Scene
1 -
Nightmare of the Dragon and the Black Knight
EXT. SKY - DAY
A dark and violent sky. ROARS of an enraged dragon.
Yellow and red tongues of flame suddenly shoot across the
screen from the right, then the tips of a dragon's nostrils
appear. Flames right to left once more, accompanied by
terrifying SCREAMS of rage from the dragon.
The mighty sword Excalibur now swings in from left to right -
the dragon blows flames from right to left again, smoke
billowing. Another swipe by Excalibur. More streaks of flame
and SHRIEKS from the dragon.
EXT. ROCKY GROUND BEFORE A CASTLE DRAWBRIDGE - CONTINUOUS
A knight, clad in lightweight sixth century British armor,
holding sword and shield, stands before a drawbridge, facing
a seven-foot-tall DRAGON that blows darting flames from its
mouth, smoke curling from its nostrils.
Surreal surroundings: bare ground, rocks, boulders and small
scraggly bushes. A substantial castle looms behind the
knight. Rumbling THUNDER, birds of prey SCREECH and flash
across the sky.
More powerful slashes by the knight, more vivid flames from
the SCREAMING dragon, until:
KNIGHT
Stop!
Dragon stops breathing fire and trying to claw the knight.
DRAGON
What's wrong?
The knight, KING ARTHUR/ADAM KINGSTON, 49, lowers his sword.
ADAM
Is this a dream?
DRAGON
It is.
ADAM
Your dream or mine?
DRAGON
Yours.
ADAM
Then stop frying my face with your
stinking breath!
The Dragon removes its head, revealing the head of MERLIN, a
Black man, 28, who is encased in the dragon’s flesh, a solid
body. The dragon's head still moves its eyes and mouth.
DRAGON/MERLIN
Don't lay it on me, man - you
dreamed this up.
ADAM
Dragon crap! Never asked for a
fairytale.
He sits on a tree stump, puts down his shield, removes his
helmet, showing a shock of graying black hair.
MERLIN
Not a fairytale.
ADAM
Then what?
MERLIN
Symbolic.
ADAM
Of what?
MERLIN
Dragons, Arthur. Dragons.
Merlin places the dragon's head on the ground and sits on it.
The dragon's mouth and eyes still move - it licks its lips.
ADAM
Dragons.
MERLIN
Headin’ your way.
Adam looks confused.
ADAM
And who the hell are you?
MERLIN
Too soon to say.
Adam leaps up in rage, growling, runs at Merlin with his
sword raised over his head, but Merlin and the dragon head
disappear, as Adam swings his sword into the dirt, screaming:
ADAM
Aaaaagh!
Adam is now naked to the waist, still clutching his sword. He
straightens up and sees an eagle in the sky being attacked by
birds of prey.
Suddenly six fighting men appear, standing around Adam in a
semi-circle, their lances pointed at him - and then a knight
in black armor with sword, on a black horse.
The BLACK KNIGHT raises the visor of his helmet, revealing
the grinning skull of a skeleton.
BLACK KNIGHT
We meet again, Arthur.
The Black Knight nods at an archer, who lets fly an arrow
that strikes the flying eagle, which falls from the sky,
landing at Adam's feet.
EXT. WASHINGTON, D.C. - WHITE HOUSE, N. PORTICO - CONTINUOUS
As Adam looks up from the dead eagle, he is now standing in
front of the White House north portico, the lancers still
surrounding him.
Near the Black Knight, Adam notices a man and a woman, early
30s, dressed in 1970s-style clothing, their hands tied behind
their backs. Both look defiant.
ADAM
Dad? Mom?
Adam raises his sword, but the lance points of the fighting
men surround the tip of his blade.
The skull of the Black Knight laughs wildly, the sound rising
in volume and pitch to a scream. The Black Knight then raises
his sword above his head, prepares to strike Adam.
Genres:
["Fantasy","Action","Drama"]
Ratings
Scene
2 -
Morning Routine and Unseen Eyes
INT. WASHINGTON, D.C. - ADAM'S APARTMENT - PRESENT - DAY
Morning. A ratty, messy bachelor studio apartment on the
second floor of an Art Deco style building. Adam is asleep on
a cot, wearing a T-shirt and Hawaiian-patterned shorts. He
sits up with a start.
Adam is a wounded lion, no longer young. He doesn't under-
stand how he got where he is and how to rebuild his shattered
life. So he licks his wounds, feeling hurt and angry. He can
be sardonic.
Adam perches on the side of his cot for a moment, then gets
up, goes to sit at a small desk, fires up a laptop. Below a
folder labeled “Jenny” is the file "Dream Journal," which
Adam opens and types into, "That damn Arthur dream again.
What can it mean?"
He stands up, strips off his T-shirt and shorts as he goes,
drops them, passes a small ancient TV set, mute, left on from
the previous night.
On the screen, U.S. SENATOR FRANK GRAYSON, 50s, is speaking
on a morning talk show. Banner at the bottom of the screen
reads, "CA Sen. Frank Grayson (D), Chairman, Senate
Intelligence Committee." Adam walks into a tiny shower, turns
on the water.
ADAM
(bellows)
Cold again! Son of a -
He splashes himself briefly, leaps out of the shower and
grabs a towel, then a TV remote, turns on the sound and
starts to dry himself, watching the TV. On screen,
INTERVIEWER, woman, 40s:
INTERVIEWER
Why are you looking into the
Kennedy murder? It’s so long ago.
GRAYSON (V.O.)
JFK’s killing was a coup d’etat.
Earlier investigations were shams.
INTERVIEWER
If elected president, would you
continue your inquiries?
GRAYSON
Absolutely.
ADAM
(to the TV)
Then you'll get a six-foot-
deep hole in Arlington!
INT. HALL IN ADAM'S APARTMENT BUILDING – CONTINUOUS
A door down the hall opens a crack, facing Adam’s apartment.
Adam exits his apartment, wearing a short windbreaker, a
chronometer on his left wrist.
The laptop is now in a bag hanging from his left shoulder. As
Adam strides down the hall, he notices the open door.
ADAM
(loudly)
Hey there, Mrs. Ogelby! Spying on
the neighbors so early in the day?
The door closes softly. As Adam walks away, a faint,
surprisingly youngish, giggle comes from behind the door.
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - CONTINUOUS
At the right, Adam exits his small U-shaped apartment
building, walks through the courtyard, turns right and heads
up the street.
At the left, in a black car across the street, sit CARL, 40s,
and HOWIE, 30s. Carl is a walking beefsteak, rare. Howie is a
plucked chicken. The kind of men found in cheap diners and
bars. They watch Adam walk away.
Genres:
["Fantasy","Thriller","Mystery","Drama"]
Ratings
Scene
3 -
Intrusions and Observations
EXT. A STREET - “THE WRITER'S NOOK” - CONTINUOUS
A small neighborhood coffee shop, with the slogan, “We brew
for you.”
Adam comes down the street, enters the shop.
INT. “THE WRITER'S NOOK”
At a window table, sipping coffee from a paper cup, sits
Merlin, slim, about 5'9", in a sweatshirt without sleeves,
worn and faded blue jeans with holes in its knees, and badly
scuffed sneakers. Tattooed snakes curl down his arms to his
hands.
Merlin is the dean of smart asses, who can slyly manipulate
people and events, and his magic is truly magical.
There are a few other customers in the shop, two tapping on
laptops as Adam enters at left. Behind the counter, at right,
ANGIE, late 20s, thin, streaked blond hair, looking harassed,
starts to pour coffee into a large paper cup.
ANGIE
Morning, Adam.
ADAM
Looking kinda ragged, Angie.
ANGIE
You look like a twice dead zombie.
ADAM
No self-respecting zombie would
come in here.
Angie pushes the paper cup of coffee toward Adam.
ANGIE
Anything else?
ADAM
A twice dead jelly doughnut would
hit the spot.
Angie looks at him like he's a twice dead zombie.
ANGIE
We don’t sell jelly doughnuts, dead
or alive, and never have.
ADAM
That right?
Angie suddenly leans toward m and smiles seductively.
ANGIE
But you can get a once-born
writing partner!
Adam drags money from a pocket, drops it on the counter.
ADAM
Lone wolves don't partner.
Grabs his coffee, turns and starts walking away.
ANGIE
Lone wolves don't get pups!
ADAM
Lone wolves don't change diapers.
Adam sees Merlin, makes a face, turns toward another table.
Merlin waves to Adam.
MERLIN
Yo, Arthur, over here.
Adam glances at Merlin, hesitates, then goes over.
ADAM
Have we met?
MERLIN
You don't recall?
Adam shakes his head.
MERLIN (CONT’D)
Sit, sit - I know you favor this
table.
Adam sits warily, suspicious.
ADAM
You know, how?
MERLIN
You're here every mornin'.
ADAM
Don't remember seeing you.
MERLIN
I blend in.
ADAM
And my name isn't Arthur.
MERLIN
Now.
They stare at each other. Merlin grins.
ADAM
I like writing here.
Taps an index finger on the table top.
MERLIN
Check.
ADAM
(pointedly)
Alone.
MERLIN
Or lonesome.
They stare at each other.
ADAM
(small flash of anger)
OK, I’ve had -
Adam starts to rise. Merlin jumps up.
MERLIN
No, no - I'm outa here. Catch you
later.
Merlin leaves, taking his coffee and waving to Angie.
Adam has opened his laptop, now clicks on “CIA Exposé.”
INT. HALL IN ADAM’S APARTMENT BUILDING - LATER
Empty hall.
A small periscope-like device slowly emerges through the peep
hole of Mrs. Ogelby's front door, aimed in the direction of
Adam's apartment, right.
Further down the hall, Carl and Howie turn a corner and head
toward Adam's apartment.
The periscope is focused tightly on the two.
Genres:
["Fantasy","Mystery","Drama"]
Ratings
Scene
4 -
A Moment of Care
INT. “THE WRITER'S NOOK” - LATER
Adam is at the counter, his laptop in its bag, hanging from
his left shoulder.
ADAM
Jumbo cup of milk -
Angie is already getting it.
ANGIE
- and three small cups. When you
gonna quit feeding those street
kids?
ADAM
When they're off the street.
Pays, from a pocket of his windbreaker pulls a worn plastic
bag, puts the items in it, goes out. Angie shakes her head.
EXT. A SMALL PARK – DAY
A small run-down neighborhood park.
Sitting or leaning against a jungle gym made of metal pipes
and peeling paint are three unkempt street ragamuffins.
JEREMY, just under 17, is very thin and tall, solemn, with
long hair, long face. His clothes are too big, hang on him.
VICKIE, 16, slightly overweight but with beautiful eyes and
smile, seems to glow.
DANNY BOY, 15, has huge dark eyes, large hands which he has
trouble holding still. He keeps looking around, ready to run.
He is slow mentally, and the other two are protective of him.
All three are innocents, born into troubled circumstances.
Danny Boy is absentmindedly whittling a tree branch with a
sharp folding pocket knife.
DANNY BOY
I’m hungry.
He slashes the branch.
VICKIE
He’ll be here soon.
JEREMY
(to Vickie)
Bet he won’t.
Adam enters the park, holding the plastic bag, approaches the
kids. Danny Boy keeps whittling.
VICKIE
(to Adam, teasing Jeremy)
Jeremy just bet you weren’t coming.
Jeremy takes a swipe at Vickie, who ducks and giggles.
ADAM
Didn’t know you were a cynic,
Jeremy.
Jeremy shrugs.
ADAM (CONT’D)
But - cynicism’s no match for a
poppy-seed bagel.
Pulls a bagel from his bag.
ADAM (CONT’D)
With a fried egg.
DANNY BOY
Yum.
As Adam hands the food to the other two, Danny Boy drops the
branch, closes his knife, puts it in a pocket. Adam hands
each child a toasted bagel, cut in half, and a paper napkin.
ADAM
Vickie. Jeremy. Danny Boy.
Gives each a cup, pours milk into each. The kids start
wolfing down their bagels and milk.
ADAM (CONT’D)
So, what's on the agenda for today?
Kids look at each other, wide-eyed.
JEREMY
Hang out.
ADAM
"We must all hang together, or
assuredly we shall all hang
separately."
All three kids light up.
JEREMY
Ben Franklin!
VICKIE
At the signing of -
DANNY BOY
The Dec-la-ra-tion of Independence!
VICKIE
1776!
ADAM
So, you got to the library. Did you
check out juvie shelters?
VICKIE
Yeah....
ADAM
And?
The three look at each other.
VICKIE
We're scared they'd split us up.
JEREMY
Put us in foster homes.
DANNY BOY
...Like you were....
Adam stares at Danny Boy, takes a deep breath.
VICKIE
All we've got is us.
All three look frightened.
Adam's face twitches with emotion, but he tries a smile.
ADAM
OK, plan B.
VICKIE
Which is?
ADAM
Tell you when.
The kids continue to eat. Adam watches them, biting his lip,
concern on his face.
Genres:
["Drama","Urban Fantasy"]
Ratings
Scene
5 -
Tension in the Shadows
INT. A ROOM SOMEWHERE - DAY
JENNY, 45, activates her phone. Only seen are her hands, the
phone, a thin slice of her face, thin slice of hair.
Jenny is tomboyish, vulnerable and untrusting. Like an
abandoned animal, she is equally ready for fight or flight.
And somewhere in her, like Adam, there is a lost child.
MALE, 30s, responds.
MALE (O.S.)
What’s up, Jen?
JENNY
Premises breached. Ongoing.
MALE (O.S.)
Threat level?
JENNY
Low.
MALE (O.S.)
Want backup?
JENNY
Negative.
MALE (O.S.)
Be careful, Jenny.
JENNY
Copy.
Genres:
["Thriller","Drama"]
Ratings
Scene
6 -
Tension in the Halls of Power
EXT. WASHINGTON, D.C. - THE CAPITOL - DAY
A gloomy day, a light drizzle falling on the Capitol
Building.
INT. THE CAPITOL - A MARBLED HALLWAY
Senator Grayson and two aides walk down a magnificent marbled
hallway.
SENATOR JACK MORDAIN, 70, first cousin to a walrus, wearing
a black suit and tie, clutching a silver-handled ebony cane,
waddles toward them, trailed by a ferret-like staffer,
seemingly male. Mordain stops, raises his cane in a salute.
MORDAIN
Senator Grayson.
GRAYSON
Senator Mordain.
MORDAIN
Saw you on teevee.
GRAYSON
How’d you like it?
MORDAIN
You think it's wise to dig in old
graveyards?
GRAYSON
The truth is often buried there.
MORDAIN
A lone nut shot the president.
GRAYSON
That's the cover story.
MORDAIN
You're barkin' up the wrong tree,
Senator.
GRAYSON
Maybe you can show me the right
tree to bark up, Senator.
MORDAIN
There's some don't care for a
barkin' dog.
GRAYSON
There's some think it's barking
at a skunk.
Mordain barks a laugh.
MORDAIN
Didn't know you was a joker,
Senator.
GRAYSON
Lots you don't know, Senator. Good
day, sir.
Grayson and his aides walk away. Mordain looks at his
staffer.
Genres:
["Political Drama","Thriller"]
Ratings
Scene
7 -
A Warning in the Shadows
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - LATER
Adam comes down the street, goes into his building. Following
a block behind him are Jeremy, Vickie and Danny Boy.
INT. HALL IN ADAM'S APARTMENT BUILDING - CONTINUOUS
Adam comes out of the stairwell, right, and starts toward his
apartment. Mrs. Ogelby's door opens a crack, revealing MRS.
OGELBY, looking 60s, wearing gloves and a hat with a veil, so
her features can’t be seen clearly.
Mrs. Ogelby looks and acts like a character from a 1950s Alec
Guinness film. There's something not right about her - she
doesn't seem quite real. She speaks in a high-pitched
crackling voice, now hisses at Adam as he passes her door.
MRS. OGELBY
Sss.
Adam stops and turns. Mrs. Ogelby beckons Adam with a hand.
MRS. OGELBY (CONT’D)
Sss.
ADAM
Mrs. Ogelby -
She puts a finger to her lips.
MRS. OGELBY
Shh!
Adam goes over to her.
ADAM
Wha’do you -
MRS. OGELBY
(whispering)
Two men are in your apartment.
Picked your lock.
ADAM
Now, Mrs. Ogelby -
MRS. OGELBY
Be careful.
Adam turns to go, stops.
ADAM
You remind me of someone, Mrs.
Ogelby.
MRS. OGELBY
Probably your mother, dear boy -
I imagine you have an Oedipus
Complex.
She shuts her door.
Adam looks down the hall, thinks, pulls a small pistol from
inside his jacket, walks softly toward his apartment door,
which is open a crack.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
8 -
Secrets Unveiled
INT. ADAM'S APARTMENT - CONTINUOUS
Carl is seated in the armchair, Howie is standing.
The door is kicked open, revealing Adam with his gun pointed
at the two. He sizes them up with distaste.
CARL
Mornin', Adam.
ADAM
Should 'a guessed it'd be the Hardy
Boys.
He enters, keeping his pistol pointed at the two men.
CARL
Still got that mouth.
ADAM
I kept it just for you, Carl.
Adam looks around the tossed room. A chair is on its side,
drawers and files are open - everything is upside down or
inside out. Adam nods caustically.
ADAM (CONT’D)
See you boys did some housekeeping.
What kinda dirt were you lookin’
for?
HOWIE
Dirty agent.
ADAM
I shower every morning, so -
HOWIE
Some dirt don't wash off.
ADAM
Yeah, and I can smell it, Howie -
clear across the room.
CARL
The Company don't like people
writin' books about it.
ADAM
How do you know what I’m writing?
CARL
We got ways.
ADAM
Left The Company six months ago.
HOWIE
(sententiously)
Once CIA, always CIA.
CHRIS
They think you know somethin' -
ADAM
I know that breaking and entering -
CARL
- that you oughten to.
ADAM
Must be a real secret, Carl, 'cause
I don't know what in hell you’re
talking about.
Carl gets up.
CARL
So you say.
ADAM
(motions with pistol)
Get out.
The two men exit deliberately, leaving the door open. Adam
goes to the door and slams it shut violently.
ADAM (CONT’D)
Scum!!
He grabs the chair, sets it on its legs, bends over and picks
up some papers, stops. Thinks for a moment, then goes to the
refrigerator, turns it sideways and takes off its back panel.
Behind the panel are weapons and some tools of the spy trade,
including a small debugging device, which he removes and
activates. He soon discovers two hidden microphones. He
speaks loudly, with venom, into one.
ADAM (CONT’D)
Amateurs!
He stomps on the bugs, smashing them, returns the device to
the refrigerator, replaces the back panel, turns the fridge
around. He pulls out his smart phone, speed dials "Lance,"
speaks into the phone.
ADAM (CONT’D)
Lance - two contract goons were
just here.
Ends the call, notices a plastic sleeve on the floor, reaches
down and picks it up. In it is an old black and white photo
of Adam and his parents when Adam was five. Adam walks to the
armchair, drops ninto it, stares at the photo with mixed
emotions. He hasn’t looked at it in quite a while.
ADAM (CONT’D)
(whispering)
Hello, Adam. ...Mom, I love you so
much.
He kisses the image of his mother. Stares at the picture, his
emotions changing.
ADAM (CONT’D)
I still love you too, Dad - you
bastard.
(suddenly agonized)
Why’d you do it, Dad. Why? Why?
Only silence greets him. He shakes his head.
Finally, he turns the sleeve over. There is a color snapshot
of a fit woman with long dark red hair, 40s, the picture
signed, “Love ya, Jenny.” As Adam brings the picture closer
to his face, the image suddenly springs to life:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
9 -
Confrontation and Heartbreak
INT. JENNY’S OFFICE, CIA HQ - DAY - SEVEN MONTHS EARLIER
The face of Jenny, seated behind her desk. Tears stream down
her face. She suddenly pounds both fists twice on the desk.
JENNY
Damn him. Damn him!
The door opens, and Adam enters, smiling.
ADAM
Ready for lunch, Jen?
JENNY
Damn you!
ADAM
What?
JENNY
How dare you come in here after -
ADAM
After what?
JENNY
- what you just did.
ADAM
I don’t know -
JENNY
Don’t try to deny it!
ADAM
Deny what?
JENNY
Kissing that bitch!
ADAM
What bitch?
JENNY
Down the hall - three minutes ago.
ADAM,
Didn’t happen.
JENNY-7
You saying it didn’t happen?
ADAM
I’m saying it didn’t happen.
JENNY
You saying I didn’t see you?
ADAM
(anger rising)
I’m saying that -
JENNY
You kissed that bitch! I saw you!
ADAM
Kissed no bitch. Nowhere. Never.
JENNY
Lying on top of two-timing. Get
out! Go to your bitch!
Adam, upset and furious, turns and starts to leave.
JENNY (CONT’D)
And shut the door!
Adam slams the door violently. Jenny bursts into tears.
INT. ADAM'S APARTMENT - CONTINUOUS
Adam is still holding Jenny’s picture in his hands, staring
into it. He shakes his head in bewilderment, mutters to
himself:
ADAM
Kissed no bitch.
Leans back, closes his eyes, emotionally spent.
Genres:
["Drama","Romance"]
Ratings
Scene
10 -
Suspicion and Hope
EXT. STREET BEFORE ADAM’S APARTMENT BUILDING - CONTINUOUS
The three street kids, partly concealed, are watching the
front of Adam's apartment building from across the street.
DANNY BOY
Why we watchin' Adam?
JEREMY
Don't know nothin' about 'im.
DANNY BOY
So?
VICKIE
So, he could be a prevert.
DANNY BOY
Get away!
VICKIE
Well, he could. Why's he keep
bringing us food?
DANNY BOY
'Cause he got messed over, like us.
He said.
JEREMY
Could be lyin'.
A beat.
DANNY BOY
Gotta trust somebody. Sometime.
Jeremy says nothing, doesn’t look at Danny Boy. Vickie looks
sideways at Jeremy, looks away.
DANNY BOY (CONT’D)
Jeremy...?
JEREMY
What?
DANNY BOY
...We ever gonna get off the
street?
Jeremy and Vickie look at each other. Vickie puts an arm
around Danny Boy’s shoulders. Jeremy looks down.
Carl and Howie are seated in their car, Carl on his phone.
Genres:
["Drama","Thriller"]
Ratings
Scene
11 -
The Reluctant King
INT. ADAM'S APARTMENT - CONTINUOUS
Adam is dozing in the armchair. There is a knock on his door.
He doesn't move. Another knock. Adam opens his eyes with a
start, looks ready for a fight, jerks to his feet, walks over
and yanks open the door. Merlin stands outside.
MERLIN
Have a nice chat with your old
buds?
Adam stares at Merlin, then slowly points an index finger
toward him, his eyes narrowing.
ADAM
The dragon.
MERLIN
You gonna let me in? We needa talk.
ADAM
This dream better be good.
Gestures for Merlin to enter. Merlin starts checking out the
apartment. Picks things up, drops them with distaste.
MERLIN
No, no, no, this won't do, Arthur.
You need an upgrade.
ADAM
Enough. Who are you?
MERLIN
Merlin, Arthur, Merlin! The
Magician!
ADAM
Right.
MERLIN
Actually, it's Merlin Smith now.
Need‘a fit in.
Hands Adam a driver’s license.
ADAM
Can buy that on the street. And
Merlin was white, old, had a beard
and a long nose.
Gives license back.
MERLIN
You want white? Aw right.
Merlin's face (not his ears, neck, hands, arms) turns white.
MERLIN (CONT’D)
Wrinkles and sags? Done!
Wrinkles and sags appear on his face.
MERLIN (CONT’D)
A beard? You got it.
A long straight white beard appears, but the hair on his head
remains black.
MERLIN (CONT’D)
Long nose....
Merlin’s nose grows long and narrow.
MERLIN (CONT’D)
Gown an' hat? Abracadabra.
A gown and hat appear, showing real stars, nebulae, comets in
motion on the hat and gown. But Merlin still has his ratty
sneakers.
MERLIN (CONT’D)
An’ accessories!
Rings appear on his fingers and a wand with a twinkling star
in one hand. The tattooed snakes on his arms come to life and
slide onto the wand, entwining it. The snakes hiss at Adam.
MERLIN (CONT’D)
The babies like you!
Merlin now reverts to his original appearance. All the
accessories disappear, the snakes back on his arms.
ADAM
OK, I’ll play your little Merlin
game. You travel backward in time.
MERLIN
Or forward. It’s a choice.
ADAM
Show me.
MERLIN
Since you don’t know how to go
backward, I’ll have to go forward.
ADAM
Do it.
MERLIN
Three seconds.
Merlin disappears.
ADAM
Where are you?
Merlin reappears in three seconds, in a different spot.
MERLIN
I’m ba-ack.
ADAM
So what? It’s just a dream.
MERLIN
Not a dream, Arthur.
ADAM
Why do you keep calling me Arthur?
MERLIN
Arthur, Arthur! Do I haveta do your
rememberin' for you? Now, focus -
you recall King Arthur?
ADAM
Yeah. So?
Merlin opens his arms, palms forward, grins at Adam.
MERLIN
Life is an illusion. Your life is a
story that you make up. You told
yourself a different story in
Camelot, Arthur. An’ -
ADAM
OK, dream’s over. Don’t care what
Arthur promised. What I want now is
peace and quiet. Outa my dream.
Out. Out.
He goes to the door and pulls it open.
MERLIN
Cool - but you'll be needin' me.
ADAM
In your dreams.
MERLIN
No, in yours.
Merlin leaves, Adam swings the door shut, shakes his head. He
returns to his armchair, drops into it again, closes his eyes
once more.
Genres:
["Fantasy","Drama"]
Ratings
Scene
12 -
Conspiracy and Cynicism
INT. HALL IN ADAM'S APARTMENT BUILDING - CONTINUOUS
Merlin walks down the hall. As he comes to Mrs. Ogelby's
door, the peep hole swings open. Without breaking stride and
not looking in her direction:
MERLIN
Keep on keepin' watch, Mrs. Ogelby.
Secret Service AGENT ONE, 40s, polished, and Secret Service
AGENT TWO, 30s, rough-cut, enter the hall, walk toward Adam's
apartment. Merlin grins as they pass him.
MERLIN (CONT’D)
(to himself)
Wheels inside a' wheels. Oh, yeah!
He exits. The two men reach Adam's door. Agent Two knocks.
INT. ADAM'S APARTMENT - CONTINUOUS
Another knock. Adam opens his eyes, takes out his pistol,
goes to the door, yanks it open. Agent One and Agent Two
stand there.
ADAM
Welcome to Grand Central Station,
crossroads of a million lives.
AGENT TWO
Adam Kingston?
ADAM
Also known as King Arthur.
Agent Two shows Adam his badge and ID.
ADAM (CONT’D)
Secret Service! You lookin’ for a
piece of me, too?
AGENT ONE
May we come in?
ADAM
Only if you're not a dream.
He opens the door, puts away his pistol, goes to sit on the
stool. The men enter.
AGENT ONE
Adam, we know you were tossed from
the CIA -
ADAM
– after nineteen years of service –
AGENT TWO
– on a bum rap -
ADAM
– with only half a pension.
AGENT TWO
Can be fixed.
ADAM
Talk to me.
AGENT ONE
You're still bound by your oath of
secrecy.
ADAM
Once a spook, always a spook. I
know.
Raises three fingers in the Boy Scout salute.
ADAM (CONT’D)
On my honor....
Agent Two glances at Agent One.
AGENT ONE
We’ve long believed that rogue CIA
ops ran the hit on JFK.
Adam just stares at Agent One.
AGENT ONE (CONT’D)
And now there may be a plan -
ADAM
- to kill Grayson.
Agent Two looks at Agent One, then back to Adam.
ADAM (CONT’D)
Obvious. He wants to take out the
cabal, so they take him out first.
Sixty years and nothing’s changed.
AGENT ONE
You think there’s still a -
ADAM
(pointedly)
Don't you?
Adam gets up, goes to the window, shakes his head, his face
tight.
AGENT TWO
If you know something -
ADAM
I don't! And don't want to. Too
many people who knew things had
‘heart attacks’ and ‘accidents.’
AGENT TWO
We came to ask you -
ADAM
Save your breath.
Adam goes to the door, opens it for the two men.
ADAM (CONT’D)
Done with spook games. Got a real
life now. Good day, gents.
Agents start to leave. Agent Two stops, hands Adam his card.
AGENT TWO
You'll need us.
ADAM
I keep hearing that.
AGENT TWO
Don't trash it.
The two men leave. Adam shuts the door. Looks at the card,
throws it in a trash basket, turns, stops, turns back and
fishes the card from the basket, puts it in a pants pocket.
Adam's smart phone rings. He answers it. LANCE, early 50s:
LANCE (V.O.)
Lance.
INT. A ROOM – DAY
One man operates a phone tap. A second man stands nearby.
ADAM (V.O.)
Double t's. Usual time. Eye out for
a tail.
Call ends. Tapper looks at the other man.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
13 -
Merlin's Gambit
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - LATER
Merlin walks up to the three street kids, who are still
watching Adam's building.
MERLIN
What's happenin'?
JEREMY
No spare change.
VICKIE
Shuffle off to Buffalo.
DANNY BOY
(barks like a dog)
Ruff! Ruff!
MERLIN
Sorry, I don't speak dog.
JEREMY
It means, "Piss off."
MERLIN
I'm a friend a' Adam.
VICKIE
Which Adam?
MERLIN
Bagels Adam.
JEREMY
Who are you?
MERLIN
(bows)
Merlin the Magician.
JEREMY
An' you travel backward in time.
MERLIN
You got it.
VICKIE
(to Jeremy)
Fruitcake.
MERLIN
No, true. Watch!
Merlin waves a hand in the air, and a twenty-dollar bill
appears in it.
MERLIN (CONT’D)
This is yours, if -
VICKIE
We don't do sex.
MERLIN
Me neither, sorry to say - time
travel saps the old libido -
Grins, waves the twenty back and forth.
JEREMY
(eyes the money)
Wha’d’we haveta do?
MERLIN
You know what a GPS tracker is?
JEREMY
Yeah. So?
MERLIN
I want you to take -
A small GPS transmitter appears in his hand.
The kids gape.
MERLIN (CONT’D)
- this. An’ the black car down the
street? With the two dudes in it?
Points to Carl and Howie's car.
JEREMY
Yeah.
MERLIN
Stick this transmitter under the
car.
(MORE)
MERLIN (CONT’D)
(taps bottom of
transmitter)
Magnetic bottom.
JEREMY
Piece a cake. Payment up front.
Merlin hands the twenty and the transmitter to Jeremy.
MERLIN
Another twenty when you're done.
The kids go into a huddle.
Genres:
["Fantasy","Thriller","Mystery"]
Ratings
Scene
14 -
The Great GPS Heist
EXT. ANOTHER PART OF THE STREET - CONTINUOUS
Kids break out of the huddle.
Vickie walks in the street toward the driver's side of the
car, Danny Boy on the sidewalk by the passenger side. Jeremy
trails them by several yards.
When Vickie and Danny Boy approach the car, they run to the
open windows and start begging loudly and rapid-fire, not
stopping until Vickie sees that Jeremy has finished the job.
VICKIE
Mister, I'm starvin', haven't eaten
in two days. Please, sir, just a
dollar -
DANNY BOY
I'm an orphan, got nobody. Mister,
can you spare some change?
As Carl and Howie are distracted by Vickie and Danny Boy,
Jeremy looks around quickly, bends over and runs to the rear
of the car, wriggles on his back under the car, attaches the
GPS device and quickly slides back out.
CARL
I'm not givin' you money. Get lost,
ya little creep!
HOWIE
G'wan. You're gettin' nothin' from
me.
Jeremy whistles. Vickie and Danny Boy make faces at the men,
give them loud raspberries, then run back down the street.
Genres:
["Fantasy","Thriller","Drama"]
Ratings
Scene
15 -
The Mysterious Tracker
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - CONTINUOUS
The kids return to Merlin. Jeremy sticks out his hand, palm
up. Merlin pulls another twenty from the air, slaps it into
Jeremy's hand, then pulls a smart phone from the air.
MERLIN
This has a GPS tracker - screen
shows where to go. Just push this
button. You need to track the car.
For Adam. He’ll need you.
VICKIE
Wha'do we get outa it?
MERLIN
Big payoff down the road.
VICKIE
How do you know?
MERLIN
Was told.
VICKIE
When?
MERLIN
Next Friday. Ciao!
Merlin saunters away. The kids look at each other, then at
the GPS receiver.
Carl and Howie's car drives off. Looking at the receiver, the
kids follow in the wake of the car.
Genres:
["Fantasy","Thriller","Drama"]
Ratings
Scene
16 -
Emergency at Dottie's
EXT. DOTTIE'S BAR & GRILL - NIGHT
The two red t's of 'Dottie's' red neon sign, then the whole
sign, followed by the exterior of the bar.
INT. DOTTIE'S BAR & GRILL
An ordinary neighborhood bar, with a gaggle of patrons.
MACK, early 50s, average height, starting to lose hair, beer
gut but muscled, is behind the bar.
A small red light starts flashing behind the counter. Mack
notices and pushes a button, looks toward a side door.
Adam enters through the door, sits at the end of the bar
facing the front door. Mack slides a glass of beer on the
counter to Adam, follows it to him.
MACK
What’s up?
ADAM
Meeting Lance.
MACK
Problem - ?
ADAM
Maybe.
Mack nods, leans over and whispers to Adam.
MACK
Always available - still owe you
for Kandahar....
ADAM
You don’t owe me a thing, Mack.
MACK
That right.
He pulls up his T-shirt to reveal two healed bullet holes.
MACK (CONT’D)
Then it musta been giant mosquitos
that bit me in the firefight.
ADAM
Cover yourself, soldier.
MACK
Yes, sir, lieutenant, sir!
Mack salutes, laughs. Adam's smart phone vibrates. He takes
it from his pocket, looks at the screen, clicks on "Lance".
ADAM
Lance, what -
The bloodied face of Lance appears on the screen.
LANCE
Shot...home -
ADAM
I'm coming, Lance! Hang on!
Leaps to his feet, rushes out.
ADAM (CONT’D)
(to Mack)
Call 911...Lance...shot...home.
Mack grabs his phone.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Frantic Despair
EXT. A STREET AND LANCE'S APARTMENT BUILDING - NIGHT
Adam runs frantically down the street. He turns a corner,
charges into the entranceway of an apartment building.
INT. STAIRWELL
Gun in hand, Adam yanks open the second-floor stairwell door.
The lights are off in the hall, only a faint red exit light
at the end.
HALLWAY
Adam moves cat-like but rapidly toward Lance's apartment.
He sees the door just ajar, pushes it open with a foot, tries
the light switch but the power is off.
LANCE'S APARTMENT
Adam looks inside the apartment.
He sees Lance's feet from light coming through a window,
rushes over to him, drops to his knees beside Lance.
ADAM
Lance, Lance!
Seeing Lance is dead, Adam gives a primeval, animal-like,
scream of rage and anguish and pounds the floor with his
fists. A MALE VOICE:
MALE VOICE (O.S.)
You move, an' I put a bullet in
your head.
A blackjack in a man's hand hits Adam's head. Adam drops like
a rock. A hand/arm places a handgun next to Adam, takes
Adam's pistol.
Genres:
["Thriller","Drama"]
Ratings
Scene
18 -
Secrets and Shadows at Dottie's
INT. DOTTIE'S BAR & GRILL - NIGHT (DREAM)
Adam and Lance are sitting at a small table. Lance looks like
your favorite philosophy professor, well-built, with a shock
of grey hair. He’s seen it all.
LANCE
Oswald was a CIA spook, like us.
Didn’t shoot Kennedy.
ADAM
Who did?
LANCE
Doesn’t matter.
ADAM
What does?
Lance glances around, lowers his voice even more.
LANCE
The jackals who hijacked the
government afterwards.
ADAM
Got to be all dead by now.
LANCE
(glancing around)
Maybe, but their progeny aren’t.
ADAM
Meaning what?
LANCE
Bobby, Martin, Malcolm. Another hit
like those would tear the country
apart.
ADAM
You gonna tell me what you’re into?
LANCE
No.
ADAM
Why not?
LANCE
If you knew, and they knew you
knew, they’d kill you.
ADAM
Who you workin’ for, Lance?
Lance hesitates, then:
LANCE
Grayson.
ADAM
Drop it.
LANCE
Can’t.
Across the room, a man at another table surreptitiously has
been making a video of Lance and Adam with a smart phone.
Mack has come over to them.
MACK
What you two spooks plottin’ now?
ADAM
(mock serious)
Got clearance for access?
Mack raises his arms to show muscle.
MACK
I can clean a hundred an’ eighty.
That get me access?
Lance has seen the man filming them, motions to Mack and
whispers to him. Mack jerks erect, goes over to the man,
pulling a blackjack from a rear pocket.
MACK (CONT’D)
You’re gone. An’ I better not see
you again.
Mack slaps the palm of his left hand with the blackjack. Man
gets up and leaves. Mack returns to Adam and Lance, stands at
attention.
MACK (CONT’D)
That clearance do, sirs? Or do I
gotta show you my ribbons?
ADAM
Take a seat, sergeant.
Mack sits at the table, a broad grin on his face.
Genres:
["Thriller","Mystery","Fantasy"]
Ratings
Scene
19 -
Awakening in Grief
INT. LANCE'S APARTMENT - LATER
Adam, still on the floor, wakes, groans, feels his head.
He suddenly realizes where he is, gets back on his knees by
Lance, looks at his dead friend. Lance's eyelids are open.
Adam leans over and closes them, slumps.
Flashlights from COP 1, 20s, and a second cop by the door
suddenly light up Adam.
COP 1
Show me your hands! Show me your
hands!
Adam slowly raises his hands, straightens up.
INT. A JAIL CELL - NIGHT
Close to dawn. Adam sits slumped on the edge of his bunk, his
head in his hands, not moving, hardly breathing, eyes closed.
Merlin appears, seated on a stool.
MERLIN
Yo!
ADAM
Not again.
Adam opens his eyes, removes his hands from his head.
MERLIN
Bad penny always turns up.
Merlin points. Adam looks at his right hand. A scuffed and
bent penny appears in it.
ADAM
Wha'do you want?
MERLIN
You need’a start the quest.
ADAM
Already got a quest.
MERLIN
What?
ADAM
A normal life.
MERLIN
Arthur, Earth is a planet of
opposites: night 'n day, male 'n
female, saints 'n sinners - an’
dragons! If there's dragons, there
haveta be knights to fight 'em.
Adam gets up, walks toward a window.
ADAM
Done my time fighting dragons.
MERLIN
They'll kill Senator Grayson.
ADAM
Not my problem.
MERLIN
JFK's murder rocked the country.
Grayson's death would be another
nightmare.
ADAM
And I’m supposed to do what? A
discarded spook.
MERLIN
...An’ Lance?
Adam's face tightens.
ADAM
...He's gone.
Merlin nods his head a couple of times.
MERLIN
An’ the oath you swore your knights
to in Camelot? “Never to abide
murder or treason.” That gone too?
Merlin slowly fades away.
Adam looks at the penny in his hand, flings it angrily
against the wall opposite his bunk, teeth clenched.
He stares at the wall, finally reaches into a pocket, pulls
out Agent Two's business card, stares at it. Goes and picks
up the penny, looks at it. Walks to his cell door and bangs
violently on it.
A GUARD appears.
GUARD
What’s your problem?
ADAM
I want my phone call.
Genres:
["Thriller","Fantasy"]
Ratings
Scene
20 -
The Deal and the Penny
INT. A JAIL - VISITORS’ ROOM - DAWN
A beat-up visitors' room in the jail. Adam sits at a table
opposite Agent One and Agent Two.
ADAM
- one and done, and the rest of my
pension.
AGENT ONE
If Grayson’s killed, the deal’s
dead too.
Adam looks at the two agents, nods his head.
He scribbles his name on a form in front of him on the table,
slides it to Agent One, who returns a copy to Adam.
AGENT ONE (CONT’D)
Keep in touch.
AGENT TWO
An’ watch your back.
Agents start to get up and leave.
ADAM
Question.
Agents look at him. Adam opens his hand with the penny in it.
ADAM (CONT’D)
What's in my hand?
AGENT ONE
A beat-up penny.
Adam looks at the coin, nods to himself. The two Agents look
at each other. Adam's hand with the penny closes into a white-
knuckled fist.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
21 -
Secrets at the CIA
EXT. CIA HEADQUARTERS, LANGLEY, VIRGINIA - NIGHT
Front gate, sign.
MORDAIN (O.S.)
If Grayson uncovers the truth,
he’ll ruin our plans for the White
House.
INT. A HALLWAY - CONTINUOUS
An office door, with a small plaque outside, which reads:
"Director of Operations."
DIRECTOR'S OFFICE - CONTINUOUS
DIRECTOR, late 40s, is at a window, talking on a smart phone.
DIRECTOR
And the “garbage”?
MORDAIN'S VOICE (O.S.)
Squeeze it, then dispose of it.
Genres:
["Thriller","Mystery"]
Ratings
Scene
22 -
Night of Abduction
INT. DOTTIE'S BAR & GRILL - NIGHT
Adam stands at the bar, Mack, behind the bar. Shock is on
Mack's face.
MACK
Dead? My God.
Mack takes a deep breath, crosses himself.
MACK (CONT’D)
(musing)
Twenty years, around the world -
never a scratch...buys it here....
Count me in on any action.
EXT. DOTTIE'S BAR & GRILL - LATER
No people on the street, only one car drives by.
Adam exits the bar, starts walking down the dark street. The
bar's neon sign goes dark.
Suddenly from opposite directions two cars - one Carl and
Howie's - converge on Adam, climb diagonally onto the
sidewalk, cutting off his escape route. Weapons with
silencers on them protrude from each car.
Two men jump out, grab Adam, pull him into one car, put a
hood over his head.
As Adam is taken, the three street kids come trotting into
view down the street, still tracking, see Adam abducted. When
the cars roar off, the kids again start trotting after the
cars, watching the GPS monitor.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
23 -
Interrogation in the Dark
EXT. AN ABANDONED BUILDING - NIGHT
An old empty building, the front set back, in a poor section
of town. Carl and Howie's car is parked outside.
INT. ROOM IN AN ABANDONED BUILDING
Adam is seated on an old wooden chair, tightly laced into a
straitjacket, Carl in front of him, Howie to one side.
CARL
What did your buddy Lance say
about Oswald?
ADAM
Oswald the rabbit -
Carl slaps Adam on one side of his face.
ADAM (CONT’D)
- was born in 1927 -
Carl slaps him on the other side of his face.
ADAM (CONT’D)
- and kept hopping until -
Carl slaps Adam again.
ADAM (CONT’D)
Been there, done that -
CARL
I can do this all night.
ADAM
A fiver says you can't.
Carl slaps Adam again.
CARL
And Alinovski.
ADAM
That's great vodka.
Carl slaps him again.
CARL
Peter Alinovski.
ADAM
I remember him! He was a goalie for
Toronto!
Carl slaps Adam once more.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
24 -
Desperate Measures
EXT. A STREET - NIGHT
The street kids are still tracking, when Jeremy sees an
unattended three-wheel bicycle with a second seat and a large
basket in the back. He eyes it.
JEREMY
We need wheels. Wait ‘round the
corner.
Jeremy gives Vickie the GPS tracker, and she and Danny Boy
run around the next corner.
Jeremy grabs the bike and rides off, as the owner, an old
man, screams after him. Jeremy rounds the corner, Vickie
jumps on the second seat, Danny Boy in the basket, and
they're off, Vickie now monitoring the GPS tracker.
INT. ROOM IN AN ABANDONED BUILDING - LATER
The straitjacket on Adam is now soaked with water and even
more tightly laced. Adam has trouble breathing.
CARL
Waterboardin’ don't work, but this
wet straightjacket will.
HOWIE
See, it's already real tight, but
when it dries it'll shrink an'
squeeze you like a grape.
Howie giggles. Adam looks down at the straightjacket.
ADAM
Jacket's got a nice cut to it.
Armani?
Genres:
["Thriller","Drama"]
Ratings
Scene
25 -
Desperate Negotiations
EXT. AN ABANDONED BUILDING - CONTINUOUS
The street kids arrive on the bike and see the car. They hide
the bike, climb up a fire escape and enter through a window.
INT. AN ABANDONED BUILDING - SECOND FLOOR
The kids are on the floor above where Adam is being held.
The room they are in holds all types of painting tools. As
the kids check out the space, Danny Boy finds a coil of
flexible narrow rope and happily drapes it around his neck,
puts on a pair of cotton painter's gloves, grins widely.
INT. ROOM IN AN ABANDONED BUILDING
Adam gasps for breath. Carl and Howie are looking at him.
CARL
Hate to watch a guy suffer.
HOWIE
So, let's not watch.
CARL
Why didn't I think o’ that?
(to Adam)
Cigarette break. Don’t go anywhere.
Howie giggles. Carl and Howie leave the room.
As Adam struggles vainly, there’s the sound of scraping in
the ceiling, and then Danny Boy's face suddenly appears above
the large opening (missing its grate) of a wide old-fashioned
metal air duct overhead.
DANNY BOY
Sss.
Adam looks around.
DANNY BOY (CONT’D)
Sss!
Adam finally looks up.
ADAM
Danny Boy?
DANNY BOY
Hi.
ADAM
How did you - never mind. I need
your knife.
DANNY BOY
My knife?
ADAM
Your knife!
DANNY BOY
For what?
ADAM
I’m tied up!
DANNY BOY
How come?
ADAM
The knife!
DANNY BOY
OK, but first -
ADAM
I need the knife!
DANNY BOY
I need Plan B.
ADAM
What?!
DANNY BOY
Plan B.
ADAM
They're killing me!
DANNY BOY
If I don't get Plan B, Jeremy will
kill me.
ADAM
What are you talking about?
DANNY BOY
You said Plan B would get us off
the street.
ADAM
Oh, that Plan B.
DANNY BOY
Uh huh. What is it?
ADAM
A book.
DANNY BOY
And?
ADAM
I'm writing it!
DANNY BOY
No crap?
ADAM
No!
DANNY BOY
About what?
ADAM
The CIA!
DANNY BOY
That is totally rad.
ADAM
Your knife!
DANNY BOY
And when it's done?
ADAM
(rapidly)
I sell it, buy a house, and we all
live in it.
DANNY BOY
For how long?
ADAM
Forever! Now give me the damn
knife!
DANNY BOY
You're not lying?
ADAM
No!
DANNY BOY
OK, I'll go tell Jeremy.
Starts to crawl away backwards.
ADAM
The knife!!
DANNY BOY
Oh. Yeah.
Crawls back.
DANNY BOY (CONT’D)
It's a Boy Scout knife. Can I be a
Boy Scout when we get the house?
ADAM
Absolutely.
DANNY BOY
'Cause I really wanna be a Scout.
ADAM
You'll be a Scout!
DANNY BOY
Cross your heart an’ hope to die?
ADAM
I'll die if I don't get the knife!
DANNY BOY
OK, it's coming.
ADAM
Great!
Danny Boy's rope suddenly unwinds from above. Danny Boy
slides down the rope, wearing the gloves, lands in front of
Adam.
He pulls off his gloves, takes out his knife, offers it to
Adam. Adam, although astonished, quickly swivels sideways.
ADAM (CONT’D)
Cut the cords! Quick!
Genres:
["Thriller","Drama"]
Ratings
Scene
26 -
Ambush in the Abandoned Building
INT. HALL AND ROOM IN AN ABANDONED BUILDING - CONTINUOUS
Carl and Howie come down a hall. Carl opens the door where
Adam is being held, enters, stops in shock.
Danny Boy sits in Adam's chair with the straightjacket on
him, staring at Carl, his eyes wide, mouth hanging open.
CARL
What in hell -
Adam grabs Carl by the neck, places Danny Boy's knife against
Carl's throat.
ADAM
(to Howie)
I can slit Carl's throat in half a
second.
Adam yanks a handgun from under Carl's jacket, points it at
Howie, who is frozen in a panic.
ADAM (CONT’D)
You run, I'll kill you too.
Come on in. Slow and easy.
EXT. AN ABANDONED BUILDING - CONTINUOUS
Adam and the kids exit the building. Jeremy runs to get the
GPS tracker from the basket of the bike. All get in Carl and
Howie’s car and drive off.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
27 -
Secrets and Shadows
EXT./INT. U.S. SENATE, WASHINGTON D.C. - NIGHT
An expensively furnished office. The back of a tall leather
chair is turned away from the desk, hiding the man sitting in
it. Cigar smoke floats above the chair.
MORDAIN
The “garbage” is missing?!
(listens)
Find it - and trash the garbage
men.
EXT. STREET BEFORE MACK'S GROUND FLOOR APARTMENT - NIGHT
Carl and Howie’s car is parked out front.
INT. MACK'S GROUND FLOOR APARTMENT - NIGHT
A large living room. The kids are seated at a round table,
eating scrambled eggs, bread and butter. The GPS receiver,
but not the tracker, is on a side table. Carl and Howie’s car
keys are on the table. Adam and Mack are standing, talking.
MACK
Who’s Peter Alinovski?
ADAM
Not a clue.
Adam's smart phone rings. He answers, listens.
ADAM (CONT’D)
What?!
He moves away from the kids, who don't pay attention, keep
eating. Adam turns from them, clearly disturbed.
ADAM (CONT’D)
I left ‘em alive!
(pause)
All right.
Adam disconnects, turns. Mack looks at him. Adam shakes his
head. Mack cocks his head. Adam points to his head, as if his
hand were a gun.
ADAM (CONT’D)
(pointedly)
Twenty-two caliber.
They stare at each other. Mack rubs his beard. A beat. There
is a knock on the front door. Mack reaches for his weapon.
Another knock.
MERLIN (V.O.)
Arthur. It's Merlin!
Mack looks at Adam, who wags his head, starts for the door.
Mack stops him with a hand gesture, goes to the door, yanks
it open, holding his weapon at the ready. Merlin stands
outside.
MERLIN
Hey, Mack!
Walks by Mack into the apartment, sees the kids around the
table. He goes around the table, taps each child on the head.
MERLIN (CONT’D)
Danny Boy.
DANNY BOY
Hi, Merlin.
MERLIN
Jeremy.
JEREMY
Yo, Merlin.
MERLIN
An’ m’lady, Vickie.
VICKIE
Hey, Merlin.
Merlin drops on a chair, grabs a knife and fork in his fists.
MERLIN
What’s for dinner?
INT. A SENATE OFFICE, WASHINGTON D.C. - LATER
Mordain speaks on a burner phone.
MORDAIN
Who is this garbage?
DIRECTOR (O.S.)
Terminated from The Company six
months ago. Name’s Kingston.
MORDAIN
(startled)
What?
DIRECTOR (O.S.)
You know -
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
28 -
Conspiracy and Revelation
INT. MACK’S GROUND FLOOR APARTMENT – LATER
Merlin, Adam, Mack, and the kids are seated around the table.
ADAM
If some in The Company set up
Kennedy -
MACK
- and some plan to hit Grayson -
ADAM
Then something’s got to be at
Langley.
MACK
Too bad you’re not working at
Langley any more, you could -
Adam and Mack suddenly look at each other, then at Merlin.
The kids then turn to stare at Merlin.
MERLIN
What's ‘a matter? I got egg on my
face?
Pulls the back of a hand across his mouth, looks around at
the group. A beat.
MERLIN (CONT’D)
Oooh - I know what you're thinkin'.
Everyone keeps staring at Merlin.
MERLIN (CONT’D)
Teach Adam time travel, so he can
go back an' -
Everyone still stares at Merlin - the kids put their heads in
their hands, elbows on the table.
Adam picks up a glass of water, takes a sip, never takes his
eyes off Merlin. Mack cleans up the egg on his plate with a
last bit of bread, puts it in his mouth and chews, all the
while staring at Merlin.
ADAM
(to Merlin)
Dragon time.
INT. A SENATE OFFICE, WASHINGTON D.C. - LATER
Mordain’s still on the burner phone.
DIRECTOR (O.S.)
Newspaper article here about his
father’s suicide. Nicholas
Kingston.
MORDAIN
Incredible.
Genres:
["Thriller","Mystery","Fantasy"]
Ratings
Scene
29 -
The Energy Body Experiment
INT. MACK’S GROUND FLOOR APARTMENT - LATER
Merlin, Adam, Mack, the kids. Adam stands before his chair.
MERLIN
First we gotta unhook your energy
body.
DANNY BOY
What’s a energy body?
MERLIN
Watch.
Merlin makes three quick counterclockwise circles before
Adam's heart with a forefinger and again over Adam's
forehead. Then Merlin steps back.
MERLIN (CONT’D)
(to Adam)
Now step out of your body.
ADAM
What?!
MERLIN
Imagine stepping out. Take my
hands.
Merlin extends his hands to Adam. Adam looks disbelieving,
but non-physical transparent hands now come out of his
physical hands and take Merlin's hands.
Merlin pulls Adam's entire shimmering transparent energy body
out of his physical body. Merlin grins and throws his hands
in the air.
MERLIN (CONT’D)
Alakazam!
Mack's eyes get huge, the kids' jaws drop in astonishment.
Adam turns to look at his physical body, appears panicky.
MERLIN (CONT’D)
Not to worry - you can pop back in
any time. Now go five seconds into
the future - and land up on the
table.
The palms of Adam's energy hands turn up questioningly.
MERLIN (CONT’D)
See yourself when an’ where you
wanna be.
Adam's energy body disappears.
JEREMY
Damn!
Merlin raises his right index finger, counts down:
MERLIN
Three, two, one -
Merlin points at the table and Adam's energy body appears,
standing on the table top.
MERLIN (CONT’D)
Ain't that a gas? OK, get back
inside.
Points to Adam's physical body. Adam's energy body jumps off
the table and walks back into his physical body. Adam looks
at Merlin questioningly.
MERLIN (CONT’D)
This time, take your physical body
with you. Four seconds, land behind
your chair.
Nothing happens. Adam looks at Merlin.
MERLIN (CONT’D)
Uh-oh.
Merlin steps to Adam’s side. Turning the palm of his right
hand toward Adam, three inches from him, he moves his hand
from Adam’s forehead down to his groin, then back up to above
Adam’s navel.
MERLIN (CONT’D)
(to Adam)
Energy block. No wonder you’re
always in trouble.
Merlin pulls a double-terminated transparent quartz crystal
on a silver chain from the air.
MERLIN (CONT’D)
Transducer. Double your energy
input.
The chain with the crystal suddenly appears around Adam’s
neck.
MERLIN (CONT’D)
Activate by touching it.
Adam looks at Merlin, who nods.
MERLIN (CONT’D)
Blast off.
Adam reaches up and touches the crystal with his right hand.
His body disappears.
DANNY BOY
Get away!
Merlin counts four with his fingers. Adam reappears, behind
his chair. Everyone just stares at him. Merlin grins.
Genres:
["Fantasy","Adventure","Mystery"]
Ratings
Scene
30 -
Covert Plans and Urgent Orders
INT. A SENATE OFFICE, WASHINGTON D.C. - LATER
Mordain, still on the burner phone.
MORDAIN
Find him. Quickly.
INT. MACK’S APARTMENT – LATER
Merlin, Adam, Mack, kids.
ADAM
- start with bugging the office of -
MACK
Lemme guess - Director of
Operations.
ADAM
(nods)
I want to know why they canned me.
MERLIN
Wha’d they say?
ADAM
Director said I was tight with some
Russian spook.
Mack has gone to a cabinet, taken out something.
MACK
Memento of my time at Langley -
He hands Adam a tiny microphone and earpiece. He puts
batteries in the receiver.
MACK (CONT’D)
- top quality bug.
Gives receiver to Adam, who pockets all the equipment.
MACK (CONT’D)
An’ a flashlight – high/low beams.
Hands it to Adam.
MERLIN
(to Adam)
Keep it simple. Only look an’
listen.
Adam nods, touches the crystal, disappears.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
31 -
The Eavesdropper's Escape
EXT. LANGLEY, VIRGINIA - CIA HQ - NIGHT -SIX MONTHS EARLIER
A sign reading "Central Intelligence Agency."
INT. CIA HEADQUARTERS - HALL
A time and date clock, showing it's now six months earlier, a
Sunday night.
An empty hallway, dim lighting. Adam appears, standing before
the office of the Director of Operations. He glances both
ways, disappears again.
DIRECTOR'S OFFICE
Adam appears, turns on his flashlight, quickly attaches the
bug to a hidden surface of the Director's desk, disappears
again.
HALL
A time and date clock shows it is now Monday morning, 10:05
A.M. The hall is brightly lit.
DIRECTOR'S OFFICE
Director sits behind his desk, looking at something in a
file. Male AIDE, 35, is nearby.
DIRECTOR
Kingston was only five when his
father –
AIDE
Right.
ADAM’S OLD OFFICE
Adam sits behind his former desk, listening to the bug.
DIRECTOR (O.S.)
So, how did he find Alinovski now?
And why?
ADAM
(under his breath)
Alinovski again.
DIRECTOR (O.S.)
How often did they meet?
AIDE
We know just the one time.
DIRECTOR (O.S.)
Terminate his employment.
AIDE (O.S.)
On what grounds?
DIRECTOR (O.S.)
Associating with a foreign agent.
Leave his file.
Adam thinks for a moment, then touches the crystal.
DIRECTOR'S OFFICE – NIGHT
A clock on the desk shows 1:15 A.M. Adam appears in the
darkness, turns on his flashlight, switches it to low
intensity. He moves toward the Director’s desk.
At floor level, a tiny purple light can barely be seen on a
far baseboard. Adam doesn’t notice it. The light starts to
blink as Adam walks by it.
Adam removes the bug, pockets it, then finds the "Kingston"
file in a file organizer on the desk.
He puts the file on the desk and opens it, shuffles through
the file, stops at a yellowed news article.
INSERT – ARTICLE,
headlined, "MURDER/SUICIDE – MAN KILLS SELF, WIFE." Photo of
Adam’s parents, titled "Nicholas Kingston and wife Faith."
BACK TO SCENE
An alarm suddenly starts BLARING. Adam quickly closes the
file, starts to replace it, just as the door to the office
flies open, revealing a male GUARD, handgun pointed at Adam.
GUARD
Freeze!
Adam looks up. His left hand leans on the desk, holding his
flashlight, his right hand still on top of the file.
GUARD (CONT’D)
Don’t move!
A beat, then Adam suddenly shines his flashlight, on the
bright setting, at the Guard, throws himself backward,
reaches for the crystal around his neck. The Guard fires
THREE SHOTS, two of them hitting Adam as he falls.
Adam’s right hand touches the crystal.
ADAM
Go...home....
Guard FIRES again, but Adam has vanished, the bullets
entering the wall behind where Adam had been.
Guard flips on the overhead light, moves slowly forward, sees
bullet holes and blood on the wall, blood on the floor, but
no body. Guard looks stunned.
Genres:
["Thriller","Espionage","Mystery"]
Ratings
Scene
32 -
A Desperate Call for Help
EXT. ADAM'S APARTMENT BUILDING – COURTYARD - NIGHT
Empty courtyard. Adam suddenly appears, slumped on a bench
before the door, his right hand holding on to the top of the
bench, his left hand over his wounds. He is barely conscious.
ADAM
(whispering)
Merlin....
Merlin appears.
MERLIN
Didn't I say keep it simple?
ADAM
Dying....
MERLIN
You've done it before an’ you'll do
it again. No biggie.
ADAM
Not...ready....
MERLIN
So then could you think about
gettin' healed, say a thousand
years from now? Like in a healing
center?
ADAM
Try....
MERLIN
Don't try - just do!
Adam touches the crystal. He and Merlin both disappear.
Genres:
["Fantasy","Action","Thriller"]
Ratings
Scene
33 -
Healing in 3025: A Time-Traveling Dilemma
INT. A HEALING CENTER – YEAR 3025 - DAY
A large, sleek, ultra-modern space, clean and uncluttered.
The floor and walls are made of a marble-like substance, and
the ceiling is a mosaic of many-colored panes of glass.
Only the lights, operating table and a small electronic
console reveal that this is a healing room. Adam appears,
lying on the table, Merlin standing at his side. An alarm
immediately starts blaring.
The future self of Merlin rushes into the room. MERLIN 3025,
60s, sports a small fashionable white beard and white hair,
wears stylish ultra-modern clothing. He is borderline
frenetic, all of Merlin's traits intensified.
What's this? Bullet wounds? You
been time-tripping? That's against
the law, you know. You want to get
me in trouble?
ADAM
Dying....
Dying? What kinda jive is that?
No one dies here. Let's get real.
3025 passes his hand over a point of light on the console,
and a panel opens to reveal a row of buttons.
He touches a couple of the buttons, and laser-like lights of
different colors in the ceiling focus on Adam. The front of
his shirt disintegrates.
The device starts to SPUTTER, a few sparks fly out of it.
3025 (CONT’D)
Old model. Cheap administrator.
(to device)
Bullets out.
The device GROANS, and the bullets slowly exit Adam's body,
hover spinning in the air and disappear.
3025 (CONT’D)
Blood back in.
Nothing happens.
3025 (CONT’D)
Blood back in, I said! Every drop!
Anywhere! Any time!
The blood on Adam's clothes suddenly flows back into his
body, comes streaming in from the past.
3025 (CONT’D)
Now we're cookin'. Heal it up!
Other lasers heal Adam's wounds, from the inside out. The
front of his shirt then reappears.
3025 (CONT’D)
There you be - like it never
happened. Never happened! Hear?
Adam sits up, feeling his body.
3025 (CONT’D)
(notices Merlin)
And who might you be?
MERLIN
You. A thousand years back.
Me? Wearin' those scuzzy rags? No
way! If you're me, I'm ashamed of
me.
MERLIN
With a mouth like yours, that goes
both ways.
ADAM
(to 3025)
Listen, if no one here dies, then -
When you're ready to go, you just
raise your vibes to the next level.
Any more dumb questions? No? OK,
we're done.
Starts to go out.
3025 (CONT’D)
Time police stop you, I don't know
you from Adam.
Adam and Merlin look at each other.
3025 (CONT’D)
And don't come back! Not you,
(points to Adam)
not you.
(points to Merlin)
He charges out of the healing room. Adam looks at Merlin
again. Merlin shrugs, and they both disappear.
Genres:
["Science Fiction","Fantasy","Action"]
Ratings
Scene
34 -
Echoes of the Past
INT. HALL IN ADAM'S APARTMENT BUILDING – CONTINUOUS
Hallway, Mrs. Ogelby’s door. The peephole flap opens, and the
periscope emerges, looks carefully both ways, is withdrawn,
peephole flap closes.
EXT. COURTYARD BEFORE ADAM'S APARTMENT BUILDING - NIGHT
Adam and Merlin are standing in the courtyard, talking.
MERLIN
Wha’do they want with you?
Adam shakes his head.
ADAM
Not me. Something bigger.
MERLIN
Killin’ Grayson?
ADAM
Bigger.
MERLIN
Dead's about as big as it gets.
ADAM
Why was that article about my mom
and dad in my file? And what's the
worry about some Russian?
MERLIN
Could be a time warp. They know
somethin’ you don’t yet.
Adam barely hears him - he's lost in his thoughts.
ADAM
There's...a secret. When I was...
five.
(pauses)
Got to find -
MERLIN
Who?
ADAM
Me - back then.
MERLIN
Risky. Might change you.
Adam, remembering, nods to himself.
ADAM
My first foster home.
Adam reaches for the crystal.
MERLIN
Be real -
Adam disappears. Merlin shrugs.
MERLIN (CONT’D)
- careful.
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
35 -
A Rainy Reunion
EXT. AN ORDINARY HOUSE - 1977 - DAY
It is a dismal day. RAIN. YOUNG ADAM, 5, is staring out of an
upstairs window.
INT. YOUNG ADAM'S BEDROOM- DAY
There is little more in the room than a bed, a chair, a
dresser and a small worn desk. On the desk, an 8X10 framed
copy of the picture of Adam’s parents and Young Adam, the
same one as the smaller print in Adam’s apartment.
Adam appears by the door and for a moment stares at Young
Adam, transfixed.
ADAM
Adam....
Young Adam turns to look at Adam. Adam swallows hard - tears
come to his eyes.
YOUNG ADAM
I didn't hear you come in.
Young Adam's serious eyes measure Adam.
YOUNG ADAM (CONT’D)
Who are you?
ADAM
A kind of big brother.
YOUNG ADAM
What does that mean?
ADAM
OK if I sit down?
Young Adam nods. Adam sits.
ADAM (CONT’D)
Your parents once read you a story
about a time-traveling cat.
YOUNG ADAM
Yeah - it was funny.
ADAM
You think time travel's possible?
YOUNG ADAM
Maybe.
ADAM
What if I told you I came from the
future?
YOUNG ADAM
I'd say you were nuts.
Adam smiles.
ADAM
You're a tough customer.
YOUNG ADAM
Have to be - all I've got is me.
Adam nods, affected.
ADAM
Suppose I said I'm you, forty-five
years from now?
YOUNG ADAM
That'd be pretty crazy.
ADAM
And if I told you something only
you know?
YOUNG ADAM
Be creepy.... OK.
ADAM
You want to be an Army Ranger when
you grow up.
YOUNG ADAM
(suddenly excited)
Will I be?
ADAM
Sure will. Tough as nails.
Young Adam has a grin all over his face, pumps his fists.
YOUNG ADAM
Yes!
ADAM
Now, I need something.
Young Adam turns serious.
ADAM (CONT’D)
Did Dad ever tell you a secret?
Young Adam pulls into himself.
YOUNG ADAM
(evasive)
What kind of secret?
ADAM
I only remember it's important.
YOUNG ADAM
To who?
ADAM
You, me, Dad.
YOUNG ADAM
Not supposed to tell anyone.
ADAM
You aren't - just telling yourself.
Young Adam grins.
YOUNG ADAM
You're funny - like that cat.
ADAM
Meow.
YOUNG ADAM
Show me you can time travel, an’
I'll tell you.
Adam touches the crystal, disappears. Young Adam sucks in his
breath. Adam reappears three seconds later, standing near
Young Adam.
YOUNG ADAM (CONT’D)
That is super cool.
ADAM
You'll learn how one day. What did
Dad tell you?
YOUNG ADAM
There's an envelope - in our attic.
ADAM
Where?
YOUNG ADAM
In a corner -
Adam suddenly recalls - his eyes open wide.
ADAM
- under the insulation....
Young Adam nods.
YOUNG ADAM
The house is still for sale - on
account of -
Young Adam stops speaking. Adam nods his understanding.
YOUNG ADAM (CONT’D)
Will you come back - if there’s a
letter? Dad taught me to read -
I really need it.
ADAM
I know.
YOUNG ADAM
(suddenly angry)
Why did Dad kill himself and Mom?
ADAM
(softly)
I don’t know, Adam, but I’ll try to
find out.
Young Adam starts sobbing.
YOUNG ADAM
Can I get a hug?
Adam gives Young Adam a hug.
ADAM
I'll be back.
Adam touches the crystal, disappears. Young Adam's face is a
mixture of emotions.
EXT. ADAM'S CHILDHOOD HOME - DAY
A "For Sale" sign is in the front yard.
INT. THE ATTIC
Adam appears in the attic, near one corner.
He checks the corner, finds nothing, but at a second corner,
under the insulation, there is an envelope. He opens it and
pulls out:
INSERT - A PIECE OF STATIONERY,
with the letterhead of a law firm, which reads: "Michael Y.
Benton, Family Law."
BACK TO SCENE
Adam looks up, thinks, touches the crystal, disappears.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
36 -
A Letter from the Past
EXT. BENTON HOME - PRESENT - DAY
It is an old weather-beaten house. The screens are rusted,
with holes, and a gutter hangs loose at one end. Weeds grow
on the lawn, with no flowers. The battered mailbox reads:
"Benton."
Adam appears, checks the chronometer on his wrist, sees that
it is 2025, nods, and walks toward the front door.
INT. LIVING ROOM
MRS. BENTON, 80s, an old-fashioned lady, white hair in a bun,
wire glasses, perches on a chair like a small bird on a tree
branch. Adam balances on the edge of a rickety love seat.
MRS. BENTON
My husband died ten years ago.
ADAM
What happened to his files, Mrs.
Benton?
Mrs. Benton points to the floor.
MRS. BENTON
In the basement.
BASEMENT
A number of old wooden filing cabinets and a couple of
computers. Adam has his flashlight in one hand, checks the
labels on each drawer. He finally finds the right drawer,
"K-L", opens it.
He thumbs through the files, finds: "Kingston, Nicholas."
Adam pulls out the thin file, brings it to a small table,
puts the file on it, sits down on a chair, stares at the
file, then opens it.
Not much there: a copy of a will, information about an
insurance policy, copy of a deed. Behind the last page is an
envelope. Adam picks it up.
INSERT,
showing the front of the envelope, on which is written, "For
Adam."
BACK TO SCENE
Adam, face showing emotion, holds the envelope, then turns it
over, opens it and pulls out a letter. He unfolds and reads
it. NICK, 30s:
NICK (V.O.)
Adam, son, if you're reading this,
I'm no longer alive. I'm terribly
sorry I won't be able to see you
grow up and become a man. That's
something your mother and I want
more than anything, but it's no
longer possible. Know that I and
your mother love you more than life
itself. Love, Dad. If something
unusual happened to me, find Peter
Alinovski.
Adams sucks in his breath, his eyes open wide.
Genres:
["Mystery","Thriller","Time Travel"]
Ratings
Scene
37 -
A Call from Beyond
EXT. BENTON HOUSE - DAY
Adam heads down the walk, as the door closes behind him.
He holds his smart phone, Googles for Peter Alinovski's phone
number. Instead of a phone number, a six months’ earlier
obituary for Alinovski shows on the screen.
Adam thinks for a moment, touches the crystal, disappears,
reappears again, looks at his phone.
It now shows Alinovski's phone number. Adam punches a button.
PETER (V.O.)
Hello?
ADAM
Peter Alinovski?
PETER (V.O.)
Yes.
ADAM
Adam Kingston - Nick's son.
PETER (V.O.)
...Good lord....
Genres:
["Sci-Fi","Thriller","Time Travel"]
Ratings
Scene
38 -
Secrets of the Past
EXT. PETER’S APARTMENT BUILDING - DAY
A small, unfashionable, two-story apartment building.
INT. PETER'S APARTMENT
PETER ALINOVSKI, 80s, and Adam are sitting, facing each other
in the living room. Varying emotions flash across Alinovski’s
face. He’s felt guilty all the years for causing the deaths
of Adam’s parents.
There is a moment of silence.
PETER
I never thought to see you.
ADAM
Who are you?
PETER
First, who was your father?
ADAM
Wha’do you mean?
PETER
Where did he work?
ADAM
At the Agency for International
Development.
Peter nods.
PETER
Which - ?
Adam looks questioningly at Peter, then his eyes widen.
ADAM
...fronts for the CIA.
Adam stares at Peter. Peter raises his eyebrows.
ADAM (CONT’D)
My dad worked for The Company?
Peter is expressionless.
ADAM (CONT’D)
And you -?
PETER
Soviet Intelligence, KGB.
Silence.
ADAM
What - ?
PETER
Nick and I sometimes shared
information that could...
benefit...both our countries.
ADAM
Such as?
PETER
The murder of John Kennedy.
A beat. Adam looks intently at Peter.
ADAM
What about it?
PETER
...My associates here and in Moscow
made extensive investigations....
ADAM
And?
PETER
We found that a cabal, in and out
of your government, not “a lone
nut,” killed your president - and
covered it up.
Alinovski hesitates, bites his lower lip, looks away, looks
back at Adam.
PETER (CONT’D)
I gave Nick a dossier of our
findings. He planned to pass it
on to his Senator – but he told the
wrong person about it.
ADAM
Who?
PETER
I...am old - but I’d like to live
a little longer.
Adam's look is intense.
PETER (CONT’D)
You are still young - are you ready
to die?
A pause.
ADAM
Why did my dad kill himself?
Peter stares at Adam for a moment.
PETER
He didn't. He and your mother were
murdered.
ADAM
What?
PETER
They knew too much. If you'd been
home they'd have killed you too.
ADAM
My God, all these years I thought
my dad -
Adam struggles to check his emotions, tears in his eyes. Then
his demeanor changes, determined now. Hard.
ADAM (CONT’D)
Give me something.
PETER
What?
ADAM
A name, a place, a document -
anything.
Peter sucks in his breath, looks down. He clenches his hands
together, his face tight and twitching, finally looks up at
Adam.
PETER
Jack Mordain.
Adam stares at Peter, eyes wide.
PETER (CONT’D)
God help you.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
39 -
A Letter of Hope
INT. YOUNG ADAM'S BEDROOM- LATER
It is just moments since Adam left Young Adam, who sits at
the edge of his bed, hugging the framed picture of his
parents when Adam reappears.
YOUNG ADAM
Did you find the letter?
ADAM
Yes. And more.
Young Adam looks at Adam with trepidation.
ADAM (CONT’D)
Dad didn't kill himself, or Mom. He
wouldn't leave you like that.
Young Adam bursts into tears. Adam takes the picture from
Young Adam, places it on the bed, comforts him.
ADAM (CONT’D)
Here's the letter.
Hands the envelope with the letter to Young Adam.
ADAM (CONT’D)
Stay strong. I’ll take care of
everything.
Young Adam nods.
ADAM (CONT’D)
Rangers stick together.
Young Adam gives a small smile through his tears.
Adam disappears. Young Adam unfolds his father's letter. As
he reads, tears flow down his face.
Genres:
["Drama","Mystery"]
Ratings
Scene
40 -
A Name in the Dark
EXT. ADAM’S APARTMENT BUILDING - COURTYARD – NIGHT - PRESENT
Adam appears, speed dials his phone.
AGENT TWO (V.O.)
Got something, Kingston?
ADAM
My parents were murdered. Jack
Mordain.
Clicks off. Merlin appears.
ADAM (CONT’D)
They killed my parents.
MERLIN
You know who?
ADAM
Got a name.
MERLIN
So?
ADAM
So, we search the web for him.
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
41 -
A Moment in Time
INT. HALLWAY BEFORE ADAM'S APARTMENT - CONTINUOUS
Two men come into the hall, holding by their sides handguns
with silencers. They stop in front of Adam's door, listen,
then kick in the door.
Mrs. Ogelby's periscope slides through the peep hole in her
door. The men enter Adam's apartment.
Mrs. Ogelby opens her door and peers out, just as Adam comes
out of the stairwell at the other end of the hall, and the
men, still holding their guns, come out of Adam's apartment.
MRS. OGELBY
Hit the deck, Adam!
Mrs. Ogelby bursts out of her apartment, a pistol at the
ready, as the men raise their handguns in the direction of
Adam, who drops to the floor, reaching for his gun. Merlin
ducks back into the stairwell.
MRS. OGELBY (CONT’D)
(to the two men)
Secret Service! Drop your weapons!
One man aims his gun at Mrs. Ogelby, but she FIRES first,
manages to kill him; the other man FIRES at her and hits her
twice. She falls, dropping her weapon. Adam SHOOTS him, and
the man falls, dead. Adam rushes over to Mrs. Ogelby.
ADAM
Mrs. Ogelby!
Mrs. Ogelby's eyes flutter open.
MRS. OGELBY
Adam....
As Adam lifts her head up, a wig of grey hair falls off,
revealing dark red hair. Adam gapes. Mrs. Ogelby touches
Adam’s hand.
MRS. OGELBY (CONT’D)
...I love you.
She dies. Adam suddenly realizes who Mrs. Ogelby is.
ADAM
Oh, my God! Jenny! No, no!
(howls desperately, with
grief and rage)
MERLIN!
Merlin emerges from the stairwell, saunters over.
MERLIN
What’s happenin’?
ADAM
It's Jenny! I worked with her at
Langley. She’s dead!
Merlin kneels, peers at the gunshot wounds, pulls up an
eyelid.
MERLIN
Fits the definition of dead.
ADAM
What are you - ?!
MERLIN
(fiercely)
I told you: life's an illusion!
ADAM
But - she's dead!
MERLIN
Well, if you're gonna look at it
like that -
ADAM
Are you completely crazy?!
MERLIN
Seems to me, you were almost dead.
ADAM
That was different.
MERLIN
There's two kinds of dead?
ADAM
Yes! No! Tell me what to do!
MERLIN
I remember someone shot an’ dying.
What was it he did?
ADAM
That was me, and Jenny's dead, not
dying.
MERLIN
Lemme see if I got this straight:
in time travel two minutes before
dead is all that different from two
minutes after dead?
ADAM
But Jenny can't time travel!
MERLIN
But you can, man. And you took your
clothes with you.
ADAM
So!?
MERLIN
So take her clothes to the future -
with her IN them – an’ GO already!
Adam grabs two handfuls of Jenny's clothes and disappears.
Merlin shakes his head and also disappears.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
42 -
Healing Chaos in 3025
INT. A HEALING ROOM, YEAR 3025 - DAY
Adam, Jenny and Merlin appear in the healing room, Adam
covered in Jenny's blood. As Adam puts Jenny on the operating
table, the alarm sounds, and 3025 rushes in once more.
I told you two not to come back! Is
bleedin' some kinda fetish with
you?
ADAM
Not me. It's Jenny!
She's got the fetish thing too?
(peers at Jenny)
Is it catching?
CDAM
She's dead!
Dead! Dead! How many times I have
to tell you - no one dies here.
A laser disintegrates the lower part of Jenny's blouse,
revealing two ugly bullet holes in her abdomen.
3025 (CONT’D)
Bullets again? Not even a finger
blown off? No challenge here at
all. Bullets out!
The bullets come out of Jenny, float spinning in the air and
disappear. The console SOUNDS LABORIOUS. It suddenly starts
to CREAK.
3025 (CONT’D)
Blood in!
The console makes A VIOLENT NOISE and spits out a shower of
sparks.
3025 (CONT’D)
I said, blood in!
The console emits a series of firework lights, A HUGE HOWLING
NOISE, followed by a cloud of dense smoke. There is A SHRIEK
like a dying animal that fades away, and all the lights go
out on the console.
3025 (CONT’D)
It's died!
ADAM
My god!
MERLIN
You said no one dies here.
People! Not machines!
ADAM
(to 3025)
Do something!
I can't! If they learn I do magic,
I'll lose my license!
MERLIN
I don’t have a license. What’s the
ID of the latest model?
Um...Orion 35. Or 47. Or 56?
ADAM
Think!
(to Merlin)
Try 46.
Merlin's wand appears, he waves it, and an ancient version of
the console appears. Each time 3025 says another number, a
different model appears.
3025 (CONT’D)
52? Wait! 63!
Merlin waves his wand once more, and a sleek new model of the
console appears. Together:
TWO MERLINS
Bingo!
They do a high five.
MERLIN
Magic wins every time.
ADAM
Jenny!
Oh...right!
3025 flips a switch. Machine responds with a smooth HUM.
3025 (CONT’D)
Let's have her BLOOD!
Jenny's blood on Adam flies off his clothes and into Jenny's
bullet holes, along with all the blood on Jenny herself,
sucked back rapidly into her body.
3025 (CONT’D)
Every drop! Everywhere! Any time!
A BURST OF SOUND and light, and blood flies in from the past
and into the bullet holes in Jenny.
3025 (CONT’D)
Heal her up!
The holes then close, but now Jenny's energy body rises out
of her physical body.
3025 (CONT’D)
Hey, girl, come on back, I fixed
your cute little temple of the
soul.
Jenny’s energy body tries to claw its way higher.
3025 (CONT’D)
Naw, naw, not your time. Down here
pronto, or I'll go get you.
Jenny's energy body drops back into her physical body, and
her eyes snap open.
JENNY
You son of a bitch! I was almost in
the Light!
We all got our problems.
He helps her to a sitting position. Adam just grins.
3025 (CONT’D)
But now you get two birthdays a
year.
JENNY
You ruined my designer blouse!
(to Adam)
Ever read Shakespeare’s Taming of
the Shrew?
3025 aims a laser-looking device attached to the console
toward Jenny, and the complete blouse reappears.
JENNY
How did you do that? And where
am I?
ADAM
Later.
(to Merlin)
Need the old machine back. Don’t
want problems.
Merlin waves his wand, and the new machine vanishes, the old
one reappears.
3025 (CONT’D)
Borrow your wand?
Merlin gives it to 3025.
3025 (CONT’D)
OK, people, back to the Dismal
Ages.
He waves the wand in an infinity shape. The three disappear.
3025 (CONT’D)
And don't come here again! I mean
it!
He flings the wand after them, and it vanishes in a small
starburst.
INT. ADAM'S APARTMENT BUILDING - LOBBY - NIGHT
The lobby of Adam's Art Deco apartment building.
CSI personnel are leaving, Coroner's assistants are loading
two folded stretchers into the elevator. There also are two
policewomen, and Agent One is huddled with some detectives.
Adam and Jenny are seated on the other side of the lobby,
Jenny now in a black pants suit, ‘Ogelby’ makeup removed.
Both look straight ahead. Silence. Adam takes a deep breath.
ADAM
When did you join -
JENNY
Right after you left.
ADAM
So, why’d the Secret Service -
JENNY
I asked for the assignment -
Adam digests this.
ADAM
When you were shot you said -
JENNY
Ravings of a dying woman.
Adam looks crestfallen.
JENNY (CONT’D)
Still no sense of humor.
ADAM
Not funny.
JENNY
Two-timing me wasn't a big ha ha
either.
ADAM
(flash of anger)
Didn't two-time you!
JENNY
(back at Adam)
You kissed that woman!
ADAM
Told you: was no woman.
JENNY
I saw her!
ADAM
You must’a taken mescaline and seen
yourself.
JENNY
Now, that's funny. Ha ha ha.
They glare at each other, then simultaneously turn to the
front. They both look hurt. A beat.
ADAM
OK.
JENNY
OK, what?
ADAM
Let find out.
He grabs her arm, and they both disappear.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
44 -
A Time-Traveling Kiss
INT. LANGLEY - CIA HQ - HALLWAY - DAY - SEVEN MONTHS EARLIER
Adam and Jenny appear in an empty hallway.
JENNY
Where are we?
ADAM
Langley.
JENNY
When?
ADAM
Then.
Adam points to a digital clock on a wall that has both date
and time, showing seven months earlier.
JENNY
How do I know you haven’t -
At this moment, earlier Jenny comes around a corner of the
hallway. Adam is facing toward her, Jenny is facing away from
her. Earlier Jenny has long hair, Jenny's hair is short.
ADAM
(to Jenny)
Quick, kiss me - she mustn't see
who you are.
JENNY
She, who?
ADAM
She, you!
With that Adam kisses Jenny. Earlier Jenny sees this and goes
ballistic.
EARLIER JENNY
(shouting at Adam)
You two-timing son-of-a-bitch! And
you had to do it here yet! Damn
you!
Earlier Jenny rushes back around the corner.
ADAM
Have to get out of sight - she
might come back.
He pulls Jenny into a small storeroom.
STOREROOM
Jenny and Adam. Jenny starts laughing – so hard she can
hardly talk.
JENNY
Omigod! That was me, when I caught
you with...me! You didn't two-time
me! I two-timed myself - with you!
And you didn't know, because...you
didn't kiss me until just now! Oh,
poor Jenny! Oh, poor Adam! Omigod!
ADAM
So, do I get a pardon?
Jenny gives him a long hard look, then grabs him and kisses
him passionately. She is all over Adam, who isn't exactly
resisting.
HALLWAY - STOREROOM DOOR
Muffled moans come from behind the door.
A white JANITOR, 55-60, pushing a wheeled bucket with a mop
in it, passes the door, stops, shuffles backward, stops.
He looks both ways, gingerly puts his ear to the door. His
eyes get wide, he takes a deep breath, straightens up.
JANITOR
Mighty fine work if you c’n get it.
He continues down the hall, as Jenny gives a muffled shriek.
Genres:
["Action","Thriller","Sci-Fi","Comedy"]
Ratings
Scene
45 -
Time Travel Tensions
INT. HALL BEFORE ADAM’S APARTMENT – NIGHT
Three Company goons. One has just finished picking the lock
of Adam’s apartment.
INT. APARTMENT
One goon stands in the doorway, looking out. The other two
search the apartment. GOON ONE, 30s, finds Adam’s address
book on his computer, sees Mack’s home phone number. He takes
out his phone, punches a number.
GOON ONE
Location trace. 202-890-63 –
EXT. MACK’S GROUND FLOOR APARTMENT - NIGHT
A computer monitor shows a Wikipedia page for "Jack Mordain."
Mack sits in front of his laptop, which is on the round
table. Adam and Jenny are standing on either side of him.
Merlin is also seated at the table, the kids sleeping in
another room.
MACK
Was three years in the Marines,
eight with the CIA. Elected to the
House, then the Senate.
Mack looks up at Adam.
MACK (CONT’D)
We don’t know if Mordain killed
your parents.
ADAM
That’s why I’ve got to go back.
JENNY
Not without backup.
Adam looks at her; Jenny looks back defiantly. Merlin begins
plucking items from the air and handing them to Adam.
MERLIN
- 1977 drivers’ licenses, credit
cards, Secret Service IDs an’
walkin’ around cash.
As Adam hands a set to Jenny, Mack puts "Jack Mordain images"
in the Google search box, then clicks on "View all," scrolls
down.
MACK
(to Adam)
Picture a’ him younger.
Adam and Jenny look at the picture.
MERLIN
No changin’ things when you go
back.
Adam gives Merlin a sharp look.
MERLIN (CONT’D)
I know what you’re thinkin’ - save
Mom and Dad. Bad idea.
Adam stares at Merlin.
MERLIN (CONT’D)
Why? One: you got no right to
change their lives. Two: you save
‘em and they’ll probably die some
other way. Three: if you do save
‘em, you’ll be a different person,
with a different life - you even
could go ‘poof’.
MACK
“Poof”?
MERLIN
He could die young - then no grown
Adam, no girl Jenny, no pal Mack.
(to Adam)
An’ don’t bring nothin’ back.
JENNY
(to Adam)
So, where we headed?
ADAM
The street before my house when my
mom and dad were killed.
Jenny’s smile fades. Mack and Merlin look at each other, then
back at Adam. He notices the reactions.
ADAM (CONT’D)
I’ll deal with it.
Adam takes Jenny’s arm and touches the crystal. They vanish.
EXT. STREET OUTSIDE MACK’S APARTMENT BUILDING – NIGHT
A car pulls up to the curb behind Carl and Howie’s car, and
three men get out, walk toward the building’s entrance. One
holds a police battering ram.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
46 -
Silent Witness
EXT. DOWN-STREET FROM THE KINGSTON HOME – DAY - 1977
A small van is parked down the street from the Kingston
house, Jenny in the driver’s seat.
Adam is beside Jenny, holding a 1977 Canon 310XL Super 8
film movie camera. He aims the camera at the face of his
chronometer, which shows the 1977 date and time.
JENNY
Watch looks too modern for ‘77.
ADAM
Isn’t. Was my dad’s.
A moment.
Adam films the date of a newspaper and the Kingston mail box.
Jenny takes a deep breath.
JENNY
How did you wind up in foster
homes?
ADAM
Only had one living relative. My
mothers’ mother. When she heard my
mom had died, she had a heart
attack and passed away.
A moment.
JENNY
(softly)
I’m so sorray, love.
She impulsively leans over and kisses Adam on the cheek. He
turns to her and smiles.
A dark sedan comes down the street, pulls to the curb before
the house next to Adam’s parents’.
Jenny raises binoculars and trains them on the two men who
exit the car. Adam swings the camera, keeps filming.
JENNY (CONT’D)
It’s him.
JACK MORDAIN, now 24, and the other man go up the walk to the
Kingston home. The front door of the house opens and the men
are welcomed in.
JENNY (CONT’D)
They know each other.
Adam keeps filming, his face grim. Jenny puts a hand on his
arm.
JENNY (CONT’D)
You can’t do anything, Adam.
Adam nods, mouth tight. Moments later, there is a flash of
gunfire in a window, but no sound.
Then a second flash. Jenny raises her binoculars, as Adam
keeps filming.
The two men exit the house. Mordain-24 holds a dossier in his
left hand.
JENNY (CONT’D)
The dossier. If we try to grab it
there’ll be a firefight.
The two killers get into their car, drive off. Jenny follows
at a distance. The killers’ car stops at a small house. Jenny
also stops. Mordain-24 gets out, says something to the other
man and closes the car door.
The other killer drives off. Mordain-24 starts walking toward
the front door, looks over his shoulder, then walks with the
dossier to the car in the driveway and gets in. Adam and
Jenny look at each other.
Mordain-24’s car backs out, turns and drives away. Jenny
follows.
INT. HALLWAY BEFORE MACK’S APARTMENT – CONTINUOUS
The man with the battering ram CRASHES open the door to
Mack’s apartment with one blow, and the other two rush in,
guns drawn. Mack and Merlin are at the table. MAN ONE, 30s:
MAN ONE
Hands on the table. Not a sound.
One of the men closes the door.
Genres:
["Thriller","Sci-Fi","Mystery"]
Ratings
Scene
47 -
Tension and Deception
EXT. A COPY SHOP - DAY
Mordain-24’s car stops; he gets out and enters a copy center.
The van has also stopped, and Jenny and Adam watch Mordain-
JENNY
Copying the dossier.
ADAM
Life insurance. He’s expendable.
Adam suddenly gets out of the van, walks to a phone booth and
dials 911. Woman 911 OPERATOR answers.
911 OPERATOR (V.O.)
911. What is your emergency?
ADAM
Shots fired inside 1-4-2-6 Willow
Drive.
911 OPERATOR (V.O.)
Your name, sir?
Adam is already hanging up. He gets back into the van. Jenny
looks at him.
ADAM
Didn’t want to chance Young Adam
finding the bodies.
JENNY
Did you?
ADAM
Don’t remember.
Mordain-24 exits the copy shop, gets into his car, drives
off, Jenny following.
INT. MACK’S APARTMENT – AS BEFORE
Mack, Merlin, three goons.
MAN ONE
Where’s Kingston?
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
48 -
Covert Operations at the Bank
EXT. STREET AND BANK - CONTINUOUS
Mordain-24 parks near a bank, puts a small placard reading
"Official Business" on his windshield, enters the bank,
holding the dossier and its copy. Adam exits the van, goes
into the bank.
INT. THE BANK
Mordain-24 walks over to a female banker and sits on a chair
to the left of her desk.
Adam walks over to a customer table, pretends to make out a
deposit slip.
Mordain-24 says something to the banker, then hands her his
bank card and driver’s license. He signs something. Banker
gets her key.
She walks toward the bank vault, Mordain-24 following,
holding the dossier and the copy.
As soon as they enter the vault, Adam walks over to the
banker’s desk, sits, glances at what Mordain-24 signed. It
shows an alias and a box number.
Adam surreptitiously takes out his smart phone and, while
looking elsewhere, takes a photo of it, then returns to the
customer table and fiddles with a deposit slip again.
Banker and Mordain-24 come out of the vault. Mordain-24 still
has the dossier but not the copy. Banker and Mordain-24 nod
to each other. Banker returns to her desk, Mordain-24 walks
toward the exit, still holding the dossier.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
49 -
Covert Operations
EXT. STREET AND BANK - CONTINUOUS
Mordain-24 comes out, walks toward his car, removes the
placard, gets in the car. Adam exits the bank, returns to the
van, as Mordain-24 drives off.
ADAM
He put it in a bank box.
JENNY
Suppose he moves it later?
ADAM
I got his alias. He won’t change
that.
JENNY
We done?
ADAM
Need the film developed.
Genres:
["Thriller","Mystery"]
Ratings
Scene
50 -
A Generous Disappearance
EXT. STREET BEFORE A CAMERA SHOP – CONTINUOUS
Adam comes out of the camera shop, the camera in a leather
case hanging from a strap around his neck. He walks over to
the car window by Jenny.
ADAM
Ready in three hours.
He glances at his chronometer.
ADAM (CONT’D)
Done.
He touches his crystal and Jenny’s arm. Both disappear for a
moment; Jenny reappears in the car.
Adam comes walking out of the camera shop again, without the
camera and case. He gets into the van, a bulging business
envelope in his hand. Jenny raises an eyebrow.
ADAM (CONT’D)
Sold the camera. Got more than I
paid.
JENNY
Can’t take the extra back.
Adam nods, takes money from the envelope, puts it in a
pocket. Jenny points to a ragged street woman with a small
dog down the street, begging. Jenny drives forward, stops
beside the woman. Adam hands her the envelope.
ADAM
Happy St. Patrick’s Day.
They drive off. Woman looks confused, then opens the
envelope. Her jaw drops.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
51 -
Secrets in the Shadows
EXT. STREET BY KINGSTON HOME - CONTINUOUS
The van stops near the house. There still is a small police
presence. Jenny looks at Adam questioningly. Adam holds up
the film.
ADAM
Goes in the attic.
Adam disappears. A Black POLICEWOMAN, 20s, walks over to the
van.
POLICEWOMAN
ID, please, m’am.
Jenny pulls her Secret Service ID from her pocket, opens it,
hands it to the officer, who looks at it.
POLICEWOMAN (CONT’D)
What’s comin’ down, agent?
Hands the ID back to Jenny.
JENNY
Deep dive. Need to know.
POLICEWOMAN
Copy.
She walks away. Adam reappears beside Jenny.
JENNY
Now we finished?
Adam stares straight ahead, doesn’t answer.
JENNY (CONT’D)
What?
ADAM
Mordain got away with two murders –
for over forty years.
(muses)
Can’t toss out the stew.... But I
can spice it up.
(to Jenny)
Return the van – I’ll find you.
JENNY
Don’t go ‘poof.’
Adam disappears. Jenny looks concerned.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
52 -
A Threat in the Diner
EXT. SIDEWALK BEFORE A DINER - DAY
Adam appears, walks into the diner.
INT. THE DINER
Mordain-24 sits at the counter, eating. Adam moves quickly
behind him, jams his handgun into Mordain-24’s back. Mordain-
24 stiffens.
ADAM
I know what you did last night,
Jack. I’d waste you now, but I want
you to wonder when – and how –
you’ll die. And who I am. Enjoy
your lunch, you bastard - you might
not eat another one.
Adam disappears. Mordain-24 whirls around, his face white,
eyes wild, reaching for a pistol under his jacket. Behind the
counter, a bored WAITRESS, 40s, walks over to him. Deadpan:
WAITRESS
More coffee?
EXT. A CAR RENTAL PLACE – DAY
Jenny comes out the front door. Adam appears.
JENNY
So?
ADAM
Nice’n’ spicy. Mordain’s having
heartburn.
He touches Jenny’s arm and the crystal. They disappear.
Genres:
["Thriller","Action"]
Ratings
Scene
53 -
The Aftermath of the Attack
INT. MACK’S GROUND FLOOR APARTMENT – NIGHT
The street kids are seated around the table, hands tied
behind the backs of their chairs, gags tied around their
mouths. Adam and Jenny appear, react.
ADAM
Son of a bitch!
Adam starts removing the gags. Jenny gets a knife and cuts
the cords.
ADAM (CONT’D)
What happened?
JEREMY
They broke in.
VICKIE
Grabbed Merlin and Mack.
DANNY BOY
Tied us up.
VICKIE
Said they’d kill us –
DANNY BOY
- if we screamed.
JEREMY
Not to call the cops, or else.
DANNY BOY
(points to table top)
Took the car keys.
VICKIE
Said they’d be in touch.
Jenny looks at Adam. Stunned silence. Then Adam notices the
GPS device blink five times. He points to it.
ADAM
(to Jeremy)
Why is that blinking?
JEREMY
Car stopped.
A beat. Adam goes to a window, pulls up its blind.
ADAM
It’s gone. They took it.
JENNY
But if it stopped –
GPS device blinks again.
Adam spots Mack’s jacket hanging on a chair. He goes over and
reaches into a pocket and pulls out a set of car keys, which
he holds up.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
54 -
Ambush at the Brewery
EXT./INT. MACK’S CAR ON A SIDE STREET – NIGHT
Mack’s car moves along slowly on a barely lit street.
Jenny is driving, Adam beside her. The three kids are in the
back, Jeremy in the middle, using the tracker.
JEREMY
Got to be around here.
Jenny turns a corner. Jeremy sees the car.
JEREMY (CONT’D)
Up ahead!
Jenny drives by the car, which is parked on the other side of
the street, outside a building, which has a sign that reads,
"Old Time Brewery."
ADAM
(to Jenny)
Go to the back.
Jenny turns left, then left again, shuts off her headlights
and dash lights, drives slowly toward the back of the
brewery, which has a loading dock behind it. Barely seen
security cameras and unlit floodlights are on the building.
Jenny stops on the other side of the street, short of the
building, in a dark spot. The only two streetlamps on the
block are dark.
ADAM (CONT’D)
(to kids)
Stay here – and stay down.
Adam and Jenny get out of the car, pull their handguns out,
start walking toward the brewery. As they enter the parking
lot and approach the loading dock, the floodlights snap on,
and two goons with automatic rifles step from the shadows. A
loudspeaker comes to life.
MORDAIN (V.O.)
Good evening, Mr. Kingston.
In the car, the three kids watch the action wide-eyed.
Genres:
["Action","Thriller"]
Ratings
Scene
55 -
Confrontation in the Brewery
INT. THE BREWERY – CONTINUOUS
Vats, wooden barrels. Mordain sits on a chair beside a small
wooden table. Merlin and Mack also are seated. Two goons with
machine pistols stand nearby. Mordain has half a glass of
beer in his left hand. Mordain’s Aide stands by Mordain.
Adam and Jenny enter, followed by the men with the automatic
rifles. Mordain raises his glass to Adam and Jenny.
MORDAIN
Welcome, welcome, sir - and
charming lady. Thank you for
dropping by. Please join your
friends.
Adam and Jenny are led to sit on chairs.
MORDAIN (CONT’D)
Southern hospitality dictates that
I offer you refreshment. I don’t
have any wine, but the beer is
passable. No? Very well.
Puts his glass on the table.
MORDAIN (CONT’D)
Now, Mr. Kingston, you have been a
thorn in our side. I learned just
recently that you are your father’s
son – troublesome. Pity your father
didn’t kill you, too. Wolf pups
should be put down, or they can
grow to be lone wolves.
ADAM
And what should be done with
jackals, who kill - and eat
carrion?
MORDAIN
They should be commended for
ridding the world of garbage. Now,
sir, we first must hear what you
learned from your friend Lance.
ADAM
That you’re a jackal. Otherwise you
wouldn’t have had him killed.
MORDAIN
It’s dangerous to make such an
accusation.
ADAM
Then how about, you killed my Dad
and Mom?
MORDAIN
Even more dangerous.
ADAM
In for a dime, in for a dollar.
MORDAIN
Where did you get the preposterous
idea that I killed your parents?
ADAM
From a timed, dated film that shows
you at my parents’ house when they
were shot.
MORDAIN
This hypothetical film was made
by – ?
ADAM
Government agents.
MORDAIN
I see. And who has it now?
ADAM
Secret Service.
MORDAIN
An intriguing tale but full of
holes.
ADAM
Then there’s the Russian dossier -
and the guy tracking you.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
56 -
The Brewery Showdown
EXT. BACK OF THE BREWERY – CONTINUOUS
Jeremy grasps a broom handle, broken and sharp at one end;
Vickie holds the tin lid of a garbage can like a shield;
Danny Boy clutches a tire iron with both hands. They march
into the back of the brewery: Jeremy, Vickie, Danny Boy.
INT. THE BREWERY – CONTINUOUS
Everyone as before.
MORDAIN
I’ve had enough. Kill them.
ADAM
Been there.
JENNY
Done that.
ADAM
Old school.
JENNY
Passé.
The three kids come marching in.
JEREMY
(to Mordain)
You’re not killing Adam.
MORDAIN
Who are these little toads?
ADAM
Just street kids.
(to kids)
Get back to the car.
JEREMY
No.
The three kids march over and surround Adam.
MORDAIN
Kill them all! Now!
JEREMY
(to Mordain)
Won’t happen.
MORDAIN
What?
JEREMY
Won’t happen.
MORDAIN
And why not, little toad?
JEREMY
Ask Merlin. He told us.
MORDAIN
Who is Merlin?
Vickie points at Merlin. Merlin rises, bows as he speaks.
MERLIN
Merlin the Magician, at your
service.
Mordain looks at his Aide, looks back at Merlin, decides to
play the game. Barks a laugh.
MORDAIN
From Camelot, I presume?
MERLIN
You got it.
MORDAIN
And you can foretell the future, I
believe.
MERLIN
Not foretell, just report.
MORDAIN
Report?
MERLIN
Since I live backward in time, I
come from the future, where I
observe it.
Mordain’s men guffaw.
MORDAIN
Most entertaining. Now then,
magician, show us some of your
legerdemain.
MERLIN
Only may do so by great command.
MORDAIN
And who may that be?
MERLIN
(points at Adam)
King Arthur.
MORDAIN
Ahh! Of course. Then the lady must
be Guinevere!
MERLIN
You got it.
MORDAIN
And where do I fit in?
MERLIN
You were Mordred, Arthur’s bastard
son.
Howls of laughter from Mordrain’s men.
MORDAIN
How droll.
(to Adam)
Well, "King Arthur," would you
kindly direct your sorcerer his
wonders to perform?
Goons laugh. Aide giggles. Mordain smiles sardonically.
ADAM
Certainly.
Adam turns to Jeremy, a hand extended toward him.
ADAM (CONT’D)
My scepter, please.
MORDAIN
(to Aide)
They’re all mad.
Jeremy gives Adam his stick. Adam stands and raises it.
ADAM
Wizard, work your magic.
MERLIN
OK, boss.
(stands on a chair)
The following is being sanctioned
by Lodge 1776 of the International
Brotherhood of Wizards.
Merlin winks at Adam, who nods. Merlin raises his right arm
toward the ceiling.
MERLIN (CONT’D)
Abracadabra and alakazam, witches’
brew and Zanadu – surrounded by
these vats of beer, let the Secret
Service now appear!
Merlin swings his arm down like a starter at a race track. As
he does, Adam glances at his chronometer, then disappears for
a fraction of a second, while everyone is looking at Merlin,
and immediately reappears.
Merlin watches the disappearance/reappearance intently.
MERLIN (CONT’D)
(to Adam)
Good trip?
ADAM
Perfect.
Merlin smiles.
MORDAIN
(sneering)
Where’s the magic? Where’s the
Secret Service?
MERLIN
There’s a thirty second trans-
mission delay to check for nasty
words.
Merlin gets down from the chair as Adam’s smart phone rings.
To Mordain:
ADAM
Ask not for whom the bell tolls –
it tolls for thee.
As Adam reaches his arm toward Mordain, he turns on the
phone, then the speaker function. The phone comes to life.
AGENT ONE (V.O.)
This is the Secret Service. Drop
your weapons. You are surrounded.
If you resist, you will be shot.
Lie on the floor, face down, arms
spread. Now!
As Agent One speaks, several commando types with assault
weapons and body armor appear from behind the vats. Goons
carefully put their weapons on the floor and then lie down as
instructed.
They are handcuffed, their weapons removed. Two commandos
handcuff Mordain. Jenny turns to Adam.
JENNY
How’d you manage that?
ADAM
Went back in time to yesterday,
called the Secret Service, told
them what’s coming down and when,
then looped back here.
Mordain calls out to Adam.
MORDAIN
This is not the end, Kingston.
Adam walks over to Mordain.
ADAM
I’d like to kill you, Jack, but
I’ll settle for seeing you in an
orange jumpsuit and your rotten
gang broken up.
MORDAIN
My gang?
(laughs)
That Russian dossier just lists
some footsoldiers and lieutenants,
not any commanders. And you’ll
never discover who gave the orders
– they were shadows hidden in
shadows. Even I don’t know who they
were, you poor fool.
ADAM
A bastard to the end.
Genres:
["Action","Thriller","Fantasy"]
Ratings
Scene
57 -
A Favor for a Favor
EXT. US SENATE OFFICE BUILDING - DAY
Establishing.
INT. SENATOR GRAYSON’S OFFICE - CONTINUOUS
Grayson and Adam are seated, facing each other.
GRAYSON
I’m in your debt, Adam. Can I do
anything in return?
Adam hesitates for a moment, unsure of his new power to shape
events.
ADAM
I’ve written a book, Senator. Need
a publisher to read it.
Grayson smiles.
GRAYSON
How many publishes would you like?
Genres:
["Thriller","Political Drama"]
Ratings
Scene
58 -
A Million Reasons to Celebrate
EXT. A PARK - DAY
A sunny afternoon. A park. Trees, bushes. Jeremy, Vickie and
Danny Boy are sitting on a bench, tense. Adam comes into
view. The kids jump up with expectation.
Looking gloomy, Adam walks through them, sits on the bench,
clasps his hands, leans forward, head tilted down.
JEREMY
So? Wha’d they say?
ADAM
(flat)
Sensational exposé. Excellent
writing.
JEREMY
(insistent)
Will they publish the book?
Adam nods gloomily.
VICKIE
And an advance?
Adam puts his head in his hands.
JEREMY
He won’t get one. I knew it.
Adam looks up.
ADAM
Did I say that?
VICKIE
You will?
DANNY BOY
How much?
Adam makes a depreciating face, shrugs.
JEREMY
Ten grand?
ADAM
You know what a zero is, Jeremy?
JEREMY
Yeah....
ADAM
Stick one at the end.
VICKIE
A hundred thousand?
ADAM
You know what a zero is, Vickie?
VICKIE
Not...
(slowly shakes her head
sideways several times,
mouth falls open)
...a million?
ADAM
You're not allowed to say "not."
The three kids gape.
DANNY BOY
A million? Uncle Sam bucks?
ADAM
(grinning)
You're gonna be a Boy Scout, pal!
The three kids explode in screams, dance and leap about,
start doing the Lakers' pre-game huddle hop, arms around each
others’ shoulders.
Adam sticks his hands in the pockets of his jacket, a look of
satisfaction on his face, which turns quizzical. He pulls his
hands from his pockets. In his left hand is the now-well-worn
letter of Adam's father.
Adam stares at it, slowly unfolds the letter. Inside, face
down, is the photograph of Young Adam and his parents.
Written on the back now is: “Thank you, big brother. Love,
Adam.” Adam turns the picture over, smiles at it.
ADAM (CONT’D)
And thank you, little brother.
He carefully folds up the letter, puts it back in his pocket.
Jenny has come into view and walks over to Adam. She sits
beside him, asks what's going on. When he tells her, she
leaps to her feet, screams and throws her arms into the air.
Adam leaps to his feet, screams and throws his arms into the
air.
Jeremy and Vickie run over, grab Jenny and Adam, and they all
hop around in a circle, throw their arms in the air and
scream: hop, hop, hop, scream, hop, hop, hop, scream.
Merlin suddenly appears, seated on the bench, watching them,
with pleasure, a grin on his face.
Jeremy and Danny Boy run over to him and, Merlin protesting,
drag him into the dance circle.
They all hop, hop, hop, scream, hop, hop, hop, scream,
hop.....
Aerial shot, rising upward, shows the dancers.
THE END