NEXT
Written by
Gary Goldman
Based on "The Golden Man"
Written by
Philip K. Dick
May 14, 2004
BARE WHITE ROOM
Thirty feet square. CRIS JOHNSON, wearing a jail uniform,
sits in a HEAVY CHAIR that is bolted to the floor. Mid-
twenties, jaded, rebellious, handsome as a statue, Cris
radiates a serene, if somewhat scruffy, charisma.
He faces a PLASMA SCREEN MONITOR on a bare wall. To the left
of the screen, an unframed MIRROR; to the right, a DIGITAL
CLOCK-CALENDAR.
A WOMAN'S FACE appears on the plasma screen. CALLIE FERRIS.
Thirty. Tailored. Angular. Kate Hepburn-ish.
Ferris on monitor
Mr. Johnson, you've been sent to us
by the state authorities for
testing. We want to determine if
there's any substance to your
claims.
CrIS
Fire away.
FERRIS ON MONITOR
If we can verify your ability, we
may be able to help you avoid a
criminal trial.
CRIS
And "we" is...?
Ferris ON MONITOR
Homeland Security.
Ferris' face is replaced on the plasma screen by a series of
random video clips. Hang-gliding. Traffic jam. Volcano
erupting.
Ferris ON MONITOR
Now if you would, please look at
the monitor and tell us what you
see, say, five minutes from now.
Cris looks at the clock. 16:32 / March 9, 2006. He squints
and the clock speeds up a little.
Ferris (o.c.)
Are you there yet?
In a few seconds, the clock reads 16:37.
2.
On the monitor. Ferris' image has been replaced by footage of
surfers riding big waves in Hawaii.
CrIS
Surfers.
Ferris (o.c.)
Good. Now can you move ahead ten
minutes.
Varied images fast forward on the plasma screen. He arrives
at 16:47 and reports on what he sees.
cris
Ants crawling up a tree.
Ferris (o.c.)
Excellent. Can you get to 1900
hours?
Cris looks ahead and squints.
CLOCK
Minutes whiz by.
PLASMA SCREEN
Clips play and change almost too fast to be recognized.
Clock
Cris gets to 19:00 -- and keeps going.
Mirror
Cris has a five o'clock shadow.
Clock
Hours tick off like an accelerating metronome.
Mirror
Cris sports a three-day stubble. He struggles to get out of
the chair, but he is now strapped into it, bound at the wrist
and ankle. His face fills with rage.
Plasma screen
The evening news zips by. Talking heads. Reportage.
3.
Mirror
Like a window into a time machine. Cris' beard lengthens. He
grows pale. His clothes change every few seconds. Rage gives
way to the panic of a man trapped on a runaway train.
Plasma screen
The news dissolves into a blur.
Mirror
Cris ages before his own eyes. Wrinkles etch into skin. Hair
greys, recedes. Outrage ebbs into hollow resignation as Cris
watches himself waste away.
Woman's voice
Sir...Sir?
Cris' tired old eyes look up, confused.
INT. VEGAS HOTEL COFFEE SHOP - DAY
A perky young WAITRESS stands over him, holding a pot of
coffee.
WAITRESS
Warm-up?
On cris
Young again.
CRIS
Just the check.
She sets it on the table with a flirtatious smile. He takes
it to the register and pays cash.
Cris (V.O.)
"The future ain't what it used to
be." Ever hear that expression?
A moment later, A SECOND CRIS follows the first Cris to the
register, repeating his every movement.
CRIS (V.O.)
It's a joke, but it's true. The
future changes every time you look
at it. Because you looked at it.
As Cris 2 pays cash, Cris 1 proceeds into the casino.
4.
CRIS (V.O.)
Cause once you see it, you're
different.
Cris 2 follows, literally walking in Cris 1's footsteps.
CRIS (V.O.)
Maybe just a little.
A DRUNK bumps into Cris 1 and spills his Daiquiri on him.
CRIS (V.O.)
And that changes everything else.
Cris 2 -- the real Cris -- follows a moment later and
sidesteps the Drunk, who spills his Daiquiri on someone else.
CRIS (V.O.)
It's got something to do with
quantum physics.
Cris 2 reaches the gaming tables and merges with Cris 1.
Cris (V.O.)
That's why I stay away from
roulette and craps. It only takes a
millionth of an ounce to change a
roll. Just placing a different bet
can throw things off.
A roulette ball skitters indecisively between two grooves
before settling into one of them.
CRIS (v.O.)
I've got other rules, too. I don't
play against people, like at poker.
Only against the house.
Slot machines. Horse racing. Sports games.
CRIS (v.o.)
And my goal isn't to win big. At
least not any more. The idea is to
go unnoticed so I can keep coming
back to the trough.
He passes the MILLION DOLLAR SLOT. Stops, like it's calling
out to him.
5.
CRIS (v.o.)
So no jackpots. No longshots. No
big bets except when I want `em to
see me lose.
Cris notices a DESPERATE GAMBLER on the verge of tears.
Clearly, he's dropped a bundle. Cris approaches him and
points to the MILLION DOLLAR SLOT.
CRIS
Try that one, man. I've got a
feeling.
Gambler
(suspicious)
Then you play it.
CRIS
Against my religion.
Cris offers the guy a handful of silver dollars.
CRIS
Do it, quick, before somebody else
gets there.
While the Gambler dawdles, a MIDWESTERN DOWAGER plants
herself at the MEGA-SLOT and starts feeding it dollars.
Cris sighs and walks off.
The Gambler watches him go, then reacts to BELLS, FLASHING
LIGHTS, and SHRIEKS OF CELEBRATION. The Dowager has hit the
MEGA-JACKPOT.
Blackjack section
Cris takes a stool at a crowded table.
CRIS (V.O.)
Mainly I stick to blackjack. Boring
but controllable.
Cris antes up. Cards are dealt. He's got a four showing.
Taking a hit, he goes bust with a jack. So in real time, he
sticks.
CRIS (V.O.)
And safe unless they think you're
counting.
6.
The dealer turns over his cards. He's got a king and a deuce.
So he has to draw. Pulls the jack. Busted.
The dealer pays Cris, then presses a button under the table.
INT. SURVEILLANCE ROOM
Banks of video monitors display images from the multitude of
cameras looking down from above the gaming tables. The
SURVEILLANCE SUPERVISOR, HAWKEYE, repositions in response to
a red light so he can look over a Surveillance Operator's
shoulder and study Cris.
INT. office of casino boss - DIFFERENT CASINO - DAY
The Stalin-faced CASINO BOSS sits behind his desk.
casino boss
If you don't mind my asking, why
does Homeland Security give a damn
about who's lucky in Vegas?
He's talking to Callie Ferris. We recognize her sardonic
beauty from the plasma screen in Cris's pre-vision. In
person, she's edgy, confident, and impatient with those who
aren't as quick as she is.
Ferris
Maybe they're more than lucky.
casino boss
Then we handle it.
Ferris
I'm not talking about cheating.
That's your problem. But if
somebody wins consistently and you
can't figure out how...Excuse me.
She answers her cell phone.
Ferris
Ferris...I'll be there in fifteen.
She stands, disconnects, and hands the Casino Boss her
business card.
FERRIS
Call me, like they did. And try to
hold him till I get here.
7.
Casino boss
Yes, ma'am.
She's already out the door.
Video monitor: close on cris
Relaxed. Playing blackjack. The FEMALE DEALER tries not to
gawk at him as she deals from a shoe.
Ferris (o.c.)
Nice looking guy.
davis (o.c.)
I guess.
Pull back: surveillance room
Ferris and DAVIS, the casino's dapper CHIEF OF SECURITY,
stand behind Hawkeye, the Surveillance Supervisor, and study
Cris on various monitors.
Ferris
Maybe she's in cahoots.
davis
He's beaten six dealers in a row.
ferriS
You're sure he's not counting?
hawkeye
We've got five decks in the shoe.
And he wins more off the top than
the bottom.
davis
Moves a lot from table to table.
On a monitor, Cris pockets some of his chips.
hawkeye
Keeps his stacks short.
On another monitor, A COCKTAIL WAITRESS takes orders from the
players.
WAITRESS
What's your pleasure?
CRIS
Grand Dad, rocks.
8.
Ferris
What's his name?
davis
(shrugs)
Not staying here. Pays in cash.
Hawkeye
We're running him through face
check.
As Ferris watches Cris on the monitor, he becomes still and
attentive, as if sensing danger. He squints a little, the way
we do when we try to remember something.
Ferris
Invite him for a drink.
(remembers her manners)
If you don't mind.
INT. CASINO/BLACKJACK TABLE - DAY
As Cris signals for another card, TWO BLACK SUITS appear
behind him.
black suit (o.S.)
Sir, would you come with us,
please.
Cris takes in their grim faces. Turns to see two more pairs
of goons stationed nearby.
SNAPBACK to:
Thirty seconds ago
The COCKTAIL WAITRESS approaches to take Cris' order.
WAITRESS
What's your pleasure?
This time, Cris hurriedly scoops all his chips into his coat
pocket, jostling the Waitress as he stands.
CRIS
Scuse me, sorry.
Hustling away, he glances back just as the first TWO BLACK
SUITS reach his stool, but this time it's empty. They look
around. One of them whispers into his mike. The three pairs
of goons get instructions and split up.
9.
Tracking shot / eye level
Cris strides crisply through the casino. Sees another PAIR OF
BLACK SUITS, scanning for him. He ducks into the maze of
slots. Zigs and zags from aisle to aisle, seemingly at
random. A moment after each turn, a Black Suit appears ahead,
behind, or to the side - where they would have spotted Cris.
Tracking shot / high angle
A clearer perspective as TWO BLACK SUITS approach Cris' aisle
from different directions. Cris has no way to see them or
know they're coming, but at the last moment, he MOVES in
between two aisles where neither guard will see him as they
pass.
surveillance room
Davis and Hawkeye wince as the Black Suits keep missing their
quarry.
davis
What's wrong with you guys?
hawkeye
He's right next to you! Aisle 63!
Ferris watches the chase, fascinated.
Phalanxes of slot machines
Black Suits converge from various directions, in that fake-
calm fast-walk.
Cris studies the gamblers playing the machines nearby, then
heads to a particular spot - where he is sure to be spotted -
except that a TEXAS-SIZED MAN repositions himself, blocking
the Black Suit's view.
The Black Suit moves on. Cris shifts to another spot just as
a different Black Suit arrives at the other end of the aisle.
This time, THREE FRAT BOYS change machines and obscure Cris
from his gaze.
surveillance room
Davis is throwing a fit.
Davis
There! There! He's right there in
front of you! Walk toward each
other!
10.
Cris slips away in the shadow of the Frat Boys.
hawkeye
Maybe he's on our frequency.
DAVIS
I don't see an earphone on him.
hawkeye
He's heading to the Convention
Annex.
FERRIS
(stands)
Give me a headset. I'm going down
there.
Convention annex
Arriving at the foyer, Cris sees Five Meeting Rooms. He
squints then decisively enters one of them.
FOUR BLACK SUITS arrive an instant later. Without wasting a
beat, each of them goes through a different door. All except
the one Cris went through.
Cris re-emerges a moment later and heads back toward the
casino.
Casino
Ferris, arriving, adjusts her headset.
Cris sees her. Recognizes her from his prevision as the woman
on the plasma screen. Turns and walks away.
She sees Cris. Takes off after him.
Ferris
(to head mic)
He's heading toward...
(reads sign)
the Ipanema Grill.
Security Staff converge on the area. Cris is in plain sight.
Suddenly a busload of tourists surge in through a door and
clog the way.
Cris continues into the...
11.
Kitchen area
Passing a room service cart, he rolls it in front of him. A
few steps on, he takes the bottle of OLIVE OIL on the cart
and pours some in front of one random closed door. Cris then
shoves the room service cart down the hall toward an empty
intersecting corridor. A Black Suit barrels into the empty
intersection just as the cart arrives - and tumbles over it.
Behind Cris, a door swings open; a Black Suit charges out;
steps precisely into the puddle of poured olive oil - and
falls on his ass.
Cris slips by him, but gets cut off by an arriving group of
FOUR MORE BLACK SUITS. Big guys. They try to grab him. He
evades their grasp almost magically and, like a Shaolin Monk,
somehow leverages them into each other until they are in a
pile on the floor. Cris darts around them into the...
Lobby
He co-opts a luggage cart that is loaded up for delivery.
Rolling it to the left, a Black Suit on that side doesn't see
him - and moves on. Cris switches to the right side of the
card - just as a second Black Suit would have seen him.
Abandoning the cart, Cris sets off across the lobby in a
herky-jerky rhythm.
He walks four quick steps without being seen. Then stops
behind a column just as Black Suit 1 turns his way. When
Black Suit 1 looks on, Cris resumes his journey, cutting
across the lobby at an acute angle. In this way, he avoids
being seen by Black Suit 2. Cris now backs up three steps and
avoids being seen by Black Suit 3.
By precisely choosing his movements and knowing where his
hunters will be looking, Cris achieves something like
invisibility.
The last obstacle to daylight is Ferris. She sees him. He
makes a run for the door. She dashes after him.
FERRIS
You! I just need to talk to you!
Cris grabs a guest's suitcase and keeps moving.
FERRIS
Homeland Security!
12.
The guest chases after Cris - and collides with Ferris,
knocking her to the ground. Which allows Cris to slip through
a door to the...
Ext. Hotel loading dock - DAY
Where TWO LAUNDRY DELIVERY MEN are flinging sacks of clothes
into the back of a truck. Cris steps toward the open tailgate
with a steady pace. As if on cue, both Laundry Guys turn and
bend to pick up another sack of clothes. Cris walks right by
them without being noticed -- and climbs into the truck. A
moment later, the Laundry Guys pivot back around, toss sacks
of clothes in after Cris, and slam the rear doors. They get
in the truck and drive off just as Ferris, Davis, and several
Black Suits arrive to find a cold trail.
davis
You were right. This guy is a lot
more than lucky.
Oddly, Ferris seems almost encouraged.
ferrIS
At least now I know he exists.
INT. DEPARTMENT OF HOMELAND SECURITY - las vegas regional
OFFICE - nIGHT
Ferris strides purposefully through hallways crowded with
people hustling just as urgently as she is. She enters the
large ante-room of a bigshot's office and addresses JEANNIE,
a civil service secretary.
Ferris
Jeannie, I have to see him right
away.
Jeannie
He's on with Washington. We just
went on Code Orange.
Ferris
What's the threat?
JEANNIE
We found a dirty bomb in East
Vegas. A barrel of C-4 and a kilo
of nuclear waste. But we're getting
chatter about a dozen more out
there somewhere, ready to blow.
Ferris absorbs the catastrophic news without emotion.
13.
Ferris
Tell him I have a new source that
could help with the case.
JEANNIE
(snide)
Another remote viewer?
Ferris stares her down.
Ferris
Have him meet me in imaging.
Leaves without waiting for a response.
ext. picnic in park - Day
Cris and a glowing YOUNG MOTHER hold a BABY BOY. Gazing into
the baby's eyes, Cris beams with perfect happiness. He plays
with the baby's fingers. The two middle ones are subtly
WEBBED BY A PIECE OF SKIN that comes about halfway up the
bottom knuckle. The image whites out as...
INT. LAUNDRY TRUCK - DAY
Sunlight pours into the back of the truck, revealing Cris
lounging on a mound of laundry sacks. He composes himself and
steps out, nonchalant as James Bond.
CrIS
Thanks, guys. Not too heavy on the
starch.
Computer simulation
The pursuit of Cris through the casino has been mapped into a
3-D visualization. Multiple camera angles have been merged so
that a single POV seamlessly follows Cris without cutting.
It's clear that Cris avoids trouble before he sees it.
male voice (O.s.)
You pulled me out of a conference
call with the Secretary to show me
a video game?
INT. IMAGING lab - DAY
ERIC WISDOM, 38, stands next to Ferris as they watch the
simulation on a flat-screen monitor. Highly competent,
solidly masculine, Spencer Tracy to her Hepburn, you can rely
on him in your average emergency. Which this is not.
14.
FERRIS
I need six men to bring him in.
WISDOM
We're on Code Orange.
Ferris
He could help us find the other
bombs.
WISDOM
That's an ultra low probability.
None of your "specials" have ever
panned out, and this isn't the time
to experiment.
Ferris steps close to Wisdom.
FERRIS
Come on, Eric, you saw it. We're
flying blind and he's got radar.
Wisdom steps away from her.
WISDOM
Callie, people are talking. They
say I'm only funding your research
because we're involved.
FeRRIS
That's because they're....
WISDOM
Right.
Ouch.
WISDOM
I'm sorry, but they're right.
FERRIS
You bastard.
WISDOM
I care about you, and I wanted to
support you. But there's a limit to
what I can...
FERRIS
(professional)
Look, we analyzed what this ability
would look like if it existed.
(MORE)
15.
FERRIS (cont'd)
I went screening for it in a highly
scientific way. And now I've
identified someone who matches all
the indicators. So the next obvious
step is to...
wisdom
Let me do my job! - Christ! Don't
you ever quit?
FERRIS
No.
(beat)
I've got a country to protect.
He finds her both infuriating and irresistible.
WISDOM
Use your charm on somebody else.
He stalks out of the room, leaving her more thwarted than
sad.
DRIVER'S POV: TRAFFIC IN VEGAS
An elevated freeway. Driving behind a pick-up truck carrying
a mattress and box spring.
Cris (v.O.)
I'm not God. I don't see
everything. Just my own future.
Ext./INT. Cris' car - DAY
Cris drives an old Camaro, muscle-y but inconspicuous.
Cris (v.O.)
To me, it seems normal. The way
lightning comes before thunder.
Cris changes lanes to get from behind the truck.
CRIS (V.O.)
Most of the time, I'm not paying
attention. Just making sure I don't
step in a mess.
In his rearview mirror, Cris sees the mattress fall off the
truck, causing an accident.
16.
CRIS (V.O.)
Sometimes I get a blast from far
away.
He sees a plume of smoke in the distance.
CRIS (V.O.)
Or I can start with a glimpse of
something close and keep pushing
on.
He takes the next exit.
CRIS (V.O.)
Usually it's none of my business.
He turns into the parking lot of a bookie shop, THE FINISH
LINE.
INT. The finish line - DAY
Cris walks to the counter. Addresses the manager.
CRIS
Guy around?
MANAGER
You are?
CRIS
Tell him it's King Midas.
INT. homeland security regional hq - internal security office
- DAY
TERRY BAINES, plainclothed HEAD OF PROTECTIVE SERVICES for
the Facility, walks down the corridor with three of the
better-trained MILITARY POLICE who have been brought in to
augment the regular staff of civilian FEDERAL PROTECTIVE
SERVICE POLICE. Baines is a handsome former Special Forces
Lieutenant, early-forties, who takes his work very seriously.
Ferris runs to catch up with him. He doesn't slow down for
her.
FERRIS
Terry? Terry! - I know you've got
your hands full but I was wondering
if you might be able to spare a few
warm bodies for an outside
operation.
17.
She gives him a look. There's some mutual attraction, but not
a lot of affection.
BAINES
We're strictly internal.
FERRIS
That's why I need your people.
Everybody else is assigned.
BAINES
Does Wisdom know about this?
FERRIS
He suggested it.
While Baines arches a dubious eyebrow, an intellectual junior
analyst, AMANDA, catches up with Ferris.
AMANDA
Callie.
(corrects herself)
Agent Ferris. I've got a face match
on your subject. His name is Cris
Johnson.
Ferris takes Amanda's PRINTOUT and glances at it on the run:
it's a PHOTO of Cris on a WANTED BULLETIN.
fERRIS
(slows to a stop)
Never mind, Terry. Pretty Boy here
is wanted for murder in Nevada.
She hustles off with Amanda.
INT. BACK ROOM AT THE FINISH LINE - DAY
A smoky office with a big screen tv and a poker table, but no
card players. Cris is greeted by GUY, relaxed, professional,
smartly dressed, mid-forties. He's classier than the joint he
runs.
Guy
Well, if it isn't the Golden Man.
A look, a hug. A lot of history.
Guy
What brings you crawling back to
me?
18.
CRIS
I need to cash some chips. - Got
tagged.
He starts setting them in stacks on the poker table.
GUY
You burned through your stash
already?
CRIS
I've been trying to lay low.
INT. State police STATION - dAY
Computer monitor on a desk plays Cris' escape from the
casino.
CavANAUGH (o.s.)
That's him. I call him the Road
Runner. You know? Beep beep.
LT. CAVANAUGH, middle-aged hunter type, beer belly but still
a menace.
Ferris
What's he running from?
Cavanaugh takes a videocassette from a pile on his messy
desk.
CAVANAUGH
You showed me yours. I'll show you
mine.
He pops the tape into a VCR. Presses play.
On the monitor
Low-quality security camera recording of a liquor store at
night. Business is good. FIVE PEOPLE wait in line at the
register. Time code reads November 11, 2004. Cris walks in,
unsteady on his feet. Heads for the beer locker. Pauses.
Suddenly runs toward the register at full speed and TACKLES A
CUSTOMER, shoving him hard to the floor. Cris prepares to
hold him down, but the tackled man just lies there, a pool of
blood forming under his head. Cris looks up. The customers
are gaping at him, terrified.
19.
CRIS
(slurred)
He was gonna kill you! You all
would'a died!
Cris sees that they're afraid of him, not the dead man. He
runs out. PAUSE TAPE.
Back to scene
Cavanaugh studies Ferris' reaction.
INT. BACK ROOM AT THE FINISH LINE - DAY
Guy finishes counting Cris' chips.
Guy
But you of all people. How could
you have let it happen?
CRIS
That was the night Donna broke off
our engagement.
GUY
Ahh.
CRIS
I was so drunk I could barely see
now.
Guy opens a drawer, takes out a pack of a hundred $100's, and
counts out an additional sum from his pocket.
GUY
Well, I hope you don't mind. I
called Neal to let him know you're
here.
CRIS
Christ, Guy, did you have to?
GUY
You say everything's inevitable, so
I guess I did.
Guy returns to his antique copper espresso machine and starts
to make two cups.
CRIS
Well, you can save your breath.
Cause I know what you're gonna say.
20.
GUY
Then you're aware that Neal is in a
serious cash crunch and could lose
it all.
CRIS
I'm sorry to hear that. But I'm
done playing the market.
While Guy is distracted making espresso, Cris jams the desk
drawer shut with a penny.
GUY
Neal's got it all worked out. He'll
fly you out of the country on his
jet. Put you up in style. He pays
taxes, totally legal. You get cash,
squeaky clean. Half the net. When
your share hits fifty mil, you can
say "finito"...and it's over.
CRIS
Except last time, Neal didn't take
"finito" for an answer.
Guy slams his fist.
GUY
You need us, asshole! The Law is
breathin' down your neck!
CRIS
I can stay ahead of `em forever.
GUY
But why live that way?
CRIS
Because I don't want to be used any
more.
GUY
What do you give a shit as long as
you get what you want?
CRIS
Cause what I want is freedom. And
you don't get it by giving it up.
Guy calms himself and sets an espresso in front of Cris.
21.
CRIS
Enjoy it while it lasts.
Cris picks up the cup and knocks it back.
Ext. finish line - Parking lot - DAY
Cris starts up the car. Notices he's woozy. He prepares to
back out. Instead he blacks out -- as Guy and THREE MEN drag
him out of the car.
SNAPBACK TO:
Guy's office
Guy sets the cup of espresso in front of Cris, who picks it
up. But Instead of knocking it back, he sets it down and
grins cryptically at Guy, who senses something and reaches to
open his top desk drawer - the one Cris pennied shut. Guy
can't get it open. Guy reaches under his Racing Form. Feels
around. Cris holds up a knife.
CRIS
Looking for this?
Guy pulls his arm from under the Racing Form -- spilling the
cup of espresso that Cris just set down. Guy knows that's not
a coincidence.
CRIS
Don't mess with somebody who knows
your moves before you even think
'em.
Cris takes his cash.
GUY
The jet'll be sold in a week. Then
there goes your ticket out.
CRIS
Don't wait for me.
Cris heads out.
Guy
You know what I think? I think I
know the future better than you do.
Cris scoffs as he leaves.
22.
INT. State police STATION - dAY
Cavanaugh pours coffee for himself and Ferris.
CAVANAUGH
He's just some gambler. Lives
completely off the grid. No bank
account. No credit cards. No
previous record.
Ferris
So why'd he do it?
CAVANAUGH
Must be a wacko. He'd never met the
victim. No connection whatsoever.
Ferris tries to make sense of it all.
feRRIS
And in fifteen months, why haven't
you caught him?
Cavanaugh sighs woefully.
CAVANAUGH
You saw. He's got eyes in the back
of his head. He can see around
corners. I even had him in custody
once, and he disappeared.
Ferris
Must be very embarrassing.
A painful subject for Cavanaugh.
CAVANAUGH
And what is it you want him for?
Ferris
Questioning.
CAVANAUGH
About?
Ferris
Stuff that hasn't happened yet.
Cavanaugh nods knowingly.
23.
CAVANAUGH
Well, I guess Homeland Security
trumps liquor store murder. How can
I help?
Ext. Suburban home - las vegas - niGHT
A tract house, cheap, from the 60's, could be anywhere.
Something sad about the place. Cris stands at the door,
holding a bag of groceries. IRV, a sick old man, opens the
door, wearing a knit cap and pajamas. He's hooked up to a
little oxygen tank on wheels. When he sees Cris, his smile
crimps the tube in his nose.
IRV
What are you doing back here?
CRIS
I came to fix you dinner.
IRV
Idiot.
Irv pulls Cris inside. Closes the door.
INT. irv's house - night
They embrace like father and son. The oxygen tube gets in the
way.
IRV
This is what you get from two packs
a day.
CrIS
But you quit ten years ago.
IRV
It was already too late. I just
didn't know it.
CRIS
Sometimes not knowing is better.
Irv shakes his head.
IRV
Look where you're headed, pal. The
big decisions are over before you
even realize you made `em.
24.
INT. The finish line - back room - night
Cavanaugh and Ferris chat with Guy. This time the poker game
is in progress.
CaVANAUGH
Any idea where he might be going?
Guy turns to Ferris.
GUY
I've got a little problem with the
IRS. Think I could get some relief?
FERRIS
Depends how helpful you are.
GuY
Oh, I know everything about him.
He looks at Ferris, knowing. She turns to Cavanaugh.
FERRIS
I need to speak to him alone.
INT. FINISH LINE - MAIN PARLOR - NIGHT
Guy and Ferris sip cappucino.
GUY
And another thing, no woman ever
turns him down, I'm serious. Mainly
because he only propositions the
ones he knows'll say yes, which is
most of `em anyway. But does that
make him happy? No. Says he's
bored. Never surprised. Has to
watch himself die over and over
again.
FERRIS
Why'd he come back to Vegas?
GUY
Didn't say, but I'm guessin' it's
this friend who's dying. An old
fart who took him in when he was
strung out on drugs. - He's an
orphan, ya know. Been on the road
since he was ten.
25.
INT. Irv's house / living room - night
The place is a mess. Piles of newspapers. Old clothes. Cris
cleans up as they talk. Irv sits at a table and plays
solitaire.
IRV
You want my advice? Get yourself a
good lawyer and turn yourself in.
CRIS
If I tell `em the truth, you know
what happens? I end up with the
Feds. - And you know what they do
to me?
IRV
Make you a secret agent.
Cris
Don't laugh. They strap me in a
chair and make me watch the news.
IRV
Dan Rather or Peter Jennings?
CRIS
It's not funny, Irv. That's all I
do, day after day, for the rest of
my life. Watch the news until I
lose my hair and croak.
Irv is moved by Cris' dilemma.
Irv
There's no way around it?
CRIS
The best I can do is stay away from
all of `em.
Irv shakes his head with sympathy for Cris' plight.
IRV
In that case, you've gotta leave
the country.
CRIS
I know, I know, but there's
something I gotta do first.
26.
IRV
What?
Cris doesn't answer. His gaze is distant.
IRV
Cris?
Cris focuses.
CRIS
She's coming here. The Fed.
IRV
You gotta go?
Cris thinks. Shakes his head.
CRIS
Let's play it out.
INT. Irv's kitchen - DAY
Cris makes a lamb roast, studding it with cloves of garlic.
CRIS
I've got the place all picked out.
It's called Palau. Three hundred
teeny islands in the South Pacific.
(places roast in pan)
Nothing ever happens there, so
there's nothing to foresee.
IRV
Then what the hell are you waiting
for?
Cris puts the roasting pan in the oven.
CRIS
Her.
IRV
Who?
CRIS
I haven't met her yet.
IRV
Then find somebody else!
27.
CRIS
It has to be her.
IRV
What's so special about this one?
CRIS
She's the mother of my child.
Irv stops shuffling the cards.
IRV
I thought you were shooting blanks.
CRIS
I guess the doctors were wrong.
IRV
I don't mean to be indelicate, my
friend, but how do you know the
little bastard is yours?
CRIS
He's got my thing.
IRV
Your thing?
Cris holds up his hand, revealing that the skin between his
two middle fingers is webbed a little higher than normal.
CRIS
My thing.
IRV
I still don't understand why you
never got that fixed.
Cris laughs...then suddenly stops.
cris
She's here.
He walks to the door and opens it to discover Ferris standing
there, with her finger about to press the doorbell.
CRIS
Agent Ferris, come in.
She regards Cris with appreciation.
28.
FERRIS
One step ahead of the game.
cRIS
Always.
She enters. Tries not to be intimidated by his ability or
appearance. Sees Irv, watching them.
Ferris
Is there some place we can speak
privately?
CRIS
Let's go in the kitchen. I've got a
roast in the oven.
IrV
No, you two stay here. I'll watch
the food.
Once out of Ferris' eyeline, Irv queries Cris with his hand
in the shape of a gun. Cris shakes his head, then turns to
Ferris - and waits for her to begin.
FERRIS
You're wasting your life, Cris. You
have the most amazing talent, and
you're running from it.
CRIS
Yeah, people say I could have been
a chef.
Ferris
Don't be cute. There's too much at
stake here.
Her gravity anchors him.
FERRIS
Now if you say that man in the
liquor store was going to shoot
five people, I believe you. Why
else would you kill a stranger?
Cris guards his reaction.
FERRIS
But no good deed goes unpunished,
eh?
(MORE)
29.
FERRIS (cont'd)
And that's how it's going to be in
this world. People will either hate
you or want to exploit you.
CRIS
Everyone but you, of course.
FERRIS
I can fix your legal problems. More
importantly, I can give you a
chance to use your gift.
CRIS
Trust me, it's better if I don't.
It's better if I just mind my own
business.
Ferris looks at him, disapproving.
FERRIS
I'll be honest with you, Cris.
That's not an option. Your country
needs you. And if we don't grab
you, somebody else will.
CRIS
Nobody's grabbed me yet.
Ferris
You're up against more powerful
forces now.
She lets that sink in.
FERRIS
I'd like you to come with me for
some testing. Would you be willing
to do that?
Cris's expression grows dark. He looks at Ferris accusingly,
then BOLTS away, toward the KITCHEN.
FERRIS
Where are you going?
Cris covers his eyes and dives to the floor as STUN GRENADES
shatter windows and explode with a FLASH.
FERRIS
(temporarily blinded)
Shit! Cavanaugh!
Gas grenades follow.
30.
Cris scrambles to his feet as a NEVADA POLICE SWAT TEAM
bursts through windows and doors, wearing gas masks and
goggles, scanning with laser-guided rifles. They find Cris,
dashing for the back door. Open fire.
Cris tumbles, dodges a few bullets, then takes a hit in the
shoulder, the back, the leg. Staggers forward. Absorbs dozens
of bullets.
Falls.
Lies there.
Dying.
Cavanaugh steps up to deliver the final shot.
SNAPBACK TO:
INT. Irv's house / living room - an hour AGO
IRV
In that case, you've gotta leave
the country.
CRIS
I know, I know, I've got the place
picked out. But there's something
I've gotta do first.
IRV
What?
Cris doesn't answer. His gaze is distant.
IRV
Cris?
Cris focuses.
CRIS
I have to go.
IRV
You just got here.
CRIS
I know, but they're coming for me.
Cris takes the pack of cash he got from Guy, pulls out more
than half the bills, and sets them on a table.
31.
CRIS
This is for nurses and stuff, to
make things a little easier.
IRV
You're gonna need it.
Cris shakes his head and embraces Irv.
CrIS
You're the only one I could trust.
Ever.
They're both choked up.
IRV
I don't suppose you've discovered
any last minute escape for me?
CRIS
I looked, Irv, I really did. I went
down every path, every treatment.
Sometimes there's just no...
IRV
It's okay. It's okay...Now I can
relax.
A last look.
Ext. irv's street - dAY
Cris' approaches his parked Camaro with his key out.
CAVANAUGH and SIX TROOPERS spring from hiding, guns trained
on him.
Camera pans to cris
In Irv's back yard, watching this scene.
Ext. ALLEY BEHIND IRV'S HOUSE - DAY
A State Trooper keeps watch, smoking. When he steps on the
butt, Cris enters the frame in the background. When the
Trooper turns to a wall to piss, Cris crosses the alley,
unseen. When Cris passes out of frame, the Trooper finishes,
unaware of what he has missed.
32.
Ext. outskirts of vegas - night
A Route 66-vintage highway with stop lights and tawdry
commercial development. Cris stands on the shoulder, thumbing
a ride. Cars and trucks pass without stopping.
FAST FOWARD through endless traffic until an OLD CHEVROLET
pulls over. Cris checks his watch. It's 8:23.
Snapback TO:
SIDE OF THE ROAD
Chris checks his watch. It's 7:57.
Cris
(to himself)
Twenty-four minutes.
He looks around. Sees a donut shop. Heads toward it.
INT. Irv's house - night
Cavanaugh's State Troopers, guns drawn, are searching the
place on a hair-trigger, ready to blow away anything that
moves.
FERRIS
I need him alive, Cavanaugh. Even
if he resists.
CAVANAUGH
Yes, ma'am.
She points to Cavanaugh's troopers.
FERRIS
Tell them.
As Cavanaugh grudingly walks off to deliver the message, Irv
approaches Ferris.
Irv
You'll never catch him. He knows
what you're gonna do to him.
FERRIS
That's very helpful information.
She walks off, leaving Irv to regret he opened his mouth.
33.
INT. donut shop - night
Cris steps in. Goes to the counter.
CrIS
Medium coffee, black, and a glazed.
As he waits, he sees a vague REFLECTION in the GLASS DISPLAY
CASE: a SQUARE CROSS, coming into focus.
Puzzled, Cris looks up and around to see the object that's
being reflected. He can't find it. Cris turns back to the
display case, but the reflection is gone. The DONUT GIRL
gives him his order.
Cris takes it, turns, and notices LIZ COOPER sitting by
herself at a booth, circling items in the classified section.
He recognizes her as the future mother of his future child.
Cris gazes at her face, which is both childish and mature,
shy yet indomitable.
She turns, scowling, from the staring stranger.
Cris approaches Liz and gives her that smile that always
works.
CRIS
Mind if I join you?
LIZ
(prickly)
Yeah, actually I do.
Cris seems disconcerted.
SNAPBACK TO:
The Donut Girl gives Cris his order. He approaches Liz again
and tries a different opening line.
CRIS
Is that cruller any good?
Liz looks at him like he's hopeless. He notices that she's
reading the used car ads.
SNAPBACK TO:
The Donut Girl gives Cris his order. He approaches Liz.
34.
CRIS
Shopping for a car?
LIZ
What business is it of yours?
SNAPBACK TO:
The Donut Girl gives Cris his order. He approaches Liz.
CRIS
Rough day?
lIZ
I don't want to talk about it.
SnAPBACK TO:
The Donut Girl gives Cris his order. Discouraged after all
that rejection, he approaches Liz -- and bobbles his coffee,
spilling it on the floor. He's mortified, but she smiles at
him.
SNAPBACK TO:
The Donut Girl gives Cris his order. Now confident he's found
the right approach, Cris approaches Liz and deliberately
bobbles his coffee. But not in the exact way he did before.
When it falls, it splashes on her shoes.
LIZ
Aw Christ! Look what you've done!
CRIS
I'm so sorry. I'm a spaz.
LIZ
Yeah, you are.
She wipes her shoe with a napkin.
LIZ
It looked like you spilled it on
purpose.
CRIS
Why would I do that?
LIZ
I don't know. To impress me?
35.
CRIS
Look, I'm sorry. If I could, I'd do
it over.
Disgusted, she hands him a stack of paper napkins.
CRIS
Here.
She watches as he sops up the coffee and carries dripping,
soggy tissues to the trash. The miserable expression on his
face finally wins the smile he's been working for.
INT. Donut shop - night - a few minutes later
They're sitting across from each other, laughing.
Liz
Divorce, bankruptcy, repossession.
Yeah, I'd call that a bad year.
CRIS
Well, Liz, your luck's about to
change.
LIZ
How's that?
CRIS
You met me.
LIZ
And what are you, a leprechaun?
CRIS
An angel, actually. And we always
reward the people who help us.
LIZ
Great, what do I have to do?
CRIS
You don't have to do anything.
Cris glances outside and sees the old Chevrolet drive by
without stopping. He checks his watch. It's 8:23.
CRIS
But I could use a ride.
She knows she shouldn't.
36.
INT. JEEP CHEROKEE / on highway - nIGHT
Going fast. Johnny Cash on the CD.
LIZ
When does the luck kick in?
CRIS
It already has.
LIZ
I don't feel anything.
CRIS
Not even a tingle?
LIZ
Son, I haven't had a tingle in
eight months.
He waits for the other shoe to drop.
Liz
(can't hold it in)
Since my worthless no-good dickhead
of a husband ran out on me.
CRIS
Then you're way overdue. For a
reversal of fortune.
Brake lights flare on the cars ahead. They pass an exit.
CRIS
Any kids?
LIZ
Thirty.
(off his look)
I teach fifth grade.
CRIS
I mean of your own.
She shakes her head.
CRIS
I guess that's good. Considering.
LIZ
No, that was the problem. - I
couldn't get pregnant.
37.
Traffic is backed up.
CRIS
I'm sorry. I didn't mean to pry.
LIZ
You didn't. I'm just running off at
the mouth. - That's why I was in
Vegas. To see another doctor.
Flashing yellow lights - a barricade. Cris is getting
nervous.
CRIS
He didn't want to adopt?
LIZ
No, he had to have a Randy Junior.
Flashing blue lights - parked cop cars.
LIZ
What, is there an accident?
The place is crawling with state troopers. Cris is looking
around for a way out.
SnAPBACK TO:
one MINUTE EARLIER - one mile back
LIZ
When does the luck kick in?
CRIS
It already has.
LIZ
I don't feel anything.
Brake lights flare on the cars ahead.
CRIS
(urgent)
Take this exit. Quick!
LIZ
Why?
CRIS
Just take it!
38.
The dotted lines on the road are now solid.
LIZ
It's too late!
CRIS
No it's not!
Cris grabs the steering wheel and jerks it to the right,
sending them over some speed bumps onto the off ramp.
LIZ
Let go! Are you out of your mind?!
She slams on the brakes and they screech to a stop on the
right shoulder of the exit ramp.
LIZ
Get out!
Cris scrambles for an explanation. Looks, sees a quieu of
brake lights from the roadblock now backed up past the exit.
CRIS
Traffic was piling up. You didn't
see it?
LIZ
GET OUT!!
CRIS
We could'a been stuck there for
hours.
LIZ
I don't give a flyin' goddamn! You
don't grab the steering wheel!
Cris pauses for a beat. Takes a different tack.
CRIS
You're right. I'm sorry. I
panicked. I get phobic sitting in
traffic. It won't happen again, I
promise.
LIZ
Damn straight, cause you won't be
in the car!
She waits for him to exit.
39.
CRIS
How `bout at the next gas station?
Please. I'll fill up your tank.
Liz sighs, exasperated, and continues down the exit ramp,
passing a sign that says, WELCOME TO CALIFORNIA.
ext. road block - NIGHT
Cavanaugh and Ferris drink coffee as troopers examine every
passing vehicle.
Ferris
You're wasting time here.
CaVANAUGH
How long have you been in law
enforcement? About six months?
FERRIS
Long enough to know we're not gonna
catch him by surprise.
CAVANAUGH
What, you think he's got some kind
of radar?
FERRIS
Interesting idea. It'd explain a
whole lot.
CAVANAUGH
And Area 51 would explain my
missing tennis shoes. But that
doesn't mean they're on a flying
saucer.
Ferris comes to a decision.
FERRIS
In this case, it does.
Cavanaugh knows he's about to hear something wild.
Ext. Gas station/mini-mart - night
Gasoline flowing. Liz, still in a snit, sits impatiently
behind the wheel, watching in the mirror as Cris crosses
behind the car and knocks on her window. Grudgingly, she
lowers it. He holds out a lottery card.
40.
CRIS
I am really really really really
sorry.
Indulging him, she takes it. When he walks away, she deigns
to look at it. She tries to resist but can't. Gets out a
nickel and scratches the card. Wins $250. What the...?
CHUNK. The pump shuts off.
BEHIND THE CAR
Cris takes out the nozzle and twists on the cap. Behind him,
Liz strides by in a huff.
Liz
Get in the car. I'll be back in a
minute.
Cris smiles to himself as she proceeds toward the mini-mart.
exT. roadblock - NIGHT
Cavanaugh considers what Ferris has just told him.
CAVANAUGH
I'd call your proof a little iffy.
FERRIS
Look, from your own experience,
this guy can't be punched, shot,
surprised, captured, or confined.
So either he's got something
special, or you're an idiot.
Cavanaugh doesn't like her logic.
CAVANAUGH
Let's say I'm not an idiot...
FERRIS
And I'm not saying you are.
CAVANAUGH
Then what?
FERRIS
We've got to think like he does.
We've got to think ahead.
41.
INT. liz's CAR ON a mountain ROAD - night
Willie Nelson on the CD player. Liz holds an Icee in one hand
while Cris feeds her Kettle Chips.
CRIS
But lately I've been traveling all
around Oregon. It's really peaceful
up there.
LIZ
All right, I'm starting getting the
picture. - Basically, you're a no-
good, worthless ramblin' man who's
never held a job in life.
CRIS
(smiles)
Exactly.
She's charmed, in spite of herself.
liz
At least you're honest about it.
Ext. Liz's car - Outskirts of tahoe - nIGHT
Cris and Liz sing along with Patsy Cline on the radio. The
song ends as they hit the city limits.
LIZ
This is where I turn into town.
She pulls over.
CRIS
Well, thanks for the ride.
LIZ
Thanks for the card.
CRIS
You're welcome.
They're both reluctant to part.
cRIS
I don't suppose you'd have time for
a drink.
LIZ
No, no, I've gotta teach tomorrow.
42.
CRIS
I understand...Well, see ya.
LIZ
So long.
He steps out and starts to close the door.
LIZ
Well, maybe just a quick one.
INT. The silver spur - night
Cowboy dive. Crowded for a week night. Liz leads Cris to the
bar where the BARTENDER is washing some glasses.
LIZ
Hey, George.
Bartender
Hey, Liz.
LIZ
I'll take the usual and he'll have
a...
CRIS
Sierra Pale.
The Bartender and Liz exchange a look.
Bartender
Two Sierras.
As he draws two pints, the Bartender leans toward Liz.
BartENDER
Randy's been hanging around.
LIZ
He's not here now, is he?
Bartender nods toward the pool tables, where RANDY, her ex,
plays 8-ball with a pal.
LIZ
Thanks.
She turns to Cris.
LIZ
We gotta split. My ex is here.
43.
Cris lays some money on the bar, and they head for the door.
But before they get there, Randy sees Liz and bounds after
her, holding a pool cue. He's much bigger and taller than
Cris.
Randy
I gotta talk to you, baby.
LIZ
Sure, Randy. I'll call you
tomorrow.
She tries to slide by him. Randy blocks the way.
Randy
Bullshit. I've left a dozen
messages on your phone.
Cris steps between them.
Cris
Excuse me. We were just leaving.
Randy
And who the hell are you?
Cris stands his ground. Locks eyes.
Liz
Don't mess with him, Cris. He used
to play hockey.
CRIS
Just a friend.
Randy
Then don't get between me and my
woman.
LIZ
I'm not yours anymore, asshole!
Randy
Baby, I've made a terrible mistake,
and I just want to undo all the...
Randy holds Liz by the shoulders.
liz
Let go!
44.
RANDY
You still care for me, I know it.
Liz resists. Cris grips Randy's arm.
CRIS
Easy, man.
Randy hauls off to slug Cris. Cris easily ducks the blow and
answers with a solid punch to the belly.
Randy recovers and realizes he's up against a skilled
opponent. He takes a stance, ready to get serious. He sticks
a few jabs at Cris, who easily slips from each one, like he
saw them coming a mile away. Randy goes for a hook. Cris
feints and lands an uppercut to Randy's chin. Most men would
go down, but Randy is so big, he stays up to take more
punishment.
Cris delivers an elegant beating that humiliates the big guy
and makes him look like an oaf. Cris puts an end to it by
breaking Randy's nose. The big guy falls to his knees,
bleeding.
Liz rushes to Randy's side, holding her ex and glowering up
at Cris like he's a sadistic brute.
LIZ
Get out of here! Get out!
Cris realizes he's blown it.
SNAPBACK TO:
MOMENTS BEFORE
RANDY
You still care for me, I know it.
Liz resists. Cris grips Randy's arm.
CRIS
Easy, man.
Randy hauls off to slug Cris, who this time makes no effort
to duck. WHAM! Cris takes a sledgehammer in the mouth. Randy
follows up mercilessly, punching Cris in the gut, then
holding him up while he punches him again.
Liz grabs Randy's arm.
45.
LIZ
Stop it, Randy! Stop it!
Randy flings her aside and finishes up with a solid right to
Cris' jaw, that puts him on the floor. Randy pulls back his
leg for a pointy-booted cowboy kick to the ribs, when Liz
rushes to Cris' side and glowers up at Randy like he's a
sadistic brute.
LIZ
Get out of here! Get out!
Randy realizes he's blown it -- and lets himself be pulled
out of the bar by a couple of buddies.
Liz examines Cris with concern.
LIZ
Oh God, I'll take you to the
emergency room.
CRIS
No ho'pital. I don' nee' ho'pital.
LIZ
God, I hate that bastard...Will
somebody get some ice!
She strokes Cris' hair.
Ext. Liz's cottage - night
In the foothills. Liz's car pulls up. Cris gets out, holding
a dish towel full of ice to his jaw.
CRIS
I'm sorry I'm causing you all this
trouble.
LIZ
Are you kidding? You stood up for
me.
CRIS
Actually, I wasn't standing for
that long.
Liz unlocks the front door. Turns on the lights.
LIZ
Sorry it's so cold in here. The
heater's broken.
46.
INT. Liz's cottage - night
Cris looks around, sore but pleased that he has managed to
stay in Liz's company. The place is cozy, ranch-like.
LIZ
I really should've left him a long
time ago. God knows he deserved it.
CRIS
Why didn't you?
LIZ
Cause I don't leave. I never have.
My boyfriends always left me.
She wets a washcloth with hot water.
LIZ
I get attached to people, and then
I'll put up with anything.
CRIS
What a terrible quality. You're too
loyal.
She returns with a wet washcloth.
LIZ
Sit in the light.
He lowers himself onto the sofa next to the table lamp. She
comes close and gingerly wipes the blood from his nose and
lips.
LIZ
I never minded that I was the more
devoted one. Somebody's gotta be
more this or more that.
He looks in her eyes.
LIZ
But they never appreciate it, that
you're there for them.
She tries to stay on task but gets drawn in by his gaze.
LIZ
They just try and get away with
more and more, and figure you'll
just...
47.
He leans forward. Their lips touch.
LIZ
Salty.
It gets more intense.
Then abruptly, she shies away, freaked.
LIZ
Christ, I don't even know you. I
have no idea who you are.
SNAPBACK TO:
ON THE SOFA
She wipes the blood from his nose and lips. He looks in her
eyes. She tries to stay on task, but she gets drawn in by his
gaze. He leans forward. Their lips almost touch. But this
time, Cris pulls back.
Liz is embarrassed.
LIZ
Sorry to get you caught up in my
soap opera.
CRIS
Once you start watching, it's hard
not to get involved.
She goes back to tending his wounds.
LIZ
You ever been married?
CRIS
Almost.
LIZ
What happened?
CRIS
She wanted kids.
LIZ
And you didn't?
CRIs
No, I did, too.
48.
She looks at him, curious.
CRIS
It's just that...I can't.
Something about his revelation unsettles her.
LIZ
Why are you telling me this? These
personal details.
CRIS
I don't know. You asked and...I
guess I felt like you'd understand.
Tears well up in her eyes.
lIZ
I do.
Cris looks at her with sympathy.
lIZ
I can't either. Have kids.
Cris comforts her. She looks up into his eyes expectantly.
Fighting the pull, he looks away for a moment to see where
this is going - then glances back at her, almost dizzy.
CRIS
That was incredible.
LiZ
What was?
CRIS
This.
He kisses her with a quiet intensity that quickly ignites.
Their lovemaking unfolds as it would be experienced by Cris.
Effect before cause. The pleasure, then the gesture that
elicits it.
Cris explores her body until she sighs, then snapsback and
goes directly to the sweet spot. He strings together a
perfect melody of shudders and moans, without striking any
false notes along the way.
Moments are superimposed, diaphonous, played against each
other in counterpoint.
49.
Visual harmonics, elastically out-of-sync. Rising to a
crescendo. Until all the futures resolve into a single now.
DISSOLVE TO:
AFTERWARDS - nIGHT
Floating in bed. Her head on his chest. His eyes open, sadly
content, like he wishes he could stop time here forever. Like
he's afraid it will all disappear if he takes his eyes off
her.
LIZ
That was...I've never...
Cris forces himself to look away into the distance.
int. WISDOM'S OFFICE / federal facility - night
Wisdom, exhausted, quietly confers with a cadre of ANALYSTS
AND OPERATIVES. Their voices are confident, but their body
language betrays their pessimism.
expert 1
We sent the payload to Livermore,
and by measuring the cesium
degradation, they've identified the
reactor in Smerlensk that it came
from.
expert 2
Washington has our birds tracking
for that radiation signature in key
cities.
Ferris slips in and takes an empty chair.
wisdom
What do we know about the
explosive?
Expert 3
Our lab downstairs is still
studying the C-4 sample. It's
Czech, but we haven't nailed down
the batch.
Wisdom rubs his forehead, distraught.
WISDOM
So basically we've got nothing.
No one disagrees.
50.
WISDOM
You're failing your country,
people. You're not trying hard
enough.
(looks around the table)
Do you understand what I'm saying?
Do you understand what I expect
from you?
The staff exchange uncertain glances.
WisDOM
TWIST ARMS! CRACK HEADS! BREAK THE
FUCKIN' LAW! BUT DON'T LET THIS
HAPPEN!
He has blown them wide-eyed.
WISDOM
(suddenly calm)
Are there any questions?
INT. WISDOM'S apartment - NIGHT
Ferris and Wisdom are in night gear, getting ready for bed.
She sees that he's disheartened.
FERRIS
You know you're very sexy when
you're ruthless.
WISDOM
We're groping in the dark.
FERRIS
My guy's got a flashlight. We just
need to bring him in.
Wisdom doesn't have the energy to fight her any more.
WISDOM
I'll see if Baines can spare some
manpower.
She's gracious in victory.
FERRIs
You're all the manpower I need.
51.
INT. Liz's house - bedroom - morning
Head on pillow, Liz buds from sleep. Reaches out. Cris is
gone. Her eyes open, fearful.
INT. LIZ'S KITCHEN - MORNING
She rushes in, looking for Cris. - He's not there.
She hears CLANKING from the laundry room.
On the floor, Cris sits next to the heater, which lies in
pieces. He tries to adjust the remaining apparatus.
LIZ
What the hell are you doing?
CRIS
You said it was broken.
LIZ
Well, you're not leaving till it's
fixed, I'll tell you that.
He smiles archly.
crIS
I'm afraid that could take a while.
Now she understands his strategy.
LIZ
As long as it's done right.
INT. HOMELAND SECURITY - workshop - DAY
Ferris enters the area where weapons are stored and where
mechanics build whatever the department needs. She interrupts
Baines as he gives instructions to some MP's. These are his
guys who get priority over the civilian Protective Service
Police.
FeRRIS
Did Wisdom talk to you?
BaiNES
(grudging)
What do you need?
FERRIS
This one first.
52.
She hands him a sketch. He studies it, perplexed.
BAINES
What is it?
FERRIS
A trap for somebody who can see the
future.
BAINES
If you say so.
FERRIS
And then these.
She hands him more sketches.
INT. Liz's fifth grade class - DAY
Liz stands before a map of the Native American tribes of the
Lake Tahoe region.
LIZ
And what was the main staple of
their diet?
SMARTIE PANTS busts a button to get called on. Instead, Liz
points to a SHY GIRL.
shy girl
Trout.
LIZ
From the lake?
SHY GIRL
No. From the rivers.
LIZ
Right. And the Washo were so
jealous of their fishing grounds
that when other Native Americans
came to trade for dried fish, they
were only permitted to remain one
night.
Liz notices that her students are distracted and giggling.
She turns to see Cris standing in the doorway, holding a box.
Embarrassed, she blushes.
LIz
I'll be right back.
53.
Liz pulls Cris into the hall, out of sight of the kids.
LIZ
What are you doing here?
CrIS
(beaming)
I brought ice cream sandwiches for
everybody.
LIZ
Ice cream sandwiches? Do you have
any idea how much fat they have in
them? Don't you see how overweight
half of them are?
CRIS
(crestfallen)
I - I didn't think of it. - I
thought you'd be happy to see me.
LIZ
Well next time exercise a little
forethought, okay?
He's speechless.
CRIS
Do you want me to leave these
somewhere?
LIZ
No.
CRIS
All right then. I'll just go.
Seeing his doleful expression, Liz can't help smiling. She
glances up and down the hall, then kisses him lasciviously on
the lips.
LIZ
Put a few in the freezer. I love
ice cream sandwiches.
With a mischievous grin, she ducks back into class, leaving
Cris reeling, but exhilarated.
54.
int. CHINESE RESTAURANT - NIGHT
Liz and Cris stuff their mouths with lo mein. She sets down
her chopsticks, picks up a red pencil and industriously
resumes marking up a stack of papers.
LIZ
You have been such a bad influence.
I'm gonna be up all night grading
papers.
Cris watches, bored.
CRIS
I've got a better idea. Run away
with me to the South Pacific.
LIZ
Funny. We've only known each other
a week.
CRIS
But we're going to be happy
together for the rest of our lives.
Really, I peeked.
She picks up the chopsticks and takes another bite.
LIZ
I think you're serious.
CRIS
Deadly.
She muses, tempted.
CRIS
Let's go pack your bags. We'll
leave tonight.
LIZ
And what'll we do for money?
CRIS
Don't worry. That's always been
easy for me.
She gets lost in the fantasy. He can almost taste the
fulfilmment of his dreams.
LIZ
This is ridiculous.
55.
CRIS
Why?
LIZ
Well, first of all, it's the middle
of the school year.
CRIS
They'll replace you.
LIZ
And I'm in charge of science fair.
CRIS
They can pick up the slack.
His unbridled enthusiasm brings out her inner adult.
LIZ
It disturbs me, Cris, that you
think it's okay just to duck your
responsibilities.
He's taken aback by her sudden shift.
CRIS
I - I don't think it's okay. I'm
not that kind of person. But I
have this feeling, this very strong
feeling, that it has to be now. We
have to leave soon, or it's not
gonna work out.
LIZ
I don't believe that. If it's meant
to be between two people, somehow
it'll happen.
CRIS
Yes, but sometimes you have to make
it happen. You have to seize the
opportunity before it's too late.
He tries to keep his desperation from showing, but she sees
right through him.
LIZ
What are you afraid of, Cris? Why
are you running away from yourself?
(MORE)
56.
LIZ (cont'd)
Whatever it is you're looking for,
I don't think you're going to find
it on some island, cut off from the
rest of the world.
He adores her more than ever, and fears losing her even more.
CRIS
Your students are very lucky.
She puts her hand on his.
LIZ
Now I've got to grade papers.
Ext. Church - DAY
Liz and Cris file by the PASTOR after the service and mill
about on the lawn with the other congregants. Kids release
pent up energy in the adjacent park.
Randy approaches Cris.
Randy
A religious fella, are you? Ready
to turn the other jaw?
Cris offers his profile for hitting.
CRIS
But then you have to sign the
divorce papers.
LiZ
Randy, don't you dare.
She drags Cris towards a YOUNG COUPLE WITH KIDS.
Liz
Paul, Janice. Have you met Cris?
RANDY
approaches RICK, a young LOCAL POLICEMAN who's not the
sharpest knife in the drawer.
Randy
There's something weird about that
jerk. Have you checked him out?
Policeman RICK
I'm not dragging the Law into your
romantic squabbles, Randy.
57.
Randy
C'mon, Rick, help me out here.
Ext. church - DAY
Paul and Janice are chatting with Cris and Liz.
Paul
Cris, are you free on Tuesday?
Cause I'd like you to be my guest
at the Rotary luncheon.
Janice
I'm the first female member.
Cris grows distracted. Out the corner of his eye, he sees a
SPORTS CAR gunning it down the street, passing a SUNDAY
DRIVER to beat a red light. At that moment, a kid misses a
catch and a BASEBALL rolls into a street, where a twenty-ish
WOMAN JOGGER runs over to get it, just as the sports car
passes the Sunday driver, sees the jogger, and skids, forcing
A BUS to swerve and plow into a GROUP OF PEOPLE standing at
the corner.
SNAPBACK TO:
A FEW SECONDS EARLIER
Paul
Cris, are you free on Tuesday?
Cause I'd like you to be my guest
at the Rotary luncheon.
Janice
I'm the first female member.
Cris is spaced out.
LIZ
Cris.
Ignoring them, Cris turns toward the street where he saw the
accident take place. He sees kids, but they're jumping rope.
Wrong group. He scans around and finds the kids who are
playing softball. Someone misses a catch. The ball rolls
toward the street. The sports car is now coming fast. The
woman jogger sees the errant ball and runs to fetch it.
CrIS
Miss! Lady! Don't!
58.
She's wearing earbuds and can't hear him. He's too far away
to grab her. He's closer to the approaching sports car. Cris
picks up a rock, prepares to throw, hesitates a beat,
squints....
He throws. Misses. Snapback. Throws. Misses. Snapback. Again.
Again. Scores a hit. Snapback. Opens his eyes and hurls the
stone.
Liz and the bystanders watch, appalled, as the rock SHATTERS
the driver side window of the sportscar, which instead of
skidding, screeches to a halt. The bus drives by without
incident, injuring no one.
The Driver of the sportscar bursts from his car and furiously
charges Cris.
CrIS
I'm sorry. I'm sorry. I'll pay for
the damages.
The Driver curses Cris and tries to grab and hit him. But
Cris deftly deflects the blows so that they seem harmless.
CRIS
I said I'll pay.
Realizing he can't land a punch, the Driver changes tack.
DRIVER
You're damn right you'll pay! I
wanna talk to the cops.
CRIS
No need for that. I'll give you
cash. Okay? Will you take cash?
He pulls out his wallet.
CriS
Two thousand? That should cover it.
DRIVER
Make it three.
CRIS
Okay, three.
He digs in his pocket and pulls out the stack of hundreds.
59.
ON RANDY and POLICEMAN RICK
Who have seen the whole incident.
POLICEMAN riCK
I'll run him through the computer.
ext. Park - a minute later
Away from the crowd. Liz, concerned and alienated, walks a
step to the side of Cris.
criS
People shouldn't drive that fast
around kids. They shouldn't get
away with it.
LIZ
So you throw rocks at them?
CRIS
What do you want me to do? Wait for
people to die?
Liz is torn.
LIZ
Cris...I think you should move on.
Today.
Cris looks at her, almost bereft, and makes a tough decision.
CRIS
Look, there's something I've been
wanting to tell you.
LIZ
It doesn't matter.
CRIS
It does.
She's afraid to hear it. He's afraid to say it.
ext. another church - DAY
Cavanaugh is milling around after services when his cell
phone chirps. He answers, peeved.
60.
CaVANAUGH
Cavanaugh...No, you were right to
call...Ring Ferris and have her
meet me there.
He closes his cell phone. Turns to his WIFE.
CaVANAUGH
They've located him near Tahoe.
CaVANAUGH's wife
If you let him get away again, you
may not have a job.
CAVANAUGH
I know.
Cavanaugh takes his leave.
EXT. PARK - DAY
Liz reacts to Cris' confession with disbelief.
LIZ
What are you saying, you're some
sort of prophet?
CRIS
It's not religious. I just happen
to see my life before it happens.
LIZ
Cris, it's sweet that you feel
responsible for people. But I think
you need help.
She looks down.
LiZ
And I'm...I'm not the one to help
you, right now. I've got too much
going on in my own life.
Cris can't let her go. He takes a quarter from his pocket and
hands it to Liz.
CRIS
Flip it.
LIZ
Why?
61.
CRIS
Just do it.
She takes the quarter and flips it. Cris calls it in the air.
CRIS
Heads.
She looks. It's heads.
CRIS
Flip it again.
(calls it in the air)
Tails.
Tails it is, but so what. She flips again.
CRIS
Tails.
(she looks;flips again)
Heads.
(she looks, flips again)
Tails.
She looks. Amazed. Disturbed.
CRIS
Now you believe me?
She stares at him like he's the devil.
LIZ
Yeah. And I don't want to have
anything to do with you.
She walks away.
CRIS
Liz.
(follows)
Don't you see? I can get us all the
money we need.
She turns abruptly.
LIZ
Don't follow me. Don't talk to me.
Get out of my life!
She walks on, leaving Cris bereft.
SNAPBACK TO:
62.
WALKING IN THE PARK - fiVE MINUTES AGO
Cris
What do you want me to do? Wait for
people to die?
LIZ
Cris...I think you should move on.
Today.
Cris squints, then chooses his words carefully.
CRIS
Why? Because I care so much about
kids that sometimes I overreact?
His words hit the bull's-eye. Liz's whole demeanor softens.
Although still troubled, she takes his arm, and they walk on.
ANOTHER ANGLE - BINOCULAR MASK
ferris (o.s.)
Who's the woman?
Ext. Hillside overlooking park - DAY
Ferris, Cavanaugh, and Policeman Rick are each looking
through a pair of binoculars.
POLICEMAN rick
Liz Cooper. Nice girl, but very
erratic.
cAVANAUGH
Think she'll cooperate?
POLICEMAN RICK
Hard to say. She's impossible to
control.
Ferris
Sounds like you've tried.
POLICEMAN RICK
She's quite a challenge.
EXT. PARK - daY
Liz and Cris, still walking, holding hands.
LIZ
I swear, I can't figure you out.
63.
CRIS
Believe me, the feeling is mutual.
LIZ
Sometimes you seem mindlessly
impulsive. But other times I feel
like you're utterly calculating,
saying exactly what you think'll
push my buttons.
CRIS
What do you mean?
LIZ
Don't you think it's kind of an
amazing coincidence that neither of
us can have kids?
CRIS
You want to talk to my doctor? I'll
get him on the phone. No, really, I
mean it. I'll have him send you my
records. Because I want you to
trust me.
He seems so sincere that she dismisses her concerns.
LIZ
Then open up. Talk to me. Where are
you going with your life?
Cris seems unprepared for the question.
crIS
Wherever it takes me.
LiZ
You never think about the future?
CRIS
All the time. - But mainly how to
stay out of trouble.
LIZ
No goals? Dreams? Ambitions?
CRIS
There's only one thing I've ever
wanted.
LIZ
What's that?
64.
CRIS
A family.
She seems disappointed.
LIZ
That's all? Just a family?
CRIS
Well, I was, as they say, left on a
doorstep when I was two.
(makes light of it)
Never found foster parents who
could put up with me. - So to me, a
family sounds like plenty.
That certainly pressed her buttons again.
LIZ
You've got to be making this up.
CRIS
I wish.
She rests her head on his shoulder.
LIZ
You poor guy.
Ext. Hillside overlooking park - DAY
Still watching Cris and Liz as the couple get into her car.
CAVANAUGH
I say we get the whole department
up here and bust his ass.
Ferris
And by that time, his ass'll be
long gone.
CAVANAUGH
Then why won't he see through your
trap?
Ferris takes a deep breath.
Ferris
Let's try this one more time.
65.
ext. old SHOPPING CENTER - daY
Grocery, drug store, hardware, gas station. Liz and Cris get
out of her Jeep. He heads for the grocery store.
LIZ
I'll meet you inside. I need to
pick something up at the drug
store.
They split up.
Ext. Across the street - unmarked car - DAY
Ferris, Cavanaugh, and Policeman Rick watch the couple go
their separate ways. Ferris gets out.
FERRIS
Stay in the car. If he sees your
shadow, he won't take the bait.
CaVANAUGH
We hear you.
Ferris
I'm serious. This guy can smell
your farts before you even eat the
beans.
rick
Miss, I won't even think about
beans.
Ferris gets out of the car. Cavanaugh and Rick stay put.
Rick
Sounds like a crock to me.
CAVANAUGH
You haven't been chasing him for
three years.
INT. DrugSTORE - DAY
Liz is in the female department, trying to choose between
various brands when Ferris approaches.
Ferris
Miss Cooper.
LIZ
Yes?
66.
FERRIS
Agent Ferris.
Ferris shows her badge. Homeland Security. Liz, frightened,
is ready to listen.
INT. Drug store - dAY
Ferris and Liz huddle in a quiet corner. Liz is in shock from
what she has just heard.
LIZ
He's not a killer. He needs help.
Ferris
I agree. But he has a long history
of resisting arrest, and the state
wants to hunt him down with fifty
trigger-happy cops.
LIZ
(aghast)
You're not gonna let them.
FERRIS
That's why I came to you.
LIZ
Okay, I'll talk to him. I'll try to
get him to...
Ferris shakes her head lamentably.
FERRIS
Even his best friend says he'll
never turn himself in. - At this
stage, there's only one way to keep
him from self-destructing.
Liz knows she's facing an agonizing decision.
EXT. GROCERY STORE PARKING LOT - DAY
Cris waits impatiently by her Jeep. Liz finally approaches,
carrying a couple of heavy bags filled with wine and booze.
crIS
What took so long?
LIZ
I ran into a friend I hadn't seen
in a while.
67.
Liz holds out a single key on a ring.
LIZ
She said we could use her cabin up
at the peak.
ACROSS THE STREET
Ferris rejoins Cavanaugh and Ferris in Rick's car.
caVANAUGH
Did you tell her about the future
thing?
Ferris
Of course not. I wanted her to
believe me. - But I loaded her up
with liquor, to dim his headlights.
Ext. Mountain road - DAY
Liz's Jeep grinds up a steep, winding road, past a sign that
says "State Line."
She turns onto a dirt driveway that leads to a cabin and a
glorious panorama.
CRIS
God, this is gorgeous.
Inspired, he kisses her, but she's distant.
CRIS
What's wrong?
She smiles wanly, then gives him a peck.
LIZ
Nothing.
She hops out of the truck.
Ext. STAKEOUT SITE across the CANYON - DAY
Cavanaugh and Rick look through binoculars. Ferris peers
through a telescope on a tripod. Baines approaches with a
half dozen tech and construction guys.
68.
baines
Okay, when you press the remote,
the cabin will lock down like a big
jail cell.
FERRIS
But silently, right?
BAINES
Unnoticeably.
CAVANAUGH
And that's when we go in.
Ferris rolls her eyes with exasperation.
Ferris
You still don't get it.
(tries to be patient)
This has to be clear to your whole
army.
(to Baines)
And yours. -- After she comes out
and we lock down the cabin...We
don't do anything. We wait.
Policeman RICK
But if he's already trapped...?
FERRIS
Gentlemen, try to think like him. -
If the plan is to go in right after
he's trapped, he'll see it coming
and he'll slip away before he's
trapped...
(to Cavanaugh)
Like he's always done.
cavANAUGH
How does your plan change anything?
baines
At least he won't hear it when the
trap closes.
FERRIS
And if he doesn't know he's
trapped, he can't foresee knowing
he's trapped.
CAVANAUGH
That kinda makes sense.
69.
FERRIS
The eureka moment is when he
realizes he's been trapped.
CAVANAUGH
When is that?
ferriS
That's the point. We want to delay
"eureka" for as long as possible.
So by the time he sees trouble and
decides to waltz away...
baines
(finally gets it)
He's already been in the trap for
hours.
FERRIS
Voila.
Cavanaugh and Rick nod with a kind of awe.
RICK
You're smart.
Baines looks at her with new respect.
INT. Cabin bathroom - sunset
Liz looks in the mirror, torn.
INT. Cabin - parlor - sunset
Cris is lighting a fire he has built. Liz drifts in, pensive.
LIZ
Cris. Do you think we met for a
reason?
CRIS
You mean, do I believe a higher
power brought us together?
LIZ
Yeah.
CRIS
No. I think we're just the last in
a long chain of accidents that
started with the Big Bang.
70.
LIZ
That's not very romantic.
CRIS
Oh, but it is. Think of it: For us
to meet, everything from the very
beginning, every sub-atomic event,
every galactic cataclysm, every
step of evolution, every act, every
accident, every decision in the
history of the universe had to
happen exactly the way it did just
so you and I could be together,
right here and now.
She is moved by his words, but they make her strangely sad.
Cris pours two glasses of Scotch. Hands one to Liz.
CRIS
To whatever happens next.
She doesn't drink.
LIZ
I shouldn't.
CRIS
(concerned)
Why?
LIZ
I'm late.
CRIS
Late?
LIZ
That's why I went to the drug
store. To get a pregnancy test.
Off his puzzlement, she hands him a small plastic tab.
A SQUARE CROSS is coming into focus.
He recognizes the image from the Donut Shop display case just
before he met Liz for the first time.
LIZ
You know what this means?
71.
CRIS
I do now.
They look at each other, equally perplexed.
LIZ
How did it...?
CRIS
I have no idea. Unless...But that
still doesn't explain...
She struggles to make sense of it.
CRIS
Liz, I really did have this
problem. I wasn't lying to you.
He can't read her reaction.
CRIS
But this is good. This is amazing.
I want this baby more than
anything.
She looks at him, emotional.
LIZ
It's like a miracle.
CRIS
For both of us.
She lets him hold her.
EXT. AROUND THE MOUNTAIN - NIGHT
State Troopers are camped out in two's and three's. Fifty of
them. Plus Baines' SIX MP's, wearing different uniforms.
INT. cabin - Bedroom - night
Liz and Cris in bed. Her head on his chest. This time he's
the one sleeping while she lies awake.
Ext. STAKEOUT SITE - NIGHT
Ferris and Baines sip coffee and wait. They find each other
attractive.
baines
Think she'll come through?
72.
Ferris shakes her head with certainty.
FERRIS
Women hate good-looking men.
Rejecting them makes us feel
powerful.
Baines
And that's more important than
love?
FERRIS
No. But she doesn't really love
him.
INT. cabin - Bedroom - night
Liz eases away from Cris, trying not to wake him. He
stirs...but settles back into slumber. She slithers out of
bed and tiptoes to the bathroom. Silently closes the door
behind her.
INT. Bathroom - night
Liz stands there in the dark, heart pounding. She sees that
the window is open. She looks at it, deciding.
INT. cabin - DAY
The morning sun on Cris' sleeping face. His foot slides in
search of Liz. Not finding her, he opens his eyes. Checks the
clock. 10:09 AM.
CriS
Liz... Liz?
No answer. He walks to the bedroom door.
Locked. He tries to force it. Won't budge.
Tries the window. Bars across it - that weren't there before.
Shakes them. Solidly bolted. Looks outside. No one's around.
He's about to shout, but stops himself.
Runs into the bathroom. Bars over that window, too. As he
stands there, trapped, Ferris steps into view outside.
FERRIS
Surprise.
Snapback TO:
73.
INT. Cabin - night
Cris' eyes flash open in bed. Liz isn't there.
He throws off the covers, pauses to scan ahead -- then rushes
straight to the bathroom and throws open the door.
Liz is still there, in the dark, facing the open window.
CRIS
You lying bitch! You betrayed me!
She darts for the window and starts to climb through. Cris
pulls her back by her robe. She SCREAMS.
Bars slide silently into place over the bathroom window,
locking them both in. BLINDING LIGHTS spike on throughout the
forest, converging like javelins at that cabin.
SnAPBACK TO:
INT. Cabin: MOMENTS EARLIER
Cris throws open the bathroom door.
Liz is still there, in the dark, facing the open window.
Seeing the expression on his face, she darts for the window.
This time, Cris doesn't move.
CRIS
(whispers)
Liz, please, I love you.
She hesitates.
CRIS
Let me talk to you for one minute.
I won't hurt you, I promise.
She turns around, trembling.
LIZ
Cris, I know you don't mean to hurt
people. But you need help or you're
going to keep on hurting them.
CRIS
The man I killed was there to rob
the store. He was going to panic
and shoot five innocent people.
74.
LIZ
How do you know this?
CRIS
Because I saw them die.
LIZ
Like yesterday, with the car?
CRIS
Yes.
LIZ
You were afraid something bad might
happen so you...
CRIS
Not "might"! Those people died! -
They just hadn't died yet.
His certainty is almost convincing.
LIZ
What if you hadn't done anything?
Have you ever waited to see what
would happen?
CRIS
Once.
The trauma replays on his face.
CRIS
That's why I don't go out much. So
I won't be there to see.
Liz doesn't know what to believe, but she feels for him.
Ext. StAKEOUT SITE - NIGHT
Ferris, Cavanaugh, Baines, and Rick are watching through
night-vision scopes.
CAVANAUGH
What's taking so long?
BAINES
We could just do this the old-
fashioned way.
75.
INT. CabiN / bathroom - NIGHT
Liz steps toward Cris.
LIZ
Cris, you're a good man. And I will
stand by you through this. But you
have to...
CRIS
If they catch me, they'll put me in
a cell without a trial, and they'll
never let me out. They do that, you
know.
LIZ
I won't let it happen. I'll get you
a lawyer.
Suddenly distracted, Cris squints with that faraway gaze.
LIZ
Cris...Cris.
He snaps out of it.
CRIS
There's one decent path.
(fixes her gaze)
But if we're gonna stay on it, I
need you to do exactly what I say.
How can she listen to this madman?
CRIS
Will you give me one chance? One
chance in exchange for a miracle?
STAKEOUT SITE
Ferris, Cavanaugh, Baines, and Rick are getting worried.
caVANAUGH
We can't wait any longer. We've got
to go in.
Ferris looks at Baines, who doesn't encourage her.
FERRIS
Okay. Wait for my signal.
76.
INT. cabin - bathroom - night
Liz listens, dubious, as Cris crouches beneath the window
sill, scribbling a note on a scrap of paper.
CRIS
A few steps on, your robe will get
caught on a thornbush. You won't be
able to get unstuck. Ferris and a
tough guy will come help you.
She'll say, "You've done your
country a great service."
LIZ
And then?
CRIS
Be unpredictable. Surprise works to
my advantage. - And read this when
you're safe.
He tucks the note into her robe pocket.
LIZ
Will I see you again?
CRIS
Bet on it.
She gathers her courage and steps to the open window.
StakEOUT SITE
Everyone is coiled, waiting for Ferris to give the word.
Cavanaugh is on the radio with his men, ready to pass it on.
Ferris takes a last look through the nightvision binoculars.
That's when Liz climbs awkwardly out of the bathroom window
in her bathrobe.
Ferris
She's coming now.
(to Cavanaugh)
We stay put. Tell them.
CAVANAUGH
(disappointed, via radio)
We stand pat till notified. Don't
make a sound.
When Liz is out of the cabin, Ferris activates the remote
control.
77.
ALL AROUND THE CABIN
Doors lock and bars slide into place almost inaudibly.
StakEOUT SITE
Ferris shines a flashlight toward Liz, on off. She heads in
the general direction of the light, but stops BEHIND A THICK-
TRUNKED OAK TREE, which blocks her from their view.
BEHIND THE OAK tree
Cris backs out from under Liz's robe.
StakEOUT SITE
Ferris, Cavanaugh, Baines, and Rick shine their flashlights
on the oak tree, waiting for Liz to reappear.
FERRIS
What's she waiting for?
Liz steps into view from behind the oak tree. Ferris shines
the light towards her again. She heads straight toward them.
ON LIZ
As predicted, the hem of her robe gets caught in the thorns.
She tries to pull free, but she's stuck.
StakEOUT SITE
Ferris and Baines wade into the thicket to extricate her.
Among the thorns
Ferris and Baines reach Liz.
Ferris
You've done your country a great
service.
The predicted words hit her hard.
LIZ
Then why do I feel like a traitor?
Ferris and Baines free her and lead her up the hill.
BEHIND THE OAK TREE
78.
Cris scurries away, using the sound of their rustling to
cover his escape.
ext. Forest - night
Cris scurries near a trio of STATE TROOPERS. He steps on a
twig which SNAPS loudly. PAN BACK to find a SECOND CRIS
approaching down the same path. Cris 1 dissolves as Cris 2
steps around the twig and continues undetected.
A few steps on, Cris 2 slips on mud and slides noisily down a
slope. PAN BACK to find CRIS 3, who detours onto stepping
stones then rejoins the original path, undetected.
STAKEOUT SITE
Baines and Ferris help Liz back to their camp.
Ferris
Rick, get her some coffee.
Liz pulls the note from her robe pocket and reads Cris'
handwriting: "Then why do I feel like a traitor?"
CAVANAUGH
(relays a message)
We've got movement in the canyon.
(to radio)
Where are you?
A flashlight shines up at Cavanaugh from the canyon.
Ferris and Baines scan their infra-red scopes at the area.
FERRIS' INFRARED POV:
A hot human shape hurries over rough terrain with stealthy
urgency.
BACK TO SCENE
Ferris and Baines looking through their scopes.
bAINES
She told him.
CAVANAUGH
We tried it your way.
Ferris
Go for it. But I want him alive.
79.
Cavanaugh picks up the radio with evident satisfaction.
CAVANAUGH
Boys, now it's our turn.
FIFTY SEARCHLIGHTS BLAZE ON and stab through the forest.
FERRIS
I want him alive. Tell them.
CaVANAUGH
(afterthought, to radio)
And the Feds want him alive.
Ferris urgently takes Baines aside.
Ferris
We need to get to him first.
TROOPERS
Spread out through the steep terrain. SEARCHLIGHT BEAMS sweep
over the landscape.
CRIS
moves erratically, presciently, in bursts, dodging the
streaking spots of glare.
StakEOUT SITE
Liz is drinking coffee next to Rick's police car. Ferris
approaches, coldly knowing.
FERRIS
You've made a very stupid mistake.
LIZ
I trust him more than I trust you.
Ferris
I wouldn't swallow the "I love you"
part.
LIZ
You've never even met him.
FERRIS
But I've profiled him for months.
And I can tell you this: he doesn't
love anybody. How could he? To him,
we're not even human.
(MORE)
80.
FERRIS (cont'd)
We're the characters in a
videogame, and he's the player with
the joystick. We say our lines, and
he practices his moves until we do
what he wants.
IN THE FOREST
Cris on foot, running over rough terrain. State Troopers
converging. Searchlight beams crisscrossing.
A cone of light passes over Cris. Comes back. Finds him.
Trooper
There! I got him!
He finds himself face to face with two Troopers, guns aimed
straight at him.
TrooPER 1
Stop!
Cris tumbles, draws fire, serpentines through the woods,
feinting, freezing, unhittable - moving closer.
troOPER 2
Take better aim!
TROOPER 1
I'm trying!
Cris is within fighting distance. Chop to an arm. Punch to
diaphragm. Cris is now holding Trooper 1's SIX-SHOT REVOLVER.
Trooper 1 runs. Cris does not fire after him. Instead, he
takes aim at a searchlight at a great distance. Squints. Then
fires and scores a direct hit with the first shot.
Turns to a second search light. Squints. Squeezes off a
second shot. The lamp shatters.
ext. Stakeout site - night
Baines and Ferris watch as, around the mountain, gunshots
sound and searchlights go dark.
baines
You might be right about this guy.
FERRIS
(shakes her head)
I underestimated him.
81.
The searchlight next to her shatters.
FERRIS
By a lot.
THE HUNT
Cris gets pinned down behind a tree. A Trooper keeps firing,
trying to drive him from hiding. Cris boldly comes out from
cover and runs, giving the Trooper a clear shot. But the
Trooper runs out of ammo at just that moment.
Trooper
Shit!
StakEOUT SITE
Watching through binoculars, speaking into radio.
ferriS
Be thorough, gentlemen. If you
leave a way out, he'll find it.
ELSEWHERE IN FOREST
Baines' well-trained MP's have set up a triangulated trap.
They operate like skilled Special Forces commandos. One of
them signals, fingers to eyes, that he has spotted Cris. Cris
enters a clearing and continues straight into the trap! The
TEAM LEADER prepares to give the signal to shoot.
Cris' movement flushes a STAG from the hiding. It knocks over
one MP and causes another to miss his shot. The Leader sees
the stag and scans around for Cris. CAMERA repositions to
reveal that the stag now stands between Cris and the Leader.
The Leader shoots the stag, killing him, but not before Cris
dashes to cover in another stand of trees.
Two MP's fire at Cris. But shoot each other.
TEAM leader
(to radio)
I've got two men down. Friendly
fire.
Stakeout site
Ferris, discouraged, comes to a tough decision.
FERRIS
(to radio and Baines)
Change of plans, everybody.
(MORE)
82.
FERRIS (cont'd)
Try to kill him. Use everything
you've got.
CAVANAUGH (o.c.)
Is this a joke?
FERRIS
No, it's an order.
BaiNES
Don't get emotional here.
She wants Baines to understand.
FERRIS
There's only one way to beat this
man. He's got to see his own death,
and not just maybe. He's got to see
himself die again and again and
know it's inescapable. And then,
maybe, he'll surrender.
bAINES
And if he doesn't?
FERRIS
That'll be his choice. And he was
no use to us anyway.
IN THE FOREST
Cris is suddenly the target of a turkey shoot. He hops around
like a mountain goat while bullets CHING off rocks and
SPLINTER trees. He stays alive, but only by a hair's breadth.
Cris finds himself pinned down by Four Troopers. He rushes
Trooper One, who fires, and hits Cris solidly in the chest.
Snapback TO:
Cris rushes the position of Trooper Two. Before he gets
there, Cris gets shot in the gut.
SNAPBACK TO:
Cris rushes the Third Trooper, who hesitates, frightened,
then shoots -- and misses. Cris charges up to him, knocks his
shooting arm away, takes his weapon, uses him a shield, then
fires at a Fourth Trooper as he charges out from the trees.
It's Cavanaugh, now covered in blood.
SnaPBACK TO:
83.
Cris uses Trooper Three as a shield, but when Cavanaugh comes
charging from the trees, Cris DOESN'T FIRE. Instead he shoves
Trooper Three at Cavanaugh, sending them both tumbling down a
slope.
StakEOUT SITE
Another setback.
BAINES
Damn. Fifty men might not be
enough.
FERRIS
Somehow we've got to bring him down
to our level.
BaINES
Got any ideas?
FERRIS
I'm workin' on it.
IN THE FOREST
Cris crosses a ridge that leads him into steep ravine. He
can't get back up.
StakEOUT SITE
Baines and Ferris listen to the police band. Liz stands
nearby. She can hear the patter.
BAINES
He's crossed over into Maxwell
Gorge.
FERRIS
Move in fast. Keep him moving.
Don't let him rest.
Then it hits her.
FERRIS
Don't give him time to look ahead.
That's the key.
84.
EXT. MAXWELL GORGE - NIGHT
Slowly making his way through the steep redwood-covered
slopes, Cris hears a NOISE. Looks up. Sees a STATE POLICE SUV
CRASHING down the cliff across the Gorge.
SNAPBACK TO:
MAXWELL GORGE - NOW
Cris, catching his breath against a redwood, opens his eyes
and looks back toward his approaching pursuers. He looks
around the gorge, searching for the cliff where he FORESAW
the SUV come crashing down. He recognizes the rock formations
across the gorge. He heads in that direction. PAN UP and we
see that the cliff is directly under the...
StakEOUT SITE
Baines steps closer to the edge and looks down.
BAINES
He's heading this way.
Ferris, suddenly confident, shouts into the radio.
feRRIS
Cavanaugh! We've got a fox hunt
going in Maxwell Gorge, right
beneath the stakeout. Throw
everybody into it! We need to
overload him!
Liz looks around for some way to help. She spots the State
Police SUV that we saw crashing down the hillside. She
sidles toward it.
MAXWELL GORGE
Thirty Troopers and Six MP's are converging on Cris.
FerrIS (o.c.)
Gentlemen, if he surrenders, fine,
cuff him. But if he even shivers,
shoot to kill.
StakEOUT SITE
Liz opens the door of the SUV, shifts into neutral, and
starts pushing. - It's too heavy to budge.
85.
MAXWELL GORGE
Cris moves toward a field of LARGE BOULDERS.
StakEOUT SITE
Slowly, with great effort, Liz gets the SUV to inch forward.
MAXWELL GORGE
Troopers and MP's are closing in on Cris.
CaVANAUGH
(megaphone)
Lie down on your stomach, hands
behind your head! You've got ten
seconds. Ten seconds and we shoot.
Cris climbs in among the large boulders, glances up, and
waits for the future to happen.
StakEOUT SITE
Liz gets the SUV onto a slight downslope, and it picks up
speed.
Baines and Ferris see the SUV rumbling straight toward them.
They dive out of the way as the SUV plunges over the ledge.
MAXWELL GORGE
Troopers and MP's are advancing toward Cris, about to open
fire.
CAVANAUGH
This is your last warning.
Thirty Troopers and MP's have their fingers on the trigger
when the SUV sails over the ledge and plummets straight down
towards them. Cris crouches down among the boulders just as
the SUV crashes on top of him, then tumbles toward his
hunters, who scatter.
Cris makes a run for it just as the SUV explodes in a
fireball.
STAKEOUT SITE
Ferris and Baines watch the events below.
fERRIS
Keep after him! Quick! Stay on him!
86.
While they are distracted, Liz climbs into the front seat of
RICK'S POLICE CRUISER, cranks it up, slams into reverse,
spins, and takes off down the road.
baines
What the...?
LIZ
fishtails down the twisting mountain road.
MAXWELL GORGE
Cris practically mud-skis down the slope.
Troopers and MP's hurtle after him.
At the bottom, Cris is carried by momentum onto the CREEKSIDE
ROAD...
Into the path of A POLICE CAR that comes careening around a
curve!
Liz at the wheel. She swerves and slams on the brakes,
skidding and screeching to a halt.
Troopers and MP's slalom onto the road from the incline and
rush after Cris.
Cris makes it to the car. Driver's side.
CRIS
Believe me now?
He climbs in and guns it.
LIZ
I'm getting used to miracles.
Three MP's grab onto the car's mirrors and door handles. Cris
weaves violently until they lose their grip and fly off.
In Rick's Police Cruiser - dawn
Liz and Cris grin at each other.
CRIS
Where were you going?
LIZ
No idea. I was just trying to be
unpredictable.
87.
STAKEOUT SITE - dawn
Ferris urgently unrolls a road map and studies it.
In Rick's Police Cruiser - dawn
Cris speeds down the treacherous curves.
LIZ
So what's the plan? Bonnie and
Clyde?
CrIS
Remember that place in the South
Pacific?
LIZ
It's starting to sound really good.
He pulls out his cell phone.
CRIS
I'll check on our ride.
INT. LAS VEGAS PENTHOUSE - daWN
NEAL, a 60-ish tycoon with silvery hair, finishes packing an
expensive suitcase. A high-maintenance SHOWGIRL puts the
finishing touches on her make-up in his marble bathroom.
Somebody's cell-phone plays the theme from "Peter Gunn." Pan
across eight large suitcases, his and hers, ready to go, and
find Guy on the sofa, watching CNBC financial news. He
reaches into a coat pocket and flips open his handset.
Guy
Yeah...
Guy signals Neal. This is the call they were expecting.
Guy
No, the jet's not sold...I'm here
with him now...Of course, he's
pissed...I can ask.
With a smirk of triumph, he turns to Neal.
Guy
He wants to know how soon the jet
can be ready.
Neal conceals his evident satisfaction.
88.
Neal
I'll wait until eight o'clock. But
if he's not there, I'm taking off
without him.
INT. Rick's Police Cruiser - dawn
Cris, driving fast on the treacherous winding road, closes
his cell phone.
cRIS
It's arranged. But we have to get
to the North Vegas airport by
eight.
LIZ
Will we make it?
He concentrates as he screeches around a curve.
CRIS
Right now I'm just trying to stay
alive.
They hit a patch of ice. Skid wildly.
MOUNTAIN ROAD
Rick's Police Cruiser swings over the side and tumbles down a
steep slope. There will be no survivors.
Hold on curve.
Rick's Police Cruiser speeds into view AGAIN!?? But this
time, Cris steers around the ice patch, skids dangerously,
almost goes over the side, but continues safely downhill.
Rick's Police Cruiser
Liz, palpitating, tries to catch her breath.
LIZ
Christ, you live dangerously.
CRIS
Just the opposite. I never take
chances.
89.
MOUNTAIN ROAD - PREVIOUS CURVE
Cavanaugh's Car speeds into view, skids on the same patch of
ice and skates over the side of the road, as Cris did, the
first time.
There will be no survivors. And no second chances.
STAKEOUT SITE
As a Federal Chopper idles, Ferris marks up a ROAD MAP of the
area with X's.
FERRIS
(to radio)
Cavanaugh, get all your men into
town.
(waits)
Cavanaugh? Tell them.
Baines approaches.
BaINES
He's dead. Crashed.
Ferris winces, then moves on like a general in battle.
FERRIS
You take command of the chase.
(hands him the map)
Have cars block these intersection.
She heads over to the copter.
BAINES
Why these?
FERRIS
Get in the chopper.
He follows her inside, and the copter takes off.
MOUNTAIN ROAD
Cris takes blind curves at high speed.
CRIS
Did the doctors ever say why you
couldn't have kids?
LIZ
I grew up at Love Canal.
90.
CRIS
What's that?
LIZ
A neighborhood back East built over
a chemical dump. A bunch of my
friends had birth defects.
(looks back)
I always figured I was lucky just
to be sterile.
CRIS
Except you're not. And neither am
I. We're different, that's all. We
just had to find the right match.
A look between them.
LIZ
And somehow we did.
They approach the entrance to the town.
EXT. hendersonville - DAWN
Police vehicles converge on the area, systematically blocking
the intersections that Ferris indicated.
Rick's Police Cruiser
Cris threads his way through town, zigging and zagging down
streets and alleys.
FROM THE HELICOPTER
Ferris sees Cris maneuvering perfectly through the maze,
avoiding imminent traps and confrontation.
BAINES
(discouraged)
He doesn't miss a beat.
FERRIS
(pleased, to herself)
Come to momma.
Cris dodges another trap.
91.
FERRIS
(to radio)
Stay after him. Keep the pressure
on.
The bypassed police cars chase after Rick's stolen Cruiser,
which leaves town on a street that merges with a WINDY NARROW
CANYONSIDE ROAD.
BAINES
(incredulous)
He's driving right into it...
Up ahead, beyond a blind curve, the road leads to a ONE-LANE
BRIDGE over a DEEP CHASM with RAGING RAPIDS at the bottom.
BAINES
Sometimes looking one step ahead
isn't enough.
On the FAR SIDE OF THE BRIDGE, out of sight, beyond a curve,
EIGHT STATE POLICE CARS form a barricade across the road.
INT. Rick's Police Cruiser - DAY
Having escaped from town, Cris and Liz share a glimmer of
relief.
LIZ
You make it look easy.
Cris' expression darkens.
CRIS
Oh shit. Oh no.
Liz
What is it?
CRIS
I blew it.
They round a curve and the NARROW BRIDGE comes into view.
FAR SIDE OF BRIDGE
Behind the barricade, Ferris' helicopter comes in for a
landing.
92.
INT. Rick's Police Cruiser - DAY
Cris checks his rearview mirror. A six-pack of cop cars are
right behind him. To his left, a steep rock wall. To his
right, a vertical drop-off into the canyon.
Cris drives on, the blood draining from his face.
FAR SIDE OF THE BRIDGE
Ferris strides across the span, Baines in her wake. Arriving
at the barricade, she approaches the biggest state police
car, a HUMMER -- and flashes her badge.
FERRIS
I need your vehicle.
She walks through the Trooper and gets into his Hummer.
BAINES
What's the plan?
FERRIS
Playing chicken.
BAINES
Don't be stupid! He knows what
you'll do!
FERRIS
But so do I. And for once, that
makes us even.
She starts up the Hummer. It roars.
THE BRIDGE
Cris slams on the brakes. Stops the car. Police cars stop
behind him, blocking retreat.
CRIS
GET OUT! NOW! OR YOU'LL DIE!
She hustles out.
LiZ
What's going to happen?
cris
We'll find out.
A quick look good-bye and he drives on.
93.
HUMMER
Ferris gathers her determination and floors it.
ON THE BRIDGE
A game of chicken with a difference.
ON CRIS
Squinting.
CRIS' VISIONS:
Fast forward to the HEAD ON COLLISION! Then a COLLAGE of
ALTERNATE CHOICES AND OUTCOMES: Cris swerves; slams on the
brakes; gets shot making a run for the rail; spins out on the
roadbed; crashes over the side, over the side, over the side!
But in every version, the Hummer is unchanging. Unrelenting.
Dead on.
THE BRIDGE - NOW
They're speeding closer.
FERRIS
Total focus. No doubts or decisions.
CRIS' VISIONS: FAST, QUICK, CONDENSED
The falling car crashes onto the canyon wall, tumbles
downhill, explodes; falls again, this time crashing directly
onto boulders at the bottom...
ON CRIS
He drives toward a specific segment of railing between two
light posts.
THE BRIDGE
Rick's Cruiser crashes through the railing and plunges over
the side of the bridge.
Liz runs to the rail and leans over the side, watching the
Cruiser fall down, down, down through the narrow ravine.
IN THE FALLING CAR
Cris unbuckles his seat belt. Opens the door. Just before
impact, he LEAPS OUT, away from the car.
94.
BOTTOM OF CANYON
The car smashes into boulders at the shallow side of the
river. A moment later, Cris SPLASHES a few yards away in the
deepest part of the rapids.
ON THE BRIDGE
Ferris peers down into the canyon.
IN THE RAPIDS
Cris bobs to the surface and is carried away by the fierce
current. The smashed Cruiser also gets carried into the
river. Fighting the current, Cris watches as the smashed
police cruiser surges ahead of him - then disappears!
Perplexed for a beat, he suddenly understands and desperately
swims for a rock and clambers onto it.
CAMERA pulls back to reveal that Cris is stuck in the middle
of the river -- about five feet from where it drops off into
a WATERFALL!
A HELICOPTER
flies over him.
ON THE ROCK
Cris looks for a way out. Seeing none, he jumps!
And is swallowed up in dark thunderous death.
SnapBACK TO:
CRIS
Still on the rock. Looks up and sees a cable being lowered
from the helicopter. He looks around? Is there another way
out? Out of choices, he reaches for the cable. Misses! Loses
his balance. Flails. At the last second, he steadies himself.
He wants to live.
The cable dangles back into range.
Cris grabs it.
The cable is hooked to A PAIR OF HANDCUFFS.
95.
FERRIS
Watches through binoculars as Cris snaps one cuff around his
wrist -- and waits. She shouts into her radio.
FERRIS
Cuffs on both wrists. Leave him if
he doesn't.
BAINES IN HELICOPTER
BaiNES
What can he do hanging by one arm?
FERRIS
I don't want to find out.
Baines speaks to Cris via loudspeaker.
Baines
Both wrists!
On the rock
Cris, defeated, attaches the second cuff to his other wrist.
He is lifted up into the air, hanging by both arms.
Bridge
Liz sits, handcuffed, in the back of a second U.S. Government
helicopter. Ferris approaches.
FERRIS
I was wrong about one thing. He is
capable of love.
HELICOPTER
Descends, with Cris hanging below by a cable. MP's are
waiting below with a tarp which they wrap around Cris, then
tape him like a mummy, up to his neck. When he's bound as
securely as Hannibal Lecter, Ferris steps close and gets her
first good look at him.
Ferris
Cris Johnson, we meet at last.
CRIS
Why does everybody have amnesia but
me?
96.
FERRIS
I only ask one thing from you. Give
me a chance to earn your trust.
cris
I did, and you failed.
She seems genuinely surprised.
FERRIS
Then give me another chance. You
get `em all the time.
She signals and Cris is dumped into the waiting helicopter.
The door is slammed behind him.
INT. helicopter - DAY
Inside, Cris is surprised to find himself alone with Liz. He
edges closer so they can hear each other.
CRIS
Don't let them know you're
pregnant.
The helicopter takes off.
CrIS
You don't have to raise him. But at
least let him be born. Can you do
that? It might be the only chance
either of us gets.
LIZ
I promise.
They gaze at each other with intense longing.
LIZ
Work with them Cris. So we can be
together.
He shakes his head, fatalistic.
CRIS
I'll get us out of here. We can
still make the plane.
She knows it's hopeless.
97.
Ext. HOMELAND SECURITY - VEGAS OFFICE - DAY
Coming into view by air.
ext. HOMELAND SECURITY - MEDICAL LAB - DAY
MED TECHS perform a battery of tests on Cris and Liz. Wisdom,
Baines, and Ferris watch through glass in an adjoining room.
Wisdom
Are you out of your mind? Did you
ever play chicken before?
FERRIS
This game was different. He knew I
wouldn't flinch.
Baines covertly makes the "big balls" gesture with two clawed
hands. Wisdom nods knowingly.
baINES
What's new with the Code Orange?
WISDOM
It's red now. And we're out of
leads.
fERRIS
Then you better hope he's what I
say he is.
WISDOM
Please, make me a believer.
WHITE VESTIBULE
Size of an elevator. Cris stands there, bound ankle and
wrist. Click, the metal shackles open automatically and drop
to the floor.
Cris reaches down for them. Possible weapon. Struggles to
lift them. Can't.
FERRIS (o.c.)
Electromagnets.
INT. Observation room - daY
Ferris, Baines, and Wisdom peer down into the White Vestibule
through a window. Technicians operate a control panel.
98.
WiSDOM
Aren't you being a little over-
cautious?
FERRIS
Not possible with him.
She leans forward, flips a toggle. Down below, in the
Vestibule, a door slides open.
FERRIS
Cris, please step into the next
room.
WHITE VESTIBULE
Cris gives up on the chains and sullenly steps forward.
WHITE ROOM
Size of a squash court. Cris enters gingerly and peers
around. Twenty feet up, an OBSERVATION WINDOW, opaque. On the
other walls, RIFLE BARRELS poke through NARROW SLITS. The
door slides shut behind him.
Observation room
Ferris leans forward and speaks.
FERRIS
Cris, we'll be firing at you with
live ammo. Are you ready?
WisDOM
You're shooting your secret weapon?
Ferris signals Wisdom to be patient. Cris just stands there,
flatfooted, arms folded, unafraid.
Ferris nods. A Techie presses a button. The THREE RIFLES
FIRE.
Cris is hit square in the chest!
By THREE BLUE PAINTBALLS.
CrIS
You're paying for the shirt.
WisDOM
(unconvinced)
I hope you've got more than that.
99.
FERRIS
Now we are going to use live ammo.
WISDOM
Not on my watch, you're not.
FERRIS
I promise you, he won't be hit.
Wisdom looks her in the eye. Sees her certainty.
WISDOM
It's your experiment.
Ferris leans toward a microphone, but before she can speak...
CRIS
"From now on, Cris, the bullets are
real."
Ferris sits back and nods to the techies to proceed.
BARE WHITE CHAMBER
Cris balances, at the ready, as the three rifles take aim at
him. He LUNGES at the very instant that one rifle FIRES. A
bullet ZINGS by his ear.
As the second rifle fires, Cris contorts -- and a bullet
parts his hair.
As the third rifles fires, he tumbles away, almost a blur.
More shots, in rapid sequence, erratic rhythm. Two at a time.
Three at a time.
Like a pinball, Cris pivots, crouches, dodges every bullet.
Then suddenly stops. Stands there. An easy target. Click,
click, click, the guns are out of bullets.
FERRIS
He's almost impossible to shoot,
hit, surprise, capture, or contain.
WISDOM
Mind if I try?
FERRIS
Be my guest.
Wisdom takes out his handgun, carefully aims, and discharges
six shots at Cris - doesn't score a hit.
100.
WisDOM
How do you know it's prevision?
Maybe he's reading minds.
Ferris shows the aiming gantries to Wisdom.
FERRIS
No minds to read. The guns are
aimed automatically by infrared.
WiSDOM
(impressed)
What other tricks can he do?
Ferris pushes a toggle, and a pocket door slides open in a
wall.
ferris
(to Cris)
Please step into the next room.
CRIS
I'm going. No need for a hotfoot.
BaiNES
(explains, to Wisdom)
The floor is electrified. He must
have tried resisting and foreseen
the result.
Cris walks through the doorway into...
THE SMALLER WHITE ROOM
which is familiar from the opening sequence, but not exactly
the same. Because it's not exactly the same future. A HEAVY
CHAIR, bolted to the floor, faces a PLASMA SCREEN MONITOR on
the wall. To the left of the screen is a MIRROR; to the
right, a DIGITAL CLOCK-CALENDAR.
Ferris' FACE appears on the monitor.
Ferris on monitor
Cris, it's time to get started with
the next test. This won't be
unpleasant. We just need to you sit
in the chair.
Cris eyes the chair with suspicion.
101.
Ferris on monitor
I want you to look ahead, tell me
the time on the clock and then tell
me what film clip you see playing.
Let's start with five minutes from
now. Then we'll press ahead as far
as you're capable of.
(to Wisdom)
The clips have been assembled at
random by a computer, so nobody
knows what'll be playing next.
Cris looks into the mirror and sees his face reflected - as
an old man. He turns away.
cris
Look, I'll stand here and tell you
what I see.
INTERCUT BOOTH / WHITE ROOM
Ferris on monitor
I'm afraid we need you to sit.
CRIS
Why?
Ferris on monitor
Why not?
CRIS
I know what happens.
Ferris oN MONITOR
Tell us.
CRIS
You tie me down and never let me
out.
Wisdom looks at Ferris. She shrugs, sheepish.
FerriS
That's only because you won't
cooperate.
CRIS
Because you're trying to force me.
102.
Ferris
Work with us, Cris, and you can be
a hero. Fight us, and things will
get worse and worse.
Cris squints, frustrated, looking for a way out.
Ferris ON MONITOR
(severe)
Now sit in the chair. One. Two.
Three.
Ferris switches the toggle. The sizzle of electricity.
Cris hops and jumps in agony.
Ferris turns away, then makes herself look.
WISDOM
Whoa, you are one tough bitch.
FERRIS
We're still in a Code Red if I'm
not mistaken.
She turns off the juice.
WISDOM
He knew he'd get shocked, but he
chose to resist.
FERRIS
He's almost never had to face
consequences.
(flips toggle)
Cris, are you ready to get in the
chair?
Cris, recovering, shoots her the finger.
She switches the toggle again - and leaves it on. Wisdom
doesn't have the stomach to watch.
FERRIS
We need information, right?
Cris collapses, unconscious.
FERRIS
Leave him there. We'll start again
when he recovers.
103.
INT. Wisdom's office - DAY
Wisdom and Ferris are both traumatized by the torture.
WISDOM
Okay, how do we use him to find the
bombs?
FERRIS
Simple. We make him watch the news
and tell us about it.
WISDOM
How far ahead can he see?
FERRIS
I don't know. But I suspect we can
increase his range with practice.
Especially if we restrict his
future to only watching news. Then
he'll be like a timescope.
Wisdom nods.
WISDOM
You were right. This is huge.
FERRIS
This is just for starters. You want
to stage a pre-emptive strike, he
can tell you if you'll hit the
target and whether they hit back
and what went wrong. And you can do
this over and over until you get it
perfect before you begin.
Wisdom chuckles at the enormity of the potential.
wisDOM
And all he's ever done with it is a
little gambling and securities
fraud?
FeRRIS
I know, it's amazing; but he's not
ambitious.
WiSDOM
Damn, how will we control this guy
when he figures out what he's
capable of?
104.
Ferris
We control him now. We just have to
keep it that way.
WISDOM
Right now, sweetheart, we can't
even get him to sit in a chair.
Dread suddenly washes over Wisdom.
WISDOM
We've got to think this through.
Your friend could be more dangerous
than the terrorists.
Ferris
Aren't you running ahead of
yourself?
WISDOM
With this guy, you have to. Or
it'll be over before it begins.
Ferris
So we'll keep him in chains.
WISDOM
That may not be enough. We may
have to cut off his arms and legs.
Then I might start to feel safe.
Ferris grins uncomfortably.
Ferris
You're not serious.
WISDOM
Think about it. What we're talking
about here is the next step in
human evolution. And I'm not gonna
make the same mistake the
Neanderthals made when they ran
across this good-looking Homo
Sapien fellow and all the lady
Neanderthals said, "He's so cute.
Let's keep him around."
FERRIS
Can we deal with your sexual
insecurities at another time?
105.
WISDOM
You mean after it's too late?
Ferris seems to come around to Wisdom's logic.
Ferris
I wish you'd given me a chance to
chain him up before you decided to
prune him into a stump.
They are both filled with dread.
wisdom
You think he knows? Already?
white room
Cris on the floor. His expression hardens.
CorrIDORS
Ferris and Wisdom stride through the facility almost at a
run.
WiSDOM
I haven't made any firm decisions.
Maybe we will just keep him tied
up.
FERRIS
I told you, he doesn't read minds.
He sees the results.
WHITE ROOM
Cris rises from the floor into a crouched position, like an
animal ready to pounce.
The door flies open and A DOZEN ARMED MP's charge in, rifles
at the ready, and surround Cris. Cris checks the time on the
digital clock. It's 5:12 PM.
Corridors
Ferris and Wisdom getting closer; he's on a cellphone.
Wisdom
Tell Baines to meet us there. And
bring a dozen men.
106.
WHITE ROOM
Motionless, in a crouch...Cris suddenly dashes between two
MP's, shoves them aside, makes for the door. He gets smashed
by the RIFLE BUTTS of the nearest ones, then stomped by the
full contingent. [Attempt #1]
AREA OUTSIDE THE White ROOM
Ferris and Wisdom arrive and look through the window.
THEIR POV:
Cris is alone in the room, in that crouched position. No
MP's. What we've just seen...hasn't happened yet.
OUTSIDE THE WHITE ROOM
Baines arrives with THE DOZEN ARMED MP's we saw in the
previous scene.
WISDOM
Wait for my signal, then go in and
surround him.
Wisdom and Ferris hurry upstairs into the Observation Booth.
We pass through the wall into the...
White room
Where in some future Cris is once again surrounded by the
Dozen MP's who are actually outside, waiting to charge in.
Suddenly, Cris pounces low at one soldier's hips, shoving him
into the soldier next to him, which knocks over a third
soldier. Cris dashes for the door, but four MP's pull him
away before he can get out. [Attempt #2]
Observation ROOM
Ferris and Wisdom enter and look down at Cris, who crouches
alone, motionless, in the White Room. Ferris prepares to
speak to him. Wisdom interrupts.
WISDOM
I'll do the talking.
Wisdom goes to the microphone.
WISDOM
Cris, this Eric Wisdom. I'm the
director of this facility.
(MORE)
107.
WISDOM (cont'd)
We're in the middle of a Code Red,
and we'd like your help in
preventing a major catastrophe.
CRIS
I don't believe you.
Outside WHITE room
BAINES and the DOZEN MP's wait, ready to charge in.
WISDOM (o.s.)
I apologize for the way you've been
treated. Agent Ferris got a little
carried away.
White room
Cris, once again surrounded by the same Dozen MP's, suddenly
punches one of them, kicks another, and now has the mobility
to start using his Tai Chi moves. But the other MP's gang up
on him and pile on, burying him under their weight. [Attempt
#3]
wisdom (o.S.)
Could I ask you as a favor to
please sit in the chair so we can
begin?
observation ROOM
Wisdom and Ferris watch as Cris still just crouches there,
motionless, alone, in the empty room. He checks the clock.
It's 5:09 PM. Just minutes before The MP's will charge into
the room.
WHITE ROOM
Cris runs to the door and tries to bar it so they can't
enter. He gets shoved aside by the force of the MP's as they
charge in. [Attempt #4]
observation ROOM
Wisdom and Ferris watch as Cris still just crouches there,
motionless, in the empty room. Wisdom flicks off the mike.
WiSDOM
What's he doing?
FeRRIS
Looking ahead.
108.
WISDOM
(to microphone)
Cris, time is running out.
White room -
Cris is again crouched and surrounded by the Dozen MP's.
wiSDOM (plasma screen)
We need your cooperation right
away.
Suddenly Cris attacks using his Tai Chi skills. He outfights
four of them, but then is subdued by the others. [Attempt #5]
SnAPBACK:
Cris is again crouched and surrounded by the Dozen MP's.
wiSDOM (plasma screen)
Cris, don't you feel some sense of
obligation to the rest of us? Your
ability could save so many lives.
Suddenly he repeats the martial arts attack, but refines it,
beating six MP's this time before being subdued... [Attempt
#6]
SNAPBACK:
Cris is again crouched and surrounded by the Dozen MP's.
wiSDOM (plasma screen)
Cris, don't you feel some sense of
obligation to the rest of us? Your
ability could save so many lives.
Faster and faster, over and over, Cris relives the attack,
perfecting his movements, finding new opportunities. His
skill increases with each iteration as he anticipates every
soldier's action and counters it with the greatest economy of
means. [Attempts #7-12]
The fight takes on the quality of choreography as the MP's
seem to step right into Cris' punches and kicks. Cris flips
and throws them into each other, leveraging their movements
to achieve his goals with perfect efficiency.
But Cris still can't quite get out the door.
OBSERVATION ROOM
109.
Looking down at Cris, still crouched there, alone.
FERRIS
Don't give him time. Send them in
now.
WISDOM
Baines, do it.
Ext. White ROOM
Baines gives the signal and the dozen waiting MP's charge in
through the door, rifles at the ready. The foreseen attack is
now beginning in real time.
INT. White room
The MP's surround Cris, as foreseen. He remains in the center
of them, crouched, motionless.
For a long beat, they just stand there, rifles aimed at their
frozen quarry.
wiSDOM (plasma screen)
Cris, don't you feel some sense of
obligation to the rest of us? Your
ability could save so many lives.
Cris suddenly attacks...and with perfect economy of movement,
like a diver executing thirteen twists in the second before
he hits the water, Cris executes the previous routine with a
new "finale" and...
Elegantly slips past all the MP's into the hall - and slams
the door behind him, locking them in!
The escape has the quality of magic. It takes a beat for the
MP's to realize what has happened.
oBSERVATION BOOTH
Wisdom and Ferris are agog.
wISDOM
What happened? - You idiots!
Ferris draws her gun and charges down the stairs.
OUTSIDE white room
Cris is waiting for her and somehow he has her gun in his
hand.
110.
CrIS
Don't make me do what I can do.
Cris spins and shoots Wisdom in the shin as he starts down
the stairs. Wisdom collapses.
CRIS
Don't get too attached to your arms
and legs.
Cris spins and gets the drop on Baines.
CrIS
Don't.
Baines sets down his gun. Cris takes off.
WISDOM
Don't let him out of here alive.
Baines opens the door to the White Room. MP's stampede out in
hot pursuit.
baINES
Isolate the building. If there's
one exit overlooked, he'll know it.
FERRIS
If there's one soft heart, one slow
shooter, he'll know it.
Ferris attends to Wisdom, bleeding on the stairs.
FeRRIS
Don't worry. I caught him once;
I'll catch him again.
WISDOM
Be careful. I don't want anything
to happen to you.
They care about each other more than they've let on.
corridors
Cris. Running. MP's and general Security Police close behind.
No place to hide. Soldiers open fire. Cris dives for the
floor, tumbles, gets to his feet, serpentines, and ends up
behind a door that opens at the moment, as if by mental
command, shielding him from gunfire.
111.
Security Police pour out from the other side. Cris reaches
around and grabs someone's gun. He opens fire, buying himself
enough cover to get to a doorway.
Cris stops, thinks, then charges out shooting, fighting,
running -- completing a condensed burst of four impossible
tasks that get him to the next point of refuge.
He waits, thinks, charges and, with another burst of
choreographed action, makes it into an elevator whose doors
conveniently open at that moment. He darts inside, keeps
shooting, presses certain buttons - starting several stories
up, and waits for the doors to close.
Sergeant
You five, up. You five, down. The
rest stay with me.
INT. SURVEILLANCE ROOM - DAY
Banks of monitors, each containing a grid of mini-frames
containing the pov of a surveillance camera -- hundreds in
all. LEO, the Soldier at the console, is twitchy and hyper-
alert.
Leo watches as the Security Forces split up. He scans the
monitors to see where Cris will resurface.
INT. ELEVATOR - DAY
Cris climbs up through the ceiling panel.
INT. Elevator shaft - DAY
When the elevator stops, he rips open a VENTILLATION DUCT and
climbs inside.
OUTSIDE WHITE ROOM
DR. FIELDING approaches Wisdom with a syringe.
WISDOM
No demerol. I need to be alert.
FERRIS
Get him a local.
Amanda, Ferris' junior analyst, rushes in with lab reports.
amanda
You asked for these as soon as they
were ready.
112.
FERRIS
Not now.
amanda
You might want to check this
result.
She points to a particular page. Impatient, Ferris reads. Her
eyes widen.
FeRRIS
How pregnant?
amanda
A few days.
Ferris turns to Wisdom.
FERRIS
This is getting interesting. We
have a mating pair.
WISDOM
Secure the female.
POV FROM CEILING - THROUGH VENTILLATION GRILL
Liz sits in a waiting room by herself, reading a magazine.
Psst! She looks up at the camera.
Cris (o.c.)
Unscrew the vent.
She moves a chair under the vent and prepares to stand on it.
The door opens and several MP's march in.
SOLDIER
(to Liz)
We're here to protect you.
Without looking up at Cris, she moves the chair back against
the wall and sits in it.
VENTILLATION DUCT
Cris, frustrated, shimmies back through the vent.
SURVEILLANCE ROOM
Leo checks all the video screens. Cris is nowhere.
113.
Leo
He must be in the walls.
VENTILLATION DUCT
Settling in, Cris looks at his watch. 5:17. He concentrates
and time speeds by - until a flashlight beam lights up the
duct from a distance.
SOLDIER
I found him! In here!
As more Security Police and flashlights fill the shaft, Cris
checks his watch: 5:33.
SNAPBACK:
VENTILLATION DUCT
Which is once again dark, quiet and empty. Cris looks at his
watch. 5:17.
Cris
(to himself)
Sixteen minutes.
Cris takes a deep breath and crawls forward. Remarkably, he
seems to be CRAWLING OUT OF HIS MOTIONLESS BODY like a snake
shedding its skin! - In fact, Cris 1 lies there in deep
concentration, while Cris 2 creeps onward.
EXPLORATION SEQUENCE
Cris drops down from a ventillator shaft into an office. He
opens the door, walks into a corridor, and strides forward,
preternaturally calm.
He advances through an unfolding panorama of "stage sets" on
which different hypothetical scenarios play out, one at a
time, several simultaneously, or layered in like the melodic
themes in a round or fugue, creating the visual equivalent of
harmony and counterpoint.
Cris encounters Security Police searching for him. When they
discover Cris, they aim their weapons at him. He checks the
time. Snapback a few seconds. He hides before they arrive.
He goes through a door into a room. People are there.
Snapback. Hides in a different room. It's empty. Cris
searches the room. Looks in the desk drawers. Puts things in
his pockets. The door flies open. Security Police find him
and shoot. Snapback.
114.
Cris treads down empty corridors. He multiplies into a legion
of Cris Johnsons, duplicated again and again, as he explores
room after room, searching them sequentially. Simultaneously.
He spends much time in a Handyman's Storeroom, while other
Cris Johnson's fade away.
Cris 27 finds the surveillance room with Leo in charge. Cris
scans the room. He is seen. He waits to see who will shoot
him first. He is hit in the chest. Fade out.
Cris 35 gets caught by two Security Police. He fights them,
takes their guns, but gets killed by reinforcements.
Cris 63 waits in a room and peers through a crack in the door
as his POV FAST FORWARDS, and he charts the comings and
goings of the search parties, until they discover him, at
which point he snapsback and hides in a different room. He's
hiding in many rooms simultaneously. Spying. Piecing together
the schedule of the patrol in that corridor.
The same situations repeat. Scanning for security cameras.
Fighting. Winning. Losing. Dying.
He goes down a stairwell. One version of himself exits at a
landing. A second iteration of himself continues to the next
floor down. At that landing, two iterations of himself turn
in different directions, left and right.
We follow the one that went to the left.
He sees MP's taking Liz from her holding room and escorting
her somewhere else.
He follows. Gets seen. By her. By them. Snapback.
He is waiting in several locations, watching to see where the
MP's will emerge with Liz. The MP's and Liz emerge from an
elevator in one of the locations. The other Cris' fade out.
Liz is ushered into a room and locked inside. Four guards
depart. Two guards remain posted outside. They see Cris.
He runs down stairs. Into the corridor. Into the room
directly under the room where Liz is being held.
Cris enters A FORENSICS LAB where the captured bomb is being
studied. There is a barrel of C4 PLASTIC EXPLOSIVE. MP's in
the room turn on him and open fire. Cris is blasted and falls
to the floor, dead. Snapback to...
115.
VENTILLATION DUCT
Cris, where he started, motionless as a hibernating bear,
exploring his futures. CAMERA passes through walls, floors,
ceilings and finds Baines rushing through the corridors.
Baines enters...
Wisdom's office
Where Wisdom paces with one crutch while Ferris sits on a
sofa like Rodin's Thinker, in concentration almost as deep as
Cris'.
Baines
He hasn't gotten out through any
exit. The bad news is...
wisdOM
You've lost him.
BAINES
I'm issuing infrared to all my men.
We should have a fix in a few
minutes.
WISDOM
You realize if he gets away now,
we'll never get him back. He'll be
out there, and he'll be our enemy.
Ferris looks up.
FeRRIS
I know how to flush him out.
bainES
(at a loss)
Fine. Tell me what to do.
The thought crystallizes as she speaks.
FERRIS
We don't actually have to do
anything.
(beat)
We just have to decide to do
something...unthinkable.
Ferris shudders at the dark brilliance of her own idea.
116.
int. ground floor of facility - DAY
Guards stand in a solid line. No way out. Cris off to one
side, in a niche just inside the door. Camera pans and finds
a second Cris standing back, away from an exit. Pans and
finds a legion of Cris Johnsons, duplicated again and again,
trying each exit.
At one dim exit, he lies on the ground, charred and dead,
next to the gauntlet of MP's he has tried to outrun.
Wisdom's office
Wisdom and Baines are looking at each other, appalled, then
turn to Ferris.
WISDOM
You want me to threaten to kill a
pregnant woman?
FERRIS
Threats don't count. When he
foresees that you actually did kill
her, that she's dead...
(beat)
He won't let it happen. - He'll
come to us. Surrender. And she'll
live.
Wisdom regards her with perverse admiration.
FERRIS
But it only works if we're not
bluffing. Because he'll know.
Wisdom considers the decision that lies ahead for him.
INT. NEAR THE LOBBY - DAY
Cris is still trying to get out the front door, but there's
one Soldier, call him CRACK SHOT, who kills Cris repeatedly.
Cris snapsback and tries various tactics, but he can't get
past Crack Shot alive.
He gives up. Turns and runs back into the heart of the
building.
Cris' mental pov expands to include the entire facility, like
a crystal doll house. Simultaneously, he is observing every
room, present in every room, charting the place, testing
possible actions.
117.
The facility is a bee hive of activity. A bee hive that
accelerates to fast forward -- until all times are
simultaneous. Until the simultaneous activity is made even
denser by the accumulated layers of possibility.
Cris-134 spies Ferris and Wisdom walking together. He follows
them for a while, until he is discovered. Cris-134 fades out.
The Ferris and Wisdom who saw him fade out. But another
Ferris and Wisdom continue through the building, and their
trail gets picked up by Cris-62, who has detoured in order
to encounter them.
As Cris' goals are accomplished, superfluous versions of
himself fade away.
The surveillance of a sequence of Ferris-and-Wisdoms is
continued by Cris-91, then Cris-14, who watches as Wisdom and
Ferris approach two guards standing outside an INTERROGATION
ROOM. We recognize them as the MP's who are guarding Liz,
inside. Wisdom is let into the Interrogation Room by the
MP's. Ferris proceeds into a nearby office alone.
SnaPBACK TO:
vENTILLATION duct
Cris comes out of his trance. Checks his watch. Sixteen
minutes have passed.
Cris composes his thoughts, takes a breath, then crawls
forward, leaving no Cris behind. Now it's for real.
A moment after he rounds a corner, A FLASHLIGHT BEAM stabs
into the duct that he vacated. It scans around. Withdraws.
NOTE:
The situations that Cris has just previewed from the
Ventillator Shaft constitute the raw material that he will
now re-craft into a single narrative: the story of his actual
escape attempt, staged in long takes, unfolding in almost-
real time. When appropriate, to illustrate Cris' ability, we
will portray several locations simultaneously via split-
screens which change in number, size, shape, and placement.
INT. HANDYMAN'S STOREROOM - DAY
Ceiling. The ventillator grill pops open. Cris drops to the
floor. He grabs a backpack conveniently hanging on a hook.
Without the slightest hesitation, he goes from shelf to box
to drawer, loading particular objects into the backpack.
118.
CORRIDOR
Empty. A door opens. Cris steps out into the hall carrying
the backpack and a foot stool. He stays close to a wall,
steps on the foot stool, and spray-paints over the lens of a
surveillance camera.
SURVEILLANCE ROOM
Leo spots Cris as he blinds one camera after another.
Leo
I've got him. Third level, building
C. Pete, Brian, get up there. Kyle,
block off the west staircase.
Jason, bring your dogs in from the
east.
CORRIDOR
SOLDIER PETE and SOLDIER BRIAN charge into an empty corridor
and begin their search for Cris.
A door slams open, bashing Pete in the face. Cris breaks his
shooting arm, grabs his M-16, hides behind the door, and
sprays bullets low, hitting Brian in the shins. He runs to
Brian, breaks his shooting arm, takes his rifle. Drags Brian
and Pete into an open room. Tapes their mouths.
SURVEILLANCE ROOM
Baines arrives and takes command.
Leo
He was on third level seventy
seconds ago.
BaINES
But where is he now?
INT. WEST STAIRWELL - DAY
Cris pours floor polish in specific places.
SOLDIER KYLE and his TROOP charge out off the stairwell. Each
one steps directly into the polish and slips.
As they fall, Cris punches them out or puts them in
chokeholds, utilizing the elegant minimum of force or
violence. Child's play. As soon as they are unconscious, Cris
takes their guns, tear gas, and a gas mask.
119.
CORRIDOR
SOLDIER JASON and THREE TROOPS are on the way, each with a
GUARD DOG.
ANOTHER CORRIDOR
Cris lies in wait for the patrol. When they appear, he is
perfectly placed to mace each dog and each soldier with a
quick spritz. He goes back and sprays them again, to keep
them out of commission.
Surveillance room
Cris appears on several screens.
LEO
He's on this floor!...Shit! He's
coming here!
The door opens. A tear gas canister flies in. A moment later,
Cris charges in wearing a gas mask.
He opens fire at the video monitors, shattering every one.
By the time the MP's are ready to respond, Cris reaches and
grabs Baines' handgun. He swings out into the corridor with
Baines' gun in his hand...Without looking, his hand aims and
shoots several times.
CORRIDOR
Emerging into the hallway, Cris looks down at the end of the
hall and sees two MP's falling to the floor, wounded.
Cris wraps electrical tape around the door handle and a pipe
on the wall, sealing the room shut, then turns and maces the
last of the dogs.
SURVEILLANCE ROOM
As the tear gas clears, the damage is visible. Every monitor
in the surveillance system has been shattered. Leo, coughing,
feels his way to a phone.
WISDOM'S OFFICE
Wisdom answers on speakerphone.
LEO (o.c.)
He blinded us.
120.
BAINES (o.c.)
And the dogs are useless.
Ferris stares at Wisdom expectantly.
FERRIS
He's getting away.
CORRIDOR
Cris, on the run, encounters CRACK SHOT - not where he was
seen in prevision. Crack Shot reaches for his gun. Cris
breaks his arm before Crack Shot can fire.
WISDOM'S OFFICE
Wisdom on the phone. Ferris watching in suspense.
WISDOM
Any developments on the Code Red?
...Let me know if there are.
He hangs up, discouraged. Dials a number.
WISDOM
Baines, bring the girl friend to
the Interrogation Room.
(to Ferris)
I'll deal with her there.
INT. CORRIDOR OUTSIDE INTERROGATION ROOM - DAY
Cris sneaks into room where he foresaw that Liz will be
brought. The door is recognizable by its industrial look.
WAITING ROOM
Where Liz is being baby-sat by four MP's. Baines enters.
BAINES
We're moving her.
INT. INTERROGATION ROOM - DAY
Cris writes a note. Slips it onto a side table. Opens the
drawer of a desk. Writes in it. Puts something inside.
CORRIDOR OUTSIDE INTERROGATION ROOM
Baines and the four MP's arrives with Liz. Baines, Liz, and
two MP's wait while two officers carefully open the door and
check out the room.
121.
We expect them to find Cris. But they don't.
Outside, in the hall, a pencil rolls on the floor toward Liz.
She notices it and looks where it came from. Sees Cris,
hiding behind a janitor's cart. He puts his fist over his
heart. Gesture of love.
The two MP's in the room signal for Liz to be brought inside.
Two MP's outside the room bring her in. Baines stays on guard
outside.
INTERROGATION ROOM
While the Guards stand on alert, Liz sits in a chair and
discovers a piece of paper on a side table, placed exactly
where her hand has come to rest. On the paper, in pencil, a
square with a square cross within. She flips over the note.
It reads, "GO CRAZY!"
She considers, then SCREAMS as loud as she can while running
around wildly.
OUTSIDE INTERROGATION ROOM
Hearing the commotion, Baines opens the door. Behind his
back, Cris steps from hiding, opens the door to a room and
slips inside, closing the door just as Baines looks back.
INTERROGATION ROOM
The MP's force Liz into a chair behind a desk.
SOLDIER
Sit there and shut up.
Liz sees a drawer which is partially open. She looks inside.
Sees a hefty pair of scissors. Inside the drawer, a message
is written on the wood. "5:44, stab Wisdom." She looks at a
clock in the room. 5:41. But Wisdom isn't there.
CORRIDOR
Wisdom and Ferris, walking.
FERRIS
You understand what's at stake
here? We're playing for the future.
Not just what happens next, but
what the future is. What the rules
are.
(MORE)
122.
FERRIS (cont'd)
If one man will know it and control
it -- and have power over the rest
of us. Or if we'll have power over
him.
WISDOM
By killing an innocent woman.
She looks him in the eye.
FERRIS
If you want, I'll pull the trigger.
WISDOM
I think that might be...more
reliable.
She accepts the terrible responsibility.
FERRIS
I'll join you in a minute. I need
to take care of some details.
Wisdom turns to Baines.
WISDOM
Get more men up here.
Ferris walks to a nearby office and goes inside.
INTERROGATION ROOM
Liz anxiously checks the clock. 5:43 and still no Wisdom.
Then the door opens. And Wisdom enters.
They study each other, neither knowing the other's plans. She
glances aside at the clock.
FERRIS' OFFICE
She picks up the phone. Dials a number.
FERRIS
This is Ferris. I'll need a chopper
tanked up and ready.
Behind her, Cris steps out of hiding. By the time she sees
him, his forearm is around her neck.
INT. INTERROGATION ROOM
At 5:44, Liz grabs the scissors, lunges at Wisdom, and stabs
at his neck. He raises his arm in time to block the blow.
123.
The two MP's in the room fight her off, calling to the
sentinels outside.
OUTSIDE THE INTERROGATION ROOM
Baines and the sentinels rush in to help.
When the corridor is empty and no one is looking, the door to
Ferris' office opens, and Cris emerges with Ferris as his
hostage.
INT. INTERROGATION ROOM
MP's drag Liz away from Ferris.
WISDOM
(not listening)
Where the hell did she get the
scissors?
CORRIDORS
Cris and Ferris make their way toward the entrance. They come
across a Patrol. The MP's take aim. Cris holds his gun to
Ferris' head.
PATROL LEADER
Hold your fire.
(gets on the radio)
We've got the target in plain sight
in Corridor 2C, but he's holding a
hostage. Agent Ferris. - Request
instructions.
IntERROGATION ROOM
Baines, on the radio, turns to Wisdom.
BAINES
You won't believe this. He's got
Ferris.
WISDOM
How?
BAINES
I don't know, but he's on his way
to the front door.
(beat)
They want instructions.
Wisdom thinks hard.
124.
WISDOM
Don't shoot.
BAINES
Then how are we going to stop him?
WISDOM
We don't. We let him go.
- It's part of the plan.
Baines tries not to be insubordinate.
BAINES
You're sure about this?
WISDOM
No, but Ferris is.
Wisdom takes a deep breath - then grabs Liz by the arm and
aims his gun at her head.
WISDOM
I hope he loves you as much as I
love her.
CORRIDORS
Cris marches Ferris through the building, flanked by Security
Police who aim at him but hold their fire. WISDOM'S VOICE
comes over the public address system.
wisdom (o.c.)
Cris Johnson...I've got your girl
friend. We know her condition.
That gets his attention.
wisdom (o.c.)
Something very bad will happen at
six o'clock unless you're back in
custody.
CRIS
(to Ferris)
He hasn't got the balls.
FERRIS
We'll find out, won't we?
IntERROGATION ROOM
Wisdom holds Liz at gunpoint. She seems remarkably calm.
125.
LIZ
You're not going to kill me. That's
what the bad guys do.
WISDOM
In war, you have to be as ruthless
as your enemy.
LIZ
(emphatic)
Cris isn't the enemy.
WISDOM
I didn't mean him.
CORRIDORS
Near lobby, where Crack Shot repeatedly nailed Cris. This
time Crack Shot's shooting arm is in a sling, and he crouches
next to a substitute sniper, who lies in wait.
Cris walks into view and fires one shot, which wings the
substitute sniper -- causing him to miss his shot at Cris.
Cris pulls Ferris to the next location.
INTERROGATION ROOM
Wisdom and Liz. He watches the clock. Now she's afraid.
LIZ
Can't you just leave us alone?
He shakes his head, trying to gather courage.
IN THE RAFTERS
Another sniper takes aim at a section of hallway that Cris is
approaching.
CROSSHAIRS
As Cris enters the sniper's field of vision, he shifts Ferris
to a different position, blocking the shot.
CORRIDOR
As they pass under him, Ferris sees the sniper above. Cris
takes aim at an empty space and fires just as a soldier
charges from hiding and absorbs the bullet as if deliberately
catching it with his body.
126.
FERRIS
God, you're remarkable.
Cris breaks a window. Tosses a grenade outside.
FERRIS
I wish you had a little more sense
of duty.
CRIS
I'd say you have way too much.
EXT. HOMELAND SECURITY BULDING - DAY
The grenade explosion attracts many of the guards. Cris and
Ferris slip out the front door where the Guards were
previously stationed.
He addresses a Soldier in a patrol car.
CRIS
Give me your keys.
The Soldier obeys. Cris shoves Ferris into the car and gets
in after her.
CRIS
(to soldier)
If I see you, I'll kill her.
They drive off.
IntERROGATION ROOM
Wisdom, agonized, is about to pull the trigger. Liz,
trembling, sees that he's going to do it.
WISDOM
I'm sorry.
Ext. Car - DAY
Driving away. Ferris realizes that Cris' escape is going to
be successful. She checks her watch. It's 6:13.
FERRIS
You know what our problem is?
CRIS
"We got off on the wrong foot."
He has taken the words right out of her mouth.
127.
FERRIS
It's really...
CRIS
"all been a big misunderstanding."
FERRIS
Exactly.
CRIS
"We've never meant you any harm."
FERRIS
It sounds so insincere when you say
it.
CRIS
I guess you're a better liar than I
am.
FERRIS
You know what I'm going to say
next?
Cris nods.
CRIS
It'll never happen.
She offers her card.
FERRIS
My door will be open. We can start
from scratch.
He takes it. The phone number stands out: 888-CFerris. Flips
the card out the window.
FERRIS
The magic word is cooperate. That's
all we've ever wanted to hear from
you.
A helicopter lands on the road ahead, blocking the way.
CRIS
When are they going to give up?
After you're dead?
Cris holds his gun threateningly to Ferris' head. Two MP's
get out of the helicopter, carrying something heavy.
128.
Cris reacts to what he can't see yet.
They are carrying a body. They remove the hood from its head.
It's Liz. Dead.
Quaking with rage, Cris prepares to shoot Ferris.
SNAPBACK TO:
INT. HOMELAND SECURITY - Corridors - DAY
Twenty minutes earlier. Cris is marching Ferris through the
corridors to the exit.
ferriS
I wish you had a little more sense
of duty.
Cris stops in his tracks, quaking with rage.
CRIS
To a gang of murderers?
Ferris seems pleased.
FERRIS
I see you got our message.
He checks his watch. 5:54.
CRIS
What's about to happen...you've
brought it on yourselves.
Cris changes course and charges into a...
STAIRWELL
which he descends at a run, roughly dragging Ferris with him.
fERRIS
It's not too late Cris. You can
save her.
CRIS
I'm planning on it.
Cris shoves Ferris in front of him as a shield. Approaching a
turn in the stairs, he fires blindly. Rounding the turn, he
sees his would-be assassin collapsing, dead.
129.
INTERROGATION ROOM
Wisdom keeps his gun aimed at Liz's head as he watches the
clock: 5:55 PM.
Soldier
He's heading this way.
CORRIDOR
Cris charges out of the stairwell, shooting without
hesitation - forward, left, right, back - efficiently
targeting Security Police in the precise order of their
imminent readiness to fire at him. For each bullet, one
soldier dies.
Wisdom's voice comes over the P.A. System.
WiSDOM (o.S.)
Johnson, this is Wisdom. It's 5:55.
You have five minutes to turn
yourself in...
Cris and Ferris keep moving.
Wisdom (o.S.)
Or your worst nightmare will
happen.
Cris marches right up to the Interrogation Room where Wisdom
holds Liz prisoner, using Ferris as a human shield.
WisDOM (o.S.)
Look ahead if you don't believe me.
Cris opens the door to the room, revealing Wisdom, Ferris,
and thirty Security Police and MP's - who take aim at him and
fire. Cris gets chopped to pieces.
SnAPBACK TO:
Cris crouches on the floor outside the Interrogation Room,
reaches up and opens the door. He gets off a shot at Wisdom,
who lives long enough to put a bullet in Liz's heart.
SnAPBACK TO:
Cris uses Ferris as a shield, gets off a burst of shots at
Wisdom, killing him instantly.
130.
But a Soldier at Wisdom's side puts a bullet in Liz's heart --
then the thirty Security personnel blast Cris and Ferris to
pieces.
SnAPBACK TO:
STAIRCASE - ONE MINUTE EARLIER
Cris, dragging Ferris, arrives at the level of the
Interrogation Room and continues down one more flight.
Using Ferris as a human shield, he shoots his way into...
INT. FORENSIC LAB - DAY
Where Cris previously saw the seized barrel of C4 Explosive.
He guns down several armed MP's whom he knows would be
present, then threatens the technicians.
CRIS
Get out!
They flee. Cris locks himself and Ferris inside.
Cris goes over to the bomb. Squints for a beat. IN FAST
FORWARD, CONDENSED TIME, MULTIPLE SNAPBACK, he goes through
the whole learning curve on bomb detonation, blowing himself
up - and snapping back to life -- several times before
figuring out the right way to set it off.
INTERROGATION ROOM
Wisdom holds Liz at arm's length with his gun pointed at her
head. Watching the clock count up to 6:00 PM. It's 5:59:41/
/42/43...
THE LAB
Cris moves the bomb. Closes his eyes for a beat. Moves the
bomb again. Closes his eyes. Opens them. Sets the detonator
to 10 seconds.
CORRIDOR OUTSIDE LAB
MP's wait, preparing to gun down Cris when he emerges. The
door opens. Ferris sprints out.
feRRIS
It's going off in ten seconds!
The crowd flees with her.
131.
INTERROGATION ROOM
Wisdom watches the clock count advance. 5:59:55/56/57...
CORRIDOR
Now empty. Cris runs for it. Dives.
INTERROGATION ROOM
As Wisdom prepares to the pull the trigger, the bomb explodes
in a giant cataclysm.
Smoke and dust
Roiling. Opaque. Then clearing.
The center of the building
is gone. A jagged raw atrium extends several stories down and
up.
To the side, on a narrow ledge of floor extending from a
wall...crouches Liz. The only person remaining. She has
survived by inches. Very precise.
As she recovers from the blast, a door opens behind her. Cris
appears, extends a hand and helps her from her perch.
Ext. North vegas airport - night
A private jet warms up on the tarmac.
ext. Private jet - night
Cris and Liz bound up the entry steps, exhausted but elated.
INT. JET - NIGHT
At the door, no one is present to greet them. Odd.
They continue into the main cabin, where Neal, the Showgirl,
the Pilots, and the Flight Attendant are glued to the
television. Neal sees Cris and Liz, but hardly acknowledges
them. He's in shock. They all are.
Cris and Liz turn to the TV.
132.
TV NewsCASTER (o.S.)
The situation in Chicago is not
quite as severe as in the other
nine cities where the dirty bombs
exploded, as prevailing winds blew
the nuclear waste across Lake
Michigan rather than straight into
town. Radiation levels in Detroit,
on the other hand, may require the
entire city to be evacuated.
Liz and Cris look at each other, ashen.
LIZ
This is what they wanted you to
prevent?
CRIS
I guess...
LIZ
And you wouldn't help?
CRIS
They didn't explain. They were
trying to force me.
Liz shakes her head, incredulous.
CrIS
They were gonna make me a slave.
She looks at Cris like he's scum - and heads for the front of
the plane.
CRIS
Liz? Where are you going?
Liz
To the doctor.
She walks out of the jet and down the steps.
NEAL
She's not coming with us?
Cris stands there, bereft, and watches her go. He has run out
of futures.
CLOSE ON CRIS
133.
Tears escaping from his eyes. ROTATE FRAME and discover that
the previous cut was actually a...
SNAPBACK TO:
LIZ'S HOUSE - DAWN
Where Cris lies in bed with Liz's head on his chest, the
morning after their first night [p. 45]. Since that point,
Cris has been up for hours - scanning the futures. Finding no
path worth taking.
INT. Wisdom's HOUSE - dawn
Ferris sleeps next to Wisdom. She's hogged the covers. Her
cell phone rings. Drowsily, she answers.
FeRRIS
Ferris.
Cris (o.c.)
This is Cris Johnson.
She sits up.
FERRIS
Where did you get this number?
INT. Liz's kitchen - dawn
Cris is dressed. Despondent.
CrIS
I want to cooperate.
FERRIS
That's music to my ears.
CRIS
But I have conditions.
FERRIS
I'm sure we can work something out.
liz's bed - dawn
Liz. Sleeping. Cris sits next to her on the bed.
CRIS
Liz...
134.
Her eyes flicker open. She sees him looking down at her like
an angel.
LiZ
Come back to bed.
CRIS
I can't. - I have to go.
LIZ
(incredulous)
You're not leaving?
CRIS
There's something I have to do.
Something you'd want me to do. And
I can't put it off any longer.
LIZ
(wounded)
Fine. Then go. What do I care?
CRIS
Liz, it's not like that. I searched
for you for a long time. I want to
be with you forever.
LIZ
Don't overdo it. We just met last
night.
CRIS
But a lot has happened since then.
LIZ
While I was sleeping?
He proceeds with difficulty.
CRIS
We're going to have a child.
LIZ
Then you really are an angel.
CRIS
I don't expect you to believe me.
But when you do find out, remember
that we came together for a reason.
That this wasn't just...one night.
It was a special chance for both of
us.
135.
Seeing his misery, she softens.
LIZ
Then why are you running away from
me?
He holds back tears.
CRIS
I'm not...I'm taking the long way
around.
Now she's crying.
LIZ
I don't understand. We got off to
such a great start.
He nods, wistful.
CRIS
And I looked for a happy ending...
But this was the best I could do.
They kiss good-bye, and she makes it so wickedly sweet that
he can barely pull himself away.
Liz watches, mystified, as he leaves - stirred by feelings
for Cris that are just coming into being.
LIZ
See ya?
CRIS
I wouldn't be surprised.
And he walks out the door.
Ext. LiZ'S HOUSE - DAY
Cris walks down the driveway to the street. He stands there a
beat, then Ferris' car drives up and stops in front of him.
Cris opens the passenger door and gets in.
INT. Ferris' car - DAY
They look at each other, coming from very different places.
Ferris
Mr. Johnson, we meet at last.
136.
CRIS
I wasn't ready till now.
Ferris shifts into gear and drives off.
FERRIS
We don't have time to waste. Maybe
you could start by telling me how
your talent works.
He thinks how to phrase it.
CRIS
"The future ain't what it used to
be." Ever hear that expression?
Ext./Int. front window of cottage - DAY
Liz watches from inside as Ferris' car pulls away.
CRIS (v.O.)
It's a joke, but it's true. The
future changes every time you look
at it. Because you looked at it.
Cause once you see it, you're
different. And that changes
everything else.
Liz puts her hand on her belly.
FADE OUT
|
