Fantastic Four (2005)
by Mark Frost and Michael France.
Based on the Marvel comic book by Stan Lee and Jack Kirby.
Shooting Script.
More info about this movie on IMDb.com
FADE IN:
CLOSE ON A MASSIVE STEEL HEAD
Our first thought: DR. DOOM? But it's not moving. A
welder's torch sparks into frame in the hands of a sculptor
on scaffolding. This is art, an epic 20 foot statue going up
of a business mogul (VICTOR VON DOOM) in whose generously
extended hands sit two intertwined columns of DNA. His face
is chiseled, angular, perfect (too perfect). Past sparks, we
MOVE down to pick up...
EXT. STREET/VON DOOM INDUSTRIES TOWER - DAY
REED RICHARDS and BEN GRIMM head toward the soaring glass-box
atrium of VDI Headquarters. Designed to inspire awe, it
does.
REED
High open space, exposed structural
elements. Obviously aimed at first
time visitors to create feelings of...
smallness, inadequacy.
Ben glances at Reed, who looks a little nervous.
BEN
Good thing it ain't workin... Reed,
what are we doing here? This guy's
fast-food, strip-mall science --
REED
This wasn't our first stop, in case
you forgot NASA. And Victor's not
that bad. He's just a little...
(seeing the statue)
Larger than life.
INT. VON DOOM INDUSTRIES TOWER - DAY
They move past the statue, into the sprawling atrium.
REED
He's financed some of the biggest
breakthroughs of this century.
BEN
You'd never know it.
He motions to a high-tech ORB, showing FOOTAGE of VDI's
accomplishments: a safe and clean nuclear facility, the first
private Space Station.
All images have VICTOR front and center, glad-handling George
Bush, Tony Blair, shady International Leaders. The last
image is Victor holding the AMERICA'S CUP.
BEN (CONT'D)
Jesus. That too?
They reach three stern RECEPTIONISTS.
REED
Reed Richards and Ben Grimm to see --
A receptionist cuts him off, handing them each a pass.
FEMALE RECEPTIONIST
Executive elevator, top floor.
BEN
What's the price for a smile round here?
They head for the elevator. Reed carries a small, black box.
As they enter the elevator, steel doors shut and we CUT TO --
INT. VON DOOM INDUSTRIES TOWER - OFFICE - DAY
A large, dark office. Ben in the corner. He yawns,
watches...
BRIGHT HOLOGRAMS: Stars. Planets. They hover in the air,
making the room feel like a majestic portal into outer space.
REED (O.S.)
My research suggests that exposure to
a high-energy cosmic storm born on
solar winds might have triggered the
evolution of early planetary life.
REED stands among the holograms, speaking to a MYSTERIOUS
FIGURE in shadow behind a desk. An ominous, PULSATING RED
CLOUD covers the stars. It washes over a hologram of EARTH.
REED (CONT'D)
In six weeks another cloud with the
same elemental profile will pass
Earth's orbit. A study in space could
advance our knowledge about the
structure of the human genome, and
help cure countless diseases, extend
human life --
The SHADOW clears his throat. Reed speeds up, emotional.
REED (CONT'D)
Give kids the chance to be stronger,
healthier, less prone to --
SHADOWED FIGURE
Turn it off. Please.
The figure's DEEP VOICE pierces the darkness.
REED
But I haven't fully explained my --
SHADOWED FIGURE
Yes you have... Imagination.
Creativity. Passion. Those were
always your trademarks.
Lights brighten, revealing the face behind the voice: VICTOR
VON DOOM. 35, handsome, commanding. He looks almost...
airbrushed. He drops a WIRED magazine to the desk. REED is
on the cover over the words: RICHARDS BANKRUPT, GRANT
CUTBACKS.
VICTOR
But dreams don't pay the bills, do
they?
(a condescending smile)
Same old Reed, the hopeless optimist.
Still reaching for the stars, with the
world on your back.
REED
You remember in school we talked about
working together. That's what I was
about to explain...
Reed presses the remote. Another hologram appears: A SHUTTLE
slowly approaching AN ORBITING SPACE STATION. Both bear the
VON DOOM INDUSTRIES logo. Victor smiles, more intrigued.
VICTOR
So it's not my money you want. It's
my toys... Tell me: if NASA doesn't
trust you, why should I?
Victor is a step ahead. Reed pauses, thrown for a beat. Ben
wakes up, suspicious. Victor notices. He notices
everything.
VICTOR (CONT'D)
That's my job. To stay a step ahead.
To know what other men don't.
Ben gets close to Reed, turning toward the door.
BEN
I can't take this.
REED
(low, quiet)
Ben. This is business. Just work.
A beat. Victor cracks a smile, enjoying the tension. And...
SUE (O.S.)
He's right, Ben.
They turn to see...SUE STORM (demure, stunning) standing in a
corner...possibly for the whole presentation. A little cold:
SUE (CONT'D)
It's just business.
VICTOR
I think you both know my Director of
Genetic Research, Susan Storm.
BEN
Heya Susie.
(under breath, to Reed)
One more thing he's got.
Sue gracefully walks into the office, only taking her eyes
off of Reed to give Ben a warm hug.
SUE
Ben, it's been too long.
She gives Reed a polite handshake. Victor watches carefully.
Reed looks uncomfortable in her gaze. A little tongue-tied.
REED
You're, you've, I mean, how have you
bee--
SUE
Never better.
Victor sizes them up. He puts a hand on Sue's shoulder.
VICTOR
This isn't going to be a problem, is
it?
REED
Not at all.
SUE
Ancient history.
Victor smiles, eyeing Sue.
VICTOR
Good. Then you're just in time to
hear the great Reed Richards ask me
for help.
(to Reed)
You know, you made a lot of folks at
MIT feel like a junior high science
fair. So you'll excuse me if I savor
the moment.
Ben tightens. A hard beat. Reed sucks it up.
REED
You back this mission, and I'll sign
over a fair percentage of any
applications or --
VICTOR
The number's seventy-five. And it's
applications and patents.
BEN
What about his first born?
REED
(quiet)
Ben, the money's not important. We
could save lives.
Sue gives a thin smile -- a flicker of old feelings.
VICTOR
Twenty-five percent of a billion is
enough to keep the lights on, isn't
it? Maybe even pay off your fourth
mortgage on the Baxter Building.
They look at Victor. How does he know all this...?
VICTOR (CONT'D)
Deal...?
Reed looks at Ben, who shakes his head softly no. But
Reed...drops a nod. Done. Victor smiles, offers a
handshake.
VICTOR (CONT'D)
Well then, to our future. Together.
Victor squeezes. Hard. His other hand on Sue's shoulder.
VICTOR (CONT'D)
Funny how things turn out, isn't it?
REED
Hilarious.
As Reed and Sue lock eyes, Ben watches Victor. Wary.
INT. VICTOR'S OFFICE - MOMENTS LATER - DAY
Director of Communications LEONARD enters, checking files.
VICTOR
If Reed's right, then this little trip
will double our stock offering.
LEONARD
And if he's not...?
VICTOR
Reed's always right. Good thing he
doesn't always know what he's got...
INT. VON DOOM INDUSTRIES TOWER - ELEVATOR - MOMENTS LATER
Reed and Ben step into the elevator.
BEN
He knew about NASA. What if he made
the call to shut us down --
REED
Ben, think about all the people we can
help if this works --
BEN
Maybe you should think about yourself
for once. You always let this guy
push you round --
REED
We got what we wanted. That's
enough.
BEN
I know, I know. I'm just worried
about what he wants... Speaking of
which...
Reed follows Ben's eyes to...SUE. She joins them. Doors
shut.
INT. VON DOOM INDUSTRIES STAIRCASE - CONTINUOUS
SUE
You sure about this, Reed?
He nods, head down. He doesn't want eye contact.
REED
Those solar winds are flaring, but I
factored them into my coordinates and --
SUE
I was talking about us. Working
together.
Sue holds her eyes on Reed. He is clearly uncomfortable in
her gaze. Did the elevator just get smaller?
REED
(thinking, talking fast)
Well, uh, based on our history...you
can handle the biogenetics, and I'll
focus on the molecular physics. Or,
uhm, maybe I should take the biotech,
you work the microscopes, since you
have some background in electropho--
SUE
(droll, a little annoyed)
Right. That's exactly what I meant.
She shakes her head -- same old Reed. He looks at her --
what did he say wrong? Ben smiles, patting Reed on the
shoulder.
BEN
Way to not overthink it.
(to Sue)
So when do we leave?
SUE
I'll schedule the launch. Call me in
the morning to talk about resources
and crew.
She offers a business card. Reed doesn't take it.
REED
I, uh, think I remember the number.
SUE
It's been changed.
Beat. Ben grimaces. Reed takes the card, his eyes down.
REED
As far as crew, I was hoping Ben could
pilot the mission --
SUE
Well, he's welcome to ride shotgun,
but we already have a pilot on our
payroll. You remember my brother
Johnny...
Off Ben's curdling smile, we DISSOLVE TO --
EXT. LAKE LAUNCH FACILITY - DAY
A helicopter shot through trees. We soar over timberland,
and find something massive looming on the horizon:
A SPACECRAFT. A sleek take on a space shuttle. Modern tech
combined with industrial design that NASA could never afford.
The craft's nose is pointed straight up, ready for launch.
WORKERS IN JUMPSUITS are scattered around the two-hundred
foot tall scaffolding, performing routine checks.
EXT. GANTRY OVERLOOK - DAY
Ben stares up at the craft. A sneer on his face.
BEN
Can't do it. I cannot do it.
REED
External SRBs, orbital system engines.
Its just like the shuttles you flew
in --
BEN
No. I cannot take orders from that
underwear model. That wingnut washed
out of NASA for sneaking two Victoria
Secret wannabes into a flight
simulator.
REED
Youthful high spirits.
They walk toward the base of the scaffolding.
BEN
They crashed it into a wall. A flight
simulator.
REED
I'm sure he's matured since then.
CLOSE on JOHNNY STORM, leaning over to kiss a hot redhead.
PULL BACK TO REVEAL he's riding a MOTORCYCLE, and she's
driving a red CORVETTE with license plate: FRANKIE. PICK UP
Reed and Ben, watching through binoculars.
REED (CONT'D)
When have I asked you to do something
you absolutely said you could not do?
BEN
Five times.
REED
I had it at four.
BEN
This makes five.
INT. LAKE LAUNCH FACILITY LOCKER ROOM - NIGHT
Reed and Ben unpack gear into lockers. Suddenly --
JOHNNY (O.S.)
Captain on the bridge!
Ben goes to attention on reflex: Johnny snaps a picture with
a digital camera. Then advances, as Ben realizes who it
is...
JOHNNY (CONT'D)
Digital camera: $254. Memory stick:
$59. The look on your hard-ass former
CO's grill when he finds out he's your
junior officer: priceless.
Ben eyeballs Johnny, suddenly reaches up as if to grab him.
Johnny flinches. But Ben just reaches for Johnny's zipper,
adjusts his uniform.
BEN
I can handle the ship. I can even
handle Mr. Blonde Ambition. But I
don't know if I should be flying or
playing Vegas in these suits. Who the
hell came up with them?
SUE
Victor did.
Sue enters, wearing her blue, wetsuit-like uniform, carrying
a stack of flightsuits. She hands them out to the guys.
SUE (CONT'D)
The synthetics act as a second skin,
adapting to your individual needs to --
JOHNNY
Keep the hot side hot, and the cool
side cool!
REED
Wow. Fantastic.
Reed stares at Sue in the skintight outfit. She wonders,
maybe hopes -- is he actually checking her out?
REED (CONT'D)
Material made from self-regulating
unstable molecules. I've been working
on a formula for this.
SUE
Great minds think alike.
VICTOR (O.S.)
Guess some think faster than others.
Victor enters, wearing his custom-tailored flightsuit.
VICTOR (CONT'D)
I hired Armani to design the pattern.
These colors will look great on
camera.
A DOOR OPENS. Leonard enters, in a sharp suit.
LEONARD
They're ready for you, sir.
VICTOR
Showtime.
EXT. LAKE LAUNCH FACILITY - HALLS - NIGHT
Leonard leads Victor through the halls. Victor checks
himself in mirrors as he walks, fixing his hair, his uniform.
LEONARD
Our numbers are through the roof. The
IPO's tracking at fifty, sixty a
share. The bank's five times
oversubscribed --
VICTOR
It's not just the money. I could make
money in my sleep.
LEONARD
Then what is it?
VICTOR
History, Leonard. History.
Everything else is conversation...
(a beat)
How's the other matter?
Leonard pulls out a BOX. Opens it: a TEN KARAT DIAMOND RING.
LEONARD
Harry Winston sends his regards.
They hit a set of big doors. Victor stops and looks into the
reflective, metallic surface on the wall. He fixes one last
strand of hair. Perfect. Then he opens the door to...
SNAP!SNAP!SNAP! WHIP-PAN a row of CAMERAS snapping shots of --
EXT. LAKE LAUNCH FACILITY - NIGHT
Retrofitted into a makeshift press area. Victor sits on a
platform, with reporters stretched out below him.
VICTOR
Today we stand on the edge of a new
frontier. In the furthest depths of
outer space...we will find the secrets
to inner space. The final key to
unlocking our genetic code lies in a
cosmic storm...
BEHIND THE ACTION: Reed, Sue, Johnny and Ben walk past. News
crews barely notice, passing without even taking a picture.
Our "Fantastic Four" are not exactly big news. Not yet.
BEN
Isn't that your speech?
REED
He's made a few changes.
BEN
This is your dream, Reed. You should
be the one up there.
REED
Victor's better at these things.
Just past the press area, they see...one woman standing,
waiting. This is DEBBIE, Ben's fiancйe. And for the first
time in the entire film...Ben SMILES. They hug, kissing.
Johnny and Reed watch. Reed glances at Sue, who walks ahead.
Debbie slips a photo into Ben's flightsuit. A tender beat.
BEN
I'll be watching over you.
DEBBIE
Just get back soon, or I start looking
for a new groom.
Ben looks at the little ENGAGEMENT RING on her finger.
BEN
Soon as I'm back, I'm gonna trade that
in for a bigger rock.
DEBBIE
I don't care about rocks, I care about
you.
(to Reed)
You bring him back in one piece, or
you can forget being Best Man.
Reed nods, smiles. Debbie gives Ben a last kiss. Ben turns
to Johnny, who gives a cocky smile.
BEN
What the hell you smiling at? Just
keep your mouth shut, and your mind on
those SMBs --
JOHNNY
Actually, the engines are SMEs.
Hydrogenbase, carbon propellant.
Couple generations past your last
ride.
(at the threshold)
I'm not as dumb as you look.
Ben just glares at Reed. This is going to be a long trip.
As they follow after Sue, we CUT BACK TO --
VICTOR ON STAGE
Mid-speech. Playing behind him is REED'S HOLOGRAM: stars
give way to a pulsating red cloud...
VICTOR
Think of a world without genetic flaws
-- no asthma, allergies, baldness,
breast cancer...
Ben and Reed hear the speech. Ben bristles.
BEN
What's wrong with being bald...?
Victor smiles at the crowd, commanding. A true leader.
VICTOR
Darwin discovered evolution. Now we --
I -- will define it. Only in America
could...
The red cloud of cosmic rays wash over the Earth.
VICTOR (V.O.) (CONT'D)
...a little country boy from Latveria
build one of the biggest companies in
the world, and truly reach the stars.
Now if you'll excuse me, history
awaits...
On those words, the HOLOGRAM TRANSFORMS TO...Von Doom's
SHUTTLE on the launch pad. BOOM! THRUSTERS FIRE WHITE HOT.
Smoke billows across the pad. Ready for take off.
Victor walks past the hologram and exits. His departure
perfectly timed with the shuttle LIFTING OFF.
We push in on the shuttle, and follow the ship as it leaves
Earth's atmosphere. BOOM -- booster rockets fall away and
the shuttle fires its thrusters. The hologram transitions
to...
A shot of the SPACE STATION high above the Earth. The
shuttle enters from the top, lighting up the hologram with
engines afire. As the shuttle approaches the station we CUT
TO --
EXT. DEEP SPACE - SAME
THE SPACE STATION in the distance, rotating in orbit above
Earth. THE SHUTTLE eases in and docks.
INT. SPACE STATION - COMMAND CENTER - SAME
Victor and Sue lead the others into the command center.
JOHNNY
(a "dad voice": to Ben)
If you behave, maybe next time
daddy'll let you drive.
BEN
Keep talking, there won't be a next
time.
Reed is focused on THE EARTH.
SUE
Long way from the projection booth at
the Hayden Planetarium, isn't it?
Reed turns towards her -- a little stunned that she would
bring that up. It's the first time she's been nice to him so
far. He smiles, gently, hesitantly, always hesitant with
Sue.
REED
Yes. Yes it is.
Johnny and Ben exchange a look. Reed keeps looking at the
stars, eyes wide, like a little kid.
INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME
They enter the nerve center of the space station. Victor
goes to a computer console on the observation deck below.
The windows are closed, so there's nothing to observe.
VICTOR
(to ground; via comm-link)
Leonard, how's the feed?
LEONARD (V.O.)
Recording, sir. We see you perfectly.
Victor glances at a camera mounted into the console.
SUE
We can monitor the cloud's approach
and observe the tests from here.
BEN
Is it safe?
REED
The shields on the station should
protect us.
BEN
Should?
VICTOR
What's wrong, Ben? Eighty-million
dollars worth of equipment not enough
for you?
Ben turns to Victor. A little tension. Reed cuts it:
REED
Let's start loading those samples.
Get your suit ready, Ben.
Victor keeps his eyes on Ben.
VICTOR
So you still do all the heavy lifting?
Victor gives a friendly smile, patting Reed.
VICTOR (CONT'D)
Maybe you should have stayed back in
the lab. Field work never suited you.
Reed doesn't defend himself. Ben steps up.
BEN
He does the talking. I do the
walking. Got it?
Victor holds tight to his smile. He nods, condescending.
VICTOR
Got it. So take a walk, Ben...I'm
going to borrow Susan for a second.
REED
Sure.
Ben and Johnny read his eyes, as we CUT TO --
INT. SPACE STATION - AIR LOCK - LATER
Ben preps for a space walk, putting on a helmet and boots.
Johnny unloads a set of clear sample boxes off of a cart,
each containing a variety of plants.
JOHNNY
Please tell me your dawg's not trying
to rekindle things with my sister.
BEN
'Course not. Strictly business.
JOHNNY
Yeah, well, his eyes say different.
BEN
Hey, two hearts got busted last time.
Maybe she's not over it either.
JOHNNY
Let's see: you got Victor, stud of the
year, more coin than God? Or Reed,
the world's dumbest smart guy worth
less than a postage stamp. Hmmm, it's
a toss-up.
BEN
Put your tiny little mind at ease.
JOHNNY
Don't you wander off, boy.
Johnny steps out of the air-lock and shuts the door. He
looks through a small window to see Ben give the thumbs up.
THE AIRLOCK DOOR opens, and Ben gracefully steps into space.
INT. SPACE STATION - OBSERVATION DECK - SAME TIME
Sue descends the stairs at Victor's behest. Joins him.
VICTOR
Surprised I agreed to Reed's proposal?
SUE
I understand the business reasons.
VICTOR
Well, when you're looking at your
future, it never hurts to find closure
about the past.
Sue's eyes narrow. What is this about...?
VICTOR (CONT'D)
Susan, every man dreams that he'll
meet some woman he can give the world
to.
He presses a button and the observation deck's outer windows
open up, revealing a spectacular, romantic view of the EARTH.
VICTOR (CONT'D)
In my case, it's not just a metaphor.
While she stares out the window, Victor reaches into a
pocket, revealing a RING BOX. Sue looks unsettled.
INT. SPACE STATION - NEARBY CORRIDOR - SAME TIME
Reed checks data on a work station, set on a wall. The
results of his calculations are not what he expected... He
sees WIND VELOCITY digits rise. He does a double-take when
he sees the readout: EVENT THRESHOLD, T-MINUS 10:00.
REED
No...no...impossible. It's...too
fast.
INT. SPACE STATION - OBSERVATION DECK - SAME TIME
Behind his back, Victor holds the ring box in hand.
VICTOR
You've been with me two years now.
Sue doesn't know where this is going. She treads lightly.
SUE
It's been a good two years, Victor...
The company's accomplished so much.
VICTOR
Right, of course, the company... But
you see, I've come to realize all the
accomplishments in the world mean
nothing without someone to share them
with --
SUE
Uh, Victor, I hope I haven't done
something to make you think...
VICTOR
Sue, I've lived my life unafraid of
taking big steps. And this is the
biggest step yet. If it helps, think
of this as a promotion. A merger of
sorts...
(getting closer)
Four little words that can change our
lives...
He is about to spring the ring on her. She looks like a deer
in headlights. She opens her mouth, and...WHAM! Doors slam
open. REED RUSHES INTO THE ROOM.
REED
The cloud is accelerating!
Victor quickly puts the ring back in his pocket.
REED (CONT'D)
I don't know what happened.
Sue quickly moves to a nearby control panel to verify Reed's
claim. Starts punching buttons. Confirms Reed's findings
with a nod. Victor hardens, in control.
REED (CONT'D)
We've got minutes until it hits, not
hours...Victor, that storm's deadly --
the radiation's lethal. We need to
abort.
VICTOR
Get a grip. Reed. We didn't come all
this way to lose our nerve at the
first little glitch. Just close the
shields...
REED
Ben's still out there --
VICTOR
So reel him in. But we came here to
do a job. So let's do it. Quickly.
EXT. SPACE STATION - MOMENTS LATER
Ben is carefully arranging SAMPLE BOXES OF PLANTS.
REED (ON RADIO)
Ben, we need you back inside.
Ben turns to see Reed and Johnny staring from a window.
BEN (INTO RADIO)
I ain't done arranging your flowers,
egghead.
REED (ON RADIO)
Ben. This is serious. Turn around.
Ben sees Johnny motioning for Ben to look behind him. Ben
turns and sees: THE COSMIC STORM, rumbling toward the
station. Not close, but not far. That gets Ben's attention.
BEN (INTO RADIO)
Roger that, on my way.
He turns back towards the ship. BEHIND HIM, the storm grows.
INT. SPACE STATION - COMMAND CENTER - SAME TIME
Victor rushes into the room, looks at the monitors. Sees the
others near the airlock on one screen, and the approaching
cloud on another. Anxiety creeps across his face.
AUTOMATED VOICE
Event threshold in two minutes.
INT. SPACE STATION - AIRLOCK DOOR - SAME TIME
Reed and Johnny stand by the airlock, waiting for Ben. They
heard the automated voice. It panics Reed.
REED
Come on, Ben, come on...
VICTOR (ON RADIO)
Reed, we're running out of time.
EXT. OUTER SPACE - MOMENTS LATER
A wake of turbulence from the cloud hits Ben, making it
harder to maneuver. The cloud's tendrils snake toward him.
INT. SPACE STATION - AIRLOCK DOOR - SAME TIME
They can see Ben outside the window, still twenty yards away.
The entire corridor rumbles. Lights flicker and spark. They
watch helplessly.
INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME
Sue watches the monitor, also helpless.
SUE
Johnny... Reed...
Victor, annoyed by the indecisiveness, marches right up to
Sue. Practically shoves her aside as he hits the INTERCOM.
VICTOR
Reed, you need to get up here so we
can close the shields! Now!
Sue glares at Victor. His lack of compassion shocks her.
REED (ON RADIO)
Not until Ben is back inside!
VICTOR
It's too late for him, and soon it'll
be too late for all of us.
Victor doesn't bother to wait for a response. He takes over
the console, punching keys.
SUE
What are you doing?
VICTOR
Raising the shields.
SUE
You can't leave them out there.
Sue glares with as much contempt as her face can muster.
VICTOR
Watch me. Reed had his chance. You
can't help them any more than I can.
Beat. She takes a step toward the door. Not sure what to
do.
SUE
I can try.
With one final glare, she bolts from the room.
INT. SPACE STATION - AIRLOCK DOOR - SAME TIME
Reed bites his lip. Thinks. He decides.
REED
Victor's right. Johnny, get to the
command center. Close the shields.
JOHNNY
What about you?
One look from Reed tells Johnny, he won't leave without Ben.
Johnny eyes Ben, steels his courage. He's not going either.
JOHNNY (CONT'D)
(to Ben)
Come on big guy, you can do it!
INT. SPACE STATION COMMAND CENTER - DAY
Victor watches the shields slide down. Alone. An island.
AUTOMATED VOICE
Event threshold in thirty seconds.
INT. SPACE STATION - CORRIDOR - SAME TIME
Sue races down the hall. Not panicked. With determination.
EXT. SPACE STATION AIR LOCK - DAY
The exterior air lock door slides open. In agonizing,
weightless slow motion Ben reaches to haul himself inside.
The leading edge of the cloud hits: Ben is pelted by a
hissing mass of space dust, splattering his suit with orange
stains. Larger particles, small pellets, pepper him. Ben
hauls himself in the last few feet by pulling on his tether.
INT. SPACE STATION AIR LOCK/COMMAND CENTER - DAY
AUTOMATED VOICE
Event threshold in ten seconds.
TEN...
Johnny punches controls to close the exterior airlock door...
Reed opens a first aid kit, grabs a thermo-elastic blanket...
INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME
Clutching the diamond ring, Victor stands defiantly. Showing
absolutely no concern for the others. Interested only in the
event itself. Lights and equipment FALL, CRASHING around
him.
A control panel EXPLODES in Victor's face. He jumps back,
and into the falling equipment. Collapses under the weight.
INT. SPACE STATION - AIR LOCK - SAME TIME
Sue rounds a corner, sees Reed and Johnny.
SUE
Johnny! Reed!
AUTOMATED VOICE
FIVE...FOOOOUUUR...
SLOW MOTION: Everyone frozen in position as:
-- JOHNNY is hit with sparks of flame from a control panel.
-- REED REACHES out for Ben and the airlock door.
-- VAPOR STREAM pours down on Sue from a blown gasket.
-- THE SPACE DUST burns into Ben's skin.
SLOW MOTION: Just BEFORE the exterior air-lock door closes, a
SINGLE PARTICLE zips through the narrowing gap and hits Ben
in the back, ripping through his suit. The exterior door
shuts and seals. The station loses all power. DARKNESS.
EXT. SPACE STATION - DAY
As quickly as it came, the cloud passes on and whirls away,
leaving the space station intact. Power quietly flickers on.
Silence. Time resumes. All four pick up exactly where they
left off, unaware of anything that just happened to them.
INT. SPACE STATION COMMAND CENTER - DAY
Victor emerges from the rubble. He stands, checks his body.
A few scrapes, nothing serious. A thin, throbbing CUT on his
head. He touches the wound, but it is not bleeding.
INT. SPACE STATION AIR LOCK - DAY
Reed and Johnny scramble to open the interior air lock door.
Sue joins them, as they pull Ben in. They try to remove his
helmet. We don't see his face, but he's clearly unconscious.
REED
He's not responsive --
JOHNNY
Ben! Ben!
INT. VON DOOM COMPOUND HOSPITAL ROOM - DAY
A BLACK SCREEN:
JOHNNY'S VOICE
Ben, wake up! Wake up!
SUBJECTIVE CAMERA, BEN'S POV: The blurry image of Johnny
comes slowly into focus, standing beside a hospital bed.
BEN (O.S.)
Where...where am I?
JOHNNY
Back on Earth. Victor's medical
facility... We're in quarantine.
BEN (O.S.)
Reed? ... Sue?
JOHNNY
They're fine. Everybody else...is
fine.
Johnny looks away, as if he can't bear to lay eyes on him.
BEN (O.S.)
What's wrong with me?
JOHNNY
I swear to you they've done everything
humanly possible. The best plastic
surgeons in the world, Ben. You had
the best --
BEN (O.S.)
Give me a mirror...
Johnny picks up a hand mirror on the bed table before Ben can
reach it, reluctant to give it to him.
JOHNNY
They said that's not such a good idea,
the shock alone could --
BEN (O.S.)
Give me the god damn mirror!
Ben grabs it from him. Then slowly raises it to look and see
that...except for some serious stubble, Ben's totally normal.
JOHNNY
Unfortunately, the doctors just
couldn't do anything to fix your face!
He cackles as he heads for the door. Ben heaves the mirror
at him, breaking it into hundreds of pieces. He turns to the
side-table, and grabs that picture of DEBBIE. It calms him.
EXT. VON DOOM COMPOUND - ESTABLISHING - DAY
A modern facility of glass and stone, nestled in the forest.
In stark contrast to the lush greenery surrounding it.
INT. VON DOOM COMPOUND HOSPITAL CORRIDOR/SUE'S ROOM - DAY
Reed walks down the hall. His hair is GRAYING at the
temples. He passes Johnny, who is smiling, still enjoying
his joke on Ben. Johnny slows, looking at Reed's hair.
JOHNNY
Nice 'do. Going for the "grandpa"
look?
Reed passes a mirror, slowing, seeing his gray hairs. He
keeps going. He passes a partially open door. He stops when
he catches a glimpse of Sue asleep in bed. He sees a vase of
flowers. He grabs a couple lilies, and enters.
But Reed sees...the room is already FILLED with expensive
flowers. All from VICTOR. Reed is trumped once again.
A DOCTOR writes on Sue's chart. A wall TV plays a press
conference with Victor, outside the FACILITY. He looks worse
for wear. A few hairs out of place, and a small BANDAGE on
his face. We PUSH INTO the press conference --
REPORTER #1
You've been accused in the past of
moving science a little too fast --
VICTOR
Accused by who? My competitors?
REPORTER #2
But surely this accident gives you
pause --
VICTOR
Danger is always part of discovery.
What would have happened if Ben
Franklin never went out in a storm?
Without risk, there's no reward.
REPORTER #3
So where's the reward? You promised a
cure-all.
Victor pauses. For the first time. Just a flicker.
VICTOR
And you'll have it. I've never come
up short. And I'm not going to start
now.
REPORTER #2
So you're still taking VDI public --
VICTOR
Yes, of course. I've never been more
confident in the compan--
Reed mutes the television.
REED
How's she doing?
DOCTOR
Stable. Vitals are strong.
Reed takes the clipboard, looks for himself.
REED
Blood panels show no irradiation.
Good. You'll step up this protocol,
every --
DOCTOR
Four hours. We know what we're
doing... One more day of observation,
then you're all cleared.
The Doctor takes his clipboard, and walks out. Reed steps to
Sue, with the drooping flowers in his hand. Quiet:
REED
Sue...I want to tell you...I'm...
WHOOSH. A NURSE rolls in with a tray bearing ten more
extravagant bouquets. Reed looks resigned. He walks out.
REED (CONT'D)
She's allergic to orchids. Put that
Amaryllis Apapathos by her bed. The
African lilies? They're her
favorites.
Reed exits, dropping his two wilted lilies into the trash.
Sue opens one eye, as the big lilies land by the bed.
INT. VON DOOM COMPOUND HOSPITAL ROOM - DAY
A SEXY NURSE wheels a testing station into Johnny's room.
He's stripped down to Calvins, changing into a ski outfit.
SEXY NURSE
And where do we think we're going?
JOHNNY
I don't know if "we've" noticed, but
the sickest runs this side of the Alps
are right outside that window --
NURSE
I've noticed... But doctor's orders,
you're not allowed to leave until we --
JOHNNY
Finish the tests, I know -- could you
give me a hand with this zipper?
NURSE
You know this is not a ski resort.
JOHNNY
Not yet.
Johnny opens the cardboard box, revealing a colorful
fiberglass object the size of a briefcase. In the blink of
an eye, he unfolds it into a LONG SNOWBOARD.
JOHNNY (CONT'D)
Luckily grandma still sends care
packages.
The nurse pops a thermometer in his mouth to shut him up.
NURSE
You are trouble.
JOHNNY
(thermometer in his mouth)
Brubbles my Triddle Name.
They both pay more attention to his zipper than the digital
read-out: it runs right up past 98.6, then accelerates fast.
SEXY NURSE
You're hot!
JOHNNY
So are you!
SEXY NURSE
I mean, you feel a little feverish.
JOHNNY
I've never felt better in my life.
When do you get off work?
SEXY NURSE
My shift ends at four, but I couldn't --
JOHNNY
Meet me at 4:01, top of the run.
That'll give you a minute to freshen
up.
He hands her the thermometer, a quick kiss and he's out the
door. The machine beeps: Johnny's temperature is 209
DEGREES.
EXT. VON DOOM COMPOUND HOSPITAL PATIO - DAY
Ben finds Reed on a patio with a panoramic view. Reed works
at a laptop computer.
BEN
How long was I out?
REED
Three days. I was worried about you.
How are you feeling?
BEN
Solid.
Ben can see Reed doesn't look too solid.
BEN (CONT'D)
How you doing?
Reed shakes his head, looking back at his screen.
REED
I don't know. I just keep going over
and over the numbers.
BEN
Reed. Even you can't compute every
little thing.
REED
I should have done more, run more
tests --
Ben gets closer, pushing down Reed's computer screen.
BEN
It was a freak of nature. Last I
checked, you don't have a crystal
ball. Let it go.
Reed considers. But he can't let it go. He opens his
computer back up, returning to work. Ben shakes his head,
looks out at the view. His eyes catch on something, wheels
turning.
BEN (CONT'D)
You go through something like this,
makes you appreciate having the right
woman in your life.
REED
Yeah, you and Debbie and perfect --
BEN
Reed, I'm not talking about Debbie.
Reed follows Ben's eyes to a lower level patio: SUE.
REED
What? Come on. She's got a good
thing with Victor --
BEN
I'm sorry, did that cosmic-bath loosen
your screws?
REED
He's smart, powerful, successful --
BEN
Well maybe you should date him.
Reed looks at Ben, resigned.
REED
Ben. He'll give her the life she
deserves. She ended up with the right
guy. Things worked out for the best.
Reed steps away. Ben stands alone, an idea sparking.
BEN
Do I have to do everything myself?
INT. HELICOPTER/EXT. MOUNTAIN SUMMIT - DAY
The chopper hovers over this pristine peak. JOHNNY and his
NURSE sit in the chopper-bay, prepping their ski gear.
Johnny's customized snowboard has wild, acrylic patterns.
His Nurse wears a hot pink cat-suit, her skis dangling out.
Their bodies are close: a sexy, competitive flirtation. They
look down at a death-defying black diamond run.
JOHNNY
Me like-y.
SEXY NURSE
Stay right. Left is trouble.
JOHNNY
I though we went over this.
SEXY NURSE
Last one down springs for room
service.
She pulls down her goggles, jumps out. Johnny drops out
after her, hitting the snow. He smolders: literally. The
snow bank behind him sizzles and starts to melt.
He takes off after her and the chase is on:
EXT. BLACK DIAMOND RUN - DAY
The Nurse knows every inch of the trail, slicing expertly in
and out of the trees through deep powder. Johnny's a speed
freak, maximizing velocity, closing the gap between them.
Ghostly FLAMES shoot off his hair: his ski cap catches fire,
flies off. Jets of fire knife through the back of his jacket.
The Nurse looks back: In a burst of speed, Johnny draws even.
She looks over and sees the flames shooting out behind him...
SEXY NURSE
You're on fire!
JOHNNY
Not this again --
SEXY NURSE
No: You're ON FIRE!
Johnny sees his gloves are burning, flicks them off in alarm.
His body SHUDDERS: the back of his ski suit catches on fire.
A burst of flame launches him down the slope like a rocket.
Nurse loses concentration, falls. Johnny races away like a
missile, screaming in exhilaration. He looks back -- no
nurse.
He tries to put out his flaming clothes, and accidentally
VEERS to the LEFT. He fails to notice the giant CHASM in
front of him. He faces forward and...
SCREEAAMMS! LAUNCHING off the cliff, LEGS FLAILING, trying
to catch ground. FLAMES begin to TRAIL his body as he FALLS
towards the rocks below. He tries to will his body away.
Instead, his body becomes engulfed in flame. He is a HUMAN
TORCH! And for a moment he HOLDS THE AIR -- the fire giving
him some kind of...LIFT. He maneuvers just over the rocks,
almost making a 90 degree turn.
He looks back at the rocks in disbelief. But the lift
doesn't last long. He quickly CRASHES, landing HARD into a
snowbank.
He opens his eyes; tries to move but can't. He's trapped
under snow and ice. With all his strength, he tries to move,
NO DICE. Panic sets in. His eyes go wide as the snow around
quickly begins to melt. Johnny is on fire, and within
seconds he's sitting in a small POND, steam rising from the
water.
The nurse races toward the steam. Scared, panicked. She
finds Johnny...smiling, sitting naked in an impromptu hot
tub, staring at his hands. His body. Exhilarated.
JOHNNY
Care to join me?
She smiles and unzips. The FLAMES DISSOLVE TO...CANDLES IN --
EXT. VON DOOM COMPOUND - VICTOR'S OFFICE - DAY
On an expansive parapet with a billion-dollar view, Victor
prepares a romantic dinner-setting as his staff scurry about.
He checks every fork and knife, with a slightly manic energy.
VICTOR
How's the IPO?
LEONARD
Stable. We're looking at low
twenties. It's a good number,
considering the fallout from --
VICTOR
Reed's disaster. You know, I half-
think he did this to me on purpose.
LEONARD
Sir, I'm sure he wouldn't put himself --
But Victor is on to the next thought, always strategizing.
VICTOR
Get me on the AM shows, Larry King,
cover of the Journal...
(staring into silver tray)
I've got to do something about this
scar. Make sure they only shoot my
right side.
LEONARD
Actually, uh, people seem to think the
scar "humanizes" you.
VICTOR
And that's a good thing?
Victor looks at the scar, enraged by this defect. It
glistens in the silver tray. His eyes are bloodshot,
sleepless.
LEONARD
You know, maybe you should get some
rest --
VICTOR
Later. First, I've got some
unfinished business. A deal that
needs closing...
Leonard looks at the table, the lavish spread. A beat.
LEONARD
Sir, I've always wondered... Why Sue?
You could have any woman in the world
but --
VICTOR
That's why. Because I could have
any other woman... You know, when
they asked Caesar "why England," he
said, "because it's not mine."
INT. VON DOOM COMPOUND DINING HALL - LATE AFTERNOON
Two dozen EMPLOYEES sit and eat. Others serve themselves at
the buffet. Ben and Sue walking into the dining hall --
SUE
I can only stay for one drink, Ben.
I've got to meet with Victor.
BEN
Wouldn't want to keep Vic waiting.
They turn a corner and find Reed, entering by another door.
BEN (CONT'D)
Hey Reed, what are you doing here?
(before he can answer)
Great, why don't you join us?
He quickly shepherds the two of them toward a quiet table.
Ben's stomach GROWLS; so loud that they all can hear it.
BEN (CONT'D)
God, I'm starving. Gonna hit the
buffet.
Ben's stomach growls again, even louder this time.
INT. VON DOOM COMPOUND DINING HALL - EVENING
The sun is long gone, and so are most of the diners. The
room is darker, more romantic. Ben finishes the last shrimp
on his plate, pushes it away, belches prodigiously.
BEN
Pardon me...
Sue and Reed stare at him. Ben's stomach growls again.
REED
Are you alright?
BEN
I think I need to lie down. Bad
shrimp.
This was Ben's plan, but he really isn't feeling well,
unsteady when he walks away. He looks down at his stomach.
BEN (CONT'D)
Really bad shrimp.
ANGLE: Fireplace. Sue looks gorgeous in the light. A beat.
A long beat. Reed doesn't know where to start with this
woman.
REED
Feeling better?
SUE
Yes, thanks.
REED
That's good. That's uh...good.
SUE
You always had a way with words.
(an awkward beat)
I should be getting back.
Sue gets up to leave. Exasperated, Reed tries to think of
something, anything, to say.
REED
I'm really happy for you and Victor.
She slows down, looking at him. She was hoping for more.
SUE
You're happy for me and Victor.
REED
I can tell you guys are enjoying what
was the best part of our relationship --
SUE
Which was?
REED
Passion.
We see surprise on Sue's face, and...
REED (CONT'D)
For science.
SUE
(frustrated)
You are such a dork, Reed... You never
got it and never will unless it's
explained to you in quantum physics.
As if triggered by her emotion, the fireplace light around
her BENDS. The flames flicker in a ghostly breeze.
REED
What? What did I say?
She looks more disappointed than angry.
SUE
It's never what you say. It's what
you don't say. What you don't do...
She lets that hang. A lot of history here. Quiet, hurt --
she wants Reed to fight for her, to show some emotion.
REED
I...I...I just wanted to --
As Sue's emotions swirl, she slowly...disappears.
SUE
It's been two years, and all you can
say is you're happy for me and some
other guy...
(standing up, hurt)
You know, Victor may be a lot of
things, but at least he's not afraid
to fight for what he wants...
(Reed looks down)
And it's nice to be wanted sometimes.
To be heard...seen... Reed, look at
me.
He looks up...but all that's left of her is the blush on her
cheek and her bewitching eyes. He drops his fork, shocked.
REED
Uh, Sue...? I can't.
SUE
What? What do you mean you --
REED
Sue...look at your hands.
She raises her hands, but we don't see them. We only see a
medical waistband...floating. Her watch...floating. Her
clothes appear to be suspended in mid-air.
Sue is invisible. She shrieks and gets up -- knocking a
GLASS off the table...
SLOW MOTION: The glass flies off the table, tumbling... Reed
instinctively reaches for the bottle: his arm stretches two
feet out of his sleeve -- grabs it just before it hits --
Then snaps back into place. Reed stares at his arm in
disbelief. Sue's eyes widen as well. The rest of Sue
reappears. They look at each other: mutual alarm.
JOHNNY (O.S.)
You guys will not believe what just
happened!
They look up to see JOHNNY in the doorway, NAKED except for
the nurse's PINK PARKA wrapped around his midsection.
INT. VON DOOM COMPOUND - VICTOR'S OFFICE - EARLY EVENING
CLUNK. The candles burn low on the table. Victor strides
out, heading for the door. He runs his hand through his hair
to comb some strays. A CLUMP comes off in his fingers. He
PAUSES. He steps to a mirror, stares at his hair. His SCAR.
It is longer than the bandage now (as if it SPREAD). Victor
peels back the bandage, and sees the scar is bluish-gray.
Deep, unhealthy, maybe infected...
INT. VON DOOM COMPOUND - HALLWAY - EARLY EVENING
DOUBLE DOORS burst open. Reed, Sue, and Johnny urgently
walk.
SUE
It has to be the cloud. It's
fundamentally altered our DNA.
REED
Let's not jump to conclusions, we need
a massive amount of evidence before
making that leap.
Reed glances over his shoulder. He stares. Sue follows his
gaze to see: Johnny's FINGERTIPS are on fire. He SNAPS his
fingers. They GO OUT. He's totally unharmed.
JOHNNY
Now what is up with that?
REED
(deadpan)
The cloud has fundamentally altered
our DNA.
JOHNNY
Cool. What'd it do to you guys?
SUE
Apparently I can disappear.
JOHNNY
Please tell me you go silent too.
Only one thing on Reed's mind --
REED
We have to find Ben.
EXT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING
Johnny snaps his fingers -- which generate small explosive
bursts of flame. He turns it on and off, like the "CLAPPER."
JOHNNY
Flame on, flame off. Flame on, flame
off --
SUE
Johnny.
He does it again. Flame on, flame off.
SUE (CONT'D)
Stop it.
JOHNNY
Okay, "mom."
Reed's about to knock on Ben's door when he hears the
banging, moaning and pleading inside. Johnny smiles.
JOHNNY (CONT'D)
Oh, you dawg you. Better not be my
nurse!
INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING
REED (O.S.)
Ben, are you there?
A creepy rippling movement begins beneath the sheet and
gradually intensifies, reflected in the fabric's surface: the
contours of Ben's body are changing, inflating, growing rough
and craggy. SOUND of grinding heavy rocks.
SUE (O.S.)
Open up Ben, we need to talk.
It all stops. A beat, then all four legs of the bed give way
and it crashes to the floor. Under the covers, he groans in
pain, and his voice is DEEPER, GRAVELY, but definitely CLEAR:
BEN
LEAVE ME ALONE!!!
INT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING
Reed decides they can't wait any longer. He kneels to the
floor. He concentrates, not sure if it will work...
Suddenly, his arm STRETCHES, THIN ENOUGH TO CREEP UNDER THE
DOORJAMB.
INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING
Reed's arm wriggles under the door. It bends upward, swiping
clumsily, until it finally grabs the knob. Rubbery fingers
find the latch and unlock the door.
INT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING
Reed focuses, and pulls. His arm snakes out from under the
door and snaps back into place. His flesh and bones
reforming before their eyes. Johnny stares at Reed.
JOHNNY
Ewwwwwwww. That is disgusting.
They hear a tremendous SMASH from inside the room.
INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING
They open the door. The room is trashed. Every stick of
furniture smashed to splinters.
REED
...Ben?
Their eyes adjust; there's a huge hole where the window used
to be. They rush to it. Looking out they see SOMETHING
LARGE in the distance, running away.
JOHNNY
What is that thing?
SUE
I think that thing is Ben.
Reed looks out, emotions roiling. Is that his best
friend...? Suddenly, Victor comes around the corner (bandage
bigger).
VICTOR
What's going on?
SUE
Victor, are you feeling alright?
He considers, but never shows weakness. He nods.
VICTOR
Just a little banged up. A couple
scrapes. Why?
REED
Ben did this.
VICTOR
Ben did this?
REED
He's had some kind of...reaction to
exposure from the cloud. And he's not
the only one.
SUE
We need to find him.
Victor redirects his attention to Sue.
SUE (CONT'D)
Victor, I'm sorry I --
VICTOR
(cold)
Just find him.
Victor strides off, leaving the others.
JOHNNY
Anybody know where the big guy's
going?
We PUSH IN on a picture of Debbie lying on the floor, Reed
knows exactly where Ben is going.
REED
He's going home.
EXT. TRAIN YARD - NIGHT
A view from Brooklyn: Manhattan glistens in the distance.
CAMERA MOVES down to A TRAIN YARD, where we find empty cargo
trains. We PUSH IN on the main track, where...
A CARGO TRAIN has just stopped. We hear a cargo DOOR slide
open, then WHUMP! Big FEET hit the ground. Someone, or
someTHING barrels into the night.
EXT. BIG & TALL SHOP - NIGHT
A locked storefront on Flatbush Ave. SOUND of breaking
glass.
INT. BIG & TALL SHOP - NIGHT
SERIES OF SHOTS: Ben tries on clothes, shoes. Jackets rip,
shoes split. He needs an extra extra extra large.
EXT. PAY PHONE - NIGHT
A HUGE FIGURE is huddled in shadow. It's Ben.
CLOSE ON: The dial pad. Big fingers try to push keys but
they're too large. Ben tries for a few seconds, getting more
and more frustrated. He manages to press "0" with his pinky.
BEN
Hello, Operator?
Ben looks up the street, into the 2nd story window of a
modest, working-class home. His eyes go soft when he sees
Debbie grab the phone.
BEN (CONT'D)
Deb... It's me. I need you to step
out front.
DEBBIE
Out front? You home, baby? I got
a surprise for you.
He blinks hard. Sad, dark.
BEN
I got a surprise for you too.
EXT. BROOKLYN HOUSE - NIGHT
Debbie steps out. There is "WELCOME HOME" sign over the
door. She looks out. The wind blows softly. Something
shifts in the darkness. Debbie pulls her robe tighter.
DEBBIE
Ben?
BEN (O.S.)
Don't come any closer for a sec. This
is gonna be kind of a shock... You
remember when we said "together
forever no matter what"?
DEBBIE
Baby, you're scaring me.
A hanging beat. And Ben...steps into the light, where we SEE
HIM FOR THE FIRST TIME: he's HUGE, easily twice the size he
once was, and AN ORANGY ROCKY SURFACE COVERS HIS ENTIRE BODY.
Debbie sees him. Fear washes over her, not sure what to
think. He reaches out, a little tentative. She flinches
back.
DEBBIE
Oh my G-g-g. What did you...do to
Ben?
BEN
Deb, it's me. It's still me.
He reaches out. She recoils. It's too much for her. Tears
swell in her eyes. Covering her mouth, she backs away.
He takes a step closer. She backs away faster, tripping over
her robe, falling into the street. A car screeches to a
halt. Ben instinctively steps out to help, but she scurries
back.
DEBBIE
Don't...don't...DON'T TOUCH ME!
Her shout wakes NEIGHBORS. Lights flicker on. Ben knows he
has to go. He looks at Debbie, sensing this is the last time
he'll see her. She trembles, terrified. His eyes go moist.
BEN
I love you, Deb.
With that, he turns away. The "WELCOME HOME" sign flutters,
falls to the ground. A tragic tableau. As more lights go on
around him, Ben picks up his pace, speeding into the dawn.
INT. VICTOR'S COMPOUND OFFICE - DAY
Victor packs a monogrammed Armani briefcase: "VDM" emblazoned
on a gold plate. Leonard waits not-so-patiently.
VICTOR
Make sure you find Ben, bring him back
here. And keep it quiet. I don't
need this to hit the press.
LEONARD
Yes sir. You've got the Mayor at
eight, then a nine-thirty interview
with the Journal --
VICTOR
Front page?
LEONARD
Top left, like you asked.
(a smile)
Today Wall Street. Tomorrow, who
knows...maybe Washington.
Victor turns to Leonard, disappointed with him.
VICTOR
Leonard. Think bigger.
EXT. BROOKLYN BRIDGE - DAY
We swoop toward this epic monument. On a steel girder above
the road, we see...a STATUE. BEN. He sits on the edge of
the beams, staring down at the river below, brooding,
muttering.
BEN
A few days in space, it'll be great,
what's the worst that could happen?
A PIGEON flutters past him, and drops a white gooey gift on
his shoulder. Ben just glares up at the heavens.
BEN (CONT'D)
Perfect. Thanks.
He hears the sound of someone SOBBING. He turns to see...a
distraught BUSINESSMAN with a briefcase. The man drops his
case, which PLUMMETS hundreds-of-feet into the RIVER.
The Businessman looks out, ready to jump. He doesn't see Ben
(or doesn't realize Ben is not a statue).
BEN (CONT'D)
You think you got trouble? Take a
good look, pal, how bad could it be?
The Businessman looks at Ben, terrified. Ben steps forward.
BEN (CONT'D)
Okay, easy there, buddy.
Backpedaling, the man SLIPS, FALLING toward the ROADWAY! His
arms flail, grabbing a narrow beam -- his fingers hold tight
while his legs thrash over speeding traffic. Cars and trucks
SKIM right underfoot. Ben shakes his head.
BEN (CONT'D)
You had to choose my spot, didn't you?
Ben steps out to help, but...his WEIGHT BENDS the beam! The
Businessman LOSES HIS GRIP! He FALLS TO THE ROAD, landing
hard on the highway! A few PEDESTRIANS see Ben. They point.
Ben looks up, deer in headlights. He sees a massive TRUCK
bearing down on the Businessman.
BEN (CONT'D)
This is really not my day.
Ben DROPS to the street. WHOOMPF! He lands in front of the
Businessman, SWEEPS him out of the way with one arm, and
turns to the oncoming 18 WHEELER CAB.
The DRIVER slams his brakes, eyes wide. The truck SWERVES,
but cannot stop! Time slows to syrup, as Ben looks a little
scared. He shuts his eyes, and...
SHOULDER-BLOCKS the INCOMING TRUCK! A football move. The
truck BUCKLES, POPPING a WHEELIE, CRUMPLING all the way to
the windshield! It looks like a metal car-compactor.
The truck SWERVES hard, its tail SMASHING into steel girders.
CARS SCREECH, SWERVE, SLAMMING INTO EACH OTHER, CAUSING A
FOUR-LANE TRAFFIC ACCIDENT! Windows shatter, fires flicker.
One of the cars in an NYPD CRUISER. COPS clamber out.
EXT. CAB ON HIGHWAY - DAY
Reed, Johnny, and Sue sit in the back. They see the action
on the bridge. Reed and Sue lock eyes, sensing the worst.
EXT. BROOKLYN BRIDGE - DAY
Ben stands in the middle of the chaos, staring at the
destruction. He sees the tow-truck DRIVER bleeding, trapped
in his cab. Ben moves to this burning hunk of steel.
He SWIPES through the shattered window, and PUNCHES the
airbag, POPPING it like a kid's balloon. He tries to grab
the seat-belt, but his fingers are TOO BIG. He struggles.
BEN
A little help here?! You wanna hit
that button, sir?
The driver is too woozy. Ben can't get to the button.
Frustrated, he simply TEARS OFF THE DOOR, and RIPS THE
DRIVER'S SEAT right out of the cab! COPS round the corner.
They see Ben holding onto the Driver. They raise their guns.
COP
FREEZE! PUT THE MAN AND THE SEAT
DOWN!
Ben looks at the cops. PEDESTRIANS stare, point. He
realizes how this must look -- a monster holding a bloody man
in hand.
EXT. BROOKLYN BRIDGE - APPROACH - DAY
At the back of the traffic jam, cars SCREECH to stops. The
whole bridge is FULL of bumper-to-bumper traffic. We PUSH
TOWARD one car: three doors pop open, and out come...
REED, JOHNNY, SUE. They look through smoke and mayhem to
see...their first full look at Ben. Reed stands gutpunched.
JOHNNY
Not even Ben deserves that.
EXT. BROOKLYN BRIDGE - DAY
Ben puts the seat down, with the Driver on it. He lunges
behind a truck. The cops try to follow, but FLAMES push them
back. Ben lurches away, head down, self-conscious.
He tries to hide from ONLOOKERS around him and PEDESTRIANS on
walkways overhead. He wants to escape, but hears SCREAMING
MOTORISTS. He grits his teeth, and moves to help them.
EXT. BROOKLYN BRIDGE - GRIDLOCK - DAY
Reed, Sue, and Johnny race toward the flames. All other
people head in the OPPOSITE DIRECTION. BRIDGE POLICE herd
the crowd away from the accident.
BRIDGE COP
Back! We're evac-ing the bridge.
Reed, Sue, and Johnny slow down, swap glances.
SUE
What now? Reed...? What do we do?
MOVE IN ON REED. A first test of leadership. But he is not
a leader. Not yet. Sue gets closer to him.
SUE (CONT'D)
Ben's out there. Let's go get him.
BRIDGE COP
Maybe you didn't hear me. Those cars
are gonna blow sky high, any second.
REED
Look, we've got a friend out there in
trouble. We need to get to him before --
BRIDGE COP #2
Nobody gets past this point.
A hard beat. Reed signals Sue with a look, a nod.
SUE
What?
REED
(mutters)
We need to get past them.
He motions to her body. She understands. She concentrates,
and starts to turn invisible.
BRIDGE COP #1
What the hell is this? A magic show?
But her clothes don't go invisible. Beat. Reed mutters:
REED
Sue. Your clothes. Lose them.
SUE
What...?
(realizes)
Oh.
She unbuttons her blouse. Not thrilled with the idea. She
wriggles out of her pants. Down to her skivvies. She
reaches back to undo her bra...momentarily loses
concentration and becomes visible. The sight of Sue in her
undies grabs the COPS' attention. Everyone watches, stunned.
The realization that she's visible hits her like a ton of
bricks. Cops are transfixed. So is Reed.
JOHNNY
This is wrong in so many ways.
REED
You've been working out.
SUE
Shut up.
Sue
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