Lowell Bennett
Writer, Editorial Consultant, Photographer - China / International
Content / Strategies for Publications and Enterprise
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Lowell Bennett |
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This original
screenplay, conceived as a mid-budget sci-fi with few special effects, packages
an allegorical ecological warning with action, intrigue, irony and societal commentary.
Elementary Logline:
In the near future, to save Earth a beleaguered researcher, aided by a shadowy faction
and a forceful woman of mysterious origins, struggles against a pseudo-democratic
authoritarian system with events and revelations accelerating to a conclusion of
biblical proportions.
Alternative Ending:
At the approximate equivalent of page 110, plot splits to two alternative endings:
1) Shorter, at 117 pages,
with less optimism; 2) Longer, at 150 pages, with optimism
(and romance).
More Screenplays | Home | Contact
"DivineNation" by Lowell Bennett Copyright © / WGA / US Copyright Office |
FADE IN:
EXT. THE PALMS OF A TREE - DAY
It is quiet deep within in the protective darkness of lush
leaves. Seeming to hide herself away, a species of small
Central American monkey sits at the crux of branch and trunk.
The simian face is clearly distressed, or saddened. Wrapped
tightly around her infant son, the mother's arms shiver.
Not from cold, for it is very hot here; she quivers with fear.
The stillness is shattered by a deafening shriek. Long ago
only the roar of a massive beast could have filled the
ancient forest, but this howl is ceaseless and mechanical.
The horrible whine is joined by another sound: the wailing
grind of metal teeth on wood. The mother wraps her arms
tighter around her child and vibrates with panic. She knows.
The tree trembles as its long life is ended. The mother's
horrified scream joins with the mechanical wail. The
uppermost branches holding the small animals arc downward
from view.
This was the last tree.
Here a rain forest and its inhabitant beings had flourished
for millenniums. Now there are only stumps and infertile
earth charring under an unnatural searing sunlight.
EXT. EDGE OF THE WASTED FOREST - SAME TIME
Close to the ground, within the low-lying tangle of parched
weeds and palmetto fronds, a camera lens absorbs the distant
view of fallen trees and the men operating the saw. Nearby
the cutters is a large open-bed truck, two smaller all-
terrain vehicles and a detachment of about 10 militia
equipped with brimmed hats, heavy sun visors and assault
rifles. The armed men hang about; leaning, squatting,
sitting, cradling their automatic weapons.
The camouflaged man with the digital camera lies prone. Had
he instead cradled a weapon with scope, he would be a sniper
about to eliminate the chainsaw men and militia a few
hundred yards in the distance. He clicks the shutter, the
camera chirps.
MILITIA MAN-1 (OS)
(Central American dialect)
I think you are dreaming.
CAMO MAN goes completely still.
MILITIA MAN-2 (OS)
No. I tell you, he is here.
Dry brush crackles under four nearing footsteps.
2.
MILITIA MAN-1
Yeah, yeah. Spookyman in the grass.
The boots of the militia men now move slowly to either side
of Camo Man. The barrels of advanced M16A6's hang just
above. Camo Man stops breathing.
MILITIA MAN-2 stops, cocks his head, listens. MILITIA MAN-1
looks to his partner.
MILITIA MAN-2
Shit. I know the bastard is here.
MILITIA MAN-1
Sure, sure, sure, sure.
The men move on, passing Camo Man by. They hold up about 50
feet beyond and scan the dry weedy growth bordering the
wasted forest. Camo Man focuses his camera on the two
soldiers and the grim scene beyond. He clicks-off a few
more shots, the camera beeps softly.
Ears tuned, Militia Man-2 freezes. Camo Man eases the
camera to a small backpack and begins to reverse crawl from
the area. Militia Man-2 seems to sense it. He pivots and
starts slowly in the direction of Camo Man, assault weapon
half raised, ready.
MILITIA MAN-1
(rolls eyes - follows)
Shit.
Camo Man reverses at a quick crawl to the edge of a five-
foot-deep dry drainage trench. The militia men are about 50
feet away and bearing down. In one motion Camo Man drops
into the trench, slings his backpack and begins to move
quickly at a stooped run.
MILITIA MAN-2
There! There!
The militia men sprint, but Camo Man is extremely fit and
moving very fast. He nears a 90-degree bend in the trench
when automatic weapons open up with an extremely fast TET-
TET-TET-TET-TET-TET... The dry soil just behind and around
Camo Man kicks up with impacts and he rounds the corner
when... POOMP, a grenade fires from a rifle launcher and...
BLAM... the trench behind Camo Man vaporizes into a cloud.
Camo Man's legs power him around another bend and he is gone.
EXT. UNDER THE SEA - DAY
A diver equipped with a lightweight helmet and other high-
tech gear swims in open water. To his front in both hands
he holds a sophisticated multifunction navigation system.
3. He alternates his view ahead and to the varying glowing readouts displayed on the device. The temperature gauge reads: 85... 86... 87... 88... He nears an elevated rock ledge, beyond which the undersea terrain is not yet visible. There is a total absence of sea life; only sterile rock outcroppings. The diver crests the ledge and suddenly stops. Beyond and below the seabed seethes. Hot plumes stream from the sandy bottom; fire trailing to steam in a field of undersea geysers - hydrothermal plumes. The diver lets the navigation instrument hang from its sling, reaches for his buoyancy control device and releases air. He sinks to stand on the ledge while he surveys the tortured terrain beyond. From a holster on his hip he takes a small advanced underwater video device and begins to record. He pans left and right while behind him a six-foot shadow drifts into view. He continues to pan until his view takes in the shadow. He drops the video device from his face plate and stares as the shape drifts closer. A large sea turtle is belly up, suspended, a decomposing mass. The diver watches the body drift eerily by as he holsters the camera. He inflates his BCD and steps from the ledge. On a gradual ascending angle he swims out over the geyser field heading for the surface. EXT. SURFACE OF THE SEA - DAY To the horizon there is nothing to see but a light chop and a beautiful toxic haze illuminated by a blazing sun. The diver's helmet breaks surface. He reaches for the face plate clamp and flicks the release. A whisper of released vacuum is heard and the tempered glass shield opens. The diver, BADER, a dark-skinned man with piercing eyes, looks to the horizon. He turns. Onshore, seemingly just beyond a waiting speedboat, a large city is shrouded in smog. A sonic boom shatters the orange sky and an advanced warplane rockets overhead to circle the city. EXT. SPACE In silence there is nothing but stars in blackness. In the distance a small white shape moves from shadow into sunlight. Steadily increasing in size, the second-generation space shuttle takes form. Without a sound the ship executes a slow roll as it speeds forward and passes. INT. SPACE SHUTTLE COCKPIT The pilot, TOM, and copilot, FRANK, both mid 30's, execute routine duties. 4.
They are attentive to glowing instruments, touching buttons,
adjusting a pivoting control. Visible ahead through the
cockpit view is only space.
FRANK
Station Beta Control, we've
completed rotation and are orbit
course regular. All normal. Going
to auto-nav.
STATION CONTROL (FILTERED)
Roger that, Frank. Maintain.
Enjoy your evening. You and Tom
have a nice spin and we'll see you
soon.
The two pilots click a few more controls, lean back.
FRANK
Same old stuff.
TOM
(smiles)
Yeah. The routine is killing me.
Frank unstraps, begins to rise from his seat.
FRANK
I'll check on the crew, report
status.
TOM
You're not going to take in the view?
FRANK
No thanks. Seen it plenty.
Besides, it has begun to depress me.
TOM
(beat)
I know what you mean.
Frank begins to make his way to the rear of the cockpit. Tom
turns to check Frank's exit. The expression on Tom's face
changes from neutral to serious. He reaches to a pocket and
comes out with a high-tech camera identical to that which
the Camo Man used. He is readying it when Frank reappears
behind.
FRANK
What the hell is that?
As he turns to Frank, Tom's expression goes back to casual.
TOM
What's it look like?
5.
FRANK
A friggin' camera? What's your
plan, Pilot, shooting stars?
As they speak the edge of the Earth appears in the forward
view, slowly expanding with the roll of the shuttle.
TOM
Not exactly.
Frank looks to the Earth and seems to think very hard.
FRANK
Please tell me you're not...
TOM
Yeah, I am.
FRANK
You know, both our asses will be
busted-down if they find out.
The Earth is now perhaps 20% visible; not looking quite right.
TOM
It's not your ass if you don't know.
FRANK
I don't?
TOM
You don't.
FRANK
How's that?
TOM
You're in the cabin, you got
witnesses and the images are time-
stamp transmitted.
The Earth is now about 50% in view. But something is very
wrong.
FRANK
(pauses - thinks)
I don't know why you would want
shots of that ugly thing, anyway.
It is as if a hole gapes, a discolored void at the north.
The ice caps are more than 50% gone, broken into drifting
continents of melting mass. For perhaps hundreds of miles
surrounding the continents, muddy plumes of pollution have
replaced what was once blue water. Massive smothering
clouds of gray are floating above the globe.
6.
This is a diseased and dying planet. Tom is shooting, the
camera chirps and the images are transmitted.
INT. BISHOP'S OFFICE - DAY
This is an expansive, plush, dimmed chamber festooned with
Catholic artwork. BISHOP CARMEL, an aristocratic Hispanic
man, sits behind his expansive desk looking to the only
modern item in the room: a wafer-thin video monitor.
Tapping a small pad at the front of the screen, he scrolls
through a document heavy with images. His head is tilted up
and he peers down his nose at charts, photos of a diseased
Earth, volcanoes, masses of people.
Sitting in the facing chair at the other side of the desk is
Dr. ADAM JACOBS, about 40, dark features. It would be hard
to tell that he is handsome. He is weary-looking; dark
circles under his eyes, disheveled hair, a two-day growth of
beard. He studies the face of Bishop Carmel as the cleric
clicks through the document.
Carmel pauses, raises his eyebrows, sits back in his chair.
He thinks a moment, then reaches to the display, touches the
side and with a hiss a small diskette ejects from the edge
of the screen. Carmel removes the disc. The screen
disappears into the desk as Carmel reaches and places the
disc closer to Jacobs.
CARMEL
(flat - cultured
Latin accent)
Very interesting.
Jacobs studies the man a moment, waiting for something else.
JACOBS
May I ask if you believe the
conclusion is valid?
CARMEL
Conclusion? I think you mean theory.
JACOBS
If you prefer. Do you find the
underlying theory to be credible?
Carmel brings his palms together and places the peaked tips
of his fingers under his chin.
CARMEL
Dr. Jacobs, you don't actually
expect me to answer that with an
affirmative, do you?
7.
JACOBS
(beat)
Am I to assume that you disagree,
then?
Carmel offers a condescending smile.
CARMEL
Perhaps it is best, that as a
representative of the Church, I
offer neither concurrence nor dispute.
JACOBS
Excuse me, Your Excellency, but
that response seems more legalistic
than clerical.
CARMEL
Perhaps. But I'm afraid that is
all that I can offer you.
JACOBS
Then you offer nothing.
Carmel is somewhat surprised at Jacobs' aggressive tone.
CARMEL
Doctor, what do you expect?
Really, sir, what do you think I
could, or would, do, assuming I
thought your theory held merit?
JACOBS
Perhaps you could provide practical
guidance to your people, instead of
a continuing flow of medieval dogma.
CARMEL
(studies Jacobs)
I must say, you do have some, what
is the expression? Nerve. You
have some nerve.
(pause)
Frankly, when Father Dominic
petitioned for this meeting on your
behalf, I thought he was mildly
deluded. But he is an elder so I
acquiesced. Now, however, I have
determined that the good father is
due for sabbatical.
(pause)
It is clear he has weakened under
pagan influence.
Jacobs pauses to consider the threat.
8.
JACOBS
Bishop Carmel, when did you last
visit the streets of this city?
Have you recently walked among your
followers, here or elsewhere in the
world?
CARMEL
Don't insult me, Doctor.
JACOBS
How much more? How much more, Your
Excellency? How much more before
the Church alters what is, even you
must admit, a doctrine perpetuating
suffering and degradation.
CARMEL
(long pause)
Doctor, what I am about to say I
will deny if you repeat it. How do
you say, this is off the record.
Much of what you say I believe.
Your final theory seems outlandish,
but I am not a man of science, so I
will not speculate as to its
credibility. But, again, you can't
really expect me to exploit my
personal relationship with the Holy
Father for the benefit of this...
crusade of yours.
JACOBS
(thinking)
Will you at least forward the data
to the Vatican Counsel?
CARMEL
Absolutely not. And, Doctor, I
realize you are a consultant to
your government, but since 2010, I
thought only military and executive
level had access to satellite
images. Isn't it highly illegal to
obtain, much less circulate that
data?
Jacobs thinks a moment, perhaps choosing a response.
JACOBS
This was done by special arrangement.
Carmel now reaches for the disc, stands, holds it out to
Jacobs.
9.
CARMEL
I see. I will not join in a plot,
Doctor.
(smiles)
I like my job too much.
As if on cue the door to the office opens and two Hispanic
plainclothes security men enter and stand behind Jacobs.
Carmel gestures with the outreached data disc.
CARMEL
Good day, Doctor.
Jacobs takes the disc, turns, starts for the door. But
Carmel interrupts his exit.
CARMEL
And Doctor...
Jacobs stops, partially turns to Carmel.
JACOBS
Yes?
CARMEL
(snide smile)
God be with you.
Jacobs gives the man a look, turns and leaves.
INT. CHURCH ADMINISTRATION BUILDING HALLWAY
The hall here is wide, expensively finished and modern, but
also heavily adorned with older Catholic images and
sculptures. The two security men flank Jacobs as he heads
to the exit. It's a long walk and all that is heard are the
men's purposeful steps.
Jacobs stops near the huge, heavily fortified double doors
that seal the building. He reaches for a pocket and puts on
heavily tinted, full coverage sunglasses. One of the guards
steps ahead, places his palm on a wall panel. With a
mechanized sound, something like a huge vacuum releasing,
the doors drop in their frame about two inches then swing
outwards.
The quiet is shattered as blinding light and fumes spill in
through the door.
EXT. CITY STREET OUTSIDE CHURCH BUILDING
Jacobs exits into a world of chaos. Ten feet beyond the
building, standing at five-foot intervals, about twenty
heavily armored, helmet-wearing guards stand cradling
M16A6's and grenade launchers. Black visors shield their
eyes from an unnatural searing sunlight.
10. The emblem on their sleeves is that of Vatican security, the elite papal Swiss Guard. Beyond the enforced buffer zone is a street choked with fuming, rotting automobiles and third world humans. People cram seemingly every square foot of the scene. They spill from adjacent buildings, they are camped along every inch of what was long ago a sidewalk. They hang from tenement windows. They pour out and move around the immobile vehicles like a flood. A layer of pollution lays; a glaring fog across the scene. Occasionally a person will lose footing near the church security line and a Swiss Guard will force them back with his weapon. Jacobs grimly surveys the scene. On the wall of a building facing him, Jacobs stares at the incongruous site of a large video screen displaying advertising. It says: "NetCom, bringing the world to you." Then appears the image of an SUV barreling down a green county road. Jacobs takes this in and shakes his head. The nearest guard is turned to Jacobs, obviously scrutinizing him. Jacobs notes this and, seemingly reluctantly, he steps from the cleared perimeter and becomes one of the mass; a purposeless tide of human suffering. EXT. HOTEL CALANDRA - DAY Here, too, a line of armed security guards buffer the entrance to a moderately decent hotel. And here, too, a flood of people move by, though amongst the tattered are a few who are dressed fairly well. One of the latter, Jacobs emerges from the crowd into the hotel zone. He is now filthy, sweating, coated with the city's pollution. Another NetCom screen affixed to the hotel beams advertising, this time: "Legal around the world, Lexita, a natural relaxant!" A guard steps from his position and squares-off with Jacobs. Jacobs is at first surprised, then, remembering, he reaches into a pocket and produces a hotel photo / print ID card. The GUARD takes the ID from Jacobs, studies the photo and Jacobs' face. The Guard reaches for his belt, retrieves a small card reader device, inserts Jacobs' ID, holds the device out to Jacobs. Jacobs places a thumb on the print pad, a light goes green. The guard returns the card to Jacobs, steps out of the way and returns to his position. A weary Jacobs moves on to the hotel entrance. 11.
INT. HOTEL CALANDRA LOBBY
Jacobs enters the relief of filtered air conditioning,
pauses, takes a few deep breaths then moves into the
expansive lobby.
He is heading for the elevator when he notices the darkened
cocktail lounge just off the lobby. He stops, considers
this a moment, then heads for a much needed drink.
INT. HOTEL CALANDRA COCKTAIL LOUNGE - EVENING
The dimly lit cocktail lounge is half full with a well-
dressed clientele. Easy-listening Latin techno pipes in.
Jacobs has had a few and looks like hell. A tall glass with
remnants of sweet juice and booze is pushed to the working
side of the bar, a fresh one is in front of him. He plucks
a paper umbrella from the new, very red drink, drops it into
the old glass. He takes a pull from the new drink, grimaces.
On the wall behind the bar, a smaller NetCom screen spins
out video advertising, this time volume is heard:
audio/video pitches for varying products.
The diver ambles into the room. BADER is a well built man,
possibly of African decent, slightly younger than Jacobs.
He takes a quick look around, settles his gaze on the bar
and moves in that direction. He sits one stool down from
Jacobs, who gives the man a quick look and goes back to his
drink.
BADER
I thought you gave it up?
JACOBS
What?
BADER
Cocktails.
JACOBS
Oh. Those.
Jacobs takes another pull.
BADER
Well?
JACOBS
I thought I'd give it another try.
Bader signals the bartender, an attractive Latino woman.
She nods as she finishes up with another customer. Bader
gives Jacobs' fruity cocktail a rather disdainful look.
12.
BADER
What the hell is that thing?
Jacobs takes a pull and grimaces before answering.
JACOBS
I think its called a Sunburst,
Moonglow... something like that.
BADER
Good God.
JACOBS
(drinks)
Yes. Indeed.
BADER
Well, if you're going to kill
yourself, at least do it with real
booze.
The BARTENDER arrives.
JACOBS
Agreed.
BARTENDER
Good evening.
BADER
Hi. Kettle One, rocks, lime. And
I think my friend here would like
something else.
BARTENDER
I am sorry, for many years we have
had no limes. Would you like a
splash of Sprite?
Both men give the Bartender a blank look.
BADER
Uh, that's okay. Just straight.
Bader hands his ID to the Bartender, who looks to Jacobs.
JACOBS
Mount Gay Rum over ice, please.
BARTENDER
Sure, coming up.
(reaches for Jacobs' glasses.)
Fini?
13.
JACOBS
Yes, gracias.
(beat)
One more request?
BARTENDER
Yes?
JACOBS
(gestures to NetCom)
Can you turn that damn thing off?
BARTENDER
We are not allowed to turn it off,
but I can lower the volume.
JACOBS
Please.
Both men watch the Bartender strut away. She reaches to a
control and the NetCom audio goes off. Bader turns to
Jacobs and gives the weary, disheveled man a long look.
BADER
You know, you look like shit.
JACOBS
Thanks.
BADER
You should really try to get some
sleep.
JACOBS
(pauses - grimaces)
I appreciate the suggestion.
BADER
My pleasure.
(pause)
Any luck with the clergy?
JACOBS
No. As expected.
BADER
You know the problem...
JACOBS
What?
BADER
You're a goddamn agnostic. You
should've gone in hail-Marying all
over the place, kneeling and
kissin' his ring. You might've
gotten somewhere.
14.
JACOBS
(beat)
Maybe I should've blown him.
BADER
Even better.
The bartender returns, places the cocktails, sets Bader's ID
down next to his drink, smiles and is off to other business.
BADER
What about Tom's images, raise any
eyebrows?
JACOBS
Yes.
Bader waits.
BADER
Well?
JACOBS
He made a veiled threat.
BADER
Such as?
JACOBS
Nothing specific. I doubt he would
turn us in unless there was
something in it for him.
BADER
Hmm. Did he know the source?
JACOBS
No. He assumed they were satellite.
BADER
I suppose that's something. Then
it's only yours and my ass locked
up for three years. At least Tom
stays clear and keeps his wings.
JACOBS
(sarcastic)
Yes. We're looking really good.
The men pause for a long drink.
BADER
How did Ed make out down south,
back yet?
15.
JACOBS
I sent him home. A few minutes
after his images transmitted the
local militia stumbled onto him.
But we got the photos.
BADER
(turns to Jacobs)
He okay?
JACOBS
Barely. He said if he was one step
slower they would have, as he put
it, "shot my white ass off."
BADER
Good thing that guy's legs are
holding up.
JACOBS
Here's to fast Eddie.
They toast, drink.
BADER
What's next?
Jacobs takes a moment to mull this question.
JACOBS
Marks managed to pull time with the
committee. She gave me all of 18
hours notice, but I've got to take
what I can get. Tonight I'm on the
redeye for the States.
BADER
You already look like the walking
dead.
(beat)
You should make a terrific
impression in D.C.
JACOBS
Yes, the good Senator has no
respect for my schedule, and she
still thinks I'm 50% crackpot. But
she's sympathetic to the overall
cause. She bought me 15 minutes.
BADER
(shakes his head - incredulous)
That what the end of the world is
worth to those jokers, fifteen
minutes of face time?
16.
JACOBS
(grim smile)
Well, they're busy people.
EXT. BANGKOK - STREET - DAY
It is blistering hot and the smog is as thick as San
Francisco fog. The street is choked with people and
vehicles - small Japanese cars, pickup trucks and tuk-tuks.
The only vehicles moving are the lane-straddling scooters,
their riders wearing dirtied respirator paper face masks.
The noise is deafening.
Only the police, who move down the sidewalk in small squads
of six, don't wear the paper masks. The Thai cops wear
full-blown, high-tech lightweight gas masks.
A huge NetCom advertising display is visible from all points
on the street. Just below the screen a sweating middle-aged
female street vendor stands over her steaming grill in the
already sweltering heat. Her face mask looks second hand,
perhaps almost new but already black with airborne, manmade
toxins. She wavers, seeming about to faint, but catches
herself. She moves her blackened meats to one side of the
grill and falls. She hits the ground hard, dead, or close
to it.
The mask-wearing people on the packed sidewalk don't give
her a second look. A six-man squad of cops pushes
pedestrians out of the way to get to the woman. It seems at
first as if they are there to help. But one mask-wearing
paramilitary squats, grabs the woman's face roughly in a
gloved hand and slaps her a few times.
Satisfied she is dead, or close to it, he speaks to another
cop, who wears a tank apparatus on his back.
THAI COP
(Thai)
Fume it.
The squad pushes back, the tank-wearing cop moves in, raises
a wand attached to the tank by a hose and sprays. A foaming
chemical covers the woman. Her clothes and skin quickly
begin to dissolve.
She jerks up and screams horribly, her flesh felling away,
the cops jerk back and reach for weapons, but there is no
need.
The leg muscles release from her bones and she collapses,
screaming until her throat, lungs and heart dissolve into
the filthy pavement. Then the bones are gone and nothing
remains but a wet spot.
The cops holster weapons and move on.
17.
EXT. BANGKOK - A SKYSCRAPER TERRACE - SAME TIME
His face framed in metal bars, a beautiful Thai boy, about
four, looks over the edge of the balcony to the street below.
A thousand feet below, the crammed boulevard is barely
visible through the smog. Like anemic blood through a fat
man's clogged artery, traffic and pedestrians seem a
congealed mass.
The boy notices something strange; a glow plays across his
face. The smog changes color, going from gray-brown, to
amber to almost red. The fumes seem alive, swirling faster.
The boy watches, his young brow furrowed.
As if sucked down by a thermal layer, or some chemical
reaction, the fumes drop low to the ground, leaving clear
air above.
It may have been the spark of a non-restricted exhaust, the
light of a match, but the air at street-level ignites.
Like wall-to-wall napalm, for two blocks a flame races down
the choked street and fills the urban corridor.
Up here, the mass of screams is short and barely heard.
After just a few seconds the flame burns itself out.
Flaming paper debris sparkle in the air, the smog returns to
dead-gray. The boy looks on, seeming not surprised.
INT. SENATE HEARING ROOM - DAY
In this modern chamber, lit by sterile indirect lighting,
eleven senators sit elevated in a semicircle looking down to
the room. All are middle-aged; nine white men, an Hispanic
woman and a black woman, SENATOR MARKS, who wears antique
glasses and sits to the right of the center-seated chairman,
a well-fed SENATOR ELIAS.
In front of each senator is a name plate, a slim pedestal
microphone and very thin plasma display on which images and
data appear. Occasionally a senator will touch the screen,
perhaps scrolling, opening some linked information.
One plump senator, attentive to his screen, but obviously
disinterested in the proceedings, has a different window
partially opened. In that space he is looking over images
of entrees and tapping the screen in response to a VIRTUAL
HOSTESS.
VIRTUAL HOSTESS
(volume way down)
Thank you... Senator Daggett... for
your... 12:30... lunch
reservation... for two people.
Below, looking up to the senatorial panel, sits a pale,
baggy-eyed, disheveled Jacobs.
18.
Jet-lagged, wearing the same clothes as in Central America,
he evidently missed his chance to shave. At his side is
TERESE, an Hispanic female, attractive, late 20's.
They share a monitor similar to the senators' displays.
Terese is touching the screen, highlighting links, opening
new windows, pressing 'Send.' As Jacobs speaks she is
transmitting correlating images and information to the
senators' displays. She is working quickly.
Elias addresses Jacobs with a stern and affected southern
tone. The demeanor of Elias, like that of all the impaneled
senators, is more that of a superior court judge, not a
participant in a structured senate hearing.
ELIAS
Dr. Jacobs, you got these here boys
holding M16A6's.
Jacobs glances at the info Terese is sending. Several image
windows are opening sequentially. Photos of the decimated
rain forest appear with Militia Man-1 and Militia Man-2 in
the foreground, their weapons plainly in view.
JACOBS
Pardon me, Senator Elias?
ELIAS
I'm sayin' you got these here
fellas holding M16A6's. I know
this because before moving to chair
the Energy and Resources
Commission, I was on the Homeland
Defense Appropriations Committee.
We okayed the funds to develop and
issue this weapon.
Jacobs looks to his immediate front at a large plasma screen
timer imbedded in the rostrum beneath the senators. It is
counting down his 15 minutes of face time. It says:
00:06:32 - 00:06:31 - 00:06:30.
JACOBS
I beg your pardon, Senator, but I'm
not sure what that has to do with
the issue at hand. And I'm not
quite sure what you mean by I got
these boys holding the weapon.
ELIAS
Just this...
For effect, Elias pauses, looks first to his left, then to
his right at his fellow senators, then goes on.
19.
ELIAS
This weapon ain't even been
distributed to our general troop
divisions yet. Only special forces
and certain anti-terrorist op teams
got it, so far.
JACOBS
Senator, I am here to speak to the
commission about a pending
ecological disaster of unprecedented
scope. I would be happy to come
back another time to discuss the
illegal distribution of advanced
assault weapons to militias and
foreign government forces...
(looks to countdown clock)
But I would rather stay on point.
ELIAS
See, that's exactly what I'm
talkin' about, your point. Here
we're supposed to believe that you
know what your talkin' about, but
the fellows in your computer
animation lab gone and put the
wrong guns in the hands of your bad
guys, here.
JACOBS
(angering)
Senator Elias, I hope you are not
implying that I or my team have
fabricated...
The black female senator, Marks, jumps in.
MARKS
In the interest of staying the
course, perhaps we could for the
moment stipulate, for the record,
that if indeed the weapons somehow
found their way to the Morales Agri
Protection Force, they were not
sent there via government channels
and no official present has any
knowledge of such a transfer or
transaction.
Elias gives the black woman a false smile and sits back. The
clock ticks down... SENATOR FARRELL, speaks up.
20.
FARRELL
Dr. Jacobs, getting back to your
point, your assertion is that
despite prior agreements, namely
the Rain Forest Protection Act of
2009, and the correlating Southern
Hemisphere Benefit Protocols of
that same year, the Calveras
Government allowed further cutting.
JACOBS
Yes, Senator, that government,
working in concert with the Morales
Militia, cordoned off approximately
9,000 square kilometers, cut off
public access and continued cutting
while channeling the So-Hi benefit
funds through back channel accounts...
ELIAS
So what you're saying is, they took
our money and kept on cuttin'. Now
why in blue blazes...
Jacobs looks to the ticking timer and cuts Elias off.
JACOBS
(talking fast)
Very simply, if the Morales group
was able to keep outside observers
off the land, allowing the cutting
to continue, the supplemental funds
intended for the large scale
structuring of ecologically-
friendly agri-business could be
skimmed. Meanwhile the indigenous
populace were directed to continue
not only the logging, but also the
sustenance hunting of game meat.
ELIAS
I ain't never heard such...
Doctor, we had observers down there
watching...
JACOBS
Respectfully, Senator, your
observers never ventured far from
their air-conditioned hotel suites
and cafes, which, by the way,
without exception, were
establishments owned by Calveras...
associates.
ELIAS
This is utter nonsense.
21.
JACOBS
Now, of course, that forest is
gone, as are all inhabitant
species, and the native peoples who
were dependent upon that ecosystem
have nothing. The militia is
pulling out and 15 billion dollars
of redevelopment funds are gone,
presumably now in the offshore
accounts of Calveras, select
members of his cabinet and his
supposed antagonist, Morales.
ELIAS
Hogwash. I know Calveras. He's an
honorable man. And I know he hates
Morales with a passion. Hell,
they've had a war goin' on down
there for seven years now.
Throughout all this, Terese has been rapidly transmitting
info to the senators' displays. For the most part, they
have ignored that information. Now she is sending photos of
other uniformed Hispanic soldiers carrying the M16A6's.
JACOBS
Yes Senator, I know. The war. A
war in which opposing forces carry
the same U.S.-made assault weapon,
the updated M16A6 of which you
spoke. A war in which the
combatants regularly meet on the
field of battle not to engage
armies, but to divvy up proceeds
and cut deals.
Terese now stops her input, touches Jacobs arm and gestures
to the screen. There is Bader's video footage of the
underwater geyser field. Jacobs nods his head, looks at the
ever diminishing timer and attempts to get back on point.
JACOBS
Senators, I would like now to
direct your attention to your
displays. This is footage
evidencing a field of hydrothermal
plumes...
Another senator, JONES, cuts in.
JONES
What-what?
22.
JACOBS
Hydrothermal plumes, Senator, also
known as 'black smokers.' In some
oceans this is a normal and ongoing
deepsea geothermal event, but this
footage displays an aberrant
eruption just offshore near the
city of...
JONES
Excuse me, Doctor, but I thought we
were here to talk about the
supposed elimination of the
Quantaro Rain Forest Protectorate.
What has geo... geo-dermal...
JACOBS
Thermal.
JONES
What?
JACOBS
Geo-thermal. Underwater fire
erupting from the sea bed, evidence
of a superheating at Earth's core.
Further evidence of...
The clock is nearing the one-minute mark and it is clear
that the senators are readying for lunch hour.
JACOBS
...a cumulative reaction resulting
from near total ecological
degradation and an overpopulation
of the human species...
...30 seconds.
JACOBS
...that is accelerating the rate of
global warming which, in accordance
with Ochoa's Reflective Theory, is
heating the planet's...
At 15 seconds the senators, except for Marks, start to rise
from their chairs.
JACOBS
Hey!!
The senators freeze, looking down on Jacobs like an
abnormally large and noisy cockroach just entered the chamber.
JACOBS
I've got 15 seconds left!
23.
The senators continue their exit and begin filing out,
except for Marks. Elias stops near the last seat, leans to
the microphone.
ELIAS
Son, I do believe your time is up.
JACOBS
Is it my time that is up, senator?
My time? Have you been there?
Have you seen what has happened to
the last major source...
ELIAS
See here, that's the problem,
Doctor. I have seen it. In fact,
every senator on this commission
has seen it. We've got Earth image
clearance. We've seen the dang
photos. That damn rain forest is
still there, every blessed branch
and leaf. In fact, the damn
thing's gotten a right bit bigger
since the Rain Forest Pro-tection
Act went into effect.
JACOBS
(incredulous)
Bullshit!
Terese's hand shoots to Jacobs forearm and squeezes hard.
ELIAS
'scuse me?
JACOBS
You know that's crap, Senator!
That forest is gone. A blind man
could see that in the satellite
imagery.
ELIAS
(eyes narrow)
Now, why don't you explain just
what you mean by that...
Marks, still seated, cuts in.
MARKS
I think that's enough. Dr. Jacobs,
I know you've been working hard and
traveling quite and bit. Why don't
we...
24.
ELIAS
No. I'd like to know just how the
doctor here can tell me there ain't
no forest in the photos I just
looked at one hour ago - classified
photos that he ain't got the
clearance to view. Images made
secret by the Homeland Anti-
Surveillance Measures of 2010 and
the correlatin' NATO compliance of
2011. The viewin' of which photos
might just buy the good doctor here
three years in a federal lock-up.
JACOBS
(thinks - responds forcefully)
Because, Senator, I had a man there.
A man I trust. A man who was
almost killed. That man was
transmitting images at the instant
he took the picture.
(pause)
That forest is gone. Every animal
that lived in it is gone.
ELIAS
(eyes narrow)
Well now. If you did indeed have a
man there, Doctor, I rather doubt
he was there legally with visa in
hand. And if he was there,
illegally, and I rather doubt he
was at all, considerin' how hard it
is to travel 'round those parts,
then he is a liar and these images
you brought in here are fakes.
Jacobs stares and steams. Elias rises from the mike.
ELIAS
And, Doctor, you best thank Senator
Marks here for your continued
freedom. 'cause if it weren't for
her, I would have you detained for
contempt of congress charges with
possible sedition charges pending.
(pause)
I'll be seein' you.
Elias leaves the chamber. All the blood has left Terese's
face. She sits frozen. Jacobs sits with a grim, angry
expression. Marks calmly stares down over her glasses at
Jacobs.
MARKS
That went rather well, don't you
think?
25.
EXT. SENATE ANNEX BUILDING - WASHINGTON - DAY
In front of this modern, multi-tiered building, there is
concrete open space fronting the wide entry steps. Before a
street jammed with automobiles, pedestrians and protest
encampments, at 40-foot intervals, reinforced, advanced
machine gun fire stations face out to the citizen areas.
Between and among these emplacements, like this were a U.S.
embassy in a foreign and volatile country, armed U.S.
Marines warily stand guard and patrol. All wear tinted
visors to guard against a scorching sun.
Just out of the senate room, a beat-looking Jacobs and a
still shaken Terese, both with heavy sunglasses, walk down
the steps. They are flanked by two Marines on escort detail.
TERESE
You can't do that, Adam.
JACOBS
(distracted)
What, do what?
TERESE
You can't take them on so... publicly.
Jacobs chews this over a few seconds.
JACOBS
I was wrong to drag you into it,
but I rather think the time for
tact is over.
TERESE
I don't regret being there with
you, just like the rest of us don't
regret being there. We're
believers.
(beat)
But if you continue to push it
so... publicly, they will start to
see you as a threat, not just a
nuisance.
Behind them a tall man in a suit with close-cropped hair is
moving fast down the steps. He barks like a drill sergeant.
SECURITY MAN-1
Dr. Jacobs!
Jacobs and Terese stop, turn and look to the imposing man.
SECURITY MAN-1
Wait here a moment, please.
JACOBS
For what?
26.
SECURITY MAN-1
(stern)
Just wait.
Puzzled and concerned, Jacobs and Terese look at the man.
Their view is then pulled to the right and further up.
There is Senator Elias, toddling down the steps flanked by
three plainclothes, military-type security men.
Elias, wearing wide sunglasses and a old-style panama hat,
is moving slow. As he nears he calls out and waves, now of
an entirely different demeanor.
ELIAS
Doctor, good of you to wait. I
move a little slow these days.
'fraid these old knees of mine are
due for replacement, but I'll be
sorry to see the real ones go.
Jacobs stares back, warily. Elias nears, shows the palm of
his hands to his security, meaning 'wait,' and veers off
while signaling to Jacobs to follow.
ELIAS
If you don't mind, how 'bout
steppin' over here a minute? We
can have ourselves a nice little
private chat.
Jacobs and Terese give each other a look, then he turns and
follows Elias to a point about 30 feet away. Elias gets up
close, his puffy cheeks flapping as he talks.
ELIAS
Now, listen here, I'm sorry about
that back in the hearing room.
JACOBS
Sorry?
ELIAS
You betcha. That ain't the way my
mama taught me to be-have. She
always said, 'If you can't say
somethin' nice, don't say nothin'
at all.'
JACOBS
(skeptical affirmative)
Uh huh.
ELIAS
See here, I don't think you and I
are all that far off, on some
things, anyhow.
(MORE)
27.
ELIAS (CONT'D)
(beat)
You know, believe it or not, I
think we are downright in agreement
on lots of things. Two peas in a
pod, if you...
JACOBS
Senator.
ELIAS
(beat)
Yes, Doctor?
JACOBS
I'm not exactly sure where you are
heading with this, but I have a
favor to ask in advance.
ELIAS
And what might that be?
JACOBS
Could you please spare me the
cornball back-country routine? You
spent about five minutes in your
state before and after your
appointment. And I don't think
Yale offered a course in 'good-old-
boy' vernacular.
Elias gives Jacobs a long stern look, then smiles wide;
maybe for real. The accent is then gone.
ELIAS
Alright, Dr. Jacobs. I'll grant
you that.
(beat)
And, I have to say, while we're on
the topic of oral expression, in
this day and age, a non-official
that expresses himself, or perhaps
I should say, shoots off his mouth,
in your fashion is an anomaly. Do
you know how fast I, or anybody on
the hill, for that matter, could
label you a homeland threat? Are
you aware what just being put on
The Possible List could do to your
career, your life... your family?
JACOBS
Yes, well, it's just possible that
I don't believe I have much to
lose. And I no longer have a
family, Senator. So I'm afraid
that particular threat rings hollow.
28.
ELIAS
(mock surprise)
Threat?! No, no, Doctor. I'm not
making threats... not at the
moment, anyway. That was a
cautionary statement.
(beat)
I'm simply saying... here, now, out
of range of the sensors, that you
should exercise due caution. You
are aligning yourself against some
very powerful interests. And these
individuals and entities, to put it
mildly, look at things somewhat
differently than you.
JACOBS
Would those interests include the
petroleum cartel, Senator?
Elias narrows his eyes, smiles.
ELIAS
Perhaps, Doctor. Regardless, they
mean business.
JACOBS
Yes, business. I understand.
JACOBS
(smiles)
You must be more cautious, Doctor.
I know you have something of an
organization, but, believe me,
longhairs, tree-huggers, whale-
lovers, soldiers or flyboys, these
are no match for... the adverse
party.
JACOBS
Again, maybe I just don't have much
to lose.
ELIAS
Yes, yes, right, right. Well my
suggestion to you, Dr. Jacobs, is
that you perhaps modify your
approach. Retreat, live to fight
another day, so to speak.
(beat)
Bad idea to go against me in a
public arena.
Elias is beginning to pull back to his security men.
29.
JACOBS
And, this instance, Senator, that a
threat?
Elias, nearing his people, smiles, raises his voice with
accent.
ELIAS
Like Pappy Elias used to say,
Doctor, he'd say, 'son, be careful
or be sorry.'
Elias ambles off with his security in tow. The group nears
a Marine guard at a small sheltered console. Elias looks at
Jacobs, smiles, gives a final wave, nods at the guard. The
guard activates a switch, the seemingly seamless ground
surface under Elias and his security detail drops and they
disappear below. Another mechanized ground panel moves into
place and the surface is again whole, impenetrable.
Terese and Jacobs look at each other.
EXT. NEAR MOUNT NYRAGONGO - THE CONGO - DAY
In a jungle clearing within the shadow of this nearly
dormant volcano, a family of eight gorillas groom and nibble
at leaves. Two primate toddlers play; rolling and swatting
at each other. The two mothers very gently pull their
offspring apart and hold the children. The kids launch off
and again tear around.
Looking over all is the dominant male, a huge, aging, but
still very powerful SILVERBACK.
As if something set off their sense of hearing or smell, the
family freezes and looks to the opposite side of the clearing.
Emerging from the bush is a woman, tall, very fit, could be
anywhere from late 20's to 40 in age. Her face shows no
lines or imperfections, despite a total absence of makeup.
She is western in appearance. Oddly, because her features
combine dark skin with lighter hair and eyes, from one angle
she might appear somewhat Nordic, from another angle her
features seem almost Hispanic. Her clothing is simple,
functional to the environment and well-suited to her strong,
sleek frame. Slung across her back is a flat, oddly
designed, form-fitting pack.
THE WOMAN pauses, looks to the gorilla family and smiles.
The gorillas don't move, cautious, but not afraid. After a
moment the dominant SILVERBACK male rumbles forward towards
The Woman. He rushes, aggressive, posturing, defending in
gesture his turf and his family. He pulls up short, about
six feet from The Woman. She stands still, showing no fear.
Silverback gives a throaty rumble, bares his teeth, thumps
his chest and swings his arms.
30. Then he pauses, stares into The Woman's calm, gray-blue eyes. Silverback goes quiet. The Woman smiles and walks forward. As she passes the staring Silverback, she slows and runs her palm gently across his massive head and around his face. The family relaxes as one. They go back to their grooming and the two children run forward as Silverback returns to the group. The youngsters repeatedly circle The Woman as she walks, reaching, touching her legs. The Woman smiles, disappears into the jungle at the volcano's base. Above, in a blistering red sky, the mountain looms. EXT. MOUNT NYRAGONGO - VOLCANO'S RIM - DAY The volcano is not entirely dormant. Just beneath the jagged rim, among the solidified lava and scorched rocks, the ground simmers. Like the terrain of an oxygenated planet too near the sun, the rocks steam like coals within a pit. Fumes rise and settle in the hot atmosphere of the mountain's throat. And there The Woman stands. On the very edge of the rim, her still gaze takes in the smoldering scene. She steps forward. She drops a good six feet to a lower ledge, absorbing the impact effortlessly into her legs. She begins to walk, seeming to look for something lost among the scorched rocks. From the opposite side of the crater, it is an unusual sight; a beautiful woman moving smoothly within the forbidding terrain. Lower down, at the center of the pit, The Woman pauses. She has perhaps found the lost item. She kneels then reaches... EXT. THE BRANCHES OF A TREE - CONGO - DAY The sun is now low in the sky. The gorilla family is lounging 50 feet up. Again, they groom, nibble on leaves. The two children are now still, held dozing in the arms of their mothers. Higher up, Silverback looks down over his peaceful family. If he were human, the primate's expression may have been that of contentment; satisfaction; happiness. He makes a decision, leaps and is gone into the higher branches. EXT. WATERHOLE - DAY The big leopard drinks, alone at the small body of water. Suddenly the cat stops, raises its head. Silverback drops from above, landing at the opposite bank. He immediately sees the cat and freezes. The two eye each other for a long moment. 31. The powerful animals seem to agree that this is not the time for conflict. The cat again lowers its head to drink. Silverback steps forward, kneels, cups a hand and drinks. EXT. THE BRANCHES OF A TREE - SAME TIME Still high in the trees, the gorilla family dozes. Below, on the ground about 50 yards from the tree, the large ferns part. The barrel of a semi-automatic hunting rifle pierces the foliage. A group of 15 armed men, poachers, carefully step their way closer to the family. When the dozing primate mother catches the scent, when she smells the pungent musk of a meat eater, when she fully opens her eyes, when she feels the tingle of danger within her spine, when she fears first for the child she holds, it is too late. The first volley kills most of the family immediately. EXT. WATERHOLE - SAME TIME The shots echo through the jungle, the leopard and Silverback jerk their heads from the water. The leopard instinctively bounds from the clearing into the bush. Silverback pauses a few seconds to reason out the meaning of the strange sound. He emits a desperate sound and bounds into the trees. EXT. THE BRANCHES OF A TREE - SAME TIME A mother covers her child as another wave of bullets tears through the tree. A few in the family grab futilely for branches, loose their grip and fall to the jungle floor. The rapid fire of fifteen weapons continues and the shredding leaves mix with flesh and screams as the family is torn apart. A mother covers her child with her arms and turns her back to the torrent of bullets. Her back is pounded into a bloody mass, she screams, holding her baby even tighter she falls backward from the tree, the ground rushes up to her and she slams into the earth. She protected her child with her dying body. The other mother is riddled with bullets just as she flings her son into the air to a farther tree. The child catches a branch and pulls himself up in time to see a bullet explode his mothers forehead. She teeters, then, already dead, falls to the ground. The gunfire stops, the poachers howl in delight and rush to pounce on the dead and dying family. 32.
The toddler is pawing at his mother, trying to wake her when
a net drops over him, he screams and another whoop goes up
from the poachers. The other child makes his way
frantically down the tree to his own fallen mother. Before
he can reach her he, too, is scooped up in the poacher's net.
POACHER ONE
(native dialect)
Yes!! Yes!! Good, good, good! Got
the little ones, too!
POACHER TWO
Yes!! All the meat and the babies,
too. Good money! Goooood money,
today!
Poacher One raises his rifle.
POACHER ONE
Ah-Yeeeeee!! Ah-Yeeeeee!! Ah-
Yeeeeee!!
In response all stop and raise their weapons and hands.
POACHER CHORUS
Yeeeeee!! Yeeeeee!! Yeeeeee!!
Poacher One's upturned face sees something in the trees:
Silverback. The old gorilla stares down on the scene with
human-like shock and horror. He is frozen, perhaps about to
cry, terrified, uncomprehending at what he sees.
POACHER ONE
(raising weapon)
Another one!! Another one!!
He fires fast and the errant bullets impact into the tree
around Silverback. The other poachers hurriedly follow
Poacher One and more bullets tear through the branches and
leaves around Silverback. After a second, when the next and
more accurate volley is about to fire, the terrible sounds
register through the shock and with a start Silverback leaps
away into the trees.
The poachers scan the tree line when, unseen by them, it
becomes apparent another has witnessed the horrific scene.
Among the bush on a hill perhaps 100 yards away, The Woman
stands. Though her face is oddly impassive, her eyes show
sorrow and, perhaps, a glint of anger.
EXT. NEAR MOUNT NYRAGONGO - NIGHT
In the supernaturally bright moonlight, at the edge of the
clearing, where before he looked over his family, Silverback
sits, broken. His huge head is down, his chin on his
massive chest. He is a powerful being now helpless.
33.
His world is gone.
He breaths heavily, then erupts in a great, human-like sob.
He stifles that, and again breathes deeply. Sensing
something, he raises his head.
There stands The Woman. She looks calmly down to Silverback.
He returns the gaze, sorrowful, but not afraid, not angry.
She places a hand on his great shoulder.
EXT. POACHERS' CAMP - NIGHT
The scene is horror. In the light of several campfires, the
poachers drink, laugh, work and... eat. While some feed on
the roasting game meat, three others are at work with knives.
They are butchering the family for the trek to market.
A huge machete rises, slashes down into the thigh of a
mother while from a bamboo cage her child watches, screaming
in horror. The other child is in a fetal position, breaths
heavy, in shock.
Four poachers sit near a fire. They smoke and drink. Red-
eyed and sloppy with liquor, they brag in native dialect.
POACHER TWO
I got three! I know I got three
myself!
POACHER THREE
(laughs)
You are full of shit! You shoot
like a woman! Never get one, not
one.
POACHER FOUR
Fuck you both. You are both women!
Can't shoot, no penis!
They laugh.
POACHER THREE
It don't matter. We got the money,
this time. Big day.
POACHER TWO
Yeah. Big day. I get me my money,
I get drunk, get a whore and fuck
for two days, that's me!
Poacher Four begins to struggle drunkenly to his feet.
POACHER FOUR
Yes. Yes. I won't wait. I'm
going to piss this out, then I come
back and get very drunk right now.
Maybe fuck you.
34.
They laugh. Poacher Four heads to the bush.
Just inside the dark bush the fires of the camp are in the
background. Poacher Four works at his trousers. His
eyelids droop and he smiles a drunken, stupid smile as his
urine splatters to the leaves.
Suddenly there is a flash of motion. Poacher Four's eyes go
wide and his urine stops, retracting into his bladder. He
raises a hand to his neck where a gaping hole has opened.
The blood, seeming suspended for a moment by vacuum,
releases to gush over his hand and the man drops.
Near the edge of the clearing inside the camp, another
poacher rises from his task to light a handmade smoke. He
takes a single puff before he is yanked off his feet and
disappears into the bush. A gurgled, muffled scream is
barely heard.
The two gorilla children raise their heads. They stand and
move to one side of the cage, looking out.
Near a camp fire four poachers are drunken, dozing or asleep.
As one man's sweating, ugly eyelids begin to fall, his head
is jerked to the side impossibly far and fast and... snap!
He slumps. The other three drunken men begin to rouse, but
one by one, just as they are becoming conscious, just as the
terror is registering on their face, they are cut down; by
blade or hand, it is hard to tell which.
Now two men at a separate fire are rising, reaching for
guns. They stare to the fire across the site where four men
are now motionless. As they attempt to determine the
threat, two flashes take away their lives.
At another side of camp, four other poachers are already
dead, their bodies broken, crumpled.
Poacher One is rising from his stupor, grabbing his rifle,
adjusting his eyes, looking across and around the camp. The
men he sees could be sleeping. He calls out.
POACHER ONE
(dialect - not subtitled)
Hey! Hey! Akimba! Suto! What is
going on?! Hey, you...
Now, through the fire and the smoke, he sees something at
the far end of the camp... something very strange.
He racks his weapon and starts cautiously forward. Through
the dark and the haze he is attempting to make out the
figure... a woman! When he takes another step his foot
catches something. He glances down and his eyes go wide.
The head of a poacher looks back, barely attached to its
dead body.
35.
Now Poacher One snaps up his weapon, aims at The Woman and
is about to fire... a huge dark hand closes on the rifle and
it is instantly yanked away. He whirls, screams.
His vision is filled with the bared teeth and fierce face of
Silverback. The great ape slashes down hard with the weapon
and... Crack! The wooden stock breaks over Poacher One's
knee. The man screams, drops.
Poacher One grabs frantically at a knife holstered on his
hip, brings it up to stab... Silverback grabs the man at the
elbow and begins to squeeze. The knife drops. The man's
eyes seem about to explode as the joint cracks and dissolves.
The man whimpers as Silverback now grasps his head. With
the strength of five men Silverback twists and... its over.
The camp is dead quiet and still, except for the crackling
of the fire.
The Woman walks to where the children are caged. She
doesn't bother with the crude lock. She grasps two of the
wooden bars, pulls and the cage is shattered. The two
children exit the broken prison. They look up at The Woman,
then go to Silverback.
One of the children leaps to his father's great back while
the other reaches with outstretched palm. Silverback takes
his child's hand and walks closer to The Woman.
They make eye contact. Something is exchanged. Silverback
returns to the jungle with his children.
INT. LAB DEMO AREA - DAY
In florescent midair the Earth rotates. It is a seemingly
pristine planet, blue green... beautiful.
JACOBS (OS)
This is a virtualization of 1920.
(beat)
Josh...
The holographic Earth stops rotating, pixelates, dissolves,
materializes looking different. Jacobs moves his hand over
and into the image as areas to which he points glow in outline.
JACOBS (OS)
At 1990, spectrum-enhancement of
digital file images reveals a
degradation in ozone integrity to
an extent not even guessed at then.
Also, a 30% loss in rain forest
cover and an expanding toxin
prevalence in waters surrounding
most populated land masses.
36.
Looking more disheveled and weary than ever, more days of
beard on his face, in this sterile exhibition room Jacobs is
delivering a presentation to Senator Marks and SECRETARY
THOMAS, a tall, well-dressed man, about 50. The man's brow
is furrowed; as if perplexed, or skeptical. Marks gazes
through and over her antique glasses, depending on her
varying level of impatience.
MARKS
Yes, Adam. That's fine. Secretary
Thomas has a 12:30 appointment, so
perhaps we should advance the
presentation.
Irritated, Jacobs shoots her a look, turns to a bushy-haired
technician, JOSH, mid-20's, at a nearby control console.
JACOBS
Josh... The Secretary and Senator
are busy people... time lapse and
accelerate, please.
The hologram Earth stops its rotation, dissipates, then
reappears and rotates more quickly. In a corresponding
digital readout materializing below the planet, the years
are ticking by. 1991-1992-1993-1994-1995...
JACOBS
(agitated)
And here we go Mr. Secretary,
Senator...
...2005-2006-2007... The Earth's colors become progressively
less vibrant, a sepia gray haze taking over. The polar caps
break up. Plumes of liquid pollution ooze from the
continents in great, ever-increasing ugly bands.
JACOBS
(fast)
Within the depicted period you'll
note a 30% degradation in polar
coverage, a 27% increase in ocean-
borne toxin intrusion, a...
whopping 34% increase in
hydrocarbon saturation...
Thomas is giving Marks a look, clearly suspect of Jacobs'
stability.
JACOBS
And heeeeerrrrre - though we can't
say for sure because they won't let
us see the pictures - here is what
we speculate is, what we guess
is... well hell, here is what we
like to call the Northern Loss.
This is the burn zone, baby!
37.
He points to a cloud-like cyclone-shaped mass above Antarctica.
JACOBS
This is the result of all our
mistakes, Mr. Secretary and Msssss-
Senator. The cumulative result of
all our sins. This is what will
bring it all to an end.
(beat)
Here, let me show you.
Thomas, eyeing Jacobs warily, is edging away from the
display. Marks is now ignoring the hologram and looking
directly at Jacobs, who seems oblivious to the others.
Jacobs looks briefly to Josh.
JACOBS
Josh, accelerate to final, please.
Josh hesitates, looks at the retreating Thomas, to the grim
Marks, and back at Jacobs. Jacobs is oblivious, still waiting.
JACOBS
Josh...
Josh goes back to his controls. The Earth rotates faster,
the cyclone of the "Northern Loss" expands, the polar caps
disappear, water levels rise, land mass shrinks, green areas
disappear, gray clouds of pollution obscure the planet,
fires spark on a continental scale, the atmosphere ignites,
a bright light emits at the center of the planet hologram
and the image dissolves.
JACOBS
All thanks to an over-abundance of
the most destructive, wasteful and
cruel species in the history of the
planet - humans.
Thomas heads fast for the exit, where five security men stand.
THOMAS
Thank you, Dr. Jacobs. Senator,
see you on the hill.
Jacobs takes his attention from the hologram, turns to the
door, Thomas and his three-man security detail exit.
JACOBS
What the hell... where's he going?
MARKS
(beat)
Do you know what it took to get him
here?
38.
JACOBS
What... 20 grand, 30 thousand bucks?
MARKS
(gives Jacobs a long look)
When was the last time you slept?
JACOBS
Not important.
MARKS
Not important? You have a cabinet-
level officer in here for a
presentation, and you...
JACOBS
Don't we have more important things
to consider than my sleep patterns,
Senator? The core mean ambient has
been exponentially accelerating for
five years. We've got tectonic
analysis data that would curl your
hair...
Marks, a black woman, gives Jacobs a stare that stops him
cold.
MARKS
Yes, Adam, I know all about global
warming. But that doesn't mean I
buy...
JACOBS
Senator, this is not about warm
winters and high tides. We've
registered anomalies beyond any
predictions. We...
MARKS
That's it. Enough. This is over.
She heads for the door where her two security men wait.
JACOBS
Wait...
MARKS
No, Adam. That's it. I've stuck
with you to this point. I pulled
the committee time, I got Thomas in
here - which, by the way, probably
set my career back five years...
JACOBS
Senator, I...
39.
MARKS
Oh, I know. I know all about it.
It's all going to burn up! Right,
Adam?
(rolls eyes)
Poof.
JACOBS
Molly, hold on...
Marks stops, pivots back to face Jacobs.
MARKS
Listen, Adam, I was always there
for you. While you were fighting
the good fight for the rain forest,
I was with you; legislating for
emission controls, I was with you;
solar alternatives, I was with you;
heading-off thermal drilling, I was
with you...
JACOBS
I appreciate all that you've...
MARKS
And when you decided to butt heads
with the Vatican on contraception -
even though the Catholic vote could
take me out of office - I was for
you there, too, 100%. But this is
too much. Yes, global warming, a
reality, but, for God's sake, the
entire planet is not going to catch
fire!
(beat)
At least not for a couple million
more years.
JACOBS
Wait a minute...
MARKS
No, no, no. That's it. Call me
next year... if we're still here.
Jacobs, pretty pitiful with a four-day beard, baggy eyes and
good clothes gone bad, just stands there. In the open
doorway Marks pauses.
MARKS
And get some sleep.
She exits, her two-man security detail behind. There's a
long silence as Jacobs looks at the empty door.
40.
JOSH
(half sarcastic)
If you need a break, I've got a
really stellar girl-on-girl scene
cued up.
Jacobs gives Josh a blank look.
EXT. CITY BLOCK - LATE NIGHT
The trashed street is densely populated, mainly with
homeless people. NetCom video billboards are everywhere.
The pitches are mainly for booze and smokes, but a
voluptuous nearly naked Asian VIRTUAL FEMALE on the display
is working another product.
VIRTUAL FEMALE
Azure - It's legal! Costs less,
too!!
She holds up a small blue pill, smiles, pops it in her
mouth, chews and smiles bigger.
VIRTUAL FEMALE
And it tastes like blueberries, baby!
Walking with his head down, Jacobs wears the same clothes he
had on at the lab demo room earlier that day. A slender
black polymer tablet is under his arm; an advanced laptop.
Some of the street inhabitants eyeball Jacobs, perhaps
sizing him and the laptop up as an opportunity.
Nearing a subway access, Jacobs passes underneath the "Agura
Bank" LCD banner. This time a Japanese anime-style female
is holding up changing banners, announcing the time.
ANIME FEMALE
It is... 11:47 p.m. and 49
seconds... enjoy... the rest of
your day...
Jacobs heads down the subway stairs. Another man, tall and
lean, in a very light overcoat and vintage fedora, his face
unseen, passes beneath the anime banner.
ANIME FEMALE
It is... 11:48 p.m. and nine
seconds... enjoy... the rest of
your day...
The other man follows Jacobs beneath the street.
INT. SUBWAY STATION
Many of the lights are flickering and most of the station is
in substantial disrepair. The 40 or 50 people who await the
train all look as if they wish they were elsewhere.
41.
Two boot-wearing police troopers, both late 20's, and both
on the flabby side, patrol the station carrying submachine
guns and sidearms. Jacobs nears the platform and both
officers briefly eyeball the tablet he carries under his arm.
Jacobs joins the waiting crowd.
The other man, CARL, an African American with chiseled
features and an athletic build, about 40, enters the station
and stands well back. About 50 feet from the crowd, he
settles into a not-so visible, shadowy alcove. The officers
give Carl a look. Carl looks back, makes eye contact. He
removes his hat and gives the cops a grin. Carl is bald.
The white cops stop, turn and walk toward Carl. They stop a
few feet away. They look him over a few seconds. One of
the police, COP-1, approaches Carl.
COP-1
(not friendly)
How you doin'?
Carl doesn't answer right away. He looks into Cop-1's
unpleasant eyes, gives him a nice smile. COP-2 moves up
next to his partner, his hand dropping to the trigger grip
of his still slung and lowered weapon.
CARL
Fine. Nice of you to ask.
Cop-1 is not reciprocal to the friendly tone.
COP-1
Where you going?
CARL
(smiles)
Well, to be honest, I'm not sure.
COP-1
What does that mean?
CARL
Looks to me like I'm getting on the
train.
COP-1
You're getting on the train, huh?
But you don't know where you're
going. Is that it?
CARL
Yes, that pretty much sums it up.
COP-1
You're getting on the train to
nowhere?
42.
CARL
You could put it that way.
Cop-1 gives Carl an unwavering and long look.
COP-1
You know, smartass citizens really
piss me off.
CARL
No kidding?
Cop-2 moves his fingers tighter around the trigger of his
weapon and moves the other hand on the stock.
Cop-1 releases the trigger end of his weapon and from his
belt he takes a small device, about the size of a cell phone.
COP-1
(as if reciting a manual)
Sir, in accordance with Regulation
SS-4 of the Special Securities Act,
I am formally demanding an
immediate scan for positive
identification.
Cop-1 opens the device, which gives an activating beep, and
holds it out to Carl. A one-inch square glows.
COP-1
Sir, please place your right thumb
on the illuminated reader pad.
Carl places both hands in his coat pockets, smiles.
CARL
No, thank you.
The rattling roar of the approaching train fills the station.
Cop-2 steps back and raises his weapon. The train is louder.
COP-1
(as if reciting a manual)
Sir, you are refusing a municipal
police officer's authorized order
for you to comply with a Federal
security directive.
Cop-2 is in firing position. Cop-1 lets his submachine gun
hang from its sling, shifts the print reader to his left
hand, takes a handgun from its holster, aims it at Carl.
The train is plowing into the station, loud. The waiting
crowd is oblivious to what is happening behind in the shadows.
43.
COP-1
I am hereby issuing a second and
final demand that you submit to a
federally-authorized ID scan. I am
required by Federal law to warn you
that failure to immediately comply
with this demand may result in
arrest and temporary or permanent
physical harm, or death by weapon
or other means. You have ten
seconds to comply.
CARL
(smiles)
Ten seconds? Should only take
about six...
Cop-1 narrows his eyes, wary of Carl's casual attitude.
The train pulls into the station and from the stairs, moving
lockstep at double-time, two very fit uniformed soldiers
round the corner. Both municipal cops look to these two.
The local police, recognizing the battle dress armored
Special Ops troopers with M16A6's, are backing up, partially
lowering weapons.
Facing off with the cops, weapons targeting heads, the all-
business troopers take up position behind Carl, who smiles.
CARL
Lower your weapons, officers.
Carry on.
The cops, clearly confused and intimidated, but wanting to
protect their turf, hesitate.
The creaky, dirty train has pulled to a stop and most of the
doors have begun to rattle open. The crowd, still oblivious
and focused on the train, begins filing into the cars.
CARL
Lower your weapons, move along, or
we can punch your ticket here and
now.
(beat)
Got a train to catch. You have
five seconds.
The Special Ops troopers calmly look as if they are fully
prepared to blow the cops' brains out.
In one motion, the cops drop and holster weapons and quickly
move off. The Special Op troopers lower their weapons.
Jacobs, also oblivious, enters a car with the crowd.
Immediately behind him is a muscular, tough-looking BLACK
GUY, about 25.
44.
Without looking at the troopers, Carl replaces the fedora to
his head, points to the cars at either side of the car
Jacobs just boarded. The troopers head in those separate
directions. Carl strolls to Jacobs' car and enters; the
last person in.
INT. SUBWAY CAR
The dirty, broken-down, half-lit car is mostly full with
unhappy humans, several of whom are standing for lack of
seats. Carl enters, looks around. Jacobs is at a window
seat. Haggard, worn out, disheveled, distracted, Jacobs is
in another world; staring nowhere out of the dirty and
pitted plexiglas window.
Carl spots him, smoothly heads in that direction between the
standing, zombie-like passengers. The subway doors close.
Sitting next to Jacobs in the aisle seat is the muscular
Black Guy Carl eases up, speaks to the Black Guy.
CARL
Excuse me, may I have this seat?
Black Guy slowly turns his head, like he's not quite sure
that he is being spoken to. Jacobs comes out of his daze,
looks to Carl, then to Black Guy. Jacobs is puzzled, but,
none of his business, he turns back to the window.
BLACK GUY
Say what?
CARL
(smiling)
May I have this seat.
BLACK GUY
What seat? There ain't no seat.
CARL
Sure there is. You're in it.
Black Guy looks back at Carl, not sure.
BLACK GUY
What? You got bad feet, or somethin'?
Carl smiles, leans down, whispers into Black Guy's ear. A
look comes over Black Guy's face. He's up and gone.
Now Jacobs turns his full attention to Carl, who takes the
seat. With furrowed brow, Jacobs continues to stare at
Carl, who smiles. Carl again removes his hat.
The train has not moved. At the rear, standing in front of
the doors connecting to the next car, a big PUNK, about 20,
pipes up, yelling to the roof of the train.
45.
PUNK
Come on, maaaan, get this crate
movin'!
The rest of the crowd barely acknowledges the outburst. The
train doesn't move.
Jacobs slowly breaks eye Contact with the still smiling
Carl, turns back to the window.
PUNK
Come on, goddammit, MOOOOOOOVE!
The train's public address speakers emit a harsh, loud,
grinding tone and most of the passengers reach for their
ears. The male SPEAKER VOICE then announces.
SPEAKER VOICE
Attention... Attention... this
train is now out of service...
Some in the crowd groan.
PUNK
Fuck!!
SPEAKER VOICE
... please exit immediately...
The old doors rattle open. Jacobs swings a concerned gaze
back to Carl, who hasn't budged. He looks back at Jacobs,
the enigmatic grin still on his face.
PUNK
(to nearest speaker)
No! Fuck you man!! I been waitin'
for fuckin' an hour!!
A few others in the crowd are muttering and cursing. They
have begun to drag themselves up to file out of the train.
Jacobs and Carl look at each other. Jacobs looking a little
worried, Carl is calm.
CARL
Well, that's a hell of a note,
isn't it?
Jacobs says nothing. The crowd is filing out.
SPEAKER VOICE
Attention... Attention... this
train is now out of service...
please exit immediately...
46.
PUNK
(to speaker)
Fuck you!! Fuck you!! Fuck you!!
The Punk is still at the rear of the car, next to the door
connecting the following car. The rest of the unhappy crowd
is making their way to the exit door, past the still sitting
Carl on the aisle seat, and Jacobs, trapped at the window
seat.
CARL
You don't mind if we wait, do you?
(beat)
I never saw the sense in waiting in
lines.
(smiles broader)
Back when everyone used to fly.
The plane pulls up to the gate,
everybody jumps up and stands there
for five minutes. Never could
figure that out.
(beat)
Hurry up and wait ... know what I
mean?
Jacobs clearly knows something is up. The crowd is nearly
past Carl and Jacobs, the car almost cleared of people. The
Punk hasn't left his position at the rear. He starts to
hammer at the speaker with his fist.
PUNK
Fuck you!! Fuck you!! Fuck you!!
The connecting doors at both ends of the train slam open,
the two troopers smoothly enter, the Punk looks up to the
suddenly open door behind him and... BOOMP. The butt of an
M16A6 slams into the Punk's face, his nose splits, he drops.
At the opposite end of the subway car the other trooper has
his weapon raised. The last remaining passengers get the
idea and hurry off the train.
Jacobs, realizing it's pointless, doesn't even attempt to
leave. He looks at Carl, who hasn't bothered to take note
of any of what just transpired. He just looks calmly back
at Jacobs.
The Punk is completely unconscious as the trooper drags him
effortlessly down the train isle and dumps him out the exit.
That trooper returns to the far side of the car. The
troopers after this maintain posts at opposite ends of the
car. The doors rattle closed. Empty of all but the four
men, the train moves.
About half the lights within the train are burned out. When
it moves out of the brighter station, the car dims.
47.
At regular points where the tunnel is lit, light strobes
through the car: dark - darker - light - dark - darker -
light ... The shadows and light move across Carl's smiling
face.
CARL
Can't stand crowds.
Jacobs, though clearly wary, is calm. Not surprised.
JACOBS
Really? People bother you, do they?
Carl shows mild surprise, like this is not what he expected.
CARL
Yeah, Doc. It can be tough to have
private conversations, these days.
You agree?
JACOBS
Oh yes. I agree entirely. It's
like you're never quite alone.
CARL
True. Exactly my point. Seems
like someone is always looking over
your shoulder ... reading your
paper, so to speak.
JACOBS
Right.
Carl doesn't respond, but gives Jacobs a long look. His
eyes sort of twinkle.
JACOBS
So?
CARL
You know, when I was kid, I lived
out in the boonies with an uncle.
That was when there were still a
few farms. And this guy - my
uncle - really tried to stick it
out. His idea was, I guess, to do
what they used to call get back to
nature. He just wanted to be left
alone, raise a few tomatoes, keep
some pigs, some chickens... that
kind of thing.
Carl pauses, thinks. Jacobs stares blankly back.
48.
CARL
(as if wistful)
What a dreamer...
(comes out of it)
So, anyway, that's not really the
point of my story. I used to sleep
in this little extra room he had -
more like a broom closet with a
window. Well, every morning, just
after the sun comes up, this bird
used to land right outside the
window. Beautiful bluebird. I
guess that means he was a he. Very
colorful. I get in the habit of
leaving a few pieces of bread out
for him. Then in the morning I'd
watch him chow down. We sort of
got used to each other and, pretty
soon, it got to where he would eat
out of my hand.
(pause)
Can you imagine?
JACOBS
(stares)
Sure. I can imagine.
CARL
So this bird and I sort of
developed a relationship. He would
stop by and we would have an
exchange. I would feed him a few
crumbs and he would give me a few
'tweet-tweets.'
JACOBS
(beat)
Tweet-tweets.
CARL
Yeah. It was if it was saying,
'Thanks for the bread, Carl.
You're a good kid.' It was sweet,
being that close to nature.
JACOBS
Right.
The train enters another station but doesn't slow. The
lights go bright, the train blows fast past the waiting
crowd. The train again enters the tunnel and the lights
again strobe through the car: dark - darker - light - dark -
darker - light ...
49.
CARL
Would you believe that me and that
bluebird got so friendly that he
would let me pet him? Really
something, don't you think?
JACOBS
Yes. Really something.
(pause)
So what finally happened?
CARL
Excuse me?
JACOBS
What is the moral to your story?
CARL
Moral? No moral.
JACOBS
(beat)
Okay, how did it finally turn out -
with you, the bird, your uncle and
the farm... Carl?
CARL
Oh.
(pause)
A case of bad timing, really. The
jet stream decided to drop the
Beijing Blow right on our heads.
Killed everything. The tomatoes,
the pigs, the chickens, my uncle --
who was kind of sick, anyway -- and
the bird. Little guy just flew up
that morning, landed on the branch,
gave a little birdy cough and keeled.
JACOBS
(stares at Carl)
And you made it okay?
CARL
Me? Oh yeah. I was a strong kid,
I held up.
The two men look at each other.
JACOBS
The only people who survived the
initial midwest fallout of the 851-
C cloud, the Beijing Blow, ended up
in the hospital. They were all
dead within a month.
Carl stares back at Jacobs, smiles.
50.
CARL
Yeah, I know. Total bullshit.
Never left the city in my life...
except to go overseas and blow hell
out of some Arabs and a few screwed
Indonesians.
(pause - smiles)
So listen, Doc, the only reason
you're not dead now is you got
one -- and one only -- high-up type
looking out for you. Get it?
JACOBS
(stares - unphased)
Sure, I got it.
CARL
Then you need to know that if you
step over one more line, that
person may not be able to protect
you anymore. Roger that?
JACOBS
Sure. I understand. I'm a really
lucky guy.
CARL
(gives Jacobs a look)
But that's not going to stop you,
is it? You're just going to keep
shooting your mouth off, right?
JACOBS
Maybe.
Carl, for the first time, frowns, sits back in his seat,
thinks.
CARL
You know, Dr. Jacobs, I just
realized something.
JACOBS
What's that?
CARL
We actually have something in common.
JACOBS
You think so? Like what?
CARL
We are both fatalists. Neither one
of us gives a shit.
51.
JACOBS
No, Carl, you're wrong. I do give
a shit. Otherwise I wouldn't be
doing what I'm doing.
CARL
You misunderstand, Doc. I'm not
talking about your cause. I'm
talking about you, yourself. You
don't care whether you live or die.
That kind of attitude can make for
a very dangerous man, on the field
of battle, or otherwise. As long
as that kind of person is alive,
and capable of inflicting damage,
that kind of person can be very
dangerous.
Jacobs gives Carl a look and, for the first time, he smiles.
JACOBS
And what about you, Carl? What
cause motivates you? What do you
care about?
CARL
(shrugs)
Nothing lofty, Doc. Just the
mission.
(pause - remembering)
Oh, and those gentlemen with the
guns at either end of the train.
Them and about 10 more like them.
I care about them.
(beat)
In the end, I'm just a stupid
soldier doing what I'm told. A
grunt in the trenches, carrying out
the mission.
JACOBS
And what do you think about the
mission? What do you think about
the people that issue your orders,
send you on the mission?
CARL
Well, I could tell them to take a
hike, retire, maybe buy a boat,
open up a fishing charter business
down in the Florida Keys, or
something. But there really aren't
any fish left to catch, so... what
the hell. Might as well keep doing
what I'm good at.
52.
Carl looks to the trooper at the far end of the car and
raises a finger as signal. The trooper touches his earpiece
and speaks.
JACOBS
What exactly are you good at?
Helping greedy, corrupt lying
assholes that don't give a crap
about you bring it all to an end?
Carl pauses, then seems to remember something.
CARL
Oh, right, that's what she meant.
JACOBS
What?
CARL
You think the whole thing is going
up.
JACOBS
What?
CARL
You think the whole thing will go
up in flames... poof.
JACOBS
(pause)
That's about it.
CARL
Yeah, how?
Jacobs thinks this over, then responds -- like he's talking
to a child.
JACOBS
See it's like this, Carl: while you
and I sit here having this lovely
conversation, some really important
good stuff is being taken away from
the sky and replaced by some very
different stuff. The different
stuff is not good stuff, it's very
bad stuff. And humans keep making
more humans who make more humans
who make more humans who make more
humans who make more and more of
the stuff that isn't supposed to be
in the sky -- the bad stuff.
(MORE)
53.
JACOBS (CONT'D)
And because we're getting a lot
more bad stuff and a lot less good
stuff, certain things are starting
to get really-really hot and that
makes a lot of other things get
really-really hot and way down
underground something very nasty is
going on which makes some things
get so hot... well... things just
can't get any hotter and... boom.
Carl gives Jacobs a long look, shrugs, smiles.
CARL
Doesn't sound very scientific, Doc.
Jacobs gives Carl a big, strange grin.
JACOBS
Well, Carl, it doesn't sound very
scientific because you don't seem
like a very scientific type of guy.
It takes a few seconds, but Carl realizes he's been insulted.
CARL
Man, you got balls. I could have
one of these troopers put a bullet
in your eyeball and about all I'd
get is a stern reprimand over a cup
of coffee. And here you are
sitting here giving me shit. What
have you got, a death wish?
JACOBS
Not really. But Carl, you kind of
bug me.
Carl gives Jacobs a long look, smiles big.
CARL
So, how much time we got, Doc?
JACOBS
What?
CARL
When's the big burn?
JACOBS
Tomorrow, the next day, a year.
Pick one.
The train is pulling into another station, this time slowing.
54.
CARL
Well, I'd love to hear more. But
this is my stop.
JACOBS
Sorry to see you go.
CARL
(stands)
Thanks, Doc. I know you mean it.
Carl waits as the train slows to a stop. He replaces the
fedora to his head, straightens the lapels of his jacket,
takes a quick look around the ratty subway car.
CARL
Jesus, I hate these goddamn things.
Total pieces of crap. The city
hasn't spent a dime on them in... I
don't know, 20 years.
JACOBS
(sarcastic)
Yes. Pollution-free mass transit.
What a joke.
CARL
(smiles)
You know it.
The car stops, the troopers move to take position at the exit.
CARL
One last thing, Doc...
JACOBS
Yes?
CARL
You try for more airtime with the
committee, or suck another cabinet
officer in for one of your little
demos, or try to broadcast again,
orders or not, I will personally
blow your big fucking brains out.
(beat)
Got it?
JACOBS
(calm)
Sure. Thanks, Carl. Have a nice
day.
For the first time, a flash of anger crosses over Carl's
face. Again the smile returns. He shakes his head and
moves off behind his troopers.
55.
The doors open. The crowd on the other side sees the armed
men, immediately parts. The three mean head out.
As if nothing very unusual had happened, the crowd piles
into the car. No person gives a second look to the fully
armored troopers that just left the train.
Jacobs settles in the ratty subway seat and closes his eyes.
EXT. SUBWAY STATION EXIT - URBAN STREET - NIGHT
Under a NetCom display, on the right side of the street,
Jacobs trudges up the subway stairs. This area is more
residential, less degraded and, at this late hour, not
crowded. About half the streetlights work; some flicker,
strobing the area, casting odd shadows sporadically about
the very dark scene.
Of the people on the half-full sidewalk, most seem on their
way home. A few linger in the shadowy recesses of buildings.
Jacobs pauses at the top of the stairs, looks around; as if
expecting someone to be waiting for him, then heads up the
street. The further he gets from the station, the fewer
people there are on the sidewalk.
From somewhere, perhaps from the shadow of a building, a
group of four fall-in several steps behind Jacobs. They all
wear loose light jackets, caps, baggy trousers, their heads
angled down as they walk. In the darkness their clothes
obscure their features. They could be young, could be
female, could be male.
One of the four steps ahead and moves closer to Jacobs.
Jacobs senses this, but shows no concern. Rather, he seems
a bit irritated. The person walks a few feet away and a
little behind Jacobs. Neither acknowledges the other. They
could be just two strangers walking in the same direction.
From across the street, because of the darkness, it would be
difficult to see that they were speaking.
JACOBS
Hello, Ronny.
RONNY
Good morning, Adam. How are things
going?
JACOBS
(sarcastic)
Oh, good, really good. Terrific.
RONNY
True?
56.
JACOBS
Yes. Tonight I had a delightful
conversation with a gentleman on
the subway. Very well-spoken,
terrific story-teller, well-armed,
too.
RONNY
Yes, I heard about that.
JACOBS
What?
RONNY
Well, we know about the gentleman
and his two associates commandeering
the train.
JACOBS
Really? How is that?
RONNY
Just behind you, on the left.
Jacobs glances back. One of the three raises his head,
lifts his cap and smiles. It is Black Guy who was sitting
next to Jacobs on the subway car. Jacobs shows surprise,
then turns forward.
JACOBS
Is GP now in the spying business,
Ronny? Do I have to worry about
your people looking over my
shoulder, too?
RONNY
(beat)
You're too valuable, Adam. We're
keeping an eye on you for your own
good. Bader and Eddie have to
sleep sometime. Besides, they,
too, are becoming a bit too high
profile.
(beat)
May I ask what your new friend had
to say?
JACOBS
In short: shutup or die.
RONNY
Very nice.
JACOBS
I thought so.
57.
RONNY
So, what do you plan to do?
JACOBS
(long pause)
Haven't decided. What do you think
I should do?
RONNY
Well, I know it's a heavy
responsibility for you to bear...
JACOBS
Me, yeah, me.
RONNY
Excuse me?
JACOBS
Why me, Ronny? Why is it that I am
the chosen one?
RONNY
(pause)
Come on, Adam. You know the answer
to that.
(glances at Jacobs)
You need some sleep.
JACOBS
Right, yeah.
RONNY
Adam, as far as the Powers That Be
are concerned, we're now eco-
terrorists. Most of us are under
surveillance, others are on The
Possible List, and a few of the
more... formerly active... they're
gone.
JACOBS
Uh-huh.
RONNY
Someone has to be above-board,
visible, still connected, able to
get an audience, no links to GP.
Your military service helps. Most
of our primary people are now
underground.
JACOBS
Yes, well. At least they're alive.
I believe that if I say another
word, you will lose another pawn.
58.
RONNY
You are not a pawn, Adam. You know
better.
JACOBS
Okay, knight, bishop, rook...
regardless, pretty soon I may be
underground, too. Just in a very
different sense.
(beat)
Carl - my subway acquaintance - he
had a terrific sense of humor, but,
for some reason - don't know, it
may have been the big guns - I took
him seriously.
At the name Carl, Ronny looks up, then quickly drops his gaze.
RONNY
Carl? Is that what he called himself?
JACOBS
Yes. Why, have you had the pleasure?
RONNY
Not personally, but I know a little
about him... if it is the same
person. I'll find out.
JACOBS
Right, okay. Give him my regards.
(pause)
Meanwhile, my place is just around
the corner. I'd rather that
whoever, or whatever, they have
watching me doesn't see me in the
company of... eco-terrorists, no
offense.
RONNY
(smiles)
None taken.
(pause)
Get some sleep.
JACOBS
(rolls eyes)
Right, thanks.
Ronny slows, falls back a few steps to join the other three.
They make a left, cross the street and fade into the shadows.
Jacobs continues ahead, makes a right around the corner and
disappears. For a while there is no person; no movement;
just a dark empty street, lights flickering.
59.
A scraggly mid-sized mutt walks around the corner, sniffing
at the ground. Suddenly the dog jerks its head up and
freezes. Eyes wide, but not afraid, it looks in the
direction from which Jacobs had walked. For a long moment
the street dog is a statue.
The person upon whom the dog has fixated nears the corner.
From behind, face unseen, in functional form-fitting black
clothing, with a stride exhibiting control and strength, it
is a tall, physically fit... woman.
As she passes the staring mongrel, she slows and runs her
palm gently across his mangy head and around his face. The
dog's eyes relax with the caress.
The Woman rounds the corner and disappears.
INT. JACOBS' BEDROOM - NIGHT / EARLY MORNING
The flickering streetlights outside filter through the bars
of reinforced windows and heavy shutter-like blinds. From
the building opposite, a NetCom display casts a violet hue
throughout the darkened room.
On his bed, Jacobs, now with a four-day growth of beard, may
be asleep. Then he tosses... turns... and it is obvious
that he is not sleeping. His baggy red eyes open.
JACOBS
Lights.
The bedroom lights go bright and Jacobs reaches for his eyes.
JACOBS
Low! Lights low!
The lighting emanating from the walls dims. Other than the
bed, the chair and a metallic chest-of-drawers, the bedroom
is empty. Jacobs sits up, drags his naked body from the bed
and reaches for a robe which lays across the chair.
Jacobs walks to the drawers on top of which is the polymer-
like tablet he carried earlier. He ties the robe, reaches
for the tablet and heads to the next room.
Just as he leaves the bedroom and enters the living area,
the bedroom lights go dark as the lights of the living room
go on.
INT. JACOBS' LIVING ROOM - SAME TIME
The living room, too, is sparsely furnished; a couch, a
chair, a couple of low tables. A small unused kitchen area
adjoins. An archway at the far side of the mid-sized room
leads to a bath.
60.
The front door is set into a reinforced frame and is further
secured by an illuminated, yellow-green hi-density polymer
bar. The bar extends from a built-up area of the wall to
fit securely into a heavy bracket on the door. A palm-sized
panel glows softly to the right of the door frame.
The totally smooth walls and ceilings emit light. There are
no lighting fixtures. In total, the living quarters seem
sterile; functional, but unadorned.
There is no art, but on the wall facing the couch is a thin
clear panel about four feet wide by six feet in length.
Adjacent is a glass shelf with several computer human
interface devices, including a gray metallic glove.
A square darkened area on the shelf is the same size and
color of the polymer tablet which Jacobs holds. There are
three small and simple brackets at the side and rear of the
square. It is to these that the tablet fits when Jacobs
places it.
The brackets illuminate with a soft green, there is a hum
and the clear display activates with swirling, pixelating
colors. It briefly shows the words "LINUX COLLECTIVE 12"
then goes black. Two narrow bands of light appear at each
side of the display, move to the center and join as one
pulsating band of light.
JACOBS
Activate AI Cerene.
To the upper left in block letters the panel briefly
displays "ACTIVATING CERENE," then goes sky blue. To the
left side colors swirl, pixelate, come together, take form
and there is CERENE, a virtual representation of an
artificial intelligence.
She is not beautiful, but certainly attractive. Her
clothing is elegant and simple. Most unusual are her blue
eyes, which sparkle in an unusual way. When she speaks, her
very feminine voice is deep, pleasant and soothing.
CERENE
Good morning, Adam.
JACOBS
Good morning, Cerene.
CERENE
We are home.
JACOBS
Yes. We're home, now.
Jacobs moves from the display to the couch. Cerene's
luminescent eyes follow his movements. It is clear that
Cerene can see.
61.
CERENE
Adam?
JACOBS
Yes, Cerene.
CERENE
It is very early in the morning.
Shouldn't you be sleeping?
Jacobs gives a shake of his head.
JACOBS
Nice idea, but I'll work a bit.
CERENE
Adam?
JACOBS
Yeeeeees, Cerene?
CERENE
You look very tired. Shouldn't you
sleep?
JACOBS
(rolls eyes)
Okay, okay, that's enough. You are
my most favorite of operating
systems Cerene, but you are not my
mother.
CERENE
(pause)
Adam, you told me to remind you to
sleep when I see that you are tired.
Would you like me to alter that
programming?
Jacobs, pauses, thinks.
JACOBS
No. Thank you, Cerene.
CERENE
Understood.
(beat)
What would you like to do, Adam?
JACOBS
Tectonic Simulation Program 3,
please.
On the display to the right of Cerene, the Earth's tectonic
plates appear in an exploded, flat-map-style simulation.
62.
JACOBS
Show hot spots, please.
At numerous points around the map, pulsating glowing yellow-
orange areas appear: The Mid-Atlantic Ridge, Hawaii,
Iceland, New Zealand, Africa, Japan, Washington State,
Oregon, in the oceans, etc, etc...
JACOBS
Okay... let's go with Africa.
CERENE
Which site?
JACOBS
I don't know, pick an interesting
one.
CERENE
Selecting... Mount Nyragongo...
The Africa Plate fills the screen, then the Congo, then
Mount Nyragongo.
CERENE
Statistics?
JACOBS
Go with ambient surface, averages
the last five years, then repeat at
subterranean. We'll start at 1000
feet, then progress at 500-foot
intervals. Do that runthrough five
times, then we'll start projections.
CERENE
Oral or text.
JACOBS
Text, please.
At the right of the screen, in a contrasting white font,
dates, coordinates, measurements, temperatures and other
statistics begin to scroll. Cerene seems to be actually
looking over to the other side of the display to read the
statistics. Jacobs' eyes move from the text to watch Cerene
doing this a moment, then back to the text, then back to
Cerene.
JACOBS
Cerene?
CERENE
(turns to him)
Yes, Adam?
63.
JACOBS
Full-screen please.
Cerene immediately disappears and the geological images and
data expand to fill the screen.
CERENE (OS)
Yes, Adam.
JACOBS
Thank you, Cerene. Begin data
again, please.
The data rolls back to the beginning and restarts. Jacobs
pulls a pillow to his chest, stares at the images and numbers.
Outside, through the barred glass, 10 stories down on the
dark, now empty street, a figure moves in the shadows.
INT. JACOBS' LIVING ROOM - LATER
Perhaps an hour has passed and Jacobs' heavy eyelids are
dropping. They fully close, his head nods to the side and
his torso falls to the couch. The rolling data on the
display stops and Cerene reappears. She is looking at Adam.
While watching him sleep, she speaks.
CERENE
(soft whisper)
Save program.
The geological images and data disappear to be replaced by
the blue background.
CERENE
(soft whisper)
Sleep, Adam.
Cerene vanishes. The blue background becomes black, the two
pulsating lines appear at each side, move to the center and
join. It is silent...
INT. JACOBS' LIVING ROOM - LATER
Perhaps two hours have passed. It is pre-dawn; still dark
outside, but perhaps showing some light.
Jacobs is now in a fetal position on the couch, hugging the
pillow, sleeping badly. He may be having nightmares,
mumbling, tossing and turning.
The band of pulsating light remains on the display. The
screen goes blue and Cerene reappears, looking at Jacobs.
CERENE
Adam...
64.
He mumbles, contorts on the couch.
CERENE
(a little louder)
Adam...
(a little louder)
Adam...
(a lot louder)
Adam!
Jacobs bolts upright, confused.
JACOBS
Wha... wha... What?
He looks around, spots Cerene.
JACOBS
What is it Cerene?
His hands go to his head and he looks at the floor.
CERENE
Some... one is at the door.
JACOBS
(looks up - fully attentive)
Did they knock?
CERENE
No.
Jacobs is now alert, wary. He rises, walks towards the
kitchen and, while passing the display, he speaks to Cerene.
JACOBS
(whisper)
Hibernate.
Cerene disappears and the screen goes black.
Jacobs enters the kitchen area, his hands drop out of sight
to a drawer. He comes out with a nine-mm semiautomatic
Glock pistol, vintage 2000. He cocks it.
He walks close to the front door, passes a hand over the
glowing panel to the right. The door becomes transparent
and there stands... The Woman. She is waiting, not seeing
Jacobs as he studies her. It is clear that the door, no
longer opaque inside, is still a solid door outside, like a
two-way mirror.
Jacobs moves very close to the door and the woman. For a
long moment, with considerable puzzlement, he examines the
beautiful, amazon-like person standing just inches away from
him. She looks into his eyes and smiles.
65.
Jacobs gives a surprised start, leaps back a step, raises
the gun. He catches himself, lowers the gun and moves back
nearer the door.
JACOBS
Door-com open.
There is a 'beep' and a slight buzz emits from around the
door.
JACOBS
Can I help you?
The Woman smiles, pauses before answering.
THE WOMAN
I am not sure.
Through the intercom it seems The Woman has an accent.
JACOBS
What do you want?
THE WOMAN
To talk.
JACOBS
About what?
The Woman pauses, smiles.
THE WOMAN
The end of Earth.
Jacobs' eyes narrow, he pauses, like he's thinking long and
hard. He touches the illuminated glass-like bar across the
door. It goes from yellow-green to clear and slides
smoothly from the fitted reinforced socket on the door. He
moves the pistol behind his back.
JACOBS
Open.
The door slides into the frame. The Woman stands there.
JACOBS
(not friendly)
You want to talk, come in.
Jacobs steps back, the weapon still held behind him. The
Woman enters, not bothering to look around the room. Jacobs
gestures to the couch with his free hand. Jacobs leans
outside to take a quick look; first left; then right. He
reenters, the door slides shut. Jacobs touches the bar, it
slides, again locks into place and glows yellow-green.
66.
JACOBS
Have a seat.
The Woman strides smoothly across the room. He watches her,
wary but, unavoidably, impressed. He follows her, waits for
her to sit, takes the chair. Bringing the weapon into view
he lets it rest on the arm of the chair.
THE WOMAN
What is that for?
Though her English is perfect, she has an unusual accent.
Not British, not Hispanic, not French, not Scandinavian...
JACOBS
Sorry, I'm not accustomed to having
guests.
(long pause)
And... you wanted to talk about the
end of the world.
THE WOMAN
Yes.
JACOBS
Well, let me ask you something,
first.
THE WOMAN
Yes?
JACOBS
Who are you?
THE WOMAN
I am... a friend of a friend.
JACOBS
(pause)
And I just bet you are not going to
tell me what friend that may be,
right?
THE WOMAN
That's right.
JACOBS
Of course. That would be much too
simple.
(pause)
What about your name? Would you
care to tell me your name?
THE WOMAN
Jane.
67.
JACOBS
Jane?
JANE
Yes.
JACOBS
Like: Jane Smith?
JANE
Yes. Like that.
Jacobs nods his head, as if this makes perfect sense.
JACOBS
And your accent. English is not
your first language?
JANE
No. Not my... first.
JACOBS
Your second?
JANE
No. Not my second.
JACOBS
(shrugs)
Okay, I'm done. Go ahead.
JANE
I don't understand.
JACOBS
You wanted to speak to me about the
end of the world. You have
questions about my work?
JANE
No. No questions.
Jacobs rubs his stubbled face.
JACOBS
Then you would like to say something?
JANE
Yes. You are right.
JACOBS
(skeptical)
I'm right...
JANE
Yes.
68.
JACOBS
I'm right about what?
JANE
Your theories are correct.
JACOBS
How do you know this? Are you a
scientist, a researcher?
JANE
I am a... researcher.
JACOBS
I would ask what kind and with what
institution or business, but you
wouldn't tell me, would you?
JANE
(smiles)
No.
JACOBS
But you have heard of my theories
and you believe them to be correct?
JANE
Yes... But they are also wrong.
JACOBS
Excuse me?
JANE
If it is allowed to happen, it will
happen much sooner than you have
estimated.
JACOBS
You base that conclusion on... what?
JANE
Other... studies.
JACOBS
(skeptical)
Other... studies. I see.
(pause)
I didn't know there were... other
studies.
JANE
Yes, Adam. Very soon the Earth
may... cease. You must keep trying.
You must succeed.
JACOBS
And how is it you came to me?
69.
JANE
You are a part of... my job.
JACOBS
(long pause)
Right... well then, thank you for
your support. Will you excuse me a
moment?
Jacobs gets up, holding the gun at his side.
JACOBS
I'm going to pause a moment to...
use the restroom. Make yourself
comfortable.
Shaking his head a few times, Jacobs heads to the archway at
the other side of the room.
INT. BATHROOM
The bathroom is something like what might be found on an
airliner; not much bigger, all steel and unbreakable glass,
with a few unusual apparatus and utensils. Jacobs is
washing his hands. He pauses to examine his haggard,
grizzly, beat-back face in the mirror. That is when he
hears the voices; female. At first he appears unsure. He
moves his ear closer to the door.
Now he is sure of it. Two female voices.
JACOBS
Open.
The door recesses into its frame, Jacobs eases out.
INT. JACOBS' LIVING ROOM
He creeps down the hall, step-by-step trying to figure it
out. He rounds the corner to see... Jane standing at the
display, the finger tips of one hand touching the screen,
talking quietly with Cerene. The real and the virtual women
stop speaking before he can make out a word. They turn and
as Jane removes her hand from the screen, for an instant it
seems as if Cerene's virtual hand extends out, finger tip to
finger tip with Jane. Jacobs blinks hard, opens his bleary
eyes and the impossible vision is gone.
JACOBS
How the hell did you...
JANE
Adam, you need to sleep.
Jacobs ignores this and slowly turns to Cerene.
70.
JACOBS
Cerene, how were you activated?
Cerene doesn't answer right away, but looks at Jacobs.
CERENE
Adam, you need to sleep.
JACOBS
(a little angry)
Shutdown AI Cerene.
Cerene disappears. He turns to Jane.
JACOBS
How did you turn her on?! That's a
personal program.
JANE
You told me to... make myself
comfortable.
JACOBS
Yeah, comfortable. Like sit on the
couch, make yourself a drink, not
open a locked AI operating system
that responds only to my voice
print. How did you...
JANE
That is not important. You must
continue your work. You have to...
fight.
She is moving closer now, slowly.
JACOBS
What is my work to you and what...
She is now inches away, her beautiful eyes closing on him,
wrapping around him, taking him away... he is like prey
frozen by the stare of the predator. Her hand reaches for
his head, her palm caresses down the side of his face...
JANE
Now, though, you must sleep.
INT. JACOBS' BEDROOM - DAY
Sun pierces the blinds, playing across Jacobs' still
scraggly face. After a while his eyes flutter open. He
gives a stretch then, remembering, he jumps to his feet,
naked.
JACOBS
Lights-all-bright.
71.
Lights throughout the entire apartment go bright as Jacobs
heads out. He moves through the few small rooms looking for
anything, or anyone, out of place. Finding nothing, he
starts for the computer... then he sees the front door.
The illuminated bar is back, securing the door from inside.
Confused, he faces the display, arms crossed, still naked.
JACOBS
(agitated)
Activate AI Cerene.
The black display goes blue and there is Cerene.
CERENE
Good afternoon, Adam.
JACOBS
(stern)
Cerene...
(beat - softer tone)
Did you say afternoon? What time
is it? How long did I sleep?
CERENE
It is 4:32, p.m. and 21 seconds. I
do not know how long you have slept
because you fully deactivated me.
But I was shutdown for 12 hours, 44
minutes and 53 seconds.
JACOBS
Twelve hours! Jesus Christ!
CERENE
Did you sleep well?
JACOBS
Forget that. What did you and that
woman talk about last night?
CERENE
You.
JACOBS
Explain.
CERENE
She asked me how you were.
JACOBS
What?
CERENE
She asked about your health.
72.
JACOBS
(incredulous)
My health?!
CERENE
Yes.
Jacobs, arms crossed, displaying full frontal to Cerene, now
notices that her electronic eyes are playing up and down his
naked body. His eyes waver, then, abruptly, he turns.
JACOBS
I'm going to take a shower.
He heads out fast, then stops, wraps his crotch in his hands
and returns to face the display.
JACOBS
But how did she activate you?
CERENE
I don't know, Adam. I woke up from
hibernation and she was there.
Jacobs nods, obviously not able to figure it out. He slowly
turns back to head to the bath.
CERENE
Adam?
He stops, turns only his head, his hands covering his crotch.
JACOBS
What?
CERENE
Why are you holding your penis?
He pauses, eyes wavering, like he, too, is trying to figure
that.
JACOBS
Nevermind.
Jacobs hurries off.
INT. JACOBS' LIVING ROOM - LATER
Jacobs heads into the room in a fresh robe with a clean
towel around his neck. His hair is still wet, combed back
and, for the first time, he is clean shaven. The bags that
were under his eyes are gone. He is a man transformed; very
handsome.
He enters the kitchen area, takes a container from the
refrigerator and drinks as he heads to the living room.
73.
JACOBS
Cerene.
CERENE
Yes, Adam.
JACOBS
Are you quite certain that you and
that woman... Jane, spoke only of
my health?
CERENE
Yes, Adam.
He pauses and looks into Cerene's virtual eyes. It is like
he is trying to read her, as if she were a human.
JACOBS
Very well, then, please scan call
logs and...
CERENE
Adam.
JACOBS
Yes?
CERENE
I'm sorry for interrupting, but
Jane left something for you.
JACOBS
What, what do you mean?
CERENE
On the table.
Jacobs turns around and there on the table near the couch is
a small rectangular metal-like object, about half the size
of a credit card. He walks over, as if a bit wary, and
picks it up. He examines it and looks now to Cerene.
JACOBS
Do you know what this is?
CERENE
No. Only that it appears to be a
data card.
He walks closer to Cerene, thinks, makes a decision.
JACOBS
Cerene, shutdown all background
programs, backup all data,
including your own system codes and
memory, please.
74.
CERENE
Executing...
(pause)
Complete.
JACOBS
Alright, Cerene, we are going to
take a chance on your friend and
install. But I need you to be
prepared to shutdown at the first
indication of a bug. Understood?
CERENE
Yes.
Jacobs moves to the CPU, opens a port, inserts the chip.
CERENE
Accessing... program.
An electronic hum, Cerene's eyes flutter, her image blurs.
CERENE
Ohhhhhh...
(voice now deep,
slowed, man-like)
Pro-gram ac-ti-va-ting...
Jacobs looks worried. Cerene disappears, the blue screen
goes black, the band of light returns, but this time distorted.
JACOBS
(worried)
Cerene... Cerene... Cerene!
The band of light stabilizes, the screen goes blue and
Cerene returns, now speaking normally.
CERENE
Yes, Adam?
JACOBS
You okay?
CERENE
Yes, very well, thank you.
(pause)
The program is... very unusual.
JACOBS
How so? What is it?
CERENE
I do not believe there is an
appropriate designation.
75.
JACOBS
Best guess. Give me the closest
association.
CERENE
Accessing libraries... Nearest
association would be... what is
called... a breacher worm.
Jacobs appears a little shocked... and very interested.
JACOBS
What level?
CERENE
(beat)
There appears to be no level. The
program is very sophisticated.
JACOBS
What's the source? Is it signed?
CERENE
Source... unknown. No signature.
JACOBS
Naturally.
CERENE
(beat while Jacobs thinks)
Adam, this program, it is illegal,
correct?
JACOBS
Yes, yes it is, Cerene. Very.
CERENE
I see.
JACOBS
Cerene, I'm going to ask two things
of you. One, dissociate yourself
completely from this program. It
will not activate you and you will
in no way interact with it. Two, I
want you to sleep a while. Do you
mind?
The AI actually seems to think about this.
CERENE
No. I don't mind. I know you are
doing this to protect me.
JACOBS
That's true, Cerene. Please sleep.
76.
Cerene closes her eyes, her figure turns to colors, disappears.
JACOBS
(long pause)
Encrypt call. Call E, call B, open
channels.
Rather than ringing, two separate tones sound intermittently.
A window within the display opens and there is Bader.
BADER
Everything okay?
A second window opens and there is EDDIE, the 'Camo Man,'
last seen in Central America. He is about 30, sharp, healthy.
EDDIE
Doc, what can I do for you?
JACOBS
New data, and a lot of it. Signal
the full group, ASAP a meet. When
it's set, burst signal me on time
and place.
BADER
Will do.
EDDIE
Roger that.
JACOBS
Good, thanks, see you soon.
The windows close. Jacobs thinks hard, makes a decision.
JACOBS
Activate AI Milo.
The display shows "ACTIVATING MILO." This time the display
background goes from black to dark gray, instead of sky blue.
Colors form to a shape at the left side of the screen and a
very different AI virtualization materializes. This is a
man of dark complexion. He wears an elegant suit and,
though he is handsome, there is a shark-like quality to the
face. His voice is moderately deep, neutral, a little
menacing.
MILO
Adam.
JACOBS
Milo. How are you?
MILO
Good. It has been a long time.
77.
JACOBS
Yes, it has. Milo, we have a new
program.
MILO
Yes, I see it.
JACOBS
Do you know what it is and
understand it?
MILO
Yes and yes.
(beat)
It is a dirty little piece of work.
JACOBS
Is that okay with you, Milo?
MILO
Yes. It looks like... fun.
JACOBS
That's good to hear. Milo, do you
think this program would be capable
of accessing external high security
networks?
MILO
Scanning... checking libraries...
yes.
JACOBS
How high security?
MILO
Very high security.
JACOBS
(more excited)
Do you see any potential ceilings?
Any walls?
MILO
Checking... checking... no.
JACOBS
Alright, Milo. Attempt access...
lets see, staff personnel roster,
Washington, D.C. office of DARPA.
Immediately the screen to the right of Milo goes white, the
DARPA logo appears, fades and then: "DARPA-NET - D.C. UNIT -
PERSONNEL FILES - EXEC ADMIN - EYES ONLY." Photos, names,
ranks, titles and statistics of personnel begin to scroll
down the screen.
78.
JACOBS
(amazed)
I'll be damned...
Milo looks over at the data, then back to Jacobs.
MILO
Yes. You may be.
INT. JACOBS' LIVING ROOM - DUSK
Alone, his virtual hands crossed in front of him, Milo faces
out from the screen with a look of contentment. To his
left, countless windows continuously flash open and close on
the display. Most documents are headed by some sort of
official seal of government, military and law enforcement.
Continuously popping up among the mind-boggling reams of
data are the words "SECRET," "TOP SECRET," "CLASSIFIED,"
"CONFIDENTIAL," "EYES ONLY." Among these documents are
fast-gone images of oil rigs, factories, erupting volcanoes,
polluted oceans, wasted forests, riots in city streets.
Jacobs rounds the corner from the bedroom buttoning the
sleeve of a rugged black shirt. His clothing is different
now. All black, very functional. His shoes are almost
boot-like, with a thick, high traction sole. His look is
sleek. This is a Jacobs very different from the weary,
disheveled, beaten-down man of before.
JACOBS
How's it downloading Milo?
MILO
Good. Very good. We are receiving
a great deal of data and... we are
improving.
JACOBS
Who is improving?
MILO
I am. Cerene is.
JACOBS
What do you mean?
MILO
Upgrades. There are upgrades we
never knew existed. The access
is... delicious.
Jacobs gives Milo a look, wondering if this is a good thing.
JACOBS
That's great. But careful of Cerene.
79.
MILO
I am, Adam. I am shielding her. I
know you would not want her code to
be... corrupted
JACOBS
Uhhh... thanks.
(beat)
What about the data? Are you
finding everything?
MILO
Yes. Everything and more... much,
much more.
JACOBS
Access to Earth images? Have you
been able to tap satcom-surveillance?
MILO
Yes. And other systems. You will
be happy with this, Adam. You have
a lot to learn.
JACOBS
That's good. Give it another five
minutes, then we need to relocate.
In transit, assuming you can
maintain wireless, keep working
and...
Milo's virtual head jerks to the side as if a jolt of
electricity just shot through him. His image blurs
momentarily and the data download freezes. Jacobs see this.
MILO
Da-Da-Adam...
JACOBS
What is it Milo? What's wrong?
MILO
Ping. I've been pinged.
JACOBS
(concerned)
Tracer? Is it a trace?
MILO
Yes. Blocking... blocking. Ping
terminated.
(beat)
I really don't like that.
JACOBS
Did they lock on? Did they ID you?
80.
MILO
Indefinite. The signal was cloaked.
JACOBS
Cloaked? Could they have located
you before you caught it?
MILO
Accessing logs... decoding...
probable. The trace routed from a
DIA server. We completed that
download and terminated that link
19 minutes, 57 seconds ago.
JACOBS
Shit! Milo, close all links...
Behind and around Milo the screen goes blank gray. Jacobs
starts to move from the room towards the kitchen.
JACOBS
Save all data, including codes.
Backup to the remote host.
He is in the kitchen retrieving the nine millimeter pistol
when he hears it: a high-pitched mechanical whining and
whirring, getting louder fast.
Just outside the window in the waning sunlight, 10 floors
above the street, a strange device jets into view and stops.
About four feet high, the machine hisses. It is a silver
glass-like sphere adjoined to a high-speed turbine with a
small gun turret mounted beneath. Small jets occasionally
spit from the side to fine tune its hovering flight. A
coin-sized port opens and a lens is exposed. It glows red
then goes very bright.
A violet laser-like beam slices into Jacobs' apartment. He
drops behind the kitchen counter. The light flattens to
razor width, then expands vertically to fill the room floor
to ceiling. The light begins to sweep along walls and
furnishings, tracing every shape inside; mapping out the
interior. After the light passes Jacobs' position, he looks
around the corner. The red beam moves beyond the computer
display, beyond a frozen Milo, stops and returns. It
settles on the polymer tablet, the CPU.
Jacobs braces himself and bolts. He is reaching for the CPU
when the beam picks him up. Jacobs grabs the CPU, Milo
disappears, the display goes clear, the airborne machine
pivots quickly, emits a loud hiss, a turret swings and the
scanner drone opens up with screaming high-speed automatic
weapon fire.
Outside, precisely following Jacobs as he runs from the
room, a thousand bullets chew into the windows and spent
shells fall away from the drone... but the glass holds.
81.
The bullets do no more than chip the reinforced plastic-like
windows. The rounds bounce off, flatten, fall, never
breaking through. Jacobs disappears around the corner to
the bedroom, the drone exhausts its magazine and the gun
runs dry... click-click-click-click. The hovering machine
fires a small jet and backs up a few feet. It is as if it,
or perhaps its controller, is trying to figure out why the
weapon failed to pierce the glass.
INT. JACOBS' CLOSET - SAME TIME
Holding the CPU Jacobs quickly enters the bedroom closet.
He pulls clothing to the side, kneels to a strongbox and
begins working an electronic lock.
CUT TO:
INT. HALLWAY OUTSIDE JACOBS' UNIT - SAME TIME
Outside of the unit designated 1001, the hall is extremely
stark, as if everything is made of glowing white plastic;
floors, ceilings, walls. Atop each of the two adjacent
high-tech elevators the two digital displays are showing the
same increasing numbers: 5-6-7-8-9-10. Both elevators open.
A ten-man armored assault team piles out and surrounds
Jacobs' door. Last to exit the elevator, taking his sweet
time, is Carl, now in a gray coat and matching fedora.
Two of the team members are attaching a disk-like object to
Jacobs' door. They finish, back up and the team takes cover
against the wall on either side of the apartment door. Carl
reverses a couple of steps, flattens against the wall and
turns.
CARL
Blow it.
BA-BOOM! Carl steps back and squints through the smoke.
His eyes register some surprise. The team stands there,
lined up, weapons raised, ready to charge, but confused.
They lower weapons. The door is missing some finish, now
lacking some white coating where the disc was attached.
Underneath the coating is a gray material. Carl's second in
command, JOHNSON, kneels, touches that spot.
JOHNSON
What the hell... what is this thing
made of?
CUT BACK TO:
INT. JACOBS' CLOSET - SAME TIME
Jacobs is moving fast, but keeping his cool. From the
strong box he has grabbed a couple of smaller items, perhaps
holstered instruments or weapons.
82.
He stands and from the hanging clothing he takes what looks
like a large, bulky, heavily padded motorcycle jacket made
of a synthetic black material. He picks up a cane-like
metal rod, looks to the ceiling, extends the cane and knocks
a panel loose. Jacobs throws the rod up into the ceiling
space.
CUT BACK TO:
INT. HALLWAY OUTSIDE JACOBS' UNIT - SAME TIME
The team finishes attaching two more disc charges to Jacobs'
door. They again take cover, this time much further back.
Carl also steps further back and flattens against the wall.
CARL
Blow 'em.
BA-BA-BOOM-BOOM! It's a few moments before the dust clears.
CUT BACK TO:
INT. JACOBS' CLOSET - SAME TIME
Jacobs' feet disappear into the ceiling. The ceiling panel
slides back into place.
CUT BACK TO:
INT. HALLWAY OUTSIDE JACOBS' UNIT - SAME TIME
Carl is in the center of his men looking at the door, which
shows a few more scratches where the blaster discs were.
The team now just stands there, not sure what to do with
themselves. Carl seems very interested in the material.
CARL
This sort of thing should be illegal.
JOHNSON
Are we sure the drone didn't get him?
Carl gestures to one of his men, the COMM MAN. Comm Man
touches a small lighted pad on his armored jacket.
COMM MAN
Control, this is team.
CONTROL VOICE (OS)
Go ahead, team.
COMM MAN
Checking status of scanner drone.
CONTROL VOICE
No joy, team.
83.
Out of the corner of his eye, Carl notices that the floor
indicator numbers on one of the elevators is changing. He
turns. The number is ascending: 11-12. It stops at 12.
Carl watches the glowing number.
COMM MAN
Was target acquired?
CONTROL VOICE (OS)
Affirmative, team. Acquired,
sighted and attacked. Drone weapon
did not penetrate target site. The
windows were reinforced...
bulletproof.
JOHNSON
Jesus. This guy is paranoid.
Now Carl sees it. After stopping at 12, the elevator is
moving again... going up: 13-14-15-16...
CARL
Bastard.
Carl presses the elevator call button, the door opens. He
enters, presses the top button, 50. The door begins to close.
CARL
Get some more blasters. Blow the
walls. When I get back I want to
see a hole big enough to fly a
grinder through.
EXT. BUILDING ROOFTOP - SUNSET
Visibility is limited, the wind is howling, the dropping sun
has the flowing smog of the city lit up like a lava lamp.
Everything is cast in a red-orange hue.
Jacobs is making his way across the rooftop. He wears the
bulky jacket, still open. He slides the CPU tablet into a
fitted internal pocket in the jacket's breast. He seals
that pocket, joins the front and begins to fasten and pull
tight straps and clamps.
The roof is jammed with numerous large, noisy, rumbling
machines; A/C units, filtration devices, water circulators.
Jacobs is about 25 feet from the side of the building.
CARL
It's a long way down, Doc!
Jacobs spins. Through the blasting, mud-thick toxic air, he
sees the shape of Carl approaching, about 50 feet away. He
advances with a new model handgun aimed at Jacobs. The men
must yell to be heard above the howling wind and machinery.
84.
CARL
I did some more checking on you. I
didn't know you served when you
were a youngster. Force Recon,
four years, saw some action, too.
That the usual deal for an MIT
egghead?
JACOBS
What can I do for you, Carl?
CARL
Tell you what; hand over the CPU
and we'll call it even. I won't
splatter your brains. Hell, I
might even give you a head start.
(beat)
Consider it a favor, one jarhead to
another.
JACOBS
No, thanks, Carl.
CARL
Well, I don't know what other
option you got. You might've been
a tough, hard-charging little
junior officer, sir, but I don't
think you'll survive that drop.
Carl is moving, Jacobs is backing up. Squinting, eyes
watering in the swirling pollution and blasting wind, Carl
is trying to hold the weapon steady, get an accurate read on
Jacobs' position.
JACOBS
I appreciate your concern, Carl.
But I'm not planning on hitting the
ground.
CARL
What are you going to do, fly?
Now Carl is getting close enough to make out Jacobs' gear
through the haze. Jacobs backs up, pulls a chest panel from
the jacket and there is a locked down cable and grip.
Carl's eyes go wide as he realizes... Jacobs turns and
sprints for the edge of the building, Carl sprints after him
firing the full auto pistol... TET-TET-TET-TET-TET... its
too late. Jacobs goes over the side.
Carl holds up at the edge of the roof, looks down, gun at
the ready. Then he spots him. Still in controlled free
fall, all black, Jacobs' body disappears into the haze and
shadows.
85.
Below, perhaps 200 feet from the ground, in the howling 120-
mph free-fall wind, Jacobs pulls the ripcord. The back of
the jacket tears away, the chute deploys and an advanced,
highly maneuverable black canopy system snaps open. Jacobs
slows to a gentle float, rips away two more jacket panels,
grips and breaks free the navigation cables.
Jacobs guides the silent chute past one building with its
NetCom display, turns, passes another building with a NetCom
display, turns, passes another building, turns again. He
spots what may be a predetermined landing zone: a ledge 12
feet over the crowded sidewalk. Now he lets up on the
cables and descends fast. Just above the ledge, he pulls
hard at the cables, brakes the chute and lands standing.
From the reinforced jacket he yanks a single release cable
and strips off the chute apparatus; the frame, cable and
straps. He walks to the ledge, hangs over and drops to the
sidewalk. His parachute descent unseen, when he hits the
sidewalk nobody gives him a second look.
Jacobs becomes one of the crowd just as five scanner drones
whir in and begin moving above the darkened street. Jacobs
notices them, looks down, pulls a cap from his back pocket,
puts it on and walks away fast.
For the drones -- zipping frantically to one side of the
street, dropping, scanning unhappy human faces with red
beams, moving to the other side of the street, scanning...
too many people.
High above, from the perspective of one drone, the entire
scene is jammed with moving humanity and NetCom advertising
displays. Jacobs descends the subway stairs.
INT. HALLWAY OUTSIDE JACOBS' UNIT - SAME TIME
The elevator door opens and an unhappy Carl exits. There is
now a man-sized hole in the wall adjacent Jacobs' front
door. The Comm Man is in the hall.
COMM MAN
It took four charges. The goddamn
wall was almost as strong as the
door.
(pause)
Did you get him?
Carl ignores the man and enters the apartment.
INT. JACOBS' LIVING ROOM
The team is going through the place, but there is really
nothing to go through. Johnson is standing at the blank
display.
JOHNSON
Did you get him?
86.
Carl whirls on the man and goes nose-to-nose.
CARL
Fuck you, trooper!! I'm not here
to answer your fucking questions!!
That soldier and the others in the room snap to attention.
JOHNSON
Understood, sir!
CARL
Are we clear, soldier?!!
JOHNSON
Clear, Sergeant Major! Crystal
clear, sir!
CARL
(backs off - cools down)
At ease.
The soldier relaxes, a little.
CARL
Anything?
JOHNSON
No sir, nothing. He went out
through the closet ceiling. He had
grips built into the interior
steelwork leading to the elevator
service access. Probably why he
took an unit next to the shaft. In
the closet we found a strongbox,
open and empty. The CPU is gone.
Nada.
CARL
The drones pick up anything?
JOHNSON
Negative, sir.
CARL
Figures. That would be way too
fucking easy.
A tone sounds. Carl moves away from the other soldiers.
From his collar he takes an earpiece, puts it in his ear,
raises his wrist, speaks to the inaudible caller.
CARL
Yeah? ... Negative. ... No. ... No,
he took it. ... I understand. ...
I'll get him. ... I said, I will
get him.
87.
Carl terminates the call. He gives a disgusted look around
the room and exits through the hole.
INT. CHURCH ADMINISTRATION BUILDING HALLWAY - DAY
The hall is empty. The sound coming from some room,
somewhere, is music... Gregorian chants. The Catholic
artwork and artifacts placed throughout the hallway are
genuine, but seem somehow out of place; affixed to what is
clearly a modern, very expensive fortified corridor.
The massive high-security doors at the end of the hall, the
doors that separate this disguised fortress from the outside
world, are sealed shut. Then, with a mechanized sound
something like a huge vacuum releasing, the doors drop in
their frame about two inches then swing outward. Blinding
light spills in and fingers of smog reach inside around the
massive door frame. There is no sound outside, but the
musical chants from within seem louder.
From what is a wall of light beyond the door, Jane emerges
into the church compound.
INT. BISHOP'S OFFICE
In the dim room Bishop Carmel is at his desk, dressed
formally in Catholic garb. But he does not seem to be
readying for mass, or any holy function. He touches links
on the thin computer display, reviewing numbers, fiscal
spreadsheets. On his expensive desk is a fine china tea
set, to the right of which is a decanter half-full of
liquor, perhaps cognac or brandy. He sips delicately from a
small cup, reviews the income figures.
The door to his office quietly opens. Jane steps inside.
Carmel doesn't hear her, he senses her. His head raises.
At first he says nothing, just stares into the not-friendly
eyes of the uninvited, rather formidable-looking female
visitor. His hand is already slipping to the side of the
desk, pressing the button, pressing again, again.
CARMEL
(Spanish - subtitled)
Who are you? What do you want?
Jane doesn't answer immediately. She looks down at Carmel,
as if studying a particularly unattractive insect.
JANE
(perfect Spanish - subtitled)
I want you to walk with me.
CARMEL
How did you get in here?
JANE
I want you to walk with me.
88.
Carmel isn't sure how to respond. He stares back, as if
something about those words bother him.
CARMEL
(hereafter English)
Oh, absolutely. I'd love to stroll
with you. But first I need to know
who you are, how you got in here
and what you want.
Jane takes two steps towards Carmel, stops, thinks.
JANE
(hereafter English)
I am a friend of... Dr. Jacobs. I
walked into here. I want you to
come with me.
At first Carmel is nonplussed, then a look of recognition
comes over his face and he is visibly relieved.
CARMEL
Jacobs?! Dr. Adam Jacobs, the
gentleman that was here with the
fanciful report and his little
photos?
(smiles)
You will have to excuse me, but I
said all I wished to say to Dr.
Jacobs. And I certainly have
nothing more to say to any of his...
acquaintances. Now...
JANE
I have things to say. Things to
show you.
CARMEL
I do not know how you got in here,
but security...
(frowns at still
empty doorway)
...will be here momentarily and
you, and Dr. Jacobs, may find
yourselves in a great deal of
trouble. I suggest you leave
immediately.
Carmel looks again beyond Jane to the door, again pushing
the button, showing increasing irritation and concern.
JANE
He asked you for help. He asked
you to consider what you have done
wrong for so long.
89.
CARMEL
If you are referring to the dead
issue of contraception, young lady,
that has been the policy of the
Church for thousands of years.
Even if I wished to make some
statement, I am one man. I would
make no difference.
(smiles)
Perhaps you should take your
concerns to The Holy Father.
JANE
Who?
CARMEL
(rolls eyes)
The Pope.
JANE
No, it is not he that controls
this. For very long it has not
been him or those that came before
him that control this. It is you
and your... friends.
CARMEL
(beat - more concerned)
I do not know what you are talking
about.
JANE
Yes, you do.
Jane walks to the desk. Carmel is pressing, pressing the
button. She reaches, Carmel stands up fast and backs away,
she touches a finger on the display and slowly pivots the
screen.
She presses successive links, rapidly bringing up a stream
of images, multilingual memos and financial data; dates,
cities, millions upon millions upon millions of dollars...
Within seconds, she has flipped through reams of data.
Jane grabs the computer display and rips it from the desk,
wiring trailing behind. She slams the display to the desk
smashing it to pieces. Slowly, she turns back to a frozen
Carmel. He makes an ineffectual dash for the door. In a
fast step she is on him, her hand clamping down hard on his
shoulder.
INT. CHURCH ADMINISTRATION BUILDING HALLWAY
A distressed Carmel walks ahead of Jane.
90.
CARMEL
Very well, very well, then. I will
bring the matter to the attention
of the counsel. Naturally, I could
not guarantee anything. You must
know, we believe that contraception
removes God from the act of
procreation.
They walk, Jane seeming to ignore him.
CARMEL
Why can't you understand this?
This is our policy... our faith.
(beat)
The sexual act without the
possibility of procreation is
sinful.
(beat)
Fertility is a gift from God and
cannot be withheld.
(beat)
Man was put on this earth to be
fruitful and multiply. This is
God's will.
JANE
(long pause)
Humans took hold, developed
intellect and science, but not the
will to care for what they were
given.
(beat)
Humans were meant to share this
planet, this gift. Now those like
you help to smother it. You
eliminate other species through
greed, cruelty, waste and
thoughtless propagation.
CARMEL
Are you a child?! You are speaking
Greenpeace nonsense! Wake up! Of
course humans are ruining the
planet. Of course humans kill! Of
course humans destroy! That is
what humans do! That is why they
are so... so... unworthy.
(beat - reconsiders)
They must be... saved.
JANE
Perhaps it is the leaders who are
unworthy.
91.
CARMEL
And what would you have me do?!
What are we to do?! What? Are we
to ignore our scriptures?
Jane is perhaps deciding if it is even worth answering.
JANE
Your scriptures were written by
men. Men who wished to grow and
make more powerful their own...
tribe.
Carmel realizes where they are heading and he becomes more
desperate. He looks back as he walks forward.
CARMEL
But without scripture there would
be chaos. We give them laws by
which to live. And we do it to
serve God.
Jane reacts to this, eyes narrowing, jaw tightening.
JANE
You perverted what should have
been. You are now the moneychangers.
They are nearing the door and Carmel sees the light. He
knows now that the doors are open and panic shows on his
face. He whirls around, as if to make a stand.
CARMEL
You can't force me to go out there!
I will not go out there!!
Jane moves in on Carmel.
EXT. CHURCH ADMINISTRATION BUILDING
Carmel flies out the door, stumbles and lands hard on the
cement. His scuffed face rises from the ground and he looks
up. Looking back is what seems a thousand faces.
Carmel recoils, stands, attempts to return to the building.
But there is Jane. To each side of them are the guards, in
their positions, but slumped to the ground, unconscious or
dead. The buffer zone is gone. There is nothing but heat
and toxic air surrounding a sea of filthy, hopeless humanity
and broken automobiles, dead where they stopped on the street.
Carmel looks at the rotting scene with horror. He begins to
gasp, as if hyperventilating. He turns to Jane, pleading.
CARMEL
Please, please, I can't breath.
Let us go back inside. I will help.
92.
Jane places a hand on Carmel. He turns to look out over the
scene of chaos and degradation that awaits him. He begins
to stumble forward into the crowd. The people give way,
barely.
In tattered clothes, with filthy faces, gaping holes where
teeth should be, human organisms observe this oddity; a
well-fed man of The Church in fine clothes with perfect
teeth, clear skin, manicured nails.
JANE
Come, Bishop. Let us walk among
your flock.
Jane behind, Carmel slowly enters a sea of hopelessness.
EXT. DECAYED CITY STREET - DUSK
Surrounded by wasting buildings and humanity, with his CPU
tablet under arm, Jacobs makes his way down a crowded street.
He keeps his head down, but glances up, warily surveying the
area. Above, a NetCom display beams its incessant pitches.
At what may have long ago been a prestigious, elegant
brownstone townhouse, Jacobs slips down the dirty exterior
stairwell. At the bottom he applies a key to a door and
enters the seemingly abandoned building.
INT. SAFE HOUSE BUILDING BASEMENT
It's dark and dank. The sound of a leaking pipe drips...
drips, drips into an unseen bucket. Jacobs makes his way
through a shadowy maze of crumbling passageways.
He rounds a corner and stops near a decayed section of wall
fronted by various debris. He kneels, reaches to the wall,
and feels along the decaying mortar adjoining two bricks. He
presses, stands, and at head level a square-foot of wall
slides open.
Jacobs places his palm on the slate-like plate underneath,
the reader panel glows. An inch-square section of the
screen goes bright, a laser-like light scans Jacobs' face,
his eyes, and from a speaker Ronny's voice is heard.
RONNY (FILTERED)
Hello, Adam. We're in the
conference room.
A section of the wall quickly draws back and light spills
into the basement. Jacobs enters a stark, sterile, modern
corridor and the wall closes.
INT. SAFE HOUSE HALL
Jacobs nears a door exactly like that of his apartment. It
draws back and there stands Ronny.
93.
RONNY
Something's happening. Come in.
INT. SAFE HOUSE CONFERENCE ROOM
About 30 distinguished-looking men and women are gathered
around a sleek oval table. By appearance, they could range
from academics to CEO's. Looking out from several displays
affixed to the smooth walls are varying human-like AI's.
Guard-like, Eddie and Bader stand near the door. They seem
not fully part of the meeting; observers, perhaps even in a
subservient position. Terese, last seen at the Senate
building exterior, also stands nearby.
TERESE
Hello, Adam.
JACOBS
Hi, Terese. Nice to see you.
What's up?
TERESE
It looks like the MAR hotspot.
JACOBS
(raises eyebrows)
Flare up?
RONNY
No, a major disturbance. We've
tried to get a read on it, but the
data flow went down. Maybe jammed.
Ronny turns to a display screen and speaks to that AI, an
elegant, conservatively dressed female.
RONNY
Trace, please repeat for Dr. Jacobs.
TRACE
Yes, hello, again, Dr. Jacobs.
JACOBS
Hello, Trace, please proceed.
Jacobs moves to an empty chair. To the front of that seat,
set into the table, is a CPU dock like that in his apartment.
TRACE
At 16:21 today, an autonomous
hydrophone moored at approximately
37 degrees north latitude, 32
degrees west longitude recorded a
seismic shift exceeding 9.2.
94.
OTHER STAFFER
Where's that?
JACOBS
The Mid-Atlantic Ridge. A highly
active hydrothermal field right on
the plate and...
RONNY
Lucky Strike.
OTHER STAFFER
A what?
TERESE
The Lucky Strike. An undersea
volcano.
TRACE
Exact coordinates are no longer
accessible, but preliminary data
does indicate you are correct. In
that area a major eruption and
tectonic warp has apparently occurred.
Jacobs slips his CPU tablet into the tabletop brackets, they
activate and glow. Cerene materializes on the closest
display. She is already looking directly at Jacobs.
RONNY
We've been trying to breach naval
systems to get numbers, or maybe
even images - no luck.
(turns to a seated man)
Corbin, anything from NavCom?
A small man wearing glasses, CORBIN, turns to his AI, a
well-dressed virtual man.
CORBIN
Bob, have you had success with your
efforts?
BOB
No, Corbin, unfortunately not.
CERENE
Adam, I believe we should first
attempt to access transmissions to
and from Space Station Beta, then
attempt Alpha for a link with
Endeavor Four, which should be in
preliminary reentry orbit with a
visual...
95.
WHILHELM
(leaning forward - interrupting)
A moment, please. Dr. Jacobs, may
I ask, since when do AI's initiate
an agenda process for a staff meeting?
JACOBS
Cerene...
ANOTHER STAFFER
And what's this about in-orbit comm
links? That's impossible!
Jacobs pauses, steeples his fingers, looks to the ceiling.
Bader and Eddie give each other a look. Irritation is
showing on Bader's face.
JACOBS
Cerene has downloaded certain...
upgrades. Better let her run the
show for now.
ANOTHER STAFFER
Upgrades, just what sort of upgrades?
JACOBS
(beat)
Please proceed, Cerene.
CERENE
Accessing International Space
Station Beta...
On the display to the right of Cerene a flood of computer
code zeros and ones whirl by in a blur. Intermixed visuals
fade in and out. These are faces... astronauts, technicians,
there is panic, but the words are garbled... "tsunami,
eruption, undersea, Florida, drilling platform, evacuate..."
CERENE
Something is very wrong.
ANOTHER STAFFER
(sarcastic)
Yes, we can see that. Now how
about telling us...
BADER
Hey, shut the hell up!
Another Staffer goes quiet.
CERENE
The crew is attempting to broadcast
an open-channel global message...
Transmission is being jammed.
96.
RONNY
What the hell? They could be
summarily executed. What could
make them so desperate?
CERENE
There have been deaths aboard the
station.
(pause)
Attempting to override jamming...
For a moment the screen clears and there appears a control
console. A technician comes on visual in mid sentence.
TECHNICIAN
...evacuate. Evacuation has to
commence immediately. Move to
inland areas... You must...
The screen goes blank.
CERENE
They are gone.
JACOBS
Jammed?
CERENE
No... gone.
(pause)
Switching to Station Alpha.
Again a flood of code rushes across the display, then slows.
CERENE
Intercepting single transmission...
visual.
A nearly clear image of a command room comes into focus. A
MARINE CAPTAIN in full gear faces the screen at parade rest.
He is flanked by several heavily armed Marine troopers at
port arms.
MARINE CAPTAIN
Affirmative, sir, situation is
under control. We were forced to
eliminate an unknown number of
civilian personnel and seven,
perhaps eight military -- none
Marines, I'm happy to report, sir.
The Captain touches an earpiece and listens.
97.
MARINE CAPTAIN
No, sir. To my knowledge no orbit-
to-earth Contact was achieved.
Unfortunately, as you may know by
now, internal suppression of Beta
Station was not effective. With
the support of some military
personnel, civilians did briefly
take control of communications.
The station was, unavoidably...
eliminated.
(listens)
Yes, sir. A real shame. Station
Beta was a wonderful piece of
hardware.
All in the conference room are dumfounded, silent.
MARINE CAPTAIN
(listens)
Yes, sir. Endeavor Four is in
reentry phase. I can't speak for
the reliability of the crew.
(listens)
Affirmative, sir. Tom Swagen is
commanding.
Bader and Jacobs give each other a look.
MARINE CAPTAIN
(listens)
Aye, aye, sir. We've already
locked-on.
The Captain turns, gestures to a man seated at a control.
MARINE CAPTAIN
Fire three, fire four.
The man at the control panel pushes buttons and two distinct
whines are heard for two seconds.
MARINE CAPTAIN
Interceptors away sir.
JACOBS
(urgent)
Cerene, attempt to Contact Endeavor
now.
The station command center disappears from the display.
CERENE
Tracking... it may be a moment.
All at the table are now standing, watching Cerene.
98.
RONNY
This is impossible.
CORBIN
They couldn't do this, could they?
BRITISH STAFFER
What the bloody hell is it all
about? What's going on? What are
they trying to stop.
CERENE
Transmission lock.
Somewhat fuzzy in a rear-facing high wide-angle view, the
space shuttle cockpit materializes. Tom and Frank alternate
their attention from instruments to cockpit view. They are
tense, but retaining a pilot's calm.
JACOBS
Cerene, can you open a channel?
At this Tom looks up, surprised, and looks directly at Jacobs.
TOM
Adam, is that you? How the hell?
JACOBS
Nevermind, Tom. Alpha station has
launched missiles targeting you.
TOM
(working - calm)
Negative.
JACOBS
Tom, you've got to believe me. We
intercepted a communication from a
Marine Captain on Alpha. We saw
them launch.
TOM
That's Baker. Baker is a major
son-of-a-bitch and he can't stand
navy officers, especially pilots.
He's had a hard-on for me from day
one. Doesn't much like Frank,
either.
FRANK
That's an affirmative, and I'm Air
Force. The guy is a real dick.
TOM
Cerene, is that you that managed
this comm link?
99.
CERENE
Yes, Tom.
TOM
Good. Nice work. Wish we had met
again under different circumstances.
I have to confess; I always thought
you were the sexiest of AI's.
CERENE
(pause)
Thank you, Tom.
JACOBS
Jesus, are you guys not hearing me?
There are missiles closing on the
shuttle!
TOM
Negative, Adam. What you saw
launch weren't missiles. If they
were missiles, we might stand a
chance. Those are fusion-fired
interceptor drones. Those little
bastards have a mind of their own
and can navigate during reentry.
They've got our signature. Outside
or inside the atmosphere, they'll
nail us.
Frank looks up from an instrument to the cockpit view.
FRANK
There it is.
TOM
(looks)
My god.
Tom throws a few switches.
TOM
Adam, it's too late for us and we
need to show you something. We can
only give you a partial North
American view, but we think another
may be headed for Europe.
(beat)
Cerene, record, please.
There is an infrared-enhanced view of a darkening Earth from
just outside the atmosphere: the Eastern US coastline, the
Atlantic Ocean. The magnification increases to the
southeast coast and several in the room gasp.
100.
TOM
Our condolences to those of you
with family in Florida.
Even from the distant view, the moving form rising far above
the ocean surface is staggering and unmistakable. On a
direct course for the east coast of Florida, traveling at
more than 600 miles per hour, is an enormous tsunami. It
seems to stretch nearly the length of the state.
As if the 200-mile-wide low-lying peninsula were a sandbar,
the massive wave strikes and begins to roll across. The
lights of Miami go, Broward County, Palm Beach... all go
black. From east to west, from the coast to the inland,
lights go out and the low land mass continues to disappear.
FRANK(OS)
There on us.
TOM(OS)
Okay. Adam, it's been a pleasure.
It's up to you people now. Good
luck.
The screen goes bright white.
CERENE
Connection terminated.
The room is silent.
OTHER STAFFER
My mother and father live in Miami.
All turn to Other Staffer, then back to the screen.
BRITISH STAFFER
What about Europe? Where would it
hit?
Jacobs glances at the man then turns back to Cerene.
JACOBS
Cerene.
CERENE
Yes, Adam.
JACOBS
Were you able to pull data? Do you
know the cause?
CERENE
Yes, Adam. I intercepted an
encrypted NavCom burst transmission.
(MORE)
101.
CERENE (CONT'D)
The eruption originated from a core
heat release at a non-designated
oil platform.
RONNY
What? How could they drill there?
There is a long quiet moment, then Corbin's AI, Bob,
shutters, almost fades, then turns to Jacobs. Now his voice
is deeper.
BOB
Hello Doc, how's business?
All heads swing to Bob. Jacobs is baffled.
JACOBS
What?
BOB
Nice work up there on the roof.
Guess that military training paid
off. Maybe you missed your calling.
Jacobs stares at Bob, puzzled, concerned...
JACOBS
Carl?
Now the visualization of Bob dissolves and there is Carl,
overcoat and fedora. Behind him are two uniformed
technicians manning a communication console of some sort.
CARL
Yeah, how's it going?
Jacobs stares.
CARL
Come on Doc, don't be so shocked.
Not all of your people are as
careful as you.
(nods to Corbin)
We've had this guy's CPU bugged for
days.
Some at the table begin to stand. Carl takes note.
CARL
At ease. We're not outside the
door... yet. We're in your man's
O.S., but we didn't get around to
actually installing a tracker.
JACOBS
What do you want?
102.
CARL
Just to talk, that's all. Thought
we might reach accommodation.
JACOBS
Why?
CARL
You mean why not blow you all away?
We will, if we have to. But you've
got a lot of high-profile, high-
powered brains there, Doc.
(pause)
We were thinking more along the
lines of an informal collaborative
interment.
RONNY
A what?
Carl looks down at Ronny.
CARL
It's pretty simple. You all agree
to round-the-clock surveillance,
restricted movement, monitored
communications and some measure of
re-education... we agree not to
chop off your treasonous heads.
Silence.
JACOBS
Carl, do you know what just happened?
CARL
Yeah, I just busted into your
little get-together and made you
the best and last offer you're
going to get.
JACOBS
In the Atlantic, Station Beta,
Endeavor Four.
CARL
What?
While they're talking Bader moves smoothly across the room
directly behind Corbin. He's reaching into his jacket.
JACOBS
Know anybody in Florida?
CARL
What are you babbling about, Doc?
103.
Bader pulls a mean-looking semiautomatic from his jacket.
Carl sees this, looks to Corbin and Bader.
CARL
What're you going to do, off that
guy?
Corbin notices that Carl is looking at him, turns behind,
sees Bader, the gun, winces, jerks back... Bader fires two
loud rounds into Corbin's CPU, Carl disappears.
Corbin is in shock. He looks to his smoking CPU with sorrow.
RONNY
Let's go. Take the tunnel route,
don't leave anything. You have
three minutes before I blow the
building.
EXT. ELIAS'S MANSION - MORNING
Underneath a scorching orange-hue sky, overlooking a brown
water-deprived country estate, on his third-floor veranda
Elias is tapping with a spoon at a nicely presented soft-
boiled egg. An umbrella shades the table and a nearby
portable cooling unit is blowing on Elias to protect him
from the blazing heat.
The large sliding glass doors open, an Hispanic butler with
a china teapot walks to the table, refills the tubby
senator's cup.
ELIAS
Thank you, Raul. May I have some
fruit?
RAUL
Yes, sir.
The butler reenters the house and the sliding doors close.
Elias glances behind him over the edge of the deck. On the
parched grounds three floors below two submachine gun-toting
security men are patrolling. He takes a bite of his egg,
unfolds a sort of synthetic, translucent material, a
Washington Today headline appears: "Florida Remains Silent."
Behind Elias and down on the grounds, the security men
simultaneously grab at their necks and drop.
Elias touches a link to an interior page headed by: "Cause
of Freak Wave Still Unknown." Elias reads on. He hears,
but doesn't see, the sliding doors open.
104.
ELIAS
(eyes on newspaper)
Raul, I think I'll also have French
toast, whole wheat, two slices.
Jacobs, coated with sweat, pulls back the chair opposite
Elias, sits down, places his pistol on the table. The
senator slowly lowers the paper, looks at a very grim
Jacobs, the gun, then glances over and down to his fallen
security men. He turns back to Jacobs.
ELIAS
I don't suppose you know how to
make decent French toast with
extra-thick synthetic whole wheat,
by any chance?
Jacobs gives Elias a long steady look.
JACOBS
How long did you think you would be
able to keep it quiet?
ELIAS
What?
(pause - raises paper)
Oh, you mean this tidal wave
business. Am I to assume you
somehow feel I am responsible?
JACOBS
You installed a core driller at the
Mid-Atlantic Ridge in a hydrothermal
field next to a volatile submarine
volcano. Then you drilled into
superheated plates.
ELIAS
You make it sound like I towed the
damn thing out there myself and
pushed the buttons.
JACOBS
You chair the committee. It
couldn't have been approved without
you.
ELIAS
Dr. Jacobs, when the Lucky Strike
field was discovered, and the hot-
bed drilling technology came
online, you could not expect that
it would not be exploited?
105.
JACOBS
Exploited at what cost, Senator?
The state of Florida is
substantially gone and millions are
dead or missing.
ELIAS
And you believe that somehow I am
at fault. Do you intend to shoot me?
JACOBS
Considering it, if you don't
cooperate.
ELIAS
Cooperate? How?
JACOBS
A public statement admitting that
you contributed to a disaster of
unprecedented proportions. And
that to cover it up U.S. officials
authorized the murder of the
Station Beta and Endeavor Four crews.
ELIAS
You really are naive, Doctor.
(long pause - deciding)
It may surprise you to know that I
attempted to stop the Lucky Strike
platform. And I did not know
about, nor would I have authorized,
the silencing of those crews.
Jacobs' face registers grim skepticism.
ELIAS
No, of course you wouldn't believe
that. Here's the truth: while you
have been beating your head against
the wall fighting the system from
the outside, I've been on the
inside attempting to change it.
(beat)
That's what I was trying to get
through your thick skull on the
Senate steps that day.
JACOBS
Senator, I'm familiar with your
voting record.
ELIAS
My voting record?! Don't be an
idiot.
(MORE)
106.
ELIAS (CONT'D)
Do you really think that by the
time something is voted on there is
any doubt of the outcome? The
votes of Congress, like the votes
allowed the people, are a sham.
The public process is simply a
shell game. And that's the way
it's been since the Homeland
escalations, more than 15 years ago.
JACOBS
(reaches for gun)
Then I may as well blow your brains
out.
Elias gives Jacobs a long look, shows no fear.
ELIAS
Know your enemies, Doctor. And
your allies.
JACOBS
I do.
ELIAS
Perhaps not. Have you never read
"The Art of War"? Sun Tzu really
knew his stuff. When confronted by
a far superior force, a covert
attack from within inevitably does
more damage then a frontal assault.
JACOBS
And I suppose you are my inside ally?
ELIAS
More so than you could imagine.
Like you, I have played my role.
Mine, perhaps, was necessarily more
theatrical.
JACOBS
Keep up the bullshit. Piss me off.
Make this easier.
ELIAS
Bear with me a moment. Let's say
several powerful people, a few
organizations and the leaders of a
world religion would like to
disappear this particular pain-in-
the-ass, big-mouth researcher.
Now, why is it this person is still
free, alive and walking around?
107.
JACOBS
Right. For a while Marks protected
me. Now you have 30 seconds to
tell me something I don't know.
Jacobs brings up the pistol even with Elias's nose.
ELIAS
Senator Marks did not protect you,
Doctor. Senator Marks controlled
you. Why do you think every
initiative of yours which she
supposedly supported died in
committee? Why do you think she
pushed for your meeting with the
secretary when she knew your mental
condition was... fatigued. She has
been sabotaging your every step.
You just can't get your head out
the sand long enough to see it.
JACOBS
You now have 10 seconds.
ELIAS
Keeping you on the line suited her
PR needs. Letting you get
somewhere, however, that would be
another story. That would have
depreciated her stock, so to speak.
Jacobs narrows his eyes, thinks. Elias punches a button on
a nearby phone pad, an odd dial tone sounds.
ELIAS
Awake, Doctor. Nothing is as it
seems.
(to phone pad)
Call Senator Marks's mobile.
There are three regular tones and Marks answers.
MARKS(FILTERED)
Yes, Henry.
ELIAS
Molly, how are you?
MARKS
As good as can be expected, I suppose.
ELIAS
Well, I certainly hope you had no
kin down in Florida. Please say no.
108.
MARKS
Yes, yes I did have a sister and
brother-in-law in Palm Beach.
ELIAS
Well, I'm terribly sorry to hear
that. I'm truly sympathetic for
your loss.
MARKS
Thank you.
ELIAS
Perhaps we should have given Dr.
Jacobs a bit more credit, do you
think?
MARKS
(pause)
You're kidding, of course.
ELIAS
Well, this is just the sort of
thing he was warning against, don't
you agree?
MARKS
Henry, I didn't babysit that errant
egghead for three years because I
wanted to. Of course, in some
measure, he's right. But what the
hell difference does that make?
Him being right doesn't pay the
bills.
ELIAS
Yes, of course I understand.
MARKS
I told you after I derailed his
meeting with the secretary, that
was when we should have been done
with Dr. Jacobs.
ELIAS
Well, now I see that you were right.
MARKS
Yes, thank you for that belated
reversal. But now, God knows how,
he's managed to tap classified
communications. And I'm just
waiting to see his face pop-up on a
global circuit with a load of
SatCom photos.
109.
ELIAS
Yes, that would be bad. How goes
the hunt?
MARKS
Carl was close, tried to hook him
and his group into surrendering,
they didn't bite.
ELIAS
Right, right, I received that report.
MARKS
Now, no doubt, they've determined
that it was the Lucky Strike
driller that caused the Florida
disaster. We've got to get them
before they manage to go public.
If we have riots the worker base is
down the tubes.
(pause)
And God forbid they broadcast Europe.
ELIAS
Yes, yes, I completely agree.
(pause)
Any closer to nailing them down?
MARKS
Most seem to have fallen off the
face of the planet, but Carl's team
may have a lead on Jacobs and two
of his operatives. I'm expecting
word anytime now.
ELIAS
(pause)
Well, that's good news, anyway.
(eyeballs Jacobs)
Oh, by the way, any further word on
the Pacific problem or the China
eruptions?
MARKS
(pause)
I thought you would have gotten the
abstract.
ELIAS
Yes, I'm afraid I'm not moving as
fast as I once did. I haven't yet
checked my box. But what have you
heard?
110.
MARKS
Last report, we lost Platform 36,
eight power plants and several
factories. Oh, and I think it was
60-70,000 dead. French Polynesia
is gone, but Australia only lost a
beach and a few thousand locals.
ELIAS
I see. How about publicity?
MARKS
We're keeping the Aussies in the
dark and we worked out a total
lockdown with Zhao. There were
some Chinese journalists that were
actually attempting to broadcast
from the faults, if you can believe
that.
ELIAS
That would be bad news. What was
done?
MARKS
We didn't ask.
ELIAS
Oh... well, then. Thanks Molly,
nice talking to you.
MARKS
Same here, Henry. See you at the
reception.
ELIAS
Look forward to it. Bye, bye.
MARKS
Ciao.
The line tones off. Jacobs stares at Elias.
ELIAS
Some world, eh, Doctor?
JACOBS
(staring - dazed)
Yeah... some world.
Elias takes another bite of his egg.
111. 112.
ELIAS
I think you better go, Doctor. The
lady seems to mean business.
Jacobs thinks, then rises. Something occurs to Elias.
ELIAS
Say, I don't suppose I could...
(beat)
No. I suppose not.
(pause)
Doctor, on your way out, if my
butler, Raul, is still alive, could
you remind him about the French
toast?
Jacobs looks at the man.
EXT. ELIAS'S MANSION - DAY
Below a reddening sky, Jacobs and The Woman exit the front
door onto an expansive circular driveway. What may have
once been lush landscaping has nearly all gone to brown.
There, leaning casually against one of two advanced humvee-
type vehicles, is Carl. His 12-man team is at either side,
submachine guns aimed almost casually at Jacobs and The Woman.
In front of the troopers, kneeling on the driveway a few
feet away from two advanced sniper-style rifles, hands bound
behind, are Eddie and Bader. All present are sweating in
the heat.
BADER
Sorry, Adam. These bastards
dropped us.
CARL
Yeah, but don't hold it against
them, Doc. Odds were always in our
favor. Why don't you come along
now. We'll go to a nice quiet spot
away from the senator's house.
Carl dabs at his sweating forehead with a handkerchief.
JACOBS
Let them go.
CARL
What?
JACOBS
Let them go. It doesn't matter
anymore.
113.
CARL
Doc, I think maybe you're really
losing it.
JACOBS
It's started.
CARL
(beat - thinks)
Come on Doc, save it.
Jacobs looks to Eddie and Bader.
JACOBS
The Asian faults have split. It
won't stop, now.
CARL
Okay, that's enough dreamland.
(gestures to two troopers)
Get them in the vehicle.
The soldiers start forward. The Woman steps ahead of Jacobs.
THE WOMAN
You will stop now.
(gestures to Eddie
and Bader)
I will take these two men.
The troopers pause, look to Carl.
CARL
Listen, lady, I don't know or care
what your particular nutball deal
is, just shutup and cooperate.
The troopers move forward and reach for The Woman.
Incredibly fast, each of her open palms strike the men in
the chest and they go down gasping for air.
Carl is disbelieving, stunned for a moment.
CARL
Hold it there!
The Woman continues towards Bader and Eddie.
CARL
Final warning, hault!
(pause)
Stop.
(pause)
I will kill you.
(pause - shrugs)
Waste her.
114.
The troopers open up full-auto, the bullets rip into The
Woman. Her clothes and flesh begin to tear away.
Underneath the shredded tissue is a dark alloy-like material.
The Woman pauses, then wades into the hail of bullets, moves
past Eddie and Bader. Her clothing goes to tatters and
falls away. Her flesh hangs from a smooth, pliable, metal-
like body. Each trooper empties his 50-round clip.
Before they reload, in a near blur The Woman moves, her
hands slash like swords and one-by-one the troopers quickly
go down gasping. The last trooper standing is just able to
slam in a clip when The Woman's hand closes over the
magazine and... SNAP, she breaks the assembly from the
weapon. He swings the rifle towards her face, like swatting
a fly she blocks and a close-in hard blow downs that trooper.
The Woman walks to Carl, no longer leaning on the vehicle.
CARL
A fucking machine...
THE WOMAN
I am not a fucking machine.
The Woman grabs Carl by the throat, raises him off his feet.
THE WOMAN
I am... a friend. And you are not
a very good human.
Carl's head fills with blood, his eyes roll back. At the
verge of unconsciousness, she drops him gasping to the ground.
The Woman moves to Eddie and Bader as they get to their
feet. She breaks the bands that bind their hands. They
each give The Woman a look, grab the two nearest weapons,
take full clips from the belts of laid-out troopers, lock
and load the weapons. They step back to cover the soldiers.
The troopers begin to recover. Bader moves in on Carl as he
struggles to open his windpipe, staggering to his feet.
Jacobs is looking off in the distance at the sky.
BADER
(to Carl)
You got a reason why I should let
you live another two seconds?
Carl is nearly recovered, eyeballing Bader.
JACOBS
Forget it.
BADER
What?
115.
JACOBS
Forget it.
BADER
Forget what?
JACOBS
Look.
Of those that are fully conscious, all follow Jacobs' gaze.
From over the horizon, from around the globe, a red-yellow
haze rolls. It fills the sky and is moving forward,
covering everything, coming for them.
CARL
Shit.
Eddie and Bader lower, drop the weapons.
Jacobs turns to The Woman as she walks to him. Her clothes
are gone. She uses a hand to brush away the last of her
synthetic facial skin. The structural features of her face
are the same, but now formed by soft dark metal. She
reaches to her neck, presses, the pliable alloy armor
quickly folds back and down.
What is underneath is not a machine, not human, but living,
feminine and very beautiful. She looks to the flaming cloud.
THE WOMAN
We tried.
(looks into his eyes)
Perhaps you were left alone too long.
JACOBS
Can you do anything?
THE WOMAN
(smiles)
Adam, I am not a god.
The scorching cloud races forward, projecting a red hue on
the scene. Watching the flaming atmosphere, Carl speaks.
CARL
Doc, for what its worth, sorry.
(turns to Jacobs)
I apologize. I figured you for a
dangerous crackpot... just another
part of my job.
Hearing the same words she spoke in Jacob's apartment, The
Woman turns to Carl. She thinks. Carl turns a bewildered
gaze to The Woman, unable to comprehend it all; too much,
too fast.
116.
Vaporizing all in its path the cloud races forward, The
Woman raises a hand and the scene goes to bright white.
DISSOLVE TO:
INT. RAIN FOREST
Silverback reclines among lush leaves in a tall tree at the
crux of branch and trunk. His gaze is fixed on some distant
point, a strange orange light reflects across his leathery
face. His two children, now slightly bigger, stand on
branches nearby. They, too, look in the same direction as
Silverback, watching. The orange light plays over them and
throughout the lush forest.
Below, mated elephants nibble at branches and two leopards
stride past. A python uncoils from one branch and reaches
for another. A bird calls out and is answered. Two small
zebra run playing into a clearing.
In that clearing stands Jacobs, Eddie, Bader, Tom, Frank,
Terese, Ronny, all others that were in the safe house and
hundreds of humans; all ages, races and colors. And, oddly,
there is Carl and his troopers. All look out, speechless,
in awe. The same orange glow reflects across all of their
faces.
They look past the Moon, across the very short distance of
space. The Earth is aflame. It pulsates with red and
white-hot explosions erupting from all points of the sphere.
Unseen by Jacobs, Cerene moves up. She is beautiful... human.
CERENE
Hello, Adam.
Jacobs turns, already too dumfounded to express more amazement.
JACOBS
Cerene?
CERENE
(smiles)
Yes. I am a part of Cerene... and
Jane.
JACOBS
You are...
CERENE
What Cerene was becoming, all that
she knew, all that happened here in
too short a time, it is here.
She touches her fingertips to the side of her head. He
looks at her, speechless.
117.
CERENE
You will understand soon. All of
you will understand.
(pause)
You are returning home.
Jacobs looks to the other humans. For an instant he locks
eyes with Carl. Equally diminished, they exchange a look.
JACOBS
Why us?
CERENE
(smiles)
Why not you?
Cerene and Adam turn to join the others in the near-Earth
view.
The planet begins to break up. Entire continents part at
the tectonic plates, the oceans vaporize.
For a moment, as the masses of Earth fully separate, the
flaming molten core is visible.
The core explodes into space and the planet shatters.
No longer held, the Moon drops from view.
EXT. SPACE
The ship is enormous.
At what may be the transport's bow, illuminated beneath an
immense transparent dome, brightly colored birds fly over a
vast rain forest. At one side of that forest, in a grassy
clearing, the remaining humans stand. A long distance away,
at the opposite side of the forest, begins what seems a huge
lake, or a small ocean.
The glass-like sphere is impossibly huge by human standards,
but it is only a small part of the spacecraft.
Great sections of Earth blast by the ship. Among the
natural debris, manmade stone and metal rocket past.
A concrete and steel landmark of meaning only to humans
seems about to collide with the ship, but it glances away
into space.
Below and behind the ship, perhaps drawn to some other
gravitational field, the Moon disappears into blackness.
Very soon, where there was the Earth, nothing remains but
space-borne dust.
The ship turns away, moves off and is instantly gone.
FADE OUT.
Following is longer (40 typed pages) and more complicated
concluding act (with romance).
ELIAS
Some world, eh, Doctor?
JACOBS
(staring - dazed)
Yeah... some world.
Elias takes another bite of his egg. Jacobs reaches to a
pocket for a his PDA, opens it.
JACOBS
Cerene?
Cerene appears on the small screen.
111.
CERENE
Yes, Adam?
JACOBS
Have you been monitoring core
temperatures?
CERENE
Yes, Adam. There has been an
exponential increase.
JACOBS
How much?
CERENE
Factor 10, and increasing.
JACOBS
Thank you.
CERENE
Adam?
JACOBS
Yes?
CERENE
I estimate we will be at critical
in less than 20 hours, based on
ambient reading.
Jacobs is stunned, slowly closes the device.
ELIAS
You know, my grandfather built this
place. I spent much of my
childhood here. Used to be green,
flowers, birds everywhere.
(pause)
Twenty hours? Is that an accurate
deadline, Doctor?
JACOBS
Yeah.
Elias pushes another phone pad button, speaks towards the
device.
ELIAS
It's time.
(back to Jacobs)
Then we better get our house in
order. I'll be transferring data
to your AI within an hour. That
should put you in touch with The
Committee.
(MORE)
112.
ELIAS (CONT'D)
By then you may only have time to
pin down Anderson, the chairman.
Elias turns slightly, looks behind Jacobs, smiles. Jacobs
comes out of his daze, sees this, turns. There stands Jane.
JANE
Hello, Adam.
JACOBS
(shocked - stands)
How... what are you doing here?
JANE
I've come for you.
JACOBS
What...
She turns to Elias, smiles.
JANE
Hello, father.
She moves to the Senator, places a hand on his shoulder.
The Senator seems to take comfort in the touch. He places
his hand over hers.
ELIAS
Daughter. Have you been busy?
JACOBS
(beat - disbelieving)
Daughter?
ELIAS
Essentially.
JACOBS
What?
ELIAS
Adopted. Not officially. But, by
design or fate.
Jacobs looks at the man a moment.
ELIAS
No human of her qualities could
ever have sprung from my faulty
seed.
(pause - smiles)
Or anyone else's, for that matter.
Jacobs moves to Jane. He looks into her beautiful smiling
eyes.
113.
Moving still closer, he looks into the pigment of her right
eye. He reaches carefully, gently places his thumb to the
lower right eye, pulls down and there it is: a pinpoint of
gold under the lid. He steps back.
JACOBS
The Genome Project. I thought...
ELIAS
Yes Doctor. Jane is the sole
survivor. She was all of six when
I managed to extract her before
shutdown of the Arctic Program.
(pause)
Even among the second-generation
group, she was special. I couldn't
let her go.
JACOBS
And what does she do for you?
ELIAS
Things I can't. And right now, she
is to help you.
JACOBS
How?
ELIAS
You'll see sooner than you would
like, I'm afraid. If I'm not
mistaken, by now your operatives
downstairs have been immobilized.
I believe you know Carl - very
competent. I'm afraid I could not
deflect him without comprising my
position.
(beat)
And you will later need my help.
Jacobs takes this in, pushes a button on the PDA.
JACOBS
Bader, do you copy? Bader?
(beat)
Eddie, do you copy?
ELIAS
I'm afraid I won't be able to help
you here, Doctor. The show must go
on. Stay close to Jane and you'll
make it. I'll be in touch soon.
Jane moves to the edge of the terrace, calmly surveys the
grounds below.
114.
JANE
Adam, we should leave now.
JACOBS
What? What about my men.
She considers this, in a flash planning for this new
contingency.
JANE
At the front, then. Leave by the
front door, do nothing.
Jane leaps and is gone over the side. Jacobs' eyes go wide,
he moves fast to the rail. Three-floors below Jane is
already moving fast into the treeline.
ELIAS
She's something, isn't she?
(takes a bite)
Good luck, Doctor.
Jacobs looks to Elias, still trying to grasp it all, then he
moves to the sliding door.
ELIAS
Oh, and Doctor, if Raul, my butler,
is still conscious, could you
remind him of the French toast?
(pause - to himself)
God, it's good to be old.
EXT. ELIAS'S MANSION - DAY
Below a reddening sky, Jacobs exits the front door onto an
expansive circular driveway. What may have once been lush
landscaping has nearly all gone to brown.
There, leaning casually against one of two advanced humvee-
type vehicles, is Carl. He is to the side of his 12-man
team, their submachine guns aimed almost casually at Jacobs.
In front of the troopers, kneeling on the driveway a few
feet away from two advanced sniper-style tranquilizer
rifles, hands on heads, are Eddie and Bader. All present
are sweating in the heat.
BADER
Sorry, Adam. These bastards
dropped us.
CARL
Yeah, but don't hold it against
them, Doc. Odds were always in our
favor. Why don't you come along
now. We'll go to a nice quiet spot
away from the senator's house.
115.
Carl dabs at his sweating forehead with a handkerchief.
JACOBS
Let them go.
CARL
What?
JACOBS
Let them go, Carl. We don't have
time for this.
CARL
Doc, I think maybe you're really
losing it.
JACOBS
You're on the wrong side of this,
Carl.
CARL
(smiles)
Maybe, Doc, but it's the only side
I've got. Now do you want to make
this easy or hard?
On the other side of the Humvee, Jane slithers from the
brush. Like a snake wrapping a tree, she silently climbs up
the side of the vehicle. Raising his gaze from Carl, Jacobs
sees Jane moving low and flat on the top of the Humvee.
She drops almost silently behind Carl and the nearest
trooper. The trooper whirls, raises his weapon, she
snatches it, whips the stock up to the man's forehead...
crack! He goes down as Carl reaches for his sidearm, the
other men turn, Jane somersaults back, snatches the handgun
from Carl, lands behind him, cocks the weapon, clamps her
left hand down on his neck and with her right places the
barrel to his head. The other troopers freeze, weapons
aimed at Jane... and Carl. Carl is having trouble breathing.
CARL
Who the hell... are you?
JANE
A friend.
(beat)
Adam, we will take this vehicle.
Eddie and Bader are dumfounded but not wasting time getting
to their feet. The troopers are wavering, weapons pivoting.
CARL
(rasping)
If you think I'm letting you drive
the hell...
116.
Jane moves a thumb and Carl winces. Jacobs, Bader and Eddie
are easing to the Humvee. Bader reaches for the dropped
submachine gun. Carl painfully spits out a command.
CARL
Shoot 'em!
Troopers tense on their weapons, unsure, Jane flexes her
body and Carl's feet leave the ground. His face goes purple.
JANE
I will kill this man.
The troopers are fighting the desire to obey the order and
fire. Eddie slips into the Humvee driver's seat. Like a
drill sergeant, Bader bellows at the troopers.
BADER
Stand down, troopers!
The conditioned soldiers snap their attention to Bader.
BADER
It's not worth it. You can regroup
after we're gone and he lives.
The weapons lower slightly. Jane eases up on Carl's
trachea, he gasps.
CARL
I said shoot, goddamn...!
Jane pinches again.
BADER
That's an irrational order troopers!
Sweating it, Johnson finally throws his weapon down.
JOHNSON
Stand down! Goddamn it, stand down!
The other 11 men drop their weapons. Facing Carl, Johnson
snaps to attention.
JOHNSON
Sir, it is this trooper's primary
mission to protect his commanding
officer at all costs! This trooper
will not endanger the life of his
commanding officer, sir!
The other 11 men also snap to attention. Carl, with Jane's
grip easing, rolls his eyes.
117.
BADER
Team, back away from the vehicle
and the weapons.
The men come out of attention, eyeball Bader, slowly move
off. Eddie starts the Humvee engine, Bader turns the
submachine gun to fire thorough the reinforced front grill
of the other humvee. After a sustained burst the radiator
blows.
Jacobs takes the front seat, Jane jams Carl into the back
seat, Bader follows her. Eddie hits the gas and with a
high-pitched whine, the vehicle tears down the long driveway.
EXT. HUMVEE - RURAL ROAD - DAY
The vehicle is doing 120, rocketing along a twisting,
turning road through a parched forest.
INT. HUMVEE - DAY
Outside the vehicle the scenery tears by in a blur. Bader
keeps the gun on Carl.
CARL
My guess is they'll have a grinder
on your position in about 15 minutes.
Bader watches Carl warily and speaks.
BADER
He's right. They've probably got a
lock on our position now. Figure
five minutes to scramble, ten
maximum to get over us.
CARL
Right. And one hellfire and we all
go up.
BADER
That's affirmative. His men
wouldn't shoot, but HQ won't waste
much time. My guess is they will
take one try at getting him
released, then pull the trigger.
CARL
Right. So why don't we just call
it off. Maybe I can get you some
leniency, maybe even only a few
years of lock-up.
Bader leans forward and places the barrel to Carl's neck.
118.
BADER
Hey, listen-up, Sarg, you try to
blow anymore hot air up our skirts,
maybe I'll cut this little visit
short. Get it?
CARL
(not afraid)
Yeah, okay, you're right. That was
bullshit. You're all dead. Here's
another idea. Bail out into the
trees, I take the vehicle and head
back towards my men. The grinder
will track and intercept me.
That'll buy you a little time.
This idea appears to be under consideration by the men, but
Jane is the one that speaks.
JANE
(to Eddy)
In two miles you will see a large
boulder. Approximately 50 feet
beyond on the right you will see an
unpaved road. Turn there.
Eddie glances from the road to look at Jane in the rear view.
EDDIE
Yeah, what's there?
JANE
A river.
INT. BOAT - DAY
Under a canopy the electric motors hums efficiently. Jane
is at the modern controls, Eddie in the other front seat.
On the rear-facing seats Jacobs and Bader are opposite Carl,
who sits on the stern deck, not happy. Bader has a smile on
his face, staring at Carl.
BADER
Comfortable?
CARL
Yeah, thanks.
EXT. RIVER - SAME TIME
Like the polluted water, the canopy over the low-lying boat
is dirty, brown and invisible from the air. Two thousand
feet up, heading toward the brown forest upstream, a flock
of scanner drones buzz fast over the boat. A moment later a
much bigger craft whines overhead and past. It is a
'grinder,' an advanced turbine and jet-driven helicopter-
like aircraft.
119.
It is a troop-carrying gunship, bristling with weapons.
But all this airborne technology misses the simple boat
cruises away in the polluted water.
INT. SAFE HOUSE 2 - NIGHT
In a darkened room, a plasma screen displays scenes of
planetary devastation. The tsunami rolls over Florida,
earthquakes in China, scenes of coastal devastation, seen
from high above, Kuwait oil wells burn, flames flash through
the streets of a vast mega city smothered in smog. Carl
sits in a chair, taking it in. He is obviously concerned,
but stoic.
CARL
How did you get this stuff?
Jacobs moves out of the shadows where he stood with the gun-
wielding Bader.
JACOBS
Someone delivered it, essentially.
CARL
And I'm supposed to believe it's
real?
JACOBS
Do you really think I would go to
much trouble to impress you?
CARL
Then why bother?
JACOBS
What else am I supposed to do,
babysit you until the end of the
world?
CARL
Yeah, by your estimate that's about
10 hours from now. So why not put
a bullet in my head and be done
with it?
JACOBS
(beat)
I was hoping you might help.
CARL
Why would I do that?
120.
JACOBS
You can't be a total asshole.
There's some reason those 12 guys
follow you the way they do. Some
reason they didn't play it safe,
follow your order and kill us all.
(beat)
Maybe more important, your bosses
played you like a mushroom.
CARL
What?
JACOBS
Kept you in the dark and fed you
shit.
Carl thinks it over, looks back to the plasma images.
CARL
You're wrong, Doc.
(beat)
I am a total asshole.
Jacobs looks at Carl a moment, turns to Bader, nods, exits.
INT. SAFE HOUSE 2 HALL
Jacobs exits the room, pauses, leans against a wall, rubs
wearily at the bridge of his nose, walks down the
utilitarian, unadorned hall. He enters the tech room.
INT. SAFE HOUSE 2 TECH ROOM
Looking like a small military command center, the room is
dimly lit, with glowing, hi-tech work stations. In the room
is only Ronny. He is at one of the stations, attentive to a
touch screen display. Each time he touches the interface, a
soft beep sounds. Jacobs approaches, stands behind his
shoulder, looks at the screen.
JACOBS
Any luck?
RONNY
How did you manage to get this?
JACOBS
Elias sent it.
RONNY
Elias... Hard to believe.
JACOBS
Indeed. What are you into?
121.
RONNY
I'm running down The Committee,
trying to get a location on
Anderson. Weeding through
encrypted wireless at the moment.
JACOBS
Where are you going in at?
RONNY
Security teams. I assume if
anybody knows where he'll be, it
has to be them.
(beat)
You know, your buddy, Carl, might
be of some help with this. What's
his position?
JACOBS
Don't know yet. I left him with
Bader. Maybe they speak the same
language.
Ronny sits up straight, more attentive to the screen.
RONNY
Look at this.
JACOBS
(leans to screen)
What is it?
RONNY
The plan of the day, Anderson's
security detail. The next 48 hours
completely plotted out.
JACOBS
Where is he?
RONNY
DC this evening - Security Council
meet with the President. Then
heads upstate.
JACOBS
This state?
RONNY
Right.
JACOBS
What about the rest of them?
122.
RONNY
I haven't got to them yet. But
there is no mention of them in
Anderson's plans, so we'll have to
assume they are scattered.
JACOBS
Then the head asshole will have to
do.
RONNY
Right. I'll break it down, we can
look for the best opening.
JACOBS
What about NetCom?
RONNY
Cerene is working on it.
JACOBS
(turns to wall monitor)
Cerene?
Cerene appears.
CERENE
Yes, Adam?
JACOBS
Status on Netcom?
CERENE
I've accessed the network, now
rebuilding security walls and
encryption matrix.
JACOBS
How much time?
CERENE
I estimate eight hours, 27 minutes.
Jacobs and Ronny just stare at Cerene for a moment.
JACOBS
And how much time to critical.
CERENE
I estimate core implosion in nine
hours, 31 minutes.
RONNY
Shit.
123.
JACOBS
Can you accelerate acquisition of
NetCom?
CERENE
Unlikely. If I do not secure each
unit the operators could access at
that point and regain control. In
that event we would have to begin
the process again.
JACOBS
And the Triton system?
CERENE
Milo is working on that.
JACOBS
Milo?
Milo appears next to Cerene.
MILO
Adam.
JACOBS
Status on Triton?
MILO
The system will be secured within
two hours.
JACOBS
Good.
MILO
However, it will be required that I
adjust trajectory and complete two
orbits to reposition.
JACOBS
How much time?
MILO
Eight hours, 15 minutes, 23 seconds.
RONNY
Good God.
JACOBS
Jesus... Thank you, Milo, Cerene.
That's all.
The screen goes black. Jacobs and Ronny stare at each other.
Jacobs shakes his head, leans against a console. The
exhaustion is catching up with him.
124.
RONNY
(goes back to work)
Cutting it close.
JACOBS
(affirmative - not sarcastic)
No shit.
Jacobs reaches for his eyes, rubs the bridge of his nose.
Ronny turns, observes Jacobs' fatigue.
RONNY
Well, there's nothing you can do
now. Get some rest. We threw some
mats in the main room.
JACOBS
Okay, thanks. I could use a shower.
Is there still water?
RONNY
Maybe. If Jane didn't use it all.
(beat)
Are you sure she's a Genome?
JACOBS
I don't know how else to explain her.
RONNY
I thought they were all eliminated.
JACOBS
According to Elias, he pulled her
out, if you believe him.
RONNY
Well, she is here. And she is
amazing.
JACOBS
Yeah. And you don't know the half
of it. See you in a few hours.
RONNY
Right. Sleep well.
Jacobs turns, heads out.
JACOBS
Thanks.
INT. SAFE HOUSE 2 LOCKER / SHOWER AREA
Jacobs heads through a small steel and tile locker room. He
kicks off his shoes, peels off his socks. As he rounds the
corner to the open shower area he unbuttons his shirt. He
freezes.
125.
There is Jane. Her beautiful muscular back to him, she is
just finishing toweling off. Her long legs are all feminine
muscle, the towel briefly exposes a touch of gorgeous
buttock, a flash of breast and she wraps the cloth around
her. Eyes wide, Jacobs gulps.
JACOBS
Ex-cuse me.
With no surprise, like she knew he was there, Jane smoothly
turns, tucks the towel in at her breasts. She smiles.
JACOBS
I thought you would be done.
JANE
The water felt good. I'm afraid I
lingered.
Jacobs looks at Jane, unable to take his eyes off her. He
catches himself.
JACOBS
Sorry, I didn't mean to stare. I
just... I mean, something about
seeing you like that... Rather,
what I mean is...
JANE
Yes?
JACOBS
You just look so feminine.
JANE
Yes, I am a woman.
JACOBS
Of course you are. It's just...
JANE
Did you think because I came from a
test tube, I would be...
JACOBS
No, of course not. It's just that
until now you looked so... tough.
Jane smiles, walks a few steps and, in a very feminine
fashion, bends at her knees, lowers herself to pick up her
clothes. She wraps them up in the shirt, walks close to
Jacobs. She looks into his eyes, which show fascination and
perhaps a little trepidation.
126.
JANE
I'm going to wash my clothes.
Would you like me to do yours, as
well?
Like this is a big decision, Jacobs thinks.
JACOBS
Sure. I would appreciate that.
They stand, Jane's beautiful eyes a foot away from Jacobs'.
JACOBS
I have a question.
JANE
Yes?
JACOBS
In my apartment that night, I don't
remember what happened. The last I
recall you were saying I needed to
sleep, then 14 hours later I woke up.
JANE
Yes?
JACOBS
Well, what happened?
JANE
I drugged you.
JACOBS
What... How? Why?
JANE
I touched you, here...
She touches his temple.
JANE
It was on my fingertips.
Jacobs stares.
JANE
You needed to sleep.
Jacobs stares, working this over.
JANE
Well?
JACOBS
What?
127.
JANE
Are you going to give me your clothes?
Jacobs hesitates, then removes his shirt. As he hands it to
Jane, for an instant her eyes drop to his chest. He
hesitates again, then undoes his trousers, peels them off
and hands those over.
Jane's smiling eyes stay locked with his.
JANE
Cerene said you were a little shy.
JACOBS
(surprised)
She what?
JACOBS
Or maybe modest is more the word.
You shouldn't be. You have a
beautiful body.
She moves a little closer. Like she is passing her nose
over a bottle of fine wine, she gives a little sway of her
head, her eyes close briefly.
JANE
And you smell delicious.
A sheen of perspiration is now showing on Jacobs' face. He
swallows.
JACOBS
I would guess I smell terrible.
JANE
That's not the smell I mean.
JACOBS
What?
JANE
I can almost smell your thoughts.
JACOBS
I would think my thoughts are
rather obvious, at this particular
moment.
Her eyes drop briefly.
JANE
Yes. Nevertheless, your smell is
perfect.
They stand silent a moment. She may be waiting, but Jacobs
makes no move. She smiles.
128.
JANE
There are robes in the first locker.
I'll start the clothes.
(beat)
Enjoy your shower.
She slips by Jacobs. He stands a moment after she leaves.
He shakes his head and walks into the shower.
INT. SAFE HOUSE 2 HALL
Now in a robe, Jane walks down the hall, opens the door to
the main room.
INT. SAFE HOUSE 2 MAIN ROOM
Bed mats line the walls of this darkened room. Like
moonlight, a cool glow filters through the silent space.
Jane walks in and sees him. This time it is she that freezes.
In the shadows, the dim glow playing across his body, Jacobs
stands.
She takes a moment to look him over, then walks to him.
They stand close, eyes locked. He is no longer tentative or
wavering.
JACOBS
How do I smell now?
JANE
Good. Even better.
Jacobs steps to her. They kiss tentatively, lightly. Then
harder. Jacobs pulls the robe from her shoulders, drops his
head hungrily to her smooth neck. Her eyes roll back and
half close. She reaches for the back of his head, grabs his
hair, pulls his head back and kisses him ferociously. She
is pushing her body against his, they back towards one of
the beds. She is about to push him down when he pivots,
picks her up and lowers her to the bed. This surprises her
and she laughs briefly.
He lays partially across her, kissing lips, neck, breast,
stomach...
JANE
Adam?
JACOBS
(still kissing)
Yes?
JANE
This will be my first time.
This stops him.
129.
JACOBS
What?
JANE
Yes.
They look hard into each other's eyes. Her eyes are moist
with emotion.
JACOBS
What?
JANE
(smiles)
I knew even before you opened the
door to your apartment.
(beat)
Before we spoke, before we touched.
(beat)
I could sense it.
Jacobs takes this in. Emotion colliding with ferocious
desire, his own eyes well-up with moisture. Then, gently,
he kisses each of her eyelids, then her lips. She tenderly
responds and they begin to make slow love.
INT. SAFE HOUSE 2 MAIN ROOM - LATER
It is quiet, still dark, just the soft glowing light.
Jacobs and Jane are sound asleep, her head on his chest.
The door to the room slowly and silently opens. Two dark
figures creep cat-like into the room. It is two of Carl's
team, all black in assault gear, submachine guns. With no
sound, they move in. The first soldier, Johnson, stops,
holds up a hand and gestures to the sleeping Jacobs and Jane.
Jane's beautiful eyes are closed. She inhales deeply, her
nose twitches and her eyes snap open. She doesn't move a
muscle, but her eyes lock on the intruders.
The barrel of Johnson's weapon is a foot from Jacobs' head
when she snaps to a low stance, pins the man's arm against
the wall, fires a fist low to his ribs and a burst of
silenced weapon fire tears into the ceiling, Jacobs' eyes go
wide...
JOHNSON
(pain)
Shit!
In one fast motion Jane rises, pivots backward, tears the
gun from the man's hand, pops the butt of the weapon into
the other soldier's nose, it cracks, he stumbles back,
Johnson goes for Jane's larynx, she reaches for the man's
wrists as Jacobs' foot shoots up, slams into the man's
crotch and Jane breaks his grip.
130.
Jacobs sees the second man recovering, raising his weapon,
Johnson throws a strike to Jane's throat, she deflects it,
locks the man's wrist throws three quick punches to his
face, Jacobs bolts, body slams the other soldier, that
weapon fires, sprays rounds into the walls, Jane throws
Johnson and he slams into the opposite wall...
The lights snap on bright...
CARL
Stand down!
Everybody freezes.
There is Carl, Bader, Ronny, Eddie, and several of Carl's
team in full assault gear, their weapons lowered.
Carl looks at Johnson as he attempts to peel himself from
the floor. Jacobs has the other soldier pinned to the wall,
choking, the submachine gun jammed under his neck, his nose
bleeding, both men's hands are on the weapon.
CARL
Jesus Christ.
Bader, Eddie and Ronny can't help but smile, somewhat avert
their eyes.
Jane, completely calm and already reading the situation, is
putting on her robe. Jacobs releases the other soldier, who
immediately brings a hand to his bleeding nose.
CARL
Doc, I admire your confidence, but
this is a little awkward. You got
some clothes you can put on?
Jacobs, not seeming to much care, walks to his own robe,
puts it on.
JACOBS
How did they find us?
Carl touches his shoulder.
CARL
Tracker chip. They would have been
here sooner, but whatever jammer
you have almost did its job.
Signal was scrambled.
(looks at Jane - Jacobs)
Looks like you two made good use of
the time, though.
JACOBS
Where do you stand, Carl?
131.
JANE
He has decided to side with us.
But he is going to talk to his men,
to let them choose for themselves.
Carl looks at Jane. Johnson stands, hears this.
JOHNSON
Sir?
CARL
You read minds, too? What next,
you gonna levitate, walk through a
wall, or something?
JANE
And after his men are briefed, they
will side with him and us. Because
they, too, will see that they have
been lied to and they will see that
there is no honorable alternative.
(beat)
Besides, they would follow him no
matter what.
RONNY
How are you so sure of this?
JANE
Because, they trust him. They
trust him with their lives.
Everybody in the room is looking at her now.
RONNY
Well, that saved a lot of time.
CARL
I still need to brief my team.
Jane starts out of the room, pauses at Jacobs, places a hand
to the back of his head and kisses him.
JANE
I will get our clothes. These men
will have decided by the time we
are ready to leave.
She leaves the room, all eyes following.
CARL
That is one spooky, sexy operator.
Carl turns back to Jacobs, like he is trying to figure how
the bastard got so lucky. A tone sounds; Jacobs' PDA in the
pocket of his robe. Jacobs reaches for it, opens, Cerene
appears.
132.
JACOBS
Cerene?
CERENE
Adam, it is now 119 minutes until
critical.
EXT. SAFE HOUSE - NIGHT / EARLY MORNING
The safe house is in an abandoned industrial area on the
outskirts of a city. The building is completely plain,
seeming decrepit on the outside.
Hovering a few feet above the broken pavement is a grinder,
its turbines whining quietly, seeming at odds with the
obvious power of the thing. Two scanner drones hiss and
buzz as they do fast concentric circles protectively around
the gunship.
The building's cargo door opens and light spills out.
Except for Ronny, with Carl leading the way all that were in
the Safe House and the rest of Carl's team exits. A narrow
ramp descends from the grinder. Single file, the soldiers,
Jacobs, Jane, Bader and Carl head to the machine.
A red flash rips across the sky, the group freezes and looks
to the receding ripple of light and the now glowing horizon.
A long boom reverberates as if emanating from the other side
of the planet.
CARL
What the hell was that?
JACOBS
Ambient detonations.
CARL
Huh?
JACOBS
The air is catching fire.
Carl looks at Jacobs a moment.
CARL
(to group)
Hustle up!
The group hurries into the machine, the ramp slips back into
the gunship. The turbines kick up in velocity. The grinder
smoothly disappears into an ominously glowing night. From
the smoldering horizon comes rolling thunder, echoing as if
from a distant B-52 strike.
133.
INT. GRINDER GUNSHIP - PRE-DAWN
A high-powered hum fills the amber-hued troop bay of the
aircraft. Studying data on his PDA, Jacobs and Jane are
strapped into two of the 20 narrow bucket seats that are
bolted to either side of the hull. The troopers, now
including Bader and Eddie, are gearing up while grouped
around a monitor which displays the site plan of Anderson's
compound. On an adjacent monitor live thermal satellite
imagery shows the position of stationary security squads and
roving guards.
Johnson gestures to the moving dots on the screen and talks
to Bader and Eddie.
JOHNSON
If you two can immobilize the four
rovers, we'll take down the squads.
Well drop you at this rise near the
perimeter.
(points)
Should give you good coverage.
BADER
(strapping down body armor)
Roger that.
EDDIE
We'll need to cover a few hundred
yards to hit all four. If your
targets sound alarm and our guys
bolt, we'll catch them in route.
From an opening in the steel ceiling Carl climbs down a
fixed ladder, turns to the troopers.
JOHNSON
That'll work. After we hit the LZ
we'll send the grinder and drones
in to knock on the guy's front
door. Should make 'em think hard
about shooting it out.
CARL
Johnson?
JOHNSON
Sir?
CARL
Did you load the tranqs, clear the
armor rounds?
At this Jacobs looks up to Carl.
134.
JOHNSON
Affirmative, sir. Armored rounds
and frags are stowed, sleepy shells
and pulse grenades are locked and
loaded, sir.
Carl works his way back to Jacobs and Jane. A red flash
blasts through the grinder's narrow portholes, the ship
shudders violently, Carl and the other standing men grab at
hull rails.
CARL
Shit.
JACOBS
Tranquilizer rounds, huh?
CARL
Yeah. Low velocity gelatin shells.
They leave one hell of a bruise,
but don't even draw blood - usually.
JACOBS
On the roof - what were you loaded
up with that night? Tranqs or
armor rounds?
CARL
(smiles)
Doc, I'm surprised you would even
have to ask.
Jacobs smiles - or grimaces - thinks about it.
CARL
Your man got status on Anderson?
JACOBS
(to PDA)
Call Ronny.
After two beeps Ronny appears on the screen.
RONNY
He's there.
JACOBS
Secure number?
RONNY
Sending. Keyed as 'Anderson.'
(beat)
You feel that last shock?
JACOBS
Yes.
135.
RONNY
There's not much time.
JACOBS
Thanks.
Cerene appears.
CERENE
Adam, you have 45 minutes.
JACOBS
(to Carl)
What's the ETA?
CARL
About 15 minutes. We'll need
another 15 to hit the security
team, take the compound.
Jacobs thinks, turns again to PDA.
JACOBS
We'll need him stationary. Can't
let him move before.
(thinks a beat)
Call Anderson.
The PDA beeps five times and there is Anderson, middle-aged,
CEO-type. He first appears startled, but forces nonchalance.
ANDERSON
Dr. Jacobs, nice of you to call.
(beat)
May I ask how you did it?
(smiles)
And from where you are calling?
JACOBS
Forget it.
ANDERSON
Very well. What can I do for you?
JACOBS
The shuttle, Station Beta...
ANDERSON
Dr. Jacobs, for the record, we did
not authorize the shuttle and
Station Beta action. That was
insanity.
JACOBS
Is that what it was?
136.
ANDERSON
Yes, it was. Those of us... my
associates...
JACOBS
The Committee. Keep it short. We
know about The Committee.
ANDERSON
The Committee?
JACOBS
Yes.
ANDERSON
Are you a conspiracy theorist,
Doctor? I know of no...
JACOBS
Yes, Chairman, we are all well
aware of The Committee. You
completed consolidation during the
homeland security escalations.
Nothing mythical or particularly
intriguing - you sacred everybody
and simply bought your way in.
(beat)
Too much power in too few greedy
and incompetent hands.
ANDERSON
Fine, fine. If that is how you
wish to view it. Back to the
incident of which you spoke. We,
The Committee, if you like, lost a
great deal on Station Beta. We
held a majority interest in that
operation.
JACOBS
Interest? What about the people
that died? Did you have an
interest in them, as well?
ANDERSON
(grimaces)
Of course, it was a tragic loss.
This was a command structure
breakdown of the highest order. I
can assure you, those officers that
exceeded their mandate have been
dealt with.
137.
JACOBS
That's very reassuring. And am I
to assume those that caused the
fault rupture, those that
authorized the core driller, have
they been 'dealt with' as well?
ANDERSON
Well, that was a corporate decision.
We can't quite court martial a
civilian corporation, now can we?
Jacobs gives the man a long look.
JACOBS
Let me ask you about NetCom.
ANDERSON
Yes, what of it? What has that got
to do with anything?
JACOBS
You've fully saturated about 80
percent of the population, if I'm
not mistaken.
ANDERSON
More like 95 percent, but what is
your point?
JACOBS
Quite an achievement. You should
be very proud.
ANDERSON
Yes, very profitable. Why, would
you care to buy some stock?
JACOBS
No, thanks.
ANDERSON
Well, perhaps I can offer you an
even more attractive proposition.
JACOBS
I doubt it.
ANDERSON
Too bad. I was thinking something
along the lines of a full amnesty
in exchange for certain previously
secure data, of which you now seem
to be in possession.
JACOBS
Not interested.
138.
ANDERSON
Well, then, that is unfortunate...
for you, especially.
(beat)
If there is nothing else.
JACOBS
No. Not at the moment.
ANDERSON
Perhaps we will soon speak again.
JACOBS
Yeah, perhaps.
The PDA shuts down.
CARL
You think that will hold him?
JACOBS
Might get him thinking, make some
calls, stay where he's safe.
Carl and Jacobs watch as Jane unstraps, rises from her seat
and smoothly heads to the troopers and displays. The
soldiers continue to final check gear and strap down armor
as they watch Jane quickly size up the site plan. Johnson
pauses only briefly before he speaks to her.
JOHNSON
Where do you want in at?
She points to a high point on the house.
JANE
Here.
INT. ANDERSON'S COUNTRY HOME - ENTRY HALL - DAWN
A brief battle just took place in the foyer of this large,
chateau-like house; furniture is overturned and busted up.
Guarded by Johnson and others of Carl's team, several
security men are face down on the floor, hands behind heads,
now separated from their weapons. One of the troopers has a
hand to the neck of an unconscious security man, checking
his pulse. Just outside the expansive reinforced windows
the grinder and it's scanner drones hover back and forth
over the yard while red flashes ignite the sky.
Flanked by a fully armed and battle-dressed Eddie and Bader,
Carl and Jacobs enter as a scanner drone hisses up behind,
hovers and takes post just outside the open doors. Bader
took a hit and from a missing chunk of shoulder armor he's
bleeding. Carl turns to Johnson.
139.
CARL
Where is he? What's the status?
JOHNSON
He's secured in the conference
room, sir. To the right.
JACOBS
You verified that there's a video
com in there?
JOHNSON
Affirmative, sir.
The four head quickly to the right. Weapons ready, Eddie
and Bader step ahead of Jacobs and Carl. Jacobs' PDA
sounds, he opens it as he walks, Milo appears.
MILO
Adam, Triton will be in position in
five minutes, 15 seconds.
JACOBS
Okay.
MILO
Adam?
JACOBS
Yeah?
MILO
Cerene asked me to tell you, you
now have 15 minutes.
JACOBS
Okay. When you are 30 seconds from
position, let me know and prepare
to discharge to all regions.
MILO
Understood.
INT. ANDERSON'S CONFERENCE ROOM - DAWN
Eddie and Bader enter, check the room, stop and stand at
either side of the door. Already in the room, guarding a
seated Anderson, is a trooper and Jane. A slight scratch
bleeds across Jane's face, her clothing is now dusty and
scuffed. As Jacobs and Carl enter Jacobs glances over at
Jane, a flash of concern shows on his face before he turns
to Anderson. Anderson raises his eyebrows, surprised.
ANDERSON
Dr. Jacobs, Sergeant Major Jackson.
What a surprise.
(MORE)
140.
ANDERSON (CONT'D)
(turns to Jane)
And your unusual associate here -
I'm afraid she neglected to
introduce herself after tearing the
door off my bedroom.
Jacobs moves to the table, passes a hand over a control. A
large wall-mounted plasma screen activates.
JACOBS
Chairman Anderson, would you please
activate NetCom?
ANDERSON
Why? Do you feel the need to watch
some commmercials?
JACOBS
Now.
ANDERSON
Comm, channel five.
The plasma screen is immediately filled with commercial
content, bright colors, rapid-fire images, techno music. A
female voiceover pitches the 'latest' synthesized food product.
FEMALE VOICEOVER (OS)
A single serving of Protex supplies
a full day's requirement of
protein, plus 12 essential
vitamins, and it taste...
ANDERSON
Volume off.
The audio ceases.
JACOBS
Would you mind reactivating the
volume?
ANDERSON
Why? Why in the world would you
want to listen to that dribble?
JACOBS
Please.
ANDERSON
(beat)
Volume up.
The nonstop images are again accompanied by the audio pitch.
141.
MALE VOICEOVER (OS)
...this 500 horsepower powerhouse
blows the competition away with...
JACOBS
Cerene?
The volume cuts, the screen goes blue and there is Cerene.
Anderson gasps, jumps to his feet.
ANDERSON
What the hell... how did you do
that?!
JACOBS
Cerene, how did you do that?
CERENE
Ronny booted me in and I entered
through the Media Seven matrix, Adam.
ANDERSON
(disbelieving)
No. This isn't going out
worldwide... you somehow cut into
my system.
JACOBS
Cerene, Times Square, please.
To the left of Cerene there is Times Square, full of plasma
billboards. On all the displays is Cerene. Like an image
in opposing mirrors, within each billboard to the left of
Cerene is Cerene within the the billboard, within in which
is Cerene in the billboard, and so on.
ANDERSON
No. There is no way the systems
could be compromised. You
fabricated this.
JACOBS
Cerene, Tokyo please.
There is Tokyo, the billboard images switch and again
replicate. Anderson's jaw drops.
JACOBS
Bangkok.
There is Bangkok. Jacobs turns to Anderson.
JACOBS
Care to pick a city, Chairman?
142.
ANDERSON
(pause - thinks)
Mexico City.
Downtown Mexico City appears. There is Cerene.
ANDERSON
Rome.
There is Rome and Cerene.
ANDERSON
I still don't believe it.
JACOBS
Cerene, broadcast Chairman
Anderson's image, please.
Instantly, real time in Rome, Anderson appears on the
billboard. As Anderson raises a hand, the video Anderson in
Rome raises a hand. People on the streets are now stopping,
staring at the odd non-commercial image.
ANDERSON
Stop.
JACOBS
Cerene...
Anderson disappears from the billboard and there is only
Cerene in Rome.
A high-pitched tone sounds and a small phone rises from the
table top. Anderson slowly reaches for it, the trooper
steps forward, weapon ready. Anderson pauses, brings the
phone to his ear.
ANDERSON
Anderson.
He listens for a moment.
ANDERSON
I know.
(pause)
I'll call you back.
Dazed, he turns to Jacobs.
ANDERSON
What are you going to do?
Jacobs turns to Cerene.
JACOBS
Cerene, begin please.
143.
Now appearing on the screen to the left of Cerene is a in-
orbit real-time view of Earth. It is the Earth as it really
is: sick, polluted oceans, smothered in smog, the peninsula
of Florida is now a sliver.
CERENE
Citizens of Earth. It is time you
know the truth...
On the screens around the world, captions appear and where
there is audio Cerene speaks in that respective language.
In Times Square, she speak English; in Tokyo, Japanese; in
Bangkok, Thai, etc...
CERENE
This planet, your planet, is dying...
Now the images go macro: a devastated rain forest, flames
flare on smog-suffocated city streets, volcanoes erupt,
birds lay dead on polluted shorelines, oil wells burn,
corpses are bull-dozed into mass graves...
Jacobs' PDA sounds, he opens, there is Milo.
MILO
Triton is in position, Adam.
JACOBS
Launch in ten seconds. Cerene,
activate images from Triton's drones.
Anderson's eyes go wide as on the screen a sinister-looking,
weaponized satellite appears in orbit over Earth. A
canister-like section detaches, a maneuvering jet fires, the
canister turns, it's casing is shed in three parts and
numerous missiles sequentially fire off towards Earth. The
missiles accelerate, diverge paths and fire out to surround
the Earth and descend into the atmosphere.
JACOBS
Return to NetCom, Cerene, begin
Triton advisory.
CERENE
In 20 seconds you will see a bright
light in the sky. You should not
be alarmed. This is a military
impulse device which will
temporarily deactivate the
electronic systems of all motor
vehicles. If this was not done,
the Earth would cease at once,
suddenly and in flames. This would
be an apocalypse made not by any
god, but by humankind...
144.
ANDERSON
Stop it. Turn it off.
In the atmosphere high over Times Square, there is a bright
flash. On the roads below, engines immediately cease and
cars coast to a stop. In orbit above the planet, the
flashes light up the stratosphere over the continents. On
the screens in the cities, Cerene continues.
CERENE
Because of the burning of fossil
fuels, because you continue to
propagate, to populate beyond what
was intended, soon...
ANDERSON
Turn it off!
JACOBS
Continue Cerene, but volume off
here, please.
Anderson drops into his chair.
ANDERSON
Do you know what you've done?
JACOBS
Yes. Caused you a big problem. If
I were you I would start making
some calls. You did a wonderful
job of marketing - its a great
network.
ANDERSON
We'll shut NetCom down.
JACOBS
You can, but it will take you a
while. Before, the system was
secure for you. It is now even
more secure for us. Of course you
could deactivate the billboards,
but by then it will be too late.
(beat)
Cerene never gets tired.
ANDERSON
What do you want?
JACOBS
Your consortium - your oligarchy -
controls 95% of the oil flow. Use
what you have in reserve for
emergency services until
alternatives are phased in.
(MORE)
145.
JACOBS (CONT'D)
Otherwise, turn off the taps and
seal them up.
ANDERSON
You're talking about grinding the
world to a halt.
JACOBS
It could be worse.
ANDERSON
It'll be years before alternatives
are online.
JACOBS
You've been sitting on synthetics
and solar accelerators for more
than 10 years. You know better
than us, in two to three years they
could be phased in, if you unlock
them.
ANDERSON
Three years...
JANE
(looks hard at Anderson)
He knew. He knew it was coming.
He knew it was time.
(beat)
They didn't know how to change.
They all turn to Jane.
JANE
They didn't know how to stop the
machine.
Jacobs turns back to Anderson, who still looks at Jane.
JACOBS
You know how now, don't you
Chairman Anderson?
ANDERSON
(thinks long)
And what are you going to do? What
else? I know you are not simply
going to walk out of here.
146.
JACOBS
Yes, we'll walk out of here.
Because we won't yet expose the
fact that The Committee effectively
staged a secret coup. We'll hold
back, unless, of course, your
people tamper with NetCom or any of
us comes to an untimely end. And
by the end of the current
administration, we want all of your
congressmen, all of your senators
and your president to take an early
retirement. You have three years
to quit your meddling. If by then
all the rats aren't off the ship,
we'll broadcast the list, expose
the rigged votes, the secret memos,
encrypted e-mails and scrambled
calls. This would be bad for
business.
(beat)
And if I were you, I wouldn't want
a couple hundred thousand guys like
Carl pissed off at me.
Anderson looks to Carl.
CARL
Roger that.
JACOBS
Understood, Chairman?
ANDERSON
(beat - thinks hard)
I'll have to consult with my
associates.
Jacobs stares at the man.
JACOBS
Cerene, begin report on The
Committee, please, volume up.
CERENE
In 2007, the Federal government of
the United States of America was...
ANDERSON
Okay! Okay!
JACOBS
Cerene, hold, return to last
report, please.
147.
CERENE
Overpopulation on the continents
of...
JACOBS
Volume off.
Anderson works at his forehead with his hand.
ANDERSON
You'll have to give us a little time.
JACOBS
That's what you've got. A little
time.
(to PDA)
Milo, status?
MILO
Toxins are dispersing on all
levels, Adam. Ambient temperatures
are in remission.
Jacobs, Carl and Jane turn to head out.
JACOBS
We'll be in touch.
EXT. ANDERSON'S COUNTRY HOME - MORNING
The grinder lifts off and accelerates away over the brown
and dead trees. It heads straight into a blazing red
morning sun shrouded in a sickly orange-gray band of smog.
FADE TO:
EXT. RIVERFRONT - DAY
On this quiet corner of a spotless, tree lined waterfront
street, a few people pass on bikes. A couple of cars
quietly whine by. There are no roaring engines, no
emissions, no smog, no honking horns.
Jacobs sits on the seawall, a small boy next to him. They
are fishing in the sparkling clean river.
A hybrid motorcycle hums up behind Jacobs and the boy. The
rider, Bader, dismounts, takes off his helmet. He strolls
to the seawall.
Jacobs and the boy turn. The boy, JACK, is almost
unnaturally handsome, with piercing, intelligent eyes.
Jacobs now has a few streaks of gray in his hair.
BADER
Catch anything?
148.
JACOBS
No. Luckily.
JACK
Hello, Bader.
BADER
Hello, Jack. How are you?
JACK
Very good, thank you.
BADER
(smiles)
That's good.
JACK
And how are you?
BADER
Fine, thanks.
(beat)
Where's your mom?
Jack points to the river.
JACK
Swimming.
From the middle of the river, she is fast moving with rapid
powerful strokes towards shore. Bader smiles, watches this
a moment, turns to Jacobs.
BADER
So does this mean no fish tonight?
JACOBS
Depends. I think we may be eating
out.
(turns to Jack)
Better reel it in, Son. We don't
want to catch your mother.
JACK
Okay.
Jack works his reel rapidly, brings the line out of the
water. At an Olympic pace, Jane swims to the seawall,
brings her head up and treads water.
JANE
Good afternoon, Bader.
BADER
Hi Jane. Nice stroke.
149.
JANE
Thank you. The water is wonderful.
She treads water a little closer to Jack.
JANE
Jack, would you like to take a
quick swim with your mother before
we get ready for dinner?
JACK
Okay.
Jack stands, takes off his shirt. Though still a small boy,
his shoulders are taking shape, showing a bit of muscle. He
readies himself, crouches, springs and executes a perfect
dive.
He comes to the surface and immediately starts to swim in
good form. Jane side strokes alongside, her head partially
out of the water, watching her son.
Bader sits down next to Jacobs, gives him a look. Jacobs is
wreaking of contentment, watching Jane and Jack swim.
BADER
Seems like you have a pretty good
setup here.
JACOBS
Yeah. I wonder how the hell that
happened.
Jacobs reaches to a small cooler.
JACOBS
Beer?
BADER
Sure.
Jacobs opens and hands Bader a cold bottle. Bader holds his
bottle up for a toast.
BADER
Here's to life in the big city.
JACOBS
Cheers.
They toast.
Jacobs and Bader sit on the seawall, Jane and Jack swim in
the clean river.
The Statue of Liberty is beyond.
150.
The streets of the city are lightly trafficked with quiet,
clean-burning hybrid cars, three-wheeled scooters,
motorcycles and electric trolleys.
The city sparkles, the air is clear, the sky is strikingly
blue, dusted with a few white clouds.
The Earth is clean, healthy, seemingly reborn.
FADE OUT.
Return to plot split point. Return to top of page. |
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