Battlefield Earth
Executive Summary
Poster
Overview
Genres: Action, Science Fiction, Drama, Thriller, Adventure, Sci-Fi, Fantasy, Horror
Setting: Not specified, but likely a distant future, A mountainous region with a barren and desolate landscape, a deserted town, and a domed city.
Overview: Battlefield Earth is a sci-fi adventure that follows Jonnie, a young man who sets out on a journey to find a better life for his tribe. Along the way, he encounters a group of aliens called the Psychlos who have enslaved humanity. Jonnie must use his intelligence and courage to fight back against the Psychlos and lead his people to freedom.
Themes: Resistance, Human resilience and adaptability, The importance of unity, Defiance of authority, The power of love, The importance of sacrifice, The dangers of technology, The importance of hope
Conflict and Stakes: The primary conflict is between the humans and the Psychlos, an alien race that has invaded and enslaved Earth. The stakes are the survival of humanity and the fate of the planet.
Overall Mood: The overall mood of the screenplay is one of tension, suspense, and hope. The constant threat of the Psychlos and the struggles faced by the humans create a sense of urgency and danger.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene, where Parsonstaffer delivers his sermon and the tribe cowers in fear, establishes a dark and oppressive mood.
- Scene 5: The scene where Jonnie and Rock escape from the shopping mall, pursued by the Psychlos, is filled with suspense and action.
- Scene 10: The scene where Jonnie confronts Terl in the security headquarters is a tense and emotional moment that showcases the power struggle between the two characters.
- Scene 15: The final battle scene, where the humans fight back against the Psychlos, is a thrilling and hopeful moment that provides a sense of catharsis and closure.
Standout Features:
- Unique Hook: The film's unique blend of science fiction and Western genres, creating a fresh and exciting cinematic experience.
- Stunning Visuals: The film's stunning visuals, including the desolate landscapes, the advanced alien technology, and the epic battle scenes, would create a visually captivating experience for audiences.
- Strong Characters: The film's well-developed and relatable characters, each with their own motivations and struggles, would draw audiences into the story and make them invested in the characters' fates.
- Relevant Themes: The film's exploration of relevant social and environmental issues, such as oppression, resistance, and the struggle for survival, would resonate with audiences and give the film a deeper meaning beyond entertainment.
Comparable Scripts:
- Avatar
- District 9
- The Martian
- Interstellar
- Arrival
- Edge of Tomorrow
- Independence Day
- Dune
- Star Wars
- The Hunger Games
Writing Style:
The screenplay features a blend of styles and influences across different scenes, resulting in a diverse and engaging writing style overall.
Style Similarities:
- Christopher Nolan
- Philip K. Dick
- George Miller
- Michael Bay
- Cormac McCarthy
Pass/Consider/Recommend
Consider
Explanation: The screenplay for 'Battlefield Earth' has several strengths, including its ability to build tension and suspense, use effective dialogue, and create engaging action sequences. However, there are also areas where the screenplay could be improved, such as providing more specific details about the monsters, adding depth to the characters' emotional journeys, and ensuring a more consistent pace throughout the story. Overall, the screenplay has a compelling narrative with interesting characters, but it would benefit from further development to enhance its overall impact and coherence.
USP: This action-packed sci-fi adventure takes you on a captivating journey where humanity fights to survive against monstrous beings and oppressive alien overlords. Join Jonnie, a brave and resourceful protagonist, as he embarks on a perilous quest for a better life. Along the way, he'll encounter a diverse cast of characters, face thrilling challenges, discover advanced technology, and grapple with thought-provoking moral dilemmas. Through Jonnie's extraordinary journey, this script explores the complexities of survival, the indomitable spirit of humanity, and the ultimate battle for freedom. Immerse yourself in a unique world where vivid descriptions, intense action, and emotional depth collide, captivating you from the first page to the explosive finale.
Market Analysis
Budget Estimate:High, potentially in the range of $100 million or more
Target Audience Demographics: Adults and young adults interested in science fiction, action, and adventure.
Marketability: The screenplay has a compelling and timely story, strong characters, and stunning visuals that have the potential to captivate audiences.
The unique blend of science fiction and Western elements, as well as the exploration of important social and environmental issues, could appeal to a wide range of viewers.
The film's focus on female empowerment, diversity, and the struggle against oppression could resonate strongly with audiences seeking meaningful and inclusive stories.
Profit Potential: High, due to strong commercial appeal and potential for critical acclaim
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by vivid descriptions, a focus on internal and external challenges, and thoughtful dialogue that drives the narrative forward.
Best representation: Scene 21 - Preparing for Relocation. Scene 21 effectively showcases the writer's voice through its evocative descriptions of the Denver Public Library, where Jonnie and Terl engage in a tense encounter. The dialogue is sharp and thought-provoking, highlighting Jonnie's determination and Terl's manipulative nature. The scene also serves as a turning point in Jonnie's journey, as he must confront the harsh realities of the Psychlo occupation and make difficult choices to survive.
Memorable Lines:
- Jonnie: Save you ever seen a monster? (Scene 1)
- District Manager Zete: We'll be doing the universe a favor by exterminating the whole lot of them once we finish mining-out their miserable little planet. (Scene 7)
- Terl: There is no way a species as primitive as yours could defeat us. (Scene 24)
- Terl: Stupid humans. (Scene 25)
- Mickey: I know I'm going to die. But so are you. (Scene 42)
Characters
Jonnie:A young woman from a native tribe, characterized by her determination, leadership skills, and compassion.
Chrissy:A courageous and resourceful young woman who is Jonnie's friend and love interest.
Parsonstaffer:A religious leader who preaches fear and superstition, warning of monsters and demanding obedience.
Carlo:A skilled hunter and tracker who initially distrusts Jonnie but later joins her cause.
Rock:A loyal friend of Jonnie and Carlo who helps them escape from the Psychlos.
Terl:A cunning and ruthless Psychlo security chief who becomes Jonnie's primary antagonist.
Mickey:A kind and intelligent man who sacrifices himself to save his friends and destroy the Psychlos.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Preparing for the Unknown | Reverent, Defiant, Tense | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
2 - Jonnie's Farewell and Journey | Tense, Emotional, Exciting | 8 | 7 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | |
3 - Encounter in the Mall | Suspenseful, Menacing, Mysterious, Intense | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
4 - Escape from the Roof | Intense, Suspenseful, Terrifying, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 7 | |
5 - Capture and Transport | Tense, Suspenseful, Dramatic, Thrilling | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
6 - Jonnie's Escape | Intense, Suspenseful, Dramatic | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 7 | |
7 - Arrival at the Denver Mining Site | Dark, Intense, Suspenseful | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
8 - Branding and Rebellion | Intense, Dark, Suspenseful, Violent | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 7 | |
9 - Resistance Amidst Oppression | Intense, Dark, Suspenseful, Violent | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
10 - Betrayal and Manipulation | Suspenseful, Intense, Dramatic, Tense | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | |
11 - The Riderless Horse | Tense, Suspenseful, Dramatic, Dark | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
12 - Escape and Intrigue | Intense, Suspenseful, Dramatic, Dark | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
13 - Terl's Manipulation: Framing Ker | Suspenseful, Intense, Dramatic, Intriguing | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 7 | 8 | |
14 - Leverage and Control | Suspenseful, Intense, Dark, Foreboding | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
15 - Escape to the Abandoned Ski Chalet | Intense, Suspenseful, Dark | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 8 | |
16 - Desperation on the Mountain | Intense, Suspenseful, Dramatic, Violent | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
17 - Terl's Deception | Suspenseful, Intense, Deceptive, Conspiratorial | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 9 | 7 | 8 | |
18 - Capture and Painting | Intense, Suspenseful, Dramatic, Dark | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | |
19 - Learning Machine Encounter | Tense, Suspenseful, Dramatic, Intense | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 7 | 7 | 9 | 8 | 7 | 8 | |
20 - Confrontation in the Supply Closet | Intense, Suspenseful, Confrontational, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
21 - Terl's Library Tour | Menacing, Amused, Ominous | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
22 - Preparing for Relocation | Dark, Intense, Violent | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
23 - Confrontation in the Field | Tense, Intense, Dramatic, Hopeful | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 7 | |
24 - Terl's Warning | Intense, Suspenseful, Menacing | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | |
25 - The Sacrifice | Dark, Intense, Suspenseful | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | |
26 - Terrifying Torture and a Secret Agenda | Dark, Intense, Suspenseful, Emotional | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
27 - Assistant Planetship's Treachery Uncovered | Suspenseful, Dramatic, Intense, Dark | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
28 - Victory and Peril | Tense, Desperate, Resigned, Hopeful | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
29 - Whispers of Resistance | Intense, Suspenseful, Dramatic, Dark | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
30 - Dangerous Mission | Tense, Suspenseful, Dramatic, Intense | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
31 - Preparing for Revolt | Intense, Serious, Hopeful, Grim | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
32 - Rescue at Fort Knox | Intense, Suspenseful, Dramatic, Hopeful | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
33 - The Plan to Retake the Planet | Intense, Determined, Suspenseful, Hopeful | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
34 - Preparations for the Final Mission | Suspenseful, Intense, Dramatic, Dark | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
35 - The Trade | Tense, Hopeful, Emotional, Suspenseful | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
36 - Terl's Revenge | Suspenseful, Intense, Dark, Dramatic | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | |
37 - Escape from the Zoo | Intense, Suspenseful, Dark, Violent | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 7 | |
38 - Rebel Ambush and Counterattack | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
39 - Confrontation at the Teleportation Field | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | |
40 - The Shattered Dome | Intense, Suspenseful, Dramatic | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
41 - The Final Showdown | Intense, Suspenseful, Dramatic, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
42 - Sacrifice and Redemption | Intense, Suspenseful, Dramatic, Hopeful | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 9 | 8 | 9 | 8 | 7 | 8 |
Scene 1 - Preparing for the Unknown
REGION -- DUSK
The sky glows deep crimson as the sun starts to sink below the
horizon, casting shadows over •••
A small group of native people, clad in animal skins, congregat
outside a remote cave. Their heads reverently bowed, while--
PARSONSTAFFER
And the monsters descended from the sky,
raising a great cloud of dust killing
all men, but for a very few •••
Bis gaze sweeps across the youngsters, drilling into their heads
PARSONSTAFFER (cont'd)
As survivor~, we must
dedicate our lives
to pleasing the gods, so they may return
and drive away the monsters.
Turns a sharp eye back to Jonnie, but still addressing the child
PARSONSTAFFER (cont'd)
.~nd arrogance does not please the gods.
Bis rugged frame clothed in a puma hide, a kill-club hanging frOll
his belt. And although only nineteen, JONNIE, already has the
look of someone who has already overcome a lifetime's worth of
adversitv. Be immediatelv turns to Chrissv. ·
PARSONSTAFFER
Finishes chanting up to the heavens.
PARSONSTAFFER
••• May you chase away the monsters and
lead 'JS back to the lands of plenty.
The clan c~oses ~heir eyes in silent prayer. All except for--
cmussy
aer teenage cc~ntenance offset by the maturity in her strong dark
eyes.
EXT. CAVE-- A LI'ITLE :..ATER
The parson shakes his head as Jonnie secures an animal-skin sleep
roll and extra kill-cl~s to h~s snow-white horse, WINDSPLI'l'TER.
PARSON.STAFFER
This is not what your mother wanted.
The parson's ancient face burns with religious fury as he drills
his stare into Jonnie.
JONNIE
My mother wanted what was best for the
tribe. And as long as we stay here,
there will barely be enough to eat.
eewv::r·-··
JONNIE (cont'O)
While there may be other places~ could
live where the food is more plentiful.
PARSONSTAFFER
It is true that food is scarce, and
everyone appreciates your desire to help,
but I can't help wonder if there isn't
.more to why you want to go out there •••
Be lets that hang there,
then gives Jonnie a pointed look--
PARSONSTAFFER (cont'd)
But all it would take is for one monster
to see you, and follow you back, and we
would all be struck down.
Jonnie meets his rage with ca.l.n, dzter=.ina~ion.
JONNIE
Save you ever seen a monster?
Be turns to the rest of the clan, challenging--
JONNIE (cont'd)
Bas anyonehere ever seen a monster?
And if he has any doubt in his voice,
---
Jonnie does a good job of
hidinq it. Be hoes onto Windsclitter and takes off---
Ratings
Scene 2 - Jonnie's Farewell and Journey
u Jonnie
CBRISSY
heads down the· hill, turning a bend·, where--
Sits waiting for him on her horse, which like Windsplitter, is
loaded with an animal-skin sleeping roll and kill-clubs.
Jonnie smiles, impressed by Chrissy's mettle. But shakes his
head.
JONNIE
tfinishing hll thought)
--I think you can handle yourself better
than most men••• Which is why·you must
stay and look after your younger
brothers.
Chrissy looks at him, chagrined. It's hard to argue with that.
A tough beat. Nothing left but to say good-bye •••
And finally, struggling to keep her face a mask, Chrissy removes
a shiny MEDALLION hanging from her neck.
CHRISSY
This was given to me by my father when he
died. Be received it from his father.
(trying to hold
back the emotions)
I'm not giving it to you. I'm lending
it. So, you better not let anything
happen to you out there •••
She places the medallion around his neck, their bodies close
not touching. So much not being said •••
The tribe's children race alongside Jonnie, excited by the
adventure he's going on. But secretly terrified by the death
they've been taught awaits him •••
The young ones obediently stop at the bridge. They will not
cross it. But Jonnie does, leaving the'tribe behind.
Chrissy's mask starting ~o crack as she watches him disappear
The first of the tears escaping down her cheeks.
EXT. VALLEY-- DUSK
As night falls, Jonnie rides across wide open plains. Bis eyt
t~nse, seai:ching the gathering darkness for the first sign of
And he suddenly freezes. Seeing his first ever •••
STAR
Bovering majestically overhead. Soon joined by other stars.
Jonnie stares up in wonderment at these heavenly lights.
EXT. PRAIRIE -- SeyERAL
DAYS
LATER
Jonnie steals through the grass, throwing his kil~-club with
blurrinq speed at an unsuspectinq ANTELOPE.
EXT. FOREST-- DAYSLATER
Jonnie rides through a grove of conifer trees, the strips of
dried meat now hanging from his sleeping roll, when he suddenl
stops windsplitter and silently dismounts--
careful not to make the slightest sound, Jonnie slips behind c
ROCKFORMA1'ION
Pulling his kill-club, Jonnie carefully peers out through a th
tangle of brush,
EXT. TOWN
-.. DAY
Jonnie and Windsplitter move through a deserted housing develo
passing TREES which grow up through the sidewalks and streets.
A faded piece of PAPER flutters by. Jonnie picks it up.
Be can just make out a picture of a woman in a bra. The first
time Jonnie has seen a photo, let alone women's undergannents.
More paper litters the ground nearby. Jonnie heads to them,
passing a rusted TRAIN abandoned on its tracks.
Windsplitter abruptly stops. Nostrils flaring. Eyes on a BOO
The door knocked off its hinges. Windows shattered. Jonnie
pulls his kill-club and silently shoos Windsplitter away.
Kill-club at the ready, Jonnie cautiously approaches the house,
when suddenly--
A WU:ZZLY BEAR
Rockets out the front door, barreling after--
Jonnie, .who bolts away, desperately trying to outrun his dez
pursuer. Seeking higher ground, Jonnie races to the--
Train, and scrambles up the side of a rail car, then spins l
Ratings
Scene 3 - Encounter in the Mall
:1
The grizzly has stopped chasing him and turns back to her ct
who scamper out of the house to Dlav in the front yard.
MALEVOICE (O.S.)
Good thing she already had her lunch--
Jonnie whirls around with club raised. Coming face to face \
TWO MEN
The one doing the talking, CARLO,is wiry and intense-lookin~
In contrast to his 'built-like-a-brick-shithouse' companion,
we'll call ROCltfor obvious reasons.
But the thing Jonnie probably notices first about the men art
SPEARSthey bo1m have ·aimed at his chest. · ·
carlo motions to the kill-club _in Jonnie's hand.
CARLO(cont'd)
We mean
you no hum, if you mean us no
harm.
Jonnie slowly lowers his weapon, but remains on gu~.
Rock silently d.irec~s his partner's attention to--
WINDSPLI'l'TER
Who grazes near the train, waiting for Jonnie. Both men tak1
note of the antelope-meat Windsplitter carries.
Carlo turns a friendly eye back to Jonnie.
CARLO
You have been fortunate in the hunt.
You should thank the gods.
JONNIE
If I ever see one, I will.
EXT. GROUND NEXTTO '!'BE TRAIN -- MOMENTS
LATER
Jonnie hands strips of dried meat to Carlo and Rock, who
reverently bow their heads, holding the food up to the heaveni
CARLO
The monsters lilce to hunt in the dark.
We better find shelter •••
EXT. SHOPPINGMALL-- A LITTLE LATER
The snow really coming down now. Windsplitter follows our trio
through a white carpeted parking lot, taking shelter inside a--
INT. SHOPPINGMALL-- CONTINUOUS
A brightly decorated plastic CHRISTMASTREE stands among the rea:
trees growing up through the floor. A CD of SILENT NIGBT loops
endlessly from the few speakers in the mall that still work.
STORE-- SECONDFLOOR-- A LITTLE LATER
INT. DEPARTMENT
Our trio head into a department store, but Carlo and Rock freeze
their tracks with sickened expressions.
CARLO
••• Whatever those poor bastards did,
they must have really angered the gods.
Rock silently nods, appalled by the sight of--
lying
MANNEQUXNS broken on the floor. Many of these •frozen
people' missing limbs, not to mention their genitalia. Nearby ••
Jonnie stands, curious, in front of a large plate-glass window tl
makes up an entire wall. Outside, he can see the snow falling, l
when he tries to touch it, an 'invisible force' keeps stopping h:
-.I
ltABI.AM1
In a sudden flash of light, Carlo is hurled back off his feet.
Bis body crashes hard to the ground, twitches once, then falls
deadly still.
And out of the shadows behind Rock steps a truly nightmarish
figure. Like the parson's drawing of the monster, but worse •••
over nine feet tall with glowing amber eyes. Razor sharp talons
on his claws. Thick bone-like structures for eyebrows and lips.
The PSYCBLOaims his BLAST-GUN dead center on Rock and fires--
As Jonnie's KILL-CLUBflies through the air--
ltnocking into the firing weapon, causing the shot to go wide.
Jonnie and Rock take off through the store, bolting through a
maze of aisles which lead them through a doorway--
Ratings
Scene 4 - Escape from the Roof
Our guys sprint up the stairs. The sound of deadly pursuit
getting louder behind them as they burst out onto--
EXT. ROOF-- CONTINUOUS
The only way off the two-story building is to jump. And the
frozen ground below doesn't make thi!! too appealing an option.
.......
- - .
But with the Psych.lo rushing through the doorway behind them,
Jonnie and Rock throw themselves off the side of the building--
EXT. SNOWCOVDED GROUND-- CONTINUOUS
Jonnie hits the ground, rolling to his feet--
Rock isn't as fortunate and lands at a bad angle, SNAPPINGhis
on impact. He tries to climb to his feet, but the broken leg
buckles, sending him collapsing back to the snow.
Jonnie turns back to help him--
Be gives a loud whistle and •••
EXT. SHOPPINGMALL-- CONTINUOUS
Windsplitter gallops out of the mall. ·Booves churning up a fll
of snow as he races to Jonnie--
The Psychlo pauses to look down at •••
. ROCK,who trembles in terror. Pleading to the stars overhead-·
. ROCK
••• Belp me please. ·I have l.ived a ·
devoted life •••
But the twinkling lights seem indifferent to his plight.
Jonnie watches helplessly as the Psychlo slams down a lever on
the side of the gun, then aims it down at Rock. KABBLAMJ
A ~aping hole bl~_throu~h Rock's_chest .
...
.. on -·
.. _e s ~-__ -~~ ~ e-c·
......... ...
~r\
_.., r-o .....o~• ,.-..i
_ n ..... ... .. so 1;-
,·""a· ...- ..-e-.,,. ..e
:.: _
~;...r:a~, ....
..y gathers
~he =eins, and :enos -~:~ -~e saadl&. ~eady :o ~ide.
Anc ~!1en ~.e sees •..·nat _ooKs :..:i<e :.;:sect. Thirty :eet :.ong and
-:.e:--. :ee~ t.:...;:-.,:·,,.;e_·:0 :ee1: ::de ::, side •. !\.nd srnoo-:.::. 3itti.ng
.s~arely ::.n t:1e ~.:..ad.:.e or t!1e wide ~ath.
:~ere·s an earsp~:tt:~g =oar!
:on~ie g~ances back, ~o where the ~hing rises three feet
aoove the ground. And ~eves :o.:ward.
;o~~:e passes one corner, ~hen another. The thing fAlling
behind.
He swerves tvindsplitter up a sidestreet, reaches another
corner and again t~r~es. He heads :or the open country.
He can hear the roaring of the thing somewhere beyond the
rubble. He listens, holding his breath. The position of the
roar changing. Shifting to the right.
The thing somehow blocks the street ahead of him and then
goes on, planning to come up behind him.
He is trapped. There is no panic in him now. He slows the
hard pounding of his heart. The thing to do is wait until the
monster is right in the street behind him-then go over that
barricade a fallen building had become.
He sidles Windsplitter back to get a good run.
The thing is roaring down the side oath behind him. Now it is
turning. He glances back. There it ls, wisps of smoke corning
out of its nostrils.
Jonnie put the heel to Windsplitter. ~e yanks.on the lead
rope.·
And sprints at the barricade. Rough and full of loose stones.
Dangerous.
Up they scramble. Rubble slides. But up they go. All the way
to the top. One glance back shows ...
.•. the thing rolling up to the very bottom of the barricade.
But he's over the barr:cade. ~e ~:-:s ~~e street before him at
a run and keeps ~~n~:~9.
Jonnie swerves -:::roug~ ~ cnE:cKerooard -::>f paths, edging to the
open country.
Further and further. ~he buildings thinning. Open country
between two structures to his right. He skids down off the
embankment and races for freedom. Windsplitter puffing.
He strains his eyes, watching.
There it is!
It slides out ~rorn among the buildings and starts straight
toward him.
ts-fl'E5W£F¥9"3:Ff"5:dGWE
And suddenly, there's a SHEET OF FLAME. Ahead ~f him the
right-hand building explodes apart. I~s t~p slides sl~wl¥th
down and into the street anead, blocking it. Spattere wi
dust, Jonnie hauls up short.
He puts the horse ·.:p to a run.
The thing not only closes the distance but starts to pass.
Jonnie swerves at right angles.
The thing banks into a turn and flashes by him, well ahead,
turns and blocks his way.
Jonnie pulls up. He turns around and began to run away from
it.
It let out a blasting roar, scorches by him and again stops,
blocking his way.
Jennie's face tightens into dete.nnination.
Thong solid on his wrist.
Walking Windspli tter, he moves up a.head of the thing. It
doesn't.move. He goes about a hundred feet.in front of the.
thing. It doesn't move. He carefully spots the position of a
slitted eye.
And whirls the kill club. And outs a heel to Windsplitter.
They race straight at the thing.
The kill club, carried with the full speed of the run~~ng
horse, whooshes down straight at the slitted eye.
The crash of impact is deafening.
Jonnie slows beyond the thing. :t had not moved.
He trots Windsolitter back to the original position, a
hundred feet in front of the thing. He turns and makes ready
for a second run.
He touches a heel. ',hndspl: tter ?:..unaes forwa::::-d.
And then a great gout of yellow blooms out from between the
eyes.
Jonnie is struck a blow like all the winds of Highpeak rolled
into one.
Windsplitter catches the full force of it. Up into the air go
horse and rider. Down they come with a shuddering crash,
against the earth.
IN THEDARKNESS:
There's an ethereal, almost otherworldly WAILING. Then a stab of
light and--
Ratings
Scene 5 - Capture and Transport
The shopping mall falls away below as we rise higher and higher
above it. Like a soul returning to heaven •••
But for some reason, we're looking down through prison-like BARS.
REVERSEANGLETO:
Jonnie's face. as he starts to come to. Disorientated, he looks
around. A handful of men stare back at him, each one trying to
hide how terrified they are. And PULLING BACKwe can see •••
Jonnie and the men are imprisoned in a cargo cage suspended from
the underbelly of a--
EXT. PSYCBLOAERIAL TRANSPORT
VEHICLE
Which climbs up vertically into the sky with engines wailing,
then rockets forward with impressive speed.
0 INT. CARGOCAGE -- CONTINUOUS
An icy wind blasts through the cage. But the cold is the least c
Jannie's concern as he spots Carlo lying motionless in the corneI
A pair of young, scrappy-looking twins, MICREYand SAMMY,give Jc
a reassuring look. They shout to be heard over the howling wind-
MICKEY
If the monster's fire-stick doesn't
make a hole in you, you go to sleep.
SAMMY
But you wake-up--
And sure enough, Carlo groggily begins to stir. Relieved to see
Jonnie. But then he looks around for Rock •••
INT. COCKPIT -- AERIAL TRANSPORTVEHICLE -- LATERTBAT DAY
The Psychlo banks the transport vehicle around a mountain,
revealing a massive TRANSPARENTDOMEcovering a large city below.
Getting closer, we can see Mile Bigh Stadium. And behind it, the
distinctive design of Denver International Airport •••.
EXT. DOME-- A LITTLE LATER
The vehicle hovers down, and with the sound of a magnetic field
disengaging, deposits the cage into the back of a flatbed truck.
INT. CARGOCAGE-- MOMENTS
LATER
The Psychlo lumbers in with box-shaped AIR-FILTRATIONUNITS, eacr
with a thin tube attached to it. Be starts to slide one of these
tubes into Jonnie's nose, but Jonnie knocks the creature's paw a~
The Psychlo growls, hurling Jonnie viciously across the cage--
JONNIE
Slams into the bars, sliding down to the floor, where the Psychlc:
unceremoniously jams the tube up Jennie"s nose.
EXT. DOME-- A LITTLE LA1'ER
The Psychlo drives the flatbed-.transport truck with the cargo cagi
it through an ENTRYPORT, complete with maDIDOthair-lock chambers
Jonnie studies everything with the trained eye of a skilled hunte;
INT. DOME-- CONTINUOUS
The dome covering Denver is so enormous, it has its own weather~
And right now, a dark drizzle falls onto the city, which looks
much like it does today, save for two things... ·
A g:;-imy layer of mining soot covers the place. And for some
reason, most of the buildings have been painted purple.
INT. TROCK-- DRIVER'S CABIN -- CONTINUOUS
The Psychlo removes ~he tube from his own nose and leans out the
window, taking a deep, _contented breath •••
INT. CARGOCAGE -- BACKOF TBE TRUCK-- CONTINUOUS
Jonnie experiments with removing his own tube ••• But he immediatel
has trouble breathing. Eyes going glassy. Be replaces the tube a
fast as he can. Carlo gives him a pointed look.
EXT. DENVERSTREET -- A LITTLE LATER
The sounds of HEAVY INDUSTRYfill the air as the truck turns down
street, passing a shift of PSYCELOLABORERStrudging off with lune
pails to go work in the mines and smelting plants.
INT. WAREHOUSE
COMPLEX--A LITTLE LATER
The Psychlo backs the truck up to a loading dock and BONKS.
Several GUARDShead over with a PROCESSINGCLERKas the Psychlo
"Buman-Slave Wrangler" swings open the cargo cage.
And now we can see that while this Psychlo is an imposing figure
at nine feet tall, he's actually a bit of a runt. The other
Psychlos are all a good foot or two taller •••
Including the clerk, who takes one look at Jonnie and the others
and drills a hard stare into the undersized Psychlo "wrangler".
- zee;a&UTET"
PSYCBLOCLERK
You're gone three days and you only
caught w of them?!
Ratings
Scene 6 - Jonnie's Escape
Jonnie studies the monsters closely, but from his P,o.v., all l
hears is an unintelligible machine-like clicking sound of theiz
alien language. Be turns a questioning eye to Carlo •••
INT. CARGOCAGE -- CONTINUOUS
And even though Jonnie doesn't know what the Psychlos are arguiz
about, he knows one thing. They're not paying him any attentioz
So he moves like a streak out the cage door. Carlo right ·behinc'
INT. WAREHOUSE
COMPLEX-- CONTINUOUS
But the wrangler isn't abou~ to lose any more of his 'cargo' anc
whirls, snatching Jonnie, then lunges for Carlo--
But Carlo manages to twist out of reach of the creature's talons
sprint away through the warehouse. The wrangler pulls his gun.
PSYCBLOCLERK
Don't kill it! We c_an' t use it if it ' s ·
dead--
The wrangler gives him a snide, 'Bow stupid do you think I am?',
look. Jonnie watches from the ground as--
The Psychlo slides a lever above the blast-gun's trigger-guard
into an up position. then takes aim and FI.RES--
Carlo is knocked flat as the blue-bolt slams into him. Bis body
lies motionless, but intact, on the ground.
The Psychlo holsters his fire-arm and scoops up Jonnie. Starts
to toss him back into the caqe but--
Suddenlyrealizes he's no longer in posse~sion of his gun,
Jonnie has the weapon. And is pointing it straight at him. The
wrangler sniggers. The same reaction from the other Psychlos •••
It's like a 'horse' has somehow picked up a gun with its hooves.
Only, Jonnie slides the weapon's lever into the down-position.
The wrangler is no longer laughing. Be reaches down, coaxing
Jonnie as if he was some kind of errant pet •••
PS~CBLOWRANGLER
Come on, boy. . • Gi -.,e me the gun •••
But Jonnie doesn't. So the wrc'ngler lunges for it--
JSABLAMJ
The Psychlo Wrangler stares, stunned at the--
FIST-SIZED BOLE
Blown through his chest. Be collapses, dead before he hits the
ground. The other Psychlos freeze in stunned silence. Then •••
Burst out in hysterical laughter. That has got to be the goddam
funniest ~ng they've ever seen.
With the monsters busy laughing, Jonnie makes a break for it.
Charging through the warehouse complex and out a doorway--
EXT. STREET-- OUT~IDEWAREHOUSE
-- CONTINUOUS
Where he barrels straight into--
'l'ERL
Who unlike the Psychlo laborers, wears a senior officer's unifor
adorned with impressive gold epaulets, denoting "Chief of Securi
Bis ever present assistant, KER, .can't help but snicker at them
collision has splattered over his boss's perfectly pressed attir
But Terl doesn't seem to find it amusing. Be shuts Ker up with·
quick look, then rips Jonnie off his feet--
CJ INT. WAREHOUSE
-- CONTINUOUS
Bolding the filthy 'man-animal' out at arm"s length, Terl marche
inside the warehouse, demanding to·know--
TERL
Who is responsible for allowing this
man-animal to run around unsupervised?!
The clerk immediately points to the dead wrangler.
CLERK
The man-animal shot the wrangler and--
TERL
--I'm a little pressed for time. Save
the 'going-away• jokes for later.
CLERK
No joke, sir. I swear. . The man-
animal somehow got his gun. • And when he
reached for it, the man-animal shot him.
The ot~er Psychlos nod, backing this up. Terl considers this,
then picks the blaster-gun up from the ground •••
And caJroJyhands the weaponto Jonnie.
TERL
(to the clerk)
Show me.
••• Sir?
TERI.
Reach for the gun.
CLERK
But sir. It might shoot me.
TERL
SurE:. It might I And I might
I • I I
suddenly grow a third arm.
CLERK
But I swear, sir, it shot--
Rapidly losing patience, Terl snaps--
TERL
--Any reports filed today still have
my name on it. And you' re out of your
skull if you think I'm going to write
·shot By Han-Animal· as _the cause of
death in the Security Field Report,
unless I see it with my own eyes.. .
. (end of discussion r . .
Thia isn't a request, it's an order.
Knowing he's treacling on dangerous ground, the clerk stares at Te:
CLERJC
••• But with all respect, sir, if I
follow that order, I may get killed.
Terl returns his stare without blinking.
TERI.
The regulations are quite clear.
. (dead serious)
If you refuse to obey the order, it's a
certainty that you will be killed
The clerk swallows hard, then turns to Jonnie and •••
Lunges for the gun, trying to grab it before--
lCABLAKJ
Jonnie blasts a hole through the clerk's chest
Terl stares in disbel~ef. But ~onnie's not finished. A bigger
Psychlo leaps up and charges. Roaring.
Jonnie stumbles backward.
~- t5 -3-- -
An enormous paw blurs in ~he air, coming at him. Talons rake
the side of his face.
Jonnie has the gun in position, and fires at the huge chest.
He punches blast after blast into it, driving him back.
Terl jerks the gun from Jonnie's hands, and sends a swipe
across his chest that sends him crumbling to the ground.
TERL
... Well,:'!! ~e ~a...m.r.ed.
Ratings
Scene 7 - Arrival at the Denver Mining Site
A lively joint wher~ a bunch of Psychlo laborers let off steam
playing LASER-BASB. Others consume libations while slapping and
pinching the asses of the female Psychlo wait-staff who pass by.
Terl plops onto a stool at the bar, but before he can order, he's
served a saucepan full of !CE.RBANGO,
a thick oily beverage.
BARTENDER
When the best security chief this planet
ever had is leaving, the least I can do
js buy him a pan of kerbango on the
house.
Terl's eyes slit in suspicion. The bartender shrugs, keeping his
voice casual as he continues •••
BARTENDER (cont'd)
And, of course, I'm sure our little
agreement is still in effect •••
( makir.g sure )
Now that you're leaving, that little
unfortunate incident won't somehow
'magically' appear in my file.
Terl helps himself to. a shot of kerbango, then explains--
TERL (cont'd)
As long as you provided me useful
information, I wouldn't file the report.
(matter-of-fact)
But now that I'm leaving this pitiful
excuse for a planet, you will no longer
be providing me with useful information.
The color drains from the bartender's face. Terl strolls off
chuckling, quite pleased with how fun that was .
.,--,
',
\ _)
INT. INDIGENOUS
LABORPROCESSING
CENTER-- CONTINUOUS
A PSYCHLO
TECHNICIAN,wearing rubber gloves and a germ mask over
face, uses laser-scissors to cut the animal skins off of Jonnie.
The skins get tossed into an INCINERATOR. The technician then
reaches over and yanks Chrissy"s medallion from Jonnie's neck.
Jonnie tries to grab it back, but the technician swats him away
like he was an insect, then holds up the object to see what was
so damn important to the 'llan-animal •••
..
And we can now see Ch=issy' s 'shiny' medallion is a SILVER ooLLA·
PSYCHLOTECHNICIAN
Anyone want this primitive little
trinket?
Nobody does. So the technician tosses it into the incinerator.
As Jonnie watches Chrissy's medallion get consumed by the flames
something deep and dangerous burns in his eyes.
~. DENVER MININGSITE -- CONTINUOUS
A long line of humans, chained to stakes like leashed dogs, hunc
a massive conveyor belt spewing out a const.ant discharge of crue
rocks. The humans separate out the OAR, which they place into--
. Psychlo-sized BASKETS, which wouldn't be too difficult for a
Psychlo to carry, but it's back-breaking work for the ~1unnns
hauling them across a large field to a ...
EXT. 'l'ELEPORTATION
PLATFORM
Psycblo Guards use rod-like devices to prod the slower slaves al
with sinister blasts of raw electricity.
A GROUND
CART
Glides by with Ker at the wheel.
Terl is in the rear, gazing at the humans with the indifference
someone might have driving past a dairy farm full of cows.
EXT. TELEPORTATIONPLATFORM-- THATDAY
With the platform loaded with baskets of ore, an ALARM sounds an
the Psychlos immediately don protective goggles and ear-plugs.
The humans have no such gear to protect them as •••
The BUMof large generators starts to fill the air. Growing
louder as they work-up to full power and there"s suddenly--
An EAR-SPLITTINGexplosion of sound and BLINDINGFLASBof light
as all the baskets of ore on the platform vanish.
A brief moment of quiet respite. Then the deafening roar and
blazing light happens again. And this time •••
EXT. TELEPORTATION
PLATFORM
-- MOMENTS
LATER
Bundreds of PSYCBLOLABORERSsuddenly appear on the platform,
along with--
DISTRICT MANAGER
ZETE
Who wears the finest of silk suits and carries a solid gold
briefcase. Terl and Ker quickly greet him •••
TERL
Welcome, your Excellency. As this
planet's senior security officer, it
would be my pleasure to expedite your
on-planet clearance through security--
But the District Manager isn't list~ning. Be's staring confused
through the transparent RockYmountains.
dome at the IDQW::CAPped
DISTRICTMANAGER
Does all of Earth look like this?
TERL
••• I'm afraid so.
0 I was told this
DISTRICT MANAGER
planet was ugly •••
Be peers up at a fluffy cloud drifting ac~oss a clear blue sky.
DISTRICT MANAGER (cont'd)
But it's got to be the ugliest crap-hole
in the entire universe!
TERL
I couldn't agree more, sir. Now if
you'll please follow me•••
Be finally manages to get the District Manager through security,
then seizes the opportunity to introduce Ker.
TERL (cont'd)
This is Executive-Assistant Ker. Be's
been fully trained to take-over as
Security Chief, so there'll be no
disruptions with my transfer--
Be takes one last sickened look at the humans, declaring--
DISTRICT MANAGER
We'll be doing the universe a favor by
exterminating the whole lot of them
once we finish mining-out their
miserable little planet.
Ratings
Scene 8 - Branding and Rebellion
A pair of Psychlo guards hold Jonnie down on a steel table as an
IDENTIFICATIONTECHNICIANpresses a--
SEARING-BOTIRON
Into Jennie's a.rm, branding him with an ID npmher. Jonnie stares
the technician in the eye, refusing to acknowledge the pain.
Amused, the technician digs the burning iron harder into Jannie's
flesh. Jonnie's eyes bulge, but he remains steely silent •••
The guards release Jonnie and shove him toward the next station,
then turn and grab the next human slave in line, which is--
MICKEY. The guards drag tne young twin, kicking and screaming, tc
the branding table and pin him down as the technician lowers the
iron toward the trembling youngster's exposed flesh--
Only the iron is no longer in his hands.
Wielding it like a weapon, Jonnie knocks the stunned guards away
from Mickey, then pivots with blurring speed--
Plunging the glowing-hot iron into· the technician's chest.
C, JONNIE
Bow Do You Like It--
As the technician howls in pain, a mass of guards swarm Jonnie,
viciously clubbing him to the ground.
INT. BANKOF DENVER-- LOBBY-- CONTINUOUS
PLANETSBIP'S VOICE (O.S.)
--I'm honored by your visit, your
Excellency.
The obese PLANETSBIPwaddles over, flanked by his smarmy-looking
ASSISTANT. They shake paws with the District Manager, then lead
him across the lobby. Terl and Ker follow •
. DISTRICT MANAGER
.•• Bow do you stand it?
Be motions out a window at a tree-filled park.
DISTRICT MANAGER (cont'd)
Having to spend each day looking out at
all that green. And a blue sky.
PLANETSBIP
Oh no. We make the support staff take
the offices with the views.
(winks)
While we get the go,Qg digs.
Be ushers evervonP. i -n~"' ::a"' ""', on ...........
--:if ibWBii'ti+-Wf):Jff
INT. ELEVATOR
-- CONTINUOUS
And pushes the button for the BASEMENT.The elevator lurches do~
The Assistant Planetship seizes the opportunity to •••
ASSISTANTPLANETSBIP
I'm sure you'll find it interesting to
know, sir, that we were able to use the
planet's indigenous power-generation
systems. That way we didn't have to
build our own. It was actually m idea.
(basks in the glory of)
And unless I'm mistaken, my idea has
already saved the corporation well over
six-hundred thousand credits--
DISTRICT MANAGER
--I'm afraid you're mistaken.
ASSISTANTPLANETSBIP
••• Sir?
DISTRICT MANAGER
I don't find it interesting at all.
The Assistant Planetship, crushed, manages a polite nod. Terl
suppresses a smile. Be likes the District Manager's style.
Ratings
Scene 9 - Resistance Amidst Oppression
LABORPROCESSINGCENTER-- CONTINUOUS
Jonnie, bloody and ·bruised, but alive, hobbles dowrt a ·steel
hallway with the other now branded slaves, when--
The Psychlos open up with BIGB POWERED
BOSES.
A solid stream of water savagely blasts into the defenseless
humans as the Psychlos hose down the dirty man-animals.
INT. BASEMENT-- LATERTBAT DAY
Terl and the other Psychlo executives sits around a conference ti
in a windowless dungeon.of a room which has been painted purple.
DISTRICT MANAGER
••• I will approve additional labor
resources be sent here by end of the
quarter-cycle. And I believe that does
it, except for your long overdue
transfer.
Be turns and offers Terl a friendly smile.
DISTRICT MANAGER (cont'd)
You must be looking forward to getting
off this disgusting excuse of a planet.
TERL
I just want to serve the corporation in
whatever way they deem best, sir.
DISTRICT MANAGER
Very admirable. And you've done a first-
rate job ~ere as L,terim security chief.
TERL
(modestly)
Thank you, sir. I've done my best--
DISTRICT MANAGER
--We've decided to keep you here for
another fifty cycles.
(turning the 'dagger')
With endless options for renewal. The
options, of course, being at Bome
Office's discretion. Not yours.
Terl reacts like he was just given a death sentence. The
District Manager leans forward, giving him a knowing look--
DISTRICT MANAGER(cont'd)
The senator has a lot of friends.
EXT. MINING SITE -- A LI'ITLE LATER
Jonnie, Carlo and the rest of the new 'abductees' are issued
baskets and shoved into line with the rest of the slaves.
Concerned by his friend's batte:ced condftion, ~arlo admonishes.;
CARLO
There's no point in trying to fight
these things. At least not if you want
to keep on ~iving.
JONNIE
Look around you. This ain't exactly
living--
In the background, a ground cart passed by.
INT. ELECTRIC CART -- CONTINUOUS
Ker chauffeurs at the wheel. In the back seat, Terl lowers his
voice, so only the District Manager can hear.
TERL
... Would you please explain to the
senator that if I even had an inkling it
was his daughter, I never would have--
DISTRICT MANAGER
--The senator's exact words to me were,
and I'm quoting, "If that blasted Terl
tries to talk his way o~t of it, have
him vaporized on the spot•.
Leaving Terl with that thought, the District Manager strides up
the platform, relieved to be leaving this crappy little planet.
INT. EMPLOYEE
RECREATION
HALL-- A LITTLE LATER
The place is packed and loud. The newly arrived Psychlo workers
getting plastered on kerbango while losing money paw-over-fist 1
laser bash and other assorted rigged games of 'chance".
Terl storms up to the bar. The bartender looks up, surprised.
BARTENDER
You're still here.
And something suddenly snaps deep inside Terl. Be grabs Ker,
pulling him close, the words coming fast and furious--
TERI..
I can assure you I was not groomed
since birth to get same 'cushy job'
that even a moron like you could
perform! While you were trying to
learn to spell your name, I was being
trained how to conquer galaxies 1 And
doing anything less is a disgrace to my
entire family line--
EXT. DENVER ZOO -- THAT NIGHT
Psychlo guards patrol the Denver zoo, keeping· an eye on the masi
humans locked-up for the night. Inside one of the many cages. . . ,
:r:NT. CAGE-- CONTINUOUS
Jonnie, Carlo and several dozen men crowd around a small fire af
GASTRUCKpulls up. A Psychlo guard inserts the truck's giant r
through the bars, but instead of pumping out petrol •••
The hose discharges a green sludge-like food substance into a
trough. Jonnie starts over to the 'dinner', but is stopped by
FLOYD, a hulking brute of a man almost as large as a Psychlo.
FLOYD
You're new, so let me explain how things
work. I eat first. Then my men eat.
Bis GANGsteps forward. All big and dangerous looking.
EXT. ZOOCAGE-- CONTINUOUS
The Psychlo finishes discharging the food and retracts the hose.
From his P.O.V., Jonnie and Floyd's confrontation is unintelligi
like animals "talking" to each other in a zoo, as ..•
INT. ZOO CAGE-- CONTINUOUS
With his gang backing him up, Floyd explains to JoMie--
FLOYD
After we're done, ll there's any food
left, you can have it with the others.
Given how malnourished the 'others' look, it doesn't appear that
there's usually much food left.
. JONNIE
That's how it~ to work.
With blinding speed, Jonnie scoops up a flaming log from the
fire, and before Floyd can react--
Jonnie SLAMSthe club-like wood, full-force, into Floyd's face,
dropping him hard to the ground. Only a moment later •••
Floyd is already back up on his feet.
And other than a bloody nose, he shows no effect from the shot he
just took. Jonnie smashes him again--
. But this time the big brute is ready for it, so all it seems to.
do is just piss him off. Be grabs Jonnie by the throat and
begins to choke the life from him.
Jonnie desperately tries to break-free, but Floyd is too strong.
·Be ~olds Jonnie out at arm's length, preven~ing Jonnie from
getting at him as he continues to brutally.strangle Jonnie.
And with his attacker finally close enough to reach, Jennie's
hand rockets out, pulling the breathins-tube from Floyd'p nose.
Floyd staggers back, struggling to breath. With his eyes going g:
Floyd releases Jonnie and focuses on reinserting the tube as--
Jonnie locks his hands together and swings them like a baseball
bat, delivering a tremendous blow to Floyd's jaw.
Floyd falls to the ground. And this time he stays there, out for
the .count. Jonnie takes mercy on the big man and sticks the tube
back into his nose, then heads over to the trough •••
But realizes evecyone else is holding back, respectfully letting
him eat first. Jonnie shakes his head, declaring--
JONNIE
Evecyone eats at the same time.
The men all rush the trough •••
The slop might be disgusting, but at least it's sustenance. And
PULLINGBACK, we realize we're watching this on •••
Ratings
Scene 10 - Betrayal and Manipulation
-- CONTINUOUS
A wall full of MONITORSshowing live feeds from all over the dome<
city. On an adjacent wall--
A sign reads: YOUR CBIEP' OF SECURITY IS •••
Ker despondently removes his picture from under the sign, and
with an audible sigh, hammers Terl"s picture back up.
And PULLINGBACKyet again, we realize we're watching this on •••
INT. TERL'S LIVING QUARTERS CONTINUOUS
A lone monitor perched next to a bed, where Terl opens a large--
All neatly packed for what should have been his return home.
Terl almost looks like he's going to cry as he starts to unpack.
But he suddenly stops. Sensing it •••
Bis eyes instinctively going to the monitor, which shows--
INT. SECURITYHEADQUARTERS
- CONTINUOUS
Ker peering out the windows, making sure no one is watching,
before reaching into his. • ...
_________
DESK
Inside the hidden false bottom of a drawer, Ker pulls out of a
SURVEILLANCE PBOTOof a mountain range, and •••
'!'ERL'S DESK
u Deposits the document at the bottom of an"In.:.Basket• on Terl's dE
but suddenly freezes as he can hear someone approaching the door--
Ker dives across the ~oom back to his own desk, snatching-up a
crossword puzzle, which he pretends to be working on as •••
Terl marches in and heads straight to his desk, where he grabs
the surveillance photo. Ker tries to play it cool.
KER
I was wondering when you were.going to
look at that. It ::ame in last week and
I put it straight in your--
TERL
If you're going to lie to me, at least
have the decency .to do a credible job.
(dead serious)
So, I don't look like a complete idiot
for having tried to train you.
Be sharply jabs a talon toward Ker"s secret hiding place. Ker's
face goes death-white. Bow could Terl possibly know?
But then Ker suddenly realizes. Bis eyes probing the room as--
KER
You said we use picto-cameras to spy on
other offices. But under no circumstance
do we spy on our own office!
TERI,
That's right. ~ don't.
(matter-of-fact)
.I do.
(re: the photo)
Start talking.
Given the look in Terl's eyes, Ker decides his best chance is to
come clean, and to do it fast--
KER
The photo's from last week's recon
drone. It shows a glacier that just
split open. It exposed a gold vein •••
'l'erl glances at the photo, then gives Jeer a knowing look.
TERI,
And you were going to wait until after
I transferred to turn it in, so you
could get all the credit for it,
yourself.
lCER
(sheepish nod)
I didn't think you'd mind.
Be regrets it the moment he said it. Braces himself for the
punishment he kn~ mus~.be comi:ng. But surpri~ingly •••
TERI,
I don't mind. Go ahead-and turn it in.
(hands Jeer the photo)
But first, pretend you're not a complete
i:mbecile and check the compo-gradients.
Ker looks down, studying a miniature row of color bars at the
very bottom of the photo. Bis face falls as he realizes •••
KER
The mountain's full of uranium. No
Psychlo can get near it without their
breath-gas exploding.
(despondent)
There's no way to mine the gold--
A HAMMER suddenly nails Ker in the back. dropping him to the fl
Terl swings again. This time harder. Savagely beating Ker--
TERI.
--But What I 12!2Mind Is That You
Betrayed Me over A Lousy Recon Photo!
lCER
But It's WOrthlessl You Just Said So
Yourself!
TERI,
Yesl But You Didn't k.t'~ It Was
Worthless--
I..~-----·· .....
-. es··
-· I
I I
only Ker manages to scramble out of the way at the last minute.
Be grabs the hmmner from Terl and scrambles to his feet--.-
But freezes as Terl ·pulls his BLAST-GUN.
KER (cont'd)
You can't shoot meJ It's against
regulations. I'm not just some man-
animal you can kill for sport--
But Terl reaches for the trigger and ••• Stops. Staring at the
gun, his mind racing •••
Terl's eyes snap to the surveillance photo ••• Then to a ~nitor
showing humans working in the mines ••• Then back to the gun •••
Andit suddenlyconnects for Terl.
Ker mistakes all of this for some cruel pause before his
inevitable execution and continues to plead--
KER
Please! I'll Make It Up To You, I
Swear! Don't Shoot Me--
Terl looks shocked by the very suggesti~n.
TERI,
Shoot you? My most trusted collea9"1:1e?
0
Be holsters his gun and throws a friendly~ around Ker.
TERI.(cont'd)
Of course ~ot. We've got work to do.
Ker clearly has no idea in hell what Terl's talking about, but ai
long as it involves not getting shot, he's all for it.
. TERL (con~'d)
Tomorrow morning, we have to warn the
Planetship about the "mutiny".
KER
••• What •mutiny"?
TERL
The one you're going to pretend is in the
works, like your life depended on it •••
(dead serious)
Because it does.
Ratings
Scene 11 - The Riderless Horse
The setting sun casts a shadow over CHRISSY, who sits on a rock,
keeping a hopeful eye on the far side of the ravine. We get the
feeling she spends a lot of time on that rock, watching and wait:
A Wr1'BERED BANDgrips her shoulder. She turns around to face thi
Parson, who gives Chrissy a concerned look--
PARSON
Be's been gone over three months.
(the grim reality)
If the monsters didn't get him, he would
have been back by now--
Chrissy whirls back to the ravine with a relieved smile. But
there's nothing there. Only now we can here it •••
The feint sound of GALLOPINGBOOFS. Growing louder as--
A flash of white is now visible on the far side of the canyon.
Rocketing up the incline and over the drawbridge and •••
Chrissy's smile instantly evaporates as she realizes Windsplitter
is returning riderless.
INT. DENVERSHOPPINGMALL-- TBE NEXTMORNING
The Planetship and his Assistant are stretched-out on CB.AISE-
LOUNGES. But right now the Planetship looks anything but relaxec
Across from him, Terl and Ker sit on a chaise-lounge next to a
sun-lamp. Terl and Ker have concerned looks on their faces.
'l'ERL
••• And if this worker revolt takes
place, my informants tell me the ~irst
order of business will be to separat~
you from your head. ·
PLANETSBIP
Which is why there will be no mutiny!
(panic in his voice)
I'm authorizing you to use whatever
means necessary to stop it.
Terl nods, so far so good. Then continues •••
TERL
Our best chance to prevent th.is mutiny is
to increase profits. So we don't have to
keep cutting the worker's pay.
PLANETSBIP
Production equals profits. And I'm
already bringing in as many new workers
as possible to boost production.
TERL
But we have to pay those new workers.
The Assistant Planetship gives Terl a snide look.
ASSISTANTPLANETSBIP
Maybe you were absent the day they
taught economics at the academy Terl
(scoffs) ' •
But nobody works for free.
TERL
Man-en~ma1s do.
A WAITRESSin ·1ow-cut garb slinks over with a tray of drinks, bu1
the Planetship waves her off, keeping his attention on 'l'erl.
TERL (cont'd)
We already use them for manual labor ••.•
What if we could train them to take-on
certain additional duties? Like
·operating mining machines.
(quickly adds)
That way we can boost production
without increasing expenses.
The Planetship and his Assistant wait for the punch-line. But
there isn't one. So they roar with laughter.
PLANETSBIP
Han-animals operate a machine?! Save
you blown a head-gasket?!
ASSISTANTPLANETSBIP
It's hard enough to keep them from
peeing on the carpet. But mining?!
PLANETSBIP
I'd be the laughing stock of the entire
universe •
. Exactly what Terl was hoping he'd ~ay.
TERL
Which is why you should have me take
some man-animals and equipment out to a
remote area. It's better you don't know
where. • • And I' 11 try to train them.
(nonchalant shrug)
Save them do some test-mining. That way,
if it doesn't work out, no one will know.
PLANETSB.IP
And if it does work, I'll be vaporized.
It's against the law to train an--
TERL
--According to Regulations: Volume 989,
Article 34-A, Paragraph 19 ••• A
Planetship faced with a profit-
threatening situation, such as a mutiny,
is relieved of any and all lesser
ordinances in the pursuit of protecting
said profits.
The Planetship chews on this. Be can't argue with the logic.
But shakes his head anyway, abruptly declaring--
PLANETSBIP
we stick to the original plant Bring in
more workers and they go on half-pay as
soon as they arrive. And that's final!
And before anyone can say anything--
The Planetship JUMPS OF!" the third floor railing. And nobody
seems the least bit surprised by this. Probably because •••
The first two floors have been turned into a Psychlo-sized swi.mm.:
pool. But instead of water, it's filled with an oily fluid. ThE
Planetship rubs the sludge into his fur, squirming in delight.
Ratings
Scene 12 - Escape and Intrigue
Under the glow of first-light, Chrissy rides Windsplitter down tc
THE DRAWBRIDGE
Which the sentries hold in a raised position, preventing her fra
leaving. They do this under the supervision of the Parson.
She throws the club with perfect aim, knocking open--
THE CATCH
On the pulley mechanism allowing the rope to unwind, lowering the
bridge. And before anyone can react--
Chrissy gallops Windsplitter like a shot across the bridge,
disappearing at full-tilt down th, hillside.
EXT. DENVER STREET -- TBE NEXT MORNING . .
A cold and brutal Psychlo march song plays over loudspeakers as e
long line of exhausted and freezing humans a.re escorted at gun
point out to the mines. In the rear of the procession •••
The young twins, Mickey and Smnmy, work their way over to Jonnie.
SAMMY
We hear you're planning a break-out.
MICKEY
Count us in--
A Psychlo thtusts Jonnie forward with the butt of a gun, keeping
him moving with the parade of human misery passing by--
TERI. AND KER
Who enjoy their breakfast out on the heated patio of the Senior
Officer Mess Ball.
TERL
I did some research on man-animals last
night. They actually possessed certain
primitive technical abilities •••
(beat)
Surprisingly, they even managed to fire
a crude probe into space.
Be slaps a picture of PIONEER ONE onto the table. Jter shovels
yellov meat into his mouth as he eyes the photo, dubious.
KER
Bow do we know it came from man-animals?
() _____
'·, .... /
TERI,
Because they were stupid enough to put a
plaque on it with pictures of themselves.
One of our deep-space recons picked it
up. And here's the kicker •••
Be points to the plaque visible in the photo.
TER.L (cont'd)
The plaque was made from a rare metal
that• s worth a clanking fortune. And in
addition to their pictures, the man-
animals also included full directions to
their planet. That •s how we came here •••
(loves this part)
They invited us.
Ker cracks-up, finding this hysterical. Terl leans forward,
giving him a conspiratorial wink.
TERL (cont'd)
••• And of course, all this means the
plan has a good chance of working.
Terl gets up and heads out. Confused, Ker chases after him •••
• I
Ratings
Scene 13 - Terl's Manipulation: Framing Ker
LATER
Catching up to Terl4 Ker shakes his head.
KER
But the plan can't work if the Planetship
doesn't order us to train man-animals--
TERL
-The Planetship's hiding something.
All we have to do is figure out what it
is, and we'll have leverage over him.
KER
(getting it)
And then we can get the gold--
'l'ERL
---What do you mean~? It's m plan.
And before Ker can respond, Terl heads into--
Dff. SECURITYBE.ADQUARTERS
-- CONTINUOUS
And settles in behind his desk. Ker follows on his heels.
DR
Please, sir. You got to let me in on it.
I barely make any credits in this lousy
job. And I've got five wives to support.
Terl leans back in his chai=, rlb'l::>ing a talon over bis lips,
pretending to be thinking this over. And finally •••
TERL
,~) I don't want to partner-up with an idiot.
\, .....__
-.,/ (challenges)
Bow do I even know you understand the
plan?
Still reclining in his chair, Terl discreetly reaches under his
desk and pushes a GREENBUTTON. This isn"t seen by--
Ker, who rising to the task, holds up the surveillance photo of
the mountain range.
KER
We train man-animals, who don't need
breath-gas, to mine the gold for us.
TERI,
But Some Planet owns this planet. The
gold belongs to them.
Ker nods, eager to prove he understands the whole plan.
KER
That's the beauty of it. Some Office
doesn't even know the gold exists. So
those corporate crap-heads will never
know we stole it. It's the perfect crime.
Be waits for Terl's praise ••• But instead Ter1·1ooks shocked.
And in the gravest of voices:
TERI,
Putting aside the serious violations
of teaching·mining to an inferior race
and insulting corporate superiors,
each one in themselves punishable by
death, you just advocated deliberate
theft of company resources •••
(resigned sigh)
So my duty requires me to report you,
even though you will be vaporized and
I'll have to train a new assistant.
Ker's jaw is practically on the floor. Terl promptly pushes a
RED BOTTONunder his desk before--
KER
But it was~ stinking ideal
TERL
Whi<:h is why it's a good thing I now
ha·.re a recorcw1g of ~ laying out the
plan, and m reprimanding you for it.
ma
What are you talking about?l We don't
have any recorders planted in here •••
(realizes)
Let me guess. !m don't. But ~ do.
'l'erl saunters over to a-~
VAULT
Where he carefully positions his body to shield a KEYPADfrom
Ker's view, as he punches in numbers.
TERI,
Consider it part of your education.
KER
••• Education?!
The vault swings open. Terl reaches in past a shelf of Blast-Gu
and spare air-tanks, popping a disc from a RECORDINGMACHINE.
TERI,
Never engage in a criminal activity
until you set-up a patsy to pin
everything on in case you're found out.
KER
Thank-you. That's great advice! But
why do I have to be the patsy?!
TERI,
So you won't be getting any bright ideas
about getting rid of 'ole Terl in order
to keep all the gold for yourself.
I
. KER
~: But I would never double-cross yout ·
TERI,
Of course not. Because I'm going to
set it up that if any 'unfortunate
accident' were to befall me•••
(re: the disc ) ·
This goes straight to Bame Office.
Be files the disc away within a collection of other such
recordings housed within the vault, then shuts and locks the ste
door.
~er isn't happy about this, but what can he do? And to make
things worse, he realizes •••
KER
Your whole plan depends on getting
leverage over the Planetship.
(shakes his head)
But since there's no way to smuggle a
picto-recorder into his office without it
being detected, how are we going to find
out what he's hiding--
TERL
--You"re the only qualified E-3 Level
Support Executive on this planet other
than the Assistant Planetship.
. (matter-of-fact)
So if something were to 'accidentally'
happen to him •••
1CER
(cat.ching on)
••• 1.:.d be the only qualified candidate
to replace him. Good thinking, sirl
(rubs his paws together)
So how do we bump the bastard off?
TERL
Don't worry a.bout that. We'll do it in
an appropriate atyle ••• But right now,
. we have a JDOre preeeing concern.
-- ABOVEA MINESITE -- TBA'l'DAY
Ratings
Scene 14 - Leverage and Control
Terl and hr enjoy their lunch up in a guard tower overlooking
the humans slaving away below. Between mouthfuls, 'l'erl motions
down to JONNIE, who struggles with a heavy load of ore.
With.almost a aenae of begrudging respect, 'l'erl explains •••
'l'ERI,
••• While that one dou aeem to be
unuaually intelligent and resourceful, at
leut for a man-animal, it alao •eema
rather defiant. Which is why we'll need
leverage over it.
Ja!:R.
Leverage over a man-an.ima.l?
Terl gives him a aharp look. Hasn't he been paying attention?
. 'l'ERI,
'l'he onlyway it'a going to be able to
operate a mining machine -is if it can
read Paychlo. Which means ve have to
educate it on a learning machine.
br looks at 'l'arl like he'• off bis rocker.
l:D
But if anyone found out--
TERI.
-'lh,at.'1 why we need leverage on it, you
moronl so, no one finds out.
Zer stares down at Jonnie, exhausted by the idea.
DR
We need leverage on the Planetahip. And
now ve need leverage on the man-animal•.
I don't know about thia plan of youra •••
(mutt.era)
It'• like we need leverage on everyone.
TERI,
That'• what make• it ao much fun.
INT. JaTCBEN FACILITIES -- LATERTHATDAY
Psychlo COOKSmix a disgusting green slop in giant tubs.
COOK
••• we feed them a combination of grass,
reclaimed fluid wastes, and whatever
animal carcasses we can find.
TERL
Yes, but what would man llil. to eat?
(clarifies)
What would they consider a treat?
COOK
Wowthe crap should I know?!
(quickly adds--)
EXT. DENVERSTREET MOMENTS
LATER
Ker dejectedly kicks a rock as he follows Terl up the street.
RER
SO much for your "Positive-Forcing•.
TERL
It's called Positive-binforc~nt.
0 RER
Whatever. It still sounds like a pretty
primitive way to get 1everage.
TERI,
Man is a primitive species.
Ker can't argue with that, but still shakes his head.
RER
But we have no idea what the damn things
like •••
INT. DENVERZOO -- CAGE-- THE NEXT
MORNING
Ker barges into the cage, and without warning, throws Jonnie,
Carlo and Floyd into a--
TRANSPORTABLE
CARGOCAGE.
Mickey and Sammy, trying to stay close to Jonnie, start to
scramble into the cage, but Ker swats them away.
EXT. TRANSPORT
TRUCK-- MOMENT
LATER
Ker secures the cargo cage to the back of a flatbed truck and
tosses HEAVYJAC!CETSto our guys.
·o-t -- .._ -- :ta c··fi s··fitrtf:z:lfb:ffln
-~
' ,____)
INT. TRANSPORT
TRUCK-- DRIVER'S CABIN-- THATMORNING
\,, _/
Ker, wearing a breath-tube now that he's outside the dome, drive:
the flatbed truck up a windy mountain road away from Denver •••
INT. CARGOCAGE-- CONTINUOUS.
our guys huddle in their jackets as the cold Colorado air blows
through tl-.e cage. Floyd shrugs, guessing •••
FLOYD
••• Must be a mining site out here.
Carlo looks to Jonnie for his take on the situation. But
Jannie's attention turns to the cargo cage door as--
The truck hits a small bump, causing the door to swing open a
crack, betraying that it's not locked.
Ratings
Scene 15 - Escape to the Abandoned Ski Chalet
BEND
-- MOMENTS
LATER
The flatbed truck rounds a bend, carrying a NOWEMPTYcage.
EXT. BACltAROUND
THE BEND-- CONTINUOUS
.. ·
our guys pick themselves off the rQad from where they jumped, an, 1
race away in escape, sprinting up a mountain path.
INT. DENVER-- SECURITYBEADQUARTERS
-- CONTINUOUS
Terl and Ker, reclining in chairs with their feet up on desks, w!
l'RIO OF MONITORS showing our guys huffing and puffing up the mour
KER
They sure are i.12!,f. And it looks like
they're slowing down even more.
TERL
That's the whole point of this--
EXT. MOUNTAIN
PATS -- CONTINUOUS
our guys make it up over a small rise, where Floyd suddenly casti
hopeful eye at a CABIN-LIKE BUILDINGhalf-buried up ahead in the
FLOYD
Might be some food in there.
JONNIE
We don't have time. The monsters are
going to be coming after us.
FLOYD
we gotta eat.
JONNIE
Our best chance of hiding is up in the
tree-line. We'll look for :ood there--
Cax;-lo hates to take Floyd's side, but •.•
CARLO
If I don't eat now, I'm not sure I'm
going to make it to the tree line.
Jonnie starts to respond, but one look at Carlo and Floyd and
it's clear they're both on the brink of exhaustion.
INT. SECURITYHEADQUARTERS
-- MOMENTS
LATER
Terl proudly points to the monitors, which show our guys forcing
open a door and heading into the snow-covered building.
TERL
observe them in their natural habitat.
INT. SNOWCOVEREDBUILDING-- MOMENTS
LATER
The building is a long-abandoned SKI CHALET, caught frozen in
time •. A thick layer of dust covers everything. In the corner ••
The SXELETALREMAINS of some pe9ple are·scattered near .a Ch:ristm
Tree slumped over a pile of presents for a holiday never celebra 1
But Jonnie suddenly freezes. Grabs a CHAIR.·
FLOYD
What is it-.;.
JONNIE
••• Lunch.
Be launches the chair straight at the--
CBlUSTMASTREE
Sending RATS scurrying out from among the presents. Jonnie dive: 1
onto one of the larger rodents. Carlo and Floyd do likewise.
Ratings
Scene 16 - Desperation on the Mountain
LATER
Carlo and Floyd rip branches from the Christmas tree for kindlin<
JONNIE
We don't have time for a fire.
FLOYD
We don't have a choice. We gotta cook
the rats--
JONNIE
--we~ a choice.
what Jonnie's thinking.
Carlo looks up in dread as he realizes got and ...
Jonnie summons up every ounce of willpower he's
l:Q;:g~@ hims~l.f tQ t~ke a l2i:te Qf r"'w .:~t-
:INT. SECURITY HEADQUARTERS CONTINUOUS
Ker shakes his head, nauseated.
TERI,
Get off your fat ass! We got the info
we needed, let's.go round 'em up.
ROAD--
EXT. MOtJNTAIN TBAT DAY
our guys sprint up the road, when they begin to hear an ominous
MECHANICAL ROARbehind them. Getting louder as ••.
ROAD-- BELOWOURGUYS-- CONTI~OUS
EXT. MOUNTAIN
An armored Psychlo MARKII GROUND.CAR
hurtles above the ground·as
it comes screaming up toward--
EXT. MOUNTAIN
ROAD-- CONTINUOUS
OUr guys, who char;e past a faded 'Welcome to Aspen' sign on their
way around a bend--
But as they top the hill, they ~~n straight into one of
~er~·s backup vehicles. Psychlos pi:ing out.
Jonnie goes berserk!
The first two Psychlo guards stood no chance. With one
backward stride, Jonnie ~s behind them. He sends them
slamming together like egg shells.
He catches the gun of one, as that Psychlo goes down and
stamps his heel into the side of his skull.
He reverses the gun and batters the other Psychlo with shots
from a range of three inches.
Jonnie drops on one knee, and blows the two last Psychlos who
have exited the craft to bits.
Five other Psychlos fire in his direction.
Jennie's gun is empty. He throws it down and picks up the
other one. Flips the switch to kill.
Totally unmindful of the shots ripping up the ground, running
low and firing as he goes, Jonnie races on. The otners
scattering around him.
·He kneels behind a Psychlo body and sends a storm of shots
into the five. They crash back.
Jonnie pounds them into rolling balls of dead flesh. Running,
firing as he goes.
EXT. TOP OF A GORGE
Where they abruptly run out of ground. s~anding at the brink of
a massive chasm where a--
Used to be. But neglect and repeated winter storms have washed
it away into the bottom of a canyon al.Jllost too far down to see.
And to make matters worse, our guys are surrounded on all sides by
sheer vertical mountain face, impossible to climb. They're trappe·
FLOYD
What the hell do we do now?!
CARLO
Don't even think about it-~
This is directed at the look in Jonnie's eyes as he stares across
the gorge •••
CARLO (cont'd)
There's D.Q way you're going to make that
jumpl
And in fact, the far side of the ravine does seem like an awfully
long distance away. But Jonnie backs up, getting as much runnina
room as possible.
EXT. MOUNTAINROAD-- BEBIND OUR GUYS -- CONTINUOUS
The Psychlo Ground Car hurtles around the last bend and comes
screaming out onto the clearing as--
EXT. TOP OF THE GORGE-- CONTINUOUS
Jonnie takes off on a dead sprint, going like hell for the edge of
the cliff. Carlo looks away, can't bear the sight.
Jonnie doesn't let-up. In fact, he goes faster. Every muscle
straining as he races straight for the edge and--
EXT. CANYON-- CONTINUOUS
A PSYCBLOFIGHTER PLANE =ockets up from the depths of the canyon,
blocking Jonnie from jumping--
!NT. COCKPIT -- PSYCBLOFIGHTER PLANE CONTINUOUS
Terl maneuvers the fighter plane to push Jonnie away from the
edge of the gorge.
EXT. TOP OF THE GORGE A LITTLE LATER
Terl locks our guys into the rear of the ground car as •.•
Ker stares across the canyon to the other side, trying to figure
something out. And then it finally dawns on him.
KER
They ~ust be able to fly.
Terl sighs, unlocks the cage and grabs Floyd and tosses him over
the side of the canyon.
FLOYD
Screams in helpless anguish ash~ plunges to his death.
.
0 INT. DENVERWAREHOUSE
-- THATDAY
.
I The remains of a sizable meal are scattered over a giant
to a steel slab, where the ASSISTANT PI..ANETSBIPpartakes
A door bursts open and Ker marche_s inside and salutes.
table ne:
in a nap.
KER
I need your approval to get some man-
animal labor units to do some painting
and cleaning work.
Be extends a REQUISITION FORM, which the still half-asleep
Assistant Plan~tship signs, but then snidely instructs--
ASSISTANT PLANETSBIP
You tell Terl, that unlike 'certain
individuals', I hold an important job.
So next time he has a request, have him
send it through proper channels instead
of disturbing me when I'm busy.
Ker nods, then trots out with the signed form. The Assistant
Planetship scratches himself, then returns to his snooze.
Ratings
Scene 17 - Terl's Deception
RECREATION
The place is packed with its usual. drunken debauchery. In the
back, Terl and the bartender engage in a private conversation--
TERL
Givei-i that it looks like I'll be
sticking around for a while, perhaps
we should be discussing the terms of
our new deal •••
BARTENDER
(resigned sigh)
••• What do you want?
Ilff. EMPLOYEE
RECREATIONHALL-- LATERTHATAFTERNOON
'l'he Assistant Planetship finishes a pan of kerbango when a DOZEN
more pans of the narcotic root are placed in front of him.
BARTENDER
Congratulations. You're our one-
thousandth customer of the monthl
EXT. ASSISTANTPLANETSBIP'S LIVING QUARTERS
-- THATNIGBT
The Assistant Planetship, now smashed out of his mind, stumbles
into his room to sleep off the kerbango •••
Ilff. SECURJ:TY
HEADQUARTERS
-- THATNIGBT
A recording of the.Assistant Planetship p~ays on.a mon;tor:
ASSISTANTPLANE'l'SBIP(ON MONITOR)
You tell Terl, that unlike 'certain
individuals', I hold an important job--
. .
Ker watches as Terl pauses the recording, then expertly imitates
the Assistant Planetship's voice:
TERL
"You tell Terl, that unlike 'certain
individuals', I hold an important job."
K..::R
(genuinely impressed)
Bow do you do that, sir? You sound ,ilat
like him.
TERL
There are benefits to a first-class
education.
Terl hits play again, mimicking the Assistant Planetship's
expressions and gesture1:1 playing on the monitor.
-- LATER
INT. SECURITYHEADQUARTERS NIGHT
THAT
'l'erl masterfully applies prosthetics ~.nd make-up to his face,
thickening his eye bones and darkening the fur on his cheeks •••
Until if we didn't know it was Terl, we'd swear it was the
Assistant Planetship.
MM MWWbN'
INT. PSYCBLORESEARCH
CENTER-- A LITTLE LATER
Terl, disguised as the Assistant Planetship, shakes his head.
TERL (AS ASSIST. PLANETSBIP)
••• When Terl gave this suggestion in the
meeting, I ridiculed it. Know why?
The RESEARCHCLERKdoesn't really care, but politely asks:
RESEARCHCLERK
No, sir. Why?
TERL (AS ASSIST. PLANETSBIP)
I'm no fool. I'm going to steal Terl'c
idea for myself ••• Because that Terl is
exceptionally brilliant, don't you think?
RESEARCHCLERK
I haven't noticed. Be always seemed
like an arrogant jerk to me.
Terl's eyes slit, but he forces himself to stay in character.
TERL (AS ASSIST. PLANETSBIP)
••• Well, if you got to know him, I'm
sure you wouldn't think that.
The _Research Clerk shrugs, returning to ~he business at hand.
RESEARCH
CLERK
You want discs on basic Psychlo Language.
Research Compendium on Man-Animals·.
Mineral and Ore Mining Techniques. And
Door-Bomb Explosives •••
(beat)
If I may ask, sir, what's that one for?
Terl signs a check-out slip, expertly forging the Assistant
Planetship's signature, then •••
Making a big production of looking around, making sure no one's
listening, Terl leans in with a conspiratorial whisper •••
TERL (AS ASSIST. PLANETSBIP)
••• can vou keep a secret?
Ratings
Scene 18 - Capture and Painting
Ker barges in and snaps a LEASHaround Jonnie"s neck. Carlo gets
same treatment. And as Ker reaches out to grab some more humans-
Mickey and Sammy, discreetly slip forward, positioning themselves
to be selected.
INT. SECURITYHEADQUARTERS
-- A LITTLE LATER
Ker hands Psychlo-sized paint-brushes to Carlo, the twins, and
ID.::YWOOD,
an older man with a friendly face.
Pointing to giant buckets of purple paint, Ker barks something in
f\
\, ~-/
Psychlo, which the humans obviously can't understand.
MICKEY
Bow we supposed to know what he wants?
HEYWOOD
They've made me do this before. Just
follow what I do and you'll be fine.
Be dips his brush into a bucket and goes to work painting a wall.
Carlo and the twins copy his movements.
INT. BACKROOM-- CONTINUOUS
Terl roughly deposits Jonnie and the chair in the center of the
roam, then grabs a DISC from a pile and slides it into--
A LEARNINGMACHINE
Which unlike the utilitarian.design of most Psychlo machinery, is
elegantly designed with sleek simplicity.
And once the disc is inserted, the machine emits a holographic ilru
of a CBINKO, which bows twice and puts its six sets of paws over
six eyes, then talks in English, albeit with a strange accent:
CBINKQVOICE (FROMTBE MACHINE)
Excuse me, but I am your instructor if
you will forgive such arrogance, for I do
not have the honor to be a Psychlo. I am
but a lowly Chinko Language Slave in the
Department of Culture and Ethnology.
The holographic image bows again, then ..•
CBINKOVOICE (FROMTHE MACHINE)
Please forgive my pretension as I try
to educate you in Psychlo, the Noble
language of Conquerors •••
An intense bright shaft of BLUE LIGHT shoots out of the machine,
striking Jonnie in the eyes ...
CBINKOVOICE (FROMTHE MACHINE)
This machine is designed for pan-species
communication, and utilizes subconscious
absorption, allowing for instantaneous
comprehension.
-- LATER
Ratings
Scene 19 - Learning Machine Encounter
A somber Psychlo war song plays from speakers as Carlo, Heywood
and the twins paint the walls a fresh coat of purple.
···-- Terl happily hums along to the music as he attaches some kind of
RED-SQUARE to a choke collar. Ker is camped-out at his own desk,
looking through s0100 holographic pornography.
·::w:2·:sr:-:ar:a::: ===
INT. BACKROOM-- A LITI'LE LATER
The blue light beaming at Jonnie's eyes clicks off. Andstaying
; ,,,-.)
in Jonnie's P.o.v.:
'',~,~--~~
Terl leans down to Jonnl.·e, speaking very slowly, extra-enunciatin
each syllable •••
TERL
,Bello ••• There .•• Do ••• You••• Understand •••
What •.•• I'm .•• Saying? •••
Jonnie can understand, but feigns a blank expression, pretending
he doesn't. Terl dangles a DEAD RAT in front of Jennie's eyes.
'!'ERL
Are ••• You••. Bungry ••• Little ••• Guy? ••
But Jonnie keeps up his blank--face routine.
Terl continues to 'tease' him with the rodent for a few beats,
then pulls it away and restarts the machine, turning to Ker.
TERL (cont'd)
Obviously, this is going to take a
while. We might as well go get ourselves
some lunch.
INT. SECURITYBEAOQUARTERS
-- CONTINUOUS
Terl and Ker head out ~he door. The moment the·y' re gone, Carlo ·
tJI I
charges into--
INT. BACKROOM CONTINUOUS
•
And tackles Jonnie out of the chair, "saving' him from the blue
beam bombarding his eyes.
CARLO
Told you your attitude was going to get
you into trouble. That's why the monsters
singled you out for the to'rture machine.
JONNIE
I'm not sure what it is, but it's not
torture. It's like sleeping. But when
you wake-up, you somehow know things •••
(explains)
Like I can now understand what the
monsters are saying when they speak.
Heywood appears in the doorway with a concerned look.
HEYWOOD
••• What's going on?
Carlo points to the Learning Machine with religious awe.
CARLO
It's a god-machinethat the monsters must
have stolen. It makes you know things.
m:;;:w:15-1·1t''
± , ·f¥" +-¥¥rtfffl¥tM ¥ ¥5
JONNIE
I don't know if it's a god-machine, but I
do know I'm going to use it to learn as
much as I can, so I can figure out how
the hell we're going to get out of here.
Before Heywood can protest, Jonnie reassures him--
JONNIE (cont'd)
If you can keep an eye out and give me
a little bit of warning before the
monsters come back, I won't be putting
any of you.in danger.
Beywood is concerned, but moves back to a window, keeping a
vigilant eye on the street outside as •••
Jonnie inserts a new disc ~nto ~~~ Learning Machine. I
Ratings
Scene 20 - Confrontation in the Supply Closet
l
In the corner of the cage, out of view of the others, Jonnie uses I
I'
a stick to fervently work out mathematical equations in the dirt.
Carlo, Heywood and the twins watch, trying to make sense of the
foreign symbols.
SAMMY .
() •• ·.so, that's what the monster's·
language looks like.
Jonnie shakes his head, his eyes shining with the rapture of pure
knowledge as he explains •••
JONNIE
This is mathematics. The unifying
language of ~he entire universe. Look.
EXT. EXECUTIVEOFFICER'S MESS BALL -- THE NEXT DAY
Ker shrugs between mouthfuls of his lunch.
KER
••• So it's taking a bit longer with the
man-animals than we thought. But they
can't be completely brainless if they
were able to fire a probe into space--
TERL
---I'm not sure the man-animals gig fire
that probe into space.
KER
B~t you said th~re was a plaque on it
with the man-animal's picture.
'l'erl slowly sips a pan of kerbango as he ~xplains.
&&
TERI.
What if there was a species on a
different planet that detested man-
animals, and it's easy to see why they
would ••• And this other species. wanting
man-animals exterminated, sent the probe
to us with directions to the man-animal's
planet.
KER
(beat)
I hadn't thought of that. It's very
clever, sir.
INT. SECORITY HEADQUARTERS
-- CONTINUOUS
Jonnie watching Terl and Ker on a monitor, while reading through
a Psychlo FIELD OPERATIONSMANUAL.
In the rear of the room, the rest of the guys push and pull at
the handle to the massive VAULT.
JONN'IE
,~ranslating from the manual)
The security-Chief should secure the
field vault with an eight-digit
combination code of his selection. Be
should not write this code down, or
tell it to anyone else. And he
shouldn't simply use his Employee ID
number, but be more clever than that.
0: Carlo gives Jonnie a hopeful look.
CARLO
You don't think ••• ?
Jonnie digs through Terl's desk, coming up with a FORM.
JONNIE
The monster in charge is named Terl.
(beat)
Bis employee number is on this
requisition form •••
Be returns Carlo's look with a shrug.
JONNIE (cont'd)
It's worth a shot.
EXT. KEYPAD
BANKVAUI.T-- MOMENTS
LATER
Jonnie punches Terl's empl
An entry light blinks red oyee Id~Number into the vault's keypad.
and the door remains locked.
MICKEY
Gue~5 he was more cleve~ than that.
Jonnie nods, but then--
JUN.NIE
But the question is,~ clever? Let's
try putting the numbers in reverse order
Be inputs Terl's employee Id-Number in reverse order. A beat, the
the.entry light blinks green and the vault swings open.
our guys enter. Jonnie's attention is drawn to the RECORDING
MACHINE,while Carlo, Heywood and the twins check-out the Blast-
Guns and spare Breath-Gas Tanks.
-- LATER
INT. SECURITYHEADQUARTERS TBAT
DAY
Terl and Ker march past Heywood, Carlo and the twins, who are all
busy painting the walls, and head straight into •••
INT. SUPPLYCLOSET-- CONTINUOUS
This time, Terl dangles .tlfQ dead rats in front Jonnie.
TERL
00 ••• You••• Want ••• Lunch? •••
But Jonnie keeps up his blank-face routine. And is rewarded
for it by being picked-up by the head and launched out into--
INT•..SECURITY BEADQUARTERS-- CONTINUOUS
-
Jonnie skids across·the floor, slamming into a wall. Ter"i
impatiently marches over to him, pullin·g his Blast-Gun.
TERL
It"s obviously asking too much of these
man-animal things to grasp a language
as sophisticated as Psychlo.
But Ker isn't willing to give-up hope of the gold and tries to
sound convincing as--
KER
What if this one is particularly stupid?
Why don't we try to train another one--
TERL
--We don't have timel
Be storms over and grabs a series of surveillance photos from his
desk. Jonnie discreetly signals across the room to •••
Carlo, who holds his breath, praying he doesn't get caught as ...
Be slowly reaches between Terl's legs and pushes the GREENBUTTON,
recording as •••
TERI,
',
,/ I can't keep hiding the recon-photos
from Bome Office, forever. Plus, at the
rate the glacier is melting, the gold's
about to fall into the ravine.
tt'P,
... so, we'll get.it then.
c-------.
, )
__ TERL
We'd have to use explosives. Bame
Office would detect them and send down a
survey team, which means we wouldn't be
able to keep the gold for ourselves.
Be takes one last forlorn look at the photos, then lashes out in
anger, delivering a vicious kick to Jonnie.
TDL (cont'd)
And this damn thing's been on the machine
for two full days now, and still can't
even speak one wordl It's hopeless.
(mind made up)
We terminate the operation and cover our
tracks.
Be points his blast-gun down at Jonnie and--
JONNIE
What word would you like me to speak?
Terl stares at Jonnie in amazement. The man-animal just spoke
Psychlo. But to make sure he ' s not imagining this ••.•
TERL-
••• What did you just ·say?
JONNIE
You heard me. I asked you what word •••
CARLO.
HEYWOOD
ANDTHETWI??S
P,o.v
The rest of the guys can't understand what Jonnie's saying, but
they're shocked to realize •••
Be's speaking to the monsters in their machine-like language, as·
TERL
In an unprecedented public display of joy, hops up and down,
pumping his arms in victory.
TERL
It speaks! It actually speaks!
(as if Jonnie
was a toy)
Go on. Say something else.
JONNIE
Okay. How's this? You"re going to stay
here as our prisoner •••
(instructs Ker)
While you go and bring back a truck.
Terl, more amused than anything, clarifies •••
TERL
Just because I taught you how to speak
Psychlo, you're still the inferior
race ••• Which means~ give you orders.
Is;w don't give me orders. Understand?
JONNIE
I understand that if you don't do
exactly what we tell you to do, we'll
have no choice but to kill you both.
TEm,
Oh, really? And how exactly do you plan
to do that--
Jonnie gives the signal. With a sudden flurry of movement--
Carlo, Heywood, and the twins pull BLAST-GUNSfrom behind their
paint buckets. Jonnie keeps his attention on Terl.
JONNIE
The next time you chose an access code,
you might want to be a bit more clever
than just using your IO number in
reverse.
But Terl's only reaction is to chuckle.
. TERL
You sure they even know how to use those
things--
A COLLECTIVE CLia as our guys slam the levers down on their gun
to kill position. Ker immediately throws his arm up in surrende
And Terl is no longer chuckling. Be looks around at the guns
pointed at him and buries his head in his paws, and }?egins to •••
Bowl with laughter. Convulsing so hard, tears run down his face
TERL (cont'd)
Can you imagine the official report?
(gasps for air)
Bead of Security killed by man-animals!
Still laughing hysterically, he rears back to smack Jonnie. But
Mickey jumps forward and FIRES his gun at Terl--
Only there's nothing but a CLICK. The weapon doesn't fire.
Sarm:nyleaps forward and fires his Blaster. CLia. Bis gun
doesn't work either. Carlo and Heywood get the same result.
HEYWOOD
••• Uh-oh.
Tfer;, still laughing, follows through on his swing, sending Jonn.
1ying across the roam. Then explains to him with a smirk.
- **
,N
TERI,
If you rat-brains knew anything about
firearm safety, you'd know one doesn't
store loaded weapons.
Then he turns to take care of the others. Goes to smack Sam:ny--
But Mickey protectively grabs a LE'I-tER-OPENER from a desk, and wl
blinding speed, plunges the blade straight for Terl's chest--
only as fast as Mickey is, Terl is faster, and he deflects the
blow with his arm, sustaining a small cut in the process.
Terl then promptly relieves Mickey of the letter-opener and seize
the trembling twin by the throat, holding him firmly i~ place as-
TERL
Next time you want to stab someone, let
me show you how to do it right--
Be raises the sharp blade ·high above Mickey's chest--
JONNIE
(steel in his voice)
You hurt him, I won't mine your gold!
Terl pauses to consider this. Then turns and convincingly bluffs·
TERI,
Then I'll vaporize you and get s~o~e
~lse to mine the gold--
JONNIE
--You don't have time. You can't keep
hiding the recon-photos from Bome Office,
forever. And the glacier is melting.
In that one moment, Terl's whole world is turned upside down.
Jonnie gives Terl a dangerous smile.
JONNIE (cont'd)
Man getting leverage over a Psychlo.
That would be the day, wouldn't it?
Rage burns openly in Terl's eyes, but he lowers the weapon and
calmly turns to Ker.
TERL
••• I think it's time we showed our
little friend here a thing or two.
Ratings
Scene 21 - Terl's Library Tour
A Mark II Ground Car is parked in front of the library. Locked
in a cage in the rear of the vehicle--
INT. CARGOCAGE-- CONTINUOUS
carlo, Heywood and the twins watch with concern as Terl drags
Jonnie by a leash across the street and up marble steps.
'l"'"[j":J/" ' - •
INT. DENVERLIBRARY-- CONCOURSE
-- MOMENTS
LATER
Terl's usual deep throated voice sounds even more ominous as it
echoes eerily in the library's expansive entryway.
TERL
As long as you cling to the feeble hope
that you can get the better of me,
you'll be distracted from the important
work which needs to be done. Which is
why I share the following with you •••
Be gives the leash a good hard jerk, yanking Jonnie down a--
INT. CORRIDOR CONTINUOUS
Terl moves at his normal gait, forcing Jonnie to run to keep up.
TERL (cont'd)
When we attacked your planet, all your
soldiers, using your best military
technology, were only able to put-up a
measly nine minute fight before we
exterminated them, along with all but
a few of the six billion humans
polluting this planet.
Be snaps the leash, whiplashing Jonnie into--
INT. CENTRALRESEARCHROOM-- CONTINUOUS
The shelves lining this cavernous tomb of a room are stacked full
of books. An endless variety of subjects and titles.
TERL (cont'd)
Everything you humans knew is in here.
Be makes a big production of letting go of the leash, giving
Jonnie full run of the place.
TERI. (cont'd)
And you can look at anything you want.
Because there"s nothing that can help
you.
Be watches amused as Jonnie takes him up on his offer, pulling
books from shelves. Terl can't resist calling after him--
TERI. (cont'd)
But I'm sure you'll find a lot of recipes
on how to prepare raw rat.
Terl cracks-up, finding this particularly entertaining.
CAR -- LATERTHATDAY
Ratings
Scene 22 - Preparing for Relocation
Mickey pensively shakes his head, fearing the worst.
MICKEY
Think he's still alive?
HEYWOOD
If he is, he probably wishes he wasn't ••.
A darkness hangs over the cage as everyone continues to stare u~
at the library, where--
:INT. DENVERLIBRARY-- CENTRALRESEARCHROOM-- CONTINUOUS
Terl is filing his talons. Across from him, Jonnie finishes
looking through a large stack of books.
TERL
Satisfied?
JONNIE
Yes.
As Jonnie heads for the door, Terl steals a peek at the book he
was just looking at. It's the Declaration of Independence.
But Terl can't read English. Unconcerned, he. just shrugs,
swatting the book across the room.
~. DOMEDCITY -- EDGEOF A FtELD -- A LITTLE LATER
. . .
0n·a rise overlooking the domed city, a herd of grazing cows cas
curious stares across the field a.s the Hark ;I Ground Car pulls
Terl emerges from the vehicle, followed by Jonnie.
TERI,
I You will soon be relocated to a new
mining site. And if any of you get any
bright ideas about escaping, keep in
mind that while you rat-brains may not
know anything about firearms, I
certainly do. I just happened to be
top marksman of my graduating class.
And I can kill any of you at well over
a thousand paces •••
(to Jonnie)
Tell them what I just said.
JONNIE
(relays to
the others)
If we try to escape, he'll shoot us.
Terl waits for Jonnie to continue. And when he doesn't •••
TERL
That's it?
Jonnie nods. Terl is surprised; but shrugs and continues with t
subject at hand. Be pulls his Blast-Gun, explaining--
TERI. (cont'd)
Allow me to demonstrate.
Be turns and FIRES into the middle of the--
GRAZINGCOWS
Killing several of the animals. The others take off in a panickec
stmnpede of churning hooves. Terl continues to calmly fire-- _
Blasting the legs clean off the fast-moving animals. Sending
them collapsing to the ground, BELLOWING in anguished torture.
Terl shows off with some trick shots. Fram behind the back.
With his eyes closed. All with the same horrific result •••
The field littered with a bloody sea of suffering animals thrash.i
around helplessly. sensing something behind them. Jonnie turns--
Ratings
Scene 23 - Confrontation in the Field
A GRIZZLYBEARemerges from an abandoned building. Nostrils
flaring at the smell of bloo4. And with a growl, he charges at--
EXT. EDGEOF TSE FIELD -- CONTINUOUS
Terl, who is too busy with his shooting demonstration, to.notice.
~''
\"'-__.)
But he does note the look in Johnie"s·
away. And misreading it as revulsion
eyes as Jonnie starts back
to the carnage on the fielc
TERI,
Don't you know your own history? Man-
kind was the only animal on this planet
that hunted other animals for sport •••
(has to admit)
Which means there might be sOine hope for
your species after all--
The GRIZZLYslams into Terl from behind--
The fierce impact jars the gun from Terl's grasp as he's violent)
MAULED down. And with the grizzly on his back, pinning him down,
Terl is unable to get his own talons up at--
TBE BEAR
Who is starting to do dam.age. Powerful claws savagely slashing
into Terl's flesh as Terl remains unable to defend himself.
Jonnie scoops up the gun, switches it to stun position and FIRES.
Knocking the grizzly flat by the shot. Carlo can"t believe it ..
CARLO
What are you doing? Let the bear rip
him to shreds--
Jonnie raises the weapon on Terl, who bloodied and bruised, sits
himself up and gives Jonnie a friendly smile.
:,w·:,:;;·m:::r·::-::::r::: ::r:-e .......... ==·::::r:::=:::::r:: ==-· =-
TERL
Look, we can work out a deal. There's
more than enough gold to go around--
JONNIE
--You're in no position to be making a
deal.
Be switches the gun into kill position.
CARLO
(now understanding)
You're right. It's better B kill him.
And for the first time, there is terror in Terl' s eyes. Be braci
himself, waiting for the shot. Be doesn't have to wait long •••
KABLAMI
'l'erl's eyes open wide in shock.
Be hasn't been hit. 'I'he shot was directed at one of the sufferi1
cows behind him, as Jonnie humanely ends the animal's misery.
BLAMI BLAHJ BLAM J
Jonnie does the same with the rest of the herd. Terl has to smi 1
at the irony of it •••
',
, I
Vr TERI,
You"ve learned more Psychlo than'I
thought possible.
ever
JONNIE
What are you talking about?
TERI,
'I'o toy with me like this before you kill
me. I'm impressed •••
(genuinely)
You honor me.
Be closes his eyes, bows his head, ready for his execution.
Jonnie stands there, the gun now sighted on 'I'erl. Bis finger
aching to pull the trigger. But he doesn't •••
CARLO
What are you waiting for? 1 Kill himl
JONNIE
If I kill him, then what do we do?
MICKEY
Get the hell out of here!
JONNIE
'I'o what kind of life?l Always looking
over out shoulders, waiting for another
, monster to come hunt us down•••
7F 6 . ,-&:tr#&·+ 11 w w,¾i '3iCFE1'Wtrttt::mt
'l'ERL can'tunderstand what the man-animals are babbling about.
But his eyes remain focused on the gun in Jennie's hand, waiting
for a chance to grab it--
(J But Jonnie keeps the weapon leveled on Terl's chest, as he
continues to address the others •••
JONNIE (cont'd)
••• And what about the others back at the
mining camp?
CARLO
'l'here•s
nothing we can do about them.
(resigned)
Only the Gods can free them. ·
JONNIE
'l'hose lights we see in the sky at night.
They are .D2t Gods watching down on us.
CARLO
••• What are you talking about?
JONNIE
I learned our history, today. OUr
ancestors built flying machines that
went up into the heavens. I saw the
pictures with my own.eyes •••
(re: the stars). .
'l'hose are planets • Like this ·one. They
are not gods waiting to come and save us.
Be waits a long beat for everyone to digest this, then •••
JONNIE (cont'd)
And the great villages weren •t built by __
gods. They were built by people, just
like us. Men and women who cherished
one thing above all else. Freedom.
(impassioned)
It meant so much to them, they'd fight
to the death for it if they had to. In
fa~t, many of them did.
Inspired, Mickey immediately steps forward.
MICKEY
You're right •••
Bis voice is a bit jmpulsive, but full of conviction.
MICKEY(cont'd)
We can• t run away from the monsters. we
have to fight .twm}l
Ris brother, Sammy, immediately joins him. Heywood also steps
forward in solidarity. But Carlo isn't so sure •••
CARLO
Bow the hell are we going to fight them?
JONNIE
I'm not sure, yet. But I do know we're
not ready. We need to learn more about
them. Like their weaknesses.
(concedes)
And we're going to have to learn other
stuff as well. I mean, we didn't even
know the guns weren't going to work.
A long beat, then with the look of a man who knows he's going to
regret this, Carlo steps forward, joining the others with a sigh
CARLO
••• Which is why we .have to go back.
'l'erl watches as the damnedest thing happens •••
Jonnie turns to him, returning the gun to him. explaining it wit
JONNIE
Surely someone as smart as you has some
secret plan to stop me from shooting you.
If I tried, you would have killed me.
In the blink of an eye, Terl shifts his demeanor back to his old
caustic self--
TERI.
Damn right Iwould have, .rat-brain I
(chortles)
That's the first intelligent thing
you've said, yet.
Be points Jonnie to the far edge of the field.
TERL (cont'd)
Rest-break's over. There's something
else you need to see--
Ratings
Scene 24 - Terl's Warning
DENVER-- A LITTLE LATE
Terl proudly points down to the domed city below.
TERI,
That entire city doesn't even equal QM
block in one of the hundreds of
thousands of cities on the great Bome
Planet of Pf"ychlo. And from there, we
control countless outposts all over the
universe. Each one much larger than
this. One of those outposts used to be
the Chink.o's planet.
'l'erl stares Jonnie straight in the eye, making sure he understandi
¾ ·?·t''hY r 11
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**' , m+-e +FR ,pffi , t ·& P&Mi&
TERL (cont'd)
'l'he Chinkos were the ones who designed
the Learning Machine. They were far
more advanced than you rat-brains. And
when they tried to revolt, we sent down
our gas drones, and within minutes every
last one of them was exterminated.
(sure of this)
So get it through your litUe excuse for
a brain. There is no way a species as
primitive as yours could~ defeat us.
Be lets Jonnie chew on that
for a beat, then concedes •••
TERI. ( oont:' d)
But you were right about one small thing.
If you refuse to mine the gold, I may not
have enough time to train anyone else.
Which is why it is :hnpttrati ve that ¼'OU
are properly motivated--
A SECONDMark II Ground Car pulls up. Ker emerges from the
vehicle and opens the trunk, pulling out--
CJIBlSSY.
Relief floods her eyes when she sees Jonnie. At least he's alive
But as hard as it is to do, Jonnie gives Chrissy an emotionless
vacant look. Like she means nothing to b_im.• •
And Chrissy senses enough to duplicate.this look. Terl watches
Jonnie very closely.
TERI,
••• You don't know her?
Be pulls out Cbrisey's charcoal drawing of Jonnie.
TERL (cont'd)
This was on her when she was collected •
.;ronnie tries to hide the fear in his eyes at what Terl might do.
Be doesn't have to wait long to find out •••
Terl holds up a CBOKE-COLLAR
with a red square on it.
TERL (cont'd)
This collar has enough explosive to
easily remove her head from her body.
Be secures the collar to Chrissy's neck, then pulls a REMOTE
CONTROL.
TERL (cont'd)
And this remote can activate the
explosive from anywhere on the planet.
so if you ever disobey me, let me show
you exactly what will happen.
Ratings
Scene 25 - The Sacrifice
-squared collar a.round Heywood's neck.
Ker secures a secon d red
JONNIE
Listen, you winl I'll mine your gold.
And I know you don't owe me any favors •••
But please, don't kill him!
Terl stares at Jonnie. A long beat. Then he finally relents •••
TERL
Fine ••• As a gesture to our new working
relationship, I will grant you this mm,
request. I won't kill him. But you can
never ask for anything else again.
JONNIE
I won't. And thank-you--
Terl nonchalantly tosses the remote to Ker.
'l'ERt
As I said, I won't kill him •••
Ker gives Jonnie an evil grin, then slowly pushes the button--
JtABLAMJ J
Heywood is no longer among the living.· Terl and Ker laugh their
asses off at the shocked betrayal on Jennie's face.
TERI.
••• Stupid humans.
EXT. DENVERZOO -- 'l'BATNIGBT
Returning the burnecs to their cage fort.he night, Terl stares at
Mickey and Sammy. Impossible to tell the twins apart •••
The two young brothers watch with growing concern as Terl motions
to them, while asking Jonnie something in Psychlo.
SAMMY
... What did he say?
JONNIE
Be wants to know which one of you tried
to stab him.
A look of knowing terror in Mickey's eyes.
MICKEY
Why? What's he going to do?
JONNIE
Unfortunately, there's no way of
telling.
Mickey nods, accepting his fate, whatever it may be. Be turns--
But Sammyhas already stepped forward. sacrificing himself to
Terl. Mickey, stunned, tries to stop him--
MICKEY
, What are you doing? J I.:.m the one who--
SAMMY
--You were just trying to protect me.
Terl grabs Sammy and Jonnie and marches away.
EXT. TELEPORTATION
PLATFORM
-- A LI'l"I'LE LATER
Terl straps Sammy to the teleportation platform, then calmly
drags Jonnie down to--
EXT. CON'l'ROLBtJ'NlCER
-- MOMENTS
LATER
'l'erl punches commands into a console. over the.hum of the
generators coming to life, Terl explains to Jonnie •••
TERI,
Now that you and I have our little
agreement straight, I want you to watch
this, so you can tell the others· ·
what'll happen to them if any of. you
ever disobey me.
Be points Jennie's attention to a monitor, beaming bacK images o
teleportation platforms on the BOMEPLANETOF PSYCBLOas •••
AUTOMATED VOICE (FROMCONSOLE)
Teleportation in five ••• In four ••• In
three ••• In two ••• In one •••
EXT. TELEPORTATION -- CONTINUOUS
PLATFORM
With a TBUNDER-CLAP
of sound and a BLINDINGFLASB of light •••
sammy
disopoears from the platform--
EXT. PLANETPSYCELO-- TELEPORTATION
CENTER-- CONTINUOUS
And appears on one of the countless teleportation platforms
stretched out under a radiant purple sky.
Sammy can't breath the air. Starting to suffocate.
Panicking, the youngster desperately undoes the strap tethe~ing
him to the platform and tries to run to safety, but--
The much larger planet's immense gravitational pull crushes him
to his knees. Bis eyes bulging, he stares out at a--
SKYLINE
NIGHTMARISH
Endless rows of factories belching fire crammed between office
buildings thousands of times taller than the world Trade Center.
SAMMY
Lets out a gasping plea for help as his spine starts to crack
under the atmospheric weight. And the last thing he sees are •••
PSYCBLOWORXERS
crowding around him in curious amusement. As if observing an
insect cooking in a microwave. Until •••
The young twin literally IMPLODES. Bis body caving in on itself
mercifully ending the suffering.
Ratings
Scene 26 - Terrifying Torture and a Secret Agenda
CONTROLBONDR -- CONTINUOUS
Jonnie rips his eyes away from the abominable scene playing on
the monitor. In contrast •••
'l'erl views it to its bitter end, clucking the whole time with
enjoyment.
:INT. EMPLOYEE HALL:-- CONTINUOUS
RECREATION
A bunch o·f Psychlos crowd aro~d the bar, :con~uming kerb~go,
including the RESEARCHCI.Ell that Terl checked out the discs £re
Ker joins the group, shaking his head despondently.
KER
I just got the worst news. My cousin
Numph got vaporized .•.
Everyone is surprised by Ker's un-Psychlo like grief.
KER (cont'd)
••• The bastard owed me over a thousand
c~editsl Now I'll never get it.
The group nods, now understanding.
KER (cont'd)
But it's the idiot's own fault. Be knew
about a planned mutiny attempt, but
failed to report it.
The Psychlos give a collective 'Be got what he had coming,'
shrug, then return to their kerbango as .••
The research clerk leans over to Ker, nonchalantly inquiring:
RESEARCB CLERK
Just wondering. Bow exactly did they
find out he knew about the mutiny?
~
Be was on a remote rim star planet, not
unlike this one, where just like here,
they secretly record and archive All
conversations.
(~) This is news to the research clerk.
\, ______
~,.,,;'
RER (cont'd)
So, if there was ever a mutiny, we'd
obviously review every recording •••
(dark laugh)
And I'd sure hate to be the poor bastard
who knew about it, but didn't report it.
DtT. DENVERZOO -- CAGE-- THATNIGHT
A guard tosses Jonnie back into the cage. Mickey tentatively
approaches him, afraid to ask the question, but bas to •••
MICKEY
What happened to my brother?
Jonnie stares at him. A long, difficult beat •. Then finally--
JONNIE
The monster sent him up to their home
planet •••
Before he can continue, Mickey exhales, relieved.
-MICXEY · .
••• Thank god, because I thought for sure
he was going to kill him.
Jonnie continues to stare at Mickey, his heart breaking. But fox
the life of him, he just can't bring himself to tell him the rest
nr.t'. DENVERHOTEL-- CONTINUOUS
'l'erl hurries down a hallway. A pair of GUARDSsnap a salute and
iimnediately open a door, allowing him into--
-- CONTINUOUS
Ratings
Scene 27 - Assistant Planetship's Treachery Uncovered
~er and the research clerk are in the room with the Planetship.
TERL
You wanted to see me--
PLANETSBIP
--It's my assistant! Be's the bastard
planning the mutiny.
'l'erl does an impressive job of acting shocked by the news.
IN'l'. ~SISTAN'l' PLANETSBIP'SLIVING QUARTERS
-- A LI'l"l'LE LATER
The Assistant Planetship doesn"t have to act. Be ii shocked.
- 4,q ,,,, a;;
l
A MfNE
ASSISTANTPLANETSBIP
Why the hell would I want to do that?l
Terl slips a disc into a machine, playing a recording of •••
INT. RESEARCHCENTER -- ONTHEMONITOR
Terl, convincingly disguised as the Assistant Planetship, leaning
in with a conspiratorial whisper to the Research Clerk.
TERL (AS ASSIST. PLANETSBIP)
••• can you keep a secret?
RESEARca·CLERK
I'd like to think so.
INT. ASSISTANT PLANETSHIP'S LIVING QUARTERS-- CONTINUOUS
The Assistant Planetship shakes his head, pointing to the person
who looks just like him on the monitor.
ASSISTANT PLANETSBIP
That's DQt me! I never said that!
PLANETSBIP
Oh shut up! We know it's you. You were
stupid enough to sign yQur own riame--
t Be hoids up the sign-out sheet, bearing Terl '·s perfect forgery. of.
C, the Assistant Planetship's signature. ON TSE MONITOR •••
INT. RESEARCHCENTER-- ONTBEMONITOR
Terl, in the guise of the Assistant Planetship, looks around,
making sure no one's listening, before 'confiding' •••
TERL (AS ASSIST. PLANETSBIP)
••• Why the hell should we put up with
reduced pay and no vacations, all
because our incompetent Planetship has
no idea how to properly run this place?
RESEARCHCLERK
I don't think the fat-ass could run any
planet--
INT. ASSISTANT PLANETSBIP'S LIVING QUARTERS-- CONTINUOUS
The Research Clerk immediately turns to the Planetship, insisting •.
RESEARCHCLERK
I only said that, sir, to trick him into
telling me the plan, so I could
immediately come and warn you of itl
The Planetship gives a gruff nod and continues to watch as~··
INT. RESEARCHCENTER-- ONTHEMONITOR
(~) ON THE RECORDING,Terl continues •••
TERL (AS ASSIST. PLANETSBIP)
''·~,.-.,,~~'
All it would take is one strategically
placed door-bomb and I'd be in charge.
INT. EXECUTIVEOFFICE SUITE -- A LI'rl'LE LATER
The Assistant Planetship stands alone in front of a door to the
Planetship's office. Be nervously calls down the hall--
ASSISTANTPLANETSBIP
But what if there ii. a door-banb?
Terl, Ker and the Planetship watch from behind a protective blast
shield positioned a safe distance down the corridor.
PLANETSBIP
I thought you said you didn't put one
there!
ASSISTANTPLANETSBIP
I didn't. But maybe someone else did!
TERL
t If you refuse to cooperate with this
\,~:, I
investigation, I"m afraid regulations·
would require me to vaporize you for.the
charge of high treason •••
The Assistant Planetship sighs. Then closes his eyes and braces
his body, as if that could somehow protect him from an explosion.
And he slowly cracks open the door. Nothing happens.
ASSISTANTPLANETSBIP
See, I told you I didn't put a-
A flash of light and a deafening blast as a CATACLYSMIC EXPLOSION
blows the Assistant Planetship and much of the hall into oblivion.
Ratings
Scene 28 - Victory and Peril
LA1'ER
Psychlo workers hose down the last of the fire from the explosion
Ker follows behind as the Planetship strolls by with Terl, who is
adamantly shaking his head, pretending to be distraught.
TERL
But you can't take Ker 1 Be's the best
assistant I ever had--
PLANETSBIP
--You're out of your skull if you think
I'm going to wait for Home Office to
process a requisition for a new E-3
Level Executive Assistant!
'
Terl and Ker share a secret look of victory.
INT. DENVERZOO -- CAGE-- THE NEXTMORNING
,,,.-...,,\
l
-.,,, __.,,.,,~i
Jonnie sits alone in the corner, For the first time, he looks
defeated. Be doesn't even bother to look up as .••
Terl cheerfully strides up, snaps a leash around Jennie's neck
and yanks,him to his feet.
TERL
You've got a busy day ahead of you,
rat-brain. You'll start with discs on
mining techniques, core sampling, and
machine operations.
Be dangles a handful of dead rats in front of Jennie's face.
. TERL (cont'd)
Then after lunch, it's on to drilling
and flying simulators.
Jonnie nods numbly.. There's no more fight left in him.
INT. ASSISTANTPLANETSBIP'SOFFICE -- LATERTHATDAY
Ker, in his new office, struggles through a crossword puzzle. ___
Bt
quickly hides it as the Planetship sticks his head into the room
PLANETSBIP
Quitting time. Want to get some.food?
lCER
Thanks, sir, but I'm going to stay and
get some more work done.
The Ple.netship nods, both surprised and impressed •••
INT. HALLWAY
-- CONTINUOUS
And heading down the hall, the Planetship mutters to himself.
PLANETSBIP
••• Should have had my assistant
vaporized a long time ago.
Be heads into an elevator and the doors close with a J;u.ng--
INT. ASSISTANT PLANETSBIP'S OFFICE -- DAY
As soon as Ker hears the noise, he immediately steals into the
adjoining office--
INT. PLANETSBIP'SOFFICE - CONTINUOUS
And goes to work, snooping through the Planetship's personal files
i a
INT. SECOR.ITY HEADQUARTERS-- CONTINUOUS
Jonnie half-heartedly pushes buttons on control panel to a
0 BOLOGRAPBJ:C FIGHT SIMULA.TOR.But all he manages to do is •••
Crash into a simulated mountain.
TERL
(growls)
Crash one more time, and your little
friend is no longer among the living.
Be holds up the REMOTE to Chrissy"s explosive collar, then
restarts the simulator.
INT. DENVERZOOCAGE-- TBATNIGHT
Jonnie is back to sitting alone with a despondent look.
Carlo and Mickey slowly approach. Nothing is a.aid for the
longest time. And finally, Jonnie looks up at Carlo.
JONNIE
You were right. I should have shot the
monster when I had the chance •••
(quietly)
That way, Sammy and Heywood would still
be alive.
CARLO
You didn't kill them.
JONNIE
No, the monster did. And I didn't kill
the monster when I could have.
(tortured whisper)
Which means it's my fault.
MICJCEY
You didn't kill the monster for a reason.
Jonnie gives him a haunted look--
JONNIE
That's the .point. If we try and fight
them, more of us will end up getting
killed. Maybe even everyone •••
(barely audible)
All because of me.
Carlo shakes his head, trying to hold back the anger.
CA:RLO
This isn't just about~- Remember what
Heywood said. It's about all of us •••
MICKEY
And we need you. You speak the monsters'
language. You know things about them.
Jonnie looks around at the others in the cage, who are now-staring
at him. And he sees something on their faces he's never seen
before. ~- The longest of beats, then ...
.JONNIE
Everyone has to know. If ,..,e· do this ,
there's a good chance that not one of us
will be alive by the time it's over.
But not one person is deterred. Carlo gives Jennie's words back
to him--
CARLO
Look around. This ain't exactly living.
And even if we could . escape and go back
to our villages, .we'd always be looking
over our shoulder, waiting to be hunted
down by the monsters.
(pointed)
And that ain't exactly living either.
MICKEY
(fierce resolve)
So if you can help us figure out a way
to fight the monsters, no matter what it
is, count us in.
A VOICE (O.S.)
Count us in too--
Ratings
Scene 29 - Whispers of Resistance
This voice belongs to on~ of the human slaves pressed against the
bars of the next cage over, listening to what's going on in
Jonnie's cage. And from the next cage over from that •••
ANO'l'BER VOICE (O.S.)
What's going on?
The human slav~ turns and calls to the second voice--
BUMANSLAVE
Someone in that cage knows how to speak
the monsters' language. And he's going
to help us fight them--
Someone from the next cage asks what's going on •••
EXT. NEXT CAGE OVER -- CONTINUOUS
And ~he news is met with the same ardent reaction. We PULL BACKt
EXT. DENVERZOO -- CONTINUOUS
The message passing from cage to cage, until the whole zoo erupts·
a DEAFENINGROAR. The battle-cry resounding defiantly in the nigh
INT. SECURITYHEADQUARTERS
-- TEE NEXTDAY
It's a whole different Jonnie. Attentive and focused as his
fingers fly over the simulator's control panel.
Terl watches, impressed. Then holds up the remote to Chrissy's
explosive c9llar, gloating •••
'l'ERL
Never underestimate what a little
leverage can do, rat-brain.
Jonnie nods, letting Terl believe what he wants to.
EXT. DENVERZOO -- CAGE-- THATNIGHT
Everyone in Jonnie's cage crowds around him as he draws letters
in the dirt, teaching the others to.read and WJ::ite. Jonnie
passes the stick to Carlo, who carefully starts to write letters ,
of his own.
INT. PLANE'l'SBIP'SOFFICE -- 'l'BE NEXTMORNING
The Planetship strolls into his office, but.fr~zes in his trac;k
What the hell are Terl and Ker·doing·in his inner-sanctum •• ~
But then he sees the files all neatly laid out on his desk. Be
looks at them, the life draining from his eyes.
TERI, .
Isn't it interesting you've been keeping
two sets of books. • • And while you've told
the workers that this planet's operating at
a loss, it's actually quite profitable.
The Planetship shakes his head, feebly trying to explain •••
PLANETSBIP
I only claimed it's running at a loss to
try and motivate everyone to work harder.
'l'ERL
Of course you did •••
(knowing smile)
And it had nothing to do with how it
allows you to cut everyone's pay, so you
keep all the extra credits for yourself.
PLANETSBIP
Oh, that? I can explain that--
But Terl drops a heavy tome or.to the desk with a resounding clang
TERL
--I'm afraid company regulations
requires me to vaporize you.
TERL (cont'd)
But I can see how someone in your
position, faced with growing old and no
future, might be forced to find creative
ways to solve your financial problems.
PLANETSHIP
••• You can?
TERI,
And it's not in any of our interests for
you to stop being the Planetship ••• But
it may be prudent for you to start
sharing some of your authority.
Ker hands the Planetship a huge sheaf of requisition and order
foI:mS, along with a pen to sign them.
PLANETSBIP
But these fonns are blank. And undated.
(shakes his head)
If I sign them, you could put anything
you want on them. You'd be running the
entire planet I I• d be nothing but a
puppet--
'l'ERI,
--If you don't want to do it this way, we
could always do it by the book.
Be pats his Blast-Gun, underscoring the threat.
Ratings
Scene 30 - Dangerous Mission
-- T~ DAY
A SUPPLYCLERKstares incredulously at a requisition form.
SUPPLYCLERIC
What the hell does the Planetship need
with all this mining equipment?!
TERI,
That's not even the crazy part.
(holds up an
order form)
Be's ordered me to take a group of man-
animals with the equipment out to a
remote area to see if they can be
trained to mine. Can you imagine that?l
SUPPLYCLERK
Man-animals being able to mine?! The
old Psychlo's gone completely insane.
'l'ERL
Tell me about it. But what can I do •••
(helpless shrug)
An order"s an order.
INT. CARGOCAGE -- LATER TB.ATDAY
A BOWLINGh"IND cuts through a large steel cage containing Carlo,
Mickey, and some twenty other men, along with an assortment of
mining machines and equipment. The cage is suspended from the
underbelly of a--
PSYCBLOCARGO-TYPEAIRCRAFT
Which hurtles over the majestic Rocky Mountains. Following
behind, Ker is at the helm of a smaller fighter-plane.
INT. AIRCRAFT -- COCKPIT -- CONTINUOUS
Terl keeps a careful eye on Jonnie, who is piloting the aircraft.
An .ALARM suddenly blares through-out the cockpit--
AUTOMATED VOICE (OVER SPEAKERS)
Warning! External sensors indicate
dangerous radiation levels ahead--
Blue sparks are starting to pop throughout the cockpit.
For the first time, there is genuine fear in Terl's eyes. Be
~,
~,_/' I
immediately points to a meadow visible.below--
What are you waiting
damn cra!t.
TERL
for?J
This is as far
Land.the.
as I can go.
Jonnie punches buttons.~n the control panel, landing the aircraft.
-- MOMENTS
EXT. MEADOW LATER
Terl motions Jonnie to the cargo cage as Ker lands th~ fighter in
the meadow nearby.
TERL
Meet me back here in fourteen days with
at least half of that cage full of gold,
or I ' 1.1 ' terminate' your entire
operation.
As the threat hangs there, Terl checks his time-piece.
-- A LITTLE LATER
EXT. MEADOW
The men have been assembled out on the meadow, when there's an
e~hereal, almost otherworldly WAILING from above as--
A PSYCBLORECONDRONE
Hurtles overhead. One of the drone's high-tech CAMERA-LENS
rotates to stare down at our guys.
'* --- ,,,_ m=· ==,,.,,.-,...,,
1
INT. FIGHTERPLANE-- MOMENTS
LATER'
I
I
A 'I'RANSMISSIONRECEIVERspits out a SURVEILLANCE PHOTOtaken f rc '
the recon drone, depicting Jonnie and the others starin9 up intc
the sky. Ker hands it to--
EXT. MEADOW
-- CONTINUOUS
'l'erl, who gives the surveillance photo to Jonnie.
TERI,
Tell them that even though I won't be
at the mining site, I'll be able to
keep an eye on you •••
(admonishes)
And anyone who isn't working bard will
be 'replaced' , if you know what I mean.
Be pats his blast-gun, making sure Jonnie understands, then turn
and climbs into the fighter as Ker pilots it up and away.
Jonnie and the men start back to the cargo aircraft, but Jonnie
instantly whirls. Eyes scanning the underbrush in the tree line
Be grabs a PICJC-AXfrom the mining equipment, holding it up as a
weapon. Following his lead, the rest of the men do likewise as.
The bush moves. And out from behind it steps--
A wild-eyed figure with the look of someone who has survived a
long time alone in ·the wilderness·. Ignoring the ·array ·of ~eapori
pointed at him, the ROGOE stares at Jonnie in complete awe.
ROGUE.
Bow'd you do it?
JONNIE
••• Do what?
ROGUE
Make that monster go away without
killing you.
Jonnie gives him a friendly smile.
JONNIE
I'm afraid it's a long story.
CARLO
And.sorry, pal, we'd love to fill you in,
but we don't have a lot of time--
The rogue sizes up Jonnie and the rest of the men, then nods as
he's reached some important decision, and returns Jonnie's smile
ROGOE
The name's Mason, and I've got nothing
but time •••
Ratings
Scene 31 - Preparing for Revolt
Jonnie lands the cargo-aircraft at the mining site, and our guys
now including MASON, begin hauling the equipment into the shelte
of a cave.
Carlo looks up from the list he's been studying with a worried
expression--
CARLO
If we work around the clock, we'll be
lucky to mine enough gold to fill half
that cage ••• There's no way we're going
to be able to do that ,smgget all this
stuff done we need for the revolt.
JONNIE
I've got worse news. There's only gonna
be about half of you digging.
(off their looks)
I'm gonna be looking somewhere else for
it.
EXT. SBOPPINGMALL-- TBAT NIGBT
The cargo aircraft lands on top of the shopping mall where Jenni,
and Carlo were first captured by the Psychlo wrangler.
Jonnie and a small group of men emerge and race inside the build 1
INT. RADIO SHACK-- THE NEXT PAY
Jonnie and a group of his men move through the store, scavenging
WA.I.KIE-TALKIES
and RECBARGEABLE.BATI'ERIES, while-··
INT. GUN.AND AMMOSBOP -- CONTINUOUS
Mickey and Sammy lead.a separate team through a gun shop,
collecting weapons, and--
INT. HARDWOOD
STORE -- CONTINUOUS
Carlo and a third squad scrounge up supplies, including SPOOLSO
TBIN WIRE.
INT. MINING SITE -- CAVE-- TBAT DAY
Jonnie shows his group basic engine mechanics as he rebuilds the
motor on a small, gas-powered generator. Nearby •••
Mickey and Sammy's team assemble crude, but effective-looking
homemade bombs from the mining equipment.
INT. MINING SITE -- CAVE -- A LITTLE LATER
With the generator, now reassembled, Jonnie fires it to life.
The men burst out in applause as electricity flows to a line of
battery rechargers.
INT. PSYCBLOAIRCRAFT-- COCKPIT -- DAY
Jonnie pilots the aircraft. Carlo is in the navigator's seat.
Behind him, ~ckey shakes his head--
() ••• Bey, what's
MIClCEY
.:thA:t,?
Jonnie banks the aircraft around. And now, staring at them
through the cockpit window is •••
TBE S'l'ATOEOF LIBERTY
Watching over a completely empty harbor.
EX'!'. MANHATTAN
-- CONTINUOUS
The same with the city of Manhattan. The entire island is a
literal ghost town. Nothing moves. Hovering overhead--
nrr. AIRCRAFT -- CONTINUOUS
Jonnie studies the map, realizing.
JONNIE
We•re here. Over New York.
EXT. MININGSITE -- CONTINUOUS·
A wailing soundgrows louder as the RECONDRONEpasses overhead,
cameras spying down on the mining site, where •••
INT. CAVE-- CONTINUOUS
Bidden from view in the cave, two of Jannie's men have stayed
behind and now pull on a series of thin wires, which run through
a pulley system and out to •••
EXT. MINrNG SITE -- CONTINUOUS
. "
Twenty DEPARTMENT STOREMANNEQUINS,all decked out in mining gear
and holding shovels and pick-axes. As the wires are pulled •••
The mannequins move like marionettes, looking like they're hard
at work mining the gold.
INT. SECURITYHEADQUARTERS
-- CONTINUOUS
Terl grabs the surveillance photo as soon as it spits out from
the transmission receiver. Be gives a satisfied nod.
TERL
That's what a little leverage can do for
Y"'U· See them all slaving away.
UR
well, with my share, I'm going to fire
all my wives and buy new ones. Maybe
even a pretty one ••• What about you?
'!'ERL
Bribe my way off this god-forsaken planet
and get assigned a real position that's
worthy of my talents and training.
That has got to be the stupidest thing Jeer has ever heard.·
KER
You're going through all this trouble,
just so you can get a jobl
TERI,
Not a job ••• Respect.
The fierce desire is palpable in his voice.
EXT. WASHINGTON
D.C. -- LIBRARYOF CONGRESS
-- THATDAY
.
The cargo aircraft is parked next to the Library of Congress.
-- CONTINUOUS
INT. LIBRARYOF CONGRESS
Books on uranium are spread across a table as Jonnie unfolds a
. RADIOACTIVE-SITE Map of the United .States. . Be traces his f ing~r
I ~I to·a mountain in Colorado which bears the radiation symbolof·a
\__j' triangle inside a circle... ·
JONNIE
Here's where we"re supposed to be m;ning
the monster's gold. That symbol means ·
radiation. Which is caused by uranium.
Be moves his finger to an area in New Mexico.
JONNIE (cont'd)
And here's where my tribe is located.
MI~Y
••• It has the same symbol.
JONNIE
(looks up at them)
Do you guys know the names of the places
where you"re from?
MICKEY
A village called Los Alamos •••
CARLO
An island in what used to be the country
of Pennsylvania •••
JONNIE
Which island?
CARLO
Three Mile Island.
Jonnie finds Los Alamos and Three Mile Island on the map. And
sure enough, they both have the radiation symbol.
Carlo and Mickey don't understand. Jonnie explains •••
JONNIE
From what I've been able to figure out,
many years ago, the monsters attacked
our planet with a deadly gas. Almost
everyone died, except a few who made it
into underground shelters. When the
air cleared, these people came out, but
were then hunted down by the monsters.
(points to the map)
Only a few 1m1st have made it to the
safety of these remote areas with
radiation where the Psychlos couldn't go.
And we're descendants of those people.
Mickey nods, realizing this is good news.
MICKEY
So even if we fail
to take over the
planet, our people will be safe as long
as they stay in areas with this
radiation thing?
JONNIE
.They'd be safe from the monsters:.·
( the bad "'\ews) ··
But radiation isn't good for humans,
either. That's why a lot of people in
our villages get sick and don't live as
long as they should.
Be stares at them, ~ng sure they understand.
JONNIE (cont'd)
So if we don't take back our planet, our
people can't leave these areas or
they'll be ~nted down. But if they
stay in these areas, over time, more and
mo~e of them will get sick and die •••
(the grim reality)
Either wa,y,the last of humanity will
slowly but steadily become extinct.
Ratings
Scene 32 - Rescue at Fort Knox
-- FORT KNOX-- LATERTHATDAY
The aircraft land~ next to FORT KNOX. Our guys emerge, carrying
large Psychlo equipment cases, and head into the building •••
MICKEY
If gold's so valuable to them, how come
the monsters haven't already taken it
out of here?
¥@ ¥¥9
- 4 ;µ n ;; 4 4
JONNIE
From what I read in the library, the
gold here is stored in lead-lined vaults
to protect it from the radiation in case
of a nuclear war •••
(beat)
And that lead would keep the monsters
from detecting the gold.
D'l'. FOitT mox -- GOLD DEPOSITORY -- A LI'l"I'LB ~
our guys stand in front of an imposing vault.
CARLO
••• You sure we're going to be able to
get through this?
Jonnie and Mickey fire-up a Psychlo LASER-DRILL.
JONHIB
One thing you got to give those
monsters, their mining equipment is
highly effective.
They attack the vault with the high-tech drill.
It cuts through, like a hot knife through butter.
~ As the screaming bit, is pulled smoking from th~ hole, a·gol~
l,J' ~ight streams out.
EXT. MININGSIGHT
HIGH ANGLE
Jonnie and the others descend over the mine area. But it
looks very different.
INT. AIRCRAFT- DAY
..
There are looks' of concern on their faces.
JONNIE
Looks like an avalanche.
EXT. MINE - DAY
A light shines down from the present edge and confirms it.
The fissure, thirty feet back from the old edge, had simply
opened and fallen into the gorge.
Jonnie races back to the hundred feet deep shaft edge. He
looks around, flashing his light. •
Jonnie approaches the hole more closely. Until he sees the
slide ~arks of the cross timbers that had supported the hoist
cage over the hole.
A light shines down from the present edge and confirms it.
0 The fissure, thirty feet back from the old edge, had simply
opened and fallen into the gorge.
Jonnie races back to the hundred feet deep shaft edge. He
looks around, flashing his light.
JONNIE
Avalanche.
Jonnie approaches the hole more closely. Until he sees the
slide marks of the cross timbers that had supported the hoist
cage over the hole.
LATER
The place is broadly lit nOW'with lamps the relief crew had
put on poles. Carlo and the others pay out the line of a
bucket rigged to crane cable •••
••• Jonnie and three others are lowered to the bottom of the
hole.
They swing picks at the rocks, filling buckets that are
instantly shot aloft to be replac~d by empty ones.
u LATER
The crew has been changed.
there.
Twice. But Jonnie is - still down
They work in a blur of speed.
Another crew arrives. Jonnie stays.
Finally, he hears a distant whisper of sound. He holds up his
hand for silence.
VOICE
(very faintly)
••• air hole .••
Jonnie grabs a LONGMINE DRILL. He socks the rock drill point
into it, and signals the man on the drill motor.
They buck the drill into it with the pressure handles. And
with a high scream the drill goes through.
JONNIE
Air hose!
. - -;;- ;;;;:;;;,;;;; V
LATER
The place is broadly lit now with lamps the relief crew had
put on poles. Carlo and the others pay out the line of a
bucket rigged to crane cable •••
••• Jonnie and three others are lowered to the bottom of the
hole.
They swing picks at the rocks, filling buckets that are
instantly shot aloft to be replaced by empty ones.
LATER
The crew has been changed. Twice. But Jonnie is still down
there.
They work in a blur of speed •
.Another crew arrives. Jonnie stays.
Finally, he hears a distant whisper of sound. He holds up his
hand for silence.
VOICE
(very faintly)
••• air hole •••
Jonnie grabs a LONGMINE DRILL. He socks the rock drill point
into it, and signals the man on the drill motor.
They buck the drill into it with the pressure ·handles • .And
0 with a high scream the drill goe·s. through. . .
JONNIE
Air hose!
They feed the hose through the drill hole and turn the air
compressor on. Air from the drift squeals ~ack past the sides
of the hose and into the rescue crew's faces.
LATER
They have managed to clear the top of the rockfall and drag
men out.
Passing them to the top, silently in the hoist buckets.
A dust- and sweat-covered Jonnie is the last one up.
The salvages crew are bundled up, sitting in the snow, most
of them drinking something hot.
CARLO
we lost the lode.
JONNIE
That's alright.
Ratings
Scene 33 - The Plan to Retake the Planet
Jonnie yanks the cover from the stacks of gold bars,
harvested at Fort Knox.
EXT. MEADOW
-- NIGHT
Jonnie stands next to a cargo cage half-full of GOLD BARS as he
waits for Terl to land his aircraft and climb out.
'l'erl is impress~d, but also instantly suspicious.
TERI,
Why is it in 12.A.:I.?
JONNIE
We figured someone of your stature
wouldn't want something as coarse as
raw ore.
Terl doesn't look convinced until he runs a hand-held COMPOSITION
ANALYZER over the gold. It checks out as the real thing.
Biding his glee, Terl turns back and growls at Jonnie--
TERI,
I obviously need to adjust the
schedule. Since you rat-brains had
enough extra time to smelt the gold
into bricks, I will now expect the rest
of the gold in seven days .•
Not bothering to wait for a response, Terl loads the glorious
gold into his aircraft.
INT. MININGSITE CAVE-- NIGBT
J~nnie and the rest of the men have reassembled back at the cave.
CARLO
So, if we don't give him the rest of the
gold in seven days, he'll kill us. But
if we s1Q give him the gold •••
MASON
••• Be no longer needs us.
CARLO
Which means he'll kill us.
But Jonnie doesn't look the least bit concerned.
JONNIE
All this means is that our deadline's
been moved up a bit. We now have seven
days to take back our planet.
The group nods, trying to match Jonnie•s confidence as Jonnie
gets down to business, opening a MAPof Denver. Be points to the
zoo in the middle of the city.
JONNIE
According to the monster's Field
Manual, even a large-scale escape of
human slaves from the zoo would only
constitute a stage-one alarm.
MICKEY
To the monsters, it'd be like a bunch
of horses escaping.
No one seems too happy about the comparison. But Jonnie nods ••.
JONNIE
Because the monsters only see us as
harmless anirnals, they won't be
wearing batUe-gear when they come to
round us up •••
(a gleam in his eye)
Which means they won"t have on their
breath-masks.
Mickey excitedly jumps in again, beating Jonnie to the punch-lir
MICKEY
And any monsters outside a building
without a breath-mask won't be able to
breath once Carlo blows up the dome.
Ali eyes spin to Carlo, who gives a confide'n~ thumbs-up~
Piece-of-cake!
MASON
••• What about the monsters that are
inside the buildings when the dome blo~~?
JONNIE
They'll survive. And we can expect them
to come at us in a second assault. But
that's where you guys cane in •••
Bis eyes sweep the group as he explains •••
JONNIE (cont'd)
Everyone's going to train how to use the
monster's weapons. Then we'll sneak you
in to blend in with the rest of the
people who escaped from the zoo •••
(beat)
So when Carlo takes out the first wave
of monsters, you guys'll jump out and
grab their weapons, then set-up an
ambush for the second wave of monsters
who will be wearing breath-masks.
CARLO
Plus, I'll be flying overheadi raining
explosives down on the bastards.
Excitement spreads through the group. The plan actually has a
chance of working. But then Jonnie adds •••
JONNIE
But everyone needs to understand. The
moment we blow the dome, or fight back in
anyway, this becomes a stage-two ala.rm.
MICKEY
And that's the one thing we can't let
happen, right?
JONNIE
Right. A stage-two alum means the
monsters alert their Some Planet. And
moments later, thousands of troops and
gas drones will be teleported here.
(levels with them).
There's no way we could fight that. We'd
all be dead within seconds.
The group's excitement instantly turns to confusion.
MASON
••• Then what the hell's the point of
killing all the·monst~rs on this·planet,
0 if we"re all going to get wiped out?
JONNIE
Because before this thing gets to a
stage-two ala.rm •••
(matter-of-fact)
We're going to destroy their Bome Planet.
Everyone stares at him. Be must be joking. But he isn't.
Ratings
Scene 34 - Preparations for the Final Mission
Jonnie and a handful of men emerge from a Strategic Weapons Vault
carrying out crates of conventional explosives, as well as ••.
A Cruise-Missile N'QCIT&R
WHEN?~
INT. FORT BOOO-- NUCLEAR
TRAININGFACILITY -- A LITTLE LATER
Mickey restlessly pokes around, exploring the classroom as Jonnie
and Carlo huddle over a tech-manual.
The nuclear warhead sits on a table in front of them.
JONNIE
According to this, we have to make-sure
· the firing-mechanism is--
MICKEY'SVOICE (O.S.)
--Bey, look at these guysl Something
must be wrong with their heads.
In the back of the room, Mickey points to an old PBOTOof
a BATTALION OF CADETS, all with their hands to their foreheads.
JONN:IE
Nothing•s wrong. They're saluting. It's
a sign of respect.
Be salutes, showing Mickey, then gets back to the business at
hand, continuing to read from the manual--
JONNIE (cont'd)
••• Make-sure the firing-mechanism is
properly in place and operational.
Jonnie and Carlo both take deep breaths, then pick up tools and
gingerly go to work on the warhead--
INT. DENVER-- MORGUE
-- CONTINUOUS
Terl rips the lid off of a coffin and yanks out the dead Psychlo
dumping the corpse to the ground and kicking
.
it out of his .way.
.
Be repeats the process with another coffin, unceremoniously
flinging the corpse to the ground, then fires up a LASERDRILL
and blasts away, carving FALSE BOTTOMSinto·the caskets.
INT. FORTBOOD-- NUCLEARTRAININGFACILITY -- TBAT DAY
With the nuclear warhead now partially dismantled, Jonnie and
Carlo careful_ly remove a lead plate with surgical precision.
JONNIE
(re: the manual)
••• No matter what, we can't touch the
auto-sensor.
CARLO
What ',s the auto-sensor look like?
JONNIE
The illustrations are in Appendix-A
(before Carlo can ask)
We couldn't find Appendix-A.
CARLO
And if we touch this auto-sensor?
JONNIE
The bomb will detonate.
CARLO
Great.
INT. DENVER - MORGUE- CONTINUOUS
Still whistling his war song, Terl begins filling the false
bottoms in the coffins with his beloved gold.
INT. MmING SITE -- CAVE-- THATNIGHT
Everyone congregates around the map of Denver one last time as
Jonnie finalizes the battle plan •••
JONNIE
Once the prisoners escape from the zoo,
Chrissy will lead them here to the Civic
Center Park ••• That's where you guys will
be waiting to blend in with them... And
when the guards are sent to round all of
you up, it should leave minimal resistance
here at the teleportation platfoJ:m--
Be points to a section of . the .city away from the park.
. .
JONNIE (cont'd)
Which is when we'll move in and secure
the platform, and teleport the nuclear
weapon up to thei~ planet.
Mason points to the nuclear warhead.
Ml-\SON
••• And you're sure that thing will be
enough to take-out their entire planet?
JONNIE
Radiation explodes their breath gas.
Which is exactly the same as their
planet's atmosphere •••
Mickey slowly raises his head. A darkness in his voice.
MICKEY
With all respect, sir, I'd like to be the
one who goes up and detonates the weapon.
JONNIE
It's brave of you to offer. But it's lfr'f
plan, so I go--
MICK£Y
--You don't understand. I~ to go.
(determined)
So, I can see my brother again.
Jonnie stares at Mickey, his heart breaking. But this time,
Jonnie bas no choice. Be has to tell him.
JONNIE
There's no point in you going. No human
can breath on their planet. Plus, the
gravity is too strong. I'm sorry.
(soft)
But your brother was dead within moments
of being there.
Mickey returns Jonnie's look without blinking.
MICKEY
I kru:;M. · That's why I want to go.
(quietly)
So, I can be with him again.
A long beat. Then Jonnie finally nods, giving Mickey his wish.
· EX'l'. DENVER -- EMPLOYEE RECREATION
·BALL -- THATNIGHT
Ker comes strolling out of the bar, when a figure suddenly steps
out of the shadows in front of him.- It's JONNIE--
JONNIE
There's no way Terl's going to share any
of the gold with you.
KER
What the hell are you talking about?
And what are you even doing here, you're
supposed to be mining--
JONNIE
--Think about it. Terl went through all
that effort to trick you, so he could
record you into laying out the plan. It
was more than just making you the patsy.
(beat)
Terl got leverage on you so he wouldn't
have to share the gold.
KER
Bow the blast do you know about the
recording? 1
JONNIE.
It sure is interesting some of the discs
one can find in Terl's personal vault.
Ker"s eyes light-up at his sudden good fortune. Be pulls his
blast-gun and orders--
XER
Give the disc to mel
JONNIE
I'm afraid I don't have it with me.
cu
Ratings
Scene 35 - The Trade
As Jonnie leads Ker to the cage, Chrissy holds up the DISC.
EER
Tell her to give it to me--
JONNIE
--I'm afraid we can't just give it to
you. But you can trade for it.
Ker, chuckling at Jennie's stupidi~y, re-pulls h~s Blast-Gun.
1CER
I don't think so, crap-brain! Because
if you don't give me the disc, I'll--
At JoMie's signal--
INT. CHRISSY'S CAGE-- CONTINUOUS
CHRISSYimnediately hands the disc to someone in her cage, who in
turns hands it off to another person, this continue3 until •••
-. -
The disc reaches someone at the edge of the cage, who pitches it
through the bars into--
INT. NEXT CAGE-- CONTINUOUS
Ker tries to point his gun at the humans in warning, but the
process is repeated too fast for him to follow as .••
EXT. DENVERZOO -- CO!ffINUOUS
A human chain moves the disc from hand to hand, cage to cage, until
before Ker knows it, the disc disappears from view around a corner.
EXT. CBRISSY'S CAGE-- CONTINUOUS
Ker turns back to Jonnie with a friendly smile.
KER
••• What kind of trade?
.~--= .. "-; .,;41 W G •#±- w,w
"*
INT. CHRISSY'S CAGE-- A LITI'LELATER
Xer uses a special tool to remove the explosive collar from
Chrissy• s neck, then trade.s the collar for the disc.
JONNIE
Bow about we make another trade.
(motions to the
zoo cage KEY)
As a male member of your species, you
can understand.why I would want to come
and "visit' with her--
KER
--Forget it, crap-head! You just keep
your mind on getting the rest of the
gold!
JONNIE
Too bad •••
(holds up a SECOND DISC)
Because the g9ld is almost ready and I
thought you might want some incriminating
evidence on your friend, Terl.
Xer doesn't have to think about it. Be imnediately trades the
zoo key for the second disc. As soon as X~r .is gone... • . _
Chrissy gives Jonnie a confused look.
CHRISSY
Won't the monster in charge be able to
see I'm no longer wearing the collar.
JONNn:
(hands her the key)
After tonight, it won't matter much
either way.
There's an unspoken tension between them. The first time they've
alone since he left their village. Chrissy tries to cover it with
CHRISSY
I know you don't believe in fate, but
I've always known you were destined to
do something great •••
JONNIE
••• We're going to do something great.
All of us, together •
. She nods, but there's still something not being said. The longest
of beats. And finally, Jonnie struggles to find the right words.
JONNIE (cont'd)
(~ And we need to do this not only for our
own freedom, but for the possibility of a
life for the children.
Chrissy looks at him and starts to ask something, but doesn't.
Be returns her look, clarifying •••
JONNIE (cont'd)
A life for S2lU: children.
(quickly adds)
Of course, only if you'd be willing to
take an 'arrogant greener' as your
husband.
CHRISSY
I don't know•••
(warm smile)
I think I could live with that.
They embrace. Each of them knowing it might be the last time.
Ratings
Scene 36 - Terl's Revenge
-- THATNIGHT
Terl-comes strolling into the office, but suddenly stops in his
tracks. EVERY MONITOR in the room is playing ·a recording of-- ..
CJ TERI.. ( ON THE MONITORS)
.
••• We'd have to use explosives. Bame
Office would detect them and send down a
survey team, which means we wouldn't be
able to keep the gold for ourselves.
Ker smugly pauses the disc, FREEZINGthe guilty evidence.
KER
I've been thinking. Eighty-twenty ia. a
pretty fair distribution of the gold •••
(loving every
moment of this)
But l should get the eighty per cent.
Terl stares at him. And without hesitation:
TERL
Congratulations! I knew there was a
true Psychlo in you somewhere!
Ker remains on guard. Be's not about to fall for any traps.
But Terl seems genuinely happy, if not downright ecstatic.
TERI. (cont'd)
You finally figured out how to get
proper leverage on someone.
(MORE)
() TERL (cont'd)
Which means I haven't wasted my time
trying to train youl
Ker can't believe it. This is going much better than he thought.
KER
You"re not upset?
TERI,
Don't be crazy! You don't know how long
I've been waiting for this day. And I
know just the perfect way to celebrate--
Be pulls his Blast-Gun and slides it into kill position--
KER
What are you doing?! You can't kill mel
(explains) .
I made a copy of your disc and gave it
to someone for safe keeping. And if
anything happens to me, they'll turn it
into the authorities.
A frozen beat. Then Terl has to lower the ~ with a sigh.·
JCER(cont'd)
It's your own fault, sir.
(good-natured)
You were just too good of a teacher.
TERL
And how about giving the old teacher a
clue as to who this person might be?
KER
You insult yourself, :air. You taught me
better than to fall for that one.
TERI,
Well, then how the hell am I supposed to
know who it is. I mean, it could be
anyone on this damn planet ••• It could
be one of the mechanics. It could be a
concubine. It could be someone in the
communications office. Bell, it could
even be •••
Terl opens his desk drawer and calmly pulls out--
THE BARTENDER'SSEVEREDBEAD
TERL (cont'd)
Pllr friendly bartender!
Ker's face immediately goes death-white. Terl tosses the head to K
TERL (cont'd)
You know, you really should chose your
friends a bit more carefully •••
xer looks from the head to the desk drawer to Terl,· realizing
'l'erl had thi~ planned all along. Bis body slumps in defeat.
Terl raises his blast gun.
KER
Don't shoot! You win! I'll go back to
being the patsy!
Be fumbles a disc out of his pocket and hands it to Terl.
KER (cont'd)
See? That's the disc of me laying out
the plan. You can have it back. Which
means I'm back to being the patsy. And
you can't kill the patsy, right?!
TERL
Here"s your final exam. Try real hard
to pass it ••• When committing a crime,
how many patsies does one need?
As K~r chews on this, Terl reminds~--
0 . TERL ( cont ' d )
And while you're thinking, remember all
the hard work we put into getting
leverage on the Planetship. A process,
I might add, that you were quite
resourceful in helping with.
The life drains from Ker as •••
KER
The Planetship ordered us to train the
man-animals to mine the gold. So, if
anyone found out, he'd be responsible.
(practically crying)
And you only need~ patsy.
TERI.
Very impressive. You pass the exam with
highest marks.
lCABLAMl Terl shoots a fist-sized hole through Ker's face.
TERL (cont'd)
But I'm afraid you failed the course.
Ker is dead long before he hits the ground.
Ratings
Scene 37 - Escape from the Zoo
A pair of sentries make their usual nightly rounds, when they
hear a strange noise. Turning, they catch a glimpse of--
'A LONE BOMAN SLAVE
Racing away up a path and disappearing around a corner.
ZOOGUARD
Bow the hell did that one get out •••
The other guard shrugs, unconcerned. After all, man-animals aren't
that fast. So they calmly walk-jog after the escapee--
'l'BE BEND-- A LITTLE LATER
EXT. AROUND
With the escapee now in tow, the guards head back to the zoo.
One of them shakes his head in amusement--
ZOOGUARD
Not only are these man-animals slow, but
they've got to be the stupidest things.
( jeering laugh) .
It didn't even have the sense to hide. It
ju~t stood there, letting us--.
The words freeze in his throat as they turn a bend and •••
EXT. DENVERZOO-- CONTINUOUS
Eyery single cage is empty. Not a human in sight. The only sound
the eerie creaking of open cage doors swaying gently-in the night.
EXT. DENVER-- A LITTLE LATER
RI.AXONBORNScrank-up, wailing into the darkness.
INT. MORGUE-- CONTINUOUS
TERL finishes loading the coffins full of his precious gold onto
a cart as he barks into his rad.io--
TERL (INTO RADIO)
••• Then send all available guards to
round them up 1 I'm busy, you don't have
to bother me with every little detail
EXT. TELEPORTATION
PLATFORM
-- MOHEN'l'S
LATER
The 'l'ELEPORTATION
SUPERVISORhangs up fran a radio call--
fr5i5753F75 }t l, '*
TELEPORTATION SUPERVISOR
Those security guys at the zoo have got
to be the biggest crap-headsl What did
they do, leave all the man-animal cages
wide open?l
(point to several
of the guards)
All non-essential personnel are to go
over and help with the round-up.
The selected guards grumble about having to go, and •••
EXT. DENVER-- STREETS-- CONTINUOUS
Join the steady flow of other Psychlos responding to the call.
But no one's in too big of a rush. It's just a man-animal escape.
EXT. CIVIC CENTERPARK- A LI'l"I'LE LATER
Chrissy and the escaped humans watch as the Psychlos move in on
them with ROPES, ELECTRICPROO-STICKS, and NETS•.
EXT. TELEPORTATION -- CONTINUOUS
PLATFORM
u The supervisor instructs one of the.two
TELEPORTATION
remaining
SUPERVISOR
guards>
Go haul those two new guys out of the
crapper and send them too--
The guards share a knowing chuckle.
FIRST GUARD
Mozzontom's revenge.
SECONDGOARD
Until you get used to the water, blasted
local parasites will get you every time--
Still chuckling, he shuffles off to a SQUATBUILDING.
:arr. NATORAL
HISTORYMUSEUM
-- CONTINUOUS
Keeping a careful eye out the window, Mickey keys a RADIO.
MICJ\EY(INTO RADIO)
There's three monsters remaining •••
Two are staying at the platform. One is
heading into a building to the east--
(checks his map)
Which is the latrine.
- * - ;; g4r;m;:a;;;;;g
EXT. MINING SI'l'E CONTINUOUS
Across from the teleportation platform, Jonnie whispers to Mason.
JONNIE
I'll take the two at the platform. You
take the one in the latrine--
Mason nods and they silently divide up, slipping through the
night like shadows.
INT. SQUAT BUILDING CONTINUOUS
The guard heads inside the latrine, hollering to the occupied stall
'l'ELEPORTATION
GUARD
Time to earn your pay--
One of the stall doors opens and a Psychlo stumbles out, pulling
up his pants. Be looks more than a little green.
NEWPSYCBLO
I knew coming to one of these remote
rim-star planets was a mistake.
A second Psychlo emerges from another stall, not looking any
a better. They trail .after the guar9, who heads back for t~e door.
EXT. TELEPORTATION
PLATFORM CONTINUOUS
The supervisor shakes hi~ head, complaining to the remaining guard.
'l'ELEPORTATION
SUPERVISOR
••• If any of the man-animals get broken
in the round-up, you just know the brass
will use it as an excuse to justify
cutting our pay again--
A Kn,I, CLUB flies through the air, smashing into his head.
The fierce impact jars the Psychlo forward, but doesn't kill him.
Be spins around to see what the hell just hit him as a--
PICK-AX
Slama blade-first between his eyes. Instant death. And before
the first guard can react, Jonnie pulls a--
BON'llNG DIFE
And slits his throat.
Err. 'l'OP OF TBE DOM! -- CONTINUOUS
Carlo lands the aircraft on the apex of the dome and jumps out
with an armful of EXPLOSIVES.
EXT. LATRINE -- CONTINUOUS
The second guard comes strolling out of the latrine as a--
PI:C!t AX-BLADE
Slams deep into his chest. Mason pulls his knife to finish the
monster off, but freezes at the unexpected sight of--
TWOOim:R PYSCBLOS
Beading out of the building. One of the Psychl~s immediately
pulls his blast-gun and FIRES at--
Mason, who tries to leap out of the way. But the shot blows off h~
of his leg. Sending him crumpled helpless to the ground as .••
The Psychlo aims his gun dead center between Mason's eyes and--
JONNIE'S RN:IFE
screams through the air, 1rnJ?edd1nq
deep in· the Psyehlo's throat •
•
An enormous paw blurs in the· air·,. coming at h~ •. ·Talons· rake :
the side of his face.
CJ
Jonnie has the gun in position, and fires at a huge chest. He
punches blast after blast into it, driving him back.
Ratings
Scene 38 - Rebel Ambush and Counterattack
The first guard, pick-ax still buried in his chest, clings to
.
life as he manages pulls his radio •••
PSYCBLO(INTORADIO)
We're under attack. !"rem man-animals
with weapons. They've already killed--
Jonnie flashes inside, knockingawaythe radio. then slits the
Psychlo's throat.
nrr. COMMONJ:CATION
EEADQOAR~
.. I
-- CONTINUOUS
An ALARM suddenly goes off on a long console. A COMMUNICATIONS
OFFICER checks it, then spins to his SUPERVISOR--
I~,
COMMUNICATIONS OFFICER
\' ' .l
,'
'~---~~"" Sir, I have unconfirmed reports of a
·man-animal' revolt. And motionsensors
have just been set-off on top the dome--
The supervisor hurries over.
HISTORYMUSEUM
EXT. NATURAL -- MOMENTS
LATER
From his look-out position, Mickey spots a group of a.Dned
Psychlos sprinting toward the teleportation platform.
MICJCEY (INTO RADIO)
Five Monsters Approaching! Heavily
Armed! From The South--
EXT. TELEPORTATION -- CONTINUOUS
PLATFORM
Jqnnie hurries to apply a make-shift field tournique~ to Mason's
leg, then drags him behind the relative safety of--
EXT. CONTROL
BUNKER-- CONTINUOUS
Jonnie, pulls his blast-gun, waiting for the Psychlos to come into_.
0 range. As they do, he OPENSUP FIRE--
EXT. MAIN ROAD - CONTINUOUS
one of the Psychlos goes down. And another. The remaining three
scramble for cover, returning fire--
Err. CONTBOLBUNKER
BLASTER-FIREscreams all around Jonnie, pinning him down as
Carlo's voice suddenly comes over the radio--
CARLO'S VOICE (FROMRADIO)
The explosives are setl Bow long 'till
I can blow the dome--
JONNIE (INTO RADIO)
--Bold onl I'm afraid we've got a
little situation here.
EXT. TOP OF TBE DOKE-- CONTDruOOS
Carlo finishes planting five sets of explosives in a DIAMOND-
SHAPEaround the dome's apex, when he whirls as--
A PSYCBLOCRAF'l'lLands on the dome behind him.
CARLO (IN'l'O RADIO)
Okay, But Don't Make It Too Long! I"ve
Got CompanyUp Bere--
Ratings
Scene 39 - Confrontation at the Teleportation Field
FIELD - CONTINUOUS
The three Psychlo Guards run from cover to cover, working their
way to set-up a cross-fire on Jonnie. From one of their radios--
COMMUNICATION OFFICER (FROMRADIO)
Please report! What is the security
status of the teleportation platfoon--
One of the Psychlo's pulls his radio to respond--
EXT. CONTROLBUNKER-- CONTINUOUS
Jonnie tries to draw a bead on him, but the shot is obstructed.
so Jonnie grabs a ROCKand throws it behind--
FIELD -- CONTINUOUS
EXT. 1'ELEPORTATION
The Psychlo, who keys his radio--
PSYCELO
This is Response Team Leader at the
teleportation field--
Be instinctively turns toward the sudden NOISE of the rock
landing behind him, inadvertently stepping out of his cover--
EXT. CONTROLBUNKER-- CONTINUOUS
Which is all Jonnie needs. KABLAMl Be drops the Psychlo.
The other two monsters open up fire on--
Jonnie, who returns their fire, but his gun suddenly runs dry
with a revealing·CLICK ••• CLICK••• CLICK•••
FIELD -- CONTINUOUS
EXT. TELEPOR.TATION
Bearing this, the two Psychlos inmediately charge the bunker.
EXT. CONTROLBUNKER-- CONTINOOOS
Jonnie desperately searches for another weapon. But all he has
is his knife. Which won't do much good against •••
The two Psychlos storming into the bunker, turning their blast-
guns on him at point-blank-range-
e a ?9¥iW
JONNIE
Are you sure you want to kill me without
first checking with your superiors?
Tpe Psychlos FREEZE. Not so much at what Jonnie said. But because--
A PSYCBLO
It speaks Psychlol
Jonnie nods, speaking a little slower than usual.
JONNIE
That's right ••• Which should make it
obvious that I've been trained as part of
a secret high-level operation •••
The two Psychlos exchange a look, then pull their radios.
JONNIE (cont'd)
Although, before you radio your
superiors, maybe there is~ other thing
you should be more concerned about.
A PSYCBLO
And what the hell is that--
KABLAMJ I One Psychlo goes down in a ·bloody ..heap as-- .
LJ Jonnie bas stalled them long enough for MICKEYto sneak down into
position. The remaining Psychlo turns his gun on the young twin--
But Jonnie jumps the Psychlo from behind, slashing its throat
with his hunting knife.
EXT. TELEPORTATION
PLAXFORM
-- MOMEN'l'S
LATER
Jonnie onto the platform,
and Mickey load the NUCLEARWARHEAD then--
EXT. CON'l'ROLBUNKER-- CONTINUOUS
Jonnie races over and enters the activation sequence into the
console. The high-pitched BUM fills the air as the generator-
.dynamos start winding up. Growing louder as ••.
AUTOMATED VOICE (FROMCONSOLE)
Teleportation Sequence Initiated.
(a buzzing sound)
'l'eleportation in twenty ••• In nineteen •••
EXT. 'l'OP OF THE DOME -- CONTINUOUS
A heavily armed PSYCBLOSECtJRI'l'YRESPONSETEAMhas deployed £ram
the aircraft and is firing at--
......,;;;;;;::z;·=::m::::r:r:::z .
.,,.
() Carlo, who is forced to dive back into his own--
INT. AIRCRAFT -- COCKPIT -- CONTINUOUS
And take off. one hand gripping a DETONATOR,Carlo watches as the
Psychlos move to investigate the explosives set around the dome's
apex below.
CARLO(INTO RADIO)
If I Don't Blow The Dome Now, I'm Not
Going To Be Able To--
EXT. CONTROLBUNKER-- CONTINUOUS
The drumming of the generators reverberates through the air as
the automated voice finishes the countdown to teleportation .••
VOICE (FROMCONSOLE)
AUTOMATED
In five ••• In four ••• In three •••
Jonnie turns, double-checking that Mickey, the nuclear detonator
in hand, is on the platform along with the warhead.
JONNIE (INTO RADIO)
Go AheadAnd BlowThe 0ome1
0 CARLO'S VOICE fFROM~IO)
Thought You'd Never Ask--
AUTOMATED
VOICE (FROMCONSOLE)
In two ••• In one •••
(a buzzing sound)
Teleportation Sequence canceled.
And before Jonnie can react--
~ presses a Blast-Gun against the side of his head.
TERI.
Bope I'm not interrupting anything.
An eerie stillness as the generator-dynamos slowly fall silent.
EXT. TOP OF THE DOME-- CONTINUOUS
The Psychlos on the dome have already disarmed one set of the
explosives surrounding the apex, and are removing another as--
INT. AIRCRAFT -- COClCPIT-- CONTINUOUS
carlo hits the detonator--
EXT. TOP OF TBE DOME-- CONTINUOUS
KABBOOHMlll The Psychlos are blown to bits. But with only three
of the five explosive packages in place, the dame SPIDER-WEBS •••
But doesn"t collapse.
EXT. TELEPORTATION
PLATFORM
-- MOMENTS
LATER
Keeping his gun trained on Jonnie and Mickey, Terl keys his radio.
TERL ( INTO RADIO)
This is Security Chief; Terl. I've
personally taken care of the situation
at the teleportation field. There is no
need to send additional guards
COMMUNICATION OFFICER'S VOICE (FROMRADIO)
Yes, sir ••• And should we continue
rounding-up the man-animals in the park?
Terl locks eyes with Jonnie as he calmly responds--
TERL (INTO RADIO)
Negative. Our boys have been working·
hard and deserve a little fun •. Tell
them to set their weapons to kill
position and happy-hunting.
· (grins)
Exterminate all the man-animals at will.
Jonnie returns the stare in helpless anguish·as--
EXT. CIVIC CENTERPARK -- MOMENTS
LATER
A collective roar of enthusiasm goes up from the Psychlos as the
orders are relayed. They toss down their nets and ropes and draw
their blasters, setting them into KILL-POSITION, then--
fire on the unarmedhumans. Chrissy urgently pulls her radio.
CHRISSY(INTO RADIO)
They' re Opening Op Fire On Os l What' s
Going On With The Dome--
CARLO'S VOICE (FROMRADIO)
--Bold On, I'm taking It Outl
INT. AIRCRAFT-- CONTINUOUS
Carlo pilots the aircraft, sending it screaming full-speed right
for the spider-web of cracked glass surrounding the dome's apex--
EXT. TOP OF THE DOME
The aircraft BLASTSstraight into the dome. The jarring impact
causing the high-tech glass to BUCKLE •••
But the dame's structural integrity remains intact.
EXT. CIVIC CENTERPARK -- CONTINUOUS
The blood bath continues as the Psychlos blast down the unarmed
humans like targets in some amusement park game.
Chrissy desperately grabs a BRANCH
from the ground and throws it
like a kill-club--
The impact knocks the Blaster-Gun out of the paw of a Psychlo,
who is surprised a man-animal was able to do that •••
Let alone a female man~animal. Chrissy and the Psychlo both dive
f o.r the weapon.
. .
Chris~y's the one who comes up with it, blasting a hole through
th~ monsters chest, then spins, firing on another Psychlo.
. . .
C One of Jonnie's trained men springs foi:ward out of the crowd; grabbin
the weapon from the fallen Psychlos, then joins Chrissy in firing on-
The other Psychlos, who realizing they"re·under attack, aggressively
return fire, catching the rebel fighter in a cross-fire, tearing him
to shreds. The Psychlos then turn their weaponson Chrissy. as--
IN'l'. AIRCRAFT -- CONTINUOUS
Carlo tries to reverse the aircraft, but the engine impotently
grinds, mortally damaged in the collision.
The TORTURED SCREAMS of people dying below can be heard over the
radio. And Carlo knows he has no choice •••
Be reaches behind him to an impressive collection of EXPLOSIVE
DEVICES and grabs a GRENADE, pull ; ng the pin.
CARLO(INTO RADIO)
The dome will be blown in five ••• four •••
Be tosses the grenade back with the other explosives and stares
ahead with grim determination, continuing the countdown to his own
death.
CARLO(INTO RADIO)
Three ••• Two ••• One--
The grenade DETONATES. setting-off the rest of the explosives-
Ratings
Scene 40 - The Shattered Dome
The aircraft EXPLODING in a MASSIVEFIREBALL. The powerful blast
is finally enough to completely shatter the weakeneddome--
EX'l'. CIVIC CENTER PARK-- CONTDruOOS
Chrissy is under intense fire from all directions. She's forced
back against a side of the building, trapped as the Psychlos
move in for the kill, firing relentlessly at her, when from above •••
A sky-full of snowflake-sized pieces of glass rain down,
shililnering like ethereal spirits dancing in the night air.
But as beautiful as it is, the result is deadly to the Psychlos.
Without breath-masks, they drop to the ground, convulsing--
EXT. TELEPORTA'l'ION
PI.A!rFORM
-- CONTnruoos
In contrast to TERL, who calJDly pulls a breath-mask from his pocket.
As he secures the mask, he explains to Jonnie with a smirk--
TERL . :
If I were you, and thank-Psychlo I'm
not, blowing up the dome would have been
my move as well •••
EXT. CIVIC CEN'l!ER PARK-- CONTINUOUS
The rest of Jonnie's men grab the weapons from the now dead monsters
and join Chrissy in taking position to ambush the second wave--
EXT. TELEPORTATION
PLATFORM
-- CONTINUOUS
Terl keeps his gun trained on Jonnie and Mickey, while calJDly
keying his radio--
TERI. ( nrr0 RADIO)
Uplink a red-alert to Bane Planet.
(matter-of-fact)
It's time we eradicate these pitiful
man-animals once and for all.
COMMUNICATION
OFFICER'S VOICE (FROMRADIO)
With pleasure, sir--
Terl plucks the NUCLEARWARHEAD off the teleporter and nonchalantly
--· tosses it into the field behind him •••
Then loads the coffins full of his precious gold onto the
platform.
INT. COMKONICATIONS
HEADQUARTERS
-- CON'I'INOOUS
The communications Supervisor finishes punching an authorization cod,
into the console and slams a KEY CARD into a slot and turns it-
EXT. PLANET
PSYCBLO
-- CONTINUOUS
Under a perpetual purple sky, the Bame Planet's automated response
system irmnediately goes to work. Towering ROBOTICARMS load-
MASSIVEGAS DRONES
Onto a teleportation platform as--
THOUSANDS
OF SBOCKTROOPS
All in full-on battle gear, swarm onto the platform.
EXT. EARTH-- 'l'ELEPORTATION
PLATFORM
-- CON'I'INOOOS
Terl finishes loading his gold onto the platform, then keeping the
gun on Jonnie •••
0 TERI,
Even though you're just a rat-brain, I
must admit you gave me quite a sporting
challenge. And you'll make a hell of an
interesting conversation piece once
you're stuffed and hanging on the wall
at the Academy Alumni Club.
With the weapon trained on Jonnie, Terl backs up to the control
bunker. Mickey can't keep the panic from his voice.
KICREY
What are we going to do?l Be sent the
red-alert--
JONNIE
--We're going to let him start-up the
teleportation sequence •••
(fierce resolve)
Then no matter what happens to me, just
make sure you and the nuclear weapon are
on the platform.
EX'l'. CON'l'ROL
BONKER- CON'I'INOOOS
The high-pitched SOMof the generators start to fill the air u--
+ 1M
*
() Terl punches in the last of the commands for teleportation.
ADTOMATED VOICE (FROMCONSOLE)
Teleportation Sequence Initiated.
(a buzzing sound)
Teleportation in twenty •••
Ratings
Scene 41 - The Final Showdown
PLATFORM
-- CONTINUOUS
Jonnie charges off the platform. Terl spins and PIRES at him--
But Jonnie manages to dive clear of the shot, then pivots with
blurring speed and throws his--
BUNTINGJCNIFE
Through the air, sending it straight at--
Who tries to twist out of the way, but the knife slams deep into
his shoulder. Terl pulls it out as--
JONNIE
Launches himself like a possessed demon straight into him.
Fueled by primal rage, Jonnie is able to.knock the much-bigger
Psychlo to the ground, jarring the gun from Terl's grip.
But Terl is bigger and stronger. Be pins Jonnie down and
savagely tears into him with his razor-like claws--
Jonnie lunges up and grabs Terl's wounded shoulder with both
hands. Squeezing and twisting as hard as he can, Jonnie wrenches
Terl off of him. But the victory is short lived as •••
Terl rolls over and is now able to get back onto his feet.
But Jonnie hangs on and stays focused on the monster's weak .spot.
Digging o.ne hand into Terl •s wounded shoulder, while POMMELING at
it in a mad blur with the other, inflicting what damage he can--
Hissing in pain, Terl swats Jonnie back to the ground then grabs
his blast-gun and stands, towering over--
Jonnie, who can see behind Terl, where •••
EXT. TELEPORTATION
PLATFORM
-- CONTINOOOS
Mickey struggles with all his might, just managing to boost the
nuclear warhead back onto the platform.
WP 11£MWMS
BUNKER-- CONTINUOUS
EXT. CONTROL
VOICE (FROMCONSOLE)
AUTOMATED
Teleportation in twelve ••• In eleven •••
EXT. TELEPORTATION
FIELD - CONTINUOUS
Jonnie locks eyes with Terl, trying to keep him from noticing
Mickey scrambling onto the platform with the nuclear weapon.
JONNIE
Look, I know you're going to kill me.
But I have one la.st request.
Terl aims the gun straight down between Jonnie's eyes.
TERI,
I'm afraid you're in no position to be
making requests-
JONNIE
--I know.But I'm begging you.
{pleads)
With the gas drones coming, is there any
way to spare one human life ••• Because
you were right about the young lady
you put the collar on. ·I do know her.
C, (quietly)
She was to be my wife.
Terl can't believe Jonnie's stupidity. Chuckles with glee.
TERI,
Thanks for reminding me, rat-brain.
(pulls the REMOTE
to Chrissy's collar)
Before you die, you should have the
pleasure of knowing what happens to your
little •wife• to be.
Terl raises the remote with one paw, the other pointing the
blast-gun down at Jonnie, who stares him straight in the eye.
JONNIE
Trust me. You don't want to do that--
TERI.
Trust me. I want nothing mare--
Terl plunges the remote's button. Obviously not realizing that--
When Jonnie grabbed his shoulder, he had clasped the explosive
collar from Chrissy under one of the gold epaulettes and--
QBOOM
Terl blows off his own ann. Blood gushing from his shoulder
where it used to be connected to an arm.
Terl is too stunned to react as--
Jonnie dives to the ground, grabbing the blaster-gun still
connected to.what's left of Terl's arm.
Ratings
Scene 42 - Sacrifice and Redemption
BON:KER
-- CONTINUOUS
The humming of the generators grows louder.
AUTOMATED VOICE (FROMCONSOLE)
In five ••• In four ••• In three •••
EXT. TELEPORTATION
FIELD - CONTINUOUS
Keeping the blast-gun, on Terl, Jonnie turns to .check on--
EXT. 'l'ELEPORTATION -- CONTINUOUS
PLATFORM
Mickey pulls out the nuclear detonator. A sense of deep pride at
the .mission heis about to perform. As the countdown finishes--
Mickey turns and gives his friend Jonnie a SALUTE·.
FIELD -- CONTINUOUS.
EXT. TELEPORTATION
Jonnie salutes Mickey back with eyes full of respect. The field
suddenly rocked by a DEAFENING ROARand BLINDINGLIGHT, and--
Mickey. the warhead. and coffins disappear from tbe platfo;:m.
EXT. PLANET
PSYCBLO
-- TELEPORTATION
CENTER-- CONTINUOUS
With the GAS DRONESand shock troops all loaded for earth, the
countdown for teleportation is at •••
AOTOMA.TEDVOICE (FROM CONSOLE)
Teleport.ation in five ••• In four •••
At the far end of a seemingly endless row of platforms--
EXT. PLANETPSYCHLOTELEPORTATION -- CONTINOOOS
PLATFORM
MICKEYappears, along with Terl's coffins and the nuclear weapon.
The Psychlo workers in the vicinity laugh at Mickey's fate. But
Mickey stares at them without blinking--
q ;;,.,
MICJCEY
I know I'm going to die •••
The Psychlos obviously don't speak English and have no idea what
be' s saying. But they crowd around in morbid curiosity as •••
The planet's overwhelming gravity crushes Mickey t.o the ground.
The young twin's eyes bulging, he announces to the crowd--
MICKEY(cont'd)
But so are you--
This cracks up the others. With his final moment of life,
Mickey pushes the detonator button •••
EXT. 'l'ELEPORTATION
PLATFORM
-- CON'l'INOOUS
As the countdown to earth'. s destruction finishes--
AU'l'OMA'I'ED
VOICE (FROMCONSOLE)
In two ••• In one--
KKXAAABBBBBLLLLLAAAAAAAMMMMMMM111111l
11111
TROOPSvapo;ized into obliyion~-
The GAS DRONESand SBOClC
Along.with everything else in the ·path of the.JZJUs~oom_cloud
slannning through the city like a tidal wave. of pure destructio·n.
Blasting apart countless Psychlos and their buildings. And after
the initial blast subsides, the radiation reacts with the air-
causing the AIR TO EXPLODEin an instantaneous chain-reaction
spreading out faster than the eye can see, as •••
The atmosphere is literally burnt awayfrom the planet.
EXT. SPACE -- CONTINUOUS
A blinding white fla=ne expanding out until it surrounds the
mammoth planet.· Burning with searing intensity until--
THEENTIRE
PLANET-EXPLODES
INTONOTBmGNEss111
SLOWFADE~
EX'!'. FORT KNOX-- DAY
An aircraft lands at the fort, and Jonnie and Chrissy emerge.
Mason, sporting a finely-crafted wooden leg, steps up to greet them.
MASON
We're all but done here. The painters
just finished yesterday.
..
Jonnie nods as they head into the fort.
JONNIE
Good. Because now that we've got
everyone out of the contemina~ed areas,
we're going to need your help organizing
a sumn:it with the clan leaders.
Drr. FORT -- LOWERLEVEL-- MOMENTS
LATER
Mason leads Jonnie and Chrissy down a long &DDOredhallway and
through a thick vault door, to where--
Drr. INNER VAULT -- CONTINUOUS
Terl, a stump where his arm used to be, downs a shot of kerbango
in his new 'living quarters', which have been painted purple for
him. Be stares at Jonnie through the steel bars.
'l'ERL
What kind of barbaric species are you
rat-brains? Either put me to work as a
slave or have the decency to vaporize me.
(with revulsion)
But to imprison me--
JONNIE
--Oh, put you to work, don t -worry. .
we I ll I,
(explains)
You told me yourself, Earth.isn't the
only planet that you Psychlos colonized.
CHRISSY
••• And those other Psychlos out there
probably aren't too pleased about what
happened to their Bome Planet.
'l'erl stares at her in amazement, then eyes Jonnie.
'l'ERL
She speaks Psychlo.
CBRISSY
We all do •••
JONNIE
We figure it might come in handy if
those other Psychlos ever decide to
come by for a little 'visit.
TERI,
One could only hope.
JONNIE
Which make you useful to us. After all,
you did graduate top of your class.
0 CHRISSY
So you must have some understanding of
Psychlo battle tactics and strategy.
TERL
(snide laugh)
And why the hell would I ever help you?l
JONNIE
I'm just guessing that you wouldn't want
the other Psychlos to know that it was
~ greed and corruption that allowed
us to destroy their home planet.
Terl stops laughing. Bis eyes narrowing into slits as Jonnie
holds up a DISC.
JONNIE (cont'd)
I may be a rat-brain, but I was smart
enough to figure out how to make a copy
of this before I gave it to lter.
on Terl's look of complete anq utter defeat, we •••
FADE TO
THE END
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
jonnie | Jonnie starts as a young and impulsive survivor challenging tradition and seeking exploration. Throughout the screenplay, he grows into a brave and determined leader, willing to make sacrifices for the greater good. He shows resilience, adaptability, and a strong sense of justice, inspiring others to follow his lead and fight back against the oppressive Psychlos. By the end, Jonnie becomes a strategic and selfless leader, driving the rebellion towards victory and freedom. | The character arc for Jonnie is well-developed, showing growth and transformation from a young survivor to a courageous leader. However, there could be more depth added to his internal struggles and emotional journey throughout the screenplay. Jonnie's evolution could be further enhanced by exploring his vulnerabilities, fears, and personal conflicts, making his character more relatable and multidimensional. | To improve Jonnie's character arc, consider incorporating more moments of introspection and emotional turmoil as he navigates the challenges and sacrifices of leading a rebellion. Show his internal conflicts and doubts, as well as his moments of vulnerability and growth. Additionally, explore his relationships with other characters in more depth, highlighting how they influence his decisions and shape his development as a leader. |
chrissy | Chrissy starts off as a brave and resourceful young woman who shows resilience and determination in the face of danger. As the story progresses, she learns to balance her bravery with compassion and hope, willing to fight for a better future for her tribe and family. Through her deep connection with Jonnie, Chrissy discovers the true meaning of sacrifice and justice, ultimately becoming a symbol of strength and compassion for her community. | The character arc for Chrissy is well-developed, showcasing her growth from a strong and independent individual to a compassionate and hopeful leader. However, there could be more emphasis on her internal struggles and conflicts to add depth to her character development. | To improve the character arc for Chrissy, consider adding more scenes that delve into her inner turmoil and the challenges she faces in balancing her bravery with compassion. Show moments of vulnerability and self-doubt to make her journey more relatable and compelling for the audience. Additionally, explore her relationship with other characters to further highlight her growth and transformation throughout the story. |
carlo | Carlo starts off as a cautious and intense survivor, focused on safety and protection. As the story progresses, he evolves into a more supportive and empathetic companion, willing to take risks for the group's greater good. He ultimately becomes a key player in the team, providing valuable insights and technical expertise to overcome challenges. | The character arc for Carlo is well-developed, showing growth and evolution throughout the story. However, there could be more emphasis on his personal struggles and internal conflicts to add depth to his character. Additionally, exploring his backstory and motivations further could enhance the audience's connection to Carlo. | To improve Carlo's character arc, consider incorporating flashbacks or dialogue that delves into his past experiences and traumas. This can help explain his cautious nature and provide a deeper understanding of his motivations. Additionally, adding moments of vulnerability or moral dilemmas for Carlo to navigate can create a more complex and relatable character. |
rock | Rock starts off as a no-nonsense individual who is confident in his abilities to handle danger. However, when faced with a monstrous threat, he is forced to confront his own vulnerabilities and fears. Through the course of the story, he learns to embrace his emotions and rely on others for help, ultimately finding strength in his vulnerability and forming deeper connections with those around him. | The character arc for Rock is well-developed and allows for growth and change throughout the story. However, there could be more emphasis on his internal struggles and emotional journey to make his transformation more impactful. Additionally, providing more backstory or depth to his character could enhance the audience's connection to him. | To improve the character arc, consider adding flashback scenes or moments of introspection where Rock reflects on his past experiences that have shaped his no-nonsense attitude. This can help the audience understand his motivations and fears more deeply. Additionally, exploring his relationships with other characters in more depth can add layers to his development and make his transformation more compelling. |
terl | Terl starts off as a powerful and intimidating antagonist, using his intelligence and authority to control the human characters. However, as the story progresses, he begins to face challenges and setbacks that reveal his vulnerabilities and fears. This leads to a moment of reckoning where he must confront the consequences of his actions and ultimately meet his downfall, either through defeat or redemption. | While Terl is a compelling antagonist with a strong presence, his character arc could benefit from more depth and complexity. By exploring his vulnerabilities and motivations in greater detail, the audience can better understand his actions and possibly even empathize with him. Additionally, providing more opportunities for Terl to interact with the human characters on a deeper level could add layers to his character and create more dynamic relationships. | To improve Terl's character arc, consider adding flashback scenes or moments of introspection that delve into his past experiences and traumas, shedding light on what drives his ruthless behavior. Allow for more nuanced interactions between Terl and the human characters, showcasing different facets of his personality and potentially creating moments of empathy or conflict. Finally, consider giving Terl a more complex and satisfying resolution to his arc, whether through redemption, downfall, or a combination of both. |
ker | Ker starts as a subordinate eager to climb the ranks, but as he becomes entangled in Terl's manipulation, he transforms into a manipulative and ruthless character seeking power. However, his downfall comes when he becomes a victim of betrayal, leading to a significant character change from a position of power to a desperate and fearful individual. | The character arc for Ker is well-developed, showcasing a clear transformation from a naive subordinate to a manipulative and ruthless individual. However, the transition from ruthless to victim could be further explored to provide a deeper emotional impact on the audience. | To improve the character arc, consider adding more scenes that highlight Ker's descent into ruthlessness and the consequences of his actions. Show his internal struggle more prominently as he grapples with his loyalty to Terl and his own self-preservation. Additionally, provide moments of vulnerability to make Ker a more complex and relatable character for the audience to empathize with. |
mickey | Mickey starts off as a fearful and cautious individual, struggling to cope with the brutality of the Psychlos. However, as he witnesses the oppression and injustice around him, he transforms into a fierce and determined fighter, willing to take risks and sacrifice himself for the cause. By the end of the screenplay, Mickey emerges as a loyal and brave ally, showing resilience, quick thinking, and unwavering dedication to the mission. | The character arc for Mickey is well-developed, showcasing a clear transformation from a fearful individual to a brave and determined ally. However, to enhance the arc further, it would be beneficial to delve deeper into Mickey's internal struggles and doubts, providing more insight into his emotional journey and growth throughout the feature. | To improve the character arc for Mickey, consider incorporating more moments of internal conflict and self-reflection to highlight his evolution from fear to courage. Additionally, explore his relationships with other characters in more depth to showcase how they influence his transformation. By adding layers to Mickey's character development, the audience will be more invested in his journey and ultimate transformation. |
mason | Mason starts off as a mysterious and enigmatic rogue, joining Jonnie's group with a sense of unpredictability. As he becomes more involved in the rebellion, he begins to show loyalty and courage, willing to fight against the oppressive Psychlos despite the risks. Through his journey, he learns to trust others and embrace his role as a key ally in the fight for freedom. | The character arc for Mason is well-developed, showing a clear progression from a mysterious outsider to a loyal ally. However, there could be more depth added to his backstory to further explain his dark past and motivations. Additionally, his speaking style could be more consistent throughout the screenplay to enhance his enigmatic nature. | To improve the character arc, consider adding flashback scenes or dialogue that delve deeper into Mason's past, providing more insight into his motivations and inner struggles. Additionally, ensure that his speaking style remains consistent to maintain his enigmatic and mysterious persona throughout the feature. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Tense and suspenseful scenes often have high emotional impact and drive the story forward | Scenes with a tense and suspenseful tone tend to have higher scores in emotional impact and move the story forward more effectively. |
Scenes with intense action and conflict tend to have higher overall grades | Scenes that feature intense action sequences and dramatic conflict tend to receive higher overall grades than those without. |
Scenes with character changes are often more impactful and memorable | Scenes that include significant character changes or developments tend to have higher scores in emotional impact and overall grade. |
Scenes with a dark and ominous tone tend to have lower character scores | Scenes with a dark and menacing tone often have lower scores in character development, suggesting that the focus shifts away from character interactions. |
Scenes with high stakes and dramatic tension tend to have higher scores in plot and concept | Scenes that raise the stakes and create a sense of urgency tend to have higher scores in plot and concept, indicating that they contribute more to the overall narrative. |
Writer's Craft Overall Analysis
The analyzed scenes demonstrate solid writing skills and a clear storytelling voice. The writer effectively uses dialogue, action, and descriptions to convey tension, conflict, and character development. However, there is room for improvement in terms of pacing, structure, and thematic depth.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Read 'Save the Cat! Writes a Novel' by Jessica Brody | This book provides practical advice and exercises for developing compelling characters, refining plot structure, and elevating the quality of storytelling. |
Screenplay | Study screenplays by Aaron Sorkin, known for his sharp dialogue and engaging character dynamics. | Analyzing Sorkin's work can enhance the writer's skills in creating memorable dialogue, building tension, and exploring complex relationships. |
Video | Watch behind-the-scenes documentaries about films with strong world-building elements. | Understanding the process of creating immersive and believable worlds through visual storytelling can inspire the writer to develop more vivid and imaginative settings. |
Exercise | Practice writing scenes from different character perspectives to develop empathy and understanding of diverse motivations.Practice In SceneProv | This exercise encourages the writer to step outside their own perspective and explore the complexities of different characters. |
Exercise | Identify themes in existing screenplays and analyze how they are woven into the narrative.Practice In SceneProv | This practice sharpens the writer's ability to recognize and incorporate thematic elements into their own work. |
Exercise | Write a short story or scene that explores a specific social or ethical issue.Practice In SceneProv | This exercise challenges the writer to think critically about real-world issues and find creative ways to explore them through storytelling. |
Stories Similar to this one
Story | Explanation |
---|---|
Avatar | A group of humans travel to a distant planet called Pandora, inhabited by a race of blue-skinned aliens called the Na'vi. The humans are there to mine a valuable mineral, but the Na'vi are determined to protect their planet and their way of life. |
District 9 | A group of extraterrestrials are stranded on Earth in a refugee camp. The humans are afraid of them and want to send them back to their home planet, but the aliens just want to live in peace. |
The Martian | An astronaut is stranded on Mars after his crew is forced to evacuate during a storm. He must use his ingenuity and survival skills to find a way to get back to Earth. |
Interstellar | A group of astronauts travels through a wormhole to find a new home for humanity after Earth becomes uninhabitable. |
Arrival | A linguist is tasked with communicating with aliens who have arrived on Earth. |
Edge of Tomorrow | A soldier is trapped in a time loop and must fight the same battle over and over again until he can figure out how to defeat the aliens. |
Independence Day | Aliens invade Earth and the humans must find a way to defeat them. |
Dune | A young man must travel to a dangerous planet to protect a valuable resource known as 'spice'. |
Star Wars | A young man leaves his home planet to fight against an evil empire and learn the ways of the Force. |
The Hunger Games | A group of teenagers are forced to fight to the death in a televised battle royale. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Chosen One | Jonnie is chosen by the gods to lead the fight against the monsters. | The Chosen One is a character who is destined to save the world from some great evil. This character is often born with special powers or abilities that make them uniquely suited for this task. Examples of the Chosen One trope include Harry Potter, Neo from The Matrix, and Luke Skywalker from Star Wars. |
Forbidden Love | Jonnie and Chrissy are in love, but their relationship is forbidden by the gods. | Forbidden love is a story where two characters are in love with each other, but their relationship is forbidden by society, religion, or family. Examples of forbidden love tropes include Romeo and Juliet, West Side Story, and Titanic. |
Hero's Journey | Jonnie's story follows the classic Hero's Journey, in which he must overcome obstacles and challenges to achieve his goal. | The Hero's Journey is a narrative structure that follows a hero as they go on a journey to achieve a goal. The journey typically involves overcoming obstacles and challenges, and often results in the hero becoming a better person. Examples of the Hero's Journey trope include The Odyssey, Star Wars, and The Lord of the Rings. |
Last Stand | Jonnie and his followers make a last stand against the monsters in the final battle. | The Last Stand is a story where a group of heroes make a final stand against an overwhelming force. The heroes are typically outnumbered and outmatched, but they fight bravely to the end. Examples of the Last Stand trope include The Battle of Thermopylae, The Alamo, and The Battle of Gettysburg. |
Mentor | Parsonstaffer is Jonnie's mentor and guide. | The Mentor is a character who provides guidance and support to the hero. The Mentor can be a wise old man, a powerful wizard, or a skilled warrior. Examples of the Mentor trope include Gandalf from The Lord of the Rings, Obi-Wan Kenobi from Star Wars, and Dumbledore from Harry Potter. |
Prophecy | The gods have prophesied that Jonnie will be the one to lead the fight against the monsters. | Prophecy is a story where a prophecy foretells the future. The prophecy can be about a specific person, event, or object. Examples of the Prophecy trope include The Oracle of Delphi, The Book of Revelation, and The Matrix. |
Redemption | Terl is a villain who eventually redeems himself by helping Jonnie to defeat the monsters. | Redemption is a story where a villain or anti-hero turns away from their evil ways and chooses to do good. Examples of the Redemption trope include Darth Vader from Star Wars, The Joker from The Dark Knight, and Magneto from X-Men. |
Sacrifice | Mickey sacrifices himself to detonate the nuclear weapon on the Psychlos' home planet. | Sacrifice is a story where a character gives up something of value for the greater good. The sacrifice can be a life, a limb, or even a cherished object. Examples of the Sacrifice trope include The Death of Socrates, The Sacrifice of Isaac, and The Crucifixion of Jesus. |
Superhuman Abilities | Jonnie and the other humans develop superhuman abilities after they are exposed to the monsters' technology. | Superhuman Abilities is a trope where a character has abilities that are beyond the normal human range. These abilities can include super strength, super speed, or the ability to fly. Examples of the Superhuman Abilities trope include Superman, The Hulk, and Wolverine. |
Technology Gap | The humans are at a technological disadvantage compared to the monsters. | Technology Gap is a trope where one group of people is more technologically advanced than another. This can create conflict between the two groups, as the more advanced group may try to use their technology to dominate the less advanced group. Examples of the Technology Gap trope include The Martian, Avatar, and The Matrix. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Resistance | The film depicts the humans' struggle against oppression, exploitation, and the threat of annihilation, as well as their determination to fight back and regain their freedom. | This theme is central to the film's plot and character development, as the human characters must overcome fear, doubt, and adversity to achieve their goals. | ||||||||||||
Strengthening Resistance:
| ||||||||||||||
Human resilience and adaptability | The film shows how the human characters adapt to their new environment and find ways to survive and even thrive despite the challenges they face. | This theme is explored through the characters' resourcefulness, ingenuity, and ability to form alliances with other humans. | ||||||||||||
The importance of unity | The humans must set aside their differences and work together if they are to succeed in their fight against the aliens. | This theme is emphasized through the characters' relationships with each other and their ability to overcome obstacles by working together. | ||||||||||||
Defiance of authority | The human characters must defy their oppressors and fight for their freedom. | This theme is explored through the characters' refusal to accept their fate and their determination to fight for what they believe in. | ||||||||||||
The power of love | The human characters find strength and support in their relationships with each other. | This theme is explored through the characters' romantic relationships, friendships, and family bonds. | ||||||||||||
The importance of sacrifice | The human characters must be willing to sacrifice for the greater good. | This theme is explored through the characters' willingness to put their own lives on the line to save others. | ||||||||||||
The dangers of technology | The alien technology is powerful and dangerous, and the humans must learn to use it responsibly. | This theme is explored through the characters' encounters with the alien technology and the consequences of their actions. | ||||||||||||
The importance of hope | The human characters never give up on their dream of freedom. | This theme is explored through the characters' determination to fight on, even when the odds seem insurmountable. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by vivid descriptions, a focus on internal and external challenges, and thoughtful dialogue that drives the narrative forward. |
Voice Contribution | The writer's voice contributes to the script by immersing the reader in the setting, developing the characters' depth, and creating a compelling and thought-provoking story. |
Best Representation Scene | 21 - Terl's Library Tour |
Best Scene Explanation | Scene 21 effectively showcases the writer's voice through its evocative descriptions of the Denver Public Library, where Jonnie and Terl engage in a tense encounter. The dialogue is sharp and thought-provoking, highlighting Jonnie's determination and Terl's manipulative nature. The scene also serves as a turning point in Jonnie's journey, as he must confront the harsh realities of the Psychlo occupation and make difficult choices to survive. |
- Overall originality score: 7
- Overall originality explanation: The screenplay is a unique and imaginative blend of science fiction, action, and adventure. It features a diverse cast of characters, each with their own motivations and goals. The screenplay's setting is also unique, and it creates a sense of wonder and excitement. The screenplay's plot is also full of unexpected twists and turns, making it difficult to predict what will happen next.
- Most unique situations: The most unique situations in the screenplay include: - Jonnie and his fellow man-animals are enslaved by the Psychlos and forced to mine gold. - Jonnie learns to speak the Psychlo language and uses this knowledge to fight back against his captors. - Mickey sacrifices himself to destroy the Psychlo planet, saving Earth from destruction.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay is unpredictable and keeps the reader guessing what will happen next. For example, the reader does not know whether Jonnie and his fellow man-animals will be able to defeat the Psychlos. The reader also does not know whether Mickey will be able to destroy the Psychlo planet. This unpredictability makes the screenplay more exciting and engaging.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals focused on survival, resistance against oppression, and learning to outsmart the Psychlos. |
External Goals | The protagonist's external goals revolved around escaping, fighting back against the Psychlos, and securing the safety of his people. |
Philosophical Conflict | The overarching philosophical conflict revolves around the values of freedom, justice, and empowerment versus oppression, control, and exploitation. |
Character Development Contribution: The protagonist's internal and external goals drive his growth from a reluctant survivor to a determined rebel leading a revolution. The philosophical conflict challenges his beliefs and values, reshaping his choices and actions.
Narrative Structure Contribution: The evolution of internal and external goals creates a dynamic and engaging narrative structure, building tension and driving the protagonist's journey towards climax. The philosophical conflict adds depth and complexity to the storyline.
Thematic Depth Contribution: The exploration of themes such as freedom, justice, empowerment, oppression, and control adds layers of thematic depth to the screenplay, highlighting the struggles of individuals against oppressive systems and the importance of resilience and resistance.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The world depicted in the screenplay is one of vast and diverse landscapes, ranging from barren, mountainous regions to futuristic metropolises. The natural elements, such as storms, danger, and isolation, contribute to the harsh and unforgiving nature of the world, while the presence of Psychlo technology and structures adds a sense of oppression and control. Overall, the physical environment plays a crucial role in shaping the characters' experiences and actions, as they navigate the challenges and threats posed by their surroundings.
- Culture: The cultural elements in the screenplay highlight themes of survival, resistance, and the clash between different worldviews. The indigenous tribes depicted in the earlier scenes exhibit a deep reverence for their gods and a close connection to nature, while the Psychlos represent an advanced alien culture that exploits and oppresses humans. This cultural divide leads to tension, conflict, and a struggle for identity and autonomy.
- Society: The societal structure in the screenplay is characterized by hierarchy and oppression. The Psychlos, with their advanced technology and superior power, exert control over the human population, reducing them to the status of slaves and 'man-animals.' The screenplay explores the consequences of such a society, including the dehumanization of individuals, the erosion of freedom, and the rise of resistance movements.
- Technology: The screenplay features a blend of primitive and futuristic technologies. The indigenous tribes use animal skins, kill-clubs, and limited resources, while the Psychlos possess advanced weapons, mining equipment, and teleportation devices. This contrast highlights the power dynamics between the two cultures and the ways in which technology can be used as a tool of control and exploitation. However, the screenplay also shows that indigenous knowledge and resourcefulness can be valuable in overcoming technological superiority.
- Characters influence: The unique physical environment, culture, society, and technology in the screenplay shape the characters' experiences and actions in profound ways. The harsh and unforgiving environment tests their resilience and forces them to adapt and survive. The cultural divide between humans and Psychlos creates conflicts and challenges their sense of identity and belonging. The oppressive social structure forces them to navigate power dynamics and resist authority. The presence of advanced technology influences their choices and strategies, as they must learn to harness or overcome its effects. Ultimately, the characters' experiences and actions are driven by the interplay of these world elements.
- Narrative contribution: The world elements in the screenplay contribute to the narrative by providing a backdrop for the characters' journey and the unfolding of events. The vast and dangerous landscapes create obstacles and challenges that the characters must overcome. The cultural differences and societal conflicts generate tension, conflict, and drama. The presence of advanced technology introduces elements of suspense and action, as the characters engage with or resist its effects. The world elements thus play an integral role in driving the narrative forward and shaping the characters' experiences and choices.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by exploring ideas such as the struggle for freedom, the consequences of oppression, the power of resistance, and the resilience of the human spirit. The physical environment, with its harsh conditions and unforgiving nature, serves as a metaphor for the challenges faced by the characters in their fight for liberation. The cultural divide highlights the dangers of prejudice, discrimination, and the dehumanization of others. The oppressive social structure examines the corrupting nature of power and its impact on individuals and society. The presence of advanced technology raises questions about the ethical use of knowledge and the balance between progress and human values. Through these elements, the screenplay delves into complex and thought-provoking themes, adding depth and resonance to the narrative.
central conflict
The central conflict revolves around the struggle between the indigenous people of Earth and their enslavement by the technologically advanced Psychlos, an alien race from a distant planet, who seek to exploit Earth's resources and exterminate humanity.
primary motivations
- Jonnie's determination to find a better life and protect his people from the Psychlos
- The Psychlos' greed for Earth's resources and their desire for domination
- The humans' resistance against their oppressors and their fight for their freedom
catalysts
- Jonnie's fateful encounter with Chrissy, which sparks his journey to rally other indigenous people
- The arrival of the Psychlos and their establishment of a mining colony on Earth
- Jonnie's discovery of the Psychlos' true intentions and their plans to exterminate humanity
barriers
- The overwhelming technological superiority of the Psychlos
- The division and distrust among the indigenous people
- Terl's cunning and manipulative nature
themes
- The fight against oppression and the pursuit of freedom
- The importance of unity and cooperation in facing adversity
- The consequences of greed and the destructive nature of war
- The power of knowledge and education
stakes
The survival of humanity, the preservation of Earth's resources, and the dignity of the indigenous people
uniqueness factor
The story presents a unique blend of science fiction, adventure, and indigenous resistance, exploring the themes of interplanetary conflict and the struggle for cultural identity.
audience hook
The gripping narrative, engaging characters, and high stakes action will keep viewers captivated throughout the story.
paradoxical engine or bisociation
The paradoxical engine lies in the juxtaposition of advanced technology and savage brutality employed by the Psychlos. Their cold, calculating nature contrasts with the resilience and determination of the indigenous people, creating a dynamic tension in the narrative.
paradoxical engine or bisociation 2
Alternatively, the bisociation could be seen in the conflict between Jonnie's desire for peace and his willingness to fight for his people's freedom, highlighting the complex choices and moral dilemmas faced in the face of oppression
Engine: Gemini
Consider
Executive Summary
Battlefield Earth presents a captivating sci-fi premise with a strong central character arc and exciting action sequences. However, the screenplay suffers from uneven pacing, underdeveloped characters, and excessive violence. With revisions to address these issues and explore the story's themes and world-building in greater depth, the screenplay has the potential to be a compelling and thought-provoking film.
- The screenplay's premise is high-concept and engaging, presenting a classic underdog story of human resistance against an oppressive alien force. high
- Jonnie's character arc is well-developed, transitioning from a curious young man to a determined leader who inspires a rebellion. high ( Scene 1 Scene 2 Scene 11 )
- Terl's character, despite being an antagonist, is complex and intriguing. His motivations and internal conflicts add depth to the story. medium ( Scene 7 Scene 10 Scene 36 )
- The action sequences are well-paced and exciting, particularly Jonnie's escape attempts and the final battle for Earth. medium
- The screenplay effectively uses real-world locations and historical events to ground the fantastical elements of the story. medium ( Scene 20 Scene 31 Scene 33 )
- The dialogue often feels clunky and unnatural, with characters delivering exposition rather than engaging in organic conversations. high
- The portrayal of the Psychlos is one-dimensional, lacking nuance or individual personalities beyond their role as antagonists. medium
- The pacing can be uneven, with certain scenes feeling rushed while others drag, particularly in the first act. medium
- The use of violence, particularly towards animals, is excessive and gratuitous, potentially alienating some viewers. medium ( Scene 24 Scene 25 Scene 37 )
- The technological aspects of the story, such as the teleportation and learning machines, are not adequately explained or explored. low ( Scene 5 Scene 30 )
- The female characters, particularly Chrissy, are underdeveloped and lack agency in the overall narrative. high
- The screenplay could benefit from exploring the cultural and societal impact of the Psychlo occupation on the surviving humans. medium
- The emotional consequences of Jonnie's actions and the losses he experiences are not fully explored, leaving his character arc somewhat incomplete. medium
- The use of the Learning Machine as a plot device is intriguing but raises questions about the ethics and implications of forced knowledge acquisition. medium ( Scene 19 Scene 20 Scene 21 )
- The discovery that the surviving human populations are concentrated in areas with high radiation levels adds a layer of complexity to the story's world-building. low ( Scene 32 )
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Battlefield Earth' is a well-crafted and ambitious science fiction story that effectively blends action, character development, and thematic exploration. The worldbuilding is strong, the protagonist's journey is compelling, and the resistance effort against the Psychlo occupation is thoughtfully conceived and executed. While there are a few areas that could use some refinement, the screenplay as a whole is a compelling and engaging read that is worthy of recommendation.
- The opening scenes effectively establish the post-apocalyptic setting, the relationships between the characters, and the central conflict of Jonnie's desire to explore beyond the tribe's territory despite the Parson's warnings. high ( Scene 1 (EXT. BARRENMOUNTAINOUS REGION -- DUSK) Scene 2 (EXT. OTHER SIDE OF THE RAVINE -- CONTINUOUS) )
- The scenes where Jonnie learns the Psychlo language and then teaches the other humans demonstrate a strong grasp of character development and the importance of knowledge and education in the resistance effort. high ( Scene 19 (INT. BACKROOM -- CONTINUOUS) Scene 20 (INT. DENVER ZOO -- CAGE -- NIGHT) )
- The planning and execution of the multi-pronged attack on the Psychlo occupation, including the acquisition of weapons and explosives, as well as the decision to target the Psychlo home planet, demonstrate a strong grasp of strategy and tactics. high ( Scene 33 (INT. MINING SITE CAVE -- NIGHT) Scene 34 (EXT. TEXAS -- FORT HOOD -- THE NEXT DAY) )
- The exposition-heavy dialogue where Terl explains the Psychlo's vast interstellar empire feels a bit forced and could be tightened up or delivered in a more organic way. medium ( Scene 24 (EXT. FAR EDGE OF THE FIELD -- OVERLOOKING DENVER -- A LITTLE LATER) )
- The scene where Ker discovers Terl's recording feels a bit contrived, and the resolution of that particular subplot could be strengthened. medium ( Scene 26 (INT. EMPLOYEE RECREATION HALL -- CONTINUOUS) )
- The fate of Chrissy and the other humans in the park after the dome is blown is left unclear, and could have been explored further. medium ( Scene 40 (EXT. TOP OF THE DOME -- CONTINUOUS) )
- The rousing scene where the other human slaves join Jonnie's resistance effort is a powerful moment that resonates with the themes of freedom and self-determination. high ( Scene 29 (EXT. NEXT CAGE -- CONTINUOUS) )
- The climactic showdown between Jonnie and Terl is a thrilling and well-executed action sequence that effectively ramps up the tension and stakes. high ( Scene 41 (EXT. TELEPORTATION PLATFORM -- CONTINUOUS) )
Memorable lines in the script:
Scene Number | Line |
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1 | Jonnie: Save you ever seen a monster? |
7 | District Manager Zete: We'll be doing the universe a favor by exterminating the whole lot of them once we finish mining-out their miserable little planet. |
24 | Terl: There is no way a species as primitive as yours could defeat us. |
25 | Terl: Stupid humans. |
42 | Mickey: I know I'm going to die. But so are you. |