Please note: The following film contains pictures from the video game that this film is based upon. The descriptions given in the script may differ from what is show in these images and video - they are only intended to give a vague visual guideline. Thank you for purchasing a ticket - We hope you enjoy the show
TrailerThe screen is black. We fade to an aerial shot of London at night. Police sirens can be heard.
We fade to two police cars speeding down a London street.
We fade to Malice Gardens down a dimly lit corridor, gun drawn.
We fade to Gardens, staring out at London from a window high up in a tower block.
We fade to a shot of London through the window.
We fade to black. We hear the sound of heavy, raspy breathing.
JESTER (V.O.)
(Whispering)Welcome... To my playground...
Chronicles Of A Killer Part III: Hunting Grounds
AutumnAnd now, our feature presentationCaptain Blaggers Productions presents
A film written and directed by Tom Blagden
Mid-Atlantic, 1960
FADE TO:
INT. PLANE - NIGHT
The cabin of the plane is almost full with passengers. We PAN to JACK, a young American in his early thirties, sitting alone in his row of three seats, looking out of the window. He is dressed in jeans, a light blue shirt unbuttoned at the collar, and a brown leather jacket. He takes a puff from a cigarette, and regards a package wrapped in blue paper. It has a note pinned to it, but we can not see it clearly enough to read it.
JACK (V.O.)They told me, 'Son, you're special. You were born to do great things'.
He sets the package down on the seat next to him, and opens his wallet. Inside, there is a picture of him standing happily with an elderly couple - his parents. Jack smiles.
JACK (V.O.)You know what? They were right.
FADE TO BLACK
BIOSHOCK
The sound of SCREAMS and HOWLING wind are heard. Suddenly, there is a large SPLASHING sound, and the BOOM of an explosion.
FADE TO:
EXT. OCEAN - NIGHT
Jack is underwater, his eyes closed. He looks peaceful. Suddenly, his eyes jerk open, and he looks around. A flaming propeller cuts through the water, just missing him. We TILT up to see a mass of flaming debris; the wreckage of the plane. Jack makes noises of distress; he has clearly been holding his breath for a long time while unconscious. He swims desperately for the surface. He breaks the surface of the water, gasping desperately for air. He looks around while treading water. He appears to be the only survivor. Jack looks up and gasps. He has caught sight of a massive lighthouse. He takes a deep breath, and begins swimming for it.
JACK (V.O.)I didn't know why the plane had crashed, or why I was the only survivor, or why there was a lighthouse in the middle of the ocean, but I knew that the only way I had even a chance of living was swimming to it; a beacon of hope.
Jack reaches the lighthouse. Stone steps extend from the doorway to just underneath the surface of the water. Jack ascends them, and walks through the open door.
CUT TO:
INT. LIGHTHOUSE - NIGHT
The room is pitch black, save for a tiny crack of light from the open door. We hear Jack's FOOTSTEPS.
JACKHello?
There is no reply.
JACKIs anybody there?
There is a loud CLICK, and the lights flicker on. Mounted high up on the wall opposite the doorway is a massive golden statue. It is of the upper body of ANDREW RYAN, his torso emerging from the waist up through the wall. His face is serious and intimidating. His arms are outstretched, and hung between his hands is a banner reading 'No Gods or kings. Only Man.'
Jack regards the statue in amazement, before noticing a large open doorway underneath the statue. He apprehensively walks through it. The next room is full of water, walls built over the ocean with no floor. Stone steps lead to a docking station with a bathysphere. Jack glances behind him, then steps into the bathysphere. The hatch, which is essentially a large window on hinges, swings shut behind him.
CUT TO:
INT. BATHYSPHERE
Jack immediately pulls a lever inside the cramped interior of the bathysphere. Immediately, the bathysphere begins to descend into the water. Bubbles cloud the window.
JACK (V.O.)I didn't know why my hand pulled the lever without my mind telling it to, but it wouldn't be long before I found out.
As the bathysphere moves further and further away from any light, the interior becomes darker and darker. Suddenly, a screen slides up to cover the window, and a video is projected onto it. Andrew Ryan narrates with a very faint Russian accent.RYAN (RECORDING)I am Andrew Ryan, and I'm here to ask you a question. Is a man not entitled to the sweat of his brow? 'No!' says the man in Washington, 'It belongs to the poor.' 'No!' says the man in the Vatican, 'It belongs to God.' 'No!' says the man in Moscow, 'It belongs to everyone.' I rejected those answers; instead, I chose something different. I chose the impossible. I chose... Rapture!
The projector screen slides up to reveal the breathtaking city of Rapture Jack gasps at the sight of the wondrous city.
CUT TO:
EXT. RAPTURE - NIGHT
It is an entire metropolis on the sea floor. The city is comprised of many skyscraper shaped buildings, which are covered in neon signs, and connected by glass walkways. The whole city has an art deco feel to it. Whales, squids and fish swim between buildings as if they are nothing more than coral formations. The bathysphere drifts towards a wire mesh tunnel leading into one of the buildings.
CUT TO:
INT. BATHYSPHERE
RYAN (RECORDING)
(Continuing)A city where the artist would not fear the censor, where the scientist would not be bound by petty morality, where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.
A radio in a holster clamped to the wall next to the bathysphere hatch suddenly crackles into life. Jack hears the voices of ATLAS, who has a friendly Irish accent, and JOHNNY, who has a high pitched American accent.
ATLAS (RADIO)The lighthouse is lit up like hellfire. Looks like some kind of plane crash.
JOHNNY (RADIO)We're in the middle of the Atlantic. How could it be?
ATLAS (RADIO)I don't know. You'd best get over there. And be quick about it, the Splicers are coming.
JOHNNY (RADIO)You gotta be kidding!
ATLAS (RADIO)There's a bathysphere on the way down. That means we've got company.
Jack looks through the window. The bathysphere is entering the wire mesh tunnel, and approaching the building. Attached to it are neon signs reading 'All good things flow into the city'
CUT TO:
INT. RAPTURE DOCKING BAY
The bathysphere rises from a water filled tunnel similar to the one it descended into. The room surrounding it is large, derelict and debris filled. Torn wires spurt electricity. There is barely any light. A dark figure, Johnny, approaches the bathysphere.
CUT TO:
INT. BATHYSPHERE
Jack looks through the window. He sees Johnny approaching, and bangs his fist on the hatch.
JACKHey, let me out of here!
JOHNNY (OUTSIDE)
(NERVOUSLY)Hang on, I need to override the door contro-
There is suddenly a blood curdling SCREECH from the darkness, and then a chilling CACKLE.
JOHNNY (OUTSIDE)Oh no, it's a Splicer!
Jack presses his face against the window. We see the scene unfold from his point of view. A humanoid shape, completely obscured by shadow, slowly and inhumanly moves into the dim light, approaching Johnny. Johnny slowly backs away.
JOHNNY (OUTSIDE)No, no! Please don't! I'll get you all the Adam you need! I-
The Splicer suddenly lurches forward, swinging her arm at Johnny's stomach. Blood sprays and splatters all over the bathysphere window. Jack's eyes widen in fear. Johnny screams out in pain, and then is silent. The Splicer begins to search Johnny's gutted corpse. She speaks in a cold, shrill voice.
SPLICER (OUTSIDE)Hasn't even got any Adam...
She looks up and sees the bathysphere.
SPLICER (OUTSIDE)What do we have here?
The splicer leaps upwards and out of view. There is a clanging sound from above the bathysphere - she is on top of it.
SPLICER (OUTSIDE)Fresh meat!
Pounding sounds carry through the roof. Jack begins to panic. A fist crashes through the metal roof of the bathysphere, tearing electrical wires and electrocuting the Splicer. She screams in pain, and then is silent. She has left. The radio on the wall suddenly crackles into life.
ATLAS (RADIO)That was a close one, boyo. Now, would you kindly pick up the radio on the wall?
Jack walks to the wall and removes the radio from it's holster.
ATLAS (RADIO)You were in the plane crash?
JACKYeah.
ATLAS (RADIO)Looks like you're the only survivor, mate. I'm sorry. But listen, we can't dilly about. My name's Atlas. I'm going to get you out of here, ok?
JACKThanks.
ATLAS (RADIO)I'm going to override the door control now. We've got to lure her out of hiding, so move slowly.
JACKWhat? I'm not-
ATLAS (RADIO)Look, I'm your only hope for getting out of here alive, so would you kindly do me a favour and do as I tell you?
JACKFine.
CUT TO:
INT. RAPTURE DOCKING BAY
The bathysphere hatch swing open. Jack apprehensively steps out onto the stone steps leading down to the ground. He moves forwards slowly, his eyes darting around as he looks for the Splicer. He notices a wrench lying on the ground, and picks it up.
ATLAS (RADIO)
(Whispering)As soon as she comes into the open, I'll have the security systems blast her with everything they've got.
There is a SHRIEK as a bright light shines on the Splicer. It is coming from a camera mounted on the wall. She stands still, transfixed by the light. Her clothes are torn, and a bizarre rabbit mask covers her face.
ATLAS (RADIO)Haha! How do you like this?
Near the Splicer, the floor slides away, and a gun turret quickly rises up through the opening. It takes aim, and fires round after round into her until she is dead. Blood splatters over the surrounding walls. When her body hits the ground the turret deactivates and slides back underground.
ATLAS (RADIO)Ok, that's that. Let's see if we can't get some more light in this place, eh?
There is a loud and echoing CLICK, and the lights come on. The room is large, and appears to have been very comfortable and attractive at one point. Ahead of Jack, there are two flights of stairs leading to the same balcony, although one has crumbled away. The room is furnished in the same art deco style as the building exteriors. Jack raises the radio to speak into it.
JACKWhat is this place?
ATLAS (RADIO)This, boyo, is Rapture. The worlds only underwater city.
JACKWhy haven't I heard of it before?
ATLAS (RADIO)Because it's a secret, lad. People live here by invitation only. Come on now, you need to get moving. There should be a secure door to your right.
Jack looks to the right and sees a large, square, metal door labeled 'Securis'.
JACKYeah.
ATLAS (RADIO)Go over to it, it should open automatically.
Jack walks open to the door, but it does not budge. He notices that a small control panel next to the door is broken, emanating blue sparks.
JACKThe control panel is busted.
ATLAS (RADIO)Hmm... I have an idea. Go up to the balcony.
Jack ascends the intact staircase to the balcony. It backs onto a corridor, but the entrance and exit are blocked by debris. On the back wall is a vending machine labeled 'Gatherer's Gardens', and it is decorated with statues of cute little girls. There is a syringe filled with red liquid lying on the floor in the collection tray - somebody bought an item from the machine and did not pick it up. Jack approaches the machine.
ATLAS (RADIO)See that syringe there? Pick it up. That's a plasmid.
JACKA what?
ATLAS (RADIO)What's your name?
JACK...Jack.
ATLAS (RADIO)Jack, do you trust me?
JACK...Yes.
ATLAS (RADIO)Than would you kindly inject yourself with the syringe?
Jack sheds his leather jacket, and rolls up one of his shirt sleeves. He is wearing suspenders. He raises his arm. We can now see that on the inside of both of his wrists, he has a small tattoo of three chain links. Jack inserts the syringe into the tattoo, and presses down. The liquid flows into his veins. Jack winces, and removes the syringe. Suddenly, his veins start glowing bright blue beneath his veins, and his fingers begin crackling with electricity. Jack howls in pain, holding his electrified hands out in front of him in horror.
ATLAS (RADIO)Stay calm, your genetic structure is being rewritten! Hold steady!
Jack staggers backwards, and topples off the balcony. He hits the ground with a THUD, and passes out from the pain.
FADE TO BLACK.
FADE TO:
We see from Jack's point of view as he slowly comes to. Two male Splicers tower over him, one wearing another rabbit mask, the other wearing a cat mask.
CAT SPLICERLooks like this little fish just had his cherry popped! I wonder if he's still got some Adam on him...
Jack passes out again.
FADE TO BLACK.
FADE TO:
Jack comes to again. The Splicers are still there. There is the repeated sound of dull THUDS from afar, like the footsteps of some massive creature. There is a sound like a whale cry. The Splicer glance towards the direction of the noises.
RABBIT SPLICERCome on, let's get out of here. I'm not risking getting stepped on by a Big Daddy...
CAT SPLICERYellow. You've always been yellow.
They leave. Jack passes out again.
FADE TO BLACK.
FADE TO:
A hulking creature lumbers into Jack's view. It is a BIG DADDY.
It stands around ten feet tall, and is in a huge diving suit. One one arm, instead of a glove, it has a massive drill. The eye holes in its helmet glow yellow. It makes noises like a whale moaning It is followed by a comparatively tiny LITTLE SISTER.
This is a demonic looking girl, clutching a large surgical needle. On the end of the needle is a glass bulb containing a red liquid similar to the one in the plasmid syringe. This girl looks like a horrifying version of the ones depicted on the Gatherer's Gardens vending machine. The Little Sister totters towards Jack.
LITTLE SISTERLook Mr Bubbles, it's an angel! I can see light coming from his belly.
She inspects Jack further.
LITTLE SISTERWait a minute... He's still breathing. It's alright; I know he'll be an angel soon.
She walks away, and the Big Daddy follows her. Once again, Jack passes out.
FADE TO BLACK.
FADE TO:
We no longer see from Jack's point of view. He sits up groggily, holding his head. His radio crackles to life.
ATLAS (RADIO)You alright, boyo?
JACKYeah... I think so.
ATLAS (RADIO)I'm sorry about all that. Your first plasmid is a real kick from a mule... But there's nothing like a fistful of lightning now, is there?
JACK...What?
ATLAS (RADIO)Go over to the control panel.
Jack slowly stands up and walks to the Securis door.
ATLAS (RADIO)Now, remember how you felt when you first injected yourself? Try to replicate the feeling.
Jack closes his eyes, and hold his left hand in front of him. Slowly, the veins in the hand begin glowing blue with electricity. Jack opens his eyes, and gasps. His hand is now covered in electricity.
ATLAS (RADIO)Focus all of the energy to your fingertips, and aim it at the control panel.
Jack does this, and a thick burst of electrical energy shoots forwards from his hands. It connects with the wires of the control panel. The Securis door slides upwards, revealing a glass walkway.
ATLAS (RADIO)That's the ticket! Nice job, boyo!
Jack smiles, and creates another burst of energy, this one for show. He picks his wrench up from the ground, and walks through the door.
CUT TO:
INT. GLASS WALKWAY
Jack walks down the walkway, wrench in hand. There is a loud WHIRRING from the ocean outside. He looks up to see a large object sinking quickly towards the walkway - the fuselage from the crashed plane. Jack jumps out of the way, and the fuselage smashes through the glass, coming to rest inside the walkway. Water beings spraying inside rapidly. Jack climbs through the debris as the walkway quickly begins to fill up, and runs through the next Securis door as it slides open to receive him.
CUT TO:
INT. MEDICAL PAVILLIONJack slumps against a wall and sits down, breathing hard. It is clear he is having a panic attack.
ATLAS (RADIO)You alright?
JACKNo! I'm in an underwater city full of zombies and ten foot monsters! What the hell is this place? What did I just inject myself with? Would did I trust you? You're a complete stranger!
ATLAS (RADIO)
I want to get you out of -JACKYou say that, but how do I know you're telling the truth?
ATLAS (RADIO)...Alright. I haven't been completely truthful with you. You're not heading towards the Rapture Metro. You're heading for Neptune's Bounty.
JACKWhy?
ATLAS (RADIO)Listen, mate. I'm not alone. I've got a family. Moira... And my little Patrick. I need to get them out of here, but I can't do it without your help. I know you must feel like the unluckiest guy in the world, but you're my family's only hope.
JACKI just want to go home.
ATLAS (RADIO)That's easier said than done, boyo. They're on a submarine docked in Neptune's Bounty - please help me. If you get my family out of here, I'll tell you anything you want to know about Rapture, plasmids - everything. Now, what do you say? Would you kindly help me out?
JACK...Alright.
ATLAS (RADIO)Good lad.
CUT TO:
INT. RYAN'S OFFICE
Andrew Ryan sits at his desk in his extravagant office, smoking a cigar.
ATLAS (V.O.)Andrei Ryan was born in Russia in the early 1900s. He soon emigrated to America and changed his name to Andrew. He became a richer than richer businessman.
CUT TO:
INT. RYAN's AMERICAN HOUSE - DAY
Ryan sits listening to a wireless radio in his living room.
ATLAS (V.O.)But Ryan lost faith in the American dream the day the bomb hit Hiroshima.
Tears begin form in Ryan's eyes.
CUT TO:
INT. OIL RIG - DAY
There are around fifty oil rigs, lowering buildings materials under the surface of the water. Ryan stands on the observation deck of one of them, observing the growth of his kingdom.
ATLAS (V.O.)And that's how Rapture was built. Ryan's paradise away from the evils of the world.
CUT TO:
INT. LIGHTHOUSE - NIGHT
Several hundred people enter the lighthouse and begin milling down the stairs to the bathysphere station.
ATLAS (V.O.)Rapture opened it's doors to the ten thousand invited citizens in 1946. But it was all downhill from there...
CUT TO:
INT. TENENBAUM'S LAB
BRIDGETTE TENENBAUM sits in her lab, looking through a microscope. She is tall, thin and grey. She is wearing a large pair of glasses and a white lab coat.
ATLAS (V.O.)A German scientist named Bridgette Tenenbaum discovered a sea slug that secreted pure stem cells. With this commodity, which she named Adam, it is possible to reshape and regrow body cells, meaning that humans can be repaired and improved through the use of it. But Ryan, ever the money grabbing bastard, had it commercialized.
We PAN left to DR SUCHONG, a Chinese scientist, also looking through a microscope. He is short, fat and balding. He is also wearing a white lab coat.
ATLAS (V.O.)Ryan hired Dr Suchong, a Chinese geneticist. From the initial Adam, Suchong was able to manufacture genetic modifiers - plasmids. These gave enhanced abilities to whoever injected them into their bodies. Ryan began selling plasmids commercially, using Adam as a form of currency. Customers were able to 'Splice' and improve themselves by giving themselves superpowers.
CUT TO:
INT. VENDING MACHINE ROOM
Around fifty Gatherer's Gardens machines stand in the room, and all of them are swamped by people fighting to be in line.
ATLAS (V.O.)Plasmids were a bigger success than Coca Cola. But Adam had unforeseen side effects.
A female customer SCREAMS and collapses, her skin suddenly bleeding from every pore. People around her scream and run.
ATLAS (V.O.)Adam did terrible damage on the minds and bodies of it's users. It was healable with more Adam... But the more Adam you took, the more you needed to heal yourself. Brilliant for business, but no so much for the citizens.
CUT TO:
INT. STEINMAN'S OPERATING THEATER
DR STEINMAN puts white plastic gloves on for his plactic surgery operation. He walks to his patient, the bleeding customer from before, who is under anesthetic.
ATLAS (V.O.)In the end, people became so disfigured that they needed a specialist to return them to normal.
Steinman begins making a scalpel incision in the patient, who is is offscreen.
ATLAS (V.O.)Enter Dr Steinman, a plastic surgeon. He was able to do fantastic work... But he went mad with all the possibilities of Adam, and the imperfections of his patients.
Steinman begins hacking apart the corpse with the scalpel, spraying blood all over himself. He SCREAMS in anger.
CUT TO:
INT. RYAN'S OFFICE
Ryan sits at his desk, drinking heavily.
ATLAS (V.O.)By now, Ryan had a business rival - Frank Fontaine. Fontaine was selling better quality Adam and plasmids at cheaper prices than Ryan - and having Ryan's workers discreetly bumped off. He even lured Tenenbaum away with a bigger budget than Ryan was offering. became a political one, with Fontaine rallying to become the new ruler of Rapture. So, Ryan did what he does best.
CUT TO:
INT. APOLLO SQUARE
A crowd jeers at around twenty men and women being hung in Apollo Square, a large, open park type area with a glass roof to let the sunlight in.
ATLAS (V.O.)He destroyed. Ryan rounded up as many of Fontaine's followers as he could find, and executed them for all to see. Now, Rapture was split in two. You had Ryan's followers, who could afford Adam treatment to stay sane and beautiful, and you had Fontaine's disciples, the underclasses, who had degenerated so much they could barely be considered human. Ryan was able to keep some Splicers under control by pumping mind controlling pheromones into the air, but most of them were too Spliced up to get a handle on.
CUT TO:
INT. KASHMIR RESTAURANT
It is a New Years Eve masked ball. People are wearing animal masks - rabbits, cats, mice, dogs, birds - and standing around, talking and laughing. Suddenly, loud GUNSHOTS ring out. People begin to scream and run for the doors, which are kicked down from the outside. An army of Fontaine's thugs marches into the room, shooting Ryan's supporters.
ATLAS (V.O.)It all came to a head on New Years Eve, 1959. A party for Ryan's supporters was attacked by Fontaine and his Splicers.
An explosion goes off in the middle of the room, killing everyone inside.
ATLAS (V.O.)Ryan had planted explosives in every building during the construction of Rapture as a safety mechanism. He was able to rid himself of Fontaine forever - or so he thought. Fontaine was dead, but his legacy lived on.
More Splicers pour into the destroyed restaurant. One notices his horrifically disfigured face in the mirror, and pulls a bird mask off a corpse. He puts it on himself, masking his hideous visage. The other Splicers follow suit.
ATLAS (V.O.)It could be argued that Ryan was in control again, but the Civil War is still carrying on to this day. Adam production has been ceased, so everybody is at risk of being murdered because somebody else needs to look pretty again. That's Rapture life, boyo.
CUT TO:
INT. MEDICAL PAVILION
Jack is still sitting against the wall.
ATLAS (RADIO)But you don't need to worry about it. You won't be down here long enough to take enough Adam to destroy yourself. Now, you're in the medical pavilion. Carry on, and you'll get to Neptune's Bounty.
CUT TO:
INT. MORGUEJack steps through a door into the dimly lit morgue. morgue. He is knee deep in water. A Splicer jumps at him, and Jack swings his wrench so it connects with his opponent's face. There is a wet SPLAT as blood spurts out over the wrench, and the Splicer drops to th ground, dead in the water.
JACKAre you sure this is the right way?
ATLAS (RADIO)Yep, you just need to go through here and Steinman's operating theater. Then you're there.
Jack begins walking down a dark tunnel, lined with hatches to place bodies in. The only light is from around a corner up ahead. Jack notices that a shadow is being cast on a wall. The figure is cradling something in its arms like a baby, and singing hauntingly.
FIGUREJesus loves me... This I know... For the Bible tells me so...
Suddenly, the lights go out, and it is pitch black. Jack breathes heavily. There is a CLANG as he climbs on top of something. There is a burst of blue light as he fires electricity into the water. The lights come back on. The electricity is conducted by the water, and electrocutes the Splicer around the corner. The Splicer HOWLS in pain before becoming silent. Jack climbs down from the gurney he was sitting on top of to avoid being shocked, and makes his way around the corner. There is only a smoking skeleton left. The object it was treating like a newborn is a revolver. Jack sticks the revolver into the waistband of his trousers, and moves on through a doorway.
CUT TO:INT. STEINMAN'S OPERATING THEATER
Jack has stepped into the foyer of Dr Steinman's Aesthetic Ideals, Steinman's plastic surgery shop. Jack moves quietly though the entrance into the theater. A patient is lying awake on the operating table. She is heavily disfigured. Bloody, mutilated corpses lie around the room in pools of blood. Steinman enters, a large scalpel in his hands. His lower face is covered by a surgical mask, and he is dressed in a long white lab coat.
STEINMANYou bitch. You stupid bitch! How dare you have the gall to come in here looking like that? We no longer have any right to be ugly, Miss Langstrom. Adam obliges us to be beautiful.
Steinman suddenly snaps, plunging the scalpel into Langtrom's right eye. She SCREAMS and flails her limbs around in panic.
STEINMANAND YOU JUST BROKE THAT OBLIGATION, YOU UGLY f*cking WHORE! GOD, HOW I HATE YOUR KIND! YOU'RE ALL SO f*cking UGLY! WHAT CAN I DO WITH YOU? I TRY TO MAKE YOU BEAUTIFUL, BUT YOU ALWAYS TURN OUT WRONG! TOO FAT! TOO TALL! TOO SYMMETRICAL! TOO f*cking UGLY!
He stabs the scalpel into her stomach. Her screaming intensifies.
STEINMANBE PRETTY, YOU STUPID BITCH! BE BEAUTIFUL!
He slashes wildly at her face, cutting her deeply and slitting her throat. She, Steinman and the room are covered in blood. She gurgles before dying. Steinman breathes heavily before beginning to laugh maniacally. Jack GAGS, about to be sick. Steinman hears this and turns to look at him.
STEINMANMy God... So ugly... We'll have to do something about that...
Jack charges his hand up with electricity, read to defend himself. He fires a bolt at Steinman, who dodges it. Steinman lunges at Jack, brandishing his scalpel. Jack tries to dodge, but it cut across his right bicep. Jack runs towards the other side of the room, pulling his revolver from his waistband. He turns around and is able to fire off two shots before Steinman jumps on top of him, knocking him to the ground. The gun clatters to the floor. Jack catches Steinman's scalpel hand as it plunges towards him. He struggles with his enemy, the blade centimeters away from his face. Jack looks at the floor to his left and sees a plasmid syringe lying forgotten under a table. He kicks Steinman in the face, grabs the gun and shoots him in the- ack of the leg. Steinman CRIES out in pain. Jack lunges for the plasmid, grabs it, and injects it into his wrist tattoo. His hands become charred and burst into flame. Jack grins and turns around to face Steinman - but Steinman is nowhere to be seen.
JACKWhat the -
There is a RATATATATAT as Steinman fires a Tommy gun at Jack. Jack dives out of the path of the bullets and send a massive fireball in the direction of Steinman. Steinman catches on fire, and runs around flailing wildly, firing his weapon at random. One of the bullets connects with... A Little Sister, who has just entered the room. The bullet only grazes her leg, but she begins to cry.
LITTLE SISTERMr Bubbles...
A Big Daddy, its eye holes red in anger, crashes into the room, its drill spinning at full speed. It angrily howls in its terrible whale voice. Steinman, still aflame, backs away.
STEINMANNo, no, I -
The Big Daddy punches it's drill all the way through Steinman, the blood covered tip coming out to a metre after having passed through his chest cavity. Steinman flails and screams, and then goes limp. As he dies, he drops something - a grenade. The Little Sister screams and runs. Jack takes cover behind the operating table. The bomb explodes, blasting the Big Daddy into a wall. It's eye holes become colourless. It is dead. The Little Sister approaches it tearfully.
LITTLE SISTERNo! Mr Bubbles! Mr Bubbles!
She kneels by the corpse, crying.
ATLAS (RADIO)You got lucky there, boyo. Big Daddies normally need more than a little hand grenade to go down. That poor bastard must have been worn down by somebody else.
JACKBig Daddies?
ATLAS (RADIO)Former humans, genetically modified to have one purpose: Protecting Little Sisters. Little Sisters collect Adam inside their corpses, so they're constantly under threat of attack. Big Daddies are meant to prevent this, in theory. But he's dead now... So harvest her.
JACKWhat?
ATLAS (RADIO)Harvest her for Adam! You're going to need more plasmids than that if you're going to get out of here alive.
There is a sudden crackling from the radio. Tenenbaum joins in the conversation. She speaks in a heavy German accent.
TENENBAUM (RADIO)No! Do not harvest the little one! She can still be saved!
ATLAS (RADIO)Come on, Dr Tenenbaum. He just wants a little Adam. Just enough to get by.
The Little Sister is now extracting Adam from Steinman's corpse with her needle.
ATLAS (RADIO)Listen, Jack. Are you going to listen to a monster like this? A sick tinkerer who turned dozens of fine little girls into those things? Are you going to risk the lives of my family on her words?
JACKI... I...
TENENBAUM (RADIO)I was forced to do what I did. But the modifications can be reversed. You have to use a new plasmid. Look, I am sending it through the mail delivery now.
A mechanical box bolted to the wall opens up to reveal another plasmid syringe. Jack injects himself with it.
JACKWhat do I do, Tenenbaum?
ATLAS (RADIO)Jack, don't -
JACKI'm not going to kill a little girl, Atlas.
TENENBAUM (RADIO)Danke. It will be instinctive. Just pick her up, and touch the base of her neck - at the back.
Jack slowly approaches the Little Sister. She notices him and tries to run away, but she trips over. She cowers in Jack's shadow.
LITTLE SISTERNo! No! No, no!
Jack picks her up and touches the back of her neck. She becomes limp. Both she and Jack glow red.
A flash of white light obscures the screen - and then she is a normal, healthy girl.
LITTLE SISTERThank you. Thank you.
She skips out of the room
TENENBAUM (RADIO)Danke. I will repay you. Somehow.
There is a crackle as she signs off the frequency.
ATLAS (RADIO)She's playing you for a bloody fool... Would you kindly just get to Neptune's Bounty?
Jack picks up Steinman's Tommy gun, slings the strap over his shoulder and walks out of the theater.
CUT TO:
INT. FLEET THEATER
Jack walks into a dark room. A fair amount of time has passed since he left the medical pavilion.
JACKI thought you said Neptune's Bounty was right after the medial pavilion? I can't even remember how long ago that was.
ATLAS (RADIO)I forgot to mention the theater. You're going to have to get through here before you go to Neptune's Bounty.
JACKTheater?
ATLAS (RADIO)It doesn't look like much, does it? But it used to be amazing, this place. Even down in Rapture, people need to be entertained. And that's where Sander Cohen came in.
Spotlights begin falling on audience seats. Jack can now see that they are populated by plaster replica of humans. One has red pain spilled over it. Jack narrows his eyes in suspicion. A light over the door comes on, illuminating the atrium that extends from the door all around the theater, the main stage of which is still in darkness. There are posters for Sander Cohen productions such as 'Sander Cohen Does Mozart' and 'Sander Cohen Presents: Patrick & Moira'. Jack approaches the stained statue. He dabs his finger in the paint, and his face screws up in disgust.
JACKIt's blood...
He pulls out his wrench and hits the stature with it. Chunks of plaster fly off - as wells as blood, bone and flesh. Jack drops the wrench in surprise. The audience are not statues - they are real people, trapped alive in plaster. A voice rings out throughout the theater - SANDER COHEN'S. He speaks in an upper class American accent.
COHEN (INTERCOM)Do you like them? Some of my finest work, I'll have you know, although not my defining piece... As I hope you will soon see. Please take the camera from that seat so that we may begin... Welcome... To an evening with Sander Cohen.
Jack notices a large Polaroid camera on one of the seats. He picks it up. A spotlight shines on the stage. On it are a piano and a Splicer sitting at it on a stool. The piano isabsolutly covered with dynamite, and the Splicer is plastered from the waist down, forcing him to sit at the piano.
COHEN (INTERCOM)Now... Play, my boy!
The Splicer begins playing the piano, and makes a mistake.
COHEN (INTERCOM)No, no, no! Allegro! Allegro!
The Splicer stops playing.
SPLICER(Shouting)Oh God, you sick f*ck! Let me out of here!
The dynamite detonates, blowing up the piano and killing the Splicer. His corpse lies on the stage, flaming.
COHEN (INTERCOM)Life... Death... The burden of the artist is to capture. See young Fitzpatrick on the stage. Use your camera - take him as he is now... So I may remember him.
Jack descends the stairs in the middle of the seats to the stage. He climbs onto it, and takes a photo of the Splicer's charred body. The picture pops out of the camera a few moments later.
COHEN (INTERCOM)And now you've got Fitzpatrick! Caught in his moment of glory! It seems you have the eye of the shutterbug... Now behold!
A large object is lowered onto the stage. It is a bizarre sculpture made up of plastered corpses holding four picture frames. Three of the frames contain pictures of three other corpses, but one is blank.
COHEN (INTERCOM)Please! Place the photograph and complete my masterpiece!
Jack places the picture in the frame. A sound effect of applause is played over the intercom. Jack turns around to look up at the top of the stairs. Sander Cohen stands at the top of them, clad in bizarre make-up and a tuxedo. A splotlight follows him as he descends the stairs to the stage. He bows to his imaginary audience as he goes.
COHENThank you... Thank you...
He climbs onto the stage and falls to his knees, gasping in joy.
COHENMy magnum opus is complete! Those f*cking Judases will never betray me again! Thank you, kind sir, thank you!
Cohen loses any interest he had in Jack and goes back to marveling at his masterpiece. Jack, visibly freaked out, slowly leaves through a stage exit with raised eyebrows.
INT. NEPTUNE'S BOUNTY
A Securis door slides open, and Jack emerges into the room from a glass walkway. He is in a control room for the Neptune's Bounty docking bay. The door shuts behind him. Through the window, he sees a massive submarine docked. He talks into his handset.
JACKI can see the sub.
ATLAS (RADIO)Brilliant work, boyo. Would you kindly just wait there while I get my family? Oh, I can't wait to shake your hand!
There is a crackle as Atlas leaves the frequency. Suddenly, the radio crackles again.
JACKAtlas?
RYAN (RADIO)I'm afraid not.
JACKYou're... You're Andrew Ryan.
RYAN (RADIO)Correct. So tell me, friend, which one of the bitches sent you? The KGB wolf? Or the CIA jackal? Here's the news: Rapture isn't some sunken ship for you to plunder, and Andrew Ryan isn't the giddy socialite who can be pushed around by government muscle.
Through the window, we see Atlas running to the submarine. He is too far away to be seen as anything more than a humanoid figure. He runs around the submarine, looking for a way in.
ATLAS (OUTSIDE)Moira? Can you hear me, darlin'?
RYAN (RADIO)So sad... I wonder if he has any idea what's about to happen...
JACKWhat's about to happen?
The submarine explodes spectacularly. Smoke obscures the window.
RYAN (RADIO)I won't put up with parasites like you, who know only to loot and destroy... You shan't leave my city alive.
The radio crackles as Ryan leaves the frequency. Atlas rejoins the frequency.
ATLAS (RADIO)
(Tearfully)Moira... Patrick...
JACKI'm... So sorry...
ATLAS (RADIO)
(Tearfully)He's not getting away. Not this time! Jack...
JACK...Yes?
ATLAS (RADIO)
(Angrily)Would you kindly head to Ryan's office and kill the son of a bitch?
CUT TO:
INT. ELEVATOR
Jack stands in the elevator covered in blood. He checks that his revolver is loaded.
CUT TO:
INT. POWER STATION
Jack is finishing placing explosive charges on a power core.
ATLAS (V.O.)To get to Ryan, you're going to have to blow the power leading to his office, so you aren't disturbed by the cameras or turrets.
CUT TO:
INT. ELEVATOR
Jack places the revolver in his waistband and checks the Tommy gun.
CUT TO:
INT. POWER STATION
Jack runs away as the charges explode, destroying the power core.
CUT TO:
INT. ELEVATOR
Jack cocks the Tommy gun and slings it over his shoulder.
CUT TO:
INT. POWER STATION
Jack runs towards the elevator, machine gun drawn. An army of Splicers awaits him.
ATLAS (V.O.)Ryan will have a horde of Splicers guarding the elevator to his office, so you'll need to get through them first.
Jack begins firing wildly at the Splicers, some of whom are armed with guns of their own.
RYAN (RADIO)In the end, all that matters to me is me. And all that matters to you is you. It is the way of things.
A Splicer leaps at Jack with a hunting knife. Jack activates his fire plasmid and sets the Splicer alight.
RYAN (RADIO)Even when presented lies, sometimes you find truth. There is indeed a season for all things. And now I see my flesh of flesh and blood of blood - I know I cannot raise my hand against you. But know this:
Jack hits a Splicer in the face with the butt of his gun.
RYAN (RADIO)You are my greatest disappointment. Does your master hear me? ATLAS? YOU CAN KILL ME... BUT YOU WILL NEVER HAVE MY CITY! MY STRENGTH IS NOT IN STEEL AND FIRE - THAT IS WHAT THE PARASITES WILL NEVER UNDERSTAND!
Jack electrocutes two Splicers in quick succession. He raises his gun again.
RYAN (RADIO)A SEASON FOR ALL THINGS!
CUT TO:
INT. ELEVATOR
Jack activates his fire plasmid from his right hand, creates a fireball, then deactivates it.
CUT TO:
INT. POWER STATION
RYAN (RADIO)A TIME TO LIVE AND A TIME TO DIE! A TIME TO BUILD... AND A TIME... TO DESTROY!
There is a loud EXPLOSION from somewhere in the distance. Jack and the Splicers are distracted momentarily. The room begins shaking.
RYAN (RADIO)
(Calmly)Come now, my child... There is one final thing we must discuss.
A yellowish gas is pumped into the air through an air duct - pheromones. The Splicers suddenly back down, scuttling out of the room.
CUT TO:
INT. ELEVATOR
Jack activates his electricity plasmid from his left hand, creates a burst of energy, then deactivates it.
CUT TO:
INT. POWER STATION
ATLAS (RADIO)
(Panicking)What? Ryan's set the entire station to blow! This is different from what you did. He's got a mind to take down the whole damn city!
Several more EXPLOSIONS are heard.
ATLAS (RADIO)
(Panicking)Would you kindly get in there and kill the bastard before the whole joint blows? He'll have a genetically locked override key that you can put into his control station. Whack him, and stop the station from exploding!
Jack runs towards the elevator.
CUT TO:
INT. ELEVATOR
Jack activates both of his offensive plasmids at the same time, and then deactivates them. There is a DING as the elevator arrives. Jack takes a deep breath and steps outside.
CUT TO:
INT. RYAN'S STUDY
Ryan's study is a small room, separate from his main office. Jack walks into the study. The back wall of the study is entirely covered in photographs which look like they have been pinned up recently. strands of thread are pinned between the photographs to show connections between the people in them. Amongst the photographs are ones of Tenenbaum, Suchong, Fontaine and a silhouette labeled 'Atlas'. Over the entire collage, in fresh blood, the words 'Would you kindly?' are scrawled in huge letters. Jack observes the collage for a moment before stepping into the main office.
CUT TO:
INT. RYAN'S OFFICEThe room is completely dark. Ryan's voice booms out - he is there, in person.
RYANThe assassin has overcome my final defense... And now he's come to murder me.
The lights slowly fade up. Jack and Ryan are separated by a large wall made almost entirely of glass. On the left side of the window wall is a Securis door. Ryan is standing on a miniature golf strip, a golf club in hand. He is very close to the window. He is dressed in a tan business suit, ad has a pencil thing mustache. He thinning hair is black.
Jack slowly approaches him. The office is enormous, but sparse. Carved into the back wall is a massive 'Ryan Industries' insignia.
RYANIn the end, what separates a man from a slave? Money? Power? No... A man chooses... A slave obeys.
Ryan crouches by the strip, as if lining up a shot. He stands up again.
RYANYou think you have memories. A farm... A family... An airplane... A crash... and then this place. Was there really a family? Did that airplane crash, or was it hijacked?
CUT TO:
INT. PLANE - NIGHT
The cabin of the plane is almost full with passengers. We PAN to Jack. He takes a puff from a cigarette, and regards a package wrapped in blue paper. It has a note pinned to it.
C.U. NOTE
The note reads: 'To Jack, with love from Mom & Dad. Would you kindly not open until: 63* 2' N 29* 55' W'
BACK TO SHOT
Jack rips open the wrapping paper of the package, opens the box and pulls out a revolver. He stands up and brandishes the gun. People begin to SCREAM. Jack winces and pinches the bridge of his nose. He takes aim at the pilot through the open cabin door and shoots, before blacking out from the screams.
CUT TO:
INT. RYAN'S OFFICE
Jack is confused and emotional. He is on the verge of tears.
RYANWas it forced down? Forced down by something less than a man. Something bred to sleepwalk through life until they are activated by a simple phrase spoken by their kindly master... Was a man sent to kill, or a slave? A man chooses... A slave obeys.
Ryan walks to the Securis door and taps a button on the control panel. It slides open.
RYANCome in...
Jack slowly moves towards the open doorway, wiping away his tears of anger and confusion. As he nears the door, Ryan steps through.
RYANStop... Would you kindly?
Jack immediately stops walking.
RYANWould you kindly... Powerful phrase. Familiar phrase?
Jack gasps. Atlas's voice echoes in his head as he realises Atlas has been using the phrase all along.
ATLAS (V.O.)(The different sentences mix in with and overlap each other)Would you kindly pick up the radio - Would you kindly do me a favour - Would you kindly inject yourself - Would you kindly help me out - Would you kindly just get to Neptune's Bounty - Would you kindly just wait there
(The following sentence is clearly heard and on it's own)Would you kindly head to Ryan's office and kill the son of a bitch?
Ryan smirks.
RYANSit... Would you kindly?
Jack instantly sits down on the ground.
RYANStand... Would you kindly?
Jack immediately gets to his knees and stands up.
RYANRun, would you kindly?
Jack runs towards the wall on the other side of the room.
RYANStop, would you kindly?
Jack stops dead in his tracks and turns to face Ryan, who is approaching him.
RYANA man chooses... A slave obeys.
Ryan hands Jack the golf club.
RYANKill!
Jack immediately swings the club into Ryan's face with a wet THUD, splattering blood on the club and floor. Ryan staggers backwards, clutching his face in pain.
RYAN
(Painfully)A... MAN... CHOOSES...
Jack hits him in the face again. Ryan falls to the ground, breathing hard. Blood drips onto the floor.
RYAN(Almost incoherently)A... SLAVE.... OBEYS!
Jack swings the club backwards and then forwards as if he is driving a golf ball, hitting Ryan as hard as he can. Ryan's face collides with the ground, creating a large blood spatter. Ryan slowly draws himself to his knees, and grabs at Jack.
RYANOBEEEEEY!
Jack hits Ryan with the club so hard that it penetrates his skull and becomes stuck in it, splattering blood and brain globules onto the floor. Ryan falls to the ground, dead. Jack breathes hard. The radio crackles into life.
ATLAS (RADIO)Hurry now! Would you kindly grab Ryan's key and put it in that goddamn machine?
Jack searches Ryan's pockets until he find the key, a long, thin card shaped object. He looks up, and notices that Ryan has a massive control machine in the office. He runs to it, and inserts the key into the appropriate slot. After a few seconds, the distant EXPLOSIONS stop. Atlast sighs in relief.
ATLAS (RADIO)
(Mockingly high pitched)Nice work... Boyo...
Atlas begins laughing maniacally. Jack's eyes widen in fear and panic. When he speaks, it is not in his Irish brogue, but in a heavy, gruff New York Bronx accent.
ATLAS (RADIO)It's time to end this little masquerade. There ain't no Atlas, kid. Never was. A fella in my line of work takes on a variety of aliases... Hell, once, I was even a Chinaman for six months. But you've been a sport, so I guess I owe you a little honesty. The name's Frank Fontaine.
Jack grits his teeth in anger.
FONTAINE (RADIO)(Continuing)I gotta say, I had a lot of business partners in my life, but you? Of course, the fact that you were genetically conditioned to bark like a cocker spaniel when I said 'would you kindly,' might have had something to do with it. But still, as soon as that machine finishes processing the genetic key you just fished off Ryan, I'm gonna run Rapture tits to toes. You've been a pal, but you know what they say: never mix business with friendship. Thanks for everything, kid. Don't forget to say hi to Ryan for me.
An alarm goes off. Turrets and security robots, hovering with propellers, all suddenly appear in the room. Jack runs for cover behind a pillar.
LITTLE SISTER (OFFSCREEN)Hey! Over here!
Jack looks in the direction of the voice. The Little Sister he saved earlier is crouching by an open ventilation shaft. She climbs inside and starts crawling through the shaft. Jask dashes over to the vent and crawls inside, following the Little Sister. There is a loud CREAK, and the sfat gives way under Jack's weight. He falls into darkness.
CUT TO BLACK.
