much. I'm kind of late for school. I need to go. Hi, nice to see you guys. Good morning. Sorry I gotta run. Excuse me. Pardon me. See ya. At one street corner, Norman bends over a gutter. He is watched curiously by a man retrieving his morning paper across the other side of the street. MAN'S POV - Norman crouches over the flattened remains of raccoon road kill. NORMAN (CONT'D) Hey there little buddy! C'mere! He realizes he is being stared at and slowly turns to face the onlooker, then hurries away. Though no one else sees them, to Norman's eyes, a whole host of ghosts are meandering through the streets. NORMAN (CONT'D) Yeah, good to see you! How you doin'? Hi Mrs Hardman. You look nice today. I like what you've done with your hair. HAIRDRYER GHOST Does anyone smell burning? HIPPY GHOST Hey, peace, man. NORMAN Totally. CIVIL WAR GHOST As you were, soldier. NORMAN Sir, yes sir! GREASER GHOST Yo Norman, you playin' hookie? NORMAN No no, I'm just late for school. Sorry, I gotta go. (to Mobster Ghost) How you doin'? ParaNorman 8. 9 CONTINUED: (2) 9 MOBSTER GHOST Hey, how you doin'? A little further along Norman nods pleasantly to the ghost of a parachutist impaled in the branches of a roadside tree. NORMAN Hi! How's it hanging? PARACHUTIST GHOST Ho ho! Haven't heard that one before. Well, it's a nice day. 11 11 EXT. MAIN STREET - MORNING Its industrial days now rusted behind it, Blithe Hollow has become a run-down tourist town, celebrating its heritage with lame fetes and crass knick-knacks. A massive billboard beside the main square reads "BLITHE HOLLOW - A GREAT PLACE TO HANG!" illustrated by a group of waving Puritans beside an equally cheerful witch hanging from a gallows. Across the street a huge banner suggests this year is particularly important for the town; "BLITHE HOLLOW - 300 BEWITCHIN' YEARS!" The town center is lacking in charm; its historical buildings subsumed into a vulgar modern thoroughfare with gaudy witch-themed shop fronts and cracked sidewalks. Everywhere Norman walks, the witch theme is prevalent. Cars have bumper stickers that extol such witticisms as "MY OTHER CAR IS A BROOM". There's a dingy bar, the BAR GENTO, and a greeting card store called BEST WITCHES. Norman hurries past SHERIFF HOOPER, a heavyset black woman, and DEPUTY DWAYNE, lanky and awkward and looking like he'd rather be elsewhere. SHERIFF HOOPER Watch and learn. "Parking violation" is my middle name. DEPUTY DWAYNE Really? I thought it was Rhona. They glance up disdainfully as Norman passes by. Clearly in this town Norman has something of a bad reputation. 12 EXT. SCHOOL ENTRANCE - MORNING 12 Norman walks up a tree lined path that leads to a squat school building. Out front, the name "BLITHE HOLLOW MIDDLE SCHOOL" is carved into an ugly hunk of granite. ParaNorman 9. 12 CONTINUED: 12 SCHOOL KIDS line the path in front of Norman; a gauntlet of jeering, merciless, pre-pubescent horror. Norman takes a deep breath as he begins his daily walk of ridicule. Most of the kids give him a wide berth, but others sneer and WHISPER as he passes. A bell RINGS the start of the school day, and everyone makes a bee-line for the building. Someone barges Norman with their shoulder, knocking his backpack to the ground. Other kids SNICKER as they step over him. As the last of them head through the lobby doors, Norman is left alone on the path. Norman bends down to retrieve his spilled possessions, and a dark shape beyond the gate catches his eye. NORMAN'S POV - Mr Prenderghast, barely visible as he stands within the shadow of a tree, stares back at him. Norman frowns and squints his eyes, but now sees only trees and shadows, so he continues up the steps. 13 13 INT. SCHOOL HALLWAY, LOCKERS - MORNING An expanse of unevenly lacquered floor, scuffed by scores of dragged heels. Rows of dented lockers line the walls. Norman stands before his locker, across which someone has daubed the word "FREAK" in marker. Clearly something of a daily ritual, he reaches inside, takes out a bottle of surface cleaner and a rag and proceeds to wipe it off. Across the hallway, another kid is removing graffiti from his locker. NEIL is overweight with frizzy red hair, and is busily rubbing a handkerchief over the word "FATTY". He watches Norman with interest. A voice behind his shoulder gives Norman a start. ALVIN Hey, ghost jerk! You know what? Norman turns to find textbook bully ALVIN, the only 6th grader in his class who shaves, looming over him. He is flanked by a couple of leering sycophants, one of whom wears a T-shirt emblazoned with "TEAM ALVIN". Norman SIGHS. NORMAN What do you want, Alvin? ALVIN Why don't you see some more ghosts, goober? ParaNorman 10. 13 CONTINUED: 13 The kids LAUGH uproariously, encouraging Alvin to show off some more. ALVIN (CONT'D) Hey! Hey! Norman! Alvin points to a fly that has landed on the locker beside him. He swats it flat with his hand. ALVIN (CONT'D) Talk to that. The kids around Alvin burst into LAUGHTER. ALVIN (CONT'D) That is so Alvin! The bullies strut away, content in the psychological damage they've managed to inflict. PUG Loser! ALVIN That was good, right guys? Norman mutters as they leave, but not loud enough so as anyone might hear. NORMAN Flies don't talk. Across the hall, Neil continues to watch with sympathy, but he is already being hurried along by his friend SALMA, a nerdy Indian kid with braces. SALMA Neil, come on. Let's go. 14 14 INT. SCHOOL GYMNASIUM - DAY Amidst stacked bleachers, foam mats and stray dodge balls, a crudely constructed stage fills one end of the gymnasium. Mediocre art class scenery represents a colonial town, complete with plywood hills, chapel and crescent moon dangling perilously from a basketball hoop. In a director's chair far too small for the job is MRS HENSCHER, an imposing woman with spectacles and beret who looks like she smells of too-much perfume. At the front of the stage wearing a pilgrim hat and carrying a large scroll, is NORMAN. He is surrounded by kids whose attempts at home made period costume leave a lot to be desired. ParaNorman 11. 14 CONTINUED: 14 MRS HENSCHER You stink of illiteracy! (A BEAT) Pilgrims? The Mayflower? Don't any of you know anything about the history of this town? Mrs Henscher tries her best to remain unfazed. MRS HENSCHER (CONT'D) Puritans were strict and devout settlers, who came here to build a home, a place without sin. What is it now Salma? Salma is holding her hand up. She looks like the Wicked Witch of the West. Even beneath green makeup and plastic warty nose, it is clear she is not best pleased. SALMA Why is the witch always a hideous old crone with a pointy hat and a broomstick? I don't believe it's historically accurate, Mrs Henscher! Mrs Henscher's knuckles clench white around her script. She attempts an understanding smile, in the same way a shark might. MRS HENSCHER It's not supposed to be. It's supposed to sell postcards and key chains. (CLAPS HANDS) So let's try it again. Top of page six, Norman. Norman skips ahead on his scroll. NORMAN The founding fathers of Blithe Hollow discovered an evil witch amongst them... MRS HENSCHER No no, Norman, with gusto! Like this! Waving her arms theatrically, she bellows Norman's lines, milking every syllable for effect. MRS HENSCHER (CONT'D) They put her on trial and hanged her! (MORE) ParaNorman 12. 14 CONTINUED: (2) 14 MRS HENSCHER (CONT'D) But the vengeful witch cursed her accusers, seven of them in all, to die a horrible and gruesome death, and rise from their graves as the living dead; their souls doomed to an eternity of damnation! (A BEAT) Now I want you to try that again, but with conviction! My reputation is at stake here, and I won't have this turn out like that wretched Kabuki debacle of oh-nine! As she launches into her lecture, Norman notices a change in the room. The lights dim, the wind outside picks up, and indistinct shapes flicker at the corners of his eyes. Norman glances around at the other kids on the stage, to see if they are seeing what he is seeing. For a split second the children are replaced with faded figures in real Puritan dress. Seven solemn figures. As he turns around nervously, Norman sees the suggestion of another place fizzing in and out of the shadows... MRS HENSCHER (CONT'D) Norman! Are you listening to me, boy? Norman is brought back to the real world with a start, and nods timidly from behind his scroll. NORMAN Sorry, Mrs Henscher. MRS HENSCHER So am I. Now, unless there's any other issues, let us resume... They put her on trial and hanged her! Neil turns excitedly to Norman. NEIL Ooh! This is my moment! He shuffles toward Salma and swings his branch around, not realizing Alvin has slung the hangman's noose around Norman's neck. Norman is yanked off balance and staggers into Neil who keels over, rigid branch arms unable to stop his fall. He lands on top of Salma, her kicking legs sticking out from under him as though Dorothy's house had just landed on stage. The kids break into uncontrollable LAUGHTER. ParaNorman 13. 14 CONTINUED: (3) 14 ALVIN Boom, baby! NEIL Sorry! Mrs Henscher flings her script into the air, her face beet red. MRS HENSCHER Oh, you useless bunch of... The school bell RINGS drowning out her howling voice. 15 15 INT. SCHOOL HALLWAY, LOCKERS - LATER As kids hotfoot it out of the building as quickly as possible, Norman stands pitiably in front of his locker. Fresh graffiti reads "SEE YOU TOMORROW, FREAK". Norman heads for the door, and pretends not to hear when Neil shouts out behind him. NEIL Norman, wait up! 16 16 EXT. MAIN STREET - LATER Norman keeps going, but Neil quickly catches up, beaming intently at the side of his head. NORMAN I keep telling you, Neil. I like to be alone. NEIL So do I. Let's do it together! You shouldn't let them get you down. They always do stuff like that to me. NORMAN Why? NEIL Because I'm fat. And my allergies make my eyes leak. And I sweat when I walk too fast. And I have a lunchbox with a kitten on it. And I have Irritable Bowel Syndrome. I guess there's a whole bunch of stuff. NORMAN Doesn't it bother you? ParaNorman 14. 16 CONTINUED: 16 NEIL Nah. You can't stop bullying, it's part of human nature. If you were bigger and more stupid, you'd probably be a bully too. It's called "survival of the thickest". 17 17 EXT. URBAN STREET - DAY Norman and Neil walk away from the school along a tree lined street at the end of which stands a huge commemorative statue. It is a grotesque effigy of the evil witch from the local legend. MR PRENDERGHAST (O.S.) Psssst! The boys stop. It seems to be coming from the witch. NEIL That statue just "pissst" at us! Wild-eyed Mr Prenderghast suddenly leaps in front of them, startling them as he staggers closer. MR PRENDERGHAST You know who I am? NEIL The weird stinky old bum who lives up the hill? MR PRENDERGHAST (points to Norman) I was asking him. NORMAN Yes. I know. I was told not to talk to you. Sorry. Mr Prenderghast steps in front of Neil, leaning closer to Norman and whispering conspiratorially. MR PRENDERGHAST And you know why you're not supposed to talk to me? Norman tries to back away. MR PRENDERGHAST (CONT'D) I can see ghosts too! And I know that's not all you've been seeing lately, is it? Bad omens? Things you can't quite explain? Strange faces peering through the veil? Norman's eyes widen further. ParaNorman 15. 17 CONTINUED: 17 MR PRENDERGHAST (CONT'D) And I'll bet no one told you about the witch's curse, did they? NORMAN Actually, we're learning about it in school..? NEIL (BEAMING PROUDLY) I'm a tree! Mr Prenderghast impatiently turns his back on Neil and leans close to Norman. MR PRENDERGHAST There's something you really need to know! This is the most important thing you will ever hear! The fate of everyone depends on it! Now listen close... The witch's curse is real, and you're the one who has to stop it! Mr Prenderghast grabs Norman's arm and leans closer. MR PRENDERGHAST (CONT'D) You've gotta use your gift of talking to the dead! He breaks into a HACKING COUGH, face turning beet red and bloodshot eyes bulging. MR PRENDERGHAST (CONT'D) Because if you don't the witch's ghost... (COUGHING) And this is the most important thing of all... You have to go up to the old graveyard and... NEIL (O.S.) Leave him alone! An apple bounces off Mr Prenderghast's head. He turns to find Neil standing behind them on the path, lunchbox open in his hand providing leftover low-carb ammunition. NEIL (CONT'D) Don't make me throw this hummus! It's spicy! Mr Prenderghast thinks better of it and turns to flee the scene. He HISSES out of the side of his mouth at Norman. ParaNorman 16. 17 CONTINUED: (2) 17 MR PRENDERGHAST This ain't done with! You'll see it soon enough! Watch for the sign! As he hobbles away, Neil peers down the street after the old man. NEIL Jeez, what a dirty old creep! NORMAN He's my uncle. NEIL So is it true? NORMAN What? Norman just stares at him. NEIL Can you see ghosts? Like, everywhere? All the time? NORMAN Uh, yeah? NEIL Awesome! Do you think you can see my dog Bub? He was run over by an animal rescue van. Tragic and ironic. We buried him in the yard. Could you see him? Norman frowns disbelievingly, completely taken aback. NORMAN Maybe. NEIL Sweet! Come on! 20 20 EXT. NEIL'S DRIVEWAY Neil forcibly drags Norman up the front driveway of a pastel-painted house. A pair of legs spotted in oil stick out from beneath a pimped-up camper van. Neil's brother MITCH calls out from under the van. MITCH Neil? That you? ParaNorman 17. 20 CONTINUED: 20 NEIL Hey Mitch! We're gonna go play with the dead dog in the garden and we're not even gonna have to dig him up first! Mitch sits up. He's a strapping six-foot jock with tattooed biceps. The kind of guy who wears year-round

31

Pokemon: Mewtwo Returns

Masamitsu Hidaka

Animation,Adventure,Family,Fantasy

January_2000

(Opens when the camera is underwater.) Voice Who am I? I've been dreaming about this world which doesn't exist in my memory. (Mew swims by) Who are you? Wait! Am I apart of you...? Or not...? (Camera goes into a darker place with orange bubbles then it shows someone's eye open. Human figures are seen outside where he is.) Where is this? Who am I? Who brought me here? (We now see who the voice belongs to, it's Mewtwo.) Mewtwo Who am I and why am I here? I just appeared here. I haven't even been born to this world yet. Who am I? (Mewtwo opens his eyes completely and shatters the glass and all the wires fall of him!) Scientist It has awakened! Mewtwo Did he do this? Scientist Wonderful! Mewtwo has been completed. Mewtwo Mewtwo? Scientist That's you. We created you from a Mew the rarest pok?mon in the world! Yes, that's the pok?mon which is said to be the most rare of all pok?mon. Mew. Mewtwo Mew? Is that my parent? My father? My mother? Scientist You can say that, but not really. You've been made stronger based on a Mew. Mewtwo Who is this? If neither my father nor mother. Then was it god? Did God create me? Scientist In the world the only ones that can create new life is man and god. Mewtwo Who did this? Humans made me? Scientist This is truly a victory for science. Another scientist With this we've proven our theory correct. We can continue the study. Third scientist This place will become the new Mecca. Scientist (all shaking hands) I'm going to contact the other offices. Mewtwo Who am I? Where is this place? What was I born for? (Mewtwo floats up and starts destroying the whole lab. Then tons of little metal hand like things come down to stop him but he just blows them up. Soon the whole lab is in flames.) Scientist To make the strongest pok?mon ever.. that was our dream... (The whole lab blows up. Giovanni, the leader of Team Rocket comes down in a chopper and confronts Mewtwo.) Mewtwo Is this my power? I'm the strongest pok?mon in the world. Mew. Am I stronger then you? Giovanni You surly are the strongest pok?mon in the world. But there is another that would be the strongest. Mewtwo The humans? Giovanni (nods) If you and a human were to cooperate then the world would be ours. Mewtwo The world would be ours? Giovanni If your power is set free the world would be ruined. You must control your power. Mewtwo Control? Giovanni Are you okay with destroying the world as it is with that power? Mewtwo What should I do? (Giovanni smiles. Mewtwo is at TRHQ getting loads of armor put on.) Mewtwo Control myself with the armor that protects me? What are you going to make me do? Giovanni It's simple. All you have to do are the things everyone else has been doing... Mewtwo and that is? Giovanni Fighting, destruction, and plunder. The stronger will win. -------------------------------------------------------- Mewtwo is sent into an arena to fight pok?mon first an Onix which Mewtwo throws into a wall with his mind. Then it shows Mewtwo out in a field with a lot of wild Tauros. He raises them up with his mind control and TR throws pok?balls out and catches them all. Then it shows Mewtwo in the gym again fighting Alakazam, Mewtwo does just what he did to Onix. Then came Electron and he used an electric attack and Mewtwo reflected it back at him. Next came Gary's Arcanine and Nidoking... he took care of them easily. Next scene, back in Giovanni's lab. -------------------------------------------------------- Mewtwo What am I fighting for? What am I living for? Giovanni You are a pok?mon. Pok?mon made by humans, what else are you worth? Mewtwo My worth? Who am I? What do I live for? (Mewtwo starts breaking free of the wires) Giovanni What are you doing? Mewtwo I was made by humans. But I, who was created by humans, am not even a pok?mon. (Mewtwo blows up the place and flies off while all his armor slowly falls of into the sea. He lands on a rock.) Who am I? Where is this place? Who asked to make me? Who wished to make me? I hate everything that made me! So this is neither an attack not a declaration of war but revenge on you who made me! ---------------------------------------------------- Introduction ---------------------------------------------------- (Brock is cooking lunch for everyone.) Narrator Ash and the others are on a journey training to be pok?mon masters. It's a beautiful day so they take a break in a field. Ash Is it ready yet? Misty Ash you can help too. Ash I can't I can't even move one millimeter because I'm so starved. Brock Stew well and raise slowly. You mustn't be in a rush with both soup or pok?mon. (Pikachu and Togepy spot someone coming) Pirate Hey you! The boy over there! Are you Ash from Pallet Town? Ash That's right. Pirate Can I have a Pok?mon battle with you? Ash (runs over to him) Okay! I must have a solid fight! Misty I thought you couldn't move one millimeter? Ash Just one or two pok?mon fights before breakfast. Brock This is lunch, so that would be before lunch. Pikachu pika..chu... (Has the Japanese Pok?mon intro music through this battle the whole time. Ash pulls out a pok?ball and throws out Bulbasaur. Then the pirate throws out Donfan. Bulbasaur charges and Donfan rolls into a ball and hits Bulbasaur, then turns around and hits him again! Then he tries it again but Bulbasaur uses Solar Beam and Donfan faints. The Pirate then sends out Machamp. Ash sends out Squirtle. Machamp kicks Squirtle down and then goes to kick him again but Squirtle dodges it and bubbles him till Machamp faints. The pirate gets mad and throws 3 pok?balls down. one is a Venomoth another is a Golem and the other is a Pinsir. Pikachu jumps off ashes shoulder and does Thundershock and all 3 faint.) Pirate Oh My God! (this was possibly the funniest part of the entire movie :) Ash I did it! Misty It was just because your opponent was weak. Brock He didn't even raise them well (flash to Team Rocket who is on a cliff watching our heroes.) James Pikachu gets stronger and stronger. Jessie Beautiful Meowth We couldn't beat him even once. But the word surrender isn't in our dictionary. Jessie I will get that Pikachu. James But look at that. (looks at them all eating) Meowth I'm so hungry. Jessie I got a frying pan... Meowth What good is such a thing without meat and vegetables? It's just an iron board. --------------------------------------------- A Fearow with a camera flies over head then it shows inside some place where you can see Ash and Pikachu on the screens. --------------------------------------------- Lady Are you sending them an invitation? Mewtwo Certainly. (Dragonite flies out of the control center with a purse. It flies over the sees and then over Team Rocket and they fall then it flies over Ash and everyone's head knocking them all over then she lands.) Ash What are you? (Dragonite hands Ash an invitation) This? For me? (He hits a button and a hologram of the lady is displayed) Lady Please forgive me for the abrupt letter. Brock What a beautiful lady... Lady Since you are a promising pok?mon trainer of the future, we'd like to invite you to a party of my master who is the strongest pok?mon trainer in the world. The place is the New Island, Pok?mon Castle. Please check the reply card for whether your coming or not. Please accept the invitation for the strongest trainer in the world. Brock Beautiful Lady... Misty What do we do? Brock Lets go for it. We should go for it. Ash I don't feel uncomfortable with being told I'm a promising future trainer. Misty Well then check yes on the card. (They check yes, and hand the invitation back to Dragonite. Dragonite takes the card and flies off but Jessie, James and Meowth take out a net in an attempt to steal this rare pok?mon. Ash's invitation falls out of Dragonites purse.) Jessie Don't say Goodbye without saying hello. Meowth a post card? --------------------------------------------- Scene change. We see Mewtwo waving his hand back and forth moving the clouds, causing a big storm to start. We then see mew sleeping in a bubble underwater as the bubble floats to the top and pops, Mew wakes up and flies off. Ash and everyone run out of the storm and into a ocean side house that has all the other trainers who were invited. --------------------------------------------- A Trainer Calm down Kingler! Cut it out! (Our heroes run inside wet.) Ash It was a beautiful day! Brock The weather along this beach can change easily. (we notice a big crowd of trainers by the door and Officer Jenny standing with a woman talking to them all) Crowd Huh? The ferry has been canceled? Sweet We can't go to the New Island?! Crowd Oh No! We were invited to go! Officer Jenny Be quiet everyone. Here is the Pier Master. Boijer I'm Boijer. If you want to know about the sea ask the seagulls on the pier. No need to bother. Just look at the flaw of the clouds. I've never seen such a hurricane in all my years. Officer Jenny Is it that terrible? Boijer I grew up on a port and I've never experienced such a storm. Besides the storm is above New Island offshore of this pier. I can't let you be placed in danger. That's my wish as the one who guards this pier. Officer Jenny As you heard the ferry has been cancelled. Umio Its okay with my pok?mon. My pok?mon are stronger in water. I can cross the sea. Boijer Wait. I'm the one who knows the sea and I say no! Officer Jenny She's right! Besides if the pok?mon were to get hurt now they wouldn't be able to get treatment at a Pok?mon Center. Ash What do you mean? Officer Jenny Nurse Joy at the Pok?mon Center is missing. Pok?mon can't receive treatment without Nurse Joy. The poster over there is the missing person report (Brock looks at it) Brock Beautiful... Who? I've seen her somewhere before... (Some of the trainers go outside in the storm wanting to cross the ocean. Soroa gets onto his Pidgeot and flies off. Umio gets on his Gyarados and swims across.) Officer Jenny Stop! Stop or I'll arrest you! (Sweet gets on her Dewgong and starts swimming away.) Boijer There's no use trying to stop them. After all they're pok?mon trainers. If they were children who would stop after being told to, they wouldn't have gathered here. Let's just pray for there safety. (Ash, Brock, Misty and Pikachu run outside and see everyone leaving.) Ash Across the sea lives the strongest trainer in the world. I can't cop out now. Misty But we can't cross this sea using our pok?mon. Ash Right. (A Small wooden ship pulls up with 2 people in it. Guess who?) Jessie Want a ride? Not saying that it's free but depending on the situation. I might allow you onboard. (They get on and start going and Meowth is dressed like a girl in front of the boat, then a huge wave and Team Rocket's costumes fall off. then the waves start getting really rough.) Ash You guys! You guys again?! Brock You guys appear at the very worst times! Ash What do you want? Jessie If we're asked what we want... James The answer to that is.. Meowth There's no time for saying that! (A huge wave flips the boat. Misty shoots out Staryu and swims to the surface.) Brock Ash! Misty! (Misty comes up and he grabs onto Staryu.) Misty Where is Ash and Pikachu?! (A big wave comes again, and they go back under and see As h swimming up with Squirtle.) Ash Hold on tight everyone! (Squirtle and Staryu keep swimming under the waves until they see light. Then it shows Mew flying above the clouds. Ash and everyone get to the castle and climb out of the water, and the mysterious lady is standing there. Lady Welcome to the New Island. Please show me your invitation. Ash How's this? (He shows her). B rock That was you just as I thought! Lady Yes? Brock That picture of Nurse Joy I saw in the missing person report at the pier was you. Misty That reminds me, she looks like her. Lady I don't know what your talking about. I've been serving this castle ever since I was born. Come this way. The other guests are already waiting. --------------------------------------------- They go inside and Team Rocket floats up from the water on top of Weezing. Then it shows Mew playing with the windmill on top of the castle. MEANWHILE Ash and everyone are inside the castle. --------------------------------------------- Lady Those are the trainers who have already arrived. Ash Only 3? Lady The trainers who couldn't cross that storm aren't worth inviting. Brock So then you tested us? Lady Please take out the pok?mon from the pok?balls and be seated. You are the chosen trainers. James (outside and the front door shuts) Well then, let's sneak into this castle... Jessie The only way is to use the exit. Meowth Where's the exit? Jessie Over there... Meowth The s..s..sewer!? I'm not a brown rat! Jessie Don't complain! (All of a sudden Mew comes down from behind TR and looks at them. Jessie turns her head but Mew disappeared.) James What's wrong Jessie? Jessie Nothing lets go. --------------------------------------------- Meanwhile... --------------------------------------------- Sorao You came too? Ash You? Sorao I flew here. My Pidgeot can cross such a hurricane in one flight. Everyone greet them! (all his pok?mon say their names Then they see a Gyarados.) Umio That's my Gyarados. I rode him across the sea. Those kind of waves are nothing for it. Ash Gyarados is a brutal pok?mon isn't it? Umio Yeah, but if you can handle it, no one is more reliable. Sweet My pok?mon are just the same over there. (points to her Blastoise, Wigglytuff, and more. Then all the lights turn off, there is a bright beam of light coming down the center of a huge spiral staircase.) Lady That you for waiting everyone. The strongest pok?mon trainer is coming. (All of a sudden Mewtwo starts floating down and all the pok?mon get worried.) Lady Yes, this is the strongest pok?mon trainer and strongest pok?mon. Mr. Mewtwo. (The lights come back on and everyone can see him clearly.) Ash Mewtwo? Umio A Pok?mon is a pok?mon trainer? It can't be. (It becomes apparent that MewTwo is telepathically controlling Joy...) Mewtwo I've decided my own rules. Misty That voice! Brock Telepathy! (Mewtwo raises Umio up in the air and throws him into a pool (using his mind) Umio Darn it! Go Gyarados! (Gyarados attacks with Hyper Beam, it goes to Mewtwo and Mewtwo stops it and turns it around and it hits Gyarados causing it to faint.) Mewtwo That was easy. (looks at Joy) I no longer have any need for you anymore. (Joy faints into Brock's arms) Brock Nurse Joy. Nurse Joy Where is this place? Why am I here? Mewtwo To make you take care of me, I took you from the Pok?mon Center. A doctor who is familiar with pok?mon is convenient. You were quite useful. You don't remember anything though. Brock What did you say? Mewtwo Humans can be manipulated in any way with my power. Misty With what power? Pikachu PIKA! (Meanwhile TR are in the castle and they find a strange room and they enter it.) Meowth What is this place? (They look and see a Charizard, Venusaur and a Blastoise in Big Glass Test Tubes sleeping.) Meowth Cute! James Is it really? Jessie These aren't like any treasures I've seen. (Jessie walks away and sits on some button and a computer turns on with a very fuzzy screen.) Computer ...our study... to continue in our research ... we would have to collect samples from our test subjects... (All of a sudden something grabs Meowth and throws him in a machine) Meowth HELP! HELP! Jessie Meowth! (Both Jessie and James start pull to get Meowth out and they do get him out but not before the machine got 3 hairs from off of his tail.) Meowth OUCH! My hair! (on the computer screen a figure of a Meowth shows up and the computer starts saying some weird stuff then in an empty test tube next to Team Rocket, a Meowth falls down from a pipe into it) All of TR MEOWTH?! Meowth I am Meowth. James Then this is.... Meowth's copy? (Mew appears behind Team Rocket again.) Computer But the copy we created is more than we've imaged. The pok?mon which we found.... in the depths... it's name is Mew... We succeeded in finding fossilized eye lashes of a mew. From the gathered components we created Mewtwo with this machine. The goal was to make the strongest pok?mon with our own hands. That was our dream. But soon Mewtwo displayed unmeasurable violence. Its all over. The research office will be destroyed. The only way left to abandon this place and escape. (the computer shuts off) Jessie This is the research office? James I think so. Meowth Yeah James But there's nothing wrong with it. Jessie Or maybe something created it again. James But who? Mewtwo I thought of working with humans once. But I was disappointed. Humans are the worst creatures inferior to pok?mon. If creatures that are weak and cruel like humans control this world, this planet will come to ruin. Brock Are you saying like your gonna rule it? Mewtwo (shakes his head) Pok?mon are no good either because this planet is ruled by humans our pok?mon... pok?mon who lived for humans. Pikachu Pika..pika pika! Mewtwo What did you say? You're not being controlled? You're with the humans because you want to be? To be with them by itself is wrong. (Mewtwo lifts Pikachu up with his mind and throws him but Ash jumps back and catches him!) Pikachu pika! Ash Pikachu! Mewtwo Weak pok?mon rely on humans. Misty Ash! Are you ok? Ash Yeah. How dare you attack Pikachu?! Soroa We can get him no matter what kind of pok?mon he is, as long as he's a pok?mon, GO RYHORN! (Ryhorn charges at Mewtwo and is 1 inch from him and Mewtwo stops him and raises him into the air, and shoots Ryhorn across the room!) Soroa Ryhorn! Mewtwo It's no use. I was born as the strongest of any pok?mon in the world. Ash You don't know that before we try. Mewtwo You wan to try? Ash We can ask for nothing better. -------------------------------------------------------- Mewtwo eyes start glowing then it shows in the lab with Team Rocket in it Charizard, Venusaur, and Blastoise come out of there test tubes and walk out the door. then Mew flies out with them. -------------------------------------------------------- James Was that a..? Jessie Mew? Mewtwo Any human who are aiming to be pok?mon trainers go first. Charizard, Blastoise, Venusaur. (The 3 copies raise up from the ground.)These are the evolved forms of the copies I've made. Sweet Copies? Soroa They are...? (Everything starts shaking and a huge door opens and inside is a pok?mon battle field.) Brock A battle field? Is he going to have a pok?mon battle? Soroa I've got Venusaur for that copy one! Sweet I've got Blastoise for that copy one! Ash I've got Charizard too. Charizard I chose you! (Charizard comes out and gives Mewtwo and evil look then shoots fire out at him but Mewtwo makes a force field around him so it doesn't even touch him.) Charizard, that's a surprise attack. (Mewtwo shoots up water and the fire goes out.) Mewtwo What a bad tempered Charizard. So who's first? (Soroa's Venusaur walks out.) Soroa I was careless before, but it won't go that way this time. (The copied Venusaur walks out.) Soroa Venusaur! Razorleaf! Mewtwo Vine Whip. (Copied Venusaur's vines chop up the razor leafs then his vines wrap around Venusaur and tosses him across the room!) Soroa Venusaur! Sweet I'm next! Go Blastoise! (Mewtwo points for copied Blastoise to go.) Sweet Blastoise, Hydro Pump! (Copied Blastoise spins right threw the water and hits Blastoise causes him to go crashing hard into the wall.) Sweet Blastoise! Misty Be careful Ash! His skills are strong! Ash I know. (Mewtwo signals Copied Charizard to go.) Ash Charizard! Lets fight with speed not power! Okay go! (Both Charizard fly up. Ashes Charizard keeps using Flame- thrower but copied Charizard dodges them all and keeps hitting Charizard in the stomach.) Misty Where are the speed attacks? Brock The enemy is to fast! (Copied Charizard grabs Charizard and starts flying down to the ground!) Ash Charizard! Mewtwo Dive Bomb Slam! Charizard hits into the ground then gets up.. roars loudly.. then faints. Ash (Runs out to Charizard) Hold on Charizard! Are you okay? Mewtwo Both speed and power are lacking. (Mewtwo then throws his hands up and 3 black pok?balls appear he shoots them all out and captures Sweet's Blastoise another gets Soroa's Venusaur and the other captures ashes Charizard! A small gold statue lifts up and the 3 balls shoot down into the hole.) Ash STOP! Misty Are you taking the other's pok?mon?! Mewtwo Taking them? No. I'm going to make stronger copies than the pok?mon you are so proud of. (Mewtwo raises his arms again and hundreds of Black pok?balls appear!) It's suitable enough for me. Brock Copies? Ash Stop! That's a violation of the rules! Mewtwo Don't tell me what to do. (Mewtwo looks at Ash and throws him into Brock) I've decided my own rules. (Mewtwo drops his arms and all the black pok?balls start flying everywhere) Brock They're Coming! Ash Run everyone! -------------------------------------------------------- The pok?balls are everywhere catching the trainers pok?mon, the Gyarados was caught then the Golduck, then Seaking, then Scyther, then Hitmonlee, then Sandslash the trainers are trying to protect there pok?mon but there is nothing they can do! then Dewgong was caught, then Rapidash, then Vileplume. Then Bulbasaur and Squirtle are fighting them off, then Wigglytuff was caught, then Pidgeot and when they get caught the pok?balls fly back into the whole under the statue lifted up in the air. -------------------------------------------------------- Ash I've got it! Take your own pok?mon back to your own pok?balls! Return Squirtle and Bulbasaur! (they both go back into their pok?balls) Mewtwo It's no use. (2 black pok?balls go to Ash, open, and capture the pok?balls Bulbasaur and Squirtle are in!) Nothing is impossible with the black pok?balls I have made. (Misty puts Togepy in her bag and shuts it tight while Brock holds Vulpix close.) Nurse Joy This place is no good. Let's run outside! (Nurse Joy, Psyduck, Misty and Brock start running but then a black ball catches Psyduck) Misty My Psyduck! (A black ball catches Vulpix.) Brock Vulpix! (Pikachu is being hunted down by tons of black pok?balls! Then Pikachu falls and is about to be caught! But Ash jumps in front of him and the pok?balls hit him.) Ash Run Pikachu! (Pikachu is running and starts climbing the spiral stairs with ash running after him. Pikachu keeps using Thundershock to blow up all the pok?balls around him but more keep coming! Ash starts running up the stairs a little behind Pikachu) Don't give up Pikachu! (Pikachu gets tired and he accidentally falls of the stairs! Ash jumps after him and is about to grab him but then a black pok?balls snatches Pikachu! But Ash catches the pok?ball and then falls into some water but when he does the pok?balls slips out of his hands and goes into the hole. Since it was the last pok?mon the statue starts to drop but Ash just barely makes it and jumps down into the hole after the Pikachu in the ball! Team Rocket is still in the Lab, which is where all the copies are going. They are amazed at all the copies dropping into all the test tubes everywhere but then Ash falls down chasing after Pikachu!) Jessie Brat? Ash I'm sorry, I don't have time to deal with you today! (Ash jumps and grabs Pikachu's pok?ball but right when he does about 25 little metal mini hand like things come down trying to keep Pikachu, Ash is fighting off the mini hands.) Let it go! Darn it! Let him go! Let go of my Pikachu! Let go! (All the hands break and the whole copy machine starts blowing up and Pikachu comes out of his ball.) Pikachu! Pikachu Pika! But then all the Copy pok?mon start coming out of there tubes because the whole copy machine is all blown up. All the copies start walking out of the room. Jessie Oh no! There coming out! Meowth My copy to! Ash Those are all copies? Jessie Where are they all going? All of a sudden there's an explosion and all the black pok?balls come out and all the original pok?mon come out! James The real ones have come out to! 2 of the black balls open and 2 normal pok?balls come out, then those open and Squirtle and Bulbasaur come out! Ash and Pikachu runs over and starts laughing and hugging each other then ash stops and looks up and looks angry! Meanwhile up stairs... Mewtwo Humans, I won't take your lives too. Leave here. The doors open to the exit. Mewtwo That is if you an make it out in that storm. Then there is an explosion and all the copied pok?mon come walking out. Mewtwo What happened here? From the smoke, Ash and all the original pok?mon come walking out. Ash I can not forgive...! I will not forgive you! Misty/Brock Ash! Misty (sees Psyduck) Psyduck! Brock (sees Vulpix) Vulpix! Mewtwo Did you set them free? Ash I will protect my pok?mon, my friends. (Ash charges at Mewtwo and goes to punch him but Mewtwo throws him down to the ground. Ash gets up and tries again and Mewtwo lifts him up.) Misty Ash! Brock Stop! (Mewtwo throws Ash into a huge statue but just as he's about to hit it -which we know would really hurt a pink bubble stops him and Ash bounces a few times on that.) Mewtwo What? (Mew flies up to Ash and stares at him, Ash then looks at Mew and Mew pops the bubble and Ash falls -only like a foot then Mew starts giggling.) You're... (Mew makes another bubble and starts jumping up and own on it giggling and having a good time, then Mewtwo makes a black electric ball and shoots it up and it pops mew bubble. Mew turns around and looks at Mewtwo confused. Mewtwo makes another and blows up when it hits Mew. Mewtwo makes 3 more and throws them all up at Mew, Mew dodges them all and starts giggling again.) Brock That's... Misty Pok?mon? Mew flies down and looks at Mewtwo Mewtwo Mew. The pok?mon that's supposed to be the rarest pok?mon in the world. Brock Mew? (Mew looks around at everyone... I love this guy!) Mewtwo I was made from you. But I am the stronger one...I am the true one. (Mew is still looking around acting like its paying no attention to Mewtwo.) Brock Mew and Mewtwo. Sweet Mewtwo was made from Mew. Mewtwo (starts glowing) I am the only one who will survive. (Mewtwo starts chasing mew everywhere shooting tons of those black electric balls at him. But Mew keeps running away dodging everything.) Mewtwo Who don't you want to fight? The reason why you avoid fighting is because your afraid of me? (Mewtwo makes another black electric ball and shoots it at Mew and knocks Mew right in the face and mew goes flying in the distance. Everyone is then shocked, but then the same type of ball only blue comes back and hits Mewtwo and he goes into a wall. Mew flies back down. and Mewtwo floats up from the fire and rubble. TR Enters the room.) Mewtwo Your attacks are ineffective against me. Now is the time to decide which one of us is the true one, you the copy... which is the stronger? We were made stronger than the real ones. Mew mew, mew..mew mew mew...mew, mew..mew mew mew Meowth I see. Jessie What is it saying? Meowth The real one is real. If they fight only using bodies without skills. The true ones will not be beaten by their copies Mewtwo The real one is real?.... Fine! (Mewtwo shoots another black electric ball at Mew but Mew dodges it and just barely misses Ash! Ash then starts climbing down the statue.) Lets decide which is the real one without skills. You're the stronger ones, GO! (All the copies start attacking their originals. The copies are winning. Mewtwo makes a visible blue force field around himself. Mew does the same except its pink and they fly up high in the air and keep ramming into each other. Then Pikachu is looking around at the big copy war then he sees his copy standing there ready to fight him! Pikachu can't believe it.) Nurse Joy What is this fighting? Both the real ones and copies are alive now. Sweet Everyone is a living thing Brock Though they were created, there are living beings that live in this world. Misty The real ones and the copies... But both of them are the same living things. There's no such thing as a win and losing. James If we were asked that, I wouldn't know what to say Jessie I feel so sorry James They're bullying themselves. Jessie Its like seeing what we used to be. James Its like seeing what we are now. Both Feels Bad! (Meowth's copy walks up to Meowth.) Meowth Its you! (they take out there claws and are ready fight) This is gonna hurt. But every pok?mon is fighting each other, you're unfair. Copy Meowth Meow meow... Meowth What? I'm more unfair? It's because I'm not fighting with you? Your nails would hurt more wouldn't they? Copy Meowth meow meow meow Meowth You said tonight's moon would be round? You're right, it must be a full moon. Copy Meowth meow meow Meowth Talking about the moon at a time like this is tasteful. Its philosophical. (Meanwhile Mew and Mewtwo are still bouncing around fighting. And Ash finally makes it back to the ground.) Ash (looks at everyone fighting and getting so tired) That's Enough! Stop! Brock Ash! Ash I've got to stop them. Brock No. The battle will continue unless Mew and Mewtwo stop fighting. Nurse Joy Animals don't hand over there territory to the same type of animal. Misty oh no. Nurse Joy They will fight until they drive their opponents away. That is the way of living beings. Brock That may be for living beings but Mewtwo was made by humans. Misty But now he's a living being. Ash Now they are all living beings. Mew and Mewtwo, Pikachu and that other Pikachu. (Mew and Mewtwo's fight finally goes on ground and they both take off there force field. Mew and Mewtwo both shoots a beam out at each other and starts to run between them not seeing the 2 beams coming!) Stop! Brock Ash! (Both beams hit Ash and he falls to the ground and turns to stone.) Mewtwo It can't be. A human tried to stop our fight. (Pikachu runs out to Ash and starts shaking Ash. Then he thunder shocks him many times and Ash still doesn't move. Pikachu begins to cry. Then all the other pok?mon look at Pikachu - including the copies and they start crying. All there tears float over and land on ash then last, Pikachu's tears fall onto Ash and Ash regains his hold on life, and turns back to flesh from rock) Ash Pikachu! Pikachu Pika pi!! Mewtwo Actually, both you and I are pok?mon that already exist. Mew mew. Mewtwo It might be better if no one knows about us, or any of this... Mew mew... (Mew and Mewtwo start flying away and then all the copies pok?mon lift up into the air and fly with them!) Ash Why are you going everyone? Mewtwo (flying away with all the copies) We were born and alive. We will continue to live somewhere in this world. (All of a sudden the whole castle fills up with bright light and everyone disappears......... Now we are back where all the trainers what to go on the ferry.) Officer Jenny The ferry has been canceled! There's a hurricane coming! Nurse Joy (walks through the crowd) Don't worry everyone. I'm going to open the Pok?mon Center as a shelter. Follow me those who need it. Brock Nurse Joy, the officer, and Ms. Boijer. Even more beautiful than usual when they are wet by the rain. Ash But why are we here? Misty I don't know. We're here because we're here. Ash It doesn't matter. Well... Huh? (Everyone runs outside) It can't be... Officer Jenny The hurricane... it's as if it never existed. Boijer I can run the ferry for again tomorrow. Ash (looks up and sees a mew in the sky) Look. Misty What? I can't see anything. Brock Besides the clouds. Ash On the day I left to become a pok?mon trainer, I saw a phantom pok?mon... and now.. I've seen it again. Brock Phantom Pok?mon. Ash Yes, someday I will (Meanwhile, TR is still on the New Island except now the castle is gone.) Jessie Well if its this empty... James Clean and clear... Meowth And different than it usually is. Jessie/James/Meowth FEELS GOOOOOOOOOOOOOOOOD!!!!!

32

Rescuers Down Under The

Margery Sharp,Jim Cox,Karey Kirkpatrick

Animation,Family,Adventure

November_1990

(opening: The camera slowly zooms through a variety of insects and rocks. We follow a small yellow bug climb up a blade of grass. As it spreads its wings to fly, we are whisked along the Australian outback and prairie by Ayers rock and eventually slow down as we approach Cody's house.) (scene: inside Cody's room. The camera pans around to show Cody sleeping in his hammock. The sound of Faloo's call is heard. Cody hears it, jumps out of bed, and runs to the window. He puts on his shirt and grabs his knife.) (scene: Cody sneaks past his mother who is in the kitchen listening to the radio.) Announcer: ... thundershowers are expected in the Crocodile Falls area and some of the surrounding gullies so take out your... (scene: Outside Cody's house. Cody leaves the house, and closes the door behind him, but not quietly.) Mom: (from inside upon hearing the door) Cody! Cody: (whincing) Yeah mom? Mom: What about your breakfast? Cody: I've got some sandwiches in my pack. Mom: Well be home for supper. Cody: (hopping the gate) No worries mom. (scene: Cody runs toward the forest; Faloo's call is heard in the background. He runs past some rock formations and enters the woods. Birds follow him; and squak at him.) Cody: (to the birds) I know, I'm coming. (Cody jumps over a hollow log) Hustle up Nelson, Faloo's sounding the call! (Cody slides through a log, picks up a stick, and beats on the roof of the wombats home.) C'mon little wombats, hurry! (Cody continues to run through the forest with all of the animals following him.) (Cody arrives at the tree where Faloo has been sounding the call.) (to Faloo) Who's caught this time? Faloo: You don't know her, Cody, her name is Marahute, the great golden eagle. Cody: Where is she? Faloo: She's caught, high on a cliff in a poacher's trap. You're the only one who can reach her. Cody: I'll get her loose. Faloo: Right-oh, hop on, no time to lose. (Cody hops onto Faloo and they travel through the forest and along a stream/river; more scenes of animals and the forest.) (They arrive at the cliff.) (pointing up towards the cliff) She's up on top of that ridge. Be careful lit'l friend. (scene: various "time lapse" views of Cody climbing up the cliff.) (Cody reaches the top and sees the eagle.) Cody: Marahute! (Cody looks at the eagle; he approaches her slowly; she hears him and wakes up; Marahute screeches and struggles to get free.) (reassuring) Calm down, calm down. I'm not gonna hurt you. (Cody strokes Marahute on the head) That's a girl. Stay still... it's o.k. (Cody gets out his knife; Marahute sees the glint of the knife and begins to struggle and scream) No wait! I'm here to help you... easy!... easy! (Cody cuts two ropes. Cody cuts the last rope to free Marahute.) You're free!! (As Marahute spreads her wings to fly, she knocks Cody off the cliff.) Aaaiigh! (Cody falls; Marahute dives down to catch him; she catches him just before he hits the ground; they begin to fly around; the animals see Cody on Marahute and stand in awe; Marahute files over several rock formations; the fly up above the clouds; Cody looks at his reflection in Marahute's eye.) Higher! (They fly even higher above the clouds; Marahute throws Cody and catches him; Cody is now held in Marahute's talons.) Woah! (Cody mocks an eagle screech; he laughs as Marahute tickles him; they cruise above the clouds which eventually open up to show the ground; Marahute nose dives towards the ground and a stream; she holds Cody just high enough above the water so that he is water skiing; they approach a flock of birds; Marahute lets Cody go and he skims through the birds, scattering them; Marahute grabs Cody just before he falls in and then put Cody right in front of her, on her beak (pushing him from behind); they go over the egde of a waterfall; Marahute catches Cody again; this time he rides by standing on her back; they arrive at Marahute's nest) Wow! (Cody and Marahute look at each other; Cody falls over as he attempts to look at Marahute upside down. Marahute moves some grass and feathers to show Cody her eggs) You're a mom! (Cody puts his ear to the eggs) They're very warm. Are they gonna hatch soon? (Marahute ruffles her neck feathers in an affectionate manner; she sits on the eggs and then looks out "over her domain".) Where's the daddy eagle? (Marahute drops her head) Oh... my dad's gone too. (Cody give Marahute an affectionate stroke; as they fix the covering on the eggs, the wind picks up and blows a feather in Cody's face; he looks at it, plays with it, and puts it back. Marahute picks it up and gives it to Cody and he gives her a hug.) (Marahute and Cody are now on the ground; Marahute takes off and Cody runs around making flying noises) (scene: just inside the forest. A wanted poster of McLeach is posted on a tree; A mouse is tied up with a bell attached to it that rings as it struggles; Cody hears the bell and goes over to the mouse.) Cody: Heh heh... hey little fella, what happened to you? Baitmouse: (panicking) Oh no! No, no, no, no!! Get away, get away! It's a trap, it's a trap. Be careful, NO! Cody: (as the mouse is speaking) Don't worry, I'll get you loose. Woah! (Cody falls into the trap. He looks up to see a blinking light and the alarm.) (scene: McLeach's truck; the radar has a blip on the screen.) McLeach: (laughs) Got one!! (scene: back in the hole/trap where Cody has fallen.) Baitmouse: (from the top of the hole) Are you alright? Cody: (rubbing his head) Yeah, I think so. Baitmouse: Okey-dokey. (he runs off) Cody: Wait! Hey! Come back! (Cody tries to climb out; he gets halfway up, grabs a tree root; it breaks and he falls; the baitmouse begins to lower a vine down to help Cody) Baitmouse: Here you go, grab on. Cody: That's great, just a little more, a little further... there! I got it. (a rumble is heard and the ground begins to shake.) Baitmouse: Uh-oh. (view of McLeach's vehicle trampling through the forest disturbing everything) Baitmouse: Yipe! (The vine is severed as McLeach's truck comes to a screeching halt; Cody falls; the truck opens; Joanna leans over pit and growls; Cody yells) McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today? A dingo, a fat ol' razorback, or a nice big.... (he sees Cody) boy?!? (McLeach thinks for a second, gives a dirty look to Joanna and kicks her.) Joanna, you been diggin' holes out here again?? (mumbling to himself) Dumb lizard always tryin' to bury squirrels out here. Cody: Unh-unh. It's a trap, and poachin's against the law. McLeach: Trap?! Where'd you get an idea like that?? Boy I think you've been down in that hole for too long. (he holds his gun out so that Cody can grab it) Well c'mon, grab ahold. We'll get you out of this little ol' lizard hole and you can just run along home. (Joanna has spotted the baitmouse on Cody's backpack. She hisses and makes a face.) Cody: This IS a poacher's trap and YOU'RE a poacher. (The mouse ducks back into the backpack; Joanna jumps on Cody, knocking McLeach into the hole; his gun goes off; Joanna begins to attach Cody's backpack.) (to Joanna) Let go!! Hey get off of me!! McLeach: I'm gonna kill her. (climbing out of the hole) I'm gonna kill that dumb, slimey, egg-sucking salamander. Cody: Cut it out! Get off of me! (Joanna continues to attack the backpack; McLeach picks up his gun; he points it at Joanna; looking through gun scope McLeach aims at Joanna, she tries to get out of his view; as she does this, McLeach spots the feather in Cody's pack; he picks up Cody by his backpack.) McLeach: Hmmm.... good girl Joanna. (Joanna looks up and grins happily.) (to Cody) Say where'd you get this pretty feather boy? Cody: (humbly) It was a present. McLeach: (coddling) Oh, that's real nice. Who gave it to ya? Cody: (stumbling) It's a s... secret. McLeach: That's no secret boy, you see, (menacing) I already got the father. (makes a cutting sound and draws a feather across his neck like he was slashing a throat). He, he he. You just tell me where momma and those little eggs are. (Cody breaks free from McLeach by slipping out of his backpack.) Cody: NO!! McLeach: Joanna, sick 'em! (Cody runs through forest with Joanna close behind; he enters an open area where we see a waterfall and water; Cody stops right at the edge of the small cliff that drops into the water (Crocodile Falls); Joanna follows close behind; Cody reaches into his pocket and pulls out his knife; he drops it; McLeach steps on his hand.) McLeach: You're comin' with me boy. Cody: My mom'll call the rangers! McLeach: (sarcastically) Oh no.... not the rangers, what'll I do?? What'll I do??! Don't let your mom call the rangers!! Please don't!! (Joanna laughs) (McLeach laughs) (McLeach throws Cody's backpack into the river) My poor baby boy got eaten by the crocodiles, boo-hoo-hoo! Let's go boy! Cody: (from inside McLeach's cage) Help! Help! (The baitmouse sees Cody in the cage; he runs to the local RAS telegraph office; it begins to rain and wind is blowing; he bursts through the door as the telegraph mouse is eating.) Baitmouse: (very fast and excited) Help, help, help!! Someone help! McLeach took the boy. He took the little boy. Send for help!! (The telegraph mouse begins typing the message in morse code; camera pans up to roof, where other mice aim the antenna; message is seen being relayed to the Marshall Islands) (In a wrecked plane on the Marshall Islands, a mouse listens to the morse code message; he recognizes the distress call, activates the controls on the plane, and relays message to Hawaii.) (Message is seen being relayed to Hawaii. Screens fill with RAS RAS RAS. Mice are watching through binoculars in the back. The send a signal to other mice. They dial the phone to distract guard. Phone rings. Guard leaves. Mice take over, type (jump) on keyboard and read message. "RAS... RAS... ATTENTION BOY KIDNAPPED IN AUSTRALIA IMMEDIATE ACTION REQUIRED" They type "Relay to New York".) (Message then journeys across the ocean to Los Angeles, then to Denver, St. Louis, Chicago, Washington D. C. and then New York.) (scene: It is winter in New York; through the clouds, the camera descends upon the UN building; a mouse is listening to the transmission at the RAS headquarters in New York) Mouse: Code red, code red!! Attention all Rescue Aid Society delegates, all delegates please report immediately to the main assembly hall. This is an emergency meeting. I repeat, this is a code red emergency meeting!! (the delegates have been assembling as the announcement was being made) (scene: inside the RAS meeting hall) Chairmouse: Order! Order! Yes, yes I know it's late but I'm... oh really! Sir Charles. Hello, hello Frank, how are you, nice to see you! And Esmerelda, there you are! Ha ha.. all right, quiet now please, everyone pay attention. There has been a kidnapping in Australia. (delegates gasp) A young boy needs our help. This is a mission requiring our very finest, and I know we are all thinking of the same two mice. (everyone looks to the seats of Hungary and USA, which are empty) (delegates gasp again.) What's this?!? Gone? We must find Bernard and Miss Bianca at once! (scene: a posh restaurant) (as a waiter walks by a pillar/column in the restaurant, a pea drops on the floor; a cricket comes out of the column and picks it up.) Cricket: Oh.... pea soup. (With an elaborate contraption, he launches the pea up the column where it drops into a thimble-pot of the cook) Cricket cook: Pea soup! (A waiter cricket comes along and picks up the soup; the scene changes to the chandelier over the restaurant and we see a mini-restaurant above the real one.) Bianca: To my dear Bernard, and our wonderful partnership. Bernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful. Bianca: You've been very quiet this evening, is there something on your mind? Bernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches into his pocket.) Bianca: Yes darling? Bernard: I... Miss Bianca would you.... would you... (the ring falls through a hole in Bernard's pocket onto the floor) would you excuse me for a minute? (Bernard chases the ring across the floor; he crawls around, sees it, and just as he goes to grab it, a waiter kicks it under another table; Francois arrives at their table.) Francois: (French accent) Pardonnez moi, mademoiselle Bianca, I have important news. (He hands her a piece of paper.) Bianca: Yes Francois? What is it? Francois: You and Bernard have been asked to accept a dangerous mission to Australia. Bianca: (reading message) Oh the poor boy. This is dreadful. Now where is Bernard I must tell him at once! Francois: Allow me madame, I will tell him immediately. (Bernard is seen under a table retrieving ring; the ring finds its way onto the foot of a rather large woman mouse who is having dinner with a rather nerdy looking man mouse; as Bernard removes the ring from her foot, she think the man mouse is playing footsie with her and smacks the man mouse.) Bernard: (practicing) Miss Bianca, will you marry me? Miss Bianca, will you please marry me? Francois: (as Bernard practices) Quickly monsieur Bernard! I must speak with you.... Bernard: Not now Francois, I'm busy! Francois: No, no, no, no, monsieur you don't...... (As Francois attempts to follow Bernard he collides with another cricket watier and falls on his back; various crickets run to help him.) (Bernard returns to the table) Bianca: Bernard, did you talk to Francois? Bernard: Ah yes, but uh.. there's... there's something I want ...... Bianca: I know exactly what you're going to say. Francois told me all about it. Bernard: He did? How, how... how did he ... Bianca: Oh it doesn't matter, I think it's a marvelous idea. Bernard: (shocked) You do? I mean, you... you really want to? Bianca: I don't think it's a matter of wanting, it's a matter of duty. Bernard: D-duty? I... I never thought of it, well, umm... all righ.... all right. How does... how does next ah-April sound to you? Bianca: Heavens no! We must act immediately, tonight! (she leaves the restaurant with Bernard close behind) Bernard: Tonight? But, but, ah.. wait! Uh, Bianca, this is so sudden, I mean, don't you at least need a gown or something? Bianca: No, just a pair of khaki shorts and some hiking boots! Bernard: Hiking boots? (scene: in the RAS meeting hall) Chairmouse: Ah, there you are, come along, come along. Bianca: Delegates, we have an important announcement. Bernard and I have decided, (pause) to accept the mission to Australia. Bernard: (surprised) Australia? Chairmouse: Oh good show! Now, you must fly out immediately! It's a little nippy outside, but we won't let that stop us, will we? What? (laughs) (scene: on top of a building, snow and wind blowing all around) Bernard: (yelling) Miss Bianca, I'm not sure it's such a good idea to... to fly this soon after eating! Bianca: Darling you'll be just fine! Bernard: But aren't, aren't you supposed to wait 45 minutes? Bianca: (annoyed) Oh, just knock on the door and see if Orville is there!! Bernard: (knocks slightly) (quickly) Well, nobody's home, let's go. (Bernard gets buried with snow) Bianca: Bernard!! (scodling) This is no time to play in the snow. Bernard: I wasn't playing in the snow. It... it was an avalanche. Bianca: Oh look Bernard! (reading the sign) Under new management, see Wilbur. C'mon darling, let's get a move out! (scene: inside Wilbur's hangar; Wilbur is seen singing and dancing along with some music) Bianca: Yoo-hoo! Mr. Wilbur! Hello? Bernard: Look out!! Excuse me! Bianca: Bernard DO something! He can't hear us! (Bernard "struggles" to get to the boom box and Wilbur continues to dance.) Wilbur: (singing) The girls all look (music stops) when I go by..... Hey, who killed the music?!? Bernard: That's better. Bianca: Excuse us for interrupting, we're from the Rescue Aid Society. I am Miss Bianca... Wilbur: (interrupting) Miss Bianca!?! Bianca: and this is my.... Wilbur: (still interrupting) THE Miss Bianca? I don't believe it. My brother Orville told me ALL about you, oh boy, I... this is an honor to have.... may I just say enceinte senorita to you? May I? (kisses her hand) Bernard: Ahem. (deliberately) We need to charter a flight. Wilbur: Well, you've come to the right place, buddy boy, welcome to (pause) "Albatross Air" - a fair fare from here to there. (laughs) Get it? A fair fare? It's a... a play on... nevermind, I've got tons of exotic destinations, far away places, custom designed for (in a seductive voice) "romantic weekend getaways". (laughs) As well as the finest in-flight accomodations. Speaking of which, what can I get ya? (fumbles, searches through his cooler) How about a nice mango-Maui cooler? Very, very nice, very tasty.... Bianca: No thank you... Wilbur: Or a ah..... (fumbles about) Coconut guava nectar? It's carbonated. Very nice. I got little umbrellas for each one of them and a little coconut thing.... Bianca: No, it's urgent that we leave immediately! Wilbur: (disappointed) Nothing? Nothing at all? Bernard: (dismayed) Wilbur. Wilbur: How about a cream soda? Bernard: Now look, we need a flight to Australia. Wilbur: Australia? The Land Down Under? That's a fabulous idea! So when can I pencil you in? Ah... after spring thaw? You know, mid-June would be very nice. Bianca: Oh know, we must leave TONIGHT. Wilbur: (spits out his drink) TONIGHT? (coughs and laughs) C'mon you're kiddin' me right? (laughs) Have you looked outside? (he opens the window) It's suicide out there! Oh-ho, oh no. OH NO....I'm afraid your jolly little holiday will have to wait. (laughs) What a bunch of jokers. Bianca: But you don't understand, a boy needs our help, he's in trouble. Wilbur: A boy? You mean, a little kid kinda boy? Bianca: He was kidnapped. Wilbur: Kidnapped? (remorseful) Aw... that... that's awful. Lockin' up a little kid. A kid should be free. Free to run wild through the house on Saturday mornings, (gathering strength) free to have cookies and milk, and get those little white moustaches, you know, with the..... (determined) NOBODY'S gonna take a kid's freedom away while I'm around, nobody, do you hear me?!? Bianca: Does that mean you'll take us? Wilbur: (with conviction) Storm or no storm, Albatross Airlines, at your service!! (Wilbur salutes) (scene changes to Bernard and Bianca on Wilbur's back) Passengers are requested to please fasten their seat belts and secure all carry-ons. We'll be departing following our standard pre-flight maintenance. Thank you. (Wilbur begins to exercise) Yeah, loosen up, get the blood flowin' up to the head, annnnnd, couple of these....oh! (tries to do a push-up) O.k. one's enough, here we go. Oh! Ah yeah!! That feels better. Oh baby. Tie your kangaroos down sports fans, here, we, COME! (opens hangar doors, gets blown back by wind) Yeah, let's go for it!! Woah! Hey! Woah! Hey, I didn't adjust for the winds. All right we're gonna make it!! I just gotta duck down a little lower, that's all. Go under the wind, go under it! Here we go (screams)!! Ow this is cold! Slippery! Ice! Ice! We got ice! We got ice! Oh hang on now!! Here we go! Here we go! Here we go!!! HERE WE GO!! COWABUNGA!!!!!!! (Wilbur dives for the street; "flies" just in time to miss the ground.) Bianca: Captain, is this a non-stop flight to Australia?? Wilbur: Well, ah...not exactly no, I could definitely say no. We're gonna have to make connections with a bigger bird. (aside) Non-stop? What do I look like, Charles Lindburgh?? (scene: McLeach driving his vehicle with Cody in the cage in the Australian outback.) Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't do this!! Help! Help! Help! McLeach: (on speaker) Breaker, breaker, little mate. I forgot to tell ya around here, you need to be QUIET!! (Cody trips) Or the rangers might hear ya. Now sit down and relax, enjoy the view. (laughs) Nothin' but abandoned opal mines as far as the eye can see. And dead ahead, is home sweet home. (begins singing) (from a distance) Home, home on the range. Where the critters are tied up in chains. I cut through their sides, and I rip off their hides. And the next day I do it again. Everybody! Home, home on the range..... (scene: long shot of Cody's house) Mom: Cody! Cody! Cody! (scene: cargo hold of airplane; Wilbur, Bernard, and Miss Bianca are sleeping on an airplane tire.) Announcer: (heard from inside of plane) Ladies and gentlemen, Flight 12 is now approaching Sydney airport, make sure you pick up your parcels and packages and enjoy your stay in Australia. (Miss Bianca wakes up, gives Bernard a kiss to wake him up.) Bernard: (just waking up) (yawns) Are we there yet? Bianca: Yes. You know, perhaps we should wake up Wilbur. Bernard: Oh, oh... alright, I'll get him up. (leaning over) Ahhh... Wilbur? (Wilbur is snoring) Wilbur? Wilbur?? Wilbur: (half awake) Um, yeah, just five more minutes ma. (Wilbur rolls over, trapping Bernard and Bianca) Bianca and Bernard: (screams) Wilbur!! Wilbur: (groggy) That's all I need, five more minutes. Bianca: (pleading) Wilbur?? Are you awake?? Bernard: Get, get up we're there!! Wilbur: O.k. I'm up, I'm up. (he rolls back over) Bernard: Watch out you got.... Wilbur: (groans) Oh! I must'a been sleepin' on a bolt. Ooo. (plane body opens) Oh boy. Throw another shrimp on the barbie girls, cause HERE I COME!! Bernard: Here we go again!! Wilbur: CANNONBALL!!!!! Bianca: Weeee!! (Wilbur "cannonballs" out of the airplane; he runs into a flock of seagulls on his way down and passes the Sydney Opera House.) Wilbur: Gang way! Comin' through, mice on board!! Clear the way! Move over madam, there you go! Comin' through sir, thank you. (laughs) Next stop, Mugwomp Flats. Did we lose anyone back there? (laughs). Bernard: Miss Bianca, from.. from now on, can't... can't we just take the train? (scene: Mugwomp flats "control tower". Jake and Sparky are playing checkers.) Jake: Well Sparky, you've had this comin' for a long time. And now, you're gonna get it. Ha! (Jake jumps one of Sparky's pieces; Sparky spits and then jumps a bunch of Jake's pieces.) Jake: Hmmm... wise fly. (Sparky laughs) Wilbur: (over radio) Mugwomp tower, Mugwomp tower, this is Albatross One Three requesting permission to land. Over? Jake: Albatross? (Jake flips over the checkerboard to a chart that has various bird sizes) Let's see... finch, wren, scrub bird, lockeet, freckled duck, culah, kukaberra, parrot, cockatoo, alba... alba...?!?! It's a jumbo!! (into radio) Negative one three, you'll have to turn back, our runway isn't long enough for a bird your size. Wilbur: Not long enough?!? Look pal, I can land this thing on a dime! Bernard: (heard over radio) Uh... Wilbur, if, if the runway isn't long enough... Wilbur: Listen you can't let these radar jockeys push you around. Just leave it to me alright? Jake: (into radio) I say again mate, our runway is too short. Wilbur: And I say again, MATE, I'm comin' in!! Jake: Crazy Yank. Quick Sparky, we gotta find a way to extend the runway. (Jake and Sparky begin to make the runway longer; Jake kicks a cinder block raising part of the roof.) Wilbur: Here we go! Bernard: We..., we'll never make it!! Wilbur: (as he bounces along roof) Hot! Oooh! Ow! Passengers please remain seated until the aircraft comes to a full and complete stop. Thank you. (Jake and Sparky continue to extend the runway; Wilbur lands on an umbrella and spins around.) Jake: Quick Sparky, we need to make a drag line! (an elaborate clothesline/hangar/brassiere drag line is constructed; Wilbur is catapulted into the drag line; when he stops, he is "wearing" the bra.) Wilbur: (cocky) Don't try and tell ME the runway's too short. Ha! (to Jake) Hold this for me will ya pal? (Wilbur "hands" him the bra which launches Jake backwards.) Jake: Bloke oughtta have his wings clipped. Wilbur: You captain thanks you for flying Albatross Airlines..... Jake: (aside to Sparky) Crazy Yanks. They think they can do any fool thing, without regard for..... (he sees Bianca; becomes starry-eyed; Sparky wonders what happened; looks at Jake; Sparky buzzes in dismay) (being suave) Welcome to Australia ma'am. My name's Jake and if there's any way I can make your stay more pleasant, don't hesitate to ask. Bianca: Oh, how kind. Jake: Allow me to get that bag for ya. Bernard: (struggling) I've a.... I've got a lot of... luggage here... Wilbur: Here let me give you a hand with those bags pal, all part of the friendly service here at Albatross Air (Wilbur picks up two of the bags; a crunch is heard) Ow! Oh! Big time hurt! Ah back!! Oh it's out! Bianca: Wilbur, are you alright? Jake: Don't worry ma'am, I'll handle this. Sparky, you watch the tower, we gotta get this bird to the hospital. Wilbur: Oh.... can't go down, can't go up. Oh ! Take the bags, take the bags! (scene: an old military hospital vehicle. Wilbur is being lowered inside by a series of ropes, gears and nursemice.) Nursemice: Heave! Ho! Heave! Ho! Wilbur: Hey, whaddya doin'? Hey, what... what's going on? Wait! Hey wait a minute... just stop everything. Bianca: Wilbur, don't worry. We'll come back the moment we find the boy. Wilbur: (begging) Wait! Hey! Wait a minute! Don't leave me here, please! I'm feeling much better now. I'm even ready to hit the beaches (laughs). I'm even ready to mambo. (Wiggles in the restraints). Bianca: Doctor, will he be alright? Doctor: (consoling) Now, now, my dear. Keep a stiff upper lip. They all come in with a whimper, and leave with a grin. Off with you now. Leave everything to me. Shoo, shoo, off you go. (they leave) Hop to it ladies, we've got a bent bird on our hands. Move, move, move, bustle, bustle, bustle. That's it, ah-ha. Wilbur: Will it, will it hurt doc? Doctor: Dear boy, you won't feel a thing. (to the nurse mice) Launch the back brace! (the "back brace" (a cane) is "launched" to immobilize Wilbur's back.) Wilbur: Hey! Hey wait! Wait! Woah!! I've been skewered. Doctor: (cross) I've already missed tea, Mr. Albatross, now don't force me to take drastic measures. You MUST relax. Wilbur: Relax?!? I have never been more relaxed in my life!! (begins to get hyper) If I were any more relaxed, I'd be dead!!! Doctor: (smug) I'm not convinced. (to the nurse mice) Sixty milligrams! Nursemice: Sixty milligrams. (the nursemice fill hypodermic needle with liquid and put it into the chamber of a shotgun.) Wilbur: Hey... wha.... are... are you guys crazy? You can't do that to me! I'm an American citizen buddy!!! Doctor: Better double it! Wilbur: DOUBLE?!? Nursemice: Double, coming up! (they load up another needle in the other chamber.) Wilbur: Nooo!! Doctor: Prepare the albatross for medication. Wilbur: Oh, I'm dreamin'... I'm dreamin'!! Come on Wilbur, wake up boy, wake up!! Doctor: (giving directions to aim the gun.) Three degrees right. Wilbur: Come on!! Nursemice: Three degrees right. Wilbur: Come on, it's a joke, it's a joke! Doctor: Down two degrees. Wilbur: Oh no, don't go down two degrees! Nursemice: Down two degrees. Doctor: Ready! Wilbur: No I'm not ready!! No, please!! Doctor: Aim!! Wilbur: (crying) please don't do this to me...... Doctor: FIRE!! (the scene changes to outside and we hear the gun fire.) Wilbur: Ow, ow, oh. ooo...... (scene: Mugwomp Flats; Bernard and Bianca are looking at a map) Bernard: Now we just.... gotta figure out how to get there. Jake: So, ah... you and your umm... husband here on a little outback excursion? Bianca: Oh no, no, we're not married. Bernard: In fact we're, we're here on a, a top ah.. secret mission. Very... very.. hush, hush. Jake: Oh! Gotta rescue that kid McLeach nabbed eh? Bianca: Why that's right! How did you know? Jake: (he bumps Bernard out of the way) (whispering to Bianca) You'll find it's tough to keep secrets in the outback miss. (outloud) So ah.... which way ya takin'? (looking at Bernard's map.) Suicide trail through Nightmare Canyon, or the shortcut at Satan's ridge? Bernard: Su... Suicide trail? Jake: Good choice. (dramatically) More snakes, less quicksand. Then once you cross Bloodworm Creek, you're scot free, this is until ummm... Dead Dingo Pass. Bernard: (puzzled) Wait, wait, wait a minute, I don't.... I don't see any, any of that, that stuff on the map. Jake: A map's no good in the outback! (folding up the map) What you really need is someone, (schmoozing to Bianca) someone who KNOWS the territory. Bianca: Oh Mister Jake, will you guide us? Jake: At your service! (he bows and shoves the map behind him into Bernard's gut.) Here better take my arm miss it's gonna be a treacherous hike. (beginning to tell a story) I remember the time Miss B. it was just me and four hundred of these big giant..... Bernard: Doesn't even know how to fold a map.... (scene: the rangers are at Crocodile Falls searching the water; then we see Bernard, Miss Bianca and Jake on a wombat in a tree getting ready to jump.) Jake: This is how we get around in the outback Miss B. (shouting) The only way to travel, eh Berno? Bernard: Ah yeah, yeah, it's just a little, a little ah.. bumpy back here. (Bernard is bobbing along on the tail; the wombat climbs to the top of the tree and jumps.) Jake: Cinch up your seatbelts mates, we're comin' in for a landing. (the wombat lands on a small bush; Jake and Miss Bianca get off the wombat; however the bush isn't exactly stable yet...) Bernard: Hold it, not, not yet!! (Bernard gets launched into a patch of

33

Rise of the Guardians

David Lindsay-Abaire

Animation,Adventure,Family

September_2012

SEQ. 125 - ALONE IN THE WORLD DARKNESS JACK (V.O.) Darkness. That's the first thing I remember. It was dark, and it was cold. And I was scared. The silhouette of a body appears as it drifts into a ray of light, refracted through water, which turns into... A MOON - SEEN IN REFLECTION ON A SHEET OF ICE The moonlight intensifies almost magically, and the ice above begins to spider-web and crack. EXT. FROZEN POND - NIGHT Snow-covered trees in every direction. The ice in the pond continues to crack, until finally a hole splinters open. A young man floats out of the water, bathed in the intense moonlight. This is JACK FROST - thin, pale, barefoot, his tousled hair frosted white. JACK (V.O.) But then...then I saw the moon. It was so big and it was so bright, and it seemed to chase the darkness away. And when it did...I wasn't scared anymore. Jack floats back down onto the ice as the hole closes up underneath him. JACK (V.O.) Why I was there, and what I was meant to do - that I've never known. And a part of me wonders if I ever will. Jack looks around, confused, then turns toward the moonlight as it dims a bit. Jack carefully treads across the ice until he hits something with his feet. He looks down, and at his feet is a wooden staff. Curious, he picks it up. Almost immediately the staff begins to glow a cold blue in his hands. Odd. Guardians Screening Script 9/6/12 Avid 2. Jack almost drops it as the base of the staff comes in contact with the ground. Frost shoots out and spreads across the ice. Jack is visibly confused. He touches a few trees with his staff sending frost up their trunks. Then he swings the staff again, more confident, as he begins to run across the frozen pond. Another swing, and a gust of wind swirls him high up into the air. Jack floats for a moment only to fall back down to earth and into the trees. Jack grabs hold of a tree branch and pulls himself up to see a small town off in the distance. EXT. BURGESS SETTLEMENT - TOWN CENTER - CONTINUOUS A collection of simple timber houses with thatched roofs. Jack comes in for a landing, and it's a rocky one. He stands up, still elated, and brushes himself off. As Jack makes his way into town, settlers are warming their hands by campfire. Jack doesn't recognize anyone. JACK (to the townsfolk) Hello. Hello. Good evening, ma'am. (BEAT) Ma'am? The settlers walk past Jack, not noticing him. Jack crouches down as a YOUNG BOY runs toward him. JACK Oh, ah, excuse me, can you tell me where I am? The boy runs right through Jack, as if he were a ghost. Jack staggers back in shock. He's speechless, as if the wind had been knocked out him. His emotions causing it to snow. JACK Hello! Hello! Townsfolk continue to pass through Jack, unaware of his presence. Shaken, Jack turns and retreats into the forest. JACK (V.O.) My name is Jack Frost -- how do I know that? The moon told me so. But that was all he ever told me. And that was a long, long time ago. Guardians Screening Script 9/6/12 Avid 3. We pan up as the moon shines down over the snow covered trees. CUT TO: SEQ. 175 - INTRO TO NORTH EXT. NORTH POLE - DUSK FIERY GYPSY VIOLIN MUSIC as we move through clouds to reveal a MASSIVE ICE CANYON, and just around a bend, the incredible hidden fortress of NORTH, aka SANTA CLAUS. INT. NORTH'S WORKSHOP - DUSK We glimpse a familiar-looking RED JACKET and CAP with white trim on a coat hanger just as a pair of tongs SLAM a block of ice onto a stone work table-- IN QUICK CUTS: A CHAINSAW shears the block in half, spraying ice. North lifts up the chainsaw revealing a massive tatoo on his arm, the word NAUGHTY clearly visible. Three ELVES huddle in a doorway around a plate of cookies, each licking their own tasty morsel. NORTH (O.S.) Still waiting for cookies! As North crosses the background, the elves lower the cookies from their mouths, their faces frozen in fear. The elves duck out of the way as North launches himself across the floor on his rolling chair -- CLOSE as his huge HAND gropes furiously among his WORK TOOLS, finally grabbing a miniature HAMMER. As North's humming along with his music, delicately CHISELING into the ice, we see a second arm sleeve tatoo, the word NICE clearly visible-- His INTENSE BLUE EYE magnified in a JEWELER'S EYEPIECE -- a delicate SCULPTING TOOL cuts fine details into the ice-- His hands place the finished piece on a curving ICE TRACK: An ice LOCOMOTIVE. It belches ice vapor and chugs down the track, picking up speed-- NORTH Yes! North's hand grabs a cookie from a plate held up by the two Elves. Guardians Screening Script 9/6/12 Avid 4. One of the elves gives his cohort a look and points to the plate as it chews with a mouth full of food, to which it then unfurls its tongue and lets the half eaten morsels spill out onto the plate. NORTH Ah, finally! He takes a bite and leans toward the ice track. He chuckles as the train hits a loop, and launches off a ramp into midair -- then WINGS unfold -- JET ENGINES sprout and ignite and the train lifts off the track-- Suddenly, the DOOR is thrown open by one of North's concerned YETIS, sending the flying ice locomotive skidding across the floor in pieces. YETI Arghbal... NORTH Ach! The yeti cries out covering his mouth in shame. North cries out, devastated. The yeti, equally emotional, lets out another whimper. North looks down at the broken toy and takes a moment to collect himself. NORTH How many times have I told you to knock? YETI Warga blarghgha! NORTH What...? The Globe? North leaps up -- draws a HUGE SCIMITAR from its sheath and HEADS OUT-- INT. NORTH'S GLOBE ROOM - CONTINUOUS A sea of tiny BELLS on the heads of panicking elves part as North's huge boots stomp through. NORTH Shoo with your pointy heads. Why are you always under boot? He pushes his way past a couple of his YETI WORKERS -- they're looking up in fear at - Guardians Screening Script 9/6/12 Avid 5. THE GLOBE OF BELIEF Covered with LIGHTS blanketing the continents. But North notices that all at once, HUNDREDS OF LIGHTS suddenly go out. NORTH What is this? Now MORE LIGHTS, in GREATER NUMBERS, as if something is snuffing them out by the thousands. North's concern grows. NORTH (TO YETI) Have you checked the axis? Is rotation balanced? YETI (SHRUGS SHOULDERS) Wardle bawddrel. Before the Yeti can finish, a WIND whips up from out of nowhere -- North stares in outrage as a blanket of SWIRLING BLACK SAND, crawls over the lights, and shrouds the ENTIRE GLOBE in inky DARKNESS-- The elves scurry in a panic, then all at once the BLACK SAND WHOOSHES UP off the Globe -- rushes up through the ceiling as the remaining sand bursts into a puff of smoke and dissipates into the air -- As the wind dies, the scattered pieces of debris settle to the ground, and the globes lights come back on, North whirls to see a HUGE SHADOW flash across the floors and curving walls of his fortress. It quickly disappears, leaving nothing but the distant ECHO of...LAUGHTER? North is frozen, looking up into the darkness, gravely: NORTH Can it be? (then calls off) Dingle! A group of elves step forward gleefully pointing to themselves, as if they're all "Dingle". The excitement quickly turns to confusion. NORTH Make preparations! We are going to have company. North reaches out for a large EMERGENCY LEVER, TWISTS and PRESSES IT-- Guardians Screening Script 9/6/12 Avid 6. The Globe pulses with ENERGY, which lights up and ZOOMS UP the AXIS SHAFT toward the roof-- EXT. NORTH POLE - CONTINUOUS From the tallest spire of North's fortress, NORTHERN LIGHT ENERGY radiates outward: for the first time in decades, the GUARDIANS' CALL GOES OUT! CUT TO: SEQ. 225 - GUARDIANS GATHER INT. CHILD'S BEDROOM - NIGHT A little fairy, carrying a coin, flies above the head of a sleeping child. She quickly ducks under the pillow and comes out the other side with a tooth in hand. EXT. TOOTH'S PALACE - DAY Hundreds of fairies fly toward a hollowed out mountain, this is Tooth's palace and it's a majestic site. INT. TOOTH'S PALACE Dozens of tiny FAIRIES flit about. Teeth are filed away in tiny wooden drawers. Coins are handed out. TOOTH (O.S.) Chicago, Sector 6 -- 37 molars, 22 bicuspids, 18 central incisors. Moscow, Sector 9 -- 22 incisors, 18 premolars: Uh oh, heavy rain advisory! (BEAT) Des Moines, we've got a cuspid at 23 Maple. Head out! A hive of activity, and at the center a winged figure barks out orders like a harried air-traffic controller. This is TOOTH. A Mini Tooth Fairy flies up to Tooth as thousands of tiny MINI TOOTH FAIRIES continue their work behind them. TOOTH (O.S.) Wait! And suddenly everything stops. Tooth whips around, and we finally see her beautiful FACE. Guardians Screening Script 9/6/12 Avid 7. She's holding up a little tooth, and gazing at it with dreamy adoration. The surrounding fairies tweet with excitement. TOOTH (CONT'D) It's her first tooth. Have you ever seen a more adorable lateral incisor in all of your life?! (GASPS) Look how she flossed! The fairies' tweets turn to concern, turning Tooth's attention to North's AURORA SIGNAL stretching across the sky. She gasps, and flies off like a rocket toward the source of the signal, accompanied by a few of her ranking fairies. NORTH (V.O.) My fellow Guardians - It is our job to watch over the children of the world, and keep them safe - to bring wonder, hope and dreams. And so, I've called us all here for one reason, and one reason only - the children are in danger. Much of this we hear over the following... EXT./INT. CHILD'S BEDROOM We pull out from the face of a sleeping child to reveal a stream of sand swirling overhead. It's a dream and it's taken the shape of a child playing soccer. We FOLLOW the Dreamsand stream out his window and up into the sky where we see DOZENS of strands of sand descending to earth. Keep following up, through majestic CLOUDS... ...to reveal a small, GLOWING GOLDEN CLOUD of Dreamsand shimmering among the clouds, trailing the golden threads. The strands are being controlled by a small portly figure, THE SANDMAN. Suddenly, North's emergency signal zips by. The Sandman turns to look and his eyes narrow, visibly concerned. Sandy closes his eyes and in an instant the Dreamsand cloud suddenly SWIRLS around him, changing form into a small BIPLANE, with Sandy in the cockpit. He BARREL ROLLS the plane into a dizzying dive through the spectacular cloudscape and flies off into the distance. Guardians Screening Script 9/6/12 Avid 8. NORTH (V.O.) An enemy we have kept at bay for centuries has finally decided to strike back. We alone can stop him. Much of this we hear over the following... INT. EGG TUNNEL A few EASTER EGGS pop up out of the ground; their little legs carry them out of the way of a fast approaching object. Speeding along through a subterranean tunnel, we can barely keep up with a DIMLY-LIT FIGURE as it races at blinding speed, leaping and zigzagging through a series of TUNNELS -- EXT. A SNOWY EXPANSE IN THE NORTH POLE A hole opens in the snow, and a pair of rabbit ears pops out. A huge rabbit climbs out and brushes off the snow, annoyed. The six foot tall figure is BUNNYMUND. BUNNYMUND Ah, it's freezing. He shivers with cold, then goes slogging through the snow. BUNNYMUND (CONT'D) I can't feel my feet! I can't feel my feet! In the distance is North's ornately decorated and dimly lit palace built into the side of a mountain of ice. CUT TO: SEQ. 250 - THE CEREMONY INT. GLOBE ROOM - NIGHT Sandy's biplane circles the massive chamber, leaving trails of Dreamsand. NORTH (O.S.) Cookies? Eggnog, anyone? BUNNYMUND (O.S.) Oh, this better be good, North. Guardians Screening Script 9/6/12 Avid 9. TOOTH (O.S.) (to her fairies) Montreal, sector six: ten premolars, eight incisors and twelve canines. Steer clear of the wild goose migration. NORTH Sandy, thank you for coming. Sandy descends from the plane and floats to the ground. He joins North, Bunny and Tooth as they walk through the Globe Room. Sand glyphs appear above Sandy's head communicating that he is busy and has a lot of work to do. NORTH (TO SANDY) I know, I know, but I obviously wouldn't have called you all here unless it was serious. North, Bunny, Tooth and Sandy reach the center of the room. Tooth does her best to shush her mini-fairies. NORTH (CONT'D) The Boogie Man was here - at the Pole. North points to the globe. The other Guardians turn to look. TOOTH (SHOCKED) Pitch? Pitch Black? Here?! NORTH Yes! There was black sand covering the globe. BUNNYMUND (CONFUSED) What, what...what do you mean black sand? NORTH And then a shadow! BUNNYMUND Hold on, hold on, I thought you said you saw Pitch. NORTH Well, ah, not exactly... Guardians Screening Script 9/6/12 Avid 10. BUNNYMUND Not exactly? Can you believe this guy? Bunny turns to Sandy, who shrugs while forming a Dreamsand question mark above his head. BUNNYMUND Yeah, you said it, Sandy. Bunny goes back to painting one of his Easter eggs. NORTH Look, he is up to something very bad. I feel it, in my belly. BUNNYMUND (his eyes narrow) Hang on, hang on, you mean to say, you summoned me here THREE DAYS BEFORE EASTER - because of your belly? Mate, if I did this to you three days before Christmas-- TOOTH (to her fairies) Argentina. Priority alert! A batch of bicuspids in Buenos Aires. NORTH Please. Bunny. Easter is not Christmas. BUNNYMUND Here we go... North grabs Bunny's painted egg, casually juggling it in his hand as he walks off. Meanwhile Sandy, who is being served eggnog by a yeti, suddenly notices something high above. BUNNYMUND (O.S.) (LAUGHS) North, I, I don't have time for this. I've still got two million eggs to finish up. The moon rises into view, high up in the ceiling; its rays of light begin to shine brightly through as they cascade down the walls of the globe room. NORTH (O.S.) No matter how much you paint, is still egg! Guardians Screening Script 9/6/12 Avid 11. Sandy points to the moon unsuccessfully to get the others' attention. BUNNYMUND Look, mate, I'm dealing with perishables. Right. You've got all year to prepare. TOOTH (to her fairies) Pittsburg, boy eight, two molars. Saltwater taffy. Sandy puts his fingers in his mouth to whistle, a silent musical note forming above his head. NORTH (TO BUNNY) Why are rabbits always so nervous. BUNNYMUND And why are you always such a blowhard! TOOTH (O.S.) (to her fairies) Ontario, sector nine: five canines, two molars, and fourteen incisors. Is that all in one house? Sandy waves a sand flag above his head, pointing and jumping up and down as the moonlight continues to fill the room. NORTH (turning his attention) Tooth! Can't you see we're trying to argue. TOOTH Sorry, not all of us get to work one night a year. Am I right, Sandy? Sandy tries to signal with a golden arrow, pointing toward the ceiling, but to no avail as the others continue their bickering. Sandy thinks Tooth has noticed for a split second, but then - TOOTH (to her fairies) San Diego, sector two! Five incisors, a bicuspid and a really loose molar on stand-by. Guardians Screening Script 9/6/12 Avid 12. BUNNYMUND (MOCKING) Come on, mate, Pitch went out with the dark ages. We made sure of that - remember? NORTH (O.S.) I know it was him. We have serious situation! BUNNYMUND (O.S.) Well, I've got a serious situation with some eggs. TOOTH (O.S.) Hey, I hate to interrupt the, "We work so hard once a year club" but could we concentrate on the matter-- Sandy can't take it anymore, grabs an elf by his hat, and vigorously shakes it's bell. The other Guardians are finally silenced and all turn to look at Sandy, who points up, a sand crescent moon forming above his head. The dizzy elf staggers away. Finally the others turn to see the shaft of moonlight as it concentrates on the circle between them. NORTH Aah! Man in Moon! Sandy, why didn't you say something? Sandy gives him a deadpan stare, Dreamsand smoke shoots out his ears. NORTH (to Man in Moon) It's been a long time old friend! What is big news? Everyone looks to the center of the intense spot of moonlight, the light ebbs away, leaving a dark spot -- -- which resolves into the shadowed silhouette of PITCH. The Guardians look on, stunned. BUNNYMUND It is Pitch. North pats his belly and gives Bunny a look. NORTH (back up to the moon) Manny...what must we do? Guardians Screening Script 9/6/12 Avid 13. In answer, the shadow of Pitch disappears and the circle of moonlight intensifies and SHRINKS, concentrating further illuminating an ORNATE SYMBOL on the floor, at the center of their circle. The symbol rises out of the ground revealing a large gem at the head of a pillar. TOOTH Ah, guys, you know what this means? The moons light suddenly refracts through the gem casting light all over the chamber. NORTH (AWED) He's choosing a new Guardian. BUNNYMUND What?! Why? NORTH Must be big deal! Manny thinks we need help! BUNNYMUND (ANNOYED) Since when do we need help?! TOOTH I wonder who it's gonna be? A Dreamsand Four-Leaf clover forms above Sandy's head. TOOTH (CONT'D) Maybe the Leprechaun? BUNNYMUND Please not the groundhog, please not the groundhog. Then A BRIGHT FLASH, a rush of WIND - and a FIGURE resolves over the central pillar: slight, hooded, bearing a familiar hooked STAFF. NORTH Jack Frost. The Mini-Teeth all sigh and swoon as the Guardians stand there, stunned. BUNNYMUND Ah, I take it back! The Groundhog's fine! Guardians Screening Script 9/6/12 Avid 14. TOOTH (caught admiring Jack) Well, ah, as long he helps to ah...to protect the children, right? BUNNYMUND Jack Frost!? He doesn't care about children! All he does is freeze water pipes and mess with my egg hunts. Right? He's an irresponsible, selfish... NORTH Guardian. This stops Bunnymund in his tracks. BUNNYMUND Jack Frost is many things, but he is not a Guardian. As we turn toward the face of the hooded figure. DISSOLVE TO: SEQ. 600 - SNOWBALL FIGHT EXT. ST. PETERSBURG - NIGHT A hooded figure with a familiar looking staff rests atop a Post Office box on the opposite end of the street. The man touches the staff to the ground, sending a streak of frost across the street. A RUSSIAN BOY approaches a water fountain, turns the handle and moves in for a sip. But as he does, the water freezes magically, and the boy's tongue is stuck to the frozen water. His friends can't help but laugh. RUSSIAN BOY (tongue stuck to frozen ICE) Aahhhhh...! A mail man walks across the street and a PATCH OF ICE magically appears under his feet. He scrambles, and BOOM! - lands on his butt. Just behind the man, we see the TRAIL OF FROST climb up the side of a building. We stay on the frost as it moves up along a rain pipe, and through the windows we see... Guardians Screening Script 9/6/12 Avid 15. A boy try to feed his gold fish, but a layer of ice suddenly forms along the water surface and prevents the fish from reaching its food. We move along the side of the building... A writer in his study sits next to stacks of papers. The window suddenly swings open and a gust of wind sends the pages flying out the window. We move along the building, across clothes lines and power lines as they freeze. We continue to move up, and finally discover the culprit. Jack Frost makes his way atop a cathedral spire and takes in the view; the full moon bathes the city in moonlight. JACK (AMUSED) Ah, now that, that was fun. (BEAT) Hey wind... Jack chuckles as he calls the wind. The trees begin to sway and leaves fly into the air. Jack grabs hold of the spire, smiling as the wind blows past. JACK Take me home! Jack lets go and t

34

Shrek

William Steig,Ted Elliott

Animation, Adventure,Comedy,Family,Fantasy,Romance

May_2001

SHREK Once upon a time there was a lovely princess. But she had an enchantment upon her of a fearful sort which could only be broken by love's first kiss. She was locked away in a castle guarded by a terrible fire-breathing dragon. Many brave knights had attempted to free her from this dreadful prison, but non prevailed. She waited in the dragon's keep in the highest room of the tallest tower for her true love and true love's first kiss. (laughs) Like that's ever gonna happen. What a load of - (toilet flush) Allstar - by Smashmouth begins to play. Shrek goes about his day. While in a nearby town, the villagers get together to go after the ogre. NIGHT - NEAR SHREK'S HOME MAN1 Think it's in there? MAN2 All right. Let's get it! MAN1 Whoa. Hold on. Do you know what that thing can do to you? MAN3 Yeah, it'll grind your bones for it's bread. Shrek sneaks up behind them and laughs. SHREK Yes, well, actually, that would be a giant. Now, ogres, oh they're much worse. They'll make a suit from your freshly peeled skin. MEN No! SHREK They'll shave your liver. Squeeze the jelly from your eyes! Actually, it's quite good on toast. MAN1 Back! Back, beast! Back! I warn ya! (waves the torch at Shrek.) Shrek calmly licks his fingers and extinguishes the torch. The men shrink back away from him. Shrek roars very loudly and long and his breath extinguishes all the remaining torches until the men are in the dark. SHREK This is the part where you run away. (The men scramble to get away. He laughs.) And stay out! (looks down and picks up a piece of paper. Reads.) "Wanted. Fairy tale creatures."(He sighs and throws the paper over his shoulder.) THE NEXT DAY There is a line of fairy tale creatures. The head of the guard sits at a table paying people for bringing the fairy tale creatures to him. There are cages all around. Some of the people in line are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto who's carrying Pinocchio, and a farmer who is carrying the three little pigs. GUARD All right. This one's full. Take it away! Move it along. Come on! Get up! HEAD GUARD Next! GUARD (taking the witch's broom) Give me that! Your flying days are over. (breaks the broom in half) HEAD GUARD That's 20 pieces of silver for the witch. Next! GUARD Get up! Come on! HEAD GUARD Twenty pieces. LITTLE BEAR (crying) This cage is too small. DONKEY Please, don't turn me in. I'll never be stubborn again. I can change. Please! Give me another chance! OLD WOMAN Oh, shut up. (jerks his rope) DONKEY Oh! HEAD GUARD Next! What have you got? GIPETTO This little wooden puppet. PINOCCHIO I'm not a puppet. I'm a real boy. (his nose grows) HEAD GUARD Five shillings for the possessed toy. Take it away. PINOCCHIO Father, please! Don't let them do this! Help me! Gipetto takes the money and walks off. The old woman steps up to the table. HEAD GUARD Next! What have you got? OLD WOMAN Well, I've got a talking donkey. HEAD GUARD Right. Well, that's good for ten shillings, if you can prove it. OLD WOMAN Oh, go ahead, little fella. Donkey just looks up at her. HEAD GUARD Well? OLD WOMAN Oh, oh, he's just...he's just a little nervous. He's really quite a chatterbox. Talk, you boneheaded dolt... HEAD GUARD That's it. I've heard enough. Guards! OLD WOMAN No, no, he talks! He does. (pretends to be Donkey) I can talk. I love to talk. I'm the talkingest damn thing you ever saw. HEAD GUARD Get her out of my sight. OLD WOMAN No, no! I swear! Oh! He can talk! The guards grab the old woman and she struggles with them. One of her legs flies out and kicks Tinkerbell out of Peter Pan's hands, and her cage drops on Donkey's head. He gets sprinkled with fairy dust and he's able to fly. DONKEY Hey! I can fly! PETER PAN He can fly! 3 LITTLE PIGS He can fly! HEAD GUARD He can talk! DONKEY Ha, ha! That's right, fool! Now I'm a flying, talking donkey. You might have seen a housefly, maybe even a superfly but I bet you ain't never seen a donkey fly. Ha, ha! (the pixie dust begins to wear off) Uh-oh. (he begins to sink to the ground.) He hits the ground with a thud. HEAD GUARD Seize him! (Donkey takes of running.) After him! GUARDS He's getting away! Get him! This way! Turn! Donkey keeps running and he eventually runs into Shrek. Literally. Shrek turns around to see who bumped into him. Donkey looks scared for a moment then he spots the guards coming up the path. He quickly hides behind Shrek. HEAD GUARD You there. Ogre! SHREK Aye? HEAD GUARD By the order of Lord Farquaad I am authorized to place you both under arrest and transport you to a designated resettlement facility. SHREK Oh, really? You and what army? He looks behind the guard and the guard turns to look as well and we see that the other men have run off. The guard tucks tail and runs off. Shrek laughs and goes back about his business and begins walking back to his cottage. DONKEY Can I say something to you? Listen, you was really, really, really somethin' back here. Incredible! SHREK Are you talkin' to...(he turns around and Donkey is gone) me? (he turns back around and Donkey is right in front of him.) Whoa! DONKEY Yes. I was talkin' to you. Can I tell you that you that you was great back here? Those guards! They thought they was all of that. Then you showed up, and bam! They was trippin' over themselves like babes in the woods. That really made me feel good to see that. SHREK Oh, that's great. Really. DONKEY Man, it's good to be free. SHREK Now, why don't you go celebrate your freedom with your own friends? Hmm? DONKEY But, uh, I don't have any friends. And I'm not goin' out there by myself. Hey, wait a minute! I got a great idea! I'll stick with you. You're mean, green, fightin' machine. Together we'll scare the spit out of anybody that crosses us. Shrek turns and regards Donkey for a moment before roaring very loudly. DONKEY Oh, wow! That was really scary. If you don't mind me sayin', if that don't work, your breath certainly will get the job done, 'cause you definitely need some Tic Tacs or something, 'cause you breath stinks! You almost burned the hair outta my nose, just like the time...(Shrek covers his mouth but Donkey continues to talk, so Shrek removes his hand.) ...then I ate some rotten berries. I had strong gases leaking out of my butt that day. SHREK Why are you following me? DONKEY I'll tell you why. (singing) 'Cause I'm all alone, There's no one here beside me, My problems have all gone, There's no one to deride me, But you gotta have faith... SHREK Stop singing! It's no wonder you don't have any friends. DONKEY Wow. Only a true friend would be that cruelly honest. SHREK Listen, little donkey. Take a look at me. What am I? DONKEY (looks all the way up at Shrek) Uh ...really tall? SHREK No! I'm an ogre! You know. "Grab your torch and pitchforks." Doesn't that bother you? DONKEY Nope. SHREK Really? DONKEY Really, really. SHREK Oh. DONKEY Man, I like you. What's you name? SHREK Uh, Shrek. DONKEY Shrek? Well, you know what I like about you, Shrek? You got that kind of I-don't-care-what-nobody-thinks-of-me thing. I like that. I respect that, Shrek. You all right. (They come over a hill and you can see Shrek's cottage.) Whoa! Look at that. Who'd want to live in place like that? SHREK That would be my home. DONKEY Oh! And it is lovely! Just beautiful. You know you are quite a decorator. It's amazing what you've done with such a modest budget. I like that boulder. That is a nice boulder. I guess you don't entertain much, do you? SHREK I like my privacy. DONKEY You know, I do too. That's another thing we have in common. Like I hate it when you got somebody in your face. You've trying to give them a hint, and they won't leave. There's that awkward silence. (awkward silence) Can I stay with you? SHREK Uh, what? DONKEY Can I stay with you, please? SHREK (sarcastically) Of course! DONKEY Really? SHREK No. DONKEY Please! I don't wanna go back there! You don't know what it's like to be considered a freak. (pause while he looks at Shrek) Well, maybe you do. But that's why we gotta stick together. You gotta let me stay! Please! Please! SHREK Okay! Okay! But one night only. DONKEY Ah! Thank you! (he runs inside the cottage) SHREK What are you...? (Donkey hops up onto a chair.) No! No! DONKEY This is gonna be fun! We can stay up late, swappin' manly stories, and in the mornin' I'm makin' waffles. SHREK Oh! DONKEY Where do, uh, I sleep? SHREK (irritated) Outside! DONKEY Oh, well, I guess that's cool. I mean, I don't know you, and you don't know me, so I guess outside is best, you know. Here I go. Good night. (Shrek slams the door.) (sigh) I mean, I do like the outdoors. I'm a donkey. I was born outside. I'll just be sitting by myself outside, I guess, you know. By myself, outside. I'm all alone...there's no one here beside me... SHREK'S COTTAGE - NIGHT Shrek is getting ready for dinner. He sits himself down and lights a candle made out of earwax. He begins to eat when he hears a noise. He stands up with a huff. SHREK (to Donkey) I thought I told you to stay outside. DONKEY (from the window) I am outside. There is another noise and Shrek turns to find the person that made the noise. He sees several shadows moving. He finally turns and spots 3 blind mice on his table. BLIND MOUSE1 Well, gents, it's a far cry from the farm, but what choice do we have? BLIND MOUSE2 It's not home, but it'll do just fine. GORDO (bouncing on a slug) What a lovely bed. SHREK Got ya. (Grabs a mouse, but it escapes and lands on his shoulder.) GORDO I found some cheese. (bites Shrek's ear) SHREK Ow! GORDO Blah! Awful stuff. BLIND MOUSE1 Is that you, Gordo? GORDO How did you know? SHREK Enough! (he grabs the 3 mice) What are you doing in my house? (He gets bumped from behind and he drops the mice.) Hey! (he turns and sees the Seven Dwarves with Snow White on the table.) Oh, no, no, no. Dead broad off the table. DWARF Where are we supposed to put her? The bed's taken. SHREK Huh? Shrek marches over to the bedroom and throws back the curtain. The Big Bad Wolf is sitting in the bed. The wolf just looks at him. BIG BAD WOLF What? TIME LAPSE Shrek now has the Big Bad Wolf by the collar and is dragging him to the front door. SHREK I live in a swamp. I put up signs. I'm a terrifying ogre! What do I have to do get a little privacy? (He opens the front door to throw the Wolf out and he sees that all the collected Fairy Tale Creatures are on his land.) Oh, no. No! No! The 3 bears sit around the fire, the pied piper is playing his pipe and the rats are all running to him, some elves are directing flight traffic so that the fairies and witches can land...etc. SHREK What are you doing in my swamp? (this echoes and everyone falls silent.) Gasps are heard all around. The 3 good fairies hide inside a tent. SHREK All right, get out of here. All of you, move it! Come on! Let's go! Hapaya! Hapaya! Hey! Quickly. Come on! (more dwarves run inside the house) No, no! No, no. Not there. Not there. (they shut the door on him) Oh! (turns to look at Donkey) DONKEY Hey, don't look at me. I didn't invite them. PINOCCHIO Oh, gosh, no one invited us. SHREK What? PINOCCHIO We were forced to come here. SHREK (flabbergasted) By who? LITTLE PIG Lord Farquaad. He huffed and he puffed and he...signed an eviction notice. SHREK (heavy sigh) All right. Who knows where this Farquaad guy is? Everyone looks around at each other but no one answers. DONKEY Oh, I do. I know where he is. SHREK Does anyone else know where to find him? Anyone at all? DONKEY Me! Me! SHREK Anyone? DONKEY Oh! Oh, pick me! Oh, I know! I know! Me, me! SHREK (sigh) Okay, fine. Attention, all fairy tale things. Do not get comfortable. Your welcome is officially worn out. In fact, I'm gonna see this guy Farquaad right now and get you all off my land and back where you came from! (Pause. Then the crowd goes wild.) Oh! (to Donkey) You! You're comin' with me. DONKEY All right, that's what I like to hear, man. Shrek and Donkey, two stalwart friends, off on a whirlwind big-city adventure. I love it! DONKEY (singing) On the road again. Sing it with me, Shrek. I can't wait to get on the road again. SHREK What did I say about singing? DONKEY Can I whistle? SHREK No. DONKEY Can I hum it? SHREK All right, hum it. Donkey begins to hum 'On the Road Again'. DULOC - KITCHEN A masked man is torturing the Gingerbread Man. He's continually dunking him in a glass of milk. Lord Farquaad walks in. FARQUAAD That's enough. He's ready to talk. The Gingerbread Man is pulled out of the milk and slammed down onto a cookie sheet. Farquaad laughs as he walks over to the table. However when he reaches the table we see that it goes up to his eyes. He clears his throat and the table is lowered. FARQUAAD (he picks up the Gingerbread Man's legs and plays with them) Run, run, run, as fast as you can. You can't catch me. I'm the gingerbread man. GINGERBREAD MAN You are a monster. FARQUAAD I'm not the monster here. You are. You and the rest of that fairy tale trash, poisoning my perfect world. Now, tell me! Where are the others? GINGERBREAD MAN Eat me! (He spits milk into Farquaad's eye.) FARQUAAD I've tried to be fair to you creatures. Now my patience has reached its end! Tell me or I'll...(he makes as if to pull off the Gingerbread Man's buttons) GINGERBREAD MAN No, no, not the buttons. Not my gumdrop buttons. FARQUAAD All right then. Who's hiding them? GINGERBREAD MAN Okay, I'll tell you. Do you know the muffin man? FARQUAAD The muffin man? GINGERBREAD MAN The muffin man. FARQUAAD Yes, I know the muffin man, who lives on Drury Lane? GINGERBREAD MAN Well, she's married to the muffin man. FARQUAAD The muffin man? GINGERBREAD MAN The muffin man! FARQUAAD She's married to the muffin man. The door opens and the Head Guard walks in. HEAD GUARD My lord! We found it. FARQUAAD Then what are you waiting for? Bring it in. More guards enter carrying something that is covered by a sheet. They hang up whatever it is and remove the sheet. It is the Magic Mirror. GINGERBREAD MAN (in awe) Ohhhh... FARQUAAD Magic mirror... GINGERBREAD MAN Don't tell him anything! (Farquaad picks him up and dumps him into a trash can with a lid.) No! FARQUAAD Evening. Mirror, mirror on the wall. Is this not the most perfect kingdom of them all? MIRROR Well, technically you're not a king. FARQUAAD Uh, Thelonius. (Thelonius holds up a hand mirror and smashes it with his fist.) You were saying? MIRROR What I mean is you're not a king yet. But you can become one. All you have to do is marry a princess. FARQUAAD Go on. MIRROR (chuckles nervously) So, just sit back and relax, my lord, because it's time for you to meet today's eligible bachelorettes. And here they are! Bachelorette number one is a mentally abused shut-in from a kingdom far, far away. She likes sushi and hot tubbing anytime. Her hobbies include cooking and cleaning for her two evil sisters. Please welcome Cinderella. (shows picture of Cinderella) Bachelorette number two is a cape-wearing girl from the land of fancy. Although she lives with seven other men, she's not easy. Just kiss her dead, frozen lips and find out what a live wire she is. Come on. Give it up for Snow White! (shows picture of Snow White) And last, but certainly not last, bachelorette number three is a fiery redhead from a dragon-guarded castle surrounded by hot boiling lava! But don't let that cool you off. She's a loaded pistol who likes pina colads and getting caught in the rain. Yours for the rescuing, Princess Fiona! (Shows picture of Princess Fiona) So will it be bachelorette number one, bachelorette number two or bachelorette number three? GUARDS Two! Two! Three! Three! Two! Two! Three! FARQUAAD Three? One? Three? THELONIUS Three! (holds up 2 fingers) Pick number three, my lord! FARQUAAD Okay, okay, uh, number three! MIRRO

35

Shrek the Third

Peter Seaman,Jeffrey Price,Chris Miller,Aron Warner

Animation,Adventure,Comedy

May_2007

INT. MEDIEVAL TIMES THEATER - NIGHT A familiar beam of light shines down. The beam of light descends onto a stage. Lightning flashes to reveal Prince Charming riding his valiant steed Chauncey across the open plains. The wind blows back his golden mane. PRINCE CHARMING Onward Chauncey, to the highest room of the tallest tower! Where my princess awaits rescue from her handsome Prince Charming. Lightning cracks. Thunder booms. Charming straddles a wooden hobby horse and gallops in place. A stage hand uses a bellow to blow air into Prince Charming's face. Another stage hand turns a crank that creates the moving background. In the orchestra, a man uses coconuts to create the sound effects of a galloping horse. Two more stage hands back stage create the cheap sound effects of thunder and lightning. A crudely constructed castle tower sits in front of a cheaply painted backdrop. The Fairytale Creatures are sitting at a table in the audience. GINGERBREAD MAN This is worse than Love Letters! I hate dinner theatre. PINOCCHIO Me too. Pinocchio's nose grows as he is caught in the lie. Prince Charming rides to the base of the tower. PRINCE CHARMING Whoa there, Chauncey! He dismounts and sets his hobby horse on the ground. He strikes a dramatic pose. A Princess leans from a tower window. ACTRESS Hark! The brave Prince Charming approach-ith. Prince Charming puffs his chest out. Shrek the Third - Final Screening Script 2. PRINCE CHARMING Fear not fair maiden! I shall slay the monster that guards you and take my place as rightful King. An old couple at a table look confused. OLD LADY (to old man) What did she say? Prince Charming glares as the bored audience largely ignores him. A man in a bad ogre costume comes onto the stage. OGRE Grrrrrrr! The crowd erupts into applause. The Fairytale Creatures cheer. FAIRYTALE CREATURES (CHEERING) Woooo hoooo!!! GINGERBREAD MAN Yea! Shrek! At first, Prince Charming is put off by the cheers for the Shrek-like beast. He pulls his sword and confronts the monster. PRINCE CHARMING Prepare foul beast to enter into a world of pain with which you are not familiar! He is cut off as a waiter enters with a birthday cake. WAITER (SINGING) Happy Birthday to thee. PRINCE CHARMING Do you mind? Prince Charming hops out of the way when a chair lands on stage. It slides past him and bumps into the tower facade. GINGERBREAD MAN Do you mind? Bo-ring! Shrek the Third - Final Screening Script 3. The audience laughs. Prince Charming glares at them and then tries to recover. He points his sword at the monster again. The tower facade starts to topple. PRINCE CHARMING (CLEARS THROAT) Prepare foul beast- Prince Charming looks over his shoulder and sees the facade falling. He cringes. The scenery slams against the stage, but Prince Charming is unharmed, perfectly framed in the princesses' window. The crowd laughs at the embarrassed Prince Charming. He shakes his mangled sword at the audience. PRINCE CHARMING (shaking his sword again) Someday you'll be sorry. HECKLER (O.S.) We already are! They laugh again. Prince Charming throws down his sword, picks up his hobby horse and exits. OGRE Grrrrrrr! The song and the laughter follow Prince Charming backstage. INT. BACKSTAGE DRESSING ROOM - MOMENTS LATER Prince Charming walks through a tunnel backstage that leads to a door. The door has a star with his name written on it. He opens it. EXT. MEDIEVAL TIMES RESTAURANT - CONTINUOUS Prince Charming sits at his broken vanity and sobs. His make- shift dressing room is in an alley way next to the theater. Horses whinny as a carriage passes by. The castle of Far Far Away can be seen on the hill in the background. Prince Charming breaks down and cries. He looks up and sees a picture of the Fairy Godmother taped to the vanity. "Don't stop believing! Mommy's Little Angel" is written on the picture. Shrek the Third - Final Screening Script 4. PRINCE CHARMING (HEAVY SOBS) Oh mommy. He weeps again and then looks back at the picture. A determined change grows across his face. PRINCE CHARMING Oh, you're right. I can't let this happen. I can't. Prince Charming looks at the castle on the hill. His expression hardens. He stands and faces the castle. He holds his chin up high. PRINCE CHARMING I am the rightful King of Far Far Away and I promise you this mother. I will restore dignity to my throne! A big gust of wind blows a newspaper page across his face. He peels it off and looks at the headline. His eyes tense and narrow. PRINCE CHARMING (CONT'D) And this time, no one will stand in my way! In the newspaper is a picture of Shrek and Fiona waving to a crowd. Prince Charming crumples up the newspaper in his fists. EXT. CASTLE - MORNING The camera booms down from the Far Far Away sign. The sun rises and the birds sing. INT. SHREK AND FIONA'S BEDROOM - CONTINUOUS The sun shines through the bedroom window as the camera pans over to Shrek and Fiona waking up. SHREK Good morning. FIONA Good morning. (DREAMY) Oh... morning breath... Shrek the Third - Final Screening Script 5. Shrek breathes in and smiles. SHREK (DREAMY) I know. Isn't it wonderful? The bedroom doors fly open and Donkey and the Dronkeys rush in. The Dronkeys head right for Shrek and Fiona. Shrek cowers beneath the bedclothes. DONKEY (SINGING) "Good morning! Good morning!" Shrek sinks further into the blankets as the Dronkeys exuberantly lick him. Fiona is amused. Donkey starts to sing "Good Morning" from Singin' in the Rain as he enters the room. DONKEY (SINGING) "The sun is shining through! Good morning! Good morning. (coming closer and closer TO SHREK) "To you!" (TO SHREK) "And you!" (TO DRONKEY) And you! The Dronkeys fly out of the room, knocking down everything in their path. DONKEY Oh, they grow up so fast. Shrek, greatly annoyed, lifts his hand and snuffs out a little fire on the bed left behind by the Dronkeys. SHREK Not fast enough. Puss leaps onto the bed. PUSS Okay. You have a very full day filling in for the King and Queen. There are several functions that require your attendance, sir. Shrek the Third - Final Screening Script 6. SHREK Great! Let's get started. Shrek immediately pulls the covers up over his head and starts to snore. DONKEY C'mon, lazy bones, time to get movin'! Donkey yanks the sheets off of Fiona and Shrek. He is surprised to see Shrek's bare legs. DONKEY Aaahhh! You know you really need to get yourself a pair of jammies. Shrek sighs. CUT TO: INT. KNIGHTING CEREMONY - DAY The camera pans down from a stained glass window. The song "Royal Pain" by the Eels plays in the background as the title: "Shrek The Third" is superimposed. A large crowd has gathered to watch the knighting. Shrek walks down the aisle of the church. Shrek walks up to the knight who seems a bit nervous. Shrek takes a sword from Puss, but he doesn't have any idea what he is supposed to do with it. Shrek looks at Puss, who indicates how to knight a person with his own sword. Shrek starts to knight the knight. SHREK I knight thee... Shrek accidentally stabs the knight. SHREK He-he. Ooh. The crowd, Fiona, Puss and Donkey look on, shocked. CUT TO: Shrek the Third - Final Screening Script 7. EXT. BOAT DOCKS - DAY Shrek and Fiona officiate at a boat christening for the Royal Navy. Shrek is holding a bottle of champagne. He leans on the boat, accidentally pushing it down the ramp. Shrek throws the bottle at the boat and it punches an enormous hole in the side of the hull. The boat quickly sinks. Shrek turns to find the patrons of Far Far Away shaking their heads as they leave. CUT TO: INT. DRESSING ROOM - DAY Raul, the make-up specialist, tightens some aprons around Shrek and Fiona. Donkey, Puss and Raul stand in front of them. DONKEY Well, since you're filling in for one, you might as well look like a real King. Can somebody come in here and work on Shrek please? Raul stares at Shrek. Shrek raises his eyebrow. RAUL (AHEM) I will see what I can do. He unrolls a satchel full of different gardening tools. Suddenly Shrek's arms and legs are strapped into a chair. A man stands with his back to the camera and pulls on a rip cord as if he's holding a chain saw. VROOM! VROOM! He turns around to reveal a circular sander and starts to grind away at Shrek's gruesome toenails. Shrek cringes. We see a close-up of Shrek's eye. A mascara brush comes into frame and pulls at Shrek's eyelash. Fiona gets her nose hairs plucked. FIONA Ow! Shrek the Third - Final Screening Script 8. Lipstick is applied to some lips. The camera pulls back to reveal that the lips are Shrek's. A hand tries to tighten a zipper on Shrek's back. It keeps snagging on the skin until they finally rip it past and tighten up the zipper all the way. A small sock is placed onto Shrek's foot. With a shoe horn, Shrek's foot is shoved into a small shoe. POP! A collar is placed around Fiona's neck and her corset is tightened. A drill comes into frame and tightens the rivet on Shrek's belt. A mole is placed on his cheek. INT. BACKSTAGE - LATER REVEAL: Shrek and Fiona standing awkwardly in outrageous Renaissance outfits. Donkey gasps. DONKEY Oh! Puss rolls his eyes. PUSS Yeah, wow. Fiona is uncomfortable. FIONA Uh, is this really necessary? RAUL (TO SHREK) Ho, ho. Quite necessary, Fiona. SHREK I'm Shrek, you twit. RAUL Whatever. PUSS Okay peoples! This isn't a rehearsal. Let's see some hustle. DONKEY Smiles everyone, smiles! Shrek the Third - Final Screening Script 9. Off-screen, the Master of Ceremonies announces the couples arriving at the party. Fiona turns to Shrek and sees he is not in a good mood. SHREK I don't know how much longer I can keep this up Fiona. FIONA I'm sorry Shrek, but can you please just try to grin and bear it? It's just until Dad gets better. Shrek lets out another frustrated sigh. FIONA Shrek? SHREK Yeah. FIONA You look handsome. SHREK Ah. Come here, you. She gives him a supportive smile. He relaxes and smiles back. Fiona puckers up her lips and Shrek leans in for a kiss, but their bulky outfits prevent it. Shrek and Fiona let out a huge breath of air. SHREK Oh, my butt is itching up a storm and I can't reach it in this monkey suit! Shrek tries to scratch his butt but to no avail. SHREK Oh. (WHISTLE) Hey you. Come here! A man holding a ruby scepter walks over to Shrek. SHREK What's your name? Shrek the Third - Final Screening Script 10. FIDDLESWORTH Eh, Fiddlesworth, sir. SHREK Hoo hoo hooo. Perfect. INT. BALLROOM - CONTINUOUS The announcer introduces Shrek and Fiona. MASTER OF CEREMONIES Ladies and gentlemen, Princess Fiona and Sir Shrek! The audience claps. The curtain starts to open. Fiddlesworth is scratching away at Shrek's butt. SHREK You've done it. Oh, a little over to the left, yeah. That's great. FIONA Uh Shrek? Fiddlesworth struggles to reach Shrek's itch. The crowd looks on in horror. Fiona tries to get his attention. SHREK Ahh! All right, you got it...Oh yeah, you're on it. Oh that's it! Oh that's good! FIONA Shrek... SHREK Oh yeah! Scratch that thing! You got it. You're on it. That's great! FIONA SHREK! Shrek and Fiddlesworth finally see the crowd. They both freeze. Shrek laughs nervously. Suddenly Shrek's belt buckle snaps off and hits Donkey in the eye. He stumbles through the crowd screaming. DONKEY Ow!! My eye! My eye! Shrek the Third - Final Screening Script 11. As he is stumbling, he grabs hold of a lady in the crowd. WOMAN What are you doing? The woman pushes Donkey away. He falls, knocking over a guard holding an axe on his way down. The guard drops the axe. It flies past Puss, who is in the arms of a lady. The axe knocks over a vase. The vase flies up on stage and Fiona maneuvers to catch it. In flight, water spills out of the vase which causes Fiona to fall over. Shrek's tuxedo bib slaps him in the face. The clasp holding Shrek's pants up breaks off. Shrek stands on stage with his pants around his ankles. He shuffles towards Fiona. SHREK Fiona! He trips over his pants and hits a loose wooden plank on the stage. The plank flings up and sends Fiddlesworth flying through the air where his jacket slips over a banner pole, trapping him. FIDDLESWORTH Uhhh... (WIMPER) Shrek has reached Fiona who is still lying on the floor. SHREK Are you okay? FIONA Yeah. I'm fine. Fiona's eyes suddenly widen. Fiddlesworth's jacket rips and he falls onto a waiter carrying flaming skewers. FIDDLESWORTH Ahhhh! The skewers fly through the air. Donkey stands up in frame with one eye half shut. The flaming skewers shoot by him and land in the curtains, setting them on fire. He blows one of the skewers out and takes a bite. DONKEY Oh! Shrimp! My favorite. Shrek the Third - Final Screening Script 12. The fire causes a Far Far Away shield to detach from a wooden ceiling beam and fall onto the stage, breaking it in half. The whole stage collapses in the middle. The buffet tables slide toward Shrek and Fiona at the other end and collide. CRASH! BANG! CUT TO BLACK: INT. SHREK AND FIONA'S BEDROOM - NIGHT The door to Fiona's room flies open. SHREK That's it! We're leaving! Shrek storms in pulling bits of buffet food off his face. FIONA Honey, please calm down... Shrek grabs the wig off of his head and throws it aside. SHREK Calm down? Who do you think we're kidding? I am an ogre! I'm not cut out for this, Fiona and I never will be. Shrek wipes off his makeup with his shirt sleeve and flings his shirt to the floor. He falls onto the bed next to Donkey. DONKEY I think that went pretty well. Shrek startles. SHREK Donkey! Shrek picks him up and throws him out the door. DONKEY Aww, come on now Shrek! Shrek slams the door shut. Shrek turns back towards the bed and sees Puss reclining on his pillow. Shrek the Third - Final Screening Script 13. PUSS Some people just don't understand boundaries. Shrek picks Puss up by the scruff of his neck and tosses him outside the window. He shuts it. Puss sits sadly on the ledge, giving Shrek his sad-eyes routine. Shrek draws the blinds. Shrek stomps over and falls back onto the bed. Fiona tries to calm him down. FIONA Just think... a couple more days, and we'll be back home in our vermin-filled shack, strewn with fungus, filled with the rotting stench of mud and neglect. This thought calms him. Shrek takes in a long, deep breath and exhales. He smiles. SHREK Oh, you had me at "vermin-filled." FIONA And, uh... maybe even the pitter- patter of little feet on the floor...? SHREK (LAUGHS) That's right. The swamp rats will be spawning. FIONA Uh, no... you know, what I was thinking of is a little bit bigger than a swamp rat. SHREK Donkey? FIONA No, Shrek. Um... what if - THEORETICALLY - SHREK Yeah? FIONA They were little ogre feet? Shrek the Third - Final Screening Script 14. SHREK Oh. (NERVOUS LAUGH) Shocked, Shrek falls off the bed. He slowly emerges from behind the bed. SHREK Honey? Let's try and be rational about this. Have you seen a baby lately? They just eat and poop and they cry and then they cry when they poop and they poop when they cry...Now, imagine an ogre baby. They extra cry and they extra poop. FIONA Shrek. She grabs his hands and looks deeply into his eyes. FIONA Don't you ever think about having a family? Shrek takes her hand. SHREK Right now, you're my family. There is a knock on the bedroom door. The door bursts open, revealing a Royal Page. Shrek springs up. SHREK Well, somebody better be dying. CUT TO: INT. KING'S ROOM - MOMENTS LATER The camera pushes through a corridor that leads to the King's bedroom. The King is lying on his lily pad, coughing. KING HAROLD I'm dying. The King inhales and launches into a violent coughing fit. Shrek looks a bit guilty about his last admission. The Queen comes to the King's aid and he settles down. Shrek the Third - Final Screening Script 15. QUEEN Harold. KING HAROLD Don't forget to pay the gardener, Lillian. The Queen is used to these kind of non-sequiturs. QUEEN Of course darling. The King suppresses a few coughs. He turns to his daughter. KING HAROLD Fiona... FIONA Yes Daddy? KING HAROLD I know I've made many mistakes with you. FIONA It's okay. KING HAROLD But your love for Shrek has taught me so much. Fiona smiles. The King addresses Shrek. KING HAROLD My dear boy, I am proud to call you my son. SHREK And I'm proud to call you my Frog... King Dad in-law. Shrek smiles. KING HAROLD Now, there is a matter of business to attend tooo... The King starts wheezing and coughing. Eventually he stops. They think he's dead. Puss solemnly removes his hat. PUSS The Frog King is dead. Shrek the Third - Final Screening Script 16. Fiona starts crying. The King suddenly wakes up, coughing. DONKEY (TO PUSS) Put your hat back on, fool. KING HAROLD Shrek, please come hither. Fiona gives Shrek a look. Shrek walks over to the King. SHREK Yeah, Dad? KING HAROLD This Kingdom needs a new king. You and Fiona are next in line for the throne. SHREK Ooo. Next in line. Now you see Dad, that's why people love you. Even on your deathbed you're still making jokes. The King stares at Shrek, stone-faced. Shrek leans in closer. SHREK Oh, come on Dad...an Ogre as King? I don't think that's such a good idea. There's got to be somebody else. Anybody?

36

South Park

Trey Parker,Matt Stone,Pam Brady

Animation,Comedy,Musical

January_1999

FADE IN: Very happy, Disneyesque MUSIC swirls in. PAN DOWN from a pretty blue sky, to a small quaint town nestled in the hills. A wooden sign tells us this is South Park. EXT. SOUTH PARK AVENUE - DAY Birds fly into the air, TOWNSPEOPLE smile to each other as they walk by. It is a scene reminiscent of, if not directly ripped off from, the opening number of 'Beauty and the Beast'. A little eight year old boy walks happily down the street. He is STAN MARSH, a noble looking boy with piercing blue eyes and a strong chin. As he walks, he sings a happy song. STAN I'm going to the movies To see the brighter side of life! I'm going to the movie Everything's gonna be alright! Forget all my troubles Put my own life on hold Let a studio tell me how I should view the world Where everything works out I love it that way I'm going to the movies The movies today! Stan merrily walks up to a crappy looking house. INT. BEDROOM - MORNING We are in a young boy's bedroom, just as his alarm clock goes off. BRRRRRTTT!!! RADIO ANNOUNCER Good morning South Park! It's five-thirty a.m. on Sunday!! Time to feed the horses and water the cows!! From the back, we see the blond haired kid sit up from his bed. He stretches, and then walks over to his closet. We still only see the boy from the back as he reaches in his closet and pulls out an orange coat. The kid puts his coat on, then turns to camera and pulls the hood shut, so that we never get a good look at his face. MOTHER (O.S.) KENNY! YOU'RE GONNA BE LATE FOR CHURCH!!! This boy's name is KENNY, and under his orange coat, we have no idea what he looks like, except for his European nose and hazel eyes. KENNY Mph rmph rm! INT. KENNY'S HOUSE - KITCHEN Kenny walks through his small, dirty house and into the kitchen, where his MOTHER, FATHER and OLDER BROTHER are sitting at the humble table. KENNY'S MOTHER Sit down, you can share some of your brother's waffle. The doorbell rings. Kenny walks over to the door. EXT. KENNY'S HOUSE - DAY Kenny opens the door to find Stan. STAN Kenny! The Terrance and Phillip movie is out! You wanna come?! Stan shows Kenny a newspaper clipping. It's an ad for the new Terrance and Phillip movie 'Asses of fire'. Kenny's eyes light up. KENNY Mph rmph rm, rmph! Kenny walks away with Stan. His mother comes out after him. KENNY'S MOTHER Kenny! Where're you going? KENNY Mph mprh mprh rm! KENNY'S MOTHER What do you mean you don't want to go to church? KENNY Mrmph, rmph rmph rm rmph. Kenny and Stan walk down the street. KENNY'S MOTHER Well fine, go ahead and miss church!! And then when you die and go to hell you can ANSWER TO SATAN!! Dramatic MUSIC STING. Kenny stops, thinks for a minute... And then walks off with Stan anyway. EXT. SOUTH PARK AVENUE - DAY Stan and Kenny now both happily march down the street to the happy beat. TOM, a plastic surgeon, peeps his head out the door of his Rhinoplasty office. TOM Say, where are you boys going? STAN We're going to the movies! To see the brighter side of life! Where everyone is beautiful And have their hair combed just right! KENNY Mph rmph rm rmph rm! Mph rm rmph rm! Mprh rm rmph rm rm Rmph rm rmph rm rmph! TOM Have fun you rascals! EXT. KYLE'S HOUSE - DAY Kenny and Stan knock at the door. A handsome eight year old Semite, KYLE, answers the door. KYLE Hey, dudes... Aren't you supposed to go to church, Kenny? STAN Kyle, check it out. Kenny holds up the newspaper clipping. KYLE OH MY GOD, DUDE!!! Kyle slips on his coat and heads out the door. But just then, Kyle's little brother, IKE, a two year old adopted Canadian boy bounces up next to him. KYLE No, Ike! You can't come with me! Kyle's MOTHER, a big fat bitch, comes to the door and yells. KYLE'S MOTHER Kyle, you take your little brother out to play with you! KYLE Aw, ma!! KYLE'S MOTHER Do as I say, Kyle! Kyle's mother closes the door. KYLE Damn it!! EXT. SOUTH PARK AVENUE - DAY Now the three boys, and little Ike, merrily strut down the street and sing in unison. BOYS We're going to the movies To see the better side of life Where something interesting happens Every day and night! KYLE In movies we can pretend That love is real and good always wins- STAN We can even make believe marriages last! A HOMELESS guy is lying in the alley. HOMELESS GUY Spare a dollar? Spare a dollar? Stan walks by and throws a dollar at him. The homeless guy suddenly jumps up. HOMELESS GUY I'm going to the movies! To see the brighter side of life! I'm going to the movies Everything's gonna be alright! Forget my troubles Put my own life on hold Let a studio tell me how to view the world! KYLE Let's go get fat ass! EXT. ANOTHER HOUSE - DAY This house looks just like all the others. INT. THAT SAME HOUSE CLOSE UP on a bag that reads 'CHEESY POOFS'. A hand reaches into the bag, pulls out a wad of orange crunchies and raises them -- BOOM UP to reveal the fat face of eight year old ERIC CARTMAN who chows down on the chips. Now we see that fat little Eric is sitting on his couch, eating Cheesy Poofs and watching television. The doorbell rings. Cartman doesn't move a muscle. CARTMAN MOM! SOMEBODY'S AT THE DOOR! CARTMAN'S MOTHER enters. She is extremely June Cleaveresque (except that she's a hermaphrodite crack whore). She returns with Stan, Kyle and Kenny. CARTMAN'S MOTHER Look, Eric it's your little friends. CARTMAN What the hell are you guys doing here? IKE Baba turtre bad! Kyle holds up the newspaper ad. CARTMAN Ooh! EXT. SOUTH PARK AVENUE Now all four boys are merrily walking down the street and singing. BOYS We're going to the movies To see the better side of life! CARTMAN Maybe there'll be pirates! Or a whole city burnin'! Maybe we'll see a monster Or, better yet, Uma Thurman! BOYS We're going to the movies! Everything's gonna be okay! The boys skip out of frame. EXT. MOVIE THEATRE - DAY The movie theatre is nestled neatly between two other South Park buildings. The boys walk up to the geeky, teenage TICKET GUY. BOYS Going to the movies! The movies today!!!!! STAN Can I get five tickets to Terrance and Phillip Asses of Fire, please? TICKET GUY No. Suddenly, all the happy music that has permeated the film comes to an ABRUPT HALT. The boys look confused. KYLE What'dya mean, no? TICKET GUY Terrance and Phillip Asses of Fire is rated 'R'. You kids can't get in. The boys look shocked. They just stand there, in silence. CARTMAN The hell we can't! My money is just as good as any white person's! TICKET GUY You have to be accompanied by a parent or guardian. KYLE But why? TICKET GUY Because this movie has naughty language, and it might make you kids start using bad words. CARTMAN Listen you son of a bitch, if you don't let us in to see this movie I'm gonna kick you square in the nuts. TICKET GUY Sorry, Charlie. KYLE Damn it! TICKET GUY Next, please? A few TEENAGERS walk up to get their tickets. The boys step aside. STAN This is terrible! This can't be happening!! KYLE We HAVE to see this movie, dude! CARTMAN Aw, screw it. It probably isn't all that good anyway. KYLE Cartman! What the hell are you talking about?! You LOVE Terrance and Philiip! CARTMAN Yeah, but the animation's all crappy - it probably can't sustain itself over ninety minutes. IKE Poo baba! STAN Wait! I've got an idea! EXT. MOVIE THEATRE - A LITTLE LATER The old Homeless guy from the intro song walks up to the Ticket Guy with the boys. HOMELESS GUY Uh, hi. I want five tickets to Terrance and Phillip Asses of Fire. TICKET GUY You realize this movie is rated R? It may not be appropriate for your little ones. HOMELESS GUY Oh. (Turning to boys) Hey, he says this movie isn't appropriate for you. STAN (Whispering) Look, homeless guy, if you don't want to buy us tickets, and NOT get your ten bucks and NOT go buy yourself a bottle of Vodka and not forget about how miserable your life is and not stop the voices in your head then go right ahead. HOMELESS GUY Five tickets please. The Ticket guy suspiciously hands them over. INT. MOVIE THEATER - DAY The boys are all sitting in the front row. Cartman has a huge tub of popcorn, all kinds of candy, and a large drink. IKE Purpre mama! KYLE Be quiet, Ike! The movie's starting! ANGLE - MOVIE SCREEN A TITLE reads 'Terrance and Phillip - Asses of Fire' BOYS HOORAY!!! On the screen, we come across PHILLIP, a very handsome Canadian star with a great body. PHILLIP Say Terrance, what did the Spanish Priest say to the Uranian gynecologist? PAN OVER to TERRANCE, who is also Canadian, and equally handsome in a more rugged way. TERRANCE I don't know, Phillip, what? Phillip rips a big fart. Terrance and Phillip laugh merrily. ANGLE - BOYS Laughing their asses off. KYLE That was sweet! STAN Where do they come up with this stuff?! CARTMAN How come Terrance and Phillip are so weird looking? KYLE Cuz, dummy they're Canadian, just like Ike! CARTMAN Oh. IKE Poo bada! ANGLE - SCREEN TERRANCE You're such a pigfucker, Phillip! PHILLIP What?! Why would you call me a pigfucker?! TERRANCE Well, let's see... First of all, you fuck pigs. PHILLIP Oh yeah! Terrance and Phillip laugh merrily. ANGLE - BOYS KYLE Woa, dude! Did they say what I think they said? ANGLE - SCREEN Terrance pulls out a white envelope. TERRANCE Well, fuck my ass and call me a bitch, I just got a letter! PHILLIP A letter from who, you shit sucking cock master? TRACK IN on the boys' wide eyed faces as the dialogue from the film enters their innocent ears. TERRANCE It's from your mother. PHILLIP My mother sent YOU a letter? What's it say? TERRANCE It says 'Dear Terrance, please don't ever tell my son that I licked your hairy balls.' Terrance and Phillip laugh merrily. PHILLIP Oh, you fucking ball whore! The boys don't laugh, they just smile widely, they seem busy taking it all in. CARTMAN Wow... Ball whore... TERRANCE Listen, you donkey raping shit eater- KYLE (To himself) Donkey raping shit eater. IKE Doky maping she deeder!!! TERRANCE You'd fuck your uncle! PHILLIP YOU'D fuck your uncle! TERRANCE (Singing) Shut your fucking face, Unclefucka!! You're an asslicking, Ball sucking Unclefucka!! You're an Unclefucka, yes it's true Nobody fucks Uncles quite like you- PHILLIP SHUT YOUR FUCKING FACE!! UNCLEFUCKA!!! YOU'RE the one that fucked your Uncle, UNCLEFUCKA!!! You don't eat, or sleep or mow the lawn You just fuck your Uncle all day long! TERRANCE & PHILLIP Shut your fucking face, Unclefucka! You butt licking bastard Unclefucka! TERRANCE You're an Unclefucka I must say! PHILLIP You fucked YOUR Uncle yesterday! TERRANCE & PHILLIP Unclefucka! That's YOUUUUUUU!!!!! The song ends and the boys erupt into applause. EXT. MOVIE THEATRE - DAY The boys walk out of the theatre with glazed eyes and wide smiles. KYLE Dude, that movie was fucking sweet! CARTMAN You bet your fucking ass it was! STAN Fuck, dude, I wanna be just like Terrance and Phillip! TICKET GUY Hey wait a minute... Where's your guardian? STAN Huh? TICKET GUY I knew it! You PAID a homeless guy to get you in, didn't you! The boys think a second. CARTMAN Suck my balls. KYLE Yeah, (Singing) Shut your fucking face, Unclefucka!! The boys walk away, merrily. The ticket guy is in shock. TICKET GUY Oh oh, I'm in trouble. BOYS (Singing, fading off) You're an asslicking, ball sucking Unclefucka!! EXT. STARK'S POND - DAY All the children of South Park are gathered at the pond for ice skating. The scene is reminiscent of the skating scene from the Charlie Brown Christmas special. Delicate snowflakes fall, children laugh and skate, and joyous music plays. The boys walk up to the pond. CLYDE Hey, where have you guys been all day? STAN Oh, nowhere... We just went out to go see the TERRANCE AND PHILLIP MOVIE! All the kids gasp! Dramatic MUSIC STING. BEBE You saw it?! CLYDE How'd you get in?! Suddenly, all the kids are gathered around the boys. They're like celebrities. CARTMAN Hey! Stop crowding us you shitfaced cockmasters! All the kids stop, wide eyed. As if they've just hear the voice of God. KIDS Wowwww... STAN Yeah, you're all a bunch of ass ramming unclefuckers. KIDS Ooooohhh!!! CLYDE (To another kid) We HAVE to see this movie, dude. The other kids nod. CARTMAN Hey Stan, tell 'em about when Terrance called Phillip a testicle shitting rectal wart! Stan? Stan? But Stan is elsewhere, because out on the ice, skating gracefully, is little eight year old WENDY TESTABURGER. The heavens part, a CHOIR OF ANGELS sing, as Wendy skates around and around, performing a series of impossible Triple Lutzes, Sowcows and what-have-you-not's. All the animals of the forest -- deer, birds, bunnies -- all stop to admire her. Stan's smile grows wider and wider. Kyle turns to see what he's looking at. STAN Thank my lucky stars Here before me now Is everything I'd ever hoped for Knew it in a word Saw it in a glance The only thing I think I'd die for... KYLE Aw, God Damn it, he's singing that fucking song again. ANGLE - WENDY Spinning and soaring in slo-mo. Effortlessly covering every inch of the pond with her ballet maneuvers. Stan is slack-jawed. STAN I can't stop now My heart's awake I pray her arms my arms to take So this is why I'm ali- Wendy finishes her routine with a triumphant Hamill-camel landing right in front of Stan and spraying ice in his face and abruptly ending his song. WENDY Hi, Stan! Stan vomits profusely all over himself. WENDY Ew! Gross! Just then, another kid skates up, spraying more ice in Stan's face. His name is GREGORY, and he is a very handsome eight year old boy, with golden hair and an open-buttoned shirt. He speaks with a rich English accent. GREGORY Come, Wendy, let us try to jump the hilly brush. Stan looks at Gregory. STAN Who are you, kid? GREGORY My name is Gregory. I have been Wendy's counter-cousin for some time. WENDY Want to skate with us? GREGORY We've been skating all morning. And laughing and talking of memories past. Gregory skates away. Stan looks stunned. Finally, he tries to get Wendy's attention. STAN We saw the Terrance and Phillip movie! WENDY That's nice, Stan. Wendy skates after Gregory. Stan looks completely rejected. KYLE Woa, dude, who's your girlfriend's new guy? STAN She's not my girlfriend, dude! Meanwhile, the schoolkids are all still gathered around Cartman. CARTMAN Yes, I saw the Terrance and Phillip movie. Who wants to touch me? I said, "Who wants to touch me?!" A small boy steps forward and tentatively touches Cartman's arm. SMALL BOY Oooooh... EXT. SOUTH PARK - TOWN - MORNING Establishing shot of the little town of South Park which consists of four buildings. The sun rises in the background. It's a brand new day. EXT. SOUTH PARK ELEMENTARY - DAY The elementary school is nestled peacefully between two mountain peaks. INT. SOUTH PARK ELEMENTARY - DAY The kids of South Park are all in their seats, singing. KIDS Shut your fucking face, Unclefucka!! You're a shitsucking, cocksucking Unclefucka!! The door opens, and suddenly the kids quiet down. CLOSE-UP on a hand puppet with a large red hat. It seems to be speaking. MR. HAT Okay, children, let's take our seats. As the voice continues, we PULL BACK to reveal that the puppet is on the right hand of MR. GARRISON, a forty-six year old teacher who is in denial about his homosexuality. MR. GARRISON (AS MR. HAT) We have a lot to learn and precious little time. Garrison looks over the class and notices that every single one of them is wearing a Terrance and Phillip T-shirt, except, of course, for Wendy. MR. GARRISON Why is everyone wearing T-shirts of Sigfried and Roy? KYLE It's not Sigried and Roy, Mr. Garrison, it's Terrance and Phillip. KIDS TERRANCE AND PHILLIP!! Stan looks over at Wendy. She just rolls her eyes. Stan sulks. MR. GARRISON Well, anyway... Today children, our friend Mr. Hat is going to tell us all about the environment. MR. GARRISON (AS MR. HAT) That's right, Mr. Garrison. The environment is what surrounds us. It is what we live and breathe. CARTMAN I hate the environment. KYLE Dude, how can you hate the environment? CARTMAN 'Cuz, dude, it's all sticky and airy and fragile and stuff. I fucking hate it. The kids all GASP! MR. GARRISON Eric! Did you just say the "F" word? CARTMAN Fragile? KYLE No, he's talking about fuck, dude. You can't say fuck in front of Mr. Garrison. MR. GARRISON Kyle! CARTMAN Why the fuck not? MR. GARRISON Eric! STAN Dude, you just said fuck again. MR. GARRISON Stanly! KENNY Mph. MR. GARRISON Kenny! CARTMAN That's bullshit! If Terrance and Phillip can say something, I should be able to say it too! BEBE Wow, Cartman's cool! CLYDE He's like Terrance and Phillip! Cartman gloats proudly. CARTMAN Fuckin' a right. MR. GARRISON How would you like to go to the principal's office? CARTMAN How would you like to gargle rat jiz? Mr. Garrison is in shock. MR. GARRISON WHAT DID YOU SAY?!?! CARTMAN I said - Cartman takes out a megaphone, hits the switch and puts it to his mouth. It feeds back horribly. CARTMAN (Through megaphone) HOW WOULD YOU LIKE TO GARGLE RAT JIZ?! Garrison is floored. KYLE Oh, dude we are fucked now. INT. PRINCIPAL'S OFFICE - DAY The boys are seated in front of the Principal's desk. STAN Now remember, don't tell anybody we saw the Terrance and Phillip movie! KYLE Yeah, let's swear we won't tell! Just then, the Principal walks in. She is PRINCIPAL VICTORIA, a frizzy haired woman of about forty. PRINCIPAL VICTORIA I am VERY disappointed in you boys! You should be ASHAMED of yourselves! I've already called in your parents, but first I want you to THINK about what you've done. CARTMAN Principal Victoria, can I ask a question? PRINCPAL VICTORIA What? CARTMAN What's the big fucking deal? STAN Yeah. PRINCIPAL VICTORIA AGH!! I want to know where you heard these horrific obscenities! The boys look at each other. STAN Nowhere. KYLE I'VE heard them from Mr. Garrison a few times before... STAN Yeah! PRINCIPAL VICTORIA Boys, I seriously doubt that Mr. Garrison ever said- (Reading) 'Eat penguin shit you cum sucking ass spelunker' in school! The boys all laugh. But then the door opens and in walks Stan's mother, Kyle's mother, Cartman's mother and Kenny's mother. STAN Oh, oh... PRINCIPAL VICTORIA Thank you all for coming on such short notice. As you can see, your boys are all being disciplined. STAN'S MOTHER This just isn't like you, Stanley! Stan looks down at the floor. KYLE'S MOTHER What did my son say, Principal Victoria? Did he say the S word? PRINCIPAL VICTORIA No, it was worse than that... KYLE'S MOTHER (Gasping) The F word?! PRINCIPAL VICTORIA No, worse. Here's a short list of the things they've been saying. The mothers look over the sheet of paper. Immediately, their eyes bulge. STAN'S MOTHER Oh dear God... KYLE'S MOTHER What is 'fisting'? CARTMAN'S MOTHER That's when the fist is inserted into the anus or vagina for sexual pleasure. The two moms stare at Ms. Cartman. CARTMAN'S MOTHER What?

37

TMNT

Kevin Munroe

Animation,Action,Adventure,Comedy,Drama,Fantasy

August_2005

FADE IN: EXT. STAR-FILLED SKY - NIGHT 1 Studio logo transitions into a CONSTELLATION in space. Cam pulls BACK, as more stars enter frame, forming a starfield. SPLINTER (V.O.) A sensei once counseled a grief- stricken boy, as his older brother 3 prepared to leave for battle. N STARS - Begin to see a DOZEN or so stars, almost forming a zig-zagged line. Cam continues to adjust. SPLINTER (V.O.) . He said, "Child, why do you cry? You are both part of a family. And a family is a bond that cannot be broken by war. By strife. By force or neglect. N STARS - Cam slows its truck-out to a gradual stop as we see the pattern beginning to form. As if following the stars' pattern, the CAM LOWERS as we find ourselves going into- S 2 2 EXT. SOUTH AMERICAN JUNGLE - CONTINUOUS PLINTER (V.O.) And more importantly, you are brothers. And brothers you shall remain, despite time... argument... O LOWER - framing the tops of JUNGLE, moonlit and surrounded by mist. A mountain range peaks over the horizon. SPLINTER ..and even... distance. SUPER TITLE: SOME STINKING JUNGLE IN SOUTH AMERICA CAM RESTS atop an old CHURCH ROOF. The peaceful scene is suddenly stopped by a MACHINE GUN BURST! CAM CRANES over the O roof revealing - 3 EXT. JUNGLE VILLAGE - CONTINUOUS A relatively modern village... for a remote jungle. Dawn is JUST barely beginning to break. The morning mist persists as we see FOUR FEDERALES with machine guns surrounding a group of VILLAGERS. O N GROUND - A WOMAN VILLAGER is thrown down. Her SON, 8, runs 1 to her side. She's mad. Her son cries. 2. WOMAN VILLAGER You monsters! UP ANGLE - As we see the THREE FEDERALES, greasy men, holding AK-47's, and looking down with hardened indifference. OS, we hear an EVIL CHUCKLE. The men part as we see- - COL. PANTERA. A bottom-heavy disgusting pig of a man walks up between them. Pantera leans down, face to face with her. PANTERA We appreciate the generous donation for the continued protection of your village. ANGLE ON - Their jeep, overflowing with the Village's precious crops. WIDER - A tiny group (10) of other villagers stand at a safe distance. The Woman's HUSBAND runs forward. He immediately LUNGES at Pantera, just as- -SHIKA-SHIKA - Pantera is flanked by 3 MACHINE GUNS pointed at the Husband's chest. Pantera slothfully grins. He leans forward and yanks an HEIRLOOM NECKLACE from her neck. PANTERA After all, the jungle can be a very dangerous place. BAH-HAHAHAHA. They jump into the Jeep and tear into the jungle LAUGHING. EXT. JUNGLE ROAD - MOMENTS LATER 4 4 The jeep clamors down the bumpy makeshift path. Pantera sits in the passenger seat as the others are crammed in around the food. The Jungle looms ominous around them. H IGH ANGLE - As we watch the jeep from the jungle ceiling high above... as if from someone's POV. ON DRIVER - He suddenly reacts to a fallen tree on the road ahead. Slams on the brakes. Pantera is thrown around. PANTERA Idiota! Watch where you're going! DRIVER SOLIDER There's a log on the road, senor. (quietly to himself) ...that wasn't there an hour ago. PANTERA Well, what are you waiting for?! REMOVE IT! (to soldiers behind) Cortez! Andelay! B J 3. CORTEZ leaps out. Grabs the winch from the front of the jeep and pulls it to the log, roughly 15 feet away. EEP POV - Pantera and Driver barely notice the out-of-focus bg Cortez get suddenly YANKED out of scene! CORTEZ (O.S.) ...yirk! ON DRIVER - His eyes go wide. Trying to see in the dark. DRIVER SOLIDER (softly, nervous) D-d-dios mio. ON LOG - Cortez is gone. Pantera wakes up. PANTERA What?! WHAT IS IT?! OS - Hear the sound of a CHAIN clinking. Then WHOOSHING as the chain winch suddenly FLIES IN, and CRACKS the BURLY SOLDIER across the jaw! It wraps itself around his neck. Before he can react... - YOINK! He gets pulled over the hood of the jeep, landing on the ground HARD. URLY SOLDIER OOF! Burly gets pulled backward... away from the Jeep and into... the darkness. He SCREAMS the entire way, clawing the ground. ON JEEP - Driver is freaking out now. Last Soldier is in the back. Pantera stands up in the jeep. "Last" jumps out and readies his machine gun. PANTERA (to Jungle) WHO ARE YOU?! SHOW YOURSELF!! DRIVER SOLIDER (WHISPER) ...The Ghost of the Jungle. PANTERA What?! DRIVER SOLDIER ( shaking/nervous) The jungle god that punishes those who prey upon the weak. (looks scared to Pantera) He's coming... for us. O P I 4. OS NOISE - Suddenly hear the whooshing of 4 quick punches, kicks, a short machine gun burst and a WHUMP. Pantera and Driver look to the ground. ON GROUND - Last Soldier lays beaten on the jungle floor. DRIVER SOLIDER I'm sorry, senor. Driver bounds out of the Jeep and runs SCREAMING into the jungle. CAM PULLS BACK with him as Pantera shrinks in bg. PANTERA COWARD!! GET BACK HERE!! Something suddenly skitters behind Pantera! He turns to look. Nothing. He reaches down and pulls up... a MACHETE. PANTERA SHOW YOURSELF! DO YOU REALIZE WHO YOU'RE DEALING WITH?! ON PANTERA - He circles backs against the Jungle wall, trying to find him. Tense. Suddenly- -a PAIR OF WHITE EYES open in the blackness behind him! n a quick series of shots we see Pantera getting the raw end of a flurry of fist and foot attacks. His attacker is moving way too fast for the camera to keep up. Pantera falls back, panting heavily. Panicked. He tears off into the dense Jungle! ON PANTERA RUNNING THROUGH JUNGLE - Thick foliage. Panicked. EXT. JUNGLE CLEARING - CONTINUOUS 5 5 An oasis of calm, violated by this sweating, machete- clutching brute. He stumbles, then stands in the middle. ANTERA I am not afraid of a myth! (eyes darting) A I'M NOT AFRAID OF A GHOST! TTACKER (O.S.) Actually... it's "Turtle", pal. Pantera swings around. Eyes wide. N ATTACKER - We pan up the thick green legs. Muscular and strong. Further up. Arms to match. Rough skin. It wears a shorn HOODED PONCHO. Inside are two white eyes and gritted smiling teeth. The poncho falls to the ground. 5. ON ATTACKER - It's LEONARDO! Beaten blue bandana blowing in the breeze. Total hero shot. He pulls out a SINGLE KATANA SWORD, poised for battle. Pantera's backed into a corner. PANTERA Let's see if a ghost can die, then. Pantera SCREAMS and runs to Leo and starts swinging! At the CLASH of sword and machete, we- SMASH CUT TO: 6 6 EXT. JUNGLE VILLAGE - MOMENTS LATER The Boy is still at the Village Clearing. Suddenly - - the sound of the JEEP begins to rumble in the distance! The villagers panic and scatter. VROOM! The Jeep flies out of the jungle and bounce-slows into the FG! Only there is no one driving it... and it still has the stolen food in it. And the stolen medallion dangles from the rear view mirror. WOMAN VILLAGER It's a miracle! The village rejoices. The Boy steps aside for a beat, looks back at the Jungle. Something catches his eye. ...a small crouched figure on a tree branch. Barely silhouetted. His white eyes lit in the darkness. One of them WINKS as the boy smiles. B OY VILLAGER (beaming... softly) The Ghost of the Jungle. INT. UNDERGROUND CAVERN - LATER 7 7 Leo leaps into frame. He takes out his katanas and lays them carefully on the ground. He KNEELS, head bowed, eyes closed. LEONARDO My training is now complete. The camera lifts away from Leo... and then PLUNGES into the nearby CAVERN. MUSIC begins to swell. Cam travels a few feet until it DIPS TO BLACK, and comes up beginning our- OPENING CREDIT SEQUENCE E T 6. 8 8 INT. MISCELLANEOUS SEWER, OIL AND IRRIGATION PIPES The music is in full tilt as the camera travels through seemingly miles of underground pipes of all types and design. he camera comes to the end of line. It rises up through 9 STEAM... then through a metal grate, as we find ourselves in- EXT. NEW YORK CITY STREET - NIGHT 9 A mouse-level shot of the spectacular city that never sleeps. It's oddly hypnotic. Still. Until... - BAM! A pair of sneakers land barely in front of the camera, tearing off into the distance. NYPD #1 (O.S.) FREEEZE! STOP OR WE'LL SHOOT! Shoes belong to a panicked MUGGER, early 20's, as THREE NYPD OFFICERS clamor after him. The Mugger is a jackrabbit - hopping newspaper machines, rolling under passing trucks and doing anything he can to avoid arrest. ventually the NYPD peter out. The mugger looks back. Smiles. MUGGER Heh, heh... suckers. ON MUGGER - His eyes suddenly go wide as - VROOOOOM! - we see a jet-black tweaked out motorcycle fly over the cops' heads, aiming directly for Mugger! MUGGER Whaaa!!! The Mugger runs, but can't escape. The Driver is dressed in all-black motorcycle leathers and black-visored helmet. Scary and faceless. He quickly gains on the Mugger and GRABS him by the collar in mid-stride! MUGGER You crazy?! Put me down, man! But Driver doesn't. Instead, he holds him lower without stopping the bike... and proceeds to plow Mugger's head into every trash can and garbage bin along 9th Avenue! MUGGER OW! HEY! WHAT'RE YOU-OW!! OOF! Just as it looks like he'll hit a telephone pole... Driver veers left! He drags the Mugger into... O A 7. 10 10 EXT. DEAD END ALLEYWAY - CONTINUOUS Driver tosses him onto the ground at full speed. Mugger SLIDES down the alley and collides with a pile of garbage like he's a human bowling ball. ON HEAD OF ALLEY - The Driver guns the bike and kicks up a ton of dust and racket, peeling donuts at mouth of the alley. And then he stops. Dust slowly settles and smoke dissipates. MUGGER Wh-wh-what kinda freak are you?! The Driver gets off the bike. Silence. Backlit by headlight. He walks directly to the Mugger with purpose. Mugger starts to really freak out. Driver picks him up by the collar and SLAMS him to the back WOODEN FENCE WALL. MUGGER P-p-please. Don't kill me, man. Driver just cocks his head. Mugger can see his own terrified reflection his Driver's black visor. Driver reaches behind his back and pulls out a COMBAT KNIFE! He reels back and... MUGGER Wh-wha-wha-WHAT ARE YOU DOI- AAAGH! W HAM! - Driver nails the dagger through the Mugger's JACKET, PINNING HIM TO THE WALL. Driver turns around to gather the purse's belongings at the mouth of the alley. fter he stops cringing, the Mugger wriggles the blade out of the wall. Driver doesn't notice as - THWIP-IP-IP! - he hurls the knife at the Driver! THUNK! It sticks in the DRIVER'S BACK! N MUGGER - His grinning eyes suddenly GO WIDE as Driver slowly turns around, UNHURT! The Mugger is trapped as Driver moves toward him... and a BOLO CHAIN drops to his side. ON WALL SHADOW - as we see a flurry of punches, kicks and throws as Driver lays a beating on the criminal who needs to be taught a lesson. An OS Police Siren chirps. MOUTH OF ALLEY - The police suddenly show up, cherries flashing. They run to FG, mouths drop. NYPD #1 ...whoa. NYPD #2 The Nightwatcher. 8. ON MUGGER - Hung upside down by a chain. Purse hangs from his neck. He'll live, but never commit another crime again... 11 11 EXT. NEW YORK CITY STREET - CONTINUOUS CLOSE ON A NEWSSTAND - Headlines read "WOMAN MYSTERIOUSLY RESCUED FROM BURNING BUILDING". "POLICE SEEK MAN KNOWN AS `THE NIGHTWATCHER' FOR QUESTIONING". "WHO IS THE NIGHTWATCHER?" WIDER - A quieter area of the city. Broken by the squealing of the bike as Driver (Nightwatcher) roars in to a stop. Nightwatcher drives underneath a TRAIN BRIDGE. He takes off his helmet. Red cloth spills out. He turns around as we see- - RAPHAEL, THE RED-MASKED NINJA TURTLE! He reaches back and pulls out the KNIFE from his SHELL. Looks at it, shaking his head and grinning. He sheathes it. R APHAEL Heh, heh. Nice try, chump. QUICK SHOTS - Ignites and revs engine. Straps helmet back on. Headlight comes to life. Lets the clutch out. VROOOOM! - CAM STARTS TIGHT ON bike as Raphael tears away. MICHAELANGELO (O.S.) Dude... I'm scared! CUT TO: CLOSE ON - A PAIR OF TURTLE EYES... MICHAELANGELO'S! They're wide with FEAR. Nervously darting around, unable to keep up with the surrounding danger. MICHAELANGELO Dude! They're all around me! What do I do? WHAT DO I DO?! Mikey's eyes continue to panic. DONATELLO's voice comes in over a RADIO. Calming. DONATELLO (O.S.) Just relax, Mikey. Remember your training. You'll be fine. MICHAELANGELO But I need back up this time, man! BACK UP! DONATELLO (O.S.) (SIGHS) ...you're such a prima donna. 9. CAM PULLS BACK TO REVEAL WE'RE IN- 12 12 INT. UPTOWN APARTMENT - AFTERNOON The cam pulls out of a LARGE MASCOT HEAD - looks like a big goofy Turtle head with googly eyes and dumb smile. WIDER we see a fake ZIPPER spirit-glued onto Mikey's plastron. In his hands, he holds two nerf-styled NUNCHUCKS. MICHAELANGELO (from inside mascot head) Okay - waita-WHOA-WHOA-WHOA-WHOA!! Suddenly TEN KIDS WITH BIRTHDAY HATS AND FOAM NUNCHUCKS run in SCREAMING and start beating on Mikey... a little too hard. SCREAMING KIDS Get him! Yeah! You suck! Hey! Awright! Take that, Turtle-dork! MICHAELANGELO OH-WHOA! OW! YEOW-OW-OW! WATCH IT!! HEY! NOT BELOW THE-OOOFF!! OW!! End WIDER with the kids all walking away from Mikey, now on the floor doubled over from the "playing". A beat, then- -one more kid runs back and kicks Mikey. LITTLE GIRL KEEEEYA! (turns and walks back) This was the best birthday ever, Mommy! Mikey GROANS as we- DISSOLVE TO: 13 13 EXT. UPTOWN APARTMENT - SUNSET/LATER Beautiful downtown autumnal street. Parked in front, we see the "COWABUNGA CARL" PARTY VAN loudly decorated in kid- friendly colors with an embarrassing and low-tech looking TURTLE HEAD ON TOP. PUSH IN on upstairs apartment window. S OCCER MOM (O.S.) Thanks so much. You're worth every penny. I have to tell all my friends about you. You'll love their kids too. 10. 14 14 INT. UPTOWN APARTMENT - CONTINUOUS Mascot Mikey is standing at the door, holding a fistful of cash, still in full costume. MICHAELANGELO I can only hope they're as lovely as the rugrats you got here. ON KIDS - They look tough, brandishing their nerf weapons - a toddler street gang. One of the kids does a finger-point-then- throat-slit gesture. The mom looks and beams. The kids quickly smile to cover. MICHAELANGELO (through gritted teeth) Such... angels. Mikey looks to the side, and sees the still piled-high stack of PIZZA BOXES through the fake head POV. SOCCER MOM Okay! Everyone say good-bye to Cowabunga Carl! BYE! MICHAELANGELO (put-on voice) Hyuk! Cowabunga dudes! Bye! KIDS BYE!!!!!! ON DOOR - As the door closes and Mom turns back, a green hand reaches in quickly a grabs a box of pizza. The door closes. MICHAELANGELO (O.S.) Heheh... score. CUT TO: EXT. UPTOWN APARTMENT - MOMENTS LATER 15 15 Mikey opens the van's rear doors. He PULLS OFF the fake zipper on his chest and then pulls off his fake turtle head. His trademark orange bandana spills out. He turns, breathing in the fresh surface air. A quiet beat until - A POLICE SIREN approaches, faint, in the distance. Mikey jumps in the van, slams the door shut as the car whizzes by. WIDER - the van takes off down the street. 11. DONATELLO (O.S.) Hey, hey, hey... don't forget the face thing. 16 16 EXT. NEW YORK CITY STREETS - LATER CLOSE ON - a regular motorist sitting in his car at a traffic light. Don monitors from a small dashboard cam. Man looks OS Left. Reacts. OFF HIS LOOK - We see Mikey beside him in the van. He's behind the wheel - face FROZEN in a goofy SMILE like a ventriloquist to "hide" his identity. Don follows on a small surveillance cam under the rearview mirror. MICHAELANGELO Yes... sir. DONATELLO (O.S.) That's a good boy. MICHAELANGELO All's I'm saying Donnie is that no one would notice if YOU did one of these gigs every now and again. DONATELLO (O.S.) But you add such... panache to the character. Mikey, emotional, pops into "fully animated" facial mode. He rubs his sore neck. MICHAELANGELO Well, if panache is French for "punching bag", I'd have to agree with ya. INT. TURTLES LAIR - MONITOR ROOM - CONTINUOUS 17 17 A darkened room lit only by the lights of dozens of tv's, monitors and TV tubes. Cables run everywhere. In front of them is DONATELLO - our resident tech-head turtle. DONATELLO Close enough. I - uh-oh- ON MONITOR - Don watches Mikey through a TRAFFIC CAM in front of the van. Don is jacked into every major security and surveillance camera in the city. EXT. NEW YORK CITY STREETS - CONTINUOUS 18 18 DONATELLO (O.S.) -you got a peeping tom. M 12. ON CAR - The Man is still looking - only now really freaked out - at the fully animated Mikey head. MICHAELANGELO Aw nuts. Mikey suddenly grips his face back into a tight SMILE, frozen. He looks over and waves at the man who confusingly waves back. MICHAELANGELO (ventriloquist style) Just get me outta here, dude. ON DON - He hits some switches. Monitors change. DONATELLO Traffic's clear eastbound for two blocks. Then hook up with route J. BACK WITH MIKEY - He's still waving with a frozen smile. ICHAELANGELO (ventriloquist style) Righteous. Mikey immediately "unfreezes" and sticks his tongue out and antics at the Man! Before the man can react, Mikey TEARS OUT and zips across traffic down a deserted side-street. ...as we notice the annoying ice cream style music tinkering M along with his gaining speed. ICHAELANGELO (O.S.) You HAD to install the music too... DONATELLO (O.S.) All part of the cover, my friend. CUT TO: EXT. HIDDEN ALLEYWAY - EVENING 19 19 The van parks in a long-forgotten alleyway. A dummy gate closes behind it, obscuring it from view. UNDER THE VAN - We see it's parked over a manhole cover. It slowly slides shut. INT. SEWERS - CONTINUOUS 20 20 The dripping concrete and metal maze explodes with the cacophony of Mikey riding his skateboard, backpack in tow. MICHAELANGELO YEEEEEHAAAAAAWWWW!! 13. But this isn't just any half-pipe - it tests all of Mikey's skills in ninjitsu, extreme sports and cross-training. He jumps on and off the board to occasionally tackle obstacles with all four limbs. A fun rock n' roll sequence. Feels like Mikey is miles away from the surface world when he arrives at a seemingly DEAD END. He smiles as he reveals a BRICK DUMMY WALL that brings him to... INT. TURTLES LAIR - CONTINUOUS 21 21 Mikey lands in the "foyer" of sorts. Atop entrance stairs. He kicks the double doors open. MICHAELANGELO Honeeeeey! I'm hooome! As Mikey slides down the banister, the cam dollies around I behind him revealing the LAIR. Breathtaking to fresh eyes. t has a wonderful lived-in feel - they're not squatters... they've made this their HOME. Furniture is jury-rigged and the place is custom lit to provide the right kind of

38

Toy Story

Joss Whedon,Andrew Stanton,Joel Cohen,Alec Sokolow

Animation,Comedy,Family,Fantasy

November_1995

FADE IN: INT. ANDY'S BEDROOM A row of moving boxes lie on the floor of the room. They are drawn up in crayon to look like a miniature Western town. The bedroom is lined with cloud wallpaper giving the impression of sky. One of the boxes has a children's illustrated "WANTED" poster of a Mr. Potato Head taped to it. A MR. POTATO HEAD DOLL is set in front of the poster. The VOICE OVER of ANDY, a 6-year-old boy, can be heard acting out all the voices of the scene. ANDY (AS POTATO HEAD) Alright everyone, this is a stick- up! Don't anybody move! Now empty that safe! A GROUP OF TOYS have been crowded together in front of the "BANK" box. Andy's hand lowers a CERAMIC PIGGY BANK in front of Mr. Potato Head and shakes out a pile of coins to the floor. Mr. Potato Head kisses the coins. ANDY (AS POTATO HEAD) Ooh! Money. Money. Money. (kissing noises) A porcelain figurine of the shepherdess, BO PEEP, is brought into the scene. ANDY (AS BO PEEP) Stop it! Stop it, you mean old potato! ANDY (AS POTATO HEAD) Quiet Bo Peep, or your sheep get run over! The companion porcelain sheep are placed in the center of a Hot Wheels track loop. ANDY (AS SHEEP) Heeeeelp! BAAAAA! Heeeelp us! ANDY (AS BO PEEP) Oh, no! Not my sheep! Somebody do something! WOODY, a pull-string doll cowboy, enters into the scene opposite the inanimate spud. Andy's hand pulls on the ring in the center of Woody's back. WOODY (VOICE BOX) Reach for the sky. ANDY (AS POTATO HEAD) Oh, no! Sheriff Woody!! ANDY (AS WOODY) I'm here to stop you, One-Eyed Bart. Andy's hand pulls out one of Mr. Potato Head's eyes. ANDY (AS POTATO HEAD) Doooooh! How'd you know it was me! ANDY (AS WOODY) Are you gonna come quietly? ANDY (AS POTATO HEAD) You can't touch me Sheriff! I brought my attack dog with a built- in force field! Andy places a TOY DOG, with a SLINKY for a mid-section, in front of Mr. Potato Head and stretches him out. ANDY (AS WOODY) Well I brought my DINOSAUR, who eats force field dogs!! Andy reveals a PLASTIC TYRANNOSAURUS REX, who stomps on the Slinky Dog. ANDY (AS DINOSAUR) AAAAR! ROAR-ROAR-ROAR! ANDY (AS SLINKY DOG) YIPE! YIPE-YIPE-YIPE! ANDY (AS WOODY) You're goin' to jail, Bart. Andy picks up Mr. Potato Head and places him in a baby crib in the room. A cardboard sign is taped to the bars with the word "JAIL" written in crayon. ANDY (AS WOODY) Say good-bye to the wife and tatertots. Andy's 1-year-old sister, MOLLY, crawls over and picks up Mr. Potato Head. She sucks on him for a beat then proceeds to pound the toy repeatedly against the rail of her crib, forcing some of his parts loose. Andy, wearing a cowboy hat himself, picks up Woody off the floor. ANDY (pulling Woody's string) You saved the day again, Woody. WOODY (VOICE BOX) You're my favorite deputy. BEGIN TITLES SONG "YOU'VE GOT A FRIEND IN ME" plays while Andy does various activities with Woody: -- Andy turns the Western town boxes around to reveal cows drawn on the other side. He grabs a jump rope and pretends Woody is lassoing the cattle. ANDY C'mon, let's wrangle up the cattle. -- Andy then rides Woody around on an RC (remote control) car, and herds the remaining "cow" boxes under Molly's crib. INT. STAIRWELL -- Andy places Woody on the top of the stairwell banister allowing the doll to slide downstairs. Andy races ahead and catches him at the bottom. INT. DOWNSTAIRS LIVING ROOM -- Andy & Woody fall into the La-Z-Boy chair and spin around and around. Next, Andy uses the La-Z-Boy foot rest as a catapult. Andy flings Woody across the room to the sofa. ANDY (raising his arms) Score! SONG ENDS Woody lies limp on the sofa while Andy is heard talking to his mother. ANDY (O.S.) Wow! Cool! MRS. DAVIS (O.S.) Whadda ya think? ANDY (O.S.) Oh, this looks GREAT, Mom! ANGLE: THE ADJOINING DINING ROOM MRS. DAVIS, Andy's thirty eight-year-old mom, has just finished decorating the area with streamers and balloons. A banner is draped across the archway. It reads: "Happy Birthday Andy." Woody's frozen face stares in the direction of the birthday decorations. ANDY Can we leave this up 'til we move? MRS. DAVIS Well, sure, we can leave it up. ANDY Yeah! MRS. DAVIS Now go get Molly. Your friends are going to be here any minute. ANDY Okay. Andy picks up Woody from the couch and runs upstairs. ANDY It's party time, Woody! INT. ANDY'S BEDROOM - CONTINUOUS Andy and Woody enter the room. Molly is still banging Potato Head against her crib railing. Andy tips Woody's hat at her. ANDY Howdy, Little Lady! He deposits Woody on the bed and pulls his string one last time. WOODY (VOICE BOX) Somebody's poisoned the waterhole. ANDY (picking up Molly) C'mon, Molly. Oh, you're getting heavy! (to Woody) See ya later, Woody. Andy exits. END TITLES Woody's eyes come to life. The cowboy doll sits up, his expression changing from a smile to worry. WOODY (to himself) Pull my string! The birthday party's today?! Woody thinks. WOODY (to the room) Okay, everybody. Coast is clear. The bedroom comes alive. TOYS emerge from the toy box, the closet, the shelves, etc... in a flurry of activity. POTATO HEAD, his body parts strewn across the floor, sits himself upright and begins to re-assemble himself. MR. POTATO HEAD Ages three and up. It's on my box. Ages three and up! I'm not supposed to be babysitting Princess Drool. HAMM, the piggy bank, flips one last penny into his coin slot. Potato Head walks up to him. All his facial pieces are in the wrong slots. MR. POTATO HEAD Hey, Hamm! Look! I'm Picasso! HAMM I don't get it. Hamm walks away. MR. POTATO HEAD You uncultured swine! (to someone O.S.) What are you looking at, ya hockey puck?! Potato Head walks past, revealing a hockey puck figurine. Woody sits on the edge of the bed observing all the activity. He turns to a plastic green army man, SARGENT, standing on the night stand. WOODY Uh, hey Sarge, have you seen Slinky? SARGENT (saluting) Sir! No Sir! WOODY Okay, thank you. At ease. Woody hops off the bed. WOODY Hey, Slinky? SLINKY (O.S.) Right here, Woody! A toy Slinky dog, SLINKY, appears from under the bed pushing out a checker board set. He begins to place the checkers on the board. SLINKY I'm red this time. WOODY No, Slink -- SLINKY Oh...well alright, you can be red if you want. WOODY Not now, Slink. I've got some bad news. SLINKY Bad news?! WOODY Sh-h-h-h-h!! Woody covers up Slinky's mouth, aware that the other toys in the room are watching. He leans in close to Slinky. WOODY (whispering) Just gather everyone up for a staff meeting and be happy!! SLINKY Got it. Slinky shuffles off. WOODY Be HAPPY! Slinky perks up his gait and LAUGHS HARD. Woody proceeds in the other direction. He passes a toy ROBOT and SNAKE partially hidden under the bedspread. WOODY (to the room) Staff meeting, everybody. (aside) Snake, Robot -- podium duty. Robot and Snake come out from under the bed and reluctantly follow Woody. Woody walks past an Etch-A-Sketch, ETCH, going the other direction. WOODY Hey Etch! Draw! Both Etch and Woody whip around like gunfighters. Before Woody can fully extend his arm out, the Etch-A-Sketch etches a gun on its screen. WOODY (pretending to be shot) Oh!! You got me again, Etch! You've been working on that draw. Fastest knobs in the west. Slinky passes a group of toys on the floor. SLINKY Got a staff meeting, you guys, come on, let's go! Robot and Snake begin constructing a podium made out of Legos and a Tinker Toy tub while Woody searches the floor. WOODY Now where is that -- ? Aw, hey, who moved my doodle pad way over here? Woody spots the doodle pad on the floor by the desk and walks over to it. As he reaches down to pick it up... REX, the plastic dinosaur, jumps out to scare Woody. REX ROOAAAARR!!! WOODY (unaffected) Oh, how ya doin', Rex? Rex suddenly turns timid. REX Were you scared? Tell me honestly. WOODY I was close to being scared that time. Woody heads back to the podium. Rex follows. REX I'm going for fearsome here, but I just don't feel it. I think I'm just coming off as annoying. A crook suddenly grabs Woody's neck and jerks him towards BO PEEP, the porcelain figurine. WOODY (choking) Aach! -- Oh, hi, Bo. BO PEEP I wanted to thank you, Woody, for saving my flock. WOODY (blushing) Oh, hey - it was nothing. BO PEEP Whadda ya say I get someone else to watch the sheep tonight? WOODY (very flustered) Heh, heh...oh yeah, uh, I... Bo saunters back towards her lamp stand, passing a stack of ABC blocks. BO PEEP Remember, I'm just a couple of blocks away. Woody is left lovestruck. All the rest of the toys in the room are filing past Slinky. SLINKY Come on, come on! Smaller toys up front. Woody remains lovestruck in the middle of the room. SLINKY Hey, Woody! C'mon! Woody snaps out of his trance and rushes over to the podium. The toys crowd together as Woody steps up to the podium. MIKE, a toy tape recorder, waddles up next to Woody and indicates his microphone. MIKE Ahem! WOODY (grabbing microphone) Oh, thanks, Mike. (to the crowd) Okay -- SFX: FEEDBACK WOODY (to Mike) Oh, whoa, step back -- Mike waddles back a step to stop the feedback. WOODY Hello? Check? Better? Great. Everybody hear me? Up on the shelf, can you hear me? Great! Okay, first item today...oh, yeah. Has everyone picked a moving buddy? The toys all MOAN. HAMM Moving buddy?! You can't be serious! REX Well I didn't know we were supposed to have one already. MR. POTATO HEAD (waving his arm out its socket) Do we have to hold hands? The toys LAUGH and SNICKER. WOODY Oh, yeah, you guys think this is a big joke. We've only got one week left before the move. I don't want any toys left behind. A moving buddy -- if you don't have one, get one! (checking the pad) Alright, next...uh...oh, yes. Tuesday night's "Plastic Corrosion Awareness" meeting was, I think, a big success and we want to thank Mr. Spell for putting that on for us. Thank you, Mr. Spell. The words "You're welcome" scroll across Mr. Spell's display screen as he speaks. MR. SPELL You're welcome. WOODY Ok, uh...oh yes. One minor note here... (under his breath) Andy's birthday party's been moved to today. (full voice) Next we have -- The toys all PANIC. REX What?! Whadda ya mean, the party's today?! His birthday's not 'til next week!! HAMM What's going on down there? Is Mom losing her marbles?! WOODY Well, obviously she wanted to have the party before the move. I'm not worried. You shouldn't be worried. MR. POTATO HEAD Of course Woody ain't worried! He's been Andy's favorite since kindergarten! SLINKY Hey, hey! Come on, Potato Head! If Woody says it's all right, then, well, darnit, it's good enough for me. Woody has never steered us wrong before. While Slinky speaks, Potato Head takes off his mouth and mimes kissing his own butt. WOODY C'mon, guys! Every Christmas and birthday we go through this. REX But what if Andy gets another dinosaur? A mean one? I just don't think I can take that kind of rejection. WOODY Hey, listen, no one's getting replaced. This is Andy we're talking about. Woody steps down from the podium and walks towards the crowd. WOODY (continued) It doesn't matter how much we're played with. What matters is that we're here for Andy when he needs us. That's what we're made for. Right? Everyone is now looking down, sheepish. HAMM Pardon me. I hate to break up the staff meeting, but THEY'RE HERE! Birthday guests at three o'clock! WOODY Stay calm, everyone!! Too late. The toys PANIC and stampede over Woody towards the bedroom window, leaving him alone on the floor. WOODY Uh, meeting adjourned. The toys all crowd around the bedroom window, trying to get a peek outside. HAMM Oh, boy. Will ya take a look at all those presents?! MR. POTATO HEAD I can't see a thing! Unable to see over the crowd, Potato Head pulls his eyes out of his head and holds them up over the other toys. ANGLE: TOY'S POV OF ANDY'S FRONT YARD CHILDREN file towards the front door carrying presents. HAMM Yessir, we're next month's garage sale fodder for sure. REX (panicked) Any dinosaur-shaped ones? HAMM Ah, for crying out loud, they're all in boxes, you idiot! The presents keep coming. REX They're getting bigger. SLINKY Wait! There's a nice little one over there! At first, the kid's present appears to be a little box, but then the kid turns -- the present is four feet long. The toys SCREAM. MR. SPELL Spell the word "trashcan." REX We're doomed! Down on the floor, Woody smacks his hand to his forehead in surrender. WOODY Alright! Alright! The toys turn inside and look down at Woody. WOODY (continued) If I send out the troops, will you all calm down? REX Yes! Yes! We promise! WOODY Okay, save your batteries! HAMM Eh, very good, Woody. That's using the old noodle. Woody jumps up onto Andy's bed and turns to the Sargent on the nightstand. WOODY Sargent. Establish a recon post downstairs. Code red. You know what to do. SARGENT Yes SIR! The green army man hops down to the floor where a "BUCKET O' SOLDIERS" sits. SARGENT Alright men, you heard him. Code Red! Repeat: We are at Code Red! Recon plan Charlie. Execute! Let's move move move!! THE GREEN ARMY MEN file out of the bucket and march in formation across the bedroom floor. INT. UPSTAIRS HALLWAY Andy's door creaks open and a lone army man ventures forth to make sure the coast is clear. Satisfied, he motions for the others to proceed. Squads of soldiers march into the hall carrying a baby monitor and a jump rope. The army men each leapfrog behind the stairway banisters and hold their positions while the Sargent surveys the scene below through his binoculars. ANGLE: SARGENT'S BINOCULAR VIEW OF DOWNSTAIRS Directly below, Mrs. Davis passes through the hallway rounding up Andy and all his birthday guests. MRS. DAVIS Okay, c'mon kids! Everyone in the living room. It's almost time for the presents. Once Mrs. Davis and the children are out of sight, the Sargent motions to his men with a silent hand signal. TWO PARATROOPERS jump out through the railing, parachuting down to the floor below. INT. DOWNSTAIRS HALLWAY - CONTINUOUS The paratroopers sweep the area with their plastic rifles, then give the "all clear" sign. The jump rope is lowered, and more soldiers rappel down. INT. ANDY'S BEDROOM The toys race towards the nightstand where Woody has placed the receiving half of the baby monitor. WOODY And this -- (turning on the baby monitor) -- is how we find out what is in those presents. INT. DOWNSTAIRS HALLWAY The green army men march in formation across the floor when suddenly... SFX: FOOTSTEPS Can be heard approaching from behind the connecting kitchen door. Immediately the Sargent signals for his men to freeze in their various classic action poses. MRS. DAVIS (O.S.) Okay, who's hungry? Here come the chips. I've got Cool Ranch and Barbeque -- The door opens and Mrs. Davis' foot comes down hard on top of a soldier. MRS. DAVIS Owww! What in the world -- ? Oh, I thought I told him to pick these up. With a sweep of her foot, she brushes the army men out of her path and continues on to the living room. INT. ANDY'S BEDROOM REX Shouldn't they be there by now? What's taking them so long?! WOODY Hey, these guys are professionals. They're the best. C'mon, they're not lying down on the job. INT. DOWNSTAIRS HALLWAY As soon as Mom is gone, the Sargent motions for his men to proceed toward a nearby houseplant that looks into the living room. The Sargent then notices an injured soldier struggling to drag himself forward -- a casualty of Mrs. Davis' foot. The Sargent helps the injured soldier to his feet. WOUNDED SOLDIER (moans) Go on without me. Just go! SLINKY A good soldier never leaves a man behind. The Sargent motions to the remaining men above. They lower themselves via jump rope, riding the baby monitor. Once downstairs, they hustle the baby monitor towards the houseplant. Suddenly... A BALL bounces into the hallway, followed by the sound of footsteps and kid clamor. The Sargent, supporting his wounded man, reaches the plant, right on the heels of the squad with the baby monitor. They conceal themselves in the house plant just before the children run by. INT. DOWNSTAIRS - HOUSE PLANT - CONTINUOUS While the baby monitor is set in place, A MEDIC evaluates the wounded soldier and gives the "thumb's up" signal. The Sargent scans the party with his binoculars. ANGLE: BINOCULAR VIEW OF BIRTHDAY PRESENTS The pile of brightly wrapped gifts sits atop the living room coffee table. SARGENT (O.S.) There they are. INT. ANDY'S BEDROOM The toys perk up as STATIC suddenly emits from the baby monitor. SARGENT (O.S.) (over monitor) Come in, Mother Bird, this is Alpha Bravo. WOODY This is it! This is it! Quiet, quiet, quiet! SARGENT (O.S.) (over monitor) Come in, Mother Bird. Alright...Andy's opening the first present now. MR. POTATO HEAD (chanting) Mrs. Potato Head...Mrs. Potato Head...Mrs. Potato Head... (off Rex's look) Hey, I can dream, can't I? SARGENT (O.S.) (over monitor) The bow's coming off...he's ripping the wrapping paper...it's a...it's...it's a lunchbox! We've got a lunchbox, here! WOODY A lunchbox?! MR. POTATO HEAD A lunchbox...?! SLINKY For lunch. Heh heh heh... SARGENT (O.S.) (over monitor) Ok, second present...it appears to be...okay, it's bed sheets. MR. POTATO HEAD Who invited THAT kid?! INT. LIVING ROOM ANGLE: BINOCULAR VIEW OF PRESENTS MATCH DISSOLVE TO: ANGLE: BINOCULAR VIEW OF A SINGULAR PRESENT MRS. DAVIS Oh, only one left. INT. ANDY'S BEDROOM SARGENT (O.S.) (over monitor) Okay, we're on the last present now... WOODY Last present! SARGENT (O.S.) (over monitor) It's a big one...It's a...it's a boardgame! Repeat! Battleship -- Battleship, the boardgame! The toys CHEER WITH RELIEF. HAMM Yeah, alright!! Hamm gives Potato Head a congratulatory pat on the back, sending his facial features flying. MR. POTATO HEAD Hey, watch it! HAMM Sorry there, old Spudhead. INT. DOWNSTAIRS - HOUSE PLANT SARGENT (to army men) Mission accomplished. Well done, men. Pack it up, we're going home. INT. ANDY'S BEDROOM WOODY So did I tell ya? Huh? Nothing to worry about. SLINKY I knew you were right all along, Woody. Never doubted you for a second. INT. DOWNSTAIRS - HOUSE PLANT The platoon is preparing to exit the plant when... MRS. DAVIS (O.S.) Wait a minute. Oooh, what do we have here?! The Sargent lifts his binoculars back to his eyes. ANGLE: BINOCULAR VIEW OF LIVING ROOM Mrs. Davis can be seen opening the closet and pulling out another large present. SARGENT (indicating the baby monitor) Wait -- turn that thing back on! INT. ANDY'S BEDROOM - CONTINUOUS SARGENT (O.S.) (over monitor) Come in, Mother Bird, come in, Mother Bird. All the toys tense up. SARGENT (O.S.) (continued) Mom has pulled a surprise present from the closet. Andy's opening it... INT. DOWNSTAIRS - HOUSE PLANT - CONTINUOUS SARGENT He's really excited about this one. It's a huge package. Oh -- get out -- one of the kids is in the way, I can't see... INT. ANDY'S BEDROOM - CONTINUOUS SARGENT (O.S.) (from monitor) ...it's...it's a -- The sound of children CHEERING emits from the monitor, cutting off the Sargent. REX It's a WHAT?! WHAT IS IT?!!! Rex grabs a leg of the nightstand and shakes it, making the monitor drop to the floor. The impact causes the batteries to roll out. REX Oh, no! MR. POTATO HEAD Oh, ya big lizard! Now we'll never know what it is! HAMM (sarcastic) Way to go, Rex. Everyone rushes to the fallen monitor. Potato Head tries to correctly insert the batteries. WOODY No, no! Turn 'em around, turn 'em around! HAMM Eh, he's puttin' 'em in backwards! WOODY Plus is positive, minus is negative! Oh, let me! Woody jumps down off the bed and shoves both Hamm and Potato Head aside. INT. LIVING ROOM ANDY Let's go to my room, guys! The kids rush past the houseplant. SARGENT (into the monitor) RED ALERT! RED ALERT! ANDY IS COMING UPSTAIRS! INT. ANDY'S BEDROOM - CONTINUOUS Woody puts the last battery back in. WOODY There. SARGENT (O.S.) (over monitor) Juvenile intrusion! Repeat! Resume your positions NOW! WOODY Andy's coming, everybody! Back to your places. Hurry! The toys PANIC and scatter about the room. MR. POTATO HEAD Where's my ear? Who's seen my ear? Did you see my ear? REX Outta my way! Here I come, here I come -- Frantic, Rex slams into a trashcan and falls over. Everyone scurries to their places as the KIDS' FOOTSTEPS grow louder. Woody falls limp in his spot on the bed just as... Andy's bedroom door flies open and a flood of children's feet rush in. FRIEND #1 Hey, look! His lasers light up. ANDY Take that, Zurg! Woody is flung off Andy's pillow and slides, unnoticed, down the gap between the bed and the back wall. FRIEND #2 Quick! Make a space! This is where the spaceship lands. ANDY -- and you press his back and he does a karate-chop action! MRS. DAVIS (O.S.) Come on down, guys. It's time for games! We've got prizes! ANDY Oh, yeah! The kids all run out as fast as they entered, SLAMMING THE DOOR behind them. BEAT The toys slowly come to life and make their way toward the bed. MR. POTATO HEAD What is it? BO PEEP Can you see it? SLINKY What the heck is up there? REX Woody? Who's up there with you? Woody crawls out from under the bed. The toys are shocked to discover him there. SLINKY Woody, what are you doing under the bed? WOODY (composing himself) Uh-h-h-h...nothing! Uh, nothing. I'm sure Andy was just a little excited, that's all. Too much cake and ice cream, I suppose. It's just a mistake. MR. POTATO HEAD Well, that MISTAKE is sitting in your spot, Woody. REX (GASP!) Have you been replaced? WOODY Hey! What did I tell you earlier? No one is getting replaced. The toys give each other a look of doubt. WOODY Now let's all be polite, and give whatever it is up there a nice, big "Andy's Room" welcome. Woody climbs slowly up the side of the bed, peeking over the edge. His eyes widen at the sight of... BUZZ LIGHTYEAR We see Buzz as Woody does - an expensive looking space age action figure, covered with buttons and stickers from head to toe. The imposing "G.I. Joe-sized" doll stands heroically in the center of the bed, his back to Woody. Woody GULPS. Buzz comes alive and looks around. ANGLE: BUZZ'S POV THROUGH HIS HELMET While he scans the bedroom a "DARTH VADER" LIKE BREATHING is heard. Buzz eyes it all suspiciously and pushes a button on his chest. SFX: ELECTRONIC BEEP BUZZ Buzz Lightyear to Star Command. Come in, Star Command. Nothing. He pushes the button again. BUZZ Star Command - come in. Do you read me? (to himself) Why don't they answer?!! Just then, Buzz catches sight of his ripped packaging. The box is designed to look like a spaceship. BUZZ (GASP) My ship!! He runs up to the box and investigates the damage. BUZZ Blast! This'll take weeks to repair! Buzz flips open a plastic compartment on his arm -- his wrist communicator. BUZZ Buzz Lightyear Mission Log. Stardate 4072: My ship has run off course en route to sector 12. I've crash landed on a strange planet. The impact must have awoken me from hyper-sleep.

39

Transformers: The Movie

Ron Friedman

Action,Animation,Family,Sci-Fi

null

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

40

Up

Pete Docter,Bob Peterson,Thomas McCarthy

Animation,,Adventure,Comedy,Drama,Family

May_2009

,1. ,,,,, ,,,,,A,1930's,NEWSREEL. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,"Movietown,News",presents... ,,,,,,,,,,Spotlight,on,Adventure! ,,,,,The,mysterious,SOUTH,AMERICAN,JUNGLE.,A,massive,waterfall ,,,,,cascades,down,a,gigantic,flat-topped,mountain. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,What,you,are,now,witnessing,is ,,,,,,,,,,footage,never,before,seen,by ,,,,,,,,,,civilized,humanity:,a,lost,world,in ,,,,,,,,,,South,America!,Lurking,in,the ,,,,,,,,,,shadow,of,majestic,Paradise,Falls, ,,,,,,,,,,it,sports,plants,and,animals ,,,,,,,,,,undiscovered,by,science.,Who,would ,,,,,,,,,,dare,set,foot,on,this,inhospitable ,,,,,,,,,,summit? ,,,,, ,,,,,A,painted,portrait,of,a,dashing,young,adventurer. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Why,our,subject,today:,Charles ,,,,,,,,,,Muntz! ,,,,,A,massive,DIRIGIBLE,descends,on,an,airfield. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,The,beloved,explorer,lands,his ,,,,,,,,,,dirigible,the,"Spirit,of ,,,,,,,,,,Adventure,",in,New,Hampshire,this ,,,,,,,,,,week,completing,a,year,long ,,,,,,,,,,expedition,to,the,lost,world! ,,,,, ,,,,, ,,,,,INT.,MOVIE,THEATRE,-,CONTINUOUS ,,,,,Of,everyone,watching,in,the,modest,small,town,theater,no ,,,,,one,is,more,enthralled,than,8,year,old,CARL,FREDRICKSEN. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(O.S.) ,,,,,,,,,,This,lighter-than-air,craft,was ,,,,,,,,,,designed,by,Muntz,himself,and,is ,,,,,,,,,,longer,than,22,Prohibition,paddy- ,,,,,,,,,,wagons,placed,end,to,end. ,,,,,Young,Carl,stares,mouth,agape,wearing,leather,flight,helmet ,,,,,and,goggles,--,just,like,his,idol,on,the,silver,screen. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,here,comes,the,adventurer,now! ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. ,,,,, ,,,,, ,,,,,NEWSREEL,FOOTAGE:,the,dashing,Muntz,descends,down,the ,,,,,gangplank,to,the,delight,of,the,crowd.,His,dogs,trail,him. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Never,apart,from,his,faithful,dogs, ,,,,,,,,,,Muntz,conceived,the,craft,for ,,,,,,,,,,canine,comfort!,It's,a,veritable ,,,,,,,,,,floating,palace,in,the,sky... ,,,,, ,,,,,An,opulent,dining,room. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,...complete,with,doggie,bath,and ,,,,,,,,,,mechanical,canine,walker. ,,,,, ,,,,,One,dog,runs,suffers,through,mechanized,bath,time,while,a ,,,,,second,wears,an,electrode,helmet,and,runs,on,a,treadmill. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,Jiminy,Cricket,do,the,locals ,,,,,,,,,,consider,Muntz,the,bee's,knees! ,,,,,,,,,,And,how! ,,,,, ,,,,,Cameras,flash,as,Muntz,stands,heroic,striking,his,signature ,,,,,"thumbs,up",stance. ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,"Adventure,is,out,there!" ,,,,,In,the,theater,Young,Carl,returns,the,thumbs,up. ,,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,But,what,has,Muntz,brought,back ,,,,,,,,,,this,time? ,,,,, ,,,,,Muntz,speaks,to,a,crowded,auditorium,on,stage,beside,a ,,,,,curtained,object. ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,Gentlemen,I,give,you:,the,Monster ,,,,,,,,,,of,Paradise,Falls! ,,,,,He,pulls,away,the,drape,to,reveal,a,GIANT,BIRD,SKELETON. ,,,,, ,,,,,,,,,,,,,,,CROWD ,,,,,,,,,,Ooh! ,,,,,Young,Carl,leans,forward,eyes,bulging. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,golly,what,a,swell,monster ,,,,,,,,,,this,is.,But,what's,this? ,,,,,Skeptical,scientists,analyze,the,bones. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,, ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Scientists,cry,foul!,The,National ,,,,,,,,,,Explorers,Society,accuses,Muntz,of ,,,,,,,,,,fabricating,the,skeleton! ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,No! ,,,,, ,,,,,Muntz's,portrait,is,removed,from,a,wall,of,paintings,of,other ,,,,,famous,explorers. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,The,organization,strips,Muntz,of ,,,,,,,,,,his,membership. ,,,,, ,,,,,Muntz's,"Explorer's,Society",badge,is,ceremoniously,RIPPED ,,,,,from,his,jacket. ,,,,,Carl,GASPS. ,,,,, ,,,,,Muntz,stands,next,to,his,dirigible,at,an,airfield.,,,,He,grimly ,,,,,addresses,the,crowd. ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Humiliated,Muntz,vows,a,return,to ,,,,,,,,,,Paradise,Falls,and,promises,to ,,,,,,,,,,capture,the,beast...,alive! ,,,,, ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,I,promise,to,capture,the,beast... ,,,,,,,,,,alive! ,,,,, ,,,,,In,the,theater,young,Carl,smiles. ,,,,,,,,,,,,,,,MUNTZ ,,,,,,,,,,And,I,will,not,come,back,until,I,do! ,,,,,The,crowd,CHEERS. ,,,,, ,,,,,Muntz,gives,his,thumbs,up,from,the,cockpit,as,the,dirigible ,,,,,lifts,off. ,,,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,And,so,the,,explorer,is,off,to,clear ,,,,,,,,,,his,name.,,,Bon,voyage,Charles ,,,,,,,,,,Muntz,and,,good,luck,capturing,the ,,,,,,,,,,Monster,of,,Paradise,Falls! ,,,,,Carl,looks,like,he,just,witnessed,a,miracle. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,, ,,,,, ,,,,, ,,,,,EXT.,SMALL,TOWN,NEIGHBORHOOD,1930'S,-,DAY,-,CONTINUOUS ,,,,, ,,,,,Young,Carl,"flies",his,blue,balloon,("The,Spirit,of ,,,,,Adventure",hand-written,on,it),as,he,runs,along,the,sidewalk. ,,,,,He,still,wears,helmet,and,goggles. ,,,,,TITLE,CARD:,WALT,DISNEY,PICTURES,PRESENTS ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Here's,Charles,Muntz,piloting,his ,,,,,,,,,,famous,dirigible!! ,,,,, ,,,,,TITLE,CARD:,A,PIXAR,ANIMATION,STUDIOS,FILM ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He,hurdles,Pike's,Peak! ,,,,, ,,,,,Carl,jumps,over,a,small,rock. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He,hurdles,the,Grand,Canyon! ,,,,, ,,,,,Carl,jumps,over,a,crack,in,the,sidewalk. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He,hurdles,Mount,Everest! ,,,,, ,,,,,Carl,jumps,over,a,tree,stump...,and,smacks,into,it,instead. ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,He...,goes,around,Mount,Everest! ,,,,,,,,,,Is,there,nothing,he,cannot,do? ,,,,, ,,,,,TITLE,CARD:,,UP ,,,,, ,,,,,,,,,,,,,,,NEWSREEL,ANNOUNCER,(V.O.) ,,,,,,,,,,Yes,as,Muntz,himself,says: ,,,,,,,,,,"Adventure,is--" ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,"Adventure,is,out,there!" ,,,,,Carl,stops.,,Who,said,that? ,,,,, ,,,,,The,voice,comes,from,a,dilapidated,HOUSE,windows,boarded,up ,,,,,and,lawn,overgrown,with,weeds. ,,,,,The,weather,vane,atop,the,house,turns,pulled,by,ropes. ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,Look,out!,Mount,Rushmore!,Hard,to ,,,,,,,,,,starboard.,Must,get,the,Spirit,of ,,,,,,,,,,Adventure,over,Mount,Rushmore... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,, ,,,,, ,,,,,Carl,walks,toward,the,voice. ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,Hold,together,old,girl.,How're,my ,,,,,,,,,,dogs,doing?,Ruff,ruff! ,,,,, ,,,,,INT.,DILAPIDATED,HOUSE,HALLWAY,-,CONTINUOUS ,,,,, ,,,,,Carl,squeezes,through,the,broken,door,into,the,foyer.,,He ,,,,,follows,the,voice,toward,the,living,room. ,,,,, ,,,,,,,,,,,,,,,GIRL'S,VOICE,(O.S.) ,,,,,,,,,,All,engines,ahead,full!,Let's,take ,,,,,,,,,,her,up,to,26,000,feet!,Rudders ,,,,,,,,,,eighteen,degrees,towards,the,south. ,,,,, ,,,,,INT.,DILAPIDATED,HOUSE,LIVING,ROOM,-,CONTINUOUS ,,,,, ,,,,,Carl,rounds,the,corner,to,see... ,,,,, ,,,,,ELLIE,an,eight,year,old,girl,her,mussy,red,hair,barely ,,,,,visible,beneath,her,flight,helmet,and,goggles.,Bare,footed, ,,,,,her,overalls,are,patched,and,dirty. ,,,,,The,old,house,has,been,transformed,into,a,make-believe ,,,,,dirigible,cockpit.,Ellie,steers,the,wheel,made,from,a,rusty ,,,,,old,bicycle. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,It's,a,beautiful,day,winds,out,of ,,,,,,,,,,the,east,at,ten,knots. ,,,,,,,,,,Visibility...,unlimited. ,,,,,,,,,,,,(yells,a,command) ,,,,,,,,,,Enter,the,weather,in,the,logbook! ,,,,,The,navigator,(her,hamster),skitters,in,its,cage. ,,,,, ,,,,,Ellie,uses,two,tied-together,Coke,bottles,as,binoculars. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Oh!,There's,something,down,there! ,,,,,,,,,,I,will,bring,it,back,for,science. ,,,,,,,,,,Awwww,it's,a,puppy! ,,,,, ,,,,,Carl,is,distracted,by,the,Muntz,newspaper,clippings,taped,to ,,,,,the,wall. ,,,,, ,,,,,,,,,,,,,,,,YOUNG,ELLIE,(O.S.) ,,,,,,,,,,No,time!,,A,storm!,Lightning!,Hail! ,,,,,Ellie,pops,up,in,front,of,Carl. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,, ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,What,are,you,doing!?! ,,,,, ,,,,,Carl,screams.,He,lets,go,of,his,balloon.,It,floats,through ,,,,,a,broken,part,of,the,ceiling,and,disappears. ,,,,,Ellie,circles,Carl,accusingly. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Don't,you,know,this,is,an,exclusive ,,,,,,,,,,club?,Only,explorers,get,in,here. ,,,,,,,,,,Not,just,any,kid,off,the,street ,,,,,,,,,,with,a,helmet,and,a,pair,of ,,,,,,,,,,goggles.,Do,you,think,you,got,what ,,,,,,,,,,it,takes?,Well,do,you?!? ,,,,, ,,,,,Carl,FUMPHERS. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Alright,you're,in.,Welcome,aboard. ,,,,,She,offers,her,hand.,,Carl,looks,down,embarrassed. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,What's,wrong?,Can't,you,talk? ,,,,,Carl,is,frozen.,,Ellie,softens. ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,Hey,I,don't,bite. ,,,,,She,takes,off,her,helmet.,,Her,hair,frizzes,out,in,all ,,,,,directions. ,,,,,She,removes,a,homemade,GRAPE,SODA,CAP,pin,from,her,shirt,and ,,,,,pins,it,on,Carl. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,You,and,me,we're,in,a,club,now. ,,,,, ,,,,,Carl,smiles. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,I,saw,where,your,balloon,went. ,,,,,,,,,,Come,on,let's,go,get,it! ,,,,, ,,,,,Carl,watches,her,stride,out,of,the,room.,,She,pops,back,in. ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,My,name's,Ellie. ,,,,, ,,,,,She,grabs,his,hand. ,,,,,Carl,blushes,as,she,pulls,him,out,of,the,room. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,, ,,,,, ,,,,, ,,,,,INT.,DILAPIDATED,HOUSE,UPSTAIRS ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,There,it,is. ,,,,, ,,,,,Carl,and,Ellie,look,across,the,attic,at,the,balloon.,Between ,,,,,them,the,floor,has,collapsed,save,one,rickety,beam.,Carl,GULPS. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Well,go,ahead. ,,,,,She,pushes,him,out,onto,the,beam. ,,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Go,on. ,,,,, ,,,,,Carl,steels,his,courage.,He,puts,on,his,goggles,starts ,,,,,forward...,and,FALLS,through,the,floor. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,, ,,,,,EXT.,SMALL,TOWN,NEIGHBORHOOD,STREET,-,DAY ,,,,,Ambulance.,,SIREN,blaring. ,,,,, ,,,,, ,,,,,EXT.,CARL'S,HOUSE,-,NIGHT ,,,,,One,lone,light,on,upstairs. ,,,,, ,,,,, ,,,,,INT.,CARL'S,ROOM ,,,,,Carl,in,bed,reading,a,book,by,flashlight,his,arm,in,a,CAST. ,,,,, ,,,,,Into,the,room,floats,Carl's,lost,BLUE,BALLOON. ,,,,,Carl,jumps,and,CALLS,OUT,in,fright. ,,,,, ,,,,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,,,,,,(re:,arm) ,,,,,,,,,,,,Ow! ,,,,, ,,,,,A,head,pops,up,from,outside,the,open,window. ,,,,, ,,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Hey,kid!! ,,,,, ,,,,,Carl,SCREAMS,hitting,himself,in,the,face,with,the,cast. ,,,,, ,,,,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,,,Ow!! ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. ,,,,, ,,,,, ,,,,,Ellie,climbs,in,the,window. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Thought,you,might,need,a,little ,,,,,,,,,,,,cheerin',up.,I,got,somethin',to ,,,,,,,,,,,,show,ya! ,,,,, ,,,,,INT.,CARL'S,ROOM,-,MOMENTS,LATER ,,,,, ,,,,,The,two,hunker,under,a,blanket,tent,with,a,flashlight.,,Ellie ,,,,,whispers,as,if,to,protect,a,National,Secret. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,I,am,about,to,let,you,see,something ,,,,,,,,,,,,I,have,never,shown,to,another,human ,,,,,,,,,,,,being.,Ever.,In,my,life. ,,,,,Carl's,eyes,widen,in,alarm. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,You'll,have,to,swear,you,will,not ,,,,,,,,,,,,tell,anyone. ,,,,,Carl,nods. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Cross,your,heart.,Do,it! ,,,,,Carl,crosses.,,Ellie,unveils... ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,My,Adventure,Book! ,,,,,It's,a,reused,photo,album,with,the,words,"My,Adventure,Book" ,,,,,written,across,it.,She,opens,it,to,a,photo,of,Charles,Muntz. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,You,know,him. ,,,,,Carl,smiles,excitedly. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Charles,Muntz,explorer.,When,I,get ,,,,,,,,,,,,big,I'm,going,where,he's,going: ,,,,,,,,,,,,South,America. ,,,,,She,turns,the,page,to,a,map. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,It's,like,America...,but,south. ,,,,,,,,,,,,Wanna,know,where,I'm,gonna,live? ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. ,,,,, ,,,,, ,,,,,She,turns,to,an,engraving,of,a,large,waterfall.,A,small,hand- ,,,,,drawn,picture,of,Ellie's,clubhouse,is,glued,to,the,top. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,,,(reading,caption) ,,,,,,,,,,,,"Paradise,Falls,a,land,lost,in ,,,,,,,,,,,,time.",I,ripped,this,right,out,of ,,,,,,,,,,,,a,library,book. ,,,,, ,,,,,Carl,GASPS,in,horror. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,I'm,gonna,move,my,clubhouse,there, ,,,,,,,,,,,,and,park,it,right,next,to,the ,,,,,,,,,,,,falls.,Who,knows,what,lives,up ,,,,,,,,,,,,there?,And,once,I,get,there... ,,,,, ,,,,,She,flips,through,her,book,revealing,a,page,marked,"STUFF ,,,,,I'M,GOING,TO,DO.",Past,that,the,pages,are,blank. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Well,I'm,saving,these,pages,for ,,,,,,,,,,,,all,the,adventures,I'm,gonna,have. ,,,,,,,,,,,,Only...,I,just,don't,know,how,I'm ,,,,,,,,,,,,gonna,get,to,Paradise,Falls. ,,,,,Ellie,closes,the,book,disappointed. ,,,,, ,,,,,Carl,has,a,thought.,,He,looks,at,his,toy,dirigible. ,,,,, ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,That's,it!,You,can,take,us,there ,,,,,,,,,,,,in,a,blimp!,Swear,you'll,take,us. ,,,,,,,,,,,,Cross,your,heart!,Cross,it!,Cross ,,,,,,,,,,,,your,heart. ,,,,, ,,,,,Carl,does. ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Good.,You,promised.,No,backing,out. ,,,,, ,,,,,Carl,shakes,his,head,"no." ,,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,Well,see,you,tomorrow,kid!,,Bye. ,,,,, ,,,,,Ellie,hops,up,and,jumps,out,the,window. ,,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,,,"Adventure,is,out,there!!" ,,,,, ,,,,,She,pops,back,in. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. ,,,,, ,,,,, ,,,,,,,,,,,,,,,YOUNG,ELLIE ,,,,,,,,,,You,know,you,don't,talk,very,much. ,,,,,,,,,,I,like,you. ,,,,, ,,,,,Carl,looks,out,the,window,after,her,in,amazement.,,He,rests ,,,,,his,head,on,his,balloon. ,,,,, ,,,,,,,,,,,,,,,YOUNG,CARL ,,,,,,,,,,Wow. ,,,,, ,,,,,The,balloon,pops. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,, ,,,,,INT.,CHURCH,-,DAY ,,,,, ,,,,,FLASH!,A,photo,is,taken,of,the,wedding,couple:,Carl,and ,,,,,Ellie,now,19.,She,jumps,at,him,and,gives,him,a,big,kiss. ,,,,, ,,,,,Ellie's,side,of,the,church,erupts,like,wild,frontiersmen.,,,A ,,,,,gun,shot,is,fired,in,the,air. ,,,,, ,,,,,Carl's,side,rigid,puritans,in,black,clap,politely. ,,,,, ,,,,,EXT.,DILAPIDATED,HOUSE,-,DAY ,,,,, ,,,,,Carl,carries,her,past,a,"SOLD",sign.,,It's,the,same,house ,,,,,where,they,met,as,kids. ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DAY ,,,,,Still,in,their,wedding,clothes:,She,saws,as,he,hammers. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,DAY ,,,,, ,,,,,They,push,two,chairs,into,place,side,by,side,in,the,living,room. ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DAY ,,,,, ,,,,,Ellie,finishes,painting,"Carl,&,Ellie",on,their,MAILBOX. ,,,,,Carl,leans,in,to,admire,her,work,but,leaves,a,messy,paint ,,,,,handprint,on,the,mailbox!,Oh,well;,Ellie,adds,her,handprint ,,,,,as,well.,They,smile. ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DAY ,,,,,Their,house,now,matches,Ellie's,colorful,CLUB,HOUSE,DRAWING ,,,,,from,her,childhood,Adventure,Book. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,, ,,,,, ,,,,, ,,,,,EXT.,RURAL,HILLSIDE,-,DAY ,,,,, ,,,,,They,run,up,a,hillside,together. ,,,,, ,,,,,They,lie,side,by,side,on,a,picnic,blanket.,She,describes,the ,,,,,clouds.,He,watches,as,a,cloud,transforms,into,a,turtle. ,,,,, ,,,,,Carl,closes,his,eyes,and,smiles.,,He's,lucky,to,be,with,her. ,,,,, ,,,,,EXT.,ZOO,-,DAY ,,,,, ,,,,,Ellie,emerges,from,the,South,America,House,dressed,in,her ,,,,,Zookeeper's,uniform. ,,,,, ,,,,,Carl,shows,off,his,new,BALLOON,CART,and,uniform.,Behind,him ,,,,,the,balloons,lift,his,cart,off,the,ground.,Carl,jumps,to ,,,,,catch,it.,She,giggles. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,DAY ,,,,, ,,,,,Carl,and,Ellie,sit,side,by,side,in,their,chairs,reading. ,,,,,Without,looking,up,from,their,books,they,hold,hands. ,,,,, ,,,,,EXT.,RURAL,HILLSIDE,-,DAY ,,,,, ,,,,,Again,at,their,picnic,spot,they,watch,clouds.,Ellie,sees,an ,,,,,elephant,with,wings.,Carl,gives,it,a,try,and,points,out,a ,,,,,BABY.,Ellie,lights,up,excited.,She,sees,ALL,the,clouds,as ,,,,,babies!,Carl,is,stunned...,but,smiles. ,,,,, ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,BABY,ROOM,-,DAY ,,,,, ,,,,,Ellie,finishes,painting,a,wall,mural,of,a,stork,carrying,a ,,,,,bundle,in,its,beak.,Carl,hangs,a,mobile,above,the,crib. ,,,,, ,,,,, ,,,,,INT.,DOCTOR'S,OFFICE,-,AFTERNOON ,,,,,Carl,touches,Ellie's,shoulder,as,the,doctor,explains.,,Ellie ,,,,,drops,her,head,in,her,hands. ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,,Carl,looks,out,the,window.,,Ellie,sits,alone,under,a,tree, ,,,,,the,wind,in,her,hair. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,, ,,,,, ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,YARD,-,AFTERNOON ,,,,, ,,,,,Carl,joins,Ellie.,,He,hands,her,the,Adventure,Book.,She,smiles. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,, ,,,,,Ellie,paints,a,MURAL,of,their,house,atop,Paradise,Falls,over ,,,,,the,mantle.,Carl,organizes,a,compass,map,binoculars,and ,,,,,native,bird,figurine,beneath,the,painting.,It's,their,shrine ,,,,,to,Adventure. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,, ,,,,,Carl,sets,A,JAR,on,a,table,"PARADISE,FALLS",written,on,it. ,,,,,Ellie,drops,in,a,few,coins.,She,looks,at,Carl,and,crosses ,,,,,her,heart.,Carl,crosses,his. ,,,,, ,,,,,A,SERIES,OF,SHOTS ,,,,, ,,,,,The,jar,slowly,fills,as,Carl,and,Ellie,toss,in,spare,change. ,,,,,Their,car,blows,a,tire. ,,,,,The,two,stand,by,the,jar,reluctant.,,Carl,BREAKS,the,jar. ,,,,, ,,,,,New,tire. ,,,,, ,,,,,Carl,in,the,hospital,with,a,broken,leg. ,,,,, ,,,,,Breaking,jar. ,,,,,A,storm,rages.,,A,tree,falls,crushing,the,roof. ,,,,, ,,,,,Breaking,jar. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,FRONT,HALL,-,MORNING ,,,,, ,,,,,Carl,struggles,to,tie,his,tie.,,Ellie,helps.,,They,walk,out ,,,,,the,front,door,arm,in,arm. ,,,,, ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,FRONT,HALL,-,3,YEARS,LATER ,,,,,Ellie,struggles,to,tie,Carl's,tie,as,they,rush,out,the,door. ,,,,, ,,,,,A,SERIES,OF,SHOTS,as,Ellie,straightens,Carl's,ties.,,Stylish ,,,,,1950's,ties.,Wide,60's,ties.,Paisley,70's,ties. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,, ,,,,, ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,FRONT,HALL,-,30,YEARS,LATER ,,,,, ,,,,,Older,Carl,and,Ellie,smile,at,themselves,in,the,hall,mirror. ,,,,, ,,,,,EXT.,ZOO,-,DAY ,,,,, ,,,,,Carl,in,his,60's.,They,still,work,happily,side,by,side,at ,,,,,the,zoo.,Carl's,cart,lifts,off,the,ground.,He,casually ,,,,,leans,an,elbow,on,it. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,-,NIGHT ,,,,,Carl,and,Ellie,dance,in,the,evening,candlelight.,The ,,,,,PARADISE,FALLS,JAR,sits,off,to,the,side,now,dusty,and ,,,,,forgotten. ,,,,, ,,,,,INT.,CARL,AND,ELLIE'S,HOUSE,LIVING,ROOM,WINDOW,-,AFTERNOON ,,,,,Carl,cleans,the,inside,of,the,window.,,Ellie,cleans,the ,,,,,outside. ,,,,, ,,,,,INT.,CARL'S,HOUSE,LIVING,ROOM,-,AFTERNOON ,,,,, ,,,,,Carl,vacuums,the,Adventure,Shrine,on,the,mantle.,Carl,smiles ,,,,,at,a,photo,of,Ellie,as,a,child,wearing,her,flight,helmet,and ,,,,,goggles.,He,looks,up,at,the,mural,of,their,house,at,Paradise ,,,,,Falls.,His,smile,fades. ,,,,, ,,,,,Behind,him,Ellie,sweeps,the,floor.,,Their,dream,has,gone ,,,,,unfulfilled. ,,,,, ,,,,,Carl,has,an,idea. ,,,,, ,,,,,EXT.,TRAVEL,AGENCY,-,DAY ,,,,, ,,,,,Carl,buys,two,tickets,to,South,America. ,,,,, ,,,,,EXT.,RURAL,HILLSIDE,-,AFTERNOON ,,,,, ,,,,,Carl,hurries,excitedly,up,picnic,hill.,,He,hides,the,airline ,,,,,tickets,in,his,basket. ,,,,,Behind,him,Ellie,falters,and,falls.,,She,tries,to,get,up,but ,,,,,falls,again.,Something,is,wrong. ,,,,, ,,,,,He,runs,to,her. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,, ,,,,, ,,,,, ,,,,,INT.,HOSPITAL,ROOM,-,DAY ,,,,, ,,,,,Ellie,lies,in,a,hospital,bed.,,She,looks,through,her ,,,,,ADVENTURE,BOOK. ,,,,, ,,,,,A,BLUE,BALLOON,floats,in,to,the,room. ,,,,, ,,,,,Carl,stands,at,the,door.,,He,smiles,and,walks,to,her,bedside. ,,,,, ,,,,,Ellie,pushes,her,Adventure,Book,toward,him.,,She,weakly,pats ,,,,,his,cheek,and,adjusts,his,tie. ,,,,, ,,,,,He,kisses,her,on,the,forehead. ,,,,, ,,,,,INT.,CHURCH,-,AFTERNOON ,,,,, ,,,,,Carl,sits,alone,next,to,a,huge,bouquet,of,balloons. ,,,,, ,,,,,EXT.,CARL,AND,ELLIE'S,HOUSE,-,DUSK ,,,,, ,,,,,Carl,walks,into,the,house,holding,a,single,blue,balloon. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,FADE,TO,BLACK. ,,,,, ,,,,, ,,,,,INT.,CARL'S,BEDROOM,-,MORNING,-,SEVERAL,YEARS,LATER ,,,,,An,ALARM,CLOCK,BUZZES.,,An,aged,hand,shuts,it,off,and,picks ,,,,,up,the,nearby,glasses. ,,,,, ,,,,,CARL,sits,alone,in,his,double,bed.,,He,rubs,his,face.,GRUNTS. ,,,,,He,gets,out,of,bed,STRETCHING,GRUNTING,and,CRACKING,BONES. ,,,,, ,,,,,He,grabs,his,cane,with,four,tennis,balls,stuck,to,the,bottom ,,,,,spokes. ,,,,, ,,,,, ,,,,,INT.,CARL'S,STAIRCASE,-,LATER ,,,,,Now,dressed,Carl,rides,his,ELDERLY,ASSISTANCE,CHAIR,down,the ,,,,,staircase.,This,takes,a,LONG,LONG,time. ,,,,, ,,,,,Three,quarters,of,the,way,down,the,chair,stops.,,He,bangs ,,,,,the,armrest,and,the,chair,restarts. ,,,,, ,,,,,INT.,CARL'S,KITCHEN,-,LATER ,,,,, ,,,,,Carl,eats,breakfast,by,himself. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. ,,,,, ,,,,, ,,,,, ,,,,,INT.,CARL'S,LIVING,ROOM,WINDOW,-,LATER ,,,,, ,,,,,Carl,cleans,the,window,with,a,cloth.,,His,lonely,reflection ,,,,,stares,back,at,him. ,,,,, ,,,,,INT.,CARL'S,LIVING,ROOM,-,LATER ,,,,, ,,,,,Carl,dusts,the,mantle,and,Shrine,to,Adventure. ,,,,, ,,,,, ,,,,,INT.,CARL'S,HOUSE,FRONT,HALL,-,LATER ,,,,,Carl,looks,in,the,hall,mirror.,He,puts,on,his,hat,and ,,,,,considers,his,reflection.,He,straightens,his,GRAPE,SODA,PIN. ,,,,, ,,,,, ,,,,,EXT.,CARL'S,HOUSE,PORCH,-,CONTINUOUS ,,,,,Many,LOCKS,are,heard,unlocking,from,inside. ,,,,,The,door,opens,but,bangs,against,the,safety,chain.,,,Carl ,,,,,GRUMBLES,in,frustration. ,,,,,Carl,opens,the,door,walks,out,onto,his,porch,pulls,the,door ,,,,,shut,and,looks,as,if,he's,about,to,go,somewhere. ,,,,, ,,,,,He,sits,in,his,porch,chair. ,,,,, ,,,,,EXT.,CARL'S,NEIGHBORHOOD,-,CONTINUOUS ,,,,, ,,,,,Carl's,house,is,the,lone,surviving,square,on,the,block,not ,,,,,under,construction.,Machinery,and,workers,circle,busily. ,,,,,High,rise,buildings,are,being,erected,all,around. ,,,,, ,,,,,EXT.,CARL'S,HOUSE,PORCH,-,MORNING ,,,,, ,,,,,Carl,looks,at,the,activity,around,him. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Quite,a,sight,huh,Ellie? ,,,,,,,,,,,,(noticing,mailbox) ,,,,,,,,,,Uhp,mail's,here. ,,,,, ,,,,,Carl,walks,to,the,mailbox.,,He,touches,Ellie's,faded ,,,,,HANDPRINT,and,smiles. ,,,,, ,,,,,He,looks,through,the,mail. ,,,,, ,,,,,He,sees,a,SHADY,OAKS,RETIREMENT,VILLAGE,pamphlet,full,of ,,,,,images,of,happy,old,people.,Carl,scoffs. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. ,,,,, ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Shady,Oaks,Retirement.,,Oh,brother. ,,,,, ,,,,,Carl,notices,DUST,on,his,mailbox. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Hm. ,,,,, ,,,,,He,pulls,up,a,LEAF,BLOWER.,,He,revs,it,and,blasts,off,the,dust. ,,,,, ,,,,,TOM,the,CONSTRUCTION,FOREMAN,notices. ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Hey!,`Morning,Mr.,Fredricksen! ,,,,,,,,,,Need,any,help,there? ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,No.,Yes.,Tell,your,boss,over,there ,,,,,,,,,,that,you,boys,are,ruining,our,house. ,,,,, ,,,,,He,points,across,the,lot,to,a,business,man,in,a,suit,talking ,,,,,on,a,cell,phone,-,the,REAL,ESTATE,DEVELOPER. ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Well,just,to,let,you,know,my,boss ,,,,,,,,,,would,be,happy,to,take,this,old ,,,,,,,,,,place,off,your,hands,and,for ,,,,,,,,,,double,his,last,offer.,Whaddya,say ,,,,,,,,,,to,that? ,,,,,The,leaf,blower,blasts,off,his,hat. ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Uh,I,take,that,as,a,no,then. ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,I,believe,I,made,my,position,to ,,,,,,,,,,your,boss,quite,clear. ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,You,poured,prune,juice,in,his,gas,tank. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Oh,yeah,that,was,good.,Here,let ,,,,,,,,,,me,talk,to,him. ,,,,, ,,,,,Tom,hands,Carl,his,MEGAPHONE. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,,,(in,megaphone) ,,,,,,,,,,You,in,the,suit.,Yes,you.,,,Take,a ,,,,,,,,,,bath,hippy! ,,,,, ,,,,,Tom,grabs,the,megaphone. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. ,,,,, ,,,,, ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,,,(to,Boss,re,Carl) ,,,,,,,,,,I,am,not,with,him! ,,,,,,,,,,,,(to,Carl) ,,,,,,,,,,This,is,serious.,He's,out,to,get ,,,,,,,,,,your,house! ,,,,, ,,,,,Carl,walks,to,his,front,door. ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,Tell,your,boss,he,can,have,our,house. ,,,,, ,,,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,Really? ,,,,, ,,,,,,,,,,,,,,,CARL ,,,,,,,,,,When,I'm,dead! ,,,,,Carl,SLAMS,the,door. ,,,,,,,,,,,,,,,CONSTRUCTION,FOREMAN,TOM ,,,,,,,,,,I'll,take,that,as,a,maybe! ,,,,, ,,,,,INT.,CARL'S,LIVING,ROOM,-,DAY,-,LATER ,,,,, ,,,,,Carl,sits,in,his,chair,watching,TV. ,,,,, ,,,,,A,KNOCK,at,the,door. ,,,,, ,,,,,EXT.,CARL'S,HOUSE,PORCH,-,DAY ,,,,, ,,,,,The,door,opens. ,,,,,A,Wilderness,Explorer,stands,reading,from,a,Wilderness ,,,,,Explorer,Manual.,He,is,in,uniform,complete,with,sash, ,,,,,neckerchief,hat,and,an,enormous,backpack,stuffed,with,every ,,,,,piece,of,equipment,there,is.,This,is,RUSSELL,age,8. ,,,,,Russell,nose,buried,in,his,MANUAL,reads,to,Carl. ,,,,,,,,,,,,,,,RUSSELL ,,,,,,,,,,"Goo

41

Wall-E

Andrew Stanton,Pete Docter

Animation,Adventure,Comedy,Drama,Family,Romance,Sci-Fi

June_2008

EXT.,SPACE ,,,,, ,,,,,FADE,IN: ,,,,, ,,,,,Stars. ,,,,,The,upbeat,show,tune,Put,On,Your,Sunday,Clothes,plays. ,,,,, ,,,,,"Out,there,there's,a,world,outside,of,Yonkers..." ,,,,, ,,,,,More,stars. ,,,,,Distant,galaxies,constellations,nebulas... ,,,,,A,single,planet. ,,,,,Drab,and,brown. ,,,,,Moving,towards,it. ,,,,,Pushing,through,its,polluted,atmosphere. ,,,,, ,,,,,"...Close,your,eyes,and,see,it,glisten..." ,,,,, ,,,,, ,,,,,EXT.,PLANET'S,SURFACE,-,CONTINUOUS ,,,,, ,,,,,A,range,of,mountains,takes,form,in,the,haze. ,,,,,Moving,closer. ,,,,,The,mountains,are,piles,of,TRASH. ,,,,,The,entire,surface,is,nothing,but,waste. ,,,,, ,,,,,"...We're,gonna,find,adventure,in,the,evening,air..." ,,,,, ,,,,,A,silhouetted,city,in,the,distance. ,,,,,What,looks,like,skyscrapers,turns,into,trash. ,,,,,Thousands,of,neatly,stacked,CUBES,OF,TRASH,stories,high. ,,,,,Rows,and,rows,of,stacked,cubes,like,city,avenues. ,,,,,They,go,on,for,miles. ,,,,, ,,,,, ,,,,,EXT.,AVENUE,OF,TRASH ,,,,, ,,,,,"...Beneath,your,parasol,the,world,is,all,a,smile..." ,,,,, ,,,,,Something,moving,on,the,ground,far,below. ,,,,,A,figure,at,the,foot,of,a,trash,heap. ,,,,,A,SMALL,SERVICE,ROBOT,diligently,cubing,trash. ,,,,,Rusted,ancient. ,,,,,Cute. ,,,,,Every,inch,of,him,engineered,for,trash,compacting. ,,,,, ,,,,,Mini-shovel,hands,collect,junk. ,,,,,Scoop,it,into,his,open,chassis. ,,,,,His,front,plate,closes,slowly,compressing,waste. ,,,,,A,faded,label,on,his,corroded,chest,plate: ,,,,,"Waste,Allocation,Loader,-,Earth,Class",(WALL-E) ,,,,, ,,,,,Wall-E,spits,out,a,cube,of,trash. ,,,,,Stacks,it,with,the,others. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. ,,,,, ,,,,, ,,,,,Something,catches,his,eye. ,,,,,Tugs,on,a,piece,of,metal,stuck,in,the,stack. ,,,,,A,hubcap. ,,,,,The,sun,reflects,off,it. ,,,,,Wall-E,checks,the,sky. ,,,,, ,,,,,ON,TRASH,HEAP,HORIZON ,,,,, ,,,,,The,sun,sets,through,the,smoggy,haze. ,,,,, ,,,,,"...And,we,won't,come,back,until,we've,kissed,a,girl,--" ,,,,, ,,,,,He,places,the,hubcap,in,his,compactor. ,,,,,Presses,a,button,on,his,chest. ,,,,,The,song,stops,playing. ,,,,,The,end,of,a,work,day. ,,,,, ,,,,,Wall-E,attaches,a,lunch,cooler,to,his,back. ,,,,,Whistles,for,his,pet,COCKROACH. ,,,,,The,insect,hops,on,his,shoulder. ,,,,,They,motor,down,from,the,top,of,a,GIANT,TRASH,TOWER. ,,,,, ,,,,, ,,,,,EXT.,AVENUES,OF,TRASH,-,DUSK ,,,,, ,,,,,Wall-E,travels,alone. ,,,,,Traverses,miles,of,desolate,waste. ,,,,,Oblivious,to,roving,storms,of,toxic,weather. ,,,,, ,,,,,Passes,haunting,structures,buried,within,the,trash. ,,,,,Buildings,highways,entire,cities... ,,,,,Everything,branded,with,the,SAME,COMPANY,LOGO. ,,,,,"Buy,N,Large" ,,,,,"BNL",stores,restaurants,banks...transportation! ,,,,,The,corporation,ran,every,aspect,of,life. ,,,,,There's,even,a,BNL,LOGO,on,Wall-E's,chest,plate. ,,,,, ,,,,,CLOSE,ON,NEWSPAPER,Wall-E,drives,over. ,,,,,Headline:,"TOO,MUCH,TRASH!!,Earth,Covered!!" ,,,,,The,deck:,"BNL,CEO,Declares,Global,Emergency!" ,,,,,A,photo,of,the,BNL,CEO,giving,a,weak,smile. ,,,,, ,,,,,Wall-E's,old,treads,are,threadbare. ,,,,,Practically,falling,apart. ,,,,,Cause,a,bumpy,ride,for,his,cockroach. ,,,,,He,passes,the,remains,of,other,RUSTED,WALL-E,UNITS. ,,,,,Fancies,one,with,NEWER,TREADS,than,his,own... ,,,,, ,,,,, ,,,,,EXT.,DESERTED,STREET,-,MOMENTS,LATER ,,,,, ,,,,,Wall-E,now,sports,the,newer,treads. ,,,,,Rolls,past,a,SERIES,OF,HOLOGRAPHIC,BILLBOARDS. ,,,,,The,solar-powered,ads,still,activate,when,he,passes,them. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,BILLBOARD,ANNOUNCER,(V.O.) ,,,,,,,,,,,,,,,,(Ad,#1:,BNL,logo,over,trash) ,,,,,,,,,,,,Too,much,garbage,in,your,face? ,,,,,,,,,,,,,,,,(Ad,#2:,starliner,in,space) ,,,,,,,,,,,,There's,plenty,of,space,out,in,space! ,,,,,,,,,,,,,,,,(Ad,#3:,starliners,take,off ,,,,,,,,,,,,,,,,from,Earth) ,,,,,,,,,,,,BNL,starliners,leaving,each,day. ,,,,,,,,,,,,,,,,(Ad,#4:,WALL-E,units,wave ,,,,,,,,,,,,,,,,goodbye) ,,,,,,,,,,,,We'll,clean,up,the,mess,while,you're ,,,,,,,,,,,,away. ,,,,, ,,,,, ,,,,,EXT.,EDGE,OF,THE,CITY ,,,,, ,,,,,Wall-E,drives,down,a,deserted,overpass. ,,,,,Activates,an,even,LARGER,HOLOGRAPHIC,BILLBOARD. ,,,,, ,,,,,CLOSE,ON,BILLBOARD,AD ,,,,, ,,,,,Shows,off,a,CITY-SIZED,LUXURY,STARLINER. ,,,,,Depicts,passengers,enjoying,all,its,amenities. ,,,,, ,,,,,,,,,,,,,,,,,,,BILLBOARD,ANNOUNCER,(V.O.) ,,,,,,,,,,,,The,jewel,of,the,BNL,fleet:,"The,Axiom". ,,,,,,,,,,,,Spend,your,five,year,cruise,in,style. ,,,,,,,,,,,,Waited,on,24,hours,a,day,by,our,fully ,,,,,,,,,,,,automated,crew,while,your,Captain,and ,,,,,,,,,,,,Autopilot,chart,a,course,for,non-stop ,,,,,,,,,,,,entertainment,fine,dining.,And,with,our ,,,,,,,,,,,,all-access,hover,chairs,even,Grandma,can ,,,,,,,,,,,,join,the,fun!,There's,no,need,to,walk! ,,,,,,,,,,,,"The,Axiom".,Putting,the,"star",in ,,,,,,,,,,,,Executive,Starliner. ,,,,, ,,,,,The,BNL,CEO,appears,at,the,end. ,,,,,Waves,goodbye,as,the,Axiom,takes,off. ,,,,, ,,,,,,,,,,,,,,,,,,,BUY,N,LARGE,CEO ,,,,,,,,,,,,Because,at,BNL,space,is,the,final,"fun"- ,,,,,,,,,,,,tier. ,,,,, ,,,,,The,holographic,billboard,powers,off. ,,,,,Reveals,the,AXIOM'S,DESERTED,LAUNCHPAD,in,the,distance. ,,,,,The,mammoth,structure,sits,across,the,bay. ,,,,,Now,empty,and,dry.,A,polluted,dead,valley. ,,,,, ,,,,,ON,COLLAPSED,BRIDGE,RAMP ,,,,, ,,,,,Near,its,edge,rests,a,WALL-E,UNIT,TRANSPORT,TRUCK. ,,,,,A,giant,child's,Tonka,Truck,left,to,weather,the,elements. ,,,,,A,"Buy,N,Large",logo,on,its,side. ,,,,,Wall-E,approaches,the,rear,of,the,truck. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,, ,,,,, ,,,,,Pulls,on,a,lever. ,,,,,The,back,lowers. ,,,,,Wall-E,motors,up,the,ramp. ,,,,, ,,,,, ,,,,,INT.,TRUCK,-,CONTINUOUS ,,,,, ,,,,,Open,racks,for,storing,WALL-Es,line,both,walls. ,,,,,KNICKKNACKS,OF,FOUND,JUNK,littered,everywhere. ,,,,,The,tired,robot,removes,his,newfound,treads. ,,,,,Ahh...,Home. ,,,,, ,,,,,Wall-E,motors,down,the,center,aisle. ,,,,,Flicks,on,an,ancient,BETAMAX,PLAYER. ,,,,,Jury-rigged,to,an,iPod. ,,,,,Pushes,in,a,cassette,labeled,"Hello,Dolly!" ,,,,,The,image,is,very,poor,quality. ,,,,,Actors,sing,and,dance,to,Put,On,Your,Sunday,Clothes,(POYSC). ,,,,,The,same,song,Wall-E,worked,to. ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,[Hums,POYSC] ,,,,, ,,,,,Wall-E,opens,his,cooler. ,,,,,Newfound,knickknacks. ,,,,,Pulls,out,the,hubcap,from,his,chest. ,,,,,Looks,back,at,the,TV. ,,,,,Mimics,the,dancers,on,the,screen. ,,,,,Pretends,the,hubcap,is,a,hat. ,,,,, ,,,,,Continues,to,unpack: ,,,,,A,spork. ,,,,,A,Rubik's,Cube,(unsolved). ,,,,,A,Zippo,Lighter. ,,,,, ,,,,,He,presses,a,BUTTON,by,the,rack,of,shelves. ,,,,,They,rotate,until,an,empty,space,appears. ,,,,,His,new,items,are,lovingly,added,to,the,shelf. ,,,,,The,Zippo,joins,a,pre-existing,LIGHTER,COLLECTION. ,,,,, ,,,,,A,new,song,It,Only,Takes,A,Moment,plays,on,the,video. ,,,,,Wall-E,is,drawn,to,it. ,,,,,Presses,his,"Record",button. ,,,,, ,,,,,ON,TV,SCREEN ,,,,, ,,,,,Two,lovers,sing,gently,to,one,another. ,,,,,They,kiss...hold,hands... ,,,,, ,,,,,Wall-E,tilts,his,head,as,he,watches. ,,,,,Curious. ,,,,,Holds,his,own,hands. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,, ,,,,, ,,,,, ,,,,, ,,,,,EXT.,TRUCK,-,NIGHT ,,,,, ,,,,,Wall-E,motors,outside. ,,,,,Turns,over,his,Igloo,cooler,to,clean,it,out. ,,,,,Pauses,to,take,in,the,night,sky. ,,,,,STARS,struggle,to,be,seen,through,the,polluted,haze. ,,,,,Wall-E,presses,the,"Play",button,on,his,chest. ,,,,,The,newly,sampled,It,Only,Takes,A,Moment,(IOTAM),plays. ,,,,, ,,,,,The,wind,picks,up. ,,,,,A,WARNING,LIGHT,sounds,on,Wall-E's,chest. ,,,,,He,looks,out,into,the,night. ,,,,,A,RAGING,SANDSTORM,approaches,off,the,bay... ,,,,, ,,,,,Unfazed,Wall-E,heads,back,in,the,truck. ,,,,,IOTAM,still,gently,playing. ,,,,, ,,,,,...The,massive,wave,of,sand,roars,closer... ,,,,, ,,,,,Wall-E,raises,the,door. ,,,,,Pauses. ,,,,,WHISTLES,for,his,cockroach,to,come,inside. ,,,,,The,door,shuts,just,as,the,storm,hits. ,,,,,Obliterates,everything,in,view. ,,,,, ,,,,, ,,,,,INT.,TRUCK,-,SAME ,,,,, ,,,,,Wall-E,alone,in,the,center,of,his,shelter. ,,,,,Unwraps,a,BNL,SPONGECAKE,(think,Twinkie). ,,,,,Lays,it,out,for,the,cockroach,to,sleep,in. ,,,,,It,happily,dives,in. ,,,,, ,,,,,Wall-E,collapses,himself,into,a,storable,cube. ,,,,,Backs,into,an,empty,shelf,space. ,,,,,Rocks,it,like,a,cradle... ,,,,,...and,shuts,down,for,the,night. ,,,,,Outside,the,wind,howls,like,the,Hounds,of,Hell. ,,,,, ,,,,, ,,,,,INT.,WALL-E'S,TRUCK,-,NEXT,MORNING ,,,,, ,,,,,Wall-E's,CHARGE,METER,flashes,"WARNING". ,,,,,He,wakes.,Unboxes. ,,,,,Groggy,and,lifeless. ,,,,,Stumbles,outside. ,,,,, ,,,,, ,,,,,EXT.,ROOF,OF,WALL-E'S,TRUCK ,,,,, ,,,,,The,morning,sun. ,,,,,Wall-E,fully,exposed,in,its,light. ,,,,,His,front,panel,splayed,out,like,a,tanning,shield. ,,,,,A,solar,collector. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,, ,,,,, ,,,,, ,,,,,His,CHARGE,METER,chimes,full. ,,,,,Solar,panels,fold,away,into,hiding. ,,,,,Wall-E,now,awake,collects,his,lunch,cooler. ,,,,,Heads,off,to,work. ,,,,,...and,accidentally,runs,over,the,cockroach. ,,,,,Horrified,Wall-E,reverses. ,,,,, ,,,,,Reveals,the,FLATTENED,INSECT,under,his,tread. ,,,,,The,cockroach,simply,pops,back,to,life. ,,,,,No,biggie.,Ready,to,go. ,,,,,Relieved,Wall-E,resumes,their,commute. ,,,,, ,,,,, ,,,,,EXT.,WALL-E'S,WORK,SITE,-,THAT,MORNING ,,,,, ,,,,,A,SERIES,OF,"WALL-E,AT,WORK",MOMENTS: ,,,,, ,,,,,-,CU,of,Wall-E's,hands,digging,into,garbage. ,,,,,,CU,of,trash,being,scooped,into,his,chest,compactor. ,,,,,,A,cube,lands,by,the,cockroach. ,,,,, ,,,,,-,Wall-E,discovers,a,BRA,in,the,garbage. ,,,,,,Unsure,what,it's,for. ,,,,,,Tries,placing,it,over,his,eyes,like,glasses. ,,,,,,Tosses,it,in,his,cooler. ,,,,, ,,,,,-,Wall-E,finds,a,set,of,CAR,KEYS. ,,,,,,Presses,the,remote,lock. ,,,,,,Somewhere,in,the,distance,a,CAR,ALARM,CHIRPS. ,,,,, ,,,,,-,Plays,with,a,paddle,ball. ,,,,,,The,ball,keeps,smacking,him,in,the,face. ,,,,,,He,doesn't,like,it. ,,,,, ,,,,,-,Wall-E,discovers,a,DIAMOND,RING,in,a,JEWEL,CASE. ,,,,,,Throws,out,the,ring.,Keeps,the,case. ,,,,,,The,jewel,case,drops,into,the,cooler,then... ,,,,,,...A,RUBBER,DUCKY... ,,,,,,...A,BOBBLE,HEAD,DOLL... ,,,,,,...An,OLD,BOOT... ,,,,,,...A,TROPHY... ,,,,, ,,,,,-,Wall-E,finds,a,FIRE,EXTINGUISHER. ,,,,,,Activates,it. ,,,,,,FOAM,blasts,in,his,face. ,,,,,,It's,tossed,far,far,away,from,his,cooler. ,,,,, ,,,,,-,Wall-E's,shovel,hand,strikes,something,solid. ,,,,,,Faces,a,REFRIGERATOR,much,larger,than,himself. ,,,,,,Now,what? ,,,,, ,,,,,-,CU,on,fridge,door. ,,,,,,A,WELDING,BEAM,moves,down,its,center. ,,,,,,It,emits,from,between,Wall-E's,SPLIT,BINOCULAR,EYES. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,, ,,,,, ,,,,,,The,door,falls,apart,in,two,pieces.,Reveals... ,,,,, ,,,,,...a,SMALL,PLANT ,,,,, ,,,,,in,its,early,stage,of,growth. ,,,,,Wall-E,is,entranced. ,,,,,Carefully,he,extracts,the,section,of,earth,around,it. ,,,,, ,,,,,CLOSE,ON,IGLOO,COOLER ,,,,, ,,,,,Wall-E,gently,places,the,plant,inside,the,old,boot. ,,,,,Dusts,dirt,off,the,leaves. ,,,,, ,,,,, ,,,,,EXT.,TRUCK,-,DUSK ,,,,, ,,,,,Robot,and,faithful,cockroach,return,home. ,,,,,Wall-E,stops,short,of,the,threshold. ,,,,,Stares,at,the,ground. ,,,,,Continues,staring. ,,,,, ,,,,,A,RED,DOT ,,,,, ,,,,,quivers,on,the,dirt. ,,,,,A,single,laser,point,of,light. ,,,,,Wall-E,moves,to,touch,it... ,,,,, ,,,,,...The,dot,races,along,the,ground. ,,,,, ,,,,,Wall-E,drops,his,Igloo. ,,,,,Chases,after,the,dot. ,,,,, ,,,,, ,,,,,EXT.,EMPTY,BAY ,,,,, ,,,,,The,dot,leads,Wall-E,deep,into,the,polluted,expanse. ,,,,,He,is,so,fixated,on,it,he,doesn't,notice ,,,,, ,,,,,MANY,LASER,POINTS ,,,,, ,,,,,coming,from,every,direction. ,,,,,All,racing,into,the,valley,over,the,contour,of,the,terrain. ,,,,,Triangulating,towards,a,center. ,,,,, ,,,,,Wall-E's,dot,suddenly,stops. ,,,,,Slowly,he,reaches,for,it. ,,,,,Can't,grab,it.,Just,light. ,,,,,ALL,THE,DOTS,converge,in,front,of,him. ,,,,,The,ground,shakes. ,,,,,Wall-E,becomes,confused. ,,,,, ,,,,,Doesn't,see,above,him. ,,,,,The,SUN,growing,brighter,behind,the,cloud,cover. ,,,,,A,noise.,Building. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. ,,,,, ,,,,, ,,,,,Rocket,engines. ,,,,,Wall-E,senses,he,should,look,to,the,sky. ,,,,, ,,,,,Now,THREE,SUNS,are,descending,on,him. ,,,,, ,,,,,Wall-E,runs,for,it. ,,,,,An,enormous,COLUMN,OF,FIRE,blocks,his,path. ,,,,,A,second,column,of,fire. ,,,,,A,third. ,,,,,Trapped. ,,,,, ,,,,,Wall-E,cubes,the,ground,beneath,him. ,,,,,Working,fast. ,,,,,Noise,deafening. ,,,,,Heat,rising. ,,,,,Digs,in,just,as,a,tide,of,flame,carpets,the,ground... ,,,,, ,,,,,...Then,suddenly,quiet. ,,,,,Smoke,clears. ,,,,, ,,,,,CLOSE,ON,THE,SCORCHED,EARTH ,,,,, ,,,,,Wall-E's,head,rises,out,of,the,dirt. ,,,,,Glows,red,hot,from,the,heat. ,,,,,Trembles,with,fright. ,,,,,Everything,in,shadow. ,,,,,Something,very,big,looms,over,him. ,,,,,Wall-E,climbs,out,of,his,hole. ,,,,,Bangs,his,head,on,metal. ,,,,, ,,,,,WIDE,on,a,massive,SPACESHIP. ,,,,,Rests,ominously,in,the,empty,bay. ,,,,, ,,,,,A,PORTAL,on,its,underside,opens. ,,,,,Frightened,Wall-E,tries,to,hide. ,,,,,Nowhere,to,go. ,,,,,He,places,a,SMALL,ROCK,on,his,head.,Boxes,up. ,,,,, ,,,,,A,DEVICE,lowers,to,the,ground,on,a,long,stem. ,,,,,Scans,the,surface. ,,,,, ,,,,,Wall-E,creeps,closer,for,a,better,look. ,,,,,The,device,unfolds. ,,,,,Wall-E,boxes,up,again. ,,,,, ,,,,,A,CAPSULE,descends,from,a,chute,in,the,stem. ,,,,,ROBOT,ARMS,emerge,from,the,device. ,,,,,Place,the,capsule,on,the,ground.,Press,buttons. ,,,,,The,capsule,falls,away,in,sections,to,reveal... ,,,,, ,,,,,...a,PROBE,ROBOT. ,,,,, ,,,,,It,hovers,gracefully,above,the,ground. ,,,,,White.,Egg-shaped. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. ,,,,, ,,,,, ,,,,,Blue-lit,eyes. ,,,,,Female. ,,,,,Eve. ,,,,, ,,,,,Wall-E,is,transfixed. ,,,,,Inches,closer. ,,,,,Watches,Eve,from,behind,the,device. ,,,,,Tilts,his,head. ,,,,,Time,stops. ,,,,,She's,the,most,beautiful,thing,he's,ever,seen. ,,,,, ,,,,,Eve,hovers,over,the,ground. ,,,,,A,BLUE,RAY,emits,from,her,front,panel. ,,,,,Fans,out,180,degrees. ,,,,,Scans,random,objects,and,areas. ,,,,, ,,,,,The,device,rises,back,into,the,ship. ,,,,,Exposes,Wall-E. ,,,,,He,rushes,for,cover,behind,the,nearest,rock. ,,,,,Never,takes,his,eyes,off,Eve. ,,,,,Watches,her,float,away,from,the,ship. ,,,,,...from,the,ship? ,,,,,The,ship! ,,,,, ,,,,,Engines,roar,back,to,life. ,,,,,Wall-E,digging,furiously. ,,,,,The,rocket,takes,off. ,,,,, ,,,,,Smoke,clears. ,,,,,Again,a,red,hot,Wall-E,peeks,out,from,the,ground. ,,,,,Looks,for,Eve. ,,,,,She,is,watching,the,ship,rise,into,the,clouds. ,,,,,Waits,until,it,is,completely,out,of,sight... ,,,,, ,,,,,...then,Eve,rises,high,up,into,the,air. ,,,,, ,,,,,She,flies,around,the,bay. ,,,,,Soars,like,a,graceful,bird. ,,,,,Does,loops,in,the,sky. ,,,,,Zooms,right,past,Wall-E's,rock. ,,,,,He,is,hypnotized. ,,,,, ,,,,,Eve,descends,gently,to,the,ground... ,,,,,Wall-E,sneaks,up,closer. ,,,,,Hides,behind,another,boulder. ,,,,,Slips. ,,,,,Makes,a,NOISE. ,,,,,Instantly,Eve,whips,around. ,,,,,Her,arm,converts,into,a,LASER,CANNON. ,,,,,Blasts,Wall-E's,boulder,to,smithereens. ,,,,, ,,,,,...Smoke,clears...All,quiet. ,,,,, ,,,,,Eve,now,cold,and,dangerous. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. ,,,,, ,,,,, ,,,,,Scans,the,area. ,,,,,No,sign,of,life. ,,,,,All,business,again. ,,,,,Hovers,away,to,probe,more,of,the,planet. ,,,,, ,,,,,ON,OTHER,SIDE,OF,BOULDER,CRATER ,,,,, ,,,,,Wall-E,boxed,up,behind,what,little,remains,of,the,rock. ,,,,,Trembles,uncontrollably. ,,,,, ,,,,, ,,,,,EXT.,AVENUE,OF,TRASH,-,DAY ,,,,, ,,,,,Eve,wanders,through,the,pillars,of,cubed,trash. ,,,,,Scans,random,areas. ,,,,,Wall-E,spies,from,the,shadows. ,,,,,Too,frightened,to,approach. ,,,,,She,moves,on.,He,follows. ,,,,, ,,,,, ,,,,,EXT.,TIRE,DUMP,-,DAY ,,,,, ,,,,,Eve,probes,a,mound,of,tires. ,,,,,Wall-E,hiding,nearby. ,,,,,He,flinches,at,the,sight,of ,,,,, ,,,,,HIS,COCKROACH ,,,,, ,,,,,innocently,approaching,Eve,from,behind. ,,,,,She,spins,around. ,,,,,Blasts,the,insect. ,,,,,Wall-E,is,gut-punched. ,,,,, ,,,,,The,cockroach,climbs,out,of,the,smoking,crater. ,,,,,Unscathed.,Still,curious. ,,,,, ,,,,,Eve,finds,the,insect,intriguing. ,,,,,Lowers,her,arm. ,,,,,The,end,separates,into,individual,hovering,sections... ,,,,, ,,,,,...A,HAND. ,,,,, ,,,,,She,lets,the,insect,crawl,up,her,arm. ,,,,,Wiggles,into,her,workings. ,,,,,It,tickles. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,[Giggles] ,,,,, ,,,,,Wall-E,relaxes. ,,,,,CHUCKLES,privately. ,,,,, ,,,,,Eve,sonically,picks,up,Wall-E's,location. ,,,,,Locks,onto,him. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,, ,,,,, ,,,,,Arm,converts,to,laser,cannon. ,,,,,Fires,rapidly. ,,,,,Quick,glimpses,of,Wall-E,dodging,the,blasts. ,,,,,Trash,piles,are,systematically,obliterated,around,him. ,,,,, ,,,,,Wall-E,now,exposed. ,,,,,Nowhere,to,hide. ,,,,,Boxes,himself,up.,Shakes,uncontrollably. ,,,,,Eve,holds,her,fire. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(electronic,hums) ,,,,,,,,,,,,[Identify,yourself.] ,,,,, ,,,,,She,slowly,approaches,Wall-E's,box. ,,,,,Keeps,her,gun,trained,on,him. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(electronic,hums) ,,,,,,,,,,,,[Repeat.,Identify,yourself.] ,,,,, ,,,,,Wall-E,peeks,out,from,his,box. ,,,,,Doesn't,understand,a,thing,she,says. ,,,,,Doesn't,care. ,,,,,Can't,believe,she's,real. ,,,,,The,cockroach,climbs,down,her,gun,arm. ,,,,,Jumps,onto,his,master. ,,,,, ,,,,,Eve,scans,Wall-E. ,,,,,A,RED,LIGHT,appears,on,her,chest. ,,,,,Buzzes,"negative". ,,,,,He's,not,what,she's,looking,for. ,,,,,She,retracts,her,gun,arm. ,,,,,Hovers,off. ,,,,,Wall-E,watches,her,go.,Lovestruck. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,[Sigh.] ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,, ,,,,,INT.,ABANDONED,BNL,SUPERSTORE,-,NEXT,DAY ,,,,, ,,,,,LOUIS,ARMSTRONG'S,"LA,VIE,EN,ROSE",PLAYS ,,,,, ,,,,,Eve,scans,through,the,market. ,,,,,Wall-E,follows,from,a,safe,distance. ,,,,,A,stray,puppy-dog. ,,,,, ,,,,,Eve,glances,over,at,him. ,,,,,Wall-E,panics. ,,,,,Bumps,into,a,RACK,OF,SHOPPING,CARTS. ,,,,,Creates,an,avalanche. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,, ,,,,, ,,,,,They,chase,him,down,a,flight,of,stairs. ,,,,,Wall-E,reaches,the,exit,doors. ,,,,,Won't,open! ,,,,,Carts,pig,pile,on,top,of,him. ,,,,, ,,,,, ,,,,,EXT.,BNL,REFINERY,-,NIGHT ,,,,, ,,,,,Wall-E,perched,on,the,roof. ,,,,,Patiently,watches,Eve,fly. ,,,,,She,scans,the,ground,below,her,like,a,searchlight. ,,,,, ,,,,,Eve,comes,in,for,a,landing,below. ,,,,,Shuts,down,for,the,night. ,,,,,Wall-E,waits. ,,,,,Quietly,sneaks,down,the,refinery,fire,escape. ,,,,,Accidentally,trips.,Tumbles,to,the,ground. ,,,,,Eve,doesn't,wake. ,,,,,Wall-E,creeps,up,to,her. ,,,,,Opens,his,arms,wide... ,,,,,...and,measures,her. ,,,,,Turns,to,a,pile,of,trash. ,,,,,Splits,open,his,eyes.,Begins,welding,something... ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: ,,,,, ,,,,, ,,,,,EXT.,BNL,REFINERY,-,NEXT,MORNING ,,,,, ,,,,,Eve,powers,up,again. ,,,,,Does,a,double,take. ,,,,,A,TRASH,SCULPTURE,OF,EVE,stands,in,front,of,her. ,,,,,She,hovers,away,unimpressed. ,,,,,Doesn't,notice,Wall-E,hiding,behind,a,PILE,OF,PIPES. ,,,,,Wall-E,kicks,the,pipes,in,frustration. ,,,,,They,roll,on,top,of,him. ,,,,, ,,,,,SONG,ENDS ,,,,, ,,,,,MONTAGE,OF,EVE,SEARCHING ,,,,, ,,,,,-,Scans,a,car,engine. ,,,,,,Negative. ,,,,,,Slams,the,hood,shut. ,,,,, ,,,,,-,Scans,a,Port-A-Potty. ,,,,,,Negative. ,,,,,,Slams,the,door,shut. ,,,,, ,,,,,-,Scans,an,Apollo,capsule. ,,,,,,Negative. ,,,,,,Slams,the,hatch,shut. ,,,,, ,,,,,-,Scans,a,FREIGHTER,HOLD. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,, ,,,,, ,,,,,,Negative. ,,,,,,Slams,the,lid,shut. ,,,,, ,,,,, ,,,,,EXT.,DERELICT,SHIPYARD,-,DUSK ,,,,, ,,,,,Eve,hovers,over,the,freighter. ,,,,,Frustrated. ,,,,,Not,finding,what,she's,looking,for. ,,,,,Wall-E,eavesdrops,from,afar. ,,,,, ,,,,,Eve,flies,past,the,ship's,CRANE,MAGNET. ,,,,,Gets,stuck. ,,,,,Wrestles,to,free,herself. ,,,,,Furious,she,BLOWS,UP,THE,ENTIRE,SHIP. ,,,,,The,reaction,startles,Wall-E. ,,,,, ,,,,,Eve,slumps,down,against,a,dredged,anchor. ,,,,,She,gives,up. ,,,,,Concerned,Wall-E,cautiously,approaches. ,,,,,Sits,at,the,other,end,of,the,anchor. ,,,,,Both,robots,stare,silently,at,the,fiery,wreck. ,,,,,Then... ,,,,,...slowly,very,slowly,Wall-E,inches,towards,her. ,,,,,Musters,the,courage,to,speak,when,-- ,,,,,She,suddenly,turns,to,him: ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(hums) ,,,,,,,,,,,,[So,what's,your,story?] ,,,,, ,,,,,Wall-E,falls,backwards,with,surprise. ,,,,,Me? ,,,,,Eve,scrolls,through,a,variety,of,languages: ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(German) ,,,,,,,,,,,,[Directive?] ,,,,,,,,,,,,,,,,(Japanese) ,,,,,,,,,,,,[Directive?] ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,[Huh?] ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(Swahili) ,,,,,,,,,,,,[Directive?] ,,,,,,,,,,,,,,,,(English) ,,,,,,,,,,,,Directive? ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[Oh,I,understand,that!] ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Directive? ,,,,, ,,,,,Wall-E,eagerly,turns,to,some,nearby,trash. ,,,,,Scoops,it,into,his,compactor. ,,,,,Proudly,spits,out,a,cube. ,,,,,Points,to,Eve. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(struggles,to,speak) ,,,,,,,,,,,,Di...rec...t-- ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Directive? ,,,,, ,,,,,Wall-E,nods. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Classified. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[Oh.,Sorry.] ,,,,, ,,,,,She,scans,his,CHEST,LOGO. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Name? ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(struggles,again) ,,,,,,,,,,,,W-wally?,...Wall-E. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(smooth;,almost,perfect) ,,,,,,,,,,,,Wwww-aaaa-leee... ,,,,, ,,,,,Wall-E,nearly,melts. ,,,,,She,says,his,name,so,beautifully. ,,,,,Moves,closer. ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Wall-E. ,,,,,,,,,,,,,,,,,(giggles) ,,,,,,,,,,,,Eve. ,,,,, ,,,,,Wall-E,tries,to,repeat,it: ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eeee...? ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,,(slower) ,,,,,,,,,,,,Eve. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eeeaaah? ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Eeeve.,Eeeve. ,,,,, ,,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eee--vah! ,,,,, ,,,,,She,giggles,again. ,,,,,Wall-E,likes,making,her,giggle. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Eee-vah!,Ee,-- ,,,,, ,,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Eve. ,,,,, ,,,,,The,wind,kicks,up. ,,,,,The,WARNING,LIGHT,sounds,on,Wall-E's,chest. ,,,,,He,moves,to,grab,her. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,(Gasp!),Eee-vah! ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,,,,,(hums) ,,,,,,,,,,,,[Hey,watch,it!,Don't,come,any,closer!] ,,,,, ,,,,,She,draws,her,gun,on,him. ,,,,,Doesn't,understand,the,danger. ,,,,,The,sandstorm,rushes,up,behind,her. ,,,,,Too,late. ,,,,,Wall-E,collapses,into,a,box. ,,,,,The,storm,hits,full,force. ,,,,,Eve,is,instantly,lost,disoriented. ,,,,, ,,,,,,,,,,,,,,,,,,,EVE ,,,,,,,,,,,,Wall-E?,Wall-E? ,,,,, ,,,,,WALL-E'S,HAND,appears,out,of,the,dust. ,,,,,Calmly,takes,Eve's,hand. ,,,,, ,,,,, ,,,,,INT.,TRUCK,-,MOMENTS,LATER ,,,,, ,,,,,The,back,door,lowers. ,,,,,A,rush,of,wind,and,sand. ,,,,,Wall-E,pulls,Eve,inside.,Closes,the,door. ,,,,,She,coughs,up,dust. ,,,,, ,,,,,Wall-E,hits,a,switch... ,,,,,Strings,of,CHRISTMAS,LIGHTS,fill,the,space. ,,,,,His,racks,of,oddities,painted,in,colored,light. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. ,,,,, ,,,,, ,,,,,An,air,of,enchantment. ,,,,,Eve,is,taken,aback. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[Come,on,in.] ,,,,, ,,,,,She,drifts,through,the,sea,of,knickknacks. ,,,,,Becomes,spooked,by,a,SINGING,BILLY,BASS,FISH. ,,,,,Threatens,to,shoot,it,but,Wall-E,calms,her,down. ,,,,,He,is,compelled,to,show,her,everything. ,,,,,Hands,her,an,eggbeater... ,,,,,...bubble,wrap,(so,infectious,to,pop)... ,,,,,...a,lightbulb,(lights,when,she,holds,it)... ,,,,,...the,Rubik's,Cube,(she,solves,it,immediately)... ,,,,,...his,Hello,Dolly,tape. ,,,,,Curious,she,begins,unspooling,the,tape. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(loud,beeps) ,,,,,,,,,,,,[My,tape!!] ,,,,, ,,,,,He,grabs,it,back.,Protective. ,,,,,Inserts,it,carefully,into,the,VCR.,Please,still,work. ,,,,,The,movie,eventually,appears,on,the,TV. ,,,,,Plays,a,clip,of,POYSC. ,,,,,Wall-E,is,relieved. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[What,do,you,think?] ,,,,, ,,,,,Mimics,the,dancing,for,Eve. ,,,,,Encourages,her,to,try. ,,,,,She,clumsily,hops,up,and,down. ,,,,,Makes,dents,in,the,floor.,Rattles,everything. ,,,,,Wall-E,politely,stops,her. ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[How,`bout,we,try,a,different,move?] ,,,,, ,,,,,Spins,in,a,circle.,Arms,out. ,,,,,Eve,copies. ,,,,,Spins,faster,and,faster... ,,,,,Too,fast. ,,,,,Accidentally,strikes,Wall-E.,He,flies,into,the,shelves. ,,,,, ,,,,,Eve,helps,him,up,from,the,mess. ,,,,,Wall-E's,LEFT,BINOCULAR,EYE,falls,off. ,,,,,Dangles,from,two,wires. ,,,,,Eve,GASPS,with,concern. ,,,,,Wall-E,placates,her. ,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. ,,,,, ,,,,, ,,,,, ,,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,,,,,(beeps) ,,,,,,,,,,,,[It's,fine.] ,,,,, ,,,,,Feels,his,way,to,the,rack,of,shelves. ,,,,,Rotates,them,until... ,,,,,...SPARE,WALL-E,PARTS,appear. ,,,,,Replaces,his,broken,eye,with,a,new,one. ,,,,,Eve,is,relieved. ,,,,, ,,,,,She,eyes,his,LIGHTER,COLLECTION. ,,,,,Flicks,open,a,Zippo.,Ignites,a,FLAME. ,,,,,Wall-E,freezes. ,,,,,He,had,no,idea,it,could,do,that. ,,,,,Moves,closer,to,inspect,it... ,,,,, ,,,,,ON,WALL-E ,,,,, ,,,,,It's,the,closest,he's,ever,been,to,Eve. ,,,,,She,remains,focused,on,the,lighter. ,,,,,Wall-E,stares,up,at,her. ,,,,,...The,tiny,flame,flickering,between,them... ,,,,,...The,Hello,Dolly,video,plays,IOTAM,in,the,background... ,,,,,Suddenly,he,is,moved,to,express,his,love. ,,,,,Musters,the,courage,to,open,his,fingers... ,,,,,...Timidly,reaches,his,hand,out,to,hers... ,,,,, ,,,,,--,Eve,turns,and,looks,at,him. ,,,,, ,,,,,Wall-E,instantly,chokes. ,,,,,Pulls,his,hand,back. ,,,,,Eve,becomes,intrigued,with,the,TV. ,,,,,Scans,the,image,of,the,lovers,singing,IOTAM... ,,,,,Wall-E,watches,her. ,,,,,His,infatuation,still,palpable. ,,,,,Then,he,remembers... ,,,,, ,,,,,,,,,,,,,,,,,,WALL-E ,,,,,,,,,,,,Ee-vah! ,,,,, ,,,,,He,rushes,to,his,shelves. ,,,,,Eve,watches,him,rummage,through,junk. ,,,,,A,drum,falls,down,on,his,head. ,,,,,She,giggles,charme

42

Zootopia

Jared Bush,Phil Johnston

Animation,Adventure,Comedy

March_2016

Story,by ,,,,,,,,,,,,,,,,,,,,,,,,,,,Byron,Howard,Rich,Moore, ,,,,,,,,,,,,,,,,,,,Jared,Bush,Jim,Reardon,Josie,Trinidad, ,,,,,,,,,,,,,,,,,,,,,,,,Phil,Johnston,and,Jennifer,Lee ,,IN,BLACK,-- ,,We,hear,the,feral,primeval,sounds,of,a,jungle,at,night.,A ,,timpani,bangs,an,ominous,beat. ,,FADE,IN,ON: ,,A,JUNGLE,-,NIGHT ,,A,BUNNY,nervously,walks,through,the,dark,foreboding,forest, ,,frightened,by,every,shadow,and,moving,leaf. ,,,,,,,,,,YOUNG,JUDY,(V.O.) ,,,,,Fear.,Treachery.,Bloodlust! ,,,,,Thousands,of,years,ago,these,were ,,,,,the,forces,that,ruled,our,world.,A ,,,,,world,where,prey,were,scared,of ,,,,,predators.,And,predators,had,an ,,,,,uncontrollable,biological,urge,to ,,,,,maim,and,maul,and... ,,The,timpani,crescendos.,A,JAGUAR,leaps,out,of,the,shadows, ,,attacks,the,bunny,who,screams-- ,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,INSIDE,A,BARN,-,A,JUNGLE,(SET),-,NIGHT ,,The,action,continues--,as,imagined,by,an,amateur,stage ,,production. ,,,,,,,,,,YOUNG,JUDY ,,,,,Blood,blood,blood! ,,Reams,of,red,papier,m?ch?,entrails,ooze,from,the,bunny.,And ,,when,those,run,out--,projectile,ketchup. ,,Reveal:,These,are,ANIMAL,KID,ACTORS.,The,bunny,JUDY,HOPPS, ,,10,is,our,hero.,And,this,is,her,play,being,staged.,A,banner ,,reads:,CARROT,DAYS,TALENT,SHOW! ,,,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,And,death. ,,The,CROWD,looks,on,confused.,The,music,goes,discordant,as ,,BOBBY,CATMULL,a,bobcat,bangs,a,drum. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,Back,then,the,world,was,divided,in ,,,,,two.,Vicious,predator,or,Meek,prey. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,2. TWO,BOXES,drop,down,labeled,VICIOUS,PREDATOR,and,MEEK,PREY. The,PREDATOR,box,lands,on,the,jaguar.,The,MEEK,PREY,box,lands on,Judy.,Her,entrails,get,stuck,outside,the,box.,She,drags them,underneath,with,her. ,,,,,,,,,,YOUNG,JUDY,(O.S.),(CONT'D) ,,,,,But,over,time,we,evolved,and ,,,,,moved,beyond,our,primitive,savage ,,,,,ways. A,YOUNG,SHEEP,wearing,a,white,muumuu,and,a,cardboard,rainbow on,his,head,does,an,improvisational,dance,across,the,stage. Judy,and,the,jaguar,burst,out,of,their,boxes,now,wearing white,muumuus,too. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,Now,predator,and,prey,live,in ,,,,,harmony. Judy,and,the,jaguar,shake,hands,as,the,sheep,throws,glitter. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,And,every,young,mammal,has ,,,,,multitudinous,opportunities. ,,,,,,,,,,ASTRONAUT,SHEEP ,,,,,Yeah,I,don't,have,to,cower,in,a ,,,,,herd,anymore. The,Jaguar,rips,off,his,muumuu.,She's,wearing,a,homemade astronaut,costume. ,,,,,,,,,,ASTRONAUT,SHEEP,(CONT'D) ,,,,,Instead,I,can,be,an,astronaut. Catmull,plays,a,slide,whistle. ,,,,,,,,,,ACTUARY,JAGUAR ,,,,,I,don't,have,to,be,a,lonely,hunter ,,,,,any,more. The,Jaguar,rips,off,his,muumuu.,He's,dressed,in,a,suit. ,,,,,,,,,,ACTUARY ,,,,,Today,I,can,hunt,for,tax ,,,,,exemptions.,I'm,gonna,be,an ,,,,,actuary! ,,,,,,,,,,YOUNG,JUDY ,,,,,And,I,can,make,the,world,a,better ,,,,,place!,I,am,going,to,be... Catmull,plays,a,70s-style,cop,show,theme,on,the,boom,box. Judy,rips,off,her,muumuu,revealing,a,POLICE,OFFICER,UNIFORM. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,A,police,officer! Judy's,parents,BONNIE,&,STU,look,stunned.,A,mean,fox,kid, GIDEON,GREY,snickers.,He's,sitting,next,to,a,WEASEL,KID. ,,,,,,,,,,GIDEON,GREY ,,,,,Bunny,cop.,That,is,the,most ,,,,,stupidest,thing,I,ever,heard. ,,,,,,,,,,YOUNG,JUDY ,,,,,It,may,seem,impossible,to,small ,,,,,minds-- ,,,,,,,(points,at,Gideon) ,,,,,I'm,looking,at,you,Gideon,Grey. Catmull,drops,down,a,backdrop,showing,a,bright,city,skyline. He,hits,play,on,an,uplifting,song. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,But,just,211,miles,away,stands,the ,,,,,great,city,of,Zootopia!,Where,our ,,,,,ancestors,first,joined,together,in ,,,,,peace,and,declared,that,anyone,can ,,,,,be,anything!,Thank,you,and,good ,,,,,night! Judy,gives,a,mighty,thespian,bow,to,the,sound,of,Catmull,on organ.,The,audience,applauds.,Judy's,parents,look,concerned. EXT.,CARROT,DAYS,FESTIVAL,-,LATER,THAT,DAY A,festival,replete,with,food,booths,games,and,rides--,all aggressively,carrot-themed.,Judy,in,her,Cop,Costume,bounces along,with,her,folks.,We,catch,their,conversation,mid-stream. ,,,,,,,,,,STU,HOPPS ,,,,,Judy,you,ever,wonder,how,your,mom ,,,,,and,me,got,to,be,so,darn,happy? ,,,,,,,,,,YOUNG,JUDY ,,,,,Nope. ,,,,,,,,,,STU,HOPPS ,,,,,Well,we,gave,up,on,our,dreams,and ,,,,,we,settled,right,Bon? ,,,,,,,,,,BONNIE,HOPPS ,,,,,Oh,yes,that's,right,Stu.,We ,,,,,settled,hard. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4. ,,,,,,,,,,STU,HOPPS ,,,,,See,that's,the,beauty,of ,,,,,complacency,Jude.,If,you,don't,try ,,,,,anything,new,you'll,never,fail. ,,,,,,,,,,YOUNG,JUDY ,,,,,I,like,trying,actually. ,,,,,,,,,,BONNIE,HOPPS ,,,,,What,your,father,means,hon,is ,,,,,it's,gonna,be,difficult-- ,,,,,impossible,even--,for,you,to,become ,,,,,a,police,officer. ,,,,,,,,,,STU,HOPPS ,,,,,Right.,There's,never,been,a,bunny ,,,,,cop. ,,,,,,,,,,BONNIE,HOPPS ,,,,,No. ,,,,,,,,,,STU,HOPPS ,,,,,Bunnies,don't,do,that. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Never. ,,,,,,,,,,STU,HOPPS ,,,,,Never. ,,,,,,,,,,YOUNG,JUDY ,,,,,Oh.,Then,I,guess,I'll,have,to,be ,,,,,the,first,one.,Because,I,am,gonna ,,,,,make,the,world... ,,,,,,,(parkours,against,a ,,,,,,,,vendor's,stand) ,,,,,A,better,place! ,,,,,,,,,,STU,HOPPS ,,,,,OR...,um,heck,you,wanna,talk ,,,,,about,making,the,world,a,better ,,,,,place-- The,trio,arrives,at,the,Hopps,Family,Farm,carrot,booth,which is,manned,by,too,many,children,to,count. ,,,,,,,,,,STU,HOPPS,(CONT'D) ,,,,,--no,better,way,to,do,it,than ,,,,,becoming,a,carrot,farmer. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Yes!,Your,dad,me,your,275 ,,,,,brothers,and,sisters--,we're ,,,,,changing,the,world. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,5. ,,,,,,,,,,STU,HOPPS ,,,,,Yep. ,,,,,,,,,,BONNIE,HOPPS ,,,,,One,carrot,at,a,time... ,,,,,,,,,,STU,HOPPS ,,,,,Amen,to,that.,Carrot,farming,is,a ,,,,,noble,profession. Judy,spots,GIDEON,GREY,stalking,some,SMALL,ANIMALS.,She remains,fixed,on,Gideon,as,Stu,and,Bonnie,yap,on,obliviously. ,,,,,,,,,,BONNIE,HOPPS,(O.S.) ,,,,,Mmm,hmm.,Just,putting,the,seeds,in ,,,,,the,ground. ,,,,,,,,,,STU,HOPPS,(O.S.) ,,,,,Ahh,at,one,with,the,soil. We're,back,on,Bonnie,and,Stu's,conversation,now. ,,,,,,,,,,BONNIE,HOPPS ,,,,,You,get,it.,I,mean,it's,great,to ,,,,,have,dreams. ,,,,,,,,,,STU,HOPPS ,,,,,Yeah,just,as,long,as,you,don't ,,,,,believe,in,em,too,much. ,,,,,,,(finally,noticing,Judy's ,,,,,,,,absence) ,,,,,Where,in,the,heck'd,she,go? ACROSS,THE,FAIR...,From,behind,a,tree,Judy,watches,as,Gideon Grey,intimidates,the,astronaut,sheep,SHARLA. ,,,,,,,,,,GIDEON,GREY ,,,,,Gimme,your,tickets,right,now,or ,,,,,I'm,gonna,kick,your,meek,little ,,,,,sheep,butt. ,,,,,,,,,,SHARLA ,,,,,Ow!,Cut,it,out,Gideon! ,,,,,,,,,,GIDEON,GREY ,,,,,Baa-baa.,What're,ya,gonna,do,cry? Gideon,swipes,Sharla's,fair,tickets. ,,,,,,,,,,YOUNG,JUDY,(O.S.) ,,,,,Hey! Judy,charges,toward,the,danger. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,6. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,You,heard,her.,Cut,it,out. Gideon,turns.,There's,Judy,projecting,the,image,of,a,tiny Clint,Eastwood. ,,,,,,,,,,GIDEON,GREY ,,,,,Nice,costume,loser.,What,crazy ,,,,,world,are,you,living,in,where,you ,,,,,think,a,bunny,could,be,a,cop? ,,,,,,,,,,YOUNG,JUDY ,,,,,Kindly,return,my,friends',tickets. Gideon,pats,the,tickets,in,his,pocket. ,,,,,,,,,,GIDEON,GREY ,,,,,Come,and,get,`em....,But,watch,out, ,,,,,`cause,I'm,a,fox--,and,like,you ,,,,,said,in,your,dumb,little,stage ,,,,,play,us,predators,used,to,eat ,,,,,prey.,And,that,killer,instinct's ,,,,,still,in,our,Dunnahh. ,,,,,,,,,,TRAVIS,THE,WOLF,HENCHMAN,KID ,,,,,,,(sotto,to,Gideon) ,,,,,Uh,I'm,pretty,much,sure,it's ,,,,,pronounced,D-N-A. ,,,,,,,,,,GIDEON,GREY ,,,,,Don't,tell,me,what,I,know,Travis. ,,,,,,,,,,YOUNG,JUDY ,,,,,You,don't,scare,me,Gideon. Gideon,shoves,Judy.,Hard.,She,falls.,The,other,prey,animals flee,to,safety,behind,a,nearby,tree,leaving,her,to,face,the thugs,alone. ,,,,,,,,,,GIDEON,GREY ,,,,,You,scared,now? Judy,starts,to,tear,up.,Her,nose,starts,to,twitch. ,,,,,,,,,,TRAVIS,THE,WOLF,HENCHMAN,KID ,,,,,Lookit,her,nose,twitch.,She,is ,,,,,scared! ,,,,,,,,,,GIDEON,GREY ,,,,,Cry,little,baby,bunny.,Cry,cry,-- Suddenly--,BAM!,Judy,kicks,Gideon,in,the,face,with,her,hind legs.,He,stumbles,back,then,checks,his,lip,for,blood. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,7. ,,,,,,,,,,GIDEON,GREY,(CONT'D) ,,,,,Oh,you,don't,know,when,to,quit,do ,,,,,ya? He,unsheathes,his,claws,like,a,switchblade,then,slaps,her, drawing,blood,from,her,cheek.,She,cowers,as,do,her,scared friends,behind,the,tree. ,,,,,,,,,,GIDEON,GREY,(CONT'D) ,,,,,I,want,you,to,remember,this,moment-- ,,,,,the,next,time,you,think,you,will ,,,,,ever,be,anything,more,than,just,a ,,,,,stupid,carrot,farming,dumb,bunny. Gideon,and,his,pal,head,off,laughing,and,high-fiving.,The prey,animals,run,back,over,to,Judy,who,wipes,the,blood,from her,cheek.,She,fights,tears,defeated. ,,,,,,,,,,GARETH,THE,DOUBTING,SHEEP,BOY ,,,,,That,looks,bad. ,,,,,,,,,,SHARLA ,,,,,Are,you,okay,Judy? ,,,,,,,,,,YOUNG,JUDY ,,,,,Yeah...,Yeah,I'm,okay. Judy,smiles,and,then,whips,out,the,tickets,as,she,gets,up. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,Here,you,go. ,,,,,,,,,,SHARLA ,,,,,Wow!,You,got,our,tickets! ,,,,,,,,,,GARETH,THE,DOUBTING,SHEEP,BOY ,,,,,You're,awesome,Judy! ,,,,,,,,,,SHARLA ,,,,,Yeah!,That,Gideon,Grey,doesn't,know ,,,,,what,he's,talkin',`bout. ,,,,,,,,,,YOUNG,JUDY ,,,,,Well,he,was,right,about,one ,,,,,thing... Judy,picks,up,the,cop,hat,puts,it,on,her,head. ,,,,,,,,,,YOUNG,JUDY,(CONT'D) ,,,,,I,don't,know,when,to,quit. ,,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,8. EXT.,POLICE,ACADEMY,TRAINING,FACILITY,-,DAY Hopps,and,the,comparatively,huge,CADETS,sit,in,a,circle,as MAJOR,FRIEDKIN,an,intimidating,drill,instructor,lectures. ,,,,,,,,,,MAJOR,FRIEDKIN ,,,,,Listen,up,Cadets!,Zootopia,has,12 ,,,,,unique,ecosystems,within,its,city ,,,,,limits--,Tundra,Town,Sahara ,,,,,Square,Rainforest,District,to ,,,,,name,a,few.,You're,gonna,have,to ,,,,,master,all,of,them,before,you,hit ,,,,,the,streets--,or,guess,what? ,,,,,,,(to,Hopps) ,,,,,You'll,be,dead! IN,SAHARA,SQUARE,SIMULATOR: Hopps,struggles,through,the,sand. ,,,,,,,,,,MAJOR,FRIEDKIN(CONT'D) ,,,,,Scorching,sandstorm.,You're,dead, ,,,,,bunny,bumpkin! ON,THE,VINE-COVERED,MONKEY,BARS: Hopps,swings,across,the,bars,simulating,the,RAINFOREST DISTRICT.,She,falls,off,landing,face,first,in,the,mud. ,,,,,,,,,,MAJOR,FRIEDKIN,(O.S.),(CONT'D) ,,,,,1000,foot,fall.,You're,dead,carrot ,,,,,face! TUNDRA,TOWN,ICE,WALL: Judy,and,the,cadets,sprint,toward,the,wall.,The,CLAWED ANIMALS,dig,into,the,ice,wall.,Hopps,slides,off. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,Frigid,ice,wall.,You're,dead,farm ,,,,,girl! IN,THE,BOXING,RING: Hopps,gets,in,the,ring,with,a,BIG,BISON. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,E-normous,criminal. Hopps,gets,punched,in,the,nose. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,You're,dead! ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,9. THREE,QUICK,CUTS,OF,FAILURE: ,,,,,,,,,,MAJOR,FRIEDKIN,(O.S.),(CONT'D) ,,,,,Dead!,/,Dead!,/,Dead! IN,THE,TOILET: Hopps,ruses,into,a,stall.,The,toilet,is,considerably,larger than,she,is.,She,shuts,the,door.,We,see,her,climb,up,the toilet.,In,the,next,stall,we,see,the,feet,of,a,Hippo. Then,KERSPLASH!,Hopps,falls,into,the,toilet. ,,,,,,,,,,MAJOR,FRIEDKIN,(CONT'D) ,,,,,Filthy,toilet.,You're,dead,fluff ,,,,,butt! HOPPS,ON,HER,OWN-- She,runs,at,sunset--,after,everyone,else,has,called,it,a,day. We,HEAR,the,drill,instructor's,voice,echoing,in,her,mind. ,,,,,,,,,,MAJOR,FRIEDKIN,(V.O.),(CONT'D) ,,,,,Just,quit,and,go,home,fuzzy,bunny! Then,those,of,her,parents... ,,,,,,,,,,STU,HOPPS,(V.O.) ,,,,,There's,never,been,a,bunny,cop. ,,,,,,,,,,,BONNIE,HOPPS,(V.O.) ,,,,,Never. ,,,,,,,,,,,STU,HOPPS,(V.O.) ,,,,,Never. Then,Gideon's... ,,,,,,,,,,GIDEON,GREY,(V.O.) ,,,,,Just,a,stupid,carrot,farming,dumb ,,,,,bunny. OVERNIGHT,IN,THE,BARRACKS: Hopps,stays,up,late,studying,doing,sit,ups. ON,THE,ICE,WALL: Hopps,bounds,up,the,wall,jumps,off,of,the,backs,of,the,big animals,and,makes,it,over,impressing,the,Major,Friedkin. IN,THE,RING: ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10. Hopps,dodges,a,few,swings.,The,Bison,misses.,Hopps,bounds over,him,and,uses,his,momentum--,kicking,his,other,hand,into his,face,knocking,him,down. ,,,,,,,,,,,,,,,,,,,,,,,,DISSOLVE,TO: EXT.,POLICE,ACADEMY,-,DAY It's,graduation,day.,MAYOR,LIONHEART,is,at,the,podium. ,,,,,,,,,,LIONHEART ,,,,,As,Mayor,of,Zootopia,I,am,proud,to ,,,,,announce,that,my,Mammal,Inclusion ,,,,,Initiative,has,produced,its,first ,,,,,police,academy,graduate. Judy,stands,proudly,in,her,cop,uniform. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,Valedictorian,of,her,class,ZPD's ,,,,,very,first,rabbit,officer...,Judy ,,,,,Hopps. Judy,walks,to,the,stage,as,those,in,attendance,cheer--,her FAMILY,chief,among,them.,ASSISTANT,MAYOR,BELLWETHER,applauds. She,smiles,at,Judy,lost,in,the,moment. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,,,(clearing,his,throat) ,,,,,Assistant,Mayor,Bellwether?,Her ,,,,,badge. ,,,,,,,,,,BELLWETHER ,,,,,Oh!,Yes,right. ,,,,,,,,,,,,LIONHEART ,,,,,Thank,you. Bellwether,steps,forward,to,pin,Hopps',ZPD,badge,on,her. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,Judy,it,is,my,great,privilege,to ,,,,,officially,assign,you,to,the,heart ,,,,,of,Zootopia:,Precinct,One,City ,,,,,Center. Judy,can,barely,contain,her,glee.,Her,parents,are,in,shock. ,,,,,,,,,,BELLWETHER ,,,,,Congratulations,Officer,Hopps. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,11. ,,,,,,,,,,JUDY ,,,,,I,won't,let,you,down.,This,has,been ,,,,,my,dream,since,I,was,a,kid. ,,,,,,,,,,BELLWETHER ,,,,,Ya,know,it's,a...,It's,a,real ,,,,,proud,day,for,us,little,guys. ,,,,,,,,,,LIONHEART ,,,,,Bellwether,make,room,will,ya?,Come ,,,,,on. Lionheart,shoves,Bellwether,out,of,the,way. ,,,,,,,,,,LIONHEART,(CONT'D) ,,,,,Okay,Officer,Hopps.,Let's,see ,,,,,those,teeth! A,group,of,PHOTOGRAPHERS,aim,their,cameras.,Lionheart,steps in,front,of,Bellwether,edging,her,out,of,the,photo.,The flashbulbs,pop. EXT.,BUNNYBURROW,TRAIN,STATION,-,DAY Stu,Bonnie,and,several,SIBLINGS,accompany,Judy,to,the,train station. ,,,,,,,,,,BONNIE,HOPPS ,,,,,We're,real,proud,of,you,Judy. ,,,,,,,,,,STU,HOPPS ,,,,,Yeah.,Scared,too. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Yes. ,,,,,,,,,,STU,HOPPS ,,,,,Really,it's,kind,of,a,proud-scared ,,,,,combo.,I,mean,Zootopia.,It's,so ,,,,,far,a,away...,It's,such,a,big,city. ,,,,,,,,,,JUDY ,,,,,Guys--,I've,been,working,for,this ,,,,,my,whole,life. ,,,,,,,,,,BONNIE,HOPPS ,,,,,We,know.,And,we're,just,a,little ,,,,,excited,for,you,but,terrified. ,,,,,,,,,,JUDY ,,,,,The,only,thing,we,have,to,fear,is ,,,,,fear,itself. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,12. ,,,,,,,,,,STU,HOPPS ,,,,,And,also,bears.,We,have,bears,to ,,,,,fear,too.,To,say,nothing,of,lions, ,,,,,and,wolves... ,,,,,,,,,,BONNIE,HOPPS ,,,,,Wolves? ,,,,,,,,,,STU,HOPPS ,,,,,...weasels... ,,,,,,,,,,BONNIE,HOPPS ,,,,,You,play,cribbage,with,a,weasel. ,,,,,,,,,,STU,HOPPS ,,,,,And,he,cheats,like,there's,no ,,,,,tomorrow.,You,know,what,pretty ,,,,,much,all,predators--,and,Zootopia's ,,,,,full,of,`em. ,,,,,,,,,,BONNIE,HOPPS ,,,,,,,(scolding) ,,,,,Oh,Stu. ,,,,,,,,,,STU,HOPPS ,,,,,And,foxes,are,the,worst. ,,,,,,,,,,BONNIE,HOPPS ,,,,,,,(retreating) ,,,,,Actually,your,father,does,have,a ,,,,,point,there.,It's,in,their,biology. ,,,,,Remember,what,happened,with,Gideon ,,,,,Grey. ,,,,,,,,,,JUDY ,,,,,When,I,was,9.,Gideon,Grey,was,a ,,,,,jerk,who,happened,to,be,a,fox.,I ,,,,,know,plenty,of,bunnies,who,are ,,,,,jerks. ,,,,,,,,,,STU,HOPPS ,,,,,Sure.,Yeah,we,all,do.,Absolutely. ,,,,,But,just,in,case,we,made,you,a ,,,,,little,care,package,to,take,with ,,,,,you. ,,,,,,,,,,BONNIE,HOPPS ,,,,,And,I,put,some,snacks,in,there. Stu,begins,pulling,a,bunch,of,PINK,FOX,DETERRENTS,from,a,bag. ,,,,,,,,,,STU,HOPPS ,,,,,This,is,fox,deterrent. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,13. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Yeah,that's,safe,to,have,there. ,,,,,,,,,,STU,HOPPS ,,,,,This,is,fox,repellent... ,,,,,,,,,,BONNIE,HOPPS ,,,,,Okay,the,deterrent,and,the ,,,,,repellent.,That's,all,she,needs. ,,,,,,,,,,STU,HOPPS ,,,,,Check,this,out! Stu,removes,a,Fox,Taser,fires,it,up.,It,sizzles. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Oh,for,goodness,sake.,She,has,no ,,,,,need,for,a,fox,taser,Stu. ,,,,,,,,,,STU,HOPPS ,,,,,Oh,c'mon.,When,is,there,not,a,need ,,,,,for,a,fox,taser? ,,,,,,,,,,JUDY ,,,,,Okay,look--,I,will,take,this,to ,,,,,make,you,stop,talking. Judy,grabs,the,pink,fox,repellent,from,the,bag,as,the,train pulls,up. ,,,,,,,,,,STU,HOPPS ,,,,,Terrific!,Everyone,wins! ,,,,,,,,,,TRAIN,CONDUCTOR ,,,,,Arriving--,Zootopia,Express! ,,,,,,,,,,JUDY ,,,,,OK.,Gotta,go.,Bye! Judy,heads,for,the,train,head,held,high.,No,turning,back. Stu,and,Bonnie,watch,both,holding,back,tears.,Suddenly,the emotion,catches,up,with,Judy.,She,turns,runs,back,to,her parents,hugs,them,tight. ,,,,,,,,,,JUDY,(CONT'D) ,,,,,I,love,you,guys. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Love,you,too! One,more,squeeze,then,Judy,runs,off,and,jumps,on,the,train. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,14. ,,,,,,,,,,STU,HOPPS ,,,,,Oh,cripes,here,come,the ,,,,,waterworks. ,,,,,,,,,,BONNIE,HOPPS ,,,,,Oh,Stu,pull,it,together. ,,,,,,,,,,JUDY ,,,,,Bye,everybody! ,,,,,,,,,,COTTON ,,,,,Bye,Judy!,I,love,you! ,,,,,,,,,,CROWD,OF,BUNNIES ,,,,,Bye! As,the,train,pulls,away,her,family,runs,next,to,it,waving. ,,,,,,,,,,JUDY ,,,,,Bye! Judy,looks,back,as,their,faces,recede,into,the,distance.,The train,blasts,past,Bunnyburrow,passing,its,exponentially increasing,population,sign. Judy,pulls,out,her,iPhone,and,clicks,play...,her,new,life,is about,to,begin,and,we ,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: A,MONTAGE,-- As,Hopps,takes,the,train,it,rounds,a,curve.,She,looks,up. Her,eyes,light,up.,There,in,the,distance,is... EXT.,ZOOTOPIA,CITY,-,ESTABLISHING ...THE,UNBELIEVABLE,ANIMAL,METROPOLIS,of,ZOOTOPIA,which,is comprised,of,amazing,habitat,"boroughs.",The,train,whips,past TUNDRATOWN,SAVANNA,CENTRAL,RAINFOREST,DISTRICT, MEADOWLANDS,SAHARA,SQUARE,etc. INT.,ZOOTOPIA,CENTRAL,STATION,-,A,LITTLE,LATER Hopps,spills,out,of,the,train...,and,we,are,now,in,a,MULTI- SCALE,ENVIRONMENT:,everything,from,mice,to,elephants. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,15. EXT.,DOWNTOWN,ZOOTOPIA,-,A,LITTLE,LATER Hopps,emerges,into,the,main,Zootopia,central,plaza.,It's,an amazing,magnificent,place. A,JUMBOTRON,featuring,a,gazelle,pop,star,GAZELLE,blares,its message,in,a,loop. ,,,,,,,,,,GAZELLE ,,,,,I,am,Gazelle.,Welcome,to,Zootopia! ,,,,,,,,,,,,,,,,,,,,,,,,,CUT,TO: INT.,HOPPS'S,APARTMENT,BUILDING,HALLWAY,-,DAY DHARMA,ARMADILLO,Hopps's,older,ARMADILLO,LANDLADY,opens,the door,to,Hopps',new,apartment--,which,we,can't,see,yet. ,,,,,,,,,,DHARMA,ARMADILLO ,,,,,And,welcome,to,the,Grand,Pangolin ,,,,,Arms.,"Luxury,Apartments,with ,,,,,Charm." Hopps,discovers,the,room,is,a,tiny,crappy,studio,apartment. ,,,,,,,,,,DHARMA,ARMADILLO,(CONT'D) ,,,,,Complimentary,de-lousing,once,a ,,,,,month. ,,,,,,,(handing,over,the,keys) ,,,,,Don't,lose,your,key. ,,,,,,,,,,,,HOPPS ,,,,,Thank,you! As,Dharma,leaves,Hopps',volatile,artsy,NEIGHBORS,KUDU,and ORYX,POOTOSSER,pass,by,in,the,hall. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,Oh,hi,I'm,Judy!,Your,new,neighbor! ,,,,,,,,,,KUDU,POOTOSSER ,,,,,Yeah?,Well,we're,loud. ,,,,,,,,,,ORYX,POOTOSSER ,,,,,Don't,expect,us,to,apologize,for ,,,,,it. Before,Hopps,can,respond,they're,gone,leaving,Hopps,alone. She,looks,around...,blank-faced,so,it's,tough,to,read,her emotions. ,,,,,,,,,,HOPPS ,,,,,Greasy,walls...,rickety,bed... ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,16. ,,,,,,,,,,,KUDU,POOTOSSER,(O.S.) ,,,,,Shut,up! ,,,,,,,,,,ORYX,POOTOSSER,(O.S.) ,,,,,You,shut,up! ,,,,,,,,,,KUDU,POOTOSSER,(O.S.) ,,,,,No!,You,shut,up! ,,,,,,,,,,,HOPPS ,,,,,Crazy,neighbors... ,,,,,,,(big,smile,as,she,flops,on ,,,,,,,,the,bed) ,,,,,I,love,it! As,the,shouting,continues,she,stretches,out,on,her,bed, exhausted,but,overjoyed. WAKE,UP,MONTAGE,-,MORNING Quick,rhythmic,cuts,of: -,Alarm,clock:,Beep.,Beep.,Beep. -,Dressing:,Vest.,Badge.,Belt. On,the,bedside,table,sits,the,PINK,FOX,REPELLENT.,Judy glances,at,it,and,smirks--,taking,it,would,be,silly--,she walks,out,of,frame.,HOLD,on,the,table.,One,second.,Then Judy's,hand,comes,back,into,frame,and,grabs,the,Repellent. INT.,ZOOTOPIA,POLICE,DEPARTMENT,-,MORNING Utter,mayhem.,COPS,parade,PERPS,through,the,lobby--,one,is wearing,cuffs,and,a,plastic,(not,scary),safety,muzzle,he complains,to,the,BEAR,COP,marching,him,by. ,,,,,,,,,,LEOPARD ,,,,,C'mon!,He,bared,his,teeth,first. We,land,at,the,front,desk,and,find,CLAWHAUSER,a,PUDGY CHEETAH,COP,happily,eating,a,bowl,of,Lucky,Chomps,cereal. ,,,,,,,,,,HOPPS,(O.C.) ,,,,,Scuse,me!,Down,here?,Hi. Clawhauser,leans,over,the,desk,to,find,Hopps. ,,,,,,,,,,CLAWHAUSER ,,,,,O-M,goodness!,They,really,did,hire ,,,,,a,bunny.,What?! ,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,17. ,,,,,,,,,,CLAWHAUSER,(CONT'D) ,,,,,I,gotta,tell,ya,you,are,even,cuter ,,,,,than,I,thought,you'd,be. ,,,,,,,,,,HOPPS ,,,,,,,(a,little,wince) ,,,,,Ooo,uh,you,probably,didn't,know, ,,,,,but,a,bunny,can,call,another,bunny ,,,,,"cute,",but,when,other,animals,do ,,,,,it,it's,a,little... ,,,,,,,,,,CLAWHAUSER ,,,,,,,(gasps,realizing) ,,,,,I,am,so,sorry.,Me,Benjamin ,,,,,Clawhauser,the,guy,everyone,thinks ,,,,,is,just,a,flabby,donut-loving,cop, ,,,,,stereotyping,you...? ,,,,,,,,,,HOPPS ,,,,,It's,okay--,oh,you've,actually ,,,,,you've,actually,got,a--,there's,a-- ,,,,,in,your,neck--,the,fold--,the-- ,,,,,there's-- Clawhauser,removes,a,small,donut,from,under,some,neck,fat. ,,,,,,,,,,CLAWHAUSER ,,,,,Oh,there,you,went,you,little ,,,,,dickens! He,crams,the,donut,into,his,mouth. ,,,,,,,,,,HOPPS ,,,,,,,(awkwardly,laughing) ,,,,,I,should,get,to,roll,call,so... ,,,,,which,way,do,I? ,,,,,,,,,,CLAWHAUSER ,,,,,Oh!,Bullpen's,over,there,to,the ,,,,,left. ,,,,,,,,,,HOPPS ,,,,,Great,thank,you! Clawhauser,watches,admiringly,as,she,heads,to,the,bullpen. ,,,,,,,,,,CLAWHAUSER ,,,,,,,(to,himself,wistful) ,,,,,Aw...,That,poor,little,bunny's ,,,,,gonna,get,eaten,alive. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,18. INT.,ZPD,-,BULLPEN,-,CONTINUOUS Hopps,enters,the,bullpen,by,far,the,smallest,animal,in,the room:,rhinos,buffalo,hippos,elephants,etc.,Hopps,holds her,paw,out,to,a,tough,RHINO,MCHORN. ,,,,,,,,,,HOPPS ,,,,,Hey.,Officer,Hopps.,You,ready,to ,,,,,make,the,world,a,better,place? McHorn,gives,Hopps,a,reluctant,fist,bump,nearly,knocking,her off,the,chair. ,,,,,,,,,,,OFFICER,HIGGINS,(O.S.) ,,,,,TEN,HUT! In,walks,CHIEF,BOGO,a,gruff,CAPE,BUFFALO.,He,takes,the,dais. Everyone,snaps,to,attention,and,starts,stomping,the,floor. ,,,,,,,,,,BOGO ,,,,,All,right,all,right.,Everybody ,,,,,sit. As,Hopps,sits,she,disappears,below,the,DESK,that,is,meant for,a,rhino. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,I've,got,three,items,on,the,docket. ,,,,,First...,we,need,to,acknowledge,the ,,,,,elephant,in,the,room. ,,,,,,,(nods,to,ELEPHANT) ,,,,,Francine,happy,birthday. An,elephant,FRANCINE,blushes,as,other,cops,clap. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,Number,two:,There,are,some,new ,,,,,recruits,with,us,I,should ,,,,,introduce.,But,I'm,not,going,to, ,,,,,because,I,don't,care.,Finally... He,turns,to,a,push,pin-pocked,MAP,that's,covered,in,photos,of MISSING,MAMMALS.,Hopps's,eyes,go,wide. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,...We,have,14,missing,mammal,cases. ,,,,,All,predators,from,a,giant,polar ,,,,,bear,to,a,teensy,little,otter.,And ,,,,,City,Hall,is,right,up,my,tail,to ,,,,,find,them.,This,is,priority,number ,,,,,one.,Assignments! HIGGINS,hands,Bogo,a,stack,of,CASE,FILES.,Bogo,puts,on,his reading,glasses,examining,the,files,as,he,assigns,cases. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,19. ,,,,,,,,,,BOGO,(CONT'D) ,,,,,Officers,Grizzoli,Fangmeyer, ,,,,,Delgato--,your,teams,take,Missing ,,,,,Mammals,from,the,Rainforest ,,,,,District.,Officers,McHorn, ,,,,,Rhinowitz,Wolfard,your,teams,take ,,,,,Sahara,Square.,Officers,Higgins, ,,,,,Snarlov,Trunkaby:,Tundratown.,And ,,,,,finally,our,first,bunny,Officer ,,,,,Hopps. Hopps,sits,up,expectant,but,steely.,Bogo,looks,at,the,final case,file,in,his,hand.,He,takes,a,dramatic,breath,then: ,,,,,,,,,,BOGO,(CONT'D) ,,,,,Parking,Duty.,Dismissed! ,,,,,,,,,,HOPPS ,,,,,Parking,duty? ,,,,,,,(runs,after,Bogo) ,,,,,Uh,Chief?,Chief,Bogo? Bogo,looks,around...,then,down,to,find,Hopps. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,Sir,you,said,there,were,14,missing ,,,,,mammal,cases? ,,,,,,,,,,BOGO ,,,,,So. ,,,,,,,,,,HOPPS ,,,,,So,I,can,handle,one.,You,probably ,,,,,forgot,but,I,was,top,of,my,class ,,,,,at,the,academy. ,,,,,,,,,,BOGO ,,,,,Didn't,forget.,Just,don't,care. ,,,,,,,,,,HOPPS ,,,,,Sir,I'm,not,just,some,"token" ,,,,,bunny. ,,,,,,,,,,BOGO ,,,,,Well,then,writing,a,hundred ,,,,,tickets,a,day,should,be,easy. He,goes,slamming,the,door,behind,him.,Judy,stomps,her,foot. ,,,,,,,,,,HOPPS ,,,,,100,tickets...?,I'm,not,gonna,write ,,,,,100,tickets...,I'm,gonna,write,200 ,,,,,tickets! ,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,20. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,,,(then,to,the,closed,door) ,,,,,Before,noon! INT.,/,EXT.,METER,MAID,CART,-,DAY Hopps,dons,a,vest,buckles,her,seat,belt,floors,the,pedal and...,takes,off,at,2,miles,an,hour.,Which,leads,to,a PARKING,METER,MONTAGE,-- Hopps,zooms,past,a,row,of,cars,marking,their,tires.,Cruising the,streets,her,super-sensitive,ears,hear,a,meter,ding.,She slams,her,brakes--,then,proudly,issues,Ticket,#1. Ding!,Another,meter,goes,off.,Then,another.,And,another. She's,on,a,roll.,She,looks,down,at,her,counter.,It's,at,200. ,,,,,,,,,,HOPPS ,,,,,Boom!,200,tickets,before,noon. A,final,ding...,Reveal:,her,own,traffic,cart,is,at,an,expired meter.,Hopps,rolls,her,eyes,and,writes,herself,a,ticket. ,,,,,,,,,,HOPPS,(CONT'D) ,,,,,201. As,Hopps,puts,the,ticket,on,her,windshield,she,hears,a,voice across,the,street: ,,,,,,,,,,TRUCK,DRIVER,(O.S.) ,,,,,Hey,watch,where,you're,going,Fox! Hopps,looks,across,the,street,to,see...,a,RED,FOX.,Hopps looks,at,him,a,little,suspicious. The,Fox,looks,around,then,slinks,into,a,caf?.,Hopps,runs across,the,street,and,peeks,in,the,window.,It's,an,ice,cream parlor,but...,the,FOX,IS,GONE. ,,,,,,,,,,HOPPS ,,,,,,,(sotto) ,,,,,Where'd,he,go... INT.,JUMBEAUX'S,CAFE,-,MOMENTS,LATER Elephants,scoop,ice,cream,with,their,trunks,suck,up,nuts with,their,trunks.,It's,cute,but,also,disgusting.,As,Hopps enters,she,spots,the,fox,NICK,WILDE,at,the,front,of,the line,and,overhears,the,proprietor,JERRY,addressing,him. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,21. ,,,,,,,,,,JERRY,JUMBEAUX,JR. ,,,,,Listen,I,don't,know,what,you're ,,,,,doing,skulking,around,during ,,,,,daylight,hours,but,I,don't,want ,,,,,any,trouble,in,here...,So,hit,the ,,,,,road. Hopps,unsnaps,the,holster,of,her,PINK,FOX,REPELLENT. ,,,,,,,,,,NICK ,,,,,I'm,not,looking,for,any,trouble ,,,,,either,sir.,I,simply,want,to,buy,a ,,,,,Jumbo,Pop,for,my,little,boy. Ready,for,action,slowly,creeping,forward,Hopps's,expression changes,when,she,sees,that,Nick,is,with,his,TODDLER,SON. ,,,,,,,,,,NICK,(CONT'D) ,,,,,,,(to,the,boy) ,,,,,You,want,the,red,or,the,blue,pal? Staring,at,the,cute,little,boy,Hopps,is,embarrassed,by,her impulse.,She,snaps,the,Repellent,holster,and,begins,to,leave. ,,,,,,,,,,HOPPS ,,,,,,,(disgusted,with,herself) ,,,,,I'm,such,a... ,,,,,,,,,,JERRY,JUMBEAUX,JR. ,,,,,Oh,come,on,kid.,Back,up.,Listen, ,,,,,buddy,what?,There,aren't,any,fox ,,,,,ice,cream,joints,in,your,part,of ,,,,,town? Hopps,suddenly,stops.,Her,ears,go,up,and,she,turns,around. ,,,,,,,,,,NICK ,,,,,Uh,no,no,there,are.,There,are. ,,,,,It's,just,my,boy-- ,,,,,,,(tousles,boy's,hair) ,,,,,--this,goofy,little,stinker--,he ,,,,,loves,all,things,elephant.,Wants,to ,,,,,be,one,when,he,grows,up. The,boy,gives,a,TOOT-TOOT,with,his,toy,elephant,trunk. ,,,,,,,,,,NICK,(CONT'D) ,,,,,Isn't,it,adorable?,Who,the,heck,am ,,,,,I,to,crush,his,little,dreams,huh? ,,,,,Right? ,,,,,,,,,,JERRY,JUMBEAUX,JR. ,,,,,Look,you,probably,can't,read,fox ,,,,,but,the,sign,says... ,,,,,,,,,,(MORE) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,22. ,,,,,,,,,,JERRY,JUMBEAUX,JR.,(CONT'D) ,,,,,,,(slowly,reads,SIGN, ,,,,,,,,belittling) ,,,,,WE,RESERVE,THE,RIGHT,TO,REFUSE ,,,,,SERVICE,TO,ANYONE.,So,beat,it. ,,,,,,,,,,ELEPHANT ,,,,,You're,holding,up

43

15 Minutes

John Hertzfield

Action,Crime,Thriller

null

FADE IN on the words CZECH AIRLINE. We are panning across the words on the side of the plane. INT. AIRPLANE ANGLE DOWN on a tray table. Crumpled Czech bills and coins are on it. Hands are counting the money. The airline hostess announces the arrival at JFK - in CZECH. A hand reaches into a breast pocket - pulling out two passports. One is opened. Belongs to EMIL SLOVAK. The next passport belongs to OLEG RAZGUL. The hand passes the Oleg Razgul passport to the man next to him. We notice several empty airline bottles of vodka and a small disposable camera on Oleg's tray table. The passport is set down. Oleg picks it up. We hear Emil's voice in CZECH. The scene is subtitled in ENGLISH. EMIL (V.O.) Just do what I do. Say the same thing I say. Don't open your mouth. OLEG (V.O.) Okay. INT. PASSPORT CONTROL - KENNEDY AIRPORT - DAY CAMERA DOLLIES down a long line of passengers. They are split into two lines - one for Americans, the other for visitors. CAMERA finally arrives at EMIL SLOVAK. An unshaven Czech in his mid-30's. Tall, scraggly beard. Piercing blue eyes. He's dressed in an outdated suit. His eyes are alert, cunning and smart. OLEG RAZGUL, stands in line behind Emil. Oleg is big. Not tall - but wide. A wrestler's body. Emil looks at Oleg. (The following is in CZECH and subtitled in ENGLISH.) EMIL Don't fool around. OLEG Okay. Oleg holds up his disposable camera - at arms length - to take a picture of himself. EMIL Did you hear what I said? OLEG I want to document my trip to America. IMMIGRATION OFFICER Next. (Emil steps up) Could I see your documents, please? EMIL Yes sir. He hands the passport to the officer who runs it through an image swipe. Emil glances furtively back to Oleg. IMMIGRATION OFFICER What is your intended purpose of your visit to the United States? EMIL Two weeks holiday. IMMIGRATION OFFICER How much money are you carrying with you? EMIL I have five-hundred dollars. IMMIGRATION OFFICER Can you show me? Sir, no cameras in the FIS area! Oleg was about to take a picture of Emil and the Immigration Officer. Oleg puts the camera away. Smiles sheepishly. IMMIGRATION OFFICER (CONT'D) (to Emil) Is he with you? Are you travelling together? EMIL Yes. IMMIGRATION OFFICER Please join us. (to Oleg) Come on forward. EMIL Is there a problem? IMMIGRATION OFFICER No, you're travelling together. I want to talk to you together. Hi, how are you? Can I take a look at your documents? (takes Oleg's passport) Are you related? OLEG Yes...he's my friend. IMMIGRATION OFFICER Okay. You're a Czech national and you're a Russian national. How do you know one another? Oleg starts to speak, but Emil cuts him off. EMIL We are both from Prague. IMMIGRATION OFFICER (to Oleg) How long are you planning to stay? EMIL Two weeks. IMMIGRATION OFFICER I'd like to speak for himself, okay? EMIL He doesn't speak English. OLEG I speak English. IMMIGRATION OFFICER (to Oleg) Then answer my questions. Where were you planning to stay during the two weeks that you're here? OLEG New York. IMMIGRATION OFFICER Yes, we're in New York now. But where are you planning to stay in New York? OLEG A cheap hotel. IMMIGRATION OFFICER What are you coming here to do? OLEG I'm here for movies. IMMIGRATION OFFICER Movies...to be in the movies or to see movies? OLEG Yes. No. Both. When I was a boy, I see movie at school called "It's a Wonderful Life" directed by Frank Capra. Ever since I want to come to America. Land of the free. Home of the brave. A land where anyone can be anything. As long as they are white. IMMIGRATION OFFICER Excuse me? EMIL He made joke, bad joke. First time on airplane... The SUPERVISOR comes over to see what the problem is: IMMIGRATION OFFICER Well, they've got valid visas, but they don't have much money. Uh... and I'm not...uh, I think there's a possibility they may be coming to live and reside. SUPERVISOR Look how long the line is. We gotta move 'em out. I'll take them down to secondary. Emil looks at Oleg, pissed. INT. P.B. HERMAN'S RESTAURANT - DAY The place is empty except for one table at the end of the bar. EDDIE FLEMMING, Manhattan's most famous detective, and his savvy, black partner, LEON JACKSON are having cocktails. Eddie is smoothly handsome, tough, smart and tired. Not only is he the best homicide detective Manhattan has ever seen, he's continually mentioned in New York columns and has been the subject of several magazine articles. There's even been a TV movie about one of his biggest cases. Leon has been with Eddie a long time and was also featured in the TV movie. Sitting with Eddie and Leon is ROBERT HAWKINS, host and star reporter for the tabloid show, "Top Story." Hawkins is also the best in the business and has dealt with them all: Joey Buttafuco and Amy Fisher, Lorena Bobbit and OJ. Wait staff bustles in the b.g. doing the morning set up. Hawkins listens as Eddie, cigar in hand, finishes a "war story" and a vodka tonic at the same time. EDDIE So we're waitin' to hit this warrant - we got Emergency Service with the heavy weapons standin' by - ready to go. I say, lemme get a cigar outta the car. I go to get the cigar and BOOM! All the sudden I turn around and a kid with a shotgun let one go. Right where I was standin'. That coulda been it. I coulda had my head blown off and for what? Some stupid kid got panicky, takes the safety off and it's over. If I hadn't gone back for that cigar - for a bad habit - I would've had my head blown off. HAWKINS Jesus Christ. PAULIE, the owner, walks up. PAULIE Speakin' of bad habits, everybody okay? HAWKINS Another martini. LEON Coffee for me, I gotta slow down. EDDIE Vodka tonic. LEON (rethinks it) Maybe you could just put in a shot of Martell? Paulie takes the drinks off the table and an empty bottle of vodka. LEON (CONT'D) (of Eddie's story) It was freaky, I'll tell you. Stupid kid. EDDIE What's the kid gonna say - sorry? Meanwhile I'm not here anymore. Like last week - we were at the morgue and this guy was all chopped up - spleen here - liver there - his heart in a pan. Six hours ago this guy was walkin' his dog or buyin' a quart of milk. Who knows? But some kid's robbed him for $3 or some shit and shot him and now you can't tell if he's a piece of beef or a human being and I'm thinkin' that's me. Sooner or later. That's me. HAWKINS Sooner or later that's everybody. EDDIE Not chopped up. Not chopped up like that. I mean, what do I got left? Coupla articles. A medal or two. Plaque here and there and in a coupla years no one remembers me anymore. HAWKINS I think you're getting a little moody there, Eddie. EDDIE I'm not moody. Hawkins and Leon share a look. HAWKINS Isn't he a little moody? LEON Of course he's moody. He thinks he's in love. HAWKINS In love? With who? Paulie delivers the drinks and sets some cigars on the table. Takes a seat next to Eddie. Eddie asks Hawkins. EDDIE How old are your kids? HAWKINS My kids? Let's see...Susan's 15. Aundrea's 9. Don't tell me you're thinking about having a kid! How old are you? Never mind. Let me just tell you this: Every stupid cliche you hear about kids - they change your life, they make you a better person, they make you whole... (beat) It's all true! Before I had kids when friends talked about their kids, I wanted to vomit. Now -- I get it. Am I right, Leon? LEON Absomotherfuckin'lutely. You can have all three of my ex-wives. But somebody so much as looks sideways at my four girls -- I'd kill 'em. (takes out his wallet) You haven't seen my youngest have you? As he hands pictures to Hawkins his cell phone rings. LEON (CONT'D) Yeah? HAWKINS Paulie, you've got kids, right? PAULIE My kids don't talk to me anymore but they were great when they were young. LEON (into the phone) Sure it's him? Great! (collapses the phone) Unique's home. They all rise from the table. EDDIE Paulie, I need the cure. PAULIE Step into my office. Leon and Hawkins sit back down as Eddie and Paulie leave. HAWKINS So you got your kids listening to Opera? You still singing in the church on the weekends? INT. SECONDARY IMMIGRATION OFFICE - DAY Now other officers are questioning Emil and Oleg. They've been there a while. The SECONDARY OFFICER is looking Oleg. SECONDARY OFFICER Okay. You work in a vodka factory. I understand that. (to Emil) And what kind of work do you do? EMIL I am butcher. SECONDARY OFFICER You're a butcher? What do you use pig intestines for? EMIL You stuff sausage in it. SECONDARY OFFICER And what do you do with the bones? EMIL Dog food. Emil looks at Oleg. Blaming his stupid responses at Passport Control for their detainment. SECONDARY OFFICER Are you married? EMIL No. Are you proposing? ANGLE UP through a thousand ICE CUBES. A face plunges towards us... INT. MENS ROOM Eddie has his back to us as he dunks his face into a sink full of ice. He dries his face, looks into his bloodshot eyes. Presents a small black ring box to the mirror. EDDIE Will you marry me? Wanna get married? What are you doin' Saturday? Leon enters. Eddie turns. EDDIE (CONT'D) I'm gonna propose. LEON When? EDDIE Tomorrow. At lunch. LEON You ready? Eddie leans back and drops some Visine in his eyes. Turns. EDDIE The thrill of the hunt. I love it. EXT. TIMES SQUARE - DAY Oleg and Emil stare at the bright lights - all the nonstop action. Each stands with an old suitcase. OLEG (in Russian) Look. Times Square. Just like in the movies! EMIL (in Czech) Don't speak Russian! OLEG (in Russian) Why? Why do I always have to speak to you in Czech? EMIL (in Czech) Because I don't like your ugly language. I heard enough of it in school! Now speak Czech or English. And don't fool around anymore. You almost got us thrown out! Emil pulls out an envelope with Milos' address on it. This is who they came to see. Emil hails a CAB. Oleg is staring inside a camera store - at himself on a monitor. A videocamera's pointed out in the street. OLEG Look. New videocameras. Color viewfinder. Image stabilization. Solarization. Night vision. EMIL We have no money. Come on. Oleg stares at the videocamera - dying to have one like this. Emil slides into the cab. CABBIE Where you wanna go, buddy? Emil pulls out the post-marked envelope. Points to the return address on it and passes it through the slot to the Cabbie. EMIL Here. Emil looks out the window - no sign of Oleg. Then, Oleg hurries out the camera store, gripping something inside his coat. He flings both suitcases in the trunk, SLAMS it shut and jumps in the back seat. He opens his jacket - pulling out the VIDEOCAMERA he just stole. EMIL (CONT'D) Go! Oleg smiles sheepishly at Emil. EXT. SPANISH HARLEM - DAY Eddie's car pulls up. Eddie, Leon and Hawkins get out. HAWKINS So what's unique? EDDIE Not what. Who. Eddie passes Hawkins a Polaroid - of a woman on a bed - covered in blood. EDDIE (CONT'D) He's from Antigua. His girlfriend was taking too long to put her make-up on. they were late for a party. Stabbed her with a beer bottle. HAWKINS That's unique. EDDIE Yeah. And he still went to the party. Leon moves to a LOOKOUT - gives him a twenty. LOOKOUT Top floor. Back room. EDDIE Yeah. I make big cases, they make the news and I look good. But the problem with becoming a star is downtown. They shoot at stars. Now be quiet. Shhh. As they reach the doorway - Eddie surprises two crackheads. Waves them off. They hurry away. EDDIE (CONT'D) I hope this prick doesn't run. My knees are killing me. Stay behind me. HAWKINS You're worried for my safety. I'm touched. Eddie flattens against the building - watches Unique descend the fire escape. HAWKINS (CONT'D) Ready? EDDIE Keep them out of my way. HAWKINS Okay. You ready? EDDIE Yeah, yeah. Jesus. Eddie closes in. HAWKINS (into his cell phone) COME ON! COME ON! YOU FUCKING GUYS, LET'S MOVE IT! Unique is climbing down the fire escape - before he gets to the bottom, Leon bursts through a door behind him and kicks the fire escape, sending Unique flying into the alley. Where he lands dropping his gun. Eddie pulls him off the ground as Leon scoops the gun up. EDDIE What's your rush? Going to a party? UNIQUE Why you chasin' me, man? EDDIE I don't know. You always come outta your house that way? UNIQUE It's not my house, man. I don't live here. EDDIE Well, sounds like burglary to me. Leon cuffs Unique who recognizes Eddie. UNIQUE I know you man. An unmarked van comes tearing into the scene. Disgorges a mini-cam team that starts filming but they missed the bust. HAWKINS (to Eddie) Any chance we can do that again? EDDIE Again? I didn't wanna do it the first time. EXT. EAST SIDE - LATE DAY The cab is in front of an old five-story brownstone. Oleg gets the bags out of the trunk as Emil tucks the envelope into his jacket, then steps up to the old building. He looks back at Oleg - who's VIDEOTAPING him. EMIL Turn that off! Get the bags. OLEG Why should I carry your bag? I am not a dog. EMIL For five years I paid for your stupidness - you'll carry my bag for the rest of my life if I say so. (challenging) Unless you refuse, Oleg. Oleg looks at Emil. Even though Oleg is stronger than Emil, he fears him. He picks up both bags. Emil searches the occupant list over the buzzers to the apartment building. EMIL (CONT'D) There. 5RW. Emil pushes ten of the buzzers except 5RW. A BUZZER clicks and Emil pushes it open. INT. MILOS' APARTMENT BUILDING - STAIRWELL - DAY The brownstone has no elevator so Emil and Oleg climb the stairs... Oleg cradling his camera. Emil notices a crack pipe on the floor and picks it up. Smells the bowl. OLEG What? EMIL Smell like chemicals...for smoking drugs. Emil pockets the pipe and climbs to the top floor, moving down the dirty hallway to a corner door. INT. MILOS' APARTMENT BUILDING - HALLWAY - DAY He KNOCKS...FOOTSTEPS approach. The door is opened by MILOS - a 40-year-old Czech, dressed in stained plumbers overalls. He is surprised to see Emil and Oleg in his doorway. Oleg films him... MILOS Emil???! EMIL Surprise! Surprise! Milos shoots a look across the tiny kitchen to TAMINA, his comely wife. INT. MILOS' APARTMENT - CONTINUOUS Emil pushes his way inside. Oleg follows. Milos wears plumbers overalls but Emil notices sports a Rolex. Tamina has on a faded dress but despite their cheaply furnished apartment she wears an expensive brushed gold necklace, bracelet and big pearl earrings. The room is furnished with kitsch from Disney World and Las Vegas. The only anomaly is a HUGE SONY TRINITRON HOME ENTERTAINMENT CENTER. (The following is in Czech and subtitled in English.) EMIL Your sister said she didn't know where you were so you shouldn't write to her with return address if you're hiding. MILOS Did you hurt her? EMIL You know me...I never hurt anybody. Where's the money? OLEG Hello, Tamina. Oleg is looking Tamina over. Milos - though scared - barks at Oleg. MILOS Take your eyes off her, Oleg! (to Emil) Look. It wasn't my fault you two were caught. (of Oleg) It's his fault. Trying to get the bank clerk's phone number?! I wasn't going to wait!!! EMIL Milos. Get my money! Oleg videotapes the scene. CLOSE ON AN AJAR DOOR All we see behind it is a WOMAN'S FACE and her wet hair - she obviously came from the shower and we see the towel wrapped around her. MILOS (nervously) We spent it! EMIL Ha. Ha. MILOS Look at the way we live. I'm a plumber. You think I'd be working if I had money?! Emil, pissed, moves to a wood block and pulls out a KITCHEN KNIFE. He grabs Tamina roughly, putting the blade to her throat. MILOS (CONT'D) Emil. Put down the knife. Milos looks at his wife - who is terrified. MILOS (CONT'D) Emil. I'll help you. Milos closes the gap between him and Emil - trying to calm him by talking softly. MILOS (CONT'D) I can get you a job. EMIL A job? MILOS Yes, the money is good. EMIL As a plumber?! MILOS It's easy to learn. EMIL A job?? As a plumber??? You think I come to America to work! MILOS We started over, you can too. EMIL (furious) You spent all the money while I was in prison? Now you tell me to get a job fixing toilets?!? Emil pulls the knife away from Tamina - then angrily PLUNGES it toward Milos' chest! Oleg videotapes it. Then lowers the camera - shocked that Emil killed Milos. Blood sprays Tamina's face. She tries to run but Oleg grabs her, not noticing her brushed gold bracelet falls to the floor. He covers her mouth as he points the videocamera at Emil who STABS Tamina - absolutely enraged! THE WOMAN BEHIND THE DOOR flees...Emil hears NOISE in the bedroom - a window opening. Emil kicks the bedroom door open. Sees the window leading to the fire escape. He dashes to it. Sees four flights down - the WOMAN, wearing a summer dress. Barefoot. Her hair still wet. She looks up. She is beautiful and terrified. She runs down the alley. EMIL (CONT'D) She saw! Emil hurries toward the bathroom. She just got out of the shower. Her underwear and purse are draped over a chair. Emil grabs the purse. Finds a CZECHOSLOVAKIAN PASSPORT. He opens the cover, stares at her photo and name. EMIL (CONT'D) Daphne Hanlova. There's one stamp in the passport - from the U.S. when she arrived - June 16, 1998. Underneath is written - 6 MONTH STAY. Emil flips through the rest of the passport - all blank pages. EMIL (CONT'D) Six month visa. Still here two years later. They'll deport her if she goes to Police. Emil pockets Daphne's passport and wallet, scoops up her shoes and jacket - enters the kitchen and dumps them on the floor. He tears through the kitchen cabinets, throwing cans and bottles aside. OLEG What are you looking for? Emil finds nail polish remover - looks at the bodies. EMIL I'm going to make a bohemian barbecue. Emil draws the kitchen curtains plunging the room into darkness. EXT. CENTRAL PARK - NIGHT A face comes from the darkness. It's an athletically handsome man, jogging out of a tunnel towards us. He's in a tie and jacket in Central Park at NIGHT. He is JORDAN (JORDY) WARSAW. A sensitive man of rugged honesty. He runs down the hill in a hurry. A MUGGER steps in his path. MUGGER Got any spare change? How 'bout a spare twenty? JORDY Look, I don't have time for you, get out of my way!! MUGGER Alright, how 'bout all your fuckin' money? The Mugger pulls a knife - and in a whirl of movement, Jordy grabs his wrist and disarms him in a deadly, professional manner - hurling him down to the pavement, twisting his arm behind his back. With his other hand, Jordy whips out a BROWNING 9MM from his shoulder holster and places it behind the mugger's head. Jordy displays his shield. JORDY Okay, you're under arrest! Now you happy? MUGGER Fire Department? Firemen don't carry guns. JORDY Oh yeah? Guess again. Jordy handcuffs the Mugger and searches the Mugger's coat pockets - pulling out a handful of driver's licenses and credit cards. JORDY (CONT'D) Nice - how many people you ripped off tonight?! Get up! As Jordy yanks the Mugger to his feet, his BEEPER goes off. JORDY (CONT'D) You couldn't listen to me, could you? Jordy drags the Mugger to a tree. Cuffs him so his face is pressed up against the bark. JORDY (CONT'D) I'll send a cop back for you. MUGGER Hey. C'mon, you can't leave me like this. Some freak'll come by and stab me! Jordy jogs off across the park. MUGGER (CONT'D) Wait! Come back!! EXT. MILOS' APARTMENT - NIGHT FIRE TRUCKS from three battalions. Radios CRACKLE. There's a crowd growing. Jordy pushes his way through. The top floor of the brownstone where Milos and Tamina lived has been reduced to smoking ruins. The trees are covered in debris and soot. Jordy moves to LOUIE - Battalion Chief. LOUIE Lieutenant - take up your line and relieve Ladder Company 60 on the top floor. JORDY Hey, Louie, were you first due? LOUIE Yeah, I radioed you guys right away 'cause you got two roasts on the top floor but you don't hafta investigate cause homicide is up there. JORDY Homicide? Who let them up? I didn't make it a crime scene yet. LOUIE Hey, it's Eddie Flemming. KORFIN (O.S.) Yo, Jordy! BOBBY KORFIN - an overweight arson investigator with a quick with and good sense of humor - comes over, pulling on a turnout coat. KORFIN (CONT'D) Where you been, man? We got a celebrity! JORDY I heard. Who the hell let them up there? KORFIN I don't know, you think Eddie will give me his autograph? JORDY You see anything in the crowd? Anybody suspicious? KORFIN Naw - I'm sure the suspect's not here. JORDY Oh yeah, why? KORFIN 'Cause Eddie woulda locked him up by now! INT. MILOS' APARTMENT - NIGHT The roof is gone. The sky is exposed. It's charred ruins, smoked beams and watery muck. Eddie and Leon are standing by what's left of the mattress, looking at Milos and Tamina's charred bodies. Eddie grips a half-smoked Cuban cigar, listening to Leon. LEON So, it looks to me - from the sixty-nine position - that they were doin' each other but were so whacked out of their heads they set the pipe on the mattress, lit it up, and they got fried. What do you think, Eddie? Jordy enters - with Korfin who's carrying a paint can. EDDIE I don't know. We got the experts here. Show them what you found - I hope you don't mind, we came over to see if we could help. Korfin makes a beeline for Eddie - wanting to meet the celebrity. KORFIN Nah, not at all. Detective Flemming - Bobby Korfin. My Uncle Tony worked with you at 2-1 back when you were a rookie. JORDY Could you put out the cigar? Part of the job is picking up scents. EDDIE Oh, sure. Eddie puts his cigar out. Carefully slides it into a cigar holder and pockets it to finish later. LEON Well, I found - check it out - crack pipe. Looks like they got careless. Leon displays the pipe Emil found on the stairs. Korfin shines the flashlight on Leon to look at the pipe. LEON (CONT'D) Mind not shining that light in my eyes? KORFIN Sorry, bro. JORDY Hey, that's great you guys got it all wrapped up, but you don't mind if we go through the routine? It gives us somethin' to do. EDDIE No, we don't mind. You mind Leon? LEON No. Go ahead. JORDY Thanks. Appreciate it. Jordy throws a look at Korfin. Homicide detectives have no respect for fire marshals' investigative skills. Eddie rummages through the apartment - moving into the kitchen and living room... Leon watches as Korfin sticks a pencil in a charred beam, measuring how deep in it goes. KORFIN Okay, Jordy - it was a fast fire, we got good patterns - about thirty minutes old. Jordy moves to one of the corpses. He pulls on a white rubber glove. Inserts his finger in the corpses mouth. The glove comes out white. JORDY Mouth's clean, too. KORFIN Clean? JORDY Don't blow your nose! Jordy's looking at Leon, who was just about to blow his nose. JORDY (CONT'D) The smoke'll permeate your nostrils - burn 'em out. Let it run. KORFIN But you knew that, right? Leon looks at Jordy, then lowers the handkerchief. Jordy turns back to the corpses on the bed. Eddie - in the other room - has found Tamina's brushed gold bracelet on the floor. JORDY So the way you see it, two crack heads burned themselves up? LEON That's what it looks like to me. JORDY And while they're burning up, they're still goin' down on each other? You got to hand it to them. LEON (realizes he's wrong - blows it off) Yeah, well, some people got their priorities straight. Leon watches Jordy, quietly. With a pair of tweezers, Jordy pulls a small unburned piece of cloth from behind one of the heads. Korfin supplies the paint can. Jordy drops the cloth inside. LEON (CONT'D) What was that? JORDY Evidence. Of a homicide. That got Eddie's attention and he comes back to the bedroom. JORDY (CONT'D) You know what that is, right? EDDIE No, what is it? JORDY Why don't you explain it, Bobby. (to a fireman joking a wall) Hey Camello! You mind punching a hole in the floor? CAMELLO No problem. (to Eddie and Leon) Excuse me, gentlemen. You might wanna back up a little more. Don't wanna get your pants wet. Leon and Eddie move to higher ground - on top of a burnt TV set. Eddie hands the brushed bracelet to Leon. As Camello hacks at the floor with an ax, Jordy continues to examine the bodies and Korfin explains: KORFIN They have not soot in their mouths, which means they weren't breathin' before the fire and that usually means they were deceased - and this piece of cloth that my partner found means they were wrapped up in something, probably doused with a flammable liquid and positioned like this on the bed. To the untrained eye, it looks like an accident. Jordy kicks around the draining floor, reaches down for something. LEON What's he looking for? EDDIE A timer. Jordy finds some wires attached to an outlet, pulls them up - on the other end is a timer. Korfin takes the timer from Jordy and moves to Eddie. KORFIN Here you go. A big double homicide. EXT. MILOS' APARTMENT BUILDING - NIGHT As Jordy and Korfin exit the brownstone, a CAMERA CREW is arriving. Jumps out. Korfin and Jordy cross toward Korfin's car. They open the trunk. Take off their muddy boots throwing them in. KORFIN You see Eddie's face when I gave him the timer? Wish I had a picture of it. JORDY He knew all along. KORFIN What?? JORDY That's why he was so quiet. He was testing us. Eddie and Leon exit - Eddie carrying a baggie with a timer inside. NICOLETTE KARAS, young and attractive, pushes her microphone at Eddie. She's smart, aggressive and respected by her peers. NICOLETTE Detective, does it look like a murder? EDDIE We don't know that yet. It's much too early. There's a lot to be done. NICOLETTE How many victims are up there? EDDIE There are two bodies found at this point. NICOLETTE Can we go up to the crime scene? EDDIE You know you can't do that. C'mon. NICOLETTE Is it drug related? EDDIE We don't know. When I have more I'll let you know. Nicolette signals for her camera man, MIKE, to zoom in on Eddie's hand. She barrels on... NICOLETTE Detective...what's that you're holding in your hand? Evidence? Mike pans up to Eddie's face. Other reporters arrive, hurling questions which Eddie easily answers. Cameras flash as we PAN BACK TO Korfin and Jordy. Jordy is about to get in the car as he notices, back behind some construction - DAPHNE HANDLOVA. She's still wearing the crumpled summer dress. She tentatively steps out to signal Jordy. He only catches a glimpse of her. He starts toward her -- knifes through the crowd - but Daphne is gone. KORFIN What? JORDY There was a woman - I think she wanted to talk to us. She looked scared. Oh shit! Oh no! EXT. CENTRAL PARK - LATER Korfin's car SCREECHES to a stop. Jordy leaps out. Suddenly, Jordy stops...the Mugger handcuffed to the tree is now NAKED! MUGGER You motherfuckin' bastard! She stripped me! It was a bag lady! She touched me all over, it was disgusting. Jordy unlocks the handcuffs. JORDY I'm sorry. I'm really sorry. Korfin delivers a blanket. Jordy covers him. JORDY (CONT'D) You okay? MUGGER A dog pissed on me!! I'm gonna sue you for this! You violated my civil rights! JORDY Your civil rights?! You tried to rob me! I could arrest you right now! You're lucky you're walking away from this. Now get outta here. Jordy gives him a push. The Mugger wraps the blanket around himself cursing - hurrying away. EXT. 8TH AVENUE - NIGHT Exhausted HOOKERS who have worked all night loiter outside a sleazy hotel. CAMERA PANS up to a blinking hotel sign. INT. KING EDWARD HOTEL ROOM - NIGHT The light is blinking an eerie green and yellow light into the room. Emil is at the window pulling the blind down trying to shut out the blinking light. He pulls it down twice and it pops back up both times. The third time he angrily pulls it so hard, it comes off the window completely. He sits down in a chair in frustration - adjusting a pillow behind his back. THE ROSEANNE SHOW is on TV. Roseanne has been talking to a FATHER. ROSEANNE (ON T.V.) So you slept with your son's wife! What's that all about? FATHER (ON T.V.) I take full responsibility for sleepin' with my daughter in law. I had low self esteem, I thought I had to compete with him. Emil reaches for his dictionary. EMIL (mutters) Self-esteem? Self-esteem?? He flips through his dictionary to find the meaning of self esteem. FATHER (ON T.V.) Losin' my job and everything, caused my behavioral disorder. (turns to his son) Forgive me, Kirk. Let me hug you? The audience boos. Roseanne mediates... Oleg - fresh from the shower with wet hair - sits on the bed in his skivvies - staring into the videocamera's LCD screen - rewinding Milos' murder. We see it now for the first time - as he rewinds it. Oleg watches - a bottle of cheap vodka between his legs. Emil, looks up from his dictionary. He's wearing Milos' Rolex. Tamina's jewelry - her brushed gold necklace and pearl earrings - are in front of him with Daphne's wallet. Emil looks up - Oleg is holding his videocamera. EMIL (Czech) Turn that fucking thing off! OLEG (Czech) I'm not filming. I'm watching Milos die. It's just like a move but realer. Emil grabs the videocamera. (Czech) Don't break it! Don't break it! EMIL Speak English! OLEG (English) You said speak Czech! EMIL How you erase this? OLEG I'll do it. Don't hurt my camera! Emil tosses the camera back to Oleg who drops his vodka bottle in order to catch the camera. Oleg, holding the camera like it's gold, goes to the dresser and puts it away. Emil starts to go through Daphne's wallet. EMIL Stupid, Milos. I didn't want to kill him. (noticing) What's this? Emil found the last card in the wallet. It's pink with a picture of a busty globe. Printed in the middle is - WORLDLY ESCORTS - and a number. EMIL (CONT'D) Worldly escorts? Emil picks up his dictionary and begins to flip the pages - finding the meaning of worldly. He gets up and dials the number. A soft, SEXY VOICE answers. Soft music in the background. SEXY VOICE Hi? EMIL Hello? SEXY VOICE Are you looking for companionship? Oleg, who's listening, moves to Emil. OLEG Whore? EMIL I'm homesick. You have Eastern European girl? A Czech girl? SEXY VOICE Matter of fact, I

44

2012

Roland Emmerich,Harald Kloser

Action,Adventure,Drama,Sci-Fi,Thriller

February_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

45

30 Minutes or Less

Michael Diliberti,Matthew Sullivan

Action,Adventure,Comedy

December_2009

The following is very loosely based on some shit that actually happened... OVER BLACK We hear the roar of a V8 engine, piped out through some throaty, fucked up muffler, as EXT. HIGHWAY - DAY An '89 Mustang bursts like a shot over a rise in the highway. It's got a rusted two-tone paint job, Maryland plates, and bald tires that scream as it peels off an exit and into the EXT. SUBURBS - DAY The car fast approaches a stop sign, dangerously blows through the intersection. INT. MUSTANG - DAY - MOVING We don't see the DRIVER, only the redlining RPMs, Vans slip- ons working the pedals, wristwatch being checked. The wheel cranks right as the car turns onto a - One way street. A minivan flies right at us. The Mustang hops up onto the curb to avoid it, clips a trash can and - Garbage explodes like confetti. The wipers engage, brushing the trash aside. The car whips another turn and EXT. SUBURBS - DAY The Mustang fishtails around a corner and skids away. CUT TO: TIRES SCREECH Brake pads smoke. The Mustang stops outside EXT. HOUSE - DAY The Driver jumps out of the car. As he rushes to the front door, we see the urgent package he is delivering. TWO LARGE PIZZAS Before he can ring the bell, the door opens and two smug 15- YEAR-OLDS stare out. 15-YEAR-OLD That's 34 minutes. You're 4 minutes late. Pizza's free. REVEAL our guy staring back at the kids. This is WILL (25), probably good looking in another life. 2. Right now, he is tired and unamused, wearing a red "Giorgio's Trattoria" hat and a sweaty matching t-shirt. WILL Gimme a break. You guys live two towns away. It's pretty much fucking impossible to get here in 30 minutes. OTHER 15-YEAR-OLD Exactly. That's why we ordered from your shitty "trattoria." WILL This is gonna come out of my paycheck. You sure you don't want to take the moral high ground? OTHER 15-YEAR-OLD We'd rather take the pizzas. Will takes a calming breath. Hands over the pizzas. WILL Ok. You guys are pretty smart. You figured out a way to beat the system. (PEEKS INSIDE) Got the house to yourselves? 15-YEAR-OLD That's right. WILL Not bad. Any jailbait in there? Little pizza and a rainbow party? The kids shakes their heads. WILL Seriously? Well, two hustlers like yourselves gotta have the place stocked with beer and whippits and shit, right? Just call the girls up and let them know the party's on. 15-YEAR-OLD Man, we don't have any of that stuff. Will makes a show of mulling this over. WILL I really shouldn't do this...but you seem like a couple of good dudes. I'll tell you what, you give me the money that your mom left you for the pizzas, and I'll grab you some beers. (MORE) 3. WILL (CONT'D) (BEAT) But I get to keep the change as a tip. Deal? The kids look at each other. One hesitantly pulls out some cash. Will snatches it and heads off. WILL I'll see you in like 20 minutes. The kids look uncertain. As if sensing this, Will stops before getting into his ride. WILL You boys like Budweiser, right? 15-YEAR-OLD Uh, yeah, totally. OTHER 15-YEAR-OLD Love that shit! INT. MUSTANG - DAY - MOVING The sun sets. Will cruises back into his own middle-class town in suburban Maryland. A six pack of Budweiser rests in the passenger seat. Will stops at a light. Checks out a PRETTY YOUNG THING in the Jeep beside him. She catches him looking, rolls her eyes. The light turns and the Jeep skids away. Will self consciously removes his "Giorgio's" cap. INT. GIORGIO'S TRATTORIA - NIGHT Will enters and nods at CHRISTOPHER (40s), the manager. His balding head is nearly translucent from absorbing a day's worth of pizza grease. WILL Yo, Chris. Let me cash the fuck out. Will hands over some cash to Christopher. CHRISTOPHER You have a pretty good shift? WILL For sure. I mean, the part where I had to drop off all those pizzas kinda sucked, but the rest was cool. 4. CHRISTOPHER Oh, yeah? 'Cause, I got some kids calling in saying you ripped them off. Promised to buy them beer or something. WILL I actually did buy the beer, but it would have been illegal to give it to them, right? So I'm gonna do the responsible thing and drink it myself. CHRISTOPHER That's real funny. But I'm trying to run a business here. WILL What kind of business promises to deliver anywhere in 30 minutes? It's ridiculous. CHRISTOPHER I don't wanna hear another one of your bullshit excuses. You're fired. WILL Come on. If I didn't need this job, I wouldn't be doing this shitty job. Chris is unmoving. WILL Fuck! Whatever! Will storms off. As he gets to the door - CHRISTOPHER You know, you were an okay driver half the time. And you're not a Puerto Rican. Which means something to me. WILL That's poignant. CHRISTOPHER I guess I could rehire you, on a provisional basis. Of course, this would be at the slightly reduced "new company rate." WILL Are you fucking serious? CHRISTOPHER I don't know. Is there anyone else left in town for you to work for? 5. Will shakes his head. Swallows what's left of his pride. WILL When do I start? EXT. SMALL APARTMENT BUILDING - NIGHT Will sits on the darkened front stoop. He tosses an empty can into the bushes and gets to work on his fourth beer. He looks over at a parked Hyundai Elantra. A YOUNG MAN sits in the passenger seat with a pensive look on his face. He makes a sudden, surprised gasp. The homely YOUNG WOMAN who was just blowing him sits up from his lap and rearranges herself in the driver seat. She leans over for a goodbye kiss. The Young Man obliges with much fanfare. The Young Man gets out and the car pulls away. This is CHET (25), a clean cut guy dressed in the Gap Premium Collection. He heads toward the building, high off his BJ, humming Outkast's "Ms. Jackson." He stops when he notices Will in the shadows. CHET What the hell? Have you just been sitting there? WILL Yep. Caught the whole show. Really classy move at the end. You know, the kiss. Putting your tongue in her mouth right after you fucked it. CHET Hey, a nice girl decides to pleasure me on a weeknight, in her car no less...I'm not gonna make her feel like an untouchable. I'm gonna make her feel like a lady. WILL What manners. May I offer you some alcohol, sir. To wash the taste of yourself out of your mouth. Will offers his beer. Chet takes a slug, gurgles for effect. CHET By the way, she said she had a friend. Maybe we can go on our first double date since you tried to talk Jackie Fortunato and her cousin into having a four-way with us. WILL I misread their body language. It happens. 6. Will picks up some rented movies sitting beside him. WILL Come on. Let's go inside, drink your beer and watch shit get crazy. (FANS MOVIES) Old favorites. You choose. Lethal Weapon, Lethal Weapon 2...was gonna get the third Lethal Weapon, but decided on a porn. So it's really between the first two. CHET I choose sleep. I gotta teach a class at eight. WILL You're a sub. Just call in sick. Like the real teacher did. CHET Come on, man, you know I got promoted to full-time last month. You bought me a laser pointer. Will heaves a sigh. WILL Yeah, I know. I guess I'm just having a hard time accepting you as "the man." You know, flunking kids, giving out spite detentions to girls you wanna fuck, laser pointing at shit. CHET I also get healthcare and my summers off. It's not perfect, but it's a career. Will grudgingly stands up. WILL I guess that's just the difference between you and me. He holds up the Lethal Weapon DVDs. WILL I'm like Riggs. Cruising the streets. No rules, no attachments. Every other day some asshole is trying to take my badge. You're fucking Murtaugh. Always worried about your pension. Well, guess what, it gets old after the first movie. 7. CHET I just got head. I'm totally Riggs. Will shakes his head, turns and walks off. INT. STUDIO APARTMENT - DAY Will wakes up, legs dangling over the edge of a tiny couch. His TV is still on, displaying the menu screen from a porn. Will looks down at his coffee table. Clears some magazines to reveal a file folder. Flips the cover - It's full of college applications, drafts of admissions essays, a junior college transcript. Will thumbs through one of the glossy applications. The kids look young. Very young. Will glances over at a picture on his wall: he and Chet at high school graduation, looking just as young. They have their arms around a pretty girl squeezed between them. Will and the girl look very high and very happy. Will shuts the folder, slides it back under the coffee table debris. He looks over at a clock: it is already 2:00 PM. WILL Fuck. INT. MUSTANG - DAY Will jumps in and starts the engine. As he tucks his "Giorgio's" cap onto his head, he catches his reflection in the rear-view mirror. WILL You asshole. You titanic asshole. Come on down and get your prize. He makes his fingers into a gun, puts it to his head...pulls the trigger and BOOM! WE'RE IN EXT. OPEN FIELD - DAY A watermelon explodes in a shower of red, juicy bits. Loud, dumb laughter echoes. Standing 20 yards away is DWAYNE (32), an intense, meaty guy in a sleeveless Baltimore Ravens t-shirt. On his left bicep is a tattoo of the Tasmanian Devil flipping the bird. DWAYNE Fruit motherfuckin' salad! 8. Crouched beside him is JAY (27), tall and awkward, in a wool surplus cap. He carefully rigs homemade explosives to another watermelon, then looks up at Dwayne. His eyes are magnified into saucers by his thick glasses. There's a peculiar eagerness to please in them. JAY This one's gonna blow even bigger. DWAYNE Boy, if you weren't such a skinny little bitch you coulda been in the military or something. JAY Whatever. I don't need the military. I taught myself how to do this shit. DWAYNE I hear that. I taught myself how to eat pussy. And cut my own hair. Jay jogs the watermelon a safe distance away. He returns and pulls out a detonator. Dwayne snatches it. DWAYNE This one's all me. (makes "radio" sounds) Mr. President, we have enemies at the gate. Give me the order. (more "radio" sounds) Fuck that, sir. I don't negotiate with terrorists! Dwayne presses a button and BOOM! The explosion is so powerful that it sprinkles our guys' smiling faces with fruit juice. INT. KITCHEN, NICE HOUSE - DAY Large and early-90s chic. Dwayne and Jay have the fridge open, fixing themselves a cold cut plate. Dwayne is debating the amount of meat on the plate...adds some more. DWAYNE Wanna make sure I get enough calories. JAY I thought you wanted to get diesel for the summer. Bang that towel girl at the community pool. 9. DWAYNE It's obvious you don't know shit-all about physical fitness. You gotta bulk up first, then you slim down. I'm clearly in the bulk up phase. I told you to watch Pumping Iron like a month ago. If you'd listened to me, maybe you'd know what the fuck I'm talking about. (BEAT) Grab some RC Cola. INT. LIVING ROOM, NICE HOUSE - DAY The shades are drawn. We hear a girl scream bloody murder! The guys are watching FRIDAY THE 13TH PART 3...in 3D. They both wear cheap cardboard glasses. Jay jumps back as Jason wields a 3D ax. JAY Shit, man! It's so real! Dwayne reaches out, "touching" the 3D images. He stands and starts humping the air. DWAYNE Check it out. I ain't afraid of Jason. I'm fucking him. (THRUSTING HARDER) You like that, Jason!? In the mask! Jay cracks up. The lights flick on. GRIZZLED VOICE (O.S.) Who are you two fags fucking? Standing by the switch is Dwayne's dad, JERRY (70s). Most people just call him "THE MAJOR." The faded USMC tattoo on his thick forearm explains why. JAY Afternoon, Major. Dwayne flops back onto the couch. DWAYNE Dad, we're watching a flick. We got 45 minutes and a potential 3D sex scene left. You're sorta coming in at the worst possible moment. 10. MAJOR I bought that TV set so I could watch my programs, not so you and your friend could louse up my couch. DWAYNE You gotta learn how to share the common space. MAJOR The only thing common in this house is you. You remind me of your damn mother. Fat, dumb, and in my way. The Major grabs Dwayne and pulls him up off the couch. He gets right in his face...scary, intense. Dwayne turns to Jay. DWAYNE Let's get outta here. This movie sucks anyway. Jay gets up and files out the door. Dwayne goes to take the cold cut plate. The Major grabs his arm. MAJOR I paid for the damn cold cuts, too. Maybe if you had a job, or a fucking prospect, or a clue how to find any of the above, I'd let you eat 'em. DWAYNE (QUIETLY) You know, you can be a real sonofabitch, dad. MAJOR That's what it takes, boy. In the Corps, men like you wore dresses to keep us entertained. DWAYNE That's pretty fucking disturbing! Dwayne storms off. EXT. NICE HOUSE - DAY Dwayne and Jay head out, passing a brand new pickup truck in the driveway. Dwayne spits on it. DWAYNE Fuck The Major! The guys get in a shitty Ford Aerostar minivan and peel out. 11. INT. DIVE STRIP CLUB - DAY R. Kelly's "Ignition (Remix)" pumps. Large, fake breasts, sparkling with cheap body glitter and pierced at the nipples, shake before us. Their owner, JUICY (27), a petite Latina, phones in a lap dance as Dwayne pours his heart out to her. Somewhere in the background, Jay hangs at the bar, all alone. DWAYNE - and he thinks he knows me. He don't know shit. I got ideas he could never dream of. I got plans bigger than his fucking house. (BEAT) He didn't even raise me. My mother did. That was a good woman. JUICY Oh yeah? What happened to her? Dwayne shifts, uncomfortably, at the sore subject. DWAYNE She passed on. JUICY I hope you're not one of those guys that comes here looking to get mothered. DWAYNE I wouldn't mind nursing on them titties, mamacita. JUICY Sure. Whatever you say. Maybe just keep quiet for a while, forget about your old man and let me do my thing. DWAYNE I wish I could forget about that asshole for good. I'm just waiting around for him to drop dead. Don't wanna mess with my inheritance. This piques Juicy's interest. JUICY What kinda inheritance? 12. DWAYNE When my dad got outta the service, he started buying lotto tickets. He'd play his dog tag numbers. In '91, the fucker won five million bucks. INSERT PHOTO: The Major holding a giant cardboard check. DWAYNE He had some health problems a few years back, and since then he's been burning through the money like an NBA draft pick. Probably only got a million or two left. But it's mine as soon as he kicks. Behind inch-long fake eyelashes, Juicy's shrewd eyes narrow, mind working. She straddles Dwayne, tightly. JUICY You know, with a million bucks, you could have anything. Be like a king. (almost a moan) King Dwayne. DWAYNE That's right. And maybe I'll make you my queen. Let you polish my royal scepter. JUICY Practice makes perfect. Juicy pantomimes a long, slow chicken head. Dwayne is blissed out. She smiles at him, sticky sweet. JUICY Let me ask you a question...do you really hate your daddy? DWAYNE Hate him like the Steelers. JUICY Then maybe I can help you get that money now. Before he spends another penny. Dwayne looks confused. Juicy puts his hands on her breasts, emboldening him. JUICY I know a guy in Baltimore. He could help you out. Probably do it for... (sizing him up) ...100Gs. 13. DWAYNE Do what? Juicy leans in, whispers softly in Dwayne's ear - JUICY Kill your mean old dad. On Dwayne's face as this new possibility pinballs around his mind, setting off a flood of different emotions. JUICY So, what do you think...you ready for your crown? INT. MUSTANG - NIGHT - MOVING Will has one pizza left in the back of his car. He pulls over outside an office building. INT. LAW FIRM, OFFICE BUILDING - NIGHT Rows of cubicles. Speckled with late night STRAGGLERS, bleary eyes, too busy generating detailed lists of places they'd rather be to notice the pizza boy walking along. Will stops before one such work station, looks on for a beat. WILL Rio? KATE (25) turns from the glow of her computer screen. She has short, messy hair and a sarcastic smile. This is the girl from the picture in Will's apartment. KATE That's the plan. Five days, six nights. Culture. Beaches. Acceptable probability of kidnapping. I leave in the morning. Kate looks back at her computer, logged onto an Expedia checkout page for a Rio vacation. She moves the mouse pointer from the "proceed" key...closes the window. KATE This morning I loaded up an African Safari and a cruise to Alaska. WILL Oh, the places you'll go. KATE Fuck Expedia. Travel Advisor. Making it seem so easy. 14. WILL It is. Just do it. Get away for a while. KATE Even if I could afford that...they fired two other paralegals last week. Now's not the time to be putting in for vacation days. WILL Ok. Done. I've got my dose of the actual working world. Can we eat? Will lays a pizza down on her desk. KATE How do you keep sneaking up here past the security guard? WILL He's there like half the time. The other half I smile at him. I'm relatively certain he's a homosexual. KATE Interesting theory... Kate opens the pizza box, grabs a slice. KATE Maybe I should set him up with Tom Small. He came out to me today on Facebook. WILL That kid beat the hell out of me and Chet in grammar school. Wow. KATE Tell me about it. He fingered me at junior prom while they were playing "No Scrubs." WILL (WINCES) Really? What a fucking scrub. Will grabs a slice. They eat quietly for a beat. KATE So, I've got some news... 15. WILL I thought the Tom Small stuff was enough of a headline, but go ahead. KATE I'm getting back together with Mark. Will's delicious pizza suddenly tastes like shit. He does his best to swallow it down. WILL But you...you broke up with him...ended the relationship. Finality was had. KATE Yeah, but we were talking and - WILL Forget it. I don't want to know. KATE You sound like Chet. WILL Woah, don't compare me to your brother. KATE Well, neither one of you seems to care that I don't have a life. Mark's not perfect...but a relationship is better than working late every Friday because I have nowhere else to be. WILL Sure. I get it. Here we are. Friday night. Nowhere to be. Kate shoves Will, good-naturedly. KATE You know what I mean. Will shrugs, quietly devastated. Goes back to his pizza. INT. SPORTS BAR - NIGHT Most of the PATRONS are fixated on an Orioles game blaring from a large flat-screen TV. At a booth in back, Dwayne and Jay are in deep conversation. 16. JAY I don't wanna stick my nose into a family matter...but killing your old man? That's pretty messed up...I mean, unless you think it isn't. DWAYNE What we have here is a classic "lesser of two evils" debate. You got one evil: me shaving a few years off The Major's shitty life. Then you got the other evil: The Major ruining my entire awesome life by blowing through my inheritance. Maybe I'm biased, but mine sure as shit seems like the lesser. JAY I guess I...sorta see where you're coming from. And you have been waiting around forever for that money. Y

46

48 Hrs

Steven E. De Souza,Walter Hill,Roger Spottiswoode,Larry Gross,Jeb Stuart

Action,Comedy,Thriller

null

FADE IN: OPEN COUNTRY - DAY Endless green hills bisected by a ribbon of highway. A road gang clearing brush by the side of the road... Twenty-five men in prison fatigues sweating through their mid-afternoon labor. THREE GUARDS Flank the working prisoners... Mountie hats, shotguns, sidearms, sunglasses; they look like they mean it. HIGHWAY A battered pickup appears...approaches. Suddenly, it coughs, shudders, stalls. A big Blackfoot Indian named BILLY BEAR gets out and starts cursing and kicking the vehicle.Then he begins walking toward the road gang... ROADSIDE BRADY is the Guard near the center of the work gang; he smiles at the oncoming man, pokes a prisoner beside him. BRADY Wonder what reservation they let him off of... The prisoner is GANZ who looks up, grins at Brady... GANZ Yeah, there goes the neighborhood. Brady laughs as Billy Bear closes in on him. BILLY Say, buddy, my engine's overheating and I got 30 miles before the next station... Could I get some water out of your cooler? Ganz leans on his hoe, speaks as Billy passes... GANZ Maybe you shoulda stole a better truck, Tonto. BILLY You got a real big mouth, convict. BRADY It's okay, chief. He's just joking... BILLY How about the water... GANZ Firewater, Tonto? Is that what you... Billy whirls, swings at Ganz. Both men roll to the ground. BRADY Hey! Jesus Christ! THE OTHER GUARDS Seeing the commotion, they run toward it. GANZ AND BILLY As they struggle, Billy slips a pistol into Ganz' hand. BRADY That's a state prisoner, asshole...! Back off... ROADSIDE Brady pulls Billy away from Ganz just 'as one of the other officers arrives... Ganz suddenly whips out a pistol, shoots Brady at point-blank range. Before the other Guards can even react, Billy comes out with his own pistol, caps the Second Guard. THIRD GUARD Still forty yards away... In mid-draw, be howls as a bullet from Ganz breaks the nearby ground. He fires, then turns and runs for the prison bus. GANZ Smiling, fires twice. but the range is too great for pistol work... THE OTHER PRISONERS Watching....Then they all scatter in different directions... GANZ Hefts his weapon... GANZ Come on... He and the big Indian run to the pickup, climb in and roar away. INT. BUS The THIRD GUARD making a call on the police radio... OFFICER APO 657, Unit 25 to APO 478t APO 657t Unit 25 to APO 478. RADIO RESPONSE Go ahead, Unit 25. OFFICER Escape in progress. Two officers shot off rail crossing 31. Prisoners escaping. Two men, one six-four, 200 pounds, dark, an Indian, the other, Albert Ganz, five-ten... FURTHER DOWN THE HIGHWAY Several miles from the escape... A big semi parked by the side of ttie road; back doors to the closed trailer open. A station wagon parked across the road. The pickup appears, approaches the semi, slows down and drives up the ramp into the van. Ganz and Billy jump out, shove the ramp up inside the truck and close the big doors. STATION WAGON Ganz and Billy climb inside ancl roar off, back in the direction of the road gang. BILLY BEAR Takes off his hat, puts on a baseball cap and sunglasses... BILLY Get ready to duck. Ganz dives for the floor. Three police cars go by, sirens blaring, lights flashing. They pass the road gang. Ganz reappear, smiles... GANZ You know something? I'm having a real good time. HIGHWAY The station wagon blasts down the pavement... Becomes a small dot on the landscape. TRANSITION. A DOORWAY - NIGHT the portal slams open revealing a man holding a huge pistol,jack cates, s.F.P.D., a large and powerful man... He stealthily moves up a stairwell. CORRIDOR He stops at the top of the stairs... Listens gun still ready. A continuous sound of running water... Cates moves toward the bathroom. Rips the door open. BATHROOM The shape behind the shower curtain freezes. Cates, gun held level, moves forward... Rips the shower curtain open. Revealing a young and very beautiful woman, ELAINE MARSHALL. CATES Inspector Jack Cates, S.F.P.D.... And you're wanted. Elaine stares at him as Cates turns off the water. ELAINE What am I wanted for? CATES I don't answer questions, I ask 'em... A moment as she continues to stare at his pistol. ELAINE I don't think your gun's loaded... CATES This is a .44 Magnum, the most powerful handgun in the world. You gotta ask yourself just one question. Are you feelin' lucky? ELAINE I still don't think it's loaded. Elaine shakes her head and smiles, folds her arms over her breasts, shivers a little... Cates looks at the cylinder, spins it... CATES Hey, you're right. ELAINE You're hopeless. CATES That's the way I see it, too. Be puts the gun down on the edge of the sink, embraces her. ELAINE I'm all wet. CATES What's wrong with that? They both smile. TRANSITION. BEDROOM Cates in bed with Elaine. She wears his shirt. ELAINE A guy in the bar called me a dumb bitch today. CATES What'd you do? ELAINE Irrigated his face with the shot of J and B I'd just poured him. Then I tried to deck the sucker. CATES I guess he got the message... ELAINE Then I sit back and I think, I mean, who's to say I'm not a dumb bitch. I work in a bar, right? I can't read a list of my academic credentials to every booze-hound that comes in the place... You are what you do... CATES Positive self-image problem all over again ... You are who you decide you are unless you're the type that lets assholes decide for you. ELAINE Aren't you the one that thinks all psychotherapy is bullshit? CATES I do think all psychotherapy is bullshit. But just because I think it's bullshit doesn't mean I don't know something about it. ELAINE If this is your idea of sympathetic interest in my problems, I'll take brutal indifference. CATES Hey, you know what I really think? ELAINE Tell me--I'm dyin' to hear it. CATES I think you're ashamed to tend bar which is sad because you look great in that outfit they make you wear... You pull down four bills a week which is damn good, and you mix the best Pina Coladas I've ever had... I think that if you need bigger and better things ... then go for em. She smiles at him after this. It looks like they'll kiss. Their faces are close. Then she lightly moves back. ELAINE You oversimplify every... He stops her in the middle of the sentence by kissing her, then pulls back... CATES Some things are simple, right? Their faces are very close ... but they don't touch for another second. ELAINE Right... TRANSITION. SAN FRANCISCO - DAWN Titles continue. Tugs churning across the bay... Quiet city streets. Parked cars covered with early morning dew... A newspaper truck slowly grinds by, drops a bundleand moves on. EMBARCADERO - DAWN The station wagon pulls up to a young punk, HENRY WONG, on a motorcycle. Billy Bear smiles and leans out the driver's side window. BILLY You got somethin' for us, Henry? Henry produces some credit cards. Billy passes them to Ganz for inspection. GANZ How hot are they? HENRY Hot? Hey, they're not even room temperature. Ganz snorts derisively. GANZ How ya doin'? HENRY Can't complain. GANZ We got a lot to talk about. HENRY Yeah, old times. GANZ We'll follow you. Take it slow,okay? HENRY Sure, right. Ganz pockets the credit cards as Henry wheels away. INT. STATION WAGON GANZ I want to drive awhile. BILLY I ain't tired yet. INT. STATION WAGON GANZ Maybe after we get done with him I'm gonna buy us some girls. BILLY Whaddya mean, buy? GANZ Pros. Ganz stares at Billy. BILLY Pay money? GANZ Yeah, dummy. Money. BILLY I never paid for it in my life. GANZ It's better when you pay... they let you do anything. BILLY They always let me do anything. I don't want to pay for it. I never paid for it in my life. GANZ Just do what I say, okay? We'll pay for the girls and have a good time... Don't you trust me? Billy smiles. BILLY Sure, I trust ya. They drive off. NORTH BEACH - RESIDENTIAL STREET - DAWN First light breaks over Telegraph Hill. A quiet row of Victorian townhouses now converted into apartments. APARTMENT BEDROOM - EARLY MORNING Cates is sprawled across the double bed; Elaine is on the verge of falling off the edge. Cates' eyes snap open. A second later, his wrist watch alarm goes off. He turns it off, gets out of bed and begins pulling on his pants. Elaine sits up in bed, still wearing Cates' blue shirt... Cates picks up a robe as Elaine gets out of bed on the opposite side, throws the robe to Elaine... She takes off the shirt, swaps it for the robe and throws the shirt to Jack. ELAINE You know, if you let me come over to your place once in a while, you could put on a clean shirt in the morning. CATES What makes you think I have any clean shirts at my place? He buttons his shirt and heads for the kitchen. KITCHEN Cates brushing his teeth at the sink, Elaine making coffee. ELAINE You know, that's my toothbrush, Jack. He keeps brushing. CATES Maybe you ought to buy me one. ELAINE Maybe I would if I knew when you were coming back. He stops brushing, turns and looks at her. CATES I'm here. And I've been coming back for quite awhile... Let's not hassle, okay? And can I have a cup of coffee? Please. She pours some coffee, hands him a cup and saucer... Cates pours some whiskey into it from a flask. ELAINE That's a fairly crummy way to start a morning. CATES Maybe I got a fairly crummy day ahead. ELAINE Maybe that makes a nice excuse. CATES Maybe you don't know what the hell you're talking about. Cates picks his holstered .44 off a chair back and begins strapping it on. ELAINE When you start with that attitude... it's like I don't know who you are. CATES What do you want to know? What difference does it make? I'm the guy in your bed the last three months. I make you feel good. You make me feel good. What the hell else do you want from a guy? ELAINE I wish you'd stop trying to make me mad so I won't care for you... I wish you'd give me a little more of a chance. He turns away, moves into the corridor near the stairwell. CATES I don't have time for this. I gotta go to work. She stands frozen... He turns back and looks at her; it's hard to apologize. CATES (continuing) Look, I'm glad I'm in your life... and hell, with an ass like yours, I figure anything might be possible. She is warmed up by the first part, amused by the second; she approaches... ELAINE You know something, Jack, you really are hopeless. CATES That's the way I see it, too. ELAINE Call me later. CATES You sure you want me to? ELAINE Yeah, for some reason, I'm sure... He moves closer, kisses her.. CATES Thanks for the coffee. ELAINE I think you forgot this. Hands him his wallet and badge... CATES Guess people ought to know who I am... He turns to go down the stairwell... ELAINE Jack, wait. Here... She puts a scarf around his neck. ELAINE (continuing) It's cold as hell out these mornings, and you know what the man said, the coldest winter I ever spent was the summer I spent in San Francisco... They don't kiss. He nods appreciately, the scarf in hand as he turns and goes. STREET - NORTH BEACH - MORNING Cates comes out of Elaine's apartment building, crosses to his whipped and battered 64 Cadillac convertible, notices a parking ticket stuck under the windshield wiper... CATES Son of a bitch. Shoves the ticket in his coat pocket, gets into the Caddie puts the scarf around the rear view mirror, starts the engine and guns away... CITY STREET Cates driving the convertible; he comes down a hill and turns toward the East Bay... TRANSITION. GOLDEN GATE PARK - MORNING Henry Wong, seated on a park bench. Now very dead, a bullet hole in the middle of his forehead. Billy Bear is seated next to him on the bench reading the race form. GANZ Using the telephone at an outdoor booth a few feet beyond the bench. STREET - BROADWAY DISTRICT - DAY LUTHER and ROSALIE, a young couple, turn a corner. A dark parody of all-American young marrieds. They are bickering as usual. ROSALIE I liked that carpet we saw. LUTHER We can't afford it. ROSALIE Don't remind me. LUTHER Whaddya want me to do, go out and steal for the money? I hated the color anyway; the color sucked... Suddenly, Billy and Ganz descend on Luther and Rosalie and pull them into their station wagon.. INT. STATION WAGON Billy has Rosalie by the mouth, gagging her with his big paw... Ganz has his gun at Luther's neck. GANZ Surprise, Luther. LUTHER Whaddya want? I thought you were locked up- GANZ I want the money, asshole, what do you think? The money that Reggie hid... LUTHER I don't know what you're talkin' about. GANZ You want that Indian to snap her neck? He mimes the gesture... snap... GANZ (continuing) Instead of worryin' about Reggie, you better worry about me... LUTHER Don't give me this, we were partners. GANZ Billy, go ahead, break it... LUTHER No! Don't kill her. I can get you the money. GANZ When? LUTHER I can't get it until Monday. Honest. GANZ You chickenshit punk... LUTHER Honest. The place we stashed it opens Monday morning. I can't get it till then. Monday morning, that's when it opens. After that, I'll get the money to you right away... Ganz finally takes the gun from the neck. GANZ I always liked you, Luther. You were always a lotta fun to hang out with... Rosalie is rubbing her neck now that she's been released... Ganz gestures to Billy. GANZ (continuing) We're gonna keep her. Luther desperately doesn't like this. LUTHER Come on, you can trust me. Please. GANZ You try to mess with us or go to the cops, I promise you, I'll put holes in her you wouldn't believe. He smiles at Luther, pinches him on the cheek, shoves him out of the car. LUTHER Stands shivering as it powers away. WALDEN HOTEL - DAY A small hotel on one of the quiet streets behind Union Square. A GREEN COUGAR Pulls up across the street. INT. CAR Tha car arrives in front of the hotel. GANZ Nice place, huh? Rosalie is very nervous. ROSALIE What are you gonna do to me in there? Ganz gives her a casual smile. GANZ Maybe that's where I'm gonna cut your throat. BILLY He's just kiddin', you just keep doin' what I tell ya, you'll be okay. They move out of the car, head for the hotel. LOBBY A FRIZZY YOUNG BLONDE sits behind the desk in a mirrored entrance hall. She reads a lurid paperback. Morning traffic streams by outside as Ganz, Billy and Rosalie enter and approach the desk. GANZ We need some rooms for a couple of nights...Okay? She smiles at Ganz. FRIZZY Sure. We don't get many real customers, ya know? Most people only stay an hour or two... Passes a form across. Ganz signs it, Frizzy glances at his signature then takes a key from the rack behind. GANZ I want her young. And tall. Nice legs. Legs are important. Then, real thin. Yeah. NO jeans-A dress? a nice summer dress. You know I want her fresh... I'll tell you why, because I been hoein' weeds and makin' license plates for a couple of years... Yeah, I know you don't get it... BILLY BEAR Sees a couple approaching, he shoves the dead man down on the bench and spreads the newspaper over his head. The body now looking like a typical park bum who has spent the night. Billy walks over to Ganz. BILLY Hey, what about me? GANZ And I need one more for my pal. Yeah. Make her an Indian. No, not a turban, you know, a squaw. Billy smiles, takes the Polaroid... POLAROID A close shot of the dead man with the bullet hole in his forehead. GANZ Takes the photograph back from Billy and slips it into his jacket pocket... GANZ Walden Hotel. Third near Broadway. Tell them to ask for ... uh... He takes the hot credit cards out of his pocket, the name embossed on the plastic.. GANZ (continuing) G.P. Polson...P.O.L.S.O.N....Just be a couple of hours. Hangs up. The two men head for a green Plymouth... TRANSITION. FRIZZY Number twenty-seven, Mr. Polson. GANZ Put them next door, okay. She gives him a slightly knowing look. FRIZZY Sure, hey, you got the whole floor to yourself... Ganz sends her back a sharp look. GANZ Keep your filthy ideas to yourself, lady. Ganz picks up his suitcase, walks over to the nearest stairwell. Billy and Rosalie follow... TRANSITION. STREET Bars starting to fill up with mid-day customers... A black Chevy cruises past and stops further up the block. Two Plainclothesmen, VANZANT and ALGREN, get out of the car. As they start toward the Walden... THE CADILLAC CONVERTIBLE Pulls up near the two men. Cates climbs out of his car and walks over to them. CATES Hey, fellas, what's happening? Radio said you guys had something on... ALGREN Not much, Jack ... Salesman named Polson had his credit cards lifted... Algren nods over to the parking lot opposite. ALGREN (continuing) One of Polson's cards rented that green coupe. VANZANT Not too much for a big rough tough gunfighter like you to do on this one... Cates smiles at the verbal positioning he's used to with his colleagues. CATES Suspect packed or is this a laugher? ALGREN Five and dime stuff. Polson said a kid with a switchblade mugged him and drove off on a motorcyle. CATES Yeah, well, I guess you two are experts at taking boy scout knives away from teenagers... VANZANT Yeah, we are, that means you can stay outta this one. We don't have any big need for the artillery Vanzant's turn to smile. CATES Hey, I'm just offering to help out... I like to watch real pros work. VANZANT Help, huh? Sometimes your kind of help tends to leave the suspect in bad shape. Algren...mediator... soothes the competitive situation. ALGREN Hey, relax ... Jack, you wanna come inside, fine... You can stake out the lobby... Cates, a bit disgusted at the politics of this moment, nods... CATES

47

A Most Violent Year

J.C. Chandor

Action,Crime,Drama

January_2015

This film is set in New York City, 1981: Murders: 2,228 Forcible Rape: 5,405 Violent Crime: 180,235 Aggravated Assault: 60,329 Property: 1,029,749 Vehicle Theft: 133,041 Robbery: 112,273 Burglary: 360,925 Larceny-Theft: 535,783 Crime Index: 1,209,984 1981 was the most violent year in NYC history as recorded by overall Crime Index in relation to population. 2 JANUARY 31, 1981 Over black we hear the opening of a garage door. The light spills in and we see. EXT. UPPER MIDDLE CLASS RESIDENTIAL HOUSE, QUEENS NYC - SUNRISE Open on ABEL MORALES. It is early morning and still almost dark out. He has a rugged yet prosperously-handsome face and is in his mid-thirties. He is struggling to get started with his morning jog. EXT. SHIP GRAVEYARD, STATEN ISLAND NYC - DAY It is early morning. A large bulk fuel oil transport truck sits idling next to a decrepit old dock. The dock sticks into a backwater section of New York harbor that is filled with the decaying remains of half-sunken abandoned barges and tug boats. JULIAN, the young driver of the truck sits and nervously scans the horizon. Eventually a large fuel barge appears in the distance being pushed by a tug boat. The barge is steered past the skeletons of the other sunken ships and makes its way to the dock in front of the tanker truck. JULIAN gets out of his truck and readies a large connecting hose. He looks around nervously. JULIAN steps across the broken boards of the dock and struggles to get the hose to the barge. He hands it to the BARGE OPERATOR with a nod of the head and no words. They connect the hose and start a large generator as it begins to pump fuel into the truck. They both scan the horizon again as the sun begins to come up. EXT. MORE INDUSTRIAL QUEENS NEIGHBORHOOD- SAME TIME ABEL is still jogging as the light begins to increase. It is freezing out. He is a very serious guy. He is not happy that he is out of shape. Finally he stops and bends over to catch his breath. We have run with him from the nicer part of the neighborhood to a rougher section. As he catches his breath he stands up and looks around. He is unsure of his feelings. 3 INT. ANNA'S DRESSING AREA The camera slowly moves in as ANNA sits in a slip at her make up table putting on her face for the day ahead. She looks into the mirror as if she is putting on a coat of armor. INT. DRIVER'S CAB OF A BULK OIL TRANSPORT TRUCK - DAY STANDARD HEATING OIL, "We set the Standard" is written in logo form on the side of the tank. The truck idles in traffic waiting to pay the toll to cross the Verrazano bridge that spans the mouth of New York harbor. JULIAN, the young driver from the dock, cautiously looks around as the traffic inches along. He finally approaches the toll booth and pays. JULIAN Good morning. JULIAN speaks English with a well-sanded accent. Is it Central American or Mexican? The female collector gives him a smile. He heads through the booth, but there is still traffic on the other side as the lanes merge together. Just as the traffic is about to pick up he looks in his rearview mirror and we see TWO GUYS come walking through the traffic and towards the cab. Before we know it they are climbing up the cab steps. The GUY on the driver's side, LOUIS SERVIDIO, is small and very slight but he moves with great speed and strength. He shatters the glass side window with his elbow. Unlocks the door just as his partner, THUG #2, does the same thing on the passenger side, but he is holding a gun. They are not wearing masks. It's very brazen. Before THUG #2 even asks JULIAN to get out of the cab LOUIS SERVIDIO crushes him in the jaw with three swift punches then pulls him out of the cab and down onto the roadway. LOUIS SERVIDIO pulls the door shut and they drive away with the truck leaving JULIAN sitting in the middle of the road staring, as blood starts to flow from his jaw. INT. PARKING YARD OF STANDARD HEATING OIL- SAME TIME Two almost-matching late model Mercedes pull up to a chain- link gate with a small sign that says "STANDARD HEATING OIL: WE SET THE STANDARD". The DISPATCHER opens the gate. 4 They both pull into reserved parking spaces next to each other. ABEL is dressed in a very tasteful custom made suit. ABEL's wife ANNA was driving the car behind him. She is a beautiful, tall, blonde woman dressed to the nines but with a streak in her eye that this is all business. You would not want to cross this woman. ABEL Ready? ANNA Yes. ABEL You look very nice. ANNA Thank you. ABEL You sure? ANNA Yes. ABEL walks around and opens his trunk. He takes out two large empty briefcases. He carries the briefcases as they both walk over to a large, unmarked, armored van that is idling in the middle of the parking lot. Two ARMED GUARDS get out of the van. One is holding a clipboard. He walks up to ANNA and ABEL. He hands them the clipboard. They look at each other one last time and then both sign the document. The other GUARD opens up the back of the truck. ABEL hands him the briefcases and the guard begins to fill them with cash. Lots of cash. ABEL and ANNA stand at the open back of the van and just watch. Finally he finishes and hands the now- heavy cases to ABEL. ABEL picks up the two cases and walks a bit away from the truck. He turns to ANNA. ANNA (CONT'D) Don't do anything stupid. ABEL We don't have any more money so what else could I do. She gives a small smile. He looks at his watch. They kiss. 5 ABEL turns and begins walking with the cases. He gives a nod to the DISPATCHER, who we now see, is in a small gatehouse, and he begins to open the front gate. EXT. STREET OUTSIDE THE FRONT GATE- SAME TIME ABEL walks out through the gate and down the abandoned industrial street about 25 yards, then looks to his right. He looks down at the cases in his hands, turns, and stands looking into the neighboring site. EXT. MASSIVE OIL TANK FARM: BROOKLYN NY WATERFRONT - DAY ABEL comes walking across the parking lot and sees ANDREW WALSH standing in the middle of the dusty parking lot. ANDREW is their longtime LAWYER/RIGHT-HAND MAN and is in his mid fifties. He is smart but tired. The oversized briefcase in his left hand seems to have permanently tilted his posture that direction. The large oil-holding tanks loom above them. The place is rusting and could use some work. As they wait, the setting has the look and choreography of an illegal transaction about to go down. ANDREW WALSH So how are we this morning? ABEL (gives a smile and nod) ANDREW WALSH Well I woke up feeling very good about this. ABEL Really? They both take a look at their watches. ABEL (CONT'D) You've been telling me not to do this for a year. ANDREW WALSH Well we are going all in... so now I love it. Gives him another slight smile. They stand around in awkward silence. Finally a late-model Ford Ltd. station wagon pulls into the lot. 6 ANDREW WALSH (CONT'D) Here we go. And a group of FIVE HASIDIC JEWS gets out. There are two guys in their twenties, two in their fifties, and one in his mid- to-late seventies. They all shake each other's hands then stand around for a beat. ANDREW WALSH (CONT'D) Should we head inside? INT. SMALL TEMPORARY OFFICE TRAILER - DAY The group is now jammed around a folding table inside the trailer. ABEL and his lawyer sit at one end facing the rest of them. Finally, the senior member of the group, JOSEPH MENDELSOHN, eyes up ABEL and leans forward. His accent is strong yet you can understand every word. JOSEPH So why is it you want this land? ABEL I'm sorry? JOSEPH It has been difficult for you to get me here, no? Over a year? ABEL Almost two. JOSEPH There are many like it around? And thanks to all these tests you paid for, we now know it is as much of a mess below the ground as it is above. My people have looked at your books, I know this is a lot of money for you, so why have you kept on us so... just for this ugly and polluted little piece of the earth. ABEL I have been looking over my fence at this property for a very long time. JOSEPH So it is just proximity? 7 ABEL No... I imagine I want it for the same reason you did. JOSEPH And what's that? ABEL To grow. JOSEPH Well, I am in the garment business so I appreciate that sentiment. But I inherited this land from my uncle. Sadly he had no children of his own. He was the one that let them build these tanks here. So this place can do little for me... in fact thanks to all those tests you've done it may be a liability. As you know I offered to lease the site to you at a fair price, but you were not interested? ABEL No. JOSEPH Why not? ABEL I like to own the things I use. JOSEPH I can see that. Long pause. ABEL So. JOSEPH Yes. This contract here, your lawyers have fully reviewed it? ANDREW WALSH Of course. JOSEPH And you have brought the money? (ABEL nodes yes) So you realize you have only thirty days to close this transaction? (MORE) 8 JOSEPH (CONT'D) No extensions, no... contingencies whatsoever. ABEL I understand. JOSEPH I want you to know this up front. I am a very fair man but I believe in honoring contracts. You will fulfill your end of this contract and the property is yours. If you can't we will keep your money and will sell it to your competitor who has been chasing us almost as badly as you have. I like you, but know that the only reason I am choosing you is because of the favorable terms of this contract. So this is business... and when you sign this.... ABEL I understand. JOSEPH Well then, let's see this money, and then I will sign these papers. ABEL turns to ANDREW and gives a slight nod. ANDREW pulls the black briefcase onto the table and opens it. It has seven hundred thousand dollars in cash in it. He slides it over to their side. The old man signs the contract and they shake hands. EXT. MASSIVE OIL TANK FARM PARKING LOT - DAY ABEL stands next to ANDREW's car. ANDREW WALSH Congratulations. ABEL It's not ours yet. ANDREW WALSH Well, it was a hell of a job just getting them to this point. It's a good day for us. Take a walk around. Enjoy it for a second. ANDREW gets in his car and drives away. ABEL looks around and decides to go for a little walk. 9 He heads out towards the tanks and walks among them. They tower seven stories above him. As he walks, he is cut off like a maze from any other visual input. (Similar to being inside a Richard Serra sculpture) Finally he emerges into some light and as ABEL looks up the camera reveals his view. It's midtown Manhattan in all its glory, just across the East River from the site. He stares at the city and we see the true depths of his ambition lock on his face. He looks to his watch. INT. 1981 MERCEDES 500 SEC ABEL drives away from New York City. We see it behind his head. INT. CAR ON MERRITT PARKWAY The terrain turns to upscale country. EXT. COUNTRY HOUSE - DAY ABEL's car drives into a long driveway through the woods. Then an architect-designed, 80's modern house, still under construction, appears. He pulls up in front. He gets out of the car and stands there looking at the large house. He walks into the house and we see more clearly that it is nearing completion. It is empty. INT. 80'S MODERN HOUSE - DAY ABEL walks over to the massive floor-to-ceiling windows and stands looking over the large pond that sits down the hill from the house. As he stares out his CONTRACTOR comes quietly walking in behind him. CONTRACTOR Hello? ABEL There he is. He walks up behind him and they both look out in silence for a beat. ABEL (CONT'D) You have done a beautiful job here. CONTRACTOR Thank you. 10 ABEL I mean it. You and your men should be very proud. CONTRACTOR We are. ABEL Most people don't have anything beautiful like this to show for their day's work. You are a lucky man. CONTRACTOR I am. ABEL Well I thank you... my family will be very happy here. CONTRACTOR I hope so. ABEL Now I think I owe you some money. CONTRACTOR That may be true. ABEL It is. ABEL reaches into his jacket pocket and takes out a thick envelope of cash. As he does we see a transformation of his personality from pleasant philosopher to a direct voice of unquestioned authority. ABEL (CONT'D) This is the seventeen outstanding. But we are arriving here in four days. It must be done. CONTRACTOR Yes. ABEL Well, I'll let you go. He says this as he leads him to the door. ABEL (CONT'D) And the tile in the master bath... 11 CONTRACTOR It's being replaced, as I mentioned to your wife, that was an error on our part. Congratulations on your home. ABEL Thank you. EXT. TOP OF HILL ON OTHER SIDE OF POND LOOKING BACK AT HIS HOUSE. - DAY ABEL stands, surrounded by massive trees in the thick forest, looking across the ridge back at his house. He is a little out of breath after climbing the hill but he looks strangely comfortable even though he is standing in the woods in a suit, tie, and dress shoes. He takes a nice cigar out of his pocket, lights it and has a real moment of joy. He looks up to the tops of the trees, then back at the new house. He exhales a long deep breath. Then we hear a large truck come rumbling in the driveway. He hears it. His face shows that he knows the sound immediately. EXT. HOUSE DRIVEWAY - DAY ABEL comes out of the woods and sees a smaller heating oil delivery truck (with the same Standard Heating Oil logo) parked in the driveway. His face shows it probably isn't great news. INT. HOSPITAL EMERGENCY ROOM - DAY ABEL comes down a hallway and then turns through a curtain into a treatment area. Sitting on the table is the young driver of the truck, JULIAN. He has a contraption on his head that is holding his jaw shut in place. His eye is black. ABEL goes over and gives him a tight hug. But then he ever so slightly checks himself and places him back down on the table. ABEL looks up and sees ANNA, standing in the corner. She is all business. They stare at each other. ANNA They broke his jaw. ABEL Have they found the truck? 12 ANNA Yes. ABEL Are you alright? JULIAN (NODS YES) ABEL Have the police been here yet? ANNA He was left in the middle of the highway without a truck, they brought him in. ABEL Can you speak? ANNA'S temper is rising. ANNA Not for a couple days... Can I speak with you outside? ANNA heads out into the hallway. ABEL looks around a beat then follows. EXT. HOSPITAL HALLWAY -SAME TIME ANNA is waiting in the hallway. ANNA Did they sign the contract? ABEL Yes. ANNA And took the deposit? ABEL Yes. ANNA So it's a go? ABEL (he gives a nice nod yes) ANNA Congratulations. 13 ABEL To you as well. ANNA We have thirty days? He nods ever so slightly yes, and she gives him a knowing smile back of equal measure. We are beginning to see that they actually work quite well together. ABEL These fucking guys. This poor kid has been working his ass off. ANNA Do you want me to speak to my Brother about this? ABEL No...don't talk to him or your father. ANNA This can't continue. ABEL It won't. ANNA It will if we don't do something. ABEL I'm meeting with the D.A. in the morning. ANNA Oh, fuck the D.A. He's more interested in coming after us than helping us. ABEL looks around in disapproval. She thinks this through and then looks in at JULIAN. ANNA (CONT'D) It's not fair to them. You're at war here. ABEL No we are not. ANNA Really... because they are. 14 ABEL Well I'm not. They look each other over. She then finally leans in and gives him a caring kiss, she walks off. ANNA And you're going out to check on the new house? ABEL Yes. He watches her walk away then looks back into the hospital room. He enters. INT. HOSPITAL EMERGENCY ROOM - DAY ABEL walks into the room and looks at JULIAN. He looks up and ABEL has trouble putting it to words. ABEL I have to get going. JULIAN gives a nod. ABEL (CONT'D) Can we get you anything? Nods no. ABEL (CONT'D) We'll pick you up when they let you out of here. They look at each other. ABEL (CONT'D) These men are cowards. Too weak to make a living... or even fight with their own hands, and too stupid to think up anything else to do. Finally he turns and leaves. EXT. ABANDONED RACETRACK PARKING LOT - QUEENS NY - DAY ABEL drives up to the drop off scene. There is the large bulk transport truck and one lone police car just sitting in the middle of the parking lot. 15 ABEL gets out, walks up, and stops to stare at the truck. A young beat cop is sitting on the hood of his car waiting. ABEL May I take it? BEAT COP Excuse me? ABEL May I take it now? BEAT COP Is it yours? ABEL Yes. BEAT COP Well, I'm sorry about that. Once the owner or an owner's representative files the claim form in Corona she's yours... again. ABEL So you guys have done what you needed to? BEAT COP Yes. ABEL And what was that? BEAT COP I'm sorry? ABEL You just said you've done what you needed to... so what was it that you've done? BEAT COP (looks back dumbfounded) ABEL Did you fingerprint or anything? BEAT COP No need, these guys always wear gloves. ABEL So you've done nothing. 16 BEAT COP I'm not exactly sure, I just got here at four. My shift is actually up. ABEL So who's coming? They stare at each other, then the truck. ABEL then climbs up and we see he knows his way around the truck. He goes up top and opens and looks into a valve, the tank is empty. BEAT COP Sorry. The cop gets in his car and prepares to drive away. BEAT COP (CONT'D) Why did they want it? ABEL They stole the $6,000 of fuel that was in it. The cop leaves. ABEL is left standing on top of the truck in the parking lot alone with his battered truck. He looks down at the open loading valve and begins to come up with an idea. The sun is setting. EXT. STANDARD HEATING TRUCK YARD - DAY A sign on the inside of the gate reads. "It's not safety first... It's safety always". The motor on the gate starts in and it opens. In drives ABEL'S car. INT. ANNA'S OFFICE STANDARD HEATING OIL - DAY ANNA is working away on an adding machine in her office. She is listening to the radio that sits behind her on the desk. We can see that she is in her comfort zone. INT. BROOKLYN ASSISTANT DISTRICT ATTORNEY'S OFFICE - DAY The ASSISTANT D.A. is sitting behind his desk as DEPUTY LANGE stands off to the side. He is only in his early thirties but with confidence and ego to spare. They know each other. A.D.A. LAWRENCE Andrew. 17

48

Above the Law

Steven Pressfield,Ronald Shusett,Andrew Davis,Steven Seagal

Action

April_1987

FADE IN: 1 TITLES SEQUENCE - MONTAGE WITH SCORE PHOTOGRAPHIC STILLS show us NICOLA TOSCANI as a city boy in various growing-up SHOTS, circa 1950's -- with street chums wearing a Wyatt Earp T-shirt, in a communion suit. Then: in his first qi, a youngster studying the martial arts; he grows, we see news clippings of him winning trophies, his name on contest posters, SHOTS of him in action. Then: Japan. Nico now in his teens, studying with real masters, being dumped on his butt, posing smiling beside Japanese martial artists, then himself as an instructor. Now: a few military uniforms enter the picture, we see security clearance documents with Nico's picture and name on them. Then Nico near draft age with an American friend NELSON FOX on some kind of training base. TITLES END. DISSOLVE TO: 2 EXT. JUNGLE - DAY Blowing through the roof of a dense jungle straight AT CAMERA, HELICOPTER ROTORS RISE to a DEAFENING PITCH. SUPER: Viet - Cambodian Border, 1972. Jungle foliage whips in the fierce downdraft as -- 3 "HUEY" GUNSHIP with US Army markings becomes discernible. The chopper lowers toward a crude landing zone hacked out of the wilderness. We GLIMPSE Cambodian troops and several machine gun positions around the LZ. 4 EXT. JUNGLE - TWO ARMED AMERICANS - DAY watch from the edge of the landing zone. We recognize Nico and Fox, now in their twenties, dressed in the nonmilitary jungle attire that usually marks a CIA "spook." 5 HELICOPTER touches down. THREE OLDER AMERICANS -- rough-looking, in their mid-thirties, all carrying some kind of medical bags -- disembark into the HOWLING ROTOR BLAST. They hit the ground nimbly, as if they've done it many times before. 6 LEADER OF THREE wears a khaki cowboy hat and packs a pearl-handled .45. 7 NICO AND FOX don't know whether to react with laughter or uneasiness. 2. FOX You ever see chemical interrogation before? Nico's eyes stay on the approaching "cowboy," KURT ZAGON, for whom he plainly feels an instant animosity. NICO These assholes are agency? 8 NICO'S POV FOLLOWS the medical bag in the cowboy's hand. 9 BACK TO FOX AND NICO FOX We're all C.I.A. But these guys are from a page that ain't on the map. 10 EXT. JUNGLE - LATE AFTERNOON Nico in the point, leading Fox and the three CIT (Chemical Interrogation Team) men down an unmarked, twisting trail. We see from Nico's gait that he is athletic, a born leader and totally at home in the jungle. 11 TRAIL - LATE AFTERNOON snakes along a ridge line, high enough to give us a view and let us know these guys are way out in the boonies. ZAGON How long till we're across the border? NICO We've been over for the past hour. The group continues along the ridge. CUT TO: 12 EXT. JUNGLE - NIGHT The sky glows from nearby bomb attacks. 13 NICO listening hard -- and even sniffing the air -- glances back at Zagon, who stands impatiently, drawing on a cigarette. ZAGON What are you looking at, hotshot? NICO (indicates cigarette glow) Why don't you light a bonfire? 3. Irritably, Zagon ditches his smoke. ZAGON Just drive the taxi, ace. As the party moves out, Fox flashes Nico a look as if to say, "Don't fuck with these guys." 14 EXT. CAMBODIAN BASE CAMP - NIGHT A pocket-fortified position. Armed Cambodian lookouts, several hooches, radio equipment. Nico leads the party in through the perimeter. Zagon eyes the layout like he's seen 100 of them. Fox indicates a hooch. FOX (to Zagon) They're in there. The three CIT men start for the hooch. Nico casts a concerned glance around at the base camp troops, looking sloppy as hell. NICO I don't trust these yo-yo's. 15 FULL SHOT - BASE CAMP We see Nico moving like a shadow from one defensive position to another, checking the perimeter. We can vaguely hear him ROUSTING the Cambodian lookouts, speaking in dialect. 16 DEFENSIVE POSITION - NICO hears a SOUND, looks back toward the hooch. 17 NICO'S POV - HOOCH Two Asian prisoners, stripped to the waist, babbling in- coherently, are dragged out the back by a pair of Cambodian guards and hustled off into the darkness. VOICES can be heard inside the hooch. A single lantern glowing inside gives the hut a creepy, frightening aspect. 18 BACK TO NICO He's extremely uneasy about what's about to happen inside the hooch. 19 INT. HOOCH - CLOSE ON RICKETY CARD TABLE - NIGHT on which are spread a terrifying array of syringes, drug vials and surgical instruments. Zagon's hand picks up a hypodermic, squirt-tests it. 4. 20 TWO ASIAN PRISONERS are on their knees, shirtless, handcuffed with heavy nylon tape to a stake driven into the ground in the center of the hooch. One of the subordinate CIT men moves in, grabs the first prisoner by the shoulders. Zagon injects the first prisoner. Instantly the man begins shivering, convulsing. Zagon watches with professional satisfaction. ZAGON That's the nice thing about modern technology. You don't have to wait for results. He moves close to the first prisoner. ZAGON (to first prisoner) Where is it, Charley? You got six tons of our shit -- The prisoner tries to speak, but he's in such torment all that comes out is a blood-curdling wail -- 21 EXT. BAST CAMP - NICO hears this horrifying cry. He starts swiftly toward the hooch -- 22 INT. HOOCH - INTERPRETER has moved as close to Zagon and the first prisoner as a fight referee to two boxers. The prisoner is convulsing wildly. Zagon grabs him fiercely by the hair. ZAGON Don't you die on me, fucker -- FOX (from the side) What the hell's wrong? ZAGON (throws the prisoner down) This pussy can't hold his liquor. The first prisoner is plainly in a death spasm. 23 NICO enters at this point. He takes in the scene quickly, moves to a spot beside the entrance. Zagon doesn't look at Nico, but it's plain he is aware of Nico's presence. It is as if he wants to prove something to this muscular kid -- and prove it to the others, too. ABOVE THE LAW - Rev. 4/17/87 5. 24 FIRST PRISONER dies in agony on the ground. 25 SECOND PRISONER watches with eyes like flint. He is in his mid-forties, scarred, missing several fingers. Probably a colonel or higher, he looks like he's been fighting these round-eyes since the French in the 50's. He is plainly one tough customer. The second prisoner meets Zagon's eyes, as if daring him to use the drugs on him, too. Zagon eyes the prisoner with barely contained hatred. The prisoner doesn't back down an inch. ZAGON (to second prisoner) So my little doctor bag doesn't * scare you, eh? Well I don't need * it to open your yap. * Zagon reaches to a scabbard on his Western belt, pulls out a fearsome serrated blade -- a cross between a bowie knife and a scalpel. He steps toward the prisoner, displaying the blade in the lantern light. 26 NICO watches impassively. ZAGON (O.S.) (to prisoner) Where's our load, you sack of slime? What did you do with my shit? -- 27 ZAGON punches the prisoner full in the face, holding the knife handle in his fist to double the force of the blow and to terrify him with the proximity of the blade. The prisoner crashes sideways, face bloody -- ZAGON I'm gonna teach you good. I'm gonna teach you never to fuck with my opium -- 28 FOX AND TWO CIT MEN seem to know exactly what this is about. 29 NICO didn't know, but the new kid on the block is catching on fast. Nico has difficulty containing his emotion. Zagon stands over the prisoner, as if daring him to get back up. 6. The prisoner gets back to his knees, bloody eyes meeting Zagon's with defiance -- ZAGON (to prisoner) You're a hard nigger, aren't you, boy? You took it from the Chinks... you took it from the French. You'll be fucked if some Yankee peckerwood's gonna start your gums flapping -- Nico watches Zagon move the knife blade closer to the prisoner. ZAGON -- Well, you're gonna chirp for me, tough guy. You're gonna sing like a choir -- Nico takes a step toward Zagon. NICO What the fuck does this have to do with military intelligence? ZAGON Your orders are 'assist and observe' cherry -- Zagon turns to face Nico -- FOX (to Nico) Back off, partner -- Zagon turns from Nico. He moves close to the second prisoner, close as a lover, displaying the blade in the lamplight. ZAGON (to second prisoner) I'm gonna start carving at your ankles. We'll throw your feet in that box right over there. Then I'm gonna take off your arms -- One of the CIT men yanks the prisoner's leg forward, clamping it to the ground with his hands. The prisoner still hasn't flinched. He seems as locked into this dance of death as Zagon. NICO (can't take much more) Fox -- FOX Shut up, Nico. 7. ZAGON You can disappear as easy as this slope, kid -- Zagon starts for the prisoner. Here comes the blade. Suddenly -- Nico grabs Zagon's shoulder. Zagon spins with terrifying quickness, cocking the blade to slash at Nico. Before Zagon's blow even starts, Nico slams him with a ferocious elbow shot right under the jaw. Zagon literally comes off the ground, Nico's blow is so terrific. Zagon drops in an unconscious heap. In a flash the two other CIT men move to jump Nico. Smash! The second CIT man is swallowing his teeth. Fox leaps in the way of the third, shoves Nico out of the hooch -- 30 EXT. HOOCH - NIGHT Fox wrestles Nico away from the hooch -- FOX Are you crazy?!! (as Nico jerks free) What the fuck's the matter with you?!!! Nico is shaking with rage and fear. He takes several steps away from the hooch, then draws up abruptly. Nico pulls his .45 from his holster, pops the safety, starts back for the hooch -- FOX Nico! NICO I don't cap him now, he's gonna do me later. The last CIT man appears, gun drawn, in the hooch doorway. Fox grabs Nico, hauls him back again -- FOX I'll cover this. Get back to the L.Z. -- (as Nico resists) -- I'll fix it! Get out! Get the fuck outa here! The CIT man calls out to the Cambodian troops, in dialect, pointing at Nico. The soldiers start toward Nico, as if to seize him. Fox, too, starts yelling to the troops in dialect, apparently countermanding the orders of the CIT men. The troops, confused, hold up for a moment. FOX (to Nico) I'll call for a chopper... get outa here! ABOVE THE LAW - Rev. 4/29/87 8. Nico gives a last look, turns and takes off down the jungle trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES. Nico disappears into the darkness. FADE TO BLACK. FADE IN ON: 31 CHURCH STEEPLE - DAY TILT DOWN to reveal St. Elizabeth's, a huge parish church in an Italian/Latino neighborhood in Chicago. The church looks festive, we see a few formally-dressed people hurrying in, then a squad car pulls up. The cops run upstairs as if they're late -- 32 INT. ST. MARY'S - DAY A baptism in progress. Nico -- 15 years older than when we last saw him, is standing beside SARA, his lovely wife * -- watching a 60-ish priest, FATHER GENARRO, finish the final ritual on Nico's infant son Julian. The priest straightens the baby's baptismal garment, tugging the cloth around the little fellow's crotch. Smiles from friends and relatives clustered proudly around. Several cops, some in uniform are amongst them. Nico grabs his son from Genarro with a theatrical protective motion, tugs up the little boy's garment, kisses him smack on the bare butt. Laughter from all as Nico holds the lad high and proud. He puts his arm around Sara. * 33 EXT. NICO'S HOUSE - BACK YARD - DAY Huge trays of Italian delicacies are carried out into the sunlight by several "old country"-type women. Wine is poured from generous carafes. Friends and relatives are everywhere, laughing and enjoying themselves; apparently the party has come here straight from the church. Presents for the new baby are being opened by Nico's wife, Sara, * and Nico's mother, ROSA. SARA * Mama, look at this -- all done by hand. Sara lifts a cute baby outfit. * ROSA Nico had one just like this. Thank you, Cora. Cora, an aunt, proudly smiles. 34 NICO Holding the baby. Realizes that his little son has pooped in his pants. He turns for help to Sara. * ABOVE THE LAW - Rev. 4/29/87 9. NICO I think we got a little problem here. SARA * (winking at the women) I carried him for the last nine months, you take him for the next diaper. Assorted uncles and aunts watch with amusement as Nico tries awkwardly to deal with the problem. NICO (to all) That's what you get for not marrying a Sicilian. Sara lets Nico struggle a moment, then takes over. * SARA * My brave husband. He's not afraid of thieves and muggers, but he's terrified when his son poops in his pants. Toscani relatives look on with approval at the happy couple and their baby. 35 ANOTHER PART OF BACK YARD Three Chicago cops, LUKICH and HENDERSON in plain clothes and LIEUTENANT STROZAH in uniform wolf some Italian goodies while eying the group of celebrating relatives. LUKICH (indicates Nico across the patio) Toscani holds the record... for havin' more relatives under federal indictment than any other cop in Chicago. 36 TWO OF NICO'S UNCLES BRANCA and LUIGI, who look like they have been on the other side of a cop's work, are in turn eying Lukich and Henderson -- plus a cluster of other cops in civvies hovering around the buffet table like vultures. BRANCA Look at these stiff dicks. A free meal and they come out like flies. 37 STREET OUTSIDE NICO'S HOUSE - DAY An unmarked police car pulls up. DOLORES JACKSON ("Jax"), another undercover cop, tall, black, and elegant, enters the driveway leading to Nico's back yard -- ABOVE THE LAW - Rev. 4/29/87 10. 38 BACK YARD Jackson enters. She's impeccably dressed and radiates intelligence. She's greeted warmly by Lukich, Henderson, Strozah, and a couple of other cops. STROZAH I didn't do nothing, Counselor. I'm clean. JACKSON Eight more days, Lieutenant. You better start preparing your defense. HENDERSON Baby, I'm gonna put you on retainer. LUKICH You passed the bar? I make it a point never to pass the bar. Jackson sees Nico and Sara across the yard, waves and * starts toward them -- 39 BACK TO BRANCA AND LUIGI Luigi indicates Jackson as she crosses the patio. LUIGI Now this cop. She can bust me any day. 40 NICK, SARA AND ROSA (NICO'S MOTHER) * Jackson comes up, makes a theatrical appreciation of Nico's stylish attire, kisses Sara and greets Nico's mom warmly. * She starts oohing and ahhing over the baby. 41 VARIOUS SHOTS Young kids playing on the lawn, more guests arriving, Father Genarro dancing with an elderly matron. We see that Nico's friends are an electric mix. Cops, art-y types, people of varied ages and professions. 42 BACK TO JACKSON Holding the baby. JACKSON Look at this little bundle. What a cupcake! NICO You give up being the D.A. and hurry up and find the right fella, Jax. You might have time for one of these yourself. ABOVE THE LAW - Rev. 4/29/87 10A. SARA * Nico, will you let the woman catch her breath? 43 JAPANESE WOMAN (DR. WATANABE) * moves in shyly on the fringe of the cluster. While Jackson and Sara continue their "mom" talk, Nico edges off toward * Watanabe, shaking her hand with real pleasure. * NICO Watanabe! Say hey, Doc. They begin jabbering in Japanese. We will meet Watanabe again later. She's a brainy-looking * woman -- reserved, a bit mysterious -- who talks quietly and * intensely in Japanese with Nico like they're old friends who go back a long way. ABOVE THE LAW - Rev. 4/17/87 11. * 44 EXT. TOSCANI FRONT PORCH - LATER Branca, Luigi and several other Toscani patriarchs smoke cigars and sip beer in a cluster. Nico holds Julian. BRANCA You're a father now. Are you gonna take me up on my offer? NICO I'm happy, Branca. I like what I do. Branca glances seriously to the other uncles, then, with a smile, pats Nico's cheek. BRANCA Look at this face! Six-foot-four, pretty as the statue of David. And he's a cop! Branca laughs. From a distance, Watanabe watches, missing nothing. Across the porch, Lukich and several other cops observe and try to listen. BRANCA This face should be sticking up from a white shirt. It should be a banker, a businessman, someone who earns a decent living for his family! NICO We're happy. LUIGI Nickels and dimes. Your wife's a woman with class. What did she run -- a ballet school...? NICO An art gallery. BRANCA Same thing. She wants a husband who carries a briefcase, not a shoulder holster. Jackson watches Nico trying to keep his good humor. This is serious stuff, despite the light tone. Branca's eyes meet Nico's. ABOVE THE LAW - Rev. 4/29/87 12. BRANCA You wanted to get shot, you got shot. You wanted to get knifed, you got knifed. You've had your fun. Basta! Enough! UNCLE GUISEPPE Let your family help you, Nico. NICO (lightly) Uncle Gio, that kind of help I don't need. I'd rather get shot by someone I don't know. Jackson and Lukich crack up. The others follow. For the moment, the tension is dispelled. 45 INT. NICO'S HOUSE - UPSTAIRS - DAY Nico comes out of the bedroom, adjusting his shoulder holster, tugging his jacket over it. He sees his mother standing near the head of the stairs, just outside another bedroom door. Concern on her face. NICO What are you doing in here, Mama? Go join the party... Nico comes down the hall, tucking in his shirt -- stops to give his mother a squeeze. O.S. from the bedroom: the sound of QUIET SOBBING. Nico glances in. 46 INT. NURSERY - DAY * Sara and another woman sit on the bed, comforting a 60-ish * grandmother Zingaro, who is crying. Nico comes in. He kneels before MRS. ZINGARO, concerned. NICO Mrs. Z. (tries to be light) Is this a way to act on the day of my son's baptism? The poor woman can't meet Nico's eyes. SARA * It's Lucy. She's gone again. Nico glances from Sara to Rosa. * Mrs. Zingaro shakes her head, choked with pain. Nico holds her, looking over her shoulder toward Sara. * NICO It's that kid from the bar on Damen? The one with the drugs? ABOVE THE LAW - Rev. 4/29/87 13. Sara doesn't know. Nico does. He comforts Mrs. Zingaro * another moment, then stands. NICO Listen to me, Mrs. Z. Are you listening? (as the woman nods miserably) I have to go to work now. But I'll come by tonight. You'll be at the bakery? MRS. ZINGARO Si, Nico. NICO We'll talk, okay? We'll find a way to take care of this. Nico kisses Mrs. Z. He takes Sara's hand in goodbye, * starts for the door. 47 EXT. NICO'S HOUSE - DAY Festivities still in progress. Nico passes through, nodding, thanking people for coming, taking farewells. Jackson waits for him, glancing at her watch. 48 INT. UNMARKED CAR - MOVING Nico is driving. Jackson checks in on the radio. JACKSON (into mike) Unit Ten Tango X-ray. We're up and clear. 49 EXT. VARIOUS STREETS - UNMARKED CAR moves into the central city. 50 POV THROUGH CAR WINDOWS - STREETS - MOVING Bad-looking hombres on stoops, street corners. NICO (O.S.) I promised the Lieutenant, I'm gonna take care of you. Broken windows and lost kittens for your last week. WIDEN SHOT to include Nico and Jackson. JACKSON And then you're gonna come visit me in a nice, clean, air conditioned office -- ABOVE THE LAW - Rev. 4/29/87 14. 51 EXT. STREET - BUCKSHOT'S LIQUORS - DAY * The unmarked car pulls up outside a liquor store and bar. 52 INT. UNMARKED CAR as it parks. Jackson gives Nico a look: "What are we stopping at this dive for"? NICO I gotta take a quick leak. Stay put. He gets out of the car, starts for the bar. 53 INT. BUCKSHOT'S LIQUORS - DAY * Dim, smoke-choked, dangerous characters at the bar. Nico enters. ABOVE THE LAW - Rev. 4/17/87 15. His silk shirt and sport coat clash with the druggy, working- class attire of the bar's denizens. Hard faces check him out subtly, ignore him. Nico approaches the bartender, shows a photograph. The bartender (BAD DUDE) shakes his head. BAD DUDE * Why the fuck don't you assholes * leave me alone? * He continues mouthing off to Nico. Nico moves to one stool, * then another; the same exchange is repeated. 54 FAVOR ONE PARTICULARLY TOUGH CUSTOMER * A hulking bruiser with an earring. He watches as -- 55 NICO approaches him. Three ARMY JACKETS look up sullenly. Beefy arms, tattoos, greasy mustaches. NICO Gentlemen. One Jacket treats him like he doesn't exist, and begins to pick his nose. FIRST ARMY JACKET (to others) I thought this was a kosher bar. They didn't allow no pork in here. The two others snicker, then so does the rest of the bar. Nico holds out a photo of a young girl (Lucy). NICO You seen this girl? SECOND ARMY JACKET I seen the top of her head. NICO That's witty. ABOVE THE LAW - Rev. 4/17/87 15A. Nico takes a step away, as if moving on to the next stool. From behind the bar, the bartender swings a * sawed-off baseball bat into view. Other bodies move * ominously toward Nico. Suddenly he spins and, in a move * almost too quick to see, he kicks the entire stool right out of its floor socket. Beer bottles fly, bodies crash. Nico slams the First Jacket in the face so hard it looks like his nose has exploded. Blood sprays onto Nico's silk shirt. He hauls the Second Jacket upright, nails him with a shot that crushes three ribs. A savage elbow blasts the third, head over heels, out over the bar and careening into the sink. In three seconds 600 pounds of fat has been put in cold storage. The rest of the bar is on its feet. Four huge men confront Nico. Now five. Six. Seven. Nico's jacket and shirt are ripped, blood spat- tered; his eyes are like an animal's, daring the men -- NICO Come on. Show me something. No one moves. ABOVE THE LAW - Rev. 4/17/87 16. * NICO I get it. It's a gay bar. Is that it? The men, led by the Bad Dude, are shifting to surround Nico. But no one attacks. Nico has Lucy's photo in his hand. He jams it in one man's face, then another's, slap- ping each one violently, spitting, raging for them to attack. NICO You seen the top of her head, huh? Like I seen your mother's -- (to another guy) Or was it yours? (to a third) Or yours? (slaps him fero- ciously) I couldn't tell, it looked like her ass -- Nico rages like a beast. NICO Come on, motherfuckers. Do it. Do it! One man -- Nico lunges for the Bad Dude, grabs him like he's about to tear his face off -- BAD DUDE Upstairs! (in terror) She's upstairs! 4-D! Nico drags the Dude from behind the bar. Holding him, Nico turns, glowering, to all. NICO You cocksuckers are brave enough with 14-year-old girls. 55A INT. FLOPHOUSE HALLWAY Nico throws Bad Dude down the hallway in front of him. 56 INT. FOURTH-FLOOR APARTMENT - DAY The door bursts in from a jackhammer kick. Nico stands in the hallway. Bad Dude stands next to him; hurt, shaking. NICO (to Bad Dude) Get outta here. We look in the apartment. ABOVE THE LAW - Rev. 4/17/87 16A. REVERSE - NICO'S POV * A young PIMP -- quite handsome in a boyish way -- stares up in panic from a grimy mattress on the floor. Little LUCY is in bra and panties, strung out, 14 and beautiful. Syringes and free-base paraphernalia are on a table. NICO IN DOORWAY * NICO (to Pimp) This ain't your day, kid. Nico comes in, eyes taking in everything. ABOVE THE LAW - Rev. 4/17/87 17. PIMP Wait, man. It ain't like it looks -- Nico grabs the Pimp by the scruff of the neck, lifting him bodily. Lucy starts wailing in horror. Nico smashes the Pimp's face down into a mirror with white powder on the table -- NICO That's two years. He jerks the Pimp back, rips open a drawer. More pills and glacene bags. NICO That's four. (twisting the Pimp's neck toward Lucy) She'll get you eight more. And I'm just warming up -- Lucy is crying hysterically. Nico flings the Pimp, face * bloody, toward the open door. *

49

Abyss, The

James Cameron

Action,Adventure,Sci-Fi,Thriller

August_1988

EXT. OCEAN/UNDERWATER -- DAY 3 Blue, deep and featureless, the twilight of five hundred feet down. PROPELLER SOUND. Materializing out of the blue limbo is the enormous but sleek form of an Ohio-class SSBN ballistic missile submarine. INT. U.S.S. MONTANA -- DAY 4 In the attack center, darkened to womb-red, the crew's faces shine with sweat in the glow of their instruments. The SKIPPER and his EXEC crowd around BARNES, the sonarman. CAPTAIN Sixty knots? No way, Barnes... the reds don't have anything that fast. BARNES Checked it twice, skipper. It's a real unique signature. No cavitation, no reactor noise... doesn't even sound like screws. He puts the signal onto a speaker and everyone in the attack room listens to the intruder's acoustic signature, a strange THRUMMING. The captain studies the electronic position board, a graphic representation of the contours of the steep-walled canyon, a symbol for the Montana, and converging with it, an amorphous trace, representing the bogey. CAPTAIN What the hell is it? EXEC I'll tell you what it's not, it's not one of ours. BARNES Sir! Contact changing heading to two-one-four, diving. Speed eighty knots! Eighty knots! EXEC Eighty knots... BARNES Still diving, depth nine hundred feet. Port clearance to cliff wall, one hundred fifty feet. FRANK (simultaneously) Still diving, depth nine hundred feet. Port clearance to cliff wall, one hundred fifty feet. Tension builds in the attack room as the Montana surges to intercept the intruder. The exec tensely watches the vector-graphic readout for the side- scan sonar array. The sub is running uncomfortably close to the cliff walls. EXEC (low, to Captain) It's getting tight in here. CAPTAIN We can still give him a haircut. Helm, come right to oh six niner, down five degrees. HELMSMAN Coming right to oh six niner, sir. Down five degrees. NAVIGATOR Port side clearance one hundred twenty feet narrowing to seventy-five. Sir, we have a proximity warning light. EXEC That's too damn close! We've gotta back off. BARNES Range to contact, two hundred. Contact junked to bearing two six oh and accelerated to... one hundred thirty knots, sir! EXEC (really freaked now) Nothing goes one thirty! Suddenly the control room lights dim almost to blackness. EXT. U.S.S. MONTANA 5 We see only the effect, not the source, as a large diffuse light passes rapidly under the sub's hull. Moments later a shockwave, like an underwater sonic boom, impacts the sub, slamming it sideways. INT. U.S.S. MONTANA 6 The bride crew are knocked off their feet, as the ship is buffeted. EXEC Turbulence! We're in its wake! SIRENS. Everyone shouting at once. The power flickers low. CAPTAIN Helm, all stop! Full right rudder! HELMSMAN All stop. Full right rudder. Hydraulic failure. Planes are not responding, sir! Power returns in time for the sonarman to get a glimpse at the side-scan display... AS THE SHEER CLIFF WALL LOOM BEFORE THEM. HELMSMAN Hydraulics restored, sir. EXT. U.S.S. MONTANA 7 The cliff wall materializes out of the blue limbo off the port bow with nightmarish slow-motion. The sub slams into it with horrific force, scraping along and bouncing off. One tail stabilizer is sheared off and the big screw prangs the wall with an earsplitting K-K-KWANG! INT. PORT TO TORPEDO ROOM 8 With the outer tube-doors torn off, seawater slams in, busting the inner hatches. Two-foot thick columns of water, like fire-hoses of the gods, blast into the room. Everything vanishes instantly in white spray. INT. CONTROL RM/ATTACK CENTER 9 Everyone is hurled off his feet. The planesman flights to recover control of the yoke. CAPTAIN Collision alarm! Collision alarm! Lighten her up, Charlie! NAVIGATOR The torpedo room is flooded, sir! CAPTAIN Blow all tanks! Blow everything! HELMSMAN Passing twelve hundred feet... EXEC Blowing main tanks! HELMSMAN Twelve hundred fifty feet... EXT. MONTANA 10 The great sub is being hauled down by the mass of its flooded bow section, its flanks rushing past us like a freight train headed for Hell. INT. MONTANA CONTROL ROOM 11 The command crew fights futility for control, everyone shouting and terrified. EXEC Main forward tanks ruptured! HELMSMAN Passing thirteen hundred feet... EXEC Too deep to pump auxiliaries! CAPTAIN All back full! All back full! HELMSMAN Answering all back full. Passing thirteen hundred fifty feet... fourteen hundred... fourteen fifty... The Captain locks eyes with the Exec amid the din... CAPTAIN We're losing her. Launch the buoy! The Exec opens the door to a small box and punches a button. A red light comes on. The Captains takes a deep breath. EXT. MONTANA 12 A tiny transmitter is ejected from the sub's hell and begins its long ascent to the surface. A second later the sub slams down like a piledriver onto a ledge, tearing open its pressure hull. INT. MONTANA 13 VARIOUS QUICK CUTS, just flashes and impressions, as... Seawater blasts down the corridors -- Explodes across the control room, hurling men like dolls -- Floods the cavernous missile bay in seconds -- Bursts through hatches into the reactor room -- Blasts men OUT OF FRAME in a micro-second. EXT. OCEAN/UNDERWATER 14 In the cobalt twilight we see the Montana slide down the sea cliff, its hull SCREECHING like the death agonies of some marine dinosaur. Descending in an avalanche of silt, it finally disappears into the blackness below... a blackness which continues almost straight down, 20,000 feet to the bottom of the Cayman Trough. The abyss. EXT. OCEAN SURFACE -- DAY 15 Above, in the world, the Caribbean rolling gray under a stormy sky. The Montana's emergency buoy pops to the surface, transmitting. CUT TO: EXT. OCEAN/20 MILES AWAY -- DAY 16 LONG LENS SHOT: three massive Navy Sea King helicopters thundering straight at us, FILLING FRAME. REVERSE, as they barrel OVER CAMERA toward a lone civilian ship... an ugly but very sophisticated deep-sea drilling support ship, the BENTHIC EXPLORER. It is a twin-hulled monstrosity with a central opening in its deck, around which crouch enormous cranes, winches and other arcane equipment. The first Sea King settles onto the helipad, disgorging a contingent of Naval officers, technicians, and a squad of armed seamen. A pantomime in the rotorwash, we see the Benthic Petroleum "company man" KIRKHILL greeting COMMODORE DEMARCO, the on-scene commander. INT. BENTHIC EXPLORER/BRIDGE -- DAY 17 The bridge is state-of-the-art, with computers and sophisticated navigation and communications gear, looking like mission control with its bank of video monitors. The Drilling Operations Supervisor, LELAND MCBRIDE, and BENDIX, the crew chief, watch the invaders swarming the deck below. MCBRIDE Does not look good at all. TIGHT ON VIDEO SCREEN (MINUTES LATER) showing divers working in total blackness around some sort of installation on the bottom of the ocean. They move through the harsh floodlights in dreamlike slow motion, looking like space-suited figures with their helmets and umbilical hoses. DEMARCO (V.O.) No light from the surface. How deep are they? MCBRIDE (V.O.) Seventeen hundred feet. WIDER, showing the Navy contingent crowding the control room. DeMarco is hardcore military, brusque and efficient. Kirkhill is a small man with pinched features, wearing a shirt and tie, which on a drill ship means company man and/or dickhead. DEMARCO I need them to go to over two thousand. KIRKHILL They can do it. (to McBride) Get Brigman on the line. CUT TO: EXT. UNDERWATER -- DAY (TOTAL DARKNESS) 18 1700 FEET BELOW. A submersible oil-drilling platform, DEEPCORE II, an island of light in the vast blackness. Its main framework connects two "tri- modules" consisting of three cylinders each. These contain living and work areas in a pressurized environment. An umbilical cable, thick as a man's thigh, runs up from the oil rig into the darkness, to the Benthic Explorer at the surface. In a bubble-like dome port window we see the rig foreman, or "toolpusher," BUD BRIGMAN. He's talking (via headset) with two divers working outside... 'CATFISH' DE VRIES, AND LEW 'BIRD-DOG' FINLER. BUD Hey, you guys are milking that job. CATFISH (Kentucky drawl) That's cause we love freezin' our butts off out here sooo much, boss. OMITTED 19 INT. DRILL ROOM 20 Bud turns from the window and crosses the drill floor. The working heart of the rig. THUNDEROUS MECHANICAL ROAR. The drill crew, in hardhats and mud- plastered overalls, tend the massive spinning turn-table in the center of the chamber. The semi-automated system requires only five men to operate. The others are LUPTON MCWHIRTER, DWIGHT PERRY, JAMMER WILLIS, and TOMMY RAY DIETZ. Bud hears his names called above the din by Jammer, a massive roughneck/diver who stands a good head taller than the rest. JAMMER (yelling) Bud! Hippy's on the bitch-box. It's a call from topside. That new company man. BUD Kirkhill? That guy doesn't know his butt from a rathole. Hey, Perry! One of the roustabouts, a wiry Texan, turns to him. BUD Do me a favor and square away the mud hose and those cable slings. This place is starting to look like my apartment. Perry chuckles and sets to the task cheerfully. Bud EXITS, ducking his head through a low watertight hatch. INT. CORRIDOR/TOOLPUSHER'S OFFICE 21 Bud tromps down the narrow corridor, his work boots gonging on steel. P.A. (HIPPY'S VOICE) BUD, PICK UP THE TOPSIDE LINE URGENT. BUD I'm coming. Keep your pantyhose on. He enters his office, a tiny cubicle with stacks of paperwork, dust- gathering tech manuals and waterstained Penthouse fold-outs. He picks up the phone... punches down a line. BUD Brigman here. Kirkhill? What's going on? (pause) I am calm. I'm a calm person. Is there some reason why I shouldn't be calm? HOLD ON Bud's expression, darkening, as he listens. INT. CORRIDOR/CONTROL MODULE 22 The control module is a long narrow cabin like the inside of a Winnebago, packed with instrumentation. At the end is a small bay with multiple viewports. Outside, at a 'Christmas tree' pipe installation, a lone diver can be seen welding. He is accompanied by a large submersible, FLATBED, and by a Remotely Operated Vehicle, or ROV, call LITTLE GEEK. Little Geek is an underwater robot which operated on the end of a cable-like control TETHER. It has a single video 'eye' in front, by which the operator pilots the little machine. The rig's ROV pilots is ALLEN 'HIPPY' CARNES, who stands by the window twiddling his joysticks and drinking coffee. His pet white rat, BEANY, crawls contentedly around his shoulders. The door BANGS OPEN. Hippy jumps, slops his coffee. Bud strides in. Not calm. BUD Son of a bitch. He kicks a chair out of the way and slams his palm down on a switch marked DIVER RECALL. A SIREN, blasting through the water from a big hydrophone loudspeaker. BUD All divers. Drop what you're doing. Everybody out of the pool. EXT. DEEPCORE/CHRISTMAS TREE A22 Flatbed's pilot, LISA 'ONE NIGHT' STANDING, can be clearly seen behind a bubble canopy. She is a no-nonsense lady who holds her own in the mostly male environment by being one of the best submersible drivers in the business. She controls a hydraulic manipulator arm, assisting the diver, ARLISS 'SONNY' DAWSON, in his work. Little Geek hovers around them like a tiny helicopter. One Night moves the Flatbed arm to Sonny and hands him the pipe. ONE NIGHT Here you go, hon'. SONNY Just in time, sugar. They react to Bud's recall, looking toward him up in the control module. ONE NIGHT Dammit, we just got out here. SONNY There was a time when I would have asked why. One Night makes a grab for his butt with the manipulator claw, which he narrowly avoids. CUT TO: EXT. DEEPCORE/UNDER SUB-BAY 23 Flatbed moves underneath the rig, a few feet above the seafloor, with Sonny riding on its top deck. It passes under a lit opening and rises toward the surface of the water in the chamber above. Little Geek follows like an obedient dog. INT. SUB-BAY/MOONPOOL 24 The opening is called the moonpool, and Deepcore's submersibles are launched through it. From inside the sub-bay it looks just like a swimming pool. Flatbed surfaces, nearly filling it. The chamber also contains CAB ONE, a similar submersible. Jammer, Perry, and some of the other drill-room boys are helping the divers out of the water. The water at this depth is only about six degrees above freezing, and these folks are cold and prune- fingered. Finler pulls off his demand-helmet, revealing a round, boyish face. FINLER What's goin' on? How come we got recalled? SONNY Hell is I know. One Night jumps 'ashore' from Flatbed's broad deck and joins them. Catfish is unzipping his bulky dry-suit. CATFISH Just follow standard procedure, will ya... flog the dog till somebody tells us what's happening. JAMMER Hey, Catfish, I'll sell you my October Penthouse for twenty bucks. ONE NIGHT Save you money, darlin'... the pages are all stuck together by now. Bud enters, approaching the group. JAMMER What's goin' on, Boss? BUD Folks, I've just been told to shut down the hole and prepare to move the rig. SONNY She-hit. BUD We're being asked to cooperate in a matter of national security. Now you know exactly as much as I do. So just get your gear off and get up to control. There's some kind of briefing in ten minutes. CUT TO: INT. DEEPCORE/COMMAND MODULE 25 The whole rig crew is somehow jammed into the room for the video briefing. DeMarco is on the main monitor, with his aides and Kirkhill visible b.g. DEMARCO At 09:22 local time this morning, an American nuclear submarine, the USS Montana, with 156 men aboard, went down 22 miles from here. There has been no contact with the sub since then. The cause of the incident is not known. PAN AROUND the reactions of the various drill crew members... shocked, hushed, curious. DEMARCO Your company has authorized the Navy's use of this facility for a rescue operation. The code name is Operation Salvor. ONE NIGHT You want us to search for the sub? DEMARCO No. We know where it is. But she's in 2000 feet of water and we can't reach her. We need divers to enter the sub and search for survivors, if any. Bud's scowl has been deepening since DeMarco started to talk. BUD Don't you guys have your own stuff for this type of thing? DEMARCO By the time we get our rescue submersible here the storm front will be right on us. But you can get your rig in under the storm and be on- site in fifteen hours. That makes you our best option right now. Hippy, born suspicious and recently graduated to paranoid, leans forward... HIPPY Why should we risk our butts on a job like this? KIRKHILL I have been authorized to offer you all special- duty bonuses equivalent to three times normal dive pay. CATFISH Hell, for triple time I'd crawl through razor blades and shower off with lime juice. FINLER I'm here to tell ya', you could set me on fire and call me names. BUD Look, I don't know what kind of a deal you guys worked out with the company, but my people are not qualified for this... they're oil workers. DEMARCO A four-man SEAL team will transfer down to you to supervise the operation. BUD You can send down whoever you like, but I'm the toolpusher on this rig, and when it comes to the safety of these people, there's me... then there's God. Understand? If things get dicey, I'm pulling the plug. KIRKHILL I think we're all on the same wavelength, Brigman. Now let's get the wellhead uncoupled, shall we? CUT TO: INT. DEEPCORE/COMMAND MODULE AND CORRIDOR 26 Bud stands beside the hatchway as the others file out toward their tasks. They comment gravely as they pass... JAMMER When Lindsey finds out about this, it's not gonna be a pretty sight. ONE NIGHT They're going to have to shoot her with a tranquilizer gun. CUT TO: EXT. OCEAN -- DAY 27 A single Navy Sea King churns through the rain under massive thunderheads. The sea below is whipped by the storm. INT./EXT. SEA KING 28 PANNING ALONG BOOTED FEET, four pairs of black military size twelves line up, onto... a pair of Charles Jourdans fives under shapely ankles. WIDER, revealing the four-man team of Navy SEALs. And a slender woman in her early thirties. She's attractive, if a bit hardened, dressed conservatively in a skirt and jacket. Meet LINDSEY. Project Engineer for Deepcore. She's a pain in the ass, but you'll like her. Eventually. She's holding on grimly, sitting crammed in with the SEALs and a bunch of gear, getting tossed around by the storm. The SEALs are dressed alike in black fatigues. They are muscular, finely-tuned and extremely dangerous special-forces types. The leader of the SEAL team, LIEUTENANT COFFEY, makes his way forward to the cockpit. The pilot is white-knuckling his stick, trying to hold the great beast of a helicopter in position. Through the windshield, the deck of the Benthic Explorer can be seen below, pitching in a violent sea. PILOT No way I'm putting her down. I shouldn't even be flying in this shit. COFFEY (cool) Just hold it over the deck. Coffey goes back to the crew deck, moving easily in the bucking craft. He nods to the others SEALs, MONK, WILHITE, and SCHOENICK. In the open side door, Wilhite clips a 100 foot nylon rope to the airframe and throws out the coil. One by one the shoulder the gear-bags, grab the rope, and step out. Lindsey stands swaying in the chopper door, watching the SEALs fast-roping to the deck. One, two, three. Coffey looks at her. COFFEY You want to be on that ship, there's only one way it's going to happen. He's sure she won't go for it. It's his certainty that gets her. She sets her jaw. Opening her purse she takes out a small plastic bag, puts her shoes and purse in the bag, and grips the bag in her teeth. Then grabs the rope and slides down. EXT. BENTHIC EXPLORER/HELIPAD 29 Swinging wildly in the wind like a human pendulum, Lindsey fast-ropes forty feet to the deck. She steps away an instant before Coffey hits behind her. Lindsey crosses the rainswept deck with athletic strides. Her nylons are ruined. An air-crewman in the chopper lowers two additional equipment cases using the rescue sling. The SEALs catch them as they swing radically across the deck. They Navy chopper banks and seems to scurry away before the mounting storm. CUT TO: EXT. OCEAN BOTTOM 30 BLACKNESS. Then shafts of light become visible, above a ridge of rock. Flatbed appears, trailing two heavy two cables. Behind it, the mass of Deepcore emerges from the darkness, its forward lighting array blazing. Flatbed is towing it like a tug, aided by Deepcore's own mighty stern thrusters. INT. DEEPCORE/CONTROL MODULE 31 Bud, his feet propped up, uses joystick controls to 'fly' Deepcore, maneuvering against currents and around seafloor obstacles. He is guided by the side-scan sonar display, with Hippy assisting in the sonar shack. Through the front viewport, Flatbed can be seen out ahead. McBride appears on the bridge monitor, holding a sheet of weather-fax. MCBRIDE (on screen) Well, it's official, sportsfans. They're calling it Hurricane Frederick, and it's going to be making our lives real interesting in a few hours. INT. EXPLORER BRIDGE -- DAY 32 Bud responds via video. BUD Fred, huh? I don't know. Hurricanes should be named after women. McBride looks up as the bridge door opens. Lindsey enters in a blast of wind, wet as a wharf rat and twice as pissed off. Maybe Bud is right. CUT TO: INT. DEEPCORE/CONTROL MODULE 33 Bud is surprised to see Lindsey's face appear on the monitor screen. LINDSEY I can't believe you let them do this! BUD (unpreturbed, almost cheerful) Hi, Lins. I thought you were in Houston. LINDSEY I was, but I managed to bum a ride on the last flight out here. Only here isn't where I left it, is it, Bud? BUD Wasn't up to me. LINDSEY We were that close to proving a submersible drilling platform could work. We had over seven thousand feet of hole down for Chrissake. I can't believe you let them grab my rig! BUD Your rig? LINDSEY My rig. I designed the damn thing. BUD Yup, a Benthic Petroleum paid for it. So as long as they're hold the pink slip, I go where they tell me. LINDSEY You wimp. I had a lot riding on this. They bought you... more like least rented you cheap-- BUD I'm switching off now. LINDSEY Virgil, you wiener! You never could stand up to fight. You-- Bud hits the switch and the screen goes dead. BUD Bye. Hippy looks over him, trying very hard not to crack up. HIPPY Virgil? BUD God, I hate that bitch. HIPPY Yeah, well you never should have married her then. Bud nods fatalistically. CUT TO: EXT. EXPLORER DECK/LAUNCH WELL 34 Ten foot waves crash through the launch-well, sending up geysers of spray. Next to the launch-well, crewman have attached a lifting cable to CAB THREE, eighteen feet of ugly yellow submersible. It slams violently in its steel cradle as the drill-ship rolls. Coffey and Schoenick hand the gear bags in to Wilhite and Monk though the hatch under the rear of the submersible. Lindsey approaches, wearing a borrowed roustabout's coverall. She looks down at the larger of the two equipment cases brought by the SEALs, lying on the deck. Stenciled on it are the words: F.B.S./DEEP SUIT/MARK IV. Coffey and Schoenick push past her to pick it up. LINDSEY Let's go, gentlemen! We either launch now or we don't launch. Coffey looks up in surprise as she nimbly climbs the side of Cab Three and grabs the lifting shackle, circling her raised hand to signal the crane man. LINDSEY Take her up, Byron! Cab Three, with Lindsey riding its back, is pulled up out its cradle and starts to swing violently as Explorer pitches. The submersible is then swung out to the center of the launch well. It sways and gyrates above the furious water below. Lindsey drops into the upper hatch. INT. EXPLORER BRIDGE/D.O.C. 35 Kirkhill leans suddenly over the console to look out the window. KIRKHILL What the hell is she doing out there? Son of a bitch... (into microphone) Lindsey... get out of Cab Three. Bates is taking her down. INT. CAB THREE 36 Lindsey pulls her headset as she dogs down the inside locking levers of the hatch. LINDSEY Bates is sick. Besides I've got more hours in this thing than he does. (to Coffey) A little change of plan. The little sub is swinging like a pendulum on the cable, and the SEALs, jammed in with their equipment in the tiny space, are getting slammed into the walls. Lindsey is calmly flipping switches as she talks. COFFEY Lady, we better fish or cut bait. LINDSEY Just hold your water, okay? (to Kirkhill) So Kirkhill, we gonna do this or we gonna talk about it? INT. EXPLORER BRIDGE/D.O.C. 37 The plug is pulled on DeMarco's patience. DEMARCO I don't care who drives the damn thing. Just get my team in the water. KIRKHILL Alright, alright. Christ Almighty! He gestured dismissively to McBride. MCBRIDE Cab Three, you are clear to launch. INT./EXT. CAB THREE 38 Lindsey reaches up a grabs a red lever. LINDSEY Roger. (to Coffey) There's only one way it's going to happen... She pulls the lever hard. CLUNK-CLANG! The shackle-release drops the sub. It freefalls ten feet to the water with an enormous splash and keeps right on going after Lindsey floods the trim tanks. Coffey et al have been slammed hard. LINDSEY Touchdown. The crowd goes wild. Explorer... Cab Three. We are styling.

50

Air Force One

Andrew W. Marlowe

Action,Adventure,Drama,Thriller

null

FADE IN: INT. C-130 HERCULES TURBO-PROP - NIGHT Eighteen combat-ready special forces, wearing assault black, jump packs and combat gear, stare down the deep end of a greasy ramp into the night sky. Village lights flicker 19,000 feet below. The STRIKE FORCE LEADER signals to his team. Without a moment's hesitation, they dive into the darkness and plummet toward earth. EXT. MANSION - NIGHT A military GUARD, old Soviet-style uniform, rounds the corner of the large estate toting an AK-47. A red laser dot appears briefly on his forehead and, after a beat, the red dot seems to bleed. The Guard collapses dead. Two other GUARDS are dispatched with single, silenced shots. A Strike Team member at a junction box awaits a signal. Through infra-red binoculars the strike Force Leader watches his assault troops as they take positions. STRIKE FORCE LEADER (into headset/in Russian) GO! On the estate - as the power goes out. The team on the mansion's front porch pops the door and pours in. INT. MANSION - NIGHT FOLLOWING - the FIVE TEAM MEMBERS as they rush a stairway in phalanx formation. They nearly knock over an old lady, who in turn lets out a blood curdling scream. UPSTAIRS CORRIDOR - The team kicks open a door. Rushes into the room. INT. BEDROOM - Assault weapons pointed at the bed. The soldiers yank back bedsheets to reveal IVAN STRAVANAVITCH, a middle-aged man and his half-naked 18-year-old concubine. SOLDIER (in Russian) Get up, now! Up! The soldiers pull Stravanavitch to his feet and haul him out of the room. FOLLOWING - As they push down the hallway. MANSION SECURITY GUARDS rally with haphazard gunfire. Out come the strike force's flash-bang grenades. Exploding everywhere, disorienting Stravanavitch's men. EXT. FIELD - NIGHT Signal flares burn as a helicopter descends on the position. The Strike Team evacuates across the field and forces a struggling Stravanavitch into the low-hovering copter. The commandos swiftly board the craft as a handful of Stravanavitch's guards break into the clearing. They open fire. And the mounted machine guns on the helicopter return. One of the Strike Team members takes a bullet to the neck. He's' pulled by his comrades into the chopper as it lifts into the sky, its guns spitting lead... STRIKE FORCE LEADER (V.0.) Archangel, this is Restitution. Archangel, this is Restitution. The package is wrapped. Over. VOICE (V.0. RADIO) Roger, Restitution. We are standing by for delivery. FADE TO BLACK The SOUNDS of a dinner banquet. Forks clanking against plates and the din of a hundred conversations, broken by... The DING, DING, DING of a SPOON tapping against a wine glass. SUPER TITLE: "MOSCOW - THREE WEEKS LATER FADE IN: INT. BANQUET ROOM - NIGHT Hundreds of men and women in formal evening wear sit at round banquet tables. A HUSH falls over the guests as the DINGING continues. All attention turns to the front table. A rotund, silver haired-man in his late sixties rises and sidles past U.S. and Russian flags up to the podium microphone. He is STOLI PETROV, President of Russia. PETROV (in Russian) Thank you for joining us this evening. Petrov's harsh Russian issues through the room. But over it we hear a young woman's voice translating. TRANSLATOR (V.0.) Tonight we are honored to have with us a man of remarkable courage, who, despite strong international criticism... AT THE FRONT TABLE - A translator's words ring in the earpiece of a handsome man in his mid-forties. Worry lines crease his forehead and the touch of gray at his temples attest to three very difficult years in office. This man is JAMES MARSHALL, and he is the PRESIDENT of the UNITED STATES OF AMERICA. He busily makes last minute changes to his speech. TRANSLATOR (V.0. earpiece) Has chosen to join our fight against tyranny in forging a new world community. Ladies and gentlemen, I give you the President of the United States of America... Mr. President. Thunderous applause as Marshall rises and approaches the podium. At the back of the room, DOHERTY, a senior policy adviser whispers to the President's Chief of Staff ED SHEPHERD... DOHERTY Maybe we should consider running him for re-election instead of the U.S. The applause dies as Marshall begins to speak. MARSHALL (in Russian with subtitles) Good evening and thank you. First I would ask you to join me in a moment of silence for the victims of the Turkmenistan massacres. The room remains silent a few beats. Most guests respectfully bow their heads. Marshall begins again, but this time in English. The young woman translates simultaneously for the Russian audience. MARSHALL As you know, three weeks ago American Special Forces, in cooperation with the Russian Republican Army, secured the arrest of Turkmenistan's self- proclaimed dictator, General Ivan Stravanavitch, whose brutal sadistic reign had given new meaning to the word horror. I am proud to say our operation was a success. Applause from the audience. Marshall turns the page on his speech. MARSHALL And now, yesterday's biggest threat to world peace... today awaits trial for crimes against humanity. During the applause, Marshall pulls a page from the speech, folds it and slides it into his pocket. He removes his glasses and looks out into the crowd. His tone becomes more personal. He's not reciting the speech anymore. MARSHALL What we did here was important. We finally pulled our heads out of the sand, we finally stood up to the brutality and said "We've had enough. Every time we ignore these atrocities-- the rapes, the death squads, the genocides- every time we negotiate with these, these thugs to keep them out of gig country and away from gig families, every time we do thiS.E. we legitimize terror. Terror is not a legitimate system of government. And to those who commit the atrocities I say, we will no longer tolerate, we will no longer negotiate, and we will no longer be afraid. It's your turn to be afraid. Applause rolls through the crowd. EXT. MOSCOW INTERNATIONAL AIRPORT - NIGHT Sprawling terminals spread out to runways like tentacles. ON THE TARMAC - Bathed in floodlights, perched majestically on the runway, dwarfing nearby commuter and military jets, stands... AIR FORCE ONE The President's own Boeing 747-200, dubbed "the flying White House". The distinctive royal blue stripe over a thin gold line tapers to a tail adorned with the American flag and the Presidential Seal Secret Service agents and Marines stand guard at the aircraft's perimeter. A RUSSIAN NEWS VAN emerges from the darkness and pulls to a stop by a Secret Service barricade. SPECIAL AGENT GIBBS greets the Russian news team that emerges. GIBBS Gentlemen, welcome to Air Force One. Please present your equipment to Special Agent Walters for inspection. The news team's segment producer, a crusty old Russian named KORSHUNOV raises his big bushy eyebrows. KORSHUNOV We've already been inspected. GIBBS Sir, this plane carries the President of the United States. Though we wish to extend your press service every courtesy, you will comply with our security measures to the letter. KORSHUNOV Of course. I'm sorry. Korshunov and the FIVE MEMBERS of his news crew present their video cameras, sound equipment and supplies to Special Agent WALTERS for inspection. Secret Service DOGS sniff through the baggage. GIBBS Please place your thumbs on the ID pad. Korshunov puts his thumb on the ID pad of a portable computer. The computer matches up his thumbprint with his dossier and photograph. "CLEARED" flashes on the computer screen. INT. HALLWAY - NIGHT The President, walking with his entourage. SHEPHERD * CBS said they'll give us four minutes. They thought the Russian was a nice touch. MARSHALL I always wondered if my freshman Russian class would come in handy. DOHERTY Sir, you threw out page two. MARSHALL Goddamn right I did. I asked for a tough-as-nails speech and you gave me diplomatic bullshit. What's the point in having a speech if I have to ad-lib? DOHERTY It was a good ad-lib, sir. MARSHALL Thanks. Wrote it last night. The President exits the building and enters his limousine. EXT. TARMAC - AIR FORCE ONE - NIGHT Walters hands the bags back to the Russians. WALTERS Equipment checks out. A striking woman in her early thirties descends Air Force One's stairway. MARIA MITCHELL. GIBBS Gentlemen, this is Maria Mitchell. Press Relations for the Presidential Flight Office. She'll take you from here. KORSHUNOV Ms. Mitchell. So nice to finally meet you in person. MITCHELL The President and I were delighted that we could accommodate you. Now if you're all cleared? (Gibbs nods) You can follow me then. They ascend into the belly of Air Force One. MITCHELL * I'll be giving you a brief tour, then during the flight, two members of your crew will be allowed out of the press area at a time for filming. You will have exactly ten minutes with the President and twenty with the crew... EXT. STREETS OF MOSCOW, PRESIDENT'S MOTORCADE - NIGHT Winding its way down narrow cobblestone streets onto a major thoroughfare. INT. PRESIDENTIAL LIMOUSINE - NIGHT The limousine is packed with advisers, aides, military staff, including LT. COL. PERKINS, the keeper of the NUCLEAR FOOTBALL handcuffed to his wrist. In the b.g. on the limo's television set, the LARRY KING SHOW indulges in its normal banter. Marshall wearily rubs his temples as he stifles a yawn. SHEPHERD You wanna knock of f? MARSHALL No, no. I'm fine. What did the Speaker say? SHEPHERD He and the NRA don't like the wording. DOHERTY Apparently taking uzis away from sixth graders isn't as popular as we thought it'd be. Representative Taylor is working on a compromise. MARSHALL Put together a score sheet. I'll make some calls. SHEPHERD With all due respect, sir, maybe you should give them this one. Your numbers are still pretty low and you called in a lot of chips to nail Stravanavitch. MARSHALL I might still have a few chips left. SHEPHERD * We could always put you in a duck blind with a twelve gauge. The second amendment types'll love that. MARSHALL This is a crime bill, Shep. Killing a couple ducks won't get it through committee. Besides, Shep, I told you... I don't shoot babies and I don't kiss guns. SHEPHERD Other way around, sir. MARSHALL (realizing what he said) Right... Christ I'm tired. Do me a favor and keep me away from the press. Marshall's watch alarm beeps and he automatically reaches into his breast pocket, pulls out a medicine vial and downs two pills with a coffee chaser. On the T.V. LARRY KING (T.V.) ... and your reaction to the President's trip to Moscow. Good or bad? Shepherd turns up the volume. SHEPHERD This is the part I wanted you to see. REP. DANFORTH (T.V.) Criminal. One of our boys died in Marshall's little publicity stunt and for what? So we could claim victory over another country's problems instead of our own? And now he's got the nerve to prance around Moscow gloating, while that poor boy's family is left to bury him. If I were Marshall, I'd be ashamed of myself. LARRY KING There you have it. Harsh words for the President from Michael Danforth, the Speaker of the House. Marshall mutes the television. A quiet moment. SHEPHERD * My opinion. We can't let him get away with that kind of language. Marshall considers. Then decides. MARSHALL It's bait. Don't take it. SHEPHERD Sir, the Speaker of the House attacked this administration on national television. You can't afford to leave that hanging. MARSHALL (ignoring Shepherd) Did we tape the Duke game? AIDE It's waiting on the plane. The ending was pretty... MARSHALL (interrupting) Please don't tell me. Just for once, * let me be surprised. INT. AIR FORCE ONE, CORRIDOR, TRAVELING - NIGHT Maria Mitchell escorts the Russians down the plane's length. As they pass the galley, Maria motions up a set of stairs. MITCHELL Up on the upper deck is the cockpit and the Mission Communication Center. The MCC, as we call it, can place clear and secure phone calls to anywhere on earth. We're linked to a network of military and civilian satellites and ground stations. We could run the country or run a war from there if we had to. KORSHUNOV This is a remarkable aircraft. MITCHELL You don't know the half of it. Did you know this entire plane is shielded from radiation? We could fly through a mushroom cloud completely unharmed if necessary. KORSHUNOV A dubious distinction, no? MITCHELL I guess it depends on your perspective. They walk by several conference rooms, running down the starboard side of the plane. KORSHUNOV And all these rooms here? MITCHELL Conference rooms, though some have other functions. The one up front doubles as an emergency medical center. Past the conference rooms, they walk by a small side room where SECRETARIES work on computers, generating documents. MITCHELL As you can see, back here's more like a regular plane. Security and Secret Service take this cabin. You'll be in the rear with the press pool. The REAR PRESS CABIN, just ahead of the rear galley and bank of bathrooms. A handful of disgruntled reporters feign sleep. MITCHELL Here's a press kit. I'll let you guys get comfortable and once we're airborne I'll be able to schedule the interviews. KORSHUNOV Thank you. Mitchell exits forward. One of the reporters stirs and looks up at the news team. He groans. Space is a premium back here. REPORTER You fellas win some sort of fly-with- POTUS contest? KORSHUNOV Potus? What is Potus? REPORTER P.O.T.U.S. President Of The United States. KORSHUNOV Ah, no. We won nothing. We are ITAR-TASS news service. REPORTER Right. Listen, this here... This is my row. You'll have to sit over there. Korshunov trades looks with his news team. EXT. MOSCOW INTERNATIONAL AIRPORT - NIGHT The President's motorcade pulls up in front of Air Force One. INT. AIR FORCE ONE - NIGHT The President and his entourage ascend from the lower deck platform onto the main deck. COL. DANIEL AXELROD, Air Force One's pilot, snaps off a salute as he passes. COL. AXELROD Welcome aboard, Mr. President. MARSHALL (returns salute) Hey Danny. How's it look tonight? COL. AXELROD Glassy, sir. Care to take the wheel? MARSHALL You keep offering, one of these days I'll take you up on it. (to no one in particular) Rose and Alice back yet? AIDE No, Mr. President. The ballet ran late. Their ETA is seventeen minutes. Marshall nods as he pulls off his bow tie and enters his stateroom. Shepherd follows two steps behind. SHEPHERD Mr. President? Marshall halts Shepherd with a gesture. MARSHALL Thirty seconds. Shepherd nods and waits by the door. Lt. Col. Perkins takes a seat outside the Presidents stateroom and opens the latest Tom Clancy thriller, using the nuclear football as a lap desk. INT. PRESIDENT'S STATEROOM - NIGHT Marshall collapses on the couch, rubs his eyes, then closes them. A moment of peace in a breakneck day. The knock at the door jars him. MARSHALL Yes. Shepherd enters. SHEPHERD Can I at least issue a press release objecting to the Speaker's choice of wording? President Marshall picks up one of the many phones in his office. MARSHALL I said it's not worth the fight. (into phone) Steward, please. SHEPHERD We'll just say it was in bad taste. * MARSHALL Forget it, Shep. The kid gave his life for his country and the Speaker's a bastard for turning him into a sound bite. I'll take the heat. Understood? SHEPHERD You give me ulcers. MARSHALL That's my job. A STEWARD enters the room. STEWARD Mr. President? MARSHALL Hey Mike. Could you get me a Heineken? SHEPHERD No, wait. Get him one of the Russian beers. The steward nods and disappears from the room. SHEPHERD We've got those Russian news guys on board and it'll look good in the papers. Marshall picks up a stack of policy reports. Thumbs through them. MARSHALL C'mon Shep. I've been eating borscht and drinking vodka for days. Isn't that enough? (off paper) New home starts are down. The steward arrives with the Russian beer. Marshall takes a swig. He swallows hard. Piss-water. Marshall crosses to his sink and pours the beer out. He hands the bottle to the steward. MARSHALL Fill this with Heineken. The steward nods... STEWARD Yes, Mr. President. AND SLINKS AWAY WITH THE BOTTLE. MARSHALL CATCHES HIMSELF -- MARSHALL I don't believe this. I'm playing politics with a bottle of beer. A goddamn bottle of beer. I've been in office too long. SHEPHERD Look on the bright side... if the polls don't change, you won't have that problem, sir. Marshall picks up the phone again. MARSHALL Yeah. Put the Duke game on in my room. INT. AFO'S MISSION COMMUNICATION CENTER - NIGHT THREE Air Force SPECIALISTS man the elaborate communication system occupying much of the upper deck. Top-of-the-line computers, communication systems, video decks, and satellite receivers. AIR FORCE SPECIALIST Yes, Mr. President. He slides in a videotape and channels the feed to the * president's stateroom. INT. PRESIDENT'S STATEROOM - NIGHT A monitor comes to life with a basketball game. MARSHALL (to Shepherd) Defense and State Department in the conference room in one hour. I want to review the Iraq situation. SHEPHERD Yes, sir. Shepherd exits as Marshall settles into his leather chair and dives into work. He punches a button on the speakerphone. MARSHALL Get me the Housing Secretary... EXT. AIR FORCE ONE - NIGHT The Marine Guards snap to attention once again as the First Lady's motorcade arrives. ROSE MARSHALL, a self-assured woman with an aristocratic gleam, alights from her limo. She takes a few steps, then turns, tapping her foot impatiently. ROSE C'mon Alice, we're 20 minutes late. Your father's gonna have a fit. ALICE, the President's 13-year-old daughter, straggles out of the car, rolling her eyes. ALICE It's not like he hasn't made us wait a few times. ROSE Well, you aren't the President, dear. ALICE Yeah, no duh. INT. MAIN DECK, AIR FORCE ONE - NIGHT As the First Lady's entourage enters. ROSE Why don't you go say hi? Again, Alice rolls her eyes. ROSE What is wrong with you tonight? Come here. Rose pulls Alice aside. ROSE You don't want to say hi to your father? ALICE I'm sure he's busy. ROSE Don't you even want to ask? Alice toes her foot into the carpet as she releases an exasperated sigh. She is, in this moment, the patron saint

51

Alien

Walter Hill,David Giler

Action,Horror,Sci-Fi,Thriller

June_1978

ALIEN (project formerly titled STARBEAST) Story by Dan O'Bannon & Ronald Shusett Screenplay by Dan O'Bannon 1976 SYNOPSIS En route back to Earth from a far part of the galaxy, the crew of the starship SNARK intercepts a transmission in an alien language, originating from a nearby storm-shrouded planet. Mankind has waited centuries to contact another form of intelligent life in the universe -- they decide to land and investigate. Their search takes them to a wrecked alien spacecraft whose doors gape open -- it is dead and abandoned. Inside they find, among other strange things, the skeleton of one of the unearthly space travellers. Certain clues in the wrecked ship lead them across the hostile surface of the planet to a primitive stone pyramid, the only remnant of a vanished civilization. Beneath this pyramid they find an ancient tomb full of fantastic artifacts. Lying dormant in the tomb are centuries- old spores, which are triggered into life by the men's presence. A parasite emerges and fastens itself to one of the men's faces -- and cannot be removed. An examination by the ship's medical computer reveals that the creature has inserted a tube down his throat, which is depositing something inside him. Then it is discovered that the parasite's blood is a horribly corrosive acid which eats through metal -- they dare not kill it on the ship. Ultimately it is dislodged from its victim and ejected from the ship, and they blast off from the Hell-planet. However, before they can seal themselves into suspended animation for the long voyage home, a horrible little monster emerges from the victim's body -- it has been growing in him, deposited there by the parasite... and now it is loose on the ship. A series of ghastly adventures follow. They trap it in an air shaft and a man has to crawl down the shaft with a flamethrower -- it tears a man's head off and runs away with his body -- a man is crushed in the air lock door and the ship loses most of its air in a terrific windstorm -- another man is burned to death and then eaten by the creature -- and another is woven into a cocoon as part of the alien's bizarre life cycle. Finally there is only one man left alive, alone on the ship with the creature, and only six hours till his air runs out; which leads to a climax of horrifying, explosive jeopardy, the outcome of which determines who will reach Earth alive -- man or alien. CAST OF CHARACTERS CHAZ STANDARD, Captain.................A leader and a politician. Believes that any action is better than no action. MARTIN ROBY, Executive Officer.......Cautious but intelligent -- a survivor. DELL BROUSSARD, Navigator...............Adventurer; brash glory-hound. SANDY MELKONIS, Communications..........Tech Intellectual; a romantic. CLEAVE HUNTER, Mining Engineer.........High-strung; came along to make his fortune. JAY FAUST, Engine Tech.............A worker. Unimaginative. The crew is unisex and all parts are interchangeable for men or women. IMAGE -- starmap.jpg FADE IN: EXTREME CLOSEUPS OF FLICKERING INSTRUMENT PANELS. Readouts and digital displays pulse eerily with the technology of the distant future. Wherever we are, it seems to be chill, dark, and sterile. Electronic machinery chuckles softly to itself. Abruptly we hear a BEEPING SIGNAL, and the machinery begins to awaken. Circuits close, lights blink on. CAMERA ANGLES GRADUALLY WIDEN, revealing more and more of the machinery, banks of panels, fluttering gauges, until we reveal: INTERIOR - HYPERSLEEP VAULT A stainless steel room with no windows, the walls packed with instrumentation. The lights are dim and the air is frigid. Occupying most of the floor space are rows of horizontal FREEZER COMPARTMENTS, looking for all the world like meat lockers. FOOM! FOOM! FOOM! With explosions of escaping gas, the lids on the freezers pop open. Slowly, groggily, six nude men sit up. ROBY Oh... God... am I cold... BROUSSARD Is that you, Roby? ROBY I feel like shit... BROUSSARD Yeah, it's you all right. Now they are yawning, stretching, and shivering. FAUST (groans) Ohh... I must be alive, I feel dead. BROUSSARD You look dead. MELKONIS The vampires rise from their graves. This draws a few woozy chuckles. BROUSSARD (shakes his fist in the air triumphantly) We made it! HUNTER (not fully awake) Is it over? STANDARD It's over, Hunter. HUNTER (yawning) Boy, that's terrific. STANDARD (looking around with a grin) Well, how does it feel to be rich men? FAUST Cold! This draws a LAUGH. STANDARD Okay! Everybody topside! Let's get our pants on and get to our posts! The men begin to swing out of the freezers. MELKONIS Somebody get the cat. Roby picks a limp cat out of a freezer. INTERIOR - CONTROL ROOM This is a fantastic circular room, jammed with instrumentation. There are no windows, but above head level the room is ringed by viewscreens, all blank for the moment. There are seats for four men. Each chair faces a console and is surrounded by a dazzling array of technology. STANDARD, ROBY, BROUSSARD, and MELKONIS are entering and finding their seats. BROUSSARD I'm going to buy a cattle ranch. ROBY (putting down the cat) Cattle ranch! BROUSSARD I'm not kidding. You can get one if you have the credit. Look just like real cows, too. STANDARD All right, tycoons, let's stop spending our credit and start worrying about the job at hand. ROBY Right. Fire up all systems. They begin to throw switches, lighting up their consoles. The control room starts to come to life. All around the room, colored lights flicker and chase each other across glowing screens. The room fills with the hum and chatter of machinery. STANDARD Sandy, you want to give us some vision? MELKONIS Feast your eyes. Melkonis reaches to his console and presses a bank of switches. The strip of viewscreens flickers into life. On each screen, we see BLACKNESS SPECKLED WITH STARS. BROUSSARD (after a pause) Where's Irth? STANDARD Sandy, scan the whole sky. Melkonis hits buttons. On the screens the images all begin to pan. CAMERA MOVES IN ON ONE OF THE SCREENS, with its moving image of a starfield. EXTERIOR - OUTER SPACE CLOSE SHOT OF A PANNING TV CAMERA. This camera is remote controlled, turning silently on its base. CAMERA BEGINS TO PULL BACK, revealing that the TV camera is mounted on the HULL OF SOME KIND OF CRAFT. When the pullback is finished, WE SEE THE FULL LENGTH OF THE STARSHIP "SNARK," hanging in the depths of interstellar space, against a background of glimmering stars. INTERIOR - BRIDGE ROBY Where are we? STANDARD Sandy, contact traffic control. Melkonis switches on his radio unit. MELKONIS This is deep space commercial vessel SNARK, registration number E180246, calling Antarctica air traffic control. Do you read me? Over. There is only the HISS OF STATIC. BROUSSARD (staring at a screen) I don't recognize that constellation. STANDARD Dell, plot our location. Broussard goes into action, punching buttons, lighting up all his instruments. BROUSSARD I got it. Oh boy. STANDARD Where the hell are we? BROUSSARD Just short of Zeta II Reticuli. We haven't even reached the outer rim yet. ROBY What the hell? Standard picks up a microphone. STANDARD This is Chaz speaking. Sorry, but we are not home. Our present location seems to be only halfway to Irth. Remain at your posts and stand by. That is all. ROBY Chaz, I've got something here on my security alert. A high priority from the computer... STANDARD Let's hear it. ROBY (punches buttons) Computer, you have signalled a priority three message. What is the message? COMPUTER (a mechanical voice) I have interrupted the course of the voyage. ROBY What? Why? COMPUTER I am programmed to do so if certain conditions arise. STANDARD Computer, this is Captain Standard. What conditions are you talking about? COMPUTER I have intercepted a transmission of unknown origin. STANDARD A transmission? COMPUTER A voice transmission. MELKONIS Out here? The men exchange glances. COMPUTER I have recorded the transmission. STANDARD Play it for us, please. Over the speakers, we hear a hum, a crackle, static... THEN A STRANGE, UNEARTHLY VOICE FILLS THE ROOM, SPEAKING AN ALIEN LANGUAGE. The bizarre voice speaks a long sentence, then falls silent. The men all stare at each other in amazement. STANDARD Computer, what language was that? COMPUTER Unknown. ROBY Unknown! What do you mean? COMPUTER It is none of the 678 dialects spoken by technological man. There is a pause, then EVERYBODY STARTS TALKING AT THE SAME TIME. STANDARD (silencing them) Just hold it, hold it! (glares around the room) Computer: have you attempted to analyze the transmission? COMPUTER Yes. There are two points of salient interest. Number one: it is highly systematized, indicating intelligent origin. Number two: certain sounds are inconsistent with the human palate. ROBY Oh my God. STANDARD Well, it's finally happened. MELKONIS First contact... STANDARD Sandy, can you home in on that beam? MELKONIS What's the frequency? STANDARD Computer, what's the frequency of the transmission? COMPUTER 65330 dash 99. Melkonis punches buttons. MELKONIS I've got it. It's coming from ascension 6 minutes 32 seconds, declination -39 degrees 2 seconds. STANDARD Dell -- show me that on a screen. BROUSSARD I'll give it to you on number four. Broussard punches buttons. One of the viewscreens flickers, and a small dot of light becomes visible in the corner of the screen. BROUSSARD (CONT'D) That's it. Let me straighten it out. He twists a knob, moving the image on the screen till the dot is in the center. STANDARD Can you get it a little closer? BROUSSARD That's what I'm going to do. He hits a button. The screen flashes and a PLANET APPEARS. BROUSSARD (CONT'D) Planetoid. Diameter, 120 kilometers. MELKONIS It's tiny! STANDARD Any rotation? BROUSSARD Yeah. Two hours. STANDARD Gravity? BROUSSARD Point eight six. We can walk on it. Standard rises. STANDARD Martin, get the others up to the lounge. INTERIOR - MULTI-PURPOSE ROOM The entire crew -- STANDARD, ROBY, BROUSSARD, MELKONIS, HUNTER, and FAUST -- are all seated around a table, with Standard at the head. MELKONIS If it's an S.O.S., we're morally obligated to investigate. BROUSSARD Right. HUNTER I don't know. Seems to me we came on this trip to make some credit, not to go off on some kind of side trip. BROUSSARD (excited) Forget the credit; what we have here is a chance to be the first men to contact a nonhuman intelligence. ROBY If there is some kind of alien intelligence down on that planetoid, it'd be a serious mistake for us to blunder in unequipped. BROUSSARD Hell, we're equipped -- ROBY Hell, no! We don't know what's down there on that piece of rock! It might be dangerous! What we should do is get on the radio to the exploration authorities... and let them deal with it. STANDARD Except it will take 75 years to get a reply back. Don't forget how far we are from the Colonies, Martin. BROUSSARD There are no commercial lanes out here. Face it, we're out of range. MELKONIS Men have waited centuries to contact another form of intelligent life in the universe. This is an opportunity which may never come again. ROBY Look -- STANDARD You're overruled, Martin. Gentlemen -- let's go. INTERIOR - BRIDGE The men are strapping in, but this time it is with grim determination. STANDARD Dell, I want greater magnification. More surface detail. I want to see what this place looks like. BROUSSARD I'll see what I can do. He jabs his controls. The image on the screen ZOOMS DOWN TOWARD THE PLANET; but all detail quickly vanishes into a featureless grey haze. STANDARD It's out of focus. ROBY No -- that's atmosphere. Cloud layer. MELKONIS My God, it's stormy for a piece of rock that size! ROBY Just a second. (punches buttons) Those aren't water vapor clouds; they have no moisture content. STANDARD Put ship in atmospheric mode. EXTERIOR - "SNARK" - OUTER SPACE The great dish antenna on the SNARK folds down against the main body of the ship, and other parts flatten out, until the ship has assumed an aerodynamic form. INTERIOR - BRIDGE STANDARD Dell, set a course and bring us in on that beam. EXTERIOR - SPACE The SNARK's engines cough into life, and send it drifting toward the distant dot that is the planetoid. CAMERA APPROACHES THE PLANETOID, until it looms large on screen. It is turbulent, completely enveloped in dun-colored clouds. The SNARK drops down toward the surface. INTERIOR - BRIDGE STANDARD Activate lifter quads. BROUSSARD Activated. Vertical drop checked. Correcting course. On tangential course now, orbiting. (brief pause as he studies his instruments) Crossing the terminator. Entering night side. EXTERIOR - "SNARK" - IN ORBIT Beneath the orbiting SNARK, night's curtain rolls across the planet. Descending at an angle, the SNARK drops down into the thick atmosphere of the planetoid. INTERIOR - BRIDGE ROBY Atmospheric turbulence. Dust storm. STANDARD Turn on navigation lights. EXTERIOR - "SNARK" Hydroplaning down through the pea-soup atmosphere, a set of brilliant lights switches on, cutting through the dust, but hardly improving visibility. INTERIOR - BRIDGE BROUSSARD Approaching point of origin. Closing at 20 kilometers, 15 and slowing. Ten. Five. Gentlemen, we are directly above the source of the transmission. STANDARD What's the terrain down there? BROUSSARD Well, line of sight is impossible due to dust. Radar gives me noise. Sonar gives me noise. Infrared -- noise. Let's try ultraviolet. There. Flat. It's totally flat. A plain. STANDARD Is it solid? BROUSSARD It's... basalt. Rock. STANDARD Then take her down. BROUSSARD Drop begins... now! Fifteen kilometers and dropping... twelve... ten... eight and slowing. Five. Three. Two. One kilometer and slowing. Lock tractor beams. There is a LOUD ELECTRICAL HUM and the ship shudders. ROBY Locked. BROUSSARD Kill drive engines. The engines fall silent. ROBY Engines off. BROUSSARD Nine hundred meters and dropping. 800. 700. Hang on gentlemen. EXTERIOR - SURFACE OF PLANET - NIGHT The night-shrouded surface is a hell of blowing dust. The SNARK hovers above it on glowing beams of light, dropping down slowly. Landing struts unfold like insect legs. INTERIOR - BRIDGE BROUSSARD And we're... down. EXTERIOR - SURFACE OF PLANET - NIGHT The ship touches down, heavily; it rocks on huge shock absorbers. INTERIOR - BRIDGE The whole ship VIBRATES VIOLENTLY FOR AN INSTANT -- then all the panels in the room flash simultaneously and the LIGHT'S GO OUT. BROUSSARD Jesus Christ! The lights come back on again. STANDARD What the hell happened? ROBY (hits a switch) Engine room, what happened? FAUST (over, filtered) Just a minute, hold it, I'm checking. ROBY Has the hull been breached? BROUSSARD Uh... (scans his gauges) No, I don't see anything. We've still got pressure. There is a BEEP from the communicator. Then: FAUST (over, filtered) Martin, this is Jay. The intakes are clogged with dust. We overheated and burned out a whole cell. STANDARD (strikes his panel) Damn it! How long to fix? ROBY (into microphone) How long to fix? FAUST (over, filtered) Hard to say. ROBY Well, get started. FAUST (over, filtered) Right. Talk to you. STANDARD Let's take a look outside. Turn the screens back on. Melkonis hits buttons. The screens flicker, but remain black. BROUSSARD Can't see a blessed thing. EXTERIOR - SHIP - NIGHT Only a few glittering lights distinguish the ship from the absolute darkness around it. THE WIND MOANS AND SCREAMS. DUST BLOWS IN FRONT OF THE TINY GLIMMERING LIGHTS. INTERIOR - BRIDGE - NIGHT STANDARD Kick on the floods. EXTERIOR - SHIP - NIGHT A ring of FLOODLIGHTS on the ship come to life, pouring blinding light out into the night. They illuminate nothing but a patch of featureless grey ground and clouds of blowing dust. The wind shrieks. INTERIOR - BRIDGE - NIGHT ROBY Not much help. Standard stares at the dark screens. STANDARD Well, we can't go anywhere in this darkness. How long till dawn? MELKONIS (consults his instruments) Well... this rock rotates every two hours. The sun should be coming up in about 20 minutes. BROUSSARD Good! Maybe we'll be able to see something then. ROBY Or something will be able to see us. They all look at him. DISSOLVE TO: EXTERIOR - SHIP - NIGHT (MAIN TITLE SEQUENCE) The floodlights on the SNARK fight a losing battle against the darkness and the storm. MAIN THEME MUSIC BEGINS, EXTREMELY OMINOUS. THE TITLE APPEARS: ALIEN RUN TITLES. Gradually, the screen begins to lighten as the SUN RISES. The silhouette of the SNARK becomes visible, like some strange insect crouching motionless on the barren plain. The floods shut off. Dense clouds of impenetrable dust shriek and moan, obscuring everything and reducing the sunlight to a dull orange. END MAIN TITLES. INTERIOR - BRIDGE - DAY CLOSE ON A SCREEN - it shows nothing but swirling clouds of orange dust. PULL BACK FROM SCREEN. The men (Standard, Roby, Broussard, and Melkonis) are sitting and standing around the room, drinking coffee and staring at the screens, which reveal only the billowing dust. ROBY There could be a whole city out there and we'd never see it. BROUSSARD Not sitting on our butts in here, that's for sure. STANDARD Just settle down. Sandy, you get any response yet? MELKONIS (pulls off his earphones) Sorry. Nothing but that same damn transmission, every 32 seconds. I've tried every frequency on the spectrum. BROUSSARD Are we just going to sit around and wait for an invitation? Roby gives Broussard a black look, then stabs a button on his console and speaks into the mike. ROBY (into mike) Hello, Faust! FAUST (over, filtered) Yeah! ROBY How's it coming on the engines? INTERIOR - ENGINE ROOM Faust is seated at an electronic workbench, brightly lit, speaking into a wall intercom. FAUST I never saw anything as fine as this dust... these cells are all pitted on a microscopic level. I have to polish these things smooth again, so it's going to take a while. Okay? INTERIOR - BRIDGE - DAY ROBY Yeah, okay. (puts down the mike) STANDARD Sandy... how far are we from the source of the transmission? MELKONIS Source of transmission is to the northeast... about 300 meters. ROBY Close... BROUSSARD Close enough to walk to! STANDARD Martin, would you run me an atmospheric? ROBY (punches buttons and consults his panels) 10% argon, 85% nitrogen, 5% neon... and some trace elements. STANDARD Nontoxic... but unbreathable. Pressure? ROBY Ten to the fourth dynes per square centimeter. STANDARD Good! Moisture content? ROBY Zero. Dry as a bone. STANDARD Any microorganisms? ROBY Not a one. It's dead. STANDARD Anything else? ROBY Yeah, rock particles. Dust. STANDARD Well, we won't need pressure suits, but breathing masks are called for. Sandy -- can you rig up some kind of portable unit that we can use to follow that transmission to its source? MELKONIS No problem. BROUSSARD I volunteer for the exploration party. STANDARD I heard you. You want to break out the side arms? INTERIOR - MAIN ARM LOCK - DAY Standard, Broussard and Melkonis enter the lock. They all wear gloves, boots, jackets, and pistols. Broussard touches a button and the inner door slides silently shut, sealing them into the lock. They all pull on rubber full-head oxygen masks. STANDARD (adjusting the radio on his mask) I'm sending. Do you hear me? BROUSSARD Receiving. MELKONIS Receiving. STANDARD All right. Now just remember: keep away from those weapons unless I say otherwise. Martin, do you read me? INTERIOR - BRIDGE - DAY ROBY Read you, Chaz. INTERIOR - MAIN AIR LOCK - DAY STANDARD Open the outer door. Ponderously, the outer lock door slides open. ORANGE SUNLIGHT streams into the lock, and clouds of dust swirl in. We hear the MOANING OF THE WIND OUTSIDE. A mobile stairway slides out of the open hatchway, and clunks as it hits the ground. Standard walks out into the storm, followed by the others. EXTERIOR - PLANETOID - DAY The three men trot down the gangplank to the surface of the planet. Their feet sink into a thick layer of dust and loose rock. The men huddle together, looking around. The wind screams and tugs at their clothes. Nothing can be seen. STANDARD Which way, Sandy? Melkonis is fiddling with a portable direction-finder. MELKONIS (pointing) That way. STANDARD You lead. Melkonis walks into the blinding dust clouds, followed closely by the others. STANDARD Okay, Martin. We're on our way. INTERIOR - BRIDGE - DAY Roby is the sole occupant of the bridge. He is huddled over his console, smoking a cigarette and watching three moving blips on a screen. ROBY Okay, Chaz, I hear you. I've got you on my board. STANDARD (over, filtered) Good. I'm getting you clear too. Let's just keep the line open. EXTERIOR - PLANETOID - DAY The three men plough their way through a

52

Alien 3

Rex Pickett

Action,Drama,Horror,Sci-Fi,Thriller

January_1991

Alien III Screenplay by John Fasano Story by Vincent Ward & John Fasano FIRST DRAFT March 29, 1990 "But how will you die when your time comes, Narcissus, since you have no mother? Without a mother, one cannot love. Without a mother, one cannot die." - Hesse ALIEN III THE SCREEN IS BLACK A pinpoint of light appears. Red. An ember. Unseen BELLOWS blow. GLASS FURNACE The embers glow. Flame. The fire GROWS. A RIVER OF MOLTEN GLASS Heated by the furnace to over 1,300 degrees fahrenheit. White Hot. GLASS FACTORY Flickering flame casts dancing shadows on wooden walls. Coarsely grained wood. Moisture blasted out by years of intense heat. Timbers split. Patched with new wood, it too now old and dry. SMOKE Billows up the walls. Hangs as an angry, black cloud amongst the rafters and beams of the vaulted ceiling. Almost obscures -- A MAN On a narrow LEDGE, twenty feet about the Glassworks' floor. His clothing is Medieval. A rough textured cassock. He is a MONK. LOUVERS are set into the wall. He angles them open. The smoke begins to escape. The Monk turns, raises arms and LEAPS from his lofty perch -- Gently gliding down to the floor with the aid of a FLOWING FOX -- a primitive hand-held pulley that runs down a rope. He lands next to the glass furnace, surrounded by -- MORE MONKS By their dress. With Blowing Iron and Pontil. They blow and shape the molten glass. Crack off the finished pieces. The old way. ONE PARTICULAR MONK Black skinned, early fifties. Stirs his five foot long blowing iron in the molten glass, but he is watching something else. It moves him to song. Lilting tenor lifts high into the air. This is BROTHER KYLE. BROTHER KYLE Well would he guess the ascending of the star, Wherein his patient's fortunes settled were. He knew the course of every malady, Were it of cold or heat or moist or dry. Brother John, would-be Doctour of Physick. We see the object of his song: BROTHER JOHN Not yet forty. Strong features, but fear behind the eyes. The fear that comes from a lack of inner confidence. A good face, nonetheless. He stirs a thick mixture in a mortar. Next to him another MONK sits holding his arm out in front of him, cassock sleeve rolled up, revealing a vicious BURN. BROTHER KYLE Tend you quickly he will, with bottles from a shelf. But heals not, so easily, The ills which plague himself. Brother John stops stirring. BROTHER JOHN (to Kyle) Enough. He scoops the salve out with his fingers and applies it to the Burned Monk's arm. The Burned Monk INHALES sharpley as the cool mixture contacts the injured area. BROTHER JOHN (to the burned Monk) Relax. (to Kyle) Put those lungs of yours to better use. BROTHER KYLE Yes, Doc Tor. Kyle laughs, removes the blowing iron from the molten glass -- a BLOB of white hot glass hanging on the end. He rolls the blob on the Marver, a flat, polished piece of iron, then begins to blow a bottle shaped container. John wraps a fray-edged cloth bandage around the burn. JOHN Keep this from getting wet. Go home at late afternoon mealtime and don't come back to work today -- BURNED MONK But John -- JOHN I'll tell the Abbot. Just rest today. You're lucky you only burned yourself on the side of the furnace. If some of that glass had gotten on your arm -- He points to the top of his forearm. JOHN -- it would've burned clean through to the other side. He mimes a drop down from the bottom of his arm. The Burned Monk shudders at the thought. BELLS toll. JOHN That's late afternoon. Now get on. BURNED MONK Thank you, John. I -- JOHN You're welcome. Go! The Burned Monk trundles off, injured arm against his chest. John gathers his mortar, pestle, and extra bandages into a burlap sack. Kyle comes over. KYLE Good work. JOHN All right, but I'm no Father Anselm. KYLE You're yourself, that's better... Kyle pushes him through the door... INTO THE HALLWAY The Hallway is alive with cassocked monks. Their LOW CHANTING reverberates throughout the building. The wooden floorboards creak beneath their combined weights. This is obviously a MEDIEVAL MONASTERY... KYLE The Abbot will be pleased. JOHN Don't. KYLE Don't what? JOHN Please don't tell him. At least until I know if there's an infection. KYLE You want to be the Abbey's Physician, and you haven't learned the first rule: Don't worry about the patient. John's face drops. KYLE I shouldn't have. Sorry. Look, I know how you must -- JOHN You don't, but thanks anyway. AT THE END OF THE HALLWAY A wide stairwell. A constant stream of monks all moving down the stairs. Coming from floors above. Headed for lunch. Kyle starts down. John starts up -- KYLE Not coming down? JOHN I have someone waiting for me. Kyle disappears into the crowd. John moves up... THE STAIRWAY A river of brown cassocks running downstream. John is the only one moving against the flow. He exits the stairwell -- ONE FLOOR UP A narrow corridor lined with doorways. John moves to one in particular. He doesn't even look as he grabs the door knob. This is his room. He opens the door -- IN BROTHER JOHN'S ROOM An old, worn out DOG lays in wait on an old, worn out cassock which is now serving as its bed. At the sight of John it stands. JOHN Come on, Mattias. The dog, MATTIAS, joins him in the hall. Monk and pet disappear up a flight of stairs. Past another dozen or so Monks who are on their way down. INT. LIBRARY A vast room filled with rows of wooden tables with low benches between aisle after aisle of floor-to-ceiling wooden shelves jammed to capacity with BOOKS of all shapes and sizes. Millions of books, from the looks of it. From each book hangs a long CHAIN, long enough to allow the book to be carried only as far as the nearest table. A CORPULENT MONK - BROTHER PHILIP In his fifties, and the Librarian by his stern affect, his position behind a broad, but also old oak desk, and the large KEY hanging from his belt. He watches the few stragglers return their chain bound volumes to the shelves and head for the door, then rises and joins them... IN THE CORRIDOR JUST OUTSIDE THE LIBRARY John leans against the wall as Philip exits. Mattias is nowhere to be seen. PHILIP Brother John. JOHN Brother Philip. PHILIP Feeding the mind instead of the body again? JOHN My training has taught me to feed what's hungry. Philip pats his broad stomach and heads down the hallway. PHILIP As did mine. As long as you're alone. Enjoy yourself -- and remember, no book leaves the library. JOHN How could I forget? Have a good meal... John watches the corpulent librarian head down the stairs. When he's gone from sight John lifts the bottom of his cassock to reveal Mattias. JOHN Perfect. They move into the library... THE MEDIEVAL SECTION The oldest books. John moves to the stacks. Mattias trots over to a particular bench and sits. This is his regular place. AT THE SHELVES John stands on toe tips to retrieve an ancient Tome. He runs his fingers over the familiar leather binding. A smile plays across his lips. He carries the book, places it on the edge of the table so there is slack in the chain. Sits on the bench next to the dog. Clears his throat, opens the book, begins to read... John (reading) In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks -- VOICE O/S Sometimes, I think you'd like that. John turns to find -- THE ABBOT Leader of the monastery. In his seventies but looks younger. His Cassock is adorned with a large, ornately carved, wooden CHAIN in place of a rope belt. He crosses to the table. John closes the book and stands, head bowed in respect. John Abbot, I -- I didn't think anyone would -- ABBOT Mind? Just Philip, if he knew. I passed him on the way up. He said you'd come in alone. I knew better. He scratches the back of Mattias' neck. ABBOT Hello, Mattias. How are you, boy? The dog snuffles in response. ABBOT You know what Philip says about Mattias' hair and his breathing. You'll have to take him out of here. JOHN He likes when I read to him and -- I can't -- John looks down sheepishly. Though nearly forty, he feels almost adolescent in the presence of the Abbot. The Abbot pulls a large key from his pocket. ABBOT (smiles) Someone must have left this one unlocked. Take the book with you. He hands the key to John, who is shocked -- this is a great honor. JOHN Father, I --? ABBOT Kyle tells me you did a good job at the glassworks today. JOHN I'll reserve judgement until the patient lives. John crosses to the shelf and unlocks his book. He returns the key. ABBOT It will get easier. Father Anselm was... an unexpected loss. You'll do fine. The Abbot walks towards the door... ABBOT Just have it back before the end of lunch. Oh -- And I didn't see you in here. JOHN Thank you. (to Mattias) Let's go upstairs, boy. John takes his book -- Moves to a spiral wooden staircase. Mattias at his heels. Goes UP -- INTO THE BELL TOWER The mechanics of the bell tower -- all ropes and wooden cogs cast scary shadows. A doorway leads to -- THE ROOF OF THE ABBEY Thick with sandy dust. The wood shows through thin patches. We PULL BACK TO REVEAL what we think is the roof of the Abbey is actually -- THE SURFACE OF ARCEON - NIGHT The door has opened onto the SURFACE OF A PLANTOID! The curving horizon broken only by the very top of the Abbey bell tower poking through from the levels below. SMOKE curls from vents set into the surface. Sunken areas of the planet's sirface are SEAS. This is ARCEON. An manmade orbiter. A shell of lightweight foamed steel, five miles in diameter. Constructed by The Company on Special Order with habitable level within finished in whatever material suits its end user. This orbiter, for reasons to be discovered later, has been sheathed in wood. JOHN Walks to the shore of an inland SEA. Sits on a bare patch of wood. Looks up. His eyes grow accustomed to -- THE NIGHT SKY - JOHN POV Freckled with tiny dots of light. Stars. Spread across the inky void. Bathe Arceon's surface with their celestial glow. John smiles at Mattias, breathes deep. The atmosphere up here is thinner, but fresher. He opens the book. Reads aloud -- JOHN In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks, day by day, one by one, until I am the only one left. I stayed as long as I could bear it, then with my dog -- Mattias lifts his ears at this part. His favorite part. JOHN - fled. I have put this to parchment lest this pestilence - this Black Death - stay my hand. (beat) This was finished by another hand... John closes the book. Something catches his eye -- Something among the myriad points of light in the sky. Millions of miles away: ONE OF THE STARS Brighter than the rest. MOVING. Fast enough to leave a faint trail. Across the stars. And down... A comet. John stands. Watches -- THE STAR Growing brighter. Drawing nearer. JOHN Joined by three other MONKS. They are older than he. The Four men watch the sky... THE STAR Brighter still. Closer. MORE MONKS Two dozen. A hundred. They come up through the planet's surface. Out of wooden trap doors. Join the others. Days pass. Now three hundred. Necks bowed back. Mouths agape. A SUBTITLE identifies... RELIGIOUS COLONY ARCEON ----------------------- POPULATION: 350 Exiles CRIME: Political Heresy THE STAR Fills the sky. Burns brighter still as it hits the planetoid's atmosphere. ON THE SURFACE OF ARCEON Hundreds of Monks shield their eyes as the ship -- the star -- ROARS over their heads. Trailing FIRE -- John holds up his hands - to touch a star -- Skin BLISTERS as it passes over him, He turns and watches as it -- Arcs downward -- INTO THE SEA WHOMP- SSSSSSSSSS --!! PLUMES of steam rise into the air. The water boils. Fish bob to the surface. Bloated. Dead. JOHN Is the first to hit the shore. Small leather and wood fishing boats tossed by the wake. His coracle is the first into the water. The others running up behind him. He cannot hear the SHOUTS of warning. ON THE SEA - DAWN The sun cracks over the black water. John's hands move the rough wooden oars. Blistered palm opens. BLOOD flows. He tears off a piece of his cassock -- Rips it with his teeth -- Wraps the bloody hand. Rows. THE STAR Ship. Star Ship. Sulaco escape vehicle #4 rocks on the water. White metal skin blackened by the heat. JOHN Rows right into it. His coracle pitches in the choppy surf. He scrambles onto the ship's cracked tile surface. Teeters -- balances -- moves to the unmistakeable HATCH. Looks around for a knob, a handle -- NEXT TO THE HATCH A small panel door whose black and yellow stripes denote urgency. John hesitantly opens the door, revealing a shiny metal LEVER. He stares at it...a beat. Then quickly pulls it down... WUORRRSH -! Hull door OPENS. The doorway is a black maw. John crosses himself. Begins to lower his foot into the hatch -- KYLE O/S Watch it! He almost falls backwards off the ship. Looks back -- THE OTHER MONKS Are rapidly approaching. Kyle gestulates wildly -- KYLE John! Wait -- ! Don't go in! John turns back to the open hatch. Machine recirculated air flows out. He feels it on the skin of his face. Cool. Cool, and artificial. It calls to him. He steps in. Swallowed by the blackness -- WHOOSH-CLANG -! The door closes behind him. INT. SULACO ESCAPE POD #4 - DAY Dark. Dim red lights. John stands still as his eyes adjust to the darkness. He sees: NEWT'S HYPER SLEEP TUBE A glass and metal COFFIN -- pneumatic piping twines around its base. The glass lid is BROKEN. A Small RED LIGHT pulses at the head of the tube -- a soft VOICE and TONE, like your seat belt warning -- is audible... COMPUTER VOICE (sotto) Seal broken...seal broken... John finds himself moving towards the tube... Looks through the broken lid: IN THE TUBE There is a splattered BLOOD STAIN on the sterile white interior. OLD, turned rust-brown. Whatever happened here happened a while ago. Rust colored drips trail down to -- THE FLOOR Drag marks. His eyes follow the stains to a pile of Bloody clothing against a control panel. A jumpsuit. Torn. Child size. The head of child's DOLL, but no body to be found. JOHN Looks back towards the door. Part of him wants to get the hell out here -- but he fights back his fear. He is a doctor - or trying to be - someone in here may need his help. He presses forward -- Averts his gaze from the clothing, UP to the blinking and glowing instrument panels and their myraid -- LIGHTS Pressure lights. Data lights. Warning lights. Thousands of lights. Like the stars in the sky. It's been decades since he's seen technology like this -- and never this close up. He steps further into the ship, his fear now replaced by fascination, follows the lights.... ON A PALE GREEN SCREEN LED numbers race -- 7,291.01.05...06...07 A legand identifies "Elapsed since separation." He moves on... A VIDEO MONITOR Through scanning bars of snow, an image: A WOMAN with a YOUNG GIRL standing in front of her. The Woman's arms are wrapped around the girl. Protective. Maternal. The Woman speaks. Her message repeats itself. A tape loop, although John has no idea what that is. WOMAN ...taking pod four. The Crew of the SS Sulaco and all Marine commandoes are dead. Ship's sensors have interrupted the hyper sleep cycle. An overlooked alien egg has hatched. Bishop and Hicks have been killed. Xenomorphs have infested the cruiser. Newt and I are taking pod four. The Crew of... The WARNING TONE of the Woman's message rekindles John's fear. He moves more hesitantly around the periphery of the ship, following the trail of blinking instruments -- Drawn to touch a button. Click... SOMETHING TENTACLE-LIKE DROPS DOWN ON HIS SHOULDER! Just an oxygen mask. John feels his rapidly BEATING heart as he pushes aside the plastic, dangling object and continues around the shuttle. His hand brushes over a SENSOR which responds by lighting and -- HSSSSSSSSS -! A BLAST of freon shoots out of an overhead pipe -- John SHOUTS and back up into -- ANOTHER HYPER SLEEP TUBE!!! Next to Newt's now empty tube. Humming gently. Still operational. John approaches it cautiously. He can make out the occupant through the lid... A WOMAN The woman from the screen. This is RIPLEY. In hypersleep. Wearing a white cotton tank top and boxer-type shorts. Christ, she looks beautiful. John looks from Ripley to her image on the monitor, then back. Sinks to his knees, reverent. Fascination has replaced fear again. Moves his face closer to the lid. Closer to hers... DAYLIGHT spills in -- John's head WHIPS towards the source of the light -- THE DOOR Open. Kyle and the other monks. KYLE John - what is it? Is this a Supply ship? JOHN No. No supplies. Kyle, there's someone in here -- The Second Monk looks at Kyle. SECOND MONK This is forbidden. KYLE John. Just get the hell out of there -- JOHN I don't want to stay. I have to get her out before this sinks. You come in, give me a hand -- KYLE Her? Look, this is not the supply ship, so this is technology forbidden to us. Get out of there now! John looks down at Ripely. A KEYPAD is mounted at the head of the tube. A red button: "EMERG-OPEN" That's plain enough. JOHN All right -- He presses it. The Tube opens with a loud BLAST of compressed air. The Monks at the door recoil at the sound. CUT TO: EXT. SPACE SHIP - ON THE SEA - DAY Ripley has been lowered into a large coracle. John holds her in front of him. Unconscious. Her head lolls as the boat rocks on the waves. The monks start to row back to short. FIRST MONK (reverent) A space ship... SECOND MONK (even more reverent) A woman... KYLE You shouldn't have gone in -- JOHN I'm supposed to be a doctor. He pushes Ripley's hair away from her forehead. JOHN She could've been lost. FIRST MONK Been a long time since I saw either. SECOND MONK It isn't sinking. Look at it. What are we supposed to do with it? KYLE What was it like in there --? JOHN Lights. So many lights -- THIRD MONK Tow it in. Bring it in. SECOND MONK It's evil. FIRST MONK It's just technology. SECOND MONK Evil technology. Look at these fish -- THIRD MONK The Abbot will know what we should do with it -- KYLE Just lights? JOHN Machines. Buttons. Metal. SECOND MONK See? Just look at the fish. THIRD MONK The Abbot will know. SECOND MONK They're boiled. These fish are boiled. JOHN Thousands of lights. Like the stars. Like Heaven on Earth. Ripley stirs in John's arms. Groans. Fights to come out of her fugue state... Looks around through half-lidded eyes -- She is surrounded by rowing, cassocked Monks. MONKS? She closes her eyes. Tries to clear the imagine. Opens: They're still there. She looks down at the bloodied hands around her waist -- realizes she's sitting on someone's lap. Looks back over her shoulder -- JOHN He smiles at her. Friendly, not sexual. RIPLEY Shakes her head. Tries to speak -- Her lips form soundless words. She looks over her other shoulder, sees -- THE SHIP - RIPLEY POV Bobbing on the surface. Growing small with each stroke of the oars. RIPLEY Brows knit. Fights the cobwebs in her brain. Tries to focus on the ship -- Remembers. Turns to John, tries to speak -- RIPLEY Wait. New... She loses consciousness. GO TO BLACK... INT. THE ABBEY - RIPLEY'S ROOM - DAY Streaks of light move across the darkness. Form patterns of light and shadow against the wooden walls. There is a sublime stillness, but coming through the walls are the muted, far off SOUNDS of the Abbey -- The SAWING of wood. HAMMERING. WHISPERED prayers. LILTING song. We move down off the wall to a hand-made wooden bed. Ripley in restless sleep. EXT. ARCEON SEA - DUSK The waters grown rough with the approach of night. Wind whips across white wave tops -- SPRAYS the dozen Monks who LASH their boats to Ripley's SHIP with thick hemp ropes -- Start to tow it to shore... INT. RIPLEY'S ROOM - NIGHT Ripley is sleeping -- but struggling against some unseen foe -- She tries to sit up -- can't. Tries to shake off the effects of the suspended animation...looks up through half-lidded eyes: JOHN Sits next to her. Quite asleep. Hands swathed in white bandages. Book resting on his lap. She squints to make the figure standing in the shadows behind him -- it's skin picks up and reflects tiny points of flickering cangle light - seems to ripple as it moves -- THE ALIEN Big, black shiny-smooth head moves into the taper light. It moves towards her, cable-like arms held out at its side -- moving out of sync with its feet -- Ripley tries to move - to cry out -- She can't. She can only move her eyes. She looks over at John, sleeping peacefully. He doesn't notice the Alien -- The Alien moves closer. She can feel his breath -- it evaporates the sweat on her forehead -- a CHILL runs through her but she still can't move -- The Alien stands alongside her bed. Extends a six-fingered hand... Gently rests it on her stomach. Cocks its head -- like it's listening to something. The implication is clear. Ripley finds her voice -- RIPLEY AAAAAAAAAAAARGH! Her eyes open wide -- She sits bolt upright. A hand moves to her forehead. Gently pushes her head back to the pillow. John's. JOHN You're out of it. Out of it... Ripley falls back, eyes glued to where the alien appeared. John sees her focal point, looks back over his shoulder: Nothing. Ripley's eyes roll back into her head. She tries to speak -- It was there. Her hand, at her side, tightens into a fist -- John's hand covers hers. Eases the fingers open again. She feels the coarse bandages against her palm. He starts to read quietly from Saint Augustines' Confessions. She begins to drowse again as his soft voice flows over her like waves lapping against the shore... EXT. SURGACE OF ARCEON - DAY A HOWLING DUST STORM has kicked up. The monks wear small round goggles, have rags tied over their noses, as they work at a huge BLOCK AND TACKLE arrangement -- Hundreds of ropes grow TAUT. Timbers GROAN. They LIFT Ripley's SHIP -- SWING it over to a large portal -- INT. RIPLEY'S ROOM - DAY Ripley lays with eyes closed. Muffled VOICES outside her door: ABBOT How is the woman, John? JOHN I don't think she's here yet. At the sound of John's voice the SLIGHTEST smile plays across Ripley's sleeping lips. JOHN She is close, though. As they continue talking, Ripley wakes. Opens her eyes. Rolls over onto her side -- There is a window right next to the bed. Ripley lifts herself up on one elbow, looks out: HER POV Garden of Earthly delights... Monks laboring under a beautiful, celestial blue sky -- picking apples, fishing on the water on small inland lakes. Working with hammer and saw on small wooden cottages. Lyrical. It makes her feel good. She scans the countryside... Sheep graze around wooden ladders stretching hundreds of feet up to the -- Ripley does a take -- WORKERS ON A SCAFFOLDING With crude brushes at the end of poles -- PAINT the sky blue. The Abbey, the cottages, the fields outside her window are all on one level - INSIDE THE PLANET. The vaulted CEILING, painted to look like the sky with huge glass "windows" to allow the sunlight in, is actually the UNDERSIDE of the planetoid's outer shell. Ripley looks back at the Monks on the ground: Instead of repairing, they are taking the cabins apart, stacking the wood onto push carts -- RIPLEY What the hell --? SUDDENLY -- The Sulaco Escape ship APPEARS in front of her. SWINGS past her window suspended by ropes. Then disappears up, out of sight. Ripley checks her pulse. RIPLEY This must be a dream. A bad one. She rolls back onto the bed. Stares up at the ceiling. ABOVE HER - ON THE ROOF OF THE ABBEY Monks scurry around the Ship as it is lowered into place on a flat area of the roof above the libaray. It seats with a deeply resounding THUD... RIPLEY Hears the SOUND and then another - her door OPENING. She turns to find the Abbot and John standing in the doorway. John waits in the doorway as the Abbot crosses to the chair by the bed and sits. RIPLEY Who are you? ABBOT I am the Abbot. Leader of this Colony. And you? He smiles. Open. Friendly. RIPLEY Ripley. How did I get here? ABBOT Your vehicle crash landed. (indicates John) Brother John found you and brought you here. RIPLEY Where is here? ABBOT This is the Minorite Abbey within the manmade orbiter Arceon. RIPLEY Can I use a radio to -- ABBOT We have no radio here. We are a monastic order that has renounced all modern technology. We live the old way. The pure way. She shakes her head. RIPLEY Uh, I - I still don't feel 100%. Whoever took me out of the stasis tube must not have run the full D-F program... Where's Newt? The Abbot looks at her blankly. RIPLEY There was a little girl with me -- ABBOT You were alone. RIPLEY No. She was with me. I put her in her stasis tube -- We launched when the -- ABBOT You were the only living thing found aboard that vessel. The Abbot watches Ripley as the terrible truth overcomes her -- RIPLEY (slowly) Oh, God. Newt. She stops -- gets that chill up her spine -- She realizes that she MUST have brought the Alien with her. RIPLEY It came with us. The Abbot leans in. ABBOT What came with you? RIPLEY Listen -- there is a danger here. It came with me. How long have I been here? ABBOT Almost two days -- RIPLEY (calculates) Loose for two days. This planet could be overrun within the week. Ripley grabs the Abbot by his cassock -- RIPLEY Look, there's a xenomorph -- (sees his confusion) An Alien creature. A killer. A monster. And now it's here. The Abbot looks at her the way you look at that guy on the corner of Santa Monica and 3rd who's babbling about Judgement Day. The guy with his pants down around his kness. She sees this, releases her hold on him... RIPLEY Calm down, Ripley. Okay, I was with a platoon of Colonial Marines on a mission to planetoid LV426. We left Earth six months ago - maybe a year -- ABBOT (interrupts) Wait a moment -- The Abbot becomes aware of John's presence in the doorway. Turns over his shoulder at him. ABBOT Leave us. John waits there a beat, then backs out and closes the door. ABBOT Continue. RIPLEY We launched in the Cruiser Sulaco from Gateway sub-orbital space station -- ABBOT Not possible. RIPLEY What do you mean? ABBOT When we left Earth seventy years ago, it was on the brink of a New Dark Age. Technology was on the verge of destroying the planet's environment. A computer virus was threatening to wipe away all recorded knowledge. There didn't seem to be any way it could be averted. In the almost forty years since we were towed out here in hypersleep, the news that came with occasional supply ships only got worse. Finally, the ships stopped coming. We had to resign ourselves to the fact that worst had come to pass, and the Earth no longer existed. Now she gives him that look. RIPLEY (slowly) Uh...All right... Forget the Earth - How many people do you have here? Let's worry about them. Warn them -- A new look overtakes the Abbot's face. A look of fear. Now she's getting to him - or is she? He abruptly stands. ABBOT Your mind is troubled. You need to rest some more. RIPLEY I don't need rest - I need to get to your people. You've got to get to them -- tell them about the alien -- He heads for the door -- ABBOT I have had enough for now. RIPLEY Enough? Didn't you hear what I said? It could wipe out the entire population of this planet. It may have started already - Have there been any unusual deaths since I got here? The Abbot stops in the door - ABBOT No. And there won't be. The Abbot SLAMS the door behind him. THE CORRIDOR OUTSIDE RIPLEY'S ROOM - DAY John stands nearby as the Abbot addresses two BURLY MONKS ABBOT Bolt it. The guards move to bolt the door. JOHN What is it -- What's wrong? ABBOT Your patient is in a dangerous mental state. Nobody gets in or out until I say so. JOHN But I. Her meals -- ABBOT Nobody. JOHN Father, I don't understand -- The Abbot turns and disappears down the hall. John looks from the departing Abbot to the two Guard/Monks. THE LIBRARY - NIGHT John has his head buried in his hands. His back rises and falls with the rhythmic breathing of sleep. Mattias curled up on his feet. Asleep as well. WHAM! The Library door FLIES open --! John sits bolt upright -- A HYSTERICAL MONK bursts in. Rushes to John's table. HYSTERICAL MONK Brother John! You're here! The Abbot said you'd -- I need -- you're the medic -- JOHN What?! HYSTERICAL MONK My Sandy -- she's ill -- John tries to rub the fitfull sleep out of his eyes. JOHN Huh? A woman? HYSTERICAL MONK Sandy. My ewe. John returns his head to the table. JOHN One of your sheep? Jesus Christ. Call a vet. HYSTERICAL MONK Father Anselm was the vet. John looks under his arms at Mattias -- The dog just stares at him. JOHN You're no help. Okay, let me get my bag. All creatures great and small... INT. HYSTERICAL MONK'S BARN - NIGHT A small structure housing a handful of sheep and a few chickens in wire cages. The wooden walss are full of gaps where boards have been ripped off. The Hysterical Monk holds a torch to illuminate the scene. One of his sheep is laying on its side... HYSTERICAL MONK I just gave her dinner and she keeled over. JOHN So would I. It's freezing in here. HYSTERICAL MONK Been using the wood from the walls for the fire in my cabin. JOHN Haven't we all... John kneels at the ewe. She's breathing heavy. Rapidly. John puts his left hand down on the hay covered floor while he checks the animal's neck pulse with his right hand. She gives a weak "Baa-ah." JOHN May be pneumonia. Pitch some of that hay around her. Stop this damn cold breeze. The Hysterical Monk props the torch up in an empty bucket and retreives a crude iron pitchfork from the wall. Starts to pile hay around the fallen animal. JOHN First, I'll -- He sits up to reach for his back, then stops when he sees what's on his left hand -- A SLIMY MUCOUS-LIKE SUBSTANCE JOHN Wait a minute... The Hysterical Monk stops on mid-pitch. John rubs the material between his fingers. Brings it close to his nose. Sniffs. HYSTERICAL MONK What is it? JOHN I don't know. It's all over the ground. Some sort of -- BAAA-AAAH!!! The ewe starts to SHAKE - QUIVER -- John tries to hold it down -- The Hysterical Monk, at this juncture, goes completely apeshit. HYSTERICAL MONK What?! WHAT?! JOHN Jesus! Help m -- The ewe is shaking so violently that John is thrown back -- He knocks over the bucket -- the torch falls into the hay -- The light is cut off as the torch almost smothers. Then the hay starts to burn -- Weak fire light revealing: BAAaa-Aha-SCLORTCH-H-!! THE EWE EXPLODES ---! Stomach BURSTS -- SPRAYING the two Monks with entrails and blood -- They start SCREAMING. The flickering FIRE LIGHT grows as... A TERRIBLE ALIEN CHEST-BURSTER BURSTS out of the jerking and twitching carcass. It shows the characteristics of the animal in which it has gestated. Tiny razor sharp teeth and black, glass-like eyes peer from a enlongated head covered with downy, but gore-matted WOOL. A quadroped, its shrunked hind legs struggling to free itself from the cooling morass of intestines. John can only SCREAM as the most horrible nightmare he can imagine tr

53

Avengers: Endgame

Christopher Markus,Stephen McFeely

Action,Adventure,Drama

Apr-19

AVENGERS: ENDGAME Christopher Markus & Stephen McFeely Adapted Screenplay EXT. BARTON HOME - DAY CLOSE ON: A HOUSE-ARREST ANKLE BRACELET. CLINT BARTON (O.S.) Okay, you see where you're going? Let's work on how to get there. Pan up to find...CLINT BARTON, with his daughter, LILA, coaching her as she notches an arrow in her bow. CLINT BARTON (CONT'D) Okay, good...tip down...bow arm out...three fingers- LILA BARTON Why three? CLINT BARTON `Cause two's not enough and four's too much- LAURA BARTON (O.S.) You guys want mustard or mayo, or both? CLINT TURNS. IN THE FIELD BEHIND THEM, his wife, LAURA BARTON sets up a picnic as COOPER and NATHANIEL play soccer. LILA BARTON Who puts mayo on a hot dog? CLINT BARTON We'll both have mustard, hon! (to Lila) Okay. Draw back, deep breath... She lets loose. THUD! HER ARROW HITS NEAR THE BULLS-EYE. CLINT BARTON (CONT'D) Good job, Hawkeye. Go get your arrow. LAURA BARTON (O.S.) Enough murder practice! Soup's on! CLINT BARTON One sec, babe. Be right there! We're gonna kill some hot dogs. We're hungry. But when he turns back...LILA IS GONE. The bow and arrow lie at his feet. He stares. 2 CLINT BARTON (CONT'D) Lila? Babe, did you see Lila- He turns to his wife, BUT SHE'S GONE. So are the boys. The soccer ball rolls to a stop near the picnic blanket. NO ONE CAN BE SEEN FOR A HUNDRED YARDS IN ALL DIRECTIONS. CLINT BARTON (CONT'D) Guys? Guys, come on... Clint walks toward the field, dread growing. CLINT BARTON (CONT'D) Laura? Clint breaks into a panicked run. CLINT BARTON (CONT'D) LAURA! CLINT MELTS DOWN, SPINNING AROUND, FRANTIC... MARVEL FLIP EXT. SPACE - NIGHT BLACKNESS. TITLE: "TWENTY-TWO DAYS LATER." Soon, THE BENATAR tumbles past, adrift... INT. BENATAR, GALLEY - NIGHT TONY STARK and NEBULA play table-top football. She wins. TONY (offering his hand) Good sport. Have fun? Nebula studies his hand, confused. Finally she shakes. NEBULA It was fun. INT. BENATAR, FLIGHT DECK - NIGHT Tony, thin and haggard, kneels in front of HIS BROKEN IRON MAN HELMET. He hits a switch. A light blinks. 3 TONY'S RECORDING: he stares directly into the "camera." TONY This thing on? Hey, Ms. Potts. Pep. If you find this recording, don't post it on social media. It's going to be a real tearjerker. EXT. SPACE - NIGHT THE BENATAR sparks, adrift. TONY (O.S.) I don't know if you're ever going to see these. I don't even know if you're still...God, I hope so. Today's day twenty-one, no...twenty- two. INT. BENATAR, GALLEY - FLASHBACK NEBULA lasers shut Tony's infected wound. TONY (O.S.) You know, if it wasn't for the existential terror of staring into the literal void of space, I'd say I'm feeling a little better today. Infection's run its course, thanks to the Blue Meanie back there. You'd like her. She's very practical. And only a tiny bit sadistic. INT. BENATAR, GALLEY - FLASHBACK TONY AND NEBULA MEND THE EMPTY FUEL CELLS UNDER THE FLOOR. TONY (O.S.) The fuel cells were cracked during battle, but we figured out a way to reverse the ion charge. Bought ourselves about 48 hours of flight time. Problem is that was about...49 hours ago. EXT. SPACE - NIGHT FROM HIGH OVERHEAD, WE WATCH THE BENATAR DRIFT IN SPACE. 4 TONY (O.S.) Which means, we're dead in the water. A thousand light years from the nearest 7-11. INT. BENATAR, GALLEY - FLASHBACK Tony hands Nebula the last of A PURPLE POWDER. She pushes it back to him. TONY (O.S.) Most of the quote-unquote `food' and potable water ran out two weeks ago. INT. BENATAR, FLIGHT DECK - NIGHT Tony stands on the flight deck, one hand resting on the glass, staring into the unknown. TONY Pep, I know I said no more surprises. But, I gotta say, I was really hoping to pull off one last one. But it looks like...well, you know what it looks like. INT. BENATAR, FLIGHT DECK - NIGHT Back to now. Tony records his thoughts into his helmet. TONY Don't feel bad about this. I mean, actually, if you grovel for a couple weeks, and then move on with enormous guilt...I should probably lie down for a minute, rest my eyes. Please know, when I drift off, it will be like every day lately. I'm fine, totally fine. I'm going to dream about you. It's always you. Tony switches the helmet off. TIME CUT: NEBULA finds TONY SPRAWLED ON THE FLOOR. TIME CUT: 5 Nebula helps Tony into Quill's chair. Tony slumps, completely still. Nebula gives him his privacy. Move in on Tony's face as...A LIGHT SLOWLY GROWS BRIGHTER. Soon, the entire flight deck glows as bright as a sun. Nebula appears from the galley, shading her eyes. Tony's eyelids flutter. Finally, he opens them to see... CAPTAIN MARVEL (CAROL DANVERS) hovering in space. INT. AVENGERS COMPOUND, BATHROOM - NIGHT STEVE ROGERS shaves. He studies himself in the mirror, exhausted. He's about to tap his razor in the sink's standing water, when... THE WATER RIPPLES. Steve stares a beat, puzzled. Then the lamp catches his eye...SWAYING GENTLY. Just then, a sound roars overhead. Steve turns... EXT. AVENGERS COMPOUND - NIGHT THE MOON HANGS HUGE OVER THE EARTH. Then the silhouette of THE BENATAR races past, propelled by CAROL DANVERS. Below...STEVE ROGERS, BRUCE BANNER, AND NATASHA ROMANOV watch a flying woman guide the ship to the ground. Behind them, PEPPER POTTS walks up to the group. TIME CUT: Steve races up as NEBULA helps Tony down the ramp. TONY I couldn't stop him. STEVE Neither could we. TONY I lost the kid. STEVE (unable to say it all) We...lost... TONY Is Pepper...? 6 JUST THEN, PEPPER POTTS THROWS HERSELF INTO TONY'S ARMS. PEPPER POTTS Stay here, you stay right here- TONY I'm not going anywhere. NEARBY, NEBULA watches the sad humans. ROCKET SITS BESIDE HER, GRATEFUL. She rests a hand on his furry head. INT. AVENGERS COMPOUND, WORKSHOP - DAY RHODEY, TONY, STEVE, NATASHA, AND CAROL watch... A HOLO-DISPLAY ROTATING THROUGH FACES OF PEOPLE WE'VE LOST: WANDA. VISION. BUCKY. T'CHALLA. MARIA HILL. RHODEY It's been twenty-three days since Thanos came to Earth. TONY, weak, sits in a hi-tech wheelchair, IV dripping into his arm. He stares, taking in the loss: SAM WILSON. SECRETARY ROSS. SHARON CARTER. SCOTT LANG. HOPE VAN DYNE. HANK PYM. NICK FURY. At Fury, Carol bites back emotion. NATASHA World governments are in pieces, as you can imagine. But the parts that still work are trying to take a census. It looks like he did what he said he was going to do. JANE FOSTER. ERIK SELVIG. WONG. DR. STRANGE. THE BARTON FAMILY. QUILL. DRAX. MANTIS. GROOT. PETER PARKER. Finally, Tony looks away. RHODEY turns it off. NATASHA (CONT'D) Thanos wiped out fifty percent of all the living creatures on Earth. CAROL DANVERS Not just Earth. RHODEY You sure about that? 7 CAROL DANVERS You never have to ask me that. TONY Where is he now? STEVE We don't know. He just opened a portal and walked through. Tony looks out to see...THOR on the patio. TONY What's his deal? ROCKET (O.S.) He's pissed. Tony turns to see Rocket for the first time. ROCKET (CONT'D) He thinks he failed. Which, of course, he did. But there's a lot of that going around, ain't there? TONY Until this second, I literally thought you were a Build-a-Bear. STEVE We've been hunting Thanos for three weeks - deep space scans, satellites - we got nothing. Tony, you fought him- TONY Who told you that? I didn't fight him, he wiped my face with a planet while a Bleecker Street magician gave away the store. There was no fight because he's not beatable. STEVE Did he give you anything to go on? Clues, coordinates- Tony stares, lost, barely acknowledging Steve. TONY I saw this coming, few years back. Didn't wanna believe. I thought I was dreaming... 8 STEVE Tony, I need you to focus- TONY And I needed you, as in past tense. That trumps what you need. It's too late, buddy. You know what I need? Tony turns to everyone, slightly unstable. TONY (CONT'D) I need a shave and a burger, not a bowl of soup. (stands) And I believe I remember telling all of you, alive and otherwise, that we needed a suit of armor around the world, whether it impacted our precious freedoms or not- STEVE But that didn't work out, did it? TONY I said we'd lose, you said we'd "do that together, too." Guess what, Cap, we lost, and you weren't there. But that's what we do, right? Our best work after the fact? We're the "Avengers", not the "Pre-vengers-" RHODEY Tony, take it easy... TONY I've got nothing for ya, Cap. No coordinates, no clues, no strategies, no options. Zero, zip, nada. No trust. (rips out RT) Here. You take this. You find him, you put this on, and hide. (drops to his knees) I'm fine! Tony COLLAPSES. Rhodey catches him. 9 INT. AVENGERS COMPOUND, CORRIDOR - DAY CAROL, STEVE, AND NATASHA stare through GLASS DOORS at TONY IN A HOSPITAL BED, PEPPER AND BANNER AT HIS SIDE. RHODEY STEPS OUT OF THE HOSPITAL ROOM. RHODEY Bruce gave him a sedative. Should be out the rest of the day. CAROL DANVERS (heading for the lab) Take care of him. When I come back, I'll bring a bottle of Xorrian elixir. STEVE Where are you going? CAROL DANVERS To kill Thanos. INT. AVENGERS COMPOUND, WORKSHOP - DAY NATASHA catches up to CAROL IN THE WORKSHOP. NATASHA Hey, hey, hang on. We're sort of a team here. Between you and me, morale's a little fragile. CAROL DANVERS Oh, I'm sorry. My fault. Carol sees Steve and Rhodey catch up. She claps her hands. CAROL DANVERS (CONT'D) All right, team! I'm going to go kill Thanos. Message me if you get any intel that can help. Otherwise, I'll report back when he's dead. Great work, everybody. STEVE Look, we realize "up there's" more your territory, but this is our fight, too. RHODEY Do you even know where he is? 10 CAROL DANVERS I know people who might- NEBULA (O.S.) Don't bother. They all turn to see NEBULA in THE LIVING AREA DOORWAY. NEBULA (CONT'D) I can tell you where Thanos is. INT. AVENGERS COMPOUND, LIVING AREA - DAY STEVE, NATASHA, RHODEY, BANNER, ROCKET, THOR, and CAROL gather. NEBULA studies her robotic hand. NEBULA Thanos spent a long time trying to...perfect me. When he worked, he talked. About his Great Plan. Even disassembled, I wanted to please him. I'd ask, where would we go once his plan was complete? His answer was always the same: "To the Garden." RHODEY You're saying Thanos had a retirement plan. STEVE Where's this garden? ROCKET brings up EARTH on A HOLO-MAP. A BRIGHT SURGE OF ENERGY ENVELOPS THE PLANET (EMANATING FROM WAKANDA). ROCKET When Thanos snapped his fingers, Earth become ground zero for a power surge of ridiculously cosmic proportions. No one's seen anything like it. He shifts the map, crossing billions of light years, to...AN IDENTICAL SURGE ENVELOPING A MYSTERIOUS, ORANGE PLANET. ROCKET (CONT'D) Until two days ago. NATASHA You're saying he snapped his fingers again. Where? 11 Rocket zooms the holo-image toward a cluster of stars... NEBULA Planet is unnamed, but inhabitable. Rich atmosphere, good soil- STEVE A garden. BRUCE BANNER Thanos is there. And he just used the stones. Steve eyes everyone. THOR FINALLY LOOKS UP. BRUCE BANNER (CONT'D) (thinking of himself) You know, we'd be going short- handed. RHODEY Because he killed all our friends. ROCKET Are we saying they're dead? We're using that word now? RHODEY He's still got the stones. CAROL DANVERS So, we take them. And we use them to bring everybody back. BRUCE BANNER Just like that? STEVE Yeah. Just like that. No one speaks. Finally... NATASHA If there's even the smallest chance we can undo this, then we owe it to everyone who's not sitting here to try. Everyone looks around the room...AGREED. BRUCE BANNER uh, Scott Lang? We met a few year If we do this...why would it end any differently than it did before? 12 CAROL DANVERS Because before you didn't have me. RHODEY Hey, new girl. All of us in here are about that superhero life. Where've you been all this time? CAROL DANVERS There's a lot of people in the universe. And they didn't all have you. THOR STANDS. He crosses to Carol and holds out his hand. STORMBREAKER WHIPS PAST HER HEAD, RUFFLING HER HAIR. Carol doesn't flinch. Thor smiles. THOR I like this one. Steve stares at the planet a long, deciding moment. Then... STEVE Let's go get that son of a bitch. SLAM TO: TITLE: "AVENGERS: ENDGAME" INT. BENATAR, FLIGHT DECK - DAWN EVERYONE settles into their seats on the Benatar's flight deck. STEVE WATCHES EARTH GROW SMALLER THROUGH THE WINDOW. CAROL DANVERS Trust me. You get used to it. ROCKET looks around from the pilot's chair. ROCKET Okay, who here hasn't been to space? STEVE, NATASHA, and RHODEY half-raise their hands. ROCKET (CONT'D) Oh, you're gonna hate this. NEBULA Approaching jump in three, two... STEVE'S FINGERS TIGHTEN on the arm rest as... 13 EXT. BENATAR - DAWN WHOOSH! THE BENATAR WARPS, LEAPING INTO JUMP SPACE. EXT. SPACE - DAY WHOOSH! THE BENATAR ARRIVES ABOVE AN OMINOUS, ORANGE PLANET. As the ship maintains orbit, CAROL flies toward the planet. CAROL DANVERS I'll head down for recon. If I'm not back in fifteen, you'll know I found him. INT. BENATAR, FLIGHT DECK - SPACE OUR HEROES wait on the flight deck, tense. NATASHA looks at STEVE, who's staring at...A COMPASS: PEGGY CARTER'S YELLOWED PHOTO STILL RESTS INSIDE. NATASHA This is going to work, Steve. STEVE I know it will. (beat) Because I don't know what I'm going to do if it doesn't. JUST THEN, CAROL FLIES UP TO THE OTHER SIDE OF THE GLASS. CAROL DANVERS (OVER COM) No satellites, no ships, no armies. No ground defenses of any kind. It's just him. NEBULA That's enough. The Avengers exchange a look. EXT. TITAN-2 - DAY SMOKE CURLS FROM THE CHIMNEY OF A SOLITARY LODGE. INT. THANOS' LODGE - DAY A POT BOILS OVER A FIRE. Then...THANOS LIMPS TOWARD IT, LEFT SIDE PARALYZED, arm blackened. A shell of his former self. 14 He stirs the pot. Suddenly, AN ARMORED HAND BURSTS FROM THE FIRE, GRABBING THANOS' GAUNTLET... PREVENTING THANOS FROM CLOSING HIS FIST. Thanos jerks back as HULKBUSTER SPRINGS INSIDE. CAROL AND RHODEY BASH THROUGH THE ROOF, PINNING THANOS' ARMS. THOR crashes through the door, followed by the others. HE SWINGS STORMBREAKER...CUTTING OFF THANOS' HAND. The Gauntlet lands at Rocket's feet. He picks it up...and his face goes slack. He turns the glove toward the others. And we now realize...THE INFINITY STONES ARE GONE. STEVE Where are they? Thanos doesn't answer. CAROL PRESSES HIM TO HIS KNEES. CAROL DANVERS Answer the question! THANOS The universe required correction. After that, the stones served no purpose beyond temptation. BRUCE BANNER You murdered trillions. THANOS You should be grateful. NATASHA Where are the stones? THANOS Gone. Reduced to atoms. BRUCE BANNER You used them two days ago! THANOS I used the stones to destroy the stones. It nearly killed me. But the work is done. It always will be. That lands, sickening. ROCKET SEARCHES, FRANTIC, NEAR TEARS. ROCKET No...they can't be gone... 15 RHODEY He's lying. NEBULA My father is many things. A liar is not one of them. THANOS Thank you, daughter. Perhaps I've treated you- SWOOSH. THOR'S AXE SEVERS THANOS' HEAD FROM HIS BODY. IT HITS THE FLOOR, FOLLOWED BY THE THUD OF HIS HUGE FRAME. ROCKET What did you do? Thor just stares, his long journey a failure. THOR I went for the head. As Thor walks away, Steve looks at Thanos' head on the ground. IT'S OVER. THEY LOST. FADE TO BLACK. OVER BLACK: "FIVE YEARS LATER." EXT. PORT OF NEW YORK - DAY A CAR CRUSHER flattens an Audi. THOUSANDS MORE NEVER-DRIVEN CARS LIE STACKED ON THE DOCKS, WAITING THEIR TURN. EXT. NEW YORK - DAY A HUGE TARP flaps over the shuttered LINCOLN CENTER. EXT. SHEA STADIUM - DAY A TEENAGE GIRL rides her skateboard, alone in a weed-filled parking lot. Pull back to see THE EMPTY STADIUM BEHIND HER. INT. BROOKLYN COMMUNITY CENTER - NIGHT A POSTER SHOWS A SINGLE FIGURE STARING AT A GROUP OF SHADOWS. IT READS, "WHERE DO WE GO, NOW THAT THEY'RE GONE?" The bottom reads, "BROOKLYN SUPPORT GROUP, TUESDAYS 8PM." 16 A GRIEVING MAN speaks in A RECOVERY GROUP. GRIEVING MAN So, I went on a date the other day. JIMMY Good job, Bobby. Back in the game. GRIEVING MAN Thank you, Jimmy. (to the group) First in five years. I sat there at dinner thinking, what are we even supposed to talk about? STEVE ROGERS, thinner, older, LISTENS INTENTLY. STEVE What did you talk about? GRIEVING MAN Same old crap. How much things have changed. How much we miss the Mets. My job, his job. Then it got kind of quiet. He cried during the salads. OLDER MAN What about you? GRIEVING MAN I cried just before dessert. But I'm seeing him again tomorrow. So... STEVE That's great. You've already done the hardest part. You took a jump, didn't know where you'd come down. And that's it, those little brave baby steps we've gotta take. To try to make us feel whole again, to find a purpose... (to everyone) I went into the ice right after I met the love of my life. Woke up seventy years later and...had to keep going. The group takes this in. 17 STEVE (CONT'D) The world's been left in our hands. If we don't do something with it...then Thanos might as well have killed all of us. People nod, but Steve seems unconvinced by his own words. EXT. SAN FRANCISCO - DAY THE CAMERA ROTATES down from the sky onto a strangely quiet San Francisco, until it finds...A STORAGE WAREHOUSE. INT. STORAGE WAREHOUSE, UNIT 277 - DAY LUIS' VAN sits in a storage unit, surrounded by boxes: "S. LANG, KITCHEN, S. LANG, CLOTHES." THROUGH THE VAN WINDOWS, we see...HANK PYM'S QUANTUM TUNNEL. A MEANDERING RAT CRAWLS ONTO THE CONTROLS. IT ACCIDENTALLY STEPS ON A TOGGLE SWITCH and...A LIGHT GOES GREEN. FLASH. THE BACK DOORS OF THE VAN BLOW OPEN, revealing...SCOTT LANG, ANT-MAN suit shorting. He retracts his helmet, gasping. INT. STORAGE WAREHOUSE, SECURITY OFFICE - DAY A GUARD reads THE TERMINAL BEACH, by J.G. Ballard. He looks up at a monitor: SCOTT LANG holds up a sign, "HELP." EXT. STORAGE WAREHOUSE - DAY A dented WAGON rolls over a speed-bump. Scott, in his old clothes, slowly wheels his belongings away. The Guard watches him go, puzzled. EXT. SAN FRANCISCO, STREET - DAY Scott walks A STREET OF ABANDONED HOMES. SCOTT LANG Hello? He hears A CLACKING. A KID on a bicycle rides by, playing card wedged between his spokes. Scott waves him down. The kid stops. 18 SCOTT LANG (CONT'D) Hey. Kid. What happened here? The kid says nothing. He just stares at Scott with a haunted look. Then he stands on his pedal and keeps riding. CLACK-CLACK-CLACK-CLACK-CLACK-CLACK-CLACK... EXT. SAN FRANCISCO, GOLDEN GATE PARK - DAY STONE MONUMENTS loom in a park. A small crowd mills. Reveal Scott looking over the monuments, lost. TIME CUT: Scott walks up to the obelisks. At the top, they read: "THE VANISHED." Hundreds of names line the stones. He scans the "L's," finally finding, "SCOTT LANG." SCOTT LANG What? (realizing) Cassie... EXT. MAGGIE LANG'S HOUSE - DAY A winded Scott races up the sidewalk toward his old house. He leaps a bush, banging on the front door. SCOTT LANG Cassie! Cassie! SOON, A TEEN GIRL opens the door, shocked. A very long beat. CASSIE LANG Dad? SCOTT LANG Peanut? Scott wraps his arms around CASSIE LANG (14), now five years older than when he last saw her. She hugs him, CRYING. CASSIE LANG I thought you were gone. SCOTT LANG I'm sorry. I'm back...I'm back...I'm back... 19 EXT. AVENGERS COMPOUND, FRONT GATE - DAWN Avengers Compound stands amidst overgrown grass. Rusty chains lock the gate. Faded signs warn: "RESTRICTED AREA. KEEP OUT." INT. AVENGERS COMPOUND, LIVING AREA - NIGHT NATASHA SITS SURROUNDED BY HOLO-SCREENS FEATURING CAROL DANVERS, RHODEY, ROCKET AND NEBULA, AND OKOYE. ROCKET (HOLO) We boarded that "highly suspect warship" Danvers pinged. NATASHA And? NEBULA (HOLO) It was an infectious garbage scow. ROCKET (HOLO) So thanks for the hot tip- CAROL DANVERS (HOLO) You were closer. ROCKET (HOLO) And now we smell like garbage- NATASHA (to Okoye) You get a reading on those tremors? OKOYE (HOLO) Minor subduction in the African plate. NATASHA Do we have a visual? How are you handling it? OKOYE (HOLO) Nat. It was a mild earthquake. In the ocean. We handle it by not handling it. Natasha looks burdened. Rhodey steps in. 20 RHODEY (HOLO) I can have NASA redirect a satellite, do a sweep just to make sure. NATASHA Thanks. Carol, you're still coming our way next month? CAROL DANVERS (HOLO) Not likely. ROCKET (HOLO) Getting another haircut? CAROL DANVERS (HOLO) Listen, fur-face, I'm covering a lot of territory out here. The things that have been happening on Earth have been happening everywhere else. On thousands of planets. You might not see me for a long time. NATASHA All right. Everybody keep keeping their eyes open. This channel's always active. Anything goes sideways, anyone makes trouble where they shouldn't, it comes through me. They ad lib their goodbyes as they sign off, except Rhodey. NATASHA (CONT'D) What's up? Where are you? RHODEY (HOLO) Mexico. Got some news. NATASHA Okay... RHODEY Federal�s found a room full of bodies outside Juarez. Cartel guys. Guns still in their pants. NATASHA Could be a rival hit- RHODEY But it wasn't. Same MO as Marseille. And Kiev. (MORE) 21 RHODEY (CONT'D) (beat) It's definitely Barton. She nods, grim, reluctantly accepting. RHODEY (CONT'D) What he's done here...what he's been doing...I got to tell you, part of me doesn't want to find him. Natasha just stares a long beat. NATASHA Find out where's he going next. Rhodey nods, signing off. Natasha sits there, THEN CRUMPLES. After a long beat... STEVE (O.S.) I'd offer to cook you dinner but you seem sad enough already. Natasha turns to see STEVE in the doorway. NATASHA Come by to do your laundry? STEVE And see a friend. NATASHA Your friend's fine. STEVE She leave the house today? NATASHA Nothing out there I particularly want to see. STEVE I spotted a pod of whales coming over the bridge. NATASHA (dubious) In the Hudson. STEVE Fewer ships, cleaner water. Just saying, there's still a world out there. 22 NATASHA If you're about to tell me to look on the bright side, I'm about to hit you with a peanut butter sandwich. Steve relents, LETTING DOWN HIS FACADE. STEVE Sorry. Force of habit. NATASHA I don't know how you do it. Steve bites into the uneaten half of her sandwich. STEVE I guess I don't know how not to. NATASHA Me, neither. After a long moment, Steve looks up at her, honest. STEVE I keep telling them, move on. Grow past it. And some of them actually do. But not us. NATASHA If I move on, who does this? STEVE Maybe it doesn't need to be done. Natasha takes that in. Steve is thinking of giving up. She looks around at Avengers Compound. NATASHA I used to have nothing. Then I got this. This job, this family. And I was better because of it. She chokes slightly, collecting herself. NATASHA (CONT'D) And even though they're gone, I'm still trying to be...better. STEVE I think we both need to get a life. NATASHA You first. 23 They stare at each other a long, melancholy moment. THEN, WE HEAR A PING. NATASHA SWIPES TO A CCTV DISPLAY: SCOTT LANG'S FACE FILLS A SCREEN, LUIS' VAN BEHIND HIM. SCOTT LANG (ON SCREEN) Hello? Is anyone home? This is,

54

A Few Good Men Script

Aaron Sorkin

Crime,Drama,Mystery,Thriller

Dec-92

A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) JO Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who?

55

Basic Instinct

Joe Eszterhas

Crime,Mystery,Thriller

null

BASIC INSTINCT the water. CATHERINE I don't really feel like talking anymore. GUS Listen, lady, we can do this downtown if you -- CATHERINE Read me my rights and arrest me and I'll go downtown. She doesn't even look at them. CATHERINE (quietly) Otherwise, get the fuck out of here. Please. A long beat as they look at her. INT. A CORRIDOR - POLICE HEADQUARTERS The door says Dr. Elizabeth Gardner, Counseling. Nick opens the door, peeks in. The receptionist is not there. A clock says 3. INT. THE COUNSELING OFFICE He walks in -- sees the inner door open, walks in. NICK I'm sorry, Beth. I -- I got hung up in Stinson. DR. ELIZABETH GARDNER, the police psychologist, is a very good- looking, dark-haired woman. She is 30. BETH (smiles) How are you, Nick? NICK I'm fine. Come on, Beth! You know I'm fine! How the hell long do I have to keep doing this? BETH As long as Internal Affairs wants you to, I suppose. Sit down, Nick. NICK It's bullshit. You know it is. BETH (smiles) I know it is -- but sit down anyway so we can get it over with, okay? He sits down. BETH So -- how are things? NICK (after a beat) Things are fine. I told you. They're fine. She watches him closely. BETH (after a beat) How is your -- personal life? NICK My sex life is fine. (a beat) My sex life is pretty shitty actually since I stopped seeing you -- maybe I should think about my Electrolux again. That embarrassed her; she looks away from him. NICK (after a beat) Sorry. She shrugs. A beat. BETH How about the booze? NICK It's been three months. BETH (after a long beat) How about the coke? NICK No. BETH No? NICK (hard) No! I'm working my tail off. I'm off the sauce, I'm not even smoking anymore. She smiles. BETH How's not smoking? NICK It's fucked -- now will you please tell I.A. that I'm just you average healthy totally fucked-up cop and let me get out of here? BETH (after a beat; smiles) Yes. NICK Thank you. And he starts heading out. BETH (behind him) I still miss you, Nick. He doesn't even turn, pretends he didn't hear. INT. THE DETECTIVE BUREAU He walks in. Gus Moran gets up from his desk as soon as he sees him. GUS Talcott's in there. They're waiting. They start heading for Lt. Walker's office. GUS How'd it go, son? NICK She misses me. GUS (grins) Hallelujah. INT. LT. WALKER'S OFFICE He and Gus sit there with Lt. Walker, Harrigan, Andrews and Captain Talcott. HARRIGAN Sixteen stab wounds to the chest and neck. No usable prints, no forcible entry, nothing missing. No prints on the ice pick, either -- it's available at any Safeway. The scarf is Hermes, expensive -- they sell about 20,000 a year worldwide. ANDREWS The powder was cocaine, high- quality, high-content. He inhaled it; there were minute quantities on his lips and penis. Mr. Boz leaves five million dollars, no insurance, no direct survivors. He liked his coke, he liked his girls, and he liked rock and roll. NICK He liked the mayor, too, right? Talcott gives him a look. GUS What about his girlfriend? TALCOTT Is she relevant here? I didn't know she was a suspect. LT. WALKER She's a suspect. TALCOTT On what basis? LT. WALKER (looks a notes) Catherine Tramell. Age 30. No priors, no convictions. Double major, magnum cum laude, Berkeley, 1980. Literature and Psychology. Daughter, sole survivor -- Marvin and Elaine Tramell, killed in a boating accident, 1978, Catherine Tramell sole heir. Estimated assets $110 million. It hangs there. NICK Are you kidding me? LT. WALKER (continues) Formerly engaged to Roberto Vasquez, deceased -- ANDREWS Bobby Vasquez? LT. WALKER Bobby Vasquez, former middleweight contender, killed in the ring Atlantic City, 1984. NICK (smiles) I love it. She's got a hundred million bucks. She fucks fighters and rock and roll stars. And she's got a degree in screwing with peoples' heads. LT. WALKER You forgot her degree in literature. She's a writer. She published a novel last year under a pen name. Do you want to know what it's about? They just stare at him. LT. WALKER It's about a retired rock and roll star who is murdered by his girlfriend. It hangs there a long beat. INT. NICK'S APARTMENT - NIGHT His apartment is very bare -- very few things -- with wide open spaces. There is a lot of chrome. He sits on the couch, reading a book. It is a paperback. We see the title -- Love Hurts, by Catherine Adams. He puts the book down a beat, then picks the phone up, dials. NICK Page 67, pop. Do you know how she does the boyfriend? With an icepick, in bed, his hands tied with a white silk scarf. INT. A POLICE DEPARTMENT CONFERENCE ROOM - DAY Nick, Gus, Lt. Walker, Harrigan, Andrews, Captain Talcott -- and Beth Gardner. With them is an older, white-haired man, DR. ANDREW LAMOTT. There are copies of "Love Hurts" around the table. LT. WALKER Dr. Gardner? BETH I've asked Dr. Lamott to consult with us. This isn't really my turf. Dr. Lamott teaches the psycho- pathology of psychopathic behavior at Stanford and is also a member of the Justice Department's Psychological Profile team. Dr. Lamott? DR. LAMOTT There are two possibilities. One. The person who wrote this book is your murderer and acted out the killing described in ritualistic, literal detail. Two. Someone who wants to do the person who wrote this book harm read the book and enacted the killing described to incriminate the writer. NICK (after a long beat) What if the writer did it? What are we dealing with? DR. LAMOTT You're dealing with a devious, diabolical mind. This book must have been written at least six months, maybe years before it was published. That means the writer planned the crime, at least in the subconscious, back then. The fact that the writer carried it out indicates psychopathic obsessive behavior in terms not only of the killing itself but in terms of applied advance defense mechanism. A long beat. GUS Most times I can't tell shit from shinola, Doc. What was all that you just said? Some grins, titters. BETH She anticipates the book to be her best alibi. DR. LAMOTT Correct. BETH She's going to say Do you think I'd be dumb enough to kill anyone in the exact way I've described in my book? I wouldn't do that because I'd know I'd be a suspect. A long beat -- as they think about it. NICK What if it's not the writer? What if it's someone who read the book? DR. LAMOTT You're dealing then with someone so obsessed that he or she is willing to kill an irrelevant and innocent victim to place the blame on the person who wrote this book. We are talking about deep-seated, obsessional hatred; an utter lack of sense of proportion or perspective. GUS We've got a top-of-the-line, once- in-a-lifetime loony-tune either way you cut it -- that's what you're saying, right, Doc? DR. LAMOTT You're dealing with someone very dangerous and very ill. INT. THE PROSECUTOR'S OFFICE - DAY PROSECUTOR JOHN CORRIGAN, a big man in his 50's, with Captain Talcott, Lt. Walker, Nick, and Gus. Corrigan is reading a file. He gets up, yawns, goes to his window, looks out. CORRIGAN Come on, you know there's no case here. There's no physical evidence -- okay, she doesn't have an alibi but there's no motive. Her defense would just beat us to death with the copycat thing. Anybody who read the book could have done it. A long beat; no one says anything. NICK So what do we do -- nothing? LT. WALKER (after a beat) We bring her in for questioning. TALCOTT She's got enough money to burn this whole department down. LT. WALKER She was the last person seen with the guy -- I'll take the responsibility. TALCOTT It's yours. CORRIGAN It won't do any good. She'll come in with Lee Bailey and Mel Belli trailing behind her on a solid gold chain from Tiffanys. TALCOTT Yes she will. NICK (after a beat) No she won't. They look at him. NICK (smiles) I don't think she's going to hide behind anybody. I don't think she's going to hide at all. TALCOTT (after a beat) I think you're as crazy as she probably is, Curran. Nicks says nothing. by JOE ESZTERHAS INT. A BEDROOM - NIGHT It is dark; we don't see clearly. a man and woman make love on a brass bed. There are mirrors on the walls and ceiling. On a side table, atop a small mirror, lines of cocaine. A tape deck PLAYS the Stones "Sympathy for the Devil." Atop him... she straddles his chest... her breasts in his face. He cups her breasts. She leans down, kisses him... JOHNNY BOZ is in his late 40's, slim, good-looking. We don't see the woman's face. She has long blonde hair. The CAMERA STAYS BEHIND and to the side of them. She leans close over his face, her tongue in his mouth... she kisses him... she moves her hands up, holds both of his arms above his head. She moves higher atop him... she reaches to the side of the bed... a white silk scarf is in her hand... her hips above his face now, moving... slightly, oh-so slightly... his face strains towards her. The scarf in her hand... she ties his hands with it... gently... to the brass bed... his eyes are closed... tighter... lowering hips into his face... lower... over his chest... his navel. The SONG plays. He is inside her... his head arches back... his throat white. She arches her back... her hips grind... her breasts are high... Her back arches back... back... her head tilts back... she extends her arms... the right arm comes down suddenly... the steel flashes... his throat is white... He bucks, writhes, bucks, convulses... It flashes up... it flashes down... and up... and down... and up... and... EXT. A BROWNSTONE IN PACIFIC HEIGHTS - MORNING Winter in San Francisco cold, foggy. Cop cars everywhere. The lights play through the thick fog. Two Homicide detectives get out of the car, walk into the house. NICK CURRAN is 42. Trim, good-looking, a nice suit; a face urban, edged, shadowed. GUS MORAN is 64. Crew-cut, silver beard, a suit rumpled and shiny, a hat out of the 50'sa face worn and ruined the face of a backwoods philosopher. INT. THE BROWNSTONE There's money here -- deco, clean, hip -- That looks like a Picasso on the wall. They check it out. GUS Who was this fuckin' guy? NICK Rock and roll, Gus. Johnny Boz. GUS I never heard of him. NICK (grins) Before your time, pop. (a beat) Mid-sixties. Five or six hits. He's got a club down in the Fillmore now. GUS Not now he don't. Past the uniformed guys... nods... waves... past the forensic men... past the coroner's investigators... they get to the bedroom. INT. THE BEDROOM They walk in, stare -- it's messy. It's like a convention in here. LT. PHIL WALKER, in his 50's, silver-haired, the Homicide guys; JIM HARRIGAN, late 40's, puffy, affable; SAM ANDREWS, 30's, black. A CORONER'S MAN is working the bed. LT. WALKER (to Nick and Gus) You guys know Captain Talcott? They nod. GUS What's the Chief's office doin' here. CAPT. TALCOTT Observing. LT. WALKER (to the Coroner's Guy) What do you think, Doc? THE CORONER'S GUY The skin blanches when I press it -- this kind of color is about right for six or eight hours. LT. WALKER Nobody say anything. The maid came in an hour ago and found him. She's not a live-in. GUS Maybe the maid did it. LT. WALKER She's 54 years old and weighs 240 pounds. THE CORONER'S GUY (deadpan) There are no bruises on his body. GUS (grins) It ain't the maid. LT. WALKER He left the club with his girlfriend about midnight. That's the last time anybody saw him. NICK (looks at body) What was it? THE CORONER'S GUY Ice pick. Left on the coffee table in the living room. Thin steel handle. Forensics took it downtown. HARRIGAN There's come all over the sheets -- he got off before he got offed. GUS (deadpan) That rules the maid out for sure. CAPT. TALCOTT This is sensitive. Mr. Boz was a major contributor to the mayor's campaign. He was Chairman of the Board of the Palace of Fine Arts -- GUS (to Nick) I thought you said he was a rock and roll star. LT. WALKER He was a retired rock and roll star. CAPT. TALCOTT A civic-minded, very respectable rock and roll star. GUS What's that over there? We see the white powder laid out in lines on the small mirror on the side table. NICK (deadpan) It looks like some civic-minded, very respectable cocaine to me, Gus. CAPT. TALCOTT (evenly, to Nick) Listen to me, Curran. I'm going to get a lot of heat on this. I don't want any... mistakes. Nick and Talcott look at each other a beat, then -- NICK Who's the girlfriend? Lt. Walker looks at the notepad in his hand. LT. WALKER Catherine Tramell, 162 Divisadero. Nick writes it down. He and Gus turn, leave. Captain Talcott watches them. He looks disturbed. INT. THE LIVING ROOM As they head out -- NICK Talcott doesn't usually show up at the office 'till after his 18 holes. What are they nervous about? GUS They're executives. They're nervous about everything. LT. WALKER Nick! He stops, turns, sees Walker behind them. Walker comes up to them. LT. WALKER (to Nick) Keep your three o'clock. NICK Do you want me to work the case, Phil, or do you want me to -- LT. WALKER I said keep it. EXT. A VICTORIAN ON DIVISADERO - DAY It is more a mansion than a house. They ring the bell. An Hispanic MAID answers. They flash their badges. NICK I'm Detective Curran, this is Detective Moran. We're with the San Francisco Police Department. We'd like to speak to Ms. Catherine Tramell. THE MAID (after a beat, an accent) Just moment. Come in. She leads them into a lavish, beautifully done living room that offers a sweeping view of the Bay. THE MAID Sit, please. Just moment. They look around, impressed. There is a Picasso on the wall here, too. GUS Ain't that cute? They got his and her Pig-assos, son. NICK (smiles) I didn't know you knew who Picasso was, Gus. GUS (grins) I'm a smart sonofabitch. I just hide it. Nick smiles -- and at that moment a beautiful BLONDE walks into the room. She looks like she has been asleep. She is in her early 20's. She wears a very sheer robe. NICK We're sorry to disturb you, we'd like to ask you some -- THE WOMAN Are you vice? GUS (after a beat) Homicide. THE WOMAN What do you want? GUS When was the last time you saw John Boz? THE WOMAN Is he dead? NICK (after a beat) Why do you think he's dead? THE WOMAN You wouldn't be here otherwise, would you? GUS Were you with him last night? THE WOMAN You're looking for Catherine, not me. NICK Who are you? THE WOMAN I'm Roxy. (a beat) I'm her -- friend. She looks at them a beat. ROXY She's out at the beach house at Stinson. Seadrift. 1402. NICK Thanks. They start to head out. ROXY You're wasting your time. Catherine didn't kill him. A beat, they look at her, and go... EXT. SEADRIFT - STINSON BEACH - DAY Foggy. Cold. It is an expensive spit of land on the ocean. Multi-million dollar "beach houses" with gardens and swimming pools. There are two Ferraris in the driveway -- one black, one white. They get out of the car in front of the house. They see a woman in back of the house, sitting on a deck chair, staring at the sea, a blanket around her. As they get to her -- NICK Ms. Tramell? She takes a long look a Nick, then looks away. CATHERINE TRAMELL is 30 years old. She has long blonde hair and a refined, classically beautiful face. She is not knockout gorgeous like Roxy; there is a smoky kind of sensuousness about her. NICK I'm De... CATHERINE (evenly) I know who you are. She doesn't look at them. She looks at the water. CATHERINE How did he die? GUS He was murdered. CATHERINE Really. Maybe that's why you're from Homicide. How? Nick glances at Gus. NICK With an ice pick. She closes her eyes a beat and then, still staring out, we see a thin smile. They see it, too, and glance at each other. NICK How long were you dating him? CATHERINE I wasn't dating him. I was fucking him. They glance at each other again. GUS What are you -- a pro? Catherine looks at him -- that thin smile again. CATHERINE No. I'm an amateur. She looks away. NICK How long were you having sex with him? CATHERINE About a year and a half. NICK Were you with him last night? CATHERINE Yes. NICK Did you leave the club with him? CATHERINE Yes. NICK Did you go home with him? CATHERINE No. We had a drink at the club. We left together. I came here. He went home. NICK Was there anyone with you last night? CATHERINE (looks at Nick) No. I wasn't in the mood to have sex with anyone last night. They look at her a beat. NICK Let me ask you something, Ms. Tramell? Are you sorry he's dead? Catherine looks at him. CATHERINE Yes. I liked fucking him. They stare at her. She looks out at

56

Bourne Identity, The

Tony Gilroy,Robert Ludlum

Action,Thriller,Mystery,Drama,Adventure

Jun-02

"THE BOURNE IDENTITY" by Tony Gilroy Based on the novel by Robert Ludlum PARIS DRAFT 9/20/00 DARKNESS. THE SOUND OF WIND AND SPRAY. MUSIC. TITLES. EXT. OCEAN -- NIGHT The darkness is actually water. A SEARCHLIGHT arcs across heavy ocean swells. Half-a-dozen flashlights -- weaker beams -- racing along what we can see is the deck of an aging FISHING TRAWLER. FISHERMEN struggling with a gaff -- something in the water -- A HUMAN CORPSE. EXT. FISHING BOAT DECK -- NIGHT THE BODY sprawled there. The Sailors all talking at once -- three languages going -- brave chatter to mask the presence of death -- SAILOR #1 -- Jesus, look at him -- SAILOR #2 -- what? -- you never saw a dead man before? -- SAILOR #3 -- look, look he was shot -- (nudging the body --) SAILOR #1 -- don't, don't do that -- SAILOR #2 -- he's dead, you think he cares? -- SAILOR #1 -- so have some respect -- it's a -- (stopping as --) THE BODY MOVES! -- convulsing -- coughing up sea water -- the Sailors -- freaked -- jumping back -- standing there, as -- THE MAN begins to breathe. INT. FISHING BOAT BUNK ROOM -- NIGHT A wreck. Too small for all the people in here right now -- SAILORS sweeping off the table -- rough hands laying THE MAN down -- THE CAPTAIN -- brutal and impatient -- watching from the door as -- GIANCARLO tears through the clutter -- searching for a medical kit buried in the shambles. GIANCARLO is sixty. A bloodshot soul. GIANCARLO -- it's here -- hang on -- it's here somewhere -- give me a minute -- get some blankets -- get some blankets on him -- (finding the kit --) -- here we go -- here it is -- GIANCARLO with an old trunk -- just getting it open, as -- THE CAPTAIN Giancarlo. (Giancarlo turns back --) We pick him up? Okay, we have to pick him up. But that's as far as it goes. GIANCARLO He needs a doctor. CAPTAIN Fuck that. He lives? He dies? I don't care. We've wasted two hours on this shit already. You do what you can, but we're not going back. (pure steel now) You understand me? GIANCARLO Yes, sir. CAPTAIN (to the rest of them) Let's get back to work! GIANCARLO watching them run out. Snagging a quick pull on a pint of rum he's got stashed and -- INT. FISHING BOAT BUNK ROOM -- DAWN -- TIME CUTS Transformed into a makeshift operating room. A light swings overhead. THE MAN layed out across the table. Sounds -- groans -- words -- snatches of them -- all in different languages. GIANCARLO playing doctor in a greasy kitchen apron. Cutting away the clothes. Turning THE MAN on his side. Two bullet wounds in the back. Probing them, judging them. Now -- GIANCARLO with a flashlight in his teeth -- TINK -- TINK -- TINK -- bullet fragments falling into a washed-out olive jar. Now -- something catching GIANCARLO'S EYE -- A SCAR ON THE MAN'S HIP -- another fragment -- exacto knife cutting in -- tweezers extracting A SMALL PLASTIC TUBE, not a bullet at all, and as it comes free -- THE MAN'S HAND SLAMS down onto GIANCARLO'S and we SMASH CUT INTO A -- FIRST PERSON POV -- we are staring up at -- GIANCARLO You're awake. Can you hear me? (we're blinking --) You've been shot. I'm trying to help you. (we're trying to find our voice --) You were in the water. You've been shot. It's okay now. THE MAN Where am I? GIANCARLO (switching to English) You're American. I thought so. From your teeth -- the dental work -- THE MAN Where am I? GIANCARLO You're on a boat. A fishing boat. Italian flag. We're out of Vietri. (he smiles) It's the cold that saved you. The water. The wounds are clean. I'm not a doctor, but the wounds, it looks okay. It's clean. THE MAN How did I get here? GIANCARLO You we're lost at sea. They pulled you out. (we say nothing) Who are you? (still nothing) You were shot -- two bullets -- in the back. You understand me? (we try to nod) Who are you? Long dead pause. THE MAN I don't know. EXT. OCEAN -- DAY The Trawler plows through heavy seas. INT. FISHING BOAT BUNK ROOM -- DAY GIANCARLO is hunched over a desk -- tweezers and flashlight -- busy working at that strange plastic tube that came out of THE MAN's hip. THE MAN is bandaged. He's sitting up, and it must hurt like hell, but physical pain is not the thing troubling him right now. He's staring around the room -- at his body -- at the walls -- haunted -- THE MAN What if it doesn't come back? GIANCARLO (still working that tube) I told you. You need to rest. Silence. THE MAN can't rest. Too busy trying to make sense of all this. THE MAN I can read. I can read that sign on the door. I can count. I can talk... (focusing now --) What are you doing? GIANCARLO rummaging around -- finding a magnifying glass -- THE MAN What is that? INSERT -- MAGNIFIED POV -- a slip of plastic from the tube -- written there -- 000-7-17-12-0-14-26. GEMEINSCHAFT BANK, ZURICH. GIANCARLO It came from your hip. Under the skin. (turning back --) You have a bank in Zurich. (waiting) You remember Zurich? THE MAN No. GIANCARLO staring at him now. Different suddenly. Suspicious. GIANCARLO Look, I'm just on this boat, okay? I'm an engineer. Whatever this is, it's not for me to be involved, okay? THE MAN I don't remember Zurich. GIANCARLO pulls his pint. Takes a hit. GIANCARLO (offering the bottle --) You drink rum? THE MAN I don't know. EXT. FISHING BOAT DECK -- NIGHT THE MAN stands at the rail, staring out to sea. So lost. He turns to head inside -- there, a surfcasting rod propped against a locker. THE MAN picks up the rod -- flips the bail -- traps the line -- now he's casting far out into the darkness. And for the first time, he smiles. INT. FISHING BOAT GALLEY -- NIGHT A ratty old espresso machine. THE MAN standing there, staring at the thing like it's a test. Then his hands begin to move -- trying to pack a grind -- trying to fit it in -- turning on the steam and -- The whole thing explodes. EXT. FISHING BOAT DECK -- DAY THE MAN alone doing chin-ups on the deck rail. He's still bandaged and the wounds must hurt like hell, but he's pushing himself. Using the pain -- bathing in it -- maybe even hoping that it will hold some answer for him. INT. FISHING BOAT GALLEY -- NIGHT A chess board. Wooden pieces jumbled in a box. THE MAN hesitates -- takes a black knight from the box -- lingers for a moment -- and then places it on the board. He's off and running. He knows this. Placing pieces faster and faster -- still setting it up, as we -- INT. FISHING BOAT HEAD -- NIGHT One of the ugliest bathrooms on the planet. THE MAN standing before a pitted, tarnished, cataract of a mirror. Staring at himself. And then he speaks. THE MAN (in perfect French) I don't know who I am. Do you know who I am? Do have any idea who I am? And then he stops. Blinks. Wipes away the perspiration just beading on his forehead. THE MAN (in perfect Dutch) Tell me who I am. If you know who I am, please stop fucking around and tell me. No answer. Just that face. His face. Who am I? And what else is inside there? EXT. FISHING BOAT -- DAY SAILORS hauling in the nets. THE MAN -- still bandaged, but healing -- working beside them. Earning his keep. Getting healthy. EXT. ITALIAN COASTLINE -- DAWN A small, colorful fishing village. The trawler motoring in. INT. THE FISHING BOAT BUNK ROOM -- SAME TIME THE MAN buttoning up borrowed clothes. GIANCARLO pulling some cash from his pocket -- GIANCARLO (offering the money) It's not much, but it should get you to Switzerland. THE MAN I won't forget this. GIANCARLO gives him a look. Shakes his head, and -- INT. POKEY ITALIAN TRAIN STATION -- DAY The ticket window. THE MAN and a TICKET AGENT. TICKET AGENT Una sola via? THE MAN Si. One way. Una sola via. EXT. TGV -- DAY A HELICOPTER SHOT -- a bullet train speeds through snow- capped Alps. We move in on a window -- and staring out is... INT. TGV TRAIN -- DAY ...THE MAN. People all around him -- families -- businessmen -- normal people going about their lives. THE MAN turns back to the window, but he's not watching the scenery -- he's looking at his reflection. So lost. His face suddenly plunged into darkness as the train bombs into a tunnel... EXT. TRAIN -- NIGHT ...and out of the darkness into night and the HELICOPTER SHOT, as the train races toward ZURICH. INT. CIA HEADQUARTERS CONFERENCE ROOM -- DAY A VIDEO MONITOR -- FULL FRAME -- meet WOMBOSI. He's an African ex-dictator, think Idi Amin crossed with Mobutu. He's in some sort of throne room. And he's angry. Bodyguards and a translator hovering nervously around him. What this is, is NEWS FOOTAGE -- an interview conducted by a German TV station. WOMBOSI (he speaks english) ...no, no, no -- the time is not right, my enemies are too strong. I'm telling you to wait for this, you understand? I'm telling you this, and I'm making a warning to all those peoples out there that think that my powers have become so weak that they can play with me as they wish. You will see -- I will tell you when the evidence is clear. Then you will have a story. My old friends will hear about themselves. (stopping, freezing on that image, and --) MARSHALL, a CIA bigwig has the remote control. And the floor. MARSHALL That's Nykwana Wombosi speaking in Paris the day before yesterday. I'm sure most of you have a passing knowledge of Mr. Wombosi. Some of you on the African desks have worked with him over the years. Some of you very closely... TWELVE CIA MANDARINS sitting around the table like kids in detention. We will tour the faces as MARSHALL continues, but the guy we're interested in is named WARD ABBOTT. Picture a sawier, slicker John Poindexter. MARSHALL ...He was an irritation before he took power. He was a problem when he was in power. And he's been a disaster for us in exile. (the tape --) Wombosi likes to send us messages through the European media. This is an interview we pulled down from a local German television station in Dresden. We've been getting these little broadsides every couple of months. He knows this -- he knows that -- he's writing a book about the Agency's history in Africa -- he's going to name names. It's basically a shakedown... ABBOTT'S FACE says this is news to him. HIS HANDS suggest otherwise. MARSHALL This interview -- and I'll make the tape available for anyone who wants it -- he goes on to claim that he has just survived an assassination attempt. He says it's us. He says he's got proof. (beat) The overwhelming negative ramifications of this should be obvious. (hard and dry) The Director wants to know if there is any possible shred of truth in this accusation. Long pause. No hands go up. INT. ZURICH TRAIN STATION -- NIGHT THE MAN wandering through the terminal. Passing A PIZZA PLACE closing up for the night. THE MAN checks his funds. Just enough for one cold slice. EXT. ZURICH STREETS -- NIGHT THE MAN walking aimlessly. EXT. ZURICH PARK -- NIGHT THE MAN trying to get comfortable on a bench. It's chilly but this will have to do until morning. Just settling in, when -- ZURICH COP #1 (O.S.) (authority German) Can't you read the signs? THE MAN turns. TWO ZURICH COPS coming toward him. ZURICH COP #2 On your feet. Let's go. Right now. THE MAN makes his feet. They're on top of him now. ZURICH COP #1 The park is closed. There's no sleeping in the park. ZURICH COP #2 Let's see some identification. THE MAN not sure what to do. Eyes moving. Mouth shut. ZURICH COP #1 Come on. Your papers. Let's go. THE MAN I've lost them. I've... (German now) My papers. They are lost. ZURICH COP #1 (not sympathetic) Okay. Let's go. Put your hands up. ZURICH COP #2 (pulling his nightstick) -- come on -- hands up -- up -- THE MAN raising his hand slowly -- ZURICH COP #1 reaching up to pat him down -- THE MAN -- look, I'm just trying to sleep okay? -- (German again) -- I just need to sleep -- ZURICH COP #2 has heard enough -- giving a sharp poke with the nightstick -- into THE MAN's back -- and that's the last thing he'll remember because -- THE MAN is in motion. A single turn -- spinning -- catching COP #2 completely off guard -- the heel of his hand driving up into the guy's throat and -- COP #1 -- behind him -- trying to reach for his pistol, but THE MAN -- still turning -- all his weight moving in a single fluid attack -- a sweeping kick and -- COP #1 -- he's falling -- catching the bench -- trying to fight back but -- THE MAN -- like a machine -- just unbelievably fast -- three jackhammer punches -- down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and -- COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because -- THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him -- ZURICH COP #2 (gasping, pleading) -- no -- please God no -- please don't -- please no -- my Go -- stopping as -- THE MAN slams the gun against his temple and -- This fight is over. THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before... This is something he definitely knows how to do. And then he stops cold. Throwing down the gun. Running off into the darkness -- INT. TREADSTONE -- DAY A deep, inner office. An ops office. Operations. Unlabeled and anonymous. A backwater project center hidden deep within the Langley facility. Utilitarian. Several rooms linked like a suite. Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege. ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back -- TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot in the corner. CONKLIN (looking up) What? ZORN Abbott wants to talk. CONKLIN Tell him we're busy. ZORN I tried. INT. CIA COMMISSARY -- NIGHT ABBOTT with coffee. CONKLIN not lingering. ABBOTT Storm clouds are gathering, Ted. It looks like rain and I don't have a thing to wear. CONKLIN I don't know what we're talking about. ABBOTT We're talking about Marseille. We're talking about Nykwana Wombosi. And I'm asking you if this abortion in Marseille has anything to do with Treadstone. (silence) Was this Treadstone? CONKLIN You're asking me a direct question? ABBOTT Yes. CONKLIN I thought you were never going to do that. Silence. Pressure drop. ABBOTT They're putting together an agency oversight committee. They're going to look through everyone's budgets. Treadstone is a rather sizable line item in my ledger. (beat) What am I going to do about that? CONKLIN You'd want to make that go away. You'd want to remind them that Treadstone is a training organization. That it's all theoretical. You'd want to sign off on that. ABBOTT And what if I couldn't do that? CONKLIN Then I'd have to explain Treadstone. And you'd have to explain how you let me get this far. (silence) Doesn't sound like much of a Plan-B, does it? (Abbott staring) We'll clean up the field. You clean up your budgets. EXT. ZURICH -- DAY Morning in the financial district. Upscale. Uptight. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- INT. BANK RECEPTION AREA -- DAY Ornate, formidable and tech at the same time. RECEPTIONIST Can I help you? THE MAN standing before her. Looking very out of place. THE MAN I'm here about a numbered account. THE RECEPTIONIST nods. Pulls a pen and bank card. RECEPTIONIST (instant English) If you'll just enter your account number here I'll direct you to the appropriate officer. THE MAN takes the pen, as we -- INT. BANK SECURITY CHECKPOINT -- DAY A BIO-METRIC SCANNER. A piece of ultra-tech amidst the Baroque. TWO SERIOUS BANK GUARDS manning the equipment. THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? BANK GUARD #1 They've been waiting your hand, sir... THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- INT. BANK HALLWAY -- DAY THE MAN being led by A THIRD GUARD to a special elevator. INT. DEEPER INSIDE THE BANK -- DAY Elevator doors open. THE MAN steps out. MR. APFEL -- anal Zurich banker -- waiting there. APFEL Good morning, sir. I assume you're here about your box. THE MAN ...yes... (what now?) The box. APFEL nods. Gestures down the corridor -- INT. BANK SAFETY DEPOSIT VIEWING ROOM -- DAY Sterile and kind of odd. But total privacy. THE MAN sitting there, as A DEPOSIT GUARD places a large SAFETY DEPOSIT BOX before him. THE GUARD leaves the room. Closing the door behind him. THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BOURNE My name is Jason Bourne. (sounds good) Hi, I'm Jason. Jason Bourne. Jason Bourne, nice to meet you. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: NAME: NATIONALITY: PLACE OF ISSUE: SIGNATURE SAMPLE: And a bar code. Two Dutch passports. A French. A South African. A Belgian. And... There's one piece of card stock still with the paper clip in place. And no passport. This card reads: NAME: John Michael Kane NATIONALITY: U.S.A. PLACE OF ISSUE: Paris, France There's a signature sample. And a bar code. But no passport. This one is missing. BOURNE sitting there. Trying to push his confusion away. BOURNE Bourne. My name is Jason Bourne. I live at 121, Rue de la Jardin, Paris. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up.

57

Bourne Supremacy, The

Tony Gilroy,Robert Ludlum,Brian Helgeland

Action,Thriller,Mystery,Drama,Adventure

Jul-04

The Bourne Supremacy a temporary outpost. Four STATION -- MADRID -- SUNSET 115 ser ious peopl e alone i n this room: PAMELA LANDY is 46. A Senior C.I.A. Counterintelligence Officer. Hovering over the communications console. CRONIN -- Pamela's #2 -- early forties, stone-cold facade -- quarterbacking the operation over the radio -- KURT and KIM are the techs here. His and Her headphones. Ruggedized laptops and comm gear spread around them. CRONIN What have you got, Survey One? 72 72 INT. NEARBY BERLIN OFFICE -- NIGHT (CONT) Dark. TEDDY at the window. Another military face. Radio rig. Night Scope. Watching VIC and MIKE pass below him -- TEDDY/RADIO (OVER) "Hub, this is Survey One. Mobile One is in motion. Seller is inside and waiting." 73 EXT. MODERN BERLIN STREET -- NIGHT 73 VIC and MIKE slow as they come to the same STARK, GLASS OFFICE BUILDING. TEDDY/RADIO (OVER) "We are ready to go." 16. 74 EXT. MODERN BERLIN STREET -- NIGHT 74 MIK E and VIC shake han ds; two tired c o-workers parting way s. MIKE w ill keep walking. VIC e ntering the building thr ough the b ig glass doors, smiling as he's approached by AN IGHT SHIFT SECURITY GUARD. And we hear: MIKE still walking, alone now, heading away from THE GLASS OFFICE BUILDING toward A VAN parked up the block. MIKE/RADIO (sleeve mike, earpiece) "This is Escort One. I'm clear." 75 INT. BERLIN HQ/COMMAND POST -- NIGHT 75 THE COMMAND POST. CRONIN works the communications * board... * CRONIN "All teams -- listen up -- we are standing- by for final green." (turning now to--) PAMELA, who has been listening. Just as she's about to give * the final word, KIM raises a finger... * KIM * Langley... * She hands PAMELA a phone that's patched into her board. * PAMELA * (a bit surprised) * Martin? * 76 76 INT. CIA SITUATION ROOM/LANGLEY, VIRGINIA -- DAY THREE MEN -- CIA MANDARINS -- sit around a round table. MARTIN MARSHALL, Deputy Vice-Director, he's in charge. * All is tense. * MARSHALL * I'm here. So is Donnie and Jack Weller. * We understand you're using the full * allocation for this buy? * PAMELA * That's where we came out. * 17. MARSHALL It's a lot of money, Pam. PAMELA We're talking raw, unprocessed KGB files. * It's not something we can go out and * comparison shop. * MARSHALL * Still... * PAMELA * For a thief. A mole. I ve tted the * sou rce, Marty. He's real. If it does * not hing more than narrow th e list of * sus pects, it's a bargain at ten times the * pri ce. * MANDARIN #1 * Pamela, Jack Weller here. It's the * quality that's at issue... * PAMELA * Yes, sir. I 'm in total agr eement. If * they're fake s, they're expe nsive. * (furio us, impatient) * Gentlemen, I 've got the sel ler on site and * in play. Qu ite honestly, t here's not much * more to talk about. * MARSHALL looks to his MANDARIANS. Not convinced, but * doesn't want to lose the opportunity. Time to wash his * hands. * MARSHALL * All right Pam, your game, your call... * 77 * 77 DELETED 78 INT. BERLIN HQ/COMMAND POST -- NIGHT 78 All eyes on PAMELA as she puts down the phone to Langley. Nodding to CRONIN. Yes. CRONIN/RADIO "Final Green. You are go. Repeat, you are go for Final Green." 18. 79 INT. GLASS OFFICE BUILDING LOBBY -- NIGHT 79 VIC has just passed muster with The Security Guard, he's standing alone at AN ELEVATOR BANK. VIC/RADIO (sleeve mike, earpiece) "On my way up." VIC pulling his earpiece. Going dark. Waits for an elevator. * A80 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT A80 Dark. A small room full of wiring and infrastructure, lit by the glare of someone's MAG-LIGHT. GLOVED HANDS quickly pass over racks of gear and wiring and then stopping at -- the main electrical risers. They carefully place an EXPLOSIVE DEVICE -- no bigger than a pack of cigarettes -- onto the main riser... Done with that, here comes A SECOND SMALL EXPLOSIVE DEVICE - - but this one's special, it's being taken from A PLASTIC BAG and mounted down by the floor on a sub-panel -- Done, the hands hold up what looks like a piece of tape. It bears a FINGERPRINT. As the tape is pressed down, transferring it onto the charge -- 80 INT. GLASS OFFICE BUILDING ELEVATOR -- NIGHT 80 VIC alone wit h THE SAM PLES CASE. Pre ssing the button for #9, the top f loor. Th e doors close. The car ris es...2...3 ...4...5. ..6... And the n, it stops. VIC bra cing himse lf, as th e door opens an d -- IVAN -- Russian -- the guy we saw outside with the briefcase -- standing in an empty, darkened hallway. IVAN Show me. VIC Here? IVAN (holding open the door) Now. Show now. 19. VIC flips open the case. CASH. Three million dollars. 81 INT. GLASS OFFICE BUILDING CORRIDOR -- NIGHT 81 A GLASS DOOR. A suite of offices beyond. Clean. Anonymous. One light on deep inside... CASPIEX-PETROLEUM Cherbourg -- Moscow -- Rome -- Tehran 82 INT. CASPIEX OFFICE -- NIGHT 82 Curtains drawn. Lights low. IVAN sitting with THE SAMPLES CASE, counting the cash. VIC poring over -- RUS SIAN DOCUM ENT FILES. Dozens of KGB files. Old and new. * Spr ead sheets , financial data. Incomprehensibly Cyrillic. * Mar ked up. B ut judging by the seals and clearance sign- * off s, all top -secret. * VIC This is everything? IVAN Is there. Is all there. Suddenly -- MUSIC -- a radio -- some tinny pop tune just started playing from somewhere down the hall -- VIC -- what the hell is that? -- alone -- you said alone -- Both of them sure they're being double-crossed -- VIC (CONT'D) (cont'd) (reaching for his ankle) -- who? -- who else is here? -- IVAN -- no! -- not me! -- no other people! -- VIC (coming up with a pistol) -- shut up! -- just shut the -- Freaked by the gun, IVAN to his feet -- VIC pushing him back as he rushes past -- THE SAMPLE CASE spilling cash and -- 20. Wrong. SNA PPH! -- SN APPH! -- SNAPPH! -- SNAP PH! -- SNA PPH! -- f ive fas t, suppres sed small caliber shots -- VIC fal ls first -- IVA N crashing back acr oss a desk as t he bullets tear int o him -- both o f them de ad before they hit the fl oor and - - REVERSE TO FIND The GLOVED HA NDS unscr ewing a SILENCE R, tucking away the wea pon. Alre ady in mo tion before we know what' s happened -- pul ling a cli mbing duf fel out from hi s back pac k -- stu ffing in T HE SAMPLE S CASE and IVAN 'S BRIEFCA SE -- all the files -- all the m oney... Exc ept, wait. .. He's left out ONE ol d KGB FILE COVER -- and now he pulls A PLASTIC BAG from his b ackpack -- GLOVED HAN DS careful ly remove A SINGLE SHEET OF PAPER from insi de the bag. And this pap er looks exactl y like all the stuf f he' s just tuc ked away; another page f ull of Cyr illic blu r. He's putting this sheet of paper inside the file cover. Now he's slipping them both underneath the desk, tossing them there as if they fell in the struggle and -- 83 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT 83 The electrical risers -- as ONE OF THE TWO DETONATION DECIVES BLOWS -- a single, tidy, self-contained explosion and -- 84 EXT./INT. THE GLASS OFFICE BUILDING LOBBY -- NIGHT 84 As the lights flicker and fail and THE NIGHT SHIFT SECURITY GUARD is suddenly cast into darkness and -- 85 85 INT. BERLIN HQ/COMMAND POST -- NIGHT As they were. Waiting. But only a moment before -- TEDDY/RADIO (sudde n, urgent) "Hub? -- we just -- we lost power -- the building ! -- the whole place just went dark! - -" CRONIN looking at Pamela -- the first whiff of dread as -- CRONIN "-- repeat -- who is dark? -- the target building or your location? --" 21. RADIO VOICES piling up -- panicked, confusion cascading as - - 86-87 DELETED 86-87 * A87,B87 DELETED A87,B87 * 88 EXT. BERLIN NOVATEL/PARKING LOT -- NIGHT 88 * Anonymous drone barn. KIRILL stepping out of a car. * He's carrying the duffle. * 89 INT. BERLIN NOVATEL CORRIDOR -- NIGHT 89 * KIRILL. Heading down the hall. * 90 INT. NOVATEL ROOM -- NIGHT 90 * KIRILL enters. It's a small room. GRETKOV is waiting. * He's forty. Professional. Trim and polished. Dominant. * GRETKOV * (Russian) * (You're early) * KIRILL (You're complaining?) GRETKOV * (It's clean?) * KIRILL * (Would I bring it?) * GRETKOV taking over now. Tosses some money on the bed, * checks out the photocopy of the files. * GRETKOV (What are you doing?) KIRILL stripping quickly -- * KIRILL * (I'm taking a shower, it's been a long * day.) * GRETKOV * (Make it fast, my plane is waiting) * 22. GRETKOV dumping three million dollars over the bed as * KIRILL sheds his clothes, and we -- * DISSOLVE TO: A90 EXT. THE BRIDGE -- GOA -- DAY A90 WORKMEN cluster as a cable winches -- The JEEP is raised from the river bottom. As water pours off of it -- BOURNE -- Watching -- From a distance -- Empty -- CUT TO: B90 EXT. BERLIN OFFICE BUILDING -- DAY B90 * Crime scene. POLICE blocking OFFICE WORKERS from getting * in the building. MEDIA vans clogging the street. PAMELA and CRONIN, across the street, watching. The mood is black. Ashes. PAMELA We need to get in there. CRONIN I'm working on it. PAMELA stands there. Silent. Staring at the disaster across the street. 91-92A 91-92A DELETED A93 A93 INT. SHACK -- GOA -- DAY BOURNE is bailing. Exfil procedure, but this is a heartbroken exfil. -- A FOOTLOCKER open. Bourne's main stash. BOURNE going through the footlocker. Setting aside his 'work clothes' -- other things he needs. But he also has to separate. 23. A GROWING PILE of Marie memories: Bank cards. Phony student IDs. Loose passport photos with a mix of looks and hair-dos. Clothes -- vacuum-packed bags -- spare shoes. * B93 EXT. NEAR THE SHACK -- DAY B93 Ag asoline-st oked FIRE burning in a r ock-lined pit. BOURNE fee ding his p apers and all of Marie's belonging s into the fir e. A pass port cove r crinkles back to reveal her photo. Her face begi ns to bur n. Gas-soaked clothes to ssed in. Not hing left except -- The PHOTOGRAPH -- the picture of he and Marie at the beach. The one from his desk. BOURNE hesitates, holds the photo out to the flames. The rules of exfil say drop it -- but he can't -- won't -- He reaches to his bag, sticks the photo on top of his gear. Then, hefting, the bag, BOURNE strides away. * 93 INT. BERLIN HQ COMMAND POST -- DAY 93 A folding table covered with XEROXED BERLIN POLICE * PAPERWORK. PAMELA getting a show-and-tell from CRONIN * and TEDDY. * CRONIN -- so there were two of the se explosive charges plac ed on the power lines. One of * them failed. The fingerpri nt... * (Pamel a's got it) That's from the one that di dn't go off. PAMELA And the Germans can't match it? TEDDY Nobody's got it. We checked every database we could access. Nothing. CRONIN Show her the other thing. TEDDY This is a KG B file that must've fallen somehow and then slipped under, I guess, a desk there, or... (handi ng it to her--) 24. PAMELA Do we know what this says? TEDDY Yup... (a scrap of paper) The main word there, the file heading, translates as: Treadstone. PAMELA What the hell is a "Treadstone?" CRONIN shaking his head. Nobody knows. CUT TO: C93 EXT. INDIA COUNTRYSIDE -- DAY C93 BOURNE bouncing around on an old Punjab BUS. Alone in a crush of humanity. Going only God knows where... CUT TO: 94-96 DELETED 94-96 A97 EXT. CIA HEADQUARTERS -- LANGLEY, VIRGINIA A97 PAMELA'S POV as she drives toward the entrance. C.I.A. HEADQUARTERS VIRGINIA * 97 97 INT. C.I.A. HEADQUARTERS -- DAY A long, bright, sterile hallway. PAMELA and CRONIN walking briskly alongside A UNIFORMED S.P.S. OFFICER. 98 INT. C.I.A. ELEVATOR -- DAY 98 PAMELA and CRONIN watching THE S.P.S. OFFICER unlock the operation panel. Coding in. They begin to descend and -- 25. 99 INT. DIFFERENT C.I.A. CORRIDOR -- DAY 99 Drab and desolate. PAMELA and CRONIN come around a corner, * walking with A NEW ESCORT OFFICER. Passing a sign that * reads: * Operations Library Center. 100-102 DELETED 100-102 103 INT. SECURED READING ROOM #63171 -- DAY 103 * Sea led, tripl e-locked NUMBERED DOOR. It swings open. Lig hts flicke r on. To ns of shit pack ed away in here. She lves bulgi ng. Boxe s. Tapes. Bin ders. Har d drives. PAM ELA steps in. A HU GE FILING CABIN ET labeled -- TREADSTONE PAMELA/PHONE (OVER) Ward? ABBOTT (OS) Yes? PAMELA/PHONE Pamela Landy. 103A-104 DELETED 103A-104 105 INT. ABBOTT'S OFFICE/C.I.A. HEADQUARTERS -- DAY 105 WARD ABBOTT at his desk. The cluttered clubhouse HQ of a man who's spent the last thirty-five years in the spy game. * A PICTURE WINDOW offers a commander's view of the BULLPEN. ABBOTT/PHONE What can I do for you, Pam? PAMELA/PHONE I was hoping you had some time for me. ABBOTT/PHONE Time for what? PAMELA/PHONE I'm free right now actually. 26. ABBOTT/PHONE That sounds ominous. Let me check my schedule. ABBOTT holds the phone. Eyes drifting out the window and -- ABBOTT'S POV THE BULLPEN. CRONIN i s standing with DANIEL ZO RN, one of Abb ott's trus ted #2s. Clearly ZORN i s getting the less pol ite versio n of Pame la's invitation . ZORN ma naging to sho ot a quick , questio ning glance to Abbott as -- 106 INT. C.I.A. INTERVIEW ROOM -- DAY 106 A cold room. Desk. Two chairs. ABBOTT and PAMELA alone. PAMELA Treadstone. ABBOTT Never heard of it. PAMELA That's not gonna fly. ABBOTT With all due respect, Pam, I think you might've wandered a little past your pay- grade. She has a piece of paper. She slides it forward. PAMELA Tha t's a warrant from Director Marshall gra nting me unrestricted access to all per sonnel and materials associated with Tre adstone. ABBOTT rocked and trying to hide it. ABBOTT And what are we looking for? PAMELA I want to know about Treadstone. ABBOTT To know abou t it? (almos t amused) It was a kil l squad. Black on black. * Closed down two years ago. * (MORE) 27. ABBOTT (CONT'D) Nobody wants to know about Treadstone. * Not around h ere. * (the w arrant) You better t ake this back to Marty and make sure he knows what you're doing. PAMELA (trump card) He does. I've been down to the archives. I have the files, Ward. 107 DELETED 107 A107 EXT. BAY OF NAPLES -- LATE AFTERNOON A107 A hard working port. A big MEDITERRANEAN FERRY coming in. NAPLES FERRY -- BOURNE at the rail. Unchanged from India. Staring ahead as Europe looms. B107 EXT. FERRY DOCK -- LATE AFTERNOON B107 BOURNE disembarking to an immigration queue. Looking unremarkable. Just one of many passing through. 108 INT. C.I.A. INTERVIEW ROOM -- DAY 108 As they were. ABBOTT watching PAMELA pull a photo from her file. Sliding it over. CONKLIN'S FACE peering back. PAMELA Let's talk about Conklin. ABBOTT What are you after, Pam? You want to fry me? You want my desk? Is that it? PAMELA I want to know what happened. ABBOTT d? Jason Bourn e happened. What happene (fury focusing) You've got t he files? Then let's cut the * crap. It we nt wrong. Conk lin had these * guys wound s o tight they we re bound to snap. (MORE) 28. ABBOTT (CONT'D) Bou rne was h is number one - - guy went out to work, scr ewed the op and never cam e bac k. Conkl in couldn't fix it, could n't * fin d Bourne, couldn't adjus t. It all went sid eways. F inally there we re no opti ons * lef t. PAMELA So you had Conklin killed. (silence) I mean, if we're cutting the crap... ABBOTT I've given t hirty years and two marri ages to this agen cy. I've shove led shit o n * four contine nts. I'm due t o retire n ext year and bel ieve me, I need my pensio n, but if you t hink I'm gonna sit here a nd let you dang le me with this , you can go to hell. Marsh all too. (flat) It had to be done. PAMELA And Bourne? Where's he now? ABBOTT (shrugs) Dead in a ditch? Drunk in a bar in Mogadishu? Who knows? PAMELA It hink I do . We had a dea l going down in Berlin la st week. Durin g the buy, both our Fie ld Agent and th e seller were killed. We pulled a finger print from a * timing charg e that didn't g o off. (beat) They were ki lled by Jason Bourne. ABBOTT hesitates. Blindsided. What? A courtesy knock at the door. CRONIN (appearing in the doorway) They're ready for us upstairs. 109-114 109-114 DELETED 29. A115 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET A115 Now at the IMMIGRATION OFFICER booth, BOURNE hands over an OLD BLUE PASSPORT. It reads, JASON BOURNE. What's he up to? Is he giving up? IMMIGRATION OFFICER (Where you coming from, Mr. Bourne?) BOURNE (Tangiers) The OFFICER runs the CODE on the passport through the SCANNER. 115 INT. INTERPOL MONITORING Compiled from drafts Dated 7/11/03 9/17/03 10/13/03 By Tony Gilroy Dated 11/14/03 11/19/03 By Brian Helgeland Based on the novel by Robert Ludlum and The 2002 Universal Film "The Bourne Identity" GREEN: 1/ 13/04 YELLOW: 12 /11/03 PINK: 11 /27/03 BLUE: 10 /13/03 WHITE: 9/ 17/03 FOR EDUCATIONAL PURPOSES ONLY 1 EXT. MERCEDES WINDSHIELD -- DUSK 1 It's raining... Light strobes across the wet glass at a rhythmic pace... Suddenly -- through the window a face -- JASON BOURNE -- riding in the backseat -- his gaze fixed. A1 INT. MERCEDES -- NIGHT A1 On his knee -- a syringe and a gun -- The eyes of the driver, JARDA, watching -- BOURNE'S POV -- the passenger -- back of his HEAD -- cell phone rings -- the HEAD turns -- it's CONKLIN -- BOURNE returns his stare... CUT TO -- 2 INT. COTTAGE BEDROOM -- NIGHT 2 BOURNE'S EYES OPEN! -- panicked -- gasping -- trying to stay quiet -- MARIE sleeps. A2 INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT A2 BOURNE moving for the medicine cabinet. Digs through the medicine cabinet. Downs something specific. 3 3 INT./EXT. COTTAGE LIVING ROOM/VERANDA -- NIGHT One minute later. BOURNE moves out onto the veranda. MARIE pads in. Watching him for a moment. Concerned. Clearly it's not the first time this has happened. The y both loo k differe nt than last we saw them; his hair is lon ger. She' s a blond e. Hippie trav elers. Th eir cottage is humble but sweet. The bedroom ope ns to a be ach and a tow n just dow n the hil l. CLUB MUSIC from some all night rav e wafting in from t he far distance . MARIE Where were you, Jason? BOURNE In the car. Conklin up front. 2. MARIE I'll get the book. BOURNE No. There's nothing new. MARIE You're sure? (he nods) We should still -- we should write it down. BOURNE Two years we're scribbling in a notebook -- * MARIE -- it hasn't been two years -- * BOURNE -- it's alwa ys bad and it's never * anything but bits and piece s anyway! * (she's gone quiet) * You ever thi nk that maybe i t's just * making it wo rse? You don't wonder that? * She lays her hands on his shoulders, steadies him. MARIE We write them down because sooner or * later you're going to remember something * good. * BOURNE (softens) I do remember something good. All the time. I remember you. She smiles. Kisses him. Leads him back in. 4 4 INT. COTTAGE BEDROOM -- NIGHT MARIE getting BOURNE into the bed. Turning down the light. Getting him settled. Waiting for that pill to kick in. What would he do without her? BOURNE I'm trying, Marie, Okay? MARIE I worry when you get like this. 3. BOURNE It's just a nightmare. MARIE I don't mean that. I worry when you try to ignore it. He hesitates. But that gets him. He knows she's right. And with that opening, he's letting go. Resistance fol ding. Almost childlike. She's gathering him in. He' s letting her do it... MARIE (CONT'D) Sleep. Sleep now. BOURNE I should be better by now. MARIE You are better. And I think it's not memories at all. It's just a dream you keep having over and over. BOURNE But it ends up the same. MARIE One day it will be different. It just takes time. (beat) We'll make new memories. You and me. Silence. She strokes his face. He gives in to her tenderness. He's fading. Two waifs in the dark. DISSOLVE TO: 5 5 EXT. BEACH -- GOA/BEACHTOWN -- DAY BOU RNE running in the sun. A punishing pace along the san d. Moving strong. Effortless. Deep into it. Focused. The stunning conjunction of sun and scenery are lost on him . 6 EXT. OUTDOOR MARKET -- GOA/BEACHTOWN -- DAY 6 A busy market town. Fishing town. Hippie town. Lots of young Western faces. Rundown and happening at the same time. MARIE shopping. Filling a bag with local produce. 4. 7 EXT. ROAD -- GOA/BEACHTOWN -- DAY 7 BOURNE still running, leaving the beach behind. 8 INT. COTTAGE KITCHEN -- DAY 8 MARIE back from the market, putting the groceries away. Almost done, when she stops for a moment -- A PHOTOGRAPH. There on the windowsill. A snapshot. Jason and Marie on a beach. Her arms around him. As if she were the protector. Big smiles. Young. Alive. In love. MARIE smiles. 9 EXT. MAIN STREET -- GOA/BEACHTOWN -- DAY 9 Funky busy. Colonial facades in vivid, sub-continental technicolor. Loud morning traffic. CAMERA FINDS BOURNE coming out of a store with a big bottle of water. He's just finished his run. Standing there, chugging away, checking the scene, when something catches his eye -- HIS POV THE STREET. A SILVER CAR -- something newish -- pulling down the block -- can't quite see who's driving, but -- BACK TO BOURNE watching this silver car. So serious he's casual. Nobody passing would notice, but we do: He's on alert. MOVING WITH HIM AS BOURNE follows THE SILVER CAR on foot -- natural -- cruising the BUSY SIDEWALK -- blending into the mix -- chugging on that water bottle and -- UP AHEAD THE SILVER CAR making the corner and turning now -- BACK TO BOURNE slowing as he reaches the corner -- 5. HIS POV THE SILVER CA R has par ked. There's a GUY -- well-dressed -- cas ual -- phy sical -- sunglasses -- call him KIRILL -- he's out of the ca r and hea ding across the street toward a bui lding ther e. A TEL EGRAPH OFFICE. BACK TO BOURNE checking his watch. The car. The guy. Perimeter. 10 INT. TELEGRAPH OFFICE/GOA -- DAY 10 * MR. MOHAN at his desk. He's a crisp, proper man of fifty. He's just been handed something -- A PHOTOGRAPH OF MARIE -- an old passport picture. MR. MOHAN And your question, sir? KIRILL across the desk. KIRILL She's my sister. There's been a death in the family. This is the last place we know she called from. 11 INT. COTTAGE -- DAY 11 A NOTE ON THE TABLE: "I'M AT THE BEACH" BOURNE has just come in -- just read the note -- balling it quickly. In fact, everything is quickly now, because -- BOURNE is bailing. Fast. Calm. Methodical. Some exfil procedure that he's honed and choreographed. Packing like a machine -- RAPID TIME CUTS -- BACKPACKS thrown open on the bed. -- HOUSE CASH pulled from a lamp base. -- CREDIT CARDS taped under the counter. 12 EXT. MAIN STREET/BANK GOA/BEACH TOWN -- DAY 12 KIRILL coming out of the bank. Mission accomplished. Heading back to the SILVER CAR. Getting in and -- 6. 13 INT. SILVER CAR -- DAY (CONT) 13 KIRILL starting it up. Glancing around nice and easy. He's cool. Putting the car into gear, he makes a slow pass * through the marketplace. Eyes everywhere. * 14 DELETED 14 * 15 INT. COTTAGE -- DAY 15 BOURNE -- done -- the place is stripped -- pulling on the backpacks -- glancing around -- one last thing -- shit, he almost missed it -- THE PHOTOGRAPH -- the one of he and Marie on the beach -- the one we saw her looking at earlier -- there it is on the windowsill -- jamming it into his pocket and -- A16 EXT. SIDE STREET/PARKING AREA -- GOA/BEACHTOWN -- DAY A16 * KIRILL now parked and out of the car -- on the move -- on * foot -- he begins a sweep of the beach. * 16 EXT. COTTAGE BACK DOOR -- YARD/ALLEY -- DAY (CONT) 16 BOURNE out the back -- jogging -- keeping low -- into the neighborhood -- through the alleys -- nothing random about it, this has all been worked out and -- 17 DELETED 17 * 18 * 18 EXT. BEACH -- GOA/BEACHTOWN -- DAY Crowded with tourists -- sunbathers -- MARIE at her favorite spot. Talking with TWO WOMEN, laughing with them - - happy. 18A EXT. BEACH/PARKING AREA -- GOA -- DAY 18A * A burly JEEP comes roaring up. BOURNE spots the SILVER * CAR, parks at the other end -- takes off towards the beach. * 7. 19 EXT. BEACH -- GOA -- DAY 19 * KIRILL methodically making his way up the beach -- * checking every blue tent -- every towel. * 20 EXT. BEACH -- GOA -- DAY 20 * BOURNE coming up the beach the opposite way -- one eye on * KIRILL, one eye on MARIE. * He arrives just as KIRILL looks up and sees them a * hundred yards away -- a hard stare between them -- BOURNE * bends down -- * BOURNE We gotta go, Marie. We gotta go, now. Fro m the tone of his voice, she knows it's serious. * Mar ie grabs h er bag. A quick goodbye to the friends. * The y hurry of f. BOURNE uses the sunbathers as cover. * KIR ILL retrea ts. * 21 EXT. BEACH/PARKING LOT -- GOA -- DAY 21 * They reach the JEEP -- she knows the drill -- bag tossed in * the back -- even as the Jeep pulls away and -- * 22 INT. JEEP -- DAY (CONT) 22 BOURNE driving. MARIE beside him -- BOURNE We're blown. She hesitates. One minute ago everything was fine. MARIE No... How? BOURNE The Telegraph office. MARIE But we were so careful. BOURNE We pushed it. We got lazy. * 8. 23 EXT. BEACH/PARKING LOT -- GOA/BEACHTOWN -- DAY 23 * KIRILL already back at the SILVER CAR -- following them * out onto the MAIN STREET -- blocked by the local traffic -- * pulling a HUGE AUTOMATIC PISTOL out from his travel bag. 24 EXT. BEACHTOWN ALLEY/OFF MAIN STREET -- DAY 24 THE JEEP pulling down this narrow little passageway and -- BOURNE'S WINDSHIELD POV * MAIN STREET packed with traffic and -- BACK TO BOURNE not liking this. Eyes all over -- trying to decide. MARIE But you're sure? BOURNE He was at the campground yesterday. MARIE So... * BOURNE It's wrong. Guy with a rental car and * hundred dollar sneakers sleeps in a tent? Trying to decide whether to pull out or back up -- MARIE That's crazy. * BOURNE No. Not thi s. This is real. * (sudde nly) * And he's rig ht there... * (throw ing the car into rever se) MARIE Where -- BOURNE Back there -- at the corner -- Hyundai -- * silver -- * 9. 25 INT. HYUNDAI -- DAY (CONT) 25 * KIRILL trapped in some Main Street gridlock. Glancing back for a way out -- freezing suddenly, because there -- HIS POV -- THE JEEP -- THE ALLEY -- right there -- twenty yards back -- a good look at BOURNE and MARIE -- as they disappear and -- 26 EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY (CONT) 26 THE JEEP backing up the way it came -- BLOWING ITS HORN because an OLD VAN pulls in and blocks him from behind -- 27 INT. JEEP -- DAY (CONT) 27 BOURNE leaning on THE HORN -- shit, now they've got to wait! MARIE * ...but you're not -- you're not sure... * BOURNE * We can't wait to be sure. * MARIE * I don't want to move again...I like it * here. * BOURNE * Loo k, we clear out, we get to the shack, * we get safe. We hang there awhile. I'll * com e back. I'll check it out. But right * now we can't -- * MARIE * -- where's left to go? -- * BOURNE * -- there's places -- we can't afford to * be wrong! * 28 INT. HYUNDAI -- DAY (CONT) 28 KIR ILL. Calm. Possessed of a familiar tactical patience. He can't get the Hyundai to the alley from where he is and * it doesn't make sense to go on foot. He checks his rea rview. 10. Fuck it -- there's an opening ahead and he's taking it -- * even though it's away from them -- he'll find another way -- * 29 EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY -- (CONT) 29 BOURNE sees the HYUNDAI move forward into traffic. THE OLD * VAN is still blocking them from behind -- * BOURNE * You drive. * MARIE * What? * BOURNE * (already squeezing over) * Switch! You drive! * MARIE * -- where? -- * BOURNE * -- make the left -- toward the bridge -- * MARIE scrambling over the seat. BOURNE, eyes everywhere, * checks his watch. * THE JEEP squirts back on the main street and -- 30 INT. JEEP -- DAY -- CONT 30 MARIE at the wheel -- adrenaline pumping -- clear running for thirty yards ahead and -- MARIE skidding them into the right turn -- clipping another vehicle -- MIRROR SHATTERING! -- speeding up. BOURNE scanning behind them -- MARIE moving out to pass -- veering back! -- an ONCOMING BUS -- just in time and -- MARIE -- Jesus! -- (glancing over) -- is he back there? -- BOURNE -- not yet -- MARIE -- it's just him? -- 11. BOURNE -- yeah -- one guy -- I don't think he was ready -- MARIE -- hang on -- MARIE bearing down -- pulling out -- gives him a quick smile -- BOURNE knowing he's got a good one here -- * 31 INT. HYUNDAI -- DAY/SUNSET 31 * KIRILL stopping short on a rise. Bit of a view from here. * Gets half out the car to look. * BELOW -- the JEEP headed for A BRIDGE. He's gonna lose * them. KIRILL'S mind racing. Grabs duffle from the back, * abandons car. * 32 INT. JEEP -- BRIDGE -- DAY/SUNSET 32 MARIE driving. BOURNE preps his pistol. Eye out for * KIRILL. * BOURNE * You keep going to the shack. I'll meet * you there in an hour. * MARIE * (concerned) * Where are you going? * BOURNE * I'm going to bail on the other side and * wait. This bridge is the only way he can * follow. * MARIE * What if it's not who you think it is? * BOURNE * If he crosses the bridge, it is. * MARIE * There must be another way! * BOURNE * I warned them, Marie. I told them to * leave us alone. * 12. MARIE * Jason, please don't do this...it won't * ever be over like this. * BOURNE * There's no choice. * HER POV The old CONCRETE BRIDGE ahead. Almost there. 33 EXT. LOW WALL -- DAY/SUNSET 33 KIRILL slams into it. Quick, precise grabs into the bag. Only a moment and he's got a SNIPER RIFLE. A34 INT. JEEP -- BRIDGE -- DAY A34 BOURNE -- pistol in hand -- spare clip in the other -- * checks his watch. * BOURNE * At the end make the left, when I roll out * do not slow down. * MARIE nods, got it. After a beat... * MARIE * I love you, too. * BOURNE * Tell me later. * MARIE looks ahead. B34 B34 EXT. LOW WALL -- DAY KIRILL. Eye to the scope. * SNIPER SCOPE POV There! The JEEP rumbling across the bridge. No clear target, just the back of the full DRIVER'S SIDE HEADREST. KIRILL'S FINGER Squeezing. Firing. 13. 34 EXT. WOODEN BRIDGE -- DAY (CONT) 34 The JEEP jerking. FRONT FENDER tearing into and along the guard rail -- cement shards fill the air -- BOURNE reaching for the wheel -- Too late! As the JEEP finally crashes through the flimsy guardrail -- Plummets -- splashes hard -- begins to sink out of sight. 35 EXT. LOW WALL -- DAY (CONT) 35 KIR ILL lowers the scop e, takes a quick look around. He's bas ically gon e unnotic ed in this little nook with his sil enced rifl e. But p eople are already rushing toward the bri dge. Then ... there ! An OLD WOMAN looking directly at KIRILL from a doorway. Not quite sure what. But an old Indian woman in Goa? So what. KIRILL drills her with a look. As she sinks back inside -- 36 INT. JEEP -- SINKING IN THE RIVER -- DAY/SUNSET 36 Swallowed up. BOURNE and MARIE gone. * 37 EXT. LOW WALL -- SUNSET 37 KIRILL scans the surface of the river under the bridge. Waiting. 38 38 EXT. RIVER BOTTOM -- DAY Mud plumes as the JEEP settles. BOURNE reaches over to * MARIE, tries to urge her out. * 39 EXT. LOW WALL -- DAY 39 KIRILL with a killer's patience, waiting, almost done. SCOPE POV The surface of the water. Unbroken. 14. KIRILL Scans his perimeter. There's the old woman again. But more people with her. People coming out of the woodwork. KIRILL checks the surface one last time. Nothing. He breaks down the rifle in moments -- goes. * 40 EXT. JEEP -- RIVER BOTTOM -- DAY 40 BOURNE -- up into an air pocket held by the jeep's canvas top. A big gulp of air -- And he's back to MARIE. Frantic. Trying to unclip her * seatbelt. Pull her out. But it's all jammed up. * 41 EXT. KIRILL -- BY THE SILVER CAR 41 Bag chucked in the back. All he has left is the scope. * One last look to the unbroken surface. Then it's time to go. KIRILL -- drifting away -- disappears. 42 EXT. JEEP -- RIVER BOTTOM -- DAY 42 The red halo growing bigger. BLOOD. * BOURNE pauses. MARIE'S face is blank. She's dead. * BOURNE finally pulling back. Realizing this is * goodbye... * DISSOLVE TO: 43-68 43-68 DELETED 69 EXT. ZOOGARTEN SQUARE -- NIGHT 69 We pick up a MAN WITH A BRIEFCASE on a telephoto lens. TEDDY/RADIO (V.O.) The seller has arrived. BERLIN 15. As the man comes to a CHINESE RESTAURANT he stops. Squarely. So he can be seen clearly. Then he enters a STARK GLASS OFFICE BUILDING. TEDDY/RADIO (V.O.) (cont'd) (CONT'D) He's inside. 70 EXT. ZOOGARTEN SQUARE -- NIGHT 70 TWO MEN cross the square to the Chinese Restaurant. VIC is forty -- steel-ass intel operator -- he carries A LARGE SAMPLES CASE. Beside him, MIKE, younger, ex-Navy-Seal. 71 INT. BERLIN HQ/COMMAND POST -- NIGHT 71 "Th e Hub". S ecure, an onymous office space somewhere in the cit y. Shades drawn. Lots of gear cabled around. The sta le, improv ised feel of

58

Bourne Ultimatum, The

Tony Gilroy,Scott Z. Burns,George Nolfi

Action,Thriller,Mystery,Adventure

Aug-07

THE BOURNE ULTIMATUM Written by Tony Gilroy, Scott Z. Burns & George Nolfi Based on the novels by Robert Ludlum FINAL SHOOTING SCRIPT June 20, 2007 Notice: This material is the property of Beach City Productions LLC (A wholly owned subsidiary of Universal City Studios, Inc.) and is intended and restricted solely for studio use by studio personnel. Distribution or disclosure of the material to unauthorized persons is prohibited. The sale, copying or reproduction of this material in any form is also prohibited. 1 1 EXT. NIGHT. HOUSING PROJECTS -- MOSCOW 1 SMASH CUT MOTION -- flat out -- it's us -- we're running -- stumbling -- breathing rushed -- blood in the snow... We are JASON BOURNE and we're running down an alley... Supered below: MOSCOW BLUE LIGHTS -- from the distance -- strobing through the night -- rushing toward us -- POLICE CARS -- three of them - - SIRENS HOWLING as they bear down -- closer -- faster -- until they whip past the alley... Up against the wall -- BOURNE is hidden in the shadows. BOURNE is badly wounded -- shot through the shoulder -- bruises and broken bones from the final car chase in SUPREMACY... With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY... 4 INT. NIGHT. PHARMACY -- MOSCOW 4 ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied...It's BOURNE...The ALARM goes off... MACRO ON -- MEDICINE BOTTLE VICODIN, as BOURNE grabs it...Then PENICILLIN... Then SURGICAL SUPPLIES: Scalpel...Forceps...Sutures...Cotton gauze...Betadine... BOURNE finds a large sink...Rests his gun there...Lays out SURGICAL SUPPLIES...Checks out his back in the mirror...Opens the capsules of penicillin and pours the powder directly into the wound...Begins treating himself... 5 EXT. NIGHT. PHARMACY -- MOSCOW 5 A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow... 6 INT. NIGHT. PHARMACY BATHROOM -- MOSCOW 6 BOURNE finishing up -- splashes water on his face -- he seems a man on a mission. He looks up -- 2 A MIRROR. His face... FB1 FLASHBACK -- JUMBLED STREAKY IMAGES: FB1 "415" written on a building. DISEMBODIED VOICE (HIRSCH) Welcome to the program... POV Bourne walks down a corridor (corridor #1). 6AA INT. NIGHT PHARMACY -- MOSCOW 6AA The cops approaching. FB1A FLASHBACK -- JUMBLED STREAKY IMAGES: FB1A Daniels leading Bourne down the corridor. DISEMBODIED VOICE (V.O.) You'll be saving American lives. A black sack is thrown over Bourne's head, then: (STOCK) A torrent of quick shots of Bourne's kills: the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski... And finally. BANG -- Marie hit in the head. The car off the bridge. She sinks away dead... 6A INT. NIGHT PHARMACY -- MOSCOW 6A The POLICE enter the back room, guns drawn. POLICEMAN #1 Put your hands on your head and turn around slowly! BOURNE snaps out of it, doesn't move. POLICEMAN #1 (older) approaches him. When BOURNE doesn't respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN. BOURNE freezes POLICEMAN #2 with his gun and a look. BOURNE (in Russian) Give me your gun and radio. POLICEMAN #2's gun and radio skittle across the floor. 3 BOURNE (in Russian) My argument is not with you. BOURNE smashes the radio and takes the gun. BOURNE exits... BLACK SCREEN A TITLE fades in -- THE BOURNE ULTIMATUM SUPER: Six Weeks Later 6B OMITTED 6B 6C OMITTED 6C 6D OMITTED 6D 6E OMITTED 6E 6F OMITTED 6F 6G OMITTED 6G 6F OMITTED 6F 6G OMITTED 6G 8B EXT. DAY. LANGLEY, VA 8B Establishing shot -- CIA Headquarters 8C INT. CIA -- DAY 8C A workman installs a nameplate that reads: Ezra Kramer, Director, CIA. 8C INT. KRAMER'S OFFICE -- DAY 8C Kramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job. 4 Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott. BOURNE (V.O.) So we got in the way? Is that why Neski died? Is that why you killed Marie? Kramer glances at a photo of Marie in the file. ABBOTT (V.O.) You killed Marie the minute you climbed into her car. The minute you entered her life she was dead! Kramer looks at Abbott's official photo. BOURNE (V.O.) I told you people to leave me alone! I fell off the grid. I was half way around the world. ABBOTT (V.O.) There's no place it won't catch up to you. It's how every story ends. It's what you are, Jason. A killer! You always will be. THUMP! CRONIN We think that's Bourne hitting him on the head and then-- He makes a gun with his hand, i.e. Bourne putting his gun to Abbott's head. ABBOTT (V.O.) Go ahead! Go on! Do it! BOURNE (V.O.) She wouldn't want me to. That's the only reason your alive. The tape clicks off. KRAMER Who's "she?" CRONIN puts a picture of MARIE in front of KRAMER. LANDY His girlfriend, Marie. She was killed in India three weeks ago. Kramer looks down at another image. Abbott dead after his suicide. 5 KRAMER A dirty section chief in league with a corrupt Russian Billionaire commits suicide when confronted by Jason Bourne. You couldn't make this stuff up. (holds up the photo of Abbot dead) You watched this happen? Landy nods. Kramer shakes his head in disgust at the whole situation. KRAMER Bourne's last confirmed location is Moscow, three days ago? LANDY Right. KRAMER So what does he do now? LANDY I think he's looking for something he hasn't found. KRAMER Like what? What's he after? LANDY I'm not sure. Maybe he hasn't gotten his memory back yet. Not all of it. A look from Kramer... KRAMER Pam, what I need to know is, what kind of a threat is he to us? LANDY If he just wanted to hurt us he could have sent this tape to CNN. KRAMER Maybe he still will. Maybe he gave it to you because he wants to throw you in the opposite direction of his real plan. I don't know. I just know my number one rule is "the only way to stay safe is to assume the worst." As far as I'm concerned Bourne is a serious threat until proven otherwise. 6 8D OMITTED 8D 8E OMITTED 8E 8F OMITTED 8F 8G OMITTED 8G 14A OMITTED 14A 14AA EXT. TURIN, ITALY - ESTABLISHING SHOT 14AA SUPER: TURIN, ITALY R15 INT. DAY. ITALIAN CAFE BACKROOM -- TURIN R15 ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he's assembled...WANTED POSTERS of JASON BOURNE. ROSS (with poster) ...This one's three years ago -- had half of Interpol after him -- disappeared...Turned up in Naples -- Berlin -- Moscow -- disappeared again... (Daniels says nothing) The girl he was on he run with -- Marie Kreutz -- she turned up dead halfway around the world, from a sniper's bullet... (beat) What connects the dots? Is it Treadstone? DANIELS Turn off that tape recorder. 15A OMITTED 15A 15B OMITTED 15B 24 INT. DAY. MARTIN'S APARTMENT -- PARIS 24 The charm of old Paris captured in the workings of an elevator operating in a wrought-iron shaft... 7 A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE... A KNOCK on a door beautifully, heavily lacquered with centuries of paint... MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them -- like two lost brothers who recognize each other -- each has been waiting for this moment for a long time. INT. CONTINUOUS. MARTIN'S APARTMENT Martin looks out the window. MARTIN Where is my sister? BOURNE She's dead. She was killed. MARTIN I knew it was going to end this way. It was always going to end this way... BOURNE I didn't believe that. MARTIN Why did she die? BOURNE She was shot. A man came for me. MARTIN And then you killed him. Bourne nods. MARTIN Now what? BOURNE Someone started all this...and I'm going to find them. Bourne looks at him for a beat and leaves. EXT. SUBWAY -- DAY Bourne climbs the stairs. Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside. 8 Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE. BOURNE (in French) Who started Treadstone? The bodyguard comes back, gun out-- ELLATRACHE (in French, to bodyguard) It's OK! (in French, to Bourne) They're still looking for you. You are taking a big risk coming here. Bourne shoves him against the wall, hard. BOURNE (in French) Just tell me what I want to know! ELLATRACHE (in French) I just provided them weapons. I don't know who started-- BOURNE (in French) You know something. Tell me where to start looking. ELLATRACHE (in French) There's a journalist in London. Simon Ross. He seems to know a lot about you. He has a source inside the program. Someone there from the beginning. What should I tell them if they contact me? BOURNE (in English) They give me the name I want, or I burn their entire house down to get it. 16 EXT. DAY. HEATHROW AIRPORT -- LONDON 16 ROSS hurries to catch a TAXI as he talks on his cell phone. 9 ROSS ...This is big -- a skein of lies -- you pull at it and it just keeps coming -- I'll fill you in when I get home. And it's not finished, either. (beat) They're calling it `Blackbriar'. Follow this SEQUENCE as... 17 INT. DAY. CIA SUBSTATION -- LONDON 17 A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS...Sifts through BILLIONS of words...One word EMERGES from the CHATTER... BLACKBRIAR A TECHNICIAN sends the data to NSA back in the States...Where another COMPUTER gathers up the rest of the phone call...As we listen... TECH#3 "Blackbriar" echelon hit. NSA, please confirm receipt. R18 EXT. DAY. CIA HEADQUARTERS -- LANGLEY R18 And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports. TECHNICIAN #1 Sir, we intercepted a call from London, keyword "Blackbriar." SUPERVISOR Okay, send it to CRI right now. 25D EXT. DAY. THE SKYLINE -- NEW YORK CITY 25D NOAH VOSEN, deft and confident, arrives at CRI Headquarters. 25E INT. DAY. CRI OFFICES -- NEW YORK CITY 25E As VOSEN steps out of the elevator and into his office, he is met by his #2, WILLS. WILLS We tracked the phone. Registered to a London reporter named Simon Ross. He works at the Guardian newspaper. 10 They enter a hallway through double doors towards the HUB. VOSEN You tracking him? As they pass through, colleague hands WILLS a file. WILLS Yeah, thanks Mike. We have a survey team covering him at work...and a sneak and peek's on their way to his apartment. VOSEN Well, who talked to him? How did he find out about Blackbriar? WILLS We don't know, we pulled his background and ran a cross check on any known anomalies, but we've come up with nothing. But, I think if we follow Ross, we are going to be able... VOSEN Right. Ross is easy. I want the source. They enter the HUB. 26 EXT. DAY. GARE DU NORD -- PARIS 26 BOURNE buys a newspaper, enters the station and gets on the EUROSTAR. 26A INT. DAY. CRI DATA ROOM (was 25E) 26A VOSEN and WILLIS listen to the phone call. ROSS (VOICEOVER) Have you heard of an Operation Blackbriar? I'm going to try and get my head around this, see you first thing. VOSEN turns. VOSEN Is that all? WILLS Yeah. 11 VOSEN I want rendition protocols and I want the asset put on standby, just in case. 26B INT. DAY -- CRI HUB 26B VOSEN steps out from DATA ROOM...addresses the HUB. VOSEN People, listen up, this is a full priority situation WILLS Jimmy, give me Ross's profile on one. (points at the big screen on the wall) ROSS'S information come up on the center screen. VOSEN Our target is a British national, Simon Ross, a reporter. I want all his phones, his blackberry, his apartment, his car, bank accounts, credit cards, travel patterns...I want to know what he's going to think before he does. Every dirty little secret he has. And most of all, we want the name and real time location of his source. This is NSA priority level 4, any questions? No response from the HUB. VOSEN (CONT'D) All right, let's get to it. 26C EXT. DAY. EUROSTAR -- ENGLAND 26C The EUROSTAR winds it's way to London. 26D INT. DAY. EUROSTAR 26D BOURNE reads The Guardian. He sees an article written by Simon Ross. Title: "RENEGADE ASSASSIN LOSE IN EUROPE". It mentions BOURNE. There is a photo of Marie-- FB2 FLASHBACK FB2 12 Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie's stuff 26D INT. DAY. EUROSTAR 26D BOURNE comes out of the flashback. He is still carrying the pain of her loss Bourne finds Ross's name on the masthead, then goes to the name just below it in the news department. 29 EXT. DAY GUARDIAN NEWSPAPER -- LONDON 29 Ross crosses a busy London street -- heads to Guardian office building. A CRI TEAM watches from a parked car. 35H INT. DAY -- CRI HUB 35H TECH #1 watches the data arrive. TECH#1 Copy that. Mr. Vosen, subject is entering his office. VOSEN watches the feed. VOSEN Where's my picture please? TECH#2 Coming online...Online...Now. A surveillance picture flashes onscreen -- ROSS works in his office. HUB chatter about ROSS phone. TECH#3 Take an hour to get his phone... VOSEN That's too long. Off VOSEN. R34 INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON R34 ROSS reports to his EDITOR. EDITOR So how do we know he's not spinning for someone? ROSS There's more. He was scared. 13 EDITOR Scared of what? ROSS Blackbriar. A REPORTER sticks her head in. REPORTER Sorry, a call for you. ROSS Who is it? REPORTER Won't give hie name. ROSS leaves to pick up the call. 35Y INT. CONTINUOUS. GUARDIAN -- NEWSROOM 35Y ROSS crosses the busy newsroom... REPORTER He's on my line... ROSS picks up the phone. Ross (CONT'D) Simon Ross. 35H INT. DAY. CRI HUB -- NEW YORK CITY 35H VOSEN watches as ROSS takes phone call. VOSEN Why aren't we hearing this? WILLS That's a hard line, Jimmy, why don't we have it? JIMMY We have his line, sir, but he's not on it. WILLS looks confused. 35Y INT. DAY GUARDIAN -- NEWSROOM 35Y ROSS listens. BOURNE (V.O.) Waterloo Station, south entrance, thirty minutes. 14 ROSS Who is this? BOURNE (V.O.) This is Jason Bourne. 35Z INT. DAY -- EUROSTAR TRAVELING 35Z Bourne You want to talk to me. Come alone. BOURNE hangs up. 35Y INT. DAY. GUARDIAN -- NEWSROOM 35Y ROSS looks bewildered -- hangs up the phone -- gathers his stuff -- puts his notebook in his pocket and leaves. SURVEY ONE (V.O.) Are you getting an image? 35H VOSEN 35H Where's he going? WILLS Okay, he is on the move. Target is mobile. The HUB reacts. . WILLS Okay, people, look sharp, give me eyeballs on the street. 36 INT. DAY. BUILDING -- ACROSS FROM GUARDIAN 36 SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move... SURVEY ONE Subject is on the move. Go mobile One and Two. WILLS Where's that audio on the street? I want to know where he's going... 36A EXT. CONTINUOUS. LONDON STREET 36A ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him... 15 35H INT. DAY. NEW YORK HUB 35H VOSEN watches as the feed from the SILVER VAN comes through. MOBILE 2 (over radio) We have the subject confirmed. VOSEN Where is he heading? MOBILE 2 Waterloo Station. 37 EXT. DAY. WATERLOO STATION -- LONDON 37 BOURNE arrives on the EUROSTAR. Enters the station. 38 EXT. CONTINUOUS. STREET 38 As the taxi moves away, the SILVER VAN pulls out behind it. A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat. HUB (V.O.) Stand by at Waterloo... 39 EXT. DAY. WATERLOO STATION -- LONDON 39 BOURNE moving toward the rendezvous... 63 INT/EXT. DAY. BLACK CAB -- YORK ROAD 63 ROSS pays the DRIVER, exits. Checks his watch. Looks around. Isn't sure what his next move is-- 64H INT. DAY. CRI HUB 64H TECHNICIANS searching for ROSS on the busy street. TECHNICIAN #2 Mobile One -- give us eyes on the subject. 16 63 EXT. DAY. YORK ROAD -- LONDON 63 MOBILE ONE-- two people from the van-- take up a position in an open stairwell three floors up. They focus a camera down on Ross. 63A EXT. DAY. ENTRANCE -- WATERLOO STATION 63A BOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay-as-you-go package in a bin. Rounds a corner. Out of sight. 63B OMITTED 63B 64H INT. CONTINUOUS. CRI HUB -- NEW YORK CITY 64H Screens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI. TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station. 63 INT. DAY. WATERLOO -- ENTRANCE 63 ROSS moves to the entrance. Behind him, inside the tube station portico, BOURNE arrives. Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level. Commuters coming up the escalators. BOURNE joins them - moving towards Ross. Closer. Right on him. ROSS oblivious. Looking out onto the street. BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET.. ROSS feels the contact. Checking himself -- he's okay. But now a phone is ringing -- looks around, must be someone else. But the vibration's coming from his jacket pocket. ROSS takes out the phone -- not his -- puzzled. ROSS hits "answer." 17 ROSS Hello? BOURNE (O.S.) Don't ask questions. Just listen... 64H INT. CONTINUOUS. NEW YORK HUB 64H VOSEN watching... VOSEN What's he doing? I thought we blocked his cell? Who the hell is he talking to??? WILLS Jimmy, I need that phone! VOSEN (beat) Activate the asset. WILLS Sir, we haven't yet become operational -- VOSEN I said activate the asset. I want options. Wills keys in a CODE... 64 EXT. DAY. BMW -- LONDON STREET 64 PAZ, 20s, cool and predatory, drives and waits for instructions...His PHONE buzzes...He reads the code...Accelerates toward Waterloo Station... 70 EXT. CONTINUOUS. FOOTBRIDGE 70 BOURNE reaches the top of the stairwell on the other side of the road. His POV to the left -- a LONDON BUS is approaching. To the right -- a young man in a hooded top -- speaking on his cell -- walking toward a BUS STOP... A plan is forming. 71 INT. CONTINUOUS. WHITE VAN 71 SURVEY TWO -- camera zooming in on ROSS. 18 SURVEY TWO What's the ROE on this one? PANNING TO REVEAL 64H INT. CONTINUOUS. NEW YORK HUB 64H VOSEN thinking it over as he watches the image of ROSS. 75 EXT. DAY. YORK ROAD -- TUBE -- BUS STOP 75 ROSS looking around. Then -- BOURNE (O.S.) To your left. Blue hooded top. Walking towards the bus stop ROSS has clocked him. The HOODY walks to the bus stop. One hands-free EARBUD swaying down by his side as he moves to a seat. Sitting down. Checking his watch. ROSS shifting nervously from one foot to another. BOURNE (o.s.) (CONT'D) Go to the bus stop, sit next to him. Head down... The LONDON BUS approaching. ROSS begins to move. 64H INT. DAY. CRI HUB -- NEW YORK 64H Things are beginning to happen. TECHNICIAN #1 Target is on the move. WILLS Okay, who's the guy in the blue hood? Screen POV. ROSS standing next to the HOODY -- head down. Trying to play it cool -- ROSS in clear view of the cameras. "Speaking" with the HOODY. Camera zooming in. VOSEN Okay, there, he's talking to the guy with the hood. Take them down. Just then -- 19 A BUS pulling up to the bus stop, blocking both SURVEYS' views. Rifle mics picking up the bus chatter, instead of ROSS. VOSEN. Annoyed now. VOSEN Watch that bus! The bus! -- don't lose them! Stay triangular and don't get blocked. The crackle of the survey teams as they try and reframe. POV SCREEN -- SURVEY ONE seeing the bus clear. The HOODY has gone. POV ANOTHER SCREEN -- SURVEY TWO -- camera finally catching up, picking out the HOODY on the bus as it begins to pull away. VOSEN? Grab Team B. Grab the hoody and stay with Ross... TECH'S giving orders... 77 EXT. ACROSS FROM YORK ROAD -- DAY 77 SURVEY TWO -- three men racing across the road on foot. Weaving through heavy traffic. 78 EXT. DAY. FOOTBRIDGE AREA 78 BOURNE watching his plan unfold...Only a few seconds to get ROSS out of there... BOURNE Take the footbridge. Go to the West Entrance. I'll meet you at the newsstand. 79 EXT. DAY. YORK ROAD -- CONTINUOUS 79 ROSS re

59

Curious Case of Benjamin Button, The

Eric Roth

Drama,Fantasy,Mystery,Romance

Dec-08

THE CURIOUS CASE OF BENJAMIN BUTTON Written by Eric Roth Based on the short story by F. Scott Fitzgerald 10/30/07 As all things do, it begins in the dark. EYES blink open. Blue eyes. The first thing they see is a WOMAN near 40, standing looking out a window, watching the wind blowing, rattling a window. A WOMAN'S (V.O.) What are you looking at? CAROLINE The wind, Mother... They say a hurricane is on its way... You've been asleep... I was waiting to see you... 1 INT. HOSPITAL ROOM, NEW ORLEANS - MORNING, PRESENT 1 Now we see we're in a hospital room with layers of white enamel paint trying without success to hide the years... An old WOMAN, past 80, withered, still regal with a green turban around her bald head is propped by pillows, her blue eyes looking out at us from her bed... She's connected to an intravenous for sustenance and a morphine drip... Her name, is DAISY FULLER. She speaks with a Southern lilt. DAISY If it wasn't for hurricanes we wouldn't have a hurricane season. CAROLINE I've forgotten what the weather can be like here. I've lived with four seasons so many years now. We see a young Black Woman, a "caregiver," DOROTHY BAKER, in a corner, thumbing a magazine, with one eye at the window... DOROTHY BAKER I saw on the news they're predicting trouble... DAISY 1928 they stacked people like firewood to close a hole in a levee. But Daisy has other things on her mind... murmuring... (CONTINUED) 2. 1 CONTINUED: 1 DAISY (CONT'D) It all runs together... like a fingerpainting... I feel like I'm on a boat, drifting... CAROLINE (tenderly) Can I do anything for you, Mother? Make anything easier? DAISY Hmmm. There is nothing to do, Caroline. This is what it is... I'm finding it harder to keep my eyes open... my mouth all filled with cotton... And agitated, feeling confined, she scratches at her nightgown as if it were sticking to her... she starts to take it off... Dorothy gets up and straightens it for her. DOROTHY BAKER There, there, Miss Daisy... you'll scratch yourself to ribbons... (to Caroline) It's their way of letting go... (the finality) ...prob'ly today. Caroline is well aware of it, but the words, her admonition of death being so close at hand, makes everything even more present... CAROLINE Do you want more medication, Mother? The doctor said you can have all you want. Daisy is quiet, looking into the distance. Caroline, seeking closure, sits on the bed with her and starts to cry. Daisy puts her thin arms around her daughter, comforting her. CAROLINE (CONT'D) A friend told me she never had a chance to say goodbye to her mother. (grateful to have the chance) I wanted to thank you, Mother, for bringing me into this world. For raising me so well. (MORE) (CONTINUED) 3. 1 CONTINUED: (2) 1 CAROLINE (CONT'D) I wanted to tell you how much you've meant to me. I'm going to miss you so much... They hold each other for some time... They separate... And there's an awkwardness they have nothing left to talk about... nothing left to say to each other... a hole in their relationship... Caroline fills it with the eternal question... CAROLINE (CONT'D) Are you afraid? DAISY Curious. What comes next... She winces at some physical pain. DOROTHY BAKER The pain's coming more steadily... Her breathing will falter soon... No need for her to suffer.. She raises the morphine level... Daisy closes her eyes... drifting with the morphine... and a thought, a dream, a sound, crosses her mind... and she says... DAISY They built that train station in 1918. Your father was there the day it opened... He said a tuba band was playing...Oom-pah-pah... 2 EXT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918 2 And we see a TUBA BAND is playing while a ribbon cutting ceremony is taking place across the steps of the new TRAIN STATION... DAISY Oom-pah-pah, oom-pah-pah...The finest clockmaker in all of the South built that clock... 3 INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT, 1917 3 We see an old French Quarter storefront with an endless array of clocks and watches... DAISY'S (V.O.) His name was Mr. Gateau. Mr. Cake. 3A. 4 INT. THE HOSPITAL ROOM, NEW ORLEANS - MORNING, PRESENT 4 The slightest of smiles crosses Daisy's lips... saying to herself again... "Mr. Cake..." 5 INT. CLOCKMAKER'S SHOP, NEW ORLEANS - MORNING, PRESENT 5 We see a diminutive man in a frock coat with small, delicate hands, "Mr. Cake," working in his downstairs workshop. More than a few clocks stroke midnight, a handsome Creole Woman comes into the workshop... (CONTINUED) 4. 5 CONTINUED: 5 DAISY'S (V.O.) He was married to a Creole of Evangeline Parish and they had a son. Taking his arm, she helps him up to show him to his bed. DAISY'S (V.O.) (CONT'D) Did I mention, Mr. Gateau was from birth, absolutely blind. 6 INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT, 1917 6 ...The clockmaker his fine hands blindly working... DAISY'S (V.O.) And when their son came of age, like boys will do, he joined the army. They saw him off at the old train station. 7 EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, 1917 7 An old wooden barn of a building. Their son, hugging his parents, getting on a flatbed train crowded with other soldiers, pulling away... Mr. Gateau, blindly waving his hat goodbye to his son... DAISY'S (V.O.) Oh how he worked, for months he did nothing but work on the clock for the great train station. 8 INT. WORKSHOP BELOW THE CLOCKMAKER'S HOME - NIGHT, 1918 8 The sound of clocks constant ticking. Mr. Gateau at work... DAISY'S (V.O.) One day a letter came... Blanche comes into the workshop... a letter in her hand... She reads to her blind husband... BLANCHE DEVEREUX "I am sorry to inform you that your son was killed fighting for his country, at the battle of the Marne. In the death of Sgt. Martin Gateau I lose one of my most trusted men. (MORE) (CONTINUED) 5. 8 CONTINUED: 8 BLANCHE DEVEREUX (CONT'D) When I informed members of our company he had fallen, on every face could be seen the mark of sorrow... ...we were in hope the Lord would spare him to return home together... Alas this was not to be. I send along his pants, shirt, cavalry pin, kerchief, and haircomb." DAISY (V.O.) Mr. Gateau, done for the night, went up to his bed. Mr. Gateau, blindly feeling his way up the stairs... DAISY'S (V.O.) And their son came home. 9 EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, 1918 9 We see "Mr. Cake" in his familiar hat, his wife holding his arm, standing among the rows of coffins. DAISY'S (V.O.) They buried him where the Gateau family had been buried for a hundred and seven years... 10 EXT. NEW ORLEANS CEMETERY - DAY, 1918 10 An old New Orleans cemetery, vines crawling the sepulchers. DAISY'S (V.O.) Mr. Cake went back to work on his clock... laboring to finish... 11 INT. THE CLOCK WORKSHOP, NEW ORLEANS - LATE NIGHT, 1918 11 Mr. Gateau blindly setting the last spring, closing up the clock back... finished at last. DAISY'S (V.O.) It was a morning to remember... Papa said there were people everywhere... 12 INT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918 12 And we see a large throng gathered to watch the unveiling of the clock. Politicians, citizens, and pickpockets alike... (CONTINUED) 6. 12 CONTINUED: 12 DAISY'S (V.O.) Even Teddy Roosevelt had come. And we see the distinctive figure of Theodore Roosevelt, in overcoat and hat, the war heavy on his shoulders. We watch Mr. Cake, with the aid of an assistant, climbing the scaffolding to his clock covered by a velvet drape... He stands for a moment... and with a simple tug, releases the purple swath... People gasp at the magnificent clock... "Mr. Cake" winds the clock, which chimes a glorious chime... Pushed by an angel, the second-hand begins its eternal journey...going around... Everyone cheers... until they realize the clock is going the wrong way... traveling backwards in time... A man shouts, "It's running backwards!" MONSIEUR GATEAU I made it this way... so that perhaps, the boys who were lost in the war might stand and go home again... 13 EXT. BATTLEFIELD - DAY, 1918 13 And we see just that... bullets leaving mens' wounds sailing back into the rifles from whence they came... limbs, whole again... cannon balls rocketing backwards into the cannons' breech... Fallen come to their feet, to live and breathe again. MONSIEUR GATEAU (V.O.) ... home to farm, to work, have children, to live long, full lives... 14 INT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918 14 Teddy Roosevelt, bereft, removes his hat... MONSIEUR GATEAU Perhaps, my own son might come home again... 15 EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, ANOTHER TIME 15 And we see his own son, Martin, once again full of life hopping backward off the train to land where his journey started... back in the arms of his loving parents... 7. 16 INT. TRAIN STATION, NEW ORLEANS - DAY, 1918 16 MONSIEUR GATEAU I'm sorry if I offended anybody. I hope you enjoy my clock. And his wife holding his arm, he makes his way across the terminal and exits... The crowd is motionless. They look to Teddy Roosevelt for guidance... but he simply puts his hat on, and with his guardians, is gone... DAISY'S (V.O.) Mr Cake was never seen again. Some say he died of a broken heart. Some say he went to sea... 17 EXT. THE MISSISSIPPI RIVER - AT THE END OF A DAY 17 Mr. Gateau, blindly rowing... away... 18 INT. HOSPITAL ROOM, NEW ORLEANS - MORNING, PRESENT 18 DAISY He just rowed...rowed...away... The wind loudly rattles the window...they turn to look... DOROTHY BAKER Do you mind if I make myself a call? I've got somebody watching my little boy. CAROLINE No, please go call... It's quiet, Caroline sitting on the bed with her dying mother... with the wind knocking at the window... After some moments: CAROLINE (CONT'D) I hope I haven't disappointed you, Mother. DAISY Oh honey, you could never disappoint me. CAROLINE I wished I had more to show for myself. I know you would have liked to have had grandchildren. (MORE) (CONTINUED) 8. 18 CONTINUED: 18 CAROLINE (CONT'D) My life hasn't been all that... normal... As if to say the pieces haven't all fit... trying to articulate it... CAROLINE (CONT'D) I'm either a step ahead... or a step behind... DAISY What's normal? A hat full of sand. CAROLINE What? DAISY (going on) I need my brown suitcase... The envelope... CAROLINE An envelope? Caroline doing what she's asked goes over to one of the suitcases by the bed... She opens it... and among the Queenie, Apple... she clothes and the keepsakes, there is indeed an old envelope. CAROLINE (CONT'D) This one? DAISY I tried to read it a hundred different times... but I couldn't bring myself... CAROLINE What do you mean? DAISY Read it to me. Daisy closes her eyes... Caroline takes out a sheath of papers... It's a journal of some kind written in longhand... Pages have come undone... scraps of paper, even some napkins... DAISY (CONT'D) (murmurs) Just the sound of your voice... (CONTINUED) 9. 18 CONTINUED: (2) 18 And for her mother's sake she begins to read it... with no particular interest, like reading to someone a selection from a menu's choices... CAROLINE It's dated "April 4, 1985." It says, "New Orleans." (after a beat) "This is my last will and testament... (which starts to engage her) I don't have much to leave... few possessions, no money really... I will go out of this world the same way I came in, alone and with nothing. (finding herself engaged) All I have is my story... I'm writing it now while I still remember it..." She's interested. She looks over at her mother. But her mother's eyes are closed... CAROLINE (CONT'D) "My name is Benjamin..." And Caroline's voice becomes a young MAN'S voice... A MAN'S (V.O.) "Benjamin Button... and I was born under unusual circumstances." 19 EXT. NEW ORLEANS - NIGHT 1918 19 THERE'S SUDDENLY AN EXPLOSION OF FIREWORKS. BENJAMIN BUTTON'S (V.O.) The war to end all wars had ended. We see the streets of New Orleans are filled with drunken, singing revelers... cars jamming the cobblestones, people kissing, shouting joyful... Another burst of fireworks. BENJAMIN BUTTON'S (V.O.) (CONT'D) I was told it was an especially good night to be born... (CONTINUED) 9A. 19 CONTINUED: 19 And we see in the fireworks' light, a young MAN in his early 30s, THOMAS BUTTON, running up to the gate of a fashionable town home. He nearly collides with a PRIEST who arrives there at the same time. Thomas runs past him, up the steps... 20 INT. BUTTON HOUSE, NEW ORLEANS - NIGHT 1918 20 ...He runs past a solemn Maid and up a long staircase... barging into the MASTER BEDROOM... 10. 21 INT. MASTER BEDROOM, BUTTON HOUSE - NIGHT 1918 21 ... where we see a young Woman is lying on a bloody bed, frantically being administered to by a DOCTOR with the help of the small domestic staff... the PRIEST enters... THOMAS BUTTON (seeing him) Why are you here? THE DOCTOR Thomas, I'm afraid she's not going to survive... And the Priest bends to say last rites over the pretty young woman... and the maids, bringing bedsheets, futilely start to change her bloody linens... THOMAS BUTTON That's enough...! All of you! They move out of the way... and Thomas kneels beside his wife... She's pale white, fear in her soft brown eyes... He takes her hand... THOMAS BUTTON (CONT'D) I came as quickly as I could... I'm sorry I took so long, the streets are filled with people... As if to underscore it, fireworks go off... THOMAS BUTTON (CONT'D) You are going to be alright, my dearest darling... I will not let anything happen to you... HIS YOUNG WIFE Promise me, Thomas... And she is interrupted by the sudden CRY OF A BABY. But Thomas can't take his eyes from his dying wife... HIS YOUNG WIFE (CONT'D) Promise me, he has a place... He doesn't understand... She looks up at him... holds his hand tight... then she slips away... The Doctor listening for her pulse... He covers her... it's quiet... the Priest's murmured incantations... the housemaids crying... (CONTINUED) 11. 21 CONTINUED: 21 BENJAMIN BUTTON'S (V.O.) She gave her life for me... And for that I am forever grateful... Thomas, still holding her hand, is unable to let go... When we hear again the BABY CRYING... The BABY'S CRY is not quite right... It is not an infant's cry for succor, or a natural cry to exercise its new lungs... It's a deep, haunting cry from some primal soul... They all turn, and the room stills... listening as The BABY continues its mournful WAIL. Only Thomas goes to answer... The Baby in a basket, swaddled in a thick blanket, its face covered with cloth... Thomas goes to lift it, to see his son's face... MAID Mr. Button...! He lifts the cloth anyway... He recoils... for he has seen some kind of horror... He makes the smallest of sounds, a whispered "Ohhhh." And then he suddenly snatches up the swaddled baby -- running with it out of the room... downstairs... outside... 22 EXT. NEW ORLEANS - NIGHT, 1918 22 ... Thomas, tears on his face, carrying his CRYING BABY, through the streets... Pushing through crowds... 23 EXT. A BRIDGE, NEW ORLEANS - NIGHT, 1918 23 ... he comes along an old bridge over a waterway... the air heavy with the haze of fireworks... the water dark... brokenhearted, he lifts the baby to throw it into the black water... He is just at the apex of this throw when, despite his sadness, he can't bring himself to do it... Instead, cradles the newborn... THOMAS I'm sorry... I'm so sorry... A LANTERN lights his face... A POLICEMAN down the way... POLICEMAN What are you doing there!? The BABY starts to CRY... POLICEMAN (CONT'D) What do you have there? Thomas takes off... the Policeman after him... Thomas, carrying the CRYING BABY, running... 12. 23A EXT. NEW ORLEANS, GARDEN DISTRICT - NIGHT, 1918 23A Thomas, scuttling with the crying infant through narrow streets past the back porches and the back stairs of the large old moldering antebellum houses... 24 EXT. THE BACK OF AN OLD NEW ORLEANS HOUSE - NIGHT, 1918 24 He comes to an old three-story house with a screened porch, VOICES from inside... PEOPLE TALKING and LAUGHING... The Baby, soothed by the soft yellow light, by the music of the voices, by the house itself -- stops its mournful cry. Thomas stops, catching his breath... He looks in through the back porch... the sounds of VOICES coming... Thomas quietly sets the baby on the back porch steps. He takes out every last dollar he has, tucking the money inside the Baby's blanket... We can just see the figures of two people coming from inside... Thomas knocks on the weathered screen door... And his decision made, he turns, moving away from the house, leaving his child behind. A WOMAN'S (V.O.) I could've sworn I heard somebody knockin'... When a young Black Woman, in a green dress, comes onto the porch... A thin, attractive woman, in her late 20s, with the sultry eyes of a lounge singer -- She's known as QUEENIE. She's followed by a handsome Black man, MR. WEATHERS -- that everyone calls TIZZY. She looks out the door, and not seeing anything... QUEENIE I guess not... She stands for a moment taking in the night air... QUEENIE (CONT'D) The air smells sweet... And she sings to herself... a song from the time... TIZZY You look very handsome tonight, Ms. Queenie, handsome as I ever seen you... The green matches your eyes... QUEENIE (fingering dress) It isn't everyday a war's over, Mr. Weathers... (MORE) (CONTINUED) 13. 24 CONTINUED: 24 QUEENIE (CONT'D) We have to mark it somehow... You ain't no slouch yourself. He smiles, tips his hat... And they stand in the quiet... TIZZY Hambert's back in town... came home legless, but he home... we're gonna throw a party for him... help get himself situated... (beat) I know you was sweet on him one time... QUEENIE Sweeter than I shoulda been... Lost his legs you say? "You never know what's comin' for you." And if right on cue an older white Woman sticks her head out... OLD WOMAN Ms. Simone messed herself... QUEENIE She got to stop doing that, or it's diapers for her... I'll be right there, Mrs. Jameson... The woman disappears inside. Queenie, not anxious to go... QUEENIE (CONT'D) It sure is nice out here, Mr. Weathers... TIZZY Awful nice, Ms. Queenie... Come out back for a moment... take your mind away from things... He pushes open the porch screen door... QUEENIE (smiles) Just a moment's time... He offers her his hand... She takes it... He backs out of the house, holding her hand, and he suddenly steps right on top of the Baby... The baby wails, Tizzy stumbles, nearly falls... (CONTINUED) 14. 24 CONTINUED: (2) 24 TIZZY What in God's name...?!! QUEENIE What is that? A fish crawl out of the river...? She moves to it... pushes aside the blanket, and freezes. QUEENIE (CONT'D) God in heaven! IT IS THE VERY FIRST TIME WE HAVE SEEN THE BABY. What we see is the prominent bald head of any newborn... but it has the face, the wrinkled skin, the faded eyes, of an octogenarian. Indeed, if we didn't know any better, it would seem the newborn was a wrinkled decrepit sad-eyed old man... QUEENIE (CONT'D) My Goodness, the Lord did something here...! TIZZY Look like a milk wagon run over it... three times... and back... And they're both motionless, not quite sure what to do... TIZZY (CONT'D) I didn't see it layin' there... I hope I didn't hurt it none... steppin' on it like that... The BABY won't stop its mournful cry... TIZZY (CONT'D) We best leave it to the police... I'll go -- Queenie hesitates... a longing. QUEENIE It's for sure nobody wanted to keep it... And making up her mind, she suddenly grabs up the crying baby, taking it inside... Tizzy, anxiously whispering something, going in after her... 15. 25 INT. THE NOLAN HOUSE, NEW ORLEANS - NIGHT, 1918 25 A piano's playing a standard, people singing.... There's a myriad of old dark rooms... heavy furniture and carpets... an eclectic mixture of the possessions of those who have lived and died here over many years... and we see a parlor is crowded with Old People, from sixty to ninety-five, in various stages of health... various contraptions to keep them "afloat". An Old Age Home. We see Queenie moving quietly along a hallway, carrying the crying baby so as not to be seen. Tizzy, following her, still anxiously whispering after her... A WOMAN'S (V.O.) Where are you, Queenie...? QUEENIE Hold your water... (and to Tizzy) Go see to them. He does what she asks. She hurries the baby into a small room, literally like a mouse house, under the stairs... 26 INT. QUEENIE'S ROOM, OLD HOUSE, NEW ORLEANS - NIGHT 1918 26 A small room tucked under the staircase... A WOMAN'S (V.O.) Queenie Apple... she went and messed herself all over again... QUEENIE Jane Childress start her a bath... and mind your business, Mrs. Duprey... You'll be messing yourself soon enough too! There's a KNOCK on Queenie's door. A WOMAN'S (V.O.) (whispers) Somebody stole my necklace... QUEENIE I'll be right with you, Mrs. Hollister... She whispers to The Baby, soothing it. And looking for a place to put it, she opens a dresser drawer... (CONTINUED) 16. 26 CONTINUED: 26 QUEENIE (CONT'D) You may be as ugly as an old pot... but you still a child of God... A WOMAN'S (V.O.)

60

Eagle Eye

John Glenn,Travis Wright

Action,Mystery,Thriller

Sep-08

EAGLE EYE sketches on the wall. All of the same dog. The actual DOG, Johann, lies underneath the kitchen table. 9. 3/28/07 CONTINUED: JERRY So I think. No, I'm pretty sure that's the best one so far --- MRS. WIERZBOWSKI Yes. Is good -- rent is better. She puts a bowl of STEW into Jerry's hands. MRS. WIERZBOWSKI (CONT'D) You are hungry, I am guessing. JERRY Oh, no, no. I couldn't -- (looking down at bowl) Unless, you know, you insist. He sits at the table, starts eating. This is their routine. MRS. WIERZBOWSKI So where is girl? I don't see her? JERRY Oh, the redhead? No. She... that's over. She got smart. MRS. WIERZBOWSKI Like the others. JERRY Well, womenareIpretty smart. I've discovered. MRS. WIERZBOWSKI You are like Johann. Jerry stops eating, mouth full. As Johann looks up. JERRY Your -- I'm like your dog? MRS. WIERZBOWSKI Look at him. Is big dog. Labrador. But he believe... he is terrier. So is Labrador... but no labrador. Somehow Jerry can't get his eyes off Johann. Quietly: JERRY why do you think that is? As she pours a drink into a plastic cup -- MRS. WIERZBOWSKI Perhaps many things. When I rescue Johann from pound, they say he was abuse. (MC)RF ) 3/28/07 10. CONTINUED: (2) MRS. WIERZBOWSKI (CONT'D) As puppy. They kick him when baby, make him feel not big. (hands Jerry the cup) You need someone for rescuing you. Jerry looks at her, sad-smiles. Takes a sip and holy shit: JERRY This is -- vodka -- Jesus, its eight- thirty in the morning -- MRS. WIERZBOWSKI -- you cannot eat bigos without vodka. Adjusting to it, Jerry drinks again -- as his CELL PHONE RINGS. He looks at his phone, freezing. Mrs. Wierzbowski notices. MRS. WIERZBOWSKI (CONT'D) Is the girl? Answer. Tell her you'. are Labrador. Then ask if she give you money for rent. But we've PUSHED IN on Jerry, who stares at the name on the phone. Something's affecting him deeply. He says, quietly: JERRY its my mother. MRS. WIERZBOWSKI Is problem? JERRY (even, quieter, gets up) is problem. INT. JERRY'S APARTMENT BUILDING - HALLWAY - MOMENTS LATER Jerry steps outside as the phone keeps RINGING, debating: WHAT TO DO. Finally, he answers, as if ready for punishment: JERRY Hey, mom... Jerry stands there in silhouette. LISTENING. Something is happening... .suddenly he loses his balance -- sinks to the floor, phone to his ear -- staring in pain -- EXT. CHURCH - DAY MOURNERS are gathering in their somber best, shaking hands. Across the street, we find Jerry, getting out of a taxi. Standing in a rumpled suit. Grim; the last thing he wants to do is enter that church. It's almost as if he can't. Finally, from somewhere, strength. He walks forward. 3/28/07 11. INT. CHURCH - CONTINUOUS Jerry heads down the aisle, painfully self-conscious. Most of the MOURNERS are in the pews, turning to look at him as he passes. When suddenly there's a SCREAM OF TERROR -- and Jerry BRACES as if he was expecting it -- looks over at a WOMAN pointing like he was a fucking bodysnatcher and she collapses -- Jerry holds up his hands as everyone turns to look at him-- JERRY -- no! I-- I'm not him! All eyes on him. His voice, sad, heartbroken: JERRY (CONT'D) It's okay! I'm not Paul! Locks eyes with his MOTHER and FATHER up in the front pew. Their eyes red from crying, withered shells. And Jerry gives a lame wave before heading reluctantly up to the COFFIN. Devastated, he leans in -- and we MOVE AROUND to see the body: And it's fucking HIM -- Jerry's very own face, but one that seems to have been RECONSTRUCTED after some kind of accident. Gruesome and handsome all at once. This was PAUL SHAW. Jerry's identical twin. Off the surreal moment... A reverbed TRUMPET PLAYS, the tune familiar. In fact, it's: INT. APARTMENT - DAY THE NATIONAL ANTHEM, booming from a trumpet played by an 8 year- old boy: KYLE HOLLOMAN. A WOMAN blurs into frame: RACHEL HOLLOMAN, searching for car keys. 28, smart, beautiful, but fiercely independent, she's a single mom who's taken life's knocks. Never as cool-headed as she wants to be, she's on a short fuse with everyone but Kyle, whom she adores: RACHEL Okayokay... okay: we came home, put down the leftovers, you turned on the TV, I went over, I said no TV-- She turns to the TV area and walks straight INTO a table. Stuns her, momentarily, but she doesn't break stride -- KYLE -- we're gonna be late, huh? RACHEL -- absolutely not -- I turned it off, came over here, checked messages, put the leftovers in the-- 3/28/07 12. CONTINUED: KYLE RACHEL --knocked over the phone-- --right, knocked over the phone, put it back, put the food in the fridge-- She opens the fridge: HER KEYS sit atop a Tupperware container. Kyle hits a high note and we SLAM TO: INT. RACHEL'S CAR - MORNING The KEY turning in the ignition of a crappy, old Honda. The engine CHOKES, SPUTTERS. Rachel's tense-- RACHEL we need to get a new car -- KYLE I like your car. We're gonna be late. The engine still SPLIT-SPUT-SPUTTERING.::.. a BUS. whizzes by, slows up ahead at a bus stop. Rachel gives up, jumps out: RACHEL No we're not: the bus. KYLE -- are you kidding? EXT. CITY STREET - DAY Rachel and Kyle HAUL ASS toward the bus stop, both struggling with Kyle's carry-on, a.garment bag, her purse, and a trumpet case marked with STICKERS (Green Bay Packers among them)-- RACHEL I put vitamins in your toiletry bag, don't forget to take two in the morning -- KYLE and one at night, I know -- RACHEL And your inhaler, which I may need to use now, is in the outside pocket -- wait! They rush back to a MAILBOX, she pulls bills from her purse: KYLE More bills? RACHEL Yup -- that's what happens when you have a kid on lay-away. They smile at each other. When SUDDENLY a BUS ROARS PAST the WIND GUSTS and the bills go FLYING into traffic: 3/28/07 13 CONTINUED: RACHEL (CONT'D) OH, SHIT! STAY HERE! Rachel waves her arms at oncoming cars, runs INTO TRAFFIC-- KYLE YOU SWORE!! As she chases the bills, SCREECHING and HONKING around her: RACHEL I KNOW, I'M SORRY! (Porsche HONKS as it PASSES) HEY, A LITTLE COMMON COURTESY, ASSHOLE! And she runs back to Kyle, THROWS the bills in the mailbox -- KYLE You swore again. Was that our bus? Rachel looks: PAN to across the street, the bus is now LEAVING THE BUS STOP. PAN back to Rachel: SHIT!! RACHEL: Okay, now were gonna.be late. She puts fingers in her mouth and WHISTLES HARD for a cab -- INT. TRAIN STATION - WISCONSIN - DAY A CLASS OF MUSIC STUDENTS boards and Amtrak train. Rachel and Kyle are RUNNING through the crowd toward them -- RACHEL Scuze us, coming through, sorry -- WAIT!! WAIT!! Finally they arrive. Kyle's teacher, MRS. MILLER, smiles: MRS. MILLER Under the wire -- RACHEL (gulping breaths) Hi -- sorry -- Rachel Holloman, we met-- MRS. MILLER -- of course, Barbara Miller. (looks at watch) You should probably -- And Rachel's stomach drops. Knows they've been racing towards this moment all morning but still not willing to accept it. Turning Kyle to face her -- 3/28/07 14. CONTINUED: RACHEL Okay. Now. I want you to have an awesome time -- KYLE I will, mom -- RACHEL -- you can eat junk food, just remember to brush your teeth; and if you're gonna goof off, just be really smart about it; and try not to stay up past your bedtime, you get really cranky when you do that'-- (turns to Mrs. Miller) He gets very contrarian if he doesn't get at least eight -- MRS. MILLER I'm afraid it's time to board, Mrs. Holloman. Tears springing to Rachel's eyes. She tries to hide them. Bending down to be eye to eye with her son. Sotto -- RACHEL You see all these kids? They're all calling their mothers. You just do it more -- KYLE It's only two days,: mom. Y'know... you could try and some have fun too, wouldn't kill ya.. RACHEL Fun? What's that? (hugging him) I love you so much, baby.You're my everything. Rock the house. KYLE -- love you too -- They separate -- she watches as Kyle boards with Mrs. Miller: RACHEL Call me! MRS. MILLER Your mom gonna be okay? KYLE It's unclear. As they head into the train, Rachel steels herself and GOES. Passing the BAGGAGE AREA... 3/28/07 15. CONTINUED: (2) We HOLD as the PORTER places Kyle's TRUMPET CASE on a conveyor belt. Oddly, it's ELECTRONICALLY REDIRECTED AWAY FROM THE OTHER INSTRUMENTS -- down a separate belt, where it emerges in a pick- up turnstile. Its lifted off the track by... A MIDDLE EASTERN MAN. Nervous. Really nervous. And the strangest thing -- he touches his ear and MURMURS something in Tajiki. To no one. Like a crazy person. What the hell? Walks to the curb where his white van idles. On the side is a decal: "HASSAD DRY CLEANERS." Loads the trumpet inside as we: INT. SHAW HOME - AFTERNOON Solemn quiet. Mourners talking in hushed tones. A buffet. Old people. Children. And over these shots, WHISPERED VOICES: WOMAN #1 (V.O.) you didn't know either? WOMAN #2 (V.0.) No idea. WOMAN #3 (V.0.) I knew he had a brother. But not a twin, that was... WOMAN.#1 (V.0.) I know, I know... Four WOMEN sit together. Heartbroken, unsettled. One glances across into a sitting room, where Jerry sits alone on a sofa. We're CLOSE on Jerry now. Holding a glass, etched with hearts. Looking at it as if it means something. Somehow, his childhood. He looks up at the stairs, as if knowing he needs to go up there. So he does. We MOVE with him: WOMAN #1 (CCNT'D) when was the last time they saw him? WOMAN #2 Margaret said years... INT. SHAW HOUSE - PAUL AND JERRY'S ROOM - DAY TROPHIES. RIBBONS. All of them awarded to PAUL SHAW. TIGHT on Jerry's face as he scans the shelves of evidence. Evidence that he had a brother. A superior brother. Again and again we see: PAUL SHAW. PAUL SHAW. PAUL. PAUL. Then Jerry finds one framed CERTIFICATE. In the back. A Junior High ART PRIZE. Awarded to JERRY SHAW. He smiles at the fucking absurdity of it as a figure appears behind him... 3/28/07 16. CONTINUED: It's WILLIAM. Their father. The worst day of this man's life. Jerry composes himself quickly. They stare for a moment. WILLIAM Six months without a boo or a bah. JERRY Didn't realize it'd been that long. WILLIAM Your mom was worried. So where were you this time? JERRY Nowhere. (then, a touch reticent) Singapore. Alaska for a few weeks. got a job for a while. On a...fishing boat. Met some great p- WILLIAM -- that's nice. Looks like you're really seeing the world. JERRY I'm trying, you know, just to -- But William has just started crying.. Sobs of absolute loss. Jerry stands there, frozen, until William EMBRACES HIM. Jerry hugs him back -- tightly, grateful and starting to feel again. And just then, William says, quietly, through tears: WILLIAM You sound just like him. Jerry's eyes find a point in space. This is love by proxy. And now he hugs, his father in support, not unity. William pulls back. Takes his wallet from his pocket: WILLIAM (CONT'D) I want to give you some, uh... JERRY No. -- Dad, I'm okay. I'm doing really well. I promise. His father holds out some bills. North of two-hundred dollars. It's a stand-off. The question is: does Jerry have enough pride to reject the offer? And the answer is... EXT. CHICAGO STREET - ATM MACHINE - DAY CLOSE ON THE PIN NUMBER AGAIN, getting PUNCHED IN. Then FIND JERRY, exhausted from the funeral, slipping the money his father gave him into a deposit envelope. A glance at the SECURITY CAMERA. Then a BEEP makes him look at the screen. 3/28/07 17 CONTINUED: AND WE PUNCH IN TIGHTER ON JERRY, WHO STARES, STUNNED. The screen reads: "BALANCE: $750,000.00" What the HELL? Glances back to the people behind him, they want him to hurry. He hits "Cancel." But the machine, as if disobeying, spits out five $100 bills-- JERRY -- whoa -- Jerry stabs cancel again. Now TEN MORE $100 bills-come out. He glances at the people in line, nervous-- JERRY (CONT'D) -- two seconds, sorry -- Eyes flick back to the ATM CAMERA. He covers it with his hand, pushes "cancel" again and again. But now.. TEN THOUSAND DOLLARS IN $100 BILLS HAS COME OUT, getting JAMMED' in the slot. People start to PEER OVER as Jerry SCRAMBLES to keep the cash from flying everywhere. And finally. The machine stops. He stuffs all the money in his pocket. Everyone's staring. JERRY (CONT'D) Big date. So... fingers crossed. INT. JERRY'S APARTMENT BUILDING.- HALLWAY - NIGHT Jerry enters, a little dazed -- heads for his apartmen Written by John Glenn & Travis Wright March 28, 2007 FADE IN: EXT. DESERT DUNES - DAWN CLOSE ON A WOODEN STICK-FIGURE TOY, held by a SIX YEAR OLD BOY. Another BOY grabs the toy away and RUNS OFF, laughing -- CHILDREN are playing under a cluster of date palms, part of a small desert commune somewhere in the Middle East. Their MOTHERS, veiled in black, gather and talk. Bearded, turbaned MEN carrying AK-47's argue politics. A domestic, even tranquil scene of life in another part of the world... EXT. DESERT ROAD - CONTINUOUS A CARAVAN of VEHICLES RACE DOWN A HIGHWAY:. SUV's mounted with surface-to-air RPG's form a protective cordon around a BLACK MERCEDES. As the cars ROAR INTO LENS, we go.to: EXT. RIDGE ABOVE ROAD - DAWN POV THOUGH A LONG-RANGE SCOPE: the caravan as seen by a TWO-MAN SPECIAL OPS TEAM perched on a ridge. As the LEADER surveils the cars, his partner finishes assembling a two-foot UAV (Unmanned Aerial Vehicle), rigging it with EXPLOSIVES: SPECIAL FORCES LEADER We have visual onthetarget. Confirm 'go' for UAV launch. INT. PENTAGON - JOINT OPERATIONS CENTER - NIGHT SUPER: "JOINT OPERATIONS CENTER, THE PENTAGON" Sat-feeds monitor the caravan. Military brass observes: SECRETARY OF DEFENSE GEOFF CALLISTER (50's, African American; eyes with soul and a wary intelligence). Beside him: COLONEL THOMPSON (Full-Bird, decorated). COLONEL THOMPSON Alpha One, you're confirmed 'go': active UAV at GPS papa, zulu, three, zero. EXT. RIDGE ABOVE ROAD - DAWN The Ops Team activates a remote transmitter, LAUNCHING the UAV into the sky like a small ROCKET -- amazingly, its silent. INT. PENTAGON - JOINT OPERATIONS CENTER - CONTINUOUS An airborne feed from the UAV shows it descending on the caravan. A PENTAGON TECHIE manipulates a JOY STICK, controlling the drone from 6500 miles away: PENTAGON TECHIE #1 We have system control. 3/28/07 2 CONTINUED: COLONEL THOMPSON Activate laser mic. EXT. SKIES OVER DESERT - CONTINUOUS DRONE POV: tracking the caravan, singling out the MERCEDES. The drone emits a THIN LASER BEAM that hits its rear windshield -- INT. THE PENTAGON - JOINT OPERATIONS CENTER - DAY Over speakers, VOICES speak "Balochi." A TRANSLATOR listens: CALLISTER Is it him? TRANSLATOR Four males, one of them's speaking with a.. I think it's a Rakhshani•dialect, consistent with our intel on Al=Khoei. COLONEL THOMPSON Gimme voiceprint analysis. The screen pops to an AUDIO WAVEFORM of the conversation. VOICEPRINT ANALYSIS finishes, the; screen shows a FILE PHOTO of a BEARDED MAN: "37% PROBABLE MATCH = ID AL-KHOEI." CALLISTER I'm not taking 37% to-the President... John, weigh in here? He looks to a plasma: the PRESIDENT'S CABINET is assembled via teleconference from the White House Situation Room: DIRECTOR OF NATIONAL INTELLIGENCE CIA and NCTC concur this is the target based on reliable Intel from the Brits. WHIP TO another monitor: the caravan starts to VEER off-road. TECHIE Sire they're pulling off the highway. TECHIE #2 We have abort recommendation. The ANALYSIS ARRAY reads: "RECOINDATION: ABORT MISSION." The source of this recommendation, for now, remains a mystery. COLONEL THOMPSON If it's him, this guy comes out of hiding once in a lifetime, we can't let him go. CALLISTER (beat, torn) Alright, stay with him... 3/28/07 3 CONTINUED: THE SATELLITE VIEW shows the caravan approaching the commune. EXT. DESERT COMMUNE - DAY Mothers grab up their children and pull them aside as the vehicles arrive. ARMED MEN emerge... INTERCUTTING - THE PENTAGON OPS ROOM: the computer pinpoints DOTS on the satellite feed that represent WEAPONRY on-site -- TECHIE We've got AK-47's, RPC's, Chaparral guided missiles -- COLONEL THOMPSON Looks like a training camp. THE DESERT: Bodyguards cluster around a TURBANED:MAN as he emerges from the Mercedes. It looks a lot like the man from the file photo, but the beard makes it hard to confirm. MID-AIR WITH THE UAV: It SWOOPS, targeting the man -- SNAP: THE PENTAGON: a BLURRY SNAPSHOT of his FACE appears. A DIGITAL WIRE-FRAME is overlaid on the man's face: "5I$ PROBABLE MATCH - INSUFFICIENT DATA. RECOMMENDATION: ABORT MISSION." TECHIE 51%. 'Abort' rec holds. THE DESERT: Now our guy DISAPPEARS into the crowd as they begin MOVING toward a large WOODEN PLANK on the desert floor. Some of the men take hold of the plank, drag it back to reveal... a PIT. THE PENTAGON: SAME IMAGE in real-time on the feeds: CALLISTER What is that, a weapons cache? ANALYST Sir, the placement of stones around the pit, markers for the Five Pillars of Islam... I think it's a funeral. Everyone trades looks -- this just got even more complicated. THE DESERT: from the back of a TENTED TRUCK, a BODY is lifted, shrouded in white. The men carry it through blowing sand... the procession stopping at the pit. They begin lowering the body... THE PENTAGON: on monitors, a section of the GENEVA CONVENTION SCROLLS: TECHIE Sir, striking a funeral would put us in violation of the Geneva convention. 3/28/07 4. CONTINUED: COLONEL THOMPSON Once this guy's gone, he's gone. The PENTAGON GENERAL COUNCIL pipes in -- PENTAGON GENERAL COUNCIL "Hors de Combat" -- legally we'd be open to international prosecution. But we have no independent intel verifying it's in fact a funeral, and the presence of weapons certainly leaves room for interpretation. TECHIE #2 I have POTUS calling from Air Force One. CALLISTER (a beat, looks around). Everyone agree this is the best course of action? No one dissents. Callister picks up: CALLISTER (CONT'D) Mr. President, we have.a.51% identity match on Majid Al-Khoei. There is some possibility he's at a funeral, but we don't know. Regardless, counsel thinks we can claim 'Overriding Legal Authority.' Also, you should be aware we have an abort recommendation, but your cabinet, the Speaker, the Joint Chiefs urge a 'go.' THE PRESIDENT (V.0.) You left yourself out of the lineup. Callister pauses. AS THE MESSAGE ON THE MONITOR STARTS BLINKING: "ABORT, ABORT, ABORT..." CALLISTER Yessir... we gauge our strategy by two standards: the highest probability of success with the least amount of collateral damage. At 51% probability, we don't have either one. GENERAL THOMPSON And if it is Al-Khoei and he walks, Sir, we're putting our people at risk. There's a long silence as the President considers. 3/28/07 5. CONTINUED: ( 2) THE PRESIDENT (V.0.) I respect your caution, Geoff, but we won't get another chance like this... you have a green light. Callister's obviously opposed, but he bites his tongue: CALLISTER Understood. (hangs up) We're weapons free. And with deadly calm, Techies execute orders into-headsets: TECHIE TECHIE 2 -- Switching to Tac-2, -- MTS active, painting the acquisition's good -- target -- EXT. DESERT - FUNERAL - DAWN The women begin to SING the "Nasheen," a.funeral song praising Allah. The beautiful VOICES grow until all other sound is GONE. DRONE POV: the feed from the CAMERA INSIDE THE NOSE-CONE as it LAUNCHES its missile -- it ZOOMS toward the funeral gathering -- The haunting, beautiful voices WAIL... in the moment before impact, we see: birds flying across the great plain... a herd of running gazelles... the DESERT WIND blankets a layer of sand over the shrouded body in the pit... a CHILD'S HAND grasping his mother's... A WHITE FLASH AS THE MISSILE HITS: HOLD IN WHITE: CREDIT SE UENCE: WORDS CLOSE UP... a digitized electronic scan, as if they're being analyzed by someone: "We the people of the United States... more perfect union..." Highlights of The Constitution, The. Declaration of Independence... We land on: "...whenever any form of government becomes destructive...it is the right of the people to alter it or to abolish it..." CLOSE IN on these last words: "ABOLISH IT." WHITEWASH: INT. BACK ROOM - NIGHT We're looking at a DIGITAL TIMER ticking down crucial seconds -- then a MAN's FACE, intense, focused on something below screen: this is JERRY SHAW, 30, handsome, roguish. Somewhere between an adult and a child -- under his breath: JERRY damnit... 3/28/07 6. CONTINUED: VOICE (O.S.) You gotta make a choice. You gotta move-- JERRY -- I know. VOICE (O.S.) Now. Who are you gonna be? So Jerry makes his move, which we see is SLAMMING down a PLAYING CARD representing a group of DWARVES. He sits across from KWAME, 17. They're playing a geeky role-playing CARD and DICE game, CASH on the table. JERRY KWAME there. Dwarves?: Bullshit -- Bullshit? I just blocked your ass and attacked with (checks card) Ancient Mastery points. --.dwarves don't have that -- -- read the oracle text, my friend. -- shit A thick-mascara/black lipstick BECKY enters, removing her SMOCK: BECKY You know what would be great? If you guys took a longer break. That'd be awesome. JERRY Hey, Becky? When're you going to start wearing makeup? Kwame laughs as Becky tosses her smock at Jerry: BECKY .The collator's broken. JERRY Dude: no its not. BECKY (putting on a jacket) Oh yeah it is, dude! She heads out as Jerry collects the cash. Kwame puts on his own smock as Jerry offers him a quick lesson: JERRY Your first mistake? Underestimating dwarves. Power can come from anywhere -- tomorrow night I'll give you first roll and a bonus pack if y-- 3/28/07 7. CONTINUED: ( 2) KWAME I'm not gonna be here tomorrow, remember? I'm going to Cornell. And Jerry stops. A hit to the solar plexus. Wherever we are, this kid's off to a bright future. But not Jerry. JERRY That -- wow. Good for you. So it's your last night. You're gonna spend it collating. KWAME -- what? But she said the collator's broken. JERRY And that's why we have those rubber thimbles in the drawer --.congratulations on Cornell, though, that's huge! TRACK WITH HIM out to... A COUNTER AREA as, he pins on his NAMETAG: "JERRY." Rows of COPY MACHINES and COMPUTER CUBICLES. He takes his place behind a register. Smiles, getting it up: JERRY (CONT'D) Welcome to Kinko's, how can I help you? The CHUGCLICK-CHUGCLICK-CHUGCLICK sound of the machines gets louder and louder as they BECOME THE SOUND OF: INT. "EL" SUBWAY CAR - MORNING The KRAK-KRAK-KRACKING SUBWAY. We glimpse people looking at their BLACKBERRYS. Talking on CELL PHONES. Listening to IPODS and playing GAME BOYS. The NEWS plays on an LCD mounted on the train wall. A society lost in an "electronic elsewhere." And JERRY, with a SKETCH PAD in his lap. A surprisingly good pencil rendering of the face of a LARGE DOG -- weird, but he's got talent. The TV disturbs his concentration -- news footage of BOMBED-OUT EMBASSIES, emergency vehicles, wounded victims: SHEPARD SMITH a heightened terror alert due to a series of suicide bombings, believed to be in retaliation for a deadly attack outside Abadan that killed forty people. Though the White House has denied involvement, Shia leaders have denounced the U.S. as responsible... AL-JAZEERA FOOTAGE: A SHIA SPOKESMAN is translated into ENGLISH: 3/28/07 8. CONTINUED: SPOKESMAN Your embassies were only the beginning! Our warriors are already within your borders. Until American leadership is removed from power, Allah's revenge is upon you! And during all this, Jerry notices something: people are glancing at each other aranoid. What a fucking world... EXT. ATM MACHINE - MORNING An ATM CARD gets slid into the slot. Jerry looks up. THE ATM CAMERA IS STARING RIGHT AT HIM. Then, a BEEP gets his attention: "INSUFFICIENT FUNDS." He processes this a moment... his exhale doesn't just say, "FUCK," it says "FUCK 1 KNEW IT." INT. JERRY'S APARTMENT BUILDING - LOBBY .-MORNING Saying it's a modest place would be kind. Jerry opens his mailbox. Just BILLS, some of which will:go unpaid this month. A BEAT as he shoves them back in and we HARD CUT TO: INT. JERRY'S APARTMENT BUILDING - HALLWAY - MORNING A DOOR OPENS: MRS. WIERZBOWSKI, Jerry's elderly Polish landlady. Pleased to see him, but painfully annoyed to know what's coming: MRS. WIERZBOWSKI Jerry. JERRY Whatever are you cooking right now? Is the greatest thing I've ever smelled in my life, I swear to God -- MRS. WIERZBOWSKI is schab wieprzowy po polsku -- you have the rent, yes? JERRY (puts cash in her hands) -- here's some of it -- most of it -- but I've got something else for you... something special... Eyebrows bobbing. Mrs. Wierzbowsky knows exactly what it is. Sighs. Knows she can't resist him -- INT. KITCHEN - MRS. WIERZBOWSKI'S APARTMENT - MOMENTS LATER CLOSE ON Jerry pushing a THUMB TAC into the dog sketch we saw him doing on the subway. PULL BACK to reveal about 25 other