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Post by Dale on Apr 1, 2009 9:38:35 GMT -5
Clocks: Generations Director
Hanelle
Cast
Kevin McKidd as Charles Abaddon
Josh Holloway as Seth Prescott
Zooey Deschanel as Marianne Carter
Morena Baccarin as Rose Viera
Lance Reddick as Ron Luther
David Morrissey as Roy Walker
Alexandra Breckenridge as Charlotte Long
Nutsa Kukhianidze as Eva Rusnakova
Jolie Jenkins as Sydney Abaddon
Damien Lewis as Thomas Abaddon
Zachary Quinto as John
Emily Blunt as Sophie
David Anders as Nathan Gorman
Traylor Howard as Layla Prescott
Joel Gretsch as Cyrus Hearth
Julie Benz as Claire Hearth
Andre Braugher as Mark Kline
Skeet Ulrich as Tommy Lyons
Alia Shawkat as Natalia
David Zayas as Frank Marquez
Vincent Cassell as Mr. Black
Plot
The final installment of "Clocks" takes place where season 2 ended. As we jump from past, present and future we see unlikely alliances form and many promises being broken. All leading up to the show's end, which promises to go out with a bang.
Release Date
April 1st, 2009 |
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Post by Dale on Apr 1, 2009 9:41:03 GMT -5
COMING ATTRACTIONS FADE TO:
An African jungle at night. A flaming meteorite-like object falls from the sky, crashing through the jungle canopy and setting trees alight.
CAPTAIN SCARLET (V.O.)
What year is it?
S.A.T.A. (V.O.)
2019.
FADE TO BLACK.
FADE TO:
President Robert Anderson stands at a floor-to-ceiling window in an
enormous metallic chamber, staring out at London from high above in the night sky. His back is to us as we slowly PULL IN towards him. A blue light is cast on him and the rest of the room by an unseen source.
CAPTAIN SCARLET (V.O.)
The President is a Mysteron?
S.A.T.A. (V.O.)
Every world leader is a Mysteron. Things change.
FADE TO BLACK.
CAPTAIN SCARLET (V.O.)
What is this place?
OLD MAN (V.O.)
Have... you been out of town?
FADE TO:
Captain Scarlet, wearing the armour of a S.A.T.A. (Spectrum Assault Team Agent). His hair is scraggly and unkempt, and he has a thick, messy beard. He looks like he hasn't showered in weeks.
CAPTAIN SCARLET
...Something like that.
CUT TO BLACK.
'Space Monkey' by Placebo begins playing (0:21 - 1:08).
CUT TO:
Scarlet, clean shaven, walking out of a building in street clothes at night. He loads a cartridge into a pistol.
CUT TO:
Scarlet ducking into the entrance alcove of a building to hide as a patrol truck passes by down the street.
COLONEL WHITE (V.O.)
We're being hunted.
IN A WORLD RULED BY FASCISTS
CUT TO:
A bar. Captain Black enters, flanked by two S.A.T.A.s. They approach a scared looking man.
CAPTAIN BLACK
Martin Ross.
Black pistol whips him in the face. The two other agents begin to drag his unconscious body out of the bar.
THE FEW
CUT TO:
Scarlet, Colonel White, Lieutenant Green and Telum sit around a kitchen table.
CUT TO:
Captain Blue in a metal prison cell, bouncing a ball against the wall and catching it. Blue light is cast on him.
ROBERT ANDERSON (V.O.)
Why would we want peace when we have power?
CUT TO:
Destiny Angel in a similar cell, curled up on a metal bunk. Blue light is cast on her.
MUST FIGHT THE MANY
CUT TO BLACK.
The music cuts out.
CAPTAIN SCARLET (V.O.)
We need to tell them that a revolution is coming.
FADE TO:
Scarlet, Blue and Destiny standing by a truck, Scarlet in armour without a helmet. Black stands close to Scarlet, looking carefully into his eyes.
CAPTAIN BLACK
Well, well... It IS you.
CUT TO BLACK.
CUT TO:
Scarlet in an escape pod, banging on the window as it flies through space.
CAPTAIN BLACK (V.O.)
The last time I saw you, you were banging against the window of an escape pod for dear life.
CUT TO BLACK.
CUT TO:
Back to the previous scene by the truck.
CAPTAIN SCARLET
Didn't take.
CUT TO:
Scarlet, in an aeroplane, walks forward quickly aiming a pistol at somebody offscreen. A S.A.T.A. runs into him, smashing him into the emergency exit door and ripping it off its hinges. They fall through the open doorway, fighting and grappling in mid-air as they tumble towards Earth.
CUT TO:
'Cave' by Muse begins to play (4:04 - 4:45).
Blue runs along a wreckage-strewn bridge. A Raptor fighter jet screams past overheard, firing missiles and just missing him. The explosion knocks Blue sideways into a car, smashing its windows.
CUT TO:
Scarlet and Black fight on top of a speeding truck.
CUT TO:
Scarlet looks up at an enormous, 160 storey metal citadel with anger burning in his eyes.
CAPTAIN SCARLET (V.O.)
I never thought it would come to this.
CUT TO:
S.A.T.A.s fast roping down an office building and smashing in through the windows, landing on the ground with a roll and standing up aiming silenced sub-machine guns.
CUT TO:
A small child pushes a door open, white light glowing from inside the room and obscuring our view of what it contains.
CAPTAIN BLACK (V.O.)
We wanted blood for blood, but we've drawn droplets.
CUT TO:
Scarlet and Blue fire guns from behind cover in an office building.
COLONEL WHITE (V.O.)
They've taken our world from us through death and destruction...
CUT TO:
The metal London citadel shoots a thick, constant beam of bright blue electricity from a lens set into the roof, lighting up the night sky and causing the clouds to emanate lightning.
CUT TO:
Scarlet shooting his way through the corridors of Cloudbase.
CUT TO:
A warehouse exploding in an enormous fireball.
COLONEL WHITE (V.O.)
...and we need to take it back.
CUT TO:
White standing at the front a crowd of hundreds of cheering people.
WALSH (V.O.)
The world will never be the same again.
CUT TO:
Black grabbing Scarlet by the lapels and leaning him over the edge of the Cloudbase runway - outside. Wind rushes and threatens to knock them both off.
CAPTAIN BLACK
THIS WORLD IS MINE!
CUT TO BLACK.
FADE TO:
Scarlet is launched out of an office building window by an unseen force, torpedoing towards another building. In slow motion, a helicopter descends from the sky... The spinning propellor blades moving directly into Scarlet's trajectory.
CUT TO BLACK.
CAPTAIN SCARLET 3
APRIL 3rd FADE IN:
“Guilty” by Gravity Kills plays throughout the TRAILER.
CLOSE on a large sign hanging above an old-fashioned wooden doorway. It reads:
Route 66 Tavern
TILLMAN (V.O.)
There is no paradise on this island my friend...
Inside we see the dimly lit Tavern, jukebox and pool table included. Two men sit at the bar with their backs to the CAMERA. Two CAPTIONS SLAM ON SCREEN above each of the men's heads.
WINSTON TILLMAN
PERCIVAL WALLACE
PERCIVAL (V.O.)
What's that for?
CLOSE on Tillman's hand. It holds a .357 revolver. He smiles defiantly at Percival.
TILLMAN
Freedom.
CUT TO:
An apartment door with the number 42 above the peephole.
GRETCHEN (V.O.)
How many people have you killed tonight?
The door opens and a woman, straight out of the fifties, stands smiling in a bizarre mannequin-esque way. Her perfect white and flowery dress hangs down to her ankles and her bright blonde hair is tied back tightly behind her head. She cocks her head slightly, not removing the disturbing smile from her face.
PERCIVAL (V.O.)
Too many.
BOOM! A blast EXPLODES from the revolver.
CUT TO:
A random nightclub scene. The dance floor is filled with new age partiers dancing wildly under the strobing lights.
Near the bar we see a shot of GRETCHEN, her unkempt and bold black hair jutting out in every direction. She smiles at someone before sneaking in a quick SNORT of cocaine from her wrist. Another CAPTION SLAMS above her head.
GRETCHEN
The word disintegrates slowly before reforming into the name --
CLEMENTINE
CUT TO:
Percival sitting in the back of a lonely subway. A few seats ahead, staring straight at him is an elderly woman adorned with a ridiculous smattering of violet lipstick. She smiles toward Percival.
GRETCHEN (V.O.)
Can I see you do it?
PAN DOWN to her hands as she quietly strokes the back of a small "pet" chicken.
Percival looks away quickly.
CUT TO:
A red curtain slides up, revealing a pane of glass. A stripper, ready to deliver a peepshow to an excited customer, begins dancing seductively.
GRETCHEN (V.O.)
Can I see you kill someone?
CUT TO:
Tillman sits behind the wheel of a car, Percival awkwardly seated in the passenger seat. The dark road ahead of them is vacant.
Long still SHOT on the two as they sit in silence.
PERCIVAL (V.O.)
Why?
CUT TO:
Percival and Gretchen sit in a quaint diner sometime mid-morning. Their conversation now taking place in REAL TIME.
GRETCHEN
Death, it fascinates me.
Percival half-grins at her as she stares at him wickedly.
PERCIVAL
Just when I thought this night couldn’t get any more bizarre...
CUT TO:
Percival sits at a bar, downing a shot.
BARTENDER (O.S.)
How 'bout another?
PERCIVAL
You got it.
The drink is poured in front of Percival. PAN UP to see the bartender, smiling brightly. A large bullet hole present in his forehead, blood streaming down his face.
CUT TO BLACK. FEATURE PRESENTATION CLOCKS
Series Finale
“Generations” TEASER
INT. APARTMENT – MORNING
CLOSE on the face of a digital alarm clock. The red numbers read: 5:59 AM.
BEAT.
As it clicks to 6:00 AM the radio begins BEEPING loudly. A hand slams on top of it and the beeping is gone. A man quickly sits up in bed as “Bad Moon Rising” by Creedence Clearwater Revival begins to play.
The brief SHOT of his face is vaguely familiar, but we are unable to place it.
He stands, reaching into the closet. He pulls out a blue suit, some sort of workers uniform. He casually tosses it onto the bed and enters—
INT. BATHROOM – CONTINUOUS
The man stares silently at his feet as the shower water pours onto his head, dripping down his face like a fountain.
INT. BEDROOM – MORNING
He stands in front of a mirror, buttoning up his uniform. His phone RINGS loudly from inside his pocket.
MAN
Yes? I’m leaving right now.
(angrily)
I know that! If you touch a single hair on either one of their heads, I swear to God—
He cringes silently as he appears to be interrupted by the caller.
MAN (cont.)
Half an hour. Then you bring them to the spot.
(beat)
Goodbye.
He snaps the phone shut furiously. As he grabs his keys from the table, he also puts on a blue hat, matching his uniform. He exits through the front door.
EXT. APARTMENT – CONTINUOUS
The man hurriedly gets into a van and drives away. As he passes CLOSE on the logo on the side of the van.
GOLDBERG ELECTRIC REPAIR COMPANY
EXT. MERITAGE BANK – MORNING
Outside of the bank we see dozens of citizens passing by. As the van pulls up, we quickly realize this is the same scene from the TEASER of episode 2x02 “Foreign Relations”.
The man exits his van and enters the bank through it’s large glass double doors.
INT. MERITAGE BANK – CONTINUOUS
The man walks through the revolving doors and heads to the security gate. He flashes an identification badge at the guard.
GUARD
(nodding)
Go ahead.
The man continues as he heads up an escalator to the upper floors. The interior of the Bank looks futuristic, a very creative design.
The man reaches the third floor and heads down a long empty corridor. Through the windows are rows of cubicles as employees go about their daily business.
He pushes open a MEN’S ROOM door and enters.
INT. RESTROOM – CONTINUOUS
He quickly enters a stall and climbs atop the toilet. He forcefully removes a tile in the ceiling and places it gently to the ground.
He heaves his toolbox into the empty space and opens the lid. It’s a BOMB! He clicks a button and the timer begins. It reads 05:00. He sighs as he takes one last moment to see what he is about to do.
INT. MERITAGE BANK – FIRST FLOOR – MORNING
The man steps off the escalator and walks past the security station again.
GUARD
You have a good day.
He keeps his head down as he walks past.
MAN
Thank you.
He exits through the revolving doors.
EXT. MERITAGE BANK – CONTINUOUS
The man climbs inside of his van and starts the engine. He takes one last look at the building.
BEAT.
He hits the gas and speeds away into the heavy traffic. After a brief time his van turns and is now out of sight.
BOOM!
Fire explodes out of a few of the middle-story windows. Screams ring out in the surrounding area and panic takes over.
Men and women rush out of the building in a stampede-like manner, sirens can be heard in the distance as debris reigns down on top of cars and people alike.
INT. CAR – MORNING
PRESENT DAY
Ron stares straight ahead, his hands firmly clutching the steering wheel. Seth sits in the passenger seat, with Rose in the back.
Sorrow fills their eyes as they sit in silence. Their attire seems strange. Obviously more than just casual.
BEAT.
RON
This city is dead.
Seth looks through the window to see New York City. “Dead” is correct. The city is lifeless and empty, a far-cry from what it looked like just one day ago.
SETH
Charles said they estimate half the city would be evacuated by today. I didn’t think that was possible.
RON
Looks like it is.
Seth’s cell phone RINGS. He reaches into his jacket and pulls it out.
SETH
This is Seth.
EVA (O.S.)
Hey, it’s Eva.
Through his troubled expression he manages a slight smile.
SETH
Eva, is everything alright?
INTERCUT WITH EVA’S HOUSE
She sits on the sofa in flannel pajamas, the lights from her television dancing across her thin face.
EVA
Yes, it’s fine. But I have some news I think you’d be interested in.
SETH
Let’s hear it.
EVA
I had a chat with our friend Mr. Gorman.
(beat)
He told me Charles Abaddon knows who the terrorist is. That he is working WITH him.
Seth’s eyes widen in shock.
EVA (cont.)
Just be careful, Seth. I’m afraid there is more to this than we know.
SETH
There always is.
Awkward silence.
SETH (cont.)
Thanks, Eva. You be careful okay? I’ll talk to you soon.
EVA
Goodbye Seth.
Seth shuts the phone, slipping it back into his jacket. Rose leans forward from the backseat, placing her hand on his shoulder.
ROSE
Everything okay?
SETH
Yeah, everything’s fine.
They exchange brief smiles as the car slows.
RON
We’re here.
As the car comes to a stop, PAN around to reveal their destination.
A large metal sign hangs above an entrance gate. It reads:
ST. SEBASTIAN CEMETERY
END OF TEASER
COMMERCIAL BREAK
BLACK SCREEN.
LOGAN (V.O)
There's a war going on out
there...
FADE IN:
EXT. STREETS OF NEW YORK - DAY
The streets of New York filled with many people, of
many ethnicities. On the sidewalks they cower in
terror. Filled with Fear.
Mutants over run the streets. Attacking, protesting
making their cause known.
Military Vehicles roll down the road. Heavily armored,
Tank like. They pass a billboard that reads:
"ALL MUTANTS MUST REGISTER: MUTANT REGISTRATION ACT"
CUT TO:
LOGAN (V.O)
Mutants are killing Mutants...
CUT TO:
INT. DANGER ROOM
Gambit rolls across the floor, retrieving his staff as
Wolverine charges again. Gambit blocks Wolverine's claw
attack with his staff wedging it between the blades. He
pushes Wolverine backwards before sweeping his legs out
from under him with the use of the staff.
QUICK CUTS:
- Wolverine comes at Gambit swiping berseker style with
his claws.
- Gambit hurls the now charged playing Cards in
Wolverine's direction.
- Logan lifts his arms to defend himself as the cards
explode. Gambit looks at the debris and dust, he smiles
victoriously until --
- Wolverine steps out, not a scratch on him.
LOGAN
You're gonna have to do better
than that bub.
CUT TO:
LOGAN (V.O) (CONT'D)
Humans are killing Mutants ...
TITLE: EXTREME MEASURES...
INT. HELLFIRE CLUB - CORRIDOR -NIGHT
EMMA FROST, an attractive blonde dressed all in white,
runs with her dark haired assistant TESSA through the
corridors of the Hellfire Club. The building is
swallowed by some unseen force behind them.
They weave in and out of the falling debris, always
hunted, always pursued by the blinding lights that has
set it's sights on them.
CUT TO:
STORM (V.O)
That's why we have to fix it.
EXT. CITY STREETS - NIGHT
Mutants of all shapes, sizes and colours riot on the
ground. Destroying buildings, fighting one another.
The X-JET hovers mere feet from the ground. The ramp
lowers from the back, basked in light stands the X-MEN.
Our Hero shot...
We see; STORM, WOLVERINE, COLOSSUS, KITTY PRYDE ICEMAN
and finally WARREN WORTHINGTON (ANGEL)
Wolverine leaps from the rear of the Jet, landing on
the concrete below.
CUT TO:
LOGAN (V.O)
By protecting the very people
that have persecuted us, locking
us up?
INT. MUTANT DETENTION CENTRE - CELL WING - CONTINUOUS
Several guards escort Pyro and Blob down the corridor.
The mutant duo put up a fight...
Blob throws several guards across the room. Several
more take their place, weapons trained on him.
CLICK
Pyro's lighter creates another flame for him to
control. The fire ball begins to increase in power
until--
A guard nails Pyro with the butt of his weapon. Pyro is
forced to the floor, his lighter slips from his wrist.
He reaches for it but the guard kicks it away.
PYRO
You can't keep us locked up for
ever.
CUT TO:
STORM (V.O)
We Protect everybody.
INT. GENOSHA - DAY
LOGAN
The only logical thing to do, is
to take out the problem.
STORM
We don't kill people Wolverine.
LOGAN
You wanted to protect the
people? You want to keep the
peace --
STORM
Logan --
Wolverine retracts his claws.
He walks towards WANDA MAXIMOFF, MAGNETO watches
Wolverine a slight panic on his face.
LOGAN
By killing her, we protect
everyone. Isn't that what you
wanted?
KITTY
Logan stop!
CUT TO:
INT. GENOSHA - DAY
MAGNETO
All this talk of killing, and
justifications of past events
solves nothing.
Every second we waste on words
puts as all at risk. She must be
saved. We must be saved. The
world must be saved.
LOGAN
You want to save a world, where
mutants are treated like dirt --
hunted down and detained against
their will?
Magneto walks towards Wolverine and looks him square in
the eye.
MAGNETO
Yes.
A beat passes.
LOGAN
Fine.
CUT TO:
LOGAN (V.O) (CONT'D)
We make a stand.
INT. MUTANT DETENTION CENTRE - NIGHT
Suddenly, a whole row of cell doors spring open. The
bewildered prisons walk out.
Amongst them, BOOM BOOM, BANSHEE, CANNONBALL, PYRO &
BLOB.
QUICK CUTS:
-- Guards rush to prevent mutants from leaving their
cells. They try in vein to block off exits and force
the escaped mutants back into their cells.
-- Boom Boom sends a ball of energy sailing through the
air. It explodes throwing the guards back against the
varying walls.
-- Blob stands still as guards, running from Boom
Boom's blasts plough into him. They fall as if they
just ran head first into a brick wall.
-- Banshee let's out a SONIC SCREAM, mutants and guards
alike drop whatever they're doing to cover their ears.
-- Cannonball flies down the corridor, knocking the
guards off their feet before crashing through the cell
like gates at the end of the corridor.
CUT TO:
LOGAN (V.O)
This is a war.
INT. XAVIER MANSION - BASEMENT CORRIDOR - NIGHT
Wolverine, Storm, Frost and Mystique stand off from
Colossus, Kitty and Rogue.
All of them dressed in their leather X-Men Uniforms.
COLOSSUS
We're ready to fight.
FLASH OF: Colossus, standing in his X-Uniform in
Genosha ...
LOGAN
We take you along, you might not
come back --
KITTY
We're not kids anymore. We're X
Men.
FLASH OF: ... We move down the line, from Colossus to
Kitty...
LOGAN
What does that even mean, apart
from that X on your chest?
ROGUE
It means we're a family.
FLASH OF: ... From Kitty to Rogue...
ROGUE (CONT'D)
It means we stand together.
Always. I can help.
Gambit walks into shot.
GAMBIT
So can I.
FLASH OF: ... From Rogue to Gambit.
Wolverine looks at Rogue, then to Gambit and finally to
Kitty and Colossus. He nods.
FLASH Of: Finally, we move to Wolverine.
CUT TO:
LOGAN (V.O)
Everything will change...
BOOM.
The grounds begins to shake.
BOOM.
The towering SENTINEL UNITS walks into view. A mass of
steel constructed by man for one purpose; seek and
destroy mutants. Humanoid in form, with two great
lights set in it's head as eyes.
They beam down on the X-Men.
FADE TO
BLACK.
TITLE: X-MEN 4: M-DAY...
EXT. NEW YORK STREETS - NIGHT
Cars and vehicles of all varieties pull to a sudden and
abrupt stop.
Mutants and humans alike stop and stare at the light
now spreading like wildfire across the skies of New
York.
INT. XAVIER MANSION - NIGHT
Iceman, Pyro, Beast, Sage, Blob, Angel, Jubilee and the
others are stopped in their tracks as the light now
encases the mansion.
INT. GENOSHA - WANDA'S ROOM - NIGHT
Wanda's tightly closed eyes flash open.
CUT TO BLACK:
TITLE: COMING MARCH 27TH
END COMMERCIAL BREAK
ACT ONE
INT. U.N. HEADQUARTERS – MORNING
The office area is desolate and nearly empty. Only a few brave workers remain as Charles enters through the elevator.
The small group eyes him hopefully before he shrugs sympathetically.
CHARLES
Sorry guys, nothing yet.
A few sighs ring out from the small group as they return to work. Charles heads toward his office, passing David Austin.
DAVID
Sir, no new information at all regarding the terrorist?
CHARLES
Not that I’m aware of, Mr. Austin. Don’t worry, I’ll be sure to keep all of you posted.
BEAT.
DAVID
Sir, do you think he would actually set off a nuclear bomb in the city?
Charles places a hand on his shoulder comfortingly.
CHARLES
We’re going to be okay, David. I promise.
He nods, smiling at Charles with a sense of admiration. Charles turns to enter his office as David seems to have remembered something.
DAVID
Oh! Mr. Abaddon?
CHARLES
Yes?
DAVID
Did Charlotte make it out of the city okay?
BEAT.
Charles nods, but struggles to make any form of eye contact.
CHARLES
Yes. She’s safe.
David smiles happily and exits. CLOSE on Charles’ face as we—
CUT TO:
INT. U.N. HEADQUARTERS – DAY
A seemingly younger Charles walks through the halls of the U.N. building. An older gentleman, Albert Marks, leads the way.
ALBERT
Your office is located just down the hall here. We’re glad to have you on board Mr. Abaddon.
CHARLES
Thank you, Sir. I can’t wait to get started.
Albert smiles at his positive attitude. They stop suddenly as Albert notices someone out of the corner of his eye.
ALBERT
I forgot to tell you, Mr. Abaddon. Let me introduce you to your new assistant.
Just ahead stands a woman, her back facing them. She turns slowly to reveal herself to be—
ALBERT (cont.)
Miss Charlotte Long, I’d like you to meet Charles Abaddon.
They shake hands, their eyes connecting briefly.
CHARLOTTE
Nice to meet you, Mr. Abaddon.
CHARLES
Miss Long, the pleasure is all mine. I look forward to working with you.
CHARLOTTE
Thank you. Me too, Sir.
She smiles awkwardly like a student on the first day of school.
CHARLES
Please, call me Charles.
She nods as the two continue toward his office.
EXT. MENTAL INSTITUTION – EVENING
THE FUTURE
Ron, Sophie and John exit the hospital and head down the front steps. People everywhere stare at the sky in a trance-like state.
JOHN
What is everyone looking at?
Over some trees the trio can see the left over debris falling like fireworks. The Russian missiles launched toward the U.A. have been intercepted and shot down creating a beautiful display in the sky.
BEAT.
F-16’s fly overhead creating a deafening BOOM!
RON
It’s starting.
Sophie and John exchange nervous looks as Ron stares into the sky.
JOHN
What’s starting?
RON
The end.
(beat)
John, there is something YOU need to do. Something you were meant to do.
John looks at him in confusion.
JOHN
What are you talking about?
RON
We have to go, I’ll explain later. I need you to trust me.
Ron quickly walks away, leaving Sophie and John standing in the street with puzzled looks on their faces.
INT. HOMELESS SHELTER – EVENING
LONG SHOT of a cramped hallway. A line is formed leading out onto the sidewalk.
Dozens of men and women, all homeless, wait hopefully for a place to stay for the night. “Ode to My Family” by The Cranberries plays in the background.
About six people back is a young Marianne. She looks to be barely over twenty, a red scarf draped across her neck.
DOOR PATRON
We’ve only got a few spots left guys, I’m sorry. I’ll take everyone up to...
(looking at her)
This young woman. After her we are full, you’re gonna’ have to try another shelter for the night.
A barrage of groans and sighs emanate from the group behind her. She is lead into the actual shelter by the Patron.
The shelter’s interior looks very similar to a refugee camp. Rows and rows of small beds fill the building with a small hot food line located against the far-east wall.
The Patron points to a small bed in the center of the room.
DOOR PATRON
This is yours Miss. Last one, this must be your lucky day.
She smiles timidly.
MARIANNE
Thank you.
He nods and walks away. She sets her bag on the bed and takes a seat. Her surroundings appear to be very uncomfortable for her.
VOICE (O.S.)
Hi.
She turns around to see Roy sitting on the bed next to her. He smiles brightly. His face is also much younger than we’ve seen previously with only a little stubble of hair protruding from his chin.
MARIANNE
Hello.
ROY
What’s your name?
MARIANNE
Marianne. Marianne Carter.
He stands and leans toward her, extending his hand.
ROY
I’m Roy. It’s a pleasure, Marianne.
She smiles, looking down at her feet bashfully.
ROY (cont.)
Never been in a shelter before, huh?
MARIANNE
That easy to tell?
He laughs softly.
ROY
Sometimes. You’re safe here.
(beat)
Foods not great, but it gets the job done. Say, do you want some?
He stands, pointing toward the food line. She hesitates briefly.
ROY (cont.)
Please, you need to eat. Give me just a minute, I’ll be right back.
Roy starts to walk away before stopping and turning back to her.
ROY (cont.)
It’s nice to meet you Marianne.
MARIANNE
Nice to meet you too.
He heads over to the line. She smiles, the first sign of actual joy since she arrived.
EXT. CEMETERY – MORNING
CLOSE on Marianne’s headstone. After a brief moment PAN to the left to reveal a second headstone right next to it. It reads:
In Loving Memory
ROY TIMOTHY WALKER
Seth, Rose and Ron stand over the grave silently.
SETH
None of us have known Roy very long. But in the short time that we did he became one of my closest friends.
(beat)
He was the kind of person who would have given you the shirt off of his back. That’s just who he was. He had a lot of demons he struggled with and it’s nice to know he is finally at peace.
Rose puts her hand on Seth’s back lovingly, her eyes tearing up.
SETH (cont.)
It’s nice to know he finally got to reunite with the love of his life. He will be missed.
Another respectful moment of silence.
Out of the corner of his eye Seth notices a small silver Toyota parked near the entrance. The car is idled with the window rolled down.
As Seth begins to walk toward it, Rose and Ron exchange puzzled looks.
He nears the car from the front, unable to see the driver through the tinted windshield.
SETH
Something I can help you with?
He looks into the window, his eyes lighting up with surprised recognition.
SETH (cont.)
Mom? Mom what the hell are you doing here?
Inside the car is Layla, who returns the shocked look.
INT. BOMB SHELTER – EVENING
Thomas and his aides, Doug included, sit around the large table. It’s only been a couple of hours since his decision to launch the retaliation attack, much to the chagrin of Doug.
Thomas looks down, his face red and his eyes tired.
AIDE #1
You did the right thing Mr. President.
He doesn’t reply. Doug looks at the Aide with a scowl.
BEAT.
THOMAS
Do we have a car waiting?
AIDE #1
Yes, Sir. There is a car waiting for you just outside.
THOMAS
Good.
Thomas stands, gathering his things. Doug hops up, looking at him desperately.
DOUG
Sir, it’s not safe.
THOMAS
Is it ever safe? Since the day I took office Mr. Jones, has a day gone by that I wasn’t in danger?
(beat)
The American people need to see me. In the city, just as they are. Fighting this fight right next to them. They need hope.
Doug nods subordinately.
THOMAS (cont.)
I can’t stay here forever.
He snatches up his jacket and heads toward the bunker door. His aides hastily follow.
Thomas turns at the door, looking at Doug.
THOMAS (cont.)
We need to fight this war head on.
EXT. CEMETERY – MORNING
Layla steps out of the car, hugging Seth tightly.
LAYLA
Seth you look...terrible!
He chuckles, half-smiling.
SETH
It’s been a long night, Mom.
(beat)
What are you doing here?
LAYLA
I would ask you the same question, but I’m assuming you already found out.
SETH
Found out? I don’t understand.
She leans against the car, struggling for the words. Even though she’s went over the speech a thousand times in her head, it’s still one of the hardest things she’s had to do.
LAYLA
I heard what happened to Roy, Seth. I just wanted to come here to pay my respects. I’m sorry I never told you about him.
Seth looks totally lost.
SETH
I’m really not following you. Told me what?
LAYLA
You...you still don’t know?
SETH
Know what?
BEAT.
Layla looks away, but he remains persistent.
SETH (cont.)
Mom...tell me.
LAYLA
Seth, Roy is...
(beat)
Roy is your father.
The words hit Seth like a freight train. His body rocks as his emotions quickly numb his legs.
LAYLA (cont.)
I met him in Georgia. The only other time I ever saw him was while you were in the war. I’m sorry Seth. I’m sorry I never told you.
He nods, trying his best to disguise the rushing emotions.
LAYLA (cont.)
By some coincidence, some strange set of circumstances, you two met. It’s like fate just took over.
Seth takes a deep breath, putting his arm around his mother lovingly.
SETH
Mom, you need to go. You need to get out of this city.
LAYLA
Come with me. You don’t need to be here any more than I do.
He shakes his head “no”. He shoots a quick glance over to the car where Ron and Rose wait patiently.
SETH
Yes I do. There is something I need to do.
LAYLA
Seth, do you remember what you told me before joining the army?
BEAT. Layla doesn’t wait for the response.
LAYLA (cont.)
You told me that you needed to do something important in your life. That joining the army was your destiny. Is that why you need to stay now, son?
He shrugs, looking away.
SETH
I don’t know. But I have to do this and I can’t if you’re in the city. I can’t think if I know you are here, Mom.
(beat)
Promise me. Promise me you will leave right now. Leave this city.
A tear slowly forms in her eye as she nods frenetically.
LAYLA
I promise. I hope you achieve whatever it is you are chasing, Seth.
They hug briefly and awkwardly. She climbs back behind the wheel of the car.
LAYLA (cont.)
Good luck.
He nods “thanks” to her as she sadly smiles. He watches as she drives away.
BEAT.
He turns and heads toward the car. CLOSE on his face as we—
CUT TO:
EXT. BUS STOP – DAY
A teenage Seth, roughly eighteen, sits on a bench in the middle of New York City.
He doesn’t look much different than today, except for his longer auburn hair that rests squarely on his shoulders.
A man casually takes a seat next to him. He is quite older than Seth, a fair guess would put him in his late-forties. He has short and fuzzy black hair and eerily big bloodshot eyes.
This is MR. BLACK.
MR. BLACK
Hello.
Caught off guard, Seth smiles politely.
SETH
Hey.
Short BEAT.
MR. BLACK
You look familiar. Have we met before?
Mr. Black stares at him as if he’s struggling to remember. Low black bags hang under his bloodshot eyes.
SETH
I don’t think so. Sorry.
He shrugs.
MR. BLACK
You goin’ anywhere special?
SETH
I’m sorry?
MR. BLACK
(deadpan)
I asked if you were goin’ anywhere special?
SETH
I’m, um...just going across town.
Mr. Black chuckles absurdly loud.
MR. BLACK
I didn’t mean on the bus.
(beat)
In life. Where are you headed?
Seth nonchalantly and probably unknowingly scoots away a bit.
SETH
I’m not sure what you are asking me, man.
MR. BLACK
I’m sorry if that came off as rude. Those weren’t my intentions. Any plans for college?
He shrugs carelessly.
MR. BLACK (cont.)
You ever think about enlisting?
SETH
Enlisting?
He nods matter-of-factly.
MR. BLACK
Military can always use a strong young man like yourself. You could help make a difference.
Again Seth shrugs in disinterest. Mr. Black carefully puts on a black hat over his frizzy hair and stands.
MR. BLACK (cont.)
Just think it over, kid. Let fate do the rest.
Seth nods, his eyes widening in a sarcastic manner. “This guy is a nut” crosses his mind. Mr. Black slowly walks away, Seth watching until he turns the corner.
He softly laughs to himself as the ROAR of the bus comes from down the road. As it pulls in front of him he stands, showing a look of bewilderment.
CLOSE on the bus. The side of it, directly in front of Seth, is plastered with a U.S. Army advertisement.
It depicts a soldier holding an assault rifle, a proud look upon his face. The slogan, written in bold black print, reads:
The United States Army
Come Find Your Destiny
END OF ACT ONE
COMMERCIAL BREAK
FADE IN:
An old wooden clock ticks loudly. ZOOM OUT to a middle-aged scruffy hispanic man with a thousand dollar smile.
FRANK
Hey everybody, Frank Marquez here. Co-owner of the Clock Repair shop here in the heart of New York.
It cuts to Frank walking through the little shop. He walks past dozens of styles of clocks, little banners bounce ON SCREEN like a cheesy used car dealership commercial.
FRANK (cont.)
No matter what you're lookin' for, we got it. Antique cuckoo's to new age rolex watches. Or if you got a watch or clock that needs fixin', bring her right in and we can get it done in no time.
CUT TO Frank outside again, smiling brightly.
FRANK (cont.)
So come on down and see us for all your time-keepin' needs. We're located at 42nd Street and Ironside. If you are a previous customer, please be aware that our former location, in downtown Manhattan has been closed due to repairs on an unforseen accident.
Frank stops in front of the Repair Shops dreary sign that hangs above the door. He sells the last line with everything he has.
FRANK (cont.)
Just remember, when you have trouble with your clock bring it to us, the shop that takes a lickin’ and keeps on tickin’.
FADE OUT as Frank grins exaggeratingly into the CAMERA.
END COMMERCIAL BREAK
ACT TWO
INT. DELIVERY ROOM – EVENING
CLOSE on Eva’s sweaty and grimacing face as she relentlessly screams in pain.
PAN OUT to her lying on a delivery table, apparently in labor.
MOSCOW, RUSSIA
Some nurses and doctors scatter about in the cramped room. They speak Russian with English subtitles.
NURSE
Eva, you need to push. Can you do that for me?
Eva, her hair slightly longer than we’ve grown accustomed to seeing, screams in agony again as she pushes with everything she has left.
NURSE (cont.)
There you go, it’s almost here. Just one more push.
With one last push, every muscle in Eva’s body tightens as she wrenches her body in an odd manner. She clenches her jaw and closes her crying eyes until—
The sound of a crying baby RINGS out. She immediately sighs and relaxes as if the weight of the world has been lifted from her shoulders. Her eyes slowly roll to the back of her head.
The doctor holds the brand new baby, smiling brightly.
BEAT.
His smile slowly disintegrates as he and the nurse exchange a knowing and stern glance. He hurries the baby over to an incubator along the far wall.
EVA
(confused)
What? What’s wrong?
Nobody is paying any attention to the new mother.
EVA (cont.)
What’s wrong with my baby!?!
The doctor pushes out the incubator as Eva sits up angrily.
NURSE
He’s just having a little trouble breathing, Eva.
Eva’s heart races as a bead of sweat drips down her chin.
EVA
Is he okay? Is my baby going to be okay?!?
The nurse attempts to console her as she thrashes violently.
CUT TO:
INT. EVA’S HOUSE – DAY
Eva exits the kitchen carrying a tray with two coffee mugs. She enters the living area and sets it carefully onto the table.
EVA
I hope black is good?
Nathan Gorman, seated comfortably on the sofa smiles delightfully.
GORMAN
Perfect. That’s how I like it.
EVA
Good.
She hands him a mug, which he cautiously sips.
EVA (cont.)
I’m sorry for the suspicions. With everything going on lately I can’t really bring myself to trust many people.
GORMAN
Oh no, of course. You did the right thing calling Seth.
(beat)
How did his flight go? Did he make it back to the U.A. safely?
She nods.
GORMAN (cont.)
If you don’t mind me asking, how did the two of you meet?
EVA
A mutual friend.
Gorman nods toward a small photograph of Tommy Lyons in his military gear.
GORMAN
Is that the mutual friend?
Eva sips on her coffee, contemplating her response.
EVA
Yes. His name is Tommy Lyons, we were engaged to be married.
GORMAN
He died in the war?
BEAT.
Gorman notices the awkward turn in the room and quickly tries to change the subject.
GORMAN (cont.)
No kids?
She shakes her head “no”. Gorman puts his hand into his jeans pocket.
EVA
I tried once, but it didn’t work out.
(beat)
I don’t think I was meant to be a mother.
GORMAN
I’m sorry. Tommy...he was a lucky man.
Eva smiles bashfully as the phone RINGS from the kitchen.
EVA
I’m sorry, I should get that.
GORMAN
Of course.
She heads into the kitchen, where the phone RINGS loudly. She picks up the receiver and puts it to her ear.
EVA
Hello? Hello?
CLICK. The other line hangs up. Eva hangs up as well, an uncertain look on her face.
She reenters the living room and Gorman stands up.
GORMAN
Well I should probably be going, I have a flight to catch.
EVA
You’re going back?
GORMAN
Yeah, I’ve been reassigned back to the U.A.
EVA
Oh I see. Have a good flight, Mr. Gorman.
He chuckles softly to himself.
GORMAN
Thanks for the coffee.
(beat)
Listen, if you’re ever in America look me up. Maybe we can get some dinner or something.
EVA
I’d like that.
He grins and opens the door.
GORMAN
Goodbye Eva.
She responds with a warm smile as he exits toward his car. She watches on a moment before shutting the door, locking it afterward.
EXT. N.Y.C. STREETS – EVENING
Ron, Sophie and John walk down an eerily vacant city street. Barely a noise is heard as they trot toward their destination.
JOHN
What was that, Ron? In the sky?
Ron doesn’t stop, or even look back, as he answers.
RON
The beginning of the end.
(before John can ask)
A war is starting.
SOPHIE
With...Russia?
He nods.
JOHN
Where are we going now?
RON
We are going to my apartment, John. There is something I need to show you.
They continue walking, now only a few yards from a large intersection up ahead.
JOHN
You told me there was something I had to do.
(beat)
What was it? Why are the two of you dragging me into all of this? Why me?
RON
Like I said, I WILL show you.
John sighs angrily. Sophie slows, listening intently to SOMETHING.
BEAT.
John notices her odd behavior.
JOHN
What’s wrong?
SOPHIE
Do you guys here that?
A soft rumble comes from somewhere in the near distance. It’s almost like a vibration.
JOHN
Hear what?
She puts her finger to her mouth, indicating for him to “shh”.
SOPHIE
Listen...
“Doomsday Clock” by The Smashing Pumpkins starts to play as the three of them almost come to a complete stop when—
A camo-green U.A. military TANK rolls into view just feet ahead of them.
The trio stare in awe as tank after tank, soldier after soldier pass by. The line of them go on for what seems like miles.
SOPHIE
Where are they going?
A few of the soldiers passing by nod respectfully toward the three of them. John shrugs, unable to take his eyes off of the small army passing them by.
As a Humvee passes, a static-filled radio transmission is heard.
RADIO (O.S.)
212 this is Bravo. Maine is held-up, it’ll be gone within the hour. I repeat Maine will be gone within the hour. Forces moving south, you should meet up at the state line. Copy?
Sophie and John exchange a confused look as Ron continues toward his apartment.
RON
We need to go.
Sophie begins to follow him. John hesitates a moment before putting his head down and following as well.
INT. U.N. HEADQUARTERS – DAY
Charles sits behind his desk, the beautiful blue sky visible through the window behind him.
He holds the picture of Sydney and Thomas that he keeps on his desk. He rubs his finger across it sadly.
BEAT.
His office door BURSTS open and Seth enters. He storms his desk with a fierce glare in his eyes. Charles looks back in utter shock.
CHARLES
Seth?
David Austin enters quickly.
DAVID
I’m sorry Mr. Abaddon, I told him not to enter. Should I call security?
Seth stares straight at Charles, not flinching in the slightest.
BEAT.
CHARLES
No, it’s alright.
David nods worriedly as he exits.
CHARLES (cont.)
What is so important that you feel you must bust into my office unannounced like this, Seth?
SETH
I need to ask you a question.
Charles slightly smiles.
CHARLES
Shoot.
BEAT.
SETH
If everything you’ve told me has been a lie I strongly advise you to be honest. This one time tell me the truth.
He gives Seth a look of uncertainty.
SETH (cont.)
Do you know who the terrorist is? Do you know his identity?
CHARLES
(appalled)
What?!? No, Seth. I don’t.
Seth glares at him for a long moment, trying to get a read.
CHARLES (cont.)
Why would I hide that information? Do you think I want this madman loose on our streets? Do you think I want him setting off a nuclear bomb in MY city?
SETH
I don’t know what to think, Charles. Unfortunately you’re not that easy to trust.
(beat)
I got a tip that you were somehow involved in this whole mess.
CHARLES
A tip from who?
SETH
That’s not important. What is important is finding this terrorist before it’s too late. If we don’t, then by midnight tonight all of this, it’s all for nothing.
Charles nods in agreement.
SETH (cont.)
So how are we going to find him?
CHARLES
My men have got a lead. From that warehouse, the one your friend was murdered at.
Seth looks away sadly.
CHARLES (cont.)
Let’s hope it pans out.
INT. RON’S APARTMENT – EVENING
OPEN on complete DARKNESS.
The door opens, flooding the apartment with a blast of light. Ron, Sophie and John enter.
Ron casually flips the TV on and enters the kitchen.
RON (O.S.)
You two want some tea?
SOPHIE
I’d love some.
BEAT.
RON (O.S.)
John?
JOHN
What?
Sophie gives him a stern look with her eyes.
JOHN (cont.)
No.
Ron enters the room with Sophie’s tea. On the television is a breaking news report. Footage of New York City is shown as U.A. soldiers fire on an unseen enemy.
JOHN (cont.)
Who...who are they shooting at?
RON
(without hesitation)
Russian forces.
John laughs sarcastically. Ron doesn’t break his look of conviction.
NEWS REPORTER (O.S.)
It appears a Russian alliance has stormed our country, invading from former Canada.
John looks at Ron in complete astonishment.
SOPHIE
How did you know that?
He laughs softly.
RON
I’ve been out of the game a long time, but I still know how to play.
(beat)
I’m always doing research.
JOHN
This is insane! Foreign troops on American soil?!?
Ron stands up defiantly with a strong intensity present in his eyes.
RON
You’re absolutely right, John. This is insane. But it’s here. It’s happening. Do you want to know why?
JOHN
I want to know why you think I fit into this somehow. What do you want with me?
An eerie smile creeps onto Ron’s face.
RON
The reason behind this and the way you fit in is one and the same. It’s all relative John.
(to Sophie)
Excuse us for a minute.
She slowly nods, a bit weary of the situation.
Ron leads John into the back bedroom. He takes a seat on the bed, leaving John standing awkwardly.
RON
You want to know how you’re involved with all of this?
He nods. Ron takes a deep breath.
RON (cont.)
Well, where should I start?
JOHN
How about the beginning?
Ron shrugs submissively.
INT. SOLDIER ISLAND MOTEL – DAY
Doug stands in the bathroom of his rundown shady motel room. He stares at his reflection in the mirror for a BEAT. Disdain oozes from his eyes.
There is a soft KNOCK at the door. He takes a moment before answering.
The door opens to Rose, dressed in a simple white t-shirt and jeans.
ROSE
Hello Douglas.
DOUG
Rose, thanks for coming. Come in.
She takes a look around the room, a bit surprised.
ROSE
Nice...place.
DOUG
Yeah. It’s just ‘till everything gets back to normal.
She nods in understanding.
ROSE
So why did you ask me to come here Doug? What’s been up with you lately?
Doug takes a seat on the bed, lowering his head into his hands.
BEAT.
DOUG
I just don’t want to carry around this guilt anymore.
Rose sits next to him, placing her hand on his shoulder in comfort.
DOUG (cont.)
It’s eating me from the inside out. It’s like a God damned parasite.
ROSE
Doug, what are you talking about? What guilt?
He takes a deep breath, almost contemplating whether to go on.
DOUG
When we recruited Seth, even before that actually, I had been secretly informing Charles Abaddon of what we were doing.
Rose’s eyes widen as she stares at him in disbelief. She slowly removes her hand from his shoulder.
ROSE
You what?
Tears well up in his eyes now as he shamefully looks at her.
DOUG
I don’t know what I was thinking.
ROSE
Tell me you’re lying Doug. You couldn’t have done that. You, of all people!
DOUG
I’m sorry.
She stands up, fuming with a deep fusion of anger and disgust.
ROSE
Why the hell would you do that Doug?
No response.
ROSE (cont.)
You put my life...the entire groups life in danger! I want to know why on earth you would do that? What did you think was worth more than the safety of ALL of your friends?!?
Doug has no idea what to say as he looks at her with pleading eyes.
DOUG
Rose, I’m so sorry.
She throws her hands in the air and immediately turns toward the door. As she opens it she pauses for a LONG moment.
ROSE
You’re pathetic, Doug. I never want to see you again. Don’t call...don’t come find me. Just stay the hell away.
(beat)
I hope whatever reason you did this, whatever you got in return...it was worth it.
She slams the door HARD as Doug cries softly.
EXT. SOLDIER ISLAND MOTEL – CONTINUOUS
Rose walks toward her car with an intense and angry demeanor.
CLOSE on her face as we –-
CUT TO:
EXT. CITY STREETS – DAY
Rose stands on the curb, waiting for a taxi. Her face and other features give the impression that this is the past as she appears much younger than we’ve seen.
A yellow cab pulls up and she climbs inside.
INT. TAXI – DAY
She scoots to the center of the backseat and closes the door.
ROSE
Forty-second and Blackwell, please.
DRIVER (O.S.)
No problem.
The voice sounds vaguely familiar. Rose awkwardly watches through the windows as he proceeds to drive.
DRIVER (O.S.)
You don’t look like you’re from around here. Spain?
She looks a bit surprised as she nods.
ROSE
That’s right. I just moved to the city from Madrid.
DRIVER (O.S.)
Ahh. Lucky guess.
(beat)
What brought you to New York City?
ROSE
Just a change of pace, I suppose.
DRIVER (O.S.)
Well I’ve been a lot of places, Madrid included. I can assure you that this city is like no other in the world.
She smiles politely.
DRIVER (O.S.)
You think you will go to school here?
She nods.
DRIVER (O.S.)
Well NYU is very close by. You should look into it, it’s a great school.
ROSE
Umm...thanks. Maybe I will do that.
She looks ahead and sees the driver’s eyes watching her closely in the rearview mirror. They are dark and bloodshot.
DRIVER (O.S.)
We’re here. Enjoy your time in New York, Rose.
As she starts to exit, the sound of her name makes her freeze for a moment.
ROSE
I’m sorry, how did you know my name?
DRIVER (O.S.)
I beg your pardon?
ROSE
I didn’t tell you my name. How did you know it?
DRIVER (O.S.)
You must be mistaken, miss. How could I know your name?
She doesn’t look convinced as she exits, a chill running down her spine.
CLOSE on the driver’s face as he watches her walk toward an apartment complex.
It’s Mr. Black.
INT. RON’S APARTMENT – EVENING
We pick up right where we left off as Ron and John talk.
RON
It starts with Charles Abaddon.
START B&W FLASHBACK SEQUENCE
Charles Abaddon gives his infamous speech in Central Park, moments before he is shot.
RON (V.O.)
During his run as the leader of this country he perpetuated some devastating attacks. Attacks against others...
Three F-16’s fly over Russian territory, dropping bombs numbering in the hundreds.
RON (V.O.)
And attacks against his own country.
Ron and Seth stand atop the clock tower in a scene we saw in “The Red Herring”. They both stare hypnotically at the mushroom cloud rising over Manhattan.
END B&W FLASHBACK SEQUENCE
Ron leans forward, speaking to Seth with a very grave tone.
RON (cont.)
This is why your father is in that institution. He tried to take Abaddon out...twice over.
(beat)
That’s not how it was supposed to be.
John sighs in frustration.
JOHN
I’m sorry Ron, I don’t understand. What does this have to do with ME?
Ron goes to the closet and pulls out a brown manila envelope and a large wooden case.
RON
Your wife, Tracy. She was murdered by a small group of Russian terrorists, correct?
John nods, his eyes burning a hole in Ron.
RON (cont.)
Open the envelope.
John obliges, pausing briefly before reaching inside and pulling out a few black and white photographs.
RON (cont.)
His name is Sergei Petrenko. He is the leader of the Russian revolution and an avid supporter of the Eurasian merge.
(beat)
He’s the man who killed your wife.
CLOSE on the second photo. It is of Sergei standing outside of a large government building speaking with—-
JOHN
Is that...Thomas Abaddon?
Ron nods gravely.
JOHN (cont.)
Why is he meeting with a Russian terrorist?
RON
He plotted the assassination of President Ventura, John. He felt it was HIS time to lead. Your wife was just one of the unfortunate casualties in his plan.
John tosses the photos onto the bed.
JOHN
That’s ridiculous!
RON
That it is, John. But it’s true.
John laughs semi-sarcastically as he nods toward the wooden case.
JOHN
What’s in the box?
RON
Open it.
John rolls his eyes as he slowly opens the wooden box. He stares inside briefly before staring at Ron in shock.
RON (cont.)
You have to do it, John.
He looks at Ron as if he’s totally insane. He opens his mouth to speak when –-
SOPHIE (O.S.)
John! Get in here, quick!
John rushes to her. Ron sighs before following.
As they exit, we get a quick OVERHEAD glimpse inside the box. It’s a bolt-action SNIPER RIFLE disassembled in three pieces.
CUT TO:
Sophie stares at the TV intently.
JOHN
What is it?
SOPHIE
Russian soldiers. They’re here in our streets.
(beat)
Look! I knew that I saw it!
Everyone gathers around the screen as they show a large white building, smoke billowing from the windows.
SOPHIE (cont.)
That’s the institution. John, Seth is in there.
John stares at the screen in shock before quickly heading to the door.
SOPHIE (cont.)
John...what are you doing?
JOHN
I’ve got to go, Sophie. He’s my father and he might still be alive.
She nods knowingly as Ron rubs his forehead in angst. John opens the door and steps out.
RON
John! It’s not worth it. Seth isn’t important right now, it’s an unnecessary risk.
BEAT.
John glares at him angrily as he exits, slamming the door.
END OF ACT TWO
COMMERCIAL BREAK
The Killer's "Goodnight, Travel Well" begins playing....
SHOT OF: The Punisher, in plain clothes, walks the street.
FRANK (OS)
What justice can't do has to be left to someone.
SHOT OF: FONN's APARTMENT.
Linz handcuffs Fonn.
FONN
You really want to do this? You are a dead man.
SHOT OF: The Punisher kicks open a door in slow-motion.
PUNISHER (OS)
The buck has to stop somewhere.
SHOT OF: INT. LIBRARY.
Linz sits at a desk, researching law cases.
He looks up, directly into the barrel of a silenced gun held by BARR.
PUNISHER (OS)
Sometimes you have to stand up for what you think is right...
SMASH TO BLACK.
PUNISHER (OS)
...Even if others think it's wrong.
SHOT OF: Punisher tackles Fonn in the Library.
SHOT OF: Punisher runs along the library halls, protecting Linz from the barrage of bullets smacking against the bullets.
SHOT OF: LINZ's OFFICE- NIGHT.
LINZ
You can't just blow away criminals! It's not justified!
SHOT OF: Punisher blows away a Thug.
CUT BACK TO: LINZ's OFFICE- NIGHT.
PUNISHER
The cops can't do my job. The criminals in this city are scum. It's people like you that need to help me get rid of them.
Beat.
LINZ
I'm not a vigilante.
CUT TO: Office Building- Morning.
We watch a normal-looking man walk into the lobby from the back of his head, and he walks up to the lobby.
CONCIERGE
Jesus...
The man reaches out with a butcher knife and SLICES the concierge in the throat. We flash away to avoid seeing the blood.
We spin around 180 degrees, and see the scarred, ripped-up face of JIGSAW.
He folds the butcher knife back into his jacket.
He speaks in a low, growly voice.
JIGSAW
..Christ.
CUT TO: MOB BUILDING.
Fontaine addresses his men.
FONTAINE
We run this city, and we can't let it fall to the cops, or to this psycho.
SHOT OF: ELLIOT's OFFICE
ELLIOT
I will destroy Fontaine, from the ground up, and you have to stay out of my way.
We spin around to see Jigsaw half-hiding in the shadows.
He begins to slowly spin the knife out of the holder in his sleeve.
JIGSAW
I'll do my best.
He LUNGES forward.
CUT TO: ROOFTOP.
The punisher leans down and picks up an uzi.
PUNISHER (OS)
You're a psycho.
CUT TO: EXT. PARKING GARAGE.
Jigsaw and the Punisher hold each other by the throat.
JIGSAW
I KNOW!
They continue to fight.
SHOT OF: Linz in his office.
PUNISHER (OS)
If you want me to disappear...
SHOT OF: ALLEYWAY.
The punisher shoots a machine gun, hitting several guards.
SHOT OF: LIBRARY.
Punisher runs on top of the bookcases, shooting downwards at mobsters.
SHOT OF: LINZ's OFFICE.
Linz looks up.
PUNISHER
Then I leave it in your hands to clean up this city.
PUNISHER II
SHOT OF:
Jigsaw walks towards the Punisher, twirling his butcher knife.
JIGSAW
I'm doing... the world... a favor. By getting rid of you.
COMING SOON.
END OF COMMERCIAL BREAK |
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Post by Dale on Apr 1, 2009 9:43:55 GMT -5
ACT THREE
INT. MATERNITY WARD - DAY
Marianne stands alone in the hospital halls. It's apparent that it is not long after her delivery as she wears the long hospital gown. “House of the Rising Sun” by The Animals plays softly in the BACKGROUND.
She peers in through the glass window at the sleeping newborns. She smiles blissfully as she silently watches.
BEAT.
UNKNOWN VOICE (O.S.)
Which one is yours?
She quickly turns to see Mr. Black standing to her left. He smiles at her in a friendly manner. He wears the same black suit and black hat as we've seen previously.
As odd as it is, he still appears to be the same age as well.
MARIANNE
The..umm..the little one right there.
(pointing)
Third row, second from the left.
CLOSE on the baby as it sleeps soundly.
MR. BLACK
He is beautiful.
She smiles and nods.
MARIANNE
Have you got one in here as well?
MR. BLACK
I do.
(beat)
Have you named him?
She stares straight ahead for a few moments before responding.
MARIANNE
Charles. I think that is the one I've decided on.
MR. BLACK
He looks like a Charles, wouldn't ya' say?
MARIANNE
I think so.
There is a long pause as we MOVE IN close on Marianne's face, her eyes still locked onto her new son.
MARIANNE (cont.)
So, which one is yours?
She looks over, a bit shocked to see that the man is no longer there. She looks around the hallway, but to no avail.
She brushes it off and goes back to gazing through the window.
INT. U.N. HEADQUARTERS – DAY
Charles exits his office and walks down the long hallway toward the elevator. As he passes his secretary’s desk—-
FEMALE VOICE (O.S.)
Mr. Abaddon?
He stops suddenly, turning to see Claire Hearth waiting in the office.
CHARLES
Claire. I’m sorry, I didn’t see you there.
She coyly smiles.
CHARLES (cont.)
What are you doing here?
CLAIRE
Cyrus had some belongings here. I came to pick them up.
He nods knowingly.
CHARLES
Is Janet getting them for you?
CLAIRE
Yes.
CHARLES
You’re not leaving the city?
She shakes her head “no” and shrugs.
CLAIRE
I’ve got nowhere to go. We’ve lived in that house for seventeen years. After everything that’s happened, I couldn’t bring myself to leave.
CHARLES
I understand. I promise we will find him before it is too late.
CLAIRE
I know you will.
(beat)
You know, Cyrus really looked up to you. You were his motivation.
Charles smiles proudly before looking away.
CHARLES
He was a good man. He would have been a great leader.
CLAIRE
Thank you.
David Austin appears, interrupting the conversation.
DAVID
Excuse me, Mr. Abaddon. Sorry to intrude, but it’s urgent.
(beat)
It’s about the terrorist.
Abaddon nods as David exits.
CHARLES
Claire, I’m sorry. I should go.
CLAIRE
Oh no, no problem at all.
CHARLES
Have a good day. Tell the little one I said hello.
She smiles thankfully as he turns and follows David.
INT. CAR – DAY
Seth drives down an unusually vacant street in the heart of Manhattan. Rose sits idly in the passenger seat.
ROSE
This is so bizarre.
SETH
What?
She motions out toward the city.
ROSE
The silence. No crowds, no traffic jams.
SETH
Oh, yeah. It’s sort of eerie.
ROSE
By the way, where is Ron?
He shrugs.
SETH
After we left the cemetery he took off. I haven’t heard from him since.
Seth’s phone BUZZES from inside his pocket. He pulls it out and flips it open.
SETH
This is Seth.
He continues driving as he listens to the caller.
SETH (cont.)
Where is that?
(beat)
Actually I’m pretty close right now. I’ll wait for them. I will.
He snaps it shut. A quick glance in the rearview mirror is followed by a sharp U-turn.
Rose looks at him in confusion.
ROSE
What’s going on?
SETH
That was Charles. They’ve got a location on the terrorist’s whereabouts.
ROSE
We’re going? Now?
SETH
Yep. I told him we’d wait until his guys get there.
He accelerates tremendously as he heads toward their destination.
SETH (cont.)
Could you open the glove box?
She complies, opening it. It’s mostly empty with the exception of a small pistol. She pulls it out and hands it to him.
SETH (cont.)
Just in case.
EXT. MENTAL INSTITUTION – EVENING
John’s car screeches to a stop in front of the Institution. It barely makes it to a full stop before he leaps from inside. He sprints up the large cement staircase to the entrance.
PAN OUT to see the smoke still billowing from the windows as the building burns intensely.
INT. MENTAL INSTITUTION – CONTINUOUS
John uses his shirt to cover his mouth as he frantically moves through the abandoned and smoky halls.
Debris fills the area; collapsed ceilings, charred walls, etc.
He arrives at a door that reads: 12
He places his hand on it cautiously. It’s scorching hot.
JOHN
Seth! Are you in there?
Nothing.
JOHN (cont.)
If you can hear me, move away from the door!
John takes a step back, still struggling desperately for oxygen.
In one swift motion he KICKS the door as hard as he can. The wood shatters rather easily, providing a decent sized opening.
He carefully enters the dark room.
INT. ROOM 12 – CONTINUOUS
He frantically searches the fiery room.
JOHN
Dad?!?
There is a rustling SOUND from under the bed. He kneels down to see Seth lying unconscious underneath.
JOHN (cont.)
Dad...wake up.
He shakes Seth’s still body, causing his eyes to suddenly open in disarray.
SETH
John?
JOHN
Are you okay?
SETH
John, what are you doing back so soon?
John reaches down to lift him.
JOHN
Dad, can you stand?
He grunts loudly as John raises him to his feet. He uses himself as a crutch, leading Seth out of the inferno that fills the Institution.
EXT. MENTAL INSTITUTION – EVENING
They quickly limp down the stairs toward John’s car.
SETH
John, I’m not usually allowed to leave the premises.
JOHN
I think they’ll make an exception just this once.
Seth looks completely out of it as John helps him into the seat.
BEAT.
As he hurries to the driver’s side a loud EXPLOSION comes from inside the building.
An enormous fireball SHOOTS from the windows, dangerously close to the street.
John stares in awe for a moment before they speed off into the night.
EXT. SOLDIER ISLAND MOTEL - DAY
ESTABLISHING SHOT of the Motel sign. Seth's car turns sharply into the parking lot, stopping in an empty space.
INT. CAR - CONTINUOUS
Rose looks around the area with a confused expression.
ROSE
What are we doing here?
SETH
This is the spot.
He slides the clip from his pistol, checking the bullet count.
It's fully loaded.
ROSE
Seth, the terrorist is here?
He nods.
SETH
We've just gotta' wait until Abaddon's men arrive.
Rose hesitates a moment, staring toward the grimy motel.
ROSE
I was here earlier today.
SETH
What?
ROSE
I was at this hotel.
(beat)
Doug is staying here.
Seth's eyes widen in shock.
ROSE (cont.)
Do you think...?
Seth opens his car door.
SETH
Let's go.
He slams it shut. Rose contemplates for a short moment before following him as he heads toward the long line of motel rooms.
END OF ACT THREE
COMMERCIAL BREAK
Fade in to Hellish, Daz, and Legend walking down the street, Hellish’s house in the background.
Hellish:
Ever get the feeling that something really really bad is about to happen?
Daz looks over at him and smirks.
Daz:
Only every time you open your bloody mouth.
Legend:
Hey guys, we’ve got money for plane tickets right?
Hellish stops, Legend and Daz stopping a second later, staring at him.
Daz:
You did bring money, right?
Hellish:
Oh, totally. A lot.
Daz:
Enough for three plane tickets?
Hellish:
If by three plane tickets you mean, “A few toys from the quarter-machines in stores” then yeah.
Daz face-palms as Hellish scratches the back of his head.
Hellish:
I’ve got an idea to make some money though! Daz, we’re gonna whore you out!
He grins as Daz stares at him for a moment before punching him as hard as she can, sending Hellish to the ground.
Legend:
I wanna see Daz selling his ass...
Daz:
Don’t make me hit you too, wanker.
As that is said Hellish gets to his feet, nose bleeding, he puts his arms around them and grins.
Hellish:
Alright, alright. I got another idea. Go to airport and wait, alright? I’ll be there soon.
He runs off as the other two watch, Daz shaking her head.
Cut To:
The Airport. Daz and Legend are sitting on a bench, looking around at the crowd of people rushing around trying to get to their flights. Hellish pushes through a heavy-set black man and waves a bundle of money around for them to see. Oddly enough, it looks like he has lipstick on, smeared slightly. The two get up from the bench and walk to him, staring.
Daz:
The hell did you do?
Hellish:
Don’t worry about it. Worry about whether or not you want to ride first class or coach.
Legend:
Is that lipstick?
Hellish:
No. It’s not. Now worry about where you want to ride!
Daz:
That’s lipstick. Did you do what I think you did, mate?
Hellish points at her, an annoyed look on his face, about to say something. A pair of handcuffs dangles from his wrist. The three stare at it, with Daz and Legend looking at him a moment later.
Hellish:
.....we never mention this again, right?
Daz:
Oh, of course hehe.
They all start to walk to the desk to buy the tickets, Daz trailing back and taking out a camera, beginning to take pictures of Hellish as he walks.
Cut To:
Matt’s house. The door to his room is shut, though Twilight can be heard from inside the room, along with Matt’s voice.
Matt:
Oh Edward, you’re so sparkly and awesome. I wish you’d come and suck my blood.
Hellish walks by, stopping when he hears that. He grabs the doorknob, about to open the door.
Hellish:
Matt! We gotta get ready to go, man!
Matt:
Gah! Wait a minute!
Hellish opens the door, stepping into the room. He stares inside, presumably at Matt as his face takes on an expression of shock and disgust.
Hellish:
Dude, what the fucking christ hell!?
Matt:
I can explain!
Hellish doesn’t care, turning and running out the room and downstairs into the kitchen. He runs to a counter and grabs two knives from the sink. Stapleman watches, sitting at the kitchen table.
Stapleman:
What are you doing?
Hellish:
I’m stabbing my eyes out, what’s it look like!?
Cut To:
Indy, running up to the group. He’s wearing a trenchcoat that is much too big for him, causing it to drag on the ground behind him.
Indy:
Oh hi guys!
Jester turns and looks at him. He’s wearing a trenchcoat as well, but it fits him.
Hellish:
The fuck you want, Jewboy?
Indy:
I’m a Long Coat!
Jester looks at him for a moment, then kicks Indy in the balls, causing the boy to fall to his knees, clutching his groin and moaning in pain.
Jester:
I’m the only Long Coat, wanker.
Cut To:
A set of large, old wooden doors opening, showing the group as they’re illuminated by a golden light from inside the room. What’s inside is unseen as Hellish falls to his knees, staring.
Hellish:
It’s....beautiful.
THE HUNT FOR NUNS
COMING APRIL, 2009
Cut To:
Daz and Hellish, standing in the street. They’re looking around confused.
Hellish:
Where did Legend go?
Daz:
Hell if I know...
Hellish sniffles, much to Daz’s annoyance.
Daz:
Don’t. I swear to Jimmy Jacobs, don’t.
Hellish starts to cry, causing Daz to face palm.
Hellish:
I miss Legend!!
Unseen to the Daz and Hellish, Legend, bound and gagged, is being carried into a van. He attempts to get their attention, but they don't notice him.
And at that, we cut to black.
END COMMERCIAL BREAK
ACT FOUR
EXT. SOLDIER ISLAND MOTEL – DAY
Seth silently peers through Doug’s front window, unable to get a good look inside.
ROSE
Do you actually think Doug could be the terrorist?
SETH
I’ve seen the terrorist. He used Natalia to set me up, to try and convince me to kill Charles.
(beat)
It sure as hell wasn’t Doug.
ROSE
You never told me that, Seth.
He looks away coyly.
BEAT.
Seth steps back and KICKS the door open, rushing inside pointing his gun.
INT. PRESIDENTIAL SAFE HOUSE – LOCATION UNKNOWN – EVENING
Thomas Abaddon sits quietly behind his desk, nervously chewing away on his pen. He looks lost and confused, contemplating his next move.
Through the intercom speaker comes an Aide’s voice.
AIDE
Mr. Abaddon, President Ibragimov is on the video feed, shortcut 818.
BEAT.
THOMAS
Thank you.
Thomas remains still for a few moments, before a burst of energy rushes through him. It’s as if he’s just decided on a plan.
He pushes another button on the desk console and a large screen slowly lowers from the ceiling. He types in 818 on the console and Russian President Viktor Ibragimov appears on the screen.
Ibragimov is a stout man with deep, dark eyes. His face is spattered with gray stubble and a largely noticable scar running above his upper lip.
THOMAS
Mr. Ibragimov.
IBRAGIMOV
Mr. Abaddon.
BEAT.
THOMAS
What is it that you would like to discuss, Mr. President?
IBRAGIMOV
What we are to do about our current predicament.
Thomas grins slyly.
THOMAS
Well sir, your troops are on our soil.
IBRAGIMOV
The Eurasian world cannot let YOUR attacks on our soil go unpunished. I am sure you can understand that.
THOMAS
I suppose I do.
Ibragimov leans back in his chair, waiting. Thomas drops the pen he has been furiously gnawing on.
THOMAS (cont.)
I have an idea, Mr. Ibragimov. Something that can settle both of our problems. Something that will change our world, our planet, for the better.
Ibragimov leans forward intensely.
IBRAGIMOV
I’m listening...
INT. RON’S APARTMENT – EVENING
CLOSE on the television screen as it plays a news report showing Charles Abaddon inside the U.N. Headquarters.
Ron walks by the television and moves to the kitchen.
NEWS REPORTER (O.S.)
In just about one hour Charles Abaddon will be outside of the U.N. building to brief the media on the current situation involving the mysterious terrorist. The terrorist has spent the last few weeks running rampant in our city.
Ron pours a glass of orange juice and drinks it in one quick gulp.
NEWS REPORTER (O.S.)
Let’s hope for some good news. God knows we need it.
Ron reaches into one of the kitchen drawers and pulls out a silenced 9MM. He shuts off the TV and heads out the door.
INT. SOLDIER ISLAND MOTEL ROOM – DAY
As Seth aims the gun, Doug leaps up from his position on the bed. A bag of popcorn he was munching on flies into the air.
DOUG
Seth?!?
(Rose enters)
Rose? What are you guys doing here?
Seth lowers his weapon, but remains cautious.
SETH
Doug, you need to pay attention. Every question I ask you need to answer truthfully and quickly, do you understand? We don’t have much time.
DOUG
What?...What are you talking about?
SETH
Are you involved, in any way, with the terrorist?
Doug glances over to Rose, who returns with a stern glare.
DOUG
Why are you asking me this?
SETH
Just answer the question!
Doug looks to the floor shamefully.
BEAT.
Rose tilts her head back and sighs. She’s known him too long.
SETH (cont.)
Are you, Doug?
He looks up with glassy eyes and nods solemnly. Seth pulls the hammer on his gun back fiercely.
ROSE
Seth, don’t!
Seth leans in toward Doug, their faces now merely inches apart. Anger seeps from Seth’s eyes.
SETH
I was confronted by this terrorist, Doug. Abaddon’s men are on their way here right now. I doubt their plans for you are pleasant. So tell me everything about your involvement.
BEAT.
Doug looks over to Rose who nods.
DOUG
I have a daughter in Philadelphia. I started getting threats from the terrorist a few weeks ago.
INTERCUT WITH B&W FLASHBACK MONTAGE
Doug opens his mailbox, pulling out an absurdly large brown envelope. No return address.
Inside his apartment he cuts it open, pulling out some photographs.
DOUG (V.O.)
He told me that I had to do something for him. That if I didn’t, then my life and my daughters life would be in danger.
The photos depict a young girl, around nine years old, exiting a public school.
SETH
What did you do?
BEAT.
DOUG
What I had to.
Doug enters a familiar house, dressed completely in black.
DOUG (V.O.)
I did it because I knew I would never have to hurt you. That I would be able to keep you safe.
Doug grabs Rose from behind, putting a cloth over her face until her resistance ceases.
PRESENT time again. Rose looks at him wide-eyed in astonishment.
ROSE
YOU kidnapped me?
Tears stream down his face as he nods shamefully.
DOUG
I panicked. I didn’t know what to do!
SETH
You should have came to us for help, Doug.
DOUG
I know. I know I should have. Nobody was supposed to get hurt.
(beat)
Roy...that was an accident.
WHAM! The realization hits Seth and Rose like a freight train.
SETH
You...
Doug wrestles with Roy inside the dark warehouse, Roy eventually getting the best of him.
DOUG (V.O.)
I didn’t mean to shoot him.
The gun fires, hitting Roy in the chest. Doug hesitates a moment, shaking his head angrily.
SETH
You didn’t mean to shoot him!?! Jesus Christ, Doug!
ROSE
You killed him!
Doug snaps. He stands up, pressing the barrel of Seth’s gun to his forehead.
DOUG
Just do it! Shoot me. Put me out of my misery!
Long dramatic BEAT.
Seth lowers the pistol and Doug collapses in a slump onto the bed, weeping softly.
Seth turns to the door.
SETH
If I ever see you again Doug...I will kill you.
He storms out of the motel room. Rose briefly and fiercely stares at Doug.
DOUG
I’m sorry.
ROSE
You better get out of here now. They’ll be here any minute.
She turns her back to him and follows Seth out. Doug lies back on the bed, staring up at the whitish-brown ceiling. He sobs almost uncontrollably.
EXT. CONVENIENCE STORE – EVENING
Seth sits inside of John’s car, nonchalantly peering through the store’s glass window at John as he buys some water.
He looks at himself in the mirror. He has a disgraceful expression upon his face. His wrinkles and paleness are very evident now, along with his graying and dirty hair.
BEAT.
There is a KNOCK on the car window. Seth glances up to see two men in suits standing outside the car. He rolls down the window.
SETH
Hello.
SUIT #1
Are you Mr. Seth Prescott?
SETH
I am.
The suit opens the door.
SUIT #1
Step out of the car please, Sir.
Seth obliges.
INT. CONVENIENCE STORE – CONTINUOUS
John hands the elderly clerk a ten dollar bill and idly awaits his change. He peers through the window, seeing the men hassling Seth.
As the old man reaches out with the change, John has disappeared. All that is heard is the bell jingling above the door as he exits.
EXT. CONVENIENCE STORE – CONTINUOUS
John approaches the three of them.
JOHN
Can I help you gentlemen?
SUIT #2
(very confrontational)
Please Sir, step back. This doesn’t concern you.
Suit #1 turns Seth around, pulling some handcuffs from his jacket pocket.
JOHN
I think it does. This is my father.
The words dramatically hang in the air as the two suits give each other a suspicious glance.
SUIT #2
Sir, please put your hands behind your head.
John takes a small step back.
JOHN
What?
SUIT #2
You’re going to have to come with us.
(beat)
Both of you.
John and Seth exchange a worried look, even a little nod.
John puts his hands behind his head and turns around. Both suits reach for their arms, ready to apply the handcuffs.
WHACK!
John spins, hitting Suit #2 hard with a thrusting uppercut. As he CRASHES backward onto the cars hood—
Seth turns and SLAMS his knee into Suit #1’s gut, dropping him to his knees in agony.
John pulls a slip of paper from his pocket and hands it to Seth.
JOHN
Take my car. I need you to go to this address, I’ll meet you there. Okay?
SETH
What about you?
JOHN
Dad, just go!
Seth hesitates momentarily. He nods and hurries to John’s car.
John picks up one of their pistols and points it down toward them as Seth speeds away quickly.
JOHN
What do you want with us?
The men angrily look up at him, not giving in.
JOHN
Tell me what you want with us!
VOICE (O.S.)
Excuse me, Sir.
John looks over to see a uniformed police officer cautiously crossing the busy street. The officer reaches to his belt.
OFFICER
Drop your weapon!
John looks down furiously as the suits grin deviously.
He tosses the pistol into the street and sprints away as fast as he can. The suits jump up as the officer arrives.
OFFICER (cont.)
Are you guys alright?
SUIT #1
(to #2)
Take the car, cut him off on the next street.
(flashes a badge to the officer)
Homeland Security.
They both race off in different directions as the chase begins. The officer remains in front of the store, dumbfounded.
EXT. ALLEY – EVENING
John runs down a dark alley, occasionally checking behind. About fifteen yards ahead a car SCREECHES to a stop in front of the alley. Suit #2 hops out.
John stops, looking around for a new plan. He sees a fire escape, leading up the side of one of the buildings.
He leaps up and grasps the bottom rung of the ladder, climbing quickly. By the time he reaches the landing and begins ascending the stairs, both suits have arrived just below him in the alley.
Suit #2 pulls out his pistol and fires a few shots up toward him. They ZING and spark as they hit the metal stairs, narrowly missing John. Both men now climb the ladder as they continue the pursuit.
EXT. ROOFTOP – EVENING
John makes it to the roof and runs toward the ledges, looking for a way out. He is running full speed as he reaches the ledge, barely being able to stop. He peers down to the city below.
A long way down.
Another shot RINGS out as John instinctively ducks. The suits are now on the roof, slowly walking toward him. John backs up a few steps, his eyes glazing over.
BEAT.
He takes a few deep breaths and runs FULLFORCE toward the ledge, leaping off!
As he soars through the air, his black jacket flutters poetically in the night breeze. He LANDS hard on a second roof, lower than the first, rolling to minimize the impact.
He glances up to see the two suits now looking over the edge angrily.
SUIT #1
Damnit!
They watch helplessly as John runs through a door and into the nearby building.
EXT. U.N. HEADQUARTERS - EVENING
It appears that Abaddon's media press conference has just ended as he takes a few steps back from the podium, the flashes from the camera's lighting up his face. He smiles and waves, reaching into his pocket to retrieve his cell phone.
He turns away from the crowd and puts the phone to his ear.
CHARLES
Hello? You're back already, Mr. Gorman?
(listening)
Good to hear. We have all resources on the terrorist. We've got...
He checks his watch.
CHARLES (cont.)
Just under five hours left. Yes, start there. Contact me with any information you get, do you understand? Goodbye.
He shuts the phone and heads down the staircase leading toward his black sedan. The driver opens the door for him.
Dozens of inaudible questions are thrown his way from the reporters, every one of them chomping at the bit. Off in the near distance we see a familiar face. It's Ron Luther. He watches closely and as the CAMERA PANS left, he disappears from view.
Abaddon gives one last wave as he kneels to enter the car --
BOOM!
A shot RINGS out in the crowd. Abaddon's driver flies back, his white undershirt quickly turning a crimson red. He falls to the curb in a lifeless heap. Another man in a suit pushes Abaddon forcefully into the back of the car and rushes to the wheel. The car speeds off quickly as panic and chaos fills the crowd.
As the tail lights disappear from view Ron appears again, an angry expression across his face. He tucks SOMETHING into his jacket and jogs away.
END OF ACT FOUR
COMMERCIAL BREAK
FADE IN:
OPEN on an old fashioned corner store. Smoke billows up from the ground poetically. ZOOM OUT to see a young male in his early twenties with slicked back hair and a hip leather jacket. He puffs on a cigarette, exhaling in an over-exaggerating manner.
He tosses the butt onto the ground, stamping it out with his heel. An elderly man exits the store, obviously the shop owner.
SHOP OWNER
Damn you Bobby Briggs, stop littering in front of my store!
Bobby sneers at the old man.
BOBBY
Bite me, old timer.
The man angrily storms back inside his store. A fire-red car pulls up to the curb as a few cheery girls hop out.
GIRL
Bobby Briggs, what are you doing?
He shrugs nonchalantly.
GIRL (cont.)
You should come out with us tonight.
Bobby reaches into his jacket and pulls out a pack of cigarettes.
BOBBY
Where you girls goin' tonight?
She giggles as he removes a cigarette from the pack.
GIRL
It's July, Bobby. Where else would we be goin'?
He lights his cigarette with his zippo, snapping it shut.
BOBBY
I don't know. Why don't you tell me?
Their faces are very close now, a layer of electricity almost visible between them.
GIRL
The carnival, silly.
He chuckles softly, his eyes scanning the three girls.
BOBBY
I got a carnival right here.
He holds up the pack of cigarettes. CLOSE on the logo of a Ferris wheel and the brand name CARNIVAL.
He suavely pops out three more and hands them out, lighting each of them for the girls as they giggle flirtatiously.
SLAM TO BLACK.
The Carnival logo once again appears ON SCREEN.
NARRATOR (V.O.)
Carnival Cigarettes. Putting the fun back into smoking.
(quieter)
Smoking may cause lung cancer, heart disease and other ailments If pregnant, smoking can cause birth defects or other problems with your child. Carnival Cigarettes or their parent company Diamond Industries will not be held liable for any health problems that may arise.
FADE OUT.
END COMMERCIAL BREAK
ACT FIVE
INT. ST. ANNE'S ORPHANGE - DAY
The dull and dim orphanage is mostly empty, with just a few stragglers running about. A single child sits to the far left on the floor. He is dressed in old hand-me downs, his skin is pale and he looks like he might be a little malnourished.
He contently puts together a small puzzle on the hall floor. It's a puzzle of the Brooklyn Bridge, with a few random skyscrapers in the background.
A young woman dressed as a nun approaches him from behind.
NUN
(Russian accent)
John, you have a visitor. Please, behave yourself.
John looks up to her and nods politely. A man enters the picture from behind her as she smiles and exits. It's Mr. Black.
He kneels down next to John and smiles.
MR. BLACK
Hello John.
John responds with a coy half-smile. Mr. Black cocks his head to get a look at the puzzle.
MR. BLACK (cont.)
You're pretty good at that. Do you know what that is?
JOHN
A bridge.
Mr. Black chuckles at his naivety.
MR. BLACK
That's right. Do you know where that particular bridge is located?
He shakes his head "no".
MR. BLACK (cont.)
In America there is a wonderful city, full of life. New York City. That is the Brooklyn Bridge.
(beat)
Maybe one day you will be able to see it.
John's eyes light up.
JOHN
You think so?
MR. BLACK
Yes, John. I do.
John smiles happily as he goes back to his nearly finished puzzle.
MR. BLACK (cont.)
Only a few more pieces John and then it'll be done.
He nods proudly. Mr. Black stands up and returns his hat to his head.
MR. BLACK (cont.)
I'll be sure to check up on you, alright John?
JOHN
Okay.
Mr. Black turns and heads off toward the orphanage exit. John watches closely for a few moments before going back to his puzzle. He picks up the last piece and places it in the center. It's complete.
INT. RON'S APARTMENT - EVENING
Inside Ron's cramped bedroom, John ruffles through a small closet. Seth sits motionless on the bed. John pulls out a white t-shirt and jeans, setting them next to Seth.
JOHN
Put these on. Make you less....noticeable.
Seth grabs the clothes and goes into the small master bathroom. He leaves the door open a crack as the two converse from opposite rooms.
JOHN (cont.)
Why did those guys seem like more than your run of the mill police?
SETH (O.S.)
Because they were, John. Everyone calls me crazy, but from day one that I was in that hospital there has always been someone watching me.
JOHN
How long were you in there?
BEAT.
John sits awkwardly on the bed.
SETH (O.S.)
It's hard to tell. I lost track after the first few years. How old are you now?
JOHN
Thirty one.
SETH (O.S.)
(sadly)
Then I guess it's been about thirty years. I was put in there not long after your first birthday.
John looks down to his feet. A mixture of curiosity and sadness.
BEAT.
Seth emerges with his new clothes on. He just doesn't look...right.
SETH
I know you want to ask. So ask.
John looks up in surprise. He drops the act and his eyes dart away shyly.
SETH (cont.)
It's okay. Ask.
John builds up the courage.
JOHN
I just...I was just wanting to know about my mother. What was she like?
Seth smiles nostalgically, looking into the air as if John’s mother was right there for him to see.
SETH
You're mother was the most amazing woman I have ever met. She was beautiful. Dark eyes, dark hair. Classic.
He takes a seat next to John.
SETH (cont.)
You have her eyes.
He now looks to the floor.
SETH (cont.)
I miss her so much. I tell you John, when a man finds someone...someone he truly cares about. He can't let anything get in the way of that. Nothing. If you do, you end up three decades later, alone and living in regret.
John puts his arm around his father.
JOHN
I'm sorry, Dad. I'm sorry I didn't try to find you all these years.
A tear forms in Seth's eye as he stares at his son lovingly. The door opens and Ron pokes his head in.
RON
John, we gotta' go.
John looks at him in confusion.
JOHN
Where are we going?
Ron gives him a grave stare.
INT. HOTEL ROOM – NIGHT
Inside the small and mediocre room Rose sits on the bed. She stares out at the moon, almost hypnotically.
Seth appears from the restroom after cleaning himself up. He notices her sad state and sits down next to her. Something he’s never been good at: Comforting.
SETH
You okay?
She nods quickly in an obvious attempt to disguise her sorrow.
ROSE
I’m fine. I’ve known Doug a long time, I just never thought he was capable of something like this.
(beat)
He killed Roy, Seth. He killed your father.
Seth looks away momentarily, gathering himself.
SETH
Rose, when a man gets backed into a corner you’d be surprised what they are capable of. I believe him when he says it was an accident. It doesn’t make it right, but it makes it human.
Very awkward BEAT.
Rose leans in and kisses Seth. Soft and brief.
As their lips break she smiles lovingly through her deep sadness.
Suddenly a RING. Seth pulls out his cell phone and flips it open.
ONE NEW TXT MESSAGE
UNKNOWN NUMBER
He clicks on it.
4741 CHESHIRE BLVD.
ORANGE GROVE APT.
ROOM 31
GO THERE TO FIND THE BOMB
Seth looks at Rose in shock.
ROSE
What is it?
SETH
It’s...it’s the location of the bomb. I’ve gotta’ go.
He jumps up and begins gathering his things.
ROSE
Seth, what if it’s a trap?
SETH
We’re running out of time. I’ve gotta’ take that chance.
He sees her worried looks and kneels down in front of her.
SETH (cont.)
I’ll contact Charles. Have him send some of his men there to meet me.
(beat)
Just in case.
She nods in approval. Seth throws on a jacket and heads to the door. Rose stands up quickly.
ROSE
Seth, wait!
He stops and turns to her.
ROSE (cont.)
There is something I need to tell you.
(beat)
Just in case.
SETH
Sure.
He approaches her, giving her his full attention.
ROSE
I took a test the other day.
SETH
A test?
ROSE
A pregnancy test.
Seth’s eyes widen.
ROSE (cont.)
It was positive, Seth.
(beat)
I’m pregnant.
Seth literally ROCKS a bit while he stands, totally shocked. He starts to say something, but stops himself.
ROSE (cont.)
It’s yours Seth.
After a dramatic PAUSE Seth smiles. She answered the question he wanted to ask.
SETH
That’s...incredible.
She chuckles, nervously biting her lip as he grabs her and passionately kisses her on the lips.
ROSE
I wanted you to know. I want you to be careful. I thought this would give you a reason to come back in one piece.
SETH
I’ve already got a good enough reason to come back and I promise you I will come back.
(he places his hand on her belly)
For both of you.
She smiles at his sincerity as he gives her one last kiss. As he exits we CLOSE on his face—
CUT TO:
INT. ARMY BARRACKS – DAY
The make-shift army camp set up is bustling with activity. “Fortunate Son” by Creedence Clearwater Revival plays as a chopper flies overhead.
We see a line of soldiers filing through a small buffet line.
TIKRIT, IRAQ
A young, clean-cut Seth waits patiently in line. He wears a black tank top and camouflage pants, not nearly as excited and gung-ho as the rest of the soldiers.
The man ahead of him playfully argues with one of the food servers.
TOMMY
This doesn’t look like chili, what kinda’ shit you tryin’ to pull over on me, buddy?
The server chuckles under his breath and brushes off the friendly jab. Tommy turns to Seth and smiles, holding out his hand.
TOMMY (cont.)
Tommy Lyons, 131st infantry.
SETH
Seth Prescott. 131st as well.
They shake hands firmly.
TOMMY
Ah, good to meet you Seth. First time I take it?
SETH
Yeah. Pretty obvious, huh?
TOMMY
I can always tell. Come on.
He leads Seth to a table to eat. They sit across from each other. Tommy pulls out a flattened pack of Carnival brand cigarettes.
TOMMY (cont.)
Cigarette?
SETH
I don’t smoke. But thanks.
TOMMY
Where you from?
SETH
Georgia.
TOMMY
Nice. New York City. Ever been?
SETH
Just when I was a kid. Don’t remember much though.
TOMMY
Cool, cool. Nervous?
He shrugs.
TOMMY (cont.)
Don’t worry about it. Nerves are natural. Once that first bullet whizzes by your head, all that disappears. It’s like losing your virginity.
Seth laughs softly.
SETH
(sarcastically)
Thanks, that’s reassuring. Have you been in the forces long?
TOMMY
Since I was eighteen. I saw battle in Iran and a few skirmishes throughout Lebanon and Syria.
(beat)
Ready for more.
SETH
The news said the Iranian conflict might be ending soon.
Tommy laughs absurdly loud with a mouthful of potatoes.
TOMMY
They’re still calling it a conflict, huh?
(wiping his mouth)
It will never end.
SETH
What do you mean?
TOMMY
Well if it’s not Iran it’s Russia. Or Japan. Or Venezuela.
(beat)
We’ll never run out of countries to fight. To conquer. It’s just a vicious cycle.
Tommy smiles devilishly at the young rookie as another chopper flies over, preparing for a landing. They cover their food from the dust being kicked violently into the air.
INT. PRESIDENTIAL SAFEHOUSE – EVENING
Doug KNOCKS quietly on the entrance to Thomas’ office.
DOUG
Sir, may I come in?
THOMAS
Of course. Please sit down.
Doug enters and takes a seat across from him.
THOMAS (cont.)
What’s on your mind, Douglas?
DOUG
I’ve been on your staff for what, nine years now?
THOMAS
Yes, something like that. Why?
DOUG
I just...I don’t think going out there tonight and giving that speech is such a great idea.
Thomas squints his eyes, unsure of what he is implying.
THOMAS
Why isn’t it a great idea?
DOUG
Just a feeling. An instinct.
Thomas sighs, crossing his arms.
THOMAS
You were there when my father was shot giving a speech. A speech probably very similar to this one. Is that what this is about?
No answer.
THOMAS (cont.)
I’m giving this speech tonight for our country, Douglas. I will be fine.
(beat)
I am NOT my father.
BEAT.
Doug nods and stands to exit.
DOUG
Very well, Sir. The car will be ready within the hour. It’s a long drive.
Thomas acknowledges with a slight nod as Doug leaves the room. He tilts his head back in his chair, exhaling a long deep breath.
INT. ORANGE GROVE APARTMENTS – NIGHT
Seth pulls out his handgun as he silently approaches room 31. He places his ear against the door and listens.
A woman opens the door across the hall, startling Seth. She gawks at him and the gun he is carrying.
Seth mouths “shh!” to her as she returns inside. He steps back and KICKS the door open wildly.
From inside we see Seth peering through the hole left by the caved-in door.
INT. ROOM 31 – CONTINUOUS
Seth hastily searches the house, nobody seemingly to be found. He approaches a back room, with a light shining in through the cracks around the door’s frame. He carefully opens it.
Inside the room we see a layer of plastic wrap. It absurdly lines every inch of the walls, floor and ceiling. Seth looks around the white and transparent room in awe until he hears a faint TICKING.
He enters, the plastic SCRUNCHING under his shoes. He spots an object in the center of the room. The TICKING appears to be emanating from it. A closer examination reveals it to be—
A nuclear bomb!
Seth stares at it in shock. The red timer clicks away on the center of the large green and white bomb.
58:09...58:08...58:07...
OFF SCREEN a gun cocks loudly. It’s placed to the back of Seth’s head.
VOICE (O.S.)
Don’t move!
Seth doesn’t. The man circles him to come face-to-face. Seth looks relieved as he sees it’s-
Nathan Gorman.
Seth begins to lower his hands.
SETH
Oh, it’s you—-
GORMAN
(serious)
I said don’t move!
Seth seems confused as he looks up at Agent Gorman.
END OF ACT FIVE
COMMERCIAL BREAK
FADE IN:
The base is in shambles, rubble everywhere.
Jake, alone, walks through.
JAKE (OS)
I always hoped it wouldn't end like this...
CUT TO: ROOM.
Fin looks up.
FIN
It's not nearly over.
He loads a gun.
SHOT OF: Jake running through some fire, shooting a machine gun.
THE WAIT IS OVER
SHOT OF: Sophie and Jamie, covering their mouths with their shirts as dust flies in.
IT WILL ALL
SHOT OF: JAKE punching FIN in the face.
COME TO
SHOT OF: Jake enters a room, where syringes labeled "SERUM DEVIATION #3"
AN END.
SHOT OF: Jake sits on a rock.
JAKE (OS)
I don't know if I can get us all out.
THE BASE
New episodes coming mid-April.
Only on Channel BOOM!
END COMMERCIAL BREAK
ACT SIX
INT. ROOM 31 – NIGHT
Gorman still points the gun at Seth who looks on in confusion.
SETH
What are you doing?
GORMAN
Shut up!
Gorman steps forward, peering down at the bomb.
GORMAN (cont.)
I see you got my message.
SETH
Message?
Gorman nods toward the bomb.
SETH (cont.)
You sent it?
He smiles proudly.
SETH (cont.)
How did you know the bomb would...
(figuring it out)
Be here...?
Gorman raises his eyebrows in a taunting manner.
GORMAN
That’s a good question, Seth. I think deep down you know the answer.
Seth sighs as he bows his head in defeat.
GORMAN (cont.)
At least you’ll be here to see the biggest event in U.A. history.
(beat)
You now have a front row seat.
Short PAUSE. Seth begins to laugh somewhat sadistically.
GORMAN (cont.)
Is something amusing?
SETH
You’re just a pawn and you don’t even realize it. A pawn in his sick, twisted game. Same as Doug.
Gorman smiles devilishly, kneeling down in front of Seth.
GORMAN
You’re wrong, Seth. In this game you are all pawns.
SETH
Who did he go after? Your wife? Kids?
GORMAN
Fortunately I’m not married. I have no kids.
(beat)
You just don’t get it, do you Seth? You’ve made it to the top of the ladder. This is as high as it goes.
Seth stares him in the eye.
SETH
It’s you? You called yourself, “J”? You’re the terrorist?
The word barely escapes his mouth as the butt of Gorman’s gun SLAMS into Seth’s face, knocking him onto his back.
GORMAN
My name is Jason and despite what you think, I am no terrorist!
Seth slowly sits back up, his eyebrow dripping with blood.
SETH
You’re about to level the city with a nuclear bomb!
GORMAN
All I’ve done, all I have ever done, has been for a reason. This country, a “United America”, is in need of a cleansing. That’s my purpose. My destiny.
SETH
You’re insane. That’s all it is, just a God damn nutcase.
GORMAN
Call it what you will, Seth. It doesn’t stop the fact that in...
(checking the timer)
Forty seven minutes we’ll be gone. All of this...all of this will be gone.
SETH
I guess sometime in the next forty seven minutes you will have to give me that code. Then I will disarm this bomb. Then you will spend the rest of your pathetic life in a mental institution.
Gorman laughs sarcastically.
GORMAN
And how do you suppose that will happen?
BEAT.
The door bursts open behind them, causing both Gorman and Seth to jump. Gorman stares OFF SCREEN with a look of shock.
INT. CAR – NIGHT
Ron sits behind the wheel driving down a long stretch of highway. The sun is almost down as we see the endless road ahead.
Next to him is John. In the backseat sits Seth and Sophie.
JOHN
Where are we going, Ron?
RON
Tonight Thomas Abaddon is giving an important and historical speech. What he is going to say will change the world as we know it.
SETH
This all sounds familiar.
Ron glares in the mirror coldly.
JOHN
So why do we have to be at this speech?
RON
You know WHY, John.
Dramatic BEAT as John realizes what he means.
In the backseat Seth smiles at Sophie.
SETH
You look just like him.
She is caught off-guard.
SOPHIE
I’m sorry?
SETH
Your father. You look just like him.
Sophie timidly looks out the window, not sure of how to respond.
SETH (cont.)
He was a good man.
She smiles through sad eyes.
SOPHIE
Thank you.
BEAT.
SETH
Guilt and vengeance are a very heavy thing to carry. Especially when it is unnecessary.
SOPHIE
(playing dumb)
I don’t know what you mean.
SETH
I’m just saying, don’t spend your whole life seeking revenge. It’s not a good way to live. You will miss out on the important things in life. Like love.
John and Sophie’s eyes connect briefly in the rearview mirror as Ron changes the subject.
RON
This is gonna’ be a long drive. You all might want to get some rest on the way.
John notices a sign on the side of the road.
NOW LEAVING NEW YORK
COME BACK SOON!
He looks at Ron quizzically.
JOHN
Where exactly is this speech taking place, Ron?
BEAT.
RON
Toronto.
A stunned silence fills the car as they disappear down the dark road.
INT. ROOM 31 – NIGHT
Gorman stares toward the door, not removing the gun from Seth’s direction.
GORMAN
Hello, Mr. Abaddon.
Charles enters, gun drawn toward Gorman.
CHARLES
Put the gun down, Agent Gorman.
He cackles devilishly at the request. Charles looks shocked as he steals a glimpse of the nuke.
CHARLES (cont.)
(to Seth)
How’d you know it would be here?
SETH
Him.
(beat)
He’s the terrorist.
Charles looks shockingly at Gorman, who grins eerily.
GORMAN
Put YOUR gun down, Charles.
Charles thinks for a moment, checking the timer on the bomb.
Thirty eight minutes.
CHARLES
I have men perched on every building in the surrounding area, Agent. All with their rifles ready to fire.
GORMAN
Killing me will not stop this bomb. Not without the code.
CHARLES
That very well may be. But if you don’t put your gun down you will be killed. Thirty minutes before you get to see your plan come to fruition.
(beat)
So if you want to see that happen, I’d suggest you put your gun down.
Gorman looks impressed.
Long dramatic PAUSE. Nobody moves a muscle until Gorman finally gives in and lowers his weapon, setting it on the ground.
GORMAN
If you insist.
Charles lowers his gun and extends his hand to Seth. He takes it and stands, wiping his face again.
CHARLES
You okay?
SETH
I’m fine. We’ve got half an hour, how the hell are we going to defuse this bomb?
Charles walks over to the window, looking out at the city. Seth follows and stands next to him. They speak quietly, away from Gorman.
CHARLES
I don’t know.
SETH
We HAVE to get him to tell us. Somehow.
CHARLES
What do you suggest?
No response. Both men are out of ideas. Gorman takes a seat in the corner across the room, patiently waiting.
SETH
Do you really have snipers covering this area?
CHARLES
Does it matter?
SETH
Well...thanks nonetheless.
Seth laughs softly and turns around to the bomb. He kneels down in front of it for a closer examination.
SETH
We have thirty minutes. We could take it far away, into a more unpopulated area. Minimize the impact. Minimize the casualties?
CHARLES
It’s too unstable. Just picking this thing up could cause it to detonate. Whatever we do, we have to do it here.
Seth looks up at Gorman, who smiles without a care in the world. He stands defiantly and approaches him angrily.
SETH
Disarm it.
GORMAN
I’m sorry?
Seth grabs him by the collar of his shirt and lifts him to his feet.
SETH
Disarm the bomb!
GORMAN
I can’t do that.
He SLAMS him furiously into the wall. Gorman laughs sadistically. Seth reaches back and swings, his fist CRASHING into Gorman’s jaw.
Gorman collapses into the corner. Seth stands over him and WAILS away. Punch after punch. After about six or seven of them he backs away, breathing heavily. Gorman sits silently, his face a mangled and bloody mess.
GORMAN (cont.)
I’m not going to do it, Seth.
Charles watches on, grimacing as Seth HAMMERS his fist into his face once again.
Seth grabs Gorman’s pistol and puts it to his head. Gorman closes his eyes and smiles, blood pouring from his mouth.
SETH
Give me the code!
(beat)
I will kill you!
Charles steps forward.
CHARLES
Seth, don’t do it. He’s not going to give it to you.
SETH
Then why not kill him right now?!?
CHARLES
Don’t lower yourself to his level, Seth. We will figure out a way to disarm this bomb. He will be right here to see us do it.
SETH
How, Charles? How are we going to disarm it?!?
Charles rubs his eyes, trying desperately to think of a way out.
INT. ABADDON RESIDENCE – DAY
Thomas Abaddon, still a young boy in this FLASHBACK, watches “Return of the Jedi” silently on the couch.
The door bell SOUNDS as Thomas hops up to answer.
As he opens the door we see Mr. Black’s smiling face.
MR. BLACK
Hello young man.
THOMAS
Hello.
MR. BLACK
Are you...Thomas?
THOMAS
Yes.
MR. BLACK
Oh, it’s nice to meet you Thomas.
(beat)
Is your father home?
He shakes his head “no”.
THOMAS
My mom is.
MR. BLACK
Oh well, that’s okay Thomas. Sorry, I didn’t introduce myself. My name is Mr. Black.
He extends his hand. Thomas looks on cautiously.
BEAT.
Thomas slowly reaches to shake Mr. Black’s hand. As he does, the SCREEN FLASHES BRIGHT WHITE, enveloping everything we see.
As it dissipates, Thomas looks at Mr. Black in a frightened manner. Sweat now runs down his forehead as he looks on hypnotically.
MR. BLACK (cont.)
You have a lot of work to do, Thomas.
(beat)
Would you like to know a secret?
Thomas hesitates a long moment before slowly nodding.
SYDNEY (O.S.)
Thomas? Who’s at the door, honey?
Sydney appears behind Thomas, a soapy bowl in her hand from the dishes. Thomas continues to stare straight ahead.
SYDNEY
Honey, is someone here?
He doesn’t respond. Sydney takes a step out the door.
Nobody. She looks up and down the vacant sidewalks but doesn’t see a soul.
SYDNEY (cont.)
Come on, let’s go back inside.
Thomas steps back as she closes the door.
CUT TO:
INT. TOWN CAR – NIGHT
The black car drives slowly down the cluttered road. Thomas watches through the window.
Mass chaos fills the street. Destruction surrounds the area from the recent “invasion”.
DOUG
We’re here, Mr. Abaddon. It looks a bit wild so we’re gonna’ take the back way in.
(beat)
Security is on full-alert.
Thomas watches as some riot police force back a group of civilians.
THOMAS
Good.
END OF ACT SIX
COMMERCIAL BREAK
FADE IN:
The CAMERA slowly PANS right, passing rows and rows of empty office cubicles. After a few moments, the scene takes a grim turn. Flames now engulf the desk, chairs, and walls. Smoke fills the office area. Some stray papers float through the air poetically.
Loud ROARING sounds are heard, followed by women's SCREAMS. We see a middle-aged blonde woman crouched underneath a desk. She has the worst look of fright imaginable scrawled across her face. Her mascara and eyeliner are running down her face as she sobs loudly.
Now the CAMERA speeds up, faster and faster until it becomes a constant blur.
CUT TO BLACK
Over the black screen Steve Miller Band's "Fly Like An Eagle" plays softly.
We see an overhead shot of CHARLIE WHITMORE.
CHARLIE (V.O.)
My name is Charlie Whitmore.
He reaches over and turns the alarm clock off and the song stops.
Charlie stretches and then climbs into the shower.
CHARLIE (V.O.)
I have a basic routine. Wake up, see my wife and kids, go to work. That's it. That's how I like it.
Charlie kisses his wife and drives off in a hurry, apparently late for work. As he speeds through traffic, he sees a homeless black man standing on the side of the road. He stares directly at Charlie...strange. He holds a cardboard sign that reads:
THE END IS NEAR
(NEAR is crossed out and replaced with HERE)
CHARLIE WHITMORE (V.O.)
Until now.
Charlie flies through a red-light and gets SMASHED by a Dump Truck. His car rolls several times, hitting a light post and another car in the process.
CUT TO BLACK.
On the black screen again we hear the sound of sirens and people yelling for help.
PARAMEDIC
He's got no pulse....he's gone.
Now a loud, raspy cough is heard. It begins faint, but grows closer and closer.
FRANKLIN ROOSEVELT
Sum' bitch...
Title SLAMS on screen.
The Death of Charlie Whitmore
Coming Soon to Movie Reels
END COMMERCIAL BREAK
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Post by Dale on Apr 1, 2009 9:45:10 GMT -5
ACT SEVEN
INT. ROOM 31 – NIGHT
CLOSE on the bomb as the timer ticks down. Fourteen minutes left.
Seth stares out the window at the vacant, innocent city. Charles kneels by Gorman, his face seemingly covered in desperation.
CHARLES
Nathan, it doesn’t have to go down this way. Just let us disarm the bomb.
(beat)
I’ll make sure you are taken care of.
GORMAN
This is the way it has to happen. I’ve spent my life waiting for this moment. Everything I’ve done is for right now.
Charles sighs.
CHARLES
This is going to end badly for you. You decide if it’s on your terms...or mine.
GORMAN
This is going to end badly for all of us, Mr. Abaddon.
Charles rubs his eyes, exhausted. He glances over to Seth.
CHARLES
Not all of us.
Gorman looks at him quizzically as Charles stands up in defiance. He checks his watch.
GORMAN
Expecting someone?
Charles responds with a menacing glare. Seth checks the timer.
Eleven minutes left.
SETH
We’ve got to do something. We can’t just sit here, waiting to die!
CHARLES
I’ve always got a plan, Seth.
(beat)
I’m sorry.
Seth raises his eyebrows in confusion as he stares at Charles, who now stands in front of the door.
SETH
A plan? Sorry for what?
The word barely escapes his mouth as the doors behind Charles BURST open, startling both Seth and Gorman.
Behind Charles bright white lights beam into the room. A large gathering of military soldiers and men in hazmat suits enter.
SOLDIER #1
Everyone, hands in the air!
Seth and Gorman look on in utter disbelief as the men surround the room. Seth squints from the bright lights shining in his face.
The soldier stops next to Charles. They speak to each other softly as Seth watches on, unable to hear.
The soldier nods to the rest of his squad. A second soldier lifts Gorman to his feet.
SOLDIER #2
Nathan Gorman you are under arrest for committing numerous acts of terrorism and conspiracy to commit murder.
Gorman laughs as he applies the make-shift handcuffs to his wrists.
The first soldier approaches Seth, who’s hands are stretched in the air.
SOLDIER #1
Seth Prescott you are under arrest...
Seth’s eyes widen as he stares at Charles like a doe caught in headlights.
SOLDIER #1 (cont.)
For the attempted assassination of Charles Abaddon earlier this evening.
He applies the cuffs to Seth’s wrists as he glares at Charles, completely speechless.
Amidst all of this the men in hazmat suits assess the bomb situation. One of them turns to Charles with fearful eyes.
HAZMAT
Sir, we’re down to two minutes. We need that code, there is not enough time for us to even consider attempting to diffuse this bomb!
Charles turns to Gorman, who waits to be led out of the room.
CHARLES
Last chance, Mr. Gorman. The code?
His devilish grin appears once again. He’s not giving in.
CLOSE on the timer. 1:27...1:26...1:25...
CHARLES (cont.)
Very well.
Long dramatic BEAT.
As the timer reaches the one minute mark it begins to BEEP loudly. Fifty-seconds left.
HAZMAT
(desperately)
Sir, forty-five seconds!
Charles stares at Gorman as he responds.
CHARLES
Twelve...forty-six...nine...thirty-one.
Gorman’s grin quickly dissipates and his expression turns angry. Charles winks tauntingly toward him.
The hazmat worker enters the code and the timer stops at twenty-three seconds. He exhales heavily in relief.
Everything turns to SLOW-MOTION as the soldiers escort Gorman out, followed by Seth. Seth and Charles’ eyes lock as he walks by.
CLOSE on Charles face as we—
CUT TO:
EXT. CARTER RESIDENCE – DAY
The CAMERA follows in someone’s P.O.V. as they walk through the freshly cut grass. In the distance is a heavily wooded area, lush with elegant evergreen trees.
LOOK LEFT to see a small bicycle, probably fit for an eight year old.
LOOK RIGHT to a small white shed, the paint chipping sporadically throughout the exterior.
Loud huffing is heard from whomever’s P.O.V. we are seeing as they reach a large green hedge, roughly six feet high.
LOOK RIGHT once more and STOP suddenly on a long black coat. UP to reveal Mr. Black smiling downward.
MR. BLACK
Well hello there.
PAN OUT to reveal the P.O.V. belonged to a little boy. Charles Abaddon.
He smiles coyly at the tall man with dark, bloodshot eyes.
MR. BLACK (cont.)
It’s nice to see you Charlie. Having fun?
He nods.
MR. BLACK (cont.)
Is your mommy home?
He looks back to the house. Inside the kitchen window is Marianne, unaware of anything going on outside.
CHARLES
Yes. She’s cleaning.
Mr. Black looks at Charles with what seems to be complete awe. He kneels down in front of him.
MR. BLACK
It’s been a long time, Charles. I’ve waited a LONG time.
CHARLES
For what?
MR. BLACK
For you.
Charles brushes off the comment as most children would. He bends down and picks up a stick, twirling it playfully.
MR. BLACK (cont.)
You don’t know it yet, Charles, but you are extremely special.
A door SLAMS in the distance.
MARIANNE (O.S.)
Charlie? Where are you?
Mr. Black now speaks with a dire sense of urgency.
MR. BLACK
You’re very important Charles. Don’t let anyone tell you otherwise. When you’re older, when you’re ready, things will become clear.
MARIANNE (O.S.)
(closer now)
Charles?!?
MR. BLACK
You have a lot of work to do, Charles.
Charles glances over and sees Marianne.
MARIANNE
Charlie! What are you doing out here?
He smiles and looks back to the bushes. He looks around in confusion, Mr. Black is gone.
MARIANNE
(finally making it to him)
Charlie, you scared the daylights out of me! What are you doing out
here so early? And by yourself?
Charles cowers, knowing his Mother is upset.
CHARLES
I was just talking to my friend.
Marianne checks the bushes. Nothing.
MARIANNE
Who Charles? Who were you talking to?
CHARLES
I don't know his name.
MARIANNE
You know you don't talk to strangers, Charlie. Right?
CHARLES
He's not a stranger. We are friends.
MARIANNE
What's his name?
CHARLES
(insistent)
I don't know!
MARIANNE
Okay then. He's a stranger. Let's go.
She takes his hand and as they walk back to the house she glances around the area one last time.
MARIANNE
Don't ever run off like that again, Charlie.
He doesn't respond.
EXT. GOVERNMENT BUILDING – NIGHT
Mass crowds wait in anticipation for Thomas Abaddon’s speech. A podium is set up atop the large cement staircase leading to the building.
Through the many faces in the crowd we see four familiar ones.
John, Seth, Sophie and Ron. They force their way through the clogged audience. CLOSE on Ron’s hands. He is carrying a black duffel bag.
RON
(looking up)
Up there. Should be easy to reach one of those middle floors.
The group looks to the top of an enormous building. A rough guess would be forty-plus stories.
RON (cont.)
Are you sure you are ready, John?
Seth stares at Ron with disdain.
JOHN
Yeah.
RON
Alright then. Good luck, John.
They shake hands coldly. John looks at Sophie, who’s eyes are already tearing up.
SOPHIE
Be careful, okay?
JOHN
Of course.
(beat)
Just stay near Ron.
She nods assuredly. They embrace in a tight hug. A farewell hug.
SOPHIE
(whispering)
I’m sorry about your wife.
John’s eyes now dampen as he nods “thanks”.
SETH
I’m going with him.
Ron turns, glaring menacingly.
RON
I don’t think that’s such a good idea.
SETH
I don’t care what you think, Ron. I’m going.
John steps in between the two of them.
JOHN
It’s fine. If he wants to come, let him come.
Dramatic PAUSE as an epic stare-down ensues.
Ron angrily storms away as Sophie reluctantly follows. She gives John one last look of “goodbye” as she exits.
John begins to move toward the building.
JOHN
Alright. Let’s do this.
Seth jogs to keep up as John hastily retreats to the building.
INT. MILITARY CONVOY VEHICLE – NIGHT
Seth sits exhaustingly in the back of the vehicle. It’s dark and rancid, the smell of putrid mold filling the air.
Seth’s jaw clenches as he struggles with something behind his back.
BEAT.
CLANK. His arms break free and his handcuffs are suddenly removed. He rubs his wrists gingerly, stuffing the cuffs and a thin strip of wire into his jeans pocket.
He silently moves to the rear double doors and turns a large red LEVER. The doors POP open.
He pushes the door wide open to see the outside world. The truck appears to be ZOOMING down the highway, going at least sixty miles an hour.
Seth braces himself, hesitating a short moment before LEAPING from the back.
CUT TO:
INT. MILLITARY CONVOY VEHICLE – CAB – NIGHT
Two soldiers sit in the front seats of the truck, unaware of the activity taking place in the back.
SOLDIER #1
You think this guy really took that shot at Abaddon earlier?
The other soldier shrugs.
SOLDIER #2
Hell if I know. But I do know better than to ask questions.
They both laugh knowingly. Through the driver’s side mirror we see Seth as he LEAPS from the rear and tumbles wildly across the dark highway.
END OF ACT SEVEN
COMMERCIAL BREAK
Fade In
Black Screen
Utter blackness engulfs the scene. Not one object can be made out. Pitch darkness. We take our senses to their maximum as they listen to silence and feel hollowness. Suddenly, we hear a high-pitched scream coming from directly next to us. The scream turns to a whimper and lasts for several seconds as the scene lightens up.
We find ourselves in a small cabin room. The walls are completely covered with fresh blood as a 13 year old girl hyperventilates in the corner, completely alone. The lights begin to flicker as several people violently pound on the doors and walls surrounding the room.
The little girl weeps and cries for help with no response but the grieving racket of the pounding.’
And suddenly, as quick as it came, the pounding stops and the girl calms herself down, looking around the room with a hopeful glisten in her eye. She stays pinned to the corner, waiting for something, anything.
All of a sudden, two hands smash through the door behind the girl and grab her around her waist. We freeze on her horrified face, enthused with utter terror and shock.
Voice (raspy whisper)
…Ai ai ai ai ai ai ai ai ai ai ai
Cut to black.
NEWS REPORTER (VO)
LAST NIGHT, A BRUTAL CRIME WAS COMMITTED, ONE THAT WILL SHAKE THIS NATION UNTIL THE END OF TIME.
We see several, quick clips of gruesome stabbings and screams from a flock of innocents.
NEWS REPORTER (VO)
IT WAS HERE, AT THE SMALL KEDDIE RESORT IN SOUTHERN CALIFORNIA, WHERE FOUR PEOPLE WERE VIOLENTLY MURDERED IN THEIR CABIN.
We see images of the Keddie Resort sign in the middle of a desolate area surrounded by a set of rotting woods. We then slowly zoom into the cabin where we see two very strange looking people staring out the window, into our eyes, inhabiting our minds with fear that will not let go.
NEWS REPORTER (VO)
CABIN 28…
We quickly zoom into the sign reading: CABIN 28 as a piercing crack of thunder envelopes our ears.
SMASH TO BLACK
Voice (raspy and child like)
Gun…
We see a shivering woman pull out a pistol from a drawer in a dim room.
Voice
Claw…
We see a quick image of a rage filled woman slice a metal claw across the screen.
Voice
Rope…
A man throttles a rope around a young and horribly frightened young woman.
Voice
Or Knife….
A woman slices a kitchen knife into a wall.
Voice
So many ways to take a life…
CUT TO BLACK.
We hear a tape recording start up and hear a man begin to talk in a loud, disturbing and gibberish voice.
Voice (disturbing)
FLY, MY, RYE, DIE! FLY, MY, RYE, DIE! FLY, MY, RIE DIE!
The voice says the same sentence over and over as we fly through a few, grotesque clips.
A woman runs violently into the woods.
An yellow eye slowly looks through a small peephole.
A naked man thrusts himself violently onto a severely damaged young girl.
A splash of blood spurts across a dimly lit wall and a bloodied corpse slams up against it.
A hand crashes through a patch of ice.
A 5 year old girl screams into the camera, her innocent face looking horribly dirty and covered with pure terror.
A deranged looking man laughs and jumps up and down holding a blood stained claw hammer.
A soaking wet woman runs toward a helpless looking man and slices down an axe over him.
CUT TO BLACK
Voice (High-pitched/singing)
Hushaby baby, on a tree top. When the wind blows, my….cradle….will………stop. I’m going to kill you Dana…
A man looks up at the camera with a hideous and chilling smile. This is not the everyday man you see walking across the street. This is the man who exists in only the worst of nightmares. The one who chases you and won't stop. The one who watches you from the shadows while you sleep. This man can be described in one simple word.....insane. The man widens his eyes and stares closer into our souls. He is here to stay.
CABIN 28
A JAKE HAMMOND FILM
FRIDAY, MAY 15, 2009
END COMMERCIAL BREAK
ACT EIGHT
INT. ELEGANT HOUSE – DAY
CLOSE on a big toasted turkey sandwich. Hands grasp hold as it is cleanly sliced in half and placed on a sparkling white plate.
The refrigerator door opens and the hands reach inside, retrieving a bottle of imported beer.
CLOSE on feet as they walk down the hallway and into a carpeted living room, stopping at a black leather recliner.
OFF SCREEN the television turns on, playing an old rerun of “I Love Lucy”. Lucille Ball’s voice thunders throughout the room.
BEAT.
The CHIME of a door bell RINGS loudly. The man sighs and heads to the door. He opens it to see—-
Mr. Black.
MR. BLACK
Hello there.
PAN AROUND to reveal the man we’ve been following.
Cyrus Hearth.
HEARTH
Can I help you?
MR. BLACK
My name is Martin Johnson, representing Diamond Industries. Have you heard of them?
HEARTH
Of course.
Mr. Black pulls out a brochure from inside his jacket and hands it to Hearth. He looks it over haphazardly.
MR. BLACK
Have you ever considered the purchase of a fully-constructed fallout shelter? Our men even install it for free.
Hearth looks at him as if he’s crazy.
HEARTH
I can’t say that I have.
MR. BLACK
Oh, Mr. Hearth you should. Since 9/11 the terror threat has gotten far worse. And since the Iranian conflict, shelter sales have increased by nearly sixty percent.
HEARTH
I’m sorry, how do you know my name?
Mr. Black slyly grins. The kind of grin chilling enough to raise the hairs on even the toughest man’s neck.
MR. BLACK
Well I recognized your face from the television, of course.
(beat)
I’m just asking you to think about it, Mr. Hearth. Just take some time to look over the brochure.
Hearth shrugs.
HEARTH
Alright, Mr. Johnson.
He smiles, pleased. A young girl appears next to Hearth.
HEARTH (cont.)
It’s okay, honey. It’s for me.
She smiles warmly, looking toward Mr. Black.
MR. BLACK
Hi. What’s your name?
SOPHIA
Sophia.
MR. BLACK
Nice to meet you, Sophia.
She takes a small step back, timidly hiding behind her father.
HEARTH
Well thank you for the brochure. I will consider it.
MR. BLACK
Wonderful. You have a good day, Mr. Hearth.
He nods goodbye as Mr. Black walks away. CLOSE on Sophia’s face as we—
CUT TO:
EXT. GOVERNMENT BUILDING – NIGHT
CLOSE on Sophie’s face as she robotically follows Ron. They are very close to the stairs now and can see armed guards in military uniforms lining the sides. A spotlight turns on in an instant, lighting up the small podium.
Thomas Abaddon enters the picture, smiling brightly at the crowd as they cheer wildly. As he speaks, he uses no teleprompter. No notes. It comes out natural. As he begins, we realize this is the same scene from the TEASER for 2x04 “Everything Ends”.
THOMAS
Hello ladies and gentleman. I’d like to take a second to thank each and every one of you for coming out here tonight. Man, woman and child alike.
BEAT as the crowd erupts in cheers.
THOMAS (cont.)
Times like this are reassuring to me. I know that when I need the people of our great country, they...YOU, will be there!
The diverse crowd waves many strange looking flags in the air. They are dark red with three white stars on them.
THOMAS (cont.)
Many leaders have promised to make the United America the superpower it was meant to be. Many leaders have failed. A man by the name of Charles Abaddon –-
The cheers burst from the audience even louder than before, interrupting the man on stage, causing him to smile. Sophie and Ron look on in disdain.
THOMAS (cont.)
Charles Abaddon is the founder, the revolutionary behind the United America. Given the chance he would have, I believe, brought peace to our country and many other countries around the globe.
(BEAT)
Unfortunately for all of us, he did not get that chance.
Faces now change suddenly to that of sorrow.
THOMAS (cont.)
Leaders that have followed, like President Ventura, have taken steps in the right direction. I want to take the final steps. North America, South America, and Central America, all now one solid nation. The United America. It was a dream many thought could not be possible. It is more than possible now...it’s a reality.
Doug stands along the sides, watching Thomas in angst.
THOMAS (cont.)
But now we must use our unification to our advantage. Our enemies are bringing the fight here. It is spilling into our streets all across our Nation. The forces come from thousands of miles away. They want our land, our freedom, and our lives. They will stop at nothing to obtain these three things.
Deafening silence.
THOMAS (cont.)
This is not Vietnam. This is not Desert Storm. The battlefield is not in a desert in Iraq or a cave in Iran. The battlefield is everywhere. It is here in our cities, in our homes! Civilians do not exist in this war. Every last one of us must fight. It’s the only way.
BEAT.
THOMAS (cont.)
I will leave you with one option. It is the only one I, and I’m sure all of you, can find fitting for our current situation.
(beat)
We either surrender...
(beat)
Or we fight. It’s our choice to make and we’ve worked too hard for too long to just sit back and give everything we have away.
The crowd claps loudly as Thomas breathes in the energy being released by the rabid audience.
Ron notices Doug standing along the side. He stares at him angrily.
INT. HOTEL ROOM – NIGHT
Rose sits quietly in the dark hotel room. An eerie silence fills the air. She appears to be extremely worried, chewing her nails furiously.
A POUND on the door causes her to jump.
SETH (O.S.)
Rose, it’s me!
She hurries to the door, unlatching the locks. Seth enters, quickly shutting the door behind him.
His face is scratched up and dried blood is caked above his right eye.
ROSE
What happened?
She holds his head to get a better look, but he breaks free of her grasp and kisses her passionately on the lips.
As he pulls back she stares at him wide-eyed in confusion.
ROSE (cont.)
Seth, what happened?
Seth begins hastily gathering his things.
SETH
We gotta’ go.
She stubbornly stands her ground.
ROSE
I’m not going anywhere until you tell me what happened! Did you find the bomb?
Seth talks as he rushes around.
SETH
It was all a setup, Rose. From the start. Abaddon orchestrated the entire thing.
ROSE
He what?
SETH
He planned it all. And now he’s framing me for something I didn’t do.
ROSE
I...I don’t understand.
Seth stops what he’s doing, a pleading look in his eyes.
SETH
I’m sorry Rose, I don’t have time to explain. They’re after me now and will never stop looking.
ROSE
Wherever you are going Seth, I am coming with you.
He feverishly shakes his head “no”.
SETH
I’m going to spend the rest of my life looking over my shoulder. Rose, you don’t want to live like that.
ROSE
If that’s what it takes to be with you, then yes I do. We’re in this together, Seth. Always have been.
(beat)
So...where are we going?
Seth looks out the window thoughtfully.
SETH
Russia.
BEAT.
Rose nods, though not completely thrilled. She grabs her jacket as they prepare to exit.
SETH (cont.)
I’ll drop you off at your place. There is something I need to do.
(very adamant)
Alone. But I will meet you at JFK at six A.M. Okay?
She nods.
SETH (cont.)
Anything you want, be sure to pack it. There is a good chance we will never come back here.
ROSE
I will.
Seth moves for her to exit and takes one last look inside the hotel room before shutting the door.
INT. ABADDON RESIDENCE - NIGHT
Charles enters his home, carrying his wife and son's luggage. Both Sydney and young Thomas enter behind him, looking quite relieved to be home.
CHARLES
Things can go back to normal now, Syd.
She reaches into the refrigerator and pulls out a couple of bottles of sparkling water.
SYDNEY
Good. What about your job?
He shrugs, pulling an envelope from his pocket.
CHARLES
A promise is a promise.
SYDNEY
What's this?
He hands it to her.
SYDNEY
Italy!?! Charlie are you serious?
He nods, grinning from ear to ear. She emphatically hugs him tightly, laughing happily.
CHARLES
I told you I'd be done and I am done.
(beat)
The terrorist has been caught, relations with Russia are improving. There is no better time for me to resign than right now. The world is our oyster now, wherever we want to go we go.
He looks to Thomas, who idly stands against the wall near the living room.
CHARLES (cont.)
What about you, Thomas? Where do you wanna' go?
He shrugs disinterested. Charles glances at Sydney who expresses a look of uncertainty. Thomas continues to walk up the stairs to the second floor of the house.
INT. UPSTAIRS BATHROOM – NIGHT
Thomas opens the medicine cabinet behind the wall mirror. He carefully looks over the contents, which are mostly different types of medicine in little vials and bottles.
He reaches up and takes one, looking over the label carefully. He puts the bottle into his pocket and shuts the mirror door.
He stares at his own reflection for a long, eerie moment.
CUT TO:
INT. OFFICE BUILDING – 21ST FLOOR – NIGHT
OPEN on a dark storage room, cluttered boxes throughout. The door opens as John and Seth enter.
The loud cheers from the crowd outside can faintly be heard. John is all business as he peers through the window down to the location of the speech. Ron was right, he’ll have a near perfect shot.
He unzips the duffle bag and removes the pieces to the rifle.
SETH
John, you don’t have to do this.
JOHN
What?
SETH
You need to think this over.
JOHN
I have thought it over. Thomas Abaddon is the reason my wife is dead, Dad. He’s the reason for every bit of pain I’ve felt for the past year.
Seth nods knowingly.
SETH
Don’t let your anger ruin your life, son. It’s not worth it.
JOHN
Why are you telling me this? Why did you wait until this moment to talk me out of it?
BEAT.
SETH
Because it’s my last chance.
John stops fiddling with the rifle, a shred of doubt now entering his mind.
JOHN
What happened when you went to Russia, Dad?
SETH
(caught off-guard)
What?
JOHN
I’ve researched everything about you. I know about your time in the military, I know what you were accused of doing. Which I always assumed was the reason you and my mother fled to Russia.
(beat)
But as hard as I looked I couldn’t find anything after that. It’s like your existence was just... erased.
SETH
That was a long time ago, John.
He holds the duffle bag up angrily.
JOHN
You want me to stop THIS? Tell me what happened! I have to know.
Seth leans against the wall, slowly sliding down to a seated position.
SETH
We ran to Russia. It was the only thing we could think of.
DISSOLVE TO:
B&W FLASHBACK SEQUENCE
Seth stares out an airplane window, frightened. Rose sleeps soundly next to him, her head resting gently on his shoulder.
SETH (V.O.)
We went to a friend of mine for help. One of the few people left that I could trust.
Seth and Rose knock on a door, waiting patiently.
A familiar looking older woman answers. It’s Eva’s mother. Her face is pale and tired, her eyes beat-red from crying.
SETH (V.O.)
She was mysteriously murdered just days before.
Seth and Rose give Eva’s mother their condolences as they exit.
SETH (V.O.)
Poisoned in her own home. So after that we just tried to make a new life in a small Russian village. When you came...
Rose’s soaked face wrenches in pain as she screams violently. Seth stands at her side, holding her hand tight, doing his best to help her through.
SETH (V.O.)
Seeing you for the first time was like witnessing a miracle.
The doctor holds up John, who doesn’t shed a single tear. Seth and Rose look on happily. Suddenly Rose’s eyes roll back in her head.
The machines around her begin BEEPING wildly. Seth panics, grabbing at Rose desperately. A few doctors restrain him, nearly dragging him out of the room.
CLOSE on Rose’s lifeless face, her eyes closed. The machine echoes one long constant BEEP now...She’s gone.
SETH (V.O.)
There was a problem during the birth. Your mother’s heart just couldn’t take it. It was the best and worst moment of my life simultaneously.
Seth sits on an old sofa, holding John in his arms. He stares straight ahead, his eyes brimming with fear.
SETH (V.O.)
I had three weeks with you before they came for me...
The door to the flat is kicked open. Wood shards fly in every direction. Seth barely moves, staring straight ahead still as a group of U.S. soldiers rush in with assault rifles.
END B&W FLASHBACK
BACK on Seth now as he eyes John pleadingly.
SETH
You see John? If I had stayed away from Ron and stayed away from Charles Abaddon I could have spent so much more time with your mother. With the woman I loved.
(beat)
You would have never been taken away from me.
BEAT.
The cheers outside grow as Thomas Abaddon begins speaking.
JOHN
But you were helping Americans, dad. Fighting for our freedoms.
Seth shakes his head with an unfortunate sigh.
SETH
If that is true John, then I lost that fight a long time ago.
Another BEAT. John doesn’t know how to respond as they share a silent moment together in the dark storage room.
EXT. GOVERNMENT BUILDING - NIGHT
As Thomas speaks on stage, Doug watches to the far left, similar to Charlotte's position when she pulled the trigger on Charles. He looks to his pocket, struggling to pull out his cell phone. He quickly exits the stage area, looking for a quiet place a bit off in the distance.
DOUG
Hello?
(beat)
Hello?
He angrily shuts it, returning it to his pocket. As he turns to head back, a figure catches his eye. It's Ron.
DOUG
Ron? Is that you?
Ron steps forward from the shadows. The two are about twenty yards from the spectacle now, in a dark alley.
DOUG (cont.)
What...what are you doing here?
RON
It’s been a long time, Doug. I see you are still working for the Abaddon family.
Doug sighs.
DOUG
Thomas is a good man.
RON
I’m sure he is.
BEAT.
DOUG
What do you want, Ron?
RON
To finish what I started thirty years ago.
Ron takes a step forward, a pistol now REVEALED to be in his right hand. Doug eyes it uncomfortably.
DOUG
Thirty years ago, Ron. It was THIRTY years ago. Can we not let the past stay in the past?
RON
You just don’t understand, do you Doug?
(beat)
Your actions caused the unfortunate future we all have now. Seth, he’s gone insane. Rose is dead, Roy too. And here we are, right back where we started.
Doug steps forward angrily.
DOUG
So what are you gonna’ do, Ron? Shoot me?
(beat)
You couldn’t do it before, what makes you think you can do it now?
They stare each other down dramatically.
DOUG (cont.)
What makes you think—-
BLIP!
The gun fires silently while Doug is in mid-sentence. His eyes bulge as he holds his chest in shocking pain.
He collapses to the ground, dead. Ron looks over his body callously.
RON
Because that was thirty years ago.
BEAT.
Ron tucks the gun away and heads back to the crowded entrance to the building.
END OF ACT EIGHT
COMMERCIAL BREAK
FADE IN:
A snappy 50's tune cheerily plays in the BACKGROUND. In BLACK AND WHITE we see a family sitting around a dinner table, very Cleaver-like. They all smile and laugh while eating their potatoes and soup.
NARRATOR (V.O.)
There was a time not too long ago that every citizen in this country lived their lives in fear. The "Atomic" age.
Outside the window behind the family a large mushroom cloud raises to the sky. The families eyes grow wide in an exaggerated manner.
NARRATOR (V.O.)
Children were taught to hide under their school desks...
We see just that as a dozen children slide underneath their desks, tucking their heads between their legs.
NARRATOR (V.O.)
Food and water was rationed on a daily basis. Just in case...
We see the same family as before, huddled in their basement as their world begins to shake. The creaky old basement is BLOWN away and disintegrates before our eyes.
NARRATOR (V.O.)
We are in a time now where our world is coming back to this stage. The nuclear threat, once again, is real.
Light fills the SCREEN, as if an angel has appeared. But instead it's a large, state-of-the-art stainless steel nuclear bomb fall-out shelter. It glistens in the light majestically.
NARRATOR (V.O.)
Protect you and your loved ones with Diamond Industries latest innovation. The F4200 fall-out shelter. Like nothing anyone has seen before.
A family happily goes about their lives inside the shelter, cooking food in a microwave for the children.
NARRATOR (V.O.)
Electricity, water, mass food storage space are just some of the fine qualities of the F4200.
A man stands in his backyard, waxing the roofing of his F4200. A neighbor across the picket fence watches him jealously.
NARRATOR (V.O.)
Take the steps to preserve your future now. Go with a company you can trust. Diamond Industries.
The Diamond Industries logo appears on screen for a few moments. It's just a plain diamond-shape with an odd looking wrench in the center.
FADE OUT.
END COMMERCIAL BREAK
THE FINAL ACT
INT. ABADDON RESIDENCE – MORNING
Birds CHIRP softly as the sun just begins to rise. A thin ray of light shines through the window, reflecting off of Charles’ sleeping face.
THUD!
Charles’ eyes SNAP open as he sits up in bed. He looks over to Sydney, still sound asleep next to him.
BEAT.
A CREAK emanates from downstairs. Charles hops up, quickly putting on a pair of pants.
As he slowly descends the stairs, he peers in each room. He makes his way into the kitchen, looking completely shocked as he sees—
Seth sitting at the kitchen table. A pistol rests in front of him on the table. It’s the first thing Charles notices.
CHARLES
I thought you might come for me.
Seth barely moves, not giving him a response. Charles walks toward the refrigerator.
CHARLES (cont.)
Can I get you something to drink?
Seth glares at him coldly as he pulls out a carton of orange juice, pouring himself a glass. He takes a long gulp, finishing the glass in one drink.
CHARLES (cont.)
What’s the gun for?
SETH
I think you know what it’s for.
Seth picks the gun up, pointing it at Charles as he takes a seat across the table from him.
CHARLES
Is this how it all ends, Seth? Is this where our destinies have brought us?
SETH
Don’t talk to me about destiny. You think you can use that as an excuse for the things you’ve done?
BEAT. Charles looks away, almost shamefully.
CHARLES
You creep into my house at—
(looks at clock)
Five A.M., with a loaded pistol. What do you want me to say, Seth?
SETH
All of this...everything that has happened. You brought it all on yourself.
(beat)
Why did you trick me into helping you catch the terrorist, when you knew the end all along?
CHARLES
I didn’t TRICK you into anything, Seth. I asked you for help.
Seth’s face fumes as his anger builds.
SETH
And then you tried to have me locked up forever for something I didn’t do!
Charles looks at him angrily, obviously afraid his loud voice will wake up his family.
CHARLES
(softly)
You don’t know what you are talking about. Everything I’ve done was for my country.
Seth laughs sarcastically as he points the gun at Charles.
SETH
You planned a nuclear attack on seven of your own cities. Do you seriously believe that?
Charles sighs, almost as if he is beginning to believe in his own delusional lies. Seth SMASHES the butt of the gun against his head, knocking Charles to the ground.
Seth stands over him as Charles gets to his knees.
CHARLES
Why are you here Seth? To kill me? Killing me will not stop the fact that you are a wanted man. You will be caught eventually.
SETH
At least you won’t get the satisfaction of seeing it.
Charles nods knowingly, acceptingly. Seth puts the gun to his head.
CHARLES
So you’re going to kill me? Right here in my own home with my wife upstairs. My—
THOMAS (O.S.)
Dad?
Charles and Seth both look toward Thomas in surprise. He stands in the kitchen doorway, bewildered.
CHARLES
Thomas, go on back to bed.
THOMAS
What’s going on, Dad?
CHARLES
Just go, Thomas.
He fearfully sprints back up the stairs.
BEAT.
Seth’s demeanor changes now after seeing Thomas. He lowers the gun and takes a step back, his legs wobbly.
CHARLES
If your going to finish this, then finish it.
Seth takes a long look at the gun, contemplating.
SETH
I’m not going to kill you.
(beat)
Goodbye Charles.
He looks on in confusion as Seth begins to back toward the door.
CHARLES
It’s only a matter of time, Seth. You know that. My men will find you.
Seth nods knowingly.
CHARLES (cont.)
(genuinely curious)
Then why are you letting me live?
SETH
Because, Charles. I’m not you.
Dramatic BEAT as they exchange a long stare. Seth leaves Charles perched on his knees. As the door closes, Charles exhales loudly.
Thomas again appears behind him.
THOMAS
Dad?
Charles wrenches his neck and smiles as he sees his son.
CHARLES
Come here, Tommy.
He hugs Thomas tightly. As they break, Thomas stares at him quizzically.
THOMAS
Dad?
CHARLES
Yes?
BEAT.
THOMAS
Are you a bad man?
CLOSE on Charles face as he looks at his son, unsure of how to respond.
EXT. GOVERNMENT BUILDING – NIGHT
As the crowd continues hanging on Thomas’ every word, we see Sophie near the front watching the spectacle unfold.
THOMAS
Tomorrow marks a landmark day. Our world is threatened on many different fronts. War, environmental problems, famine. It has become apparent that we must unite to overcome all of these difficulties. We must stop fighting and bring our planet back before it’s too late.
Ron approaches Sophie, taking a stance to her direct left. They exchange a nod.
THOMAS (cont.)
Tomorrow I personally will be meeting with leaders around the globe. It is the first step. The U.A. and Eurasia have different views on many things. Religion, ideals, government systems...but we all agree on one thing. A united, global government is what this planet needs during this crisis.
(beat)
Fighting each other is only adding fuel to the fire. If we continue down this path, pretty soon we will not be able to go back.
The crowd ROARS.
THOMAS (cont.)
Tomorrow we take a new turn in history. A unified global government. So I ask you all one question...
(loud)
Can I go to them tomorrow and feel confident when I say I have the support of the American people behind me?
The crowd BLOWS up now, eating up everything he says.
“Wake Up” by Rage Against the Machine plays.
Ron leans in close to Sophie.
RON
It’s starting...
She looks up to the building where John and Seth are at.
INT. OFFICE BUILDING – 21ST FLOOR – NIGHT
John stares through the window at the crowd as they cheer in support of Thomas Abaddon.
JOHN
It’s over...
Seth stands at the door, readying to leave.
SETH
Please, John. Just remember what I said.
John doesn’t look away, his gaze still directed down at Abaddon. He continues to hold the rifle in his hands.
Seth sighs and exits the room. John takes a deep breath and lifts the rifle to his shoulder.
He peers through the scope, the red crosshairs moving along the stage until they stop on Abaddon.
CLOSE on John’s finger as it tightens on the trigger. Sweat rolls down his forehead as he contemplates the biggest decision of his life.
CUT TO:
INT. OFFICE BUILDING – STAIRCASE – NIGHT
Seth walks down the long, seemingly never-ending staircase. He shows a deep sadness and look of regret as he trudges down the stairs.
BOOM!
His eyes grow wide and he stops at the sound. CLOSE on his face as we—
CUT TO:
EXT. HOTEL – NIGHT
ESTABLISHING SHOT of the small, run down hotel. The signs around the building are all in Russian. A light snow falls to the ground.
INT. HOTEL ROOM – CONTINUOUS
The lights are off as a few candles burn around the room. They flicker occasionally, reflecting off the ceiling and walls.
PAN ACROSS the room until we STOP on Rose and Seth. They sit on the floor, backs against the bed.
They both appear tired and scared, but glad to have a sense of “security”.
“Sail Away” by David Gray plays as the scene transpires.
ROSE
I have always wanted to travel to Russia.
SETH
I’m sure this wasn’t what you had in mind.
They exchange awkward smiles.
ROSE
Do you think things are going to be okay? That WE will be okay?
BEAT.
SETH
I think so.
ROSE
What do we do now?
SETH
Just lay low, I guess. Once we go see Eva, she will be able to help us.
Rose leans her head back, yawning. Seth glances at her belly.
SETH (cont.)
I went to see Charles before we left.
(beat)
I was going to kill him.
Rose looks shocked at Seth’s confession.
ROSE
You were GOING to?
SETH
I saw his son. Thomas. I couldn’t do it after that.
ROSE
Well for what it’s worth, Seth. I’m glad you didn’t.
He grins, almost chuckling a little bit.
ROSE (cont.)
Do you think if you would have shot him, during his speech, things would have turned out differently?
BEAT as Seth thinks about his answer.
SETH
I WAS going to shoot him. But I didn’t get the opportunity. I hesitated and someone else stepped in and intervened.
(beat)
I spent a lot of time thinking...wondering what would have happened. Would he have survived if it were me that pulled the trigger?
ROSE
Do you think he would have?
Seth nods gravely, sure of himself.
SETH
He was meant to survive, no matter who shot him. Two scenarios both resulting in the same outcome.
(beat)
At a point you just realize it’s a vicious cycle and we are powerless to stop the future. It’s like a clock. After it strikes twelve, eventually it’s going to strike it again. Round and round, it never ends.
ROSE
Everything ends eventually, Seth.
He shrugs, sort of conceding the argument.
SETH
Have you thought of a name? For the baby?
Rose smiles, tenderly rubbing her stomach as if she can feel her unborn son.
ROSE
I like Mary. Or Marianne.
SETH
For a boy?
BEAT.
ROSE
John.
Seth grins and nods.
SETH
I like John...
A long silence fills the room as the two comfortably sit against the bed, enjoying the tranquility of the quiet night.
Rose gently rests her head on his shoulder, closing her eyes peacefully. He softly kisses the top of her head.
FADE OUT.
FADE IN.
INT. ABADDON RESIDENCE – DAY
“Paint It Black” by The Rolling Stones plays quietly as the CAMERA PANS through the house.
We see a few men in blue suits, carrying small medical packs.
PASS by an older man in a cheap brown suit diligently taking notes.
PASS by an empty table. The very table Charles and Seth sat at just a short while ago. Little white signs are setup around the area, the reason unknown.
In the kitchen, leaning against the sink is Sydney. Her eyes are red and her face swollen from crying. Two men stand with her, asking questions.
The MUSIC drowns out the voices, but we see them lead her away toward the front door. Their expressions are that of sympathy.
STAY on the sink briefly. ZOOM IN and PAN DOWN. Inside the sink, lying on it’s side is an empty glass. Orange juice drips silently from the rim, into the sink.
EXT. ABADDON RESIDENCE – DAY
Outside is an ambulance, it’s lights flashing brightly. A small crowd of on-lookers have gathered as they gawk at the scene. Sydney stands near the ambulance, now sobbing almost uncontrollably.
The front door opens and a gurney is pushed out by two men. A thin white sheet covers the body which lies atop of it. They open the ambulance doors and slide the gurney inside.
The doors SLAM shut and the ambulance fires it’s sirens as it slowly drives off.
PAN LEFT over the Abaddon family’s beautiful landscaped yard. Toward the side, directly in front of the large white cement wall encasing the backyard is a good-sized rock, part of the yard’s décor.
Sitting on top of the rock is Thomas. He stares hypnotically at the ambulance. His dark eyes remain transfixed as the vehicle exits the neighborhood.
The MUSIC SWELLS now. Upon a closer look, it becomes blatantly clear that the shadow Thomas is casting onto the wall behind him is not that of a young boy. Not even close.
The shadow is in fact the same “shadow” we’ve come to know as—
The Dark Figure.
CUT TO BLACK.
CLOCKS
THE END.
“The Scientist” by Coldplay plays as the CREDITS roll through.
CAST:
Kevin McKidd as Charles Abaddon
Josh Holloway as Seth Prescott
Zooey Deschanel as Marianne Carter
Morena Baccarin as Rose Viera
Lance Reddick as Ron Luther
Zachary Quinto as John Prescott
David Morrisey as Roy Walker
Emily Blunt as Sophia Hearth
Damien Lewis as Thomas Abaddon
Jolie Jenkins as Sydney Abaddon
Joel Gretsch as Cyrus Hearth
Julie Benz as Claire Hearth
Malcolm Conley as Doug Jones
David Anders as Nathan Gorman
Alexandra Breckenridge as Charlotte Long
David Zayas as Frank Marquez
Nutsa Kukhianidze as Eva Rusnakova
Traylor Howard as Layla Prescott
and
Vincent Cassell as Mr. Black
Written by Hanelle
Thanks to all who read/followed Clocks through both of it's seasons. If it weren't for the fans who always gave me great and positive feedback I probably would have stopped writing long ago. I hope you found it worth it to stick it out through 17+ episodes.
Special thanks to Jester, Casa, Daz and Indy for taking the time to read through what literally adds up to be nearly 800 pages of the Clocks story. That shows real dedication and I'm very grateful. Thank you.
Now...I'm glad it's over.
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