SimplyScripts
Mosaic
by
Alexander Julien
Revisions by
Alexander Julien
2008
Recent Revisions by
Alexander Julien and Derek Kilby
2009
Address: #209-1537 Burnaby St. Vancouver, B.C. Canada, V6G-1X1
Contact Info: H (604) 569-4160 C (778) 554-6576
OPEN TO:
CARD: September 4, 1990
CARD: The Chayevsky Quantum Dynamics Institute
INT. CHAYEVSKY QUANTUM DYNAMICS INSTITUTE - NIGHT
A modern looking building with several large lab rooms that encircle a larger generator room.
We follow a female lab assistant down several hallways. She passes by several rooms as the lab is busy with activity. The assistant finally arrives at a closed door. The sign on the door reads: “ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM”
LOUD SPEAKER VOICE
Sub atomic linear interface in seven
minutes.
INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT
We pan across various computer monitors. Several scientists, in white mid length lab coats, are hustling around the area.
DR. LEONARD GALLOWAY (41), looks down at an old stop watch. He looks up at the generator. He looks back down to the watch.
GALLOWAY
Seven minutes.
An assistant approaches Dr. Galloway.
ASSISTANT
Metallic plates are nominal. All
insulators are above norm and holding.
GALLOWAY
Capacitor alignment?
ASSISTANT
Permittivity is high. We’re looking
good.
Dr. Galloway turns around and looks through a plexi-glass observation window. In the observation room, there are several
people watching. Dr. Galloway gives them all the thumbs up.
INT. OBSERVATION ROOM - NIGHT
DR. LIONEL WALKER (31), attractive. He approaches another man. DR. MOURAD ABDERAZZI,(48), heavy set.
LIONEL
Are you ready to rock the U.S. Patent
Office?
Abderazzi smiles at Lionel.
ABDERAZZI
I would be happy with a cup of tea
that wasn’t made in England.
Lionel pats Abderazzi on the back. Lionel looks down at his watch.
LIONEL
I got time.
ABDERAZZI
Hurry up or you’ll miss the whole thing.
Abderazzi winks an eye.
LIONEL
I wouldn’t dream of it.
Lionel exits the lab. Abderazzi turns to an assistant.
ABDERAZZI
Keep an eye on the EM field. I
don’t want that frequency to high.
ASSISTANT
Yes doctor.
The assistant turns back to the monitor.
INT. HALLWAY - NIGHT
Lionel walks down the hall. He looks up and sees the Deputy Director of the National Clandestine Service (NCS). His name is ARCHIE WOODS (46).
He is being followed by three men wearing black suits and black
bolero hats.
Lionel gives Archie a nod. Archie nervously nods back. Lionel also watches the three men. Their faces are hidden by the hats. Lionel gives one of the men a double take.
Archie and the three men enter the lab. Lionel shrugs it off and enters a lounge.
INT. LOUNGE - NIGHT
Lionel grabs a cup of coffee from a cheap vending machine. He lifts the cup in the air and reads the printing underneath.
LIONEL
Well my good friend. You’re going
to have to settle for coffee from...
Maine?
Lionel lowers the cup and smells the steaming hot brew.
LIONEL (CONT’D)
Maine? Ridiculous.
A television set is sitting on one of the tables. The sound is off. Lionel looks over at the television and sees Dr. Abderazzi’s face. He’s being interviewed.
Lionel walks to the television and raises the volume.
ABDERAZZI (TELEVISION)
...the decreasing quantity of virtual
particles appear between the active
plates allowing for resonance frequencies
to form.
INTERVIEWER (TELEVISION)
Dr. Abderazzi. Most people don’t
understand what “Infinite Energy”
really means in accordance with their
every day lives. Does this mean a
cleaner source of unlimited energy for
our homes, cars and even space travel?
ABDERAZZI (TELEVISION)
It really depends on who you ask.
Some believe it can do everything.
Others believe it can never be
converted into a useful form. That’s
what we’re attempting to find out.
INTERVIEWER (TELEVISION)
Doctor. This project has had it’s
share of critics. There are religious
groups who believe that we’re moving
into areas of physical science that
we can’t possibly predict the outcome
for. And that this kind of ultimate
power can only lead to a decline
in our spiritual state of mind. How
would you respond to that?
INT. OBSERVATION ROOM - NIGHT
We see Abderazzi and assistants busy in the lab preparing for the countdown to begin.
ABDERAZZI (V.O.)
Nature exists and Man exists.
Somewhere there must be the wisdom
that tells us why and how. There has
to be a basic source from which all
Science and great religions have
sprung.
INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT
We slow zoom in on the intrinsic generator. A tiny spark of energy is forming.
ABDERAZZI (V.O.)
Knowledge and wisdom, were not meant
only for Gods.
INT. LOUNGE - NIGHT
LOUD ALARM.
LOUD SPEAKER VOICE
Warning! Intrinsic field generator
active! Sub atomic linear interface in
fifteen seconds!
The paper coffee cup falls to the floor. The hot coffee spills onto the floor. Lionel runs out of the kitchen.
INT. HALLWAY - NIGHT
Lionel runs to the lab door. A spiraling blue light above the lab door indicates the lab has now been magnetically sealed.
LOUD SPEAKER VOICE
ZPE interface in five, four, three,
two, one.
Lionel turns his head.
FLASH OF LIGHT.
LIONEL
God damn it.
INT. OBSERVATION ROOM - NIGHT
The sealed door to the observation room slowly opens. Lionel enters the room and walks to Abderazzi.
LIONEL
You couldn’t wait one more minute?
Abderazzi turns to Lionel.
ABDERAZZI
What are you talking about? We haven’t
even started yet.
Abderazzi turns back to what he was doing. Lionel turns and looks into the generator room. Dr. Galloway is still prepping the capacitors.
Lionel looks around the room to see where Archie and the three men in black are. They are not in the room. Lionel approaches an assistant.
LIONEL
Where are those three men who came
in with the Deputy Director?
ASSISTANT
I’m sorry Dr. Walker. I haven’t seen
the Deputy Director this morning.
Lionel turns away in thought.
INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT
Lionel enters the generator room. He walks to Dr. Galloway.
GALLOWAY
Cutting it kind of close wouldn’t
you say?
Lionel reaches for the stop watch in Galloway’s hand.
LIONEL
May I?
Dr. Galloway hands the stop watch over to Lionel.
GALLOWAY
It was my grand mother’s. Keeps
perfect time.
Lionel looks down at the watch. He looks over to his own watch. The stop watch is thirty seconds behind his watch.
GALLOWAY (CONT'D)
What is it?
Lionel just stares at Galloway.
LIONEL
I’m not sure.
GALLOWAY
Well come on. It’s time to make
history.
INT. OBSERVATION ROOM - NIGHT
Lionel and Galloway enter the observation room. They walk to Abderazzi. Everyone in the room stands watching the generator room.
Abderazzi turns to a console and places his right hand on a lever handle. Abderazzi looks up at Lionel.
ABDERAZZI
The Sea of Energy.
Lionel smiles and looks into the generator room. Abderazzi pulls the lever switch.
LOUD HUMMING.
INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT
The generator whirs and hums. A tremendous flash of light and then a bright circular glowing sphere hovers just over the capacitors.
The sphere crackles with sporadic energy.
INT. OBSERVATION ROOM - NIGHT
All the people in the observation room erupt with joy at the apparent success of the experiment.
Abderazzi, Galloway and Lionel all begin to shake hands with each other. Galloway turns to an assistant.
GALLOWAY
Is the field stable?!
The assistant turns to a monitor. She reads the available data.
ASSISTANT
Accelerated frequencies show no
degradation!
Lionel turns to Abderazzi.
LIONEL
You did it Abby. Zero point energy.
The world will never be the same
again.
Galloway pats them both on the back. Abderazzi places his right hand on Lionel’s arm.
ABDERAZZI
Let’s hope for the better. Let’s hope.
The energy field stays constant.
An assistant approaches Abderazzi, Lionel and Galloway. She
hands them three champagne glasses full of the bubbly. The three of them toast each other. The assistant removes a camera and snaps a photograph.
We pan over and slow zoom into the brilliant energy sphere.
CARD: Present Day
INT. MORRIS RAIL YARD, NEW JERSEY - NIGHT
The streets near the Morris Rail yard are seemingly quiet. A few pedestrians peer through the wire fence to the outgoing shipping trains.
EXT. DOOR TO RAIL YARD WAREHOUSE - NIGHT
The door is suddenly blasted apart as shotgun fire echoes through the warehouse. Several more shots of a different nature are also heard inside.
A masked man clumsily exits the destroyed door. He falls to the ground and struggles to look behind him. A bright flash of light and suddenly there is a figure standing in the doorway. The face is hidden.
The masked man struggles to his feet. Blood drips from a gunshot wound to his thigh. He does his best to make his way through some other room while still being followed by the figure.
The masked man pumps his shotgun and blasts at the figure. The figure gets hit by the incoming fire and drops to the floor.
The masked man waits for a moment. Then suddenly three more flashes of light and three more figures are standing there. They begin walking to him.
The masked man grimaces. He looks around and sees that he is cornered against a window and the walls. The masked man decides in a moment what to do.
CRASH.
The masked man throws himself out the window. He lands with a thud three stories below. The figures reach the broken window and look down at the masked man. He is still moving.
A black van with blacked out windows screeches into the rail yard. The van slides around the gravel entrance and skids to a halt in front of the wounded masked man.
Three people wearing black ski masks jump out of the van. One of the masked people looks at three figure approaching them. The masked person pulls out an UZI 9mm. The masked person pulls back the chamber loading the clip.
The other masked people help the wounded masked man into the van through the side panel door.
Three more figures appear walking towards the van.
MASKED MAN #1
Let's move!
Masked man #1 runs past masked man #2 holding the UZI to the van. Masked man #2 begins firing at the figures. Several shots impact against the figure's bodies. This time they don't fall.
MASKED MAN #2
I'm gonna need some help here!
Masked man #2 turns back to the van. Masked man #1 looks back.
MASKED MAN #1
Get your ass in here!
Masked man #2 turns back to the approaching figures. There are only two now. Masked man #2 hastily looks around for the third. Masked man #2 suddenly freezes.
Masked man #1 begins closing the side door to the van. Masked man #1 looks out at Masked man #2.
MASKED MAN #1 (CONT'D)
What are you doing! Come on!
Masked man #2 turns to the van. He slowly lifts the UZI. Masked man #1 sees this.
MASKED MAN #1 (CONT'D)
No! Don't!
Masked man #2 fires and kills Masked man #1. Masked man #1 falls out of the van onto the street.
Masked man #2 begins shaking. He tries to lower the UZI. He seems to be fighting something inside his head. He presses his left hand against his temple.
MASKED MAN #2
No! Get out! Get out of my head!
Another masked person looks out the side van. Masked man #2 puts the UZI to his head. He fires. Various bits of skull and brain matter spray the side of the van.
The van speeds off.
INT. VAN - NIGHT
The wounded masked man lies on the floor of the van as it swerves in and out of traffic. The wounded masked man looks up to the other masked men. Masked man #3 checks his wounds.
MASKED MAN #5
Did you find it? I hope it was worth
it.
WOUNDED MASKED MAN
What kind of question is that?
He reaches into his jacket and removes a package wrapped in brown paper. Masked man #5 takes the package. He begins to unwrap it.
MASKED MAN #4
Are you mad?! Put that thing away!
Masked man #4 takes the package.
WOUNDED MASKED MAN
We have to find him. Time is running
out... and we're already behind.
Masked man #3 leans in to the wounded masked man. Blood is seeping onto the floor of the van. The wounded masked man removes his mask. His eyes are going dead.
MASKED MAN #3
We have to get you to a hospital.
Wounded masked man shrugs him off. Wounded masked man grabs the hand of masked man #3.
WOUNDED MASKED MAN
Even if it means your life.
Masked man #4 places his hand on the wounded masked man’s chest.
MASKED MAN #4
You did everything you could. I’ll
take it from here.
LOUD EXPLOSION.
The van flips over and everyone inside gets thrown from side to side.
EXT. STREET - NIGHT
The van slides down the street on its side. The one side of the van has been blown off. The van comes to a stop and sits there burning.
Masked man #4 slowly crawls out of the burning van and stumbles to his feet. He looks around at the gathering people and notices that his mask is on fire.
POLICE SIRENS IN THE DISTANCE.
Masked man #4 rips off his mask and throws it on the street. We see that it is an older Dr. Galloway with a beard. He looks around and see several figures walking towards him.
LOUD EXPLOSION.
The van explodes again. Galloway runs to some bushes. He has the brown paper wrapped package in his hands. He turns and sees the Police arriving.
Two N.Y.P.D. police cars speed around a corner and enter the area. They approach the burning van.
INT. POLICE CRUISER - NIGHT
A view from behind the two officers in the one cruiser shows the van off to the right on fire. People can be seen running in various panicked directions.
LOUD EXPLOSION.
The van continues erupting as streams of fire reach into the air in search of more fuel.
OFFICER #1
Looks like a war broke out!
EXT. STREET - NIGHT
One of the figures stops walking. He turns to face the incoming Police cruisers. From behind the figure, we see him remove a pair of sunglasses from his face.
INT. POLICE CRUISER - NIGHT
The officer driving grabs the radio handset.
DRIVING OFFICER
This is 1L10! Shots fired at the corner
of...
We zoom in on the face of the other officer as the driving officer continues his radio call in the background.
The officer has a dumb look on his face. He calmly turns his head and looks at the driving officer.
The officer’s fingers trickle over the snap button keeping his service revolver in it’s holster. He slowly removes the weapon. He lifts it and points it at the driving officer.
DRIVING OFFICER (CONT'D)
What are you doing?! Wait!
GUNSHOT.
The driving officer’s head slumps over. His foot pushes down on the gas pedal accelerating the car.
EXT. STREET - NIGHT
Galloway watches from the bushes as one of the Police cars speeds directly off it’s path smashing into the other Police car.
The two officers in the other Police car look through the smashed windshield and see the officer with the gun. The officer with the gun begins firing into the windshield of the other Police car.
The other officer’s are dead. The officer with the gun points the gun at his temple.
GUNSHOT.
Galloway sees this and decides to run frantically down the street. He turns into another alleyway. Two more figures appear in front of him blocking his path.
GALLOWAY
Shit. Shit. Shit.
Galloway turns.
DEEP VOICE
It doesn't have to end this way.
Galloway stops and looks around.
More figures appear in the streets. Galloway takes a few steps back and then sees two other figures behind him.
The figures begin to close in on him. Galloway looks around and then runs to an old door along side the building next to them.
The door is locked.
The figures are closing in. Galloway kicks open the door and runs inside the building.
INT. BUILDING - NIGHT
Galloway begins running through the building looking for any cover. Then the lights come on. Everything is bright.
Galloway looks around. He is in a clothing manufacturing plant. There are several large machines around him.
He sees one figure. The figure is standing across from him. Galloway can't move. He struggles to run. He can't.
The figure approaches.
Galloway looks at the figure. The figure is wearing dark glasses. He's bald. The wrapped item from the van falls to the floor. The figure leans down and picks it up.
Galloway is still struggling. The figure removes his glasses and reveals his eyes. They are as small as peas and pitch black.
BALD MAN
Where were you going with this?
Galloway doesn't say a word.
The bald man unwraps the item in brown paper. It is a seven inch long crystal shard. It begins to glow blue. The bald man smiles and then looks up to Galloway.
BALD MAN
I imagine it serves no purpose to
bring you back. Though we are
grateful for your assistance.
Galloway is suspended in mid air with nothing apparently holding him up.
BALD MAN (CONT'D)
It seems you have one more useful
experiment to fulfill Dr. Galloway.
HIGH PITCHED HUMMING.
Dr. Galloway starts to shake. Blood pours out from his nose and ears.
DR. GALLOWAY
Ahhh!
Dr. Galloway begins to melt as he hangs in the air. The bald man turns around and sees the other figures standing around him.
They encircle the bald man and in one very bright flash of light. All the figures disappear.
INT. ARCHAEOLOGICAL MUSEUM, RABAT, KINGDOM OF MOROCCO - NIGHT
CARD: Kingdom of Morocco
The National Archaeological Museum is a dusty place with sand everywhere.
Mourad Abderazzi, now 68, is the director of the museum.
He is a heavy set man with his brow permanently etched with sweat. He sits at his desk smoking a cigar and reading some documents.
A clear cup, holding tea, sits beside a picture of his wife and three daughters. The moonlight filters through the wooden blinds of his office.
The mixture of cigar smoke and moonlight make for a peaceful setting.
CREAK!
The door to Abderazzi's office slowly opens. He looks up.
ABDERAZZI
Is someone there?
The door continues to open slowly until it finally stops, showing that nobody is there.
Abderazzi rises from his desk and walks over to the door. He closes it and walks back to his desk. He sits down and picks up his tea.
CREAK!
The door to his office slowly opens once again.
ABDERAZZI (CONT'D)
Hello? Is somebody there?
Abderazzi rises from his desk once again and walks over to his door. He pauses for a moment and looks down at the old fashion solid cast brass palmette door handle.
He notices that there is steam rising from the handle. He leans in and touches the door handle.
FISSSS!
The heat burns his fingers. He quickly pulls them back. Abderazzi walks out his office door to speak to his secretary Azza. She is not at her desk.
INT. SECRETARY DESK AREA, MUSEUM - NIGHT
The desk lamp is on.
ABDERAZZI
Azza? Azza?
Abderazzi walks around to see if he can find her anywhere.
RUNNING WATER.
Abderazzi walks down a hallway leading to the washroom.
INT. MUSEUM WASHROOM - NIGHT
He opens the door and notices the faucet running. He turns off the faucet and closes the door behind him.
INT. MUSEUM HALLWAY - NIGHT
He notices one of the doors leading to an adjacent storage room is open. He walks towards it and slowly opens the door.
INT. MUSEUM STORAGE ROOM - NIGHT
Abderazzi takes a few steps into the room.
ABDERAZZI
Azza? Are you in here?
He notices the silhouette of someone sitting in an antique swivel chair. He fumbles for the piece of string that enables the light switch that hangs from the ceiling.
ABDERAZZI (CONT'D)
Azza? Is that you?
The light bulb snaps to life. Abderazzi stands there waiting for an answer from whoever is in the chair.
The chair swivels around to reveal the bald man. He is wearing
thin pale blue sunglasses.
ABDERAZZI (CONT'D)
Where is Azza?
BALD MAN
She looked tired so I gave her
some time off.
Abderazzi fiddles with his hands. His palms are sweaty.
ABDERAZZI
Who are you? What are you doing in
here?
The bald man stands from the swivel chair and walks over to Abderazzi. He puts his white gloved hands onto his shoulders.
BALD MAN
That's a very good question.
Have you ever asked yourself
that?
The bald man walks around Abderazzi and walks over to one of the unopened crates that sits waiting in the area. Abderazzi turns his head to follow the bald man.
BALD MAN (CONT'D)
The Human Race. An entire civilization
determined to destroy itself.
The bald man places his gloved hands palm down on the crate. The bald man turns around and faces Abderazzi. Abderazzi is still standing in his spot.
BALD MAN (CONT'D)
With all this history around us. You
would think we’d know ourselves a
little better by now.
The bald man turns and walks up to Abderazzi.
BALD MAN(CONT'D)
Mankind has had it chances. We can
no longer be trusted to decide what’s
best.
Abderazzi takes a step back.
ABDERAZZI
I know who you are.
Abderazzi turns to walk out the door. An associate of the bald man appears in the doorway. Abderazzi stops before he gets to the door.
BALD MAN
My dear doctor. What you think you
know, is not the same as what you
thought you knew.
Abderazzi is surrounded by more associates. The bald man walks to him. He removes his glasses. We just see Abderazzi's reaction.
BALD MAN
I ran into an old friend of yours.
Actually. He ran into me.
Abderazzi looks around and begins breathing heavy. The inevitability of his situation is sinking in.
ABDERAZZI
You still don't have what you're
looking for. Or you wouldn't be here.
The bald man places his glasses back on his face.
BALD MAN
Tell me the name. I promise the next
world for you will be a better one.
Abderazzi stays stoic.
ABDERAZZI
I would rather die a free man. Than
live as a slave in your world.
The bald man walks away. Several associates move to Abderazzi. The bald man stops and turns to Abderazzi.
BALD MAN
There are worse things than dying.
Abderazzi looks down at his hands. He opens them palm up to the heavens.
ABDERAZZI
Ashadu anna Muhammadan rasoolullah.
Allahu Akbar, Allahu Akbar.
INT. LIMOUSINE - DAY
The bald man sits in the back of a limousine when there is a light knock on the window. The window moves downward. An associate leans down to the window.
ASSOCIATE
Racrehel.
The bald man leans back in the seat.
BALD MAN
At last.
The window moves upward and closes.
INT. ARCHAEOLOGICAL MUSEUM, RABAT, KINGDOM OF MOROCCO - NIGHT
Several flash light beams fight to pierce the thick dust in the air. Two men wearing gas masks enter the hallway.
Another man, much taller than the other two men, enter behind them.
TALL MAN
How far is the signal?
One of the men looks down at his scanning device.
MAN #1
It’s within fifteen meters.
TALL MAN
Bio readings?
MAN #1
If you can call it that. Minimal.
traces are barely registering.
TALL MAN
Spread out. If he’s in here. Find
him.
The other two men walk in different directions. The tall man walks towards the main office area. We see that the tall man is in his early forties and he has nice blue eyes.
INT. MAIN OFFICE AREA, ABDERAZZI’S OFFICE - NIGHT
The tall man enters Abderazzi’s office. He looks around. The area has been tossed.
The tall man reaches the back of Abderazzi’s desk.
CREAK.
The tall man turns and sees a door to an adjoining closet is ajar. The tall man sees a foot sticking out from the door.
TALL MAN
Jesus.
The tall man reaches the door and opens it. Abderazzi is lying on the floor. He has a slime covering his body and his physical features have begun to disappear.
TALL MAN (CONT'D)
Abby! Abby can you here me!
Abderazzi moves slightly to his left. His mouth opens and he tries to speak. The tall man leans in.
TALL MAN (CONT'D)
Abby. Who did this?
Abderazzi slowly lifts his hand in the air. He points to something.
TALL MAN (CONT'D)
What is it?
The other two men enter the office area. One of them kneels down beside Abderazzi and begins to analyze his condition with a portable imaging scanner. The man looks over at the tall man.
BEEPING IMAGING SCANNER.
MAN #2
Extensive cellular breakdown. If
we’re going to have any chance of
saving him. We have to get him out of
here right now.
Abderazzi continues to point at something.
TALL MAN
There has to be some way we can
stabilize him. What can we do?
Abderazzi begins flailing his arms all around.
MAN #2
He’s going into shock! Quickly! Open
his shirt!
Man #2 begins administering CPR. Abderazzi pushes them away.
TALL MAN
I thought you said he was in
shock?!
Abderazzi stretches out his arm and points to the desk.
ABDERAZZI
Racrehel!
The tall man and the two other men look up to the top of the desk.
Sitting on the desk is a WNN newspaper. On the page that’s opened is a picture of a woman. The header reads: WNN Celebrates One Of Their Own!
The tall man looks closer at the name beneath the picture. It reads: Rachel Cole, Peabody Award Winning Journalist.
The tall man looks back to Abderazzi. He’s dead. One of the other men turns up to the tall man.
MAN #2
What now sir?
The tall man continues to look at the picture of Rachel.
TALL MAN
We have to warn an old friend.
FADE TO:
INT. LABORATORY ROOM - NIGHT (DREAM SEQUENCE)
We enter a lab room. In the middle of the room is a hospital bed occupied by ten year old little girl.
The little girl is sitting up in a bed. Frequency electrodes are attached all over her head. She looks uncomfortable.
DEEP SOFT VOICE
How do you feel?
The little girl shifts her weight in the bed. She fidgets with one of the electrodes.
DEEP SOFT VOICE (CONT'D)
It will all be over soon. Remember what
we talked about?
The little girl nods her head.
DEEP SOFT VOICE (CONT'D)
Good girl.
DEEP HUMMING SOUND.
The little girl’s hands tightly clench the side of the bed.
DEEP SOFT VOICE (CONT'D)
It will only hurt if you fight it.
LOUD RUMBLING.
A massive shock wave of sonic pressure hits the room and everything starts shaking.
An electrical charge shoots through the little girl. She falls back into the bed in pain. She grasps for anything to hold.
The little girl springs back up into a seated position and places both hands on her temples. She starts to shake uncontrollably.
LITTLE GIRL
No! No! It hurts!
SNAP CUT TO:
INT. BEDROOM - DAY
RACHEL COLE (30), attractive, snaps awake. Another person stirs beside her. He is ANDREW ROSS (33), attractive.
ANDREW (SOFTLY)
Bad dreams again?
RACHEL
Only when I sleep.
She turns away from Andrew and looks over at the digital clock on the side table. It reads: 8:17 am
RACHEL (CONT'D)
Shit. Come on sleeping beauty. We
got to go.
Andrew reaches out and grabs her by the waist and prevents her from leaving the bed.
ANDREW
Was it your mother again?
(BEAT)
RACHEL
I can't remember.
ANDREW
You never were a very good liar.
RACHEL
No reason for me to play on your
side of the tracks.
ANDREW
Ouch. You’re starting early this
morning.
She grabs his arm and pulls it around her body. Andrew inhales the scent from her hair.
RACHEL
I’m sorry. It’s not you. I haven’t
slept very well these last few
months.
ANDREW
Maybe you should talk to someone.
RACHEL
That’s why I have you.
ANDREW
I’m flattered you think my psycho
analytical prowess is so adept.
I mean someone who...
Rachel places her hands on Andrews face.
RACHEL
I know what you mean.
(BEAT)
ANDREW
The Mayans believed that nightmares
were memories from our past trying
to warn us.
RACHEL
Really? How would we know?
ANDREW
You would have to be trained in
recognizing the signs I suppose.
Rachel giggles.
ANDREW (CONT'D)
What’s so funny?
RACHEL
And here I thought you were only
good for one thing.
Andrew tickles Rachel under the covers. She squirms.
ANDREW
I’ll show you one thing.
The two of them play fight for a moment.
RACHEL
Alright! Alright!
Andrew ceases.
ANDREW
Come on. We'll go to that cute
little deli around the corner and
grab some of those bagels you like
so much.
RACHEL
I can't this morning. There's
something I have to do first before
I go in.
ANDREW
I’ll come with you.
Rachel smiles and then she kisses him.
RACHEL
You're sweet. I’m a big girl.
ANDREW
So I’ve noticed.
Rachel slips out from under the covers and walks to the closet. She grabs a towel and walks across the room towards the washroom.
Andrew looks over at the table beside the bed. There is an old vintage crystal lamp, a remote control for the television and a George Foster Peabody Award.
He grabs the award and looks at it’s face.
ANDREW
He looks like Colonel Sanders.
Rachel pokes her head out from the washroom.
RACHEL
Not bad for a grade seven
education.
ANDREW
Yea. You’ve come a long way.
RACHEL
Not me you jerk. Colonel Sanders.
Andrew smiles and places the award back on the table. He then takes the remote control and flicks on the television. He flips channels until he reaches W.N.N. News.
ANDREW
Oh look. It’s the happy channel.
A slight giggle can be heard from the washroom.
TELEVISION
World Network News. Your twenty-four
hour news source. Bringing you
all the days events. In real time.
Disturbing new data released by the
World Health Organization shows an
alarming rise in the global suicide
rate. Every year one million people,
or 1.5% of the planet's human
population, commit suicide. In the
last six months alone. Three and a
half million people have taken their
own lives around the world. Experts
also tell W.N.N. that this number
could be much higher due to the
undetermined suicides occurring in
third world countries.
ANDREW (TO HIMSELF)
Their getting out while it’s still
good.
Rachel pokes her head out from the washroom.
RACHEL
Did you say something?
ANDREW
Not important.
Rachel pulls her head back in.
SHOWER WATER RUNNING.
Andrew lies in bed thinking to himself.
EXT. TRINITY CHURCH CEMETERY - DAY
The sunlight barely cracks its way through the thick cloud cover of the mid afternoon day.
Rachel walks through the Trinity Church cemetery and eventually stops at a grave stone marked: "In loving Memory, Monica Woods, 1949 - 1990"
Rachel places some flowers on her mothers' grave stone and sits there for a few moments. She ponders.
EXT. SIDEWALK OUTSIDE CEMETERY - DAY
An unidentified man (40's), in a cream colored trench coat watches Rachel from the sidewalk. He is wearing a black hat as well.
INT. WNN NEWS CENTER, NEW YORK CITY - DAY
The WNN News Center is bustling with reporters and other people
trying to get their work done.
Rachel walks into the main newsroom. She walks by her boss's office door. His name is WALTER MICHAELS (53). Walter has been the President of WNN News for fourteen years.
WALTER
Spark! I still don't have
all your sources for "Highwater".
Rachel stops at Walter's door. His desk is a colossal mess.
RACHEL
I put them on your desk last
week Walter. Don't you
remember? And when are you
going to stop calling me
that?
Walter gives her a smirk. Rachel smirks right back.
WALTER
Nobody likes a smart ass. Just
because you knocked one out of
the park your first time up
doesn't mean you forget where you
came from.
A female assistant walks in between Rachel and Walter as they walk and talk. The assistant quietly congratulates Rachel on her award.
Rachel looks back to Walter.
RACHEL
You mean the mail room. When
I was getting your coffee?
Walter catches up to her.
WALTER
And what great coffee it was.
Rachel continues walking.
RACHEL
Something will come up. It always
does.
Walter catches up to Rachel and stops her.
WALTER
I’ve got just the thing.
His look is serious.
WALTER (CONT'D)
It would be a pleasant change
of pace to actually have you on
board with the rest of us.
She gives him a smile. She continues walking.
RACHEL
Is this is about the Mayor
getting caught with the hooker
who turned out to be a D.E.A.
undercover. I'll pass thank-you.
Walter catches up to her at the coffee bar.
WALTER
No hookers. I promise. Well,
not for you anyway.
Rachel smiles. Walter holds up his left hand with the three fingered Scout's honor salute.
RACHEL
It's the other hand Walter.
Walter looks at his right hand.
RACHEL (CONT'D)
You're no boy scout.
Rachel playfully walks away from Walter as he lowers his left hand.
INT. RACHEL'S OFFICE, WNN NEWS - DAY
Rachel enters her office and walks to her desk. She places the file folder on her desk and proceeds to rustle through other papers.
KNOCKING.
Andrew walks into the office.
ANDREW
Did you hear the big news?
Rachel looks up at Andrew.
RACHEL
If this is about the Mayor, spare
me the lurid details. I'll pick
up what I miss from TMZ.
Andrew flops himself down on one of the chairs.
ANDREW
Not quite but you do have to ask
yourself. Did he find out before or
after?
Rachel continues with what she's doing.
ANDREW (CONT'D)
I'll take that as a "no."
Rachel looks at Andrew.
RACHEL
What are you talking about?
ANDREW
The footage. From the rail yard
massacre a couple of nights ago.
Don't tell me you haven't heard.
Rachel shakes her head. Andrew springs up from the chair and pulls down the shade blind to the office window.
Rachel steps up to see several plasma monitors in the newsroom are all showing security camera footage of a person in the New Jersey rail yard.
The person is suspended in mid air apparently being strangled. The security camera shows that nobody is in the room besides the person. (Dr. Galloway)
ANDREW (CONT'D)
Nine people murdered. Cars
blowing up in the streets. And
this poor fellow. When they
found him, he was nothing but
a big blob of jelly. Couldn't
even tell he was human.
RACHEL
It's a joke.
Andrew shakes his head.
ANDREW
Apparently not. This was posted on
Youtube fifteen minutes ago.
Andrew holds out his Blackberry. He plays a viral video for her. The video shows Dr. Galloway in a nervous state. He’s talking directly into the camera while looking behind him for something.
GALLOWAY (VIDEO)
This won’t be easy to understand.
For most of you out there...
we’re just a terrorist group.
But the time has come for the
world to wake up. The time has
come for us to take back out right
of “will”.
Galloway looks behind him once again. A woman comes up behind him.
WOMAN (VIDEO)
We have to go now!
LOUD BANGING IN THE BACKGROUND.
GALLOWAY (VIDEO)
I have to finish it!
Galloway returns to the camera.
GALLOWAY (VIDEO)(CONT”D)
Our hope... is that the people of
this world come to realize once
and for all. The time is now.
Take back what’s yours.
SEVERAL SHOTGUN BLASTs IN THE BACKGROUND OF VIDEO.
The video shows chaos and then goes dark.
RACHEL
Jesus. What do you think they’re
talking about?
ANDREW
If I knew that. I would be sitting
in Michael's office where all the
secrets of the world go to die.
Rachel grins and nods her heads like she's listening.
RACHEL
Anybody know who he is?
ANDREW
I dunno. Some crazy scientist.
KNOCKING.
Rachel sighs. She looks up to the door once again. Her assistant Missy enters the office. Missy is carrying a large yellow envelope. She places the envelope in Rachel's hand.
RACHEL
What's this?
MISSY
Your mail. Just arrived.
Rachel grabs a letter opener from the desk drawer and slices open the envelope. Rachel looks back to Missy.
RACHEL
Anything else?
MISSY
Mr. Michaels asked to see you in
his office.
Rachel sighs.
RACHEL
I swear he's like a little boy
sometimes. Thank-you Missy.
Rachel opens the envelope and tilts the open end down. An old photograph falls out along with a small piece of note paper.
Rachel looks at the photo. The photo is of her as a little girl along with two adults. Andrew peeks in.
ANDREW
Who are they?
Rachel places the photo face down on her desk.
RACHEL
Nobody.
Rachel flips the note paper over. It reads: "A light in dark places."
Andrew touches Rachel on the arm. She snaps back to reality.
ANDREW
Hey. You o.k.?
RACHEL
Yea. Why?
Rachel rises from the chair and begins to gather some files and other such items. She smirks and walks past Andrew into the hallway.
ANDREW
Hey?
Andrew follows her.
INT. HALLWAY, WNN NEWS - DAY
Rachel and Andrew walk down the hallway past numerous computers and various people about in their varied tasks.
ANDREW
I found a cozy little Spanish
restaurant, candle light dinner,
serenading guitar player, the
works. Interested?
Rachel continues down the hall without looking at Andrew.
RACHEL
No can do. Walter has me pulling
double duty.
ANDREW
Fill me in.
Rachel stops and looks at Andrew.
RACHEL
I can't fill you in because I
haven't even looked at the
file yet. Ergo, no dinner tonight.
Rachel brings her hands up to his cheek.
RACHEL (CONT'D)
Not even a cozy little Spanish
restaurant with a serenading
guitar player. As wonderful as
they may sound.
Rachel walks away glancing behind her. She smiles.
RACHEL (CONT'D)
Another time. Another place.
Andrew watches her for a moment and then turns to walk the other way.
INT. WALTER'S OFFICE - DAY
Rachel enters the office and notices right away that the President of WNN News is present. WELLINGTON ANDERSON III, (61).
Walter is sitting at his desk. His look is somewhat serious. Rachel walks to a chair across from Walter and sits.
RACHEL
Don't tell me. The Mets lost again.
Wellington closes the door to the office. He then walks to the end of Walter's desk and sits on the edge of it.
WELLINGTON
Miss Cole. Are you feeling alright?
RACHEL
What are you talking about?
Wellington walks to the door while Walter leans into Rachel. Walter places some black and white photos on the desk.
Rachel looks at the photos. They are of her kneeling at the cemetery crying at her mother's grave.
WALTER
It's been twenty years Spark.
You've got to let it go.
Wellington steps up.
WELLINGTON
Miss Cole. We are not in the habit
of interfering with our employees
personal lives but this...unstable
behavior quite frankly has me
concerned.
Walter looks at Wellington.
WELLINGTON (CONT'D)
Walter doesn't share my feelings
on this but time will tell.
Walter walks up to Rachel.
WALTER
You just returned from a difficult
assignment. Take a few days. Go
shopping. Go get your nails
done. Go do what women your age do.
RACHEL
My age? Walter. I'm fine. Can we
move on?
Wellington looks at Walter for a moment and then leaves the office. Satisfied for the moment. Rachel turns to leave as well.
WALTER
Forgetting something?
Rachel stops and turns back to Walter. He's holding a file folder in his right hand.
RACHEL
What's this?
Rachel opens the file and briefly peeks inside.
WALTER
Background.
RACHEL
On what?
WALTER
Who. Some famous scientists are
showing up dead. One just last
night. Car accident or something.
Looks fishy. Got an anonymous
tip early this morning. I don't
like anonymous tips. You know
why. It means someone out there
knows a hell of a lot more than
we do. That makes me nervous.
RACHEL
What's his name?
Walter begins walking to his office.
WALTER
I don't know. "Azz... Aber",
something like that.
RACHEL
You mean Abderazzi? Dr.
Abderazzi?
Walter stops walking. He turns to Rachel.
WALTER
Yea. How'd you know that?
RACHEL
Walter. One of these days you
really have to read something
other than the “Hunter’s Almanac”.
Walter points his pen at her.
WALTER
Look around you. I get all the
bad news I need.
Walter lowers his glasses to make sure she knows the seriousness of this.
WALTER (CONT”D)
Listen to me Spark. This "Azzy"
guy and his buddies were big
news. Two of them are now dead
within twenty-four hours of each
other. It just so happens that
the one remaining live one lives
here in the Big Apple. He's
giving a lecture at the Giuliani
Hall tonight.
Walter looks down at some notes.
WALTER (CONT'D)
Dr... Walker. A real life wonder
kid. He was on the President’s
Science Advisory Board at the age
of twenty-three. This guy's got
more PhD's than God. Think you can
handle it?
Rachel pulls out an old newspaper clipping from the file folder. The clipping has a picture of several scientists including Dr. Abderazzi and Dr. Lionel Walker.
They are gathered around a glowing object mechanism of some kind with champagne glasses in their hands. The paper's headline reads: "TRIUMPH!
Rachel looks up at Walter and gives him an evil eye.
RACHEL
You had someone spying on me?
Following me?
Walter gives her the sad eyes.
WALTER
Of course not. Those arrived
about the same time as the
mystery tip on Abernathy.
RACHEL
Abderazzi.
Walter waves off the correction.
WALTER
Don’t interrupt me.
Rachel grins. Walter holds Rachel by the arms with a warm fatherly security.
WALTER (CONT'D)
Just because you're not being
shot at. Doesn't mean it ain't
news.
She smirks from the side of her lips.
RACHEL
Those eyes.
Walter waves her away.
WALTER
Go on. Get outta here.
Rachel walks confidently out of the office.
WALTER (CONT'D)
And take that camera guy,
whatever his name is, with you!
Rachel waves good-bye.
WALTER (CONT'D)
(under his breath)
It's about time he did something.
INT. GIULIANI HALL - DAY
We enter the Giuliani Lecture Hall. A floor marquee shows a picture of Dr. Lionel Walker. The marquee header reads: “Ancient Wisdom and Sacred Science”.
The hall itself has two hundred and fifty seats that are filled to capacity. Along the back wall and down the side of the hall, are also lined with students eager to hear the speaker.
Dr. Lionel Walker walks to the podium. He is a world renowned physicist with a PhD in anthropology, as well as many other fields of study. He is addressing the crowd that has gathered.
LIONEL
Anthropology in definition,
seeks to improve the human
condition through knowledge
of the past and through an
understanding of it's origin.
We see faces of students as they attempt to understand the proceedings. A projection screen behind Dr. Walker shows various pictures of ancient cultures from places all around the world.
LIONEL(CONT'D)
In order to do this we must also
bare witness to the study of
“cycles” in physical and
cultural aspects that seem to
only separate the tribes of
Man. Language, religion, the
comparative study of social
phenomena. We has become so
focused on the culture of
materialism that little can now
be known through just the study
of natural sciences.
Lionel takes a sip from a glass of water that sits on a small table beside him. Historical paintings of an ancient race of people long ago appear on the large screen behind him.
LIONEL (CONT’D)
Thus, we see in our history, the
ebb and flow of human progress.
After reaching greatness all the
kingdoms of the world descend
once again in accordance with the
same laws from which they ascended.
High priests standing on top of great worship temples holding large multi-colored crystals. They are channeling the forces of nature.
LIONEL (CONT'D)
For millions of years the Earth
has been witness to the great
cosmic dance. Comets, consisting
of elements that will forever
be unknown to our Science, are
constantly passing through our
solar system leaving traces of
our creation behind.
Other pictures and scenes of people using natural forces to enlighten themselves spiritually and physically. Ancient Hieroglyphics of levitation, teleportation etc.
LIONEL (CONT'D)
Plato believed an ancient race
of people who lived on Earth a
hundred thousand years ago,
discovered the almost magical
properties of crystalline stones.
What was once a primitive and
fragile society. Quickly became
a highly gifted and motivated
superpower of the ancient world.
Lionel looks to his left and notices a man in a black suit is standing along the back wall. He is definitely out of place. Lionel lets out a slight cough and continues.
LIONEL (CONT'D)
Compared to ancient societies,
"Modern man" is now a sophisticated
being in many ways. But
unlike our ancient counterparts.
We are still pretty much in the
dark when it comes to matters
of our own existence. Where do we
come from? What is our purpose
here? These are the age-old
questions that Science has yet
to answer. And because of this,
the majority of the world's
population consider their faith
to be a more levied factor
in their understandings.
A female student raises her hand to ask a question. An old professor along the side wall steps up.
PROFESSOR
Due to time restrictions. Dr. Walker
is unable to answer any questions.
Lionel holds up his hand to the professor.
LIONEL
It's quite alright. What's your name?
The student rises from her seat.
STUDENT
Danielle Forbes.
LIONEL
What's your interest Miss Forbes?
Danielle looks around at the other students. Rachel appears through the doorway. She quietly enters the hall.
DANIELLE
Isn't it true that Religion has
provided more explanations for
Man's philosophies over the years?
The lecture hall goes quiet. Lionel lets out a slight cough. Rachel watches Lionel. Lionel notices the man in the black suit is gone. Lionel continues.
LIONEL
Investigations formed out of Faith
and sometimes even meditation
have had profound results. The
assertion of a universe formed
from an intelligent direct
process cannot be proven
scientifically.
DANIELLE
What about supernatural
intervention?
Rachel is intrigued with Lionel.
LIONEL
What about it?
DANIELLE
Don't you think people need
something more?
LIONEL
Metaphorical realism has no
place in modern science Miss
Forbes. Galileo made no
statements. He relied solely
on experimental evidence.
The older professor standing along the wall moves forward.
PROFESSOR
Alright. Thank you Miss Forbes.
I think we...
DANIELLE
What about “The Secret Doctrine”?
Students and faculty become ever uncomfortable with the questioning. Lionel just looks at Danielle.
DANIELLE (CONT’D)
These ancient records are known
to substantiate the claims of a
Fifth Root Race that existed
separately from Atlantis and
evolved through Karmic Law.
Lionel smirks.
LIONEL
“The Secret Doctrine” are occult
theories and hypothetical half
truths.
DANIELLE
That may be doctor but I...
LIONEL
I’m not sure I hear a question?
(BEAT)
DANIELLE
Is "Science" going to take us
through the next phase of our
evolution?
LIONEL
What makes you think we're still
evolving?
The audience is deafly quiet.
DANIELLE
Well I just...
LIONEL
You’re assuming as much. Man has
never had a problem envisioning a
perfect world he would be
unqualified to occupy.
PROFESSOR
Alright Miss Forbes. In the future,
your grades might benefit from
such tenacity.
Danielle Forbes sits back in her seat.
LIONEL
When I was attending Dr.
Kimball's Biological Theories
class at Harvard. I was
constantly reminded of one very
important term. "Anomaly." You
would be wise to study it's
true meaning ... and never forget
it.
The old professor turns to Lionel. He steps away from the center podium and begins pacing across the stage.
LIONEL (CONT'D)
It stands as a reminder to me
the extremely delicate nature of
what we are. We have thrived on
this planet based on one
single capability. Conceptual
mechanization. Without it. We
don't have language, social
organizations or simple tools
for that matter. All to which
have allowed human beings to
dominate this world. Some would
call it "hubris". Others, "fate".
Unfortunately the last uncharted
frontier for "Man", is the one
he's least prepared for.
VOICE FROM THE CROWD
What's that?
People all around look to see who said it. They all look at Rachel.
Lionel takes his right index finger and taps the temple of his forehead. Indicating that it all resides upstairs. In your mind.
EXT. PARKING LOT, GIULIANI LECTURE HALL - DAY
Lionel approaches his Saab sedan. He reaches for his keys and pushes one of them into the door's key lock.
He notices a parking ticket on his windshield and grabs it.
FEMALE VOICE
That felt a little like the
Spanish Inquisition.
Lionel turns around to see Rachel. He opens the door and places his briefcase inside on the passenger seat. He puts the ticket in his pocket.
LIONEL
Unfortunately the answers never
satisfy the question.
Rachel smirks.
RACHEL
I'm Rachel Cole. WNN.
Lionel looks at her once again. They shake hands. Rachel notices a silver ring on Lionel's left thumb.
LIONEL
You were with Nkunda's militia in
Congo. I read your work.
"The People's Army" wasn't it?
RACHEL
He liked to think they were.
In the end the Nationals made
quick work of them I’m afraid.
LIONEL
You’re fairly young to be on
the frontlines. None the less.
Good work.
Rachel grins sarcastically. Lionel turns to enter the car.
RACHEL
So now that we know you're such
a big fan of my work. How does
one go from such a landmark
career in Physics to discussing...
what is it again?
Rachel looks down at a flyer that promoted the evenings lecture.
RACHEL (CONT'D)
“Ancient Wisdom and Sacred Science.”
Pretty deep stuff.
Lionel turns to Rachel and detects a slight antagonistic tone to her question.
LIONEL
I find the past is often more
intriguing than the future.
RACHEL
I'm not so sure your former
employers would agree with you.
LIONEL
They didn’t have to stand in a
room day after day talking to
people who look exactly like you
do now.
RACHEL
I’m not sure I understand what
you mean.
Lionel stops and turns to Rachel.
LIONEL
Exactly.
Rachel pauses for a moment.
RACHEL
Sneaky.
LIONEL
I have my moments.
RACHEL
Is this one of them?
Rachel pulls out a note pad and a pen. Lionel notices this.
LIONEL
I’m afraid I’m not very quotable.
RACHEL
How about a comment then?
LIONEL
On what?
RACHEL
Two of your former colleagues are
dead. One just last night.
Lionel pauses for a moment. Rachel notices his discomfort.
RACHEL (CONT'D)
I’m sorry. I thought you knew.
LIONEL
I do now. Good evening Miss Cole.
Lionel closes the door. Rachel takes a step back. The car drives off.
RACHEL
Shit.
A WNN news van pulls up along side Rachel. Andrew is driving.
ANDREW
Was that him?
Rachel nods her head.
ANDREW (CONT'D)
What now?
RACHEL
You stick with him. I’m going
back to the office for something.
ANDREW
Stick with him? You mean follow?
From, like a distance?
Rachel pats Andrew's shoulder.
RACHEL
A little knowledge is a dangerous
thing. I'll call you in an hour.
Andrew sighs and then steps on the gas. The van speeds out of the parking area after Lionel has left onto the street. Rachel turns to her car.
EXT. DEAD END CITY STREET - DAY
A doorway opens in the side of a building. A line of shadowy figures walk out wearing long trench coats and sun glasses. They are all wearing Bolero hats.
A Rolls Royce limousine arrives and pulls up beside the figures.
One of the figures opens the back door and another figure enters the back seat. The door closes behind him.
INT. ROLLS ROYCE -DAY
The shadowy figure sits quietly. He looks over at the person next to him. It's the bald man. The figure sits patiently.
DEEP VOICE
Did you find the desert cold?
The bald man waits patiently.
DEEP VOICE (CONT'D)
It's always cold here at night.
BALD MAN
I think it would be prudent to
postpone our plans. For the time
being.
DEEP VOICE
Postponement was not in our plans.
BALD MAN
It's Racrehel.
DEEP VOICE
Here? In the city?
The bald man hands the figure a set of photographs. The same photographs that Walter was showing Rachel. They are of Rachel at her mother's grave.
BALD MAN
Her name is Rachel Cole. She's a
reporter with WNN.
The figure looks at the photos of Rachel.
DEEP VOICE
Ah yes. The award winner. I have
waited countless generations for
her return.
BALD MAN
I'll make contact.
DEEP VOICE
No.
BALD MAN
My lord. Only one stone remains
to be found. She should be
prepared for her duty once it is.
DEEP VOICE
A mind without instruction can no
more bear fruit than can a field
that lacks fertility. They will
understand that our way... is
the only way. And she will lead
us all.
The figure turns his head to the bald man. He hands the bald man a folded newspaper.
DEEP VOICE (CONT’D)
I see one of your old friends has
come out of hiding.
The bald man looks down at the paper and sees a picture of Dr. Lionel Walker.
BALD MAN
He’ll regret that decision.
The figure turns to the bald man. We can barely make out his facial features. The figure is very old and his skin is a pale blue.
DEEP VOICE
He is formidable. Do not
underestimate him.
The door to the Rolls Royce opens and the figure steps out. He blocks himself from the bright sunlight.
The bald man has a nervous look on his face. He picks the paper up from the seat and stares at the face of Dr. Walker.
INT. WNN NEWSROOM - NIGHT
Rachel enters the newsroom and is walking to her office past the lines of desks filled with monitors. Walter flags down Rachel as she walks by.
INT. WALTER'S OFFICE - NIGHT
Rachel peeks her head in the door.
RACHEL
Don't have a lot of time Walter.
I'm working on...
WALTER
Forget it. I've got something
else for you.
Rachel now straightens up and enters the office.
RACHEL
What do you mean something else?
I’m just starting to get hot on
this.
Walter slams down his pen.
WALTER
I know what I did God damn it!
Now I'm telling you to let it go.
It's a dead end. Leave it alone.
Rachel walks to Walter.
RACHEL
Did something happen?
Walter looks up at her apologetically.
WALTER
Can't you just do what you're
told? And trust that some of us
are looking out for you.
Rachel looks at Walter's demeanor. She squats down to look him in the eye.
RACHEL
What is it?
Rachel walks to the door. Missy knocks on the door.
MISSY
Mr. Michaels.
Walter looks over at Missy. She holds up two fingers.
MISSY (CONT'D)
Line two.
WALTER
Take a message. I'm busy.
Missy doesn't move.
MISSY
It's...Charles Cavannaugh?
The room goes quiet. Walter gets decidedly more nervous.
RACHEL
Who's Charles Cavannaugh?
WALTER
Quiet.
Walter picks up the receiver.
WALTER (INTO PHONE)
Yes this is Walter Michaels, with
whom am I speaking?
Walter's face goes serious.
WALTER (INTO PHONE)(CONT'D)
I see.
Walter hangs up the phone. He looks up at Rachel.
WALTER (CONT'D)
Somebody wants to meet you.
Rachel looks confused.
INT. CONFERENCE ROOM, WNN NEWS - NIGHT
A man wearing a black bolero hat is sitting at the head of the long conference table. His pale blue sunglasses are still on.
The dim light from the desk lamps only partially allows him to be seen. Rachel approaches the table. He rises to greet her.
BALD MAN
Rachel W. Cole.
RACHEL
Yes.
BALD MAN
So glad you could join me. Please
have a seat.
Rachel stands defiantly. The bald man smiles at her.
BALD MAN (CONT'D)
I must warn you...I have a
reputation for being long winded.
Rachel sits on the edge of her chair looking around.
The man removes one of his gloves. His hands are pale blue. His finger nails are a darker shade of blue. There is a strange silver ring on his thumb.
BALD MAN (CONT'D)
I'm looking for your father.
The man looks up at Rachel.
RACHEL
My father? My father's dead.
BALD MAN
What year was that?
RACHEL
I’m sorry. Who are you again?
The bald man stares down Rachel.
BALD MAN
Fortudine vincimus.
Rachel raises an eyebrow.
RACHEL
Excuse me?
BALD MAN
It's Latin, "by sheer will and
endurance we will conquer." Do
you know what I'm referring to?
Rachel stays quiet.
BALD MAN(CONT'D)
For the longest time Man has been
living for nothing. No new
understanding of the universe or
his purpose in it.
The bald man places his glove back onto his hand. He places his hands on the table and touches the fingertips together.
BALD MAN (CONT'D)
I knew your father very well. He
took something very special.
Something a human being was never
allowed to see.
Rachel slowly looks around the room.
BALD MAN(CONT'D)
Now we need it back.
Rachel's expression is blank.
RACHEL
I don't know what you're talking
about. And if you knew my father
so well, then you must also know
that he never shared his work
with anyone. Including his family.
The bald man stares down Rachel. Rachel stays quiet. He places a clear holographic government business card on the table.
BALD MAN
I will be in town for a few
days. I'm sure you'll make the
right choice. When the time is
right.
Rachel reaches for the card and looks it over. The card has just three letters on the face with a holographic number on the back. The letters are: NCS
RACHEL
Listen. I'm not sure who or
even what you are, but my
parents died a long time ago
when I was a little girl.
The bald man rises from the chair. He walks to Rachel and touches her shoulder.
BALD MAN
You're still a little girl.
He walks out of the office and closes the door behind him.
RACHEL
Wait a second.
Rachel opens the door and bolts into the hallway. The hallway is empty. She looks around for a moment.
INT. RACHEL'S OFFICE - NIGHT
Rachel enters her office and flops down some papers and assorted files onto her desk. She sighs a frustrating sigh and ponders for a moment.
She grabs the remote control for a television that hangs from the ceiling in the corner.
Rachel turns the television on and sits down on a leather couch along the side wall. She reaches for the file folder with the photograph from her desk.
She opens one folder and looks down at the photo. She pauses for a moment.
INT. HOSPITAL ROOM - NIGHT (FLASHBACK)
We enter a hospital room. Get well cards and toys completely fill the room as we slowly pass by young Rachel lying in the bed.
INT. HOSPITAL HALLWAY - DAY
We slowly go down the hallway to where two people, Archie and his wife, Monica (41), are pacing back and forth.
A Neurologist, Dr. SAMUEL DIAMOND (41), approaches the two worried parents.
DR. DIAMOND
How are we doing?
Archie looks up at the doctor.
ARCHIE
All things considered. We're
hanging in there.
Monica approaches the doctor. The doctor motions for them to have a seat. They follow him to a set of chairs. The two parents look terrified.
DIAMOND
We've concluded our first
round of blood tests and we are
happy to say that there looks to
be no infection. There is a
slight inflammation in her spinal
fluid but again, no signs of
infection.
Monica grabs the hand of her husband. Archie squeezes her hand tightly.
ARCHIE
Why do I feel a "but" coming on?
The doctor looks them both in the eyes.
DIAMOND
There is still strong evidence
of autoimmune abnormality.
Archie holds up his hand to halt the doctor.
ARCHIE
Doctor please.
It's obvious the Dr. Diamond is struggling with this.
DIAMOND
Her epilepsy has progressed far
more rapidly than expected.
At this point we can’t even
guess at what’s causing these
seizures. It’s all happening too
fast.
Monica drops her head and begins sobbing. Archie looks at the doctor.
ARCHIE
What does that mean?
DIAMOND
We would like to keep her here
for more tests.
Monica stands defiantly.
MONICA
No! No more tests. We'll take her
somewhere else. To Europe.
Dr. Diamond sighs. His shoulders drop.
DIAMOND
I feel I must tell you, it's
more than likely Rachel's
condition will only worsen. I
wish we could do more.
ARCHIE
Thank you doctor.
The doctor rises from his chair. Archie rises with him. The two shake hands. The doctor leaves. Monica sobs.
INT. BEDROOM - DAY
Ten year old Rachel sits in her bed reading a rather large book. The book's cover shows that it is a picture book of Ancient Worlds and Kingdoms.
Scattered about her room are posters of unicorns, magical kingdoms made of crystal and wonderful fantasy art.
Rachel has a television in her room that is constantly playing animated fantasy movies. Beside Rachel's' bed is a beautiful lamp with small prism crystals hanging from the lamp shade.
On top of her dresser is a flat, wide wooden box with a glass
cover. Inside the wooden box is a substantial rock collection.
Various smooth stones and peculiar shaped healing crystals are aligned and labeled.
EXT. FRONT YARD - DAY
The front yard of the Woods residence is very well kept with obvious attention being given to the flowering and pottery.
The front yard is segregated by a very quaint white picket fence. The cement path that begins with the front steps leads down through the yard and stops at the foot of the sidewalk where a gate allows access.
A man opens the gate. We hear a distinct creaking with the expansion of the metal spring that forces the gate closed once it's been opened.
The man walking through the gate is the mail man. He carries a large mail bag as we follow him to the door.
EXT. FRONT DOOR - DAY
The man reaches the front door and opens the mail box.
INT. RACHEL'S BEDROOM - DAY
Rachel unwraps the blanket from her legs and crawls off the bed. She slides her feet inside two slippers and opens the door to her bedroom.
EXT. FRONT DOOR - DAY
The mail man is placing mail in the "Woods" mailbox when the front door slowly opens revealing young Rachel. She peers out past the metal screen door.
RACHEL
Hello.
The mail man closes the mail box lid.
MAIL MAN
Well look at you. Feeling better
today are we?
Rachel smiles and looks at the mail box.
MAIL MAN (CONT'D)
I'm afraid there's nothing in
there for you. Maybe tomorrow.
The mail man turns and leaves. Rachel begins to close the door when she sees several other children playing outside. One of them is a little boy. The little boy stops and notices Rachel in the doorway.
LITTLE BOY (ARM MOTION)
Come on Rachel.
Rachel smiles at him. Monica arrives at the door and looks out at the little boy. She looks down to Rachel.
MONICA
Some day soon honey. I promise.
The door closes with the reflection of the little boy in the door's glass.
INT. RACHEL’S OFFICE - DAY
KNOCKING.
Rachel awakens from her day dream. The door to her office opens. Missy pokes her head in.
MISSY
Andrew’s on three.
Rachel places the picture in the envelope and back on the desk. She moves to her desk and grabs the phone.
RACHEL
Yes?
ANDREW (PHONE)
When you said to report anything.
Did you mean...
RACHEL
Andrew!
INT. WNN VAN - NIGHT
Andrew is watching a brownstone condo.
ANDREW
Alright. He just pulled into a
Brownstone between Broadway and
Amsterdam.
Andrew looks closer through the rainy windshield.
ANDREW (CONT'D)
Wait a second.
EXT. LIONEL'S BROWNSTONE - NIGHT
A long black Lincoln Sedan limousine drives up behind Lionel's Saab. We see Lionel turning to look at it.
Lionel closes the door to his car and walks to the limousine.
INT. WNN VAN - NIGHT
Andrew looks through the windshield with the cell phone pressed
to his ear.
ANDREW
There's a black limo pulling up
behind him. Somebody's getting out.
I can't see who it is.
INT. RACHEL'S OFFICE - NIGHT
RACHEL (INTO PHONE)
Broadway and Amsterdam. Sit tight.
I'm on my way.
She hangs up the phone. She walks to the coat hanger and grabs her coat.
EXT. NEW YORK CITY - NIGHT
A thunder and rain storm bombards the city.
INT. LIMOUSINE - NIGHT
The tall man exits from the limo wearing a dark trench coat. He
has a dark bolero hat on. He looks up at Lionel. He is in his fifties now. His eyes are still nice.
TALL MAN
It's been a long time Lionel.
It begins to rain. Lionel looks at the tall man.
LIONEL
What makes you think that?
TALL MAN
We’re both starting to show our age.
LIONEL
Speak for yourself.
(BEAT)
It doesn't take a smart man to appreciate the risk I'm taking by being here. The tall man motions for Lionel to enter the car. Lionel walks to the car and gets in.
INT. LIMOUSINE - DAY
The tall man sits beside Lionel. The tall man reaches into a briefcase and removes a file folder. Lionel looks forward.
LIONEL
You've been following me.
TALL MAN
Abby's dead. Galloway too.
LIONEL
I know. I felt it.
The tall man looks sharply at Lionel.
TALL MAN
You felt it? Of course.
LIONEL
Was it an accident like the papers
say?
TALL MAN
Would it matter?
Lionel sighs under his breath.
TALL MAN (CONT'D)
How's Diane?
Lionel looks over at the tall man.
LIONEL
If that's my file. Then you
already know the answer to
that.
The tall man looks to Lionel.
TALL MAN
You can't always believe what
you read.
Lionel looks around the limousine.
LIONEL
Or what you see.
(BEAT)
TALL MAN
How are the children doing?
LIONEL
Under the circumstances. I’d say
pretty well.
TALL MAN
Make sure you give them my best.
Lionel looks at the tall man.
LIONEL
I’ll do that.
The tall man places the file on the seat.
TALL MAN
I need your help.
Lionel glances at the file.
LIONEL
You know I can’t replace Abby.
TALL MAN
I’m not asking you to.
The tall man reaches into the folder and removes a set of electroencephalograms. They are image scans of a human brain.
The tall man taps the back of the window that divides the front seating from the rear.
A single narrow light beam suddenly shoots down from the ceiling. Lionel reaches for the scans and holds them up near the light.
(BEAT)
LIONEL
This is a child. A girl.
The tall man shows Lionel another set of scans. Lionel reaches out and begins looking at them.
LIONEL (CONT'D)
She’s active in the high beta
and theta frequencies.
Lionel turns his head to the tall man.
LIONEL (CONT'D)
These are real? Not a mock up?
The tall man turns his head and faces the front.
TALL MAN
Look at the date Lionel.
Lionel looks down at the date along the bottom of the scan he’s holding. It reads: September 2, 1990
Lionel looks back to the tall man.
LIONEL
Two days before the ZPE experiment?
The tall man nods his head.
LIONEL (CONT'D)
What’s this here?
Lionel points to a set of letters along the bottom of the scan. They are: RW
TALL MAN
We’re not sure. Hell. We’re
playing with fire in a gas
chamber here.
EXT. RAINY STREET - NIGHT
The limousine sits by the curb. The rain begins to fall harder.
INT. LIMOUSINE - NIGHT
The tall man looks out the window. Lionel looks out the window and sees his home.
TALL MAN
Abby trusted you. So I trust you.
(BEAT)
Lionel turns back to the tall man.
LIONEL
Where are you hiding these days?
The tall man looks over to Lionel and smiles. He has a nice, trusting smile.
TALL MAN
My place is here.
The tall man holds out his hand to shake. Lionel looks down at it. Lionel places the parking ticket, he received earlier, into the tall man's hand.
LIONEL
Drive safely.
The tall man looks down at the ticket. Lionel exits the car and closes the door.
EXT. RAINY STREET - NIGHT
Lionel exits the limousine and walks to the front door of the apartment building. The limousine drives off.
INT. ROLLS ROYCE - NIGHT
We see the silhouette of the bald man. He’s holding a cell phone to his left ear.
BALD MAN (INTO PHONE)
He just got out of the car.
DEEP VOICE (PHONE)
And the boy?
The bald man turns his head and looks out the other side window to the WNN van.
BALD MAN (INTO PHONE)
He’s sitting there. Stuffing his
face. We should take them now.
DEEP VOICE
Patience. We’ll let the Government
do our work for us. Then your
path will be clear of all obstacles.
BALD MAN (INTO PHONE)
Yes my lord. We’ll be ready.
The silhouette of the bald man flips the lid closed.
EXT. LOT ACROSS FROM BROWNSTONE - NIGHT
A heavy rain pelts the windshield of the WNN news van. The radio is on. Slow pan across dash board then to floor.
RADIO
In other news around the globe.
World renowned physicist,
scientist and scholar Dr.
Mourad Abderazzi died in an
apparent automobile accident
just outside the Moroccan city
of Marrakesh. His assistant
was also killed in the crash
though her name has yet to be
released.
We pan around the van and see several junk candy bar wrappers. Half eaten bags of chips, etc.
RADIO (CONT'D)
Dr. Abderazzi rose to fame after
he and several other controversial
scientists created the first
stable zero point energy field
some years ago. Though it was
only the size of a penny, it
generated more instant energy
than a thousand nuclear warheads.
A cheeseburger wrapper falls onto the floor of the van.
LOUD KNOCKING.
Andrew's pop spills over his jeans. Rachel opens the door to the van.
ANDREW
Thank-you for that.
RACHEL
What's up with doc?
Rachel jumps into the van and closes the door. She wipes away rain water from her face.
ANDREW
The limousine left about twenty
minutes ago. He put something in
the back seat and then went
inside. I haven't seen him since.
RACHEL
I wonder who was in the limo.
ANDREW
What are we doing here? This
guy's just a teacher. He's not
news anymore.
RACHEL
He's news to me.
Rachel clears some of the condensation from the window so she can get a better look.
RACHEL (CONT'D)
Have you ever heard of a guy
named Charles Cavannaugh?
ANDREW
Charles Cavannaugh? None other than
the leader of the "Golden Dawn."
Rachel turns her head to Andrew.
RACHEL
"Golden Dawn?" What's that?
Andrew takes a French fry and stuff it in his mouth.
ANDREW
One of those secret societies bent
on liberating the human spirit
from slavery. Or so says their
web site.
Rachel stops eating.
RACHEL
You're kidding.
ANDREW
Yea. I am.
Rachel slaps Andrew on the arm.
RACHEL
Jerk.
ANDREW
You know Peters from Tech?
Rachel takes a couple of French fries.
RACHEL
You mean that creepy looking
guy who fixes our computers?
Andrew nods his head.
ANDREW
He’s a big fan of this kind of
stuff. Conspiracy group meetings.
They just sit there all day
and analyze this shit.
Rachel ponders for a moment.
RACHEL
Doesn't make any sense. It
can't be a coincidence.
ANDREW
Sense or not. Those guys are bad
news. End of the world type
stuff. And I don't mean war.
These guys are fanatical about
Man becoming like God. Scary weird.
RACHEL
I've seen him before. I know it.
ANDREW
Who. Cavannaugh?
RACHEL
No. The other one.
ANDREW
What other one? Am I missing
something here?
Rachel pulls a hood from her coat up and over her head.
RACHEL
Wait here. I'll be right back.
ANDREW
Where are you going now?
Rachel looks back at Andrew as she opens the door to leave.
RACHEL
Sometimes people keep their
secrets hiding in plain sight.
The door slams to the van. Rachel runs across the street into the used car lot.
ANDREW
Crazy woman.
Andrew struggles to see clearly through the fogged windshield. He tries to clear away the condensation with one of his hands.
The passenger door opens.
ANDREW (CONT'D)
That was quick.
Andrew looks over and sees the bald man.
ANDREW (CONT'D)
Who the Hell are you?
The bald man raises a dart gun. He shoots Andrew in the forehead with a dart.
Andrew’s head slams against the steering wheel and then he falls unconscious on the seat.
EXT. LIONEL'S BROWNSTONE - NIGHT
Rachel walks around the front of the lot. There are no lights on within the building. Lionel's Saab is parked in front.
Rachel looks back to the van but her vision is obscured by the falling rain. Rachel walks around the side of the building and peers through a side window. She sees nothing.
Rachel walks to Lionel’s car. She peers into the back seat where the file folder is lying on top of his briefcase. Rachel quietly checks the handle to the door. It’s unlocked.
Rachel looks around. She slowly opens the rear door to the Saab. Rachel kneels into the backseat and begins searching the file.
DOOR SLAMMING.
Rachel turns to see Lionel coming towards her. She quickly closes the door and hides behind the drivers seat. Her cell phone drops on to the driveway.
Lionel opens the drivers door and enters the car. He starts the car and begins driving.
EXT. OLD NEIGHBORHOOD - NIGHT
Lionel’s Saab pulls into an old colonial house that sit s nicely on an old street. The yard has not been kept. The Saab parks. Lionel exits the car. He walks to the front door of the house.
INT. SAAB - NIGHT
Rachel peeks up and over the drivers seat. She can see Lionel walking into the old house. Rachel quietly opens the back door and exits the car.
EXT. YARD - NIGHT
Rachel looks around and then makes her way up along the right side of the house. There are several windows aligning the side. They are all blacked out.
Rachel makes her way around to the rear of the house.
VOICES.
Rachel slowly walks to a window underneath a staircase that has a crack of light peeking through. She kneels down to get a better look.
Inside she can barely see a small boy. The boy is watching television. The boy suddenly turns his head and looks up at the window at Rachel.
Rachel is startled and jumps back. She slams her head against the bottom part of the stairway. She crumples to the floor unconscious.
INT. RACHEL'S BEDROOM - DAY (FLASHBACK)
Ten year old Rachel is sitting in her bed watching a wonderfully animated cartoon about a fairy princess who is captured and taken to a far away castle.
RAISED VOICES IN THE NEXT ROOM.
Rachel rises from her bed and walks to the bedroom door. She exits the room and walks to the door of her father's office.
INT. ARCHIE'S OFFICE - DAY
Archie is pacing in his office. He is not alone. A man in a black suit with a black bolero hat stands just inside the door. His back is turned.
ARCHIE
Everything is going as planned.
We will be finished on time.
The man in the black suit walks to a cabinet that is decorated with family photos and other things of personal value.
The man holds up a framed picture of young Rachel.
SUITED MAN
You’re playing this too close.
The man turns and faces Archie.
SUITED MAN (CONT'D)
He does not share your optimistic
appraisal of events.
Archie walks over to the man and slowly takes the picture from his hand. Archie places it back on the cabinet.
ARCHIE
I don’t need to remind you the
danger I face with this. If the
executive branch were to find out.
Archie pauses. He looks from side to side.
ARCHIE (CONT'D)
No one can hide from this. Not
even him.
The man walks to the door of the office.
SUITED MAN
You needn't worry about that.
Monica walks by the office door. She pauses, looks at the man. The man gently pushes the door closed. Monica continues into the kitchen.
The man turns back to Archie.
SUITED MAN (CONT'D)
You seem to have all the
motivation in the world to see
this through.
Archie walks back to his desk. He reaches into his top drawer and removes a pill bottle. He quickly pours out several pills onto the desk. He grabs two pills and tosses them into his mouth.
A rock glass half full of whiskey waits nearby. Archie slides the glass back on the desk.
ARCHIE
I agreed to this for the sake of
my daughter. You promised me
that you would help her.
The suited man walks to the desk and gently touches the forehead of Archie with one gloved hand. Archie looks confused.
Archie slowly backs away.
The suited man turns.
ARCHIE (CONT'D)
I said you could count on me
and you can. I’ll bring her to
you when the time is right.
SUITED MAN
Yes.
The suited man stops at the office door and turns to Archie.
SUITED MAN (CONT'D)
I know you will.
The suited man in the hat opens the door to the office and walks out into the hallway.
INT. HALLWAY - NIGHT
He looks to his right and sees little Rachel. Rachel looks up but the hat prevents her from fully seeing the man's face.
The man leans down and touches Rachel's face.
SUITED MAN
They are so fragile. Unaware of
the tremendous power they possess.
If unguided, they could destroy
all that we create for them.
Rachel looks down and sees a shiny silver ring around the man's thumb. The man turns to the front door and leaves the house.
INT. ARCHIE’S OFFICE - NIGHT
Rachel enters her father’s office. She slowly walks to him. Archie looks up and they embrace.
ARCHIE
Don’t worry baby. Daddy will
take care of everything.
We zoom in on Rachel’s face. She closes her eyes in the security of the fatherly embrace.
INT. OLD HOUSE - NIGHT
We pull back from an unconscious adult Rachel. She slowly comes around. She can sense people stirring around her.
A bright light comes on directly in front of her face. She is blinded by it.
RACHEL
Hey! What’s going on? Where am I?
She lifts her hands to block it out.
VOICE
What are you looking for Miss Cole?
Rachel sits there quietly.
VOICE (CONT'D)
Did you hear the question?
She clears her throat of fear.
RACHEL
Yes.
VOICE
What are you looking for?
RACHEL
I don’t understand.
VOICE
Everybody's looking for something.
Whether or not they find what
they're looking for simply
depends on where they choose to
look.
The bright light is turned off. Rachel squints to get her vision clear. Several men, women and small children are gathered around her.
She looks up and sees Lionel.
RACHEL
Dr. Walker?
Lionel walks through the people as they slowly back away.
LIONEL
I should have you arrested.
RACHEL
That wouldn't help either of us.
LIONEL
Is that what you were doing
Miss Cole? Helping me?
RACHEL
I have important information.
LIONEL
Important? To who? WNN?
RACHEL
I know now that there's more going
on here than you're telling me.
Lionel paces around her.
LIONEL
Why would you think that?
RACHEL
Your reaction to the news of
Dr. Abderazzi's death. It wasn't
what I expected. It was like you
knew already.
LIONEL
I suspected.
RACHEL
You suspected? Why?
Lionel looks around the room. The people have all gone to other parts of the house. Lionel reaches down and takes Rachel by the hand.
LIONEL
Come with me.
EXT. STREET - NIGHT
The Rolls Royce pulls into a lane near the old house.
INT. ROLLS ROYCE - NIGHT
The bald man lifts a cell phone to his ear.
BALD MAN
We’re at the house.
INT. DIMLY LIT ROOM - NIGHT
The figure has his back turned to us. He is wearing a ceremonial robe and sitting on something we can’t quite see. A speaker phone relays the figure’s deep voice.
DEEP VOICE
After the mess. Make sure to get
the girl. And keep her safe
until you arrive here.
INT. ROLLS ROYCE - NIGHT
The bald man listens.
BALD MAN
What about Walker?
DEEP VOICE (CELL PHONE)
If he survives...then bring him.
He may yet be of some use to us.
The bald man closes the lid on the cell phone. He grimaces under his breath. The bald man looks over to the seat beside him. Andrew is unconscious and gagged.
INT. DIMLY LIT ROOM - NIGHT
The figure sits hovering in mid air about three feet from the floor. Hundreds of candles flicker all around, standing on top of black metal candle holders.
The figure slowly turns around. He is a light pale blue in color. He looks to be around sixty.
He hovers over to a stunning, crystal encrusted box that sits atop a pedestal. He opens the box and inside are four glowing blue crystal shards.
The figure peers into the crystals. We can see that there are five slots but only four crystals. The figure passes into a trance. We zoom into the glowing crystals.
EXT. SPACE/TIME - NIGHT
Many streams of light and energy flow past us as we seem to be traveling in the fabric of space and time.
We see the figure as he floats through the seemingly endless array of cosmic clouds and energy.
We begin to see distorted visions of peoples faces and places. We then see the faces of Rachel, Lionel and other people we have gotten to know so far.
Then past events are seen in the same distorted vision. Rachel talking to Lionel in the parking lot. Rachel at her mother’s grave. Abderazzi in the museum, etc.
The figure seems intent on looking further. He’s struggling with something. The visions begin to fall away from him. They’re gone.
The figure then starts to shake.
FIGURE
Ahhhh!
A bright flash of light.
INT. DIMLY LIT ROOM - NIGHT
The hovering figure falls to the floor. He slowly comes around.
There is blue blood coming from his nose.
Another robed person enters the dimly lit room and rushes to the aid of the figure.
ROBED PERSON
What was it?
The figure turns to the robed person.
FIGURE
I am unable... to see.
The robed person helps the figure to his feet. The figure quickly brushes him off. The robed person leaves the room.
The figure looks inside the encrusted box. He touches the slot where the missing crystal should be.
FIGURE (CONT'D)
Racrehel.
INT. BACK YARD, OLD HOUSE - NIGHT
Lionel and Rachel walk into the back yard. There is a high fence closing off the back yard from a deep wooded ravine.
An old swing set sits decaying near the fence. Rachel walks over to it. Lionel follows.
LIONEL
You said you had information.
Rachel turns to face him.
RACHEL
Who are those people? And why
are they all here in this old
house?
LIONEL
Their...family of a sort.
RACHEL
Family.
LIONEL
You could say that.
Rachel reaches into her inside coat pocket and removes the envelope she received earlier. She shows Lionel the photo of her and her parents from long ago.
Lionel takes the picture and gives it a once over.
LIONEL (CONT'D)
Your family?
RACHEL
You could say that. My mother was
killed in a car accident. My
father died shortly after from
cancer.
LIONEL
I’m sorry.
Rachel paces a little.
RACHEL
Yea. So was I. After that I went to
live with my aunt and uncle in
Chicago. They were good to me.
Lionel hands Rachel the photo back.
LIONEL
Do you think about your parents
a lot? I mean. Your real parents?
RACHEL
That’s just it. I haven’t thought
about them in years. These last
few months...I haven’t been able
to get them out of my mind.
Rachel holds up the photo.
RACHEL (CONT'D)
Then this arrives at my office.
I’ve never seen this photo before
in my life. It was sent along with
this letter.
Rachel hands Lionel the letter.
RACHEL (CONT'D)
It’s written in my father’s
handwriting.
Lionel reads the letter.
LIONEL
What does it mean?
Rachel paces a little more.
RACHEL
I have no idea.
Lionel folds the letter up. He walks to Rachel. He gives it back to her.
LIONEL
What are you doing here?
Rachel turns and looks at Lionel.
RACHEL
Who are those people?
Lionel chuckles. Rachel grins.
LIONEL
The People’s Army.
EXT. STREET - NIGHT
All looks quiet outside the front of the old house.
Several black SUV’s slowly pull up to the street in front. The doors to the vehicles open and armed men in tactical gear begin flowing out. The men all move out.
INT. ROLLS ROYCE - NIGHT
The bald man sees the action unfolding. An associate of the bald man looks over.
ASSOCIATE
What if they kill the girl?
The bald man looks very calm.
BALD MAN
They won’t. He’s protecting her.
EXT. BACK YARD - NIGHT
Lionel and Rachel are still talking unaware of the action happening in front.
RACHEL
The People’s Army? Now you’re
playing with me.
Lionel walks over to the swing set. He bends over and lifts a broken seat. Rachel walks behind. He turns and looks at Rachel.
LIONEL
They’re “Blockers”.
Rachel smirks.
RACHEL
“Blockers”? What’s that?
LIONEL
Telepaths. People who have the
telepathic ability to block other
telepaths.
RACHEL
You’re joking.
LIONEL
Miss Cole. You’re right. There’s
more here than I’ve told you.
Rachel looks at Lionel. She ponders for a moment.
RACHEL
Why are they here?
LIONEL
Because they’re being hunted.
RACHEL
Hunted? By who?
LIONEL
Some very dangerous people.
People who have other ideas
for our future.
RACHEL
Our future? You mean, us?
LIONEL
Yes.
Rachel walks a few steps and then stops.
RACHEL
This is crazy. This kind of
thing doesn’t exist. Nobody c
an do what you’re saying.
Lionel walks to her.
LIONEL
Are you sure?
Rachel looks at him.
EXPLOSION.
Lionel grabs Rachel and covers her from the blast.
LOUD YELLING AND SCREAMING.
EXT. FRONT OF OLD HOUSE - NIGHT
We see the armed men release nerve gas into the old house. Then the armed men enter in full force.
GUN SHOTS.
INT. OLD HOUSE - NIGHT
We see all the people in the house scatter and run for any
possible exit. The armed men start try to subdue them. Some of the people are shot while running. Others are hit with nerve gas and start to fall to the floor.
EXT. BACK YARD - NIGHT
Lionel grabs Rachel by the arm.
LIONEL
Come on!
Together they head for the tall fence. Lionel looks over the fence.
RACHEL
What’s happening?!
Lionel kicks at the fence. The boards begin to break away.
RACHEL (CONT'D)
They found them! God damn it!
I don’t know how, but they
found them!
Lionel clears away the boards and grabs Rachel’s arm.
LIONEL
Let’s go!
They crawl through the fence and into the deep ravine.
INT. ROLLS ROYCE - NIGHT
The bald man watches the chaos unfold from the car. He motions to the driver.
BALD MAN
They’re moving. Let’s go.
EXT. STREET - NIGHT
The Rolls Royce pulls away from the scene and drives off down the street.
EXT. DEEP RAVINE - NIGHT
Lionel leads Rachel down through the trees and bushes.
RACHEL
Where are we going?!
LIONEL
We have to find someone!
Rachel stops running.
RACHEL
Hey! Stop!
Lionel stops and turns to her.
LIONEL
We have to keep moving.
RACHEL
Not until you tell me what’s
going on. What happened back
there?
LIONEL
I promise. I’ll tell you
everything. Just not now. We
have to keep moving.
Lionel takes her by the hand and they continue down the ravine.
INT. ROLLS ROYCE - NIGHT
The bald man is looking down at a GPS device. A single blue dot indicates something moving.
BALD MAN
They’re headed for the river.
Get me there.
EXT. STREET - NIGHT
The Rolls Royce speeds away while it weaves in and out of traffic.
EXT. BOTTOM OF THE DEEP RAVINE - NIGHT
Lionel and Rachel reach the bottom of the ravine. Rachel is struggling in her high heels. Lionel stops and looks around. A river sprawls out in front of them.
RACHEL
What now?
Lionel looks at her.
LIONEL
I’m thinking.
Lionel starts walking again.
LIONEL (CONT'D)
This way.
They head off along the river bank.
EXT. RIVER BANK - NIGHT
Lionel walks and Rachel trails just behind him.
RACHEL
Who are we going to find?
LIONEL
Someone who can help. Someone who
knows things.
RACHEL
What kinds of things?
Lionel stops briefly and look at her.
LIONEL
Everything.
Lionel starts walking again.
RACHEL
Nobody knows everything.
LIONEL
Are you sure?
RACHEL
Stop saying that.
Lionel stops walking. He turns to Rachel.
RACHEL (CONT'D)
I’m not a little girl. Don’t talk
to me in riddles.
She walks by Lionel and takes the lead. Lionel follows.
RACHEL (CONT'D)
So. These “Blockers”. They
prevent other telepaths from
doing what?
LIONEL
From finding the location of the
“Seekers”.
Rachel stops walking. She turns to him.
RACHEL
“Seekers”? What’s a “Seeker”?
LIONEL
A telepath who can see the future.
Rachel drops her head and sighs.
RACHEL
See the future?
Lionel nods his head.
RACHEL (CONT'D)
That’s it. I’m out of here.
Rachel looks around to find a way up to the street.
LIONEL
You wanted to know.
Rachel turns sharply to him.
RACHEL
No! I wanted the truth. All
you’re giving me is this
bullshit about “Blockers” and
“Seekers” and seeing the future.
Lionel looks at her intently.
LIONEL
Don’t worry. It won’t hurt for
very long.
Rachel freezes.
RACHEL
What? What won’t hurt?
LIONEL
Your arm.
Rachel slowly backs away. She looks down at her right arm.
LIONEL (CONT'D)
Not that one.
Rachel looks down at her left arm.
RACHEL
There’s nothing wrong with my arm.
Rachel takes another step back and trips. She falls into a small hole along the bank. Her left arm smacks against a large stone. Rachel grunts in pain.
Lionel moves over to her and helps her to her feet. Rachel is clutching her left arm. Lionel places his hands on her arm and begins to wipe away the dirt.
LIONEL
It won’t hurt for very long.
Rachel looks up at Lionel.
RACHEL
How did you know that was going
to happen?
LIONEL
Seeing the future...is like catching
lightning in a bottle.
Lionel lowers Rachel’s arm. She moves it around.
LIONEL (CONT'D)
In order to do it. You need
something to attract it. Or
the case of telepaths...someone.
RACHEL
You mean...these telepaths attract
the future? How?
LIONEL
For a telepath. Seeing the future
is based solely on
predetermination. The prediction
of future events based on an
understanding of the past.
Ninety-five percent of the time,
we, as humans, can predict
events just by understanding
“cycles”.
RACHEL
“Cycles”?
LIONEL
People love to repeat
themselves. There‘s a certain
amount of security that comes
from the knowledge that,
“You’ve been here before.”
The two of them start walking once again.
RACHEL
So seeing the future is about,
choices?
LIONEL
Yes. Exactly. No one can
predict what will happen. They
can only see up to the choices
they’ve already made. Choices
that define other choices.
RACHEL
What was your choice?
Lionel stops walking.
(BEAT)
LIONEL
Not to see.
Rachel watches Lionel as he starts walking again.
EXT. STREET ALONG RIVER - NIGHT
The Rolls Royce is slowly driving along the river’s bank. It comes to a stop.
INT. ROLLS ROYCE - NIGHT
The bald man waits patiently in the back of the car.
BALD MAN
I just wanted to talk with her...
but, she had to be difficult.
Don’t you find women are always
difficult about absolutely
nothing. Worry, worry, worry.
The bald man looks over to the seat beside him. Andrew is still gagged but conscious. There is blood trickling from his nose. He has a terrified look on his face.
BALD MAN (CONT'D)
Now then. Let’s see where you’ve
been spending your nights.
Andrew’s scream is muffled by the gag.
EXT. RIVER’S BANK - NIGHT
Lionel and Rachel approach the street that runs along the river.
LIONEL
Come on. Over here.
Lionel jumps over the steel guide rails that prevent cars from driving into the river. He helps Rachel over.
RACHEL
No more walks in the park for me.
Suddenly a set of bright vehicle lights flick on. The unknown vehicle speeds towards them. Lionel grabs Rachel by the arm and begins to help her back over the guide rails.
LIONEL
Move!
The vehicle screeches to stop directly in front of them. The bright halogen headlights blind them.
Someone is exiting the vehicle. The person stands in front of the headlights, blocking them. Lionel looks at the person.
TALL MAN
Do you know how many parking
tickets you got last year?
Lionel breathes a sigh of relief. Rachel looks at the tall man.
RACHEL
Who the hell are you?
Three men exit the vehicle and run to assist Lionel and Rachel.
Lionel approaches the tall man.
LIONEL
You’re late.
Lionel walks pat the tall man and helps Rachel into the back of the vehicle.
TALL MAN
Are you sure?
INT. TALL MAN’S LIMOUSINE - NIGHT
Rachel sits in the back of the limousine. She’s rubbing her arm. Lionel is sitting beside her. The tall man enters the other side and sits across from them.
The car starts to move. Tall man hands Rachel a handkerchief.
TALL MAN
You’ve had a busy day Miss Cole.
RACHEL
How do you know who I am?
Tall man holds out a newspaper with her picture on it.
TALL MAN
You’re quite famous now.
LIONEL
How did you find us?
Tall man reaches into one of his jacket pockets.
TALL MAN
It seems you forgot something in
your haste for a story.
The tall man holds out her cell phone. Rachel grabs it from him.
RACHEL
Where did you find it?
TALL MAN
In the driveway.
Rachel flips open the phone.
RACHEL
Did you find Andrew?
TALL MAN
Who’s Andrew?
Rachel shakes her head. She looks back down to the phone.
LIONEL
What happened?
Tall man turns to Lionel.
TALL MAN
Someone tipped off Homeland. They
attacked the house thinking it
was home to a terrorist group.
LIONEL
Son of a bitch. Who did it?
TALL MAN
Lionel. Not everyone was
satisfied with your departure.
You knew there would be...
lingering effects.
Rachel looks at Lionel.
RACHEL
Wait a second.
Rachel turns to the tall man.
RACHEL (CONT'D)
Who are you?
TALL MAN
Just somebody trying to clean up
his own mess.
LIONEL
It was never your mess to
begin with. It was ours.
Rachel hands the blood stained handkerchief back to the tall man.
RACHEL
Thanks.
The tall man looks at it for a moment. He places it on the seat next to him.
LIONEL
Why would the NSA be concerned
about me? I did what they
asked. I never made waves.
TALL MAN
It seems that someone else is
arranging the players.
LIONEL
Who?
TALL MAN
Charles Cavannaugh.
LIONEL
Charles Cavannaugh? No one’s
seen him for years.
RACHEL
Hold it. Charles Cavannaugh?
Golden Dawn?
TALL MAN
You’re well informed.
Lionel turns to Rachel.
LIONEL
You’ve heard of him?
RACHEL
You might say that. One of his
people came to see me.
TALL MAN
Came to see you? What did he want?
Rachel reaches into her purse and removes the card the bald man gave her. She hands it to Lionel. Lionel looks it over.
RACHEL
He said he was looking for
my father. Said my father took
something and they needed it back.
Lionel hands the card to the tall man.
TALL MAN
NCS?
RACHEL
What’s it mean?
LIONEL
It stands for the “National
Clandestine Service”.
RACHEL
Never heard of them until tonight.
TALL MAN
And you won’t again. It doesn’t
exist anymore.
Tall man looks at Lionel.
TALL MAN (CONT'D)
Or at least it shouldn’t.
Lionel turns to Rachel.
LIONEL
You said this person was looking
for your father?
RACHEL
Yes.
LIONEL
What did your father do?
RACHEL
I’m not really sure. He never
sat down and discussed it with
us.
Lionel looks over to the tall man.
RACHEL (CONT'D)
I just remember...he was nervous
all the time. It was such a long
time ago.
LIONEL
You said you were raised by your
aunt after your parents died.
RACHEL
That’s right.
LIONEL
So, Cole. Is your uncle’s last
name?
RACHEL
Yes. It made sense to use it.
Lionel looks back over to the tall man. Lionel sees the newspaper and motions for the tall man to let him see it.
Lionel flips the paper over and looks closely at the picture. On the bottom of the picture it reads: Rachel W. Cole.
LIONEL
What does the “W” stand for?
RACHEL
Woods.
Lionel looks over to the tall man.
LIONEL
Woods.
Tall man looks at Rachel.
TALL MAN
Your father was Archie Woods?
Rachel nods her head.
TALL MAN (CONT'D)
Deputy Director for the NCS.
Tall man looks at Lionel.
TALL MAN (CONT'D)
Jesus Christ. That’s what
they’re after.
Tall man reaches into a folder and removes the MRI scan of the child’s brain. He looks at it and then hands it to Lionel.
Lionel looks at the bottom where the date is. The initials “RW” are typed beside it.
RACHEL
What?
Rachel looks at Lionel. He doesn’t say a word.
INT. DIMLY LIT ROOM - NIGHT
The figure stands on front of the encrusted box. He is reciting something in a strange language.
FIGURE
Σερπεντσ οφ Ωισδομ. Σερπεντσ οφ
Ωισδομ.
Another robed person enters the room.
ROBED PERSON
My lord.
The figure doesn’t move. The robed person walks to the conference phone and presses a button. The robed person leaves.
FIGURE
Are you on your way?
SPEAKER PHONE
There was a problem.
FIGURE
A problem.
SPEAKER PHONE
They had help.
The figure closes his eyes in thought.
FIGURE
This time line is becoming
unstable. A choice has to be
made soon.
SPEAKER PHONE
We don’t need the girl.
FIGURE
I, need the girl.
FIGURE (CONT'D)
Do not concern yourself with
matters that are beyond your
understanding. It would not be
wise.
SPEAKER PHONE
Yes my lord.
The line goes dead. The figure returns to the box and the recitation.
EXT. STREET - NIGHT
We see the tall man’s limousine moving down a freeway.
INT. LIMOUSINE - NIGHT
The tall man is talking into a cell phone of his own. Rachel turns to Lionel.
RACHEL
What’s going on now? What does
all this have to do with my father?
LIONEL
Your father...was a good man
who was pushed into doing the
wrong thing for the wrong people.
RACHEL
What? What do you mean?
LIONEL
Shortly before our ZPE test.
There was a thirty second gap.
In time.
RACHEL
A gap in time?
LIONEL
I thought my mind was playing
tricks on me at first but
later realized...something had
happened in that thirty seconds.
Something that changed everything...
forever.
RACHEL
What?
INT. INTRINSIC LABORATORY - NIGHT (FLASHBACK)
Abderazzi, Galloway and Lionel are celebrating just after the experiments success. Congratulations are being expressed by several people towards the talented threesome.
LIONEL (V.O.)
When our experiment was finished.
We were told that a top secret
project file was being opened
under the name of “Monarch”.
Even though our testing was
in it’s infancy. Powers within
the government quickly assumed
control over our work.
INT. LIONEL’S HOME OFFICE - NIGHT (FLASHBACK)
Lionel enters his home office to find it’s been ransacked. All
his work on the ZPE test has been stolen.
LIONEL (V.O.)
Everything I had spent my entire
professional life working on had
been taken from me in a single
blow.
Lionel sits at his desk and starts using the desk top telephone.
LIONEL (V.O.) (CONT'D)
Nobody was left. I tried to
contact Abby but I never heard
from him again. I didn’t even
know if he was alive or dead.
Lionel lays on a couch. Several empty bottles of Jack Daniels are spilled out all over the carpet.
LIONEL (V.O.) (CONT'D)
I did nothing for months. Until
one day... I discovered something
about myself.
Lionel reaches for a half full bottle of Jack. He misses the bottle and it goes tumbling towards the floor. The bottle suddenly stops falling and sits suspended in mid air.
LIONEL (V.O.) (CONT'D)
It seems, the effects of the test
had a different result than we
first predicted.
Lionel is testing his new found telepathic power with simple levitation test around his house.
INT. LIMOUSINE - NIGHT
Rachel is stunned by what she is hearing.
RACHEL
So you became a telepath because
of the test?
LIONEL
Not quite. A large percentage
of the world’s population
have telepathic ability. They
just don’t know it yet.
RACHEL
So what caused the change?
Just then, the tall man closes the cell phone. He looks at Lionel.
TALL MAN
We’re here.
RACHEL
Here? Where?
EXT. STREET - NIGHT
The limousine comes to a stop in front of an upscale downtown high rise.
The right side rear door opens. Lionel exits the car. Rachel is behind him. She looks up at the building.
RACHEL
What are we doing here?
The tall man approaches her and walks by her to the front door.
TALL MAN
What they’re looking for must
be here.
RACHEL
Why do you think that?
The tall man turns to Rachel.
TALL MAN
Believe me when I tell you.
We’ve looked everywhere else.
INT. RACHEL’S APARTMENT - NIGHT
Lionel, Rachel and the tall man slowly enter Rachel’s posh home. Rachel reaches for the lights. Lionel grabs her arm and stops her.
The tall man enters the bedroom. Lionel and Rachel begin looking
around.
RACHEL
What are we looking for?
LIONEL
You’ll know it when we see it.
After a few fruitless moments of searching. The three of them meet in the bedroom. The tall man attempts to lighten the moment.
TALL MAN
How many physicists does it take
to change a light bulb?
Lionel and Rachel just look at him.
TALL MAN (CONT'D)
Two. One to hold the bulb and
one to rotate the universe.
Lionel and Rachel don’t change their faces.
LIONEL
It wasn’t funny then either.
TALL MAN
Sorry.
Lionel turns to Rachel.
LIONEL
Is there anything you can
remember. Did your father ever
give anything? A gift of great
value?
Rachel thinks for a moment. She turns and looks at the old vintage crystal lamp that she has had since she was young.
Rachel walks over to the lamp. She leans down and unplugs it. She looks up at Lionel.
Lionel walks over to her and takes the lamp. He looks at the
tall man. The tall man walks over to them.
TALL MAN
You think he had the nerve?
Lionel flips the lamp over. He unscrews the bottom of the lamp. Lionel pulls out the cord. It isn’t attached to anything.
Rachel gasps.
RACHEL
How can that be? I use it all
the time.
The tall man looks at Lionel and smiles. Lionel pulls apart the bottom of the lamp stand. The body of the lamp falls into his hands.
It is a seven inch long crystal shard. It begins to glow blue.
RACHEL (CONT'D)
Oh my God.
Rachel looks up at Lionel with awe.
RACHEL (CONT'D)
What is it?
Lionel looks up to the tall man and smiles.
TALL MAN
Unbelievable.
GUNSHOT.
The tall man’s chest erupts with blood as he begins to fall to the floor. Rachel falls backwards. Lionel turns around.
LIONEL
No!
Standing in the doorway to the bedroom is the bald man.
Lionel steps towards the bald man with an aggressive pose.
BALD MAN
It's been a long time Lionel.
Lionel stands in front of Rachel.
BALD MAN (CONT’D)
Your looking...old.
LIONEL
Why is everybody saying that?
The bald man slowly walks to Lionel. He stops about two feet in front of him.
LIONEL
Damon. You turned out exactly how
I imagined.
The two men size each other up like two circling scorpions.
DAMON
Sarcasm is the recourse of a
weak mind. I would expect more
from you.
Lionel looks around the room as three other figures enter the bedroom.
LIONEL
That was your first mistake.
The other figures spread out around the room. Rachel holds onto the shard.
DAMON
Really?
Lionel looks down at the tall man. He’s dead. He shakes his head in disgust.
LIONEL
Why did you kill him?
Damon paces around. He pretends he’s interested in the decor.
DAMON
My lord gives. My lord takes
away. As a physicist. Nature’s
balance of life and death, are
at the very heart of your work.
LIONEL
Nature doesn’t discriminate. Or
murder.
Damon shakes his head in disappointment. He turns to Lionel.
DAMON
You call it murder. Others call
it survival. You used to be
someone who never confused the
purpose of our intentions.
Rachel looks up at Lionel.
DAMON (CONT'D)
Isn't it funny. We have never
solved the question of our
elation to God. This is a
flagrant contradiction to the
Divine Plan.
Damon smiles at them.
DAMON (CONT'D)
If there is such a thing.
RACHEL
It was you, wasn’t it? In my
father’s office. A long time
ago.
Damon looks at Rachel.
DAMON
It was... a version of me.
Damon walks right up to Lionel. Rachel is still partially behind him.
DAMON (CONT'D)
We have been coming back to
Earth for over five thousand
years. Transferring our conscious
realities into your minds. Helping
you to avoid the mistakes that
destroyed our world. Without our
knowledge, your great industrial
nations would never have taken
root or thrived.
LIONEL
Be careful Damon. You’re beginning
to believe the illusion.
DAMON
The illusion...is all we have.
RACHEL
But why?
DAMON
Miss Woods, man is constantly
seeking freedom from moral
laws that are arbitrary and
rigid. We are obliged to come
to terms with this compromise
in order to veil the nature of
a greater truth.
RACHEL
What truth?
DAMON
The evolution of consciousness.
Mankind is facing an evolutionary
crisis. A transformation is
inevitable.
Rachel pulls the shard behind her back. Damon stares down Lionel.
DAMON (CONT'D)
I wanted to kill you for a long
time.
Lionel stays stoic.
LIONEL
Maybe you already have and it
just didn’t satisfy you.
Damon smiles. He backs away and walks to the door. He turns around once he gets there.
DAMON
I won’t bother asking for
the crystal. She’ll give it up
when she falls.
Lionel takes a step back. Rachel looks at Lionel.
RACHEL
Not again. What does he mean
by that?
LIONEL
Don’t move.
Rachel suddenly feels a sharp pain in her head. She brings one hand up to her temple.
RACHEL
Unh.
Lionel looks at her.
LIONEL
What is it?
Rachel shakes her head to get the fuzz out.
RACHEL
I don’t know...I...
A sharp searing pain shoots through Rachel’s head. She brings both her hands up to her face. The crystal shard drops to the floor. It ricochets off the bed post and slides over just beside Damon’s right foot.
Damon reaches down and grabs the crystal. Rachel is in extreme pain. Lionel tries to help.
LIONEL
Just block it out! You can
do it! It’s just a thought!
Rachel rears back onto the bed. Lionel grabs her.
RACHEL
Ahh!
LIONEL
Rachel! It’s just a thought! Close your mind!
Rachel falls onto the floor unconscious.
Lionel jumps up to attack Damon. One of Damon’s henchman raises a dart gun and shoots Lionel in the forehead with a dart.
Lionel’s head slams against the hard wood floor. He’s out. Damon looks down at Lionel.
DAMON
I always have to do things
the old fashioned way with you.
Lionel and Rachel lie side by side on the floor.
INT. WOOD’S KITCHEN - NIGHT
Monica sits at the kitchen table with a half full cup of cold coffee sitting in front of her. She is holding a phone to her ear and quietly talking.
MONICA
I'm thinking of taking her to
Europe. There's a special
clinic in Liverpool that treats
cases like Rachel.
FEMALE PHONE VOICE
What about Archie? Does he know?
Monica lowers her head.
MONICA
He's been in total denial ever
since she was diagnosed.
FEMALE PHONE VOICE
Men have a funny way of dealing
with these kinds of situations.
MONICA
I suppose so. I can't wait around
for him to find himself. Rachel
needs us now.
FEMALE PHONE VOICE
I don't know how you do it.
MONICA
What?
FEMALE PHONE VOICE
Keep yourself from losing it. I
don't know if I could.
MONICA
When your holding on by your
finger tips, you don't go waving
your arms around.
FEMALE PHONE VOICE
I’ll call you tomorrow.
MONICA
Love ya sis.
As soon as Monica hangs up the telephone. Archie walks into the kitchen.
ARCHIE
Where did you get this idea?
England? It's your damned
sister wasn't it? Rachel gets
all the care she needs right here.
Monica stands and confronts Archie with a strong will.
MONICA
How the hell do you know what
she needs! You're never around!
Monica walks to the cupboard and removes a bottle of scotch. She pours herself a small drink.
MONICA (CONT’D)
I'm the one who spends every
waking moment with an incredibly
sick little girl who happens
to require my constant attention
at every moment!
Monica walks out of the kitchen and into the living room. Archie follows.
INT. STAIRCASE - NIGHT
Rachel sits on the staircase listening to her parents. They are unaware that she is there.
INT. LIVING ROOM - DAY
Archie confronts her by an old piano.
ARCHIE
That's not fair. You know damn
well everything I’m doing is for
her.
MONICA
Is it? Sometimes I wonder with you.
ARCHIE
Now your questioning my love for
our daughter?
MONICA
No. Your love is without question.
I’m thinking of your sanity.
Archie slowly backs off. He turns and ponders for a moment.
MONICA (CONT'D)
We’re strangers to you now.
Archie slams his fist into the piano top. It slams down hard.
Monica backs off.
She walks to him and places a gentle hand on his shoulder. She can feel the tension in his body.
MONICA (CONT'D)
In your world...the means justify
the end.
Archie slowly turns his head to her.
ARCHIE
Then I’ll change the world. For her.
INT. FRONT ROOM - NIGHT
Archie walks up grabs a jacket from the closet. He turns and sees Rachel on the stairs. Monica comes walking up.
ARCHIE
Have you been there long honey?
Rachel nods her head. Archie reaches in and gently takes Rachel’s hand.
ARCHIE (CONT'D)
Daddy knows some people who want
to help you. Do you want to meet
them?
Rachel looks over to Monica. Rachel nods her head. She jumps into Archie’s open arms. Rachel looks at Monica. Tears are beginning to run from Monica’s eyes.
RACHEL
It’s alright Mommy. We’ll be back
soon. Right Daddy?
Archie turns and faces Monica.
ARCHIE
Yes. We will. And we’ll be a family
again.
EXT. WOODS DRIVEWAY - NIGHT
Archie’s sedan pulls out from the driveway and screeches into the street. Monica watches from the living room window.
EXT. WOODS DRIVEWAY - NIGHT
Monica comes out of the house and places several suit cases in the back seat of a sedan. She enters the drivers' side door.
The sedan pulls out of the driveway.
EXT. STREET - NIGHT
The sedan takes a corner and enters a street. Heavy rain begins to fall.
INT. SEDAN - NIGHT
Monica switches on the sedans' windshield wipers. She grasps the steering wheel tightly in her hands. She struggles to see through the thickening rain.
EXT. STREET - NIGHT
A large dump truck and front end loader are working along the side of the street. The truck loader reverses. The wide back end sticks out into the street.
REVERSE INDICATORS.
Flashing reverse indicator lights, partially illuminate the rainy street.
EXT. RAINY COUNTRY STREET - NIGHT
Monica’s sedan comes around a turn in the street.
EXT. WIDE VIEW OF COUNTRY STREETS - NIGHT
We suddenly see a wave of light flash across the country side. The light wave reaches Monica’s sedan and passes through it. The light wave continues across the valley.
All the street lights and house lights flick off as the wave passes by.
INT. SEDAN -NIGHT
All the electrical systems within the vehicle go dead. The lights turn off. Monica is suddenly in pitch black darkness.
EXT. STREET - NIGHT
A worker man (40’s), wearing a hard hat walks beside the front end loader as he attempts to see his way around. He slams his hand against the side of his leg.
A bright red flare erupts in the palm of his hand. He tosses it on the street. Another, then another.
INT. SEDAN - NIGHT
Monica looks up and sees the red flares. Monica suddenly sees the front end loader with its tail in the street.
Monica swerves around the loader to avoid a collision.
EXT. STREET - NIGHT
The sedan impacts directly into a pile of large cement meridians.
INT. SEDAN - NIGHT
From the back seat we see Monica get crushed from the impact of the collision. The entire front part of the sedan is destroyed.
INT. DIMLY LIT ROOM - NIGHT
Hundred of candles burn brightly amidst the somber setting.
Rachel snaps awake from her slumber. She looks around. Still dazed from the effects.
DEEP VOICE
Was it your mother again?
Rachel turns around to see where the voice is coming from. The candle light does not provide a friend in the dark.
RACHEL
Is someone there?
DEEP VOICE
Someone is always there.
Rachel stands to her feet.
RACHEL
Where am I?
DEEP VOICE
Where you’ve always been.
Rachel approaches one of the elaborate candle holders.
RACHEL
Where’s Dr. Walker?
DEEP VOICE
You no longer have to concern
yourself with their well being.
Rachel looks around.
RACHEL
Who are you? Show yourself.
Rachel feels a presence behind her. She spins. Standing directly behind her is the figure. Rachel still can’t make out all his features.
Rachel takes a step forward. The figure stands, waiting for her. Rachel reaches the figure. Her hands open wide and then clench tightly with nerves.
The figure surprises her by stepping forward into the candle light.
He is CHARLES CAVANNAUGH (65). Charles has a soft pleasant aura about him. He would not look out of place sitting at the head of the dinner table at Christmas.
Rachel squints to make sure she’s not just seeing this.
RACHEL (CONT'D)
I’m...
CHARLES
Rachel Woods. I know who you are.
I’ve always known you.
Charles reaches for Rachel’s right hand. He gently takes it and brings it up to his face. He slowly rubs it across his cheek.
Rachel is uncomfortable. She politely removes her hand from his.
RACHEL
Who are you?
Charles looks up to Rachel. He has bedroom eyes.
CHARLES
My name...is Charles.
RACHEL
Charles...Cavannaugh?
Charles straighten up slightly as if an ageless declaration of pride demanded it.
CHARLES
You remember.
RACHEL
Remember? No...I heard...
Charles turns and walk deeper into the dimly lit room. Rachel watches briefly and then follows.
CHARLES
You’ve been remembering a lot
lately.
Charles stops and turns to her.
CHARLES (CONT'D)
Haven’t you?
Rachel stops a few feet in front of him.
RACHEL
Just bad dreams.
Charles turns and walks a few more steps. He reaches the encrusted box. He slowly opens the front panel. A soft blue glow radiates from within.
Rachel peeks over his shoulder from a few feet behind but has no sight of anything.
CHARLES
Come closer. If you wish.
Rachel takes a few tentative steps to the box. Charles looks back at her. She quickly gives him a look and then focuses on what’s in the box.
Charles holds out his hand to her.
CHARLES (CONT'D)
It’s because of you. That all this
is possible.
Rachel doesn’t take his hand but she does continue to the box. Charles moves a little out of the way. Rachel looks deeper into the box.
The slot that was empty, has now been filled by the crystal from her apartment. The entire array of crystals now seem brighter with the addition of the lost stone.
Rachel is dumbfounded.
RACHEL
What are they?
CHARLES
It has had many names over the
lifetimes of many peoples.
Rachel can’t take her eyes from the stunning display.
CHARLES (CONT'D)
Some have called it Taoui. Others
have named it Darpa. In respect
to obtaining the most difficult
of all achievements. They are
the heart of philosophy.
Charles walks around Rachel as she continues to stare into the box.
CHARLES (CONT'D)
They are the “Illumination Stones
of Atlantis”.
Rachel hears the words but is unwilling to turn away.
RACHEL
Illuminati...
Charles places his hands on her shoulders. They ease her tension.
CHARLES
All your questions will be
answered in time.
INT. CELLAR ROOM - NIGHT
Lionel slowly awakens on the damp floor of the cellar. He struggles to gain clarity. He sits up and starts to rub his forehead.
VOICE
Don’t worry. The stinging goes
away in a few hours.
Lionel turns his head. In the corner of the cellar is Andrew. He’s a little worse for wear but alive. Andrew approaches Lionel.
ANDREW
You must be Dr. Walker.
Andrew extends his hands to Lionel. Lionel reaches out and grabs it. Lionel stands to his feet.
LIONEL
Thanks.
Lionel brushes off his clothing.
ANDREW
Is Rachel with you?
Lionel turns to Andrew.
LIONEL
She was. They took her. I don’t
know where.
Lionel looks around.
ANDREW
They? Who’s they?
LIONEL
It’s a long story.
Lionel looks for a way out.
LIONEL (CONT'D)
How long have you been here?
ANDREW
Long enough to know there isn’t
any way out.
Andrew sits down on a small wooden stool in the corner.
ANDREW (CONT'D)
I’d offer you a seat but
apparently reservations were full.
Lionel checks the thick door to the cellar.
LIONEL
We have to find a way out of here.
Andrew sighs.
ANDREW
What do they want with her?
LIONEL
Rachel has a gift she’s not
yet aware of. When they tap into
it. We’re all in heap of trouble.
ANDREW
What does that mean? What gift?
Lionel continues to look around.
LIONEL
When Rachel was young, she had
a rare brain disorder. One
that gave her a prolonged
resistance to high resonance
frequencies.
Andrew shakes his head.
ANDREW
Resonance frequencies?
Lionel looks at Andrew.
LIONEL
Intense vibrations.
Andrew nods his head like he knows.
LIONEL (CONT'D)
Her mind can distinguish
individual energy waves within
a single frequency. She’s able to
find the needle in the haystack.
ANDREW
And how did this happen?
Lionel turns.
LIONEL
How does anything happen.
ANDREW
What?
Lionel walks to a corner. He turns to Andrew.
LIONEL
They’re coming.
ANDREW
Who’s coming?
The door to the cellar suddenly unlocks and swings open. It slams hard against the back wall.
Two robed figures enter. Damon follows closely behind them. He walks to the front and looks at Andrew. Then he turns to Lionel.
DAMON
My apologies for placing you
with “los comunes mortales”.
It could not be avoided.
Lionel doesn’t move. Damon takes a step to Lionel.
DAMON (CONT'D)
Does it hurt?
Damon makes reference to the small dart hole on the right side of Lionel’s forehead. Lionel reaches to his back.
LIONEL
My lower back actually has this
sharp pain. Very uncomfortable.
Damon smiles. He takes another step to Lionel. Andrew is watching as if he’s witnessing a pit fight between to cobras.
DAMON
I’m curious about something.
Lionel is calm. Andrew is fidgety. Damon is cocky.
DAMON (CONT'D)
We’re you ever a believer? Or
was this just all an experiment
for you?
Lionel scoffs.
LIONEL
Your not on any spiritual
pilgrimage. Your dreams about
a race of supreme beings is
exactly that. A dream.
Damon retorts the scoff.
DAMON
You think I care one bit about
the old man’s visions. He can
have the stones. He can have the
future. Hell, he can even keep
the girl.
Andrew scoffs.
DAMON (CONT'D)
I’m tired of “seeking”. Searching
for the next “One”. I’m sick of
travelling across time lines
just to always end up here.
I’ve been waiting for this
opportunity for countless life
times and I’m not about to let
it go.
Lionel braces his thoughts. Then he reasons it out.
(BEAT)
LIONEL (QUIET)
Rachel.
Andrew looks at Lionel.
ANDREW
What about her?
Lionel looks back to Damon.
LIONEL
You’re using Rachel to trap the
old man.
Damon takes one more step and is right in front of Lionel’s face.
DAMON
They can eves drop on the future
all they want. They can travel
through the realms of lesser
beings. I’m staying here. This
is my world now.
Damon motions for the two robed men to take Lionel. They do. After Lionel is removed from the cellar, Damon looks at Andrew. Andrew braces himself.
Damon grins. He turns and walks out. The heavy door slams shut behind him.
INT. DIMLY LIT ROOM - NIGHT
Rachel is still gazing into the heart of the box. The stones glowing brightly. Suddenly the warm, comforting hue from the stones is cut off. Charles closes the front door to the box.
Rachel snaps out of her state of delusion. Charles turns Rachel around to face him.
CHARLES
Now do you see the power within
you? The power that resides in
us all? You have travelled across
chasms of time and space to be
here, in this moment.
Rachel is enthralled.
CHARLES (CONT'D)
I have been waiting for your
return for as long as I can
remember. But it was just a
memory.
RACHEL
A memory?
CHARLES
Memories are just moments in time.
What matters is the connection
you have to that moment. That memory.
Charles walks a few steps away from Rachel.
RACHEL
Why am I having these dreams of
my parents all of a sudden.
Dreams of the night she died.
I’ve never thought about it
like this before. Is it you?
Are you doing this?
The figure is looking for something in a large cabinet. Rachel walks over to Charles.
RACHEL (CONT'D)
Please. Tell me what’s going on.
Charles removes a very old book from the cabinet. He turns and shows it to Rachel. She looks down at it. The front cover has been torn away. The binding has been slowly falling to pieces.
The cover of the book reads: Ancient Worlds and Lost Kingdoms
Rachel looks up at Charles.
RACHEL (CONT'D)
How did you get this? This was
my old book. I used to read
when I was a little girl.
Charles hands the book to Rachel. She passionately holds it in her arms.
RACHEL (CONT'D)
My father gave this to me right
before...
Charles walks away from her.
CHARLES
Before...?
Rachel sighs.
A robed person enters the room.
ROBED PERSON
My lord.
Charles places a gentle hand on Rachel’s shoulder. Rachel continues to hold the book tightly.
CHARLES
I shall return shortly.
Charles exits the room.
INT. BASEMENT GENERATOR ROOM - NIGHT
Lionel stands against a wall with his hands tied behind his back. Several robed henchmen are gathered around. Damon waits patiently.
The door to the room opens and Charles enters. He gives Damon a glance of approval, then he walks to Lionel.
CHARLES
Dr. Walker. I’ve been such a big
fan of your work these past years.
LIONEL
Book sales didn’t show it.
Charles smirks under his teeth.
CHARLES
We were quite remiss in our
attempts to find reasons to
keep you alive.
Charles turns to the bald man. Damon straightens up slightly.
CHARLES (CONT'D)
However, the departure of Dr.
Galloway initiated our need for
someone, to carry the torch so
to speak.
Charles looks at Lionel. Charles walks past Lionel and into another adjoining room. The robed henchmen bring Lionel along.
INT. BASEMENT GENERATOR ROOM - NIGHT
There is a large set of capacitors lining the room. In the middle is the intrinsic generator Dr. Abderazzi built some years before.
LIONEL
How did you get this?
Charles walks over to the wall and flicks on the lights. Suddenly we see the extent of the plans.
Multiple massive capacitors align the great room to the ceiling. Row upon row of electrical power nodes emanate rays of generated energy.
Massive electrical waves of energy flow through the capacitors.
CHARLES
After your government made their
plans for this very clear. We
knew we had to respond. We
knew the world’s survival depended
on our acting, and not waiting.
LIONEL
You people have no idea what
your messing around with. You
could annihilate the planet and
everything on it.
Damon walks up to Lionel and releases him from his bounds. Lionel rubs his wrists. Damon walks away as henchmen bring Lionel up to a series of computer monitors.
LIONEL (CONT'D)
What are you expecting me to do?
Damon turns to Lionel and gives him a punch to the mid section.
DAMON
Once again. Always making me bring
out the old fashioned way of doing
things.
Lionel lifts himself. He tries to breath.
CHARLES
I would think your purpose here
would be clear. As of this
moment. You are the only person
capable of making this work.
LIONEL
Work? For what?
CHARLES
Twenty years ago, when you and
your colleagues first accomplished
this miracle, we had already been
hard at work. For hundreds of years
we have been relying on bits and
pieces of history to allow us to
find a source great enough to power
the stones.
LIONEL
Stones? The crystals.
CHARLES
Yes. The crystals. They make it
possible to see time and space.
But without a power source capable
of accelerating the effect. It
becomes useless. A bird without
wings.
Lionel looks around.
LIONEL
What makes you think I can help you?
Charles laughs and walks away. Damon walks to Lionel.
DAMON
You already have.
INT. DIMLY LIT ROOM - NIGHT
Charles enters the room. Rachel is sitting on the floor looking through the book. She looks up to Charles. He has a warm glow.
RACHEL
When I was young. This book
kept me so entertained. I must
have read it a hundred times.
CHARLES
Perhaps two or three hundred. Who’s
to know.
RACHEL
I had a vision. When I looked into
the stones.
CHARLES
Only the truly gifted are capable.
What did it show you?
Rachel looks down at the book.
RACHEL
I saw myself with my mother. She
was taking me away. She was taking
me away... from my father.
CHARLES
Your... Earthly father.
RACHEL
She was taking me somewhere in the car.
Rachel looks at Charles.
RACHEL (CONT'D)
We came over a steep road. It was
raining. There was a...large truck.
Charles takes one of Rachel’s hands.
RACHEL (CONT'D)
We crashed into... a wall or
something.
Charles holds the other hand as well. A tear falls from Rachel’s eye. She drops her head.
CHARLES
Time and space are infinite.
Coexisting on many levels. So
many in fact that beings who
had the ability to travel
across various time lines,
began to change history in order
to protect their future. The
only way to defend against
them changing our past, was
to choose our own future.
Before it ever happened.
RACHEL
What are you saying? You can see
the future... and choose it?
Charles face begins to light up.
CHARLES
Being able to choose a future
for Mankind prevailed over the
total destruction of it.
RACHEL
How many possible future are there?
Charles looks deep into Rachel’s eyes.
CHARLES
That vision of you and your
mother in the car. That was a
possible future.
Rachel gasps quietly.
RACHEL
What do you mean...future? How
could that happen if I’m already
here? I didn’t die in that crash.
CHARLES
Rachel. Life is choices. The
night you chose to go with your
father. What happened?
RACHEL
We drove to a big house in the
country.
We zoom into Rachel’s eyes.
INT. BIG HOUSE IN THE COUNTRY - NIGHT (FLASHBACK)
RACHEL (V.O.)
I remember it because of the
smell of the wild flowers. Blue
Violets.
Archie holds Rachel’s hand as they walk into the big house. A woman greets them wearing a nice dress.
WOMAN
Hello. This must be Rachel.
Rachel nods her head to the woman. The woman reaches for Rachel’s hand. Rachel pulls back to her father.
WOMAN (CONT'D)
It’s alright Rachel. We’re just
going to get you a nice cold
drink. Would you like that?
Rachel looks up to Archie.
ARCHIE
Go ahead baby. It’s going to be
fine.
The woman escorts Rachel into another room. Archie enters an office.
INT. OFFICE - NIGHT (FLASHBACK)
There is an old oak desk in the corner. Several shelves and cabinets hold thousands of books. The chair to the desk swings around.
Charles rises to his feet. Only slightly younger looking.
CHARLES
This will be a day you will long
remember.
Archie stands there.
ARCHIE
I’m doing this for Rachel. Not
for you. Not for the world. For
her.
Charles walks to Archie and places his hand on his shoulder. They turn together and pace the room.
CHARLES
We all have our future to think of.
We make our choices for selfish
reasons.
They reach a door. Charles opens it and allows Archie to enter first.
OBSERVATION ROOM - NIGHT (FLASHBACK)
Archie walks into the room. A large observation glass window allows him to sees Rachel sitting in a hospital bed with electrodes all over her head and chest.
Archie turns to Charles.
ARCHIE
What the hell is this? You said
you were going to talk with her.
Damon appears behind Archie. Archie begins to shake. He screams and falls to the floor and passes out.
Bald man and Charles look at Rachel through the glass.
CHARLES
Are you ready to choose?
Rachel looks around and sees herself in the large glass of the observation room. She is an adult.
INT. HOSPITAL ROOM - NIGHT (PRESENT)
Rachel snaps out of the memory. She is grabbed by several robed henchmen.
RACHEL
What’s going on!
She is being strapped into the bed. Rachel looks over to the glass window. She sees her reflection. She is ten years old.
RACHEL (CONT'D)
What’s happening?! Who are you?
Where am I?
Rachel looks up and sees Damon. He grabs her face with both hands.
DAMON
I told you. You’re still a little
girl.
Damon looks over and nods his head to the woman standing next to him. She begins placing electrodes on Rachel’s head and chest.
INT. DIMLY LIT ROOM - NIGHT
Rachel is brought back by Charles.
CHARLES
Rachel! Rachel!
Rachel looks at Charles. She’s clutching the book.
CHARLES (CONT'D)
You were off on your own. I had
to bring you back.
Rachel turns around. She slowly backs away from Charles.
CHARLES (CONT'D)
What did you see?
RACHEL
You. You were there. With my
father. Hurting a little girl like
that.
Charles reaches for Rachel.
CHARLES
Rachel. What you saw was only one
of a million possible time lines.
Perpetuated events that you formed
into reality.
Charles holds onto her by the arms.
CHARLES (CONT'D)
Easy now. Be calm. Every moment in
your life is a memory formed from
interpretation. How you interpret
past events allows you to form a
future. A future that can become
real.
Rachel slumps in his arms. She’s exhausted.
CHARLES (CONT'D)
Come now. In time. Nothing will
be beyond your reach.
The two enter another room.
INT. GENERATOR ROOM - NIGHT
Lionel stands against a wall with his hands tied once again. Some men in yellow lab coats are fiddling around with capacitors and such.
Damon has left the area. Two robed henchmen stand in the area. Lionel looks at one of the yellow coated technicians. The technician slowly cocks his neck and stops what he was doing. The technician turns and walks to Lionel.
One of the robed henchmen sees this and tries to prevent the technician from getting any closer. Another technician comes from behind the robed henchman and drives a grated tool into his back. The robed henchman screams and is stabbed repeatedly in the back.
The other henchman comes over to stop the technician when another technician attacks him. Soon, several technicians are attacking the lone henchman. A technician comes to Lionel.
LIONEL
That’s it. Your doing fine.
The technician releases Lionel. Lionel runs over to the generator output relay system. Some of the technicians have begun attacking each other. They have blocked the door to the room.
LOUD ALARMS.
Lionel accelerates the frequency output system. The timer on the side of it’s panel decreases by ten minutes. It’s set to go off sooner than expected.
Lionel looks around the room. Up above the door there is an observation window. Damon is standing there watching the events unfold.
INT. DIMLY LIT ROOM - NIGHT
Rachel sits on a plush sofa. The book still in her hands. Charles is at the encrusted box. Damon enters the room.
CHARLES
I don’t remember giving you permission
to enter.
DAMON
We have a problem.
Charles looks at him.
CHARLES
Problems are for mortals.
Charles looks at Rachel.
CHARLES (CONT'D)
She is almost ready.
Charles turns back to Damon.
CHARLES (CONT'D)
Do what you must.
Damon walks over to Rachel and waves over several robed henchmen. The robed henchmen lift Rachel from the sofa. They carry her into the next room.
Damon turns to Charles.
DAMON
Did she entertain you?
Charles looks back to the box. He opens it.
CHARLES
She is merely a conduit. A vessel
for me to use as I please.
DAMON
Dr. Walker is dead.
Charles looks away.
CHARLES
Not yet.
INT. BASEMENT HALLWAY - NIGHT
Lionel sneaks down a long hallway. He avoids some robed people on their way to the alarms. Lionel ends up at the cellar door. He unlocks it and opens the door.
Andrew is standing there holding the small stool in his hands.
LIONEL
What were you going to do with
that?
Andrew drops the stool.
LIONEL (CONT'D)
Come on. I have a job for you.
Lionel and Andrew follow the hallway until they reach a courtyard.
EXT. COURTYARD - NIGHT
Lionel and Andrew hide in the staircase leading to the courtyard.
LIONEL
Rachel is in the main room.
Just through those doors.
Andrew looks over. He turns back to Lionel.
ANDREW
What are we going to do?
Lionel looks at Andrew.
LIONEL
Not we. You.
ANDREW
What do you mean? Where are you
going?
Lionel turns back down the hallway. He stops and looks at Andrew.
LIONEL
When you feel the ground shake.
You’ll know it time. Go in and
get her.
ANDREW
Wait! Where are you going?
LIONEL
To give us a thirty second head start.
Andrew turns back to the courtyard and grimaces.
INT. DIMLY LIT ROOM
Lionel comes through a door. Damon and Charles are standing near the box.
Damon turns to Lionel.
DAMON
Just couldn’t leave it alone.
Could you?
Lionel walks to the center of the room. Charles turns and walks into the next room. The door closes behind him.
DAMON (CONT'D)
I’m going to have front row seats
to the show of a life time.
LIONEL
Punching your ticket are we?
Lionel just stands there. Damon walks up to him.
DAMON
You know how this is going to go
down. Don’t you?
Lionel smiles.
LIONEL
I figure. We’d stare at each other
until one of us blinks. Surely
that’s enough time.
Damon grins. He nods his head.
DAMON
Enough time?
Lionel smiles back at him. Damon’s eyes widen.
DAMON (CONT’D)
Until one of us blinks.
The two stand in front of each other. Staring into each others eyes.
INT. TEMPLE ROOM - NIGHT
There is a see through floor as you walk in this room. Rachel sits in the middle of the floor in a long robe drenched around her.
Several other robed people are standing around her.
Charles stands behind her. He is holding out the stones in their receptacle. Charles starts chanting in another language.
CHARLES
Σερπεντσ οφ ωισδομ. Σερπεντσ οφ
ωισδομ.
All the robed people begin chanting. Rachel awakens to the chanting. She looks around the room. She can’t move. She stands to her feet.
Charles turns to Rachel. He walks up to her. He places his hands on her temples. He looks deep into her eyes.
CHARLES (CONT'D)
Are you ready to see what God
has seen?
A brilliant flash.
EXT. SPACE/TIME - NIGHT
Rachel’s mind travels through energy streams and brilliant arrays of light and energy.
EXT. OPEN FIELD - DAY
A pregnant Rachel is sitting in an open field of grass. She is covering her eyes from something.
RACHEL
Can I open them now?
VOICE
Not yet.
Rachel sits there.
VOICE (CONT'D)
Alright. Now.
Rachel opens her eyes. Andrew is standing there holding out a wedding ring wrapped in a large beautiful leaf. Rachel unwraps it.
She looks up at Andrew. She smiles.
EXT. SPACE/TIME - NIGHT
Rachel travels through time once again.
INT. ARCHIE’S OFFICE - NIGHT
Archie is sitting in his chair. Young Rachel sits across from him. He holds out his hand and caresses Rachel’s hands.
ARCHIE
I kept things from you. From your
mother. In time. I hope you’ll
forgive me and know that I
love you. All this...was because
I loved you.
Monica enters the room with a camera. She places it on a cabinet. She sets the timer and hurries to the side of Rachel.
MONICA
I’m sending this to your grand
mother in Maine.
Archie, Monica and Rachel look up to the camera.
RACHEL
Say cheese.
They let out a smile.
ARCHIE/MONICA
Cheese.
CAMERA MECHANISM SOUND.
A bright flash of light.
EXT. SPACE/TIME - NIGHT
Rachel enters the telepathic journey once again. She suddenly sees the lights go dark around her. Rachel looks around in a panic.
INT. TEMPLE ROOM - NIGHT
Rachel is suddenly brought back to the real world. Everything around her is falling to pieces. The house and all the rooms are disintegrating.
Andrew is grabbing at her arms.
ANDREW
Come on! Rachel! Come on!
Rachel looks around and sees all the robed people are dead on the floor. Charles Cavannaugh is lying on the floor with a huge metal ceiling support running through his body.
CHARLES
Racrehel! Help me! Racrehel!
Rachel jumps off the center piece she was standing on and runs through the house with Andrew. She turns to him.
RACHEL
Where’s Lionel?! How did you
find me?!
Andrew keeps pushing her to the front door and the open court yard.
ANDREW
I can’t explain it! The ground
started rumbling and when I came
into the front room! Everyone was
standing still! Like they were
frozen in time!
They make it to the court yard. They run through the yard and out onto the acreage.
RACHEL
What do you mean Frozen?!
Andrew turns to Rachel.
ANDREW
That’s what I said! Then the
whole place stated falling
apart around me!
Rachel stops and looks around.
RACHEL
Now you see. Don’t you my child?
So many possible futures for you
and I to see together. Only when
we cross all of time, will we
choose a world fit for us to rule.
Rachel turns around. She sees Charles behind her. He smiles a warm smile at him.
RACHEL
No. Not like this. Not like this.
Andrew looks at Rachel.
ANDREW
What is it?
Rachel looks at Andrew. She reaches out for his hand. She holds it tightly. Andrew’s face goes somber.
ANDREW (CONT'D)
You’re going in aren’t you?
Rachel tightens her grip on his hand.
ANDREW (CONT’D)
Will I see you again?
Rachel smiles. She kisses him.
RACHEL
Only time will tell.
Rachel takes a step backwards.
BRIGHT FLASH OF LIGHT.
EXT. SPACE/TIME - NIGHT
Rachel flows through currents of time and space. Multiple possible predicted futures echo around her.
CHARLES
So many possible futures for you
and I to see together! Only when
we cross all of time, will we
choose a world fit for us to
rule! A world... of our own
creation!
Rachel turns around. She sees Charles behind her.
CHARLES (CONT'D)
This is what you were meant for!
She smiles a warm smile at him.
RACHEL
My life. My choice.
BRIGHT FLASH OF LIGHT.
INT. FRONT ROOM - NIGHT
Archie walks up grabs a jacket from the closet. He turns and sees Rachel on the stairs. Monica comes walking up.
ARCHIE
Have you been there long honey?
Rachel nods her head. Archie reaches in and gently takes Rachel’s hand.
ARCHIE (CONT'D)
Daddy knows some people who want
to help you. Do you want to meet
them?
Rachel looks over to Monica.
Rachel looks back over to her father. She slowly shakes her head “no”.
Rachel walks to her mother.
RACHEL
I love you Daddy. But I can’t
come with you.
Archie turns and faces Monica. A tear runs down Monica’s face.
Rachel walks over with Monica’s hand and grabs Archie’s hand. They all hold hands.
Archie sighs. He slowly releases their hands. He turns to the door and leaves the house. Rachel looks up at Monica and smiles.
EXT. TRINITY CHURCH CEMETERY - DAY
A light rain is falling.
A series of people dressed in black slowly make their way out of the cemetery. As they slowly dissipate into the fading daylight, Archie Woods can be seen as the last person to leave.
Archie has his head hanging low. He slowly stands to his feet. He makes his way down a cement path that winds through the cemetery.
EXT. SIDEWALK OUTSIDE CEMETERY - DAY
A woman is walking with her young ten year old son. The boy
looks up at his mother.
It’s the same boy who asked Rachel to come out and play.
BOY
We’re here mommy.
He pulls at her hand until she relents and releases him. The boy runs through the gate leading to the cemetery. He runs until he’s almost at a certain grave site.
The young boy stops running. There is a man wearing a post man’s navy blue colored trench coat and a blue hat. He is placing something at the headstone.
The boy approaches the grave.
BOY (CONT'D)
Hello.
The post man turns his head slightly to the boy.
MAN
Hello.
The boy looks down at the headstone. It reads: In Loving Memory, Rachel Woods, 1980-1990
The headstone is beside another headstone of Rachel’s mother.
Leaning against Rachel’s headstone is the large book on Ancient Worlds and Lost Kingdoms.
BOY
What kind of book is that?
The man doesn’t take his eyes from the headstone.
MAN
A book of dreams.
The boy moves to the man and stands beside him.
BOY
She was my friend.
The man glances over.
MAN
It’s good to have them.
BOY
Did you know her?
The man places his hand on the boys shoulder.
MAN
No...but I would have.
The man turns. We see now that it is Lionel. He walks away from the grave. The mother of the young boy appears just inside the cemetery. She calls to her young son.
WOMAN
Andrew. It’s time to go dear.
The boy takes a step to the headstone. He places a flower next to the headstone. It’s a blue violet. The boy runs to his mother. They turn and leave the cemetery.
THE END
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