Stacey's Symphony
Return to SimplyScripts.com
This screenplay is copyrighted to its author. All rights reserved.
This screenplay may not be used or reproduced without the express
written permission of the author.
-------------------------
Script created with Final Draft by Final Draft, Inc.
[
bottom
]
FADE IN.
INT. JAMIESON HOUSE - LOUNGEROOM - NIGHT
A television shows a sitcom with two ELDERLY MEN standing in
a park watching PEOPLE walk by.
ELDERLY MAN #1
So I said to God, I think you're
son is a bit -
He tilts his hand and whistles. CANNED LAUGHTER can be heard.
ELDERLY MAN #1
You know -
He whistles - tilts hand. Whistles - tilts hand.
His friend doesn't catch on. More CANNED LAUGHTER.
ELDERLY MAN #1
With the long hair and the
bathrobe?
His friend still doesn't catch on. Canned laughter.
The television flickers then SNOWS OVER.
STACEY (O.S.)
It's doing it again mum. I told
you.
LAURENCE (O.S.)
My TV does the same thing in
thunder storms too Mrs Jamieson.
INT. JAMIESON HOUSE - KITCHEN - NIGHT
MRS JAMIESON, early fourties, prepares dinner with STACEY
JAMIESON and her friend LAURENCE, both thirteen.
Stacey chops carrots while Laurence has trouble peeling a
potato.
Stacey tries to glance at the television as she chops.
STACEY
It did it just then! It's broken!
MRS JAMIESON
Don't raise your voice Stacey.
STACEY
We need a new TV!
BOOM! The sound of thunder roars.
LAURENCE
Why does he keep whistling?
Mrs Jamieson laughs to herself.
Stacey glances at her mum then smiles at Laurence.
STACEY
Don't you know why?
Laurence doesn't catch on.
LAURENCE
You don't know.
MRS JAMIESON
Stacey, go change the channel.
INT. JAMIESON HOUSE - LOUNGEROOM - NIGHT
Stacey walks into the loungeroom and glances at -
- the television flickering.
Stacey walks to the television -
BOOM! Another thunder clap blacks out the house.
Absolute silence.
Stacey glances back to the kitchen.
STACEY
Mum?
No answer.
STACEY
Muuuummm? Laurence?
Stacey notices -
BRIGHT COLOURED LIGHTS flickering through the loungeroom
windows.
A TUNE plays from the television.
A TINY LIGHT on the screen, rolls from side to side as the
tune plays.
STACEY
Mum? Mum! Mum!
The lights from the window become BRIGHTER.
Stacey becomes quite hypnotised.
She walks to the front door -
- slowly turns the handle -
- pulling the door wide open -
- and steps into the light -
EXT. JAMIESON HOUSE - NIGHT
Stacey walks out onto the porch to see -
A SEA OF PEOPLE.
Behind the crowd is a GARGANTUAN PYRAMID, reaching to the
heavens above.
STORM CLOUDS above flicker a multitude of amazing colours
like sun rays breaking through.
Stacey trembles.
CROWD
Messiah! Messiah! Messiah!
The crowd make their way forward still chanting.
Stacey is speechless. She slowly walks backwards.
CROWD
Messiah! Messiah!
Stacey shakes her head.
One MAN, grubby and unshaven, grabs Stacey's hand -
- with a CRIPPLED HAND -
- he kneels, sobbing uncontrollably.
Stacey tries to jerk her hand free but the man refuses.
She is suddenly swamped by PEOPLE sobbing around her.
CROWD
Messiah! Messiah!
Stacey can't move. She panics -
INT. JAMIESON HOUSE - KITCHEN - NIGHT
Stacey screams.
Stacey is still standing in the kitchen chopping carrots.
MRS JAMIESON
Stacey! What is it?
LAURENCE
Mrs Jamieson!
Laurence points -
- to the chopping board. Stacey's little finger rests
perfectly next to the chopped carrot pieces.
MRS JAMIESON
Oh my God!
Mrs Jamieson quickly grabs a tea towel and wraps Stacey's
hand.
MRS JAMIESON
Laurence get as much ice as you can
for the finger! Hurry!
Laurence grimaces as he picks up a glass and drops the little
finger into it.
Stacey keeps crying.
STACEY
I couldn't help them. There were
too many.
Stacey passes out.
INT. JAMIESON HOUSE - LOUNGEROOM - NIGHT
Laurence leads the way, followed by Mrs Jamieson.
MRS JAMIESON
Keys, keys, over there!
Laurence grabs the keys off the top of the television and
they leave with Stacey.
The television stops flickering - showing the two elderly men
still in the park.
ELDERLY MAN #1
So I said to God, with the long
hair and the robes, maybe you
should've had a daughter? So that's
why I'm here in hell!
Canned laughter.
INT. HOSPITAL - WAITING ROOM - NIGHT
Mrs Jamieson sits alone in the waiting room while Laurence is
fast asleep with his head on her lap.
A DOCTOR, mid fifties, wanders into the waiting room holding
a clip board.
DOCTOR
Mrs Jamieson?
MRS JAMIESON
Yes, how is she?
The doctor sits down next to her as not to wake Laurence.
DOCTOR
Well Stacey is just going into
surgery now. But there were a few
things that she was saying that had
us concerned. Could I get you to
just sign here.
Mrs Jamieson takes the clipboard and signs.
MRS JAMIESON
What kind of things?
DOCTOR
She said she was God, along those
lines. She was very adamant about
that.
Mrs Jamieson hands the clipboard back.
MRS JAMIESON
So what is this?
DOCTOR
This is to do with the surgery. In
case the surgeons cannot replace
her finger. Insurance...
unfortunately.
He offers a wry smile.
INT. HOSPITAL - SURGERY - NIGHT
Stacey lays on a bed with her arm raised on an operating
table.
NURSES and SURGEONS walks here and there collecting surgical
tools.
Stacey watches as -
One MASKED SURGEON covers her view.
SURGEON
Hello Stacey.
He nods to a NURSE -
- who places a sleeping gas mask over Stacey.
SURGEON
I just want to say Stacey that we
can't fix your finger the way it
was. But we can correct it so you
can use it and also give you
something extra. Something special,
but it's our secret, right?
Stacey slowly nods.
In the background -
One SURGEON is hunched over as he walks, STOMPING SLOWLY
almost as if he was imitating walking on the moon.
The ceiling of the surgery begins to glimmer different
colours.
SURGEON
If you're feeling nervous just
listen to the tune.
One of the NURSES leans back and proceeds to hum the EXACT
SAME TUNE that the television played.
Stacey begins to smile then closes her eyes.
INT. HOSPITAL - WAITING ROOM - NIGHT
Mrs Jamieson wakes from a nap. She notices -
NO-ONE at the front desk.
She moves Laurence off her lap and stretches, checking her
watch.
MRS JAMIESON
When can I see my daughter?
No answer.
MRS JAMIESON
Hello?
She walks to the front desk.
MRS JAMIESON
Hello? Anybody? Hey!
Laurence starts to wake.
INT. HOSPITAL - CORRIDOR - NIGHT
Mrs Jamieson paces down the corridor noticing EVERY ROOM is
empty.
MRS JAMIESON
Hello? Stacey? STACEY?
Laurence wanders down the corridor watching Mrs Jamieson.
She glances at him.
MRS JAMIESON
Where is everyone? It's like they
vanished.
FADE OUT.
Title : 20 years later.
FADE IN.
INT. HIDDEN TOMB -
A REMOTE CONTROLLED ROBOT wheels into a tomb from a two foot
opening. A light attached to it, shines from left to right.
The robot comes to a stop then extends its neck higher.
FLASH!
It takes a photo then turns right.
FLASH!
It turns left.
FLASH!
It lowers the neck then waits.
CRUNCH! GRIND!
One of the stones from behind is totally slid away creating a
man size doorway.
BRIGHT LIGHTS from several torches point in all directions.
SIX PEOPLE, dressed in air tight suits, gaze upon their new
discovery.
ROLAND, late fifties, smiles. He pats the back of his
translator FAGAN, thirties.
ROLAND
You see, I was right! Down then up!
Tell them, down then up! I was
right!
He smiles at his partners as Fagan translates in Egyptian.
Roland does the action.
ROLAND
Down, up! Down, up! That's how we
got in!
His partners don't seem so excited.
FAGAN
Dr Roland, the SCA have clearly
stipulated they will be here to
over see the protection of the
tomb. They're not interested in
your up down theories.
ROLAND
It's down then up and don't ruin
the moment with Government red tape
Fagan.
Roland walks away and examines one of the walls.
It is fifteen feet in height and has hieroglyphics from top
to bottom. All three walls are the same.
In the centre of the room is a stone BED MADE FROM GOLD.
Apart from that the room is empty.
FAGAN
So it appears this isn't the
chamber of King Khufu?
Roland shakes his head.
ROLAND
This place wasn't hiding a king.
He gazes at -
- the GOLD BED.
Along the surface are TWO GROOVES stretched out like a hands.
Roland places his hand above the groove. His hand is dwarfed
in size.
ROLAND
That's one hell of an imprint.
FAGAN
Why would they hide this room if
there's no king?
He glances back at the walls.
ROLAND
They were hiding the information on
these walls.
Roland smiles again.
EXT. PYRAMID OF KHUFU - DAY
Roland is helped out of a man made hole by Fagan.
He dusts himself off and the men walk to a nearby tent.
FAGAN
The Egyptian Government will want
to know who will be visiting the
tomb.
ROLAND
We're sending in several camera
specialists to document the area.
What's the name of the Egyptian PR
girl?
FAGAN
Alena and she's Russian, not
Egyptian.
Roland waves his hand.
ROLAND
Tell her to contact the CNN crew
and break the news.
FAGAN
What news? You discovered an empty
chamber covered in hieroglyphics.
Roland slaps Fagan's suit. Dust sprays off.
ROLAND
And now CNN can tell the world.
Doesn't it make you excited?
Fagan stops and watches -
Roland walking past EGYPTIAN WORKERS.
They bend down and lean up - laughing at Roland.
ROLAND
Down, up! That's right!
INT. LT. KENWARD'S OFFICE - DAY
LIEUTENANT KENWARD, mid sixties, sits at his office desk. A
FRAMED PHOTO of Kenward and his WIFE sits in the centre of
the desk.
Standing in front of Kenward's desk is TYNDELL, mid thirties,
looking ahead but not at Kenward.
KENWARD
What I want to know is did Jason
have access to your computer or
not?
TYNDELL
It is more than likely sir.
KENWARD
What sort of an answer is that? Did
he or didn't he? Yes or no, son!
TYNDELL
Yes sir! That is my guess.
KENWARD
And your computer had the Mars
probe data?
TYNDELL
Yes sir. A copy of it.
POW!
Kenward slams the frame off the desk. It smashes against the
wall.
Tyndell flinches.
Kenward stands up and walks to the front of his desk.
KENWARD
Damn it son! Everyone had strict
instructions to destroy any data
that the probe sent back. I have to
answer to the NSA thanks to your
stupidity.
TYNDELL
All I can say is sorry sir!
KENWARD
Sorry doesn't help.
A SECURITY GUARD, early twenties, raps on Kenward's office
door, interrupting.
SECURITY GUARD
Lieutenant Kenward, we found the
monitor playback, sir.
INT. SECURITY OFFICE - DAY
Kenward and Tyndell stand and watch -
SECURITY FOOTAGE in slow motion.
JASON, mid thirties, sits with his back to Tyndell in office
cubicles.
Tyndell stands up and walks off screen holding an empty cup.
KENWARD
That's a violation right there! You
never leave your computer unmanned
without being locked!
The footage shows -
Jason quickly jumping to Tyndell's computer and tapping away.
He quickly inserts a media card.
KENWARD
I'm surprised he had the gall to do
it even in front of the monitor.
They watch -
Jason finishing the copy and rolling Tyndell's chair under
the desk -
- Tyndell walking back with a cup of coffee then rolling the
chair back out, glancing back at Jason for a moment.
TYNDELL
I remembered that I didn't move the
chair all the way under the desk,
so I was suspicious, sir.
SECURITY GUARD
What would you like to do sir? He's
already left for the day.
KENWARD
Leave it to me.
Kenward looks at Tyndell.
KENWARD
Tyndell, I'm re-assigning your next
project to something less
troublesome until I hear from the
NSA.
INT. ASYLUM - OFFICE - DAY
BILL APRIL, fourties, sits at a desk reading over Stacey's
file.
STACEY JAMIESON, now thirty three, looking quite normal,
smiles and hums a familiar tune.
Bill sighs, and taps the file.
BILL
This is exactly the same!
Stacey offers a smile.
BILL
I'm sorry, please let me explain.
My name is Bill April and I would
like to make it clear that I do not
work for this hospital, so please
feel free to say whatever you like.
Stacey, do you remember having the
assessment last week?
INT. ASYLUM - STACEY'S ROOM -
Stacey sits on her bed in a plain white room.
She proceeds to pack away clothing -
BILL (V.O.)
As you may or may not be aware,
with the recent uproar in the press
about the state of our mental
institutions, the Government has
formed its own inquiry into our
health centres. Are you following
me?
INT. ASYLUM - OFFICE - DAY
Stacey nods, very placid.
BILL
Well we've been going through each
facility, and researching every
patient on a case by case basis, so
as you can imagine, it's been a
long journey and we still have a
long journey ahead of us.
STACEY
Sometimes we need to look back and
appreciate the distance we've
travelled on this earth.
BILL
Pardon?
STACEY
Then the journey ahead, doesn't
become so daunting.
Bill takes in what Stacey said. He nods.
INT. ASYLUM - CORRIDOR -
Stacey walks down the corridor alone carrying one bag.
She hums her tune.
BILL (V.O.)
Well to cut a long story short, we
have come across a few cases that
due to bureaucratic bungling people
as yourself have been kept in
asylums for really no reason. As I
said this isn't the first case.
INT. ASYLUM - OFFICE - DAY
Stacey stops and thinks.
STACEY
I don't have to be here?
BILL
No, not at all. I mean, by the
reports here, no-one can verify who
a Doctor Lietz is, not any hospital
has ever had this man work for them
and yet his signature -
Bill fumbles to find the document.
BILL
- is on a document saying, and I
quote, Stacey Jamieson is to be
kept in Rosevolt Asylum between the
years ninety five to two thousand
and five. We think there's been a
cover up with mass forgeries going
on between several states. I have a
registry from the Government that
when you sign it will allow you to
be a free woman.
STACEY
I'm allowed to go home?
BILL
Absolutely!
INT. BUS - DAY
Stacey sits on a bus toward the back, gazing out the window.
BILL (V.O.)
Do you have any family?
STACEY (V.O.)
I have a mother back in Montel. We
haven't spoken for some time, I
don't know, maybe she's ashamed of
me.
A young five year old GIRL, leans back and faces Stacey,
studying her.
Stacey smiles.
STACEY (V.O.)
There's only one way to find out.
The little girl smiles.
Stacey -
- leans out her hand and gently rests the palm across the
girl's cheek.
The girl's eyes WIDEN noticing Stacey is missing a little
finger -
- slowly she relaxes, closing her eyes, almost melting into
Stacey's palm.
The girl is abruptly woken by her MOTHER.
MOTHER
Stop bothering the woman and sit
down!
Stacey and the girl have eye contact then -
- smile at eachother.
EXT. BUS STOP - DAY
A GREYHOUND BUS drives away -
leaving Stacey standing alone at a deserted bus stop, holding
one luggage case, standing at a crossroad.
The SUN casts a SHADOW to Stacey's left.
BIRDS chirp in the distance.
Stacey glances in all directions quite casually.
STACEY
I don't recall this area as a
child.
She shrugs.
STACEY
Show me the way.
Stacey's SHADOW -
- slowly REVOLVES around her like the hand of a watch -
- over to her right.
STACEY
Thank you fathers.
She follows her shadow.
EXT. MONTEL MAIN STREET - DAY
Stacey's home town is a quiet seaside town.
TOWNSFOLK nod hello to eachother as they walk here and there.
STACEY -
- walks along the footpath breathing in the sea air.
STACEY
Home soon.
She smiles at two ELDERLY MEN sitting in a park as she passes
by.
INT. JAMIESON HOUSE - LOUNGEROOM - DAY
MRS JAMIESON, now in her early sixties, sits with CHRIS, mid
twenties, as he teaches her how to use a computer.
CHRIS
... So you can have multiple
windows open at any given time.
Mrs Jamieson nods.
MRS JAMIESON
It's amazing what they can do now
isn't it?
Chris taps at the computer.
CHRIS
They can't perform miracles... yet.
Mrs Jamieson looks bewildered.
CHRIS
I'm kidding Mrs Jamieson. Only
Jesus holds the miracle crowns.
KNOCK! KNOCK!
Mrs Jamieson stands up and proceeds to the front door.
MRS JAMIESON
Don't get me started on my views of
miracles Chris.
INT/EXT. JAMIESON HOUSE - DAY
Mrs Jamieson opens the door to see -
STACEY.
MRS JAMIESON
Can I help you?
Stacey lifts up her hand showing the missing pinky.
STACEY
I hope you're not ashamed of me?
Mrs Jamieson slowly shakes her head.
MRS JAMIESON
St.. Stacey?
They both hug.
Chris appears at the door waiting patiently.
CHRIS
I have to be going Mrs Jamieson.
Same time as next week?
Mother and daughter stop hugging.
MRS JAMIESON
How could I be ashamed of you?
Mrs Jamieson wipes a tear from her eye.
MRS JAMIESON
I'm sorry Chris, this is my
daughter Stacey. We haven't seen
eachother in... God Knows how long?
Stacey smiles at Chris and they shake hands.
CHRIS -
- closes his eyes almost falling into a deep sleep.
MRS JAMIESON
Chris?
Chris shakes his head for a moment then smiles.
CHRIS
Wow!
He glances at Stacey who offers him a smile.
MRS JAMIESON
Are you ok?
CHRIS
Better than ok.
MRS JAMIESON
This is ... Nothing short of a
miracle.
Mrs Jamieson guides Stacey inside.
Chris leaves the house, constantly looking back as the door
closes.
INT. LAURENCE'S BEDROOM - DAY
Laurence's bedroom is dark with the blinds closed.
LAURENCE, now thirty three, sits in a chair in fixing a
computer.
BAM! Chris walks in.
Laurence sighs.
He flicks off the monitor, looking at Chris.
LAURENCE
What do you want?
CHRIS
I was just at Mrs Jamieson's house
and... her daughter showed up.
Stacey.
Laurence is stunned.
LAURENCE
Stacey? Stacey Jamieson? The Stacey
I told you about?
CHRIS
Yeah. Just out of the blue.
Chris whips out a packet of cigarettes and proceeds to light
one.
LAURENCE
Not in my room!
Chris laughs to himself, taking the cigarette out of his
mouth.
CHRIS
I don't feel like I've ever craved
one. Weird.
LAURENCE
No-one's heard from Stacey in like
twenty years, and you're telling me
she showed up to her mother's
house?
CHRIS
She's there now! Why don't you go
see her?
Laurence smiles then -
- looks down.
The chair he sits in is actually a WHEELCHAIR.
He wheels it backward revealing -
two STUMPS at the knees.
LAURENCE
A long time has passed. She
probably wouldn't remember me.
INT. EGYPTIAN BAR - NIGHT
Dr Roland sits in a bar with his colleagues drinking and
watching a small television.
The television shows ALENA, mid twenties, describing the dig
with diagrams to the CNN news crew.
The television shot changes to -
DR ROLAND talking in front of a microphone.
The room is drowned out with LAUGHTER.
Roland stands up bowing at his colleagues as they throw bits
of food at him.
Fagan pushes his way past the crowds next to Roland.
ROLAND
Fagan, you missed the start of it.
I think I saw a glimpse of your big
nose in one of the shots.
FAGAN
Enjoy the fame and glory while you
can Dr Roland. I've been told your
Government are sending advisors to
keep everything under wraps. They
won't allow the same fiasco to
happen just like in two thousand
and two.
Roland's smile drops.
ROLAND
I guess it was a matter of time.
He slaps Fagan on the back.
ROLAND
America did fund this project, so
they control what happens from here
on.
FAGAN
So America sends it's best
Egyptologist and they think they
now own our Pyramids?
Roland sips his drink.
ROLAND
Listen I get the feeling you don't
like me, God knows why, I haven't
slept with your wife, but yes I was
hired by the US Military for this
excavation.
SMASH! A glass shatters at the table.
A BEARDED MAN, argues with his friends pointing to Roland.
ROLAND
What's he saying?
FAGAN
He says, America has opened the
doorway to God... You have put a
curse onto us ...
ROLAND
Hey!
The bearded man looks at him.
ROLAND
I seek the truth! I don't believe
in curses!
The bearded man walks closer to Roland.
BEARDED MAN
Look between the hieroglyphics and
you will find the truth.
INT. CAR - NIGHT
JASON sits in the front passenger seat, holding a CD. He's
nervous and continues to check the windows.
In the driver's seat is ROSEDALE, mid fourties, waiting for a
laptop to boot up.
ROSEDALE
Relax, will you! I got three guys
keeping a lookout. No-one is going
to see us.
Rosedale takes the CD.
ROSEDALE
So it's real?
Jason is lost in thought.
JASON
Just watch it.
Rosedale slips in the CD and taps on the keyboard.
JASON
You look different in person than
on TV.
Rosedale glances at him.
JASON
I mean you look better in person.
ROSEDALE
Television makes you look fatter
and now that they got wide screen I
can't bare to see my face on the
six 'o' clock news.
Rosedale's attention falls on the laptop.
Jason watches the light glimmering off Rosedale's glasses.
ROSEDALE
Is this what I think it is?
JASON
Yep.
ROSEDALE
On Mars?
JASON
Taken from the space probe last
month. It's classified, NASA
doesn't want this getting out.
It'll question everything the human
race stands for. I have to leave
the country tomorrow otherwise I'm
a dead man.
Rosedale is mesmerized.
JASON
Did you bring the money?
ROSEDALE
Yeah, yeah. There's a case under
the seat. Yulan is going to be so
pissed when this gets screened.
He'll never be able to top this
story.
Rosedale laughs to himself.
Jason rests a BRIEFCASE onto his lap and opens it revealing -
- BUNDLES OF CASH. He quickly closes it.
ROSEDALE
If you had played your cards right
you could've had a bidding war
between networks.
JASON
I don't have time for that. Hundred
grand does fine.
Jason opens his door.
JASON
Good luck with airing it Mr
Rosedale.
INT. HOTEL ROOM - NIGHT
Jason flicks on the light to his hotel room and throws the
briefcase on the sofa.
A gentle wind blows the curtains, revealing an -
- open window.
Jason glances at it, pondering.
SLRRRP!
Jason whips around to see -
SAITH, mid fourties, leaning against the door frame between
the kitchen and main room. He holds a cup of coffee
awkwardly in one hand and a glock handgun in the other.
SAITH
Hope you don't mind I made myself
some coffee. Sit.
Jason sits on the sofa.
Saith sits across from him in a single chair. He rests the
cup down on a table next to -
- A BUTCHERS KNIFE.
SAITH
You can always tell if a hotel is
reputable by the coffee they have
stored in their rooms.
Saith gazes around at the room.
SAITH
As you would imagine, my line of
work has me travelling and staying
in alot of hotels, motels, cheap
accommodation, but I always ring
before hand and ask them what type
of coffee they have. Some places
can't answer that question so
they're not worth staying at.
Saith takes his time and has a sip.
JASON
I don't have the footage anymore -
Saith raises the glock.
Jason doesn't speak.
SAITH
This place is not too bad, at least
they know what they stock. It's
Jamaican Blue Mountain. Nice
flavour. I'm still yet to find a
hotel that has Gevalia coffee.
JASON
Clive Rosedale from CNN has the
footage.
Saith shrugs and rests the glock on the table.
Jason eyes it.
JASON
I'm sure you can stop Rosedale from
screening it. I'll split the money
with you. Fifty grand each, just
let me go, please!
Saith studies his right hand. The fingers are curled in an
arthritic fashion.
JASON
- DIVES for the glock.
SAITH
- snatches up the butchers knife.
Jason aims the glock at Saith.
JASON
The person you should be after is
Clive Rosedale from CNN. Don't make
me kill you.
SAITH
I don't watch the news. I make it.
Saith throws the knife -
POW!
Jason is hit straight through his VOICE BOX -
drops back onto the sofa pulling the trigger, gasping for
air.
CLICK! CLICK! CLICK!
Saith stands up and takes the gun from Jason's hand.
SAITH
I never have it loaded. Too noisy.
Saith slips the glock under his coat and takes another sip
from his coffee.
Jason gargles as blood drips from his lips.
Saith lifts up the briefcase with his crippled hand.
SAITH
Thanks for the coffee.
He twists the knife handle.
Jason's body JERKS and SPASMS then goes lifeless.
EXT. TOWN FESTIVAL - DAY
A LARGE BANNER is spread above the town's main road. It
reads: WELCOME TO MONTEL'S ANNUAL FESTIVAL.
YULAN, late thirties, and his CAMERAMAN, fourties, wait by a
van, watching the passing townsfolk.
The cameraman scoffs down a HOTDOG.
YULAN
Not a god damn thing worth filming!
I know who did this to me, it was
god damn Clive Rosedale! He's all
buddy buddy with the people on the
board. Sends me to shitsville -
The cameraman yawns.
YULAN
- with shitheads like you!
CAMERAMAN
Hey! What did I do?
YULAN
Only been here for three hours and
I hate the place already!
The cameraman watches -
Two SEXY WOMEN walk by.
CAMERAMAN
Could film the locals.
YULAN
I only want one story that'll knock
Rosedale on his ass! Something that
he can't better - ever!
Yulan watches -
The cameraman finish his meal.
CAMERAMAN
Well don't do a story on their
hotdogs, they taste like shit.
YULAN
Let's at least get some general
shots.
They both walk further into the festival.
EXT. FESTIVAL - ENTRANCE - DAY
Stacey and her mother wait by the entrance to the festival.
MRS JAMIESON
I asked Chris and Laurence to meet
us here. Laurence is going to be so
happy to see you.
Stacey smiles at the passing townfolk.
Mrs Jamieson watches with intrigue.
MRS JAMIESON
These people thought I had done
something to you or that the child
protection had intervened. Now they
walk past and vaguely recognise
you.
STACEY
Even though others will scrutinise
and judge, I was told to never
judge others.
MRS JAMIESON
Who told you that?
STACEY
My fathers.
MRS JAMIESON
Your what?
CHRIS
Stacey!
Mrs Jamieson's attention is distracted as -
- CHRIS wheels LAURENCE to them. Laurence wears shorts.
Stacey glances at -
- LAURENCE'S STUMPS.
LAURENCE
Motorbike accident.
Stacey smiles at Laurence. He smiles.
LAURENCE
Is that really you? Come here and
give me a hug!
Stacey and Laurence hug. She sheds a few tears.
STACEY
The last time I saw you, you were
this little kid with a high pitched
voice.
Laurence laughs.
LAURENCE
Last time I saw you -
He glances at Mrs Jamieson quickly.
LAURENCE
- was at the hospital. Did they
ever fix your finger?
Stacey laughs slightly, raises her HAND revealing -
- THE MISSING PINKY.
LAURENCE
I just had to go one better.
Stacey quickly takes Laurence's wheel chair.
STACEY
I hope you both won't mind if
Laurence and I go for a walk.
MRS JAMIESON
Sure, we'll meet back here later.
Stacey nods.
EXT. FESTIVAL - BY THE OCEAN - DAY
Stacey wheels Laurence along a walkway by the ocean. This
area is much quieter and deserted.
LAURENCE
Where have you been all this time?
Rumour had it you went into a
mental institution.
STACEY
I was.
LAURENCE
Why? You don't look crazy. You've
grown into a someone quite
beautiful.
Stacey rests a hand on Laurence's chest. He touches it.
STACEY
I was given a gift and those who
gave it to me didn't realise how I
would react to it. I was only a
little girl.
LAURENCE
But the doctors took you away that
very night! You're mother was
devastated. They wouldn't tell her
where they took you or anything. It
was like you were taken off the
planet.
Stacey stops the wheelchair and they both glance out to the
ocean.
STACEY
My fathers told me I would be home
soon.
Laurence is bewildered.
Stacey faces him.
STACEY
Laurence, would you like to be able
to walk?
LAURENCE
That's not funny.
STACEY
I cannot fix them the way they
were, but I can correct them.
Laurence frowns.
LAURENCE
Correct them?
STACEY
Take my hands.
EXT. FESTIVAL - DAY
Yulan and the cameraman walk to the outskirts of the
festival.
Yulan flicks on his mobile punching the digits.
He spots -
STACEY and LAURENCE in the distance.
YULAN
There's a nice shot for you. Film
those two by the ocean.
The cameraman proceeds to film.
Yulan keeps watching, phone by his ear.
YULAN
Is it me or is that guy -
CAMERAMAN
Oh my God!
YULAN
Hey Sam, I think I just found a
story for you.
INT. HIDDEN TOMB -
Dr Roland is alone in the tomb with only the robotic camera.
Three lights are aimed at the walls revealing the
hieroglyphics.
Roland wanders to the gold bed and examines it, touching its
surface. He gently rests his hands in the grooves.
FLASH!
The robotic camera flashes at him -
- stunning his vision momentarily -
- then he notices -
The HIEROGLYPHICS MOVE both horizontally and vertically
across the three walls.
Each symbol stops and waits to let others pass by like they
were alive.
FLASH!
The camera takes another picture of the walls.
Roland smiles.
ROLAND
Please let these pictures work.
The hieroglyphics abruptly stop.
FLASH! FLASH! FLASH!
The camera continues to haphazardly shoot away at the walls,
jerking left and right then finally straight ahead.
BOOM!
The camera shines a CONTINUOUS LIGHT straight ahead -
- shining THROUGH THE WALL revealing -
A GARGANTUAN RED CANYON filled with an ocean.
Hundreds of MUSHROOM SHAPED TEMPLES made from stone rise out
of the ocean.
A SUNSET blocks out any further view of the distance.
FLASH!
FAGAN
Dr Roland!
Roland shakes his head.
ROLAND
Did you see that?
FAGAN
You have to see this. On the news -
ROLAND
Fagan, did you see the ocean... The
mushrooms?
Fagan glances at the robot camera.
FAGAN
... No. Come see this, outside.
EXT. PYRAMID OF KHUFU - NIGHT
Fagan drags Roland towards a tent.
ROLAND
It was amazing. I hope the camera
picked up the shots.
Fagan proceeds to push his way past a large CROWD to face a
television sitting on a table.
Fagan yells at one of the crowd and they turn the volume up.
Roland watches -
TELEVISION YULAN holding a microphone standing next to
STACEY. She hums her favourite tune and is quite relaxed.
The camera pans back and forth to Laurence standing upright
with -
NO VISIBLE LEGS.
Roland rubs his eyes - leans closer to the television.
YULAN (T.V)
What you are seeing is real. This
man , what is your name sir -
LAURENCE is trying to hold back from crying.
LAURENCE (T.V)
Laurence.
YULAN (T.V)
And how long were you confined to a
wheel chair.
LAURENCE (T.V)
Fourteen years -
Laurence can't hold back and cries.
YULAN (T.V)
Fourteen years Laurence was in a
wheel chair and now this man can
walk! Ladies and gentlemen I ... I
am lost for words trying to explain
what you are witnessing. I cannot
stress enough how real this is. We
have the footage of Laurence first
standing up from his wheel chair.
The camera pans to STACEY -
YULAN (T.V)
And this is Stacey who performed
the miracle. Stacey, I have to ask,
how did you do that?
Stacey looks a little awkward.
STACEY (T.V)
It's a gift, given to me by my
fathers. It was supposed to be a
secret between Laurence and I.
YULAN (T.V)
Stacey, you have to agree, that's
an amazing gift that's been given
to you, certainly nothing to be
ashamed of. Your friend can walk
because of your gift. You healed
him.
STACEY (T.V)
I didn't heal him. I corrected him.
Only our fathers can heal.
Fagan glances at Roland.
FAGAN
The man has no legs and yet he
stands! This is an act of God! She
is a messenger of God!
Roland watches in disbelief.
ROLAND
She's something alright.
One of the crowd yells something in Egyptian.
Fagan smirks.
ROLAND
What did he say?
FAGAN
Only in America!
INT. KENWARD RESIDENCE - STUDY - NIGHT
Lt. Kenward is on a cordless phone, sipping a brandy, pacing
back and forth. Along the walls are medals from his glory
years.
In the background -
The television plays more of Yulan's footage of Stacey and
Laurence.
KENWARD
Yes Sir, I have been informed that
situation was dealt with.
He stops and looks at his television.
KENWARD
I have it on right now. Every
channel has been showing it all
afternoon. A hoax? Possibly. I am
reluctant to think the two are
related. Yes Sir.
He sits the brandy down and turns up the volume.
A CNN ANCHOR WOMAN quickly checks her earpiece, then looks at
the camera.
ANCHOR WOMAN (T.V)
And we'll have more on this
exclusive from our reporter Yulan
Weint.
I've been informed by the floor
managers that our phones have been
ringing non stop to find the exact
location of this story, I'm afraid
we are not at liberty to say, so
please stop calling as we won't be
revealing the location as of yet.
Kenward picks up his brandy again and takes a gulp.
KENWARD
I didn't think this sort of thing
had anything to do with us? My
apology Sir. I have someone who can
do the job. He'll find her within
seven days.
INT. SAITH'S APARTMENT - NIGHT
Saith sits at a computer desk with a MODIFIED KEYBOARD for
his left hand.
He taps rapidly as he drinks a cup of coffee with his right
hand.
Next to the desk is Jason's case open revealing the money.
ON THE MONITOR -
- is an internet foreign bank transaction page.
A miniature WINDOW pops up in the corner of the monitor.
Saith stops tapping and sighs -
- he eyes between the cash and the pop up window.
SAITH
No rest for the wicked.
He clicks on the window.
It opens up a new screen showing an image of Stacey taken
from Yulan's report.
Below it reads: NAME IS STACEY. YOU'LL HAVE TO SEARCH FOR
SURNAME. LOCATION UNKNOWN. NAME YOUR PRICE.
Saith clicks a new program which opens four small windows
covering the monitor with Stacey's image in the centre.
He types: STACEY -
Each window proceeds to scan and flick through endless
records.
One by one, each window stops -
- revealing: DENTAL RECORDS, DRIVERS LICENCE, VOTING,
HOSPITAL.
The only match is from the hospital window.
SAITH
Institution?
He clicks to enlarge the data -
- browsing through her history.
An image of YOUNG STACEY sits next to the current image of
her.
SAITH
Stacey Jamieson. Montel. Where the
fuck is that?
EXT. JAMIESON HOUSE - NIGHT
The Jamieson residence is at the end of a quiet street. It
has a large front yard where Yulan chats on his mobile.
The cameraman leans over a garden vomiting.
YULAN
... I don't know, he's pretty sick.
Food poisoning or something.
He leans over the cameraman.
YULAN
You don't want to stay?
The cameraman shakes his head.
YULAN
You want to go home?
Cameraman nods.
YULAN
Yeah Sam, you better send someone
else. Can you do that ASAP? I want
to do another story before every
network finds out where she lives
and wants to do an exclusive.
Yulan laughs.
YULAN
Not a dime! She's not interested in
money at all. The humming? I don't
know, she's not crazy... Just
eccentric. Sam, I don't know how
she does it, all I can say is...
Yulan notices -
Laurence walking toward the front door, wearing trousers and
shoes.
YULAN
- It's just weird. Call her the
second coming of Christ, that'll
stir the churches. Gotta go.
He hangs up.
YULAN
Laurence, lift up your pants.
Laurence does revealing -
SOCKS covering his invisible legs.
Yulan smirks.
YULAN
Hard to find your feet?
LAURENCE
A little. Just got to remember to
wash them from now on.
Laurence continues inside.
Yulan leans back over the cameraman.
YULAN
Would you like Stacey to correct
you?
The cameraman vomits again.
INT. JAMIESON HOUSE - KITCHEN - NIGHT
Stacey helps her mother prepare dinner. She gently hums that
familiar tune to herself as she cuts carrots.
Mrs Jamieson is quiet as she prepares a roast.
Laurence wanders in with a big smile.
LAURENCE
Just got off the phone from family
who seen the report. They see it
but can't believe it.
Mrs Jamieson sits down and starts to weep.
Stacey and Laurence glance at eachother.
STACEY
Mom?
Stacey leans her arms around her.
Mrs Jamieson hides her face and bawls.
MRS JAMIESON
What can I say Stacey? You were
taken away from me with no word and
no trace. You come back twenty
years later, and then perform
miracles on people who I had to
watch grow up heart broken. I can't
just accept it! I can't! It's not
normal!
STACEY
Please don't be ashamed of me?
Mrs Jamieson drops her hands, her eyes wet.
MRS JAMIESON
Ashamed? I'm not ashamed. I don't
know what I feel...
Laurence takes a seat.
STACEY
My fathers told me to help others.
MRS JAMIESON
There! Who are you talking about -
YULAN (O.S.)
Okay, listen up folks!
Yulan is oblivious to his interruptions and takes a seat.
YULAN
My cameraman is sick -
He looks at Stacey.
YULAN
- I already asked if he wants you
to do your ...
Yulan wiggles his fingers.
YULAN
... But he said no. So we're
getting a replacement cameraman who
should be here by tomorrow. I want
to do another story I'm just not
sure what angle to use.
LAURENCE
Rumour has it people are going to
be flocking to Montel in a day, two
tops. People want to be cured.
YULAN
Perfect! We can do a mass healing.
It'll be a ratings killer! Mass
healing, ratings killer, I'm sure
that's ironic.
POW!
Mrs Jamieson slams her fists on the table. She stands up.
MRS JAMIESON
My daughter is not ... a freak!
She storms off.
INT. ROLAND'S TENT - NIGHT
Dr Roland plays around with photos on his laptop while Fagan
studies 8x10 prints taken by the robotic camera.
Roland glances at Fagan.
ROLAND
Do you believe in UFO's?
FAGAN
Honestly no. Why?
Roland takes his time rearranging the photos like a puzzle,
flipping images up side down and matching them side by side.
ROLAND
In nineteen eighty six, I published
a paper about the moon. At first it
was laughed at but then in nineteen
ninety the military began to ask
about my theories on the moon.
FAGAN
What was it about?
ROLAND
I called it the circle theory. Can
you recall any photos of the moon
that you have seen? They have
showed hundreds of craters,
correct?
Fagan nods.
ROLAND
In the past it was lead to believe
that meteors had hit the surface of
the moon and caused such craters,
but that can't ring true.
FAGAN
Why?
ROLAND
Because they're perfect circles. A
meteor would have to hit it
directly and bounce back up to
cause such an impact. Like bouncing
a ball, but the moon revolves, like
earth revolves, so it's impossible
for every crater there to be a
perfect circle - as if every meteor
just bounced off it.
Fagan stops and is intrigued.
Roland stops what he's doing with his laptop.
ROLAND
And say, that the moon was hit
millions of years ago with a
tremendous meteor shower, they can
still only come from one direction.
Can someone convince me that the
moon has been hit from every
conceivable angle by meteors and
not only that, each meteor hit
perfectly like a bouncing ball?
FAGAN
So what do you think caused the
craters?
Roland shrugs.
ROLAND
What I published back then was that
they weren't caused by something
hitting the surface, but by
something leaving the surface. Like
the remains of a blast off.
Roland relaxes and yawns -
- his eyes WIDEN glaring at the laptop.
ROLAND
Shit!
FAGAN
What?
Roland jumps out of his seat and stands over Fagan -
- shuffling the 8x10 prints into a certain order.
FAGAN
What is it?
Roland doesn't answer him, just keeps glancing back at his
laptop then at the prints.
ROLAND
There... what do you see?.
Fagan glances at -
- the way Roland has shuffled the prints in a 3x3 manner
revealing -
- A HIEROGLYPHIC DESIGN OF STACEY'S PORTRAIT.
FAGAN
The woman -
ROLAND
Your messenger from God!
EXT. DINER - NIGHT
A long stretch of road with a LONE DINER to one side. The
place is packed with cars parked everywhere and anywhere.
Saith parks a SEDAN where he can and steps out watching -
- CARS BUMPER TO BUMPER along the road.
INT. DINER - NIGHT
Two WAITRESSES are run off their feet as every seat is taken
with CUSTOMERS waiting to be served.
Saith wanders inside and is quick to snatch a seat by the bar
before a BEEFY MAN can. They give eachother a quick glare
then the beefy man leaves.
JERRY, late thirties, laughs to himself as Saith leans on the
bar.
JERRY
I've been asked if I'm leaving soon
and I just keep saying no.
Jerry takes a bite from a steak sandwich.
JERRY
Have you seen outside? Ain't no-one
going anywhere. Rather be in here
than stuck in my van.
One Waitress hurries by.
SAITH
Excuse me!
Jerry laughs again.
JERRY
Took me an hour to get just this
sandwich.
Saith looks at the other half sandwich still on the plate.
SAITH
I'll give you ten bucks for that
half of your sandwich.
JERRY
Are you serious? I didn't pay that
for the whole thing.
Jerry glances at the plate then at Saith who offers a shrug.
SAITH
What can I say? I'm hungry.
JERRY
Alright.
Saith quickly pulls out the money and hands it over -
- Jerry notices Saith's hand. He takes the money.
Saith digs into his meal.
JERRY
So you going to see her as well?
SAITH
See who?
JERRY
That girl. Stacey.
Saith stops chewing.
JERRY
You didn't watch the news?
Saith shakes his head.
JERRY
I'm sorry, I thought with your hand
and all... That's who all these
people are going to see. Stacey,
the miracle healer.
Saith glances around the diner at the customers -
- some are in WHEELCHAIRS -
- others are AMPUTEES -
- some have HORRID SCARS -
JERRY
They all want to be cured. It was
on the news mid afternoon. She
healed a man in a wheel chair and
he could walk again. But you
couldn't see his legs, like he was
standing on nothing.
Saith studies his cripple hand. He glances at Jerry.
SAITH
So you want to be healed too?
JERRY
No, I'm a freelance cameraman. I
got called by CNN to go to Montel.
They have to make way for the news
crew. God help anyone else trying
to see her in person.
Saith nods and smiles, offering a hand.
SAITH
My name is Saith. And you are?
JERRY
Jerry. Saith? Where does that
originate from?
SAITH
It's Welsh. Means seven -
SNATCH!
Saith quickly grabs one of the Waitresses by the wrist and
glares at her.
SAITH
I want two coffees right here,
right now! Before everyone else.
He lets her go and she wanders to the back. He shows Jerry a
small FLASK and rattles it.
SAITH
If you're not in a hurry that is.
JERRY
Sure, why not?
EXT. JAMIESON HOUSE - BACK PORCH - NIGHT
Laurence sits on the back porch staring out at the night sky.
Stacey wanders out and takes a seat next to him.
STACEY
Mom's asleep now.
LAURENCE
How are you feeling?
STACEY
I'm a little tired.
Laurence rubs the surface of legs.
LAURENCE
I'm afraid to go to sleep, in case
it's all a dream.
They stare at eachother.
LAURENCE
When I had my accident, my legs
were crushed under a car. I was
awake for an hour while the
paramedics had to free a woman
trapped in the car.
We could see eachother and both had
a look of who deserves to be
treated first. It's amazing how
selfish you become when your life
is under threat. The woman was
freed but it was too late for me, I
lost my legs all because the idiot
answered a mobile while driving and
ran into me head on.
Laurence stands up, leans against a railing.
LAURENCE
I later learnt that the woman died
anyway in surgery. And I started to
convince myself that maybe it was a
curse, that maybe I would've died
if the paramedics had freed me
first.
He shakes his head.
LAURENCE
Then reality sunk in, then
depression. Fourteen years of my
life trapped in a chair. I hated
her for that, until now, I wish she
would've lived.
He looks at Stacey.
LAURENCE
I can't repay you back for what you
have done. I believe God has given
me a second chance through you.
Stacey smiles and caresses his face.
Laurence kisses her hand.
STACEY
My Fathers told me the balance
between our soul resides in control
over love and anger. Let neither
take charge or there can be
consequences.
Laurence is puzzled.
INT. VAN - NIGHT
Saith drives Jerry's van trying to read a road map and
keeping his eyes on the road.
The radio plays an old country tune.
SAITH
Montel... Montel. That far? Jesus
Christ Jerry, and you really
thought you had time to stop for a
quick snack?
INT. VAN - IN THE BACK - NIGHT
The van is decked out with all sorts of camera equipment,
bits and pieces, etc.
JERRY'S EYES ARE WIDE OPEN -
He sits up right leaning a against shelving with a KNIFE
embedded INTO HIS SKULL.
PLOMP! His body drops to one side.
INT. VAN - NIGHT
Saith quickly glances over his shoulder, then back to the
road.
SAITH
At this rate, probably won't get
there til morning.
INT. LT. KENWARD'S OFFICE - MORNING
Lieutenant Kenward is in his office looking over Roland's
report - while he talks on the phone.
KENWARD
There better be a good reason for
us to be talking like this?
INT. VAN - MORNING
Saith talks on his mobile, stuck in traffic.
SAITH
Is there something I need to know
about today's subject?
KENWARD (V.O.)
Only what is relevant on the news.
SAITH
I don't watch the news, I make it.
INT. LT. KENWARD'S OFFICE - MORNING
Kenward holds up a photo of Stacey and gazes upon it.
KENWARD
The boys above the CIA have given
you a green light. If you can't
perform the task at hand, then
consider your career as dead.
INT. VAN - MORNING
SAITH
When I'm out of coffee then you can
consider me dead! Rare to hear the
Majestic bunch getting involved.
I'm surprised at you lot! I can
perform the task, but my fee has
doubled.
Saith honks the horn.
INT. LT. KENWARD'S OFFICE - MORNING
TAP! TAP! TAP!
TYNDELL opens Kenward's office door, holding a videotape and
CD.
Kenward gestures for him to sit down.
Tyndell remains standing.
KENWARD
You know what your objective is and
you have to solve any problems that
arise. I'm busy right now, talk to
me when the objective is complete.
He hangs up the phone.
KENWARD
Well? Sit son!
TYNDELL
Sir, please let me show you
something first.
Tyndell races to a VCR resting by a television and stereo.
TYNDELL
Sir as you're aware with the new
tasks assigned to me, one of those
was to keep in touch with the SETI
group? SETI being, search for
extraterrestrial intelligence?
Kenward rolls his eyes.
KENWARD
I'm fully aware what it is!
Tyndell plays the video showing -
The YULAN INTERVIEW WITH STACEY AND LAURENCE.
Kenward slowly turns over the photo on his desk.
KENWARD
What about this? I've seen it
already.
Tyndell turns up the volume.
TYNDELL
Can you hear this Stacey humming?
Can you hear the tune?
Kenward listens.
KENWARD
What about it?
Tyndell pauses the VCR then sets up the CD.
TYNDELL
The SETI group sent new radio
transmissions into space
approximately thirteen years ago.
Those same signals came back to us
two days ago, only rearranged, like
a song.
He plays the CD. The signal sounds similar to a mobile phone
musical tune.
Tyndell plays the VCR again in sync with the CD. Both Stacey
and the CD hum and play the SAME TUNE.
TYNDELL
She's humming a song sent to us
from space.
Kenward watches -
- the FOOTAGE OF STACEY -
- then looks over the photo.
He punches a button on his INTERCOM.
KENWARD
Get me in touch with the US
consulate in Cairo.
EXT. PYRAMID OF KHUFU - DAY
Roland and Fagan study over the photos printed out of Stacey
as they walk to their excavation site.
Around them EGYPTIAN WORKERS continue widening the hole.
ROLAND
This picture is from the first wall
and these two are from -
Roland stops.
ROLAND
What is that noise?
FAGAN
I don't hear anything.
The distant sound of HELICOPTERS becomes louder.
From behind the great pyramid -
TWO MILITARY HELICOPTERS fly overpass and prepare to land.
Roland and Fagan cover their faces as dust sprays up.
McNAMARA, mid fourties, dressed in a black suit jogs toward
Roland and Fagan from one of the helicopters followed by
several MILITARY POLICE.
One MP races to Roland's tent.
MCNAMARA
Dr Roland?
ROLAND
Yes?
MCNAMARA
I'm Doug McNamara from the US
consulate. The reports you sent us
last night were forwarded to our
contacts at the NSA. We've been
given strict instructions by
Lieutenant Kenward to bring you
back.
ROLAND
Kenward? I haven't finished my work
here. There's more to this chamber
than meets the eye -
MCNAMARA
They're sending in new personnel to
continue with this project. It was
requested that you are to accompany
me asap.
Roland sighs.
ROLAND
And if I don't go?
McNamara looks behind him at the MP's.
MCNAMARA
Don't make this hard, please.
Roland notices one MP has gathered his belongings. He glances
at Fagan.
ROLAND
Rush, rush, rush.
They shake hands.
FAGAN
Good luck Dr Roland.
Roland walks back to the helicopter with Mcnamara.
He notices -
The egyptian workers slowly BENDING DOWN THEN UP.
He smiles.
MCNAMARA
What is that, some kind of prayer?
Everywhere Roland glances -
WORKERS ARE IMITATING HIS DOWN UP ACTION -
- Even FAGAN.
Roland steps into the helicopter.
INT/EXT. HELICOPTER - DAY
Roland watches below as the helicopter raises -
- leaving the PYRAMID OF KHUFU behind.
ROLAND
I hope you know what you've done.
My work there was unfinished.
MCNAMARA
It's finished with now.
INT. STACEY'S BEDROOM - MORNING
STACEY'S EYES OPEN -
- She inspects her bedroom -
- AN OLD BOOKCASE WITH CHILDREN'S BOOKS -
- A GLASS CABINET WITH ORNAMENT DOLLS -
- on the wall a painting of a black and red PYRAMID.
STACEY
Home... soon.
INT. JAMIESON HOUSE - LOUNGEROOM - MORNING
Morning sun light radiates between the curtains of the
Jamieson loungeroom.
On the sofa sit Mrs Jamieson crying, with Laurence comforting
her.
The sounds of CROWDS can be heard outside.
Stacey slowly wanders into the loungeroom, dressed in a long
white robe.
Both Laurence and Mrs Jamieson glance at Stacey as she
caresses her mother's face.
STACEY
Please don't cry.
Laurence stands up and proceeds to the front door.
MRS JAMIESON
They all want to be healed Stacey.
STACEY
I can only correct them, and if
that helps, is that wrong?
Mrs Jamieson shakes her head.
STACEY
Are you afraid?
MRS JAMIESON
A little.
STACEY
Don't be, I'm your daughter, and
that's all that matters to me more
than anything. I want us to be home
and happy together.
Mrs Jamieson kisses Stacey's hand.
MRS JAMIESON
I am happy.
Stacey walks to the front door -
Laurence proceeds to open it -
Stacey steps out -
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
- to see -
AN ENDLESS CROWD OF PEOPLE covering all streets and main
roads.
CROWD
Messiah! Messiah!
With each chant, crowd members further back join in -
CROWD
Messiah! Messiah!
Standing on the porch is Yulan watching.
YULAN
This ... is it!
He looks at Stacey and Laurence.
YULAN
No story will ever top this! My
career is set.
He looks at his watch.
YULAN
Just wish the cameraman was here.
INT/EXT. VAN - MORNING
Saith has come to a stop along the main street in Montel.
Ahead is nothing but PEOPLE.
He peers down a side street to see -
MORE CROWDS squashed together.
He glances to an address written down -
- then back up to the obstacles that stand ahead.
SAITH
God Damn it!
BEEEEP!
He honks the horn and crawls the van forward.
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
Yulan notices -
JERRY'S VAN pushing its way through the crowds from around a
corner.
He smiles.
YULAN
Yes, I like this guy already. He
doesn't let minor things get in his
way! Don't start without me.
Stacey and Laurence watch -
- as Yulan pushes his way to the van.
EXT. VAN - MORNING
Saith steps out of the van carrying a large video camera.
Yulan charges toward him.
YULAN
And about time too! Sam said you
were supposed to be here last
night.
Saith offers his CRIPPLE HAND for a handshake.
SAITH
The name's Jerry.
Yulan looks upon his hand in a DISGUSTED MANNER.
YULAN
How appropriate. Listen Jerry, I
already have my own FM mike.
I just need you to stay in focus on
me until I give the signal for you
to pan.
Yulan watches as Saith fumbles with the camera.
YULAN
This your first assignment? They
could've sent me someone more
professional! Clive Rosedale isn't
going to know what hit him!
SAITH
Who?
YULAN
Just do your job and I'll do mine
okay!
Yulan storms off.
SAITH
Asshole!
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
Yulan walks back to Stacey and Laurence on the front porch.
Mrs Jamieson comes out onto the porch, gazing at the crowds.
Saith pushes his way to the porch steps and glances at -
- STACEY smiling down at him.
SAITH
Stacey Jamieson?
STACEY AND MRS JAMIESON
Yes.
MRS JAMIESON
Oh I often do that. Stacey junior,
and I'm Stacey senior.
Saith's eyes widen.
SAITH
You're both named Stacey?
Stacey nods at Saith.
Yulan looks at Saith fustrated.
YULAN
You know what, Jerry, I want you to
go back and stand on the roof of
the van and film from there. Start
with a close up and slowly zoom
back getting in the vast crowds
here. So stop you pointless chit
chat and do your job!
Saith glares at Yulan then walks back.
YULAN
Amateurs!
INT. LT. KENWARD'S OFFICE - MORNING
Lieutenant Kenward sits in his chair with the television on
showing CNN news.
YULAN (T.V)
Good morning USA and what a
wonderful morning it is here in
seaside Montel.
The camera slowly zooms back, showing Yulan standing with
Stacey.
YULAN (T.V)
My name is Yulan Weint and by my
side here is Stacey Jamieson, that
some are now saying and I quote, as
the second coming of Christ.
Now last night CNN ran an opinion
poll which had fourty three percent
of the population believing it was
a hoax -
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
Yulan takes a few steps to the crowds.
YULAN
- well let me tell the folks at
home right now, I must be standing
amongst possibly ten thousand
people. They're everywhere -
Saith scans the crowds with the camera -
YULAN (V.O.)
- people are lined up in the cross
streets watching this live as I
speak.
INT. CAIRO INTERNATIONAL AIRPORT - DAY
Dr Roland waits with two MILITARY POLICE as his luggage is
inspected by AIRPORT STAFF.
He notices PASSENGERS standing around a television and joins
them.
YULAN (T.V)
- We're being televised to one
hundred and fourty different
countries around the world, people
from every different nation believe
just as I believe, just as
Laurence, who was in a wheel chair
not more than two days ago now
believes, that this woman -
The shots swings back on Stacey.
ROLAND
I must find her.
YULAN (T.V)
- Stacey, is our new messiah.
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
Yulan walks back to Stacey keeping the microphone by his
side.
STACEY
I don't heal...
YULAN
Healing or correcting, what's the
difference?
He faces the crowd again, microphone raised.
YULAN
Today, not only here in seaside
Montel, not only all of America but
the whole world, will see Stacey
perform a miracle on the poor souls
who have travelled from near and
far -
Yulan glances at Stacey.
YULAN
- to be healed. Stacey...
Stacey stares out -
- at the quiet crowd. Raised above them is Saith standing on
the van.
She glances back at Laurence and her mother, whom both offer
a smile.
STACEY
Everybody join hands.
She offers one hand to Laurence and the other to Yulan.
Laurence holds hands with Mrs Jamieson -
- who holds hands with Chris -
- who holds hands with one CROWD MEMBER.
EXT. VAN - MORNING
Saith lowers the camera and watches -
- total strangers joining hands. Even BABIES are joined to
the hand chain.
No-one notices Saith standing above them. He slowly proceeds
to climb down the van.
YULAN
Hey! Jerry!
Saith glances at Yulan.
YULAN
What are you doing?
SAITH
I was going to film from down
there.
YULAN
Don't you dare get down from there!
You got the best view on the van.
Stay on the roof, understand?
Saith reluctantly does so.
He glances at his hand, then rests the camera back on his
shoulder.
THROUGH THE CAMERA -
- pointed at Stacey.
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
Stacey smiles out to the crowds.
She closes her eyes and proceeds to hum her tune.
INT. LT. KENWARD'S OFFICE - MORNING
Kenward watches his television as it shows a close-up of
Stacey humming.
He draws out a glock handgun and points it the television.
KENWARD
What the fuck are you?
The television begins to WASH OUT with an orange glow until
it shows NO PICTURE at all.
INT. CAIRO INTERNATIONAL AIRPORT - DAY
Passengers watching the television stand back as it glows
orange.
Roland steps forward.
ROLAND
Is it the reception?
PEOPLE only offer shrugs in confusion.
EXT. VAN - MORNING
Saith lowers the camera as he witnesses -
- A BLINDING ORANGE LIGHT all around him drowning out any
sight of the crowd.
The SKY MELTS revealing -
- a NIGHT SKY with thousands of stars in clear view.
HUNDREDS OF FLYING CRAFTS of various shapes and sizes roar in
and out of the area.
Saith stands alone on a glowing orange ground petrified of
his surroundings.
The noise of the crafts are deafening.
The sun raises again from the horizon, returning the sky into
its morning blue. Each flying craft disappears like they
never existed.
The orange glow subsides -
- leaving the crowds CHEERING.
Saith glances at the happy crowds. He rests the camera back
on his shoulder and continues filming.
INT. LT. KENWARD'S OFFICE - MORNING
Kenward is speechless, he watches -
TV YULAN smiling and beaming.
YULAN (T.V)
I haven't felt this good since I
won my first divorce case. I don't
know how to describe it, I feel
euphoric. All I saw was an orange
glow.
INTERCOM (V.O.)
Lieutenant Kenward, Matherson is on
line two.
He turns the volume down on the television and looks at -
- LINE TWO blinking on his phone. He picks it up to hear -
- A PAINFUL SCREAMING VOICE on the other end.
Kenward holds the phone away from his ear.
KENWARD
Ma... Matherson, I already spoke to
Majestic. They gave the green light
in regards to Stacey, which I
assume was an order from you.
INT. CHAMBER -
BILL APRIL stands handcuffed to a chain dangling from the
ceiling, screaming as -
- HUGE ROBOTIC ARMS, similar to ones used in car factories,
thread thick cables -
- THROUGH HIS BODY as if they were sewing him.
BLOOD is stained along the walls as fluorescent lights
FLICKER on and off.
Standing in a dark corner is MATHERSON. His features cannot
be made out whatsoever, except that he stands close to ten
feet tall.
MATHERSON
I'm surrounded by an incompetent
species -
His voice sounds like the devil itself.
MATHERSON
- Humans bungling into matters that
are not theirs and now this. Why is
she still alive?
INT. LT. KENWARD'S OFFICE - MORNING
KENWARD
Well Sir, my man is there right
now, but when you have thousands of
people already there -
MATHERSON (V.O.)
Always Excuses! You go there
personally and make sure it's
done... before they rise.
KENWARD
...Before who rise?
The screaming of Bill April INTENSIFIES -
- then the phone cuts dead.
Kenward slowly puts the phone down and picks up his handgun.
EXT. VAN - MORNING
Saith watches in astonishment as -
- A FATHER holds his DAUGHTER high into the air, WITH NO ARMS
- ELDERLY LADIES hoist their skirts up revealing NO LEGS
- a MAN covers his good EYE and holds up a hand in front of a
MISSING EYE
- thousands of people have been corrected.
EVERYONE is cheering and hugging -
- except Saith who is alone standing on the van. He glances
once again at his crippled hand -
- then at -
- Stacey.
YULAN
Hey, C'mon Jerry! Don't be slacking
off now! Film damn it!
EXT. JAMIESON HOUSE - FRONT PORCH - MORNING
Mrs Jamieson is without a doubt amazed. She cusps both hands
over her mouth as tears of joy stream down her face.
Laurence hugs Stacey.
LAURENCE
Healing or not, you've made all
these people happy.
Stacey slowly smiles then glances up.
STACEY
See, I have it under control.
LAURENCE
Huh? Was that a comment to me?
STACEY
No silly. It was to them. You
didn't see them pass by?
Laurence's smile drops.
LAURENCE
See who?
Stacey notices -
- Saith filming the crowds with the camera, but keeping his
eye on her.
STACEY
I don't think I was the only one
who saw them visit.
Yulan leans closer to the pair of them.
YULAN
He is, without a doubt, the worst
cameraman I've ever had to work
with! I'm not sure if I should tell
him which motel to stay at?
INT. JAMIESON HOUSE - LOUNGEROOM - NIGHT
Both Stacey and Mrs Jamieson sit on the sofa looking over an
old photo album.
MRS JAMIESON
Do you remember this?
Stacey laughs.
STACEY
Yeah that was back when Mrs Jacobs
had that great big dog. Sure it's
all coming back now. How old was I
then?
MRS JAMIESON
Nine I think, maybe ten.
Mrs Jamieson flicks through a few more pages.
Stacey rests her hand upon a page pointing at a photo of both
of them.
STACEY
That was before we moved here.
Mrs Jamieson gently slides her fingers across Stacey's
MISSING FINGER.
Stacey watches her in silence.
MRS JAMIESON
All those people today... I'm
starting to accept it.
STACEY
It was a gift to them from me.
MRS JAMIESON
You've given them a second chance
with life. I just wish your father
was alive to see the wonderful gift
you have.
Stacey's eyes FLUTTER -
STACEY
You mean my fathers? They are
alive.
Mrs Jamieson looks at her bewildered.
MRS JAMIESON
No, I mean your father. Frank
Jamieson.
Stacey shakes her head, confused and lost.
STACEY
- No I have fathers. They all
taught me gifts as I grew up -
MRS JAMIESON
Who taught you Stacey?
STACEY
My fathers.
Stacey stands up afraid of her own memories coming back.
Mrs Jamieson flicks through the album and shows Stacey a
picture of FRANK JAMIESON, late twenties, holding a baby
Stacey.
MRS JAMIESON
This is your father. Frank
Jamieson, look at him Stacey.
He died of asthma. You sung at his
funeral, don't you remember?
STACEY
NO! I have fathers. I met them a
long time ago.
Stacey proceeds to hum her familiar tune.
MRS JAMIESON
Who? Who did you meet Stacey? Was
this from the hospital? I have to
know -
POW!
Stacey knocks the album out of her mother's hands and
clutches her wrists.
STACEY
STOP! As much as I love my
fathers... I love you more. I
accept the gifts they've given me
but I just want to live my life
with you now, just normal.
Stacey takes a few steps back gazing upon her hands -
STACEY
I know what I am. I'm normal. I
know what I am. I'm normal.
Her hands TREMBLE.
STACEY
Under control... Under control... I
know who I am... Who I am... Who am
I...
LAURENCE -
- opens the front door -
- startling both Stacey and Mrs Jamieson.
LAURENCE
Hope you don't mind Mrs Jamieson, I
used the keys you lent me.
He notices both of them standing.
LAURENCE
Did I interrupt something?
MRS JAMIESON
No Laurence.
LAURENCE
Yulan asked to see Stacey and
myself at his hotel. Said it was
urgent.
Stacey nods at him.
Mrs Jamieson places the photo album away.
MRS JAMIESON
Stacey at some point I need you to
help me.
Stacey glances at her.
MRS JAMIESON
I have to know what happened.
Stacey grabs Laurence by the arm and guides him outside.
EXT. JAMIESON HOUSE - FRONT PORCH - NIGHT
Laurence and Stacey walk to the street and spot -
SAITH walking their way. He stops, studying Stacey.
SAITH
You did a wonderful thing for all
those people today Stacey .
Stacey looks away.
SAITH
God giveth -
He raises his hand.
SAITH
And God taketh away.
Stacey reaches out to touch him -
- But Saith quickly jerks his hand back.
SAITH
No, No, I don't need help with
this. It reminds me of who I am and
what function I serve in this
world.
LAURENCE
We're on our way to see Yulan.
Coming?
Saith rolls his eyes.
SAITH
I wanted to talk to your mother. Is
that okay?
Stacey eyes him.
Stacey and Laurence walk away.
Saith casually taps on the front door.
INT/EXT. FRONT DOOR - NIGHT
Mrs Jamieson opens the door, slightly bewildered at Saith
smiling back at her.
MRS JAMIESON
Can I help you? It's Jerry right,
Yulan's cameraman?
SAITH
I have some very important
information about your daughter.
May I come in?
INT. JAMIESON HOUSE - KITCHEN - NIGHT
Saith and Mrs Jamieson sit in the kitchen. Saith glances at
his surroundings casually.
MRS JAMIESON
You said you had information?
SAITH
I was at the corner shop earlier
today, buying some cigarettes, and
this girl came in and bought a
packet as well, she spoke
elegantly, pronounced her vowels
beautifully, only she didn't have a
tongue. She said that she had to
have her tongue cut out due to a
cancer growth a year ago and was so
happy that she could speak again,
so to celebrate she ran off to buy
the one thing that had made her a
mute.
Saith can't stop smirking.
SAITH
Do you mind if I make both of us a
coffee?
MRS JAMIESON
I'm so sorry, I didn't mean to be
rude -
Saith stands up abruptly.
SAITH
Sit! Allow me. I have a thing about
people making bad coffee.
Mrs Jamieson slowly sits back down, bewildered.
Saith smiles and proceeds to search for cups and saucers.
SAITH
So as I was saying, I have seen
nothing but irony walking the
streets of this town.
He sets the kettle on boil and opens a kitchen drawer to see -
- LARGE KNIVES.
MRS JAMIESON
Is this what you had to tell me?
Saith laughs quietly as he rubs a finger across one blade.
SAITH
No, I was getting to that, you see
the other ironic thing I find in
all this -
He closes the drawer and searches a cupboard.
SAITH
- is that I was hired to kill your
daughter.
He looks at Mrs Jamieson for her reaction -
- of TOTAL DISBELIEF.
Saith smiles and takes a seat.
MRS JAMIESON
But you're a cameraman?
SAITH
No, I'm on a contract, hired to
kill the one person who could heal
my hand. Can you see how ironic
that is?
MRS JAMIESON
So what if I just scream for help
right now?
Saith slides out his handgun and rests it on the table.
SAITH
I don't recommend it.
They both sit there in silence staring at eachother.
The kettle WHISTLES.
SAITH
Besides -
He jumps back up and searches for the coffee.
SAITH
- I was going to make you a cup of
coffee remember?
Saith stops and slowly pulls out a glass jar. He glances at
Mrs Jamieson confused.
SAITH
You have Gevalia! Where did you get
this, the holy grail of coffee
from?
Mrs Jamieson glances at the handgun.
MRS JAMIESON
My computer teacher ordered it from
the internet. Somewhere from South
America.
Saith quickly opens the jar -
- and breaths in the aroma. He sighs.
SAITH
Gevalia...
He quickly opens the drawer and fumbles through all the
utensils then grabs a -
- TEA SPOON -
- and fixes the coffees. He leaves the drawer open eager to
sit.
SAITH
I love coffee. Good coffee. Not the
shit the supermarkets sell.
Saith takes his time, enjoying the taste -
- as does Mrs Jamieson.
SAITH
Another ironic thing I discovered
today, was your name.
MRS JAMIESON
Stacey Jamieson.
SAITH
From memory the only people I knew
with the same names were the George
Bush's and the now the Stacey
Jamieson's. Why name your daughter
the exact name as yours?
Mrs Jamieson sips her coffee.
MRS JAMIESON
My late husband wanted the name to
prosper. He said each time he spoke
my name he could hear music.
She smiles recalling memories.
MRS JAMIESON
He used to call Stacey 'Little
Symphony'.
Mrs Jamieson takes another sip.
MRS JAMIESON
So you're name is not Jerry then?
SAITH
Saith. Means seven.
MRS JAMIESON
Welsh right?
Saith nods.
SAITH
And on the seventh day God made
man... And by the next seventh day,
I laid them to rest.
Mrs Jamieson takes a gulp from her coffee.
MRS JAMIESON
This conversation isn't about
Stacey Jr. is it?
Saith eyes her.
SAITH
You're right on the money there.
Saith quickly finishes his coffee, smiles in satisfaction
then wanders -
- over to the sink and OPEN DRAWER with his back to Mrs
Jamieson.
SAITH
Call it a loophole of
misunderstandings. I'll explain
that I wasn't aware of which target
was on the contract. There were two
Stacey Jamieson's and now there's
one. If they want me to kill your
daughter then they'll have to re-
hire me when I get back.
He shrugs.
CLICK! CLICK! CLICK!
Saith closes his eyes.
Mrs Jamieson holds the handgun in her fragile hands firing
the trigger hopelessly.
PLONK!
The handgun drops onto the table.
MRS JAMIESON
- Please!
Saith keeps his back to her.
His FINGERS -
CARESS THE KNIVES in the drawer.
SAITH
Goodbye Stacey Jamieson. Thanks for
the coffee.
INT. YULAN'S MOTEL ROOM - NIGHT
Yulan walks back and forth in his motel room talking on his
mobile as -
STACEY and LAURENCE sit in chairs watching him.
YULAN
I understand that Sam, we can't do
any better? I know, I know, sorry,
I'll tell her right now and I'll
get back to you.
He hangs up and drags another chair to them.
YULAN
Okay, they still want to keep all
interviews with Stacey as an
exclusive.
STACEY
But I'm not interested in money.
Yulan cuts her off with his hand.
YULAN
- I'm fully aware of that. What our
network is willing to do -
He waits with a salesman grin.
YULAN
- is donate two million dollars to
the charity of your choice.
Now don't answer straight away,
discuss it with Larry.
LAURENCE
Laurence!
Yulan flicks on the remote.
YULAN
That's what I meant. Actually while
you're both here you can see Clive
Rosedale's exclusive story.
He gets comfortable in his chair.
YULAN
Funny, Sam wouldn't tell me what it
is?
Yulan turns up the volume -
THE TELEVISION SHOWS -
CLIVE ROSEDALE sitting on stool in a professional manner.
He's dressed in a business suit.
ROSEDALE (T.V)
Good evening ladies and gentlemen
and welcome to a CNN exclusive.
What you're about to witness is
about to be the most significant
moment in mankind's history. Now
earlier in the week and even today
CNN have shown you the remarkable
story on Stacey and the mass
healing in Montel...
Yulan chews his finger nails.
YULAN
Show me your cards bastard!
Laurence glances quickly at him.
ROSEDALE (T.V)
... No-one certainly questions the
authenticity of Stacey and her
powers and I'm of the opinion that
what you're about to see is in
someway linked to, as my dear
friend and colleague Yulan Weint
calls her, our new messiah.
YULAN
He's so smug!
ROSEDALE (T.V)
Without further a due I bring you
the pyramids of Mars. Roll
footage...
The SHOT CHANGES to -
- a low angled FOOTAGE which JERKS up and down over red
rocks.
ROSEDALE (V.O.)
Now what you're seeing is footage
captured from the NASA Mars probe.
This probe has the ability to drive
along a semi rough terrain, hence
the reason why the camera is all
jumpy. It's moving towards the edge
of a canyon...
The probe comes to a halt.
ROSEDALE (V.O.)
Notice the blue sky on Mars? Now
wait -
A LARGE BLACK SHADOW blocks out the view for several seconds
then back to the wide shot of the canyon.
ROSEDALE (V.O.)
Now the people at NASA would have
seen that too so they use the
probe's camera to see what that
was...
The footage TILTS down zooming in as it shows -
- the floor of the canyon with TWO ENORMOUS RED PYRAMIDS
punching their way through the very ground itself.
- One comes to a halt then -
BOOM! It LAUNCHES into the air with a tremendous force. As if
the planet had just given BIRTH.
BOOM - the second pyramid is thrust into the air.
The probe camera slowly tilts all the way back to show -
- the blue Mar's sky filled with HUNDREDS OF FLOATING
PYRAMIDS, drifting further into space.
ROSEDALE (V.O.)
May I repeat that this footage was
obtained secretly. It was never
meant for public viewing.
Laurence and Yulan are both standing in shock.
Stacey casually hums her tune.
Both Laurence and Yulan stare back at her.
STACEY
I hope to be there soon.
LAURENCE
Where soon?
STACEY
Home.
Yulan glances back at Laurence.
YULAN
You think Rosedale's story is
better than mine?
Laurence abruptly snatches Stacey off her chair.
LAURENCE
We got to go.
YULAN
Wait! At least think about the
charity offer!
BAM! The motel door slams shut behind them.
Yulan looks back at television Rosedale.
YULAN
This is your fault!
EXT. BEACH - NIGHT
Laurence and Stacey stand alone on Montel beach.
Waves roll to the edge making quiet SPLASHES as an ORANGE
MOON beams brightly.
Stacey kicks at the sand with the toe of her sandal.
Laurence rubs her arms.
STACEY
Don't!
She pulls away.
STACEY
I know what you want!
LAURENCE
I just want answers.
STACEY
I gave you more than that! I gave
you the ability to walk again. Now
that's not good enough! You need
answers as to why you can stand and
walk?
LAURENCE
It's not just me. Soon everyone
will want to know how and why you
can heal, or as you say, correct
people.
STACEY
You don't think that hasn't crossed
my mind? Why can't people just
accept it? I don't want money, fame
or any of that.
LAURENCE
What do you want?
Stacey sheds a tear.
STACEY
I just want my mother to love me
the way that I love her. I came
back here to see her. We're like
two strangers, I can feel it.
LAURENCE
Your mother has had twenty years to
accept the fact that you were most
likely dead. Twenty years is a long
time Stacey.
STACEY
Absence makes the heart grow
fonder.
Laurence shakes his head.
LAURENCE
I love your mother dearly as if she
was my own. She had lost her
husband and then her only daughter,
for a year the town thought she was
going to kill herself. I swore an
oath at that point that I would do
everything within my power to wake
her out of that torment and to love
life again.
Stacey reaches out and -
HUGS Laurence.
STACEY
It's not my fault Laurence!
She cries on his shoulder.
LAURENCE
No-one says it was.
STACEY
I didn't have a choice. They said
it was an experiment. I'm not the
only one. There were hundreds of
us.
Laurence glances up, startled by her revelation.
STACEY (O.S.)
They kept us in asylums as so no
one would be concerned. It's not my
fault! I thought of her everyday -
She cries her heart out.
STACEY
- Absence makes the heart grow
fonder.
EXT. MOTEL HALLWAY -
Saith carries a bag walking along the hallway.
Yulan opens his motel door. He's a little startled.
YULAN
Where are you going?
SAITH
Fuck you. Mind your business!
YULAN
Hey, you can't talk to me like
that! I'll make sure Sam never
hires your ass! Besides you have to
sign the wage form so the station
knows what time you started.
Yulan's voice draws the attention of -
AN ELDERLY LADY. She stands and watches Saith and Yulan.
Saith smiles at her.
SAITH
Okay, I'll sign.
He proceeds into Yulan's motel room.
INT. YULAN'S MOTEL ROOM - NIGHT
Saith closes the door behind him as Yulan scrounges through
his folders.
YULAN
I was watching the footage you took
this morning and it sucked! Do you
even know how to use a camera?
SAITH
Nup. I kill people for a living.
YULAN
Funny.
Saith notices -
- a set of KEYS on a chair. The keyring is of a Ferrari.
SAITH
You own a Ferrari?
Yulan walks back to Saith holding a document.
YULAN
Yeah! Learn to use your equipment
and maybe one day you'll afford
one, speaking of which, I walked
past that van of yours and it
stinks. Smells like someone died -
POW!
Saith STABS Yulan directly under the JAW.
Yulan profusely BLEEDS through his closed mouth.
SAITH
That's because there's a dead man
in the back!
Saith twists the knife handle slowly and punishing.
SAITH
You know you really did pick the
right job for yourself!
There's only ever been two people I
killed for free -
Saith raises his cripple hand.
SAITH
- and the other one had done this
by accident!
He rocks the knife handle abruptly in frustration.
Yulan GARBLES a noise then goes limp.
SCHWICK!
Saith slides the knife out and watches Yulan's body drop to
the ground.
INT. MOTEL HALLWAY -
Saith walks along the hallway with a BIG GRIN on his face.
In his hand are the FERRARI KEYS.
EXT. MOTEL - NIGHT
Saith spots -
YULAN'S BLACK FERRARI CONVERTIBLE.
He WOLF WHISTLES and throws his bag in the back.
SAITH
At least I won't have to ride with
Jerry!
He quickly checks his watch.
SAITH
And this freak-show alien drive-
through town can kiss my ass
goodbye!
He jumps inside -
- kicks over the engine -
- SCREECHING the Ferrari out of the Motel carpark.
INT. HALLWAY -
LAURENCE -
walks along a dark concrete hallway.
CONSTANT SCREAMING VOICES can be heard.
The other side of hallway are see through glass cells.
Laurence walks slowly past the first one to see -
A LITTLE GIRL covered completely in fur.
She cries with her arms outstretched, ignoring Laurence's
presence -
The next cell has a TALL MAN who appears normal. HE sheds his
clothing to reveal -
THICK RUSTED CABLING running through his body.
Another cell -
Has a large RED VAT. Trying to climb out of it is -
A three foot CHILD with DRAGON WINGS.
Laurence cringes then something catches his attention in the
hallway -
- from around a corner appears an ODD OCTOPUS MAN. He has
eight arms, eight legs and two heads.
It screams at Laurence with a high pitched WAIL and races for
him.
Laurence can't move. His legs are useless -
EXT. BEACH - MORNING
Laurence JERKS AWAKE.
He's been asleep on the beach with Stacey.
Stacey is woken by him.
Laurence peels up his trousers and feels his invisible legs.
LAURENCE
My legs feel numb. I had a crazy
dream. I was in a hallway that had
these freak... things kept in
cells.
STACEY
My fathers told me that's where the
Greys do their experiments in Dulce
New Mexico. Level six, nightmare
hall.
LAURENCE
Who are the Greys?
Stacey sits up, brushing sand off.
STACEY
The Greys are aliens that are
already here on earth. My fathers
are from out there.
She points up.
Laurence looks at her blankly.
STACEY
But I'm normal, I know who I am.
They just gave me a gift. What's
the harm in that, right?
She grabs Laurence's wrist and reads his watch.
STACEY
I have to get back home. I'll
explain what I know to both of you.
Laurence nods.
INT. JAMIESON HOUSE - KITCHEN - DAY
Mrs Jamieson is keeled over the kitchen table face down.
Blood drips over both sides of the table across the kitchen
floor.
SLAM! The front door closes.
STACEY (O.C.)
Mom I don't want us to fight any-
Stacey stands in the kitchen doorway.
STACEY
- more.
Laurence leans over her shoulder.
LAURENCE
Jesus Christ! Mrs Jamieson -
Laurence races past Stacey and lifts Mrs Jamieson's head off
the table.
LAURENCE
No, no, no ...
STACEY
Don't touch her ...
Laurence looks up confused at Stacey's mumbles.
LAURENCE
Huh? We got to call the police. Get
an ambulance.
STACEY
Don't touch her ...
LAURENCE
Stacey -
POW! Laurence is THROWN from Mrs Jamieson's body by an
unknown force.
STACEY
I said... DON'T TOUCH HER!
Laurence is speechless.
Stacey leans down and pats her mother's hair. STREAMS OF
TEARS roll down her eyes.
STACEY
Who would do this? Who? I gave them
everything! I didn't want anything
but you.
Laurence leans up.
LAURENCE
Can't you ... heal her?
Stacey GLARES at him.
She stands up.
STACEY
How many times do I have to tell
you people?
Her HEAD RESHAPES into an ELONGATED OVAL.
STACEY
I ...
Her HANDS TREMBLE and her FINGERS GROW in length.
STACEY
... CAN'T...
Her whole body STRETCHES, making her fifteen feet tall. She
hunches over Laurence.
STACEY
... HEAL!
She gives an almighty ROAR changing her vocal tone deeper.
She whisks up her mother and carries her out of the kitchen.
INT. JAMIESON HOUSE - LOUNGEROOM - DAY
Stacey continues to cry as she heads to the front door.
STACEY
Move!
EXT. JAMIESON HOUSE - FRONT PORCH - DAY
BOOM!
The front door is thrown across the street.
Stacey walks outside carrying her mother in both arms.
STACEY
Who did this? I gave you people
everything. I gave you more than I
ever had!
TOWNSFOLK -
- drop everything -
And run.
Laurence, surprised by the missing door, races to Stacey's
side.
LAURENCE
Stacey!
She raises a hand at him -
LAURENCE is quickly UPPED into the air.
STACEY
Stay!
She looks down at HER SHADOW.
STACEY
Show me.
The SHADOW circles around her SEVERAL TIMES then comes to a
halt.
STACEY
Show MEEEEEEE!
CRUNCH! BOOM!
The very road is PLOUGHED UP and continues across to a -
- THREE STORY OFFICE BUILDING. Ripping it off its
FOUNDATIONS. It tumbles over to -
- the next BUILDING -
- creating a domino effect -
Laurence watches as -
STACEY raises her hand, moving it in a smooth arc.
STACEY
All of you shall go!
Stacey screams.
- TREES -
- FOOTPATHS -
- CARS -
- HOUSES are flattened like a NUCLEAR BLAST.
EXT. OCEAN ROAD - DAY
Along one side of the road is a FIELD.
Saith comes to a halt at the crest of a hill. Ahead is -
BUMPER TO BUMPER TRAFFIC.
A NEWS VAN has a REPORTER talking in front of a cameraman.
SAITH
More fucking news!
BEEP!
A car behind him honks for him to move up and join the
traffic jam.
SAITH notices -
A DIRT ROAD through the field.
BEEP! The car behind honks.
SAITH
Alright I heard you -
Saith glances behind him to see -
A THICK DUST STORM thundering towards the traffic jam -
- along the LAND a mile away.
He squints his eyes -
- HOUSES, BUILDINGS, BOATS even TRAIN CARRIAGES tumble non
stop at two hundred miles an hour.
Saith grabs the steering and FLOORS it towards -
- THE DIRT ROAD.
INT. LIMOUSINE - DAY
Lt. Kenward sits in the back of a limousine flicking through
channels then spots -
A LIVE NEWS BREAK showing a FEMALE REPORTER pointing at the
storm. The camera angle ZOOMS in on the storm -
- It pans to PEOPLE panic stricken RACING FROM THEIR CARS.
- The shot abruptly cuts off.
Kenward looks at his watch.
KENWARD
How long before we get to the base?
DRIVER
Ten minutes Sir.
His mobile rings. He quickly answers it.
KENWARD
I hope you got out of there.
EXT. DIRT ROAD - DAY
Saith floors the Ferrari. He clings to a mobile.
The SKY is a GRIMY BROWN littered with GIGANTIC DEBRIS of
half demolished buildings, trees, cars.
SAITH
Tell me what Stacey is?
INT. LIMOUSINE - DAY
KENWARD
You mean she's still alive?
SAITH (V.O.)
Yep ...
EXT. DIRT ROAD - DAY
SAITH
If I had to guess, I think she just
found her mother.
Saith glances to his left to see -
- A TEN STORY BUILDING TUMBLING towards his cross path.
SAITH
Fuck!
He throws the mobile away -
- and FLOORS THE ACCELERATOR.
CONCRETE SLABS break off from the building flying over head -
THE SPEED-O-METER HITS: 180 m.p.h.
Ahead is an INDUSTRIAL IRRIGATION PIPE, large enough to fit
the Ferrari.
Saith smiles, salvation is at hand -
The Ferrari narrowly escapes the building's path -
Saith sighs.
Only several meters to the safety of the PIPE -
Something catches his attention.
SAITH
Is that -
BOOM!
- the Ferrari is pummeled into the air -
- by DEAD JERRY'S VAN.
EXT. STREET - DAY
Stacey keeps hold of her mother in one arm like a giant with
a ragdoll.
Laurence is still kept in the air.
LAURENCE
Stacey! Stop doing this!
She glares at him.
LAURENCE
Let me down.
PLONK!
He drops to his feet.
LAURENCE
What are you doing?
STACEY
They don't deserve my gift! No-one
does.
She rests on her knees -
- wiping her mother's face clean.
Laurence watches slowly approaching her.
STACEY
Please come back, please...
She looks at Laurence. Her eyes pleading.
STACEY
Who do you think did this? She
didn't do anything...
LAURENCE
I know Stacey.
She notices his constant staring.
STACEY
Stop staring! I'm still normal!
She glances at -
HER HAND with its EXTREMELY LONG DIGITS.
STACEY
I know what I am. I don't have to
accept it, but I know what I am.
I'm still Stacey.
Laurence nods. He glances at -
The SURROUNDINGS -
Small FIRES burn here and there -
- otherwise there is nothing but ripped up debris.
Half a mile away -
- is a clear view to the OCEAN.
LAURENCE
Yesterday morning there were
thousands of people. Now it looks
like we're standing on the salt
flats from hell.
Stacey hugs her mother and rocks back and forth.
STACEY
My fathers are coming here. They're
coming for us.
Laurence looks at her.
LAURENCE
Your fathers? Now?
Stacey smiles.
STACEY
Home soon.
EXT. MILITARY BASE - DAY
Kenward's limousine pulls up alongside two LOCKHEED HERCULES
PLANES.
SOLDIERS march up the ramps.
Dr Roland is marched with two MP's to Kenward.
Kenward salutes Roland.
KENWARD
Keep your friends close.
ROLAND
And your enemies closer.
KENWARD
My apologies bringing you here
under such conditions.
ROLAND
You have no idea what we have
uncovered.
Kenward gestures Roland to board one of the PLANES.
KENWARD
The NSA have sent in their own. The
Egyptian Government will be
compensated.
Roland shakes his head.
ROLAND
Why are you people so afraid of
uncovering the truth?
INT. HERCULES PLANE -
SOLDIERS sit at monitors and radars talking into headsets.
Roland and Kenward walk behind them.
ROLAND
So what do you want from me this
time?
KENWARD
I need your expertise -
He stops -
- listening to a young soldier POINTING at his MONITOR.
YOUNG SOLDIER
Alpha Red I see it too. Longitude
fourty nine latitude fifty three.
Kenward quickly flicks a switch. An intercom voice is
speaking.
BASE INTERCOM (V.O.)
- I don't know where they came
from? I can see three on my
monitor.
The intercom crackles.
BASE INTERCOM (V.O.)
- Confirm that. I'm not looking at
my monitor anymore, I can see
something in the sky right now -
EXT. MILITARY BASE - DAY
Kenward and Roland race out of the Hercules and stare up to
see -
- A FIRE BURNING IN THE SKY.
THICK CLOUDS proceed to block out the sun.
KENWARD
I want these planes up in the air
asap.
EXT. STREET - DAY
The sky DARKENS.
FLAMES ERUPT in short bursts from various areas in the sky.
LAURENCE
Stacey all these people were
innocent. You gave them something
to live for then you took it away.
He points to the wasteland.
LAURENCE
My brother was out there! I know
he wouldn't have murdered your
mother, but I know for a fact you
more than likely killed him in your
fit of rage!
STACEY
Chris...
LAURENCE
Yes Chris! And all of the people
from this town. They're all dead!
Stacey hugs her mother close to her chest and stands up.
Laurence walks to her.
LAURENCE
You told me the balance between our
soul resides in control over love
and anger. So does this -
He looks behind him.
LAURENCE
- make up for your mother's death?
I grew up with these people, you
didn't.
STACEY
All I wanted to be was normal. I
didn't want any of this.
FLASH!
LIGHTNING strikes the ground. As it hits -
- THE SHAPE OF A MAN is seen running -
- then disappears.
Laurence glances at the sky.
LAURENCE
Was that one of your fathers?
STACEY
They're scouts. You'll know when my
fathers arrive.
EXT. SKY - DARK
The two Hercules planes fly towards Montel alongside several
FA-18 FIGHTER JETS.
Lightning strikes constantly around them.
INT/EXT. HERCULES PLANE - DARK
Kenward and Roland sit opposite and glance out side windows
at the -
- lightning and flaming sky.
KENWARD
Have you ever seen something like
that before?
ROLAND
No. I'm not even sure if it's safe
to be up here.
Kenward pulls out copies of Roland's hieroglyphic photos.
He assembles them to make the picture of Stacey.
KENWARD
She's not the only one of her kind.
ROLAND
There's more?
KENWARD
We tracked down one hundred and
seventy abductees since the
eighties. All of them had been
given, for use of a better word,
gifts from aliens. Different sorts
of powers, mental telepathy that
sort of thing.
BOOM! Lightning flashes -
- Roland flinches.
KENWARD
Majority of the abductees were
quite easy to find, but then the
aliens, realizing what we were
doing, started to hide the
remainder in asylums.
Kenward laughs to himself.
KENWARD
These gifted children with alien
powers were already hidden in the
very place we were going to send
them!
Roland isn't amused.
Kenward sighs to himself.
KENWARD
The one thing that makes our little
Stacey different is that the
ancient Egyptians seemed to know
about her, five thousand years
before she was born.
The Young Soldier quickly hands Kenward another photo.
YOUNG SOLDIER
Satellite picture taken five
minutes ago.
It shows: A DESERTED WASTELAND.
YOUNG SOLDIER
It's our destination point Montel.
The solider leaves.
KENWARD
... out of coffee...
Kenward throws the photo down. Roland glances at it.
KENWARD
Appears the messiah just wiped a
whole town off the earth!
BOOM! Lightning FLASHES.
Lights inside the plane FLICKER ON AND OFF.
ALARMS RING.
KENWARD
Stay here!
Kenward jumps out of his seat and races to the cockpit.
Roland glances out the window -
- to witness A LIGHTNING MAN running along the WING -
ROLAND yells -
- jumps out of his seat -
- the lightning man leans its face against his window trying
to peer inside -
- then disappears.
INT/EXT. COCKPIT - DARK
Kenward opens the cockpit door glancing at both the PILOTS.
He watches ahead as -
- HUNDREDS OF LIGHTNING STRIKES occur all at once touching
the mainland.
The radio crackles as PILOT VOICES from the second Hercules
plane be heard.
PILOT (V.O.)
They're everywhere! I can't get
them off the plane!
Kenward glances out starboard to see -
THE SECOND HERCULES PLANE swamped with lightning men.
The plane flies erratically as smoke BELLOWS from the
engines.
PILOT (V.O.)
Mayday! Mayday -
EXT. STREET - DARK
BOOM!
Laurence watches -
- as one of the Hercules planes EXPLODE.
FLASH!
A lightning man lands -
- directly infront of Laurence and studies his face.
It glances at Stacey then disappears.
A RUMBLE.
Laurence glances at the ground.
LAURENCE
Is that an earthquake?
Stacey does something she hasn't done for a while -
- smiles.
STACEY
My fathers, are here.
Both Laurence and Stacey watch as -
- A PYRAMID ERUPTS through the ground -
Laurence is thrown off his feet as the colossal structure
continues to reach for the sky.
CLUMPS OF EARTH twenty and thirty feet in diameter CRASH and
ROLL in every direction.
BOOM!
Laurence COVERS HIS EARS from the deafening noise of the
earth ripping apart.
- and the PYRAMID STILL CONTINUES TO GROW in height.
BOULDERS drop to the earth with a thunderous CRASH, landing
dangerously close to Laurence.
He backs away.
STACEY
No! You won't be hurt!
He reluctantly stands by her side and closes his eyes.
SMASH! CRASH!
The ECHOES of crashing rocks and boulders subside.
LAURENCE
OPENS HIS EYES -
- before him stands a THOUSAND FOOT PYRAMID. Its metal
surface glows black and red.
Laurence is speechless.
STACEY
Home!
EXT. PYRAMID - DARK
The colossal pyramid dwarfs the oncoming airforce.
The sky is filled with HUNDREDS of lightning strikes.
The FA-18 jets circle the pyramid.
KENWARD (V.O.)
Any sign of life on the ground?
FA-18 PILOT (V.O.)
Negative. No sign of life on the
ground.
INT/EXT. COCKPIT - DARK
Roland wanders into the cockpit to see -
- the PYRAMID.
KENWARD
Dr Roland, any theories on this?
Kenward grabs the radio microphone.
KENWARD
Open fire on hostiles.
FA-18 PILOT (V.O.)
Roger that.
ROLAND
What? No! You can't!
Kenward ignores Roland's plea. He taps on the shoulder of the
pilot.
KENWARD
Land us over there. I'll send in
ground troops.
The pilot nods.
Kenward pushes Roland out of the cockpit.
KENWARD
Just remember who you work for
Doctor. I need you to be sensible
and rational right now, but most of
all I need you to sit!
EXT. PYRAMID - DARK
One JET LAUNCHES TWO MISSILES -
- both of which zig zag towards the pyramid -
- BANG! BANG! Both missiles are struck with LIGHTNING and
explode.
ON THE GROUND
Laurence watches as an FA-18 jet is struck by a tremendous
THICK BOLT.
The plane goes DEAD QUIET as it drops out of the sky.
It cruises past Stacey and Laurence CRASHING several hundred
feet away.
More EXPLOSIONS erupt in the sky.
STACEY
Come with me.
LAURENCE
Where? Inside?
STACEY
Come to my home.
LAURENCE
This was your home... once.
Stacey glances at -
- The BATTLE ABOVE.
STACEY
Once. Not anymore. My home is the
glorious heaven that the mortal
have only dreamed about.
She raises her hand at the pyramid -
- The metal surface MELTS to reveal a PASSAGEWAY.
Laurence gazes at it.
STACEY
If you remain here then the Greys
will eventually find you.
LAURENCE
Maybe that's a risk I can take.
Stacey starts to cry.
STACEY
Please Laurence... I'm scared just
as much as you. You're my only
family here left. Please.
Laurence eyes start to well up.
STACEY
I promise you will be fine.
Stacey holds out her hand -
- Laurence takes it -
- they both walk through the passageway.
EXT. WASTELAND - DARK
The Hercules lands -
- lowering its ramp -
- SOLDIERS race out with their weapons drawn.
Kenward and Roland are last to leave. Kenward draws his
handgun -
- only to be stopped by Roland.
ROLAND
They see the weapons as a sign of
hostility.
Kenward holsters it.
They both race to the pyramid.
BURNING REMAINS of FA-18 jets lay scattered.
LIGHTNING MEN race across the land electrocuting random
soldiers.
The LAST FA-18 CRASHES nearby.
Both men are thrown off their feet.
KENWARD
Are you alright?
Roland nods. He stands up and notices -
- The lightning has stopped.
All is quiet.
ROLAND
Either they think we're dead, or
they want us kept alive.
KENWARD
I say the former. Keep moving.
INT. PASSAGEWAY -
The interior of the pyramid appears to match the same black
and red colour tone.
Kenward slowly walks inside followed by -
- ROLAND who is fascinated by the walls. He touches the
surface.
ROLAND
Remarkable. The wall feels organic.
KENWARD
What?
ROLAND
It feels alive.
KENWARD
It's a metal pyramid.
Roland rubs his hand across the floor and picks up -
- SAND. He lets it fall between his fingers.
ROLAND
No, this is something else.
THEY TURN A CORNER -
- continuing their path.
The colours on the wall PULSATE as Roland rubs his hand
across it.
ROLAND
Try explaining this away as a
weather balloon.
KENWARD
All these people rambling on about
the UFO crash in Roswell in fourty
seven, when my father was at the
South Pole that same year fighting
the Nazi's who already had flying
saucer technology.
Roland is dumbfounded.
ROLAND
That's impossible!
Kenward looks back at him and gently feels the walls.
KENWARD
People think the first encounter
with aliens was with Roswell in
fourty seven, when in fact it was
nineteen thirty three, fourteen
years earlier, aliens met with the
Germans and gave them information
on their technology.
Kenward continues walking.
KENWARD
So while my father died for nothing
in Antarctica during Operation
Highjump, these alien beings spread
themselves around the world,
especially the U.S.
ROLAND
So the abductees were from this
alien race you're talking about?
Kenward smirks.
KENWARD
No, when the Greys get you, no-one
finds you.
They watch as the walls move in and out, as if it were
BREATHING.
KENWARD
This, is from another race. Some
species the Greys despise.
He gently touches the wall as it moves.
KENWARD
No matter where you are in the
universe, there's someone better
than you.
ROLAND
I think I know what this is.
INT. PYRAMID -
Stacey and Laurence walk from the passageway into a -
- WIDE OPEN SPACE. It is as bright as day -
- in the air, hundreds of FLYING CRAFTS in various sizes
hover about -
- along the ground are the many PEOPLE of Montel. They are
formed as GOLDEN SPIRITS walking about in groups -
Laurence and Stacey walk further in.
LAURENCE
Are they dead?
STACEY
The soul never dies. It rebirths in
another time another place.
Stacey leans her Mother down gently and watches as -
- SHE DISSOLVES leaving behind her golden spirit.
MRS JAMIESON stands up and looks at her surroundings.
Stacey leans down as Mrs Jamieson caresses Stacey's face.
SPIRIT CHRIS
races from the distance and stops in front of Laurence.
LAURENCE
Chris... You're here.
Chris smiles at Laurence -
then guides Mrs Jamieson away.
BY THE PASSAGEWAY ENTRANCE
Kenward and Roland walk out from the passageway and gaze upon
the surroundings.
Roland beams with a smile.
ROLAND
I was right.
KENWARD
About what?
ROLAND
This pyramid is actually a seed -
Roland glances at all the spirits and flying crafts.
ROLAND
- The earth creates a shell that
embraces a mixture of lifeforms and
sends them to another universe to
re-germinate.
Kenward notices -
- Stacey and Laurence.
KENWARD
Don't get too excited.
FURTHER INSIDE THE PYRAMID
Laurence holds Stacey's giant hand.
STACEY
I promise you will be -
POW!
Stacey is SHOT in the back of the head.
Stacey's grip TIGHTENS on his hand.
She falls onto one knee.
LAURENCE
No! Stacey! No!
BY THE PASSAGEWAY ENTRANCE
Kenward lowers his handgun.
Roland is shocked.
ROLAND
What have you done?
Kenward glares at him.
KENWARD
Just remember who you work for!
ROLAND
I don't work for murderers -
Roland LUNGES at Kenward around the throat.
POW!
KENWARD
But I do.
Roland drops to the ground CLUTCHING his stomach.
FURTHER INSIDE THE PYRAMID
STACEY falls onto her back.
Laurence leans over her trying to fight tears.
LAURENCE
Come on Stacey! You can't die, not
like this, not like this.
STACEY
The light is beautiful -
Laurence looks up at -
- a BLINDING LIGHT.
SEVERAL SMALL CRAFTS hover around both her and Laurence -
- Laurence glances back at Stacey.
LAURENCE
Please come back...
The crafts RISE -
taking Stacey's body with them.
Laurence stands up and watches as Stacey's body DISAPPEARS
into the blinding light.
He turns around to see -
Kenward AIMING HIS HANDGUN at him.
KENWARD
Laurence right? I think my bosses
would like to meet with you.
CRUNCH! GRIND!
The sound of METAL GRINDING catches their attention.
FOUR LARGE DOORS slide open revealing -
Four THIRTY FOOT REPTILIAN ALIENS gracefully stepping out.
Their faces appear to be as old as time itself.
They make their way towards Laurence and Kenward -
LAURENCE
The fathers.
Kenward is a little panicked.
POW!
He FIRES AT ONE -
- it reflects the bullet with just the RAISE OF ITS HAND.
POW! POW!
Kenward FIRES at another then another -
- but to no avail.
One ALIEN raises its hand again -
- Kenward's handgun DISSOLVES LIKE SAND.
The remaining three ALIENS raise their hands at Kenward -
BOOM! He is thrown back -
then DISAPPEARS through a VORTEX.
INT. CHAMBER -
KENWARD'S EYES OPEN -
He is in a dark chamber with BLOOD STAINS along the walls.
- He is handcuffed and hangs from the ceiling.
KENWARD
Where am I? How did I get here?
MATHERSON (V.O.)
You're with me now.
KENWARD
Matherson! I finished the contract.
I killed Stacey myself. Let me
down.
MATHERSON, steps out of the shadows -
- He is a bald headed man that stands ten feet tall on FOUR
LEGS.
The skin around his eyes and mouth are PEELED BACK with
WIRES. His flesh is a dead grey.
KENWARD
Let me down Matherson! I'm on your
side!
Matherson leans closer to Kenward.
MATHERSON
Did you talk?
KENWARD
To who?
MATHERSON
Did you tell them anything?
KENWARD
Who would I be talking to? Now let
me down!
MATHERSON
After we've made a few...
alterations.
WHOOSH!
A door slides open -
- in wheels a LARGE ROBOTIC ARM.
INT. HALLWAY -
Along the walls reads: LEVEL 6
Kenward's SCREAMS can be heard in the distance.
From around a corner appears the OCTOPUS MAN -
- It wails and races down the hallway.
INT. PYRAMID -
One Alien leans down and studies Laurence who offers -
- an awkward smile.
It points to the PASSAGEWAY.
The remaining three Aliens point in THE SAME DIRECTION.
Laurence glances to the passageway to see -
- Roland trying to get to his feet.
BY THE PASSAGEWAY
ROLAND watches as -
- One Alien leans down and whispers into Laurence's ear.
He smiles and nods -
- races to Roland.
The GROUND RUMBLES.
LAURENCE
Can you stand?
Laurence helps Roland to his feet.
The ground constantly SHAKES.
LAURENCE
We got to hurry, they're leaving.
EXT. WASTELAND - DARK
Laurence carries Roland towards a dirt mound DITCH several
hundred feet away.
The PYRAMID SHAKES -
- SINKS INTO THE EARTH -
BOOM!
- LAUNCHES into the air.
A blanket of dirt and dust sprays over Roland and Laurence.
They both glance up at -
THE FLOATING PYRAMID drifting upwards.
LAURENCE
Goodbye Stacey.
Roland coughs in pain.
LAURENCE
Let me have a look at that.
Roland opens his shirt to reveal the BULLET WOUND still
bleeding.
Laurence tears away some material from Roland's shirt and
proceeds to wipe it clean -
- as he does, the WOUND STOPS BLEEDING.
He wipes again and the wound has SEALED CLOSED.
Roland looks at Laurence.
ROLAND
How did you do that?
Laurence gazes upon his hands, his mouth agape.
LAURENCE
She passed it on to me.
They both stand staring at -
THE ENORMOUS CRATER LEFT BEHIND from the pyramid.
RAYS OF SUNLIGHT break through the dark clouds appearing
somewhat angelic.
The pyramid finally disappears through the clouds.
ROLAND
So what did it say to you?
Laurence smiles.
ROLAND
You're not going to tell me?
LAURENCE
I'll tell you on the way to the
next town.
They both proceed to walk along the wasteland.
LAURENCE (V.O.)
I don't think we've officially met.
I'm Laurence.
ROLAND (V.O.)
Peter Roland.
LAURENCE (V.O.)
So, Peter, what's your story?
ROLAND (V.O.)
Not so much a story, more like a
theory.
The End.
[
top
]
Script created with Final Draft by Final Draft, Inc.