FADE IN:

INT. PLANT - DAY

In a plastic plant, workers grumble, as they take rolls 
of film from extruders and place them on machines that 
convert them to rolls of plastic tubing. 

Supervisors walk through aisles, checking work progress and product quality.

INT. OFFICE

In a cramped office, several men work on desks.

ALAN TAYLOR, 30s, wearing  eyeglasses, studies a blueprint on a desk that is cluttered with piles of documents and files.  

A loud plant whistle is HEARD.

Several men exit the office.
				
Alan takes out a sandwich from a lunch pail and takes 
a bite out of it.

A voice over an intercom.

				PRICE (O.S.)
	Alan will you come into my office please?

				ALAN
		(at intercom)
	Yes sir.

He takes a large bite out of his sandwich.  He gets up -- his shoulders are hunched -- He exits the office.

INT. PRICE’S OFFICE
 
The office is neat with everything in its proper place.

PRICE, a tall man and Alan study a large blueprint spread over a large desk.

			PRICE  
	I want you to study these blueprints.
			
				ALAN
	What kind of a plant is it?

				PRICE
	Plastics.  It’ll be ours shortly.

				ALAN
	Where are they located?

				PRICE
	In Chicago.  We’ll be moving our operations
	there.  

Alan stands stunned.

				PRICE
	It’ll be a step up for you and you’ll 	
	be getting a hefty raise.

				ALAN
	I’ll have to discuss this with my wife.

				PRICE
	We want you to make a trip out there and 
	give us a detailed report.

Price hands him the blueprints 

EXT. DOWNTOWN - DAY

The sky sparkles in the sunlight.

The area teems with activity

The luncheon crowd move in herds among the parked cars.

Cars and buses lumber along bumper to bumper on streets.

People pour in and out of shops, office buildings, restaurants and galleries. 

INT. STEWART'S REAL ESTATE CO.

Employees work in a maze of cubicles.

BARBARA TAYLOR, an attractive young woman in her thirties sits at a desk with MR. and MRS. OHARA, a middle age couple.  Barbara hands Mrs. Ohara keys and a booklet.

					BARBARA
		  If there's anything else you need that we can 			 help you with, just call us..
		
				MR. AND MRS. OHARA
		(in unison)
	Thank you.

				BARBARA
	It was our pleasure.

Mr. And Mrs. Ohara exit the office

INT. STEWART’S OFFICE
	
CHARLES STEWART, a dapper looking  man in his forties and 
Barbara sit at a desk. 
	
			STEWART
	     This makes a record month for us, thanks
		in great part to you.
 
			BARBARA
	We’ve had some good properties to sell

			 STEWART
	I believe you’re ready for a higher 
	position.

				BARBARA
	I’m happy being on commission.

				STEWART	
		I’m offering you a partnership.  You’d 
		have many perks as a partner.

					BARBARA
		That’s what I'm afraid of.

					STEWART
		An opportunity like this doesn’t come 
		along every day.  Think about what
		this could do for you and the company.
			     
					BARBARA
		I just can’t spare anymore time away 
		from my family, but thanks. 		

					STEWART
		Someday you’ll see things differently.

EXT/ INT HOUSE - NIGHT

The sky is charcoal.  The wind blows wildly.

Alan and Barbara and their children- TOMMY, a boy 
of six and LEAH, a girl of eight - are finishing dinner.

STELLA, a golden retriever, sits on the floor beside them.

				    LEAH
	Mommy, can we watch TV?
				
				BARBARA
	Yes, but don't make a mess there.

Leah takes Tommy's hand and they exit the room.

Barbara gathers the dishes and silverware and walks into 

THE KITCHEN

Barbara places the dinnerware into a dishwasher and she returns to

THE DINING ROOM

				BARBARA
	It's so unfair  Why should we have 
	to move after all the work and money
	we've put into the house.		
	
				ALAN
	We can always sell the house and buy a
	new one when we relocate.

				BARBARA
	I'd have to give up a good job and our
	children wouldn't be too happy about it.

				ALAN
	I don't make the decisions.  They do and 
	there's nothing we can do about it.

				BARBARA
	You can find another job here and
	then we wouldn't have to move.

				ALAN
	I'd be getting more pay now and a... 
							
				BARBARA
	...How many times have I heard that 
	before?  There just has to be another 
	way...I'm going to bed.

Alan stares at Barbara, as she climbs the stairs.

Stella, the dog snuggles up against Alan. She walks to the 
door and turns toward Alan.

				ALAN
	All right.  We'll go for a walk.

Alan gets a leash from the closet, hooks it on to Stella's 
collar and they exit the house.					

EXT. WOODS - NIGHT

The stars wink at a black velvet sky.

Alan and Stella walk in the woods.  Stella energetically 
pulls Alan with her.
				
				ALAN
	Stella slow up.  

They continue their walk.  Alan's face is wrinkled with 
anguish, as he mumbles some words and shakes his head,
				(a beat)
Stella suddenly stops.  She starts to whine softly and pulls Alan backwards.  A whirling sound is  heard and gets louder.  

Bright lights whirring above, shed a blazing radiance.

Alan holds Stella tightly.  He smiles, as he stares at the sky.  Within a flash, the whirling sound stops and the sky turns black.

Alan and Stella walk toward the house.

INT. BREAKFAST ROOM - DAY

Barbara gathers Leah and Tommy.  Alan drinks a cup of coffee. His bag and raincoat are beside him.
	
			BARBARA
		(to children)
	Let's hurry now or we'll be late.
			(to Alan)
	When's your flight?

				ALAN
	Eleven

				BARBARA
	Call me when you get there.

				ALAN
	Okay.
	
Barbara and the children kiss Alan, then leave.

Alan reads his newspaper while drinking his coffee.
				(a beat)
The whirling sound is heard.  Alan gets up and looks out of the window.

Bright lights blaze in the sky.

He exits the house.  He looks up at the sky.  He stands rapt, his face twisted with disbelief.

A large saucer type space ship hovers above him.  Its multicolor lights form a funnel that envelops him.  The funnel slowly lifts him into the space ship.  

Within a flash the ship darts off the sky.

INT. SPACE SHIP

The ship is shrouded in a gray mist.

Alan is laid out on a large table.

Several strange looking aliens in white gowns and masks, hover over him.  They probe his body with long needles and converse with each other in a soft strange language.

Alan's attempts to move his body are unsuccessful.  He opens his mouth to scream, but no sound is heard.

The aliens continue to probe Alan's body.

LATER

EXT/INT. HOUSE - DAY

Alan walks into the house.  He sits for a moment, then stares at his bag and raincoat.  He looks at his watch and shakes his head as if to clear it.  He  picks up a phone and punches a number.

				ALAN
	Hello..This is Alan Taylor...
	I'm waiting for your taxi...He's 
	on his way?... Thank you.

He hangs up.  He puts on his jacket and gathers his bag and raincoat.

INT. AIRPORT TERMINAL - DAY

Passengers pour in and out of terminals. 

Alan with a carryon bag, emerges from a terminal.  He scans  the area.  He stops, his face a mask of disbelief.  
A man, the mirror image of himself, dressed in a sharp designer suit, walks past him.
 
Alan shakes his head as if to revive.  

				Billy (O.S.)
	Mr. Taylor.

BILLY GORDON. A young man in his twenties approaches Alan. 

				BILLY
	Mr. Taylor, I'm Billy Gordon from Westgate.

				ALAN
	Oh! Hello. How did you know it was me?

				BILLY
	They showed me your picture. Do you have 			anymore bags?
                                                      
				ALAN
	No, this is it.  
                              
				BILLY
	The car's outside.

They proceed to walk to 

THE AIRPORT EXIT 

Billy and Alan get into a chauffeured limousine and drive 
off.

INT. LIMOUSINE

Alan scans the interior of the limousine.

				ALAN 
	This is awfully nice of you people.
		
		 		BILLY
		(handing Alan a card)
	I've already checked you into the hotel.
	If you need anything at all, call me.

				ALAN
	Thank you.

Alan places the card in his wallet.

The limousine pulls up to a hotel.

Alan emerges from the limousine.  He waves to Billy.

Billy waves back, as the limousine drives off.

Alan enters the hotel

LATER

INT. HOTEL ROOM

Alan talks on the phone

INTERCUT

Barbara at home.

				ALAN
	I should be through here in a day 
	or two.

				BARBARA
	We have to have a serious talk about 
	all this when you get back.  

				ALAN
	We will.  How are the children?

				BARBARA
	They're fast asleep.

				ALAN
	Give them a kiss for me.
	
				BARBARA
	Call me before you leave.

Barbara hangs up.

Alan holds the phone for a moment then hangs up.

END INTERCUT  

EXT/INT. RESTAURANT - NIGHT

Alan is finishing his meal with a coffee.  A waiter arrives with a check.  Alan signs the check.

				WAITER
	Thank you. Would you like a taxi Sir?
				
				ALAN
	No thanks.  It's just a short walk to
	the hotel.

				WAITER.
	Have a good evening.

Alan gets up from his table and walks out of the restaurant and into

THE STREET

Alan walks on the street.  A misty fog blankets the quiet, 
empty street. Alan turns up his jacket collar in an attempt to keep the wind away.

He enters an alley and continues walking.  
Ahead of him. three young men with long hair, dressed in 
chinos smoke cigarettes.
  
Alan approaches and is stopped by one of them.

				FIRST MAN
	Pops, can you spare a cigarette?

				ALAN
	I don't smoke.

Alan starts to walk away, when he is confronted by the second man.

				SECOND MAN
	How about some cash instead?

The men surround Alan.

				ALAN
	I've only got a few dollars in cash.

				THIRD MAN
	We'll take it.

Alan starts to take out his wallet.

The first man hits Alan on the head with a Billy-club. 
Alan crashes hard to the ground.  He is unconscious.  
The men quickly rifle his clothes, taking his wallet, watch, gold ring and jacket.  They quickly run away. 	

LATER

Alan wakes up.  He holds his head, his face twisted with 
pain.  He attempts to get up, but falls back to the ground.  He sits up and shakes his head, his body shivering violently. 
 
FRED, a barrel-chested man and HARRY, a small cricket of a man, walk toward Alan.

				FRED
	Hi, what's doing?

				ALAN
	I don't have anything.

				HARRY
	We don't want anything.

Alan holds his head.

				FRED
	Looks like someone's jumped you.
	I'm Fred and this is Harry.  What's
	your name?
  
				ALAN
	...I don't remember.

				FRED
	We'll call you Smith.  Joe Smith.  
	That's a good moniker.  Here, have 
	a swig.  It'll do you good.

Fred and Harry help Alan to his feet.  Fred hands him a 
small flask of whiskey.  He helps him drink from the 
flask.  Alan coughs.
  
				FRED
	Come with us.  We're going up north.  
	We'll get you squared away

Fred and Harry lead Alan through the alley.

INT. PRICE'S OFFICE

Price talks on the phone.

				PRICE
	Mrs. Taylor, he hasn't shown up yet...
	And you checked the hotel?  It not like 
	him at all... Of course.  He knew how 
	important the meeting was...Something's 
	terribly wrong...Call me if you hear 
	anything...Yes, he's got to be found

He hangs up, his face locked in confusion and anguish.

INT. POLICE STATION - DAY

In a small office, Casey, a young, lean, muscular detective sits at his desk. 

Stacks of paperwork, dust-gathering, water-stained letters are on his desk.

Barbara sits on a chair in front of Casey.
				
				BARBARA
	This has been so dreadful for us.  My 
	children cry all night and we have 
	terrible nightmares.

				CASEY
	Believe me I do sympathize with you.

				BARBARA
	Then why aren't you doing something
	about it?  It's been weeks that he's
	missing. 

				CASEY
	We just don't have the man power to
	work on your case now.  We haven't even 		started on some of our hi-priority cases.

                         BARBARA
		(with tears in her eyes)
	Do something for us.  Please!

				CASEY
	You may want to look into an outside 
	agency.

				BARBARA 
		(getting up)
	And we pay taxes for you police.

Casey gets up.  He attempts to shake hands with Barbara.  
She evades his gesture and storms out.

EXT. HIGHWAY - DAY

An open truck speeds along the highway.

INT. TRUCK

Fred, Harry and Alan, dressed in chinos and T shirts are huddled together with other men.  

					FRED
	It won't be long now.  

					HARRY
	How do you feel?

					ALAN
	The air is very clean.

					HARRY
	You still don't remember who you are?

					ALAN
	I'm afraid to find out.

					FRED
	It'll come back to you.

The truck arrives at the gates of Melvin's Farm.  The truck honks its horn and the gates open.

The truck drives through a landscape of massive groves and trees, then pulls up to a driveway of a large house.

The men jump off the truck.  They are met by JIM MELVIN, 50's, a broad shouldered man and Betty,20's, a young attractive woman.

					FRED
		(to Melvin and Betty)
	Hi!  Meet Joseph Smith.

				MELVIN
		(shaking Alan's hand)
	Welcome.

Betty shakes Alan's hand and gives him a broad smile.

A Foreman leads Fred, Harry and Alan into a 

BARRACKS

Fred, Harry and Alan take adjacent beds.

				FRED
	As they say, another season another show.

LATER

EXT. FARM - DAY

The farm sparkles in the sunlight. 

Men and women pluck vegetables and fruit from the 
plants and trees and place them into baskets.

Fred, Harry and Alan work arduously in picking vegetables 
from the ground.

Harry's hair has turned gray.  His face is wrinkled and 
weather worn.  He is unsteady on his feet.

Alan stands up for a moment.  He wipes his face with a 
handkerchief and stretches his body.  He is tan, his
body erect and he wears no eyeglasses.

				FRED
	Well Joseph. Next week we'll be back in 
	Chicago.

				ALAN
	I'll be sorry to leave.

BETTY, carrying a water bag approaches Alan.  	
	 
				HARRY
		(smiling)
	I wonder why?

Betty fills a large cup of water and hands it to Alan.

				ALAN
	Thanks Betty.

He drinks the water thirstily.		

				BETTY
	Are we going to the dance tonight?

				ALAN
	I haven't made any plans to.

				BETTY
	Dad's letting me have the car.  I'll  
	pick you up.			

				ALAN
	Would Dad approve?

				BETTY
	Of course.  He likes you.

				ALAN
	Then I'd be happy to go.

Betty gives him a quick peck on the cheek.  

She proceeds to dole out the water to the other farm workers.			
				FRED
	We've got a few more jobs lined up
	when we get back. Join us for a drink 
	tonight and we'll talk about it.

Alan stares at Betty, as she continues to dole out the 
water.  Betty turns toward Alan.  She gives him a broad 
smile.

				ALAN
	I can't make it tonight.		
				
BLACK SCREEN

Dance music is HEARD.

FADE IN

INT. BARN - NIGHT

Couples dance to a slow beat. 

Young men and women stand by the wall observing the dancers.  

At a long table, people partake in refreshments. 

Alan and Betty dance closely.  Betty rests her head on 
Alan's chest.  She looks up at Alan.

				BETTY
	Are you really leaving?

				ALAN
	It looks like it.

				BETTY
	Dad wants to give you some work
	here after the season.  

				ALAN
	That's very kind of him.

				BETTY
	Dad says that you must have been an
	engineer.  

The music stops. Alan looks ahead.

				ALAN
	There they are.

Fred and Harry approach.
				
				ALAN
	What are you guys up to?

				FRED
	We're going to town.  

				BETTY
	I hope you're not taking Joseph away.

				HARRY
	You're welcomed to come along.

Betty locks eyes with Alan searchingly.  Alan smiles.

				ALAN
	We'll do it another time.  Have a good 
	time.

				FRED
	See you tomorrow.

Alan and Betty walk out of the barn.   

EXT. BARN

Stars wink at a black velvet sky.

				BETTY
	You and your friends are very close.
	Aren't you?

				ALAN
`	I'd be completely lost without them. 
	
				BETTY
	What's wrong with Harry?  

				ALAN
	He's been aging rapidly.               	  		

				BETTY
	Is there anything that can be done?

				ALAN
	I don't know.  Fred's taking him 
	to a specialist when we get back to
	Chicago.

				BETTY
	I hope they can do something for him.
			
				ALAN
	We hope so. 
	
				BETTY 
	You're so different from your friends 
	and everyone else here.  Who are you 
	and where do you come from?

She looks into his eyes searchingly
			 
				ALAN
	I don't know who I am.  I only remember
	my friends Fred and Harry.  I'd be lost
	without them.

				BETTY
	And what about me?

				ALAN
	You make me very happy.

				BETTY
	Then don't leave. 
Betty comes close to Alan.  She kisses him lightly.
  
A lull, then she takes his hand.

				BETTY
	Let's dance.

They return to the dance floor.

LATER

EXT. BARRACKS - NIGHT

A car pulls up to the driveway. 

INT. CAR

Alan and Betty are in a close embrace.  They kiss long and passionately.

				BETTY
	If you leave, take me with you.  
	
				ALAN
	I'd only complicate your life.  

				BETTY
	How could that be?  

				ALAN
	I can't give you anything. 
	
				BETTY
	I guess I've been making a fool 
	of myself.	

				ALAN
	I had a very good time tonight.

They exchange doleful looks. 

Alan gets out of the car and walks toward the barracks.  
He stops midway, turns around and waves to Betty.

Betty waves back and drives off.  				

EXT. BARRACKS - MORNING

Farm workers carrying their belongings, board trucks and 
cars.

Fred helps Harry onto a truck,  He then climbs aboard the 
truck.  Fred motions to Alan to get on the truck.  

Alan and Betty stand a distance from the trucks.  Alan 
holds up his hand,telling them to wait.

			BETTY
	You'll write won't you?

			ALAN
	Of course. They're waiting for me. 
	I've got to go.

Alan kisses her.  Betty holds him tightly.  Alan disentangles himself from her, until his hands slowly slip away from hers.  

He runs to the truck, throws his belongings on the truck and climbs aboard.  He waves and smiles at Betty.

Betty waves back, her tears rolling down her cheeks.

EXT. BUS TERMINAL - NIGHT

A bus arrives at the terminal.  Passengers board the bus.
Fred, Harry and Alan stand near the bus.

				ALAN
	I'd like to come along with you.	
	Maybe I can be of some help.

				FRED
	It's not necessary.
  
				ALAN
	I wouldn't mind.

				FRED
	It's better this way.  We'll see each 		other again.
  	
				ALAN
	How will I be able to reach you?

				FRED
	We'll find each other.

Fred hands him a sparkling jade amulet.

				ALAN
	What is this?

				FRED
	It'll be your good luck charm.  

				ALAN
	How do I use...

				FRED
	...You'll know when the time comes. 
	Guard it carefully.

Alan embraces Fred and Harry.	 

Fred and Harry board the bus.

Alan, holding the sparkling amulet, waves at the bus as it drives off and recedes in the distance.

EXT. CITY OFFICE BUILDING - DAY

It is a cold bitter morning.  The wind roars fiercely.

In front of a tall office building, several homeless people sleep in front of the building entrance.  

They are huddled together to escape the fury of the cold wind.

Sanitation men pick up trash and haul it onto trucks.

People walk briskly in all directions.
A police wagon stands at the curb.

A policeman walks up to one of the homeless.  He twirls 
his stick, then slams it on the soul of his shoe.

				POLICEMAN
		(loudly)
	Come on move it.  And I mean everyone.
	Let's go.

The homeless slowly wake, their eyes glazed and bloodshot.

The policeman shoves his stick into their bodies.

				POLICEMAN
	All right!  Up you go, into the wagon.

The homeless get up.  They gather their belongings and trudge toward the police wagon.

A figure opens his blanket.  

It is Alan,  His clothes are tattered and he has a week's growth on his face.  He gets up and follows the others into the police wagon. 

EXT/INT. GEORGE'S ESTATE - DAY

A car drives along a tree-lined road that sweeps up to a
driveway of an imposing mansion.

The morning dew glistens on a lush, green lawn, carefully 
trimmed.   A servant in a white jacket, walks a small white poodle.

GEORGE CHANIN, Barbara's father, a tall man with chiseled 
features, stands at the driveway.

Barbara, Leah and Tommy emerge from the car.  Leah and 
Tommy rush to George.  They hug him and kiss him. 

				GEORGE
	How was the trip?

				BARBARA
	Traffic was a bit heavy with a few 
	tie-ups, but not too bad,

				TOMMY
	Grandpa, can we go swimming now?

				BARBARA
	I'm sure Grandpa would let you, 				
	but 	now we'll talk to Grandpa first.			

				GEORGE
	We'll go swimming soon.  And now that
 	everyone's here, we're  all going to 
	have ourselves a big party.

				LEAH
	Will there be any presents?

				GEORGE
	Of course.

GERALD, a servant appears.  Barbara hands him her car keys.  He opens the car trunk and takes out several bags.

They walk into the house.

Rays of sunlight bounce off the cathedral ceiling, lighting up the marble floors and walls.

Gerald starts to climb the stairs.

				BARBARA
	Children, you go up with Gerald. I'll 
	be up soon.

The children follow Gerald up the stairs.

				GEORGE
	You look very tired.

				BARBARA
	I sometimes wonder if I'm being paid
	back for some sin?

				GEORGE
	You were always headstrong, but that's 
	not a sin.

				BARBARA
	The children are growing fast and they
	have no father.

				GEORGE
	We'll talk about it later.  Now let's 
	enjoy the weekend.
				
Barbara smiles, hugs and kisses George. 

EXT. POOL - DAY

In a large Olympic size pool, George swims with Leah and 
Tommy.  He beams with joy, as he gazes at Leah and Tommy 
swimming above and underneath the water.

Barbara sits under an umbrella, sipping a coke, watching the children.  After a beat she gets up and walks to the pool.

				BARBARA
	Come on kids.  It's time to get out.

				LEAH
	We don't want to.

				GEORGE
	Let them stay a while.

				BARBARA
	Five more minutes and then you're out.

The children swim energetically.

George gets out of the pool.  He towels off and sits next 
to Barbara.

				GEORGE
	I wish you'd take me up on my offer and
	move in here with the children.

				BARBARA
	I just can't.

				GEORGE
	Alan is a born loser.  I've always told
	you he'd amount to nothing.

				BARBARA
	I've got to find him.  I need your help.

				GEORGE
	There's a private detective agency that
	does some work for us occasionally.  
	They're very good.  I'll set up an 
	appointment for you.

				BARBARA
	Will it be expensive?

				GEORGE
	I'll take care of it.

				BARBARA
	All right kids, out you come.

The children begrudgingly get out of the pool. 

INT. DINING ROOM

A large crystal chandelier shines on the glittering plates, silver and crystal glasses. 
 
George sits at the head of a large table. Leah, Tommy and 
Barbara are seated next to him.  Gerald, dressed in a formal attire, serves dinner.

BESS, a middle age maid, brings out a large ice cream cake. She serves everyone slices.

George and Barbara exchange smiles, as they observe Tommy 
and Leah gorging themselves with the cake.

After everyone has had their fill of the desert,  Tommy 
suddenly gets up from his chair.

				TOMMY
	Grandpa, you promised us presents.

				GEORGE
	There is a way you can get the presents,
	but we have to do something first.

George takes a whistle from his pocket and hands it to 
Tommy.

				GEORGE
	Now when I give you the signal, blow
	the whistle as loud as you can.

Tommy holds the whistle.  He stares at George surreptitiously.

				GEORGE
	Now!

Tommy blows the whistle with all his might.

The kitchen doors fling open.  Gerald and Bess carry several 
gift wrapped boxes and hand them to Leah and Tommy, who 
hastily start to open them.	

				BARBARA
	Don't you think you should thank Grandpa?

				LEAH AND TOMMY
	Thank you Grandpa.
				BARBARA
	You spoil them.

				GEORGE
	What other pleasures do I have?

INT. RED CROSS - DAY

A line of frail-looking homeless men with trays, stand in front of a lunch counter.  They wait patiently, as employees dole out food and beverages.

Alan fills a homeless man's tray.

				ALAN
		Now eat slowly, you'll enjoy it more.

The man nods, gives him a half smile and trudges away.
  
Alan and the other employees continue to serve the men.

On tables, men eat slowly, their faces dark and solemn.

After a beat, the line thins out.

Alan and the employees start to stow away the food and 
clean up the area.

MARY, a middle-age woman, approaches.

				MARY
	Alan, Mr. Johnson wants to see you.

				ALAN
	I'll be right there.

Mary walks away.

Alan takes off his apron and exits the lunch room.

INT. JOHNSON'S OFFICE

Alan sits at a desk in front of TOM JOHNSON. A husky, broad shouldered man with a weather-beaten face.

				JOHNSON
	You've done an excellent job here.			We're very proud of you.

				ALAN
	Then why do I have to leave?

				JOHNSON
	It's time now that you became a part		
	of the outside world.  We've been 
	fortunate in obtaining a position for
	you at a book store  They're good people 
	and I'm sure you'll enjoy working there. 
	We also got you an apartment nearby. 
				ALAN
	I enjoyed working here.

				JOHNSON
	When we picked you up some time ago, you
	were in terrible shape.  Some of us didn't
	think you'd make it.  You've done an out- 
	standing job here and with yourself.

				ALAN
	I tried my best.

				JOHNSON
	We know that you can contribute something
	of value to the outside world.

				ALAN
	I'll try not to disappoint you.

				JOHNSON 
	The best of luck to you.

Alan and Johnson get up.  They shake hands.

INT. GEORGE'S OFFICE - DAY

It is a large office.  The walls are dark brown with 
matching carpets,

George sits behind a large desk.  He nervously smokes a 
cigar.

On the wall behind him, are pictures of George as a Marine officer and several testimonials.

Seated in front of him is BEN GOLD.  He is a middle age, 
obese man with hunched shoulders.  His skin laps over his 
shirt collar.  He takes notes, as George speaks.

				GEORGE 
	I want you to be discreet and send all
	your bills to me.	
	
				BEN
	I've got all the information from your
	daughter.  I'll be investigating everyone			and every place that Alan has been to.

				GEORGE
	I'm depending upon you.
 
				BEN
	I'll leave no stone unturned.

				GEORGE
	Keep me posted.

George gets up and shakes Ben's hand.

EXT/INT. BOOK STORE - NIGHT

People walk slowly past the sidewalks and store fronts 
decorated with their wares.

An old beggar sits before an abandoned building with 
withered palm outstretched to all that pass by.

In the store, people browse.  Some pay for their books, 
magazines and videos at cash registers.

Alan is at a cash register, ringing up a sale.

				ALAN
	Thank you.  Come again.

The next customer hands several books to Alan.  He rings up their prices.

LATER

The last customer leaves.

HOWARD, a young man in his thirties, with a pony tail, is ready to lock up the store.

Alan approaches. 

				HOWARD
	What a day we had.

				ALAN
	We were very busy.

				HOWARD
	Some of my friends and I are going to
	the new club that opened downtown.
	It's called the Kitten Club.  It's
	wild.  Join us.

				ALAN
	Thanks for the invite, but I've got some
	work to do at home.  Maybe another time.

				HOWARD
	Okay.

Howard locks up the store.
 
Howard and Alan walk away in opposite directions.

EXT. BUS STOP- DAY

Alan and several people stand at the bus stop.  Alan reads a newspaper.  After a beat, he looks up from his paper and sees

ALICE, a young slender blind woman, and her seeing-eye dog, BUDDY, approach the bus stop. 
	
Buddy cuddles up to Alan, who puts away his paper and starts to pet Buddy.

				ALICE
	I sense my Buddy has found a new friend.

				ALAN
	He's a beautiful dog.

				ALICE
	That's what they tell me.
	
Buddy keeps snuggling against Alan.
				
				ALICE
	My name is Alice.  What's yours?
	
				ALAN
	Joseph.  Where are you headed for?

				ALICE
	Marine Avenue.

				ALAN
	Huh!  That's also my stop.
				
				ALICE
	You have a very nice voice.

				ALAN
	Can I ride with you on the bus?

				ALICE 
	Buddy and I wouldn't mind.

A bus glides up to the bus stop.  Passengers get off the bus.

Alan helps Alice and Buddy onto the bus.  Alice shows a card to the driver.  
Alan pays his fare and helps Alice and Buddy into their seats.  He sits beside them. Other passengers board the bus.

The bus slowly leaves the bus stop, picks up speed and 
drives toward the next stop.

				ALICE
	Do you ride the bus often?

				ALAN
	Only when my car is in the garage for
	repairs.  I moved here recently.
				ALICE
	Where do you come from?

				ALAN
	I don't remember.

				ALICE
	I remember the good moments of my past.

				ALAN
	Where do you live?

				ALICE
	303 Marine avenue.

				ALAN
	I'm only two blocks away. I'll walk 
	you home.

				ALICE
	You don't have to.  I can find my way

				ALAN
	I'm sure you can.  I would like to.

				ALICE
	All right.

After several stops, Alice, Buddy and Alan get off the bus.  They start to walk.  They come to a one story house and walk up to a stoop.

				ALICE
	Thank you for the escort. It was very 
	kind of you.

				ALAN
	It was my pleasure.
 
				ALICE
	Would you like to come in?				
	I could make some tea.

				ALAN
	You can do that?
				
				ALICE
	I may be blind, but I'm not crippled.

				ALAN
	I'm sorry.  I didn't mean to...

				ALICE
	...I make a special blend of tea.

				ALAN
	Sounds good.

Alice takes out a key from a pocket in her skirt.  She 
inserts it in the door lock and opens the door.

INT. HOUSE

Alice, Alan and Buddy enter.  Alice closes the door.  She 
clicks the light switch on the wall, that lights up the 
foyer that leads to the parlor.  

Sunlight streams through a misty, old parlor.

Alice unleashes Buddy, who happily rushes to the kitchen.

				ALICE
		(pointing to a couch)	
	Get comfortable.  I'll just be a moment.

Alan sits on the couch.

Alice exits the parlor.

Alan gets up from the couch and studies several photos on 
the wall.  They are of a young ballerina.

				ALAN
	These photos on the wall.  Who is the 
	ballet dancer?  

INTERCUT				
				
				ALICE
		(feeding Buddy)
	That's me when I was a ballerina.
  	I danced with several ballet companies.

				ALAN
	They're beautiful pictures.

				ALICE
	Well, tea is about ready.

				ALAN
	Shall I give you a hand?

				ALICE
	No thanks.

END INTERCUT

Alice returns to the parlor.  She carries a tray of tea, 
cups and cookies.  She places the tray on a small coffee 
table in front of the couch.  She pours the tea for Alan 
and herself.  She sits next to Alan, who takes a sip.

				ALAN
	You're remarkable.  

				ALICE
		(sipping her tea)
	I know every little corner of the house.

				ALAN
	You make me feel very comfortable.

				ALICE
	I rarely have guests here, but I do 
	practice being a hostess.  Would you 
	like to hear some music?

				ALAN
	That would be nice.

Alice gets up and turns on the stereo.  
Soft dance music is played.  Alice returns to Alan.

				ALICE
	I Sometimes forget that I'm blind and
	I dance to the music for hours. 

Alice takes Alan's face in her hands.  She caresses his 
entire face.
				
				ALICE
	A handsome face but a troubled one.

				ALAN
	How do you know?

				ALICE
	Would you like to dance with me.

				ALAN
	It would be a pleasure.

They get up and dance, their bodies close and swaying with the music.  They are enraptured with each other.  After a beat, the music ends.  They return to the couch.

				ALAN
	I'm afraid I'm not a very good dancer.

				ALICE
	I'm going to have an operation on my eyes
	soon.  They tell me that it may restore my
	eyesight

				ALAN
	I'll say a prayer for you.

				ALICE
	That's very sweet of you.

				ALAN
	I should be going now.

				ALICE
	I hope we'll be seeing each other again.

				ALAN
	I'm sure we will.

He and Alice walk to the door.  He kisses Alice. 

				ALAN
	Thanks for the tea.

He exits the house.

INT. STEWART'S REAL ESTATE OFFICE- NIGHT

Barbara talks on a telephone

				BARBARA
	Hello Nancy...How are my kids doing?...
	Not too much television...Please make 
	sure they're in bed by eight... I should 
	be home by nine... You're a doll for 
	helping me out tonight... Give the 
	children my love.

She hangs up.

Stewart enters the office.

				STEWART
	We wrapped up the last block of the
	Stepping properties.  The president 
	tells me that they'll be building an 
	even greater complex.  And who do you 
	think they want for their sales and 
	marketing?

				BARBARA
	Stewart's Real Estate.

				STEWART
	We're moving fast.  I need good help in
	the worst way.

				BARBARA
	Will you be hiring more people?

				STEWART
	I need high performers and high quality
	people.  I want you to head a new department.
	You could make tons of money.  All expenses	paid and if you need anything at home we'll
	foot the expense.
        
				BARBARA
		(getting up)
	I couldn't take on such a job.

				STEWART
	Why?
		
				BARBARA
	I told you that I can't take that time away 
	from my family.
	
Stewart comes closer to Barbara.

				STEWART
	I can be more than a business partner.	
         
He looks tenderly into her eyes.  He twines his arms around her waist and kisses her.  Barbara's eyes are wide open as she pulls away.
				 
				BARBARA
	You're a handsome man and I'm sure women
	would find you desirable.  Why don't you 
	find one?

				STEWART
	There's none like you.

				BARBARA	
	You could find quite a few that 
	are better qualified than me.

				STEWART
	I want you.

Barbara gathers her coat and bag.

				BARBARA
	I've got to get home.

				STEWART
	You're still my star sales gal.  Right?
	
				BARBARA
	I don't think so.

Barbara exits the office.

INT. RED CROSS OFFICE - DAY

Men and women in cubicles work on computers.

Ben stands with Johnson and Mary.

				JOHNSON	
	Alan Taylor?  The name doesn't ring 
	a bell.

				MARY
	Would he go by another name?

				BEN	
		(handing a picture to Mary)
	Maybe.  Here's a picture of him.

Johnson and Mary stare at each other.

				JOHNSON
	That's Joseph Smith!

				BEN	
	When was the last time you saw him?

				MARY
	He left here about a month ago.  He was 
	picked up with a group of homeless men 
	and sent here for a clean up, meals, new 
	clothes and some cash.

				JOHNSON
	He was very intelligent.  He was different
	than the usual homeless person.  He worked 
	here for a while and made quite a few 
	improvements here.  We then got him a job 
	at a book store.

				BEN
	What's the name of the book store?

				JOHNSON
	Mary will give you all the details.
 	When you find him, tell him to call me. 

				BEN
	I will.

Johnson leaves.  Mary escorts Ben to an office.

EXT. BOOK STORE - DAY

Ben walks up to the book store.  He looks at the window 
display  of books, while observing Alan in the inside of 
the store.  

He takes out a notebook and makes some notations.  He 
returns to his car and takes out a camera with a zoom 
lens.  He takes some pictures.  

He waits a while and when Alan leaves the store, he takes 
several more pictures.

EXT. ALICE'S HOUSE - DAY

Alan and Alice emerge from the house.

Ben sits in his car and takes pictures of 
Alan kissing Alice good-bye.

Alan gets into his car and drives away.

Ben starts his car and follows Alan.

INT. BRADDOCK'S MOTEL - NIGHT

Ben eats a hamburger and French fries, as he writes a report. 
The phone rings. He picks up the phone.

				BEN
	Hello?...Oh Mrs.Taylor...Yes as a matter
	of fact, I was going to call you... I've
	located him and have some very interesting 
	reports...I can't discuss it over the phone.
	I'm taking the first plane out...I'll see 
	you first thing tomorrow...Good bye.
				
He hangs up the phone and resumes working on his report.

After a beat, an opening of a door is HEARD.  Ben slowly 
turns around.

				BEN	
	Who's there?...  How'd you get in here?

Ben's face is twisted in horror.

A black mass moves slowly and envelopes Ben

				BEN
		(shrieking)
	No!...No!

EXT/INT. MOTEL ROOM - NIGHT

The area is cordoned off by the police.

Newspaper and TV newsmen interview several guests and 
employees.

In the motel room, policemen and forensic experts are 
searching for evidence.

Casey enters the room.  He approaches a Sergeant.

				CASEY
	Have you got anything yet?

				SERGEANT
	Everything's been cleaned out.  There's 
	only a body.

				CASEY
	Check the telephone records for all 
	calls in and out.  Something's got to 
	show up.

				SERGEANT
	We'll get right on it.

Casey walks up to SAM, a medical examiner who examines a 
body.

				CASEY
	What do we have Sam?

				SAM
	He's completely eviscerated.

Casey looks at him searchingly.

				CASEY
	Meaning?

				SAM
	The body is completely disemboweled.
	It's as if a surgeon did the job.   
	
Casey moves closer and stares at the body.  He draws away, revolted.

				CASEY
	I'm going to be sick.  When was the murder
	committed?

				SAM
	I haven't completed my tests.

				CASEY
	An educated guess?

				SAM
	Between ten to eleven, tonight.

				CASEY
	Call me when the results are in.

Casey exits the room.

EXT. OUTDOOR CAFE - DAY

Alan sits at a table.  He eats a sandwich and drinks a soda.  He unfolds a newspaper.

INSERT 

The front page heading reads; MAN KILLED MYSTERIOUSLY IN 
BRADDOCK'S MOTEL.

END INSERT

He starts to read the article.  He suddenly looks up from 
the newspaper.  He stares at a table at the back of the cafe, confusion and wonder stabbing his face.

Alan's duplicate, sits at the table with POLLY, a young attractive woman.  They drink coffee and are in a heated conversation.  She turns around and stares at Alan, picks up her pocketbook and leaves.  

The duplicate smiles at Alan, gets up and leaves.

Alan immediately springs up, drops some bills on the table, and rushes after him.

The duplicate turns a corner.

Alan turns the corner.

The duplicate is nowhere in sight.

INT. BOOK STORE - DAY

Alan enters the store.  He moves to a cash register.  
Howard approaches him.

				HOWARD
	You had a telephone call from Alice.

				ALAN
	I did?

				HOWARD
	You've been holding out on me. Huh?

				ALAN
	She leave a message?

				HOWARD
	She wants you to call her at home.  She
	said it was important.

				ALAN
	Thanks, Howard.

				HOWARD
	Any time.

Alan walks to an office and picks up a phone.  He punches a number.  The phone RINGS several times.  A recorded message comes on and is interrupted by Alice's voice.

INTERCUT

Alice at home.
								
				ALICE	
	Alan?
		
				ALAN
	I got your message.  I'll see you tonight?

				ALICE
	I can't.  I have to leave town for a few 
	days.  I'll call you as soon as I return.

				ALAN
	I can go with you if you like.

				ALICE
	I'll be all right by myself.

				ALAN
	I'll wait for you.

				ALICE
	See you soon.

				ALAN
	Soon.

Alan hangs up.

END INTERCUT

Howard approaches.

				HOWARD
	I'm going to the Kitten club tonight. How 
	about joining me?

				ALAN
	...Okay.

				HOWARD
	Good, I'll pick you up.

BLACK

Loud raucous music and loud CHEERS are HEARD.

FADE IN

EXT/INT KITTEN CLUB - NIGHT

Bright blinking neon lights illuminate the club.
An endless row of incoming cars are being parked by valets.

Young and older men pack the club, their faces alight with excitement, as they gaze at 

Young women with only G strings, performing their bumps 
and grinds around long silver poles.  

After A BEAT, the performance ends.  There is a round 
of cheers and applause. The dancers take their bows in front of the stage.

Howard and Alan sit at a corner table.  
 
				HOWARD
	Do you want to pay your respects?

				ALAN
	No thanks.

In front of the stage, a line of men wait their turn to 
insert their bills into the dancers G strings.  The   
dancers then walk off the stage. 

				ALAN
	Are we leaving now?

				HOWARD
	Relax, the best is yet to come.

Alan shakes his head in resignation.

There is a loud drum roll with a trumpet fanfare.

				HOWARD
	Get a load of the next act.

The curtain opens.  Standing on stage is Polly.  She has long black hair and wears a long tight gown that clings to every curve of her frame.  The music begins.  She sways with the music, as she starts to shed parts of her gown, until she is left with only her G string.  She is a symphony of legs and curves.

The audience HOWL with animal lust.

Polly wraps herself around a pole, gyrating her body in 
various exotic positions, coupled with bumps and grinds.

The audience CHEER and APPLAUD.

After several beats, the performance ends.  

Polly takes her bows and accepts the bills that are 
inserted in her G string with a sparkling smile.  

Howard walks up to Polly.  He points to the table where Alan sits.  Polly nods her head in agreement  The music ends. 

The musicians leave the bandstand.

Howard returns to his table.

				HOWARD
	So how'd you like the show?

				ALAN
	The last dancer was very professional.

				HOWARD
	That's Polly, She's a college student.   
	She'll be joining us.

				ALAN
	It's getting late.  I'll take a taxi.

				HOWARD
	Don't be a wet blanket.  Stay. You might
	enjoy yourself.

				ALAN
	All right, just for a while.  

After a beat, the musicians return and start to play. 

Several more dancers appear on the stage.  They dance with
bored abandonment.

Polly approaches Alan's table.  She is dressed in a simple  skirt and blouse.

Howard and Alan get up from their seats.

				HOWARD
			(to Polly)
	This is Alan.

				POLLY
	How do you do?  Howard talks about you.

				ALAN
	It's nice meeting you.

They all sit down.

Polly runs her fingers through her long hair, which make 
it billow outward and fall on her shoulders

				POLLY
	We've never met before.  Have we?							
				ALAN
	I Don't think so.

				POLLY
	I would have remembered.

				HOWARD
	Alan usually stays home.
	
				POLLY
	What do you do at home?
				ALAN
	I read books.

				POLLY
	Books can take you to far away places.

A waitress dressed in a skimpy costume approaches.  
She chews gum energetically.  

				WAITRESS		
	What'll it be?

				POLLY
	The usual.

				WAITRESS
	One champagne cocktail.  And how about		
	you guys?

				HOWARD
	We're all right for now.

The waitress ambles away, her hips swaying with the beat
of the music.				

				ALAN
	Howard tells me that you're going
	to college while you're working here.

				POLLY
	Dancing pays for my tuition.   

				HOWARD
	She's burning candles at both ends.
				
				POLLY
	Howard wants me to give up my job here
	and move in with him.

				ALAN
	What are you studying?
				
				POLLY
	I'm interested in the field of human genetics.
	I'm a Pre med. student.
	
				HOWARD
	Polly's very independent and doesn't want 			
	any help from anyone.
				
				POLLY
		(to Howard)
	I like your friend.

The waitress arrives, serves Polly her drink and leaves.			
Polly lifts her glass.  	
				
				POLLY
	Here's to the human species.

Alan and Howard lift up their glasses and drink.

Polly stares at Alan searchingly.

				POLLY
	Tonight could be the beginning.

				ALAN
	The beginning?

				POLLY
	A bud blossoming into a beautiful
	flower.

After several beats, the dancers finish their performance, they start to mingle with the patrons.  The music is soft and slow.  Several couples dance on the dance floor and on the stage.

				POLLY
			(to Alan)
	Let's dance.

				ALAN
	How about Howard?

				POLLY
	Howard doesn't dance.

Alan stares at Howard.

				HOWARD
	Go ahead.  Enjoy yourself.

Polly grabs Alan's hand and they walk to the dance floor.
Alan and Polly start to dance, their bodies closely 
entwined.  Polly smiles at Alan who is a bit ill at ease. 

				POLLY
	What do you think of me?

				ALAN
	You seem to know where you're going.

				POLLY
	Is that all?

				ALAN
	I'm not here to pass judgment on you.

Polly suddenly kisses him hard on the lips.

				POLLY
	The next time we meet, you'll know more.

				ALAN
	I'm involved with someone.

				POLLY
	You're not married and neither am I.  
	
Alan shakes his head.  The music ends.  Alan and Polly 
return to the table.

				HOWARD
	Let's have another round.

				POLLY
	I have an early class tomorrow morning.  

Howard beckons the waitress, who hands him a check.
Alan starts to take out some bills from his pocket.  The 
jade amulet drops out of his pocket and onto the floor.  
Radiant, blazing, multicolor lights glow from the amulet.  

Polly's eyes light up, as she stares at the amulet.  Alan 
retrieves the amulet and places it back in his pocket.

				HOWARD
	Put away your money.  I've got it.

Alan puts the bills back in his pocket.  Howard looks at the check and drops some bills on the table.

They start to exit the club.				

				POLLY
	That jade that came out of your pocket.  
	What is it?

				ALAN
	It's a good luck charm.
		
				POLLY
	Where did you get it?

				ALAN
	From a close friend.

				POLLY
	How much do you want for it?

				ALAN
	Why would you want to buy it?

				POLLY
	I could use some luck.

				ALAN
	It's not for sale.

Howard gives the valet his car check.

LATER 

INT. ALAN'S APARTMENT - BATHROOM - NIGHT

Alan, dressed in a bathrobe, brushes his teeth.  The bell
rings.  Alan quickly rinses his mouth.  He moves to the
door and opens it.  Standing at the door is Polly.  

				ALAN
	What are you doing here?

				POLLY
	Can I come in?

				ALAN
	Sure.

Polly enters the apartment.  		

				POLLY
	Would you have a drink?

				ALAN
	Some whiskey?

				POLLY
	Thanks.  I could use some.

Alan walks into the kitchen, while Polly sits on a couch.
Within minutes, Alan returns with a bottle of scotch and a 
glass.  He starts to pour whiskey in a glass.

				ALAN
			Tell me when.

				POLLY
	That's fine.

He hands Polly the glass.  She gulps it down quickly.

				POLLY
`	I apologize for barging in on you like this.
	
				ALAN
	Does Howard know that you're here?

				POLLY
	Howard is just a friend and nothing more.
	
				ALAN
	Why are you here?

				POLLY
	You know why.

				ALAN
	The jade? 

Polly moves close to Alan.  She presses her body close to 
his.  She kisses him long and hard.  He pushes her away.

				POLLY
	I would do just about anything to have 
	the jade.  

				ALAN
	You made an unnecessary trip.  It's not 
	for sale at any price.
		 
				POLLY
	I could do a lot for you.  If it's not money
	you want, I can give you wondrous things you've 
	never dreamed of.

				ALAN
	I made a promise that I must keep.
	
				POLLY
	Can I see the jade?

				ALAN
	It's late.  I think you should leave.
\  			
				POLLY
	Just let me see it, then I'll leave.

Alan leaves the room,  Within minutes, he returns with the amulet.  Multi-color lights radiate from the amulet.  

Polly's eyes glisten with hungry excitement, as she grabs the jade.  She screams and drops the amulet.  Her palm smokes with burning flesh.   

Alan picks up the jade from the floor.  

Polly still screaming, dashes out of the apartment.			

EXT. POLICE STATION

JIM, a husky FBI man sits with Casey and Barbara in a room. 
				
				CASEY
	Several calls were made between you and
	Ben Gold from the Braddock motel.

				BARBARA
	I've already told you that Mr. Gold was
	hired by my father to find my husband.

				CASEY
	On the last call you made to him, what 
	was the conversation about?

				BARBARA
	He had found my husband and that he was
	going to see me the next day.

				JIM
	Why did you hire a private detective?

				BARBARA
	Because our police are too busy to spend
	time on these small cases.

				CASEY
	This isn't a small case anymore.

Jim takes out a photo from a folder.  He shows it to 
Barbara.

INSERT  
				
				JIM
	Is this your husband?

				BARBARA
	Yes, but what is he doing there?

				JIM
	That's what we'd like to know.

				JIM
	The motel's security system photographs	 	
	all incoming and outgoing cars from the 
	motel.  This photo was taken on the night 
	that Ben Gold was murdered.

END INSERT

				BARBARA
	Are you suggesting that my husband killed
	Mr. Gold?

				JIM
	It's possible.

				BARBARA
	My husband wouldn't hurt a fly.

				CASEY
	Thank you for coming.  If he should contact 
	you, call us.

Barbara exits the room.

EXT/INT. APARTMENT - WASHINGTON- DAY

Jim knocks on the apartment door.  

				MORTON (O.S.)			
	Who's there?

	`			JIM
	Jim.

The door unlocks and opens.  MORTON SMALL, appears.  He is in his mid-fifties and wears thick eyeglasses.

				MORTON
	Jim!  It's good to see you.  Come in.

Morton escorts Jim to the parlor.

				MORTON
	Can I get you a drink?

				JIM
	No thanks.  How's Helga?

				MORTON
	She left the hospital a few days ago.
	They didn't operate.

				JIM
	There's no hope?

				MORTON
	None at all.				

			     JIM
	Does she know?

				MORTON
	I think she does.

				JIM
	Helga was such a hell raiser.  It's
	hard to think of her this way. 			

FLASHBACK

EXT. BEACH - DAY

The sun shines red and hot on the beach.

A swarm of birds launch themselves into the air.  They fly in unison toward the curtain of the sky.

People of all ages swim in the water.  

Jim, Morton and Helga in bathing suits walk along the beach.  

They appear younger, as they smile and laugh.

					HELGA
		Where do we cause havoc tonight?

					MORTON
		I think we should rest up tonight
		Tomorrow's a work day.

					JIM
		Don't be a spoiler.

					HELGA
		We can rest when we become old.

Helga suddenly dashes into the water.  She swims energetically.

Jim enters the water.  He turns to Mort.

					JIM
		You coming?

					MORTON
		I'm going back and sit a while.

					JIM
		Suit yourself.

Morton walks away.

Jim swims to Helga who clings to a buoy.

					HELGA
		Isn't today wonderful?

					JIM
		Have you thought about it?

					HELGA
		I won't marry you.

					JIM
		We could be very happy.

					HELGA
		If you search, you can find someone
		that will love you.

					JIM
		It's Mort.  Isn't it?

					HELGA
		The one and only.

BACK TO PREVIOUS SCENE

A door opens.  It is Helga.  She is thin and frail.

Jim embraces Helga and kisses her on the cheek.

				HELGA
	So how's the bachelor?

				JIM
	My status hasn't changed since you
	refused to marry me.

Helga wearily sits on the couch.
				
				MORTON		
	A drink?

				HELGA
	Some tea for all of us.

Morton exits the parlor.

				HELGA
	So how are things at the FBI?

				JIM
	It's bigger and busier.

				HELGA
	Don't waste your life.  Find a 
	nice woman for yourself. 

				JIM
	How are you doing Helga?

				HELGA
	There's a very sweet girl working in
	Morton's lab.  You'd like her.

Morton returns with a tray of tea and cookies.

				MORTON
	Here we are.  

Morton pours the tea,  They drink tea and eats cookies.
				
				MORTON
	It's a treat having you here, even
	if it's for only a short visit.  You 
	bring back good memories. 
	
				JIM
	I wish we did have more time together.

After a beat, Helga gets up.  She embraces Jim.

				HELGA
	It was good seeing you Jim. Remember
	what I told you.

Helga leaves the room.
				 
Morton and Jim exchange doleful looks.

INT. TAYLOR'S HOUSE - FAMILY ROOM - NIGHT

Barbara knits a sweater.  

Leah and Tommy work on a crossword puzzle.  Radio music is played.

THE DOORBELL rings.  Barbara turns off the radio and moves to the door.

				BARBARA
	Who's there?

				ALAN (O.S.)
	It's Alan.

Barbara whips the door open.

Alan's duplicate stands at the door.  He is immaculately dressed in a high fashion designer suit.

				BARBARA
	Heavens! Alan!  We've just about given up
	hope

Alan's duplicate kisses her.

The children walk slowly up to Alan.  They stand off at a 
distance.

				BARBARA
	Aren't you going to give your Daddy a hug?

The children begrudgingly give him a hug.

Stella, the dog sniffs him and moves away.
				
				DUPLICATE
		(sitting on couch)
	It's so good to be home.

Barbara sits close to him.  She holds his hand.

				BARBARA
	You look different.

				DUPLICATE
	How?

				BARBARA
	You never dressed like this before.
	Where have you been and what have you
	done with yourself?  We've been 
	worried sick over you.

				DUPLICATE 
	You won't have to worry anymore.
	I'm home now.
				DUPLICATE
	I'm very tired.  We'll talk tonight.

				BARBARA
	But...

				DUPLICATE
	...Tonight.

INT. BEDROOM - NIGHT

Barbara and the duplicate are in bed, their bodies heaving, as they climax.  As the duplicate rolls over, Barbara stares at him surreptitiously.

				BARBARA
	There has to be a reason that you look 
	so much younger and the sex that...

				DUPLICATE
	...We live in a new world now and...

				BARBARA
	...There isn't a gray hair in your head
	You talk differently and you've never made
          love to me like this before. It's as if you're 
	a different person.

				DUPLICATE
	I'm Alan Taylor your husband and father of
	your children.

Barbara shakes her head in anguish.

INT/EXT. HOUSE -BREAKFAST ROOM - DAY

Barbara and the children are finishing breakfast.  She 
feeds Stella and hurriedly drinks a cup of black coffee.

				BARBARA
	Come on children.  Get your things together 
	and let's go.

They gather their bags and exit the house. 

EXT/INT. CAR

They get into the car and drive off.

				LEAH
	Where's Dad?

				BARBARA
	He had to go into town early this morning
	on some business.  He'll be back tonight.

				LEAH
	Tommy and I don't like him anymore.

				BARBARA
	Why do you say that?

				TOMMY
	He doesn't play with us anymore.	

				BARBARA
	He's been very busy.

				LEAH
	He doesn't love us.

				BARBARA
	I'll talk to him.  I'll make sure that
	he spends more time with us.

EXT. PARK - DAY

Couples in casual dress walk through the park.

In a band shell, a concert band plays a Sousa march.

People sit on the grass, listening to the music.  

Barbara, the duplicate and the children are sprawled out on a blanket.  The music ends and the audience applauds.  

Barbara and the duplicate fold the blanket.  They and the 
children walk away from the area.  They come to a line of swings.  

Leah and Tommy get on the swings and swing energetically.

				BARBARA
	I'm glad you're spending more time with
	the children.  I hope there'll be more
	days like this 

				DUPLICATE
	I'm leaving for Washington on a business 
	trip tomorrow.

				BARBARA
	When will you be back?

				DUPLICATE
	When my business is finished.

Barbara's face flushes with anger.

The clouds suddenly darken.  Thunder and lightning splits 
the sky, as torrents of rain pummel the park.

Barbara, the family and people rush to the exit of the park.

INT. FBI OFFICE - DAY

Jim sits at a desk cluttered with stacks of files.
The duplicate, dressed in a designer suit, sits in front of him.  He studies a photo.

				DUPLICATE
	That could be me.

				JIM
	The motel's security systems takes photos
	of all incoming and outgoing cars.  And 
	that's you coming out of the limo.

				DUPLICATE
	It's not a very clear picture.

				JIM
	Were you at the Braddock motel on the night
	of the twenty ninth of May?

				DUPLICATE	
	Not that I remember.  Even if I was there, it  
	doesn't prove that I was involved in a murder.

				JIM
	Thanks for coming in.

Jim rises from his chair.  The duplicate also rises. 
their eyes lock on each other.

				JIM
	We'll be in touch with you.

				DUPLICATE
		(a sneer across his lips)
	It's reassuring to know that we're in 
	the protective hands of the government.

				JIM
	Is that so?

Jim stares at him with unwavering hatred.  
The duplicate leaves.

Jim picks up a phone and punches a number.

INTERCUT

LT. CASEY AT POLICE STATION

				CASEY
	Hi.  What do you have?

				JIM
	I've just interviewed Alan Taylor.

				CASEY	
	So what do you think?
	
				JIM
	Too slick for my taste.  He thinks he
	has all the answers.
	
				CASEY
	That doesn't sound like the Alan Taylor 
	I know.

				JIM
	Shrewd and overconfident.  
	They always trip themselves up.  Just 
	wait and see. What's doing over your 
	neck of the woods? Anymore leads on 
	the Braddock case?

				CASEY
	There's a few 
			
				JIM	
	I'll be in your town tomorrow.

				CASEY
	See you then.

				JIM
	Okay.  Keep me posted.

Jim hangs up.

EXT. COUNTRY ROAD - NIGHT

The fog is thick.  The rain pounds the road.

INT/EXT. CAR

A woman drives a car.  Fear storms her face.  
The windshield wipers are not completely clearing away the rain from the windshield.

Oncoming car lights are blinding her.  A truck horn blasts its horn.  

The woman quickly turns her wheel to avoid crashing into the truck.  The car careens through a winding road.

The car wheels SCREECH.  The car swerves off the road, flips over like a kicked beer can, rolling, crumpling and crashing into a tree.

The woman's body is smashed against the windshield.

The rain splatters over the crushed car.

LATER

Two policemen attempt to extricate the woman's body from 
the car.  

They stop and stare at each other, their faces a mixture of horror and disbelief.

The woman's eyes are completely cut out.

Lieutenant Casey appears.

				FIRST POLICEMAN
	Lieutenant, look here.

Casey looks at the body.
	
				CASEY
	Jesus! Don't move anything until the
	examiners come.

LATER

INT. ALICE'S HOUSE - NIGHT

Alice, is dressed in a high fashion designer dress.  
She feeds Buddy in the kitchen.

She walks into the parlor and turns on the television.  Her eyes glisten, as she watches a program.

The doorbell RINGS.  Alice moves to the door and whips it 
open.

Alan stands at the door, stunned, as he stares at her.

Alice kisses him and pulls him into the house.

				ALAN
	You're so beautiful.

Alan picks her up and twirls her around several times,  
Buddy leaps up at Alan and attempts to kiss him.  They 
enter the parlor and sit on the couch.

				ALICE
		(caressing Alan's face)
	Your prayers for me were answered.

				ALAN
	I can't get over the change.

				ALICE
	You look exactly as I pictured you.

				ALAN
	We should celebrate.  What would you 
	like to do?

				ALICE
	I want to see all the beautiful things 
	of the world  

				ALAN
	We'll see them together.

INT/EXT. BOOK STORE - NIGHT

Alan and Howard are in the process of closing the store.

				HOWARD
	Well, have a wonderful vacation.    

				ALAN
	I'd like to put something in a safe place

				HOWARD
	You know where.

				ALAN
	Thanks.

Alan moves to the rear of the store.  A clock is attached 
to the wall.  He takes the clock off the wall and inserts 
the amulet in a deep hole in the wall.  He replaces the 
clock on the wall.  He returns to Howard and helps him 
close the store.

				HOWARD
	Have a great time.  Hope you'll be back.	

				ALAN
	 I won't desert you.

They walk away in opposite directions. 

EXT. OCEAN - NIGHT

The sky is orange, as the sun is setting.  A loud horn 
blast is heard. 

A ferry boat maneuvers its way through several ships.  It 
picks up speed and moves ahead of the ships.

EXT. FERRY'S UPPER DECK

Alan and Alice stand at the railing and stare at the sky. 
Their hair blows wildly in the wind.

				ALAN
	The sun is setting.
	
				ALICE
	It's such a beautiful sight.

				ALAN
	It comes and goes too quickly.

				ALICE
	It's one of God's great miracles.

Alan embraces Alice.  He looks into her eyes and kisses 
her tenderly.  He holds her close and they continue to 
look at the sky.

Passengers cast smiles at Alan and Alice, as they walk by. 

				ALAN
	Are you happy?

				ALICE
	If its a dream, I don't want to wake up.

				ALAN
	I love you and I want to marry you.

				ALICE
	You don't know much about me,

				ALAN
	I don't need to know anymore.

				ALICE
	Can we talk about this another time?

				ALAN
	Sure.

				ALICE
	Remember that I love you.

She hugs and kisses Alan.

Flashes of lightning brighten the sky; thunder booms and 
crackles. Torrents of rain  pound the deck. 

Alan and Alice dash to the

INT. FERRY

Passengers are seated on benches.

A young man serenades a starry-eyed young woman, playing a guitar and singing a song.

Alan and Alice sit on a bench, enthralled by the music.

EXT. FERRY

The rain ends. The stars and moon light up the sky.

The ferry motors its way to

THE BATTERY PARK PIER

Bright swirling lights illuminate the pier.

The ferry docks in its slip.

Alan, Alice and passengers disembark from the ferry.

Alan and Alice walk down the cobble stone street.
They hail a taxi.  They enter the taxi and drive off.

EXT. CENTRAL PARK - BOAT BASIN - DAY

Boaters row their boats on a small lake,

On a grassy knoll, people observe the boaters.  
Some with cameras take photos.		

Alan and Alice walk alongside the lake.  After a beat
Alice stops and looks at Alan. 

				ALAN
	Do you want to?
			
				ALICE
	Very much.

They walk to the boat basin and board a rowboat.

Alan attaches the oars to the oar locks and begins to row.

Alice's fingers skim the water.   After a beat, Alice looks up at Alan.

				ALICE
	Let me row.

				ALAN
	Do you know how to...

				ALICE
	...It's easy as pie.
Alan gets up and moves toward Alice.  He loses his balance.  

The boat shakes and bumps into another rowboat.  Alan 
falls, his face twisted with embarrassment.  He gets up.

				ALAN		
		(to other boaters)
	Sorry about that.

He pushes off from the other boat and resumes rowing.
			
				ALAN
	Where are my sea legs?  Guess I'll row.

Alan and Alice exchange smiles, as Alan rows.

After a beat, the boat glides up to a shady grass knoll.  
Alan stops the boat under shaded tree branches.  
Alice moves over to him, their bodies closely entwined.  They are mesmerized with each other.  Time has stopped.

EXT. LINCOLN CENTER - NIGHT

The Firebird ballet music is played.

Men and women in formal dress, pour out of a theater.  
They congregate at the water fountain. 

EXT/INT. METROPOLITAN OPERA HOUSE

The opera house stands TALL and GRAND.

The music crescendos, as we enter the theater.

The theater is packed.  Patrons sit rapt, as they watch 
the performance.

On the stage, the Prince captures the firebird.  
She gives the Prince one of her protective feathers in exchange for her freedom.

On a balcony, Alice and Alan sit mesmerized by the 
performance.  Tears roll down Alice's cheek.  Alan 
tenderly wipes away her tears.  They exchange smiles. 	
The performance ends.  The audience applauds and cheer 
with shouts of bravo.

The curtain comes down.  The applause and cheers continue.

The lead dancers appear in front of the curtain and take 
their bows.

The entire cast of dancers appear and take their bows.

After a beat, the house lights go up.  

The patrons start to exit the theater.

Alan and Alice start to walk down the stairs with others.

Alan stops, his face a mixture of pain and disbelief.

				ALAN
		(pointing)
	He's here.

				ALICE
	Who?

At the foot of the stairs, Alan's duplicate, dressed in a 
tuxedo, walks to the door and exits the theater.

				ALAN
	The mirror image of myself.  The man I
	saw at the cafe.  He's followed us here.  
	We've got to catch up with him.	

Alan grabs Alice's hand and attempts to pass a couple on 
front of him.			 

					ALAN
		Would you let us get through please?

					MAN
		Just wait your turn like everyone else.

					MAN
			(to his companion)
		They let anyone in here these days.

Alan throws up his hands.

					ALICE
		It may be your imagination.

Alan gives her a half smile.

Alan and Alice walk down the stairs, exit the theater
and enter

THE STREET

People wait at the curbside for taxis and buses.  

Cars and taxis whiz by.

Alan and Alice walk across the street and enter

WINSTON'S RESTAURANT

It is a spacious restaurant.

People of varied types are huddled together at tables 
and the bar.

Alan and Alice approach the Maitre dais.

					ALAN
		We'd like a table

					MAITRE DAIS
		There'll be a short wait.

					ALICE
		How short?

					MAITRE DAIS
		About fifteen minutes.  You might want 
		to wait at the bar until we call you.

					ALAN
		The name's Joseph Smith.

The Maitre dais writes the name on his schedule pad.

Alan and Alice walk to the bar.  They squeeze into a 
small space at one corner of the bar.  

A bartender approaches.
					
					BARTENDER
		What will it be folks?

Alan stares at Alice.

					ALAN
		Two glasses of white wine.

The bartender serves them their drinks.  Alan and Alice
click their glasses and drink.

At the other end of the bar, YOLANDA, an attractive woman 
in her late thirties, stares steadily at Alice and smiles.

Alice turns her head and stares at Yolanda.  She smiles, 
her face wrinkled in confusion.

					ALAN
		Who is that?

					ALICE
		I'm not sure.

					ALAN
		You'll find out soon.  Here she comes.

Yolanda gets off her stool and approaches Alice and Alan.

					YOLANDA
		Hillary!  It's you!  I don't believe it!

Yolanda embraces and kisses Alice.

					YOLANDA
		Its been so long.  I was told that you died.
		I can't get over this.

					YOLANDA
			(to Alan)
		You'll have to forgive me.  It's been such
		a shock.  We danced together in many ballets.

					ALICE
		I'm glad to see you.  This is Joseph.

					YOLANDA
		How do you do? 
			(to Alice)
		Where have you been?

					ALICE
		I've been out of town.
		
					YOLANDA
		Let's get together one day.  There's so   
		much we've got to catch up with.

					ALICE
		We're leaving tomorrow morning.

					YOLANDA
		Where can I reach you?

					ALICE
		I'll call you.  Do you have a card?

Yolanda takes out a card from her pocketbook and hands 
it to Alice.

					YOLANDA
		Its been so good to see you.
		I've got to run.  Do call me.
		We've got so much to talk about.

Yolanda embraces Alice.

					YOLANDA
			(to Alan)
		It was nice meeting you.

Yolanda leaves.

Alan casts a puzzled look at Yolanda, as she exits the 
restaurant.

LATER    

Alan and Alice are having dessert and coffee. Alice's brow is wrinkled with anguish.

					ALAN
		The woman from your past...What's wrong? 

					ALICE
		I don't remember her.  

					ALAN
		You're very upset about it.

					ALICE
		Let's leave				
	
Alan signs a check. 			

INT. HOTEL BEDROOM - NIGHT

Alice and Alan are asleep in bed.  

Alice's eyes open.  She turns to Alan and stares at him for a moment.  She slowly get out of bed, starts to dress, then leaves the room.  

Alan wakes as the door slams shut.  He turns to his side 
and sees that the bed is empty.

					ALAN
		Alice?

Alan quickly dresses, leaves the room and gets on the elevator.

Alan emerges from the elevator and into the lobby.  
He scans the lobby and rushes out of the hotel.  					
EXT. HOTEL

Alan approaches the Doorman.					

					ALAN
		A young woman just left the hotel.  Would 
		you know where she might have gone to? 					 
					DOORMAN
		An lady wearing a blue dress?

					ALAN
		Yes that's her.

					DOORMAN
		She took a taxi.  I heard her tell the 
		driver to drop her off at Lincoln Center.

					ALAN
		Lincoln Center? 

					DOORMAN
		Yes Sir.

					ALAN

Thanks.  Get me a taxi please.

The Doorman blows a whistle.  A beat, and a taxi glides up to the driveway of the hotel.  Alan enters the taxi and they drive off.

EXT. LINCOLN CENTER PLAZA - NIGHT 

Alan emerges from the taxi and walks up to the Lincoln Center outdoor plaza.  

He walks along the empty plaza and peers through the closed windows and restaurants.  He hears loud voices.

He looks ahead and stares ahead at The Metropolitan Opera House building, his face locked in confusion and anguish.   
Alice and Alan's duplicate stand outside the theater.  They speak in loud heated tones.  The duplicate pleads with his hands, as Alice shakes her head.  The duplicate walks off.  

Alan walks up to Alice

					ALICE
		What are you doing here?

					ALAN
		I can't believe what I've just seen.
		Who is this person you were with?
		I want the truth.

					ALICE
		I owe you an explanation.
		
					ALAN
		I'm listening.  					

					ALICE
		It wasn't by chance that we met at
		the bus stop.		
		
					ALAN
		I don't care if it was or wasn't.

					ALICE
		I'm not the person you think I am.

					ALAN
		Then who are you?

Alan stares at Alice surreptitiously. 

					ALICE
		I come from a far away planet.

					ALAN
		Let me guess...Mars, Venus, Pluto?  
		
					ALICE
		Don't make fun of me.

					ALAN
		I'm sorry.

					ALICE
		We've been making periodic trips here 
		for research and experiments on the 
		human species.

					ALAN
		And you're an alien?
		
					ALICE
		You saw the photos of the ballet dancer in
		my house.  
		
					ALAN
		Yes.
		
					ALICE
		I was given her body and memory bank when
		she died.  We didn't know that she was 
		going blind.  It was very distressing for 
		me when I had no eyes to see with.  When a 
		woman was recently killed in a car accident, 
		I was given her eyes.

					ALAN
		I've been one of your experiments?

					ALICE
		At first you were, but now I've fallen in love
		with you.					 						
					ALAN
		I just can't believe this. 

					ALICE
		What I'm telling you is the truth.

					ALAN
		Tell me about this duplicate.  
		
					ALICE
		He's your clone.

					ALAN
		And how did that happen?

					ALICE
		You were abducted and a duplicate of 
		yourself was made.

					ALAN
		Do I have more duplicates?

					ALICE
		Only one was produced.

					ALAN
		And after that, they threw away the mold?

					ALICE
		Our scientists are dedicated to study 
		the human genes by duplication and by 		
		ethical means.       

					ALAN
		Why?
		
					ALICE
		To slow down the aging process of our 
		people. 

					ALAN
		And what about the killings?

					ALICE
		Your duplicate has joined a small band 
		of aliens who's purpose is to wipe out the
		entire human species and take over the 
		world.  This violates all of our tenets. 		                                                        
					ALAN
		And you kept all this from me. 
		 
Alice's eyes well with tears.  Alan embraces her tenderly.

EXT. BOOKSTORE - NIGHT

The stars and moon light up the sky.
Alan drives up to the store, his face twisted with confusion. 

Alan's duplicate and Polly run out from the book 
store,

Alan gets out of his car.  He rushes and enters 

THE BOOK STORE

The store is completely trashed.  Book shelves, desks with open drawers and chairs are overturned.

Alan walks farther, his face horror-stricken  as he stares at
Howard hanging dead from a ceiling beam.

					ALAN
		Oh My God!

Alan rushes to the back of the store.  
He takes the clock off the wall, inserts his hand in the hole and retrieves the amulet.  Police sirens are heard.  He places the jade  in his pocket and rushes out of the store.  

EXT. BOOK STORE

Alan gets into his car,  He turns on the motor, steps hard 
on the accelerator and drives off.		

After several beats, Alan stares at his rearview mirror.
A large black car follows him.

Alan swiftly turns a corner.  

He stares at his rearview mirror.  

The black car is seen in back of his car.

The traffic light turns red.

Alan stops his car.

Two large men with long blond hair emerge from their car.  
They start to run toward Alan's car.

Alan sees them through his rearview mirror.  He presses hard on the accelerator.  The car lurches forward through the red light and speeds through the street.

The two men rush back to their car.

Alan turns a corner.

The black car is nowhere in sight

Alan slows up the car.  He wipes the perspiration from 
his face.
					
					ALAN (V.O.)
		Why is this happening?

A loud train whistle is HEARD.

Straight ahead, red traffic lights and train crossing bars are seen.

Alan looks at his rearview mirror.

The black car is closing fast upon him.

Alan steps hard on the accelerator.

The train speeds down the tracks, its shrill whistle 
blasting loud and continuously.

Alan's car swiftly spurts across the tracks, smashing 
the crossing bars and narrowly missing the train.

On the other side of the long train, the black car is 
halted.  The two large men emerge from their car.  
They stand frustrated, as the long train runs slowly past them.

After driving a distance, Alan's car glides up to 

THE APARTMENT HOUSE 

He emerges from his car and enters the apartment house.
He is drenched with perspiration and out of breath.

People in the lobby, stare at Alan surreptitiously, as he enters the elevator.

He opens the door to 

THE APARTMENT

Trash, books, papers, and clothing litter the floor.

A mixture of fear and disbelief stabs his face.  
He starts to pick up a bag, when the phone rings.  He picks up the phone.

					ALAN
		Hello?

There is no reply.

					ALAN
		Who is this?

Heavy breathing is heard.  Alan hangs up the phone.  
He resumes packing at a faster pace.  He opens a bureau 
drawer.  He shakes his head in surprise.  He takes out cash and a bank deposit book and places them in his breast pocket.
 
He gathers his bag, umbrella and raincoat and exits the 
apartment.  He dashes out to the street.  He climbs into 
his car and drives off. 

EXT. FIRST NATIONAL BANK - DAY

People are lined up at booths, waiting to perform their 
transactions.

Alan walks up to a line.  He turns around and scans the 
people in the bank, his face wrinkled with impatience.

After a beat, Alan faces a bank teller.

					BANK TELLER
		You want the entire account closed out?

					ALAN
		Yes please.

					BANK TELLER
		All right,

The bank teller counts out the cash, stamps the bank book 
and hands them to Alan, who places them in his pocket. 
Alan hurriedly exits the bank and into

THE STREET

Alan walks up to a phone booth.  He drops a coin in the 
phone slot and punches a number.  The phone rings several 
times.

INTERCUT

Alice in house

Alice picks up a phone.

					ALICE
		Hello?...Where are you?

					ALAN
		I'm at a phone booth.
 
					ALAN
		It's 	at the corner of Pine and Clark.
		... Howard is dead and some people are 
		trying to kill me. I can't go back to 
		my apartment anymore.   

					ALICE
		Hurry over to my house.

Alan hangs up.

END INTERCUT

Alan gets out of the telephone booth. He enters his car and 
drives off.

INT. ALICE'S HOUSE

Alice packs two bags with clothing.  She stops and feeds 
Buddy.  The doorbell rings.  Alice moves to the door and 
whips it open.

Alan stands at the door for a moment.  He is shaken and smiles weakly.

Alice grabs his arm and pulls him inside.  They sit in 
the parlor.

					ALAN
		This hasn't been my day.

					ALICE
	`	Tell me everything.

					ALAN
		I went to the store tonight and found 
		Howard dead and two men...				

FADE OUT/FADE IN

					ALAN
		I don't know who they are and why they're
		trying to kill me.

					ALICE
		And they had long blond hair?
			
					ALAN
		They haven't let up.  They're still 
		chasing me.
			
					ALICE
		There is a strong group in our planet
		that are using unethical means to replace 
		the human species.     

					ALAN
		Why?
	
					ALICE
		Our people are aging very rapidly and to 
		survive we must acquire the human genes. 

					ALAN
		What's going to happen to me? 

					ALICE
		As long as you're with me, nothing will
		happen to you.  That I promise you.  
		I'll deal with them in my own way.  

					ALAN
		This has been a nightmare.

					ALICE
		We have to leave now.

Alice puts a leash on Buddy.  They carry the bags, and with Buddy, they exit the house.

EXT/INT MOTEL-NIGHT

A car pulls up to the motel.

Alice, Alan and Buddy enter the motel office.

An elderly clerk dozes at the reservation desk.

Alan hits a bell at the desk.  The clerk wakes with a 
start. 	
	
					CLERK
		Huh! Oh! Good evening.

					ALAN
		We'd like a room please.

					CLERK
		No dogs are allowed here.

Alice glares at the clerk.  A green ray is ejected from 
her eyes, striking the clerk's face.  The clerk is stunned and incapacitated for a moment, then revives. s.  

					CLERK
		How long will you be staying?

					ALAN 
		Just one night.

					CLERK
		Sign here.

Alan signs the reservation book.  The clerk hands Alan
the door key.  They pick up their bags, exit the office 
and walk to the motel room.

THE MOTEL ROOM

Alan, Alice and Buddy enter a moderate predictable room.  
They lay their bags on the floor.

Alan lays on the bed in an exhausted state.

					ALICE
		We'll have to get an early start in
		the morning.

					ALAN
		Where are we heading?

					ALICE
		They're not too far behind us.

					ALAN
		How do you know?

					ALICE
		Give me the amulet.

Alan takes out the amulet from his pocket and hands it 
to Alice.  She points it toward the wall and clicks a 
small lever on the amulet.

A picture magically appears on the wall.  It shows the 
black car with the two men speeding down a road.

Alan shakes his head in dismay.

Alice clicks the lever on the amulet and turns off the 
picture.  She pockets the amulet.

					ALICE
		I'll hold it for you.				

EXT BOB'S DINER - DAY

Alan and Alice, carrying a bag emerge from the diner.  
They walk toward their car.

The two large men are attempting to open the car.

Alan and Alice dash to the car.

The two men turn to face Alan and Alice.  
Their hair now is silver gray, their faces wrinkled and weather-worn.

One man pounces on Alan, striking him with a heavy blow 
to the head.  Alan is knocked to the ground.  He springs up and struggles with the man.

The other man starts to assault Alice.  She manages to take out the amulet.  She points it at the car door. The car door flings open.  

Buddy leaps out of the car and jumps on the man fighting with Alice.  He clamps his teeth hard on his throat, freeing Alice.  

She turns toward Alan and the man choking him.  She glares at the man.  

A bolt of green laser lights ejects from the amulet, strikes the man.  

He crashes to the ground, his body disintegrating 
into a smoldering rubble of dust.

Buddy is confused, as the body of the man in front of 
him also disintegrates.

People emerge from the diner and stare at the scene.

Alice helps Alan into the car.  He is half unconscious.  
Buddy jumps into the back seat of the car.  
Alice turns on the motor, and pushes hard on the accelerator.  The  tires screech, as the car drives off.

EXT/INT CAR     

Alice drives through the country road.  Alan is asleep beside her. He slowly wakes.  He wipes his eyes and stares at Alice

					ALAN
		Where am I?

					ALICE
		How are you feeling?

					ALAN
		Not too good.

Alice turns off the road and stops at a grassy knoll.

					ALICE
		Do you know who I am?

Alan stares at Alice, pain stabbing his face.  He shakes 
his head, then falls back unconscious.  Alice steps on the accelerator and drives off.

INT. HOSPITAL - CORRIDORS - DAY

Nurses wheel patients.  Doctors and employees hurry by.

INT. HOSPITAL ROOM

A nurse adjusts an IV bottle hooked up to Alan, who lays in bed.  His head is bandaged and he is fast asleep. 

Alice sits by Alan's bedside.  After a beat, the nurse leaves.  

DR. BERGER, a short man wearing eyeglasses arrives.  
He picks up the bed chart and studies it.
					
					ALICE
		How is he?

					DR. BERGER
	    He's had a slight concussion.  He'll
         be able to leave here in a few days. 
	    When he's home, make sure he rests and 
	    doesn't do anything strenuous.

					ALICE
		Thank you doctor.

Dr. Berger leaves.

Alan slowly wakes.

					ALAN
		Where am I?

					ALICE
		You're in a hospital.  You'll be 
		here for a few days.

					ALAN
		I know who I am.  
	
					ALICE
		Who are you?

					ALAN
		I'm Alan Taylor, but then you knew that 
		all this time.  Didn't you?

A beat, as Alice stands rapt in front of Alan.

					ALAN  
		You've lied to me from the very first
		time we met.

					ALICE
		I've never felt good about it.  It was 
		selfish of me to want you all to myself.  

					ALAN
		I've got to get out of here and get back
		to my family.  Will you help me?
        
Alice nods her head.

He gets out of bed.  He pulls the IV bottle from his 
arm, takes off the bandage from his head and starts to put on his clothes.  

					ALAN		
		Now let's get out of here.

Alice moves to the door and looks out at the corridor.  
Alice and Alan rush out of the room, into the corridor and out of sight.

EXT/INT. ALAN'S HOUSE - DAY

The sky is blue with wisps of clouds.

A car pulls up to the house.

Alan and Alice emerge from the car and walk up to the 
door of the house.

Alan rings the bell several times.  There is no answer.  
He tries the door and it flies open.  

Stella barks and greets him warmly, jumping on him and licking him with big kisses.

					ALAN
		Barbara, Leah, Tommy, where are you?
		
Alan walks through the house, opening doors, searching 
and calling.

					ALICE
		I wonder where they are?

Alan picks up a phone and punches a number.

					ALAN
		Hello, George, where's Barbara and the
		children?

INTERCUT

George at home

					GEORGE 
		You took them on a vacation two days ago.
		Where are you?

					ALAN	
		I'm at the house.  I didn't take them 
		anywhere.

					GEORGE 
		Then who did?

					ALAN
		It was my clone.

					GEORGE 
		Your clone?  What the hell are you 
		talking about?
		
					ALAN
		I'll explain it to you when I see you.

					GEORGE 
		I'm coming right over.

Alan hangs up.

END INTERCUT

					ALICE
		Your family's in great danger.

					ALAN
		We have to find them.
		
					ALICE
		We will, but we must leave now.
					
					ALAN
		I'll leave a note for George.

He takes a pad from the table with the telephone and 
scribbles a note.  He places it on the coffee table.

					ALAN
		George is my father-in-law.

					ALICE
		We've got to hurry.

Alan takes a bowl of water and gives it to Stella.   
He laps it up thirstily.

He and Alice exit the house.

EXT. WASHINGTON DC - DAY

Streaks of sunlight catch the walls of the skyscraper 
buildings.

Men and women hasten to their destinations.

INT. BIOCHEMICAL LABORATORIES - OFFICE										
Laboratory technicians work arduously with their tests.

In a corner of the laboratory, Jim sits with Morton Small. 

On a desk, a large computer sits with piles of neatly 
stacked documents. 

					JIM
		How is Helga?

					MORTON
		If this had happened in the far future, 
		the outcome would have been different.  
		So Jim, what is it you want to show me?

Jim takes an envelope from his bag and takes out two photos and shows it to Morton.

INSERT

One photo is of Alan in leisure clothes.  His hair is slightly gray.  

The other photo is of Alan dressed in a  designer suit.  His dark brown hair has no trace of gray and he appears younger.

END INSERT

					MORTON
		What's this about?

					JIM
		We're trying to solve some murders.  		
		I'm pretty sure one of them is the
		culprit.  Are these people twins?

					MORTON
		Could be.

					JIM
		Even if one looks older.					

					MORTON
		One may have had another lifestyle.									
Morton takes out a magnifying glass and studies the photos closely.

INSERT

On the wrist of Alan's duplicate, there is a small tattoo of a comet with the initials ZZZ.  

Morton's face is flushed with surprise and fear.

					JIM
		What do you see?

					MORTON
		Only one of them has this tattoo... 

Morton hands Jim the magnifying glass. He points to the 
photo.  Jim studies the photo with the tattoo.

					MORTON
		You see it?

					JIM
		Huh!  We missed this.  What's it mean?

END INSERT

					MORTON
		I've seen this before

					JIM
		Where?

					MORTON
		On a confidential report about some 
		discovered clones.
							
					JIM  
		Do you have the report?  

					MORTON
		It's missing and nothing more has 
		been heard about it.  

					JIM
		You're saying he's a clone.

					MORTON
		I'm only giving you an opinion.  It's
		not a conclusion. 
		
A secretary appears and serves Morton a tray of coffee 
and cookies.

					SECRETARY
			(to Jim)
		Would you like some coffee?

					JIM
			(smiling)
		No thanks.

The secretary returns the smile and leaves.

					JIM
		How is a clone made?

					MORTON
		By a process called artificial twining, the
		splitting up of tiny embryos to make 				duplicates.   Another process is the zapping of 		two combined cells with a jolt of electricity.  		The two cells act like a fertilized egg cell 		and begin to divide.

					JIM
		So human clones have been made here?						
					MORTON
		Sheep and a monkeys were successfully cloned. 		As for human cloning, I believe that there's               		been some experiments made on a remote island, 
		but with disastrous results.  Maybe it's been 
		done successfully in another world.

					JIM
		Another world?

					MORTON
		There's a large galaxy out there.  Some 
		of us believe that there may be an advance 
		civilization that could be thousands of 
		years ahead of us.  					

					JIM
		Where is this island?

Morton pauses for a moment.

					MORTON
			(whispering)
		This information is highly confidential.
		If they find that I've divulged any of 
		this, it could be my head.

					JIM
		You never told me anything.

					MORTON
		There's been an unusual activity on this
		island.  Unknown airships have been seen 
		periodically landing and taking off from 
		the area. 

		 			JIM		
		UFO's?

					MORTON
		They're not ours.

					JIM
		How do I get to the island?

Morton pulls out a drawer from the desk.  He shuffles through some documents and takes out a map.  He opens the map. 

					MORTON
			(pointing to an area)
		Here's where it is.  You'll need a sturdy
		boat.						
					JIM
			(taking map and getting up)
		Thanks Mort.  You've been a great help.

					MORTON
		Call me if you need any more information,

					JIM
		Thanks, I will.

Jim and Morton shake hands and embrace.

EXT. OKEECHOBEE SWAMPS - DAY

The swamps are shrouded in a fog and light rain.

Alan's car pulls up to a dock.

Alan, Alice with Buddy emerge from the car and walk up to 
a small cabin at the dock.  They enter

THE CABIN

It contains all sorts of marine equipment.  CHARLIE, 
a weather-beaten old man stows away some fishing 
equipment.  He turns around.  
					
					CHARLIE
		Mister Taylor?

					ALAN
		That's me.  Do you have the boat for us.

					CHARLIE
		It's all revved up and ready to go.

					ALICE
		And you'll let Buddy stay here with you?

					CHARLIE
		I don't mind at all.  It gets lonely here.

					ALICE
		I have his food here.

She hands him a packet of food.

					CHARLIE
		I've had two dogs of my own.  I'll take 
		good care of him.

					ALICE
		Thanks.

She hands him the leash with Buddy.  Charlie ties Buddy 
to the back of the counter.

					CHARLIE
		Let me show you the boat.

They leave the cabin and walk to the dock.  Several power    
boats and a sailboat are tied to the dock piles.  Buddy's  
moaning, echoes across the dock.

					CHARLIE
			(pointing to boat)
		She's already for you.

					ALAN
		Thanks for taking care of us on such 
		short notice.

					CHARLIE
		Take care of the boat and she'll take 
		care of you.
					ALAN
		Thanks.

Alan and Alice board the boat.
 
Charlie unties the lines from the dock piles and hurls them aboard the boat.

Alan is at the helm.  He turns on the motor and glides 
the boat out of its slip.

Charlie waves to Alan and Alice.

Alan waves back.  The boat slowly threads its way through 
the water.

After several beats, the boat slows up.  Sounds of swamp creatures  are heard.

Alan, his eyes straining, attempts to see his way through
the thick fog.

					ALAN
		I can hardly see anything.

					ALICE
		We're nearly there.

A small dock is seen.

Alan slowly glides the boat to the dock.  

Alice disembarks and ties up the boat.  
They leave the dock and enter the swamps.

					ALAN	
		Which way?

					ALICE
		Follow me.

Alice and Alan slowly make their way through the swamps.

Alligators, frogs and snakes are seen.

After several beats, Alan is wet with perspiration.  
His steps and breathing are labored.  He stops.

					ALICE
		Do you want to rest awhile?

					ALAN
			(taking several breaths)
		If you were truthful with me, we wouldn't
		be here looking for my family.

					ALICE
		We'll find them.  Trust me.

					ALAN
		How can I trust you, when everything's 
		been a lie.  If anything happens to them,
		I don't know what I'd do.

					ALICE
		Come.  let's continue.  

Alan grits his teeth and they continue on.

A mass of lights are seen ahead.

Alan and Alice come to a narrow brook.

A large open-lighted area is seen.

Alan and Alice cross the brook.  They walk cautiously up 
to the perimeter, protected by a cyclone fence topped by 
angled razor edge wires.

The gate is open.

They quickly walk through the gate.  They come to several 
buildings. 

They peer into the building.  There is a desk with emptied 
drawers, several broken chairs, a computer stand without a computer and several lamps.

					ALAN
		They're not here.

					ALICE
		They're in another building.

They proceed slowly to the second building and look into a window.

Large tubes containing all forms of misshapen body parts 
are seen.

They enter the building.  

In another room there are sick, malformed clones in 
bed and some that walk around in a stupor.

They walk among the clones.  After a beat Alan stops, his
face a mixture of shock an disbelief.

					ALAN
			(screaming)
		Fred! Fred! Is that you?

Fred, his body frail, his face weather worn and his hair 
silver gray, stares at Alan.  He slowly starts to smile.

					FRED
		I promised we'd meet some day.  Didn't I?

Alan embraces him.

					ALAN
		Where's Harry.

					FRED
		He passed away some time ago.

    					ALAN
		I had no idea that he was...

					ALICE
		I'll come back here soon for everyone.

Alan and Alice leave the building and walk to another one.  Alice peers into a window. 

					ALICE
		Here they are.

Alan looks through the window.

Two attendants administer injections to several clones 
that are strapped to beds.

In the back of the room, Barbara and the children are tied to chairs.  They appear to be drugged.

					ALAN
			(with anguish)
		Thank God!  They're alive!

Alan and Alice burst into the room

They are confronted by the attendants.  Alan attempts to 
pass them, but is blocked by the attendants.

					FIRST ATTENDANT
		What are you doing here?

					ALICE
				(pointing to Barbara
				and the children)
		I have orders to bring them out.

					SECOND ATTENDANT
		Show me your orders.

					ALICE
		They're verbal orders.

					FIRST ATTENDANT
		Stay here,  Don't move.  We'll find out
		about this.

He motions to the other attendant, who picks up a phone.  
After a moment, he hangs up the phone.

					SECOND ATTENDANT
		It's dead.			

Alan shoves the attendant aside and rushes to Barbara.

The attendants attempt to run after Alan.

Alice takes out the amulet.  She aims it at the attendants and presses a lever.  Piercing green rays are ejected from the amulet, striking the attendants.  They crash to the 
ground.

Alice hastens to Alan.  They untie Barbara and the children.

					ALAN
		Barbara, wake up it's me, Alan.

Barbara and the children slowly wake.

					BARBARA
			(groggily)
		Alan?

					ALAN
		Hurry, there's no time to waste.

They hasten to the door.  It suddenly whips open.

Standing at the door is Alan's duplicate.
					
					ALAN'S DUPLICATE	
		What are you doing here?

 					ALICE
		Get out of our way.

Alice shoves Alan's duplicate.  The duplicate strikes Alice, nearly knocking her off her feet.  

Alan rushes the duplicate, but is stopped by a green ray ejected from the duplicate's eyes.  

Alan crashes to the ground.

Alice ejects a lightning bolt of green lights from the amulet, striking Alan's duplicate, who crumples to the ground.  

					ALICE
			(picking Alan up)
		Go quickly.

					ALAN
		What about you?

					ALICE
		I've got some work to do.  Wait for 
		me at the dock.

Alan gathers his family and they exit the building.

They hasten out of the compound, through the gate and make their way to 

THE SWAMPS

Alan leads his family through the swamps.  

Sounds of swamp animals are piercing.  Leah and Tommy huddle close to Alan, their faces wrinkled with fear.  

After several beats, Alan stops.  They are exhausted and wet with perspiration.

					BARBARA
		Why are we stopping?

					ALAN
		We should have been at the dock by now.

					BARBARA
		You're lost. Aren't you?

					ALAN
		I must have taken a wrong turn back there.

					BARBARA
		What are we going to do?

EXT. BUILDING

A large saucer style space ship hovers over the building

Alice and an alien lead the sick clones out of the building and onto a ramp leading up to the ship.  

Alice and the alien are huddled in a conversation.  The alien embraces Alice and walks onto the ramp. The ramp is pulled up and the space ship lifts off.

EXT. SWAMPS

Alan and his family are huddled together.  Several loud explosions are heard.

					ALAN
		Oh my God! Alice!

					BARBARA
		Who is she?
					
					ALAN
		A dear friend who we owe our lives to.

EXT. LABORATORY COMPOUND

Several space ships light up the sky, They blast explosive rays upon the area.  The buildings are blown away and reduced to piles of smoldering dust.

EXT. SWAMPS

Alan gathers his family, shielding them from the bitter area.  Crunching leaves and snapping twigs break the silence.

Alan turns around and stares at the parting branches.

					ALAN
		You're alive!

Alice emerges from the cluster of branches.

					ALICE
		You're going the wrong way.  
		Follow me.

					BARBARA
		Thank you for everything.

Alice leads them through the swamps.

EXT. SWAMPS

On a motor boat, Jim and six armed FBI men sail through 
the water.  A strong bow light illuminate the area.

The boat glides to the dock.  The men tie up the boat and 
disembark.

					JIM
		Let's look sharp.  We don't know what 
		we'll find here.

They enter and thread their way through the swamps. 

EXT. DOCK/CABIN

Alan's boat slowly pulls up to the dock.  

Alan jumps off the boat and ties it to the dock pile.  
Alice disembarks.  

Alan helps Barbara and the children off the boat.

They walk toward the cabin.  Buddy's howling and barking 
are heard.

Charlie, holding Buddy on a leash, stands in front of the 
cabin.  Buddy jumps up and down excitedly.

As Alice comes into view, Buddy breaks away from Charlie.  
He jumps on Alice, smothering her with kisses.  

					ALICE
			We missed you too.

					ALICE			
				(to Charlie)
		Was Buddy much trouble for you?

					CHARLIE
		None at all.  He was restless and kept
		looking at the door, waiting for you.

Leah and Tommy hug and pet Buddy.
					
					ALAN
		Thanks for everything.

					CHARLIE
		It was nice doing business with you.

					ALICE
		Thanks.

Alan, Alice with Buddy, Barbara and the children walk off
the dock.

EXT. LABORATORY COMPOUND

Jim and his men enter the compound.  

They view the remains of the compound. They shake their heads in disbelief.

					JIM
		There's nothing we can do here now.

A whirring sound is HEARD.  The sky is lit up by shining 
lights.

The men are blinded, as they stare at the blazing sky.

					JIM
		What the hell!...

Loud motor sounds are HEARD.  Within a flash, the whirring sound stops and the sky turns black.
The men stand rapt, as they continue to stare at the sky.

					JIM
		Let's get out of this hellhole.

Jim and the men pack up their gear and start to leave the 
compound.

EXT. ALICE'S HOUSE - NIGHT

Alan's car drives up to the house.  

Alan, Alice and Buddy emerge from the car and walk up to 
the house.

					ALAN
		Will you be all right?

Alice hands him the jade.					

					ALICE
		The decision has been made for me to
		return to my planet.  There's much work
		to be done.

					ALAN
		I don't regret anything about us.		
		I'm sorry it had to end. 

					ALICE
			(embracing Alan)
		I'll always cherish those moments.  
		Your place is with your family.  I 
		know that.
					 		
					ALAN
		I won't forget you.

Alice and Buddy walk up to the house.  She turns and waves.

Alan waves back, gets into the car and drives off.

EXT. CEMETERY - DAY

A thin veil of rain covers a grave site.

A coffin is lowered into an open grave.  
Grave diggers cover the grave with earth.

A group of mourners are huddled next to the grave.  
The men wear yarmulkes.  A Rabbi stands at the grave.  He prays silently. 

Jim stands next to Helga, who stands with a cane.

					RABBI
				(full voice)
		May God remember the soul of Morton Small,
		who has gone to his repose.  May he enjoy
		eternal life with the righteous who are in
		paradise.  And let us say Amen.

					MOURNERS
			(in unison)
		Amen.

					HELGA
			(approaching the Rabbi)
		Thank you Rabbi.

					RABBI
		May he rest in peace.

The mourners approach Helga.  They embrace her and express their condolences.  They walk to their cars and drive off.

Jim and Helga walk away from the grave site and through a 
panorama of endless graves.

					HELGA
		I was the sick one and God took Morton.
					
					JIM
		It was a shock.
				
					HELGA
		According to Jewish law, he had to
		be buried by today.

					JIM
		Is there something you want to tell me?

					HELGA
		There will be an autopsy.

					JIM
		A homicide?

					HELGA
		Morton was as meticulous about his health 
		as he was about his work.

					JIM
		Who's doing the autopsy?

					HELGA
		I want you to help me.

					JIM
		I'll do anything I can for you.
			
					HELGA
		Thanks.

Helga embraces Jim, her tears rolling down her face.

They walk off in the distance.

INT. DAILY NEWSPAPER - DAY

The newspaper offices teem with activity.  Employees at their cubicles, work arduously on their computers.

INT. EDITOR'S OFFICE

In a glass enclosed office, BILL POWERS, a middle age man 
sits at a desk cluttered with documents, files and newspapers.

Seated in front of him is Alan.  His brow is creased as he speaks.

					ALAN
		Of course I can prove it.  I was there and
		so was my family. 

					POWERS
		And you say that a Alice brought you to the
		island.

					ALAN
		She did.

					POWERS
		She'd be willing to corroborate this?

					 ALAN
		I'm sure she would, except she's not here.

					POWERS
		Where is she?

					ALAN
		She went back to her planet.

					POWERS
		Her planet!

					ALAN
		You don't believe me.  Do you?  

Powers smiles and shakes his head.
								
					ALAN	
		How can I convince you that clones are
		taking over our lives and the world? 
		
					POWERS
		Your wife told us that you had a nervous 
		breakdown and that you're under a doctor's 
		care.

					ALAN
		I'm all right now.

					POWERS
		We print facts and facts only. We
		can't help you.

					ALAN
		Who can?	
					 
					POWERS
		A government agency.  Try the FBI,
		the police.

					ALAN
		I've already been there.  

					POWERS
		Well! Good bye and good luck.

Alan gets up and leaves.  	

Powers picks up a telephone and punches a number. 

INSERT

On his right wrist, is a tattoo with a comet and the 
initials ZZZ. 

					POWERS (OS)
		Hello...Yes, he just left...It will be
		taken care of.

EXT. BUS STOP - DAY

A young man and several people stand at a bus stop.  The young man reads a newspaper.  After a beat, he looks up from his paper and sees 

A young, slender blind woman with a seeing-eye dog approach the bus stop.

The dog cuddles up to the young man who starts to pet him.

					BLIND WOMAN
		I sense my Buddy has found a new friend.

					YOUNG MAN
		He's a beautiful dog.

					BLIND WOMAN 
		That's what they tell me.

FADE OUT

					THE END